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WWEEK.COM
VOL 38/09 01.04.2012
P. 6
P. 23
P. 39
WILLAMETTE WEEK PORTLAND’S NEWSWEEKLY
Crazy Enough
GETTING OFF, SNORTING UP AND WRESTLING WITH FAMILY DEMONS—EXCERPTS FROM STORM LARGE’S NEW MEMOIR. PAGE 12
P H O T O : M AT T D ’A N N U N Z I O , L O C AT I O N : J U P I T E R H O T E L
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“EILEEN IS THE NAME OF A SWEET OLD LADY, AND SHE’LL BAKE EVERYONE COOKIES.”
BACK COVER
NEWS WARNING POTENTIAL WHISTLE-BLOWERS. CULTURE CROWNING PORTLAND’S TOP THRONE. TV PORTLANDIA TAKES LEISURE SERIOUSLY.
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Visit these Portland - Across from Powell’s Books 1016 W. Burnside St. Portland, OR 97209 503-222-2029 2
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naturalfactors.com
locations for a FREE sample of PGX® or shop online at SuperSup.com Clackamas 9919 S.E. Sunnyside Rd. Clackamas, OR 97015 503-794-9355
Vancouver - Now Open! 305 S.E. Chkalov Dr., Ste. 130 Vancouver, WA 98683 360-418-7090
Eugene - New Location! 391 Coburg Rd. Eugene, OR 97401 541-685-7285
CONTENT
HEALTHY SUBSIDY: Taxpayers chip in for granola bins at quick-marts. Page 7.
NEWS
4
FOOD & DRINK
24
LEAD STORY
12
MUSIC
27
CULTURE
19
MOVIES
39
HEADOUT
21
CLASSIFIEDS
44
R E SO LVE TO RID E IN 2012
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 Intern Melinda Hasting CONTRIBUTORS Classical Brett Campbell Dance Heather Wisner Food Ruth Brown Visual Arts Richard Speer
Erik Bader, Judge Bean, Nathan Carson, Devan Cook, Shane Danaher, Jonathan Frochtzwajg, Robert Ham, Shae Healey, Jay Horton, Matthew Korfhage, AP Kryza, Hannah Levin, Jessica Lutjemeyer, Jeff Rosenberg, Matt Singer, Chris Stamm, Mark Stock
Production Assistant Brittany McKeever
PRODUCTION Production Manager Kendra Clune Art Director Ben Mollica Graphic Designers Soma Honkanen, Adam Krueger, Brittany Moody, Carolyn Richardson, Dylan Serkin Production Intern Lana MacNaughton
WWEEK.COM Web Production Brian Panganiban Web Editor Ruth Brown
ADVERTISING Director of Advertising Jane Smith Display Account Executives Sara Backus, Maria Boyer, Michael Donhowe, Greg Ingram, Janet Norman, Kyle Owens Classifieds Account Executives Ashlee Horton Advertising Assistant Ashley Grether Marketing and Events Manager Jess Sword Marketing and Promotions Intern Jeanine Gaitan Give!Guide Director Brittany Cornett
Our mission: Provide our audiences with an independent and irreverent understanding of how their worlds work so they can make a difference. Circulation: 80,000-90,000 (depending on time of year, holidays and vacations.) Though Willamette Week is free, please take just one copy. Anyone removing papers in bulk from our distribution points will be prosecuted, as they say, to the full extent of the law. Willamette Week is published weekly by City of Roses Newspaper Company 2220 NW Quimby St., Portland, OR 97210. Main line phone: (503) 243-2122 fax: (503) 243-1115 Classifieds phone: (503) 223-1500 fax: (503) 223-0388
DISTRIBUTION Circulation Director Robert Lehrkind
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MUSICFESTNW Executive Director Trevor Solomon OPERATIONS Accounting Manager Andrea Manning Credit & Collections Shawn Wolf Office Manager & Receptionist Nick Johnson Office Corgi Bruce Manager of Information Systems Brian Panganiban Publisher Richard H. Meeker
Willamette Week welcomes freelance submissions. Send material to either News Editor or Arts Editor. Manuscripts will be returned if you include a self-addressed, stamped envelope. To be considered for calendar listings, notice of events must be received in writing by noon Wednesday, two weeks before publication. Send to Calendar Editor. Photographs should be clearly labeled and will be returned if accompanied by a selfaddressed, stamped envelope. Questions concerning circulation or subscription inquiries should be directed to Robert Lehrkind at Willamette Week. postmaster: Send all address changes to Willamette Week, 2220 NW Quimby St., Portland, OR 97210. Subscription rates: One year $100, six months $50. Back issues $5 for walk-ins, $8 for mailed requests when available. Willamette Week is mailed at third-class rates. A.A.N. Association of ALTERNATIVE NEWSWEEKLIES This newspaper is published on recycled newsprint using soy-based ink.
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INBOX LATE ARRIVAL TO THE PARTY
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In all the excitement of your 2011 recap, [“2011: The Costume Party,” WW, Dec. 28, 2011] Willamette Week forgot to include somebody on the costume party invite list: THE MAESTRO Costume: Tuxedo, baton, fluffy gray wig. What happened in 2011: After a 114-year wait, the Oregon Symphony made its Carnegie Hall debut in May under the leadership of music director Carlos Kalmar. Hundreds of Portlanders flew to NYC to witness this miracle for themselves. Rave reviews abounded, most notably from New Yorker music critic Alex Ross, who declared our orchestra’s performance “the highlight of the festival and one of the most gripping events of the current season.” Update: This October the band released its first recording under the baton of Kalmar, and from across the nation more glowing reviews followed. They’ve already been invited back to Carnegie Hall in May 2013. And while other major U.S. orchestras are flailing under financial woes (most notably Philadelphia), the Oregon Symphony ended another fiscal year in the black with increased ticket sales. Maestro Kalmar, in addition to his Stumptown gig, currently leads two other major orchestras in Madrid and Chicago and is a frequent guest conductor around the globe. Simply put, Carlos and the band are becoming celebrated players on the international stage of classical music. Brian Horay classicalbeaver.com
MUSIC CRITICISM: SO MUCH CRAP
I really like you WW folks, but your favorite bands are usually crap [“ You’re the Best —Around,” WW, Dec. 28, 2011]. Don’t be afraid to enjoy good music. A few of the snootiest hipsters might give you a pfff of disapproval. Who cares? They’re already caught up in their own ego-stroking crap that’s absolutely way cooler than the crap you like. You’ll lose that crowd either way. The rest of us would love to hear about some new bands that don’t sound like crap. —“ed”
HAVE A BEER, JUST NOT OURS
How many people decided this list? [“Oregon’s 10 Best Beers,” WW, Dec. 28, 2011]. Two, three? I like a good microbrew, but safflower, lemon, orange, pine sap, cocoa, chilies??? No thanks. — “Wm” Seriously? No love for Ninkasi or Oakshire? I am sad for you. —“mallard666” Any of the Heater Allen beers—but especially the Pils and Schwarz! Can’t believe none of these made it on your list. Rick Allen is the MASTER! —“kakey” 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
2012 International Speaker Series THE NATION’S PREMIER SPEAKER SERIES FOCUSING ON INTERNATIONAL AFFAIRS
FEBRUARY 3, 2012
Politics and Principles
Jim Lehrer
Journalist; News Anchor, PBS NewsHour
In this election year, International Speaker Series presenters will examine the core principles and challenges that define America’s place in the world. What does America stand for? What should our role be in the global economic system? What are our obligations to the oppressed? What does leadership mean in the 21st century?
Now that we’ve got weekly compost/yard debris pickup, I figure I should be able to dump my 100 percent-organic Christmas tree into the compost bin and not get charged for tree disposal. Can I? —Julie S.
SERIES TICKETS AND INFORMATION worldoregon.org | (503) 306-5252
MARCH 11, 2012
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Willamette Week JANUARY 4, 2012 wweek.com
Human Rights Advocate
All lectures begin at 7:00 p.m. at the Arlene Schnitzer Concert Hall
Man, you guys won’t let up with the trash-andcompost questions lately. Either you’re all sustainability wonks, or there’s something about my writing that calls to mind steaming piles of decaying organic waste. Whichever it is, you’ll be pleased to know that your Christmas trees and wreaths are indeed compostable. But before you toss that tree willynilly onto the curb and race off to the bar, mentally counting the vials of crack you’ll buy with the money you’re saving on tree disposal, you should know there’s a catch. That tree needs to be reduced to the size of
other yard debris before your local hauler will take it. That means you’ll have to cut it up, or run it through that wood chipper you bought to take care of Grandma, or otherwise render it into bitesize (no more than 3 feet) chunks. These must fit neatly into the bin, and slide out obligingly when the bin is upended. Failing that, you can still put out the whole tree and let your hauler deal with it the old-fashioned way. Doing so, however, will cost you $4 or $6, depending on the size of the tree—equal to one or two vials of crack the last time I checked, which was 20 minutes ago. Finally, a wide variety of church groups, Cub Scout troops and other assorted do-gooders will take the tree off your hands for a fee, as a fundraiser. This won’t save you any money, but if you somehow have some Christmas spirit left over after the holiday bloodbath (you freak), it’s a nice thing to do. QUESTIONS? Send them to dr.know@wweek.com
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HEALTH: County program pushes fresh foods in quick-marts. ELECTION 2012: Questions over a Metro candidate’s residency. BLAZERS: Gerald Wallace, the new fan fave, explains his style. COVER STORY: Storm Large returns to Portland for a victory lap.
7 9 10 12
PUNCHED OUT IN PORTLAND’S LIVING ROOM.
M I K E P E R R A U LT
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FROM THE EDITOR: Sometime soon, Dwight Holton and Ellen Rosenblum each will announce their candidacies for the state attorney general’s seat incumbent AG John Kroger will vacate next year. Holton is currently an assistant United States Attorney, and Rosenblum is a recently retired state Court of Appeals judge. More important for the readers of WW, Rosenblum is married to my business partner, Publisher Richard Meeker. While, in my opinion, Rosenblum would be an outstanding AG, this newspaper has a conflict of interest. That’s why, as difficult as it may be to write this, we will not be covering the race or making an endorsement. —MARK ZUSMAN
On Dec. 22, Portland Fire & Rescue Chief John Klum sent his troops a letter asking those with “direct information” about alleged cheating on promotional testing materials to share what they know with investigators. But the letter hardly seemed designed to encourage transparency. “We will do our best to protect the anonymity of members who come forward,” Klum wrote. “However, any information provided, as well as your identity, may be disclosed to individuals involved in our investigation or released under the Oregon Public Records Law.” Fire Bureau spokesman Paul Corah says the cheating investigation’s findings should be released next week. A new report by Multnomah County auditors found problems with the way county sheriff’s office employees handle $3.7 million a year in cash belonging to jail inmates. The Dec. 29 audit report says sheriff’s office staff “cannot reconcile the inmate accounting system to the bank and [county financial system] each month,” leaving the county without the means “to detect any errors or missing funds.” The report says the sheriff’s office must pinpoint the amount of an error dating to a 2007 accounting system switchover, estimated at up to $86,000. In his written response to the report, county sheriff Daniel Stanton says he agrees with the findings, but downplays the “potential for loss or theft,” given “checks and balances” already in place. A lawsuit against the security company that guards Pioneer Courthouse Square goes to trial at Multnomah County Circuit Court on Jan. 9. Brian Alexander Baca claims Portland Patrol Service Inc. officer Nick Jones punched him in the face in November 2009, after an argument that began when another guard asked Baca and his friend, co-plaintiff Clyde King, to stop skateboarding and leave the park. Baca’s attorney, Tony Schwartz, says Jones lacked the required training to work as a guard. Portland Patrol Service Inc. did not respond to messages. Read more Murmurs and daily scuttlebutt. 6
Willamette Week JANUARY 4, 2012 wweek.com
GOT A GOOD TIP? CALL 503.445.1542, OR EMAIL NEWSHOUND@WWEEK.COM
JAROD OPPERMAN
NEWS
PUBLIC PRODUCE: Muktar Abdow of African Mini Market benefited from a subsidy intended to bring fresh foods to quick-marts.
MAKING FOOD DESERTS BLOOM A NEW GRANT PROGRAM AIMS TO BRING HEALTHY FOODS TO NEIGHBORHOODS WITHOUT SUPERMARKETS, BUT CAN IT REDUCE OBESITY? BY H A N N A H H O F F M A N
hhoffman@wweek.com
Muktar Abdow is terribly proud of the refrigerator and freezer at his African Mini Market on North Killingsworth Street. He shows them off with a smile and a wave of his hand that’s appropriate for The Price Is Right. The equipment at his convenience store allows him to stock fresh produce and halal meats—and, in turn, appeal to a wider array of neighborhood customers. But he didn’t buy the appliances. Taxpayers did. Abdow’s store is among 22 in a county-run program, the Healthy Retail Initiative, that subsidizes stores with grants of up to $4,500 to provide more than the typical quick-mart fare. County officials hope the program will change the way the stores do business—and encourage nearby residents to eat better. The stores are located largely in neighborhoods where residents don’t have access to big grocery stores—and in areas where county officials believe obesity is a public health problem. The program goes beyond equipment like refrigerators for produce and deep freezers for meat. County officials advise store owners which foods to stock and where to buy them wholesale, and give them red apple-shaped labels to identify healthy foods.
“We never thought we’d get help the way they help us,” Abdow says. “Money makes you change, and they gave us money.” But the county has no evidence the program is working. Nor has it come up with a way to measure how—if at all— these subsidies are changing the way people shop and eat. The county is focusing on what the stores sell and stock, but not customers’ buying habits. The county plans to first track stores’ inventories—whether they’re ordering more healthy products—and then survey storeowners and customers. Those studies are months away. Sonia Manhas, manager of community wellness and prevention for the Multnomah County Health Department, says the county is trying to create demand for healthier foods by offering customers a wider variety of choices—the opposite of how sales tend to work. She acknowledges that giving cash grants to corner stores isn’t going to fix a longstanding problem: unhealthy eating habits and swaths of the county where big grocery chains refuse to operate. “Is this something the county can be in the business of doing for a long period of time? Well, no,” Manhas says. Vicki Ezell, vice chairwoman of the Portsmouth Neighborhood Association, whose neighborhood includes Village Market, one of the subsidized stores, says she would rather see the money funneled into a farmers market or medium-sized grocery store within walking distance. “That $4,500 is going to go really fast. It would be better to spend it on something that’s going to last,” Ezell says. “It sounds like somebody had a good idea and didn’t think it through all the way.” County Chairman Jeff Cogen says he’s not worried the
program lacks a way to measure its success. “Hopefully, in five to 10 years down the line,” Cogen says, “the spike in obesity and diabetes we’ve seen will have leveled off.” The county money comes from a $7.5 million federal grant from the Centers for Disease Control to get people to lose weight by eating better and exercising more. The money is split between the county and other local governments, nonprofits, schools and private organizations. During the first year of the three-year grant, schools in seven districts—Portland Public, David Douglas, Parkrose, Centennial, Gresham-Barlow, Reynolds and Riverdale— are getting $634,375 to “implement obesity prevention strategies.” Programs operated by the cities of Gresham and Portland and Multnomah County are sharing $438,333 from the grant on other initiatives—such as zoning changes to set aside space for urban farms, and public policies that encourage people to use bikes and public transit. The Healthy Retail Initiative is among several ideas promoted by the CDC. It’s similar to the Healthy Corner Stores Initiative in Philadelphia that works with about 1,000 small inner-city markets. Manhas says the county is trying to combat health disparities across racial, ethnic and economic groups. She says Latinos, African-Americans and the working poor contract diseases related to obesity—including heart disease and diabetes—in disproportionately high numbers. A 2009 Multnomah County study found AfricanAmericans die at twice the rate of whites from diabetesrelated conditions and illnesses. Manhas says the Portland area’s attention to local foods and farmers markets doesn’t reach everyone. She says this program will help people who can’t afford the high-end organic or local food that has become popular among more affluent Portlanders. CONT. on page 8 Willamette Week JANUARY 4, 2012 wweek.com
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NEWS
JAROD OPPERMAN
New Year, healthier you.
NO NEW SEASONS HERE: Alyna Couture browses at Village Market in the New Columbia project.
“There’s a strong local food movement here,” Manhas says. “We’re trying to bring in this other perspective. Otherwise, what you’re going to have is a disparate movement. How does food, an issue that impacts everyone, become something not everyone connects to?” At least 13 of the stores that have received county subsidies are in North Portland, and three are in Northeast—areas where the county has used U.S. census data to show that people have difficulty getting to large grocery stores. Manhas says she and her colleagues started the program after talking to parents at César Chávez School in North Portland. They said they often take a bus to the WinCo Foods market on Northeast 102nd Avenue—a 12-mile ride—because prices are lower and the selection is better than that at their neighborhood stores. “There’s a lot of conversation about ‘food deserts’ and what are we going to do about that?” Manhas says. “We’re trying our best to be really grounded in people’s real experience and real lives.… We did see this as an opportunity.” Rafael Moreno, who owns El Compadre market on North Lombard Street, says the $4,500 grant has helped him stock more grains, especially in bulk, and is helping pay for a walk-in freezer to store meats and vegetables for much longer than he can now. At Village Market, the grocery store in the New Columbia housing project in the Portsmouth neighborhood, a $4,500 grant helped open the store in May. “You don’t have to go out of the community,” says resident Annie Aotole. “And I’m liking the new bulk foods they have very much.” Abdow, who has owned his African Mini Market on North Killingsworth for about a year, says language is a barrier to eating healthy if you send immigrants to stores where employees don’t speak their language. “Tufah,” Abdow says, pointing to a shiny red apple. “That’s ‘apple’ in Somali.” He grins. “Moos,” he says, pointing to a banana. Here, African immigrants can ask him for what they want in Somali or Swahili, which they can’t do at WinCo. Abdow says he couldn’t offer fresh produce until the county helped him buy the refrigerated produce case, which also holds pineapples, cantaloupe, ginger and potatoes. And the freezer allows him to stock two types of chickens (one popular in West Africa, the other a favorite in the Middle East and Somalia) and halal chicken burgers and hot dogs. He says his customers love the new selection. “You know how you feel in a desert, when you feel thirst?” he says. “And somebody gives you water? It feels like that.”
NEWS FAC E B O O K .C O M / H E L E N F O R M E T R O
ELECTION 2012
HOME AWAY FROM HOME RECORDS RAISE DOUBTS THAT METRO CANDIDATE HELEN YING LIVES IN THE RIGHT DISTRICT. BY CO R E Y PE I N
cpein@wweek.com
Helen Ying, an educational consultant and former vice principal at Parkrose High School, has a lot going for her in her campaign to join the Metro Council. She has friends, for starters. Councilor Rex Burkholder, who is being term-limited out of office, suggested last year that Ying run to succeed him as the regional government’s representative for District 5, which covers most of Northwest, North and Northeast Portland. The turnout at Ying’s campaign kickoff party in November included Metro Council President Tom Hughes, former Portland Mayor Tom Potter, former Gov. Vic Atiyeh and Multnomah County Commissioner Judy Shiprack. She has money, too. As of Dec. 30, Ying, who turns 55 this month, had raised nearly $20,000— about twice as much as her closest competitor, Sam Chase, a former chief of staff to City Commissioner Nick Fish. (Terry Parker and Michael Durrow have also filed for the District 5 seat.) All that makes Ying the front-runner in the four-way Metro Council race. There’s one problem: Ying keeps a home outside the district she wants to represent. Ying ’s campaign website says she and her husband, Stephen, live in a condo in Northwest Portland, inside the Metro District 5 boundaries. In February 2010, the Yings purchased a 490-square-foot condo in a building on Northwest 12th Avenue in Portland, a few doors down from their daughter, who purchased a unit there a few years earlier. But the Yings are longtime residents of Happy Valley in Clackamas County, and on some public documents, they still list their Happy Valley address. That residence, a four-bedroom, 2,900-squarefoot house they bought in 1994, falls within the boundaries of Metro District 1, which is represented by former Gresham City Councilor Shirley Craddick. Craddick’s district seat isn’t up for grabs this year. Records show Ying established the condo as a residence before the deadline to be eligible as a candidate. County election rules require Metro candidates to have lived in their district for 12 months prior to filing. In April 2010, Ying had her voter registration changed from Clackamas County to Multnomah County. And she had changed her Oregon drivers license to the Portland address by August 2011, when she was cited by the Portland Police Bureau for failure to obey a traffic control device. But other public records put Ying’s eligibility in doubt. They show that she and her husband have kept important ties to their home outside
You. Unlimited. HELEN YING
the district since purchasing the Northwest Portland condo. As of mid-December, the Yings had Multnomah County send the property-tax bill for the condo to their home in Happy Valley. Their Clackamas County property taxes were also sent to the Happy Valley address. And on Christmas Day, Stephen Ying gave his wife a $500 campaign contribution. When the campaign filed the donation with the Oregon Secretary of State on Dec. 27, it listed his home address as Happy Valley. “Our checks still have that address,” Helen Ying tells WW, by way of explanation. “It hasn’t been the first thing on our minds to convert everything, since we still own the home [in Happy Valley].” That home has been for sale since 2008, Ying says. Although Ying says she and her husband celebrated Christmas in Happy Valley this year, she insists they actually live in Northwest Portland. The Yings are longtime officers of the Portland Lodge of the Chinese American Citizens Alliance, a nonprofit organization. As of December, it, too, was registered with the Internal Revenue Service at the Yings’ Happy Valley address. The alliance continues to list the Yings’ Happy Valley home in newsletters and correspondence, as does a separate organization chaired by Helen Ying, the Asian American Youth Leadership Conference. Ying says the Happy Valley house has nonresidential uses, including as a guest house. “It’s like a beach house, sort of, except much closer to town,” she says. Ying ’s best-funded opponent, Sam Chase, says he’ll leave questions of eligibility to election officials. “I certainly hope she is a resident of this district and that there’s nothing improper there— but I don’t have any reason to believe there is,” Chase says. “It’s really hard for me to comment on that one…. It’s certainly news to me.”
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NEWS
BLAZERS
IN HIS FIRST FULL SEASON WITH THE BLAZERS, GERALD WALLACE HAS EMERGED AS THE TEAM’S HEART. BY C AS E Y JA R M A N
cjarman@wweek.com
Gerald Wallace is a quiet guy. So it was something to note when, in the closing seconds of the first half of the Trail Blazers’ game against Sacramento on Dec. 27, he dumped his exhausted, sweaty body into a courtside seat next to some monied fans and struck up a short conversation. The arena exploded in applause. Blazers fans, rattled by Brandon Roy’s retirement and Greg Oden’s repeated setbacks, want nothing more than to see Wallace make himself at home. When he came to Portland from the Charlotte Bobcats last February, home crowds were immediately enthusiastic. The reason wasn’t just Wallace’s numbers—he averaged more than 15 points and eight rebounds last season, while making an impact in every standard statistical category. What really endeared Wallace to fans was how the 6-foot-7 forward played every minute as if it were the tail end of a close playoff game. It may be uncharacteristic for Wallace to sit next to fans, but he earned the nickname “Crash” because of how often he lands on them. Other than Roy, no Blazer delivered a more memorable performance in last year’s abbreviated playoff run than Wallace, who, while playing hurt, scored 32 points in just three quarters of a series-clinching Game 6 loss to the Dallas Mavericks. On Dec. 14, ESPN.com reported the Blazers were shopping Wallace as a part of a trade intended to bring Orlando AllStar center Dwight Howard to New Jersey. Portland, the reports said, would have received some trade picks and salary-cap space in return. If that news seemed unsettling for fans in the offseason, trading the 29-year-old Wallace would seem unthinkable now.
The Blazers, unexpectedly, look like a better team than they were last season. Despite his struggles against the Clippers on Jan. 1, Wallace still looks like the biggest single factor behind the improvement. While the sentiment is often overused in sports, Wallace has become the heart of the Blazers. “Sometimes teams talk about a glue guy,” says Blazers coach Nate McMillan. “He is establishing how we want to play.” Even the team’s star player finds Wallace’s hustle infectious. “He’s bringing that don’t-care, runinto-guys, dive-into-the-stands energy that we need,” LaMarcus Aldridge says. “His energy is biding us time for guys to find their rhythm.” The numbers bear the claim out: In the Blazers’ first three home games, Wallace’s plus-minus—an imperfect but often telling stat that tracks the total point differential between teams while a player is on the floor—was a whopping plus-48. That’s far and away the highest total on the Blazers’ roster—and it dwarfs the team’s total margin over opponents, 35 points. In other words, when Wallace is on the floor, the Blazers excel. But there’s more to Portland’s love of Wallace than his scoring. In Portland, playing gritty has long been more respected than playing pretty—perhaps a side effect of cheering for a team that hasn’t advanced past the first round of the playoffs in 11 years. Rose Garden crowds have been known to give many a standing ovation for hustle plays, even those that don’t end with a Blazers score or possession. Wallace is that rare player who exhibits both extreme athleticism and a blue-collar work ethic. On Dec. 29, after the Blazers beat the similarly scrappy Denver Nuggets, Wallace was the last man out of the showers and the quietest guy in the locker room. He had apparently tweaked his back and leg during the game. He dressed in slow, calculated movements while keeping an eye on the Lakers game on the TV overhead. I asked him where he learned his hardnosed style of play.
COURTESY OF NBA PHOTOS/GETTY IMAGES
CRASH COURSE
EYES ON THE PRIZE: Gerald Wallace cuts toward the basket against the Denver Nuggets at the Rose Garden on Dec. 29.
“What style of play?” he asked combatively, wincing in pain and annoyance. “Playing to win? I mean, shit, that’s easy.” Guard Raymond Felton let out a sharp laugh from the next locker. But not everyone plays like that, I prodded. “Not everybody plays like that, but everybody has it in them,” Wallace said. “It’s not something that you have to learn or somebody has to teach you. It’s just up to you, whether you want to go out and do it.” Wallace is right and wrong. The constant intensity may come naturally to him—and to teammate Marcus Camby, perhaps the only other Blazer who plays with Crash’s reckless abandon—but it’s something his teammates are learning by example. “I’m a guy who likes to play one way, all
out, and he’s another guy who likes to play the same way,” Camby says. “It’s fun to play that way. We’re both out there doing it and, hopefully, it’ll be sort of contagious and our teammates will follow suit.” The Blazers’ front office is trying to lock down Wallace for next year. (He can opt out of his contract at the end of this season or sign a one-year extension.) Of course, fans and management alike have to be a little wary that Wallace’s breakneck pace on the floor might lead to, uh, a broken neck. But no one is going to talk Wallace into holding back. “He has to take care of his body,” says Camby, his eyes cutting across the locker room to an exhausted, agitated Wallace. “But he didn’t get the nickname Crash for nothing.”
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Storm Large is calling from the Four Seasons in New York, where she is having lunch. “I’m looking at Martha Stewart, Tom Brokaw, Vernon Jordan,” she says. “I’m in a den of 1 percenters. I feel like a turd in a punch bowl.” How to explain Storm Large to those who have never seen or heard this Amazon queen? To simply call her a crotch-grabbing, bawdy temptress with great pipes would be insufficient. As she demonstrated in her one-woman show a few years back, Large can also be heartbreaking, hilarious and affecting. Large had a busy 2011, and spent much of it 12
Willamette Week JANUARY 4, 2012 wweek.com
away from Portland. She toured worldwide with Pink Martini, filling in for vocalist China Forbes. She is refining the script of her play to take to New York later this year. And now she is a published author. Crazy Enough is a starkly honest memoir, a tale of sexual triggering, drug dabbling, and trying to fit in and rebel at the same time. Ultimately, it is about reconciling the tension that bubbles just below the surface of this seemingly confident woman—the result of having a mother who is, in a word, crazy. We’re delighted to excerpt, for the first time anywhere, selected portions of Crazy Enough:
M AT T D ’A N N U N Z I O
Crazy Enough
GETTING OFF, SNORTING UP AND WRESTLING WITH FAMILY DEMONS—EXCERPTS FROM STORM LARGE’S NEW MEMOIR.
When I was five years old, I had my first orgasm. I had played with myself for as long as I could remember, but the gold at the end of that rainbow came courtesy of my first ever boyfriend, Mr. Pool Jet. He was so much fun and such a consistent partner, never asking a thing of me but always eager to give. With my arms folded under my chin at the pool’s edge, my body was just the right length to get that warm blast of water right on the money. Tucking my hips up into the stream I remember distinctly hissing under my breath, “Oh my...oh my...OHMYOHMYOHMY!” Then, kicking away from the wall I sucked in a good
lungful of air, dove, and hid at the bottom of the pool to collect myself for a few seconds. Did anyone see that? I knew that what I had discovered was huge, but I also knew, instinctively, that it was not for public consumption. More urgently, pressing into my little brains was that once the prickling, throbbing exclamation point between my legs cooled and calmed, I would totally have to do that again. Like a gateway drug, it started with Mr. Pool Jet, then went on to harder stuff: bathtub faucets and, later, showerhead massagers. Thank you, Waterpik! I always knew something was wrong with
me, and here was the proof. I was a five-year-old secret slut for any stream of water I could get alone. After a couple years of that, I got a real live boy to play with. I was seven and he was five, so, by the third grade, I was not only a water nymphomaniac, I was also a cougar. We’ll call him “ChapStick” as in, “’Zat a ChapStick in your pocket, or...?” We both lived in the same little neighborhood, so he would come over to play. Around adults we would play the usual toddler games: shave Barbie’s head, give her a CONT. on page 14
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13
CRAZY ENOUGH
CONT.
black eye with a magic marker, and feed her to the giant squid that came with my brother’s GI Joe undersea adventure series, or we would just space out and watch cartoons. When we could sneak away someplace alone, however, we would play a game called “I Am So Tired!” I would lie on my back in bed or on the floor, cover my head and arms with a blanket or a towel and pretend to fall asleep with my legs open. That was the cue for ChapStick to climb on top of me and ravage my sleeping torso with his fevered humping.
1970: Storm with brother Henry.
1972: The Larges together.
14
Willamette Week JANUARY 4, 2012 wweek.com
We would be fully clothed during the exchange but still I would tilt my hips toward the onslaught and bite the inside of whatever was covering my face as waves of intense and desperate tickling pleasure would build up in the friction. My face and my breath would get hot and I would pant a little bit, but quietly. Sometimes I felt like my throat was bulging outwards like a water balloon, from hitching and holding my breath, and my belly would suck all the way in pulling the tickles in deeper, up higher, then more then yes, and yes, and YES! Then a chickeny flutter and burn and drop, twitch and melt, the weight on my back spread over my bones like hot honey. He would then get up and go somewhere else in the room and leave me floaty and pink under my covers. A minute or two later, I would get up, stretch and make a big deal about how tired I was and how nothing could’ve woken me, and how was your nap, ChapStick? Usually we were both very satisfied with this game. Once in a while, though, he would be done before me and I would yell from under my covers, “Ummm, I’m still tired!” We had no idea what we were doing, yet we somehow knew not to talk about it. Even to each other. We ignored our little trysts as though they were funny slivers of some wacky kid dream that nobody would understand. I loved my mom more than anything. She was a cross between Grace Kelly and Sandy Duncan, but with two good eyes. When I was little I knew she was the most beautiful woman in the whole world. To me she looked like a Disney princess, a magical lady that birds and baby deer would follow around, eating out of her hand. Not an elegant ladytown, more a pretty, pixielike girlie girl. I had no idea that a lot of people in our sleepy little town thought she was...odd. As I got older, I started to notice eyes rolling her way. My mom was bright and chatty—a chime-in-loudly-on-any-conversation type person—but it turned out that was a social no-no for the prep-school set. Plus, she was a mere twentytwo when she and my dad took up residence at St. Mark’s School. My dad always comments on his lucky break in landing a job at St. Mark’s. When he was done with his tour of duty in the Marine Corps in 1965, he went to his alma mater, Princeton University, to meet with the woman in charge of placing graduates into their ideal employment situations. She asked him where he wanted to live, what did he want to teach, and would he also like to coach football? Then, she handed him a piece of paper with a name, phone number and an address. In July of that same year, Dad, Mom and three-yearold John moved from my grandparents’ farm in Pennsylvania to St. Mark’s School in Southborough, Massachusetts, where Dad would teach, coach and mentor, nonstop, for forty-five years. Friends referred to them as “the golden couple.” My dad, an Ivy League, ex-Marine lieutenant, was manly handsome. He stood a healthy six foot one, one blue eye, one green eye, with jet-black Superman hair. My mom looked like a giggling tow-headed fairy that could pirouette across a field of buttercups and not bruise a single one. I think some of the older, dumpier ladies around school took my mom’s youthful sparkle as the antics of someone who thought a bit too much of herself. Most of the faculty wives at St. Mark’s were bookish and preppy, embracing a more matronly aesthetic. Think lots of brown wool skirts with pale ankles dumping into squeaky duck boots. My mom stood out. Stood out like a slice of summer sun beaming into a punishing
cold January. She twinkled in complete contrast to those dour prep-school hens, and they did not care for it at all. Within the stiff, Tudor walls of St. Mark’s, if you stood out, or thought you were special in any way, you were on your own...a lesson I learned for myself years later. I remember witnessing affectionate moments between my parents, even though things would soon get to the point when it became hard to imagine them even in the same room together without getting a stomachache. But they loved each other long enough to get pregnant three more times after John. Mom always had trouble with her girl parts, she’d say. Her pregnancies and her periods were rough going, but her miscarriage nearly did us both in. She was four months or so along when she lost the baby, and it knocked her out for awhile. Mom was twenty-six, John was five, Henry was two, and the doctors recommended a hysterectomy. They told my parents that Mom’s endometriosis wasn’t going to get any better, and since they already had two healthy boys.... But Mom wouldn’t hear of it. She wanted a baby girl. She promised to have the surgery as soon as she had a girl. Mom loved telling me, and anyone in earshot, how I nearly killed her, but June 25, 1969, twentyfour hours of labor and one blood transfusion later, she got her little girl and all the terrible tales of woe that would come with me. Yay! You’re welcome, Ma! When I was around six months old, the doctors finally got to melon ball her reproductive system. And, supposedly, that was just the ticket, until she started trying to kill herself. Before Mom had any official diagnosis that I knew of, it was just, “Mom’s tired.” It would go like this: We all came flying in from school in a blur of noise and book bags. My brothers were usually caked with mud from sports or brawling, while I would be covered in paint with some huge piece of construction paper with leaves or some other crap glued all over it. We would barrel into the house and stop short at the sight of Dad by himself or one of our rotation of babysitters. “Where’s Mom?” one of us would ask. “She’s resting.” “Resting where?” “At the hospital.” And that would be the end of the conversation. At fifteen, I weighed in around 190 pounds and was a thick chunk of girl muscle. Still plushly upholstered with baby fat, but I was as strong as a bear with a similar temper.
PHOTOS COURTESY STORM LARGE
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NEW YEAR, NEW LANGUAGE! I fucking hated sports and the rapey testosteroids who loved them. But the new me, the me who was trying to be all right and fit in, grit my teeth and went for it. And in very little time, I found myself growing in athletic reputation. First, I was asked, nay somewhat begged, to be the varsity goalie for the girls’ soccer team. The coach so wanted my big blocky, rageaholic self in the net, he pretty much let me do whatever I wanted there. I relished my position. I didn’t have to run with the other ponies at practice. I could just hang around in my sweats and be a menace. Another girl from the team and I would go to my house right around practice, get stoned, then go to the field. It was my first feeling of being a spoiled rock star. Very little was asked of me,
was I now an athletic asset to the school’s rep, I was so fucking unattractive that, in my dad’s mind, no boy would ever want a piece of me. I was the perfect daughter. For those of you who don’t know about crew, allow me to inform you that, while it is the preppiest sport this side of croquet, it is one of the least attractive. Brutal, grunting, yanking, there was very little room for hotness. Field hockey girls were plucky and quick, usually superhot with wide, swinging ponytails and delicate limbs plunging out of flippy skirts and grass-stained jerseys. Soccer girls were a tad more boyish, tougher, more contact and aggression. Crew ladies are moose. Big, butch moose. Crew, by all appearances, attracted young lesbians. Everyone’s sexuality is pretty mal-
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“I LOVED IT. I WAS SO THIN PEOPLE WERE WORRIED? COOL!” but I was awesome at my job. It was the perfect outlet for my frustration to vent on other people. The coach and my teammates encouraged me to be as brutal and scary as I wanted. At games I would smoosh mud all over my face, and straight up tackle chicks. It was great. I had also become a bit of a superstar in varsity crew as well. My giant body and black little heart made me a monster with an oar, and I was ranked in the top rungs of New England and the Eastern seaboard for my age group. The ergometer is a rowing simulator, and a measuring tool for your strength and stamina. And, though I loved my Marlboros, and cocaine was becoming a more frequent treat for me, I constantly made the ergometer my bitch. Suddenly, my dad thought I was great. He positively glowed when the St. Mark’s athletic director announced my name at assembly, telling the crowd how I would be spending the summer, training and kicking ass for St. Mark’s at the Junior Nationals in upstate New York. There was finally something about me he understood and could be proud of. At least, for a minute. He would come to my meets, chat with my coach, and I was suddenly awesome. His little girl, who had saddened and confounded him for so long, had grown into a giant meat triangle of broad back and shoulders, huge, shoebox thighs, and no boobs or booty to speak of. So, not only
leable during the agony that is being a teenager. However, I can say with confidence, while I was doing the sport, there were many vagitarians in those sleek and skinny boats. I, too, like girls from time to time; I consider my sexuality as opportunistically omnivorous. If it tastes good, I’ll eat it. However, I tend to go for field hockey player types. It was the summer I turned eighteen. I hadn’t been accepted to any college or university, not that I tried terribly hard. I just declared I was taking the year off. For what? Whatever. Mostly to starve myself. I took a job as a maid in a hotel. Five days a week I would work in my little gray uniform with smock pockets, shaking condoms out of bedding, vacuuming, dusting, hospital cornering, and snooping through people’s toiletries. Every afternoon I would borrow a fashion magazine from the sundries shop, then hit the hotel gym. Pumping my legs for hours on the stairmaster while staring at tiny, bird-boned models. At home, over my bed and dresser was a collage of similar images. My walls were a homage to the professionally hungry. I would stare at those pictures, willing my body to shrink around my skeleton, too. It finally did. CONT. on page 16 Willamette Week JANUARY 4, 2012 wweek.com
15
CONT. TRACEY SNELLING
CRAZY ENOUGH
In studying to be an anorexic, I noticed some of the models weren’t particularly pretty, but they were nearly void of flesh. Angular and feline, I imagined they were probably invited to parties every night and given cocaine to be kept upright. One of the big lessons I got from my schooling, at that point, was, if you were beautiful, someone would love you. It made perfect sense. Step one: Stop eating. During that first summer out of St. Mark’s, I figured out how to stop eating by taking trucker speed and smoking Camel Lights. I could get away with one piece of dry toast and a half of a honeydew melon every day. So what if my hair was falling out? The Portuguese ladies I worked with at the hotel yelled at me over their lunches. “You too skinny, Tormenta, you gon’ get sick!” I loved it. I was so thin people were worried? Cool! Dad was in New Hampshire all summer, again, but when he came home for his weekly check-in, I noticed him acting funny around me. He then came home a little more often. He’d make food and put it in front of me, or bring me greasy beach-vendor food from the water park and stare at me while I barely touched it. He wants you to stay fat so nobody will want you.
PA S H A X P O S E U
Sometime later, I was doing some day-drinking on a Sunday. Raff was working and we were going to hit the Limelight later on. But day-drinking can ruin your night, and this day was going that way fast. I had made a quickie friend, one of those drugfueled friendships that happen over bottles and lines, needles and pills. Chemical camaraderie that feels so real and life-affirming while you’re getting completely fucked up, but fade as fast as a cherry high. She was painfully thin, a stick bug in a tank top. She had hair like Chrissie Hynde and a laugh like Danny DeVito, and at one point, I think, I told her I loved her. She tearfully told me about something bad that had happened to her, and I wept right back at her pretending to understand. She kept buying drinks and I kept drinking them. The sun was still high in the sky when she clinked her glass against the fourth or fifth shot of Jack she had bought me. I downed it. She had also bought smokes and a slice of pizza. She was my soul mate. I managed to say, “I gotta stop drinking, I’m going out tonight and I’m already fuckin’ wasted!” “Me, too! I’m going out later, too!” She blew smoke at me. “We should go to my place and take a nap.” “I would totally die for you. Let’s go.” Somewhere in our zigzagging, drunken singing,
SELF IMAGE: “A giant meat triangle of broad back and shoulders.” 16
Willamette Week JANUARY 4, 2012 wweek.com
LIFE LESSONS: “If you were beautiful, someone would love you.”
arms slung over each other’s shoulders path to her place, I heard her say something about lines. Fuck, yeah. That’ll be great! It’ll take the drunk down a peg, and it means she has blow and will all night. My new best friend rules! I’ll never do coke again, later. Though my memory of her apartment is fuzzy at best, it stood out to me right away that the chick must have dough, or she was fucking someone rich. The apartment was pretty decentsized and had real furniture in it. No milk crates with tapestries draped over them, no futon on the floor or mish-mash, thrown-away dressers. Nicer still was the familiar chop-scrape sound of razor to mirror. Huzzah! “Help yourself, I gotta pee.” She gestured to a powder-smeared rectangular mirror that sat on a low shelf. There was a decent heap of powder scraped out of a magazine-folded envelope, but only a tiny couple of lines set up for me. I took the razor and scraped the two lines to make one bigger and made a matching line next to it. I put the straw in my nose and quick snorted the first line up one side and went to do the other when a searing pain torched through my face. “OOOOW!” My hands slapped to my face. I was instantly tearing, drooling, and a sick funky flavor soured the back of my mouth. My friend was out of the bathroom. “Wha’ the fuck kinna coke izzat? It fuckin’ hurts!” “It’s not coke . . . it’s dope.” Looking down, “Whoa. You did a lot.” Dope??? I was already drunk and now I’ve horked up a junkie-sized line of smack? I am fucked. Maybe she’ll have actual coke to keep my heart beating; maybe she can take me to the hospital, or just hold me while I fucking die?! She floated to the front door and opened it. “You better go,” she said flatly.
Stop eating again. Get laid. Find an agent. One was easy enough, as I had no money or job prospects. Two was also pretty easy, as a new girl in town is almost as hot as one that’s moving away. The third one was tricky, though; in my estimation, the only pretty I was, was pretty chubby. So I’d stop eating, get a job, find someone to screw, then find an agent. Priorities. I got dropped off on Dolores Street and met my new roommates—a couple of trust-fund fashion brats from New York who would screw all day, hide out in their darkened bedroom, and go, almost daily, to Western Union to pick up scads of cash wired to them from one or both of their parents. Right around the time I started looking for a new place to live, I had fucked, roughly, twelve guys in a little over a month and took a meeting with the agent in town who had the biggest ad in the yellow pages. “Well, you’re pretty,” he said after looking at my headshots and résumé. On the wall of his small Market Street office were headshots of, supposedly, his clients. One I thought looked like a guy from a Fritos ad. “I mean, you have a very pretty face.” Slumping in my chair, trying to look hungry, I sucked in my gut and bit the insides of my cheeks to fake some bone structure. “See, the thing is, you’re kind of big.” “I lose weight really fast, I just had to gain some weight, recently, because my doctor told me, well, I was, you know, anorexic,” I said, a little too loud. “We don’t want you unhealthy, Storm.” The “we” he was referring to, I assumed, were all the pretty people in the headshots. “And, besides, it’s not your weight I’m referring to. You are bigger than most male actors. Do you think Tom Cruise wants to get up on an apple crate to kiss you?”
The drive to San Francisco took three days, during which I made a mental list of priorities.
EXCERPTED from Crazy Enough, a memoir by Storm Large. Copyright 2012 by Storm Large. Published by Free Press.
MORGAN GREEN-HOPKINS
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Willamette Week JANUARY 4, 2012 wweek.com
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CULTURE: Searching for Portland’s perfect potty. FOOD: 2nd Story is worth the climb. DRANK: An unpleasant holiday cider. TV: Portlandia is back and packing pickles.
JIMMY MAK’S
23 24 25 39
“One of the world’s top 100 places to hear jazz” - Downbeat Magazine
FRIDAY, JANUARY 6TH
Hailey Niswanger Band special guest Thara Memory
SCOOP
SATURDAY, JANUARY 7TH
The Curtis Salgado Band adv. tix at TicketsOregon.com FRIDAY, JANUARY 13TH
Indie Rock Showcase: Pancake Breakfast Bryan Free Great Wilderness SATURDAY, JANUARY 14TH
Stephanie Schneiderman DON’T MISS! JAN. 21, Sista
Monica Parker FEB 9 , Bobby Broom + Deep Blue Organ Trio Mon-Sat. evenings: Dinner from 5 pm, Music from 8 pm 221 NW 10th • 503-295-6542 • jimmymaks.com
Sexy Talent and Original Music Party NW Music and Fashion Rock, models, beer and more!
Mt. Tabor Theater Sat. Jan 7th. 8pm $10 at the door $7 in advance soullaproductions.com
GOSSIP THAT KNEW IOWA WOULD LET US DOWN. AH, YES, WE REMEMBER THE PIGMAN WELL: The Nielsen televisionratings company released its rankings for 2011 last week, and Portland-filmed Grimm is the year’s “most engaging” show. That means people who watched Grimm can actually remember what they saw on Grimm. This is kind of funny because Grimm includes creatures with names like Blutbaden, Bowerswine and Ziegevolk, so people are remembering pidgin German and writing it in their little Nielsen notebooks. DECENTRALIZED: Former Carlyle and Fenouil chef Jake Martin has left his latest gig slinging small plates at Old Town cocktail bar Central to head the kitchen at Seattle’s How to Cook a Wolf. He has been replaced in the Central kitchen by Paley’s Place alumnus Aaron Crane. FRESH FARM: Need some fresh kale? The Portland Farmers Market will have plenty at the new Winter’s Market, which opens Saturday, Jan. 7, at Shemanski Park. More than 35 vendors will sell products such as kale, beets, radishes, kale, leeks, carrots and kale from 10 am to 2 pm. There will also be tents, meats and cheeses. And kale.
of people here who can afford—financially but also psychologically—to be really, really concerned about buying local, for instance. It becomes mock epic. It’s like Alexander Pope’s ‘Rape of the Lock.’” To The Atlantic: “You can stall out quickly in Portland if you’re using a coffee shop as an office. If you’re trying to get something done, you have to be careful not to hold a meeting at a bar or making a point of seeing three movies a day. The city really enjoys its downtime.” To The New York Times: “[Portlandia is] a magical place where everybody goes to tyrannical lengths to let you know how good they are.” LAUGHING PLANET IS NOT BEING SOLD…YET: Last week’s Scoop column featured our predictions for 2012 culture news, which included a revival of the laserdisc and this week’s cover girl, Storm Large, scoring a role as the “young” version of Kim Cattrall’s character in Sex and the City 3. We also suggested Laughing Planet might be sold to Altria, the corporation formerly known as Philip Morris. Chuckles all around. Except for several people associated with the apparently ironically named Laughing Planet. The burrito-seller has asked for a retraction. Since our item was a prediction and 2012 has 363 or so more days to go, that’s impossible. However, we happily note that Franz Spielvogel denies having any plans to sell. (Then again, Stumptown boss Duane Sorenson said the same thing.) More on this story in the extremely unlikely event it develops into more than a joke. 20
Willamette Week JANUARY 4, 2012 wweek.com
JOHN CLARK
A CONCENTRATED ANTHOLOGY OF FUNNY THINGS CARRIE BROWNSTEIN HAS SAID ABOUT PORTLAND IN THE PAST MONTH: To The New Yorker: “There are a lot
HEADOUT R O B E R T D E L A H A N T Y. N E T
WILLAMETTE WEEK
WHAT TO DO THIS WEEK IN ARTS & CULTURE
THURSDAY, JAN. 5
WW EXCLUSIVE: SAM ADAMS’ ENDORSEMENT FOR PORTLAND’S NEXT MAYOR. OK, so he’s not the mayor, but when singer-songwriter Sam Adams moved to Portland a year ago from Indiana he quickly got used to the confusion. This 26-year-old Adams is certainly well-educated (with a degree in classical and jazz piano performance), and while he admits he doesn’t know a lot about the candidates running for local office in 2012, he does have some political music (including the fatalistic “We Are Being Used”). Seeing as how the sitting mayor of Portland hasn’t gone public with an endorsement for his replacement—it’s debatable whether his thumbs-up would help or hinder a candidate—the musical Adams provided us with an endorsement of his own. MELINDA HASTING. WW: How do you feel about these last 3½ years? Is Portland a better place? Sam Adams: Um, well, I’ve only lived here for a year. But what I have experienced has gone pretty well. I’ve only seen a couple of issues that are longstanding problems. What would those issues be? Well, the gentrification. I’ve run into that a couple of times walking my dog. People yelling out their car windows, “GENTRIFICATION!” and stuff like that. What do you think of Jefferson Smith? I have no idea who that is.
FRIDAY, JAN. 6 PORTLANDIA [COMMUNAL TV] New season, new catchphrase. It involves pickles, and we’d rather not spoil it, even though The New Yorker did. William Shawn would never have allowed his writers to spoil Portlandia pickle catchphrases. Mission Theater, 1624 NW Glisan St., 223-4527. 7 pm. Free. CAPELLA ROMANA [MUSIC] The Northwest’s pre-eminent male vocal ensemble made its reputation on performances of Byzantine and other early music, but with its booming basses and experience in Orthodox choral music, the chorus is well suited for its biggest project yet: Rachamaninoff’s 1915 masterpiece, the All-Night Vigil. 8 pm Friday, Jan. 6, at St. Mary’s Cathedral, 1716 NW Davis St.; 2 pm Sunday, Jan. 8, at Trinity Episcopal Cathedral, 147 NW 19th Ave., 2368202, cappellaromana.org. $27-$41.
SATURDAY, JAN. 7
He’s one of the guys running for mayor. How do you feel about his “economic gardening strategies”? Yeah, I don’t know them. OK, so what do you think about Eileen Brady? I don’t know her. But I really like the name Eileen. It reminds me of the old country. Charlie Hales? Who is it? Charlie Hales. I read Willamette Week, but I try to avoid those articles. So, is there any in the pack of candidates you’d endorse? I’d say, go for a Democrat, that’s for sure. Eileen is good. Her name sounds nice. Eileen is the name of a sweet old lady, and she’ll bake everyone cookies and, soon, things will be just wonderful. SEE IT: Sam Adams performs songs from his EP Draw This Bitter Blood at Alberta Street Public House, 1036 NE Alberta St., on Saturday, Jan. 7. 9:30 pm. Cover. 21+.
THE HUGS, SNOW BUD AND THE FLOWER PEOPLE [ODD COUPLE] Whoever thought of pairing local retro-popsters the Hugs with legendary Portland archstoners Snow Bud and the Flower People has to be some kind of mad genius. Both groups find principal inspiration in the 1960s, but Snow Bud was founded right about the time the Hugs were being conceived. Ella Street Social Club, 714 SW 20th Place, 227-0116. 9 pm. $5. 21+.
MUSICA MAESTRALE [MUSIC] Ensembles trained to perform Baroque music on the instruments and in the styles it was composed for used to be rare treats. Now, they’re happily becoming almost commonplace—but no less a delight. Several of these players perform in other ensembles and convene here to play and sing some of the ravishing, dramatic music by Monteverdi, Dario Castello, Barbara Strozzi and other composers from 17th-century Italy. Community Music Center, 3350 SE Francis St., musicamaestrale.org. 7:30 pm. $9-$14.
MONDAY, JAN. 9 ALEXIS SMITH Alexis Smith’s debut novel, Glaciers, explores history, memory and place through the thrift-store finds of a single, twentysomething girl named Isabel. Published locally by Tin House, this is a must-read for Bloomsbury Group fans. See review, page 38. Powell’s City of Books, 1005 W Burnside St., 228-4651. 7:30 pm. Free.
TUESDAY, JAN. 10 B-MOVIE BINGO: BULLETPROOF [MOVIES] Somehow, it took Wolf Choir’s schlock-cinema treasure hunt a year to get to Gary Busey. But it got there. And it chose the movie where he calls people “Butthorn.” Good work, B-Movie Bingo! Hollywood Theatre, 4122 NE Sandy Blvd., 281-4215. 7:30 pm. $5. Willamette Week JANUARY 4, 2012 wweek.com
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friendly. sounds great. best burger. independent. musician-owned /operated
503.288.3895 info@mississippistudios.com 3939 N. Mississippi
all shows 21+ 8pm doors 9pm show (except where noted)
Legendary punk band lights up the stage, with a new music documentary on the roster to boot
TUMBLEDOWN
Woodchuck Cider Sweet ‘n’ Local Presents: A showcase of music rooted in the folk revival tradition, with a dose of indie thrown in
Music
Listings
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ADAM SWEENEY & THE JAMBOREE
PDX’S OWN SOUL DIVA AND MEMBER OF THE NPG
+DRY COUNTY CROOKS
THUR JAN 5th
$6 Adv
Woodchuck Cider Sweet ‘n’ Local Presents: Dark and progressive rock music from local favorites
TRANSIENT
ALAMEDA
LIV WARFIELD
+TERRIBLE BUTTONS
FRI JAN 6th
WEDNESDAY!
$5 Adv
THURSDAY JANUARY 5 •
The LIBERATORS
COMEDY SHOW
+JARROD LAWSON
WEDNESDAY JANUARY 4 • $10 ADVANCE
FRIDAY!
SAT JAN 7th
$5 Adv
Former frontman for Low vs Diamond, this Seattleite spins soul inflected pop melodies, showing why Seattle isn’t just a home for folk rock anymore
SUN JAN 8th
ARCHEOLOGY
NPR has called him one of the best living songwriters, and Dondero lives up to the hype, a classic folk troubadour who weaves a captivating, mesmerizing song
TANGO ALPHA TANGO +ADAM SHEARER (WEINLAND)
FRIDAY JANUARY 6
DAVID
WED JAN 11th
THUR JAN 12th
AAN
+YOUTH FREE!
FRI JAN 13th
DUCK LITTLE BROTHER DUCK +YOUR RIVAL
6:30 Doors, 7:00 Show ALL AGES!
SAT JAN 14th
$5 Adv
Our favorite locals return with swarming rock songs channeling a heavy metal influence
BLOOD BEACH
FRIDAY JANUARY 6
$10 Adv
TUESDAYS
THURSDAY JANUARY 12 •
$5 DOS
$10 ADVANCE
AN ALBUM RELEASE PARTY WITH PDX POWER POP KINGS
THROWBACK
A Chicago quintet of multi-instrumentalists who create an experimental sonic landscape that gracefully encompasses a multitude of genres
STEREOVISION +FRAME BY FRAME
DELETED SCENES +RAVENNA WOODS
(feat CHRIS MARGOLIN)
SATURDAY JANUARY 14 •
$8 Adv
$7 ADVANCE
THE RETURN OF THE KINGS OF HUSHED, HARMONIC MELODIES
MILK CARTON
The
KIDS
STEVIE WONDER FRI JAN 20th
$15 Adv
FREE!
SAT JAN 21st
$15 Adv
+THE BRENDAN HINES $10 ADVANCE
22
Willamette Week JANUARY 4, 2012 wweek.com
+JACKRABBIT $10 ADVANCE
MOODY DREAM POP FROM PDX BUZZ-BUILDERS
BLOUSE WAMPIRE
+THE CROW
WEDNESDAY JANUARY 11 •
$8 ADVANCE
BUZZ-WORTHY INDIE ROCK SOUL FROM SEATTLE
BRYAN JOHN APPLEBY +JESSICA DOBSON
FRIDAY JANUARY 13
•
$10 ADVANCE
+WATER TOWER
SUNDAY JANUARY 15
•
$5 ADVANCE
YOUTH
LAGOON
+PURE BATHING CULTURE
AN INTIMATE EVENING WITH SO-CAL ROCKERS
Coming Soon:
www.mississippistudios.com
SASSPARILLA
SATURDAY JANUARY 7 •
DEEPLY PERSONAL DREAM POP FROM BOISE BUZZ BUILDER
WEDNESDAY JANUARY 18 •
6:30-8:30 FREE - PRIZES! at Bar Bar w/ Quizmaster ROY SMALLWOOD
1/22 - JOHNNY A. 1/23 & 1/24 - FERTILE GROUND FESTIVAL PRESENTS: “BITE ME A LITTLE A VAMPIRE MUSICAL” 1/25 - STEPHEN ASHBROOK 1/26 - DKOTA 1/27 - INTO THE WOODS 2nd ANNIVERSARY PARTY 1/28 - FUJIYA & MIYAGI 1/29 - THE PARSON RED HEADS 2/1 - PAPER/ UPPER/ CUTS 2/2 - DAVID JACOBS-STRAIN 2/3 - LAURA GIBSON
& THE NORWAY RATS
JACK DANIELS PRESENTS THE BLACK & BLUE SERIES
SUBURBIA
A LULL THUR JAN 19th
CASEY NEILL
SATURDAY!
PICKWICK
+TIMMY STRAW
MRS w/ DJ BEYONDA
+ANNE
QUIZZY
$5 ADVANCE
EMILY WELLS
JOEYTRIBUTE PORTER’S TO
SUN JAN 15th
•
BELOVED COSMOPOLITAN FOLKTRONICA PIONEER
The finest of Northwest players who pay tribute to our favorite soul artist
HAUNTED HORSES
$5 ADVANCE
A HAPPY DEATH +JOHN CRAIG & THE WEEKEND
Local four piece Forest Park celebrate an anticipated record release, showcasing dynamic guitars and vocals that make for one of the most innovative bands around
SAT JAN 14th
•
GLASS BONES
A monthly explosive dance extravaganza
PARK
CLEVER SONGWRITING FROM PDX’S FAVORED SON
IN MUSIC WE TRUST PRESENTS
$8 Adv
FOREST
$8 ADVANCE
$12 Adv
LUCAS DONDERO FIELD +VIKESH KAPOOR
+KENDL WINTER
BEAR & MOOSE
THURSDAY!
PIGEONS +MIKE COYKENDALL
Find out just why The Liberators are called one of the best improv groups in town
BACARDI PRESENTS THE BACK TO BASICS SERIES
DANIEL MENCHE (Record Release) EIGHT BELLS +TAURUS
A CD RELEASE CELEBRATION WITH INDIE-PSYCHE ROCK DUO
AUGUSTANA +GRAFFITI 6
SUNDAY JANUARY 22 •
PAGE 27
$18 ADVANCE
SATURDAY JANUARY 21 •
$10 ADVANCE
LOST LANDER + BRAINSTORM - 2/4 GARY CLARK Jr. - 2/14 SAUL WILLIAMS - 3/12 MR. GNOME - 3/23 COEUR DR PIRATE - 5/25 All of these shows on sale at Ticketfly.com
ATOMIC TOM 1/25 • JESSIE BAYLIN 1/26 • SCARS ON 45 1/27 THE ALABAMA SHAKES 1/28 • GRAVEYARD 1/31 • TEITUR 2/2 • LOST LANDER 2/4 TWIN SISTER 2/6 • LOS CAMPESINOS! 2/7 &2/8 • ACE ENDERS 2/10 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
PHOTOS: VIVIANJOHNSON.COM
TOUR
SEA PEE: Rimsky-Korsakoffee House’s nautical commode.
SEARCHING FOR SHANGRI-LOO oned and I followed a winding hall into a rounded public ladies’ room. The smell of citrus cleaning product lingered in the air and the surface was dewy. It looked like pixilated BY PAT R I C I A SAU T H OFF 243-2122 negative film stock. I felt like Dorothy seeing Oz for the first time, except here the Yellow Brick Road was a TechLike so many others, this voyage of discovery begins with nicolor green, and the surrounding horizon brighter than a game of Ms. Pac-Man. I’d lost, again, and decided to the most dramatically orange fall leaves. The disorientaregroup by ridding my body of the PBR that was surely tion was momentary, and I set to figuring out why every affecting my game. Instead of discovering a well-lit rest- surface was damp. I can only assume that with its locaroom, however, I was confronted with the same 8-bit tion on Southwest Clay Street between 3rd and 4th ghosts who made my jaw clench moments before. Only avenues—three blocks from the former encampment—it this time they were huge. Escaping into the only corner too had been previously occupied. Sadly, calls to the Portavailable, the stall, wasn’t going to help. It land Water Bureau, Clean & Safe Services of was dark and I was vulnerable. This was real the Portland Business Alliance and Portland VOTE FOR PORTLAND’S life, where another quarter wouldn’t save Parks & Recreation offered no answers. The BEST POTTY! me. I only had one choice, fleeing Ground party responsible for hosing down the restWin things! Kontrol and seeking out a more welcoming room remains hidden behind the curtain. wweek.com/potty ladies’ room. Trading old Hollywood for new, I found But where to go to, umm, go? What is an offer of voyeurism at Aura on West BurnPortland’s Shangri-Loo? side Street. The wishfully L.A.-esque club’s For the next month I would embark on “W/C” is dark enough to allow for anonyman odyssey to find the best restroom in ity, but inside the stalls are a gossip columtown—that comfortable mixture of protecnist’s dream. Glass, set just below eye level, tion, light and pizazz that makes a trip to the bathroom enables the occupant to peer onto the dance floor, making an enjoyably memorable experience. You might think I’m it the perfect hideout to watch for scandalous behavior by doing what the Brits call “taking the piss,” but I assure you, unsuspecting dancers. I have entered every lavatory I describe here open to the I still felt dirty despite washing my hands in the superexperience offered by the designers, giving myself over to cool sink. Leaving Aura for Living Room Theaters their aesthetic vision, or at least my interpretation of the around the corner on Southwest 10th Avenue, I wanted to experience they seek to offer. Through the journey I have wash up a bit. Little did I know my spying wouldn’t end. drowned, hurtled through space and become the lowest This time, though, I was transported back to a childhood form of journalist: paparazzi. More than a few times I game of peekaboo with the adjacent men’s room thanks found myself simply bewildered, unable to create a narra- to a trick of glass and mirrors at the sink. A longstanding tive to accompany the aesthetic choices confronting and mystery was solved, too: Men do wash their hands after confounding me. going to the bathroom! (Well, most of them.) Just one day after the shutdown of Occupy Portland’s My quest for perfection has had a delightful side effect. encampments, with Chapman and Lownsdale squares Throughout my search, the sweet nectar of alcohol has still surrounded by riot police, I entered a strange world. accompanied me through all but the amazing Technicolor Down the street from the former camps, a glow beck- toilet. Samples ranging from beer to fancy cocktails have
TOILING TO FIND PORTLAND’S PALACE OF PEE.
CULTURE
helped inspire me to buzz around town. But nowhere complemented my worker-bee mentality quite like Doug Fir Lounge on East Burnside. The postmodern forest of the bar holds a secret honeycombed glass door. Inside, mirrors on all sides appear drizzled in thick, sugary liquid, the reflections making even the lone loo occupant appear as one of many inhabitants of the colony. Pollen deposited in the hive, it was time to head to the tropical land of the Alibi on North Interstate Avenue. Even in the dark, the unnatural blue of my vodka, gin and rum “neon sign” cocktail blazed brighter than the orange Oz commode. Clearly, something special was going to happen. The bar felt familiar, but I didn’t realize why until I stepped into the ladies’ room. Was this it? Was this the amalgam of form and function for which I searched? The wood gave a sense of comfort while the warm light was bright but not harsh, giving my reflection a flattering glow. I ducked into the toilet and closed the sliding door when it hit me. This is the bathroom of every old person I’ve ever known. Had there been a porcelain animal or a doily, I might have melted. I wanted to be sure. There were two more stops on my potty train, both devoid of alcohol and therefore perfect for clearing my head and allowing me to reflect. Unfortunately, both of their powder rooms did the opposite. At the Ace Hotel branch of Stumptown Coffee on Southwest Stark Street, I entered a bright, rounded pod that seemed to hurtle through space. The brown reflective glass on two opposing walls was etched with outdoorsy scenes, furthering the feeling that I was looking back on the familiar from far away. It’s a fantastic little water closet that’s a mixture of art deco and futuristic 2001: A Space Odyssey stylings. How I wish I’d had that protective pod when I sank below the surface at the Rimsky-Korsakoffee House on Southeast 12th Avenue. The late-night tea spot’s upstairs restroom is decked out with fish and a mermaid. A whimsical little world if it weren’t for the broken kayak, complete with mannequin on the floor and feet dipped below the water’s surface protruding from the ceiling. Inside I was drowning in chamomile tea, but outside it was fear that did me in. My efforts to regroup, once again, were my downfall. I will probably return to these, and myriad other fancy loos in Portland, because of their surrounding businesses, not their latrines. No, the only comfort station I will seek out because of the blanket of tranquility is the little trailerlike toilet of the Alibi. I may even leave a whimsical little cat statue to really make it my own private “I gotta go.”
TILE STYLE: Stumptown surrounds the porcelain in porcelain. Willamette Week JANUARY 4, 2012 wweek.com
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FOOD & DRINK = WW Pick. Highly recommended. 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.
REVIEW AMAREN COLOSI
SATURDAY, JAN. 7 Greg Koch at Belmont Station
Music calendar page 33
Greg Koch, the CEO and co-founder of San Diego’s Stone Brewing and co-author of new book The Craft of Stone Brewing Co. will be at beer boutique Belmont Station to sign copies and throw back a few pints of Double Bastard and 11.11.11 Vertical Epic ales with fellow beer nerds. Belmont Station Biercafe, 4500 SE Stark St., 232-8538. 2-4 pm. Free.
Winter Farmers Market
Rejoice, lovers of fine produce and Hessian shopping bags, your Christmas wishes have been granted: The Portland Farmers Market is running a winter market. There will be tents and covered seating to protect shoppers and the approximate 45 vendors (including Groundwork Organics, Gathering Together Farm, Jacobs Creamery, Pine Mountain Ranch and Tastebud) from the elements. Shemanski Park, Southwest Park Avenue & Salmon Street. 10 am-2 pm. Free.
SUNDAY, JAN. 8 Rabbit and Chicken Slaughter and Butchery Classes
Camas Davis and Levi Cole from the Portland Meat Collective will teach two classes on how to turn your backyard pets into dinner. The first (10 am-1 pm) will show students how to slaughter and butcher chickens, then prepare their freshly felled fowl for coq au vin or poule a pot. The second (2-5 pm) will teach students how to raise, slaughter and butcher rabbits—the killing and skinning will be hands-on, and there will be rabbit pâté to munch on. Class sizes for both are limited to 10 students. Email info@pdxmeat.com to reserve a place. Location TBA. $100 per class.
THREE PLACES TO WARM UP WITH SOUP Ha VL
Tucked away behind the Wing Ming herb market, this little joint churns out soups to die for ($7.50, plus 50 cents extra if you order it to go). Regulars keep track of which soups appear on which days— it’s worth following the crabflake noodle soup (banh canh cua) whenever it appears on the calendar. BECKY OHLSEN. 2738 SE 82nd Ave., 772-0103.
Shigezo Jan. 25, 2012
NOW SERVING BRUNCH. All you can eat buffet. 10am – 2pm Sundays CAN B
AN T
M
AR
• Pork Rojo SPARAGUS • Grilled Asparagus F YA • Tamales • Empanadas 40 Varieties Taste the • Cottage Cheese of Gourmet Difference Tamales • Enchilada Roja CASA DE • Enchilada Verde A R LE S R E S TAU • Fruit Cocktail • Mexican Sweet Bread M TA
• Beans • Rice • Potatoes • Huevos a la Mexicana • Chicken Verde • Chile Rellenos • Beef Rojo
503.654.4423 • 10605 SE Main St. Milwaukie, OR www.CanbyAsparagusFarm.com
Delivery & Shipping Available 24
Willamette Week JANUARY 4, 2012 wweek.com
The tonkotsu shoyu ramen ($9.50-$13.75) comes with housemade noodles, a pork-marrow and soy broth, and a slice of chashu barbecued pork flank so tender it melts apart at the touch of a plastic soup spoon. The ramen is both homestyle and decadent, like living in a log cabin freshly built from endangered redwoods. AARON MESH. 1005 SW Park Ave., 688-5202.
The Country Cat
Among rib-sticking, Southern-style goodies like chicken-fried steak, it’s hard to imagine anyone actually ordering the humble-sounding grilled cheese and smoked tomato soup ($9), but those who do are in for a happy, hearty surprise. The generous ramekin of soup is super savory, with a real, rustic smoky flavor. Bonus points for a nice plop of sour cream floating in the middle. RUTH BROWN. 7937 SE Stark St., 408-1414.
SUCH GREAT HEIGHTS Erin McBride does wonderful things with beets. And kale. And sometimes peaches. As so often happens in this town, (say it with me) it all depends on the season. The Ohio-born farm girl made desserts at Higgins and cooked with Lincoln’s Jenn Louis for years before she teamed up with friends Andrea Pastor and Jeremy Adams last fall to open 2nd Story, a small bistro/bar upstairs from the couple’s Cellar Door Coffee in Southeast Portland. Nothing about this small-plates dinner spot crammed into three rooms of a former house makes a lot of sense. There’s old soul on the iPod, Oregon and French wines, and candlelit tables for canoodling, but McBride’s light, fresh flavors and excellent jams and pickles scream to be admired during daylight hours at brunch or lunch. Regardless, there’s also a big wood bar where you can sip a quince-spiked gin and tonic and other house-infused elixirs courtesy of Higgins and Pok Pok alum Brandy Graves. One of McBride’s trademark dishes is shaping up to be her quinoa ($8), a health-food standard that so often tastes like dishwater in other cooks’ mitts. She boils and then drains the tiny grain like pasta in order to keep it toothsome, then adds whatever happens to be fresh at the moment, from sweet roasted corn and Walla Walla onions to a winter mix of feta, almonds and chickpeas punched up with a lemon-caper vinaigrette. The rest of the shareable menu veers from creamy soups and salads to cannelloni and grilled cheese, but she’s almost always serving something involving pig—for better or worse. A few months Order this: Soups, quinoa, pickles, ago it was a great gamey pork steak, pudding. cheek sandwich slathered Best deal: Cornmeal biscuits and pear butter ($4) with a half bottle of local with a sweet and spicy Baird wine ($11-$20). Orchard peach, onion chutney I’ll pass: Bland Sockeye gravlax ($10). and sinus-clearing mustard ($9). Less successful was a recent plate of pork braised with mustard paired with red pickled cabbage and plopped atop a trio of overpoweringly earthy blackeyed pea fritters ($11). But for every bummer of a plate there’s two others that you want to order seconds of. On my last visit, it was a crunchy-edged kale and shallot bread pudding with a pillowy center ($13) so herbaceous and buttery-good that I momentarily forgot about the perfectly seared steak sitting atop it. Start and end your meal with things in jars. A double handful of restaurants in town are making their own great pickles, and 2nd Story is one of them ($5): tart golden beets and curry-laced cauliflower florets, punchy string beans and sweet zucchini bread ’n’ butters served in a squat glass jar big enough to give two diners pucker face. Later, order the silky caramel pudding ($6) for dessert, again, served in one of those jars. And again, you can share it—but your faces will be all smiles this time. KELLY CLARKE. EAT: 2nd Story, 2005 SE 11th Ave. (above Cellar Door Coffee Roasters), 741-9693, 2ndstorypdx.com. 5 pm-close WednesdaySaturday. $$.
FOOD & DRINK LIZ DEVINE
DEVOUR
Business in the Front...
Restaurant
Since 1974
Never a cover!
VISUAL ARTS
8115 SE Stark
Buffalo gap Wednesday, January 4th • 9pm
local Music Showcase
T hursday, January 5th • 9pm
Ben Rue
SOUP AND SANDWICH: Not quite Saigon style.
(pop country)
DOUBLE DRAGON Bahn mi price inflation is a hot button for foodniks. Is it reasonable to double the price of cheapo Vietnamese sandwiches when they’re composed of midgrade ingredients and served in swankier digs by white people in black shirts? On the other hand, is it offensive to suggest Asian immigrants should sell their wares for $3.25 when people happily pay $10.95 for a salami sandwich at Kenny & Zuke’s? For a bourgie take on bahn mi, try Double Dragon, a new Southeast Division Street joint owned and operated by Rob Walls, a former Bunk Sandwiches artist. Order this: Meatball bahn mi ($7.50) It clearly isn’t aimed at and a small roasted carrot soup ($3.25). An Xuyen Bakery regulars Best deal: Rainier tall boy ($1.50). (“Banh mi is a certain I’ll pass: Anything with pork belly. kind of sandwich that was invented in Vietnam. Have you heard of it?” the restaurant’s website asks) and won’t please traditionalists. Double Dragon bakes its own bread daily, and it’s thick, hearty stuff—unlike Best Baguette’s crisp-shelled but wispy bread, which is pulled from the oven hourly. Including a side of deeply browned potato chips is another move toward bahnality that’s likely to raise some ire. Toppings—cilantro, jalapeño, pickled carrots and daikon—are essentially per standard. The bright orange meatballs of “beef, pork, secrets” ($7.50) were our favorite filling, pairing nicely with the crisp, purple jicama slaw ($2.75). Pork belly ($7.50) flavored with pineapple and brown sugar was more fat than flavor. The slow-cooked, hoisinheavy pulled pork ($7.50) is a better piece of pig. Order the excellent roasted carrot soup, rich with coconut milk and tangy with basil and green salsa, and you’ll be less interested in driving out to 82nd Avenue. MARTIN CIZMAR.
friday, January 6th • 9pm
The Druthers (americana)
Saturday, January 7th
TBa
Sunday, January 8th • 6pm
West Coast Songwriters
Party in the Back!
(portland Chapter Songwriter Competition) T uesday, January 10th • pm
open Mic WIN $50!!! Hosted By: Scott gallegos
Bar
410 SE 81st Ave. Directly behind the Observatory
GALLERY LISTINGS & MORE! PAGE 37
6835 SW Macadam Ave | John’s Landing
EAT: Double Dragon, 1235 SE Division Street, 230-8340, doubledragonpdx.com. 11:30 am-9 pm daily. $$.
DRANK
2 TOWNS CIDERHOUSE NICE & NAUGHTY The scent of apples baked in cinnamon and nutmeg wafts out of Corvallis’ 2 Towns Ciderhouse’s Nice & Naughty Spiced Bad Apple seasonal. It’s like a pie fresh from your grandma’s oven on Christmas Eve. Suck it in, because it’s all downhill from there. This one’s a stunner on the nose and a total letdown on the palate. It’s flat in taste and carbonation, and the “cinnamon smoke” just doesn’t play nice with the oakiness of the base cider, resulting in a dirty aftertaste. The most compelling reason to drink this cider during the season of family get-togethers and shitty weather is its 10.5 percent ABV, although I could say the same thing about Charles Shaw wines—which are a good $2.29 cheaper than the $8.29 we paid for a 22-ounce bottle of Nice & Naughty. For a cider that really tastes like winter, it seems you still can’t go past investing in some good spices and mulling your own. Not recommended. RUTH BROWN.
WWEEK.COM/EATMOBILE Willamette Week JANUARY 4, 2012 wweek.com
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n n e l i l u i m M W c i s elcomes.. u M . River City Music Festival
Jan. 6th – 8th FRI JAN. 6TH
TOMMY EMMANUEL TRAVELIN’ MCCOURYS STEEP CANYON RANGERS JOY KILLS SORROW RAY WYLIE HUBBARD
Red Lion Hotel On The River SAT JAN. 7TH
RODNEY CROWELL GEOFF MULDAUR & THE TEXAS SHEIKS JIM LAUDERDALE STEEP CANYON RANGERS SIERRA HULL HOT CLUB OF COWTOWN DAVID LINDLEY DAN CRARY BOXCARS
SUN JAN. 8TH
JIM LAUDERDALE SIERRA HULL HOT CLUB OF COWTOWN JOY KILLS SORROW DAN CRARY
For Tickets & Info go to rivercitybluegrass.com, brownpapertickets.com or call 503-282-0877
WITH JACKSTRAW – JIM FADDIS BAND – NORTHERN DEPARTURE – BLUEGRASS REGULATORS – CALEB KLAUDER COUNTRY BAND STEEP CANYON HOT CLUB DALE WATSON JOY KILLS RANGERS OF COWTOWN & THE SORROW DEEP IN THE SHADE WHAT MAKES TEXAS TWO THIS UNKNOWN BOB HOLLER
ON SALE $12.99 CD
ON SALE $13.99 CD
LP ALSO AVAILABLE
While firmly rooted in the bluegrass tradition, the Steep Canyon Rangers ability to draw in elements of hard core honky-tonk, classic country and the blues sets them apart from the rest of the pack. ‘Deep In The Shade’ follows their winning formula with a collection of diverse, mostly self-penned material guaranteed to please long time fans and introduce younger audiences to the high, lonesome sound of bluegrass.
Hot Club of Cowtown has ascended from its unlikely beginnings in NYC’s East Village to become the premier ambassador of Hot Jazz and Western Swing. The Tiffany Transcription recordings Bob Wills made in 1946 were the inspiration for Hot Club’s repertoire and style. ‘What Makes Bob Holler’ features their renditions of Wills’ seminal hits balanced with less familiar songs, paying homage to the King of Western Swing.
STEVE MARTIN AND THE STEEP CANYON RANGERS
SCIENCE
THE SUN SESSIONS
ON SALE $12.99 CD
ON SALE $13.99 CD
On ‘This Unknown Science,’ Joy Kills Sorrow continue to refine their distinctive sound. They start with a base of timehonored timbres and techniques, yet fashion original songs and arrangements that reflect contemporary sentiments and sensibilities. While the latter qualities have made Joy Kills Sorrow proven favorites with folk and bluegrass devotees, their emphasis on writing songs that transcend narrow genres allows them to reach wider audiences.
ALISON KRAUSS AND UNION STATION
RARE BIRD ALERT ON SALE $11.99 CD / LP ALSO AVAILABLE
SIERRA HULL
PAPER AIRPLANE
DAYBREAK
ON SALE $13.99 CD
ON SALE $11.99 CD
LP ALSO AVAILABLE
Renaissance man Steve Martin returns to his musical passion - bluegrass backed by the Steep Canyon Rangers. ‘Rare Bird Alert’ is the follow up to 2009’s Grammy® winning ‘The Crow’ and features precise picking, delightful melodies, and well constructed lyrics, the hallmarks of Martin’s musical pursuits.
Texas legend Dale Watson is one of the last TRUE country artists and on this great album he draws his inspiration from the deep well of early influences. Recorded at the fabled Sun Studios in Memphis, Dale is backed by the crackerjack rhythm section of The Texas Two. Recorded on the same equipment the late Sam Phillips used to record early songs by Johnny Cash, Carl Perkins, Jerry Lee Lewis, Charlie Rich and Elvis Presley, the tracks have the uncanny sound of a time gone by.
‘Paper Airplane’ is Alison Krauss and Union Station’s first album together since 2004’s ‘Lonely Runs Both Ways.’ Produced by Krauss and Union Station with studio legend Mike Shipley engineering and mixing, the album contains 11 songs of poignancy and austere beauty.
Sierra Hull’s ‘Daybreak’ was produced by Union Station bassist Barry Bales, and is the follow-up to her 2008 hit ‘Secrets.’ Hull penned 7 of the 12 songs on ‘Daybreak,’ a collection that stands up quite well next to the outside material. She has received 5 IBMA (International Bluegrass Music Association) nominations and is the first bluegrass musician to receive Berklee School of Music’s prestigious Presidential Scholarship.
TOMMY EMMANUEL – APPEARING FRIDAY JAN. 6th
Tommy Emmanuel is an Australian guitarist, best known for his complex fingerpicking style, energetic performances and the use of percussive effects on the guitar.
ALL I WANT FOR CHRISTMAS
ON SALE $10.99 CD
CENTER STAGE
ON SALE $8.99 CD / $9.99 DVD
LITTLE BY LITTLE
ON SALE $12.99 CD
THE MYSTERY
ON SALE $8.99 CD
ALSO ON SALE: ENDLESS ROAD – ON SALE $8.99 CD • LIVE AT HER MAJESTY’S THEATRE – ON SALE $9.99 DVD
NEW RECOMMENDED MUSIC
YO-YO MA - THE GOAT RODEO SESSIONS ON SALE $10.99 CD
‘The Goat Rodeo Sessions’ is an ambitious and groundbreaking project that brings together four string virtuosos: world-renowned cellist Yo-Yo Ma, fiddler Stuart Duncan, bassist Edgar Meyer and mandolinist Chris Thile. While each artist is a prominent figure in his own music sphere, they have come together as a unified ensemble on a most remarkable and organic cross-genre project.
SUNBEARS! - YOU WILL LIVE FOREVER ON SALE $8.99 CD - LP AVAILABLE 1/10
SUNBEARS! is an indie/psychedelic/electronic pop duo hailing from Jacksonville, FL. Not unlike Wayne Coyne’s Flaming Lips, their live show is not to be missed. Their amazing live show and the sheer joy that their songs exude have put SUNBEARS! in high demand on the road.
FREE LIVE IN-STORE APPEARANCE WED. 1/25 ALSO APPEARING LATER THAT NIGHT @ THE WOODS OFFER GOOD THRU: 1/31/11
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Willamette Week JANUARY 4, 2012 wweek.com
UPCOMING IN-STORE PERFORMANCES
THROWBACK SUBURBIA • SATURDAY 1/14 @ 3PM
With one mod-style boot planted in classic British rock and another planted firmly in today’s pop universe, Throwback Suburbia continues to break new ground with their fresh take on ultra-hip, harmony-laden power pop. Throwback Suburbia is back with their most ambitious work yet, ‘Shot Glass Souvenir.’ If you should find yourself having trouble locating a pulse in today’s music, Throwback Suburbia is the proof of life in power pop.
THE CRESCENDO SHOW • SUNDAY 1/15 @5PM
Forming in October of 2008 with a focus on songcraft, The Crescendo Show has remained very active in the Willamette Valley, with its strongest fan base residing in Corvallis. They are known for their intricate playing, foot stomping, group singing and youthful energy. The band is currently recording while maintaining a healthy live schedule to promote their music and cultivate a broader fan base. Their sophomore album is due in the spring of 2012.
JACKSTRAW • WEDNESDAY 1/18 @6PM
Jackstraw has been the flagship of Portland’s bluegrass and roots music scene since the group formed in 1997. These boys have a cutting edge take on bluegrass picking that they’ve developed over years of touring the United States, and their original songs can sound as much country as old-timey. Recorded at Type Foundry Studio, Jackstraw’s brand-new sixth album, ‘Sunday Never Comes,’ features Cory Goldman on banjo, and all original material.
MUSIC
JAN. 4-10 PROFILE
= WW Pick. Highly recommended.
INGER KLEKACZ
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, JAN. 4 Liv Warfield, Jarrod Lawson
See music feature, this page. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $10. 21+.
Brandi Carlile, Secret Sisters
[CRAZY BEAUTIFUL] To some degree, comparisons with Patsy Cline would be inevitable even without the Nashville classics dotting Brandi Carlile’s highly mutable set list. She encourages her audience—an eclectic crowd united in devotion whether first hearing the artist through lesbian community support or Grey’s Anatomy fandom— to yell out suggestions while drifting through a blend of adult contempo originals and wide-ranging cover versions (Stevie Nicks, Radiohead). The pint-sized Washingtonian even manages to orchestrate three-part harmonies from the enamored throngs. Touring without backing band on the heels of a recently released live album that co-starred the Seattle Symphony (Carlile called in sick last time around), the extent of her control seems all the more magnified as she captivates packed halls through measured bursts of those sinuous, affecting vocals alone. JAY HORTON. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 8 pm. Sold out. 21+.
Bear & Moose
See profile, page 28. Music Millennium, 3158 E Burnside St., 231-8926. 6 pm. Free. All ages.
THURSDAY, JAN. 5 P.R.O.B.L.E.M.S., Shut Your Animal Mouth, Hairspray Blues
[PUNK ’N’ ROLL] Punk lifer Kelly Halliburton is probably best known as Pierced Arrows’ drummer, but before he hooked up with Fred and Toody Cole, Halliburton was Portland’s bullet-belted Zelig. The multi-instrumentalist did time in Resist, Detestation, Masskontroll and Defiance, to name but a few of the dude’s patch-friendly past projects. Halliburton’s current concern, P.R.O.B.L.E.M.S., trades crust for scuzz and plays the kind of greasy rock ’n’ roll that smells like motorcycle exhaust and sweaty Dwarves fans. It’s the sort of straightforward drinking music favored by reformed rascals with neck tattoos and steady construction gigs. This is growing up—punk style. CHRIS STAMM. Ash Street Saloon, 225 SW Ash St., 226-0430. 9:30 pm. $5. 21+.
Bear & Moose, Pigeons, Mike Coykendell
See profile, page 28. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $8. 21+.
The Hugs, Snow Bud and the Flower People, A Happy Death, D. Pel
[ODD COUPLE] Whoever thought of pairing local retro-popsters the Hugs with legendary Portland arch-stoners Snow Bud and the Flower People has to be some kind of mad genius. If you’ll recall, the Hugs are a still-quiteyoung local quartet whose alarmingly perfect throwback pop earned it a major-label berth and, subsequently, a major label’s worth of problems, from which its revolving-door members are still recovering. Snow Bud and the Flower People was founded in 1986 (around the time the Hugs were being conceived) as a side project of Napalm Beach’s Chris Newman. Both Snow Bud and the Hugs have found their principal inspiration in the 1960s, though the Hugs have drawn from its grinning pop sentiments and Snow
Bud continues to lionize its casual attitude toward pharmaceutical dementia. SHANE DANAHER. Ella Street Social Club, 714 SW 20th Place, 227-0116. 9 pm. $5. 21+.
Monarques, Houndstooth, Colin Jenkins
[ROCK ’N’ ROLL] We can thank MFNW for the creation of Portland’s Monarques. After agreeing to join the 2009 festival lineup, singer-guitarist Josh Spacek recruited a seven-piece group through Craigslist and recorded a self-titled EP of five retro-pop tracks ripe with piano runs, shimmering guitar effects and vocal harmonies that echo the late-’50s pop stylings of artists like Buddy Holly, Roy Orbison and the Everly Brothers. The band has since adjusted the lineup, scaling down to five members and bringing in Portland music staples Dave Depper and Scott Magee as a rhythm section. Thankfully, the group has maintained its catchy backup vocals and still delivers rockin’ sounds from a half-century past that make you want to jive. EMILEE BOOHER. Holocene, 1001 SE Morrison St., 239-7639. 8:30 pm. $5. 21+.
Tumbledown, The Dry County Crooks
[ROCKABILLY] The holidays are over, no more backhanded compliments from the in-laws. Start 2012 with the stress-relieving outlaw rock of Portland’s Dry County Crooks, a coalfired train of hardcore Americana and punchy punk. Frontman Vinny D has stage presence that reminds of Iggy Pop, simultaneously galvanizing and intimidating. His band hasn’t dropped a record since 2008 effort When Hearts Break, so expect a little pent-up rancor. Headliner Tumbledown is one of the few bands that can go blow for blow with DCC, and the Bremerton, Wash., group—fronted by ex-MxPx singer-bassist Mike Herrera—is equally raucous with some highly volatile Texas flare. MARK STOCK. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. $6. 21+.
Kevin Marcotte Band
[COUNTRY] Kevin Marcotte has a voice that was made for country music. Not rootin’, tootin’, “shove an American flag up yer ass while Calvin pees on your F-150” country crooning—but the kind of voice that manages to remain smooth despite sounding like he gargles with whiskey each morning. The Portland singer-songwriter is capable of belting outlaw songs of the Waylon and Willie variety, adding just a touch of the Lizard King to his delivery. With his band, Bad Assets, relinquishing its monthly White Eagle spot, Marcotte has assembled a ragtag crew of musicians from throughout the region for a new, slightly improvised project focusing on classic-style, rootsy sounds that aptly match his scorchedearth voice. AP KRYZA. White Eagle Saloon, 836 N Russell St., 282-6810. 8:30 pm. Free. 21+.
FRIDAY, JAN. 6 Baby Gramps
[RIP VAN WINKLE PLAYS THE GUITAR] I first discovered Baby Gramps while wandering the dusty, costumed and drug-ridden paths of the Oregon Country Fair. He was perched on a bench, amusing a small crowd with his raspy voice and spastic guitar playing. I thought at first that the Northwest legend was a figment of my imagination—he’s a quirky and animated old character with a beard that probably shelters a family of small animals. He’s
CONT. on page 28
THE PRINCE AND THE QUEEN LIV WARFIELD HAS SUNG IN FRONT OF 80,000 FANS. SHE’S GLAD TO BE HOME. BY CASEY JA R MA N
cjarman@wweek.com
In 2006, there was no brighter shining light in Portland’s music scene than Liv Warfield. The R&B singer could bait audiences by laying smoky nusoul vocal melodies over her band’s understated grooves, then take them to church with searing, authentic vocal hysterics. She was a soulful, sexy and explosive performer with snowballing stage presence and an absolutely flooring voice. And then, after two years of relentless gigging behind her excellent debut disc, Embrace Me, Portland R&B’s MVP took a day job and dropped out of the city’s music scene. Warfield doesn’t talk about that job much. She’s always on call, and her boss is kind of an eccentric. He’s demanding: He makes her work long hours— sometimes she’s on the clock until 4 in the morning, doing exhausting, physical work—and often keeps her away from her friends and new husband for weeks at a time. But Liv Warfield loves her work. And though this past year has been a challenge—she ruptured her Achilles tendon and underwent thyroid surgery—she’s not about to give up on her job. “I try not to make a big deal out of it,” Warfield says over dinner at Queen of Sheba, the restaurant on Northeast MLK where the staff greets the singer like family. “And maybe not until answering these questions with you right now do I realize how special the whole experience has been.” See, Liv Warfield’s boss is, arguably, pop music’s greatest living icon. Her boss is Prince. “I remember the first time I came in for vocal rehearsal, and he was just like, ‘You got something to write with? You got a notepad?’” She laughs. “He’s an amazing man. I’ve learned a lot. It stepped my ear game up—my ears have gotten bigger.” Her calf muscles have probably gotten bigger, too, judging from Prince’s Tacoma show last month, where the 32-year-old singer—dressed in a flowing sheer gown, skintight undergarments and platform shoes—rarely stopped smiling, dancing and belting out the hits over the course of the two-hour concert. Later, as they do in nearly every city, Prince and the New Power Generation played a two-hour
after-party. “It can be exhausting,” Warfield says of the parties that can go until 4 or 5 am. “I don’t have [Prince’s] stamina. Some of us are human.” One might assume that after three years of recording and touring the world with His Purple Majesty, Warfield would forget her Portland roots and relocate to New York or Los Angeles. But Warfield, who grew up in Peoria, Ill., before taking a track scholarship at Portland State University in 1999, says she works hard to keep her ego in check. “I have to make sure this doesn’t change me one bit. I don’t want it to change me. And I’ve seen it affect some people,” she says, rolling her eyes (but refusing to name names). “This is home. I’m not trying to take any drama back here.” When asked for her influences, Warfield is quick to name a laundry list of local scene staples—from Doo Doo Funk All-Star Tony Ozier to the late Barry Hampton to old-school singers like Linda
“THIS IS HOME. I’M NOT TRYING TO TAKE ANY DRAMA BACK HERE.” —LIV WARFIELD Hornbuckle and LaRhonda Steele—who helped transform the young college dropout from a nervous singer in karaoke bars to the cool, confident performer she is today. If she harbors any regrets about the past few years, it’s that she’s been absent from a blossoming soul music scene that she helped ignite. But now back with many of her old band members—dubbed “The Liv Warfield Experience,” the group will also feature Prince keyboardist Cassandra O’Neal—Warfield says she’s never been happier to be in Portland. “When we get together, it just sounds like home,” she says of her band. “I don’t even know how this year is going to be,” Warfield adds. “I know it’s going to be dope. I know I’m going to try to get out the box—to get a little more gutsy.” And then Warfield smiles devilishly and drops a New Year’s prediction that suggests playing alongside Prince has changed her after all: “Maybe I’ll even let out one of those screams that he does.” CASEY JARMAN. SEE IT: Liv Warfield plays Doug Fir Lounge, 830 E Burnside St., on Wednesday, Jan. 4, with Jarrod Lawson. 9 pm. $10. 21+. Willamette Week JANUARY 4, 2012 wweek.com
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like a cackling cartoon whose traits are amplified 10 times more than any real human’s could be. After watching a Baby Gramps performance, it’s hard to picture the man without a guitar in his lap, belting out children’s tunes and songs about scrotums with a voice like Popeye’s. EMILEE BOOHER. LaurelThirst, 2958 NE Glisan St., 2321504. 9:30 pm. Cover. 21+.
13 topless bartenders & 80 dancers each week!
PROFILE
Adam Sweeney and the Jamboree, Alameda, Terrible Buttons
Open Every Day 11am to 2:30am
www.CasaDiablo.com (503) 222-6600 • 2839 NW St. Helens Rd
Thursday 1-5 GRATEFUL DEAD TRIBUTE NIGHT
WITH CATS UNDER THE STARS FREE! 21+ IN THE SIDESHOW LOUNGE 9PM
Friday 1-6 ElEmEnt 115 THE RESULTS WALK THE WALK STALLER 8PM, 21+ IN THE CONCERT HALL
DSL COMEDY
with BriskEt lovE-Cox FREE! 21+ IN THE SIDESHOW LOUNGE 9PM
FREEUP FRIDAY! REGGAE DJS
FREE! 21+ IN THE SIDESHOW LOUNGE 10:30PM
Saturday 1-7 STOMP!
A MUSIC AND FASHION EVENT! Hosted by AMBER HAVANA
20 GorGEous modEls, 3 runway shows nw Fashion By: lovE BomB, Cotton Candy Punk CouturE, rEminisCEnt dEsiGn sPonsorEd By roGuE, riChard hErrEra loCal musiC By: thE roaminG, thE GEmtonEs, thE shoGuns, summEr soundtraCk, sir diGital 8PM IN THE CONCERT HALL, 21+
STAHLWERKS
21+ IN THE SIDESHOW LOUNGE 10PM
Sunday 1-8 KARAOKE ON THE BIG SCREEN! with SEAN BAILEY
FREE! 21+ IN THE SIDESHOW LOUNGE 9:30PM
Tuesday 1-10 OLDSKOOL
SPINNING CLASSIC VINYL ElECtro, hiP-hoP & morE FREE! 21+ IN THE SIDESHOW LOUNGE 9PM
Wednesday 1-11 DRUM CIRCLE! FREE! 21+ IN THE SIDESHOW LOUNGE 7:30PM
tickets and info
www.thetabor.com • 503-360-1450 facebook.com/mttabortheater 28
FRIDAY
GLGPUB.COM
MUSIC
Willamette Week JANUARY 4, 2012 wweek.com
[AMBITIOUS AMERICANA] Portland’s got a long list of troubadour songwritiers, but Adam Sweeney is among its hardest working, last year adding a third solo effort, the five-song Wild Rose, and a self-titled debut full-length with his five-piece outfit, the Jamboree, to his catalog. So what’s the difference between Sweeney the soloist and Sweeney the band leader? Not a lot, but that’s fantastic. A little more explosive in its layers of Americana—with welcome harmonies joining Sweeney’s Dylanesque voice and violins augmenting banjo and guitar—the Jamboree record finds Sweeney at his best, leading his party into a lucid world that bounds between twee folk and seriously affecting songwriting. AP KRYZA. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. $5. 21+.
RiverCity Music Festival: Travelin’ McCourys, Tommy Emmanuel, Ray Wylie Hubbard, Joy Kills Sorrow, Steep Canyon Rangers, Cedar Flats, Northern Departure, Chicks Kids, Caleb Clauder, Jackstraw
[MUSIC, MAN] While promoting the Northwest’s largest wintertime Americana festival invites taunts, there’s something about a Portland January to remind onlookers of just how many hours artists spent huddled indoors mastering their craft. Also, of course, seasonal vagaries allow an enviable roster of living legends—Ray Wylie Hubbard, Peter Rowan, Rodney Crowell—to hit the stage, set aside youngish turks like local classic-country champions Caleb Klauder and Boston’s muchbuzzed indiefied bluegrass act, Joy Kills Sorrow. Taken together, they’ll inspire a new generation of old-time kids to sign up for the weekendspanning workshops. JAY HORTON. Red Lion on the River, 909 N Hayden Island Drive, 283-4466. 1:30 pm. $12$260. Festival continues through Sunday. All ages.
Blu, Nu Era, Tiron, TxE
[CALI-HOP] Los Angeles MC Blu is as erratic as he is prolific. Since bursting onto the underground hip-hop scene in 2007 with Below the Heavens—a collaboration with MPC master Exile—he’s released six full-length albums and countless other projects, many of which (kinda like this show) came out of nowhere. Whoever signed him to Warner Brothers earlier this year probably didn’t take into account his unpredictable behavior: By summer, Blu was seen at Rock the Bells handing out free copies of his major-label debut, No York! (he was dropped from the label shortly thereafter). Fans love his irrepressible artistic drive, though, especially because it usually leads to quality material. His ability to spit introspective narratives of the everyday man over top-notch production— from Exile’s melodic vocal chops to the humming buzz beats of Flying Lotus—has helped create some of the most intriguing hip-hop projects, underground or otherwise, of the past decade. REED JACKSON. Someday Lounge, 125 NW 5th Ave. 9 pm. Cover. 21+.
Pojama People with Ike Willis (Frank Zappa tribute)
[ZAPPED AGAIN] The world isn’t exactly hurting for Frank Zappa tributes. Hell, it isn’t even hurting for Frank Zappa tributes featuring members of Uncle Frank’s entourage—son Dweezil and his dad’s former bandmates have been
BEAR & MOOSE THURSDAY, JAN. 5 [STRIPPED -DOWN ROCK] Contemporary Portland rock acts seem to fall into two distinct camps: Groups that pile as many bodies as possible on the stage to create a maelstrom of sound and impact, and bands made up of two people. What’s driving that split? Is it intentional or complete happenstance? For at least one duo—the groove-heavy rock outfit known as Bear & Moose—it is most definitely the latter. “We never set out to be a duo,” says guitarist and vocalist Eric Mueller, taking a break from his family holiday craziness in Chicago. “We didn’t decide that we were going to be this weird, White Stripes kind of thing. But if you don’t have that certain connection with someone and it doesn’t flow, why bother?” Flow is the key factor that keeps the febrile attack of Bear & Moose so captivating and enticing on the band’s two-disc debut, Bear/Moose. Mueller and drummer Simon Lucas have packed 24 tracks on the album, but it never feels cumbersome. The songs often bleed nicely into one another—the satisfying crunch of “Blues & Greys” giving way to the acidic swells of “I’m Back,” which makes room for the appropriately punchy “Shock N Awe.” Then there are the trio of tracks that wrap up the album, each bearing the title “MVMT.” Those songs allow the pair to stretch their instrumental and improvisational limbs (“MVMT IV” was made up entirely on the fly) to capture what Mueller calls “the back-and-forth ebb and flow of a breakup.” The album also has an impressively full sound, capturing the duo’s combination of bluesy swagger and the cumulus-scraping highs of psychedelia, considering the duo recorded almost all of it live in the studio. “We recorded [my guitar] through three amps at one time,” Mueller says, “all of them turned up to 10 for this superfuzzy Neil Young-type sound.” To make up for its lack of low end, the band’s producer, Justin Phelps, added a second microphone to Lucas’ kick drum and fed it through a bass amp in the studio. In live shows, Mueller adjusts his strumming style, sticking his thumb out to hit the lower-toned strings on the downstroke to add a basslike kick. With a sound this thick—and a debut record this good—Bear & Moose doesn’t see any reason to spoil a winning formula. ROBERT HAM.
Two’s company for this Portland rock duo.
SEE IT: Bear & Moose plays Doug Fir Lounge, 830 E Burnside St., with Pigeons and Mike Coykendall on Thursday, Jan. 5. 9 pm. $8. 21+.
MUSIC
DATES HERE
BRANDICARLILE.COM
FRIDAY-SATURDAY
LIFT EVERY VOICE AND SING: Brandi Carlile plays Mississippi Studios on Wednesday, Jan. 4. making the rounds for years with “Zappa Plays Zappa.” Eugene’s six-member freak army Pojama People boasts Zappa collaborator Ike Willis, who most famously voiced Joe on Zappa’s immortal Joe’s Garage. But the group also boasts more important traits: a passion for the music only fans can muster, the skill to back it up and ticket prices that are pennies compared to those for Dweezil’s project, which tends to charge $40 and more for a little Zapparaoke. AP KRYZA. Star Theater, 13 NW 6th Ave. 9 pm. $15. 21+.
SATURDAY, JAN. 7 Heart to Heart, My Favorite Season, Currents, The Sheds, Stark Heroes, Chin Up Rocky
[POWER PUNK] Heart to Heart enjoys the cursed status of being a very good specimen of a genre that is currently eliciting embarrassed squirms from even its pioneering members. The models here would be Brand New, New Found Glory and Blink 182. Like the aforementioned, Santa Maria, Calif.based Heart to Heart combines mechanical punk-rock beats with throaty vocals and an extra-large helping of mid-teenage angst. Deathproof, the quartet’s most recent 7-inch, would have offered several respectable candidates for inclusion on a top-10 MTV2 countdown circa 2001. The SoCal quartet is doing exactly what it set out to do, it just happens to be doing so in a decade that finds even Tom DeLonge rubbing his neck and apologizing for all the fart jokes. SHANE DANAHER. Backspace, 115 NW 5th Ave., 248-2900. 8 pm. $8 advance, $10 day of show. All ages.
Simple Sweet, Andrew Paul Woodworth, Buoy LaRue
[THROWBACK ROCK] I have kind of a hard time believing that Simple Sweet’s self-titled debut disc was recorded in 2011. From the roar of the distortion to the cymbal-heavy drumming through to Steven Dolbey’s vocals—hints of Axl, Lemmy and Layne work their way into his confident belting—these songs sound like a more cheerful take on ’80s hair rock than they do a product of twee Portland. And for the most part, that’s kind of cool. “Summer Song” is worthy of Cheap Trick fist-pumping, “World Outside” should get lighters up in the air as much as anything else from the post-Candlebox era. Like most of the fog machine-friendly pop rock these dudes craft, the tunes will be a bit too earnest for most indierockers, but then that’s also the charm. Simple Sweet makes big, gooey stadium pop rock—even the album cover looks like a product of a hair band’s waning years—and so long as they’ve got the self-aware-
ness to brush off the occasional jaded hater or ironic enthusiast, I think this whole thing works out quite well. CASEY JARMAN. Lola’s Room at the Crystal Ballroom, 1332 W. Burnside St., 225-0047. 9 pm. $5. 21+.
Dan Haley
[SINGER-SONGWRITER] When Dan Haley was at the helm of Ed and the Boats in the ’90s, he showed a knack for playing danceable, catchy rock and had better pipes than the group’s lead singer. His solo work proves he’s a fine songwriter as well. Haley is slowly reintroducing himself to Portland after spending a few years wandering off to Germany, then Vermont, where he held down stints as both frontman and sideman. His post-Boats career has focused on teaching guitar and playing more musical styles on the mandolin than somehow seems right. DAN DEPREZ. McMenamins Edgefield Winery, 2126 SW Halsey St., Troutdale, 669-8610. 7 pm. Cover. 21+.
Ace Hood
[HUSTLE-HOP] For years, it’s been one of the biggest mysteries in hip-hop: What exactly does DJ Khaled do? The 36-year-old Miami native has released a number of highly successful albums and singles—including this year’s widely popular “I’m on One”—under his own name, but he doesn’t rap, sing, produce or even DJ any of the material (and they say today’s musicians don’t have talent!). One thing Khaled has done, though, is discover Ace Hood, a fiery young MC also from Miami. After dropping a slew of fruitless singles and albums on Khaled’s We the Best imprint, Hood finally achieved some success with his newest album, Blood Sweat and Tears, which dropped in August at No. 8 on the Billboard charts. His music—and, to a certain extent, his voice—is very similar to that of fellow Florida trap rapper Rick Ross: gritty tales of hustle laced into thumping, bassy melodies and 808 drum-machine beats. Unlike Ross, however, Hood doesn’t have the bravado or wittiness to rap constantly about one subject without sounding redundant. His songs are best when the bass drowns out the vocals— a perfect match for the Roseland sound system. REED JACKSON. Roseland Theater, 8 NW 6th Ave., 224-2038. 8 pm. $25. All ages.
Chuck Israels Jazz Orchestra
[BIG BAND] Oh, to share a pint with Portland transplant and jazz master Chuck Israels. The former director of the National Jazz Ensemble has worked with the biggest names in the field, from Hancock to Holiday and even Coltrane. His upright-bass technique is technically airtight, the
CONT. on page 30 Willamette Week JANUARY 4, 2012 wweek.com
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MUSIC
SATURDAY-MONDAY
brooding, gluey, standout sound even amidst the gifted orchestra he arranges. The former educator remains professorial, teaching listeners about the timeless beauty of big-band music and jazz’s infinite capacity for creativity. So locked in tradition is Israels’ act— tonight his orchestra shares the stage with a number of singers to deliver a set of “Hollywood hits”— that it’d be right at home if transported 70 years back to Harlem’s Lenox Lounge or Chicago’s Green Mill. MARK STOCK. Tony Starlight’s, 3728 NE Sandy Blvd., 517-8584. 8 pm. $15. 21+.
The Woods’ Special Celebration
[MYSTERY DANCE] OK, here’s what we know: The Woods will cease operations as a proper venue after tonight, and to celebrate, a handful of fine local acts— some of which may or may not have topped WW’s annual Best New Band polls in the past few years—are volunteering their time for a goodbye gig. And that’s where it gets tricky. The bands had not officially announced their participation as of WW’s early holiday press deadlines, but if you turn to our music calendar on page 33—yes, the calendar has a later press date than this blurb you’re reading now—you might just see the names of the bands that are playing tonight. I don’t know, because I am speaking to you from the past. The future of the Woods itself is just as much a mystery— co-owners said, as of deadline, that they were still in talks with their landlords, but that the Woods as we know it is most certainly dead. Stay tuned to wweek.com for more information, and long live the Woods. CASEY JARMAN. The Woods, 6637 SE Milwaukie Ave., 890-0408. 8 pm. Free. 21+.
SUNDAY, JAN. 8 Log Across the Washer, Leviticus Appleton, Surf Drugs
[SINGER-SONGWRITERWEIRDOS] We expect big things
from Log Across the Washer in 2012, which makes it rather fitting that Tyler Keene’s project—the live incarnation of which now features cello and saxophone—is kicking off the new year at Rontoms. These Sunday shows are always fun and low-key, and Keene’s woozy, trippy, lyrically twisting jams (do you see that I’m struggling to describe them?) are nothing if not fun. Opener Leviticus Appleton, whose wordy and elegant pop is also growing stranger by the second, is another fella to watch as the new year starts to sink in. CASEY JARMAN. Rontoms, 600 E Burnside St., 236-4536. 9 pm. Free. 21+.
Sundaze, SuckerForLights, Pinscape
[SUCKERFORTHESPOTLIGHT] SuckerForLights is ready for its close-up. The Portland duo, which formed in 2007 but apparently hadn’t released any material before last March’s self-titled EP, plays catchy, New Wave-ish pop that would probably sound more natural on 94.7 FM than it will on stage at Rotture. Joined by guitarist Bryan Brunt and guest bassist, singer and synth player Olivia Voss’ bright-and-shiny synth hooks and almost diva-esque vocals should, however, serve as a complementary appetizer to headliner Sundaze’s also ’80s-influenced shoegazing. JONATHAN FROCHTZWAJG. Rotture, 315 SE 3rd Ave., 234-5683. 9 pm. $5. 21+.
MONDAY, JAN. 9 The Free Theatre
[LOST LENORES] Edgar Allan Poe’s mother died when he was just an infant; his first love married somebody else while he was away at school; and his wife took her last breath before their 10th anniversary. Is it any wonder the dude’s work is all bleak Decembers and nevermores? In The Poe Show, the Free Theatre (a local theater company founded in 2008) tells Poe’s sad story through the women in his life—and through song! Musical form takes a backseat to lyrical content here, but numbers
ALBUM REVIEW
BRIDGETOWN SEXTET NEW OLD FASHIONED (SELF-RELEASED)
[THROWBACK JAZZ] The title of this spiffy new CD accurately describes the local retro-jazzers, who bring a relatively youthful exuberance to 15 concise takes on vintage pre-World War II hits by the era’s greatest bandleaders, including Duke Ellington, Count Basie and Benny Goodman. Favorites of Portland’s swing dancing scene, this is a band that knows how to get the feet flying, thanks to the pumping piano and dapper drums of co-founders Andrew Oliver and local Harlem stride specialist Scott Kennedy, who split time on both instruments. The latter gets a nifty solo workout on Jelly Roll Morton’s “Sporting House Rag,” and the ubiquitous Oliver also plays chatty cornet on a half dozen cuts. John Moak’s growly trombone and guitarist Doug Sammons’ sassy vocals (plus a sweet guest vocal by Dee Settlemier on James P. Johnson’s “If I Could Be With You”) lend a tangible period flavor to the proceedings. While evocations of the hot Chicago, Kansas City and New York scenes also abound on New Old Fashioned, the presence of several Morton cuts, a Sidney Bechet number, and former New Orleans clarinetist and tenor saxophonist David Evans (who’s played with the legendary Pete Fountain) lend a decided Dixie flavor, and it’s on those early hot jazz cuts that the band really cooks, especially on smokin’ opener “Who’s Sorry Now” and Jack Teagarden’s “I’m Gonna Stomp Mr. Henry Lee,” where the Bridgetowners approach the heat of the originals and celebrated revivalists like the Jim Cullum Jazz Band. BRETT CAMPBELL. SEE IT: The Bridgetown Sextet plays Tony Starlight’s Supper Club and Lounge, 3728 NE Sandy Blvd., on Friday, Jan. 6. 8 pm. $12. 21+. 30
Willamette Week JANUARY 4, 2012 wweek.com
MONDAY-TUESDAY like “Poe’s Hos,” featuring doo-wop call-and-response and clip-clop percussion, are just musically interesting enough to keep the audience engaged in Poe’s intriguing biography. JONATHAN FROCHTZWAJG. Alberta Street Public House, 1036 NE Alberta St., 284-7665. 9 pm. Cover. 21+.
MUSIC
CLUB PROFILE
NEWS
Pleassure, Reynosa
[SURF GARAGE] To get a sense of what you’re dealing with when it comes to Pleassure, take this hint from the group’s Facebook page: Under “Band Biography,” the young trio lists “Bongz and pizza.” The group extends that ramshackle aesthetic to its rowdy mixture of Headcoats-style garage splooge with a layer of itchy surf rock to add some crunch. For all its nervous energy, the band is taking its sweet time to get the word out about what it can do. Pleassure has played mostly house shows and has only recently released a fantastic threesong demo via Bandcamp. So catch Pleassure now before it scurries below ground again. ROBERT HAM. Valentine’s, 232 SW Ankeny St., 248-1600. 9 pm. Cover. 21+.
TUESDAY, JAN. 10 Thou, The Body, Cower, Chasma
[UNDERGROUND DOOM] As doom has grown more popular in the past few years, some bands strive to keep the music’s roots firmly under the soil. Thus from New Orleans comes Thou, weaving emotional epics of anti-religious blackened sludge. But don’t confuse Thou with other Louisianan acts like Eyehategod or Down. Thou keeps it real to the point of preferring floors to stages. Sharing the trip is Providence, R.I., duo the Body, a group that generally avoids using even microphones—vocal-cord evisceration being an integral part of the show. It’s refreshing to witness the doom scene growing in so many directions at once, especially by those that treat it more like a bonsai than a Christmas tree. NATHAN CARSON. Backspace, 115 NW 5th Ave., 248-2900. 8 pm. $6. All ages.
Animal Eyes, Ross McLeron and the World Radiant
[EXPERIMENTAL POPTIMISM] It’s good to see Animal Eyes climbing the local recognition ladder. Since migrating to Portland from wherethe-fuck Alaska a couple of years back, the quintet has done little but charm the pants off local audiences of all stripes. With the whimsical collectivity of Belle and Sebastian and an experimental omnivorousness reminiscent of Dirty Projectors, Animal Eyes has tidily seduced venues all across this fair city with its indispensable, cathartic hollers. The group’s debut album, Found in the Forest, made a minor splash this November and has been deservedly gaining word-of-mouth momentum ever since. SHANE DANAHER. Bunk Bar, 1028 SE Water Ave., 894-9708. 10 pm. $3. 21+.
Sioux Falls
[DOUG MARTSCH APPRENTICES] Years from now, Bozeman, Mont.’s Sioux Falls will look back on firsttry EP The Ace House Tapes and concur that the four tracks were a product of its formative years. This is to take nothing away from the effort, which pulls so much inspiration from Idaho indie-rock giants Built to Spill it could almost pass for a shortened Ultimate Alternative Wavers. Sioux Falls creates remarkably clean, decidedly stark ’90s-era rock without sounding completely recycled. It’s fuzzy, it’s clamorous, it’s bleak—well worth a bleep on the PDX music radar. MARK STOCK. Ella Street Social Club, 714 SW 20th Place, 227-0116. 9 pm. Free. 21+.
Saturday, Jan 7th
CATIE CURTIS got a good tip? call 503.445.1542 or email newshound wweek.com
THE RISE OF THE KNOW The Know’s barroom half is a ramshackle container for cheap beer. Its restrooms appear to idolize CBGB’s storied stalls. The adjoining show space might as well be a basement. The club’s rough edges lend it a weathered eminence that most of its relatively new Alberta Street neighbors lack. But instead of settling into the heavily trafficked landscape as a dining district’s token decrepit watering hole, the Know, the club that celebrates its seventh anniversary with a weeklong showcase of Portland’s best punk bands, has emerged as one of the city’s most vital music venues. In the same way Doug Fir Lounge functions as folk pop’s reliable pimp and Holocene holds it down for young people who smell nice and dance naughty, the Know has thrived by narrowing its focus to punk’s various noisy iterations. It is an unlikely success story—one doesn’t expect loud sounds to flourish so close to a mellow residential area—but it is far from an accidental one. Credit booker David Rose with the Know’s current streak of cultural relevance. The Boston native, who moved to Portland in 2007 and also co-owns upstart label Bulkhead Records, got to work cultivating a better rep for the show space immediately upon assuming his duties two years ago. “I made it known that I took bands’ experiences playing at the Know very personally,” Rose says. His interest in keeping bands happy has led to a number of onand off-stage improvements. “In recent years, we’ve been able to tweak the venue area into a more dependable and higher functioning room,” Rose says. To that end, he pushed for a new PA system, and the Know created an official position to oversee sound and money matters during shows. Renovations to infrastructure and credibility would mean zilch without curatorial vision, and while the deafening PA system and refreshing punctuality (shows tend to start around 8 pm and end earlier than at most clubs) are certainly sterling features, it is the breadth and quality of the harsh noise filling the Know’s western half that sets the place apart. Page through an issue of Maximumrocknroll or scroll through some spiky kid’s Facebook feed for news from punk’s front lines sometime; you’ll find that the bands worth flipping for will, more often than not, end up on the Know’s stage when it comes time to tour. The bands might not ring bells for most folks—the likes of Heartless, Full of Hell, No Statik and Yadokai aren’t exactly household names—but for those who pay attention to such things, that brief list of bands is cause for no small amount of thrilled dithering. Rose is an expert deflector of praise, crediting the Know’s success to a staff of scene vets who lend the club “a legitimacy with bands that are wary of the typical music industry bullshit,” but he doesn’t deny how much it means to him and how hard he works to keep things running smoothly. “It consumes just about every waking minute of my life,” he says. While the club’s underground legitimacy seems increasingly at odds with the day-to-day seemliness of Alberta, the street and its illustrious punk holdout seem to have come to an agreement: Let us do our thing and we’ll let you do yours. That’s punk rock, right? CHRIS STAMM. While the rest of Alberta Street grows up, the Know has become Portland’s mecca for punk and hard rock.
SEE IT: The Know, 2026 NE Alberta St., celebrates its seventh anniversary all week. See music calendar, page 33, for a list of shows.
“Hard to Beat”! –WW Bar Spotlight
$2 Domestics $2.50 Micros All Day Sun-Thu
10 TVs • All Games!
“...hearty swith titular steaks, nachos, excellent sweet potato tots.”
“...good live music” Ron Steen Jam
Every Monday 8-11pm
Lucas Cozby
Dinner Jazz Piano Every Friday 6-8pm
JENNA LINDBO
WITH
Friday, Jan 13th
DAVID GRISMAN FRANK VIGNOLA
“MELODY MONSTERS” Saturday, Jan 14th
KEEGAN SMITH
sneakin’ out with
THE DOYLE BROTHERS Thursday, Jan 19th
BEN DARWISH + SHOOK TWINS
debut “THE CLEAR BLUE PEARL” with
JOHN HEART JACKIE & LOCAL STRANGERS Friday, Jan 20th AN EVENING WITH
PETER YARROW
AND FRIENDS Saturday, Jan 21st
20th ANNIVERSARY SHOW!
RENEGADE SAINTS
Friday night is 80s Night! 9pm to Midnight
W/ SPECIAL GUEST HAYMAKER Coming Soon 1/22 1/24
Alasdair Fraser • Natalie Haas David Graeber -
“Debt: the First 500 Years” 1/25 SUNBEARS! • Blue Cranes • Log Across the Washer
5515 SW Canyon Ct. 503-297-5568 sylvansteakhouse.com
Alberta Rose Theatre (503) 764-4131 3000 NE Alberta AlbertaRoseTheatre.com
Willamette Week JANUARY 4, 2012 wweek.com
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m cm enami ns m u s i c
CRYSTAL
THE
M
C
M
E
N
A
282-6810
WEDNESDAY, JANUARY 4
LOW OVERHEAD FREE
THURSDAY, JANUARY 5 5:30 p.m. is “eagle time” • free
WILL WEST & TANNER CUNDY
FRI DEC 30 ALL AGES
KEVIN MARCOTTE BAND
FLOATER
FREE
FRIDAY, JANUARY 6
Featuring VJ Kittyrox FRI JAN 6 21THE & OVERDAYS
D EEESKAVAEILAN W 0S IGH THE 8NIGHT NIGHTS NIGH T S BLE KAG PAC T OVERN
SAT JAN 7 21 & OVER
Hosted by
DJ PRASHANT
THE STUDENT LOAN
THE LONESOMES WILKINSON BLADES RICH WEST BLATT’S ONCE IN A WHILE SKY
OPEN MIC/SINGER SONGWRITER SHOWCASE
heyLOW entertainment
THE SECOND ANNUAL
FEATURING PORTLAND’S FINEST TALENT 6:30 P.M. SIGN-UP; 7 P.M. MUSIC· FREE
an evening with
WEST COAST
THE RESOLECTRICS SAM FOWLES
(OF PARSON RED HEADS)
MIKE MIDLO
SAT JAN 28 ALL AGES
FREE
TUESDAY, JANUARY 10
WATER TOWER
BEARD &
(FORMERLY WATER TOWER BUCKET BOYS)
DRIFTWOOD SINGERS FREE
MUSTACHE CHAMPIONSHIPS SAT JAN 21 3 P.M. 1/13
MONDAY, JANUARY 9
OUTERNATIONAL
moe.
MUSIC AT 8:30 P.M. MON-THUR 9:30 P.M. FRI & SAT (UNLESS OTHERWISE NOTED)
FRI JAN 27 ALL AGES
SCHOOL OF ROCK-BEST OF PORTLAND 1/22 PORTLAND MUSIC AWARDS 1/29 DANNY BARNES-lola’s 2/13 DR. DOG CHALI 2NA-lola’s 2/17 BIG HEAD TODD & THE MONSTERS 2/22 THE FRAY 2/24 PDX JAZZ FESTIVAL: BILL FRISELL 2/25 PDX JAZZ FESTIVAL: VIJAY IYER, PRASANNA & NITTIN MITTA (3 PM) 2/25 PDX JAZZ FESTIVAL: CHARLIE HUNTER (9:30 PM) 3/2 & 3 RAILROAD EARTH 3/15 NEEDTOBREATHE 3/22 KAISER CHIEFS 3/23 OF MONTREAL 3/24 GALACTIC 3/31 DARK STAR ORCHESTRA
2/14
DANCEONAIR.COM
AL’S DEn
at CRYSTAL HOTEL
DOORS 8pm MUSIC 9pm UNLESS NOTED
FREE LIVE MUSIC nIghtLy · 7 PM 1/1-7
DJ’S · 10:30 PM 1/5 DJ Anjali & the Incredible Kid 1/6 DJ Mike Mac 1/7 DJ Stargazer
1/8-14
CHRIS GOLDENBOY MARSHALL
CRYSTAL HOTEL & BALLROOM Ballroom: 1332 W. Burnside · (503) 225-0047 · Hotel: 303 S.W. 12th Ave · (503) 972-2670
CASCADE TICKETS 32
cascadetickets.com 1-855-CAS-TIXX
OUTLETS: CRYSTAL BALLROOM BOX OFFICE, BAGDAD THEATER, EDGEFIELD, EAST 19TH ST. CAFÉ (EUGENE)
Willamette Week JANUARY 4, 2012 wweek.com
Find us on
Portlandia
Saturday, January 14
Miz Kitty’s Parlour
Sunday, January 15
School of Rock
Thursday, January 19
4:30 p.m. is “eagle time” • free
Fundraiser for Central City Concern SAT JAN 14 and Namaste Kathmandu
Friday, January 6
REVERB BROTHERS
SUNDAY, JANUARY 8
21 & OVER LOLA'S ROOM 10 P.M. LESSON 10:30 P.M. DANCING
M
The historic
CLOUDS ON STRINGS AGE SEX OCCUPATION DROPA SATURDAY, JANUARY 7
TUE JAN 17 ALL AGES
Two Year Anniversary Party
C O
Tuesday, January 17
5:30 p.m. is “eagle time” • free
Mike Thrasher presents
JAI HO!
.
LIVE STAGE & BIG SCREEN!
nearly new year’s
Andrew Paul Woodworth Buoy LaRue
S
1624 N.W. Glisan • Portland 503-223-4527
14th and W. Burnside
SAT JAN 7 21 & OVER LOLA'S ROOM
N
MISSION THEATER
CRYSTAL BALLROOM SIMPLESWEET
I
836 N RUSSELL • PORTLAND, OR • (503)
HOTEL & BALLROOM
SIMPLE SWEET CD RELEASE
M
OMSI Science Pub
PDXJazz presents: Cyrille Aimée & Diego Figueiredo: “Django To Jobim”
Saturday, January 28
Nomading Film Festival
Sunday, February 5
Super Bowl XLVI
Tuesday and Wednesday, February 14 & 15
Mortified Portland
Sunday, February 26 84th Academy Awards Call our movie hotline to find out what’s playing this week!
(503) 249-7474
Event and movie info at mcmenamins.com/mission
MUSIC CALENDAR Kells
= 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. JAN. 4 Al’s Den at the Crystal Hotel 303 SW 12th Ave. Chris Marshall, Ezra Holbrook
Alberta Street Public House 1036 NE Alberta St. Open Mic
Andina
225 SW Ash St. Mangled Bohemians, Hidden Knives, Mojave Bird
Beaterville Cafe
2201 N Killingsworth St. Open Mic with Steve Rodin & Tony Lahaina
Buffalo Gap Saloon
6835 SW Macadam Ave. Songwriter Showcase
Doug Fir Lounge
830 E Burnside St.
Liv Warfield, Jarrod Lawson, DJ OG One
The Blackberry Bushes, The Lex Browning Band
Duff’s Garage
Ivories Jazz Lounge and Restaurant
1635 SE 7th Ave. Suburban Slim’s Blues Jam (9:30 pm); Trio Bravo (6 pm)
Ella Street Social Club
1435 NW Flanders St. Tom Grant, Toni Lincoln (8:30 pm); Kit Taylor (5:30 pm)
714 SW 20th Place ALTO!, The Early, Ryan A. Miller, Log Across the Washer
Jade Lounge
Goodfoot Lounge
221 NW 10th Ave. The Mel Brown Quartet
2845 SE Stark St.
2346 SE Ankeny St. Worth
Jimmy Mak’s
112 SW 2nd Ave. Tom May
LaurelThirst
Muddy Rudder Public House 8105 SE 7th Ave. Sleepy Eyed Johns
2958 NE Glisan St. Paul Benoit, Bingo & Lewi Longmire (9 pm); Green State (6 pm)
Music Millennium
Lents Commons
5426 N Gay Ave. Flat Rock String Band
9201 SE Foster Road Open Mic
McMenamins Edgefield Winery 2126 SW Halsey St., Troutdale John Henry
McMenamins Rock Creek Tavern
10000 Old Cornelius Pass Road, Hillsboro Billy D
Mississippi Studios
3939 N Mississippi Ave. Brandi Carlile
3158 E Burnside St. Bear & Moose
Palace of Industry
Plan B
1305 SE 8th Ave. The We Shared Milk, Sioux Falls, Father Figure, The Silent Numbers
Star Theater
13 NW 6th Ave. Phantasmagoria
The Blue Diamond
2016 NE Sandy Blvd. The Fenix Project Blues Jam
Thirsty Lion
Schwing
Touché Restaurant and Billiards 1425 NW Glisan St. Nancy King, Steve Christofferson
Alberta Street Public House
1036 NE Alberta St. Antony Abraham, Brooks Robertson
Andina
Vino Vixens Wine Shop & Bar
1314 NW Glisan St. Tracy Kim Trio
White Eagle Saloon
225 SW Ash St. Shut Your Animal Mouth, P.R.O.B.L.E.M.S., Hairspray Blues
Wilfs Restaurant & Bar
Beaterville Cafe
2929 SE Powell Blvd. 6bq9 836 N Russell St. Perfect Zero
800 NW 6th Ave. Ron Steen Trio
THURS. JAN. 5 Al’s Den at the Crystal Hotel 303 SW 12th Ave. Chris Marshall, Patti King
71 SW 2nd Ave.
Ash Street Saloon
2201 N Killingsworth St. Alexian Sounds
Biddy McGraw’s
6000 NE Glisan St. John Ross (9 pm) HalfStep Shy (6 pm)
Brasserie Montmartre 626 SW Park Ave. John “JB” Butler & Al Craido
Buffalo Gap Saloon
6835 SW Macadam Ave. Ben Rue
ADAM KRUEGER
1314 NW Glisan St. Toshi Onizuka
Ash Street Saloon
[JAN. 4-10]
Dante’s
350 W Burnside St. Matt Hopper & The Roman Candles, Sunny Travels, Pizza T
Doug Fir Lounge
830 E Burnside St. Bear and Moose, Pigeons, Mike Coykendell
Duff’s Garage
1635 SE 7th Ave. Tough Lovepyle
East Burn
1800 E Burnside St. Pagan Jug Band
Ella Street Social Club
714 SW 20th Place The Hugs, Snow Bud and the Flower People, A Happy Death, D. Pel
Ford Food and Drink 2505 SE 11th Ave. Kathryn Claire
Goodfoot Lounge 2845 SE Stark St. Philly’s Phunkestra
Holocene
1001 SE Morrison St. Monarques, Houndstooth, Colin Jenkins
Ivories Jazz Lounge and Restaurant
1435 NW Flanders St. Jim Templeton with Carey Campbell (8:30 pm); Mark Simon (5:30 pm)
Jade Lounge
2346 SE Ankeny St. Chris Juhlin
Jimmy Mak’s
221 NW 10th Ave. The Mel Brown B3 Organ Group
Kells
112 SW 2nd Ave. Tom May
Kelly’s Olympian
426 SW Washington St. Piecost, Wolf in the Dream Catcher
Kennedy School
5736 NE 33rd Ave. Professor Banjo
Kenton Club
2025 N Kilpatrick St. Thundering Asteroids, Cootie Platoon, Bonneville Power
LaurelThirst
2958 NE Glisan St. McDougall, Henry “Hill” Kammerer (9:30 pm); Lewi Longmire Band (6 pm)
Matador
1967 W Burnside St. Public Drunken Sex, Curly When Wet, DJ HazMatt, K-Dizzy
THE OLD, WEIRD AMERICA: Baby Gramps plays LaurelThirst on Friday.
CONT. on page 34
Willamette Week JANUARY 4, 2012 wweek.com
33
MUSIC
CALENDAR
BAR SPOTLIGHT
Wendy and the Lost Boys
VIVIANJOHNSON.COM
Hawthorne Theatre
3862 SE Hawthorne Blvd. Jacktown Road, Criminal Mastermind, Delta!Bravo, She’s Not Dead, All Falls Through
Ivories Jazz Lounge and Restaurant
McMenamins Rock Creek Tavern
The Blue Diamond
2016 NE Sandy Blvd. The Tom Grant Jazz Jam
Beaterville Cafe
2201 N Killingsworth St. Robert Richter
Biddy McGraw’s
10000 Old Cornelius Pass Road, Hillsboro Lynn Conover & Gravel
The Blue Monk
Mississippi Pizza
3341 SE Belmont St. Alan Jones Jam
6000 NE Glisan St. Lewi Longmire Band (9:30 pm); Billy Kennedy (6 pm)
Tiger Bar
Branx
3552 N Mississippi Ave. Welfare, Moon by You (9 pm); The Nutmeggers (6 pm)
Mississippi Studios
3939 N Mississippi Ave. Tumbledown, The Dry County Crooks
Mock Crest Tavern 3435 N Lombard St. David Brothers
O’Connor’s Vault 7850 SW Capitol Highway Midnight Sun Jazz Quartet
Original Halibut’s II 2527 NE Alberta St. Terry Robb
Plan B
1305 SE 8th Ave. The Modern Golem, The Cry, The Morels
Record Room
8 NE Killingsworth St. Breezin’, DJ Dr. Sketch, DJ Ez Fresh
Red Room
2530 NE 82nd Ave. Ol’ Devols
Sellwood Public House 8132 SE 13th Ave. Open Mic
Spare Room
4830 NE 42nd Ave. Original Music Showcase with Sam Densmore
Ted’s (at Berbati’s) 231 SW Ankeny St.
317 NW Broadway Karaoke from Hell
Tonic Lounge
3100 NE Sandy Blvd. Blood Magic, Staller, Dead Remedy
Tube
18 NW 3rd Ave. Austin Johnson & The Total Package
Vie de Boheme
Brasserie Montmartre 626 SW Park Ave. Tablao
Buffalo Gap Saloon
6835 SW Macadam Ave. The Druthers
1530 SE 7th Ave. Pete Petersen, Mike Winkle
Clyde’s Prime Rib
White Eagle Saloon
Dante’s
836 N Russell St. Kevin Marcotte Band (8:30 pm), Will West and Tannery Cundy (5:30 pm)
FRI. JAN. 6 Al’s Den at the Crystal Hotel
303 SW 12th Ave. Chris Marshall, Copperfox
Alberta Street Public House
1036 NE Alberta St. Dan Weber, Jeffery Martin (9:30 pm); Mikey’s Irish Jam (6:30 pm)
Andina
1314 NW Glisan St. John Butler Trio
Ash Street Saloon
225 SW Ash St. The Sindicate, Item 9, The Fashion Nuggets (Cake tribute)
Backspace
115 NW 5th Ave.
34
320 SE 2nd Ave. Across the Sun, Move the Earth, Way of the Yeti, I Am the Monster, Dinner with a Bear
Willamette Week JANUARY 4, 2012 wweek.com
5474 NE Sandy Blvd. Muthaship 350 W Burnside St. Hong Kong Banana, Last Watch, Ape Machine
Doug Fir Lounge
830 E Burnside St. Archeology, Tango Alpha Tango, Adam Shearer (of Weinland)
Duff’s Garage
1635 SE 7th Ave. Linda Hornbuckle
East Burn
1800 E Burnside St. Andrews Ave, Cascadia Soul Alliance
Ella Street Social Club 714 SW 20th Place The Hague, Pony Village, Astroid M
Ford Food and Drink 2505 SE 11th Ave. Whistlepunk!, Drew DeMan
Hawthorne Theatre Lounge 1503 SE 39th Ave.
830 E Burnside St. Casey Neill & the Norway Rats, Sassparilla, Jackrabbit
East Burn
The Blue Monk
3341 SE Belmont St. Eddie Martinez
203 SE Grand Ave. Cemetery Lust, Tanagra, Gorgon, DJ Cory Boyd
The Know
Ella Street Social Club
2809 NE Sandy Blvd. S.F.A., Last Shot, The Tanked, Bitch School
Kells
112 SW 2nd Ave. Pass the Whiskey
Kelly’s Olympian
426 SW Washington St. Lubec, Ask You in Gray
Kenton Club
Ted’s (at Berbati’s)
2026 NE Alberta St. Forscorcerers, Avi Dei
Thirsty Lion
71 SW 2nd Ave. The Prescriptions
Tonic Lounge
3100 NE Sandy Blvd. Thumptown, Vivid Curve
Tony Starlight’s
3728 NE Sandy Blvd. Bridgetown Septet
2025 N Kilpatrick St. Cemetery Lust, Necro Drunkz, Compulsive Slasher, Foal
Touché Restaurant and Billiards
LaurelThirst
Vino Vixens Wine Shop & Bar
2958 NE Glisan St. Baby Gramps (9:30 pm); The James Low Western Front (6 pm)
Lents Commons
9201 SE Foster Road Cary Samsel
McMenamins Rock Creek Tavern
10000 Old Cornelius Pass Road, Hillsboro Jon Koonce and One More Mile
Mississippi Pizza
2126 SW Halsey St., Troutdale Whiskey Puppy
Doug Fir Lounge
231 SW Ankeny St. Eddie Valiant, K-Dizzy, Jimmi Stone, Daps, Everybody Knows
Katie O’ Brien’s
Neighbors, Violet Isle, Hellokopter, Red Coyotes
Star Theater
1332 W Burnside St. Stone in Love (Journey tribute), The Radical Revolution
Jade Lounge
221 NW 10th Ave. The Hailey Niswanger Group with Thara Memory
Christopher Neil Young, Ugly Flowers, Love Satellite, Scotty Del, Will West, Ronnie Molen
Someday Lounge
125 NW 5th Ave. Blu, Nu Era, Tiron, TxE
Crystal Ballroom
13 NW 6th Ave. Pojama People with Ike Willis (Frank Zappa tribute)
Jimmy Mak’s
McMenamins Edgefield Winery
116 NE Russell St. Javier Nero Septet (9 pm); Swing Papillon (6 pm)
1435 NW Flanders St. Templeton Trio with Shirley Nanette (8:30 pm); Dave Fleschner (5:30 pm)
2346 SE Ankeny St. Sharaya Mikael (8 pm); Rachel Rice (6 pm)
MOSCOW DOES NOT BELIEVE IN TEARS: The first time I tried to visit Moscow Bar (16015 SE Stark St.), I got as far as the front door—located conveniently in the back—and, reaching for the ax handle that passes for a door knob, noticed a sign that read “Private Party.” It looked like a good one: Souped-up sports cars in the lot, leather-jacketed cool dudes on the patio. A few nights later, there was little evidence of this blowout and the black-and-white-tiled backroom dance floor had gone dark. That’s sort of the nature of the huge space, our bartender explained: On Thursday nights it’s a dance club that plays American pop music, on Friday and Saturday nights it’s a dance club that plays Russian jams, and every other night of the week it’s a few regulars shooting pool, playing in pingpong tournaments or knocking back cheap-and-stiff original drinks (the creamy and intense $5 Chocolate Covered Cherry, maybe, or a $4.50 Ducks-green Zip Lock, which makes a fine Sparks replacement). Pingpong is sexy and all, but I’m guessing the patriotic condoms in the men’s room hit their sales peak sometime over the weekend. CASEY JARMAN.
Secret Society Lounge
3552 N Mississippi Ave. Kinder Bison, Olina (9 pm); Jenny Sizzler (6 pm)
Mississippi Studios
3939 N Mississippi Ave. Adam Sweeney & the Jamboree, Alameda, Terrible Buttons
Mock Crest Tavern
4811 SE Hawthorne Blvd. Element 115, The Results, Walk the Walk, Staller
3435 N Lombard St. Joe McMurrian
Mount Tabor Theater
Muddy Rudder Public House 8105 SE 7th Ave. The Sportin’ Lifers Trio
Noho’s Hawaiian Cafe 4627 NE Fremont St. Traditional Hawaiian Music
Original Halibut’s II 2527 NE Alberta St. Kinzell & Hyde
Peter’s Room
8 NW 6th Ave. New Soul Explosion, Lilla D’Mone, Medicine for the People, Risky Star, MY-G
Plan B
1305 SE 8th Ave. Dirt Castle, Lemon Party, No More Train Ghosts, Yulia
Red Lion on the River 909 N Hayden Island Drive RiverCity Music Festival: Travelin’ McCourys, Tommy Emmanuel, Ray Wylie Hubbard, Joy Kills Sorrow (Coast stage); Steep Canyon Rangers, Cedar Flats, Northern Departure, Chicks Kids (Cascade stage); Caleb Clauder, Jackstraw (Bar stage)
Red Room
2530 NE 82nd Ave. Dead Cult, The Warshers, Bronson, End Notes, The Ascendants, Chloraform
1425 NW Glisan St. Laura Ivancie
2929 SE Powell Blvd. Portland Casual Jam Group
White Eagle Saloon
836 N Russell St. Clouds on Strings, Age Sex Occupation (9:30 pm); Reverb Brothers (5:30 pm)
SAT. JAN. 7 15th Avenue Hophouse 1517 NE Brazee St. Switchgrass
Al’s Den at the Crystal Hotel 303 SW 12th Ave. Chris Marshall, Holly Resnick
Alberta Rose Theatre 3000 NE Alberta St. Catie Curtis, Jenna Lindbo
Alberta Street Public House 1036 NE Alberta St. Sam Adams, Hannah Glavor
Andina
1314 NW Glisan St. Borikuas
Artichoke Community Music 3130A SE Hawthorne Blvd. Anne Weiss, Steve Cheseborough, Lauren Sheehan
Ash Street Saloon
225 SW Ash St. Portland George, Hero Fame, Jlew, Da Ill One, Juma Blaq, Roulette Delgato, AP the CEO & S. James, Supa Nova
Backspace
115 NW 5th Ave. Heart to Heart, My Favorite Season, Currents, The Sheds, Stark Heroes, Chin Up Rocky
Beaterville Cafe
2201 N Killingsworth St. Sam Densmore
Biddy McGraw’s
6000 NE Glisan St. Rob Stroup and the Blame (9:30 pm); The Barkers (6 pm)
Brasserie Montmartre 626 SW Park Ave. Pete Krebs Trio (9 pm); Tablao (5:30 pm)
Clyde’s Prime Rib
5474 NE Sandy Blvd. Cool Breeze
Duff’s Garage
1635 SE 7th Ave. Stacy Jones Band/Pulled Pork 1800 E Burnside St. Megafauna
East End
714 SW 20th Place Autronic Eye, This Charming Man, Adventure Galley
Goodfoot Lounge
2845 SE Stark St. Medicine for the People
Hawthorne Hophouse 4111 SE Hawthorne Blvd. Ron Hughes
Hawthorne Theatre
3862 SE Hawthorne Blvd. Falling Up, Water & Bodies, Ruth
Ivories Jazz Lounge and Restaurant
1435 NW Flanders St. Rebecca Kilgore with Randy Porter and Tom Wakeling (8:30 pm); Art Reznick (5:30 pm)
Jade Lounge
2346 SE Ankeny St. Lucky Jumping Voice (8 pm); Adolfo Angel Cuellar IV (6 pm)
Jimmy Mak’s
221 NW 10th Ave. The Curtis Salgado Band
Kells
112 SW 2nd Ave. Pass the Whiskey
Kenton Club
2025 N Kilpatrick St. Ross and the Hellpets, Metropolitan Farms, The Weak Knees
LaurelThirst
2958 NE Glisan St. HyDrive (9:30 pm); Tree Frogs (6 pm)
Lents Commons
9201 SE Foster Road Doc McTear’s Blues Medicine Show
Lola’s Room at the Crystal Ballroom
1332 W Burnside St. Simple Sweet, Andrew Paul Woodworth, Buoy LaRue
McMenamins Edgefield Winery
2126 SW Halsey St., Troutdale Dan Haley
McMenamins Rock Creek Tavern
Traditional Hawaiian Music
Original Halibut’s II
225 SW Ash St. Queen Bitch (David Bowie tribute), DJ Sweet F.A.
Plan B
Beaterville Cafe
2527 NE Alberta St. Robbie Laws
1305 SE 8th Ave. Georgetown Orbits, Toucan Sam and the Fruit Loops, The Sentiments, Middle Age Ska Enjoy Club
2201 N Killingsworth St. Peter Boesen Trio
Ravenz Roost Cafe
Clyde’s Prime Rib
11121 SE Division St. 6bq9
Record Room
8 NE Killingsworth St. East African Night
Red Lion on the River
909 N Hayden Island Drive RiverCity Music Festival: Rodney Crowell, The Texas Shieks, David Lindly, Jim Lauderdale, Peter Rowan, Sierra Hull, Dale Watson, The Boxcars, Dan Crary & Thunderation (Coast stage); Midnight Serenaders, The Boxcars, Steep Canyon Rangers, Jim Faddis, Jackstraw, David Lindly, Cedar Flats (Stage B); Dale Watson, Swing Papillon (Bar stage)
Red Room
2530 NE 82nd Ave. Titarius, Perserverance, American Roulette, Wild Dogs, Bring the Dead
3435 N Lombard St. Donna and the Side Effects
Moreland House
6716 SE Milwaukie Ave. Cody Weathers
Mount Tabor Theater
4811 SE Hawthorne Blvd. The Roaming, The Gemtones, The Shoguns, Summer Soundtrack, Sir Digital (fashion show)
Noho’s Hawaiian Cafe 4627 NE Fremont St.
Doug Fir Lounge
830 E Burnside St. Glassbones, A Happy Death, John Craig & The Weekend
Ella Street Social Club 714 SW 20th Place Northeast Northwest, Rory James, Quinn Allan
Jade Lounge
2346 SE Ankeny St. Dwight Rundle
Kells
112 SW 2nd Ave. Pat Buckley (9 pm); Irish Sessions (7 pm)
LaurelThirst
2958 NE Glisan St. Billy Kennedy & Tim Acott with Jake Ray (9:30 pm); Freak Mountain Ramblers (6 pm)
McMenamins Edgefield Winery
McMenamins Rock Creek Tavern
116 NE Russell St. Eric John Kaiser
Someday Lounge
125 NW 5th Ave. Sevonsol, Apoloinario, Ancheta, Stephen Quirke, Mr. Romo
Ted’s (at Berbati’s) 231 SW Ankeny St. DJ Weather, ManimalHouse
The Blue Diamond
2016 NE Sandy Blvd. Lloyd Allen Sr.
The Blue Monk
3341 SE Belmont St. Trash Can Joe
The Know
2026 NE Alberta St. Night Nurse, Arrastrados, Whorpath, Weird Fear
The Woods
6637 SE Milwaukie Ave. Agesandages, Brothers Young and more
Thirsty Lion
71 SW 2nd Ave. Brian Odell, DJ Soulshaker
Tonic Lounge
3100 NE Sandy Blvd. Fruit of the Legion of Loom, Bombs Away!, K-Tel ‘79 (Ethos benefit)
Tony Starlight’s
Touché Restaurant and Billiards
Mock Crest Tavern
5474 NE Sandy Blvd. Ron Steen Jazz Jam
Secret Society Lounge
Mississippi Pizza
3939 N Mississippi Ave. Transient, Daniel Menche, Eight Bells, Taurus
6835 SW Macadam Ave. West Coast Songwriter Competition
2126 SW Halsey St., Troutdale Southern Skies
8 NW 6th Ave. Ace Hood
3728 NE Sandy Blvd. Chuck Israels Jazz Orchestra
Mississippi Studios
Buffalo Gap Saloon
Roseland Theater
10000 Old Cornelius Pass Road, Hillsboro Guy Dilly 3552 N Mississippi Ave. The Bureau of Standards (9 pm); Boy & Bean (6 pm); Aaron Nigel Smith (4 pm)
Ash Street Saloon
1425 NW Glisan St. Kelley Shannon, Josh Lava
Vie de Boheme 1530 SE 7th Ave. Mia Nicholson
White Eagle Saloon
836 N Russell St. The Lonesomes, Wilkinson Blades, Rich West Blatt’s Once in a While Sky (9:30 pm); The Student Loan (4:30 pm)
SUN. JAN. 8 Al’s Den at the Crystal Hotel 303 SW 12th Ave. Goldenboy, Crown Point
Andina
1314 NW Glisan St. Danny Romero
10000 Old Cornelius Pass Road, Hillsboro Hanz Araki & Kathryn Claire
Mississippi Pizza
3552 N Mississippi Ave. Hungry, Hungry Hip-Hop
Muddy Rudder Public House 8105 SE 7th Ave. Irish Music
NEPO 42
5403 NE 42nd Ave. Open Mic
Red Lion on the River 909 N Hayden Island Drive RiverCity Music Festival: Peter Rowan, Jim Lauderdale, Hot Club of Cowtown, Dan Crary, Sierra Hull (Stage A); Cedar Flats, Joy Kills Sorrow (Stage B)
Rontoms
600 E Burnside St. Log Across the Washer, Leviticus Appleton, Surf Drugs
Rotture
315 SE 3rd Ave. Sundaze, SuckerForLights, Pinscape
The Blue Monk
3341 SE Belmont St. Ed Bennett Ouintet
White Eagle Saloon 836 N Russell St. Open Mic
MON. JAN. 9 Al’s Den at the Crystal Hotel 303 SW 12th Ave. Goldenboy, McDougall
Alberta Street Public House
1036 NE Alberta St. The Free Theatre, Clouds on Strings
Andina
1314 NW Glisan St. Pete Krebs
Ash Street Saloon
225 SW Ash St. Open Mic with DJ Streetz
Backspace
115 NW 5th Ave. Battery-Powered Music
CALENDAR Dante’s
350 W Burnside St. Karaoke from Hell
Duff’s Garage
1635 SE 7th Ave. Suzie & the Sidecars
East End
203 SE Grand Ave. Spellcaster vs. Lamprey (Portland Metal Winter Olympics show)
Ella Street Social Club
714 SW 20th Place The Oo-Ray, Parties, Unrecognizable Now
Goodfoot Lounge 2845 SE Stark St. Open Mic
Jade Lounge
2346 SE Ankeny St. Jaime Leopold
Jimmy Mak’s
221 NW 10th Ave. The Dan Balmer Band
Kells
112 SW 2nd Ave. Pat Buckley
Kelly’s Olympian
426 SW Washington St. David Gerow
LaurelThirst
2958 NE Glisan St. Kung Pao Chickens (9 pm); Portland Country Underground (6 pm)
McMenamins Edgefield Winery
2126 SW Halsey St., Troutdale Skip vonKuske with Kyrstyn Pixton
McMenamins Rock Creek Tavern
10000 Old Cornelius Pass Road, Hillsboro Bob Shoemaker
Mississippi Pizza
3552 N Mississippi Ave.
Bluegrass Jam, Mr. Ben
Muddy Rudder Public House 8105 SE 7th Ave. Lloyd Jones
Red Room
2530 NE 82nd Ave. Johnson Creek Stranglers
The Blue Monk
3341 SE Belmont St. Renato Caranto Project
The Know
2026 NE Alberta St. Company, Freedom Club, Eiger Sanction
Tiger Bar
317 NW Broadway Messengers with Redeemer, Kublai Khan, Witness a Massacre
Tube
18 NW 3rd Ave. North Country, Large Mammals, DJ Survival Skilz
Valentine’s
232 SW Ankeny St. Pleassure, Reynosa
White Eagle Saloon 836 N Russell St. The Resolectrics, Sam Fowles (of the Parson Red Heads), MidLo
TUES. JAN. 10 15th Avenue Hophouse
1517 NE Brazee St. Bitter Root
Al’s Den at the Crystal Hotel
303 SW 12th Ave. Goldenboy, Brian Berg
Andina
1314 NW Glisan St. John Butler Trio
Ash Street Saloon 225 SW Ash St.
Phantom Buzz, Moos & Mike, Ziomoiz
Backspace
115 NW 5th Ave. Thou, The Body, Cower, Chasma
Beaterville Cafe
2201 N Killingsworth St. Symbols & Cymbols with Celestial Concubine
Bunk Bar
1028 SE Water Ave. Animal Eyes, Ross McLeron and the World Radiant
Duff’s Garage
1635 SE 7th Ave. Dover Weinberg Quartet (9:30 pm); Trio Bravo (6 pm)
Ella Street Social Club 714 SW 20th Place Sioux Falls
Goodfoot Lounge
2845 SE Stark St. Scott PembertonTrio
Hawthorne Hophouse 4111 SE Hawthorne Blvd. Big North Duo
Hawthorne Theatre Lounge
1503 SE 39th Ave. Michael Dean Damron
Ivories Jazz Lounge and Restaurant 1435 NW Flanders St. Caili O’ Doherty Trio Concert/Jam Session
Jade Lounge
2346 SE Ankeny St. Hot Club of Hawthorne
Jimmy Mak’s
221 NW 10th Ave. The Mel Brown Septet (8 pm); The AMP Jazz Orchestra (6:30 pm)
Kells
MUSIC
Pat Buckley
DJ HazMatt
LaurelThirst
Star Bar
Next Big Thing with DJ Donny Don’t
The Woods
1305 SE 8th Ave. Hive with DJ Owen
639 SE Morrison St. Blank Fridays
2958 NE Glisan St. Bingo (9 pm); Jackstraw (6 pm)
McMenamins Edgefield Winery
2126 SW Halsey St., Troutdale Caleb Klauder & Sammy Lind
Mississippi Pizza
3552 N Mississippi Ave. The Begonias
Rotture
315 SE 3rd Ave. Sarah Blackwood, Hot Rod Carl, The Twangshifters
The Blue Monk
3341 SE Belmont St. Pagan Jug Band
The Know
2026 NE Alberta St. Gallons, Pluvial
Thirsty Lion
71 SW 2nd Ave. PX Singer-Songwriter Showcase
WED. JAN. 4 East End
203 SE Grand Ave. DJs Total Fucker, Moderhead
Matador
1967 W Burnside St. DJ Whisker Friction
The Crown Room
205 NW 4th Ave. Pop-Up Club: Lions Den, DJ Nick Dean
Tube
18 NW 3rd Ave. Paint it Black with DJ Freaky Outty; DJ Loyd Depriest
Yes and No
20 NW 3rd Ave. Death Club with DJ Entropy
Tiger Bar
317 NW Broadway Hip Deep Soul Revue
Tony Starlight’s
3728 NE Sandy Blvd. Ayars Vocal Showcase
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. Water Tower, Driftwood Singers
THURS. JAN. 5 Al’s Den at the Crystal Hotel
303 SW 12th Ave. DJ Anjali & The Incredible Kid
Beauty Bar
111 SW Ash St. Shameless Thursdays: Easter Egg, DJ 3x
Fez Ballroom
316 SW 11th Ave. Shadowplay: DJs Ghoulunatic, Paradox, Horrid
The Know
2026 NE Alberta St. DirtBag!
The Lovecraft
421 SE Grand Ave. Addiction
112 SW 2nd Ave.
The Whiskey Bar 31 NW 1st Ave. Damage
FRI. JAN. 6 Al’s Den at the Crystal Hotel
303 SW 12th Ave. DJ Mikey MAC!
Crystal Ballroom
1332 W Burnside St. ‘80s Video Dance Attack with VJ Kittyrox
Fez Ballroom
316 SW 11th Ave. Decadent ‘80s: DJs Non, Jason Wann
Goodfoot Lounge 2845 SE Stark St. DJ Magneto
Ground Kontrol
511 NW Couch St. DJ Epor
Holocene
1001 SE Morrison St. FRESH.: Thundercat, Reva Devito, Rap Class, Bones (9 pm); Aperitivo Happy Hour with DJ Spencer D (5 pm)
Mount Tabor Theater 4811 SE Hawthorne Blvd. Free Up Fridays: Soljah Sound, Small Axe Sound, XACT Change Hi-Fi, Jagga Culture
Rotture
315 SE 3rd Ave. Deep Cuts: DJs Bruce LaBruiser, Kasio Smashio, Roy G Biv
Sassy’s Bar and Grill 927 SE Morrison St.
Plan B
6637 SE Milwaukie Ave. In the Cooky Jar with DJ Cooky Parker
The Lovecraft
Tube
Tube
18 NW 3rd Ave. Hot Mess with Doc Adam; DJ Neil Blender
SAT. JAN. 7 Al’s Den at the Crystal Hotel
303 SW 12th Ave. DJ Stargazer
Fez Ballroom
316 SW 11th Ave. Popvideo with VJ Gigahurtz
Holocene
1001 SE Morrison St. Booty Bassment: Ryan Poulsen, Dimitri Dickinson, Maxx Bass
Palace of Industry 5426 N Gay Ave. DJ Pippa Possible
Rotture
315 SE 3rd Ave. Andaz with Anjali & The Incredible Kid
The Lovecraft
421 SE Grand Ave. Glam Night: DJs Overcol, Horrid
Tube
18 NW 3rd Ave. DJ Freaky Outy (late set); DJ Grantichrist
SUN. JAN. 8 Ground Kontrol
421 SE Grand Ave. Dennis Dread 18 NW 3rd Ave. Reggae Night with Doc Adam (late set); HonkyTonk Happy Hour with Tennessee Tim (early set)
MON. JAN. 9 Star Bar
639 SE Morrison St. Into the Void with DJ Blackhawk
TUES. JAN. 10 Alberta Street Public House 1036 NE Alberta St. Jasin Fell’s VJ Night
Kelly’s Olympian
426 SW Washington St. DJ Hairfarmer
The Crown Room
205 NW 4th Ave. See You Next Tuesday: Kellan, Avery
The Know
2026 NE Alberta St. Eye Candy Music-Video Night
Tube
18 NW 3rd Ave. DJ Dirty Red
Yes and No
20 NW 3rd Ave. Idiot Tuesdays with DJ Black Dog
511 NW Couch St. DJ Bob Ham
Matador
1967 W Burnside St.
Soledad Barrio & Noche FlAmenca FROM SPAIN “Soledad Barrio is a gif t from heaven to f lamenco on ear th.” -El Diario (Argentina)
Production on your movie begins Winter Term.
T H U RS DAY - SAT U R DAY
JAN 12-14
Newmark Theatre 7:30pm
TICKETS:
w w w.whitebird.org nwfilm.org/school
(ZERO ticket fees) Noche - WW - Jan 4.indd 1
SPONSORED BY
Photo by Zarmik Moqtaderi
Willamette Week JANUARY 4, 2012 wweek.com 35 12/29/2011 11:25:23 AM
PERFORMANCE
JAN. 4-10
= 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 At Home at the Zoo
In 1960, Edward Albee burst to the forefront of American theater with the premiere of his first one-act, The Zoo Story. Some 50 years later, Albee has finally completed the play with the addition of a prologue, titled “Homelife.” Profile Theatre produces the combined work, directed by Pat Patton. Theater! Theatre!, 3430 SE Belmont St., 242-0080. 7:30 pm Wednesdays-Saturdays, 2 pm Sundays. Closes Jan. 29. $16-$30.
Hamlet
Northwest Classical Theatre gets rotten in Denmark for the third time since 2003. Shoe Box Theater, 2110 SE 10th Ave., 971-244-3740. 7:30 pm Thursdays-Saturdays, 2 pm Sundays. Closes Jan. 22. $18-$20.
Hunter Gatherers
Minnie’s Boys
Lakewood Theatre continues its “Lost Treasures Collection” series of readings of rarely performed musicals with a Marx Brothers-themed show written by Groucho’s son, Arthur, and the guy who co-wrote Michael Jackson’s “Gone Too Soon.” Lakewood Center for the Arts, 368 S State St., Lake Oswego, 635-3901. 7 pm Friday-Saturday, Jan. 6-7. $18.
West Side Story
The recent Broadway revival is on tour, and will stop for six days at Keller Auditorium thanks to Fred Meyer Broadway Across America. Keller Auditorium, 222 SW Clay St., 241-1802. 7:30 pm Wednesday-Friday, 2 and 7:30 pm Saturday, 1 and 6:30 pm Sunday, Jan. 4-8. $24.50-$86.50.
Antiques Improv Show
The Brody crew improvises histories for whatever aging white elephants you bring in. May I suggest an antique vibrator? Brody Theater, 16 NW Broadway, 224-2227. 7:30 pm Saturdays through Jan. 21. $8-$10. All ages.
ComedySportz
Fast-paced, competitive, family-friendly improv. ComedySportz, 1963 NW Kearney St., 236-8888. 8 pm FridaysSaturdays. $12.
The Weekly Recurring Comedy Night
A comedy showcase featuring Ian Karmel, Anthony Lopez, Rick Taylor, Stephen Wilbur, Molly Fite and Joe Wrabek, hosted by Whitney Streed. Tonic Lounge, 3100 NE Sandy Blvd., 238-0543. 9:30 pm Wednesdays. “Pay what you want,” $3-$5 suggested. 21+.
CLASSICAL Cappella Romana
The Northwest’s preeminent male vocal ensemble made its reputation on performances of Byzantine and other early music, but with its booming basses and experience in Orthodox choral music, the chorus— boosted to 26 voices for this performance—is well suited for its biggest project yet: Rachmaninoff’s 1915 masterpiece, the All-Night Vigil. Even lis-
teners allergic to the backward-gazing Russian’s romanticism will find abundant beauty in 15-piece vespers for large chorus and soloists. That alone would merit a top pick, but this special mega-scale concert also features choral arrangements of other liturgical music by Russian composers including Tchaikovsky, intoned readings and verses, all adding up to a rare and perhaps transcendent experience resembling the all-night cathedral service practiced in the pre-1917 Russian Orthodox church. 8 pm Friday, Jan. 6, at St. Mary’s Cathedral, 1716 NW Davis St.; 2 pm Sunday, Jan. 8, at Trinity Episcopal Cathedral, 147 NW 19th Ave., 236-8202, cappellaromana. org. $27-$41.
Maria Knapik
The acclaimed young Polish-Canadian soprano’s New Year’s concert (accompanied by Michel Brousseau) inaugurates a promising, new classical-music performance series, featuring at least one work by a Polish composer. The series is directed by Portland choreographer Agnieszka Laska, whose works have demonstrated a special sensitivity to classical music. Knapik will sing music by Chopin, Polish Christmas carols and famous arias from Carmen, Tosca and Madame Butterfly. St. Stanislaus Parish, 3916 N Interstate Ave., 799-0387. 7:30 pm Friday, Jan. 6. $15-$20.
Musica Maestrale
Ensembles trained to perform Baroque music on the instruments and in the styles it was composed for used to be rare treats. Now, in Portland at
least, they’re happily becoming almost commonplace—but no less a delight. Several of these players perform in other ensembles and convene here to play (on recorder, viola da gamba, theorbo, Baroque guitar and harpsichord) and sing some of the ravishing, dramatic music by Monteverdi, Dario Castello, Barbara Strozzi and other composers from 17th-century Italy. 7:30 pm Friday, Jan. 6, at Glenn & Viola Walters Cultural Arts Center, 527 E Main St., Hillsboro; 7:30 pm Saturday, Jan. 7, at Community Music Center, 3350 SE Francis St., musicamaestrale. org. $9-$14.
DANCE New Works by Eowyn Emerald
The new year opens, fittingly enough, with new works by BodyVox-2 founding member Eowyn Emerald. Among these are the sultry duet blurred, which BV2 premiered last season; a bluesy solo performed by Claire Olberding to live vocals by Eden Hana; and an ensemble piece dedicated to romance, punctuated by a drum-heavy score. And, while we’re on the subject, the ensemble consists of like-minded contemporary dancers, including show co-producer Rachel Slater, BodyVox alum Jonathan Krebs and others. BodyVox Dance Center, 1201 NW 17th Ave., 229-0627. 6 and 8 pm Saturday, Jan. 7. $10.
For more Performance listings, visit
JOHN PETRINA
Theatre Vertigo returns to the work of Peter Sinn Nachtrieb, whose fishy apocalypse comedy, Boom, the company produced in 2010. This time, Nachtrieb is throwing a dinner party—
one that begins with an animal sacrifice and continues with sex, lies and wrestling. Theater! Theatre!, 3430 SE Belmont St., 306-0870. 8 pm Thursdays-Saturdays. Closes Feb. 4. $15. Thursdays are “pay what you will.”
COMEDY
EOWYN EMERALD AND JOSH MURRAY IN EMERALD’S BLURRED 36
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VISUAL ARTS
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JAN. 4-10
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= WW Pick. Highly recommended. By RICHARD SPEER. TO BE CONSIDERED FOR LISTINGS, submit show information—including opening and closing dates, gallery address and phone number—at least two weeks in advance to: Visual Arts, WW, 2220 NW Quimby St., Portland, OR 97210. Email: rspeer@wweek.com. Fax: 243-1115. Emailed press releases must be backed up by a faxed or printed copy.
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LARRY CWIK’S RICKSHAW, DHAKA, BANGLADESH AT MILEPOST 5
Asia 2011
Inveterate globetrotter Larry Cwik has long brought his colorful travelogues to viewers in Portland and across the country. Artgoers with long memories will remember his 2004 exhibition at Gallery 500, showcasing elegant idylls from Morocco. Cwik has also taken us along on his treks through Mexico and Antarctica. Now, in his first major Portland show since 2008, he shows us sights from his recent journey across Asia. As always, the photographer imbues his imagery with vibrant color and a sense of humanity that distinguishes his work from that of other travel photographers. Jan. 6-Feb. 25. Milepost 5, 900 NE 81st Ave., 729-3223.
Facture: Artists at the Forefront of Painterly Glass
When we think of painting, we think of oils, acrylics and egg tempera. But for a sextet of artists in Bullseye’s new show, painting brings to mind a different medium: glass. Kari Minnick, Martha Pfanschmidt, Ted Sawyer, Jeff Wallin, Abi Spring and Michael Janis all use glass to mimic the liquidity, texturality and other surface effects we normally associate with paint. Using a variety of techniques, they aim to prove glass every bit as worthy as other media to enter the pantheon of painterly media. Of particular interest in this show will be Abi Spring’s minimalist studies and Ted Sawyer’s evocative channelings of Abstract Expressionism. Jan. 4-Feb. 25. Bullseye Gallery, 300 NW 13th Ave., 227-0222, 227-0222.
False Starts, Repairs, and Overhauls
A ramshackle train barrels through a lightning storm in Mark Licari’s False Starts, Repairs, and Overhauls. The ink, graphite and acrylic drawing is so large-scale, so feverish, so hallucinogenic, so downright gonzo, it singlehandedly fills Disjecta’s cavernous main gallery, even though it’s a strictly two-dimensional wall piece. Meanwhile, in the far more intimate Vestibule installation space, Vanessa Calvert’s False Cover continues the artist’s exploration of melty, Jabba the Hut-like sculpture in which distorted furniture and upholstery create an atmosphere of quasi-surrealist grotesquerie. Calvert’s first forays into this
territory were hindered by a crafty, DIY execution, but in recent shows she has beefed up her technique, resulting in first-rate works that are materially complex and formally cohesive. Closes Jan. 7. Disjecta, 8371 N Interstate Ave., 286-9449.
Jeffrey Conley: Winter
Seasonally themed group shows are overdone, but we must grant an exception to Jeffrey Conley’s Winter. A rhapsody of snow-blanketed tree boughs and frosty cliffsides, the exhibition commemorates the season with fondness but without preciousness. Conley has a painter’s eye for composition, framing barren treescapes against moody skies, all lines softened with atmospheric sfumato in an accentuation of winter’s oddly dialectical aesthetic impact: a sympathetic chill in the bones, even as the heart warms. Closes Jan. 14. Charles A. Hartman, 134 NW 8th Ave., 287-3886.
Made in Italy
In the summer of 2011, 14 art students—many from Portland State— traveled to Italy to take in the prestigious Venice Bienniale and create artwork in the town of Macerata. PSU professors Bill LePore and Horia Boboia led the students in their travels and studies. Now the students have distilled their experiences into works of art spanning diverse media and referencing their summer sojourn. William Bruno, Fara Di Noto, Stephanie Drachman, Gabriela Golez, Yibo Lu, Robert McKirdie, Riley Werner and Amanda Wilcox commemorate the spirit of the boot-shaped peninsula that was one of the prime wellsprings of all Western art. Jan. 9-27. MK Gallery , Portland State University Art Building, 2000 SW 5th Ave.
Memory
In past exhibitions, Ellen George and Jerry Mayer have used unconventional materials in their installations in the boxily intimate Nine Gallery. Now they are at it again with Memory, a materially simple but conceptually complex work consisting of a single sheet of paper spanning an entire wall. Working on site, George and Mayer will crumple, rumple, crease and crunch the paper, deciding where and when to create the surface effects. Once a crease is made, it can’t be unmade.
Its record is there, out in the open, irreversible, subject to the viewer’s judgment. Like these collaborators’ previous exhibitions, Memory invites allusions to the irretractibility of the decisions we make in everyday life. Jan. 5-29. Nine Gallery, 122 NW 8th Ave., 503-227-7114.
Recent Contemporary Print Acquisitions
An eerie sun hovers over an exploding shape, enveloped in an atmosphere of sooty acid rain: This is the iconic Burst series of the late Abstract Expressionist Adolph Gottlieb. The artist used simplified imagery to convey imagery that concretized his generation’s fears of atomic cataclysm. Gottlieb’s print, Expanding, is part of a selection of modern and contemporary prints culled from international collections by Robert Kochs, one of the Northwest’s most well-versed experts on prints. The work is at once cautionary, horrifying and haunting. Jan. 5-28. Augen Gallery DeSoto, 716 NW Davis St., 503-5465056.
The Horse
After Froelick’s and Butters’ equinethemed exhibitions this past summer, it’s time for a moratorium on horses on gallery walls. A big whinny of disapproval, then, for Blackfish’s The Horse, a six-monthsbehind-the-curve celebration of a noble animal which has, through no fault of its own, become a hackneyed artistic muse. Curator Steve Tilden adds his own take to this group show featuring 13 additional artists. Tilden contributes cringeworthy sculptures of unicorns, Trojan horses and other variations on the theme in steel, wood, ceramics and old automobile parts. The works appear to hail from a junkyard and would meet a welcome end in similar environs after the show ends. The only works that begin to recontextualize this weary trope are Friderike Heuer’s digital collages, which update the immediacy of cave drawings and pictographs with welcome postmodern pastiche. Closes Jan. 31. Blackfish Gallery, 420 NW 9th Ave., 234-2634.
For more Visual Arts listings, visit
“The greatest American violinist active today.” – BOSTON H ERALD
Joshua Bell
Plays Brahms
Saturday, January 14 | 7:30 pm Sunday, January 15 | 2 pm Monday, January 16 | 8 pm Carlos Kalmar, conductor • Joshua Bell, violin Banchieri: Concerto primo • Brahms: Violin Concerto Handel: Royal Fireworks Music Janácˇek: Sinfonietta
Tickets begin as low as $26
PRESENTED BY
Groups of 10 or more save: 503-416-6380
At Smith Hall in Salem: Fri, Jan 13 | 8 pm
Call: 503-228-1353
Click: OrSymphony.org
Come in: 923 SW Washington | 10 am – 6 pm Mon – Fri
ARLENE SCHNITZER CONCERT HALL Willamette Week JANUARY 4, 2012 wweek.com
37
Willamette Week’s
Alternative Health Issue
books
jan. 4-10
= WW Pick. Highly recommended. By MARIANNE 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.
Bloomsbury Group fans. Powell’s City of Books, 1005 W Burnside St., 228-4651. 7:30 pm. 9. Free.
Tuesday, Jan. 10 Readings @ Milepost 5
Wednesday, Jan. 4 First Wednesdays at Blackbird
Join guest emcee Jean Johnson as he hosts an evening of Intentional Ducati, a group flash-fiction-writing challenge that has nothing to do with the obscure Italian motorcycle brand from which it takes its name. Writers have a list of odd elements that must be incorporated into their pieces, so that when several are shared back-to-back, the writing echoes over and references itself. This week’s readers include cofounders of the genre: Joanna Rose and Stevan Allred. Blackbird Wine Shop, 4323 NE Fremont St., 2821887. 7 pm. Free. 21+.
Storm Large
Listen to Portland’s favorite chanteuse read from her new memoir. Powell’s City of Books, 1005 W Burnside St., 228-4651. 7:30 pm.
Thursday, Jan. 5 Tony Millionaire
Perhaps his generation’s greatest illustrator of seafaring vessels and alcoholic crows, Tony Millionaire is a comic genius and a touch of a recluse. So this opportunity to say hello and pick up a work that showcases another side of the famed Maakies artist—Millionaire’s new book, 500 Portraits, collects his multitudinous work from the pages of The Believer magazine and beyond— is one that should not be passed up. Just don’t give him anything too sharp to sign your book with. If Maakies is any indication, this is one violent son of a bitch. CASEY JARMAN. Floating World Comics, 400 NW Couch St. 6 pm. Free.
Authors in Pubs
Authors in Pubs aims to boost the confidence of writers by bringing them into bars to share their work and receive feedback. With a boozesoaked audience hanging onto their every word (between ordering onion rings and checking the Blazers’ score), what could possibly go wrong? Joe’s Cellar, 1332 NW 21st Ave., 223-8825. 8 pm. Free.
Sunday, Jan. 8 Portland Poetry Slam
The Portland Poetry Slam runs every Sunday at Backspace. Each show opens with an open mic at 8 pm, followed by a featured poet, then the slam, in which eight poets battle it out for $50 and poetic glory. Sign up for the slam and/or open mic at 7:30 pm. RUTH BROWN. Backspace, 115 NW 5th Ave., 248-2900. 7:30 pm. $5 suggested donation. All ages.
The Studio Series: Stafford in Translation
The William Stafford birthday celebrations are kicking off early this month, as the Studio Series hosts “Stafford in Translation.” Translations of Stafford’s work will be read in Spanish and Norwegian, and Stafford archivist Paul Merchant will discuss Stafford’s work as a translator of Spanish. For this month’s open-mic portion, guests are invited to share a Stafford poem or anecdote. Stonehenge Studios, 3508 SW Corbett Ave., 224-3640. 7 pm. Free. All ages.
Monday, Jan. 9
Publishes on January 11, 2012
Space Reservation Deadline - Thursday January 5 at 4pm 38
Willamette Week JANUARY 4, 2012 wweek.com
Storytime for Grown-ups
This month’s “Storytime for Grownups” features stories of love gone
wrong, including pieces from O. Henry and Italo Calvino (the latter features a love triangle among fish). Longtime host David Loftus, who has read stories on OPB and at Powell’s, will lend his theatrical voice to the stories. Grendel’s Coffee House, 729 E Burnside St., 595-9550. 7:30 pm. Free. All ages.
Alexis Smith
Alexis Smith’s debut novel, Glaciers, explores history, memory and place through the thrift-store finds of a single, twentysomething girl named Isabel. Published locally by Tin House, this is a must-read for
The artistic community at Milepost 5 invites the public to join its “Second Tuesday” reading series at Eat Art Theater, the cafe and performance venue in the bowels of the collective. Featured readers share their poetry and prose, and then open the mic to the crowd. This month is Jennifer Lesh and David Cook, both former Pushcart Prize nominees and founding members of local writing group the Guttery. Eat Art Theater, 850 NE 81st Ave., 548-4096. 7:30 pm. Free.
For more Words listings, visit
review
glaciers Book-loving, twentysomething thrift-store shoppers will find local author Alexis Smith’s Glaciers at home in their hands. Smith’s debut novel’s main character, Isabel, is the epitome of the Portland stereotype: a cute, introspective young woman who works with damaged books at the city library and shops almost entirely at vintage stores. That setup has the potential to be disastrous, a repetition of overexposed tropes. By Memories, like corner digging beneath the surface, thrift-store finds. however, Smith explores themes much larger than our city’s affection for all things plaid and used. Much of the story is told through Isabel’s unfolding descriptions of memories and moments in reverie. The plot moves linearly through a day in Isabel’s life of working in her basement office at the library, strolling downtown streets, daydreaming of distant places, and lusting after her co-worker, Spoke (yes, the nickname is a bicycle reference). But tucked between the chapters of the present day are stories detailing Isabel’s childhood—discovering her first thrift store when she was 4, watching the calving glaciers while growing up in Alaska, and moving to Portland after her parents divorced. Smith weaves past and present to bring significance to the small details of a day by reflecting on an entire life. It turns out Isabel’s love for cast-off items isn’t an attempt at being the hippest hipster with the ultimate House of Vintage find. Instead, it’s a love for imagining the buried history in objects that were once new. She envisions the women who filled the spaces between fabrics of her used dresses and the people who wrote notes on the back of old postcards. Believing that nothing in life will ever go unchanged, she’s drawn to the remnants of others as a form of preserving human experiences. Glaciers is composed of simple, organic sentences. With sparse writing and ample white space on the pages, the words gain importance and pass quickly like a book of poetry, leaving an unstated longing for permanence in an ephemeral world. Though some of the Portland references feel excessive, mostly because we see them every day—flannel shirts, bicyclists with one folded pant leg, black coffee in Mason jars, thick-rimmed spectacles, vegetarian restaurants—Smith’s toggling between fleeting moments and lasting belongings resonates through a quiet and careful balance. Isabel’s daily encounters highlight the power of an object to transport you to a lifetime of memories. EMILEE BOOHER. GO: Alexis Smith appears at Powell’s City of Books, 1005 W Burnside St., 228-4651. 7:30 pm Monday, Jan. 9. Free.
JAN. 4-10 TV REVIEW
= WW Pick. Highly recommended.
DA N I E L L E M AT H I A S / I F C
MOVIES
Editor: AARON MESH. TO BE CONSIDERED FOR LISTINGS, send screening information at least two weeks in advance to Screen, WW, 2220 NW Quimby St., Portland, OR 97210. Email: amesh@wweek.com. Fax: 243-1115.
NEW
16 mm Underground Samplings
[ONE NIGHT ONLY, REVIVAL] Portland curator Ian Sundahl’s collection of reels includes George Kuchar’s Hold Me While I’m Naked. Clinton Street Theater. 7 and 9 pm Saturday, Jan. 7.
The Adventures of Tintin 82 There has been some debate around
the WW office whether American kids even recognize Belgian comics legend Hergé’s teen journalist protagonist, Tintin, when they see him. It’s probably a moot point. Spielberg’s CGI Tintin film, like Christopher Nolan’s Batman pictures or Peter Jackson’s Lord of the Rings, will soon define Hergé’s cast of iconic characters for a generation. That turns out not to be such a bad thing. While Spielberg’s The Adventures of Tintin is a tad higher-octane than its comic-book progenitors, the director clearly has a soft spot for the books, which he honors in the spectacular opening credits and the film’s opening scene. In the film’s early scenes, even Tintin’s lovable dog, Snowy, seems to have gone Hollywood. But as we prepare ourselves for another action movie by the numbers, something funny happens. Something really funny. His name is Captain Haddock. Played by Andy Serkis, Haddock is the film’s true lead, and he is absolutely brilliant. As soon as he is introduced, we start to care. It may be classic Spielbergian spectacle more than Hergé understatement, but damn it feels good, whether you’re familiar with Tintin or not. PG. CASEY JARMAN. Cedar Hills, Clackamas, Cornelius, Sandy, Oak Grove. Visit wweek.com for additional locations.
Alvin and the Chipmunks: Chipwrecked! Dancing rodents on an island. WW did not brave the horror. G. Cedar Hills, Clackamas, Cornelius, Sandy, Oak Grove. Visit wweek.com for additional locations.
The Artist
64 Repressed memories drive The Artist. It’s a silent-film homage to silent films—or, rather, the fond, slightly condescending recollection of silent films. Already the Oscar front-runner, the comedy from Michel Hazanavicius (who directed the two OSS 177 spoofs) is yet another take on A Star Is Born, with a slam-bang energetic Jean Dujardin trading places in the spotlight with flapper Bérénice Bejo at the cusp of talkies. The period is apt, since most of the movie’s charms are technical gimmicks: the interstitial cards, the tight aspect ratio on glamorous black-and-white marquees, and the sneaky intrusion of ambient noises into the soundtrack. Days after seeing The Artist, I find it hard to place any individual moments that resonated (aside from the doggie heroism), and I suspect that, title aside, the movie feels a complacent cynicism toward art. Its pitfall is much like that of its holiday companions: It can’t resist showing off, and in those moments it feels like so much artificial product. AARON MESH. Fox Tower.
NEW
B-Movie Bingo: Bulletproof
[ONE NIGHT ONLY, BINGO REVIVAL] Somehow, it took Wolf Choir’s schlockcinema treasure hunt a year to get to Gary Busey. But it got there. And it chose the movie where he calls people “Butthorn.” Good work, B-Movie Bingo! Hollywood Theatre. 7:30 pm Tuesday, Jan. 10.
A Dangerous Method
81 So...tell me about your father. The
new David Cronenberg film about the salad days of psychoanalysis, A Dangerous Method isn’t a horror movie until you consider what isn’t shown. There are terrible memories of childhood beatings, recounted by Keira Knightley as Carl Jung’s patientturned-protégée Sabina Spielrein, as the specter of European genocide looms over the talking cures. The movie’s first 30 minutes take
place in nearly unbroken sunshine, in the setting of Swiss lake holidays, punctuated by screaming. (Some of Knightley’s fits push the film toward a Gothic melodrama that is embarrassing in its own way; the picture is better when it’s more repressed.) What makes Method the most engrossing of the season’s releases is how the characters are grappling with bestial parts of themselves through ornate words— and often justifying savage betrayals or king-of-the-jungle pride the same way. “All those provocative discussions helped crystallize a lot of my thinking,” Michael Fassbender’s Jung tells Viggo Mortensen’s Freud. And while the movie includes lots of sex and spanking, it’s chiefly about the thrills, arousals and perils of conversation. R. AARON MESH. Fox Tower.
The Darkest Hour
Something from space tries to turn Emile Hirsch into confetti. Not screened for critics. PG-13. Cedar Hills, Clackamas, Cornelius, Forest, Sandy, Oak Grove. Visit wweek.com for additional locations.
The Descendants
72 George Clooney, who may be the
closest thing we now have to a Cary Grant, seems of late to be reversing Grant’s career trajectory. While Grant went from pratfalling acrobat to ironically self-aware sex symbol, Clooney has recently made room in his usual Teflon-suave scoundrel persona for roles that place him more as a bruised emotional clown. In Alexander Payne’s The Descendants, Clooney puts in a nuanced, wincing performance as the Dickensianly named Matt King, a workaholic real-estate lawyer and haole heir of Hawaiian royalty, who finds himself suddenly at sea when his wife of many years is knocked into a terminal coma by a high-speed motorboating accident. Not only does he not know how to relate to his two daughters—stock indie-quirky 10-year-old Scottie (Amara Miller) and acid-tongued boardingschool teen Alex (Shailene Woodley)— but he is left to discover that his lonely, stay-at-home wife had fallen in love with another man behind his back. Clooney makes the most of his underwritten role—it is a comedic wonder to watch him lope awkwardly in flip-flops, or register his polite, pride-sucking pain over and over—but it is difficult nonetheless for the viewer to invest emotionally in the film, despite its easy charisma. R. MATTHEW KORFHAGE. Cedar Hills, Clackamas. Visit wweek. com for additional locations. NEW
The Devil Inside
Another exorcism movie not screened for critics. This one’s in Italy. R. Cedar Hills, Clackamas, Cornelius, Pioneer Place, Lloyd Mall. Visit wweek.com for additional locations.
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
CONT. on page 40
31KNOTS: Jeff Goldblum displays the wares at his artisanal knot shop to Fred Armisen and Carrie Brownstein.
SELF-SERIOUSLY FUNNY PORTLANDIA BRINGS BACK PICKLING AND OTHER HOBBIES. BY AAR ON MESH
amesh@wweek.com
The second episode of the second season of Portlandia revolves around a duo, played by Carrie Brownstein and Fred Armisen, engaged in the winter sport favored by most Portland couples: a marathon session of watching cable-television episodes, in this case Battlestar Galatica. On the fifth day, surrounded by beer glasses and Hot Lips boxes, Brownstein gets a phone call. “So,” she flatly informs Armisen, “I lost my job.” The calamity is not startling: Hobbies in Portlandia are constantly escalating into crises. The surprise is that she has a job. Portlandia’s new season features the Brownstein/Armisen characters—some new ones, most recurring from the first run—in many settings. They drink cocktails in Central, they go tubing on the Sandy River, and they attempt a wedding in Cathedral Park. What they never do is work. With the exception of two newscasters covering an Allergy Pride Parade, the only visibly employed protagonists are Toni and Candace, the feminist bookstore owners who do everything in their power to avoid moving retail. (After annoying an air-conditioning repairman into accepting their tip jar as payment, they consider alternative revenue models. “I guess we could try to sell some books,” Toni concedes.) In an era when the best TV comedies—The Office, Party Down, Parks and Recreation—have been centered on the workplace, Portlandia reaches back for the dream of the ’90s as represented by Seinfeld and Friends. It’s set in a lifestyle destination where people take their leisure gravely serious. Brownstein has insisted that Portlandia isn’t a satire; the first three episodes of a more carefully balanced Season 2 support her claim. It’s a horror show about happiness. The residents get too much of what they want, and obsess over the proper and moral forms of gratification. When the series is in top form, they hone privilege to an art: Brownstein specializes in the screaming tantrum, while Armisen identifies the many flavors of satisfied milquetoast. (At the wedding, he thanks a friend
who “taught me to listen to music...the right way.”) Or sometimes they just indulge. The crafting twosome Bryce Shivers and Lisa Eversman, who coined “Put a bird on it!,” have a new catchphrase, “We can pickle that!” As they toss increasingly unpleasant objects into jars of brine, Lisa maintains a beaming smile while belching up a pickled shoe. The entire show tends to inspire a roil of queasiness. Season 1’s propensity for bad sex has thankfully not returned, but director Jonathan Krisel still ratchets the mock-heroic tension into something unrecognizable and cacophonous. This can be very funny, as when uptight bobos Kath and David bring their rules to the Sandy, and the holiday culminates in a rafting accident out of The River Wild, but with absolutely no stakes. More often, however, skits end in some frantic battle or death. Heads roll, bodies shatter. When play is this much misery, it is tempting to turn off the television and go to work. But if the payoffs are often bilious, the setups are sharp. Portland should be smug that its flagship TV show is set in a paradise that requires finding trouble. And Portlandia’s vision of the world outside city limits is far more hellish. In the best
IT’S A HORROR SHOW ABOUT HAPPINESS. bit I’ve seen this season, Brownstein and Armisen leave Oregon briefly in the first episode, on a quest to retrieve their favorite cocktail mixologist (played by Andy Samberg). They are briefly marooned in an L.A. theme restaurant chain, Around the World in 80 Plates, that becomes an infernal mirror of the Portland farm-to-table cafe where the chickens have personal-history files. “Would you like to Lobsterate your meal?” asks the server. “We just put a lobster on top of the meal. It’s an extra $31.99.” Down here, people can’t even do excess the right way. Fortunately, our heroes escape and find their bartender. They persuade him to quit his job. 70 SEE IT: Portlandia premieres on IFC at 10 pm Friday, Jan. 6. Free screenings at the Hollywood Theatre at 10 pm and Mission Theater at 7 and 10 pm, with variety show “The Friday Night TV Party & Theater Club Neighborhood Association” in between.
Willamette Week JANUARY 4, 2012 wweek.com
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JAN. 4-10
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. Hollywood Theatre, Laurelhurst, Academy. NEW
Full Metal Jacket
[THREE NIGHTS ONLY, REVIVAL] 80 Asked in 1987’s Full Metal Jacket why he’s in Vietnam, Matthew Modine explains, “I wanted to meet interesting and stimulating people of an ancient culture...and kill them.” Which is something akin to what Stanley Kubrick was doing in the 1980s: voyaging into different genres and subduing them to match his increasingly formal aesthetic. He already made his transcendent antiwar picture 30 years prior with Paths of Glory; by Full Metal Jacket, he’s mostly pro-himself. So he depends on hard angles, forward tracking shots (he follows a screaming drill sergeant at the same constant pace he used in The Shining for a boy on a tricycle) and—most famously—the maniacal grin of a madman, forehead tilted down to increase the chilling effect. When Lee Ermey sees that smile on Vincent D’Onofrio, he wants to know what his major malfunction is. We already know. He’s got a case of the Kubricks. R. AARON MESH. 5th Avenue Cinema. 7 and 9 pm Friday-Saturday, Jan. 6-7. 3 pm, Sunday, Jan. 8. NEW
Garbo: The Spy
A documentary about World War II double agent Juan Pujol Garcia. Living Room Theaters.
The Girl With the Dragon Tattoo
58 A movie all too proud of its refurbished shock value. David Fincher’s take on Stieg Larsson’s froth of woman-killing and woman’s revenge is less repellent than the flat nose-rubbing of the Swedish version, maybe because Fincher mostly gets his jollies from digital showboating. The movie looks like somebody found the pornography stash of Steve Jobs; the snow and the torture chamber both look like they were designed by Apple. The enterprise has a necrotic vibe that is distancing, and in some shots, the characters’ skin is nearly purple. Fincher’s best jokes are all sick ones: A killer carves his victims to Enya, the opening credits are a Bond montage caked in a spew of power cords and crude oil, and he gets us awfully attached to a housecat before it’s dismembered. The only human element is Rooney Mara. As the hacker detective Lisbeth Salander, she benefits from lucky miscasting: Her big, emotive eyes belie the heroine’s traumatized unfeeling. R. AARON MESH. Cedar Hills, Clackamas, Cornelius, Oak Grove, Sandy. Visit wweek.com for additional showtimes.
NEW
The Grey Fox
[ONE NIGHT ONLY, REVIVAL] The NW Film Center continues to celebrate its 40th anniversary with pay-what-youwill screenings. This time it’s Richard Farnsworth as a train robber. NW Film Center’s Whitsell Auditorium. 7 pm Monday, Jan. 9.
The Hedgehog
80 The morbid yet sentimental cult
classic Harold and Maude lives on in the tangled blond hair of an 11-yearold Parisian girl named Paloma. The Hedgehog, a French coming-of-age drama, opens with the clichéd (and videotaped) monologue of this young, wealthy and intelligent child who says she’d rather die than succumb to the adult conformity that surrounds her. Paloma (Garance Le Guillermic) plans to kill herself on her 12th birthday to avoid the fate of “the fishbowl, where adults beat against the glass like flies.”
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But as the 165 days leading up to her birthday begin to dwindle, Paloma becomes an observer to more than the superficiality of her Champagneguzzling mother and self-absorbed sister. Her self-made documentary travels out of the apartment, down the stairs, and into the beautifully complex inner lives of her janitor (Josiane Balasko) and new neighbor (Togo Igawa). Through short yet powerful conversations, the unlikely trio learn to give up their hiding places and join a world that is full of humor and hope. As the film progresses, The Hedgehog transitions from a trite account of the weight of privilege to an unexpectedly thoughtful and gently provocative narrative of the process of learning how to love. SHAE HEALEY. Living Room Theaters.
Hugo
80 Martin Scorsese’s decision to
helm the 3-D adaptation of Brian Selznick’s Caldecott-winning novel, The Invention of Hugo Cabret, seemed an odd and possibly addled one at first blush. But look at Scorsese’s filmography sideways and this august director’s late-career digression into family-friendliness makes a strange sort of sense, for beneath the blood and unpardonable French of films like Goodfellas and Casino, one finds a freewheeling and wide-eyed reverence for the antic, the cartoonish, the downright silly. (Two words: Joe Pesci.) Set in a vivid version of 1930s Paris so edibly adorable it might as well have been born in a crocodile tear sliding down Amélie’s pristine cheek, Hugo drapes its bittersweet study of broken dreams over a plot of fairy-story simplicity. The titular pipsqueak (played by extraterrestrially cute Asa Butterfield) is an orphan living inside the rather capacious walls of a sprawling train station patrolled by a guttersnipe-hunting station guard (Sacha Baron Cohen) and enlivened by a Tati-esque flow of murmuring humanity. Scorsese pulls off a few wonderful tricks with Hugo. It is a film populated by uncanny visions— dreams, films, dummies, trompe l’oeil expanses—and resonant with wonder, dolor and regret. The message: Life, though brief, admits of magic. The messenger: a master magician still. PG. CHRIS STAMM. Cedar Hills, Clackamas, Cornelius, Oak Grove, Living Room Theaters. Visit wweek.com for additional showtimes.
The Ides of March 83 Probably a bit hysterical in its
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 anti-Bus Project. That it corrodes so effectively is thanks to Clooney communicating the romance of the campaign trail, which is basically summer camp for drizzle-loving workaholic wonks. R. AARON MESH. Laurelhurst, Academy.
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 aimless-
Willamette Week JANUARY 4, 2012 wweek.com
ness), 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. Living Room Theaters.
UNIVERSAL PICTURES
MOVIES
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. Laurelhurst.
Melancholia
90 Lars von Trier’s restless formal
experimentation makes him difficult to pin down, but the Dane responsible for Dancer in the Dark and Dogville tends toward an obsession with wretchedness. The results are often insane (the fate of Willem Dafoe’s poor penis in Antichrist), sometimes painfully funny (the absurd theater of The Idiots) and frequently just plain stupid (almost everything else he’s touched). With Melancholia, von Trier has finally struck on a subject and a story perfectly suited to his fixation on the epically fucked; he has, at last, made a masterpiece. Von Trier begins at the end, with surreal eschatological visions rendered in extremely slow motion: Birds fall from the sky, and a woman sinks into a golf course’s pristine lawn as two planets, one of them our own, move in for a potentially cataclysmic meeting. A planet called Melancholia hurtling toward Earth at 60,000 mph while a Wagner plaint plays the entire species off and Kirsten Dunst scowls? Ridiculous, I know. But listen: There really are soul-searing kinds of sadness that can stretch minds to cruel and impossible limits, and perhaps such states can only be comprehended with the help of something as absurd and terrifying as a new blue planet rising on Earth’s horizon. What is certain is that von Trier brings us perilously close to understanding the horrible shape of utter disconsolation. It hurts to watch. It should. R. CHRIS STAMM. Hollywood Theatre.
Midnight in Paris
77 Owen Wilson, convincingly step-
ping into the “Woody Allen role,” stars as Gil Pender, a screenwriter and selfdescribed “Hollywood hack” who thinks of himself as a novelist born in the wrong era. On vacation in Paris, he wanders into the streets one night and tipsily stumbles upon a rip in the space-time continuum that transports him to the 1920s to party with his literary idols: F. Scott and Zelda Fitzgerald, Gertrude Stein and Ernest Hemingway. It’s a fairy tale for lit majors, and Allen’s best work in years. That said, calling Paris a true return to form for Allen after the past decade’s mixed bag is an exaggeration. It’s more of a charming trifle. PG-13. MATTHEW
TREASURES FROM THE UCLA FILM & TELEVISION ARCHIVE: THE GOOSE WOMAN SINGER. Academy, Laurelhurst.
Mission: Impossible— Ghost Protocol
83 In only three magnificent films— The Iron Giant and Pixar smashes The Incredibles and Ratatouille—director Brad Bird has honed an eye: one of uncanny imagination, one that envisions a chaotic urban battlefield and a small kitchen as scenes of similar peril. That’s essential to a film in which crawling through a ventilation shaft and dangling from the world’s tallest building are equally dangerous. Luckily, Bird’s eye for the real world more than matches his animated ingenuity. Mission: Impossible—Ghost Protocol finds Tom Cruise’s generic super-agent Ethan Hunt sprinting from set piece to set piece to stop a madman from blowing up the world. That’s it. No talky exposition. Just kinetic action (much of it shot in glorious IMAX), gadgetry of the Wile E. Coyote variety and the requisite goofy disguises. Ghost Protocol starts with a Russian prison break and immediately Cruise, comic relief Simon Pegg, vixen Paula Patton and heir apparent Jeremy Renner are framed for blowing up the Kremlin (a nice nod to the series’ Cold War origins) and forced to kick ass and clear their names. Bird fluidly guides the mayhem with the eye of an animator and the humor of a child unleashed on a new playground. With Ghost Protocol he accomplishes the unlikely by taking a stagnant franchise and molding the best action film of the year. PG-13. AP KRYZA. Cedar Hills, Clackamas, Cornelius, Oak Grove, Sandy. Visit wweek.com for additional showtimes.
Moneyball
90 Mercifully short on baroque re-
enactments of pivotal match-ups and pandering locker-room banter, Bennett 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 Billy Beane (Brad Pitt), 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 has-beens and never-weres. CHRIS STAMM. Academy, Laurelhurst.
The Muppets
85 Every Muppet movie—hell, even
the ’70s television show—is about pining for a bygone era, whether it be that of the vaudevillian variety show that The Muppet Show romanticized so well, or the caper flick, or even Treasure Island. This reboot, coordinated by Jason Segel, asks: Can’t we just be happy with an old-fashioned, MGM-style musical number (with puppets)? The tear stains on my jacket are proof I’m not too hard to please. Some of my favorite moments were the original songs by Flight of the Conchords’ Bret McKenzie. Conchords fans will notice parallels to his other stuff, but these compositions are a delight. (The only misstep is when Chris Cooper’s villain goes all rappin’ granny on us.) Amy Adams is upstaged by the new Muppet, Walter, who is 2
feet tall and her rival for Segel’s companionship. Walter’s a perfect addition to the gang, serving as an avatar for all us grown children who still love the plush. I have quibbles: In a movie that had an a cappella “Smells Like Teen Spirit” and chickens clucking Cee-Lo’s “Fuck You,” why were “The Rainbow Connection” and “Mahna Mahna” the only songs from the older movies included? But this film made me feel the same joy that The Muppet Movie stirs decades later. That’s pretty impressive. PG. AP KRYZA. Cedar Hills, Forest, 99 Indoor Twin. Visit wweek. com for additional showtimes.
My Week With Marilyn
44 Michelle Williams steps off the Oregon Trail to play Marilyn Monroe, and gets about halfway there. She has the look of Marilyn—her features are like a portrait of Tinker Bell carved from a ripe peach—and nails the calculated-naif pout of the public persona, but she’s never quite convincing as Norma Jeane Baker. Her efforts to seem wounded and confused are always a smidgen too knowing and telegraphed. The surrounding movie looks at Monroe from the least interesting possible angle, that of snooty Anglos. It is a typical Weinstein Company property in the wake of The King’s Speech: light, British and shapeless. (It’s built around a romance with some sappy little gofer played by Eddie Redmayne, but I couldn’t say where the affair begins or ends.) Director Simon Curtis, a BBC vet, might be trying to win a bet over how much of the Empire’s acting talent he can waste. He plows through Julia Ormond, Toby Jones, Emma Watson and Dominic Cooper with terrible editing—uniformly clumsy and groping. Judi Dench holds her ground for a few lines, and Kenneth Branagh sneaks in the movie’s sole fully realized performance as a preening and furious Laurence Olivier. He also delivers the only scene that hints at how Monroe’s charisma lit up the screen, as he watches dailies from The Prince and the Showgirl and quotes The Tempest: “We are such stuff as dreams are made on.” The rest of the movie is the weak, soporific stuff poured out of teapots. R. AARON MESH. Fox Tower.
New Year’s Eve
23 The latest in a tide of seasonal ensemble films that play like Short Cuts or Magnolia for people with strong feelings about annual festivities, New Year’s Eve insists that nothing ennobles the human spirit like partying all night. It is a tenaciously stupid movie, one where Lea Michele gets stuck in an elevator with Ashton Kutcher and berates him about hope and magic until he agrees to make out with her. Still, there are positive things to say. Hilary Swank is required to deliver several speeches that are basically a series of mawkish nouns strung together like refrigerator poetry, and she does not have a seizure or fall down or anything. Zac Efron’s character is supposed to be a callow douchebag, and he does this thing where he talks into his smartphone and shifts it squarely in front of his mouth each time he wants to emphasize a word, which is quite convincingly douchey. Someone hands Josh Duhamel a tiny bichon frisé to hold at
JAN. 4-10
MOVIES UNIVERSAL PICTURES
a dinner party, and he neither drops it nor gets fur on his tuxedo. The girl from Little Miss Sunshine gets to be in another movie. So do Sarah Jessica Parker and Katherine Heigl. (Nice thing about her: There actually are a lot of women in the world who are rigid and needy and inexplicably hostile, and I think she makes them feel better.) Robert De Niro performs a meta-commentary on the trajectory of his career by playing a man who just wants to die as soon as possible. “What’s the difference?” he asks. “Why delay the inevitable?” Which also nicely summarizes New Year’s Eve. PG-13. AARON MESH. Cedar Hills, Clackamas. Visit wweek. com for additional showtimes.
Rid of Me
45 Portland director James Westby’s Rid of Me is targeted very narrowly at a certain audience, and you will know whether you are part of it from the very first scene, in which Storm Large is attacked by a vagina. To be precise, a righteously pissedoff Katie O’Grady reaches into her jeans and smears a daub of menstrual blood across the diva’s cheek. If you find this sequence amusingly brazen, and gain double enjoyment as you remember that Westby directed the music video for Large’s pussy-power ode “8 Miles Wide,” you are that audience. If you aren’t especially charmed by the taboo-busting aggression (or, worse, if you’re wondering, “Who is Storm Large?”), this movie does not want to play with you. Rid of Me makes cliques its subject, and becomes a demonstration of the exclusionary tendencies it condemns. O’Grady plays the mortifyingly deferential Meris Canfield, who moves with hubby Mitch (John Keyser) from California to his childhood hamlet of Laurelwood, Ore. Meris is reviled by her husband’s band of bros and their harpy wives, and she’s haunted by the horrormovie specter of his ex-flame Briann (Large). I admired Westby’s previous pictures, Film Geek and The Auteur, where he celebrated a similar outsider outrageousness, and I don’t mind that Rid of Me is telling a creation myth of Portland’s alterna-culture. It’s Fugitives and Refugees: The Movie. This isn’t a bad idea, but the execution is slapdash and not very attuned to actual human behavior. It knows who it wants to be for, but not what it wants to be. AARON MESH. Living Room Theaters.
Shame
86 “I find you disgusting.” These
are the first substantive words spoken in director Steve McQueen’s sex-negative new film, aptly titled Shame. They are a misdirection, delivered after a crafty cut to a luxe office meeting, but they are spoken immediately after the film’s subject—Brandon Sullivan, played by a Bale-intense Michael Fassbender— has bought himself a high-end prostitute. And thus, the main focus and dichotomy in the movie: a constant swing between Sullivan’s clinically posh New York life and his lonely, seamy, uncontrolled sexual obsessions. In early scenes, his life amid stylized, minimalist spaces is a hyperaestheticized odyssey through the pages of Dwell magazine or unhappyhipsters.com, albeit one with lots of full frontal nudity. And it all proceeds terribly slowly. As in Hunger, McQueen’s first movie, we are made to live through onscreen extremity in all its sometimes tedious detail. But the ugliness remains so lovely that we are not only at its mercy but wholly compelled by it. Fassbender’s Sullivan is a fascinating creature: He is a grotesque sex addict whom women constantly want to sleep with. He is aloof, self-contained, upfront with his desires and enormously charismatic as a failed human specimen, even as he gets beaten up outside a bar and ends up blankly orgasming in a gay sex club, even as he meticulously cleans a toilet before masturbating into it. His visiting sister (Carey Mulligan), on the other hand, doesn’t know at all what she wants, hasn’t succeeded at anything and is always at loose ends, but it is she
THE GREY FOX who provides the scene at the true heart of this very controlled, near tour-de-force by director McQueen. NC-17. MATTHEW KORFHAGE. Cinema 21.
Sherlock Holmes: A Game of Shadows
42 While watching Guy Ritchie’s new entry in the Sherlock Holmes franchise, it was difficult not to think of Hairspray. Not the seminal camp John Waters feature, but the slapstick John Travolta version based on the subpar Broadway musical that was, in turn, loosely adapted from the original. In a similar unholy game of telephone, the two characters in Ritchie’s Sherlock have nothing to do with Conan Doyle or Basil Rathbone but rather are rooted in Drs. Wilson and House (who himself lives in the Holmesian apartment 221B) from Fox’s House, M.D. So Holmes (Robert Downey, Jr.) and Watson (Jude Law) are here polymathic Victorian fratboys, prone to pranking, with earnest do-gooder Watson terminally at the mercy of his sociopathic-with-a-heart-ofgold, game-obsessed friend. This is not a Holmes who first discovers a mystery and then sets about solving it with uncanny precision; Downey is a dimly wisecracking blunderbuss whose main talents seem to be intellectual bullying, all-around asskicking and the art of disguising himself as women or furniture. And so we travel from action-packed setpiece to action-packed setpiece along a distressingly loose causal chain, and with any luck we don’t care much why. But each scene carries essentially zero momentum or tension from the last and the plotlines come from outer space, leaving us essentially indifferent to who gets shot or who wins or anything else. And so despite all the steampunky whizzbangery and drolly narrated action, the movie’s duller than Christmas tofurky and just as indigestible. PG-13. MATTHEW KORFHAGE. Cedar Hills, Clackamas, Cornelius, Oak Grove, Sandy. Visit wweek.com for additional showtimes.
NEW
Silver State Sinners
[THREE NIGHTS ONLY] Portland curator Ian Sundahl shows off his collection of vintage Vegas footage that didn’t stay in Vegas. Clinton Street Theater. 7 and 9 pm Wednesday-Friday, Jan. 4-6.
The Sitter
62 Probably about two dozen people (all of them film critics) are going to notice that David Gordon Green directed this scattershot homage to Adventures in Babysitting with Jonah Hill as Elisabeth Shue. Still, we can take a measure of heart in seeing evidence that, after Pineapple Express and Your Highness, Green remains interested in the tropes of vulgar comedy only so far as he can subvert or ignore them. This means that, as a comedy, The Sitter barely bothers to show up: Central plot points and character arcs are simply ignored, giving the farce an anarchic sloppiness that borders on incoherence. (Why do the fractious, cursing brats in Hill’s charge agree to get in a minivan with him for a New
York City coke deal? Who knows? Who cares?) But there’s inexplicable strangeness here—especially in Sam Rockwell’s dancing, lonely drug dealer—and the warm multicultural humanism of George Washington is pitted against the standard gayand race-baiting of mainstream Hollywood, so that Hill builds easy allegiances with African-American gangbangers and gives genuine affirmation to a closeted tween. (The boy, who gobbles anti-anxiety pills and dresses like he wants to be Richie Tenenbaum, is well played by Portland’s own Max Records, from Where the Wild Things Are.) The Sitter is a piece of disposable junk ennobled by half a dozen emotionally honest vignettes—and I’m not sure I can think of another comedy this year that had more than three emotionally honest vignettes, so keep the faith. R. AARON MESH. Clackamas. Visit wweek.com for additional showtimes.
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 staircase, the femme fatale—and splices them into unexpected shapes that turn out to be exactly what you wanted. R. AARON MESH. Laurelhurst.
Take Shelter
91 A trenchant, contemporary
American horror story, which means it is not about ghosts or demons but waiting for the other shoe to drop. Take Shelter is not a political picture; it takes the national temperature, and finds delirious fever. More than three decades after the hopeful sky-watching in Close Encounters of the Third Kind, here is a movie that feels like Richard Dreyfuss’ mashed-potato-sculpting scene distended to a two-hour daymare. This time, what the hero sees is looming thunderheads. He responds by expanding his backyard
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JAN. 4-10
tornado shelter into an underground ark. Such material could play as condescending or grotesque (Evan Almighty starring Glenn Beck!) but is instead sensitively shaped by director Jeff Nichols, who directed the under-appreciated Shotgun Stories and is working with a crew of longtime David Gordon Green confederates, together realizing the adult visions their mentor cannot or will not explore on his Apatow digression. So Take Shelter is horror in the costume of regional indie cinema, or maybe vice versa. Aptly, it stars Michael Shannon, a tender performer with the face of a maniac. R. AARON MESH. Laurelhurst.
Tinker Tailor Soldier Spy
23 British author John le Carré answered James Bond fantasy with his realistic sense of class politics and moral disillusionment in a faded empire. His 1974 novel, Tinker Tailor Soldier Spy, filled six hours when the BBC adapted it for television. In this version, a mere two hours are supposed to convey agent George Smiley’s search for a Soviet mole among his colleagues at MI6, or “the Circus.” Because the English actors look distinctive, you can almost follow the plot, beginning with Mark Strong as a fellow agent who gets ambushed in Budapest. Before we know anything about the guy, we’re expected to fear for his life because the film’s director, Tomas Alfredson (Let the Right One In), turns up the earthquake sound effects. Like many young boys, Alfredson seems enamored with the movies of David Fincher, in which pale, paranoid men discover horrible corpses, and all the politics and emotions of adult life have conveniently taken place off camera. This English spy version is especially disingenuous. Again, like a young boy, we’re supposed to be impressed by the men’s cool emotional repression, but also impressed with ourselves for leading happier lives than theirs. Their personal history together is summarized in flashback rather than being explored in drama and decors we can really feel. R. ALISTAIR ROCKOFF. Cedar Hills, Clackamas. Visit wweek.com for additional showtimes.
Treasures From the UCLA Film & Television Archive NEW
80 [FOUR NIGHTS ONLY, REVIVAL] The NW Film Center’s annual raid of UCLA’s celluloid drawers becomes even more crucial as the loss of film accelerates. Here is one of the few occasions to see 35 mm films you haven’t seen before. The most celebrated reel here is Altman’s Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean (7 pm Friday and 2 pm Sunday, Jan. 6 & 8), and the most promising is the Dick Powell noir Cry Danger (7 pm Saturday, Jan. 7). The one I actually watched is The Goose Woman (4:30 pm Sunday, Jan. 8), a 1925 melodrama starring a beautifully pathetic Louise Dresser as a boozing goose farmer who moves inexorably toward betraying her snobby son (Jack Pickford) to the gallows. The picture is mostly a curiosity: It was based on the celebrated Hall-Mills murder case, which hinged on the testimony of a witness called (really) “the pig woman,” and the film was released before the New Jersey trial even started. But Dresser’s performance is a triumph of authentic artifice, like a Platonic form of Motherhood at its most shamelessly sentimental. AARON MESH. NW Film Center’s Whitsell Auditorium. Friday-Sunday and Tuesday, Jan. 6-8 & 10.
Thursday January 12th at 7pm Doors open at 6! Come early for beers and and awesome raffle!
Keen Garage 926 NW 13th Ave. Suite 160 • Portland 42
Willamette Week JANUARY 4, 2012 wweek.com
The Twilight Saga: Breaking Dawn Part 1
29 The Twilight saga is finally getting to the good stuff. And by good stuff I mean the vampire batshit crazy stuff: rough girl-onvamp sex, demon babies, blood health tonics and wolf mind links. And yet, with all this delightfully bizarre fodder, much of the fourth movie (otherwise known as “the one where Edward and Bella get married, finally do it and Bella gets impregnated with his vampire
THE DEVIL INSIDE baby”) is about as fun as a pelvic exam. All three leads—scowl-faced Kristen Stewart, sad alabaster puppet Robert Pattinson and shirtshredder Taylor Lautner—act as if they were expecting another press junket and wandered on to a movie set by mistake. And yet, it’s not all terrible. Or, to be clear, the last third of the film is so fabulously awkward and silly as to approach camp-classic status. Forced to endure an insatiable fetus draining her body from the inside out, Bella looks truly chilling. As her due date nears, her body is reduced to a skull attached to what looks like a wind chime made of gnawed chicken bones. It’s the only unsettling image the movie franchise has ever produced. Even better, the much anticipated birthing scene (a fan favorite during which, true to the book, Edward performs Bella’s emergency C-section with his teeth) is a masterpiece of the histrionic and the ridiculous that ends with both Team Edward and Team Jacob artfully covered with smears of blood and womb goo. It’s the kind of scene that makes you want to invent a drinking game and watch it a half-dozen times on repeat while you laugh uncontrollably and squirt whiskey out of your nose. PG-13. KELLY CLARKE. Cedar Hills, Clackamas, 99 Indoor Twin. Visit wweek.com for additional showtimes. NEW Unbreakable: The Western States 100
[FOUR NIGHTS ONLY] A documentary follows four runners on the titular 100-mile race. Clinton Street Theater. 7 and 9 pm SundayWednesday, Jan. 8-11. NEW
Utamaro and His Five Women
[ONE DAY ONLY, REVIVAL] Kenji Mizoguchi’s drama about the master woodcutter. NW Film Center’s Whitsell Auditorium. 2 pm Saturday, Jan. 7.
War Horse
48 Steven Spielberg has directed a twin bill of holiday films, but the ostensibly more mature entertainment, War Horse, has the exact same plot as a children’s film: 1945’s Son of Lassie. In both pictures, a British Isles pet—substitute plow horse for collie—is dropped behind German enemy lines, and has encounters with innocents who promptly die. The echoes may be accidental, and are partly the responsibility of War Horse’s book and Broadway lineage, but Spielberg has very consciously made a 1940s family picture. The Irish greenscapes are as gossamer and fake as the sets of Brigadoon. It is typical of Spielberg to make a World War I picture in which the central players emerge unharmed, like E.T. and Elliott on the Western Front. Even without the stage version’s famed puppets, War Horse has moments of wordless power—a cavalry changing into a Gatling gun, the mounts galloping on, riderless— but it is skill devoted to grating nonsense. PG-13. AARON MESH. Cedar Hills, Clackamas, Cornelius, Oak Grove, Sandy. Visit wweek.com for additional showtimes.
We Bought a Zoo
70 Everybody feels oh so very
much in We Bought a Zoo, but that’s to be expected from Cameron Crowe, whose heart has been perpetually on his sleeve since Say Anything. The movie is explicitly about risking embarrassment: the possibility of ridicule that comes from carrying a capuchin on your shoulder, playing Cat Stevens songs loudly, or...well, buying a zoo. It’s not quite the glop of Elizabethtown, but no humane sentiment goes unremarked (or unreiterated), and with Matt Damon playing a newly single parent trying to salve his kids’ bereavement, it’s essentially The Descendants for people who don’t get subtlety. I must be one of those people: Large sections of We Bought a Zoo worked me over. (Not the parts with the monkey.) Crowe is didactic, and thinks too highly of Sigur Rós’ Jónsi as a composer, but he’s also unafraid to work through relationships in dialogue. There’s a marvelously unsteady yelling match between father and son midway through, where Damon’s kid asks his dad why he’s forcing this dream on him, and Damon cries out: “Because it’s a great dream! With cool animals!” That naked optimism is disarming. PG. AARON MESH. Cedar Hills, Clackamas, Cornelius, Oak Grove, Sandy. Visit wweek.com for additional showtimes.
Young Adult
82 It is a hazardous undertak-
ing to look in the mirror during a hangover. Yet this is a motif repeated throughout Young Adult: Somewhere between swigging from a 2-liter bottle of Diet Coke and cracking a tin of dog food for her Pomeranian, Charlize Theron’s Mavis Gary will lock contemptuous gazes with the raccoon lids caked with last night’s eye shadow. But she doesn’t seem to recognize the woman in the glass. Recognition would ruin everything. The reunion of Juno screenwriter Diablo Cody with director Jason Reitman, Young Adult is a movie with many antecedents—it recalls John Cusack’s grasp-at-the-past pictures Grosse Point Blank and High Fidelity, as well as the bottoms-up despondency of Sideways. As if modeling her life on those Cusack characters, Mavis listens repeatedly to the same Teenage Fanclub song on a cassette tape—the movie’s very clever opening credits play “The Concept” three damn times—and uses it as a pep talk to return to her hometown of Mercury, Minn., and reclaim her high-school quarterback boyfriend (Patrick Wilson). His marriage and baby are but minor obstacles, and all other people are attendants in the royal court of her drunken imagination. Young Adult isn’t quite the nasty chortle it first appears to be, and it isn’t some Very Special Episode about the perils of booze. After some easy laughs in its first half, it becomes a realist horror about the universal need to maintain a few illusions about yourself. R. AARON MESH. Visit wweek.com for additional showtimes.
MOVIES
JAN. 6-12
BREWVIEWS 20TH CENTURY FOX
04:25, 07:20, 10:10 THE ADVENTURES OF TINTIN 3D Fri-Sat-Sun-Mon-Tue 12:10, 02:40, 05:10, 07:30, 09:55 THE GIRL WITH THE DRAGON TATTOO Fri-SatSun-Mon-Tue 12:15, 03:35, 07:00, 10:20 MISSION: IMPOSSIBLE -- GHOST PROTOCOL Fri-Sat-SunMon-Tue 12:30, 03:30, 06:40, 09:40 ALVIN AND THE CHIPMUNKS: CHIPWRECKED Fri-SatSun-Mon-Tue 12:00, 02:15, 04:30, 06:50, 09:10 SHERLOCK HOLMES: A GAME OF SHADOWS FriSat-Sun-Mon-Tue 01:20, 04:10, 07:10, 10:05
Century 16 Cedar Hills Crossing
OUT WITH THE OLD, IN WITH THE OLD: Even if you don’t notice any difference in what image you see, the death of celluloid is going to impact the kind of movies you see. The open question is whether digital projection will offer more options, or give venue operators an endless supply of familiar titles with a handful of venerated reels. The first weekend of 2012 is a strong indication: Cort and Fatboy are showing E.T.: The Extra-Terrestrial in 35 mm for the first time since...August, while the Laurelhurst Theater uses its new digital system to display Raising Arizona for the first time since...Cort and Fatboy screened it in 2009. The warning sirens of a feedback loop are ringing, and I’d be even more tempted to complain if not for the consolation that E.T. is a discount alternative to Steven Spielberg’s bloated remake of E.T., which he has called War Horse. At least the original has analog puppets. AARON MESH. E.T. showing at: Bagdad Theater at 11 pm Friday, Jan. 6. Raising Arizona showing at: Laurelhurst. Best paired with: Pabst Blue Ribbon.
Cornelius 9 Cinemas
200 N 26th Ave., 503-844-8732 THE DEVIL INSIDE Fri-SatSun-Mon 03:45, 05:45, 07:45, 09:35 MISSION: IMPOSSIBLE -- GHOST PROTOCOL Fri-SatSun-Mon 01:50, 04:30, 07:10, 09:50 SHERLOCK HOLMES: A GAME OF SHADOWS Fri-SatSun-Mon 01:45, 04:25, 07:05, 09:10, 09:40 THE ADVENTURES OF TINTIN 3D Fri-Sat-Sun-Mon 01:40, 06:30, 08:45 THE ADVENTURES OF TINTIN Fri-Sat-Sun-Mon 04:15 WE BOUGHT A ZOO Fri-SatSun-Mon 02:00, 04:40, 07:15, 09:45 WAR HORSE Fri-Sat-Sun-Mon 01:20, 04:10, 07:00, 09:50 ALVIN AND THE CHIPMUNKS: CHIPWRECKED Fri-SatSun-Mon 01:25, 03:25, 05:25, 07:25 THE GIRL WITH THE DRAGON TATTOO Fri-Sat-Sun-Mon 01:55, 05:00, 08:10 HUGO Fri-Sat-Sun-Mon 01:35, 04:20, 06:50, 09:20
Cinema 21
616 NW 21st Ave., 503-223-4515 SHAME Fri-Sat-Sun-MonTue-Wed 04:30, 07:00, 09:15
Clinton Street Theater
2522 SE Clinton St., 503-238-8899 SILVER STATE SINNERS Fri-Sat 07:00, 09:00 UNDERGROUND SAMPLINGS Sat 07:00, 09:00 THE ROCKY HORROR PICTURE SHOW Sat 12:00 UNBREAKABLE: WESTERN STATES 100 Sun 07:00, 09:00 NO FILMS SHOWING TODAY Mon-TueWed SORDID THINGS
Oak Grove 8 Cinemas
16100 SE McLoughlin Blvd., 503-653-9999 MISSION: IMPOSSIBLE -- GHOST PROTOCOL Fri-Sat-Sun-Mon-TueWed 12:50, 03:45, 06:40, 09:35 WAR HORSE FriSat-Sun-Mon-Tue-Wed 12:40, 03:35, 06:30, 09:25 SHERLOCK HOLMES: A GAME OF SHADOWS Fri-Sat-Sun-Mon-TueWed 01:35, 04:25, 07:10, 09:50 WE BOUGHT A ZOO Fri-Sat-Sun-Mon-TueWed 12:30, 04:10, 06:50, 09:25 THE GIRL WITH THE DRAGON TATTOO Fri-Sat-Sun-Mon-Tue-Wed 12:00, 03:10, 06:20, 09:30 HUGO Fri-Sat-Sun-MonTue-Wed 01:45, 04:20, 07:00 THE DARKEST HOUR Fri-Sat-Sun-MonTue-Wed 09:40 ALVIN AND THE CHIPMUNKS: CHIPWRECKED Fri-SatSun-Mon-Tue-Wed 12:25, 02:40, 04:40, 06:50, 09:00 THE ADVENTURES OF TINTIN Fri-Sat-SunMon-Tue-Wed 12:20, 02:50, 05:10, 07:30, 09:55
Kiggins Theatre
1011 Main St., 360-737-3161 PUSS IN BOOTS Fri-SatSun-Wed 06:30 RAISING ARIZONA Fri-Sat-Sun-Wed 08:45
99 Indoor Twin
Highway 99W, 503-538-2738 THE TWILIGHT SAGA: BREAKING DAWN PART 1 Fri-Sat-Sun 02:30, 07:00 THE MUPPETS Fri-Sat-Sun 02:30, 07:00
The OMNIMAX Theatre at OMSI
1945 SE Water Ave., 503-797-4640 FLYING MONSTERS Fri-
Sat-Sun 11:00, 02:00, 06:00 BORN TO BE WILD Fri-Sat-Sun 12:00, 03:00 TORNADO ALLEY Fri-Sat-Sun 01:00, 05:00 THE ULTIMATE WAVE TAHITI Fri-Sat-Sun 04:00 HUBBLE Fri-Sat 09:00
Fifth Avenue Cinemas
510 SW Hall St., 503-725-3551 FULL METAL JACKET FriSat-Sun 03:00 NO FILMS SHOWING TODAY MonTue-Wed
Forest Theatre
1911 Pacific Ave., 503-844-8732 THE MUPPETS Fri-Sat-SunMon-Tue-Wed 07:00 THE DARKEST HOUR Fri-SatSun-Mon-Tue-Wed 09:20
Hollywood Theatre
4122 NE Sandy Blvd., 503-281-4215 MELANCHOLIA Fri-SatSun-Mon-Tue-Wed 06:45, 09:20 DRIVE Fri-Sat-SunMon-Tue-Wed 07:30, 09:30 PORTLANDIA Fri 10:00 BULLETPROOF Tue 07:30
NW Film Center’s Whitsell Auditorium
1219 SW Park Ave., 503-221-1156 COME BACK TO THE 5 & DIME JIMMY DEAN, JIMMY DEAN Fri-Sun 02:00 UTAMARO AND HIS FIVE WOMEN Sat 02:00 EVE’S LEAVES Sat 05:00 CRY DANGER Sat 07:00 THE GOOSE WOMAN Sun 04:30 WANDA Sun 07:00 THE GREY FOX Mon 07:00 ON THE VITAPHONE Tue 07:00
Sandy Cinemas
16605 Champion Way, 503-826-8100 WAR HORSE Fri-SatSun-Mon-Tue 12:35, 03:40, 06:50, 10:00 THE DARKEST HOUR 3D FriSat-Sun-Mon-Tue 01:00, 03:10, 05:25, 07:40, 09:50 WE BOUGHT A ZOO FriSat-Sun-Mon-Tue 01:35,
3200 SW Hocken Ave., 800-326-3264 THE TWILIGHT SAGA: BREAKING DAWN PART 1 Fri-Sat-Sun-Mon-TueWed 11:25 HUGO FriSat-Sun-Mon-Tue-Wed 11:00, 01:55, 04:50 THE MUPPETS Fri-Sat-SunMon-Tue-Wed 11:30, 02:05, 04:40 NEW YEAR’S EVE Fri-Sat-Sun-Mon-TueWed 07:15, 10:00 ALVIN AND THE CHIPMUNKS: CHIPWRECKED Fri-SatSun-Mon-Tue-Wed 11:00, 01:15, 03:30, 05:45, 08:00, 10:15 SHERLOCK HOLMES: A GAME OF SHADOWS Fri-Sat-Sun-Mon-Tue-Wed 12:00, 01:30, 03:00, 04:30, 06:00, 07:30, 09:00, 10:30 TINKER TAILOR SOLDIER SPY Fri-Sat-Sun-Mon-TueWed 11:05, 02:00, 04:50, 07:45, 10:35 YOUNG ADULT Fri-Sat-Sun-MonTue-Wed 11:10, 07:45, 10:05 MISSION: IMPOSSIBLE -- GHOST PROTOCOL FriSat-Sun-Mon-Tue-Wed 11:00, 12:30, 01:55, 03:30, 04:50, 06:30, 07:45, 09:30, 10:40 THE GIRL WITH THE DRAGON TATTOO Fri-Sat-Sun-Mon-Tue-Wed 11:15, 01:00, 02:45, 04:30, 06:15, 08:00, 09:45 THE ADVENTURES OF TINTIN Fri-Sat-Sun-Mon-TueWed 11:20 WE BOUGHT A ZOO Fri-Sat-Sun-MonTue-Wed 11:10, 02:00, 04:50, 07:40, 10:30 THE DARKEST HOUR Fri-SatSun-Mon-Tue-Wed 02:20 WAR HORSE Fri-SatSun-Mon-Tue-Wed 12:00, 03:15, 06:30, 09:45 THE DESCENDANTS Fri-SatSun-Mon-Tue-Wed 11:30, 02:10, 04:50, 07:30, 10:10 THE DEVIL INSIDE Fri-SatSun-Mon-Tue-Wed 11:10, 01:20, 03:30, 05:40, 07:50, 10:00 THE ADVENTURES OF TINTIN 3D Fri-SatSun-Mon-Tue-Wed 01:55, 04:30, 07:05, 09:40 THE METROPOLITAN OPERA: FAUST ENCORE Wed 06:30
Living Room Theaters
341 SW 10th Ave., 971-222-2010 GARBO: THE SPY Fri-SatSun-Mon-Tue-Wed 12:20, 02:20, 04:40, 06:45, 09:40 J. EDGAR FriSat-Sun-Mon-Tue-Wed 12:10, 03:10, 06:30, 09:15 MELANCHOLIA Fri-SatSun-Mon-Tue-Wed 12:00, 02:10, 07:15, 08:50 RID OF ME Fri-Sat-Sun-Mon-TueWed 05:00, 09:50 THE HEDGEHOG Fri-Sat-SunMon-Tue-Wed 11:40, 02:50, 05:10, 07:30 HUGO 3D Fri-Sat-Sun-Mon-Tue-Wed 11:50, 01:10, 03:00, 04:00, 06:00, 07:00, 09:00, 09:35 SUBJECT TO CHANGE. CALL THEATERS OR VISIT WWEEK.COM/MOVIETIMES FOR THE MOST UP-TODATE INFORMATION FRIDAY-THURSDAY, JAN. 6-12, UNLESS OTHERWISE INDICATED
Willamette Week JANUARY 4, 2012 wweek.com
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