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PET PROJECT: A Portlander connects furball and master. Page 26.
NEWS
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STAFF Editor-in-Chief Mark Zusman EDITORIAL Managing Editor for News Brent Walth Arts & Culture Editor Martin Cizmar Staff Writers Hannah Hoffman, Nigel Jaquiss, Corey Pein Copy Chief Rob Fernas Copy Editors Matt Buckingham, Kat Merck Assistant Arts & Culture Editor Ben Waterhouse Movies Editor Aaron Mesh Music Editor Casey Jarman Editorial Interns Emilee Booher, Maggie Summers, Annie Zak CONTRIBUTORS Classical Brett Campbell Dance Heather Wisner Food Ruth Brown Visual Arts Richard Speer
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INBOX DUDE, WHERE’S MY KALE?
It’s a shame that this one [CSA] going under is getting so much press, when by your own account, some 59 others seem to be working [“A Trip From Bountiful,” WW, Nov. 9, 2011]. It’s hard to say how the situation could have been better. I think members need to share some of the responsibility, but I also think the CSA should have started slower and ramped up: “under-promise and over-deliver” is the way I prefer to do things. —“Jan Steinman” I think this article clearly did more harm than good to CSAs. And for no good reason. [Writer Carrie] Sturrock merely says “the majority of farmers fulfill their promises” when in fact it’s the extreme vast majority—probably 95%—who are good, solid farmers. How many articles has WW written over the years that illustrate any of the thousands of satisfied CSA members in the Portland area? —“Shari S.” I much prefer the farmers-market model of supporting local growers. I can choose my own amount and variety to suit my needs for the week. It is also capitalism at its best when growers compete in real time for customers and neither grower nor buyer is taken advantage of. —“Oregon mom”
(VIRTUAL) WAR IS HELL
I take exception to one thing in your article: Calling Battlefield 3 graphically inferior [to Call of Duty: Modern Warfare 3] is like calling the sun dimmer than the moon. Sure, to get the best graphics on the consoles you need to download an HD textures pack, but Battlefield 3 is first and
foremost a PC game, and its graphics really shine on that platform, outpacing pretty much all of the current crop of game engines [“24-Hour War,” WW, Nov. 9, 2011].... I am coming from the mindset of a PC gamer, a class of gamer that is finally feeling justified for waiting after being virtually ignored the last few years. —“CD” Hmm.... Stay up 24 hours playing a video game, and write about it for WW. This is what passes for journalism at this paper? —“Johngo” Pacifists saying “fuck the military” are just too lazy to get off their asses and do some real labor. Grow a pair—I’m not talking about headphones. —“Shwa”
DEMS’ HARD TIMES
The loss of Dave Hunt and Mary Nolan leading the fundraising and strategy for House Democrats is huge and accounts for much of the numerical advantage for the Republicans. [“Reversal of Fortune,” WW, Nov. 9, 2011]. House D’s got so caught up in their own internal squabbles they failed to understand how effective Hunt and Nolan were as fundraisers and political generals. The current leadership, despite the best of intentions, is not in the same league Hunt was. Nor are they as well-positioned to raise money from a diverse group of contributors. —“Jessie” 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
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Why are there so many “Push to Cross” buttons at intersections in Portland, instead of having the signal automatically change to “Walk”? It is extremely frustrating and dangerous. —T. Walk At the risk of offending you, T. (a risk I’m always happy to take), I feel we should first explain why this is not a stupid question. Since it’s well known that traffic signals are pan-galactically coordinated, citywide, into a precision-timed matrix of efficiency, doesn’t it screw up the whole system to let T. introduce an extra 30 seconds of ped-crossing time into the equation every time he wants to shuffle his shopping cart from hither to yon? Indeed it would—in some naive fantasy world where the signals do what we tell them to do, when we tell them to do it. Poor, simple human! Your button-poking is merely a data point in the traffic-control system’s cosmic calculation.
Pressing the button is analogous to a car driving over the sensor in the pavement—it tells the system that somebody is there, wanting to get through. Then it’s up to the computer to decide, based on overall traffic efficiency, when and for how long to let everyone pass. When there’s no tedious human waiting to cross, the system can squeeze a few extra cars through every cycle—worth the effort on some high-volume arterials where foot traffic is inconsistent. (You’ll notice they don’t bother with the buttons downtown.) All of this is done in the interest of making sure that even the spaciest, least attentive of your fellow citizens (i.e., yours truly) can cross the street without getting flattened. It may be frustrating, T., but unless you find waiting for the signal so vexing that you blow your brains out in a fit of pique, it’s not dangerous. QUESTIONS? Send them to dr.know@wweek.com.
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OCCUPY PORTLAND How protesters helped tee up Mike Reese’s mayoral hopes. In a defeated camp, the last stand at the 420 Hotel. Other cities have seen rougher police tactics. Don’t look away: Those problems belong to all of us.
7 13 19 21
THE WHOLE WORLD WAS WATCHING FOOTBALL. W W P H OTO I L L U S T R AT I O N
HEY, YOU KIDS! GET OFF MY ANCESTOR’S LAWN! Randy Panek, a descendant of W.W. Chapman, who sold the land for Chapman Square to the City of Portland 141 years ago, was so upset by Occupy Portland’s “homesteading” in the park that he notified Mayor Sam Adams on Oct. 18 he was prepared to go to court to enforce deed restrictions. Turns out the original CHAPMAN deed prohibited camping. “I wish to cooperate with the City to remove these homesteaders,” wrote Panek, who lives in Central Oregon. For more on Panek’s exchange with city officials, go to wweek.com. The cash raised in the Portland mayor’s race has surpassed $500,000. The clear leader is businesswoman Eileen Brady, whose fundraising has surged to $276,000—well past former City Commissioner Charlie Hales ($191,000) and state Rep. Jefferson Smith ($116,000). The records also show Brady is going through her money much faster than her opponents— she’s spent 62 percent of her cash, much of it on consultants and polling, leaving her with cash on hand of $103,000. Hales and Smith have nearly as much cash remaining.
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Willamette Week NOVEMBER 16, 2011 wweek.com
Citizens for Tax Justice, a left-leaning think tank in Washington, D.C., has run the numbers to see what the effective tax rate is for the nation’s 280 biggest companies after loopholes and tax breaks. The base federal corporate tax rate is 35 percent, but on average large companies paid half of that from 2008 to 2010. Oregon’s biggest company, Nike, was among the few that paid close to that rate—$777 million in taxes on $2.5 billion in profits in those years. But another company with Oregon roots, Con-way, was among 30 corporations that made a profit and still got money back from the government. The report says the freight company received $26 million in federal tax rebates despite reporting $286 million in profits. A spokesman for Con-way—founded in Portland but now based in Ann Arbor, Mich.—did not respond to WW’s request for comment. Approximately 900 people work at the company’s Northwest Portland service center. The 2011 edition of WW’s Give!Guide is off to a roaring start, having raised nearly $90,000 in its first week. That puts our annual effort to support worthy nonprofits 30 percent ahead of last year’s pace—thanks to you, generous readers. To help lubricate the giving spirit, Thursday is Clear Creek Distillery Day. Anyone making a G!G donation on Nov. 17 will be entered to win a box—or two or three—containing one bottle of every spirit currently on sale at Clear Creek. The winner will be announced Nov. 18. You must be 21 or older to qualify. Go to wweek.com/giveguide and let your credit or debit card run wild. Copies of the guide are available in our office. Read more Murmurs and daily scuttlebutt.
GOT A GOOD TIP? CALL 503.445.1542, OR EMAIL NEWSHOUND@WWEEK.COM
OCCUPY VIVIANJOHNSON.COM
NEWS
THE PARTY’S OVER: A lone protester keeps a vigil on Southwest Main Street after police cleared the Occupy Portland camp Nov. 13.
CHAOS TO CHECKMATE MAYOR ADAMS AND OCCUPY PORTLAND PLAYED A GAME IN CITY PARKS. POLICE CHIEF REESE WON. BY CO R E Y P E I N cpein@wweek.com NIG E L JAQ U I SS njaquiss@wweek.com
AND
Occupy Portland had countless moments of beauty, absurdity and anger. In the end, it was downright ugly. The 39 days of occupation in Lownsdale and Chapman squares began as an idealistic statement of protesters seeking economic equality and social justice. Within days the camp became a tent city for the homeless and mentally ill, dominated at times by trouble-seekers and drug dealers. The protest camp turned two city parks into a putrid smear of mud. But Occupy Portland also accomplished a great deal. In a way that labor unions, academics and writers could not, the organizers raised this city’s awareness of an economic system gone devastatingly wrong. The campers also accomplished something they surely never intended: They teed up the mayoral hopes of the city’s relatively untested police chief, Mike Reese. Reese led the often-troubled Police
Bureau through a carefully orchestrated effort to reclaim the parks without the violence, tear gas or stun grenades police used against Occupy protesters in other cities. Through sheer stamina and rope-adope tactics, Reese’s officers exhausted a raucous Sunday morning crowd of 5,000 in the streets—then strolled into the Occupy Portland camp a few hours later to clear out tents, tarps and other debris. In the end, the bureau’s riot squad efficiently shoved about 100 remaining protesters out of the park and made more than 50 arrests. By 2 pm Sunday, the parks were back in city hands. Running through the story of Occupy Portland are elements of chance and unpredictability, namely that the political movement appeared just as Reese, who has never run for office before, was privately contemplating a mayoral campaign. On Nov. 11, while preparing his troops for the weekend takeover of the two occupied city parks, Reese filed the paperwork forming a campaign committee. Reese says his political aspirations didn’t influence his approach to Occupy Portland or any other police matter. “There was never any intersection between our actions and my considering running for mayor,” Reese says. “I’m really
good at compartmentalizing my life.” But the endgame for Occupy Portland may be a rare case where political considerations actually improved the outcome of a difficult situation. WW’s on-the-ground reporting, and more than 900 pages of correspondence obtained under the state’s public records law, show how Reese and the Police Bureau, over the course of five weeks, took command of the Occupy Portland situation and controlled the public message. They were able to do so because two key players in the drama gave them the opportunity. One was the Occupy movement itself. Its political message was overwhelmed by organizers’ inability to control the camp. “The atmosphere changed,” says Reid Parham with Occupy Portland. “The squatting detracted from the movement, and people made some awful behavioral decisions that made what was a safe space unwelcome to a lot of people.” The approach of another player, Mayor Sam Adams, who oversees the Police Bureau, helped create the opportunity for Reese. Adams faced a daunting problem: trying to communicate with a leaderless and increasingly chaotic group of protesters who were unable to formulate any specific demands.
WW asked Adams if, once he allowed Occupy Portland to stay in the parks, he had a plan to deal with the group. His answer: “No.” “Mayors all over the country had the same answer,” Adams says. “We all agreed we’d just have to see how it played out.” Adams was reluctant to challenge the group, even when it shut down Southwest Main Street for nearly a week. “I was trying to channel what I thought were the collective principles of this city,” Adams says. Occupy Portland grew out of solidarity with Occupy Wall Street, a New York protest for economic equality and justice for corporate misdeeds. On Oct. 6, about 10,000 people marched through downtown Portland, ostensibly headed to Pioneer Courthouse Square. By nightfall, a few dozen had pitched camp in Lownsdale and Chapman squares, two park blocks surrounded largely by commercial towers and government buildings. When police told them to leave to make way for the Portland Marathon, they briefly left Lownsdale and returned later that day. Adams told WW he was OK with that, and says he attempted from day one to balance the protesters’ rights with the need to maintain a safe, orderly city. Sympathetic Portlanders embraced the novelty of the protest, rushing to donate food, reading material, tents and other CONT. on page 8 Willamette Week NOVEMBER 16, 2011 wweek.com
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CONT. PHOTOS: VIVIANJOHNSON.COM
OCCUPY
PART POLITICIAN: Shown inside the Portland Police Bureau, Chief Mike Reese responds to WW’s report that he might run for mayor.
comforts. Organized labor—which has cheered the Occupy movement—pitched in. The Amalgamated Transit Union, for instance, which represents TriMet employees, paid for the camp’s portable toilets. The Oregon AFL-CIO applied for marching permits from the city on Occupy’s behalf. Adams didn’t act right away to reopen Southwest Main Street, which protesters had closed for nearly a week. The closure backed up traffic on the Hawthorne Bridge while the Morrison Bridge remained closed for repairs. Adams says he wanted to allow the campers plenty of leeway. “I felt they needed some time to get settled,” he says. Records show the mayor ’s office received a flood of complaints—along with
he gave the campers notice he wanted to re-open Main Street. Initially, the Occupiers voted against that idea. Adams took action, records show, after pressure began to build from one of the city’s most powerful constituencies, the Portland Business Alliance. Downtown interests were fed up. That message came from Dave Williams, a NW Natural executive who chairs Downtown Clean and Safe, a PBA affiliate. “Closing Main Street is not only frustrating for those who work downtown,” Williams wrote Adams on Oct. 12, “but it also creates an impediment to those who wish to patronize our downtown businesses and enjoy our downtown entertainment and recreational amenities.” The next day, the police reopened Main Street and arrested eight Occupiers. Adams continued to support the protesters.
PART COP: Reese, shown in profile wearing a ballcap, exchanges words with Cameron Matta, who was arrested and charged with disorderly conduct.
story that the camp existed only by the graces of the city’s decision not to enforce the law. “While camping in city parks is illegal,” Saker wrote, “Portland’s government, which is in sympathy with the protest, has permitted Occupy Portland to stay put.” Saker’s statement was accurate. But in an email to Saker dated the next day, Adams spokeswoman Amy Ruiz asked that the newspaper clarify what the mayor believed was a mistake in her story. “It is inaccurate to say that Portland’s government has ‘permitted’ Occupy Portland to stay put,” Ruiz wrote. “Rather, as the mayor has said, the city is currently not enforcing some of the park rules at Lownsdale and Chapman squares.” Adams says city lawyers worried that the word “permitted” implied the city was giving an official stamp of approval to the camp, and
to be very much in communication with my team and everyone involved,” he says. Meanwhile, Occupy leaders were pleading for help. “The bevy of services has made the camps a magnet for the homeless, who now outnumber the original protesters,” WW reporter Aaron Mesh wrote Oct. 26 about his experiences living at the Occupation. “The Occupy leaders find themselves dealing with some of the same social ills they have been protesting against.” On Oct. 30, a splinter group of Occupiers made a critical miscalculation. They tried to expand their footprint by taking the Pearl District’s Jamison Square. City Commissioner Randy Leonard, like Adams, had expressed solidarity with Occupy Portland. But the movement’s threat to move into the city’s toniest urban
“THERE WAS NEVER ANY INTERSECTION BETWEEN OUR ACTIONS AND MY CONSIDERING RUNNING FOR MAYOR. I’M REALLY GOOD AT COMPARTMENTALIZING MY LIFE.”—POLICE CHIEF MIKE REESE some supportive comments—about his failure to end the blockade. “Get the losers out of our downtown and anywhere else,” a citizen named Dick Filbert emailed to Adams on Oct. 10. “Please get off your dead butt and do your job.” Adams says he always intended to reopen the street, which in addition to tens of thousands of cars, serves eight bus lines and 5,000 bikes per day. Just as with the final order to vacate the parks, Adams says,
“We’re not moving against the camps,” Adams told reporters the next day. “The focus of this occupation is pointing to some very legitimate concerns about growing inequality in this nation.” The mayor’s office struggled, records show, to strike a balance in his political message. Consider this email exchange between Adams’ office and The Oregonian. Anne Saker, a reporter assigned to the Occupy Portland beat, wrote in an Oct. 25
thus assuming liability for them. On Oct. 20, Adams took off on a nineday trip to Asia without a plan in place, even as his office took reports about increasingly serious problems in the camp. Adams says he considered canceling the trip but eight local companies expected his help introducing them to potential Asian customers. He says his physical absence was irrelevant. “Thanks to modern technology I was able
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neighborhood was too much. “I am now left wondering if the planned march to and occupation of Jamison Square in Northwest Portland is an attempt to provoke a confrontation with the entire City Council,” Leonard wrote in an email to an Occupy supporter. “I also have some advice for you: Know who your friends are.” CONT. on page 10
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“DAY BY DAY”: Mayor Sam Adams acknowledges he had no plan at first to deal with Occupy Portland.
Police arrested 27 people in Jamison Square. Two nights later, federal officials arrested 10 protesters who had chained themselves to a barrier at Terry Schrunk Plaza, a federally owned park next to Chapman Square. By that time, news reports had shifted their focus to crime in the camp. As the Occupation devolved, Mike Reese had something else on his mind: a potential campaign for mayor in 2012. He had discussed the idea with allies long before Occupy Portland surfaced. Reese’s talks, however, leaked just as the drumbeat of negative news about the Occupiers was intensifying. On Nov. 1, WW reported that Reese was considering a mayoral run. Reese at the time declined to talk about his political plans, saying only that he would decide “in a couple of weeks” whether to run. He now says he remained laser-focused on Occupy Portland. “I don’t weigh the political consequences of any situation when I’m doing my job,” he says. Speculation in the media about his personal ambitions faded, however, as his bureau took control of the Occupy Portland narrative. That transition had started two weeks earlier, when Adams first winged off to Asia. The day after Adams left town, the Police Bureau released statistics showing crime had spiked around the Occupy camp. The information that police released provided no context about whether crime shifted from elsewhere in the city. The press release started a steady flow of badnews announcements from the bureau about the camp, including the growing cost of police overtime and the litany of crimes, large and small, committed in and around Lownsdale and Chapman squares. “There was no larger strategy behind those communications—just transparency and efficiency,” Adams spokeswoman Ruiz wrote in an email to WW. “At a certain point, [the police press relations] team was deluged with media requests for those details [about crime], and a daily roundup became the most efficient way to communicate it.” After the revelation of Reese’s personal political ambitions Nov. 1, police officials continued to portray the Occupy camp as a growing threat to officers’ safety. “The bad behavior was escalating and eventually reached a critical mass,” Reese says.
On Nov. 2, police spokesman Sgt. Peter Simpson sent every Portland Police Bureau employee a nerve-wracking document: a six-dayold unclassified “officer safety” memo from the Arizona Counterterrorism Information Center. The memo said that a letter titled “When Should You Shoot a Cop?” had been found at an Occupy Phoenix event. Nobody claimed such literature had surfaced at Occupy Portland, or been found on anyone in Lownsdale or Chapman squares. Some Occupiers, however, fueled such concerns. During a Nov. 2 evening march, a man police identified as David Anthony Burgess allegedly shoved a police sergeant into the path of a TriMet bus. Emails regarding the Nov. 2 march show tension between the mayor’s office and Reese’s team about how to characterize the city’s relationship with the Occupiers. Police spokesman Simpson told KPTV: “We are concerned with the tone at [last night’s] march…. It’s not about the original Occupy movement anymore.” Simpson added that he “did not know if the mayor’s office had any input on yesterday’s protest.” Adams spokeswoman Ruiz emailed Simpson that the remark seemed to imply Adams was at best not paying attention. Simpson in an email stood by the accuracy of the quote. Ruiz went on to request a clarification from KPTV, which updated its story by removing Simpson’s quote about Adams’ office and inserting a statement supplied by Ruiz. Adams says although he did not attend the march, he was in touch electronically throughout the evening. Reese says he and Adams never disagreed on the approach to the protesters. “The mayor and I were on the same page throughout,” he says. The day after the officer was shoved in front of a bus, Reese ordered all sworn officers carry crowd-control gear and quickly released the memo to the news media. Adams, reacting to the injured officer, put distance between himself and the protesters for the first time. “Violence like this will not be tolerated,” he said in a Nov. 3 news release. Other commissioners exerted pressure on the Occupiers. Commissioner Nick Fish told the Parks Bureau to turn off water to the parks’ restrooms and cease trash removal. The Bureau of Development Services, run by Commissioner Dan Saltzman, cited code violations in the Occupiers’ camp. Then, on Nov. 8, someone tossed a Molotov cocktail at the World Trade Center downtown. Police quickly linked the thrower to the Occupy camp. That was too much. “Time’s up, Occupy Portland,” The Oregonian said in an editorial the next day. The paper criticized Adams, who “has styled himself as a sympathizer and B.F.F. of the Occupy Portland protest, which is not just regrettable. It’s wrong.” A day later, Adams—flanked by Reese and Fish—issued the deadline to clear the camp by midnight Saturday. Ruiz, Adams spokeswoman, says city officials expected the final face-off could have dragged into Monday or Tuesday evening. In the end, Reese’s troops moved in much earlier, making the would-be candidate the hero of the day for many Portlanders whose sympathy for the Occupiers had waned. “It could have gone the other way,” Reese says. “It might have required tear gas and been really negative. But that’s my job and I didn’t consider the political consequences.”
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THE FALL OF THE 420 HOTEL IN THE FINAL HOURS OF OCCUPY PORTLAND, THERE WAS MUD, A RIOT SQUAD AND A SPECKLED ROOSTER. BY HANNAH HOFFMAN hhoffman@wweek.com AND AARON MESH amesh@wweek.com
The final rumor to sweep through the ruins of Occupy Portland inflamed the holdouts in the 420 Hotel. “They killed a puppy!” screamed a young man with a scraggly goatee and a black Army jacket. “They killed a blind puppy!” The rumor went like this: The police, busy clearing the camp that morning, Nov. 13, had tossed a tent with the puppy still inside into a green dumpster. No one knew who owned the puppy. No one saw it happen. It probably wasn’t even true. But the rumor panicked and infuriated the people in and around the fortified tent. During the Occupation, its official name was the Relaxation Tent, but people nicknamed it the 420 Hotel, after the slang phrase for marijuana. In a camp where residents created new identities, the young people in the 420 Hotel were the camp’s
roughnecks, its extremists. Most wore handmade clothing or hooded sweatshirts. They were the ones who brought their own gas masks. Since 3 am Sunday, they had been reinforcing the tent with pallets and thick hardwood tables. They draped an Oregon state flag outside and painted “Repo This” on one wall. It was a challenge to the police who would soon come to get them. It looked like a clubhouse. The people in the 420 Hotel saw their battlements as a declaration of their right not only to stay in the park, but to exist as they chose. They saw the Occupy Portland leaders as capitulators for talking to the police, agreeing to terms of surrender and fleeing with their kitchen supplies and precious library before hell broke loose. In the short and difficult history of Occupy Portland, the 420 Hotel came to represent the movement’s incoherent defiance. The Occupy movement set out to bring attention to poverty, homelessness, big banks, Wall Street and other social ills that pitted the rich against the rest of us. It began Oct. 6 when an estimated 10,000 people marched through the city, and a
small group took up residence in Chapman and Lownsdale squares. In its final hours, 38 days later, Occupy Portland saw about 4,000 people stage a rally in the early morning of Nov. 13 to prevent police from clearing away the hundreds of tents in the camp. In between, however, the Occupy Portland leadership became mired in process and debate while the camp became a haven for the homeless, drug addicts and violent street kids. The leaders never found their public voice, nor a direction in which to take their cause. By the morning of Sunday, Nov. 13, the leaders of this economic protest had left. So had most of the homeless. The defenders of the 420 Hotel took the movement in the only direction they could see: against the police, who had suddenly appeared in black-armored riot gear along the edges of the park. It was just after 10 am Nov. 10 when Mayor Sam Adams announced he wanted Lownsdale and Chapman squares cleared and would close them to the public by midnight two days later. Inside the camp, Occupiers moved from rage to euphoria to despair.
After the news, more than 100 people descended on City Hall, which went into lockdown. Some Occupiers wheeled their valuables—generators, coolers, a massage chair—out of the parks, while others concocted plans for a potluck and dance party timed to the midnight deadline Nov. 12. Others went shopping for office space they could rent to help keep the movement alive. The one thing they agreed on: They would not leave their parks willingly. It was clear that police were concerned about a confrontation. They were told by some Occupiers that people in the camps had dug trenches and built an arsenal of rocks, boards with nails and shields made of wooden pallets. Other Occupiers put the word out for people to come downtown and help defend their camp. They used their website and Twitter, and even printed fliers that they pasted on MAX trains. On Saturday night, Nov. 12, the parks and surrounding streets filled with people, most of whom had never been to the Occupy Portland camp before. Many poured out of bars to CONT. on page 14
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coffee in the middle of 3rd Avenue, pouring from vacuum pots at the feet of riot police. The crowd chanted, “This is what democracy looks like!” and “You’re sexy, you’re cute, take off your riot suit!” to the endless beat of white plastic bucket drums. At 6 am, a voice from the loudspeaker on top of a police van broke into the noise: “Good morning. Please move back into Chapman Square.” The announcer told everyone the police wanted to clear the street for traffic. The crowd complied, the cops soon turned and left, and it seemed like victory. People hugged and filed back into Chapman
Willamette Week NOVEMBER 16, 2011 wweek.com
Square through a human canopy of linked hands. Buckets of Voodoo doughnuts arrived, a bicycle boombox played Michael Jackson and the Black Eyed Peas, and people danced. During the celebration, the residents of the 420 Hotel had stolen a mobile generator and floodlights placed by the city on the sidewalk along Chapman Square. Other Occupiers were enraged because they thought this would provoke the police. “This is exactly what they want us to do!” someone yelled. “Would you please worry about your own fucking encampment?” said someone
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watch what might happen. Bicyclists calling themselves “The Swarm” pedaled around the parks. A drum circle made up of people beating on white plastic buckets formed in the middle of Southwest 3rd Avenue. Protesters climbed the iconic Main Street elk statue to pose for pictures and kiss. One man atop the elk played a French horn. At midnight, the crowd counted down the seconds from 10, as if it were New Year’s Eve. At the mayor’s deadline, there were more people in the parks than ever before. It was a party. The police didn’t show up in riot gear until around 1:30 am, when they formed a line along Main Street across 3rd Avenue from the parks. Five officers rode in on horses. Someone tossed a burning object and spooked a couple of the horses. Someone else threw an open pocket knife and hit a cop in the helmet. One protester was pepper sprayed; another was arrested. Eventually, police moved down 3rd Avenue and took up position at the intersection with Madison Street. Some protesters shouted in the officers’ faces. But others were too jovial to remain confrontational for long. One man shouted, “We love you!” Then he yelled, “We love you especially!” to a blond female officer. She smirked. The air smelled of the apple-cider vinegar protesters had used to soak their bandanas to combat a potential tear-gas assault from the police. The standoffs in the streets lasted for more than four hours. Occupiers served
inside the 420 Hotel. “I saw the resource and I took it.” The people fortifying the 420 Hotel eventually wheeled the floodlights back to the sidewalk. All around them, people were going home. The thousands who had come in support of Occupy Portland thought the battle was over. Many of the Occupation’s leaders hadn’t been sleeping in the camp for the past few weeks anyway. By 8 am, the parks were nearly empty when police officers wearing surgical masks and blue gloves walked in, tore down tents and sliced ropes that had been strung from the parks’ trees. Trucks dropped off green metal dumpsters, and a backhoe scraped sleeping bags and cardboard out of the park. The ground was black mud that smelled like rotting food where the kitchen had been and sewage in many other places. Police tossed out tarps, pallets, sandals, a Fisher-Price slide and a pink vibrator. They knocked at the fabric walls of each tent to wake residents. “Time to move on,” a cop said as he roused a sleeping camper. This is what the eviction looked like. The Occupiers had no response to this, no plan. They’d worn themselves out, and their numbers were down to fewer than 100. Most of them sat down and watched as the cops cleaned out the camp. Officers arrested a girl where the kitchen once stood in Chapman Square. “You can’t just do that,” said Raya CONT. on page 16
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ing black riot gear streamed out of the Justice Center across Southwest 3rd Avenue. Their electric-blue gloved hands gripped both ends of their batons, their helmets’ face shields dropped down. They surrounded Chapman Square and slowly moved across the slick mud. Protesters howled at the sight. “Pigs on the loose!” someone shouted. Others joined him. “Pigs on the loose!” The police van with speakers was back. The announcer told everyone to leave the park or face the possibility of physical force. “You may be subject to the use of chemical agents,” the announcement added.
The number of police grew as it became clear they were going to target the 420 Hotel last. A man inside the fort yelled “Shame! Shame!” at police who got too close. He told an African-American officer that Martin Luther King Jr. would roll over in his grave at the sight of him. A skinny man strummed a guitar and sang John Lennon’s “Working Class Hero.” “They hurt you at home and they hit you at school,” he sang. “They hate you if you’re clever and they despise a fool.” At 12:20 pm, a long line of police wear16
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The officers moved west and formed a line in front of the 420 Hotel and the 100 or so people who were determined to hang on to the last corner of the Occupy Portland camp. The police, batons across their chests, pushed people back. Some people fell as the officers surged forward; others were pinned against benches. The police overturned the lunch table, spilling bagels, apples and animal crackers onto the sidewalk. Several Occupiers who fought back were dragged out of the crowd to be arrested. Others grabbed at the officers’ batons; the police pulled their batons away and brought them down on
VIVIANJOHNSON.COM
Cooper, a member of the information committee. But she didn’t stand up from her folding chair. Eventually, Cooper went off to play a game of Twister. To the north, Lownsdale Square was cleared in two hours. But in the northwest corner of Chapman Square, the 420 Hotel residents refused to acknowledge the teardown of the camp. Instead, they cooked bacon and fried eggs only feet from where police had started to surround their fort. They lined a long folding table with bread, lunchmeat, greens for salad, peanut butter, saltines and animal crackers. Around 10 am, a man tried to bring in a jar of mayonnaise, but a cop stopped him because the jar could be used as a projectile against police. The man nodded, and then dodged the officer. The cop started to go after him but another officer touched his shoulder. “Let it go,” he said.
some of the protesters, fast and hard. “Nazis!” people shouted. “I thought you were better than this, Portland! Murderers!” Gina Ronning, a leader of the camp’s safety and peacekeeping committee, picked up a megaphone and called for people to sit down. They did and the police eased off. Then someone else along the front line with the officers yelled for everyone stand up and keep pushing back. People stood up again—but the tension had eased slightly. The police directed the Occupiers and hundreds of onlookers into Southwest 4th Avenue and eventually into Main Street, between the Multnomah County Courthouse and the Portland Building. There they held the crowd at bay while dismantling the 420 Hotel and arresting its remaining residents. Behind the police, city parks crews lined Chapman and Lownsdale squares with chain-link fence with barbed wire across the top. Eventually, people drifted away. A few dozen headed to Pioneer Courthouse Square for a strategy meeting and pizza party. In front of City Hall, a man carried a black-and-white-speckled rooster into the intersection of Southwest Madison Street and 4th Avenue. He placed the rooster in the street and turned to the police line guarding Chapman Square. The rooster strutted toward the police, then turned around and wandered west. “Cock-a-doodle-doo!” the man shouted. “Wake up, people!”
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Run November 23
CONT.
OTHER CITIES’ OCCUPATION CAMPS HAVE SEEN EVEN BIGGER PROBLEMS. BY AN N I E Z A K
azak@wweek.com
Born from the same political movement, each Occupation around the country has differed in size, level of violence and the degree of tolerance by government. Roughly 70 U.S. cities have seen Occupations, including the first, Occupy Wall Street in New York. Some, such as Seattle, have had only a few arrests; others have had serious police clashes. So, where does Occupy Portland fall along this spectrum? Occupy Portland lasted longer than many others—39 days—before police cleared the camp in Chapman and Lownsdale squares Sunday. Even with the force used by police, the scene was less violent than at other cities’ encampments. In Denver, police used pepper spray and rubber bullets on protesters during an Oct. 29 march. In Oakland, Calif., an Iraq war veteran suffered a serious head injury Oct. 25 when he was hit by a projectile lobbed or fired by police (it may have been a tear-gas canister) during a general strike.
Police cleared the camp without serious incident Nov. 14 after the mayor set an eviction deadline. Jeannie Hartley, a media liaison for Occupy Denver, said the camp there has also dealt with a homeless population. “I see it as a problem because they’re homeless,” Hartley says. “I don’t see it as a problem because they’re coming to us.” She says Mayor Michael Hancock hasn’t set a deadline to vacate protesters from a city park and that officials in other cities have done a better job of handling Occupations. Los Angeles Mayor Antonio Villaraigosa handed out ponchos to rain-soaked protestors. Local police officers in Albany, N.Y., refused to arrest protestors when ordered to do so by Gov. Andrew Cuomo, who later had state police step in. Diane Reiner, media liaison with Occupy Oakland, says the Occupation there is particularly charged because it is such a diverse city. “There’s a lot of positive energy at Occupy Oakland,” she said last week, “but there’s a real intensity about what can really happen, which might not be happening elsewhere.” In Portland, Mayor Sam Adams set a deadline of midnight Saturday, Nov. 12, for protestors to evacuate—taking the step
T A N N E R S P E N D L E Y. C O M
OCCUPY ELSEWHERE
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TOUGH TACTICS: Denver police used force, including pepper spray, against Occupy marchers Oct. 29.
before a serious injury or death took place. But it took Oakland Mayor Jean Quan until someone was shot and killed Nov. 10 at the edge of camp before setting an eviction deadline. Police said there was no apparent connection between the camp and the shooting but believed the area was no longer safe for Occupiers. “People have been able to separate the Occupy movement from the encampment,” says Sue Piper, a spokeswoman for Quan. “The encampment is problematic for the violence, drug deals and harassment going on there.” Seattle Police Department spokesman
Sean Whitcomb says Occupy Seattle has been “exceptionally nonviolent,” with only a handful of arrests, most for civil disobedience. The Occupations have been split between Seattle Central Community College and city hall. Occupy Seattle media liaison Aliana Bazara says the city’s Occupations have not had major problems, but there have been fewer protesters than in other big cities. “Working toward sending a cohesive message to the public,” she says, “that’s been a problem.” OCCUPY CONT. on page 21
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CONT.
OCCUPY PORTLAND FORCED THE CITY TO FACE ITS PERSISTENT PROBLEMS WITH HOMELESSNESS. BY BR E N T WA LT H
bwalth@wweek.com
The homeless were back occupying the spaces under the Burnside Bridge on Monday, one day after their downtown real estate had been reclaimed by the city over the weekend. The city shut down the illegal Occupy Portland camp that had become filthy and dangerous. But much outrage was aimed at the Occupiers’ temerity. Why did they have to put social ills on display where we had to look at them? With holiday shopping season coming! So it’s a return to normal for complacent Portlanders: the city’s homeless out of sight, out of mind. The camp took shape around true believers but soon filled with homeless people. The camp also became a stew for serious troublemakers, and a conceit grew that the Occupy camp created all the problems on display. “The problems Occupy Portland exposed
were not a surprise to city officials or people who work with the homeless every day,” says Marc Jolin, executive director of JOIN, a local nonprofit helping homeless find housing. “It may have be a wake-up for the larger community.” The city’s most recent homeless census, conducted last January, found 1,700 people sleeping in the city’s shelters or on its streets. Jolin says the homeless campers at Occupy Portland were a small percentage of the people who survive on Portland’s streets every night. He says many of the homeless worked in the kitchen and helped with security—in other words, they contributed to what did work in the camp. “I worry to the extent the media focused on problems at the camp and connected them to people being homeless,” Jolin says. “That’s not a fair representation.” The city’s Housing Bureau is more than halfway through its 10-year plan to end homelessness. The city’s programs have found housing for thousands, but they can’t control the larger forces—poverty, housing costs, poorly funded services for the mentally ill—that worsen the problem. “As a country we disinvest in mentalhealth services, and more people go without health insurance, leaving them one
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W W S TA F F
HOMELESS, NOT FACELESS
OCCUPY
A PROBLEM LAID BARE: A Portland police officer cleans up debris in the closed Occupy Portland camp Nov. 13.
bad event from losing their home,” says Commissioner Nick Fish, who oversees the Housing Bureau. “If we don’t address the problems at the front end, we’re going to pay a fortune one way or another.” Meanwhile, money at the local level to deal with homelessness (much of it coming from the feds) continues to dry up. The cost of Occupy Portland in overtime and park repairs could have paid for a lot of permanent solutions. A Nov. 11 editorial in Street Roots, the Old Town-based newspaper that focuses on homelessness and poverty, calls for new
city rules for homeless camps. Such rules, the paper says, would give police and the homeless “clear directives about what is allowed and what isn’t concerning sleeping outdoors without a home.” Not a popular idea after Occupy Portland, perhaps, but a timely one, with another recent homeless camp, Right 2 Dream Too, running at Northwest 4th Avenue and Burnside Street. “Opening more shelter beds and providing more services is great,” says Israel Bayer, Street Roots’ director. “At the end of the day, there’s a hole in the bucket.”
cd release Produced by Steve Barnett. Available at the concerts
Cappella Romana 20th Anniversary Season
mt. sinai: frontier of byzantium
MEDIEVAL BYZANTINE CHANT
MT. SINAI: FRONTIER OF BYZANTIUM CAPPELLA ROMANA ALEXANDER LINGAS, DIRECTOR
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Alexander Lingas directs Medieval Byzantine Chant with Byzantine cantors Stelios Kontakiotis (Tinos, Greece), Spyridon Antonopoulos (London), John Michael Boyer (Boston), Constantine Kokenes (Atlanta) & Mark Powell (Portland)
FROM THE VESPERS FOR ST. CATHERINE & THE SERVICE OF THE FURNACE
Free pre-concert talk at 7pm with Sister Joanna from Hammam Mousa, Sinai, Egypt
8 pm Saturday, November 19, 2011 St. Mary’s Cathedral, NW 18th & Couch
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Jack Clevenger in A Christmas Story. Photo by Patrick Weishampel.
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VISUAL ARTS
Wednesday, Nov 16th
IN THE SPIRIT OF LENNON with Drew Harrison Thursday, Nov 17th
MARY MCCASLIN & ANTJE DUVEKOT
including FRUIT BATS
& CROOKED FINGERS
Nov 19th & 20th
SWING TIME and WANDERLUST CIRCUS present
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CYBER COMICS: Portland comic publisher Top Shelf Productions dove into the digital world head-first on Monday, Nov. 14, releasing two iPhone/iPad apps. The publisher is digitally releasing dozens of its books, including locally made titles such as Nate Powell’s Any Empire and Colleen Coover and Paul Tobin’s Gingerbread Girl. Thus far missing: Craig Thompson’s 600-page epic, Blankets. Let’s all say a little prayer for the intern scanning that monster.
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Wednesday 11-16 NEIGHBORS AND LADIES & JACKSON
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Thursday 11-17 OREGON KAYAKERS FILM FESTIVAL 8PM 21+
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TRAVIS ROYCE, PATRIMONY, RARE MONK, V & THE DIRTY PRETTY
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GOAT HAM AND CAMEL SALAMI: Portland chef Greg Higgins (of the eponymous downtown restaurant) is in Mongolia, sharing his sausage and charcuterie-making expertise with local butchers as part of Mercy Corps’ Farmer to Farmer project. During his three-week stay, he’ll be blogging regularly for Willamette Week. Things we have learned so far: How do you make charcuterie without pork? “Camel, goat, sheep, horse, an occasional yak and sometimes beef.” WEST END BREWS: East Burnside Street’s Heart Coffee Roasters is opening a second location at West End Bikes on Southwest Stark Street and 11th Avenue. The counter will be inside the bike store, but Heart plans to have coffee available through a roll-up door on the side of the building. It’s an interesting choice of location, with Stumptown and Courier Coffee just blocks away. “We’re kinda testing the waters and seeing how people like our product on this side of town,” Heart owner Wille Yli-Luoma told WW. He’s hoping to open Nov. 16 or 17. CARTY ON: Although the weather is no longer quite so conducive to al fresco dining, Portlanders continue to try their luck in the food cart business. New and soon-to-open carts at downtown’s 9th and Alder pod include Zizzo’s F.C., an Italian cart from Portland Timbers player Sal Zizzo; Donut O Rama, promising crème brûlée and banana-bacon-flavored donuts; Wayang House, serving ZIZZO Indonesian dishes; Supernatural Burgers, selling synthetic-hormone- and antibiotic-free burgers; and a new Mexican cart named Santana, selling sopes and huaraches with tacos and burritos. HUNGRY? Lots of new restaurants and bars are opening their doors in mid-November: Ambonnay Champagne Bar opened in the Olympic Commerce Center over the weekend; Laurelhurst Thai bar PaaDee opened Monday, Nov. 14; Seattle pizzeria Via Tribunali opened its Old Town outpost Tuesday, Nov. 15; former Couvron chef Anthony Demes opens his new French joint, Noisette, sometime this week; downtown Vietnamese bar Lúc Lác has a ticketed launch party Sunday, Nov. 20; Interurban, the new bar from John Gorham, has a soft opening Saturday, Nov. 19, and its grand opening Dec. 1; and Oven and Shaker, a pizza and cocktail bar from Nostrana chef Cathy Whims, has preview dinners Nov. 22-26.
PORTLANDTIMBERS.COM
NEWS
FOOD: The new Cambodian cart. MUSIC: A Rats reunion. THEATER: Mr. Darcy Dreamboat. BOOKS: John Jeremiah Sullivan’s Pulphead.
HEADOUT C A R O LY N A N N . N E T
WILLAMETTE WEEK
WHAT TO DO THIS WEEK IN ARTS & CULTURE
THURSDAY NOV. 17 BACK FENCE PDX [STORIES] The year’s last edition of Back Fence features stories on the theme of “that’s a mouthful,” told by social worker Amber Jo Hatt, radio host Daria Eliuk, publisher Derrick Brown, competitive eater Erik “The Red” Denmark, world traveler Fiona McCann and actress sisters Shelley McLendon and Wendi McLendonCovey. Mission Theater, 1624 NW Glisan St., backfencepdxnov17.eventbrite.com. 6:30 pm. $12-$15. 21+.
FRIDAY NOV. 18 CAPTAIN PICARD DAY [NERDS] A day in celebration of the captain of the Enterprise on Star Trek: The Next Generation? Make it so, Worf. Floating World Comics, 400 NW Couch St., 241-0227, floatingworldcomics.com. Art contest starts at 6 pm. ORGAN GRINDERS: FAUST [MOVIES] Percussion duo 1939 Ensemble performs its live soundtrack to F.W. Murnau’s 1926 Expressionist flick, with skeletons on flying horses coming for your soul. Hollywood Theatre, 4122 NE Sandy Blvd., 281-4215. 8 pm. $12.
SATURDAY NOV. 19 CAPPELLA ROMANA [MUSIC] The Portland choir has earned international acclaim for its touring program of rare, medieval music—luckily preserved in Egypt—from ancient Byzantine monasteries and cathedrals. This concert presents Byzantium’s only liturgical drama, The Service of the Three Children in the Fiery Furnace. St. Mary’s Cathedral, 1716 NW Davis St., 236-8202. 8 pm. $18-$36.
Indisputable facts: On Thanksgiving eve 1971, a man bought a plane ticket from PDX to SEA under the name “Dan Cooper.” He smoked a ciggie, drank a bourbon and soda, and passed the stewardess a note explaining he had a bomb. He asked for 200 large and four parachutes. He insisted there be “no funny stuff.” When his demands were met in Seattle, he released the passengers and told the crew to stay in the cockpit as they flew slow and low toward Mexico City. He exited the plane somewhere before Reno. A few bundles of bills and a placard explaining how to lower the stairs of a Boeing 727 were found on the ground; he hasn’t been caught, despite a massive search. The story has inspired novels, songs, films and been referenced everywhere from Dilbert to Kid Rock’s “Bawitdaba.” Now for the conjecture... Scenario 1: Cooper died on the jump, his body shredded like mozzarella by the trees below, his carcass scavenged by coyotes. Scenario 2: Cooper is living happily in a yurt on the side of Mount Hood. Scenario 3: It doesn’t much matter what happened to Cooper
and his measly $200,000—just admire the cultural impact of the legend he spawned. Put Doug Kenck-Crispin, founder of orhistory.com and organizer of the D.B. Cooper 40th Anniversary Spectacular at Mississippi Studios, down for No. 3. “As a historian, I don’t know what happened to him,” he says. “As the lover of a good story, I like to picture him twisting down through the wind and landing safely.” Theories on Cooper will be bandied about as Matt Love reads from HA-HA-HA, a 1983 book purportedly written by the hijacker, and Dr. Katy Barber speaks about Pacific Northwest themes sewn into the D.B. Cooper saga. Jarad Miles and Oh Darling play their music in between. Just hope there’s no breakthrough in the case in the meantime. “It’s better not knowing,” Kenck-Crispin said. “If we found a decaying skeleton with a bunch of money around it, wouldn’t that be kind of anticlimactic?” MARTIN CIZMAR. SEE: The D.B. Cooper 40th Anniversary Spectacular is Sunday, Nov. 20, at Mississippi Studios, 3939 N Mississippi Ave., 2883895. 7:30 pm. $5.
HOW DOES THE RIVER WORK? [TOURS] A few weeks back, the Dill Pickle Club taught us where our nasty-ass trash goes once we part with it. Now they show us how a river works (water plus gravity, right?), with stops including the Port of Portland and the Port of Vancouver. 10 am-4 pm. $25. dillpickleclub.org. HOW THE FIRE FELL [MOVIES] Joe Haege (31Knots frontman and part-time Menomena member) stars as preacher Edmund Creffield in Edward Davee’s ambitious debut feature about the turnof-the-20th-century Corvallis-based cult Bride of Christ Church. NW Film Center’s Whitsell Auditorium, 1219 SW Park Ave., 221-1156. 7 pm. $6-$9.
MONDAY NOV. 21 POLITICS AND CRIME IN PORTLAND: DRUG ENFORCEMENT IN THE 1980S [HISTORY] The Oregon Encyclopedia tells how Portland cops brought down ’80s cocaine boss Jose “Pepe” Chavez. Like Scarface minus Michelle Pfeiffer. Mission Theater, 1624 NW Glisan St.. Willamette Week NOVEMBER 16, 2011 wweek.com
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CULTURE
ART
BY M A RT I N C I Z M A R
The murals are intensely cute and devastatingly effective. Oregon’s animal adoptions are up 21.2 percent in the five years since the campaign began, which the Humane Society credits to the ads. Likewise, volunteerism at the OHS is up, says spokeswoman Barbara Baugnon, which she attributes to “the good will the campaign had generated.” Why are they so effective? Simple: they’re positive. “The whole point of it was, instead of showing sad animals with Sarah McLachlan playing in the background, to show the positives that animals to bring to humans,” Reynolds says. “It’s a symbiotic relationship. We wanted to go really with moments, where people and animals are relating.” Reynolds didn’t concoct the original campaign, which was developed by one of LKP’s former writers and originally drawn in a simpler style by a British artist, but he has illustrated the billboards for the past two years. His precious portraits of pet-upgraded life have captured the imagination of Portlanders, which is why he’s getting so much attention. It’s an odd spot for Reynolds, 35, a LKP designer who is married and has two daughters, Fiona and Eva, and a cat adopted from the Oregon Humane Society. Reynolds grew up in Seattle and went to the Art Institute of Chicago before his gig at LKP. He’s been around in Portland, starting the Green Dragon brewpub with two partners and he operating the Via Chicago food tent at the Portland Farmers Market. “I never expected anyone to ask for my autograph,” he says. “That’s not something that happens in this business.” It’s also worth noting that the original “End Petlessness” campaign was a bit controversial, drawing fire from bloggers who objected to the implication that everyone was fit for pet ownership. That sentiment has subsided. Only an errant “cease and desist” letter from the University of
mcizmar@wweek.com
But for their usually portly paychecks, it’d be almost tragic how the people behind our era’s greatest advertising campaigns toil in obscurity despite the ubiquity of their handiwork. The Coke polar bears…invented by Jonathan Doe? The Most Interesting Man In The World: Brainchild of The Most Anonymous Man In The World. The Geico Cavemen got a short-lived sitcom, but their creator wouldn’t get a double take on Madison Avenue. Which is why it’s a little strange to find Portlander Kevin Reynolds signing autographs. Reynolds is the illustrator behind the past two iterations of the Oregon Humane Society’s End Petlessness campaign. You’ve probably seen the murals around town, depicting special little moments between furball and master. One, which went up this week at Southwest Washington Street and 2nd Avenue, facing people coming into the city on the Morrison bridge, shows a boy and his dog rolling around in front of a campfire. Another has a contented cat owner sharing his newspaper with an orange kitty. A third shows Portland Timbers defender Eric Brunner juggling a soccer ball with a little gray bulldog modeled loosely on his pup, Franklin. They’ve been a huge hit, says Terra Spencer, a manager at Portland firm Leopold Ketel and Partners, which created the ads pro bono. “People have already written in—they want to know where they can buy posters, they want to know what we’re doing with the outdoor posters when we’re done,” Spencer says. “They want to hang them in their house,” she says.
POOCH PORTRAITIST: Kevin Reynolds hangs with Leopold Ketel and Partners’ office dogs.
Oregon’s athletics department, which was initially upset to see their “O” logo next to a Beavers flag on the “A House Divided” billboard, marred this year’s rollout. (That mess was quickly cleared up—some other bureaucratic paper pushery had cleared the use.) The next client that has commissioned LKP illustrations, the Oregon Coast Aquarium, is upping the ante with a Reynoldsdrawn children’s book due in May. They’re sure to be collectable, especially when autographed. It’s a steep ascent considering this was the first big-time illustration work Reynolds has done.
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“I doodle constantly, so they’ve always seen me draw, but they’d never seen me do something complete like this, so it was a big leap of faith for them,” he says. The cynical view is that pictures this cute—and, oh my, are they ever cute—have to be conscripted into sales. Or maybe Reynolds will just retire to the easel (or digital version thereof, as these drawings are vector-based) and, like the masters of old, make his living through the patronage of Portland’s gentry. “Someone wanted me to do their family and their dog, a personal portrait,” he says. “It could be a nice little side business.”
THROUGH 11.20 SCAN TO ENTER
MEET KEVIN REYNOLDS, THE GUY WHO DREW THOSE ADORABLE “END PETLESSNESS” BILLBOARDS.
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“Puts the ‘nom’ in ‘phenomenal’!”
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By RUTH BROWN. PRICES: $: Most entrees under $10. $$: $10-$20. $$$: $20$30. $$$$: Above $30. Editor: MARTIN CIZMAR. Email: dish@wweek.com. See page 3 for submission instructions.
WEDNESDAY, NOV. 16 Pacific Pie Company’s Pie 101 Class
Although Australians don’t celebrate Thanksgiving and aren’t huge on sweet pies, Aussie pie shop Pacific Pie Company will be hosting a pie-making class for Thanksgiving. Fortunately, anyone who’s sampled the eatery’s dessert options knows that those babies are 100 percent American-style deliciousness, and its chefs are willing to teach amateur pastry chefs a few secrets. The class will
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cover how to make crumb crusts, lattice crusts and cream pies, and you’ll leave with your very own pie to wow—or deny—your friends and family. Pacific Pie Company, 1520 SE 7th Ave., 381-6157. 6-9 pm Wednesday and 1-4 pm Sunday, Nov. 16 & 20. $50 includes wine and a pie.
FRIDAY, NOV. 18 Din Din’s Affinity For the Mini
Supper club Din Din’s latest incarnation will feature “miniature” meals and libations. That means
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SOK SAB BAI Of the 30-plus countries the U.S. has bombed since World War II, is any less known than Cambodia? (Perhaps Grenada or Laos?) Beyond Angkor Wat and the Killing Fields, the kingdom of the Khmer remains mostly anonymous. Let’s add a line to the dossier: It’s got good eats. For proof, head to this new cart from Bara Sushi House owner Nyno Thol, a CambodianSHRIMP WONTON NOODLE SOUP born cook determined to acquaint Portlanders Order this: Whatever they’ve got. with the greatest hits of Best deal: Pork belly buns, two for $5. Khmer cuisine. The menu I’ll pass: Tiny lychee jellies are fun, but not changes daily, so there’s so tasty. no knowing what will be around when you visit. The dishes I had were very good: a pair of soft, baolike buns ($5) wrapped around little heaps of braised pork belly, marinated vegetables, jalapeño slices and cilantro sprigs; grilled chicken breast ($8), tender and smoky and a little sweet, served with rice and salad; and, best of all, khwa ko ($8), a Cambodian sausage stuffed with coarsely chopped pork, beef and rice and seasoned with garlic, galangal, salt, vinegar, sugar, lemongrass and pink food dye. A liquor license is pending, and I couldn’t be happier—that sausage could only be better with a beer. BEN WATERHOUSE. EAT: Sok Sab Bai, 1114 SE Clay St., twitter.com/soksabbai. 11 am-5 pm Monday-Friday, noon-5 pm Saturday.
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As winter clamps its toothy maw, brewers begin trucking out their big, goonish stouts. Some of these seasonals are worth the fuss and price (Deschutes’ The Abyss, for example) while many others are lopsided thanks to hyper-inflated alcohol content, overblown flavor infusions or ill-fated barreling experiments. Pelican Pub & Brewery’s Tsunami Stout isn’t part of that sad-sack group. For starters, the Pacific City brewer’s 7 percent ABV, foreign-style stout is available year-round. And, at around $5 a bottle, you won’t need to tuck it away for a special occasion. It certainly tastes expensive and limited, though. With a color only a few minutes from midnight and a thick but clean pour, it’s got a satisfying, but not overpowering, mealiness. Big, roasty cocoa flavors dominate, but hopheads will find that Magnum and Willamette hops impart a slice of crisp citrus and a cherry topper. Recommended. MARTIN CIZMAR.
When the weather gets cold, Portlanders get drinking. Widmer Brothers celebrates the impending drop in mercury with its annual Big Chill event. There will be a fashion show of winter styles, a silent auction, a photo booth, music from Deelay Ceelay, bowling and, of course, pints of Widmer’s winter seasonal ale, Brrr. Grand Central Restaurant and Bowling Lounge, 808 SE Morrison St., 232-5166. 9 pm. Free. 21+.
Foster& Dobbs’ Sixth Anniversary Fête and Holiday Open House
Fancy food store Foster & Dobbs is celebrating six years of selling lovely items you don’t really need, but can’t resist, with an openhouse event featuring many of the people who make those products, including samples from Eyrie Vineyards, Jacobsen Salt, River’s Edge Chevre, Tao of Tea, Logsdon Organic Farmhouse Ales, Portland and Fermin Iberico. Foster & Dobbs Authentic Foods, 2518 NE 15th Ave., 284-1157. 2-5 pm. Free entry.
Salty’s Cocktails and Cookies Class
Nothing says “family fun� like boozing it up while someone else distracts the kiddies. In that spirit,
Salty’s on the Columbia is offering a cookies and cocktails class— you make “memorable holiday-party cocktails,� while your offspring bake cookies. Salty’s on the Columbia, 3839 NE Marine Drive, 505-9986. 3-4 pm. $25 for adults, $5 for kids.
TUESDAY, NOV. 22 Buckman Thanksgiving Reunion Market
Attention Buckman Farmers Market addicts: this will be your last hit for the season. This special edition of the Hawthorne/Belmont-area market offers shoppers a chance to load up on autumnal edibles for Thanksgiving, with 22 vendors in attendance. Buckman Farmers Market, Southeast 20th Avenue and Salmon Street. 1-5 pm. Free entry.
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REVIEW
’HOOD HIT
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Widmer Brothers Big Chill ’11
SATURDAY, NOV. 19
Bar & Grill
Forkplay ;) Stimulate your taste buds! Succulent steaks, mouth-watering burgers, delicious sandwiches ... and so much more!
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eating 14 dishes—like brown-butter cauliflower floret with winter, savory bÊarnaise, kohlrabi-chestnut custard with goat’s milk and tarragon and lamb Sauternes gelÊe with huckleberry and porcino—in one meal, and no chundering at the end. Disjecta, 8371 N Interstate Ave., 286-9449. 7 pm. $80 includes gratuity.
Food Drinks Jobs
across-the stage, ear-shattering rock stars. One bite of the Pig ’n Fig grilled sandwich ($8.50) transports you to a picnic blanket in the wine country. It combines fennel salami, Gorgonzola and figs cooked down with chardonnay and honey. And the gooey mozzarella, arugula and sun-dried tomato pesto on toasty Fleur de Lis bread—a new take on a caprese sandwich ($7.50)—might make you lift up a lighter. All sandwiches come with BY D E N I SE C ASTA Ă‘ O N 24 3 - 21 2 2 chips or mixed greens, or fries for $1 more. Also, you’ll find Bareilles and Vitunic happy to fix up a What happens when a fine-dining chef and an vegan or gluten-free meal. exacting first-time restaurateur open a casual Laurelhurst Cafe recently stretched its hours eastside joint? At Laurelhurst Cafe, good things. to catch neighbors and Providence Medical CenThis place gets all the details right, offering food ter staffers on their way to work. For breakfast, that looks as good as it tastes, stellar service, grab a cup of Water Avenue Coffee or Steven modest prices and a laid-back atmosphere. Smith tea, and the satisfying Whole Shebang This restaurant has a past. The sliding windows sandwich—egg, Tillamook cheddar, crisp bacon, facing East Burnside Street and the restroom arugula and tomato pesto ($6.50). In addition accessed from outside reveal some of the shiny to some Fleur de Lis pastries, Laurelhurst Cafe building’s prior incarnations gets bagels from Kettleman as a Mike’s Drive-In and a Order this: Pig ’n Fig panino ($8.50) and Bagel Company. The wild gas station. But owner Ken Laurelhurst fries. Alaskan smoked sockeye Bareilles ripped out asbestos- Best deal: Bagel with housemade bagel ($6.50) is almost too cucumbers and red onion, $4. blighted flooring and replaced hummus, pretty to eat. Coral-colored During happy hour you can score a local the Grandma’s-den wood microbrew from one of the four rotating smoked salmon and pickled paneling to create a clean, taps for $3.50. red onions look striking welcoming space. The restauagainst chive cream cheese rant’s concept was developed by surveying people and perfectly arranged arugula. walking by about their ideal neighborhood cafe. The housemade desserts are also hits. The “You can come here for coffee, you can come buttermilk chocolate cake with Chantilly cream here for a latte at 7:30 at night, you can have a ($5.50) is moist and deadly. And with big flakes beer at 7 in the morning,â€? says Bareilles. of sea salt sprinkled on top, the salted chocolate Chef Greg Vitunic dreamed up the order-at- chip cookie ($1.50) may be the world’s most perthe-counter menu of small bites, sandwiches fect PMS food. and salads. The turkey sandwich is enlivened by cranberry-olive relish ($8.50), but it’s like a Eat: Laurelhurst Cafe, 4611 E Burnside St., 548-6320, laurelhurstcafe.com. 7 am-8 pm daily. background singer to the panini, which are strut- Happy hour 4-8 pm. $.
FOR A QUICK MOCHA, PANINO OR PINT, LAURELHURST CAFE IS AN IDEAL NEIGHBORHOOD EATERY.
Jobs for the Food and Drink Industry Staffing Solutions for Owners & Managers
Willamette Week NOVEMBER 16, 2011 wweek.com
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CRYSTAL
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836 N RUSSELL • PORTLAND, OR • (503) 282-6810
HOTEL & BALLROOM
The historic
MISSION THEATER
CRYSTAL BALLROOM
1624 N.W. Glisan • Portland 503-223-4527
14th and W. Burnside ALADDIN THEATER & MONQUI PRESENT
LUCINDA WILLIAMS
THUR NOV 17 ALL AGES
FRI NOV 18 ALL AGES
LIVE STAGE & BIG SCREEN!
80s VIDEO DANCE ATTACK
WEDNESDAY, NOVEMBER 16 “UNFILTERED” INDIE ROCK SHOWCASE!
SLOW LORIS RAINBOW JIVE HAMMER FASTERS FREE
FRIDAY, NOVEMBER 18 LOLA’S ROOM
BLAKE MILLS
THURSDAY, NOVEMBER 17 5:30 p.m. is “eagle time” • free
THE SALE
STRANGLED DARLINGS FREE
FRIDAY, NOVEMBER 18
9 PM $5 21+OVER
5:30 p.m. is “eagle time” • free
WITH VJ KITTYROX
BLIND PILOT nearly new year’s
REVERB BROTHERS LOW BONES RIVIERA INNOCENT MAN
TICKETS ON SALE FRIDAY AT NOON!
SATURDAY, NOVEMBER 19 4:30 p.m. is “eagle time” • free
THE STUDENT LOAN
FRI DEC 30 ALL AGES
WED NOV 23 ALL AGES
ALAN CHARING GABRIEL TREES SEA OF EXISTENCE
FLOATER
Point Juncture, WA
Big Head Todd and the Monsters
FRI FEB 17 21 & OVER
TICKETS ON SALE NOW!
SUNDAY, NOVEMBER 20
“OPEN MIC/SINGER SONGWRITER SHOWCASE” FEATURING PORTLAND’S FINEST TALENT· FREE
MONDAY, NOVEMBER 21
JACK RUBY PRESENTS SARA JACKSON-HOLMAN ED AND THE RED REDS FREE
TUESDAY, NOVEMBER 22
JAWBONE FLATS FREE
MUSIC AT 8:30 P.M. MON-THUR 9:30 P.M. FRI & SAT (UNLESS OTHERWISE NOTED)
PERFORMING "MIDNIGHT RADIO" IN ITS ENTIRETY
E LS E WH E RE IN
STONE IN LOVE-lola’s 12/5 D2R: YOUNG THE GIANT 12/6 D2R: FOSTER THE PEOPLE 12/7 D2R: AWOLNATION 12/8 D2R: DEATH CAB FOR CUTIE 12/9 D2R: PORTUGAL THE MAN 12/10 D2R: THE JOY FORMIDABLE/GROUPLOVE 12/12 OCOTE SOUL SOUNDS-lola’s 12/16 DINOSAUR JR/SCRATCH ACID 12/31 REVEREND HORTON HEAT 1/7 80S WEEKEND 1/28 MOE. 2/24 PDX JAZZ FESTIVAL: BILL FRISELL 2/25 PDX JAZZ FESTIVAL: VIJAY IYER, PRASANNA & NITIN MITTA (3 PM) 2/25 PDX JAZZ FESTIVAL: CHARLIE HUNTER (9:30 PM) 3/2 & 3 RAILROAD EARTH 3/22 KAISER CHIEFS
M CMENAMINS
11/25
DANCEONAIR.COM
DOORS 8pm MUSIC 9pm UNLESS NOTED
FREE
Al’s Den
LIVE MUSIC EVEry nIght · 7 PM
Evan Way (of the Parson Red Heads) Nov 20–26 Steve Wilkinson Nov 16–19
DJ’S · 10:30 PM
Every Thursday, Friday & Saturday
Nov 17 DJ Anjali & the Incredible Kid Every Thursday
Nov 18 DJ Drew Groove Nov 19 DJ Stargazer
Early entrance to Crystal shows with any pre-show purchase from Zeus Café, Ringlers Pub, Al’s Den or Ringlers Annex
CRYSTAL HOTEL & BALLROOM Ballroom: 1332 W. Burnside · (503) 225-0047 · Hotel: 303 S.W. 12th Ave · (503) 972-2670
CASCADE TICKETS 30
cascadetickets.com 1-855-CAS-TIXX
Willamette Week NOVEMBER 16, 2011 wweek.com
Crystal Hotel & Ballroom
CRYSTAL PROGRESSIVE DINNER Eat, Drink... Rock!
BE FIRST IN!
OUTLETS: CRYSTAL BALLROOM BOX OFFICE, BAGDAD THEATER, EDGEFIELD, EAST 19TH ST. CAFÉ (EUGENE)
11/16
Find us on
11/17
Chapel Pub
STEVE KERIN
Any song you want, on solo pipe organ
Saturday, December 3 Tallgrass Brewing Company presents
Pert’ Near Sandstone
Left Coast Country Wednesday, November 16
PDX Jazz presents: Saxophonist Miguel Zenón and Quartet
Saturday, November 19
Terminator Stout’s 26th Birthday “The Terminator” (R - 1984)
Monday, November 21
History Talk: “Politics and Crime in Portland: Drug Enforcement in the 1980s”
Saturday, December 13
PDXJazz presents: George Cooligan
Saturday, December 15
Damian Erskine Project
Saturday, December 17
Santacon Pub Crawl
Sunday, December 18
Crafty Underdog
Saturday, December 31
Talkdemonic
Call our movie hotline to find out what’s playing this week!
(503) 249-7474
11/18
Rock Creek Tavern
JOHN BUNZOW TRIO
Event and movie info at mcmenamins.com/mission
Mixing the rootsy with the revolutionary
11/19
Hotel Oregon
FREAK MOUNTAIN RAMBLERS
As part of Great Northwest Music Tour
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MUSIC
NOV. 16-22 PROFILE
= WW Pick. Highly recommended. 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, NOV. 16 Feist, Chilly Gonzales
[CAREER ALCHEMY] Ever since the effortless ubiquity of “1, 2, 3, 4” launched Feist into the national consciousness—while selling a million iPods and teaching Elmo to count— stories of the Toronto pixie’s decidedly artier origins have been difficult to equate with the sheer commercial momentum suggested by a pair of world-beating solo albums that literally meant everything to everyone. Metals, her fifth album proper, doesn’t so much upend the platinum blueprint as luxuriate in the weirder excesses. Feist’s breathtaking vocal prowess should overwhelm the spastic time signatures and flourishes of odd instrumentation for fair-weather fans who ever intended to give only a background listen, but should one of the more incisive lyrical couplets or bits of left-field orchestration urge closer focus, this is no longer adult contemporary by the numbers. JAY HORTON. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 248-4335. 8 pm $29. All ages.
12th Planet, AraabMuzik, Jeremy Ellis, Party Supplies, Tyler Tastemaker
[MIST-HOP] It’s hard to get a handle on Rhode Island producer AraabMuzik. He made his name in the hip-hop world by helping bring rapper Cam’ron back to hipster relevancy by having him flow over sharp, intense beats that belie influences from Dr. Dre to Just Blaze. But then he goes and does wacky shit like cutting up Cannibal Corpse samples for a series of short video promos showing off his jawdropping beat-machine virtuosity. Now, for his first full-length instrumental album, Electronic Dream, he essentially remixed a bunch of modern house and trance tracks, outfitting them with his signature skittering hi-hats, synthesizer wash-overs and rapid-fire kick drums, making dancefloor anthems for some kind of netherworld dance club. It’s a dreamy, somewhat uneasy record marking the arrival of a soundsmith truly forging his own path. But who knows how much of that will be evident at tonight’s Red Bull-presented hybrid show/competition. MATTHEW SINGER. Bossanova Ballroom, 722 E Burnside St., 206-7630. 8 pm. $7 advance, $10 day of show. 21+.
White Hinterland, Petoskey, Harlowe and the Great North Woods
[TOTAL SENSORY] A White Hinterland show is an immersive experience. Last time the Portland duo played Holocene, it stimulated at least three of the audience’s senses: visual, with a New Age-y, candlelit stage setting (not to mention the odd couple diminutive singer-songwriter Casey Dienel and her very tall bandmate Shawn Creeden make); tactile, with bass so powerful it seemed to physically fill the room and buzz in the body; and, of course, auditory, with Dienel’s big, jazzy voice and the minimalist, spaced-out R&B of last year’s remarkable album, Kairos. JONATHAN FROCHTZWAJG. Holocene, 1001 SE Morrison St., 239-7639. 8:30 pm. $5. 21+.
Miguel Zenon and Quartet
[CERTIFIED JAZZ GENIUS] The Puerto Rico-born, New York-based composer and saxophonist Miguel Zenon was one of those thoughtful jazzers recognized mostly by the cognoscenti—until the MacArthur Foundation awarded him one of its coveted “genius grants” in 2008. Zenon’s last few albums have
explored his heritage, most recently (and quite successfully) in his new Alma Adentro, which transforms some of his native land’s finest pop tunes from throughout the last century into supremely stylish contemporary jazz. Don’t expect a standard Latin jazz set—like Zenon’s other work, it’s much more nuanced and accessibly ambitious. BRETT CAMPBELL. Mission Theater, 1624 NW Glisan St., 223-4527. 8 pm. $15. 21+.
Burials, Squalora, Hang the Old Year, DJ Nate C, DJ Tea Cup
[POST-ROCK] Chances are fairly good that the punks and punk-friendly nonpunks among you are already hip to Burials’ multivalent intensity and Squalora’s suffocating crust. Hang the Old Year’s noodling post-rock is probably less familiar. Let’s rectify that. Sporting sprawling song lengths that would make Godspeed You! Black Emperor proud, this Portland quartet shares that Canadian collective’s knack for patient climbs to shimmering catharses, but Hang the Old Year adds hypnotically proggy vocals and sick, serpentine riffs to the mix. Hints of Doug Martsch and classic emo only make this slippery band more difficult to pin down. Digging it, however, is not hard at all. CHRIS STAMM. The Know, 2026 NE Alberta St., 473-8729. 8 pm. Cover. 21+.
The White Buffalo
[BAREBONES FOLK] I first heard the White Buffalo’s Prepare for Black & Blue (a five-song EP containing the best of TWB’s limited output thus far) while it was streaming on my sister’s computer. I’d just walked in, and immediately I was certain we were listening to Eddie Vedder. The comparison is unavoidable: The White Buffalo—a.k.a. Southern Californian Jake Smith, who has toured solo and as a trio—croons and whines and garbles almost exactly like the Pearl Jam frontman. That’s all right, though, because Prepare for Black & Blue is solid, folksy singersongwriter material. Sure, it could be the B-side of Vedder’s Into the Wild soundtrack, but these songs still manage to hold their own with their beautiful, stripped-down style and smart songwriting. MAGGIE SUMMERS. The Woods, 6637 SE Milwaukie Ave., 890-0408. 9 pm. $10 advance, $12 day of show. 21+.
Black Joe Lewis and the Honeybears, The Sheepdogs, Dikes of Holland
[VISCERAL SOUL] With all the throwback soul being made these days, it’s surprising more artists aim to re-create the funky elegance of Motown than the raw, gutbucket hootin’ and hollerin’ being made in the 1960s and ’70s by folks on obscure labels who didn’t have the benefit of the Funk Brothers playing behind them. That’s why a lot of these retro-minded acts often fail, and why Austin’s Black Joe Lewis and the Honeybears succeed. Yeah, Lewis and crew are as vintage as any of those other bands, but with a grimier, garage-made bent that puts them closer in line with Mark Sultan than, say, Mayer Hawthorne. This year’s Scandalous doesn’t veer much from the formula of the band’s two previous records: It’s all blazing horns, gritty guitars and Lewis’ full-throated vocals. If you’re going to look backward, this is the place you want to reach for. MATTHEW SINGER. Wonder Ballroom, 128 NE Russell St., 284-8686. 8 pm. $20 advance, $22 day of show. All ages.
CONT. on page 33
YEAR OF THE RATS A LOST PORTLAND PUNK OUTFIT CRAWLS OUT OF THE PAST FOR ONE LAST SHOW. BY MATTHEW SIN GER
243-2122
Attempting to trace the history of Fred Cole’s musical career is like mapping the human genome, only harder. He’s played in approximately two zillion bands since the early 1960s, some of which even he probably doesn’t remember. Toody Cole—his wife, bandmate and, at this point, personal historian— says there is, however, a clear point of division separating his days as an intermittent writer of minor garage-rock classics and the moment he became a punk-rock lifer: the night, sometime in the late ’70s, when he got to open the Ramones’ first-ever gig in Portland. At the time, Fred was fronting a group called King Bee, a “rhythm-and-bluesy” kind of project, Toody says. Once he saw the bruddahs from Queens plow through one of their legendary blitzkrieg sets, everything changed. “He saw their energy and was blown away by it and said, ‘Hey, I’m doing something different,’” Toody says over the phone from the couple’s house in Clackamas. “That’s when he came up with the idea to do the Rats.” In the book of how the Coles became the royal grandparents of Northwest punk, the Rats are merely the epilogue to Dead Moon and the ongoing afterword of Pierced Arrows. The band put out three albums but never toured beyond the West Coast and broke up in 1984. But for those who were around back then, the Rats were a cornerstone of a scene that was essentially born out of that single Ramones show. And there was perhaps no bigger Rats fan than Andrew Loomis. He eventually became the drummer for Dead Moon, but only after worshiping Fred and Toody—both more than 10 years his senior—during his teenage years growing up in Portland. On Nov. 17, Loomis turns 50. All he wanted for his birthday was to see his favorite band one more time. They’re going to grant his wish. “You might turn 21 three times, but you only turn 50 once,” Loomis says. “I said, ‘Fuck it. I’m a rock-’n’-roll fan. I’m gonna be 50, and I want to see my favorite band play.’”
For the Coles—who, at age 63, are still touring aggressively and writing new music—looking backward is a rare thing (appropriately, Fred was too busy loading up for a Pierced Arrows mini-tour to be interviewed for this story). More than just an obscure piece of Portland punk history, though, the Rats represent an important milestone in Fred and Toody’s relationship: It’s the first band they ever played in together. Sick of dealing with flaky “professional” musicians, Fred decided to teach Toody how to play bass and recruited Rod Hibbert, a regular at Fred’s equipment store, Captain Whizeagle’s, to play drums. Although a music vet, Fred was then just learning guitar himself, making the band a true symbol of punk’s happy amateurism. Erupting in hooky, blink-and-miss-it bursts, the band became the bridge between Fred’s psychedelic past and the backwoods punk that would cast an influence over the entire region. “We were all basically starting out at the same time, and punk rock was a super-basic form, so it was pretty easy to have nothing but the basics down and get away with it,” Toody says. After four years and three drummers (Hibbert committed suicide in 1981; Sam Henry and Louis Samora will both sit in for the reunion), Fred dissolved the band and nearly quit punk altogether before starting Dead Moon’s two-decade run with leftover Rats songs in 1986. If anyone thinks this one-off resurrection is a precursor for a reunion of the Coles’ most-beloved band, well, don’t hold your breath. “Fred’s pretty adamant about not dragging his bands up from the past that are over and done,” Toody says. “This is a labor of love for Andrew. Otherwise, we wouldn’t have agreed to do it.” Still, she admits they are having a blast revisiting songs they’ve hardly thought about for almost 30 years. “I was telling [Fred], ‘OK, now we have an appreciation for anyone trying to cover any of the songs you’ve written, because they sound simple, but there’s always these little tricky parts to them,’” Toody says with her easily conjured cackle. “It’s been a riot going back and figuring out what we were actually doing.” SEE IT: The Rats play the Star Theater, 13 NW 6th Ave., on Thursday, Nov. 17. 9 pm. $10. 21+. Willamette Week NOVEMBER 16, 2011 wweek.com
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Willamette Week NOVEMBER 16, 2011 wweek.com
THURSDAY-FRIDAY
MUSIC
ONE NIGHT ONLY: Black Joe Lewis and the Honeybears play the Wonder Ballroom on Wednesday, Nov. 16.
THURSDAY, NOV. 17 Luck-One, Tope, Dekay, Late Davis, $alary, Big Mo, Roulette Del’gato, Leek, M3ilicous, Yung HD, Swagg Life Kingz
[NO-PO HOP] Local hip-hop star Luck-One is a charmer. Every time I speak with the 26-year-old rapper, his charisma and quick wit make me feel at ease. Even when he talks about controversial topics, like the inherit racism of white Portlanders, or police “terrorism,” I find myself— a white guy from the West Hills— nodding in agreement with a smile on my face. He speaks with such conviction; you buy into everything, despite how radical it is, that comes out of his mouth—whether it’s spoken or rapped. If that’s not a mark of a great MC, I don’t know what is. As WW has mentioned before, Luck’s projects are some of the best hip-hop the city has ever produced. His latest effort, the King of the Northwest Mixtape, is no different. REED JACKSON. Ash Street Saloon, 225 SW Ash St., 226-0430. 9 pm. Free. 21+.
The We Shared Milk, Yeah Great Fine, Charts
[FUZZ ROCK] There was plenty of promise in the We Shared Milk’s April EP, Jesuses. Spiraling lo-fi riffage and a keen knack for songcraft combined with the trio’s indomitable energy made it a fun and intriguing listen. While TWSM sounds a bit more comfortable in its own skin—and frontman Boone Howard with his voice—on new EP SUH, it’s hard to trace a straight line between the two releases. Rather than take the next logical step toward clean production and more straightforward songwriting, SUH pulls the listener in five or six directions at once, so the We Shared Milk is a wobbly, distorted Walkmenesque outfit one moment (“Little Tents”) and a groovy bar band the next (“No Shit”). As before, though, the trio gives us an awful lot of ear candy to meditate on here, and the new disc’s far-flung aesthetic choices just keep things interesting. CASEY JARMAN. Beauty Bar, 111 SW Ash St., 224-0773. 9 pm. Free. 21+.
Lucinda Williams, Blake Mills
[THE AMERICANA DREAM] Throughout the first two-thirds of Lucinda Williams’ career, as Nashville and most every aspect of American music seemed to veer ever further away from her quietly luminous collections of writerly precision and rootsy authenticity that helplessly took ages to complete, she seemed destined to limp along as a songwriter’s songwriter—revered by other musicians and ignored by the public at large. Car Wheels on a Gravel Road, her 1998 breakthrough, wasn’t exactly a watershed cultural
moment, but the album instantly bestowed grande dame status as someone we as a nation instinctively felt we ought to treat better. Even if last spring’s Blessed continues the slow decline of editorial standards, she just seems so much happier these days. JAY HORTON. Crystal Ballroom, 1332 W Burnside St., 225-0047. 8 pm. $30. All ages.
no time on the self-promotion front, having artfully filmed its sole previous gig in black-and-white and posted clips of the whole thing on YouTube. ROBERT HAM. The Know, 2026 NE Alberta St., 473-8729. 8 pm. Cover. 21+.
Apes Tapes Showcase: Onuinu, Adventures with Might, Vanimal, XDS, Pegasus Dream
Supernature: Animal Bodies, Litanic Mask, $kull$, Bruxa, DJ Copy, DJ BJ
FRIDAY, NOV. 18
[FUN STUFF] For a full year now, the Apes Tapes label—which, true to its name, releases everything on cassette—has captured the Portland imagination. And by that I mean it’s put out a lot of bitchin’ music. The imprint, which is responsible for presenting listeners with up-and-coming acts like Radiation City, Onuinu and Adventures! With Might, releases its third official mixtape tonight, and while it sports music from such notable PDX acts as Death Songs and And And And, some of our favorite cuts come from lesserknown outfits (see Grandparents’ dreamy “Bitter Badlands” and the Tomorrow People’s gorgeous, jazzy closer “Forever,” featuring vocals from Radiation City’s Lizzy Ellison). Happy birthday, you crazy kids. CASEY JARMAN. Holocene, 1001 SE Morrison St., 239-7639. 8:30 pm. $5. 21+.
[SUPERNATURAL] Live electronic dance music is one of Portland’s strongest subscenes, thanks, in some part, to recurring Rotture dance party Supernature. To date, more than 100 local acts have shaken it and/or spazzed out across the Supernature stage, as have bigdeal artists like LCD Soundsystem. Tonight marks the event’s 50th installation; headlining honors go to Animal Bodies, a duo hailing from Vancouver, B.C., but signed to PDX label Sweating Tapes. On its justreleased debut 12-inch, Kiss of the Fang, the pair takes New Wave’s romantic broodiness to a harsher, more industrial place. You can still dance to it—you’ll just feel menaced while you’re dancing. JONATHAN FROCHTZWAJG. Rotture, 315 SE 3rd Ave., 234-5683. 9 pm. $5. 21+.
Tom Waits for No Man
[GOOD-TIME COUNTRY] W.C. Beck and the Valiant Swains’ Kansawyer is a gorgeously recorded disc. It sounds warm, lively and inviting, like a swell field recording of a particularly good back-porch country jam session. It helps that Beck fronts a group that includes many of Portland’s finest players, including singer-guitarist Lewi Longmire and accordion-harmonica master David Lipkind. And while Beck’s lyricism doesn’t always stop the listener in his or her tracks, he puts thought and heart into his songwriting and occasionally haunts the listener by telling short stories of hope in a hopeless world (see “Poor Man” and “Lullabies”). Of course, this show—which also features the excellent Caleb Klauder Country Band—ought to have audiences stomping too loud to hear the words anyway. CASEY JARMAN. Secret Society Lounge, 116 NE Russell St., 493-3600. 9 pm. $12. 21+.
[TRIBUTE] The Jeremy Wilson Foundation’s “Tom Waits for No Man” tribute and fundraiser has been going on since 2009, but only this year—with the recent release of Waits’ excellent Bad as Me— does the show seem timely. It’s a weird experiment: Local musicians such as the Don of Division Street’s Matt Cadenelli, Pancake Breakfast’s master chef Mike Midlo, Ezra Holbrook and others take the stage for a song or two. It’s also refreshing. Most performers forgo the Cookie Monster growl to explore Waits’ complex musicality. While it’s unlikely to include much from Bad as Me, there’s plenty in Waits’ canon to keep this show going for decades. AP KRYZA. LaurelThirst, 2958 NE Glisan St., 232-1504. 9:30 pm. Cover. 21+.
Queued Up, Sugar Sugar Sugar, The Pathogens
[ROCK-’N’-ROLL LOVE LETTERS] The new quartet Queued Up takes a nice riff from old concert posters by the Who, proclaiming the Portland band to be “Maximum Power Pop.” It’s a fitting appellation as everything this outfit does is cranked up to the highest volume. Queued Up’s songs are tightly rehearsed blasts of three-part vocal harmonies, slashing guitar chords and attitude adapted from the playbooks of such likely influences as Arctic Monkeys and the Records. Queued Up is also wasting
Caleb Klauder Country Band, W.C. Beck and the Valiant Swains
Sallie Ford and the Sound Outside, Pickwick
[THROWBACK POP] The past year has been one long watershed moment for Sallie Ford and the Sound Outside. While the quartet’s debut EP, Not an Animal, set a welcome groundwork of regional buzz, it was the group’s debut fulllength that proved that its momentum was more than just a fluke. Six months after the release of Dirty
CONT. on page 34 Willamette Week NOVEMBER 16, 2011 wweek.com
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MARKETA
ALAMEDA +GREAT WILDERNESS
SUNDAY NOVEMBER 20 •
IRGLOVA
$8 ADVANCE
+SEAN ROWE
JACK DANIELS PRESENTS
LARRY andSASSPARILLA his FLASK +THIRD SEVEN
MONDAY NOVEMBER 21 • TUESDAY NOVEMBER 22 •
$5 ADVANCE
INSTRUMENTAL POST-METAL FROM CHICAGO TRIO
$16 ADVANCE
PIANO BALLADRY FROM GIFTED SINGER/SONGWRITER
RACHAEL
YAMAGATA
RUSSIAN CIRCLES HELMS ALEE +DEAFHEAVEN
FRIDAY NOVEMBER 25 •
$12 ADVANCE
+MIKE VIOLA
WEDNESDAY NOVEMBER 23 • $13 ADVANCE MIND BLOWING PSYCHE-ROCK FROM SF - ALL AGES STYLE
INDIE-POST-ROCK FROM LEGENDARY CHICAGO QUARTET
The SEA & CAKE
THEE OH SEES TOTAL CONTROL +GRAVE BABIES LIA ICES
+1939 ENSEMBLE
SATURDAY DECEMBER 3 • $15 ADVANCE RUSTIC BACKWOODS AMERICANA FROM SEATTLE TRIO
THE
CAVE SINGERS
+MY GOODNESS
SUNDAY DECEMBER 4 •
$14 ADVANCE
EARLY ALL AGES SHOW! DOORS AT 5PM, SHOW AT 5:30PM
WEDNESDAY NOVEMBER 30 • $13 ADVANCE +TOTAL CONTROL
THURSDAY DECEMBER 1 •
$12 ADVANCE
MANSIONS ON THE MOON (late show) - 12/13 WEINLAND NYE SUPERGROUP - 12/31 YOUTH LAGOON - 1/21 AUGUSTANA - 1/22 GRAVEYARD - 1/31 All of these shows on sale at Ticketfly.com
GUNFIGHTER 11/27 • GIRL IN A COMA 11/28 • THE DEEP DARK WOODS 11/29 MOSLEY WOTTA 12/2 • THE KOOKS 12/5 • THE BLACK HEART PROCESSION 12/6 STEPHEN KELLOGG & THE SIXERS 12/7 • CASS MCCOMBS BAND 12/8 ADVANCE TICKETS AT TICKETFLY - www.ticketfly.com and JACKPOT RECORDS • SUBJECT TO SERVICE CHARGE &/OR USER FEE ALL SHOWS: 8PM DOORS / 9PM SHOW • 21+ UNLESS NOTED • BOX OFFICE OPENS 1/2 HOUR BEFORE DOORS • ROOM PACKAGES AVAILABLE AT www.jupiterhotel.com
34
Willamette Week NOVEMBER 16, 2011 wweek.com
MUSIC
FRIDAY-SATURDAY
Radio, it’s safe to say that Ford and company have played this one just about perfectly. Sticking close to the throwback blues and soul of the band’s previous work, Dirty Radio is an album without a wasted moment. In the past six months the group has played on Letterman, enjoyed a warm, nationwide critical reception and is a scant two weeks shy of touring Europe. Sallie Ford is well on her way to joining the uppermost echelon of Portland’s musical exports. SHANE DANAHER. Wonder Ballroom, 128 NE Russell St., 284-8686. 9 pm. $15 advance, $17 day of show. All ages.
PROFILE JOSEPH EASTBURN
MAKE IT A NIGHT
SATURDAY, NOV. 19 Cave, Loose Values, Eternal Tapestry, DJ Wyld Chyld
[HIGH, THEY ARE] The psych-rock fantasma known as Cave has been inducing acid flashbacks since the group formed in Chicago back in 2006. But for some ungodly reason, Cave has never made it out to the Northwest until now. Is that reason enough for you to perk up your ears and load up your one-hitters for this show? Well, if that isn’t convincing, take in the band’s most recent release: Neverendless, a fivetrack full-length out this year on Drag City, finds the band stretching songs out to epic lengths while never losing a modicum of intensity and cool. ROBERT HAM. East End, 203 SE Grand Ave., 232-0056. 9 pm. Cover. 21+.
Crooked Fingers, Strand of Oaks, Shelby Earl
[SINGER-SONGWRITER] Eric Bachmann’s been busy lately, touring with the reunited Archers of Loaf and his pet project, Crooked Fingers, which is riding high on the release of the stellar Breaks in the Armor, an album that highlights Bachmann’s intricately vulnerable songwriting and skewered pop sensibility. But as anyone who saw him at this year’s MusicfestNW knows, live Crooked Fingers can be a sharp contrast to recorded Crooked Fingers, with Bachmann offering stripped-down instrumentation (the last show was a two-person set) and baring his soul with slow and melodic tunes set to his frayed and fractured voice. It’s a hypnotic experience from an eclectic and captivating artist—just remember to temper your expectations for a rock-out. AP KRYZA. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. $15. 21+.
Flux: Nosaj Thing, Eskmo, Lazer Sword, Jimmy Edgar, Lunice, Chrissy Murderbot and more
[DANCE MANIA] The Abstract Earth Project is proving itself to be the production company to reckon with here in Portland thanks to events like this year’s Moonlight Masquerade and the massive Re:Generation Festival. After raising the bar precipitously, AEP has managed to clear it with the third edition of Flux, which pulls in DJs and electronic artists from around the world to take over the two stages at Rotture/Branx. For edition 3.0, the lineup is choked with talent like global rave bouncer Chrissy Murderbot, shaky dubstep provocateur Eskmo, and Nosaj Thing’s lost-in-space bass. ROBERT HAM. Rotture, 315 SE 3rd Ave., 234-5683. 8 pm. $20. 21+.
Polyrhythmics, Lucky Brown and the Bucks
[AFROBEAT FUNKADELIC] If you close your eyes real tight while listening to Polyrhythmics’ first fulllength, this June’s Labrador, you can transport yourself to a world with more color, more spice and more soul—basically just an allaround better world—than the one you’re living in. The eight-piece instrumental outfit from Seattle fuses Afrobeat, funk and soul in
CONT. on page 36
LARRY AND HIS FLASK TUESDAY, NOV. 22 [HILLBILLY PUNK] It’s not uncommon for a band to refine its sound with age, but when considering the discography of Bend’s Larry and His Flask, you’d be forgiven for thinking two separate groups had stumbled on the same unlikely name. Founded in 2003 by brothers Jesse and Jamin Marshall, Larry and His Flask (known simply as “the Flask” to fans) spent their early years as strict purveyors of what guitarist Ian Cook describes as “really dirty punk rock.” Until 2009, the Flask’s reputation was built primarily on its talent for causing damage to grange halls, basements and keg parties in the woods. “Jesse was always trying to smash something,” Jamin says of his brother’s early antics. “One time he fell over and bashed his skull.” In 2003, it would have strained credulity to suggest this band would not only be around eight years later, but would have ditched the political screeds for mandolin breakdowns and exchanged the hand-drawn fliers for write-ups in The New York Times. “We never even thought, ‘We want to be a punk rock band,’” says Jamin, who, like the rest of his bandmates, dresses somewhere between a punk and a spaghetti-western villain. “It was just what we could do. It just came out of us. And now that we put [this new incarnation of the group] together, it’s the same way.” The 2008 departure of the band’s original drummer, combined with the aforementioned stylistic wanderlust, made Larry and His Flask turn almost by accident to experiments in folk pop. After a meandering transition period, the Flask settled on its current, sixmember lineup, effectively dressing the group’s punk-rock past in the guise of an Appalachian jug band. “For the first year of [the current form] of this band,” Cook says, “we were constantly on street corners and outside as much as we could manage….We got a reaction from people from all walks of life, not just punk kids in basements.” The rowdy momentum that had characterized the band’s formative years continued to turn heads. The Flask soon found itself forgoing busking in favor of tours with the Dropkick Murphys and five-show-a-day marathons on the 2010 Warped Tour. Though the recording of the group’s 2009 self-titled EP was hampered by guitarist Dallin Bulkley’s temporary confinement in Virginia (Cook: “Not a violent crime, just a stupid circumstance”), Larry and His Flask were able to do justice to their reinvented sound with this year’s All That We Know LP. Arriving with the intensity of a big-tent revival show, All That We Know reveals equal traces of the Avett Brothers and Virus Nine. Bluegrassworthy banjo lines battle with metal-guitar riffs, all to the backbeat of Jamin Marshall’s oom-pah-on-meth drumming. Lyrically, the album reflects some of the band’s earlier political convictions, though strewn more generously with introspection. “Earlier, I would write about politics and how much I hated religion, and now we don’t really delve into that so much,” Jamin says. “And if we do, it’s much more cryptic than it used to be.” He considers for a moment, then adds, “Which is maturity, I guess, and that just comes from growing up and living.” SHANE DANAHER. A Bend punk band makes an unlikely transformation into a gripping Americana act.
SEE IT: Larry and His Flask play Doug Fir Lounge on Tuesday, Nov. 22, with Sassparilla and Third Seven. 9 pm. $5. 21+.
Present that night’s show ticket and get $3 off any menu item Sun - Thur in the dining room
DOUG FIR RESTAURANT + BAR OPEN 7AM - 2:30AM EVERYDAY SERVING BREAKFAST, LUNCH, DINNER, LATE-NIGHT. FOOD SPECIALS 3-6 PM EVERYDAY COVERED SMOKING PATIO, FIREPLACE ROOM, LOTS OF LOG. LIVE SHOWS IN THE LOUNGE... BACARDI PRESENTS
ASCETIC JUNKIES
WEDNESDAY! THE
POOR BOY’S SOUL +EZRA HOLBROOK
POWER POP LEGENDS PERFORMING FROSTING ON THE BEATER
THE
POSIES
THURSDAY!
WEDNESDAY NOVEMBER 16 • $5 ADVANCE UPLIFTING INDIE FOLK FROM THE EMERALD CITY
FRIDAY!
DERBY
+CURTAINS FOR YOU
Doors at 7pm, Show at 8pm - EARLY SHOW!
THURSDAY NOVEMBER 17 •
$13 ADVANCE
A CD RELEASE EXTRAVAGANZA WITH PDX ROCK LUMINARIES
SATURDAY!
ANDREW PAUL WOODWORTH
+BRYAN JOHN APPLEBY
CROWN POINT
$12 ADVANCE
+AND I’VE LANDED
HEY MARSEILLES
FRIDAY NOVEMBER 18 •
(ALBUM RELEASE)
SATURDAY NOVEMBER 19 • $8 ADVANCE
A LOG LOVE EVENING OF PDX WOODSINESS
CASTANETS
ACADEMY AWARD WINNER AND HALF OF THE SWELL SEASON
MARKETA
ALAMEDA +GREAT WILDERNESS
SUNDAY NOVEMBER 20 •
IRGLOVA
$8 ADVANCE
+SEAN ROWE
JACK DANIELS PRESENTS
LARRY andSASSPARILLA his FLASK +THIRD SEVEN
MONDAY NOVEMBER 21 • TUESDAY NOVEMBER 22 •
$5 ADVANCE
INSTRUMENTAL POST-METAL FROM CHICAGO TRIO
$16 ADVANCE
PIANO BALLADRY FROM GIFTED SINGER/SONGWRITER
RACHAEL
YAMAGATA
RUSSIAN CIRCLES HELMS ALEE +DEAFHEAVEN
FRIDAY NOVEMBER 25 •
$12 ADVANCE
+MIKE VIOLA
WEDNESDAY NOVEMBER 23 • $13 ADVANCE MIND BLOWING PSYCHE-ROCK FROM SF - ALL AGES STYLE
INDIE-POST-ROCK FROM LEGENDARY CHICAGO QUARTET
The SEA & CAKE
THEE OH SEES TOTAL CONTROL +GRAVE BABIES LIA ICES
+1939 ENSEMBLE
SATURDAY DECEMBER 3 • $15 ADVANCE RUSTIC BACKWOODS AMERICANA FROM SEATTLE TRIO
THE
CAVE SINGERS
+MY GOODNESS
SUNDAY DECEMBER 4 •
$14 ADVANCE
EARLY ALL AGES SHOW! DOORS AT 5PM, SHOW AT 5:30PM
WEDNESDAY NOVEMBER 30 • $13 ADVANCE +TOTAL CONTROL
THURSDAY DECEMBER 1 •
$12 ADVANCE
MANSIONS ON THE MOON (late show) - 12/13 WEINLAND NYE SUPERGROUP - 12/31 YOUTH LAGOON - 1/21 AUGUSTANA - 1/22 GRAVEYARD - 1/31 All of these shows on sale at Ticketfly.com
GUNFIGHTER 11/27 • GIRL IN A COMA 11/28 • THE DEEP DARK WOODS 11/29 MOSLEY WOTTA 12/2 • THE KOOKS 12/5 • THE BLACK HEART PROCESSION 12/6 STEPHEN KELLOGG & THE SIXERS 12/7 • CASS MCCOMBS BAND 12/8 ADVANCE TICKETS AT TICKETFLY - www.ticketfly.com and JACKPOT RECORDS • SUBJECT TO SERVICE CHARGE &/OR USER FEE ALL SHOWS: 8PM DOORS / 9PM SHOW • 21+ UNLESS NOTED • BOX OFFICE OPENS 1/2 HOUR BEFORE DOORS • ROOM PACKAGES AVAILABLE AT www.jupiterhotel.com
34
Willamette Week NOVEMBER 16, 2011 wweek.com
MUSIC
FRIDAY-SATURDAY
Radio, it’s safe to say that Ford and company have played this one just about perfectly. Sticking close to the throwback blues and soul of the band’s previous work, Dirty Radio is an album without a wasted moment. In the past six months the group has played on Letterman, enjoyed a warm, nationwide critical reception and is a scant two weeks shy of touring Europe. Sallie Ford is well on her way to joining the uppermost echelon of Portland’s musical exports. SHANE DANAHER. Wonder Ballroom, 128 NE Russell St., 284-8686. 9 pm. $15 advance, $17 day of show. All ages.
PROFILE JOSEPH EASTBURN
MAKE IT A NIGHT
SATURDAY, NOV. 19 Cave, Loose Values, Eternal Tapestry, DJ Wyld Chyld
[HIGH, THEY ARE] The psych-rock fantasma known as Cave has been inducing acid flashbacks since the group formed in Chicago back in 2006. But for some ungodly reason, Cave has never made it out to the Northwest until now. Is that reason enough for you to perk up your ears and load up your one-hitters for this show? Well, if that isn’t convincing, take in the band’s most recent release: Neverendless, a fivetrack full-length out this year on Drag City, finds the band stretching songs out to epic lengths while never losing a modicum of intensity and cool. ROBERT HAM. East End, 203 SE Grand Ave., 232-0056. 9 pm. Cover. 21+.
Crooked Fingers, Strand of Oaks, Shelby Earl
[SINGER-SONGWRITER] Eric Bachmann’s been busy lately, touring with the reunited Archers of Loaf and his pet project, Crooked Fingers, which is riding high on the release of the stellar Breaks in the Armor, an album that highlights Bachmann’s intricately vulnerable songwriting and skewered pop sensibility. But as anyone who saw him at this year’s MusicfestNW knows, live Crooked Fingers can be a sharp contrast to recorded Crooked Fingers, with Bachmann offering stripped-down instrumentation (the last show was a two-person set) and baring his soul with slow and melodic tunes set to his frayed and fractured voice. It’s a hypnotic experience from an eclectic and captivating artist—just remember to temper your expectations for a rock-out. AP KRYZA. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. $15. 21+.
Flux: Nosaj Thing, Eskmo, Lazer Sword, Jimmy Edgar, Lunice, Chrissy Murderbot and more
[DANCE MANIA] The Abstract Earth Project is proving itself to be the production company to reckon with here in Portland thanks to events like this year’s Moonlight Masquerade and the massive Re:Generation Festival. After raising the bar precipitously, AEP has managed to clear it with the third edition of Flux, which pulls in DJs and electronic artists from around the world to take over the two stages at Rotture/Branx. For edition 3.0, the lineup is choked with talent like global rave bouncer Chrissy Murderbot, shaky dubstep provocateur Eskmo, and Nosaj Thing’s lost-in-space bass. ROBERT HAM. Rotture, 315 SE 3rd Ave., 234-5683. 8 pm. $20. 21+.
Polyrhythmics, Lucky Brown and the Bucks
[AFROBEAT FUNKADELIC] If you close your eyes real tight while listening to Polyrhythmics’ first fulllength, this June’s Labrador, you can transport yourself to a world with more color, more spice and more soul—basically just an allaround better world—than the one you’re living in. The eight-piece instrumental outfit from Seattle fuses Afrobeat, funk and soul in
CONT. on page 36
LARRY AND HIS FLASK TUESDAY, NOV. 22 [HILLBILLY PUNK] It’s not uncommon for a band to refine its sound with age, but when considering the discography of Bend’s Larry and His Flask, you’d be forgiven for thinking two separate groups had stumbled on the same unlikely name. Founded in 2003 by brothers Jesse and Jamin Marshall, Larry and His Flask (known simply as “the Flask” to fans) spent their early years as strict purveyors of what guitarist Ian Cook describes as “really dirty punk rock.” Until 2009, the Flask’s reputation was built primarily on its talent for causing damage to grange halls, basements and keg parties in the woods. “Jesse was always trying to smash something,” Jamin says of his brother’s early antics. “One time he fell over and bashed his skull.” In 2003, it would have strained credulity to suggest this band would not only be around eight years later, but would have ditched the political screeds for mandolin breakdowns and exchanged the hand-drawn fliers for write-ups in The New York Times. “We never even thought, ‘We want to be a punk rock band,’” says Jamin, who, like the rest of his bandmates, dresses somewhere between a punk and a spaghetti-western villain. “It was just what we could do. It just came out of us. And now that we put [this new incarnation of the group] together, it’s the same way.” The 2008 departure of the band’s original drummer, combined with the aforementioned stylistic wanderlust, made Larry and His Flask turn almost by accident to experiments in folk pop. After a meandering transition period, the Flask settled on its current, sixmember lineup, effectively dressing the group’s punk-rock past in the guise of an Appalachian jug band. “For the first year of [the current form] of this band,” Cook says, “we were constantly on street corners and outside as much as we could manage….We got a reaction from people from all walks of life, not just punk kids in basements.” The rowdy momentum that had characterized the band’s formative years continued to turn heads. The Flask soon found itself forgoing busking in favor of tours with the Dropkick Murphys and five-show-a-day marathons on the 2010 Warped Tour. Though the recording of the group’s 2009 self-titled EP was hampered by guitarist Dallin Bulkley’s temporary confinement in Virginia (Cook: “Not a violent crime, just a stupid circumstance”), Larry and His Flask were able to do justice to their reinvented sound with this year’s All That We Know LP. Arriving with the intensity of a big-tent revival show, All That We Know reveals equal traces of the Avett Brothers and Virus Nine. Bluegrassworthy banjo lines battle with metal-guitar riffs, all to the backbeat of Jamin Marshall’s oom-pah-on-meth drumming. Lyrically, the album reflects some of the band’s earlier political convictions, though strewn more generously with introspection. “Earlier, I would write about politics and how much I hated religion, and now we don’t really delve into that so much,” Jamin says. “And if we do, it’s much more cryptic than it used to be.” He considers for a moment, then adds, “Which is maturity, I guess, and that just comes from growing up and living.” SHANE DANAHER. A Bend punk band makes an unlikely transformation into a gripping Americana act.
SEE IT: Larry and His Flask play Doug Fir Lounge on Tuesday, Nov. 22, with Sassparilla and Third Seven. 9 pm. $5. 21+.
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This double-live Sigur Rós release also includes a 75-minute concert film from their 2008 tour.
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Canadian duo release their first live album that includes a dvd with three short films: live footage, interviews, and a chronicle of their tour in India. Exit 64 off Hwy 26 • 2303 NW 185th Ave, 97124 503.439.9500 visit us online at www.fivestarguitars.com
BETTY WRIGHT & THE ROOTS B Betty Wright: The Movie $11.95-cd
A true old-school soul singer, Wright teams up with The Roots, Snoop Dogg, Lil Wayne and Joss Stone for her first solo album in 10 years. Sale prices good thru 11/27/11
NEW RELEASES
Campesinos • Pegi Young • R.E.M. Webbie• Drake Andrea Bocelli • R.E.M. • Glee-The Christmas Album OUT NOW: Childish Gambino • Gucci Mane • Gym Class Heroes
USED NEW &s & VINYL VD CDs, D FOR ANY & ALL USED CDs, DVDs & VINYL
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Kellan & avery • imade
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Garden of eden Groove Thief Gnosis
SOLA ROSA Fri December 2nD Dante’s • 21+ 9pm
Fri Nov 25th • peter’s rooM@roselaNd • 8pM • 21+
The Martyr Tour Beloved & Dead Nation Presents
CHINO XL
Da circle • DJ gi Joe December 1st • wonDer ballroom • 9pm • all ages
BOMBINO matt Jennings
saturday dec 10 daNte’s • 9pm • 21+ 503-224-tiXX SAFEWAY-MUSIC MILLENNIUM
Willamette Week NOVEMBER 16, 2011 wweek.com
35
MUSIC
SATURDAY-MONDAY
a big way. Horns and percussion howl throughout the album, creating a very funky, insanely danceable series of songs. The memorable percussion hook in the title track and the controlled chaos of the guitar-heavy “The Revenge of the Sneaky Spider” would make Fela Kuti proud. MAGGIE SUMMERS. Slabtown, 1033 NW 16th Ave., 223-0099. 9 pm. $7. 21+.
SUNDAY, NOV. 20 Micropalooza: Ovenrake, Chipocrite, Operation Mission, Andreas [BLEEP BLOOP] DJ dweebs descend on PDX Sunday, Game Boys in clammy hands, for chiptune festival Micropalooza. The fest, brought to Portland’s nostalgics by Ground Kontrol, the Jupiter Hotel—where the party starts at 2 pm—and local gamer podcast A Jumps B Shoots, each year brings chiptune artists from all over the Northwest (plus, this year, one from Philly) to celebrate the genre that utilizes exclusively sounds from vintage computers and gaming systems. The limited selection often makes for stylistically narrow, gratingly repetitive music, but its pastiche of cultural references is creative. Chiptune sometimes feels like a novelty, more winking than actually listenable. JONATHAN FROCHTZWAJG. Ground Kontrol, 511 NW Couch St., 796-9364. 7 pm. $10. 21+.
High on Fire, Indian, Shelter Red
[PUMMELING METAL] Bay Area trio High on Fire has become a live institution nearly on par with Motörhead and Slayer for consistency (and volume) onstage. Unfortunately, the studio efforts have not been quite as stunning, with 2010 effort Snakes for the Divine following the band’s inadvertent de-evolutionary path of higher budgets and less distinctive songwriting. Still, the band kills just about any other in concert. Chicago outfit Indian finally
released its thundering masterpiece Guiltless on Relapse earlier this year and should prove to be the real treat tonight, while littleknown local opener Shelter Red has a tight and professional instrumetal sound that should please fans of Russian Circles and newer Don Caballero. It’s unfortunate that to land this coveted slot, the band is forced to hawk tickets on its Facebook page. Your tunes sound good, guys; don’t pay to play. NATHAN CARSON. Hawthorne Theatre, 3862 SE Hawthorne Blvd., 233-7100. 8 pm. $13 advance, $15 day of show. All ages.
MONDAY, NOV. 21 Markéta Irglová
[BUSKER DREAMGIRL] How quiet is the music of Markéta Irglová? Well, at her MusicfestNW appearance this year, opening for Iron and Wine in Pioneer Square, she almost got drowned out by the sound of leaves rustling on the surrounding trees. While the Swell Season— the swooningly romantic band she formed with now ex-boyfriend Glen Hansard after falling in love on the set of the great indie busker drama Once—wasn’t exactly explosive, it did contain emotional swells that could be stirring and borderline thrilling. Apparently, that must’ve been all Hansard’s doing, because on her 2011 solo debut, Anar, the Czech singer-songwriter’s pianodriven wisps are as delicate as dandelion spores. It’s a pretty album, but in the way of an early-morning mist: It eventually dissipates, and you kind of forget it was ever there. MATTHEW SINGER. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $16 advance, $18 day of show. 21+.
B.B. King, Curtis Salgado
[BLUES LEGEND] B.B. King can lick damn near any other blues guitarist sitting down. Seriously, he’ll be sitting. Dude’s 86 and diabetic. But he’s got nimble fingers, and
CONT. on page 40
ALBUM REVIEW
POOR BOY’S SOUL BURN DOWN (SELF-RELEASED) [BLUES PUNK] For a blues musician, Poor Boy’s Soul—the one-man-band project of Portlander Trevor Jones—has a story that’s a PR person’s dream. The young artist learned how to play slide guitar—and learned the fundamentals of blues and folk tradition—while hitchhiking and trainhopping around the U.S. Don’t mistake that as some sort of stamp of authenticity. This is the same guy who grew up in a nice middle-class home and was bashing out metal and punk tunes at an early age. That wanderlust has suffused Jones’ new album, Burn Down, with an admirable amount of calm and quiet. As calm and quiet as one dude can get when wrenching out slide-guitar licks while his feet tap out rhythms on a kick drum and a tambourine. What Jones stresses is his slow, smoldering side. There’s a haunted quality to his guitar playing and slightly shaky vocal performances. You want to believe him as he reassures the title girl on the album’s lovely closing track, “Annalisa,” that she’s capable of chasing off her demons, yet even he doesn’t sound terribly convinced. Pity, though, that Jones allows his youth to creep into the mix. He loses sight of his strengths while showing off the speed of his licks on two busy tracks in the middle of the disc, “Nails in the Pines” and “Movin’ to the City.” But like the brief moment of panic that kicks in when you’re worried a yard bull might catch you hopping a train, the calm is right around the corner once the landscape starts slowly sliding by. ROBERT HAM. SEE IT: Poor Boy’s Soul plays Doug Fir Lounge on Wednesday, Nov. 16, with the Ascetic Junkies and Ezra Holbrook. 9 pm. $5. 21+. He also plays Music Millennium on Sunday, Nov. 20. 5 pm. Free. All ages. 36
Willamette Week NOVEMBER 16, 2011 wweek.com
MUSIC CALENDAR = 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. NOV. 16 Afrique Bistro
102 NE Russell St. The Javier Nero Quintet
Al’s Den at the Crystal Hotel 303 SW 12th Ave. Evan Way (of the Parson Red Heads)
Aladdin Theater
3017 SE Milwaukie Ave. Wil Wheaton, Paul and Storm
Alberta Rose Theatre
Biddy McGraw’s
6000 NE Glisan St. Half-Step Shy
Bossanova Ballroom
722 E Burnside St. 12th Planet, AraabMuzik, Jeremy Ellis, Party Supplies, Tyler Tastemaker
Branx
320 SE 2nd Ave. Touche Amore, Pianos Become the Teeth, Seahaven, Young Turks, Lee Corey Oswald
3000 NE Alberta St. Drew Harrison (John Lennon tribute)
Brasserie Montmartre
Alberta Street Public House
Camellia Lounge
1036 NE Alberta St. Open Mic
Andina
1314 NW Glisan St. Toshi Onizuka
Arlene Schnitzer Concert Hall 1037 SW Broadway Feist, Chilly Gonzales
Ash Street Saloon
225 SW Ash St. Sam Adams, Leafeater, Gamma Knife
Backspace
115 NW 5th Ave. PDX Punk Rock Collective, Vellarest, G Unit, School of Rock
Beaterville Cafe
2201 N Killingsworth St. Lowell John Mitchell and The Triplets of BeaterVille
626 SW Park Ave. Mary Flower 510 NW 11th Ave. Open Jazz Jam
Dante’s
350 W Burnside St. Sno Bud and the Flower People, Dinner for Wolves, Party Trigger
Doug Fir Lounge
830 E Burnside St. The Ascetic Junkies, Poor Boy’s Soul, Ezra Holbrook
Duff’s Garage
1635 SE 7th Ave. Suburban Slim’s Blues Jam (9 pm); High Flyer Trio (6 pm)
East End
203 SE Grand Ave. Mark Sultan, Thee Headliners, Chapter 24, Shivas, Still Caves, DJ N-N-Nadiaah, Jonnycat
[NOV. 16 - 22] Wolveryne’s King of the Beat Contest
Star Theater
13 NW 6th Ave. Squidling Brothers Circus Sideshow, Professor Gall, Wanderlust Circus Orchestra
The Blue Diamond Ella Street Social Club 714 SW 20th Place Koko and the Sweetmeats, Foreign Orange
Goodfoot Lounge
2845 SE Stark St. The Dead Kenny G’s
Holocene
1001 SE Morrison St. White Hinterland, Petoskey, Harlowe and the Great North Woods
Jade Lounge
2346 SE Ankeny St. Jeffrree White
Portland Groove Collective
Mississippi Studios
3939 N Mississippi Ave. Matt Alber, Shannon Grady, Steve Taylor
Mount Tabor Theater
The Woods
8105 SE 7th Ave. Sleepy Eyed Johns
Music Millennium
O’Connors
2958 NE Glisan St. Dean! (9 pm); Mike Goetz’s Super Jam (6 pm)
Lola’s Room at the Crystal Ballroom
1332 W Burnside St. Freak Mountain Ramblers
McMenamins Rock Creek Tavern
10000 Old Cornelius Pass Road, Hillsboro Billy D
Mission Theater
1624 NW Glisan St. Miguel Zenon and Quartet
Mississippi Pizza
3552 N Mississippi Ave.
The Know
Muddy Rudder Public House
Kelly’s Olympian
LaurelThirst
1001 SW Broadway Bre Gregg
2026 NE Alberta St. Burials, Squalora, Hang the Old Year, DJ Nate C, DJ Tea Cup
3158 E Burnside St. W.C. Beck and the Valiant Swains
426 SW Washington St. Andrea Algieri, Val Bauer
The Heathman Restaurant and Bar
4811 SE Hawthorne Blvd. Neighbors with Ladies & Jackson (Sideshow Lounge)
Jimmy Mak’s
221 NW 10th Ave. The Mel Brown Quartet
2016 NE Sandy Blvd. The Fenix Project Jam Session
7850 SW Capitol Highway Kit Garoutte
Palace of Industry
6637 SE Milwaukie Ave. The White Buffalo, Mike Midlo
Thirsty Lion
71 SW 2nd Ave. Eric John Kaiser
Tony Starlight’s
3728 NE Sandy Blvd. Mel Kubik
Touché Restaurant and Billiards
5426 N Gay Ave. Flat Rock String Band
1425 NW Glisan St. Nancy King, Steve Christofferson
Plan B
Trail’s End Saloon
1305 SE 8th Ave. Standing Shadows, Wayne Gacy Trio, Sucker for Lights, No More Parachutes
Red Room
2530 NE 82nd Ave. Open Mic with Go Fuck Yerself
Revival Drum Shop
1465 NE Prescott St. Marisa Anderson, Doug Theriault
Someday Lounge 125 NW 5th Ave.
1320 Main St., Oregon City Danny O’Brien & Ken Brewer
Tualatin Heritage Center
8700 SW Sweek Drive Colleen Raney
Vie de Boheme 1530 SE 7th Ave. Lorna B. Band
White Eagle Saloon
836 N Russell St. “Unfiltered” Showcase
Wilfs Restaurant & Bar 800 NW 6th Ave. Ron Steen with Karla Harris
Wonder Ballroom
128 NE Russell St. Black Joe Lewis and the Honeybears, The Sheepdogs, Dikes of Holland
Yukon Tavern
5819 SE Milwaukie Ave. Open Mic
THURS. NOV. 17 Al’s Den at the Crystal Hotel 303 SW 12th Ave. Evan Way (of the Parson Red Heads)
Aladdin Theater
3017 SE Milwaukie Ave. Over the Rhine, Milk Carton Kids
Alberta Rose Theatre 3000 NE Alberta St. Mary McCaslin, Antje Duvekot
Alberta Street Public House
1036 NE Alberta St. Jonathan Brinkley (9:30 pm); Worn Out Shoes (6:30 pm)
Andina
1314 NW Glisan St. Matices
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
Ash Street Saloon
225 SW Ash St.
Luck-One, Tope, Dekay, Late Davis, $alary, Big Mo, Roulette Del’gato, Leek, M3ilicous, Yung HD, Swagg Life Kingz
Badlands
5909 NE 34th Ave. Ben Seretan, Log Across The Washer, Weatherexposed
Beaterville Cafe
2201 N Killingsworth St. No Tomorrow
Mississippi Pizza
3552 N Mississippi Ave. Fanno Creek (9 pm); Goose & Fox (6 pm)
Mississippi Studios
3939 N Mississippi Ave. Army Navy, Grand Archives, Black Whales
Mock Crest Tavern 3435 N Lombard St. John Bunzow
Beauty Bar
Mountain Air Studios
Biddy McGraw’s
Muddy Rudder Public House
Branx
Music Millennium
111 SW Ash St. The We Shared Milk, Yeah Great Fine, Charts 6000 NE Glisan St. Open Bluegrass Jam
4033 SE Milwaukie Ave. ARZ
8105 SE 7th Ave. Kory Quinn
320 SE 2nd Ave. Obscura, Abysmal Dawn, Last Chance to Reason, The Diggers, Ocean of Mirrors
3158 E Burnside St. Seven Inch Stitch
Brasserie Montmartre
Plan B
626 SW Park Ave. John “JB” Butler & Al Craido
Camellia Lounge
510 NW 11th Ave. 9 Ghosts, Mark DarnellMarquez
Chapel Pub
430 N Killingsworth St. Steve Kerin
Crystal Ballroom
Original Halibut’s II 2527 NE Alberta St. Terry Robb
1305 SE 8th Ave. Steak Knife, The Lockouts, Blow Up Dolls
Red Room
2530 NE 82nd Ave. Ditchdigger, Wuzzard, Zmoke
Rotture
315 SE 3rd Ave. Reva Devito, Fly Moon Royalty, Marius Libman
1332 W Burnside St. Lucinda Williams, Blake Mills
Sellwood Public House
Dante’s
Slabtown
350 W Burnside St. Scott H. Biram, Joe Buck, Molly Gene One Whoaman Band
Doug Fir Lounge 830 E Burnside St. The Posies, Derby, Curtains for You
Duff’s Garage
1635 SE 7th Ave. The Midnight Serenaders (9 pm); Honey and the Hamdogs (6 pm)
Duff’s Garage
1635 SE 7th Ave. Sultans of Slide (9 pm); Tough Love Pyle (6 pm)
East End
203 SE Grand Ave. Chooglin’, DJ Party Dogg, DJ Booze Cruize, Dead Head, Tombstalker
Ella Street Social Club 714 SW 20th Place Trick Sensei, Peninsulas
Goodfoot Lounge
2845 SE Stark St. Water Tower Bucket Boys, Dogtooth
Hawthorne Theatre
3862 SE Hawthorne Blvd. Family Force 5, Delta!Bravo
Holocene
1001 SE Morrison St. Apes Tapes Showcase: Onuinu, Adventures with Might, Vanimal, XDS, Pegasus Dream
Jade Lounge
2346 SE Ankeny St. Colin Fisher (8 pm); Payne and Money (6 pm)
Jimmy Mak’s
221 NW 10th Ave. The Mel Brown B3 Organ Group
Kennedy School
5736 NE 33rd Ave. Fools in Paradise
LaurelThirst
2958 NE Glisan St. Tom Waits for No Man (9:30 pm), Lewi Longmire Band (6 pm)
McMenamins Rock Creek Tavern
OH, LUCILLE: B.B. King plays Keller Auditorium on Monday.
Billy Kennedy
10000 Old Cornelius Pass Road, Hillsboro
8132 SE 13th Ave. Open Mic
1033 NW 16th Ave. Bonneville Power, Poorsport, Toxic Kid, Manx
Slim’s Cocktail Bar
8635 N Lombard St. Sam Wegman, Thom Lyons, Lilac’s Daughter
Spare Room
4830 NE 42nd Ave. Original Music Showcase
Star Theater
13 NW 6th Ave. The Rats, Girl Trouble, Lordy Lords, Stiphnoyds, Wolfman Fairies
The Blue Diamond
2016 NE Sandy Blvd. Tom Grant Jazz Jam Session
The Blue Monk
3341 SE Belmont St. Alan Jones Jam
The Heathman Restaurant and Bar 1001 SW Broadway Johnny Martin
The Know
2026 NE Alberta St. Queued Up, Sugar Sugar Sugar, The Pathogens
The Old Church
1422 SW 11th Ave. Patrick Lamb, Tom Grant, The Norman Sylvester Band, Janice Scroggins, LaRhonda Steele, Peter Dammann, Mac Potts, Ashbolt Stewart, Mary Flower, Lady A’s Key Blues Band, The Too Loose Cajun Band, The Transcendental Brass Band, Manimalhouse (Reggie Houston benefit)
The Woods
6637 SE Milwaukie Ave. Pree, The Beautiful Lies
Tiger Bar
317 NW Broadway Karaoke from Hell
Tonic Lounge
3100 NE Sandy Blvd. The Jellyfish Brigade, Brown Bear Live Band, Gavin Theory, Shut-ins
CONT. on page 38
Willamette Week NOVEMBER 16, 2011 wweek.com
37
MUSIC
CALENDAR
BAR SPOTLIGHT
Red Room
R O TA M
2530 NE 82nd Ave. Minty Rosa, Last Shot, Bison Bison, Bonneville Power, The Vandies
Roseland Theater 8 NW 6th Ave. Big Sean, Cyhi The Prynce, Shawn Chrystopher
Rotture
1425 NW Glisan St. Mac Potts Trio
Trail’s End Saloon
1320 Main St., Oregon City Rae Gordon
Twilight Café and Bar 1420 SE Powell Blvd. Vollwrath Eleven, Foal
Vino Vixens Wine Shop & Bar 2929 SE Powell Blvd. Kyrstyn Pixton
White Eagle Saloon
836 N Russell St. Strangled Darlings (8:30 pm); The Sale (5:30 pm)
Wilfs Restaurant & Bar 800 NW 6th Ave. Lauren Sheehan & Zoe Carpenter
FRI. NOV. 18 Al’s Den at the Crystal Hotel 303 SW 12th Ave. Evan Way (of the Parson Red Heads)
Alberta Rose Theatre 3000 NE Alberta St. Fruit Bats, Crooked Fingers (Live Wire! live radio-show taping)
Alberta Street Public House
1036 NE Alberta St. Bear & Moose (9:30 pm); Mikey’s Irish Jam (6:30 pm)
Andina
1314 NW Glisan St. Pete Krebs
Artichoke Community Music
3130A SE Hawthorne Blvd. Friday Night Coffeehouse
Branx
320 SE 2nd Ave. A Hope for Home, Kye Kye, My Mantle, Amos Val, The Hedonist, Tribes
Brasserie Montmartre 626 SW Park Ave. Al Craido & Tablao
Camellia Lounge 510 NW 11th Ave. Tree Top Tribe
Clyde’s Prime Rib
5474 NE Sandy Blvd. LaRhonda Steele
Crystal Ballroom
1332 W Burnside St. Greensky Bluegrass, Hot Buttered Rum, Fruition
Dante’s
350 W Burnside St. Brothers from Another Mother, Dragstrip Riot
Doug Fir Lounge
830 E Burnside St. Hey Marseilles, Bryan John Appleby
East Burn
1800 E Burnside St. Bottleneck Blues Band
Ford Food and Drink 2505 SE 11th Ave. Nicole Campbell, Kelly Anne Masigat
Grand Central Bowl 808 SE Morrison St. Deelay Ceelay
Hawthorne Theatre Lounge 1503 SE 39th Ave. Ron Rogers
Jade Lounge
2346 SE Ankeny St. Goose and Fox, Micah Dalton
Jimmy Mak’s
Ash Street Saloon
221 NW 10th Ave. Steely Dan Tribute
Beaterville Cafe
426 SW Washington St. Truckstop Darlin’, Alabama Black Snake
225 SW Ash St. The My Oh Mys, RedRay Frazier, Jeremy Wilson 2201 N Killingsworth St. Los Cowtones
Biddy McGraw’s
6000 NE Glisan St.
38
Kelly’s Olympian
Kenton Club
2025 N Kilpatrick St. Well, The Woolen Men, Sad Horse
Willamette Week NOVEMBER 16, 2011 wweek.com
LaurelThirst
2958 NE Glisan St. MacDougall, Henry Hill Kammerer, These Branches (9:30 pm); Sassparilla (6 pm)
McMenamins Rock Creek Tavern
1033 NW 16th Ave. Sockeye Sawtooth, Prarie Dog Brain Trust
Slim’s Cocktail Bar 8635 N Lombard St. Bad Assets, Audios Amigos
Southwest Bible Church
14605 SW Weir Road, Beaverton NoPo Big Band, Portland Community Wind Band
Spare Room
4830 NE 42nd Ave. The Shannon Tower Band
The Blue Diamond
2016 NE Sandy Blvd. Lloyd Allen Sr.
The Foggy Notion 3416 N Lombard St. Child PM, Dads II
1001 SW Broadway Bobby Torres Ensemble
The Know
2026 NE Alberta St. RF7
The Lovecraft
421 SE Grand Ave. Juarez
Thirsty Lion
Mississippi Pizza
Tiger Bar
Mississippi Studios
3939 N Mississippi Ave. Elizabeth Cook, Chris Marshall
Mock Crest Tavern 3435 N Lombard St. Sneakin Out
Muddy Rudder Public House 8105 SE 7th Ave. Mike Brosnan
Music Millennium
3158 E Burnside St. The Secret Whistle
Noho’s Hawaiian Cafe
71 SW 2nd Ave. Break As We Fall 317 NW Broadway Still Dead, Tallboy, A((wake))
Tonic Lounge
3100 NE Sandy Blvd. The Stins, Mark Sparkles, The Small Arms
Tony Starlight’s
3728 NE Sandy Blvd. The Tony Starlight Show
Touché Restaurant and Billiards 1425 NW Glisan St. Cheryle Alex Trio
Trail’s End Saloon
1320 Main St., Oregon City Sultans of Slide
4627 NE Fremont St. Traditional Hawaiian Music
Twilight Café and Bar
Original Halibut’s II
Vie de Boheme
2527 NE Alberta St. Sonny Hess
Papa G’s Vegan Organic Deli
2314 SE Division St. Lynn Conover
Pints Brewing Company
412 NW 5th Ave. The Nutmeggers (9 pm); Ray Dodd (7 pm)
Plan B
1305 SE 8th Ave. Dreizehn, Violent Majority, Pseudo Bread, Earth to Ashes
Press Club
2621 SE Clinton St. Rachel Taylor Brown
Proper Eats Market and Cafe 8638 N Lombard St. Stumptown Jug Thumpers
Alberta Rose Theatre
Alberta Street Public House
10000 Old Cornelius Pass Road, Hillsboro John Bunzow Trio 3552 N Mississippi Ave. Con Brio, Funk Shui (9 pm); Tumble Rye (6 pm)
3017 SE Milwaukie Ave. Company of Thieves, Motopony
Secret Society Lounge
The Heathman Restaurant and Bar Pagan Jug Band (9:30 pm); Billy Kennedy & Jim Boyer (6 pm)
Aladdin Theater
3000 NE Alberta St. Swing Papillon, Sugar Kane, John Bennett Trio, Birdie Krebs, Pink Lady, Lisa Stringfield (A Night at the Moulin Rouge)
Slabtown
Touché Restaurant and Billiards
303 SW 12th Ave. Evan Way (of the Parson Red Heads)
315 SE 3rd Ave. Supernature: Animal Bodies, Litanic Mask, $kull$, Bruxa, DJ Copy, DJ BJ
116 NE Russell St. Caleb Klauder Country Band, W.C. Beck and the Valiant Swains
HAPPY RETURNS: In its previous life—which ended last year after 63 years—Lutz Tavern (4639 SE Woodstock Blvd., 774-0353) was known nationally as the bar where hipsters discovered Pabst Blue Ribbon. It was a true dive, but one with outsize influence among bike messengers and other curators of cool. The revived Lutz, which was reopened two weeks ago by Clinton Street Pub owners Jayson Criswell and Robert Kowalski, retains the old look and clientele: The lineup at the bar on a recent Friday was plaid, fleece, tweed, plaid, plaid, plaid and tweed. The PBR is still there, $2 per tallboy, along with four other macros, but the new regime has made a few important changes: Lutz now has liquor, eight taps of good Northwest micros, and a real kitchen that makes a kick-ass burger. It comes with shoestring fries and, for an extra $2, house-cured bacon. BEN WATERHOUSE.
Al’s Den at the Crystal Hotel
1420 SE Powell Blvd. Reefer Madness 1530 SE 7th Ave. Gypsy Jazz Jam
Vino Vixens Wine Shop & Bar 2929 SE Powell Blvd. Thad Beckman
White Eagle Saloon 836 N Russell St. Innocent Man, Riviera (9:30 pm); Reverb Brothers (5:30 pm)
Wilfs Restaurant and Bar 800 NW 6th Ave. Greta Matassa
Wonder Ballroom
128 NE Russell St. Sallie Ford and the Sound Outside, Pickwick
SAT. NOV. 19 15th Avenue Hophouse 1517 NE Brazee St. The Student Loan
1036 NE Alberta St. Happy Noose, Rayliota, Horse Fingers
Andina
McMenamins Rock Creek Tavern
10000 Old Cornelius Pass Road, Hillsboro Sonny Hess
Mississippi Pizza
Mississippi Studios
3728 NE Sandy Blvd. Mia Nicholson
3939 N Mississippi Ave. Crooked Fingers, Strand of Oaks, Shelby Earl
Mock Crest Tavern
3435 N Lombard St. Johnnie Ward Sharkskin Review
Mount Tabor Theater
Artichoke Community Music
Muddy Rudder Public House
225 SW Ash St. Earth to Ashes, Splintered Throne, TheDogTribe, The Punctuals
Biddy McGraw’s
6000 NE Glisan St. Power of County (9:30 pm); Twisted Whistle (6 pm)
Brasserie Montmartre 626 SW Park Ave. Boy & Bean (9 pm); Al Craido & “Tablao” (5:30 pm)
Camellia Lounge
510 NW 11th Ave. Shannon Curtis, Andy Bristol
Clyde’s Prime Rib
5474 NE Sandy Blvd. Elite
Dante’s
350 W Burnside St. Dirt Nasty, Saucy Yoda, Public Drunken Sex
Doug Fir Lounge
830 E Burnside St. Andrew Paul Woodworth, Crown Point, And I’ve Landed
Duff’s Garage
1635 SE 7th Ave. DK Stewart Sextet
East End
203 SE Grand Ave. Cave, Loose Values, Eternal Tapestry, DJ Wyld Chyld
Ella Street Social Club
8105 SE 7th Ave. Payne Money
Music Millennium
3158 E Burnside St. The Next Waltz
Noho’s Hawaiian Cafe 4627 NE Fremont St. Traditional Hawaiian Music
Original Halibut’s II 2527 NE Alberta St. John Bunzow
4111 SE Hawthorne Blvd. Ron Hughes
Jade Lounge
2346 SE Ankeny St. Little Hexes with Anmarie Hexy
Jimmy Mak’s
221 NW 10th Ave. The Soulmates, The Gretchen Mitchell Band
Kelly’s Olympian
426 SW Washington St. System and Station, Revolt! Revolt!
Kenton Club
2025 N Kilpatrick St. Maria Sweet, Beautiful Lies, Animal R & R
LaurelThirst
2958 NE Glisan St. Garcia Birthday Band (9:30 pm); Tree Frogs (6 pm)
1425 NW Glisan St. Kelley Shannon Trio
Trail’s End Saloon
1320 Main St., Oregon City Becky Pershing Band
Twilight Café and Bar 1420 SE Powell Blvd. Dead in a Ditch, Nekro Drunks, Compulsive Slasher
Vino Vixens Wine Shop & Bar
1305 SE 8th Ave. Secnd Best, Faithless Saints, Absent Minds, Slow Children, Ready Steady Go
Press Club
Wilfs Restaurant & Bar
Wonder Ballroom
SUN. NOV. 20 Al’s Den at the Crystal Hotel
3017 SE Milwaukie Ave. Joe Ely, Sunny War
Rotture
315 SE 3rd Ave. Flux: Nosaj Thing, Eskmo, Lazer Sword, Jimmy Edgar, Lunice, Chrissy Murderbot, The Great Mundane, Celoso, Plumblyne, Lincolnup, Ben Tactic
Slabtown
Slim’s Cocktail Bar
Spare Room
4830 NE 42nd Ave. Cool Breeze
Star Theater
13 NW 6th Ave. Dan Reed, Shine
Ted’s (at Berbati’s)
231 SW Ankeny St. Toussaint the Liberator, Joseph Isreal & The Jerusalem, Indubious
The Blue Monk
3341 SE Belmont St. Superjazzers (Elliott Smith tribute)
The Foggy Notion
3416 N Lombard St. Audios Amigos, Dramady
The Heathman Restaurant and Bar 1001 SW Broadway Shirley Nanette
McMenamins Rock Creek Tavern
10000 Old Cornelius Pass Road, Hillsboro Cary Novotny
Mississippi Pizza
3552 N Mississippi Ave. The Vernons (9 pm); The Disappointments (6 pm)
Mississippi Studios
3939 N Mississippi Ave. Oh Darling, Jarad Miles
Mount Tabor Theater
4811 SE Hawthorne Blvd. Kyle Andrews & Madi Diaz
Muddy Rudder Public House 8105 SE 7th Ave. Irish Music
NEPO 42
836 N Russell St. Alan Charing, Gabriel Trees, Sea of Existence (9:30 pm); The Student Loan (4:30 pm)
Red Room
Roseland Theater
2958 NE Glisan St. Billy Kennedy & Tim Acott (9:30 pm); Freak Mountain Ramblers (6 pm)
White Eagle Saloon
303 SW 12th Ave. Steve Wilkinson
8 NW 6th Ave. The Devil Makes Three
LaurelThirst
Music Millennium
2621 SE Clinton St. Meester & Meester, The Old Yellers 2530 NE 82nd Ave. Wayne Gacy Trio, Minelo Tangelo, Negative Zen, T.O.A.S.T., Maklak, Five-O
Wayne Gacy Trio, The Choices
2929 SE Powell Blvd. Geno Michaels & Soul City
128 NE Russell St. Noah & The Whale, Nikki Lane
8635 N Lombard St. Otis Heat
Hawthorne Hophouse
Touché Restaurant and Billiards
Plan B
412 NW 5th Ave. Zay Harrison
Freedom Foursquare Church
2845 SE Stark St. The Quick and Easy Boys
Tony Starlight’s
800 NW 6th Ave. Greta Matassa
1033 NW 16th Ave. Polyrhythmics, Lucky Brown and the Bucks
Goodfoot Lounge
3100 NE Sandy Blvd. The Thornes, Dinner with Wolves, Sons of Dirt
Pints Brewing Company
714 SW 20th Place Here Come Dots, Donovan Breakwater, Adrienne Hatkin
660 SE 160th Ave. Old Circle, Kathy Boyd and Phoenix Rising
317 NW Broadway Key of Solomon, Alabama Black Snake, Heaven Generation
Tonic Lounge
4811 SE Hawthorne Blvd. Great American Taxi, White Water Ramble
Ash Street Saloon
Tiger Bar
3552 N Mississippi Ave. The BrassRoots Movement (9 pm); Shoebox Letters (6 pm); Toy Trains (4 pm)
1314 NW Glisan St. Toshi Onizuka
3130A SE Hawthorne Blvd. Doug Smith and Brooks Roberson
The Prescription
Aladdin Theater
Alberta Rose Theatre
3000 NE Alberta St. Eric Stern, Swing Papillon, Sugar Kane, John Bennett Trio, Birdie Krebs, Pink Lady, Lisa Stringfield (A Night at the Moulin Rouge, performances at 3 pm and 8 pm)
Andina
1314 NW Glisan St. Danny Romero
Ash Street Saloon
225 SW Ash St. Full Lush, Ol’ Devols
Biddy McGraw’s
6000 NE Glisan St. Felim Egan
Clyde’s Prime Rib
5474 NE Sandy Blvd. Ron Steen Jazz Jam
Dante’s
350 W Burnside St. Inspector Cluzo
Doug Fir Lounge
830 E Burnside St. Castanets, Alameda, Great Wilderness
Ella Street Social Club
714 SW 20th Place Modern Golem, Saything, The Burning of Rome, Ugly Flowers
Ground Kontrol
511 NW Couch St. Micropalooza: Ovenrake, Chipocrite, Operation Mission, Andreas
Hawthorne Theatre
3862 SE Hawthorne Blvd. High on Fire, Indian, Shelter Red
Holocene
3158 E Burnside St. Poor Boy’s Soul 5403 NE 42nd Ave. Open Mic
Peter’s Room
8 NW 6th Ave. Freddie Gibbs, DaVinci, Illa, Rev Shines
Rontoms
600 E Burnside St. Béisbol, Adventure Galley
Rotture
315 SE 3rd Ave. The Hunting Accident, Help
The Blue Monk
3341 SE Belmont St. The Rich Halley Quartet
The Tiffany Center
1410 SW Morrison St. Sparkle! (PHAME fundraiser)
Tillicum Club
8585 SW BeavertonHillsdale Highway Johnny Martin
Tony Starlight’s
3728 NE Sandy Blvd. Cabaret/Kabaret
Trail’s End Saloon
1320 Main St., Oregon City Robbie Laws
Tupai at Andina
1314 NW Glisan St. Soulmates
Valentine’s
232 SW Ankeny St. Gulls, Michael Bruce, Motëm, Lazercrotch
Village Ballroom
700 NE Dekum St. Water Tower Bucket Boys with Maggie Lind (square dance)
Vino Vixens Wine Shop & Bar 2929 SE Powell Blvd. Hifi Mojo
White Eagle Saloon 836 N Russell St. Open Mic/Songwriter Showcase
MON. NOV. 21 Al’s Den at the Crystal Hotel 303 SW 12th Ave. Steve Wilkinson
Alberta Street Public House 1036 NE Alberta St. Antony Abraham
Andina
1314 NW Glisan St. Pete Krebs
2026 NE Alberta St. Sons of Huns, Old Junior, Hooker Vomit
1001 SE Morrison St. Sex Life, Arohan, DJ Genevieve D, DJ Nathan Detroit
Ash Street Saloon
The Old Church
Jade Lounge
1422 SW 11th Ave. Satori Men’s Chorus
2346 SE Ankeny St. Sockeye Sawtooth
115 NW 5th Ave. Battery-Powered Music
Thirsty Lion
Kelly’s Olympian
The Know
71 SW 2nd Ave.
426 SW Washington St.
225 SW Ash St. Hip-Hop Open Mic
Backspace
Brasserie Montmartre 626 SW Park Ave. Eric John Kaiser
CALENDAR Dante’s
350 W Burnside St. Karaoke from Hell, Papa Dynamite & The Jive
Doug Fir Lounge
830 E Burnside St. Markéta Irglová, Sean Rowe
Ella Street Social Club 714 SW 20th Place Sorta Ultra
Goodfoot Lounge
Muddy Rudder Public House 8105 SE 7th Ave. Lloyd Jones
Music Millennium
3158 E Burnside St. Rolling Tones
O’Connors
7850 SW Capitol Highway Kit Garoutte
Roseland Theater
2845 SE Stark St. Open Mic
8 NW 6th Ave. Kyuss Lives!, The Sword, Black Cobra
Jade Lounge
Tonic Lounge
2346 SE Ankeny St. Goose and Fox
Jimmy Mak’s
221 NW 10th Ave. Dan Balmer
Keller Auditorium
222 SW Clay St. B.B. King, Curtis Salgado
Kelly’s Olympian
426 SW Washington St. David Gerow, Brian K
LaurelThirst
2958 NE Glisan St. Kung Pao Chickens (9 pm); Portland Country Underground (6 pm)
McMenamins Rock Creek Tavern
10000 Old Cornelius Pass Road, Hillsboro Bob Shoemaker
Mississippi Pizza
3552 N Mississippi Ave. Adam Brock Trio, Bumpin’ Nastys (9 pm); Bluegrass Jam (6:30 pm); Mr. Ben (5 pm)
Mississippi Studios
3939 N Mississippi Ave. The Lusitania, BellaMaine
3100 NE Sandy Blvd. The Penalty
White Eagle Saloon
836 N Russell St. Jack Ruby Presents, Sara Jackson-Holman, Ed and the Red Reds
Wonder Ballroom
128 NE Russell St. Tune-Yards, Pat Jordache, Malikat Dan Singa
TUES. NOV. 22 15th Avenue Hophouse
1517 NE Brazee St. Steve Cheseborough
Al’s Den at the Crystal Hotel
303 SW 12th Ave. Steve Wilkinson
Alberta Street Public House 1036 NE Alberta St. Josh Hoke, Annie Bethancourt
Andina
1314 NW Glisan St. JB Butler
Ash Street Saloon 225 SW Ash St.
The Smoking Mirrors, A.M. Interstate, Weight of Atlas
LaurelThirst
Beaterville Cafe
McMenamins Rock Creek Tavern
2201 N Killingsworth St. Jackie Saurinol
Buffalo Gap Saloon
6835 SW Macadam Ave. Open Mic
Bunk Bar
1028 SE Water Ave. My Autumn’s Done Come, Honey Wars
Camellia Lounge 510 NW 11th Ave. Zay Harrison
Doug Fir Lounge
830 E Burnside St. Larry & His Flask, Sassparilla, Third Seven
Duff’s Garage
1635 SE 7th Ave. Dover Weinberg Quartet (9:30 pm); Trio Bravo (6 pm)
East Burn
1800 E Burnside St. Dogtooth
Ella Street Social Club 714 SW 20th Place Prescription Pills, ExtrAlone, Warm Hands, Ghosties
Goodfoot Lounge
2845 SE Stark St. Scott PembertonTrio
Hawthorne Hophouse 4111 SE Hawthorne Blvd. Kory Quinn Duo
Hawthorne Theatre
3862 SE Hawthorne Blvd. VNV Nation, Straftanz
Jimmy Mak’s
221 NW 10th Ave. The Mel Brown Septet (8 pm); Sonali Sampat (6:30 pm)
2958 NE Glisan St. Jackstraw
10000 Old Cornelius Pass Road, Hillsboro Open Bluegrass Jam
Mississippi Pizza
3552 N Mississippi Ave. Inky Shadows
Devils Point
Plan B
5305 SE Foster Road ‘80s Night with DJ Brooks
Saratoga
511 NW Couch St. TRONix: Mike Gong, Bliphop Junkie
1305 SE 8th Ave. Carol Bui, Barnaby Woods, Shallow Seas 6910 N Interstate Ave. Open Mic
Someday Lounge
125 NW 5th Ave. Songwriter Showcase
The Blue Monk
3341 SE Belmont St. The Jazzistics
The Know
2026 NE Alberta St. Big Eyes, Youthbitch, Forever
Thirsty Lion
71 SW 2nd Ave. PDX Singer-Songwriter Showcase
Tony Starlight’s
3728 NE Sandy Blvd. Piano Bar with Bo Ayars
Twilight Café and Bar 1420 SE Powell Blvd. Open Mic with The Roaming
Vino Vixens Wine Shop & Bar
2929 SE Powell Blvd. Arthur “Fresh Air” Moore Harmonica Party
White Eagle Saloon 836 N Russell St. Jawbone Flats
Deacon X Fetish Night
The Whiskey Bar
Tiga
31 NW 1st Ave. Juice!: Bachelors of Science, Definition: Positive
WED. NOV. 16
Ground Kontrol
The Lovecraft
421 SE Grand Ave. Negative Space with VJ Phantom Hillbilly
Tiga
1465 NE Prescott St. DJ Blackwell
Tube
18 NW 3rd Ave. Paint It Black with DJ Josh Spacek (10 pm); DJ Loyd Depriest (early set)
Valentine’s
232 SW Ankeny St. Cowboys from Sweden
Yes and No
20 NW 3rd Ave. Death Club with DJ Entropy
THURS. NOV. 17 Aura
1022 W Burnside St. Brazilian Music Party (and samba dance class)
Palace of Industry 5426 N Gay Ave. DJ Philadelphia Freedom
Someday Lounge 125 NW 5th Ave.
Mixer: Aaron Roth, Keane, Mr. Romo, Deena B, Michael Grimes
Tiga
1465 NE Prescott St. Pippa Possible
Tube
18 NW 3rd Ave. Fast Weapons Night: DJs Nate Preston, Nightschool (10 pm); DJ Sethro Tull (7 pm)
Valentine’s
232 SW Ankeny St. Tender, Love ‘n Care Country Night
FRI. NOV. 18 Groove Suite
440 NW Glisan St. Trifecta with Steven Lee
Ground Kontrol
511 NW Couch St. Landau Boyz
Holocene
1001 SE Morrison St. Rockbox: Matt Nelkin, DJ Kez, Dundiggy (9 pm); Soft Rock Happy Hour with Kendall Holladay (5 pm)
Someday Lounge 125 NW 5th Ave. Occupy the Dance Floor with DJ Nick Dean
The Crown Room
205 NW 4th Ave. Blast Friday: Clicks & Whistles, Dannycorn, Spekt1, Exodub, Tigerfresh
The Lovecraft
421 SE Grand Ave.
MUSIC
Propaganda
The Woods
6637 SE Milwaukie Ave. In the Detention Hall: Cooky Parker, DDDJJJ666
Tiga
1465 NE Prescott St. AM Gold
Tube
18 NW 3rd Ave. Townbombing (10 pm); DJ Neil Blender (early set)
Valentine’s
232 SW Ankeny St. DJ Cuica, Selector Morganixx
SAT. NOV. 19 Aalto Lounge
3356 SE Belmont St DJ Fuzzprobe
Beauty Bar
1465 NE Prescott St. Hostile Tapeover
Tube
18 NW 3rd Ave. Freaky Outy (10 pm); Saturdazed: DJs GH, Czief Xenith (early set)
Valentine’s
232 SW Ankeny St. DJ Copy
SUN. NOV. 20 Tube
18 NW 3rd Ave. Hootchie Koo! with DJ Danny Dodge
MON. NOV. 21 The Know
2026 NE Alberta St. DJ One Ill
Tiga
1465 NE Prescott St. The Lieutenant
TUES. NOV. 22
111 SW Ash St. Party Foul: Silver Medallion, Yo Huckleberry
East End
Ground Kontrol
Kelly’s Olympian
511 NW Couch St. DJ I <3 U
Holocene
1001 SE Morrison St. Gaycation: DJ Snowtiger, Mr. Charming
Someday Lounge
125 NW 5th Ave. Ante Up: Doctor Adam, DJ Nature, Ronin Roc
The Crown Room
205 NW 4th Ave. Club Crooks: DJs Izm, Easter Egg
203 SE Grand Ave. DJ Floodland 426 SW Washington St. DJ Rescue
The Lovecraft
421 SE Grand Ave. Black Metal Night
Tiga
1465 NE Prescott St. DJ Hornet Leg
Tube
18 NW 3rd Ave. Tubesday with DJ Ronin Roc (late set); DJ Dirty Red (early set)
The Whiskey Bar 31 NW 1st Ave.
©2011 COORS BREWING COMPANY, GOLDEN, CO Willamette Week NOVEMBER 16, 2011 wweek.com
39
MUSIC
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upcoming in-store performances W.C. BECK WEDNESDAY 11/16 @ 6PM W.C. Beck is a charter member of Meridian, Les Flaneurs, and The Checkered Present and has played in/with Leonard Mynx, On The Stairs, Blue Giant, Pigeons, and The Portland Country Underground. ‘Kansawyer,’ with his backing band, The Valiant Swains, tells the hard luck tales of a changing America through the eyes of those who work her fields, factories and farms.
SEVEN INCH STITCH THURSDAY 11/17 @ 7PM Seven Inch Stitch — Bob Bechtol and Clay Daniel — call themselves experimental surf music that consistis of looped guitar lines, fractured keyboard drones, slide guitar licks, and found sounds. They are currently finishing up their new album, ‘And Your Point Is?’
THE SECRET WHISTLE FRIDAY 11/18 @ 6PM The Secret Whistle is an instrumental electronica duo based in Portland. With over 40 recordings under their belt in just a few short years, Dan Friedman and Forest Gallien combine subtle elements of hip-hop, lo-fi, dub, ambient, and electronica into a unique synthesis of experimental organic sounds and textures. ‘Capturing Something’ is the group’s new full-length album.
THE NEXT WALTZ SATURDAY 11/19 @ 3PM With Jeremy Wilson, Joe McMurrian, David Lipkind, Morgan Geer, Kris Deelane, Adam East, Steve Kerin, and Berthaline See the whole show Saturday 11/26 @ Alberta Rose Theatre A BENEfIT foR JEREMy WILSoN fouNDATIoN. The Portland music community has always been defined by camaraderie, generosity as well as amazing talent, and that community deserves a celebration every bit as great as The Last Waltz, the party The Band threw for its musical community back in ‘76. Many of Portland’s favorite players are joining together at the Alberta Rose Theatre for The Next Waltz - paying tribute to that legendary concert, and raising funds for people lacking adequate food and health care via the Jeremy Wilson Foundation and Oregon Food Bank.
PooR Boy’S SouL SUNDAY 11/20 @ 5PM Poor Boy's Soul is Trever Jones, who makes bone-rattling acoustic stomp music for those pissed off and left behind. Songs on his new album ‘Burn Down’ are caught up in the currents of fate and myth; gratifications and torments of the flesh; today's news and tomorrow's final reckoning. It is full of kick drum, tambourine, and the chattering riffs of an old National guitar.
THE RoLLING ToNES MONDAY 11/21 @ 7PM Portland's own premiere tribute band, The Rolling Tones (featuring Andy Madson as "Mick Swagger") are kicking off a celebration of the deluxe re-issue of The Rolling Stones’ 1978 classic, ‘Some Girls.’ It's the 50th Anniversary of the Rolling Stones in 2012! The Rolling Tones light up the stage with a great live concert experience. Bringing the sound, look and spirit of the Rolling Stones - the band widely acknowledged as being highly instrumental in reviving the appreciation of the blues and resurrecting the careers of many seminal blues icons including Muddy Waters and Buddy Guy, The Rolling Tones bring energy to their shows that are unparalleled on the music scene.
www.CasaDiablo.com (503) 222-6600 • 2839 NW St. Helens Rd
MONDAY-TUESDAY
that’s all we really need from the legend. King’s spent more than 60 years as blues royalty—the man who helped smash the blues into the mainstream, consequentially blowing the doors open for rock to mine the 12-bar formula. King hasn’t recorded since 2008, and never topped his 1960s glory days (though the 2000 Clapton collaboration Riding with the King has its moments). New material is irrelevant. The King’s gonna kick back and play some blues. Anyone who can afford the steep ticket prices is urged to kick back and behold. AP KRYZA. Keller Auditorium, 222 SW Clay St., 800-745-3000. 8 pm. $94-$336. All ages.
Kyuss Lives!, The Sword, YOB, Black Cobra
[PARCHED-EARTH METAL] Note the slightly altered name: Like Creedence Clearwater Revisited and the Doors of the 21st Century, it’s a warning that this isn’t quite the Kyuss reunion you were hoping for. This group features three of the four original members of the pioneering California stoner-rock quartet, but the missing 25 percent is really the most crucial part. That would be guitarist Josh Homme, who, after the band broke up in 1995, went on to form Queens of the Stone Age and probably refused to participate in the reformation because he was too busy putting together another supergroup or something. Oh, well. At least it’s got bassist Nick Oliveri… although that might be more of a burden than a blessing, considering he’s facing prison time for a July domestic-violence charge. OK, so maybe these aren’t the most ideal circumstances for Kyuss to resurrect under, but the fact remains that the band’s desert-fried homebrew of down-tuned riffage, drugged-out spaciness and heavyswinging boogie is among the most influential sounds in metal in the past 20 years. MATTHEW SINGER. Roseland Theater, 8 NW
6th Ave., 224-2038. 8 pm. $20 advance, $25 day of show. All ages.
TUESDAY, NOV. 22 Prescription Pills, ExtrAlone, Warm Hands, Ghosties
[DANCE GOTH] Just when it seemed like Prescription Pills’ Ian Curtis fetish couldn’t become any more involved, the group went ahead and released its New Division EP. Arriving this past September, New Division offers further variations on Prescription Pills mastermind Cole Browning’s love of stygian synthesizers and ice-cold dance cuts. Tracks like “Part of Me” marry Joy Division’s croaking vocals and room-sized synthesizers with a not-yet-suppressed addiction to the dance floor. Browning’s favorite musical form remains the dirge, and his talent lies in finding ways to make that mode danceable. SHANE DANAHER. Ella Street Social Club, 714 SW 20th Place, 227-0116. 9 pm. Free. 21+.
Big Eyes, Youthbitch, Forever
[POP PUNK] With its sympathies clearly aligned with the pop side of the perennial pop-vs.-punk showdown, Seattle’s Big Eyes joins the ranks of such illustrious figures and acts as the Muffs, the Mr. T Experience and Hüsker Dü’s Grant Hart—defenders of the tender heart beating sweetly at the center of the world Green Day almost blew up for good. Hard Life, Big Eyes’ new album, is radio-friendly in the best way: Every song here hides a sharp hook and terminates around the three-minute mark, and the album’s cumulative effect on the listener is a rather welcome desire either to drive too fast or make out too much. If only radio was quality-friendly. CHRIS STAMM. The Know, 2026 NE Alberta St., 473-8729. 8 pm. Cover. 21+.
PRIMER
BY MAT T HEW SIN GER
TUNE-YARDS Formed: 2006. Sounds like: Hip-hop, R&B and Afro-pop reflected through a post-punk lens. For fans of: The Slits, Essential Logic, Lizzy Mercier Descloux’s Mambo Nassau. Latest release: This year’s whokill, on which singer-songwriter Merrill Garbus evolves from a subway busker casually toying around with found sounds and a ukulele into a squawking artfunk bird of paradise. Why you care: Conventional wisdom would suggest that an artist who took more than two years to piece together her first album, then self-released it by dubbing the finished product to cassette tapes, would be straitjacketed by a more “professional” recording process. But, then, conventionality isn’t a trait often associated with Tune-Yards’ Garbus. For the follow-up to 2009’s avant-folky Bird-Brains—originally picked up by Portland’s Marriage Records, then reissued by 4AD—the 32-year-old, Connecticut-born vagabond got to run wild in an actual studio and, instead of feeling constrained, took the opportunity to do things she couldn’t do working by herself with no budget. As a result, whokill is even more creatively bonkers than her homemade debut. Adding crooked bass lines, heavy percussion, skronky saxophones and layers of her elastic voice, Garbus adapts the charmingly patchwork nature of Bird-Brains into an album bursting with ebullient color. If anything, being in a real studio encouraged her to shed the art-school pretensions that sometimes muddied her previous record’s DIY sense of discovery, leaving intact the joyous primitivism that turned heads in the first place. And now you can dance to it. SEE IT: Tune-Yards plays Wonder Ballroom on Monday, Nov. 21, with Pat Jordache and Malikat Dan Singa. 8 pm. $17.
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Willamette Week NOVEMBER 16, 2011 wweek.com
PERFORMANCE
NOV. 16-22
= WW Pick. Highly recommended. Most prices listed are for advance ticket sales. At-the-door increases and so-called convenience charges may apply, so it’s best to call ahead. Editor: 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 The Bad Seed
Oregon City’s New Century Players stage the original evil-child horror story, starring Rhoda Penmark as the titular murderous brat. Rex Putnam High School Blackbox Theater, 4950 SE Roethe Road, Milwaukie, newcenturyplayers.org. 7:30 pm WednesdaySaturday, Nov. 16-19. $12-$18.
The Big Bang
Triangle Productions presents a musical about a couple of guys performing an investors’ pitch version of a musical (meta!) about everything. And they do mean everything, including all of human history from the creation through the present. Sanctuary at Sandy Plaza, 1785 NE Sandy Blvd., 2395919. 7:30 pm Thursdays-Saturdays, 2 pm Sundays. No shows Nov. 20 and 24. $15-$35.
Del Shores Sordid Confessions
The creator of Sordid Lives performs his new solo show about sluttin’ it up and working with unpleasant people. Red Cap Garage, 1035 SW Stark St, 226-4171. 8 pm Friday, Nov. 18. $10-$20.
Foiled!
A play about fairy-tale villains struggling to succeed, created by the students of Krayon Kids Musical Theater Company. Barclay Community Theater, 817 12th St., Oregon City, krayonkids. org. 7 pm Friday, 2 and 7 pm Saturday, 2 pm Sunday, Nov. 18-20. $15 adults, $10 children and seniors.
Glengarry Glen Ross
David Mamet’s plays are famous for two things: profanity and misogyny. (This may not actually be true, but work with me.) In this defunkt theatre production, director Tamara Carroll embraces the former and subverts the latter, casting women in the swaggering, cocky roles of Shelly Levene and Richard Roma. Aside from some pronoun confusion, it works quite well—after all, real estate is no longer the male-dominated field it was in 1984. Female real-estate agents now outnumber their male counterparts in every state in the U.S., according to trulia.com. The gender swap has surprisingly little effect on the desperate, faded Levene (Lori Sue Hoffman)— beyond lending a sinister air to the opening scene in which she begs her supervisor for better leads—but Roma is transformed. Grace Carter gives the role’s slimy doubletalk a seductive, sexual tone, turning Roma into the sort of woman who strikes terror into the hearts of men who hate women. My favorite performance is Garland Lyons’ more traditional turn as Aaronow, a man so nervous he shakes too badly to hold chopsticks. Lyons, who often plays brash braggarts, conveys such miserable career angst that I imagined I could smell his flop sweat over the Back Door Theater’s pervasive mildew. BEN WATERHOUSE. The Back Door Theater, 4319 SE Hawthorne Blvd., 481-2960. 8 pm Thursday-Saturday, Nov. 17-19. $10-$20. Thursdays and Sundays are “pay what you can.”.
Our Country’s Good
PSU professor Amy Gonzalez directs a play about the British colonization of Australia. Lincoln Hall, Portland State University, 1620 SW Park Ave., theaterarts.pdx.edu. 7:30 pm WednesdaySaturday, Nov. 16-19. $6-$12.
Pinkalicious: The Musical
Oregon Children’s Theatre presents a musical adapted from a book about a little girl who loves pink and eats so many pink cupcakes she turns pink, a condition called pinkitis, like those colloidal silver-gobbling human smurfs
but with frosting. Those raising gender-neutral children might want to skip this one. Newmark Theatre, 1111 SW Broadway, 228-9571. 2 and 5 pm Saturday-Sunday, Nov. 19-20. $28.15$37.35, fees included.
Pinocchio
Tears of Joy Puppet Theatre begins its 40th season with a revival of the company’s very popular puppet-boy puppet play. Winningstad Theatre, Portland Center for the Performing Arts, 1111 SW Broadway, 248-0557. 11 am Saturday, 2 and 4 pm Sunday, Nov. 19-20. $17-$20.
Playback Theater
Audience members tell stories from their lives, and improvisers re-enact them. The Headwaters, 55 NE Farragut St., No. 9, playbacktheaterpdx.com. 7 pm Saturday, Nov. 19. $15-$17.
Prisoner of Second Avenue
Profile Theatre presents a staged reading of Neil Simon’s comedy about a couple who suddenly loses everything. They are the 99 percent! Theater! Theatre!, 3430 SE Belmont St., 242-0080. 7:30 pm WednesdaySaturday, 2 pm Sunday, Nov. 16-20. $12-$16.
Rocket Man
Twilight Rep presents Steven Dietz’s 2003 drama about a man who puts everything he owns on his lawn with a sign reading “Here’s my life—make an offer.” Then he stargazes. It sounds like a more metaphysical version of the Will Ferrell movie Everything Must Go. Shoe Box Theater, 2110 SE 10th Ave., 312-6789. 7:30 pm ThursdaysSaturdays, 2 pm Sundays. Closes Dec. 12. $10-$15.
Sherlock Holmes and the Case of the Christmas Carol
Artists Rep gets mysterious for the holidays with John Longenbaugh’s Holmesian take on Dickens. Artists Repertory Theatre, 1515 SW Morrison St., 241-1278. 7:30 pm WednesdaysSaturdays, 2 and 7:30 pm Sundays. Closes Dec. 24. $20-$50.
CIRCUS AND VARIETY Back Fence PDX
The year’s last edition of Back Fence features stories on the theme of “that’s a mouthful,” told by social worker Amber Jo Hatt, radio host Daria Eliuk, publisher Derrick Brown, competitive eater Erik “The Red” Denmark, world traveler Fiona McCann and actress sisters Shelley McLendon and Wendi McLendon-Covey. Mission Theater, 1624 NW Glisan St., backfencepdxnov17. eventbrite.com. 6:30 pm Thursday, Nov. 17. $12-$15. 21+.
Cavalia
You might have noticed the massive tent that grew over the course of a few hours in October on a vacant lot just north of the Broadway Bridge and wondered, what the heck is that? It is this: an acrobatic/equestrian spectacle produced by Cirque du Soleil cofounder Normand Latourelle, featuring riders, aerialist, acrobats, dancers and 49 horses. If you’re a horse lover, you’ll probably enjoy this show. If you are, like me, both cirque-averse and equinophobic, you will not. Cavalia Big-top, Northwest 12th Avenue and Pettygrove Street, 866-999-8111. 8 pm Nov. 16, 18-19, 22-23, 25-26, 29-30 and Dec. 1-3; 2 pm Nov. 20, 25, 27 and Dec. 4. 3 pm Nov. 19, 26 and Dec. 3. $24.50-$189.50.
Charivari
Miguel, dreadlocked and wearing a clown nose, might be dead. Or maybe not. What is clear in this bilingual show, directed by Carlos Alexis
Cruz, is that Miguel (Yoan Calvo) has just attempted a risky crossing to the United States, in search of that elusive sueño americano, the American dream. At each step, Miguel meets clowns and acrobats and entertainers of all stripes: a mischievous contortionist who captures his heart, aerialists like sea nymphs in iridescent blue spandex and a member of a chain gang who performs suspended by (what else?) clanking chains. The tragicomic narrative gets a bit lost amid the circus spectacles, and at times the members of the ensemble (including several from the A-WOL Dance Collective) overshadow Calvo. Accompanied by a nimble four-man band, the ensemble’s spunky, acrobatic feats—Terra Nova Zarra and Ari Rapkin somersaulting in tandem in a vigorous, athletic duet; the versatile Alysia Colón executing clever contortions atop a suitcase— wind up carrying the show. REBECCA JACOBSON. Imago Theatre, 17 SE 8th Ave., pelutheatre.com. 8 pm ThursdaySaturday, 2 and 7 pm Sunday, Nov. 17-20. $10.
Pipes
Curious Comedy’s musical ensemble debuts a new show, Rhapsody. Curious Comedy, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 8 pm FridaySaturday, Nov. 18-19. $12-$15.
Saturday Stand-up Showcase
Late-night funnies. Curious Comedy, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 9:45 pm Saturday, Nov. 19. $5.
The Shame Company
This year’s edition of the 3rd Floor’s annual sketch-comedy show is all about shame. Newsies, unitards, homophobes, jazz drummers and the entire year of 1985 get to hang their heads. Miracle Theatre, 525 SE Stark St., the3rdfloor.com. 8 pm FridaysSaturdays and Thursday, Dec. 1. No show Dec. 2. Closes Dec. 17. $14-$16.
CLASSICAL 5Tet
The woodwind quintet plays a premiere by Vermont composer Zeke Hecker, a transcription of Bartók’s Hungarian Sketches, and German Romantic composer Ludwig Thuille’s Opera No. 6, with pianist Ray McKean. Tigard United Methodist Church, 98945 SW Walnut Place, Tigard, 764-8027. 7:30 pm Saturday, Nov. 19. $10-$15.
Art Resnick
The first half of this fundraiser for Cascadia Composers features the contemporary-classical compositions of the composer, pianist and “musical schizophrenic,” while the second features him on piano with his jazz trio (bassist Dan Schulte and drummer Jonas Oglesbee). Community Music
CONT. on page 42
REVIEW
Deck the Hall and All That Jazz
A holiday revue from Northwest Senior Theatre. Alpenrose Dairy Opera House, 6149 SW Shattuck Road, 503-2272003. 2 pm Wednesday-Saturday, Nov. 16-19. $5 suggested donation.
Irving Berlin’s White Christmas
It’s ridiculous, I know, but Lakewood Theatre opened its Christmas show three weeks before Thanksgiving. Heaven help us all. It consists of exactly what it says. Lakewood Center for the Arts, 368 S State St., Lake Oswego, 635-3901. 7:30 pm Thursdays-Saturdays, 7 pm Sunday Nov. 20, 2 pm Sundays Dec. 4 and 18, 2 and 7 pm Sundays Nov. 27 and Dec. 11. No show on Thanksgiving. Closes Dec. 18. $29-$32.
Live Wire!
The radio variety show features writers Brian Doyle and Michael Nielsen; musician, playwright and TV host Christine McKinley; comedian Ron Funches; and music from the Fruit Bats and Crooked Fingers. Alberta Rose Theatre, 3000 NE Alberta St., 719-6055. 7:30 pm Friday, Nov. 18. $18-$30. 18+.
A Night at the Moulin Rouge
A bohemian fantasy from Eric Stern, Wanderlust Circus and Swing Papillon. Alberta Rose Theatre, 3000 NE Alberta St., 719-6055. 8 pm Saturday, 3 and 8 pm Sunday, Nov. 19-20. $10$20. 18+.
Squidling Brothers Circus Sideshow
The west Philadelphia circus act’s Portland appearance will be backed by Wanderlust Circus’ band and singersongwriter Professor Gall. Star Theater, 13 NW 6th Ave. 8 pm and midnight Wednesday, Nov. 16. $10-$15. 21+.
COMEDY Comedy Monster Open Mic
Open-mic funnies at Curious. Curious Comedy, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 9:30 pm Thursday, Nov. 17. Free.
Comedysportz
Family-friendly competitive improv comedy. ComedySportz, 1963 NW Kearney St., 236-8888. 8 pm FridaysSaturdays. $12.
Girls! Girls! Girls! and Two for the Show
All-women improv, followed by improv duets. Brody Theater, 16 NW Broadway, 224-2227. 7:30 and 9:30 pm Saturday, Nov. 19. $8-$10.
Mice-tro
Sixteen improvisers are pitted against one another by a voice-of-God maestro and voted off by the audience. Brody Theater, 16 NW Broadway, 224-2227. 8 pm Fridays through Nov. 25. $8-$12.
Open Court
A long-form improv jam open to all. Curious Comedy, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 8 pm Thursday, Nov. 17. $5.
CAMILLE CETTINA
MR. DARCY DREAMBOAT (PUSH LEG) Some books should come with warning labels. Not for the vulgarity or political dangerousness of their content, but because they are too damn well written. Once you read a really great book, it can never be unread. Its story and characters will travel with you until the day you die. This is a good thing, in that it gives us a shared mythology, but, as Camille Cettina tells it in this vivacious solo performance, good books can screw up your love life. Cettina, an actress with a long résumé of local performances who recently returned to Portland after three years of studying physical performance in London, describes herself as an avid reader early in the show. I think “ravenous” is a more accurate descriptor. Tall and lithe, her large eyes framed by a prodigious explosion of auburn curls, she clambers up and around a large bookcase at the center of the stage, snatching books to sniff, stroke and gnaw upon as she describes her literary coming of age, from Nancy Drew through Pride and Prejudice and Jane Eyre to Franny and Zooey. Cettina gives each of these works a sort of performed precis, running down major plot points as all the relevant characters, moving from person to person gracefully, every action aided by skillful mime. While these sketches are quite funny, the effect of the books on Cettina’s adolescent psyche is disturbing. “The dream of Darcy winds itself into your very heart,” she says, making the prospect of any romance not forged of witty hostility seem insufficient. Worse is the dream of Rochester, moaning for Jane across the moors. Modern men don’t moan, at least not on moors, and any girl looking for a moor-moaner is out of luck. Where most teenagers are made miserable by acne or bullying or the unattainability of Bieber, Cettina is laid low by novels. Mr. Darcy Dreamboat stumbles in rough links between the novels and Cettina’s central theme of viral narrative, but the awkwardness of these transitions is eased by John Berendzen’s score for the show. Full of burbling muted piano and the sinister murmur of distant traffic, the music builds to a thundering fugue over Cettina’s concluding dance, which ties together in wordless movement the script’s loose ends with grace. It’s good. Take your book club. BEN WATERHOUSE. An ardent reader pines for Fitzwilliam.
SEE IT: 8 pm Wednesday-Saturday and 2 pm Sunday, Nov. 16-20, at Ethos/IFCC, 5340 N Interstate Ave. Tickets $15 in advance at ethos. org, $12-$15 at the door. Willamette Week NOVEMBER 16, 2011 wweek.com
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Center, 3350 SE Francis St., 2323832. 8 pm Saturday, Nov. 19. $5 minimum donation.
Bach Cantata Vespers
The series of some of Bach’s finest sacred music continues with his solo tenor cantata, “I, Wretched Man, a Servant to Sin,” which could be a Portland motto. St. James Lutheran Church, 1315 SW Park Ave., 227-2439. 5 pm Sunday, Nov. 20. Donation.
Cantores in Ecclesia
A Latin mass featuring the Renaissance composer Palestrina’s transcendent Missa Brevis and Christopher Tye’s Omnes Gentes, Plaudite Manibus, sung by Cantores. St. Stephen’s Church, 1112 SE 41st Ave., 244-1037 ext. 107. 7:30 pm Saturday, Nov. 19. Free.
The Portland choir has earned international acclaim for its touring program of rare, medieval music— luckily preserved in Egypt—from ancient Byzantine monasteries and cathedrals. This concert presents Byzantium’s only liturgical drama, the service of The Fiery Furnace. St. Mary’s Cathedral, 1716 NW Davis St., 236-8202. 8 pm Saturday, Nov. 19. $18-$36.
Consonare Chorale
Joined by violinist Cecilia Archuleta and keyboardist Jon Stuber, the choir opens its sixth season with settings of poetry by Yeats, Byron, Twain, Cummings, Emerson and Frost by contemporary composers, including Portland’s Joan Szymko, Adam Steele, Morten Lauridsen and Eric Whitacre. First Congregational Church, 1126 SW Park Ave., consonarechorale.org. 7:30 pm Saturday, Nov. 19. $12-$18.
Filmusik
Florestan Trio
The PSU piano (Janet Guggenheim), violin (Carol Sindell) and cello (Hamilton Cheifetz) trio is joined by Third Angle/Oregon Symphony violinist Ron Blessinger in music by Dvorák, Mozart and Schumann. Lincoln Hall, Portland State University, 1620 SW Park Ave., 7253307. 4 pm Sunday, Nov. 20. $15-$25.
Journey to Light Festival
The sacred music festival includes Cappella Romana’s concert, this program of traditional chants conducted by University of Portland music professor Tracey Edson, and Saturday’s Cantores in Ecclesia mass. St. Nicholas Orthodox Church, 2210 SW Dolph Court, 244-1037. 7 pm Friday, Nov. 18. Donation.
Kartik Seshadri
The sitar master, now based in San Diego, is joined by Arup Chattopadhyay on tabla in this Kalakendra concert of Hindustani music. First Baptist Church, 909 SW 11th Ave., 702-6937. 8 pm Friday, Nov. 18. $10-$20.
MT Duo
In this Celebration Works concert, violinists Mary Rowell and Tatiana Kolchanova play music by Bartók, Prokofiev, Leclair and others. First Presbyterian Church, 1200 SW Alder St., 228-7331. 2 pm Sunday, Nov. 20. $10-$12.
Nathan Taylor
The classical guitarist joins pianist Keiko Shiokawa in a reduced version of Heitor Villa-Lobos’ Guitar Concerto and music by J.S. Bach, Tárrega and Sor. The Old Church,
Willamette Week NOVEMBER 16, 2011 wweek.com
MICHAEL JACKSON: The Immortal world tour
Cappella Romana
The series of classic silent films set to new music continues with the 1939 Ensemble, led by Jose Medeles, drummer of The Breeders, and Either/Orchestra’s David Coniglio, contributing a new, percussion-fueled score to F.W. Murnau’s film adaptation of Goethe’s Faust. Hollywood Theatre, 4122 NE Sandy Blvd., 281-4215. 8 pm Friday, Nov. 18. $12.
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PERFORMANCE
1422 SW 11th Ave., 222-2031. 8 pm Friday, Nov. 18. $14-$20.
Oregon Symphony
German cellist Alban Gerhardt, who starred at this summer’s Oregon Bach Festival, takes the solo spotlight in Sergei Prokofiev’s ginormous Symphony-Concerto, written for the great cellist Rostropovich. Contemporary composer Christopher Rouse’s Phaethon, composed partly in response to the Challenger space-shuttle disaster, opens the show, and one of the most popular of all symphonies, Dvorák’s ninth (“From the New World”) closes it. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 228-1353. 7:30 pm Saturday-Sunday, 8 pm Monday, Nov. 19-21. $21-$92.
Portland Columbia Symphony Orchestra
As the Oregon and Eugene symphonies have done this month, the CSO offers a program of music composed during or in response to war, including Samuel Barber’s dramatic 1939 Violin Concerto (with guest soloist Brandon Garbot), Beethoven’s grand Symphony No. 3 (Napoleonic wars) and Frank Bridge’s WWI-era Lament, dedicated to victims of the RMS Lusitania torpedoing. First United Methodist Church, 1838 SW Jefferson St., 234-4077. 7:30 pm Friday, Nov. 18. $5-$30.
Roman Rabinovich
by guest artists, including Africancontemporary choreographer Dr. Habib Iddrisu and contemporary choreographer Allie Boyden, along with student choreographic work spanning from contemporary to hiphop. Pacific University, 2043 College Way, 352-2918. 7:30 pm ThursdaySaturday, Nov. 17-19. $5-$7.
Brazilian Music Party and Free Samba Dance Class
Samba instruction and Brazilian music with DJ Digo. Aura, 1022 W Burnside St., 597-2872. 9 pm Thursday, Nov. 17. $8. 21+.
Cirque du Soleil’s Michael Jackson: The Immortal World Tour
Michael Jackson was loved nearly as much (and in some cases, more) for his dancing as he was his music. Now, 10 choreographers—some of whom worked with the King of Pop himself—have contributed to the new Cirque du Soleil show, Michael Jackson: The Immortal World Tour. This big-budget spectacle augments aerial and acrobatic feats with dance choreographed by Travis Payne (Michael and Janet Jackson, Lady Gaga), Rich and Tone Talauega (Gwen Stefani, Madonna), Napoleon and Tabitha D’umo (So You Think You Can Dance), Jamal Sims (Britney Spears, Spice Girls), Daniel Campos (Step Up 3D) and others. Rose Garden, 1401 N Wheeler Ave., 235-8771. 8 pm Friday-Saturday, 4 pm Sunday, Nov. 18-20. $50-$175.
Portland Piano International presents the young, prize-winning Israeli pianist in a terrific, mostly 20th-century program of music from great ballets by Prokofiev, Stravinsky and Ravel, plus a Haydn sonata. Lincoln Hall, Portland State University, 1620 SW Park Ave., 228-1388. 8 pm Monday, Nov. 21. $35.
Every Sunday Square Dance
Satori Men’s Chorus
The contortionist aspect of dancing is emphasized in PositionMax Beta, a new work by Jason King in which several performers assume previously unmanageable positions with the aid of a mysterious apparatus. According to King, “PositionMax has been designed to simultaneously anchor and suspend two joints (with particular emphasis on the elbows and knees), allowing the body to assume positions that the body’s natural distribution of weight would normally not allow.” With this contraption, King intends to jostle viewers into considering their relationships with technology. Place Gallery, Pioneer Place, third floor, 700 SW 5th Ave. 6 pm Saturday, Nov. 19. Free.
The choir sings music by composers ranging from Randall Thompson to Burt Bacharach. The Old Church, 1422 SW 11th Ave., 242-4244. 8 pm Saturday, Nov. 19. $7-$15.
The Julians
Accompanied by guitarist-violinistviolist Chris Fotinakis, the femme foursome examines gender relations in music by Brahms, Björk, Regina Spektor, Joni Mitchell, Ben Gibbard and John Lennon. St. Stephen’s Episcopal Church, 1432 SW 13th Ave., 227-5783. 2 pm Sunday, Nov. 20. $10 suggested donation.
Trio di Belleza
Music by Vivaldi and SaintSaens and a new work by George Kostopoulos. The Old Church, 1422 SW 11th Ave., 222-2031. Noon Wednesday, Nov. 16. Free.
DANCE Autumn Choreographers Concert
The 22-member Pacific Dance Ensemble, the in-house company at Pacific University, dances work
Weekly traditional square dance series; each dance taught by rotating regional callers and danced to the music of live bands. Village Ballroom, 700 NE Dekum St. 7-9 pm Sundays. $7.
PositionMax Beta
Savoir Faire Burlesque Revue
Weekly burlesque revue featuring local, regional and national burlesque and cabaret performers. Hawthorne Theatre, 3862 SE Hawthorne Blvd., 233-7100. 10 pm Thursdays. $8 . 21+.
For more Performance listings, visit
VISUAL ARTS
NOV. 16-22 Q&A
= WW Pick. Highly recommended. By TJ NORRIS. 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.
EVENTS Artwork From the Void signing
At Float On, you can spend 90 minutes relaxing in a dark, salt-water bath that removes all outside stimuli. The owners of Portland’s first “float” center offered free sessions to 150 artists to see how their experience in this sensorydeprivation chamber would influence their work. Sound trippy? The resulting artwork gathered in Artwork From the Void varies greatly in style and medium, but much appears to have been influenced by stronger drugs than salty water. If you’ve ever wanted to learn more about floating, stop by for food, wine and music. Float On, 4530 SE Hawthorne Blvd., 274-2620. 7 pm Sunday, Nov. 20. Free event; books available for $25.
NOW SHOWING Plazm: 20 Years of Art & Design
Printed ephemera astounds in this well-deserved 20-year retrospective, Plazm: 20 Years of Art & Design. Over two decades, Plazm has been a unique force in the relatively yawn-worthy world of art magazines. This exhibition proves that reinvention is the only course for survival. Everything from mass media to small-run is represented here, and the crossovers are at times both idiosyncratic and wry. Librarystyle vitrines filled with printed matter line the room showcasing the innards of the zine to Japanese posters for the second coming of Star Wars to slick designs for Nike products, films starring J.Lo and even a wonderfully fuzzy CD boxed-set design of works by the late noise maestro Muslimgauze! Archer Gallery/Clark College, 1933 Fort Vancouver Way, Vancouver. Closing reception 6-8 pm Dec. 10.
Body Gesture
Get ready to feast your eyes on work by some of the most recognized names in contemporary art with Body Gesture, a group show of feminist work concluding the Elizabeth Leach Gallery’s anniversary programming. The gallery has pulled out all the stops for a show that will stir up the foliage in a rather still season by incorporating works by 16 powerhouse women, including Sophie Calle, Jenny Holzer, Alice Neel, Yoko Ono, Carolee Schneemann and Alexis Smith. The exhibition boasts politically charged works in collage, print and various media that are at once as physical as
BOBBY ABRAHAMSON
the bodies they unmask for all eyes to witness. Elizabeth Leach Gallery, 417 NW 9th Ave., elizabethleach.com. Nov. 22-Jan. 28.
foreGround
Jeff Jahn curates foreGround, a sparsely composed group exhibition addressing the subliminal influence of geology on our everyday lives. New works by Jim Neidhardt (Atomic Fireball) and Jacqueline Ehlis (Holding Through the Silence) are activated by physical marks made by either the human hand or the force of nature. Others are more obtuse, such as Rovers by Zachary Davis, in which the action of insect-sized animals is taken out of context from an isolated gaming engine and video-projected on small mounds of sand, or Ben Young’s hara-kiri felt-cape-wearing warrior disguising a metal detector and the cast of a small cement pug. Then there’s Arcy Douglass’ untitled fractal panels in black-and-white. Rich in conceptual dimension and mathematical precision, he’s making light of the narrative at play. Matthew Picton’s Portland depicts a grid of the city circa 1980, at a time of great seismic change, though geo-mapping provides only a causeway for its physical construction, which is made from actual promo materials for the film Dante’s Peak. Littman Gallery/Portland State University at Smith Memorial Student Union, Room 250, 1825 SW Broadway. Closes Nov. 23.
Of Elephants and Hares
Of the three artists in this collection of new abstract work—James Boulton, Jack Davidson and Nicholas Nyland— Davidson has an extremely over-simplistic, almost childlike approach: colorful shapes that form jazzy patterns that don’t go too far. Boulton’s unusually small panels called Orionid are anything but meteoric in their employment of raw gestures. The works in oil use a faded tonal palette that is equally hazy and lazy. The star of the show is certainly Nyland, whose whip-smart stoneware miniatures emerge by collapsing in on themselves like crumpled typing paper of yore. As in Brighton and Sphinx (both 2010), caricatures emerge from the rubble that form a relationship to both striated organics and pure playful craftsmanship. Pulliam Gallery, 929 NW Flanders St., pulliamgallery. com. Closes Nov. 26.
In The 45th Parallel, storyteller Lisa Wells and photographer Bobby Abrahamson give a travelogue of rural life in the “small, endangered towns” of central Oregon. We spoke to Abrahamson, who has shot for The New York Times, Time and others while at the Magnum agency, about his growing body of work, photographs that walk a very fine line between journalism and fine art by leaving leeway for interpretation. TJ NORRIS. WW: Rural Oregon really echoes a sense of the past. How do you approach that without sentimentality, characterization or stating the obvious? Bobby Abrahamson: I think my approach was very straightforward.... It’s a kind of intuitive, first-person experience or response to the people FROM FIELDS: Bobby Abrahamson’s portrait of Mike Ensley. and places I photograph. It’s about making connections with my subjects. I trust my instincts and respond intuitively to what landscape of the dirt road with power lines—that’s I’m seeing, discovering, whom I’m meeting. I think I actually his driveway. am inherently a lonely person—longing for connections and relationships—and so much of my photog- In one of your images, there is a black bear raphy is imbued with that kind of impulse, to get to named Henry and a man wearing a plaid shirt. know the people and have them get to know me…. So How did that set of images come about? when I get to a small town, I get out and walk a lot. If Henry and the man in the plaid shirt were the I meet someone, I ask to sit down and talk to them, impetus for the whole project. Lisa had stopped spend enough time to establish trust, to feel I can in Mitchell, Ore., a year or more before and was get a picture that has some of that emotional quality, fascinated by Hugh and his bear, which he kept in a cage next to the gas station he runs in Mitchell. It connection, sense of human experience. seems everyone knows Hugh and Henry—he’s like The portrait work in the exhibition really stands the larger-than-life character that embodies what out. Can you say anything about your Cowboy the whole story is about: characters that thrive in small towns. When I came to visit on my second trip and Cowgirl in Fields, Ore.? I made a real connection with them, getting physi- in March, he invited me up to see him, even feed cally very close to them. In the case of the cowboy, Henry. He came to pick me up on Main Street in in particular, I felt a kind of energy in the moment I Mitchell in his Jeep. When I opened the door, I saw snapped the photo. Hard to explain, but that is what the rifle and his big burly hands and some plumbing I live for in shooting on the street. It’s kind of like parts and rags, so it looked like a good shot. And this when you meet someone and fall in love with them, shot I did get, it seemed the bear was tiny compared or have this moment when you make eye contact and to Hugh. The bear looks like this tame pet, and Hugh you feel that flash of excitement, intimacy and trust. seems enormous. The irony is that I think it works He wound up inviting me back to his home, his ranch, this way: Hugh is the bear, not Henry. to meet and photograph his family. That is where several other photos came from—the picture of the SEE IT: The 45th Parallel is at the Newspace Center for Photography, 1632 SE 10th Ave. Show dogs and cats with the people walking and the large closes Nov. 27.
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For more Visual Arts listings, visit
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Willamette Week NOVEMBER 16, 2011 wweek.com
43
BOOKS
NOV. 16-22
= WW Pick. Highly recommended. By MARIANNA HANE WILES. TO BE CONSIDERED FOR LISTINGS, submit lecture or reading information at least two weeks in advance to: WORDS, WW, 2220 NW Quimby St., Portland, OR 97210. Email: words@wweek.com. Fax: 243-1115.
WEDNESDAY, NOV. 16 Oil and Water Release Party
A von Trapp Family
Christmas
November 26 | 7:30 pm Gregory Vajda, conductor
Amazing Everything
Great songs from “The Sound of Music” and your holiday favorites make this a heart-warming and inspirational way to start the festive season.
A Great Family Concert!
Tickets start at $25 Groups of 10 or more save: 503-416-6380
SCHNITZER
CONCERT
Everything is amazing in Scott Campbell’s delightfully whimsical watercolors. Having designed children’s video games previously, the NYC-based Campbell now has a book collection, Amazing Everything. Jack Black wrote the foreword, which hints at the clever and humorous content. Apparently Campbell managed to tie together E.T. and The Dukes of Hazzard in one of his imaginative pieces. Floating World Comics, 400 NW Couch St., 241-0227. 6-8 pm. Free.
Peter Eichstaedt
Call: 503-228-1353 | 1-800-228-7343 Click: OrSymphony.org ARLENE
When The Oregonian columnist Steve Duin headed to the Gulf Coast to cover the Deepwater Horizon oil spill, he found a landscape devastated by the same industry that drives the local economy. Partnering with cartoonist Shannon Wheeler, Duin has turned this story into a graphic novel that puts a human face to the disaster as readers encounter fishermen who’ve lost their jobs, volunteers working to save wildlife and representatives of local government all grappling with the effects of oil and water. Duin and Wheeler will be in attendance for autographs. Bridge City Comics, 3725 N Mississippi Ave., 282-5484. 6 pm. Free.
HALL
Patricia “Biddy McGraw” O’Neill 12/2/1922 - 11/12/2011
Journalist Peter Eichstaedt has spent time in the world’s most ravaged regions, witnessing and writing about bloody conflicts. His most recent title, Consuming the Congo: War and Conflict Minerals in the World’s Deadliest Place, focuses on how our desire for smartphones and laptops fuels strife in the Democratic Republic of the Congo, where the minerals that make up
Bread) also teaches kids how to write comics and promises to bring along comics created by his students, which sounds adorable. Jack London Bar, 529 SW 4th Ave., 503228-7605. 8 pm. Free. 21+.
our electronics are mined. Mercy Corps Action Center, 28 SW 1st Ave, 896-5002. 7 pm. $5-$10.
FRIDAY, NOV. 18
THURSDAY, NOV. 17
After living in the U.S. for almost 20 years, journalist Fariba Nawa returned to Afghanistan to find her homeland radically changed. In Opium Nation, she juxtaposes the effects of Afghanistan’s booming opium trade with her personal experience, reconnecting with the place where she grew up. Powell’s City of Books, 1005 W Burnside St., 2284651. 7:30 pm. Free.
Letters From Home
Kristina McMorris’ debut novel, Letters From Home, was sparked by a letter her grandfather wrote to his sweetheart during World War II. The local author (and former host of the TV program Weddings Portland Style) will be on hand to discuss her novel with members of the Pete and Brenda Third Thursday Book Club. Barnes & Noble Clackamas Town Center, 12000 SE 82nd Ave., 7863463. 7 pm. Free.
Comma Reading Series
This month’s incarnation of Broadway Books’ Comma reading series features Oregon authors Geronimo Tagatac and Matt Schumacher. Tagatac, the well-traveled author of The Weight of the Sun, is best known for his lush short stories set in the exotic locales he has visited. Poet Schumacher is the editor of the recently launched literary journal Phantom Drift and a recent Ph.D. recipient. Expect the conversation to veer toward magical realism. Broadway Books, 1714 NE Broadway, 284-1726. 7 pm. Free.
Comics Underground
Comic creators perform dramatic readings of their work with the original art projected on a screen behind them. Add alcohol and you have (POP! WHAM! ZOOM!) great entertainment. This month’s lineup includes Dylan Meconis (Family Man, Bite Me!), Mike Russell (Sabertooth Vampire), plus Ron Chan and Sean Kelley (Roy’s Boys). Ryan AlexanderTanner (the guy responsible for drawing Dave of Dave’s Killer
Fariba Nawa
SATURDAY, NOV. 19 Audubon Wild Arts Festival
The Audubon Society’s 31st annual Wild Arts Festival celebrates artists and authors whose work celebrates nature and wildlife. This year’s event features the launch of a new edition of Wild in the City, a guidebook to finding escapes from the city within the city. Co-authors Michael C. Houck and M.J. Cody will be on hand for signing both days. Saturday will also feature book signings by Nikki McClure and Wildwood author-illustrator duo Carson Ellis and Colin Meloy. Montgomery Park, 2701 NW Vaughn St. 10 am-6 pm Saturday and 11 am-5 pm Sunday, Nov. 19-20. $6 adults. Free for kids 16 and under.
MONDAY, NOV. 21 Drunk Poets Society
This poetry open mic takes place every Monday at the horror-themed Lovecraft bar. RUTH BROWN. The Lovecraft, 421 SE Grand Ave., 971270-7760. 8 pm. Free. 21+.
For more Words listings, visit
REVIEW
PULPHEAD JOHN JEREMIAH SULLIVAN
Please join us in celebrating the life and legend of Patricia “Biddy McGraw” O’Neill on Sunday, November 27th 4:30pm at Biddy McGraw’s Irish Pub (6000 NE Glisan St.) Irish Wake and Public Memorial for the legendary woman who will be missed by all. This will be a traditional Irish Wake with tears, laughter, and song. 44
Willamette Week NOVEMBER 16, 2011 wweek.com
Writing compelling copy about the country’s RV, he writes, “The interior smelled of spoiled largest Christian rock festival takes a rare breed vacations and amateur porn shoots wrapped in of writer. Infusing the power of shared human motel shower curtains and left in the sun.” experience and the complexity of multigenOne of the most intriguing pieces is his retellerational religious discovery ing of the near-death of his with healthy skepticism while brother, who flat-lined five remaining both respectful and times and temporarily lost hilarious takes an even rarer normal brain function, after a breed of writer. microphone electrocuted him That’s evident in John Jerwhile playing a song called “Is It emiah Sullivan’s essays, which All Over.” In 10 pages, Sullivan have been printed in GQ, The questions the mysteries of the New York Times Magazine and brain, the moment before death elsewhere. His second book, and the concept of miracles Pulphead, is a collection of while slipping in nuggets of essays centered on American comedy. culture. It combines richly That’s the thing about these dynamic, witty writing with stories: They’re perfectly balprobing analyses in a way that anced between surface-level makes you wonder if the stories humor and intense insight. Sulare just too amusing or symlivan’s ample curiosity is what bolic to actually be true. ties Pulphead together, and the American culture, with equal Sullivan’s subjects span from book ends up feeling almost doses of insight and humor. Axl Rose to Hurricane Katrina like a memoir. Through his to MTV’s The Real World to Michael Jackson. investigations of society in the midst of disaster, Translating such hyper-reported topics into death, fame, religion and loss, Sullivan’s personal fresh language takes talent. Heaps of it. discoveries become ours. EMILEE BOOHER. Back to the festival: The essay involves Sullivan driving a 29-foot RV down the Pennsylvania GO: John Jeremiah Sullivan will speak at Powell’s Books on Hawthorne, 3723 SE Turnpike at rush hour to spend the weekend Hawthorne Blvd., 228-4651. 7:30 pm Thursday, with 100,000 believers. In describing the rented Nov. 17. Free.
MOVIES
NOV. 16-22 FEATURE
= WW Pick. Highly recommended. Editor: AARON MESH. TO BE CONSIDERED FOR LISTINGS, send screening information at least two weeks in advance to Screen, WW, 2220 NW Quimby St., Portland, OR 97210. Email: amesh@wweek.com. Fax: 243-1115.
NEW
Aimee & Jaguar
[THREE NIGHTS ONLY, REVIVAL] Max Färberböck’s 1999 drama about lesbian love in 1943 Berlin. 5th Avenue Cinema. 7 and 9:30 pm Friday-Saturday, Nov. 18-19. 3 pm Sunday, Nov. 20.
Anonymous
36 When you want your secret knowl-
edge laughed to the crackpot scrap heap, call Roland Emmerich. After his cataclysmic 2012 made Mayan doomsday prophecies look spectacularly silly (maybe on purpose), Emmerich returns with Anonymous, a florid, inept melodrama positing that the plays of William Shakespeare were actually penned by Edward de Vere, the Earl of Oxford. (This is a favored theory of the Shakespeare Authorship Research Center at Portland’s Concordia University.) This might indicate Anonymous is a reactionary defense of nobility, or a campy undermining of the romantic pieties of Shakespeare in Love. If only. Its tone is sinister candlelit histrionics, with performances so terrible they seem like Monty Python parodies of po-faced Britishness. Many of the actors (Rhys Ifans as the Earl, Sebastian Armesto as Ben Jonson) deliver their lines in a gravelly snarl, as if Shakespeare’s plays were actually written by Batman. Vanessa Redgrave escapes with most of her dignity intact as Queen Elizabeth, but poor Edward Hogg (the gas-huffing step dancer in White Lightnin’) is embarrassing as an evil hunchback who eventually gets to deliver the news that the man who wrote Hamlet is literally a motherfucker. As this suggests, Anonymous feels like the product of a vulgarian who not so secretly hates Shakespeare and the grand scope of his artistic consciousness. Roland Emmerich knows thee not, old man. PG-13. AARON MESH. Lake Twin, Fox Tower. NEW
The Artist and the Computer
[ONE NIGHT ONLY] Cinema Project presents the work of Lillian F. Schwartz, who paired electronic music and pulsing images at Bell Laboratories in the ’70s. Hollywood Theatre. 7 pm Wednesday, Nov. 16. NEW
Blackthorn
We all know Butch Cassidy died in a shootout. What this movie presupposes is...maybe he didn’t? Sam Shepard plays Butch. R. Living Room Theaters. NEW
The Catechism Cataclysm
[ONE NIGHT ONLY] A priest goes on a strange canoe trip in this festival hit. Look for a review on wweek.com. Hollywood Theatre. 7:30 pm Tuesday, Nov. 22. NEW
Cyclo Cross Film Festival
[ONE NIGHT ONLY] Biking movies. Clinton Street Theater. 7 and 9 pm. Sunday, Nov. 20. NEW
DMTV2
[ONE NIGHT ONLY] Floating World Animation Festival presents psychedelic cartoons. Hollywood Theatre. 7:30 pm Monday, Nov. 21.
Drive
95 Drive, the luxurious new L.A. noir
from Danish director Nicolas Winding Refn, is the most brutally antisocial movie of the year. It is also the most romantic—but it is primarily spellbound by the romance of isolation. It is also exhilarating filmmaking, from soup to swollen nuts. It contains half a dozen white-knuckle action sequences— starting with a Ryan Gosling robbery getaway timed to the final buzzer of an L.A. Clippers game—yet its closest relative is the lightheaded, restrained eroticism of Wong Kar-Wai’s In the Mood for Love. In this context, the relentless carnage of Drive’s second half makes a sick kind of sense: It is a movie about men who only know how to show loyalty and care by staving
in the skulls of other men. Winding Refn’s last film, Valhalla Rising, featured vikings disemboweling each other by hand, and the characters here are not much more civilized, though they do have more cosmopolitan surroundings, smearing each other across some handsomely paneled elevator interiors. It is some kind of advancement, I suppose, that while the characters speak after very long pauses, they have moved past grunts. It is macho, self-pitying poppycock, and it engrossed and moved me like no other picture I’ve seen this year. And I have a sliver of justification: The entire history of noir, stretching back to The Maltese Falcon through Drive’s obvious influences like Walter Hill’s The Driver and Michael Mann’s Thief, is a lot of macho, self-pitying poppycock. That does not diminish the power of those movies. If Drive, a deliberate throwback, belongs in their company, it is because it is unreservedly committed to the decadent masochism of its fantasy. R. AARON MESH. Fox Tower. NEW
Fast Break
82 [FOUR NIGHTS ONLY, REVIVAL]
Amateur psychedelic soundtrack over grainy, slo-mo basketball footage makes the ’70s seem like an ancient, foreign world, but this vintage documentary of the Blazers’ 1977 championship season was never a conventional, sporty sports movie, even in its own time. The film’s backbone (and its most interesting thread) is director Don Zavin’s postseason bicycle ride down the Oregon coast with superstar center Bill Walton, the 6-foot-11, red-bearded hippie credited for the young team’s first (and only) championship season. Walton seems equally at peace dominating a packed stadium and pedaling his 10-speed along the lonely highway. It’s touching to see these paragons of athleticism swaggering across the screen, oblivious to the fleeting nature of glory, and the impossibly simple age in which they were living. Also screening with On the Shoulders of Giants, a documentary on little-known allblack 1930s pro basketball team the Harlem Rens. PG. TONY PIFF. Clinton Street Theater. 7 and 9 pm Friday and Monday-Wednesday, Nov. 18 & 21-23.
Footloose
61 The remake of Footloose is
drenched in nostalgia, not only for the original 1984 Baconfest. Rather strangely for a movie about a small town so oppressive it bans dancing— heck, rather strangely for a movie called Footloose—this is a film made in a spirit of longing for community and conformity. In Hustle&#38;Flow and Black Snake Moan, director Craig Brewer displayed a taste for belting out the Bible. It seems very possible that what attracted him to his latest material was not the dancing but the preaching. This incarnation of Footloose wants you to listen carefully to the words of the pastor (Dennis Quaid) but only after leering at his daughter’s ass in skintight jeans. Just like Black Snake Moan, it’s about a compulsive hussy (Julianne Hough) tamed by a man of principle, though this time that man also likes to put glitter in a wind machine. That would be Ren MacCormack, the Kevin Bacon role now assumed by Kenny Wormald. A young Bostonian, Wormald was presumably cast for his two-step skills: His previous credits include You Got Served (as “Dancer”) and Clerks II (as “Dancer”). But he’s the best thing in Footloose—casual, dishy and just a little more persuasively angry than the High School Musical models. At several moments in the movie, he takes off his iPod earbuds and twirls them like a lasso. That gesture is what the rest of Footloose, a fascinating if hopelessly muddled movie, would like to be: both old-fashioned and red-blooded. PG-13. AARON MESH. Clackamas, Forest.
CONT. on page 46
VAMPIRE BITES THE PEOPLE WHO BROUGHT YOU B-MOVIE BINGO HELP YOU ENDURE THE TEEN VAMPS. BY AA R ON MESH
amesh@wweek.com
Breaking Dawn, the fourth movie in the sparkly, kinda-Mormon vampire franchise Twilight, opens this Friday. In approximately 25 years, it surely will be recognized as a classic of kitsch cinema. We figured, why wait? Since July, local art collective Wolf Choir has been hosting B-Movie Bingo at the Hollywood Theatre on the first Tuesday of each month. The goal is to sit through a terrible, generic film. The method is to line up the fiascoes on a bingo card. “We developed B-Movie Bingo in spring 2006 while trying to watch every Chuck Norris movie (we did it, about 35 movies), because some of the movies were so boring that it was only possible to get through them if you played a game while you watched,” says Wolf Choir’s Robbie Augspurger. “We thought of a bunch of things you’d see in any
cop or action movie and put them on a bingo card.” B-Movie Bingo has been drawing about 100 people each month to the Hollywood, people who watch a film so obscure and ridiculous that it’s available only on VHS. The next game is 1994’s First Action Hero (the same gun as Last Action Hero, but nothing else in common!) on Dec. 6. It seems patently obvious, after the three previous Twilight installments, that Breaking Dawn will someday become an arcane B-movie, available only in an obsolete home-entertainment format (Qwikster?) and recalled as “that Twilight movie where Bella’s baby claws its way out of her womb.” (It wasn’t screened by WW press deadlines; look for Kelly Clarke’s review on wweek.com.) So we asked Wolf Choir to watch the previous three Twilight pictures and make us a Breaking Dawn bingo card. They did. Feel free to take this to the theater with you. SEE IT: Twilight: Breaking Dawn, Part 1 opens Friday at local theaters. See showtimes on page 49. B-Movie Bingo shows First Action Hero at the Hollywood Theatre at 7:30 pm Tuesday, Dec. 6. $5. Get Breaking Dawn bingo cards for your friends at wolfchoir.com/twilightbingo. Willamette Week NOVEMBER 16, 2011 wweek.com
45
NOV. 16-22 STRANDRELEASING.COM
MOVIES
Come see the previous Twilight Saga films back on the big screen for just $5.00 per film on Thursday November 17, prior to the midnight performance of Breaking Dawn. Twilight - 3:30PM New Moon - 6:15PM Eclipse - 9:00PM Exclusively at
Sherwood Stadium 10 • Wilsonville Stadium 9 • Hilltop 9 Movies on TV Stadium 16 • Stark Street Stadium 10 • Tigard 11 Lloyd Mall 8 • Bridgeport Village Stadium 18 City Center Stadium 12 Vancouver
THE WOMEN ON THE 6TH FLOOR NEW
From the Inside Out
[ONE NIGHT ONLY] A mountainbiking documentary. Clinton Street Theater. 6 pm Saturday, Nov. 19. NEW
Guilty Except for Insanity
43 [THREE NIGHTS ONLY]
Among the endless metaphorical comparisons deployed in reference to mental illness, the most common likens cognitive instability to drowning. In watching Guilty Except for Insanity: Maddening Journeys Through an American Asylum, one might diagnose PSU psych prof Jan Haaken with acute obsession with aquatic metaphors. Throughout her documentary examining the legal system’s treatment of the mentally ill, Haaken uses enough riptide allegory to fill a pool, and flogs the seahorse with shots of babbling brooks and cartoons of patients drifting out to sea. With intimate access to the occupants of the Oregon State Hospital, Haaken’s doc could have been a compelling dissection of a flawed system struggling to differentiate between criminal behavior and illness. Instead, we learn what we already know: The system’s busted, medications fuck people up, hope prevails. It doesn’t help, either, that the film is littered with scenes from One Flew Over the Cuckoo’s Nest, if only because it was filmed at the same hospital. Each time Guilty captivates, out comes another distraction, whether it’s an elementary metaphor or a scene from a much better meditation on illness. When focused on its subjects, Guilty is a jarringly simplistic snapshot of psychological and institutional madness. When it goes for the bigger vision, it becomes maddeningly saturated in the obvious. AP KRYZA. Cinema 21. 4:30 pm Sunday and 7:30 pm Monday-Tuesday, Nov. 20-22. NEW
Happy Feet Two
Dance, penguin, dance! WW did not attend the screening. PG. Cedar Hills, Clackamas, Eastport, Cinetopia Mill Plain, Cornelius, Oak Grove, Pioneer Place, Cinema 99, City Center, Evergreen, Hilltop, Lloyd Center, Tigard, Wilsonville. NEW
Hump! 2011
69 [THREE NIGHTS ONLY,
PORNOGRAPHY] The Portland Mercury’s homemade porn spectacular. Cinema 21. 7 and 9 pm Thursday; 7 and 9 pm and midnight Friday; 4, 7, and 9 pm and midnight Saturday, Nov. 17-19.
The Ides of March
83 Probably a bit hysterical in its
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Willamette Week NOVEMBER 16, 2011 wweek.com
bleakness—maybe that’s a predictable outcome of a proudly liberal filmmaker like George Clooney dealing with the concessions of a Democratic POTUS. But the disillusionment in Ides has an evangelical fervor: This movie is going to
find your Shepard Fairey poster and set it on fire. It’s like an antiBus Project. That it corrodes so effectively is thanks to Clooney communicating the romance of the campaign trail, which is basically summer camp for drizzleloving workaholic wonks. Ryan Gosling, continuing his prolific year of playing hyper-aggressive grinners, is the media-strategy guru for Democratic presidential frontrunner Mike Morris (Clooney). The early stretches of the movie have the wish-fulfillment and intellectual energy of Aaron Sorkin: The banter between Gosling and intern Evan Rachel Wood has the particular energy of two people aroused by their own smarts. This makes it all the more flooring when players reveal their primary colors. The point of The Ides of March—a very “The Ones Who Walk Away From Omelas” kind of moral—is that every social advancement is built on the back of an unknown, innocent victim. It’s an observation difficult for an Oregon progressive to deny, and Clooney’s direction moves the chamber piece at such a ruthless pace that objection is impossible. But the pessimism makes this more of a horror movie than a social analysis. It is a very good horror movie, and its savage iconoclasm is bracing. R. AARON MESH. Lake Twin, Fox Tower.
Immortals 3D
Mickey Rourke uses his sword to POKE YOU IN THE EYE. R. Cedar Hills, Clackamas, Eastport, Cinetopia Mill Plain, Cornelius, Oak Grove, Pioneer Place, Cinema 99, City Center, Evergreen, Hilltop, Lloyd Center, Tigard, Wilsonville, Roseway.
In Time
62 Justin Timberlake is 30 years old, but he doesn’t look a day over 25. This youthfulness serves him perfectly in the new sci-fi chase picture In Time (somehow, 20th Century Fox resisted the temptation to call it Just In Time). The film is set in a world where everyone stops aging at 25 but has to purchase the rest of their lifespan, which is displayed on ticking green biomechanical forearm clocks. This premise—Logan’s Run minus five years—means that everybody on screen in Andrew Niccol’s movie is young, gorgeous and worried their relevance is about to permanently expire. It is a metaphor for Hollywood. If stardom becomes In Time’s nagging subtext, it is because the intended subtext is so explicit it becomes text. Niccol, who wrote and directed, has always used his movies as a social-justice soapbox—his past scripts include The Truman Show and Lord of War—but never has he been this didactic. Timberlake and
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J. Edgar
66 Spread over four decades and leached of any bright hues, Clint Eastwood’s biopic of intelligencehoarding FBI director J. Edgar Hoover (Leonardo DiCaprio) is complex and brave, if at times almost comically misguided. Though filled with lurid material—Hoover intimidating Robert F. Kennedy with a tape recording of his brother screwing, Hoover trying on his mother’s nightgowns and necklaces— it never lapses into exploitation. Such tastefulness is Eastwood’s hallmark as a filmmaker, and also his great weakness: It makes him almost as humorless as the man he’s chronicling. (DiCaprio’s performance as a coal-eyed, fussy tyrant who sincerely loves his country is more nuanced than I anticipated, if also a little monotonous.) Eastwood’s big miscalculation is shooting nearly half the movie with Hoover and confidante Clyde Tolson (Armie Hammer) in liver-spotted old-age makeup, so that by the end it looks like crotchety Muppets Statler and Waldorf are heckling Martin Luther King Jr. Despite this fundamental hitch (and a 137-minute aimlessness), J. Edgar has the virtue of being penned by Milk screenwriter Dustin Lance Black, who takes the shamed relationship between Hoover and Tolson and finds a real love story. This eventually becomes the chief focus of J. Edgar, echoing the poignancy of Harvey Milk’s passion for Scott Smith. Black’s empathy extends to men not courageous enough to be lovers. He looks inside J. Edgar Hoover’s closet and finds more than skeletons. R. AARON MESH. Cedar Hills, Clackamas, Eastport, Cinetopia Mill Plain, Oak Grove, Cinema 99, City Center, Evergreen, Fox Tower, Hilltop, Lloyd Center, Tigard.
Jack and Jill
Adam Sandler is Adam Sandler’s sister. Not screened for critics by WW press deadlines, and we basically decided, “Ah, fuck it.” PG. Cedar Hills, Clackamas, Eastport, Cinetopia Mill Plain, Cornelius, Oak Grove, Cinema 99, Fox Tower, City Center, Evergreen, Hilltop, Lloyd Center, Tigard, Wilsonville.
The Last Circus
71 Like the best big-top sideshows, Alex de la Iglesia’s The Last Circus is utterly shameless and untoward, intent only on delivering cheap thrills and naughty glimpses of gross behavior. It begins with a machete-wielding clown mowing down Fascist troops and ends with two mutilated clowns maniacally 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. What happens in between borrows heavily from the Browning-Chaney canon of emotional cruelty, and while Iglesia is not quite capable of tapping into the eerie melancholy of something like The Unknown, he is rather adept at building set pieces that celebrate abjection and bodily harm, and he’s willing to go the distance to make you squirm. CHRIS STAMM. Living Room Theaters.
Like Crazy
55 Everyone has friends like Jacob and
Anna, the twentysomething couple at the center of Like Crazy. They’re the kind of young lovers who, once they
start dating anyone seriously, become so completely absorbed in a relationship that all traces of individual identity disappear. Suddenly, their lives become a Coldplay song. Nothing else matters except their love, and the rest of us just can’t understand because that love is so overwhelming, so powerful, so deep. In short, Jacob and Anna are kind of annoying. It’s not really their fault, though, and certainly not the fault of Anton Yelchin and Felicity Jones, the actors who portray them. Both deliver warm, organic performances in this tiny, critically rhapsodized drama. But if a film is about two people drawn together with such gravitational force that it gradually repels them, the attraction needs to be palpable. Through much of Like Crazy, it is not. Blame, then, falls on director Drake Doremus (Douchebag). He tells a story that spans years yet zooms by so quickly—thanks to several montages and time-lapse sequences that are more artful than effective—the characters never become truly knowable outside the bubble of their allconsuming relationship. Rarely do they have a conversation that brings the viewer inside this allegedly transcendent romance. We’re just supposed to accept that their connection is profound, because they drove Indy cars together and spent a weekend on Catalina Island. PG-13. MATTHEW SINGER. Fox Tower. NEW
A Lonely Place to Die
37 Good title, though upon reflection
any place you die is likely to be pretty doggone lonely, unless you’re that poor woman killed by flash mob in the last Grimm episode. This specific location is the rocky Scottish Highlands, which aren’t that isolated if you count the cameras whizzing by the characters’ heads. Julian Gilbey’s climbers-vs.-kidnappers thriller opens with the promise of people falling from very high perches, and it delivers on that pledge ruthlessly enough, though it’s wearyingly bombastic about it. The party of five cliffhangers finds a little Croatian girl buried alive in a box in the forest floor, and proceeds to spirit her to safety via as many steep drops as possible. What follows is basically a deadly game of capture the flag. A Lonely Place to Die announces its shocks too elaborately—ominous music, multiple angles, vertiginous spins—for most of them to carry any interest, and the heroes are a mere shooting gallery. (The baddie is at least played by Red Riding’s Sean Harris, who always looks like he wants to gnaw through somebody’s leg.) The only surprise in this endlessly generic piece is that it abandons its own woodland premise after an hour for the less photogenic environs of some town, where Gilbey still manages to find some tall buildings for people to plunge out of. AARON MESH. Hollywood Theatre.
Margin Call
59 Perfectly primed to capitalize on current interest in just how majestically wrecked we all are and shall seemingly forever be, Margin Call dramatizes 2008’s financial death rattles by isolating a 24-hour span in which one fictional Wall Street firm tries to figure out what to do with all of the shit falling into its huge, shiny fan. Writer-director J.C. Chandor’s central premise, that these guys bathing in cash and Drakkar Noir were simply doing their jobs, is a steep slope to climb at the moment, and Chandor’s evident faith in essential goodness isn’t fuel enough to get us up to that peak of magnanimity with him. Like Moneyball, this year’s other numerary drama of note, Margin Call hits the root thrill of dudes fidgeting with digits—I’d be perfectly happy watching Zachary Quinto’s eyebrows dip and dart in front of a computer screen for half an hour—but once those manyzeroed figures merge with the messiness of human motivation, Chandor’s film collapses. As various handsomely coiffed traders grow spines, hearts and consciences, Jeremy Irons enters the picture as a sin-eating executive who will exculpate his soldiers by giving them excuses in the form of marching orders. If only it were that simple. R. CHRIS STAMM. Hollywood Theatre, Living Room Theaters.
Martha Marcy May Marlene
78 As a member of a back-to-the-land
cult in the Catskills, Marcy May’s boyfriend, Patrick, “cleanses” her and the rest of his flock with ritualized rape and shooting lessons. Sequestered away in a lavish lakeside home in Connecticut, Martha’s estranged sister tries to fix her with tall glasses of kale and ginseng juice and pretty pink sundresses. Both are driving her crazy. Writer/director Sean Durkin has created an unsettling, intense portrait of a girl close to losing her marbles because she can’t determine exactly what life after brainwashing ought to look like. As Martha/Marcy, Elizabeth Olsen (the younger, healthier sister of the bobble-headed Olsen twins) is a subtle wonder of confusion and apathetic bitterness. The emotions glide across her open face and lodge behind her gray-green eyes as she shakily tries to reintegrate herself into the normal world— and fails in both small and spectacular ways. Oddly enough, even two-thirds through Martha Marcy May Marlene, it’s still uncertain which is more crazy: turning control of your life over to a cult leader or living an empty life in pursuit of money and great deck chairs. As Martha/Marcy’s grip on what is a dream, a memory or happening right now becomes more and more slippery, it turns out that none of those states is really all that safe. R. KELLY CLARKE. Fox Tower.
Baya Benmahmoud, a half-Algerian leftist 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
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REVIEWS E . P. D AV E E F I L M S
Amanda Seyfried, big-eyed Bonnie to his shaved-head Clyde, have shrugging, casual chemistry, which makes it more of a shame that the movie constantly forces them to utter stilted exposition and doctrine. (“No one should live forever if even one person has to die.”) When they aren’t preaching, the two of them seem to get a genuine kick from their own verve and beauty. I’d prefer to see them off the clock. PG-13. AARON MESH. Cedar Hills, Clackamas, Eastport, Cornelius, Oak Grove, Cinema 99, Evergreen.
MOVIES
Moneyball
90 If the dehydrated poetry of sports-
page chatter fails to tickle you even a little bit, I can almost guarantee Moneyball will leave you cold. For although director Bennett Miller (Capote) and his elite writing team (Aaron Sorkin and Steven Zaillian) pad Oakland A’s GM Billy Beane (Brad Pitt) with paternal longings and past defeats, there’s not a whole lot of squishy human interest to dig into here. This is a movie about baseball and the obsessed men who devote their lives to it. Make no mistake: There is heart in Moneyball, but it’s the part of the heart that swells at the sight of numbers on the back of a Topps card and breaks beneath tacky banners commemorating past championships. Mercifully short on baroque re-enactments of pivotal match-ups and pandering locker-room banter, Miller’s uptown update of Major League is almost wholly devoted to the front offices and underground clubhouses in which the game behind the game is played. The swift, captivating first half of Moneyball finds Beane, the sort of jocular ex-jock who fears stillness, failing at his thankless mission before teaming up with math geek Peter Brand (Jonah Hill), whose righteous faith in certain overlooked statistics convinces Beane to field a team of ostensibly mediocre hasbeens and never-weres. The subsequent ups and downs of the 162-game season register as last-minute trades, squabbles with scouts, klatches with coaches and various other verbal maneuvers conducted in windowless rooms filled with cheap furniture. Pitt, perhaps the most orally fixated actor not employed by Vivid Video, chews his way through these assignations. Maybe we need the reminder: Sometimes it’s the stuff we don’t see that counts. And so: Let’s go, Oakland! PG-13. CHRIS STAMM.
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
OCCUPY CORVALLIS: Reenacting the Bride of Christ Church.
38TH NORTHWEST FILMMAKERS’ FESTIVAL How the Fire Fell 72 Joe Haege (31Knots frontman, part-time Menomena member) stars as charismatic preacher Edmund Creffield in Edward P. Davee’s ambitious debut feature about turn-of-the-20th-century Corvallis-based cult Bride of Christ Church. Shot on Super 16 mm film for a mere $50,000, How the Fire Fell nails the necessary subtleties of period detail—it never feels like Davee rallied his buddies for a weekend of dress-up—and sustains a vibe of creeping dread throughout, thanks in large part to Scott Ballard’s crepuscular black-and-white photography and a plangent score by Haege and John Askew that recalls the apocalypse aperitifs of A Silver Mt. Zion. The film is peppered with images of stark, scary beauty, but Davee has a bit too much faith in aesthetic appeal as a substitute for drama. Virtually every interaction that doesn’t involve Haege laying down the biblical law is buried beneath music-soaked impressionism, and while it’s certainly pleasing to the eyes and ears, a vital humanity is lost in the process. With a daguerreotype face and stage-honed theatrics, Haege is perfect for propheteering, and Davee has fashioned a convincing collapsing world around him, but the disciples remain opaque constructions. CHRIS STAMM. 7 pm Saturday, Nov. 19. It’s week two, and we gotta get back in time.
The Oregonian 55 Using a ’70s horror aesthetic, this flick takes us back to a time when handheld cameras and uneven audio were not only the norm but necessary, in order to follow a haunted farm-dweller who escapes a violent relationship and goes on a dark odyssey through her soul—which looks uncannily like the forests of Oregon. Enigmatic clues about her mysterious “accident” are provided by roadside crones and campers who speak in riddles, and graphic intimations of mortality punctuate every odd encounter the Oregonian has with other (ostensibly living) souls as she flashes back to images of her own downfall. But tired tropes—like symbolic rooms and cackling choirs of women—derail any mystery the film succeeds in creating. Despite the quaint retro feel, it all comes off as clunky and poorly thought out; not so much an homage to the ’70s horror genre as a contender for a film best left forgotten in that era. SAUNDRA SORENSON. 9 pm Saturday, Nov. 19. SEE IT: The 38th Northwest Filmmakers’ Festival continues at the NW Film Center’s Whitsell Auditorium through Sunday, Nov. 20. See full listings at nwfilm.org.
Willamette Week NOVEMBER 16, 2011 wweek.com
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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. Living Room Theaters.
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[ONE NIGHT ONLY, LIVE SOUNDTRACK] Percussion duo 1939 Ensemble performs its live soundtrack to F.W. Murnau’s 1926 Expressionist flick, with skeletons on flying horses coming for your soul. Hollywood Theatre. 8 pm Friday, Nov. 18.
Paranormal Activity 3
70 You’re recycling a fake documen-
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tary about something strange in the neighborhood, including an invisible man sleeping in your bed. Who you gonna call? How about the dudes who made the most dubious “documentary” in recent memory: Catfish creators Henry Joost and Ariel Schulman? Turns out, the rookies were a good bet. Paranormal Activity 3 opened with $54 million. More surprisingly, it’s arguably the best of the series. This time out, we again watch the haunting of the original film’s heroine, Katie, though this time she’s a little kid whose sister, Kristi, is getting close to an imaginary friend who makes loud noises and apparently hates kitchenware. The girls’ stepdad (Christopher Nicholas Smith) is conveniently a wedding videographer, so he sets up a bunch of cameras and…well, you know the rest. Yet despite offering little new—aside from some genuine scares courtesy of a camera attached to an oscillating fan and a finale that borrows from Ti West’s little-seen The House of the Devil—Joost and Schulman manage to harvest maximum scares from familiarity. We know the formula. What makes PA3 a success is its ability to make us want to take the same fun-house ride again, even if we know it’s all fake (and kind of dull). R. AP KRYZA. Cedar Hills, Clackamas, Cornelius, Forest, Oak Grove, Cinema 99.
Puss in Boots
$2.50 HUGE Cheese Slice All Day Happy Hour 3-6 Everyday
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Willamette Week NOVEMBER 16, 2011 wweek.com
Antonio Banderas makes his Garfield. WW did not attend the press screening, as WW was at Occupy Portland instead of the cat movie. PG. Cedar Hills, 99 Indoor Twin, Clackamas, Eastport, Cinetopia Mill Plain, Cornelius, Oak Grove, Pioneer Place, Cinema 99, City Center, Evergreen, Hilltop, Lloyd Center, Tigard, Wilsonville.
Real Steel
63 Real Steel is fundamentally a
bad movie—obnoxious, incoherent and sloppy—resembling nothing so much as some ’90s summer familyfilm commodity fabricated to sell toys: Rock ’Em Sock ’Em Robots, specifically. Somehow this also makes it seem like a more innocent movie, or at least reminds me of a time when I was more innocent about movies. Most kiddie blockbusters have become cripplingly wised up and knowing. Real Steel knows nothing.We open in the backwaters of the unsanctioned robot-boxing circuit, where Hugh Jackman’s joystick cornerman, Charlie, has been reduced to pitting his last tin palooka against a rodeo steer. I cherished a fleeting hope that Real Steel would continue in this Hemingwayesque bullfighting vein and become a Robot Death in the Afternoon, but nah. Since Real Steel is directed by the Other Shawn Levy (the one who isn’t an Oregonian critic), it is bound to have severe bugs. The malfunction this time is the arrival of Charlie’s son Max, a mouthy moppet played by Dakota Goyo, who bears several regrettable similarities to Jake Lloyd in Star Wars Episode I: The Phantom Menace. The kid’s mother has died in circumstances the movie takes pains never to explain (though Real Steel is 20 times funnier if you imagine she was killed by robots), and thus begins a tedious father-son bonding plot. This aspect is only bearable because of Jackman, who finds a groove where violence becomes a joyful two-step. PG-13. AARON MESH. Cedar Hills, Clackamas.
The Rum Diary
62 Long before the book was actually published, Hunter S. Thompson was absolutely obsessed with seeing The Rum Diary hit the big screen. When the Great Gonzo punched his own ticket in 2005, his dear friend Johnny Depp made it his mission to finally bring the vision to the screen and, after several false starts, The Rum Diary finally boasts Depp in the lead and reclusive cult director Bruce Robinson (Withnail and I) behind the camera. Shot amid the beautiful sands of San Juan, The Rum Diary tells the tale of Thompson avatar Paul Kemp, a 22-year-old reporter (Depp is 48, though you wouldn’t know it) who arrives at the city’s dying newspaper for his first
professional gig, only to discover that his editor (the great Richard Jenkins) would rather see stories about American tourists having fun than the rape of the land at the hands of developers such as Sanderson (Aaron Eckhart, in the film’s weakest role). It actually works beautifully for a while, prodded along by excellent performances all around, particularly a showstopping Giovanni Ribisi and an uncharacteristically subdued Depp as the pre-frenzied Thompson. But then, suddenly and without warning, The Rum Diary forgets that the book isn’t a comedy. Or particularly good. The shroud of sentimentality adds far too much sugar to a life that was marked— celebrated—for its piss and vinegar. The Rum Diary begins as the portrait of the Gonzo as a young man. It ends as a sappy Disney movie far too drunk on its sense of purpose to realize it’s taken an extraordinary life and rendered it utterly dull and normal by comparison. R. AP KRYZA. Fox Tower.
The Skin I Live In
86 Very particular body-image
issues are at the core of The Skin I Live In, Pedro Almodovar’s violently outre new movie. It proves that the director’s penchant for physical modification has only grown more pointed—or rounded. It is perhaps the most twisted and unsettling film Almodovar has made (and this is a director whose Talk to Her featured a nurse tenderly raping his comatose patient), but it is not exactly a horror movie. Instead, it is a throwback to golden-age Hollywood’s mad-scientist movies, as if the dress-up games of Vertigo had been conducted by James Whale around the time he made Bride of Frankenstein. The mad scientist, a plastic surgeon to be exact, is played by Antonio Banderas, and he is most certainly insane. Other characters keep mentioning this to him, in case he had forgotten. But Banderas’ understated performance recalls the pained dignity of James Mason in Lolita. Likewise, the movie proceeds calmly, through elision and implication, until it becomes a study of how sexuality can be formed through victimization, yet leave room for a sense of self to emerge triumphant. Almodovar takes the elements of classic films— the doctor playing God, the grand
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NOV. 16-22
MOVIES
Photo caption tk
A LONELY PLACE TO DIE staircase, the femme fatale—and splices them into unexpected shapes that turn out to be exactly what you wanted. R. AARON MESH. City Center, Fox Tower. NEW Sound + Vision: The Perception of Moving Targets
[ONE NIGHT ONLY, LIVE SOUNDTRACK] Weston Currie’s psychotic-vision movie, with a score performed live by Grouper. Hollywood Theatre. 7:30 pm Thursday, Nov. 17.
Tower Heist
57 Tower Heist pulls off an astound-
ing ruse: It is directed by Brett Ratner, it posits Ben Stiller as a hero of the economically downtrodden, it juices the arrest of a white-collar criminal by having his escape van flip over in the middle of a Manhattan street while Stiller is clotheslined by an FBI agent, and I still found myself thinking halfway through that it was a good deal better than I expected. Credit for this goes mostly to the cast, who all agreed to emphasize the least flattering aspects of their personas for comedy. Matthew Broderick and Casey Affleck take the most humiliation, playing a sad sack and an incompetent, respectively, and come off the best. Stiller channels his choked rage into a nuanced servility to ultra-rich boss Alan Alda in exchanges that accurately capture the pain of maintaining cordial relations with someone constantly exploiting you. Tea Leoni performs a lovely dance of a drunk scene. Eddie Murphy plays a more soured and violent Billy Ray Valentine. And then the movie gets to the heist itself, and grinds to an excruciating halt with a set piece featuring a car made out of pure gold, first dangling out a window, then stuffed atop an elevator. None of this finale is possible to explain, and, to be frank, I would rather pretend I never liked any of it, even momentarily. Deal? PG-13. AARON MESH. Cedar Hills, Clackamas, Eastport, Cornelius, Oak Grove, Pioneer Place, Cinema 99, City Center, Evergreen, Hilltop, Lloyd Center, Tigard, Wilsonville.
Twilight: Breaking Dawn, Part 1 NEW
A compassionate study of the epidemic of teenage-vampire pregnancy. Not screened by WW press deadlines. PG-13. Cedar Hills,
Clackamas, Eastport, Cinetopia Mill Plain, Cornelius, Oak Grove, Pioneer Place, Cinema 99, City Center, Evergreen, Hilltop, Lloyd Center, Lloyd Mall, Sherwood, Tigard, Wilsonville.
A Very Harold & Kumar Christmas
69 The first two entries into what I’m now fairly comfortable referring to as the Harold & Kumar canon are, like vegan cookies and conversations with demure men who appreciate the work of Michael Franti, immensely satisfying—nay, nearly transcendentally domeblowing—as stoned experiences, but they aren’t much more than pleasant diversions for a sober mind. Because I am nothing if not intrepid, I decided to flip the script and make my first encounter with the third installment, A Very Harold & Kumar 3D Christmas, a stone cold plantless one, and I can assure you that it is just as peerlessly lukewarm as its predecessors. However, as someone who plans to see it again, I can say with some confidence that it is probably very, very funny if you decide to take a walk and get some air before it starts. A cute, irreverent tussle with America’s two stupidest religious beliefs—Santa Christ and pointless 3D—A Very Harold & Kumar 3D Christmas: Cheech and Chong Part 2: Part Three gets a baby high on cocaine, forces Elias Koteas to eat ice cream, meanders into raunchy claymation, glues penises to poles, strips nuns naked and somehow gets Danny Trejo to don a Christmas sweater. Upon emerging from the theater, my companion reviewed my laughter thusly: “You liked the baby.” I did. I liked the baby. It was all high on cocaine. A baby all high on cocaine is funny. So is Doogie’s waffle-making robot. Take two and pass, kids. R. CHRIS STAMM. Cedar Hills, Clackamas, Eastport, Pioneer Place, Cinema 99, City Center, Evergreen, Hilltop, Tigard.
NEW
The Women on the 6th Floor
Man, being rich sucks. What with your withholding wife and dull stock-trading job and creepy, hyper-articulate sons and all. What’s a middle-aged, mid-century Parisian to do? According to Philippe Le Guay, writer and director of this bilingual Boulevard comedy, he should occupy the maids’ quarters. Fabrice Luchini
plays our moneyed, appearanceobsessed hero, whose confidence in his job, marriage and class begins to crumble when he hires a Spanish maid, naturally named María, to care for his cavernous apartment. This being the ’60s—when Spain’s economy was in tatters, Franco’s Catholic dictatorship still held sway, and the fastest way for an ambitious Spaniard to put away a nest egg was to do menial labor in foreign metropolises—the city is full of Spanish ladies. María, played by Natalia Verbenke, is the hardestworking, backest-talking and, most important, prettiest of the bunch. Luchini is delightful as the dusty square falling under the winesoaked spell of the Spaniards— they have that effect on you—and the film is enjoyable in its goodnatured spoofing of 1-percenter stodginess right up until its disappointingly incongruous and unearned conclusion. BEN WATERHOUSE. Fox Tower.
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The Way
43 The phrase “written and directed by Emilio Estevez” should rightfully strike fear into the ardent cinephile’s heart, as you’re sure to witness a filmmaker overreaching his abilities to an embarrassing degree. This latest effort by the former Brat Packer is no exception. The Way refers to the Camino de Santiago, a popular backpacking trail through northwestern Spain that leads to a cathedral where the apostle James is supposedly buried. It is on this path that Estevez’s character, Daniel Avery, is accidentally killed, and where his estranged father (Martin Sheen, in a role written for him) lands to collect his remains. Compelled to learn something more about his on-screen son, Sheen decides to walk the path and scatter the ashes along the way. From there, we ride the road-movie cliché train: Sheen at first rejects and then bonds with a ragtag group of fellow hikers (played to the hammy hilt by Deborah Kara Unger, James Nesbitt and Yorick van Wageningen), has a moment of darkness, warms up to the world around him, and walks away from it all a new man. Enlivened only by cinematography that ably captures the beauty of the Spanish countryside, this Way leads to disappointment. PG-13. ROBERT HAM. Hollywood Theatre, City Center.
SATURDAY, NOVEMBER 19 10:30 AM TIGARD For your chance to win a mobile pass good for four admissions, text "GONZO" and your zip code to 43549 (Example. GONZO 98119) Must enter by 5 p.m. on Friday, November 18! © 2011 Disney
This film is rated PG for some mild rude humor. NO PHONE CALLS. No purchase necessary. Texting services provided by 43KIX and are free. Standard text message rates from your wireless provider may apply. Check your plan. One entry per cell phone #. Late and/or duplicate entries will not be considered. 50 (fifty) winners will be chosen at random on or about 6pm on Friday, November 18, 2011 and will receive a text good for four admissions. Limit one admit-four pass per person. THEATRE IS OVERBOOKED TO ENSURE A FULL HOUSE. A winning text does NOT guarantee a seat. Seating is on a first-come, first-served basis. This film is rated PG. Void where prohibited by law.
OPENS NATIONWIDE WEDNESDAY, NOVEMBER 23 Disney.com/Muppets Like us on Facebook: Facebook.com/Muppets • Like us on Twitter: Twitter.com/MuppetsStudio
Willamette Week NOVEMBER 16, 2011 wweek.com
49
MOVIES
NOV. 16-22 NW Film Center’s Whitsell Auditorium
CLAUDETTE BARIUS
BREWVIEWS
1219 SW Park Ave., 503-221-1156 SHORTS I Wed 07:00 SOME DAYS ARE BETTER THAN OTHERS Wed 08:30 12 TAKES FREEDOM ON THE FENCE THE OFF HOURS SHORTS II Fri 07:00 WANTED Fri 08:30 YOUNG PEOPLE’S FILM FESTIVAL SCREENING Sat 01:00 BETWEEN ROOMS & VOICES Sat 04:00 DRILL Sat TREEVERSE Sat HOW THE FIRE FELL Sat 07:00 THE OREGONIAN Sat 09:00 BUCKSVILLE Sun 06:00
Pioneer Place Stadium 6
ALL GERMS CONSIDERED: Contagion was hailed as Stephen Soderbergh’s return to Traffic form, which is all well and good until you remember that Traffic is the worst film Soderbergh has made. Contagion is better, mostly because its panic is so rigorously quarantined in minimalist frames; it could be an NPR investigation called The Giant Pool of Swine Flu. But the movie’s downfall is its faith in mass rationality; it seems to take place in a fantasy pandemic where Nancy Grace died before anybody else. As the globe coughs into oblivion, the only media heard in the background is a soporific public-radio voice. This is the way Soderbergh’s world ends: Not with a bang but a pledge drive. AARON MESH. Showing at: Academy, Bagdad, Kennedy School, Laurelhurst, Mission, St. Johns Pub. Best paired with: Coalition Maple Porter. Also showing: Ghost World (Laurelhurst).
ODUCTION R P D A O R N E K SON/BRO ” KATIE HOLMES I D A M Y P P A H A PRESENTS LER “JACK AND JIL IN GRADY S E R U T C I P A I B COLUM NIS DUGAN ADAM SAND K BROOKS ARTHUR KEV A FILM BY DEN ERVISMIOUNSICBY MICHAEL DILBEC WADDY WACHTEL LIHY R E H M I T P L U E S S G I M O M A I AND AL PACINMUSICY RUPERT GREGSON-WILL STEVE KOREN ROBERT S B COVERT ADAM SANDLER N E L A O N A I V I V RDI BETTINAOOK SCREENPLAYBY STEVE KOREN &RNER DIRECTEDBY DENNIS DUGAN EXECUTIVERES BARRY BERNA STORY PRODUC ODD GA BY BEN Z T O T U P A R R A I G K ER JAC PRODUCEDBY ADAM SANDL
Regal Lloyd Center Stadium 10 Cinema
1510 NE Multnomah Blvd., 800-326-3264 THE METROPOLITAN OPERA: DON GIOVANNI ENCORE Wed 06:30 IN TIME Wed 12:50, 03:45, 06:55, 10:00 TOWER HEIST Fri-Sat-Sun-MonTue-Wed 12:55, 03:50, 07:00, 10:15 A VERY HAROLD & KUMAR 3D CHRISTMAS Wed 12:20, 02:45, 05:05, 07:30, 09:55 JACK AND JILL Fri-Sat-Sun-Mon-TueWed 12:10, 02:35, 05:00, 07:25, 10:05 J. EDGAR Fri-Sat-Sun-Mon-TueWed 12:25, 03:35, 06:40, 09:50 THE TWILIGHT SAGA: BREAKING DAWN PART 1 Fri-Sat-Sun-MonTue-Wed THE RUM DIARY Wed 12:40, 03:30 PUSS IN BOOTS Fri-Sat-SunMon-Tue-Wed 12:05, 02:25, 04:50, 07:10, 09:40 PUSS IN BOOTS 3D Fri-SatSun-Mon-Tue-Wed 12:35, 02:55, 05:20, 07:40, 10:10 IMMORTALS 3D Fri-SatSun-Mon-Tue-Wed 12:00, 02:30, 05:10, 07:45, 10:20 HAPPY FEET TWO 3D FriSat-Sun-Mon-Tue 11:35, 02:10, 04:45, 07:20, 09:55 THE METROPOLITAN OPERA: SATYAGRAHA LIVE Sat 09:55 BOLSHOI BALLET PRESENTS SLEEPING BEAUTY Tue 06:30
Regal Lloyd Mall
CHECK LOCAL LISTINGS FOR THEATERS AND SHOWTIMES
250 COL.Willamette (3.825") X 12" = 24" WED 11/16 Week NOVEMBER 16, 2011 wweek.com PORTLAND WILLAMETTE WEEK
2320 Lloyd Center Mall, 800-326-3264 MONEYBALL Wed 12:00, 03:05, 06:00, 08:55 50/50 Wed 12:25, 06:30 THE IDES OF MARCH Wed 12:20, 03:25, 06:05, 09:00 PARANORMAL ACTIVITY 3 Wed 12:35, 03:20, 06:20, 09:10 THE THREE MUSKETEERS Wed 03:30, 09:15 TOWER HEIST Wed 12:15, 03:15, 06:15, 09:30 IMMORTALS Wed 12:30, 06:35 JACK AND JILL Wed 12:10, 03:00, 06:10, 09:05 THE TWILIGHT SAGA: BREAKING DAWN PART 1 Wed THE MUPPETS Fri-Sat-Sun-Mon-Tue-Wed
PUSS IN BOOTS 3D Wed 12:05, 03:10, 06:25, 09:20 IMMORTALS 3D Wed 03:35, 09:25
Cinema 21
616 NW 21st Ave., 503-223-4515 HUMP! 2011 Fri-Sat 07:00, 09:30, 12:00 GUILTY EXCEPT FOR INSANITY Sun-Mon-Tue 07:00
Clinton Street
2522 SE Clinton St., 503-238-8899 SOME GUY WHO KILLS PEOPLE Wed 07:00 THUNDER RUN Wed 09:00 FAST BREAK Fri-Mon-Tue 07:00, 09:00 FROM THE INSIDE OUT Sat 06:00, 08:30
Laurelhurst Theatre
2735 E Burnside St., 503-232-5511 THE HELP Fri-Sat-SunMon-Tue-Wed 06:30 COWBOYS & ALIENS Fri-Sat-Sun-Mon-TueWed 09:20 CONTAGION Fri-Sat-Sun-Mon-TueWed 06:45 THERE WILL BE BLOOD Wed 09:00 CRAZY, STUPID, LOVE. Fri-Sat-Sun-Mon-Tue-Wed 07:15 TUCKER & DALE VS EVIL Fri-Sat-Sun-MonTue-Wed 09:45 THE DEBT Fri-Sat-Sun-Mon-Tue-Wed 07:00 HORRIBLE BOSSES Wed 09:30 GHOST WORLD Fri-Sat-Sun-MonTue 09:40 THE GUARD Fri-Sat-Sun-Mon-Tue 09:10 HARRY POTTER AND THE DEATHLY HALLOWS: PART 2 Sat-Sun 01:00
Roseway Theatre
7229 NE Sandy Blvd., 503-282-2898 IMMORTALS 3D Fri-SatSun-Mon-Tue-Wed 01:30, 04:15, 07:00, 09:45
CineMagic Theatre 2021 SE Hawthorne Blvd., 503-231-7919 THE RUM DIARY Wed 05:30, 08:00
Kennedy School
5736 NE 33rd Ave., 503-249-7474 SPY KIDS: ALL THE TIME IN
THE WORLD IN 4D Fri-SunWed 05:30 CONTAGION Fri-Sat-Sun-Mon-Tue-Wed 02:30 THE HELP Fri-SatSun-Mon-Tue-Wed 07:30 TUCKER & DALE VS EVIL Fri-Sat 10:30
Fifth Avenue
510 SW Hall St., 503-725-3551 AIMEE & JAGUAR Fri-SatSun 03:00
Hollywood Theatre
4122 NE Sandy Blvd., 503-281-4215 REVENGE OF THE ELECTRIC CAR Wed 09:40 MARGIN CALL Fri-SatSun-Mon-Tue-Wed 09:30 THE WAY Fri-Sat-Sun-TueWed 06:45, 09:15 THE POWER OF TWO Wed 07:15 THE ARTIST AND THE COMPUTER Wed 07:00 THE PERCEPTION OF MOVING TARGETS A LONELY PLACE TO DIE Fri-Sat-Sun-Mon-Tue 07:15, 09:15 OPERA IN CINEMA FAUST Fri 08:00 SPOKANARCHY! Sat 09:00 THE WALKING DEAD Sun 09:00 THE CATECHISM CATACLYSM Tue 07:30
Regal Fox Tower
846 SW Park Ave., 800-326-3264 DRIVE Fri-Sat-Sun-MonTue-Wed 12:15, 02:40, 04:45, 07:50, 09:55 50/50 Wed 12:10, 05:05, 09:45 THE IDES OF MARCH FriSat-Sun-Mon-Tue-Wed 11:55, 02:10, 04:30, 07:10, 09:30 TAKE SHELTER Wed 02:35, 07:15 THE SKIN I LIVE IN Fri-SatSun-Mon-Tue-Wed 11:50, 02:20, 04:55, 07:30, 10:05 ANONYMOUS Fri-Sat-SunMon-Tue-Wed 12:35, 04:40, 07:20, 10:00 J. EDGAR Fri-Sat-Sun-Mon-TueWed 12:05, 12:50, 02:55, 04:20, 07:00, 08:00, 09:50 THE RUM DIARY Fri-Sat-Sun-Mon-Tue-Wed 11:50, 02:25, 05:00, 07:35, 10:10 MARTHA MARCY MAY MARLENE Fri-SatSun-Mon-Tue-Wed 12:00, 02:30, 05:10, 07:40, 09:55 LIKE CRAZY Fri-Sat-SunMon-Tue-Wed 12:30, 02:45, 04:50, 07:25, 09:35 RARE EXPORTS: A CHRISTMAS TALE Fri-Sat-Sun-Mon-TueWed SERVICE ENTRANCE Fri-Sat-Sun-Mon-Tue 12:40, 02:50, 05:00, 07:05, 09:40
340 SW Morrison St., 800-326-3264 IN TIME Wed 01:50, 04:50, 07:50, 10:20 TOWER HEIST Fri-Sat-Sun-Mon-TueWed 01:30, 04:30, 07:30, 10:05 A VERY HAROLD & KUMAR 3D CHRISTMAS Fri-Sat-Sun-Mon-TueWed 01:20, 04:20, 07:20, 10:15 JACK AND JILL Wed 01:10, 04:10, 07:10, 09:50 THE TWILIGHT SAGA: BREAKING DAWN PART 1 Fri-Sat-Sun-MonTue-Wed THE MUPPETS Fri-Sat-Sun-Mon-Tue-Wed PUSS IN BOOTS Fri-SatSun-Mon-Tue-Wed 01:40 PUSS IN BOOTS 3D Fri-SatSun-Mon-Tue-Wed 04:40, 07:40, 09:55 IMMORTALS 3D Fri-Sat-Sun-Mon-TueWed 01:00, 04:00, 07:00, 10:00 HAPPY FEET TWO Fri-Sat-Sun-Mon-Tue 12:15, 04:55, 10:00 HAPPY FEET TWO 3D Fri-Sat-Sun-MonTue 02:35, 07:25
Academy Theater
7818 SE Stark St., 503-252-0500 THE HELP Fri-Sat-SunMon-Tue-Wed 04:05, 07:00 TUCKER & DALE VS EVIL Wed 10:00 THE SMURFS Fri-Sat-Sun-Mon-Tue-Wed 04:30 CONTAGION FriSat-Sun-Mon-Tue-Wed 06:45, 09:10 HARRY POTTER AND THE DEATHLY HALLOWS: PART 2 Fri-SatSun-Mon-Tue-Wed 04:40 RISE OF THE PLANET OF THE APES Wed 07:15 CRAZY, STUPID, LOVE. Fri-Sat-Sun-Mon-Tue-Wed 09:30 THE GUARD Fri-SatSun-Mon-Tue 07:15 THE BIG YEAR Fri-Sat-Sun-MonTue 02:30, 09:15 CARS 2 Sat-Sun-Mon-Tue 01:50
Living Room
341 SW 10th Ave., 971-222-2010 ALL ABOUT EVE Wed 12:00, 03:00, 06:30, 09:15 THE NAMES OF LOVE FriSat-Sun-Mon-Tue-Wed 12:20, 02:50, 05:20, 07:40 HAPPY, HAPPY Wed 02:40, 05:10, 07:15, 09:10 INNI Wed 09:50 MONEYBALL Fri-Sat-Sun-Mon-Tue-Wed 11:50, 01:30, 04:15, 07:00, 09:00 MARGIN CALL FriSat-Sun-Mon-Tue-Wed 12:10, 02:30, 05:00, 07:30, 09:45 MOZART’S SISTER Fri-Sat-Sun-Mon-Tue-Wed 11:40, 04:10, 09:40 CAVE OF FORGOTTEN DREAMS 3D Fri-Sat-Sun-MonTue-Wed 02:10, 06:45 BLACKTHORN Fri-SatSun-Mon-Tue 12:30, 02:40, 05:00, 07:15, 09:50 THE LAST CIRCUS Fri-Sat-SunMon-Tue 09:35 50/50 Fri-Sat-Sun-Mon-Tue 12:00, 02:20, 04:40, 07:00, 09:15
SUBJECT TO CHANGE. CALL THEATERS OR VISIT WWEEK.COM/MOVIETIMES FOR THE MOST UP-TODATE INFORMATION FRIDAY-THURSDAY, NOVEMBER 16-22, UNLESS OTHERWISE INDICATED