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Willamette Week FEBRUARY 9, 2011 wweek.com
SEX, LIES AND PHOTOGRAPHY: Thank you to Olympic Provisions for creating the meat bouquet on WW’s cover this week. O.P.’s real V-Day Salami-Grams (see page 15) feature wrapped salami.
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EDITORIAL Managing News Editor Henry Stern Arts & Culture Editor Kelly Clarke Staff Writers Nigel Jaquiss, James Pitkin, Beth Slovic Copy Chief Kat Merck 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 Stacy Brownhill, Leighton Cosseboom, Kevin Davis, Rachael DeWitt, Rebecca Jacobson, Jessica Lutjemeyer, Nikki Volpicelli CONTRIBUTORS Stage Ben Waterhouse Classical Brett Campbell Dance Heather Wisner Visual Arts Richard Speer
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Our mission: Provide our audiences with an independent and irreverent understanding of how their worlds work so they can make a difference. Circulation: 90,000 (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
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INBOX WWEEK.COM READERS COMMENT ON… “ELIZABETH LYNN DUNHAM: MAY 12, 1961-JAN. 16, 2011” “I have mixed feelings about the choice of whether to name or not name a victim of prolonged sexual abuse. I read both the Oregonian article and the WW article. When I read the piece in the Oregonian, I felt like something was missing. This piece in the WW felt more complete. Elizabeth’s name and her photos made what happened to her all the more painful to read. She is a real person—not a nameless, faceless victim. One of the issues that happens with abuse is that a victim loses control over their life. By naming them without their consent, it is another way of someone taking control over them. However, I conversely think that by not naming victims of sexual abuse, we continue to stigmatize it. It must be shameful if we have to hide that someone has been a victim of a sex crime. I think that, as a society, we would likely benefit from being more open about naming victims. But, as an individual, I would want to be the one to make the choice of whether I was to be named publicly.” —Elaine “There seem to be two veins of comments that arise related to this story, not counting the rants of those who just like to scream on blogs. The first vein comes from those who, regardless of how they define the crime, want to assume the victim had a role to play in this; that she
could have changed her life had she been smarter, stronger, or more like the writer of those comments. If life were that simple. The second vein comes from those who, for whatever reason, have insight to the very common personality changes that occur after abuse. Sure, some deal with it different than others, but if you have spent any time around or ever loved the victim of abuse, or are a victim of abuse, then you get it. This situation is to me the epitome of all that can go wrong. The rapist is a man of great charm, talent, good looks, public position, and adored by the family. The victim is victimized at the ideal time to have her life just destroyed. I would not wish such victimization on my worst enemy, but I would wish it for just five minutes on all those who think they are just above it, or impervious to it. As long as those of you who can’t comprehend how this happened are still in the dark, it will be repeated. I hope your daughters or sons are not the victims. I wonder if they are at higher risk than mine. Goldschmidt, who originally called this “an affair” now says he wants to be good to those he loves. By still not accepting how he alone sent her down such a tragic path, he still fails those he loves. If I sound angry, damn right I am.” —Don LETTERS TO THE EDITOR must include the author’s street address and phone number for verification. Letters must be 250 or fewer words. Submit to: 2220 NW Quimby St., Portland, OR 97210. Fax: (503) 243-1115, Email: mzusman@wweek.com
“I dare say, darling, I believe that fellow has had one too many!” “Oh, My!”
The Portland Bicycle Plan reportedly calls for 681 miles of bike lanes costing $613 million. That seems like an awful lot to paint lines on rights-of-way already owned by the city. Where is the money going? —Axle the Cat
URGES YOU TO
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Willamette Week FEBRUARY 9, 2011 wweek.com
Actually, the $613M-for-681-miles figure is an old estimate—the new tab is more like $582M for 767 miles. So give the city a little credit; they’re building 86 additional miles for negative $31M. Wow! Maybe for an encore they can reverse gravity, divide by zero and go back in time to save Lincoln. Portland Bureau of Transportation’s Cheryl Kuck urges you to put the $582M in perspective. “In terms of the bigger picture of what the Portland metropolitan region spends on transportation,” she says, “it’s a relatively small amount.” From 1995 to 2010, we blew $6.3 billion on road improvements and public transit, but only about $75 mil on bike-specific improvements. Now, for about 1 percent of our transportation
costs, we already have 6 percent of our citizens on two wheels. (If we spent it all on bikes, we could have an eye-popping 600 percent of our population biking to work every day. Suck it, Minneapolis!) Thus, the bike paths you deride as little more than painted lines were fairly cheap. The planned system is a lot more extensive—the goal is a bikeway within a quarter-mile of every residence. It’s also fancier, with buffered bike lanes (think SW Oak and Stark) and cycle tracks (think SW Broadway). Naturally, there’s a substantial initial outlay to make such major traffic adjustments efficiently and safely, but doing it right will save money in the long run. Especially since those who cry loudest about public spending always seem to be the first to sue the city when they trip over a curb and stab themselves with their little American flags. QUESTIONS? Send them to dr.know@wweek.com
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LEGISLATURE: An end to shark-fin soup in Oregon? 8 MULTNOMAH COUNTY: DA Mike Schrunk’s potential successors. 10 CITY HALL: Tasers, schools and other spending in the budget. 13 WWEEK.COM: One Portlander’s eyewitness account of turmoil in Egypt.
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Plans for OHSU and Portland State’s $180 million life sciences building have been trimmed after developers Homer Williams and Dike Dame told the universities they couldn’t come up with the $10 million in equity required by the bidding process Williams and Dame won last October. PSU Vice President Lindsay Desrochers says the universities will soon request new bids for the South Waterfront project. The loss of developer equity means the planned eight-story building will lose one floor and probably open in early 2014 instead of fall 2013. “We’re OK with that,” Desrochers says. Williams couldn’t be reached for comment.
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Fresh off defeating a proposed statewide plastic bag ban last year in the Legislature, the chemical industry is lining up to oppose the return this year of that proposal—one of enviros’ top priorities in 2011. On Feb. 8, bagmakers and their powerful adviser, the Gallatin Public Affairs, trotted out an exec from the country’s largest plastic-bag recycler to argue a ban is a job-killer. “Thousands of green manufacturing jobs will be gone forever,” testified Mark Daniels of South Carolinabased Hilex Poly. In October, chem lobbyists rained $1,000 checks on 15 key lawmakers from both parties, which means doors will be open when they come calling. A Portland man is suing the operators of the West Burnside Street McDonald’s for $7,500 after he was allegedly attacked at the drive-thru window. The suit, filed Feb. 4 in Multnomah County Circuit Court, claims Ronald Massey went to the drivethru about 1 am on Oct. 22, 2010. He says customers began yelling insults at him, ripped the wiper off his 2010 MercedesBenz and punched him in the face without provocation. The suit claims negligence by McDonald’s for failing to protect customers in a “high crime rate area.” “The safety and security of our customers and employees is a top priority,” franchisee Jimmy Monroe said in an email from a PR firm. A recent shake-up at the Portland Police Association means cops will meet Feb. 10 to nominate candidates for two leadership vacancies in the powerful union. Officer Dave Dobler, on temporary leave from the police bureau for undisclosed reasons, has stepped down as the union’s secretary-treasurer and been temporarily replaced by Sgt. Tom Perkins. And Sgt. Doug Justus stepped down from the union’s executive board when he retired last month as a cop. The shake-up follows Sgt. Scott Westerman’s abrupt resignation as PPA president last year after two road-rage incidents and the recent departure of longtime union attorney Will Aitchison.
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Former Multnomah County Sheriff ’s Capt. Bruce McCain, a vocal critic of the Kyron Horman investigation since retiring from the sheriff ’s office, wants to be on the Reynolds School Board. McCain filed this week to run this May for a seat on the board in the east Multnomah County school district. “I’ve got the time and interest to take on a non-paying job,” says McCain, a former attorney for ex-Sheriff Bernie Giusto and a conservative who once represented the anti-gay Oregon Citizens Alliance. “I’ve got experience in government policy and budgets.”
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Why Lovejoy Surgicenter faces a $1 million lawsuit from a woman with two uteri. Willamette Week FEBRUARY 9, 2011 wweek.com
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DAVID FIDANQUE W W S TA F F
THE HEAD OF OREGON’S ACLU CALLS B.S. ON JTTF.
BY M A R K Z US M A N
and
H E N RY STE RN
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Later this month, City Council will determine whether Portland remains the only major U.S. city that refuses to assign police officers to the feds’ Joint Terrorism Task Force. In 2005, then-Mayor Tom Potter pulled Portland from the JTTF because of concerns about the lack of oversight the city would have. Specifically, he wanted more assurances that cops wouldn’t be violating state and local laws restricting surveillance and investigation of groups based on their political and religious affiliations. Two weeks ago, we asked Dwight Holton, the U.S. attorney for Oregon, to give us his best arguments why Portland should rejoin the JTTF when the five-person City Council votes Feb. 24 on that question. This week, we interview David Fidanque, executive director of Oregon’s American Civil Liberties Union chapter since 1993, about why Portland should not rejoin. Fidanque sharply disagrees with Holton’s views on rejoining the JTTF. And he argues that our civil liberties are even less secure under the Obama administration than they were under George W. Bush.
Willamette Week: What’s Dwight Holton’s best argument? David Fidanque: His best and his worst argument is, “Just trust us.” I wish we could trust our government to do what’s right. But throughout the history of the Federal Bureau of Investigation, they’ve shown us repeatedly we shouldn’t unless there is adequate oversight. And there isn’t adequate oversight currently.
Holton said the feds don’t gather information on people based on their religion or politics. They don’t do it solely because of their political, religious and social activities. But they do as long as they have some other shred of a possibility of “I think there may be someone connected with this person who might be involved with international terrorism activities. Therefore I want to check out this person and collect information.” Did you hear what I Is there any JTTF agreement the city said? There “may be,” there “might be”—that’s could strike that would give you enough not a reasonable suspicion. It’s nowhere near comfort to support rejoining? probable cause…. What they are doing now is What we found out in 2005 is that the Justice snooping on lawful activity in the hopes they Department wouldn’t allow the relevant peo- will happen on somebody who is planning ple in city government to have the access to a terrorist act. A smarter way to go about it provide that oversight and would be to follow the guidance for officers (speevidence that they have cifically, the city attorney). and comes to them. If they FACT: City Council will hold a public hearing Tuesday, Feb. 15, at The city attorney is key spent as much time devel9:30 am to discuss rejoining the because the city attorney oping relationships not Joint Terrorism Task Force. The is the one who’s charged based on fear and intimicouncil is scheduled to vote Feb. with reviewing the files of dation in the Muslim 24 on the issue. the criminal intelligence community, people would unit to make sure they’re be more likely to go to the in compliance with the law. The city attorney FBI. If you think having Portland officers be is also key because that’s who city employees in the JTTF is going to provide a window into call when they want to know whether some- the FBI, you’re very naive. thing is legal.… That was nixed by the Justice Department, which would not give clearance Holton said those abuses no longer occur. to the city attorney. The mayor said that That’s bullshit. Those tactics have been authomeant there was no way to know if we’re fol- rized by Congress. They’ve been authorized by the attorney general. lowing the law. The acting U.S. attorney sat in our office a couple of weeks ago and said the mayor would have at least a degree of civilian oversight. They would not have access to sources and methods. That’s the difference between secret and top secret clearance. The powers of the FBI have greatly expanded since 9/11. The strictures on them have essentially been done away with in terms of the attorney general’s guidelines. The FBI has resisted oversight by Congress every step of the way. How does the city’s non-participation in the JTTF in any way ameliorate the situation you just described? In other words, is it more likely the JTTF won’t violate our civil rights if Portland doesn’t join the JTTF? No. But what it does do is prevent Oregon resources from being corrupted in the way federal resources have been corrupted. Oregon law since 1981 has prohibited any state or local police agency from collecting or maintaining any information about political or religious or social activities of individuals or organizations unless they’re directly related to criminal activities.
If you were locked in a room with Holton and told to come up with an agreement, what would it look like? I don’t think it’s an agreement that Holton has the authority to do. It would include the same kinds of restrictions on the creation of FBI files in Oregon that state and local police have. It would include regular review of those files. Any sense of how this council will vote? It’s clear Commissioner [Dan] Saltzman [supports rejoining JTTF] and Commissioner [Randy] Leonard [opposed] have not changed their view. I think the other three are being very circumspect. I don’t know what the vote is going to be. I would be surprised if the mayor changes his position from five years ago, but I know he was saying we have a different administration [in Obama] now and that maybe we don’t need to be worried. Not only has it not gotten better, it’s gotten worse. To see our interview with Fidanque.
Willamette Week FEBRUARY 9, 2011 wweek.com
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NEWS
LEGISLATURE I L L U S T R AT I O N S : H AW K K R A L L
LIGHTS, CAMERA, TAX BREAK KITZHABER GREENLIGHTS BIGGER TAX SUBSIDIES FOR MOVIEMAKERS. BY NIG E L JAQ UI SS
njaquiss@wweek.com
Even as Gov. John Kitzhaber is slashing Oregon’s budget, he’s pushing for a big expansion to a tax credit for movie production in the state. On Feb. 7, Kitzhaber’s proposed cuts of nearly $3.5 billion in current service levels in the next two years landed him on page 1 of The Wall Street Journal, in a story titled “Governors Chop Spending.” But last week, the Democratic governor also introduced legislation that would jack up the tax revenue the state funnels back to moviemakers from $7.5 million a year to $12.5 million. (The film credit began in 2003 and will expire this year if lawmakers do not vote to extend it.) The $12.5 million is pocket lint compared with the state’s annual budget of about $7.4 billion. But the proposed expan- percent of production costs, is less generous than many. sion of the film tax credit rankles critics who say it’s an extenBut when the state is preparing to slash school days, sion of an inefficient program that rewards the wealthiest eliminate medical care for some low-income Oregonians and Oregonians on the basis of some fairly thin evidence that it cut multiple other services, it’s worth asking why the state is creates jobs. underwriting moviemakers’ expenses. “This scheme is merely enriching some very well-to-do Vince Porter of the Governor’s Film & Television Office people, and it is very inefficient,” says Chuck Sheketoff, direc- says the program attracts production companies to Oregon, tor of the Oregon Center for Public Policy. which translates into thousands of jobs, The program works like this: Taxpayers lots of tax revenues and lots of income FACT: In 2007, Laika, the Portland who want to offset their Oregon tax liabilifor service providers, such as equipment film production studio owned by Nike ties buy credits from the Governor’s Film rental companies and hotels. Porter says founder Phil Knight, got $250,000 & Television Office. That office then doles production companies have spent nearly from the Governor’s Film & Television Office. Most of the other production out the money to companies that produce $180 million in Oregon since 2007. companies that have benefitted are such work as the TV show Leverage and that But Paul Warner, the state’s legislative from out of state. To see the entire can document certain expenses in Oregon. revenue officer, says Porter and fans of the list of beneficiaries, go to wweek.com. Sheketoff, a longtime critic of tax subcredit may be reaching an unwarranted sidies, says the state’s approach of selling conclusion. the film tax credits at a discount of 90 cents to 95 cents on the Yes, the state is forking over subsidies to filmmakers and dollar is a waste of money and an indirect—and therefore less the filmmakers are hiring lots of Oregonians. It’s unclear, scrutinized—way of spending scarce tax dollars. however, whether the subsidies are creating the jobs or the “If you want to fund subsidies, it ought to be done as a link is merely coincidental. direct expenditure,” says Sheketoff. “Is there a causal relationship there?” asks Warner, whose Sheketoff says if the program is worthwhile, it would be office provides nonpartisan tax research to lawmakers. better to write a check from the state treasury to production “That’s a tough one. We just don’t know.” companies rather than discounting the credits. That also Kitzhaber’s spokesman, Tim Raphael, says the tax credit would make the program compete with other general fund has every appearance of a job creator, something Oregon expenditures. badly needs. He says the current format is efficient and mainMore than 40 states offer some level of subsidy for film taining it as a multilayer credit rather than direct expenditure production. And Oregon’s program, which is capped at 20 “offers certainty over a longer period.”
SOUP’S OFF A NEW BILL WOULD OUTLAW THE SHARK-FIN TRADE IN OREGON. Oregon could become the second state in the United States to outlaw the grisly trade of shark fins that go into Asian delicacy soups selling for up to $40 a bowl in Portland restaurants. A bill introduced in the Legislature by Rep. Brad Witt (D-Clatskanie) would prohibit possessing, selling, trading or distributing shark fins in Oregon. “We do not need to be depleting our fish stocks or participating in inhumane practices that accommodate foreign markets that have very little impact on our domestic fishing industry,” Witt says. Though Congress approved a similar nationwide ban last December, state-level bills have also been proposed in Washington and California. Hawaii is the only state with its own ban. The shark-fin trade results in the killing of 73 million sharks worldwide each year, according to a March 2010 report from Oceana, an international organization devoted to ocean conservation. Once the animal’s fins are removed, the living shark is thrown overboard to drown, starve or be eaten by other fish. Witt’s House Bill 2838 would not ban shark fishing, just the trade in shark fins. “Those who choose to fish for sharks can still fish for sharks,” says Witt, whose district includes Astoria. Local restaurants listing shark-fin soup on their menus include Ocean City and Wong ’s King Seafood Restaurant, both in Southeast Portland. Ocean City owner Lisa Fan tells WW her restaurant’s shark-fin soup doesn’t use real shark fin, but she doesn’t know what the imitation shark fin is made from. A manager from Wong’s King (see Rogue of the Week, WW, Aug. 25, 2010) was unavailable at press time. Other employees declined to comment. —Jessica Lutjemeyer
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NEWS
MULTNOMAH COUNTY
SCHRUNK’S SUCCESSOR
NEWS OF DA MIKE SCHRUNK’S POSSIBLE RETIREMENT STIRS SPECULATION ABOUT WHO MIGHT REPLACE HIM. BY JA MES PITKIN
jpitkin@wweek.com
Word that Multnomah County District Attorney Mike Schrunk is considering retirement (see Murmurs, WW, Feb. 2, 2011) has sparked
widespread interest among his possible successors. After all, Schrunk, 68, has held the office since 1981. Schrunk says he hasn’t decided whether to retire. If he steps down before his term ends in 2012, Gov. John Kitzhaber would appoint a successor. Here are five candidates mentioned by lawenforcement sources as potential replacements for Schrunk, who manages a $26 million budget and more than 80 prosecutors in Oregon’s largest county. What insiders say
Who s/he is
What s/he says
A chief deputy prosecutor who has worked in Schrunk’s office for 22 years.
Underhill says he’s already gauging support among key figures—he declines to say whom—and calls the results “very positive.”
Underhill is widely seen as Schrunk’s chosen successor. But insiders say his support within the DA’s office— including from Schrunk himself— may not run as deep as Underhill would wish.
Head of Oregon Attorney General John Kroger’s criminal unit and a former deputy in Schrunk’s office.
“I very much want that job and would consider it an honor to serve the people of Multnomah County.”
Two sheriffs have resigned amid misconduct investigations by Riddell’s office. That may nix support from the Oregon State Sheriffs’ Association— and by extension, from Multnomah County Sheriff Dan Staton.
A former deputy for Schrunk who served three terms in the Legislature and 10 years as a Multnomah County commissioner.
“I would take a look at it if it opened up. I wouldn’t rule it out, in other words.”
Naito gained lawenforcement cred as head of the Local Public Safety Coordinating Council. But her reputation from the “Mean Girls” era, when the county board was a punch line, may dampen her chances.
An assistant federal prosecutor in Portland’s U.S Attorney’s Office and a former deputy for Schrunk.
“It’s a job I’m interested in.... But the last time I checked, Mike Schrunk was still in charge.”
A respected prosecutor, Knight already enjoys a national spotlight heading the case against Mohamed Mohamud, accused of plotting to bomb the Christmas treelighting ceremony in Pioneer Courthouse Square in November.
A former U.S. attorney for Oregon who was appointed a Multnomah County judge in 2009.
“As far as I’m concerned, Mike [Schrunk] is still in the job and I’m happy in mine.”
Passed over in 2008 for an opening on the federal bench, Immergut may still be aiming for a lifetime appointment as a federal judge—and the DA’s job wouldn’t put her any closer to that goal.
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PDX, OR
f 3824 N. MISSISSIPPI AVE
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NEWS
WISHING UPON A SURPLUS CITY FINDS MONEY FOR SHOULDER-FIRED TASERS, SCHOOLS AND OTHER PROJECTS. BY BE T H S LOV I C
bslovic@wweek.com
If you haven’t heard Mayor Sam Adams say it already, gird yourself for his boast that Portland will have a budget surplus. And that surplus of about $3.5 million in the fiscal year that starts July 1 means the City Council may also approve modest new spending from Portland’s $383 million general fund when commissioners vote on the city’s budget in June. Among the small-ticket items commissioners will consider—barring any changes to the financial forecast—are new gadgets for police, a program to benefit the city’s largest high school and plans to fix bugs in the city’s computer system. Here are a few highlights from bureau officials’ Jan. 31 budget requests: PUBLIC SAFETY On Jan. 7, following a string of fatal shootings involving officers, Portland Police Chief Mike Reese and Adams vowed to explore new training techniques and weapons—ones that police call “less lethal.” Among the tools under consideration as the bureau prepares its $160 million budget are socalled TigerLights and shoulder-fired Tasers. The TigerLight, the invention of Portland Sgt. Randy Teig, is a flashlight with a hidden pepperspray canister that can “drop a 250-pound man to his knees,” according to the Utah maker of the weapon, a company run by Teig’s brother. That’s not the flashlight’s only distinguishing feature, however. The TigerLight also has a high-powered strobe to disorient suspects. The new $600 Tasers have cartridges capable of firing up to 80 feet, instead of the current 21 feet. The greater distance would give officers extra protection, proponents say. A November report from City Auditor LaVonne Griffin-Valade calls Portland’s use of Tasers “mostly effective.” But the weapons, which have been used in Portland against an autistic teen and, more recently, a sleeping diner, have their critics. “They’re called ‘less lethal,’” says Dan Handelman of Portland Copwatch. “They’re not called ‘nonlethal.’” MENTAL HEALTH A $106,000 pilot program in the Police Bureau to pair a mental health worker with a patrol officer ends April 30 after a one-year experiment. But Reese would like to maintain and possibly grow the program “to improve responses to people suffering from mental illness and extreme emotional distress.” Expanding the pilot would require adding a new position for a clinical supervisor “to capture meaningful data” on the effort. EDUCATION Having already given $200,000 last year to Portland Public Schools for renovation of the athletic complex at Roosevelt High School, and
another $35,000 to Parkrose School District to help the Northeast Portland district implement a new disciplinary program, Adams now wants to donate $100,000 to a third school district inside city limits: David Douglas. As part of his $1.2 million budget for education, the mayor proposes giving the money to the Southeast Portland district to create a SUN Community School at its high school, one of the largest in Oregon. The 60 SUN schools (the acronym stands for “Schools Uniting Neighborhoods”) in the Portland area are managed by Multnomah County. But the after-school programs get a small portion of money from the City of Portland. Reached Friday, Feb. 4, David Douglas Superintendent Don Grotting didn’t know about Portland’s possible gift. TECHNOLOGY OVERSIGHT The recently completed effort to consolidate payroll and other financial data across the city cost about $47 million—more than three times what Portland officials once expected. Begun in 2004, the technology upgrade also took longer than expected to implement. And now there’s fresh evidence that bureaus continue to struggle with the new computer system. The Bureau of Transportation wants to add three permanent positions to its staff, at a cost of $210,000, to deal with timekeeping and payroll hiccups with the new technology. Willamette Week FEBRUARY 9, 2011 wweek.com
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DATING: Woulda, coulda, shoulda—the love story. FOOD & DRINK: It’s a chocolate explosion! MUSIC: The Builders and the Butchers—the reckoning. OPERA: Turan-don’t. MOVIES: It’s PIFFtacular!
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SCOOP WHAT DOES WILLAMETTE WEEK KNOW ABOUT LUXURY? R.I.P., BARRY HAMPTON: There are a handful of musicians in this town who are so well known and loved that you simply couldn’t avoid them if you tried. Barry Hampton, who died Friday, Feb. 4, due to complications from a recent illness, was one of them. Known for his own band, the Triple Grip, and his work with artists as disparate as MC/DJ Ohmega Watts and JackieBARRY HAMPTON O Motherfucker, Hampton, 42, was a great talent who couldn’t be categorized or pigeonholed, and certainly one of the most charismatic performers in this city’s history. He moved to Portland from Baltimore in 1997, and quickly jumped on just about every stage in town. He will be greatly missed as both a soulful voice and as that uniting force in Portland’s music community. Our thoughts are with his friends, family and his long list of musical collaborators. We imagine, given the reach of Hampton’s music and personality, there will be at least one public memorial or concert (and maybe a rager of a Dookie Jam) in his honor in the coming weeks.
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HAIR ON A ROLL: First it was food, then it was clothing boutiques and now Portland has its first ever “hairstyling cart.” Launched by stylist and former WW cover model Robin Carlisle (we dressed her up as a modern-day Rosie the Riveter for “Crafty Bitches” in 2007), Holiday Hair Studio will open the doors of its vintage travel trailer on Valentine’s Day. Carlisle’s calling it a “brand new species of cart altogether—the service cart.” She explains, “It is everything you would find in a high-end HOLIDAY HAIR STUDIO salon, except it is especially tiny and adorable…and private.” Besides individualized hair love, the 1964 Kenskill travel trailer—parked at 116 SE 28th Ave. in the garden of Artemisia Gallery—will boast extras like Parisian macarons baked onboard in a miniature oven. Info holidayhairstudio.com. MEAT-FREE BUZZ: In vegan news, Herbivore Clothing Company has added a small vegan shoe store to its shop; Division’s Portobello Vegan Trattoria has added an ice-cream maker to its kitchen; Irvington’s Blossoming Lotus has added a full-service cocktail bar and happy hour; Backspace Cafe has added real, actual meat to its menu (the horror!); and Belmont Italian restaurant Genoa has added a vegetarian/vegan alternative to its celebrated five-course prix fixe menu. SPEAKING OF CARTS: On Southwest 2nd Avenue and Stark Street, two new Thai carts (sigh) have opened up next door to each other: Thai Tea has taken over the People’s Pig’s old spot and Thai Street Food has repurposed the distinctive cart that has previously housed Joslyn’s Ciao Chow and the Spud Locker. This is within spitting distance of Just Thai, Gin Northern Thai and Thai Basil.
HEADOUT M I A N O LT I N G ( P H O T O : A L L I S O N C E K A L A )
WILLAMETTE WEEK
WHAT TO DO THIS WEEK IN ARTS & CULTURE
WEDNESDAY FEB. 9 [DANCE] GRUPO CORPO PDX likes Brazil’s Grupo Corpo so much, the 19-member company is returning for a fourth visit. That’s what you get when you blend ballet, modern and Afro-Brazilian dance, with brilliant costumes and Latin American rhythms. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 248-4335. 7:30 pm. Info at whitebird.org.
THURSDAY FEB. 10
Don’t swap out the five-course dinner and Champagne for Swanson’s and Jim Beam just yet. If you find yourself alone on Valentine’s Day—or sharing the day with a date who hates every commercialized inch of the holiday—know you’ve got options. This V-Day, Portland’s Pedal Bike Tours is offering two hours on a bicycle built for two. It’s $22 for a spin on a 2010 Torker Bermuda tandem plus Two Tarts cookies to munch along the way. The Red Cross gets romantic with a two-hour “Singles Only CPR” class on Monday, Feb. 14, for half the price of the normal certification (only $20) and plenty of single mouths to practice on. Free drinks, as well as food to choke on. For hungrier lovers, local meat mavens Olympic Provisions boasts the most unique front-door service imaginable: an Olympic Provisions Singing Salamigram for $75. “The lead singer of the Tumblers will be delivering a five-stemmed salami bouquet with a performance of an original song,” the creators explain. Genius. Lastly, check out the True Romance Party at the Bagdad Theater, where Fleur de Lethal Cinematheque’s flashing the bloody 1993 Quentin Tarantino-penned flick on the big screen complete with a costume contest. Tix are five bucks and the V.I.P. package is $25 (two tix, JaCiva chocolates and a bottle of bubbly). Make sure you and your date nab stripper outfits so you can vie for prizes like a McMenamins getaway and free tattoos. And if you need any help with exotic gear, Spartacus is hosting a storewide sale with a lube and lotion bar and lingerie models 7-9 pm Thursday, Feb. 10. Ah, romance. GO, LOVE: Pedal Bike Tours, 133 SW 2nd Ave., 877-2453. Gift certificates available through Monday, Feb. 14. $22. Singles Only CPR at the Green Room at the Hotel DeLuxe, 729 SW 15th Ave., 284-1234. 6-8 pm Monday, Feb. 14. $20. Call 954-3663 to order your Olympic Provisions Singing Salamigram. Delivery available February 11-14. $75. True Romance screens at the Bagdad Theater, 3702 SE Hawthorne Blvd., 467-7521. Doors at 8 pm, film at 9 pm Monday, Feb. 14. $5-$25. Find more local V-Day events on page 18.
[MUSIC] SEBADOH, QUASI The dream of the ’90s is alive at the Wonder Ballroom! Shine your shoes, dust off your jean jacket, and pick out your favorite Dinosaur Jr. shirt for sweet Lou Barlow and his mopey indie rock friends in Sebadoh. Wonder Ballroom, 128 NE Russell St., 284-8686. 9 pm. $17 advance, $20 day of shows. 21+.
FRIDAY FEB. 11 [SCREEN] HEAVEN’S GATE On a 35 mm print, here’s director Michael Cimino’s preferred 205minute cut of the gorgeous Western synonymous with fiasco. More to love/hate! Hollywood Theatre, 4122 NE Sandy Blvd., 493-1128. Multiple showtimes. $5-$7.
SATURDAY FEB. 12 [MUSIC] THE BEATNUTS Queens duo the Beatnuts pushed the Native Tongues collective to new heights a decade ago. Now it’s back, touring behind a new set of songs. The Crown Room, 205 NW 4th Ave., 222-6655. 9:30 pm. $5. 21+.
SUNDAY FEB. 13 [BIKES] WORST DAY OF THE YEAR RIDE Four thousand two-wheelers come out for the 10th annual shit-weather ride. Departs from Lucky Lab, 915 SE Hawthorne Blvd., 9 to 11 am. Register at worstdayride.com by Thursday, Feb. 10, or at event. Ride will sell out at 4,000. $10-$50.
MONDAY FEB. 14 [OPERA] OPERA THEATER OREGON The company, dedicated to bringing new vitality to classic operas, takes a break from comedy with an adaptation of Jules Massenet’s 1887 weeper, Werther. Alberta Rose Theatre, 3000 NE Alberta St., 4278201. 7:30 pm Friday-Saturday and Monday, Feb. 11-12 and 14. $15.
TUESDAY FEB. 15 [MUSIC] SMITH WESTERNS Get over it, Ke$ha fans: Her show is sold out. Luckily, tonight the young Chicago band Smith Westerns makes some of the sweetest indie pop known to man. Doug Fir, 830 E Burnside St., 231-9663. 9 pm. $10. 21+. Willamette Week FEBRUARY 9, 2011 wweek.com
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Hey fans, you design tHe plane and we’ll paint it. ip ska r t a n Wi here Alaes. anAyiwrlines fli
portlan Go to dt t o e ni mt eb e r s . c o m r. Show your timberS Spirit from 30,000 feet. Alaska is proud to provide Timbers fans the biggest canvas possible to show their pride. Introducing
PORTLAND TIMBERS PAINT THE PLANE ART CONTEST
the Portland Timbers Paint The Plane Contest. It’s simple — just go to portlandtimbers.com to
There is no need to incorporate the Alaska Airlines logo or Eskimo image but the design must incorporate the Timbers primary logo. Please see Official Rules for other important imformation.
download the template, submit your design, and you could win a trip anywhere Alaska Airlines
WINGLET INBOARD DETAIL
WINGLET OUTBOARD DETAIL
flies. That means Hawaii, Mexico and the East Coast. Entries must be received by February 15, 2011.
ENtER by FEb. FE 15 th
ARTIST’S SIGNATURE
*Parent/Guardian signature is required if artist is under 18 years of age
ALL ENTRIES MUST BE SUBMITTED BY FEBRUARY 15, 2011. SUBMIT ENTRIES TO: painttheplane@portlandtimbers.com *Keep file size under 4 MB OR MAIL TO: PORTLAND TIMBERS ATTN: PAINT THE PLANE 1844 SW MORRISON PORTLAND, OR. 97205
GRAND PRIZE
Two first-class tickets anywhere Alaska Airlines flies, including Hawaii, Canada and Mexico. Two club seats to the Timbers inaugural home match April 14, 2011, as well as a team-autographed Timbers jersey.
Runner UP
Two coach tickets anywhere Alaska Airlines flies, including Hawaii, Canada and Mexico, a team-autographed Timbers jersey and two complimentary tickets to a 2011 home match of their choice (based on availability).
3rd PlAce
Two coach tickets anywhere Alaska Airlines flies, inside the continental U.S., Alaska and Canada and a $50 gift card for the Timbers team store or online gift shop. Seven additional designs will receive honorable mentions. Please see the official rules at portlandtimbers.com.
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CULTURE I L L U S T R AT I O N S : T Y L E R PA R K E R
LOOKING FOR LOVE
THE PORTLAND THAT WASN’T WITH CRAIGSLIST’S MISSED CONNECTIONS, LOCALS FLIRT WITHOUT CONSEQUENCES—OR CLOSURE. BY C H R I ST I N A CO O KE
243-2122
If Mike Gutowski had said hello to the cute girl in the peacoat and Converse All-Star sneakers who boarded the No. 6 bus after him on a Friday evening, this would be a different story. He and the girl made eye contact and exchanged smiles as they traveled south along Martin Luther King Jr. Boulevard. But rather than start an across-aisle conversation that might make him late to his friend’s house, Gutowski got off the bus silently at his stop and posted this ad on Craigslist’s Missed Connections page the following day: 6 MLK bus exchanging glances - m4w To the extremely cute girl on the MLK 6 yesterday 7:30-ish... Loved the smile :) You wore a longer brown coat and a pair of low-cut caramel-colored Chuck Taylors... He hasn’t heard from her. “Does she even know about Missed Connections?” asks the tall, dark 34-year-old tattoo artist. “I didn’t even know about it until a year ago.” Since Craigslist established a Missed Connections page in the Personals section of its Portland site in the fall of 2002, the number of posts has multiplied from fewer than five to sometimes 100 per day. Against the stark white website background, blue letters recall encounters at bars, coffee shops, grocery stores, elevators, gyms and stoplights during rush hour. They describe outfits and distinguishing features, mention glances, smiles and blushes, declare love and lust — and vent anger, frustration and broken hearts. “Sunday jogger guy,” “Redhead at Kinko’s,” and “On the max with your prego sister,” they say. “You blew me kisses as my bus pulled away” and “What you must feel like (fuck you who cares).” The entries offer a glimpse into the Portland that would exist if people didn’t face obstacles or inconveniences and acted on all their impulses. They hint at what would have been if the young man at Fred Meyer had introduced himself to the brunette holding a fern and a basket of coat hangers. If the woman in the Lloyd Center neighborhood had run after the guy with “the sexy beard and the hot cat vest” who rides his bike by her house every morning. They serve as a testament to what might be if she’d had the presence, if he’d had the courage, if they hadn’t been in a hurry or copied down their numbers wrong. Gutowski does not normally shy away from social interaction, he says, but the circumstances weren’t right for a conversation with the girl on the bus. Still, he does not expect a response. “I never expect anything,” he says. “If you keep your expectations as low as possible, you can be happily surprised.” “NEVER BEEN BALLSY ENOUGH” Erick Reddekopp sips a coffee near the Dutch Bros. coffee stand by the Morrison Bridge. He comes to the stand every day on his way to work partly for the vanilla soy lattes, but mostly for the man who is working the window now. “He’s a good-looking guy,” says Reddekopp, a heavyset
39-year-old. “There’s a really nice laid-back manner to him, which I really like. There’s a sense you get—the sense he’d be a fun person to hang out with and get a drink.” The young man, who appears to be in his mid-20s, is wearing a black seashell necklace and knit toboggan hat as he serves espressos. During Reddekopp’s daily drivethroughs over the past few months, the two have developed a comfortable rapport. When the young man asked one morning what he was doing after work, Reddekopp gave a safe answer and then posted this ad: Really nice, cute guy at Dutch Bros. by Morrison Bridge — m4m I come by Dutch Bros fairly often. […] Never been ballsy enough to ask your name, but we always chat when you’re working. […] I have no clue sometimes if you are just a cool guy who’s just friendly or if maybe there is something more there. My gaydar is a bit off. Would not be opposed to hanging out beyond the Dutch booth though either way. […] love to hear from you. Reddekopp tried Missed Connections because his other options for meeting men, including bars and the male-formale section on Craigslist, seem tailored mostly to facilitate random hookups. He sent his message anonymously rather than in person, he said, because he doesn’t want to cause an awkward situation for the man at work—and he doesn’t know if he’s even gay. LOYAL FOLLOWING The I-Saw-You ads published in the 1800s read remarkably similarly to those on Craigslist today. Take this ad, which appeared in the New York Herald in March of 1861: On Wednesday afternoon a lady with a black silk hat walked nearly side by side with a gentleman in a drab overcoat […]. Both were annoyed by the wind and dust. Her smile has haunted him ever since. Will she send her address to Carl, Union square post office. Mark Twain, who read his share of the ads at the time, wasn’t amused. “There seems to be a pack of woodenheaded louts about this town who fall in love with every old strumpet who smiles a flabby smile at them in a street car,” Twain wrote.
While Twain might say the same today, Missed Connections has accrued a following of loyal readers. Garrett Simpson, who moved to town with his girlfriend three years ago, considers Missed Connections “kind of a copout,” a dating service for people who want to force someone else to make the first move. Still, he enjoys the stories. He used to check the site regularly, purely for the entertainment value. As Simpson read, he would keep an eye out for references to places he frequents and people he knows. CONNECTION FOUND Once, Simpson found an entry describing one of his friends. Christopher Bayerle is a slight 26-year-old who often wears skinny jeans and canvas shoes. He had been out at Valentine’s, a chic hole-in-the-wall bar downtown, when he noticed a blond young man by the stairs. The two made intense eye contact throughout the night as Bayerle ordered drinks from the bar. The next day, Simpson found this ad on Missed Connections: Looker at Valentine’s, Thurs, 7/16 — m4m You, in jeans and a grey shirt, came in with another guy and girl. I was sitting against the wall, near the stairs. It seemed we were looking at each other a lot, unless you were eyeing my female friend... (that would be too bad.) And that smile, just as you walked out the door? More, please! Coffee or a drink sometime? Simpson let Bayerle know. “It was really exciting,” Bayerle said. “It’s kind of like winning the lottery.” He and the young man returned to Valentine’s a week later. Their meeting was relaxed, but the relationship didn’t go anywhere. “We just didn’t have anything in common,” Bayerle said. DON’T PONDER “WHAT IF” Gutowski acknowledges he and the girl from the bus might discover a similar lack of compatibility if they ever encounter each other again. “I may hang out with her once and be totally turned off and not want to take it any further,” he said, “or who knows, maybe she won’t be into me.” While Gutowski doesn’t have regrets about not talking to the girl face to face when he had the chance, he sees, moving forward, posting an ad as preferable to doing nothing. He welcomes the probability that maybe, just maybe, the girl will see the ad and write back. “You’ve actually got to do it to know,” he said. “You can’t sit around pondering, ‘what if.’” Willamette Week FEBRUARY 9, 2011 wweek.com
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CULTURE
VALENTINE’S DAY
PDX H E A R T S YOU EVERYTHING YOU COULD EVER POSSIBLY WANT TO DO ON VALENTINE’S DAY—OR NOT. BY NI K K I VO L P I C E L LI
nvolpicelli@wweek.com
Love may mean never having to say you’re sorry, but you’re damn sure to be apologizing if you don’t at least acknowledge this holiday of schmaltz. Luckily, Portland’s restaurants, clubs and performers have a multitude of ways to help you spread the sexy around. Remember, love is fleeting and so are dinner reservations. Make sure to call to nab a table.
FOOD & DRINK V-Day at Departure
Departure deploys the four-course Japanese culinary tradition of kaiseki—sushi or sashimi, salmon or Piedmontese tenderloin and ending with goods like a Vietnamese coffee and dark chocolate tart with candied kumquats. Departure, 525 SW Morrison St., 802-5370. 4 pm-2 am Friday and Saturday, Feb. 11-12, 4 pm-midnight Monday, Feb. 14. $60.
V-Day at Andina
Andina’s Doris Platt de Rodriguez says her Peruvian restaurant’s Table 25 has a long history of marriage proposals and other romantic encounters. “Every table at Andina will have the same good omen as Table 25 [tonight],” she promises. To sweeten this deal, suspiro de limeña, a meringue-topped custard, will be served for dessert along with a half bottle of Champagne for each guest. Andina, 1214 NW Glisan St., 2289535. 5-10:30 pm Monday, Feb. 14. $75 or more based on choice of wine.
Chocolat, Chocolate and Dinner at the Heathman
The Heathman hosts two screenings of Chocolat—that classic Frenchie chick flick starring a dude who looks better than your boyfriend—plus a five-course tasting menu that’s heavy on meat and cocoa. That’s great if your after-dinner plans involve bloating and bedtime. The Heathman, 1001 SW Broadway Ave., 241-4100. 6:30 pm Saturday and Monday Feb. 12 & 14. $75, not including beverages or gratuity.
V-Day Dinner at Lincoln
Owner/chef and 2010 James Beard nominee Jenn Louis provides an earthy, three-course menu for the couple who equates good food with sex. Lincoln, 3808 N Williams, 2886200. Dinner hours Monday, Feb. 14. $50 per person excluding drinks and gratuity.
Honeymoon Dinner at Metrovino The newly married foodies of Metrovino—executive chef Greg Denton and his chef de cuisine,
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Gabrielle Quiñónez Denton—share the love in the form of special dishes like baked oysters with absinthe and bacon bread crumbs, and grilled Chateaubriand for two. Metrovino, 1139 NW 11th Ave., 517-7778. Dinner hours Saturday-Monday, Feb. 12-14. Regular menu prices.
V-Day Dinner at Salty’s
Salty’s is promising 4-foot fountains spouting chocolate at each table, with strawberries waiting to take a dip. Be sure to get there early to sample select wines in the lobby before dinner. If oenology ain’t your thing, maybe the “Pheromone-Tini” (Chambord raspberry vodka, Absolut Mandarin, triple sec) is. Salty’s, 3839 NE Marine Drive, 288-4444. Dinner hours Monday, Feb. 14. About $50-$70 for three-course dinners.
V-Day Dinner at Beast
Beast knows your lady doesn’t want to feel like a beast after the check is dropped. That’s why it’s featuring a light four-course meal where you can drink your weight in five cycles of wine—“better for the post-meal lovin’...” they helpfully mention. Beast, 425 NE 30th Ave., 841-6968. 6 or 8:45 pm Monday, Feb. 14. $100. Reserve seats at beastpdx.com.
Sitar Music and Dinner at East India Co.
Listen to the rhythmic string pluckings of Josh Feinberg while chowing on hazelnut-stuffed chicken and rosemary naan from an inexpensive menu built for two. East India Co., 821 SW 11th Ave., 227-8815. Dinner hours Monday, Feb. 14. $65 per couple.
V-Day at Pix Pâtisserie
Aside from shoving a pair of diamond stud earrings in a lucky box of chocolates at both locations on Monday, Feb. 14, Pix urges Portlanders to tack anonymous love letters on the walls of its shops. Count the “I never told yous” and “I’ve loved you forevers” during tea time on V-Day eve, which comes complete with heart-shaped French macarons, oysters on the half shell and a bottle of Champagne. Pix Patisserie—North, 901 N Williams Ave., 282-6539. 11 am-4 pm Sunday, Feb. 13. $60-$100 per couple.
Willamette Week FEBRUARY 9, 2011 wweek.com
V-Day Dinner at Yakuza
Forget the fact Yakuza is beating the holiday horse with five courses inspired by the color red. It’s hard to hate on blood-orange scallop ceviche and braised pork cheeks with chèvre, ancho chile oil and cauliflower puree— or the sleek Japanese bar’s wine and sake pairings. Yakuza, 5411 NE 30th Ave., 450-0893. 5:30 and 8 pm Monday, Feb. 14. $50, $75 with sake/ wine pairings.
Guanaja chocolate torte. Fenouil, 900 NW 11th Ave., 525-2225. Dinner hours Monday, Feb. 14. $65 per person, $40 extra for wine.
Din Din Valentine’s Dinners
The art/design collaborative the Art Department pairs up with the Din Din catering crew to bring a long weekend of sexy, wine-soaked courses (with more wine to pair). Think foie gras with candied kumquat, mussels and treviso, and Armagnac truffles. The Art Department, 1315 SE 9th Ave. 7:30 pm Saturday-Monday, Feb. 12-14. $75. Info and reservations at 971-544-1350 or courtney@dindinportland.com.
Blood and Sand at Suzette Creperie
Watch Blood and Sand (that’d be Rudolph Valentino’s silent film about a love triangle involving a bullfighter, not the softcore gladiator-porn TV show), while dining on bacon-stuffed gougeres and bay scallop crêpes for a price so cheap you could bring two dates. Suzette Creperie, 2921 NE Alberta St., 473-8657. 6 pm Monday, Feb. 14. $20.
MUSIC/THEATER Mortified Portland
This Italian lover celebrates V-Day with a three-course prix fixe menu featuring Dungeness crab bruschetta, oxtail stew and winter squash gnocchi. Nostrana, 1401 SE Morrison St., 234-2427. Dinner hours Monday, Feb. 14. $50.
In elementary school, I gave Disneythemed valentines to everyone in my second-grade class except the dude I was crushing on (it was too personal). Then, I sat back and watched as he hand-delivered a glitter-glue heart made from red construction paper to that blond bitch who sat next to me. It was agonizing. Maybe the crew behind Mortified Portland (who rehash awkward adolescent writings onstage) have some stories that can match the pain, if only for a few hours. Mission Theatre, 1624 NW Glisan St., 223-4527. Doors 6 pm, show 8 pm ThursdayFriday, Feb. 10-11. $12. Order online at getmortified.com.
V-Day Dinner at Belly
Cirque L’Amour
V-Day Dinner at the Country Cat
True love smells like cast-iron-skilletfried chicken, molasses and hickory smoked duck legs, whole hog plates and Texas toast. The Country Cat, 7937 SE Stark St., 408-1414. Dinner hours Monday, Feb. 14. Regular menu prices.
V-Day Dinner at Nostrana
Belly pours some special cocktails (the Jim Beam Manhattan is dubbed “Barry White’s Mix”) to lubricate three courses involving sweetbreads, pork cheeks and a dark chocolate tart with peanut-butter mousse. Belly, 3500 NE Martin Luther King Jr. Blvd., 249-9764. Dinner hours Monday, Feb. 14. $49.
V-Day Dinner at London Grill
London Grill reads our minds with 28 days of Valentine’s dinners at the classy price of $69. We’re talkin’ butter-poached lobster tails, prime rib and chocolate baked Alaska. The London Grill at The Benson Hotel, 309 SW Broadway, 227-8794. Dinner hours through Monday, Feb. 28. $69.
V-Day Dinners at Fenouil
Chef Jake Martin of Fenouil creates two separate five-course menus so meat lovers and meat haters can eat together in harmony. Think heirloom beets vs. roasted duck breast; tortellini with shaved Oregon truffle battling a natural shoulder tenderloin. Everybody will probably love the
A live tribute to Charlie Chaplin’s The Circus with a four-course meal and performances by Tommy Twimble, Kazum, AWOL Dance and others. Bossanova Ballroom, 722 E Burnside St., wanderlustcircus. com. 6 and 9 pm Monday, Feb. 14. $75-$400.
Tasha Miller at Jimmy Mak’s
Tasha Miller is some combination of artist and sorceress (she plans to “woo you with wholesome love, golden tones, a silver lining”). Whatever she is, if you’re interested in seeing her perform live jazz, she’ll be the thing in front of the band and dressed in plenty of fancy red velvet. Jimmy Mak’s, 221 NW 19th Ave., 295-6542. 8-11 pm Monday, Feb. 14. $10.
Angie Foster at the White Eagle
Angie Foster sings songs from current and past releases, and speaks openly about her many unsuccessful attempts at pregnancy. She is currently seven months’ pregnant with twins. The show, called “I Love You, I Hate You,” is inspired by the holiday. This is really happening. White Eagle Saloon, 836 N Russell St., 282-6810. 9:30 pm Saturday, Feb. 12. $6 at the door.
20 Erotic Shorts
The Working Theatre Collective presents 20 short plays on erotic themes by local writers. Eff Space, 333 NE Hancock St., Studio 14. 893-9075. 8 pm Feb. 10-14 and 17-20. $10-$15 sliding scale.
I Heart Improv V-Day Improv Special
Improv comedy inspired by love, romance, dating and assorted disasters. Brody Theater, 16 NW Broadway, 224-2227. 7 pm. $15.
Love Jones
Portland Story Theater spins tales of love and sex. Wine and chocolate are included. Hipbone Studio, 1847 E Burnside St., 793-5484. 8 pm FridaySaturday, 2 and 7 pm Sunday, Feb. 11-13. $15.
OTHER PERVERSIONS Valentine’s Makeovers at Mabel & Zora
If you think the reason you don’t have a Valentine this year has to do with your face, let the experts (Inspire Style, Fada Salon, Event Cosmetics) try and fix that for you. Champagne and cupcakes will be served during the beauty bash, and Mabel & Zora will offer 15 percent off purchases. Mabel & Zora, 748 NW 11th Ave., 241-5696. 3-8 pm Thursday, Feb. 10. Free. Find more out-of-the-box local V-Day events and offerings on page 15.
For Your Sweetheart Valentine's DayDay Dinner Valentine's Dinner Valentine's Day Dinner Valentine's Day Dinner Monday, February 14 14 Valentine's Day Dinner Valentine's DayFebruary Dinner Monday, Monday, February 14 14 Monday,February February 14 Monday, Monday, February 14
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Willamette Week FEBRUARY 9, 2011 wweek.com
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H5Odisiac – Valentine’s 2011 Choose the awesome 4-course prix fixe menu or an amazing 7-course tasting menu. Each specially created by Chef Nicholas Yanes using 6 fave aphrodisiac foods. Available all weekend. H5Obistro.com 503.484.1415
free valet parking at Hotel Fifty 50 SW Morrison “where downtown meets the river” 20
Willamette Week FEBRUARY 9, 2011 wweek.com
P H O T O S : C H R I S T A C O N N E L LY
DISH
CHOCOLATE LOVE NICK ZUKIN EATS HIS WAY THROUGH PORTLAND’S COCOA BOUNTY. BY NIC K Z UK I N
dish@wweek.com
Valentine’s Day is all about romance. And by “romance,” I mean sex. Whether you’re trying to get sex or you’re trying to comfort yourself because you’re not getting any, chocolate is your friend—and Portland’s artisan chocolatiers, shopkeeps and chefs wanna help you get some. Whatever the mood or reason, the following will supply your wildest cocoa fantasies: PLAY TIME Mojo, the monkeylike Pokémon who lords over Mojo Crepes (8409 SE Division St., 208-3195), is a science experiment gone awry. The monstrous Japanese crêpes they serve must have been invented by the same mad genius. Chocoholics should order the Oreo Obsession ($5.25): a crêpe wrapped around Death by Chocolate ice cream, crushed Oreos, bananas and chocolate syrup. Release your own monster and add Nutella to that bad boy. Six dollars won’t even buy you a dessert at most upscale restaurants. At Cool Moon (1105 NW Johnson St., 2242021) you can get a sundae big enough for two ($5-$6). Start with the semisweet Wicked Chocolate, easily the best chocolate ice cream in town, topped with their housemade fudge sauce, nuts, whipped cream and amarena cherries and see if you can eat it all. (Warning: Foreign travelers not raised on supersized portions and 7-Eleven Big Gulps, those prone to brain freeze, and people named “Chauncey” should not attempt to eat this accompanied by fewer than three people.) It’s almost a disservice to put Cocanú (cocanu.com, available at Cacao, 414 SW 13th Ave., 241-0656) in the “fun” category. The local chocolatier creates some of the most deftly devised blended bars in Portland. But then
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again, it came up with the Moonwalk ($4): Cluizel’s Concepcion single-origin chocolate from Venezuela seeded with chocolate nibs and Pop Rocks. It’s seriously good chocolate, but it’s all fun and shit, too. COCOA HARDCORE When Sahagún Chocolates first opened, Elizabeth Montes, the owner, gave me a thin swirl of unmolded chocolate from one of her favorite chocolatiers (DeVries) and included very specific instructions on how to eat it: Warm it up by my car’s heater until just beginning to melt, let it cool in my hand, warm it up again and then pop it in my mouth. While her shop closed late last year, Montes’ chocolate perfectionism lives on in her confections (available online at sahagunchocolates.com or at Cacao, Cheese Bar, Foster & Dobbs and other shops around town). The Oregon Kiss, her gold-dusted chocolate-hazelnut truffle ($16 for five pack, $3 each at Cacao) is a delicious gourmet version of a Ferrero Rocher, those overly sweet, crunchy, goldwrapped Nutella truffles you get at supermarket checkstands. There is no better medium for tasting the complex character of chocolate than in liquid form. Cacao’s “shot” of drinking chocolate ($2) comes in three varieties—a blend of Venezuelan milk and dark chocolate with cinnamon, a classic 72 percent Ecuadoran dark chocolate, and that dark chocolate amped up with smoked paprika, cayenne pepper, ginger and coconut milk. The bold beverage is like a chocolate 12-gauge to the palate, coating the entire mouth with such intensity it’s impossible to indulge in more than the daintiest of cups. As for more leisurely experiences, Wildwood’s single-origin chocolate terrine with cocoa nib praline ($8, 1221 NW 21st Ave., 248-9663) is one of the simplest desserts at a fine-dining restaurant I’ve had in ages. At first I
was bored by it, or at least the presentation of it—not much more than a slab of mousse on a plate. But a week later, I’m still craving it. The simplicity showcases the tart fruitiness of Valrhona’s Tainori chocolate from the Dominican Republic. It was about the chocolate. “C” IS FOR COOKIE Two Tarts (2309 NW Kearney St., 312-9522) should be renamed “Two Temptresses.” The siren song of this Nob Hill bakery and farmers market stall graduate are diminutive cookies that beg to be eaten by the handful. Their best are cream-filled creations, such as the Lil’ Mama (80 cents each), an Oreo knockoff, with two crisp, chocolate wafers sandwiching a vanilla buttercream center. Another farmers market alum, Hillsdale’s Baker & Spice (6330 SW Capitol Highway, 244-7573), is too often neglected by Portlanders, while in-the-know Southwest residents line up out the door with good reason. Pies, cakes, croissants and an excellent loaf of challah all warrant a car trip. Be sure to grab a box of chocolate crackle cookies ($1 each)—mud-black, coated with a thin sugary crust as white and crisp as a February frost. WHEN SAVORY MET SWEET Chocolate’s oldest use was as an unsweetened drink spiced with chile, an elixir reserved for Mesoamerica’s kings and priests. Out of this savory tradition came the 16th-century colonial Mexico invention of moles, complex sauces with 20 or more ingredients, often subtly flavored with chocolate. Northeast Portland’s Autentica (5507 NE 30th Ave., 287-7555) serves pollo en mole guerrerense ($20), a half a chicken simmered in a housemade sauce consisting of everything from nuts, chiles, bread, plantain and tortilla to cinnamon, clove, garlic, anise and, of course, chocolate. It’s a dish from Chef Oswaldo Bibiano’s home state of Guerrero and a superbly balanced introduction to moles. Curries are the moles of the Southeast Asia. At Alma Chocolates (140 NE 28th Ave., 517-0262) the tropical aromas of Thai curry—coconut, lemongrass, galangal and chile—are blended with every kid’s favorite better-together-than-alone combination of peanut butter and chocolate, creating one of Portland’s very best bites, the Thai peanut butter cup ($2.25 each). Nobody does yin and yang better than David Briggs’ CONT. on page 22 Willamette Week FEBRUARY 9, 2011 wweek.com
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DISH
Find Valentine’s Day Food & Drink events on pages 15 and 18.
THURSDAY, FEB. 10 Iron Bartender
Talented mixologists from top restaurants in the city (Nostrana, Fratelli, Irving Street and Park Kitchens) engage in battle with signature cocktails to benefit the Children’s Relief Nursery of Portland. If hard liquor isn’t your thing, Deschutes Brewery will be on hand to dole out pints, along with hors d’oeuvres from Bon Appetit Management Co. All proceeds go to prevent child abuse and neglect in at-risk families. Info at tickets at crn4kids.org/get-involved/iron-bartender-2011. NIKKI VOLPICELLI. Gerding Theater. 445-3700. 6-9 pm Thursday, Feb. 10. $50.
SATURDAY, FEB. 12 Grand Central Baking Book Signing
Both the Southeast Hawthorne and Southwest Multnomah locations of Portland’s Grand Central bakery chain are giving away free bags of StoneBuhr flour (its go-to brand) and a signed copy of the Grand Central Baking Book for $20. Cuisine director Piper Davis and her co-author, Ellen Jackson, will provide bake tips while their pen their names on your new baking bible. . NIKKI VOLPICELLI. Grand Central Baking Hawthorne. 445-1600. 9-1 pm Saturday, Feb. 12. Event free, book $20.
ROUNDUP: EVEN MORE SWEET STUFF La Espiga Dorada
The smell—yeasty, sugary, brownedcrust wafts of happiness—hits you before you ever see this tiny, spartan Mexican bakery’s cases and tall racks of breads and treats, all baked on-site. Grab a tray and a pair of tongs and start filling up on pan dulce, fruit-stuffed empanadas, flaky, buttery, croissant-ish sugar bombs and La Espiga’s shockingly good macaroons—they are dense, sticky coconut crack-balls. When you’re done, turn 180 degrees and legitimize your sugar fiending by snatching random goods from the fridge case full of sopes, eggs, crema and other chilled staples. KELLY CLARKE. 18350 SW Tualatin Valley Highway, Beaverton, 591-9859. 7 am-9 pm Monday-Friday, 8 am-8 pm Saturday-Sunday.
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Lanvin French Bakery
Having grown up in French-occupied Saigon, this closet-sized bakery’s owner and his family realized after moving to the U.S. that they missed the French bread and pastries of South Vietnam. So they decided to make their own. Soft raisin bread, fat croissants, eclairs and the owner’s self-conceived “cinnamon sticks”— thin, fried dough sticks covered in cinnamon sugar—are a few of the happy consequences. NATALIE BAKER. 8211 NE Brazee St., 252-0155. 7 am-6 pm daily.
Nuvrei Pastries
Let your nose lead you to Marius Pop’s subterranean shoebox of a bakery in the Pearl. The pastry man, who runs a successful wholesale bakery and cake biz (place orders at order@nuvrei.com), offers only a dozen or so treats at a time at his tiny retail counter—lemon poppyseed scones, tart wild berry brioche, porno-moan-inducing brownie cookies—but each is worth its weight in gold…or butter. KC. 404 NW 10th Ave., lower level, 546-3032, nuvrei. com. 7 am-3 pm Monday-Friday, 8 am-3 pm Saturday.
Northwest Sweets
Steve Gazda’s candy shop offers old-timey treats—taffy, jawbreakers, lemon drops, Squirrel Nut Zippers, wax soda bottles and retro chewing gum like Clove and Blackjack—and a haute shot of Nob Hill panache with a variety of housemade, artisan goodies. Standouts include slider-size dark-chocolate caramel turtles (sea salt-touched as well as a “drunken” variety spiked with red wine), astonishingly thick and mouthwatering brown-sugar pralines and caramels—soft, buttery, orthodontia-friendly and available by the piece (50 cents each). JOANNA MILLER. 740 NW 23rd Ave., 3601350, nwsweets.com. 11 am-7 pm Wednesday-Monday.
Ruby Jewel Scoops
Lisa Herlinger, creator of the Ruby Jewel ice cream sandwich, offers way more flavors at this spumonitoned shop than you’ll find between the cookies at farmers markets and grocers across the city. Among them are caramel with salted chocolate, banana cream pie and dairy-free cherry-almond ice. Pints are available to go for $6, and the shop offers sundaes with housemade toppings. The best of these is the Rosemary Langer, which pairs rosemary-salted pecans with dulce de leche syrup and vanilla ice cream. It’s great—a savory sundae for adults. BEN WATERHOUSE. 3713 N Mississippi Ave., 505-9314, rubyjewel.net/blog.
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FINISH LINE When I ordered the chocolate-hazelnut sundae with brownies, Frangelico ice cream, chocolatehoney fudge and hazelnut toffee ($7) from The Country Cat (7937 SE Stark St., 408-1414) the other night, the bartender quickly apologized, explaining that the dessert was on the previous week’s menu. “Thank God it’s gone,” the server next to him mentioned. “It tasted so damn good I gained five pounds!” Country Cat is one of the unsung heroes of pastry work in Portland, its desserts echoing the savory kitchen’s focus on comfort food with Michelin-star attention to detail and devotion to top-notch ingredients. I wasn’t a bit disappointed with the sundae’s replacement, a chocolate-almond upside down cake with amaretto whipped cream and honey hot fudge ($7)—a springy cake, black as a pint of Guinness, enameled with a single layer of crunchy, caramelized almonds.
AT E
DISH EVENTS THIS WEEK
Xocolatl de Davíd truffles (available online at xocolatldedavid.com or at Cheese Bar, the Meadow, Cork, Foster & Dobbs and other shops around town). There’s his famous baconchocolate truffles, the numbing “salt and pepper” bonbons with Szechuan peppercorns and, my favorite, the olive oil truffle, with its silken ganache and very un-sweet fruitiness ($2.50). If it’s fromage you crave, then Pix Pâtisserie’s Royale With Cheese ($7.50, 3901 N Williams Ave., 282-6539), a creamy chocolate mousse “bombe” packed with hazelnut praline filling served with a side of pungent French Brillat Savarin cheese, is your ultimate mashup. And then there’s the Vietnamese chocolate tart ($9) at Paley’s Place (1204 NW 21st Ave., 243-2403). Who else would nestle a nuanced custard filling of chocolate, coffee, cinnamon and sweetened condensed milk in a bitter cocoa shell and accompany it with a savory, salted-butter ice cream?
FI NA NC IER
CHOCOLATE LOVE CONT.
= 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.
ILK TM U LN LITTLE BIRD’S HAZE
L CO O H C
Local restaurants often rotate their desserts, so grab these plates if you spy them on the menu: Irving Street Kitchen tempts with an intensely fudgy chocolate blackout cake with salted pistachio brittle and vanilla ice cream ($7.50, 701 NW 13th Ave., 343-9440); Gabe Rucker’s new French bistro Little Bird takes flight with a light and slightly crisp hazelnut-milk chocolate financier with kumquats and praline ice cream ($8, 219 SW 6th Ave., 688-5952) while Castagna’s artwork on a plate, the Chocolate in Three Textures, translates to moist cake, chewy burnt caramel, and crisp meringue with crystallized sunchokes and coconut sorbet, presented like a forest scene with the chocolate as rocks and logs surrounded by the greenery of tarragon, fennel and chervil ($10, 1752 SE Hawthorne Blvd., 231-7373). Bet you’ll never look at a bar of chocolate the same way again. BIO: Contributor Nick Zukin is the co-owner of Kenny & Zuke’s Delicatessen and SandwichWorks. He also runs the local food sites portlandfood.org and extramsg.com, and is a voracious consumer of under-the-radar ethnic cuisine and American grub. MORE: Find Nick Zukin’s simple guide to buying and enjoying chocolate on wweek.com.
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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 37, or online at wweek.com Editors: CASEY JARMAN, MICHAEL MANNHEIMER. 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, FEB. 9 Rodney Crowell
[COUNTRY] While transitioning more or less smoothly from ’80s New Traditionalist to ’00s alt-country vet, penning country radio hits for others all along, Rodney Crowell has never been shy about mining his personal life (such as his 12-year marriage to Rosanne Cash) for songwriting fodder. His newest project keeps the stories but takes out the musical middleman—it’s a just-published memoir, Chinaberry Sidewalks. So tonight’s solo show will be heavy on storytelling, both spoken and sung. Crowell also recently released a downloadonly live album recorded as an acoustic trio with power-pop cult fave Will Kimbrough and jazz-adept violinist Jenny Scheinman. Even if you’ve seen the man before, tonight’s show should be a unique experience; if not, it might be a fine place to start. JEFF ROSENBERG. Aladdin Theater. 8 pm. $22. 21+.
Marcy Playground, Parson Red Heads, Mark Twain Indians, Norman
[SHUFFLEBOARD AND CANDY] It’s the classic rock-’n’-roll story, really. After the requisite three years at Evergreen State College, John Wozniac penned the mope-along ennui anthem of his age in 1997’s “Sex and Candy.” All manful emoting and irresistible bass hooks, the tune spent a bewildering 15 weeks atop the modern-rock charts at a time when modern-rock almost meant something. Marcy Playground would record another two albums of inevitably diminishing returns before the lingering hiatus, the solo album written to combat depression but released under band aegis to spur publicity, and the triumphant Carnival Cruise Lines gig with fellow post-grungers to remind Wozniac nostalgia loves company. With its old bassist and a new drummer, the Playground has returned to endless touring, currently in support of the catchily titled Indaba Remixes From Wonderland, a selection of fan-crafted (Pro Tools is the Ritalin of nascent alt icons) rejiggers of his all-too-’90s comeback, Leaving Wonderland..In a Fit of Rage. JAY HORTON. Dante’s. 9 pm. Cover. 21+.
El Rey, Charming Birds, Wow & Flutter
[CHAPEL HILL WILL NEVER DIE] Lead singer Will Johnson of Charming Birds has the same sort of gruff, gravelly voice as indie-rock prophets Eric Bachmann and Jay Farrar. But it’s not the most distinctive sound heard on his band’s new EP, The Moses Diaries— that would be the buzzing, seemingly out-of-place synthesizer that cuts through the six songs like a dull knife. At first, it’s a little weird to hear a cheap-sounding instrument on these thick, barn-burning songs, but the synths are a nice contrast to Johnson’s voice and the buzzsaw guitars that lead “Burned Up” and “Balloon Boy.” Charming Birds isn’t the most original band to come out of the Northwest, but The Moses Diaries proves it’s one of the most fun to drink to. MICHAEL MANNHEIMER. Doug Fir Lounge. 9 pm. $7. 21+.
THURSDAY, FEB. 10 Guitar Shorty
[ELECTRIFYING BLUES] Though Guitar Shorty’s discography is relatively slim, the Texas shredder/singer has been a marquee name in the music world for longer than his 20-year string of albums would suggest. Getting his start as a teenager, Shorty—born David William Kearney in Texas—would go on to play with giants like Ray Charles and Sam Cooke before embarking on a fruitful solo career. Somewhere along the way, he became a one-man circus, often doing somersaults and back flips onstage while playing guitar. At 71, the theatrics may be toned down a notch, but he still has a handful of tricks up his sleeve. Shorty’s latest disc for the revered Alligator label, Bare Knuckle, opens with a letter to the president on the state of the economy, “Please Mr. President.” Still, through soul jams, island rhythms and near-AC/ DC-strength rockers, the focus here is licks, not lyrics. And it’s in concert where Shorty’s licks come alive. CASEY JARMAN. Duff’s Garage. 9 pm. $15. 21+.
Les Jupes, Bombs Into You
[BIG END UP FRONT] Mmm, an indie band with a baritone frontman. There
TOP FIVE
CONT. on page 30
BY KEND RA CLUN E
FIVE KE$HA SONGS EVERY GIRL SHOULD KNOW. “We R Who We R” We’re girls; thinking is hard! We just want to dance, and Lady Gaga is too cerebral. “Boots & Boys” She’s managed to sum up every woman’s life with two words and a three-minute pop song. “Kiss N Tell” Boys, keep it in yr pants, ’cause we can always find someone with a bigger—wow—well.... “Party at a Rich Dude’s House” Pissing in the Champagne, getting naked, barfing and fighting? Sounds like my Tuesday night! “Your Love Is My Drug” [Sigh.] Boys with well groomed beards are irresistible. Yes, I do like your beard...a lot. SEE IT: Ke$ha plays the Crystal Ballroom on Tuesday, Feb. 15. 8 pm. Sold out. All ages.
BREAK IT DOWN
THE BUILDERS AND THE BUTCHERS RETURN TO THEIR L0-FI ROOTS. BY MATTHEW SIN GER
243-2122
What do sailors and Southern gothic folk bands have in common? According to the Builders and the Butchers’ singer-guitarist, Ryan Sollee, more than it might seem. His group titled its new album Dead Reckoning, after an old nautical term referring to the practice of using speed, time and a fixed position to determine a ship’s location. In essence, it means looking back at where you’ve come from to figure out where you’re heading. After five years,
the group found it difficult to translate to the stage, where its caterwauling performances helped it win Willamette Week’s Best New Band poll in 2008. So for the follow-up, the band decided to return to the method it took when making its 2007 debut: all live, with few overdubs. Back then, the quintet simply couldn’t afford to record any other way, but it captured the foot-stomping immediacy of an act whose earliest gigs involved pulling up to a tiny venue like Mississippi Pizza, playing with little amplification and turning the place into a sweat lodge. “We wanted to do a stripped-down version of what the band really is,” Sollee says. “There are some mistakes, but it’s worth it to have that vibe.” If the goal was to bottle the tent-revival energy of a Builders and the Butchers live show in the studio, then Dead Reckoning certainly qualifies as a success. Opening with the uneasy roil of “I Broke the Vein,” it’s a vivid tumble through the
“THERE ARE SOME MISTAKES, BUT IT’S WORTH IT.” —RYAN SOLLEE three records and a lot of localized success, the Portland five-piece is in the midst of that sort of reflection. What started out as a bunch of guys busking on street corners has grown into a touring juggernaut capable of packing clubs and theaters. It all happened so fast, it’d be easy for any band to lose sight of itself. It’s no wonder, then, that Sollee has spent a lot of time recently brushing up on navigation techniques. And from his perspective, facing down the road is a challenge not wholly dissimilar from that of taking on the open sea. “Over the last couple of years, I’ve been reading every book there is about survival at sea,” he says via telephone from a tour stop in Memphis. “There are all these instances where a person made it because they knew about dead reckoning, which is an easy way to know where you are and to navigate your way across the ocean. I related it to being in a band, not knowing where you’re going and trying to find your way.” True to its title, Dead Reckoning is the result of the Butchers reaching backward in order to chart their next move. Their last album, 2009’s Salvation Is a Deep Dark Well, received stellar reviews and brought the band’s gallows Americana to a wider national audience, but it was largely a studio creation, put together piece by piece and meticulously layered. As proud as he is of the record, Sollee admits
dark, swampy backwoods of an antiquated America where evil always seems to triumph over good. “Black Elevator” recalls the hellish country stomp of first album standout “Bottom of the Lake,” with references to fire and brimstone and a bellman sporting a tail and legs made of wood, and the strutting shout-along “Rotten to the Core” describes a world collapsing beneath its own wickedness. Other than pauses for the slow, eerie blues of “Out of the Mountain” and the brief “Blood for You,” which isolates Sollee’s distressed wail against the clattering junk-shop percussion of drummers Brandon Hafer and Ray Rude, the album is the soundtrack to a party that won’t end until the earth stops spinning. As much as the band looked to its past in creating the record, to promote it the group is going back even further, all the way to its ground zero: the streets of Portland. On Feb. 25, the quintet will spend the day busking outside the local businesses that supported it in the group’s formative days. It’s a reminder that five years ago, the Butchers didn’t necessarily plan to be three albums into a promising career. And as Sollee admits, they’re still learning how everything works. “We don’t know much,” he says. “It takes making mistakes and going through it to figure it out.” SEE IT: The Builders and the Butchers play Tuesday, Feb. 15, at Wonder Ballroom. 9 pm. $13 advance, $15 day of show. 21+. Willamette Week FEBRUARY 9, 2011 wweek.com
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Thinking of your Sweetie...
Lovers Menu
Monday, February 14
Antipasto
Pan d`Epice, Salmon Mousse & Greens
Cocktail di Benvenuto Prosecco & Mango
Primo Fresh House-Made Spaghettini in Lobster Broth Secondo Honey-Orange Duck Breast or Filet Mignon & Caponata Dolce
From a fabulous dessert selection
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Willamette Week FEBRUARY 9, 2011 wweek.com
w/ lincolns Beard, Kory Quinn and The Comrades & Jackalope Saints (folk americana) 9pm T u e s d ay 2 / 1 5 open Mic Night • WIN $50 Sign up @ 8:30 | Music @ 9pm Hosted by: Scott Gallegos 6835 SW Macadam Ave | John’s Landing
MUSIC ALBUM REVIEWS
QUIET LIFE BIG GREEN (SAFETY MEETING) [MUSIC FROM BIG GREEN] Brothers Sean and Ryan Spellman grew up in the swamps of New Jersey, just outside of Asbury Park. The story in their byline—and in the songs by their folk-rock band, Quiet Life—pegs them as troubadours, kids who moved to Connecticut as teenagers and then to Portland a few years ago to pursue the musical life. And though Quiet Life’s soothing, sometimes rousing debut Big Green sees them as blue-collar songwriters, it’s the music from another part of the country—the gritty, back-porch country twang of the South—that really highlights their strengths. The parts of Big Green that downplay the rock and focus on the Spellmans’ songwriting are simply divine. “No Surprise” is easily the strongest song on the disc, a gorgeous, slow-motion shuffle that really should get some play in one of Friday Night Lights’ more tender moments. “No Surprise” has the light touch of the Band’s best ballads (think “The Weight”), with Ryan telling his mother that life will be OK over warm dollops of slide guitar. The title track hits a similar sweet spot but with a simpler arrangement: just an acoustic guitar, lead vocal, and subtle backup harmonies from Raquel Nasser. But not everything on Big Green is quite so subtle, and a majority of the disc aims for the type of singsongy Americana Dr. Dog has beaten into the ground for too many years. “Nighttime” and “Storm Clouds” aren’t bad homages, but they are just too generic to stand out from the crowded camp of local folkpop outfits. Quiet Life has a lot of potential for greatness—let’s just hope it can learn to focus on its quieter side. MICHAEL MANNHEIMER.
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RAFAEL VIGILANTICS THE ORGASM OF A GHOST [WESTERN EXPERIMENTAL RAP] I give a lot of credit for ambition, and Portland MC Rafael Vigilantics is an ambitious dude. He tries to reinvent hip-hop outright on The Orgasm of a Ghost (yup, that’s the title), putting a distinctly Western twist on an indie rock-informed breed of hip-hop (think Astronautalis or P.O.S.) that sacrifices speaker-busting beats and linear narrative for something more sonically subtle and lyrically poetic. Vigilantics also gets lost in the weeds of this bold new territory, right from the opening track. The guy we meet on “Unforgiven”—who sounds like Modest Mouse’s “Cowboy Dan” fucking Everlast’s “What It’s Like” in a Vegas strip club—isn’t necessarily the real Rafael. Vigilantics first presents himself, through rambling verses and throaty hooks, as a bully with a heart of gold; a beer-soaked poet who writes his best lines in blood: “You still think the devil don’t pray?” That’s one of the personalities we’re introduced to on Orgasm. There are others, from the sneering hustler (“Brass Knuckles”) to the sensitive rocker who drops Guns N’ Roses/ Johnny Thunders references (“Dreaming,” “Cassette Head”). Each of these personalities are worth getting to know. But when they cross paths—as on the half-sung, half-rapped “Dreaming”— scuffles can ensue, and the listener isn’t sure whether to root for the gentle poet or the shouting MC. Neither man really wins, and we find ourselves wishing Vigilantics had split his tunes into ballads and club tracks instead of attempting to combine the two. But sometimes, it works. No one else in Portland is making hip-hop as vulnerable as “Forgotten,” a gonzo/beatnik roadtrip song with Lanois-esque production (the disc was well-crafted by local producer Elliot B) and bright, impressionist rhyme schemes. This is where all Vigilantics’ personalities bleed back into one, and it’s where he’s at his best. Maybe ambition isn’t everything. CASEY JARMAN. SEE IT: Rafael Vigilantics releases The Orgasm of a Ghost on Friday, Feb. 11, at Someday Lounge, with Busdriver, Dark Time Sunshine, Abadawn and the Kill Party and Cloudy October. 9 pm. $8. 21+. Quiet Life plays Doug Fir on Saturday, Feb. 12, with the Moondoggies, Denver and Widower. 9 pm. $5. 21+.
Valentine Shock saké & Sweets...Oh My!
A special Valentine’s twist on our Saké Shock tasting flight will feature 5 pairings of Oregon craft saké with treats from Le Cookie Monkey. To put a perfect finish on 5 great pairs, we’ll pour you a glass of our new Thai Plum Fizz Sakétini. Put a little shock in your Valentines adventures. February 12 & 13 from 11-5 pm $15 per person
820 Elm St., Forest Grove, OR 97116 - 503-357-7056 Willamette Week FEBRUARY 9, 2011 wweek.com
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THURSDAY - SATURDAY LANCE TROXEL
MUSIC
WHO IS THAT MASKED MAN?: Richard Swift plays Saturday at the Woods. are far too many bands around these days with singers who both look and sound 12 years old. Lead singer Mike Petkau Falk of Les Jupes doesn’t quite have the chops of, say, the National’s Matt Berninger, but he does possess a bit of Nick Cave-esque grit and a touch of Ian Curtis’ intensity. The band’s debut album, Modern Myths, will probably draw a lot of comparisons to Interpol and Arcade Fire due to the lead track, “Myth #3 (The Mountain)” (indeed, the album’s engineer and producer has also worked on several Arcade Fire albums), but there is more going on here, with country, synth pop and post-rock all rearing their heads, too. RUTH BROWN. The Knife Shop at Kelly’s Olympian. 9 pm. $4. 21+.
Sebadoh, Quasi
[GIMME INDIE ROCK] It must have irked Lou Barlow a little bit to see his reunion with the original lineup of Sebadoh in 2007 not receive the same level of rapture from fans as his reconciliation with J. Mascis did when Dinosaur Jr. re-formed a few years earlier. After all, in that band, he was just Mascis’ bass player; Sebadoh was his band. How could it be any other way, though? Barlow’s bridesmaid status is what led him to splinter off and record 1989’s The Freed Man with friend Eric Gaffney and basically invent the lo-fi aesthetic that defined the sound of ’90s indie rock. What began as a bedroom recording project evolved until, with 1994’s Bakesale, it looked like Barlow was on the brink of a legitimate hit. Well, it didn’t exactly happen, but the album is still regarded as as a masterpiece of personal pop songcraft, and Barlow is celebrating its 17th anniversary with an expanded reissue and tour with Gaffney and drummer Jason Loewenstein. MATTHEW SINGER. Wonder Ballroom. 9 pm. $17 advance, $20 day of show. 21+.
FRIDAY, FEB. 11 Danava, Nether Regions, Lord Dying, Wizard Rifle
[STONY PSYCHEDELIC SLUDGE] Ditchliquor didn’t so much call it quits last year as it morphed, like a butterfly, into Nether Regions— the current standard-bearer for Portland’s legacy of abusive, metallic sludge. Just how sludgy is Nether Regions? Well, not quite as gut rattling as its progenitor. Instead, the quartet uses debut LP Into the Breach (for which tonight’s show is a release party) to showcase its talent for a faster, thrashier and overall more mercurial variation of metal. And even though Into the Breach may list toward the heavy pop of headliner Danava, Nether Regions is still unable to resist dropping regularly into low gear for breakdowns spackled in gorgeous, trademark grime. SHANE DANAHER. Branx. 9 pm. Free. All ages.
John Meeks, Come Gather Round Us, Duover
[SINGER-SADSACK] The phrase “sad bastard” was invented for guys like John Meeks, whose
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Willamette Week FEBRUARY 9, 2011 wweek.com
latest record, Old Blood, contains 10 songs in a pissing match with one another over who can be the saddest. And yet, despite its volumes of heartbreak and beatings both emotional and physical, Meeks’ music fits well enough into a longstanding country music tradition of blighted hearts and broken dreams that the San Diego songwriter comes across more as a champion of roots music than a Charlie Brown-esque bummer. For every tearful lament, there’s a punky boom-chick drumline or a hooky guitar lick. It’s almost as if Meeks’ band is trying desperately to cheer him up. Opening sets from two of Portland’s finest up-and-coming groups ought to help out in that department, too. CASEY JARMAN. The Woods. 9 pm. $7. 21+.
SATURDAY, FEB. 12 Laura Kemp
[SINGER-SONGWRITER] Perennial Eugene favorite Laura Kemp picked a change of scenery to record her sixth album, Bodhi Tree, arriving in Nashville just in time for last May’s devastating floods. Fortunately, the sessions were not waterlogged— rather, she emerged with what sounds like her most accomplished work yet. With a sincere, earthy, heartfelt approach like Kemp’s, a little Music Row polish isn’t a bad thing—her winning spirit, pretty voice and confident songs are still clearly audible through the studio veneer, and these here Nashville cats are pros with soul. The illadvised, too-sprightly blues take on “Summertime,” which closes the record, is the only track that does, come to think of it, sound a bit sodden; better the album had ended with Kemp’s moving “Words,” a songwriter’s statement of purpose: “My brother’s got bottles, my sister’s got God, and I’ve got my words and my tunes.” JEFF ROSENBERG. Alberta Street Public House. 7 pm. $7. 21+.
The Beatnuts, DJ Gen. Erik, The Love Loungers
[HIP-HOP ROYALTY] You’d be forgiven, in most circles, for not knowing the Beatnuts (or perhaps confusing them with the World Famous Beat Junkies). But this Queens crew is responsible for an impressive number of joints (that has always seemed the most appropriate name for hip-hop singles, somehow) from artists like Common, Mos Def and Ghostface Killah—even if the duo’s own releases are lesser known. Though 1999’s The Musical Massacre is widely regarded as the Beatnuts’ crowning achievement, the jazzy beats on 2004’s Milk Me are just as funky. Hot tracks can be mined from the Beatnuts’ last two independently released albums (see the absolute banger “Undefeated” from 2008’s regrettably named/decorated U.F.O. Files), as well, but it’s Jurassic 5-style boom-bap classics like the Spanglish-speckled “Watch Out Now” that are most likely to get the crowd wilding out tonight. CASEY JARMAN. Crown Room. 9:30 pm. $5. 21+.
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Modern
Lovers Mid-Century Modern, Cool Ranches, Contemporary, Northwest Regional, Architect Designed Houses and more.
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Willamette Week FEBRUARY 9, 2011 wweek.com
All Mod Cons for Modern Lovers. See Real Estate pg. 55.
MUSIC
DATES HERE
ALICIA J. ROSE
PROFILE
AGESANDAGES FRIDAY, FEB. 11 [RAW CHORAL POP] It’s not too often that an album sinks its teeth into a listener within the first five seconds. AgesandAges’ debut, Alright You Restless, does just that—the clap-along hick-funk beat and folk-rock licks of opener “No Nostalgia” seem pulled straight out of the Band’s playbook, and it’s the kind of infectious, hot-shit groove that forces indie rock kids to shell out beer money for ring tones. Fifteen seconds into the track, the group’s thick, tight-but-exuberant vocal harmonies have entered the picture, and it’s almost too cool, too perfect to stand. If there’s a danger here, for AgesandAges, it’s that the music will be perceived as having been formulated in some top-secret folk-pop research facility—a place where nerds in lab coats coldly crossbreed the Kinks’ Muswell Hillbillies with Fleet Foxes’ “White Winter Hymnal.” The band’s origins couldn’t be a starker contrast to that image. Tim Perry began AgesandAges as a last-ditch effort to find joy in making music—an activity he worried he’d lost his passion for after the 2008 collapse of his former band, Pseudosix. Perry took a yearlong hiatus from writing songs, frustrated by a perceived apathy in the local music scene. “Portland is sort of a shoulder-shrug vortex,” he says via email. “Way too many people keep things at arm’s length, too timid to connect themselves fully to something and show some fucking enthusiasm.” Perry vowed not to start another band until he found players who were completely gung-ho and joyful about making music. Before long, he had found six of them. And while AgesandAges’ lush vocal harmonies, clean production and mix of electric and acoustic instrumentation are all hallmarks of contemporary Northwest music, the septet’s most striking characteristic—its joyful, electric spirit—seems almost comically out of place in a city full of down-tempo sad sacks. All of which is laid bare on Alright You Restless. The debut disc, a concept album of sorts about the pros and cons of moving to a commune, finds the band’s seven members playing rollicking, stomp-along roots-pop while trading playful vocal parts à la the Free Design. And as is the case on a real commune, each member puts in work to form a more perfect musical union. “All hands are always doing something,” Perry says, slightly playing up his cult-leader band persona. “Everything live and in the moment.” That’s the same approach AgesandAges took to recording the disc with Viva Voce’s Kevin Robinson: The members gathered around an omnidirectional microphone and played their parts live, adding group vocals after the music was laid down. Flaws were embraced. Reverb and other vocal effects were avoided at all costs. “That shit is bone dry, for better or worse,” Perry says. It’s definitely for the best. In fact—and this is not my usual advice—the band could do to get a bit sloppier in live performances, where it is almost too flawless and rehearsed. See, the big lesson in Alright You Restless isn’t, despite endless lyrics to the contrary, that moving to the sticks with your friends will fix your life. The lesson is that desperation breeds art with a pulse. Which puts AgesandAges in a tricky spot, where success and repetition could spoil all its fun. But what are they going to do? Move to a commune? CASEY JARMAN. AgesandAges just made a classic record. Let’s not let it go to its head.
SEE IT: AgesandAges releases Alright You Restless on Friday, Feb. 11, at Mississippi Studios. 9 pm. $8. 21+. Willamette Week FEBRUARY 9, 2011 wweek.com
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CASINO
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FAMILY PORTRAIT: Danava plays Branx (for free) on Friday.
Atole, STLS, Starparty, Magic Johnson
[FEMINIST BOOKSTORE DANCE PARTY] After being voted WW’s “Best New Band” in 2009, the women of Explode Into Colors unfortunately decided to go their separate ways just one year later. Following the split, ace drummer Lisa Schonberg put more time into her other band, the drumheavy STLS. The fact that the project is a percussion-only outfit is certainly an unusual direction, but it’s still a treat to see live. Tonight, STLS highlights an eclectic lineup of Portland talent at the feminist community center/bookstore In Other Words. The bill also serves as the debut show by AllAges PDX, a local LBGTQ youth advocacy group. All randomness aside, this is a worthy cause to get behind, as each band is solid and each promises to be a blast of uptempo fun. KEVIN DAVIS. In Other Words. 7 pm. $3-$5 sliding scale. All ages.
Dirty Martini, Michael Jodell & Matt Brown
[SONGWRITER MIXOLOGY] The ingredients of female songwriting triumvirate Dirty Martini have not been shaken or stirred together in a while. Long-popular Portland acousti-rocker Christine McKinley spends most of her time in L.A. these days. Don’t judge her, though—she somehow landed a groovy gig hosting the History Channel program Decoded, but reports that she’s also working on new songs. Her partners-incocktail have been busy, too. Stephanie Schneiderman’s experiments in electronica have broadened both her sonic palette and fan base; she releases a new album in April. Lara Michell, while still swinging with the Stolen Sweets, released two albums last year, one solo and one with her duo A Simple Colony. The ladies promise a blend of new work and old favorites—with extra olives, of course. JEFF ROSENBERG. Mission Theater. 9 pm. $10 advance, $12 day of show. 21+.
Bonfires, Sexo Tropico
[BRITPOP DONE ALMOST RIGHT] As a self-avowed musical Anglophile, I tend to give bands from the U.K. a lot more leeway than maybe I should. I’ve spent way too much time defending the likes of Kula Shaker and the Fratellis than any one person should. That said, when I heard Bonfires for the first time and found out the group hailed from Merry Old England, well, I started to soften on the band’s big blowzy attack, finding the silver lining in its overwrought hooks and a vocalist who aims for snotty and indifferent but comes out cloying. If you need me tonight, I’ll be at the show, with a slightly pained expression, as I yell out requests for its songs. ROBERT HAM. Mississippi Studios. 7 pm. $5 advance, $7 day of show. 21+.
[ALT-FOLK MEETS ACCORDIONS] Squeeze-boxer Mark Greathouse pumps out his own tunes, those of other local composers, Broadway and pop songs, and traditional Slovak and Czech dance numbers. Helena Greathouse sings and dances the authentic steps. For this CD-release party, the Hillsboro-based duo will also perform an original piece created for it by local boundary-bashing dance troupe Teeth. You can take it straight or apply whatever degree of post-Welk irony you like. Presumably, while Helena changes costumes, Stephen Cohen and Rich Hinrichsen (from the pioneering ’70s psych-folk rockers Tree People) will play their original tunes. BRETT CAMPBELL. Performance Works NW. 8 pm. $10. All ages.
Chromeo, MNDR, The Suzan
[HALL & 808s] It’s ever difficult to tell the degree of sincerity when electro outfits beloved by the most chic of global tastemakers publicly embrace the most gauche of cultural detritus—because, after all, if they’re laughing, they’re not laughing with us—but after seven years and three increasingly successful albums, Chromeo and its avowed passion for the most gloriously naff Reagan-era touchstones (Miami Vice ensembles, cock-rock guitar solos...the band even shared a stage with Darryl Hall at last year’s Bonnaroo festival) should earn the benefit of the doubt. Not that P-Thugg and Dave 1, from yet not exactly of Montreal, should be taken entirely seriously with the multitracked paeans to one-trackminded libidinousness, but if they want us to throw our hands in the air, we probably just shouldn’t care. JAY HORTON. Roseland Theater. 8 pm. $25. All ages.
Rollerball, Ghost to Falco, Mangled Bohemians
[SCORCHED-EARTH VIBES] Local duo Mangled Bohemians creates the same sort of hazy, eerie experimental pop music as our Leading Lady of Fuzz, Liz Harris. But while Grouper’s music sits just left of the pop dial, Mangled Bohemians make guitar music that sounds like it’s coming from outer space. The band’s new LP, At the Edge of Earth, sounds foreign and slightly off-putting until you really listen to it closely and notice all the wobbly details, intersecting guitar lines, and hidden melodies that make it a perfect soundtrack to any late-night comedown. MICHAEL MANNHEIMER. The Artistery. 8 pm. $7 ($1 off with a canned food donation for the Oregon Food Bank). All ages.
Pickathon Benefest: Eric D. Johnson, Andy Cabic, Richard Swift
[FINE-ARTS BAILOUT] When Wall Street trips, the arts fall face first onto the pavement. A slough of musicians who’ve graced the bucolic stages of Portland’s woodsiest festival Pickathon have teamed up to support Buckman Elementary and the Portland Schools Foundation Equity Fund. The soulful Richard Swift will play, channeling (in lo-fi) the R&B and gospel gods of generations past like a chamber-choir angel. Eric D. Johnson of Fruit Bats and Andy Cabic of Vetiver complete the potpourri of prime-time pleasantries. These guys are living proof the arts are worth saving, so hop to it. MARK STOCK. The Woods. 9 pm. $20. 21+.
Cover Your Hearts: Drew Grow and the Pastor’s Wives, Chris Robley, Tango Alpha Tango and more
[STAND BY ME] I don’t believe in guilty pleasures. Sure, I might make a funny face sometimes when
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Willamette Week FEBRUARY 9, 2011 wweek.com
8pm Fri, Feb. 18
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MUSIC
MAKE IT A NIGHT Present that night’s show ticket and get $3 off any menu item Sun - Thur in the dining room
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Willamette Week FEBRUARY 9, 2011 wweek.com
Saturday Feb 12th Wy’East 9pm Sunday Feb 13th
Tim Willcox Quartet
(Bill Athens, Charlie Doggett, David Goldblatt) Monday Feb 14th
Special Valentines show: Shelly Rudolph / Gretchen Mitchell 8pm every wed - Arabesque & Belly Dance 8pm
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dancing to Duran Duran or extolling the virtues of Katy Perry, but I believe that a love of pop music shouldn’t be something you hide on your Facebook profile. So while I cringe a bit at the concept of a night when local bands cover all your favorite “cheesy” ’80s hits, it’s still a concept I can get behind, especially if someone has the balls to pull off a Debbie Gibson song. For the fourth straight year, shoegazer-lite outfit Charmparticles is hosting a benefit for Ethos Music, with a bunch of friends playing faithful renditions of songs about love and being a teenager in 1985— which I’m cool with, just as long as no one offers any apologies before belting out the chorus to “Girl You Know It’s True.” MICHAEL MANNHEIMER. Wonder Ballroom. 9 pm. $15 ($35 for VIP tickets). 21+.
SUNDAY, FEB. 13 The Radio Dept., Young Prisms
[TIME LORDS] Swedish dream-pop outfit the Radio Dept. seems to be going back in time. The band’s 2003 debut LP, Lesser Matters, sounded straight out of the early ’90s, full of lo-fi shoegazer fuzz; 2006’s Pet Grief started bringing in more synths, electronic beats and a cleaner, poppier sound. And by 2010 album Clinging to a Scheme, the now-three-piece was a lot closer to the Pet Shop Boys than My Bloody Valentine. That’s not to say it’s gotten worse, per se, but you’ll probably prefer one iteration a lot more than the other. RUTH BROWN. Doug Fir Lounge.9 pm. $12 advance, $14 day of show. 21+.
Grey Anne, Michael Beach, Sarcastic Dharma Society
[SINGER-SONGWRITERS, UNITE!] When she’s not the off-kilter lady predicting your future at the food carts with a uniquely inventive dinosaur-infused tarot reading, Portland’s Anne Adams is likely to be crafting equally endearing loops and layers of ingenious songwriting under the moniker Grey Anne. She will headline a well-suited lineup of similarly verbose and genial singer-songwriters like Melbournevia-San Francisco troubadour Michael Beach (releasing a brand new 7-inch) and local sweetheart Mat Vuksinich of Sarcastic Dharma Society. KEVIN DAVIS. Ella Street Social Club. 9 pm. $5. All ages.
Nicole Atkins, Cotton Jones, The Ascetic Junkies
[MILD POP] Hailing from New Jersey and borne for a moment on the blessings of Columbia Records, Nicole Atkins is a singer-songwriter just far enough left of center to comfortably sing backup for Feist and simultaneously have her music played in an Old Navy commercial. That passing similarity to Ms. Feist is something that Columbia tried to play up, though in an uncomfortably sanitized variation. It really does Atkins a disservice. With several squeaky-clean videos and two albums in the pleasantly conservative Female Songwriter vein (Neptune City and this month’s Mondo Amore), Atkins’ career is almost a callback to the pop professionalism of the Brill Building era. Its success is not in innovation but in meticulous freedom from fault. SHANE DANAHER. Mississippi Studios. 9 pm. $12 advance, $14 day of show. 21+.
Del The Funky Homosapien, Raise the Bridges, Eddie Valiant
[GET ’EM HIGH] You see the WW pick next to this listing? Please close your eyes and imagine it’s a pot leaf. Oakland MC Del the Funky Homosapien might not be the most original rapper, but he is consistent in his loves (getting high, talking about outer space, getting high and then talking about outer space) and his choice of collaborators. Del’s never been quite the same since working with Dan the
Automator (on both the Deltron 3030 album and the first Gorillaz joint), but he sure knows how to give back to his fans: His last two self-released solo discs sold for just $3, a savvy move in an era when not even Kanye can go platinum. Del is currently touring behind 2010’s It Ain’t Legal Yet and, according to his Web site, a new release called Golden Era— hopefully a reference to a future when Del’s favorite shit is legal. MICHAEL MANNHEIMER. Mt. Tabor Theater. 8 pm. $11 advance, $13 day of show. All ages.
MONDAY, FEB. 14 Two Ton Boa, Fever, DJ Nate C
[LOVERS ROCK] So let’s say it’s Valentine’s Day, and you have a girlfriend (OK, just stay with me here) and you like experimental rock and Sleater-Kinney and you own an oboe. If you don’t already have plans to bring your significant other to East End for the first Two Ton Boa song in a while, then, well, I bet your ass you get dumped before the end of the month. Led by fiery singer Sherry Frasher (yes, Marcy Playground named a song after her), the Olympian trio has only gotten better over the years, releasing records on Kill Rock Stars (including 2006’s Parasiticide) and honing its visceral, sexy songs. Who needs a box of chocolates when you can rock this hard? MICHAEL MANNHEIMER. East End. 9 pm. $5. 21+.
TUESDAY, FEB. 15 Ke$ha
See Top 5, page 25, and listing at wweek.com. Crystal Ballroom. 8 pm. Sold Out. All ages.
Smith Westerns, Unknown Mortal Orchestra
[YOUNG GUNS] Is there an indierock Hogwarts somewhere that I’m not aware of? All these barely pubescent pop wizards cropping up recently have to be coming from somewhere, and Chicago’s Smith Westerns is the latest. The band’s self-titled 2009 debut hinted at the trio’s promise, shaking with punk energy and the swagger of three young, snotty Marc Bolans. But the brand-new Dye It Blonde shows these kids weren’t just getting by on teenage hormones alone. Older and wiser but still definitely getting carded, the band maintains the swinging T. Rex songcraft and glammy riffs on this record while focusing its unbridled enthusiasm into sticky melodies we’ll still be humming when 2011 ends. An early albumof-the-year contender? Damn right. Tonight also marks the local debut of the secret Unknown Mortal Orchestra project. MATTHEW SINGER. Doug Fir Lounge. 9 pm. $10. 21+.
Warpony, Gorilla Monsoon, Terrible Terrible
[NOISY JANGLE] Both Warpony and Gorilla Monsoon have chosen band names already in use outside the Portland bubble (Gorilla Monsoon shares its moniker with both a German death-metal group and a WWE wrestler), but for these bands I don’t see this being a problem. For Warpony especially, the few shows the group has played have been of the lowerthan-lo-fi variety, lavishing distorted abuse on basement venues and minuscule bars like Plan B. These groups may or may not be too rough for an above-ground existence, but as for igniting angry house parties and low-tono-capacity venues, I doubt you’ll find a better option in the Portland area. SHANE DANAHER. Ella Street Social Club. 9 pm. Free. 21+.
bob ladewig & stacey hallal are
SPOTLIGHT
JEAN LOUIS in “COMMUNICATOS�
A N G E L A B O AT W R I G H T
MUSIC
a sketch comedy show
$
FIX UP, LOOK SHARP: Chromeo plays Saturday, Feb. 12, at Roseland.
ALADDIN THEATER 3017 SE Milwaukie Ave., 234-9694 ALBERTA ROSE THEATRE 3000 NE Alberta St., 719-6055 ALBERTA STREET PUBLIC HOUSE 1036 NE Alberta St., 284-7665 ANDINA 1314 NW Glisan St., 228-9535 ARTISTERY 4315 SE Division St., 803-5942 ASH STREET SALOON 225 SW Ash St., 226-0430 BACKSPACE 115 NW 5th Ave., 248-2900 BEATERVILLE CAFE 2201 N Killingsworth St., 735-4652 BEAUTY BAR 111 SW Ash Street., 224-0773 BERBATI’S PAN 231 SW Ankeny St., 248-4579 BIDDY MCGRAW’S 6000 NE Glisan St., 233-1178 BLUE MONK 3341 SE Belmont St., 595-0575 BO ASIAN BISTRO 400 SW Broadway., 222-2688 BRANX 320 SE 2nd Ave., 234-5683 BRASSERIE MONTMARTRE 626 SW Park Ave., 236-3036 BUFFALO GAP SALOON 6835 SW Macadam Ave., 244-7111 CAMELLIA LOUNGE 510 NW 11th Ave., 221-2130 CLYDE’S PRIME RIB 5474 NE Sandy Blvd., 281-9200 CORKSCREW WINE BAR 1669 SE Bybee Blvd., CROWN ROOM 205 NW 4th Ave., 222-6655 CRYSTAL BALLROOM 1332 W Burnside St., 225-0047 DANTE’S 1 SW 3rd Ave., 226-6630 DISJECTA 8371 N Interstate Ave., 286-9449 DOC GEORGE’S JAZZ KITCHEN 4605 NE Fremont St., DOUG FIR LOUNGE 830 E Burnside St., 231-9663 DUFF’S GARAGE 1635 SE 7th Ave., 234-2337
DUNES 1905 NE Martin Luther King Jr. Blvd., 493-8637 EAST BURN 1800 E Burnside St., 236-2876 EAST END 203 SE Grand Ave., 232-0056 ELLA STREET SOCIAL CLUB 714 SW 20th Place, 227-0116 FEZ BALLROOM 316 SW 11th Ave., 221-7262 GOODFOOT 2845 SE Stark St., 239-9292 GROOVE SUITE 440 NW Glisan St., 227-5494 GROUND KONTROL 511 NW Couch St., 796-9364 HALL OF RECORDS 3342 SE Belmont St., HAWTHORNE THEATRE 3862 SE Hawthorne Blvd., 233-7100 HEATHMAN RESTAURANT & BAR 1001 SW Broadway, 790-7752 HOLOCENE 1001 SE Morrison St., 239-7639 JIMMY MAK’S 221 NW 10th Ave., 295-6542 KELLS 112 SW 2nd Ave., 227-4057 KNOW 2026 NE Alberta St., 473-8729 LAGANO LOUNGE 1435 SE Hawthorne Blvd., 664-6140 LAURELTHIRST PUBLIC HOUSE 2958 NE Glisan St., 232-1504 LOLA’S ROOM AT THE CRYSTAL BALLROOM 1332 W Burnside St., 225-0047 MATADOR 1967 W Burnside St., 222-5822 MISSISSIPPI PIZZA 3552 N Mississippi Ave., 288-3231 MISSISSIPPI STUDIOS 3939 N Mississippi Ave., 288-3895 MOCK CREST TAVERN 3435 N Lombard St., 283-5014 MOUNT TABOR THEATER 4811 SE Hawthorne Blvd., MUDAI 801 NE Broadway, 2875433 MUSIC MILLENNIUM 3158 E Burnside St., 231-8926
PAPA G’S VEGAN ORGANIC DELI 2314 SE Division St., 235-0244 PLAN B 1305 SE 8th Ave., 230-9020 PRESS CLUB 2621 SE Clinton St., 233-5656 RAILSIDE PUB 5301 NE Portland Highway RED ROOM 2530 NE 82nd Ave., 256-3399 REPORT LOUNGE 1101 E Burnside St., 236-6133 RONTOMS 600 E Burnside St., 236-4536 ROSE GARDEN 1401 N Wheeler Ave., 235-8771 ROSELAND 8 NW 6th Ave., 219-9929 (Grill), 224-2038 (Theater) ROTTURE 315 SE 3rd Ave., 234-5683 SLABTOWN 1033 NW 16th Ave., 223-0099 SOMEDAY LOUNGE 125 NW 5th Ave., 248-1030 STAR BAR 639 SE Morrison St., THE KNIFE SHOP 426 SW Washington St., 228-3669 THE SARATOGA 6910 N Interstate Ave., 719-5924 THE TWILIGHT ROOM 5242 N Lombard St., 283-5091 THE WOODS 6637 SE Milwaukie Ave., 890-0408 THE WORLD FAMOUS KENTON CLUB 2025 N Kilpatrick St., 285-3718 TIGA 1465 NE Prescott St., 288-5534 TIGER BAR 317 NW Broadway, 222-7297 TONIC LOUNGE 3100 NE Sandy Blvd., 238-0543 TONY STARLIGHT’S 3728 NE Sandy Blvd., 517-8584 TUBE 18 NW 3rd Ave., 241-8823 TWILIGHT CAFE & BAR 1420 SE Powell Blvd., 232-3576 UP FRONT BAR AND GRILL 833 SW Naito Parkway, 220-0833 VALENTINE’S 232 SW Ankeny St., 248-1600 WHITE EAGLE 836 N Russell St., 282-6810 WONDER BALLROOM 128 NE Russell St., 284-8686
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Willamette Week FEBRUARY 9, 2011 wweek.com
37
MUSIC CALENDAR
Tiger Bar
Just the Tip, Olivia’s Pool
[FEB. 9 - 15]
ADAM KRUEGER
Editor: Michael Mannheimer. 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 25 | clublist 37 For more listings, check out wweek.com
Kelly Slusher, Sif Jacobsen, Pamela Goldsmith
Spare Room
The Spare Room Jam
The Blue Monk
The Know
The Chop Tops, The Swillbillys, Surfer Valley Wranglers
The Woods
Mark Alan
Twilight Cafe and Bar White Eagle Saloon
Poncho Luxurio (8:30 pm); Will West and the Friendly Cover Up (5:30 pm)
Wilf’s Restaurant Sean Holmes, Fred Stickley
Wonder Ballroom
Sebadoh, Quasi
FRI. FEB. 11
Rodney Crowell
Alberta Street Public House
Suck My Open Mic with Tamara J. Brown
Andina
Toshi Onizuka
Beaterville Cafe
Lowell John Mitchell
McMenamins Rock Creek Tavern
Alberta Rose Theatre
Redwood Son with Tyler Stenson
Mississippi Pizza Dean, Smiley, Get Dressed
Mississippi Studios
Beauty Bar
Baby Ketten Karaoke
Sneakin’ Out, Water Tower Bucket Boys, Cicada Omega
Brasserie Montmartre
Mt. Tabor Theater
Kit Taylor
Buffalo Gap Saloon Buffalo Band Stand
Crystal Ballroom Social Distortion
Dante’s
Lloyd Mitchel Canyon, Ken Hanson Band
Muddy Rudder Public House Stumbleweed
Portland Prime
Marcy Playground, Parson Red Heads, Mark Twain Indians, Norman
Randy Porter
Doug Fir Lounge
Pub at the End of the Universe
El Rey, Charming Birds, Wow & Flutter
Duff’s Garage
Suburban Slim’s Blues Jam (9:30 pm); Chris Olson’s High Flyers (6 pm)
East End
Greg Ashley and Guests
Good Neighbor Pizzeria Open Mic
Goodfoot Lounge
Press Club
Swing Papillon
Sons of Soil, The Indigo Art Tribe
Red Room Open Mic
Spare Room
Danny Chavez, Rock’n Raymond and You
The Artistery
Gnar Tapes Tape Release Social Party
The Globe Amy Bleu
Ethan Bortnick
Rockstar Karaoke
Hawthorne Theatre
Original Sound Trash, Noir City, Kiss Kill, Deklun and Pace
Jade Lounge
Patrick Harris, Worth
Jimmy Mak’s
Tony Starlight’s Mike Winkle
White Eagle Saloon Left Coast Country
Wilf’s Restaurant
Ron Steen Trio with Toni Lincoln, Joe Millward
The Mel Brown Quartet
Kells
Tom May
38
Willamette Week FEBRUARY 9, 2011 wweek.com
Mississippi Studios Scott Law, Sharon Gilchrist (Bar Bar Apartment)
Mock Crest Tavern Kinzel and Hyde
Mt. Tabor Theater Lounge
Alberta Rose Theatre
Mt. Tabor Theater
Alberta Street Public House
Dead Winter Carpenters, Fruition, 4 On The Floor
Mikey’s Irish Jam
Muddy Rudder Public House
Alberta Street Public House
Nel Centro
Bumpin’ Nastys
Andina
Sambafeat Quartet
Ash Street Saloon
Reverb Brothers
Mike Pardew with Jeff Leonard
Oak Grove Tavern Karaoke
Original Halibut’s
Ron Steen, Bill Beach, Kevin Deitz
SAT. FEB. 12 Aladdin Theater
David Wilcox, Susan Werner
Bear and Moose
Andina
Pete Krebs Trio
Backspace
Hey Marseilles, Sean Flinn and the Royal We, Joseph Giant
Beaterville Cafe Wild Hair
Branx
Backspace
Xuosoux, The Material, Tigress, So Good
Brasserie Montmartre Chance Hayden
Buffalo Gap Saloon The Kinky Brothers
Chapel Pub Steve Kerin
Crown Room
Graffiti Rock: Joe Nasty, Mr. Wu, Starchild, Spekt1
Crystal Ballroom
Portland Opera to Go: Elixir of Love
Doug Fir Lounge
Loaded for Bear, Christian Burghardt, Painted Grey, John Thayer Band
Duff’s Garage
Ella Street Social Club
Goodfoot Lounge
The Fourge, The Way Downs
Gypsy Restaurant & Lounge Eric John Kaiser the French Troubadour
Hawthorne Theatre Lounge
Savoir Faire Burlesque
Lewi Longmire Band (6 pm); Last Drags, Mexican Gunfight (9:30 pm)
Danava, Nether Regions, Lord Dying, Wizard Rifle
Branx
McMenamins Grand Lodge
Brasserie Montmartre
McMenamins Rock Creek Tavern
Redwood Son, Tim Snider
Billy D
Rock Creek Branders
Mississippi Pizza Mo Phillips
Mississippi Studios
Chris Marshall, Kelly Blair Bauman, Leonard Mynx
Mock Crest Tavern
Nobody’s Sweethearts
Mt. Tabor Theater Lounge
7th Planet Picture Show
Mt. Tabor Theater
I’m Gucci: Rydaz Committee, Yung Moe
Muddy Rudder Public House Lauren Sheehan with Greg Clarke
Oak Grove Tavern Open Mic
Original Halibut’s II Terry Robb
Plan B
Sunny Travels, Stolen Rose, Runaway Rocket
Portland Prime John Gilmore
Red Room
Toucan, Dogtooth
Sellwood Public House Open Mic Night
Christopher Woitach
Buffalo Gap Saloon Crown Room
Bubblin: Kush Arora, Ben Tactic, Lincolnup, Rude Dudes
Dante’s
Rockin Valentine’s Burlesque Night: The Twangshifters, Jon Koonce and the Gas Hogs, Ellie Darling Burlesque
Dante’s
Twangshifters, Jon Koonce
Doug Fir Lounge
Oracle, Natasha Kmeto, Doubleplusgood
Brasserie Montmartre
Portland Prime
Bobby Torres Trio
Buffalo Gap Saloon
Abe Lincolns Birthday Bash with Lincolns Bear, Kory Quinn and the Comrades, Jackalope Saints
The Great House of Music, The Walking Willows
Mel Brown Trio with Tony Pacini
Press Club
James Low and Lewi Longmire
Red Room
Crown Room
The Beatnuts, DJ Gen. Erik, The Love Loungers
My Screaming Valentine: Lidless Eye, Livid Minds, A.K.A. White Devil, The Ascendents
Dante’s
Roseland Theater
Howie Day
Dante’s
Chromeo, MNDR, The Suzan
Valentine’s Zombies Ball, Smoochknob, The Smoochgirls
Rotture
Dante’s
Saratoga
Astronautalis, TxE, Devonwho
Portland Prime
Slim’s Cocktail Bar
Press Club
Duff’s Garage The Buckles
Spare Room
De La Warr
Pub at the End of the Universe The Disappointments
Red Room
The Jim Jams, Johnny Reno and the Vice Machine, The Bangovers
Red and Black Cafe
Lee Corey Oswald, Foot Ox, Your Rival, Irie Ideal
Sellwood Public House Zaxx Vandal
Slim’s Cocktail Bar Lords Own Choir, Basketball Jones
Someday Lounge
Busdriver, Dark Time Sunshine, Rafael Vigilantics, Cloudy October
Spare Room
The Artistery
Professor Gall
The Knife Shop at Kelly’s Olympian
Deepest Darkest, Bryan Free
Hawthorne Theatre Lounge
The Woods
Hawthorne Theatre
The World Famous Kenton Club
Finntroll, Ensiferum, Rotten Sound, Barren Earth
Stepchild
Arlie Conner & Friends
The Blue Monk
Canoofle
Oak Grove Tavern
Quiet Life, The Moondoggies, Denver
East End
Jordan Harris
Live Music - Lucy Hammond Band
Doug Fir Lounge
The Tanked, Qwong, Elk River Tree Fort Army
Jib Kidder, Purple N Green, Megazord
Gypsy Restaurant & Lounge
Oak Grove Tavern
Plan B
Duff’s Garage
Sistafist, Tony D and the Flippers, Juicy Carcass
Mike Pardew with Gordon Lee
Thee Headliners, Muddy River Nightmare Band
La Rhonda Steele
Breathren Thread
Skirtchasers, Petunia
Nel Centro
Howie Day (8 pm), Valentine’s Zombie Ball with Smoochknob (11 pm)
Dr. Martens
Thee Headliners
Michael Franti (9 pm); Fernando Viciconte (3 pm)
Performance Works NW
Hawthorne Theatre Lounge
Laurelthirst
Mt. Tabor Theater
Defiance, Resist, Hammered Grunts, Arterial Spray, Hub City Hillbillys, Scheroder Bomb
Proper Eats Market and Cafe
Guttermouth, Boldtype, Rendered Useless, Unfallen Heroes
Broken Hearted Valentine’s Show with Heal
Music Millennium
Ella Street Social Club
Ash Street Saloon
Mt. Tabor Theater Lounge
Alan Hagar
The Old Yellers, Matt Cadenelli and Kelly Blair Bauman
Greg Clarke and Doug Sammons
Ken Hanson Band
Alberta Street Public House
Bipartisan Cafe
Tom May
Mock Crest Tavern
Muddy Rudder Public House
Kells
Greg Wolfe Trio
Bonfires, Sexo Tropico
Laura Kemp
Andina
Dawn and the Dents
Mississippi Studios
Alberta Street Public House
Mia Nicholson
Backspace
Z’Bumba (9 pm); Level2Music, Lorna Miller Little Kid’s Jamboree (4 pm)
Juno What!?, Excellent Gentlemen
Beaterville Cafe
Carpet Culture: Boom!, White Fang, Hookers
Dirty Martini, Michael Jodell & Matt Brown
Opera Theater Oregon
Alberta Rose Theatre
The Mel Brown B3 Organ Group
The Woods
Kopath Bear
AgesAndAges, Billygoat, Archcape
Wilf’s Restaurant
Jimmy Mak’s
Nicole Berke, Buoy LaRue, Kelly Anne Masigat
Tiger Bar
Mississippi Studios
Leaves Russell, dKota, Gunnar Roads Band (9:30 pm); Reverb Brothers (5:30 pm)
Myshkin’s Ruby Warblers, Troubadours of Divine Bliss
Gypsy Restaurant & Lounge Hawthorne Theatre Lounge
Mississippi Pizza
The Tony Starlight Show
Massive Moth, D’S’R’, The Volks, Ethiopiate
Guitar Shorty
Cowboy & Indian, Hello Mtn. Ari Shine
Tony Starlight’s
Holocene
Alberta Street Public House
The Heathman Restaurant and Bar
Laura Ivancie
Mission Theater
Mercy Graves, Tinzen, Cathead and the Blistering Sons
The Perfect Gentlemen, V-Chords, Strangers in Harmony
Future Beats with Ryan Organ, Graintable, Dundiggy, Brazil, Roanne,
Bre Gregg
Jobo Shakins, Boy and Bean (9 pm); Brooke Pennock Band (6 pm)
Subjektochange, Ata Ghost, Fallen Intent
Opera Theater Oregon
Afton Presents: Austin Brooks, Second Son, Michael Weisberg, Let It Go, Timberline, The Accedents, Kelsy’s mom, Anna Spackman
Left Coast Country
Aladdin Theater Solas
Aladdin Theater
Jimmy Bivens
Mississippi Pizza
Flesh Lawn, Hauksness, Invivo
Nathan Talbot (6 pm), PIano Throwers (9 pm)
McMenamins Hotel Oregon
Tony Starlight’s
Cabaret Chanteuse
Aladdin Theater
McMenamins Grand Lodge
McMenamins Rock Creek Tavern
Intirhyme, Macy Bensley
Hawthorne Theatre
Laurelthirst
Lola’s Room at the Crystal Ballroom
Tonic Lounge
THUR. FEB. 10
St. James’s Gate
The Knife Shop at Kelly’s Olympian
Jonah, Brush Prairie, Amy Seeley
Laurelthirst
Kells
Woodbrain (6 pm), King-Grand Blues Band (9:30 pm)
Bad Territories, Blunt Mechanic
WED. FEB. 9
Jessie Marquez (CD Release)
Curtis Salgado/Alan Hager
Les Jupes, Bombs Into You
GUITAR HERO: Guitar Shorty plays Thursday, Feb. 10, @ Duff’s Garage.
Jimmy Mak’s
Garcia Birthday Band
Grenadiers of the Doomed, Grenada, The Deep Sea Vents
White Eagle Saloon Slim’s Cocktail Bar
= WW Pick. Highly recommended.
Tonic Lounge
McMenamins Rock Creek Tavern
John Meeks, Come Gather Round Us, Duover
Dosey Wallips, Office Diving
Ace Troy Pop Art Opening: DJ I (heart) U
Wendy and the Lost Boys
Hawthorne Theatre
Times of Grace, Straight Line Stitch, War of Ages, Proven
Holocene
Studio 69: Soft Metals, Ancient Heat, The Miracles Club, Purple ‘n’ Green
In Other Words
Atole, STLS, Starparty, Magic Johnson
Jimmy Mak’s
The Portland Soul AllStars Valentine’s Tribute to Romantic Soul
Kells
St. James’s Gate
Laurelthirst
Tree Frogs (6 pm); Danny Barnes with The Piano Throwers, Sugarcane (9:30 pm)
Laurelthirst
Tree Frogs (6 pm); Will West and the Friendly Strangers, Laura Meyer (9:30 pm)
Lola’s Room at the Crystal Ballroom
Break as We Fall, Ruby Hill, Redwood Son
McMenamins Grand Lodge Eric John Kaiser
McMenamins Hotel Oregon Hymn For Her
Sellwood Public House Professor Gall
Sonny Hess Band
The Artistery
Rollerball, Ghost to Falco, Mangled Bohemians
The Blue Monk Wy’East
The Know
Lickity, Gender Roles, Rainstick Cowbell
The Woods
Pickathon Benefest: Eric D. Johnson, Andy Cabic, Richard Swift
The World Famous Kenton Club Advisory, Guests
Tonic Lounge
Thunderstruck, Gear Drivven
Tony Starlight’s Marianna
Twilight Cafe and Bar The Volt Per Octaves, The Fuzz, Element 68
White Eagle Saloon
Angie Foster Band, Rock Blocks (9:30 pm); The Student Loan (4:30 pm)
Wilf’s Restaurant Toni Lincoln Trio
Wonder Ballroom
Cover Your Hearts: Drew Grow and the Pastor’s Wives, Chris Robley, Tango Alpha Tango, Charmparticles, Bryan Free, Deepest Darkest, Dr. Theopolis, UHF, The Ravishers
SUN. FEB. 13 Andina
Danny Romero
Ash Street Saloon
Fall From Zero, Skies Above Reason, Reeds Mill Investigation
Dante’s
Sinferno Cabaret
Doug Fir Lounge
The Radio Dept. Young Prisms
East End
Motorheadgirlschool, Burning Leather, Purple Rhinestone Eagle
Ella Street Social Club
Grey Anne, Michael Beach, Sarcastic Dharma Society
Hawthorne Theatre Lounge Rumblebox
Hawthorne Theatre
The Autonomics, The Dirty Words, Delayed Relay, The Neverdowells
Laurelthirst
Muddy Rudder Public House Irish
Music Millennium Hymn For Her
Rontoms
Monarques, Dirty Mittens, Rocky and the Proms
No More Parachutes (9 pm); Robert Richter’s Young Artist Showcase (6 pm)
Mississippi Studios
Nicole Atkins, Cotton Jones, The Ascetic Junkies
Mt. Tabor Theater Lounge
Hives Inquiry Squad, Volifonix
Mt. Tabor Theater
Del The Funky Homosapien, Raise the Bridges, Eddie Valiant
East End
Goodfoot Lounge
The Knife Shop at Kelly’s Olympian
Jimmy Mak’s
Tim Wilcox Quartet
The Phoenix Variety Revue
Valentine’s
Fleshtone, Guidance Couneselor, Arohan
White Eagle Saloon Greggory Stockert
MON. FEB. 14 Alberta Rose Theatre Opera Theater Oregon
Alberta Street Public House Pete Krebs Trio
Mississippi Pizza
Big “D” Jamboree (8:30 pm); James Sasser Band (6 pm)
The Blue Monk
Cake
McMenamins Hotel Oregon
Colleen Raney
Duff’s Garage
Roseland Theater
Amy Kemp
McMenamins Rock Creek Tavern
SexyWaterSpiders, Hello Morning, No Kind of Rider
Two Ton Boa, Fever, DJ Nate C
Billy Kennedy & Tim Acott
Portland Opera To Go: Elixir of Love
Doug Fir Lounge
Andina Andina
Danny Romero
Arlene Schnitzer Concert Hall Johnny Mathis
Ash Street Saloon Open Mic
Backspace Dorkbot
Bossanova Ballroom
Cirque L’Amour: Tommy Twimble, Kazum, AWOL Dance Collective, Leapin’ Louie Lichtenstein, Russell Bruner, William Batty
Brasserie Montmartre D.K. Stewart
Dante’s
Karaoke From Hell
Sonic Forum Open Mic Valentine’s Day with Tasha Miller
Kells
Cronin Tierney
Laurelthirst
Little Sue & Lynn Connover (6 pm), Kung Pao Chickens (9:30 pm)
McMenamins Rock Creek Tavern Bob Shoemaker
Mississippi Pizza
The Father (9 pm); Mo Phillips (6 pm)
Mississippi Studios
Hello Electric, Wampire, Housefire
Muddy Rudder Public House Lloyd Jones
Red Room
White Eagle Saloon
Sunbeam, Mike Coykendall, Ezra Carey
Wilf’s Restaurant Laura Canard
TUE. FEB. 15
Tiga
Mississippi Pizza
DJ Orange
Karaoke (9 pm); Western Hummingbird with Lorna Miller (6 pm)
Tube
DJ Tigerbeat, DJ Stray
Mississippi Studios
Soft Kill, Jewels of the Nile, Ghost Mom, DJ Linoleum
Yes and No
WED. FEB. 9
Alberta Street Public House
Mock Crest Tavern
Andina
The Family Funktion featuring Average Leftovers
East End
Music Millennium
Tronix: DJ-808
BTV w. Jeremy Neftali Rivera
Brasserie Montmartre Galen Clark
Buffalo Gap Saloon Open Mic Night
Crystal Ballroom
Ke$ha
Dante’s
The Ed Forman Show, DSL Open Mic Comedy
Doug Fir Lounge
Smith Westerns, Unknown Mortal Orchestra
Duff’s Garage
Dover Weinberg Quartet (9:30 pm); Trio Bravo (6 pm)
Ella Street Social Club Warpony, Gorilla Monsoon, Terrible Terrible
Jef Jensen Band
Mt. Tabor Theater
Derby
Spare Room
Danny Chavez Karaoke Show
The Blue Monk
Steel Drum Music
The Knife Shop at Kelly’s Olympian
Nathan Haggard Presents - Middle Ages
Valentine’s
Port St. Willow
Crown Room
Crush Drum and Bass DJ Lucifera
Ground Kontrol Holocene
DJ Zac Eno, DJ Rumtrigger, DJ Papi
Slim’s Cocktail Bar DJ DirtyNick
Tiga
DJ Rat Creeps
Valentine’s
DJ Hot Air Balloon
Yes and No
DJ Ill Camino, DJ Vjestica
White Eagle Saloon
Brad Creel and the Reel Deel
Wonder Ballroom
Murder By Death, The Builders & The Butchers, Damion Suomi & The Minor Prophets
THUR. FEB. 10 Fez Ballroom
Shadowplay with DJ Horrid, DJ Ghoulunatic, DJ Paradox
Rotture
DJ Beyondadoubt, DJ Brice Nice
Crystal Ballroom ‘80s Video Dance Attack
Fez Ballroom
Fast Weapons Presents Thugs and Kisses: DJ Nightschool, Sick Jaggers, DJ Whitney Fierce, Thee Coven, DJ KO
Decadent 80s
Goodfoot Lounge DJ Aquaman’s Soul Stew
Holocene
Buck and Bounce: DJ Beyondadoubt, Brice Nice
Rotture
SUN. FEB. 13 Yes and No
Sweater Weather: DJ Rad, DJ Co-Mags
MON. FEB. 14
Live and Direct: Rev. Shines, Slimkid3, DJ Nature, Starchile
Ground Kontrol
Star Bar
Into the Void - DJ Blackhawk
DJ Ikon
Tiga
DJ Tibin
Star Bar Tiga
Gentleman Matthew Yake
The Lieutenant
Valentine’s
DJ OB/GYN, DJ Gordan Organ
Pakistan: Instrumental Folk and Pop Sounds Release Party: DJ Frank SUmatra, DJ Swami Davis
Yes and No
DJ Mistina La Fave
Valentine’s
TUE. FEB. 15 Beauty Bar
DJ Dairy (Tres of Voodoo Doughnuts)
Larsen Vegas Starr-Free Rock N Roll Show
Goodfoot Lounge
Spare Room
Ground Kontrol
Someday Lounge
Gypsy Restaurant & Lounge
Star Bar
Girls Night Out!
Kent Smith
DJ Maxx Bass, DJ Musique Plastique
Kells
Hawthorne Theatre Lounge
Tiga
Bill Portland
‘80s Video Dance Attack (special benefit for PDX Pop Now!)
Valentine’s
East End
DJ Smooth Hopperator
Jimmy Mak’s
Cowboys From Sweden
Danny Chavez Karaoke Show
The Artistery
Speculator, Punks From Mars, Timmy The Terror And The Winter Coats, Unkle Funkle, Cole and the Rats
The Blue Monk
Valentine’s Day with Gretchen Mitchell
The Knife Shop at Kelly’s Olympian
The Smoking Mirrors, Lew Jones
Tony Starlight’s
Tony Starlight’s Valentine’s Special
Scott Pemberton Trio Rock Band 2 with MC Destructo
Rockstar Karaoke
The Mel Brown Septet (8 pm); Mike Prigodich and MPEG (6:30 pm)
McMenamins Rock Creek Tavern
Open Bluegrass Jam
The Fix: Rev. Shines, KEZ, Dundiggy
Yes and No
DJ Pocketrock-It
FRI. FEB. 11 Beauty Bar
Off Brand: Doc Adam
Crown Room Beauty Bar
See You Next Tuesday: A weekly dubstep party with Kellan, Avery
Crystal Ballroom
DJ Adam Mullet
SAT. FEB. 12
Mechanation: DJ Wrexx, DJ Nevermore & DJ Non
Fez Ballroom Twice as Nice
Ground Kontrol Reaganomix: DJ Destructo
East End
Cronin Tierney
Star Bar Tiga
Tropical Despression
Tube
DJ Nature
Yes and No
DJ Black Dog
Mississippi Studios MRS, DJ Beyonda
Willamette Week FEBRUARY 9, 2011 wweek.com
39
FEB. 9-15
= WW Pick. Highly recommended.
The Lieutenant of Inishmore
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: HEATHER WISNER (dance@wweek.com). TO BE CONSIDERED FOR LISTINGS, submit information at least two weeks in advance to: bwaterhouse@wweek.com.
THEATER 20 Erotic Shorts
The Working Theatre Collective present 20 short plays on erotic themes by local writers. Eff Space. 333 NE Hancock St., Studio 14. 893-9075. 8 pm Feb. 10-14 and 17-20. $10-$15 sliding scale.
99 Ways to Fuck a Swan
A lot goes on in Kim Rosenstock’s survey of sexual deviance, directed in its world premiere production by Megan Kate Ward. Not, as the title suggests, a swan sutra, the show crosses centuries and continents to examine a great catalog of kinks. Mario Calcagno plays Dave, a professional photoshopper who takes a freshman fiction course in hopes of working out some of his many issues on paper. The teacher, Fiona (Brooker Fletcher), assigns him to write about Leda’s seduction by swan-shaped Zeus. The subject suits him, since he’s got a thing about women and cats, and he pens an epic while we watch. BEN WATERHOUSE. Theater! Theatre!. 3430 SE Belmont St. 306-0870. 8 pm Thursday-Saturday, Feb. 10-12. $15. Thursdays are pay-what-you-will.
Ana en el Trópico
Miracle Theatre presents the Spanish version of Nilo Cruz’s Pulitzerwinning play about a Florida cigar factory, where the public reading of Anna Karenina precipitates surprising changes. Christy Drogosch directs. Miracle Theatre. 525 SE Stark St. 236-7253. 7:30 pm Thursdays, 8 pm Fridays-Saturdays, 2 pm Sundays through March 5. $14-$25.
Bridge of the Gods
[NEW REVIEW] Kudos to Tears of Joy Theatre puppeteers Amy Gray and Shuhe for juggling multiple roles in this Native American tale of how Mount Hood and Mount Adams came to be. The energetic pair of performers pull off this largely engaging 50-minute show that features smartly engineered staging and beautifully designed puppets. The script works a tad too hard to impart some life lessons along the way and the start of the show may scare those on the younger end of a target audience (somewhere between 4 and 8). But Bridge of the Gods gives kids a taste of Native stories in a setting sure to make them smile and even learn a little about the Northwest. Make sure to leave yourself enough time before the show to fashion paper coyote masks in the lobby and plan to stay a few minutes after the show to have the kids take advantage of the performers’ willingness to answer audience questions. The performers are just as patient after the show as they are hard-working during it. BEN AND HENRY STERN. Winningstad Theatre. Portland Center for the Performing Arts, 1111 SW Broadway. 284-0557. 11 am Saturday, 2 and 4 pm Sunday, Feb. 12-13. $15 children, $18 adults.
Captured by Aliens
On the heels of its madly popular Fall of the House, the Action/Adventure ensemble presents another live, semiscripted serial. This time, six wannabe reality contestants find themselves on an alien-operated spaceship, where they vie for the title of “best human ever.” The cast manages to turn the conceit into something clever, visiting reality-TV tropes with shiny enthusiasm, videotaped confessionals, ruthless double-crossing, tearful breakdowns and “strategic advantage challenges.” The show’s semi-improvised approach means some lines flop, but when a cast member nails a joke, it carries unanticipated punch. REBECCA JACOBSON. Theater! Theatre!. 3430 SE Belmont St., actionadventuretheater@ gmail.com. 10:30 pm Friday-Saturday, 8 pm Sunday, Feb. 11-13. $12.
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Charlotte Salomon’s Life? or Theatre?
Jewish Theatre Collaborative presents an adaptation by Sacha Reich of a 700-page proto-graphic novel, painted in 1941 by Charlotte Salomon, a 24-year-old refugee hiding from the Nazis in the south of France. Her hundreds of paintings tell the story of a young artist amid the rise of the Third Reich; Salomon was eventually murdered in an Auschwitz gas chamber, but her work survives. Reich’s adaptation employs music by Rody Ortega, performances by Michele Mariana and Cantor Ida Rae Cahana. Disjecta, 8371 N Interstate Ave., 512-9582. jewishtheatrecollaborative.org. 8 pm ThursdaysSaturdays, 2 pm Sundays through Feb. 20. $15-$20.
Diary of a Worm, a Spider and a Fly
Youngsters arriving early for this enviro-friendly Oregon Children’s Theatre musical can spend time in the lobby fashioning objects out of foam, cardboard tubes and old DVDs. Yes, the setting has a greener-than-thou, spoof-friendly vibe. But the worldpremiere musical itself is a charming tale with clever staging and colorful costuming that gets giggles from kids by playing the punny over the preachy and the sight gag over the serious. BEN AND HENRY STERN. Newmark Theatre. Portland Center for the Performing Arts, 1111 SW Broadway. 228-9571. 2 and 5 pm Saturdays, 2 pm Sundays. No 5 pm shows Feb. 12 and 19. Closes Feb. 20. $13-$26.
Elsewhere
Portland playwright Ellen Margolis penned this collection of a dozen short plays on the subject of the afterlife and other liminal states for The Forgery, a highly physical, apparently fun-loving group of performers who have been staging very short runs of their work since 2009. The performers (Beth Thompson, Rollin Carlson, Paul Susi, Diana Shultz and Sara Scott Dyrhaug) are an energetic bunch, who make good use of minimal props. They nail most of these pieces; I look forward to seeing more from the company soon. BEN WATERHOUSE. Shaking the Tree Studio. 1407 SE Stark St. 708-9141. 8 pm Feb. 12-13. $12.
The Hollow
[NEW REVIEW] Lakewood Theatre stages Agatha Christie’s 1946 murder mystery set in the well-to-do English countryside. The incestuous Angkatell clan invites the bickering Christows over for weekend distraction, complete with all the eccentric love triangles and Gatsby-esque plights of the disgustingly rich. Things are going swimmingly enough until John Christow is shot dead and—you guessed it— everyone seems equipped with an alibi and a motive. The first act demands a fair share of investment in getting to know the characters, but like the juiciest soap operas, your patience pays off in the second act when the drama unfolds. Was it the devoted wife, the Hollywood star, the lovely mistress, the scatter-brained hostess or someone else who killed John Christow? True to Christie’s novel, you’re kept guessing and the conclusion is a surprise despite your finest hunches. STACY BROWNHILL. Lakewood Center for the Arts. 368 S State St., Lake Oswego. 635-3901. 7:30 pm ThursdaysSaturdays, 2 pm Sundays. Closes Feb. 20. $24-$27.
Joseph and the Amazing Technicolor Dreamcoat
Broadway Rose starts its 20th season with Andrew Lloyd Webber and Tim Rice’s second big hit. Broadway Rose New Stage Theatre. 12850 SW Grant Ave., Tigard. 620-5262. 7:30 pm Thursdays-Saturdays, 2 pm Sundays through March 13. $28.
Willamette Week FEBRUARY 9, 2011 wweek.com
The last of Irish playwright Martin McDonagh’s six publicly available plays to be produced in Portland, this bloody black comedy stars Todd Van Voris as an Irish terrorist hell-bent on avenging the death of his best friend, Wee Thomas, a cat. Artists Repertory Theatre. 1515 SW Morrison St. 241-1278. 7:30 pm Wednesdays-Saturdays, 2 and 7:30 pm Sundays through March 13. $26-$42, $20 students.
Oh, Coward!
Lakewood Theatre Company presents a musical revue of the words and music of Noel Coward. Lakewood Center for the Arts. 368 S State St., Lake Oswego. 635-3901. 7 pm FridaysSaturdays through Feb. 19. $20.
Robin Hood
Northwest Children’s Theatre premieres a new take on the Hood. NW Neighborhood Cultural Center. 1819 NW Everett St. 222-4480. 7 pm Fridays, 2 and 7 pm Saturdays, 2 pm Sundays. Closes Feb. 20. $18-$22.
The Screwtape Letters
Max McLean brings his well-reviewed solo adaptation of C.S. Lewis’ oddest work to Portland: Abysmal Sublimity Screwtape, Satan’s psychiatrist, trains an apprentice demon by mail. Arlene Schnitzer Concert Hall. 1037 SW Broadway. 800-745-3000. 4 and 8 pm Saturday, Feb. 12. $29-$89.
Third Rail’s usual fare. Maureen Porter stars as Lisa, an English musician who is visited by a creepy Swiss gent who tells her the reason she’s been feeling out of sorts: During an international flight, she somehow lost an hour. To get it back, she must travel to Dissocia, a land made up of puns and sight gags, under siege by the sinister forces of the Black Dog King. BEN WATERHOUSE. World Trade Center Theater. 121 SW Salmon St. 235-1101. 7:30 pm ThursdaysSaturdays, 2 pm Sundays. Closes Feb. 20. $32, $15 students.
COMEDY Lonnie Bruhn
Portland funnyman Lonnie Bruhn was diagnosed with cerebral palsy at birth. He finds it endlessly amusing. Harvey’s Comedy Club. 436 NW 6th Ave. 2410338. 8 pm Wednesday, Feb. 9. $15.
Comedy Night at the Bagdad
Tristian Spillman hosts Keith Wallan, Rylee Newton, Dan Duarte and Todd
Armstrong. Bagdad Theater & Pub. 3702 SE Hawthorne Blvd. 236-9234. 8 pm Friday, Feb. 11. $5.
Mice-tro
Put 16 improv actors onstage with a voice-of-God maestro pitting them against each other and the audience voting them off, and what do you get? A raw and clever Portland show that’s so disgustingly full of talent it reminds you why you never took theater, but love watching it. STACY BROWNHILL. Brody Theater. 16 NW Broadway. 224-2227. 8 pm Friday, March 26. $10, $7 students.
Your Place or Mine
The Brody crew turns the entire theater into a fourth-wall-shattering improv show. Brody Theater. 16 NW Broadway. 224-2227. 8 pm Saturdays through Feb. 26. $10, $7 students.
CLASSICAL Opera Theater Oregon
The company, dedicated to bringing new vitality to classic operas, takes
REVIEW P O R T L A N D C E N T E R S TA G E / O W E N C A R E Y
PERFORMANCE
Steel Dragnolias
A reading of a parody of Steel Magnolias with drag queens. Darcelle XV. 208 NW 3rd Ave. 239-5919. 7 pm Sundays through Feb. 20. $5-$7.50.
Superior Donuts
The latest from Tracy Letts is an oddcouple comedy of familiar form: Arthur Przybyszewski, a burnt-out, emotionally stunted former radical and draftdodger who runs the Chicago donut shop his father founded, hires Franco Wicks, a black 21-year-old with dreams of literary stardom, to work the counter. BEN WATERHOUSE. Artists Repertory Theatre. 1515 SW Morrison St. 241-1278. 7:30 pm WednesdaySaturday, Feb. 9-12. $20-$42.
Thief River
[NEW REVIEW] The latest installment of Profile Theatre’s ongoing project to bring nine Lee Blessing plays to life, Thief River, set in a small, Midwestern town, is about two men’s love for each other as they are pulled apart and brought together over the course of their lives. The audience is shuttled back and forth between young Gil and Ray’s initial separation in 1948 and their two subsequent meetings, in 1973 and 2001. Six cast members convincingly represent 12 characters in a single set—a dilapidated house outlined by rafters suspended from the ceiling. Though middle-American homophobia is a common dramatic topic (from Angels in America to Glee), Thief River is surprising, challenging, and absolutely free of cliché. RACHAEL DEWITT. Theater! Theatre! 3430 SE Belmont St. 2420080. 7:30 pm Wednesdays-Saturdays, 2 pm Sundays. Closes Feb. 27. $28, $15 students.
Threads
Tonya Jone Miller knew her American mother and Vietnamese father embarked for Vietnam around the same time as American troops, but she never knew why. After videotaping her mother tell her stories, Miller stitched the anecdotes together into a one-woman show about her mother maneuvering between two cultures in a moment of political hostility. RACHAEL DEWITT. The Headwaters. 55 NE Farragut St., No. 9. 289-3499. 8 pm Thursday-Saturday, Feb. 10-12. $15 at the door or through hulahub.com.
The Wonderful World of Dissocia
This bizarre comedy by English playwright Anthony Neilson contains, among other oddities: a musical dance number featuring soft-shoe, hip-hop and high kicks; a flying car, a speaking goat and polar bear, and an accordion-playing hotdog. That is to say, it’s quite the departure from
LORI LARSEN
FUTURA (PORTLAND CENTER STAGE) Jordan Harrison’s dystopic sci-fi drama takes its name from Paul Renner’s sansserif typeface, employed by Volkswagen, HP and, until recently, IKEA, but its subject is more PMN Caecilia, the default font on the Kindle. Harrison fears a future where the flow of information is controlled by corporations whose customers surrender their literary heritage and freedom of expression in the name of convenience. The bogeymen here is Amazon, which has no qualms about stealthily deleting works from its customers’ e-readers, or maybe Google, whose ubiquitous free online applications could make Orwellian surveillance a cinch. Harrison sees no silver lining to the Cloud. Futura begins with a lecture on the history of typography, delivered with the aid of beautiful slides (designed by Luke Norby) by an acerbic professor (Lori Larsen) to a class of students who have never beheld paper. It’s a sharp, broad-ranging lesson, touching on Gutenberg, Baskerville and Times New Roman, and it was greeted with smug giggles by the audience of design snobs who’d skipped the last quarter of the Super Bowl to attend. The chuckling ceased abruptly at the beginning of the second act, as the play takes a violent and disquieting turn when the professor encounters a terrorist group bent on restoring to humanity its literary birthright. Harrison’s argument is not entirely cerebral; the stage does not go unbloodied. The play is philosophical fiction in the tradition of Farenheit 451 and Brave New World, and Harrison’s premise is as farfetched, and much of his dialog as blatantly didactic, as those of his predecessors in the genre. But he fully commits to his vision of a world without writing, which is brought vividly to life by director Kip Fagan. Nothing in Futura feels thoughtless: from the Multi-touch-like motions with which Larsen manipulates her presentation to the smashed electronics, broken for fear of bugging, that fill the terrorist hideout. With the help of Mimi Lien’s origamilike scenic design and Casi Pacilio’s buzzing soundscape, Fagan achieves the solidity of place that so often evades theatrical sci-fi. BEN WATERHOUSE.
Beware Jeff Bezos!
SEE IT: Gerding Theater, 128 NW 11th Ave., 445-3700, pcs.org. 7:30 pm Tuesdays-Fridays, 2 and 7:30 pm Saturdays-Sundays, noon Thursdays except March 17 and 24. Closes March 27.
FEB. 9-15
Oregon Chamber Players
Music from Jean Baptiste Lully’s The Triumph of Love leads this program of music by Malcolm Arnold, Edvard Grieg and Luigi Boccherini. All Saints’ Episcopal Church. 4033 SE Woodstock Blvd. 888-627-8788. 7:30 pm Saturday, Feb. 12. $12-$15.
ditions in an ensemble piece where the dancers’ hips and feet tell the story. Then there’s the 2009 work ímã, an ebb and flow between solos and duos and large group dances, suggesting the traffic patterns of modern life (and lit by seven-color LED). The score, from 2 | Moreno, Domenico, Kassin, references musical styles ranging from bossa nova to Fela Kuti. Arlene Schnitzer Concert Hall. 1037 SW Broadway. 248-4335. 7:30 pm Wednesday, Feb. 9. $27.50-$68.50. Tickets at ticketmaster.com.
Salon L’Orient
Fusion isn’t a dirty word at monthly performance showcase Salon L’Orient. Tribal fusion belly dance, in particular, is a star attraction here—in case you’re wondering,
Expect to do a little moving yourself at an evening of music and dance from The Great House of Music and the Walking Willows. The Great House of Music, led by singeractor-dancer Helena Greathouse and accordionist Mark Greathouse, performs local composers’ pieces, Czech and Slovak music and dance, Broadway musical and pop songs, and Teeth’s From This Dark Place, a bit of contemporary choreography and the occasional costume change. The Walking Willows, seeded from the Tree People, perform originals that include Stephen Cohen’s Rain, Rain, Rain, during which audiences join in on original sculptural percussion instruments. Performance Works NW. 4625 SE 67th Ave. 7771907. 8 pm Saturday, Feb. 12. $10.
Grupo Corpo
Portland likes Brazil’s Grupo Corpo so much, the 19-member company is returning for a fourth visit. And why do we like Grupo Corpo? For its blend of ballet, modern and AfroBrazilian dance, brilliantly costumed and propelled by Brazilian and Latin-American rhythms. (With 80 shows a year worldwide and a nearly 40-year history, the company has logged plenty of practice time.) This visit features two works by company choreographer Rodrigo Pederneiras: 1997’s Parabelo shows the confluence of African and Latin folk tra-
MICHAEL FRANTI & SPEARHEAD SATURDAY 2/12 @ 6PM
THE SOUND OF SUNSHINE ON SALE $10.99 CD
Portland State University Symphony
The Great House of Music and the Walking Willows
PO CE! RMAN PERFO
REVIEW
The dozen-voice choral ensemble performs a splendid lineup of sacred and secular, Christian and Sephardic music by modern (Poulenc), Renaissance (Palestrina, Tallis) and early Baroque (Monteverdi, Rossi, Victoria) composers, plus traditional French Sephardic songs. St. Stephen’s Episcopal Church. 1432 SW 13th Ave. 246-4744. 7 pm Saturday, Feb. 12. Donation.
DANCE
LYD ORN L T AN
For more Performance listings, visit
Portland Camerata
The name is Zorn, John Zorn. For Your Eyes Only, the downtown New York jazz/rock/postmod composer’s wild, 14-minute soundtrack to an imaginary cartoon, is a bustling cross between jazz, tango and avant-garde postclassical music. Though every note is composed, not improvised, it sounds like a spontaneously cross-cutting collage of quotes, riffs and original sequences ideal for listeners with short attention spans and broad musical tastes. A greater contrast to this bustling urban cartoon music than the concert closer, Beethoven’s bucolic Pastoral Symphony No. 6, can scarcely be imagined. Lincoln Hall, Portland State University. 1620 SW Park Ave. 725-3307. 3 pm Saturday, Feb. 12. $5-$10.
UPCOMING IN-STORE PERFORMANCES
that’s American tribal belly dance that embraces such far-flung influences as hip-hop, Odissi and butoh. In this installment, Bellydance Superstars member Moria Chappell takes a detour from the touring company’s Portland gig to perform, along with a Portland belly-dance sisterhood that includes Ruby, a specialist in the form known as raqs sharqi, or cabaret-style belly dance; Znama co-founder Severina; recent transplant Ashley Lopez, of San Jose’s Orchid Belly Dance; and series founder NagaSita, performing alone and with her troupe, Apsara. Fez Ballroom. 316 SW 11th Ave. 2217262. 8 pm Sunday, Feb. 13. $20-$25. Tickets at brownpapertickets.com.
P O R T L A N D O P E R A / C O R Y W E AV E R
a break from comedy with Jules Massenet’s 1887 weeper, Werther. Opera Theater Oregon artistic director Katie Taylor’s original production is inspired by the glossy, downyfocus lens of 1950s Hollywood melodrameister Douglas Sirk. Directed by Jennifer Wechsler, this new version moves the language to English, the obsessive story to the 1950 Korean War and 1954 New England, and the music to a 15-piece chamber orchestra conducted by Erica Melton. It also includes period news footage and inaugurates the company’s Opera Cinema Strike Force to interpolate Technicolor-style film footage (by Wechsler and Ian Probasco) with the live stage action. Alberta Rose Theatre. 3000 NE Alberta St. 4278201. 7:30 pm Friday-Saturday and Monday, Feb. 11-12 and 14. $15.
PERFORMANCE
PURCHASE A COPY OF ‘THE SOUND OF SUNSHINE’ FOR GUARANTEED ADMISSION TO THIS EVENT
TURANDOT (PORTLAND OPERA) The first thing to know about Turandot is that it is emphatically not about China. Though ostensibly the opera is set there, Puccini’s fictional Middle Kingdom bears so little resemblance to the real deal that the show may as well be set on Neptune. No, Turandot is an Orientalist work in the purest sense: It employs the countries of the Far East as a blank slate, a screen on which to project Western fears and desires. And if I had to present just one criticism of Portland Opera’s new Turandot, it would be this: None of my fears and desires were up on that stage. Not a single one. Turandot is the story of a Chinese ice princess who tells her suitors three riddles: She will marry the man who solves all three, but the penalty for a single incorrect answer is death. Historically, this unfinished work has been the occasion for some of the opera world’s most imaginative and elaborate productions; witness, for instance, Zubin Mehta’s 1998 rendering inside China’s Forbidden City, a titanic production with a cast of thousands. But for this staging, Portland Opera has chosen to resurrect a 17-year-old Welsh National Opera production that reimagines Puccini’s warhorse as a slog through Maoist China: a stripped-down, brooding look at the politics of desire in a totalitarian state. Whether such an experiment could ever bear fruit remains unclear, but it certainly doesn’t meet with much success in Keller Auditorium. Soprano Lori Phillips, who has performed a half a dozen dazzling Turandots in venues around the country, is here forced to stagger about the stage in unmotivated fits of erotic agony, prompting a confused opening night audience to speculate afterward as to whether she was “drunk” or just “old.” The set—a flimsy-looking corrugated iron crescent that has been spray-painted a motley purple—looks less like Beijing, more like a low-rent gay club. But wait, let’s not throw the baby out with the bathwater. Musically, this show is in pretty good shape. Conductor Leonardo Vordoni leads the orchestra through a truly memorable moonrise, and the Portland Opera Chorus—when they aren’t distracted with bizarre interpretive dances in Act I—manages very well with Puccini’s complex tonal psychology. Special praise is due to Grazia Doronzio as Liu—her lovely spinto soprano carries her to a thrilling pianissimo at the conclusion of “Signore, Ascolta!” JOHN MINERVINI. Three riddles, one big bummer.
‘The Sound Of Sunshine’ is a kind of musical sun shower, a bright, beautiful and often buoyant song cycle created to bring all kinds of listeners a sense of hope during rough and rainy times for so many in our world. In the mid-Nineties, Franti first formed Spearhead, and increasingly in recent years, he’s found his own voice musically and his OFFER GOOD THRU: 2/13/11 own organic brand of popular success.
JAMES FARETHEEWELL THURSDAY 2/10 @ 6PM With a voice that calls to mind George Harrison and a songwriting pen dipped in Tom Waits’ inkwell, James Faretheewell’s debut self-titled CD is incredibly eclectic, with influences from classical to steampunk, from country with pedal steel to psychedelic hard rock and Flamenco, as well as a guest appearance of the famous, late Jorge Zamorano.
RECORD RELEASE EVENT!
FERNANDO VICICONTE SATURDAY 2/12 @ 3PM
Argentina-born Fernando Viciconte came of age musically in L.A. fronting the popular hard rock band Monkey Paw. He moved to Portland in 1994 where he co-founded Cravedog Records. Fernando has released 7 critically lauded independent albums and currently runs his own label, Domingo Records. His latest album is ‘True Instigator.’
RECORD RELEASE EVENT!
DERBY TUESDAY 2/15 @ 6PM
Anyone who’s caught a live Derby show knows the raw and infectious emotion the boys are known to dish out. These unique qualities are exemplified in the band’s new release, ‘Madeline.’ Breaking from tradition, the band is forgoing an LP and will be releasing a new group of songs on a limited edition 7” paired with a digital EP.
EZRA HOLBROOK THURSDAY 2/17 @ 6PM
SEE IT: Keller Auditorium, 222 SW Clay St., 241-1802, portlandopera.org. 7:30 pm Thursday and Saturday, Feb. 10 and 12. $20-$155. Willamette Week FEBRUARY 9, 2011 wweek.com
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VISUAL ARTS
FEB. 9-15
= WW Pick. Highly recommended.
D A I D O M O R I YA M A
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.
DAIDO MORIYAMA’S YOKOSUKA AT CHARLES HARTMAN.
NOW SHOWING Matt Eich, Mark Cohen
Matt Eich’s Carry Me Ohio introduces us to the habitués of a depressed mining town: shirtless youths roaming the streets, stray dogs and lots of people burning trash in their back yards. The show makes for a tidy comparison/contrast with its companion exhibition, Mark Cohen’s Grim Street, which documents the city of Wilkes-Barre, Penn., in the 1960s, ’70s, and ’80s. Although the environs are similarly lackluster, Cohen’s pre-focused, arbitrary “grab shots” have a Pop Art-like glamour that is miles away from Eich’s documentarian dirges. The most artful of Cohen’s prints, Lillian Salting, shows a shaker sprinkling salt into a pot of boiling water, the steam and salt crystals merging midair, glitterlike, to romanticize an otherwise prosaic task. Blue Sky, 122 NW 8th Ave., 225-0210. Closes Feb. 27.
Brent Ozaeta
The black, white and pink palette of Brent Ozaeta’s Introverted Floating World provides the background for a mash-up of Roy Lichtenstein-like pixelation, highly textural surfaces, and semi-abstract imagery of nurses performing medical procedures on children. Chambers @ 916, 916 NW Flanders St., 227-9398. Closes Feb. 26.
Daido Moriyama
Clad only in a flimsy skirt or negligee, a young woman runs barefoot up a dingy alleyway. Trash and jagged metal threaten to lash her feet and legs as she is illuminated by the crude light of a camera flash. Is the girl in photographer Daido Moriyama’s print, Yokosuka, running to someone or from someone? The undercurrent of danger and the unknown perme-
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Willamette Week FEBRUARY 9, 2011 wweek.com
ating the piece extends into many other works in the well-curated Photographs from Five Decades. The Tokyo-based photographer is at his strongest when he trains his lens on subject matter in which everyday settings and actions take on sinister symbolic overtones. Charles A. Hartman, 134 NW 8th Ave., 287-3886. Closes Feb. 26.
Martha Wallulis
When she paints figuratively, painter Martha Wallulis often incorporates archetypal imagery, sometimes borrowing from the ancient mythology of her Greek heritage. Her gifts for color and miasmic atmospherics, however, shine most brightly in her abstract compositions. In an untitled acrylic house-paint painting on panel, she overlays a chartreuse background with counterintuitive horizontal drips and a central nucleus in vivid maroon. There is a swooning, wave-like quality to the work, which beckons the eye further into the picture plane. Darras, 625 NW Everett St., No. 115. Closes Feb. 28.
Daniel Fagereng
Like tiny, self-contained worlds, the box constructions in Daniel Fagereng’s The Ma of Modernism function as psychological stages onto which viewers may project themselves. Based on the artist’s years in Japan, they incorporate real and artificial woods, marbled papers, and architectural allusions, playing off the duet between material presence and “ma,” the Japanese concept of negative space. Immaculately constructed and thematically rich, the works exude immaculate quietude and a sense of visual and metaphysical elegance. Portland Japanese Garden, 611 SW Kingston Ave. Closes Feb. 20.
For more Visual Arts listings, visit
WORDS
FEB. 9-15
= WW Pick. Highly recommended. By RACHAEL DEWITT. TO BE CONSIDERED FOR LISTINGS, submit lecture or reading information at least two weeks in advance to: WORDS, WW, 2220 NW Quimby St., Portland, OR 97210. Email: words@wweek.com. Fax: 243-1115.
WEDNESDAY, FEB. 9 Henry Hughes
Tightly turned language, the vastness of the American West, and the Oregon rain are the building blocks of former Oregon Book Award-winner Henry Hughes’ new book of poems, Moist Meridian. An Oregon transplant and renowned poet, Hughes is reading from his newly published work. Oregon Poet Laureate Paulann Petersen is a fan and says, “with fierce intelligence, with full-tilt sensuality, Henry Hughes gives us a world where appetites get the best of us and give the best to us, too.” Ledding Library Pond House, 2215 SE Harrison St., 786-7582. 7 pm. Free.
Maricich and Dyne: Performance Art Lecture
Khaela Maricich has made a name for herself weaving together the sometimes-opposing idioms of fine art and pop music. The New York Times says Maricich is like “a pop star performing unforced karaoke of her own hits away from the public eye.” Melissa Dyne makes largescale, site-specific installations that create a performance out of sound, light and audience. The New Yorkbased artists have created a musical performance that they’re sharing at rock clubs and museums across the country. After their Wednesday performance at the Doug Fir Lounge, Maricich and Dyne are giving a lecture about their collaboration and their experiences walking the line between convention and invention in pop music and fine art. Ace Cleaners, 403 SW 10th Ave. 7 pm. $5 for PICA members, $7 for general public. Available at the door and from pica.org.
FRIDAY, FEB. 11 Natural Way: Indigenous Voices with Professor Cornel Pewewardy
Long before he became the director of Indigenous Nations Studies at PSU, as a child Dr. Cornel Pewewardy learned about the artistic and musical traditions of his Comanche Nation in Oklahoma. In 1997, Dr. Pewewardy was named musician of the year by the Wordcraft Circle of Native Writers and Storytellers, for his Southern Plains musical compositions. In his lecture “Natural Way: Indigenous Voices,” Dr. Pewewardy will describe the music and storytelling of the Comanche-Kiowa Nation. Portland State University, Native American Student and Community Center, 710 SW Jackson St. 7-9 pm. $10-$12 suggested donation, though no one will be turned away; two cans of food are also requested for donation to the Oregon Food Bank.
Take to the Ship: 24 Hours of Moby-Dick
When Herman Melville published his masterpiece, Moby-Dick, the reception was tepid. Nearly 200 years later, the 800-page novel about the adventures of a young whaler held hostage by an angry sea captain has a cult following. Portland’s Independent Publishing Resources Center is orchestrating an aroundthe-clock oration with 135 readers. Local writers including Kevin Sampsell and Justin Hocking will take turns sounding out Melville’s prose, beginning with a five-hour reading at Powell’s and continuing through the night at a private home open to IPRC members. In anticipation of the reading, a Moby-Dickthemed art show is on display at IPRC. Powell’s City of Books, 1005 W Burnside St., 228-4651. 5 pm. Free. Info at taketotheship.com.
TUESDAY, FEB. 15 It’s Not Me, It’s You: Stories From the Dark Side of Dating
Portland’s movers and shakers are stepping up to the mic to divulge their most scarring and cringeinspiring date stories. Brought
to you by Planned Parenthood Advocates of Oregon, proceeds will go to Take Back the Night this spring. Portland figures sharing their secrets include comedian Gabe Dinger, political activist Roey Thorpe, and Live Wire! and True Stories host Courtenay Hameister. Bagdad Theater & Pub, 3702 SE Hawthorne Blvd., 236-9234. Doors at 6 pm, program at 7 pm. $15 available through Ticketmaster.
For more Words listings, visit
PROFILE
PUBLICATION STUDIO: FAST FOOD FOR THOUGHT If you run in certain circles, you hear it every day: The publishing houses are dying, and books are therefore dying. Writers, we presume, are all also dying. The notion of bookselling as a corporate moneymaker, as opposed to a pursuit of foolish love or curatorial impulse, is a relatively new one, and also A nimble new paradigm for small-press publishing. apparently short lived: Despite the recent success of Swedish murder thrillers and Jersey Shore autobiographies, the major houses in New York are struggling simply to survive. Portland’s Publication Studio, however, under founders Matthew Stadler and Patricia No, has for the past year been using new technology to rebuild the book publishing model from the ground up. Rather than pay out advances the author is unlikely ever to recoup, and then issue large initial print runs that might just end up in the pulper, Publication Studio is one of the first small presses to publish entirely on a print-on-demand basis, with book profits split 50-50 between publisher and author. Simply put, if you don’t buy the book, the book doesn’t even exist; once bought, the book is printed and bound at Publication Studio’s downtown offices next door to Tugboat Brewing (this takes perhaps 20 minutes), then cordially sent to your doorstep. Most of Publication Studio’s books are what Stadler and No like to call “jank editions,” bound into covers made from recycled file folders they get for free from an office supply depot. The press has gone through three binding machines already in one year—Ol’ Gluey, Li’l Gluey and now Nü Gluey—and has a production capacity of maybe 100 books a day. It’s printed nearly 10,000 copies of more than 60 titles since opening near the end of 2009. Print-on-demand has generally been the province of schmaltzy online, pay-to-play vanity presses, but Publication Studio uses the technology to give itself the freedom to publish bold, off-theradar-or-map books more traditional houses wouldn’t likely touch because they’d be considered too risky. Since initial investment is essentially nil, Publication Studio is able to pretty much publish whatever work it thinks has merit, without worrying about marketability. Recently, this has included a new translation of Walter Benjamin, an illustrated edition of Book 11 of The Odyssey (with a new prose poem translation by Stadler), a lyrically rich novel called A River Story by Washington author Anna Odessa Linzer and a wild art-world satire (Revenge of the Decorated Pigs) by former Whitney Biennial curator Lawrence Rinder. “The traditional publishing model is great if you have a lot of money,” says Stadler. “…James Laughlin, with New Directions press, is a great example of what you can do with an inheritance from a steel fortune, but he specifically set it up so that he wouldn’t be profitable for 36 years. Most of us can’t do that.” What Publication Studio has done, however, is create a viable model for the survival of literature even as the big publishing houses slowly crumble under their own bloat. It is, in short, a self-sustaining, communitybased, one-cottage industry for books. No small thing, that. MATTHEW KORFHAGE. MORE: Publication Studio’s offices and storefront are located at 717 SW Ankeny St., 360-4702. Books available for sale at publicationstudio.biz. Willamette Week FEBRUARY 9, 2011 wweek.com
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MOVIES
FEB. 9-15
IMAGES COURTESY OF PIFF
FEATURE
PIFF GETS SPIFFY ALL ABOARD THE NEW AND IMPROVED PORTLAND INTERNATIONAL FILM FESTIVAL.
BY WW M OV I E STA F F
243-2122
There’s no mistaking it: Like any good regional importer looking to tap into economic recovery, the 34th annual Portland International Film Festival is diversifying. For the first time, PIFF is expanding across the Willamette River, adding two new eastside venues to its roster: the Hollywood Theatre and CineMagic. Recognizing that theater pubs have become ubiquitous, the festival is adding booze to its mix, with two pop-up bars—PIFF Lounge in Nel Centro, and PIFFbar, across Hawthorne Boulevard from CineMagic. The NW Film Center has even tapped Grindhouse Film Festival guru Dan Halsted to curate four new, blood-soaked genre films for a program called PIFF After Dark (it starts next weekend). And the opening-night picture (Potiche, Newmark Theatre, 7:30 pm Thursday, Feb. 10, not screened for critics) stars Catherine Deneuve because, shit, who doesn’t love Catherine Deneuve? But the crucial question stays the same: How’s the quality of the merchandise? We’ll let you in on a little secret: We’re impressed.
The First Grader
[GREAT BRITAIN] A “true story,” they tell us—and it is, up to a point. An 84-year-old Kenyan and former Mau Mau freedom fighter (Oliver Litondo) wants to go to an overcrowded grade school, with 6-year-olds, to learn to read. The kids are cute, the old man is saintly and stubborn, and his own personal Mrs. Chips (Naomie Harris) is a caring and staunch advocate even as the whole of Kenya seems to amass its forces against his noble aspirations; mobs of parents even throw rocks at a schoolhouse containing their own children. It is, of course, a heartwarming, Oprah-ready tale of adversity overcome and justice finally done, but the script is a pure Hollywood farce of 1-D characters whose climactic speeches 58
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suddenly change the world. MATTHEW KORFHAGE. BW, 6 pm Friday, Feb. 11. WH, 6 pm Monday, Feb. 14.
Kawasaki’s Rose
43 [CZECH REPUBLIC] Now here’s an interesting decision: Bringing your mistress over to the house for a heartto-heart chat with your wife. It provides the best scene in the movie, but backfires as a domestic strategy—so the foolish husband decides he’ll just discredit his wife’s sanctimonious Velvet Revolution-hero father, who once committed similar crimes of the heart. The farce investigates the tragedy, and the result is the very definition of middlebrow, though that doesn’t make it bad. What makes it bad is director Jan Hrebejk’s strange
Willamette Week FEBRUARY 9, 2011 wweek.com
INCENDIES (CANADA) anti-instinct for editing: He lingers on faces, only to cut away at the exact moment you’d like to see an actor’s response. AARON MESH. WH, 6 pm Friday, Feb. 11. BW, 3:30 pm Sunday and 6:45 pm Monday, Feb. 13-14.
Silent Souls
78 [RUSSIA] A slow roil of narrated but barely narrative picaresque, Silent Souls believes confidently in its own poetic significance, and it’s not entirely wrong. Aleksei Fedorchenko’s movie is a hymn to the lost customs of a Finno-Ugric tribe called the Meryans—a people whose ceremonies include tying colorful ribbons to a bride’s pubic hair, walking on thin ice in hopes of drowning, and eulogizing the sex life of the recently deceased before cremating them on lakeside funeral pyres. These rituals may be entirely invented (Fedorchenko has been coy), but that possibility only makes the sub-Tarkovsky ruminations more beguiling. AARON MESH. BW, 6:15 pm Friday, Feb. 11. WH, 4:45 pm Sunday, Feb. 13.
Son of Babylon
72 [IRAQ] A road film with exceedingly grim overtones, Son of Babylon follows a young boy and his mother as they traverse post-Saddam Iraq searching for the boy’s father, who’s been missing since 1991. As the pair bounds between Ba’athist prisons, torture centers and mass graves, Mohamed Al-Daradji’s film offers a glimpse of the consequences of violence. While the movie struggles to land between high drama and political statement, it’s an eye-opening glimpse at common people whose lives are shredded. AP KRYZA. BW, 6:45 pm Friday, 8:30 pm Saturday and 8:15 pm Sunday, Feb. 11-13.
If I Want to Whistle, I Whistle
65 [ROMANIA] For some reason (Ceauşescu? Let’s say Ceauşescu), the New Romanian Cinema’s signature image is the protracted, quotidian appointment placed within an unacknowledged context of horror. In director Florin Şerban’s juvie-jail bummer, this engagement is a climactic, uneventful coffee date—the larger agony is every frustrated desire and explosively wrong decision of Silviu (George Pistereanu). He’s two weeks
from being paroled from a shabby, almost summer camp-like boy’s prison, but that’s one week too late to keep his pipsqueak brother out of the clutches of the mother he despises. Silviu is a patient and doggedly persistent teen, but he doesn’t have a lot of imagination, and finally he runs violently out of ideas. He has so much that he wants (whistling isn’t really on that list), which means it’s too bad he’s in a Romanian movie. AARON MESH. BW, 7 pm Friday, 5:15 pm Saturday and 9 pm Tuesday, Feb. 11-12 & 15.
Heartbeats
90 [CANADA] The most visually arresting dispatch from Canada’s young, beautiful and prowling since Scott Pilgrim vs. the World, the second feature from 21-year-old director Xavier Dolan is a slow-motion plunge into a flood of pheromones. A Quebecois In the Mood for Love in red leopard-print pumps, Heartbeats observes best pals (Monia Chokri and Dolan) both smitten with a curly blond Adonis (Niels Schneider, ominously introduced wearing the candy-heart sunglasses of Sue Lyon in Kubrick’s Lolita). Dolan is both properly distanced from the blissful aches of infatuation, and physically alert to them: I watched with a grin, and my toes tingling. Heartbeats is a fresh perception of an age-old truth: Love is like a cloud, holds a lot of rain. AARON MESH. BW, 8:15 pm Friday, 6 pm Sunday and 6:45 pm Tuesday, Feb. 11, 13 & 15.
Incendies
86 [CANADA] Lebanon breeds melodrama—the country itself is tragic melodrama. Based on the play by Wajdi Mouwad, Denis Villaneuve’s Incendies is a multilinear, intergenerational, resolutely Francophone and -philic drama in which two Canadianraised twins go to south Lebanon to find their father and brother, according to the terms of their mother’s will; interleafed throughout is their mother’s own harrowing saga during the Lebanese civil war. The wild narrative implausibilities and telegraphed classical gesture—tragedy twisted around tragedy like a snake around a sword— paradoxically elevate what might have been mere formalist weepie into beautiful, affecting politico-Oedipal fable of often wrenching force. MATTHEW
KORFHAGE. WH, 8:30 pm Friday, Feb. 11. BW, 4:15 pm Sunday, Feb. 13.
The First Beautiful Thing
73 [ITALY] The First Beautiful Thing has all the trappings of a sappy melodrama: mother in hospice, junkie son, estranged father, reunions, revitalization and self-actualization. Clichés aside, director Paolo Virzì has crafted a bittersweet drama that defies convention while playing it close to the heart, tracing 40 years in the life of Anna (the luminous Micaela Ramazzotti), a devoted mother whose insulated son (Valerio Mastandrea) is forced to reconnect with her in hospice, triggering flashbacks to the chic Italy of yesteryear. Touching, elegant and witty, it’s a thing of beauty itself, making it easy to forgive its overindulgence in the requisite corn. AP KRYZA. BW, 8:45 pm Friday and 7:30 pm Sunday, Feb. 11 & 13.
Good Morning to the World
71 [JAPAN] Originally a student film—with attendant amateur cinematography, quirk-riddled nonsequential storytelling and quiet meanders—Hirohara Satoru’s Good Morning to the World nonetheless offers a winningly empathetic portrait of hapless latchkey teen Takahashi Yuta (Koizumi Yoichiro) as he attempts to cobble together the life of an equally abandoned homeless man who’s been beaten to death by a pack of young hoods. Takahashi is less Holden Caulfield than bewildered future Walter Mitty, sheltered from life mostly by his own mute fear of it, and so his dreamworld self-interviews, obsessiveness and coming-of-age trek to the exurbs seem less conceit than true extension of character. MATTHEW KORFHAGE. BW, 9:15 pm Friday, 3:30 pm Saturday and 7:45 pm Sunday, Feb. 11-13.
Short Cuts I: International Ties
75 The most expansive of the cartoons in this program is The Gruffalo, a pretty, 27-minute children’s-storybook adaptation about an imaginary beast. It is, of course, terribly disappointing to find that the Gruffalo is not voiced by Mark Ruffalo, but the actual vocal work here is very expressive— especially Tom Wilkinson as a fox. No words are needed for Joanna Lurie’s more ephemeral (but no less cute)
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MOVIES
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THE ROBBER (AUSTRIA) French animation The Silence Beneath the Bark, which features cooing wormpeople eating snow. AARON MESH. WH, 12:25 pm Saturday, Feb. 12.
Barbershop Punk
48 [HILLSBORO, OREGON] Making an interesting documentary about net neutrality is, let’s say, an uphill battle. So it’s fairly impressive that directors Georgia Sugimura Archer and Kristin Armfield have achieved averageness with Barbershop Punk, a somewhat alarming report on how the sinister tentacles of Comcast wrap around our free expression (and file sharing). The best bits feature Robb Topolski, a Hillsboro software engineer, barbershop-quartet enthusiast and accidental neutrality crusader with a Glenn Becklike penchant for tearing up when he thinks about Important Freedoms. The worst bits feature Henry Rollins. AARON MESH. BW, 1 pm Saturday, Feb. 12.
Certified Copy
77 [FRANCE] Although its slow unfolding creates the illusion of profundity, Abbas Kiarostami’s chatty meditation on art and love uses nonstop verbiage to mask rather trite insights into what the former means and how the latter works. That said, it’s always a pleasure to watch Kiarostami unfurl his traveling long takes, and with Certified Copy he has found something sublime to follow: Juliette Binoche, who here delivers an iridescent performance, an effortless dance of flustered fragility and deep sorrow. This is middling Kiarostami, but it might be Binoche’s greatest achievement. CHRIS STAMM. WH, 3 pm Saturday and 8:45 pm Monday, Feb. 12 & 14.
His & Hers
[IRELAND] The concept is intriguing enough—70 interviews with 70 Irish women, proceeding from early childhood to one-foot-in-the-gravehood—but the limited scope of His & Hers renders femininity as a barren moon orbiting the verdant planet of manhood. Ken Wardrop’s creepy love letter to women who tend to hearth and home omits all but the most chaste and simple desires from its subject’s testimonials, and the result is a composite portrait of the perfect maid. The final moments are certainly moving, because it’s damn near impossible not to be touched by images of senescence, but death in this case actually seems like a welcome end to a life of straightening the sock drawer. CHRIS STAMM. BW, 5:45 pm Saturday and 6:15 pm Tuesday, Feb. 12 & 15. WH, 2:30 pm Sunday, Feb. 13. 9
The White Meadows
66 [IRAN] Iranian director Mohammad Rasoulof has crafted a somber meditation on human sorrow following a man tasked, mysteriously, with traveling by boat to a series of small islands to collect villagers’ tears. Heavy stuff, but Rasoulof finds beauty
in almost every scene, from the way the sea and the sand seem to become one and the same to glorious shots of shorelines bathed in white. If only the storyline matched the scenery, the film would be a triumph. Instead, it’s a bit of a depressing slog…and a dull one at that. AP KRYZA. BW, 6 pm Saturday and 8:30 pm Monday, Feb. 12 & 14.
Human Resources Manager
[ISRAEL] Human Resources Manager begins as a film of cynical, comic savagery; a young Romanian worker at Israel’s second-largest bakery is killed in a suicide bombing, but is kept on ice by a local newspaper so they can savage the bakery in print for not even noticing she was dead. The titular human resources manager (played by Mark Ivanir with caustic sadness worthy of House, M.D.) must then bury the woman in her homeland for the sake of PR, except that no one in Romania seems to want the body. The latter part of the film is eaten up with a lightly sentimentalized road trip that buries (if quite personably) the kernel of A.B. Yehoshua’s novel A Woman in Jerusalem: that the immigrant always goes unclaimed by everyone. MATTHEW KORFHAGE. BW, 8 pm Saturday and 2:45 and 5:15 Sunday, Feb. 12-13. 72
Of Gods and Men
87 [FRANCE] A movie so serious that Ingmar Bergman would tell it to lighten up, Xavier Beauvois’ Grand Prix-winning study of devotion and doubt fixes its patient gaze on a brotherhood of French monks whose quiet lives of faithful service are threatened by the Algerian Civil War. Beauvois evinces a deep and abiding reverence for the deliberate rhythms of ritual, and although I am by no means a believer, Of Gods and Men builds to an affirmation of faith so stunningly transcendent that I emerged from the theater with some understanding of what the glory of God might feel like. CHRIS STAMM. WH, 8:15 pm Saturday, Feb. 12.
Armadillo
93 [DENMARK] Watching war doc Armadillo—which follows Danish soldiers in a contested Afghan valley— you’d be forgiven for thinking it was a Michael Bay production. Kinetically shooting with two cameras, and eschewing talking-head interviews, director Janus Metz Pedersen is as interested in showing combat as he is in offering an indictment of a military in which soldiers treat enemy forces like targets in Call of Duty, even as cameramen are wounded and soldiers are confronted with accusations of misconduct. It’s a gut-wrenching achievement in which the myths of wartime heroism are crushed under the weight of reality. War really is hell, and Armadillo transports you into the Seventh Circle. AP KRYZA. BW, 12:15 pm Sunday and 6 pm Monday, Feb. 13-14.
Short Cuts II: International Ties
82 This is definitely the most starstudded shorts program this year, with animation eminence Bill Plympton exploring a more vibrant palette in The Cow Who Wanted to Be a Hamburger. and Jonathan Caouette (Tarnation) recruiting Chloe Sevigny for his first foray into narrative filmmaking, All the Flowers in Time. But it’s Lipsett Diaries that makes this omnibus essential. Theodore Ushev’s homage to the frantic film experiments of Arthur Lipsett, who committed suicide in 1986, braids painterly animation, fevered narration (delivered by wunderkind Xavier Dolan) and a clanging score by Canadian noise-niks Set Fire to Flames to capture a cracking mind’s flustered visions. CHRIS STAMM. WH, 12:15 pm Sunday, Feb. 13.
Boy
67 [NEW ZEALAND] Taika Waititi, in the first part of Boy, applies the same broad Napoleon Dynamite ain’twe-retro-trashy pop-culture brush as in his first feature, Eagle vs. Shark, but this time around the batshit antics are balanced with a slow-dawning reality principle that eventually impinges on the characters’ fantasy-addled lives. Title 11-year-old character Boy and shanty-town Maori cohorts (other characters are named Rocky, Falcon Crest and Michael Jackson) improvise amid the rubble until Boy’s oafish dad resurfaces from prison and pretty much screws everything up so consistently that even his young children are forced to notice; what had been an exercise in style and suspended disbelief becomes something instead much closer to home, if perhaps too late to fully register. MATTHEW KORFHAGE. BW, 1:45 pm Sunday, Feb. 13.
Aftershock
52 [CHINA] Feng Xiogang has been called the Spielberg of China, and as if to prove the point he’s made his own Saving Private Ryan, albeit as multigenerational mainland melodrama; after manipulative, sopping sentimentality to establish our care for the family and its young twins, they are then killed, amputated or ripped apart, along with many thousands of others— in gripping, soul-bruising, brilliantly filmed detail—by the 1976 Tengshan earthquake. Later on: adoption and unwanted pregnancy for the daughter, compulsory cinematic patriotism, a life of unmitigated suffering for the mother, enough tears to re-drown Indonesia, infinite hope and resilience, and filmic epigraphs for those who heroically got crushed by poorly made buildings. Come for the pain, if you must. MATTHEW KORFHAGE. WH, 7 pm Sunday, Feb. 13. BW, 7 pm Monday, Feb. 14.
Circo
79 [MEXICO] This keen yet unobtrusive doc by Aaron Schock follows ringmaster Tino Ponce and family as they make the rounds of rural Mexico with their humble one-ring circus,
the major draw of which seems to be candied apples and the chance that something horrible might happen to the man on the motorcycle in the steel cage. But the odd world of itinerant circus performers is almost incidental to Schock’s pursuit of a more universal issue: What do you owe a family you had no choice but be born into? Schock observes the conflicts and compromises that devolve from this cutting question with a refreshing empathy—there’s no freakshow at this circus. CHRIS STAMM. BW, 8:45 pm Monday, Feb. 14.
Palestinian conflict is such a perpetual clusterfuck, it’s difficult to see anything except the big picture. With Budrus, documentarian Julia Bacha trains her lens on a small Palestinian village’s attempt at nonviolent protest when Israeli troops descend on their olive groves to build a border fence. As pacifism and force come head to head, Bacha gives us something we seldom see when discussion of the occupation comes up—human faces, on both sides, striving to make their voices heard amid a world of shouting. AP KRYZA. 8 pm Tuesday, Feb. 15.
The Woodmans
Sawako Decides
[UNITED STATES] At first blush, The Woodmans appears to be yet another well-meaning bit of handwringing over some damaged family’s special brand of disarray, but director C. Scott Willis uses the sad story of Francesca Woodman, whose post-suicide fame as an exhibitionistic photographer overshadowed an entire family of committed artists, to investigate more involuted emotional thickets. “I am so vain and I am so masochistic,” writes Francesca in her journal, speaking for pretty much anyone who has ever tried very hard to make good art; The Woodmans delicately sketches the ramifications of being so good at giving into that vanity and masochism that loved ones can only stand back to admire the sacrificial beauty of it all. CHRIS STAMM. WH, 6 pm Tuesday, Feb. 15. 84
The Robber
85 [AUSTRIA] Andreas Lust may be the most fit man in PIFF history. Two years ago, he spent a good portion of Revanche running, literally, from guilt. With The Robber, he jogs his wellformed ass all over Austria as a reallife marathoner with an addiction to bank heists. The film plays out as an examination of single-minded obsession, with Lust’s fleet-footed criminal driven by adrenaline, which turns him into a robotic monster continually pursuing stimulation. But The Robber is less an action film than a drama with great foot chases, a controlled thriller that goes the distance. AP KRYZA. BW, 7 pm Tuesday, Feb. 15.
Budrus 70
55 [JAPAN] A nation’s domestic cinema continues to grapple with the themes of Ozu—social duty, filial loyalty, heavy drinking—though I don’t remember Tokyo Story containing the line, “This watermelon grew from your poo!” The titular heroine (Hikari Mitsushima) reluctantly travels home to helm her dying dad’s freshwater clam-packing facility; eventually she writes it a stirringly odd commercial jingle (“From the bottom of our river, into your hearts”). Mitsushima and her director, young tyro of quirk Yûya Ishii, travel a familiar arc from catatonic deadpan to jubilant mediocrity: This is the Japanese fisherfolk Little Miss Sunshine, basically. AARON MESH. BW, 8:30 pm Tuesday, Feb. 15.
Steam of Life
89 [FINLAND] If you see only one movie about naked Finnish men lounging in saunas this year, make it a porno. But if you see two movies about naked Finnish men lounging in saunas this year, make the second Steam of Life, a deeply moving study of the raw emotions men feel while sweating their balls off. In carefully framed vignettes recalling Ulrich Seidl’s non-fiction films, various dripping dudes gather round hot rocks to discuss lost loves, pet bears, dead children and even, once in a while, joy. Consider this the movie His & Hers should have been: a documentary that finds messy universal truth in a strictly delimited sample group. This is also the first time since junior high that a bunch of really sweaty naked guys has made me cry. CHRIS STAMM. WH, 8:30 pm Tuesday, Feb. 15.
[UNITED STATES] The Israeli-
Portland International Film Festival Ticket Outlet: Portland Art Museum Mark Building, 1119 SW Park Ave., 276-4310, nwfilm.org. General admission $10, PAM members, students and seniors $9, children 12 and under $7, Silver Screen Club memberships from $300. BW—Regal Broadway Cinemas, 1000 SW Broadway WH—Whitsell Auditorium, 1219 SW Park Ave. Showtimes listed are for Feb. 10-15 only. Some of these films will show again next week; visit wwweek.com for more reviews. WW was unable to screen seven films by press deadlines; visit wweek. com for listings.
ARMADILLO (DENMARK) Willamette Week FEBRUARY 9, 2011 wweek.com
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Two Killer Wine Events Champagne Overload!!!! FRIDAY, FEBRUARY 11 @ 6:00 PM We’ve been told it’s difficult to keep up with all these Champagne growers we keep jumping up and down about. We hear, we listen, and we want to help.
Come taste eight of our favorites for a little pre-Valentine’s aphrodisiac. (casual format - mingle and taste at your own pace.) Just $15 for millions of delicious tiny little bubbles.
MOVIES
FEB. 9-15
= 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.
127 Hours
73 James Franco’s amputation is
about as harrowing as you’d expect, but it’s over reasonably quickly— though not before director Danny Boyle deploys his inside-the-arm cam, which somehow isn’t quite so upsetting as the outside-the-arm cam, or the inside-the-Nalgene-bottle-of-urine cam. There are a lot of cams: Boyle still loves the cacophonous montage, and often 127 Hours resembles a Nike commercial more than a drama. R. AARON MESH. Lloyd Mall, Fox Tower, Bridgeport and other locations. Visit wweek.com for full showtimes.
Another Year
77 “You know me. I’m very much a
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IT’S NOT ME k
IT’SnYOU Stories from the Dark Side of Dating
An evening of personal stories on the theme of what happens when dating goes terribly wrong. Storytellers include: Gabe Dinger Steve Novick Daria Eliuk Scott Poole Courtenay Hameister Aaron Scott Julie Jeske Roey Thorpe Judge Kemp
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Tuesday , February 15, 2011 Doors open 6pm • Program 7-9pm Bagdad Theater 3702 SE Hawthorne Benefitting Planned Parenthood Advocates of Oregon ww w.choiceadvocates.org
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Willamette Week FEBRUARY 9, 2011 wweek.com
glass-half-full kind of girl,” burbles Mary (Lesley Manville) at a summer picnic midway through Mike Leigh’s troubling drama Another Year. By this point, oh, we surely know Mary: We know she’s the kind of girl who cannot leave a glass half-full for long. A prodigious bibber of white wine, Mary has reached an age when another smashup of her life doesn’t feel salvageable, so she clings to her glass as if to keep from drowning—or, more to the point, like she’s trying to drown. Mary doesn’t get much real compassion from her best friends, married couple Gerri (Ruth Sheen) and Tom (Jim Broadbent), who give her refills, a guest room in which to pass out, and so many surreptitious, knowing glances of pity that any self-respecting human being would eventually be ground into a shiny pebble of shame. (Mary is, though it takes a while.) Leigh’s own sorrow is never much in doubt, though it starts to look a little more like condescension with each miserable person the lead couple encounters. PG-13. AARON MESH. Fox Tower, Hollywood Theatre.
Biutiful
25 In the decade since making his sizzling debut with Amores Perros, director Alejandro González Iñárritu has been trapped with screenwriter Guillermo Arriaga in a feedback loop of increasingly far-flung and outlandish coincidences. Biutiful is Iñárritu’s first film after his split with Arriaga, and the best that can be said for it is that at least all the coincidences are packed into one character. The guy’s name is Uxbal, and he is played by a goateed Javier Bardem. Living in a squalid corner of Barcelona, Uxbal is a caring single father of two children, who were abandoned by their desperate and appalling bipolar mother. He is dying of advanced-stage prostate cancer; his doctor gives him two months. He runs a black-market goods and labor ring with gay Chinese gangsters. Oh, and he can talk to the souls of the dead. Bardem’s Oscar-nominated anguish—it’s an intense but strangely monotonous performance—recalls a blend of Sean Penn and Benicio Del Toro’s wailings and gnashings in Iñárritu’s 21 Grams, even down to bits in which the hero goes outside and gazes mournfully upon flocks of birds silhouetted against the evening sky. R. AARON MESH. Fox Tower.
Black Swan
53 Darren Aronofsky opens the Christmas movie season with a clammy, upscale horror flick starring Natalie Portman as the dancer whose metamorphosis from “frigid little girl” to ballet queen—complete with the subsuming of a dark twin—is accompanied by madness and molting. Aronofsky is a dom of a director, getting his jollies by brutalizing his characters. He’s the Absent-Minded Sadist, and Black Swan—with its flayed skin and ominous doppelgängers—is Fight Club with feathers. Unfortunately for Portman, she met Darren Aronofsky at a very typical time in his life. R. AARON MESH. Lloyd Mall, Fox Tower,
City Center, Tigard, Bridgeport and other locations. Visit wweek.com for full showtimes.
Blue Valentine
96 In Blue Valentine’s most iconic sequence, a love-struck Ryan Gosling positions Michelle Williams underneath a heart-shaped wreath outside a florist shop and croons the Mills Brothers’ “You Always Hurt the One You Love” while plucking a ukulele as she tap dances. It’s their first date. You see the longing, curiosity and affection in their eyes. You want it to last forever. You wish you hadn’t seen the hour that preceded it. A film more than a decade in the
making, Blue Valentine could well have been torture porn for the heart. Instead, director Derek Cianfrance has crafted a small miracle, a film that reminds us that movies are designed not just to stimulate, but to make us feel—even if those feelings are devastating. R. AP KRYZA. Fox Tower. NEW Cascade Festival of African Films
66 [THREE NIGHTS ONLY] Les Saignantes (The Bloodettes) is likely to be the most polarizing film of the festival, given that it opens with a 10-minute, superexplicit sex dance atop a prone old man, jump-cut edited in dim light. Jean-Pierre Békolo’s film is a sort of post-Godard, girl-positive sci-fi political satire in which highclass prostitutes achieve political goals by working a sort of sex magic on corrupt dignitaries. It’s
REVIEW
IF IT’S NOT SCOTTISH: Tahar Rahim (left) examines Channing Tatum as Jamie Bell looks on.
THE EAGLE Rome’s lost Legio IX Hispana, maybe massacred in Britain around 117 A.D., is suddenly a hot commodity: The Eagle is the second movie in six months about the legion’s shrouded fate, following Neil Marshall’s viscera-spattered Centurion. The last time Hadrian’s Wall was getting this kind of dramatic exposure, Joseph Conrad was using the Roman conquest of the Picts as an opening monologue for Heart of Darkness: “It was just robbery with violence, aggravated murder on a great scale, and men going at it blind—as is very proper for those who tackle a darkness.” Not coincidentally, the audience for Conrad’s book was feeling a little queasy about its own role as colonial accomplice, and the subtext (we are bad, but maybe not so bad as the brutes, eh?) was very soothing. And so it is with The Eagle, which is the closest thing we’re going to get to a War in Afghanistan children’s movie. I don’t mean that as some kind of veiled put-down: The Eagle is actually based on a 1957 British children’s historical-adventure novel, The Eagle of the Ninth, and its PG-13 rating is the result of director Kevin Macdonald (The Last King of Scotland) eliminating a single drop of blood from the battle scenes. The movie plays like Apocalypse Now Redux For Kids. (Mark Strong even provides a bedraggled Dennis Hopper homage as a Roman soldier living in the forest under the name of Gurn.) It is a far less frank or credible movie than Centurion, but I found I liked it more: Its ideas of honor and thrill are almost exactly what I fantasized about when I was 12 years old, although I was rescuing a naked girl and not a golden bird. Anyway, the movie’s final 30 minutes constitute an especially rousing chase scene, with red ferns and men painted gray. As the officer who ventures into uncharted glens to find that metal standard and redeem his father’s legacy, Channing Tatum is characteristically stalwart, though the picture belongs to Jamie Bell (almost every picture Jamie Bell is in belongs to Jamie Bell), as a kind of live-action Tintin. He plays an enslaved tribesman whose conflicted loyalties and resourceful tracking make him The Eagle’s obvious if unacknowledged lead. It’s a funny confirmation of Hollywood tropes that the indigenous guy has to play the sidekick, even when the indigenous guy is white. PG-13. AARON MESH.
Exterminate the Brits.
65 SEE IT: The Eagle opens Friday at Lloyd Center, City Center, Division, Evergreen, Bridgeport, Movies on TV and other theaters.
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THE COMPANY MEN a pretty grueling experience, at times, less funny than absurd and pointedly glacial, but also singlemindedly its own strange, strange beast—sort of like a politically minded African Guy Maddin flick. MATTHEW KORFHAGE. Moriarty Arts and Humanities Building, Room 104, PCC Cascade Campus. Les Saignantes screens at 1:45 pm Thursday and 7:30 pm Saturday, Feb. 10 & 12. Visit africanfilmfestival.org for full listings. Free. NEW
The Company Men
60 “The things that make us
Americans are the things we make. As a people, we do well when we make good things, and not so well when we don’t.” These are not lines from The Company Men—though similar bromides about production are uttered at regular intervals throughout this Ben Affleck layoff drama. They are from a Wieden+Kennedy commercial for the 2011 Jeep Grand Cherokee, a work of montage less probing than The Company Men, but more stylish and certainly more honest, since it tacitly admits nostalgia for a time when Americans were buying things. Company Men director John Wells also has fond memories of Americans making and buying things—specifically, he recalls when NBC was making ER, and audiences were watching it (and the commercials?). So he has made a big-screen episode of ER in which nobody actually has to go in to work, because their uppermanagement jobs were eliminated by greedy CEOs. There are good scenes—everything with ex-exec Affleck humbling himself to labor on brother-in-law Kevin Costner’s construction site has real atmosphere—but it is hard to forgive a film for wasting Tommy Lee Jones and Chris Cooper, just as it is very difficult to engage with the selfpity of a picture that considers it a significant humiliation when a man is forced to sell his sports car. Americans made this movie. We are so going to lose to China. R. AARON MESH. Fox Tower.
The Dilemma
47 Here’s the dilemma with The
Dilemma: It’s a relationship comedy that forgets about its own relationships. Oh, it’s also not very funny (disappointingly so, coming from the producers of Arrested Development), can’t decide on a tone and suffers from a light strain of misogyny, but the biggest problem with the film is that it betrays itself. What’s supposed to be the story of two couples is diluted until it becomes about just one individual: Vince Vaughn. PG-13. MATTHEW SINGER. Division, Bridgeport and other locations. Visit wweek.com for full showtimes. NEW
Dirty Oil
81 [ONE NIGHT ONLY, DIRECTOR ATTENDING] Ah, the glory of Canada, our civilized and globally conscious northern neighbor that’s the fallback home for Americans fearing Sarah Palin could one day be president. Before you pack your bags for this benighted nation,
watch Dirty Oil, a 73-minute documentary that details an environmental menace emanating from Canada that would send Palin into “Drill Baby Drill” paroxysms of joy. That menace is the Alberta tar sands. And if you’ve never heard of them, this film lays out a measured case of how the short-term energy needs sated by this Albertan oil source are greatly outweighed by the destruction of human health and area habitat—plus the pollution created by Midwest refineries that process this crap. Unlike so many “we’re greener than you” documentaries, this film is not overwrought in dealing intelligently with multiple issues, most notably the David vs. Goliath struggle of Canada’s First Nations to stop the devastation. (There’s even a soft-spoken crusading doctor and a wonderfully named villain in Syncrude. Perhaps “Deathsource” was already taken as a corporate name.) The film freights the issue with one too many ills when it cites the high number of highway fatalities for tar sands workers on their commute. But that’s one small quibble in a documentary that ends on an positive note by challenging viewers to liken the environmental challenge ahead to FDR’s call in 1942 for what was then unimagined levels of wartime production. Substitute wind energy on that scale, and the filmmakers say the tar sands would no longer be needed. HENRY STERN. Bagdad Theater. 6:30 pm Wednesday, Feb. 9. Director Leslie Iwerks will answer questions after the screening.
Valentine Shock saké & Sweets...Oh My!
A special Valentine’s twist on our Saké Shock tasting flight will feature 5 pairings of Oregon craft saké with treats from Le Cookie Monkey. To put a perfect finish on 5 great pairs, we’ll pour you a glass of our new Thai Plum Fizz Sakétini. Put a little shock in your Valentines adventures. February 12 & 13 from 11-5 pm $15 per person
820 Elm St., Forest Grove, OR 97116 - 503-357-7056
“Soul-stirring... Haunting... Full of breathtaking moments.” Grant Butler, The Oregonian “A daring fusion of musical styles... A moving story of characters on both sides of a cultural divide.” Marty Hughley, The Oregonian
JANE a theater company presents A Marv Ross Production
The Fighter
89 The true story of Lowell, Mass., boxing half-brothers Micky and Dicky, played by Mark Wahlberg and Christian Bale—no, no, c’mon, pick the paper back up! The Fighter deserves its shot: Director David O. Russell (Three Kings, I Heart Huckabees) announces his intention from the opening bell to out-Scorsese Scorsese with sprinting cameras, Stones songs and charismatic fuck-ups. Fleeing formula like Bale’s Dicky runs from cops, the movie is messy and darting and alive. The Fighter doesn’t steal the championship belt from Raging Bull: It’s a hair too neat, and doesn’t fully explore its darkest implications. But at least it belongs in the same ring. R. AARON MESH. Lloyd Mall, Pioneer Place, City Center, Division, Tigard, Evergreen, Bridgeport, Movies on TV and other locations. Visit wweek.com for full showtimes..
NEW
A MYSTERY. A LOVE STORY. A MUSICAL LIKE NO OTHER.
Winner of 8 PAMTA Awards including Best Production
March 4 - March 12 9 performances PCPA Newmark Theatre Directed by Greg Tamblyn
On sale now at the PCPA Box Office and all Ticketmaster outlets. Call Ticketmaster at
Gnomeo and Juliet
The Shakespeare tragedy, interpreted by cartoon garden gnomes. WW did not attend the screening. G. 3-D:Lloyd Mall, Pioneer Place, Cinema 99, Division, Evergreen, Bridgeport, Movies on TV and other locations. 2-D: Lloyd Center, City Center, Tigard, Bridgeport, Movies on TV and other locations. Visit wweek.com for full showtimes..
CONT. on page 48
800.745.3000 or online at Photo: David Straub
www.ticketmaster.com.
To see the trailer for The Ghosts of Celilo visit www.ghostsofcelilo.com Generously supported by The Spirit Mountain Community Fund, The Portland Center for the Performing Arts, Roundhouse Foundation, and The Marie Lamfrom Foundation Willamette Week FEBRUARY 9, 2011 wweek.com
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THA – SF THA – SF
THA – S
Publication
INVITES YOU TO TO SEE SEE INVITES YOU
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WILLAMETTE WILLAMETTE WILLAMETTE WEEK WEEK WEEK Publication
Size
Size
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Run Date(s)
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3.772 x 6.052 WEDNESDAY 2.9 WEDNESDAY 2.9 3.772 x 6.052
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INVITES YOU INVITESYOU YOU SEETO SEE INVITES TOTOSEE INVITES YOU TO SEE
MOVIES
FEB. 9-15
The King’s Speech
73 The King’s Speech is the sort of
awards-season tinsel that opens with a speaking engagement going mortifyingly awry—the youngest son of the House of Windsor (Colin Firth) cannot make it through a sentence without breaking down in heaving gulps—and ends with a heart-swelling proclamation of war. R. AARON MESH. Lloyd Center, Fox Tower, City Center, Division, Tigard, Evergreen, Bridgeport, Movies on TV and other locations. Visit wweek.com for full showtimes.
February 15 • 7:00 PM ~ Portland Area To download your tickets, go to gofobo.com/rsvp
Kings of Pastry
and enter February 15the• RSVP 7:00code: PM WWEEK8Y8J ~ Portland Area This film is rated PG-13 for intense sequences of violence and action, and brief sexual content. 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.
To download your tickets, go to gofobo.com/rsvp and enter the RSVP code: WWEEK8Y8J
IN THEATERS FRIDAY FEBRUARY 18
This film is rated PG-13 for intense sequences of violence and action, and brief sexual content. 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.
IN THEATERS FRIDAY FEBRUARY 18
DAYS OF HEAVEN
The Green Hornet
February PM ~~ ~ Portland PortlandArea Area February15 15••• 7:00 7:00 PM February 15 7:00 PM Portland Area February 15 • 7:00 PM ~ Portland Area downloadyour yourtickets, tickets, go To download go to togofobo.com/rsvp gofobo.com/rsvp ToTo download your tickets, go to gofobo.com/rsvp To download your tickets,code: go to WWEEK8Y8J gofobo.com/rsvp and enter the RSVP and enter the RSVP code: WWEEK8Y8J andand enter code: WWEEK8Y8J WWEEK8Y8J enterthe theRSVP RSVP code:
This rated PG-13 for intense sequences of violenceand andaction, action, and and brief brief sexual areare available whilewhile supplies last. Tickets receivedreceived This film is film ratedis PG-13 for intense sequences of violence sexualcontent. content.Tickets Tickets available supplies last. Tickets through this promotion do not guarantee admission. Seating on a first-come, basis. THEATRE IS OVERBOOKED ENSURElast. A FULL HOUSE. This film ispromotion rated PG-13 intense sequences of violence andison action, and brieffirst-served sexual content. Tickets are available whileTOsupplies Tickets received through this dofor not guarantee admission. Seating a first-come, basis. THEATRE IS OVERBOOKED TOTickets ENSURE Aany FULL HOUSE. This film rated PG-13 for intense sequences of violenceisand action, brieffirst-served sexual content. Tickets are available supplies received No one will be isadmitted without a ticket or after the screening begins. Alland federal, state and local regulations apply. Awhile recipient of alast. ticket assumes and through this promotion do not guarantee admission. Seating is is on first-served basis. THEATRE IS OVERBOOKED TO ENSURE A FULL HOUSE. through this promotion do not guarantee admission. Seating ona afirst-come, first-come, first-served basis. THEATRE IS OVERBOOKED TO ENSURE Aa FULL HOUSE. No one all willrisks be admitted a ticket after the screening begins. All federal, stateprovider. and local regulations apply. A Willamette recipient ofWeek, ticket assumes and related towithout use of the ticketor and accepts any restrictions required by ticket Warner Bros. apply. Pictures, Terry Hines any &any No one will be admitted without a ticket or after the screening begins. All federal, state and local regulations A recipient of a ticket assumes and No one will be of admitted without a ticket or after the restrictions screening begins. All federal, state and local regulations apply. A recipient of aWillamette ticket assumes any and all risksAssociates related toand use the ticket and accepts any required bywith ticket provider. Warnerincurred Bros. Pictures, Week, Terry Hines & their affiliates accept no responsibility or liability in connection any loss or accident in connection with use of a prize. all risks related use ofto the and accepts anyany restrictions by ticket ticketprovider. provider. Warner Pictures, Willamette Week, Terry all riskstorelated use ticket of the ticket and accepts restrictionsrequired required by Warner Bros.Bros. Pictures, Willamette Week, Terry Hines & 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. their affiliates no responsibility or liabilityininconnection connection with or or accident incurred in connection with usewith of a prize. AssociatesAssociates and theirand affiliates acceptaccept no responsibility or liability withany anyloss loss accident incurred in connection use of a prize.
THEATERS FRIDAY FEBRUARY IN THEATERSFRIDAY FRIDAY FEBRUARY 1818 IN FEBRUARY 18 ININTHEATERS THEATERS FEBRUARY 18
65 Call it a flattening of genre, or maybe just expectations: With Michel Gondry’s The Green Hornet, the superhero movie and the movie about a regular guy pretending to be a superhero have become indistinguishable. The caper, from a script by Seth Rogen and Superbad buddy Evan Goldberg, chronicles insouciant layabouts (Rogen and Jay Chou) becoming casual crimefighters; appropriately, the movie is endearingly amateurish. In fact it feels like nothing so much as a “swede,” one of the backyard VHS remakes cobbled together by videostore employees in Gondry’s Be Kind Rewind. The look on Rogen’s face throughout is that of a man who can’t fully believe he’s starring in a real action picture. This is pedestrian filmmaking—but it is a cheekily jaywalking pedestrian. PG-13. AARON MESH. 3-D: Evergreen and other locations. 2-D: Lloyd Mall, Division, Bridgeport, Movies on TV and other locations. Visit wweek.com for full showtimes..
NEW
“FIERCE, VISCERAL AND TERRIFICALLY ENTERTAINING!
FROM THE ACADEMY AWARD�–WINNING DIRECTOR OF ‘THE LAST KING OF SCOTLAND’
‘The Eagle’ delivers authentically intense action. A riveting spectacle.” JEFF CRAIG, SIXTY SECOND PREVIEW
FROM THE ACADEMY AWARD�–WINNING DIRECTOR OF ‘THE LAST KING OF SCOTLAND’
IN THEATRES EVERYWHERE FRIDAY, FEBRUARY 11th CHECK LOCAL LISTINGS FOR THEATRE LOCATIONS AND SHOWTIMES SPECIAL ENGAGEMENTS NO PASSES OR DISCOUNT COUPONS ACCEPTED
MOBILE USERS: For Showtimes – Text EAGLE with your ZIP CODE to 43KIX (43549)
48
Willamette Week 9, 2011 wweek.com Area Codes:FEBRUARY (360), (503), (530), (541), (803), (971)
Portland Willamette Wk Wed 2/9 • 2x7’’
Heaven’s Gate
[REVIVAL] On a 35 mm print, here’s director Michael Cimino’s preferred 205-minute cut of the gorgeous Western synonymous with fiasco. More to love/hate! Hollywood Theatre. NEW
Hood to Coast
55 While Oregon’s 197-mile Hood to
Coast Relay race is run every year, this is the only wide-release documentary anybody is likely to make about it, and so contributing to the poignant mood is some regret that the movie isn’t a little better. German TV producer Christoph Baaden has brought his best HD cameramen (and apparently some helicopters) to chronicle the descent from Mount Hood to Seaside; the result is some fluidly shot and edited footage that is going to look very nice in a national park visitor’s center someday. Baaden tracks stories from four teams, including one from Laika (Lucky Lab beer is quaffed; friendly resentment toward Nike is voiced) and another group running in memory of a fallen son and husband—this latter arc is the most affecting and revealing, a reminder that physical strain can become a conduit for catharsis. But Hood to Coast isn’t really structured as a dramatic vehicle so much as an inspirational sporting record; the late Bud Greenspan used to do this sort of thing much better, and in 20-minute segments. No need for a marathon. AARON MESH. Living Room Theaters.
I Love You Phillip Morris
69 Jim Carrey is at his most interesting when he explores a worrisome cavity inside his mania—think of his everyman in The Truman Show suspecting his entire life was as empty as his good-morning waves—so he’s very good as the compulsively recidivist Texas con man Steven Russell, who romances (and tries to spring) a fellow prison inmate. R. AARON MESH. Living Room Theaters.
The Illusionist
78 Sylvain Chomet’s cartoon follows
an aging sleight-of-hand artist as he plies his trade through postwar Europe. Sad, wordless comedy results from this vaudeville circuit, which is giving way to television and rock ’n’ roll. It’s all in Chomet’s talent for caricature, each character defined by a single, unchanging facial expression. There is an alcoholic ventriloquist, whose lips never move from a happy smile. There is a depressive clown with—what else?—a perpetual frown. There is a beaming, effeminate boy band that is putting them all out of business. Facing rows of empty seats, the magician himself exudes deadpan nobility, like an undertaker at his own funeral. But when the magician stays at a rural Scottish inn, the girl who cleans his room is sheltered enough to believe in his tricks. As a girl loses her faith in rabbits pulled out of hats, her faith in human kindness blossoms, and so does ours. PG. ALISTAIR ROCKOFF. Cinema 21.
Ip Man 2
76 Anyone looking for a realis-
tic historical biopic probably hasn’t found 2008’s Ip Man, which focused on the gentle martial arts master (an effective Donnie Yen) fighting Japanese tyrants during World War II—usually 10 at a time—and training garment workers to defend themselves against rape-crazy soldiers and marauders. This time around, Ip starts a martial arts school in 1950s Hong Kong, only to draw the ire of kung fu crook Hong (martial arts legend Sammo Hung, also the film’s fight coordinator). Barely five minutes pass between melees during the first half, including one pitting Ip against dozens of knife-wielding thugs, and an eye-popper in which Yen and Hung battle atop a small desk. Eventually, Ip is thrust into an East vs. West boxing match, and unfortunately, the film loses steam in the lead-up. Like Rocky 4, Ip Man 2 is a ham-fisted piece of nationalist propaganda with a thin plot and little character development. Unlike Rocky 4, Ip Man 2 is actually kind of fucking awesome despite its bloated goofiness. R. AP KRYZA. Hollywood Theatre. NEW
Just Go With It
Adam Sandler stars in a remake of the Walter Matthau bedroom comedy Cactus Flower. Yes, really. Not screened for critics by WW press deadlines. Look for a review on wweek.com. PG-13. Lloyd Center, Pioneer Place, City Center, Cinema 99, Division, Tigard, Evergreen, Bridgeport, Movies on TV and other locations. Visit wweek.com for full showtimes. NEW Justin Bieber: Never Say Never 3-D
The Donny Osmond of our time gets his own concert film. Not screened for critics. G. 3-D: Lloyd Mall, Pioneer Place, City Center, Eastport, Cinema 99, Division, Cedar Hills, Clackamas, Tigard, Evergreen, Bridgeport, Movies on TV and other locations. 2-D: Various locations. Visit wweek. com for full showtimes.
61 Hell is blown sugar and tempered chocolate. At least, it is for the obsessive French pastry chefs who aspire to attain the rank of Meilleurs Ouvriers de France—“Best Craftsmen in France” of pastries. As the final competition unfolds in Lyon, France, the stress of the challenge overwhelms many of the contestants. Showpieces are cracked, and tearyeyed breakdowns abound. “You have to be men,” growls the competition’s lead judge as the chefs stumble into their third day of sleep-deprived, burnt-fingered competition. KELLY CLARKE. Living Room Theaters.
NEW
Like Water for Chocolate
[THREE NIGHTS ONLY, REVIVAL] The beloved 1992 pinch of magical realism about really good food. . 5th Avenue Cinema. 7 and 9:30 pm FridaySaturday, 3 pm Sunday, Feb. 11-13.
Little Fockers
13 Nobody in Little Fockers escapes with their dignity intact. It’s a parade of shame from actors willing to debase themselves for a franchise that’s proven inexplicably popular. All this installment has going for it is a few brief minutes of Jessica Alba in her underwear. Otherwise, it’s a lazily written cash grab that offers at least one embarrassing moment for everyone involved: Alba gets drunk, strips down and swan-dives into a mud pit; Laura Dern pulls a kid’s finger and he farts; Owen Wilson pole-dances. Stiller spends the entire film looking like he can’t wait for it to end—and that’s before his son projectile-vomits in his face. PG-13. MATTHEW SINGER. Various locations. Visit wweek.com for full showtimes.
The Mechanic
70 Jason Statham is pissed
(again) and out for bloody revenge (again), eviscerating bad guys and automobiles (again) in a quest to murder the shit out of his backstabbing boss (again). Repetition be damned. Statham is official king of ultraviolent throwbacks to vintage action trash—a badass Brit with a Bruce Willis swagger (and hairline) who shoots first and asks questions never. While The Mechanic—a remake of the 1972 Charlie Bronson revenge throwaway—never attempts the lunacy of the Crank films, it’s a pleasant adrenaline shot. Statham plays a hit man training the son of his slain mentor, mangling his way up the dirtbag food chain and—well, that’s it. Director Simon West, who has yet to see a luxury sedan he didn’t want to incinerate, offers his most gleefully violent effort since his trashtastic debut, Con Air. For 90 short minutes, Statham and sidekick Ben Foster make inventive use of garbage disposals and fire pokers, slaying enough faceless lackeys to populate a small country. It’s drooling, Cro-Magnon machismo from start to finish—in other words, perfect Statham-flavored popcorn. R. AP Kryza. Lloyd Center, Division, Evergreen, Bridgeport, Movies on TV and other locations. Visit wweek.com for full showtimes. NEW Mel Blanc Project Screening Series
Film archivists Dennis Nyback and Anne Richardson continue exploring the Loony Tunes voice with a program of shorts showing “The Evolution of Bugs Bunny.” The Waypost, 3120 N Williams Ave. 7 pm Tuesday, Feb. 15. $6 suggested donation.
FEB. 9-15
MOVIES
WWEEK.COM/ EATMOBILE
N O T H I N G P E R S O N A LT H E M O V I E . C O M
what appears to be a charmed life. He drinks, he smokes, he drives his Ferrari in circles, he conks out with his tongue inside a gorgeous woman. Money can’t buy happiness, etc. Enter Cleo (Elle Fanning), Johnny Ennui’s 11-year-old daughter, a part-time responsibility who becomes a full-time suitemate when Johnny’s ex-wife skips town on a vague mission of self-improvement. But disregard—or forgive—the predictable arc and sentimental revelations, because Sofia Coppola is only using them as girders for a weightier project: rendering emotional vacancy and existential exhaustion as it is actually experienced. . R. CHRIS STAMM. Hollywood Theatre. NEW Trailer Park Boys Double Feature
NOTHING PERSONAL
No Strings Attached
70 In what is basically a full-length
enlargement of the “We love you, Natalie!” “I wanna fuck you, too!” exchange from Saturday Night Live, Ashton Kutcher plays Adam, the besotted penis filling Natalie Portman’s Emma on a casual schedule. Directed by Ivan Reitman, No Strings Attached is a little bit granddad’s fantasy of hook-up culture (Kevin Kline even gets it on the regular), but it’s also the first feature script for screenwriter Elizabeth Meriwether, and so contains actual women asked to do more than serve as objects of desire. In fact, it’s Kutcher who’s the ogled beefcake here, and the movie offers the welcome twist of smart indie girls—Greta Gerwig, Olivia Thrilby, Mindy Kaling—taking advantage of puppy-eyed boys. The picture starts out listlessly bawdy, but it grows surprisingly affecting as the lead couple moves toward admitting the feelings they find too obviously sentimental to confess. R. AARON MESH. Lloyd Center, Division, Tigard, Evergreen, Bridgeport, Movies on TV and other locations. Visit wweek. com for full showtimes. NEW
Nothing Personal
6 As Beethoven once wrote, “Duh-
duh-duh-duuuuuh!” Polish filmmaker Urszula Antoniak starts off in Amsterdam, with the first of many clichés: the Damaged Divorcée Leaving Her Past Behind. Any more detail would require cultural understanding, so our nameless lady hitchhikes into Ireland and establishes her distrust of other people. But what’s this? A charming cottage! And inside? A lonely widower, with impeccable taste in cooking and compact discs! Enjoy timeless classics like the Two-Note Musical Score, the Time-Lapse Sunset and, most amusingly, the Helpful Title Cards (“THE BEGINNING OF A RELATIONSHIP”). As Seinfeld once said, “’Tis a beautiful country, though. Lush, rolling hills, and the peat! Ah, the peat!” ALISTAIR ROCKOFF. Living Room Theaters. NEW
Portlandia, Episode 4
[ONE NIGHT ONLY, TV] Carrie Brownstein’s hometown IFC sketch series keeps getting curiouser and curiouser. (Last week, people were eaten by a cardboard box and, no, it didn’t make sense in context.) This week, Mayor Kyle MacLachlan goes missing. Mission Theater. 10:30 pm Friday, Feb. 11. Presented by Beer and Movie. Free.
The Rite
Anthony Hopkins beats the devil. Or doesn’t, perhaps: WW didn’t attend the screening. PG-13. Lloyd Mall, Division, Evergreen, Bridgeport, Movies on TV and other locations. Visit wweek.com for full showtimes.
The Roommate
Single White Female: The College Years. Not screened for critics. PG-13. Lloyd Center, Pioneer
Place, City Center, Division, Tigard, Evergreen, Bridgeport, Movies on TV and other locations. Visit wweek. com for full showtimes. NEW Rose City Steampunk Flim Festival
Portland’s newest festival features “motion pictures constructed around steampunk themes and achieving aesthetic heights of neo-Victorian retrofuturism.” OK, that sounds kind of grand. Clinton Street Theater. Noon Sunday, Feb. 13. See full listings at steampunkfilmpdx.com.
Sanctum 3-D
45 It comes popping right out at you, what made James Cameron want to put his executive-producer imprimatur on this Australian spelunking thriller: He likes abysses, and he doesn’t care about acting. Win-win. Sanctum has remarkably shallow performances and impressively deep crevasses, though Cameron’s cherished 3-D does the latter no favors: It makes even real rocks look like the manufactured boulders on Big Thunder Mountain. In fact, the movie continues Avatar’s campaign to make cinema feel more like the motion-simulator attractions at theme parks. I like themepark rides: I like them five minutes long, with the emergency exits clearly marked. For Sanctum’s 109 minutes, I mostly felt stuck or sick. Maybe that’s the idea: The picture, which follows a group of cave-divers forced to do more diving than they’d like after a downpour floods their cavern, plays like a naturalwonders remake of The Poseidon Adventure, complete with the ruthless offing of characters struggling to surface. Director Alister Grierson makes full use of his R rating; he diverges from the true survival story of caver Andrew Wight to instead film inventively nasty methods of extinction, and his camera lingers on the faces of death. Sanctum only springs to life when it’s snuffing its cast (admittedly, that’s most of the second half of the picture). It puts the lie to Cameron’s disdain for Piranha 3-D: The movies function in exactly the same way (even sharing a scalping), except one adds a bogus gloss of inspiration. R. AARON MESH. 3-D: Lloyd Center, Pioneer Place, City Center, Division, Tigard, Evergreen, Bridgeport, Movies on TV and other locations. Visit wweek.com for full showtimes.
Somewhere
87 OK, this is where I explain what
the movie is ostensibly about and you gag a little bit, because a plot summary of Somewhere reads like a People puff piece about some gilded dickhead’s forged redemption journey. But here goes: Famous actor Johnny Marco (played by sorta-still-famous actor Stephen Dorff ) is living in the Chateau Marmont—Belushi died there, Lindsay Lohan lived there, many beautiful people have enjoyed cocaine there—while promoting his new film and sleepwalking through
[TWO NIGHTS ONLY, REVIVAL] The Canuck cult heroes, in two pictures: Trailer Park Boys: The Movie and Trailer Park Boys: Countdown to Liquor Day. Clinton Street Theater. 7 and 9 pm Friday-Saturday, Feb. 11-12.
Tron: Legacy
73 Video games have come a long
way since Tron hit screens in 1982, and Tron: Legacy has evolved with them. It’s eye-poppingly gorgeous, ludicrous and swollen with enough pure adrenaline to make Raoul Duke trip balls for decades. PG. AP KRYZA. 3-D: Bridgeport, Living Room Theaters and other locations. 2-D: Lloyd Mall and other locations. Visit wweek.com for full showtimes.
WWEEKDOTCOM WWEEKDOTCOM WWEEKDOTCOM WWEEKDOTCOM
True Grit
90 The Coen Brothers’ new ren-
dering of Charles Portis’ novel of Arkansas frontier retribution is remarkable for its lack of perversity—one character voices a slightly unseemly interest in the 14-yearold heroine, and another is graphically relieved of some fingers but, by Coen standards, everybody behaves with relative civility. But it maintains something sorrowful in the story of young Mattie Ross (Hailee Steinfield), who seeks retribution for her dead father and talks like Laura Ingalls Wilder with a law degree. PG-13. AARON MESH. Lloyd Center, Lloyd Mall, Fox Tower, City Center, Division, Tigard, Evergreen, Bridgeport, Movies on TV and other locations. Visit wweek.com for full showtimes. NEW
True Romance
[ONE NIGHT ONLY, REVIVAL] Young Tarantino geek love, and maybe Dennis Hopper’s best scene ever. (Apocalypse Now and Blue Velvet excluded.) R. Bagdad Theater. 9 pm Monday, Feb. 14.. NEW
Valley Girl
[ONE NIGHT ONLY, REVIVAL] Nic Cage in love. Clinton Street Theater. 7 and 9 pm Monday, Jan. 14.
The Way Back
92 You should see this movie,
and as soon as possible. Based on Slawomir Rawicz’s probablynot-true memoir of flight from the Siberian gulag, the movie allows director Peter Weir to return to the heroic adventuring of The Year of Living Dangerously and the uncanny outdoor danger of Picnic at Hanging Rock. It is one of the best long-distance walking movies ever made, an equal to the Lord of the Rings trilogy, but without the orcs. PG-13. AARON MESH. Various locations. Visit wweek.com for full showtimes.
Yogi Bear 3-D
32 This time out, the talking bears— the film’s human characters seem underwhelmed by the prospect of bears who speak English; they are, however, impressed by bears who can water-ski—are voiced ably enough by Dan Aykroyd and Justin Timberlake and forced to amble through adventure after joylessly clichéd adventure with nary a nod to the cartoon’s heritage. PG. CASEY JARMAN. 3-D: Bridgeport and other locations. 2-D: Movies on TV and other locations. Visit wweek.com for full showtimes.
SCREEN GEMS PRESENTS A VERTIGO ENTERTAINMENT PRODUCTION “THE ROOMMATE” ALY MICHALKA AND BILLY ZANE SUPERVISIONMUSICBY MICHAEL FRIEDMAN MUSICBY JOHN FRIZZELL DANNEEL HARRIS FRANCES FISHER PRODUCED EXECUTIVE WRITTEN BY DOUG DAVISON AND ROY LEE PRODUCERS BEAU MARKS SONNY MALLHI BY SONNY MALLHI DIRECTED BY CHRISTIAN E. CHRISTIANSEN CHECK LOCAL LISTINGS FOR THEATERS AND SHOWTIMES
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COLUMBIA PICTURES PRESENTSMUSICA HAPPY MADISON PRODUCTION “JUST GO WITH IT” SUPERVISION BY MICHAEL DILBECK BROOKS ARTHUR KEVIN GRADY MUSIC EXECUTIVE BY RUPERT GREGSON-WILLIAMS PRODUCERS BARRY BERNARDI ALLEN COVERT TIM HERLIHY STEVE KOREN BASED ON “CACTUS FLOWER” STAGE PLAY BASED UPON SCREENPLAY BY I.A.L. DIAMOND BY ABE BURROWS A FRENCH PLAY BY BARILLET AND GREDY SCREENPLAY PRODUCED BY ALLAN LOEB AND TIMOTHY DOWLING BY ADAM SANDLER JACK GIARRAPUTO HEATHER PARRY DIRECTED BY DENNIS DUGAN A FILM BY DENNIS DUGAN
TIJUANA BIBLE STORIES: I don’t know if Heavy Metal is a good movie, but it is an original and—in its crude way—a brave one. A fantasy cartoon urtext with SCTV voices, the 1981 omnibus hails from an era before fanboys roamed safely in herds. Drawn from Leonard Mogel’s Heavy Metal magazine (which had little to do with thrash, and a lot to do with naked, pneumatically gifted women riding giant wasps and lizards), the vignettes are a stepping stone from underground comix to The Fifth Element, with Nudie Babes in 13-Year-Old Boyland. Like Fritz the Cat a decade before, this movie marks a moment when public entertainment and personal fetish were indistinguishable. “There was no way I was gonna walk around this place with my dork hanging out,” says Den (John Candy) as he wraps himself in a loincloth. Heavy Metal lets its dork fly proudly. AARON MESH. Laurelhurst, presented by Beer and Movie. Best paired with: New Belgium Blue Paddle Pilsner. Also showing: True Romance (Bagdad, 9 pm Monday, Feb. 14). - 04:20 - 07:00 - 09:25. TRON: LEGACY 3D Tue 01:30 - 04:30 - 07:15 - 09:45. Wed 01:30 - 04:30 - 07:15 - 09:45. Thu 01:30 - 04:30 07:15 - 09:45.
Academy Theater
7818 SE Stark St. 503-252-0500 BURLESQUE Tue 04:45. Wed 04:45. Thu 04:45. FOUR LIONS Tue 10:00. Wed 10:00. Thu 10:00. MEGAMIND Tue 05:00. Wed 05:00. Thu 05:00. RED Tue 06:45 - 09:15. Wed 06:45 09:15. Thu 06:45 - 09:15. THE GIRL WHO KICKED THE HORNET’S NEST Tue 07:00. Wed 07:00. Thu 07:00.
Cinema 21
Living Room
Regal Broadway
616 NW 21st Ave. 503-223-4515 THE ILLUSIONIST Tue 05:00 - 07:00 - 08:45. Wed 05:00 - 07:00 - 08:45. Thu 05:00 07:00 - 08:45.
CineMagic Theatre
2021 SE Hawthorne Blvd. 503-231-7919 BLACK SWAN Tue 05:30 07:40 - 09:50. Wed 05:30 - 07:40 - 09:50. Thu 05:30 - 07:40 - 09:50.
Hollywood Theatre
50
Willamette Week FEBRUARY 9, 2011 wweek.com
Lake Twin Cinema
Pioneer Place Stadium
3702 SE Hawthorne Blvd. 503-249-7474 DIRTY OIL Wed 06:30. DUE DATE Tue 08:45. Wed 09:00. Thu 08:45. HOW DO YOU KNOW Tue 06:00. Thu 06:00.
Bagdad Theater
2 COL. (3.825") X 10" = 20" WED 2/9 PORTLAND WILLAMETTE WEEK
5736 NE 33rd Ave. 503-249-7474 DUE DATE Tue 10:00. Wed 10:00. Thu 10:00. HOW DO YOU KNOW Tue 02:30 07:30. Wed 02:30 - 07:30. Thu 02:30 - 07:30.
1624 NW Glisan St. 503-249-7474 ALL GOOD THINGS Tue 10:00. Wed 10:00. Thu 10:00. HOW DO YOU KNOW Tue 07:30. Wed 07:30. Thu 07:30.
2735 E Burnside St. 503-232-5511 DUE DATE Tue 09:20. Wed 09:20. Thu 09:20. FOUR LIONS Tue 07:00. Wed 07:00. Thu 07:00. INSIDE JOB Tue 09:30. Wed 09:30. Thu 09:30. RESTREPO Tue 07:30. Wed 07:30. Thu 07:30. THE GIRL WHO KICKED THE HORNET’S NEST Tue 09:05. Wed 09:05. Thu 09:05. THE TOWN Tue 06:45. Wed 06:45. Thu 06:45.
3451 SE Belmont St. 503-238-1617 BURLESQUE Tue 04:00 07:45 - 09:50. Wed 04:00 - 07:45 - 09:50. Thu 04:00 - 07:45 - 09:50. DUE DATE Tue 09:05. Wed 09:05. Thu 09:05. LIFE AS WE KNOW IT Tue 02:45 - 07:00. Wed 02:45 - 07:00. Thu 02:45 07:00. MEGAMIND Tue 01:00 - 05:00. Wed 01:00 - 05:00. Thu 01:00 - 05:00.
CHECK LOCAL LISTINGS FOR THEATERS AND SHOWTIMES
Kennedy School
Mission Theater
340 SW Morrison St. 800-326-3264 JUST GO WITH IT Fri 01:00 - 04:00 - 07:00 - 10:00. Sat 01:00 - 04:00 - 07:00 - 10:00. Sun 01:00 - 04:00 - 07:00 - 10:00. Mon 01:00 - 04:00 - 07:00 - 10:00. SANCTUM 3D Tue 12:50 04:25 - 07:20 - 10:05. Wed 12:50 - 04:25 - 07:20 - 10:05. Thu 12:50 - 04:25 - 07:20 - 10:05. THE FIGHTER Tue 01:15 - 04:30 - 07:30 - 10:20. Wed 01:15 - 04:30 - 07:30 - 10:20. Thu 01:15 - 04:30 - 07:30 - 10:20. THE MECHANIC Tue 01:20 - 04:15 - 07:40 - 10:10. Wed 01:20 - 04:15 - 07:40 - 10:10. Thu 01:20 - 04:15 - 07:40 10:10. TRUE GRIT Tue 01:00 - 04:00 - 07:00 - 10:00. Wed 01:00 - 04:00 - 07:00 - 10:00. Thu 01:00 - 04:00 07:00 - 10:00.
Avalon Theatre
FEBRUARY 11
TARGET Tue 07:15. Wed 07:15. Thu 07:15.
4122 NE Sandy Blvd. 503-281-4215 ANOTHER YEAR Tue 06:45 - 09:15. Wed 06:45 - 09:15. Thu 06:45 - 09:15. IP MAN 2 Tue 07:20 - 09:30. Wed 09:30. Thu 07:20 - 09:30. SHEPHERDS OF HELMAND Thu 07:00. THE SOCIAL NETWORK Tue 09:40. Wed 09:40. Thu 09:40. WILD
106 N State St. 503-635-5956 BLACK SWAN Tue 05:00 07:10. Wed 05:00 - 07:10. Thu 05:00 - 07:10. THE KING’S SPEECH Tue 05:20 - 07:40. Wed 05:20 - 07:40. Thu 05:20 - 07:40.
Laurelhurst Theatre
341 SW Tenth Ave. 971-222-2010 I LOVE YOU PHILLIP MORRIS Tue 02:40 - 06:50. Wed 02:40 - 06:50. Thu 02:40 - 06:50. KINGS OF PASTRY Tue 11:50 - 04:40 - 06:40. Wed 11:50 - 04:40 - 06:40. Thu 11:50 - 04:40 - 06:40. MARWENCOL Tue 12:20 - 04:50 - 09:00. Wed 12:20 - 04:50 - 09:00. Thu 12:20 - 04:50 - 09:00. NO STRINGS ATTACHED Tue 12:00 - 02:20 - 05:00 - 07:30 - 09:50. Wed 12:00 - 02:20 - 05:00 - 07:30 09:50. Thu 12:00 - 02:20 - 05:00 - 07:30 - 09:50. THE GIRL WHO KICKED THE HORNET’S NEST Tue 01:40 - 08:40. Wed 01:40 - 08:40. Thu 01:40 - 08:40. THE SOCIAL NETWORK Tue 01:50 - 04:20 - 07:00 - 09:25. Wed 01:50 - 04:20 - 07:00 - 09:25. Thu 01:50
1000 SW Broadway 800-326-3264 THE DILEMMA Tue 01:45 - 04:30 - 07:30. Wed 01:45 - 04:30 - 07:30. Thu 01:45 - 04:30 - 07:30. THE ROOMMATE Tue 02:15 04:45 - 07:15. Wed 02:15 - 04:45 - 07:15. Thu 02:15 04:45 - 07:15. THE TOURIST Tue 02:30 - 05:15 - 07:45. Wed 02:30 - 05:15 - 07:45. Thu 02:30 - 05:15 - 07:45. THE WAY BACK Tue 02:00 - 05:00 - 08:00. Wed 02:00 - 05:00 - 08:00. Thu 02:00 05:00 - 08:00.
Regal Fox Tower
846 SW Park Ave. 800-326-3264 127 HOURS Tue 12:05 - 02:10 - 04:30 - 07:10 - 09:45. Wed 12:05 - 02:10 - 04:30 - 07:10 - 09:45. Thu 12:05 - 02:10 - 04:30 - 07:10 - 09:45. ANOTHER YEAR Tue 12:30
- 04:10 - 06:50 - 09:30. Wed 12:30 - 04:10 - 06:50 - 09:30. Thu 12:30 - 04:10 - 06:50 - 09:30. BIUTIFUL Tue 12:50 - 04:00 - 07:00 - 10:00. Wed 12:50 - 04:00 - 07:00 - 10:00. Thu 12:50 - 04:00 - 07:00 - 10:00. BLACK SWAN Tue 11:55 - 02:25 - 04:50 - 07:35 09:55. Wed 11:55 - 02:25 - 04:50 - 07:35 - 09:55. Thu 11:55 - 02:25 - 04:50 - 07:35 - 09:55. BLUE VALENTINE Tue 11:45 - 02:15 - 04:45 - 07:15 - 09:50. Wed 11:45 02:15 - 04:45 - 07:15 - 09:50. Thu 11:45 - 02:15 - 04:45 07:15 - 09:50. FORKS OVER KNIVES Tue 12:10 - 02:40 - 05:00 - 07:20 - 09:40. Wed 12:10 - 02:40 - 05:00 - 07:20 - 09:40. Thu 12:10 - 02:40 - 05:00 - 07:20 09:40. RABBIT HOLE Tue 12:15 - 02:45 - 05:05 - 07:25 - 09:35. Wed 12:15 - 02:45 - 05:05 - 07:25 - 09:35. Thu 12:15 - 02:45 - 05:05 07:25 - 09:35. SOMEWHERE Tue 12:00 - 02:30 - 04:40 - 07:40 - 10:05. Wed 12:00 - 02:30 - 04:40 - 07:40 10:05. Thu 12:00 - 02:30 - 04:40 - 07:40 - 10:05. THE KING’S SPEECH Tue 11:50 - 12:40 - 02:20 - 04:05 - 04:55 - 06:45 - 07:30 - 09:25 - 10:00. Wed 11:50 - 12:40 - 02:20 - 04:05 - 04:55 - 06:45 07:30 - 09:25 - 10:00. Thu 11:50 - 12:40 - 02:20 - 04:05 - 04:55 - 06:45 - 07:30 09:25 - 10:00.
Regal Lloyd Center
1510 NE Multnomah Blvd. 800-326-3264 127 HOURS Tue 12:20 - 02:45 - 05:15 - 07:40 10:30. Wed 12:20 - 02:45 - 05:15 - 07:40 - 10:30. Thu 12:20 - 02:40 - 05:00 - 10:30. BLACK SWAN Tue 12:35 - 03:20 - 06:55 09:50. Wed 12:35 - 03:20 - 06:55 - 09:50. Thu 12:35 - 03:20 - 06:55 - 09:50. JUST GO WITH IT NO STRINGS ATTACHED Tue 12:00 - 02:35 - 05:10 - 07:45 - 10:25. Wed 12:00 - 02:35 - 05:10 - 07:45 - 10:25. Thu 12:00 - 02:35 - 05:10 - 07:45 - 10:25. SANCTUM 3D Tue 01:05 - 03:55 - 07:25 - 10:10. Wed 01:05 - 03:55 - 07:25 - 10:10. Thu 01:05 - 03:55 07:25 - 10:10. THE KING’S SPEECH Tue 12:15 - 03:25 - 06:45 - 09:45. Wed 12:15 03:25 - 06:45 - 09:45. Thu 12:15 - 03:25 - 06:45 - 09:45. THE MECHANIC Tue 12:05 - 02:30 - 05:00 - 07:30 10:00. Wed 12:05 - 02:30 - 05:00 - 07:30 - 10:00. Thu 12:05 - 02:30 - 04:50. THE ROOMMATE Tue 12:30 02:55 - 05:25 - 07:55 - 10:20. Wed 12:30 - 02:55 - 05:25 - 07:55 - 10:20. Thu 12:30 - 02:55 - 05:25 - 07:55 10:20. TRUE GRIT Tue 01:00 - 03:50 - 07:10 - 09:55. Wed 01:00 - 03:50 - 07:10 - 09:55. Thu 01:00 - 03:50 07:10 - 09:55.
St. Johns Twin Cinemas and Pub
8704 N Lombard St. 503-286-1768 BLACK SWAN Tue 05:20 07:40. Wed 05:20 - 07:40. Thu 05:20 - 07:40. TRUE GRIT Tue 05:00 - 07:20. Wed 05:00 - 07:20. Thu 05:00 - 07:20.
The OMNIMAX Theatre at OMSI
1945 SE Water Ave. 503-797-4640 HUBBLE Thu 12:00. Fri 06:00 - 09:00. Sat 06:00 - 09:00. Sun 06:00. Fri 12:00 - 06:00 - 09:00. Sat 06:00 - 09:00. Sun 06:00. Mon 12:00. Subject to change. Call theaters or visit wweek.com/ movietimes for the most up-to-date Information FRIDAY-THURSDAY, FEB. 11-17, UNLESS OTHERWISE INDICATED