38 18 willamette week, march 7, 2012 by Willamette Week Newspaper

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VOL 38/18 03.07.2012

N O I T U L O V E THE Y D A R B OF EILEEN

TO P O O C M FRO OM, O R D R A O B E CORPORAT E MAKING OF A TH ATE. D I D N A C L MAYORA IN E P Y E R O C BY PAGE 13

N ATA L I E B E H R I N G . C O M

BACK COVER

NEWS FOOTBALL CHAMPS AND RACIST TWEETS. OUTDOORS PADDLING ON OSWEGO LAKE. BOOKS LOOKING BACK AT THE 1975 TIMBERS.

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INBOX “ADOLESCENT SHORTHAND”

I’m writing to second the opinion of letter-writer Sarah Nelson regarding your paper’s use of the term “autistic” as a laff-getter in a cover headline describing the film 2001: A Space Odyssey [“Beer Bash,” WW, Feb. 1, 2012]. I’ve learned to shrug off a certain amount of lowest-common-denominator (and not funny) humor in your paper, but this is terrible. Making matters worse is Aaron Mesh’s tongue-tied response defending the supposedly non-pejorative use of the term while congratulating himself for skewering the hallowed image of 2001. I don’t know what world you live in that 2001 is considered some sort of hallowed, unassailable work. Very few people I think, beyond having a positive regard for the film, believe it to be some sort of sacred cow. It’s simply a great and thoughtful sci-fi film. What’s more, your “joke” does zilch to contribute to any discussion of the film. Ultimately, though, what makes this truly reprehensible is that you’re using “autistic”—setting aside the use of “gay” as a second gag in the title— as an ill-informed adolescent shorthand rather than acknowledging that autism is a real thing in real people’s lives. There’s really no way to defend such a crass statement. You’re trying to describe an “affectless” performance? Then say “affectless.” This is one of those cases where Mesh might consider simply acknowledging that a mistake was made in lieu of making it worse by explaining his thinking behind the mistake. He’s just digging a deeper hole. RC Northeast Portland

I hear some big fancy magazine has declared Portland the most “insufferable” city in America. Is the national media’s love affair with Portland over? And more important, who’s to blame? Was it something we said? —This Fucking Hipster Jeez, Hipster, you kiss your mother with that tongue? Please, just make with the questions and leave the gratuitous profanity to me. For those who haven’t heard, the cover of the current issue of The Weekly Standard does indeed feature a caricature of stereotypical latte-swilling slackers under the headline “Insufferable Portland: The hipster haven where government runs amok.” But before you go sobbing into your Rogue Bacon Maple Ale, be aware that The Weekly Standard is a right-wing rag that’s been called the “neo-con Bible.” (This makes it approximately as popular in Portland as Thrasher magazine is in Pyongyang.) Having TWS call you insufferable is like having the guy from Nickelback tell you that your band sucks. 4

Willamette Week MARCH 7, 2012 wweek.com

TAKE YOUR LIGHT RAIL AND...

Political compromises are one thing, one state forcibly exerting such pressure on the residents of another state to accept a financially failing light-rail system is another [“The 2.5 Billion Bribe,” WW, Feb. 29, 2012]. Internationally, wars between countries have been fought over such actions. CRC needs to come to a screeching halt and a Department of Justice investigation should be launched. —“Lew”

PORTLAND, YOU OLD FART

The average age of Portland residents (according to the state and the city’s own data) is 35.2 years old—and it’s rising [“Dr. Know,” WW, Feb. 29, 2012]. That’s right—Portland’s getting older. And more childless. And, sadly, the middle class is being hollowed out to leave more at the bottom and a few more at the top. The problem is people mistake the loudest for being the largest. In fact, the pop culture that gets tirelessly promoted by outlets like WW is a fraction of the populace. —“Dr. Noitall”

CORRECTION

The name of Sen. Chuck Thomsen (R-Hood River) was misspelled in a story [“No Such Thing as Free Coffee,” WW, Feb. 22, 2012]. WW regrets the error. 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

Having read the piece, I’ll console you with the same platitude Mom employed whenever the other kids would weigh me down with microphone stands and toss me in the river: they’re just jealous. And this time, it’s actually true! The article spends half its length gushing over our natural, cultural and gastronomic virtues before grousing that it’s all spoiled by—get this—the urban growth boundary. In The Weekly Standard’s laissez-faire theology, land-use planning qualifies as “government run amok.” (Arizona cops asking for “Your papers, please,” is, of course, merely the free market in action.) Mind you, I sometimes find Portland insufferable myself. But to employ an old analogy: I can call my mom a bitch all I want. You, however, cannot call my mom a bitch. It’s moments like this I wish I were famous enough to merit a New York Daily News headline: “Doc to TWS: Suck my balls.” QUESTIONS? Send them to dr.know@wweek.com

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Willamette Week MARCH 7, 2012 wweek.com

105 ºF

SCHOOLS: Lake Oswego High football players send racist tweets. TRANSPORTATION: Millions in subsidies, and not a job in sight. SPORTS: What to watch for when the Timbers hit the pitch. COVER STORY: Eileen Brady spins her campaign narrative.

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High-profile Portland lawyer Nena Cook is in a competitive race for an open Oregon Supreme Court seat against Oregon Court of Appeals Judge Timothy Sercombe and Multnomah County Judge Richard Baldwin. Her campaign pitch might need improvement, given the way she promotes some of her legal work. On the website of her firm, Sussman Shank LLP, Cook describes defeating claims by “an injured veteran” and “two former female employees who were NENA COOK pregnant at the time of their termination” on behalf of employer clients. Cook tells WW she wasn’t bragging about defeating vulnerable foes but instead illustrating for potential clients that she is experienced in various facets of employment law. “The laws that apply depend on the characteristics of the individual,” Cook says. “That it is all I was trying to convey.” Buehler? Buehler? His name is not yet as familiar as a famous movie line, but big donors to Dr. Knute Buehler’s campaign for secretary of state are making sure the Bend orthopedic surgeon will have enough cash to get his name out there before the November election. Seneca Jones Timber Co. kicked in $12,500 last week—the biggest outside donation yet to the Republican candidate. Buehler, 47, is now sitting on $219,000, almost twice the amount the incumbent, Democrat Kate Brown, has in her campaign account.

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Multnomah County has settled with a man who was arrested for reckless driving and disorderly conduct and then, he says, was beaten by jail deputies. Mark Nyberg, 55, was arrested April 1, 2010; the sheriff’s office says deputies had to restrain him after they wouldn’t allow him to use a wheelchair. (X-rays showed he had a broken foot.) Nyberg alleged that deputies tackled him, stomped his face, bent back his fingers until they swelled and twisted his broken ankle until the pain caused him to lose control of his bowels. Photos of Nyberg after the incident show bruises on his face and neck, including some shaped like boot prints. Nyberg sought $148,000. The county, without admitting wrongdoing, paid $55,000 to make the case go away. Here at WW, we often find ourselves flattered by all the imitators out there. We’ve especially had to get used to other media ripping us off over the years. But perhaps this is going too far: ESPN Radio 710 AM in Los Angeles is promoting a sports medicine show called “Weekend Warrior.” The weekly show is being promoted with a “WW” logo that looks a lot like ours. As in, exactly like ours. WW adopted its current logo in 2007. ESPN’s logo is, well, newer. Read more Murmurs and daily scuttlebutt.

Willamette Week MARCH 7, 2012 wweek.com

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NEWS

DRIVEN: Marqueese Royster, 15, has been the target of racist tweets from his former teammates at Lake Oswego High. Here, he attends an offseason football practice at Portland Community College.

STATE CHAMPS’ PERSONAL FOULS LAKE OSWEGO HIGH SCHOOL WON’T SAY WHETHER MEMBERS OF ITS 6A TITLIST FOOTBALL TEAM WERE DISCIPLINED FOR RACIST TWEETS. BY H A N N A H H O F F M A N

hhoffman@wweek.com

At least six members of Lake Oswego High School’s 6A state champion football team targeted one of their former teammates, a 15-year-old African-American player, with racist messages on Twitter after he transferred from the school earlier this year. Marqueese Royster, a sophomore, says he transferred to Lakeridge High in January. Three weeks later, he saw the racist tweets. His mother, Annalisa Royster, reported the racial slurs to the Lake Oswego Police Department and Lake Oswego High officials the following day. Police wrote a report but have not interviewed any of the players or their parents. Royster, a lineman for the Lakers, left Lake Oswego High following what he says was a long period of harassment and shunning by his teammates. He had considered going to Central Catholic High before transferring to Lakeridge. “Hahahahahahaha cant get into CC [Central Catholic] doesn’t have the balls to come back #bitch,” said a tweet sent Feb. 23 by one of Lake Oswego’s star football players. Then came two more tweets from two anonymous accounts. “Anyone else think the school smells a lot better without @Marqueese_31 here?” one said. “Lake NoNigger is a lot better without @Marqueese_31,”

said another. In all, nine Lake Oswego students retweeted the racist messages, according to the police report. Lake Oswego High Principal Bruce Plato tells WW three students were suspended, but he declined to say if any were Royster’s former teammates. “It doesn’t really matter,” Plato says. “I just want to leave it at ‘three students were suspended.’” Lake Views, the Lake Oswego High student newspaper, reported March 2 that the Twitter account that sent the “Lake NoNigger” tweet also sent out disparaging tweets about other students. The story said the account has since been closed; school officials haven’t identified who was behind it. Cyberbullying has made headlines elsewhere in the Portland area. Last week, students at Heritage High School in Vancouver, Wash., reported that sexually explicit rumors were being spread about them on Twitter. School officials there haven’t yet figured out who sent the tweets. Nationally, cyberbullying has resulted in the suicides of several teenagers, and some members of Congress have called for laws making it a federal crime. Oregon law requires school districts to have policies against cyberbullying. Justin Patchin, a criminal justice professor at the University of Wisconsin-Eau Claire and co-director of the Cyberbullying Research Center, says about 25 percent of teenagers experience online bullying. “That’s where kids are hanging out these days,” he says. “It’s always on.” Patchin says social media allow teenagers to indulge sudden emotional impulses that might otherwise fade away before they can be acted on. The faceless nature of

cyberbullying also allows teens to tease in a meaner way than they might in person. Bill Belsey, a Canadian teacher and researcher who tracks cyberbullying cases, says the anonymity of attacks appeals to bullies and is especially hurtful to their victims. “It’s probably someone you know,” Belsey says, “but you don’t know who, and that undermines your trust in people and future friendships you may have.” Royster and his family moved to Lake Oswego in 2008 when Royster started seventh grade. He says he was suspended from middle school for three days by his second week. Another boy had stomped on a milk carton, spurting milk all over him, and then laughed. Royster slugged him. Despite trouble with schoolmates, Royster says by his freshman year he was being contacted by scouting companies that keep tabs on high-school football players. He hopes to play someday for an NCAA Division I college, possibly Oregon State University, Virginia Tech or the University of Colorado. He says he made few friends at Lake Oswego High School, where only about 1 percent of the students are black. He says other football players called him a “transplant.” Annalisa Royster says she hated what the football team’s “toxic climate” was doing to her son and transferred him to Lakeridge, where he has not experienced problems. Principal Plato says most of the Lake Oswego student body was outraged by the attacks on Royster. He says students who sent or copied the tweets deleted them—in large part because of the ire of other students. “I’ve been proud of our students,” Plato says. “They’re trying to show the type of people we are as a whole.” Lake Oswego High’s head football coach, Steve Coury, didn’t return WW’s calls. The coach’s web page, however, includes a statement describing his philosophy: “‘Treat others as you would like to be treated,’ and ‘we have to love each other like family,’ are what you will hear from Steve Coury if you are part of the football program.” Willamette Week MARCH 7, 2012 wweek.com

NEWS

TRANSPORTATION J O N AT H A N H I L L

THE TRAIN TO ZERO UNION PACIFIC CONCEDED UP FRONT THAT STATE SUBSIDIES TO IMPROVE ITS RAILS WOULDN’T CREATE JOBS. BY KA R A W I L B E C K

kwilbeck@wweek.com

Over the past six years, the state of Oregon has handed out $295 million in subsidies to local governments and private companies to help build and repair ports, rail lines and public transit. The ConnectOregon program is specifically supposed to subsidize projects that are crucial to helping create jobs. The law that authorizes the program says the grants should be handed out based in part on “whether a proposed transportation project creates construction and permanent jobs in this state.” But that doesn’t seem to apply to everyone getting the money—namely, rail giant Union Pacific. As WW reported last month, Union Pacific has been given $24.7 million in subsidies from the state, even though the company posts profits in the billions [“Gravy Train,” Feb. 8, 2012]. The 2005 Legislature approved ConnectOregon to finance transportation projects that don’t include building roads and highways. The program borrows money to help finance projects, then uses lottery profits to pay off the bonds. Most of the money has gone to local governments and port districts, but a good portion has also gone to private

Willamette Week MARCH 7, 2012 wweek.com

rail companies. The biggest is Union Pacific. In the three rounds of ConnectOregon grants awarded since 2006, Union Pacific has applied for 11 and received four. All of the corporation’s applications have declared how many jobs each project would create. The answer? Zero. Zip. Not one.

In the first round of ConnectOregon grants, Union Pacific won a $7.4 million subsidy to improve a rail yard in Hermiston. When asked how many jobs the project would create, the company said none. “Work on this project will be performed by existing Union Pacific personnel,” the company’s application says. “Thus, new construction jobs will not be created by this project.” Union Pacific pointed out the new rail yard might help create jobs indirectly by improving the state’s transportation system. But the company’s later applications didn’t make even that promise. In 2008, the state gave Union Pacific $7 million to repair rails in the St. Johns area. The application for that grant asked, “Does this project benefit the Oregon economy by providing improvements that ensure specific non-speculative job creation or retention (beyond shortrun construction jobs)?” Union Pacific’s answer: “No.” The company gave essentially the same answer when the state gave it $10.3 million in 2010 for projects in Portland and Albany. Union Pacific has applied for an $8.2 million grant in the next round of subsidies, valued at $40 million, which the Oregon Department of Transportation is expected to approve this spring. Union Pacific didn’t respond to WW’s questions by deadline. ODOT spokeswoman Shelley Snow says a grant application that doesn’t promise to create jobs won’t be automatically dismissed. “If the project creates jobs, that’s a bonus point for it compared to other projects,” Snow says. “Job creation is important, but it is just one of several criteria that are being reviewed.”

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NEWS

SPORTS

NEW BAG OF KICKS AFTER A HOPEFUL FIRST SEASON, THE PORTLAND TIMBERS FIELD A ROSTER OF PLAYERS TO WATCH. BY M AT T H E W KO R F H AGE

mkorfhage@wweek.com

Let’s get the niceties out of the way: The Portland Timbers’ first season in Major League Soccer was a qualified success. The Timbers missed the playoffs and turned in the 12th-best record out of 18 teams, had a dismal 2-9-6 road record (they were 9-3-5 at home), allowed opponents to score eight more goals than they did, and let too many chances to win slip away. Still, this is actually no terrible shakes for a newly minted expansion team, and the famously active fan base and sold-out season tickets bode well for the team’s future buying power. The Timbers jettisoned troubled, unpopular forward Kenny Cooper (why was he always falling down?) in favor of Scottish goal machine Kris Boyd. They’ve added Cameroonian high-hoper Franck Songo’o to their midfield. And—in true Portland sports fashion—they traded for much-ballyhooed forward Jose Adolfo Valencia, who will sit out the new season after undergoing knee surgery. It’ll be a tougher season than last year. The Timbers will play more games against teams in the talent-stacked Western Conference. Minor injuries to a number of key players make the season’s March 12 opener against Philadelphia an ulcerous uncertainty. Still, the Timbers went through the preseason without a loss (4-0-3). Bookmakers put a Timbers playoff appearance at even money. So bet as you like, hold onto your scarf, and keep an eye on these players.

KRIS BOYD

Boyd, 28, the Scottish Premier League’s all-time leader in goals, scored seven minutes into his Timbers debut in a March 4 exhibition against Swedish team AIK. The striker was Portland’s biggest offseason signing. The knock on Boyd is that he doesn’t do enough to create scoring opportunities for teammates. Michael Grant of Scotland’s The Herald tells WW that Boyd is “a cool finisher in the penalty box, but did not do enough work on other parts of his game.”

JACK JEWSBURY

KALIF ALHASSAN

Alhassan’s whirring footwork can look like something out of a Looney Tunes cartoon: a wild blur from which a foot emerges here, a ball there, impressive and entertaining to see. Crosses from Alhassan, 21, are inspired (six assists last season), but the midfielder scored no goals in 2011. His Feb. 27 preseason goal against San Jose was an encouraging sign.

Team captain Jewsbury, 31, is a highly physical player, with deadly crosses that helped him lead the team in assists (eight) last season. Portland’s first MLS All-Star, A midfielder, Jewsbury is also the field marshal, using his longtime league experience to become something of a statesman on the young team.

4 4

DARLINGTON NAGBE

Nagbe, 21, is famous for taking a volley against Sporting Kansas City last season, juggling it twice with his right foot and firing a screamer that won him 2011 MLS Goal of the Year honors. But he scored just two goals last season—and yet remains a bright hope who could move from midfield to forward this season once he overcomes ankle troubles.

6 1

2 7

THE BACKLINE

Portland’s porous defense often made goalkeeper Troy Perkins look as if he were trying to stop the firebombing of Dresden. The Timbers allowed opponents to take 465 shots in 2011, against a league average of 430. The defense slowly showed improvement: About two-thirds of goals against Portland came during the first half of last season. The addition of defenders Andrew Jean-Baptiste and Hanyer Mosquera (notwithstanding the bad luck of his preseason own goal against San Jose) should help.

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N ATA L I E B E H R I N G . C O M

THE

EVOLUTION

EILEEN BRADY FROM CO-OP TO CORPORATE BOARDROOM, THE MAKING OF A MAYORAL CANDIDATE. BY CO REY P EI N

cpein@wweek.com

It’s dawn on a Tuesday, and 30 women have gathered in a 15th-floor conference room in the Standard Plaza at a sold-out breakfast of coffee, melon and bagels. They’ve come to hear Portland’s most buzz-worthy politician in years, Eileen Brady. The president of the Women’s Center for Leadership introduces Brady, 50, with a recitation of her achievements: chairman of a publishing company, high-tech executive, leader at an environmental nonprofit, and cofounder of New Seasons Market.

When it’s her turn, Brady delivers something more than a stump speech. Instead, she talks about how she stitched those career highlights into a compelling personal narrative. It’s a tapestry, she says, woven from disparate strands of her life—from a teenager who might have been at home marching with Occupy Portland, to a young mother working in a grocery store, to a wealthy businesswoman. She learned how to do this, Brady says, by reading Composing a Life, a 1989 book by anthropologist Mary Catherine Bateson. “Women don’t tell their stories the same way as men do, and that’s OK,” Brady says. “If we can learn to tell our stories like this, we can take power in a situation.” CONT. on page 14

Willamette Week MARCH 7, 2012 wweek.com

CONT. N ATA L I E B E H R I N G . C O M

EILEEN BRADY

Her story’s power has propelled Brady from a virtual unknown a year ago to the best-financed and most-talkedabout candidate for mayor of Portland. With many voters still undecided, she is nonetheless the front-runner among the leading opponents, former City Commissioner Charlie Hales and state Rep. Jefferson Smith (D-East Portland). WW has spoken to five dozen people who have known Brady throughout her life. Friends and co-workers say she is intelligent and hardworking, tireless and charismatic. “I love her,” says Linda Delgado, government affairs director of Oxfam America. “It’s not that easy to find a person who is incredibly good with people, deeply caring and giving, and who’s also very effective. Leaders like that don’t come along very often.” Brady claims to have 25 years of experience as a manager and executive—a claim that doesn’t quite add up. But the thrust of her career has been sales and marketing, whether it’s groceries, CD-ROMs or email lists. “Eileen is a very capable person,” says Spencer Beebe, president of Ecotrust, the nonprofit where Brady worked from 2001 through 2005. “She’s smart. She’s a good seller. She’s instinctively political.” Brady has also said she’s an entrepreneur who has taken risks. “I know what it’s like to have thousands of people depending on you for a paycheck,” she said in a speech last year. SALES PRO: As the only major mayoral candidate without government experience, Brady is running on the strength of her story.

CONT. on page 16

A NEW SEASONS FOUNDER REFUTES BRADY’S CLAIMS CHUCK EGGERT SAYS BRADY AND HER CAMPAIGN HAVE DISTORTED “THE TRUE HISTORY OF THE COMPANY.” BY N I G E L JAQ UI SS and

COREY PEIN

243-2122

One of the original investors who created New Seasons Market disputes Eileen Brady’s claims that she was a “founding co-owner” of the company and played a meaningful role in creating the popular grocery chain. Brady’s claims have been the cornerstone of her campaign for mayor: that as a co-founder of New Seasons, a store that defines Portland, she’s proven she deserves a chance to lead the city. Chuck Eggert, who with partner Stan Amy provided 89 percent of New Seasons’ start-up money, tells WW that Brady had nothing to do with coming up with the idea for the company. (Records show Brady’s husband, Brian Rohter, the company’s first president, put up 11 percent.) Eggert also confirmed what WW has already reported: Brady never held a management position at New Seasons, never worked for the company, nor played any substantive role in its operations. “There were three original board members and owners—myself, Stan Amy and Brian Rohter,” Eggert says. “Eileen was married to a board member who was a founder.” The website of New Seasons’ current owner, Endeavour Capital, says the “company was founded in 1999 by three pioneers in the natural foods industry.” Eggert, 63, is founder and CEO of Pacific Natural Foods, a Tualatin-based company that since its inception in 1987 has grown into one of the nation’s largest 14

Willamette Week MARCH 7, 2012 wweek.com

organic foods producers. He later was a primary founder and investor in New Seasons with Amy. WW has been asking Amy for weeks to talk about Brady’s involvement at New Seasons, and he has repeatedly declined. When WW asked the Brady campaign to respond to Eggert’s comments, Amy, a major financial backer of Brady’s candidacy, released a statement. “There have been questions regarding Eileen Brady’s role at New Seasons Market and as a co-founder, I want to provide my personal perspective,” Amy’s prepared statement says in part. “Eileen is one of our co-founders.” In speeches, campaign materials and interviews, Brady has highlighted her association with New Seasons, calling herself a “co-founder” and “founding co-owner.” Not true, Eggert says. Brady says the idea for New Seasons emerged from a conversation in her living room between her, her husband, Amy, and her late father. New Seasons “started in our house, literally in our office,” Brady told WW. Eggert, however, says he and Amy came up with the plan for what became New Seasons in early 1999 at the Widmer Gasthaus in North Portland. He says they brought Rohter into the deal later and asked him to manage the company. Brady also claims that in a different meeting she helped conceive the New Seasons model: blending organic foods with conventional brands, which most natural foods stores do not do. Here’s what Brady told WW:

“We were sitting in [Stan Amy’s] house, literally, with butcher paper on easels, saying, ‘What did we learn from Nature’s, how do we do this better, what if?’—and this is where the stroke of brilliance came—what if it was just 75 percent natural and organic foods, and it was 25 percent conventional foods? What if we sold Diet Pepsi?” Eggert says Brady’s claim misstates New Seasons’ history. New Seasons, he says, was built on a model already developed by Nature’s at least six years before New Seasons started. Nature’s had introduced a “crossover” model in its Vancouver store and other locations with great success. News reports support Egg ert’s account. Amy told Supermarket News in 1998 that Nature’s had pioneered the approach of blending conventional brands with organic and natural foods. That interview took place the year before Brady has claimed she helped develop New Seasons’ crossover model. The article even invoked Diet Coke as an example of the products Amy says had been introduced into Nature’s product line. Rohter also invoked the Diet Coke example in a 1997 WW story. Eggert says Brady’s account of New Seasons’ founding also discounts the fact that he, Amy and Rohter built the company around dozens of highly experienced former Nature’s employees— store managers, department managers, support staff and others. “Well over half of the first hundred employees of New Seasons had previously worked for Nature’s and brought

hundreds of years of grocery experience that had developed Nature’s into one of the premier natural food groceries in the country,” he says. “In my mind, there was little to no risk of New Seasons not succeeding,” Eggert adds. In 2010, New Seasons’ owners sold a majority stake to Endeavour Capital, a Portland buyout firm. Records show the sale left Rohter with less than a 1 percent interest in New Seasons. In February, Eggert sold his remaining stake to Endeavour, which means the firm now owns 69 percent of New Seasons. WW asked Brady to respond to Eggert’s refutation of her claims about New Seasons. Her campaign sent this statement from her: “As others have affirmed, I’m proud of my role as a co-founder of New Seasons Market and of the many contributions that I made towards its success and the positive impact the company has had on its employees, suppliers and our neighborhoods.” Now, on March 4, Brady is trying to tighten her connection to New Seasons. Brady’s campaign filmed her for a campaign commercial on the sidewalk outside the Concordia New Seasons store at 5320 NE 33rd Ave. New Seasons officials say the company doesn’t endorse political candidates. As for the Brady commercial being shot outside its store, New Seasons spokeswoman Amy Brown says, “We were not asked permission.” Eggert is not supporting any candidate in the mayoral race, but says he is proud of New Seasons’ success. He agreed to answer questions to set the record straight. “It was important to me,” Eggert says, “to acknowledge the true history of the company.”

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APRIL 17 TICKETS $5 - ALL AGES BAGDAD THEATER 3702 SE HAWTHORNE BLVD. DOORS OPEN AT 6 PM, SHOW STARTS AT 8 PM Tickets can be purchased by coming to the world HQ of Willamette Week, 2220 NW Quimby St. or The Bus Project, 333 SE 2nd Ave. *Julian Assange will not actually be here, but somebody from Occupy Portland might read something he wrote. Willamette Week MARCH 7, 2012 wweek.com

CONT. P H OTO S : N ATA L I E B E H R I N G . C O M

EILEEN BRADY

POINT OF ORDER: Eileen Brady revealed her Portland mayoral plans to friends in Chicago in 2009, 18 months before she confirmed publicly that she was considering a run.

But Brady has never run a company or had to make a payroll, nor has she ever been elected to office or run a large organization as the top executive. In these areas, she would enter office with less experience than any major mayoral candidate in decades. “It’s true I’m not a politician,” she says. “I bring a lot of life experience.” Most crucial to her campaign—and most problematic— are her stories about New Seasons Market, the 13-year-old local grocery chain. Brady has called herself a New Seasons “founding co-owner.” WW asked her last summer to name her chief qualification to be mayor. “Entrepreneur,” she said. “Founded a company that grew to 2,000 jobs in 10 stores.” But neither of those things is true, and a great deal else about her New Seasons story is exaggerated (see sidebar, page 14). The challenge Brady faces—now and if she’s elected—is moving her personal story into one of specifics and action. For now, what she offers voters is her story. “Listen up,” Brady tells the women at the leadership breakfast, before launching into her narrative. “You’re listening for what works.” Brady’s story often begins with the murder of her grandfather, a Chicago police detective shot while on duty in 1945. Newspaper stories say Charles A. Brady Sr. was shot by a mobster who in turn was found buried in a field. Charles Jr. became a prosperous lawyer and businessman in Evanston, Ill., an affluent Chicago suburb, where he and his wife, Susanne, raised five children. Eileen, born in 1961, was the oldest. Brady’s mother became a member of Evanston’s city council and a Democratic Party activist. She appointed Eileen, then 12, as a precinct captain, canvassing door-to-door. “We were a straight-arrow family with straight-arrow parents,” Brian Brady, her youngest sibling, says. “We grew up thinking politics could be a noble pursuit.” At Evanston Township High School, Eileen Brady joined an alternative program called “senior seminar” because she didn’t like the way she was being graded by her science teacher. “She was a bit of a rebel, and looking for a path,” says Phil Roden, one of the seminar teachers and a family friend, who’s now a business partner with Brady’s brother Chip. Brady went to Hampshire College, a small, unorthodox liberal arts university in Amherst, Mass. During spring break her freshman year, she embarked on what she now calls a “formative experience.” 16

Willamette Week MARCH 7, 2012 wweek.com

FAMILY TRADITION: Brady would follow her mother, a former Evanston, Ill., alderwoman, into local office.

“IT’S TRUE I’M NOT A POLITICIAN. I BRING A LOT OF LIFE EXPERIENCE.” —EILEEN BRADY

Freshly trained at a camp run by an activist priest, Phillip Berrigan, and a nun, Elizabeth McAlister, Brady and four other Hampshire women staged an anti-nuclear “diein” at the Pentagon on March 21, 1980. They harangued workers and smeared blood and ashes on the walls. “A litany recalling U.S. aggressions was read,” reported The Climax, Hampshire’s student-run newspaper. “A siren. People. Splash. Death. Red. Dust. Blood. Noise. Screams. Police. Screams. Applause. Death. Dust. Gag.” Police arrested Brady and four others and cited them for inflicting property damage, a federal violation. Brady later defended herself in court and that June served 14 days of a 30-day sentence in a Richmond, Va., jail. Brady says she led her other defendants in a chant as she was led from the courtroom to jail. Brady says the experience taught her a valuable lesson: “To stand up for your convictions and live with the consequences.” It also changed the course of her life. “My parents said, ‘You can go back to school anywhere you want, but you may not go back to that school,’” she recalls. Brady transferred to another experimental school—the Evergreen State College in Olympia, Wash., where students make up their own majors and don’t get grades. “It was a womb place—very wet, very nurturing, very safe,” recalls Kathleen Granger, a friend of Brady’s from those days. Brady studied what she calls “organizational development,” and in her senior year was chosen by her peers to lead the Services & Activities Fee Allocation Board, Evergreen’s closest thing to a student government. The board ran on consensus. “Eileen was especially good at it,” Granger says. “There was no schmooze to Eileen.” Brady was 22 and a senior when she became pregnant. Her boyfriend, Tim O’Connor, worked on Evergreen’s organic farm. Their first child, Caitlin O’Brady (a combination of her parents’ surnames), was born at home in March 1983. That May, the couple married on the farm. “It was very romantic,” Brady says. Back in Chicago, Brady’s mother thought her daughter had joined a cult. Brady ran for the Olympia Food Co-op board. She still remembers her margin of victory: 121-4. Those four lost votes prompted a tearful call to her mother. “She said, ‘Oh, Eileen, you have so much to learn,’” Brady recalls. In March 1985, O’Connor and Brady had a second child, Colin O’Brady, also at home; they lived at the Alexander Berkman Collective, a house in Olympia named for a notorious anarchist. O’Connor soon got a job in Portland at Nature’s Fresh Northwest, an organic grocery on Southwest Corbett Avenue. Within weeks of moving to Portland in January 1986, Brady met the person who would change her life: Nature’s president Stan Amy. Amy, 64, is a native Oregonian and business savant. As a 23-year-old attending Portland State University, he secured a $3 million federal loan to develop student housing. Later in the 1970s, he invested in Nature’s Food & Tool and transformed it into Nature’s Fresh Northwest. Nature’s flourished under his leadership. Former employees call Amy a visionary and “born-again capitalist,” targeting Nature’s to mainstream suburbanites and co-op crunchies alike. (Amy declined to talk about Brady for this story. He and his wife, Christy Eugenis, have each donated $10,000 to Brady’s campaign. Amy’s real estate company has also donated an employee who is serving as a senior adviser to Brady.) Brady says she met Amy at a Nature’s party. “I literally had my babies on either hip,” she recalls. She told Amy she wanted to get an MBA but didn’t have the money and was looking for work. Amy offered her a job and his mentorship. “The joke for years has been that I got my MBA at the Stan Amy University,” Brady says. What does one learn at Stan Amy U? “You learn ‘No margin, no mission,’” Brady says. This mantra means no world-changing effort can succeed unless it is financially sound. “You learn,” she says, “that you can do well and do good at the same time.” CONT. on page 19

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EILEEN BRADY N ATA L I E B E H R I N G . C O M

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HUMAN RESOURCES: Eileen Brady meets with volunteers at her campaign headquarters in the Hopworks Urban Brewery building on Southeast Powell Boulevard.

Brady says her first job at Nature’s, at $5 an hour, was buying used equipment. The résumés she’s handed out over the years are inconsistent about dates and her job titles. An older résumé, which she used a decade ago, says she left Nature’s in 1995. The current one says she left in 1991. Brady tells WW she left and came back to the company. She says she worked in human resources for Nature’s. One résumé says she worked in marketing. The other says she was also training director. Brady has also given differing accounts as to why she left Nature’s. “I was in the middle of a divorce,” Brady told WW, “and I needed to make more money.” She left Nature’s to work for about four years as a human resources consultant, including placing workers for a temp agency, Employers Overload. It’s a chapter she leaves off her résumé. “I simply thought [the jobs] were not significant in the grand scheme,” she says. It also doesn’t fit with her narrative. She leaves those jobs out when telling people, as she often has, that she left Nature’s to go directly into what she calls the “dot-com boom.” “It seemed crazy to many, for me to leave a perfectly good job at Nature’s to head off into the tech sector,” Brady told the East Portland Chamber of Commerce last year. “As geniuses like Steve Jobs and Bill Gates were bringing their ideas to the market, I decided to risk my career to help create some of the first digital high-tech products like educational CD-ROMs.” Brady didn’t join what most people think of as a dot-com. She helped sell CD-ROMs for Graphic Media, a commercial graphics company expanding into “multimedia marketing” for clients such as Intel and Fred Meyer. Brady eventually oversaw a team developing and selling software-training CD-ROMs. “It was 60 cents to press CDs, and we were launching some of these titles at 12 million run rates,” Brady recalls. “There was all this margin in them…. My department, sometimes they talked about it as the cherry on the deal.” During these years, Brady remarried. While still married to O’Connor, she had met and began what she calls a “legendary romance” with Brian Rohter, with whom she had worked at Nature’s while her husband also worked there. (O’Connor, now remarried and running an organic farm in

Hawaii, declined to talk about Brady. She says they are friends. O’Connor has donated $250 to her campaign.) Rohter brought two children from a previous marriage to the new family home on Mount Tabor. He also came from a Chicago political family. Inspired by author Ken Kesey, he skipped college and moved to Eugene, where he started an organic meat business. Rohter joined Nature’s as a meat buyer in 1991, he recalls. He became Stan Amy’s go-to guy. In 1997, GNC bought Nature’s, and Rohter became general manager. Two years later, GNC sold the company to Wild Oats, a national natural foods chain. Rohter soon became dissatisfied and quit to join Amy and another investor, Chuck Eggert, to form what became New Seasons Market. New Seasons is the most important thread in Brady’s story. “In 1999, after I’d done my work in the high-tech world, we founded New Seasons Market,” Brady told the leadership breakfast last month. Brady told WW she made “a pile of money” in tech and Rohter used the money as an early investment in New Seasons. While Rohter helped launch New Seasons, Brady took another tech job as an executive with an email marketing company, @Once, as a vice president. The company managed email lists for companies such as Nike, Nintendo and Egghead Software, running what it called “a sophisticated and highly responsive email campaign system.” The company said it targeted only consumers who asked to receive the marketing emails. (Five years after Brady left, the successor to @Once, YesMail Inc., paid a $50,717 civil penalty to the Federal Trade Commission for violating an antispam law.) Her @Once colleagues give her high marks. John Coake, a former vice president of marketing, says Brady was “outstanding…. She probably controlled 30 percent of the company. Meeting with venture capitalists, she was one of the leads.” Mike Hilts, then chief executive of @Once, says Brady had a “roll-up-your-sleeves” style and was “very well-liked.” The job that opened political doors for Brady

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CONT. on page 20 Willamette Week MARCH 7, 2012 wweek.com

CONT. N ATA L I E B E H R I N G . C O M

EILEEN BRADY

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was at Ecotrust, which promotes conservation created by the state Legislature to overhaul the and green development. state health care system. Spencer Beebe, Ecotrust’s founder, met Brady She and Rohter started giving larger donawhen New Seasons looked at becoming the anchor tions to Oregon Democrats and, in 2007, Brady tenant for Ecotrust’s Pearl District building. He considered challenging then-U.S. Sen. Gordon later hired her on Stan Amy’s recommendation. Smith (R-Ore). “Eileen was a key member of the management Brady traveled to Washington, D.C., to meet team,” Beebe says. “She was full-on here. Seven with the Democratic Senatorial Campaign days a week, we had her full attention.” Committee chairman, U.S. Sen. Chuck Schumer Her title upon joining Ecotrust in April 2001 (D-NY). was vice president of marketing and information Republicans took Brady’s candidacy seriously services, a new position. The most visible prod- enough to release an open letter that questioned uct of Brady’s early work was a 2003 newspaper her failure to vote in local elections, and fedad campaign promoting sustainability called eral health and safety violations at New Seasons. “Section Z.” (Brady says she has a solid voting history; the One typical edition promoted local produce violations at New Seasons were minor.) through the story of two cartoon tomatoes, Brady at the time told the Associated Press “Traveling Tom” and “Local Lucy.” Tom is green- she was “not surprised” to be seen as a threat ish and sickly from long journeys in the back of by Republicans. But she didn’t run, and thena truck from farm to produce aisle; Lucy is juicy Oregon House Speaker Jeff Merkley beat Smith red and fresh. New Seasons Market helped spon- for a Senate seat in the 2008 general election. sor the campaign. In late 2009, Rohter sold most of his shares in Brady says she also helped build Chinook New Seasons to a Portland buyout firm, EndeavBook, the local “green” coupon guide. Chinook our Capital, for some $11.2 million. (Rohter listed Book had three years of success behind it when his and Brady’s net worth at $712,000 when New Brady was appointed to Seasons started.) the board seat reserved T h a t S e pt e m b e r, for Ecotrust, an investor. Brady traveled back “YOU CAN DO WELL (Brady has since made an to Chicago, where she investment in the book’s hosted a reception for AND DO GOOD AT publisher, Celilo Group the 30-year reunion of THE SAME TIME.” Media, and has served as her class at Evanston board chairman.) Township High School. — EILEEN BRADY Brady left Ecotrust in Former classmates told 2005. Before she did, she WW that, at the gathsays, Beebe offered her ering, Brady said she the nonprofit’s top position. “He wanted me to intended to run for mayor of Portland in 2012. run the company,” she said. When Brady spoke to the Women’s Center Beebe doesn’t remember it exactly that way. for Leadership last month, she told her audience “I probably said, ‘Hey, I know you could do this,’” that offering stories about consensus building, Beebe says. “[But] I didn’t need someone to collaboration and problem solving won’t get replace me.” your audience to engage. “One way to talk about Ecotrust was Brady’s last job. Rohter’s New those things,” she said, “is to actually talk about Seasons’ earnings have allowed her family to the results.” live comfortably. (In August 2005, two months Brady says her experience is more than just a before she left Ecotrust, Brady and Rohter pur- narrative—it’s proof she’s ready to lead Portland. chased a $1.37 million beach house in Manzanita, “I think Portland really needs to have a according to public records.) values-driven, mission-driven leader who underPolitics consumed more of her attention. stands how to manage the bottom line,” she says. In 2007, then-Gov. Ted Kulongoski appointed “And when you have real-world experience like Brady to the Oregon Health Fund Board, a panel this, you know what it means to do that.”

WHAT ARE YOU WEARING?

STREET

SEARCH & ENJOY A WEEKEND OF SCAVENGER HUNTS. P H OTOS BY MOR GA N GREEN -H OP KIN S A N D I VA N LIMON GA N wweek.com/street

Willamette Week MARCH 7, 2012 wweek.com

2012 International Speaker Series

Since 1974

CULTURE: Paddling on Oswego Lake. DRANK: Oregon’s best Pilsner. BOOKS: Looking back at the Timbers’ 1975 season. MOVIES: Disney’s pulpy John Carter.

Never a cover!

THE NATION’S PREMIER SPEAKER SERIES FOCUSING ON INTERNATIONAL AFFAIRS

24 25 44 45

Series tickets and information — worldoregon.org | (503) 306-5252

Wednesday, March 7th • 9pm

Thursday, March 18th • 9pm

RocktownpDX Revue Hosted By: Chris Margolin

Photo: Alex E. Proimos

friday, March 9th • 9pm

Kevin guitron “Dueling piano party” S aturday, March 10th • 9pm

The lonesomes w/Brian Berg (americanca)

MARCH 11, 2012

MARCH 27, 2012

APRIL 27, 2012

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Economics, Ethics & Justice

Inside the American Mind

The Question of Afghanistan

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All lectures begin at 7:00 p.m. at the Arlene Schnitzer Concert Hall POWERING

A BRIEF RESPITE FROM OUR LAKE O COVERAGE.

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Economist and Nobel Laureate

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Tuesday, March 6th • 9pm

open Mic Night WIN $50!!!

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Economics Ethics JusticE

SKINNY KENNY: Because Chef Ken Gordon of Kenny & Zuke’s is now writing a column for The Oregonian about his life as a chef with diabetes, the downtown deli—known for its gutbusting double-decker sandwiches, pastrami fries and heavily schmeared bagels—is adding a healthy menu. You can now get smaller, leaner sandwiches, a “lean” burger (it’s still 765 calories, so we shudder to think what’s in the normal burger), chopped salad, a Mediterranean mezza plate, and a few other “lighter” dishes. In less healthy K&Z news, the deli has finally acquired a full liquor license—that means you can now add vodka to any of its sodas, or have a boozy brunch with a small cocktail menu that includes a “Jerky Mary” and an “X-Rated Egg Cream.” NEW PEARLS: In other drinky news, the Davis Street NOT DIABETIC FRIENDLY Tavern people are taking over the currently empty former Fenouil space for a new place called Jamison. It’s the fourth highish-profile planned opening in and around the Pearl District for this year—the area is also expecting Christopher Israel’s Corazon at Southwest 12th Avenue and Washington Street; New York transplant Ken Norris’ long promised fish house, Riffle NW, in the old 50 Plates space at Northwest 13th Avenue and Flanders Street; and the Parish, the EaT: An Oyster Bar’s owners’ second New Orleans-inspired restaurant, at 231 NW 11th Ave. PLAYHOUSE SAVED: The Portland City Council voted unanimously Feb. 29 to overturn the Bureau of Development Services ruling that Portland Playhouse must cease producing theater at its home of three years, a former church in the King neighborhood. The company’s next show, Tarell Alvin McCraney’s In the Red and Brown Water, will open as planned March 31 at the church. LOMPOCALYPSE NOW: WW is counting down the precious few days until the New Old Lompoc on Northwest 23rd Avenue becomes the ground floor of some shitty new yuppieplex. We’ve heard a rumor the last batch of beer, to be called Lompocolypse, will be brewed this week by alum that’ve since scattered. We couldn’t confirm the recipe, and do not wish to start crazy rumors, but what we’ve heard sounds ridiculous and awesome. CONGRATS, ASHLEY: Saturday, March 3, saw 72 teams of food-cart enthusiasts hit the streets of Portland for WW’s second annual Cartathlon. The food-cart-focused scavenger hunt gave the teams four hours to travel around the city’s best street vendors, completing challenges and taking photos, in a race to win free cart food for a year. Congratulations to winning team “Dirty Ashley.” GENERATION SELL: Want to live the Portland dream and open a failing restaurant? We’ve made the process even easier with our patent-pending Portland restaurant concept generator. Now if you’ll excuse us, we’re off to open our new macrobiotic izakaya, Skull & Pickle Pâtisserie.

Willamette Week MARCH 7, 2012 wweek.com

HEADOUT

WILLAMETTE WEEK

WHAT TO DO THIS WEEK IN ARTS & CULTURE

FRIDAY, MARCH 9 NORTHWEST DANCE PROJECT [DANCE] The company stages The Best of Now, a spring show featuring three world-premiere works by Nederlands Dans Theater veteran Patrick Delcroix, Chinese-Canadian choreographer Wen Wei Wang and NWDP artistic director Sarah Slipper. Newmark Theatre, 1111 SW Broadway, 248-4335. 8 pm FridaySaturday. $27-$53. JOHN CARTER [MOVIES] The director of WALL-E has made a movie about a Civil War veteran hopping across Mars like a Space Jam character. At its worst, it’s the most blithely idiosyncratic sci-fi since The Chronicles of Riddick. At its best, it’s what people wanted from the Star Wars prequels. Multiple locations including Roseway Theater, 7229 NE Sandy Blvd., 2822898. Multiple showtimes. $9.

SATURDAY, MARCH 10 BUBBLIN’ [MUSIC] The folks behind the monthly dance parties known as Bubblin’ continue their peerless run of 2012 shows with this bill of all locals. Headlining is Nathan Detroit, a DJ who favors the sounds of deep house, the offshoot electronic genre that still relies on 4/4 beats and the steady repetition of melodic ideas but is shot through with warm, lush undercurrents. Rotture, 315 SE 3rd Ave. 9 pm. $4. 21+.

SUNDAY, MARCH 11 AUSTIN UNBOUND [MOVIES] The Portland Oregon Women’s Film Festival tells the story of a man who knew he was supposed to be a boy ever since he was a little girl. He’s saying all this with his hands—twisting, fluttering and signing a mile a minute—because in addition to being transsexual, the Portlander is also deaf. More of a grainy video love letter than a proper film, it’s still an inspiring, happy-making thing to watch. Hollywood Theatre, 4122 NE Sandy Blvd., 281-4215. 5 pm. $10.

Garrison Keillor was put on Earth to do one thing: tell stories. This Thursday, you have the chance to watch him hone his transfixing craft in Portland, without even having to sit through his dusty Prairie Home Companion skits about private eyes eating cornmeal biscuits. Unfortunately, the cost of admission (not including the actual cost of admission, which starts at $40) is listening to Keillor do another thing. That’s right: Garrison Keillor is going to sing. This is a practice he undertakes often, even though— how do I put this delicately?—he has the voice of an existentially troubled Lutheran toad. Still, it is one of my life precepts that everybody has a song they can sing beautifully, even white men who like to wheeze gospel numbers after sighing meaningfully. In that spirit, here are five songs I would not mind Garrison Keillor singing to me. AARON MESH.

1. “Once in a Lifetime,” Talking Heads Just the spoken part. When he got to the bit about this not being his beautiful wife, I would honestly reconsider a lot of life decisions. 2. “Wave of Mutilation,” The Pixies He could just kind of whisper it, and David Lovering could play the drums a little louder. 3. “Roland the Headless Thompson Gunner,” Warren Zevon Keillor has a dispiriting tendency to arrange every melody as a Protestant hymn; this song already sounds like that, while

still offering our man a rare chance to sing about decapitated mercenaries and growl “that son of a bitch Van Owen.” 4. “Between the Bars,” Elliott Smith People would just be jumping off buildings. 5. “Making Love Out of Nothing at All,” Air Supply This would not go smoothly. But having thought of it, I can’t get the idea out of my mind. It would either be the worst musical performance in human history, or Jesus and the Mahdi would return simultaneously. Or both. I would probably pay $35 for this.

GO: Garrison Keillor performs at the Arlene Schnitzer Concert Hall, 1037 SW Broadway, 228-1353, orsymphony.org. 7:30 pm Thursday, March 8. $40-$125.

ADAM KRUEGER

HE CAN’T SING. BUT MAYBE HE COULD SING THIS?

MONDAY, MARCH 12 SMALLPRESSAPALOOZA [BOOKS] In honor of Small Press Month, Powell’s hosts the fifth Smallpressapalooza, a four-hour marathon of readings by local writers whose works have been published by small presses. Readers include Ryan Chin, Martha Grover, Lisa Wells and more. Powell’s City of Books, 1005 W Burnside St., 2284651. 6 pm. Free. BEN WILLIAMS [MUSIC] With unconfinable young voices like Ben Williams riffing on the pop of their time, not just a musty old canon, jazz is once again tapping contemporary pop energy. The bassist won the prestigious Thelonious Monk International prize in 2009. Jimmy Maks, 221 NW 10th Ave., 295-6542. 7 pm (all ages) and 9 pm (21+). $15-$20. Willamette Week MARCH 7, 2012 wweek.com

CULTURE KIM SCAFURO

OUTDOORS

LAKE AFFRONT OSWEGO LAKE’S BIG SECRET: IT’S PUBLIC AND YOU CAN PADDLE IT. IN FACT, I DID. BY M A RT I N C I Z M A R

mcizmar@wweek.com

Carrying a big green kayak down the sidewalk in Lake Oswego gets attention. “You know you can’t just go in there?” “They’ll ding ya if they catch ya in there!” To hear it described by townsfolk, dropping an unauthorized kayak into the “private” lake in the center of the city could lead to big problems. Perhaps even a dinging. Yet no one left a warming Frappuccino nor an unread USA Today to offer more than tepid caution. Those nice people—and the signs on the ground claiming this is a private lake—are mistaken. You can’t blame them for the confusion, born of an oft-repeated fiction that’s kept Oswego Lake one of the largest “private” lakes in Oregon, even as the state says it’s a public waterway. For 70 years the lake has been operated like a country club, patrolled by floating mall cops pretending to have the authority to keep people out. In truth, anyone can access this waterway from public property. I parked legally on a public street, carried my kayak about 400 yards and plopped it into the lake from a concrete staircase leading down to the water at the cityowned Millennium Plaza Park. One good shove later, I was out on the lake. And I didn’t expect anyone to stop me. Oswego Lake is a natural pool in the Tualatin River. Originally called Sucker Lake, it was surrounded by heavy industry before a clever developer built dams and surrounded the rising waters with ostentatious homes. The water is the backdrop for the wholesome chain shops that constitute downtown Lake Oswego. The Lake Oswego Corporation—a glorified homeowners’ association—owns the land underneath the lake, although the state owns the water. Under an arrangement everyone refers to as “the status quo,” only people with homes on the shores of the 415-acre lake and up to 12,000 other easement holders with stickered watercraft are allowed on it. Even the people who own condos on the water have been told they’re not welcome. The Lake Oswego Corporation is a $2 million operation funded by yearly dues and employing at least six people full-time. (The corporation did not respond to multiple

I’M ON A BOAT: Everybody look at me ’cause I’m sailing on a boat.

A proper public boat ramp at one of the city parks would make things much easier. The Lake Corporation is, as you might expect, intensely opposed to the idea. The public boat ramp idea popped up a few months ago as the city planning commission explored adding ramps to its onshore parks. Things got ugly fast. The controversy landed on The Oregonian’s front page as the Lake Corporation packed several public meetings and sent city hall 700 signed form letters. Last week the bullied planning commission dropped the issue, recommending that the city “cooperate with the Lake Oswego Corporation.” Among those in support of the “status quo” was Lake Oswego School District superintendent Bill Korach, who used a public meeting to make an eloquent speech in favor of unequal rights for his students and two real-estate salespeople who complained the uncertainty was already scaring away buyers. Intel attorney Rose Deggendorf vowed to fight pro bono and offered a doomsday scenario: “Public means public.... It doesn’t mean ‘Lake Oswego public.’ It

“IF THERE WAS AN OCCUPY OSWEGO LAKE, WHAT WOULD HAPPEN? I JUST DON’T KNOW.” —MAYOR JACK HOFFMAN requests for comment over several days.) It takes its duties very seriously, only issuing stickers to boaters who sanitize their crafts, carry at least $500,000 in liability insurance and pass written and practical exams. I have done none of these things. State law requires only that I have a life jacket and a whistle. I brought a Scotty 780—widely considered the world’s best marine safety whistle. Even though two-thirds of Lake Oswego can’t access its defining feature, Mayor Jack Hoffman, surprisingly, says lake access “isn’t a priority” for disenfranchised residents. He’s also not sure what would happen if people started going on the lake without the corporation’s permission. “If there was an Occupy Oswego Lake, what would happen?” he says. “I just don’t know.” The big problem with paddling Oswego Lake is that getting your boat to the water from a public park is a hassle. 24

Willamette Week MARCH 7, 2012 wweek.com

means when the guy from Arkansas comes up and wants to have a kegger on the water.” In lonely opposition stood Michael Blumm, a Lewis & Clark law professor who tried to point out that arguments about water quality, overcrowding and property values are beside the point. Blumm says the city has a legal duty to pursue opening up the lake to its citizens. In response, he was “booed by 200 people” at the meeting. “The lake is a publicly owned, public trust resource and there is public access to the lake from the shoreline around Oswego Lake,” he said. “Lakebed ownership is irrelevant.” “Booooo,” they said. Blumm isn’t floating any weird legal theories. In April 2005, Oregon’s attorney general issued an opinion saying the lake was public. Last week, a spokesman for the office confirmed that the attorney general’s “opinion has not changed.”

According to Oregon’s top court, a natural waterway is public so long as it has “the capacity, in terms of length, width and depth, to enable boats to make successful progress through its waters.” I have made successful progress through Oswego Lake, paddling across two bays in about a half-hour. I said hello to a woman eating her breakfast dockside and waved to a man in a sportcoat who did not wave back. I was otherwise alone—until I neared shore and a speeding white-andblack motorboat came up fast, making me wonder if someone at Starbucks called the Lake Patrol. Fortunately, I knew the cops weren’t driving the speedboat. A spokesman for the Lake Oswego city police says he can’t recall the department ever issuing a citation to someone for being on the lake. Also, the police department doesn’t have a boat. The craft also wasn’t the Clackamas County Sheriff’s Office marine patrol, which has jurisdiction over the lake. The office has no intention of stopping anyone—except perhaps an overzealous private patroller. “The water itself is a public waterway and at no point will the Clackamas County Sheriff’s Office arrest, or charge someone with trespass, for being on a public waterway,” says Sgt. James Rhodes. “The lake is not private property. And regardless of who calls or asks, no, we would not arrest someone for trespassing on the lake.” Maybe the boat belonged to the Lake Oswego Corporation patrol? I wasn’t worried about that either, since I’d asked the sheriff’s office what it would do if the patrol detained me. “I would encourage them not to do that,” Rhodes says. “They have no authority.... If they went out in the middle of the lake and stopped somebody for trespassing and called us, we would come settle the problem but it would not result in someone going to jail, unless it was perhaps somebody making an unlawful arrest.” As it turns out, it was just a family out for brunch. I told the driver he’s the first person I’ve seen out on an unseasonably warm and sunny Sunday morning. Crazy, right? “I know,” he yells over his idling motor. “They’re spoiled!”

FOOD & DRINK

Brewers Dinner with Natian Brewing at Aquariva

Aquariva is teaming up with local nanobrewery Natian for a four-course beerpairing dinner. Natian Brewery owner Ian McGuinness will be on hand to pour his ales alongside dishes like corn-andbacon bisque, sautéed Monterey squid and chocolate-braised rabbit. Aquariva, 0470 SW Hamilton Court, 802-5850. 7 pm. $45 per person. 21+.

Domaine Drouhin Oregon and Maison Joseph Drouhin Dinner at the Heathman

Laurent Drouhin, of France’s Maison Joseph Drouhin, and Oregon Burgundian wine OG Domaine Drouhin, is hosting a wine dinner at the Heathman. Wines (mostly 2008s) from both will be served alongside dishes like Quinault Pride razor clams, muscovy duck and braised beef cheeks. Heathman Hotel, 1001 SW Broadway, 241-4100. 6:30 pm. $175 per person. 21+.

THURSDAY, MARCH 8 Savor Cannon Beach Wine and Culinary Festival

I can think of worse excuses to get out of miserable Portland than a weekend on the coast drinking wine and eating cheese and chocolate. In addition to the festival’s official schedule—which includes a Washington versus Oregon wine throwdown, wine tours and a wineand-cheese pairing seminar, plenty of restaurants, galleries and other businesses around Cannon Beach will be also running special dinners and events. See the full schedule and get tickets at savorcannonbeach.com. ThursdaySunday, March 8-11. $99.

Salty’s on the Columbia Crab and Prawn Boil

Salty’s is going to be broiling up some decapod crustaceans out on the waterfront, for a $34.99-per-head meal that includes 1 1/2 pounds of crab and prawns, freshly baked bread, seafood chowder, Caesar salad and a pint of Widmer Hefeweizen. That’s a lot of bottom-feeding seafood for your buck. Salty’s on the Columbia, 3839 NE Marine Drive, 505-9986. 5-8 pm. $34.99.

W W P H OTO I L L U S T R AT I O N

PILS OFF

PINING FOR OREGON’S BEST PILSNER. BY M ARTI N CIZMA R

mcizmar@wweek.com

The Pilsner was created after the pissed-off townsfolk in the beer’s namesake village dumped their skunky suds down the gutter— or so the legend goes. The Czechs then built a new brewery and hired a German brewmaster, who brought his land’s then-novel bottomfermenting yeast to a mash of pale barley and Saaz hops. The blond lager was born. Today, some 19 of 20 pints poured around the world are descendants of a concoction created to quiet angry Bohemians in 1842. Considering pale lagers like Budweiser, Heineken, Corona and Labatt Blue are all cousins, some beer drinkers have never had anything other than a bastardized Pilsner. There are several thousand commercial beers made in Oregon every year, yet you can count the number of Pilsners on one hand. Why? “Pilsners are more difficult and expensive to brew and don’t sell as well,” says local beer blogger Ezra Johnson- Greenough. “Being a lighter beer, there are not caramel or roasted malts or hops to hide flaws in production. To make things more difficult, a well-made Pils is lagered for six to eight weeks when most breweries are turning around an ale in two weeks or less.” There’s also a bit of a stigma about Pilsners, says Kris McDowell, who works on Brewvana’s Portland brewery tours. “There just are not a lot of places turning out German beers,” she says. “I think there is some aversion based on macro products... Although it’s not fair to compare apples to oranges, there may be some spillover.” Oregon does brew some great Pilsners, though. We were only able to track down six beers called Pilsners in their name or description—some breweries also offer Pils as a summer seasonal—four bottled and two poured from taps into growlers. A team of six tasters began by sampling a can of Pilsner Urquell, the original Czech pale lager that birthed the style. Because growler beers aren’t as carbonated, we tasted everything before putting the three best through a blind taste-off to pick the best.

  



 







Rogue Good Chit Pilsner

Hopworks’ Pilsner-style lager is a little lighter than apple juice in color, with some malty sweetness with a quick, clean hoppiness thanks to wholeflower Czech Saaz hops. Although it’s currently only on tap at the brewery and local restaurants, this beer will soon be out in cans. Comments: “Really earthy—a strong herbal taste.” “It’s a little acidic—there’s more going on here—it has a nice refreshing flavor.” “There’s maybe a touch of lime on the nose? It’s refreshing.”

Made with barley and hops grown on Rogue’s farm, this brew tasted too watery for us, though it would pair well with some foods. Comments: “For some reason, it makes me really want a cheeseburger.” “There’s no hops on the nose at all—it just smells watery.” “Tastes a little watery too, but it has some nice lingering carbonation.”

ALSO RECOMMENDED:

1922 United Way, Medford 776-9898, sobrewing.com

2944 SE Powell Blvd. 232-4677, hopworksbeer.com

748 SW Bay Blvd., Newport 265-3188, rogue.com

Heater Allen Pils

907 NE 10th Ave., McMinnville 472-4898, heaterallen.com A sweeter, maltier Pils that’s robust and a pale daisy yellow in color, but with definite hoppiness. Comments: “It’s a little too bitter up front.” “It’s not too bitter for me, but it’s a little bitter in the nose.”

Upright Brewing Engelberg Pilsener

Southern Oregon Brewing Na Zdravi Czech-style Pilsner The color of apple juice and very sweet; the Saaz hops are lost in this brew made with Budvar yeast. Comments: “It has no aftertaste whatsoever. It’s a little like Rainier—but much more expensive.” “It’s kind of like drinking Martinelli’s cider.”

NOT RECOMMENDED: Seven Brides Brewing Lil’s Pils

990 N 1st St., Silverton 874-4677, sevenbridesbrewing.com

240 N Broadway 735-5337, uprightbrewing.com

An unfiltered Pils that’s very dry and a very light straw color. It’s a little more hoppy than most Pilsners and doesn’t have the prized squeakyclean finish. Comments: “Very dry—lots of hop aroma. I like that better than Pilsner Urquell.” “It has a resin-y finish, it sticks with you, which I do not like as well.”

We may have had a bad bottle of this dark Pilsner—this beer had a sour-milk flavor that led several tasters to spit it out. Comments: “This tastes like a Pilsner by way of a Farmhouse Ale.” “They’re going for something here—they just don’t get there.” “There’s something funky going on here. I think this might be a bad bottle.”

NOW SERVING BRUNCH. Along with our regular menu

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= 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.

Only $13. Unbelievable! 503.654.4423 • 10605 SE Main St. Milwaukie, OR www.CanbyAsparagusFarm.com Delivery & Shipping Available Willamette Week MARCH 7, 2012 wweek.com

Willamette Week MARCH 7, 2012 wweek.com

MUSIC

MARCH 7-13 PROFILE

= WW Pick. Highly recommended.

TA R I N A W E S T L U N D

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, MARCH 7 Spellcaster, Last Empire, Excruciator, Tanagra

[THRASH METAL] Though every member of Spellcaster was born after 1984, the band’s promo picture and music operates like a time machine set to the very heyday of thrash. There is simply no other metal act in town that brings this kind of hungry prowess and entertainment to the stage. While most locals concentrate on following a personal muse and sloppily staking a claim on originality, Spellcaster weaves all its magic into perfecting a reverent blend of Metallica, Exodus, Maiden and Priest into crafty entertainment that succeeds on every level. Perhaps a few years down the road, the band will combine its fantastic abilities with a signature sound. Until then, defend the faith! NATHAN CARSON. Ash Street Saloon, 225 SW Ash St., 226-0430. 9:30 pm. $5. 21+.

Crocodiles, Bleeding Rainbow

[TRASHY SUN POP] It makes sense that San Diego’s Crocodiles got their first national shout-out from the noisepop duo No Age. It was No Age, you’ll recall, that first included the Crocodiles’ single “Neon Jesus” on a year-end best-of list, presumably after discovering the band while searching to find out who had been buying up all of Southern California’s overdrive pedals. Crocodiles play guitar pop that sounds like it’s coming from a set of blown speakers placed at the bottom of the ocean. The group plays at My Bloody Valentine levels of volume to create a sort of skull-rattling, postpunk narcotic. Endless Flowers, Crocodiles’ third album, is currently haunting the horizon like a buzzing behemoth, occasionally emitting advance singles that promise a tightened reiteration of the group’s ethos. SHANE DANAHER. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $10 advance, $12 day of show. 21+.

Wild Combination: Operative, Goodnight Billygoat

AUTUMN ANDEL

[MULTIMEDIA] Portland’s Research Club is a group that connects members of the arts community through a monthly brunch—and now a night under the name Wild Combination. The evening will feature multiple art

disciplines, including theatrical performances, animation and music from experimental pop act Goodnight Billygoat. Then there’s the stark-raving electronic wizardry of Operative, a local trio that walks a pulsating line between minimalism and complexity with its music, crafting analog beats that escalate in intensity and volume until its songs are not only heard, but physically felt. NILINA MASON-CAMPBELL. Holocene, 1001 SE Morrison St., 2397639. 8:30 pm. $5. 21+.

Punch Brothers

[GREENWOOD BLUEGRASS] The string combo of choice among coastal tastemakers since well before its mandolin take on Radiohead’s Kid A sparked Google mining, the Punch Brothers’ just-released third album, Who’s Feeling Young Now?, sees Chris Thile’s former backing band indulging pop songcraft and chafing against the strictures of bluegrass traditions. Archival presentation has never done folk idioms any favors, of course, and the modern-day heirs— red-state bluegrass begins and ends with Taylor Swift’s prop banjo—seem eager to escape the taint of insularity and deprivation. No reason in the world why Punch Brothers need tiptoe around genre conventions, but why embrace a sound so unshakably redolent of disparate cultural signifiers, save exploiting unkind pomo smirk or unwon emotive depths? One shouldn’t solemnify First World problems through pre-ironic pickin’ palate just because there’s an App(alachia) for that. JAY HORTON. Wonder Ballroom, 128 NE Russell St., 284-8686. 8 pm. $24. Minors must be accompanied by a parent. All ages.

FRIDAY, MARCH 9 Andrew Jackson Jihad, Laura Stevenson and the Cans, Roar, Kind of Like Spitting

[WIDE-EYED WONDER] Eat a bland but hearty meal before the show tonight—you’ll need some sawdust in the tummy to soak up all of this sugary tunage. I’m not hating, just saying. Headliner Andrew Jackson Jihad’s conversational pop-punk-folk finds John Darnielle’s specter tempering early

CONT. on page 29

TOP FIVE LOCAL FESTIVALS TO PLAN YOUR 2012 BY. Soul’d Out Music Festival, April 12-25 We’re excited about: Dr. Lonnie Smith, who absolutely killed last year’s fest; the mighty Maze; French electro-geniuses Justice. Waterfront Blues Festival, July 4-8 We’re hoping for: A star-studded tribute to Etta James. PDX Pop Now!, July 20-22 We’re hoping for: Another great showing from Radiation City; Lifesavas, or at least Vursatyl; a headlining set from Red Fang; the PDX pop debut of the Doo Doo Funk All-Stars; lots of young bands we’ve never heard. Pickathon, August 3-5 We’re excited about: The incomparable Neko Case, a legend in her own time; the twangy, trippy sounds of Phosphorescent; Canadian rock duo Handsome Furs; a host of intriguing international bands. MusicfestNW 2012, Sept. 5-9 We’re hoping for: An all-out Pioneer Place dance party and warm weather.

THREE’S COMPANY THE ALIALUJAH CHOIR FINALLY GETS IT TOGETHER. BY MATTH EW SIN GER

243-2122

It began with a song for a graveyard. In 2008, Weinland’s Adam Shearer was asked to contribute to a compilation album benefiting Lone Fir Cemetery. He called up Adam Selzer of Norfolk and Western, and together the pair recorded the sparse, haunting “A House, a Home.” It was such a departure from the layered, instrument-heavy work of their main projects that they decided, immediately after hearing playback of the final mix, it should become something more. So they texted singer Alia Farah, asking if she wanted to be in a band. It was 1 am. “Part of me was like, ‘This sounds too awesome, I don’t think anything is going to come of it,’” she says. It took four years, but something has come of it: The Alialujah Choir, the Portland folk-pop supergroup’s self-titled debut, featuring 10 tracks following the bare-bones template set by that first song, of minimal instrumentation framed around goosebump-raising three-part harmonies. At Muddy’s on North Mississippi Avenue, the band discussed Led Zeppelin and the angst of writing lyrics for such an intimate arrangement. WW: What attracted you to this project? Adam Shearer: With Weinland and Norfolk and Western, if you were to look through the liner notes on the albums and see the instruments that were on the tracks, there’s going to be more than, like, 30 different instruments. You’ll never find a song with less than six people playing on it. So it feels really good to go in the other direction a little bit. I’m always asking Adam about recording and why things sound the way they do, and I had this moment where I was like, “What the hell? Why is it, when you listen to an old three-piece, or like Led Zeppelin, it just sounds huge, and we’ve got this five-piece band with monster musicians in it and it sounds so much smaller?” Sometimes, less is not only more, it’s way fucking more.

Adam Selzer: Things always sound better when they’re not competing with something else. Does writing lyrics that everyone else in the group will sing make you feel more accountable for what you write? Alia Farah: I felt that way, definitely. Coming into this, I respected [Shearer and Selzer] greatly for the songwriting they’d already done, so when I was first bringing songs to the group, it was intimidating. We were all really honest with each other with all of our songs right from the beginning. We wouldn’t hesitate to be like, “Oh, that sounds too musical theater for this group.” It definitely made you think in a different way before you wrote. What’s everyone’s favorite song on the record? Selzer: I like “Way Too Soon.” It’s super sparse. And it’s so immediate, too. It was written and recorded within a day. Farah: Mine is “Looking for a Gesture.” It has really tight harmonies all the way through it, and it’s one of the “boppers” on the album, as I get made fun of for calling it. Shearer: My favorite is “A House, a Home,” just because that song feels bigger than the band. It’s one of those ones you listen to after the fact and you’re like, “I don’t actually know how we did that, and I don’t think we could do it again.” Do you still consider this a side project? Shearer: A lot of times, just because Weinland was more busy the last couple years, I controlled the tempo of things a little bit. Out of respect for the other guys [in Weinland], I would make a concerted effort to respect the history of that project by not letting this project become too consuming. At this point, I feel like it’s carrying its own weight. It’s been cool to watch it come out on its own. Our rule is, we don’t let it become anything other than just making music together. But if it becomes something more because people respond to it, then that’s awesome. SEE IT: The Alialujah Choir plays Doug Fir Lounge, 830 E Burnside St., on Friday, March 9, with Ryan Sollee, Mike Coykendall & Carlos Forster Duo, and Shelley Short. 9 pm. $10. 21+. Willamette Week MARCH 7, 2012 wweek.com

m cm enami ns m u s i c

CRYSTAL

THE

The historic

MISSION THEATER

1624 N.W. Glisan • Portland 503-223-4527

LIVE STAGE & BIG SCREEN!

14th and W. Burnside

80s VIDEO LeAves RusseLL DANCE ATTACK

A BENEFIT FOR THE OREGON FOOD BANK

WEDNESDAY, MARCH 7

THE NUTMEGGERS FREE

THURSDAY, MARCH 8 5:30 p.m. is “EAGLE TimE” • FREE

MARCH 9 TAshA FLynn FRIDAY, BAnd LOLA’S ROOM

WILL WEST & TANNER CUNDY

GABBY HOLT • THE SALE WIZARD BOOTS

Saturday, March 24

FREE

9 PM $5 21+OVER

FRIDAY, MARCH 9

TICKETS INCLUDE 7:45PM MEET AND GREET AND SHOW AT 9PM.

5:30 p.m. is “EAGLE TimE” • FREE

WITH VJ KITTYROX

REVERB BROTHERS

VALERI LOPEZ • EARLY HOURS REDWOOD SON

STG PRESENTS

NEEDTOBREATHE:

Friday, March 9

Portlandia also Friday Night TV Party

SATURDAY, MARCH 10

THE RECKONING 2012 TOUR

5:30 p.m. is “EAGLE TimE” • FREE

THE STUDENT LOAN

Saturday, March 10

MONOLITHS • BEES THE SCHILLS

Miz Kitty’s Parlour

Wednesday, March 14

SUNDAY, MARCH 11

Think & Drink Series

OPEN MIC/SINGER SONGWRITER SHOWCASE

WITH SPECIAL GUEST

BEN RECTOR

282-6810

CRYSTAL BALLROOM

THUR MAR 8 21 & over • lola's room

C O

836 N RUSSELL • PORTLAND, OR • (503)

HOTEL & BALLROOM

JusT Lions

FRI MAR 9 ALL AGES

Friday, March 16

Arctic Man: The Movie

FEATURING PORTLAND’S FINEST TALENT 6:30 P.M. SIGN-UP; 7 P.M. MUSIC· FREE

Thursday and Friday, March 29 & 30

MONDAY, MARCH 12

THUR MAR 15 ALL AGES

JOSH AND MER SHADOWS ON STARS KING CLIFTON

St. Patrick’s Day Celebration!

Back Fence PDX Storytelling

FREE

Thursday, April 19

TUESDAY, MARCH 13

PDX Jazz: The Bridge Quartet: Crossing Into The Monkasphere

MILC WITH PK THUNDER TRAVELLING SOLS KIMOSABE FREE

Saturday, April 28

MUSIC AT 8:30 P.M. MON-THUR 9:30 P.M. FRI & SAT

Saturday, May 19

Moshe Kasher

Corey Henry

FRI MAR 16 21 & OVER ALADDIN THEATER PRESENTS

Ashleigh Flynn River City Pipe Band

FRI MAR 30

Carolina ALL AGES Chocolate Drops

PDX Jazz: David Friesen & Glen Moore: Bass on Top Call our movie hotline to find out what’s playing this week!

SAT MAR 17 21 & OVER

FREE LIVE MUSIC nIghtLy · 7 PM 3/7-10

HANZ ARAKI

DJ’S · 10:30 PM

3/11-17

3/9 DJ Drew

ASHER FULERO

Groove 3/10 DJ Mikey MAC!

Ballroom: 1332 W. Burnside · (503) 225-0047 · Hotel: 303 S.W. 12th Ave · (503) 972-2670

CASCADE TICKETS

cascadetickets.com 1-855-CAS-TIXX

outlets: crystal ballroom box office, bagdad theater, edgefield, east 19th st. café (eugene)

Willamette Week MARCH 7, 2012 wweek.com

ELSEWHERE

Find us on

Rock Creek Tavern

3/7

BILLY D Soul + blues 7 p.m.

DOORS 8pm MUSIC 9pm UNLESS NOTED

CRYSTAL HOTEL & BALLROOM

Patrick Watson

Thursday, June 21

McMenamins music & events on your mobile

& Leprechauns!

DANCEONAIR.COM

HOTEL

Back Fence PDX

Tuesday, June 12

Bookmark this!

let’s dance for harper 3/21 drive-by truckers 3/23 of montreal 3/29 progressive dinner 3/31 jai ho!-lola’s 4/7 mark & brian 4/11 gotye-sold out! 4/15 rachel maddow 4/18 & 19 jeff mangum 4/22 shook twins (gnwmt) 4/23 the naked & the famous 4/25 esperanza spalding 5/2 snow patrol 5/4 wild flag 5/11 X 5/25 trampled by turtles

at CRYSTAL

Thursday, May 24

ALADDIN THEATER PRESENTS SAT MAR 31 ALL AGES

3/14

AL’S DEn

PDXJazz Amina Figarova Sixtet

(UNLESS OTHERWISE NOTED)

sat mar 24 (of Rebirth Brass Band) all ages

3/9

Edgefield Winery

ERIC TWEED Blues + poetic pop 7 p.m.

3/12

Rock Creek Tavern

BOB SHOEMAKER

Blues slide + fingerpicking • 7 p.m.

(503) 249-7474

Event and movie info at mcmenamins.com/mission

M CM E N A M I N S

3/8

Chapel Pub

STEVE KERIN Church organ + pop music 8 p.m.

3/10

Grand Lodge

SUCCOTASH Old time + Americana 7 p.m.

3/13

Edgefield Winery

CALEB KLAUDER & SAMMY LIND Mandolin + fiddle • 7 p.m.

MUSIC

friendly. sounds great. best burger. independent. musician-owned /operated

VA N E S S A H E I N S

FRIDAY-SUNDAY

503.288.3895 3939 N. Mississippi

info@mississippistudios.com

British four-piece rock band embracing big riffs and melodies, creating a buzz with their new album, Baby

TRIBES

+YOUTHBITCH

WED MARCH 7th

$8 Adv

Electro 80’s dance grooves from booty shaking funk stars

JUNO WHAT?!

Jack Daniels presents

PRIORY +CAMPFIRE OK THUR MARCH 8th

$5 Adv

The Oregonian presents A&E Live

DARRELL GRANT

SUSPICIOUS MINDS: Memoryhouse plays Doug Fir on Sunday, March 11. Against Me’s rudimentary intensity with nerdy navel-gazing, while fellow Phoenicians Roar pick flowers planted by Elephant 6 naifs of yore. Laura Stevenson and the Cans fit snug as a bug between the aforementioned cuties, with a frolicsome approach to melancholy vibes that is rather affecting despite the occasional whiff of new-car commercial smell. Prediction: Tonight’s teenagers will sway and sing their hearts out. CHRIS STAMM. Backspace, 115 NW 5th Ave., 248-2900. 7:30 pm. $12. All ages.

Jay Farrar, Will Johnson, Anders Parker & Jim James with Sarah Jaffe (Woody Guthrie tribute)

[WHAT WOULD WOODY DO?] The New Multitudes isn’t the first batch of Woody Guthrie lyrics to be set to music—Billy Bragg and Wilco released two albums’ worth of the folk legend’s tunes in the late ’90s/early aughts—but it’s a pretty interesting one. Early on in the disc, when a song about Guthrie’s desire for a radical girlfriend (“Ease My Revolutionary Mind”) is followed by a song about venereal diseases let loose upon the world (“V.D. City”), one starts to see that the lyrics here were among Guthrie’s most outlandish and freeflowing. They grow stranger still thanks to the notable alt-countryish idols—Jay Farrar (Son Volt), Will Johnson (Centro-matic), Jim James (My Morning Jacket) and Anders Parker (Varnaline)—responsible for turning them into tunes. Guthrie is an American legend whom most Americans barely know, save for a couple of cleaned-up tunes we learned in grade school or outdoor camp. This project, if nothing else, does a nice job of painting a more complete portrait of a complex figure. And it gets around to rocking pretty hard, too. Still, if there’s not a full-cast “This Land Is Your Land” encore, we’re going to be just a touch disappointed. Doug Fir Lounge, 830 E Burnside St., 2319663. 9 pm. $10. 21+.

The Alialujah Choir, Ryan Sollee, Mike Coykendall & Carlos Forster Duo, Shelley Short

See music feature, page 27. Doug Fir Lounge, 830 E Burnside St., 2319663. 9 pm. $10. 21+.

Big Monti and His Precious Darlings (9 pm); Hamdogs (6 pm)

[BLUES ROCK] Big guy, big voice, big guitar. Monti Amundson hit the Portland scene in the early ’90s with his band the Blubinos, with others following. The guitarist has always beefed up the repertoire with rootsrock originals, instead of going

for the “oh look, I’m Stevie Ray Vaughan” approach of too many trios. His vocals are clear and rich instead of throaty and overeager. Amundson gets a sound from his Strat that is simultaneously round and cutting; he’s also an accomplished slide guitarist. Amundson’s most recent album, The Songwriter, is appropriately titled: He’s focusing on adding craft to his chops. DAN DEPREZ. Duff’s Garage, 1635 SE 7th Ave., 234-2337. 6 pm. $2. 21+.

The Aggrolites, Mike Pinto Band, The Sentiments

[TOUGH GONGS] Think modern reggae is nothing but the soundtrack for arts-and-crafts fairs and organic food stores? Well, the Aggrolites don’t look like the kind of dudes who eat much granola. These five tattooed tough guys cut their teeth in Los Angeles backing oldschool heavies like Derrick Morgan, and on their own records revive the grit and soul of Toots and the Maytals circa Funky Kingston. It’s what they call “dirty reggae”: raw, street-level rocksteady slapped with heavy doses of punk edge and rhythmic funk. On last year’s Rugged Road, the band leaned more in a dub direction, with gruffly soulful frontman Jesse Wagner experimenting with a Junior Murvinish falsetto. And it was still tough as hell. MATTHEW SINGER. Hawthorne Theatre, 3862 SE Hawthorne Blvd., 233-7100. 8 pm. $13 advance, $15 day of show. 21+.

Caspa

[DUBSTEP KINGPIN] The title of the 2009 album by London-based dubstep icon Caspa is one that still fairly well sums up the current cultural consensus about this genre: Everybody’s Talking, Nobody’s Listening. Those who are listening are listening to Caspa and raving about what he’s done for the scene for the past eight years. The young producer heads up two record labels (Dub Police and Sub Soldiers) and legitimized the sound via the 2007 mix he made for the venerable FabricLive series. Of course, his own tracks haven’t hurt his reputation. Classics like “Rubber Chicken” and “Floor Dem” emphasize the reggae roots of his chosen style with cantering bass lines and echo-heavy beats. ROBERT HAM. Roseland Theater, 8 NW 6th Ave., 224-2038. 9 pm. $20. All ages.

Diesto, Dwellers, Aerial Ruin

[DESERT ROCK] Dwellers is a rock trio from Salt Lake City—a region where such stony emanations seem unexpected. While the group is a newer formation, its combined years of experience led the Small Stone

label to release the band’s Good Morning Harakiri disc in record time. Guitarist Joey Toscano has been slinging his six-string around Utah for over a decade, and drummer Zach Hatsis won some major accolades for his work on 2011 Subrosa album No Help for the Mighty Ones. Perfect local complement is another “D is for Desert” band, Diesto. Trudging along well into its second decade, the quartet casts a dry spell on the sopping rain forests of Cascadia. NATHAN CARSON. The Know, 2026 NE Alberta St., 4738729. 8 pm. Cover. 21+.

SATURDAY, MARCH 10 No Evidence of Disease

[MUSICAL GYNECOLOGY, OR GYNECOLOGIC MUSICOLOGY?] The soft-rock inspirational tunes of N.E.D. aren’t necessarily groundbreaking—but on the other hand, the group saves lives for a living. While the six members are seasoned musicians in their own right, they are also practicing gynecologic oncologists from across the country. The band originally came together to play at a medical conference and quickly realized the possibilities of using music to raise awareness about gynecological cancers and women’s health. Now N.E.D. is a full-fledged band with an EP, a full-length album, rising acclaim and a powerful message. Plus, all of its proceeds go directly toward the Portland nonprofit Marjie’s Fund, which is dedicated to expanding knowledge and research of gynecological cancers. As you can imagine, with the busy day jobs and all, it may be a while before the group performs in Portland again. EMILEE BOOHER. Aladdin Theater, 3017 SE Milwaukie Ave., 234-9694. 8 pm. $25. Minors must be accompanied by a parent. All ages.

Nether Regions, Lord Dying, Sloths, Grenades

[METAL] On an especially punishing night during last year’s MusicfestNW, relative newcomer Nether Regions was handed the unenviable task of taking the stage ahead of Witch Mountain, Black Cobra and Kylesa. That’s a daunting triumvirate of metal warriors right there, but Nether Regions’ sweaty performance betrayed not a trace of callow hesitation. Early arrivals were treated to a thunder-stealing display, as Nether Regions ranged and raged through a dynamic set of songs that were just stoned enough to find a groove before hitting something harder and trip-

CONT. on page 31

MARIA CHOBAN +JENNY CONLEE

SAT MARCH 10th FRI MARCH 9th

$13 Adv

Islands return with a uniquely beautiful and personal new album, A Sleep & A Forgetting

ISLANDS

MRS w/ DJ BEYONDA

Partially seated only 200 tix avail

10pm - 2am

SAT MARCH 10th

FREE

$5 Adv

+IDIOT GLEE

SUN MARCH 11th

$13 Adv

Mississippi Studios & Star Theater present

HUGH GLEN MATLOCK

Heartfelt and homespun folk of swelling strings and gorgeous vocals

of The Sex Pistols CORNWELL of The Stranglers +MASSIVE MOTH

The

LOWER 48

@ STAR THEATER (13 NW 6th Ave) Only 200 tix are available

SUN MARCH 11th

$12 Adv

JOHN HEART JACKIE +ALINA HARDIN

WED MARCH 14th

$6 Adv

Sensitive and stark acoustics form a voluminous grandeur, angel-voiced ruminations making for gentle folk songs that shine

Mississippi Studios & Star Theater present

WILLIAM

FITZSIMMONS

BRAINSTORM SUN ANGLE +ADVENTURES! WITH MIGHT THURS MARCH 15th $5 Adv

BABY KETTEN KARAOKE ST. PATRICK’S DAY

+DENISON WITMER FRI MARCH 16th

$17 Adv

PDX / RX presents: buoyant and globe-trotting indie-pop from local favorites

ANIMAL EYES +FANNO CREEK

SAT MARCH 17th

FREE

SUN MARCH 18th

FREE

Coming Soon: 3/20 - THE BROTHERS OF THE BALADI 3/21 - DUSTIN WONG (of Ponytail) 3/22 - LONEY DEAR 3/23 - MICHAEL GIRA (of Swans) 3/23 - OF MONTREAL (@ Crystal Ballroom) 3/24 - PLANTS & ANIMALS 3/25 - GUSTAFER YELLOW GOLD (early) 3/25 - LOCH LOMOND (Late)

3/26 - HOWLER 3/27 - MARCUS FOSTER 3/28 - TERROR PIGEON DANCE REVOLT 3/29 - YACHT 3/30 - THE LUMINEERS 3/31 - DREW GROW & THE PASTOR’S WIVES 4/1 - ABIGAIL WASHBURN

Scan this for show info

& free music

www.mississippistudios.com Willamette Week MARCH 7, 2012 wweek.com

Willamette Week MARCH 7, 2012 wweek.com

SATURDAY

Violet Isle, Tango Alpha Tango, The Dimes

[HOOK HEAVEN] Portland is home to so much musical creativity that sometimes it can be refreshing to come across a homegrown act that follows an age-old formula. In this case, the mode is pop rock, something Violet Isle excels at. From 2010’s I Am Ivy to current material that will make up a release set for sometime in March, the quintet’s catalog has remained consistently infectious. That’s not to say Sean Garcia and company aren’t subject to lengthy lapses of gummy, linear musical prose. But VI offers just enough crests to outnumber the troughs, making it game for some real offers from labels when it packs up for SXSW after tonight’s show. MARK STOCK. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $8 advance, $10 day of show. 21+.

Jake Oken-Berg, Justin Jude

[SINGER-SONGWRITER] It’s funny how slight the difference is between a great voice and an unlistenably sappy one. Justin Jude stays on the right side of the line on his new EP 5 Kinds of Rain—he reminds me a touch of Paul Simon and a little of Rufus Wainwright—but it’s easy to hear, in his most gut-wrenching moments, how he could teeter over the edge. The disc is undeniably pretty and well-recorded, even if Jude’s heartfelt lyrics could occasionally use an editor (“Rose City/ Coffee and beer/ Everyone’s queer/ And has no fear”). Those close calls kind of come with the territory of lovesick, confessional songwriting, though, and Jimmy Mak’s should be just the intimate sort of setting that fits Jude best. CASEY JARMAN. Jimmy Mak’s, 221 NW 10th Ave. 8 pm. $12. 21+.

Bubblin’: Nathan Detroit, Spekt1, Lincolnup, Ben Tactic

[SOULFUL DANCE PARTY] The folks behind the monthly dance parties known as Bubblin’ continue their peerless run of 2012 shows with this bill of all locals. Headlining is Nathan Detroit, a DJ who favors the sounds of deep house, the offshoot electronic genre that still relies on 4/4 beats and the steady repetition of melodic ideas but is shot through with warm, lush undercurrents. He’s preceded by producer-DJ SPEKt1. This hometown cat sticks to the glitchier side of the fence with mixes that stutter and wobble while still maintaining a relentless and funky groove. ROBERT HAM. Rotture, 315 SE 3rd Ave., 234-5683. 9 pm. $4. 21+.

CONT. on page 33

Present that night’s show ticket and get $3 off any menu item Sun - Thur in the dining room

PROFILE

Riding the Low, Wolfman Fairies, Barnaby Woods

[GUIDED BY ROCK] It has been three years since UK outfit Riding the Low released its promising, Robert Pollard-influenced They Will Rob You of Your Gifts EP. The hiatus is partially explained by frontman Paddy Considine’s film career, which has seen him taking roles in movies like Hot Fuzz and The Bourne Ultimatum as well as directing BAFTA-winning short Dog Altogether. Understandably wary of the “actor/musician” tag, Considine is quick to note that he’s been playing in Pavement-cribbing rock bands longer than he’s been acting. For this one-off Portland show, Considine will play with an impressive list of Portlanders that are helping him record a new album, including members of Guided By Voices, the Decemberists, Sunset Valley and Dharma Bums. We’re expecting big things from the new material that debuts tonight. CASEY JARMAN. Dante’s, 350 W Burnside St. 9 pm. $7 advance, $8 day of show. 9 pm. 21+.

MAKE IT A NIGHT

NIC SCHONFELD

ping into malevolent overdrive. The band played as if the house were packed. It wasn’t, but it should’ve been. CHRIS STAMM. Backspace, 115 NW 5th Ave., 248-2900. 7:30 pm. $6. All ages.

MUSIC

DOUG FIR RESTAURANT + BAR OPEN 7AM - 2:30AM EVERYDAY SERVING BREAKFAST, LUNCH, DINNER, LATE-NIGHT. FOOD SPECIALS 3-6 PM EVERYDAY COVERED SMOKING PATIO, FIREPLACE ROOM, LOTS OF LOG. LIVE SHOWS IN THE LOUNGE... POST-PUNK NOISE REVIVAL FROM SAN DIEGO

BURGEONING FOLK-ROCK FROM UK DUO

THURSDAY!

SLOW

WEDNESDAY!

THE TWILIGHT SAD SUNDAY, MARCH 11 [ROCK] The Twilight Sad is extremely loud in concert. Andy MacFarlane crafts intense walls of sound on the band’s records and James Graham writes mysterious, haunting lyrics that touch on childhood traumas and broken relationships, but the Twilight Sad is best known for something it has little control over. “I’ve definitely been called Groundskeeper Willie a few times,” singer James Graham says by phone from his home in Kilsyth, Scotland. “But there’s nothing I can do about it. All the songs are about personal things and [about] where I’m from, so it would be unnatural to sing the songs in a different way. A lot of British bands sing in an American accent, and that’s cool, but I think you should not be afraid to be yourself in your songs.” The Twilight Sad has never really had a problem being itself on record. The group—a base trio of Graham, guitarist MacFarlane and drummer Mark Devine is joined by touring members—started out with a blog-hyped 2007 debut, Fourteen Autumns & Fifteen Winters. Over MacFarlane’s epic compositions and Devine’s cymbal-heavy drumming, Graham’s lyrics spoke of a shattered childhood in broad strokes (“A strong father figure/ And with a heart of gold/ A loving mother/ They’re standing outside/ And they’re looking in/ Kids are on fire in the bedroom”); the combination made for a rich, shockingly good rock record. But while the music sounded fully formed from the get-go, Graham says the live band was anything but. “We did two gigs in two years, and then Fat Cat records signed us and sent us off to America to mix our record. We had a residency every Sunday in New York City and we hadn’t even played, like, Edinburgh yet,” he says, laughing nervously as he recalls being intimidated by America. “We didn’t know how to be a band, and we were playing CMJ in front of really important music journalists. We were dropped right in the deep end, and it was quite scary.” Like a lot of young bands trying to find their bearings, that’s when the Twilight Sad discovered playing really loud. Sophomore record Forget the Night Ahead, released in 2009, is loaded with distortion and even more inscrutable, poetic lyrics from Graham (he politely declines to discuss them in detail). But this year’s No One Can Ever Know is a bit of an about-face. With a strong, dark electronic streak, it reminds of bands like Depeche Mode and New Order (the band lists Cabaret Voltaire and Can as influences). “It makes the whole set more dynamic,” Graham says. And fans who’ve grown fond of the band’s deafening live shows should not fear. “It’s still really loud. To be honest, my ears were ringing more on the last tour than they ever have before.” That’s not the only way the band stays true to its roots. “I’m still not what you’d call a natural frontman,” Graham says. “I’m not somebody who talks to the crowd and tells stories. But that’s what I like about our band—we’re not trying to be anything we’re not.” The band’s proclivity toward keeping it real is especially rough on confused fans of the Twilight films. “There was one gig in America where people came dressed as vampires,” Graham says. “We were just like, ‘You’re at the wrong thing. You’re not going to enjoy this.’” CASEY JARMAN.

“Braveheart is one of the worst films I’ve ever seen in my life.”— James Graham of Scottish band Twilight Sad.

SEE IT: The Twilight Sad plays Doug Fir Lounge, 830 E Burnside St., on Sunday, March 11, with Micah P. Hinson. 9 pm. $13 advance, $15 day of show. 21+.

CROCODILES

+BLEEDING RAINBOW

WEDNESDAY MARCH 7 •

$10 ADVANCE

HIP-HOP/SOUL FROM NIGERIAN-GERMAN TOUR DE FORCE

THURSDAY!

NNEKA +BAJAH + THE DRY EYE CREW

Doors at 9:30pm Show at 10pm LATE SHOW! $12 ADVANCE

THURSDAY MARCH 8

•

CLUB +SIGNALS THURSDAY MARCH 8 •

Doors at 6:30pm Show at 7pm EARLY SHOW! $10 ADVANCE

AN ALBUM RELEASE CELEBRATION FEAT. MEMBERS OF WEINLAND, M. WARD AND NORFOLK & WESTERN

FRIDAY!

ALIALUJAH CHOIR RYAN SOLLEE

MIKE COYKENDALL

& CARLOS FORSTER DUO +SHELLEY SHORT

FRIDAY MARCH 9

•

$10 ADVANCE

EPICALLY SONIC INDIE ROCK FROM SCOTLAND

the TWILIGHT SAD

LOG LOVE SOIREE WITH PDX’S FINEST

SATURDAY!

VIOLET isle +MICAH P. HINSON

TANGO ALPHA TANGO +THE DIMES

SATURDAY MARCH 10

•

$8 ADVANCE

SAUL

AN INTIMATE EVENING WITH PIONEERING WORDSMITH

WILLIAMS

SUNDAY MARCH 11

•

$13 ADVANCE

A PRE-SPRING EVENING OF PDX INDIE-FOLK-POP

GREAT WILDERNESS HARLOWE

& THE GREAT NORTH WOODS

+BARNA HOWARD

WEDNESDAY MARCH 14 •

$5 ADVANCE

+CX KIDTRONIK

MONDAY MARCH 12

•

$15 ADVANCE

DOUG FIR AND OCTOPUS ENTERTAINMENT PRESENT

AN ALBUM RELEASE CELEBRATION WITH GUITAR SHREDDER

SCOTT PEMBERTON

MOSLEY WOTTA

WORTH +JARROD LAWSON

THURSDAY MARCH 15 •

$8 ADVANCE

+THE ACORN PROJECT ST. PATTY’S THROW-DOWN WITH CELTIC-PUNK FAVES

AMADAN +COMING UP 3s

SATURDAY MARCH 17 •

$10 ADVANCE

ROBERT SCHWARTZMAN

A CO-HEALINE AFFAIR WITH SOLO POWER-POP ENTREPRENEURS

THE RELATIONSHIP (feat. BRIAN BELL of WEEZER)

+BELLAMAINE

WEDNESDAY MARCH 21 •

$8 ADVANCE

FRIDAY MARCH 16

•

$12 ADVANCE

EASY BREEZY FOLK ROCK FROM SF

VETIVER +GOLD LEAVES

SUNDAY MARCH 18

•

$13 ADVANCE

PORTLAND CELLO PROJECT album release 4/13 & 4/14 plus 4/14 all ages matinee Y LA BAMBA - 4/21 MY GOODNESS - 4/27 FATHER JOHN MISTY - 5/8 TYCHO + ACTIVE CHILD - 5/25 EMILY WELLS - 6/2 All of these shows on sale at Ticketfly.com

MR. GNOME 3/23 • LOST IN THE TREES 3/25 • MILAGRES 3/26 • AMY RAY 3/27 ANAIS MITCHELL PRESENTS HADESTOWN 3/28 • LEIGH MARBLE 3/29 EMANCIPATOR 3/30 • MEGAFAUN 3/31 • HOT SNAKES 4/1 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

Willamette Week MARCH 7, 2012 wweek.com

Music LISTINGS

PAGE 33

Anne Weiss CD Release Show

“Where Folk Gets The Blues” Special Guests, David Jacobs-Strain, Mary Flower, and Just Add Soul Choir. Saturday, March 10th 8:00pm Alberta Rose Theater 3000 NE Alberta. Portland, OR 97211

anneweiss.com

DOUBLETEE.COM / ROSELANDPDX.COM

with

nEXT WEEK!

balkan beat box Palenke Soultribe • The Krebsic Orkestar

March 14th • roseland • 9pM • all ages

Carina round

March 14th • 8pM • all ages arlene schnitzer concert hall

March 15th • roseland • 8pM • all ages

ON SALE NOW!

LIL TWIST april 3rd • roseland • 8pM • all ages PLUS SPECIAL GUEST

ELIZAVETA

april 9th • roseland • 7pM • 21+ on SaLE noW!

on Sale noW! Sat april 7th • roSeland • 9pm • all ageS

Penguin Prision

sat March 24th • star theater • 9PM • 21+ 32

Willamette Week MARCH 7, 2012 wweek.com

new album out march

april 11 • roSeland • 8pm • all ageS

MEAN CREEK

Sat april 14th • roSeland • 8pm • 21+

advance tickets through all ticketsWest locations, safeWay, Music MillenniuM. to charge by Phone Please call 503.224.8499

MUSIC

LUNA BAR & POWFEST PRESENT

SHORE FIRE MEDIA

SATURDAY-SUNDAY

MARCH 10, 2011

THE HOLLYWOOD THEATRE

Music calendar page 37

[HOT JAZZ] Apparently determined to prove the truth behind every single stereotype perpetrated by Portlandia, the dream of the ’30s is alive in Portland, a city so enamored with past niches that it even plays host to multiple golden-age jazz tributes. Sextet the Midnight Serenaders has dedicated more than half a decade and three albums (including last year’s Hot Lovin’) to replicating the music your grandmother was conceived to—swinging speak-easy jazz scatted out by Doug Sammons and Dee Settlemier over plucky uke, clarinet, slide guitar and other antiquated instruments. It’s not for all tastes, but for those with a hankering for the old-timey jazz of yesteryear, the Serenaders are a sure bet. AP KRYZA. The Blue Monk, 3341 SE Belmont St., 503-5950575. 9 pm. Cover. 21+.

SUNDAY, MARCH 11 Portland Taiko, Michael Allen Harrison, Kodo Araki VI, Marv and Rindy Ross (Japan earthquake benefit)

[DRUMS FROM AND FOR JAPAN] A year ago tonight, a devastating earthquake steamrolled Japan. The Japanese drumline Portland Taiko spearheads a night devoted to the Oregon Tomodachi Recovery Fund, which supports the rebuilding movement in the Tohoku region. The highly trained and wonderfully choreographed ensemble forges hard-hitting, pseudo-tribal beats as old as many civilizations. This brand of drumming was once used to fend off invading armies. Today, it seems, this troupe reacquaints listeners with their beloved primal roots. Local maestros Thomas Lauderdale and Michael Allen Harrison join the cause. MARK STOCK. Aladdin Theater, 3017 SE Milwaukie Ave., 234-9694. 7 pm. $35-$100. Minors must be accompanied by a parent.

Memoryhouse, Arrange

[NAP-GAZE] Ontario’s Memoryhouse makes floaty, dreamy, lovey music. Except, the actual songs don’t really fit that description. It’s kind of an odd thing: On The Slideshow Effect, the duo’s recent debut album, it almost sounds like the band recorded a bunch of sub-Rilo Kiley tunes, then had the producer dress them up in hazy atmosphere. It’s mostly OK, but singer Denise Nouvion has a voice somewhere between Neko Case’s and Zooey Deschanel’s that’s less interesting than either. On second thought, maybe the best adjective to use in describing the group is “sleepy.” Bring a pillow. MATTHEW SINGER. Bunk Bar, 1028 SE Water Ave., 894-

9708. 9 pm. $10 advance, $12 day of show. 21+.

The Twilight Sad, Micah P. Hinson

See profile, page 31. Doug Fir Lounge, 830 E Burnside St., 2319663. 9 pm. $13 advance, $15 day of show. 21+.

Islands, Idiot Glee

See Primer, page 35. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 8:30 pm. $15. 21+.

Blake Shelton, Justin Moore

[COUNTRY SUPERSTAR] Blake Shelton is as big a country star as you’re likely to find these days. The 35-year-old crooner hit No. 1 on both the pop and country charts with his 2011 album, Red River Blue. He gets plenty of face time in American living rooms as one of the vocal coaches on NBC’s The Voice. And he’s married to another country superstar, Miranda Lambert. It would be slightly irritating if he didn’t have talent to back it all up. Shelton’s albums to date are easygoing affairs that allow for a little Lyle Lovettstyle artistry amid the usual beer-drinkin’, God-fearin’ bootstompers. ROBERT HAM. Rose Garden, 1401 N Wheeler Ave., 2358771. 7:30 pm. $25-$50. All ages.

Flogging Molly

[IRISH PUNK] The indomitable Flogging Molly returns to Portland, this time on the eighth annual Green 17 Tour, to help ring in the St. Patrick’s time of year. Miraculously packing in 21 shows in one month, the veteran Los Angeles-based Celtic punk outfit is out in support of its most recent album, Speed of Darkness, released last year. Forever known as a touring band, Flogging Molly has garnered the well-deserved reputation worldwide of adrenaline-filled performances where the sweat flows almost as heartily as the beer. The music (often compared to that of the Pogues) helps form bonds between total strangers (OK, that could be the booze), and its fan base transcends age, scene and class. If you are fortunate enough to have scored tickets to this long sold-out show, you know you have the luck o’ the Irish on your side. COLLIN GERBER. Roseland Theater, 8 NW 6th Ave., 224-2038. 7:30 pm. Sold out. All ages.

Hugh Cornwell, Glen Matlock, Massive Moth

[PUNK SURVIVORS] Poor Glen Matlock. In 1977, he’s the bassist for the Sex Pistols. Then he either quits or gets fired and is replaced by Johnny Rotten’s shitty best friend, who, even in punk rock’s

CONT. on page 35

TIME:

7:00PM Showtime 8:30PM Wine and Dessert TICKETS:

$10.00 General

TICKET INFORMATION: EMAIL

www.lunafest.org/portland

bhansen@clifbar.com

For more information, visit us at lunafest.org

CLASSIFIEDS

INSERT BALLS JOKE HERE: Guster plays Aladdin Theater on Tuesday, March 13.

Midnight Serenaders

4122 NE SANDY BOULEVARD, PORTLAND

Thursday March 8

A NEW PORTLAND SUPER JAM PROJECT! URBAN SUB ALL STARS

featuring:

REDWOOD SON, LAURA IVANCIE, WIL KINKY, GLASSBONES BRIAN GRAYSON 21+ IN THE CONCERT HALL

Friday March 9

DSL COMEDY

hosted by BRISKET LOVE-COX

WORK!

AUTOMOTIVE

“The first thing we noticed after running our display ad in the classified section was the spike in website traffic, which translated into sales within a matter of days! We received similar results putting individually detailed line ads in the classified section selling two out of four cars the first week!” — Family Auto Network

9pm • FREE! 21+ in thE ConCERt hall

FREEUP! FRIDAY

DJS SPINNING REGGAE, DUB, DANCEHALL, AND HIP HOP

10:30pm • FREE! 21+ in thE ConCERt hall

Saturday March 10

TO PLACE AN AD CONTACT:

TrAcy BETTs 503-445-2757 • tbetts@wweek.com

AshlEE hOrTOn 503-445-3647 • ahorton@wweek.com

UPCOMING IN-STORE PERFORMANCES

CELEBRATING THE CLASSIC FILM STAHLWERKS presents:

METROPOLIS

85TH ANNIVERSARY PARTY

A THEMED DANCE PARTY SO FREE TO DRESS SCI-FI OR IN YOUR BEST 20’/30’S WEAR. COME READY TO DANCE AND EXPECT TO HEAR DARK ELECTRONIC CLASSICS FROM ALL GENRES OF MUSIC. 10pm • 21+ in thE ConCERt hall

TIM UECKER MONDAY 3/12 @ 6PM

Tim Uecker, guitarist, singer songwriter, blends musical genres from folk to rock and into some jazz. His latest CD ‘Breathe Dance Dream’ is a folk and rock album recorded here in Portland. Tim’s songs revolve around relationships and telling stories.

Sunday March 11

OPEN MIC JAM

5pm • 21+ in thE ConCERt hall

KARAOKE!

9pm • 21+ in thE SidEShow loungE

Wednesday March 14

DRUM CIRCLE!

7:30pm • FREE! 21+ in thE SidEShow loungE

Thursday March 15

BASIN & RANGE

8:30pm • 21+ in thE ConCERt hall

Friday March 16

SOUL, FUNK, AND DUB with:

STAXX BROTHERS, POCKET MEDIUM TROY

8pm • 21+ in thE ConCERt hall

Saturday March 17

AFROBEAT!

with FELA’S LEGENDARY BAND SEUN KUTI & EGYPT 80 AFROMASSIVE

ANYA MARINA TUESDAY 3/13 @ 6PM

Marina’s new album ‘Felony Flats’ marks a major leap forward for the Portland based singer/ songwriter. The self-produced album sees Marina joined by some of the Pacific Northwest’s finest musicians, including guitarist Cody Votolato (Blood Brothers, Telekinesis), bassist Jeff Bond, drummer Joe Plummer (Modest Mouse, Mister Heavenly), and Blitzen Trapper’s Eric Earley, who contributes additional piano and guitars.

LISA MANN THURSDAY 3/15 @ 6PM

Lisa Mann is the Cascade Blues Association’s Hall of Fame for three consecutive wins for Bass player of the Year. On her latest release ‘Satisfied’ ten memorable original tunes and three soul-stirring cover songs make up a stunning celebration of blues, blues-rock and R&B. Special appearances include legendary guitarist Lloyd Jones, Delta Groove artist Mitch Kashmar, harmonica player Joe Powers, and many more.

8pm • 21+ in thE ConCERt hall

tickets and info

www.thetabor.com • 503-360-1450

facebook.com/mttabortheater

Willamette Week MARCH 7, 2012 wweek.com

SUNDAY-TUESDAY

MONDAY, MARCH 12 Ben Williams and Sound Effect

ISLANDSAREFORVER.COM

[MEET THE NEW BASS] With unconfinable young voices like Robert Glasper, Ben Williams and others now doing what previous generation jazzers always did— riffing on the pop of their time, not just a musty old canon—jazz is once again tapping contemporary pop energy. The latest young savior and his quartet arrive toting the prestigious Thelonious Monk International prize in the bass competition, stints in two excellent bands (Stefon Harris’s Blackout and Jacky Terrason’s Trio), and a feisty new album (State of the Art) bubbling with R&B, gospel and even classical (string quartet) influences, promising originals and some pop covers (Michael Jackson, Stevie Wonder)—there’s even some rapping that for once doesn’t sound like a shotgun wedding of jazz and hip-hop. BRETT CAMPBELL. Jimmy Mak’s, 221 NW 10th Ave., 295-6542. Two shows at 7 pm and 9 pm. $15, or $20 with guaranteed seating. First show all-ages, second show 21 . All ages.

DATES HERE

TUESDAY, MARCH 13

WIN TICKETS TO

Guster

[ALT SCHOOL] For all the red flags ordinarily surrounding anyone who hangs around campus past a certain age—the debt-casualty doctoral candidates’ vacant despair or the dead-eyed flirtations of assistant profs on the make—there are a few career collegiates who really do prioritize Hacky Sack above all else. A full 21 years after Guster stormed the dorms of Tufts with two acoustic guitars and stickless bongo jams (a solar-power trio, say, with tenured harmonies nudging adult contempo even as underclassmen), its members have retained more than enough goofy charm to lead crowds through the corniest of covers and over-excited experiments of instrumentation without ever hinting at the richly textured songwriting and newfound depths girding their sixth album, Easy Wonderful. Publish, as they say, or perish. JAY HORTON. Aladdin Theater, 3017 SE Milwaukie Ave., 234-9694. 8 pm. $28. Minors must be accompanied by a parent. All ages.

13 topless bartenders & 80 dancers each week!

Open Every Day 11am to 2:30am www.CasaDiablo.com

SCAN TO ENTER

realm of amateurs, is an absolutely abysmal musician; it was like a professional basketball player getting his spot on the roster taken by the mascot. Sid Vicious goes on to become a symbol of punk’s “No Future” fatalism, while Matlock spends the next three decades trying to get anyone to listen to his solid, melodic solo albums. Still, I guess Matlock can always say, “Well, at least I got my life.” Playing here with ex-Stranglers frontman Hugh Cornwell, Matlock celebrates English punk’s mostly unsung heroes, the ones who got out alive and with their dignity intact. CASEY JARMAN. Star Theater, 13 NW 6th Ave. 9 pm. $15. 21+.

MUSIC

3.23 @ ARLENE SCHNITZER CONCERT HALL GO TO WWEEK.COM/PROMOTIONS

(503) 222-6600 • 2839 NW St. Helens Rd

Steve Aoki, Datsik

[CLUB GOD] Somewhere in the sea of praise and opprobrium regularly leveled at Steve Aoki, it is often forgotten that the Los Angeles-based omni-DJ is first and foremost a stupidly hard worker. Shunning his family profession of bitter infighting over the Benihana restaurant fortune (Aoki’s father founded the chain), Aoki opted instead to create Dim Mak Records, an imprint whose charges include MSTRKRFT and Klaxons. Aoki has since embarked on a DJ career that has afforded him (by some reports) fewer than a dozen nights off since 2010. Wonderland, Aoki’s first proper album, was released last month and offers as a good a compilation of hip-as-shit club bangers as you’re likely to find this side of Deadmau5. Not bad for a dude who’s most famous for wearing neon sneakers. SHANE DANAHER. Roseland Theater, 8 NW 6th Ave., 224-2038. 8 pm. $25. All ages.

PRIMER

BY CAS E Y JARM A N

ISLANDS Formed: 2005 in Montreal. Sounds like: Munch’s Make Believe Band after a lengthy tour of Amsterdam. For fans of: The Unicorns, Arcade Fire, The Beach Boys, Flaming Lips, Weezer. Latest release: This year’s A Sleep & A Forgetting, a surprisingly serious, seemingly doo-wop-inspired meditation on heartbreak. Why you care: Well, everybody loved the Unicorns, the Canadian trio that made slap-happy, lo-fi pop less punky but similar in feel to the Thermals’ earliest recordings. Islands, for whatever reason, seems a much more divisive outfit. Initially fueled by two ex-Unicorns—guitarist/vocalist Nick Thorburn and now twicedeparted drummer Jamie Thompson—Islands enlisted a host of arty celebrity pals (from bands like Handsome Furs and Arcade Fire) to serve as a junk-store orchestra that backed its bedroomrecorded 2006 debut. In 2008, Arm’s Way moved Islands into “real band” territory, but its scaled-back approach left some fans missing the clatter of its first disc. The synthy Vapours found old Unicorn Thompson back and dabbling in drum machines. New disc A Sleep & A Forgetting is Thorburn’s divorce record, and it’s an incredible bummer, especially when set against the band’s ecstatic early work. Understated and harmony-packed, it’s a lovely disc that seems recorded by some other band. The shock of hearing Thornburn hitting rock bottom is kind of like watching Punch Drunk Love or Eternal Sunshine of the Spotless Mind. Uncomfortable at first, then quite moving. SEE IT: Islands plays Mississippi Studios, 3939 N Mississippi Ave., on Sunday, March 11. 8:30 pm. $15. 21+. Willamette Week MARCH 7, 2012 wweek.com

BOOKs PAGE 44

Thursday, Mar 8th

PORTLAND YOUTH JAZZ ORCHESTRA WITH SPECIAL GUESTS

THE QUADRAPHONES Friday, Mar 9th

RED MOLLY

Saturday, Mar 10th

ANNE WEISS

“WHERE FOLK GETS THE BLUES” CD RELEASE

Sunday, Mar 11th

JUSTIN HOPKINS TYLER STENSON KAREN MATHEWS Thursday, Mar 15th

TECHIGNITE! v 2 Friday, Mar 16th

THE BYLINES CD RELEASE

Saturday, Mar 17th

LIVE WIRE 100 th LIVE SHOW!!

INCLUDING RON FUNCHES

Saturday, Mar 24th

DARRELL SCOTT

WITH ASHLEIGH FLYNN & CHRIS FUNK + GARY OGAN

Sunday, Mar 25th

DAN BERN

Tuesday, Mar 27th

AUSTRALIAN HALL OF FAME ROCKER

PAUL KELLY

Alberta Rose Theatre (503) 764-4131 3000 NE Alberta AlbertaRoseTheatre.com

Willamette Week MARCH 7, 2012 wweek.com

MUSIC CALENDAR

Acoustic Open Mic

= 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.

Tony Starlight’s

3728 NE Sandy Blvd. Mike Winkle

Trail’s End Saloon

1320 Main St., Oregon City Danny O’ Brien & Ken Brewer

S TA C H E M E D I A

Vie de Boheme 1530 SE 7th Ave. Jenny Flynn

White Eagle Saloon 836 N Russell St. The Nutmeggers

Wonder Ballroom 128 NE Russell St. Punch Brothers

THURS. MARCH 8 Al’s Den at the Crystal Hotel 303 SW 12th Ave. Hanz Araki, Johnny B. Connolly

Alberta Rose Theatre 3000 NE Alberta St. Portland Youth Jazz Orchestra, Quadraphonnes

Alberta Street Public House 1036 NE Alberta St. Connor Garvey

Andina

1314 NW Glisan St. Greg Wolfe Trio

Andrea’s Cha Cha Club

626 SW Park Ave. John “JB” Butler & Damian Erskine

Al’s Den at the Crystal Hotel 303 SW 12th Ave. Hanz Araki, Lincoln Crockett

Alberta Street Public House 1036 NE Alberta St. Open Mic

Andina

1314 NW Glisan St. Toshi Onizuka

Ash Street Saloon

225 SW Ash St. Spellcaster, Last Empire, Excruciator, Tanagra

Backspace

115 NW 5th Ave. Michael Mirlas

Camellia Lounge

510 NW 11th Ave. Jazz Jam with Errick Lewis & The Regiment House Band

Doug Fir Lounge

830 E Burnside St. Crocodiles, Bleeding Rainbow

Duff’s Garage

1635 SE 7th Ave.

East India Co.

821 SW 11th Ave. Josh Feinberg

Ella Street Social Club 714 SW 20th Place Kirsten Opstad, Munny Townsend

Goodfoot Lounge

2845 SE Stark St. Trio Subtonic, Asher Fulero Trio

Holocene

1001 SE Morrison St. Operative, Goodnight Billygoat (multimedia show)

Ivories Jazz Lounge and Restaurant 1435 NW Flanders St. Idet Shner Quartet

1204 SE Clay St. Lynn Conover

Landmark Saloon

4847 SE Division St. Jake Ray and the Cowdogs

LaurelThirst

2958 NE Glisan St. Jobo Shakins, Professor Gall, Maray Fuego (9 pm); Bingo Band (6 pm)

Lents Commons

9201 SE Foster Road Open Mic

McMenamins Edgefield Winery 2126 SW Halsey St., Troutdale Jaime Leopold

McMenamins Rock Creek Tavern

2346 SE Ankeny St. Hazel Rickard

10000 Old Cornelius Pass Road, Hillsboro Billy D

Jimmy Mak’s

Mississippi Studios

Jade Lounge

221 NW 10th Ave. The Mel Brown Quartet

3939 N Mississippi Ave. Tribes

Kells

Muddy Rudder Public House

112 SW 2nd Ave. Tom May

8105 SE 7th Ave. Sleepy Eyed Johns

5426 N Gay Ave. Flat Rock String Band

Plan B

1305 SE 8th Ave. Mohawk Yard, Chaotic Karisma

Press Club

2621 SE Clinton St. Jeffery Trapp

Quimby’s at 19th

FRI. MARCH 9 Al’s Den at the Crystal Hotel 303 SW 12th Ave. Hanz Araki and the Mighty Few with Joe Trump, Kathryn Claire, Chris Hayes

2239 SE Hawthorne Blvd. Outer Space Heaters, Kaleidoskull, Slutty Hearts

8635 N Lombard St. Jay Hinton

Jimmy Mak’s

4830 NE 42nd Ave. Celia Reef & Gabe Auen, Sam Densmore

Alberta Rose Theatre

Ted’s (at Berbati’s)

Alberta Street Public House

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

Kells

112 SW 2nd Ave. Tom May

Kelly’s Olympian

426 SW Washington St. California Stars

Kenton Club

2025 N Kilpatrick St. The Autonomics, Tall as Rasputin, The Dirty Words

Spare Room

231 SW Ankeny St. Christopher Neil Young, Ronnie Molen, Scotty Del, Will West, All the Apparatus

The Blue Diamond 2016 NE Sandy Blvd. Tom Grant Jazz Jam Session

The Blue Monk

3341 SE Belmont St. Alan Jones Jam

Korkage Wine Shop

6351 SW Capitol Highway Ben Graves

LaurelThirst

Thirsty Lion

71 SW 2nd Ave. Hair Assault

2958 NE Glisan St. Kathryn Claire, Jessica Stiles (9:30 pm); Lewi Longmire Band (6 pm)

Tiger Bar

Lola’s Room at the Crystal Ballroom

3100 NE Sandy Blvd. Bellwether, Happy Pocket, Second Player Score

317 NW Broadway Karaoke from Hell

Tonic Lounge

Tony Starlight’s

2126 SW Halsey St., Troutdale John Shipe

3728 NE Sandy Blvd. Gretchen Rumbaugh, Darcy White, Nick O’Donnell, Steven Nash, Joshua Stenseth

Torta-Landia

McMenamins Rock Creek Tavern

4144 SE 60th Ave. Acoustic Open Mic

10000 Old Cornelius Pass Road, Hillsboro Richard Cranium & the Phoreheads

Trail’s End Saloon

Mississippi Pizza

Tube

18 NW 3rd Ave. King Dude, Soft Kill, Nightchilde

Vancouver Brickhouse

109 W 15th St., Vancouver, Wash. Jerome Kessinger

3939 N Mississippi Ave. Priory, Campfire OK

Mock Crest Tavern

Vino Vixens Wine Shop & Bar

3435 N Lombard St. Claes

O’Connor’s Vault

1320 Main St., Oregon City Rae Gordon

3000 NE Alberta St. Red Molly

1036 NE Alberta St. Roselit Bone, Jollapin Jasper (9:30 pm); Mikey’s Irish Jam (6:30 pm)

Andina

1314 NW Glisan St. Sambafeat Quartet

Augustana Lutheran Church

2714 NE 14th Ave. Peter Yarrow (of Peter, Paul & Mary), The Kingnik Jug Band

Backspace

115 NW 5th Ave. Andrew Jackson Jihad, Laura Stevenson and the Cans, Roar, Kind of Like Spitting

Beaterville Cafe

2201 N Killingsworth St. Lorna B. Band

Branx

320 SE 2nd Ave. Icarus the Owl, The Brightest, Stories and Soundtracks, She Preaches Mayhem, Run Alexis

Brasserie Montmartre 626 SW Park Ave. Tablao

Buffalo Gap Saloon

6835 SW Macadam Ave. Kevin Guitron

Camellia Lounge

510 NW 11th Ave. Andre St. James Trio

Clyde’s Prime Rib

5474 NE Sandy Blvd. LaRhonda Steele

Crystal Ballroom

1332 W Burnside St.

2929 SE Powell Blvd. Faerabella

CONT. on page 38

7850 SW Capitol Highway

Doug Fir Lounge

830 E Burnside St. Nneka, Bajah and The Dry Eye Crew (9:30 pm); Slow Club, Signals (6:30 pm)

Duff’s Garage

The Blue Diamond

714 SW 20th Place Oden, Tinmantle, The Father, D. Pel

RED BULL MUSIC ACADEMY

NYC – 2012

Ella Street Social Club

2016 NE Sandy Blvd. The Fenix Project Jam Session

Ford Food and Drink

The Heathman Restaurant and Bar

Goodfoot Lounge

1001 SW Broadway Karla Harris Duo

2845 SE Stark St. Sugarcane, Hobo Nephews of Uncle Frank

The Know

Holocene

2026 NE Alberta St. Thundering Asteroids, Bad Luck Blackouts, 42 Ford Perfect

836 N Russell St. Gabby Holt (8:30 pm); Will West & Tanner Cundy (5:30 pm)

350 W Burnside St. The Quill, Snoband

Sundown Pub

5903 N Lombard St. Jason Marcoux, Phil Anderson, Migi Artugue

Slim’s Cocktail Bar

White Eagle Saloon

Dante’s

1635 SE 7th Ave. Adios Amigos, Splashdown (9 pm); Tough Lovepyle (6 pm)

1502 NW 19th Ave. Bridge City Prophets

Jam on Hawthorne

Mississippi Studios

430 N Killingsworth St. Steve Kerin

2530 NE 82nd Ave. Roadkill Carnivore 8132 SE 13th Ave. Open Mic

Camellia Lounge

Chapel Pub

Red Room

Sellwood Public House

Buffalo Gap Saloon

510 NW 11th Ave. Michael Pan, Travis Magrane, Known As Anonymous

2527 NE Alberta St. Terry Robb

2346 SE Ankeny St. Song Circle with Brian McGinty

3552 N Mississippi Ave. Drew de Man (9 pm); Mo Phillips with Johnny & Jason (6 pm)

6835 SW Macadam Ave. RocktownPDX Revue

Palace of Industry

Jade Lounge

McMenamins Edgefield Winery

Brasserie Montmartre

Ladd’s Inn

1435 NW Flanders St. Upper Left Trio (8:30 pm); Laura Cunard (5:30 pm)

Ash Street Saloon

115 NW 5th Ave. Sundaze, Pataha Hiss, The Suicide Notes

Suburban Slim’s Blues Jam

Original Halibut’s II

1332 W Burnside St. Leaves Russell, Tasha Flynn Band, Just Lions

Backspace

WED. MARCH 7

Gary Ogan

Ivories Jazz Lounge and Restaurant

832 SE Grand Ave. Pilon D’Azucar Salsa Band

225 SW Ash St. The Jesus Rehab, Very Large Numbers, Julia Massey, De La Warr

A COAT OF MANY COUCHES: Saul Williams plays Doug Fir on Monday.

[MARCH 7 - 13]

presented by

2505 SE 11th Ave. W.C. Beck

1001 SE Morrison St. Natasha Kmeto, Graintable, Plumblyne, Danny Corn, Keyboard Kid

Application must be complete & postmarked before April 2, 2012

@RBMA @redbullPDX for more info:

The TARDIS Room

1218 N Killingsworth St. Willamette Week MARCH 7, 2012 wweek.com

MUSIC

CALENDAR

BAR SPOTLIGHT

Star Theater

VIVIANJOHNSON.COM

13 NW 6th Ave. Federale

The Blue Diamond

2016 NE Sandy Blvd. The Linda Myers Band

The Blue Monk

Dante’s

221 NW 10th Ave. Sarah Billings, The Jacob Merlin Band

350 W Burnside St. Rob Wynia

Doug Fir Lounge

830 E Burnside St. Alialujah Choir, Ryan Sollee, Mike Coykendall & Carlos Forster Duo, Shelley Short

Duff’s Garage

Jimmy Mak’s

Katie O’ Brien’s

2809 NE Sandy Blvd. Truth Vibration, Knox Harrington

Kells

112 SW 2nd Ave. Cu Lan Ti

1635 SE 7th Ave. Big Monti and His Precious Darlings (9 pm); Hamdogs (6 pm)

Kelly’s Olympian

East Burn

Kenton Club

1800 E Burnside St. Dogtooth

Ella Street Social Club 714 SW 20th Place Raja the Resident Alien, Toiletooth, Deems, Automatic Thoughts, Citymouth, Renfield

Ford Food and Drink

2505 SE 11th Ave. Nicole Campbell (8 pm); Josh and Mer, The Darlin’ Blackbirds (5 pm)

Hawthorne Theatre Lounge

1503 SE Cesar E. Chavez Ave. Michael Dean Damron

Hawthorne Theatre

426 SW Washington St. Towers, Backwoods Payback, Lamprey 2025 N Kilpatrick St. Vises, Bubble Cats, Rollerball

LaurelThirst

2958 NE Glisan St. Naomi Hooley, Rob Stroup and the Blame (9:30 pm); Woodbrain (6 pm)

McMenamins Edgefield Winery 2126 SW Halsey St., Troutdale Eric Tweed

McMenamins Rock Creek Tavern

10000 Old Cornelius Pass Road, Hillsboro Drew de Man & Old Custer

3862 SE Hawthorne Blvd. The Aggrolites, Mike Pinto Band, The Sentiments, Original Middleage Ska Enjoy Club

Mississippi Pizza

Ivories Jazz Lounge and Restaurant

Mississippi Studios

1435 NW Flanders St. Pete Petersen and The Templeton Trio (8:30 pm); Gordy Michael (5:30 pm)

3552 N Mississippi Ave. Petite Beat, Rose City Catalyst, Simple Cell (9 pm); Succotash (6 pm) 3939 N Mississippi Ave. Juno What?!

Muddy Rudder Public House 8105 SE 7th Ave. The Sportin’ Lifers Trio

Willamette Week MARCH 7, 2012 wweek.com

My Father’s Place 523 SE Grand Ave. Ninja

Noho’s Hawaiian Cafe 4627 NE Fremont St. Hawaiian Music

Original Halibut’s II 2527 NE Alberta St. Chris Mayther

Plan B

1305 SE 8th Ave. Ratpriest, Advisory, Bison Bison, Fruit of the Legion of Loom

Dante’s

4811 SE Hawthorne Blvd. Gappy Ranks, The 7th Street Band

Doug Fir Lounge

8105 SE 7th Ave. Alan Hagar

Tiger Bar

1635 SE 7th Ave. The Buckles

2527 NE Alberta St. Larry Pindar

East Burn

Plan B

Alberta Rose Theatre

Tonic Lounge

1800 E Burnside St. DJ Gray Matter & Motherbunch

3100 NE Sandy Blvd. Delaney and Paris, Basketball Jones, Bordertown

Ella Street Social Club

Tony Starlight’s

Goodfoot Lounge

3728 NE Sandy Blvd. Shanghai Woolies

Trail’s End Saloon

1320 Main St., Oregon City Norman Sylvester

Twilight Café and Bar 1420 SE Powell Blvd. Mormon Trannys, Boors

Vie de Boheme

1530 SE 7th Ave. Andy Harrison Band

Vino Vixens Wine Shop & Bar 2929 SE Powell Blvd. Billy D.

White Eagle Saloon

836 N Russell St. Early Hours, Valeri Lopez (9:30 pm); Reverb Brothers (5:30 pm)

White Stag Building— UO Portland campus 70 NW Couch St. Beta Collide

SAT. MARCH 10 15th Avenue Hophouse 1517 NE Brazee St. Ben Larsen & Austin Moore

Al’s Den at the Crystal Hotel 303 SW 12th Ave. Hanz Araki, State & Standard

714 SW 20th Place Fellwoods, Shallow Seas, Radiant Light 2845 SE Stark St. McTuff

Gotham Tavern

2240 N Interstate Ave. AngelRhodes

Hawthorne Hophouse 4111 SE Hawthorne Blvd. Rogue Bluegrass Band

Hawthorne Theatre Lounge

1503 SE Cesar E. Chavez Ave. Ninja with Syringes

Hawthorne Theatre

3862 SE Hawthorne Blvd. Taper, Acrimony, Battle Axe Massacre

Ivories Jazz Lounge and Restaurant

1435 NW Flanders St. Janus Templeton/Nikolaj Hess/Chuck Israels (8:30 pm); Jean Pierre (5:30 pm)

Jade Lounge

2346 SE Ankeny St. Feverwalk (8 pm); Trevor Giulianni (6 pm)

Jimmy Mak’s

221 NW 10th Ave. Jake Oken-Berg, Justin Jude

Quimby’s at 19th

Andina

1502 NW 19th Ave. Randy Foote & The Skankin’ Yankees

1314 NW Glisan St. Borikuas

Red Room

225 SW Ash St. O.A.K., Wolfpussy

2530 NE 82nd Ave. Angry Axe, Dead Remedy, Staller, Stepper

Secret Society Lounge

116 NE Russell St. Trashcan Joe (9 pm); Pete Krebs and his Portland Playboys (6 pm)

Slabtown

1033 NW 16th Ave. Social Graces, Dead Cult, Sad Horse, Blank Stations

Ash Street Saloon

Backspace

115 NW 5th Ave. Nether Regions, Lord Dying, Sloths, Grenades

Beaterville Cafe

2201 N Killingsworth St. Jessica Styles Honkeytonk

Brasserie Montmartre

Ash Street Saloon

Press Club

1028 SE Water Ave. Memoryhouse, Arrange

2621 SE Clinton St. Death Songs

Proper Eats Market and Cafe

8638 N Lombard St. Robert Richter and Kat Jones

Red Room

2530 NE 82nd Ave. Synesthesia, Foal, Gladius, Onoe

Slim’s Cocktail Bar 8635 N Lombard St. Sneakin’ Out

225 SW Ash St. Blood Owl, KaleidoSkull

Bunk Bar

Dante’s

350 W Burnside St. The Squidling Bros. Circus Sideshow

Doug Fir Lounge

830 E Burnside St. The Twilight Sad, Micah P. Hinson

Duff’s Garage

1635 SE 7th Ave. Shawn Tolman benefit

Ella Street Social Club

4830 NE 42nd Ave. Cool Breeze

714 SW 20th Place Betty and the Boy, Wesley Allen Hartley, Bevelers

Star Theater

Jade Lounge

Spare Room

13 NW 6th Ave. Hot Buttered Rum, Cornmeal

The Blue Diamond 2016 NE Sandy Blvd. 2nd Time Through

2346 SE Ankeny St. Mark Perry, Scott Gallegos, William Scott Browning, Karyn Patridge, Alana Kansaku-Sarmiento

Tonic Lounge

3100 NE Sandy Blvd. Queued Up, The Autonomics

Trail’s End Saloon

1320 Main St., Oregon City Robbie Laws

Tube

18 NW 3rd Ave. Black Pussy, Pinkzilla, Prick and the Burn

Vino Vixens Wine Shop & Bar 2929 SE Powell Blvd. Amy Obenski, Belinda Underwood

White Eagle Saloon 836 N Russell St. Open Mic/Songwriter Showcase

MON. MARCH 12 Al’s Den at the Crystal Hotel

303 SW 12th Ave. Asher Fulero, Matt Butler

Andina

1314 NW Glisan St. Pete Krebs

Ash Street Saloon 225 SW Ash St. Open Mic

Dante’s

Kells

350 W Burnside St. Karaoke from Hell

3341 SE Belmont St. Midnight Serenaders

112 SW 2nd Ave. Dave Ross (9 pm); Irish Sessions (6 pm)

The Crown Room

Kennedy School

830 E Burnside St. Saul Williams, CX Kidtronix

The Blue Monk

Doug Fir Lounge

Goodfoot Lounge 2845 SE Stark St. Open Mic

LaurelThirst

Jade Lounge

McMenamins Edgefield Winery

221 NW 10th Ave. Ben Williams and Sound Effect

2025 N Kilpatrick St. Beyond Veronica, The Cry, Lights from Space

3416 N Lombard St. Fist Fite, Marmits, Moodring, Cerebral Cortez

The Know

2026 NE Alberta St. Cougar, Silent Numbers, Donacepa, DJ Circle

Korkage Wine Shop

Thirsty Lion

LaurelThirst

Tiger Bar

6351 SW Capitol Highway Rychen 2958 NE Glisan St. Shoeshine Blue, Harlowe & The Great North Woods, Jake Kelly (9:30 pm); Tree Frogs (6 pm)

McMenamins Edgefield Winery

71 SW 2nd Ave. Sugarcookie 317 NW Broadway Adrian H. & The Wounds, Pink Noise

Tonic Lounge

3100 NE Sandy Blvd. Shock Troops, The Tanked, Green Flag

2126 SW Halsey St., Troutdale Matt Meighan

Tony Starlight’s

McMenamins Rock Creek Tavern

Trail’s End Saloon

10000 Old Cornelius Pass Road, Hillsboro John Bunzow Trio

Metropolitan Community Church

8635 N Lombard St. Silverhawk, Sam Wegman and the Upper Lower Class, Shawn Scott

Buffalo Gap Saloon

Mississippi Pizza

6835 SW Macadam Ave. The Lonesomes, Brian Berg

3552 N Mississippi Ave. Z’Bumba (9 pm); The Onlies (6 pm)

Someday Lounge

Camellia Lounge

Mississippi Studios

510 NW 11th Ave. Rachel Cantu, Allison Weiss

8409 N Lombard St. Northbound Rain (Grateful Dead tribute,) Jenny Sizzler

Star Theater

13 NW 6th Ave. Hugh Cornwell, Glen Matlock, Massive Moth

4847 SE Division St. Jake Ray

2400 NE Broadway Confluence: Willamette Valley LGBT Chorus

125 NW 5th Ave. Blazers Boys & Girls Club benefit

1314 NW Glisan St. Danny Romero

125 NW 5th Ave. No Po Big Band

Landmark Saloon

626 SW Park Ave. Djangophiles (9 pm); Tablao (5:30 pm)

Slim’s Cocktail Bar

Andina

Someday Lounge

The Foggy Notion

Alberta Street Public House

8638 N Lombard St. Greg Lief

Plew’s Brews

3000 NE Alberta St. Justin Hopkins, Tyler Stenson, Karen Matthews

116 NE Russell St. Meester & Meester (StationtoStation live radio broadcast)

Kelly’s Olympian

Press Club

1036 NE Alberta St. Fair Weather Watchers, Solomon’s Hollow (9:30 pm); Alan Claassen (6:30 pm)

1305 SE 8th Ave. System and Station, Gallons, My Only Ghost; The Squidling Bros. Circus Sideshow

Secret Society Lounge

112 SW 2nd Ave. Cu Lan Ti

Kenton Club

3000 NE Alberta St. Anne Weiss

4627 NE Fremont St. Hawaiian Music

Roseland Theater

8 NW 6th Ave. Flogging Molly

5736 NE 33rd Ave. Lloyd Jones (Northwest Stem Cell Transplant Fund benefit)

Kells

Alberta Rose Theatre

Aladdin Theater

Muddy Rudder Public House

Blake Shelton, Justin Moore

205 NW 4th Ave. The Perceptionists, The Love Loungers, DJ Zimmie

8409 N Lombard St. 21 Horses, The Wild Frontier

Proper Eats Market and Cafe

Aladdin Theater

Original Halibut’s II

3017 SE Milwaukie Ave. No Evidence of Disease

2621 SE Clinton St. Justin Power

303 SW 12th Ave. Fulero, Prescott & West

Duff’s Garage

350 W Burnside St. Riding the Low, Wolfman Fairies, Barnaby Woods

426 SW Washington St. Here Come Dots, Heartbreak Beat, (((in mono)))

Plew’s Brews

Mount Tabor Theater

SUN. MARCH 11 Al’s Den at the Crystal Hotel

Thirsty Lion

317 NW Broadway Warner Drive, Acidic, Static Parallel

2346 SE Ankeny St. Sea at Last (8 pm); Russell Thomas (6 pm)

5474 NE Sandy Blvd. Randy Star Band

3435 N Lombard St. NoPo Mojo

Noho’s Hawaiian Cafe

71 SW 2nd Ave. Beth Willis Rock Band

Jade Lounge

Clyde’s Prime Rib

Mock Crest Tavern

830 E Burnside St. Violet Isle, Tango Alpha Tango, The Dimes

The Know

2026 NE Alberta St. Diesto, Dwellers, Aerial Ruin

Jay Farrar, Will Johnson, Anders Parker & Yim Yames with Sarah Jaffe (Woody Guthrie lyrics set to original music)

2035 NE Glisan St. Ninja, Child Children

3017 SE Milwaukie Ave. Portland Taiko, Michael Allen Harrison, Devin Phillips Band, Kodo Araki VI, Marv and Rindy Ross, Thomas Lauderdale, Andrew Woodworth Band, Japanese Immersion School Choir (Japan earthquake benefit)

3341 SE Belmont St. Kora Band

SPRAY-TAN PARADISE: Ah, the debaucheries of spring break— dancing on bar tops, ill-advised shots, regret-filled mornings. Now every day can be filled with the hedonistic joy of sophomore year in Cancun at Splash Bar (904 NW Couch St., 893-5551, splashbarpdx.com). The cantina-styled sports bar fully embraces the par-tay vibe with alcohol-themed fiestas (e.g., “SoCo Sundays”) and a cut-open VW bus dubbed “the Shot Bus” with 60-plus varieties of shots, shooters and bombs with names like the Bikini Dropper and the Pirate Hooker. One of the most popular shooters, the Tic-Tac (orange vodka, Red Bull and orange juice), tastes like a mimosa right after brushing your teeth. Complimentary chips and salsa at happy hour are a plus and the service is friendly, but before you pound a Fiesta in my Mouth and climb onto the bar, remember: Everyone’s phone has a camera and you’re not in Mexico. PENELOPE BASS.

Club 21

3939 N Mississippi Ave. Darrell Grant, Maria Choban, Jenny Conlee

3728 NE Sandy Blvd. The Tony Starlight Show 1320 Main St., Oregon City Big Monti

Vino Vixens Wine Shop & Bar 2929 SE Powell Blvd. Blues Jam

White Eagle Saloon

836 N Russell St. The Schills, Bees, Monoliths (9:30 pm); The Student Loan (4:30 pm)

Winona Grange No. 271 8340 SW Seneca St., Tualatin John Doan

2958 NE Glisan St. Dan Haley & Tim Acott (9 pm); Freak Mountain Ramblers (6 pm)

Duff’s Garage

1635 SE 7th Ave. Susie and the Sidecars

2346 SE Ankeny St. Jaime Leopold

Jimmy Mak’s

2126 SW Halsey St., Troutdale E. Chris Brown

Kells

McMenamins Rock Creek Tavern

LaurelThirst

Mississippi Pizza

McMenamins Edgefield Winery

10000 Old Cornelius Pass Road, Hillsboro Hanz Araki & Kathryn Claire 3552 N Mississippi Ave. Modern Golem (9 pm); Lazy Champions (6:30 pm)

Mississippi Studios

3939 N Mississippi Ave. Islands, Idiot Glee

Muddy Rudder Public House 8105 SE 7th Ave. Irish Music

NEPO 42

5403 NE 42nd Ave. Open Mic

Rontoms

600 E Burnside St. Symmetry/Symmetry

Rose Garden

1401 N Wheeler Ave.

112 SW 2nd Ave. Dave Ross 2958 NE Glisan St. Kung Pao Chickens (9 pm); Portland Country Underground (6 pm)

2126 SW Halsey St., Troutdale Skip vonKuske with Myshkin

McMenamins Rock Creek Tavern

10000 Old Cornelius Pass Road, Hillsboro Bob Shoemaker

Mississippi Pizza

3552 N Mississippi Ave. Mr. Ben

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

Music Millennium 3158 E Burnside St. Tim Uecker

The Blue Monk

3341 SE Belmont St.

CALENDAR Deep Cuts

The Know

2026 NE Alberta St. Batmen, Valkyrie Rodeo, Tyrants, DJ Freaky Outty

Backspace

115 NW 5th Ave. Pecos

Muriel Stanton, Tracy Kim (8 pm); Hot Club Hawthorne (6 pm)

Bunk Bar

Jimmy Makâ&#x20AC;&#x2122;s

Camellia Lounge

221 NW 10th Ave. The Mel Brown Septet (8 pm); The Metropolitan Youth Symphony Jazz Band (6:30 pm)

Duffâ&#x20AC;&#x2122;s Garage

Kells

Ella Street Social Club

LaurelThirst

Tiger Bar

1028 SE Water Ave. Lewi Longmire, Old Light

White Eagle Saloon

510 NW 11th Ave. Ezra Weiss Quartet

317 NW Broadway Riverpool 836 N Russell St. Josh and Mer, Shadows on Stars, King Clifton

TUES. MARCH 13 Alâ&#x20AC;&#x2122;s Den at the Crystal Hotel 303 SW 12th Ave. Asher Fulero

Aladdin Theater

3017 SE Milwaukie Ave. Guster, The Submarines

Andina

1314 NW Glisan St. JB Butler

Ash Street Saloon

225 SW Ash St. La Fin Absolute du Monde

1635 SE 7th Ave. Dover Weinberg Quartet 714 SW 20th Place YYBS

Holocene

1001 SE Morrison St. Onuinu, Lavender Mirror, Pool of Winds, New Dadz DJs

Ivories Jazz Lounge and Restaurant 1435 NW Flanders St. Jazz Jam with Carey Campbell

Jade Lounge

2346 SE Ankeny St.

112 SW 2nd Ave. Dave Ross 2958 NE Glisan St. Bingo (9 pm); Jackstraw (6 pm)

McMenamins Edgefield Winery

2126 SW Halsey St., Troutdale Caleb Klauder & Sammy Lind

McMenamins Rock Creek Tavern 10000 Old Cornelius Pass Road, Hillsboro Open Bluegrass Jam

Music Millennium

18 NW 3rd Ave. No Hands with YoHuckleberry (10 pm); DJ Neil Blender (7 pm)

SAT. MARCH 10 Ground Kontrol

511 NW Couch St. TRONix with Bryan Zentz

Matador

1967 W Burnside St. DJ Whisker Friction

Sassyâ&#x20AC;&#x2122;s Bar and Grill 927 SE Morrison St. DJ HazMatt

Slimâ&#x20AC;&#x2122;s Cocktail Bar 8635 N Lombard St. DJ DirtyNick

The Crown Room

Tube

18 NW 3rd Ave. DJ Sethro Tull

FRI. MARCH 9 Element Restaurant & Lounge 1135 SW Morrison St. Chris Alice

Fez Ballroom

316 SW 11th Ave. Decadent â&#x20AC;&#x2DC;80s: DJ Non, Jason Wann; Rewind with Phonographix DJs

205 NW 4th Ave. Proper Movement with Senseone

Goodfoot Lounge

The Lovecraft

Groove Suite

421 SE Grand Ave. DJ Nealie Neal

Tiga

1465 NE Prescott St. Bill Portland

Tube

18 NW 3rd Ave. Paint It Black with DJ Freaky Outty (10 pm); DJ Creepy Crawl (7 pm)

Yes and No

20 NW 3rd Ave. Death Club with DJ Entropy

THURS. MARCH 8 Fez Ballroom

316 SW 11th Ave. Shadowplay: DJs Ghoulunatic, Paradox, Horrid

Rotture

315 SE 3rd Ave. Iâ&#x20AC;&#x2122;ve Got a Hole in My Soul: DJs Beyondadoubt, Brown Amy

Someday Lounge

125 NW 5th Ave. Mixer: Perfect Cyn, Tom Mitchell, Mercedes, Keane, Mr. Romo, Darling Instigatah, Grimes Against Humanity (9 pm); Mr. Romo, Michael Grimes (4 pm)

Swift Lounge

1932 NE Broadway DJ Sknny Mrcls

The Lovecraft

421 SE Grand Ave. Manchester Night: DJs Bar Hopper, Selector TNTs

Tiga

1465 NE Prescott St. DJ Ramophone

2845 SE Stark St. Soul Stew with DJ Aquaman 440 NW Glisan St. Cock Block: Camea, DJ Clairity, Miss Vixen

Holocene

1001 SE Morrison St. Discos Discos: DJ Zac Eno, Michael Bruce

Lolaâ&#x20AC;&#x2122;s Room at the Crystal Ballroom 1332 W Burnside St. â&#x20AC;&#x2DC;80s Video Dance Attack

Roseland Theater

8 NW 6th Ave. Caspa, Sazon Booya, Jaden

Rotture

315 SE 3rd Ave. Live and Direct: Slimkid3, Rev. Shines, DJ Nature

Sassyâ&#x20AC;&#x2122;s Bar and Grill 927 SE Morrison St. DJ HazMatt

Star Bar

639 SE Morrison St. Blank Fridays

Swift Lounge

1932 NE Broadway DJs ATM, Hot Biology

Tedâ&#x20AC;&#x2122;s (at Berbatiâ&#x20AC;&#x2122;s)

231 SW Ankeny St. Greek Night: DJs Maraki, Shaka

The Crown Room

205 NW 4th Ave. City Lock--Moombahton Dance Party: Tyler Keys, Joe Nasty, Ben Tactic

The Lovecraft

421 SE Grand Ave. DJ Horrid

Tiga

1465 NE Prescott St. AM Gold

Rotture

315 SE 3rd Ave. No Tomorrow Boys, Triple Sixes

The Blue Monk

3341 SE Belmont St. Pagan Jug Band

Thirsty Lion

71 SW 2nd Ave. PX Singer-Songwiter Showcase

Tony Starlightâ&#x20AC;&#x2122;s

3728 NE Sandy Blvd. Ayars Vocal Showcase

Twilight CafĂŠ and Bar

1420 SE Powell Blvd. Open Mic with The Roaming

Vino Vixens Wine Shop & Bar 2929 SE Powell Blvd. Arthur â&#x20AC;&#x153;Fresh Airâ&#x20AC;? Moore Harmonica Party

White Eagle Saloon

836 N Russell St. Kimosabe, Travelling Sols, Milc with PK Thunder

3158 E Burnside St. Anya Marina

Tube

WED. MARCH 7

MUSIC

Alâ&#x20AC;&#x2122;s Den at the Crystal Hotel 303 SW 12th Ave. DJ Mikey Mac

Branx

320 SE 2nd Ave. Marty Party

Crystal Ballroom

1332 W Burnside St. â&#x20AC;&#x2DC;80s Video Dance Attack with VJ Kittyrox

Fez Ballroom

316 SW 11th Ave. Popvideo with DJ Gigahurtz

Ground Kontrol

511 NW Couch St. DJs Destructo, Chip

Holocene

1001 SE Morrison St. Atlas: DJ Anjali, E3, The Incredible Kid

Mississippi Studios

3939 N Mississippi Ave. Mrs., DJ Beyonda

Palace of Industry 5426 N Gay Ave. DJ Pippa Possible

Rotture

315 SE 3rd Ave. Bubblinâ&#x20AC;&#x2122;: Nathan Detroit, Spekt1, Lincolnup, Ben Tactic

Secret Society Lounge

116 NE Russell St. Soulciety: DJ Drew Groove, Katrina Martiani

Someday Lounge

125 NW 5th Ave. Curve, Manoj, Barisone, Mr. Wu, Paranome

Swift Lounge

1932 NE Broadway DJ Nick Fury

Tedâ&#x20AC;&#x2122;s (at Berbatiâ&#x20AC;&#x2122;s)

Matador

1967 W Burnside St. Next Big Thing with Donny Donâ&#x20AC;&#x2122;t

Plan B

1305 SE 8th Ave. Hive with DJ Owen

Sassyâ&#x20AC;&#x2122;s Bar and Grill 927 SE Morrison St. DJ HazMatt

Slabtown

1033 NW 16th Ave. Record Swap/Sock Hop with DJ Mattie Valentine

The Lovecraft

421 SE Grand Ave. Dennis Dread

Tube

18 NW 3rd Ave. Honky Tonk Happy Hour with Tennessee Tim

Tube

Star Bar

639 SE Morrison St. Into the Void with DJ Blackhawk

Tiga

1465 NE Prescott St. Alex Hall

Tube

18 NW 3rd Ave. DJ High Maintenance (10 pm); DJ Toilet Love (7 pm)

18 NW 3rd Ave. DJ Stray; Saturdazed: DJs GH, Czief Xenith

Clydeâ&#x20AC;&#x2122;s Prime Rib

5474 NE Sandy Blvd. Ron Steen Jazz Jam

Br Break It Yourself Yourself

$10.95-cd/$15.95-vinyl (reg. ed)) $13.95-cd+dvd d

Deluxe cd+dvd version of the self-produced new album by brainyy violinist/whistler Bird includes ludes a short film.

THE MA MAGNETIC FIELDS

TUES. MARCH 13

Love At The Bottom Of The Sea Lo $12.95-cd/$15.95-lp $

426 SW Washington St. DJ Hairfarmer

The Ma Magnetic Fields return with synthesizers and fifteen short, perfectly arranged songs.

Roseland Theater

8 NW 6th Ave. Steve Aoki, Datsik

1932 NE Broadway DJ Gwiski 205 NW 4th Ave. See You Next Tuesday: Kellan, Avery

Tiga

1465 NE Prescott St. DJ Slim Chances

Tonic Lounge

3100 NE Sandy Blvd. Eye Candy VJs

Tube

SUN. MARCH 11

ANDREW NDREW BIRD

Kellyâ&#x20AC;&#x2122;s Olympian

The Lovecraft

Tube

$12.95-cd/$15.95-deluxe/$23.95-lp p

Springsteenâ&#x20AC;&#x2122; new release contains 11 new songs Springsteenâ&#x20AC;&#x2122;s incorporating sounds ranging from hip-hop to Irish folk incorpora rhythms. Deluxe version includes two bonus tracks.

511 NW Couch St. Service Industrial Night with DJ Tibin

The Crown Room

1465 NE Prescott St. DJ Yard Sale

Wrec Wr ecking ec king Ball

Ground Kontrol

Swift Lounge

Tiga

BRUCE SPRINGSTEEN BR

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I M A D E T HIS WW’s free marketplace for locally produced art. this Week: NiliNa MasoN-CaMpbell’s Portland on My Sleeve HandMade CanvaS tote Bag. p. 55.

N W DANCE PROJECT ARTISTIC DIRECTOR

march 9 +10 / 8PM SA R A H S L IPP E R

THREE WORLD PREMIERES FROM INTERNATIONALLY RENOWNED CHOREOGRAPHERS Sarah Slipper Patrick Delcroix Wen Wei Wang

Newmark Theatre / PCPA 1111 SW Broadway (at Main St) TICKETS at nwdanceproject.org INFO / 503.828.8285 Also available at PCPA Box Office Media Sponsor: James F. & Marion L. Miller Foundation

4S WWeek BW Ad: Pops 3 / St Pats Runs: 3/7, 3/14 Photo / Blaine Truitt Covert Dancer / Lindsey Matheis

THE BEST OF NOW

WW presents

BACK FROM NEW YORK AND HEADING TO LONDON

TICKETS GOING FAST! St. Patrick's Day Celebration Sat, March 17 | 7:30 pm Sun, March 18 | 3 pm Jeff Tyzik, conductor John McDermott, Irish tenor Molly Malone Irish Dancers Irish tenor John McDermott enthralls you with a spectacular selection of your favorite Irish tunes. From the emotional “Danny Boy” to high-stepping jigs, what better way to celebrate the time when everybody’s Irish!

Groups of 10 or more save: 503-416-6380

Call: 503-228-1353 Click: OrSymphony.org Come in: 923 SW Washington | 10 am – 6 pm Mon – Fri

ARLENE 40

Willamette Week MARCH 7, 2012 wweek.com

SCHNITZER

CONCERT

HALL

MARCH 7-13

= 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 Bawdy Storytelling

Sexual storytelling by relationship expert Reid Mihalko, “sex hacker” Miss Maggie Mayhem, lesbian-werewolf author Allison Moon and “transgendered superhero” Morgan. Dante’s, 350 W Burnside St., 226-6630. 8 pm Sunday, March 11. $15. 21+.

Bunkin’ with You in the Afterlife

Lesbian cowgirls have been enticing audiences since Tom Robbins penned Even Cowgirls Get the Blues in 1990. BroadArts’ new show ups the ante by featuring six singing lesbian cowgirls trekking around Southern Oregon. The traveling cowpokes talk and sing about coming out, finding spirituality and meeting their partners while the others act out the stories and sing backup. Much of this feels like listening in on a gay slumber party, and the zeal with which the actresses tackle these mimed scenes can be tiresome to watch. The show is saved by a few good voices, and an entertaining dynamic between Jan (Jean Hiebert) and her Texan aunt Zet (Mollie Hart). The original music by Adam Brock and Melinda E. Pittman (with clever lyrics by playwright Jody Seay) is pretty good—the best bits are the eponymous “Bunkin’ With You in the Afterlife” and a duet titled “The Boy I Fell in Love With Is a Girl.” There’s also a few riffs on popular songs, as with the rewrite of “Love Potion No. 9” into a lament about Oregon ballot Measure 9. Beneath the silly hijinks, there’s an unexpectedly moving heart to the piece, in the story of a woman who is held hostage by the memory of a hate crime. Women who love women and talking about spirituality will enjoy this musical, but don’t expect to see a lot of smooching going on. These cowgirls are too busy singing. MARIANNA HANE WILES. Ethos/IFCC, 5340 N Interstate Ave., 288-5181. 8 pm FridaySaturday, March 9-10. $18-$22.

Circle Mirror Transformation

You might be tempted to write this play off as another tired meta experiment of theater about theater. Don’t. Written by Annie Baker, this Obie Award-winning comedy about four students in a community drama class is poignant, thoughtful and fun. The show begins by giving winks to anyone who has ever been at the mercy of a theater teacher (“James, will you be my bed?”), but before long, the characters have skillfully crept into your thoughts. One is a quiet teenager, one a recent divorcée, but all of them end up learning more than how to act. Acting becomes a kind of personal therapy. When trying to embody someone else, people learn about themselves. They explore new emotions. They face their demons. Circle Mirror Transformation playfully presents this process in a way that allows the audience to indulge in its own self discovery. That’s a big bill for small show, but what’s remarkable is how seamlessly it pulls it off without taking itself too seriously. AARON SPENCER. Artists Repertory Theatre, 1515 SW Morrison St., 241-1278. 7:30 pm Wednesday-Saturday, 2 and 7:30 pm Sunday, March 7-11. $20-$50.

Danny and the Deep Blue Sea

[NEW REVIEW] Danny and Roberta have each done some bad things. Danny picks fights with anyone who looks at him wrong; Roberta has daddy issues, to put it mildly. Seeking solace in the isolation of a deserted Bronx bar, they instead find each other. They begin a hostile but curious conversation, sharing their most intimate secrets then lashing out just as quickly. Their encounter turns violent, then passionate, and they allow themselves to imagine a future where they

might be happy together. John Patrick Shanley calls this early one-act an “Apache dance,” after the dramatic, early 20th Century Parisian couple dance that mimics a violent encounter between a man and woman. Danny (JR Wickman) and Roberta (Dainichia Noreault) scream, slap and overturn benches. They make love with equal fury. The two actors fill every inch of the sparse set and small theater with their volcanic emotions, creating a reality both painfully uncomfortable and heartbreaking. They are seeking an escape from their own heads and forgiveness—if only from each other—for the things they’ve done. PENELOPE BASS. Action/Adventure Theater, 1050 SE Clinton St., actionadventure.org. 8 pm Thursdays-Sundays through March 24. $15. Thursdays are “pay what you will.”

Day of the Docent

CoHo presents the world premiere of an ambitious and bizarre comedy by Portland actor and playwright Ebbe Roe Smith, about Mick (Casey McFeron), a career criminal and wouldbe screenwriter who abducts the writer of his favorite film and forces him at gunpoint to become his mentor. The writer, Francis, is a burnt-out, alcoholic hack, who after making one critical successful revenge flick squandered his talents on uncredited rewrites of Hollywood schlock; he is played by Smith, himself a former screenwriter who penned the Michael Douglas revenge flick Falling Down and then squandered his talents on uncredited rewrites of Nick of Time and U.S. Marshals. I don’t know if any portion of Francis’ tales of drugs, sex and mental illness is autobiographical, but Day of the Docent’s ambiguous line between actor an character is much more interesting than its thin plot. Scenes of Francis schooling Mick like a boozy, near-nude Mr. Miyagi are interspersed with filmed clips of Mick and his pregnant girlfriend (Laura Faye Smith, resplendent as ever) robbing liquor stores. Smith is as entertaining a writer as he is a performer, but his unhinged tirades are like cotton candy. Day of the Docent entertains right through its predictable ending, but when the high wears off you will find yourself still hungry. The CoHo Theater, 2257 NW Raleigh St., 205-0715. 8 pm ThursdaySaturday, March 9-10. $20-$25.

The Irish Curse

Triangle Productions presents a comedy by Martin Casella about a support group for Irish-American men with small penises. Sanctuary at Sandy Plaza, 1785 NE Sandy Blvd., 239-5919. 7:30 pm Thursdays-Saturdays, 2 pm Sundays. Closes April 1. $15-$35.

A Lesson Before Dying

Profile Theatre presents Romulus Linney’s stage adaptation of Ernest J. Gaines’ masterful novel about a frustrated teacher forced by his godmother to attempt to redeem the dignity of a young black man, wrongly convicted of murder, through the power of writing. Theater! Theatre!, 3430 SE Belmont St., 242-0080. 7:30 pm Wednesdays-Saturdays, 2 pm Sundays. $16-$30.

Locomotion

Oregon Children’s Theatre presents a play about 11-year-old orphan Lonnie Collins Motion, named by his deceased parents after the Little Eva single, who finds purpose in poetrywriting. Winningstad Theatre, Portland Center for the Performing Arts, 1111 SW Broadway, 228-9571. 2 and 5 pm Saturdays, 2 pm Sundays. Closes March 18. $13-$28.

NT Live: Comedy of Errors

Third Rail screens the latest from London’s National Theatre, a contemporary staging of Shakespeare’s dou-

ble-twin comedy. World Trade Center Theater, 121 SW Salmon St., 235-1101. 1 and 5 pm Sunday, March 11. $15-$20.

On Golden Pond

Lakewood Theatre presents Ernest Thompson’s family drama about generation gaps, marriage and a pond. Lakewood Center for the Arts, 368 S State St., Lake Oswego, 635-3901. 7:30 pm Thursdays-Saturdays, 7 pm Sundays March 11-25, 2 pm Sundays March 18-April 15. $25-$28.

Othello

[NEW REVIEW] The Shakespearean tragedy of the dark-skinned general and the frenemy who betrays him, as produced by Twilight Repertory Theatre, is about as classic as the average theatergoer can stomach. The language and story have been updated a bit, but the costumes and setting remain true to the original. Ken Dembo’s performance as Othello is zealous to be sure, if at times manic. But who else would strangle his wife to death over a handkerchief? The treacherous Iago, played by a smug John Bruner, decidedly earns his knife in the stomach. You won’t leave the show a Shakespeare fan if you weren’t already, but you’ll probably cast suspicious glances at your friends. AARON SPENCER. Shoe Box Theater, 2110 SE 10th Ave., 312-6789. 7:30 pm ThursdaySaturday, 2 pm Sunday, March 8-11. $10-$15, cash only.

rator on the piano (Michael G. Keck). A congenial fellow reminiscent of Sam in Casablanca, the narrator presents Cymbeline through his own eyes, serving both to clarify the more complex scenes and offer his interpretation of the story’s theme of love betrayed. PENELOPE BASS. Gerding Theater, 128 NW 11th Ave., 445-3700. 7:30 pm Tuesdays-Fridays, 2 and 7:30 pm Saturdays-Sundays. Closes April 8. $20-$51. Closes March 18. $12-$25.

Those Sick and Indigent

Readers Theatre Rep performs a play by Alan O’Regan, about an employee and residents of a Dublin homeless shelter who sort through the belongings of a dead man. Blackfish Gallery, 420 NW 9th Ave., 295-4997. 8 pm Friday-Saturday, March 9-10. $8.

Woyzeck

[NEW REVIEW] For a production boasting both an original translation (by Nicholas Babson, who also stars) and original songs (by The Builders and the Butchers frontman Ryan Sollee), new company Ominous Horse’s take on Georg Büchner’s 1837 tragedy is depressingly unoriginal. With its bodice-and-tunic costuming, clown makeup, tumbling, unappealingly affected vamping, forced audience participation and the confused, blustery tone of amateur Shakespeare, the show feels like every “experimental” production of a European absurdist play performed by recent college grads since 1970. (There is some interesting movement work with wooden poles, of which I’d like to see more.)

CONT. on page 42

REVIEW CASEY CAMPBELL

PERFORMANCE

Race

Artists Rep presents David Mamet’s critically derided play about attorneys– two white and one black–defending a white man accused of raping a black woman. Let’s hope Tamara Fisch does a better job of bringing the drama to life than the playwright did on Broadway. Artists Repertory Theatre, 1515 SW Morrison St., 241-1278. 7:30 pm Tuesdays-Saturdays, 2 and 7:30 pm Sundays. Closes April 8. $25-$50, $20 students.

A Raisin in the Sun

The Public House Theatre presents a staged reading of Lorraine Hansberry’s drama of 1950s suburban racism. The CoHo Theater, 2257 NW Raleigh St., publichousetheatre.org. 7:30 pm Wednesday, March 7. $6-$8.

Red

The great abstract painter Mark Rothko was born 99 years ago this September. Portland, which was the Russian-born artist’s first American hometown and the site of his first solo show, is getting a jump start on next year’s inevitable centenary celebrations with an exhibit at the Portland Art Museum and Portland Center Stage’s production of John Logan’s play about Rothko’s ill-fated 1958 mural commission for the Four Seasons restaurant. Set in the artist’s cavernous, paint-splattered studio (impressively rendered here by Daniel Meeker), Red is mostly a series of artistic debates between Rothko and a fictional assistant, Ken. But what debates! The grandiosity of Logan’s screenplays finds suits the character of Rothko, famous for his verbosity, just fine. As performed by Daniel Benzali, who gives the artist the bombastic musicality of a thinner, snappier Orson Welles, the philosophical patter is hypnotic. It’s unfortunate that Ken is written (and performed, by Patrick Alparone) as a needy irritation, but his presence is made moot by Benzali’s magnificence. BEN WATERHOUSE. Gerding Theater, 128 NW 11th Ave., 445-3700. 7:30 pm Tuesdays-Fridays, 2 and 7:30 pm Saturdays-Sundays. Closes March 18. $20-$64.

Shakespeare’s Amazing Cymbeline

Though it’s one of Shakespeare’s lesser-known tales, Cymbeline employs many of the playwright’s favorite plot devices—mistaken identity, forbidden love, girls disguised as boys, scheming queens, betrayal, beheadings, etc. But Portland Center Stage’s new production, Shakespeare’s Amazing Cymbeline, presents a show stripped down to its barest elements with a cast of only six actors performing on the sparsest of sets. In addition to the minimalism, director Chris Coleman’s adaptation includes a third-party nar-

SHAKESPEARE’S R&J (BAG&BAGGAGE) Four schoolboys, each alike in puberty.

There is an inherent obstacle in producing Romeo and Juliet. It’s not the language, which translates beautifully. It’s not the characters, who remain strong even in the most Luhrmannesque adaptations. It’s simply that we all know what’s coming: the danger and lust, the longing and tragedy. We have lost the element of surprise. This makes Joe Calarco’s play Shakespeare’s R&J a jarring piece of theater. Aware that we all know what’s coming, Calarco’s script approaches the text from a perspective of discovery, framing the tale from the perspectives of four boarding school boys who find a banned copy of Romeo and Juliet in the floorboards. They make a ritual of acting it out together. Hormones start gurgling. R&J could easily be preachy, but in the hands of Hillsboro’s Bag&Baggage and visiting Glaswegian director Jennifer Dick, it’s explosive. The sparse cast features four rookies ably diving headlong into the story. On a minimalist stage, they behave like believable dorm rats, roughhousing and showboating, with Ian Kane donning an acoustic guitar between transforming into multiple characters. For a while, it’s like watching schoolyard kids playing Star Wars. But tranquility is violently shattered whenever comfort sets in, as in a scene where our Romeo (Samuel Benedict) and Juliet (Phillip J. Berns) lock lips for the first time, only to be met with fierce protest by the sometimes Mercutio (Sean Powell). The actors, whenever confronted with homosexuality, promptly snap out of character and into a dogmatic, militaristic religious routine introduced in the play’s opening, with the phrase “thou shalt not” chanted like a boot camp mantra. It’s rough, challenging stuff that courts controversy. But as the play progresses, it’s easy to become lost in the performances, to simply accept that this is the same love story we’ve seen: Until we’re violently reminded by Powell or Kane that maybe this is a little more racy than the iambic pentameter would imply. Were R&J simply a well-acted performance, it would be exceptional. That it manages to make fresh that which is stagnant and wholly invigorates throughout is remarkable. It reminds you why people fell in love with the story to begin with, before bringing reality crashing down around it. AP KRYZA.

SEE IT: Bag&Baggage at the Venetian Theatre, 253 E Main St., Hillsboro, 345-9590, bagnbaggage.org. 7:30 pm Thursdays-Saturdays, 2 pm Sundays. Through March 18. $12-$25. Willamette Week MARCH 7, 2012 wweek.com

4S WWeek BW Ad: Spec 16 / Zak Hussain Runs: 3/7, 3/14, 3/21, 3/28

PERFORMANCE

ONE NIGHT ONLY!

Zakir Hussain Fri Mar 30, 2012 | 7:30 pm

One of the foremost percussionists in the world today, Zakir Hussain takes the Indian tabla to an extraordinary level. A classical tabla virtuoso of the highest order, his consistently brilliant and exciting performances have gained him worldwide fame. Zakir astonished audiences here in 2009 and comes back by popular demand!

Tickets start at $25 Please note: the Oregon Symphony does not perform.

Groups of 10 or more save: 503-416-6380

SCHNITZER

Pedigreed Portland comics Michael Fetters and Shelley McLendon present a new live sketch comedy show. Here you’ll see the trick to the quirky comedy that Portland seems to like so much: make the audience nervously uncomfortable, then take advantage of the vulnerability for the payoff. What’s almost funny in the beginning becomes really funny when it’s revisited later. The humor is subtle, not brazen. But it’s also goofy. I spent a good deal of time trying to figure out if one character was a homeless kid or a raccoon (it was an owl). The show is laugh-outloud funny, but it only lasts an hour. AARON SPENCER. Theater! Theatre!, 3430 SE Belmont St., acespdx.wordpress.com. 8 pm Fridays-Saturdays through March 17. $14-$17.

pm Mon – Fri

CONCERT

HALL

The Unscriptables present an improvised, Portland-themed take on Avenue Q, complete with singing puppets. Funhouse Lounge, 2432 SE 11th Ave. 8 pm Saturdays through March 31. “Pay what you want.” 21+.

Impulse

Improv comedy from Oregon Children’s Theatre’s young professionals program. Oregon Children’s Theatre, 1939 NE Sandy Blvd., 228-9571. 7 pm Thursday-Friday, 6 pm Saturday, March 8-10. $5-$10.

Two Wheeler

Improv comedy by Phil Incorvia and Brandan McClain. Brody Theater, 16 NW Broadway, 224-2227. 7:30 pm Thursday, March 8. $10.

CLASSICAL Bach-a-Thon

TICKETS GOING FAST!

Eight members of the Portland Chapter of the American Guild of Organists play some of the most famous music by J.S. Bach and his deadbeat offspring PDQ on the historic Bosch organ. Anglican Parish of St. Mark, 1025 NW 21st Ave., 502-7484. 2 pm Sunday, March 11. Donation.

Consonare Chorale

Garrison Keillor Thursday, March 8 | 7:30 pm One night only, hear the masterful storytelling, songs and sonnets of Garrison Keillor, creator and host of the weekly radio show A Prairie Home Companion.

PRESENTED BY

Call: 503-228-1353 Click: OrSymphony.org Come in: 923 SW Washington | 10 am – 6 pm Mon – Fri

SCHNITZER

CONCERT

Willamette Week MARCH 7, 2012 wweek.com

The able local chorus collaborates with superb FearNoMusic pianist Jeffrey Payne in some fourhand piano works, and with Latin American music ensemble Grupo Condor in a commendably diverse program of music from South America and elsewhere, including the Finnish composer Einojuhani Rautavaara, Gunner Erickson’s Salve Regina: To the Mothers in Brazil. First Congregational Church, 1126 SW Park Ave., consonarechorale. org. 7:30 pm Saturday, March 10 at First Congregational United Church of Christ; 3 pm Sunday, March 11 at Montavilla United Methodist Church, 232 SE 80th Ave. $12-$15.

Marlise Stroebe

Please note: the Oregon Symphony does not perform.

ARLENE

OMINOUS HORSE

COMEDY

Avenue PDX

Call: 503-228-1353 Click: OrSymphony.org

ARLENE

Sollee’s bleak, gloomy songs are very good, complementing the tone of the script, and are performed with verve by the ensemble, but they are unfortunately interspersed with long periods of shouted nonsense and desperate boredom. It’s as if someone mashed up a Builders concert and an Occupy General Assembly meeting. Down twinkles! BEN WATERHOUSE. The Headwaters, 55 NE Farragut St., No. 9, 984-5831. 8 pm ThursdaysSaturdays, 2 pm Sundays through March 17. $10-$15. Thursdays are “pay what you will.”

The Aces

and The Masters of Percussion

4S WWeek / Keillor Runs: 2/22, Come BW in: Ad: 923Spec14 SW Washington | 102/29, am3/7 –6

MARCH 7-13

HALL

The pianist performs music by women composers through history, from the medieval abbess Hildegard of Bingen to Romantics Fanny Mendelssohn and Clara Schumann, to contemporary jazzers Valerie Capers and Marian McPartland. Classical Piano Recital Hall, 3003 SE Milwaukie Ave., 546-5266. 7:30 pm Thursday, March 8. Free.

WOYZECK

Oregon Symphony and Renee Fleming

The country’s most popular diva joins the orchestra for music by Gounod, Korngold, Ben Gibbard, Ricky Ian Gordon, Leonard Cohen (the inevitable “Hallelujah”) and much more, including Ravel’s sublime Shéhérazade. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 228-1353. 7:30 pm Tuesday, March 13. $65-$200.

Parker Quartet

Friends of Chamber Music’s series of performances and residencies by some of the rising stars among ensembles has really brought chamber music closer to listeners. Formed a decade ago by students at the New England Conservatory, the Parkers hit the big time by winning last year’s Grammy for best chamber-music performance. Although the wild and wondrous Ligeti quartets on that prize-winning CD won’t be on the programs here, the group, now in residence at the University of Minnesota, will perform great music by Janácek, Mendelssohn and Schumann on Monday. Tuesday’s concert features music by Mozart, the contemporary French composer Henri Dutilleux’s Ainsi la Nuit, which deftly employs a panoply of special effects, and one of the loveliest of all chamber works, Claude Debussy’s String Quartet. You can also see them in rehearsal (3 pm Monday at Lincoln Hall), and in afternoon performances at Central Library (noon-1 pm Monday) and the Portland Art Museum (noon-1:30 pm Tuesday)—a great way to get even closer to the most intimate form of classical music. Lincoln Hall, Portland State University, 1620 SW Park Ave., 2249842. 7:30 pm Monday-Tuesday, March 12-13. $27-$44.

Portland Viol Consort

A fretsome foursome of some of Oregon’s finest Baroque musicians perform 16th- and 17th-century madrigals, dances and fantasies for violas da gamba by John Dowland, William Byrd and Henry Purcell. Grace Memorial Episcopal Church, 1535 NE 17th Ave., 287-0418. 7:30 pm Saturday, March 10. $10-$20.

Portland Youth Philharmonic

The excellent young orchestra takes on a big, old challenge: Mahler’s pastoral Symphony No. 4, with guest soprano Susan Narucki singing in the heavenly final movement. Concerto Competition winner Lauren Siess will play the solo part in William Walton’s Viola Concerto. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 223-5939. 7:30 pm Sunday, March 10. $11-$40.

Steve Gorn and Benjy Wertheimer

The Grammy-winning bamboo flute and tabla duo play classical ragas and folk music from northern India. The Movement Center, 1025 NE 33rd Ave., 231-0383. 7:30 pm Friday, March 9. $15-$20.

Third Angle, Resonance Ensemble

In the signal event of a jam-packed month of contemporary classical

music, the city’s veteran new music ensemble joins forces with one of its finest vocal groups to perform Morton Feldman’s “Rothko Chapel,” inspired by the Houston repository of painter Mark Rothko’s famous murals. The concert also features recordings of words and music by Feldman’s modernist New York contemporaries, including John Cage, and music by Cage and Anton Webern. Kridel Grand Ballroom, Portland Art Museum, 1219 SW Park Ave., thirdangle.org. 7:30 pm Saturday, March 10. $20-$35.

DANCE BodyVox Auditions

Technically strong dancers, particularly the male variety, are in demand as BodyVox and its apprentice company, BodyVox-2, holds auditions for its 2012-2013 season. Applicants should arrive ready to dance and be trained in both classical and contemporary dance, with a current résumé and head shot or dance photo in hand. BodyVox dancers are contracted for 10and 12-month contracts beginning August 2012. BodyVox Studios, 1300 NW Northrup St., 3rd floor, 503-421-7434. 2-5 pm Sunday, March 11. Free.

Jayanthi Raman Dance Company

Bharatha Natyam, the classical Indian dance form, is spun into the full-length ballet Sampradaya: Traditions from Temple to Theater, performed by the Jayanthi Raman Dance Company, and accompanied by live music. Glenn &Viola Walters Cultural Arts Center, 527 E Main St., Hillsboro, 615-3485. 7:30 pm Friday, March 9. $20. All Ages.

Northwest Dance Project

Following their January engagement in Manhattan and prior to their summer gig at London’s 2012 Cultural Olympiad (the arts festival adjunct to the Olympic games), Portland’s Northwest Dance Project stages The Best of Now, a spring show featuring three world-premiere works. One of these will come from Nederlands Dans Theater veteran Patrick Delcroix, whose outstanding Harmonie Défigurée was a highlight of the company’s 2011 spring show. Chinese choreographer Wen Wei Wang from Canada provides the second of these new works and NWDP artistic director Sarah Slipper is creating the third. Newmark Theatre, 1111 SW Broadway, 2484335. 8 pm Friday-Saturday, March 9-10. From $25. All Ages.

ScratchPDX

They made it from scratch: ScratchPDX, a rotating group of improvisational performers, meets once a month to test new dance, music, storytelling, comedy and more.. Hipbone Studio, 1847 E Burnside St., 358-0898. 9 pm second Saturdays through May. $10.

For more Performance listings, visit

VISUAL ARTS

MARCH 7-13

= 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.

GUN

REVIEW

The title of this show says it all: GUN. Each photograph features a gun in a different context. Some of the images are iconic, such as Bob Jackson’s capturing of the moment Jack Ruby shot and killed Lee Harvey Oswald. Others are less familiar but no less disturbing—case in point: Elliott Erwitt’s image of a young boy grinning as he holds a toy gun to his temple. The show feels more like a museum exhibition than a gallery show and represents a new level of sophistication in Hartman’s ever-evolving programming. Through March 31. Charles A. Hartman Fine Art, 134 NW 8th Ave., 287-3886.

THANK YOU TO OUR PDX CARTATHLON II PARTICIPANTS!

Mandy Stigant

1ST PLACE: THE DIRTY ASHLEYS 2ND PLACE: SLOPPY JERRY'S 3RD PLACE: WHO CARTED? 4TH PLACE: CARTE ASADA

Mandy Stigant’s stoneware works are the highlight of this month’s show at Blackfish. With their bonelike textures, the organic shapes in Stigant’s Divide series interlock like puzzle pieces and climb the gallery walls in elegant vertical steps. The tectonic compositions are highly allusive and visually appealing. One wishes, however, that the artist had resisted the urge to add prissy patterns and holes to the shapes, as these are redundant and unnecessary, detracting from the sculptures’ impact. Through March 31. Blackfish Gallery, 420 NW 9th Ave., 234-2634.

Mitchell Freifeld

With an endearingly naive style, Mitchell Freifeld paints cityscapes that playfully warp perspective, integrating realism with geometry. The veteran painter deploys whimsy and regional pride in his affectionate tributes to all things Northwest. Through March 31. Caplan Art Designs, 1031 NW 11th Ave., 319-6437.

Night-tide Daytripping

Hilariously irreverent, Ralph Pugay’s paintings combine a cartoonist’s gift for concision with a social critic’s wit. Each of Pugay’s lowbrow vignettes illustrates a central conceit: Homo sapiens evolving from ape into corporate-drone family man; a group of convicts happening upon minimalist artist Robert Smithson’s famous Spiral Jetty; a blind man reading a Braille copy of Ayn Rand’s Atlas Shrugged; and a group of swingers having an orgy, despite the fact that they all have chicken pox. There is something simultaneously smart and stone-cold dumb in these paintings, which will have you laughing out loud in spite of yourself. Through April 22. Rocksbox, 6540 N Interstate Ave., 971-506-8938.

Of Other Spaces

“Deliquesce” is a fancy word for what happens to mushrooms when they rot and liquify. It’s the concept at the center of Michael Endo and Emily Nachison’s exhibition, of other spaces. Sculpting mushrooms and other fungi out of cast glass, Nachison uses installations such as the circular Portal to illustrate the cycle of life and death as each of 20 mushrooms grows, withers and melts into the soil. These images of organic decay are complemented by Endo’s images of urban decay. Using oil paint and kiln-formed glass, Endo depicts desolate cityscapes with burning tires and derelict houses. It’s a thought-provoking thematic pairing. Through April 28. Bullseye Gallery, 300 NW 13th Ave., 227-0222, 227-0222.

Rio Wrenn

In her sumptuous works on paper, Rio Wrenn juxtaposes rusted brown metal and turquoise-colored patinas in inventive compositions. Through March 31. Launch Pad, 534 SE Oak St., 971-227-0072.

For more Visual Arts listings, visit

SHOT SHOT: Margaret Evangeline’s bullet brushes.

MARGARET EVANGELINE, SHOOTING THROUGH THE LOOKING GLASS

BEST COSTUME: CIRQUE DU SOUFFLE BEST TEAM NAME: I SHARTED WHEN I CARTED

She shoots, she scores!

Think of Margaret Evangeline as the Annie Oakley of the art world. The New York Citybased artist creates her trademark abstractions by shooting stainless steel panels with handguns, shotguns and rifles of various makes and calibers. To focus on the guns, as many gallerygoers do, is to miss the point. “I’m more interested in the hole than the gun,” Evangeline says. Indeed, the holes left in the wake of her shooting sprees are paradoxically pregnant with content. For this artist, absence is presence, destruction is creation, and “Ready, aim, fire!” is an act of composition. Her exhibition at Butters Gallery, Shooting Through the Looking Glass, features four shot-metal pieces, whose rough, ripped circles and metal tatters create shapes that cast shadows across the panels. In works such as Lumiista #14, the surfaces are further informed by the metal’s glossy reflectivity. Gaze into the piece, and you see yourself gazing back, your contours warped into a fun-house grotesquerie where the metal bows and buckles out. Other pieces incorporate powder coating to impart a range of colors: the lime-green St. Sebastian #7, the milky St. Sebastian #10 and the firehouse-red One True Love. Evangeline is not the first artist to use guns (French artist Niki de Saint Phalle did it in the early 1960s), but she has turned the tactic into a formally engaging, metaphorically rich practice. In the aftermath of the oft-declared “death of painting,” she has replaced the paintbrush with the bullet. Finally, it’s hard not to view the compositions as sexual stand-ins, with their nipplelike protrusions, nubby flaps and gaping orifices. In art-making, as in lovemaking and target practice, ecstasy commingles with violence. Evangeline works in other media as well, to variable effect. While her Fluid Flow watercolors are quite lyrical, the paintings in her Nuit Blanc series, with their meandering lines and slapdash application, are barely serviceable. Meantime, her oil paintings of words in sloppy cursive—lovely, beauty, strong, perfect—are facile, hackneyed and just plain bad. It is only in the gunshot works that the artist’s vision rings true. Sure, they’re gimmicky, but so were Jackson Pollock’s drip paintings, Robert Rauschenberg’s “combines” and Andy Warhol’s soup cans. In these polished, complex works, Evangeline has the basis of style. RICHARD SPEER. SEE IT: Shooting Through the Looking Glass at Butters Gallery, 520 NW Davis St., 2nd floor, 248-9378. Through March 31.

Willamette Week MARCH 7, 2012 wweek.com

DRINK

Willamette Week’s complete guide to nightlife in Portland.

BOOKS

MARCH 7-13

KIM SCAFURO

2011

= WW Pick. Highly recommended. By MARIANNA HANE WILES. TO BE CONSIDERED FOR LISTINGS, submit lecture or reading information at least two weeks in advance to: WORDS, WW, 2220 NW Quimby St., Portland, OR 97210. Email: words@wweek.com. Fax: 243-1115.

WEDNESDAY, MARCH 7 Charles Eisenstein on “Sacred Economics”

Charles Eisenstein is the author of The Yoga of Eating, The Ascent of Humanity and, most recently, Sacred Economics. He’s in town to speak on the necessity of creating a “healing money system” or a “gift economy” to replace our capitalistic greed. It might be all mumbo jumbo, but in the age of Occupy Wall Street, it’s hard to write him off immediately. First Unitarian Church, 1011 SW 13th Ave., 228-6389. 7 pm. $5-20 sliding scale.

S GIN FIZZ

POK POK BLOODY MARY

GROUNDED FOR LIFE

op Lounge

Whiskey Soda Lounge

Beaker and Flask

HOFBRÄU HELLES Song Story

Prost! As a part of the March Music

Moderne festival, Song Story features five local authors reading works that revolve around music. Also on hand will be Cymbalman, a “human musical instrument,” whose many cymbals invite audience participation in the music-making. Someday Lounge, 125 NW 5th Ave., 248-1030. 7 pm. $5 suggested donation. 21+.

THURSDAY, MARCH 8 Burgerville Feeds the Arts

On Thursday, consuming your favorite Burgerville shake will help support the arts and arts education—all Burgerville locations will donate a portion of the day’s sales

to Work for Art, a nonprofit that provides funding to cultural organizations throughout Oregon and southwest Washington. Eat up! Burgerville (Hawthorne), 1122 SE Hawthorne Blvd. All day. Burgerville will donate 1.5 percent of the day’s sales to Work of Art.

SUNDAY, MARCH 11 Why Aren’t There More Black People in Oregon?: A Hidden History

In a long-overdue conversation, Portlanders can learn about the history of black culture in Oregon, as well as the historic discrimination and exclusion experienced by many. PSU professor Walidah Imarisha will walk participants through an interactive timeline of black history in our state. The event is co-sponsored by Multnomah County Library and Oregon Humanities. North Portland Library, 512 N Killingsworth St., 988-5394. 2 pm. Free.

Poetry Out Loud

Reciting poetry might not get you a date in high school, but it can win big money for college. Poetry Out Loud is a national scholarship competition designed to get students excited about poetry. The regional finals are hosted at Powell’s. The winners will move on to the state championship March 31. Powell’s City of Books, 1005 W Burnside St., 228-4651. 2 pm. Free.

Studio Series

Johns Landing’s own monthly poetry series features Carolyn Martin and Andrea Hollander Budy this month. They’ve also promised an open mic to follow the reading, so stop by the Ross Island Cafe and Grocery for snacks, and settle in for the show. Stonehenge Studios, 3508 SW Corbett Ave., 224-3640. 7 pm. Free.

MONDAY, MARCH 12 Smallpressapalooza

In honor of Small Press Month, Powell’s hosts the fifth Smallpressapalooza, a four-hour marathon of readings by local writers whose works have been published by small presses. Readers include Ryan Chin, Martha Grover, Lisa Wells and more. Powell’s City of Books, 1005 W Burnside St., 228-4651. 6 pm. Free.

TUESDAY, MARCH 13 Modoc: The Tribe That Wouldn’t Die

Cheewa James will discuss the 1873 Modoc War, which pitted 1,000 U.S. soldiers against some 55 Modoc warriors in one of the costliest Native American wars waged by the U.S. government. The event is sponsored by The Oregon Encyclopedia, an online publication that documents the state’s significant people, places and historical events. Mission Theater, 1624 NW Glisan St., 223-4527. 7 pm. Free. 21+.

For more Words listings, visit

REVIEW

MICHAEL ORR, THE 1975 PORTLAND TIMBERS COFFEE

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Gold Dust Meridian

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Cruzroom

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Willamette Week MARCH 7, 2012 wweek.com

SCOWIt MULE seems

like no one played soccer in Portland to the Seattle Sounders, drew 6,913. The last Lounge1975. The next year, kids crowded parks before home match, a semifinal playoff victory over and fields to try this undiscovered sport. My the St. Louis Stars, drew more than 33,000. Orr middle school was unprepared for the onslaught. writes of a near riot at a game in San Jose and “We have one ball,” I recall my coach complain- how the Timbers’ management averted disaster ing, “and 100 kids trying to chase it.” when British clubs demanded their loaned playThe difference was the original Portland Tim- ers be returned just before the Timbers started bers, who delivered one of the the playoffs. most successful and startling We also get an account of debuts ever for an American every one of the team’s 46 goals pro sports team. and granular detail about forThe expansion Timbers mation shifts and groin pulls. could barely field a full team But Orr never brings any less than week before their player to life: These young first game at Civic Stadium in footballers, praised like knights May 1975. Four months later, in the newly christened Soccer the team was the point leader City, pass by like flimsy cutouts. in the NorthPAmerican Soccer In old age, a few offer bland League before losing in the quotes about the fine time they Observatory league championship game, had. The best we get is that called the Soccer Bowl. Coach Vic Crowe was flinty, That fire burns in this city and one player, then 19, got a today, from mighty mites fake ID so he could drink. in city parks to the tattooed Even the game descriptions Timbers Army regulars. become passive and repetitive. Michael Orr describes the The narrative of the 2-0 chamimprovised first season in pionship loss to the Tampa Bay Ouch, my groin. The 1975 Portland Timbers: Rowdies—the biggest game any The Birth of Soccer City, USA. Timbers team ever played— The players—most on loan from British clubs— gets less than two pages. arrived to find host families, as if the team It’s a flat ending that fits the team’s later life: were a student exchange program, and stayed After that stunning year, the NASL Timbers sank together at the Tall Firs Apartments. None of into seven seasons of mediocrity before folding the players was a star back home, and the team in 1982. A vivid story left lifeless, like the ghosts devoured the sudden and intense adoration, of great promise that haunt the old Civic today. partying with fans at the Benson and Hilton BRENT WALTH. hotels after every home game. Other expansion teams in the young NASL GO: Michael Orr reads at Powell’s City of Books, 1005 W Burnside St., 228-4651. 7:30 pm had won titles, but the fan response in Portland Thursday, March 8. Free. was unrivaled. The first home match, a 1-0 loss

MARCH 7-13 REVIEW

= WW Pick. Highly recommended.

DISNEY ENTERPRISES

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

A Thousand Words

Eddie Murphy must stop talking or he’ll die. Not screened for critics. PG-13. Cedar Hills, Clackamas, Pioneer Place, City Center, Lloyd Mall.

Act of Valor

The many adventures of REAL NAVY SEALS. Not screened for WW by press deadlines. R. Lloyd Center, Cedar Hills, Clackamas, Cinetopia Mill Plain, Cornelius, Oak Grove, Pioneer Place, City Center, Evergreen, Tigard, Wilsonville.

Albert Nobbs

40 The gender-bending Albert Nobbs offers a buy-one-get-one-free coupon of butch, with two central heroines masquerading as dudes. The titular Albert (Glenn Close) is an awkward, finicky little man, while Albert’s inspiration, Hubert Page (Janet McTeer), is strong and, well, normal. Albert should, by all rights, be a sympathetic character. He’s damaged and frightened by the Dublin around him, desperately hanging on to his secret identity in a way that has stifled his ability to actually live. But poor Albert is so onedimensional the film surrounding him becomes a complete and utter drag. Perhaps it’s the 42-year age difference between Close and Mia Wasikowska, who plays the object of Albert’s attentions, that makes the proposal seem overtly creepy, or perhaps it’s Albert’s complete lack of romantic affection. Whatever it is, watching Close and Wasikowska kiss is about the most asexual, uncomfortable thing to hit the screen since the ponytail-fucking in Avatar. Where Albert should arouse pity in viewers, he instead skeeves them out with his creepy plastic face and old-man perving on a young, naive girl. Albert Nobbs is an obvious awardbaiting film for Close, and while it has received a handful of nominations, it’s utterly forgettable as a flick, lacking either the drama to make it great or the camp to make it a joy. R. PATRICIA SAUTHOFF. Living Room Theaters.

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. The Oscar designated Best Picture, this 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. PG-13. AARON MESH. Clackamas, CineMagic, Cinetopia Mill Plain, Lake Twin, Oak Grove, City Center, Evergreen, Fox Tower, Lloyd Mall, Tigard.

Better Than Something: Jay Reatard

80 [HELD OVER] Fans of Jay Reatard: You will see this documentary no matter what I say, because you know as well as I do the man born Jimmie Lee Lindsey Jr. was a heartbreaking jerk of staggering genius responsible for creating the most vital rock-’n’-roll music of this young century, and even a middling bit of opportunistic hagiography would scratch your nagging itch for more Jay and therefore be essential. But I am pleased to inform you that Better Than Something forgoes hack idolatry in favor of a thoughtful portrait of an undeniably talented man who seemed to funnel every good part of his being into making great art before dying at the ridiculous age of

29. You will fall in love all over again. Newcomers to the life and work Jay Reatard: I implore you to see Better Than Something so that you might groove to the raw and vicious work of a master songwriter who passed away at the top of his game after devoting 15 years to furious production and prickly behavior. Interviews with friends, family and the man himself shed light on a cursed dude who couldn’t help living in the red, for better and worse. You will fall in love. CHRIS STAMM. Clinton Street Theater. 7 and 9 pm WednesdayThursday, March 7-8. 9:15 pm FridayThursday, March 9-15.

Chronicle

81 Dopey in all the right places and

just mean enough to draw blood, Chronicle strings together a series of increasingly ludicrous set pieces to frequently thrilling effect, and it’s not too shabby as an all-purpose allegory for every messy thing teens get up to, either. Soon after massaging a mysterious object found in a dark hole behind a ridiculous rave—we’ve all been there—three very cute guys find themselves endowed with telekinetic powers. Like Cloverfield, the last successful foray into man-with-a-videocamera mode, we are strapped to the shoulder of an amateur cinematographer as the ride tilts and whirls and eventually spins out of control. Firsttime feature director Josh Trank and co-writer Max Landis are sharp enough to know what made Cloverfield work so well: an awareness that such junk food is so much better without too much bland exposition or character development dampening the sugar rush. And so the bulk of Chronicle’s swift running time is given over to play, as the three increasingly powerful lads figure out what their minds and bodies are capable of. Read it as a study of sexual awakening or pubescent PTSD or high-school hell or teen invincibility—it’s all there—but try to enjoy it first as a blast of pure visual pleasure. PG-13. CHRIS STAMM. Clackamas, Forest, Living Room Theaters. NEW

The Conquest

47 The French answer to Primary

Colors—like that Clinton-campaign fictionalization, it’s made with its president still in office—opens with Nicolas Sarkozy (Denis Podalydès) sleek in a velvet dressing gown and gold chain, looking for all the world like Al Pacino in Scarface. The rest of the movie isn’t that complimentary a caricature: Sarko starts out resembling Michael Sheen— not Sheen in The Queen, but Sheen on 30 Rock—and ends up a dead ringer for Little Stevie Van Zandt. In between, his wife cheats on him with an ad man. Quel scandale, the headlines! “Can a cuckold be elected president?” It’s a cruel portrait, with the diminutive politician scarfing chocolates from a box, a two-hankie heroine scorned on Valentine’s Day. The only subject treated worse than the striving office-seeker is the press: Reporters are called cowards more times than they’re called by name, and one cameraman biffs it headfirst onto a sandy beach. Rarely more than watchably acid television, The Conquest contains two memorable shots: Sarkozy bawling out his staff in front of a commercial backdrop, and the nearly elected candidate meeting his estranged wife (Florence Pernel) under umbrellas held by separate flunkies. Cold. AARON MESH. Cinema 21.

Crazy Horse

52 A peek behind the scenes of a famous Parisian strip club sounds like a good time, promising interpersonal drama, salacious gossip and maybe a little tragedy, but you will find none of the above in this pretty and characteristically tedious documentary by Frederick Wiseman. Shot without concern for coherence or a discernible point of view, the film drifts aimlessly through performances and production meetings at Le Crazy Horse, a

CONT. on page 46

ULTIMATE FIGHTING: Taylor Kitsch vs. a White Ape.

SPACE JAM JOHN CARTER SEEKS BATTY NEW WORLDS. BY AAR ON MESH

amesh@wweek.com

We were 20 minutes into John Carter and surrounded by a regiment of bloodthirsty Tharks when I realized I was lost. I figured we were probably on Mars. (The movie was originally titled John Carter of Mars, so that was a clue.) But the opening act whipped through a history of civil war on a red planet called Barsoom—with aerial dogfights between galleons lofted by dragonfly wings—before landing on the Atlantic seaboard in 1881, where we were informed that American Civil War vet John Carter had just died. Then another jump to Arizona circa 1868, where we met Carter, alive if long unshaved, fleeing the U.S. Cavalry and Apaches. There was a cave of gold, and a glowing pendant, and suddenly ol’ whiskery John was bouncing across a brilliantly yellow desert, hopping precipitously into the air like a Super Mario Bros. character. And then the Tharks showed up. I had no idea what was going on. I was glad. If John Carter is a box-office debacle—as the smart money is betting—this disorienting launch sequence will join a long list of missteps in a luckless production. Pixar wunderkind Andrew Stanton has decided to leap from WALL-E into live-action filmmaking by adapting a series of penny dreadfuls penned in 1917 by the guy who invented Tarzan. The movie went through sweeping reshoots because the first cut didn’t make any sense, the budget surpassed $300 million, and the title was trimmed so women would want to see it. Women still don’t want to see it. John Carter is played by Taylor Kitsch (he was Tim Riggins on Friday Night Lights), and he often looks, to put it politely, confused about what actors do. The movie lurches wildly between moods, and the plot is nearly impossible to follow. None of these things matter. John Carter has tectonic flaws, but it’s fearless and exhilaratingly outlandish, the first hint that the CGI era can do something radically different than add bigger bubbles to soap operas. At its worst, it’s grin-induc-

ingly idiosyncratic sci-fi—I haven’t seen this kind of blithe world-building since 2004’s The Chronicles of Riddick. At its best, it’s what people wanted from the Star Wars prequels. The Edgar Rice Burroughs story, streamlined by Michael Chabon, is terrifically unhinged, but the movie’s triumphs (and, I suppose, its spoilers) are not in its plot but in its sights. Let’s take those Tharks: They’re giant green men who hatch from eggs as slimy manatees and mature into skinny, tusked walruses with four arms, the voices and mannerisms of Willem Dafoe and Thomas Haden Church, and a weakness for gladiatorial combat with White Apes. I won’t even try to describe what the White Apes look like, except that if you’ve been hankering to see Rankin/Bass’ stop-motion Abominable Snow Monster of the North as designed by Industrial Light and Magic, sit tight. Befitting a grandiose filming of a boys’ weekly adventure, the palette is almost exclusively primary colors: blue, yellow and (of course) red. John Carter’s emotional heft comes directly from these strange vistas: It makes you wonder if we still live in a time when new worlds can be discovered, and if something fresh can sprout in our own. This hope—that not everything is regurgitated junk—was also explored by Stanton in WALL-E, and here the redemption isn’t as radical:

THEY HATCH FROM EGGS AS SLIMY MANATEES AND MATURE INTO WILLEM DAFOE. In a gorgeously orchestrated montage, John saves his princess (Lynn Collins) by knifing through a pile of aliens like a quarterback breaking tackles with a machete. But if the violence is conventional, the sense of exploration and grandeur is real. “We have a saying on Barsoom,” says one of the nobler Tharks: “A warrior can change his metal, but not his heart.” I haven’t got a clue what was going on, but I’m glad Andrew Stanton’s heart is still in a different place. 85 SEE IT: John Carter is rated PG-13. It opens Friday at Lloyd Center, Cedar Hills, Clackamas, Eastport, Cinetopia Mill Plain, Cornelius, Pioneer Place, Oak Grove, City Center, Evergreen, Hilltop, Tigard, Wilsonville, Roseway and St. Johns Twin.

Willamette Week MARCH 7, 2012 wweek.com

MARCH 7-13

club that aspires to elevate nude dancing to the realm of art, with occasional success. Long handheld shots of backstage butts give way to cheesy dance routines that pass to long interviews with a creepy little elf of a man with a head like a thumb. Only twice does Wiseman find any non-prurient interest in the world’s most pretentious titty bar: once, in a meeting where the revue’s director, Philippe Decouflé, begs fruitlessly for more time and money in the manner of all stage directors everywhere; and again, backstage, where dancers in stainlesssteel G-strings watch the live feed and good-naturedly insult Philippe’s work. But then Wiseman wanders off, back to the human thumb and a soporific stream of breasts. BEN WATERHOUSE. Living Room Theaters.

A Dangerous Method

81 So...tell me about your fathers. 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 patient-turned-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. Living Room Theaters.

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-yearold Scottie (Amara Miller) and acidtongued boarding-school 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. Fox Tower, Clinton Street Theater, Academy, Bagdad, Laurelhurst, Mission, St. Johns, Valley.

Dr. Seuss’ the Lorax

61 It’s a classic children’s tale: Boy living in a desolate, foliage-free world searches far and wide for a seedling to bring life back to the planet and a girl into his life. When that movie was WALL-E, it kicked ass. When it’s The Lorax, not so much. Here’s the thing: Dr. Seuss’ tale of a doomsaying critter called the Lorax doesn’t have a love story. It’s just a quick, rhyming tale of some forest creatures whose home is destroyed by an outsider with an ax and an idea. The Hollywood version tosses in lame backstory about people, and The Lorax is no longer about the

environment. That point is made even clearer by the real-world advertising campaign that finds the Lorax shilling for Mazda. The Lorax isn’t terrible, but it’s certainly not great. The 3-D animation is some of the best to come about since the 3-D fad reappeared, and Danny DeVito is fantastic. He voices the fuzzy, mustachioed, tree-hugging grouch perfectly. It’ll be entertaining for kids, but it won’t spark their imaginations—none was used in the making of the film. The story is hackneyed, and the songs barely rhyme. The Lorax might speak for the trees, but clearly, no one is speaking for Dr. Seuss. PG. PATRICIA SAUTHOFF. Lloyd Center, Cedar Hills, Clackamas, Cinetopia Mill Plain, Cornelius, Moreland, Oak Grove, Pioneer Place, City Center, Lloyd Mall, Evergreen, Tigard, Wilsonville. NEW Ecstasy of Order: The Tetris Masters

[ONE NIGHT ONLY, DIRECTOR ATTENDING] Portland filmmaker Adam Cornelius debuts his documentary on the 2010 Classic Tetris World Championship. Hollywood Theatre. 7:30 pm Monday, March 12. Adam Cornelius will attend the screening. NEW

Friends With Kids

53 A thirtysomething take on the fuck-buddy comedy, Friends With Kids fancies itself more adult than those two other movies from last year about boffing BFFs, in which Justin Kutcherlake and Natalie Kunisman foolishly sought unencumbered sexual satisfaction in the loins of their hotbodied besties. In this film, the characters are driven by an even more naive and selfish impulse: to make a baby with no strings attached. Adam Scott and writer-director Jennifer Westfeldt are old college pals who, for motivations never adequately justified, agree to have a child together and raise it as platonic parents. Staging a mini Bridesmaids reunion, Westfeldt gets good performances out of her supporting cast—Maya Rudolph and Chris O’Dowd make an enjoyably kooky couple; Jon Hamm gets to stretch out in at least one strong dramatic scene; and Kristen Wiig, well, she spends all her screen time weeping—but no one can escape from underneath the film’s contrived sitcom premise, particularly Westfeldt herself: It’s just hard to get behind someone who’d voluntarily reduce parenthood to the level of exroommates sharing custody of an Xbox. We all know where it’s heading from the first two minutes, anyway. It reverses the direction of the typical casual-shtup rom-com—love stumbling upon lust rather than the other way around—but it’s just a different route for ending up at the same place. R. MATTHEW SINGER. Clackamas, City Center, Lloyd Center, Fox Tower.

Ghost Rider: Spirit of Vengeance 3D

Nicolas Cage fights Satan, POKES YOU IN THE EYE. Not screened for critics. PG-13. Cedar Hills, Clackamas, Cornelius, Oak Grove, Lloyd Mall.

Gone

Amanda Seyfried hunts a serial killer in Portland. Not screened for critics in Portland. PG-13. Cedar Hills, Clackamas, Cornelius, Lloyd Mall.

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

Willamette Week MARCH 7, 2012 wweek.com

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. Lloyd Center, Living Room Theaters, City Center, Tigard, Lake Twin, St. Johns Twin. NEW

REVIEW SMITHY PRODUCTIONS

MOVIES

In Darkness

58 The Holocaust hideout movie set

in Polish sewers turns out to be, somewhat paradoxically, the Holocaust hideout movie with steamy sex scenes. That’s probably not why In Darkness got a Foreign Language Oscar nomination, but it’s the film’s most distinctive element—credit director Agnieszka Holland’s penchant, dating to 1993’s The Secret Garden, for recognizing the sensual potential in private places. She homes in on relational indelicacies that other works in the genre have tended to gloss over: For once, we see Jews with mistresses as well as devout nuclear families. The frankness enlivens an otherwise wellworn exercise in barbarity and limited salvation, a blend of The Pianist with those Venetian catacomb scenes from Indiana Jones and the Last Crusade. Considering it’s nearly 2 1/2 hours, the movie does a terrible job differentiating between the 10 people snuck into the sewers (to be fair, it is dark down there) and leans wearily on the suspense tropes of hide-and-seek games (to be fair, it is dark down there). As the Schindler of the shitters, Robert Wieckiewicz is agreeably earthy, with notes of Homer Simpson: He has a running-joke tendency to throttle the necks of people who argue with him, and his limited comprehension of the horror unfolding in his neighborhood makes his enlightenment affecting. R. AARON MESH. Fox Tower. NEW Inner Space and Outer Space: 16 mm Experimental Films from Los Angeles

[TWO NIGHTS ONLY, CURATOR ATTENDING] Cinema Project brings film curator Mark Toscano to town bearing SoCal psychedelic treats from 1965 to 1977. Hollywood Theatre. 7 pm Monday-Tuesday, March 12-13.

The Iron Lady

35 Give The Iron Lady points for transparency: The film’s centerpiece is shots of Meryl Streep practicing her accent, the foundation of her biennial Oscar bid. This time out, she’s playing Margaret Thatcher, who in fact did train to lower her register in the 1979 prime minister campaign. So we get a montage of Streep bellowing like she’s rehearsing whale songs. It is a gesture toward the essential falseness of Thatcher (who had to practice to sound like a no-nonsense mum) and an inadvertent reminder of the vaunted hollowness of Streep. She does impressions. At least half the picture is dedicated to an elderly Thatcher wandering through her quarters in a housedress, like Kermit the Frog at his mansion in The Muppets, talking to her late husband Denis (Jim Broadbent). The Iron Lady’s failure of taste is even more incredible when you remember that Thatcher is alive. The only equivalent I can imagine is if somebody made a Ronald Reagan movie in 1994 called The Gipper’s Got Alzheimer’s. Why would the filmmakers possibly choose this approach? For a very simple reason: It draws attention to Streep’s acting chops—not only can she play Margaret Thatcher, she can play a senile Margaret Thatcher!— and away from a moral reckoning. This movie doesn’t grant Thatcher the dignity of being a real bitch. PG-13. AARON MESH. Fox Tower, Tigard.

Journey 2: The Mysterious Island 3D

This Dwayne “The Rock” Johnson sequel was not shown 2: critics in time 2: meet press deadlines. PG. Cedar Hills, Cornelius, Oak Grove, Wilsonville, Clackamas, Evergreen.

IT WAS A GOOD DAY: Ashlie Atkinson (left) and Rachel Style in My Best Day.

POW FEST 2012 Movies made by women are not the same thing as “chick flicks.” That’s made refreshingly clear from the roster of the fifth annual Portland Oregon Women’s Film Festival, which pinballs from lush sports docs like the Indonesian lady mountain bikers in Darcy Turenne’s The Eighth Parallel to clever, locally produced shorts like Courtenay Hameister’s escape-to-the-circus confection, Stella’s Flight. There’s even a screening of Amy Heckerling’s wry 1982 classic, Fast Times at Ridgemont High (Cameron Crowe just wrote it), with the director on hand to introduce the movie at 9:15 pm Friday, March 9. Score one for feminism. KELLY CLARKE. My Best Day 84 Earnest small-town redhead Karen searches for her longlost dad, refrigerator repairwoman Meagan considers trading in her caustic girlfriend for a motorcycle, and middle-schooler Ray wrestles with love and bullies. It would be easy to dismiss writer-director Erin Greenwell’s quirky Fourth of July comedy as Napoleon Dynamite’s less affected, gay cousin. But that gives short shrift to all the deft touches that make this ensemble flick such a charmer. Greenwell depicts her slice of rural Americana as poor but not trash, and its inhabitants—from harried cops to gambling addicts—as confused but not necessarily racist or stupid. It’s a place where the lesbian community parties in the local trailer park, but asking for “meatless meat products” will still earn you the stink-eye from the town grocer. Ashlie Atkinson steals every scene as schlumpy-yet-swaggering Meagan. 7 pm Friday, March 9. Sisters in Arms 61 Around 250 of the Canadian Army’s engineers, medics, infantry grunts and other combat personnel come with a special piece of nonstandard gear: a pair of ovaries. Beth Freeman’s short doc follows her sister, Cpl. Tamar Freeman, and three other women on their way to fight in Afghanistan (Canada is among 10 countries that allows women to serve in combat roles; America not so much). The bare-bones film isn’t an emotional bombshell by any means, but it’s notable for its desire to illuminate what makes women want to take on dangerous military roles (excitement, power, pride) and the hard choices a new generation of military families have started to face as both Dad and Mom ship out for active duty. Noon Sunday, March 11. Austin Unbound 70 Austin knew he was supposed to be a boy ever since he was a little girl. He peed standing up, went topless, wore a tux to the prom. He’s saying all this with his hands—signing a mile a minute—because in addition to being transsexual, the Portlander is also deaf. After years of biweekly testosterone shots and hiding his breasts beneath a painful binder, the determined local lad (who already looks like a bearded, baby-faced Greshamite) makes a road trip to San Francisco in Eliza Greenwood’s short slip of a doc to lop off his chest “tumors.” More of a grainy video love letter than a proper film, it’s still a happy-making thing to watch. “You’re flat!” exclaims Austin’s grandma when he shows off his post-op chest, a little taken aback but genuinely delighted. “Well, that’s something, isn’t it?” she marvels. Indeed. 5 pm Sunday, March 11. SEE IT: POW Fest runs Thursday through Sunday, March 8-11, at the Hollywood Theatre, 4122 NE Sandy Blvd. Schedule and ticket information at powfest.com.

MARCH 7-13

Let the Bullets Fly

D E N I S P O D A LY D É S

NEW

MOVIES

61 China’s top-grossing domes-

tic picture, Let the Bullets Fly, is a comedic Western with all the unscrupulous capitalism of A Fistful of Dollars. It’s also got a gruesome streak that crests early on with a bellyful of jelly: A bandit hauled before a kangaroo court on theft charges proves his innocence by disemboweling himself, graphically proving he’s eaten just one bowl of gelatin. From there, it’s an escalating battle of guts between his mentor, Pocky Zhang (director Jiang Wen), who’s masquerading as the new governor of remote village Goose Town, and Goose Town’s established crime lord, Master Huang (Chow Yun-fat). The gamesmanship is awfully talky, with editing timed to the banter, and I don’t think a lot of it quite translates—though there’s a funny bit where an obsequious counselor (Ge You, in what’s basically the role of E.B. Farnum on Deadwood) prepares to launch into a lugubrious backstory, and Pocky can’t be bothered to hear it. The 1920s costumes are a hoot, and the camerawork very fine, but it’s most interesting as a window into another culture’s popcorn entertainment. When Master Huang lists his wicked deeds, for example, one of them is trafficking citizens to America to work on the railroads. AARON MESH. Hollywood Theatre. NEW

The Mystery of Chess Boxing

[ONE NIGHT ONLY, REVIVAL] The only known 35 mm print of the 1979 kung-fu movie featuring villainous Ghostface Killer. Hollywood Theatre. 7:30 pm Tuesday, March 13.

Norwegian Wood

72 Murakami fanboys (and girls),

rejoice: Norwegian Wood has finally made it to American screens. Let’s keep that jubilation subdued, though, shall we? This is a film more about suicide than anything else, though healthy doses of love and sex keep it from being a total bummer. The movie, released in 2010 in Japan, is a neat little summary of Haruki Murakami’s 1987 novel, in which Watanabe (Kenichi Matsuyama) and Naoko (Babel Oscar nominee Rinko Kikuchi) fall for each other after the suicide of Naoko’s boyfriend, Kizuki. Their love in the time before antidepressants—those groovy 1960s— is brooding and tragic. Eventually, Watanabe hooks up with the film’s sole upbeat character, Midori (Kiko Mizuhara). Unfortunately, the sassy, modern, fun Midori is a footnote to the depression-fest put together by director Tran Anh Hung. This is a film to be watched alone, with a bottle of wine. Gorgeous close-ups of beautiful, sad faces abound. Seasonal changes offer emotional cues. Jonny Greenwood’s string and orchestra soundtrack bathes the moviegoer in aural melodrama. Norwegian Wood is a pretty film, but ultimately an empty one. Despite drinking deep from their own sorrow, the characters are shallow. Their melancholy is aesthetic rather than emotional, the plot a device to move along a series of images. It’s a tale of teenage love, and like that love, it’s overwhelming when it’s happening, but ultimately fleeting and forgettable. PATRICIA SAUTHOFF. Fox Tower.

Pina 3D

95 Up to now, 3-D in film has been

an enterprise largely extraneous to the character of film itself: moviedom’s version of the 10,000 lovefattened cherubs overwhelming the interior of a baroque church. German auteur Wim Wenders’ Pina—an elegiac documentary about the work of late, iconoclastic choreographer Pina Bausch—is something else altogether, a brokenhearted Billie Holiday to the 3-D form’s usual emptily virtuosic Ella Fitzgerald. “I’m not interested in how people move,” Bausch has famously said. “I’m interested in what makes them move.” In Wenders’ film, the viewer is placed not only inside the space of that movement but into the feeling that animates it. Pina is, in fact, the most emotionally affecting film I saw last year. But Wenders also convinc-

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THE CONQUEST ingly sets up the 3-D stage as an actual, near-tangible reality; we are asked at every turn to accept it as such, and the highly physical medium of dance does uniquely lend itself to treatment in three dimensions. Wenders’ film about his longtime friend was begun before her death and so was not originally meant as an elegy, but in retrospect the film has now become much the same thing: a wake that succeeds in bringing the dead around for one last dance. PG. MATTHEW KORFHAGE. Living Room Theaters. NEW

Portlandia Season 2

[TV ONSCREEN] In news that will surely devastate The Weekly Standard, this is the last episode of the second season. Not to worry: Carrie, Fred and mass hysteria will return next year. AARON MESH. Hollywood Theatre. 10 pm Friday, March 9. Mission Theater. 7 and 10 pm, with variety show “The Friday Night TV Party & Theater Club Neighborhood Association” in between.

Project X

43 Aimed squarely at horny highschoolers and the dudes they will inevitably become (that is, grownass men who drink Bud, jerk off to Maxim and brag about all the pussy they pulled in high school), Project X shoots for party-movie immortality by depicting a bash that mutates from small gathering to full-scale riot. For a short while it works, with Oliver Cooper playing Jonah Hill to Thomas Mann’s Michael Cera in the story of losers looking to get laid by throwing a kegger. Whereas most teen movies climax at the bash, pretty much the entirety of Project X is set amid the debauchery, with the found-footage shtick (ugh) lending a genuine sense of chaos. Like a real drug-fueled rampage, director Nima Nourizadeh composes his film as a series of fleeting images: a cacophony of tits, garden gnomes, liquor shots, strobe lights, a cockpunching midget and other insanity. Trouble is, the party is populated solely by unsympathetic dickheads and the moral—that popularity and happiness can be bought with drugs and disorderly conduct—is frighteningly irresponsible. Most egregious, though, is how dull the chaos is eventually rendered. Like a drunken memory, Project X is just a jumble of disjointed, blurry ideas thrown up on a screen. R. AP KRYZA. Lloyd Center, Cedar Hills, Clackamas, Cinetopia Mill Plain, Cornelius, Oak Grove, Pioneer Place, City Center, Evergreen, Tigard, Wilsonville.

Rampart

86 The first thing you notice about

Woody Harrelson as Los Angeles Police Officer “Date Rape” Dave Brown is how thin he is: His skin is taut over his bullet head and bulging temples, as if a skeleton decided to dress for Halloween as Woody Harrelson. “Date Rape” is not a nickname most men would suffer, but Dave has been slyly feeding off it for years. The story goes that he gunned down a serial rapist, and in the LAPD’s scandalplagued Rampart division in the

’90s, this is what passes for good publicity. It is also the nicest thing about Dave. His eloquence—the music of brutality, the soft bullying of the outnumbered bigot— marks Dave Brown, and the whole of Rampart, as a James Ellroy joint. Like some skewed Lorax, he speaks for the fascists. In Ellroy’s script and Harrelson’s performance, you can detect a wary affection for Dave, like that of a herpetologist watching over a favorite snake. Director Oren Moverman is less comfortable in this skin: His camera is always darting, and the editing moves contrary to the plot, as if trying to floor the gas pedal out of a bad neighborhood. R. AARON MESH. Fox Tower.

Safe House

39 The wily, wryly sagacious version of Denzel Washington born in Training Day reached full absurd maturity in Unstoppable and fossilized soon after, when Saturday Night Live newcomer Jay Pharoah’s devastating impression nailed the magic tics that make latter-day Denzel tick. (YouTube it. It is funny and frightening.) The seemingly effortless creation of a second self somehow doesn’t look so effortless once someone else has made it seem easy, and so Denzel’s irascible rascal mode now registers as the mugging of a skilled impostor (see: De Niro, Bob and Pacino, Alfredo). Which isn’t to say watching Washington do his popcorn-movie thing is an utterly joyless experience. Safe House is proof that even revealed magic can sing and sting a little, for Washington’s performance as rogue CIA agent Tobin Frost—he knows things people don’t want him to know, and he’s got the ridiculous name to prove it—is the film’s only semiprecious asset. Ryan Reynolds is also present, and he is nearly as engaging as a Wheat Thin in his role as a green Agency man charged with babysitting a recently apprehended Frost at CIA’s titular crash pad. The escapes and chases and double-crosses following the film’s first act neither surprise on a narrative level nor thrill as choreographed chaos, while the final twists are only surprising in that they seem to have taken days to arrive. Washington’s shtick is still just charming enough to weather the beating doled out by such mediocrity, but watching the fight is hardly fun. R. CHRIS STAMM. Lloyd Center, Cedar Hills, Clackamas, Cinetopia Mill Plain, Forest, Pioneer Place, City Center, Evergreen.

The Secret World of Arrietty

A boy befriends a tiny fairy in this anime from Hiromasa Yonebayashi. Not screened for Portland critics. G. Cedar Hills, Clackamas, Living Room Theaters, Lloyd Mall, Tigard.

A Separation

90 Thanks in no small part to Jafar

Panahi, Iranian cinema keeps its ear to the ground, preferring close observation of unfairness to broad political fusillade. With Panahi a political prisoner, that mantle falls to Asghar Farhadi, whose A

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Separation is rightly favored for the Best Foreign Language Film Oscar. This sounds like a downer, as does the plot: A marriage is all over but the shouting, and there’s a lot of shouting. But the movie is riveting, even exhilarating. Farhadi tracks the fallout between Simin and Nader (Leila Hatami and Peyman Moadi) as it extends to the pregnant caretaker (Sareh Bayat) whom Nader distractedly hires for his Alzheimer’sstricken father. The film watches each character’s mixed motivations as if preparing a legal brief. Indeed, all the players are soon arguing to a beleaguered magistrate who longs for his teatime. Cinema typically strains for the recognizable, so we don’t have to think, but in A Separation everyone has their reasons, and it does not matter if those are anyone else’s—let alone yours. PG-13. AARON MESH. Fox Tower. NEW

Silent House

Don’t go in the basement, Elizabeth Olsen! They’re keeping Arvo Part down there! Not screened for critics. R. Lloyd Center, Cedar Hills, Clackamas, Cinetopia Mill Plain, Cornelius, Oak Grove, Pioneer Place, City Center, Evergreen, Tigard, Wilsonville.

Thin Ice

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45 Pity the poor Midwestern salesman. It’s a wonder he can drum up any business, what with every movie from The Big Kahuna to About Schmidt to Cedar Rapids portraying him as either a dupe or a charlatan. Or, in the case of Thin Ice, both! Greg Kinnear plays a reflexively dishonest insurance agent in frozen Kenosha, trying to con a German bachelor farmer (Alan Arkin) out of a rare violin. Kinnear and Arkin are about what you’d imagine them to be in these roles if you closed your eyes. The movie’s glimmer of light stems from Billy Crudup playing his violent ex-con (possibly on purpose) as a thinned-out, methed-up Seann William Scott. It makes less sense than it should, but all the desperation is explained away by the most condescending back-end exposition since the doctor appeared at the end of Psycho. (Kinnear actually asks the audience if they remember scenes from early in the picture.) It also has less tonal integrity than you’d hope, though that may be explained by the movie’s financier wresting control from directing/ writing team Jill and Karen Sprecher. The one thing the company demonstrably did was paste on a new score, a homey fugue aping Fargo. Which is really unfair to Thin Ice: I’ve seen many, many worse films, and they didn’t have music reminding me every five minutes that they weren’t as good as something by the Coen brothers. R. AARON MESH. Fox Tower.

This Means War

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35 This is the story of two secret agents. They are best friends. They are terrible secret agents, though the movie seems only dimly aware of this. After all, it is directed by McG, whose idea of spycraft in Charlie’s Angels: Full Throttle included a bikini car wash. Anyway, the agents meet a girl and they decide they will compete for her, but in a friendly way, because nothing is more important than the two of them staying best friends. Forever. And fighting crime. People complain Hollywood is making movies for 13-year-olds. Well, This Means War is pinpointed at someone around the age of 9 1/2. It contains no small parts anyone could choke on. Chris Pine (Kirk in the Star Trek reboot) and Tom Hardy (some muscular person in Inception) play the spies. Pine affects a magnetic facetiousness and Hardy a wounded gentility, while both also seem somewhat mentally incapacitated by a car accident or something. The object of their rival advances (and wiretapping) is Reese Witherspoon, who is less relaxed with each movie—a difficult feat, considering she started out playing Tracy Flick. But you can see where the attraction kicks in. These are resourceful men, and they know if they were stranded in the wilderness with this woman, they could all rub

HE WHO SHALL NOT BE EASY TO PRONOUNCE: Mads Mikkelsen in Pusher II.

DRIVEN: THE FILMS OF NICOLAS WINDING REFN Nicolas Winding Refn populates his world with scum: The neon-drenched, narrow corridors of his best-known works, Drive and Bronson, seethe with junkies, pushers, pimps, killers, convicts and sociopaths. Even the characters of his most unlikely film, the 2009 Christian Viking freak-out Valhalla Rising, share the same mindset: primal impulse. The most verbose characters eventually speak in simple grunts, allowing violence to punctuate their messages. At no point do they question their purpose, or weigh consequences. Brutality is Refn’s language. His 15-year arc as a director is one of constant metamorphosis, and this NW Film Center retrospective offers a much better reason than PIFF to spend two weekends in the Whitsell Auditorium. It’s a chance to get acquainted with all the nasty, impulse-driven antiheroes spawned from one of the most influential directors working in Hollywood today. Drive, Bronson and Valhalla are essential (2003’s Fear X is not), but to understand Refn’s affinity for sympathetic villainy, the Pusher trilogy is required viewing. Refn came out of nowhere (well, Denmark) with the first film in 1996, a wonderfully taut riff on the criminal subgenre of drug dealers racing against death to repay debts. Pusher (7 pm Thursday-Friday, March 8-9) evolves from its initial, admittedly generic setup and into a living, breathing monster as it progresses, outlining a world where harsh actions seem the only key to salvation. Where Pusher is Refn’s herky-jerky debut, Pusher II: With Blood on My Hands (9 pm Friday and 7 pm Saturday, March 9-10) is his arrival as an auteur, the catalyst for the director’s kinetic style and affinity for sympathetic lowlifes. With Mads Mikkelsen as a heavily tatted mobster’s son failing to impress Daddy while neglecting his own child, the nearly flawless film establishes Refn’s notion of perceived nobility amid violence and self-importance, a difficult combination of selfishness and selflessness that blurs morality. Pusher III: I’m the Angel of Death (9 pm Saturday and 7 pm Sunday, March 10-11) shows us a survivor of this horrific lifestyle in the form of Zlatko Buric, an aged Croatian gangster whose pitiable demeanor belies a fanged monster capable of unspeakable evil, culminating in the series’ chillingly procedural final act. Those familiar with Refn will notice shades of his better-known work throughout the Pusher trilogy, from long silences and blinding neon to the synth scores and persuasive potential of hammers. These are brutal stories of people clawing their way out of death’s grasp. Remarkably, though, they point to an aspect of Refn’s continued mastery that is often overshadowed by his intense visual style. Many filmmakers ask you to side with self-certain heroes, but few can make you wholly empathize with a man willing to shatter another’s skull in the name his own unswayable notion of right. AP KRYZA.

Goddamn: The Pusher!

92 SEE IT: Driven: The Films of Nicolas Winding Refn screens March 8-18 at the NW Film Center’s Whitsell Auditorium, 1219 SW Park Ave., nwfilm.org.

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LET THE BULLETS FLY their chins together and start a fire. Meantime, the only other young lady in the picture is deployed as a fallback option, because penises gotta go somewhere. PG13. AARON MESH. Cedar Hills, Clackamas, Cinetopia Mill Plain, Cornelius, City Center, Evergreen, Tigard, Wilsonville.

Tim and Eric’s Billion Dollar Movie

66 Tim Heidecker and Eric Wareheim are masters of their medium. That medium is television. Famous with teenage stoners and fans of absurdism for their ever-inscrutable Cartoon Network show, Tim and Eric Awesome Show, Great Job!, the two excel at being absolutely awful at everything. A movie, though, is an entirely different venture than a 15-minute TV show. Tim and Eric have never been big on storytelling: They’d rather bend a tired plot device perversely until it shatters into a thousand unrecognizable pieces than see a story line to resolution. So by choosing to make their first film a loose send-up of the buddy-movie genre, they are playing on awfully unfriendly (and well-worn) turf. That explains why the least forgettable bits of Tim and Eric’s Billion Dollar Movie— elaborate opening and closing credits, in-movie commercials and vile montages that would make American Pie alumni shake their heads in disgust—are also the most tangential to the plot. The humor that moves the actual story along here is often painful and tired. The fact it’s intentionally painful and tired won’t necessarily make it fun. R. CASEY JARMAN. Hollywood Theatre.

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. R. ALISTAIR ROCKOFF. Hollywood Theatre, Fox Tower.

Tyler Perry’s Good Deeds

Tyler Perry falls for Thandie Newton. Who wouldn’t? Not screened for Portland critics. PG-13. Cedar Hills, Forest, Lloyd Mall, Tigard.

Paddy Considine directs and stars in a drama about a violent man who tries to change after he kills his dog. Living Room Theaters.

The Vow 22 The amnesia plot was a chestnut by 1961, when Walker Percy noted in The Moviegoer that it was a potentially useful cliché, what with providing the protagonist an opportunity to taste the world existentially afresh. The problem with The Vow, an unusually tear-duct-shriveling weepie, is that Rachel McAdams does not begin anew after a car windshield erases her memory. She just becomes the sorority-girl twit she was five years before she met Channing Tatum and fell into the kind of ardent, spiritually entwined love proved by hot-boxing with each other’s farts. (Reading over this last sentence, I see there are several problems with The Vow, but let’s stick with the main one.) McAdams is a savant of the sulky and vacant, and this role—which tries to re-create the final manipulation of The Notebook for more than an hour—hews so fast to those qualities that the movie feels closer to horror than romance. Imagine spending your life trying to get a sympathetic emotion out of this girl! She is upstaged by Tatum, who is upstaged by his Panama hat. PG-13. AARON MESH. 99 Indoor Twin, Cedar Hills, Clackamas, Evergreen, Lloyd Mall.

Wanderlust

74 The Apatow dirty-improv era has yielded two directors who are, if not auteurs, at least distinctive comedic sensibilities. One is Adam McKay (Anchorman, Step Brothers). The other is David Wain (Wet Hot American Summer, Role Models). McKay’s hallmark is the non sequitur; Wain specializes in a joke repeated so often it becomes a ritual. Wain’s absurdist litany is in fine effect in Wanderlust, a surprisingly frisky winter diversion that reunites most of the Wet Hot cast for another campout—this time at a hippie commune outside Atlanta. Leftist pieties get an affectionate skewering (this is the movie to see after an Occupy Portland G.A.), but then every form of moral posturing does: The very best bits feature co-writer Ken Marino as a khakiclad Joe the Plumber manqué barely masking his racism and rage with backslapping humor. Jennifer Aniston is game and lithe as she adjusts to “intentional living,” but the movie belongs to Paul Rudd, a perpetually likable actor who here finds depths of priggishness and insecurity he’s never displayed before. He gives himself a mock-macho pep talk in front of a mirror as breathtakingly plastic as his epic lunchroom sulk in Wet Hot American Summer. He should work with Wain again and again and again. R. AARON MESH. Cedar Hills, Lloyd Center, Clackamas, Cornelius, Oak Grove, Fox Tower, City Center, Evergreen, Tigard, Wilsonville.

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THANK YOU TO OUR PDX CARTATHLON II PARTICIPANTS! 1ST PLACE: THE DIRTY ASHLEYS 2ND PLACE: SLOPPY JERRY'S 3RD PLACE: WHO CARTED? 4TH PLACE: CARTE ASADA

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All of the above.

PORTLAND MERCURY_FWK_0308

STARTS FRIDAY, MARCH 9

PORTLAND Regal Fox Tower Stadium 10 (800) FANDANGO #327 PORTLAND Regal Lloyd Center 10 (800) FANDANGO #325

TIGARD Regal Bridgeport Village Stadium 18 & IMAX (800) FANDANGO #1728 VANCOUVER Regal City Center Stadium 12 (800) FANDANGO #432

CHECK THEATRE DIRECTORIES OR CALL FOR SOUND INFORMATION AND SHOWTIMES

SPECIAL ENGAGEMENTS NO PASSES OR DISCOUNT COUPONS ACCEPTED

Willamette Week MARCH 7, 2012 wweek.com

WILLAMETTE WEEK

MOVIES

MARCH 9-15

BREWVIEWS

Mon-Tue-Wed 06:40 FLASH GORDON Fri-Sat-Sun-Mon-Tue-Wed 09:50 THE DESCENDANTS Fri-Sat-Sun-Mon-TueWed 07:10 THE GREY Fri-Sat-Sun-MonTue-Wed 09:40 MISSION: IMPOSSIBLE -- GHOST PROTOCOL Fri-Sat-Sun-MonTue-Wed 09:10 SHERLOCK HOLMES: A GAME OF SHADOWS Fri-Sat-Sun-MonTue-Wed 06:30 THE ADVENTURES OF TINTIN Sat-Sun 01:15

Mission Theater and Pub

1624 NW Glisan St., 503-249-7474 NO FILMS SHOWING TODAY Fri EXTREMELY LOUD & INCREDIBLY CLOSE Sat 02:30 THE DESCENDANTS SunTue-Wed 09:30 THE GIRL WITH THE DRAGON TATTOO Sun-Mon 08:00

Moreland Theatre

6712 SE Milwaukie Ave., 503-236-5257 DR. SEUSS’ THE LORAX Fri-Sat-Sun-MonTue-Wed 05:30, 07:25

Mt. Hood Theatre

401 E. Powell Blvd., 503-665-0604 WE BOUGHT A ZOO Fri-Sat-Sun-MonTue-Wed 07:00 SHERLOCK HOLMES: A GAME OF SHADOWS Fri-Sat-Sun-MonTue-Wed 09:15

Oak Grove 8 Cinemas

16100 SE McLoughlin Blvd., 503-653-9999 JOHN CARTER Fri-Sat-Sun-Mon-Tue-Wed 01:30, 04:15, 07:05, 09:50 DR. SEUSS’ THE LORAX Fri-Sat-Sun-Mon-Tue-Wed 12:20, 02:30, 04:50, 06:50, 09:00 ACT OF VALOR Fri-Sat-Sun-Mon-Tue-Wed 12:05, 02:20, 04:45, 07:10, 09:30 PROJECT X Fri-Sat-Sun-Mon-Tue-Wed 01:15, 03:15, 05:20, 07:20, 09:20 GHOST RIDER: SPIRIT OF VENGEANCE Fri-SatSun-Mon-Tue-Wed 01:05, 03:20, 05:30, 07:40, 09:55 THE ARTIST Fri-Sat-SunMon-Tue-Wed 12:15, 02:25, 04:40, 07:00, 09:15 WANDERLUST Fri-Sat-Sun-MonTue-Wed 01:00, 03:05, 05:15, 07:35, 09:45 JOURNEY 2: THE MYSTERIOUS ISLAND Fri-Sat-Sun-Mon-Tue-Wed 12:20, 02:45, 05:05, 07:30, 09:40

LYNCH, LARGE: The really incredible thing about Twin Peaks is that two decades after it aired, despite having all its tricks stolen by The X-Files and Lost and its memory desecrated by The Killing, despite Ray Wise, Kyle MacLachlan and Dana Ashbrook having made careers out of parodying their characters on the show, David Lynch’s exercise in testing the limits of network television still has the power to occupy our nightmares. Leland Palmer crooning “Mairzy Doats,” the muttering Log Lady, the dancing dwarf in the red room, any appearance by BOB—these are horrors as yet unmatched. And now you can see them as they were never intended, two episodes every Wednesday on the Theatre big screen, with beer. BEN WATERHOUSE. Showing at: Hollywood Roseway 7229 NE Sandy Blvd., 503-282-2898 Theatre. 9:30 pm Wednesday, March 7. Best paired with: Black Butte JOHN CARTER Fri-Sat-Sun-Mon-Tue-Wed 01:30, 04:45, 08:00 Porter. Also showing: Flash Gordon (Laurelhurst). St. Johns Twin Cinemas & Pub

8704 N. Lombard St., 503-286-1768 HUGO Fri-Sat-Sun-Mon-Tue-Wed 05:15, 07:55 JOHN CARTER Fri-Sat-Sun-MonTue-Wed 05:45, 08:30

CineMagic Theatre

2021 SE Hawthorne Blvd., 503-231-7919 THE ARTIST Fri-Sat-Sun-Mon-Tue-Wed 05:30, 07:40

807 Lloyd Center 10 and IMAX

1510 NE Multnomah Blvd., 800-326-3264 JOHN CARTER: THE IMAX EXPERIENCE Fri-Sat-Sun-Mon-Tue-Wed 12:40, 03:55, 07:10, 10:20 JOHN CARTER 3D Fri-SatSun-Mon-Tue-Wed 12:05, 06:40 JOHN CARTER Fri-Sat-Sun-Mon-Tue-Wed 03:15, 09:55 SILENT HOUSE Fri-SatSun-Mon-Tue-Wed 12:30, 02:50, 05:10, 07:30, 09:50 DR. SEUSS’ THE LORAX 3D Fri-Sat-Sun-Mon-Tue-Wed 12:00, 02:20, 04:40, 07:00, 09:20 DR. SEUSS’ THE LORAX Fri-Sat-Sun-Mon-Tue-Wed 12:35, 02:55, 05:15, 07:35, 10:00 PROJECT X Fri-Sat-Sun-Mon-Tue-Wed 12:15, 02:30, 04:50, 07:25, 10:05 ACT OF VALOR Fri-Sat-Sun-Mon-Tue-Wed 01:00, 03:40, 07:15, 10:10 WANDERLUST Fri-Sat-SunMon-Tue-Wed 12:20, 02:45 SAFE HOUSE Fri-Sat-Sun-Mon-Tue-Wed 12:45, 03:30, 06:35, 09:30 HUGO 3D Fri-Sat-SunMon-Tue-Wed 12:55, 03:50, 06:50, 09:45 THE METROPOLITAN OPERA: ERNANI ENCORE Wed 06:30

Regal Lloyd Mall 8 Cinema

2320 Lloyd Center Mall, 800-326-3264 A THOUSAND WORDS Fri-Sat-Sun-MonTue-Wed 12:00, 03:00, 06:00, 09:00 DR. SEUSS’ THE LORAX 3D Fri-Sat-SunMon-Tue-Wed 03:15, 06:15 DR. SEUSS’ THE LORAX Fri-Sat-Sun-Mon-Tue-Wed 12:15, 08:55 THE ARTIST Fri-Sat-SunMon-Tue-Wed 12:25, 03:20, 06:20, 08:40 TYLER PERRY’S GOOD DEEDS Fri-SatSun-Mon-Tue-Wed 12:05, 03:05, 06:05, 09:05 STAR WARS: EPISODE I -- THE PHANTOM MENACE 3D Fri-Sat-Sun-MonTue-Wed 11:55, 02:55, 05:55, 08:50 THE SECRET WORLD OF ARRIETTY Fri-SatSun-Mon-Tue-Wed 12:10, 03:10, 06:10, 09:10 THE VOW Fri-Sat-Sun-Mon-TueWed 12:25, 03:25, 06:25, 09:15 GONE Fri-Sat-Sun-Mon-Tue-Wed 12:15, 09:15 GHOST RIDER: SPIRIT OF VENGEANCE Fri-Sat-Sun-Mon-Tue-Wed 03:15, 06:15

Regal Tigard 11 Cinemas

11626 SW Pacific Highway, 800-326-3264 JOHN CARTER 3D Fri-Sat-Sun-MonTue-Wed 01:05, 04:10, 07:20, 10:30 DR. SEUSS’ THE LORAX Fri-Sat-Sun-MonTue-Wed 01:30, 04:10, 06:55, 09:35 PROJECT X Fri-Sat-Sun-Mon-Tue-Wed 01:40, 04:45, 07:15, 09:40 DR. SEUSS’

THE LORAX 3D Fri-Sat-Sun-MonTue-Wed 01:55, 04:50, 07:35, 09:55 WANDERLUST Fri-Sat-Sun-Mon-TueWed 01:25, 04:40, 07:40, 10:20 TYLER PERRY’S GOOD DEEDS Fri-Sat-Sun-MonTue-Wed 01:35, 04:20 ACT OF VALOR Fri-Sat-Sun-Mon-Tue-Wed 01:50, 04:30, 07:30, 10:00 THE SECRET WORLD OF ARRIETTY Fri-Sat-Sun-Mon-Tue-Wed 01:10, 04:15 THIS MEANS WAR Fri-SatSun-Mon-Tue-Wed 01:20, 04:25, 07:45, 10:25 THE IRON LADY Fri-Sat-Sun-MonTue-Wed 07:05, 09:45 WAR HORSE Fri-Sat-Sun-Mon-Tue-Wed 07:00, 10:10 THE ARTIST Fri-Sat-Sun-Mon-Tue-Wed 01:45, 04:35, 07:25, 09:50 HUGO 3D Fri-Sat-Sun-Mon-Tue-Wed 01:00, 04:05, 07:10, 10:05

Bagdad Theater and Pub

3702 SE Hawthorne Blvd., 503-249-7474 WE BOUGHT A ZOO Fri-Sat-Sun-MonTue-Wed 06:00 THE DESCENDANTS Fri-Sat-Sun-Mon-Tue-Wed 08:50 THE ADVENTURES OF TINTIN Sat 02:00

Cinema 21

Regal City Center Stadium 12

801 C St., 800-326-3264 JOHN CARTER 3D Fri-Sat-Sun-Mon-TueWed 11:30, 02:30, 06:05, 09:05 SILENT HOUSE Fri-Sat-Sun-Mon-Tue-Wed 11:55, 02:10, 04:25, 06:40, 09:10 A THOUSAND WORDS Fri-Sat-Sun-Mon-Tue-Wed 12:00, 02:15, 04:30, 06:45, 09:00 FRIENDS WITH KIDS Fri-Sat-Sun-Mon-Tue-Wed 11:50, 02:20, 06:10, 08:55 DR. SEUSS’ THE LORAX 3D Fri-Sat-Sun-Mon-TueWed 12:05, 02:35, 04:50, 07:00, 09:20 DR. SEUSS’ THE LORAX Fri-Sat-SunMon-Tue-Wed 11:35, 02:00, 04:20, 06:30, 08:50 PROJECT X Fri-Sat-Sun-Mon-TueWed 11:45, 06:25 WANDERLUST Fri-SatSun-Mon-Tue-Wed 12:15, 09:35 ACT OF VALOR Fri-Sat-Sun-Mon-Tue-Wed 12:10, 03:00, 06:15, 09:25 THIS MEANS WAR Fri-Sat-Sun-Mon-Tue-Wed 12:25, 02:55, 06:30, 09:20 SAFE HOUSE Fri-Sat-SunMon-Tue-Wed 02:40, 06:20 THE ARTIST Fri-Sat-Sun-Mon-Tue-Wed 11:40, 02:10, 04:35, 07:00, 09:30 HUGO 3D Fri-SatSun-Mon-Tue-Wed 11:35, 02:25, 06:00, 08:50

616 NW 21st Ave., 503-223-4515 CRAZY HORSE Fri-Sat-Sun-Mon-TueWed 05:00, 07:45 THE CONQUEST Fri-Sat-Sun-Mon-Tue-Wed 04:45, 07:00, 09:00

Century Eastport 16

Clinton Street Theater

Edgefield Powerstation Theater

4040 SE 82nd Ave., 800-326-3264 JOHN CARTER 3D Fri-Sat-Sun 12:55, 04:05, 07:15, 10:25 BEN-HUR

2522 SE Clinton St., 503-238-8899 BETTER THAN SOMETHING: JAY REATARD Fri-Sat-Sun-Mon-Tue-Wed 09:15 THE DESCENDANTS Fri-SatSun-Mon-Tue-Wed 07:00 THE ROCKY HORROR PICTURE SHOW Sat 12:00

2126 SW Halsey St., 503-249-7474 THE ADVENTURES OF TINTIN FriSat-Sun-Mon-Tue-Wed 06:00 THE DESCENDANTS Fri-Sat-Sun-Mon-TueWed 09:00

Lake Twin Cinema

5736 NE 33rd Ave., 503-249-7474 THE ADVENTURES OF TINTIN FriSat-Sun-Mon-Tue-Wed 05:30 THE DESCENDANTS Fri-Sat-Sun-Mon-TueWed 02:30, 07:50 THE GIRL WITH THE DRAGON TATTOO Fri-Sat 10:15 WAR HORSE Fri-Sat-Sun-Mon 02:30

106 N State St., 503-635-5956 THE ARTIST Fri-Sat-Sun-Mon-Tue-Wed 05:30, 07:40 HUGO Fri-Sat-Sun-MonTue-Wed 04:30, 07:05

Laurelhurst Theatre

2735 E Burnside St., 503-232-5511 THE OSCAR NOMINATED SHORT FILMS 2012: LIVE ACTION Fri-Sat-Sun-Mon-TueWed 07:00 THE OSCAR NOMINATED SHORT FILMS 2012: ANIMATED Fri-SatSun-Mon-Tue-Wed 09:20 THE MUPPETS Fri-Sat-Sun 01:00, 04:00 THE GIRL WITH THE DRAGON TATTOO Fri-Sat-Sun-

Willamette Week MARCH 7, 2012 wweek.com

Kennedy School Theater

99 Indoor Twin

Highway 99W, 503-538-2738 THE WOMAN IN BLACK Fri-Sat-Sun 02:30, 07:00 THE VOW Fri-Sat-Sun 02:30, 07:00 NO FILMS SHOWING TODAY Mon-Tue-Wed

The OMNIMAX Theatre at OMSI

1945 SE Water Ave., 503-797-4640 TORNADO ALLEY Fri-Sat-Sun 01:00, 05:00, 09:00 FLYING MONSTERS FriSat-Sun 11:00, 02:00, 06:00 BORN TO BE WILD Fri-Sat-Sun 12:00, 03:00 THE ULTIMATE WAVE TAHITI Fri-Sat-Sun 04:00 HUBBLE Fri-Sat 07:00 DEEP SEA Fri-Sat 08:00

Fifth Avenue Cinemas

510 SW Hall St., 503-725-3551 NEVER LET ME GO Fri-Sat-Sun 03:00 NO FILMS SHOWING TODAY Mon-TueWed

Forest Theatre

1911 Pacific Ave., 503-844-8732 SAFE HOUSE Fri-Sat-Sun-Mon-Tue-Wed 07:00 CHRONICLE Fri-Sat-Sun-MonTue-Wed 09:30 TYLER PERRY’S GOOD DEEDS Fri-Sat-Sun 04:15

Hollywood Theatre

4122 NE Sandy Blvd., 503-281-4215 LET THE BULLETS FLY Fri-Sat-Sun-MonTue-Wed 07:00, 09:30 TIM AND ERIC’S BILLION DOLLAR MOVIE Fri-Sat-SunMon-Tue-Wed 09:40 TINKER TAILOR SOLDIER SPY Fri-Sat-Sun-Mon-Tue-Wed 07:15 ECSTASY OF ORDER: THE TETRIS MASTERS Mon 07:30 THE MYSTERY OF CHESS BOXING Tue 07:30 TWIN PEAKS Wed 09:30 THE MAN WITH A MOVIE CAMERA

Regal Fox Tower Stadium 10

846 SW Park Ave., 800-326-3264 IN DARKNESS Fri-Sat-Sun-Mon-Tue-Wed 12:05, 03:30, 07:00, 10:00 FRIENDS WITH KIDS Fri-Sat-Sun-Mon-Tue-Wed 12:30, 02:50, 05:10, 07:30, 09:55 SILENT HOUSE Fri-Sat-Sun-Mon-Tue-Wed 12:45, 02:45, 04:50, 07:35, 09:40 THE ARTIST Fri-Sat-Sun-Mon-Tue-Wed 12:15, 02:25, 04:55, 07:25, 09:35 A SEPARATION Fri-Sat-Sun-Mon-Tue-Wed 12:25, 03:20, 07:10, 09:45 THE DESCENDANTS FriSat-Sun-Mon-Tue-Wed 12:10, 02:40, 05:15, 07:45, 10:10 THE IRON LADY Fri-Sat-Sun-Mon-Tue-Wed 12:00, 02:20, 04:45, 07:15, 09:30 WANDERLUST FriSat-Sun-Mon-Tue-Wed 12:20, 02:30, 05:20, 07:40, 10:05 THIN ICE Fri-SatSun-Mon-Tue-Wed 03:15, 10:00 TINKER TAILOR SOLDIER SPY Fri-Sat-SunMon-Tue-Wed 12:35, 07:20 RAMPART Fri-Sat-Sun-Mon-Tue-Wed 12:40, 07:05 NORWEGIAN WOOD Fri-Sat-Sun-MonTue-Wed 03:25, 09:50

NW Film Center’s Whitsell Auditorium

1219 SW Park Ave., 503-221-1156 PUSHER Fri 07:00 PUSHER II Fri-Sat 07:00 PUSHER 3 Sat-Sun 07:00, 09:00 FEAR X Sun 05:00

Portlander Cinema

10350 N Vancouver Way, 503-240-5850 THE GIRL WITH THE DRAGON TATTOO Fri-Sat-Sun-Mon-Tue-Wed Fri-Sat-Sun-Mon-Tue-Wed THE GREY Fri-Sat-Sun-Mon-Tue-Wed

Pioneer Place Stadium 6

340 SW Morrison St., 800-326-3264 JOHN CARTER 3D Fri-Sat-Sun-MonTue-Wed 01:00, 04:15, 07:20, 10:25 A THOUSAND WORDS Fri-Sat-Sun-MonTue-Wed 01:10, 04:10, 07:10, 09:50 PROJECT X Fri-Sat-Sun-Mon-Tue-Wed 01:50, 04:40, 07:50, 10:15 DR. SEUSS’ THE LORAX 3D Fri-Sat-Sun-Mon-TueWed 04:00, 07:00 DR. SEUSS’ THE LORAX Fri-Sat-Sun-Mon-Tue-Wed 01:30, 09:40 ACT OF VALOR Fri-Sat-SunMon-Tue-Wed 01:20, 04:20, 07:30, 10:10 SAFE HOUSE Fri-Sat-Sun-Mon-Tue-Wed 01:40, 04:30, 07:40, 10:20

St. Johns Pub and Theater

8203 N. Ivanhoe St., 503-249-7474 EXTREMELY LOUD & INCREDIBLY CLOSE Fri-Sat-Sun-Tue-Wed 06:00 THE DESCENDANTS Fri-Sat-Tue-Wed 01:00, 08:45 NO FILMS SHOWING TODAY Mon

Century 16 Cedar Hills Crossing 3200 SW Hocken Ave., 800-326-3264 WANDERLUST Fri-Sat-Sun-Mon-Tue-Wed 12:15, 02:40, 05:05, 07:30, 09:55 THE SECRET WORLD OF ARRIETTY Fri-SatSun-Mon-Tue-Wed 12:00, 04:40, 09:20 JOURNEY 2: THE MYSTERIOUS ISLAND Fri-Sat-Sun-Mon-Tue-Wed 11:40, 02:15, 04:50, 07:25 SAFE HOUSE Fri-Sat-SunMon-Tue-Wed 11:35, 02:15, 04:55, 07:35, 10:15 THE VOW Fri-Sat-Sun-Mon-TueWed 11:50, 02:20 GHOST RIDER: SPIRIT OF VENGEANCE 3D Fri-Sat-Sun-MonTue-Wed 12:40, 03:05, 05:30, 07:55, 10:20 THIS MEANS WAR Fri-Sat-SunMon-Tue-Wed 12:15, 02:50, 05:15, 07:45, 10:10 ACT OF VALOR Fri-Sat-Sun-MonTue-Wed 11:00, 01:40, 04:20, 07:00, 09:40 GONE Fri-Sat-Sun-Mon-Tue-Wed 02:20, 07:00 TYLER PERRY’S GOOD DEEDS Fri-Sat-Sun-Mon-Tue-Wed 10:00 DR. SEUSS’ THE LORAX Fri-SatSun-Mon-Tue-Wed 11:00, 01:15, 02:00, 03:30, 05:45, 06:30, 08:00, 08:45, 10:15

PROJECT X Fri-Sat-Sun-Mon-Tue-Wed 11:00, 01:15, 03:30, 05:45, 08:00, 10:15 JOHN CARTER Fri-Sat-Sun-Mon-TueWed 11:35, 02:35, 08:35 A THOUSAND WORDS Fri-Sat-Sun-Mon-Tue-Wed 12:10, 02:30, 04:50, 07:10, 09:30 SILENT HOUSE Fri-Sat-Sun-Mon-Tue-Wed 11:00, 01:10, 03:20, 05:30, 07:40, 09:50 DR. SEUSS’ THE LORAX 3D Fri-Sat-SunMon-Tue-Wed 11:45, 12:30, 02:45, 04:15, 05:00, 07:15, 09:30 JOHN CARTER 3D Fri-Sat-Sun-Mon-Tue-Wed 01:05, 04:05, 05:35, 07:05, 10:05 THE METROPOLITAN OPERA: ERNANI - ENCORE Wed 06:30

Academy Theater

7818 SE Stark St., 503-252-0500 WAR HORSE Fri-Sat-Sun-Mon-Tue-Wed 03:50 THE DESCENDANTS Fri-SatSun-Mon-Tue-Wed 06:45, 09:10 THE ADVENTURES OF TINTIN Fri-Sat-SunMon-Tue-Wed 04:10 THE GIRL WITH THE DRAGON TATTOO Fri-Sat-Sun-Mon-TueWed 06:30 THE GREY Fri-Sat-Sun-MonTue-Wed 09:35 SHERLOCK HOLMES: A GAME OF SHADOWS Fri-Sat-Sun-MonTue-Wed 04:20, 09:45 EXTREMELY LOUD & INCREDIBLY CLOSE Fri-Sun-MonTue-Wed 07:00 THE MUPPETS Sat-Sun 02:00 WE BOUGHT A ZOO Sat-Sun 11:25

Valley Theater

9360 SW Beaverton-Hillsdale Highway, 503-296-6843 THE ADVENTURES OF TINTIN Fri-SatWed 06:40 THE DESCENDANTS Fri-SatSun-Mon-Tue-Wed 08:00 THE MUPPETS Fri 03:40 RED TAILS Fri-Sat-Wed 05:55 THE GIRL WITH THE DRAGON TATTOO Fri-Sat-Sun-Mon-Tue-Wed 08:25 MISSION: IMPOSSIBLE -- GHOST PROTOCOL Fri-Sat-Sun-Mon-Tue-Wed 06:10, 08:50

Living Room Theaters

341 SW 10th Ave., 971-222-2010 CRAZY HORSE Fri-Sat-Sun-Mon-TueWed 11:35, 01:50, 06:50 TYRANNOSAUR Fri-Sat-Sun-Mon-Tue-Wed 04:40, 09:30 ALBERT NOBBS Fri-Sat-Sun-Mon-TueWed 02:15, 05:00, 07:00, 09:25 THE SECRET WORLD OF ARRIETTY Fri-SatSun-Mon-Tue-Wed 11:30, 01:40, 03:50, 07:15, 09:50 PINA 3D Fri-Sat-Sun-MonTue-Wed 11:40, 02:00, 04:20, 06:40, 09:00 A DANGEROUS METHOD Fri-SatSun-Mon-Tue-Wed 11:45, 02:40, 04:50, 07:30, 09:40 CHRONICLE Fri-Sat-SunMon-Tue-Wed 02:30, 06:00, 08:00 HUGO 3D Fri-Sat-Sun-Mon-Tue-Wed 11:50, 04:30, 09:20

Century at Clackamas Town Center

12000 SE 82nd Ave., 800-326-3264 JOHN CARTER 3D Fri-Sat-Sun-MonTue-Wed 12:45, 07:10 WANDERLUST Fri-Sat-Sun-Mon-Tue-Wed 11:50, 02:20, 04:55, 07:30, 10:05 THE ARTIST FriSat-Sun-Mon-Tue-Wed 02:25, 07:25 THE SECRET WORLD OF ARRIETTY Fri-Sat-Sun-Mon-Tue-Wed 11:05, 01:25 CHRONICLE Fri-Sat-Sun-Mon-Tue-Wed 11:10, 01:30, 03:45, 06:05, 08:15, 10:35 SAFE HOUSE Fri-Sat-Sun-Mon-Tue-Wed 11:10, 01:50, 04:35, 07:20, 10:05 THE VOW Fri-Sat-Sun-Mon-Tue-Wed 11:40, 02:15, 05:05, 07:55, 10:30 GHOST RIDER: SPIRIT OF VENGEANCE 3D Fri-SatSun-Mon-Tue-Wed 12:10, 02:40 THIS MEANS WAR Fri-Sat-Sun-Mon-Tue-Wed 12:25, 02:50, 05:20, 07:50, 10:15 ACT OF VALOR Fri-Sat-Sun-Mon-Tue-Wed 11:20, 02:00, 04:45, 07:35, 10:20 GONE Fri-Sat-Sun-Mon-Tue-Wed 11:55, 05:00, 09:55 DR. SEUSS’ THE LORAX Fri-SatSun-Mon-Tue-Wed 11:00, 01:15, 03:55, 06:20, 08:50 PROJECT X Fri-Sat-SunMon-Tue-Wed 11:05, 12:15, 01:20, 02:30, 03:40, 04:50, 06:00, 07:15, 08:20, 09:40, 10:40 JOHN CARTER Fri-Sat-Sun-MonTue-Wed 04:00, 10:20 A THOUSAND WORDS Fri-Sat-Sun-Mon-Tue-Wed 11:25, 02:00, 04:30, 07:10, 10:00 FRIENDS WITH KIDS Fri-Sat-Sun-Mon-Tue-Wed 11:30, 02:10, 04:50, 07:30, 10:10 SILENT HOUSE Fri-Sat-Sun-Mon-Tue-Wed 12:05, 02:35, 05:10, 07:45, 10:25 JOURNEY 2: THE MYSTERIOUS ISLAND 3D Fri-SatSun-Mon-Tue-Wed 11:15, 01:45, 04:25, 07:00, 09:30 STAR WARS: EPISODE I -- THE PHANTOM MENACE 3D Fri-SatSun-Mon-Tue-Wed 03:50, 07:05, 10:15 DR. SEUSS’ THE LORAX 3D Fri-Sat-SunMon-Tue-Wed 11:45, 12:30, 02:05, 03:00, 04:40, 05:25, 07:05, 08:00, 09:35, 10:25 THE METROPOLITAN OPERA: ERNANI ENCORE Wed 06:30

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