Author Archives | Emerson Malone

Review: Oliver Stone’s ‘Snowden’ a noble, if flawed, dramatization

It’s a tall order to squeeze the story of Edward Snowden’s life into a feature-length film. In Snowden, the new film from director Oliver Stone, this is sorely obvious.

At 138 minutes, Snowden follows the title character from 2004, when he broke both his legs in army training, to 2013 when he became the most famous unemployed person on the planet. It’s a tautly paced thriller with admirable intentions, but a narrative that’s often ham-fisted, in true Stone fashion.

The movie’s priorities are poorly tuned. The NSA surveillance programs, which should arguably be the epicenter of the film’s drama, are only fleetingly referenced and play second chair to the romantic relationship between Snowden (played by Joseph Gordon-Levitt) and Lindsay Mills (Shailene Woodley). Essentially, there’s more focus put on Mills’ pole-dancing classes and Snowden’s sex life than on how the nefarious, indiscriminate surveillance operates.

The ensemble cast is slightly distracting, although it is enjoyable to see Timothy Olyphant as a shark-grinned CIA operative, Ben Schnetzer as a gum-smacking programmer who shows Snowden the ropes of surveillance reach (“Facebook’s my biiitch,” he gloats); and Nicholas Cage as a disillusioned NSA employee.

Gordon-Levitt fits inside Snowden’s skin comfortably and embodies the man with a demure sensibility and hard baritone voice. Mills, on the other hand, is a cardboard character whose development is null as she idly follows Snowden from Baltimore to Japan to Hawaii. Zachary Quinto is wasted as Glenn Greenwald, whose reactions are polarized scene-to-scene between professional and composed, or bitchy indignation. Outside of resemblance (and maybe sexuality), Quinto’s casting is superfluous. For that matter, both Greenwald and Laura Poitras (played by Melissa Leo) feel like ancillary characters in the overall scheme, who are never employed to any meaningful degree and are only used for bolstering the Snowden saga.

Director Oliver Stone has had an anxious predilection for releasing the story before it ends up in any history textbook (World Trade Center came out in 2006; Josh Brolin was playing George W. Bush in W. in 2008 while the title character was still in office). Stone and Kieran Fitzgerald, the screenwriters behind Snowden, certainly did their research and nothing is too far-fetched.

But still, Snowden falls prey to something Snowden predicted during one of his first conversations with Greenwald in Poitras’ phenomenal documentary Citizenfour: “I feel the modern media has a big focus on personalities. I’m a little concerned the more we focus on that, the more they’re gonna use that as a distraction,” he told Greenwald. “I don’t necessarily want that to happen, which is why I’ve consistently said, you know, ‘I’m not the story here.’”

The clichéd, reductive hero-or-traitor debate does not apply to Stone, who has clearly made a fawning salute of reverence to the programmer here, rather than the negative implications that come with spilling classified government beans. Perhaps this is because Stone felt an obligation as a filmmaker — not to offer a nuanced, ambiguous tale, but to share a heroic story of triumph against a recklessly omnipotent authority. Days before the release, the real Snowden (who’s currently living in Moscow in asylum) requested a presidential pardon in the waning days of President Obama’s term.

Snowden is thorough, but it neglects key terrain: Greenwald’s partner David Miranda was detained for nine hours at the Hearthrow airport; Mills was deliberately left ignorant of Snowden’s plans before he flew to Hong Kong; and Snowden’s home street was crawling with construction trucks a few days after the leak.

Still, the paranoia in Snowden is palpable. Watching Mills absentmindedly pick away at the Band-Aid that covers her laptop’s camera makes you wince. It’s enough to convince anyone to slap a piece of tape on their own laptop camera.

Watch the trailer for Snowden below.

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Preview: Fruit Bats coming to HiFi Music Hall this Friday

In the last three albums from Fruit Bats, an indie-folk band previously based in Chicago, then Seattle and now Portland, singer-songwriter Eric D. Johnson knits restless tales about feelings of inadequacy and homesickness, processing moods of malaise and solitude. As such: Fruit Bats’ Tripper is an excellent record to drink alone to.

This year’s Absolute Loser, the band’s follow-up to the 2011 concept album, is equally as beautiful.

Johnson, who sounds like The Shins’ James Mercer with a permanent head cold, reaches to depressive depths in an all-too-aching timbre. Johnson’s nasal voice adds an endearing awkwardness. He balances its languid indie-rock style with a country-western bent, banjo solos and slide guitar twang abound.

Each Fruit Bats album is rife with individual moments to love, like the theremin-like synth in “Heart Like An Orange” set to a waltz-tempo, the incongruously upbeat melody to “Being On Your Own,” or the emotional nakedness of “Baby Bluebird,” which recalls something off John Lennon’s Plastic Ono Band.

I had eight questions for Eric D. Johnson, whose band is playing at the HiFi Music Hall this Saturday, Sept. 23. Tickets are $15 in advance and $18 on the day of the show. Doors open at 9 p.m. Show starts at 10 p.m. 21+.

Emerald: On Absolute Loser, you’re obliquely referencing different locations — the “Humbug Mountain” but also the “Soon-To-Be Ghost Town.” Is there any specific location that you’re referring to here, or anywhere with which you’d connect the new album?

Eric D. Johnson: There’s always a lot of geography in my songs. They’re pretty informed by moving and traveling. I think it comes from being a Midwest kid. We didn’t travel a lot when I was a kid, so there were sort of these fantasy versions of these places kicking around in my head that were maybe real or not real. I’m talking more just about a feeling that kind of gets tacked onto a hyper-reality or a fantasy-reality. And “From a Soon-To-Be Ghost Town” is more of an allegory about liking a place and having to leave, or having your friends leave and just feeling like you’re the last man standing.

“Your heart’s sinking weighing the two sides of you / An absolute loser on the verge of something new / Just waiting, waiting, waiting for the storm to brew”

– Fruit Bats, “Absolute Loser”

You’re from Chicago; you moved to Seattle and now you’re in Portland. How would you describe your relationship to the Pacific Northwest, given your roaming nature?

I think it’s home now. I’ve been in the Northwest for 12 years now. I’ve been here for all my thirties, all my big kid years. I was in Chicago a lot in my twenties touring and this is kind of my settling down place. Obviously there are real natives here, too, but it’s kind of a transient culture here, too. A lot of people are from elsewhere. This is definitely home for me now.

fruit-bats-absolute-loser-albumWhat’s the story behind the Absolute Loser cover photo?

That’s a picture of my wife. That’s her on a road trip, ten, fifteen years ago or something. She was on a road trip with a friend of hers. That was a picture of her brushing her teeth in a parking lot somewhere in New Mexico or Utah. I think we wanted a photograph that looked a little timeless and journalistic.

How did your wife like being put on the cover with the words “Absolute Loser” pasted on it?

I know, that’s — [laughs] I mean, the title Absolute Loser doesn’t mean something who’s a loser. And she actually chose the picture. Because we were sort of going through old photographs. But the words don’t really mean an ‘Absolute Loser’ it means someone experiencing an absolute loss. So it’s not like a loser-y person. It’s not like a Beck loser. It’s someone who is lost. The title track on Absolute Loser, if you listen to the lyrics, there’s an extreme silver lining in there that means you’ve lost everything and you’re about to rebuild.

 

Tripper was on heavy rotation when I was a college freshman ’cause it helped me when I was feeling particularly self-pitying or lonely.

[laughs] That’s a good one for that.

But when I hear it, I can’t help but feel like you had a similar sense of anxiety or misery when you wrote it. Am I projecting that?

No, I’m actually happy to hear you say that. I think people tend to view my music as very light or sunshiny, which I find myself having to over-explain that it’s not so much. So when somebody actually asks me a question like you just asked, it makes me kinda happy. I’m like, there’s more to it than that. There is an anxiety and an angst in that album about transience. A lot of it is based on dreams that I had. But the hooky concept of Tripper was this really weird tripped-out dude I met, who was a real person [“Tony the Tripper”].

A lot of my songs about being swallowed up by the earth, like “Tangie and Ray,” is about that. “Tony the Tripper” is just kind of about lost souls living by the railroad tracks. “Picture of a Bird” is sort of about giving up on your dreams. But again, I try to put humor and pathos in there, too. But, yeah, that record — you weren’t wrong in reading a little anxiety in there.

“Tried to live on the beach and was seared by the sun / Back on the farm his folks were up in arms crying, ‘our baby’s a bum!’ / But them Florida Girls kept him at ease / Ginger and rose and jasmine and all the other smells on the breeze / Up from the marshes she came to him / like a flip flop floatin’ on a wave”

– Fruit Bats, “Heart Like An Orange”

You helped out on The Shins’ album Wincing The Night Away. And I can’t hang up the phone without asking you if you’ve kept in touch with James Mercer or if you had any influence on the upcoming Shins record.

He and I talk like every week. He’s still one of my best friends. We definitely keep in touch. We text probably like every week. We hang out whenever we’re both in town. I’ve had no – I’ve meant to come over to work on the new Shins record, but I keep being gone. So I’ve had no input other than saying, ‘Go get ’em, tiger’ every now and again via text.

How do you think The Decemberists did with the cover of “When U Love Somebody”?

Oh, it was awesome. It was incredibly, incredibly flattering. They’ve always been very supportive. Fruit Bats has always been one of those bands where it’s like, never been the biggest band in the world, we tend to get a lot of props from other bands, especially big, notable bands give us props. My Morning Jacket has covered “Wild Honey” off Tripper and it’s very flattering to think that our peers and people who are these heavy-hitters are going out there and repping for us.

The Facebook page for Fruit Bats has a list: Bloody Marys, major 7th chords, Nashville tuning, Tibetan singing bowls. It’s a really nice aesthetic, but is there some unifying element? What do they signify to you?

Those are all relaxing things, I think. Those are all unifyingly comforting for me.

Are all those things accessible in your house right now?

Um, I don’t have the fixin’s for Bloody Marys right now. I do have a guitar that’s strung up Nashville style. I do have a Tibetan singing bowl. And I am capable of playing a major seventh chord at any given moment.

Check out the music video for Fruit Bats’ “Humbug Mountain Song,” filmed on Pendarvis Farm in Happy Valley, OR, below.

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Review: Ezra Furman’s Big Fugitive Life a bipolar, captivating listen

Earlier this summer, Ezra Furman played a show with his backing band The Boy-Friends at Pickathon Music Festival, adorned in a red floral dress, a pearl necklace and Kool Aid-blue dyed hair.

San Francisco-based Ezra Furman plays during Pickathon's 18th annual music festival. (Emerson Malone/Emerald).

San Francisco-based Ezra Furman plays during Pickathon’s 18th annual music festival. (Emerson Malone/Emerald).

His self-deprecating stage presence was loud and palpable. While most musicians would relish the cheers between songs, Furman disavowed them outright. He would shout back at the crowd, deadpan: “Don’t just do that! You have to make me earn it!” He introduced “Teddy I’m Ready,” the opening track on Big Fugitive Life, which came out earlier this summer, by saying that this song is about “what we call, at this juncture of our lives, ‘rock and roll.’ ”

In a column for The Guardian, Furman wrote, “Far from being a showbiz gimmick, for me, dressing as I please has signaled the end of a lifelong performance of straightforward masculinity. I have always been uncomfortable with masculinity.” In the same piece, Furman, who is gender-fluid, recalls being inspired by the way Lou Reed effortlessly transcended masculine-feminine tropes, a shared theme within Furman’s music.

Big Fugitive Life is only six tracks and 18 minutes long but showcases ample variety and musical prowess. In his own words, Furman describes the EP as a polarizing two-parter. The first half is “our vision of rock and roll — a madness that overtakes your mind and body.” He describes the latter, more glacially-paced half as “acoustic guitar as open wound, a troubled mind on display.” This side finds Furman singing about his Jewish grandfather fleeing the Nazis in the aching track “The Refugee” and an enigmatic, stripped-down lament (the Robert Johnson-esque “Penetrate”).

Honestly, the EP’s first half is more fun. “Teddy” is a barnburner. Furman counters his own cries that he’s “ready to rock and roll,” with non-sequitur lines like, “The truth is just a mole rat crawling underneath the earth / It is naked and it’s gnawing away at the world / And it hurts so bad that I could cry / But they don’t allow no crying in the cold straight world of men / So I build my little fortress / ‘Til I can get even.”

The second track “Halley’s Comet” carries some of the same anguish when Furman writes about the celestial phenomenon (“I find it hard to live this life of nouns and adjectives / While all around us planets shift and comets fly right by”). In the chorus, his tone swings from instructive (“Halley’s Comet only comes by once”) to fuming (“But do you care like I care?!”) in a split-second, like a middle schooler who’s nudging you to test how sincere you are.

On his Facebook page, Furman writes that the band members include Furman andwhosoever is star-crossed enough to join forces with him.” One of those lucky fellas is Tim Sandusky, who plays saxophone on Furman’s records and is the pulsing heart of the music. Sandusky’s sax steps in when a more conventional band would use an electric guitar, such as during the solo on “Teddy” or on “Little Piece of Trash,” when the sax bounces off the rhythm with a youthful, power-pop energy. The sax compresses the heartland-rock of Springsteen into bite-sized tracks but still feels intimate and personal.

This is Furman’s second EP this year, following the Record Store Day release Songs By Others, in which he covers tracks the likes of The Replacements, Beck and Little Richard.

Listen to “Teddy I’m Ready” by Ezra Furman below.

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Things to do this week: Ducks v. Cavs, Joseph at HiFi, Mad Decent Block Party

Featured: Red Wagon opens in EMU this Tuesday

Red Wagon Creamery will open a new location on campus this Tuesday, Sept. 6, on the bottom floor of the EMU.

Red Wagon started as a pushcart that sold ice cream in Kesey Square back in 2011, but now operates out of a scoop shop in downtown Eugene and runs Oregon’s smallest dairy processing plant. The creamery focuses on creating ice cream using seasonal ingredients sourced from the Willamette Valley, as opposed to processed ingredients.

The EMU invited the local company to open an ice cream store on campus after it was favored highly by students in a poll.

Red Wagon’s location in the EMU will carry the two flavors that were most requested by University of Oregon students: Saturday Morning, a cereal-and-milk-flavored ice cream, and Tracktown Berry, a honey-flavored frozen yogurt with house-made granola.

The new location will also be participating in the upcoming Flock Party on September 23, during which it will trade free buttons and stickers in exchange for an Instagram follow. –Mathew Brock

Tuesday, Sept. 6 – Cards Against Humanity Tournament at Old Nick’s Pub (211 Washington St.) – 6-9 p.m.

One Amazon reviewer once gave CAH a one-star review and wrote that “the vulgarity of the game made my wife question my morales [sic] and reverence to an almighty God.” Old Nick’s Pub is hosting a competitive round of the game that brings the children’s card game Apples to Apples to depraved, grotesque territory. Following the tournament, New Orleans band Casual Burn and Idaho Falls desert-rock outfit Clay Temples will play at the pub. Call the bar at (541) 844-1280 or visit oldnickspub.com/calendar for more info.

 

Wednesday, Sept. 7 — Why Is There So Much Terrible Beer? And Other Important Questions of Economic Regulation at the UO School of Law (1515 Agate St.) – at 1 p.m. in Room 141.

Attorney Paul Avelar, who works with the non-profit firm Institute for Justice, will be speaking on the effects of economic regulation on consumers and the economy. Check out https://law.uoregon.edu/calendar for more information. The Federalist Society for Law and Public Policy Studies hosts this event.

 

Thursday, Sept. 8 Stand By Me presented by Richard E. Wildish Community Theater in Springfield (630 Main St.) – 6:30 p.m. Free.

It’s a story to which many of us can relate: hanging out with childhood friends somewhere in a small Oregon town, looking for a dead body. The 1986 movie, filmed around Eugene, Cottage Grove and Veneta, is based on the Stephen King short story “The Body.” Call the theatre at (541) 868-0689 or visit http://www.wildishtheater.com for more info.

 

Friday, Sept. 9 Mad Decent Block Party at Cuthbert Amphitheater (2300 Leo Harris Pkwy) – Tickets are $61. 18+. Doors open at 2:30 p.m. Show starts at 4 p.m.

Tiësto, Party Favor, Dillon Francis, Evergreen, Herobust, Jai Wolf, Keys N Krates and Neo Fresco are all part of this rambunctious party happening at the Cuthbert this Friday. Mad Decent Block Party is a lineup of electronic dance DJs and artists that tour the country every summer. The 2016 lineup is visiting 13 cities with 16 shows this summer.  Visit http://maddecentblockparty.com/ or www.thecuthbert.com/ for more info.

 

Saturday, Sept. 10 — Oregon Ducks versus Virginia Cavaliers at Autzen Stadium (2700 MLK Jr. Blvd) – Game starts at 7:30 p.m.

The University of Virginia Cavaliers had a rough 2015 season, and it wasn’t just because of their 4-8 record. The team’s coach Mike London resigned, followed by the hiring of Brigham Young University coach Bronco Mendenhall. The Cavs play the Oregon Ducks (9-4) this Saturday at Autzen.  Visit www.goducks.com for more info.

 

Sunday, Sept. 11 Joseph at HiFi Music Hall (44 East 7th Ave.) – 21+. Doors open at 8 p.m. Show starts at 9 p.m. Advance tickets are $12; $15 on the day of the show. 

The name “Joseph” might conjure images of a blasé solo male act, but the truth couldn’t be more different. On Aug. 26, the trio of Portland sisters released its sophomore album I’m Alone No You’re Not, full of intense, punchy acoustic pop and uncanny vocal harmonies produced by Mike Mogis (who’s worked with Bright Eyes, Julian Casablancas and Rilo Kiley). Visit hifimusichall.com for more info.

Listen to “White Flag” by Joseph below:

 

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UO’s Imagination Research Lab is Defining Friendship

Whenever an imaginary friend appears in pop culture, Dr. Marjorie Taylor is called up to provide expert testimony.

Last summer, after the release of Pixar’s Inside Out, Slate magazine interviewed Taylor, a University of Oregon professor emerita of psychology and director of the UO-based Imagination Research Lab, to evaluate Bing Bong, the pink elephant that dwelled in the recesses of a character’s long-term memory.

Marjorie Taylor, a University of Oregon professor of psychology, studies imaginary friends in part because her daughter developed one. (Kaylee Domzalski/Emerald)

Marjorie Taylor, a University of Oregon professor of psychology, studies imaginary friends in part because her daughter developed one. (Kaylee Domzalski/Emerald)

“I think Inside Out did a good job,” Taylor told the Emerald. “The imaginary friend was not remembered well because the child was older.”

In the 1991 fantasy-drama Drop Dead Fred, a woman is tormented by her imaginary friend from childhood. Taylor recalls a scene in which a therapist suggests “neutralizing the part of the brain that creates the imaginary friend.”

“What a horrible movie,” Taylor sighed. “Having an imaginary friend is healthy and normal […] Give me Bing Bong any day.”

In 1999, Taylor published her best-known book, Imaginary Companions and the Children who Create Them. The book’s cover shows a young girl spoon-feeding applesauce to the empty chair next to her.

The Imagination Research Lab, based in Straub Hall, is a catalyst for much of what is known about imaginary friends.

“Around 75 to 80 percent of what’s known about imaginary companions comes from Eugene,” said Taylor. Studies conducted by the lab regularly involved interviews with families from the area about imaginary companions.

Dr. Tracy Gleason, a professor of psychology at Wellesley College, said Taylor was the first person to study imaginary companions with a systematic, empirical approach.

“We’ve successfully discarded the notion that [imaginary companions] are an indication of psychopathology,” said Gleason. “That’s definitely out the window. [Taylor] was the one who said these kids are not lonely, isolated and shy and all these negative stereotypes.”

In one study, the lab’s researchers interviewed children in the foster care system to see what effect these imaginary friends had on those who experienced a rough upbringing.

Dr. Naomi Aguiar, a UO graduate and former researcher in the lab, recalls speaking with one girl who lived in 11 foster homes before being adopted into her lifelong family. The girl told Aguiar that her companion was an invisible milk carton.

“What do you like about this milk carton?” Aguiar asked the girl.

She responded: “I really like that he’s not human because he can teach me about what it’s like to not be human, and I can teach him about what it’s like to be human.”

“A long time before Marjorie’s work, people really thought imaginary companions were a sign of mental illness,” said Lou Moses, UO professor of psychology. “It’s just a product of their creative imagination. It’s really groundbreaking research.”

During interviews with parents in studies with the lab, Taylor and the researchers have heard genuine concern from parents about their children’s imaginary companions.

“I’ve had a parent say, ‘I pray every day for the Devil to leave my child,’ ” said Taylor.

“[Taylor] was the one who pointed out that [imaginary friends] come in all shapes and sizes,” said Gleason. “They’re not all human. They’re not all invisible. Some are based on objects.”

Taylor, who recently retired from UO professorship, is working on updating her book with a second edition, which will include discoveries from the lab’s numerous studies over the past 17 years.

The updated edition will include an augmented understanding of imaginary friends as well as chapters on comparable subjects, including her more recent research on paracosms, the phenomenon of children building intricately detailed, imaginary worlds and the relationship that forms between fiction authors and their characters.

Taylor came to the UO in 1985 and published her first paper on imaginary friends in 1993. At the time, psychology textbooks would only reference creativity and childhood pretend-play in passing, despite the majority of preschoolers having imaginary companions — 65 percent of children by age seven, according to a 2004 study by University of Washington and UO psychologists.

“What do children spend the whole first four years of their lives doing in the United States? Playing and pretending,” said Aguiar. “When Marjorie [started] researching it, nobody took it seriously. It was considered fringe.”

During the lab’s studies on imaginary companions, researchers interview parents and children separately to cross-check information from the child. Oftentimes, young children are prone to misunderstanding the questions.

“If you ask, ‘Do you have a pretend friend?’ and they say, ‘No,’ then the parent says, ‘Ask her about her ghost sister,’ and you go in and ask, ‘Do you have a ghost sister?’ and she’ll say, ‘Yes! Her name is Olivia!’” Taylor said.

To bring a clinical, scientific approach to something as fickle and impulsive as childhood whimsy, the interviewer can’t laugh or even smile at what they’re hearing, no matter how odd, because any sign of amusement might encourage the child to stretch the truth.

Sometimes imaginary friends are an extension of the child’s insecurities and can serve as an alibi for projecting his or her fear onto someone else.

This is useful in understanding Calvin and Hobbes, the comic strip about a mischievous youth and his stuffed tiger playmate. Calvin won’t admit to being fond of his classmate Susie and affirms that girls are obscene, whereas Hobbes has the swagger and bravado to own what Calvin can’t.

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(Illustration by Mary Vertulfo)

“I like the idea that you walk down the road with a tiger at your side and you feel more powerful,” said Taylor. “Even if the tiger is completely imaginary, the feeling of confidence is not.”

In research published in 2010, the lab documented a study with 152 Portland youth, all around age 12. They selected students who were doing poorly: getting in fights, doing drugs or failing classes. Roughly 9 percent of this group had imaginary companions.

The researchers returned to the same group when they were older. Those who had an imaginary friend at age 12 were much more likely to be part of a group that was doing well at age 18.

“Being rejected by your friends may not be a bad thing if you can create a sense of social support through your imagination,” said Aguiar.

However, the connection between the child and the imaginary companion isn’t always amicable. Imaginary friends can take on an adversarial nature.

“They’re annoying. They show up when you don’t want them. They won’t go away. They put yogurt in your hair. They’re always saying bad words and have to be put in time-outs,” said Taylor. But they’re not just relentless bullies, she added. They have nuanced personalities just like anyone else.

During another interview with the lab’s foster care study, Aguiar asked a young boy if he had an imaginary companion. The boy paused and asked, “Does it count if it’s on a video game?”

“I don’t know,” Aguiar said. “You tell me.”

Aguiar now focuses on the relationship that develops between children and the virtual characters in apps and video games. To date, there’s very little research on children’s experiences with virtual reality because they have only begun engaging with virtual characters on a screen in the past few years.

“We don’t really know how digital companions are different from the imaginary companions that children create for themselves,” Aguiar said.

Aguiar suggests that the 2013 movie Her, in which a lonely writer named Theodore forms a romantic partnership with an operating system named Samantha, made a plausible case in depicting our future relationships. The dynamic between Theodore and Samantha is comparable to that between a virtual character and a user, or a child and an imaginary companion.
“It’s very future thinking: what is a relationship?” Aguiar asked. “How do we know when a relationship is real?”

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Review: ‘Don’t Think Twice’ is a brilliant look at the bruising world of improv

“Your twenties are all about hope. And your thirties are all about how dumb it was to hope.”

Improvisational comedy didn’t really take off until the late ‘50s and early ‘60s, but it’s still baffling that a movie like Don’t Think Twice hasn’t already been made. In a way, it feels like an instant classic. Part Woody Allen, part Robert Altman and part The Big Chill, writer-director Mike Birbiglia has made a near-perfect movie.

The film focuses on a six-person improv-comedy group called The Commune with a steady tenure in New York City. Each of the troupe’s performers — especially Keegan-Michael Key (Key and Peele), Chris Gethard and Kate Micucci (Garfunkel and Oates) — are written with brilliant, idiosyncratic nuance and play off one another with a homey comfort.

When their theatre is about to close in a few weeks and one of the performers is offered a role on Weekend Live (a pitch-perfect SNL pastiche), the group’s unity and security is dismantled. Pride for their friend’s accomplishment is traded for the more realistic reactions: jealousy, self-doubt and manic hubris. Birbiglia’s bittersweet screenplay handles these explicit adult problems with a humane consideration and sincerity. It’s disquieting to see their relationship fracture.

Birbiglia plays Miles, an improv teacher in the group who insists that he was once “inches” away from getting a spot on Weekend Live, a repeated sentiment that only adds a grim irony to his namesake. When the group assembles to watch Weekend Live (a tradition among them), he remarks with nerdy reverence that it’s the “sporting event” equivalent for comedy.

The film is chock-full of jokes, many of which are more charming than laugh-out-loud funny. It has wisecracks that deliberately fall flat, improv bits that flop and off-base one-liners traded between the friends, the kind that would offend anyone not used to the bruising, spontaneous nature of the art form.

Birbiglia’s last movie was Sleepwalk With Me, about his concurrent real-life battle with sleep apnea, marriage anxiety and his blossoming career as a road comic. Don’t Think Twice, although not as autobiographical as Sleepwalk, shares many of the same qualities, but Don’t Think Twice is more adult, more fully visualized and overall a more successful film.

Samantha, played by Gillian Jacobs, is impeccable as the movie’s emotional heart. Her performance adds a vulnerability to the narrative. While everyone is watching Weekend Live, they each voice their disbelief when their former troupe member pops up during the opening montage. But Samantha remains silent, her face slipping into reluctant bemusement as she fully processes seeing her colleague, a heartbreaking manifestation of success, parading across her TV.

The movie is a candid look at how adults attempt to cope with witnessing a close friend living their dream, while simultaneously realizing it may be time to stop playing make-believe.

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Photos from Project Pabst 2016: Ice Cube, Tame Impala, stripper astronauts

Musicfest Northwest presents Project Pabst offered an interesting and eclectic lineup this year: Ice Cube, Duran Duran, irreverent rock group Ween, psych-electronic titans Tame Impala, Brooklyn slacker rock Parquet Courts, Portland’s own Unknown Mortal Orchestra and plenty of others.

The annual music festival, which took place in Portland this past weekend, represents the collusion between Portland’s two biggest summer music festivals MFNW and Project Pabst. The upside? One event in a central location at Portland’s waterfront park with all the big names. The downside? The beer-themed music fest means MFNW is now a 21+ affair.

Check out the photos here, plus some highlights below.

  • Ice Cube performs at Musicfest Northwest presents Project Pabst on Saturday, August 27 in Portland. (Meerah Powell/Emerald)

Best almost reunion: N.W.A with Ice Cube. Cube brought out a whole cast of characters during his blazing set, like his 25-year-old son O’Shea Jackson Jr. (who plays his dad in the biopic Straight Outta Compton last year), as well as N.W.A. alumni MC Ren and DJ Yella to run some classic NWA tracks. Cube also paid his respects to his fallen friends: Eazy-E, Phife Dawg, and Nate Dogg. In recognition of Nate Dogg, he chanted “Hey, hey, hey, hey / Smoke weed every day,” with the crowd.

Best cover: “Gimme Shelter” from Liz Warfield (originally by The Rolling Stones). While Duran Duran’s “White Lines” (borrowed from Grandmaster Flash) and Strfkr’s rendition of Cyndi Lauper’s “Girls Just Want to Have Fun” were all superb, Warfield’s cover takes the cake. Her vocal capacity does the devastating original from Merry Clayton recording ample justice.

The strongest weird-name-to-good-music ratio: The Coathangers. This Atlanta-based punk band is unhinged and mesmerizing. During the depressive, acidic relationship howl “Squeeki Tiki,” one of the singers clutched two microphones and squeezed a noisy stress ball right into them both. It’s hard to look away when The Coathangers take the stage.

Sexiest astronauts: STRFKR. Before the Portland indie-electronic band stepped out, they were preceded by about nine astronauts, dressed in white body suits and helmets, parading onto the stage in slow motion, staring at the crowd and the scenery around them with indefatigable awe. After the four-person group — also dressed as spacemen — graced the stage and began to play, the other astronauts expressed themselves in almost every dance thinkable: pole-dancing, stripping, cha-cha, Batusi and ballroom dancing. One astronaut simply lied on his back, defeated, and stayed in the fetal position for a full song like a bug that’s been flipped over. Later they exploded confetti cannons, tossed inflatable balloon animals into the crowd and jumped onto inflated flamingo rafts to surf through the crowd.

Best father-son bonding moment: Ice Cube and O’Shea Jackson Jr. Cube insisted that the crowd on stage right was the loudest, while his son posited that it was actually stage left. “Nah, nah, nah,” Cube told his son. “Father knows best.” He even called O’Shea “a chip off the old cube.” Aw. I’m just grateful that Cube’s set didn’t include the track “You Can’t Fade Me” from AmeriKKKa’s Most Wanted, or it may have gotten a little awkward.

Best non-nostalgia act: Duran Duran. Frontman Simon Le Bon brought a vital energy to the Duran Duran set Saturday night. After seeing Blondie deliver a perfunctory headlining set at last year’s Project Pabst, it’s really refreshing to see someone like Le Bon still have fun (or give off the impression that he is, anyway) singing songs that he’s been doing since 1980. Le Bon was youthful and hungry, one might say …like some kind of wild canine.

Best use of chains: Tenement. The power-pop band from Wisconsin opened the second day with a bang. The best moment during the set: when the all-white wearing percussion and backup singers traded the tambourines and shakers for a violin and saxophone, and singer-guitarist Amos Pitsch whipped out a suitcase, reached into his bag of tricks, pulled out chains, wrapped them around his guitar and held it up high. Holy Christ.

Best band with four guitarists: Diarrhea Planet. Not even a competition, since scarcely does a band have more than two guitarists. The garage-rock group from Nashville have four guitarists in their six-person makeup. Just about each guitarist also takes a turn as a singer. Diarrhea Planet is a testament to the power of teamwork. And, while we’re at it, drummer Ian Bush and bassist Mike Boyle are also excellent, and are probably too often overlooked.

Best vocals: Frances Quinlan of Hop Along. Equal parts Kate Bush, part Kurt Cobain, Quinlan’s painful rasp adds an extreme urgency, especially on the track “Powerful Man” from 2015 album Painted Shut, which Quinlan wrote after seeing a man abusing his child. Well, I didn’t expect to cry this weekend over anything other than spilled PBR. Hop Along also sweeps up the awards for Best Metal Band Disguised as an Indie Band, The Band that Makes More Sense Live than in Studio, Most Fetching Lead Singer and Best Musings on Ferrets (Quinlan gave a shout-out to a friend named Matt, who let the band play basement shows once upon a time, when there was a ferret running around; “can’t do that anymore,” mused Quinlan, “ferrets…they’re a mixed bag.”)

Best Stage Decoration: Parquet Courts. “Aren’t the trees lovely today?” jested singer-guitarist Andrew Savage, gesturing toward shrubs that the band installed between amplifiers and drummer Max Savage. The rather rushed afternoon set was one of the weekend’s best. The former Savage apologized for not bantering as much as usual; guitarist-singer Austin Brown remarked, “I had all this shit planned about how your basketball team sucks, but now I won’t get to it.” Later he went on, “I mean, you coulda had Kevin Durant, but you got Greg Oden. You must think about that every day.” Comically, the boys in the band were signaled five minutes; they milked every moment and sprinted through four songs to the set.  The track “Dust” was prophetic, as Savage barked “Dust is everywhere! Sweep!” and minutes later, the crowd’s dancing made for billowing dirt clouds that hovered over the fields.

Best use of a megaphone: Aaron Freeman (stage name Gene Ween) of Ween. During “Scallion,” Gene Ween and Dean Ween (Mickey Melchiondo) traded lines back and forth like hungry kids, but Gene’s words were garbled through a megaphone; while Dean sang, Gene dragged on a cigarette before he returned to the tool.

Best all-around show: Tame Impala. It’s a little surprising that the Australian psych-rock band’s unique brand of introspective dance music has such a wide appeal. Kevin Parker’s soprano pipes killed it as he swept through the band’s catalog, from 2010’s Innerspeaker through 2015’s Currents. It made for some all-out dance parties, too, like during the impeccable sequencing of “Elephant” followed by “The Less I Know The Better” and the Mark Ronson-produced track “Daffodils.” Tame Impala brought this dirty, swill-drinking festival some elegant, exquisite closure. Tame Impala also snags the award for probably the best lyric of the weekend, if only for its catchy syllabic rhythm: “He pulled the mirrors off his Cadillac, ’cause he doesn’t like it lookin’ like he looks back.”

Best Pabst endorsement: Ice Cube. Cube speculated that some people might think he doesn’t have the wherewithal to go on stage and rap anymore since he’s been so tied up in show business. Cube brought up his Coors Light commercials, and shouted, “I shoulda done a Pabst commercial!”

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Things to do this week: Aggies vs Ducks, Malala Yousafzai, Wilco

Featured: Oregon Ducks vs. UC Davis Aggies at Autzen Stadium (2700 MLK Jr. Blvd) — Game begins at 2 p.m.

The University of California – Davis Aggies (2-9 in the 2015 season) are facing off with the Oregon Ducks (2015 record: 9-4) at Autzen Stadium this Saturday in the first game of the 2016 football season. This marks a return of Aggies coach Ron Gould – a UO alumnus (class of ’88) and former Ducks defensive back player in the ‘80s, as well as a graduate assistant coach with the Ducks from 1990-’91. Aggies quarterback CJ Spencer will be competing opposite Dakota Prukop, the Montana State graduate transfer student who’s playing his first game as the Oregon starting quarterback. Eugene native and UO freshman Justin Herbert was named Prukop’s backup on Friday. Devon Allen is also returning as junior wide receiver after competing in the Rio Summer Olympics, where he placed fifth in the 110-meter hurdles with a time of 13.31 seconds.

This game also follows news that broke Friday that Oregon senior lineback Torrodney Prevot is under investigation for physical assault against a former UO athlete.

Visit GoDucks.com for ticket information. Saturday’s game starts at 2 p.m. It should be a cakewalk.

Devon Allen talks with reporters on August 25, 2016. (Kylee O'Connor/Emerald)

Devon Allen talks with reporters on August 25, 2016. (Kylee O’Connor/Emerald)

 

Monday, August 29 –  Tri-City Dust Devils vs. Eugene Emeralds at PK Park (2760 Martin Luther King Jr. Blvd.) — Tickets start at $8 — Game begins at 7:05 p.m.

This Monday marks the first of a five-game series this week between the Eugene Emeralds (46-19) and the Tri-City Dust Devils (29-36) at PK Park. After a record-setting streak of 15 consecutive wins on August 19, the Emeralds later fell to the Everett Aquasox, winning just one game in the series. This could be the teams comeback. Visit http://www.milb.com/ for more info.

 

Monday August 29: Eugene Composer’s Big Band at Roaring Rapids Pizza Co. (4006 Franklin Blvd.)

The seventeen-member musician ensemble, under the direction of Jessie Smith, is visiting Roaring Rapids Pizza Company. According to the band’s website, the traditional big-band arrangements will be bolstered with new works written by local composers. The free performance at the riverside pizzeria is bound to be a summer treat, a confluence of masterful jazz and impeccable views of the Willamette River. The show will begin at 6:30 p.m. Visit http://eugenecomposersbigband.weebly.com/ or call Roaring Rapids Pizza Company at (541) 988-9819 for more info.

 

August 29, 31: Events at the Eugene Public Library (100 W 10th Ave.) — 10 a.m. to 4 p.m.

This Monday, visit the downtown library for a Back-to-School Book Sale from 10 a.m. to 4 p.m., with a wide selection of educational materials, including books, CDs and DVDs, all on sale for $1 apiece. Then on Wednesday, visit the library for a free hands-on workshop “3D Print a Keychain” to learn the basic mechanics behind 3D printing and design through the Tinkercad software. A Eugene Public Library card and pre-registration are required. For more information on these events or to register for the workshop, call the library at (541) 682-5450 or visit www.eugene-or.gov/library.

 

Tuesday, August 30: Malala Yousafzai at Moda Center in Portland — Tickets start at $29 — 7:30 p.m.

“I was a girl in a land where rifles are fired in celebration of a son, while daughters are hidden away behind a curtain, their role in life simply to prepare food and give birth to children,” begins Yousafzai’s book I Am Malala. In Oct. 2012, then 15-year-old Yousafzai, was shot by the Taliban while traveling home from school in northern Pakistan. A long-time advocate on behalf of universal education, she’s since become an internationally renowned activist and was awarded the 2014 Nobel Peace Prize (its youngest-ever recipient). Yousafzai is visiting the Moda Center this Tuesday evening. Visit http://www.rosequarter.com/ for more information.

 

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Image: Winter is Coming, 2016, Graphite, color pencil, gouache, oil paint, aluminum, gold, and palladium on vellum, 24 x 19” photo credit: Marne Lucas

Friday, Sept. 2: Surface Glitch at White Box in Portland (24 NW 1st Ave.) — 5 p.m. t0 7 p.m.

This weekend, check out the UO’s extension building in Portland, where the White Box space will feature work from artist Bruce Conkle’s solo exhibition Surface Glitch. Conkle’s new body of work tackles visual motifs from natural phenomena such as hurricanes, glacial shifts and volcanic eruptions to illustrate our responses to environmental concerns. “In the present day existential threats are never far from the conscious mind and in the studio I am constantly trying to cope with the realities of present day,” writes Cronkle in a statement on the exhibition.  Surface Glitch will be on display from Sept. 1 through Oct. 15. Check out http://whitebox.uoregon.edu/ or call (503) 412-3689 for more information.

 

 

Sept. 4: Wilco visit Arlene Schnitzer Concert Hall in Portland (1111 SW Broadway) — Tickets start at $40 — Show starts at 7:30 p.m.

Last summer, Wilco unceremoniously dropped its ninth studio album,  Star Wars. The group, deemed “country music on acid” by UrbanDictionary, is releasing another glibly titled album Schmilco next month. Has the definitive dad-rock group going through a dad-joke phase? This will be Jeff Tweedy’s third show in the Portland area this summer, after two excellent solo acoustic sets at the Pickathon Music Festival in early August, and will doubtlessly be even better, given that master guitarist Nels Cline and company will back him up this time. Visit www.portland5.com for more info.

 

Sept. 5: Pretty Lights visit the Cuthbert Amphitheater — Tickets start at $40 — Gates open at 5:30 p.m.; Show starts at 7 p.m.

The timing here is perfect. Pretty Lights is coming to the Cuthbert just weeks ahead of fall term, which means there’s just enough time for freshmen to discover the electronic music producer Derek Vincent Smith, and feel the desire — the need — to share it with their new roomies. Soon after Pretty Lights’ Cuthbert visit this coming Sunday, the colorful, sample-heavy, proto-dubstep electronic jams will inevitably find its way into a dorm hall bacchanal. Visit www.cuthbert.com/ for more information.

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A few pointers for getting into Eugene’s music scene

Eugene doesn’t see as much live music as it should; a lot of major bands skip over our humble town, stopping in Portland and San Francisco but nowhere in between.

But scanning the local music listings to see what’s coming to bars and venues will only give you a cursory overview of what Eugene has to offer musically. Eugene has had a vibrant house show scene for as long as it’s had houses and bands, and the tradition remains strong today.

House shows are what they sound like: shows at any space where people live, whether that is someone’s basement or a co-op like the Campbell Club that regularly hosts events. There are even houses scattered around town that have turned themselves into miniature venues.

These shows are often free, generally wilder, boozier and more unhinged than your typical bar or venue show. Don’t look for any famous names, though: these are usually locals-only affairs, occasionally with a little-known touring band thrown in.

There’s a catch: house shows don’t usually promote themselves due to the fact that they’re generally in residential areas and likely to generate noise complaints. The more people who attend, the noisier the event, so house venues won’t exactly be calling up the local papers to buy some ad space.

But if you’ve been around enough and know the right people, it’s pretty easy to integrate yourself into the house show scene. Here are a few pointers on doing so.

  • Seek out local bands. Local bands, big and small, can generally be found playing at bars or opening for bigger bands at places like the WOW Hall or Hi-Fi Music Hall. University events like the Willamette Valley Music Festival and Campus Block Party are also great places for local bands to cut their teeth.
  • Follow those bands on Facebook. Bands generally promote their house shows. Be warned, though: Many house shows are small and exclusive, so don’t expect bands to tell you everything.
  • Get to know people in the music scene. If you want to catch every last house show in town and be one of those “five people” who bands bring to private parties, talk to the bands or people in the crowd. Where there are local bands, there are often booking agents, fellow musicians, venue owners and other insiders. Also, bars usually don’t have “backstages,” so bands will typically mingle with the crowd when they’re not packing up their gear.
  • Start a band! If you’ve got the ambition, it’s easy to make it in the Eugene scene, though you probably have to follow some of the prior steps to make enough connections to get gigs. You might be thinking: “But I don’t have the talent or training!” First off: talent doesn’t exist. Second: anything goes at house shows. If your band is just you and your friends squeaking straws through drink cup lids around a microphone, people will probably still dance.

Get to know a few of Eugene’s venues:

To know Eugene is to get fully acquainted with its myriad music venues. From the flagship concert halls to the downtown jazz lounge to the massive performing arts auditorium, there are plenty of destinations for vibrant nightlife, live music shows and the innumerable Pink Floyd/Led Zeppelin cover bands. Here’s a quick guide to some of the Emerald City’s music venues.

The W.O.W. Hall (291 West 8th Avenue)

A long-time staple of the Eugene community, the building known as the W.O.W. Hall was formerly a Woodmen of the World Lodge, which is how it acquired its namesake. In 1975, it was set to be sold and potentially demolished before community members intervened, organized a Community Center for the Performing Arts, a non-profit corporation, and organized a “WoWathon” to raise $10,000 in 13 days to purchase the institution. Today, the W.O.W. Hall books everyone between hip-hop acts like Freddie Gibbs, Aaron Carter and indie acts like Seattle’s surf-rockers La Luz and Portland’s Dandy Warhols.

Upcoming shows:

Face for Radio, The Blind Spots, The Shifts (folk/rock/ska/punk; August 27)

Del The Funky Homosapien (alt hip-hop/funk; September 16)

Laura Marling (folk; September 28)

Danny Brown (hip-hop; October 8)

Pigs on the Wing (Pink Floyd cover band; October 14)

Car Seat Headrest (lo-fi indie rock; November 17)

Aesop Rock (hip-hop; November 25)

Hi-Fi Music Hall (44 East 7th Avenue)

Before Hi-Fi opened in summer 2015, the building was a county-themed bar called “Rock’n Rodeo” and a string of other failed music venues, who’ve booked names like T-Pain, Waka Flocka Flame and Riff Raff, but still failed to remain open. Within the first few months of Hi-Fi’s opening, it’s had an impressive lineup with bands such as Cold War Kids, Blitzen Trapper and Mudhoney. This summer, Hi-Fi has been visited by Swedish pop group Miike Snow, Portland sweethearts The Thermals, and folk-punk act AJJ (fka Andrew Jackson Jihad).

Upcoming shows:

Thomas Mapfumo with Norma Fraser (Zimbabwean reggae/Chimurenga; August 27)

Joseph (acoustic folk; September 10)

Fruit Bats (indie rock; September 23)

Blitzen Trapper (Americana/rock; October 20)

Blind Pilot (indie pop; October 23)

Moon Hooch (jazz fusion; November 6)

The Cuthbert Amphitheater (2300 Leo Harris Parkway)

Located in Alton Baker Park near the Autzen Stadium, the Cuthbert is one of Eugene’s largest venues with a capacity of 5,000, most of which is a product of its lawn seating arrangement. Food booths and beer gardens outline the venue. Earlier this summer, national treasure “Weird Al” Yankovic graced the stage.

Upcoming shows:

Deftones (alt-metal; August 27)

Gov’t Mule (Southern rock; September 1)

Pretty Lights (electronica/dance; September 4)

Mad Decent Block Party: Dillion Francis, Evergreen, Tiesto, others (electro/house/post-punk/trance; September 9)

Life in Color “Kingdom”: Zomboy, Kayzo (electronic dance; October 7)

McDonald Theatre (1010 Willamette Street)

In 1925, the McDonald opened as a movie house. Owned and operated by the Kesey family, the venue is home to an eclectic array of acts on any given day of the week, including music, stand-up comedy (both Mike Birbiglia and Chris D’Elia have stopped by), film screenings (the Alexi Pappas-Jeremy Teicher vehicle Tracktown premiered there earlier this summer), a private wedding, male strippers and a high school prom.

Upcoming shows:

The Mavericks (Americana/country; September 8)

Get The Led Out (Led Zeppelin cover band; September 14)

Magic Men Live! (male stripping show; September 15)

Animal Collective (experimental pop/freak-folk; September 26)

Machine Gun Kelly (trap rap; October 1)

The Head And the Heart (indie folk; October 9)

The Boreal (450 West 3rd Avenue)

The Boreal, an all-ages, drug-and-alcohol-free venue, is a welcome alternative for the city’s youths, albeit admittedly a trek in relation to campus, as it’s located near the Washington-Jefferson Skatepark. The Boreal has an intimate, living room-sized set-up and feels like a house show more than any other destination in this list. The venue’s lineup emphasizes local punk, metal and hardcore acts, but has recently booked psych-rock acts like Snow White and VCR and indie-folk group Chastity Belt.

Upcoming shows:

PWR BTTM/Bellows/Lisa Prank (queer pop/pop punk; November 7)

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Things to do this week: Project Pabst, Hamlet, A Midsummer Night’s Dream, Thomas Mapfumo

Featured: MusicFest Northwest Presents Project Pabst this weekend in Portland, Aug. 26-28.

This weekend marks the first collaboration between Portland’s two biggest music festivals, Project Pabst and Musicfest Northwest, which are joining forces for an epic lineup as one entity, MFNW Presents Project Pabst. The two-day, two-stage festival takes place in Portland at the Tom McCall Waterfront Park.

Tickets are still available and are appropriately inexpensive for a cheap beer-themed festival. It’s 21+, if that doesn’t go without saying. Day passes are $55 for either Saturday (Duran Duran, Ice Cube, Nathaniel Rateliff & The Night Sweats, Strfkr) or Sunday (Tame Impala, Ween, Parquet Courts, Unknown Mortal Orchestra), or $90 for the whole weekend. Doors open at 12 p.m., shows begin at 1 p.m., and it’s all over by 10 p.m.

The lineup also includes A$AP mob alumnus A$AP Ferg, the rapper behind 2015’s excellent Trap Lord and 2016’s Always Strive and Prosper; six-piece Nashville-based act Diarrhea Planet that boasts four guitarists and an assaulting garage punk aesthetics and the endearing, vulnerable indie group Hop Along.

Party activist, motivational tweeter and punk-rocker Andrew W.K., who, among other feats, set the world record for drumming for 24 straight hours in 2013 and sporadically tweets out advice like, “PARTY TIP: Gently fold a dog’s ear in half and enjoy its velvety softness” or “PARTY TIP: Haters are just people who haven’t quite figured out partying,” will be present at the festival.

Several night shows, including ‘90s hip-hop act Digable Planets, comedian Todd Barry, airy folk act Real Estate, Peter Bjorn and John are making appearances at several venues around town throughout the weekend.

Monday, Aug. 22 through Wednesday, Aug. 24 — Eugene Emeralds v. Everett AquaSox at PK Park — Starts at 7:05 p.m. — Tickets are $8 – $14.

This week, catch the last three games in the series of Emeralds facing the Aquasox at PK Park. Monday is Good Karma Monday; fans can choose their ticket price, as fifty percent will go to the Children’s Miracle Network. Tuesday is Dog Day; fans can bring their dogs to the ballpark’s third base picnic area. Wednesday is Luau Night at the ballpark, as PK Park will “transform into a tropical paradise,” according to the Emerald’s website. Ukuleles and pig roast are not provided.

Wednesday, August 24 — The JSMA’s Art in the Attic 2016 at Oakway Heritage Courtyard — 11 a.m. to 6 p.m.

Find previously owned art and decor from homes around the community at this annual fundraiser. This event helps fund the Jordan Schnitzer Museum of Art’s Fill Up The Bus program, which finances transportation and tour scholarships for K-12 field trips to the JSMA. The fundraiser is organized by Friends of the JSMA.

Thursday, August 25 – Multi-author Launch Party and Reading at Tsunami Books (2585 Willamette St.) — 6:30 p.m. to 8:30 p.m. — Free.

Authors Valerie Ihsan, Anthony St. Clair, Tanya J. Peterson and Gina Ochsner will read from their latest releases at this event at Tsunami. Themes include a beer-based rivalry between homebrewers and a brewmaster (St. Clair’s “The Lotus and the Barley”), a stoic journey to Scotland after a cancer diagnosis (Ihsan’s “The Scent of Apple Tea”), a young boy piecing together stories of his rural Latvian hometown and its volatile past (Ochsner’s “The Hidden Letters of Velta B.”) and a commentary on how a family man’s mental health can disrupt his semblance of normality (Peterson’s “Twenty-Four Shadows”). 

Friday, August 26 – Bard on the Butte brings A Midsummer Night’s Dream to Skinner Butte (155 High St.) — 6 p.m. —Free.

This summer’s string of outdoor productions from the immortal Bard continues this weekend with Shakespeare’s flagship comedy A Midsummer Night’s Dream on Skinner Butte. The free shows, directed by Robert Newcomer, are every evening at 6 p.m., beginning on Aug. 25–28, and again Sept. 1–4.

Bard On The Butte’s A Midsummer Night’s Dream: Video Invite from Ben M. Jones on Vimeo.

Friday, August 26 – Hamlet at Cottage Theatre (700 Village Dr. in Cottage Grove) — 8 p.m. — Tickets are $20 for adults and $15 for youth

If Shakespeare’s dramatic works are more your speed, make a trip to Cottage Grove for Hamlet, directed by Tony Rust. This tragedy, a tale of internal struggle and revenge, features an ensemble of nuanced characters, potent dialogue and Prince Hamlet’s unimpeachable dilemma of life: “To be or not to be: that is the question.” The play is put on Aug. 12-28 at the Cottage Theatre with a 2:30 p.m. matinees on Sundays.

Saturday, August 27 – Thomas Mapfumo and the Blacks Unlimited at Hi-Fi Music Hall (44 East 7th Ave) — Tickets are $15 in advance; $18 on the day of the show. Doors open at 8 p.m. Shows starts at 9 p.m. 21+ only.

One of Zimbabwe’s most iconic musicians and activists, Thomas Mapfumo, provided a revolutionary soundtrack for the social unrest against the government and president Robert Mugabe. Mapfumo coined and pioneered the musical genre Chimurenga (a word that means “liberation” in a Shona language), characterized by its political dissent and rallying cry for social rights. He sought political asylum from Zimbabwe and Mugabe, and has lived in exile in Eugene ever since. Last year, he and his band the Blacks Unlimited put out the album Danger Zone. 

Sunday, August 28 – 2nd Annual Farmers Market Feast at the Lane County Farmers Market (8th Ave. & Park Alley) — 5 p.m. to 7 p.m. Tickets are $35; $10 for SNAP recipients.

A USDA report from last September reported that Oregon ranks third in the country for “food insecurity,” or the inability to afford adequate food rations during the year. This Sunday, the second-annual Farmers Market Feast will make an elaborate farm-to-table menu made from this season’s harvest. The banquet is a fundraiser for Double Up Food Bucks, a new program within SNAP to encourage purchasing fruits and vegetables.  Gates open at 4:30 p.m.

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