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VOL 38/30 05.30.2012
I RODE FOR THREE DAYS AND 242 MILES ON PUBLIC TRANSIT. HERE’S WHO I MET. BY AARON MESH | PAGE 10
PHOTO: DARRYL JAMES
BACK COVER
NEWS HIDDEN CAMPAIGN CASH. DRANK CHURCHKEY SHOULD CAN IT. STAGE THE BLUES AND NOTHING BUT.
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CONTENT
PIECE OF CAKE: Don’t skip dessert at this cart. Page 20.
NEWS
4
FOOD & DRINK
20
LEAD STORY
10
MUSIC
23
CULTURE
17
MOVIES
45
HEADOUT
19
CLASSIFIEDS
50 MAIN STORE 706 SE MARTIN LUTHER KING JR. BLVD / 503.233.5973 OUTLET STORE 534 SE BELMONT, 1 503.446.2205 / RIVERCITYBICYCLES.COM / OPEN EVERY DAY WWhoriz_0027_12_pdot.pdf 3/16/12 8:39 AM
STAFF Editor-in-Chief Mark Zusman EDITORIAL Managing Editor for News Brent Walth Arts & Culture Editor Martin Cizmar Staff Writers Nigel Jaquiss, Aaron Mesh, Corey Pein Copy Chief Rob Fernas Copy Editors Matt Buckingham, Kat Merck Movies Editor Matthew Singer Music Editor Casey Jarman Books Penelope Bass Classical Brett Campbell Dance Heather Wisner Food Ruth Brown Visual Arts Richard Speer Editorial Interns Kimberly Hursh, Fatima Jaber, Cody Newton, Alex Tomchak Scott
enjoy the ride.
CONTRIBUTORS Judge Bean, Emilee Booher, Nathan Carson, Kelly Clarke, Shane Danaher, Dan DePrez, Jonathan Frochtzwajg, Robert Ham, Shae Healey, Jay Horton, Reed Jackson, Matthew Korfhage, AP Kryza, Jessica Lutjemeyer, Jeff Rosenberg, Chris Stamm, Mark Stock, Nikki Volpicelli PRODUCTION Production Manager Kendra Clune Art Director Ben Mollica Graphic Designers Adam Krueger, Brittany Moody, Dylan Serkin Production Interns Vincent Aguas, Catherine Moye ADVERTISING Director of Advertising Jane Smith Display Account Executives Sara Backus, Maria Boyer, Michael Donhowe, Greg Ingram, Janet Norman, Kyle Owens Classifieds Account Executives Ashlee Horton, Tracy Betts Advertising Assistant Ashley Grether Give!Guide Director Nick Johnson Marketing Coordinator Jeanine Gaitan Production Assistant Brittany McKeever
DISTRIBUTION Circulation Director Robert Lehrkind WWEEK.COM Web Production Brian Panganiban Web Editor Ruth Brown MUSICFESTNW Executive Director Trevor Solomon Associate Director Matt Manza OPERATIONS Interim Accounting Manager Monte Swanson Credit & Collections Shawn Wolf Office Manager & A/P Clerk Max Bauske Manager of Information Systems Brian Panganiban Publisher Richard H. Meeker
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Our mission: Provide our audiences with an independent and irreverent understanding of how their worlds work so they can make a difference. Though Willamette Week is free, please take just one copy. Anyone removing papers in bulk from our distribution points will be prosecuted, as they say, to the full extent of the law. Willamette Week is published weekly by City of Roses Newspaper Company 2220 NW Quimby St., Portland, OR 97210. Main line phone: (503) 243-2122 fax: (503) 243-1115 Classifieds phone: (503) 223-1500 fax: (503) 223-0388
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d E s I G N • d E tA I L • C R A F t s M A N s H I P
designers & Master Craftsmen of sustainably Har vested Harwood Furniture
INBOX WOMEN IN THE TECH FIELD
Although I live in the central San Joaquin Valley, the information in this article hit home [“Where the Tech Is She?” WW, May 23, 2012]. I believe the old-boys network exists in many other fields as well, and I love the approach Michelle Rowley takes with contacting one woman at a time. Unless and until fields of knowledge and careers are opened to everyone—to the diverse population—it will stagnate, fail to thrive and eventually spiral downward. The timing is perfect for making changes in the programming world. —“Joanne T. Allen” This article is not just about “Hey, we should hire more women. We need diversity.” It’s also about the culture women are subjected to once they are onboard. Having worked in the information technology field for 12 years, I can attest that it varies. But I have had direct experience with misogyny, harassment and putting up with that “brogrammer” crap.... Young women need to be encouraged to apply to the more technical programs at universities. More of those graduates means more female coders in the world. —“Stacey Atwell”
T H E J O I N E RY. C O M • s I N C E 1 9 8 2 4 8 0 4 s E W o o d s to C k • 5 0 3 . 7 8 8 . 8 5 4 7 • dA I LY 1 0 - 6
Great piece. I am the founder of a software company and regret to say that as of [last week], we are all men. We have a new [male employee] starting, and I noticed the applications we received for that position were about 90 percent male. I’d love to balance our company more; I just need the qualified applicants first! —“Jmartens”
Only 22 percent of Willamette Week’s news-room employees are women? No wonder I find myself skipping through the paper with little to interest me, a female.... Ditch the dud dudes and bring in some female voices. —“Simone”
MEASURING THE CANDIDATES
The contrast among the enthusiastic, committed volunteers for Jefferson Smith, and the relatively low visibility of volunteer support for Charlie Hales, and the dearth of volunteer support for Eileen Brady, was dramatic and telling in the [mayoral] primary [“What Money Can’t Buy,” WW, May 23, 2012]. The title of the article is an important theme. I’m impressed that, according to your figures, Smith conserved his cash and did not go into six figures of debt to his campaign, yet had the lowest total contributions. Portland retail politics succeeds with door-knocking, house parties and true retail (one-on-one) politics. I hope Mr. Hales agrees to the campaignspending limitations for the general [election] that Mr. Smith has proposed. Thanks for your story. —“Oregon mom” LETTERS TO THE EDITOR must include the author’s street address and phone number for verification. Letters must be 250 or fewer words. Submit to: 2220 NW Quimby St., Portland, OR 97210. Fax: (503) 243-1115, Email: mzusman@wweek.com
I BIrkenstock Days
Friday thru sunday, June 1 -3
What is cryptosporidium, anyway? I know it can turn up in water, but that’s about it. I asked a friend who works in public radio, and she said, “It’s a parasite. It eats your body.” That didn’t sound very scientific to me. But what does it do? —Culligan Man
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From its bad press and scary-sounding name, you might suppose cryptosporidium is some sort of Andromeda strain that combines the worst characteristics of toxoplasmosis (the disease pregnant ladies get from mistaking cat litter for Almond Roca), triffids and the Illudium Q-36 Explosive Space Modulator. The truth is more mundane. If you just want a quick handle on what it does to you, here’s a gross oversimplification: think of cryptosporidium, functionally, as basically the same as E. coli. Like E. coli, crypto is a microscopic organism that gets in your gut when you ingest a tiny amount (or a large amount, I guess, if that’s your
thing) of infected poo in your food or water. Also like E. coli, it will give you diarrhea for several days, but probably won’t kill you if you’re an adult in good health. Mind you, from a scientific standpoint this explanation is roughly equivalent to saying that, functionally, a migraine is the same thing as being hit on the head with a cast-iron skillet. Taxonomically, crypto and E. coli are less closely related than cows and algae. One of the most salient differences between the two bugs is that chlorine, Western civilization’s go-to solution for disinfecting water, won’t kill crypto, which is one reason the latter is such a headache for treatment-plant officials and folks who own water parks. The back-and-forth over how best to keep crypto out of Portland’s water is well-documented elsewhere. In the meantime, I’d remind you that we don’t swim in your colon, so please don’t crap in our reservoir. QUESTIONS? Send them to dr.know@wweek.com
THE PRACTICE of SANT MAT is based on meditation on inner Light
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5
POLITICS: Why is the state hiding big campaign contributions? TAXES: When killing the kicker might not be a good idea. HOTSEAT: Jack Sim, founder of the World Toilet Organization. COVER STORY: Three days and 242 miles on TriMet.
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Chris and Tom Maletis’ long-running effort to get their Langdon Farms Golf Club, located on I-5 just south of the Wilsonville, inside the urban-growth boundary took a dramatic turn May 25 when the brothers sued Metro, the state Land Conservation and Development Commission and Clackamas County in U.S. District Court for having “intentionally and irrationally treated plaintiffs different from similarly situated landowners.” The Maletis brothers want to turn the course into a warehouse and transportation hub. Metro spokesman Jim Middaugh says his agency does not comment on pending litigation. Fox 12 broke the troubling news last week that scenes in the “mommy porn” novel Fifty Shades of Grey take place in Portland’s downtown Heathman Hotel—and the Heathman is now offering guest packages based on E.L. James’ No. 1 New York Times bestseller. The Heathman’s Fifty Shades scenes mostly involve flirtation (oyster eating) but lead to Anastasia Steele getting spanked. “You wanted to run for the Heathman for sex—you had it express-delivered,” Anastasia says to herself. (See wweek.com for a complete accounting of Heathman-based breathlessness.) The Heathman didn’t respond to WW’s calls, but Fox 12 says the hotel’s packages include a bottle of Pouilly-Fumé and a gray necktie (room rate, plus $40), and helicopter ride for six (add $2,700). A legal dispute has left a small forest’s worth of Oregon trees floating in limbo in Hong Kong. A U.S. District Court complaint filed last week in Portland says the Hong Kongbased Asia Pacific Agricultural and Forestry Co. ordered thousands of live trees from Gresham-based Sester Farms, paying the $532,000 price before delivery. The trees arrived in Hong Kong on May 21, the complaint alleges, but the buyers couldn’t claim them because Sester had neglected to attach necessary import documents, including a “phytosanitary certificate” affirming that the trees are pest-free. Sester Farms managers didn’t respond to messages. “It’s kind of tragic, as far as the trees are concerned,” says Eric K. Helmy, the Hong Kong company’s attorney in Portland. “They were shipped in a manner that’s designed to preserve them—but it’s very hot in Hong Kong.” Occupy Portland announced May 28 that park rangers for the city’s bureau of Parks & Recreation challenged the formerly park-residing activists to a June 10 softball game at Overlook Park. But the bureau—which estimated the Occupation cleanup costs of Chapman and Lownsdale squares at $130,000—denies official ties to the softball game. “It’s not rangers vs. Occupiers,” says Parks spokesman Mark Ross. “The City and [Parks] don’t have a position on this, other than to confirm it is a permitted event.” Read more Murmurs and daily scuttlebutt.
6
Willamette Week MAY 30, 2012 wweek.com
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T H O M A S J A M E S I L L U S T R AT I O N . C O M
NEWS
A GROWING OREGON LOOPHOLE INDEPENDENT CAMPAIGN EXPENDITURES HERE ARE SOARING—AND INVISIBLE. BY NIG E L JAQ UI SS
njaquiss@wweek.com
An army of canvassers hit the streets in April and May to rescue state Rep. Mike Schaufler (D-Happy Valley) from defeat. Many of the workers knocking on doors for Schaufler in the May 15 primary were paid to drum up votes for the five-term incumbent. But who paid them at first wasn’t clear: For many canvassers, there was no record of payment in Schaufler’s campaign finance reports, or the political campaign committees trying to help Schaufler. (His primary challenger, Jeff Reardon, handily beat Schaufler by a 2-1 ratio.) WW has figured out who bankrolled some of the canvassers—a pro-business group called Grow Oregon. Grow Oregon and other groups used a little-known loophole in the state’s campaign finance disclosure rules that has kept hundreds of thousands of dollars in recent political spending out of public view. The state Elections Division, under Secretary of State Kate Brown, could have fixed this problem by making information about the spending easily available, but has allowed spending reports to remain hidden. Most political spending is logged in the state’s online campaign finance reporting system, ORESTAR. The database allows anyone to view campaign contributions and expenditures for any race in Oregon. But the state Elections Division has allowed a whole
class of spending, so-called “independent expenditures,” to remain hidden from public view. Rather than look up information about such spending online, you have to go to Salem, to Brown’s office, and ask to see the paper filings. They are kept out of sight, in a black three-ring binder under a counter, where only a handful of people know they’re located—or even exist. “The political players paying for these independent political campaign activities are inappropriately flying under the radar screen,” says Janice Thompson of the watchdog group Common Cause Oregon. It’s there that WW found Grow Oregon spent $9,946 on Schaufler’s behalf, much of it with the Signature Gathering Company of Oregon, co-founded by lobbyist Mark Nelson. Two other groups made independent expenditures totaling $6,000 for Schaufler, and a group called Progressive Kick spent $13,000 to benefit Reardon. Nationally, independent expenditures have gotten a lot of coverage in the presidential race, thanks to the Citizens United case. The U.S. Supreme Court ruled that corporations and unions can contribute and spend unlimited amounts of money on political campaigning, if their efforts aren’t coordinated with candidates. But federal races are different from Oregon campaigns. Oregon is one of only four states that do not limit campaign expenditures; federal campaigns do, and the Citizens United case allows donors to skirt those limits as long as their spending is “independent.” State Elections Director Steve Trout says independent expenditures were originally left out of ORESTAR because they were rare and small. “Starting in 2010, we began to see more and bigger contributions,” Trout says.
Trout says no one has made the lack of transparency an issue until Thompson and WW raised questions. He says he hopes the Elections Division will start posting electronic copies of independent expenditures in advance of the November election, and his boss may ask the 2013 Legislature to update ORESTAR. There’s no reason the Elections Division should continue to make it so difficult to track these disclosures. And the three-ring binder kept hidden in Brown’s office contains some eye-popping independent expenditures. In 2010, the National Rifle Association spent $102,000 on GOP gubernatorial candidate Chris Dudley. The American Federation of Teachers spent $275,000 on his opponent, now-Gov. John Kitzhaber, a Democrat. The Oregon League of Conservation Voters spent $385,000 to help Bob Stacey, who ran unsuccessfully for Metro president. Grow Oregon enjoys additional secrecy. As WW first reported last year, Grow Oregon is not a PAC but a 501(c) (4) nonprofit, which means it does not need to disclose the sources of its funding. Justin Delaney, government affairs director for the Standard insurance company and a spokesman for Grow Oregon, declined to comment on the group’s membership or speculation that the group plans to spend up to $1 million in the November election cycle. People familiar with the group say it has 30 to 40 members, including the Standard, Nike, Schnitzer Steel, Columbia Sportswear, U.S. Bank, and the Oregon Business Association. Those sources say it takes $25,000 to get a seat at the Grow Oregon table. Two business groups required to report their political spending, Associated General Contractors and Associated Oregon Industries, each gave $25,000 to Grow Oregon in January. Common Cause’s Thompson says a fix is overdue: “Evaluating campaign messages from independent political players, especially in comparison to messages directly from candidates, requires knowing who is paying the bill.” Willamette Week MAY 30, 2012 wweek.com
7
NEWS
TAXES
A UNION-BACKED INITIATIVE TO REPEAL THE CORPORATE TAX REBATE DRAWS FIRE FROM REFORMERS. BY RAC H E L G R A H AM CO DY rcody@wweek.com
For years, state Sen. Ginny Burdick (D-Portland) has been working to get rid of one of the biggest oddities of Oregon’s income tax system, a rebate called the “kicker.” First passed by the Legislature in 1979, the kicker is a relic from when the State of Oregon actually took in far more tax revenues than officials expected. If the revenue rolling in exceeds projections by 2 percent, the kicker requires all the extra money goes back to taxpayers—individuals and businesses alike. Over the years, the kicker has meant welcome rebate checks to Oregonians, but it also prevents the state from saving for economic downturns and contributes to Oregon’s volatile economy. So it’s surprising that Burdick is now denouncing the best chance in years to kill
Our Oregon, an advocacy group funded by three of the state’s largest public employees unions (the Oregon Education Association, Service Employees International Union, and American Federation of State, County and Municipal Employees), is sponsoring the initiative. Burdick says her own efforts to eliminate the kicker are part of a broader discussion about tax reform, and the unions’ decision to zero in on the corporate kicker makes comprehensive reform more difficult. Scott Moore, spokesman for Our Oregon, says he is aware of the politically delicate relationship between business lobbyists and unions after 2010’s Measures 66 and 67, when voters raised income-tax rates on the wealthy and businesses. But Moore says Our Oregon has grown frustrated with the Legislature’s repeated failure to pass kicker reform. And he says the group’s polling shows a large number of voters support eliminating the corporate kicker. “Going to the voters means you can find the public policy that works and go with that,” Moore says. “It means we can avoid the horse-trading and political games that
“IT MEANS WE CAN AVOID THE HORSE-TRADING AND POLITICAL GAMES THAT WOULD OTHERWISE HOLD THIS POLICY HOSTAGE.” —SCOTT MOORE, SPOKESMAN FOR OUR OREGON part of the kicker: A union-backed initiative petition, for which supporters are still gathering signatures, that would end the kicker for corporations. The initiative is aimed at the Nov. 6 ballot. Any extra money, backers say, would go to K-12 education. The kicker for individual taxpayers would remain untouched. The initiative “falls somewhere between meaningless and extremely harmful,” Burdick tells WW. “All I can hope is, it doesn’t make the ballot. It will throw a monkey wrench into real financial reform.”
would otherwise hold this policy hostage.” Oregon voters locked the kicker into the state constitution in 2000. The personal income-tax kicker for individuals remains popular. “In some quarters,” says state Sen. Frank Morse (R-Albany), “it’s the holy grail of politics.” Few, however, defend the corporate kicker. Sarah Pope is legislative director of the Oregon Business Association, which has supported corporate kicker reform in the past. She says her group won’t com-
J O N AT H A N H I L L
A SMACK IN THE KICKER
ment on the measure—at least not before the state determines whether the initiative makes the ballot. But Pope agrees that picking off lowhanging fruit—the corporate kicker— makes overall reform tougher. “We are frustrated by the unions unilaterally moving on this one issue,” she says. “That will probably make it harder to go after other stabilizing measures.” Burdick and Morse, who for years have worked together on tax reform, say the better plan is to fix both the personal and corporate kickers at the same time—and guarantee the money goes into the state’s rainy-day fund, which lawmakers use to smooth out budget gaps when revenues fall short. And the unions’ initiative, Burdick and Morse say, doesn’t actually guarantee schools come out ahead after the corporate kicker rebate is diverted to K-12 budgets. “There’s nothing good to say about the corporate kicker,” Burdick says. “But unless you reform it alongside the personal kicker and put that money into a stability fund, the effort is meaningless.” Chuck Sheketoff, executive director of the Oregon Center for Public Policy, dismissed such concerns as “straw men.”
“Saying it should go to the rainy-day fund ignores the more fundamental issue of this [ being] better than having the money go to profitable out-of-state corporations,” he says. State economists don’t anticipate the kicker kicking in again until at least 2017—and the total corporate rebate will probably be smaller compared to the personal one. The last time the tax rebate went out, in December 2007, the corporate kicker was $344 million ($1.1 billion was sent to individual taxpayers). With the support of business groups, the Legislature diverted that biennium’s corporate kicker into the rainy-day fund. Subsequent changes to kicker calculations mean the rebate will be even smaller when it eventually kicks again. “Whether it passes or fails, the initiative takes the steam out of kicker reform,” Burdick says of Our Oregon’s initiative. “I’m very disappointed that [unions] would go off on their own and create the political perception that the problem is solved.” Moore disagrees. “It is illogical to think if we get a big win, that is the end of the conversation,” he says. “A victory should spur more change.”
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NEWS LAURYN ISHAK
presented by
JACK SIM
MAY 31 - JUNE 3 Waterfront Park
ONE MAN’S QUEST TO GIVE THE WORLD A TOILET. BY CO DY N E W TO N
cnewton@wweek.com
Jack Sim wants people to admit they poop. Sim, 55, a successful Singaporean construction executive, is the founder of the nonprofit World Toilet Organization. It’s OK, please laugh—Sim says getting people to do so has been key for his organization’s success in increasing awareness for better sanitation in developing countries. In 2008, Time magazine named him a Hero of the Environment. WW spoke to Sim before he left for Portland, where he will speak at noon June 4 at Mercy Corps, 28 SW 1st Ave. WW: How did you get started? Jack Sim: I started the Restroom Association of Singapore in 1998 to clean up public toilets. Then I started the World Toilet Organization. I went to a very experienced person who is doing something like this [for condoms] in Thailand, “Mr. Condom.” I said, “How do you do this?” He said, “Can you make people laugh?… If you make them laugh, then they’ll listen to you.” So I created the acronym WTO, playing a pun on the World Trade Organization. The media loved it. So, what does your WTO do? Forty percent of the world’s population still doesn’t have toilets. For the longest time, sanitation has been banded with water. All the money,
“WE WANT TO REACH THE DAY WHERE EVERYBODY WILL HAVE A CLEAN, SAFE TOILET.” —JACK SIM all the attention, goes to water because it’s critical. It’s like putting your grandmother next to Miss Universe. So what I did was create humor, so when the grandmother started to tell jokes, Miss Universe would become boring. WTO legitimized the subject of sanitation, which is originally very disgusting and avoided. The reason the world still has 2.6 billion people without a toilet is that we don’t want to engage the subject. How effective has the WTO been? Before 2001, there [was] nobody writing about sanitation and toilets. I think we can claim that the World Toilet Organization is the one that broke the taboo on sanitation. Look at the whole series of World Toilet Summits. The first one was done in Singapore. Beijing hosted one year and renovated 4,000 public-toilet plots for the Olympics. We went to India, which has the biggest problem of sanitation in the world by virtue of its
SIM
population, and the president of India came. So I think we keep on upgrading the status of toilets and sanitation. What’s the biggest change you’ve seen in toilets in the last 10 years? People are able to admit they poop. Recently the [Bill and Melinda] Gates Foundation actually switched their focus from water to sanitation; we’re glad a big name is putting its brand behind this thing. It took a lot of time to break the taboo. Three years ago, we started the SaniShop microfranchise, where we teach the poor how to produce toilets. For $1,000, the manufacturer can start a factory, making $5 per toilet. After 200 toilets, he gets back his capital. The selling is done by a village woman who earns $1 or $2 commission. So we create three sales jobs and three mason jobs. Six jobs for $1,000 and we deliver sanitation sustainably.
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What about plumbing and water treatment? It’s actually a very simple toilet. It composts itself, and then the pathogens die off after 10 months. You can dig it out with a shovel yourself. What does the future look like? We have to mobilize a lot of people. We know the longevity of human life accelerated very fast with the invention of the flush toilet. People live longer because the child death rate was reduced. People in Nigeria have an average life span of 46 years. Not because there are no old people, but because the statistic is held down by child death. We want to reach the day when everybody will have a clean, safe toilet wherever they go. What’s the coolest toilet you’ve ever seen? When you think about high tech and all that, you think about the Japanese toilet. But I think the coolest is when somebody doesn’t have a toilet, and they can afford to get their first. The transformation in their life is amazing. They say, “I’m going to tell all those people who don’t have a toilet to go get one. We get privacy, we get convenience, we don’t have to go to the bush, we don’t have to be bitten by the snake.” Willamette Week MAY 30, 2012 wweek.com
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TRIMET The No. 6 bus is doing just fine until the wheelchairs show up. A soaking Tuesday has cleared into afternoon blue skies. The southbound No. 6 leaves Jantzen Beach at 3:22 pm, so empty that passengers have rows to themselves. But at Northeast Martin Luther King Jr. Boulevard and Killingsworth Street—the busiest stop on the route, where it intersects with the packed 72 line—an old man
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in a wheelchair, an oxygen tube running below his nose, waits for a lift. A woman in the priority-seating area has to move, and her handcart snags on the pink and purple pants chains worn by a huge kid in a “Tapout” ball cap. Another 15 people wait to board. The stop takes five minutes. At the next stop, another wheelchair. This one is ridden by an obese woman with an orange flower in her hair and a soda in
her hand. The wheelchairs perform a spastic motorized ballet as they create a traffic jam inside the bus. “Man,” someone in the back laughs, “that is messed up.” The woman with the handcart shakes her head. She’s been working 10 days straight and commutes on the bus, three hours a day. She lives in Camas, Wash., out in the country.
PHOTOS BY DARRYL JAMES AND VINCENT AGUAS
LIFE “That sounds lovely,” says another woman, with sunglasses and a hint of whiskers. “Except for the transportation issues.” “Transportation issues is right,” the woman with the cart says as she gets off the bus. I’ve been riding TriMet for three consecutive days. I’ve ridden for 242 miles on an essentially nonstop journey on 21 trains and 26 buses, from the Buckhorn Family
Restaurant in Troutdale to Pacific University in Forest Grove, and from the lottery casinos in Jantzen Beach to the public library in Tualatin. This transit agency is in deep trouble, and I want to understand what’s at stake as TriMet, in an effort to survive, hikes fares, cuts service and makes it harder for hundreds of thousands of people to use its trains and buses. I hopped on the bus and
I RODE FOR THREE DAYS AND 242 MILES ON PUBLIC TRANSIT. HERE’S WHO I MET. BY AA R ON MESH
amesh@wweek.com
MAX trains to see what I might discover. Bleary from my journey, still wondering what to make of it all, I watch the woman with the cart as the bus pulls away. “It sounds like a tough commute for her,” I say. The woman with the whiskers nods. “I’m not going to complain,” she says. “We have one of the three best transit systems in the country. People come from all over the world to study it.” CONT. on page 12
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CONT.
GET OFF THE BUS $2.25
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a financial meltdown. A 2010 audit showed the agency was $816 million short of meeting its long-term obligations to its current and future retirees, thanks largely to a 1994 transit union workers contract that guarantees extensive health-care coverage to retired drivers. The Oregonian recently noted these obligations are piling up. TriMet tells WW the agency would need to set aside $75 million a year for the next 30 years to close the gap. The agency has for years cut bus lines and reduced service on others—a downward spiral that the agency won’t be able to reverse any time soon, in the opinion of many. “Honestly, these fare hikes are peanuts compared to the crisis TriMet is currently headed for,” says Michael Andersen, editor of monthly transportation magazine Portland Afoot. “Almost every government agency has failed to save for retiree medical benefits, but TriMet’s problem breaks the chart.” Andersen says TriMet’s history makes
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these changes even more painful. “TriMet has been a really, really good system for 20 years,” he says. “Arguably, it’s been better than Portland can actually afford. But the upside of this is that it created a city full of people who feel entitled to excellent transit service.” I’ve been thinking about how much the city depends on TriMet. We are inextricably linked with it—not just connected by it, but bound to it. The agency’s slogan is the strangely passive “See where it takes you.” So I have—but not to discover a destination alone. What I want to know is, who’s taking it? Who needs it most? And where do they want to go? I begin my journey Sunday at the Goose Hollow station, and ride the MAX Red Line east two stops to Jeld-Wen Field. This is where Gary Radford is so busy issuing citations to Portland Timbers fans who didn’t pay their fares he almost doesn’t notice the kid sneaking on the train. Before each Timbers game, TriMet sets up what amounts to a corral around the MAX stops at the stadium. Fans get off the train into an area fenced by metal barricades. Fare inspectors won’t let fans out until they show they’ve paid for their ride. “Fares out and ready!” yells Radford, a 32-year TriMet employee, dressed in blue mailman shorts and a white polo shirt with American flags on the shoulders. He chews on a lollipop as soccer fans in green scarves wave their MAX passes. As TriMet scrapes for money, the agency has ended its leniency to fare dodgers. Tough enforcement has already brought in $267,000 in the past nine months—over $100,000 more than the previous year. The scene at the Timbers game has the feel of a sting, even though fans have been faced with the barriers all season.
TriMet isn’t just trying to scrape in a few extra coins. It wants to change, by force, an entire mentality of taking the system for granted. It has decided education doesn’t work. Punishment works. When people think they can get away without paying, the tougher enforcement adds a sense of justice to the system. A ticket for fare jumping—as Timbers fans are learning—runs $175. And violators are also required to buy a return ticket at a booth by the barricade gate. Radford—who has just written a citation to a sheepish family of four—says he’s sick of TriMet employees getting blamed for the agency’s woes. Radford believes strongly in paying your bills, immediately and completely. He thinks passengers aren’t doing that. He thinks the agency itself isn’t doing that. He says TriMet employees are doing their part. It’s somebody else’s turn to pay. “I’ve been here since God was a child,” he says. “They’re trying to cut us out of a piece of the pie. People down here are spoiled because they don’t know how good this is. Go down to Phoenix and try to ride transit. You’ll dehydrate and die in a shelter waiting for a bus.” He spots movement at the far end of the stop. “Larry!” he yells to another fare inspector. “Guy in the red jacket! Larry! Getting back on the train!” Radford runs on the MAX and emerges with a kid, wearing a South Carolina Gamecocks pullover, who had snuck under the metal gates and hopped on the train. “You think we can’t see you?” Radford shouts. “You think we’re stupid?” The kid’s name is Harrison. He’s 15. The faces on TriMet are often young. The agency’s studies show that 16 percent of CONT. on page 14
S O U R C E S : T R I M E T, P O R T L A N D A F O O T
$2.00
BEYOND THE FREE RAIL ZONE: TriMet employee Gary Radford busts fare jumpers outside Jeld-Wen Field after a Timbers game. 12
AS TRIMET FARES HAVE INCREASED OVER THE PAST DECADE, MAX RIDERSHIP HAS RISEN. BUS RIDERSHIP HASN’T.
PROPOSED FLAT-RATE, TWO-HOUR FARE
$2.50
DARRYL JAMES
It’s easy to hate the bus. If you’re driving a car, there always seems to be a bus slowing you down as you race to work. They cough out pollutants and grind down our roads. And if you’re on one, they can be noisy and smelly—even demeaning. And soon, because of TriMet, more expensive than ever to ride. But TriMet—covering Multnomah, Washington and Clackamas counties— over the years has been ranked among the top transit agencies in the nation. The buses arrive mostly when they are supposed to—and now an elegant iPhone app called PDXBus tells how TriMet can get us from one place to another, as if building a path right before our feet. TriMet is available to all, including the poorest and most dependent people, linking places otherwise abandoned, offering a bridge for the isolated. On TriMet, you see more colors and hear more languages than anywhere else in the city. The bus and train do not discriminate. But TriMet has issues. The transit agency is projected to spend $458 million next year—$12 million more than it will have. TriMet blames the deficit on lower-than-expected receipts from its tax on employer payrolls, and federal funding cuts. TriMet’s board—appointed by the governor—is looking at some of the most dramatic changes in years to help the agency make up the shortfall. Under the proposal now before the board, TriMet would do away with its three-zone system Sept. 1 and create a flat, two-hour fare of $2.50—that’s 40 cents more than a twozone, two-hour ticket now. That same day, TriMet would end what’s left of the old Fareless Square—a stretch from downtown, through Old Town and across the Willamette River to the Lloyd District— where riders can ride MAX trains for free. It’s basing its budgets on models that show fewer riders, but an $8.7 million increase in revenue from increasing fares and fining freeloaders. But TriMet acknowledges that eliminating the fareless zone and hiking the cost of a ticket raises barriers for many people. An estimated 1.8 million rides a year will no longer be taken on the agency’s buses or trains. Even if the plan works, TriMet still faces
RIDERS (shown in the millions)
TRIMET
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Where It Takes You: THESE ARE THE MOST RIDDEN BUS LINES. NF
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riders are under 25. Most don’t try to duck fares, but kids are what people complain most aboutTUALATIN as I ride the rails. The kids on the MAX are disrespectful, other riders say. They’re rude and vulgar. They don’t give a damn about the rules, and they make other people feel vulnerable and afraid. But in my long ride, I rarely saw any of that. And Harrison doesn’t look tough or WILSONVILLE dangerous. As the national anthem begins to play in the stadium, he looks like he is going to cry. “Harrison, why do you think that’s acceptable behavior?” Radford asks more softly. “I don’t,” Harrison whispers. “I’m sorry.” Radford writes Harrison a 30-day exclusion from TriMet but lets him take the MAX home. “I cut that guy all kinds of slack,” Radford tells a fellow employee, Julie Monroe, who runs the return-ticket booth. “He got real humble real fast.” “We were all 15 once,” Monroe says. “We were all 15 once,” Radford echoes. “I was 15—43 years ago.” TriMet both frees and cages people. And the cage is often the clock. The Gresham Transit Center is not the last stop east on the MAX Blue Line, but it’s the final place you can get off to transfer to a bus. A young woman named Rae has just missed a line 9 bus by one minute. Rae, with close-cropped hair and wearing a black leather jacket, is trying to get to her job at an assisted-living facility. She lights a cigarette, caught in what’s an unavoidable trap of mass transit—the frustrating time kill between the buses. She sits in a yellow chair that’s part of a sculpture called Living Room. Created by artist Tamsie Ringler, the sculpture—installed at the transit center in 2001—includes a pink couch and the highbacked yellow chair carved out of concrete, with a coffee table and a television. 14
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Living Room has become notorious as a local party spotGLADSTONE for teenagers and twentysomethings. It’s 10:30 on Sunday night, and a tall, thinly bearded man with a Chicago White Sox cap and heavy plastic earrings in his stretched West Linn earlobes is freestyling hiphop rhymes. “If we stay here Oregon for more City than five minutes, they’ll throw us out of here, throw us in jail,” says the rapper, whose name is Anthony. “They’ll toss you to the wind, man,” says Brandon, a long-haired blond whose jeans are barely supported at his hips by a belt with a huge gold buckle. He’s sitting on the couch. Public transit exerts a magnetic pull for people on the fringes of society. It represents motion and escape and possibility— even if they’re not taking the opportunity. That may explain why young people who aggressively project despair so often hang out on TriMet. It offers direction and movement. It offers hope. Anthony goes to Mt. Hood Community College, and recently began interning with a tattoo artist. Two nights ago, he got drunk with his mentor and got his first tattoo. He rolls up his sleeve to reveal a purple cartoon of a turd, carefully detailed with splat marks, stink lines and two flies. “He was like, ‘What do you want?’” Anthony recalls. “I was like, ‘A pile of poo.’ So I got a tattoo of a pile of dookie on my arm. For my girlfriend.” “That’s love,” Brandon says. Part of the TriMet experience is being thrown together with strangers. Rae and the young men are around the same age, but are riding different paths. She watches the men distractedly until AJ, a bald kid on a lowrider bicycle, asks her for a smoke. “I just got bitched out by my girlfriend for handing out cigarettes,” she says. “Can’t do it anymore.” Rae keeps checking the time on her
AVERAGE WEEKDAY RIDES 4 LINE: 17,710 12 LINE: 11,540 20 LINE: 10,270 72 LINE: 16,710 75 LINE: 10,530
phone. CARVER She calls her boss and explains that she missed her bus; the long silence on her end says she’s getting lectured. She was due at work eight minutes ago. She hangs up. “Oh,” she says, “the glory of public transit.” Crime dominates recent headlines about TriMet. There have been brawls on buses, a stabbing at a bus stop. Opponents of light rail in Clackamas and Washington counties say, without hard evidence, that more trains mean more crime. They call this “Portland creep.” Although I’ve seen few open confrontations during my trip, I’ve always felt the low-level threat that anyone could, at any time, decide they want to make me a target of mockery or menace. At the risk of sounding oversensitive, few times on TriMet have I felt completely safe. In my three days on TriMet, I witness no crime except fare jumping. It’s not that I haven’t tried to find it: I loitered for over an
hour Sunday night at the Gateway Transit Center, which TriMet lists as by far the most dangerous over the past four years, with an average of 68 reported crimes annually. But it’s on Monday afternoon that I see two people making some kind of deal. I’ve reached the No. 72 bus, which runs the length of 82nd Avenue south to Clackamas Town Center. The No. 72 is known colloquially as “the Jerry Springer” because it’s infamous for a motley collection of passengers. Today there’s the wheelchair-bound man with gold-plated recording-studio headphones and oversized neon-green plastic glasses, like the ones you buy at a theme park. There’s the woman holding a helplessly shivering pug named Leah. And there’s the woman running her finger along a laminated card with a prayer to St. Anthony. Around Southeast Foster Road, a woman in her 20s gets on. She has a pink plaid purse, white bedazzled sunglasses, bubblegum lipstick, pink pajama pants and a white sweatshirt emblazoned with “LOVE” across her chest. She gives an enthusiastic greeting to man in his 60s, with thinning hair parted down the middle, a wispy mustache and two hearing aids. “Guess I’m getting in the back!” she says to him. “Back party!” They don’t speak to each other for about 20 blocks, until the bus crosses the Clackamas County line and stops at Southeast Otty Road. The man gets off the bus—then a second later steps back on and gives the girl in pink a curt nod. “Yeah?” he asks. She shrugs, gives a closed smile, and follows him toward the Town & Country RV Park. People on the bus and train tend to share. I overhear many sad stories. It’s like logging onto a Facebook page where every status update tells of disaster. Some of them are voiced directly to me, usually as a prelude to asking for money. (Or a cigarette. Or a bus transfer.) But I also overhear snippets of woe, because many of the people riding the lines are desperate and dependent, and there’s nothing they can do but talk about it while they travel to the next place. Like the teenage girl on the 57 line west
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URBAN DESIGN: Teenagers hang out at a sculpture called Living Room at the Gresham Transit Center.
TRIMET DARRYL JAMES
CONT.
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WHEELS ON WHEELS: Sarah Hernandez pilots her scooter onto the No. 6 bus during rush hour on Martin Luther King Jr. Boulevard.
of Hillsboro, telling a former high-school classmate that she no longer goes to school, not after her dad went to jail. “Look at my hand, dude,” she says. “I got a piece of glass in it and I can’t get it out. It hurts like crazy.” And the young man with headphones sitting at the Washington Square Transit Center, explaining how he got kicked off a bus for using profanity. “She said if I didn’t get off, she would call the cops,” he says. “So of course I had to spit on the bitch.” Or like the chain-smoking man with piercing blue eyes waiting at the 82nd Avenue MAX station for the pay phone to ring. He carries clothes in a Tillamook Cheese Factory shopping bag and says he lived in Europe for 23 years. “My only mistake,” he says, “was coming back home.” But mostly I hear people talking about work. Buses and trains serve as a connection to their jobs—to their future. On the 9:33 pm Red Line pulling out of Portland International Airport, I meet Shanda and Ashley, who both work at the airport’s Capers Cafe et Le Bar. Shanda, 33, is a bartender who carries the night’s receipts in a tin Night of the Living Dead lunchbox. She and Ashley, a dishwasher, are single moms. Ashley, 26, says riding MAX every day saves her $500 a month in gas. “This the best transportation anywhere,” she says. Shortly before midnight, on the last No. 6 bus from Jantzen Beach, I meet Giovanni, who packs 10 pallets a day of Doritos, Fritos and Cheetos at DePaul Industries. “Bus fare is going up, up, up,” he says. “We have to spend like $5 a day, just to get to work.” I ride until nearly 1 am, and six hours later I hop on a MAX Blue Line toward Hillsboro. The train—taking commuters to Intel, Nike and other corporations west of Portland—slips into the Robertson Tunnel beneath the West Hills. The train is library quiet. Most of the commuters—including many in spandex, their bikes hanging nearby—read books. One man has a Kindle, but at least half a dozen are absorbed by hardcovers: The Catcher in the Rye, To Hell on a Fast Horse, Questions by the Sages. And one man unwraps a paperback edition of The Charterhouse of Parma from a protective cloth. I ride from Beaverton to Tualatin and back into Old Town. At noon, on the MAX Red Line rolling east over the Willamette River, I meet a 22-year-
old man named Travis, a security guard heading home to Gresham after a 12-hour shift at the Rose Festival carnival rides, then under construction. He tells me it’s the first job he’s had that he’s proud of. But the graveyard shift is lonely. “You want to cry at nights,” he says. My journey shows me how dependent so many people are on such a basic system—and how tenuous the links are. The transit agency’s services offer tangible opportunity and hope to every person that lives within its reach. If the agency fails, we are essentially quitting on our belief that everyone gets the same shot to change their lives. The American dream is only as near as the next bus. It’s around 2 pm on Tuesday when I meet Mariya. She’s eating a slice of 7-Eleven pizza at a covered shelter at the intersection of Northeast 82nd Avenue and Sandy Boulevard. She’s wearing a gold necklace with a Turkish emblem above a black-and-blue striped dress. She doesn’t say much, until she hears me trying to make conversation with two elderly Vietnamese women, one of whom carries two bananas. “I speak six languages,” she tells me. Mariya speaks English, Turkish, Russian, Azerbaijani, Tatar and Ukrainian. She was born in Uzbekistan, and arrived in the U.S. as a refugee from Russia in 2004. She takes the 12 and 72 buses on Tuesdays and Thursdays to attend nursing classes at Portland Community College’s Southeast campus. Now she’s heading home to play with her 18-monthold daughter, Naira. “I have so many more opportunities here,” she says after we board the No. 12 heading east. “In America, everyone is equal. Everybody gets a chance.” Mariya and I travel northeast along Sandy Boulevard—out past the Grotto, beyond the 14300 block of Sandy where the sidewalk ends in a field of upturned mud. A black kid in a yellow construction company ball cap laughs and makes a “call me” hand gesture at a girl. A Latino man stares out the window. An old white man’s trucker hat features a grizzly bear with a rainbow shooting out its mouth. Outside it’s pouring, and the bus’ blue floor glistens from the tread of wet shoes. “No one’s separate here,” Mariya says. “That’s why I like it.”
GIVE!GUIDE 2012!
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2067 NW Lovejoy, Portland, OR 97209
Willamette Week’s 2012
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WHAT ARE YOU WEARING?
STREET
CABBIE COUTURE GET YOUR FLAT CAP WHILE ITS HOT! P HOTOS BY MOR GA N GREEN -H OP KIN S, IVA N LIMON GA N A N D CATHER IN E MOY E wweek.com/street
Willamette Week MAY 30, 2012 wweek.com
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FOOD: Churchkey’s old-timey canned beer. MUSIC: Illmaculate’s debut full-length. BOOKS: Canada, eh. MOVIES: This is Not a Film...OR IS IT?
Shandong cuisine of northern china
SCOOP
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TWO SLICES OF PIPING-HOT GOSSIP.
Food & Drink pg. 20
SUCK IT: Pizza Schmizza founder Andre Jehan has taken down a sign that said “Schmizza doesn’t suck anymore” after complaints from his building. Jehan resumed control of the pizza joint at the Pearl District’s tony Gregory building and wanted to announce that the pies were again up to his standards. Unfortunately, the word “suck” scandalized his neighbors who claim their bylaws prohibit “offensive” materials. “At first I thought I would just white out the ‘S’ and...let people figure it out, but I left the sign up for about 10 days after the warning and figured that was enough,” Jehan says. The Gregory’s bulletin boards are now decorated with fliers that say “The only thing that sucks now is your straw....”
THAT TIME AGAIN: The Portland Institute for Contemporary Art has announced a partial lineup for its 10th annual Time-Based Art Festival. Among the local, national and international performers appearing this year: Mexican theater company Lagartijas Tiradas al Sol, premiering two political docu-dramas; musician Aki Onda, curating a showcase of Japan’s avant-garde sound artists; experimental filmmaker Sam Green, screening his documentary on R. Buckminster Fuller with a live soundtrack from indie-rock bigwigs Yo La Tengo; and, in a solo storytelling performance, Laurie “O Superman” Anderson. TBA takes place Sept. 6-16 at various locations. MFNW KNOWS DRAMA: MusicfestNW—owned and operated by this very paper—has finally announced the initial lineup for this year’s festival, which runs Sept. 5-9. Of special note are the Pioneer Courthouse Square shows: one featuring mash-up mastermind Girl Talk (does the city have any idea what it’s in for?), another headlined by the excellent worldly folk-pop outfit Beirut, and yet a third downtown show with L.A.’s Silversun Pickups. Other headliners include Dinosaur Jr., the Tallest Man on Earth, Passion Pit, Lightning Bolt and Yelawolf. Being in the journalism biz when we’re not in the festival biz, though, it’s the storylines that grab our attention: Will returning sissybounce queen Big Freedia finally just move here? Will there be tears of joy during a DJ set from Jonathan Toubin, who was nearly killed in Portland last year when a taxi struck his room at the Jupiter Hotel? Why did Pete Krebs and company choose this year to reintroduce the city to two of their classic bands—Hazel and the Gossamer Wings? Stay tuned, Portland.
LOG RIDE: Portland is now home to the West Coast’s first indoor bike park. After nine months and eight contractors, the 60,000-square-foot Lumberyard is open for business and will host a launch party all day on June GIRL TALK 9. “We rehabbed an old bowling alley that had been squatted in by non-residents of 82nd Avenue for years,” says employee Joshua Hutchens. “They’d extracted some of the plumbing and a lot of the copper.” He wouldn’t say how much it cost on the record, but did say “it’s the kind of place you just have to come and see, and wonder how much we spent.” 18
Willamette Week MAY 30, 2012 wweek.com
HEADOUT
WILLAMETTE WEEK
WHAT TO DO THIS WEEK IN ARTS & CULTURE
K U N G F U T O A S T. C O M
FRIDAY JUNE 1 PIRANHA 3DD [MOVIES] In the trailer alone, you’ve got Christopher Lloyd wigging out, Ving Rhames shooting killer fish with his artificial legs, David Hasselhoff playing himself, “watercertified strippers,” and a vagina piranha. Multiple theaters.
SATURDAY JUNE 2 LAKE, GENDERS, JASON TRAEGER [MUSIC] Not only will music fans of all ages be treated to a special performance from stellar Olympia twee-funk outfit Lake, but Genders— three-fourths of Youth, which placed fifth in this year’s Best New Band poll—will be on hand as well. Backspace, 115 NW 5th Ave. 9 pm. $8. All ages. ROSE CITY ROLLERS [ROLLER DERBY] After a season of sweat, tears and hair spray, it all comes down to this. For all the roses and glory, the High Rollers take on the Breakneck Betties for the title of Rose City Rollers 2012 season champions. Veterans Memorial Coliseum, 300 N Winning Way. 5:45 pm. $14-$20. DRESSING ROOMS [FASHION] Here’s your chance to gawk at pretty people wearing pretty clothes. Students at the Art Institute of Portland offer up their most daring and one-of-a-kind (read: unwearable) creations at Dressing Rooms, a much anticipated spring fashion show. Pure Space, 1315 NW Overton St. 8 pm. $5-$100.
SUNDAY JUNE 3
CONCH TALK WITH OREGON’S MOST AVID SHELL SEEKER. “Conchologist” is a fancy word. You don’t become a conchologist by earning a degree, however, but through a deep and abiding interest in sea shells. This week, the Oregon Society of Conchologists brings its most magnificent conchs to OMSI for its 47th annual shell show. What goes on at a shell show? Well, we asked club co-president John Johnson. Turns out his collection is worth a surprising amount of booty. No wonder Sally’s pushing these things by the seashore—she’s probably making bank. KIMBERLY HURSH.
WW: What makes a sea shell valuable? John Johnson: First, size or length. The second most important factor would be rarity—it should be noted that a common shell can be considered rare if it is of unusually great size. Condition or quality of the shell also increases its value, as with any collectible. Lastly, I would say the popularity of the particular species with other collectors is important. There are hundreds of thousands of various species of seashells, and believe it or not, there is actually an active, updated world-record registry.
What is the Honus Wagner card of the shell world? The greatest collector in the world, Pete Stimpson from Tennessee, has over 3,000 world-record shells. A few of these are worth more than $10,000 each. What’s the prize of your collection? I own a Cypraea tigris schilderiana measuring 137 mm, and I’ve had offers in excess of $3,500 for it. It comes from Oahu, Hawaii, and was part of a blockbuster trade of seashells with another local collector.
My other favorite is a highly rare, giant Pecten magnificus taken decades ago from the Galápagos Islands. Where do you keep all these dead mollusks? For my giant shells, I prefer open displays on tropical shelving, as our entire home is a monument of nautical and tropical décor. We were once featured in Sunset magazine. GO: The 47th annual shell show is at OMSI, 1945 SE Water Ave., 797-4626, through June 2. 9:30 am-5 pm daily. Included with regular museum admission.
REGGIE WATTS [COMEDY] Standup’s most unpredictable stream-of-consciousness comic-musician-hairball returns to Portland. Crystal Ballroom, 1332 W Burnside St., 225-0047. 8 pm. $26. 21+. SUNDAY SUPPER [FOOD] Every Sunday, many Australians sit down to an elaborate roast dinner with plenty of spuds and gravy. Pacific Pie Company is bringing this tradition to Portland for a series of Sunday roast suppers. The first will be a three-course roast lamb meal, with sticky date pudding for dessert and an optional Australian wine pairing. Pacific Pie Company, 1520 SE 7th Ave., pacificpieco.com. Seatings at 5 pm and 7:30 pm. $24 for adults, $15 for children 12 and under.
MONDAY JUNE 4 GRIEVES AND BUDO, SOL [GENRE] Grieves, the baby-faced 27-year-old Seattle MC signed to Rhymesayers, has an affinity for crafting lyrically vivid narratives of heartbreaks and addictions. His latest album, Together/Apart, reads like a breakup letter to his former self. Peter’s Room at the Roseland Theater, 8 NW 6th Ave. 8 pm. $13. All ages. Willamette Week MAY 30, 2012 wweek.com
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NEW Happy Valley Farmers Market 132 & Sunnyside
Opening Sat. June 2 9am - 3pm FREE Tamales to
Woodstock Farmers Market Opening Sunday June 3 9am - 1pm FREE Tamales to
6
Milwaukie Farmers Market Sunday
www.CanbyAsparagusFarm.com
9:30am - 2pm
FOOD & DRINK = WW Pick. Highly recommended. By RUTH BROWN. PRICES: $: Most entrees under $10. $$: $10-$20. $$$: $20-$30. $$$$: Above $30. Editor: MARTIN CIZMAR. Email: dish@wweek.com. See page 3 for submission instructions.
WEDNESDAY, MAY 30 Drink Portland Launch Party
Because Portland doesn’t have enough food and drink websites, Drink Portland, an “online drink magazine, event guide and happyhour finder” is about to launch. The launch party will feature craft beers, punch, a raffle and giveaways. A dollar from each beer and glass of punch sold will be donated to nonprofit Creative Cares. RSVP at DrinkPortland.com/launch. Mellow Mushroom Pizza, 1411 NW Flanders St., 224-9019. 6 pm. Free, but price for drinks.
Think & Drink: Future of Food Security
Oregon Humanities’ happy-hour series, Think & Drink, hosts Robert Paarlberg, professor of political science at Wellesley College in Massachusetts and author of Food Politics: What Everyone Needs to Know, and Susan Bragdon, executive director of the Agriculture and Innovation Policy Network, to discuss how technology is shaping our food future and debate the Portland mantra of “Buy local, eat organic, avoid GMOs.” Mission Theater, 1624 NW Glisan St., 2234527. 6:30 pm. Free.
GREEK HOUR! 4-6PM, M-F
AND
Pondo’s place: Full Bar • Flavors of Greece
1740 E. Burnside • 503-232-0274
John Gorham’s Toro Bravo and Tasty n Sons celebrate their fifth and second birthdays, respectively, with a marching band and open-house party. Get A Life Marching Band lead a procession from Tasty n Sons to Toro Bravo, where there will be free tapas and an open bar. Tasty n Sons, 3808 N Williams Ave., Suite C, 621-1400. 4:30 pm. Free.
Firkin Fest
June 20, 2012
A fountain of options! Mixers, Sodas & Juices
Equipment provided, maintained & replenished 503-236-2100 • portlandbev.com
Bars, Restaurants, Cafes & Events Serving 700 establishments & counting! The Observatory • Nel Centro • Jimmy Maks • Pok Pok • McMennamins • Gruner • St. Jack Basement Pub • Alexis • Noble Rot • Bonfire Lounge • Dorio • Lincoln • Marathon Taverna Zell’s Café • Ciao Vito • Dig A Pony • Holman’s • Norse Hall • New Copper Penny Mo-Mo’s • Riccardo’s • Virginia Cafe • Sunshine Tavern • Scandals • McMennamins x 50 Willamette Week MAY 30, 2012 wweek.com
Veteran Portland chef Vitaly Paley and his protégé Ben Bettinger team up for a collaborative dinner in the intimate environs of Robert Reynolds Chef Studio, ahead of their
Woodstock Farmers Market Opening The Woodstock Farmers Market is back for a second year, promising more vendors, more hot food, longer opening hours and live music. New vendors include Bakeshop and Burnside Brewing. Woodstock Farmers Market, 4600 SE Woodstock Blvd. 9 am-1 pm. Free entry.
EAT MOBILE
Toro Bravo and Tasty n Sons Anniversary Parade Party
SATURDAY, JUNE 2
20
Vitaly Paley and Ben Bettinger at the Chef Studio
new downtown project, Imperial, which will open in the fall. Robert Reynolds Chef Studio, 2818 SE Pine St., 544-1350. 6:30 pm. $120. 21+.
FRIDAY, JUNE 1
TAVERNA!
ys soda gu l a c o l r Call you rkle on tap! for spa
food, of course. Carlton’s Cana’s Feast winery is teaming up with Old Town pan-Asian hole-in-the-wall Ping for a six-course dinner—weird, but I’m betting they pull it off. Call for reservations. Ping, 102 NW 4th Ave., 229-7464. 6 pm. $50. 21+.
KIM+PHIL PHOTOGRAPHY
Visit Us at the Farmers Markets
Firkin hell. OK, now that we’ve got the obligatory pun out of the way, Green Dragon is hosting the fifth annual Firkin Fest, featuring traditional English cask-style beers from the likes of Firestone Walker, Good Life, Lompoc, Fire on the Mountain, Silver Moon, Rogue Ales, Track Town Ales, Columbia River, Green Dragon Brew Crew and Buckman Brewery. There also will be cheese, chocolate and meat to snack on. Tickets at Rogue.com. Sounds like a firkin good time. Sorry. Green Dragon, 928 SE 9th Ave., 517-0660. 11 am-2 pm and 3 pm-6 pm. $10 admission includes five drink tickets. 21+.
SUNDAY, JUNE 3 Sunday Suppers at Pacific Pie Co.
Every Sunday, many Australians sit down to an elaborate roast dinner. Lamb, beef, chicken—it doesn’t matter so long as there’s plenty of spuds and gravy and you eat until you’re slightly sick. Pacific Pie Co. is bringing this tradition to Portland for a series of Sunday roast suppers. The first will be a three-course roast lamb meal, with sticky date pudding for dessert and an optional Australian wine pairing. Pacific Pie Company, 1520 SE 7th Ave., 3816157. Seatings at 5 pm and 7:30 pm. $24 for adults, $15 for children 12 and under.
Cana’s Feast at Ping
You’re an Oregon winery making big Italian reds. Which Portland restaurant do you choose to have a wine dinner at? The one serving Asian
COCOA COMA: Getting a dessert fix on 82nd Avenue.
CAKE ON A HOT TIN ROOF It’s hard to miss the pink-and-yellow Winnebago at the Northeast corner of Cartlandia. It looks like something out of a children’s book. With her rosy cheeks and white hair, Jennie Goodrich, the woman behind the sliding window at Cake on a Hot Tin Roof, does too. “I raised kids and I was a teacher,” she says, “and I don’t remember people saying ‘thank you’ very often. Now that I make desserts, I hear it all the time.” Few meals at the Cartlandia pod are small enough to leave room for dessert. Just three carts down, Goodrich’s son and husband sell foot-long sandwiches at Cheesesteak Nirvana. But Cake on a Hot Tin Roof—there’s a little corrugated metal on display to justify the ridiculous name—is worth a trip to Southeast 82nd Avenue on its own. Goodrich makes a crisp marionberry strudel ($4.50), lathered generously with fresh-made Order this: Bienenstich ($4.50), a two-layer pastry topped with whipped cream, that strikes a candied almond slices and loaded perfect balance of tart and sweet. with cream and custard that spill out when you take a bite. Her creme brulee ($4), torched to order, is fluffier than most, with a crust that tastes vaguely of campfire marshmallows. Cupcakes ($2.50) come topped with enough creamy cherry or lemon icing to last to the bottom of the treat (though preserving that icing can prove structurally difficult). The chocolate mousse ($4.50) is surprisingly airy and looks small upon ordering, but between the three additional chocolate toppings— chips, dark chunks and cocoa powder—and a richness that grows with each bite, it’s hard to imagine anyone leaving unsatisfied. Of all the items we tried, only Cake on a Hot Tin Roof’s raspberry cheesecake ($4.50) could be described as standard. Goodrich says she doesn’t like cheesecake. She says a lot of things, actually, which was half the fun of visiting her magical Winnebago. CASEY JARMAN. EAT: Cake on a Hot Tin Roof, Southeast 82nd Avenue and Harney Street at the Cartlandia food-cart pod. 2-8 pm Monday and Thursday, 11 am-6 pm Wednesday and Friday, 11 am-8 pm Saturday. $.
FOOD & DRINK
Summer Sale
DRANK
Sat. June 3 thru Sunday, June 9 20% off all Skirts,
CHURCHKEY CAN CO. PILSNER The modern beverage can is the product of 100 years and millions of dollars of research, at least some of which involved a particle accelerator. It weighs half an ounce. It is easily recyclable. Most important, it is very, very easy to open. Too easy, apparently. Churchkey Can Co. recently debuted a Pilsner packaged in an oldfashioned, straight-sided can— the sort that littered American roadways before the introduction of the bottle bill, and requires a wedge-shaped opener to punch holes in the top. The company was started by two Portland homebrewers, a Wieden+Kennedy designer and an actor, though the beer is brewed in Seattle. The explanation for their ecologically despicable move—the cans are much heavier than their more technologically advanced counterparts—is that they’re an “homage to an era of hard work, community, and some great stories,” none of which are apparently to be found among today’s worthless, tab-pulling American drinkers. Never mind that tabless cans were last widespread in the early 1970s, the nadir of the American brewing industry, when the beer was lousy and Anheuser-Busch was busy gobbling up smaller competitors. Never mind that possibly no one who was old enough to drink beer in the pre-tab era is nostalgic for the extra effort. None of that matters, because Churchkey is the beverage equivalent of lugging a typewriter to the coffee shop. It doesn’t matter how stupid it is so long as other people see you doing it. But does it taste good? The company’s slogan is “It’s worth the effort.” I respectfully disagree: Beermongers didn’t have any of the openers that ship with six-packs of Churchkey when we picked up our cans, and all the openers in our office were of the post-1965, single-ended variety. After a half-hour search, we resorted to taking the whole top off the can. We were rewarded with a sub-standard Pilsner with a catty nose. The beer is unpleasantly slimy on the palate, overly bitter with a metallic aftertaste. It’s lousy beer in a stupid package—just like dad used to drink. Not recommended. BEN WATERHOUSE.
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ROSES ON ROSES (FORT GEORGE BREWERY) American IPAs are glorious, as are Belgian tripels. Most Belgian IPAs are less than the sum of their parts. Honest Belgians will tell you as much. But the mighty fine brewers at Fort George in Astoria concocted the XVIth Chapel, a double IPA fermented with “a flamboyant strain” of Belgian yeast. To celebrate its fifth anniversary, Fort George flowered it up to create Roses on Roses. Aged with rose hips in Four Roses-brand bourbon barrels, this schizophrenic concoction opens with a murky nose and immediate bitter bite, with a boozy finish lacking any expected floral softness. The piny hops, clovey yeast and rich oak marry as well as a reality-TV couple. It promises, but doesn’t deliver, a rose garden. BRIAN YAEGER.
*Fri & Sat 11pm - wee hours
Lunches Mon - Sat
FOR MORE INFORMATION, PLEASE VISIT:
ninkasibrewing.com/beerislove
On S.W. Stark (between 2nd & 3rd)
503-705-1001
Now ServiNg our o wN Beer At A ll 3 l ocAtioNS! PortlandWings.com New Fremont location features: full-bar, pizza, garlic knots and calzones. 1708 E. Burnside 503.230.WING (9464)
Restaurant & Brewery NE 57th at Fremont 503-894-8973
4225 N. Interstate Ave. 503.280.WING (9464)
Willamette Week MAY 30, 2012 wweek.com
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silversun pickups • passion pit beirut • girl talk • n i k e a-trak presents
red bull common thread
with
dinosaur jr. sebadoh j. mascis and
and
the tallest man on earth • the helio sequence
ing old 97’s ptooe rfarf o rtomcare • Yelawolf • trampled bY turtles hot snakes • menomena • starfucker • red fang
dannY brown • jason isbell & the 400 unit • tYphoon swans • lightning bolt • king khan & the shrines
b ig f r eed ia • h az el • f u c k ed u p • b l a c k mou n ta i n redd kross • puritY ring • the pains of being pure at heart erforming chairlift • future islands • lp • sloan ptwice removed • john maus
moonface • omar souleYman • pokeY lafarge & the south citY three joe pug • big business • the men • i break horses • the growlers
tanlines • the growlers • trust • milo greene • touche amore • ceremonY
dj mr. jonathan toubin • nite jewel • chelsea wolfe • the soft moon • blouse
cheap girls • julia holter • Xiu Xiu • mirrorring • gardens & villa
the builders & the butchers • bobbY bare jr. • pete krebs & the gossamer wings sad babY wolf • radiation citY • these united states • brown bird • joYce manor defeater • daughn gibson • holcombe waller • heY marseilles • craft spells • mean jeans the people’s temple • fort lean • mrs. magician • crYstal antlers • the drowning men and and and • alialujah choir • quest for fire • evian christ • tender forever the curious mYsterY • onuinu • pure bathing culture • mac demarco • dante vs. zombies dj beYondadoubt • sandpeople • hungrY ghost • brainstorm • lake • erik koskinen • white lung • naYtroniX • hosannas • headaches • and manY more...
tickets on sale now at cascade tickets • info available at musicfestnw.com/tickets
22
Willamette Week MAY 30, 2012 wweek.com
MUSIC MONKEY
DIVIDE, CONQUER ILLMACULATE’S LONG-DELAYED DEBUT ALBUM HAS GUTS—NOW CAN IT FIND EARS? BY C AS E Y JA R M A N
cjarman@wweek.com
Greg Poe hasn’t grown any—height-wise—since gracing the cover of WW in 2009. The Portland MC, better known as Illmaculate, is still 5-foot-5 with a crooked Blazers cap. And while he jokes about his progress (“Everything has changed,” the 25-year-old says. “I’ve been living in the West Hills.”), Illmac’s artistic growth as of late has been profound. He has won more high-profile battles than any other MC in the past decade, but he’s no longer known exclusively as a battle rapper. His last year has been one long chain of mixtapes, singles and videos. In April, he finally dropped his debut full-length, Skrill Talk. The disc easily exceeds whatever hype Illmac has built around his battling. Whether Skrill Talk will be widely heard is still in question. Poe is certainly being watched. In a way, there are two Illmaculates. One is a graceful MC who commits his innermost hopes and fears to record. The other, dedicated to eviscerating opponents in verbal battle, is a legend in his own time. The latter Illmac—the one with no filter for the kind of violent, ugly, downright tasteless assaults-in-rhyme that earn Poe pretty good money—garners millions of views on YouTube and works in a growth industry. Not too long ago it was a commonly held belief that battle MCs seldom became good recording artists. But “that stigma is becoming less and less prevalent,” Poe says. That’s because battling has become less dependent on improvisation and more like recorded hip-hop. “It’s so prepared these days, and what I see is a transition where a lot of people who would have been fans are stepping in the ring. I’m not saying it’s some sacred hallowed ground where no one should be allowed unless they’ve walked the lyrical gauntlet, but oversaturation is a problem. It always happens in cycles. Battling is on the come-up right now.” In 2009, Poe thought of battling as a springboard to making his own music. Instead, he’s developed it as a promotional tool with the help of his manager, Terrence Scott (better known in these parts as Cool Nutz). “It’s something I struggle with, but I can’t deny the impact,” he says. “I had three or four battles around that time Green Tape came out, and it did amazing. There was fresh content for people who just had seen the battle.” It’s hard to ignore that the battle scene is crawling from the fringe into the mainstream. A handful of promoters are now fighting over increasingly high-profile match-ups. Last year, hip-hop superstar Drake co-hosted a battle put
that Poe changed his working method. “You can’t battle over Al Green,” he says of the G_Force-produced effort, released for free because all of its songs sample the famed soul singer. “It used to be about making words fit. But with Green Tape, I got comfortable with letting the music tell it and go with it.” If Green Tape was an artistic awakening for Illmaculate, Skrill Talk is a statement of purpose. Built piece-by-piece over the last six years, Illmac says the album represents less a “caterpillar to butterfly transformation” than a map of where’s he’s been. It’s also a map of St. Johns. On the majestic “Lost Our Soul,” he tries to reconcile the goofy Portlandia image of his city with his reality of growing up broke in North Portland. On “Cooler Than Cool,” he introduces another bright St. Johns MC, 21-year-old Vinnie Dewayne, to a larger audience. Dewayne sent Illmaculate
“IT USED TO BE ABOUT MAKING WORDS FIT, BUT I GOT USED TO LETTING THE MUSIC TELL IT.” —ILLMACULATE on by Canadian promoter King of the Dot. On June 10, the same company is promoting what may be the biggest ticket since Eminem’s heyday: Canibus, a commercially successful MC revered among battle fans for his late-’90s beefs with LL Cool J, is returning to the circuit in a $30 Internet pay-per-view match against California MC Dizaster. Illmac is in the undercard bout, and if he wins he’ll collect around $7,500. Poe says he’s heard rumors of bigger names returning to the battle scene later this year, which will only help his own bottom line. Poe was practically born a battle rapper, but it’s the other Illmaculate who shocks fans these days. There have always been vulnerable moments in Illmac’s music, but it was while recording a 2011 album, Green Tape,
a track when he was 17, and “ever since then he heard potential and kind of took me in,” Dewayne says. “He still gets me shows lined up to this day.” When it’s not repping for St. Johns or holding the door open for the next generation, Skrill Talk is a largely personal, even confessional record that often finds Illmac beating himself up over past relationships and career decisions. “Nearsighted” is one long apology to friends he’s neglected (“If you know me then you learn my flaws/ And I promise I’ma work on returning calls”); “The Making Of...” is an emotionally stark analysis of the growth that came out of breaking up with his highschool sweetheart, and Poe leaves ghostly spaces in his verses to genuinely moving effect (“Things you thought
would always be there will be gone in an instant/ It ain’t seem fair, it was an honor to live it/ We shared our thoughts and our visions/ They didn’t fall on deaf ears, I consciously listened”). With such a strong album to support, one might expect Poe to put his energies into touring behind Skrill Talk at full force. That’s not exactly how it has worked out. Illmac has spent the last month touring Europe, but not solo— he’s battling and appearing with his group Sandpeople on what amounts to that collective’s comeback tour. That may seem like another misstep in a young career that has seen Illmac’s albums delayed and focus diluted over the years. But Poe says he’s on the right path. “It was…I won’t say now or never, but now or when,” he says of the Sandpeople tour, which sent half of the 10-member collective on the wrong side of the road in Europe. “If you look at the numbers, this has been the most successful music we’ve all been a part of, by far. So whatever helps the group definitely helps me.” Besides, he’s grown up as a member of Sandpeople. “I’m finally mature enough to get what my band members were talking about that I wasn’t before,” he admits. “I feel like I’m ready to make a Sandpeople album now.” That doesn’t mean Poe is unhappy with his solo work to this point, but he sees a lot of room for expansion. “I’m not dissecting social issues, I’m just dissecting me,” he says of songs from his last two mixtapes and Skrill Talk. “I think, subconsciously, I needed to understand myself before I could even start to examine other things with any depth.” That kind of growth is what drives Poe. “I’ve said it in songs, but if you ain’t growing and learning, you’re just treading water and waiting,” he says. “That goes for life and music. I’d rather be heading in one direction, good or bad, then just sitting there in the middle.” SEE IT: Illmaculate plays Branx, 320 SE 2nd Ave., on Saturday, June 2. 9 pm. $7 advance, $10 day of show. All ages. Willamette Week MAY 30, 2012 wweek.com
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New Recommended Music THE CRIBS IN THE BELLY OF THE BRAZEN BULL
SONNY LANDRETH ELEMENTAL JOURNEY
NORAH JONES LITTLE BROKEN HEARTS
ON SALE $9.99 CD LP ALSO AVAILABLE
ON SALE $12.99 CD
ON SALE $13.99 CD
Originally hailing from Wakefield, West Yorkshire, UK, The Cribs, the all Jarman brother three piece, expand their catalog with the release of their fifth studio album. The band enlisted Dave Fridmann (Flaming Lips, MGMT, Mercury Rev) and Steve Albini (Nirvana, PJ Harvey, Pixies) to produce the relentless yet blissfully sonic endeavor.
‘Little Broken Hearts’ is the next step in the artistic evolution of one of the music world’s most consistently intriguing singer-songwriters. The album was produced by Danger Mouse-aka Brian Burton-and features original songs co-written by Jones and Burton. Norah previously collaborated with Danger Mouse on his acclaimed 2011 album ‘Rome.’
For his first all-instrumental album, slide guitar master Sonny Landreth assembled an extraordinary group of musicians including guitarists Joe Satriani and Eric Johnson, steel drum legend Robert Greenidge and members of the Acadiana Symphony Orchestra directed by Maestro Mariusz Smolij.
Open Every Day 11am to 2:30am www.CasaDiablo.com (503) 222-6600 • 2839 NW St. Helens Rd
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TU FAWNING A MONUMENT
ON SALE $8.99 CD · LP ALSO AVAILABLE While the band keep their trademark sound in Corrina Repp’s formidable voice, most gone are the swampy blues-guitar howls now replaced by a newfound love for vibrant percussive mania. A more excessive use of keyboards has stepped in the way of the morbidly dark vaudevillian vibes of the last record and one will find these songs much more focused and pointed than ever before.
ROYAL SOUTHERN BROTHERHOOD ROYAL SOUTHERN BROTHERHOOD ON SALE $12.99 CD
This Supergroup featuring Cyril Neville, Devon Allman, Mike Zito, Charlie Wooton, and Yonrico Scott drag their thrilling new brand of blues-rock and white-hot musicianship from the Southern States onto the world stage.
BRANDI CARLILE BEAR CREEK
JULIA STONE BY THE HORNS
ON SALE $10.99 CD · LP ALSO AVAILABLE
Julia Stone is best known as 1/2 of the criticallyacclaimed and award-winning Australian brother/ sister duo Angus & Julia Stone. The songs on ‘By The Horns’ have been composed in California, refined in France and sculpted in Australia and India and as the summer turned to fall in New York City, they poured through her hands to the ears and hands of Producer Thomas Bartlett (Doveman, Antony & the Johnsons and The National.)
AVAILABLE 6/5
‘Bear Creek’ features Brandi’s longtime band mates Tim and Phil Hanseroth (“The Twins,” who co-wrote many of the songs with her and play guitar and bass respectively), drummer/ percussionist Allison Miller and cellist Josh Neumann plus Dave Palmer on keyboards and Jeb Bows on violin and mandolin. Drummer Matt Chamberlain guests on several tracks.
ON SALE $9.99 CD
OFFER GOOD THRU: 6/30/12
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Willamette Week MAY 30, 2012 wweek.com
OC Space WW_OCAWARENESS_5.14.12.indd 1
5/15/12 3:06 PM
MUSIC
MAY 30-JUNE 5
= WW Pick. Highly recommended. Prices listed are sometimes for advance ticket sales. At-the-door increases and so-called 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, MAY 30 Joe Pernice, The Softies, Lois, Selector Dub Narcotic
[FOR THE LOVE OF POP] Two decades ago, Gail O’Hara and Pam Berry joined forces to create Chickfactor, a small-press magazine devoted to their musical loves. This often meant featuring interviews with cult folk artist Bridget St. John and ’60s star Colin Blunstone of the Zombies, or maybe featuring Belle and Sebastian (who wrote a tribute song to the zine) or the Aislers Set on the cover. Although Chickfactor published its last issue in 2005, the publication’s fans and supporters have been joining in 20thanniversary celebrations in the U.S. and U.K., including this week’s fete at Bunk Bar featuring a reunion of twee-pop duo the Softies and solo sets by Joe Pernice and Lois Maffeo. ROBERT HAM. Bunk Bar, 1028 SE Water Ave., 894-9708. 8 pm. $16. 21+.
Garden & Villa, Swahili, Grandparents
[MFNW KICKOFF] This year’s MusicfestNW kickoff serves to celebrate the grand reveal of the lineup for WW’s annual festival, which takes over Portland’s venues Sept. 5-9. Appearing tonight is the minimal, synth-driven Swahili, a band whose name is like a password—because by speaking it with people who’ve seen and know of the Portland group, you’re instantly sharing a language. You each know the group’s exciting whirl of sounds that straddle psychedelic and avant-garde art-rock with a rush of electronics. Though few and far between, every show gains Swahili a bigger following. NILINA MASON-CAMPBELL. Holocene, 1001 SE Morrison St., 239-7639. 8:30 pm. $8 advance, $10 day of show. 21+.
Dead in the Dirt, Heartless, Elitist, Cursebreaker
[HERO WORSHIP] We must never forget the essentially self- and history-obsessed nature of punk rock, a provincial subculture whose survival depends on a modicum of slavish imitation. Replacing back patches on an annual or even centennial basis would be a drag, and so certain latter-day punks are assigned the unenviable (yet necessary) task of burnishing the legacies of the dead legends who give meaning to our jackets. Which brings me to the expertly executed and uncannily familiar crust/ grind of Atlanta’s Dead in the Dirt, for whom I hereby suggest a name change: My Hero Is His Hero Is Gone has a certain ring to it, doesn’t it? CHRIS STAMM. Laughing Horse Books, 12 NE 10th Ave., 236-2893. 8 pm. $5. All ages.
Cass McCombs Band, Michael Hurley
[SINGER-SONGWRITER] Cass McCombs seems to be feuding with his own sense of humor. Of his two full-lengths released in 2011, one—the pretty and appropriately titled Wit’s End—seemed dedicated to songs that no one can construe as funny, or even as fun. The other, Humor Risk, was both more upbeat and more in line with McCombs’ smart, abstract and occasionally absurd songwriting style (which has earned him comparisons to everyone from Bill Callahan to Alex Chilton). Playing with listener
expectations is nothing new for McCombs—early song titles like “Aids in Africa” and “When the Bible was Wrote” suggest particularly blue jokes, but those songs deliver something far more layered than punchlines—but it almost seems the man split himself in two in recent years. Here’s hoping McCombs’ two sides, both rather brilliant, have made amends in recent months. CASEY JARMAN. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. $14. 21+.
Mogwai, Chad Vangaalen
[MOSTLY INSTRUMENTAL SOUNDSCAPES] I’m sure there are people who come to the Mogwai show with a dream set list in mind; people who leave disappointed if the band doesn’t play “Stanley Kubrick” or “You Don’t Know Jesus.” Then there are people like me, who come to the Mogwai show with a ballpark expectation for the chug-to-mathy-riff ratio and a hankering to hear some real loud shit— Wonder Ballroom, which can rock surprisingly hard while maintaining sonic integrity, is a perfect venue for Mogwai—but probably couldn’t tell you what album any given track is from. We trust the band to take us on some kind of trip, but don’t feel competent enough to help navigate. Mogwai never really lets us down. Probably best to not worry about the set list. CASEY JARMAN. Wonder Ballroom, 128 NE Russell St., 284-8686. 9 pm. $22 advance, $25 day of show. All ages.
THURSDAY, MAY 31 Wintersleep
[SCENIC ROCK] Nova Scotia’s long winters and cultural intimacy remind one of Iceland, the tiny northern country that spews musical talent like so much volcanic ash. So is Halifax the new Reykjavik? No—at least not yet—but Canadian quintet Wintersleep is making a case for its city with rich, melodic rock reminiscent of Z-era My Morning Jacket. The band’s forthcoming LP, Hello Hum, was produced by bigwig Dave Fridmann (MGMT, Flaming Lips), and it’s a pacy smattering of uptempo indie rock that bears the pulsing heart of a high-school marching band. Wintersleep’s pretty layering earned the band a Juno Award in ’08 and ought to sound tip-top within the super-sensitive wooden walls of the Doug Fir. MARK STOCK. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $10 advance, $12 day of show. 21+.
Funk N’ Roses
[APPETITE FOR DECONSTRUCTION] Even by the standards of tribute-obsessed Portland crowds, the prospect of a funk-based Guns N’ Roses tribute sounds, well, about as irritating as listening to Chinese Democracy. But a peek at the lineup for the Funk N’ Roses group gives hope to the idea of listening to “Mr. Brownstone” by way of James Brown: Members of the nine-piece band (assembled like Avengers to commemorate Appetite for Destruction’s 25th anniversary) include players from the Doo Doo Funk All Stars, Excellent Gentlemen, Philly’s Phunkestra, Juno What?! and the Joey Porter
CONT. on page 26 Willamette Week MAY 30, 2012 wweek.com
25
MUSIC
THURSDAY-FRIDAY
Tributes, with siren Aniana Hough handling Axl’s duties—which, essentially, means she might not show up. AP KRYZA. Goodfoot Lounge, 2845 SE Stark St., 503239-9292. 9 pm. $8. 21+.
Leighton Meester with Check in the Dark, Dana Williams
NEWS
[BLAIR WALDORF IN THE HOUSE] Many a restless actor has decided to try his or her hand at music making, and for the most part, those endeavors should be viewed with justified suspicion. So what then to make of the efforts by Gossip Girl star Leighton Meester to achieve pop stardom? Well, if this tour was being used to trot out the dirty Europop sound that she took on for her first singles, I’d be all for it. But apparently the 26-year-old has decided to embrace her love of Joni Mitchell and Neil Young for a sun-bruised, Laurel Canyon country sound that is one hot mess of clichéd musical and lyrical turns. ROBERT HAM. Hawthorne Theatre, 3862 SE Hawthorne Blvd., 233-7100. 8 pm. $20 advance, $23 day of show. All ages.
PAGE 7
Thursday May 31
My Favorite Things: Sean Pecknold
THIRSTY THURSDAY LADIES NIGHT 9pm • 21+ in the ConCert hall
[ARTIST COLLECTIVE] Tonight’s A Few of My Favorite Things showcase at the Holocene packs a bounty of talent into one (probably crowded) room. Video artist and animator Sean Pecknold, whose work includes music videos for Grizzly Bear and Fleet Foxes, curates a powerhouse lineup of music and art to show off some of his most cherished local creators. Musical guests include experimental-pop group White Hinterland and drummer-solo act Neal Morgan, plus Pecknold’s rather famous younger brother, Fleet Foxes’ Robin Pecknold. It’s the kind of bill you would expect to pay more than a mere $5 to hear. With art and video shorts by a number of visual artists, there will be plenty to feast your eyes on, too. EMILEE BOOHER. Holocene, 1001 SE Morrison St., 239-7639. 8 pm. $5. 21+.
Friday June 1
PIECE OF MIND AND PIGS ON THE WING PRESENT:
THE DARK SIDE OF THE RAINBOW
(Pink Floyd/Wizard oF oz tribute!) 8pm • 21+ in the ConCert hall
DSL COMEDY OPEN MIC
W/ brisket love-Cox 8:30pm • 21+ in the SideShow lounge
Metal!
exCruCiator Headless Pez GLADIUS BLOOD OF KINGS
10pm • 21+ in the SideShow lounge
FRIDAY, JUNE 1 Hugh Laurie and the Copper Bottom Band
[HOUSE OF BLUES] Leaving aside the questionable taste of a Cambridge-educated multimillionaire emoting tales of sharecropper woe (Jagger and friends left some precedence for monied Brits mining the Mississippi Delta for inspiration), television doctors-turned-musicians gifted high-profile bookings and impeccable sidemen solely due to their celebrity aren’t typically taken that seriously. You won’t soon see McDreamy play the Schnitz. But critical reviews of Hugh Laurie’s debut album, Let Them Talk, inevitably conclude only that his heart is in the right place, which seems a poor diagnosis. Laurie’s (admitted) facility tickling the ivories or (effective, accent be damned) theatrical flourishes matter less than his twinkly aficionado’s glow when speaking about the songs, their creators, and the specific arrangements his virtuoso troupe chose to appropriate. If the appeal seems too dependent upon vicariously indulging the pleasures of a charismatic stranger, that opens darker questions about the true reason we attend concerts, about which everybody lies. JAY HORTON. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 248-4335. 7:30 pm. $25-$90. All ages.
Ray Wylie Hubbard, Sean Spellman
[SINGER-SONGWRITER] In the Three-Named Texan SingerSongwriters subgenre of Americana (a category that includes such luminaries as Billy Joe Shaver, Jimmie Dale Gilmore and Robert Earl Keen, among many others), Ray Wylie Hubbard is currently the one kicking the most ass. Hubbard made his name in 1973 when his tune “Up Against the Wall, Redneck Mother” scored a hit for (another of the cohort) Jerry Jeff Walker, but entered a career renaissance in the mid’90s, penning some of the—
CONT. on page 30
CoMedy nigHt W/ PryCe 8pm • 21+ in the ConCert hall
Heavy brotHers
8pm • 21+ in the SideShow lounge Monday June 4
soul/Funk/HiP HoP songstress
GEORGIA ANN MULDROW 8:30pm • 21+ in the ConCert hall Tuesday June 5
ROCKIN’ BLUES INDIGENOUS PLATEROS
8:30pm • 21+ in the ConCert hall Wednesday June 6
andreW’s ave LIQUID LIGHT ANIMAL R&R
8:30pm • 21+ in the ConCert hall Thursday June 7
Jgb tribute!
CATS UNDER THE STARS
8:30pm • 21+ in the ConCert hall Now On Sale
JGB & Melvin Seals, Straight Line stitch, kevin brown (30 rock), rebecca Corry (last Comic standing), Hamsa lila (2 nights), steampunk ball tickets and info
www.thetabor.com
503-360-1450 • facebook.com/mttabortheater 26
Willamette Week MAY 30, 2012 wweek.com
CORMORANTMUSIC.COM
Saturday June 2
PRIMER
BY N AT HA N CA RSON
CORMORANT Formed: 2007 in Petaluma, Calif. Sounds like: Norway by Northwest. For fans of: Enslaved, Opeth, Agalloch, urban garden projects. Why you care: The dark metal quartet Cormorant is a case study in how to patiently build a lasting career in the 21st century. Rather than slavishly touring, the group has put its efforts into team-building and creating thoughtful album works. With independent spirit, the band hired super producer Billy Anderson (Sleep, Neurosis, the Melvins) to record its 2009 debut, Metazoa, and Justin Weis (Ludicra, Hammers of Misfortune) captured latest work Dwellings. While the Portland performance at the Know is Cormorant’s first gig in Oregon, Dwellings has already been lauded nationally. Among other honors, NPR called Dwellings the best metal album of 2011. The album’s seven songs are imbued with deep sentiment and philosophical purpose. Fans of latter-era Enslaved will recognize the fusion of melody, brutality and progressive arrangements. And for those who are skeptical of vocal styles in the death-metal pantheon, singer/ bassist Arthur von Nagel draws a comparison to the harsh and guttural tongue of another Petaluma musical artist: “I think if people can get into Tom Waits, they can enjoy this.” Young bands can learn a lot from watching Cormorant’s trajectory. The hard work the band put into its albums and concepts has compensated for the lack of touring. The group now has a growing fan base around the world, proving that immediate gratification is not the only path to success. SEE IT: Cormorant plays the Know, 2026 NE Alberta St., on Tuesday, June 5, with Young Hunter and Hungers. 8 pm. $5. 21+.
MUSIC TODD KROLCZYK
PROFILE
EMILY WELLS SATURDAY, JUNE 2 [POST-CLASSICAL] For three years, Emily Wells has carried the Notorious B.I.G. on her back. In 2009, the Texas-born singerproducer went into the studio and, in her distinctive warble, recited the lyrics to the rap martyr’s coming-up classic, “Juicy.” She dressed the song with winsome strings and a minimal bass-and-snare beat and threw it on her self-released Dirty EP. It was all a lark, basically. Soon, however, the cover spread across the Internet and took on a life of its own. Now, Wells considers the song a blessing and a burden: It helped win her a lot of new fans, but it also got her labeled as a musician of privilege co-opting a culture not her own. “I absolutely took some shit for covering that, which I wasn’t expecting at all,” says Wells, 30. “People were like, ‘What is this little hipster chick doing covering this song?’ If you don’t like it, that’s fine, but it’s a great song, and great songs deserve to be covered.” Wells insists she wasn’t being ironic. She grew up listening to the likes of Biggie and the Wu-Tang Clan, albeit in between violin practices. Long before recording “Juicy,” Wells was incorporating production techniques and rhythmic cadences learned from hip-hop into her unique brand of electro-orchestral folk. Like her friends and touring partners the Portland Cello Project, she recontextualizes classical music into the broad framework of modern pop. But in the last few years—particularly since the B.I.G. cover—Wells has begun to sense herself becoming more and more marginalized as a songwriter. “As an artist, you hope you don’t just do one thing and that’s it, you’re stuck with it for the next 40 years,” she says. “But I think people have clung to that, because it’s quick and easy to say, ‘It’s hip-hop with violin.’” Perhaps that’s why her newest record, Mama, plays as a bit of a departure. Aside from the snappy, sexy “Mama’s Gonna Give You Love,” Wells downplays both the hip-hop and classical elements, leaning more on atmosphere than structure. “I wanted it to feel unforced,” she says, “like it was just capturing a moment in time rather than trying to push anything into a box.” In the technical sense, Wells took a different approach as well: Although her music has always had an analog feel, this time she actually recorded directly to tape. It was a relief to free herself from layering multiple string arrangements. “For the first time,” she says, “it felt easy.” And in case you’re wondering: The little girl on the cover wearing the blue dress and massive set of headphones? That’s her. “My mom showed me that picture years ago,” Wells says. “She said, ‘I’m not giving you this picture. I don’t want you just putting this online. This is special.’ When I said, ‘Look, I want this to be the album cover. Can I have it now?’ She said, ‘OK, I’ll give it to you.’ I said, ‘Is that special enough?’” MATTHEW SINGER.
Wells moves beyond her classical/ hip-hop mash-up reputation into new territory.
SEE IT: Emily Wells plays the Doug Fir Lounge, 830 E Burnside St., on Saturday, June 2, with 1939 Ensemble. 9 pm. $12 advance, $14 day of show. 21+. Willamette Week MAY 30, 2012 wweek.com
27
MUSIC ALBUM REVIEWS
MICHAEL THE BLIND ARE’S & ELS (ALDER STREET RECORDS) [GONE ELECTRIC] Few musicians have carved as distinctive a niche in Portland’s singer-songwriter-scape as Michael Levasseur, aka Michael the Blind. In addition to making pat reference to his extreme nearsightedness, Levasseur’s stage name serves as a subtle joke—he actually sees an awful lot, and those observations form the grist of some of modern folk-pop’s most sophisticated lyrics. After releasing three albums that focused almost exclusively on acoustic guitar and vocals, Levasseur has included a full band on Are’s & Els, an expansion that unfortunately undermines one of his principle strengths. The high emotional pitch of Levasseur’s compositions have benefited on past outings from their contradictory straining against his spare arrangements, and the inclusion of electric guitars and drum kits on Are’s & Els saps some of the urgency from his vocals. Still, those vocals remain a singularity, even in a city where singer-songwriters compose a social class unto themselves. The effusive, desperately emotive mood of Michael the Blind’s delivery finds its closest facsimile in the forward-leaning agitprop of the Thermals’ Hutch Harris. However, Levasseur’s calmer pacing allows for elegiac modes to temper this propulsive energy. On “Sympathies” (a track that makes worthy use of Are’s & Els’ full-band arrangement), Levasseur insists that he “can’t sleep among the sympathies of war,” a sentiment both instantly agreeable and surprisingly susceptible to unpacking. “Another Circle of Fifths” employs its eponymous chord cycle as a metaphor for Levasseur’s addictive relationship with creation itself. Even if songwriting is just “another bloom inside this beautiful machine,” Are’s and Els serves as a compelling argument for Levasseur’s continued indulgence in the process. SHANE DANAHER.
DEER OR THE DOE TONIGHT WE LOVE YOU (SELF-RELEASED)
[SINEWY ROCK] Deer or the Doe should probably receive some sort of cultural grant for keeping ’90s underground rock alive and well in Portland well over a decade past its heyday. Then again, it may be too late for that. On the local quintet’s new album, Tonight We Love You, the group’s ’90s fetish ducks and weaves, only occasionally landing a hard right hook: The two-minute “Descriptions” is a punky twist on Yo La Tengo’s “Sugarcube,” and every bit as sonically complex; the brilliant “Sorrow to Shallow” reminds of Rainer Maria or early Hazel. What emerges more often here is a newly layered approach that de-emphasizes the angular guitar of DOTD’s past efforts in favor of a thicker and juicier sound. Even vocally, the band has grown more playful: Keyboardist/vocalist Cassie Neth can be almost Nico-esque in delivering the band’s semi-abstract lyrics, while guitarist/vocalist Aaron Miller is a more forceful student of post-punk. So integral are the vocalists to DOTD’s driving sound that I find myself skipping two perfectly lovely instrumental tracks, “Invitation” and “Interlude.” Those songs seem determined to prove that DOTD is capable of more than just balls-out, Fugaziesque post-punk, but it’s a point the band made early on shoegazey opening track “Cartoon Eyes.” In a city in desperate need of smart rock music with real bite, this band never really needed to prove anything, but the album’s strong final suite still makes a nice argument for DOTD’s relevance (though the anthemic “Coeur D’Alene,” the most lyrically revealing track in the collection, probably should have been the set-ender). Granted, I’m a relic of the ’90s, but Deer or the Doe has added some nice little tricks to its repertoire these past few years, arriving at a place that’s at once sentimental and vital—and, thankfully, more than a little rock ’n’ roll. CASEY JARMAN. SEE IT: Michael the Blind plays the White Eagle Saloon, 836 N Russell St., on Tuesday, June 5, with Rachel Taylor Brown. 8:30 pm. Free. 21+. Deer or the Doe plays Mississippi Studios, 3939 N Mississippi Ave., on Thursday, May 31, with Radiation City and Point Juncture, WA. 9 pm. $6 advance, $8 day of show. 21+. 28
Willamette Week MAY 30, 2012 wweek.com
PERFORMANCE PAGE 39
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JunE 4Th
peter’s room@ roseland 8pm • all ages
SLIPSTREAM AVAILABLE NOW BONNIERAITT.COM
sept 5th • cuthBert amphitheater • 7pm • all ages
50TH ANNIVERSARY REUNION TOUR
TOURING TOGETHER FOR THE FIRST TIME IN MORE THAN TWO DECADES
presents
nico vega • Devil Whale
Ju nE 5Th • RoSEland • 8PM • all agES
On sALe nOW!
BRIAN WILSON, MIKE LOVE AL JARDINE, BRUCE JOHNSTON, DAVID MARKS THEBEACHBOYS.COM
ONLY OREGON SHOW! OUTDOORS IN EUGENE!
SaT July 14Th • 7PM • all agES cuThBERT aMPhiThEaTER
SEPTEMBER 12Th • 8PM • all agES aRlEnE SchniTzER concERT hall
FOR SPECIAL BENEFIT SEATING, PLEASE VISIT WWW.GUACFUND.ORG WWW.CROSBYSTILLSNASH.COM PURCHASE TICKETS AT THE BOX OFFICE OR AT TICKETMASTER.COM
lylE loVETT
DEAD SARA STARS IN STEREO
JunE 11Th • RoSEland • 8PM •all agES & Disco Present:
and hiS acouSTic gRouP
Mat Zo • the M Machine
JUNE 12TH •ROSELAND • 8pM • ALL AGES
IN ASSOCIATION WITH
FRi July 13Th • 8PM • all agES aRlEnE SchniTzER concERT hall
FRi ocToBER 6Th • 7:30PM • all agES aRlEnE SchniTzER concERT hall CHARGE BY PHONE BY CALLING (503) 224-4400 OR AT TICKETMASTER.COM
kathygriffin.net • facebook.com/kathygriffin • @kathygriffin
crocodiles
presents
JunE 17Th • RoSEland • 8PM • all agES
ADVANCE TICKETS THROUGH ALL TICKETSWEST LOCATIONS, SAFEWAY, MUSIC MILLENNIUM. TO CHARGE BY pHONE pLEASE CALL 503.224.8499 Willamette Week May 30, 2012 wweek.com
29
MAKE IT A NIGHT Present that night’s show ticket and get $3 off any menu item Sun - Thur in the dining room
DOUG FIR RESTAURANT + BAR OPEN 7AM - 2:30AM EVERYDAY SERVING BREAKFAST, LUNCH, DINNER, LATE-NIGHT. FOOD SPECIALS 3-6 PM EVERYDAY COVERED SMOKING PATIO, FIREPLACE ROOM, LOTS OF LOG. LIVE SHOWS IN THE LOUNGE...
JACK DANIELS PRESENTS THE BLACK & BLUE SERIES
MOON •
THURSDAY!
$5 ADVANCE
A EARLY-SUMMERS EVE OF PDX/SEA AMERICANA
FRIDAY!
REDWOOD
SON
THURSDAY MAY 31
$10 ADVANCE
ALBUM RELEASE CELEBRATION WITH COSMOPOLITAN FOLKTRONICA PIONEER
SATURDAY!
GAVIN WAHL-STEPHENS CODY BEEBE & THE CROOKS +WHEELER BROTHERS
EMILY
WELLS
Doors at 8pm, Show at 8:30pm - EARLY SHOW! $8 ADVANCE
FRIDAY JUNE1
•
•
GLASSBONES +AUTONOMICS
•
$12 ADVANCE
A CO-HEADLINE EVENING OF POSITIVE REGGAE AND ISLAND FOLK
$5 AT THE DOOR
AN EVENING WITH AUSTIN’S #1 PURVEYOR OF FRUNK
MISHKA TUESDAY JUNE 5
+ANUHEA
•
$15 ADVANCE
PORTLAND PIANO INTERNATIONAL PRESENTS THE PDX PIANO SERIES
+LAURA WARSHAUER
WEDNESDAY JUNE 6 •
$18 ADVANCE
HAUSCHKA
GUITAR POP FROM DETROIT-BORN SINGER/SONGWRITER
BRENDAN BENSON
Doors at 7pm, Show at 8pm - EARLY SHOW!
THURSDAY JUNE 7
•
$15 ADVANCE
AN EVENING WITH PDX’S FAVORITE ROCK N’ ROLL TRIO
QUICK and EASY BOYS
The
YOUNG HINES +THE HOWLING BROTHERS
FRIDAY JUNE 8
•
MEDIUM TROY +THE RESOLECTRICS
$15 ADVANCE
SATURDAY JUNE 9
•
$11 ADVANCE
A SPECIAL MATINEE WITH HAWAII’S GUITAR HERO
MAKANA Doors at 5pm, Show at 6pm - EARLY SHOW!
SATURDAY JUNE 9
•
$13 ADVANCE
NEON HYMNS - 6/13 FUTURE HISTORIANS (Album Release) - 6/20 MADI DIAZ/ HARPER BLYNN - 6/26 MONARQUES (Album Release) - 7/12 KING TUFF/ JAILL - 7/23 THE COATHANGERS - 7/24 All of these shows on sale at Ticketfly.com
JAPANDROIDS 6/12 • NEON HYMNS 6/13 • BROWNISH BLACK 6/14 GUY DILLY & THE TWIN POWERS 6/15 • DANDY WARHOLS 6/16 THE PARLOTONES 6/17 • GRAFFITI 6 6/19 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
30
Willamette Week MAY 30, 2012 wweek.com
DANIELBEJAR.COM
SCHNEIDER
[SHOEGAZE] Tantalizingly erotic title aside, Anne’s new Power Exchange 7-inch is more swoony teen romance than sweaty BDSM raunch, which shouldn’t surprise anyone familiar with this Portland quartet’s knack for misdirection. Last year’s stellar Dream Punx collection betrayed nary a trace of the promised punk grime, offering instead a master class in shoegaze nostalgia and sweater weather melancholy. The new record picks up where the LP left off, with nocturnal synths humming under diaphanous guitars as sad-sack vocals lament a “suicide pact that you couldn’t go through with.” That all sounds fairly soothing, but don’t expect to be lulled tonight: Anne’s live show is a loud and overwhelming affair. CHRIS STAMM. Holocene, 1001 SE Morrison St., 239-7639. 8:30 pm. Free. 21+.
[CRUISE CONTROL] Western swing occupies a rarefied corner of the music-snob landscape. It’s hardly new country, but you get the impression the leading lights would’ve happily mimed mandolin for today’s chart-toppers so long as the checks cleared. Above all else, there’s a sense of professionalism to Ray Benson and Asleep at the Wheel—spiritual heirs of the Texas Playboys’ twang-laden bigband bounce—and an untroubled contentment that can unnerve blue staters more accustomed to a redheaded stranger or a man in black. Of course, the white-hatted Benson has led his troupe through Johnny Cash tunes for near half a century, from their brief flirta-
+1939 ENSEMBLE
SATURDAY JUNE 2
BOB
SATURDAY, JUNE 2
Asleep at the Wheel
WATER & BODIES •
tion with relevance (name-checked by Van Morrison, bills with Alice Cooper and Hot Tuna, brought to San Francisco by Commander Cody) through current gigs with Texas symphonies, and they finally recorded an album with Willie Nelson in 2009. JAY HORTON. Aladdin Theater, 3017 SE Milwaukie Ave., 234-9694. 8 pm. $25. Minors must be accompanied by a parent. All ages.
SUNDAY, JUNE 3
IN MUSIC WE TRUST PRESENTS
SUNDAY JUNE 3
sorry—wiliest songs of the era, including the mordant masterwork “Conversation With the Devil.” Hubbard’s still wrestling Satan on his latest, The Grifter’s Hymnal, in songs like “Lazarus” and “New Year’s Eve at the Gates of Hell,” and he duets with another deity— Ringo Starr—on his cover of Starr’s obscure 1970 B-side “Coochy Coochy.” JEFF ROSENBERG. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. $25. 21+.
[HEY, BO DIDDLEY] It may end up being the music story of the year. A middle-school art teacher is canned thanks to budget cuts, only to bounce back onstage with some of the strongest retro rock ’n’ roll since inspirations Bo Diddley and Chuck Berry ran the show. Breakout record Signs & Signifiers was recorded using wholly analog gear, with vintage equipment that more than matches McPherson’s late 1950s, Twist-inducing sound. The Oklahoma native and former punk rocker is responsible for breathtaking R&B-tinged prerawk largely unheard since Little Richard, earning the respectful nods of Tom Waits, Nick Lowe, John Prine and this enamored writer. MARK STOCK. Bunk Bar, 1028 SE Water Ave., 894-9708. 10 pm. $12. 21+.
Check out the Artist Work Space Rental on page 50
+RYAN FRANCESCONI AND MIRABAI PEART
WEDNESDAY MAY 30
FRIDAY-TUESDAY
JD McPherson, Sarah Gwen
AWARD-WINNING INDIE ROCK FROM NOVA SCOTIA
POOR WINTERSLEEP
WEDNESDAY!
WHEN THE GOING GETS TOUGH,THE TOUGH GET CLASSIFIEDS
MUSIC
Anne, Your Rival, Industrial Park
TUESDAY, JUNE 5 Jujuba
[WORLD FUNK] When Jujuba frontman Nojeem Lasisi speaks, everybody listens. Not only because the Nigerian-born Afrobeat conductor and King Sunny Adé alum is contagiously charismatic when he opens his mouth, but because when he bangs his talking drum—an instrument once used to communicate messages between villages—he speaks the universal language of getting down. It doesn’t hurt that his band, Jujuba, is masterful in its mix of world and funk grooves, with as many as 12 people taking the stage at a time to deliver heavy blasts of horns, thick bass, organ and gut-kick percussion. The result is consistently the best dance party in town. AP KRYZA. Goodfoot Lounge, 2845 SE Stark St., 503239-9292. 9 pm. Free. 21+.
MIC CHECK
BY ROBERT HAM
DESTROYER’S DAN BEJAR Dan Bejar’s longtime musical project, Destroyer, has gone through many permutations, from edgy, drip-dry pop to motorik showtunes written on MIDI synths. For 2011’s Kaputt, Bejar and company delved into the glossy production sheen of artists like Roxy Music and Everything But the Girl, garnering the best reviews of his career. But in keeping with his chameleonic nature as an artist, all bets are off as to what we will hear Monday at the Aladdin Theater. Bejar: “We’ve taken older songs and completely ignored the recorded versions of them. We haven’t really made them sound like Kaputt. There are elements of it, for sure. But, you know, it’s popular to talk about ’80s soft rock and saxophone and shit with that record. What gets ignored is the strain that has always run through Destroyer, especially since the late ’90s. It’s relaxed, wine-drunk, late-night ’70s music—whether it’s a Stones-y version of that or a Bowie-ish version of that. I just really make these things for myself and maybe at some point down the line, people will trust me that there are elements connecting each one.” SEE IT: Destroyer plays the Aladdin Theater, 3017 SE Milwaukie Ave., on Monday, June 4, with Sandro Perri. 8 pm. $18 advance, $20 day of show. All ages (minors must be accompanied by a parent).
Willamette Week May 30, 2012 wweek.com
31
Pioneer Stage at Pioneer CourthouSe Square SePt. 7
beirut
with menomena & gardenS & villa
SePt. 8
girl talk with StarFuCker
SePt. 9
SilverSun PiCkuPS 32
Willamette Week MAY 30, 2012 wweek.com
CryStal ballroom
SePt. 7
SePt. 5 & 6
the helio SequenCe with ChairliFt, radiation City & hoSannaS
SePt. 8
PaSSion Pit with lP
the talleSt man on earth
aladdin theater SePt. 8
SePt. 6 & 7
roSeland theater SePt. 5
hot SnakeS
with red Fang & hungry ghoSt
tramPled by turtleS with theSe united StateS & erik koSkinen
tyPhoon
SePt. 6
with holCombe waller & and and and
old 97s
P e r F o r m i n g too Far to Care with jaSon iSbell & the 400 unit & bobby bare jr.
For tiCketing and wriStband inFo go to
muSiCFeStnw.Com/tiCketS
SePt. 7
limited number oF advanCe tiCketS For theSe ShowS are available through CaSCade tiCketS.
$75*
yelawolF wriStband PluS a guaranteed tiCket to one Show at Pioneer CourthouSe Square: beirut, girl talk or SilverSun PiCkuPS
$125* *Service Fees apply
wriStband PluS guaranteed tiCketS to all three ShowS at Pioneer CourthouSe Square: beirut, girl talk and SilverSun PiCkuPS
with danny brown & Sand PeoPle
on Sale Friday june 1st
SePt. 8
red bull Common thread featuring
dinoSaur jr. with Sebadoh & j. maSCiS
Willamette Week May 30, 2012 wweek.com
33
Summer Guide June 20th
Space Reservation & Art Deadline - 6/13 at 4pm Email: advertising@wweek.com • Phone: 503.243.2122
34
Willamette Week MAY 30, 2012 wweek.com
MUSIC CALENDAR
[MAY 30-JUNE 5] Ladd’s Inn
= 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.
1204 SE Clay St. Lynn Conover
Landmark Saloon
4847 SE Division St. Jake Ray and the Cowdogs (9:30 pm); Bob Shoemaker (6 pm)
Laughing Horse Books
TODD WOLFSON
12 NE 10th Ave. Dead in the Dirt, Heartless, Elitist, Cursebreaker
LaurelThirst
2958 NE Glisan St. Chris Chandler & Paul Benoit (9 pm); BBQ Orchestra (6 pm)
Lents Commons
9201 SE Foster Road Open Mic
McMenamins Edgefield Winery 2126 SW Halsey St., Troutdale The Radical Revolution
Mississippi Pizza
3552 N Mississippi Ave. Mr. Hoo (kids’ show)
Mississippi Studios
3939 N Mississippi Ave. Cass McCombs Band, Michael Hurley
Muddy Rudder Public House 8105 SE 7th Ave. Puddletown Ramblers
Music Millennium
3158 E Burnside St. Champagne Sunday
Palace of Industry
5426 N Gay Ave. Flat Rock String Band
Quimby’s At 19th 1502 NW 19th Ave. Soulmates
Red and Black Cafe
400 SE 12th Ave. Music for the Working Class with the Portland IWW
Someday Lounge
125 NW 5th Ave. Treyzilla, Pipedream, Free Beat Nation
Star Theater
1001 SW Broadway Sean Fred
The Know
Al’s Den at the Crystal Hotel 303 SW 12th Ave. Sloan Martin (of Celilo), Ed Thanhouser
Alberta Street Public House 1036 NE Alberta St. Open Mic
Andina
1314 NW Glisan St. Toshi Onizuka
Ash Street Saloon
225 SW Ash St. The Dirty Words, Jake Powell
Beaterville Cafe
2201 N Killingsworth St. Karyn Patridge
Buffalo Gap Saloon
6835 SW Macadam Ave. Brian Harrison and the Last Draw
Bunk Bar
1028 SE Water Ave. Joe Pernice, The Softies, Lois, Selector Dub Narcotic (Chickfactor Magazine show)
Camellia Lounge
510 NW 11th Ave. Open Jazz Jam with Errick Lewis & the Regiment House Band
Dante’s
350 W Burnside St. Little Barrie
Doug Fir Lounge
830 E Burnside St. Poor Moon, Houndstooth, Ryan Francesconi
Duff’s Garage
1635 SE 7th Ave.
Suburban Slim’s Blues Jam (9 pm); High Flyer Trio (6 pm)
Gardens & Villa, Swahili, Grandparents (MusicfestNW kickoff)
East Burn
Island Mana Wines
1800 E Burnside St. Irish Music Jam
East India Co.
821 SW 11th Ave. Josh Feinberg
Goodfoot Lounge 2845 SE Stark St. Moksha
Hawthorne Theatre Lounge
1503 SE Cesar E. Chavez Ave. Happy Hour! - Sucker For Lights
Hawthorne Theatre Lounge
1503 SE Cesar E. Chavez Ave. Rockstar Karaoke
Holocene
1001 SE Morrison St.
526 SW Yamhill St. Happy Hour
Ivories Jazz Lounge and Restaurant
1435 NW Flanders St. The Chuck Israels Orchestra (8 pm); Tom D’Antoni (4:30 pm)
Jimmy Mak’s
221 NW 10th Ave. The Mel Brown Quartet (9:30 pm); The Ambassadors (7 pm)
Kells
112 SW 2nd Ave. Dave Ross
Kelly’s Olympian
426 SW Washington St. Mangled Bohemians, Jollapin Jasper, The Sea and the Mother
Alberta Rose Theatre
3000 NE Alberta St. Pierre Bensusan, Caroline Aiken
Alberta Street Public House 1036 NE Alberta St. Chervona, Barons of Tang, Oreon Now
Andina
1314 NW Glisan St. Matices
Andrea’s Cha Cha Club 832 SE Grand Ave. Pilon D’Azucar Salsa Band
Artichoke Community Music 3130A SE Hawthorne Blvd. Songwriter Roundup
2026 NE Alberta St. Unnatural Helpers, Divers, Sick Secrets, Tensions, DJ Ken Dirtnap
The Old Church
1422 SW 11th Ave. The Goldsmith-Ringering Duo
Tony Starlight’s
3728 NE Sandy Blvd. Jerry Stuart, Marky Mason
Touché Restaurant and Billiards 1425 NW Glisan St. Nancy King
Valentine’s
232 SW Ankeny St.. Where Division Ends, 1491, The Restitution
Vino Vixens Wine Shop & Bar 2929 SE Powell Blvd. Open Mic Night
White Eagle Saloon 836 N Russell St. Bitterroot
Sinsavvy Presents Savoir Faire Burlesque
Hawthorne Theatre
3862 SE Hawthorne Blvd. Leighton Meester with Check in the Dark, Dana Williams
Holocene
1001 SE Morrison St. White Hinterland, Neal Morgan, Robin Pecknold, Alina and Katie Hardin, Tonality Star
Island Mana Wines 526 SW Yamhill St. Happy Hour
Island Mana Wines
526 SW Yamhill St. Hawaii Five-O Night with Extended Happy Hour
Ivories Jazz Lounge and Restaurant
1435 NW Flanders St. Gordon Lee Trio (8 pm); Gordy Michael (5 pm)
Jimmy Mak’s
221 NW 10th Ave. The Mel Brown B3 Organ Group
Kells
112 SW 2nd Ave. Dave Ross
Ash Street Saloon
Kelly’s Olympian
Backspace
Kenton Club
225 SW Ash St. The Gates, Purple Heart, Sorta Ultra, The Lockouts
426 SW Washington St. Hawkeye, Souvenir Driver, The Whole Wide World
115 NW 5th Ave. Beyond Veronica, Dart Gun & the Vignettes, Shadowgun
2025 N Kilpatrick St. Leland Sundries, Sold Only as a Curio
Beaterville Cafe
2958 NE Glisan St. Buster Blue, World’s Finest (9:30 pm); Lewi Longmire Band (6 pm)
2201 N Killingsworth St. Gayle Skidmore, Kat Jones, Elise LeBlanc
Biddy McGraw’s
6000 NE Glisan St. Biddy’s Acoustic Jam
Brasserie Montmartre 626 SW Park Ave. John “JB” Butler and Al Criado
Camellia Lounge
510 NW 11th Ave. Champagne Sunday
Chapel Pub
1669 SE Bybee Blvd. Jason Okamoto
The Heathman Restaurant and Bar
6835 SW Macadam Ave. J-Fell Acoustic Wednesdays
303 SW 12th Ave. Sloan Martin (of Celilo), What Hearts
Sundown Pub
2016 NE Sandy Blvd. The Fenix Project Blues Jam
Buffalo Gap Saloon
Al’s Den at the Crystal Hotel
430 N Killingsworth St. Steve Kerin
The Blue Diamond
WED. MAY 30
THURS. MAY 31
13 NW 6th Ave. Aeon Now, Barons of Tang, Murderbait 5903 N Lombard St. Songwrecker Cabaret Sunrise Review, Skyhouse, Migi Artugue
THREE NAMES: Ray Wylie Hubbard plays Mississippi Studios on Friday, June 1.
Wonder Ballroom
128 NE Russell St. Mogwai, Chad Vangaalen
Corkscrew Wine Bar
Dante’s
350 W Burnside St. The Hookers, The Lovesores, El Camaro, Thornes
Dig a Pony
736 SE Grand Ave. DJ Safi
Doug Fir Lounge 830 E Burnside St. Wintersleep
Duff’s Garage
1635 SE 7th Ave. Don and the Quixotes, Insanitizers (9 pm); Tough Lovepyle (6 pm)
East End
203 SE Grand Ave. Missing Monuments, Chemicals, Modern Lives
Ella Street Social Club 714 SW 20th Place Gospel Music
Fez Ballroom
316 SW 11th Ave. SHADOWPLAY - DJ Ghoulunatic, DJ PARADOX, DJ Horrid
Ford Food and Drink 2505 SE 11th Ave. Kory Quinn
Goodfoot Lounge
2845 SE Stark St. Funk N’ Roses
Hawthorne Theatre Lounge
1503 SE Cesar E. Chavez Ave.
LaurelThirst
McMenamins Edgefield Winery 2126 SW Halsey St., Troutdale Joe McMurrian
Mississippi Pizza
3552 N Mississippi Ave. Hungry, Hungry Hip Hop (9 pm); Cary Samsel (6 pm)
Mississippi Studios
3939 N Mississippi Ave. Deer or the Doe, Radiation City, Point Juncture, Wa.
Muddy Rudder Public House 8105 SE 7th Ave. Kory Quinn
O’Connor’s Vault
7850 SW Capitol Highway The Kathy James Sextet
Original Halibut’s II 2527 NE Alberta St. Terry Robb
Plan B
1305 SE 8th Ave. Across Tundras, Diesto, Megaton Leviathan, White Orange
Quimby’s At 19th
1502 NW 19th Ave. Chris Baum Project
Roseland Theater 8 NW 6th Ave. Andre Nickatina, Fashawn, Mumbls
Rotture
315 SE 3rd Ave. The Marrow, Support Force
Secret Society Lounge 116 NE Russell St. Myshkin’s Ruby Warblers
The Blue Diamond
2016 NE Sandy Blvd. Tom Grant Jazz Jam
The Blue Monk
3341 SE Belmont St. Alan Jones Jam
The Heathman Restaurant and Bar 1001 SW Broadway Johnny Martin
Tiger Bar
317 NW Broadway Karaoke from Hell
Tonic Lounge
3100 NE Sandy Blvd. VAJ, Modern Kicks, Moon Debris
Tony Starlight’s
3728 NE Sandy Blvd. The Tara Williamson Show
Tube
18 NW 3rd Ave. Nu Sensae, Rabbits, Gaytheist
Twilight Café and Bar 1420 SE Powell Blvd. THE TWILIGHT UN-PLUGGED
Valentine’s
232 SW Ankeny St.. Tender Love and Care DJ’s with Live Country Music
Vino Vixens Wine Shop & Bar 2929 SE Powell Blvd. Left & 3/4
White Eagle Saloon
836 N Russell St. Garcia Birthday Band (9 pm); Will West and Tanner Cundy (5:30 pm)
Wonder Ballroom 128 NE Russell St. Danger
FRI. JUNE 1 Al’s Den at the Crystal Hotel 303 SW 12th Ave. Sloan Martin (of Celilo), Kelly Anne Masigat
Alberta Street Public House
1036 NE Alberta St. Brooke Parrott (9:30 pm); Mikey’s Irish Jam (6:30 pm)
Arlene Schnitzer Concert Hall
1037 SW Broadway Hugh Laurie and the Copper Bottom Band
Backspace
115 NW 5th Ave. Fierce Creatures
Beaterville Cafe
2201 N Killingsworth St. Kris Deelane
Biddy McGraw’s
6000 NE Glisan St. Slow Children (9:30 pm); Lynn Conover (6 pm)
Branx
320 SE 2nd Ave. Hammered Grunts, Opposition Rising, Rum Rebellion, Absinthe Rose, Dirty Kid Discount
Brasserie Montmartre 626 SW Park Ave. Dan Balmer, Tablao
Clyde’s Prime Rib
5474 NE Sandy Blvd. Muthaship
Dante’s
Someday Lounge
350 W Burnside St. Rockabilly Riot: Three Bad Jacks, Dragstrip Riot, Infamous Swanks, Back Alley Barbers, All-Star Burly-Q Revue
Spare Room
830 E Burnside St. Redwood Son, Gavin Wahl-Stephens, Cody Beebe & the Crooks
Sellwood Public House 8132 SE 13th Ave. Open Mic
125 NW 5th Ave. Chris Juhlin, Midnight Salvage, The Dapper Cadavers, Luke Redfield 4830 NE 42nd Ave. The Brazz Band
Doug Fir Lounge
CONT. on page 36
Willamette Week MAY 30, 2012 wweek.com
35
MUSIC
CALENDAR
BAR SPOTLIGHT VIVIANJOHNSON.COM
Worthless Eaters, Buried at Birth
The Lovecraft
421 SE Grand Ave. Brickbat Mansion
3100 NE Sandy Blvd. The Thornes, Dinner for Wolves, Junk88, The Fuckin’ Fucks
Eat Art Theater
Slabtown
850 NE 81st Ave. The Alphabeticians
1033 NW 16th Ave. Danava, Lebenden Toten
The Blue Diamond
Tony Starlight’s
Ella Street Social Club 714 SW 20th Place Ed & the Red Reds, Bevelers
2016 NE Sandy Blvd. The Jay Harris Jazz Trio
Fez Ballroom
3341 SE Belmont St. The Backyard Blues Boys
Tonic Lounge
3728 NE Sandy Blvd. Tony’s AM Gold Show
Touché Restaurant and Billiards 1425 NW Glisan St. Mike Winkle
316 SW 11th Ave. POPVIDEO w/ VJ GIGAHURTZ
Trader Vic’s
Goodfoot Lounge
1203 NW Glisan St. John English (Frank Sinatra tribute)
Twilight Café and Bar 1420 SE Powell Blvd. the connections
Valentine’s
232 SW Ankeny St.. Bad Blood
Vino Vixens Wine Shop & Bar 2929 SE Powell Blvd. Rich Layton & The Troublemakers
White Eagle Saloon
836 N Russell St. Better Than Street Racket, The Working Stiffs (9:30 pm); Reverb Brothers (5:30 pm)
SAT. JUNE 2 Al’s Den at the Crystal Hotel 303 SW 12th Ave. Sloan Martin (of Celilo), Evan Way
Alberta Street Public House 1635 SE 7th Ave. The Dusty 45s, Brent Amaker & the Rodeo
Ella Street Social Club 714 SW 20th Place Conceptus
Fez Ballroom
316 SW 11th Ave. REWIND Retro Video Dance with the Phonographix DJs
Fez Ballroom
316 SW 11th Ave. DECADENT 80s with DJ NON and Jason Wann
Foggy Notion
3416 N Lombard St. The World Radiant, The Crossettes, The Morals
Ford Food and Drink 2505 SE 11th Ave. The Darlin’ Blackbirds
Ford Food and Drink 2505 SE 11th Ave. Vagabond & Tramp
Gov. Tom McCall Waterfront Park
Southwest Naito Parkway between Harrison and Glisan streets Rose Festival: Black Prairie, Y La Bamba, And And And, Lost Lander
Hawthorne Theatre Lounge
1503 SE Cesar E. Chavez Ave. Rockstar Karaoke (9 pm), Tim Barry, Kevin Seconds, Julie Karr, Matt Danger (7:30 pm)
Hawthorne Theatre
3862 SE Hawthorne Blvd. Mushroomhead, Hed PE, American Headcharge, Corvus, Tenafly Viper, Amerakin Overdose
Island Mana Wines 526 SW Yamhill St. Joe Marquand
Island Mana Wines
526 SW Yamhill St. Live Hawaiian Music and Happy Hour - Joe Marquand & Friends
36
Ivories Jazz Lounge and Restaurant
1435 NW Flanders St. Art Resnick Trio (8 pm); Jim Templeton (5 pm)
Jimmy Mak’s
221 NW 10th Ave. The Lloyd Jones Struggle with the Atlas Horns and LaRhonda Steele
Katie O’Briens
2809 NE Sandy Blvd. Dr.Stahl, Minty Rosa, Pitchfork Motorway
Kelly’s Olympian
426 SW Washington St. Guillotine Necktie, My New Vice, Communist Fire Drill
Kenton Club
2025 N Kilpatrick St. Ben Language, When the Broken Bow, Rollerball
LaurelThirst
2958 NE Glisan St. Simon Tucker Group, Kory Quinn & the Comrades (9:30 pm); James Low Western Front (6 pm)
Mississippi Pizza
3552 N Mississippi Ave. La Tropicana (9 pm), The Sale (6 pm)
Mississippi Studios
3939 N Mississippi Ave. Ray Wylie Hubbard, Sean Spellman
Mount Tabor Theater
4811 SE Hawthorne Blvd. Piece of Mind, Pigs on the Wing, Bradley Wik and the Charlatans (Pink Floyd tribute show)
Muddy Rudder Public House 8105 SE 7th Ave. Kinzel and Hyde
Music Millennium
3158 E Burnside St. The Satin Chaps
Nel Centro
1408 SW 6th Ave. Mike Pardew
Noho’s Hawaiian Cafe 4627 NE Fremont St.
Willamette Week MAY 30, 2012 wweek.com
Hawaiian Music
Original Halibut’s II 2527 NE Alberta St. Norman Sylvester
Papa G’s Vegan Organic Deli
2314 SE Division St. Forest Bloodgood
Plan B
1305 SE 8th Ave. Stoneburner, Dead by Dawn, Squalora, Burials
Record Room
8 NE Killingsworth St. Tiny Knives, For the Lash, Stillsuit, The Slidells
Red Room
2530 NE 82nd Ave. Matt McCourt’s Wild Dogs, Staller
1036 NE Alberta St. The Old States, The Beautiful Trainwrecks
Artichoke Community Music
Someday Lounge 125 NW 5th Ave. Mbrascatu
Star Theater
13 NW 6th Ave. Queens of the Pole
Sunnyside Environmental School 3421 SE Salmon St. Matthew Heller
The Blue Diamond
2016 NE Sandy Blvd. Sonny Hess
The Blue Monk
3341 SE Belmont St. Bridgetown Sextet
The Know
2026 NE Alberta St.
Hawthorne Theatre Lounge
1503 SE Cesar E. Chavez Ave. Rock ‘n’ Roll Garage Sale
Backspace
115 NW 5th Ave. Lake, Genders, Jason Traeger
Beaterville Cafe
2201 N Killingsworth St. Brad Creel & the Reel Deel
Biddy McGraw’s
Branx
Brasserie Montmartre 626 SW Park Ave. Reggie Houston’s Box of Chocolates (9 pm); Tablao (5:30 pm)
Buffalo Gap Saloon
6835 SW Macadam Ave. Michele Van Kleef
Bunk Bar
1028 SE Water Ave. JD McPherson, Sarah Gwen
Cartlandia
8145 SE 82nd Ave. Magellanic Collective, The Carrier Pigeons, Too Hot Smart, Marlena, Explone, Ryan J. Lane, Charlie Barker & Municipal Heroes, Joe Poppino, Seventy-Six the Band
Clyde’s Prime Rib
5474 NE Sandy Blvd. Cool Breeze
Dante’s
350 W Burnside St. The Hugs, Candy-O
206 SW Morrison St. Lost and Found
The Blue Monk
221 NW 10th Ave. The Bart Ferguson Band 222 SW Clay St. Daughtry
426 SW Washington St. Surf Drugs, Father Figure, Support Force
Kenton Club
2025 N Kilpatrick St. The Satin Chaps, The Pynnacles, The Suicide Notes
LaurelThirst
2958 NE Glisan St. Garcia Birthday Band (9:30 pm); Tree Frogs (6 pm)
Mission Theater
1624 NW Glisan St. Theresa Andersson, Twisted Whistle
Mississippi Pizza
3552 N Mississippi Ave. Andrea Algieri, Floating Pointe (9 pm); Keep Your Fork There’s Pie (6 pm)
Mississippi Studios
3939 N Mississippi Ave. Greg Laswell, Elizabeth Ziman
Mount Tabor Theater
4811 SE Hawthorne Blvd. Rising Buffalo Tribe, The Heavy Brothers
Nel Centro
1408 SW 6th Ave. Mike Pardew, Dave Captein and Randy Rollofson
Noho’s Hawaiian Cafe 4627 NE Fremont St. Hawaiian Music
Original Halibut’s II 2527 NE Alberta St. Rae Gordon
Plan B
1305 SE 8th Ave. Revolution Overdue, Tanagra, Ritual Healing, Aethyrum
225 SW Ash St. Open Mic
526 SW Yamhill St. Winetini Sundays!
Island Mana Wines 526 SW Yamhill St. Winemaker Hosted Tasting and Wine Education
Island Mana Wines 526 SW Yamhill St. Happy Hour
Keller Auditorium 222 SW Clay St. Idina Menzel
Kelly’s Olympian
Ash Street Saloon
Brasserie Montmartre 626 SW Park Ave. Zephyr Chanson Francaise
Duff’s Garage
1635 SE 7th Ave. Lily Wilde Orchestra
Goodfoot Lounge 2845 SE Stark St. Open Mic
Hawthorne Theatre Lounge
Tiger Bar
LaurelThirst
526 SW Yamhill St. Happy Hour
2958 NE Glisan St. Dan Haley & Tim Acott (9 pm); Freak Mountain Ramblers (6 pm)
Island Mana Wines
Mississippi Pizza
Jimmy Mak’s
317 NW Broadway Heavy Baang Staang, Oden, Slow Children, American Bastard, Lena Lou
Tonic Lounge
3100 NE Sandy Blvd. Mental Hygiene, Jim Jams
Tony Starlight’s
3728 NE Sandy Blvd. The Tony Starlight Show
Touché Restaurant and Billiards 1425 NW Glisan St. Horsfall Duo
Trader Vic’s
1203 NW Glisan St. Xavier Tavera
White Eagle Saloon
Jimmy Mak’s
Island Mana Wines
Landmark Saloon
Ivories Jazz Lounge and Restaurant 1435 NW Flanders St. Rebecca Kilgore, Tom Wakeling and Randy Porter (8 pm); Laura Cunard (5 pm)
Destroyer, Sandro Perri
2026 NE Alberta St. Barbarian Riot Squad, Hooker Vomit, The Anxieties
The Know
Twilight Café and Bar
526 SW Yamhill St. Happy Hour
Anne, Your Rival, Industrial Park
1503 SE Cesar E. Chavez Ave. Rock & Roll Bingo - Host Mike Lee
Island Mana Wines
Kelly’s Olympian
225 SW Ash St. Drop Dead Legs, Lovedrive
320 SE 2nd Ave. Illmaculate (9 pm), School of Rock (Pantera tribute, 3:30 pm)
1033 NW 16th Ave. Atom Age, Defect Defect, Modern Kicks, Sense of Porpoise, DJ Marcel Da Chump
Southwest Naito Parkway between Harrison and Glisan streets Rose Festival: Metal Machines, Ramble On (Led Zeppelin tribute), Drop Dead Legs (Van Halen tribute), Garcia Birthday Band (Grateful Dead tribute), Rolling Tones (Rolling Stones tribute), Petty Fever (Tom Petty tribute)
Ash Street Saloon
Secret Society Lounge
Slabtown
Gov. Tom McCall Waterfront Park
Keller Auditorium
6000 NE Glisan St. Mexican Gunfight
116 NE Russell St. The Beautiful Train Wrecks, Adam Sweeney and the Jamboree (9 pm); Swing Papillon (6 pm)
2845 SE Stark St. Water Tower Bucket Boys, Wayward Vessel
3130A SE Hawthorne Blvd. Pete Ekstam (CD release)
Rock Bottom Restaurant & Brewery 206 SW Morrison St. Run From Cover
2530 NE 82nd Ave. Battle Axe Massacre, Weresquatch, Witch Throne
Rock Bottom Restaurant & Brewery
317 NW Broadway Terry Robb Band
Duff’s Garage
Duff’s Garage
Red Room
1635 SE 7th Ave. Mitch Kasmar, Jim Wallace, Boyd Small, Peter Damon, Jon Neish
Tiger Bar
GIANT’S LAIR: Unless you work at a powder-coating warehouse or metal fabricator, this industrial stretch of Southeast 26th Avenue is no destination. It’s a peculiar location for cheekily named Gigantic Brewing (5224 SE 26th Ave., 208-3416), but this new taproom is unconcerned with its surroundings—the focus here is firmly on the beer. There’s an unpleasant, funky IPA (Gigantic’s only year-round offering), but the other house taps, The City Never Sleeps (a black saison, dark and fruity but not cloying) and the St. Tennenholz (a summery dry-hopped golden), are solid. Veteran brewers Ben Love, a Hopworks alum, and Van Havig, who put in 16 years at Rock Bottom, appreciate teamwork as well, and the current lineup features “collabos” with Oakshire and Breakside breweries. With tapered lamps above the bar, a polished concrete floor and slanting ironwork, the tasting room has a Space Age vibe, and the garage door rolls open to a few picnic benches on a gravelly driveway. Hope they add umbrellas soon, because there’s a mean western exposure. REBECCA JACOBSON.
Doug Fir Lounge
830 E Burnside St. Emily Wells, 1939 Ensemble
1420 SE Powell Blvd. the connections
836 N Russell St. The Basinbillies, The Fallmen, Lava Runa (9:30 pm); The Student Loan (4:30 pm)
Wonder Ballroom 128 NE Russell St. Crystal Fighters, Is Tropical
SUN. JUNE 3 Al’s Den at the Crystal Hotel 303 SW 12th Ave. The Robinsons (of Viva Voce)
Aladdin Theater
3017 SE Milwaukie Ave. Asleep at the Wheel
Alberta Rose Theatre 3000 NE Alberta St. Beth Custer Ensemble (live scoring of film “My Grandmother”)
Arlene Schnitzer Concert Hall
1037 SW Broadway Chickenfoot
Ash Street Saloon
225 SW Ash St. I Reckon, Awaiting the Apocalypse, I Wish We Were Robots
Beaterville Cafe
2201 N Killingsworth St. Spit & Shine
Clyde’s Prime Rib
5474 NE Sandy Blvd. Ron Steen Jazz Jam
Doug Fir Lounge
830 E Burnside St. Water & Bodies, Glassbones, Autonomics
Gov. Tom McCall Waterfront Park
Southwest Naito Parkway between Harrison and Glisan streets Rose Festival: Chris Cagle, Kurt Van Meter, Concrete Cowboys, Jon Pardi, Casey James, Kip Moore, Heidi Newfield, Darryl Worley
Hawthorne Theatre
3862 SE Hawthorne Blvd. The Maine, Lydia, The Arkells
Holocene
1001 SE Morrison St.
426 SW Washington St. Lucky Deluxe 4847 SE Division St. Jake Ray
3552 N Mississippi Ave. Edna Vasquez, Miriam’s Well, Belinda Underwood
Mississippi Studios
3939 N Mississippi Ave. The Lower 48, Josh and Mer
Muddy Rudder Public House 8105 SE 7th Ave. Irish
Island Mana Wines
526 SW Yamhill St. Vintage Hawaiian Movie Night 221 NW 10th Ave. The Dan Balmer Band
LaurelThirst
2958 NE Glisan St. Kung Pao Chickens (9 pm); Portland Country Underground (6 pm)
Mississippi Pizza
3552 N Mississippi Ave. Mr. Ben (kids’ show)
Music Millennium
Muddy Rudder Public House
NEPO 42
O’Connor’s Vault
3158 E Burnside St. Asleep at the Wheel 5403 NE 42nd Ave. Open Mic
Red and Black Cafe
400 SE 12th Ave. Sharkpact, The Angries, Potsie
Rock Bottom Restaurant & Brewery 206 SW Morrison St. Will West
Rontoms
600 E Burnside St. The Hugs, Little Owl
Sassy’s
927 SE Morrison St. DJ Statutory Ray
Star Theater
13 NW 6th Ave. Urban Sub All-Stars
The Blue Monk
3341 SE Belmont St. Trombone
The Firkin Tavern 1937 SE 11th Ave. OPEN MIC
Tillicum Club
8585 SW BeavertonHillsdale Highway Johnny Martin Quartet
Tom McCall Waterfront Park Southwest Naito Parkway between Southwest Harrison and Northwest Glisan streets, Portland Rose Festival: Chris Cagle, Kurt Van Meter, Concrete Cowboys, Jon Pardi, Heidi Newfield, Kip Moore, Darryl Worley
Tonic Lounge
3100 NE Sandy Blvd. A Happy Death, The Buffalo Stagecoach, Heart Full of Snakes
Valentine’s
232 SW Ankeny St.. Sam Adams, Indian Trading Furs, Kelsey Morris
White Eagle Saloon 836 N Russell St. Ben Union
MON. JUNE 4 Al’s Den at the Crystal Hotel 303 SW 12th Ave. The Robinsons (of Viva Voce)
Aladdin Theater
3017 SE Milwaukie Ave.
8105 SE 7th Ave. Lloyd Jones
7850 SW Capitol Highway Cal Scott, Richard Moore, Michael Sheridan
O’Connor’s Vault
7850 SW Capitol Highway Songwriter Circle Michael Sheridan, Cal Scott, Richard Moore
Peter’s Room
8 NW 6th Ave. Grieves and Budo, Sol
Rock Bottom Restaurant & Brewery
206 SW Morrison St. Open Showcase with Mt. Air Studios
The Blue Diamond
2016 NE Sandy Blvd. Soulmates
The Firkin Tavern 1937 SE 11th Ave. Karaoke
The Know
2026 NE Alberta St. Pinkzilla, We the Wild, Old Hand, DJ Just Dave
Tiger Bar
317 NW Broadway Metal Machine
Twilight Café and Bar 1420 SE Powell Blvd. SIN Night
Valentine’s
232 SW Ankeny St.. The Robinsons, Scott McCaughey and more
White Eagle Saloon
836 N Russell St. BassMandolin, Marijke & Michiel Wiesenekker
TUES. JUNE 5 Al’s Den at the Crystal Hotel 303 SW 12th Ave. The Robinsons (of Viva Voce)
Alberta Rose Theatre
3000 NE Alberta St. Led Kaapana, Fran Guidry
Alberta Street Public House 1036 NE Alberta St. Soul Union, Karamo Susso
Beaterville Cafe
2201 N Killingsworth St. Symbols & Cymbols
Bunk Bar
1028 SE Water Ave.
MUSIC WAY WA R D V E S S E L . C O M
CALENDAR
UPCOMING IN-STORE PERFORMANCES
–– TONIGHT! ––
CHAMPAGNE SUNDAY WEDNESDAY 5/30 @ 6 PM THE SATIN CHAPS FRIDAY 6/1 @ 6 PM WE BOUGHT A ZOO: Wayward Vessel plays the Goodfoot on Saturday, June 2. The Winebirds, Wildcat Strike
Doug Fir Lounge 830 E Burnside St. Mishka, Anuhea
Duff’s Garage
1635 SE 7th Ave. Dover Weinberg Quintet (9 pm), Trio Bravo (6 pm)
Goodfoot Lounge 2845 SE Stark St. Jujuba
Hawthorne Theatre Lounge
1503 SE Cesar E. Chavez Ave. Tuff Luvin’ Tuesday - Barn Burners
Hawthorne Theatre
3862 SE Hawthorne Blvd. He Is We, Deas Vail, South Jordan, Windsor Drive
Island Mana Wines 526 SW Yamhill St. Happy Hour
Island Mana Wines 526 SW Yamhill St. Hula Lessons
Ivories Jazz Lounge and Restaurant 1435 NW Flanders St. Jazz Jam with Carey Campbell (7 pm); Tom D’Antoni (4:30 pm)
Jimmy Mak’s
221 NW 10th Ave. Genesis (not that Genesis), The Mel Brown Sextet
LaurelThirst
Rock Bottom Restaurant & Brewery 206 SW Morrison St. Total Request with Will Bradley
Roseland Theater
Slabtown
Twilight Café and Bar
Mississippi Pizza
The Blue Diamond
4811 SE Hawthorne Blvd. Indigenous, Open Mic with Simon Tucker
Press Club
2621 SE Clinton St. Little Silver
Quimby’s At 19th 1502 NW 19th Ave. Tom Grant
317 NW Broadway AC Lov Ring, Sarah Moon & the Night Sky
Tony Starlight’s
1033 NW 16th Ave. Electro-Kraken, Dirty Hand Family Band, Roselit Bones
Mount Tabor Theater
Tiger Bar
8 NW 6th Ave. Neon Trees, Nico Vega & Devil Whale
2958 NE Glisan St. Jackstraw 3552 N Mississippi Ave. Baby Ketten Karaoke (9 pm), Marie Black (6 pm)
PX Singer-Songwriter Showcase
2016 NE Sandy Blvd. Ben Jones
The Blue Monk
3341 SE Belmont St. Pagan Jug Band
The Firkin Tavern
1937 SE 11th Ave. Baby Kitten ReVIEW
The Know
2026 NE Alberta St. Comorant, Young Hunter, Hungers
3728 NE Sandy Blvd. Bo Ayars 1420 SE Powell Blvd. Open Mic Night Featuring House Band: The Roaming
Twilight Café and Bar
1420 SE Powell Blvd. Open Mic Night Featuring House Band: The Roaming
Valentine’s
232 SW Ankeny St.. Small Souls, Audie Darling
White Eagle Saloon
836 N Russell St. Michael the Blind, Rachel Taylor Brown
71 SW 2nd Ave.
1035 SW Stark St Mantrap with DJ Lunchlady
Sassy’s
927 SE Morrison St. DJ Statutory Ray
WED. MAY 30 Beech Street Parlor 412 NE Beech St. DJ Flip Forage
CC Slaughters
219 NW Davis St. Trick with DJ Robb
Matador
1967 W Burnside St. DJ Whisker Friction
Tiga
1465 NE Prescott St. DJ Family Jewels
Tiger Bar
317 NW Broadway Juicy Wednesdays
Yes and No
20 NW 3rd Ave. Death Club with DJ Entropy
THURS. MAY 31 Beech Street Parlor 412 NE Beech St. DJ Erich Zann
CC Slaughters
219 NW Davis St. Hip Hop Heaven with DJ Detroit Diezel
Fez Ballroom
316 SW 11th Ave. Shadowplay: DJs Ghoulunatic, Paradox, Horrid
Tiga
1465 NE Prescott St. DJ Erich Zann
FRI. JUNE 1 Beech Street Parlor 412 NE Beech St. Musique Plastique
CC Slaughters
219 NW Davis St. Flamin’ Fridays with DJ Doughalicious
Element Restaurant & Lounge 1135 SW Morrison St. Chris Alice
Fez Ballroom
316 SW 11th Ave. Decadent ‘80s: DJ Non, Jason Wann; Rewind with Phonographix DJs
Gypsy Restaurant & Lounge
Tiga
1465 NE Prescott St. Lord Smithingham
SATURDAY, JUNE 2 Beech Street Parlor 412 NE Beech St. Doods a la Mood
CC Slaughters
219 NW Davis St. Revolution with DJ Robb
Fez Ballroom
316 SW 11th Ave. Popvideo with DJ Gigahurtz
Gypsy Restaurant & Lounge 625 NW 21st Ave. DJ Velvet
Sassy’s
927 SE Morrison St. DJ Statutory Ray
Tiga
1465 NE Prescott St. Swag & Aitch
Valentine’s
232 SW Ankeny St.. DJ Chris Soteo
JD MCPHERSON SATURDAY 6/2 @ 3 PM
As a visual artist JD McPherson is well versed in the process of working within clearly defined formal parameters, and he employs a similarly rigorous discipline with his music. On ‘Signs & Signifiers,’ McPherson’s debut album, produced by JD’s musical partner, Jimmy Sutton, this renaissance man/hepcat seamlessly meshes the old and the new, the primal and the sophisticated, on a work that will satisfy traditional American rock ’n’ roll and R&B purists while also exhibiting McPherson’s rarefied gift for mixing and matching disparate stylistic shapes and textures.
ASLEEP AT THE WHEEL SUNDAY 6/3 @ 3 PM
Thirsty Lion
Red Cap Garage
Formed around the core of drummer Luke Strahota (The High Violets), bassist Eric Hedford (of Dandy Warhols fame), and keyboardist Peter Dean (former Fast Computers frontman), this ensemble has exploded forth from its inception in 2010. Aided by the howl of their three-piece horn section, the whizbang of their Hammond organ, and the percussion necessities to make it all sparkle, the Chaps specialize in sweaty, booty-shaking, good-times music. The group’s self-released debut is titled ‘Might I Suggest The Satin Chaps.’
SUNDAY, JUNE 3 Matador
1967 W Burnside St. Next Big Thing with Donny Don’t
MONDAY, JUNE 4 Beech Street Parlor 412 NE Beech St. DJ RW
CC Slaughters
219 NW Davis St. Maniac Monday with DJ Doughalicious
Tube
18 NW 3rd Ave. Pink Slime, DJ Matt Scaphism
TUESDAY, JUNE 5 Beech Street Parlor 412 NE Beech St. DJ Liztless
CC Slaughters
219 NW Davis St. Girltopia with DJ Robb
Tiga
Can a wheel reinvent itself while it’s still rolling? Sounds like an impossible task -but you never want to say “impossible” to Asleep at the Wheel, the famed westernswing, boogie, and roots-music outfit that’s, amazingly, still on the upswing. That’s saying something, considering the group’s been around for over 40 years, turning out an incredible 25+ albums while playing an unrelenting schedule of one-nighters that would make a vaudevillian dizzy.
SONGWRITERS CIRCLE W/
NATE WALLACE – RON STEPHENS – JACK MCMAHON MONDAY 6/4 @ 7 PM CHRIS ROBINSON BROTHERHOOD LISTENING PARTY / PIZZA PARTY
TUESDAY 6/5 @ 5 PM Stop by Tuesday to listen to ‘Big Moon Ritual’ and enjoy delicious pizza! Everyone present at the listening party will have the chance to enter to win the test pressing vinyl played during the listening party.
1465 NE Prescott St. DJ Lorax
Yes and No
20 NW 3rd Ave. Idiot Tuesdays with DJ Black Dog
625 NW 21st Ave. DJ Velvet
Willamette Week MAY 30, 2012 wweek.com
37
WW ’s got a
nose for news CRYSTAL
THE
m c m e n a m i n s m u s i c & e v e nt s M
HOTEL & BALLROOM
E
N
A
M
I
N
S
.
C
O
M
The historic
MISSION THEATER
Corner of 13th & W. Burnside
CRYSTAL BALLROOM 14th and W. Burnside
M
C
1624 N.W. Glisan • Portland 503-223-4527
LIVE STAGE & BIG SCREEN! Oregon Humanities presents
80s VIDEO DANCE ATTACK
"The Future of Food"
WEDNESDAY, MAY 30
BITTERROOT
Think & Drink Series
FRIDAY, JUNE 1 CRYSTAL BALLROOM 8 PM $6 21+OVER WITH VJ KITTYROX
FREE
THURSDAY, MAY 31 5:30 p.m. is “eagle time” • free
WILL WEST & TANNER CUNDY
Wednesday, May 30
GARCIA BIRTHDAY BAND
6:30 to 8 p.m. Minor with parent or guardian
FRIDAY, JUNE 1
9 P.M.· FREE
5:30 p.m. is “eagle time” • free
REVERB BROTHERS
STG PRESENTS PRESENTS
SAT JUNE 2 & 9 $6 • 9 p.m. • 21 & over • lola’s room
Reggie WATTs
SUN JUNE 3 21 & over
Ron Funches AnDY WooD
BE FIRST IN!
BETTER THAN STREET RACKET THE WORKING STIFFS
Saturday, June 2
SATURDAY, JUNE 2 4:30 p.m. is “eagle time” • free
THE STUDENT LOAN
PATRICK WATSON
Theresa Andersson
THE BASINBILLIES THE FALLMEN LAVA RUNA SUNDAY, JUNE 3
CAT MARTINO
Twisted Whistle
BEN UNION 7 P.M.· FREE
Tue June 12
“TAPPED” - KEEP NESTLÉ OUT OF THE GORGE 6/10 CRAFTY UNDERDOG PDX JAZZ: DAVID FRIESEN & GLEN MOORE: BASS ON TOP 6/24 THE HAMMERHEAD QUIZ SHOW 6/25 THE MOUNTAIN GOATS (SOLO) 6/27 PAUL THORN 11/4 LUNASA
MONDAY, JUNE 4
BASSMANDOLIN MARIJKE & MICHIEL WIESENEKKER
6/7
6/21
FREE
TUESDAY, JUNE 5
MICHAEL THE BLIND RACHEL TAYLOR BROWN FREE
Call our movie hotline to find out what’s playing this week!
Early entrance to Crystal shows with any pre-show purchase from Zeus Café, Ringlers Pub, Al’s Den or Ringlers Annex
SAT JUNE 9 ALL AGES
6/15 “SUMMER FEVER” - DONNA SUMMER & ROBIN GIBB TRIBUTE-lola’s AMY LAVERE GNWMT-lola’s 6/30 JAI HO!-lola’s 7/22 RELIENT K 7/25 DIRTY PROJECTORS 8/25 SUPER DIAMOND: HOT AUGUST NIGHTS 8/26 DESAPARECIDOS 8/31 YEASAYER 9/13 HOT CHIP 9/22 MATISYAHU 9/30 CITIZEN COPE 10/2 NIGHTWISH 10/8 CALOBO
(503) 249-7474
Event and movie info at mcmenamins.com/mission
ELSEWHERE
6/18
DANCEONAIR.COM
DOORS 8pm MUSIC 9pm UNLESS NOTED
AL’S DEn
at CRYSTAL HOTEL
FREE LIVE MUSIC nIghtLy · 7 PM 5/30-6/2
6/3-9
SLOAN THE MARTIN ROBINSONS
DJ’S · 10:30 PM 5/31 DJ Anjali & the Incredible Kid · 6/1 DJ E3 · 6/2 TBA
CASCADE TICKETS 38
cascadetickets.com 1-855-CAS-TIXX
OUTLETS: CRYSTAL BALLROOM BOX OFFICE, BAGDAD THEATER, EDGEFIELD, EAST 19TH ST. CAFÉ (EUGENE)
Willamette Week MAY 30, 2012 wweek.com
5/30
Broadway Pub
Delphinium Quartet
Classical minus the snoot· 6:30 p.m.
6/2
Edgefield Winery
Dan Haley is “Mr Casual” Songwriting super-ace· 7 p.m.
Find us on
5/31
IN
M CM E N A M I N S
Wilsonville Old Church & Pub
5/31
Kennedy School
Richwood
Sugarcane
Multi-media genre-hoppers· 7 p.m.
Island soulgrass revue· 7 p.m.
6/4
Edgefield Winery
Skip vonKuske w/guest Groovy Wallpaper Improv cello· 7 p.m.
6/5
Edgefield
Kathryn Claire’s Irish Music Celebration Fiddler extraordinaire· 7 p.m.
MAY 30-JUNE 5
= 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: MATTHEW SINGER. Stage: MATTHEW SINGER (msinger@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: msinger@wweek.com.
THEATER The 8x10
In the opening event for The Headwaters’ 1 Festival of solo performance, Mindy Dillard, Mary Rose, Emily Stone, John Johnson, SubRosa Dance, Qaos, Anet Ris-Kelman and Laurence Kominz each take the stage for 10 minutes. The Headwaters, 55 NE Farragut St., No. 9, the1festival.com. 8 pm Wednesday, May 30. $10-$15.
1959 Pink Thunderbird Convertible
Twilight Repertory Theatre presents James McLure’s connected short comedies about life during wartime in small-town Texas. Shoe Box Theater, 2110 SE 10th Ave., 312-6789. 7:30 pm Thursdays-Saturdays; 2 pm Sundays. Closes June 17. $10-$15. Sundays are “pay what you will.”
The Black Lizard
Japanese author and playwright Yukio Mishima’s 1961 play, The Black Lizard, adapted into English for the first time by director Jerry Mouawad and translators Laurence Kominz and Mark Oshima, revolves around a slinky minx of a criminal, the Black Lizard (the excellent Anne Sorce), who kills and preserves naked youthful bodies so she can admire their beauty forever. But the show is no dreary, dark parable. It is a thing of wit and intelligence and fun, a postBrechtian, genre-bending romp at play with the deformed heart of the 1930s detective thriller. It is the sound, especially (designed by John Berendzen and Kyle Delamarter), that gives the play its flavor: abrasive Orientalized music, the recorded “tock!” of struck wood blocks thrust amid dialogue, the screeing city sounds of Tom Waits’ “Midtown” instrumental. The John Zorn-style pastiche is the biggest cues to how Mishima’s play is to be viewed: as a heavily ironized postmodern stew of the serious, the formal and the downright trashy. MATTHEW KORFHAGE. Imago Theatre, 17 SE 8th Ave., 231-9581. 7:30 pm Thursdays, 8 pm Fridays-Saturdays. Closes June 2. $15-$30
Black Pearl Sings!
Huddie William Ledbetter, better known as Lead Belly, was unknown outside West Texas until 1933, when the great musicologist John Lomax found him in a Louisiana prison serving time for attempted murder. Lomax recorded Ledbetter singing hundreds of songs, helped him secure an early release and eventually took him on tour. It’s a great tale, and one that merits dramatization, but it is not the story you will see in Black Pearl Sings. Playwright Frank Higgins, who apparently didn’t think the tensions of race and class were sufficiently complex, throws sex in the mix as well. In his version, Lomax becomes Susannah Mullally, a folklorist for the Library of Congress who, despite her wealthy upbringing, has been passed over for professorships in favor of less deserving men. She discovers Alberta “Pearl” Johnson in a Texas prison, sentenced for Bobbitizing her abusive lover, and persuades Johnson to record the preCivil War songs that only she knows. Together, they unsubtly grapple with every dilemma of the early 20th century. The play is worth attending for the music alone, which is good, because Higgins’ unfortunate tendency to overwrite means it has little else to offer. BEN WATERHOUSE. Gerding Theater, 128 NW 11th Ave., 445-3700. 7:30 pm Tuesdays-Fridays; 2 and 7:30 pm Saturdays-Sundays. Closes June 17. $36-$51.
The Box Marked Black
Interracial, interdisciplinary and bicoastal performer Damaris Webb undertakes a one-woman investiga-
tion of the meaning of blackness as part of the Headwaters’ 1 Festival. The Headwaters, 55 NE Farragut St., No. 9, the1festival.com. 5 pm Saturday, June 2; 7 pm Sunday, June 3. $10-$15.
City of Angels
Lakewood Theatre presents a musical parody of 1940s film noir, starring Isaac Lamb. Lakewood Center for the Arts, 368 S State St., Lake Oswego, 503-635-3901. 7:30 pm ThursdaysSaturdays, 7 pm Sundays through May 20; 2 pm Sundays May 13 and May 27-June 10. $29-$32.
Contemporary Performance 1
55 NE Farragut St., No. 9, the1festival. com. 7 pm Tuesday and Friday, June 5 and 8. $10-$15.
If You Give a Mouse a Cookie
...you’re gonna have a bad time. Oregon Children’s Theatre goes ahead and ignores all the warnings in this adaptation of the popular kids’ book. Newmark Theatre, 1111 SW Broadway, 228-9571. 2 and 5 pm Saturdays; 2 pm Sundays. Closes June 3. $13-$30.
The Loman Family Picnic
No, not a wicker basket full of sales samples and rubber hoses. In this Donald Margulies’ comedy, presented by Jewish Theatre Collaborative, the struggles and frustrations of middleclass 1960s Jewish life are turned into humorous, rather than tragic, ends. Theater! Theatre!, 3430 SE Belmont St., brownpapertickets.com. 8 pm Thursdays-Saturdays; 2 pm Sundays. Closes June 3. $10-$30.
Next to Normal
Milepost 5’s resident theater company, Post5 Theatre, presents a collection of comic pieces about death and/ or sex. Milepost 5, 900 NE 81st Ave., 729-3223. 10:30 pm Fridays-Saturdays through June 23. $10.
The reality of a family struggling to cope with mental illness is kind of a downer. But presented with dark humor and biting truth in the rock musical Next to Normal, the subject becomes heartbreakingly real—in a good way. Diana Goodman (Susannah Mars, in this Artists Rep production) has been battling a severe case of bipolar disorder for more than 16 years following a traumatic event, with a continually tweaked regimen of medications doing little to help. Her husband, Dan (William Wadhams, lead singer of ’80s band Animotion) tries to pretend that everything is going to be fine, and their overachieving teenage daughter is all but completely ignored. Mars delivers a stellar performance, portraying the utter frustration of struggling with a disease that can’t be seen. PENELOPE BASS. Artists Repertory Theatre, 1515 SW Morrison St., 241-1278. 7:30 pm WednesdaysSaturdays; 2 and 7:30 pm Sundays. Closes June 3. $25-$50.
Fen
Penelope
This 1 Festival showcase features performances by San Francisco’s Christine Bonansea, Seattle’s Vanessa Skantze and Portland’s Anet Ris-Kelman and Ed Alletto. The Headwaters, 55 NE Farragut St., No. 9, the1festival.com. 9 pm Thursday-Friday, May 31-June 1. $10-$15.
Dance Prometheus
Nathan Guisinger performs a butohinfluenced and biometric computingenhanced theater piece about the Fukushima 50 as part of the 1 Festival. The Headwaters, 55 NE Farragut St., No. 9, the1festival.com. 9 pm Monday, 7 pm Saturday, June 4 and 9. $10-$15.
Death/Sex: Portland
Lorraine Bahr directs PSU students in Caryl Churchill’s eerie drama about the women of England’s fens. Lincoln Hall, Portland State University, 1620 SW Park Ave., 725-3307. 7:30 pm Thursday-Saturday, May 24-26; 2 pm Sunday, May 27; 7:30 pm WednesdaySaturday, May 30-June 2. $8-$12.
Fifth of July
Profile Theatre presents Lanford Wilson’s play about family dysfunction in the wake of the Vietnam War. Theater! Theatre!, 3430 SE Belmont St., 242-0080. 7:30 pm WednesdaysSaturdays; 2 pm Sundays. $15-$30.
Though based on Homer’s Odyssey, this Third Rail Repertory production is no O Brother, Where Art Thou? knockoff. In Irish playwright Enda Walsh’s black comedy, four suitors find themselves Speedo-clad in an empty swimming pool, scheming how to snag Penelope before her husband returns. Philip Cuomo directs. Winningstad Theatre, Portland Center for the Performing Arts, 1111 SW Broadway, 235-1101. 7:30 pm Thursdays-Saturdays, 2 pm Sundays. $29.50-$38.50, $14.50 students.
Red Light Winter
A fundraiser for the Oregon tour of a Czech theater company, featuring beer, food, a silent auction of Czech products and a performance by Portland’s Hand2Mouth Theatre. MacTarnahan’s Taproom, 2730 NW 31st Ave, 503-228-5269. 6 pm Wednesday, May 30. $30.
Portlanders have been getting plenty of Adam Rapp in our dramatic diet of life. This time it’s the shock-loving playwright’s story of a pair of longtime pals who take an eventful trip to Amsterdam. New York actress Jenn Gartner is a guest performer. Jan Powell, formerly of Tyger’s Heart, directs. Brooklyn Bay, 1825 SE Franklin St., 890-6944. 8 pm Fridays-Sundays. Closes June 3. $10-$15..
The Happy Family
Waegook Express
Geisslers Hofcomoedianten
The debut production of Tightrope Theatre is a musical adaptation of a 1969 horror film, Mumsy, Nanny, Sonny and Girly, itself adapted from a stage play, The Happy Family, by the English writer Maisie Mosco. The plot: A family of psychotic upper-class twits lure male loners back to their country house and murder them, until one of their would-be victims turns the family on itself. Lents Commons, 9201 SE Foster Road, 839-0127. 8 pm FridaysSaturdays through June 9. $15-$20.
Hard Times
Coho Productions ends its season with an adaptation of Dickens’ finest polemic against the evils of utilitarianism. The CoHo Theater, 2257 NW Raleigh St., 715-1114. 8 pm ThursdaysSaturdays; 2 pm Sundays. Closes June 2. $20-$25. Thursdays are “pay what you will.”.
How Small a Thought
Eric Hull performs a poetry/dance/ painting thing as part of the 1 Festival of solo performance. The Headwaters,
Mark Hayes performs his physical-theater piece about a journey to South Korea as part of the Headwaters’ 1 Festival. The Headwaters, 55 NE Farragut St., No. 9, the1festival.com. 5 pm Sunday, June 3; 9 pm Tuesday, June 5. $10-$15.
You Belong to Me
Elizabeth Huffman performs a play by Steven Wolfson about two women obsessed with Euripides’ The Trojan Women, as part of the Headwaters’ 1 Festival. The Headwaters, 55 NE Farragut St., No. 9, the1festival.com. 7 pm Friday-Saturday, June 1-2. $10-$15.
COMEDY AND VARIETY Cindy Tennant and Her Magic Boobs: The Eating Disorder Show
The Portland comedian tackles her 30-year eating disorder as part of the 1 Festival of solo performance. The Headwaters, 55 NE Farragut St., No. 9, the1festival.com. 7 pm and 9 pm
Monday and Thursday, June 4 and 7. $10-$15.
Wednesdays. “Pay what you want,” $3-$5 suggested. 21+.
Citizens of Brodavia, Unite!
CLASSICAL
Long-form improv at the Brody Theater. Brody Theater, 16 NW Broadway, 224-2227. 10 pm Saturdays through June 2. $7.
The Smutty Clown
An X-rated comedy open mic hosted by Sterling Clark and Whitney Streed. The Know, 2026 NE Alberta St., 4738729. 9:30 pm every last Thursday. Free.
The Weekly Recurring Humor Night
A comedy showcase hosted by Whitney Streed and featuring Jason Rouse, Chris Neff, Kristine Levine, Richie Stratton, Derek Sheen and Xander Dexeaux. Tonic Lounge, 3100 NE Sandy Blvd., 238-0543. 9:30 pm
Amedei Cello Ensemble
For the final concert in the Celebration Works series’ 10th season, a quartet of accomplished, local classical cellists play Latin dances, Beatles tunes and other not-so classical music, plus Croatian composer Rudolf Matz’s cello quartet. First Presbyterian Church, 1200 SW Alder St., 228-7331. 2 pm Sunday, June 3. $10-$12.
Northwest Horn Orchestra
If cellists and singers can do it, why not French horn players? Backed by percussion and a rhythm section, 20 horny members drawn from most of
CONT. on page 40
REVIEW PAT R I C K W E I S H A M P E L
PERFORMANCE
HOWLIN’ WOLF: Mississippi Charles Bevel sings in It Ain’t Nothin’ but the Blues.
IT AIN’T NOTHIN’ BUT THE BLUES (PORTLAND CENTER STAGE) Pitchin’ a wang-dang doodle, and little else.
The history of the blues is complex, meandering its way from rhythmic African chants to Southern spirituals to Chicago pop hits. In Portland Center Stage’s final production of the season, however, this history gets only shallow treatment. That’s a shame. The show is a rousing, entertaining jaunt, but for those unschooled in the development of the genre, more guidance would have been helpful. The more than 30 musical numbers in It Ain’t Nothin’ but the Blues unfold chronologically. The first act features the seven-member cast in Depression-style garb, relying on acoustic guitar and simple percussion to perform the plantation work songs and church anthems. Act two adds a five-piece band and spangled evening wear, placing us in a Chicago nightclub. The performers, largely out-of-towners, are terrific and varied: Mississippi Charles Bevel shows phenomenal range and soulful restraint; Jennifer Leigh Warren has powerhouse pipes and endearing spunk; and “Sugaray” Rayford is built like a linebacker but whips out some of the show’s smoothest dance moves. Director Randal Myler, one of five creators of the show, keeps the staging simple and the choreography subtle. In Ken Burns style, historic photos spool across two giant screens behind the performers. Though often poignant, these images are presented without context, doing little to flesh out the narrative. More satisfying are the bits of banter, which allow for frisky interaction among the cast. The playfulness continues through the songs, particularly during some of the raunchier numbers; Chic Street Man milks “Crawlin’ King Snake” to squirmy, hilarious effect. The performers encourage audience participation, so here’s a warning: Be prepared for some call-and-response, though a few claps and snaps will do just fine. As a musical revue, It Ain’t Nothin’ is delightful. It’s got mournful solo pieces and high-voltage ensemble numbers, and minimal dialogue means the pace rarely slows. But as a piece of theater, it lacks something. The title describes the show literally; I wanted a little more. REBECCA JACOBSON.
SEE IT: It Ain’t Nothin’ but the Blues is at the Gerding Theater, 128 NW 11th Ave., 445-3700. 7:30 pm Tuesdays-Fridays; 2 and 7:30 pm Saturdays-Sundays. Through June 24. $39-$69. Willamette Week MAY 30, 2012 wweek.com
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PERFORMANCE
MAY 30-JUNE 5 OWEN CAREY
the region’s top orchestras will converge to play music by Bach, Gabrieli, Strauss, John Williams, the Beatles, Northwest composer Kevin Walczyk, local songwriter Matt Sheehy, folk duo the Shook Twins and more. The Old Church, 1422 SW 11th Ave., 222-2031. 7:30 pm Thursday, May 31. $10-$13.
Opera Theater Oregon
Departing from this year’s earlier improv-based cinema-related shows, this fully staged worldpremiere production of Claude Debussy’s only opera, the haunting Pélleas et Mélisande, incorporates screened scenes from and design themes inspired by the celebrated 1961 French newwave film, L’Année Dernière à Marienbad, which surprisingly shares themes with the 1902 masterpiece based on Maeterlinck’s symbolist play. OTO music director and pianist Erica Melton leads a quartet that includes the quintessentially Debussian combo of flute, viola and harp in one of the most evocative scores in opera. Clara Weishahn directs a sexy, compelling cast in choreographed movement and otherworldly speech-singing. Mission Theater, 1624 NW Glisan St., 223-4527. 7:30 Thursday-Friday, May 31-June 1. $17-$20.
Oregon Viola Society
It might be on the receiving end of more classical-music jokes than any other instrument, but the viola plays an underrated role in chamber music. At this event, 20 of Portland’s top musicians (including members of the Oregon Symphony, Portland Opera orchestra and more on percussion, cello, clarinet and, of course, the v-word) will play 20thcentury works for viola and various other instruments. The Old Church, 1422 SW 11th Ave., 222-2031. 7 pm Sunday, June 3. Donation.
Portland State University Choirs Since 1974
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PSU professor Ethan Sperry has re-energized the school’s choral program by infusing his expertise in world music, arranging works from various other cultures and contexts for chorus and sometimes even giving the students a chance to dance and play percussion as well as sing, making PSU choral concerts far more exciting than you might expect. For this concert featuring the school’s four major choirs, he’s also invited guest Indian percussionists Srinivas Krishnan and Kiran Pathakota to help the group perform Bollywood hits, Indian classical music, spirituals from the American South, Haitian voodoo tunes and more. First United Methodist Church, 1838 SW Jefferson St., 234-4077. 8 pm Friday, June 1; 4 pm Sunday, June 3. $7-$12.
Resonance Ensemble
Accompanied by appropriate projected art and actual food (an optional extra), one of the Northwest’s finest choirs gets all Frenchified in music ranging from the 16th through the 20th centuries, including movements from one of the most powerful anti-war choral works, Francis Poulenc’s Figure Humaine, dedicated to Picasso and written at some risk during the pro-Nazi Vichy regime in World War II-era Paris. The concert also marks the return to the stage of tenor Brian Tierney, recuperating with miraculous alacrity from grievous wounds suffered in a still-unexplained shooting in March. Agnes Flanagan Chapel at Lewis &Clark College, 0615 SW Palatine Hill Road, 768-7461. 8 pm Saturday, June 2. $11-$25.
Susan Chan
The nationally acclaimed PSU piano professor performs contemporary music from one of today’s hottest music scenes, China, including the premiere of a brand-new work Chan commissioned from 2011 Pulitzer Prize winner Zhou Long, an early work by Crouching Tiger, Hidden Dragon Oscar winner Tan Dun, and more by lesser-known composers
PENELOPE. of Chinese heritage. Lincoln Hall, Portland State University, 1620 SW Park Ave., 725-3307. 4 pm Sunday, June 3. $9-$22.
DANCE Bouand Dance Company/Ando Cie
The language of dance, you might glean from the collaboration between Portland’s Bouand Dance Company and Lyon’s Ando Cie, really is universal. Bouand performed in France last fall; Ando Cie returns the favor with a local appearance, at which you will also find guest artists from Oregon Ballet Theatre and Canada’s Alberta Ballet. Former Lyon Opera Ballet dancer Davy Brun directs the French contingent, which performs the North American debut of his work Concursus. Bouand’s artististic director, Alexandrous Ballard, offers Noesis/Noema. Alberta Ballet’s Yukichi Hattori rounds out the bill with a duet. BodyVox Dance Center, 1201 NW 17th Ave., 229-0627. 7:30 pm Friday, June 1; 2 pm and 7:30 pm Saturday, June 2. $18-$21.
Compagnie 7273 and Sir Richard Bishop
Swiss import Compagnie 7273, a contemporary dance duo composed of Nicolas Cantillon and Laurence Yadi, spent last year staging new choreography for Petrouchka in the ballet company of the Geneva Opera House, among other ambitious projects. Their movement style is characterized by a hypnotic ebb and flow that’s intriguing enough on its own. But here, they’ll dance the 2009 duet Listen & Watch accompanied by avant-garde musician/ composer Sir Richard Bishop, an electro-acoustic guitarist and founding member of the Sun City Girls. The potential is fascinating. Conduit Dance , 918 SW Yamhill St., Suite 401, 221-5857. 8:30 pm Wednesday, May 30. $13-$15. A master class with Compagnie 7273 for intermediate/ advanced dancers precedes the performances at 10 am. $15, limited to the first 25 who register at www. conduit-pdx.org/workshops.html.
The Curt Show
Do Jump! fans will recall circusarts specialist Curt Carlyle’s turn in the company’s Broadway run of Ahhh HA!, yo-yo fans will know his mad skills landed him a place in the Guinness World Records, and kids of all ages might enjoy his juggling prowess, which has won him accolades and awards at the International Jugglers’ Association. Echo Theater, 1515 SE 37th Ave., 231-1232. 7:30 pm Friday-Saturday, June 1-2; 1 pm Sunday, June 3. $10-$20. All ages.
Lucky Deluxe
Burlesque comic LuckyDeLuxe (known in some quarters as Susanna Lee) is now touring her one-woman show Getting Lucky: A Stand-Up Show From a Lay-Down Lady. The performance, which is being committed to video, incorporates stand-up comedy, storytelling, audience participation and burlesque performance. In this Olympic year, it’s worth noting she
was invited to compete in the World Burlesque Games, held in London last month. Kelly’s Olympian, 426 SW Washington St., 228-3669. 8 pm Sunday, June 3. $10.
Masters Workshop Audition 2012
John Clifford, répétiteur for the George Balanchine Trust, will lead 13 days of master classes and rehearsals for a public performance of his own work and Balanchine’s. Auditions to get into the workshop will be held June 3. There are 30 spots for advanced ballet dancers. Lincoln Hall, Portland State University, 1620 SW Park Ave., 7253307. 1:30 pm Sunday, June 3. $20 audition fee.
The Nearly Naked ’Bee with the Mad Marquis
It’s like strip poker for English majors: People who enter this spelling bee have to remove an article of clothing when they get a word wrong. The winner gets a cash prize; losers get a second chance to win more cash and prizes by competing for best improv striptease. The Dolly Pops perform at intermission and a night of hilarity, no doubt, ensues. Someday Lounge, 125 NW 5th Ave., 248-1030. 9 pm Tuesday, June 5. Free for competitors, $3 for spectators.
The Second Annual 1 Festival
The 1 Festival is two now. The second installment of this annual performance extravaganza features solos, duets and ensemble pieces with a “one” theme. The dance offerings include Luciana Proaño’s full-length work Chaski (5 pm Saturday, June 9), a time-traveling movement meditation on shamans. The Modern Choreographers series (7 pm Thursday, May 31) features 20-minute works from contemporary dancers Kristine Anderson, Matthew Nelson, Rachel Slater and Éowyn Barrett. The festival is bookended by the two-night 8x10 event, wherein eight artists each night show experimentally minded work lasting less than 10 minutes; SubRosa Dance (8 pm Wednesday, May 30) and the PDX Dance Collective (8 pm Wednesday, June 6) are among them. Check out the full lineup at the1festival.com. The Headwaters, 55 NE Farragut St., No. 9. Various times May 30-June 9. $10-$100.
Shannon Stewart
Seattle choreographer and Teeth performer Shannon Stewart stages the Portland premiere of a new evening-length work, An Inner Place that Has No Place, in collaboration with filmmaker Adam Sekuler and composer Jeff Huston. The piece is part of a suite of dance and film works exploring memory and memory loss, both individual and collective. Zoomtopia, 810 SE Belmont St., zoomtopia.com. 8 pm Friday-Saturday, June 1-2. $10-$12. Stewart and company also offer a master class 1:30 pm Saturday, June 1, at Conduit.
For more Performance listings, visit
VISUAL ARTS
MAY 30-JUNE 5
= 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.
A Different Kind of Normal: Stories of Asperger’s Syndrome
For more than a year, photographer Leah Nash (who has also shot forWW) shadowed five people who have Asperger’s syndrome, an autismrelated condition that impacts social behavior. In A Different Kind of Normal: Stories of Asperger’s Syndrome, Nash explores the varieties of ways in which people cope with Asperger’s. Nuanced and compassionate, the series is apt to be especially cathartic for those who are, know, or love someone who has the condition. Through June 30. I Witness Gallery Northwest Center for Photography, 1028 SE Water Ave., Suite 50, 384-2783.
Barbara Stafford: Evening
PDX follows up last month’s restrained showing of Tina Beebe’s floral still lifes with an equally restrained showing of Barbara Stafford’s landscapes. Discreetly sized paintings of mountains, clouds, waves, trees, cliffs and sky add up to an exhibition that is so calmative and trance-inducing, you may need a double espresso just to make it back out the gallery door. Through June 2. Contemporary Art, 925 NW Flanders St., 222-0063.
Daniel Robinson: Now and Then
There are no people in Daniel Robinson’s paintings of grain silos, farmhouses, factories, fields and city streets. It’s as if humankind has been vaporized. Sadly, along with it has been any sense of soul in these paintings, which presumably aim to evoke wheat-cracked Americana but actually recall Stalin-era social realism. The paint application is flat and dry, and so is the emotional impact of these desolate images. Through June 16. Charles A. Hartman Fine Art, 134 NW 8th Ave., 287-3886.
Dharma Strasser Maccoll: SPIN
Dharma Strasser Maccoll’s most eyepleasing compositions mosaic felt, clay, and other media together in dramatic sunbursts of nuanced three-dimensionality. Other works are less nuanced and come across as crafty, design-y, and facile. Through June 2. Augen DeSoto, 716 NW Davis St., 224-8182.
Generations: Betty Feves
To conclude the museum’s 75th anniversary celebration, curator Namita Gupta Wiggers presents Generations: Betty Feves, exploring the output of a groundbreaking but underappreciated artist. Feves (1918-1985) worked predominantly in ceramics, but her appeal transcends stylistic ghettoization. She studied with Abstract Expressionist master Clyfford Still, and her highly organic, primeval-meets-Space-Age forms betray the influences of that
illustrious lineage. Through July 28. Museum of Contemporary Craft, 724 NW Davis St., 223-2654.
Heidi Schwegler: The Known World
The Known World is an ambitious title for the subject matter of an art show, and if Heidi Schwegler doesn’t fulfill that manifest destiny, she still has fun trying. The coolest piece here is This Is You, a silicone sculpture of a lamb that sits on a pedestal and vibrates like a molded Jell-O dessert. This is pure, unabashed Jeff Koons-style kitsch, and unfortunately the rest of the show is too unfocused and heterogeneous to match its wit and imagination. Through June 23. Chambers @ 916, 916 NW Flanders St., 227-9398.
Ian Anderson
Ian Anderson is a symbolist, which is to say, his paintings use imagery as symbolic stand-ins for other objects or ideas. Generally he does this with neither subtlety nor sophistication. His work features sharks, wolves, eagles, naked women, peacock feathers, an octopus, roosters, cobras and roses. There is a sincerity in his approach, but the work would still seem more at home in a tattoo shop than an art gallery. Through May 30. Backspace, 115 NW 5th Ave., 248-2900.
JoEllyn Loehr: Intimate Symmetries
Like a song in which the same note repeats incessantly, JoEllyn Loehr’s abstract paintings present the same general Gestalt over and over. Basically, the only element that varies is the color palette: pastels for Shir Hashirim; earth and sky tones for Steens; blues, predictably, for Azul; and greens for Nansene. This is perfectly innocuous, workmanlike abstraction that is going to look great in somebody’s foyer in Lake Oswego. One last point.. For the second month in a row, Blackfish played insipid light jazz over its sound system, lending a soundscape of pure cheesiness. Galleries rarely play music at openings, with good reason: Artwork, like wine, needs to breathe. Silence and ambient crowd noise allow the work to find its own voice. Piping in music, especially music this cheesy, smothers the artwork and the viewer. The only cheese that should be present at an opening should be on the hors d’oeuvre table, not the sound system. Through June 2. Blackfish Gallery, 420 NW 9th Ave., 234-2634.
Jost Münster
Based in London and Ulm, Germany, painter Jost Münster borrows from the lineage of minimalism and geometric abstraction. His most satisfying pieces, Spot and Forever Young, incorporate holes and layering effects. He also has a gift for coining wry titles such
as Drunken Angels Go Blind and its variant, Drunken Angels Go Blind Near Capri. This is the second installment in Victory Gallery’s series of three onemonth shows spotlighting German artists—a refreshing infusion of international blood into our own art scene. This is reason enough to check out the gallery. Another reason is that they serve a mean Alsatian riesling on First Thursdays. Through June 6. Victory Gallery, 733 NW Everett St.
LIGHT
This group show examines the multifarious ways in which artists address the phenomenon of light. A highlight is Johannes Girardoni’s Peak Light Extractor—Grey/Yellow, an elegant construction comprising mustard-colored paint, fluorescent lights and wires trailing off nonchalantly to the closest electrical outlet. It strikes the viewer as a cheeky, wonky, postmodern response to Dan Flavin’s elegant and decidedly unwonky light sculptures during the heyday of minimalism in the 1960s and ’70s. Another notable work is Heechan Kim’s #9, an intricate hanging sculpture made of thin wooden wafers held together with copper staples. The piece warps around itself, caving in and bowing out, looking for all the world like a giant cochlea that got sucked into a black hole. Through June 2. PDX Across the Hall, 929 NW Flanders St., 222-0063.
Laura Ross-Paul: Connect
The light of cellphone screens and laptops illuminating their users’ faces in dark rooms provides inspiration for Laura Ross-Paul’s new body of work, Connect. The paintings depict young people staring at screens even in the midst of ostensibly more interesting activities such as fireworks displays, picnics and star-gazing parties. But Ross-Paul resists the temptation to wag fingers at the perpetually loggedon young’uns, instead depicting the screens’ light with the same mystical reverence seen in Renaissance paintings of candles, halos and stainedglass windows. Through June 2. Froelick Gallery, 714 NW Davis St., 222-1142.
Perceptual Control
Perceptual Control, a group show curated by Modou Dieng, deftly fills Worksound’s challenging, Hydraheaded exhibition spaces with artwork by artist-in-residence Emily Nachison, along with Kyle Raquipiso, Amy Bernstein, Nathanael Thayer Moss and Jamie Marie Waelchli. Nachison’s blue walk-in interactive sculpture and Moss’ Op-style black-and-white wall paintings are the show’s most compelling components, but what’s most impressive is the show’s overall cohesion, which bodes well for the gallery’s ongoing artist-in-residence series. Through June 9. Worksound, 820 SE Alder St., myspace.com/worksoundpdx.
Renee Zangara: Mirth
At this late date, it’s hard to say anything new within the genre of the
HEECHAN KIM’S #9 AT PDX ACROSS THE HALL oil-painted landscape, but somehow Renee Zangara manages to put a new spin on an old trope. Her luscious daubs, dabs and jots of color add up to trees, flowers, grass and all the standard trappings, plus that extra something that makes a painting seem fresh instead of tired. Her pieces, Herhoneyness and Whassup, are rhythmic rhapsodies in which earth tones and pastels sing in dynamic harmony, and winsome gestures add up to more than the sum of their parts. Through June 3. Nine Gallery, 122 NW 8th Ave., 503-227-7114.
Ryan Pierce: New World Atlas of Weeds and Rags and Deborah Horrell: Celebrating Beauty
Ryan Pierce’s allegorical paintings are ambitious in their scale and archetypal subject matter, but in the Adam-andEve redux Devil’s Thread and the Noah retread of Chance Ark, Pierce’s conflation of Christian symbolism and environmental apocalypse risks triteness. He is more satisfying in more direct depictions such as Sun Scorched, whose central sunflower motif radiates peach-colored petals before a back-
ground of mother-of-pearl clouds. In the back gallery, Deborah Horrell uses glass and Plexiglas to create oversized wing forms in a palette of sumptuous sorbet tones. Through June 23. Elizabeth Leach Gallery, 417 NW 9th Ave., 224-0521.
Tom Cramer: New Work
There is nothing like a Tom Cramer show. The iconic Northwest painter and sculptor heaps so much gold and silver onto his gleaming geometric compositions, it’s a wonder they aren’t bought and sold on a commodity exchange. Past shows have featured imagery inspired by trips to India and Egypt, as well as waterfalls in the Columbia River Gorge, rendered with a slippery, sexualized organicism that alludes to the female body. It will be fascinating to see where Cramer takes his ever-shifting, polymorphously perverse vision this go-round. Through June 2. Laura Russo Gallery, 805 NW 21st Ave., 226-2754.
For more Visual Arts listings, visit
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= WW Pick. Highly recommended.
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By PENELOPE BASS. 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, MAY 30 Kevin Killian and Dodie Bellamy
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Willamette Week MAY 30, 2012 wweek.com
Paying homage to the old Olympia Press, whose “Traveller’s Companion” series published banned books like Lolita and distributed them from Paris, Portlandbased Publication Studio is presenting work from its “Fellow Travelers” series. Kevin Killian will read from his third novel, Spreadeagle, and Dodie Bellamy will read from her new memoir, The Buddhist, written about her affair with her Buddhism teacher. Embers, 110 NW Broadway, 2223082. 7 pm. Free.
An Ode to Marty Kruse
An active literary advocate and slam-poet promoter both in the Northwest and nationwide, Marty Kruse also championed workers’ rights and was the founding organizer of the Powell’s booksellers’ union. Kruse passed away in February at age 45, and the local literary community is rallying to pay their respects and raise funds to benefit his wife and two children. Featured readers will include Eirean Bradley, Leanne Grabel, Dena Rash Guzman, Mykle Hansen, and there will be an open mic. Jack London Bar, 529 SW 4th Ave., 2287605. 7:30 pm. Donation.
REVIEW
GREG RUCKA, ALPHA Greg Rucka is a serial series writer. Aside from penning big-name comic-book titles for DC and Marvel, the Portland-based author is responsible for the excellent Atticus Kodiak novels (about a soldier turned bodyguard), the Queen & Country line of comic books (about an elite British SIS agent), and the Stumptown comics series (about a private detective). You’re probIs it Omega yet? ably sensing a theme. But the important thing all three have in common are compelling lead characters that have kept us craving more after each book. Alpha (Mulholland Books, 304 pages, $24.99) is the first novel in Rucka’s newest series. His protagonist is Jonathan “Jad” Bell, a former master sergeant in the U.S. Army’s secretive counterterrorism unit, and he fits the above character profile well: a professional badass, often facing life-or-death situations, who must balance this career with the far more challenging prospects of his personal and family lives. Like his predecessors, Bell is better with his fists than he is with his heart. In this particular case, Bell—back on duty after leaving the Army and his wife months earlier—is trying to stop a biochemical terrorist attack on a theme park, where his deaf teenage daughter is being held hostage. It’s as silly as it sounds, but it seems Rucka knows this, and instead of trying to play up the dark and dangerous, the focus is squarely on the action. The serious shoot-’em-up stuff kicks in around page 98 and doesn’t let up for the next 200 pages, but Rucka does a masterful job creating his playing field in this setup. The Southern California theme park is pretty clearly supposed to be Disneyland, but setting a terrorist-themed novel there could clearly draw the litigious wrath of Uncle Walt. So this story takes place in “WilsonVille,” among a cast of vaguely familiar but noncopyright-infringing characters. As a comic-book writer, Rucka understands the importance of visuals better than many, and this story’s engagement relies heavily on the reader to visualize multiple storylines—not to mention the fight sequences—taking place across this elaborate stage. Less masterful is the characterization of Jad Bell himself. Barring an opening sequence describing the aging soldier’s one-night stand with a 20-year-old barista while having combat flashbacks, we get very little insight into our hero. In fact, we spend far more time with the story’s villain, and it’s generally a bad sign when you’re almost rooting for the terrorist to make it out alive. Rucka’s other flawed but likable characters kept me coming back. With Bell, I feel much like the barista: We spent one great night together, but I have no great desire to form a long-term relationship. RUTH BROWN. READ: Alpha by Greg Rucka is on sale in bookstores.
MAY 30-JUNE 5
THURSDAY, MAY 31 Ted Rall
Although right-wing pundits would have us believe Obama is more liberal than a gay, vegan hipster, political cartoonist Ted Rall claims we’ve all been duped by a risk-averse conservative. His new release, The Book of Obama, charts the meteoric rise and gradual burnout of our charismatic president. It’s not quite what we bargained for in the story of O. Powell’s on Hawthorne, 3723 SE Hawthorne Blvd., 228-4651. 7:30 pm. Free.
SATURDAY, JUNE 2 Bob White Theater Opening
The Bob White Theater went from showing silent movies in the ’20s to Asian martial-arts flicks in the ’70s to housing a collection of pipe organs in the ’90s. Now, the old movie house is on track to once again become a thriving venue for the Foster-Powell neighborhood.
BOOKS
Orhistory.com’s resident historian Doug Kenck-Crispin will recount the theater’s storied history in the theater itself, along with live music by School of Rock, Alialujah Choir and Chervona. Bob White Theater, 6423 SE Foster Road, 894-8672. 4 pm Saturday-Sunday, June 2-3. Free.
SCOOP
SUNDAY, JUNE 3 Kim Barnes and Robert Wrigley
Like cake and ice cream, or bacon and anything, pairing poetry with prose only serves to highlight the greatness of the other. Author Kim Barnes and poet Robert Wrigley will read from their new works, In the Kingdom of Men and The Church of Omnivorous Light, respectively. TaborSpace, 5441 SE Belmont St. 2:30 pm. $12.
For more Words listings, visit
REVIEW
RICHARD FORD, CANADA Dell Parsons, the narrator of Richard Ford’s conflicted new novel, Canada (Ecco, 432 pages, $27.99), tells us right off about the story’s major event. His parents became unlikely bank robbers. The novel is two narratives, unevenly stitched together. There’s Dell’s life in Montana, before his family blows apart after his parents’ criminal One boy, two lives, and an uneven landscape. folly, and his exile in a stark and violent Saskatchewan landscape, where the 15-year-old Dell is sent after their arrest. Great stories often give us a sense of what is lost when events change the narrator’s life, and in this novel’s compelling first half, Ford allows Dell to gently immerse us in the Parsonses’ lives. Dell is a reflective, bookish boy, obsessed by chess, oblivious to the dangerous, sensual outside world that his twin sister, Berner, desperately explores. Even though we know what’s coming (mostly), Dell’s layered, iterative portraits of his family deepen the purchase of mystery and hurt. His mother is dignified amid her lost dreams. Most poignant is his father, Bev, slowly and deeply etched, who, in a fatalistic moment, swallows a piece of a jigsaw puzzle, leaving a hole in the picture’s sky. The novel contemplates borders of behavior and decency that, once crossed, bar return. But the novel’s second half, Dell’s life in Canada, is flat and disengaged. He lives under the care of Arthur Remlinger, described, but rarely seen, with warnings of inevitable peril and danger. It all feels stagy, like a movie treatment rather than the closely felt experiences of a wary, lost teenager. Dell quotes the art critic John Ruskin, who said “composition is the arrangement of unequal things.” One of the early beauties of Canada is Dell’s ability to marvel at the small, resonant memories of a life that was taken from him. Once he’s out of Montana, however, the oblique Canadian narrative reminds us how oddly bland Dell remains, given the trauma he witnesses and the lonely moral disorder into which he is pulled. We learn Dell emerged into adulthood just fine, but we never see how, and he barely understands it himself. He is rarely an actor in his own story. Events that should have left him with lingering misgivings and even horror seem barely to register, even with the distance of time. In this tale, we seek a credible sense of hope. What Dell offers are platitudes worthy of a self-help guide, but not a novel of such promise. BRENT WALTH. GO: Richard Ford appears at Powell’s City of Books, 1005 W Burnside St., 228-4651, on Sunday, June 3. 4 pm, Free.
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from $40 per night thru June (single occupancy)
GOSSIP
Stay on the Edge of the Pearl with Pride.
SHOULD HAVE
The GeorGia hoTel
NO FRIENDS
A Vintage Portland Walk-Up
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T H I S I S N OTA F I L M . N E T
MOVIES
Editor: MATTHEW SINGER. 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: msinger@wweek.com. Fax: 243-1115.
Ambrosia
[ONE NIGHT ONLY] A locally produced, effects-rich futurist short about a youth-preserving pharmaceutical. Living Room Theaters. Thursday, May 31. Check intrinsic-media.net for showtimes.
The Avengers
A In helming The Avengers—the long-
awaited convergence of four Marvel Comics properties into one gargantuan nesting doll of a summer blockbuster—Joss Whedon is burdened with glorious purpose. Those are his words, not mine, and they’re actually spoken by Loki, the effete alien overlord presenting the avenging force with its first challenge. Still, what an apt and appropriately fustian description of the monumental task Whedon has taken on. The Avengers isn’t just weighted by the typical expectations of the normal box-office bulldozer. After five movies’ worth of prologue, the film has also absorbed the expectations of the individual franchises. That’s some heavy pressure. Luckily, there is perhaps no other mass producer of pop culture better equipped to handle it than Whedon. He is blessed with an intrinsic knowledge of what audiences want, and the ability, as a writer and director, to deliver with maximum satisfaction. In that regard, he does not stumble. It’s hard to imagine anyone who’s spent the past five years playing out a vision of an Avengers movie in their head being disappointed with what Whedon has come up with. It’s big and loud, exhilarating and funny, meaningless but not dumb. It is glorious entertainment. MATTHEW SINGER. Call theaters for showtimes.
B-Movie Bingo: Hard to Kill
[ONE NIGHT ONLY, REVIVAL] A storm’s comin’...Mason Storm. Played by Steven Seagal, he’s got a goatee, a ponytail and the ability to heal himself through armchair acupuncture. Watch out, perps: Killing him is, indeed, quite taxing. Hollywood Theatre. 7:30 pm Tuesday, June 5.
Battleship
C- Battleship is generic and forgettable, a glorified Navy recruitment video full of lobotomized patriotism and loud noises in lieu of narrative. But that’s all it is. It is not the unprecedented affront to the art of cinema it was pegged as being before anyone saw a single second. And for its first 45 minutes or so, the movie actually emits a kind of dimwitted charm. It helps that star Taylor Kitsch spent five years playing a charming dimwit on Friday Night Lights. Once aliens crash-land off the shore of Oahu, though, and Kitsch’s dialogue turns to barking orders and coordinates, any hope of Battleship emerging as a movie with an actual heart and brain get blowed up real good. Indulging in refried Michael Bayisms, director Peter Berg swoops up, down, through and around an endless barrage of CGI explosions, the soundtrack alternating between AC/DC and what sounds like a nu-metal cover of the Emergency Broadcast System alarm. Somehow, Berg decided that what this cartoonish, effects-laden, blow-’em-up alien invasion picture really needed was a dose of authenticity. Along with Rihanna and frat pinup Brooklyn Decker, he casts a real, double-amputee Iraq war veteran in a small but substantial role. How does the movie honor this true American hero? By having him punch an alien’s teeth out. PG-13. MATTHEW SINGER. Call theaters for showtimes.
Bernie
B- Richard Linklater’s new movie contains all the “outrageous” elements obligatory to deadpan, smalltown true crime. Nice-guy killer? Meet Bernie Tiede, hymn-singing assistant mortician with a penchant for wooing blue-haired ladies. Macabre corpse disposal? The body of Marjorie
Nugent, Tiede’s 81-year-old benefactor, was stashed in a garage freezer for nine months. Ironic upshot? Tiede was so popular after giving Nugent’s fortune away, his trial had to be moved out of town. Yet the one truly daring element in Bernie is the one that makes it seem not like a movie at all. Linklater is a Texas native whose best movies (Dazed and Confused, Waking Life) exploit his easy rapport with his shambolic Lone Star compadres. For the first half of Bernie, he uses mockumentary interviews with the mainstreet gossips of Carthage, Texas, as a kind of Greek chorus. Their piquant observations—“she’d tear you a double-wide, three-bedroom, two-bath asshole”—form the film’s backbone and highlight. The fake interviews, however, make the bits of drama in between seem artificial and secondhand: It’s impossible to suspend the knowledge that you’re watching a re-enactment, because the picture itself keeps using a distancing effect. Imagine Waiting for Guffman if all the talking heads were audience members thinking back on the big play. PG-13. AARON MESH. Hollywood Theatre.
The Best Exotic Marigold Hotel
C “For the elderly and beautiful,” runs the rest of the name dreamed up by Sonny (Dev Patel) for his dilapidated retirement resort in India. The arriving Little England expats qualify for both adjectives: Marigold Hotel is nothing but the dotty-pensioner scenes from British ensemble comedies, always the best parts. But for crissakes, don’t call it a “movie for grown-ups.” The film, directed by fustian Shakespeare in Love hack John Madden, is hardly more mature than The Avengers, and plays to the same desire to see big names join forces. I’m happy to see Bill Nighy, Judi Dench and Tom Wilkinson in any context, even if it’s a geriatric version of a summer-camp movie, with a similar late-afternoon poignancy and corny lines. (Dench’s voice-over is so packed with reassuring bromides that I eventually stopped hearing it, like Muzak.) It’s not dealing in harsh truths—it’s a sorbet to cleanse your palate after too much Mike Leigh—but the banalities are undermined by real disappointment and abandonment. If Maggie Smith’s early racism is a touch too violent for her character arc, otherwise everyone is wonderfully sympathetic. Wilkinson in particular grounds the project with a typically righteous performance as a gay judge seeking forgiveness from a former lover. Marigold Hotel’s only serious drawback, in fact, is its tendency to treat India as a place for white folks to find catharsis—a well-intentioned flaw it copies from a Wes Anderson movie. It’s The Darjeeling Aged. AARON MESH. Fox Tower.
The Black Stallion
[ONE DAY ONLY, REVIVAL] The late’70s adaptation of the classic children’s story, from a time when a film could be described as “a love affair between a boy and his horse” without minds going straight to some deep, dark places. Hollywood Theatre. 2 pm Saturday, June 2.
The Cabin in the Woods
A How does someone in my position
discuss The Cabin in the Woods? It’s pretty much guaranteed I’m going to ruin something without even meaning to, so it’s probably best to avert your eyes right now. Before you do, though, allow me to offer a painfully generic imperative: Go see this film. It’s some of the craziest fun you’ll have at the theater all year. Cabin’s sharply satirical edge will engender comparisons to Scream, but that franchise celebrated the conventions it gleefully subverted, while this film demolishes tropes with a tinge of disdain. In truth, a more apt companion piece is Rubber, the 2010 French curio ostensibly about a murderous, sentient car tire. It’s a movie
CONT. on page 46
HOW THE CAGED DIRECTOR FILMS: Jafar Panahi’s live DVD commentary in This Is Not a Film.
ENEMY OF THE STATE THIS IS NOT A FILM IS A STIRRING ACT OF MUNDANE DEFIANCE. BY MATTHE W SIN GER
msinger@wweek.com
This Is Not a Film opens with Iranian filmmaker Jafar Panahi alone at his breakfast table, spreading jam on flatbread and talking to a friend over speakerphone. “I’m stuck in a problem,” he says. “Stuck” is quite the appropriate word, but the statement hardly conveys the gravity of his situation. He is sequestered in Tehran, on house arrest after being convicted of committing “propaganda against the Islamic Republic.” He faces a six-year prison sentence and a two-decade ban from leaving the country, giving interviews or making movies. As he eats his flatbread, Panahi, who has thick, dark eyebrows and a face that looks kneaded from dough, is awaiting word on his appeal to the state Supreme Court, a body not known for its generous clemency. To fill the time, he calls over his buddy, the documentarian Mojtaba Mirtahmasb, to film him waiting. After all, he can’t handle the camera himself, lest he be accused of directing. Confined to his apartment, there is little for Panahi to do. He
to quell that compulsion. Grading such a project seems trivial, especially considering how it got to us, smuggled out of Iran on a flash drive hidden in a birthday cake. The fact we’re able to see it at all is a triumph. But this “effort,” as it’s referred to in the credits, isn’t just a sly middle finger to the ruling theocracy. It is also a philosophical query: What is a film? It’s a question that’s been asked since at least the French New Wave, but Godard never pondered the notion while facing jail. In Film, Panahi—whose movies, like that of most directors in Iran, are more allegorical than inflamed—seems to regard his predicament with a sense of bemusement. Though he doesn’t say so, he takes it as a kind of challenge. Can’t make a movie? Let’s make something else, then. It is almost illusory: While it often looks like he’s just whiling away the hours, what Panahi is actually doing is feeling around the restrictions imposed on him, playing with form and searching for a loophole. At one point, he begins discussing one of his unfilmed screenplays. On a whim, and probably out of boredom, he decides to lay tape down on the floor and block out the script by himself. After a few minutes, he grows exasperated. “If we can tell a film,” he says, “then why make a film?” He storms out of the room.
IT IS NOT A FILM, BECAUSE IT IS SOMETHING MORE: A WORK OF PASSIVE-RESISTANT PROTEST. feeds his daughter’s pet iguana. He orders takeout. He refuses to dog-sit for a neighbor. He watches the news. What he is not doing—because, of course, it would violate the terms of his conviction—is making a movie. Under the circumstances, the mundanity of This Is Not a Film becomes a daring provocation. It is not a film, because it is something more: a work of passive-resistant protest. To judge the movie on the criteria of a conventional documentary would miss the point. If it is dull in spots, that is partially the idea. Shot clandestinely over a week and a half and edited to appear as a single day, the intent of the non-film (let’s call it a “video diary”) is to show a creative mind in an unnatural state of idle and to prove, by its very existence, that an artist’s drive to create overrides anything a government can do
It is a tragic moment of realization. But Panahi is a filmmaker, and one way or another, a film is going to get made. As Mirtahmasb leaves for the night, the apartment’s maintenance man arrives to collect the trash. Panahi can’t help himself: He grabs the camera and follows the custodian into the elevator, interviewing him about his life. Eventually, they venture into the building’s courtyard. It is Fireworks Wednesday, the Iranian New Year tradition, which President Ahmadinejad recently denounced as unreligious. People are celebrating anyway. Stuck behind the gate, Panahi still manages to capture an extraordinary image, of the streets literally burning with defiance. Art, as always, finds a way. A SEE IT: This Is Not a Film opens Friday at Hollywood Theatre.
Willamette Week MAY 30, 2012 wweek.com
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MAY 30-JUNE 5
that openly questioned its own existence, wondering—aloud—why anyone would want to watch a film about a killer tire. Similarly, Cabin questions the use of the slasher flick, with its ever-revolving casts of stupid kids making stupid decisions and getting their stupid heads snared in bear traps. Its response is to throw the whole institution out. In its exhilarating, blood-smeared climax, the movie sends enough horror clichés flying at the screen to give fanboys an aneurysm, and it feels like one great, giant purge—the end of horror as we know it. And really, after witnessing a dude get stabbed through the chest by a unicorn, what else is there to even see? Oh no, I’ve said too much. R. MATTHEW SINGER. Call theaters for showtimes.
Bully
B Hell is other children, as anyone who came of age in the public school system is well aware. For the average kid, absorbing cruelty from one’s peers is just an accepted part of growing up. In his much-discussed documentary on bullying in U.S. schools, Bully director Lee Hirsch doesn’t attempt to explain the brutal nature of adolescence. He merely films it. To do much more would exceed the scope of a 99-minute movie. Like any social ill, bullying cuts to the cancerous heart of American culture. It’s an issue that touches on everything from the erosion of school funding to media desensitization. Instead of rolling out statistics and a parade of talking heads, Hirsch simply turns the camera on and lets the abuse speak for itself. To some, that might sound overly reductive. It’s a fair criticism. Often, the film starts discussions that Hirsch’s dedication to nonconfrontation won’t allow it to finish. But if Bully understands anything, it’s the visceral power of human experience. In simply giving voice to the victims, the film generates enormous empathy. Still, you can’t help wishing that Hirsch, like the kids he observes, would push back once in a while. MATTHEW SINGER. Living Room Theaters.
Chernobyl Diaries
Creepy shit happens at a nuclear fallout site. Who knew? Not screened by WW press deadlines. R. Call theaters for showtimes.
Chimpanzee
The life and times of a presumably adorable 3-year-old chimp, narrated by fellow simian Tim Allen. Not screened for critics. G. Call theaters for showtimes.
Dark Shadows
C+ Tim Burton takes a lot of guff. Admittedly, much of it is justified. Any director brazen enough to think the world was clamoring for a mallgoth interpretation of Charlie and the Chocolate Factory is clearly jumping his own train. But the knee-jerk critical reaction these days to any film bearing his name is snickering derision. There’s something unfair about that kind of groupthink. All this probably reads as buildup to a glowing review of his newest project and a declaration that classic Tim Burton is back to silence the haters. Not quite. Dark Shadows, his adaptation of the ’60s cult television drama, is a minor Burton, neither grazing the highs of Beetlejuice and Edward Scissorhands nor wallowing in the muck of his rancid Planet of the Apes remake. Visually, Burton can still make eyes go wide, but his mall-goth spectacle isn’t spectacular enough here to compensate for the film’s utter lack of focus. Although intermittently fun, Dark Shadows ends up reminding of another of Burton’s adaptations: It’s sleepy and hollow. MATTHEW SINGER. Call theaters for showtimes.
The Deep Blue Sea
B Not to be confused with the movie
in which Samuel L. Jackson got eaten by a motherfucking shark, this Deep Blue Sea is about a woman devoured by something else entirely: adulterous lust. It’s probably no coincidence that her name is Hester (Rachel Weisz). Trapped in a passionless marriage, she begins an affair with a handsome flyboy (Tom Hiddleston), and the guilt
46
drives her to attempt suicide. Then things really go downhill. Adapting Terence Rattigan’s 1952 play, Terence Davies gives the postwar British drama a gauzy, painterly translation, but this is an actors’ film. Weisz burns radiantly even while playing a woman whose light is slowly being snuffed. As her betrayed husband, Simon Russell Beale looks like a wounded, declawed polar bear; his sympathy is well-earned. And Hiddleston is tremendously amusing as Hester’s dashingly dim lover. His finest moment comes in the middle of an argument at a museum over his lack of culture, ending with him stomping off in a huff. “I’m going to see the Impressionists!” he shouts. The best scene is a euphemistic squabble between Hester and her wealthy mother-in-law (Barbara Jefford). “Beware of passion, Hester,” she warns. “It always leads somewhere ugly.” And then, of course, it does. MATTHEW SINGER. Living Room Theaters.
here so much as a two-plus-hour crawl through a disintegrating relationship with intermittent moments of unrelated comedy occurring around it. Somewhere, there’s a wall in desperate need of a scrub-down because of all the shit Segel and Stoller tossed against it. A few things stick, but mostly, the non-sequiturs and loose improvisation just makes every scene go longer than it needs to. Even Stoller, who directs, can’t keep up with everything, losing track of characters and narrative threads and the various injuries suffered by the cast. This is a movie where Emily Blunt gets shot in the thigh with a crossbow and the incident is never brought up again. On the plus side: Every scene involving Segel sporting mutton chops? Pure gold. R. MATTHEW SINGER. Call theaters for showtimes.
The Dictator
Norwegian thriller Headhunters finds its protagonist, a corporate recruiting agent named Roger Brown (Aksel Hennie), desperately navigating a rainslicked road on the rural outskirts of Oslo. He’s behind the wheel of a tractor with a pit bull impaled on its forks, clad in nothing but underwear and human excrement. Adapted from a book by Jo Nesbø, Morten Tyldum’s Headhunters initially portrays itself as something much less unsavory. Its opening moments tease a sleek heist picture: Roger’s secondary occupation is art theft, and the film begins with a primer on the rules of that particular game. Then Roger discovers his partner’s lifeless body in his garage, and the film turns, on a dime, into a bloodstained, shit-caked, bruisedblack comedy of mounting indignities resembling Martin Scorsese’s After Hours. Bitten, stabbed, sprayed with bullets and rammed off a cliff by a semi truck while pinned between a pair of overweight cops in the back of a police car, Roger crawls from the wreckage of his life not exactly a changed man but a man who’s finally earned the respect he’s always assumed he deserved. Hennie transforms him into the rarest of heroes: the douchebag worth rooting for. R. MATTHEW SINGER. Living Room Theaters, Hollywood Theatre.
B- The most notable thing about the new Sacha Baron Cohen movie is how quaint it seems. In The Dictator, Cohen is a North African despot named Admiral General Aladeen who loses his signature beard and unintentionally goes into hiding in New York as, well, Sacha Baron Cohen. It’s an obvious riff on Chaplin’s The Great Dictator, though it scans like a screwball comedy from an even earlier era—albeit one in which the balls are smashed more than screwed. So, yes, while the film is Cohen’s first scripted effort since 2002’s near-unwatchable Ali G Indahouse, it features the same kind of scatological shocks found in the confrontational situationism of Borat and Bruno. Those bits, however, feel more strained in this context than the conventional gags based in wordplay, satire and misunderstanding. To the end, Cohen meshes well with Jason Mantzoukas (Rafi, television’s greatest dirtbag, on FX’s The League), playing Chemical Ali to his displaced Saddam, and the two are particularly good in a scene in which a conversation during helicopter ride over Manhattan is misconstrued as a terrorist plot. Where does a provocateur go when he’s all out of provocation? In the case of a talent like Cohen, anywhere he wants, though hopefully it’s down the road with less dick shots. MATTHEW SINGER. Call theaters for showtimes.
First Position
B According to one expert in First
Position, the keys to making it in the cutthroat world of ballet are “body, training, passion, personality.” Freshman director Bess Kargman manages to find six dancers who possess all four—and none is old enough to vote. As she chronicles the dancers’ preparation for the prestigious Youth America Grand Prix in New York, Kargman maintains an inspirational tone, even when delving into the harsher side of ballet life. Questioning isn’t Kargman’s objective at any point in First Position. It’s merely to show the fruits of youthful ambition. That’s fine enough to make a compelling documentary, especially when the payoff is a series of dazzling performances. Still, our eyebrows are raised and never really come down. An issue the film does address, in some small measure, is whether the intense dedication to forging a career is robbing these kids of a normal adolescence. “I think I’ve had the right amount of ballet and childhood,” contends Miko, 12. But like all of Kargman’s subjects, she displays a striking maturity that’s at once endearing and disconcerting. MATTHEW SINGER. Cinema 21.
The Five-Year Engagement
C- Quite an interesting experiment Jason Segel and Nicholas Stoller have cooked up here: A movie called The Five-Year Engagement that plays out in real time. At least, that’s what it feels like. Cashing in the creative capital earned from 2008’s Forgetting Sarah Marshall—somewhat surprisingly, the product of the Apatow hit factory that’s aged the best—and their triumphant resurrection of the Muppets franchise, the writing-acting-directing duo haven’t made a romantic comedy
Willamette Week MAY 30, 2012 wweek.com
Headhunters
A- A high point of nerve-wracked
Hide Away
C+ This movie, about Josh Lucas
healing from dead-family sadness by living on a Great Lakes sailboat, looks like the work of Thomas Kinkade. Then it starts to suggest the life of Thomas Kinkade. “You shouldn’t mix alcohol and cold medicine,” a checkout girl warns Lucas, but does he listen? No, because his family is dead, and he has a lot of time to kill on this fucking boat! So the movie, which progresses about as slowly as a boat without a motor (Lucas lives on a boat that hasn’t got a motor), chiefly serves as a reminder that Josh Lucas can be distinguished from Bradley Cooper or Matthew McConaughey by his wide blue peepers. They go beady and crazed once he’s started mixing his bottles and wandering shirtless around the deck. It’s a quieter, less distressed picture than these wild images might suggest, soothing as tea in its therapeutic intent, until a terrible thing happens. James Cromwell arrives and says, “Bagpipes can save a man’s soul, laddie.” Why, God? Why? AARON MESH. Living Room Theaters.
High School
A high-school valedictorian runs afoul of the principal after getting high for the first time. Whoa, the title has, like, a double meaning and shit, man. Not screened by WW press deadlines, though we presume to have liked it better when it was called every ’80s teen movie ever. Call theaters for showtimes.
The Hunger Games
A A few assurances for anxious
Hunger Games book fans: Actress Jennifer Lawrence doesn’t ruin bowwielding heroine Katniss. Death still comes by genetically engineered dog, spear and swarm of hallucinationinducing bees. There is no way in hell anybody will mistake your beloved young-adult “girl battles dystopian
regime” series for Twilight. In fact, director Gary Ross’ movie version of The Hunger Games is more than a bigscreen cash grab. It’s a tense drama with bursts of raw emotion and unsettling (if mostly unseen) violence. In other words: It’s a good movie all by itself.In an era where YA books are often boiled down beyond recognition for film treatment, The Hunger Games is a vivid KO that stays mostly true to great source material. It’s like The Running Man…but with high-schoolers killing each other with bricks and swords in the woods. PG-13. KELLY CLARKE. Call theaters for showtimes.
Jiro Dreams of Sushi
B+ Nothing moves quickly in the
world of Jiro Ono. Considered by many to be the best sushi chef in the world,
Jiro has been practicing his art for 75 years. At age 85, he still works every day, tirelessly and meticulously, in his tiny 10-seat restaurant in a Tokyo subway station. His apprentices work 10 years before they’re allowed to cook an egg. They spend 40 minutes every day massaging octopus tentacles. His eldest son, aged 50, works obediently under his father’s exacting command until the day he may inherit the business. Jiro’s customers book months in advance and pay upward of $350 for his set 20-piece sushi meals; each item—a morsel of rice, a sliver of fish—is constructed tenderly with a few swift hand movements and a brush of soy sauce. Many admit to being scared to eat under his unwaveringly stern gaze. “I feel ecstatic all day,” he says, without breaking a smile. Like
REVIEW THE WEINSTEIN CO.
MOVIES
PUFF, PUFF, PASS: François Cluzet and Omar Sy in The Intouchables.
THE INTOUCHABLES Can there be a more insulting “fish out of water” trope than putting a bored black man in front of a chamber orchestra, then holding for laughs? It’s where poor Omar Sy finds himself as Driss, the street-savvy, reluctant caretaker of Philippe (François Cluzet), a charming and disenchanted quadriplegic. Neither is happy to be there, but at the opening strains of Vivaldi’s Four Seasons, Driss is delighted. “Everyone knows this!” he exclaims. “It’s what plays when you’re on hold with the benefits line!” Driss then offers his own worldview to the room by playing (I kid you not) a little Earth, Wind and Fire. The stuffy, moneyed guests have their minds duly blown by the 6-foot Senegalese man re-enacting Soul Train for their edification. To be fair, French cinema has been less plagued by minstrels and blackface. American audiences have much more baggage, knowing there has been a very deliberate effort to snuff out typecast racism in our films (although we are still grappling with the unfortunate “white lady saves the day” genre). In France, The Intouchables is experiencing record-breaking ticket sales. Stateside, there has been a bit more pearl-clutching, but for good reason. Keep in mind that The Intouchables is based on a true story—one in which the caretaker was Arab. Why would writer-director Olivier Nakache feel compelled to change Driss’ ethnic background? Are Arab stereotypes harder to mine for laughs? Is the French-Arab condition too complicated to joke about on a superficial level? Yet the film doesn’t collapse on itself, thanks to the palpable chemistry between Cluzet and Sy. The victim of a paragliding accident, wealthy Philippe is so bored with his situation that he has nothing to gain from standing on ceremony with Driss. Instead, he takes pleasure in Driss’ company and comes to admire his caretaker. Unlike the movie’s tone, there is no condescension here. Driss, for his part, is a joy to be around, lowbrow humor notwithstanding. In service to Philippe (and the plot), his brash ex-con ways lead him to push his employer and friend to take greater risks in life and love. It’s a testament to Sy’s comedic timing that he doesn’t come off as a caricature, even if this seems to have been Nakache’s intention. Thankfully, this charming duo is given a few moments to have fun with, in the form of the high-speed chase in a Maserati that bookends the film. It’s a much-deserved break for all involved. SAUNDRA SORENSON. It’s the casually racist buddy comedy of the year!
C
SEE IT: The Intouchables opens Friday at Fox Tower.
MAY 30-JUNE 5
MOVIES DIMENSION FILMS
the sushi master himself, the documentary Jiro Dreams of Sushi moves a bit ponderously and occasionally repetitively. But as Jiro would be the first to tell you, patience and perseverance will pay off in the end. PG. RUTH BROWN. Living Room Theaters.
Jon Jost Film Series
[TWO NIGHTS ONLY, REVIVAL, DIRECTOR ATTENDING] Globetrotting independent film pioneer Jon Jost presents a pair of double features: 1977’s “terminal road movie” Last Chants for a Slow Dance (Dead End) and 2008’s Parable, a farcical critique of Bush’s America (7 pm and 9 pm Thursday, May 31); the improvised 2006 tone poem The Long Shadow (6:30 pm Sunday, June 3) and his latest work, the meditative Images of a Lost City (6:30 pm and 8:15 pm Sunday, June 3). NW Film Center’s Whitsell Auditorium. Jost leads workshops on digital production June 2-3. Check nwfilm.org for more information.
The Lucky One
C- Romance novel czar Nicholas Sparks’ film adaptations aren’t terrible; they’re just usually scripted and shot for people with bad emotional eyesight. Every plot point is over-emphasized and backlit with the hazy gleam of autumn sunlight to alert you to the fact that feelings are happening. After returning home from his third tour of Iraq, Marine Logan (Zac Efron, yes, as a Marine) doesn’t get PTSD counseling: He walks from Colorado to Louisiana to track down the woman pictured in the lucky photo he found in a pile of war-strewn rubble. Because he’s hurting and confused. Get it? His standoffish mystery blonde, Beth (Taylor Schilling), turns out to run a dog kennel and wear nothing but sundresses and rubber boots. She doesn’t just cry, she tears at rosebushes and smashes pottery. Because she’s grieving. Get it? Beth’s ex-husband/token love obstacle, Keith, doesn’t frown; he furrows his brows and clenches his fists like a cartoon villain. Because he’s an abusive dickwad. Get it? Tiny moments of natural humor and sweetness bloom amid the rote drama before a truly asinine ending—involving a storm, a rickety tree house and Iraq friendly fire— wraps everything up with the biggest, dumbest bow imaginable. But mostly it’s just Efron using his newly gained 20 pounds of muscle to play Alpo beefcake, whispering cheeseball lines like, “You should be kissed every day, every hour, every minute.” Because that’s what sells movie tickets. Get it?. PG-13. KELLY CLARKE. Call theaters for showtimes.
Men in Black 3
C Nobody ever gave a shit about the Men in Black. Not the movie— in fact, the original is pretty great, a lean, awesomely ridiculous creature feature in the vein of Ghostbusters. The characters were wonderfully broad, with Will Smith playing the scrappy wiseass to Tommy Lee Jones’ sourpuss while they turned aliens into goop. We weren’t really asked to care about them as people, and it was perfect. A decade after the wack sequel, the prospect of resurrecting the original’s scattershot whimsy is a welcome idea, especially given the setup, which involves Smith going back in time to prevent a gnarly alien biker (a snarling Jemaine Clement) from assassinating Jones’ younger self (Josh Brolin, doing a frighteningly accurate and hysterical impression of his No Country for Old Men co-star), all along encountering everything from racist cops to Apollo 11 and Andy Warhol. But hey, what about Smith’s daddy issues? Or Jones’ relationship with Agent O? Or the father-son relationship forged between Smith and Jones? An even better question: Who gives a fuck about any of that? Director Barry Sonnenfeld does, and he lets it detract from the promising premise, wedging in forced emotion and pushing awesome Rick Baker-designed alien action to the
STRUCTURAL FURNISHINGS
an art event showcasing the works of Fortunato de Luna
PIRANHA 3DD background. PG-13. AP KRYZA. Call theaters for showtimes.
Michael Crichton Double Feature: Looker and Runaway
[ONE NIGHT ONLY, REVIVAL] Reanimated dinosaurs? Big whoop. In 1984, the Jurassic Park author wrote and directed Runaway, a sci-fi thriller pitting Tom Selleck against Gene friggin’ Simmons. Three years earlier, he also made Looker, starring Albert Finney as a plastic surgeon framed for murder. After those cinematic achievements, Crichton quit making movies and went on to become a major climate-change denier. It all makes so much more sense now. Hollywood Theatre. 9:30 Thursday, May 31.
My American Cousin
[ONE NIGHT ONLY, REVIVAL, DIRECTOR ATTENDING] In 1959, a buttoned-down Canadian girl’s entrance to womanhood is accelerated by a visit from her rebellious relative from the Great WheatColored South. Winner of the Canadian equivalent of the Best Picture Oscar at the 1985 Genie Awards. NW Film Center’s Whitsell Auditorium. 7 pm Monday, June 4.
Otter 501
C “I wish there was less poop-
shoveling and more otter time,” laments Katie Pofahl, the lead character in this nature documentary with a twist. Don’t we all. The freshwater marine biologist is cast in a partially fictionalized version of a real-life rescue of an abandoned sea otter pup, tagged “501” by the Sea Otter Rescue and Care unit of the Monterey Bay Aquarium in California. Instead of focusing on the adorable otter’s rehabilitation, the filmmakers decide to tell the story via Katie’s incessant Facebook video diaries. Using social media as a narrative device to connect the Internet-savvy generation to an animal’s plight is a misguided concept, given the popularity of straightforward nature shows such as Frozen Planet and Planet Earth. If the filmmakers had put the focus on the tiny, fuzzy pup drinking out of a bottle, Otter 501 would have been entirely enjoyable. Instead, the audience has to listen to Katie ponder life’s difficult questions, such as, “When an otter dies, does anyone really care?” CAITLIN PEEL. Fox Tower.
Pee-wee’s Big Adventure
[TWO DAYS ONLY, REVIVAL] An unemployed man-child who wears tight pants and is obsessed with his bicycle? Sounds like a typical Portlander. No surprise, then, to see Pee-wee’s Big Adventure receive the Lebowski Fest treatment via the fourth annual Pee-wee’s Big Weekend, a celebration of the 1985 Tim Burton flick that brought the irreverent genius of Paul Reubens’ stage act and later kids’ TV show to the big screen for the first and, as far as everyone is concerned, only time. (Big Top Pee-wee? Never heard of it.) Come in costume,
and tell ’em Large Marge sent ya. Hollywood Theatre. 9:45 pm Friday, June 1; 2 pm Saturday, June 2.
Piranha 3DD
In the trailer alone, you’ve got Christopher Lloyd wigging out, Ving Rhames shooting killer fish with his artificial legs, David Hasselhoff playing himself, “water-certified strippers,” and a vagina piranha. Not screened for critics, but we don’t need to see the whole movie to recommend it. Call theaters for showtimes.
The Pirates! Band of Misfits
B After detouring into conven-
tional CGI with last year’s Arthur Christmas, Aardman Studios—home to Wallace and Gromit and 2000’s Chicken Run—returns to the vibrant claymation and madcap humor of founder and director Peter Lord. With The Pirates!, Lord leaves the English countryside for a romp on the high seas, but he maintains his distinctly British sense of silliness. Following a not-so-fearsome pirate captain named the Pirate Captain (Hugh Grant, whose droll comedic timing is long underrated) on his quest to win the top prize at the Pirate of the Year Awards, the film fully earns its title’s exclamation point with whiz-bang action sequences to rival Spielberg’s similarly globetrotting Adventures of Tintin, the most fun involving a runaway bathtub, an Easter Island statue and a monkey in disguise. The jokes and visual gags, deployed at the expense of swashbuckling clichés (and Charles Darwin), fly by at an equally breakneck pace, with even more lurking in the background. Speaking of, stick around for the end credits, if only to see how the filmmakers refer to the Captain’s unnamed crew. Try to figure out which one is “the Surprisingly Curvaceous Pirate.” PG. MATTHEW SINGER. Call theaters for showtimes.
Polisse C I know it verges on useless trivia,
and I can’t imagine Polisse’s target audience (middlebrow chin-scratchers) will experience any geeky frisson at learning this fact, but I’d be remiss in my duties if I failed to mention that this French slice-ofcop-life drama was directed and cowritten by the woman who played the dildo-ish blue diva in The Fifth Element. That this tidbit excites me more than anything in the film itself should give you some idea of the perfectly passable mediocrity we’re dealing with here. Polisse (translation: “cops who drink wine at lunch”) dives into the day-today world of a child protection unit in Paris to probe the blurred area where a career’s routine rubs up against the extracurricular demands of life. Erstwhile Besson alien Maïwenn, who has no need for a last name, smartly eschews the expected SVU-style suspense—we’ve all had enough of that, I think—opting instead for a sketch of life as it is
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lived with the knuckleheads one has to see every day at work. And like the job that claims too many of your waking hours, Polisse is rife with nubbins of drama that please and pester as they pass but ultimately leave no trace. CHRIS STAMM. Living Room Theaters.
Re-Run Theater Presents Girl Power
[ONE NIGHT ONLY] Samples from the feminine end of the Saturdaymorning cartoon spectrum, including Josie and the Pussycats, Jem and the Holograms and, of course, Sid and Marty Krofft’s Electra Woman and Dyna Girl. Wait, what? Hollywood Theatre. 7:30 pm Wednesday, May 30.
Salmon Fishing in the Yemen
D The problems of three little people add up to a pile of dead salmon. PG-13. AARON MESH. Living Room Theaters.
Snow White & the Huntsman
VISIT WWW.GOFOBO.COM/RSVP AND ENTER THE CODE WWEEKL7ZV FOR A CHANCE TO WIN TICKETS TO THE ADVANCE SCREENING.
E-mail Portland@43kix.com with your name and MAD WILL in the subject line for your chance to win a copy of the Madagascar 3: The Video Game! “Big Top Fun – Madagascar Style!” Madagascar 3 © 2012 DreamWorks Animation L.L.C.D3Publisher and its logo are trademarks or registered trademarks of D3Publisher of America, Inc. Nintendo trademarks and copyrights are properties of Nintendo. © 2011 Nintendo. All other trademarks and trade names are the property of their respective owners. All rights reserved.
THIS FILM IS RATED PG. Please note: Passes are limited and will be distributed on a first come, first served basis while supplies last. No phone calls, please. Limit two passes per person. Eachpass admits one. Seating is not guaranteed. Arrive early. Theatre is not responsible for overbooking. This screening will be monitored for unauthorized recording. Byattending, you agree not to bring any audio or video recording device into the theatre (audio recording devices for credentialed press excepted) and consent to aphysical search of your belongings and person. Any attempted use of recording devices will result in immediate removal from the theatre, forfeiture, and may subject youto criminal and civil liability. Please allow additional time for heightened security. You can assist us by leaving all nonessential bags at home or in your vehicle.
IN THEATRES JUNE 8TH! MADAGASCARMOVIE.COM
WILLAMETTE WEEK - 4C WEDNESDAY 5/23/12 2 COL. (3.772) X 6.052" ALL.MD3-P.0523.WI
TV
Twihard: With a Princess. Not screened by WW press deadlines. Look for a review at wweek. com. PG-13. 99 West Drive-In, Cedar Hills, Clackamas, Eastport, Cornelius, Pioneer Place, City Center, Sherwood, Tigard, Wilsonville. Call theaters for additional showtimes.
Mads Mikkelsen is to Nicolas Winding Refn what Klaus Kinski was to Werner Herzog: the embodiment of the director’s severest conception of human nature. So it’s fitting that Mikkelsen—whom American audiences will recognize as a Bond villain from Casino Royale, and devotees of Refn’s unstintingly violent Danish films know as Tonny, the drug dealer with daddy issues in
Yellow Submarine
[FIVE NIGHTS ONLY, REVIVAL] Fucking Ringo. G. Clinton Street Theater. 7 pm and 9 pm FridayTuesday, June 1-5.
REVIEW
Sometimes a Great Notion
Think Like a Man
C Ah, failed synergy. Considering the source material is comedian Steve Harvey’s self-help entreaty that ladies not give out free milk (for at least 90 days), Think Like a Man almost succeeds as a faux-Altmanesque study of dating paranoia. A Los Angeles-area pick-up basketball team features every archetype of boyfriend Mr. Harvey would warn us about, each matched, at varying degrees of involvement, with a woman who is secretly steering the conversation according to Harvey’s brash advice. And really, it hardly matters that Harvey’s philosophy is equal opportunity in its sexism; the film clips along on the strength of a balanced cast and a few genuinely funny moments. The problem is Chris Brown. Any argument that this was a fair fight between the sexes is undermined by his tasteless casting as Alex, the quintessential man-to-avoid—not because he might leave you choked in his car, and not because he is a criminally arrogant hack with no appreciation for his undeserved second chances. It’s because, as Alex, he plays a graceless one-night stand who takes the coffee and runs. And just like that, the jokes become too cheap for what would otherwise have made a solid Brew Views screening. PG-13. SAUNDRA SORENSON. Call theaters for showtimes.
C- Adapting a self-help book into a romantic comedy is often a wasted opportunity. This year’s Think Like a Man perhaps did it better than the rest by using its actual source material to frame the plot. Similarly, What to Expect When You’re Expecting is already its own punchline, often serving as a prop to show (in countless other films) that a reluctant dad-to-be is accepting his fate. But director Kirk Jones adds little to the conversation, focusing only on the foibles of four somewhat ridiculous couples at various stages of fecundity: too-fertile Cameron Diaz and Matthew Morrison as a realityshow power-couple; Anna Kendrick and Chace Crawford as, I kid you not, competing food-truck owners, who are not fertile enough; Jennifer Lopez and Rodrigo Santoro, looking to adopt from Ethiopia; and WASP-y duo Elizabeth Banks and Ben Falcone,
Willamette Week MAY 30, 2012 wweek.com
Valhalla Rising
A [THREE NIGHTS ONLY, REVIVAL]
the first two chapters of the Pusher trilogy—stars in Valhalla Rising, Refn’s resounding Nordic answer to Aguirre, the Wrath of God. If that all sounds dismally academic, let’s boil it down: Valhalla Rising is a movie about Vikings who tear each other’s guts out, sail to America, and are slaughtered by the natives. Does that grab your attention? Then let me add that it immediately earns a place on the upper shelf of New World cautionary cinema, along with Aguirre, Cannibal Holocaust, Avatar and (naturally) Terrence Malick’s The New World. It is among the strongest, most elemental movies I have seen in years. AARON MESH. Fifth Avenue Cinema. 7 pm and 9:30 pm Friday-Saturday, June 1-2; 3 pm Sunday, June 3.
[FOUR NIGHTS ONLY, REVIVAL] A 35mm screening of Paul Newman’s 1970 adaptation of Ken Kesey’s great Oregon novel about a defiant family of loggers, filmed along the Oregon Coast. Hollywood Theatre. 7 pm Friday-Monday, June 1-4.
What to Expect When You’re Expecting
48
who are having to try harder than they expected. Meanwhile, a far funnier subplot–a Fight Club-esque group of dads who meet in the park–doesn’t get nearly enough screen time. They don’t dispense much wisdom on gestation either, but the chemistry between Thomas Lennon, Chris Rock and Rob Huebel is far stronger than what you’ll find between any of the expectant couples. SAUNDRA SORENSON. Call theaters for showtimes.
COLORWHEELMOVIE.COM
MOVIES
BROTHER/SISTER LOVERS: Alex Ross Perry and Carlen Altman in The Color Wheel.
THE COLOR WHEEL The opening credits of Alex Ross Perry’s The Color Wheel use the same swollen font the first edition of Portnoy’s Complaint had on its front cover. That’s no accident: Both works are young men’s épater le bourgeois things. You think Philip Roth’s hero had a troubled home life? Get a load of Colin (played by the director), who talks like Winnie the Pooh on an eight-ball. He opens the movie using racial jokes to persuade his girlfriend to give him a quickie, and minutes later tries to convince a backwoods motel clerk that he and his gorgeous sister JR (Carlen Altman) are actually a married couple, in no danger of violating the establishment’s anti-incest policies. Of course that gets us to thinking about Colin and JR in exactly that way, and of course that’s what the director wants stuck in our heads. In the next shot, he vomits. “You’ve always been a hot commodity in the world of perverts,” Colin tells his sis, in one of many ambiguously affectionate putdowns delivered in cramped spaces, as the two of them travel from Vermont to Boston to pick up her things from a journalism-prof ex. Somewhere, a scold is already damning Perry for taking the first step in normalizing the love that shares the same last name, and that sad puritan might or might not have a point. Certainly, The Color Wheel reminded me that Lolita is a road-trip book. This movie has the sunglasses, the jaded scavengers, and a roadside diner where the servers offer a hamburger with candles stuck in it, as they sing: “Happy birthday, dear patron.” The movie is somewhat funny and very discomfiting when it stays that intimately droll. (Its cringe factor makes Girls look like 2 Broke Girls.) It’s most hapless when it tries to be overtly shocking—in that way it’s like JR, who moans a bored “Ooh la la” with all the sophistication of Shirley Temple. But The Color Wheel is more often so creepily artless that it startles. Shot in black-andwhite 16 mm, with characters standing stiffly in symmetry, it looks like Francois Truffaut shot a script by Kevin Smith, or vice versa. Perry’s up to something way more deviant than his mumblecore peers, even if it isn’t any more pleasant to watch. Happy birthday, new talent. AARON MESH. It’s the incest comedy of the year!
B+ SEE IT: The Color Wheel screens at the NW Film Center’s Whitsell Auditorium at 7 and 9 pm Friday; 5, 7 and 9 pm Saturday; 4:30 pm Sunday, June 1-3.
MOVIES
JUNE 1-7
BREWVIEWS H I L A R Y B R O N W Y N G AY L E
09:20 PEE-WEE’S BIG ADVENTURE Fri-Sat 01:45 THE BLACK STALLION Sat 02:30 MAD MEN Sun 10:00 HISTORIC PRESERVATION LEAGUE: CHARLES PHOENIX Sun 03:00 HARD TO KILL Tue 07:30
Jobs for the Food and Drink Industry Staffing Solutions for Owners & Managers
Regal Fox Tower Stadium 10
HOW I LIVED WITH MY MOTHER: The title of Jeff, Who Lives at Home tells you a lot about what sort of movie this might be: downtrodden, acerbic, commuting between office parks and Mom’s basement. And for the first 45 minutes, it confirms those suspicions in spades. Jason Segel plays Jeff, Baton Rouge bong aficionado and holy fool. It often seems like he’s using acting tips garnered from one of the more slack-jawed, tattered Muppets. Ed Helms, as his goateed brother Pat, is merely doing a Danny McBride imitation. Then the movie makes an unlikely pirouette, and becomes something bewitching and lovely. Are directors Mark and Jay Duplass suggesting, after all this grungy stasis, that some kind of change is possible? They are, and the movie walks boldly through that door. AARON MESH. Showing at: Laurelhurst. Best paired with: Lucky Lab Super Dog IPA. Also showing: Total Recall (Bagdad. 11 pm Friday, June 1.)
807 Lloyd Center 10 and IMAX
1510 NE Multnomah Blvd., 800-326-3264 MARVEL’S THE AVENGERS Wed 12:15, 03:35, 07:05, 10:25 MARVEL’S THE AVENGERS 3D Wed 11:45, 03:05, 06:35, 09:55 THE DICTATOR Wed 12:20, 12:50, 02:30, 03:00, 04:50, 05:20, 07:50, 09:35, 10:10 DARK SHADOWS Wed 12:30, 03:15, 06:55, 09:40 BATTLESHIP Wed 12:00, 12:35, 03:25, 03:55, 06:45, 07:25, 09:50, 10:30 MEN IN BLACK 3 Wed 12:05, 02:40, 03:45, 05:15, 08:00, 09:20, 10:40 MEN IN BLACK 3 3D Wed 01:00, 06:30 MEN IN BLACK 3: AN IMAX 3D EXPERIENCE Wed 11:30, 02:05, 04:40, 07:20, 10:00
Regal Lloyd Mall 8 Cinema
2320 Lloyd Center Mall, 800-326-3264 THE CABIN IN THE WOODS Wed 12:20, 06:35 MARVEL’S THE AVENGERS 3D Wed 03:10 THE HUNGER GAMES Wed 11:55, 03:05, 06:05, 09:15 MARVEL’S THE AVENGERS Wed 12:05, 06:15, 09:20 WHAT TO EXPECT WHEN YOU’RE EXPECTING Wed 12:15, 03:15, 06:20, 08:55 THINK LIKE A MAN Wed 03:25, 09:05 Wed MEN IN BLACK 3 Wed 12:30, 03:00, 06:30, 09:30 THE PIRATES! BAND OF MISFITS Wed 03:30 THE BEST EXOTIC MARIGOLD HOTEL Wed 12:10, 03:20, 06:10, 09:10 CHERNOBYL DIARIES Wed 12:25, 03:35, 06:25, 09:25 MEN IN BLACK 3 3D Wed 12:00, 06:00, 09:00
Regal Division Street Stadium 13
16603 SE Division St., 800-326-3264 THE HUNGER GAMES Wed 11:35, 09:30 WHAT TO EXPECT WHEN YOU’RE EXPECTING Wed 11:40,
02:20, 04:55, 07:40, 10:15 THINK LIKE A MAN Wed 02:35 MARVEL’S THE AVENGERS Wed 12:20, 02:45, 03:45, 06:15, 07:15, 10:30 MARVEL’S THE AVENGERS 3D Wed 11:50, 03:15, 06:45, 09:55 THE DICTATOR Wed 12:35, 02:50, 05:05, 07:50, 10:15 DARK SHADOWS Wed 11:35, 02:15, 04:55, 07:35, 10:25 BATTLESHIP Wed 12:10, 12:40, 03:40, 04:15, 06:50, 07:20, 09:50, 10:20 MEN IN BLACK 3 Wed 12:00, 12:30, 01:45, 04:20, 05:25, 07:00, 08:00, 09:10, 09:40 MEN IN BLACK 3 3D Wed 11:30, 02:15, 03:30, 04:50, 06:30, 07:30, 10:10 CHERNOBYL DIARIES Wed 12:25, 02:40, 05:00, 07:45, 10:05
Bagdad Theater and Pub
3702 SE Hawthorne Blvd., 503-249-7474 DR. SEUSS’ THE LORAX FriSat-Sun-Tue-Wed 06:00 21 JUMP STREET Sat-Sun-TueWed 08:15 TOTAL RECALL Fri 11:00 NO FILMS SHOWING TODAY Mon
Cinema 21
616 NW 21st Ave., 503-223-4515 FIRST POSITION Wed 04:45, 07:00, 08:55
Clinton Street Theater
2522 SE Clinton St., 503238-8899 THE CITY DARK Wed 05:00, 07:00, 09:00 YELLOW SUBMARINE FriSat-Sun-Mon 06:00, 08:00 REPO! THE GENETIC OPERA Fri 11:30 THE ROCKY HORROR PICTURE SHOW Sat 11:40 NO FILMS SHOWING TODAY Tue
Laurelhurst Theatre 2735 E Burnside St., 503-232-5511 12 ANGRY MEN Wed 07:00 21 JUMP STREET Fri-Sat-Sun-Mon-TueWed 07:15, 09:40 SAFE
Wed 09:25 THE ARTIST Fri-Sat-Sun-Mon-TueWed 06:50 JEFF, WHO LIVES AT HOME Fri-SatSun-Mon-Tue-Wed 09:00 JIRO DREAMS OF SUSHI Fri-Sat-Sun-Mon-Tue-Wed 07:30 FRIENDS WITH KIDS Fri-Sat-Sun-Mon-Tue-Wed 09:15 THE SAND PEBBLES Fri-Sat-Sun-Mon-Tue 06:15 GOD BLESS AMERICA FriSat-Sun-Mon-Tue 09:45 MIRROR MIRROR Sat-Sun 01:30 DR. SEUSS’ THE LORAX Sat-Sun 02:00
Roseway Theatre
7229 NE Sandy Blvd., 503-282-2898 MEN IN BLACK 3 3D Wed 02:30, 05:15, 08:00
CineMagic Theatre 2021 SE Hawthorne Blvd., 503-231-7919 MEN IN BLACK 3 Wed 05:30, 07:45, 09:55
Kennedy School Theater
5736 NE 33rd Ave., 503-249-7474 21 JUMP STREET Fri-SatSun-Mon-Tue-Wed 02:30, 07:35 DR. SEUSS’ THE LORAX Fri-Sat-Sun-MonWed 05:30 THE RAVEN Wed 09:55 THE THREE STOOGES Fri-Sat-SunMon-Tue 10:00 MIRROR MIRROR Sat-Sun 12:30, 05:30 THE ARTIST Tue 02:30
Fifth Avenue Cinemas
510 SW Hall St., 503-7253551 VALHALLA RISING Fri-SatSun 03:00
Hollywood Theatre
4122 NE Sandy Blvd., 503-281-4215 HIT SO HARD Wed 07:15 HEADHUNTERS Fri-Sat-Sun-Mon-TueWed 07:10, 09:20 GOD BLESS AMERICA Wed 09:40 RE-RUN THEATER PRESENTS GIRL POWER Wed 07:30 TWIN PEAKS Wed 09:30 RUNAWAY LOOKER THIS IS NOT A FILM Fri-Sat-Sun-Mon-Tue 07:15, 09:00 SOMETIMES A GREAT NOTION Fri-SatSun-Mon 07:00 BERNIE Fri-Sat-Sun-Mon-Tue 07:20,
846 SW Park Ave., 800-326-3264 THE HUNGER GAMES Wed 12:05, 03:00, 06:55, 09:45 THE CABIN IN THE WOODS Wed 12:00, 04:45, 07:30, 09:50 THE FIVE-YEAR ENGAGEMENT Wed 12:35, 04:30, 07:20, 09:55 WHAT TO EXPECT WHEN YOU’RE EXPECTING Wed 12:15, 02:45, 05:20, 07:40, 10:00 THE BEST EXOTIC MARIGOLD HOTEL Wed 12:00, 12:40, 02:10, 02:35, 04:20, 05:15, 07:05, 07:50, 09:40 CHERNOBYL DIARIES Wed 12:25, 02:40, 04:55, 07:25, 09:35 MIGHTY FINE Wed 12:30, 02:30, 04:50, 07:10, 09:30 BERNIE Wed 12:20, 02:50, 05:05, 07:35, 10:00
NW Film Center’s Whitsell Auditorium
2H.indd 1
SKIDMORE PRIZE 2012!
8/22/11 2:54 PM
1219 SW Park Ave., 503-221-1156 LAST CHANTS FOR A SLOW DANCE PARABLE THE COLOR WHEEL FriSat-Sun 04:30 LA LUNGA OMBRA Sun 06:30 MY AMERICAN COUSIN Mon 07:00
Pioneer Place Stadium 6
340 SW Morrison St., 800-326-3264 MARVEL’S THE AVENGERS Wed 12:30, 10:20 MARVEL’S THE AVENGERS 3D Wed 01:00, 03:45, 07:05 THE DICTATOR Wed 12:40, 03:50, 07:15, 09:50 DARK SHADOWS Wed 12:50, 04:10, 07:10, 10:05 BATTLESHIP Wed 01:20, 10:15 MEN IN BLACK 3 Wed 12:45, 04:05, 07:00, 10:00 MEN IN BLACK 3 3D Wed 04:30, 07:30, 10:30 SNOW WHITE & THE HUNTSMAN Fri-Sat-Sun-Mon-Tue-Wed MADAGASCAR 3: EUROPE’S MOST WANTED Fri-SatSun-Mon-Tue-Wed
Academy Theater
7818 SE Stark St., 503-252-0500 MIRROR MIRROR Wed 04:30 21 JUMP STREET Wed 06:45, 09:10 DR. SEUSS’ THE LORAX Wed 05:45 JEFF, WHO LIVES AT HOME Wed 07:45, 09:35 THE SECRET WORLD OF ARRIETTY Wed 05:30 THE ARTIST Wed 07:35 THE RAID: REDEMPTION Wed 09:45
Living Room Theaters
341 SW 10th Ave., 971-222-2010 CHINESE TAKE-AWAY Wed 11:50, 02:20, 04:30, 06:50, 09:10 HEADHUNTERS Wed 12:00, 02:50, 05:10, 07:45, 09:50 BULLY Wed 12:10, 02:30, 07:05, 09:30 SALMON FISHING IN THE YEMEN Wed 11:40, 02:10, 04:50, 07:20, 09:40 THE PERFECT FAMILY Wed 12:20, 05:00, 09:55 THE DEEP BLUE SEA Wed 12:30, 05:30, 07:35, 09:45 JIRO DREAMS OF SUSHI Wed 03:00 PINA 3D Wed 02:40, 04:40 SUBJECT TO CHANGE. CALL THEATERS OR VISIT WWEEK.COM/MOVIETIMES FOR THE MOST UP-TODATE INFORMATION FRIDAY-THURSDAY, JUNE 1-7, UNLESS OTHERWISE INDICATED
2011 Skidmore Prize winner Temmecha Turner, Friends of the Children
2012 Skidmore Prize
Applications Open June 1st! Nominate someone inspiring 35 or under for the Skidmore Prize at wweek.com/skidmoreprize.com Follow us: facebook.com/giveguide twitter.com/giveguide youtube.com/giveguide Willamette Week MAY 30, 2012 wweek.com
49
CLASSIFIEDS DIRECTORY 50
WELLNESS
51
STUFF
50 MUSICIANS’ MARKET 51
TO PLACE AN AD CONTACT:
MOTOR
ASHLEE HORTON
50
JOBS
50 PETS
51
52
MATCHMAKER
53
54
503-445-3647 • ahorton@wweek.com
TRACY BETTS
FREE WILL ASTROLOGY
JOBS
BODYWORK
CAREER TRAINING
MANSCAPING
OLCC Online Alcohol Server Permit Class $15
Bodyhair grooming M4M. Discrete quality service. 503-841-0385 by appointment.
BULLETIN BOARD JONESIN’
51
SERVICES
54 GETAWAYS & REAL ESTATE
503-445-2757 • tbetts@wweek.com
WELLNESS
PETS
Julio
Bartender Tested ~ OLCC Approved “~So Simple…Your Boss Could Do It~” @ www.happyhourtraining.com
Totally Relaxing Massage
COUNSELING
Featuring Swedish, deep tissue and sports techniques by a male therapist. Conveniently located, affordable, and preferring male clientele at this time. #5968 By appointment Tim 503.575.0356
MUSICIANS MARKET FOR FREE ADS in 'Musicians Wanted,' 'Musicians Available' & 'Instruments for Sale' go to portland.backpage.com and submit ads online. Ads taken over the phone in these categories cost $5.
INSTRUMENTS FOR SALE TRADE UP MUSIC - Buying, selling, instruments of every shape and size. Call 503-236-8800. Open 11am-7pm every day. 4701 SE Division & 1834 NE Alberta. www.tradeupmusic.com
ACTIVISM Organize The 99% Working America / AFL-CIO is hiring field staff to organize for a just economy & the 99%! Working America is an Equal Opportunity Employer Committed to Diversity. Women, LGBT & People of Color Encouraged to Apply. $11.44/Hr + Bens Apply Today: 503.224.1004
GENERAL BARTENDING
$$300/day potential. No experience necessary. Training available. 800-965-6520 x206.
MUSIC LESSONS MASSAGE (LICENSED)
GUITAR LESSONS Personalized instruction for over 15yrs. Adults & children. Beginner through advanced. www.danielnoland.com 503-546-3137
D A V I D F LY N N www.ExtrasOnly.com 503.227.1098 Help Wanted!!
Make money Mailing brochures from home! FREE Supplies! Helping Home-Workers since 2001! Genuine Opportunity! No experience required. Start Immediately! www.theworkhub.net (AAN CAN)
Counseling Individuals, Couples and Groups Stephen Shostek, CET Relationships, Life Transitions, Personal Growth
Integrating Swedish, deep tissue and stretching for a truly great massage experience.
503.775.4755 LMT#11142
Affordable Rates • No-cost Initial Consult www.stephenshostek.com
503-963-8600
REL A X!
EmotionalEatingpdx.com
INDULGE YOURSELF in an - AWESOME FULL BODY MASSAGE
GENDER IDENTITY COUNSELING
503-740-5120
Freedom from Emotional Eating. Individual & Group. Free Consultation. 503-830-5752
B.J. (Barbara) SEYMOUR
call
Charles
lmt#6250
Enjoy all that you are, Be all that you want to be.
503-228-2472
Skilled, Male LMT
Massage openings in the Mt. Tabor area. Call Jerry for info. 503-757-7295. LMT6111.
J O N E S I N ’ P. 5 4 50
MAY 30, 2012
WillametteWeek Classifieds MAY 30, 2012 wweek.com
Indian Music Classes with Josh Feinberg
Specializing in sitar, but serving all instruments and levels! 917-776-2801 www.joshfeinbergmusic.com
EMPLOYMENT OPPORTUNITIES
Learn Jazz & Blues Piano with local Grammy winner Peter Boe. 503-274-8727.
$$$HELP WANTED$$$ Extra Income! Assembling CD cases from Home! No Experience Necessary! Call our Live Operators Now! 1-800-405-7619 EXT 2450 www.easywork-greatpay.com (AAN CAN)
Passion for music? GUITAR/ VOICE/ BASS/ KEYBOARD/ THEORY/ SONGWRITING. Beginning and continuing students with performing recording artist, Jill Khovy. 503-833-0469.
McMenamins Wilsonville is now hiring Line Cooks! Qualified apps must have an open & flex sched including, days, eves, wknds and holidays. We are looking for Line Cooks who have prev exp and enjoy working in a busy customer service-oriented enviro. Please apply online 24/7 at www.mcmenamins.com or pick up a paper app at any McMenamins location. Mail to 430 N. Killingsworth, Portland OR, 97217 or fax: 503-221-8749. Call 503-952-0598 for info on other ways to apply. Please no phone calls or emails to individ locs! E.O.E.
wweek.com
Hey guys, my name is Julio! I am a 4 year old kitty with big belly and a bigger personality! I am a regular computer nerd who wants nothing more than to curl up on your lap every evening and help you check your Facebook. I even have some good ideas for some “tweets!” I am a pretty curious guy, so while you are gone at work I will happily entertain myself by reading Yahoo articles and checking out the new factoids on nationalgeographic.com. By nature I am a relaxed sit-at-the-desk-chair-and-play-minesweeper kind of guy, so maybe you can help me play my way to a manlier physique? It’s always been kind of a dream of mine to walk around the house flexing my muscles…I just need some mucles to flex! What do you say? Can you help a geek out? You will be rewarded handsomely with my affection. I am good with other animals. Oh, and I almost forgot to mention, I am declawed in my front feet so I am indoor only. I am fixed, vaccinated and microchipped. My adoption fee is $100. I am currently living in the Pixie Project cattery.
503-542-3432 • 510 NE MLK Blvd
pixieproject.org FREEWILL ASTROLOGY >> P.53
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LEGAL NOTICES
WILLAMETTE WEEK’S GATHERING PLACE NON-PROFIT DISCOUNTS AVAILABLE.
ADOPTION A loving professional woman with wonderful extended family seeks to adopt a newborn. In return I offer a lifetime of love, security, joy and promise! Expenses paid. Please call; Deborah @ 1-877-236-7806
ADOPTION:
Adoring Family, Veterinarian Doctor, Athletics, home-cooked meals, unconditional LOVE awaits precious baby. Expenses paid Susan 1-800-352-5741 PREGNANT? CONSIDERING ADOPTION? Talk with caring agency specializing in matching Birthmothers with Families nationwide. LIVING EXPENSES PAID. Call 24/7 Abby’s One True Gift Adoptions. 866-413-6293 (AAN CAN)
ANNOUNCEMENTS Kaiser Permanente, OHSU & Sacred Heart Perform Controversial “Electro-Convulsive Therapy.”
Billion dollar industry. Risk extensive permanent long-term memory loss and cognitive difficulties, done to children as young as twelve. Inform yourself. Citizens Commission on Human Rights. Book by Linda Andre called Doctors of Deception
EVENTS Bruce Holland Rogers
Speaks about writing short fiction, Willamette Writers SW 11th & Clay 7:00pm Tue 6/5 $10 503-305-6729 www.willamettewriters.com
WEST COAST PIANO MOVING & STORAGE invites you to our 2nd ANNUAL PIANO DOCK AUCTION!
HEALTH IF YOU USED YAZ/ YASMIN/ OCELLA BIRTH CONTROL PILLS OR A NuvaRING VAGINAL RING CONTRACEPTIVE between 2001 and the present time and suffered a stroke or heart attack or developed blood clots, you may be entitled to compensation. Call Attorney Charles Johnson 1-800-535-5727 WERE YOU IMPLANTED WITH A ST. JUDE RIATA DEBIBRALLATOR LEAD WIRE between June 2001 and December 2010? Have you had this lead replaced, capped or did you receive shocks from the lead? You may be entitled to compensation. Contact Attorney Charles Johnson 1-800-535-5727.
TRUSTEE’S NOTICE OF SALE
The Trust Deed to be foreclosed pursuant to Oregon law is referred to as follows (the “Trust Deed”): Grantor: Guy C. Schoen and Lalah J. Schoen, as tenants by the entirety Trustee: Fidelity National Title Insurance Company Beneficiary: Oregon Community Credit Union PO Box 77002, Springfield, OR 97475 Date: August 27, 2007 Recording Date: August 30, 2007 Recording Reference: Reel 2860, Page 126 County of Recording: Marion County The Successor Trustee is Thomas M. Orr and the mailing address of the Successor Trustee is: Thomas M. Orr, Successor Trustee, Hutchinson, Cox, Coons, Orr & Sherlock, P.C., PO Box 10886, Eugene, OR 97440. The Trust Deed covers the following described real property in the County of Marion and State of Oregon, (“the Property”): Lot 22, Dillon Estates, in the City of Salem, Marion County, Oregon. Commonly known as: 5363 Kali Street SE, Salem, OR 97306 Both the beneficiary and the trustee have elected to sell the said real property to satisfy the obligations secured by said trust deed and a notice of default has been recorded pursuant to Oregon Revised Statutes 86.735 (3). The default for which foreclosure is made is: $9,723.42. The Grantor’s failure to pay when due the following sums: Monthly installments of $1,620.57 beginning September 1, 2011 through the installment due February 1, 2012, plus late charges of $324.12 and interest through and including February 6, 2012 in the amount of $6,579.40. The sum owing on the obligation that the Trust Deed secures (the “Obligation”) is: $272,342.85, together with Trustee’s fees, attorney’s fees, foreclosure costs and any sums advanced by the Beneficiary pursuant to the Trust Deed. By reason of the default, the Beneficiary and the Trustee elect to sell the Property to satisfy the Obligation and to foreclose the Trust Deed by advertisement and sale pursuant to ORS 86.705 to 86.795. At public auction, the Trustee shall sell to the highest bidder for cash the interest in the Property which the Grantor had, or had the power to convey, at the time of the execution by Grantor of the Trust Deed, together with any interest Grantor or Grantor’s successors in interest acquired after the execution of the Trust Deed, to satisfy the Obligation. The date, time and place of the sale is: Date: August 1, 2012 Time: 11:00 o’clock a.m. Place: Marion County Courthouse, 100 High Street Northeast, Salem, OR 97301 NOTICE TO TENANTS If you are a tenant of this property, foreclosure could affect your rental agreement. A purchaser who buys this property at a foreclosure sale has the right to require you to move out after giving you notice of the requirement. If you do not have a fixed-term lease, the purchaser may require you to move out after giving you a 30-day notice on or after the date of the sale. If you have a fixed-term lease, you may be entitled to receive after the date of the sale a 60-day notice of the purchaser’s requirement that you move out. To be entitled to either a 30-day or 60-day notice, you must give the Trustee of the property written evidence of your rental agreement at least 30 days before the date first set for the sale. If you have a fixedterm lease, you must give the Trustee a copy of the rental agreement. If you do not have a fixed term lease and cannot provide a copy of the rental agreement, you may give the Trustee other written evidence of the existence of the rental agreement. The date that is 30 days before the date of the sale is July 2, 2012. The name of the Trustee and the Trustee’s mailing address are listed on this notice. Federal law may grant you additional rights, including a right to a longer notice period. Consult a lawyer for more information about your rights under federal law. You have the right to apply your security deposit and any rent you prepaid toward your current obligation under your rental agreement. If you want to do so, you must notify your landlord in writing and in advance that you intend to do so. If you believe you need legal assistance with this matter, you may contact the Oregon State Bar and ask for the lawyer referral service. Contact information for the Oregon State Bar
TRACY BETTS
is included with this notice. If you have a low income and meet federal poverty guidelines, you may be eligible for free legal assistance. Contact information for where you can obtain free legal assistance is included in the next paragraph. There are government agencies and nonprofit organizations that can give you information about foreclosure and help you decide what to do. For the name and phone number of an organization near you, please call the statewide phone contact number at 1-800-SAFENET (1-800-723-3638). You may also wish to talk to a lawyer. If you need help finding a lawyer, you may call the Oregon State Bar’s Lawyer Referral Service at (503) 684-3763 or tollfree in Oregon at (800) 452-7636 or you may visit its Website at: http://www.osbar.org. Legal assistance may be available if you have a low income and meet federal poverty guidelines. For more information and a directory of legal aid programs that provide legal help to individuals at no charge, go to http://www.oregonlawhelp.org and http://www.osbar.org/public/ris/lowcostlegalhelp/legalaid.html RIGHT TO CURE The right exists under ORS 86.753 to have this foreclosure proceeding dismissed and the Trust Deed reinstated by doing all of the following at any time that is not later than five days before the date last set for the sale: (1) Paying to the Beneficiary the entire amount then due (other than such portion as would not then be due, had no default occurred); (2) Curing any other default complained of herein that is capable of being cured by tendering the performance required under the Trust Deed; and (3) Paying all costs and expenses actually incurred in enforcing the Obligation and Trust Deed, together with Trustee’s and attorney’s fees not exceeding the amounts provided by ORS 86.753. In construing this notice, the singular includes the plural, the word “Grantor” includes any successor in interest to the Grantor as well as any other person owing an obligation, the performance of which is secured by the Trust Deed, and the words “Trustee” and “Beneficiary” include their respective successors in interest, if any. We are a debt collector attempting to collect a debt and any information we obtain will be used to collect the debt. Cashier’s checks for the foreclosure sale must be payable to Oregon Community Credit Union. Dated: May 14, 2012. /s/ Thomas M. Orr Thomas M. Orr, Successor Trustee Hutchinson, Cox, Coons, Orr & Sherlock, P.C. Attorneys at Law PO Box 10886 Eugene, OR 97440 Phone: (541) 686-9160 Fax: (541) 343-8693 Date of First Publication: 05/23/2012 Date of Last Publication: 06/13/2012
503-445-2757 • tbetts@wweek.com
SERVICES ALTERATIONS/SEWING
Spiderweb Sewing Studio 503.750.6586 custom sewing quilt making leather home decor apparel alterations
MOTOR
HAULING/MOVING
Haulers with a Conscience
503-477-4941 www.anniehaul.com All unwanted items removed (residential/commercial) One item to complete clear outs
Free Estimates • Same Day Service • Licensed/Insured • Locally Owned by Women We Care
We Recycle
spiderwebsewingstudio@gmail.com
BUILDING/REMODELING
Able
Bernhard’s Professional MaintenanceComplete yard care, 20 years. 503-515-9803. Licensed and Insured.
Steve Greenberg Tree Service
Got Meth Problems? Need Help?
Oregon CMA 24 hour Hot-line Number: 503-895-1311. We are here to help you! Information, support, safe & confidential!
HERPES?
Free support group meets monthly in NW Portland, First Fridays at 7:30pm. 503-727-2640, info: portlandareahelp@aol.com
Familyautonetwork.com 1992 Honda Accord LX Wagon Auto, In Great Condition! $2995 503-254-2886
Familyautonetwork.com
CLEANING
2000 Honda Accord LX VTEC, 5 Speed, Beautiful Car, $7995 503-254-2886
NISSAN Familyautonetwork.com 1988 Nissan Stanza XE Wagon 4 Cylinder, 2WD ,5 Speed, Only $2995 503-254-2886
VOLKSWAGEN Familyautonetwork.com 2004 Volkswagen GTI LOW MILES Auto, Hatchback, Nice Looking Car! $8600 503-254-2886
TOYOTA
STUFF
Familyautonetwork.com 1993 Toyota Pickup, Xtracab, 4 Cylinder, 5 Speed, 4WD, $7995 503-254-2886
FURNITURE
JEEP
BEDTIME
TWINS
MATTRESS
MISCELLANEOUS
5:15 PM meeting. G/L/B/T/Q and friends. Downtown Unitarian Universalist Church on 12th above Taylor. 503-309-2739.
HONDA
Pruning and removals, stump grinding. 24-hour emergency service. Licensed/ Insured. CCB#67024. Free estimates. 503-284-2077
$
COMPANY
ALANON Sunday Rainbow
“Atomic Auto New School Technology, Old School Service” www.atomicauto.biz
1995 Honda Civic VX Hatchback, Very Rare VTEC 5 Speed! 45 MPG! Only $3995 503-254-2886
TREE SERVICES
Theory Performance. All levels. Portland 503-989-5925 and 503-735-5953.
SUPPORT GROUPS
GENERAL
Familyautonetwork.com
CLASSICAL PIANO/KEYBOARD $15/Hour
Do NOT forsake the assemblying of yourselves together, as is the manner of some; But gather to encourage one another - and so much the more so, as you see The Day [2nd Coming] approaching! (Hebrews 10:25) chapel@gorge.net
CASH FOR CARS: Any Car/Truck. Running or Not! Top Dollar Paid. We Come To You! Call For Instant Offer: 1-888-420-3808 www.cash4car.com (AAN CAN)
mention you saw this ad in WW and receive 10% off for your 1st visit!
LANDSCAPING Trimming, Pruning, Edging, Rototilling, Aeration, Hauling. Cheap Prices, References. Sprinkler Systems. 503-252-1658 or 503-740-8441.
LESSONS
SABBATH -4
We Reuse
We Donate
AUTOS WANTED
HANDYPERSON MILLS HANDYMAN AND REMODELING 503-245-4397. Free Estimate. Affordable, Reliable. Insured/Bonded. CCB#121381
79
FULL $ 89
QUEEN
(503)
760-1598
109
$
7353 SE 92nd Ave Mon-Fri 9-5, Sat 10-2
Custom Sizes » Made To Order Financing Available
Familyautonetwork.com 1995 Jeep Wrangler 5 Speed, 4WD, Bright Summer Red Only $6495 503-254-2886
PORTLAND.WWEEK.COM
DATE: MAY 31st TIME: VIEWING AT 9:00 AM AUCTION STARTS AT 10:00 AM LOCATION: 310 SE 6th Ave Portland, Or 97214 (delivery NOT included) bidding starts at $50.00! For questions contact: jason@wcpianomoving.com Or call Monday - Friday 10:00 AM - 3:00 PM 503-234-2226
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•STRAIGHT•GAY•BI• LIVECHAT • PERSONALS • FORUMS
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© 2012 Rob Brezsny
Week of May 31
ARIES (March 21-April 19): “Let’s waltz the rumba,” said jazz musician Fats Waller, suggesting the seemingly impossible mix of two very different types of dancing. That’s an excellent clue for you to follow up on, Aries. I suspect that in the coming week you will have an unusual aptitude for hybridization. You could do folk dancing and hip-hop moves simultaneously. It will make sense for you to do the cha-cha as you disco and vice versa. You’ll have a knack for bringing the spirit of belly dance into the tango, and for breakdancing while you do the hokey-pokey. TAURUS (April 20-May 20): Have you been feeling a warm fuzzy feeling in your money chakra? I hope so. The cosmos recently authorized you to receive a fresh flow of what we might call financial kundalini. Your insight into money matters should be increasing, as well as your ability to attract the information and influences you need to refine your relationship with prosperity. It may even be the case that higher levels of economic luck are operating in your vicinity. I’m not saying you will strike it rich, but you could definitely strike it richer. GEMINI (May 21-June 20): Your core meditation this week is Oscar Wilde’s belief that disobedience is a primal virtue. Be ingeniously, pragmatically, and cheerfully disobedient, Gemini! Harness your disobedience so that it generates outbreaks of creative transformation that improve your life. For inspiration, read this passage by Robert Anton Wilson: “Every fact of science was once damned. Every invention was considered impossible. Every discovery was a nervous shock to some orthodoxy. Every artistic innovation was denounced as fraud and folly. The entire web of culture and progress, everything on earth that is man-made and not given to us by nature, is the concrete manifestation of someone’s refusal to bow to Authority. We would be no more than the first apelike hominids if it were not for the rebellious, the recalcitrant, and the intransigent.” CANCER (June 21-July 22): “Some people tell me I’d invented the sounds they called soul,” said musician Ray Charles, “but I can’t take any credit. Soul is just the way black folk sing when they leave themselves alone.” I urge you to experiment with this idea, Cancerian. In my astrological opinion, you need to whip up a fresh, hot delivery of raw soul. One of the best ways to do that might be to leave yourself alone. In other words, don’t badger yourself. Don’t pick your scabs and second-guess your enthusiasms and argue yourself into a knot. Create a nice big space for your original self to play in. LEO (July 23-Aug. 22): “Where’s the most convenient place to discover a new species?” asks The Second Book of General Ignorance. What do you think the answer is, Leo? The Amazon Rainforest? The high mountainous forests of New Guinea? Northwest Siberia? None of the above. In fact, your best chance of finding a previously unidentified life form is in your own garden. There are hundreds of thousands of species that science still has no knowledge of, and quite a few of them are near you. A similar principle currently holds true for your life in general. It will be close to home that you are most likely to connect with fascinating exotica, unknown influences, and far-out adventures. VIRGO (Aug. 23-Sept. 22): Now and then my readers try to bribe me. “I’ll give you $1,000,” said a recent email from a Virgo woman, “if you will write a sequence of horoscopes that predict I’ll get the dream job I’m aiming for, which will in turn make me so attractive to the guy I’m pursuing that he will beg to worship me.” My first impulse was to reply, “That’s all you’re willing to pay for a prophecy of two events that will supercharge your happiness and change your life?” But in the end, as always, I flatly turned her down. The truth is, I report on the music of the heavenly spheres, but I don’t write the music myself. Still, I sort of admire this woman’s feisty resolve to manipulate the fates, and I urge you to borrow some of her ferocity in the coming week. LIBRA (Sept. 23-Oct. 22): A solar eclipse happens when the moon passes in front of the sun and
blocks much of its light from reaching our eyes. On a personal level, the metaphorical equivalent is when something obstructs our ability to see what nourishes us. For example, let’s say you’re in the habit of enviously comparing your own situation to that of a person you imagine is better off than you. This may blind you to some of your actual blessings, and diminish your ability to take full advantage of your own talents. I bring this up, Libra, because you’re in an especially favorable time to detect any way you might be under the spell of an eclipse -- and then take dramatic steps to get out from under it. SCORPIO (Oct. 23-Nov. 21): Some secrets will dribble out. Other secrets will spill forth. Still others may shoot out and explode like fireworks. You won’t be bored by this week’s revelations, Scorpio. People’s camouflage may be exposed, hidden agendas could be revealed, and not-quite-innocent deceits might be uncovered. So that’s the weird news. Here’s the good news: If you maintain a high level of integrity and treat the brouhaha as good entertainment, you’re likely to capitalize on the uproar. And that’s your specialty, right? SAGITTARIUS (Nov. 22-Dec. 21): If you go to a psychotherapist, she may coax you to tell stories about what went wrong in your childhood. Seek a chiropractor’s opinion and he might inform you that most of your problems have to do with your spine. Consult a psychic and chances are she will tell you that you messed up in your past lives and need a karmic cleansing. And if you ask me about what you most need to know, I might slip you some advice about how to access your untapped reserves of beauty and intelligence. Here’s the moral of the story, Sagittarius: Be discerning as you ask for feedback and mirroring. The information you receive will always be skewed. CAPRICORN (Dec. 22-Jan. 19): The state of Kansas has a law that seems more confusing than helpful. It says the following: “When two trains approach each other at a crossing, both shall come to a full stop and neither shall start up again until the other has gone.” From what I can tell, Capricorn, a similar situation has cropped up in your life. Two parties are in a stalemate, each waiting for the other to make the first move. At this rate, nothing will ever happen. May I suggest that you take the initiative? AQUARIUS (Jan. 20-Feb. 18): Should you get down on your knees and beg for love and recognition? No! Should you give yourself away without seeking much in return? Don’t do that, either. Should you try to please everyone in an attempt to be popular? Definitely not. Should you dilute your truth so as not to cause a ruckus? I hope not. So then what am I suggesting you should do? Ask the following question about every possibility that comes before you: “Will this help me to master myself, deepen my commitment to what I want most, and gain more freedom?” PISCES (Feb. 19-March 20): Do you know why flamingos have their distinctive orange-pink color? It’s because of the carotene in the shrimp and other food they consume. If they change their diet, their feathers turn dull grey. That’s a dramatic example of the adage, “You are what you eat.” Let’s use it as a prompt to contemplate all the stuff you take into the holy temple of your body, Pisces. Not just the sandwiches and chocolate bars and alcohol, but also the images, sounds, ideas, emotions, and energy you get from other people. Is the cumulative effect of all those things giving you the shape and color and texture you want to have? If not, this would be a good time to adjust your intake.
Homework I invite you to go to my Facebook page and tell me what you like or don’t like about my horoscopes: http://bit.ly/BrezFB
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school 44 Egg producer 45 Typical line from a gangster movie bad guy 49 “___ was saying...” 50 It goes boom 51 Calendar pgs. 54 Lines on a weather map 58 Woolly beast 61 See 18-across 64 “I just remembered...” 65 “That’s ___ and you know it!” 66 Slippery and snaky 67 Nobel Prize-winning physicist Bohr 68 Precious 69 Way too precious 70 George and Jane’s son Down 1 “The Rocky Horror Picture Show” character Janet ___ 2 Boredom, to Beaumarchais 3 Plan to lose 4 It may be a big to-do
5 Small jazz combo 6 Shakespearean play with the phrase “The game’s afoot” 7 Irish or North 8 College home to Joe Bruin 9 Well-worn comedy bit 10 Postscript 11 iPod variety 12 ___ Dei (“The Da Vinci Code” group) 13 ___ Club 19 Anti-drunk driving org. 24 Epic that tells of the Trojan Horse 25 Shield 28 “South Park” kid 29 “Viva ___ Vegas” 30 Includes 31 Brand known for its first and second name 32 Goneril’s father 33 Like morning grass 34 Take to the polls 35 Gumbo ingredient 40 Custodian’s tool 41 5th or Madison 43 Required wear for some food servers
46 Chemistry class payment 47 Morales of “NYPD Blue” 48 Bake sale organizer, maybe 52 Sponge by 3M 53 Full of lip 54 Computer debut of 1998 55 George Takei character 56 “What ___?” 57 Dish that simmers 59 Like some wolves or gunmen 60 “The Amazing Race” host Keoghan 62 ___-de-France 63 “Science Guy” Bill
last week’s answers
Across 1 Scrooge McDuck’s is great 7 Big ___, Calif. 10 Boss Hogg’s deputy 14 Full 15 Prefix for terrorism or tourism 16 542-year-old Smurf 17 Does some comic book work 18 With 61-across, baking item 20 Court figure? 21 Stumped 22 Peccadillo 23 Talk incessantly 26 Words exchanged at the altar 27 Classic Christmas song sung by Burl Ives 34 Drink of choice for Chelsea Handler 36 Lymph ___ 37 Go out with 38 Steinbeck extras 39 Stat in an airport terminal 40 Parrot’s relative 42 Green Day drummer ___ Cool 43 Goes quickly, old-
©2011 Jonesin’ Crosswords (editor@jonesincrosswords.com) For answers to this puzzle, call: 1-900-226-2800, 99 cents per minute. Must be 18+. Or to bill to your credit card, call: 1-800-655-6548. Reference puzzle #JONZ574.
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