36 01 willamette week, november 11, 2009

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VOL 36/01 11.11.2009

WILLAMETTE WEEK PORTLAND’S NEWSWEEKLY

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WillametteWeek NOVEMBER 11, 2009 wweek.com

96087-WillametteWeekAWN-9.64x12.25-4C-11.12

CONTENT

RITES OF PASSAGE: Do Maine election results make it harder for Basic Rights Oregon’s Jeana Frazzini to win marriage rights for Oregon’s same-sex couples? Page 13.

NEWS

9

HEADOUT

29

LEAD STORY

19

MUSIC

31

CULTURE

24

SCREEN

47

DISH

27

CLASSIFIEDS

53

:WbS c^

STAFF EDITORIAL Managing News Editor Henry Stern Arts & Culture Editor Kelly Clarke Staff Writers Nigel Jaquiss, James Pitkin, Beth Slovic Copy Chief Kat Hyatt Copy Editors Matt Buckingham, Peggy Perdue, Sarah Smith Special Sections Editor Ben Waterhouse Screen Editor Aaron Mesh Music Editor Casey Jarman Assistant Music Editor Michael Mannheimer Editorial Interns Jenny Booth, Anvi Bui, Jonathan Crowl, Sasha Ingber, India Nicholas, Kate Williams CONTRIBUTORS Stage Ben Waterhouse Classical Brett Campbell Visual Arts Richard Speer

Erik Bader, Annie Bethancourt, Nathan Carson, Devan Cook, Shane Danaher, Robert Ham, Whitney Hawke, Lillian Hogan, Jay Horton, Matt Korfhage, AP Kryza, Nilina Mason-Campbell, John Minervini, Sara Moskovitz, Rebecca Raber, Travis Ritter, David Robinson, Jeff Rosenberg, Anika Sabin, Brandon Seifert, Matt Singer, Ethan Smith, Mark Stock PRODUCTION Art Director Ben Mollica Graphic Designers Soma Honkanen, Adam Krueger, Christie Wright Production Intern Thomas Martinez ADVERTISING Director of Advertising Jane Smith Advertising Production Manager Kendra Clune Display Account Executives Sara Backus, Maria Boyer, Meg McLaughlin, Kyle Owens, Andrew Shenker, Scott Stephens Classifieds Account Executives Michael Donhowe, Jennifer Lee Marketing and Promotions Coordinator Jess Sword Marketing and Promotions Intern Brittany McKeever

Our mission: Provide our audiences with an independent and irreverent understanding of how their worlds work so they can make a difference. Circulation: 80,000 (except during holidays and school vacations.) Though Willamette Week is free, please take just one copy. Anyone removing papers in bulk from our distribution points will be prosecuted, as they say, to the full extent of the law. Willamette Week is published weekly by City of Roses Newspaper Company 2220 NW Quimby St., Portland, OR 97210. Main line phone: (503) 243-2122 fax: (503) 243-1115 Classifieds phone: (503) 223-1500 fax: (503) 223-0388

DISTRIBUTION Circulation Director Robert Lehrkind

% $ A3 ;/@B7< :CB63@ 97<5 8@ 0:D2 # ! !! #'%! @7D3@17BG071G1:3A 1=; =>3< 3D3@G 2/G

WWEEK.COM Web Production Brian Panganiban, Rachel Wright MUSICFESTNW Executive Director Trevor Solomon OPERATIONS Accounting Manager Andrea Manning Credit & Collections Shawn Wolf Administrative Support Phillip Neiman, Ethan Smith Manager of Information Systems Brian Panganiban Associate Publisher Shawna McKeown Publisher Richard H. Meeker

Willamette Week welcomes freelance submissions. Send material to either News Editor or Arts Editor. Manuscripts will be returned if you include a self-addressed, stamped envelope. To be considered for calendar listings, notice of events must be received in writing by noon Wednesday, two weeks before publication. Send to Calendar Editor. Photographs should be clearly labeled and will be returned if accompanied by a selfaddressed, stamped envelope. Questions concerning circulation or subscription inquiries should be directed to Robert Lehrkind at Willamette Week. postmaster: Send all address changes to Willamette Week, 2220 NW Quimby St., Portland, OR 97210. Subscription rates: One year $90, six months $45. Back issues $5 for walk-ins, $8 for mailed requests when available. Willamette Week is mailed at third-class rates.

A collection of

vintage jewelry , estate engagement rings , artisan creations & other luscious treasures .

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Editor-in-Chief Mark Zusman

A.A.N.Association of ALTERNATIVE NEWSWEEKLIES This newspaper is published on recycled newsprint using soy-based ink.

WillametteWeek NOVEMBER 11, 2009 wweek.com

3

INBOX

Oregon Humanities Center

A GREAT PLACE TO LIVE (AND DIE)

ohc.uoregon.edu

That was a fine article on Portland and WW in the last 3 1/2 decades. It looks like you’ll soon be replacing The Oregonian as Portland’s priSOMA HONKANEN mary daily. I think Bud Clark and Sam Adams typify Portland’s quirky image—not dirty like Chicago, or wealthy like Manhattan, but funny like Disneyland. It occasionally wants to be taken seriously as a fashion-forward environmentalist’s utopia, or a place where real industry would come, but in the end, its Willamette is no better than Kucinich’s burning Cuyahoga, its infrastructure is crumbling, and its leaders are too busy chasing (underage) tail to care. Portland is now, a great weekend trip for a family from Seattle or San Francisco, a hip town for slackers looking to score meth and beg for money on the street corners, and probably the quintessential locale for upscale California retirees to move to, buy a dog and a condo, live for a few years, and then die. The truth is we have no real industries except for health care and hospice. When it’s time to pull the plug on Grannie, you want to do it here.

2009-10 Kritikos Professor in the Humanities Robert Darnton, Carl H. Pforzheimer University Professor and Director of the Harvard University Library

Digitize, Democratize: Google, Libraries, and the Future of Books Friday, November 13, 2009 5:30 p.m. UO in Portland White Stag Block 70 N.W. Couch St. This event is free and open to the public. Book sale and signing to follow. For more information, or for disability accommodations, please call (541) 346-3934.

Mark Kraschel, Portland Corrections: A story about Thalia Zepatos in last week’s paper incorrectly stated the result of Ballot Measure 8, a measure sponsored in 1988 by the Oregon Citizens Alliance. In fact, the measure passed. Last week’s story, “Giving Tree-bates,” gave an imprecise timeline for a city goal. Portland hopes to increase its tree canopy citywide from 26 percent to 33 percent, but not in “less than five years.” The goal is longer term. WW regrets the errors.

YEAR OF

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Train to become a Culinary Professional!

LETTERS TO THE EDITOR must include the author’s street address and phone number for verification. Letters must be 250 or fewer words.

WWeek.com Readers Speak on... “LAW OF AVERAGES”

“I know Skipper personally and can honestly say he’s the most honest and straight-forward elected official we have in the Metro area. I’m tired of insignificant muckrakers sitting in their messy WW cubicles taking pot shots at the few public officials who serve to help their community, and not their ego.” —“Muck” “This had to end badly. Obviously, Bob never watched Dirty Harry...if he had he would have learned “a man needs to know his limitations” applied directly to him. Bob leaves the same mess he inherited from Giusto. He did not have the cajones, the vision, the interest or the integrity to make the changes that were needed. Now it is left to his successor. His successor, Dan Staton, is complicit in his cover-up. So...he has to exit stage left as well. What a tragic mess. Bob Skipper and the Reign of Error will soon be over.”—“Katuba”

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WillametteWeek NOVEMBER 11, 2009 wweek.com

I was told 50 percent of all the income taxes in California were collected from only 140,000 people. Oregon is one-tenth of California’s size, so do only 14,000 people pay half of all our income tax? And can we squeeze even more cream from these cash cows? —Jerry M., Portland By all means, let’s use California as an exemplar of how a state should run its finances. I’m dying to be where they are. That said, as much as I hate millionaires (even thousandaires have been looking a bit smug to me lately), the truth is that the vast, echo-y udders of our cash cows are pretty well creamed out. Consider: Our top state income tax rate is roughly comparable to Cali’s 10.55 percent. But it’s not the rates that make the difference in how the two states apportion the tax burden, it’s the details. According to the LA Times, 48 percent of income taxes in California do indeed come from

just 140,000 tax returns. In Oregon, by contrast, the top 1 percent (approximately 18,000 returns) are paying about 25 percent of the income tax. Are the Golden State’s most golden citizens really that much richer than ours? In a word, no (though they’re probably betterlooking). California’s rich don’t pay more income tax than ours; its regular folks pay less. In Oregon, everyone making over $7,601 (a year!) goes into the 9 percent bracket, with higher rates starting at $125,000, unless voters overturn those higher rates in January. In California, the top bracket is reserved for those earning over $1 million—and families making under $45K pay nothing. Thus, Cali’s top earners pay a higher percentage of a proportionally smaller haul. Of course, California makes up the difference (theoretically, at least) with an 8.25 percent sales tax. You say tomato, I say tax lien; everybody pays one way or another. QUESTIONS? Send them to dr.know@wweek.com.

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NEWS TOM MARTINEZ

WW’S YEAR IN REVIEW

PUBLISHER’S REPORT

Q. Oh, come on now. Don’t suggest you haven’t felt the recession! A. We certainly have. Our revenue is down 16 percent this year. And we had to make a number of cost cuts, none more painfully than in personnel. We laid off or did not replace six full- and part-time employees. Staff took pay cuts of 8 percent in March. (We were able to maintain health-insurance coverage and 401(k) matches.) The paper’s owners (Editor Mark Zusman and me) took 25 percent reductions in pay. It hasn’t been fun. But everyone here has been patient and supportive in the face of the current economy. We’ve also benefited from a drop in the cost of newsprint. When this fiscal year ends, Willamette Week will have logged a small profit, and our paper in Santa Fe will have done a bit better.

Q. Why do you think readers have stuck with you when they’ve deserted other publications in town? A. Those of you who’ve read this column in past years know my rather simpleminded view: We do what we do for readers, listeners and viewers. They, in turn, attract advertisers by their numbers and demographics. And the advertisers make

time since the Great Depression. A copy of WW’s 2009 Give!Guide is inserted in this week’s paper. As for next year, we don’t expect the economy to pick up much until late spring or early summer. But we’re not going to sit still waiting for that to happen. A major reworking of our website is in order, along with an iPhone app produced by the same folks who did the Obama campaign’s. We plan to expand WW’s Finder. It’s MusicfestNW’s 10th anniversary, so we hope to let our ambitions for that event run wild. You’ll see more from the Retail Therapist and Dr. Know, as well as expanded food coverage. And, of course, we plan to continue, expand and refashion WW’s brand of journalism.

Q. Any final words? A. Yes. Thank you for another great year. For us, even at the ripe old age of 35, the newspaper business still looks and feels good, fun, productive and—we hope— helpful to the larger Portland community we seek to serve. Thank you for sticking with us: So long as we have you on our side, we’ll be fine.

PUBLISHER

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Q. What’s WW got in the works for 2010? A. First, let me tell you what is planned for the rest of 2009. This week we kick off our annual Give!Guide, a year-end appeal in which we all take special pride. Six years ago we began this effort to help raise money for local nonprofits that excel at delivering service but could use some extra support with fundraising. Last year, nearly 4,000 of you gave, in total, more than $800,000. It’s an extraordinary effort that underscores your great generosity and heartfelt concern for others. This year, despite an economy that remains terrible and continuing high unemployment, we hope you will continue your giving ways, as Portland’s needs are greater than at any

A SAMPLING OF WW STORIES IN 2009:

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WHY ADAMS CONFESSED The story behind why the mayor admitted to lying. wweek.com/editorial/3511/12113/ LEFT OUT Why are two virtually identical eighth-grade girls treated so differently by Portland Public Schools? wweek.com/editorial/3550/13233/ A MIGHTY WIND Oregonians want green energy at any price— and that’s what we’re getting. wweek.com/editorial/3518/12294/ CORNDOGGLE How did Oregon’s largest producer of “green� fuel fail so fast? wweek.com/editorial/3522/12412/

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Q. So how can you say you are OK? A. First, while we don’t find joy in others’ misfortune, our revenue losses have been much less than those of other major media in Portland, leaving us in relatively healthier shape and better able to capitalize on the new environment we all face. Second, we expect revenue to increase in 2010, beginning in the second quarter. Finally— and most important—you, our readers, have stuck with us. In fact, according to the most recent Media Audit, there are more of you—405,000 a month—picking up WW than ever before. Google Analytics reports another 182,000-plus of you viewing us each month at wweek.com. Perhaps most telling, Media Audit shows WW is now the leading source of news and culture writing for younger readers (18 to 34) in Portland, with three-quarters of you between the ages of 18 and 44.

Q. What distinguishes WW’s approach to the news business? A. Ours is a different scenario from that of other media companies, many of whom are driven more by dollar signs than a desire to break news. Back in the ’80s and ’90s, when business was good, the owners of daily newspapers yanked out boatloads of cash, without reinvesting or thinking about the future or—most important—the implications of emerging technologies. Worse, many of these papers were sold to larger conglomerates for huge multiples of earnings, resulting in debt obligations that cannot be satisfied even by healthy profits and cash flow. The current recession has exacerbated an already difficult situation—and has seriously damaged the staffing and quality of daily newspapers across the country, especially in large and medium-size markets. We’ve always tried to reinvest our small profits in this business. We have not used large bank loans in our newspaper acquisitions. We still have most of our editorial staff intact. And perhaps most important, while we speak to a large audience, we do not try to be your sole source of news and information. That is, rather than trying to cover every aspect of this community, we pick areas we think are important or are not being covered adequately by other media. In the current media landscape, our ability to marshal our resources to cover what we care about most gives us a huge advantage.

NEWS STREET CANVASSERS, BEWARE. CULTURE OFFICE SPACED. HEADOUT SOAPBOX QUEENS. WILLAMETTE WEEK PORTLAND’S NEWSWEEKLY

ART

“So—how’s the newspaper business?� Until about a year ago, that question was typically just small talk. Now, I hear it all the time. Those asking seem to be seeking reassurance: Are you OK? Are you going to make it? So here are the answers: Yes—and yes. And, thanks for your concern. We are celebrating 35 years and have no plans to slow down. As I remind you each year in this space, you are the secret to our durability and success. You give us energy. You provide us news tips. You attend our events. And, by patronizing our advertisers and sponsors, you sustain our sources of revenue. In short, you are our reason for being. So, in question-and-answer format, I’d like to answer the most obvious followups to the “How’s it going?� question.

it possible for us to continue to produce journalism. It’s a circular value proposition that still works well for us. Then there is the special sauce that is WW. For one thing, WW is free; therefore it is much easier for us to compete with the digital world for readers than, for example, the daily newspaper or a monthly magazine, which charges for copies. Even more important, every word in our paper is written, edited, designed and produced by us. A remarkable amount of energy and thought goes into practically everything we print or post online. Take a look at the box accompanying this column for a sampling of stories we published in the past year that you wouldn’t have found anywhere else.

ATTACK

TO OUR READERS:

THE YOUNG AND THE JOBLESS WW’s economic survey shows nothing divides Portland like its overeducated, underemployed newcomers. How are young creatives getting by? wweek.com/editorial/3543/13009/ PORTLAND PLAYHOUSE TRASHES EVERYTHING YOU KNOW ABOUT LOCAL THEATER. PLUS: 25 SHOWS WE’RE EXCITED FOR THIS FALL.

WWEEK.COM

VOL 35/41 08.19.2009

P. 19

BLOOD BROTHER He joined the gang when he was 13. Now he can’t get out. wweek.com/editorial/3515/12214/ TO CATCH A STONER One cop shop’s prostitution sting: phony ads on Craigslist of hot women offering sex for weed. wweek.com/editorial/3539/12906/

WillametteWeek NOVEMBER 11, 2009 wweek.com

7

WWEEK.COM: What Al Gore is doing next week in Oregon. NEWS: Physician-assisted suicide study breaks new ground. MURMURS: New developments in the GOP race for governor. COVER: Randy Leonard, Part I.

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KENTON: A contractor struck a 30-inch sewer main near the Expo Center Nov. 5, spilling 27,000 gallons of sewage and closing North Expo Road. Officials are investigating whether the spill, which they said reached no waterways, hurt wildlife.

INDUSTRY REPRESENTATIVES WILL BE IN-STORE TO SHOWCASE ALL NEW EQUIPMENT FOR 09/10

13 14 19

WOODLAND: A box left Nov. 6 for Mayor Chuck Blum at City Hall in Woodland, Wash., scared employees who feared it was a bomb. A bomb squad X-rayed and destroyed the box. Turns out it contained shit, probably in protest of a recent sewer rate increase.

AIRPORT WAY: Federal officials closed down part of Portland International Airport Nov. 6 when they discovered what looked like explosive material in a gun case at a screening station for checked baggage. Officials questioned and released the traveler after removing the material from the lobby.

LLOYD DISTRICT: The Pongo Fund Pet Food Bank opened Nov. 8 to those needing help to feed their animals. The nonprofit is open every second and fourth Sunday of the month from noon to 3 pm at 910 NE Martin Luther King Jr. Blvd.

USED GEAR CONSIGNMENT BEGINS:

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WillametteWeek NOVEMBER 11, 2009 wweek.com

PHOTO: JAY BEYER

Visit our website:

HOSFORD-ABERNETHY: Melinda Cobb says her 11-year-old son was exposed to inappropriate photos while at Hosford Middle School. She says her son saw another student looking up sexual pictures on Google and YouTube. The school says no online filtering system is 100 percent effective.

GOT A GOOD TIP? CALL 503.445.1542, OR EMAIL NEWSHOUND@WWEEK.COM

vivianjohnson.com

NEWS

why can’t ismail read? How portland public schools’ Response to A CRITICAL AUDIT affects one Somali student. By BE T H S LOV I C

bslovic@wweek.com

Portland Public Schools will get a visit in one week from state officials who will assess whether the district has sufficiently improved its teaching program for about 5,000 English-language learners. A February state audit of the program, which followed a 2008 federal discrimination complaint against the district, painted a damning picture of PPS. Among other things, it found the district in violation of the 1964 Civil Rights Act for failing both to ensure that all students had “meaningful” access to on-grade-level core courses and that their parents readily received information in their native languages (see “Painful Lesson,” WW, Feb. 11, 2009). A scene inside a low-income Southeast Portland apartment complex last Friday brought the consequences of PPS’s response to that audit into stark relief for one teenager. Ismail Abdikadir, wearing a Nike T-shirt and a sarong, sat on a couch on the fourth floor of Catholic Charities’ Kateri Park Apartments in the Creston-Kenilworth neighborhood. An 18-year-old senior at nearby Cleveland High School, Abdikadir is Somali Bantu. Clutching a paperback copy of H.G. Wells’ The War of the Worlds, he read haltingly, “No one would have believed in the last years of the nineteenth century that this world was being watched keenly and closely by intelligences greater than man’s and yet as mortal as his own.” Steve Levy, a volunteer tutor who works with Abdikadir at Cleveland, interrupted with a question: “What does ‘intelligences’ mean?”

TRYing to learn: Ismail Abdikadir outside Cleveland High School.

classes with native English speakers. Essentially that meant teachers were supposed to lead two classes at the same time—one for the general population and one with supplemental materials for immigrant and refugee students, all in the same period. Abdikadir, who hopes to be a Bollywood actor, took a deep Despite good intentions, the shift doesn’t represent breath. He looked as if he were gathering steam to answer. a marked improvement, some teachers say. Now instead But then his eyes moved from Levy and the book to the of getting special instruction that didn’t let students earn flickering TV screen in the living room of the four-bedroom enough credits to get their diplomas, immigrant students are apartment he shares with his older brother, sister-in-law, in credit-bearing core classes—but barely passing, if at all. younger brother and five nieces and nephews. “This is a tragedy,” says Elisabeth Gern, resident ser His eyes glazed over and he shrugged his shoulders. vices coordinator for Catholic Charities at Kateri Park. Only moments before he had insisted he understood the “They are forcing them to fail. I’m seeing children who 224-page book, which had been assigned to him by his were excited about school being overwhelmed.” English teacher. “I didn’t finish,” he admitted sheepishly. Abdikadir is no exception. Last year, he required assis“But my friend finished.” tance to read The Breadwinner, a novel written for middle About one out of every 10 PPS students is like Abdikadir— schoolers about an 11-year-old girl in Afghanistan. Just still learning English. In educational jargon, Abdikadir was a few months later, he would be in a senior-level English “pre-literate” rather than illiterate when he arrived in 2004 class, reading H.G. Wells’ classic account of a Martian and enrolled at Hosford Middle School. But like many dis- invasion of Earth. tricts, PPS assigns refugee students to grades by age, not edu- In addition to a course called “English reading,” cational attainment, which means Abdikadir Abdikadir last year was enrolled in “English FACT: The state is withholding writing,” “academic support,” a low-level started eighth grade instead of much lower. Beyond its findings that the district had $617,918 in federal funds from computer-based algebra class, instrumental the district until PPS complies violated the Civil Rights Act, the February with the February audit. music, integrated science and U.S. history. audit of PPS’s program for teaching students This year, Abdikadir is taking just one class like Abdikadir also found too many immigrant students specifically for English-language learners, he says. The were in the equivalent of educational silos. They were rest—economics, second-year algebra, senior-level Engenrolled in classes to improve their English but had little or lish—are the same classes taken by mainstream students. no access to classes beyond electives. Besides missing out Abdikadir is upbeat about the transition, which does on opportunities to learn what the general student popula- put him within reach of graduating, even if his reading tion was learning, immigrant and refugee students weren’t skills remain far below those of his peers. “First, I need to earning the credits they needed to graduate. finish college,” he says. “Second, I need to make a new life. In response to that finding, PPS started to shift Third, I want to be an actor.” high school students like Abdikadir from segregated Administrators are also optimistic about their overall English-language classes to classes open to all students. response to the audit. To prepare, the district offered three days of voluntary “I think they’ll find that we made progress,” says Xavier instruction to teachers so they could perform what’s Botana, chief academic officer for PPS. “I hope they’ll find called sheltered instruction for immigrant students in we’ve made significant progress.” WillametteWeek NOVEMBER 11, 2009 wweek.com

9

NEWS

ROGUE OF THE WEEK WASHINGTON CO. DA’S OFFICE

COURTS

SPIDER’S WEB

ABUSING A DOMESTIC VIOLENCE LAW.

AN ORIGINAL HOOVER GANGSTER FACES PRISON FOR A DENNY’S FREAKOUT. jpitkin@wweek.com

ADAM KRUEGER

When a film crew from the History Channel arrived last January to document the rise of gangs in Portland, it interviewed Ronald “Spider� Hamilton, one of the original gangsters who migrated here from Los Angeles in the 1990s. Hamilton appears throughout the Gangland episode that first aired April 19. After his history of gunning down rivals and trafficking in cocaine, the Southeast Portland man tells viewers he wants a different life for his kids. But he also claims he’s still a member of the Hoover Criminals, one of the city’s most violent gangs. “I’m still considered a Hoover, I just don’t gangbang anymore,� Hamilton tells the camera. “If I say I don’t want to be a HAMILTON: Under arrest (above) and on TV (below). Hoover no more, I can say that. But I’m not saying that.� Seven months after his moment in the spotlight, Hamilton now sits in the Multnomah County Detention Center, awaiting sentencing Nov. 17 after a jury convicted him of armed robbery in a bizarre episode at a Southeast Portland Denny’s last spring. During his arrest, Spider seemed disappointed by the fleeting nature of his fame. He was surprised when police failed to recognize him from TV. He also mentioned he’d been smoking a cigarette dipped in “sherm,� or liquid PCP. Hamilton, 41, faces a minimum of seven-plus years when Multnomah County Circuit Judge Edward Jones decides his fate next week. Hamilton’s attorney, Scott Raivio, did not reply to telephone and email messages seeking comment. According to court records, Hamilton arrived at the Denny’s on Southwest Stark Street at about 2:30 a.m. on June 16 in a tank top, boxers and bare feet. A surveillance camera because Hamilton hadn’t intended to pull a heist. The jury captured the scene, which was replayed at the trial Nov. 2-4. didn’t buy it, convicting Hamilton of first-degree robbery plus The tape shows Hamilton, 5 feet 9 and 220 two counts of harassment for the fight. pounds, walking into the video poker room at Hamilton’s rap sheet includes prior FACT: According to Gangland, the back of the restaurant and sitting at one of the Hoovers were one of the first felonies for identity theft, assault and felon the machines. Then he rises, approaches a man gangs in Portland after a group in possession of a firearm, plus assorted and woman sitting nearby, and starts raining from L.A. moved up I-5 and misdemeanors for resisting arrest, eluding punches on the man’s head. The man falls, then “straight into P-town� in 1987. police, giving false information, criminal Hamilton throws the woman to the ground. mischief and assault. But Judge Jones tells The couple flees and Hamilton walks into the restaurant car- WW that for a longtime gangster, Hamilton has a surprisingly rying a knife, demanding money from a waitress. He throws the clean record. cash register down, picks something off the floor and leaves. Hamilton told the History Channel he moved to Portland Police caught Hamilton about 10 minutes later driving a in 1993 after doing prison time in California for a gang-relatlate-model Cadillac sedan northbound on I-205. According ed shooting. He says he made easy money here selling cocaine to court records, an open lock-blade knife and two Denny’s but also enjoyed the peaceful atmosphere. gift cards—worthless because they hadn’t been validated by “I just fell in love with Portland, Oregon,� Hamilton says on the restaurant—lay on the seat beside him. Gangland. “It was just cool, you know? There was a lot of gangAt trial, Raivio argued the robbery charge shouldn’t stick ing and a lot of banging, but not really gangbanging.�

H I S T O R Y. C O M / G A N G L A N D

BY JA M E S P I T K I N

For twisting the intent of a law meant to protect victims of domestic violence, we’re naming the Washington County District Attorney’s Office this week’s Rogue. Here’s what happened. Yesenia Aguilar Gutierrez was driving home to Hillsboro in a Chevy Aveo on July 16. In the front passenger seat were her 15-year-old brother and 4-yearold niece Alondra. Aguilar, 18, took a turn too fast and struck a stop sign outside Cornelius. The passenger-side airbag deployed and struck Alondra, cutting and bruising the child’s cheek. The youngster, who was wearing a seat belt but was not in a child seat as required by law, was taken to the hospital and released the next day with no serious injuries. Police found no evidence alcohol was involved. They cited Aguilar with reckless endangering, a misdemeanor that carries a sentence of up to one year in jail, but the usual result for a first-time offender is probation only. OK so far. But Jason Weiner, a Washington County deputy district attorney, upped the charge to felony assault under a 1997 law that makes it a felony to commit domestic violence in front of a minor. A grand jury agreed, indicting the teenage girl on that charge and five others. Aguilar pleaded not guilty, and her trial is set for Feb. 17. She faces up to 30 days in jail and three years’ probation if convicted of the felony fourth-degree assault. Weiner’s reasoning behind the charge: The 15-year-old brother witnessed the alleged assault on Alondra. But Secretary of State Kate Brown, who wrote the law 12 years ago when she was a state senator, says it was meant to punish domestic violence and she’s “horrified� it’s being used in this case by Washington County. Weiner defends his position, saying he applied the law as written. We think he should listen to Brown and use domestic violence laws to punish wife beaters, not bad drivers.

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NEWS

HEALTH CARE & CIVIL RIGHTS

STUDY IN SADNESS

an organization whose mission is to offer “life-affirming care, hope and support to people at risk for assisted suicide,� says the study was skewed because it could “cherry-pick� participants to elicit a preferred response. “The researchers went to a pro-assisted-suicide group and asked them to refer families to this study,� she says. “Of course they’d get responses from people that support physicianassisted suicide.� Geller adds that family members in extreme grief lack the BY AN V I B U I abui@wweek.com ability to send back a volunteer survey, saying the research Family members of Oregonians who died with a physician’s “doesn’t even include the people who are too catatonic with grief assistance experience no worse feelings of grief than those at home to answer the phone or much less send back a survey.� whose loved ones died naturally, according to a new study. George Eighmey, executive director at the local CompasThe study, by researchers at OHSU and the Portland VA sion & Choices affiliate, counters, “Even if family members Medical Center, is the first effort to meawho ‘weren’t depressed’ answered the sure the impact of physician-assisted death FACT: In 1997, Oregon became the surveys, it would have also affected the on loved ones. And advocates of doctor- first state to let terminally ill patients comparison group, too.� their lives by taking a lethal assisted death say the study is significant end The study’s lead researcher, Dr. Linda prescription of drugs from a licensed because it shows family members experi- physician. About 400 Oregonians Ganzini acknowledges the response rate ence no greater risk of additional anguish have now died this way. Washington wasn’t as high as her research team wantfrom their loved one choosing to have a legalized the practice last year. ed. But she notes that collecting responses doctor hasten death. for this type of study is extremely difficult “Their families feel sadness but know of the approaching because of patient privacy regulations. death,� says Barbara Lee, president of Compassion & Choices. “The [Institutional Review Board] says we get one chance The study, published online this fall in the Journal of Pain to ask people to participate, and that’s it,� Ganzini says. “We and Symptom Management, was funded by the Greenwall took what we could get.� Foundation, which works with physicians and others who deal with “decision making at the bedside.� PERCENTAGE OF FAMILY MEMBERS WHO SUFFERED Researchers sent surveys to 180 people who had a family DEPRESSION OR REQUIRED MENTAL CARE member request physician-assisted death or asked for counseling by Compassion & Choices in 2007 or 2008. Out of 95 = results from physician-assisted death surveys returned, 36 came from family members of those who = results from natural death by cancer or ALS died by lethal prescription and 59 from family of those who died before they completed the process. DEVELOPED MAJOR DEPRESSIVE DISORDER For a comparison group, researchers queried 63 family members of patients who died naturally within the same time period from cancer or amyotrophic lateral sclerosis, better known as Lou Gehrig’s disease. Researchers chose cancer and ALS because they are the leading diagnoses of patients who request physician-assisted death. The study aimed to determine how a patient’s decision to die affected family caregivers and to measure “the severity of USED HOSPICE BEREAVEMENT SERVICES grief symptoms, use of mental services, and depression.� Fourteen months after a patient’s physician-assisted death, 11 percent of family members whose loved one died by physician assistance had a major depressive disorder, 15 percent used hospice bereavement services, and 38 percent got mental care. The numbers for each category in the comparison group of people whose loved one died naturally of cancer or ALS was slightly higher—14 percent had a major depressive disorder, SOUGHT MENTAL CARE 17 percent used hospice bereavement services, and 41 percent sought mental care. “In summary, pursuit of aid in dying does not have negative effects on surviving family members and may be associated with greater preparation and acceptance of death,� the study concludes. Eileen Geller, president of True Compassion Advocates,

DO FAMILY MEMBERS OF PATIENTS WHO DIE WITH A PHYSICIAN’S ASSISTANCE FEEL LESS GRIEF?

11 14 15 17

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WHAT ELECTIONS ELSEWHERE MIGHT MEAN FOR SAME-SEX MARRIAGE HERE. BY HEN RY ST ERN

hstern@wweek.com

Last week Maine joined Oregon as one of 31 states where residents have voted to ban same-sex marriage. That didn’t stop Basic Rights Oregon from starting its campaign to ask Oregon voters in 2012 to undo a ban on same-sex marriage. As launches go, BRO’s timing suffered from the Nov. 3 results 3,000 miles away. But BRO executive director Jeana Frazzini stressed results closer to home—Washington voters’ preservation the same day of domestic partnership rights for gay and lesbian couples. “I’m a half-glass-full kind of person,� Frazzini says. A general takeaway from the Maine and Washington results is that voters appear comfortable with domestic partnership but can’t get there yet with the words “gay marriage.� Maine’s same-sex marriage backers enjoyed a fundraising advantage and a seemingly tolerant electorate. (Maine voters OK’ed retail medical marijuna dispensaries.) Marriage rights advocate Evan Wolfson rejects the idea that “gay marriage� is a lexicographic barrier, contending instead that Maine shows “a small slice of people whose discomfort and ... fear can still be stoked.� Oregon voters banned same-sex marriage five years ago with 57 percent backing Measure 36. So what’s the chance of change in 2012? Portland pollster Tim Hibbitts says data show younger voters far more at ease with same-sex marriage. There’s no guarantee that generation will retain those views. But the similarity of Washington’s culturally liberal electorate to Oregon’s should cheer same-sex marriage supporters in Oregon, especially in a presidential year like 2012, when younger voters are more likely to turn out. The question is whether demographics will have changed enough by 2012 to undo Measure 36. The answer is uncertain. “This is incremental,� Hibbitts says. “In 10 to 20 years, it’s going to be a moot point. But I don’t think in three years it’s going to be a moot JEANA FRAZZINI point.�

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NEWS

YOU DON’T NEED 60 VOTES TO CONSIDER THIS COLUMN. City Commissioner Dan Saltzman has said he will announce in January whether he’ll run for a fourth term in 2010. But Murmurs has learned Saltzman has already hired Emerald Bogue to be his campaign manager. Bogue, who previously ran the campaign for Saltzman’s Children’s Investment Fund, has quit her current job as Mayor Sam Adams’ public advocate for the Bureau of Planning and Sustainability. She’ll supplement her campaign pay from SALTZMAN Saltzman by also running the 2010 re-election campaign of County Commissioner Jeff Cogen, Saltzman’s former chief of staff. In the wake of last week’s Republican gubernatorial victories in Virginia and New Jersey, Oregon GOP insiders are searching hard for an alternative to their current field for the party’s 2010 primary. Announced candidates include former state legislator John Lim and ex-Pixelworks CEO Allen Alley. Lim is lightly regarded; Alley may be too moderate for a primary and is politically inexperienced (as is another potential candidate—ex-Trail Blazer Chris Dudley). Thus, some Republicans are recruiting House Minority Leader Bruce Hanna (R-Roseburg), who owns a Coca-Cola distributorship. Hanna spokesman Nick Smith says his 49-year-old boss has been recruited, but right now “is committed to dismantling the Democratic HANNA majority in the House.” Nearly 1,000 Portland Public Schools teachers and supporters jammed the School Board meeting Monday night to protest working without a contract for 16 months. The school district and the Portland Association of Teachers union entered statesupervised mediation in August after more than a year of unsuccessful negotiating. The district wants teachers to agree to five furlough days and a cost-of-living increase only in the first year of a new two-year contract. Teachers, who worked without pay for 10 days in 2003, say that sacrifice is too great and note a handful of administrators this year got five-figure raises. Monday’s protest was the angriest School Board demonstration in at least three years. “I don’t know any rich teachers,” one teacher told the board. “How ’bout rich School Board members?” a teacher shouted from the audience. Portland Public Schools, in response to a recent WW story about the district’s efforts to get rid of old classroom supplies in a public surplus sale, is drafting new rules on how it discards materials teachers could use (see “A Screaming Deal,” WW, Oct. 28, 2009). Those rules are still in the works, and will probably include a mechanism for donating old items to Schoolhouse Supplies, a Portland nonprofit. The lawsuits continue to pile up over condo projects built by bankrupt general contractor Mike Purcell (see “Back from the Grave,” WW, Aug. 26, 2009). Developers of Belmont East at 838 SE 38th Ave. filed suit Oct. 30 in Multnomah County Circuit Court against Clyde Zahn and Clyde Kaneshiro, who handled finances for Purcell’s now-defunct company, Gray Purcell. The allegations in the new suit resemble those made by other developers, with Belmont East’s developers seeking $750,000 they claim Gray Purcell diverted from the project. The suit also alleges Gray Purcell failed to file tax returns or to prepare financial statements for three years prior to 2008. Zahn declined comment, and Kaneshiro and Purcell did not return calls. Read more Murmurs about The Oregonian. 14

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Keeping kids healthy Screen time is making our kids sick. They are sitting instead of moving, holding video game controllers instead of basketballs and being inundated with commercials for fast food. Childhood obesity is a serious problem in America – and excessive screen time doesn’t help. Our goals are to get kids away from TV and computer screens, improve access to recreation centers, and encourage kids to bike or walk to school. Obesity is a social and cultural issue with medical implications. Thanks to a CHP grant, we’ll have the chance to work with nutritionists, parents, teachers and pediatricians to help raise community awareness and provide healthy alternatives for our kids. — Laurie Trieger, LCHAY – Lane Coalition for Healthy Active Youth, Eugene

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So far, neither has materialized. Glanville’s record of 9-23 is the worst of any Vikings coach since Ron Stratten in 1974. Glanville hasn’t won more than four games BY JO N AT H A N C R OW L jcrowl@wweek.com in any season, and a loss this weekend would set a new watermark for losses in a While Oregon State savored its upset season under Glanville. last weekend of Cal and and Oregon got Solving his team’s problems is harder upset by Stanford, Portland State endured than it sounds, explains the 68-year-old another lopsided loss in its final home Glanville. “When you’re putting your finger in one game of 2009. Unlike with its fellow in-state football hole,” he says, “then you’re opening someprograms, there was no upset to be found thing else up, usually.” Quarterback Connor Kavanaugh, a in PSU’s 28-10 loss to Montana State— sophomore who relieved starter Drew unless you talked to people in the stands. “We used to have a good offense,” said fan Hubel after a shoulder injury in the first Helen Brown. “And now we can’t score jack.” half against Montana State, seems to think Jerry Glanville is in his third year as PSU’s problems aren’t rooted on the field. coach at PSU. And the Vikings are 2-8 “You’re going to be surprised when I say this, but I think we need heading into the season finale to start off the field,” says Nov. 14 at Idaho State. FACT: Glanville is in the PSU hired Glanville, a for- third year of a four-year Kavanaugh. “I think it’s in the that pays little things...like players takmer NFL coach and TV analyst contract $175,000 a year before known for his homespun quips, pay cuts at PSU reduced ing pride, wearing PSU shorts to practice.” in February 2007. He replaced that to $167,475. The crowds, meanwhile, have Tim Walsh, who went 90-68 in 14 seasons before leaving to become shrunk. Saturday’s announced attendance Army’s offensive coordinator. When Glan- of 5,690 was well above the actual number ville arrived at PSU after a stint as Hawaii’s who came despite torrential rain. (Average defensive coordinator, he promised two attendance has fallen about 16 percent since 2006 to 6,082 for football games at PSU, an things: wins and increased attendance.

MOUNTING LOSSES: PSU football coach Jerry Glanville on the sidelines Saturday during another defeat.

athletic program without the larger donor base of Oregon and OSU). That attendance trend reflects in part the team’s lackluster performances, including an offense that’s scoring fewer points this year after the departure of storied coordinator Mouse Davis. Glanville is quick to point out the Vikings have struggled due to bad luck and inexperience this season. Injuries such as Hubel’s have hampered their performance, Glanville says, and the team is young and learning as it goes. Sixty-four players on the roster are freshmen or sophomores.

“Coaches should get four years to get their own players in the system,” says fan Roy Ellis. “Anything less, and you’re not giving them a fair chance.” Whether Glanville keeps his job after this season is up to PSU athletic director Torre Chisholm, who didn’t return a phone call seeking comment. Glanville recognizes the disappointment of this season, but says he’s not the type to lie down and admit defeat. “You can either hang on, or you can push on,” he says. “And I’m going to push on.”

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GOSSIP SHOULD HAVE NO FRIENDS 18

WillametteWeek NOVEMBER 11, 2009 wweek.com

chrisr y anpho t o . com

Randyland With The Mayor Sidelined, Leonard Takes Over. By nig e l jaq ui ss

njaquiss@wweek.com

In the past four months, City Commissioner Randy Leonard has remade himself. Leonard has whittled his physique down to muscle and bone. By running and hitting the weight room at 24-Hour Fitness near City Hall, he’s dropped 35 pounds. “I used to bench 225 in my heyday, and now I work out with 135,” Leonard says. “I do a lot of reps, do 60-pound military press, do 25-pound dumbbell and then dips.” Today, Leonard’s jeans fit loosely. His half-moon face, shorn of the fireman’s mustache he wore for years, is gaunt. Leonard says there is no specific reason for his new health kick. “I just wanted to feel better,” he says. But the makeover comes at a time of great stress. Professionally, Leonard, 57, is the most dominant elected official in Portland. He runs the Fire and Water bureaus and the Bureau of Development Services, which puts him in charge of many core city functions. More than that, he is the City Council’s go-to guy, filling the vacuum created when a sex scandal engulfed Mayor Sam Adams last January. “Leonard sets the agenda,” says Pacific University political science professor Jim Moore. “You’d have to go back decades to find examples of somebody who’s exercising power the way he is now.” Former Mayor Vera Katz, now a City Hall lobbyist, agrees. “Randy plays a major role in nearly every issue, and many times views himself as the mayor,” Katz says. But Leonard is also dealing with challenges that would unravel most pols. His personal life is in shambles. He recently faced a criminal investigation from the Multnomah County District Attorney’s Office. And although he has long deflected allegations of cronyism and self-dealing, critics say power is turning him into a not-so-benevolent dictator. “Leonard has tremendous power, and he uses it in ways that are arbitrary and capricious,” says Chris O’Connor, a public defender who has clashed with Leonard over the tactics a Leonard-led team used to target repeat offenders. Leonard says the notion he has great power is “a myth.” In the evenings these days, instead of heading home, he often hits the gym and runs alone along the Willamette in the dark, crossing the Steel Bridge to the Eastbank Esplanade, and back across the Hawthorne Bridge. The run offers a magnificent view of the city he increasingly controls, and temporary refuge from those challenges he cannot. “I find it very peaceful,” Leonard says. cont. on page 20

Charles Randall Leonard One of five city commissioners, each of whom is elected citywide and assigned bureaus by the mayor. First elected in 2002, defeating Serena Cruz and Nick Fish to replace Charlie Hales. Current bureau assignments: Development Services, Fire, Water. Born: Aug. 28, 1952, in Portland.

power lifting: Randy Leonard has built his muscle at City Hall.

Attended Grant High (class of 1970). Briefly served in the Marines but suffered boot camp injury and came home. Graduated from Portland State University in 1975. Joined the Portland Fire Bureau 1978. Portland Firefighters Association Local 43 president 1986-1998. Appointed state senator 1993. Elected state representative 1999.

Four children: Kara, Kyle, Nicole and Ryan Favorite book: Cold Mountain by Charles Frazier. History buff Leonard says the Civil War novel has special resonance for him: “My great-great grandfather William G. Leonard fought for the North from Illinois and was captured and imprisoned by Confederate troops in Kentucky.”

WillametteWeek NOVEMBER 11, 2009 wweek.com

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cont.

Randy Leonard is a man of action. But toward the end of the summer, he found himself paralyzed. “I had a lot of vacation to use up, and I couldn’t go away and I couldn’t work,” Leonard says. “All I could do is sit there.” That’s because Leonard’s family life has come to echo a sad country-western song. For much of the past year, his oldest child, Kara Leonard, 30, was wanted on criminal charges in both Oregon and Washington. Kara’s crimes were relatively minor. In 2006, police arrested her for trying to obtain Vicodin with a forged prescription at two Clark County pharmacies. She subsequently missed a series of court dates, leading to a warrant being issued for her arrest. In Portland, she was arrested for shoplifting at Macy’s last year and again failed to show up for court. Until now, Leonard has not talked to the press about his daughter’s legal troubles. “The sooner she got taken into custody, the better,” Leonard says. “The one thing I wouldn’t do is ask the Police Bureau to arrest her, and I could have, because her mom and I both knew that the best place for her to be with her addictions and her associations is in jail.” In a letter she wrote last year to a Clark County judge, Kara Leonard explained that she’d “been an addict for 12 years” and was then in a residential treatment program, which was the only thing keeping her alive. She’d previously left treatment for a court date and used drugs, she wrote. Leonard’s daughter’s travails are not the only family issue weighing on his mind. His second marriage broke up a couple of months ago. He says he and his wife, Julie, whom he met when he was a firefighter and she worked in the city office dealing with police and firefighter pensions, are preparing to file for divorce after 12 years. “I work too much and stay up too late doing my work,” Leonard says. “That’s what cost me my marriage.” While Julie Leonard remained in the couple’s 3,900-square-foot Mount Scott home, Leonard spent the past couple of months living above his chief of staff’s garage in Southeast Portland. And last week, Leonard had to give his beloved 11-yearold German shepherd-boxer cross, Rosey, to his first wife because, being newly single and gone all day and many evenings, he could no longer take care of her. “I wouldn’t wish what I’ve been going through on my worst enemy,” says Leonard. “I’ve been humbled.” As a politician, Leonard has a lot to be proud of. He is energetic, decisive and far more candid than most elected officials. In a City Hall where property developers usually get what they want, he has rejected tax abatements for condo towers and pushed back—hard—when the business lobby complained about taxes. He’s passed a ballot measure that reined in the cityowned Portland Development Commission, shaken up

c h r i s r ya n p h o t o . c o m

RandyLand

on the beat: Leonard lost a bid to command the Police Bureau a year ago, but his HIT team includes police presence.

been elected to council, The Oregonian unearthed records revealing alcohol abuse and allegations of domestic violence from Leonard’s first marriage, which ended in the mid-’80s. (Leonard denies ever hitting his wife or any other woman, and no longer drinks.) More recently, WW has learned of an accusation that he steered business to his brother when Leonard worked for the Fire Bureau. Leonard retired from the Fire Bureau in 2002 to run for a council seat vacated by Commissioner Charlie Hales. The Fire Bureau is one of the city’s most cohesive tribes—thanks in no small part to Leonard’s leadership of the Portland Firefighters Association Local 43, from 1986 to 1998. It was at the union that he honed his political skills, working doggedly to improve firefighters’ compensation. And while the police may generate more headlines, it is Portland’s 755 firefighters whose endorsement and manpower politicians most covet at election time. “The public’s perception is that firefighters are heroes,” says political consultant Liz Kaufman. “When Randy ran the union, they’d not only make lawn signs [for candidates the union supported], they’d put them up for you,” adds Kaufman, who worked on Leonard’s 2002 campaign. Mementos from his firefighting days fill Leonard’s City Hall office. Most prominent is a ceremonial ax hanging on his wall, dedicated to “Brother Leonard.” But in July of this year, Chuck Hegele, who owns American Sprinklers Inc. in Portland, lodged a complaint about Leonard’s tenure in the Fire Bureau. Although Hegele’s allegations concern the period between 1982 and 1985, the Multnomah County District

“Randy plays a major role in nearly every issue and many times views himself as the mayor.” —Former mayor vera Katz

Amy Ouellette

stodgy bureaus and even delivered some pork to his beloved alma mater, Portland State University, by persuading colleagues to move the city archives from North Portland into the lower level of a brand new PSU student center. But amid such accomplishments, there have also been warning signals from Leonard’s Vera Katz past. In 2005, after he’d twice 20

WillametteWeek NOVEMBER 11, 2009 wweek.com

Attorney’s Office took them seriously enough to assign its chief criminal investigator to the case. Leonard joined the Fire Bureau in 1978. In 1982, he transferred to the Fire Marshal’s Office, which is responsible for ensuring buildings have appropriate safety features, such as sprinkler systems. Leonard worked in the Fire Marshal’s Office until 1985, and then left to become fire union president. Hegele told investigators that while Leonard worked in the Fire Marshal’s Office, Hegele noticed one of his competitors getting a disproportionate share of Portland’s sprinkler business. That competitor? Leonard’s older brother, Rick. Although Rick Leonard had worked for a sprinkler

company prior to 1982, he conceded to an investigator that he created his own company “in ’81-’82” and abandoned it three years later, mirroring the period of time his brother was a fire marshal. In a July 2009 interview, Hegele told the D.A.’s investigator that he confronted Rick Leonard during those days. “And he was bragging about how his brother [Randy] was pumping him work through the fire department,” Hegele said, describing a scheme in which fire marshal staff would hand out Rick Leonard’s business card after issuing citations. In August of this year, the D.A.’s investigator interviewed Leonard and his brother, both of whom adamantly denied any wrongdoing. On Aug. 27, the D.A’s office closed the case, having found “no evidence of criminal or unethical conduct,” according to a summary written by Deputy D.A. Don Rees. Investigators did not interview anybody other than Hegele and the Leonards. Nor did they explore any correlation between citations written when Randy Leonard served in the Fire Marshal’s Office and the sprinkler permits Rick Leonard received during that time. The investigation into Hegele’s claims seemed cursory, although as Rees pointed out in his report, the allegations concerned activity from more than 25 years ago, well beyond the statute of limitations for official misconduct. Randy Leonard says the investigation was a total waste of time. He adds he was unaware his tenure in the Fire Marshal’s Office coincided with the years his brother ran his own sprinkler company. “I wouldn’t have known that if you had not told me,” he told WW. The investigation included one other noteworthy aspect. Fire Marshal John Nohr and investigator Greg Wong interviewed Hegele on July 2. They taped the interview and gave a transcript to the D.A.’s office. But first, they gave Leonard a copy before he was interviewed. That’s unusual. “It is generally inadvisable to provide witness statements to the subject of a criminal investigation prior to the case being reviewed by law enforcement,” Deputy D.A. Rees noted in his final report. Though investigators found no evidence Randy Leonard did anything wrong, the commissioner has certainly used public resources to take care of his own over the years. An unusual number of people with personal connections to Leonard are, or were, on the city payroll. One of the first people to join his staff when he took office in 2002 was Stacy Chamberlain, daughter of Oregon cont. on page 22

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sign of the times: Cindy’s Adult Bookstore met Leonard’s HIT team. Now all that’s left at Northwest 3rd and Burnside is this sign.

AFL-CIO boss Tom Chamberlain, Leonard’s close friend and successor as fire union president. The next year, Leonard hired Jimmy Brown, whom he’d known since kindergarten, to head the Office of Neighborhood Involvement. Tom Chamberlain’s son Joe was until recently a code compliance officer in Leonard’s Bureau of Development Services. Leonard’s own son Ryan works as a 911 operator in the Bureau of Emergency Communications. There were others as well—so many, in fact, that thenAuditor Gary Blackmer produced a report in 2007 critical of city hiring practices that was a thinly veiled shot at Leonard. The audit described loopholes bureaus use to skirt civil service and competitive hiring practices—which are designed to “separate the recruitment and advancement of employees from political patronage and favoritism.” Two of the top three offenders were bureaus of Leonard’s. Leonard notes that while job candidates may have connections to him, he rarely makes hires himself. He also argues their connections to him might even have hurt their prospects. He calls questions about wheth-

so that I could ask questions knowing I was going to get straight answers.” As an east Portland lawmaker in Salem from 1993 until 2002, Leonard worked hard for organized labor and also displayed a skill at working the public treasury for his benefit. In 1997, he amended a bill to allow members of the Portland Fire and Police Disability and Retirement system who served in the Legislature to earn pension credit from the city system rather than the state Public Employee Retirement System while serving as lawmakers. The difference was substantial, because public safety officers get paid far more than lawmakers and remaining in the city pension system would allow them to retire earlier. A June 1997 memo from City of Portland lobbyist Jackie Bloom shows Leonard did not consult city officials about the change and noted the city’s “opposing the amendment on both fiscal and policy grounds.” The memo added that the amendment was worth “at least $100,000 and closer to $200,000” to Leonard personally. Leonard’s amendment benefited just two people—him

While such criticism might trouble a less confident politician, Leonard is sometimes wrong but never in doubt. Part of the reason people don’t dwell on his ethical issues is that he’s forceful, funny and a master at channeling the frustrations of the average Portlander. In addition to prodding the Water Bureau and Bureau of Development Services to improve customer service (which surveys say they have done), Leonard banned the use of duct tape to reserve parade-viewing spots, dealt with graffiti by forcing store owners to keep spray paint behind the counter, built a public restroom in Old Town to reduce public urination and thumbed his nose at Big Oil by investing a prodigious amount of city money on Oregonbrewed biodiesel. Earlier in Leonard’s City Hall tenure, strong personalities such as Katz and now-former Commissioner Erik Sten kept him partially in check. Now Adams is politically neutered, and new Commissioners Nick Fish and Amanda Fritz haven’t stepped in to fill the void. Only veteran Commissioner Dan Saltzman dares tangle with Leonard, albeit ineffectually. Katz says Leonard long ago figured out how to amass great power without seeking the city’s top office. “I asked him a couple of years ago if he would be willing to run for mayor. And he said, ‘I don’t have to,’” Katz recalls. There is no better example of the way Leonard wields power than his creation of the Housing Interdiction Team. The effort grew out of a police officer’s concern in 2003 about a bad landlord in Northwest Portland. Leonard convened code enforcement specialists from the Police and Fire bureaus and the Bureau of Development Services. They forced the landlord to sell his property. After that success, Leonard expanded the team’s scope. Working from anecdotal evidence and complaints, HIT team members began suggesting other properties. “They identify new targets all the time,” Leonard says. The HIT team’s freewheeling culture couldn’t be more different from that of the process-driven Bureau of Development Services. So far, Leonard says, the team has targeted eight or nine properties. Three were squalid single-occupancy hotels in Old Town. The city bought out the owner of the largest of the three, the Grove Hotel. Then the team went after Cindy’s Adult Bookstore, also in Old Town. The city shut it down and it was razed. Next came the Greek Cusina, forced into foreclosure by HIT team liens, and a single

“Folks associated with me are the most personal reflection of me possible.” —randy leonard er such hires constitute cronyism “disingenuous.” “I grew up here,” Leonard says. “The folks who are associated with me are the most personal reflection of me possible. Would I actually place my future in the hands of somebody whose only qualification is being my friend?” Leonard’s political decisions also often turn on personal relationships. In 2006, for instance, Trail Blazers owner Paul Allen, who put a quarter-billion dollars of his own money into the Rose Garden, asked City Hall for financial assistance. Leonard, who had no ties to Allen, panned the request. But last year, when Portland Beavers and Timbers owner Merritt Paulson, whose investment in Portland is far smaller than Allen’s, sought to bring Major League Soccer to Portland, Leonard championed a far greater city subsidy for Paulson than the one Allen requested earlier. The difference is Leonard’s friendship with lobbyist Greg Peden, who represents Paulson. Leonard says he got to know Peden in Salem in the ’90s, when Peden worked for then-Gov. John Kitzhaber and Leonard served in the Legislature. Peden later became the City Hall lobbyist for the Portland Business Alliance. Without Leonard’s loyalty to Peden, it is unclear whether MLS would ever have gained traction in City Hall. “Greg has always been and remains a very straightforward and honest guy,” Leonard says. “It was very helpful for Merritt’s cause that he first had Greg meet with me 22

WillametteWeek NOVEMBER 11, 2009 wweek.com

and then-Portland police detective and state Sen. John Minnis—and would not benefit any future lawmakers in the same position. “I thought then and still think it was a fair approach,” Leonard says. Leonard also takes full advantage of Oregon’s lax campaign finance laws. As a city commissioner, Leonard is well-compensated, earning a salary of $96,000 in addition to his fire pension of about $50,000. When he finally retires from City Hall, he’ll be allowed to draw another pension from PERS. Despite his overall compensation in the mid-six figures and a city expense allowance, Leonard has, so far in 2009, spent $6,800 from his campaign fund, more than the mayor and three other city commissioners combined. He regularly charges parking and phone bills—including a recent $590 personal cell-phone bill—to his campaign fund, even though the city provides him a cell phone and an expense account. Leonard defends the expenditures. “What I’m doing is appropriate,” he says. “These are privately donated dollars, and I’m using them as allowed by the law.” Janice Thompson of the watchdog group Common Cause Oregon agrees the expenditures are legal. She questions, however, whether they are appropriate. Such expenditures, she says, “aggravate the public’s troublingly low perception of government officials.”

east-side target, an after-hours club called the Mansion, which has since been demolished. Leonard says it’s difficult to define what exactly qualifies a property as a HIT target. “It’s like Justice Potter Stewart said about pornography,” Leonard says. “I can’t define it, but I know it when I see it.” Leonard says he personally inspects each target property. “I make [the HIT team] call me, and I go through the building,” he says. The combination of enforcement authority from three bureaus with different enforcement mechanisms gives the HIT team a potent arsenal. “When you combine all three, you could find just about anything,” Leonard concedes. The HIT team operated for a long time without any council oversight—not until February 2009 did Leonard’s colleagues even vote on a resolution acknowledging the HIT team. Leonard’s HIT team purposely operates without a specific methodology for identifying targets. He argues that freedom is essential. “The moment you have specific criteria will be the first time we lose the power of the team,” Leonard says. But observers increasingly worry that he wields too much power—and is accountable to nobody. Next week: How Leonard exercises his power.

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Conversations with Nature The 16th Annual Sitka Art Invitational Exhibit & Sale - November 14 & 15

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Events are free unless otherwise noted. Parking is free after 7 p.m. and all day on weekends. November 11-13 Templeton Campus Center

RAY WARREN MULTICULTURAL SYMPOSIUM

Mixed: The Politics of Hybrid Identities Join three days of lectures, readings, and panel discussions on issues surrounding race, ethnicity, and pop culture. For a full schedule, visit go.lclark.edu/warrensymp.

November 13-15 Agnes Flanagan Chapel

FESTIVAL

November 13 7 p.m. Evans Music Center

CONCERT

November 19 8 p.m. Evans Music Center

CONCERT

December 1 3:30 p.m. Miller Center for the Humanities, Room 105

ADDRESS

Northwest Indian Storytellers’ Festival Celebrate the rich tribal storytelling tradition of the Pacific Northwest by hearing and learning from some of the region’s premier storytellers. Registration is $25. For details, visit graduate.lclark.edu/events.

New Music On Fire Hear Friends of Rain, Lewis & Clark’s faculty new music ensemble, perform six works of exceptional energy, drama, and intensity. A suggested donation of $10 at the door.

An Evening of Percussion Hear an evening of folk music, including traditional ensemble works for Mexican band and a steel band composition on mallet instruments.

The Scaffold in the Marketplace: Johnson, Hawthorne, and the Romance of Authorship Helen Deutsch, professor of English at UCLA, will discuss Samuel Johnson, Nathaniel Hawthorne, and each author’s relation to (and anxieties about) the literary marketplace.

The Intersection of Art and Ecology, a panel discussion Nov. 14, 4:00-5:00 Opening Night Artist Party Friday, Nov. 13 from 6:30–10:00 Tickets ($85) available at www.sitkacenter.org

Join us at Lewis & Clark

December 4 and 5 7:30 p.m. and 10 p.m.

page 27 LAURA ROSS-PAUL

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PERFORMANCE

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23

CULTURE: Get ready for the lady scrum. 25 HOTSEAT: Matching “peopleless homes with homeless people.” 26 DISH: Beer, chocolate and food fests. 27 ONLINE: Free music and live Blazer rundowns at wweek.com.

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SCOOP

NEW SHOWS, SAD SONGS AND LONG GOODBYES. SHOW BUSINESS: Members of Third Rail Rep and Lewis & Clark College prof Stepan Simek are seeking investors to bankroll a for-profit production of Mamet’s Speed the Plow to be staged in 2011. The show will feature Tim True, Michael O’Connell and Brittany Burch under Simek’s direction. O’Connell’s undaunted by Portland’s historical lack of investment-based theater: “The great thing about Portland is, if you’re creative and tenacious you can put up a show if you want,” he says. CURSED NO MORE? Construction appears to be nearly complete at Pizzicato owner Marc Frankel’s new venture, Lovejoy Baking, on the Pearl District corner where Nina’s Place, Graze and Leonardo’s on Lovejoy all withered and died. We hope this one fares better. FRESH ROAST: Adam McGovern, owner of the lauded Coffeehouse NW, has been in the market for a second space for about a year now, and he’s finally decided on a little cart no bigger than the area in which he currently works on West Burnside. McGovern, along with business partner Aric Miller, will open Sterling Coffee Roasters at 2120 NW Glisan St., where he will roast coffee beans and prepare drinks to order, all the while telling patrons everything they never wanted to know about where their coffee comes from. According to McGovern, it will finally give him the chance to be “creative.” Look for it next to Trader Joe’s in December. MR. WEI GOES TO WASHINGTON: Portlander Jonathan Wei’s The Telling Project, a nonprofit that creates theater pieces based on the stories of veterans and performed by the veterans themselves, will appear at the national Veterans Day celebration in Washington, D.C.—on the same stage as Michelle Obama and Jill Biden. SAD SONGS: Last Wednesday, cyclist and musician Kipp Crawford was killed when he was struck by two cars in North Portland. Crawford, 31, was the drummer for Americana/ rock band Celilo and also played with the electro-jazz outfit the Fractal Quintet and his own group, Thanks Kipp. Celilo frontman Sloan Martin says the group’s scheduled show on Nov. 21 at Mississippi Studios will go on, and that a tribute to Crawford is forthcoming. >> This week also brings news of the death of local DJ Michael Marantic, whose School of Rock and Rock ’n’ Roll Bingo nights at such clubs as Slabtown, Tube, Momo’s, Matador and Ella St. Social Club meshed a love of pop and rock music with trivia geekery for most of the past decade. Marantic, who also worked as development director at local nonprofit KIPP CRAWFORD Youth Progress Association, died Sunday, Nov. 1, of complications from pneumonia. He was 49. “He was a treasure trove of 20th-century music,” says friend and former coworker Mark Newman, who organized a memorial at Basta’s last Sunday. “He educated all of us.” MICHAEL MARANTIC

CULTURE HALEY RHOADES

TOUGH CROWD

SCRUM OF THE EARTH: Oregon Rugby Sports Union tussles with the Twin Cities Amazons in a pro rugby game.

ODDS ARE, ANY ONE OF THESE WOMEN COULD KICK YOUR ASS. BY JO N AT H A N C R OWL

jcrowl@wweek.com

Tucked behind a grove of trees along Interstate 205, Fuller’s Farm is little more than a football field, a grandstand a few rows deep and a gravel parking lot. The setting would be a beautiful one for preteen boys playing Pop Warner football. But for 40 adult women playing semiprofessional rugby for Oregon Rugby Sports Union, it’s pretty bare-bones. And the result this fall day against the Twin Cities Amazons is no brighter than the setting. The team loses 25-3 to take its record to 0-4 after going down one player because of penalty cards midway through the game. The game ends, and 25-year-old forward Tonya Ansel heads onto the field with team chiropractor Randy Leavitt riding piggyback on her. That wouldn’t be notable, except Ansel is out for the season with a right ACL tear suffered against the Emerald City Mudhens. Tough women are not in short supply here. The Oregon Rugby Sports Union consists of two men’s and two women’s teams. The team playing this game in October is the top ORSU women’s squad and is in its first season with the eight-team USA Rugby’s Women’s Premier League. The league plays at the highest level below the women’s national team, which competes against other countries’’s squads. ORSU lost again to the Amazons and the D.C. Furies in the WPL playoffs Nov. 8 in San Francisco. Last year, the team played in Division 1, a 22-team league with entries from cities such as Chicago and Seattle. Its record was seven wins and one loss.

“She’s freaking out because she doesn’t want to go to the “Games in that league were not very competitive,” says Jarred Power, a former pro rugby player from New hospital and miss her flight,” the player says. The tickets for that flight came out of her own pocket, Zealand and head coach of ORSU’s women’s team. “USA Rugby decided that with the World Cup coming up next as they do for all the WPL’s players. For every road match, year, they wanted to get some of the better players going whether it’s to Minneapolis or Berkeley, ORSU’s players pay their way. They consider themselves lucky to have against better competition.” ORSU was selected as one of those eight teams after gotten jerseys from Adidas. The high cost of living out their dream—Ansel says half finishing ninth in Division I the prior year. Because it can carry only a 23-member roster to Premier League games, the team often doesn’t know how it will pay for its flights— ORSU has a women’s B team to accommodate its roughly forces rugby players into unique circumstances. Players will let their visiting opponents crash on their couches and 40 players. The B team now competes in Division 1. Portland is no stranger to women playing brutal sports eat from their kitchens. They travel together to the fields traditionally considered masculine redoubts, such as roll- where they cut, sprain and break one another’s bones. If er derby and mixed martial arts. “We get a lot of women there’s time, they’ll share some post-game beers. “It’s very social before and after the game,” Ansel says. from the [University of Oregon’s] rugby program,” Power Prospects for rugby ’s says, “and we get people that just show up and don’t know “IT’S VERY SOCIAL BEFORE AND popularity and financial received a boost anything about rugby.” AFTER THE GAME.” —TONYA ANSEL support earlier this fall, when the Rest assured, women’s rugby isn’t like other major sports. Players are unpaid, and Olympics accepted the sport starting in 2016. Although teams will take anyone. ORSU features teachers, lawyers seven-on-seven Olympic rugby is a variation of the 15-onand college students, with talents ranging from novice to 15 matches ORSU plays, Power says the news helps rugby international. Four players are members of the national in America. While acceptance into the Olympics is good news, team, the USA Eagles. One of those Eagles is Beckett Royce, a 38-year-old its full meaning for ORSU depends on a player’s age. By carpenter who has played with ORSU for six years. After 2016, Royce will be too old to play competitively. Ansel is the October game against the Twin Cities Amazons, she’s young enough that the Olympics remain a realistic goal. sporting two scuffed-up, muddy knees, taped fingers on both But the Olympics is just a bonus, not a reason to play at places like Fuller’s Farm. hands, and dried blood under her right eye. “You play because you love the sport,” Ansel says. “Nothing major,” she says. It seems major until a player from the Amazons runs “It’s hard to spend all your spare money on rugby if you to the home team’s side of the field, looking for a medic. don’t love to play. The Olympics are a long ways away. One of the visiting players has torn open the stitches she We just want to get people involved and interested, and keep playing.” received in her head a couple of weeks prior. WillametteWeek NOVEMBER 11, 2009 wweek.com

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The Pearl’s Premier marTini lounge and nighT club Happy Hour Food Menu All Day Underground Dance Party Friday and Saturday nights with DJ Mafia Underground 80’s night with DJ Milkman Thursdays starting Oct 22nd 1300 NW Lovejoy www.myspace.com/studio1inthepearl 503-867-8822

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INTERVIEW

MAX RAMEAU WHY THIS MAN GOES TO FORECLOSED HOMES. BY SASHA IN GB ER

singber@wweek.com

Long before the housing crisis smashed into the country, Max Rameau founded an organization to aggressively find housing for the homeless. How aggressive? In 2006, Rameau’s Take Back the Land seized control of a long-vacant lot in Miami’s ramshackle Liberty City and built the Umoja (Swahili for unity) Village shantytown to house more than 50 homeless people. In 2007, the village suspiciously caught fire, was bulldozed and has since been fenced off. But Rameau’s group soldiers on, going into vacant, foreclosed homes RAMEAU: “I support the idea of reparations and land-based compensation.” and putting homeless people in them. A 40-year-old community organizer, Rameau says the scarcity of affordable hous- crisis. Owning is important because self-detering and abundance of empty homes prompted mination is a valid organizing tool. him to match “peopleless homes with homeless people.” Potential inhabitants are screened for Do you favor reparations for black people, mental illness and drug addiction, and Rameau particularly land-based compensation? emphasizes that they earn “sweat I support the idea of reparations and equity” by maintaining, cleaning FACT: Rameau, who land-based compensation. I think and repairing their dwellings. So was featured in Michael reparations is well established both far, he has helped about 50 people Moore’s Capitalism: domestically and internationally A Love Story, lives in move into homes. And he says most an 1,100-square-foot, as a legal and moral tool to advance of them save enough money to move two-bedroom house in justice where injustice has been done Liberty City. out a few months later. and can’t be undone. The poverty Rameau, whose initiative has that exists in the black community sparked similar efforts across the country, will can be traced in most instances way back to slavspeak in Portland on Nov. 13 about housing, race ery, and then to the black codes and then to Jim and radical activism. Crow and all the way up to the present day. WW: What prompted you to create Take Back the Land in 2006? Max Rameau: Gentrification deliberately being planned. We couldn’t find solutions to these problems in the government because the government was largely responsible for creating these problems. What’s the line between civil disobedience and seriously breaking a law? The lines that we draw would be devaluing a home. We would not go into a home and destroy it. Our primary concern is not what’s legal or illegal. There was a time in this country when I wasn’t allowed to go into certain neighborhoods. I don’t know at what point I would say, “[Actions of ] black people asking to be treated like everyone else cross the line and become criminal.” I think the laws themselves were wrong because they did wrong things. And here I think it’s the same thing. On your group’s website, it says the political component of the organization is led only by black people. Why? The crisis of land and gentrification has disproportionately impacted black communities. It’s also disproportionately impacted Latino and Native American communities. It makes sense then to have the communities who are most impacted by a crisis to lead the response to that

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WillametteWeek NOVEMBER 11, 2009 wweek.com

C O U R T E S Y O F TA K E B A C K T H E L A N D

CULTURE

sTudio

How would you calculate how much different families are owed? I don’t think that reparations should—or needs to—happen on an individual level. There needs to be massive economic investment in black communities, investment in education, and efforts to build capacity. Reparations is also about making sure that those who did wrong do not wrongfully gain from things they did in the past. But isn’t part of the problem that white people don’t see themselves as culpable? One of the reasons this is the wealthiest country in the world was the many years it got free labor. If you’re not responsible for that, that’s great. But you can’t not be responsible for the wrongdoing, but accept all the benefits from the wrongdoing. Could placing homeless people in foreclosed houses work in Portland? We have had two people from Portland who have contacted me since the last time I was there [spring 2009], saying that they have engaged in home takeovers. I don’t know how widespread it will be there. I think it’s something that people in Portland have to decide themselves. But obviously it would be exciting to see. SEE IT: Rameau will speak at 6 pm Friday, Nov. 13, at Portland State University’s Smith Memorial Union, Room 296/298, 1825 SW Broadway. Free.

DISH = WW Pick. Highly recommended. PRICES: $: Most entrees under $10. $$: $10-$20. $$$: $20-$30. $$$$: Above $30. Editor: KELLY CLARKE. Email: dish@wweek.com. See page 3 for submission instructions.

WEDNESDAY NOV. 11

Memorial Coliseum, 1401 N Wheeler Ave., 235-8771. 4-9 pm. Visit nwfoodandwinefestival.com for tickets. $75 general. $95 preferred.

Livestock

Here’s a recipe for a successful Portland event: Take three butchers, six food-centric essays, a cow, a pig and a whole lot of brave foodies, mix together in a room full of blood and guts, and let the conversation begin. Camas Davis, butcher and mastermind behind the soon-to-be-launched Portland Meat Collective, and Lisa Donoughe of Watershed Culinary Productions will host Livestock, a one-two punch of literary arts and craft butchery. Adam Sappington of Country Cat and Cathy Whims of Nostrana will butcher a cow and a pig, respectively, in front of a live audience while six local writers read essays on their relationship with meat. After the meat is cut, attendees will get to dine on several preparations of each animal. KATE WILLIAMS. The International Culinary School at the Art Institute, 34 NW 8th Ave., 228-6528. 6-8 pm. Call 827-6564 for reservations. $25 for each night.

SATURDAY NOV. 14 Brewpublic Cocoa Hop

Beer and chocolate? Now that’s a combo meal I can get behind. This Brewpublic event will bring together brews from Cascade, Trade Route, La-Z-Boy, Oakshire and New Old Lompoc brewing companies with chocolates from Dagoba and Equal Exchange to benefit KZME community radio. There’ll also be music from DJ Miracle Miles so you don’t have to enjoy the best meal ever in silence. KW. New Old Lompoc SideBar, 3901A N Williams St., 2251855. 6:30 pm. Order tickets at kzme.fm/donate-now. $25.

Foster & Dobbs Open House

Foster & Dobbs, the Northeast hub of all things gourmet, is celebrating its fourth anniversary this weekend with an open house. Get a preview of its new products—from cheese to chocolate—and chat with special guests David Briggs of Xocolatl de David, Piper Davis and Ellen Jackson of Grand Central Baking Co., and chocolatiers from Fran’s Chocolate. KW. Foster & Dobbs, 2518 NE 15th Ave., 284-1157. 1-4 pm. Free.

Northwest Food and Wine Festival

The Northwest Food and Wine Festival hits Portland this weekend with 600 wines, tasty food from more than 50 restaurants, live music and, most importantly, a silent auction filled with Trail Blazers tickets and memorabilia.

SUNDAY NOV. 15 Ivy Manning Book Signing

Flustered at the thought of cooking a meal (like, oh, say, Thanksgiving) for all the vege-/pesca-/flexitarians in your life? Portland writer Ivy Manning is here to help. In her new cookbook, The Adaptable Feast, she provides recipes adaptable for all different diets and restrictions, making it easier to satisfy everyone around the table. KW. Powell’s City of Books, 1005 W Burnside St., 2284651. 2 pm. Free.

MONDAY NOV. 16 Ben Bettinger Cooking Class

Ben Bettinger, the executive chef from Portland’s newest star restaurant, Beaker and Flask, will teach a cooking class all about the restaurant’s knockout menu. Learn how to craft its pork crepinette, braise a rabbit and cook up a chocolate pot de creme. Then go home and brag to your friends. KW. In Good Taste, 231 NW 11th Ave., 248-2015. 6:30 pm. Call to register. $85.

TUESDAY NOV. 17 Double Mountain Dinner

Laurelhurst Market teams up with Double Mountain Brewery to hold their very first dinner. The menu is designed to complement the beers—you can look forward to treats like beef tartare paired with a beer cocktail, mussels frites with Dapper Dan Mild Brown Ale, a meat trio with India Red Ale, and ice cream floats made with Bourbon Brown Ale. KW. Laurelhurst Market, 3155 E Burnside St., 206-3097 (restaurant)/206-3099 (butcher shop). 6:30 pm. Call 235-1600 for reservations. $65 plus gratuity.

Drink Local Project

Get locally sauced at Urban Farmer. Each week, bartender Daniel Stern creates four new cocktails featuring a different local producer. Recently, he showcased Integrity Spirits, and in coming weeks Stern will shake or stir selections from House Spirits and Clear Creek Distillery. New cocktails premiere each Tuesday during an extended happy hour. KW. Urban Farmer Restaurant, 525 SW Morrison St., 8th floor, 2224900. Cocktails debut 3-7 pm Tuesdays in November.

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MUSIC: Teenage Dirtnap. DANCE: Men in cages. GALLERIES: One to keep an eye on. BOOKS: It’s a literary death match! SCREEN: The world ends, rock begins. Yawn.

31 43 45 46 48

E VA N P I L C H I K

WILLAMETTE WEEK

WHAT TO DO THIS WEEK IN ARTS & CULTURE

CHARIOTS OF MIRE

WEDNESDAY NOV. 11 [MUSIC] THE MOUNTAIN GOATS Everyone knows John Darnielle can spin tales of broken relationships and “The Best Ever Death Metal Band From Denton.” But 12 songs named after verses from the Bible? He’s good for that, too. Wonder Ballroom, 128 NE Russell St., 2848686. 8 pm. $20. All ages.

IT’S MAN* VS. MUD PUDDLE AT DIRDY BIRDY.

All over Portland, runners with impressive speed and stamina— serious athletes—have been training to run a treacherous 5k race…in a gigantic pile of mud. The Dirdy Birdy is one of the silliest, wildest and messiest races in all of Oregon. Held at Portland International Raceway’s already mucky motocross course—created with “100 percent certified organic Oregon mud”—the second annual Dirdy Birdy comes complete with a full-sized Slip ’n Slide, runnerswallowing mud pits and a waterballoon stand for spectators to launch distractions at their racing friends. And if you think you’ll still have energy after all that, bring an extra pair of clothes to stick around for a beer garden, family activities (there’s even a one-mile version of the race for the kiddies) and dancing to DJ tunes. If you missed Halloween, race organizer Oregon Active, a consortium of local adventure-sports lovers that also mounts everything from bungee jumps to backcountry treks for at-risk and disadvantaged kids, gives out prizes for the most creative ensembles. (Last year’s race was attended by cowboys, pirates and Olympic swimmers, to name a few.) A portion of entry proceeds go to local charities. Oregon Active’s Devin Kelly, one of Dirdy Birdy’s founders, says he’s hoping for 500 participants this year compared with last year’s 350. “We wanted to create a unique running event that was built specifically around the adventuresome spirit, with enough craziness to be considered a true Oregonian event,” he says. Is there anything more Oregonian than dirt, beer and running? Didn’t think so. INDIA NICHOLAS.

[DANCE] SHEN WEI DANCE ARTS The Chinese choreographer Shen Wei’s hypnotic, fascinating new work is performed at one point on a striking giant mandala made of shredded paper. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 248-4335. 7:30 pm. $20-$50. Visit ticketmaster.com or whitebird.org.

THURSDAY NOV. 12 [BOOKS] LITERARY DEATH MATCH Def Poetry Jam meets American Idol meets Double Dare—Opium Magazine’s challenges locals to see who can, um, read the best. Blue Monk, 3341 SE Belmont St., 595-0575. 8:30 pm. $10 door, $8 advance.

FRIDAY NOV. 13 [SCREEN] ONG BAK 2 Between a jaw-dropping drunken boxing scene and an extended climactic showdown pitting Tony Jaa against hundreds of foes, the sequel does not disappoint. Cinema 21, 616 NW 21st Avenue, 223-4515. 9 pm. $5-$8.

SATURDAY NOV. 14 [FASHION] JUNK TO FUNK The city’s fabulous, fourth annual recycled fashion show returns with Sam Adams, junk orchestra “Junkquestra,” and a walk down the Green Carpet. Crystal Ballroom, 1332 W Burnside St., 225-0047. 8 pm. $17 advance, $20 door. Info at junktofunk.org. [STAGE] DONEUNDONE Bruce Orr, director of kid-centric Mudeye Puppet Company, debuts an adult show about insomnia, anxiety and demons, featuring a nightmarish landscape made from reused materials. Someday Lounge, 125 NW 5th Ave., 248-1030. 7 pm. $12.

SUNDAY NOV. 15 [MUSIC] PIGEON JOHN Do you like your hip-hop with a classically laid-back West Coast flow and party-conscious beats? Pigeon John’s in town and not to be missed. Backspace, 115 NW 5th Ave., 2482900. 9 pm. $10. All ages.

GET DIRDY: Portland’s second annual Dirdy Birdy race takes place Saturday, Nov. 14, at the motocross track at Portland International Raceway, 1940 N Victory Blvd. Registration begins at 10:30 am, race starts at noon. Preregister online for $25, or $30 the day of the race. More info at oregonactive.com. *and woman and child.

TUESDAY NOV. 17

DIRDY BIRDY 2008

[MUSIC] NEON INDIAN Call it glo-fi or chillwave, Neon Indian’s Psychic Chasms is the year’s best debut, no matter what you call indie’s hippest new genre. Mississippi Studios, 3939 N Mississippi Ave., 2883895. 9 pm. $10. 21+.

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WillametteWeek NOVEMBER 11, 2009 wweek.com

NOV. 11 - 17 PROFILE

= WW Pick. Highly recommended.

TOM MARTINEZ

MUSIC

Prices listed are sometimes for advance ticket sales. At-the-door increases and so-called convenience charges may apply. Addresses for local venues are listed in WW’s Clublist column, page 41, or online at blogs.wweek.com/music/clublist/ Editors: CASEY JARMAN, MICHAEL MANNHEIMER. TO BE CONSIDERED FOR LISTINGS, enter show information at least two weeks in advance on the Web at wweek.com/submitmusic. 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: cjarman@wweek.com Fax: 243-1115.

WEDNESDAY NOV. 11 They Might Be Giants, The Guggenheim Grotto

[BLASPHEMOUS NERD-POP] They Might Be Giants might focus on pleasing kids as much as adults these days, but the band that brought you quirky hits like “Particle Man,” “She’s An Angel,” “Birdhouse in Your Soul” and “Dr. Worm” hasn’t dumbed down its arty/smarty nerd pop. The title track of TMBG’s latest for-youngsters effort, Science is Real, places the band squarely against bible thumpers everywhere: “I like the stories about angels, unicorns and elves/ Now I like those stories as much as anybody else/ But when I’m seeking knowledge, either simple or abstract/ The facts are with Science/ Science is real.” In the age of O’Reily, teaching kids about evolution is liable to get you strung up in some states. Anyway, we grown-up fans don’t have to worry about a bunch of snotty-nosed toddlers invading our mope-space, because this evening’s TMBG show is just for the 16-andup crowd. 15-year-old me is stewing. 29-year-old me is ready to hear “I Palindrome I.” CASEY JARMAN. Crystal Ballroom. 9 pm. $20 advance, $23 day of show. 16+.

Pinback, Joe Jack Talcum

[THIS GENERATION’S GENIUS?] Rob Crow is a true American hero. He pays rent by writing gorgeous pop songs for Pinback that make teens swoon and get featured in their favorite reality-TV shows. On the side he releases ridiculous stoner-rock picture discs under the name Goblin Cock, and dabbles in what can only be termed “performance art” with his ’70s toy keyboard-based project, Optiganally Yours. Tonight will indicate if Pinback, with a new album anticipated for 2010, continues its gradual mellowing out or makes an abrupt turn into polka or something. With an idiosyncratic

genius like Crow at the helm, you can’t be too sure. DAVID ROBINSON. Doug Fir Lounge. 9 pm. $20. 21+.

Lover!, Pity Fucks, DJ HWY 7

[GARAGE] It’s bands like Lover! that make the umbrella term “garage rock” so highly unspecified. The Memphis band, last in Portland for the Scion Garage fest, arms itself with the basic arsenal of a modern garage band and yet comes out sounding, for lack of a better term, retro-fresh. Though most garage acts retread at least some aspects of the past, Lover! does so while holding onto a shred of originality, injecting just the right amount of pop hooks into its distortion and Rolling Stones-esque guitar lines. Expect material from the band’s new EP, No Dreams Please, which just dropped. IAN RASMUSSEN. East End. 9 pm. Cover. 21+.

The Mountain Goats, Final Fantasy

[BOLD TESTAMENT] That John Darnielle is among the greatest songwriters of his generation is no longer even a matter of debate. Among critics and his increasingly large and obsessive nation of fans, his 18-year body of work as the leader and often sole member of the Mountain Goats is treated like the Grand Canyon: enormous, beautiful and frightening. His latest album, The Life of the World to Come, drops the menacing, desperate tone of 2008’s Heretic Pride for a quieter, more contemplative sound. Each of the 12 tracks is named for a Bible verse, and the songs have an appropriately psalmic quality—Darnielle sticks mostly to acoustic guitar and piano, with textural drumming and strings filling out the sound. Expect this concert, with singer-violinist Owen Pallett’s cheery electropop project, Final Fantasy, to be a tear-jerker. BEN WATERHOUSE. Wonder Ballroom. 8 pm. $20. All ages.

CONT. on page 32

PRIMER BY MATTHEW SINGER SAUL WILLIAMS Born: 1972 in New York. Latest release: NGH WHT—The Dead Emcee Scrolls with the Arditti Quartet, a collaboration with composer Thomas Kessler. Why you care: Quick—name a slam poet other than Saul Williams. Guaranteed, if that were a question on Cash Cab, 10 out of 10 contestants would get kicked to the curb. But it isn’t just that Williams is the face—make that the only face—of a niche art form; it’s hard to find a performer, in any medium, who possesses the same level of intensity. (Hell, in the film Slam, he even made it seem plausible that a passionately delivered poem could save someone from getting shanked on a prison yard.) Already a cult phenomenon, Williams left the coffee-house circuit with 2001’s Amethyst Rock Star, a powerfully unique if overwhelming album setting his fiery spoken-word rants against an aggressive mix of electropunk, drum ’n’ bass and avant hip-hop. He refined his approach with 2007’s The Inevitable Rise and Liberation of Niggy Tardust, finding the perfect collaborator in Nine Inch Nails’ Trent Reznor, whose production made Williams sound like an end-of-days preacher sermonizing amid a nuclear holocaust. But Williams is an artist best experienced live: As chaotic as his music can be on record, it explodes like an expertly constructed car bomb on stage. Sounds like: Allen Ginsberg reincarnated as the frontman for Bad Brains. For fans of: Zack de la Rocha, the Mars Volta, going to open-mic nights while on angel dust. SEE IT: Saul Williams plays the Aladdin Theater on Sunday, Nov. 15, with CX Kidtronic & Tchaka Diallo, Earl Greyhound and American Fangs. 8 pm. $15. All ages.

Dirtnap Records’ Ken Cheppaikode at his SE Portland record store, Green Noise.

LIVING THE DREAM PORTLAND’S DIRTNAP RECORDS JUST STUMBLED INTO ITS 10TH YEAR. BY MATTHEW SIN GER

503.243.2122

Call it an example of the American Punk Rock Dream: A decade ago, Ken Cheppaikode was living in an apartment below a vet clinic in Seattle, cleaning cat shit out of litter boxes in exchange for free rent and nurturing a vague idea of starting his own record label. Today, he is entering his 10th year as the head of Portland’s Dirtnap Records. For an imprint of its modest size, it is about as respected as one can get. Its catalog is filled with underground classics. A licensing deal is getting its bands’ music into video games, snowboard videos and at least one Sunkist commercial. Cheppaikode has three interns. He ain’t rich, but for a guy who grew up on welfare, didn’t go to college and isn’t entirely sure he graduated from high school (long story), it’s not bad. “One cool thing about the DIY scene,” the 38-yearold says from behind the counter of Green Noise Records, the long-standing Portland-via-Eugene record store he purchased in 2004, “is the ability to take your weaknesses and make them into strengths.” Growing up in Madison, Wis., Cheppaikode wanted to be part of the punk community ever since attending his first show in 1984, but from behind the scenes more than from the front of the stage. He spent his 20s working in distribution warehouses and record stores and talking—vainly—about getting his label going. By 1999, he had settled in Seattle, playing obscure international punk bands on an early Internet radio station. When a group from Sweden called the Don’t Cares heard his show and contacted him—asking if he could help spread their name in America—Cheppaikode spotted an opportunity. The Don’t Cares’ 7-inch became Dirtnap’s first release. It didn’t sell, but Cheppaikode finally had his label. And it wasn’t long after that he stumbled across a hit—with, appropriately enough, the album Hit After Hit by Seattle throwback punks the Briefs. “At the time, we had no distribution whatsoever, no advertising budget whatsoever, and we could barely afford to press the records, much less promote them at all. I had absolutely no idea what I was doing,” he says. “And we still sold 10,000 of them.”

With the success of the Briefs and other regional acts such as the Spits, Dirtnap’s reputation expanded among Pacific Northwest garage-rock upstarts. “It was obvious to us that it was the label to be on, even before we were fully a band,” says Jesse Sutherland, keyboardist for Portland New Wavers the Epoxies. Their self-titled 2003 debut full-length for Dirtnap sold 15,000 copies. But the label’s marquee band is also its greatest question mark. The Exploding Hearts had wanted to work with Dirtnap from its inception, but Cheppaikode was resistant. It wasn’t until he heard the Portland-based power-punk quartet’s Pitchfork-approved Guitar Romantic that he realized he’d made a mistake. He reissued the album to widespread acclaim. The buzz surrounding the band was getting feverish when, on July 20, 2003, three of its four members died in a van accident. The tragedy

“I HAD ABSOLUTELY NO IDEA WHAT I WAS DOING.” —DIRTNAP’S KEN CHEPPAIKODE brought the label more attention than ever, but for all the wrong reasons. “When I used to sit around as a teenager and dream about getting interviewed by Rolling Stone, this isn’t exactly what I had in mind,” Chappaikode says. At the end of the all-too-brief Exploding Hearts era, Cheppaikode says the enforced regionalism that helped establish Dirtnap Records began to feel restrictive. And while he now puts out records by bands from outside the Northwest, he continues to work with local groups, such as Portland transplants the Mean Jeans. “I remember sitting in the van and saying, ‘I know of one radical label out of Portland. That’s Dirtnap. We should get on that,’” says singer-guitarist Billy Jeans. Cheppaikode and his wife plan to sell Green Noise and move to Austin in 10 more years. But Cheppaikode doubts he’ll ever separate himself from Dirtnap. “I think I’ll always be doing the label in some capacity, even if it winds up just going back to me sitting on my bed folding up copies of 7-inches after I get off work at night,” he says. “I think it’s in my blood at this point.” SEE IT: The Mean Jeans release their new album Thursday, Nov. 12, at Ground Kontrol, with White Fang and DJ Ken Dirtnap. 9 pm. Free. 21+. WillametteWeek NOVEMBER 11, 2009 wweek.com

31

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WillametteWeek NOVEMBER 11, 2009 wweek.com

THURSDAY - FRIDAY

THURSDAY NOV. 12 MSTRKRFT

[DFTPNK’D] There’s probably something admirable about remixers to the stars (Bloc Party, Justice, Wolfmother) trailing their impeccable cred among the skinny trousered set who throw themselves so shamelessly toward hamfisted flirtations with hip-hop and R&B. John Legend and Ghostface Killah drop by Toronto duo MSTRKRFT’s sophomore release, Fist of God, to baffling purpose. Everything bright and shiny and, well, cleverly derivative from the duo’s vocoded synth bacchanal debut three years back now sounds calcified or corroded. Still, the big beat goes on, capacity crowds of our prettiest young things shall care not at all. JAY HORTON. Dante’s. $15 advance, $18 day of show. 21+.

Over the Rhine, Katie Herzig

) 2'# &#08'% 4(523$!9 ./6%-"%2 &2)$!9 ./6%-"%2 s

MUSIC

[LONG-HAIRED TROUBS] There are two shows of note at the Airplay this evening. Florida’s George Mann is at once a tireless fighter of injustice and a confessional songwriter. The smooth-voiced longtime union/ anti-war advocate hits Portland tonight to celebrate a new compilation to raise money for returning troops. The disc, Until You Come Home, features contributions from such luminaries as Tom Paxton, Holly Near, Dave Rovics and John Gorka. Then at 9 pm, Keith Greeninger and Dayan Kai celebrate the release of their new disc, the earthy and sparse Make it Rain. On his own, Greeninger is a purveyor of blue-eyed soul with a Tom Waitsian twist and nods towards delta blues. With Dayan, the material gets a touch more reserved, with acoustic guitar interplay and outdoorsy.

And if you ask real nicely they might play you a cover of Nico’s “These Days,� as seen on YouTube. CASEY JARMAN. Airplay Cafe 7 pm. $5-$10 (Mann), $15 (Greeninger and Kai). All ages.

Black Heart Procession, Bellini

[OVERCAST INSTITUTION] Faithful to its gothic obsessions, the Black Heart Procession chose to release its first album in three years in the month of October. Six is both a return to the band’s numerical nomenclature (want to guess how many albums it’s made?) and a rejuvenation of its beloved artful dirges. Though the San Diego-based Procession has floated in and out of a half-dozen lineups since its 1997

CONT. on page 34

PROFILE

[UP AND DOWN THE DIAL] Married singer-songwriters Karin Bergquist (think Chrissie Hynde going back to Ohio, realizing her city was gone and opening a folk-’n’-bluesthemed dinner theater) and Linford Detweiler have successfully followed a rangy muse neither alt nor Branson for more than 20 years. In the same 20 years, their namesake Cincinnati neighborhood—equally famed for untouched architecture and untroubled street crime—has madly thrown itself toward gentrification. The glossy roots-rock of Over the Rhine invites certain comparisons, but nobody’s ever accused a cabaret Americana troupe of careerism. JAY HORTON. Doug Fir Lounge. 9 pm. $20 advance, $23 day of show. All ages.

The Mean Jeans, White Fang, DJ Ken Dirtnap

The Mean Jeans’ Are You Serious? takes the word “derivative,� folds it up into a paper airplane and lets it sail. The disc, which sounds straight out of the late ’70s in both fidelity and spirit, is just a smidge away from qualifying as a Ramones tribute disc, but it’s even more packed with teenage restlessness and immaturity than the Ramones’ LPs ever were. Lucky for us, the Jeans’ breathless 25-minute effort is laced with the group’s own melodic ideas and material obsessions (jeans, as you may have guessed, being the local trio’s chief concern) that should resonate with both “the kids� and the kids at heart who grew up on pop-punk. But sometimes it’s good to just put the paper down, crack a tall boy, “put your mean jeans on� and listen to a band for yourself. You’re only young once. Ground Kontrol. 8 pm. $5. 21+. Also see music feature, page 31.

KELLY BLAIR BAUMAN MONDAY, NOV. 16

FRIDAY NOV. 13

[DOOM POP] “Across the bridge to this forsaken town/ Like some Gomorrah in the night,� sings Kelly Blair Bauman on “I Saw Stars,� a gorgeous standout from his debut solo record, Gomorrah. That’s as specific as he gets in identifying the modern stand-in for the doomed biblical city of the album’s title. He claims it’s “any town where there’s a lot of excess.� How about an example? “Portland’s a good one,� says the Northwest transplant. Don’t get upset. As he says, it could be anywhere: “There seems to be this ‘don’t hate the player, hate the game’ current in society that’s growing stronger. The sense of personal responsibility for being nice to people, it feels like all that is eroding.� At 37, Bauman describes the songs on Gomorrah as “midlifecrisis folk music.� But in a way, it’s a return—in temperament, at least—to the music he played as a teenager. Growing up in Redding, Calif., Bauman mostly listened to the poppy, jangly college rock of the 1980s. Going to shows in nearby Chico and San Francisco drew him toward the freakier end of the pop spectrum, and he spent his 20s skronking out in weirdo psych-punk bands. He established himself writing noisy, off-kilter songs in the Northern California scene. Eventually, though, Bauman tired of creating cacophony. Gomorrah is instead a record of composed pastoral elegance, with a greater focus on lyricism, more varied instrumentation, and a bit of that guitar jangle he learned in his youth. But Bauman insists he hasn’t completely abandoned his more outre influences—he’s just turned the volume down. “To do Swervedriver as a country band—that would be magic,� he says. As many moments of beauty as there are on Gomorrah, however, it’s certainly crisis music, midlife or otherwise: The album is littered with references to death, darkness, “apologetic ghosts� and “hearts turned black as night.� It’s a reaction, Bauman says, to looking at the world as a man approaching 40 and seeing a place where people are increasingly receding into themselves. “During the Bush administration, it very much felt like that was happening. It got claustrophobic, and it felt like everything was falling apart.� He pauses for a moment. “I’ll bet it’s always been like that,� he says. “I’m just getting grumpy and old enough to bitch about it.� MATTHEW SINGER.

Keith Greeniger & Dayan Kai (9 pm); George Mann (7 & 8 pm)

SEE IT: Kelly Blair Bauman plays Monday, Nov. 16, at Valentine’s with the Old Light and Hungry Ghost. 9 pm. Free. 21+.

Immortal Technique, Diabolic, Poison Pen, Swave Sevah, Chino XL, Mic Crenshaw

[CONSPIRATAINMENT] Hip-hop needs its political radicals. But if Public Enemy were “the CNN of the streets,� Felipe Coronel—a.k.a. Immortal Technique—is more of a paranoid blogger. As such, he is the perfect provocateur for these times. And he’s got the back story to match: While imprisoned on assault charges in the late ’90s, Coronel read about Malcolm X and Che Guevara, and emerged as a fierce battle rapper. On record, he turned his aggression against racism, jingoism and, naturally, the prisonindustrial complex. Like a lot of leftist agitators, he thrived under the Bush administration, winning a wide cult following with practically no label backing. He has yet to release an album in the Obama era, but don’t expect the guy to suddenly start rapping about rims and strippers. MATTHEW SINGER. Wonder Ballroom. 9 pm. $18 advance, $20 day of show. All ages.

Kelly Blair Bauman sees Portland burning, and he’s got the midlife-crisis folk to soundtrack the destruction.

BLUES POWER

Live Music, Music, Cabaret, Cabaret, Burlesque Burlesque && Rock-n-Roll Rock-n-Roll Live

Live Music, Music, Cabaret, Cabaret, Burlesque Burlesque && Rock-n-Roll Rock-n-Roll Live

A BENEFIT FOR BLUES DJ TOM WENDT

Crystal Ballroom (1332 W Burnside St) w w w . d a November n t e s l i v e . c o15th m Sunday, 4-9 PM

Tel. 503-226-6630 • Open Daily 11am-2:30am •

WE11DNESDAY CIRCUS V

THE WANDERLUST CIRCUS PRESENTS

Suggested Donation: $10.00

SIDESHOW w/ Curtis Salgado, Lloyd Jones, Norman

NO V

$5 Cover 9pm Showtime

MSTRKRFT

Tom Wendt has been a volunteer disc jockey at KBOO for close to 30 “DANGER HIGH VOLTAGE” & “GAY BAR” years, hosting the Saturday blues show. Over the years, he has chamNOV 13 TICKETSWESTpioned music from both national and $10 Adv ’S local Recently, Tom experiZOtalent. DJ MESTI PARTY DANCE GAY BLADES & MILLIONS OF BRAZILIANS enced some major health problems. To help Tom take care of some of the cost incurred, the blues commuNOV 14nity has rallied together to help. www.platinum-records.com

FRIDAY

w w w. da n tes l i ve . c o m

WE11DNESDAY CIRCUS V

THE WANDERLUST CIRCUS PRESENTS

NO V

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THU12RSDAY V

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AY FRID 13 TICKETSWEST $10 Adv

“DANGER HIGH VOLTAGE” & “GAY BAR”

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& THE PEACEMAKERS

SUNDAYS

Burlesque, Firedancers DJs, Magic & Debauchery!

SINFERNO SINFERNO

Wednesday MONDAYS 11/18 @ 6PM

Karaoke From Hell

Bill the NOV 15 - SILENT TREATMENT classic jazz/rock band to focus FROM HUSKER DU EARLY SHOW once again on his solo career. Bill’s E TIM OW 7PM SH TICKETSWEST newest release is the solo CD/ $10 Adv NOV 17 SEAN CROGHAN JACK RAMSAY DVD&‘No Place Left To Fall’. With FOLLOWED BY THE ED FORMAN SHOW AT 10PM this album, Bill has made the album he Master was born to make, a careerThe Return of the Jamaican Reggae defining record with an honesty and immediacy that reflect his oldNOV 19 TICKETSWEST school approach to music – and $20 Adv his complete disregard for the oldPLUS model music JAGGA industry. ••• CABARET & VAUDEVILLE•••

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33

MUSIC

FRIDAY - SUNDAY

inception, the creative centerpiece of Pall Jenkins and Tobias Nathaniel has kept its output surprisingly solid. After a decade the Procession is still incredibly dark, but it’s never gotten bored with melancholy. SHANE DANAHER. Aladdin Theater. 8 pm. $15. All ages.

Ian Anderson with the Oregon Symphony

[CLASSICAL ROCK] Let’s go living in the past. Only in the creaky classical-music world would bringing in the aging Jethro Tull frontman (Tull accordionist-keyboardist John O’Hara conducting) actually lower the average audience age. Bringing in rock musicians—an increasingly common ploy among American orchestras—attempts to broaden the audience for the symphony. When flamboyant belter-songwriter Anderson founded Tull in 1967, the presence of a “classical” instrument—his percussive flute—in rock still raised eyebrows, so maybe this crossover concert will work better than some. Expect the hits, including those durable early English folk-rock gems. BRETT CAMPBELL. Arlene Schnitzer Concert Hall. 7:30 pm. $25-$130. All ages.

Misfits, 800 Octane, Embrace The Kill, Rum Rebellion

[MIDDLE-AGERS FROM MARS] How can the Misfits exist without Glenn Danzig? As big an asshole as Danzig’s been alleged to be, his zombie Elvis croon somehow made the B-movie horror glop he sang as frontman for the legendary New Jersey punk band sound legitimately menacing. It’s not just the best part of those classic albums—it’s pretty much the only reason they’re good at all. Take away Danzig’s voice and nothing is left but sloppy, minor-key Ramones thrash. Add 20 years, and that stuff is now being played by an ex-pro-wrestler and a bunch of ’80s hardcore castoffs. Danzig may have written only one memorable song outside the Misfits, but that’s a lot more than the rest

of the band has done without him. MATTHEW SINGER. Berbati’s Pan. 9 pm. $22 advance, $25 day of show. 21+.

Best Fwends, Totally Michael, Jaguar Love, Serious Business, Holla ’n’ Oates

[GOOD COVER VERSION] Is it true Best Fwends is two rapping white guys and an iPod? Yes. So, they’re getting rich off of glorified karaoke? Yes. That sounds fucking stupid—are you sure I should pay to see it? Sure. Best Fwends, the Austin, Texas-based duo of Dustin Pilkington and Anthony Davis, churns out spastic, hyperactive rap-rock that will make any mentally stable person crave a Xanax. The band’s debut album Alphabetically Arranged is a 29-track, high-speed audio montage of bite-sized samples and wigged-out digital snippets. Slap some good old-fashioned white dudes yelling into microphones on top of the noise and now you’ve got an instant dance party. Huzzah! WHITNEY HAWKE. Branx. 10 pm. $8. 21+.

Electric Six, Gay Blades, Millions of Brazillians

[DIRTY DETROIT] Electric Six’s skeezy riff rock—prodded along by ample synth and driving disco beats—borders on a parody of rock’-n’-roll excess, with frontman Dick Valentine growling about kinky sex, binge drinking, coke and Taco Bell in a voice similar to Jack Black’s. But that’s not disingenuousness in the band’s lurid tales of hot nights; that’s just its Detroit hanging out. And like the STDs often wrought from stories like the ones Electric Six tells— tales of gay bars and Midwestern hellholes told through cocaine eyes—the band’s goofy, sleazy sound is infectious as hell. AP KRYZA. Dante’s. 9:30 pm. $12 advance, $15 day of show. 21+.

John Heart Jackie, Kele Goodwin

[CANDLELIGHT POP] Peter Murray and Jennie Wayne pretty much nail it as John Heart Jackie. Murray’s homespun vocal ruminations dig low, while

Wayne’s crystalline pipes soar overhead, and it’s quite a pairing. There’s a dose of Leonard Cohen in the brooding acoustic compositions, but Murray and Wayne remain heart-on Sleeve throughout the deliberate compositions—their voices entangling in loose, instinctual harmonies that give the whole project an organic feel. New EP Women & Money feels like fall, and it should sound nice alongside the eternal drip on your windowsill. CASEY JARMAN. The Woods 9 pm. $6 advance, $7 day of show. 21+.

Built to Spill, Disco Doom, Finn Riggins

[ANCIENT MELODIES OF THE FUTURE] C’mon, you already know what to expect from a Built to Spill show. Doug Martsch will wow with impressively knotty yet overly noodly guitar solos. And the crowd will sing along to gems from the band’s trifecta of influential ’90s albums—There’s Nothing Wrong with Love, Perfect from Now On and Keep It Like a Secret—and politely sit through the jammy new songs from whatever album the band is currently publicizing. But for the first time in years Built to Spill is supporting a good new record. The just-released There Is No Enemy is its first album this century that can stand with its classic ones. So we should be in for a good show. REBECCA RABER. Wonder Ballroom. 8 pm. $20 advance, $23 day of show. All ages. Also see profile, this page.

THE HARVEY ROSENCRANTZ ORCHESTRA & TSUNAMI SINGERS

THURSDAYT WODECEMBER 31, 2009 CON CE RTS 7:00PM & 10 : 3 0 P M

ARLENE SCHNITZER CONCERT HALL PORT L AND, O R EG O N

Tickets $20-$75. Available at all Ticketmaster outlets, including PCPA Box Office, by phone at (800)745-3000 and online at www.ticketmaster.com All Ages Welcome. To save on a portion of Ticketmaster fees, purchase tickets at the PCPA Box Office, 1111 SW Broadway. 34

WillametteWeek NOVEMBER 11, 2009 wweek.com

See profile, this page. Wonder Ballroom. 8 pm. $20 advance, $23 day of show. 21+.

Saul Williams, CX KiDTRONiK Tchaka Diallo, Earl Greyhound, American Fangs

See Primer, page 31. Aladdin Theater. 8 pm. $15 advance, $18 day of show. All ages.

Pigeon John, Josh Martinez, Alphabet Stew, IAMe, DJ Spark

[INDIAN SUMMER RAP] It’s interesting that the “Christian rap” label only seems to get tossed around at MCs who don’t cuss—like L.A. M.C. Pigeon John—rather than, say, the apparently equally God-bothering likes of Tupac or Biggie. The silliness of that tag is underlined by the Quannum Projects-associated Pigeon’s refresh-

CONT. on page 36

PROFILE

Railcars, Cole Miller, Savages, Freddie Nunez

[A HOT, HALLUCINATORY POSTEVERYTHING MESS] And you thought you were having an identity crisis. San Francisco’s Railcars are caught in the throes of an identity crisis, but from the dented-kitchen-sink sound of debut EP Cathedral with No Eyes, they’re actually embracing something else. Namely, whirligigs of psychedelic arcade bleep-bloop, no-fi punk snarl, and smeared pop-hook jelly filtered through insane quantities of distortion. What are the songs about? No idea. All I know is that I can’t stop listening. RAY CUMMINGS. The Artistery. 8 pm. $6. All ages.

[WOODLAND FOLK] Dawn McCarthy is a bit of an odd woman. As the leader of Faun Fables—she goes under the moniker “Dawn the Faun”— McCarthy takes old-timey folk music and turns it into a modern theater show. It makes for some interesting and adventerous sounds, her voice hiccuping in near yodels over a neat moss of acoustic intrsuments. For the current lineup, McCarthy is touring with just her partner, Nils Frykdahl (who also plays in Sleepytime Gorilla Museum), and will be focusing on songs from their recent EP, A Table Forgotten. If you’re a fan of Joanna Newsom and off-Broadway musicals, then this is a night for you. MICHAEL MANNHEIMER. Dante’s. 7 pm. $15. 21+.

Midday Veil, Holy Children, Datura Blues, Janina Angel Bath

F E ATU R I N G MEM B ER S O F

Built To Spill, Disco Doom, Finn Riggins

SUNDAY NOV. 15

SATURDAY NOV. 14

Sleepytime Gorilla Museum, Faun Fables

TICKETS ON SALE SATURDAY 10AM

world Dean Martin didn’t exist. Maynard James Keenan—A Perfect Circle mainstay and ever the sharpest Tool in the shed—somehow managed to convince a rabid fanbase of black-shirted scowlers that pet project Puscifer (featuring Milla Jovovich, sketch comedy, and achingly sincere Elton John covers) would be, um, ironic? Subversive? From the handful of original tracks Keenan’s released—which feature Jovovich’s vocals sidling around sampled wedgerows orchestrated to reward covergirl swagger—the live Puscifer multimedia cavalcade seems inextricably tied to Vegas origins. JAY HORTON. Roseland. 8 pm. SOLD OUT. All ages.

[KALEIDOSCOPIC SOUNDTRACKS] Seattle’s Midday Veil stops off in Portland for the first date of a West Coast tour, a jaunt that will likely squeegee clean a number of third eyes along the way. Its brand of mindexpanding psychedelia rarely gets above a snail’s pace, allowing you to experience every spiraling guitar run and droning bleat of the band’s vintage synthesizers, as well as the fluttering arc of Emily Pothast’s spacemother vocals. It’s a sound custom designed to coax you down the rabbit hole, leaving you blissfully lost in wonderland. ROBERT HAM. Ella St. Social Club. 9 pm. $5. 21+.

The Dimes, Casey Neill The Norway Rats, Friday Mile

See album review, page 36. Mississippi Studios. 10 pm. $10. 21+.

Puscifer, Sweethead

[ÆSTHETICS] The greatest trick the devil ever pulled was convincing the

FINN RIGGINS, FRIDAY, NOV. 13

[SPAZZ POP] Finn Riggins loves life on the road. In fact, the Idaho spazz-pop trio is so committed to touring, it spent a staggering 245 days away from home last year. For many of the shows, it rolled up to bars and house venues on some interesting wheels: an old yellow school bus. “It would get so cold, ’cause there was virtually no heating,” drummer Cameron Bouiss says of the band’s first ride. “We would all huddle and sit around the front of the bus around the one heater, desperately trying to warm up our hands.” On the last day of 2006, Finn Riggins drove the bus to Portland to play a New Year’s Eve house party. It was there that the band met Jared and Brianne Mees, now the owners of the Tender Loving Empire label that has released the past three Finn Riggins records. “We showed up there and realized our school bus was bigger than the venue we were playing,” Lisa Simpson says, cracking up. “But we had a great time, and Jared’s been a good friend ever since.” Though the band has since downsized to a touring van, it still does things its own way. With the recently released Vs. Wilderness, the group—Bouiss on an assortment of percussion, including a steel drum; Simpson on guitar and vocals; Eric Gilbert on keys and vocals—makes its strongest statement yet. Filled with hooky, upbeat songs about small towns, animals and Marie Antoinette, Vs. Wilderness refuses to stay in one place for more than a few moments. Finn Riggins uses genre as a stylistic jump rope, dabbling in New Wave synths, odd time signatures, and—especially on songs like lead single “Wake (Keep This Town Alive),” an anthemic stomper and Idahoan cousin to Arcade Fire’s Funeral— plenty of well-placed harmonies. Even though Idaho’s music scene is small (“it’s really a little baby scene,” Gilbert jokes), it provides the sense of community that’s key to Finn Riggins’ philosophy. Until recently, all three members lived in the town of Hailey (population 7,844). Simpson and Gilbert now stay in Boise when they’re not on the road. The band considers Portland a second home, but it isn’t ready to give up its roots. “We really like being from Idaho,” Simpson says. “It gives us this sense of mystery. Who wouldn’t want to see a band from some podunk town that drives around in a school bus?” MICHAEL MANNHEIMER. Finn Riggins ditched the big yellow bus, but it’s not about to ditch its home state of Idaho.

SEE IT: Finn Riggins plays Friday and Saturday, Nov. 13 and 14, at the Wonder Ballroom with Built to Spill. See listing on this page for details.

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CRAIG CAROTHERS (SINGER-SONGWRITER) 9PM FRI 11/13

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KARAOKE WITH UNIQUE ENTERTAINMENT 8:30PM

WillametteWeek NOVEMBER 11, 2009 wweek.com

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MUSIC

SUNDAY - TUESDAY

ingly low preach factor, one that invites heathens and believers alike to appreciate his classically laidback West Coast flow and partyconscious beat-choice. Shut the blinds and throw on his last fulllength, the aptly titled Summertime Pool Party, and you’ll swear it’s not raining outside. DAVID ROBINSON. Backspace. 9 pm. $10. All ages.

Blues Power: Lloyd Jones Struggle, Curtis Salgado, D.K. Stewart Band, The Strange Tones, Norman Sylvester Band, Terry Robb, Bill Rhoades, Jim Mesi and more

[BLUE-GOODERS] One tradition that nurtured the growth of the blues was the phenomenon of rent parties, where folks would get together at a friend or neighbor’s house, listen to hot music, and chip in for the host’s monthly nut. Another important tradition is that of the independent blues DJ, who provides crucial exposure to local or little-known artists in a genre oft neglected on the airwaves. Today’s event joins both these traditions, as many of Portland’s— nay, the Northwest’s—finest blues artists (Curtis Salgado, Lloyd Jones, D.K. Stewart and a couple dozen others) gather to help ease the hard times for ailing KBOO DJ Tom Wendt, whose Blues Junction show has been a vital conduit between artists and fans of the genre for decades. JEFF ROSENBERG. Crystal Ballroom. 4 pm. $10 suggested donation. All ages.

Hollywood Undead, Atreyu, Escape The Fate, The Sleeping

[EWW METAL] Continuing the wave of white rappers from L.A., Hollywood Undead offers the requisite themes of homophobia, titties, exaggerated violence and excess drinking and drugging. But Hollywood Undead serves it up slathered in nu metal, spitting its standard-issue rhymes about shaking asses and drinking Mickey’s over a backdrop of metal riffs and pulsating synth. To its credit, the six-piece band does play instruments while its members take turns rapping/screaming behind masks that resemble characters from The Strangers. It’s a gimmick, to be sure, but one that should work well for frat guys and Ultimate Fighting tailgates. AP KRYZA. Roseland. 7 pm. $25 advance, $28 day of show. All ages.

MONDAY NOV. 16 Anti-Pop Consortium, Guests

[ELECTRORAP] There are a handful of contemporary groups that wow everyone from heads to haters, and Anti-Pop Consortium is one of them. Spending the early aughts crossing the streams of IDM and hip-hop (think of an American Massive Attack with an extra does of grime, or Afrika Baambaata with a brand new copy of Reason), the New York City trio disbanded way back in 2002. Its 2007 reformation led to an especially dark and verbally explosive 2009 disc, Flourescent Black. I’m not sure whether you bring glow sticks or just wave your hands in the air for this one, but Anti-Pop should bring one of the more interesting shows—and audiences—you’ve seen in a while. CASEY JARMAN. Doug Fir Lounge. 9 pm. $10 advance, $13 day of show. All ages.

The Old Light, Kelly Blair Bauman, Hungry Ghost

See profile, page 32. Valentine’s. 9 pm. 21+.

TUESDAY NOV. 17 Grant Hart, Sean Croghan

[NEW DAY RISING] It takes a lot to escape the shadow of a former great band. For Grant Hart—drummer and co-songwriter for seminal Minnesota melodic hardcore trio Hüsker Dü—a brand new solo album is just the medicine he needed.

36

WillametteWeek NOVEMBER 11, 2009 wweek.com

Hot Wax is Hart’s first solo disc in 10 years, and he sounds refreshed and reinvigorated after kicking a nasty drug habit that hobbled him for too long. Featuring contributions from members of Godspeed You! Black Emperor and A Silver Mt. Zion, Hot Wax is the most openly tuneful and baroque thing Hart’s ever released, often ditching his trademark buzzsaw guitars in favor of sparse keyboard-drenched arrangements. Not a bad way to close out the decade, huh? MICHAEL MANNHEIMER. Dante’s 7 pm. $10 advance, $12 day of show. 21+.

Russian Circles, Young Widows, Helms Alee

[INDIE METAL] A trio of trios descends on Doug Fir, bringing heavy rock sounds from underground America. Russian Circles is an instrumental unit from Chicago that shares a label with Red Fang. Tool took the Circles on tour, so there’s enough meat there for the metal heads, but fans of Mono and Explosions in the Sky should also take note. Young Widows hails from Louisville, formed from the ashes of Breather Resist. The Widows have released a string of split recordings in the past two years with luminaries like Melt-Banana and Pelican. Opener Helms Alee represents the great Northwest, with Ben Verellen playing his own series of homebuilt signature amps with a female rhythm section that will knock your wool socks right off. NATHAN CARSON. Doug Fir Lounge. 5 and 8:30 pm. $10 advance, $12 day of show. 21+.

Julian Plenti, I’m in You

[TURN ON THE BRIGHTER LIGHTS] It seems like 2009 is the year when everyone is finally going solo.

Following on the heels of Julian Casablancas’ synth-pop debut without his fellow Strokes, Julian Plenti is the Eurotrash-sounding name for the first record from Paul Banks, Interpol’s debonair frontman. Weirdly enough, about half of Julian Plenti is...Skyscraper sounds almost exactly like the work of his main band. And though that’s not a bad thing (lead track “Only If You Run” easily beats anything off 2007’s half-baked Our Love to Admire), it’s the weirder tracks that make the biggest splash. “Skyscraper,” with its twinkling pianos and somber strings, and the pretty, acoustic lament “On the Esplanade” offer a range Banks rarely hinted at in the past. Let’s all hope Banks keeps this in mind when working on the next Interpol joint. MICHAEL MANNHEIMER. Holocene. 8 pm. $15 advance, $17 day of show. All ages.

Neon Indian, Guidance Counselor, Tigercity, Remy the Restless

[DEADBEAT SUMMER] Now that the seasons have changed and the fog has moved in, I can admit this: I’m kinda into this whole chillwave/ glo-fi/dreambeat thing. Stupid genre tag aside, it’s a scene that, until this fall, produced some pretty great singles. Neon Indian is the brainchild of Mexican-born, Texasdwelling synth whiz Alan Palomo, and his first full-length under the guise, Psychic Chasms, is the year’s best debut album. Bubbling with a bed of almost-cheesy synth patterns, drum machines, Italo-disco beats and a serious dose of nostalgia, it’s a record that’s fully listenable from front to back. I’d take acid with you any day, dude. MICHAEL MANNHEIMER. Mississippi Studios. 9 pm. $10. 21+.

ALBUM REVIEW

THE DIMES THE KING CAN DRINK THE HARBOR DRY (PET MARMOSET RECORDS) [ANTIQUE POP] Dimes, can you spare a brother? Spare me your tedious mid-tempo strumming, wan melodies, sedate vocals, and especially, your humorless lyrical gloss on a CliffsNotes summary of a high-school American history textbook. Yes, your sophomore release, The King Can Drink the Harbor Dry, sure sounds pretty at first, with its tastefully restrained acoustic arrangements and careful harmonies—but it doesn’t take too many similarsounding songs for those qualities to become liabilities. And I had to get out my spyglass—sorry, magnifying glass—to parse your lyrics’ utterly illegible, faux-Colonial typeface. (Note: 18th-century calligraphers did not have 8-point fonts.) But by rights, they should come with ye olde Wikipedia links; songs address Winslow Homer, Clara Barton, Susan B. Anthony (“Susan be”—get it?—“good to me”) and a numbing array of others. One tune, “Walden and the Willow Tree,” ticks off Alexander Graham Bell, Poe, Thoreau, the Salem witch trials and Elias fucking Howe in just 11 lines. Sorry, guys, but if you’re not playing that for laughs, you’re gonna get ’em anyway. The pretentious cherries atop the liner notes are thank-yous—in an even tinier font, thank you—to a laundry list of historical figures. We’ve heard this history-geek indie-folk before, but Johnny Clay’s songs lack the mordant wit, eccentric diction and high-wire rhymes of Colin Meloy’s evocations of antiquity. It’s commendable that the Dimes choose to apply their undeniably lovely sound to lyrical matter so far removed from the usual chamber-folk navel-gaze. But this album conjures history as seen through a hazy nostalgic squint, lacking the grit and spontaneity of real, lived experience. Truth be told, several songs sound less like folk-rooted ballads than mid-’80s Alan Parsons Project radio hits. If our predecessors had been this wussy, we never would’ve made it out of the 1700s. JEFF ROSENBERG. SEE IT: The Dimes play Mississippi Studios twice on Saturday, Nov. 14. With Po’ Girl (7:30 pm, all ages) and with Casey Neill & the Norway Rats and Friday Mile (10 pm, 21+). $10 for each show.

WillametteWeek NOVEMBER 11, 2009 wweek.com

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MUSIC CALENDAR WED. NOV. 11 Airplay Cafe

WCS/NSAI Songwriter’s Open Mic (6:30 pm); Colleen Raney & Hanz Araki (5:30 pm)

Aladdin Theater

Tyrone Wells, Stephen Kellogg & the Sixers, Matt Hires

Andina

Nelson Salazar

Ash Street Saloon

Vieve Rose, Roman Holiday, Katie Carlene

Berbati’s Pan Restaurant Mattress, Don Hellions

Biddy McGraw’s

Stringed Migration (9 pm); Little Sue Happy Hour (6 pm)

Calabash

Doo Doo Funk All-Stars Jam W/ Tony Ozier’s Band

Crystal Ballroom

They Might Be Giants, The Guggenheim Grotto

Dante’s

Bobarino Gravittini, Sallo, The Mighty Mighty Acrobats, NagaSita, Andi Lou, Dingo Dizmal, William Batty

Doug Fir Lounge

Pinback, Joe Jack Talcum

Duff’s Garage

Suburban Slim’s Blues Jam

Dunes

Honduran, Night Gown

East End

Lover!, Pity Fucks, DJ HWY 7

Goodfoot

Skerik, Wil Blades, Scott Amendola

Hawthorne Theatre

Cartel, This Providence, The Summer Set, The Dares

Heathman Restaurant and Bar Belinda Underwood

Jimmy Mak’s

Rick Estrin and the Nightcats, Bob Shoemaker

Editor: Michael Mannheimer. TO HAVE YOUR EVENT LISTED, enter show information at least two weeks in advance on the web at wweek.com/submitmusic. Press kits, CDs and especially vinyl can be sent to Music Desk, WW, 2220 NW Quimby St., Portland, OR 97210. Email: mmannheimer@wweek.com. Find more music: reviews 31 | clublist 41 For more listings, check out blogs.wweek.com/music/calendar/

Heather Perkins (9 pm); B. Bixler, Helen Chaya (6 pm)

Mississippi Studios

Mike Coykendall, Parson Red Heads, Cabinessence, Old Light

Muddy Waters Coffeehouse

Talk Music Spoken Word Hip-Hop: Listener, Garret Potter, Inkre:Mentals, Phoenix, Spoken Nerd

Music Millennium Matt Hires

Press Club

Swing Papillon

Rock Bottom Restaurant & Brewery Weekly Therapy: Tyler Stenson & The Sale

Rotture

The Jet Age, System and Station, New York Rifles

Satyricon

Echoes To Come, Jeff Handley and the Hideaway, Abernethy Road, Next Train to Elsewhere

Sellwood Public House Bridgetown Morris Men

Slabtown

Boy and Bean

The Wail

Fancie, DASH!, Adrian Orange, Billy Goat

The Woods

Baby Ketten Karaoke

Thirsty Lion

Eric John Kaiser

Tony Starlight’s

Kells

Justin Franzino’s Variety Show

LaurelThirst Public House

Twilight Cafe & Bar

Pat Buckley Rainworms, Dan Haley is Mr. Casual (9 pm); Bingo Band (6 pm)

Street Level Devil

Living Room Theaters

Virgo and Pisces

Frightening Waves of Blue

Local Lounge

Pamela Jordan Band

London Grill Bill Beach

McMenamins Edgefield

Vino Vixens

Doug Westberg Stephen Ashbrook

White Eagle Saloon Oakhurst

Wonder Ballroom

The Mountain Goats, Final Fantasy

Halelupe

McMenamins Rock Creek Tavern

Jon Koonce & One More Mile

THURSDAY NOV. 12 Alberta Street Public House Dan Coyle and Guests (9:30 pm); Pat Hull (7 pm)

Andina

McMenamins Edgefield

Greg Wolfe

Jon Koonce

Ash Street Saloon

Go Engine Now, Capraesque, Miriam’s Well, Matthew Lindley

Biddy McGraw’s

McMenamins Rock Creek Tavern

Rock Creek Branders

Mississippi Pizza

Neptune Skyline, Little Czar and the Psalmist, Boom! (9 pm); Mo Phillips, Lincoln Crockett (6 pm)

Rollie Tussing (9 pm); Josh Lightnin’ (6 pm)

Buffalo Gap Saloon

Mississippi Studios

Craig Carothers

Jay Nash, Shane Alexander, Joey Ryan (9 pm); Benjamin Alexander Clark (6 pm)

Chapel Pub Ben Darwish

Dante’s

Mt. Tabor Theater

MSTRKRFT

Vaughn Kreestoe, Snug Harbor, The JB Quartet

Devils Point

Dry Country Crooks with Westerly

Muddy Rudder Public House

Doug Fir Lounge

Over the Rhine, Katie Herzig

Ducketts Public House

Here Before There, The Nosebleed Fantastique, Push One Pull One

Duff’s Garage

Lloyd Jones

Original Halibut’s Terry Robb

Red Room

The Federalists, Delta Bravo, Leaves Russell

Samuel James (9:30 pm); Pete Krebs & The Portland Playboys (6 pm)

Rose Garden

Dunes

Alondre, Jom Rapstar, Tha Bizz, Deuce-1, Emmoral, Tbo ft. Bliss & Past Tense, 6 Feet Deep

Celtic Thunder

Satyricon

Snow Bud and the Flower People, DJ Rockthrower

Fire on the Mountain

TeaZone and Camellia Lounge

Sea and Sky

Goodfoot

Ian Mouser

Head for the Hills

The Woods

Gotham Tavern

Rebecca Gates, Buoy LaRue, Vandaveer

Angie Foster

Ground Kontrol

The Mean Jeans, White Fang, DJ Ken Dirtnap

Hawthorne Theatre

Runaway Norm

Tonic Lounge

Twilight Cafe & Bar

Heathman Restaurant and Bar

Rock Jam hosted by Rowdy James

Johnny Martin Trio

White Eagle Saloon

Jimmy Mak’s

Poncho Luxurio (8:30 pm); Redwood Son (5:30 pm)

Trio Luftbrucke

Kells

Wonder Ballroom

Pat Buckley

Kennedy School

The Portland Woodshed Jazz Orchestra

LaurelThirst Public House

London Grill

Thirsty Lion

Rainstick Cowboy, John Garcia, Quinn Allen

The Almost, Drive A, New Mecca, This Time Next Year

Billy Kennedy, Pete Krebs, Dan Haley, Tim Acott (9:30 pm); Pu Pu Platters (6 pm)

[NOV. 11 - 17]

Immortal Technique, Diabolic, Poison Pen, Swave Sevah, Chino XL, Mic Crenshaw

FRIDAY NOV. 13 Aladdin Theater

Black Heart Procession, Bellini

38

WillametteWeek NOVEMBER 11, 2009 wweek.com

Mississippi Pizza

Galaxy Farm (9 pm); Jenny Sizzler (6 pm)

Mississippi Studios Mock Crest Tavern

Richie & Leon from King Juju

Gus Richmond and Jamie Stillway

Mt. Tabor Theater

Sugarcane String Band, Chris Barron

Andina

Sambafeat

Mt. Tabor Theater Lounge Oneself Connect featuring Dan Craig, Miles Maeda, Spinnaface

Arlene Schnitzer Concert Hall

Ian Anderson with the Oregon Symphony

Muddy Rudder Public House

Ash Street Saloon

Ninja, My New Vice, Built By Giants, Rust

Hello Stranger

Berbati’s Pan

Salvador, Rabbits, Diesto, Mongoloid Village

Misfits, 800 Octane, Embrace The Kill, Rum Rebellion

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Bingo’s Dream Band (9:30 pm); Billy Kennedy & Jimmy Boyer Happy Hour (6 pm)

Branx

Best Fwends, Totally Michael, Jaguar Love, Serious Business, Holla ‘n’ Oates

Buffalo Gap Saloon

Plan B PPAA

Zydeco Birthday w/ Special Appearance by Reggie Houston and Tahoe Jackson

Press Club

Forest Bloodgood and Friends

Red Room

The Murders

Roots Organic Brewing

Brian Copeland Band

Ronnie Sirota & Friends

Clyde’s Prime Rib

Roseland

LaRhonda Steele

All Time Low, We The Kings, Hey Monday, The Friday Night Boys

Dante’s

Electric Six, Gay Blades, Millions of Brazillians

Satyricon

Doug Fir Lounge

Over The Rhine, Katie Herzig

Ducketts Public House

Teenage Bottlerocket, Cobra Skulls, Broadway Calls, 48 Thrills

Sellwood Public House

Here Comes a Big Black Cloud, Best Supporting Actress, Terraform, Orca Team

David Ward

Slabtown

The Quick & Easy Boys, Lowenbad, Power Of County (9 pm); Flash Flood & The Dikes (6 pm)

Duff’s Garage

Black Crabs, Lana Rebel

East Burn

Someday Lounge

James Faretheewell

Sambada, Jujuba

East End

Negative Trend, Lucky 13’s, Coco Cobra & The Killers, Toiling Midgets

The Parlour

Ella St. Social Club

The Woods

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Thirsty Lion

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Hawthorne Theatre

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Tony Starlight’s

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Rod Nightengale and the C4 Influenze

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Kells

Jon Koonce & One More Mile

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LaurelThirst Public House

Treasury Ballroom

Twilight Cafe & Bar

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Twilight Room

McMenamins Edgefield

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McMenamins Rock Creek Tavern Renegade Minstrels

Bill Beach

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Virgo and Pisces Jesta

White Eagle Saloon

Lisa & Her Kin, Mama Tried (9:30 pm); Reverb Brothers (5:30 pm)

Wonder Ballroom

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SATURDAY NOV. 14 Alberta Street Public House

Miriams Well, Nancy Curtin

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Artistery

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Ash Street Saloon

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Doug Fir Lounge

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Ducketts Public House

The Hand That Bleeds, Curious Hands, Sharing Mass Graves

Duff’s Garage

Steven “Pearly� Hettum and the Janglers, Lenny Rancher, The Karlyle Group

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Puddletown Ramblers

East End

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Fire on the Mountain Renegade Minstrels

Goodfoot

Joe Krown, Russell Batiste, Wolfman Washington

Jimmy Mak’s

King Louis and Baby James, DK Stewart

Kells

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LaurelThirst Public House

Bad Mitten Orchestre, Fruition (9:30 pm); Little Sue & Lynn Conover (6 pm)

Local Lounge

Noah Peterson Soul-Tet

London Grill

Eli Reischman (5:30 pm); Jean Ronne (9:30 am) Don Jansen

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Mississippi Pizza

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Cold Metal, The Soft Metals, DJ Baroness

The Parlour

Jantar Mantar, Notes Underground, The Shannon Tower Band, Face the Box (8 pm); Mister Chill’R (5 pm)

Tony Starlight’s

Shoehorn Vontap Family Variety Show

Valentine’s

White Hinterland, Threads of Grass, Justin Power

Vino Vixens

Suzanne Callaway

MONDAY NOV. 16

Mississippi Studios

The Dimes, Casey Neill & The Norway Rats, Friday Mile (10 pm); The Dimes, Po Girl (7 pm)

Mock Crest Tavern Lisa & Her Kin

Mt. Tabor Theater Lounge Will Coca, Rob Johnston, Michael Mirlas

Muddy Rudder Public House Terry Robb

Multnomah County Library—Central Library Flash Choir

O’Connor’s Vault

Dave Fleschner Trio Fred Stickley & King Beta

Original Halibut’s Ellen Whyte

Plan B

Valkyrie Rodeo, AAPOAA, Thee Letting Forth of Fire, Wizard Rifle

Press Club

Rachel Taylor Brown and Ali Wesley

Red Room

Puffer, Bring the Dead

Reed College

Julianna Barwick

Roots Organic Brewing Amy Bleu

The Parlour

The Heartbeat, Cannery Row, The Glyptodons, The Shivas

The Wail

White Hinterland, Neal Morgan

The Woods

Erin Mckeown, Sonya Kitchell

Thirsty Lion

The Remasters

Tiger Bar

Silent Treatment, Gunfighter

Tonic Lounge

Dao and Anne’s Baby Welcoming Party

Tony Starlight’s

The Stolen Sweets

Treasury Ballroom Eric John Kaiser

Twilight Cafe & Bar Oxcart, Bacon Moon, Invisible Orchestra

Virgo and Pisces

Boy & Bean (10 pm); Sound Semantics (8 pm)

White Eagle Saloon

Redwood Son, Burn the Seed (9:30 pm); Wayward Vessel (4:30 pm)

Wonder Ballroom

Built To Spill, Disco Doom, Finn Riggins

Worksound

Fuck Buttons, Growing

Roseland

Puscifer, Sweethead

Rotture

Megasoid, Lazer Sword, Signal Path, Dark Party, Machine Drum, Mux Mool, Deelay Ceelay, DJ Dials, Tyler Tastemaker, Graintable

Sellwood Public House

Lewis Brothers, Chris Harris & Friends

Slabtown

Irish Circle featuring Hanz Araki & Cary Novotny

Calabash

Soft Sundays W/ Gretchen Mitchell Band

Crystal Ballroom

Blues Power: Lloyd Jones Struggle, Curtis Salgado, D.K. Stewart Band, The Strange Tones, Norman Sylvester Band, Terry Robb, Bill Rhoades, Jim Mesi and more

Dante’s

Sinferno Cabaret, Silent Treatment

Doug Fir Lounge

SUNDAY NOV. 15 Aladdin Theater

Saul Williams, CX KiDTRONiK Tchaka Diallo, Earl Greyhound, American Fangs

Alberta Street Public House

Alexa Wiley and Friends

Andina

Scott Head

Ash Street Saloon

TeaZone and Camellia Lounge

Pigeon John, Josh Martinez, Alphabet Stew, IAMe, DJ Spark

List, City of Ships, Microtia, With Eyes Abstract

Backspace

Anti-Pop Consortium, Guests

Duff’s Garage

Big “D” Jamboree featuring Chris Olson’s High Flyers and Joy & Her Sentimental Gentlemen

Hawthorne Theatre

Attack Attack!, I Set My Friends On Fire, Miss May I, Our Last Night, The Color Morale

Jimmy Mak’s Carl Verheyen

Kells

Cronin Tierney

LaurelThirst Public House

East End

Gideon Freudmann

El Swampo, Tullis, Issa, A Killing Dove

Kennedy School

Crown Room

Organ LeRoi and the Donors

Crush Drum and Bass

Crystal Ballroom

Devils Point

Raphael Saadiq, Anjulie, Melanie Fiona

New Wave Wednesdays

Dante’s

DJ Brokenwindow

London Grill McMenamins Edgefield McMenamins Rock Creek Tavern Bob Shoemaker

Mississippi Pizza

Indian Valley Line, Kris Doty, Eric Nordby

Tiga

Doug Fir Lounge

Awesome Racket: DJs 2 Arm Tom, Wroid Wrage

Dover Weinberg Quartet

The Sodbusters

Goodfoot

Scott Pemberton Trio

Hawthorne Theatre

White Tie Affair, Every Avenue, Stereo Skyline, Runner Runner, The Lives of Famous Men

Jimmy Mak’s

The Mel Brown Septet

Kells

Cronin Tierney

LaurelThirst Public House Dan Haley’s Big Goodbye (9 pm); Jackstraw (6 pm)

McMenamins Edgefield

Caleb Klauder & Sammy Lind

Mississippi Pizza

Andrew Anderson, Emily Herring, Old Canes (9 pm); Kites & Crows, Rose Gerber (6 pm)

Mississippi Studios

Neon Indian, Guidance Counselor, Tigercity, Remy the Restless

O’Connor’s Vault Julie And The Boy

Rock Bottom Restaurant & Brewery

Roseland

Roseland

McMenamins Edgefield McMenamins Rock Creek Tavern Cary Novotny & Hanz Araki

Mississippi Pizza

Ehran Ebbage, John Shipe (9 pm); Gumbo (6 pm); Lara Michel’s Vocal Recital (1 pm)

Rotture

Agent Ribbons, Lost Lockets, Above Snakes

Satyricon

Brokencyde, Kill Paradise, The Ready Set, Watchout! There’s Ghosts, Blood On The Dance Floor

L-Train

Acoustic Brew Showcase

Tanya Stephens, Lilla D’Mone, Madgesdiq, Small Axe Sound

Rotture

Thunderheist, Winter Gloves, Fleshtone, DJ Lifepartner

Tiger Bar

Throwback Suburbia, Ari Shine, Adam Bones

DJ N-Able

Hip-Hop Heaven With DJ Robb

Crown Room

Delicious Alternative Dance Party

‘80s Video Dance Attack: VJ Kittyrox

Matador

Highway To Hell

Revolution With DJ Robb

Calabash

Fez Ballroom Atomic

45th St. Pub & Grill DJ HazMatt

Groove Suite

Alexander East

Ground Kontrol

DJ Destructo, DJ I (Heart) U

Holocene

Someday Lounge Tiga

DJ Nate Preston DJ Rat Creeps

SUNDAY NOV. 15 Groove Suite

Rotture

Soulstice

Someday Lounge

DJ Nate C.

DJ Beyonda, Laurent Reus The Fixx: DJ Kez, DJ Rev Shines, Ohmega Watts, DJ Dundiggy

Ground Kontrol Tube

Holy Revival Sundays: DJ A-Train, DJ Clark

Tiga

DJ Magic Beans

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MONDAY NOV. 16

Gimmie Danger: DJ Maxamillion

Devils Point

Valentine’s

Matador

Sir Tall Selector

DJ Brooks

DJ Donny Don’t

Tiga

FRIDAY NOV. 13 C.C. Slaughters

Flamin’ Fridays With DJ Pony

Maxamillion

Tube

Heavy Metal Ladies Night: DJ Nate C

Calabash

Bad Habitat Group

Crown Room

Valentine’s

DJ Aquaman

Playing For Change

SATURDAY NOV. 14 C.C. Slaughters

Valentine’s

White Eagle Saloon

Aladdin Theater

DJ Gigante & Dr. Peeps

Lola’s Room at the Crystal Ballroom

Roseland

Dear and the Headlights, Kinch, Rajiv Patel, The Welcome Home

Valentine’s

Tube

Ari Hest, Declan O’Rourke

Goodfoot

Romancing, Dramady, Sad Horse

Groove Suite

Wonder Ballroom

Holocene

Julian Plenti, I’m In You

Who Club W/ Chilly Chaze

Boolar & Swag (Wife Swap)

Shut Up and Dance

TUESDAY NOV. 17

Tube

Arohan, Prizm, Soft Metals, DJ Maxx Bass

Fez Ballroom

Satyricon

DJ Wicked, Deff Ro, DJ SwerveWon

Holocene

Twilight Cafe & Bar

The Chance Hayden Trio, Michalangela

Tiger Bar

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House Call

Nancy King

Hollywood Undead, Atreyu, Escape The Fate, The Sleeping

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Brickbat Mansion

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Shadowplay

Tony Starlight’s

Valentine’s

Rev. Shines, Tre Hardson, DJ Nature, Starchile

Fez Ballroom

Dig-A-Lin Bass Music

Mississippi Studios

Rotture

Sabado Suave, w/DJ Max

THURSDAY NOV. 12 C.C. Slaughters

Plan B

Puscifer, Sweethead

Valentine’s

Fire on the Mountain

LaurelThirst Public House

KJ Bettie Mayhem

Tube

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Mississippi Studios

Billy Kennedy & Tim Acott (9:30 pm); Freak Mountain Ramblers (6 pm)

Bill Portland

The Helping Hands, Metropolitan Farms

Craig Carothers hosts Jim Walker, Don Henry, Tim Ellis

Corb Lund, Little Sue

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The Ed Forman Show, TBA (10 pm); Grant Hart, Sean Croghan (7 pm)

Ella St. Social Club

Don Jansen

Hawthorne Theatre

Blue Monk

Dante’s

Doug Fir Lounge

WED. NOV. 11 C.C. Slaughters

David Choi

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SPIN CITY Tric 80s Flashback With DJ Robb

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Neftali Rivera

Andina

Keegan Smith & The Fam

KICKED IT IN THE SUN: Built to Spill, Friday and Saturday, Nov. 13 and 14 at the Wonder Ballroom.

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Tremors DnB with DJ Jinn Monorail 6: Remy & Lamar, Codebreaker

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Low Brow Sessions: DJ Saltfeend

TUESDAY NOV. 17 C.C. Slaughters

Total Request With DJ Pony

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Harlem Nights

Crown Room

See You Next Tuesday w/ Kellan

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Matador

DJ Donny Don’t

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= WW Pick. Highly recommended.

Rumpelstiltskin

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: BEN WATERHOUSE. Stage: BEN WATERHOUSE (bwaterhouse@wweek. com). Classical: BRETT CAMPBELL (bcampbell@wweek.com). Dance: KELLY CLARKE (dance@wweek.com). TO BE CONSIDERED FOR LISTINGS, submit information at least two weeks in advance to: bwaterhouse@wweek.com.

STAGE Ben Franklin: Unplugged

One morning, while shaving, monologuist Josh Kornbluth realizes he has lost enough hair and gained enough girth to resemble the man on the hundred-dollar bill. It’s not long before Kornbluth finds himself struggling to sort through academic rivalries, popular myth and Franklin’s own selfaggrandizement. BEN WATERHOUSE. Gerding Theater, 128 NW 11th Ave., 445-3700. 7:30 pm TuesdaysSaturdays, 2 pm Sundays, noon Thursdays, alternating 2 pm Saturday and 7:30 pm Sunday shows. Closes Nov. 22. $24-$45, $20 rush tickets.

Break

Lambda Theatre presents a play by J. Stephen Brantley about Nigel, a repressed gay Brit, and Scott, the gay opium addict who breaks into Nigel’s house. The Church, 602 NE Prescott St., lambdatheatreco.wordpress.com. 8 and 11 pm Friday, Nov. 13. $5.

Canta y no Llores

This year, Miracle Theatre’s annual Day of the Dead presents us with migrant laborers living in the woods of Mount Hood in the midst of the Great Depression, hoping to find work on the construction of Timberline Lodge. The story is little more than a framework for good song and dance, a blend of ’30s pop and Mexican and American folk tunes with similarly internationalist choreography. BEN WATERHOUSE. El Centro Milagro, 525 SE Stark St., 2367253. 7:30 pm Thursday, 8 pm FridaySaturday, 2 and 7:30 pm Sunday. Closes Nov. 15. $16-$22.

Charlie and the Chocolate Factory

Why wait to expose the younger set to an adult world of unbridled marketing that sucks in a poor child to hope for his “Golden Ticket” reward while avaricious kids cash in easily? There’s a happy ending eventually in this 1964 Roald Dahl children’s tale about empathetic Charlie and four very different brats lucky enough to win a trip inside Willy Wonka’s chocolate factory. And this production by Oregon Children’s Theatre generates a lot of giggles along the way to that end. The show is cleverly staged and darkly lit to convey the mysteries and dangers lurking in Wonka’s chocolate factory, without being too scary for young children. The play is too wordy in spots for kids 5 and younger, but there are enough sight gags and sing-alongs to get them through. The Oompa-loompas are damn cute. Cody Westphal as Charlie and Doren Elias as Willy Wonka both turn in strong performances. And an extra Golden Ticket to Devin White as a hilariously voracious Augustus Gloop. HENRY AND BEN STERN. Newmark Theatre, Portland Center for the Performing Arts, 1111 SW Broadway, 228-9571. 2 and 5 pm Saturdays, 2 pm Sundays. Closes Nov. 22. $13-$24.

DoneUndone

Bruce Orr, director of kid-centric Mudeye Puppet Company, debuts an adult show about insomnia, anxiety and demons, featuring a nightmarish landscape made from reused materials. Someday Lounge, 125 NW 5th Ave., 248-1030. 7 pm Saturday, Nov. 14; 7 pm Sunday, Nov. 15, at Cathedral Park Place, 6635 N Baltimore St. $12.

Fool for Love

Chris Harder and Val Landrum, a reallife married couple, play at emotional abuse and infidelity in CoHo’s production of a lesser-known work by Sam Shepard. Eddie (Harder), a rugged, cheatin’ stunt man, has come to fetch May (Landrum), his lover of 15 years, from her squalid motel room, hoping she’ll return to live with him again in

his windblown trailer. She doesn’t want to go, but she doesn’t want him to go, either. So they bicker, he pleads, she threatens to murder him, they get drunk, they fling one another against the walls, and we watch, hopelessly fascinated. BEN WATERHOUSE. The CoHo Theater, 2257 NW Raleigh St., 205-0715. 8 pm Thursdays-Saturdays, 2 pm Sundays. Closes Nov. 21. $20-$25.

Hats!

What do a tutu, chocolate and bad wigs have in common? They all make an appearance in Triangle Productions’ musical about middle-aged women learning to accept life and all of its affronts. SASHA INGBER. Brunish Hall, 1111 SW Broadway, tripro.org. 7:30 pm Thursdays-Saturdays, 2 pm Nov. 15 and 22. No show Nov. 19. Closes Nov. 22. $15-$35.

Henry IV

Northwest Classical Theatre Company presents the second half of the saga of Henry of Bolingbroke, with incidental humor by Falstaff, as told by William Shakespeare. Shoe Box Theater, 2110 SE 10th Ave., 971-244-3740. 7 pm Thursdays-Saturdays, 2 pm Sundays. Closes Nov. 22. $15-$18.

Hopeless

Melanya Helene revives her onewoman show derived from the writings of American Buddhist nun Pema Chödrön, which ran to largely positive reviews in June. The Brooklyn Bay, 1825 SE Franklin St., Bay K, 7724005. 8 pm Fridays-Saturdays, 3 pm Sundays. Closes Nov. 22. $12-$15.

No Exit

Jerry Mouawad’s Tilt-A-Whirl production gives Sartre’s dreary drama of divine punishment a powerful visual metaphor—the room in which the sinners are imprisoned is suspended, balances at the center point, and lurches up and down with their every movement—and equally powerful physicality, turning the turgid existential lecture into a black comedy. The current production, Imago’s fourth run in Portland, benefits from the talents of Tim True (Garcin), JoAnn Johnson (Inez), Maureen Porter (Estelle) and the delightfully weird Bryce Flint-Somerville as the Valet. BEN WATERHOUSE. Imago Theatre, 17 SE 8th Ave., 231-3959. 7 pm Thursday, 7:30 pm Friday, 2 and 7:30 pm Saturday, 2 pm Sunday. Closes Nov. 15. $28-$39.

Portland Neutrino Project

This group of nimble filmmakers performs, shoots, edits and scores a movie while you watch. Curious Comedy, 5225 NE Martin Luther King Jr. Blvd., curiouscomedy.org. 10 pm Friday-Saturday, Oct. 9-10. $5.

The Portrait the Wind the Chair

Lucy (Lea Zawada) isn’t handling her grandmother’s death well. She’s frightened of everything Minnie left behind, from Minnie’s teenage portrait to her favorite chair and even her big, old, windblown house, in which Lucy and her sister, Terroba (Kristen Martz), now reside. Children’s theater rarely presents kids as the unknowably strange beings they really are, and it’s nice to see Shaking the Tree addressing a young audience without the cartoonish antics of most kiddie shows. BEN WATERHOUSE. Shaking the Tree Studio, 1407 SE Stark St., 235-0635. 7 pm Friday-Saturday, Nov. 13-14. $10-$15.

Ration and Passion: 3 by Stoppard

Readers Theatre Repertory performs three short plays by Tom Stoppard: “Another Moon Called Earth,” “A Separate Peace” and “Just Good Fun.” Blackfish Gallery, 420 NW 9th Ave., 295-4997. 8 pm Friday-Saturday, Nov. 13-14. $8.

Tears of Joy Theatre revives its charming puppet adaptation of the German fairy tale. Winningstad Theatre, Portland Center for Performing Arts, 1111 SW Broadway, 248-4335. 7:30 pm Friday, Nov. 13. 11 am Saturdays, 2 and 4 pm Sundays. Closes Nov. 29. $14-$16.

ScratchPDX

A revue of new performance art. Hipbone Studio, 1847 E Burnside St., 358-0898. 9 pm Saturday, Nov. 14. $10.

Stay for the Cake

This is the first alumni show at the Portland Actors Conservatory, and the Montgomery Street Players, who wrote, directed, designed and performed it, have set the bar high. Three short plays written by Scott Rogers about artistic living provide a peppy, diverse evening. Phyllis Hartnoll’s Final Lesson stars a dying professor of dramatic arts who delivers an amusingly flawed last lecture. The most riotous act is Donnerstrasse, which features the Grimm Brothers’ fervent composition of a pop song in 1812 Germany. How to Have an Argument elucidates the craft behind the creative process, concluding the performance with slices of cake from Bakery Bar. Those on diets may find a little eye candy in Mark Merritt, and those indulging in dessert will burn off the calories laughing. SASHA INGBER. Portland Actors Conservatory, 1436 SW Montgomery St., 274-1717. 7:30 pm Friday-Sunday. Closes Nov. 15. $10.

DANCE Shen Wei Dance Arts

own. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 248-4335. 7:30 pm Wednesday, Nov. 11. $20-$50. Visit ticketmaster.com or whitebird.org.

Based in the busy hub of New York but born in a rural Chinese village, lauded choreographer and visual artist Shen Wei crafts pieces both startling and meditative. Best known for his work for the Beijing Olympics’ 2008 opening ceremonies, Wei now presents a hypnotic, fascinating pair of new works, Re: 1 and Re: 3, based in part on his travels in Tibet as well as impressions of “hyper-modern” China. Performed at one point on a striking giant mandala made of shredded paper, Re: 1 often features dancers repeating a series of flowing yet off-kilter movements over and over, as if etching designs in the floor and air with each pass of their arms and legs. Beautiful and enigmatic, this is a world of dance all its

Ill-Starred

Hot Little Hands, local choreographer Suniti Dernovsek and collaborator David Stein’s dance theater project, presents its newest show, a meditation on “loss, relationships, dreams, mourning and the reaction to and understanding of crisis.” Interstate Firehouse Cultural Center, 5340 N Interstate Ave., 7:30 pm Thursday-Saturday Nov. 12-14. $12-$15.

Bandage a Knife

Choreographer Linda Austin’s latest project, Bandage a Knife, is a wild stew of video footage, power struggles and

CONT. on page 44

PREVIEW BLAINE TRUITT COVERT

PERFORMANCE

Voices of Our Elders

Well Arts Institute spent 10 weeks with some very elderly Portlanders, assisting them in creating memoirs. Now the memoirs are performed. Olympic Mills Commerce Center, 107 SE Washington St., 459-4500. 3 and 7 pm Saturday, 3 pm Sunday. Closes Nov. 15. $10-$15.

CLASSICAL Filmusik/Classical Revolution PDX Chamber Orchestra

To accompany the rocket-powered turtles, “brain-eating space babes” and 25-story-tall monster in the 1969 Japanese monster flick Gamera vs. Guiron, the musicians of Classical Revolution will perform Galen Huckins’ original score live. Hollywood Theatre, 4122 NE Sandy Blvd., 281-4215. 7 pm Wednesday and Friday, Nov. 11 and 13. $8-$10.

Florestan Trio

The excellent PSU faculty threesome (Janet Guggenheim, piano; Carol Sindell, violin; and Hamilton Cheifetz, cello) fleshes out its sound with guests Theodore Arm (viola) and Jeff Johnson (bass), in Schubert’s famous “Trout” Piano Quintet, Faure’s C-minor Piano Quartet and more. The Old Church, 1422 SW 11th Ave., 222-2031. 7 pm Sunday, Nov. 15. $15-$25.

Portland Opera, Orphée

The third in Philip Glass’ series of works based on the great films of Jean Cocteau, Orphée earned positive reviews in its original 1993 incarnation and in this 2007 production, which originated at New York’s Glimmerglass Opera. Several members of that team join PO vets in this fast-paced (95 minutes), present-day setting of the classical Greek myth of a poet trying to bring his wife back from hell, or trying to rescue his marriage from midlife crisis. See preview at wweek. com/editorial/3551/13256. Keller Auditorium, 222 SW Clay St., 2484335. 7:30 pm Thursday and Saturday, Nov. 12 and 14. $20-$135.

Portland Youth Philharmonic

David Hattner leads the oldest orchestra of youngsters in Beethoven’s Piano Concerto #4, plus some Shakespeareinspired sounds: ballet music from Verdi’s Otello, the fanfare from Debussy’s King Lear, interludes from Oregon composer Ernest Bloch’s Macbe—er, Scottish play, and excerpts from Prokofiev’s powerful Romeo and Juliet. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 223-5939. 7:30 pm Saturday, Nov. 14. $11-$37.

BODYVOX’S CUSP.

CHRONOS/KAIROS (BODYVOX) BodyVox’s Dance Center is finally clean. Last spring, when the company presented The Foot Opera Files, the unfinished space was still filled with dust. “It was dirty. Literally,” says co-artistic director Jamey Hampton. Starting this week, however, we will be able to see the space as intended—shiny, pure and an open space for creativity. The company is not only celebrating the completion of construction. It’s also turning 12 this year, making the company the equivalent of grandparents in the Portland dance world. “We’re twice as old as most dance companies,” says Hampton. The latest show, called Chronos/Kairos (a reference to the two Greek words for time), will be retrospective. They will perform “past gems” from every year of company existence, many of which have only been seen once before, explains artistic director Ashley Roland. In addition, there will be two world premieres–one a dance and one a film by collaborator Mitchell Rose. Hampton says this show is unique for the company—because the evening will consist mostly of old works, there will be no underlying story line: “It’s more like a rock concert.” However, like most BodyVox productions, the pieces in Chronos/Kairos contrast theatrical playfulness with incredible athletic feats. Witness first Bottom of the World, a piece featuring Eric Skinner as a defeated hobo stumbling across the stage to Tom Waits. Dancers Daniel Kirk, Matt Hope, Zachary Carroll and Hampton take turns carrying him and impaling him with a giant wooden board. Some tricks, like the Pilobolus-esque transformation of the men into a seesaw, are enjoyably creative; however, the moments in between lose themselves in pedestrianism. On the other hand, Skinner, Kirk and Carroll will be reviving the quietly ominous and physically jaw-dropping Cusp, originally performed in BodyVox’s first show in 1998. The entire piece takes place in a metal cage hung a good six feet above the stage. Seen at a distance, the box evokes an MC Escher optical illusion. The men weave their way in and out, above and through the cramped metal cloud. For longtime BodyVox fans, Chronos/Kairos is sure to be a treat. For those less familiar with the company’s repertory, the show may appear haphazard. However, the evening will be so diverse that it will be hard not to find excellent pieces. KATE WILLIAMS.

The local company brushes off dust and celebrates 12 years in the biz.

GO: BodyVox performs at the BodyVox Dance Center, 1201 NW 17th Ave, 229-0627, bodyvox.com. 7:30 pm Thursdays-Saturdays, Nov. 12-Dec. 5, 2 pm Saturday, Nov. 28 and Saturday, Dec. 5. $36-$48. WillametteWeek NOVEMBER 11, 2009 wweek.com

43

PERFORMANCE

slo-mo death scenes. It is actually a collaboration with experimental musician Seth Nehil, who is also hard at work developing Pacific Northwest College of Art’s first sound art class. The inspiration is Seijun Suzuki’s absurdist 1967 cult Japanese yakuza film Branded to Kill—a flick in which contract killers shoot bullets through water pipes and rice is used as a sex aid. “A couple of years ago, Seth mentioned, ‘Oh, this movie reminds me of you,’� Austin says. Performance Works NW, 4625 SE 67th Ave., 777-1907. 7 and 9 pm FridaySaturday, Nov. 13-14 and 20-21. 7 pm Thursday, Nov. 19 and Sundays, Nov. 15 and 22. $10-$15 sliding scale. Reservations required.

Portland’s Music Journal for News, Gossip, Live Reviews, MP3s, Tour Diaries and More.

www.localcut.com

NOV. 11-17

Pure Dance Company

||

Sonya Duffin’s local jazz and lyrical company celebrates five years with

a retrospective of works and a few sneak peeks of new pieces called Re:Visited. A-WOL Studio, 920 NE Flanders St., artixpdx.com. 7:30 pm Friday-Sunday, Nov. 13-15. $10-$15. Kids under 8 free.

Lord of the Dance

In the land of Mordor, in the fires of Mount Doom, the Dark Lord Sauron forged in secret a master ring to control all others. And into this ring he poured all his cruelty, his malice and his will to dominate all life. One ring to rule them all—sorry, wrong lord. Keller Auditorium, 222 SW Clay St., 248-4335. 7:30 pm Monday-Tuesday, Nov. 16-17. $23.35$58.25. Tickets at Ticketmaster or the PCPA Box Office.

For more Performance listings, visit

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EVERYONE WHO LOOKS LIKE YOU (HAND2MOUTH THEATRE) A rowdy ensemble grows up by going back home.

In my June review of the work-inprogress production of this pastiche of family life by Hand2Mouth Theatre, I advised readers to see the show with their siblings. I take it back. The current version of the work, which the company will tour to New York’s La MaMa E.T.C. in January, is stripped of schmaltz, portraying family just as it is: the people to whom you happen to be related, who made you who you are, who loved you more and caused you more pain than anyone else ever could, and whom you will one day inevitably become. Everyone Who Looks Like You is the company’s most polished production to date—an odd thing to say about a group whose aesthetic favors rough edges, but true. With the exception of some gratuitous fart jokes, every scene feels deliberate, unconfused by the sense of barely controlled chaos of the company’s other recent work. This isn’t so much a dark take on family as a clear-eyed one—the material is drawn from the memories of the cast and crew and informed by interviews with one another’s parents and siblings. They had normal childhoods, filled with normal joy and pain and confusion, which they spill upon the stage: the time Mom came home with a terrible perm, the time the parents bungled a speech about the ills of masturbation, the time a sibling stormed out of the house and vanished for five years. There are strong recurring visual metaphors (breakfast cereal, sweaters, peanut butter). The show is accompanied by a constant, occasionally ominous score. There’s a good original song by Faith Helma. The nonstop movement is purposeful and poignant (Portland choreographer Mike Barber contributed some moves). The set is a piece of IKEA brutalism that is stark but not menacing. Courageously, the Hand2Mouth actors have all invited family members to attend this unearthing of things they would never speak about otherwise. Should you do the same, you may find yourself in the midst of involuntary oversharing after the show. Don’t say I didn’t warn you. BEN WATERHOUSE.

SEE IT: Theater! Theatre!, 3430 SE Belmont St., boxofficetickets.com. 8 pm Thursday-Sunday. Closes Nov. 22. $12-$15. 44

WillametteWeek NOVEMBER 11, 2009 wweek.com

VISUAL ARTS

NOV. 11-17

= WW Pick. Highly recommended. By RICHARD SPEER. TO BE CONSIDERED FOR LISTINGS, submit show information—including opening and closing dates, gallery address and phone number—at least two weeks in advance to: Visual Arts, WW, 2220 NW Quimby St., Portland, OR 97210. Email: rspeer@wweek.com. Fax: 2431115. Emailed press releases must be backed up by a faxed or printed copy.

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P O R T L A N D ’S

HOT GLASS

STUDIO ARTIST INVITATIONAL

ALEX STECKLY’S THIZZARD AT FOURTEEN30.

SPECIAL EVENT Glass Ball Gala

Take a ball and run with it. That’s basically the assignment given to 15 local artists who were charged with turning a 14-inch-diameter glass orb into an expression of their individual style. You can see—and bid on—the products of this creative assignment at the Glass Ball Gala, a fundraiser for the Portland Youth Development Commission. Members of the Dandy Warhols, Mudhoney and Viva Voce will provide entertainment for the dress-up affair, with wine, beer and catered food. Bison Building, 421 NE 10th Ave. 7 pm Saturday, Nov. 14, $40. Purchase tickets at pdxydc.org.

Alex Steckly

NOW SHOWING Modou Dieng

The paintings in Modou Dieng’s Black Star pay homage to AfricanAmerican influences on music and fashion. With their slapdash execution and collaged neckties and LPs, they walk the old Julian Schnabel line between energy and jumble, inspiration and inchoateness. In the main gallery, Io Palmer’s Artstars uses the idea of a basketball “dream team” as a springboard to fill the walls with paintings, the air with puffy-cloud mobiles, and the floors with fabric sculptures, creating an atmosphere of austerity and ascent. Art Gym at Marylhurst, 17600 Pacific Hwy., 699-6243. Closes Dec. 13.

Queer Gaze

Beckman’s Shannon and Reed, this show is less about queer identity than it is about the identity of youth coming of age and forging its own character. The show’s strongest works bypass its wide-open theme. Brooklyn-based Sarah Baley’s Boisroom is a Caravaggioesque tableau of shadow play and honeyed light on naked skin that makes it clear, if it ever wasn’t to begin with, that aesthetics trumps sexual politics. Who are the women in this dynamically composed vignette? How are they related? What are they discussing? Baley offers few clues, yet her imagery and technique are so ravishing, the mystery only intensifies the piece’s allure. Fontanelle, 205 SW Pine St., 274-7668. Closes Nov. 28.

This is a gallery that regularly examines queer identity, as it did in this summer’s Lesbian Art Show and does again in this month’s Queer Gaze. Despite the readyto-wear butch/femme polarization articulated in photos like Erica

Alex Steckly should be on your radar. He is one of the most gifted emerging artists in Portland today, as his self-titled debut show at Fourteen30 attests. In exceedingly elegant enamel and oil paintings, he layers luxuriant textures and patterns but has the good sense to restrict his color palette to white, with smudgy pentimenti of gray and plum buried underneath like archaeological relics. His white-onwhite wooden sculptures riff on the layering motif, too, and comport themselves with a winning élan. This is one of the most exciting new talents we have seen on the local art scene in at least two years. Time will tell if Steckly, who is all of 22, has staying power and the conceptual fortitude to evolve his vision over the length of a career, but at this point, I’d be willing to bet good money that this kid is the real deal. Fourteen30 Contemporary, 1430 SE 3rd Ave., 236-1430. Closes Dec. 5.

For more Visual Arts listings, visit

NOVEMBER 5TH – 29TH

Hot glass artist, Ian Gilula

got a good tip? call 503.445.1542

Gallery Hours: Monday-Saturday: 11:00 – 6:00pm, Sunday, 11:00 – 4:00pm 1979 NW Vaughn Street, North of Lovejoy (NOLO)

www.elementsglass.com, 503-228-0575

or email

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TRASHED CELEBRATING 35 YEARS OF WILLAMETTE WEEK Jason Graham Title: Portland Fashion Week Medium: Ink/coffee $100

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WORDS

NOV. 11-17

= WW Pick. Highly recommended.

.

By INDIA NICHOLAS & KATE WILLIAMS. TO BE CONSIDERED FOR LISTINGS, submit lecture and reading info at least two weeks in advance to: words@wweek.com. Fax: 243-1115.

11.14.09 | REGISTER AT OREGONACTIVE.COM

Race starts at Noon on Saturday, November 14th at the PIR Motorcross Track 5k and 1 mile option Kid Friendly, Live DJ, and costume contest For more information, go to oregonactive.com

Run, walk, skip, slide, and cavort through our 5K-ish course. Expect to encounter copius amounts of mud, obstacles, slip & slides, mud pits—and yes, water balloons launched by spectators. Costumes encouraged and there will be prizes for “best costume.”

INVITE YOU AND A GUEST TO A SPECIAL ADVANCE SCREENING

WEDNESDAY NOV. 11 Heavy Enough to Fall Zine Release Party and Movie Night

Celebrate the release of Stumptown Underground’s third zine, Heavy Enough to Fail. All of the contributors will be hanging out to chat and answer questions about the publication, and Stumptown contributor Dylan Williams will show two comics-focused documentaries—Comic Book Confidential and Independents. Floating World Comics, 20 NW 5th Ave., Suite 101. 2410227. 6-10 pm. Free.

THURSDAY NOV. 12 2010 Queer Animal Calendar Release

Nicole Georges is a zinester, illustrator and pet portrait artist living in PDX who has penned a masterpierce of unicorns, sea lions and ostriches for this year’s Animal Odyssey Calendar. Sound too good to be true? Just wait. The party encourages you to bring a vegan item made from squash for a “squashluck,” and there’ll be free beer from Ninkasi! Reading Frenzy, 921 SW Oak St., 274-1449. 7 pm. Free.

Literary Death Match

Described as an event that “marries the literary and performative aspects of Def Poetry Jam, rapier-witted quips of American Idol’s judging and... Double Dare,” Opium Magazine’s Literary Death Match is coming to PDX. The battle pits four locals, including Kerry Cohen (Loose Girl) and Arthur Bradford (Dog Walker), in a fight to see who can read the best. Thriller writer Chelsea Cain, OPB’s Scott Poole and Zia McCabe from the Dandy Warhols will judge. (And if you can’t get enough Cain, she will also be reading from her new book, Evil at Heart, Tuesday at Broadway Books.) The Blue Monk, 3341 SE Belmont St., 595-0575. 8:30 pm Thursday Nov. 12. Visit literarydeathmatch.com for tickets. Chelsea Cain reading at Broadway Books, 1714 NE Broadway. 7 pm Tuesday Nov. 17. $8 in advance. $10 at the door.

FRIDAY NOV. 13 Tribal Storytelling Festival

Cold, rainy days are perfect for storytelling, so why not celebrate the art this weekend at the Northwest Indian Storytellers Association Storytelling Festival and Symposium? The weekend will host a wealth of stories and information about our region’s tribes. In addition, there will be a silent auction of arts and crafts, and dance and drum corps performances. Lewis & Clark College, 0615 SW Palatine Road, 768-7000. 7:30 pm Friday and Saturday, Nov. 13-14. Symposium 1:30-4 pm Sunday, Nov. 15. $5-$20.

SATURDAY NOV. 14 Crumpacker Family Library Book Sale

SATURDAY, NOVEMBER 14, 2009 FOR A COMPLIMENTARY PASS FOR YOU AND A GUEST, VISIT THE WILLAMETTE WEEK OFFICES BEGINNING THURSDAY, 12AT AT9:00 11:00 WEDNESDAY, NOVEMBER NOVEMBER 11 AM AM.

In the market for some rare books? The book sale at the visual-artsfocused Crumpacker Family Library is a good place to start. The weekend-long sale will offer up excellent deals on about 1,000 books in all genres. Prices range from only $1 up to $60, and if you stop by Sunday, you’ll get them half-off. Portland Art Museum, 1219 SW Park Ave., 2260973. 9 am-3 pm Saturday-Sunday, Nov. 14-15. Free.

Our Stories: Gender Variance 2220 NW QUIMBY PORTLAND, OR 97210 First-come, first-served. While supplies last. Only limited number of passes available. Limit 1 pass per person. Each pass admits 2. Seating is not guaranteed. Arrive early. Theater is not responsible for overbooking. Screening will be monitored for unauthorized recording.

IN THEATRES NOVEMBER 20 46

WillametteWeek NOVEMBER 11, 2009 wweek.com

Hear seven vastly different individuals—from a transgendered mayor to a “Sissyboy” performance artist—tell stories about the impact that their female gender identity or expression has had on their lives and the contributions they’ve made to their com-

munities. The event is part of the local LGBTQ nonprofit Q Center’s “Our Stories” series. Q Center, 4115 N Mississippi Ave., 234-7837. 7:30 pm. Free. Donations accepted.

MONDAY NOV. 16 Words Worth Paying For

If you saw Sherman Alexie at Wordstock, you know how touchy the subject of the Kindle can be to authors. Geek Love author Katherine Dunn, Ooligan Press publisher Dennis Stovall and director of Multnomah County Libraries Vailey Oehlke get

together to discuss how digital books change us as writers, publishers and readers. White Stag Building—UO Portland campus, 70 NW Couch St., 541-346-3134. 6 pm. Free.

TUESDAY NOV. 17 Ballad of a Bagpiper

I bet you just love bagpipers. Even if you don’t like the music, something about the instrument has captured fans from Queen Elizabeth to my grandfather. Edward Channon, piper to the stars, will be at the Horse Brass to talk about his new book, Ballad of a Bagpiper, and the experience of playing for royalty. Horse Brass Pub, 4534 SE Belmont St., 232-2202. 4:30 pm Tuesday, Nov. 17. Free.

For more Words listings, visit

REVIEW

TOM KRATTENMAKER ONWARD CHRISTIAN ATHLETES Is free speech really free in a publicly owned and paid-for venue? That seems to be the question driving Portland writer Tom Krattenmaker’s Onward Christian Athletes (Rowman & Littlefield, 212 pages, $23), a treatise on the role of Christian evangelizing in college and pro sports. Krattenmaker’s argument essentially goes like this: Christian ministries have long had Is Christianity’s monopoly in sports evangelism fair? a near-monopoly on the use of sports as an evangelical outlet, benefiting from athletes’ “I gotta give it to the Big Guy” speeches and finger-pointing acknowledgements of God above. Yet most of this evangelizing takes place within the confines of massive sports stadiums often paid for, at least in part, by taxpayer dollars. If that’s true, then shouldn’t the public have a say in the types of evangelism standing on the soapbox taxes built? Were it cooked up on a barstool and shopped around the pub, it’d be an admirable argument. But the idea of policing religious speech in a publicly owned space seems not only antithetical to a more perfect union but also impossible to implement (small hurdles such as the Bill of Rights make this goal ultimately unattainable), even by framing Christian sports evangelism as a bully that won’t let other religions get in on the action. Using visible Christian figures in sports, such as football player Tim Tebow of the University of Florida and Pedro Martinez of pro baseball’s Philadelphia Phillies, Krattenmaker illustrates Christian sports evangelism’s evolution from a simple end-zone prayer to a colossus owning a greater presence in sports than all other major religions combined. Krattenmaker characterizes the members of the Christian evangelical movement as “far-right,” which comes off on his part as a sly attempt to align religious athletes with the extremist fringes of the political spectrum. And while Christians on the whole do trend conservative, the relationship seems almost stereotypical in an attempt to appeal to the political allegiances of his audience. Still, the subject of religion in sports is both noteworthy and fascinating. Krattenmaker’s work is well-researched and does its best to remain objective on an extremely opinionated topic but ultimately struggles to extend itself into a book. Onward Christian Athletes might have fared better as a tightly packed magazine piece. The book comes out at the right time and will find an audience and supporters. But if there’s a convincing argument to be made against the free rein given to Christianity’s sports evangelism, you won’t find it here. Krattenmaker claims he’s not interested in improving Christian evangelism, but there’s little substance to suggest he’s interested in anything other than weakening its sphere of influence. There’s a simple reason Christians are winning the religious battle for nonbelievers: They’re scoring all the hustle points. JONATHAN CROWL. READ: Onward Christian Athletes is available at local bookstores.

SCREEN

NOV. 11-17 REVIEW

= WW Pick. Highly recommended. Editor: AARON MESH. 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: amesh@wweek.com. Fax: 243-1115.

Amelia

Well, golly, isn’t this a disastrous old tin whistle of a magic lantern show? Dusty as a hangar exhibit, Mira Nair’s biopic of Amelia Earhart gets lost in the first five minutes, and never threatens to return. Every line of dialogue has the creak of exposition, and usually competent actors (Richard Gere, Ewan McGregor) enunciate as if they’re trying to recall how humans speak. Initially this registers as an intentional throwback to early Hollywood sound productions, but it quickly begins to feel like general uncoordination. Still, if you’re in the mood for an old-fashioned night-flying picture…well, Jimmy Stewart in The Spirit of St. Louis is pretty good. If you’re in the mood for an Old Fashioned, don’t you dare: Amelia has an odd subtext about the ruinous influence of plonk. (Co-pilot Fred Noonan does not come off well in this regard.) As Earhart, Hilary Swank gamely embodies toothy Kansan pluck—even waving hello to a flock of sheep—but Amy Adams played this role with far more sex, energy and humor in the Night at the Museum sequel. There’s not much either actress could have done with this script by Ron Bass and Anna Hamilton Phelan: It never gives the heroine any motivation, or even a childhood, choosing instead to indulge an obsession with the young Gore Vidal. (In case you’re wondering if the kid is Gore Vidal, his name is conspicuously mentioned every time he shows up.) In the last 15 minutes, which are the best because there’s a fleeting signal that something might happen, Earhart keeps checking her watch, an action I could identify with. The movie has no thrill, no mystery, no propulsion. Thud. PG. AARON MESH. City Center, Hollywood Theatre, Movies on TV, Tigard.

Astro Boy

A robot child saves the world, just like in Osamu Tezuka’s comic. PG. Eastport, Cornelius, Evergreen, Movies on TV, Oak Grove.

The Baker

A hitman lies low in a Welsh bakery. It’s a comedy with the chap who plays Dumbledore. Living Room Theaters.

The Box

Not content with ruining Donnie Darko with one director’s cut, Richard Kelly returns to his cherished phantasm hobbyhorses: gelatinous portals to other dimensions, mad seers demanding a sacrifice for original sin, and the end of the world occurring a couple decades ago. It is pleasant to imagine Warner Brothers suits first contemplating this bravura turkey, which takes a simple Richard Matheson story and gussies it up with two hours of the aforementioned obsessions, plus some new ones: Arthur C. Clarke, NASA, Christmas performances of Sartre’s No Exit, prosthetic feet and people being struck by lightning in the face. Imagining the studio’s reaction is certainly more fun than watching the movie, with its petrified wooden performances. The script is a mercilessness litany of howlers, recited exceedingly slowly: “You’re going to give me this $100 bill as a gift?” Cameron Diaz asks, exactly one shot after Frank Langella gives her a $100 bill as a gift. The plot—in its essence, it’s about whether Diaz should a push a button that simultaneously kills people and tenders cash—crawls at a snail’s pace, yet motivations and moods shift abruptly, incomprehensibly. Eventually it becomes impossible to understand how characters get from one scene to the next. At Kelly’s climax, which features the same Eveate-the-apple bullshit as Antichrist, one of these characters goes blind and deaf. Lucky him. PG-13. AARON MESH. Broadway, Cedar Hils, Eastport, Cinema 99, City Center, Cornelius, Evergreen, Hilltop, Movies on TV, Oak Grove, Sandy, Tigard, Wilsonville.

NEW

Celebrating New German Cinema

[THREE NIGHTS ONLY] Three recent films from Germany: The 2005 schoolteacher drama The Forest for the Trees (7 pm Friday, Nov. 13), this year’s Hague procedural Storm (7 pm Saturday, Nov. 14) and the 1994 girlsrob-banks picture Burning Life (7 pm Sunday, Nov. 15). Hollywood Theatre.

Cirque du Freak: The Vampire’s Assistant

When the inevitable Simpsons on Ice tour takes to the road, John C. Reilly will be a shoo-in for the role of Sideshow Bob. He’s well rehearsed after this performance as Crepsley, a waistcoated, carrot-haired carnival barker with a supercilious mince and a touch of vampirism. It’s sort of sad to see Reilly come to such a pass, the logical next step in a progression away from idiosyncratic projects toward tentpole weekends. Even his dialogue seems to comment on the devolution: “It’s deeply depressing,” he says of life as a bloodsucker. The movie is filled with these awful moments of recognition. Is that Patrick Fugit, the wonderful kid from Almost Famous, painted green as Evra the Snake Boy? Is that The Wire’s Frankie Faison as a fireeater named Rhamus Twobellies? Poor Patrick! Poor Frankie! How this Paul Weitz eyesore is related to Twilight I don’t know and don’t really care to find out, although Weitz’s brother Chris is directing New Moon, so maybe opportunism is in their blood. Cirque has its own dueling teen vampires, though its origin story owes more to Sam Raimi’s first Spider-Man, what with the best friends turned against each other after an arachnid bite and the subsequent bestowal of superpowers. (This at least leads to an immortal line: “I became a vampire to save you, Steve!”) It’s lurid and silly and boring, and around halfway through I was reminded of the circus scenes from The Elephant Man, and became a little obsessed with the idea of sneaking into the movie and freeing the actors. John C. Reilly is not an animal! He is a man! PG-13. AARON MESH. Eastport, Forest, Movies on TV.

Cloudy With a Chance of Meatballs

I have only one complaint with the cinematic adaptation of Cloudy With a Chance of Meatballs, that endearing children’s book about a town where the weather is made of food. Still, it’s a significant complaint: I don’t like the food. Ron Barrett’s original penand-ink illustrations were intricate and moody, filled with awe and mystery as well as peanut-butter-and-jelly blizzards. The edibles that fall from the sky in Sony’s CGI cartoon look like Fisher Price play food, all bright plastic artificiality. It’s quite a comedown. But just about everything else in Phil Lord and Chris Miller’s movie exceeds any reasonable expectation. So I won’t complain about the weather. PG. AARON MESH. 99 Indoor Twin, Cinema 99.

Coco Before Chanel

Audrey Tautou plays the fashionista in a biopic. PG-13. City Center, Fox Tower, Hollywood Theatre.

Couples Retreat

A hymn to settling for whatever’s around: a spouse you don’t like, a shot you don’t bother to frame, a joke you’ve told before. Vince Vaughn and Jon Favreau star in a DOA movie about marriage therapy for the improbably well-heeled (if you’re going to get counseling, why not do it in Bora Bora bungalows that run $1,780 a night?) and immensely self-involved— fat schlubs Vaughn and Favreau must summon the internal fortitude to remain faithful to Malin Ackerman and Kristin Davis. Those poor boys. However do they cope? They’ve roped in buddy Peter Billingsley (Ralphie from A Christmas Story) to direct, and I wanted to shoot my eye out. The guy shot on location in French Polynesia

CONT. on page 48

DON’T DRINK THE WATER: A Cofán child stares into a contaminated pool.

OIL AND GROUNDWATER THE DIRECTOR OF BLAIR WITCH 2 FINDS REAL HORROR IN THE AMAZON. BY AA R ON MESH

amesh@wweek.com

Joe Berlinger knew he would make Crude as soon as he spotted the can of tuna. He was three days into a trip to the Amazon basin, literally just off the boat—a canoe—when he saw Cofán tribespeople preparing a communal dinner from an industrial-sized tin of fish: “the kind of cheap, processed tuna that you would get at some bargain-basement restaurant supply company,” he now recalls. Berlinger took notice of the absurdity. “Here we were, deep in the heart of the Amazon rainforest, amongst water-based people who have lived off the water for as long as anyone can remember, being forced to eat canned tuna because the fish in the river were all dead and diseased.” Berlinger has made a life of incongruities. He began his career in movies with Brother’s Keeper, a 1992 documentary following the murder trial of an obscure New York farmer, and nearly sabotaged that career in 2000 when he left filmmaking partner Bruce Sinofsky and tried to leverage his nonfiction success into high-profile dramatic features—the result was Book of Shadows: Blair Witch 2. He recovered by finding Lars Ulrich and James Hetfield in group-therapy sessions; that discovery reunited him with Sinofsky and resulted in their best-known work, Metallica: Some Kind of Monster. Now working solo again, Berlinger has dipped his oar into the most repetitive and hectoring of current film genres—the left-wing political activism documentary— and come up with something special. Against its title, Crude is distinguished by subtlety. It’s not that Crude doesn’t provide plenty of fuel for outrage. Berlinger has taken his vérité approach and applied it to the environmental catastrophe of South American oil drilling. Crude examines the petroleum spillage in Ecuador (a slop 30 times larger than the Exxon Valdez wreck, with much of the oil pooled under people’s homes and leaked into the water supply) and the ongoing lawsuit that will determine whether Chevron is legally responsible for thousands of dead babies and cancer cases. But Berlinger doesn’t harangue. Instead, he documents the process of activism, showing the slightly unseemly effort by environmentalists to recruit celebrities

(Sting’s wife is a big catch) and manipulate media coverage. And he does something remarkable in an era of cinematic agitprop: He gives both sides in the trial screen time to make their case. They present their arguments at the scene of the crime, in a series of field inspections where lawyers— including a zealous first-time plaintiff’s attorney, Pablo Fajardo—stand astride the stench of oil pits, deriding each other in Spanish above the din of jungle insects. “It was very dramatic political theater,” Berlinger says. It translates. These outdoor rhetorical battles have the feeling of a contemporary Scopes trial: just as sweltering, with as many cultural assumptions at stake. In Crude’s most profound sequence, Berlinger updates a Michael Moore technique from Roger & Me, but to far more nuanced effect: He layers both sides’ oratory over images of a Cofán woman taking her daughter on the weekly bus journey for cancer treatments. Whatever the verdict, the people of Ecuador have already lost. “I think white guilt, more than anything, made me continue making the film,” Berlinger tells WW. “And I’m glad of that white guilt. Because for me, this was kind of a wake-up call, the making of this film. Obviously it’s about the lawsuit—but I think it’s rather neutral with regard to the lawsuit. To me, there are much larger moral issues here at play. Many Americans from time to time have thought, ‘Oh, that Denny’s over there used to be a Cherokee village where people lived in harmony with nature.’ But we think that our treatment of this country’s indigenous people is somehow a thing of the past. But for the past 600 or 700 years, white people have treated indigenous people abysmally in the Americas, starting with the Spanish conquistadors up until now. The behavior of multinational corporations in the extractive industries in the Third World, in places like Ecuador, to me is just the late-20thcentury/early-21st-century continuation of this trend: of complete disregard of indigenous people.” By refusing to contaminate the jury pool, Crude makes its moral case watertight. Berlinger’s example brings to mind another fishing metaphor: Give audiences your ideas, and they will feel guilty for a day. Let them reach their own conclusions, and they might actually care long enough to make a difference. SEE IT: Crude opens Friday at Cinema 21. Director Joe Berlinger will answer questions at the 7 pm Friday premiere. WillametteWeek NOVEMBER 11, 2009 wweek.com

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NEW

Daytime Drinking

[SIX NIGHTS ONLY] Noh Youngseok’s alkie road odyssey is billed as the Superbad of South Korea. Look for a review on wweek.com. Clinton Street Theater. 7 and 9 pm SaturdayThursday, Nov. 14-19.

An Education

MIND-BLOWING WEDNESDAY: 11/11 ACHIEVEMENT. JIM CARREY WAS BORN TO PLAY ALL.GTB-A1.1111.WI.PDF SCROOGE.� SANDIE NEWTON, CC CBS-TV/DALLAS

and managed to make it look like a soundstage. The comedic scaffold is the same one trotted out by Adam Sandler’s Anger Management: Use a grueling regimen of stupid exercises to substitute for writing any actual characters. One by one, each of four rotten marriages is saved for no reason other than the movie’s fear of troubling a complacent audience. Here’s Vaughn exhorting Favreau to save his union: “You’re not going to have anybody to go to Applebee’s with you.� Could there be a stronger case for divorce? PG-13. AARON MESH. Broadway, Cinema 99, Cinetopia, City Center, Cornelius, Evergreen, Movies on TV, Oak Grove, Tigard.

Only a Grinch would hate on a reasonably faithful update of A Christmas Carol, but Disney gets a big “bah humbug� for unleashing Jim Carrey as Scrooge before the Thanksgiving turkeys go on sale. However, Robert Zemeckis’s film deserves props for presenting Charles Dickens’ tale for what it is: a ghost story of Christian guilt dripping with menace and sap. Using his favorite toy—3D motion-capture animation—Zemeckis’s Carol finds orphan-hating proto-Republican Scrooge learning to play nice after meeting some truly frightening spirits: Scrooge’s ghostly pal Marley (Gary Oldman, also playing Bob Cratchit and, oddly, Tiny Tim) is sure to give children nightmares with his howling moans and glowing chains, while the Ghost of Christmas Yet to Come (played by Carrey, as are the other ghosts) rampages astride demon horses straight out of an Iron Maiden video. Yet despite the bountiful screams in literature’s first Scared Straight program, this is family entertainment, and the film falters with its cuteness. Dickens certainly didn’t envision a miniaturized Scrooge surfing on an icicle, and the Ghost of Christmas Past, a hovering candle, resembles Wall-E’s Eva with Ghost Rider’s head. Still, in spite of an overreliance of 3D projectiles and exaggerated cheer, A Christmas Carol is a mo-cap improvement on Beowulf’s Playstation aesthetic and a pleasingly familiar fable. Zemeckis even draws a fairly subtle turn from Carrey. That’s a Christmas miracle in itself. PG. AP KRYZA. Broadway, Cedar Hills, Eastport, Cinema 99, City Center, Cornelius, Evergreen, Lake Twin, Movies on TV, Oak Grove, Pioneer Place, Sandy, Tigard, Wilsonville, Cinetopia.

MOBILE USERS - FOR SHOWTIMES - TEXT BRONCOS AND YOUR ZIP CODE TO 43 KIX (43549)

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NOV. 11-17

Filmusik: Gamera vs. Guiron NEW

[TWO NIGHTS ONLY, LIVE SOUNDTRACK] To accompany the rocket-powered turtles and “braineating space babes� in this 1969 Japanese monster flick, the musicians of Classical Revolution will perform Galen Huckins’ original score live, augmented by live sound effects and dialogue (in English). Hollywood Theatre. 7 pm Wednesday and Friday, Nov. 11 and 13. NEW

Five Minutes of Heaven

This psychological drama, set amongst the Troubles in Northern Ireland, is not without merit, but is weighed down by its flaws. The conflict centers on Alistair Little (Liam Neeson), a Protestant member of the terrorist gang UVF who kills a Catholic man in front of the man’s

younger brother. Fast forward 25 years and the boy has grown into family man Joe Griffen, played by James Nesbitt full of anguish and shaking with revenge. However, for director Oliver Hirschbiegel and screenwriter Guy Hibbert (both won awards at Sundance for the film; only Hirschbiegel deserved his), revenge is a dish best served lukewarm, and in spurts and starts. Consider Five Minutes the polar opposite of a Quentin Tarantinostyle take on retribution: high on feelings and morality, low on actual thrill. Much of the action revolves around a meeting of the two as adults, arranged and filmed by the Irish media, but the slow buildup to their confrontation never quite pays off. The men talk too much, little of it to each other. Hirschbiegel does what he can with a weak script, namely focusing the camera

REVIEW

Disney’s A Christmas Carol

FROM THE DIRECTOR OF “NAPOLEON DYNAMITE�

STARTS FRIDAY, NOVEMBER 13

SCREEN

JK

Not since Rolf the friendly Nazi informed Liesl in The Sound of Music that because she was 16 going on 17, he’d take care of her, has a movie contemplated the compromise of a minor with as much good cheer as does An Education. The movie has been lifted by Danish director Lone Scherfig and pop writer Nick Hornby from the memoirs of British journalist Lynn Barber, who in 1961 was herself 16 going on 17, and seduced by a suitor twice her age. Mulligan faultlessly plays the heroine, here called Jenny, as a girl whose worst affectations—snobbery toward her schoolmates, ridicule of her parents, and a tendency to drop French bons mots into everyday conversation—are endearing because they are being tried on for the first time, and tentatively. This is also her attitude, at first, toward David (Peter Sarsgaard), the man who cruises his Bristol automobile to her Twickenham bus stop and offers to give her rain-soaked cello a lift home. The movie’s dramatization of these events is funny and heartening—but praising it begs the question of how funny and heartening a movie about predation ought to be. PG-13. AARON MESH. Fox Tower.

2012

IT’S THE END OF THE WORLD AS WE KNOW IT: And the special effects are fine.

A partial list of things destroyed in Roland Emmerich’s majestically shameless endof-the-world movie 2012: The curator of the Louvre (non-accidental Parisian-tunnel car wreck). Mayan-calendar cultists (suicide). A dill pickle (consumed by conspiracy theorist Woody Harrelson). John Cusack’s family home (swallowed by the San Andreas fault). The entire Los Angeles freeway system (ibid.). The city of Los Angeles proper. Yellowstone National Park (explodes into gargantuan volcanic caldera). Several airline runways, right after John Cusack’s planes take off. Woody Harrelson’s Winnebago. Woody Harrelson (flaming fir tree). Christ the Redeemer statue, Rio de Janeiro. “The vice president’s chopper went down in the ash cloud outside of Pittsburgh.� President Danny Glover’s video feed for an address to the nation— one line into the Lord’s Prayer. Caesar’s Palace casino (collapses, then falls into the earth). Maui (lava flows). The Washington Monument (earthquake measuring 9.4 on the Richter Scale). Sistine Chapel ceiling, with major fissures rupturing between the fingers of God and Adam. The whole damn Vatican. A luxury cruise ship carrying elderly jazz-playing buddies George Segal and Blu Mankuma (Poseidon-style tidal wave). The White House (crushed by tsunami-capsized aircraft carrier the USS John F. Kennedy). President Danny Glover (“I’m comin’ home, Dorothy�). The rest of the world. (Somewhat disappointingly, we do not actually see this.) One Russian oligarch’s private cargo-transport plane (crash in the Himalayas). “I read a quote a couple of days ago. The author is probably dead by now.� (Oddly, he’s not.) The Indus Valley, along with one symbolically important geologist (unspeakably massive tidal wave). A mountaintop Buddhist monastery (ibid.). Much of the bow of Ark #4, one of the floating vessels secretly constructed in Nepal by the world’s governments to save a select remnant from the global flooding (it scrapes some glaciers). “We’re heading straight for Mount Everest, sir. And if we don’t start those engines, there’s no way we’ll survive the impact!� Lots of other supporting characters, mostly the ones you’d expect—children stand a much stronger chance of survival than foreigners. One giraffe (drowning). A partial list of things not destroyed in 2012: Hope. John Cusack. The Russian oligarch’s girlfriend’s lap dog. PG-13. AARON MESH.

Roland Emmerich to earth: Drop dead.

SEE IT: Opens Friday at Cedar Hills, Eastport Cinema 99, Cinetopia, City Center, Cornelius, Evergreen, Hilltop, Movies on TV, Oak Grove, Pioneer Place, Sandy, St. Johns Twin-Cinema Pub, Tigard and Wilsonville.

NOV. 11-17

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thought they were only about jokes. Goats is probably the first comedy to show the U.S. military-industrial complex torturing kittens and dachshunds, but it’s one of many War on Terror satires to join its targets in blithe dismissal of brown-skinned collateral. R. AARON MESH. Cedar Hills, Eastport, Cinema 99, Cinetopia, City Center, Cornelius, Evergreen, Hilltop, Movies on TV, Oak Grove, Pioneer Place, Roseway, Sandy, Tigard, Wilsonville.

Michael Jackson’s This Is It

GENTLEMEN BRONCOS on Neeson and Nesbitt, who give strong performances. There’s simply not enough politics to be political, not enough action to be thrilling, and way too much talking to let any message sink in. ALI ROTHSCHILD. Hollywood Theatre.

The Fourth Kind

Like some twitching critter the cat dragged in and plopped onto the doormat, The Fourth Kind produces a spiraling crisis of empathy: As hope that this moribund thing just might recover tightens into the certitude that expiration is imminent, what do you do? Kick the thing out into the weeds to die alone, or put it out of its misery with the sharp edge of a spatula? If you’re like me (God help you), you watch and do nothing and wish the poor bastard had never been born at all. Milla Jovovich and her divinely curved upper lip star as the recently widowed Dr. Abigail Tyler, a comely psychologist with a clutch of sleep-deprived patients all reporting identically distressing night terrors. Could be aliens or ghosts or God or a shared hallucination. It doesn’t really matter, because it’s all an excuse to take us on a whirlwind tour of de rigeur narrative flummery. Framed from the outset as a reenactment of real events, The Fourth Kind slaps together a whatever’s-in-the-fridge sandwich of distorted faux-doc footage, Datelinestyle 9-1-1 audio, Brechtian direct address, even a co-starring turn from director Olatunde Osunsanmi, who plays—who else?—himself. The selfreflexive hijinks, none of which are original, and all of which have been put to better use by Errol Morris and Unsolved Mysteries, amount to shoddily forged steel girders propping up a collapsing souflé of sci-fi cliché. PG-13. CHRIS STAMM. Cedar Hills, Eastport, Cinema 99, City Center, Cornelius, Evergreen, Hilltop, Movies on TV, Oak Grove, Pioneer Place, Sandy, Tigard, Wilsonville. NEW

Gentlemen Broncos

Jared Hess, the director of Napoleon Dynamite, makes a movie about fantasy writers and homeschoolers. Of course he does. Not screened by WW press deadlines; look for a review on wweek.com. PG-13. Fox Tower. NEW

Hesh’s Law

[ONE NIGHT ONLY] A skateboarding highlights reel from Mexico. Clinton Street Theater. 7 and 9 pm Friday, Nov. 13.

Humble Pie

A would-be actor gets lessons from William Baldwin. If only he had gone to Daniel! Look for a review on wweek.com. PG-13. Living Room Theaters. Living Room Theaters. NEW The Kabul to Kandahar Antiwar Progressive Fall Film Fest

[ONE NIGHT ONLY, REVIVAL] The PSU Progressive Student Union continues its free screenings with Syriana. Laughing Horse Books, 12 NE 10th Ave. 7 pm Monday, Nov. 16.

Late Night Double Feature Picture Show NEW

[ONE NIGHT ONLY, REVIVAL] The gay-bar twin-bill movie screenings continue with High Fidelity followed by Lethal Weapon. Boxxes Video Bar, 330 SW 11th St. 8:30 pm Monday, Nov. 16.

Law Abiding Citizen

An hour into Law Abiding Citizen, action man of the hour Gerard Butler (300) says his revenge plan will “get biblical.” Talk about understatement. Between burying people alive and castration by box cutter, Butler’s pissed-off dad mixes Old Testament carnage with the wackadoo morality of a cultist pouring poisoned KoolAid. The film works more like Saw for people who hate horror films but love human suffering. Butler’s troubled genius, Clyde, is a seemingly upstanding American who goes all Man on Fire when a pair of thugs rapes and murders his wife and young daughter. From prison, Butler exacts gruesome revenge on Philadelphia’s corrupt justice system—deal-cutting D.A. Jamie Foxx, the judge, their assistants, parking attendants—through a series of Jigsaw-style traps (Clyde’s the government-trained Rube Goldberg of inventive assassination, employing everything from robots to explosive cell phones). Foxx, continuing a smirking post-Oscar decline of Cuba Gooding proportions, spends the film figuring out how a man behind bars can wreak such havoc as the film races from murder to murder with the urgency of a Final Destination film with a sense of importance. R. AP KRYZA. Eastport. NEW

Lens on China

[ONE DAY ONLY] The NW Film Center’s series continues with Young and Restless in China, a documentary tracking young people riding the crest of capitalism. NW Film Center’s Whitsell Auditorium. 4:30 pm Sunday, Nov. 15.

The Men Who Stare at Goats

Like most movies based on investigative journalism, this adaptation of Jon Ronson’s book—about the U.S. Army’s misadventures in telepathic warfare—feels like an appetizer, with the whole story left dangling tantalizingly close. But that frustration is exacerbated by The Men Who Stare at Goats, which, like the military’s secret New Earth Battalion, starts ever so promisingly before realizing it doesn’t know what to do with its powers. It’s a rare film that can treat the freeing of Iraqi prisoners of war as an afterthought, lost behind the freeing of barnyard animals. George Clooney is a psychic soldier, trained by a hippie visionary (Jeff Bridges, coasting blissfully by) to disarm America’s enemies in the nonviolent tradition of “Jesus Christ, Lao Tze Tung, Walt Disney.” The film’s revelations—all too absurd to be concocted—are gleefully staged, as interlopers led by Kevin Spacey find ways to bring colonial oppression back into the mix. But director Grant Heslov (a journeyman actor) stresses the punch lines, as if he’d been watching Coen brothers movies and

If nothing else, This Is It—the de facto documentary cobbled together in the wake of Jackson’s death on June 25—helps flesh out the image of Michael Jackson as an all-around creative force. It’s not the rehearsal footage showing us the giant spectacle he had planned for his 50 scheduled shows at London’s O2 Arena that does it, either. Yes, it would’ve been huge. And eye-popping. And, at points, garish and overblown. In other words, it’s what we would have expected from him. But it’s the small moments, captured between the run-throughs and videotaped vignettes, that reveal a side of Jackson not often seen—that of the gentle taskmaster. Kenny Ortega is listed as the director of the This Is It tour and film, but it’s clear within the opening minutes, when Jackson stops “Wanna Be Startin’ Somethin’” to instruct his backing band to make it funkier, who’s actually in charge. But the problem is these are, by design, half-performances. Sometimes, the film comes close to capturing how electric it could have been live, such as when, during “Billie Jean,” the music drops out and Jackson launches into a classic solo routine—complete with crotchgrabbing—to the genuine giddiness of his backup dancers. It’s all a great tease, but it can only be a tease. PG. MATTHEW SINGER. Cedar Hills, Eastport, Cinema 99, Cinetopia, City Center, Cornelius, Evergreen, Hilltop, Movies on TV, Oak Grove, Pioneer Place, Sandy, Tigard, Wilsonville. NEW

Money-Driven Medicine

[ONE NIGHT ONLY] Alex Gibney, the director of Taxi to the Dark Side, produced this exposé of rapacious health insurers. Clinton Street Theater. 7 and 9 pm Thursday, Nov. 12.

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New York, I Love You

An omnibus Big Apple tribute inspired by Paris, Je T’Aime includes the directing debut of Natalie Portman. Not screened for Portland critics. R. Fox Tower. Fox Tower. NEW No.W.Here Lab: Beyond Borders V

[TWO NIGHTS ONLY, CURATOR ATTENDING] Brad Butler arrives from London’s art space No.W.Here Lab with film and video works from Pakistan and India. Presented by Cinema Project. New American Art Union, 922 SE Ankeny. 7:30 pm Tuesday-Wednesday, Nov. 17-18. NEW

NW Film & Video Festival

[FOUR NIGHTS LEFT] The second half of the NW Film Center’s excellent regional festival is distinguished by a cartoon called Nathan and Nordrich. Schoolhouse Rock! quaintness catches a case of the Dr. Katz jitters in this endearingly rough-hewn and slyly touching animated short by Noah Dorsey, who should have won a Judge’s Award this year. Or perhaps they should have created a new category for him: “One to Watch” or “Most Likely to Succeed” or “Young Filmmaker Who Actually Has an Original Thought in His Head.” The titular duo are conjoined twins with a lung disease, two weeks left to live, and a far-flung brother whom they’ve never met. They have just enough time to find Noah, a neurasthenic shut-in who can’t fathom why his parents chose the twoheaded oddity over him, and take one of his healthy lungs. Bonds are forged and lessons are learned, but Dorsey spikes the sentimentality with

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49

THE MOVIE CELEBRATED AROUND THE WORLD!

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NOV. 11-17 twin stewardesses and human trafficking—he never quite comprehends what’s happening to him, which is just as well, because otherwise he’d be catatonic with disbelief. No matter: Selfless compensates for its implausibility with Jacob Pander’s chic, Lynchian direction—Portland’s skyline is validated as a nightmare cityscape of gleaming postmodernism—and sheer balls: By the time one character hikes on the shoulder of I-5 from Portland to Seattle for a samurai-sword duel, the movie is kung-fu Pander. AARON MESH. Living Room Theaters.

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“An unmissable film.”

A Serious Man

- Roger Ebert

- Peter Travers

This Movie ONG is BAK stupid 2 quietly surreal asides and a deadpan morbidity, lending a streak of darkness and melancholy to an otherwise sweet and charming take on family and the freaks it takes to make one. CHRIS STAMM. The NW Film & Video Festival continues WednesdaySaturday, Nov. 11-14 at the Whitsell Auditorium. Nathan and Nordrich screens at 8:45 pm Thursday, Nov. 12. Visit wweek.com for further reviews.

THA – SF

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Old School Kung Fu Masters

[ONE NIGHT ONLY, REVIVAL] Having unearthed a trove of chopsockey reels from underneath a British Columbia theater, Grindhouse Film Festival director Dan Halsted shows ‘em off: This week it’s 1980’s Fist of the White Lotus, which features “an incarnation of the greatest villain in martial arts movie history: the unstoppable white eyebrowed Initial Pai Mei.” Hollywood Time Theatre. 9:45 pm Tuesday, Nov. 17. NEW

Ong Bak 2

Ong Bak 2 bears no resemblance to the 2003 original. But as in the first Ong Bak, the senseless story and horrid acting don’t matter. Ong Bak 2 is about Tony Jaa kicking his way to martial-arts superstardom, and the film’s standard-issue kung-fu setup—little Jaa’s family is murdered in ancient Thailand, a gaggle of masters train him to get his revenge and become a warrior king—simply serves to get Jaa from beatdown to beatdown. Between a jaw-dropping drunken boxing scene and an extended climactic showdown pitting Jaa against hundreds of foes, the sequel does not disappoint. The star, who also co-directed, has captured pure adrenaline on screen, taking a cue from the Jackie Chan school of DIY stunt work to execute amazing acrobatic feats including an eye-popping chase in which he runs across the backs of a dozen stampeding elephants. Sure, the film wastes time developing weak characters and uses the ancient setting to conjure a misguided sense of epic importance, but in an era of CGI samurai—which began with The Matrix and continues with the upcoming Ninja Assassin—Jaa is the best special effect money can buy. With Ong Bak 2 he hits with the force of a double-elbow smash to the sternum. AP KRYZA. Cinema 21.

Paranormal Activity

ALCON ENTERTAINMENT PRESENTS A GILCO-NETTER PRODUCTION A JOHN LEE HANCOCK FILM SANDRA BULLOCK “THE BLIND SIDE” TIM MCGRAW EXECUTIVE QUINTONPRODUCED AARON AND KATHY BATES PRODUCERS YOLANDA T. COCHRAN STEVENBASEDP.WEGNER PRODUCERS MOLLY SMITH TIMOTHY M. BOURNE ERWIN STOFF ON BY GIL NETTER ANDREW A. KOSOVE BRODERICKJOHNSON THE BOOK THE BLIND SIDE: EVOLUTION OF A GAME BY MICHAEL LEWIS WRITTEN AND DIRECTED BY JOHN LEE HANCOCK

November 17, 2009 at 7:00 PM in Portland To download your tickets, go to gofobo.com/rsvp and enter the RSVP code: WWEEKUTM7 Tickets are available while supplies last. Tickets received through this promotion do not guarantee admission. Seating is on a first-come, first-served basis. THEATRE IS OVERBOOKED TO ENSURE A FULL HOUSE. No one will be admitted without a ticket or after the screening begins. All federal, state and local regulations apply. A recipient of a ticket assumes any and all risks related to use of the ticket and accepts any restrictions required by ticket provider. Warner Bros. Pictures, Willamette Week, Terry Hines & Associates and their affiliates accept no responsibility or liability in connection with any loss or accident incurred in connection with use of a prize.

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In the spirit of found-footage horror (see: The Blair Witch Project, Cloverfield, REC), an increasingly popular mode whose weaknesses and strengths are exemplified by Paranormal Activity, I am forgoing a more traditional review. Instead, I present to you the notes I made while screening the film. “White people.” “Boring white people.” “Will they ever shut up?” “Do they ever go to work?” “Jesus Christ, where are the fucking ghosts?” “I was promised ghosts.” “They’re sleeping. This isn’t scary.” “More talking.” “Ghosts goddammit, I want ghosts!” “These actors are really good at pretending to be people I’d never want to be stuck in an elevator with.” “Finally, a fucking ghost.” “Oh shit, that was kinda scary.” “A demon, not a ghost.” “More inane blather.” “Idea: horror

film about a demon who torments deaf-mutes.” “Pretty scared now, actually.” “Making this note because I’m too scared to look at the screen.” “Sorta relieved that so much of this movie is just talking, as I did not bring an extra pair of underwear.” “This is too much.” “Mommy.” “Will anyone notice if I throw up?” “I don’t like this.” “Chris, you’ll get through this.” “Wait, that was it?” “Happy I did not piss my pants.” “Kinda bummed I did not piss my pants.” R. CHRIS STAMM. Broadway, Cedar Hills, Eastport, Cinema 99, Cinetopia, Cornelius, Evergreen, Hilltop, Movies on TV, Sandy, Wilsonville.

Paris

[ONE WEEK ONLY] The “we are all connected” movie visits the City of Light, though it’s less the French Babel than the French Love, Actually. Being Parisian, the road to romance is paved less with stuttering comedy and public singing than with loveless affairs, existential crises and staring out windows. But it’s still a fundamentally squishy thing, a star-studded cavalcade of frogs— Juliette Binoche, Fabrice Luchini, Mélanie Laurent and François Cluzet all amble past each other. R. AARON MESH. Living Room Theaters. NEW PDX African American Film Festival

[THREE DAYS ONLY, REVIVAL] McMenamins theater pubs host three days of classic black filmmaking. Standout selections include Douglas Sirk’s Imitation of Life (St. Johns, 8 pm Friday, Nov. 13), Spike Lee’s She’s Gotta Have It (Mission, 4:30 pm Saturday, Nov. 14) and Sammy Davis Jr. as a drugged-out jazz musician in A Man Called Adam (Bagdad, 3 pm Sunday, Nov. 15). Bagdad, Kennedy School, Mission, St. Johns. FridaySunday, Nov. 13-15. See Movie Times for additional screenings. NEW

Portlandia

[ONE NIGHT ONLY] An improvised comedy benefits the homeless. Hollywood Theatre. 7 pm Tuesday, Nov. 17.

Saw VI

There are six of them now? Jesus Christ. Oh, they’re still not being screened for critics. R. Movies On TV.

Selfless

The incurably protean Pander brothers, Jacob and Arnold, have published reams of graphic novels for Dark Horse Comics, painted velvet murals of giant breasts for Thatch Tiki Bar and established a presence in the local electronic music scene. So why shouldn’t they try making a movie? Selfless, their first full-length foray into narrative filmmaking, is a psychological chiller that carries the imprint of comics in at least one sense: It is wholly engrossing without making a lick of sense. The story, which both brothers wrote, concerns a Pearl District architect (Joshua Rengert) whose life is systematically destroyed by a swarthy fiend (Matt Gallini) he pisses off in a Seattle-Tacoma International Airport terminal. The draftsman’s troubles eventually incorporate identify theft,

A physics professor living in a tract neighborhood as treeless and sunscorched as the Holy Land, Larry Gopnik (Michael Stuhlbarg) is suffering the inverse afflictions of Job— while the patriarch lost his family, Larry’s relations won’t go away. His wife (Sari Lennick) wants a divorce so she can marry the astonishingly supercilious Sy Ableman (Fred Melamed), but she won’t leave the house. His brother (Richard Kind) has taken up the couch and the bathroom, forever draining a sebaceous cyst. There are harassing calls from the Columbia Record Company, a student is sinisterly trying to extort his way out of a failing grade, and Larry’s tenure request is met with the ominous assurance that “you should not be worried.” Oh, Larry is worried. He senses a bottomless abyss beneath his life. This is the Coen brothers’ third-straight film— after No Country for Old Men and Burn After Reading—to repeat the same gag, with increasing mirth and finality: Don’t look down, because there isn’t anything there. A Serious Man ends about 10 minutes before you expect it to, with brutal, beautiful abruptness—no one does endings like the Coens, because they understand that every story ends the same way. Never before have they so explicitly addressed their ambivalent feelings toward Judaism (aside from The Big Lebowski’s “Moses to Sandy Koufax” speech, maybe), but they’ve been wrestling with God a long time, and they know his moves. R. AARON MESH. Fox Tower. NEW

Some Voices

[REVIVAL] Daniel Craig plays a schizophrenic man in love with an equally troubled Kelly Macdonald in this 2000 drama. Living Room Theaters. NEW

Splinterheads

A compendium of every Sundancecomedy cliché from the last two decades, leached of whatever quiddity they once had. The wisecracking, lanky slacker hero? Check. The priapic fat friend? Check? The tough girl with a heart of gold? Yes. The eccentric family members? Here’s a 116-year-old grandpa. The forgotten star making a comeback as a warmly supportive companion? There’s Lea Thompson, now old enough to play the hero’s mom without makeup, but still the best-looking person here. The fucking circus? Yeah. The only new contribution from writer-director Brant Sersen is a subplot about the hobby of geocaching, which is treasure hunting for people who don’t want to find treasure, but other people’s disposable knicknacks. So that’s exciting. Star Thomas Middleditch is shockingly, mortifyingly unfunny— he’s so hapless that I started rooting for him to get the girl, just because it seemed like it would be his only win in life. The movie knows he’s pathetic, but doesn’t recognize that it is just as feeble: It’s idea of a clever retort is a girl saying, “Nice ass, ass.” (Just thinking about this line is making me sad.) Eventually the hero and his carnie ladyfriend (Rachael Taylor) share an afternoon drive of bonding—and all dialogue is wisely drowned out by an Animal Collective song, as if Sersen recognized that his creations were not capable of being appealing, even to each other. AARON MESH. Fox Tower.

NOV. 11-17

(Untitled)

A very restricted, peculiar piece of filmmaking, (Untitled) is a satire of avant-garde art that will only interest people familiar with avant-garde art but is made by people who have come to despise avant-garde art. Bushy-browed Adam Goldberg (he dreamed of sex with President Lincoln in Dazed & Confused, then made a living playing Shalom-ing sidekicks) is an atonal composer whose compositions are scored for ripping newspaper and wailing voice: They sound like a journalism convention. He falls into an affair with a rubber-clad gallery owner (Marley Shelton); she sells the pedestrian paintings of his brother (Eion Bailey) to hang in hotel lobbies. Vinnie Jones shows up as the most loathsome character, a hands-off taxidermist who drapes stuffed cows with pearls. You must be cackling by now, yes? Writer/director Jonathan Parker’s slow-roasting of posturing does hit a few strong notes—as when Goldberg recalls how his earliest musical inspiration was the death of “Philip, the family dog”—but it mostly feels like a toothless retread of Art School Confidential, minus the blackhearted daring. The biggest problem, however, is the artwork itself: Even if a movie doesn’t ask you to take its caterwauling musical performances seriously, you still have to sit through them. R. AARON MESH. Living Room Theaters.

need surface; love seems to have given them gills instead of wings.) With the exception of an obligatory Jimmy Fallon, the cast is superb, with Kristen Wiig, Alia Shawkat and Daniel Stern giving the performances of their careers. But the movie belongs to Marcia Gay Harden, whose interpretation of a controlling stage parent is so understanding it might cause people to forgive their own mothers. PG13. AARON MESH. Fox Tower, Hollywood Theatre.

Zombieland

The bad news: Only six people on earth will survive the undead apocalypse. The good news: One of those people is Jesse Eisenberg. On the strength of this gob of dystopian cotton candy and the similarly themed (though zombie-free) Adventureland, Eisenberg has ner-

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vously scuffed past Michael Cera as cinema’s premier timid comedian. He’s taken the tired archetype of a screenwriter’s virginal alter ego and corroded it with a daub of pre-emptive arrogance and hostility—especially appropriate for his new nerd, who rightly suspects the girls he likes want to eat him alive. He’s paired with Superbad smartie Emma Stone, who wouldn’t sleep with Eisenberg if he were the last guy on the planet. (He’s one of two, and the other is Woody Harrelson, which helps his odds considerably.) His know-it-all narration gives Zombieland a lot of its kick: It’s far from the first zombie comedy, but it revives the joke by picturing Armageddon as a teenager’s romantic-fantasy joyride. R. AARON MESH. Broadway, Forest, Moreland, Movies on TV, Oak Grove.

REVIEW

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Where the Wild Things Are

It’s standard practice to praise family movies by saying they’ll be enjoyed by parents and children alike, but in the case of the Spike Jonze/Dave Eggers adaptation of Maurice Sendak’s picture book, I suspect that some parents will sink blissfully into a reverie watching the characters throw clods of dirt, while their offspring tug on sleeves to ask when they can go outside and throw clods of dirt. Where the Wild Things Are is like watching a game of Calvinball scripted by Robert Altman—no rules, lots of running in circles and everybody grumbling at once—but at least it looks great. All the truest moments arrive before little Max (a subtly emotive young Portlander named Max Records) sails away from home in a tantrum and projects his feelings onto wonderfully tangible animal puppets, detailed by Jim Henson’s people down to the soil clinging to woolly legs and the mucus under nostrils. But the oddly glum cavorting looks like those Olympic opening ceremonies where dancers wander beneath indigenous obelisks, only set to hipster Kidz Bop tapes. The monsters whiz by in an alarming jumble of infantile hurt feelings expressed in a large vocabulary; they don’t sound like children, or even a child’s understanding of their elders, so much as adults who don’t want to be adults. That’s exactly who it was made by, and for. PG. AARON MESH. 99 Indoor Twin, Cedar Hills, Eastport, Cinema 99, City Center, Evergreen. Forest, Hilltop, Moreland, Movies on TV, Oak Grove, Pioneer Place, Tigard, Wilsonville.

Whip It

The first 15 minutes of films about the first years of womanhood are such a difficult time. The opening act of Whip It gives little reason to hope it will be anything more than a retread of Juno, which was itself a copy of Ghost World. But as soon as alternateen Ellen Page hops a senior-citizen bingo bus for a ride to roller-derby tryouts— and shares a sympathetic exchange with a fellow bluehair—the movie reveals a capacity for openheartedness and understanding far beyond its predecessors’. Debut director Drew Barrymore’s movie has editing problems, but it’s filled with delights, even beyond the mischief of tiny Page skating “like a weevil” while tatted ladies try to board-check her. Barrymore’s direction grows surer as Whip It goes along. (An underwater make-out session, set to Jens Lekman, is cut so the partners magically never

I’M ALWAYS HOME, I’M UNCOOL: Philip Seymour Hoffman at the mic.

PIRATE RADIO The rock-’n’-roll ’60s were such a beloved era in both the U.S. and the U.K., any filmmaker on either side of the pond would clamor to take on a picture like Richard Curtis’ Pirate Radio—released in Britain under the slightly worse title The Boat That Rocked. Under the right circumstances, a film about a band of brazen DJs anchored in the North Sea outside U.K. jurisdiction has all the makings of a hit. Unfortunately, Curtis avoids all elements that have made previous ventures into the ’60s successful (Mad Men currently sets the standard), reducing Pirate Radio to an indulgence in cliché and caricature, with only a playlist of golden oldies to back it up. Curtis, the writer-director of such movies as Love, Actually and Four Weddings and a Funeral (both at worst harmless, at best actually charming), is out of his element removed from pure romantic comedy. He ditches main man Hugh Grant for young, quiet (read: boring) Tom Sturridge, who joins Bill Nighy, Philip Seymour Hoffman and a cast of a dozen other rogue DJs with Johnny One-Note personalities on the boat of rock. The first half of the film is a hormonal jaunt around the cabin, laced with a soundtrack of songs from the Stones to the Who. The music is good, but the film relies entirely on Songs That Everyone Loves. Curtis cranks the Kinks’ “All Day and All of the Night” to shots of listening teen girls screaming—as if he expects a similar reaction from an audience that’s heard these songs on FM radio for 40 years. For the next 75 minutes, the film clobbers everyone over the head with the theme that drives the entire movie: Rock ’n’ roll is cool, and the stuffy Brits (specifically Kenneth Branagh’s puritanical administrator) don’t get it. Hoffman and Nighy do what they can but come across as aging hippies, not music lovers at the forefront of a cultural movement—or aging beatniks, as would be more appropriate for 1966. About an hour through the film, plot threads from Mamma Mia! and Titanic only confuse its intent. Cameos by Emma Thompson and January Jones don’t help; they only create more wonder about why such talented people signed on to a shipwreck. Curtis lays it all—the music, the male camaraderie, the sex jokes—on so thick the camp dies quickly and eventually even the eye-rolling becomes tiring. Pirate Radio sinks from the beginning, substituting caricature for character and forfeiting plot to celebrate rock-’n’-roll chestnuts. All they had to do was release the soundtrack. R. ALI ROTHSCHILD.

The movie that sank.

SEE IT: Pirate Radio opens Friday Cedar Hills, Eastport, City Center and Fox Tower.

A ROLAND EMMERICH FILM

COLUMBIA PICTURES PRESENTS A CENTROPOLIS PRODUCTION “2012” JOHN CUSACKMUSIC CHIWETEL EJIOFOR AMANDA PEET VER AND WOODY HARRELEDITEDSON BY HARALD KLOSER AND THOMAS WANDER OLIVER PLAT CO-THANDIE NEWTON WITH DANNY GLOCOSTUME PRODUCERS VOLKER ENGEL MARC WEIGERT DESIGNER SHAY CUNLIF E BY DAVID BRENNER, A.C.E. PETER S. EL IOT EXECUTIVE PRODUCTION DIRECTOR OF DESIGNER BARRY CHUSID PHOTOGRAPHY DEAN SEMLER ACS ASC PRODUCERS ROLAND EMMERICH UTE EMMERICH MICHAEL WIMER PRODUCED WRITTEN BY HARALD KLOSER & ROLAND EMMERICH BY HARALD KLOSER MARK GORDON LARRY FRANCO DIRECTED BY ROLAND EMMERICH FEATURING “TIME FOR MIRACLES” PERFORMED BY ADAM LAMBERT STARTS FRIDAY, NOVEMBER 13

CHECK LOCAL LISTINGS FOR THEATERS AND SHOWTIMES SORRY, NO PASSES ACCEPTED FOR THIS ENGAGEMENT

WillametteWeek NOVEMBER 11, 2009 wweek.com

51

2 COL (3.825") X 10" = 20" WED 11/11 PORTLAND WILLAMETTE WEEK

THE FEEL-GREAT NEW COMEDY FROM THE CREATOR OF LOVE ACTUALLY AND NOTTING HILL

A RIP-ROARING COMEDY!”

“

- PETER TRAVERS,

INSANELY PLEASURABLE! “

‘Pirate Radio’ captures the era’s exhilarating sense of freedom and the music that was its most brilliant expression.” - KAREN DURBIN,

EXUBERANT!”

“

- JOHN POWERS,

MOVIE TIMES DOWNTOWN Broadway Metro 4 Theatres

1000 SW Broadway, 800-326-3264 COUPLES RETREAT Fri-Wed 1:45 Fri-Sun 9:45 DISNEYS A CHRISTMAS CAROL Fri-Wed 2:15, 5, 7:45 FriSun 10:05 PARANORMAL ACTIVITY Fri-Wed 2, 4:15, 7 Fri-Sun 9:30 THE BOX Fri-Wed 1:30, 4:30, 7:15 Fri-Sun 10 THE TWILIGHT SAGA: NEW MOON Thu 12:01 TWILIGHT Thu 9 ZOMBIELAND Fri-Wed 4:45, 7:30

Fox Tower Stadium 10 846 SW Park Ave., 800-326-3264 A SERIOUS MAN 12:30, 2:20, 2:55, 4:45, 5:20, 7:10, 7:50, 9:30, 10:05 Sat-Thu 12 AN EDUCATION 12:15, 12:45, 2:45, 3:15, 5:05, 5:35, 7:20, 8, 9:40, 10:15 COCO BEFORE CHANEL 12:05, 2:25, 4:50, 7:15, 9:35 GENTLEMEN BRONCOS 12:35, 3:05, 5:30, 7:45, 10 NEW YORK, I LOVE YOU 12:20, 2:50, 5:15, 7:35, 9:50 PIRATE RADIO 12, 2:40, 5:10, 7:40, 10:10 SPLINTERHEADS 12:25, 2:30, 4:55, 7:25, 9:45 WHIP IT 12:10, 2:35, 5, 7:30, 9:55

Living Room Theaters

341 SW 10th Ave., 971-222-2010 (UNTITLED) 11:50am, 4:40, 9:35 FLAME CITRON (DANISH W/E.S.T.) 2, 7 HUMBLE PIE 1, 3:30, 5:30, 7:30, 9:40 PARIS 1:20, 4, 6:40, 9:15 SELFLESS 9:20 SOME VOICES 12:10, 3, 5:20, 7:40, 9:45 THE BAKER 12:20, 3:40, 9:40 Fri-Wed 5:40, 7:50 THE INFORMANT! 12, 2:30, 4:50, 7:15, 9:30

Pioneer Place Stadium 6

340 SW Morrison St., 800-326-3264 2012 12:10, 3:35, 7 Fri-Wed 10:25 DISNEYS A CHRISTMAS CAROL 1:10, 3:30, 6:40 Fri-Wed 9:30 MICHAEL JACKSONS THIS IS IT 12:50, 4:10, 7:10 Fri-Wed 10:10 THE FOURTH KIND 1, 4:20, 7:20 Fri-Wed 9:40 THE MEN WHO STARE AT GOATS 12:30, 3:50, 7:30 Fri-Wed 10 THE TWILIGHT SAGA: NEW MOON Thu 12:01, 12:02 TWILIGHT Thu 9 WHERE THE WILD THINGS ARE 12:40, 4 Fri-Wed 6:50, 9:50

ADORED BY MILLIONS. OUTLAWED BY THE GOVERNMENT.

Whitsell Auditorium

1219 SW Park Ave., 503-221-1156 CHRONICLES OF A PROFESSIONAL EULOGIST Sat 6 HUMPDAY Fri 7 IMAGINING HOME Sat 4 NORTHWEST FILM VIDEO FESTIVAL SHORTS 3 Fri 8:45 SWEET CRUDE Sat 2 UNCLE TOMS APARTMENT Sat 8:30 YOUNG RESTLESS IN CHINA Sun 4:30

INSPIRED BY TRUE EVENTS

SOUNDTRACK FEATURING

THE WHO, THE KINKS, JIMI HENDRIX, DAVID BOWIE, THE ROLLING STONES

St. Johns Pub and Theater

KENNETH ANDBRANAGH

STARTS FRIDAY, NOVEMBER 13TH IN THEATRES EVERYWHERE!

CHECK THEATRE DIRECTORIES OR CALL FOR SOUND INFORMATION AND SHOWTIMES

SPECIAL ENGAGEMENTS NO PASSES OR DISCOUNT COUPONS ACCEPTED

MOBILE USERS: For Showtimes – Text PIRATE with your ZIP CODE to 43KIX (43549)

Own LOVE ACTUALLY – For the first time ever on Blu-ray™ Hi-Def – The ultimate romantic comedy from Richard Curtis in perfect picture and perfect sound!

52

Lloyd Center Stadium 10 Cinema 1510 NE Multnomah Blvd., 800-326-3264 Call for showtimes.

Lloyd Mall 8 Cinema

2320 Lloyd Center Mall, 800-326-3264 THE TWILIGHT SAGA: NEW MOON Thu 12:01 TWILIGHT Thu 9

Roseway Theatre

7229 NE Sandy Blvd., 503-282-2898 THE MEN WHO STARE AT GOATS Mon 3:30, 5:45, 8 Fri-Sun 2:30, 4:45, 7 Fri 9:15 Sat 9:15 THE TWILIGHT SAGA: NEW MOON Thu 11:59am

NORTHWEST Cinema 21

616 NW 21st Ave., 503-223-4515 CRUDE 7 Fri-Sun 4:30 ONG BAK 2: THE BEGINNING SatThu 9 Sat-Sun 2:15 Fri 9:15

Mission Theater and Pub

1624 NW Glisan St., 503-249-7474 (500) DAYS OF SUMMER Fri 5:30 DO THE RIGHT THING Sun 2:30 HEAVY TRAFFICFri 9:30 Sun 5:30 INGLOURIOUS BASTERDS Sun-Tue 7:40 JO JO DANCER, YOUR LIFE IS CALLING Fri 7:30 SHES GOTTA HAVE IT Sat 4:30

SOUTHEAST Avalon Theatre

3451 SE Belmont St., 503-238-1617 DISTRICT 9 9:25 HARRY POTTER AND THE HALFBLOOD PRINCE 2:20, 6:45 ICE AGE: DAWN OF THE DINOSAURS 1:55, 5:30 INGLOURIOUS BASTERDS 9:10 SHORTS 12:40, 5:05 THE INFORMANT! 7:15 UP 12:05, 3:35

Bagdad Theater and Pub

3702 SE Hawthorne Blvd., 503-249-7474 INGLOURIOUS BASTERDS

Area Codes: (360), (503), (530), (541), (803) WillametteWeek NOVEMBER 11, 2009 wweek.com

Portland Willamette Wk • Wed 11/11 • 2x12’’ JobID#: 414406 Name: 1111_Pir_Will.pdf #100 11/9/09 11:10 AM pt

St. Johns Twin Cinemas and Pub

waukie, Mission, Valley.

NORTHEAST 4122 NE Sandy Blvd., 503-281-4215 AMELIA Thu, Mon 7, 9:45 Fri 4:45, 9 Sat 2:15, 4:30, 9

4040 SE 82nd Ave., 800-326-3264 2012 12:15, 1:30, 2:45, 4, 5:15, 6:30, 7:45, 9, 10:15 Fri-Sun 11am ASTRO BOY 12:05, 2:25, 4:55 CIRQUE DU FREAK: THE VAMPIRES ASSISTANT 7:15, 9:50 DISNEYS A CHRISTMAS CAROL 12:50, 1:40, 3:20, 4:10, 5:50, 6:40, 8:20, 9:10 DISNEYS A CHRISTMAS CAROL 3D 12, 2:30, 5, 7:30, 10 LAW ABIDING CITIZEN 2:05, 4:40 FriWed 7:20, 9:55 Fri 11:25am Sat 11:25am Sun 11:25am MICHAEL JACKSONS THIS IS IT 12:35, 1:55, 3:25, 4:45, 6:15, 7:35, 9:05, 10:20 FriSun 11:05am PARANORMAL ACTIVITY 12:20, 2:50, 5:25, 7:55, 10:10 PIRATE RADIO 1, 4:05, 7, 10 THE BOX 2:15, 5:05, 7:50 Mon-Thu 10:35 Fri 11:15am, 10:35am Sat 11:15am, 10:35am Sun 11:15am, 10:35am THE FOURTH KIND 12:10, 2:40, 5:10, 7:40, 10:30 THE MEN WHO STARE AT GOATS 12:30, 3, 5:30, 8, 10:25 THE TWILIGHT SAGA: NEW MOON Thu 12:01, 12:05 TWILIGHT Thu 9 WHERE THE WILD THINGS ARE 2:10, 4:50, 7:25 Mon-Thu 10:05 Fri 11:30am, 10:05am Sat 11:30am, 10:05am Sun 11:30am, 10:05am

CineMagic Theatre

2021 SE Hawthorne Blvd., 503-231-7919 A SERIOUS MAN 5:30, 7:35, 9:40 Sun 3:25

Clinton Street Theater

2522 SE Clinton St., 503-238-8899 DAYTIME DRINKING SatThu 7, 9 HESH LAW Fri 7, 9 REPO! THE GENETIC OPERA Fri 11:30am THE ROCKY HORROR PICTURE SHOW Sat 12

Division Street Stadium 13

16603 SE Division St., 800-326-3264 THE TWILIGHT SAGA: NEW MOON Thu 12:01, 12:05

Moreland Theatre

6712 SE Milwaukie Ave., 503-236-5257 THE TWILIGHT SAGA: NEW MOON Thu 12:01 WHERE THE WILD THINGS ARE 5:30, 7:25 Sat-Sun 3:25 Sun 1:15 ZOMBIELAND 9:20

99 Indoor Twin

Highway 99W, 503-538-2738 CLOUDY WITH A CHANCE OF MEATBALLS Fri-Sun 7 Fri 9 Sat 9 Sun 2:30 WHERE THE WILD THINGS ARE FriSun 7 Fri 9 Sat 9 Sun 2:30

Bridgeport Village Stadium 18 IMAX

7329 SW Bridgeport Road, 800-326-3264 Call for showtimes.

Cornelius 9 Cinemas

200 N 26th Ave., 503-844-8732 2012 2:15, 3:45, 5:30, 7 Fri-Wed 9 Fri 12:30, 10:10 Sat 12:30, 10:10 Sun 12:30 ASTRO BOY Fri-Mon 12:05 COUPLES RETREAT 2:15, 4:50 Fri-Wed 9:40 Fri 12 Sat 12 Sun 12 DISNEYS A CHRISTMAS CAROL 2:40, 5:40, 7:40 Fri-Sun 12:40 DISNEYS A CHRISTMAS CAROL 3D 2:10, 5:10, 7:10 Fri-Wed 9:10 Fri 12:10 Sat 12:10 Sun 12:10 MICHAEL JACKSONS THIS IS IT 2:25, 7:05 Fri-Wed 9:35 Fri 11:55am Sat 11:55am Sun 11:55am PARANORMAL ACTIVITY 2:55, 5:35, 7:50 Fri-Wed 10 THE BOX 4:40 Fri-Wed 7:15, 9:40 Fri 11:50am Sat 11:50am Sun 11:50am THE FOURTH KIND 5:15, 7:30 Fri 12:25, 2:50, 9:45 Sat 12:25, 2:50, 9:45 Sun 12:25, 4:50, 9:45 Mon 2:50, 9:45 Tue 2:50, 9:45 Wed 2:50, 9:45 Thu 2:50 THE MEN WHO STARE AT GOATS 2:20, 5:20, 7:20 Fri-Wed 9:20 Fri 12:20 Sat 12:20 Sun 12:20 THE TWILIGHT SAGA: NEW MOON Thu 12, 12:15, 2:45, 5:40, 8:20 TWILIGHT Thu 8:30

Edgefield Powerstation Theater 2126 SW Halsey St., 503-249-7474 PONYO 6 THE INFORMANT! 8:40

Forest Theatre

1911 Pacific Ave., 503-844-8732 CIRQUE DU FREAK: THE VAMPIRES ASSISTANT FriSun 4:40 WHERE THE WILD THINGS ARE Fri-Sun 2:35, 7 ZOMBIELAND Fri-Sun 9:05 SUBJECT TO CHANGE. CALL THEATERS OR VISIT WWEEK.COM/MOVIETIMES FOR THE MOST UP-TO-DATE INFORMATION.

1. The Informant!: Matt Damon. Academy, Edgefield, Living Room Theaters, Milwaukie,

Valley.

Hollywood Theatre

Century Eastport 16

SUBURBS

TOP 5 MOVIES TO WATCH IN THEATER PUBS THIS WEEK:

8203 N Ivanhoe St., 503-249-7474 Call for showtimes.

8704 N Lombard St., 503-286-1768 2012 5, 8:10 Sat-Sun 1:30 THE TWILIGHT SAGA: NEW MOON Thu 12:01 WHIP IT 8:30 Fri-Sun , Tue-Thu 5:55

Mon 8:10 Sun 7:25 NOTHING BUT A MANFri 8 Sun 5:15 SHORTS Sat 2 SOUL POWER Mon 6 Sun 1 THE HANGOVER Fri-Sun 10:20am

BREW VIEWS BY AARON MESH

NORTH

AND MANY MORE

PHILIP BILL JANUARY RHYS NICK SEYMOUR HOFFMAN NIGHY JONES IFANS FROST

Sun 2:15, 4:30, 9 Tue 9:15 COCO BEFORE CHANEL 7:15 Sat-Mon , Wed-Thu 9:15 Sat 1:30, 3:30 Sun 1:30, 3:30 FIVE MINUTES OF HEAVEN Sat-Thu 7:30 Sat-Sun 1:15, 5:30 Fri 5, 9:30 STORM Sat 7 THE BURNING PLAIN Sun 7 THE FOREST FOR THE TREES Fri 7 WHIP IT SatThu 9:30 Sat-Sun 3, 5:15 Fri 9:15

Friday-Thursday, Nov. 13-19, unless otherwise indicated.

2. Inglourious Basterds: Maaattt Daaammmon. Academy, Bagdad, Mil3. The Hangover: Maaaaaattttt Daaaaaammmmooon. Academy, Bagdad, Valley.

4. PDX African-American Film Festival:

Maaaaaaaaaaaaatttttttt Daaaaaaaammmmmmmoooooon. Bagdad, Kennedy School, Mission, St. Johns.

5. Harry Potter and the Half-Blood Prince: Matt Damon.

Academy, Milwaukie, Valley.

BACK COVER

BE GENEROUS FOR THE KITTENS Give to the Cat Adoption Team through the Give!Guide

TO ADVERTISE ON WILLAMETTE WEEK’S BACK COVER CALL 243-2122

Apple Macintosh Certified Consultant

House-calls, support, training. Experience & professionalism you can trust. www.kginger.com 503-771-7015

Home Buying Classes Home Buying Classes At PCC. Details/Resources at PortlandHomeBuying101.com 503-314-9567

Carpet Repairs

Rips, Tears, Burns, Stains, Restretching. Casey 503-593-9826 CCB#168587

CDPDX

The Best For CD + DVD Duplication. 503-228-2222 • www.cdpdx.com

CHANGE THE WORLD IN 4 WEEKENDS

Eating Disorders

Free Family and Sufferers Support Groups. 12 Week Treatment Groups. Individual Counseling. Call for free “Steps To Recover” brochure. A Better Way Counseling Center 503-226-9061 www.abwcounseling.com

Eskrima Classes

Personal weapon & street self-defense. www.nwfighting.com or 503-740-2666

Volunteer Leader trainings in November. Floating Candle Contact Greg at 503-282-8846 x12 or GregT@FriendsofTrees.org. www.FriendCenterpieces It’s not too late to eliminate debt, protect sofTrees.org. Unique accessories for your special event. assets, start over. Experienced, compasSURROUNDINGS.COM 503-598-2281. Chapel Available sionate, top-quality service. Forclosure Defense Attorneys Weddings & Events Christopher Kane, 503-380-7822 Reasonable rates & fixed fees. 3210 SE Taylor. 503-238-1360 www.ckanelaw.com Loan workouts, litigation, bankruptcy www.TheUniversityChapel.com 2 Bedroom Lease/ 503-546-0141 www.SRLfirm.com

Bankruptcy Attorney

Option $225,000

8K option/fee North Interstate. 503-2683480. www.myfavoritehome.info

MAC REPAIR PORTLAND MAC TECH

9966 SW Arctic Drive, Beaverton 9220 SE Stark Street, Portland American Agriculture • americanag.com PDX 503-256-2400 BVT 503-641-3500

Anita Manishan Bankruptcy Attorney

LAVALIFE VOICE

20 YEARS EXPERIENCE. DEBT RELIEF AGENCY. www.nwbankruptcy.com FREE CONSULTATIONS, 503-242-1162

ATTORNEY- BANKRUPTCY

Friends of Trees is pleased to be in the 2009 Give!Guide. Check us out on page 27 in this week's insert!

BELLYDANCE!

Marijuana & Criminal Law John Lucy, Defense Attorney 503-227-6000 • www.Law420.com

$29 BIKRAM YOGA!

Our nonprofit clinic’s doctors will help. The Hemp & Cannabis Foundation. www.thc-foundation.org 503-281-5100

www.FriendsofTrees.org CNA Training

Start Your New Career Today. Next class starts 11/30, 1/18, 2/1 & 2/22. www.CNA-Careers.com or 503-384-0147

MISTRESS VICTORIA

Criminal Defense

Pilates For Back Pain

Rods/Fusions & Crosstraining www.bluelotuspilates.com 503-884-0951

Gluten-Free Portland Resource Guide, Cooking, Diet Counseling. www.GlutenFreeChoice.com 503-413-9369

Attorney. Misdemeanors & GUITAR LESSONS INTRODUCTORY MONTH UNLIMITED. Experienced ALL AGES ALL LEVELS. 503-707-5806. Felonies. DUII, drugs, expungement. 4831 NE Fremont, 503-284-0555 www.heronblue.com steve@heronblue.com Jake Braunstein 503.505.0411 7070 SE 16th 503-232-9642 Guitar Lessons 5816 SW Hood Ave 503-452-1132 instruction for over 15yrs. Call Medical Marijuana DUII, Diversion, Drugs, Personalized www.danielnoland.com 503-546-3137 And Expungement Card Services Clinic Criminal Attorney. Misdemeanors & Felonies. Our doctors can help. Jeffrey Siefman, 503-609-0529. 503-384-WEED(9333)

Portland Plant Medicine Gathering 11/21-22, $80 (Adv.Tickets) Bamboo Grove, 134 SE Taylor pdxplantmedicine.org

Post it, Rent it, Buy it, Sell it

The Laser Nail Clinic, LLC Dr. Ambrose Su, DPM Located locally in Lake Oswego. Additional offices throughout Oregon

(503) 544-2794 · 877-LZR-NAIL www.thelasernailclinic.com

Hypnotherapy works. Jen Procter, CHt., M.NLP 503-804-1973 hello@jenprocter.com The Recording Store. Pro Audio. CD/DVD Duplication. www.superdigital.com 503-228-2222 Twitter: @DonnySuperDigit

Trouble Getting Pregnant? We can help!

Understand your options. Get your questions answered. Learn about one of the leading fertility centers in the nation* FREE Orientation Seminar Tuesday, Dec 15, 2009, 7pm-9pm Sponsored by: Oregon Reproductive Medicine www.OregonReproductiveMedicine.com Legacy Good Samaritan Hospital Building 2, Auditorium, 1st Floor 1040 NW 22nd Ave., Portland, OR 97210 To register: orientation@PortlandIVF.net or call 503-274-4994

WE BUY GOLD!

The Jewelry Buyer 2034 NE Sandy Blvd. Portland. 503-239-6900

We Can Sell Your Guns!

Instantly post and browse ads for FREE! portland.wweek.com

Antiques, Guns, Jewelry or Entire Estate! www.GaryGermer.com 503-235-0946

Qigong Classes

 Need Mac Help?

Cultivate health and energy www.nwfighting.com or 503-740-2666

Onsite Apple Certified services: upgrades, repair, data recovery and more. www.mymacfix.com or 503.703.4545

Recession Special

Our proven and painless PinPointe™ FootLaster™ system kills the fungus that causes the disease. Your nails will grow out looking normal! • FDA Cleared Laser Light • Fast, Safe and Painless • No Anesthesia or Drugs • Easy Payment Plans

Stop SMOKING, Already! SuperDigital

Do you or someone you love have a problem with prescription opiates or heroin? New evening outpatient treatment program including Suboxone, comprehensive medical and counseling components. CRCHealth/Jim Thayer, MD, Addiction Medicine, 503-505-4979, 503-348-2840.

Low cost. Professional legal representation. Debt Relief Agency. Michael Day, Attorney 503-228-0893 www.MichaelDayLaw.com

Host Your Event Holiday • Weddings • Corporate • Concert 503-236-2454 www.eastburnside.com

MEDICAL MARIJUANA

Opiate Treatment Program

Bankruptcy

Bossanova Ballroom

Getting registered for medical marijuana needn’t be a counter-culture experience. MAMA: 503-233-4202. MAMAS.org

Smoldering, Strict and Painfully Gorgeous BDSM and Fetish 503-858-5407. www.thedeviantdollhouse.com

FREE Consultation. Payment Plans. Experienced. Debt-Relief Agency Scott Hutchinson. 503-808-9032 www.Hutchinson-Law.com

Experience Euphoria! 1235 SE Division. 503-240-1997 www.EuphoriaStudios.net

Crisis/Trauma Sexual/Domestic Assault EMDR Therapist Athena Phillips, LCSW 503.819.4181

MAMA’S MEDICAL Marijuana Clinic

Female Owned Studio. Amazing Artists! Awesome Jewelry! East 503-232-6222 West 503-292-7060 www.adornbodyart.com

Alcohol Server Education Classes (ASE) $17. MomentsNoticeOregonTesting.com

Specialized Counseling

Talk to exciting singles near you! Free to browse & listen to profiles. CALL NOW! 503.928.6070 Must be 18+

ADORN Tattoos|Piercing|Jewelry

Approved OLCC Online

$Quick Cash for

FREE BASIC MEMBERSHIP: CHAT with Junk Vehicles$ VIP members. Respond to VIP members’ Free removal. Ask for Steve. 503-936-5923 personal ads. Participate in the member FORUMS. Try it, its a FREE call! LIVE-LINE, Roberts Personal The largest LOCAL chatline 503-222-CHAT • 360-696-5253. Optional, UNLIMITED Services Home Delivery, Pick-up. VIP membership for as low as $1.77/day In-Home Services 503-989-0705 Hypnosis Free Evening Lecture Wednesday November 18th, 6-8pm ROBOT Piercing & Tattoo www.knightsbridgeinstitute.com Clean, safe & fun. Walkins welcome. NW 503-246-7300 23rd neighborhood. www.mega-robot.com

AA HYDROPONICS

Briz Loan & Guitar. Downtown Vancouver, WA 360-699-5626 www.briz.us

cat adoption team

Hook up tonight!

Free House Calls • Low Rates $25 diagnostic fee, $50 per hour. Call 503998-9662 or Schedule an appointment at http://www.portlandmactech.com

ALL MUSIC PAWN SHOP!

Inside today’s issue! catadoptionteam.org (503) 925-8903

$50 Brazilian Wax or 1 Hour Facial Fresh, Organic Seasonal Gift Baskets

The Face Place

15 Years Experience

1009 NW Hoyt, Unit 101

(503) 243-7576 www.waxqueen.com

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