37 44 willamette week, september 7, 2011 by Willamette Week Newspaper

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WWEEK.COM

VOL 37/44 09.07.2011

WILLAMETTE WEEK PORTLAND’S NEWSWEEKLY

By Casey Jarman

PAGE 14

SEATTLE RAPPER MACKLEMORE IS SINCERE, INDEPENDENT AND HUGE. IS THIS THE NEW FACE OF HIP-HOP?

A N D R E W WA I T S

BACK COVER

NEWS WAR PAYS LOCAL DIVIDENDS. FOOD & DRINK CHEWING ON STEREOTYPES. PERFORMANCE BACK IN TIME-BASED ART.

Willamette Week SEPTEMBER 7, 2011 wweek.com

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9/11: 10 years on and 2,500 miles away. Pages 7-12.

NEWS

HEADOUT

LEAD STORY

MUSIC

CULTURE

MOVIES

FOOD & DRINK

CLASSIFIEDS

STAFF Editor-in-Chief Mark Zusman EDITORIAL Managing Editor for News Brent Walth Interim Arts & Culture Editor Ruth Brown Staff Writers Nigel Jaquiss, Corey Pein Copy Chief Sarah Smith Copy Editors Matt Buckingham, Rob Fernas Assistant Arts & Culture Editor Ben Waterhouse Movies Editor Aaron Mesh Music Editor Casey Jarman Editorial Interns Emilee Booher, Emily Green, Brandon Hamilton, Reed Jackson, Maggie Summers, Annie Zak CONTRIBUTORS Classical Brett Campbell Dance Heather Wisner Food Kelly Clarke Visual Arts Richard Speer Erik Bader, Judge Bean, Nathan Carson, Devan Cook, Shane Danaher, Jonathan Frochtzwajg, Robert Ham, Jay Horton,

Matthew Korfhage, AP Kryza, Hannah Levin, Jessica Lutjemeyer, Jeff Rosenberg, Matt Singer, Chris Stamm, Mark Stock PRODUCTION Production Manager Kendra Clune Art Director Ben Mollica Graphic Designers Melissa Casillas, Soma Honkanen, Adam Krueger, Brittany Moody, Carolyn Richardson Production Interns Morgan Green-Hopkins, Lana MacNaughton ADVERTISING Director of Advertising Jane Smith Display Account Executives Sara Backus, Maria Boyer, Michael Donhowe, Drew Harrison, Janet Norman, Kyle Owens Classifieds Account Executives Ashlee Horton, Corin Kuppler Advertising Assistant Ashley Grether Marketing and Events Manager Jess Sword Marketing Coordinator Jose Tancuan Give!Guide Director Brittany Cornett Production Assistant Brittany McKeever

Our mission: Provide our audiences with an independent and irreverent understanding of how their worlds work so they can make a difference. Circulation: 80,000-90,000 (depending on time of year, holidays and 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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DISTRIBUTION Circulation Director Robert Lehrkind WWEEK.COM Web Production Brian Panganiban Web Editor Ruth Brown MUSICFESTNW Executive Director Trevor Solomon Kardashians’ Favorite Pool Boy Dan Winters OPERATIONS Accounting Manager Andrea Manning Credit & Collections Shawn Wolf Office Manager & Receptionist Nick Johnson Office Corgi Emeritus Bruce Manager of Information Systems Brian Panganiban Publisher Richard H. Meeker

Willamette Week welcomes freelance submissions. Send material to either News Editor or Arts Editor. Manuscripts will be returned if you include a self-addressed, stamped envelope. To be considered for calendar listings, notice of events must be received in writing by noon Wednesday, two weeks before publication. Send to Calendar Editor. Photographs should be clearly labeled and will be returned if accompanied by a selfaddressed, stamped envelope. Questions concerning circulation or subscription inquiries should be directed to Robert Lehrkind at Willamette Week.

TEAM RIVER CITY VICTORS AT THE RAPHA GENTELMAN’S RACE TIM REINHART, MATT KARRE, JASON RIFFLE, PATRICK MARZULLO, JOHN WALROD & RYAN WEAVER

postmaster: Send all address changes to Willamette Week, 2220 NW Quimby St., Portland, OR 97210. Subscription rates: One year $100, six months $50. Back issues $5 for walk-ins, $8 for mailed requests when available. Willamette Week is mailed at third-class rates. A.A.N. Association of ALTERNATIVE NEWSWEEKLIES This newspaper is published on recycled newsprint using soy-based ink.

Willamette Week SEPTEMBER 7, 2011 wweek.com

INBOX GANG GREEN Dear Sir, As a former sportswriter, if I were Jonathan Crowl’s editor, I would have taken the first draft of his “Gang Green” article [WW, Aug. 31, 2011] and torn it to shreds in his face. I would then instruct him to act like a journalist, to interview Timbers fans, to stand in line with us and gain an actual understanding of what it means to be a Timbers (and a soccer) fan in this city. Instead, you decided to print Mr. Crowl’s rehash of old stereotypes, and thus contributed to the reinforcement of the negative national perception of Portland as a city of unemployed alcoholic hooligan drifters. It’s entirely unfair to the vast majority of decent people who now, by virtue of Major League Soccer, and the designation of “Timbers Army” tickets, have to be officially called “Timbers Army.” The Timbers Army should be a state of mind: the simple act of being interested in the Timbers. Instead, articles like this speak of “The Timbers Army” anthropomorphically. Let it be known that the 107 Independent Supporters Trust (IST) is the closest thing we fans have to a governing entity, the goals of which are 99 percent charity/improving local soccer fields/ sponsoring youth soccer, and 1 percent creating spectacular Tifo displays. It’s embarrassing that these things need to be pointed out.

You and/or Mr. Crowl have an open invitation to come wait in line with us, and to speak with the lovely people I have the privilege of spending three or four hours of pre-match time with before we all disperse to our respective North End sections. These are parents and grandparents, teachers, combat veterans, salespeople, tech nerds and students. I hope to see you there. Best regards, Mike Schwartz Section 106, where our slogan is “Family First”

There’s a red sign with a “U” on Union Jacks. I’ve heard it’s a warning that the building is unsafe to enter if it’s on fire. How do they stay open if they’re unsafe? I love UJs, but I don’t want to burn there! —Bill M.

more likely to catch fire than any other building, present first responders with special challenges if they do happen to catch on fire. The scarlet U is a warning that, even for firefighters, this particular burning building might not be the greatest spot to hold the company potluck. Concerns might include upper floors morethan-usually prone to collapse, or a deficiency of exits from some rooms. The Fire Bureau maintains a building-by-building database of such hazards, and the red U on a specific building reminds firefighters to check this catalog before charging in. The Fire Bureau says these buildings are perfectly safe in their normal, not-on-fire state; they’d be shut down if they weren’t. Still, if you smell smoke in Union Jacks, it might behoove you not to stay through the next dance—even if you did already put down your dollar, you cheapskate.

You may call me a pettifogging old schoolmarm, Bill, but it’s my considered opinion that all buildings are unsafe to enter if they’re on fire. I’m afraid I must stand firm on this: If a building is on fire—even one without a red U—it should not be considered a convivial spot to spend an evening, say, rebottling your collection of vintage paint thinners. Of course, this rule doesn’t apply to firefighters. They hang out in burning buildings all the time—often splashing a little gasoline under their arms before they walk in, just to add to the overall badassery of the effect. Still, there are a few buildings that, while no 4

Willamette Week SEPTEMBER 7, 2011 wweek.com

I’m surprised by the “I saw kids at the game, therefore it’s OK for your kid to be there” comments. I’m with some of the other [wweek.com] commenters—we sat near the front, and loved the game, but the overall vibe in the stands was generally obnoxious (and felt a lot like trying too hard). The drinking was also pretty heavy. I’m not sure what’s happening to Portland, really. I grew up here, and this fairly recent phenomenon of trying really hard to make Portland “cool” feels like watching a teen with a severe identity crisis (and I’ve seen that up close). Is it really necessary to have a defensive “Timbers Army” crowd trolling the Internet shouting down anybody who doesn’t see the soccer world the way they do? Apparently yes, I guess. —“Dad of Two” 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

QUESTIONS? Send them to dr.know@wweek.com.

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At the 8th Annual Cannon Beach Cottage Tour SEPTEMBER 10TH, 2011, 10 am – 4 pm Tickets are $20, price includes a Wine Reception afterward at the Cannon Beach History Center Luncheon & Lecture is at noon, at the Tolovana Inn, Tickets are $20. The lecture will be given by local historian Mark Beach. FOR MORE INFORMATION CONTACT: The Cannon Beach History Center (Corner of Sunset & Spruce) | 503-436-9301 | www.cbhistory.org SPONSORS: Arbor Care Tree Specialists, Bruce's Candy Kitchen, The Tolovana Inn, Cannon Beach Collection, Cannon Beach Property Management, The Realtors of Windermere, Robert and Jenee Mushen

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BUSINESS: It’s been a good decade for one local company. LAW: How would a public defender run the “war on terror”? CONSPIRACY THEORIES: A Truther dares us to believe. PREDICTIONS: So much for the end of partisanship.

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NO ANNIVERSARIES HERE. Amanda Marshall, the Oregon Department of Justice lawyer President Barack Obama nominated last year to be the U.S. attorney for Oregon, will finally get a Senate vote this week. The Senate Judiciary Committee, which has already confirmed 80 other nominees in the country’s 93 federal judicial districts, will decide Sept. 8 whether Marshall will take over MARSHALL from Dwight Holton, who has been the state’s acting top prosecutor since February 2010. As wweek.com reported Sept. 6, one influential interest group wants Holton to keep the job: The Oregon State Sheriffs’ Association wrote to U.S. Sen. Ron Wyden (D-Ore.) urging him to support Holton for the coveted (and powerful) U.S. attorney spot. Wyden rejected the entreaty. Two prominent lawmakers are close to major career moves: Two-term state Rep. Jefferson Smith (D-East Portland) spent the weekend at the coast with his wife to arrive at a decision whether to enter the mayor’s race. Smith remained mum at press time, but people close to him expect the Bus Project co-founder to challenge Eileen Brady and Charlie Hales in the race to replace incumbent Mayor Sam Adams, who is not running. Secondly, former House Speaker and House Democratic caucus leader Dave Hunt (D-Gladstone), whose colleagues stripped him of his leadership position, has told friends it is highly likely he’ll leave the Legislature to seek the position of Clackamas County chairman. At least two strong Democratic candidates are waiting in the wings should Hunt vacate his seat: former state Rep. Brent Barton (D-Clackamas) who lost a Senate bid in 2010 and Toby Forsberg, who narrowly lost a House race in 2008. Britain’s prestigious Man Booker Prize for Fiction announced its shortlist of six novels today—and Portland’s Patrick deWitt made the cut with his second book, The Sisters Brothers. This means deWitt, whose British Columbian birth makes him eligible for the literary honor as a citizen of the Commonwealth, will travel to London in October to hear whether he deWITT or one of five other finalists— including Julian Barnes—will take home the Man Booker. The Sisters Brothers is the first Western ever shortlisted. Does this mean London is the new Portland?

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Curious which city of Portland employees have the biggest salaries? Which bureau middle manager claims the most overtime? Which commissioner has the highest-paid staff? Or exactly how much more than you that one uncooperative permit clerk made last year? Check wweek.com/citypay beginning Sept. 8 to search our database of city employee compensation in the last fiscal year. Semi-spoiler: The highestpaid city worker is a Portland Police Association member. Read more Murmurs and daily scuttlebutt.

Willamette Week SEPTEMBER 7, 2011 wweek.com

DA N N Y PA L M E R L E E

BIKE LIGHTS

9/11 — 10 YEARS ON AND 2,500 MILES AWAY L I Z G O E T T E E , U S N AV Y

NEWS

Portland was safely removed from the 9/11 attacks, but the national response to those now-historical events affected this place as much as any other. From eroded civil liberties to the stubborn persistence of irony, WW this week looks at what’s changed—and what hasn’t. See more at wweek.com.

WE SEE YOU: The modified Huey helicopter in this U.S. Navy photo features a FLIR Systems BriteStar thermal-imaging system—it’s the pod mounted under the nose. While commercial night-vision technology works by detecting ambient light, FLIR’s technology visualizes heat, providing a tactical advantage.

LIGHT DURING WARTIME OREGON MISSED THE 9/11-INDUSTRIAL TRAIN, BUT ONE LOCAL DEFENSE CONTRACTOR HAS THRIVED. BY CO R E Y P E I N

cpein@wweek.com

Since 2001, the U.S. government has spent $8 trillion on defense and homeland security, but that largesse has resulted in few local jobs. Oregon receives roughly one-fifth the national average in per-capita military spending, according to the Portland-based Pacific Northwest Defense Coalition. And Portlanders keep electing one of the members of Congress willing to vote against the Pentagon budget, Rep. Earl Blumenauer (D-Portland). “Oregon prides itself on not having that type of an economy,” former two-term Gov. Ted Kulongoski told WW in a Jan. 4 exit interview. Kulongoski, himself a Marine, said that traditional reluctance to participate in the “recession-proof” military sector is beginning to change, as suburban tech companies land more contract work on aerial drones. One large but low-profile local company has already learned to thrive in the “war on terror”: FLIR Systems of Wilsonville appears to be the state’s greatest financial beneficiary of post-9/11 war spending. To arrive at that determination, WW reviewed tens of thousands of Department of Defense, Homeland Security and Veterans Affairs contracts with Oregon companies signed between summer 2001 and 2011. FLIR, the eighth-largest publicly traded company in

Oregon, has received more than $1 billion in defense and security contracts since 9/11. FLIR claims roughly $12 of every $100 of those contracts in Oregon. The company’s name is an acronym for “forward-looking infrared,” which is one type of the advanced imaging systems it designs and manufactures. Such systems are critical to modern military and police forces because they allow users to see targets in the dark, at great distances, and through concealment and camouflage. FLIR’s corporate headquarters are in Oregon, but it has sales offices in more than 100 countries, and manufacturing sites in four states, France and Sweden. Since 9/11, its revenues have increased sixfold, to $1.4 billion last year. As impressive as that may be, consider FLIR’s profitability: from a $29 million loss in 2000 to a $56 million profit last year. Chairman and CEO Earl Ray Lewis III this year signed a contract that sets his base salary at $875,000 next year, several times what he made when he joined the company before 9/11. Forbes magazine says Lewis’ compensation last year totaled $5.4 million. Late last month, blaming uncertainty around the military budget, FLIR announced it would lay off 40 workers in Wilsonville—one-tenth of its workforce in the state. Then last week, FLIR won a three-year, $52 million U.S. Navy contract for the Star SAFIRE thermal-imaging systems it manufactures in Wilsonville. Shane Harrison, FLIR’s director of corporate strategy and investor relations, says civilian products are increasingly important to the company. “We don’t consider ourselves a defense contractor,” Harrison says. He then asked for his comments to be retroactively taken off the record,

citing a company policy of not speaking to the press. The U.S. military is a key FLIR customer, but nearly half of FLIR’s business is abroad, according to federal filings. “Building a presence in new international markets has been successful, most recently in regions of the Middle East,” says the company’s last annual report. In May, the Pentagon notified Congress of its plan to sell $330 million worth of night-vision equipment to the government of Saudi Arabia, including 200 night-vision sniper scopes made at FLIR’s Boston facility. The sale came two months after Saudi forces had helped the government of Bahrain squelch street protests. There were reports of deadly night raids on protesters by riot police; some demonstrators claimed they were fired on by helicopters and snipers. There’s no evidence that FLIR equipment has or will be used in such cases to put down pro-democracy protests. But clearly not every foreign military that purchases FLIR technology has a sparkling reputation. One recent order bound for Pakistan—“a familiar customer,” a FLIR executive said in a conference call this year—was held up by a U.S. review of export licenses to that country following the discovery of Osama bin Laden there. “We sometimes will try to control [military] items as an exercise in political symbolism, but for a country like Saudi Arabia, this kind of item has no impact whatsoever on its ability to deal with popular unrest,” says Anthony Cordesman, a defense expert at the Center for Security and International Studies in Washington, D.C. “If you don’t give [foreign military allies] CS gas or rubber bullets, they use real bullets. The whole idea that somehow you can inhibit the ability of a sophisticated armed force to deal with crowds…while it’s well-meaning, simply ignores how easy it is to substitute one form of equipment for another.” Other experts disagree. Chris Hellman, a researcher at the National Priorities Project in Massachusetts, says: “It’s not even a question that [the night-vision gear] could be used for internal security.” Willamette Week SEPTEMBER 7, 2011 wweek.com

9/11

10 YEARS ON AND 2,500 MILES AWAY

A GUANTANAMO LAWYER SAYS CONSERVATIVES HAVE GIVEN THE STATE POWERS THEY ALWAYS FEARED. BY M A R K Z U S M A N

mzusman@wweek.com

No Portlander is more involved with the aftermath of 9/11 on a national—or global— scale, than Steven Wax. As the federal public defender for Oregon since 1983, leading the office that provides legal representation to indigent people charged with federal crimes, Wax defended Brandon Mayfield, the Beaverton Muslim falsely accused of setting off bombs in Madrid in 2004. Wax successfully defended six detainees at Guantanamo Bay. His latest project is the defense of Mohamed Osman Mohamud, the 19-year-old Somali-American charged with attempting to bomb Pioneer Courthouse Square in November. We sat down with Wax recently to reflect on the nation’s course since 9/11. He was outspoken about the erosion of civil liberties thanks to legislation like the Patriot Act, although he made it clear that President Obama’s Justice Department has been more intelligent in its approach to terrorism than the government under George W. Bush. Wax was at his most provocative when we asked him, “If you were in charge of the war on terror, what would you do?” Here is his response. Steven Wax: I think that one of the things that I would do, and I believe the Obama administration attempted to do it, would be to stop using the phrase “war on terror.” I think that we need to have more confidence in our justice system than some of the people in the Bush administration did, and than some of the people in the Obama administration do, or perhaps some of the people in Congress do. In that regard, I would be more critical of people in Congress than of some of the people in the Bush administration. When [Attorney General] Eric Holder

K AT H A R I N E J A C O B S

THE DEFENDER said, “Let’s bring Guantanamo Bay detainees to this country and let’s have [civilian] trials” [a decision that the Obama administration ultimately backed down from], he recognized that we are perfectly capable, within our system of laws, of rooting out people who are conspiring to commit terrorist acts or have committed terrorist acts and prosecuting them. It’s disturbing to me that some of the most strident voices against the use of our justice system are the people who are supposed to be, because they call themselves conservatives, the strongest supporters of our system. I also believe we would be better served in terms of generating information from some of the places in the world and some of the populations in this country…if we treated people with more respect.... THE ARAB SPRING It will be very interesting to see what happens in the Middle Eastern countries, with the Arab Spring. Who are we going to side with? And what will that say to the people in those countries? It’s utterly fascinating that up until now, the fundamentalists throughout the Middle East do not seem to have played a big role in these revolutions, and do not seem to be ascendant. Are we going to support the new strongmen? Or are we going to support the people looking for economic betterment? If I were fighting the war on terror, I would be less inclined to support some of the strongmen where some of the unrest is bred. SAUDI ARABIA The exceedingly difficult question is Saudi Arabia. Perhaps one of the most fundamentalist of the Arab countries, the country that gave us 15 of the 19 9/11 terrorists, the country that gave us bin Laden, the country whose petrodollars are being used to fund terrorism. We need to confront the exceedingly difficult reality that exists in Saudi Arabia through the Saudi government in its repression of the Saudi people, its use of petrodollars to feather the nests of a feudal

COOLER HEADS PREVAIL: Wax says the U.S. would get better intelligence from Islamic groups if agents treated them with more respect.

system and support terrorism elsewhere. How do we do that when we need the Saudi oil? Part of addressing terrorism goes back to the opportunity the Bush administration missed in the fall of 2001— get over our dependence on oil. You want to eliminate the importance of the Middle East? Eliminate the importance of oil. And it seems to me that that is part of the war on terror. It is part of fighting and addressing terrorism. Redistribute some of the wealth, work with those people in some of those countries on the redistribution of that wealth, and make the Saudis less relevant to us. THE TSA There has been use of airplanes as weapons of terror, and airplanes can be highly destructive. Well, trains can be highly destructive, chemical plants can be highly destructive, trucks can be highly destructive. It seems to me that the emphasis on the searches at airports is a waste of time and money, and conveys a false sense of

security, and is a symbol. It started as a legitimate reaction to a problem, but now it is a symbol. What are we supposed to do with a sign in front of the Portland airport that says, “Today, the terror alert is orange” except feel afraid? What are we supposed to do when we are confronted with X-ray machines at the airport—how intrusive is it, and what does it show? What are we doing to ourselves as a society if we continue to shake down and spread-eagle 4-year-olds and 80-year-olds? It continues to generate fear that continues to cause people to be far more willing than we should be to give up our freedoms, to cede responsibility to our government in a way we should not be doing. How would I deal with the war on terror? I would redistribute some of the efforts and security away from the first genuine national police force that the conservatives railed against and fought against for decades, that we now have in the TSA. I’d redistribute that money into some more genuine efforts at security elsewhere.

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The Taoist Tai Chi Society of the USA, Oregon Branch & The Fung Loy Kok Institute of Taoism Celebrate

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Deb Farrington K.D. Grimm Susan Matthies Terry Carpenter Judy Weber Hank Weber Samantha Breen Jane Edwards Jean Swantish

9/11

10 YEARS ON AND 2,500 MILES AWAY

Raising Jewish kids, but Judaism is new to you? The Mothers Circle is a community-wide FREE educational and welcoming program empowering mothers for other backgrounds to create Jewish homes. The course runs twice a month October – May and includes FREE childcare. Choose an upcoming informa1on session: Sunday, September 18, 9:30am Thursday, September 22, 7:00pm Mittleman Jewish Community Center For more information about Mothers Circle or to RSVP: jgreenberg@nevehshalom.org www.nevehshalom.org/motherscircle

The Mothers Circle is brought to you by Congregation Neveh Shalom and is locally co-sponsored and/or funded by: The Holzman Foundation, A Community Impact Grant by The Jewish Federation of Greater Portland, The Oregon Jewish Community Foundation, The Oregon Jewish Community Youth Foundation, The Mittleman Jewish Community Center, B’nai B’rith Camp, Beit Midrash Eitz Chaim, The Oregon Board of Rabbis and Congregations Beth Israel, Havurah Shalom, Kol Ami, Shaarie Torah and Shir Tikvah. Mothers Circle is an afﬁliate program of the Jewish Outreach Institute.

EXTREMELY LOUD AND INCREDIBLY FAKE: Loose Change includes this CGI rendering of Flight 77 being hit by a guided missile.

NEVER REMEMBER A DECADE OF TRUTHER MOVIES, CONSIDERED. BY AA R O N M E SH

amesh@wweek.com

The letter feels like tidings from 10 years ago: handwritten, packed in bubble wrap, delivered by the U.S. Postal Service. But it arrived at WW a month ago from Paul S. Szymanski of Southwest Portland, enclosed with seven DVDs. “Watch even one of these discs,” the letter reads, “and you will be convinced: 9/11 was an inside job. I understand that your paper is constrained from printing any of this except derisively.” I watched two. In fact, I had reviewed another 9/11 Truther film, a drama called The Reflecting Pool, back in 2008. Of course, there is no evidence of this review on wweek.com. You could take it on faith that the review is gone because our crappy website deleted it. But why, of all reviews, is that one missing? That was derisive, I admit, but it’s been a difficult three hours. It is staggering to fathom that people have been spiraling in this free fall of logic for so many years. This is the six-year anniversary of Loose Change, the Web video that now has elaborate if terrible CGI, and a rap song. By watching this Truther classic, and 9/11: Intercepted—apparently the most recent work—I hoped to sense what it might be like to know, for 10 years, that what you know disproves what millions of people believe they saw. It is very boring. Watching Loose Change is like arguing intensely with a person who lapses into autistic detail on a tangentially relevant subject— the history of fires in tall buildings, say, or Newton’s third law of thermodynamics—and then suddenly changes the subject before reaching a conclusion, then refuses to bring that subject up ever again. Watching 9/11: Interception, made by the group Pilots for 9/11 Truth, is even worse: It is like watching an air-traffic controller re-create his favorite routes on a Sega Genesis. Objection yields to stupefaction. Next comes a suspicion that the producers of these films feel free to make half-baked, bad-faith arguments because they are sure the authorities are arguing in even worse faith (to be sure, Dick Cheney was in power). Finally, the films suggest a jealous buddy presenting an annotated list of circumstantial evidence that his girlfriend is cheating on him: Her black bras are usually in the second sock drawer, but yesterday they were in the third sock drawer. What does that tell you? But the worst thing about these movies is how numb they are to the magnitude of events. Endlessly rewinding video to look for secondary, controlled detonations as a jetliner explodes into the side of a skyscraper feels like examining mattress brands in a hardcore porno. “Think of your future,” the Truther letter concludes, and I tried. But as these hectoring, tedious films wore on, I found myself instead thinking about the Truthers’ future. It would be a just fate for them to spend the next decade locked in a conference room with the Bush administration officials who, with different motives but similar rhetorical tools, likewise spun 9/11 for their own ends. Willamette Week SEPTEMBER 7, 2011 wweek.com

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THE NEW NORMAL TURNED OUT TO BE A LOT LIKE THE OLD NORMAL. BY N IGEL JAQU ISS

njaquiss@wweek.com

A decade ago, pundits around the country heralded a new America. Optimists said we’d see Americans more interested and engaged in world affairs. We would all be more serious: Vanity Fair magazine editor Graydon Carter famously predicted “the end of the age of irony.” Partisanship was out. Patriotism was in. Grimfaced experts forecast more terrorist attacks on U.S. soil and a backlash against Muslims. In the aftermath of the attacks, Americans learned about anthrax—which turned out to have nothing to do with al-Qaeda—and Oregonians learned about the Portland Seven, a ragtag group of terrorist wannabes. Although predictions about additional terrorist attacks on U.S. soil largely proved incorrect, and there have been fewer retaliatory hate crimes than some feared, over the past decade Oregon has seen what acting U.S. Attorney Dwight Holton calls a “disproportionate” number of terrorism investigations. Backlash against Muslims spikes after terrorism arrests, Holton says. Portlanders’ ambivalence about terrorism investigations was evident in the City Council’s tortured deliberations earlier this year on whether to join the national Joint Terrorism Task Force. After being the only city among more than 100 to opt out under former Mayor Tom Potter, Portland tentatively joined the JTTF but only under highly specific conditions. Whether or not they have prevented further attacks on America, post-9/11 security measures such as amped-up airport screening have persisted longer than the air of unity. Shortly after the attacks, Portland pollster Adam Davis conducted focus groups and surveys. “I saw an impact on public opinion that I’d never seen before,” Davis recalls. “It really galvanized people. It really drew people together.” The sense of cohesion was short-lived. “It was an incredible period and as quickly as it came, it went away,” Davis says. Today, Davis says, the level of alienation and partisan division is unparalleled. “People are

more negative now than I’ve seen in 35 years of public opinion work,” he says. After the attacks, patriotism—or at least its outward trappings—soared. The most tangible evidence of that may have been the Portlanders who flocked to the city’s largest flag seller, Elmer’s Flag and Banner on Northeast Broadway. Mike Hale, Elmer’s owner, says his business saw about a 250 percent increase in sales in the year following the attacks. But the next year, sales sagged below 2000 levels. “There was just a saturation, I guess,” Hale says. Even the most ardent patriots need only so many flags. Hale says he thinks that even though sales have returned to normal, Oregonians remain more patriotic than before the attacks. His typical customer used to be a veteran, he says, but that’s no longer the case. Although Oregonians wave the flag less than residents of other states, Hale says, he thinks they still feel a residual patriotism. “After 9/11, I think people saw themselves more as Americans. I think that attack lingers in our minds. We’ve been attacked, and it could happen again,” the flag seller says. Political science professor Jules Boykoff of Pacific University sees the issue of patriotism through a different lens—the willingness to dissent or willingness to question government policies such as the Patriot Act. “If dissent is patriotic, it’s a little surprising we haven’t seen more demonstration, considering the wars and other things that are going on,” Boykoff says. Boykoff says his research into the FBI’s tactics and President Barack Obama’s use of executive privilege to keep domestic surveillance programs under wraps make him pessimistic. Compared to the 1960s, when college students energized the anti-Vietnam War movement, Boykoff sees little such activism and more focus on résumé-building. “There is a lot of student activity but it’s channeled into safer areas, perhaps because of economic concerns,” Boykoff says. Although college students may be more focused on getting jobs than marching in the streets, there’s plenty of evidence in Portland they haven’t completely put away childish things. In a city where adults play kickball and ride tall bikes, it’s obvious that irony did not die. Lewis & Clark College theater professor Stepan Simek says, if anything, irony is increasing. “There’s a certain solace that comes from seeing the underlying struggle in that fashion,” Simek says. “9/11 was horrific, but I think the understanding of the absurdity of the world as it exists is rising.”

Dr.Martens presents

Willamette Week SEPTEMBER 7, 2011 wweek.com

MACK

TO THE FUTURE SEATTLE’S MACKLEMORE IS SINCERE, INDEPENDENT AND HUGE. IS THIS THE NEW FACE OF HIP-HOP? This is nothing short of amazing. The MC—who plays MusicfestNW this week—has no label and no “See everybody’s striving for that same shit/ To get new album; instead he and producer Ryan Lewis paid and make it/ And I’ll be honest, I’m trying to have built a rabid national fan base around a handful of videos and singles that exist only on the Internet. become famous” —“Ego” (2005) But it’s not the rapid rise and DIY ethos that is Ben Haggerty has lost his train of thought. Moments most striking about Macklemore. It’s that, in a genre ago, the MC—sitting on a park bench in Seattle’s full of fronting, beef and bravado, Macklemore’s Capitol Hill district sporting salmon-colored, knee- music is shockingly genuine. “People compare him to length shorts and a low-buttoned summer shirt— Eminem, because he’s white, but he’s not that kind of was talking about his early career. Now his piercing, artist. It’s all heartfelt, you can see when he performs deep-set gray eyes are focused on a group of teenage that he bleeds this stuff—it’s from the heart,” says Sir photography students as a chubby kid takes sly Mix-A-Lot, the most successful rapper in Seattle’s hisphotos of Haggerty while his friends giggle. “Do tory. “As far as scope, though, he could be as large as an they really think I don’t know Eminem, as large as a 50 Cent.” To Max O’Neal, a 16-year-old what they’re doing?” he asks, SEE IT: Macklemore and Ryan Lewis student at Seattle’s Ballard his mouth stuck somewhere play the Roseland Theater on Friday, High, Macklemore has already between a smile and a grimace. Sept. 9 as part of MusicfestNW. 10 pm. eclipsed those artists. “He Being spotted by prepu$16 (or MFNW wristband). All ages. bescent paparazzi in public is doesn’t rap about partying, drugs, alcohol and sex, he raps nothing new to the 28-year-old MC. “For the most part, every time it happens, I’m about REAL THINGS...and he does it with a fiery grateful for it,” he says. “But you can’t turn it off. If passion,” O’Neal writes. “To me, he reps the 206 betI want to go get a Dick’s cheeseburger at 1:45 in the ter than anyone else out there.” Macklemore is the anti-Eminem, and he’s commorning, I know what comes with that.” Macklemore, who just might be the most pain- ing for your children. This man is going to be huge. fully self-aware and polite artist in hip-hop history, CONT. on page 16 is well on his way to becoming Seattle’s biggest star. BY C AS E Y JARM AN

Willamette Week SEPTEMBER 7, 2011 wweek.com

cjarman@wweek.com

A N D R E W WA I T S

Willamette Week SEPTEMBER 7, 2011 wweek.com

CONT. M A C K L E M O R E .T U M B L R . C O M

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Willamette Week SEPTEMBER 7, 2011 wweek.com

“I grew up on Capitol Hill with two parents and two cars/ They had a beautiful marriage, we even had a swing set in our yard” — Macklemore, “Claiming the City” (2005) Haggerty doesn’t look much like a rap icon—a tuft of slicked-back hair on his high-shaved head; a penchant for fuzzy, vintage thrift-store jackets and a searching, serious face combine to make him look more like a World War I fighter pilot than an MC. Oh, and he’s white. Extra white, at the moment, because he’s spent most of his summer in the studio. His music isn’t standard issue, either. Macklemore’s lyrics tend toward high-drama cautionary tales, not cars or sexual conquests. He raps about baseball, the most un-hip-hop of sports (“My Oh My” is an emotional tribute to the late Seattle Mariners broadcaster Dave Niehaus). Even his party tracks are unconventional: Midshow, Haggerty likes to don a wig and shoddy British accent, becoming “Sir Raven Bowie” for the Eurotrashy club cut “And We Danced,” his most popular single to date. Haggerty comes from a stable, two-parent household—a far cry from the standard rap bio— and had the full support of his parents in making his music. But he does share with most performers a desperate need for attention. “I was always an eclectic, weirdo kid, and I would wear my underwear on the outside of my pants and put on shows and dance around,” he says. “My parents took me to see Cats when I was 6 or 7—I dressed up like a cat for a year straight.” In the fourth grade, he and two friends covered the Digable Planets’ “Cool Like That” in a school talent show—but he doesn’t remember how that first appearance as an MC went over with the crowd. “I just remember practicing and being really serious, spending my lunch hour going over and over it,” he says. Photos from his teenage years show Haggerty “mean-mugging” (a favorite phrase of his) comically alongside friends of decidedly darker hues. He developed two major passions in life: skateboarding and hip-hop, taking the latter very seriously. There was only one problem. “The raps were just horrible. I was horrible for a long time,” he says.

In 2004, Haggerty recorded “Welcome to MySpace,” a techno-tinged, tongue-in-cheek condemnation of the social network that called out the service’s founder, Tom Anderson. “God damn, Tom, I used to have a life with a job/ Now I’m just eatin’ cereal readin’ what people write in their blog,” Haggerty rapped. Anderson apparently took the joke well, posting the song on the upstart service and winning Macklemore thousands of new fans. (He’d also meet producer Ryan Lewis on the social media service.) It was Haggerty’s first taste of national success, something that’s now an everyday occurrence. In 2005, Macklemore released his first album, The Language of My World. The self-released disc wasn’t much of a commercial success compared to his highly downloaded recent singles, but it did establish a blueprint for Macklemore’s style: honest, cinematic and perhaps a touch overdramatic. The album’s opening rap, “White Privilege,” indicted himself and his white showgoers for the gentrification of hip-hop. “Now who’s going to shows/ The kids on the block starving/ Or the white people with dough who can relate to my content?” he rhymes. If Macklemore has strayed from discussing race on the flurry of singles and EPs he has released in the past 18 months, it’s probably because that song did a number on him. “It’s a complicated fucking issue,” he says with a shrug and a sigh. “I also don’t want to be the white rapper that’s talking about the black man’s struggle.” “Syrup, Percocet and an eighth a day will leave you broke, depressed and emotionally vacant/ Despite how Lil’ Wayne lives it’s not conducive to being creative…. I’d sip that shit, pass out or play PlayStation” —Macklemore, “Otherside” (2010) Haggerty and I leave the park on Capitol Hill in his white Volvo station wagon and pass by his old rehab center. “This place is a trigger for me,” he says, his pale arm resting on the window as he surveys his old stomping grounds. He starts talking about “lean,” the cough syrup-based cocktail also referred to in hip-hop parlance as “purple drank” CONT. on page 18

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FROM THE HEART, Y’ALL: Macklemore at Seattle’s High Dive in January.

or “sizzurp.” Though he raps about the drug’s fatal consequences on “Otherside,” he describes lean like a particularly gorgeous exgirlfriend. “It fucks you up,” he says with a sentimental head shake. A year after his debut dropped, Haggerty entered rehab and moved back in with his parents. It wasn’t just “lean” that got him to that point: An abuse of alcohol, a constant marijuana habit (“I was smoking the second I woke up; I was reaching over and grabbing whatever roach I had from the night before”) and a blossoming obsession with painkillers trapped him in a cycle of low creative output and bad life decisions. He repeatedly cheated on, and nearly lost, his longtime girlfriend—now a business partner who accompanies him on tours and helps with day-to-day management duties. “It got to that point where I was sick of being that dude—sick of lying, sick of cheating, sick of getting caught and making up excuses, trying to get back trust and fucking up again,” he says. “That whole cycle was taking so much energy. “I guarantee you if I was still using drugs and alcohol, we wouldn’t be having this interview,” Haggerty says. “I wouldn’t be anybody to write about.” Macklemore’s vulnerability is why he has a reputation as a hip-hop softie: Many of his and Lewis’ new songs are more emo than Death Cab for Cutie and clearer in message than Elliott Smith’s. And while the music has its share of critics—The Seattle Times ran a painting of Haggerty crying and holding a puppy on a recent cover, accompanied by an article decrying his music as overdramatic—friends say it’s entirely genuine. “It’s not an act at all. That’s Ben. That’s where he’s at right now,” says Melissa Darby, booker at the storied Crocodile and a longtime advocate for Seattle hip-hop. “His music is going to adapt to wherever he’s at, and right now I think he’s feeling refreshed and grateful.” Genuine or not, the confessional lyrics—combined with Haggerty’s good looks—have earned the MC a crowd that could just as well be attending a Bright Eyes show. It was a fact made clear at last year’s City Arts Festival performance at Seattle’s Paramount Theatre (where he shared the stage with Mix-A-Lot). “That was the one,” says Larry Mizell, Seattle music critic and KEXP radio host. “He was opening for Blue Scholars, but he was up there, and he just looked huge. Every fourth kid in the crowd, and it was a big-ass crowd, had a Macklemore T-shirt on.” CONT. on page 21

Willamette Week SEPTEMBER 7, 2011 wweek.com

HOW SEATTLE PUT THE NORTHWEST BACK ON THE MAP

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The Northwest hasn’t produced a major hip-hop success since Sir Mix-A-Lot ruled the charts two decades ago, and until the mid-aughts, local hip-hop shows in Seattle were—much like most Portland shows— attended primarily by local artists themselves. What changed? Somebody invited the kids. Until 2002, all-ages hip-hop shows were a rarity in Seattle. The draconian “Teen Dance Ordinance,” a 1985 city law that forced all-ages clubs to hire off-duty police and take out a million-dollar insurance policy in order to put on a concert, made under-21 shows prohibitively expensive. Indie-rock promoters sometimes ignored the ordinance, but hip-hop shows became favorite targets of the law’s selective enforcement. In 2002, the ordinance was replaced by the more forgiving “All-ages Dance Ordinance.” And while the Student Hip-Hop Organization of Washington, or SHOW, had been putting on major hip-hop concerts at the University of Washington for a few years, the rules changes eventually led to an opening of the floodgates that helped give Seattle hip-hop an off-campus push. The Blue Scholars were the first to go big. The duo of smart, funky UW graduates became the face of the Seattle hip-hop scene in 2004, and by 2007, they were big enough to sell out five days’ worth of all-ages local hip-hop showcases at Capitol Hill institution Neumos. Later the group would invite a lesser-known MC— Macklemore—to open for it on multiple occasions. Nowadays, Seattle’s hip-hop scene is so diverse and deep that even Sub Pop Records—the label that brought the world Nirvana, the Shins, and Band of Horses, among others—is getting in on the act, signing two Seattle hip-hop acts, Shabazz Palaces and THEESatisfaction, in the past year. Sub Pop’s Megan Jasper, who brought both acts to the label, says that despite Sub Pop’s lack of hip-hop history, the groups seemed like a natural fit. “People are talking about the music less in terms of it being a genre, and more in terms of it just being music,” she says. And after working at Sub Pop during the grunge explosion, Jasper sees some similarities between that era of Northwest rock and this era of Seattle hip-hop, with Macklemore at the helm. “What he is going to end up doing is paving the road for so many other artists.” “Seattle hip-hop has found itself,” says Sir Mix-ALot. “You don’t have guys trying to be New York. You don’t have guys trying to be L.A. or the Dirty South. They’re comfortable being Seattle. I like that.” —CJ

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SHOW ME YOUR HANDS: Macklemore and Ryan Lewis perform for a packed crowd at Chicago’s Schubas Tavern on their first national headlining tour earlier this year.

“You could tell from that night that something crazy was happening,” says Zach Quillen, who became Macklemore’s manager shortly after the performance. “There were teenage girls crying in the front row, and he was getting mobbed outside, just walking around.” That’s not an entirely new concept in hiphop—underground hip-hop idol Slug writes similarly sensitive music, and his duo Atmosphere draws the same kind of demographics (teens and college kids, mostly female) that Macklemore has accrued. But Macklemore’s aesthetic is more direct. He preaches on the microphone, often holding back with his technical skills for the sake of the story. Producer Lewis drafts string and horn sections to craft his cinematic beats. The combination can be emotionally flooring—or exploitative, depending on whom you ask. Still, to best understand Macklemore—an artist who hasn’t put out a full album in six years—one has to watch his videos. His breakthrough 2009 video for “The Town” comprises decades’ worth of photos, fliers and video portraits of Seattle’s hip-hop scene that move hand-in-hand with Macklemore’s misty-eyed memories. Director Zia Mohajerjasbi’s video features shots in black with splashes of organic color. Even if the names and images are foreign to non-Seattleites, it’s impossible not to be touched by the sentiment. “The Town” has garnered well over a million views on YouTube, and boasts a 99 percent approval rating from viewers. Videos for “Irish Celebration” (wherein Haggerty raps, “I put down the drink, couldn’t drink like a gentleman/ That doesn’t mean I can’t make a drinking song for the rest of ’em”) and “Wings” (a diatribe against consumerism in general and that sacred cow of hip-hop, Air Jordans, in particular) have been met with similarly impressive responses. Each video is a short-form narrative, with visuals that match the songs’ clear messages. It’s Christian hip-hop that Macklemore is making—only without all the religion. “Trust me, I’m an I-N-D-E-P-E-N-D-E-N-T shit hustla.” — Macklemore, “Can’t Hold Us” (2011) Ten years ago, a man in Haggerty’s desirable

position would be deciding which major label he wanted to sign with. But in 2011, he’s talking more seriously about starting his own. Self-releasing their singles has worked well for Macklemore and Lewis. Haggerty won’t talk about how much money they’ve made, but it’s enough to make a major label’s advance offers seem inconsequential. “I don’t need the money,” Haggerty says. “What’s the most important to me is the art. I would hate to think someone else behind a desk is making those calls; it makes me sick.” Sir Mix-A-Lot, who spent five albums on Rick Rubin’s American imprint, says a major label could ruin everything for Macklemore. “What makes Macklemore so cool to his fans is his independence and freedom,” Mix-A-Lot says. “The closer a label gets to him, the further away the fans will get. And if he’s taken away from what he does best, then he’s just another rapper.” Whatever he chooses, Haggerty has his share of believers. His manager, Quillen, who in July packed his bags and moved to Seattle from New York City to be closer to Haggerty and Lewis, is perhaps the biggest. Quillen, agent to hip-hop stars such as Yelawolf and Wiz Khalifa for the powerful Agency Group, says he took on Macklemore as his first management client because “people like him don’t come around very often.” But not even he is sure what the future holds for Macklemore and Lewis. “A lot of what happens next is in their court,” Quillen says. “I think the sky’s the limit. If they want to take it all the way and have really large mainstream pop success, I think they could. If they wanted to take a more indie approach, I think they could be really successful on that level. The world is their oyster.” Earlier in the day, Haggerty was characteristically humble and reserved on the point. “The whole ‘this is a defining moment for Seattle hiphop,’ that’s not real,” he says. “Maybe it turns into that and maybe it doesn’t.” But now, as he’s looking down at arriving ships in the bay, I start to see the fire that got Macklemore this far. He has found his train of thought. “I truly believe no one is going to stop us, only we can stop ourselves,” he says. “The opportunity is finally there, and the door is open, and it’s like, we can stand around and watch it or we can keep fucking walking.”

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Join us at Lewis & Clark Events are free unless otherwise noted. Parking is free after 7 p.m. and all day on weekends. September 7December 11 Tuesday-Sunday 11 a.m.-4 p.m. Hoffman Gallery of Contemporary Art

September 7 3:30-5 p.m. Agnes Flanagan Chapel

September 13-14

EXHIBITION

Bonnie Bronson Fellows: 20 Years Opening reception, 6 to 8 p.m. on September 7, begins a showing of new works by some of the Pacific Northwest’s most influential contemporary artists. COMMEMORATIVE SYMPOSIUM

10th Anniversary of 9/11 Lewis & Clark will host an academic symposium in honor of September 11, 2001, featuring perspectives from across the institution. SCIENCE WITHOUT LIMITS SYMPOSIUM

Form and Function: Molecular Machines at the Nanoscale This year’s symposium features keynote addresses by Michael Summers, Ph.D., and Carlos Bustamante, Ph.D. For a detailed schedule, visit go.lclark.edu/swl.

Lewis & Clark 0615 S.W. Palatine Hill Road Portland, Oregon 97219

www.lclark.edu Willamette Week SEPTEMBER 7, 2011 wweek.com

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WHAT ARE YOU WEARING?

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IMELDA MAY’S MAYHEM DEBUTS #1 ON BILLBOARD NEW ARTIST CHART “The arse-kicking Irish rockabilly revivalist.”—Entertainment Weekly

“May performs with undeniable flair.”—The Associated Press

“She has vocal chops that put nearly any singer to shame.”—New York Daily News

“May is a masterful vocalist.”—Advance Publications

“‘Refined rockabilly’ may seem like a contradiction in terms, but that’s what the dynamic Irish singer and her five-piece band pull off.”—USA Today “May proves bygone eras are merely sources of inspiration for her spirited take on American music.”—The Boston Globe “May has that rarest thing, charisma.”—LA Weekly

“This is a don't-miss disc that's slick yet raw, sophisticated and raunchy all at once —the perfect soundtrack for hot-summer cool.”—The New York Post “Dublin, Ireland-born Imelda May’s career is fostered by paying homage to legends like Buddy Holly and Johnny Cash and, more importantly, furthering rockabilly’s cross-pollination into New Orleans jazz, delta blues and ampsplitting punk aggression.”—The Los Angeles Times

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Willamette Week SEPTEMBER 7, 2011 wweek.com

FOOD & DRINK: The most Portland restaurant ever. MUSIC: Blind Pilot grows up. PERFORMANCE: Our top picks from TBA. MOVIES: Hooligans vs. Aliens.

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POK POK, N.Y.: It looks like Andy Ricker’s vagabond shoes are longing to stray. New York magazine’s Food blog Grub Street reports this week that the Pok Pok chef is “aggressively” scouting spaces in New York City (his preference is Brooklyn’s Red Hook neighborhood, also home to Stumptown’s East Coast roastery) for the next outpost of his celebrated Thai eatery. The article—which also talks to Matt Piacentini, coowner of Clyde Common and New York restaurant the Beagle, and recent PDX-to-NYC transplant Matt Lightner, formerly of Castagna—quotes Ricker as saying cooking in Portland “is not that challenging.”

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FUTURE DRINKING: A pair of women from Sherwood are opening Vine Gogh, an “artists bar and studio” in (of course) Sellwood, which will offer painting lessons and studio space along with beer and wine. >> Kenny & Zuke’s co-founder (and occasional WW contributor) Nick Zukin may have finally found a location for his long-planned taqueria. He has applied for a full license for the space at Southeast 50th Avenue and Division Street recently vacated by Hawthorne-bound Blue Pig Cafe, under the name Mi Mero Mole. >> Asia Delight Import & Export’Inc, a Sri Lankan food importer in West Slope, has applied for a beer-and-wine license. Intriguing! >> Josun Korean Grill has applied for a license for a strip-mall space at Southeast 82nd Avenue and Powell Boulevard. >> Downtown’s tony Arlington Club, where Portland’s wealthy puppet masters have plotted the fates of us plebs since 1867, has applied for a brewpub license.

Sant Baljit Singh, the spiritual Master teaches meditation on inner Light & Sound to anyone who is searching for a deeper meaning in life.

FU, MFNW: You can’t make a MusicfestNW-sized omelet without breaking a few eggs. So in addition to WW’s own music festival, this weekend Portland will play host to a loosely organized “Free Fest Northwest” (the Mount Tabor Theater, Kenton Club and Ash Street Saloon are each hosting shows Sept. 7-11); F*Musicfest on Sept. 11 at the Ella Street CHICHARONES Lounge with the Ax and Holy Children (MFNW will technically be over before their show, so more power to them) and, of course, ChicharonifestNW, starring the Chicharones. Speaking of the Chicharones, the newly expanded local hip-hop big band recently inked a deal with Los Angeles’ Cashmere Management (ain’t no thing, just the marketing group that’s responsible for making Snoop Dogg and Lady Gaga look good). The Chicharones are hoping to release their next disc—probably titled Swine Flew or Por Que, from what we hear—in late October. Brace yourselves. NO MO’ LOMO: Another iconic downtown food cart looks to be throwing in the dish towel: Choza’s Peruvian is for sale for $8,000 on Craigslist. Also for sale is the former mobile military kitchen that has previously housed Spud Locker, Joslyn’s Ciao Chow and a Thai cart for about two weeks, and is now called Healthy Corner. Man, that place just can’t catch a break.

Willamette Week SEPTEMBER 7, 2011 wweek.com

HEADOUT ADAM KRUEGER

WILLAMETTE WEEK

WHAT TO DO THIS WEEK IN ARTS & CULTURE

WEDNESDAY SEPT. 7 [MUSIC] MUSICFESTNW And so it begins. Tonight’s kickoff performances include the Kills at the Crystal Ballroom and an intimate set from Crooked Fingers at what is sure to be a packed Bunk Bar. It only gets better from here, folks. Various venues from Sept. 7-11. See musicfestnw.com for schedule.

THURSDAY SEPT. 8 [WORDS] LITERARY DEATH MATCH International reading series Literary Death Match pits four established local writers against each other in a battle of words and wit. Disjecta, 8371 N Interstate Ave., 286-9449. 8 pm. $6 advance, $10 day of. 21+. [FASHION] FASHION’S NIGHT OUT Over 30 downtown clothing stores host fashion shows, giveaways and entertainment to get Portland out of its hiking boots and fleece for one night. And it’s all free—including parking, pedicab rides, gift bags and “mini make-overs.” 4-9 pm. Info at downtownportland.org/fashionsnight-out.

FRIDAY SEPT. 9 [THEATER] THE METHOD GUN Austin theater company Rude Mechs’ latest hit follows the misfortunes of a group of actors as they rehearse a production of A Streetcar Named Desire without the characters of Blanche, Stanley, Stella or Mitch. Imago Theatre, 17 SE 8th Ave., 224-7422, pica.org. 8:30 pm FridaySunday, 6:30 pm Monday-Tuesday, Sept. 9-13. $25. [MUSIC] TAYLOR MAC The singer and alt-drag performer presents Comparison Is Violence or The Ziggy Stardust Meets Tiny Tim Songbook, a medley of songs by David Bowie and Tiny Tim. Washington High School, Southeast 12th Avenue and Stark Street, 224-7422, pica.org. 8:30 pm FridaySunday, Sept. 9-11. $24.

ew literary and music festival This! Fest debuts at the Woods in Sellwood this Friday and Saturd ay, with reading s from more than two dozen prominent Portland writers, ranging from the established (Jon Raymond) to the up-and-coming (Vanessa Veselka) to the grossly under-prepared (WW’s own Casey Jarman), supplemented by more than 18 musical performances. In an effort to keep a poignant but brief pace, each writer has the floor for five to seven minute s and each band will perform a 30-minute set. “Hopef ully we can dispel a little bit of the feeling that reading s are snorefe sts. I know a lot of writers who get bored at their

own reading s,” says This! Fest co-crea tor Lisa Wells. According to organizer Jeremy Hadley: “Musicians often tend to romanticize about being writers, and I think writers tend to romanticize being musicians.” In honor of that idea, we’ve put together our own fantasy band of Portland authors. From left: Jon Raymond on washboard, Emily Chenow eth on violin, Kevin Sampsell on drums, Vanessa Vaselka on guitar and Tom Bissell on the banjo. MAGG IE SUMMERS. GO: This! Fest is at the Woods, 6637 SE Milwaukie Ave., 890-0408, thewoodsportland.com. 5 pm Friday, Sept. 9; 3 pm Saturday, Sept. 10. Free. 21+.

SATURDAY SEPT. 10 [WINE] PINOT IN THE CITY Slurp your way through more than 100 Oregon wineries and chow on eats from valley restaurants. Northwest 9th Avenue and Marshall Street. 2-6 pm Saturday-Sunday, Sept. 10-11. $60 one day advance, $70 at door, $90 two-day ticket. Info and tickets at willamettewines.com.

TUESDAY SEPT. 13 [PREACHIN’] ANDREW DINWIDDIE Actor Andrew Dinwiddie performs a 1971 recording of a sermon by evangelist Jimmy Swaggart, Get Mad at Sin! A Message to the Young People of Today. Dinwiddie attempts to recreate not only the sermon but the near-manic style of the preacher in his prime. Washington High School, Southeast 12th Avenue and Stark Street, pica.org. 6:30 pm TuesdaySaturday, Sept. 13-17. $20. Willamette Week SEPTEMBER 7, 2011 wweek.com

Study Somatics in Depth Pacifica ’s M.A./Ph.D. Program in Depth Psychology with Emphasis in Somatic Studies

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= 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.

SATURDAY, SEPT. 10 Pinot in the City

Why motor all the way down the Willamette Valley when the Willamette Valley’s finest winemakers and vineyards are willing to come to you? In an exercise in deliciously boozy laziness, Portlanders can slurp their way through the wares of more than 100 Oregon wineries—from Adelsheim to Z’IVO—sample olives, truffle oil, baked goods and sweets from area food makers, and chow on eats from valley restaurants like 1910 Main, Crooked House, Dundee Bistro, all in the middle of the Pearl District. The city block will also play home to cooperage demos (crafting, bending and toasting oak barrels), a newfangled mobile bottling line and experts willing to explain what the hell is so special about Willamette Valley dirt. Northwest 9th Avenue and Marshall Street. 2-6 pm SaturdaySunday, Sept. 10-11. $60 one day (advance purchase), $70 at door, $90 two-day ticket (wine lineup is different each day). Info and tickets at willamettewines.com.

Widmer Brothers Oktoberfest

For seven years now Widmer has turned its North Portland brewery into a band-and-brew blowout every fall, packed with German grub, Munich-style ales, accor-

dion players and Portland rock bands. This year’s acts include Dr. Theopolis and the Quick & Easy Boys. Widmer Bros. Brewing, 929 N Russell St., 281-3333. 3 pm. Free entry, $6 stein purchase required to sample beer. Info at facebook.com/ WidmerBrothersBrewing. 21+.

MONDAY, SEPT. 12 Artigiano & Helioterra: A PDX Food Cart Winemaker Dinner

The organizers think this may be a Portland first (and we agree): Tasty Southeast Portland pasta cart Artigiano joins forces with newish wine outfit Helioterra for a three-course food-cart wine dinner, served in the cart’s outdoor courtyard. Chef Rachael Grossman is serving everything family style, from handmade Yukon Gold gnocchi to tomato braised Sweet Briar Farms pork shoulder, all paired with Helioterra syrah and pinots. Event takes place in the courtyard near the pasta wagon at 4804 SE Woodstock Blvd. 6:30 pm. $38. Details at thepastawagon. com. Seating is very limited, call 781-3040 or stop by the cart to make reservations (payment requested in advance).

For more Food & Drink listings, visit

DEVOUR

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FOOD & DRINK

SAINT CUPCAKE ALDER-SMOKED CHOCOLATE CHIP COOKIES The best dessert at Saint Cupcake’s big, new downtown digs ain’t a cupcake. It’s a nutty, smoky chocolate chip cookie ($3) that tastes like a campfire in a sugar forest. Yes, the adorable eggshellblue space still hawks a rainbow of full-sized and “Dot” cupcakes from pumpkin spice to toasted coconut cream (along with a handful of savory eats, cards and even birthday candles). But baker Jami Curl’s new cookie takes the cake. It gets its distinctive flavor from flour that’s been smoked with alder wood, courtesy of Michael Maynard of Beaver Camp Sausage Company in Lebanon, Ore. It lends the sweets just a hint of bacon flavor…without a bit of meat involved. (Appropriately enough, Curl met Maynard at one of Camas Davis’ Portland Meat Collective classes—where else but Portland do cupcake makers attend butchery events?) With their chewy centers and crisp edges, packed with chunks of pecans and two varieties of creamy Swiss chocolate, these cookies would be good without the special flour. But really, doesn’t everybody crave a good smoke once in a while? KELLY CLARKE. EAT: Alder-smoked cookies are available only at Saint Cupcake Galore, 1138 SW Morrison St., 473-8760, saintcupcake.com. 26

Willamette Week SEPTEMBER 7, 2011 wweek.com

TIM GUNTHER

REVIEW

PLAID PANTRY: Skin & Bones owner Caleb McBee preps a bison tri-tip.

THE HAPPY CLICHÉ YOU’VE BEEN TO SKIN & BONES BEFORE. BUT YOU’LL WANT TO GO AGAIN.

The kitchen likes salty sauces; hypertensives and bread-dippers should be wary. At my last visit, both the garlic-butter on a green-bean appetizer and the basil-butter on a ravioli entree, while BY BE N WAT E R H O U SE, bwaterhouse@wweek.com very tasty, were too salty to mop up with bread. Fortunately, the bread is good enough that Somebody hand Caleb McBee a pork-belly- sauces are superfluous. McBee and company shaped trophy. In his three-month-old Skin & make several breads and all pasta and desserts Bones American Bistro, the former owner of in-house. The complimentary bread plate comes, much-missed Pearl-district bar Apotheke has most recently with crisp bread sticks, slices of succeeded in epitomizing every cliché attached chewy, rye-scented brown bread and a sort of to Portland’s restaurant culture. whole-wheat focaccia. (The lineup changes at the Skin & Bones is tiny; it has 22 chairs, 14 of whim of the baker.) Desserts are also excellent. A which are at large communal tables. The dining cherry pie hit the ideal balance of sweet and tart room and open kitchen share a single room in a with firm fruit and a salty, flaky crust. A blueberry newly remodeled building in a formerly dreary cobbler with vanilla ice cream went easy on the neighborhood—the stretch of East Burnside sugar and acid to let the fruit shine. The pastas, Street between old-money from my limited sampling, Laurelhurst and new-monare dense but still better Order this: Pie! There always seems to be ey Montavilla. Its logo is a a beautiful fruit pie on the counter. The than Portland’s average. crust is perfect. You want a slice. wishbone. Everyone I saw The kitchen knows its way on staff had a beard, promi- Best deal: The complimentary bread plate. around a piece of meat—I’ve nent tattoos or long hair; I’ll pass: A $10 glass of Witness Tree rosé had a good medium-rare of pinot noir was bitter and unpleasant. most have some combinabison steak and an excellent tion of all three. dish of chopped chicken and The interior features an exposed wooden herbs, wrapped in chicken skin, fried and served beam, subway tile, a chocolate-brown accent over grits. But the highlights of every meal have wall, chalkboards, a gleaming espresso machine come from the “Small” list, which emphasizes fairand both retro light shades by Schoolhouse Sup- ly simple preparations: grilled cauliflower with dill plies and bare, dangling incandescent bulbs with and aioli; a wee quiche with caramelized onions; fancy filaments. The website proudly names its crisp green beans in butter; fried potatoes covered suppliers, which include Rain Shadow El Rancho, in paprika, sprinkled with “duck ham” (salty cured Winter Green Farms and, of course, cheesemon- duck breast, I think) and topped with a fried duck ger Steve Jones. The menu, which changes too egg. “You guys are so lucky to be getting a duck egg frequently to ever expect a repeat dish, recently tonight,” the waiter said. He was right. featured Padrón peppers (overpriced as usual), While I enjoyed all my meals at Skin & Bones, quinoa and farro. One-fifth of the dishes involved the restaurant does not offer an experience in bacon. Everything feels about 15 percent too food or wine or any other respect that I could expensive for the neighborhood (prices vary not find closer to home. That’s no slight on the night to night, but expect to pay $35 to $45 per restaurant; so long as the food’s good, who cares person before tip). The check comes weighed if every tiny neighborhood eatery offers the same down with a knucklebone. menu? McBee’s concept lacks any unique aspect In keeping with stereotype, the food is both to draw diners out from 28th Avenue, but that very good and certain to annoy a large por- may change soon; he has applied for a full liquor tion of diners. The menu is divided into “Veg- license, and, as a former barman, the guy knows gies,” “Small” and “Main” sections, but vegans his booze. BEN WATERHOUSE. shouldn’t get excited—they’ll have to content themselves with green salad, sliced tomatoes EAT: Skin & Bones American Bistro, 5425 E Burnside St., 236-3610, skinandbonesbistro. and the aforementioned “flamed” Padrón chilies. com. Dinner 5-10 pm Tuesday-Saturday. $$-$$$. Willamette Week SEPTEMBER 7, 2011 wweek.com

Willamette Week SEPTEMBER 7, 2011 wweek.com

MUSIC

SEPT. 7 - 13 PROFILE

= WW Pick. Highly recommended.

BEN MOON

MUSIC

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

WEDNESDAY, SEPT. 7 MFNW Wednesday: Crooked Fingers, The Corin Tucker Band, The Kills and more

[STARTING GUN] Think Wednesday’s MusicfestNW kicker is a gentle primer to the weekend’s chaos? Wrongo. No rest for the wicked. Touring in support of its fourth album, this year’s Blood Pressures, duo the Kills is sure to blow the roof off the Crystal with its heavily distorted rock, while former Sleater-Kinney rock goddess Corin Tucker shows her softer side at Mississippi Studios with a highly anticipated small-venue performance. Wednesday’s highlight, though, could be the explosive chamber-rock, mellow groove cocktail of Crooked Fingers, with mastermind Eric Bachmann pre-empting Thursday’s Archers of Loaf show with an intimate Bunk Bar set. Stay hydrated and caffeinated. It’s gonna be a long week. AP KRYZA. Multiple locations. 7 pm. For pricing information, see musicfestnw.com. All ages.

Jucifer, Totimoshi, Palo Verde

[DRUMS OF DOOOOM] Any one of the bands on this bill alone yields enough pummeling force on the drums to collapse the chest cavities of an entire audience, but what’s going to happen when all three play together? Prepare for one of the hands-down heaviest lineups around in a city that worships heavy music. Nomad duo Jucifer plays through a wall—not a stack, a wall—of amps and pounds out beats on the biggest, bluest, clearest drums you have ever seen. Totimoshi is a raging whirlwind of rock from the Bay Area, a trio that draws comparisons to the Melvins, Black Sabbath and Helmet. JOHN ISAACSON. Dante’s, 350 W Burnside St., 226-6630. 9 pm. $10. 21+.

Reva DeVito, Darrius Willrich

TED BARRON

[SOUL SIREN] Up-and-coming Portland soul siren Reva DeVito knows grooves must seamlessly translate between dance floors and bedrooms. With last year’s debut EP, The Catnip Collective, the smoky-voiced

singer nailed every beat. Laid-back tracks like “Those Looks,” a jazzy, come-hither number, would have Sade quivering. And when the beats start bumping, DeVito’s sexy, slinky voice booms. Whether channeling Prince on the funky “Boogie Dam” or evoking everyone from Nina Simone to Erykah Badu (DeVito retained a bit of chronic-fueled swagger after working with Seattle hip-hoppers Dark Time Sunshine), the singer’s mashup of funk, soul, jazz, Motown, R&B and hip-hop are a further testament to the Portland soul scene poised to explode into the collective consciousness. AP KRYZA. Goodfoot Lounge, 2845 SE Stark St., 239-9292. 9 pm. Cover. 21+.

Labelmates: Remy Marc, Curtis Knapp, Community Library DJs, DJ Frank Sumatra, DJ Scott Simmons, Archers, Adventures! With Might

[FAMILY AFFAIR] If there’s any community more incestuous and doeeyed with self-love than Portland, it’s Portland’s music scene. And make no mistake: It’s precisely because of that interdependent, incubatorlike nature that the scene is flourishing. Labelmates, Holocene’s annual record-label fair, puts the people who put the city’s music on record (so somebody can listen to it besides, you know, your bandmates’ other bandmates) in the same room to network and rub against each other and otherwise achieve the cross-pollination that makes local music awesome. At tonight’s Holocene showcase, 19 labels will peddle their wares, five label owners will spin records, and two locally signed bands—lurching punkers Archers and dark dancerockers Adventures! With Might—will perform. JONATHAN FROCHTZWAJG. Holocene, 1001 SE Morrison St., 2397639. 8:30 pm. Free. 21+.

MusicfestNW: Wheedle’s Groove

[RAINIER VISTA SOCIAL CLUB] Well before Seattle won international prominence through flannels and guitar distortion, the Emerald City enjoyed a thriving funk and soul scene through

TOP FIVE

CONT. on page 30

C AS E Y JARMA N

GREAT SONGS OF DISSENT WRITTEN SINCE 9/11 The Thermals, “Power Doesn’t Run on Nothing” I wish Hutch Harris had been my American history teacher. “Our power doesn’t run on nothing,” he sings. “It runs on blood/ And blood is easy to obtain/ When you have no shame.” Nas, “Rule” A touch hammy, maybe, but Nas’ wartime state-of-the-union tune is still pretty radical, especially its spoken-word outro, where the MC explains what he’s learned from the war on terror: “Whatever you want out of life...go out and take it, even if it means blood and death.” Le Tigre, “New Kicks” A rah-rah protest tune built with samples from peace rallies and protests, this is one unabashedly overt anti-war party jam. It works. Steve Earle, “John Walker’s Blues” Earle paints John Walker Lindh, the “American Taliban” captured by U.S. troops, as a likeable guy. In 2002, when that seemed dangerous. Randy Newman, “A Few Words in Defense of Our Country” Newman attempts to explain why the Bush administration isn’t so bad by comparing it to the worst dictators in history. Then he gives up.

SEA CHANGES

NEW DISC WE ARE THE TIDE PUT BLIND PILOT TO THE TEST. IT PASSED. BY MATTH EW SIN GER

503-242-2122

If you want an idea of what the last few years have been like for Blind Pilot, a good starting point is to watch the promotional video for this year’s MusicfestNW. In the ad, a group of middle-aged women are seated in a conference room, reacting to the names and photos of various bands playing the festival: Explosions in the Sky, Archers of Loaf, Butthole Surfers. No one has heard of any of them. Then the moderator mentions Blind Pilot. Everyone nods their head in recognition. Sitting around a table outside Ole! Ole! on East Burnside Street, the band laughs. It gets the joke. Of all the acts at MFNW, the group’s gentle, pristine folk is the most appealing to suburban moms who listen to NPR while driving their kids to soccer practice. It’s a funny punch line, but it’s also indicative of how far and how fast Blind Pilot has traveled from its obscure origins. Four years ago, singer-guitarist Israel Nebeker and drummer Ryan Dobrowski were writing and demoing songs in a warehouse in Astoria. After the group’s 2008 debut, 3 Rounds and a Sound, caught fire—aided by a much-publicized bike tour down the West Coast—the album hit No. 13 on Billboard’s Top Digital Albums chart. The band, which has since expanded to six members, would show up to headline venues in cities such as Lawrence, Kan., and find lines wrapped around the block. At first it was overwhelming, the band admits. Now, it’s settling into the idea that this project is, in fact, a success. “At times, it’s definitely felt like a bit of a whirlwind,” Dobrowski says. “We’re getting better at being grounded and more calm about what we’re doing.” But success has its drawbacks. In Blind Pilot’s first WW profile in 2008, Nebeker said the key to his songwriting process is to “forget that you’re writing a song that anyone is ever gonna hear.” Of course, it’s easy to write a song as if no one will ever hear it when there’s a good chance that will end up being the case; when there are people

actually anticipating hearing those songs, doubt starts to creep in. Stalled by apprehension, Nebeker battled a virulent strain of writer’s block when he started to craft the group’s second album. “I would find myself in the middle of something I was excited about writing, and then the thought would pop in my head: ‘How would this come off at a show?’” Nebeker says. Even after breaking through the blockade, the second-guessing followed Nebeker and the rest of the band into the studio. “It was in the back of our heads, and we had to get to a spot where we weren’t thinking about that,” he says. “You can’t make the best work you’re capable of if you’re thinking, ‘Is this going to be pleasing to somebody?’” It’s hard to imagine Blind Pilot fans not being pleased with We Are the Tide, though. As its first record as a full-fledged sextet, the band wanted to make a bigger-sounding album than the sparse 3 Rounds. Indeed, it’s a lush, polished collection: Opener “Half Moon” soars heavenward beneath layers of cello, mandolin and a touch of trumpet; on the title track, Dobrowski’s drums—usually delicately brushed—get a chance to gallop, driving the group’s most buoyant song yet. But the band was careful not to smooth away the intimacy that attracted its audience. Songs such as “White Apple” and “The Colored Night” frame Nebeker’s confessional voice with acoustic guitar and the subtlest of accouterments. Even with the heightened production values, Tide remains the work of a band that built a career from the seats of its bicycles. It might not earn Blind Pilot the attention of the Pitchfork crowd, but that’s never been a demographic the band’s coveted anyway. “One of the reasons why the band formed is that we wanted to make music we could take to people who weren’t in Portland, and see if we could make a connection in those places where they don’t normally hear our kind of Portland music,” Nebeker says. “Something about that makes me really happy, that there are atypical Portland music fans who are into it.” SEE IT: Blind Pilot plays the Crystal Ballroom as a part of MFNW on Saturday, Sept. 10. $18 advance (or MFNW wristband). 8 pm show, 11 pm set. $13 advance tickets. All ages. Willamette Week SEPTEMBER 7, 2011 wweek.com

MUSIC

WEDNESDAY - FRIDAY

WAITING FOR THE SHOW: Pig Destroyer plays the Hawthorne Theatre on Friday. the 1960s and ’70s that could well have transformed the cultural direction of the Northwest hub as grunge did a generation later. With narration by favorite son Sir Mix-ALot, the critically acclaimed documentary Wheedle’s Groove conveys a richly textured and often moving portrait of a diverse community all but wiped away by the shift from live music venues to more profitable discotheques. As the filmmakers interviewed the former local luminaries, most forced to abandon music for dead-end jobs during what should have been the high points of their careers, some of the old clubmates reconnected, forming a loose 15-to-20-member soul collective that will play tonight after the screening. JAY HORTON. Mission Theater, 1624 NW Glisan St., 223-4527. 6:30 pm (Q&A, followed by film and performance). $9 or free with MusicfestNW wristband. See musicfestnw.com for pricing details. 21+.

Embers, Exhausted Prayer, Burials, Wretched of the Earth

[USBM] California offers up some of its black-metal bounty tonight for starving Cascadians to feast upon. Embers is a stalwart Oakland act that marries crust-punk ethics to a synth-drenched onslaught. Though its new album, Shadows, is in the can and can be streamed online, it won’t actually be released until 2012. Exhausted Prayer hails from the City of Angels but sounds more like an expat act from a city of demons—you can download its new album, Worst of All Possible Worlds, from Portland’s own CD Baby for only $6.66. Cute. Sick drummers abound tonight, and local prog-metal act Burials will show off its chops gained on a recent lengthy tour of the Western states. NATHAN CARSON. Saratoga, 6910 N Interstate Ave., 719-5924. 7 pm. $6. 21+.

Andrew Oliver with Matthew Berrill

[JAZZ ’N’ STUFF] This first installment of a new first Wednesday series curated by pianist-bandleader Andrew Oliver features Irish clarinetist and alto saxophonist Matthew Berrill, who also plays traditional Irish music on guitar and fiddle, and with whom Oliver has performed in Europe and Canada. The pair will be joined by frequent Oliver collaborator Chad McCullough on trumpet and drummer Kevin Van Geem, plus a trombonist yet to be named, playing original jazz and covers of Irish and American folk and jazz tunes. BRETT CAMPBELL. Tony Starlight’s, 3728 NE Sandy Blvd., 517-8584. 7:30 pm. $8. 21+.

THURSDAY, SEPT. 8 MFNW Thursday: Archers of Loaf, Handsome Furs, Butthole Surfers, Damien Jurado, Kylesa, You Am I, Unknown Mortal Orchestra, Talkdemonic and more

[THIRSTY THURSDAY] When I first heard the name Butthole

Willamette Week SEPTEMBER 7, 2011 wweek.com

Surfers, I figured it was a joke. Turns out it kind of was, which in no way stopped the group from being brilliant, and an easy choice for tonight’s 11 o’clock slot. The Wonder Ballroom is offering an eclectic pop-rock retrospective tonight with Viva Voce, Brand New, Sebadoh and Archers of Loaf all making appearances. Ten o’clock is the hour that will test your mettle: The choice is between Talkdemonic, Unknown Mortal Orchestra and Thrones, all of whom embody exciting, divergent definitions for the word “buzz.” SHANE DANAHER. Multiple locations. 6 pm. See musicfestnw.com for pricing information. All ages.

Super Melody, Darren Sylvester, American Girls

[SYNTH POP] The man behind Super Melody is James Cecil, one of the gents who helped form indie giants Architecture in Helsinki. Since moving away from the fold, Cecil has devoted his attention to this new project, which allows him to tickle his ’80s New Wave bone without fear of reprisal from bandmates. He loves the era so much he even went ahead and named his debut album after the Missing Persons hit “Destination Unknown.” Even within the template of pinging synths and fey vocals, Cecil manages to find clear and carefree moments of pop bliss. ROBERT HAM. Tube, 18 NW 3rd Ave. 9 pm. $5. 21+.

Mastamind of NATAS, S1k Ones (Rich Ronchie, Osofly & Thief Sicario), Kriminal Mizchif, Silent Ewok, T.H.C., Nocturnal

[HORROR RAP] Despite being relatively unknown these days, Detroitbred MC Mastamind is a true original. Along with fellow acid rap (a less cartoonish, more truthful predecessor of horrorcore) pioneer Esham, Mastamind made the type of grimy street-life music that influenced a whole generation of young Midwest rappers in his group NATAS. Those influenced included a young Eminem, who referenced Esham on his Marshall Mathers LP. The group was immediately controversial for what people thought to be sadistic subject matter (its name, which stands for Nation Ahead of Time and Space, spells SATAN in reverse), but Mastamind’s oft-repeated lyric, “My religion is reality,” shows the MCs are more a product of their harsh Detroit upbringings than they are devil worshippers (think ICP, but with more talent and street cred and less makeup). Masta hasn’t had a proper release in quite some time, and he’s no young buck (and no Young Buck, for that matter), but he was always the most lyrical and technically sound of the group, so he may still have some gas left in the tank. REED JACKSON. Undefeated Sports Bar & Grill, 6618 SE Powell Blvd. 8 pm. $10. 21+.

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FRIDAY

MUSIC

COME IN TO MY OFFICE: The Slackers play Plan B on Thursday.

FRIDAY, SEPT. 9 MFNW Friday: Givers, The Hood Internet, The Olivia Tremor Control, Zeke, The Horrors, Thee Oh Sees, Blitzen Trapper, The Thermals and more [EVERYTHANG IS POPPIN’] Universally adored for incorporating elements of world music and the glossiest fringes of pop production within a rigorous simplicity of songcraft, Sam Beam and his Iron & Wine imprimatur seem uniquely well-suited to a Pioneer Square performance. The songwriter’s delicate but resonant vocals slowly lend shared purpose to the awkwardness of audience immersion within a civic space that’s often called Portland’s Living Room. Importantly, the venue is a central embarkation point for the subsequent diaspora as the wristbanded faithful follow their bliss toward Portland’s Attic (Mississippi Studios, hosting heartthrobs of Americana), Portland’s China Hutch (Crystal Ballroom; indie folk darlings), and Portland’s Unfinished Basement (Dante’s; fashion-forward retro rockers). JAY HORTON. Multiple locations. 5 pm. For pricing information, see musicfestnw.com. All ages.

Live Wire!: Blind Pilot, Dan Mangan

See music feature, page 29. Alberta Rose Theatre, 3000 NE Alberta St., 719-6055. 6:30 pm. $18 advance, $20 day of show. $30 reserved seating. (Minors must be accompanied by parent or guardian). All ages.

MFNW Friday

[EVERYTHANG IS POPPIN’] Universally adored for incorporating elements of world music and the glossiest fringes of pop production within a rigorous simplicity of songcraft, Sam Beam and his Iron & Wine imprimatur seem uniquely well-suited to a Pioneer Square performance. The songwriter’s delicate but resonant vocals slowly lend shared purpose to the awkwardness of audience immersion within a civic space that’s often called Portland’s Living Room. Importantly, the venue is a central embarkation point for the subsequent diaspora as the wristbanded faithful follow their bliss toward Portland’s Attic (Mississippi Studios, hosting heartthrobs of Americana), Portland’s China Hutch (Crystal Ballroom; indie folk darlings), and Portland’s Unfinished Basement (Dante’s; fashion-forward retro rockers). JAY HORTON. Multiple locations. 5 pm. For pricing information, see musicfestnw.com. All ages.

The Slackers, Georgetown Orbits, Rendered Useless

[ROOTS RADICALS] The Slackers celebrate their 20th anniversary this year, an incredible demonstration of staying power made more notable considering that most of the band’s ska contemporaries only lasted a few years. Even more impressively, the band has yet to

make a bad record, and last year’s The Great Rocksteady Swindle— despite my sentimental attachment to 2001 effort Wasted Days—might just be its best album yet. Much of the Slackers’ charm comes from frontman Vic Ruggiero, a B3 whiz and fantastically soulful, nuanced singer and gifted songwriter. Ruggiero is equally adept at writing humor (“Married Girl”), love songs (“How it Feels”), political anthems (“Yes it’s True”) and intensely personal tragedies (“Mommy”), and his band accompanies everything with a tender instrumental touch rarely found outside of early Jamaican Lover’s Rock. Lineup changes have left the Slackers looking a little paler than you remember them from the mid’90s (lucky for us, saxman “Disco” Dave Hillyard remains), but there is not a more important and relevant modern ska band on the planet. CASEY JARMAN. Plan B, 1305 SE 8th Ave., 230-9020. 8 pm. $12. Also see Top 5. 21+.

Be My Doppelganger, Lee Corey Oswald, The Copyrights

[POP PUNK] I’m afraid the Copyrights will read this and be insulted, but before I say what I’m about to say, I would like these boys from Illinois to know that I think Blink-182’s greatest-hits package is the bee’s knees. With that: The Copyrights sound a lot like Blink-182. There is a streak of tender earnestness on this year’s North Sentinel Island that hints at Alkaline Trio’s early self-loathing anthems and the softer, more sensitive pop punk Dan Vapid made during breaks from Screeching Weasel. Still, Blink-182 shares a similar streak, and Blink-182 still sounds like Blink-182, for better or worse (mostly better). The Copyrights do too. It’s a good thing! CHRIS STAMM. Saratoga, 6910 N Interstate Ave., 719-5924. 7 pm. Cover. 21+.

This! Fest

[OPEN MIC] Here’s how the Woods is describing its This! Festival: “Hey, remember how we were going to get all those writers and musicians together in a room, get them drunk and give them a few minutes on a microphone?” Um, sorry, I don’t really remember us talking about that, but it sounds like a damn fine idea anyway. In sharp contrast to MusicfestNW, this summit meeting of bands, writers and booze is all local and totally free. Naming all the participants would far exceed my word count, but the weekend’s highlights include Portland indie institution Kind of Like Spitting, electronic adventurer Paper/ Upper/Cuts, cultural critic and Extra Lives author Tom Bissell, and WW’s own Casey Jarman. Look out, folks: He likes to work blue. MATTHEW SINGER. The Woods, 6637 SE Milwaukie Ave., 890-0408. 3 pm. Free. 21+.

Time-Based Art Festival: No Age, Ghost Mom, Dangerous Boys Club, DJ Linoleum, Sick Jaggers

[ARTCORE] It’d be silly to talk about this show—curated by local

CONT. on page 37

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JOHNNY'S DREAM CLUB: HAVANA NEW ORLEANS NY JUAN-CARLOS FORMELL, guitar & vocals; JORGE LEYVA: percussion; LEWIS KAHN: violin & trombone; MANUEL VALERA: piano RICKY RODRIGUEZ: bass "A Cuban jazz band the likes of which even Dizzy Gillespie couldn’t have imagined back in the 1940s, when his love affair with Cuban rhythms helped transform jazz. Think the Buena Vista Social Club meets Gypsy Jazz for dinner at McCoy Tyner’s house." --Buffalo News

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SATURDAY, SEPT. 10 MFNW Saturday: Big Freedia, Ravishers, Ty Segall, The Helio Sequence, Ted Leo, Dam Funk & The Master Blazter, YACHT, OFF!, Blind Pilot and more

[NO SLEEP ’TIL MFNW] After you’ve spent three straight nights running across town from venue to venue getting pummeled by nonstop music, it takes every ounce of remaining energy you have just to peel yourself off whatever patch of ground you passed out on just to do it all over again on the final full day of MusicfestNW. Luckily, Saturday’s lineup offers plenty of encouragement: the evocative soundscapes of Explosions in the Sky; the anthems of modern punk’s finest songwriter, Ted Leo; the delicious synth funk of DamFunk and Master Blazter. And then N’awlins bounce queen Big Freedia hits what is sure to be a jam-packed Dante’s at 1 am. May God have mercy on our tired souls. MATTHEW SINGER. Multiple locations. 4 pm. For pricing, see musicfestnw.com. All ages.

John Prine, Ani Difranco

[MASTER SONGWRITER] For those in the know, the name “Prine” carries just as much weight as names like Dylan, Simon and Van Zandt. But the Illinois songwriter’s legacy-making machine must be broken: While he’s got the weight to play Edgefield (alongside strange bedfellow Ani Difranco), he is not in the forefront of the general public’s attention. While a few Prine ditties (the weed-smokers’ anthem “Illegal Smile” and the lyrically flooring “Dear Abby” among them) have crossed the generational divide, his fantastic 2005 collection Fair & Square was largely a boomers-only affair. There is no need to be a Prine expert before attending one of his

(3 live Bands)

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ON YO COUCH: Dam Funk & The Master Blazter play the Star Theater on Saturday. label Fast Weapons—as if it were just another rock concert. As part of the annual Time-Based Art Festival, it’s more like an installation in which music is but one aspect. Indeed, though, the music is pretty noteworthy by itself: the melodically disorienting noise pop of No Age is some of the most bracing stuff to come out of Los Angeles in the past five years. But this is also a gig that will feature a performance of a play called Love Is Blind, Lingerie Is Braille; a presentation of art collective Nudity in Groups’ latest zine, taking place in a bathroom; something called a “dissing booth”; and a prom hosted by Portland’s Ghost Mom in a Washington High School classroom. And this being TBA, you never know when a naked guy will show up painted purple with feathers tied around his penis. Fun! MATTHEW SINGER. The Works at Washington High School, 531 SE 14th Ave. 10:30 pm. $5 members, $8 general. All ages.

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[BIG BAND HIP-HOP] I take it Jackbone Dixie as a personal failure that the (Counrty americana) Chicharones, the most exciting live band in Portland, are not playing Tuesday, So You Wanna Be A ROCK STAR ?September 13th MusicfestNW. I harass c a b a r eNormally, t KARAOKE WITH A LIVE BAND MFNW director Trevor Solomon 8pm - JACKTOWN ROAD until he gives them a spot. This Hosted By: Scott gallegos year I failed. Not 10pm that $3 it’s stopping WIN $50!! the Portland-based outfit (now EDTOBERFEST MUSICAL a PT sizable around DJ GUEST: 13 live act built SE AARON BEAM OF RED FANG 6835 SW Macadam Ave | John’s Landing ZoneNoand MC-singerCovertwin-monster open mic comedy 8pm Show with hostess dirt starr love songwriters Josh Martinez and Sleep), which decided to craft a COMING miniature festival of its own from a SOON handful of notable local talent. The 9/7 Jucifer & Totimoshi gigPT may 15 not compete with MFNW’s 9/8 MFNW: Kylesa SE 9/9 MFNW: The Horrors scale, TICKETSWEST but when the Chichis take $15 Adv 9/10 MFNW: Big Freedia the stage, they can compete with DOUBLE TEE 9/10 EDDIE SPAGHETTI PRESENTS anybody. CASEY JARMAN. Ted’s/ AT DEVILS POINT Berbati’s Pan, 231 SW Ankeny St., 9/11 Sinferno Cabaret 9/12 Karaoke From Hell 248-4579. 9:20 pm. $7. 21+.

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McCombs, BandPAGEANT of Horses TICKETSWEST $12 Adv

smoochknob

9/13 The Ed Forman Show 9/14 Free Portland Showcase 9/15 Stanton Moore Trio 9/16 Bob Log III 9/17 Miss Skooled Pageant 9/18 Sinferno + Shine 9/20 Rev. Peyton’s Big Damn Band 9/23 Howie Day 9/24 Whitey Morgan & The 78s 9/28 Rev. Deadeye 10/1 World/Inferno Friendship Society 10/2 Crossfade + Sinferno 10/4 Electric Six 10/5 Goddamn Gallows 10/7 Super 4thDiamond & Alder Downtown 10/8 Cash’d Out 10/13 Rocky Votolato 10/14 Zepparella 10/16 Michael Monroe of Hanoi Rocks 10/22 John Doe 10/23 POGO + That 1 Guy 10/27 Dwarves 10/28 Hell’s Belles 10/29 Dead Sexy Ball 11/4 Cherry Poppin’ Daddies 11/5 Shonen Knife 11/11 Cirque du Stiffy 11/17 Scott H. Biram 11/18 Rezurex 11/25 Fur Pillows

TICKETSWEST $12 Adv

SEPT

TICKETSWEST $12 Adv

SAAT DEVILS POINT

AYY URDA SAT10 10

BENEATH THE HISTORIC

RIALTO POOL ROOM

Portland

Wednesday • 9/14

“Supper Club Night” with Lily Wilde Quartet

TICKETSWEST $10 Adv

TICKETSWEST $18 Adv

[GETAWAY MUSIC] The McMenamins music tours and residencies have been a big hit. Acts TICKETSWEST from to Robert Ellis& MATT POND PA Adv T 13Sallie$12Ford OC have wowed Hammerhead-swilling

THURSDAY

OPEN NIGHTLY AT 7 ROCKY VOTOLATO FOR COCKTAIL HOUR

JOHN DOE

SAT22URDAYCONT. on page 38 T 22 OC T

TICKETSWEST $14 Adv

THU27RSDAY OCT 27

TICKETSWEST $12 Adv

AT DEVILS POINT - 5305 SE FOSTER RD “TheFiredancers Best Show Burlesque, In Town!” DJs, Magic & Debauchery!

DAY NPT SUSE 11

DAY NPT MOSE 12

Karaoke FromHellHell Karaoke From

SINFERNO

So You Wanna Be A ROCK STAR ?

c a b a r e t

DAY TUES PT 13 SE PT

No Cover 8pm Show

10pm $3

KARAOKE WITH A LIVE BAND 8pm - JACKTOWN ROAD

THE ED FORMAN SHOW

EDTOBERFEST MUSICAL GUEST: AARON BEAM OF RED FANG

DSL

open mic comedy with hostess dirt starr love

COMING SOON

THU15RSDAY SEPT

TICKETSWEST $15 Adv

DOUBLE TEE PRESENTS

stanton moore trio

AY FRID 16 SEPT

TICKETSWEST $13 Adv

BOB LOG III MISS SKOOLED PAGEANT

smoochknob WITH THE SMOOCHGIRLS, POISON US & CELLAR DOOR

9/7 Jucifer & Totimoshi 9/8 MFNW: Kylesa 9/9 MFNW: The Horrors 9/10 MFNW: Big Freedia 9/10 EDDIE SPAGHETTI AT DEVILS POINT 9/11 Sinferno Cabaret 9/12 Karaoke From Hell 9/13 The Ed Forman Show 9/14 Free Portland Showcase 9/15 Stanton Moore Trio 9/16 Bob Log III 9/17 Miss Skooled Pageant 9/18 Sinferno + Shine 9/20 Rev. Peyton’s Big Damn Band 9/23 Howie Day 9/24 Whitey Morgan & The 78s 9/28 Rev. Deadeye 10/1 World/Inferno Friendship Society 10/2 Crossfade + Sinferno 10/4 Electric Six 10/5 Goddamn Gallows 10/7 Super Diamond 10/8 Cash’d Out 10/13 Rocky Votolato 10/14 Zepparella 10/16 Michael Monroe of Hanoi Rocks 10/22 John Doe 10/23 POGO + That 1 Guy 10/27 Dwarves 10/28 Hell’s Belles 10/29 Dead Sexy Ball 11/4 Cherry Poppin’ Daddies 11/5 Shonen Knife 11/11 Cirque du Stiffy 11/17 Scott H. Biram 11/18 Rezurex 11/25 Fur Pillows

TICKETS AVAILABLE @ DANTE’S, MUSIC MILLENNIUM, CASCADETICKETS.COM & TICKETSWEST.COM

DAY TUES 20 PT 20 PT SEEP

TICKETSWEST $12 Adv MIKE THRASHER PRESENTS

AYY URDA SAT24 PT 24 SEEPT

TICKETSWEST $12 Adv

AUSTIN LUCAS & SASSPARILLA MISSISSIPPI STUDIOS PRESENTS

THE TUMBLERS • WATER TOWER BOYS

AYY SAT1 URDA T1 TICKETSWEST $12 Adv

OC T

DAY TUES 4 T4 OC T

THIS

AY SAATTDEUVIRLSDPOINT

TICKETSWEST $12 Adv

& THE PHENOMENAUTS

+ KITTEN & MARK MALLMAN

AY FRID T 77 OC T

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AYY RSDA THU 13 T 13 OC T

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ROCKY VOTOLATO & MATT POND PA

The Newly Restored Historic

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AY RIDNeill FCasey T7 OC T

LEAD SINGER OF THE SUPERSUCKERS THE GREATEST ROCK-N-ROLL BAND IN THE WORLD

EDDIE SPAGHETTI

PT SEPT

TICKETSWEST $12 Adv

Plenty of room to dance.

TUESDAY

DJ BEYONADOUBT • CJ & THE DOLLS SERIOUS BUSINESS • 1,2 BUCKLE MY SHOE

THIS Y TURDA

SEPT

Doors at 5. Show at 7.

SATURDAY

BIG FREEDIA

URDAY SAT10

URDAY SAT17

$25 for two candelight prime rib dinners and couples’ admission.

SATURDAY

DIRTY BEACHES • HAWKEYE • THE STEPKIDS

+ Mr. Free & The Satellite Freakout

[MFNW OUTRO] A diverse evening of performances in Pioneer Courthouse Square puts a TICKETS AVAILABLE @ coda on this year’s MusicfestNW. DANTE’S, MUSIC MILLENNIUM, WITH THE SMOOCHGIRLS, CASCADETICKETS.COM & Following afternoonPOISON sets US by& CELLAR DOOR TICKETSWEST.COM Nashville singer-songwriter Bobby Bare Jr. and local psych-rockers Morning Teleportation, wanderTICKETSWEST AUSTIN LUCAS ing lost songsmith 20 20 seemingly & SASSPARILLA $12 Adv MIKE THRASHER PRESENTS PTand SE Cass McCombs will score the MISSISSIPPI STUDIOS PRESENTS sun’s descent behind Southwest Broadway with his slow, quiet and TICKETSWEST exquisitely music.THE Lest the Adv 24 $12sad PT 24 TUMBLERS • WATER TOWER BOYS SE night get too dark, headliner Band of Horses should lighten it up: With its latest album, 2010’s Infinite TICKETSWEST Arms, kings have given T 1 the indie $12 Adv & THE PHENOMENAUTS OC their straightforward rock a kick of wide-set psych-country swagger. JONATHAN FROCHTZWAJG. Pioneer T 4TICKETSWESTCourthouse Square, 701 OC SW 6th Ave. 4 pm. $32 advance. + KITTEN & MARK MALLMAN $12 Adv See musicfestnw.com for packaged pricing details. All ages.

TUESDAY

THE HORRORS

SEPT

DSL

THURSDAY

JUCIFER KYLESA

TOTIMOSHI & PALO VERDE

529 SW 4th Ave Portland Oregon

DWARVES

ZEKE & SPECIAL GUESTS

OPEN AT 11AM DAILY • LIVE MUSIC • FILMS • LOUNGE • PATIO RESTAURANT www.StarTheaterPortland.com • 503-248-4700

9/9 THE OH SEES 9/10 DAM FUNK & MASTER BLAZTER 9/15 SORIAH CD RELEASE 9/16 GILBY CLARKE 9/18 CABARET COIFFURE 9/22 MAMAS BOYZ 9/24 GEEKLESQUE: POWERS UP! 9/26 JOLIE HOLLAND 9/28 VETIVER 9/29 RON OSBORNE NAKED COMEDY

10/1 DISNEY AFTER DARK 10/2 MELT BANANA 10/5 ELVIS’ BIRTHDAY PARTY 10/7 RICHMOND FONTAINE CD RELEASE 10/8 FANNY 10/28 ROBERT WYNIE OF FLOATER 10/29 VAGABOND OPERA CD RELEASE 10/31 WAX FINGERS 11/4 WAYNE “THE TRAIN” HANCOCK 11/19 DAN REED

Willamette Week SEPTEMBER 7, 2011 wweek.com

MUSIC

SUNDAY - TUESDAY

patrons on small stages throughout the metro area. Portlander Casey Neill joins the herd, entertaining the intimate and subterraneanset Al’s Den for a week. This show will feature the country-pop songsmith on his lonesome, fitting given his attraction to sobbing guitars, broken characters and a sense of desertion. Neill’s due in the studio later this month, so he ought to be in top form. Return on Saturday to witness his full band, the Norway Rats. MARK STOCK. Al’s Den at the Crystal Hotel, 303 SW 12th Ave., 9722670. 7 pm. Free. 21+.

Quasi, Blood Beach

[ROCK] This is as good an opportunity as any to give some props to Bunk Bar’s picky, never-a-sournote music bookings. Tonight’s show features the jammy, punk cacophony of Blood Beach, as well as an appearance by Quasi—a band that is among the final holdouts from the mid-’90s era during which Portland was, honest to God, “weird.” Quasi stacks the muscular keyboard and guitar work of Sam Coomes atop the thunderous rhythms of indierock omni-drummer Janet Weiss. Boasting six albums and the combined ability to name-drop just about every rock musician in Christendom, Coomes and Weiss are close to becoming legends in their own time. The $10 cover is a steal for this intimate of an engagement. SHANE DANAHER. Bunk Bar, 1028 SE Water Ave., 894-9708. 10 pm. $10. 21+.

MusicfestNW: You Who Kids’ Rock Variety Show with AgesandAges

[KID ROCK] Whitney Houston was right. Children are the future— including the future of musicianship and fandom. So why feed their ears sugar like the Wiggles? With the You Who series, Decemberists guitarist Chris Funk and partner Seann McKeel expose kiddies to high-quality music in a variety show pairing local acts with puppets, dance, singalongs and more. This year’s MFNW showcase includes performances by explosive choral-pop powerhouses AgesandAges and songwriter Cass McCombs—both acts guaranteed to undo any trauma caused by listening to “Baby Beluga” on repeat. McKeel and Funk are molding the future, and the future looks rockin’. AP KRYZA. Kennedy School, 5736 NE 33rd Ave., 249-3983. 1 pm. $10 (13 and up), $5 (12 and under) or free with MFNW wristband. All ages.

The Do-Over: Secret Guests, Haycock, Strong, Blacc

[BACKYARD PARTY] The Do-Over, a booze-induced daytime dance party, returns to Produce Row Cafe (which is probably still cleaning the sangria stains off its floors from the last go-around) for its fifth time this summer. Created in 2005 by Stones Throw Records affiliates Jamie Strong, Chris Haycock and Aloe Blacc, the Cali-based party is a showcase for some of the nation’s most talented and eclectic DJs, meaning you’ll be dancing to a little bit of everything (in July, one DJ faded from Chubby Checker’s “The Twist” to M.O.P.’s “Ante Up”). Get past its glossy surface, and you’ll realize this party’s diverse make-up— both in its music and audience members—is slowly helping it become one of Portland’s more unique summer traditions. Plus, where else are you going to see a bunch of beautiful, sundress-adorned women mashing out to M.O.P. on a Sunday? REED JACKSON. Produce Row Cafe, 204 SE Oak St., 232-8355. 2 pm. Free with RSVP at thedoover. net. 21+.

Marmoset Music Party: Tu Fawning, Dolorean, Hey Marseilles, Willy Vlautin, Pickwick, Black Whales, Pancake Breakfast, Quiet Life, Wesley Jensen and the Wildcats, Greenhorse, Light For Fire, Pocketknife, Great Wilderness, Tartufi

[FEST ALTERNATE] If you found yourself without the funds for a

Willamette Week SEPTEMBER 7, 2011 wweek.com

MFNW wristband, fear not: Rontoms and Marmoset have put their heads together to curate this fantastically free day of music that overlaps with the fest’s closing hours. Bands and drink specials start at 2 pm and carry on until evening, with Tu Fawning and Dolorean closing out the night. As evidenced by those two headliners, the bill is heavy on the talented local folkish acts. Quiet Life, Pancake Breakfast and Willy Vlautin all help to solidify Marmoset’s very convincing case for drinking $1 Rainier all afternoon in the sun. SHANE DANAHER. Rontoms, 600 E Burnside St., 2364536. 2 pm. Free. 21+.

Ke$ha

political and smart while their predecessors—like the Sex Pistols, the Velvet Underground and the Clash— were shooting up and selling out. Zounds, Crass and the Mob initiated the British anarchist punk movement that rose from the squats, free festivals and clashes with police in the 1980s. Nobody quite knows if Lake is going to bring along his California-based backing band (consisting of ex-members of Reagan Youth, Avengers and APPLE) to Portland, but tonight you can hear one of the original writers of the anarchist punk protest song. JOHN ISAACSON. The Know, 2026 NE Alberta St., 473-8729. 8 pm. Cover. 21+.

[BEAUTY AND THE BEASTIE] Far too talented in songcraft (throwaway dance pop that understands the genre’s appeal and revels in the keening limitations; like a boutique Frito) and protective of persona (empowered coke-whore nihilism somehow neither pandering nor self-consciously artful) to depend upon shock alone, there’s still notably less enthusiasm for Ke$ha’s return to Portland after debuting her Get $leazy revue’s glitter-crunk bacchanalia six months ago. Set list details have sufficiently spread about the walking phallus and viscera-splattered trysts to rob this show of its mystery—more than any performer, she dare not be anticlimactic—but, mostly, after a continually extended intercontinental tour orchestrated with all the professionalism her onstage character lacks, it just seems like the culture’s waiting for the next stage. Her “Fight for Your Right to Party” cover always seemed a statement of intent, less a defense of poor behavior than a hint toward further maturation—but, well, tick-tock. JAY HORTON. Rose Garden, 1401 N Wheeler Ave., 2358771. 7 pm. $39.50-$49.50. All ages.

TUESDAY, SEPT. 13

Steve Lake, Vivid Sekt, Atrocity Exhibition

[ADULT CONTEMPORARY] As an aging singer-songwriter, Bill Topley does succumb to the occasional cruise-ship performance in the Caribbean. But the Brit also puts on an engaging show back on land—one built on great lyrical

[LEGENDARY BRITISH ANARCHOPUNK FOLK] Best known as the singer-songwriter behind Zounds, Steve Lake and his contemporaries in Crass kept punk music satirical,

Chatham County Line, The Bottlecap Boys

[PASTORAL PICKIN’] You could see four Chatham County Line shows for the price of one Jim James performance and, quite frankly, you’d be better served with the former. The latter has lost sight of the folksy roots that made him special, while the former frolics in the bluish grass of Carolina-bred Americana. Frontman Dave Wilson’s raspy voice is as aged as the mandolin-banjoupright bass combo he surrounds himself with (and, incidentally, he almost replicates James’ signature scratchy pipes). Newest record Wildwood is a gorgeous helping of voracious picking, breezy strings and steely echoes. MARK STOCK. Alberta Rose Theatre, 3000 NE Alberta St., 719-6055. 8 pm. $10 advance, $12 day of show (Minors must be accompanied by a parent or guardian). All ages.

William Topley and the Black River Band

PRIMER

CONT. on page 43

BY REED JACKS ON

JEAN GRAE Born: In 1976 in Cape Town, South Africa (before relocating to New York as a child) Sounds like: A female version of Talib Kweli or Masta Ace—but funnier than either of them. For fans of: Little Brother, Blackstar…sample-based underground hip-hop. Latest release: Cookies or Comas, a DJ Drama-assisted mixtape full of brag raps and thought-provoking concept tracks that serves as the predecessor to her forthcoming full-length. Why you care: Because Jean Grae has had a rough go in the music biz. Every time she seems poised to make a dent, kryptonite hinders the superwoman MC from saving the world. Album leaks, label politics and disenchantment with the industry—Grae has been through it all. She even said goodbye to her fans in 2008, retiring only to come back a few months later. The road has been long and full of detours for Grae—who has held her own alongside acclaimed hip-hop heavyweights like Atmosphere and Mos Def—and even more difficult for her fans, who have watched her tiptoe the fine line between hip-hop prominence and obscurity for over a decade now. But Grae’s still a captivating talent on the microphone—from hard-hitting bravado raps to witty and playful jabs at others, and even heartfelt, brutally honest love songs. The world-savvy MC has persuaded some to brand her not only as the best female rapper of her era, but as one of the most talented MCs in the history of underground hip-hop. SEE IT: Jean Grae plays the Crown Room on Saturday, Sept. 10, with Mr. Len, Philly’s Phunkestra and DJ Zimmie. 9:30 pm. $5. 21+.

Willamette Week SEPTEMBER 7, 2011 wweek.com

B AN D O F H O R S E S • I R O N & WI N E

EXPLOSIONS IN THE SKY • THE KILLS B UT T H O LE S U R F E R S • a r c h e r s o f lo a f NIKE brand new • N I K E MSTRKRFT • neurosis P R E S E NTS

P R E S E NTS

b li n d Pi lot • B LITZ E N TRAPPE R • Mackle Mor e & ryan lewis S E BAD O H • handsoMe furs • LIT TLE D R AG O N • the antlers

THE HELIO SEQUENCE • charles bradley • SHARON VAN ETTEN th e e o h s e e s • N I K E TH E J OY F O R M I DAB LE • h o r s e f eath e r s off! • T H E T H E R M A L S • ya c h t • T H E H O R R O R S • d e n n i s c o f f e y cass MccoMbs band • PHANTOGRAM • avi buffalo • GLASS CANDY R H ET T M I LLE R • Mar kéta i r g lová • T Y S E GALL • b i g f r e e d ia G IVERS • kylesa • PORTLAND CELLO PROJECT • Pig destroyer th e olivia tr e Mor control • DAM-FU N K & MASTE R B LAZTE R JUST A D D E D

PR ES E NTS

CROOKED FING ERS • ted leo • N I K E REPTAR • the corin tucker band DAMIEN JURADO • eleanor friedberger • EMANCIPATOR • you aM i • EMA grails • SHABAZZ PALACES • centro-Matic • BOBBY BARE JR. • tyPhoon DAN MA N G A N • ta lk d e M o n i c • T H E H O O D I NTE R N ET • t wi n s i ste r P R E S E NTS

salli e for d & th e sou n d outs i de • TH E MOON DOG G I ES • z e ke • E LUVI U M THE GASLAMP KILLER • P s i love yo u • TH E S O F T M O O N • P u r it y r i n g DIRTY BEACHES • Mad rad • MORNING TELEPORTATION • thrones • AKIMBO AND AND AND • yob • VIVA VOCE • unknown Mortal orchestra • ALELA DIANE

b lack Prai r i e • WH ITE AR ROWS • s le e Py s u n • WH ITE H I LLS • joe Pug li fesavas • E M I LY WE LLS • Pi e rce d ar rows • H EAVY CR EAM • r ich Mon d fontai n e Y L A BAM BA • natas ha k M eto • R E B E C CA GATE S • rtx • P O I S O N I D EA • b oat T H E L A DY B U G T R A N S I S TO R • b l a c k c o b r a • T H E M I N D E R S • t h e M u s i c ta P e s WE I N LAN D • rab b its • DOLOR EAN • bar e wi r es • TH E M I RACLES CLU B • a stor M of lig ht zuzuka Poderosa • 80’S VIDEO DANCE ATTACK • holcoMbe waller • DIRTY MITTENS • suuns • UME DJ ANJALI, THE INCREDIBLE KID, E3 & CHAACH!!! • anais Mitchell • JARED MEES & THE G ROWN CHILDREN M I N I MANS IONS • s c r e e n i n g o f wh e e d le’s g r o ove P r e s e nte d by s ear c h Part y YO U WH O! A K I D’S RO C K VAR I ET Y S H O W F EATU R I N G AG E SAN DAG E S • an d Many M o r e... TI C K ETS O N SAL E N OW AT AL L TI C K ETSWE ST LO C ATI O N S

I N F O AVAI L AB L E AT M U S I C F E STNW.C O M /TI C K ETS

Willamette Week SEPTEMBER 7, 2011 wweek.com

CRYSTAL BALLROOM

F ALL O E S E H T AR E S S H O W G E S! ALL A

TI C K E O N S TS ALE NOW !

THE KILLS

DOWNLOAD THE MUSICFESTNW IPHONE OR ANDROID APP!

ARCHERS OF LOAF

BLITZEN TRAPPER

SEPT. 8 WITH SEBADOH & VIVA VOCE DOORS 7 PM

SEPT. 9 WITH SHARON VAN ETTEN & WEINLAND DOORS 8 PM

SEPT. 7 WITH ELEANOR FRIEDBERGER & MINI MANSIONS DOORS 7 PM

ALADDIN THEATER

ROSELAND THEATER

BLIND PILOT SEPT. 10 - INDIVIDUAL TICKETS SOLD OUT! ENTRY STILL AVAILABLE WITH MFNW WRISTBAND*

MACKLEMORE & RYAN LEWIS

BUTTHOLE SURFERS SEPT. 8 WITH THRONES & DIRTY GHOST DOORS 8 PM

NEUROSIS

SEPT. 9 WITH SHABAZZ PALACES AND TXE DOORS 7:30 PM

SEPT. 10 WITH GRAILS, YOB & AKIMBO DOORS 7 PM

CHARLES BRADLEY & DENNIS COFFEY

HORSE FEATHERS

PORTLAND CELLO PROJECT

DOORS 7 PM

DOORS 8 PM

SEPT. 8 WITH MONARQUES

SEPT. 9 WITH JOE PUG & ANAIS MITCHELL

SEPT. 10 WITH LIFESAVAS & EMILY WELLS DOORS 7 PM

FOR TICKETING AND WRISTBAND INFO GO TO MUSICFESTNW.COM/TICKETS LIMITED NUMBER OF ADVANCE TICKETS FOR THESE SHOWS ARE AVAILABLE THROUG H TICKETSWEST.

$70*

WRISTBAND PLUS A GUARANTEED TICKET TO ONE SHOW AT PIONEER COURTHOUSE SQUARE: IRON & WINE, EXPLOSIONS IN THE SKY OR BAND OF HORSES

$115*

WRISTBAND PLUS GUARANTEED TICKETS TO ALL THREE SHOWS AT PIONEER COURTHOUSE SQUARE: IRON & WINE, EXPLOSIONS IN THE SKY AND BAND OF HORSES *Service Fees Apply

Willamette Week SEPTEMBER 7, 2011 wweek.com

VISUAL ARTS

JUST ADDED! THE HELIO SEQUENCE SEPT. 10TH WITH AND AND AND, YOUTH & THE WE SHARED MILK DOORS 8 PM

STAGE AT DOUG FIR 21+, ENTRY WITH MUSICFESTNW WRISTBAND* OR $15 AT THE DOOR

GALLERY LISTINGS AND MORE! PAGE 52

MUSICFESTNW september 7 - 11 • portland, or

UPCOMING IN-STORE PERFORMANCES Celebrate Musicfest Northwest – the best of local music and beyond!

Y YOB

TYPHOON

DOLOREAN

$7.95-cd/$11.95-lp

$9.95-cd/$11.95-lp

SALLIE FORD & THE SOUND OUTSIDE

RABBITS

Atma

A New Kind Of House

YACHT Shangri-La

$11.95-cd

Dirty Radio

$12.95-cd/$18.95-lp

$9.95-cd/$11.95-lp

Unfazed

USED NEW &s & VINYL D D s , DV

DOWNTOWN • 1313 W. Burnside • 503.274.0961 EASTSIDE • 1931 NE Sandy Blvd. • 503.239.7610 BEAVERTON • 3290 SW Cedar Hills Blvd. • 503.350.0907

Willamette Week SEPTEMBER 7, 2011 wweek.com

THE GARDES

STAR ANNA

FRIDAY 9/9 @ 6PM

SATURDAY 9/10 @ 5PM

SUNDAY 9/11 @4PM

Mary Flower is renowned for a uniquely personal vision of roots music that blends ragtime, acoustic blues, and folk - technically dazzling yet grounded in the downto-earth simplicity of early 20th century American music. ‘Misery Loves Company’ finds her paired with roots masters including Curtis Salgado, Colin Linden, and Dave Frishberg for a series of duets.

The Gardes is a band that continually reinvents itself (whether it’s on purpose or not) formed by a collaboration between Brett Horton and Aaron Siemers and their comrades. For their most recent release ‘Make Out The Sound’ they introduced female vocalist Victoria Orlowski, into the mix, deciding to switch things up yet again.

Star Anna--her given name--has been steadily wowing audiences and accumulating a rabid and dedicated fan base (including canonized musicians like the folks in Pearl Jam and Guns & Roses) since she was discovered busking outside a café in Ellensburg, Washington at age 16. Star and her band The Laughing Dogs recently released ‘Alone In This Together.’

There is no mistaking the signs of staggering depth in ‘Rise Ye Sunken Ships.’ A remarkably accomplished album, it is deeply beautiful and emotionally cathartic. We Are Augustines have been captivating fans with their energetic live shows creating the sort of buzz many long-standing bands can only imagine.

$11.95-cd

FOR ANY & ALL USED CDs, DVDs & VINYL

MARY FLOWER

THURSDAY 9/8 @ 6:30PM

Lower Forms

Sale prices good thru 9/18/11

WE ARE AUGUSTINES

Pre-buy the album and get a certificate for guaranteed admission plus a limited edition poster

WILLIAM TOPLEY

BLITZEN TRAPPER

MONDAY 9/12 @ 5PM

MONDAY 9/12 @ 8PM

TUESDAY 9/13 @ 6PM

On ‘American Goldwing’ Blitzen Trapper let their loves and influences–hard guitar rock, country picking and pawn-shop Casio aplomb–hang out for all to see. This album is also the band’s first foray into direct, outside influence in the creation of a record with mixing by Tchad Blake and co-production by Gregg Williams.

Blind Pilot began in 2007 when Israel Nebeker (vocals, guitar) and Ryan Dobrowski (drums) embarked on a West Coast bicycle tour. The band is now a 6-piece ensemble, featuring fellow Oregonians Luke Ydstie (upright bass, backing vocals), Kati Claborn (banjo, dulcimer, backing vocals), Ian Krist (vibraphones) and Dave Jorgensen (keyboards, trumpet).

William Topley has developed a dedicated fan base in the U.S. ever since the release of ‘Prince of the Deep Water’ in 1991, his first album with his band The Blessing. His latest album, ‘South On Velvet Clouds,’ was recorded with his band, (Luke Brighty - guitar, James Eller - bass, Jim Kimberley - drums, Mark Taylor - keyboards) on the south coast of England in a session overseen by Guy Fletcher, Dire Straits long time keyboard whizz and musical associate.

Pre-buy the album and get a certificate for guaranteed admission.

BLIND PILOT

TUESDAY imagery and a bluesy guitar flare. His newest record, Water Taxi, offers some of his strongest work since fronting early-’90s soft-soul band the Blessing. There’s a subtle Latin flare within Topley’s acoustic methodology, distinguishing him some from like-minded artists such as Mark Knopfler or JD Souther. Even Topley’s backing group, the Black River Band, struggles to outdo its frontman’s towering vocals, which sound suspiciously like Huey Lewis being held underwater—in a good way. MARK STOCK. Mission Theater, 1624 NW Glisan St., 223-4527. 8 pm. $22 advance, $25 day of show. 21+.

Nice Nice, Sun Angle, The Reservations

[RHYTHM NATION] Nice Nice is nice, but I implore you to look into the still-evolving band playing second on the bill. Sun Angle is one of a batch of new musical projects cooked up by former Panther leader Charlie Salas-Humara. In this group, he leans on a rhythm-heavy sound, augmented by the furious percussion work of Manny Reyes (of Atole infamy) and some steady bass work by Marius Libman (a.k.a. Copy). Over that, Salas-Humara squeaks, chants and works a variety of effects pedals to turn his voice into another percussion instrument or bit of dublike atmospherics. ROBERT HAM. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. Free. 21+.

Anastatica, Aranya, Gloomweaver

[CASCADIAN FEMINIST ECOMETAL] This concert might be the sonic event of the year at the Red and Black. Just as summer ends, and the rain sets in, it’s time for some good old Cascadian black metal. Aranya has brought the genre to new heights as of late with a spaced-out, other-worldly sound kind of like a classic mid-’90s emo band if it ditched the backpacks and donned some heavier guitars. This is where Earth First! meets heavy metal and everybody howls like wolves. For fans of Cerberus Shoal and Agalloch alike. JOHN ISAACSON. Red and Black Cafe, 400 SE 12th Ave., 503-231-3899. 7 pm. $5 donation. All ages.

Yadokai

[HARDCORE] The manic Yadokai boasts an estimable lineage, with DNA traceable to D-beat crusher Morpheme and the hyperactive Ecoli. If you’re familiar with those Bay Area bands, imagine Yadokai as an uneasy DMZ between the two. If Ecoli and Morpheme ring no bells, no sweat—just picture this San Francisco quintet as a many-tentacled monster that’s about to rip your spine out, then go get your spine ripped out. Yadokai’s debut 7-inch is a marvel of frenzied in-the-red hardcore that threatens at every turn to manifest as fresh plasma cascading from your speakers in miniature imitation of the Overlook Hotel’s elevator expectorant. Analogy overkill? It’s apt, trust me. CHRIS STAMM. The Know, 2026 NE Alberta St., 4738729. 8 pm. Cover. 21+.

Fist Fite, Antikythera, Billions and Billions

[PARTY RAWK] Every few years, the Tonic Lounge attempts another resurgence. Let’s be clear—this is a highly functional venue with cheap food and drinks, plus great sound. Why its reputation has precluded it from being one of the city’s favorite venues makes no sense, and is only a statement on the fickle nature of locals bent on fads and fresh turf. But here is a well-curated bill featuring three of the city’s most fearless party bands. Billions and Billions is building serious momentum, a heavy psychedelic blues band that marries epic rock arrangements with boogie and soul. And Fist Fite can’t help but bring the house down, leaving a shambles in its synth-punk wake. NATHAN CARSON. Tonic Lounge, 3100 NE Sandy Blvd., 238-0543. 9:30 pm. $4. 21+.

MUSIC

ALBUM REVIEWS

BLITZEN TRAPPER AMERICAN GOLDWING (SUB POP) [WEIRD AMERICANA] Blitzen Trapper tends to write checks, in its opening songs, that its albums don’t care to cash. That was the case with the proggy opener to last year’s Destroyer of the Void, and it’s true with new release American Goldwing, a Sgt. Pepper-meets-Creedence cut called “Might Find It Cheap.” The song points toward a more refined and developed sound bridging Blitzen Trapper’s freaky and mellow split personalities. Occasionally, the disc delivers on that promise: Lead single “Love the Way You Walk Away” is a gorgeous, timeless slice of psychedelic folk rock, and “My Home Town”—if a touch too familiar in its chord changes— is warmly sentimental but too odd and brief to turn into a cliché. Any one of these rollicking tunes would make a fine soundtrack to a particularly artful beer commercial, and all of them sound like Blitzen Trapper doing what Blitzen Trapper does best. Even though buzzing, wacky cuts like “Your Crying Eyes” and “Street Fighting Sun”—songs that meld the homespun charm of Big Star with the balls-out riffage of T.Rex and Led Zeppelin—don’t point toward much evolution in Blitzen Trapper’s sound, they’re welcome additions to the disc. It’s when Blitzen Trapper embraces minimalism that it gets itself into trouble. Despite lovely, unexpected chord progressions and gorgeous production, both “Girl in a Coat” and “Astronaut” open with overwritten verses that test the listener’s threshold for cute rhymes. Frontman Eric Earley proved on 2008 effort Furr that he could write killer story songs—and he proves it again elsewhere on American Goldwing—but the Townes Van Zandt-lite closer “Stranger in a Strange Land,” especially, feels like BT putting too many eggs in the Earley-as-troubadour basket at a time when he’s not at the height of his powers (especially as bandmate Marty Marquis, who doesn’t have a single songwriting credit here, has proven his chops in recent solo engagements). None of this is enough to spoil an otherwise very solid record, but it is enough to make me think BT needs a few heartfelt band meetings before it starts on its next disc. CASEY JARMAN.

YACHT SHANGRI-LA (DFA RECORDS) [DISCO INFERNO] The fifth album by the discofied pop outfit YACHT is also the second to feature a solidified lineup of leader Jona Bechtolt with ingénue/foil Claire Evans. Not that she follows Bechtolt’s directions: Evans is a full-fledged collaborator, co-writing all the songs on this and the group’s previous effort, See Mystery Lights. She adds a divalike flair to these songs, chirping and wailing through the proceedings with sweaty nerve that was often missing from earlier YACHT efforts. This most recent disc also bears the imprint of the band’s benefactors, DFA Records. Like the other notable acts on that label—LCD Soundsystem and Hot Chip among them—YACHT can wrap some heady themes in glittery dance-floor trappings. For Evans, Bechtolt and company (the core duo is joined on this album by a coterie of players including locals Jeffrey Jerusalem and Bobby Birdman), it is exploring the divine and end-of-theworld prophecy. The band lays its cards right on the table with not only the album title, but also by dropping the themes in a one-two punch to start off: “Utopia” and “Dystopia (The Earth Is on Fire).” In both of these subjects, the result is something approaching sheer ecstasy. There’s no lamenting the loss of our planet here; YACHT is ready to “watch the motherfucker burn” and (on “Beam Me Up”) watch the destruction from space. If you’re one of the people stuck on the planet as it goes up in flames, YACHT wants you to—as Evans sings with devilish glee on “Paradise Engineering”—expand until you “become so large and so blissful that we will no longer exist.” The band’s unusual socio-philosophical outlook may not hold much water, but the grooves here are tight as can be. These are fiery club jams for the end of days. There will be Armageddon, yes, but there will also be dancing. ROBERT HAM. SEE IT: YACHT plays Branx on Saturday, Sept. 10, as a part of MFNW. 7:30 pm show, 11 pm set. $13 (or MFNW wristband). All ages. Blitzen Trapper plays the Crystal Ballroom on Friday, Sept. 9, as a part of MFNW. 9 pm show, 11 pm set. $18 (or MFNW wristband). All ages. Willamette Week SEPTEMBER 7, 2011 wweek.com

MUSICFESTNW.COM PAID ADVERTISING

JOY DIVISION

LOVE THY WRIST For all the nice things your wrist does, it might be the most underappreciated part of the body. It’s always there to tell you the time. It enables your hand to become a hot date on a lonely night. Yet all it gets in return is carpal tunnel. Time to show your wrist you care. Buy it a MusicfestNW wristband. The rest of your body will thank you when the simple gift unlocks access to more than 200 artists packed into a mere five days. Wristbands come in three elegant models: $70 buys general admission to all club shows, plus your choice of one show at Pioneer Square, this year featuring Explosions in the Sky, Band of Horses and Iron & Wine. For $115, you get general access to all clubs and Pioneer shows, and $250 snags a baller VIP pass allowing you and your wrist to roam in and out of all shows and parties without waiting in line. It’s not exactly a Rolex, but an MFNW wristband is the best way to show the body’s hardest-working bendy bit that you care.

WELSH TRIO JOY FORMIDABLE HONES A RECIPE FOR EXPLOSIVE POP ROCK

PURCHASE a wristband at Willamette Week, 2220 NW Quimby St., at all TicketsWest locations or at musicfestnw.com/tickets.

PHONE SERVICE MUSICFESTNW SMART PHONE APP HELPS YOU TURN YOUR BRAIN OFF AND ROCK

nyone who has been within earshot of an “alternative” music station in the past six months has undoubtedly been exposed to the Joy Formidable’s alarmingly infectious “Whirring,” an epically catchy cocktail of stellar hooks, power chords, bounding bass and the repeated chorus, “All these things about me/ You never can tell,” which lodges instantly in the brain like a sonic blur. The truncated radio version of the song, though, saps from it what makes Joy Formidable such a powerhouse. This is a band with a very serious ability to grab listeners by the scruff of the neck, thrash them around for a few hours and leave them thirsting for more, even as ears ring from the onslaught. Like MFNW mates Explosions in the Sky, the Welsh trio has mastered the art of the bombastic crescendo, smashing the audience with uncompromising sonic waves that hit with increasing force before rolling back and leaving listeners utterly ravaged. The formula may seem like a no-brainer: Take a basic, fuzz-pop riff and add a catchy vocal melody that, carried by the darting voice of frontwoman Ritzy Bryan, becomes instantly hummable; add a dash of inspired bass by co-founder Rhydian Dafydd and a catchy drumbeat; crank it out with heavy distortion; repeat, adding vocal “whoos” and “hoos” to taste until you reach all-out pop-rock bliss.

NIKE TOWN NIKE RETURNS TO MFNW WITH BOMBASTIC FREE SHOWS MusicfestNW’s Nike Shows have historically been among the most grade-A, premium badass shows of the festival. This year is no different—and once again, the sportsapparel giant is granting free access to the hungry hordes. Thursday’s Nike show at the Wonder Ballroom kicks off the MFNW schedule for the day with the Joy Formidable laying down its melodic Euro-pop at 6 pm, and Brand New pumping the stage full of thumping rock fury at 7:30 pm. Brand New earned notoriety in the early aughts for its angsty albums about ex-girlfriends, but now the New Yorkers have matured into a solid band of rock-and-rollers. The Wonder Ballroom will basically be a throbbing dance party Friday night as Nike brings in more prime-pedigree performers. Bouncy dance outfit Reptar will start the scrumpin’ at 9 pm, followed by electronic-remix artists MSTRKRFT at 10:30 pm. The best part? Although the MusicfestNW wristband grants access, a limited number of free tickets are also available at Jackpot Records, meaning folks without MFNW passes can see what they’re missing. With a lineup like this, it’s a sure bet that everyone who ventures into the Wonder with a free ticket to Nike’s showcase will be kicking themselves in the ass for not going all-in for MFNW’s entire run.

ADMISSION with MusicfestNW wristband or FREE Nike Sportswear pass. A limited number of Nike Sportswear passes will be given away at Jackpot Records (both locations) on the day of the show. Both shows are first come, first served, so get there early!

But the setup is only a vehicle for unexpected rock assaults. Suddenly, drummer Matt Thomas is hammering the double-bass pedal with the fury of a heavy-metal demigod with a chip on his shoulder as Bryan yowls while beating the shit out of her fretboard, and Dafydd pounds out a wall of sound that hits like a kick in the chest. Then, like any act with a knack for enforcing complete cerebral control over those within earshot, it comes to an abrupt halt. The band has been turning heads around the world while promoting The Big Roar, released earlier this year by Canvasback Music/Atlantic Records. Like its live shows, Joy Formidable’s studio work plays like a puppet master lording over its listeners. The group may have a catch-and-release formula—grab ’em with the hook, lull ’em into submission, then deliver an uncompromising burst of rock ferocity—but the experience of being in the Joy Formidable’s sonic vortex is anything but formulaic. MFNW THE JOY FORMIDABLE plays Thursday, Sept. 8, with Brand New at the Wonder Ballroom. Admission with MusicfestNW wristband or FREE Nike Sportswear pass. A limited number of Nike Sportswear passes will be given away at Jackpot Records (both locations) on the day of the show. Doors at 5 pm.

Let’s face it: Our phones are officially smarter than us. But until the day they all rise up and destroy us, they are also our servants. With so much to remember during MusicfestNW, we might as well let the phones do the thinking for us. With the free MusicfestNW app, sponsored by Hyundai Veloster, you’re free to focus your brain on the task at hand—fully immersing yourself in the MFNW wonderland—while letting your phone do the brain work. The app—available at musicfestnw.com or through iTunes and Android Marketplace—allows users to create schedules for the festival, tweet like maniacs, use a map to plot their next moves and receive updates on goings-on throughout the festival. There’s also a special camera filter that customizes photos for the festival, which can be shared with other users. Go ahead and be as dumb as you want this weekend. Your phone is there to smarten things up, and with the MusicfestNW app, navigating the event has never been easier. DOWNLOAD the free MusicfestNW app at musicfestnw.com.

RADIO FREE PORTLAND

KEXP BRINGS THE FREE GIFT OF LIVE MUSIC TO MFNW—AND THE WORLD Unemployed? Of course you are! You live in Portland, don’t you? For the lucky 9.5 percent of us who don’t have jobs, MusicfestNW expands beyond the official schedule to include performances non-working stiffs are welcome to attend. Beginning at 10:30 am Thursday and Friday, and noon on Saturday (so the gainfully employed don’t feel completely left out), Seattle radio station KEXP broadcasts four sets per day from 12 participating MFNW bands, live from Doug Fir. The shows are open to the public, all ages and free—which, considering the people available to attend probably don’t have a lot of money to throw around, is obviously the best part. Here’s the second-best part, though: With the agonizing conflicts that inevitably occur on any given night of the festival, the KEXP shows offer fans another chance to catch artists they might miss. For example, on Thursday, if you’re having difficulty choosing whether to attend the ’90s indie-rock class reunion featuring Sebadoh at the Crystal Ballroom or the future-pop double shot of Little Dragon and Unknown Mortal Orchestra happening concurrently at the Hawthorne Theatre, swing down to East Burnside early that morning to catch all three. Can’t make it to the Explosions in the Sky gig at Pioneer Square until the headlining slot? Openers Typhoon and the Antlers play Doug Fir on Friday and Saturday, respectively. Blind Pilot’s even pulling a double shift, pre-empting its Saturday night headlining gig with a noon slot at Doug Fir the same day. Or, hell, just continue your run of laziness and listen to the shows from your mom’s couch as they’re broadcast live on kexp.org. It’s enough to make you consider taking work off for the day. Or maybe just quitting altogether. Seriously, the unemployed have all the fun in this town. FOR A FULL SCHEDULE OF KEXP SHOWS, VISIT MUSICFESTNW.COM/KEXP-SHOWS. Willamette Week AUGUST 31, 2011 wweek.com

MUSIC CALENDAR Saratoga

= WW Pick. Highly recommended. Editor: Jonathan Frochtzwajg. TO HAVE YOUR EVENT LISTED, send show information at least two weeks in advance on the web at wweek.com/submitevents or (if you book a specific venue) enter your events at dbmonkey.com/wweek. Press kits, CDs and especially vinyl can be sent to Music Desk, WW, 2220 NW Quimby St., Portland, OR 97210. Please include show or release date information with all physical mailings. Email: music@wweek.com. For more listings, check out wweek.com.

WED. SEPT. 7 Afrique Bistro

102 NE Russell St. The Javier Nero Quintet

Al’s Den at the Crystal Hotel 303 SW 12th Ave. Mike Coykendall

Alberta Rose Theatre 3000 NE Alberta St. Ramblin’ Jack Elliot, Denver

Branx

320 SE 2nd Ave. Vreid, Kampfar, Necronomicon, Ceremonial Castings, Curien MFNW

Bunk Bar

1028 SE Water Ave. Crooked Fingers, Sean Flinn and the Royal We, Kelly Blair Bauman, the Heligoats

Camellia Lounge

Andina

510 NW 11th Ave. Chris Lay

Ash Street Saloon

1332 W Burnside St. The Kills, Eleanor Friedberger, Mini Mansions

1314 NW Glisan St. Pete Krebs 225 SW Ash St. Skies Above Reason, Grizzly, A Hope Not Forgotten, Storm the Hillside

Backspace

115 NW 5th Ave. Sick Of Sarah, Hunter Valentine, The Vanity Theft, Danger Thieves

Beaterville Cafe

2201 N Killingsworth St. Lowell John Mitchell and The Triplets of BeaterVille

MFNW

Crystal Ballroom

Dante’s

350 W Burnside St. Jucifer, Totimoshi, Palo Verde

East End

203 SE Grand Ave. Steve Lake, Wild Mohicans, Peroxide

East India Co.

821 SW 11th Ave. Josh Feinberg

[SEPT. 7 - 13]

Goodfoot Lounge

2845 SE Stark St. Reva DeVito, Darrius Willrich

Gypsy Restaurant & Lounge

625 NW 21st Ave. Protégé: Under-21 Band Showcase

Holocene

1001 SE Morrison St. Labelmates: Remy Marc, Curtis Knapp, Community Library DJs, DJ Frank Sumatra, DJ Scott Simmons, Archers, Adventures! With Might

Jade Lounge

2346 SE Ankeny St. Worth

Jimmy Mak’s

221 NW 10th Ave. The Mel Brown Quartet

LaurelThirst

2958 NE Glisan St. Mark Elmer; Green State (6 pm)

McMenamins Edgefield Winery 2126 SW Halsey St., Troutdale

Nate Lacy (of Mimicking Birds)

McMenamins Rock Creek Tavern

10000 Old Cornelius Pass Road, Hillsboro Billy D MFNW

Mission Theater

1624 NW Glisan St. Wheedle’s Groove

Mississippi Pizza

3552 N Mississippi Ave. Redcast

Mississippi Studios MFNW

3939 N Mississippi Ave. The Corin Tucker Band, Hurry Up!, Hungry Ghost

Mount Tabor Theater

4811 SE Hawthorne Blvd. Free Fest Northwest

Plan B

1305 SE 8th Ave. Confused Little Girl, Doomsower, Devil Riding Shotgun, Swamp Surfer, Swamp Sitter

Press Club

2621 SE Clinton St. Jeffry Trapp

6910 N Interstate Ave. Embers, Exhausted Prayer, Burials, Wretched of the Earth

Someday Lounge

Dante’s

MFNW

Doug Fir Lounge

Negative Zen, AUX 78, Smoking Mirrors MFNW

Roseland Theater

8 NW 6th Ave. Butthole Surfers, Thrones, Dirty Ghosts

125 NW 5th Ave. Stephen Baker & the Vegas Car Chasers, Hema, dKOTA

830 E Burnside St. Phantogram, White Arrows, Purity Ring, Brainstorm

Rotture

The Globe

Duff’s Garage

116 NE Russell St. The Stolen Sweets, Pete Krebs, The Portland Playboys

2045 SE Belmont St. Quintillion

The Heathman Restaurant and Bar 1001 SW Broadway Carey Campbell

The Knife Shop at Kelly’s Olympian

1635 SE 7th Ave. Lloyd Mitchell Canyon (9 pm); Portland Playboys (6 pm)

Ford Food and Drink 2505 SE 11th Ave. Jason Okamoto

Goodfoot Lounge

426 SW Washington St. Gabriel Miller Phillips, The Dearest, D. Rives Curtright

2845 SE Stark St. Fruition String Band

The Old Church

625 NW 21st Ave. Byron and Shelley

1422 SW 11th Ave. The JoySingers

Tony Starlight’s

3728 NE Sandy Blvd. Andrew Oliver with Matthew Berrill

Touché Restaurant and Billiards 1425 NW Glisan St. Nancy King

Valentine’s

232 SW Ankeny St. Hot Victory, Vice Device

Vie de Boheme 1530 SE 7th Ave. Mitzi Zilka

White Eagle Saloon 836 N Russell St. Mars Retrieval Unit

Wilfs Restaurant and Bar

Union Station, 800 NW 6th Ave. Ron Steen with Linda Michelet

THUR. SEPT. 8 Al’s Den at the Crystal Hotel

303 SW 12th Ave. Mike Coykendall, Old Light, Kelly Blair Bauman MFNW

Aladdin Theater

3017 SE Milwaukie Ave. Charles Bradley, Dennis Coffey, Monarques

Alberta Rose Theatre 3000 NE Alberta St. Slaid Cleaves, Mary Gauthier

Andina

1314 NW Glisan St. Greg Wolfe Trio

Andrea’s Cha Cha Club 832 SE Grand Ave. Dina & Bamba Y Su Pilon D’Azucar with La Descarga Cubana

Artichoke Community Music 3130A SE Hawthorne Blvd. Songwriters Roundup

Backspace

115 NW 5th Ave. Michael Nelson, Travis Vick MFNW

Branx

320 SE 2nd Ave. Handsome Furs, Talkdemonic, Suuns, Breakfast Mountain MFNW

Bunk Bar

8132 SE 13th Ave. Open Mic with Two Rivers

Slabtown

1033 NW 16th Ave. Dark Country, Jr. Worship, Old Kingdom, Avi Dei

Someday Lounge

1503 SE 39th Ave. Savoir Faire Burlesque MFNW Hawthorne Theatre

8635 N Lombard St. Thom Lyons, Suzanne Tufan, Chris Morrell 125 NW 5th Ave. Age Sex Occupation, The Ecology (9 pm); Happy Hour DJs (4 pm)

Sylvan Steakhouse

3862 SE Hawthorne Blvd. Little Dragon, Unknown Mortal Orchestra, Dirty Mittens, Mnemonic Sounds

5515 SW Canyon Court Lucas Cozby

Holocene

The Heathman Restaurant and Bar

1001 SE Morrison St. Musicfest NW: EMA, Twin Sister, Blouse, Sun Angle

Jade Lounge

2346 SE Ankeny St. Nichole

Jimmy Mak’s

221 NW 10th Ave. The Mel Brown B3 Organ Band

Kenton Club

2025 N Kilpatrick St. Free Fest Northwest: This Is Paradise, The Cry

LaurelThirst

2958 NE Glisan St. Heather Flores (9:30 pm); Lewi Longmire Band (6 pm)

McMenamins Edgefield Winery 2126 SW Halsey St., Troutdale Richard Smith

McMenamins Rock Creek Tavern

10000 Old Cornelius Pass Road, Hillsboro The Phoreheads

Melody Ballroom

615 SE Alder St. Tenley Holway Benefit: Cayuse, Jack Charles, John Bunzow, Lex Browning, Paul Brainard, Kit Garoutte, Mel Kubik, Chris Mayther, Dave Grafe, Danny Schauffler

Mississippi Pizza

3552 N Mississippi Ave. Annie Bethancourt (9 pm); Mo Phillips with Johnny & Jason (6 pm) MFNW Mississippi Studios

3939 N Mississippi Ave. You Am I, Richmond Fontaine, The Needful Longings, Ume

Mock Crest Tavern 3435 N Lombard St. Claes

Muddy Rudder Public House

1332 W Burnside St. Archers Of Loaf, Sebadoh, Viva Voce

Sellwood Public House

Hawthorne Theatre Lounge

Camellia Lounge

Crystal Ballroom

Secret Society Lounge

Slim’s Cocktail Bar

Mount Tabor Theater

MFNW

315 SE 3rd Ave. Chromatics, Cosmetics

Gypsy Restaurant & Lounge

1028 SE Water Ave. Damien Jurado, Dolorean, Thousands, Greylag 510 NW 11th Ave. Reggie Ginn, Jackalope Saints, The Hill Dogs

HIGH ART: The MFNW poster show is Saturday, Sept. 10, at the Jupiter Hotel from noon to 10 pm. Free.

MFNW

350 W Burnside St. Kylesa, Black Cobra, Witch Mountain, Nether Regions

4811 SE Hawthorne Blvd. Free Fest Northwest

8105 SE 7th Ave. Lauren Sheehan

Original Halibut’s II 2527 NE Alberta St. Terry Robb

Red Room

2530 NE 82nd Ave.

The Blue Monk

3341 SE Belmont St. Alan Jones Jam

1001 SW Broadway Johnny Martin

The Hobnob Grille

3350 SE Morrison St. Open Mic

The Knife Shop at Kelly’s Olympian

Wilfs Restaurant and Bar

Union Station, 800 NW 6th Ave. Randy Porter Trio MFNW

Wonder Ballroom

128 NE Russell St. Brand New, The Joy Formidable

FRI. SEPT. 9 Al’s Den at the Crystal Hotel 303 SW 12th Ave. Mike Coykendall MFNW

Aladdin Theater

3017 SE Milwaukie Ave. Horse Feathers, Joe Pug, Anais Mitchell

Alberta Rose Theatre

3000 NE Alberta St. Live Wire!: Blind Pilot, Dan Mangan

Alberta Street Public House 1036 NE Alberta St. Jackalope Saints (9:30 pm); Mikey’s Irish Jam (6:30 pm)

Andina

1314 NW Glisan St. Dan Diresta Quartet

Artichoke Community Music

3130A SE Hawthorne Blvd. Friday Night Coffeehouse MFNW Ash Street Saloon

225 SW Ash St. Zeke, Rabbits, Diesto, Wizard Rifle, The Thornes MFNW

Backspace

426 SW Washington St. Johnny O’Donnell & Sacramento, Play/Start, Danny Delegato

115 NW 5th Ave. The Thermals, PS I Love You, The Globes, Drew Grow and the Pastor’s Wives

The Woods

Beaterville Cafe

6637 SE Milwaukie Ave. Girlyman, Lucy Wainwright Roche

2201 N Killingsworth St. Dawn and the Dents

Thirsty Lion

320 SE 2nd Ave. Glass Candy, Purple and Green, Super Melody, Reporter

71 SW 2nd Ave. The Sindicate

Tonic Lounge

3100 NE Sandy Blvd. Kimosabe, LeRoy Jerome and the Professionals, DJ Illordess, DJ Baby Ruthless

Tony Starlight’s

3728 NE Sandy Blvd. Cabaret Chanteuse

Touché Restaurant and Billiards 1425 NW Glisan St. Kelley Shannon, John Stowell, Todd Strait, Gordan Lee, Robert Moore, Sam Howard

Tube

18 NW 3rd Ave. Super Melody, Darren Sylvester, American Girls

Twilight Café and Bar

1420 SE Powell Blvd. Bneu, Gordon Goldsmith, Daniel Park

Undefeated Sports Bar & Grill 6618 SE Powell Blvd. Mastamind of NATAS, S1k Ones (Rich Ronchie, Osofly & Thief Sicario), Kriminal Mizchif, Silent Ewok, T.H.C., Nocturnal

Vie de Boheme 1530 SE 7th Ave. Swing Fusion

Vino Vixens Wine Shop & Bar 2929 SE Powell Blvd. Faerabella

White Eagle Saloon

836 N Russell St. Gabby Holt, Andre Wallach (8:30 pm); Jesse Young (5:30 pm)

MFNW

Branx

Bunk Bar

1028 SE Water Ave. Centro-Matic, Old Light, Mbilly, Mission Spotlight

Camellia Lounge 510 NW 11th Ave. Choro da Alegria

Canvas Art Bar & Bistro

1800 NW Upshur St. Open Mic

Clyde’s Prime Rib

5474 NE Sandy Blvd. Randy Star Band MFNW

Crystal Ballroom

1332 W Burnside St. Blitzen Trapper, Sharon Van Etten, Weinland MFNW

Dante’s

350 W Burnside St. The Horrors, The Stepkids, Dirty Beaches, Hawkeye MFNW

Doug Fir Lounge

830 E Burnside St. Givers, AgesAndAges, Lost Lander, Onuinu

Duff’s Garage

1635 SE 7th Ave. Marti Broms Tribute to Patsy Cline (9 pm); Honey and the Hamdogs (6 pm)

Ford Food and Drink 2505 SE 11th Ave. Treeskin Trio

Greeley Avenue Bar & Grill 5421 N Greeley Ave. Mosby

CONT. on page 46

Willamette Week SEPTEMBER 7, 2011 wweek.com

MUSIC

CALENDAR

BAR SPOTLIGHT CAMERONBROWNE.COM

Gamma Knife, Ten Miles of Bad Road, Wavesauce, Eric Jennings

Vie de Boheme

1530 SE 7th Ave. Rachichi Big Band

White Eagle Saloon

836 N Russell St. Klickitat (9:30 pm); Reverb Brothers (5:30 pm)

Wilfs Restaurant and Bar

Union Station, 800 NW 6th Ave. Tasha Miller MFNW

Wonder Ballroom

128 NE Russell St. MSTRKRFT, Reptar

SAT. SEPT. 10 Al’s Den at the Crystal Hotel

HOLD THE INIQUITY: Considering that Al’s Den (303 SW 12th Ave.), the live-music venue in the Crystal Hotel’s basement, takes its name from Al Winter, a Portland gambling kingpin who purportedly directed his vast vice operation from the room in the 1940s, one might expect the venue to be just the least bit edgy. But then, this is a McMenamins establishment: The edges come rounded off. The drinks and food at Al’s Den are decent—the paper-thin house chips melt in your mouth and are served with interesting dipping sauces like Sriracha ketchup—but all the lounge’s menu offerings come from the adjoining Ringlers Annex or Zeus Cafe, so there’s really no reason to be in Al’s except to see a show. On that account, the venue succeeds quite well: High-quality local musicians and DJs grace the stage of the super-intimate space nightly. JONATHAN FROCHTZWAJG.

Gypsy Restaurant & Lounge 625 NW 21st Ave. River Twain

MFNW Hawthorne Theatre

3862 SE Hawthorne Blvd. Pig Destroyer, A Storm of Light, Transient, Elitist MFNW

Holocene

1001 SE Morrison St. The Hood Internet, Mad Rad, Deelay Ceelay, Wampire

Jade Lounge

2346 SE Ankeny St. Alexander’s Real Time Band (8 pm); Alexa Wiley (6 pm) MFNW

Jimmy Mak’s

221 NW 10th Ave. Y La Bamba, Holcombe Waller, Celilo, John Heart Jackie

Kenton Club

2025 N Kilpatrick St. Free Fest Northwest: Sarah Moon and the Night Sky, Bubble Cats

LaurelThirst

2958 NE Glisan St. Jim Boyer Band (9:30 pm); Woodbrain (6 pm)

McMenamins Edgefield Winery 2126 SW Halsey St., Troutdale Mike Midlo

McMenamins Rock Creek Tavern

10000 Old Cornelius Pass Road, Hillsboro Guy Dilly

Mississippi Pizza

3552 N Mississippi Ave. Sarah Gwen & Scott Weddle, The Ruby Pines (9 pm); Jenny Sizzler

Mississippi Studios MFNW

3939 N Mississippi Ave. Rhett Miller, Dan Mangan, Fernando, Caleb Klauder

Mock Crest Tavern 3435 N Lombard St. Sneakin Out

Mount Tabor Theater

4811 SE Hawthorne Blvd. Free Fest Northwest

Muddy Rudder Public House

Original Halibut’s II 2527 NE Alberta St. Bill Rhoades

Papa G’s Vegan Organic Deli

2314 SE Division St. Lynn Conover

Pints Brewing Company

412 NW 5th Ave. Zay Harrison, BobbiLynn Forbus

Pioneer Courthouse Square MFNW

701 SW 6th Ave. Iron & Wine, Marketa Irglova, Sallie Ford & The Sound Outside

Plan B

1305 SE 8th Ave. The Slackers, Georgetown Orbits, Rendered Useless

Plew’s Brews

8409 N Lombard St. Jobo Shakins

Press Club

2621 SE Clinton St. Pete Krebs Swing Trio

Red Room

2530 NE 82nd Ave. Masonic Wierd, Ergot, Nemesis, Jetpack Mistress MFNW

Roseland Theater

8 NW 6th Ave. Macklemore & Ryan Lewis, Shabazz Palaces, TxE MFNW

Rotture

315 SE 3rd Ave. The Gaslamp Killer, Marius Libman, Natasha Kmeto, E*Rock

Saratoga

6910 N Interstate Ave. Be My Doppelganger, Lee Corey Oswald, The Copyrights

MFNW

Someday Lounge

125 NW 5th Ave. The Olivia Tremor Control, The Ladybug Transistor, The Minders, The Music Tapes MFNW

Star Theater

13 NW 6th Ave. Thee Oh Sees, Bare Wires, BOAT, Archers

Sylvan Steakhouse

5515 SW Canyon Court Morgan Grace (8:30 pm); Steve Mariman (6 pm)

The Blue Monk

3341 SE Belmont St. Lady Kat

The Globe

2045 SE Belmont St. The Disappointments

The Heathman Restaurant and Bar 1001 SW Broadway Naomi LaViolette

The Knife Shop at Kelly’s Olympian

426 SW Washington St. LSD&D, Alabama Black Snake, The Love Sores, Dinner for Wolves

The Know

2026 NE Alberta St. Order of the Gash, Leeches of Lore, Witchasaurus Hex

The Woods

6637 SE Milwaukie Ave. This! Fest

The Works at Washington High School

531 SE 14th Ave. Time-Based Art Festival: No Age, Ghost Mom, Dangerous Boys Club, DJ Linoleum, Sick Jaggers

303 SW 12th Ave. Mike Coykendall MFNW

Aladdin Theater

3017 SE Milwaukie Ave. Portland Cello Project, Lifesavas, Emily Wells

Alberta Rose Theatre 3000 NE Alberta St. Paul Cotton, Jim Miller, Alan Hager

Alberta Street Public House 1036 NE Alberta St. Richard Smith

Andina

1314 NW Glisan St. Toshi Onizuka Trio MFNW Ash Street Saloon

225 SW Ash St. Pierced Arrows, Sleepy Sun, White Hills, Eternal Tapestry MFNW

Backspace

115 NW 5th Ave. Ted Leo, Rebecca Gates, Death Songs, Wild Ones

Beaterville Cafe

2201 N Killingsworth St. Lynn Connover, Lowell John Mitchell MFNW

Branx

320 SE 2nd Ave. YACHT, Miracles Club, Jeffrey Jerusalem, Bobby Birdman MFNW

Bunk Bar

1028 SE Water Ave. The Moondoggies, The Romany Rye, Quiet Life, Kelli Schaefer

Camellia Lounge

510 NW 11th Ave. California Stars, Poor Boy’s Soul

Clyde’s Prime Rib

5474 NE Sandy Blvd. Ocean 503 MFNW

Crystal Ballroom

1332 W Burnside St. Blind Pilot, Avi Buffalo, Alela Diane, Black Prairie MFNW

Dante’s

350 W Burnside St. Big Freedia, DJ Beyonda, Serious Business, CJ and the Dolls, 1-2 Buckle My Shoe MFNW

Doug Fir Lounge

830 E Burnside St. The Helio Sequence, And And And, Youth, The We Shared Milk

Duff’s Garage

1635 SE 7th Ave. Robbie Laws Band

East End

Tonic Lounge

203 SE Grand Ave. Reverse Shark Attack, Cyclotron, Blood Beach, DJ Slim Chances, DJ Lindsay Shutt

Sellwood Public House

Tony Starlight’s

721 NW 9th Ave., Suite 200 Storm Large and the Balls

Slim’s Cocktail Bar

Touché Restaurant and Billiards

Secret Society Lounge

116 NE Russell St. Krebsic Orkestar, DJ Global Ruckus, Joro Boro (9 pm); AnnaPaul and The Bearded Lady (6 pm) 8132 SE 13th Ave. Gordon Goldsmith

8635 N Lombard St. The Vernor Pantons, Whole Wide World, The Hugs

8105 SE 7th Ave. Reverb Brothers Willamette Week SEPTEMBER 7, 2011 wweek.com 46

Thirsty Lion

71 SW 2nd Ave. The Prescription 3100 NE Sandy Blvd. Citymouth, Hobbes, Laura Palmer, Business Mayne 3728 NE Sandy Blvd. Signatures

1425 NW Glisan St. Cheryle Alex Trio

Twilight Café and Bar 1420 SE Powell Blvd.

Ecotrust

Goodfoot Lounge 2845 SE Stark St. Goodfoot All-Stars

Grand Theatre

191 High St. NE Men Without Hats, Massive Moth, The Slants

Hawthorne Theatre Lounge 1503 SE 39th Ave. Wendy and The Lost Boys

Hawthorne Theatre MFNW

3862 SE Hawthorne Blvd. OFF!, Poison Idea, Mean Jeans, The Leaders

Holocene

1001 SE Morrison St. Musicfest NW: DJ Anjali, The Incredible Kid, Zuzuka Poderosa, CHAACH!!!, E3

Jade Lounge

2346 SE Ankeny St. Brave Julius MFNW

Jimmy Mak’s

221 NW 10th Ave. The Dimes, Archaeology, The Angry Orts, Violet Isle

Kenton Club

2025 N Kilpatrick St. Free Fest Northwest: Ruby Feathers, Morgan Geer

LaurelThirst

2958 NE Glisan St. Spinning Leaves, Old Yellers (9:30 pm); Tree Frogs (6 pm)

McMenamins Edgefield Winery 2126 SW Halsey St., Troutdale Kris Deelane

McMenamins Edgefield

2126 SW Halsey St., Troutdale John Prine, Ani Difranco

McMenamins Rock Creek Tavern

10000 Old Cornelius Pass Road, Hillsboro The Brothers Jam

Mission Theater

1624 NW Glisan St. School of Rock: Punk Rock

Mississippi Pizza

3552 N Mississippi Ave. Z’Bumba (9 pm); Level 2 Music (6 pm); Lorna Miller Little Kid’s Jamboree (4 pm)

Mississippi Studios MFNW

3939 N Mississippi Ave. Ty Segall, RTX, Heavy Cream, Drunk Ladies

Mock Crest Tavern 3435 N Lombard St. NoPo Mojo

Mount Tabor Theater

4811 SE Hawthorne Blvd. Free Fest Northwest (9 pm); Brian Welch (4 pm)

The Soft Moon, Dangerous Boys Club, Soft Kill, Crypts

Secret Society Lounge

116 NE Russell St. Mary Flower (8:30 pm); Pete Krebs and his Portland Playboys (6 pm)

Sellwood Public House 8132 SE 13th Ave. David Lane

Slabtown

1033 NW 16th Ave. Bone Cave Ballet, The Friendly Skies, Wizard Attack, Design Drift Distance

Slim’s Cocktail Bar 8635 N Lombard St. Zach Zerzan and the Brassierllionaires MFNW

Someday Lounge

125 NW 5th Ave. Priory, Ravishers, New York Rifles, Kasey Anderson & The Honkies, Crown Point, Sweet Teen Killing Machine

Spare Room

4830 NE 42nd Ave. Erotic City MFNW

Star Theater

13 NW 6th Ave. Dam Funk & Master Blazter, Emancipator, Devonwho, Tyler Tastermaker

Ted’s/Berbati’s Pan

231 SW Ankeny St. ChicharonifestNW: The Chicharones, Speaker Minds, Eddie Valiant, Destro, DJ Spark

The Crown Room

205 NW 4th Ave. Jean Grae, Mr. Len, Philly’s Phunkestra, DJ Zimmie

The Foggy Notion 3416 N Lombard St. The Moss, PRND, Dramady

The Blue Monk

3341 SE Belmont St. Saloon Ensemble

The Globe

2045 SE Belmont St. Neighbors

The Heathman Restaurant and Bar 1001 SW Broadway Barbara Lusch

The Knife Shop at Kelly’s Olympian

426 SW Washington St. Sexy Water Spiders, The Shivas, Brush Prairie, Wow & Flutter, Here Come Dots, Pony Village

The Know

Muddy Rudder Public House

2026 NE Alberta St. Heaven Generation, Alabama Black Snake

Original Halibut’s II

6637 SE Milwaukie Ave. This! Fest

8105 SE 7th Ave. Alan Hagar

2527 NE Alberta St. Kenny Lavitz

Pioneer Courthouse Square MFNW

701 SW 6th Ave. Explosions in the Sky, The Antlers, Typhoon, Eluvium

Plew’s Brews

8409 N Lombard Northbound Rain

Press Club

2621 SE Clinton St. Kelly Blair Bauman

Red Room

2530 NE 82nd Ave. Cuntagious, No Red Flags, Chase the Shakes, Bangovers, Skatterbomb, Ramblin Rod’s Bastard Children, Secnd Best MFNW

Rontoms

600 E Burnside St. Jared Mees & the Grown Children, Loch Lomond, Finn Riggins, Boy Eats Drum Machine MFNW

Roseland Theater

8 NW 6th Ave. Neurosis, Grails, YOB, Akimbo MFNW

Rotture

315 SE 3rd Ave.

The Woods

Tonic Lounge

3100 NE Sandy Blvd. Fruit of the Legion of Loom, Minoton, Gaytheist, Axxicom

Tony Starlight’s

3728 NE Sandy Blvd. Emily Beleele

Touché Restaurant and Billiards 1425 NW Glisan St. Kelley Shannon Trio

Twilight Café and Bar

1420 SE Powell Blvd. S.F.A., For The Life Of Me, Analog Abuse

Vie de Boheme 1530 SE 7th Ave. Jen Fox and the Waywards Sons

Vino Vixens Wine Shop & Bar 2929 SE Powell Blvd. Arthur “Fresh Air” Moore Harmonic Party (8 pm); Blues Jam (2 pm)

White Eagle Saloon 836 N Russell St.

Loaded for Bear, Diesel Beach, Mustachioed Bandits and the Damsel in Distress (9:30 pm); The Student Loan (4:30 pm)

Bobby Bare Jr., Morning Teleportation, Cass McCombs, Band of Horses

Wilfs Restaurant & Bar

2621 SE Clinton St. Harlowe and the Great Northwoods

Union Station, 800 NW 6th Ave. David Friesen Trio

SUN. SEPT. 11 Al’s Den at the Crystal Hotel 303 SW 12th Ave. Casey Neill

Alberta Rose Theatre 3000 NE Alberta St. Kinobe and the African Sensation

Andina

1314 NW Glisan St. Danny Romero

Arlene Schnitzer Concert Hall

1037 SW Broadway Pink Martini with the Oregon Symphony

Artichoke Community Music 3130A SE Hawthorne Blvd. Anne Weiss

Ash Street Saloon

225 SW Ash St. Free Fest Northwest: Doc Ocular, Dirty Syncopators, Planet Jackers

Bunk Bar

1028 SE Water Ave. Quasi, Blood Beach

Clyde’s Prime Rib

5474 NE Sandy Blvd. Ron Steen Jazz Jam

Doug Fir Lounge

830 E Burnside St. Water and Bodies, Star Anna & The Laughing Dogs, Ticktockman

Ella Street Social Club

714 SW 20th Place F*MusicFest: The Ax, Holy Children, Branden Daniel & the Chics, Hidden Knives, Jr. Worship

Hawthorne Theatre Lounge 1503 SE 39th Ave. Will Hobbs

Holocene

1001 SE Morrison St. Win Win, Ron Darko, Ftr Lgnd DJs

Jade Lounge

2346 SE Ankeny St. Tom (8:30 pm); Adolfo Angel Cuellar IV (6 pm) MFNW

Kennedy School

5736 NE 33rd Ave. You Who Kids’ Rock Variety Show with AgesandAges

LaurelThirst

2958 NE Glisan St. Billy Kennedy & Tim Acott (9:30 pm); Freak Mountain Ramblers (6 pm)

McMenamins Edgefield Winery 2126 SW Halsey St., Troutdale Tyler Stenson

Press Club

Rontoms

600 E Burnside St. Marmoset Music Party: Tu Fawning, Dolorean, Hey Marseilles, Willy Vlautin, Pickwick, Black Whales, Pancake Breakfast, Quiet Life, Wesley Jensen and the Wildcats, Greenhorse, Light For Fire, Greenhorse, Pocketknife, Great Wilderness, Tartufi

Rose Garden

1401 N Wheeler Ave. Ke$ha

St. Josef’s Winery

28836 S Barlow Road, Canby Michael Winkle & Pressure Point

The Blue Monk

3341 SE Belmont St. Juan Carlos Formell

The Globe

2045 SE Belmont St. Rychen

The Knife Shop at Kelly’s Olympian

426 SW Washington St. The Phoenix Variety Revue

The Know

2026 NE Alberta St. Steve Lake, Vivid Sekt, Atrocity Exhibition

Tillicum Club

8585 SW BeavertonHillsdale Highway Johnny Martin

Tonic Lounge

3100 NE Sandy Blvd. K-Tel ‘79

Tube

18 NW 3rd Ave. Towers, Jr. Worship

Valentine’s

232 SW Ankeny St. Witch Gardens, Sad Horse, Psychic Feline

Vie de Boheme

1530 SE 7th Ave. Joe and Kathleen Donato with Shoehorn’s Hatband

Vino Vixens Wine Shop & Bar 2929 SE Powell Blvd. Kyrstyn Pixton

White Eagle Saloon 836 N Russell St. Open Mic

MON. SEPT. 12 Al’s Den at the Crystal Hotel 303 SW 12th Ave. Casey Neill

Alberta Street Public House 1036 NE Alberta St. Sami Rouissi

Andina

1314 NW Glisan St. Pete Krebs

McMenamins Rock Creek Tavern

Arlene Schnitzer Concert Hall

Mission Theater

Duff’s Garage

10000 Old Cornelius Pass Road, Hillsboro Colleen Raney 1624 NW Glisan St. Crafty Rock Show: The Pynnacles, The Fallmen, Cellar Door

Mississippi Pizza

3552 N Mississippi Ave. Parachutes No More, Bubble Cats (9 pm); Tumble Rye (6 pm)

1037 SW Broadway Pink Martini with the Oregon Symphony 1635 SE 7th Ave. Suzie and the Sidecars

East End

203 SE Grand Ave. Heavy Metal Ladies Night: Triplehorn, Doomsower, Gypsyhawk, Huntress, DJ Nate C, DJ Smooth Hopperator

Mount Tabor Theater

Ella Street Social Club

Muddy Rudder Public House

Jade Lounge

4811 SE Hawthorne Blvd. Free Fest Northwest

8105 SE 7th Ave. Irish Music

MFNW Pioneer Courthouse Square

701 SW 6th Ave.

714 SW 20th Place My Autumn’s Done Come, Red Pony Clock 2346 SE Ankeny St. Salon De Musique

Jimmy Mak’s

221 NW 10th Ave. Dan Balmer

CALENDAR LaurelThirst

Tonic Lounge

McMenamins Edgefield Little Red Shed

White Eagle Saloon

2958 NE Glisan St. Kung Pao Chickens

2126 SW Halsey St., Troutdale Bobby Bare, Jr.

McMenamins Edgefield Winery 2126 SW Halsey St., Troutdale Tyler Stenson

McMenamins Rock Creek Tavern

10000 Old Cornelius Pass Road, Hillsboro Bob Shoemaker

Mississippi Pizza

3552 N Mississippi Ave. Mr. Ben

Mississippi Studios

3939 N Mississippi Ave. Tim Easton, Johnny Corndawg, Drunken Prayer

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

O’Connors

3100 NE Sandy Blvd. Project Independent Metal Showcase 836 N Russell St. Riviera, John Brown Project

TUES. SEPT. 13 Al’s Den at the Crystal Hotel

303 SW 12th Ave. Casey Neill

Alberta Rose Theatre

3000 NE Alberta St. Chatham County Line, The Bottlecap Boys

Alberta Street Public House 1036 NE Alberta St. Kelly McRae

Andina

1314 NW Glisan St. JB Butler

Arlene Schnitzer Concert Hall

1037 SW Broadway Pink Martini with the Oregon Symphony

7850 SW Capitol Highway Kit Garoutte

Ash Street Saloon

Red Room

Backspace

2530 NE 82nd Ave. Rainy River Blues Experience

225 SW Ash St. The Jumpies

The Blue Monk

115 NW 5th Ave. Silver Tongued Demons, Raptor, Gladius, Rocket Propelled Chainsaws

The Knife Shop at Kelly’s Olympian

2201 N Killingsworth St. Los Cowtones & Virgo Party

The Know

830 E Burnside St. ANR, We Barbarians

3341 SE Belmont St. Renato Caranto Project

426 SW Washington St. Face The Box 2026 NE Alberta St. Mother Bunch

Beaterville Cafe

Doug Fir Lounge

Duff’s Garage

1635 SE 7th Ave.

Dover Weinberg Quartet (9 pm); Trio Bravo (6 pm)

Ella Street Social Club

714 SW 20th Place The Shoguns, The Holy Child, Rats in the RiffRaff

Goodfoot Lounge

2845 SE Stark St. Scott PembertonTrio

Gypsy Restaurant & Lounge 625 NW 21st Ave. Merrill Lite

Jimmy Mak’s

221 NW 10th Ave. The Mel Brown Septet (8 pm); He Said, She Said (6:30 pm)

LaurelThirst

2958 NE Glisan St. Jackstraw

McMenamins Edgefield Little Red Shed 2126 SW Halsey St., Troutdale Bobby Bare, Jr.

Mission Theater

1624 NW Glisan St. William Topley and the Black River Band

Mississippi Pizza

3552 N Mississippi Ave. The Hill Dogs

Mississippi Studios

3939 N Mississippi Ave. Nice Nice, Sun Angle, The Reservations

Peter’s Room

8 NW 6th Ave. Kamelot, Alestorm, Blackguard, The Agonist

Red and Black Cafe 400 SE 12th Ave. Anastatica, Aranya, Gloomweaver

Groove Suite

Someday Lounge

440 NW Glisan St. Cock Block: 31avas, Scifisol, Miss Vixen, Ziero

125 NW 5th Ave. Brave Chandeliers, Autopilot is for Lovers, Pheasant, Gallop, Cristina Cano

The Blue Monk

3341 SE Belmont St. Pagan Jug Band

The Globe

2045 SE Belmont St. De La Warr

The Knife Shop at Kelly’s Olympian

426 SW Washington St. The Lockouts, Corduroy

The Know

2026 NE Alberta St. Yadokai

Tonic Lounge

3100 NE Sandy Blvd. Fist Fite, Antikythera, Billions and Billions

Tony Starlight’s

3728 NE Sandy Blvd. Ayars Vocal Showcase

Twilight Café and Bar 1420 SE Powell Blvd. Open Mic with The Roaming

Vie de Boheme

1530 SE 7th Ave. Lynn Winkle & Mark Stauffer

White Eagle Saloon 836 N Russell St. The Shook Twins

Ground Kontrol

WED. SEPT. 7 Ground Kontrol

511 NW Couch St. TRONix: DJ 808

The Lovecraft

421 SE Grand Ave. Psychobilly

Tiga

1465 NE Prescott St. Todos Santos

Tube

18 NW 3rd Ave. DJ Loyd Depriest

Tube

18 NW 3rd Ave. Island Soundz: Future Legend DJs

THUR. SEPT. 8 Al’s Den at the Crystal Hotel

303 SW 12th Ave. DJ Anjali & the Incredible Kid

Beauty Bar

111 SW Ash St. Shameless Thursdays: Easter Egg, DJ3X

Fez Ballroom

The Crown Room

205 NW 4th Ave. F*ck The Disco: DJs Evil One, Doc Adam, Tyler Tastemaker

The Lovecraft

421 SE Grand Ave. Metal DJs

The Whiskey Bar 31 NW 1st Ave. Bassroots

The Works at Washington High School

531 SE 14th Ave. Time-Based Art Festival: Beyondadoubt, Vockah Redu

The Foggy Notion 3416 N Lombard St. BENT

The Lovecraft

421 SE Grand Ave. Darkness Descends with DJ Maxamillion

Tiga

1465 NE Prescott St. Slim Chances

Tube

1465 NE Prescott St. DJ Pickle Barrel 18 NW 3rd Ave. Bang A Rang; DJ Sethro Tull

Valentine’s

232 SW Ankeny St. DJ Linger

FRI. SEPT. 9

Jade Lounge

Fez Ballroom

1305 SE 8th Ave. Catsup and Musturd: DJs Tom Cosm, Avery, M2K, Possum Sausage, Makoi Vs Punkbaba, DJ Tasp

1332 W Burnside St. ‘80s Video Dance Attack

18 NW 3rd Ave. Burning Leather; DJ Neil Blender

Beauty Bar

Plan B

MFNW Lola’s Room at the Crystal Ballroom

Tiga

316 SW 11th Ave. Shadowplay: DJ Horrid, DJ Ghoulunatic, DJ Paradox 2346 SE Ankeny St. DJ Adam

511 NW Couch St. DJ Epor

111 SW Ash St. Fa$t Life: DJs Danny Merkury, Yo Huckleberry 316 SW 11th Ave. Decadent 80s: DJ Encrypted, DJ NoN

Goodfoot Lounge 2845 SE Stark St. Soul Stew with DJ Aquaman

18 NW 3rd Ave. No Hands with DJ Nick Dean

Valentine’s

232 SW Ankeny St. DJ Dirty Hands

SAT. SEPT. 10 Fez Ballroom

316 SW 11th Ave. Twice As Nice

Ground Kontrol

511 NW Couch St. DJ Destructo

Lola’s Room at the Crystal Ballroom

1332 W Burnside St. Jai Ho! Pure Bollywood Dance Party

MUSIC

Mount Tabor Theater

4811 SE Hawthorne Blvd. Stahlwerks with DJ NoN

Plan B

1305 SE 8th Ave. Some Are Sparkles!: DJs Beyondadoubt, Chelsea Starr, Bruce LaBruiser

The Lovecraft

421 SE Grand Ave. Glam Night

Tiga

1465 NE Prescott St. DJ Party Animal

Tube

18 NW 3rd Ave. Hollyhood: DJ Tigerbeat, DJ Stray

Valentine’s

232 SW Ankeny St. DJ Tigerstripes

SUN. SEPT. 11 Matador

1967 W Burnside St. Next Big Thing with DJ Donny Don’t

Plan B

1305 SE 8th Ave. Hive with DJ Owen

Produce Row Cafe

204 SE Oak St. The Do-Over: Secret Guests, Haycock, Strong, Blacc

TUES. SEPT. 13 The Crown Room

205 NW 4th Ave. See You Next Tuesday: Kellan, Avery

Tiger Bar

317 NW Broadway Good Music For Bad People with DJ Entropy

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Ticket office:

923 SW Washington | 10 am – 6 pm Mon – Fri

ARLENE SCHNITZER CONCERT HALL

September 11th | MFNW YOU WHO with AgesandAges doors noon | show 1:00 pm MFNW wristband OR $10 Adults $5 kids

Willamette Week SEPTEMBER 7, 2011 wweek.com

SEPT. 7-13

= WW Pick. Highly recommended.

Long Story Short

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 Time-Based Art Festival

PICA’s ninth TBA festival brings another great lineup of contemporary performers and visual artists to Portland. See our listings for details on individual shows. Multiple locations, 224-7422. Ticket prices vary, festival passes $75-$250.

American Dreamers

Readers Theatre Repertory’s first reading of the season is Lavonne Mueller’s imagined conversation between Marilyn Monroe and the poet Carl Sandburg, who were real-life friends. Blackfish Gallery, 420 NW 9th Ave., 295-4997. 8 pm Friday-Saturday, Sept. 9-10. $8.

Andrew Dinwiddie

[TBA] Brooklyn actor Andrew Dinwiddie performs an out-of-print 1971 recording of a sermon by evangelist Jimmy Swaggart. The record, Get Mad at Sin! A Message to the Young People of Today, predated the beginning of Swaggart’s television ministry (and subsequent fame and eventual disgrace) by four years, and Dinwiddie attempts to faithfully recreate not only the sermon but the pacing, near-manic style of the preacher in his prime. Washington High School, Southeast 12th Avenue and Stark Street, 2247422. 6:30 pm Tuesday-Saturday, Sept. 13-17. $20.

Annie Get Your Gun

Lakewood Theatre Company’s production of this Irving Berlin chestnut should actually be pretty great. It stars human chameleon Sara Catherine Wheatley as rootin’, tootin’ Annie, and I simply cannot imagine a better fit for the part. Lakewood Center for the Arts, 368 S State St., Lake Oswego, 635-3901. 7:30 pm ThursdaysSaturdays, 7 pm Sunday, Sept. 11; 2 and 7 pm Sundays, Sept. 18 and 25; 2 pm Sundays Oct. 2-16. $32, $29 seniors.

God of Carnage

Artists Rep begins its season with Yasmina Reza’s 2009 Tony-winning drama about a pair of yuppie couples attempting to discuss a bullying incident between their children— a meeting that rapidly devolves into drunken chaos. Denis Arndt (who performed in Seattle Repertory Theatre’s 2010 production of the play) directs Patrick Dizney, Michael Mendelson, Trisha Miller and Allison Tigard. Artists Repertory Theatre, 1515 SW Morrison St., 241-1278. 7:30 pm WednesdaysSaturdays, 2 and 7:30 pm Sundays. Closes Oct. 9. $20-$42.

The Importance of Being Earnest

Oscar Wilde’s cheeky commentary on Victorian conventions is presented, oddly and perhaps appropriately, at a Masonic Lodge by Third Eye Theatre. Director Cosette Brown’s adaptation brings a handful of laughs (it’s Oscar Wilde, after all) but ultimately lacks the swiftness and deadpan delivery vital to Wilde’s brilliant verbal exchanges. NATALIE BAKER. Kenton Masonic Lodge, 8130 N Denver Ave., 970-8874. 8 pm Fridays-Saturdays, 2 pm Sundays. $12-$15.

To Kill a Mockingbird

Public House Theatre celebrates the 50th (well, 51st if you want to get picky) anniversary of Harper Lee’s near-perfect novel with an ensemble production of Christopher Sergel’s stage adaptation. Seven actors will embody all of the 20-plus characters, regardless of sex and skin color. The CoHo Theater, 2257 NW Raleigh St., 922-0532. 7:30 pm ThursdaysSaturdays, 2 pm Sundays. Closes Oct. 1. $24, $14 students.

Taylor Mac

[TBA] The singer and alt-drag performer makes his third appearance at PICA’s Time-Based Art festival. This time he’s performing Comparison Is Violence or The Ziggy Stardust Meets Tiny Tim Songbook, a medley of songs by David Bowie and Tiny Tim. Washington High School, Southeast 12th Avenue and Stark Street, 2247422. 8:30 pm Friday-Sunday, Sept. 9-11. $25.

Maybe Baby, It’s You

Triangle Productions kicks off its season with Charlie Shanian and Shari Simpson’s 1999 collection of comedic vignettes about looking for love in the modern world, performed here by Adair Chappell and Gary Cash. Sanctuary at Sandy Plaza, 1785 NE Sandy Blvd., 239-5919. 7:30 pm Thursdays-Saturdays, 2 pm Sundays. Closes Oct. 2. $15-$35.

Mysterious Skin

New theater company Book of Dreams makes its debut with Prince Gomolvilas’ adaptation of Scott Heim’s novel about two sexually abused boys whose trauma manifests in very different ways: One believes he has been abducted by aliens; the other becomes a teen prostitute. The Back Door Theater, 4319 SE Hawthorne Blvd., 971269-4032. 8 pm Thursdays-Saturdays through Sept. 24. $15.

The Real Americans

The Brody crew teams up with Brainwaves Improvisational Comedy for a show that melds their long- and short-form methods. Brody Theater, 16 NW Broadway, 224-2227. 8 pm Saturdays through Sept. 17. $8-$12.

Mental State Department

A sketch and stand-up comedy showcase that “brings people together to laugh and think.” This edition features Virginia Jones and Tim Hammer. Curious Comedy, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 7:30 pm Thursday, Sept. 8. $5-$7.

The Play

Peachy Chicken performs an improvised parody of an off-off Broadway theater production, from first rehearsal through opening night. Curious Comedy, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 8 pm FridaysSaturdays through Sept. 24. $15.

Saturday Stand-up Showcase

Anthony Lopez, Phil Schallberger and Jason Nguyen. Curious Comedy, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 10 pm the first and third Saturdays of the month. $5.

Tommy Savitt

Savitt has won the Seattle, Los Angeles and Boston comedy competitions, despite a repertoire of old gags. Harvey’s Comedy Club, 436 NW 6th Ave., 241-0338. 7:30 pm Thursday and Sunday, 7:30 and 10 pm FridaySaturday, Sept. 8-11. $15. 21+.

Sweat

Some smashing sketch comedy from members of the Road House: The Play and 3rd Floor crews Theater! Theatre!, 3430 SE Belmont St., www.sweatysweat.com. 8 pm Fridays-Saturdays through Oct. 1. $15-$19.

San Francisco actor and journalist Dan Hoyle brings his solo show, derived from a very long 2009 road trip through rural, poor, non-coastal America, to Portland Center Stage for a two-month run. Gerding Theater, 128 NW 11th Ave., 445-3700. 7:30 pm Tuesdays-Saturdays, 2 pm Sundays, alternating Saturday matinee and Sunday evening performances. Closes Nov. 6. $26-$46.

The Weekly Recurring Humor Night

Shrek the Musical

Double Reed Divas

It exists. It is on tour. Keller Auditorium, 222 SW Clay St., 800745-3000. 7:30 pm Tuesday-Friday, 2 and 7:30 pm Saturday, 1 and 6:30 pm Sunday, Sept. 13-18. $24.50-$90.

Storython

Portland Storytellers’ Guild tells some family-friendly stories. Kennedy School Community Room, 5736 NE 33rd Ave. 7-9 pm Saturday, Sept. 10. $5 adults, $4 children, $10 families.

Urban Tellers

Ordinary people, coached in the art of storytelling by Lawrence Howard and Lynne Duddy, tell autobiographical tales. Hipbone Studio, 1847 E Burnside St., reservations@portlandstorytheater. com. 8 pm Friday, Sept. 9. $10 (cash only). Reservations required.

COMEDY Comedy Is OK

This month the showcase of funny media features stand-up by Anthony Lopez and Adam Dahl, dream diaries from the audience, dance by some unknown performers and, as always, lots of videos. Clinton Street Theater, 2522 SE Clinton St., 238-8899. 9 pm Wednesday, Sept. 7. $5.

Curious Garden

Sketch comedy for kids. Curious Comedy, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 10:30 am Sunday, Sept. 11. $5.

Diabolical Experiments

The Brody Theater crew presents a showcase of experimental improv formats. Brody Theater, 16 NW Broadway, 224-2227. 7 pm Sunday, Sept. 11. $5.

LAKE OSWEGO PHOTOGRAPHERS

PERFORMANCE

Whitney Streed hosts Dax Jordan, Virginia Jones, Tim Hammer, Chris Castles, Sue Ceswick and Nick Walker. Tonic Lounge, 3100 NE Sandy Blvd., 238-0543. 9:30 pm Wednesdays. $3-$5. 21+.

CLASSICAL Portland Columbia Symphony members Victoria Racz, Dagny Rask Regan and Ann van Bever play oboe, English horn and bassoon in classics by Debussy and Haydn, contemporary Australian composer Graham Powning and jazz composer Arthur Woodbury. Tabor Heights United Methodist Church, 6161 SE Stark St., 232-8500. 4 pm Sunday, Sept. 11. Donation.

Ghatam Karthick’s Heartbeat Ensemble

In the season’s first concert presented by the Rasika organization, the fusion sextet, featuring electric violin, keyboard and several ancient and modern percussion instruments, plays traditional and original Indian classical music with modern accents and “eclectic sounds of trendy rhythms.” Intel, Jones Farm Campus, 2111 NE 25th Ave., Hillsboro, 531-7266. 5 pm Saturday, Sept. 10. $10-$25.

Oregon Symphony, Chris Botti

Smooth jazz trumpeter Chris Botti is one of Oregon’s most popular musical exports. The orchestra will open with poppy orchestral favorites from Leonard Bernstein, Morton Gould, Ernesto Lecuona and James Bond films. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 228-1353. 7:30 pm Saturday, Sept. 10. $30-$125.

Pink Martini, Storm Large, Oregon Symphony

Two of the city’s most beloved big bands resume their frequent and always fun partnership in a program they’re keeping secret. Large continues to substitute for regular vocalist China Forbes. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 2281353. 7:30 pm Sunday-Tuesday, Sept. 11-13. $30-$125.

ANNIE GET YOUR GUN

Portland Vocal Consort

Among the many commemorations of the Sept. 11 attacks, this one might be the most moving. In one of the state’s most beautiful spaces, ideal for contemplation, one of the city’s most accomplished choral ensembles sings that great consoling work of the Renaissance, Tomás Luis de Victoria’s powerful Requiem, along with the exceptionally moving choral version of the adagio from Samuel Barber’s String Quartet, called Agnus Dei (“Lamb of God”) in this version. The Grotto, Northeast 85th Avenue and Sandy Boulevard, 209-7539. 4 pm Sunday, Sept. 11. Free.

Screening: The Fall/Lamentatio

In 2006, Portland composer Jack Gabel, video artist Takafumi Uehara, and choreographers Agnieszka Laska and Luis Arreguín conceived a powerfully emotional and thoughtful artistic reaction to the U.S. government’s response to the horrific attacks of Sept. 11, 2001. The Fall ’01 received international awards for its score and choreography. This award-winning film depicts the live production’s world premiere in Queretaro, Mexico, featuring Agnieszka Laska Dancers and Las Pléyades Danza Contemporánea. It’s followed by the premiere screening of its 2008 companion piece, Lamentatio, “inspired by poems of detainees from Guantanamo, soldiers from the Iraq war and mothers of victims from all sides of the global war of terror.” The live Portland performances of both these important works were highlights of their respective years, so these memorial screenings are a great opportunity for those who missed them the first time, and, for everyone, a welcome reminder of the other side of the story that we’ll be hearing so much about on this tragic anniversary. Place Gallery, Pioneer Place, third floor, 700 SW 5th Ave., 715-1866. 3 pm (The Fall) and 4 pm (Lamentatio) Sunday, Sept. 11. Free.

DANCE A-WOL Dance Collective

The aerial performers of A-WOL Dance Collective don brightly colored togs, suspend themselves from the trees and zip through the late summer air as an electronic soundtrack unspools in Byrds ’n Buzzlies, an Art in the Dark show that makes nature its stage and welcomes viewers of Mary S. Young Park, 19900 Willamette Drive, West Linn. 8:30 pm Friday-Sunday, Sept. 9-11. $12-$20.

Burleynomicon

Burlesque, the latest darling of the performance scene, has been remixed

with everything from fire to midgets. So why not throw goth into the mix? The Lovecraft—an oh-so-Portland, horror-themed tea house and bar—hosts Burleynomicon, a theatrical tease with a darkish twist. The Lovecraft, 421 SE Grand Ave., 971-270-7760. 9:30 pm Tuesday, Sept. 13. $5. 21+.

Dancing Out of the Box

Eat for a good cause, and let someone else burn the calories. Dancing Out of the Box, a benefit for the Northwest Dance Project, features Italian and French dishes, Oregon wines and a New Now Wow! cocktail created especially for the event and named for the company’s all-premieres season opener this October. The contemporary ballet company’s 10 dancers will perform work by artistic director Sarah Slipper in the hotel’s courtyard garden; Skip VonKuske of the Portland Cello Project plays live. Nel Centro, 1408 SW 6th Ave., 484-1099. 6:30 pm Saturday, Sept. 10. $75.

Fall Art Live

Find out what you’re in for this season as local artist organizations offer outdoor performances, information tables, prize giveaways and workshops for all ages at Fall Art Live. Participating dance groups include Oregon Ballet Theatre, Portland Ballet, BodyVox 2, the Portland Dance Collaboration and Northwest Dance Project; music and theater groups will also join in, and the Portland Baroque Orchestra will honor 9/11 at 2 p.m. Director Park, 815 SW Park Ave. 11 am-5 pm Sunday, Sept. 11. Free.

Miss Kennedy’s Cabaret

Burk Biggler hosts this regular burlesque event, which features performances by Sophie Maltease, Madison Moon, Harper Chang and Sofia Legler. Ted’s/Berbati’s Pan, 231 SW Ankeny St., 248-4579. 9:30 pm Friday, Sept. 9. $10$13. 21+.

Neerchokikoo Powwow

Native American dance and drumming will be in full force at the second annual Neerchokikoo Powwow, held at the Native American Youth and Family Center. The weekend-long event opens at 7 pm Friday, Sept. 9, with the Grand Entry, a procession of dancers, a color guard and community leaders. On Saturday, dancers young and old share cultural styles in full regalia. Between performances, guests will find refreshments and creations by Native artists. Native American Youth and Family Center, 5135 NE Columbia Blvd., 2888177. Various times Friday-Sunday, Sept. 9-11, see nayapdx.org. Free.

For more Performance listings, visit

Willamette Week SEPTEMBER 7, 2011 wweek.com

PERFORMANCE

SEPT. 7-13

TIME OF YOUR LIFE

the performance world, but her imprint can be found in Namasya, a Sanskrit word meaning “reverence” and the name of the program Shivalingappa will offer here. It focuses on the commonalities, rather than the differences, in cultural styles and pays homage to Shivalingappa’s teachers with dances choreographed by her mother, Bausch and Ushio Amagatsu, director of Japan’s Sankai Juku butoh company and another of Shivalingappa’s mentors. Shivalingappa begins the evening with classical Indian technique and works her way into the many influences that have shaped her choreographic style. She is a fluid, graceful dancer whose eloquent arm movements alone speak volumes about her worldly experience. HEATHER WISNER. Portland State University’s Lincoln Performance Hall, 1620 SW Park Ave. 6:30 pm Friday, Sept 9. $20-$25.

This Thursday marks the b e g i n n i n g o f Po r t l a n d Institute for Contemporary Art’s ninth Time-Based Art Festival, a 10-day rush of dance, theater, comedy, music, film, visual art and other assorted weirdness. There’s far too much going on during the festival for any one person to consume—you can browse the whole, bewildering schedule at pica.org—so we’ve pulled together the events we’re most excited by in this first weekend of TBA. ALA`N SIMONS

Our top picks for the first week of PICA’s Time-Based Art Festival.

Patrick J. Rock, Oscar’s Delirium Tremens Equal parts quirky, cuddly and dangerous, Patrick Rock is best known locally as the director of Rocksbox Contemporary Art, the cutting-edge North Portland gallery known for its outrageous programming. Nationally and internationally, he is known as a performer in the gonzo post-punk band Piss. Once every few years, he makes gigantic, vaguely obscene inflatable jump rooms. Back in 2009, he created a 30-foot forced-air hot dog called Simulacra/Hermaphrodite for Jeff Jahn’s show Fresh Trouble, and invited the public to climb into the phallus-shaped sausage’s vulva-shaped entry portal and jump around to its heart’s content. For this year’s TBA, Rock brings us a tribute to the great aesthete Oscar Wilde. Oscar’s Delirium Tremens is an upside-down toppled pink elephant that you climb into via a slit that may or may not be an anus, perineum or vulva. Metaphorically, it represents the Wildean dance with decadence that so many artists undertake, not always to their everlasting triumph. Viscerally, it’s just plain fun to jump around in an overgrown dead elephant. Washington High School, Southeast Stark Street and 14th Avenue, Sept. 8-Oct. 30. Free.

Shantala Shivalingappa, Namasya East may be East and West may be West, but the twain meet quite comfortably in Shantala Shivalingappa. The Indianborn, Paris-bred dancer, daughter of Indian dancer Savitry Nair, was rigorously schooled in classical Indian Kuchipudi technique by master teacher Vempati Chinna Satyam. An old hand by age 13, Shivalingappa set out to bring the technique greater recognition outside India, performing in festivals worldwide and collaborating with several significant artists along the way, including French ballet innovator Maurice Bejart and German dance-theater visionary Pina Bausch, with whom she began dancing in 1999. Bausch was felled by cancer two years ago, a blow to 50

Willamette Week SEPTEMBER 7, 2011 wweek.com

Kyle Abraham, The Radio Show Choreographer Kyle Abraham grew up in Pittsburgh listening to the city’s only urban contemporary radio station, WAMO. When the station went off the air in 2009, even though he had long since moved to New York, he mourned the loss. In The Radio Show, Abraham explores how the disappearance of such a vital institution affects a community and connects the station’s closure to his father’s struggle with Alzheimer’s. It’s a performance inspired by communication breakdowns, both cultural and personal. Accompanied by a collage of popular R&B and hip-hop songs, an original chamber score and snatches of human voices calling out through static, Abraham and his company, Abraham. In.Motion, mix the immediacy of street dancing with the polished elegance of the conservatory. It is the young company’s first full show, and has earned Abraham—described by Out magazine as “the best and brightest creative talent to emerge in New York City in the age of Obama”—a 2010 Bessie Award and accolades from The New York Times, which called the work “smart and self-aware, and luscious too.” STEVEN SCHREIBER

Rude Mechs, The Method Gun Austin theater company Rude Mechs is nationally renowned for ensemble-created loose adaptations of novels (James Hellman’s How late it was, how late), comic strips (David Rees’ Get Your War On) and even music criticism (Greil Marcus’ Lipstick Traces). The company’s latest hit isn’t adapted from anything, though it claims to be: The Method Gun is a tribute to and parody of method acting, artistic mentors and the very idea of theatrical risk. Presented as a documentary performance, the play follows the misfortunes of a group of actors, students of the imaginary acting guru Stella Burden, as they rehearse their first and only production in the wake of Burden’s mysterious disappearance. The performance, which they stage for our benefit after nine years of preparation, is a production of A Streetcar Named Desire without the characters of Blanche, Stanley, Stella or Mitch. It lasts less than 10 minutes and is, for reasons I’d rather let you discover on your own, far more moving an experience than you’d imagine. Also, it has a sassy tiger. All plays should have a sassy tiger. BEN WATERHOUSE. Imago Theatre, 17 SE 8th Ave. 8:30 pm Friday-Sunday, 6:30 pm Monday-Tuesday, Sept. 9-13. $25.

AARON ROGOSIN

PREVIEW

It’s an emotional reminder that even when speech is taken away, whether by disease or the economy, the language of movement remains. MATTHEW SINGER. Winningstad Theatre, Portland Center for the Performing Arts, 1111 SW Broadway. 6:30 pm Friday-Sunday, Sept. 9-11. $20. tEEth, Home Made Since its founding in 2006, Portland’s tEEth dance project has consistently been one of the most ambitious and interesting performance groups in the city—with various performances moving through bodily obsessions, unlikely contortions and movements, fabric tubes or vats of goo. But while previously discomfort and the shock of the new often seemed to be goals unto themselves, in Home Made artistic directors Angelle Hebert and Philip Kraft have used these same discomfiting tools in the service of a genuine, beautiful, emotionally fraught intimacy. The piece begins with the delicate, idyllic movements of two lovers beneath a thin sheet—as seen in shadowplay, or as voyeuristically projected onto a screen—and from this tranquility moves into more dangerous emotional territory: the violence and ecstasy and failures of any two people trying to connect. Dancers Keely McIntyre and Noel Plemmons—often dancing in the nude—desperately attempt to map their bodies onto one another’s, frustratingly mirror movements and try on emotions as masks. But each failure, frustration or moment of violence is also a genuine attempt at consummation, and this is where the piece finds its optimism, and also its genuine ability to move the viewer. After Home Made’s initial performance in November of last year, WW called it one of the most powerful performance pieces to come out of Portland in recent memory; in the meantime, as it’s toured the country, one can only think that the performance has refined its effects even further. MATTHEW KORFHAGE. The Mouth at Zoomtopia, 810 SE Belmont St. 6:30pm SaturdaySunday, 8:30 pm Monday-Wednesday, Sept. 10-14. $20. Fast Weapons Presents, Love Is Blind, Lingerie Is Braille This multimedia extravaganza-cum-phantasmagoriacum-orgasmatron fills the Works, TBA’s late-night venue at Washington High School, with sound, performance, literature and sheer bedlam. Nathan Howdeshell and Fast Weapons curate a series of happenings throughout the building. Among them are performances by Beth Ditto (singing tracks from her new album with assistance from Beyondadoubt) and garage-rock band Ghost Mom. Nudity in Groups’ fourth arts publication will be distributed in the building’s restrooms, while the Dangerous Boys Club will treat festivalgoers to its signature ambience of misty, laserlit angst. Finally, Harry K mounts an existential soap opera that mingles cosmic and quotidian themes. The evening will be immersive, eclectic and perhaps a little disturbing. RICHARD SPEER. The Works at Washington High School, Southeast Stark Street and 14th Avenue. 10:30 pm Friday, Sept. 9. $8.

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STEVEN SCHREIBER

Michel Groisman, Transference Michel Groisman wants to be your plaything. The Brazilian “action artist” unleashes epic games of shadow puppets, makes animals with his hands and straps lit candles to his arms as part of a contraption that makes him look like a half-naked Steampunk rig. He’ll attach glasses full of water to your body and make you figure out how to pour them into your neighbor’s vessels, along with other high-falutin party games. He’s weird and wonderful and one of those great things that makes TBA less about watching and more about doing—making connections with both artists and festival attendees. He’ll be waiting to play with passersby at the Works at Washington High School during much of the festival and performing his own pretzel-bodied solo called Transference for two nights. Bring the kids. This is one interactive TBA experience that won’t scar them for life...maybe. KELLY CLARKE. Washington High School, Southeast Stark Street and 14th Avenue. Interactive Projects 3-5 pm Friday and TuesdayThursday, Sept. 9 and 13-15. Transference 3 pm Saturday-Sunday, Sept. 10-11. Free.

The Man. His Horn. One Unforgettable Night.

Tim DuRoche and Ed Purver, The Hidden Life of Bridges Portland has always seemed more Bridgetown than Rose City— no other single civic symbol better embodies our community’s essence than the bridges that give us mobility and knit together our neighborhoods. Every day, tens of thousands of us bike and drive over them, more interested in where we’re going than in the structures that make it possible for us to get there. When we think of them at all, it’s probably in annoyance at the slight delay caused by an unexpected lift interval. Musician and sound artist Tim DuRoche does think about bridges. Every weekday he walks to his day job over the Hawthorne Bridge, marveling at its importance to the city, its complex mechanics and its fantastic sounds. Inspired by his daily interactions with the bridge, DuRoche and Brooklyn artist Ed Purver have joined forces to bring us fascinating new perspectives on structures we encounter daily but seldom really experience. Beginning at 9 pm this Thursday, Friday and Saturday, the south sides of the Morrison Bridge piers will display video projections, visible from the Hawthorne Bridge, Waterfront Park and the Eastbank Esplanade, inspired by the structure’s surprisingly beautiful hidden spaces and the remarkable people who make it work and keep it safe. The film features words and faces of engineers and other public employees who, as it turns out, are conscientious, eloquent and poetic stewards of these civic treasures. And all month, the Hawthorne Bridge will become a gargantuan sound sculpture, its varied vibrations processed and transformed into a striking sonic composition accessible via webcast and telephone call. Hopefully, we’ll never cross a bridge again without appreciating what a compelling story it has to tell us. BRETT CAMPBELL. 9 pm Thursday-Saturday, Sept. 8-10. Free. SEE IT: Tickets to all TBA performances may be purchased at PICA’s box office on the campus of Washington High School, at the corner of Southeast Stark Street and 14th Avenue, by phone at 224-7422, or online at pica.org. Individual tickets are $5-$40, and festival passes of varying degrees of inclusivity cost between $45 and $250.

Chris Botti Saturday, September 10

7:30 p.m.

Tickets as low as $30. While they last.

Call: 503-228-1353 | 1-800-228-7343 Click: OrSymphony.org

Ticket office:

923 SW Washington | 10 am – 6 pm Mon – Fri

ARLENE SCHNITZER CONCERT HALL Willamette Week SEPTEMBER 7, 2011 wweek.com

VISUAL ARTS

SEPT. 7-13

Dana Popa

= WW Pick. Highly recommended. By RICHARD SPEER. TO BE CONSIDERED FOR LISTINGS, submit show information—including opening and closing dates, gallery address and phone number—at least two weeks in advance to: Visual Arts, WW, 2220 NW Quimby St., Portland, OR 97210. Email: rspeer@wweek.com. Fax: 243-1115. Emailed press releases must be backed up by a faxed or printed copy.

NOW SHOWING Nike Graphic Studio Art Show

Twenty-eight graphic designers for Nike teamed up for this fundraiser benefiting the Japanese tsunami relief effort. The show’s most compelling works are Chris DeGaetano’s semiabstract portraits of basketball stars Michael Jordan and Charles Barkley. With their black, white, fuchsia and silver metallic palette, they spatter and drip spray paint and other media across the picture plane. Sports superstar portraiture does have its limits, however, and as with most graphic design presented under the rubric of fine art, these relentlessly sportsthemed pieces become at a certain point a triumph of technique over subject matter. Compound Gallery, 107 NW 5th Ave., 796-2733. compoundgallery.com. Closes Sept. 30.

Pork Chop Express

You want to love a show with a title like Pork Chop Express, but this group exhibition is weighted toward lowbrow vignettes like Jeremy Nichols’ spraypainted Fish Chasing. The piece’s eponymous fish are pursued by cartoonish trolls that seem to have escaped from

Epcot Center’s Norway Pavilion. More compelling are Aden Catalani’s horizontal abstractions, which juxtapose organic billows of mint green and marbled, earthy browns against linear geometric motifs. Backspace, 115 NW 5th Ave., 248-2900, backspace.bz. Closes Sept. 30.

Kelly Kievit

For the most part, Kelly Kievit’s oiland-marble-dust paintings meander around the canvas in dallying scrawls and scribbles. But when she goes for broke, both chromatically and compositionally—as in the aggressively pink Sustenance and Discourse and the orange-and-pink Spare—she scores big. Froelick Gallery, 714 NW Davis St., 222-1142, froelickgallery.com. Closes Oct. 1.

Christopher Rauschenberg

Christopher Rauschenberg traveled to Inner Mongolia to photograph the frosty brick streets and desolate cityscapes in this gripping exhibition. The claustrophobic convergences of empty buildings and dirt lots inspire a sense of airlessness and dread. This town appears so cold and soul-crushing, it makes your bones hurt just to look at the pictures. Nine Gallery, 122 NW 8th Ave., 225-0210. Closes Oct. 2.

Dana Popa’s Not Natasha chronicles the lives of prostitutes in Moldova. This body of work strives for the kind of gritty vérité that photographer Mary Ellen Mark achieved in her Falkland Road series (shown at Blue Sky in March) about life in the brothels of Mumbai, India. But ultimately, Popa, unlike Mark, pulls her punches, turning coy when a more fearless photographer would not have flinched. Blue Sky Gallery, 122 NW 8th Ave., 225-0210. Closes Oct. 2.

Frank A. Rinehart

At the tail end of the era we have come to mythologize as the Old West, photographer Frank A. Rinehart captured the images of Native Americans in a series of studio portraits. The images are all from 1898, 1899 and 1900, and hauntingly document the final dimmings of the American Indian’s twilight on the continent that once was theirs. Unfortunately, the generic studio backdrops and bland lighting Anglicize, homogenize and objectify the subjects into cardboardcutout noble-savage stand-ins. These photographs occupy a sad intersection between photojournalism, portraiture, history and tragedy. Charles A. Hartman Fine Art, 134 NW 8th Ave., 287-3886, hartmanfineart.net. Closes Oct. 1.

Grace Weston

Grace Weston constructs meticulous miniature stage sets, which she populates with action figures and props. Then she photographs the

sets, resulting in vignettes that come across initially as cutesy and whimsical but upon further viewing betray psychological complexities, a sense of mystery and, at times, downright poignancy. The works in Angles of Incidents also address gender polarities, romance and the mixture of terror and nostalgia with which Northwesterners look back on the 1980 eruption of Mount St. Helens. Augen Gallery, 716 NW Davis St., 5465056, augengallery.com. Closes Oct. 1.

Kristen Miller

Like thin-skinned leaves, the works in Kristen Miller’s Memento have delicate, crepelike textures and seem as if a light wind could blow them away. Miller sews beads into tissue paper to create these beautiful, intricate compositions, which whisper with a quiet elegance. PDX Contemporary Art, 925 NW Flanders St., 222-0063, pdxcontemporaryart.com. Closes Oct. 1.

Assemblage

For Assemblage, curator Leo Michelson has gathered together pieces by 21 artists, all of whom work in assemblage. Michelson’s interest in the medium dates to the 1960s, when he was fascinated by the assemblages of the late Joseph Cornell. The current exhibition showcases a wide variety of approaches to assemblage by artists from across the Pacific Northwest. Annie Meyer Artwork Gallery, 120 NW 9th Ave., Suite 102, 224-3150, anniemeyerartwork.com. Closes Sept. 30.

The Allure of the Automobile

If you’ve ever seen the movie Tucker:

The Man and His Dream or salivated over a vintage Jaguar, Porsche or Chevy, you’ll get the appeal of PAM’s The Allure of the Automobile. Cars have always crystallized the duet between aerodynamics and aesthetics, with its intriguing trade-offs between form and function. The cars parked in the museum’s lofty front gallery glint and gleam in the light, their curves biomorphic and downright sexy. Ranging from the 1930s to the 1960s, the Bugatti, Ferrari, Alfa Romeo and other autos (don’t miss the 1957 Jag once owned by Steve McQueen) look more futuristic than anything on the road today, although they’re antiques. Even if you’re not a classic-car freak, this show will inspire at least a couple oohs and aahs. Portland Art Museum, 219 SW Park Ave., 226-2811, portlandartmuseum.org. Closes Sept. 11.

Jim Kazanjian

Jim Kazanjian obsessively sifts through Internet-sourced imagery (his image library has more than 25,000 high-res pictures), then painstakingly combines them into bravura composite tableaux. The results are stunningly realistic, yet impossibly surreal. Structures that could not exist in real space rise into the air as if on actual foundations, even as they are struck by lightning and subjected to myriad other punishments. This is the stuff of nightmares, horror films and bad trips. 23 Sandy Gallery, 623 NE 23rd Ave., 927-4409, 23sandy.com. Closes Sept. 10.

For more Visual Arts listings, visit

PROFILE

CARRIE IVERSON CORRESPONDENCE / STEPHEN SCOTT SMITH BURLAP 2B When we gaze back over our lives, whether through rosecolored or gray-tinted glasses, we see either sunlit halcyon afternoons or dark nights of the soul filled with “What if…?” and regret. This month, Carrie Iverson and Stephen Scott Smith turn their very different lenses on the machinations of memory and the relationship between the past and present. Iverson’s Correspondence at Bullseye Gallery unflinchingly explores the memory loss experienced by the artist’s father. When you walk into the sepulchral, windowless exhibition gallery, you enter a world of gray: mixed-media works in a grayscale palette that wash over you like a bank of fog. Here, all that was once distinct has blurred; all that was congealed has dispersed, like a web of neurons that has frayed and torn. The artist has taken objects associated with her father and transmogrified them into elegies in paper, kilnformed glass and chalkboards on which all writing has been obscured into messy indecipherability. A milky glass plank called Redacted (which would have been a chilling title for the exhibition itself ) evokes diary pages that have faded or been erased. Iverson conjures an atmosphere of sfumato and stone-washed memories, in which all concretes have eroded into ghostly traces of their erstwhile referents. This is a technically assured and courageous inquiry into the disappearance and endurance of memory. The memories in Stephen Scott Smith’s Burlap 2B are those of a Gen-X’er now in his 40s, slipping nostalgically and perhaps uneasily into middle age. Curated by Smith’s longtime gallerist, Mark Woolley, the show is a literal and epistemological deconstruction of Burlap, the artist’s November 2010 exhibition at the Breeze Blocks Gallery. In the previous show, Smith installed an enormous beech tree in the gallery’s center, alluding to the uprooting and artificial preservation of our collective and individual pasts. This time there are rectangular chunks of wood in the spot where the tree stood, as if the raw materials of memory have been ruthlessly disassembled. On the gallery’s walls, Smith’s large-scale drawings recall classic ’80s Carrie Iverson and Stephen Scott Smith deconstruct the mysteries of memory.

Willamette Week SEPTEMBER 7, 2011 wweek.com

motifs with droll wit, including an image of Ronald Reagan wearing a Star Wars pin, an allusion not only to the famous film series but also to the Strategic Defense Initiative (nicknamed “Star Wars”) championed by the late president. The back-gallery installation, “These Dreams,” feels—but does not precisely look—like an archetypal ’80s teenager’s bedroom, filled with vinyl LPs and more of those mysterious wooden blocks. The installation, like the show itself, is an eerie simulacrum of a past that is as much a construction zone as it is a construct. RICHARD SPEER. SEE IT: Correspondence is at Bullseye Gallery, 300 NW 13th Ave., 227-0222, bullseyegallery.com. Closes Nov. 19. Burlap 2B is at Breeze Block Gallery, 323 NW 6th Ave., breezeblockgallery.com. Closes Oct. 1.

RONNIE BY STEPHEN SCOTT SMITH AT BREEZE BLOCK GALLERY

REDACTED BY CARRIE IVERSON AT BULLSEYE GALLERY

BOOKS

SEPT. 7-13

Market Day Poetry Series

= WW Pick. Highly recommended. By RUTH BROWN. 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.

THURSDAY, SEPT. 8 Literary Death Match

An author reading with a kick. Making its second appearance in Portland, the international reading series Literary Death Match will bring four established local writers into a battle of words and wit. With their fate in the hands of three esteemed judges, the authors will come armed with original material in hopes of advancing to the Death Match finale, which always entails a comedic surprise element. The competitors: Live Wire! radio show house poet Scott Poole, journalist Fiona McCann, novelist G. Xavier Robillard and novelist-memoirist Cheryl Strayed. The judges: Kevin Sampsell, Rozz Rezabek and Courtenay Hameister. Let the verbal brawl begin. EMILEE BOOHER. Disjecta, 8371 N Interstate Ave., 2869449. 8 pm. $6 advance, $10 day of event. 21+.

FRIDAY, SEPT. 9 Scott Nadelson

Local author and Willamette University writing teacher Scott Nadelson publishes his third shortstory collection, Aftermath, containing eight tales of life—mostly relationships—falling apart in Jewish suburban New Jersey. Broadway Books, 1714 NE Broadway, 284-1726. 7 pm. Free.

This! Fest

If you’re looking for an alternative to crowded bars, clubs and venues at this weekend’s MusicFestNW, head south to This! Fest, a free literary and music festival held at the Woods. Readings by more than two dozen prominent Portland writers will be supplemented by more than 18 musical performances. Each writer has the floor for five to seven minutes, promising to be an exciting meld of poetry, fiction, nonfiction, publishing and music. MAGGIE SUMMERS. The Woods, 6637 SE Milwaukie Ave., 890-0408. 5 pm Sept. 9, 3 pm Sept. 10. Free. 21+.

SATURDAY, SEPT. 10 Genealogical Forum of Oregon Open House

The Genealogical Forum of Oregon—the go-to resource for folks writing and researching their family trees—is moving to some pretty swanky new digs in inner Southeast’s Ford Building. To celebrate, it’s hosting 29 days of free events for people of all lineages, including DNA day, adoption day, cemeteries day and, of course, Volga German day. See gfograndopening.yolasite.com for a full list of events and details. Genealogical Forum of Oregon, Suite B-18, 2505 SE 11th Ave., 963-1932.

Each Saturday through Oct. 15, St. Johns Booksellers and the St. Johns Farmers Market present the Market Day Poetry Series. Curated by Portland poet Dan Raphael, each event is emceed by a different poet who selects the readers for that week. See stjohnsbooks.com for info on the weekly lineup. St. Johns Booksellers, 8622 N Lombard St., 283-0032. Noon. Free. All ages.

SEPT

S. M. STIRLING / The Tears of the Sun (Roc) Rudi McKenzie must defeat the Church Universal and Triumphant, knowing he may lose his life in the final battle.

MONDAY, SEPT. 12 The Gift of El Tio

WED / 7TH / 7P

In 1995, Ashland geologist Larry Buchanan discovered a large silver deposit beneath a remote Quechua village in Bolivia—apparently fulfilling a 400-year-old prophecy. He and his wife, Karen Gans, moved to the village to witness the huge cultural changes his discovery unleashes, documenting their experiences in their memoir, The Gift of El Tio. Broadway Books, 1714 NE Broadway, 284-1726. 7 pm.

EMMA MARRIS / Rambunctious Garden (Bloomsbury) Argues convincingly that the environmental world needs a new idea, a hybrid of wild nature and human management. Wed / 7th / 7:30p DOWNTOWN BRENT WEEKS / The Black Prism (Orbit)

The bestselling fantasy author begins a brand new tale of magic and adventure.

TUESDAY, SEPT. 13

THU / 8TH / 7P

Jane Hirshfield

CEDAR HILLS

ROSEMARIE OSTLER / Slinging Mud (Perigee) Gathers memorable words and expressions from two centuries’ worth of political mud slinging.

Prolific San Fransisco poet Jane Hirshfield brings her seventh collection of poetry, Come, Thief (called “a deep well full of strength and wisdom” by The New York Times), to town. Hirshfield pens short, evocative verse and is a warm and open speaker. Powell’s City of Books, 1005 W Burnside St., 228-4651. 7:30 pm. Free.

THU / 8TH / 7:30P

DOWNTOWN

C. S. FRIEDMAN / Legacy of Kings (DAW)

The Magisters hunt the peasant woman Kamala for killing one of their own.

For more Words listings, visit

FRI / 9TH / 7P

CEDAR HILLS

JACK HART / Storycraft (Univ. of Chicago Pr) A new definitive guide to the methods and mechanics of crafting narrative nonfiction.

REVIEW

SUN / 11TH / 4P

AUDREY BRAUN A SMALL FORTUNE Never underestimate the number of middle-aged involves an insanely convoluted criminal scheme, women in the Pacific Northwest who fantasize and features a sex scene on a jungle floor, a postabout going to foreign countries and having sex coital reference to Shake ’N Bake, a major plot with Javier Bardem. point involving Viagra and an exploding iguana. Freshman author Audrey Braun courted Sounds like asinine fun. At least, it should be. the horny mom demographic and scored an But it’s not clear how seriously Braun is taking unexpected regional hit last year with the self- all this. There are moments when she seems to published A Small Fortune ($13.95, 286 pages)— wink at the reader, to let us know she’s mostly the story of a bored Portland joking. “This is such a cliché,” book editor who gets her says Celia, the protagonist groove back after being kidand narrator, as she finds her napped in Mexico and thrust libido inflamed by Benicio, into a steamy affair with a the hot pool boy she’ll soon be Latin hunk ( based on his shagging on two continents; description, a Bardem standthe scenario reminds her of in). Picked up by Amazon’s the hokey erotic fiction she Encore imprint, it’s Braun’s edits for a living. But the first crack at the suspense book isn’t self-aware enough genre. She took to writing to register as a genre parody it as a lark while laboring and too preposterous to on a more serious literary generate any actual thrills, novel (publishing this month leaving it stuck in an odd under her given name, Debopurgatory where you’re not rah Reed). It’s not surprising sure if each new, increasingly the book found an audience: absurd piece of the puzzle is A feminist daydream for supposed to make you laugh women too smart for smutty so much. Braun writes with paperbacks but not above great concision of language— reading something completethere’s hardly a wasted word The brainy bodice-ripper that swept the Pacific Northwest ly ridiculous, it’s tailor-made or superfluous detail in the off its feet. for Portland. whole book—which bodes A Small Fortune is, indeed, well for her forthcoming completely fucking ridiculous. It’s a quintessen- work. A Small Fortune, however, never becomes tial quick read, the kind of book you spend a plane more than the tossed-off distraction it started flight with, then forget you even own. Even by out as. MATTHEW SINGER. those standards, it’s still pretty ludicrous. A synopsis threatens to reveal too much, so I’ll just say READ IT: A Small Fortune is available at bookstores. it somehow travels from Puerto Vallarta to Zurich,

CEDAR HILLS

DOWNTOWN

WRITERS REFLECT ON 9/11 Tom Spanbauer, Tami Lynn Kent, Jennifer Lauck, and Jessica Maxwell reflect on Sept. 11. SUN / 11TH / 4P

HAWTHORNE

LAURIE R. KING / Pirate King (Bantam)

Pro Audio

The latest adventure featuring the intrepid Mary Russell and her husband, Sherlock Holmes. MON / 12TH / 7P

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ALEXANDRA FULLER / Cocktail Hour under the Tree of Forgetfulness (Penguin Press) Fuller returns to Africa and the story of her unforgettable family. MON / 12TH / 7:30P DOWNTOWN

inner sound

JIM DAVIDSON / The Ledge (Ballantine) An amazing story of tragedy and survival on Mt. Ranier in July of ‘92. MON / 12TH / 7:30P HAWTHORNE

GREGG OLSEN / Envy (Splinter) A new fiction series for teens based on ripped-from-the-headlines stories – with a paranormal touch. TUE / 13TH / 7P

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JANE HIRSHFIELD / Come, Thief

PROFESSIONAL ELECTRONIC SERVICE SPEAKER RECONING/REPAIR

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A revelatory, indispensable collection of poems. TUE / 13TH / 7:30P DOWNTOWN

KATIE KACVINSKY / Awaken (Houghton Mifflin Harcourt)

Two young people stand up for themselves and create their own lives in this young adult novel. WED / 14TH / 7P

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FRANCES MOORE LAPPE / EcoMind (Nation Books) A giant of the environmental movement, Frances Moore Lappe, confronts accepted wisdom. WED / 14TH / 7:30P DOWNTOWN

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SEPT. 7-13 REVIEW

= WW Pick. Highly recommended.

LIAM DANIEL/SCREEN GEMS, INC

MOVIES

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.

30 Minutes or Less

55 The title of the new action farce

from Ruben Fleischer (Zombieland) is very nearly accurate: At 83 minutes, the movie is notably short—also nasty and brutish. Those adjectives likewise apply to the lead performers, along with “lazy.” Everyone feels a little uninspired and short-fused, like it was a hot day on location and they had a pounding hangover. The premise doesn’t seem like promising comedy fodder anyhow—it’s based on the true story of Brian Douglas Wells, a pizza delivery man killed by a time bomb strapped to his neck as part of a bank robbery, tee hee—and Fleischer tries to counterbalance the queasiness by having his cast be hostile but harmless. R. AARON MESH. Due to the holiday weekend, most local theaters did not finalize their schedules by press deadlines. Call theaters for showtimes.

Apollo 18

If you believe they put a man on the moon, maybe you’ll believe there’s something out there that’s not cool. Anyway, here’s a horror movie about it. Not screened for critics. PG-13. Cornelius, Sandy. Call theaters for additional showtimes. NEW

Best of the NW Animation Festival

[ONE NIGHT ONLY, DIRECTORS ATTENDING] Two programs of regional cartoon shorts. Hollywood Theatre. 7 and 9 pm Saturday, Sept. 10. NEW

Bucky Larson: Born to Be a Star

Nick Swardson dreams of porno fame. Not screened for critics. R. Call theaters for showtimes.

Captain America: The First Avenger

70 With Chris Evans (previously the only watchable part of Marvel’s failed Fantastic Four) sporting red-whiteand-blue tights as wimp-turned-World War II icon Steve Rogers, First Avenger is exactly what Cap should be: an oldfashioned Nazi beat-’em-up. PG-13. AP KRYZA. Call theaters for showtimes.

Colombiana

68 It is a movie where a woman in

a bikini writhes atop a glass tank of sharks—and later those sharks are shoehorned into a hit that has nothing whatsoever to do with the larger plot. It is, operatically ridiculous and incorrigibly amoral, with several enjoyable, incoherent action sequences and Zoe Saldana crawling through tight spaces while not wearing a bra. PG-13. AARON MESH. Cornelius, Sandy. Call theaters for additional showtimes.

Conan the Barbarian

18 It is inevitable that almost every

Arnold Schwarzenegger action film is going to be remade, and probably in the very near future. Which is fine. What’s confounding, though, is how the reportedly $90 million revamp manages to feel like a Syfy channel version of Prince of Persia with extra blood and tits. R. AP KRYZA. Cornelius, Sandy. Call theaters for showtimes.

The Conformist

[THREE NIGHTS ONLY, REVIVAL] Bernardo Bertolucci’s thriller of fascism and betrayal. NW Film Center’s Whitsell Auditorium. 7 pm FridaySunday, Sept. 9-11. NEW

Contagion

Gwyneth Paltrow dies. Everybody freaks. It’s the latest from Steven Soderbergh, and it looks like fun but wasn’t screened by WW press deadlines. Look for a review on wweek.com. PG-13. Clackamas, Eastport, Cornelius, Tigard, Roseway, Sandy, St. Johns Twin Cinema-Pub. Call theaters for additional showtimes.

Cowboys & Aliens

66 Keeping the comic book’s laughably

expository title shows just how enam-

ored Jon Favreau is with the concept of playing Space Invaders in the old West. The lesson here is that simply pulling tired tropes from two different kinds of movies doesn’t instantly make something fresh. PG-13. MATTHEW SINGER. Cornelius, Sandy. Call theaters for additional showtimes.

Crazy, Stupid, Love

70 Where Friends With Benefits

employed Justin Timberlake as an art director at GQ, this picture features Ryan Gosling as a walking issue of Esquire—the one with the “Am I a Man?” quiz on page 170. You can practically smell his cologne ads. PG-13. AARON MESH. Call theaters for showtimes.

The Debt

60 John Madden’s The Debt feels like a

talented but glib college student trying to pass a modern European history exam with an essay on the repercussions of the Holocaust and the founding of Israel—it volunteers answers, but has no feeling for the questions it raises. Remaking an Israeli film, Ha-Hov, Madden positions Helen Mirren, Tom Wilkinson and Ciarán Hinds as aging former Mossad agents, then rewinds to their fateful 1966 mission in East Berlin. Jessica Chastain, as mini-Mirren, plays a woman whose first instinct is to try and make the best of bad situations. This disposition is not all that helpful when you’re locked in an apartment with three men, two of them rivals for your romantic attentions and the other a Nazi doctor. These scenes are undeniably claustrophobic but, by its final act, The Debt bears an unfortunate resemblance to another Mirren vehicle, the AARP assassin flick Red. R. AARON MESH. Call theaters for showtimes.

Don’t Be Afraid of the Dark

70 A collaboration with rookie direc-

tor Troy Nixey, the remake of 1973’s Don’t Be Afraid of the Dark features Guillermo del Toro’s typically unsettling gothic aesthetic in the story of a young girl (Bailee Madison) sent to live with her estranged dad (Guy Pearce) and his girlfriend (Katie Holmes) as they renovate an impossibly spooky Rhode Island mansion, only to be stalked by tiny, ratlike monsters with a hunger for children’s teeth. Unlike other summer fare, Don’t Be Afraid of the Dark is all slow-burn creep-outs rather than splatter scares. It succeeds resoundingly in making us squirm like children spinning yarns around a campfire. R. AP KRYZA. Cornelius, Sandy. Call theaters for additional showtimes. NEW Filmusik Late Night: Starman— Attack of the Evil Brain from Outer Space

[TWO NIGHTS ONLY, REVIVAL, LIVE SOUNDTRACK] Composer Heather Perkins creates a live soundscape for the 1960s Japanese Super Giant films. Hollywood Theatre. 10 pm FridaySaturday, Sept. 9-10.

Fright Night

76 Craig Gillespie’s new remake of the

1985 horror-comedy Fright Night— the short, bloody story of Charley Brewster (Anton Yelchin) and Jerry (Colin Farrell), the vampire who moves in next door to his Vegas suburb tract house and promptly ruins his life— really doesn’t try all that hard. And that makes it a gory good time, packed with as many giggles as wooden stakes and exploding bodies. R. KELLY CLARKE. Call theaters for showtimes. NEW

Gainsbourg: A Heroic Life

63 In adapting his own comic book

about the life of French pop maestro Serge Gainsbourg, director Joann Sfar concentrates on one central image—a walking, talking anti-Semitic caricature. It’s a larger-than-life-size puppet that young Lucien Ginsberg summons in his Nazi-occupied childhood as a kind of golem sophisticate. The Gainsbourg alter ego looks like one of Julie Taymor’s more outlandish creations, a

Willamette Week SEPTEMBER 7, 2011 wweek.com

GRIME AND PUNISHMENT: Alex Esmail, Franz Drameh, John Boyega, Simon Howard and Leeon Jones (left to right) confront something calling London.

IT’S A RIOT!

IN ATTACK THE BLOCK, LONDON GANG VIOLENCE GOES EXTRATERRESTRIAL. BY A P KRYZA

243-2122

This year, aliens have transformed into expensive cars, battled cowboys, taken bong rips, laid waste to Chicago and L.A., donned magic rings, attacked astronauts, kidnapped our mothers and written Spielbergian mash notes. Little green men have supplanted vampires as an on-screen fad (although we have yet to see sparkling Martians who just want to love, at least until the inevitable Starman remake). So the much-hyped British cheapie Attack the Block seems like a hard sell. For the second time this year—following Super 8—we’re sided with a rag-tag group of adolescent weirdos dealing with space invaders. It’s about as generic as a movie can sound. But within three

weapons—bats, Roman candles and a decorative katana blade—and hop on their bikes to protect their tower block while garnering the requisite YouTube fame. What follows is a slick, streamlined hour of mayhem, with hoodrats sprinting through narrow alleyways and dimly lit corridors in an effort to outrun their adversaries, who curiously ignore the virtual buffet of human meat residing in the council high rise. Cornish—schooled by his producer, Edgar Wright, and recalling Zombieland director Ruben Fleischer’s eye for stylized action—forgoes the shaky-cam aesthetics for a perfectly comprehensible symphony of chaos that captures everything from a whiz-bang street chase to an amazing slow-motion hero’s run with complete control. Attack the Block owes as much to John McTiernan as it does to its alien ancestors. With a nearly abandoned building providing ample claustrophobic tension—a scene in a smoke-filled corridor is particularly jarring in its vise-grip

THE FILM PLAYS LIKE DIE HARD, BUT SUBBING SNARLING BEASTS FOR EUROTRASH TERRORISTS. whip-smart minutes of Attack the Block, it’s obvious freshman director Joe Cornish has crafted a nasty, hysterically funny homage that mines everything from 1950s sci-fi schlock to vintage John Carpenter to craft one of the smartest, funniest and most kinetic films of the season. The film opens with our heroes—multi-cult London gangbangers who talk like Ali G and recall The Goonies by way of Boyz n the Hood—mugging a pretty young nurse (Jodie Whittaker), only to be interrupted by an alien life form plunging to Earth and into a nearby car. The kids’ leader, charismatic 15-year-old Moses (John Boyega, in a star-making turn), promptly slays the beast and takes it to the nearest secure place, a weed den lorded over by a violent hip-hop wannabe (Jumayn Hunter) and run by fanny-pack-sporting Ron (Shaun of the Dead’s Nick Frost). Soon, an army of beasts is crashing to Earth, unnoticed by neighbors in the midst of a fireworks display. So the hoodies do what any group of self-respecting Xbox addicts would: They grab

suspense—the film plays like Die Hard, but subbing snarling beasts for Eurotrash terrorists. Making the most of the low budget, the monsters—which come to be known as “big, gorillawolf motherfuckers”—are hairy blobs absent of color except for their neon teeth. They maraud across the screen with a cartoonish menace that is fully realized each time a character meets a gruesome end. This is genre drivel simmered to perfection by a director who makes the familiar seem alien. The joy of watching the picture lies in Cornish’s skill at instilling it with the same freshness Wright’s Shaun of the Dead gave to the rigor-mortis world of zombies. Attack the Block seethes cool while reminding us why we like this type of film in the first place: It makes us feel like kids again, facing the unknown with a smirk—and a katana blade, for good measure. 87 SEE IT: Attack the Block is rated R. It opens Friday at Lloyd Center.

MOVIES MUSIC BOX FILMS

SEPT. 7-13

THIS WEEK: BEAKER AND FLASK’S END OF DAYS COCKTAIL >>

THE NAMES OF LOVE cross between Count von Count and The Nutcracker’s Rat King, with incandescent yellow eyes and a cigarette constantly burning under a hooked nose. This brash reclaiming of Jewish identity through Jewish libel is a bold gesture—but it’s also a stagy one, and it keeps throwing the brakes on the larger biopic. Here is the metaphor of how Ginsberg became Gainsbourg, intruding on any attempt by lead actor Eric Elmosnino to become Gainsbourg. (It also thrusts blame for the singer’s misbehavior onto the shoulders of an imaginary friend, which after an hour or so no longer feels like the most psychologically nuanced conceit.) The film briefly gets revving in its recreation of go-go ’60s Paris, as our hero beds Brigitte Bardot (Laetitia Casta) and marries Jane Birkin (Lucy Gordon, whose suicide casts a pall over the vibrancy of her scenes here). With the former he recorded “Bonnie and Clyde”; with the latter he sang “Je T’Aime...Mon Noi Plus.” Nothing matching the pure pleasure of those two tracks is in this movie—though there is a very enjoyable scene of the artist’s father crowing over his son’s Bardot affair, and then the weird discovery that old Gainsbourg, with crow’s-nest hair and sunglasses, has managed a final metamorphosis and turned into old Dylan. AARON MESH. Cinema 21.

A Good Old Fashioned Orgy

40 The premise is on full, naked display in the title, and it’s high concept but almost promising: A group of friends, all feeling the anxiety of turning 30, talk each other into experimenting with the kind of kinky bacchanal they suspect the freer generations before and after them are experiencing as a matter of course. It could be The Big Chill, with a gangbang. But for this material to work, it has to be played very absurd or very honest; A Good Old Fashioned Orgy instead wants to have mainstream appeal, and that’s an instant boner killer. Say what you will about Humpday—I suspect I overrated it a tad simply for its daring—but that movie tried to explore the implications of regretting missed erotic possibility. This one doesn’t know what it’s exploring, so for a while it tries for sub-Wedding Crashers ribaldry, then ejaculates a spray of disingenuous bonhomie. (Spoiler: They have the orgy, all right, but everything remotely explicit is carefully cropped and edited offscreen, with only a little more subtlety than the black boxes covering the bodies in Eyes Wide Shut’s saturnalia.) Jason Sudeikis is a perfectly nice instigator, and none of his fellow players is objectionable, but at no point do any of them even hint at what might turn them on—they never even ask each other that question, not once—and their big event ends up feeling like a party themed around sex rather than a sex party. It is not an actively unpleasant comedy, but it ends up feeling like the inverse of a porno: It wants to be about anything but fucking. R.

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AARON MESH. Call theaters for showtimes.

The Guard

42 Writer-director John Michael

McDonagh is lucky to have Brendan Gleeson in The Guard, for absent the big man’s wadded physicality, there would be little worth looking at here. R. CHRIS STAMM. Fox Tower.

Harry Potter and the Deathly Hallows: Part 2

80 It is a gratifying resolution to

J.K. Rowlings’ wand opera, even if resolution isn’t really what we want: The best movies in the series were the third through the sixth, which felt most like a semesterlong stroll through the Hogwarts campus. PG-13. AARON MESH. Fox Tower. Call theaters for additional showtimes.

The Help

86 Give a white male director a

script about Southern racism and nine times out of 10 he’ll hand you back the story of an enlightened sports team wrapped in a flashy soundtrack. Director Tate Taylor manages to break this mold in his adaptation of Kathryn Stockett’s 2009 novel, The Help. Set in the early 1960s in Jackson, Miss., the film focuses on young, wealthy white mothers and their maltreatment of the black maids who serve them. Emma Stone plays Eugenia “Skeeter” Phelan, an aspiring writer whose childhood friends have grown up to resemble rabidly racist hybrids of the Plastics and the Stepford Wives. Sparked by contradicting stories regarding the abrupt departure of her own family’s maid, Skeeter attempts to document the reality of the Jim Crow era through a book detailing the experiences and perspectives of Jackson’s “help.” Taylor might be a white dude, but The Help doesn’t reward its viewers with a championship trophy. Instead, the film presents the reality of Southern life in the 1960s as something that takes much more than a high-school squad to overcome. PG-13. SHAE HEALEY. Cornelius, Moreland, Sandy. Call theaters for showtimes. NEW

Higher Ground

57 Chris Rock has a joke about

relationships only working out when two people love each other down to the tiniest crumbs of their being. “Whatever you’re into, your woman’s gotta be into, too, and vice-versa,” he says. “You can’t be like, ‘I’m going to church, where you going?’ ‘Hit the pipe!’” No one smokes crack in Higher Ground, but the same idea applies: A marriage built on fundamentalism will crumble beneath the weight of one spouse’s doubt. Vera Farmiga, who also directs, plays Corrine, a lost soul swimming in a fishbowl who eventually gets plucked out, first by a would-be rock star, then by Jesus; the story—based on the memoir of screenwriter

CONT. on page 56 Willamette Week SEPTEMBER 7, 2011 wweek.com

SEPT. 7-13

Carolyn S. Briggs—is about her wriggling to free herself from both, told vignette-style over the course of 40-something years. Although it spans a lifetime, the snapshot narrative keeps Corrine distant. Nothing is lingered upon: The incident that propels her and her husband toward Christianity happens in a flash, and the next minute she’s being baptized, compared to a fish God’s been angling hard to hook. It’s a subtle film, gracefully handled by Farmiga in front of and behind the camera, but its arms never truly open for the rest of us. R. MATTHEW SINGER. Fox Tower.

REVIEW CHUCK ZLOTNICK

MOVIES

Horrible Bosses

76 The single best scene is Jamie

Foxx as a parolee explaining, in grave detail, how he received the street name Motherfucker Jones. R. AARON MESH. St. Johns Twin Cinema-Pub. Call theaters for additional showtimes. NEW

NEW

Joseph Smith: Plates of Gold

[ONE NIGHT ONLY] A biopic of the Mormon church founder. Clinton Street Theater. 7 pm Thursday, Sept. 8. NEW

Keiko, The Untold Story

71 [ONE NIGHT ONLY, DIRECTOR

Food Drinks Jobs Jobs for the Food and Drink Industry Staffing Solutions for Owners & Managers

ATTENDING] You wouldn’t think there’d be much more to the tale of that one killer whale that jumped over that one truck in that one movie set in Astoria nearly two decades ago. But when movie fans (mostly kids) found out that their beloved Free Willy star wasn’t free in real life they started sending their lunch money to emancipate him. Portlander Theresa Demarest’s straightforward documentary tracks the nearly 10-year undertaking to get Keiko back to the wild, as well as the quest’s less-than-Hollywood ending. Keiko’s early years were more like the script for a horror flick: Surrounded by whaling vessels in the wilds off the coast of Iceland in 1979, 2-year-old Keiko was stolen from his mom’s side as the rest of his pod shrieked and screamed. After being bullied by other whales in Ontario, he was sold to a Mexico City aquarium for $350,000. He spent 11 lonely years in a tank filled with chlorinated tap water mixed with salt, performing half-hearted tricks for crowds. He was nearly 3,000 pounds underweight when he was tapped to play Willy. Keiko is more an oral history of whale rehab than a proper film: a string of memories and facts from whale biologists, activists and Keiko’s own trainers (first at Newport’s Oregon Coast Aquarium and later in southern Iceland) laid atop grainy footage of the whale scored with terrible sweeps of jazzy Muzak. Still, the bittersweet story is affecting: filled with fascinating details about these smart, social creatures that make Keiko’s years of confinement all the more awful. Ultimately, it’s the tale of a whale so attached to humans he needed extraordinary help to start interacting with his own species again, and still chose people over his fellow whales in the end. Then again, he wouldn’t have needed such fin-holding if we had just left him alone in the first place. KELLY CLARKE. NW Film Center’s Whitsell Auditorium. 7 pm Thursday, Sept. 8. Theresa Demarest will introduce her film.

Life in a Day

78 The line between popular enter-

tainment and home movies has been blurring in the age of YouTube, and it disappears altogether in a documentary funded by YouTube. But the mood grows ominous, the confessions gain gravity, and soon the movie unfolds a subtext of everyday people trying to document themselves to avoid oblivion. There’s a lot to respect about this empha-

4S.indd 1

Willamette Week SEPTEMBER 7, 2011 wweek.com

8/22/11 2:40 PM

SWEEP THE LEG?: Tom Hardy (left) and Joel Edgerton are battlin’ bros.

Iconoclast

[ONE WEEK ONLY] A four-hour documentary on industrial music godfather Boyd Rice. Clinton Street Theater. 7 pm Friday-Thursday, Sept. 9-15.

WARRIOR It may be unfair to compare mixed martial arts flick Warrior with last Christmas’ widely acclaimed boxing biopic The Fighter. But they’re both about two brothers punching other men—and sometimes each other—in the face. So let’s get on with it: In The Fighter, Christian Bale plays a talented boxer who becomes a drug addict, and Mark Wahlberg plays his less-talented, underdog younger brother who is also a boxer. In Warrior, Tom Hardy (Inception) plays a talented MMA fighter who goes to war and comes back popping pills and with a face puckered in a state of permanent bitterness, and Joel Edgerton (The Square) plays his less-talented, underdog older brother who is a high-school physics teacher and also an MMA fighter. Both pairs of siblings learn valuable lessons about family and forgiveness. Both spend a lot of time bloodied and shirtless. Warrior is far more fanciful—the two brothers, unbeknownst to each other, end up fighting for a $5 million purse in the same world-class, eight-man MMA tournament in the most unlikely of circumstances—though the filmmakers appear to have put great thought into creating “real” characters whom American audiences can get behind. Hardy’s character, Tommy, is a traumatized Iraq war vet, and Edgerton’s Brendan is in danger of losing his family home to foreclosure. Yet it’s difficult to truly relate to either: Tommy just doesn’t get enough character development to garner sympathy; Brendan puts his life and family on the line because he doesn’t want to live in a smaller house. Nice parenting there, slugger. It’s no fault of the actors. Hardy was given an angry character to play and, by gum, he fills himself with so much rage the normally smokin’ actor’s body is physically contorted into the shape of a gargoyle for the entire film. Edgerton gives a solid performance as the likable everyman whose heart is bigger than his natural talent. And Nick Nolte outdoes them both as their raspy, alcoholic father desperately seeking his sons’ forgiveness. But the film falls into too many tired Hollywood tropes (the every-shot-shows-a-littleimprovement training montage is excruciating) and contrived plot devices to ever generate the kind of emotional investment The Fighter earned. But in Warrior, the MMA sequences take a genuine starring role: About a quarter of the film is dedicated to the aforementioned tournament in all its bone-snapping glory. The fights are sweaty and dirty and shot right up in the actors’ armpits and groins. There are a few dubious pro-wrestling moves thrown in for show, but for the most part, the bouts are painfully realistic and utterly engrossing. You won’t care which of the brothers wins, but you will be on the edge of your seat to see how the bout is won. The problem isn’t really that Warrior, as a drama, can’t go toeto-toe with the likes of The Fighter—they’re not even in the same weight class. It’s that far too many of the film’s 140 minutes are dedicated to that drama. The film’s core demographic is going to be the 700,000-odd people who order pay-per-view UFC; I doubt they care how genuinely heart-tugging the characters’ backstories are, and they probably don’t want to see two hours of it before any real blood is shed. PG-13. RUTH BROWN.

Brothers in armpits.

SEE IT. Warrior opens Friday at local theaters.

SEPT. 7-13

Midnight in Paris

77 It’s a fairy tale for lit majors,

and Woody Allen’s best work in years. PG-13. MATTHEW SINGER. Hollywood Theatre. Call theaters for additional showtimes. NEW

The Names of Love

84 Regular filmgoers may notice

that Michel Leclerc’s autobiographical rom-com The Names of Love bears more than a few similarities to Mike Mills’ autobiographical rom-com Beginners—e.g., the whimsical little conceits (subtitled dog, conversations with dead grandparents), the parental secrets (closeted homosexuality, repressed Holocaust memories) and most of all the free-spirited French girlfriend. (Of course, everybody in The Names of Love is French. It’s a French movie.) No slight to Melanie Laurent, but Leclerc’s movie is elevated above all comparisons by the presence of Sara Forestier—distressingly beautiful, endlessly personable, and very often naked—as Baya Benmahmoud, a half-Algerian leftie political activist who raises awareness in bed. She sleeps with reactionaries until they, say, abandon stock trading to herd sheep, and adds Arthur (Jacques Gamblin), an avian necrologist, because she thinks he’s nice and could stand to be happy. The conceit is frothy but with a core of daring—as written by Leclerc and Baya Kasmi, the character’s sexual liberation is a result of not just ideological enthusiasm but childhood abuse. The comedy busts this taboo along with any other it encounters, and when it turns slushy in the final act, the waterworks feel earned through honesty; there’s a scene with a Jewish child eating whipped cream in Vichy France that may be the most delicate bit of emotional manipulation I’ve seen this year. The Names of Love offers the most appealing possible vision of liberalism, a cosmopolitan manifesto something like the old Woody Guthrie lines: “And all creeds and kinds and colors of us are blending / Till I suppose 10 million years from now, we’ll all be just alike.” If we all look and act like Sara Forestier, it’ll be utopia. R. AARON MESH. Fox Tower.

One Day

24 Director Lone Scherfig introduces

us to Anne Hathaway’s Emma and Jim Sturgess’ Dexter, two miserable characters mired in non-events spanning 20 years. Neither a moving romance, compelling drama nor fascinating chronicle, this film lumbers from one insufferable moment to the next. One Day seems much more like eons. PG-13. KIMBERLY GADETTE. Call theaters for showtimes.

Our Idiot Brother

55 Our Idiot Brother is an uncommonly affable little movie, a very indie teasing of latter-day hippies. A lot of it feels like a Portlandia sketch—specifically the organic farm bit, but slightly less funny—and I’m honestly grateful it wasn’t filmed here; that would have been a blow of stereotyping from which we’d never recover. Paul Rudd plays the title character, a holy fool with a produce stand who goes to visit his sisters—Emily Mortimer, Elizabeth Banks and Zooey Deschanel—who are a far sight more fouled up than he is, even if they weren’t recently jailed for selling weed to a uniformed cop. R. AARON MESH. Forest, Sandy. Call theaters for showtimes.

Point Blank

85 This season’s gritty French thriller opens with a bang, followed by several more bangs, as a desperate man in a neatly trimmed goatee, holding his guts in with one bloody hand, slams into a chain-link fence

and sprints down a rickety fire escape just a few scant yards ahead of a pair of carefully manicured, gun-waving thugs. Writer/ director Fred Cavayé’s film is as loud and ugly and improbably plotted as anything by his American contemporaries, but remembers the vital truth that Sydney Pollack knew but Haggis and Greengrass and Schumacher have forgotten: when your ordinary-guy protagonist emerges from a 10-minute sprint through

a subway tunnel, he should vomit on the sidewalk. R. BEN WATERHOUSE. Fox Tower. NEW

Project Lagom

[ONE NIGHT ONLY, DIRECTORS ATTENDING] Eleven directors have created shorts to accompany tracks from Keith Schreiner’s new record. Hollywood Theatre. 7:30 pm Tuesday, Sept. 13.

CONT. on page 58

REVIEW T H E R I V E R W H Y. C O M

sis (somehow I doubt this film is going to repeat the phenomenon of Babies, if only because Terrified Old People is a less adorable concept), but the film’s best moments are its quietest. PG-13. AARON MESH. Living Room Theaters.

MOVIES

I’LL FLY AWAY: Zach Gilford in the Wilson River.

THE RIVER WHY For all The River Why’s ponderous grasps for the meaning of life, nobody can accuse the movie of trying to be too universal. Not after the hero, a young man named Augustine Orviston (Zach Gilford of NBC’s Friday Night Lights), explains his crisis in voiceover: “What can you say after you’ve spontaneously cremated your parents’ prize fish in the fireplace?” This is a highly specific dilemma, and I could not begin to guess what I would say—So long, and thanks for that one fish?—but our hero decides to leave Mom and Pop Orviston (Kathleen Quinlan and William Hurt) and go angling in the Coast Range, living in a creekside cabin with his tackle and fly lures. Augustine trades in the City of Man for the City of Trout. It is a cherished belief of mine that a fishing scene can improve any movie; The River Why challenges that theory, since if you took away the fishing scenes, you would have no movie. The problem is not that these scenes are boring—actually, several of them are somewhat affecting, and all of them are soothing, with cinematography by someone billed as Crash who makes sure that the mountain streams look as limpid as mountain streams. The problem is that fishing is a pastime that gives a person a lot of time alone with thoughts about what fishing means, and The River Why is compelled to voice all of them. This movie contains a character who introduces himself with “I’m a philosopher” and talks in arcane diction about God while smoking a cigar. This movie also contains a drowned corpse which inspires questions about mortality. Unfortunately, they are not the same man. I probably wouldn’t feel compelled to say anything at length about The River Why, except that it was filmed along Tillamook’s steelhead-rich Wilson River, with a scene or two in Portland’s World Forestry Institute. Although technically part of the Portland indie-movie bloom, the movie actually feels like a holdout from an older version of the state: It’s based on a novel by David James Duncan epitomizing a pokey Northwestern transcendentalism that also sprouted Tom Robbins and especially Norman Maclean. Directed by journeyman Matthew Leutwyler, the adaptation is an admirable effort to make a movie without any plot whatsoever. (There’s a girl, Amber Heard, and it is no spoiler to reveal that the movie’s emotional climax is Augustine fishing, then making love to the girl, then going fishing again.) But it would take a filmmaker of Terrence Malick’s nature-contemplation gifts to make The River Why widely interesting—and even Malick runs into trouble when he’s just contemplating nature. Leutwyler gets the pristine river and the eyes of William Hurt (damn, but are they also limpid!) and wants nothing else. AARON MESH.

Teach a man to fish and he’ll make a movie about it.

60 SEE IT. The River Why opens Friday at the Hollywood Theatre. William Hurt and Zach Gilford will attend the premiere at 7 pm Friday, Sept. 9.

Willamette Week SEPTEMBER 7, 2011 wweek.com

SEPT. 7-13

Rise of the Planet of the Apes

17 I’ve seen episodes of Lassie that

made me ponder the human-animal relationship more than Rise did, and in fact this whole shit show reminded me more of Homeward Bound than it did of the 1968 Apes film that started it all. PG-13. CASEY JARMAN. Cornelius, Sandy. Call theaters for additional showtimes.

Sarah’s Key

75 Thanks to the cinematic adap-

tation of Tatiana de Rosnay’s New York Times bestseller Sarah’s Key, readers can now transcend literary isolation by experiencing soul-crushing quantities of human depravity in the open air of a darkened movie theater. PG-13. SHAE HEALEY. Living Room Theaters.

Senna

65 Like the Formula One racecar

in the ’60s and ’70s, and this documentary digs up exquisite odds and ends from a rich musical past largely eclipsed and forgotten by the booming ’90s. It was Seattle DJ Mr. Supreme who stumbled on local soul and funk masterpieces in Goodwills and record shops, only to find that many of the once-celebrated artists he’d discovered— players from funky, outrageous acts like Black on White Affair, Cookin’ Bag, and Cold, Bold and Together— were living in obscurity around him. It’s the incredibly funky tracks from those bands that make up the, ahem, soul of Wheedle’s Groove. Between archival audio and exhaustive interviews, the film plays out kind of like a Pacific Northwest version of Wim Wenders’ Buena

Vista Social Club. The documentary isn’t just an eye-opener for regional musicheads or vindication for these bands, who almost unilaterally disbanded when disco DJs took over the clubs and airwaves; it’s also more proof that one doesn’t have to work for Smithsonian Folkways to uncover important pieces of music history. Pop giveth and pop taketh away, but these artists are finally gaining national exposure three or four decades after their heyday. It’s moving (both emotionally and assshakingly) to see them rediscovered before your eyes. CASEY JARMAN. Mission Theater. 7 pm Wednesday, Sept. 7. Presented by MusicfestNW and the NW Film Center. The Wheedle’s Groove Band will perform after the screening.

REVIEW MAGNET RELEASING

MOVIES

driver it profiles, this documentary tests the limits: Ayrton Senna pushed how fast his car could go, and Senna lives on the edge of alienating those unfamiliar with his sport. Anybody more fascinated than I with F1 car racing—anybody who has watched an entire race, say—is likely to take a good deal more pleasure from the movie than I did, though by the end of the thing I was no longer actively annoyed by the engines whining like mechanical mosquitoes. PG-13. AARON MESH. Fox Tower.

Seven Days in Utopia

A COMEDY ABOUT

OLD FRIENDS IN NEW POSITIONS ffff “ “ A WEIRD KIND OF

ABSURDLY

TRIUMPH.”

BRILLIANT.”

-Joshua Rothkopf, TIME OUT NEW YORK

-Jarett Wieselman, NEWYORKPOST.COM

20 Robert Duvall loves you and has a wonderful plan for your life. This scheme involves playing golf with him for a week in a weedy Texas goat pasture until you realize there are more important things in life than playing golf. I would have happily accepted that revelation without sitting through a whole movie of golf, but here is the movie anyway, based on a book by a Christian sports psychologist, a book called God’s Sacred Journey. It is not the worst movie I have seen this year, but it is far and away the most boring. G. AARON MESH. Call theaters for showtimes.

Shark Night 3D

Sharks. At night. In 3-D. Not screened for critics. PG-13. Cornelius, Sandy. Call theaters for showtimes.

The Smurfs

They take Manhattan, in CGI form. PG. Call theaters for showtimes.

Spy Kids: All the Time in the World

Jessica Alba and little children spy on something. Not screened for critics. PG. Cornelius. Call theaters for additional showtimes.

Tabloid

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58 Week SEPTEMBER 7, 2011 wweek.com 3.825” XWillamette 7" PORTLAND WILLAMETTE WEEK

The Tree of Life

97 What is so piercing about The

Tree of Life is not that it knows life’s answers, but that it knows how the questions feel. PG-13. AARON MESH. Hollywood Theatre. Call theaters for additional showtimes.

The Trip

85 Steve Coogan and Rob Brydon

have the kind of comic chemistry in which the only thing a director needs to do is point the camera at them to come away with the funniest film of the year. MATTHEW SINGER. Living Room Theaters. NEW

NOW PLAYING REGAL BRIDGEPORT VILLAGE STADIUM 18 7329 SW Bridgeport Road, Tigard (800) FANDANGO #1728

understandably gobsmacked by their seedy subject: Joyce McKinney, the “barking mad” blond American bombshell at the center of Britain’s “manacled Mormon” scandal of 1977. What? You are not familiar with the manacled Mormon scandal? Go see this. R. AARON MESH. Living Room Theaters.

WED 9/7

Wheedle’s Groove

83 [ONE NIGHT ONLY, MFNW]

You’re not going to believe this, but Seattle had music before Nirvana! And not just Jimi Hendrix or Sir Mix-A-Lot, either. The Emerald City was home to a thriving soul scene

CRYING ON THE INSIDE: Santiago Segura.

THE LAST CIRCUS

Alex de la Iglesia’s glossy grindhouse lark, The Last Circus, opens with a nasty, overthe-big-top bloodbath. We’re in Spain. It’s 1937. Franco’s on the rise. A newly conscripted Republican Army clown cuts through a phalanx of Nationalist troops. It’s not worth explaining how or why the clown was recruited. A prurient entertainment such as this need not (should not!) delve too deeply into such matters. I will follow suit and get to the good stuff. So the machete descends and crimson geysers gush and spew, decorating the desaturated hues of the battlefield, further staining the clown’s already stained face. (Think Spielberg’s D-Day with hints of Robert Rodriguez’s shrill anarchy, then lower your expectations just a little.) The film ends 90 minutes later, 36 years later—Spain still, 1973 now, Franco in decline—with two mutilated clowns laughing until they cry. Or crying until they laugh. It’s hard to tell, what with the obliterated jaw one of them must muscle through and the melted face with which the other must convey feeling. It’s an oddly affecting scene, although I suppose the sight and sound of a pair of painted demons cackling through charred and gnawed and otherwise fucked-up flesh can’t not be affecting, no matter how hacky the schlockmeister behind the camera. This is not to say that Iglesia’s virtually idiot-proof concept, which finds rival clowns who love the same acrobat descending into twinned states of unhinged bloodlust against a backdrop of political unrest, is hiding any hackery that might otherwise express itself in a more pedestrian movie. (Something involving, say, rather amiable clowns who play cards and shoot the breeze instead of beating each other with trumpets or hiding out in lairs decorated with skulls.) Iglesia has a knack for chaotic escalation, for the slow accumulation of grisly bits, and he also elicits a subtly tender, even moving performance (pre-face melt) from Carlos Areces, whose schlubby sad clown can’t quite cope with frustrated sexual desire, and so runs naked through the woods and bites Franco’s hand and melts his own skin off instead. And while Iglesia is not quite able to conjure a complete world of eerie melancholy to match Areces’ airs or break through to the realm of circus-freak darkness where Tod Browning and Lon Chaney felt at home, he’s willing to go the distance to make you squirm. Sometimes that’s good enough. R. CHRIS STAMM. Send in the mutilated clowns.

71 SEE IT. The Last Circus opens Friday at the Hollywood Theatre.

MOVIES

SEPT. 9-15

BREWVIEWS

FLY ME TO THE MOON: How fitting that the titular, big-eyed grub in E.T.: The Extraterrestrial is equipped with restorative powers, since the movie also has the gift of casting its viewers back into childlike, guileless bloom. Steven Spielberg’s talent was always for making artificial colors and flavors taste fresh-picked, and he never put his confectioner’s genius to any more

concentrated effect. So E.T. is candy with a center made of memories we wish we had: No matter whether we’ve ever seen a redwood, we’re all natives of Spielberg ’s California. AARON MESH. Hollywood Theatre. 2 pm SaturdaySunday, Sept. 10-11. Best paired with: Sierra Mist, honestly. Also showing: Super 8 (Academy, Laurelhurst); Adaptation (Laurelhurst).

Forest Theatre

Laurelhurst Theater

2735 E Burnside St., 232-5511 SUPER 8 Fri 4:15, 6:40, SatSun 1:15, 4:15, 6:40, MonThurs 6:40 ADAPTATION Fri-Thurs 9:05 HORRIBLE BOSSES Fri-Sun 4:45, 7:30, 8:45 BUCK Sat-Sun 1:45 WINNIE THE POOH Sat-Sun 2 BRIDESMAIDS Fri-Sun 4, 6:50, 9:30 Mon-Thurs 6:50, 9:30 BEGINNERS Fri 7:10, Sat-Sun 1:30, 7:10, MonThurs 7:10 TROLLHUNTER Fri-Sun 4:30, 9:20, MonThurs 9:20

Cornelius 9 Cinemas

200 N 26th Ave., 503-844-8732 APOLLO 18 Fri-Sat-SunMon-Tue-Wed 02:45, 05:15, 07:15, 09:15 SHARK NIGHT 3D Fri-Sat-Sun-MonTue-Wed 02:30, 07:30, 09:30 SHARK NIGHT Wed 05:30 THE HELP Fri-Sat-Sun-Mon-Tue-Wed 01:40, 04:20, 07:00, 09:40 DON’T BE AFRAID OF THE DARK Fri-Sat-Sun-MonTue-Wed 02:55, 05:20, 07:35, 09:45 OUR IDIOT BROTHER Wed 02:35, 05:35, 07:40, 09:50 RISE OF THE PLANET OF THE APES Fri-Sat-Sun-Mon-TueWed 02:25, 04:50, 07:20, 09:35 COLOMBIANA FriSat-Sun-Mon-Tue-Wed 02:40, 05:00, 07:25, 09:40 COWBOYS & ALIENS FriSat-Sun-Mon-Tue-Wed 02:40, 05:05, 07:30, 09:55 SPY KIDS: ALL THE TIME IN THE WORLD IN 4D FriSat-Sun-Mon-Tue-Wed 02:20, 05:10, 07:10, 09:10 CONTAGION Fri-Sat-SunMon-Tue 02:45, 05:00, 07:15, 09:30

Moreland Theatre

6712 SE Milwaukie Ave., 503-236-5257 THE HELP Fri-Sat-SunMon-Tue-Wed 05:30, 08:25

Mt. Hood Theatre

401 E Powell Blvd., 503-665-0604 ZOOKEEPER Fri-SatSun-Mon-Tue-Wed 07:00 TRANSFORMERS: DARK OF THE MOON Fri-Sat-SunMon-Tue-Wed 08:50

Roseway Theatre

7229 NE Sandy Blvd., 503-282-2898 RISE OF THE PLANET OF THE APES Wed 02:30, 05:15, 08:00 CONTAGION Fri-Sat-Sun-Mon-Tue 02:00, 04:30, 07:00, 09:30

St. Johns Twin Cinemas and Pub

8704 N Lombard St., 503-286-1768 CRAZY, STUPID, LOVE. Wed 06:50 RISE OF THE PLANET OF THE APES Wed 04:30, 09:20 HORRIBLE BOSSES Fri-Sat-Sun-MonTue-Wed 05:00, 07:05, 09:10 CONTAGION Fri-SatSun-Mon-Tue 05:15, 07:30, 09:45

CineMagic Theatre

2021 SE Hawthorne Blvd., 503-231-7919 THE GUARD Fri-Sat-SunMon-Tue-Wed 05:30, 07:35

The OMNIMAX Theatre at OMSI

1945 SE Water Ave., 503-797-4640 TORNADO ALLEY Fri-SatSun-Wed 12:00, 02:00, 05:00 THE ULTIMATE WAVE TAHITI Fri-Sat-SunWed 01:00, 04:00 BORN TO BE WILD Fri-Sat-SunWed 11:00, 03:00 HUBBLE Fri-Sat 09:00

1911 Pacific Ave., 503-844-8732 30 MINUTES OR LESS Wed 07:00 FRIGHT NIGHT Wed 09:00 OUR IDIOT BROTHER Fri-Sat-Sun-MonTue 07:00, 09:05

Hollywood Theatre

4122 NE Sandy Blvd., 503-281-4215 AMIGO Wed 06:45, 09:30 THE TREE OF LIFE Sat-Sun-Mon-Tue-Wed 09:20 MIDNIGHT IN PARIS Fri-Sat-Sun-Mon-TueWed 07:15, 09:15 SISTER MARY’S ANGEL Wed 06:30 THE INTERRUPTERS A WALK TO BEAUTIFUL THE LAST CIRCUS Fri-Sat-SunMon-Tue 07:30, 09:30 THE RIVER WHY Fri-Sat-SunMon-Tue 09:15 PROJECT YOUTH DOC PREMIERE Fri 07:15 FILMUSIK: ATTACK OF THE EVIL BRAIN FROM OUTER SPACE Fri-Sat 10:00 E.T. THE EXTRATERRESTRIAL Sat-Sun 02:00 PROJECT LAGOM Tue 07:30

NW Film Center’s Whitsell Auditorium 1219 SW Park Ave., 503-221-1156 WHEEDLE’S GROOVE Wed 07:00 KEIKO: THE UNTOLD STORY THE CONFORMIST Fri-Sat-Sun 07:00

Sandy Cinemas

16605 Champion Way, 503-826-8100 APOLLO 18 Fri-Sat-SunMon-Tue-Wed 12:35, 02:40, 04:50, 07:30, 09:40 SHARK NIGHT 3D Fri-SatSun-Mon-Tue-Wed 12:10, 02:25, 04:40, 06:50, 09:20 COLOMBIANA Fri-Sat-SunMon-Tue-Wed 01:30, 04:05, 06:30, 09:10 THE HELP Fri-Sat-Sun-Mon-Tue-Wed 12:05, 03:15, 06:25, 09:30 OUR IDIOT BROTHER FriSat-Sun-Mon-Tue-Wed 01:35, 03:40, 05:50, 08:00, 10:10 DON’T BE AFRAID OF THE DARK Fri-Sat-

Sun-Mon-Tue-Wed 02:00, 04:20, 06:40, 09:00 CARS 2 3D Wed 07:20, 10:05 RISE OF THE PLANET OF THE APES Fri-Sat-SunMon-Tue-Wed 12:00, 05:05, 07:35 COWBOYS & ALIENS Fri-Sat-Sun-Mon-Tue-Wed 02:30, 09:55 WARRIOR Fri-Sat-Sun-Mon-Tue 12:45, 03:45, 06:40, 09:45 CONTAGION Fri-Sat-SunMon-Tue 11:50, 02:10, 04:30, 07:00, 09:35

Portlander Cinema

10350 N Vancouver Way, 503-240-5850 TRANSFORMERS: DARK OF THE MOON Wed BRIDESMAIDS Fri-Sat-SunMon-Tue-Wed HORRIBLE BOSSES Fri-Sat-Sun-MonTue

Valley Theater

9360 SW BeavertonHillsdale Highway, 503-296-6843 BRIDESMAIDS Fri-SatSun-Mon-Tue-Wed 06:35, 09:10 PIRATES OF THE CARIBBEAN: ON STRANGER TIDES Fri-SatSun-Mon-Tue-Wed 06:55 THE HANGOVER PART II Wed 09:40 ZOOKEEPER Fri-Sat-Sun-Mon-TueWed 06:15 SUPER 8 FriSat-Sun-Mon-Tue-Wed 08:25 KUNG FU PANDA 2 Fri-Sat-Sun 12:50, 04:50 HORRIBLE BOSSES FriSat-Sun-Mon-Tue 06:55 WINNIE THE POOH Sat-Sun 12:30, 02:20 SUBJECT TO CHANGE. CALL THEATERS OR VISIT WWEEK.COM/MOVIETIMES FOR THE MOST UP-TODATE INFORMATION. FRIDAY-THURSDAY, SEPT. 9-15, UNLESS OTHERWISE INDICATED

Willamette Week SEPTEMBER 7, 2011 wweek.com