38 47 willamette week, september 26, 2012 by Willamette Week Newspaper

M AT T W O N G

NEWS THE CRC FINALLY FACES A VOTE. FOOD A PEARLY NEW OYSTER BAR. MOVIES DIE HARD WITH A TIME MACHINE. P. 7

P. 25

WILLAMETTE WEEK PORTLAND’S NEWSWEEKLY

“TO THIS DAY I CAN’T READ A BOOK—IT’S JUST BORING.” P. 27 WWEEK.COM

VOL 38/47 09.26.2012

BURNING MONEY PORTLAND LOVES ITS FIREFIGHTERS—AND THAT’S ALLOWED THE FIRE BUREAU TO BECOME ONE OF THE MOST WASTEFUL OPERATIONS IN THE CITY. BY NIGEL JAQUISS | PAGE 13

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For this very special event, we are pleased to welcome author Laurie Wolf along with chefs from restaurants featured in her book, including Evoe, GrĂźner, Ya Hala, Rum Club, Yakuza, DOC, and Random Order. The author and chefs will be signing books.

food and wine will be served 3747 se hawthorne, pdx follow us on facebook: www.facebook.com/powellshomeandgarden 2

Willamette Week SEPTEMBER 26, 2012 wweek.com

P E T E R H I AT T

CONTENT

HEâ&#x20AC;&#x2122;S A GAMER: Robin Mihara gives WW hacks a Tetris lesson. Page 27.

NEWS

FOOD & DRINK

LEAD STORY

MUSIC

CULTURE

MOVIES

HEADOUT

CLASSIFIEDS

STAFF Editor-in-Chief Mark Zusman EDITORIAL Managing Editor for News Brent Walth Arts & Culture Editor Martin Cizmar Staff Writers Andrea Damewood, Nigel Jaquiss, Aaron Mesh Copy Chief Rob Fernas Copy Editors Matt Buckingham, Kat Merck Stage & Screen Editor Matthew Singer Music Editor Matthew Singer Books Penelope Bass Classical Brett Campbell Dance Heather Wisner Food Ruth Brown Theater Rebecca Jacobson Visual Arts Richard Speer Editorial Interns Troy Brynelson, Olga Kozinskiy, John Locanthi

CONTRIBUTORS Judge Bean, Emilee Booher, Nathan Carson, Kelly Clarke, Shane Danaher, Dan DePrez, Jonathan Frochtzwajg, Robert Ham, Shae Healey, Jay Horton, Reed Jackson, Nora Eileen Jones, Matthew Korfhage, AP Kryza, Jessica Lutjemeyer, Jeff Rosenberg, Chris Stamm PRODUCTION Art Director Ben Mollica Graphic Designers Amy Martin, Brittany Moody, Dylan Serkin Production Interns Kaija Cornett, Pete Hiatt, Nate Miller, Natalye Anne St. Lucia ADVERTISING Director of Advertising Jane Smith Display Account Executives Maria Boyer, Michael Donhowe, Carly Hutchens, Ryan Kingrey, Janet Norman, Kyle Owens, Sharri Miller Regan Classifieds Account Executives Ashlee Horton, Tracy Betts Advertising Assistant Ashley Grether Marketing & Events Manager Carrie Henderson Marketing Coordinator Jeanine Gaitan Give!Guide Director Nick Johnson Production Assistant Brittany McKeever

Our mission: Provide our audiences with an independent and irreverent understanding of how their worlds work so they can make a difference. 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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INBOX APARTMENTS, CARS AND PARKING

The article states the problem [“Block Busters,” WW, Sept. 19, 2012]. You spoke to 10 residents who have 11 cars among them. It doesn’t matter if they don’t drive them very often, they still have to be parked. The apartment complexes along the Max Red/ Blue lines west of the city had the same problem. City “leaders” predicted people would find being close to transit so convenient they wouldn’t need cars. So, they didn’t put in adequate parking. This may be true and perhaps they don’t need cars, but they all still have cars. The solution along Division Street (and probably Hawthorne) seems obvious. Make parking permit-only. Give each homeowner first dibs on the curb in front of their home. They can either use it to park their own vehicles or rent the space to a tenant of one of the apartment buildings. This would have a couple of effects. First, it would force the urban sustainable granola types who live in these apartments to make a decision on whether or not they really want to commit to a car-free lifestyle. Second, the developers of these apartments will have to confront the reality of how much people are willing to pay for an apartment with no parking. —“Stretch”

Willamette Week SEPTEMBER 26, 2012 wweek.com

DIRECT APPROACH TO FLUORIDE

This issue is not something new to the Portland area [“Should Portland Have OK’d Fluoridation Without a Vote of the People?,” WW, Sept. 19, 2012]. Why do you think we are still one of the largest cities in America that has chosen to not fluoridate its water? It is simple: We don’t need it! We know how to take care of our teeth. Honestly, is not the direct application of fluoride to the teeth the best way to insure it gets to all the correct places? —“Jim”

IS FEAST ELITIST OR JUST TASTY?

Nice write-up [“10 Things You Can See at Feast,” WW, Sept. 19, 2012]. I think you pretty much nailed it. Everything is crazy expensive. I’m surprised they didn’t include at least a couple of affordable events for people to go to. It makes the whole thing feel elitist. Which I suppose it is. —“adlangx”

If I owned a car and wanted to [rent] one of these cheaply built boxes, I might ask myself, “Is there parking within a few feet of my unit?” If the answer was no, and I went ahead and [rented], then I’m taking responsibility for the decision. I have to live with the fact that I need to walk to my car—in the rain. If I am an agitated neighbor

It was delicious. Deal with it. —“Jon”

I drive over the Marquam Bridge every day and cannot ﬁgure out the purpose of the two towers that are being erected in the river south of the bridge. I don’t recall any news announcements concerning such an expensive construction project. —Jeﬀ

deck for the use of TriMet vehicles, cyclists and pedestrians, at least some of whom will probably have erections. You won’t be able to drive your car on this bridge, though, no matter how many boners you have. This will help persuade you not to destroy the planet with your car, even though cars are really fun and super-convenient. You may note the bridge spans that currently run from the shore out to the cofferdams look like they were nailed together out of old twoby-fours from somebody’s dad’s garage. If you’re thinking, “Man, that doesn’t look like a whole lot of bridge for $134 million,” relax—it’s just a temporary roadway for workers and gear. The real bridge will be a high, gleaming structure with taut suspension cables, wide walkways and bike paths, and small observation decks where you can take a moment to breathe, admire the view, and masturbate meditatively in the setting sun.

Jeff, you incredible goombah, that’s the new light-rail bridge that everyone in Portland has been talking about nonstop since at least 2008. Still, I understand—you’re probably one of the many Portlanders who simply won’t read news articles unless they include a lot of dick jokes. Of course, that makes you this column’s target demographic, so here goes: The towers you see thrusting skyward from the riverbed are part of the Portland-Milwaukie light-rail project that will bring the powerfully throbbing MAX Orange Line to the moist, inviting confines of northwest Clackamas County. The tumescent spires will support a long, hard bridge 4

who sees an influx of cars in the ’hood, tough shit. Them’s the breaks. Or brakes. If it is legal, I say build them and they will come and you’ll work it out. Sell a car, buy a bike. —“Park Mycar”

LETTERS TO THE EDITOR must include the author’s street address and phone number for veriﬁcation. Letters must be 250 or fewer words. Submit to: 2220 NW Quimby St., Portland, OR 97210. Fax: (503) 243-1115, Email: mzusman@wweek.com

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HEADACHES FROM YOUR NECK? If you are 18 or older, you may be eligible for a federally-funded research on frequent neck-related headaches.

TRANSPORTATION: The CRC vote officials hope to ignore. PUBLISHING: Journalist Phil Stanford goes comic. CITY HALL: One Question, and our Googling imagination. COVER STORY: Smoking out waste in the fire bureau.

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WHEN REALTORS FIB AND FOODIES SLICE THE TRUTH. Integrating Health and Science

It’s election season, so you can expect campaigns to be making stuff up. But the Measure 79 campaign is the worst in a long time. The measure would amend the state constitution to ban real-estate transfer taxes, something state law already does. But the campaign tells voters they must stop this “new tax,” and its website allows you to calculate the tax (which, again, does not exist) on your house. The National Association of Realtors and Oregon Association of Realtors—spending a collective $3 million on the measure—are behind the misleading ads. People walking past the entrances of the city’s newest food festival, Feast Portland, in Pioneer Courthouse Square and Director Park last weekend were told the event was for charity. Turns out the festival’s owners—who charged $650 for a weekend pass—are running a for-profit company and are not registered as a charity with the Oregon Department of Justice, which would require financial disclosure. Co-organizer Carrie Welch told WW Feast Portland plans to split net proceeds with Partners for a Hunger-Free Oregon and Share Our Strength. Feast was subsidized with $95,000 from Travel Portland and Travel Oregon, which are funded with lodging taxes. Welch says Feast 2013 will be registered as a nonprofit. During her successful primary race in May, Attorney General Ellen Rosenblum pocketed one-third of her $699,000 in campaign contributions from medical marijuana supporters, including $4,200 from the High Hopes Farm near Jacksonville. Last week, the federal Drug Enforcement Agency raided and shut down the High Hopes Farm—heightening tensions over medical pot between the feds and Rosenblum, the state’s top law enforcement officer (and wife of WW Publisher Richard Meeker). WW asked Rosenblum’s office if she was giving the contributions back. The answer: no. “At this point, the owner has not been convicted,” says Cynara Lilly, Rosenblum’s campaign spokeswoman, “and Ellen does not want to rush to any judgment.” Two of the state’s biggest media powers are going to war in Washington County. The Pamplin Group last month announced its new paper in Hillsboro, where The Oregonian recently took over operations of The Argus. Now The O is looking at striking back with a new paper of its own in Forest Grove, population 22,000, where Pamplin owns the Forest Grove News-Times. “This isn’t about serving the community,” says News-Times Publisher John Schrag, a former WW news editor. “This is payback publishing. I don’t think it will fly in this town.” Oregonian publisher N. Christian Anderson III, known for his tart sense of humor, told WW in an email there’s nothing official to report yet. “If and when we have anything to announce about a new product for Forest Grove or Gresham or Astoria,” Anderson wrote, “I’ll let you know.” Read more Murmurs and daily scuttlebutt.

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j o n at h a n h i l l

NEWS

THROW VOTERS FROM THE TRAIN A CLARK COUNTY MEASURE TO FUND LIGHT RAIL HAS BECOME A REFERENDUM ON THE CRC. By AN D R E A DA M E WOO D

adamewood@wweek.com

The Columbia River Crossing is already in big trouble. The proposed Interstate 5 spans between Oregon and Washington have a flawed design, the backers lack firm plans to cover the $3.5 billion cost, and it’s not clear the project will relieve freeway congestion as promised. And if that weren’t enough, the project’s supporters have created an opportunity for yet another roadblock that could set the CRC back years: They’ve asked Clark County voters to approve an increase in local sales tax to pay for operating a light-rail line that would run from Portland to downtown Vancouver. The money at stake, about $2.5 million, is paltry compared to the project’s price tag. If voters say no, Clark County transit officials could probably scrape together the cash some other way. But the sales-tax vote has emerged as a referendum on whether Clark County residents even want light rail— something they’ve rejected in the past, and that they’re now being told is a required part of the CRC. The Nov. 6 vote on the sales-tax increase of 0.1 percent will “most likely” go down, says Paul Montague, president of Identity Clark County, an economic development group that supports the CRC but opposes the tax measure. Montague’s group has joined other local supporters of the project, including the chamber of commerce and The Columbian newspaper, in telling voters to say no, because they don’t like the idea of using the sales tax to pay for

light rail. The local congresswoman, U.S. Rep. Jaime Herrera Beutler (R-Wash.), says many residents don’t see this measure as a narrow proposal to pay for a train. Instead, she says, if the measure goes down, “I have my marching orders.” “This is the best shot Clark County has to have their say on the project,” Herrera Beutler, a freshman who’s already expressed skepticism about the project, tells WW. “This is going to be them saying, ‘Yes, we approve of the CRC and what you’ve put together,’ or ‘No, we don’t approve.’” The states of Oregon and Washington have for years tried to come up with a solution to congestion on and around the existing bridge, the first half of which was built in 1917 to handle buggy traffic (a second span alongside it opened in 1958) and remains the only drawbridge on I-5. The CRC has powerful supporters, including the Obama administration, the two states’ governors, business and union leaders, and local governments that have already given the project their OK. Herrera Beutler sits on the House Transportation and Infrastructure Committee, but she may not be able to stop federal funding. Congress has already set aside grants CRC officials hope to win, and they have bigger allies in D.C., including Sen. Patty Murray (D -Wash.), who chairs the Senate Appropriations panel that oversees transportation. But a Republican congresswoman lobbying against $850 million in federal handouts for her district—while serving in a GOP-controlled House—will do the project no favors. The CRC has been hampered by a bridge design that was scrapped in early 2011, only to have its replacement

design rejected by the Coast Guard, which says it’s too low for commercial river navigation. What’s more, some lawmakers are beginning to balk at approving their states’ $450 million share without answers as to how the CRC will be paid for. Tolling is not projected to pay its full share, and the federal government allotment of highway money has been spotty at best nationwide. Then there’s the issue of a lack of enthusiasm from those who call Clark County home. Voters there rejected plans to extend Portland light rail to Vancouver in 1995—and the current bridge proposal is a repackaging in response. CRC planners want to convince the Federal Transit Administration to give the project $850 million for the light-rail line. Officials from the local public transit agency, C-Tran, have already acknowledged there aren’t enough people liv-

“ just because a sales-tax measure goes down doesn’t mean we kill the project.” —paul montague ing along the line’s proposed path to provide its estimated ridership of 13,700 weekday trips. To help show the feds that local residents will use it, the CRC’s plans call for $176 million to build three parking garages containing a total of 2,890 spaces in downtown Vancouver. That’s more than $60,000 a space—all to get people to drive from their homes in Vancouver’s suburbs to downtown, park there and board the trains. The FTA will not approve any light-rail plan that cont. on page 8 Willamette Week SEPTEMBER 26, 2012 wweek.com

NEWS

TRANSPORTATION

doesn’t appear to have enough riders to justify the costs, says Amy Bernstein, the FTA’s communications director. “A park-and-ride would probably be part of a larger package to attract federal funding,” she adds. C-Tran’s proposed sales-tax hike would take Clark County’s local sales tax from 8.4 percent to 8.5 percent to operate and maintain the light-rail line. (Voters approved a larger 0.2 percent sales-tax increase last year for C-Tran to help preserve basic bus service.) After months of wrangling, and Vancouver Mayor Tim Leavitt calling for studies to pay for light rail without a sales tax, the C-Tran board agreed this summer to ask voters for the money. The decision to propose a sales-tax increase came in response to years of promises from local officials that voters would get a say in the new light-rail line. CRC supporters are already bracing for the measure’s defeat in November—and are looking for ways to work around it. “Just because a sales-tax measure goes down doesn’t mean we kill the project. It just means we find other ways to fund it,” Montague says. Steve Stuart, the lone Democrat on the three-member Clark County Board of Commissioners, also serves on the C-Tran board and voted to refer the sales-tax increase. He isn’t convinced it will fail. If it does, Stuart says, “we will deal with that contingency.” Officials say they could just increase local vehicle fees, impose a local employee tax, and shift money from bus lines that would be replaced by light rail. Those solutions may add up, but they are likely to exasperate residents who thought they had just shut down light rail. “If project sponsors think this is going to go down by a big margin, boy, I encourage them to get back to the drawing board,” Herrera Beutler says. “They do need to respect

the voters.” Pressure is building on CRC officials to show progress in paying for the project. Planning alone for the project has topped $159 million, but not a single dollar has been approved to build it. CRC officials told Oregon lawmakers two weeks ago they had to approve the state’s $450 million share of the project quickly. Documents given lawmakers say the “Legislature needs to act in early 2013 to meet FTA eligibility.” Except that’s not true—there is no deadline for FTA grant applications. Bernstein, the FTA spokeswoman, tells WW that projects are accepted in a rolling fashion as they line up all the necessary requirements to qualify—like local funding. CRC spokeswoman Anne Pressentin says the states do have to show a commitment of $450 million each to apply for the FTA money, as well as show the Coast Guard has dropped its objections about bridge height. Waiting until after 2013, she says, allows other projects across the country to move ahead in line for the money and puts the CRC’s light-rail financing at risk. “We have an opportunity now to obtain the federal transit funding,” Pressentin says. “Without action, there could be additional costs associated with schedule delay.” A big portion of the project would be financed with bonds. But legislators in both states are also being pushed to approve funding without a full investment grade analysis—that’s a study that shows potential bond buyers that the CRC’s tolls would cover its debts. A 2011 Oregon treasurer’s report found the project didn’t pencil out. Herrera Beutler questions a full-speed-ahead approach to the project at a time crucial components of the CRC appear to be faltering. “We need to deal in the facts,” she says. “When we’re talking about a major project, it’s so crucial that the public gets all the facts up front. They’re not stupid.”

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The CRC's Train Line

CLARK COLLEGE

Proposed route of light rail to Clark County.

VANCOUVER

PROPOSED SPANS 14

HAYDEN ISLAND

EXISTING I-5 BRIDGE

WA OR

99E

PORTLAND

PUBLISHING

NEWS

PULP NONFICTION

S A R A G R AY

WRITER PHIL STANFORD TURNS TO DARK HORSE COMICS TO GET AT THE TRUTH OF PORTLAND’S SECRETS.

COURTESY

Phil Stanford made his name in Portland by needling the pompous and powerful with his columns for The Oregonian and the Portland Tribune. But Stanford has been particularly obsessed with the seediest corners of the city’s shady past—much of it captured in his 2004 book, Portland Confidential. Stanford, 70, has now found a new medium: comic books. His 12-part series, “The City of Roses,” illustrated by Patric Reynolds, launches in Dark Horse Presents No. 16 this month. The series is based on true events from 1968 to 1981 involving the city’s drug kingpins and (Stanford says) crooked narcotics cops. The grimy history, Stanford says, helps explain how power in Portland really worked. “Everyone was crooked, everyone was very compromised,” he says. “It’s all what really happened—dirty dealers and dirty cops. But I changed some of the names to protect the guilty.”

RSE COMICS OF DARK HO

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NEWS THE PORTLAND INDEX AMY MARTIN

SEARCH ME

Look around—those 17 other people next to you in the coffee shop hunched over their laptops might be hunting the Web for kitty videos or Kate Middleton’s tanning habits. You, of course, are Googling much more important things. But as a community, just how creative are we on the Internet? Google knows. Its Google Zeitgeist project tracks by geographic area how Internet users differ in their searches from search terms that trend big nationally. Out of 51 major metro areas, Portland is middling in its nonconformity at No. 22. The city whose search patterns differ most from those in the rest of the U.S. is Birmingham, Ala. Those cities whose searches are most in line with national norms include Pittsburgh, Detroit and Chicago.

VARIANCE IN GOOGLE SEARCHES FROM MOST POPULAR TRENDS

LAST FRIDAY OF THE SUMMER SEASON

51. CHICAGO

45. SEATTLE

.21

.35

.59

.54

.43 39. DENVER

Yes. “We need to modify or end the 48-hour rule, and that’s an issue that we do need to take up in bargaining. It’s not something that the mayor can do by fiat. It’s an issue I feel strongly about and the public feels strongly about. The public and the Police Bureau are going to be better served if we get timely information—and timely is faster than 48 hours. We need to open it up, and obviously take the DOJ report seriously. I want the Portland Police Bureau to have a model relationship with the community and really be an example of how community policing works. For that to happen, some of these practices will have to change.”

26. MINNEAPOLIS

Won’t say. “I would ask the community where we link the 48-hour rule in collective bargaining in connection with other high-priority contract issues. We allow [citizens] to talk to a lawyer before they talk to a police officer. The question here is whether there should be an application of the constitution. You sacrifice your own ability to remain silent by virtue of being a police officer. There’s no requirement that a citizen divulge information to an officer without an attorney present. The citizen who is not a police officer has an infinity waiting period. The union contract requires officers get questioned within 48 hours, whether or not they are arrested.”

22. PORTLAND

CHARLIE HALES: 1. BIRMINGHAM

STATE REP. JEFFERSON SMITH (D-EAST PORTLAND):

.81

The city’s labor contract with police allows officers involved in a shooting or in-custody death to decline to talk to bureau investigators for 48 hours while they confer with union lawyers. Outside law-enforcement experts have criticized this rule for reducing police accountability and preventing timely investigations. The U.S. Department of Justice’s damning report released Sept. 13 says “it is difficult to conceive of [Portland Police Bureau] officers permitting [a] civilian 48 hours before asking him or her questions.” We asked the candidates for mayor: Will you work to end the 48-hour rule? ANDREA DAMEWOOD.

16. SAN FRANCISCO

SHOULD THE CITY END THE 48-HOUR WAITING PERIOD FOR POLICE INVOLVED IN SHOOTINGS?

1.78

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BURNING MONEY PORTLAND LOVES ITS FIREFIGHTERS—AND THAT’S ALLOWED THE FIRE BUREAU TO BECOME ONE OF THE MOST WASTEFUL OPERATIONS IN THE CITY. BY NI GE L JAQU ISS

njaquiss@wweek.com

Portland Fire & Rescue’s newest ladder truck is one of the most sophisticated machines of its kind, a 78,000-pound, gleaming red behemoth designed to fight the biggest fires. The Pierce Arrow XT, known as truck No. 2, stretches 42 feet long, stands an inch under 12 feet tall and roars on its mission with a 515-horsepower engine. When it was being built, fire officials made several trips to Appleton, Wis., to watch over every detail. And for good reason: The rig cost taxpayers $1.35 million. Truck No. 2 is a marvel of engineering, the pride of a Portland bureau that more than any other is defined by its equipment—and a fire-engine-red symbol of an extraordinary waste of tax dollars. The truck’s ladder can extend 105 feet, but it’s stationed in Parkrose, where most buildings are four stories or fewer. And although it will make 1,000 runs in the next

year, only a small percentage will be fires. The number of fires in Portland has been plummeting for years, yet the fire bureau’s budget remains oriented toward a workload that changed not years but decades ago. More than 97 percent of the calls the bureau responds to are not fires. Most are non-life-threatening medical calls. Nonetheless, the fire bureau rolls on every call, sending four firefighters on a truck or engine regardless of how serious the incident. “It may not look that way,” says Fire Commissioner Randy Leonard, who served as a firefighter for 25 years before entering City Hall as a city commissioner in 2002, “but it’s a very efficient system.” Critics and a city consultant’s report disagree with that assertion. “We are over-responding, and that is wasteful,” says City Commissioner Dan Saltzman, who has been pushing firebureau reforms for years. “We need to reconfigure the fire bureau and make it fit today’s needs, which are mainly medical.” The costs of running big rigs is only the beginning. Of the 100 highest-paid city employees in 2010-2011, 40 were firefighters. Their contract puts no limit on overtime—all but the chief can collect it—and pads their pay for basic skills. To be sure, firefighters often put them-

selves at risk, charging into burning buildings and plunging into icy waters to make rescues. Last week, the crew on truck No. 2 made news when it rescued a kitten from a drainage pipe—firefighters nicknamed her “Champ.” City surveys regularly show 90 percent of Portlanders are happy with the fire bureau—a number that far exceeds any other city agency. But a consultant’s report the city commissioned last year found Portland firefighters are underworked and less effective than their peers in comparable cities. Even the story of Champ the kitten underscored the layers of time and money the bureau has on hand: Truck No. 2 was joined by a $700,000 heavy rescue squad vehicle from downtown, a $600,000 engine and a chief officer that responded to the call at Northeast 118th Avenue and Sandy Boulevard. In all, 13 highly trained firefighters hovered over the cat rescue, which took six hours. The bureau’s popularity, a formidable union and Leonard have shielded firefighters from reform. But with a new chief who’s not from the bureau’s good-old-boy culture and Leonard’s retirement at the end of the year, a new mayor could bring long-overdue changes to the bureau—and save taxpayers millions. Here’s the mayor’s to-do list.

CONT. on page 15 Willamette Week SEPTEMBER 26, 2012 wweek.com

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DRAG THE FIRE BUREAU OUT OF THE 20TH CENTURY.

On Sept. 2, the derelict Thunderbird on the River Hotel on Hayden Island burned in one of the most dramatic blazes in years. It took 200 firefighters and 39 trucks, engines, fireboats and other vehicles to control the fire. That blaze offered a stark reminder of firefighters’ crucial role. The bureau must keep enough crews and rigs available to extinguish fires in every corner of the city. But the Thunderbird fire was also a rarity. Today, nearly every building in downtown Portland has a sprinkler system. Nearly every home and apartment building has smoke alarms. Since 1995, the number of fires in Portland has dropped by nearly half. Meanwhile, the total number of calls firefighters respond to has jumped by onethird (see chart). In raw numbers, Portland Fire & Rescue responded to 67,191 calls last year— and fewer than 3 percent were fires. The bureau responded to more car fires (475) than residential fires (300). The trend is showing up in other cities, but the degree to which Portland has

resisted change is unusual. Last fall, the city hired TriData, a Washington, D.C.-area consulting firm, to evaluate whether the bureau could shift non-emergency calls from four-person trucks and engines to two-person SUVs. “[The fire bureau’s] mission is being strained by responding to exponentially growing numbers of non-emergency medical calls,” TriData said in a 75-page report. “These calls are creating inefficiencies and costing the City of Portland significant dollars.” Chief Erin Janssens, who in June became Portland’s first female fire chief, acknowledges sending fire rigs to medical calls may look odd but preserves maximum flexibility. “We can’t cut any fire engines,” Janssens says. “They are the most valuable vehicle for a multitude of responses.” But TriData found other departments operate differently. The consultant’s report compared Portland to eight similar cities and found none sends a four-person rig to every medical call. Portland, the report found, “is unique in that it does respond to every call with a fire vehicle.”

ALARMING: The five-alarm Thunderbird Hotel blaze Sept. 2 made headlines, but grass fires outnumbered commercial fires 3-to-1 in Portland last year.

FIX AN INEFFICIENT MEDICAL EMERGENCY SYSTEM.

Any time someone calls 911 for medical help, the call goes to the city’s Bureau of Emergency Communications, which alerts the fire bureau and a private ambulance company, American Medical Response.

FIRES IN PORTLAND PLUMMET EVEN AS TOTAL CALLS SOAR Since 1995, the number of fires is down 48 percent but the number of calls has increased 34 percent

3,500

NUMBER OF FIRES

3,000 2,500 2,000 1,500 1,000 500 0

70,000

1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011

NUMBER OF CALLS

65,000 60,000 55,000 50,000 45,000 40,000

1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011

SOURCE: PORTLAND FIRE & RESCUE

BURNING MONEY PORTLAND FIRE & RESCUE

CONT.

As a result, fire trucks and ambulances frequently respond to the same incident, and that means at least six people—four firefighters and two AMR paramedics—are on the scene. AMR, which has an exclusive contract with Multnomah County for medical transport, only gets paid if it drives someone to a hospital. Dr. Gary Oxman, the health officer for Multnomah County, says that creates a “perverse incentive.” It also makes AMR speedy. Although Portland Fire & Rescue has many more vehicles and personnel dispersed across the city, records show AMR arrives first at 43 percent of all medical calls, which often means there’s no need for the firefighters. The TriData report highlighted an inefficiency in Portland’s system: the failure to prioritize medical calls based on severity— a practice called “stacking.” Instead, fire trucks roll to calls chronologically, unlike police, who respond to the most serious calls first. “Currently medical calls are not prioritized or stacked and the call is handled in the order which it is received,” the TriData report says. That can put trucks out of position when more serious incidents occur. “PF&R has not adapted its delivery system to the changes in demand and does not have enough capacity to handle medical calls,” the TriData report says. “In many instances emergency response vehicles and trained EMT/paramedics are unavailable to respond to the true emergencies because they are assigned to nonemergency responses.” Fixing that problem is complicated because Oxman has authority over the entire system, but neither the city’s 911 center nor the fire bureau reports to him, nor does he have responsibility for their budgets. The fire bureau historically responds to all calls, regardless of cost. And unlike AMR’s, the fire bureau’s costs are borne by taxpayers. The system was created two decades ago, when the call volume was smaller and budgets were fatter. “It was a well-designed system,” Oxman says. “But today you are looking at some people who call 911 50 or 100 times a year. They are using 911 for CONT. on page 16 Willamette Week SEPTEMBER 26, 2012 wweek.com

BURNING MONEY

CONT.

FORCE THE FIRE BUREAU TO USE EQUIPMENT THAT MEETS ITS ACTUAL NEEDS.

In Portland, firefighters are more popular than schoolchildren. In 2011, local voters rejected a $548 million bond to rehab crumbling schools. That result was a sharp contrast to an election just six months earlier, when voters approved a fire-bureau request for $74 million to buy new equipment. The fire bond first had to win City Council approval. To get Saltzman’s vote, Leonard agreed the fire bureau would spend a tiny fraction of the money voters approved to test smaller, less-expensive rigs called rapid response vehicles to answer non-emergency medical calls. Neighboring Tualatin Valley Fire & Rescue had earned attention for a similar program beginning in 2010. SUVs now respond to 7 percent of calls there. Cheaper to buy and maintain, the SUVs would require only two firefighters to operate. Nonetheless, Portland Fire & Rescue said it would need to hire 13.5 new firefighters to staff four rapid response vehicles. That’s when the city hired TriData. In a November 2011 draft report, obtained by WW, TriData suggested retiring two of the $1 million ladder trucks and shifting 24 firefighters to rapid response vehicles. That would save nearly $90,000 in fuel annually, reduce maintenance costs and prolong the lives of the trucks. “We believe the personnel can come from existing staffing,” the draft report says. But when the final report came out in December, that recommendation had been removed. So had another recommendation for smaller staffing at fires: 14 or 15 firefighters rather than 22. “We do not believe that given the limited number of working fires in the Portland system and the proximity of resources that this will have an adverse impact on employee safety or fire loss,” the draft report says. The public never saw those recommendations. TriData’s senior project manager, Paul Flippin, says the draft report was written hastily, included incorrect assumptions and changed when TriData received additional data from the bureau—an explanation Janssens echoes. “The final version was not sanitized,” she says. There was ample evidence, nonetheless, the bureau was resistant to rapid response vehicles. Although TriData’s report recommended low-cost SUVs, the fire bureau initially proposed buying small fire engines called “brushers” for $125,000—four times the cost of the SUVs eventually purchased. The city is testing two of the vehicles. 16

RONITPHOTO.COM

health care, and that is a crisis.” City Commissioner Amanda Fritz says the current approach is financially unsustainable. Fritz, who is helping redesign the way Portland police respond to calls involving mental health issues, says the fire bureau also needs to re-examine its approach. “Can we respond to every call?” Fritz says. “I don’t think so.”

THE BIG CHIEF: City Commissioner Randy Leonard, 60, served as president of Firefighters Local 43 for 12 years and represented firefighters’ interests as a state legislator from 1994 to 2002.

Two weeks ago, Chief Janssens dropped by City Hall to show commissioners one of the new rapid response vehicles—a $33,000 Chevy Tahoe painted the same brilliant red as the $1 million truck No. 2. She acknowledges firefighters are not keen on the economy-sized vehicles. “They want to go on fires and high-priority calls,” Janssens says. Saltzman says he was pleased to see the Tahoe but also concerned. “It had four seats in it,” Saltzman recalls. “I said to the chief, ‘I hope you’re not going to put four firefighters in there.”

MAKE PORTLAND FIREFIGHTERS MEASURE UP.

On key metrics, TriData found that Portland firefighters come up short. Compared to firefighters in eight other cities, Portland firefighters had the slowest response time—about 22 percent, or 1 minute and 14 seconds slower than the average. Janssens says Portland’s hills and bridges make response times here slower than in flat cities such as Tucson, Ariz. (Portland also did worse than cities such as Seattle, which also has its share of hills.) “We’d like to do better,” she says. A 2010 city audit also found the fire bureau fell short when judged by its own goal of arriving on scene in 5 minutes and 20 seconds—meeting that standard only 75 percent of the time. Leonard says the answer is more money—budget cuts have caused the closure of three to four stations since he joined the bureau in 1978, he says, and cost the bureau 10 ambulancelike rescue vehicles it deployed in the 1990s. But TriData found Portland is in the

Willamette Week SEPTEMBER 26, 2012 wweek.com

THE CRITIC: City Commissioner Dan Saltzman has pushed to reform the fire bureau and the Fire & Police Disability & Retirement Fund, including leading a referral of measures on the November ballot.

middle of the pack on spending and number of vehicles. Leonard is correct that there are fewer fire stations than when he joined the bureau. But there are three more than in 2002, when he became a commissioner, and about 40 more firefighters. Over the same period, the Police Bureau closed one of its four precincts and lost 60 sworn officers. TriData also found that Portland firefighters’ workloads are lighter than those in other cities, with call volume 33 percent less than the average of the eight comparable cities. “Calls for service are below average in Portland both in raw numbers and as a function of population,” the TriData report concludes. With the number of fires declining, firefighters have been told to do inspections. That program is not working. Since 2006, the number of annual inspections done by the city fire marshal’s office increased by more than 80 percent. The number of inspections done by line firefighters, however, did not increase at all. “There is an apparent lack of enthusiasm on the part of fire companies to do inspections,” the TriData report says. “I’ve been pushing for years to better utilize people who are already on duty,” Saltzman says. “I’d like to see firefighters going door-to-door to check smoke alarms and help fix ones that are broken.” Janssens says the city is limited in how many inspections a firefighter is required to do—it turns out the union demanded a cap. “It’s a [union] contract issue,” she says.

REIN IN THE WAY FIRE-BUREAU EMPLOYEES GET PAID.

One third of the city’s employees who make more than $100,000 a year work for Portland Fire & Rescue. In all, 28 percent of the bureau’s employees are making six figures—not bad for a job that requires only a high-school diploma. Firefighters benefit from a union contract studded with bonuses, called “specialty pay.” All firefighters get a 3 percent boost for being certified to drive a fire truck. They can get 6 percent more for being on the dive team, and an 11 percent bump for paramedic certification. Firefighters are also eligible for retirement after 25 years of service, and rarely leave the bureau before then. But the contract adds 2-percent annual bonuses for “longevity pay” after firefighters reach the 15-, 20- and 25-year marks. Leonard says there never used to be any specialty-pay categories. “We are just catching up with other jurisdictions,” he says. Janssens acknowledges specialty pay contributed to big paychecks that limit her budget flexibility. “I’m looking at those,” she says of the premiums. Those pay bonuses play into the other big driver of firefighter paychecks—overtime. Over the past five years, a June 2012 audit found, the fire bureau has averaged $8 million a year in overtime pay. That’s nearly $11,500 annually for each of the city’s 700 firefighters, although some have taken home more than $40,000. Leonard says much of the overtime is necessary because when a firefighter takes a vacation or sick day, his position cannot go unfilled. Another firefighter covers working a “call shift,” at 1½ times regular pay. CONT. on page 18

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BURNING MONEY

“It’s a cost of doing business,” Leonard says. But auditors found lax oversight. “In many cases the culture we encountered at the [fire bureau] and that was described to us did not reflect a consistent commitment to limiting [overtime],” the audit says. “What we’d like to see is 1½ times the scrutiny for 1½ times the pay,” says Drummond Kahn, director of audit services. “Our audit found that hadn’t been part of the culture.” Even high-salaried top management gets overtime. In 2010-2011, for example, division chiefs Scott Fisher, John Nohr and Mark Schmidt each earned $139,000 in base salary but also took home an average of $15,000 in overtime pay. Of course, firefighters can only get paid what the City Council agrees to give them. “It’s a testament to their bargaining power,” Saltzman says. “And a failure of the Council to be more hard-nosed.”

DEMAND MORE ACCOUNTABILITY WITHIN THE BUREAU. CHANGE AGENT?: In 1988, Fire Chief Erin Janssens became the third female firefighter in bureau history. Today, 93 percent of firefighters are men and 82 percent are white. “We’ve come a long way in 20 years,” Janssens says. “But I’d like to see us reflect the diversity of the city.”

ranks and more pay. Last December, Leonard ordered an investigation into alleged cheating on the promotional exams. The investigation found that recently retired Division Chief Scott Fisher had improperly given another firefighter, Caleb Currie, an old test. Leonard acknowledged that verbally sharing test questions was widespread when he was a firefighter. But he had never heard of hard-copy tests being shared. “I am very troubled by Mr. Fisher’s actions as they serve to undermine the integrity of Portland Fire & Rescue’s promotional system,” Leonard wrote in a Feb. 29 response to the investigation. Leonard and then-Chief Klum found Fisher had not altered test results and concluded there was no larger problem. Some firefighters rejected that conclusion. Fire Lt. Paul Bieker and Capt. Tracy Cleys, on behalf of themselves and 10 other firefighters, fought to have the

W W S ta f f p h oto

Firefighters love tradition. Portland Fire & Rescue has its own museum, a shuttered fire station at Southeast 35th Avenue and Belmont Street, staffed by a firefighter. Part of the tradition is that the bureau is staffed by white males, many of them related. There’s a history of multigenerational families—recently retired Chief John Klum says there has been a Klum in the fire bureau since the 1920s. Some firefighters say family relationships are more important than merit when it comes to issues such as specialty pay. The criteria for who gets assigned to specialtypay positions contain extraordinary latitude. “To be eligible for specialty pay,” the union contract says, “the employee must be assigned to a specialty pay assignment by the Chief or the Chief’s designee.” Some firefighters grumble the latitude fuels cronyism. “That language obviously creates an opportunity for favoritism,” Saltzman says. A cheating scandal within the bureau that was exposed last year laid bare such concerns. Firefighters must pass promotional exams if they want to be in line for higher

ROUTINE CALL: A fire engine responds with lights and sirens to an apparently intoxicated man in the South Park Blocks last week, one of thousands of nonemergency calls the bureau will respond to this year. “What’s happening is challenging our response times and reliability,” Chief Erin Janssens says. 18

Willamette Week SEPTEMBER 26, 2012 wweek.com

results of 2010 and 2011 promotional exams overturned. “You wouldn’t think your friends would be cheaters,” Bieker said to Portland’s Civil Service Board on Sept. 6. “You’d at least hope they’d all be honest.” That board declined to hear the appeal on technical grounds. Bieker’s testimony highlights what many see as the essential unfairness of a bureau whose leadership issues promotions based on friendship and family ties, rather than merit. The testing problems are not over. In a memo earlier this month, Janssens addressed “numerous issues that surfaced from the lieutenant’s [exam].” Some candidates on the lieutenant’s exam were questioned by panels of three interviewers, as is standard, but some by only two, leading to accusations the outcome was predetermined. “Portland’s not unique, but ours is a bureau where sons follow their fathers,” Saltzman says. “I think a lot of their interest is the preservation of staffing and opportunities for family members.” Leonard dismisses concerns about cronyism. “I have never seen a more competitive environment than Portland Fire,” he says. As for the firefighters who suspect they were cheated out of specialty pay or promotional opportunities, Leonard says, “There are just people who can’t accept that they aren’t as good as they think they are.” Change isn’t going to come from within the fire bureau. In January, for example, Leonard and top fire officials predicted in a budget document that the number of fires will suddenly jump by 20 percent next year— inexplicably ending a decades-long decline. Will either of the mayoral candidates challenge the city’s most popular bureau?

State Rep. Jefferson Smith (D -East Portland) has earned the endorsement of the firefighters’ union. He says he’s in favor of reducing the number of non-emergency medical calls to which fire crews respond. “Every call needs to be answered,” he says. “I don’t know that it needs to be responded to by a firefighter.” Smith says one of the initiatives he has proposed in the mayor’s race—establishing a 311 non-emergency number as cities such as New York and Minneapolis have done— could lighten the fire bureau’s workload. “We are facing a growing demand for services and shrinking revenue, and have to be thinking about restructuring all city services,” Smith says. “That’s hardest with the public-safety bureaus because we don’t want to sacrifice response times.” His opponent, Charlie Hales, battled the fire bureau and the union when he served as city commissioner from 1992 to 2002. He angered firefighters by hiring a chief from outside the bureau—something not done since—and insisted on greater diversity in hiring. Union members still dislike him. “Tradition-bound organizations don’t change easily or quickly, but we have to face the reality that the majority of their work is medical calls,” Hales says. “Sending a big diesel engine with four firefighters is not efficient and may not be sustainable.” Hales says he will bring accountability to the emergency response system, aligning Multnomah County’s control of it with the city’s responsibility to pay for it. He also wants to end duplication, such as the fire bureau and county both patrolling the rivers. Hales says he will work with county Chairman Jeff Cogan to make the citycounty approach more efficient. “One of the reasons I think I’ll be effective is I understand the system and do not accept the status quo,” Hales says, “and the byzantine setup we have now.”

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Norman Sylvester & Friends “A Tribute to the Motown era” SATurDAY, OCTOBer 6Th advanced tickets at tickettomato.com

More great Music coMing to JiMMy Mak’s! 10/5, The KINK Indie Music Showcase featuring: Worth, Michael the Blind, Bradley Wik & the Charlatans 10/12, Gail Jhonson with DJ O.G. One and Ajane’a 10/13, Bill Champlin 10/15, PDX Jazz @ Jimmy Mak’s presents: Matthew Shipp Mon-Sat. evenings: Dinner from 5 pm, Music from 8 pm 221 NW 10th • 503-295-6542 • jimmymaks.com

SCOOP 200 POUNDS OF MEATY GOSSIP FOR THE WAGON. START THE FIRE: Long before Southeast Division Street became restaurant row, Northwest’s “Trendy-third” was the spot to be from the 1980s until the Great Recession slammed it hard. By 2010, the number of empty storefronts along the once-vibrant thoroughfare was a sad sign of the times. The Fireside, a restaurant slated to open in late fall in the former Music Millennium space vacant since 2007, may portend a turnaround. The 2,200-squarefoot, 50-seat restaurant and bar will be built around two large fireplaces—a circular black cast-iron one in the middle of the dining room and a huge open flame intended to mimic “a big bonfire.” Sue Erickson, who tended bar at Ping, Lincoln and Grüner, and Wendy Hessel, a veteran local server, are involved. Also interesting is the involvement REKINDLING THE MUSIC MILLENNIUM SPACE of Dick Singer, landlord and investor, who controls substantial swaths of Northwest 23rd Avenue real estate and is well known for clashes over parking and development with the area’s peevish neighborhood activists. The Fireside will feature “outdoor-inspired cuisine” based on the owners’ great affection for the Pacific Northwest.

ANTI-DENTITES: As the debate over fluoridating Portland’s drinking water grows into a significant issue in the upcoming city elections, it was only a matter of time before musicians chimed in. And opposition to the City Council’s vote to put fluoride in the city’s water supply isn’t coming from the scene’s conspiratorial fringes. The lineup for Public Water Public Choice— taking place simultaneously at Rotture and Branx on Oct. 7—features some major local names, including Portland Cello Project, the Dharma Bums, Marty Marquis of Blitzen THE DANDY WARHOLS Trapper and the Dandy Warhols, whose keyboardist, Zia McCabe, organized the concert. McCabe insists the show isn’t protesting fluoridation, but the fact the decision was made without public input. “This isn’t technically a pro- or anti-fluoride event,” she writes in a statement, “just very much pro-democracy.” WEB CHECK: Head over to wweek.com for a full rundown on the wretched excess of last weekend’s Feast food fest and the continuation of our President of Beers series, which will come to its drunken end in these pages next week. 22

Willamette Week SEPTEMBER 26, 2012 wweek.com

ELIOT LEE HAZEL

FUTURE DRINKING: Tilt, a burger place at 3449 N Anchor St. on Swan Island, has applied for a beer and wine license. Paperwork reveals that the business’s full name is actually “Tilt: Handcrafted Food Built for the American Workforce.” >> Beloved Southeast sandwich joint Meat Cheese Bread is expanding to include a bar, which will, of course, be called Beer. >> Exciting news for people who complain about how much better Portland was before the damn hipsters ruined things: Yaw’s Top Notch, a reincarnated version of the old Portland drive-in, is open at 11340 NE Halsey St. and has applied for a full liquor license.

HEADOUT

) ( /3P 2P/3 JUGGLING NUMBERS | ) 3P/2 (3P/2 3>(2P3)(4X 4P)2XP3(2X 2,4XP2/3P /3P )( 2P /3 P H OTO : N AT E M I L L E R

WILLAMETTE WEEK

WHAT TO DO THIS WEEK IN ARTS & CULTURE

WEDNESDAY SEPT. 26

TRASH TALK [MUSIC] Skip Odd Future at Roseland and head straight to Branx’s after-party, where OFWGKTA associate Trash Talk will put on an angry display worth getting worked up about. The band pursues a balance of power, violence and muscular punk, and seven years in, still sounds like a gang of kids hooked on Cry Now, Cry Later, comps and shitty beer. Branx, 315 SE 3rd Ave., 234-5683. 11 pm. $10. 21+.

A SABERMETRIC APPROACH TO TOSSING BALLS IN THE AIR.

Invented to entertain ancient Egyptians, juggling is one of the oldest sports known to man. “Juggling” is an umbrella term covering many forms of object manipulation and requiring immense dexterity, coordination and practice. All of this according to Stuart Celarier, an instructor of juggling at Reed College, where the sport fulfills PE requirements. Juggling is in the midst of a renaissance, Celarier says, with today’s best jugglers tossing cigar boxes and burning staves along with ancient implements like the diabolo, a device juggled in China 2,500 years ago. But the most interesting thing going is something called siteswap. “It’s a way of recognizing patterns by attaching numbers to types of throws,” Celarier says. The product of research done at Caltech and Cambridge, siteswap, or quantum juggling, involves making space-time diagrams using a coded system that covers height and the hand involved in tossing each object. A throw that crosses from one hand to another is given an odd number. Even numbers are for throws that land in the same hand. The higher the number, the higher the throw. To see if a particular pattern is possible, you divide the sum of those numbers by

the number of throws. If the answer is a whole number, it’s possible. So, the simple pleasure of tossing something in the air and trying really hard to catch it and throw it again quickly is gone. Rhys Thomas, an internationally known Portland juggler who answered my phone call while standing on 9-foot stilts, is philosophical about this. “It’s really amazing,” Thomas says. “We have records of people who have been juggling for over 4,000 years, and it wasn’t until siteswap that we knew simple tricks like 441 were even possible. After siteswap, we learned more new tricks than we ever figured out just goofing off. “It raises the question, ‘What is juggling, really?’ People just think it’s people tossing things back and forth but... it’s just working with physical things in the same way as people talk about juggling their jobs, families and lives.” JOHN LOCANTHI. GO: Reed College, which has taught juggling since 1979, hosts the 20th annual Portland Juggling Festival Sept. 28-30, featuring world-class performers and 31 workshops. Celarier will teach an introductory course in ﬁve-ball juggling, and Thomas will teach a class with a box of dinner plates, a dustpan and a broom. Visit portlandjugglers.org for more info.

FRIDAY SEPT. 28

LEBOWSKI BASH [FUCK IT, LET’S GO BOWLING] Hey, man, so it’s not an oﬃcial Lebowskifest—the intellectual property is the issue, dude—but Grand Central Bowling is showing the Big movie while pouring White Russians and oat sodas. Oh, and staging a performance of the Gutter Balls interlude. Grand Central Bowling, 808 SE Morrison St., 236-2695. 7 pm. Free. 21+.

SATURDAY SEPT. 29

OREGON TRAIL LIVE [INSERT DYSENTERY JOKE HERE] Finally, a reason to visit Salem: the Willamette Heritage Center is putting on a live-action version of classic edutainment video game The Oregon Trail. Teams will compete by hunting, grave digging, ﬂoating wagons, and carrying meat. Registration is closed, but you can still watch. Willamette Heritage Center, 1313 Mill St., Salem, 585-7012. 1 pm. $5. oregontraillive.com. ARIEL PINK’S HAUNTED GRAFFITI, DAM-FUNK [MUSIC] Strange touring partners on the surface—Ariel Pink is a bedroom-pop savant; Dam-Funk plays the kind of squiggly, candypainted electro-funk that billowed from El Camino stereo systems in the mid-’80s—both thirtysomething Californians built careers grasping at memories of their respective childhoods. Wonder Ballroom, 128 NE Russell St., 284-8686. 9 pm. $15 advance, $17 day of show. 21+. PERVERT THE CIRQUE [GAY CIRCUS] Step right up to this “queer and kinky” circus to see aerial stunts, contortions, clowns and the one, the only Sossity Chiricuzio as Ring Mistress. The Echo Theater, 1515 SE 37th Ave, 2311232. 7:30 pm. $15-$40.

TUESDAY OCT. 2

THE BODY OF AN AMERICAN [THEATER] The title of Dan O’Brien’s play references a photograph of a dead American soldier being dragged through the streets of Mogadishu. War journalist Paul Watson won a Pulitzer for that 1993 shot, but it haunted him long after. O’Brien’s play receives its world premiere at Portland Center Stage. Gerding Theater, 128 NW 11th Ave., 445-3700, pcs.org. Times vary. $39$54, students $25.

Willamette Week SEPTEMBER 26, 2012 wweek.com

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.

At Either Location

210 NW 21st Ave. 503.719.7175 kellsbrewpub.com

112 SW 2nd Ave. 503.227.4057 kellsirish.com

Dine in only. Must present ad at time of ordering. Not valid with any other offer, promotion or discount. One offer per guest. Max. 3 offers per table. Valid Mon.-Fri. 11:30am-3:30pm.

THURSDAY, SEPT. 27

TUESDAY, OCT. 2

Full Sail Brewing’s 25th Anniversary

Portland Food Adventures at Acadia

Hood River brewery Full Sail celebrates a quarter of a century with its “25” pale doppelbock. The Horse Brass Pub will be offering a “cheers” at 6 pm, tapping the 25, as well as showcasing many of Full Sail’s other brews. Horse Brass Pub, 4534 SE Belmont St., 232-2202. 6 pm. Prices vary. 21+.

SATURDAY, SEPT. 29 Patrón Tequila Tasting Dinner

EXCLUSIVELY AT BURGERVILLE RESTAURANTS

RISE

SHINE

A Double CD Benefiting the Sunshine Division & Local Emergency Food Relief

Oba! hosts Patrón tequila for a five-course pairing dinner. Dishes include duck confit tostaditas, shrimp sangrita ceviche and braised pork taquitos. Oba!, 555 NW 12th Ave., 228-6161. 4 pm. $65, reservations required.

SUNDAY, SEPT. 30 Ice Cream and Hot Sauce Takedown

Do you make great ice cream? Do you make great hot sauce? Do you make great hot-sauce-flavored ice cream? The Goodfoot is hosting a cook-off for both. Email chilitakedown@gmail.com to compete, or just buy a ticket to burn/freeze your face off. Tickets at thetakedowns.com. Goodfoot Lounge, 2845 SE Stark St., 239-9292. 2-4 pm. $15.

Powell’s Books for Home and Garden 41st Anniversary Pre sen ts

$12

RISE SHINE

Roaming dinner series Portland Food Adventures visits Irvington New Orleans-inspired restaurant Acadia. Diners will get a six-course meal of Big Easy favorites cooked up by chef Adam Higgs, plus gift certificates to his favorite Portland eateries and bars, including Ping, Hale Pele and Bluehour. Acadia, 1303 NE Fremont St., 249-5001. 6 pm. $125, $675 for six people.

HIGHLIGHTS FROM MICHAEL ZUSMAN’S DIARIES OF THE FEAST FOOD FESTIVAL “It’s the Sandwich Invitational in Director Square downtown and the official Feast PDX debut. The line to get in is a block long at the opening bell. I bolt for the Franklin Barbecue/Podnah’s Pit booth. First to arrive gets me the ethereal end slice of a badger-sized slab of smoked prime rib and a moment to schmooze with Texan Aaron Franklin. A block-long line at this booth forms within two minutes. I go for a second helping anyway.” “Night Market time in the Ecotrust Building parking lot. More booths, more food, more upper-middle-class pale people wandering around, feeding their faces and drinking heavily. Highlight dish is probably David Thompson’s spicy skewered mussels on a stick.”

The Powell’s home and garden store celebrates 41 years of selling you Christmas gifts for your grandma. Author Laurie Wolf will sign copies of her book Portland, Oregon Chef’s Table: Extraordinary Recipes from the City of Roses alongside chefs featured in the book, from restaurants like Evoe, Grüner, Ya Hala, Rum Club, Yakuza and DOC. There also will be food and wine. Powell’s Books for Home and Garden, 3747 SE Hawthorne Blvd., 228-4651. 2-4 pm. Free.

“The frenzy of private, Feastrelated, invite-only parties this weekend is causing me a Janis Ian (“At Seventeen”), back-to-highschool moment. The Portland food world has always been so self-consciously collegial, egalitarian and— ugh, how I hate to say it—nice. And now this: a pecking order with the coolest kids, the sort-of cool kids and the hapless losers stratified by which parties they are (and aren’t) invited to.”

Sunday Supper at Rum Club

Read the complete Feast diaries at wweek.com/feast.

Portland’s corner-most bar, Rum Club, is hosting a five-course dinner with matched cocktail pairings. Dishes include miso black cod, duck confit and veal blanquette. Rum Club, 720 SE Sandy Blvd., 467-2469. Seatings at 5 and 8 pm. $40. 21+.

DRANK isio n for the Sun shi ne Div A Mu sica l Ben efi t ief Rel d Foo y enc erg and Em

4 0 T R AC K S F E AT U R I N G T H E D A N D Y WA R H O L S , T Y P H O O N , B L I N D P I L O T, B L I T Z E N T R A P P E R , F L O AT E R , L O C H L O M O N D, P I N K M A R T I N I , H O R S E F E AT H E R S, R A M O N A FA L L S & M O R E ! *Plus coupons from Burgerville & Oaks Amusement Park inside! 24

Willamette Week SEPTEMBER 26, 2012 wweek.com

FIVE PINE CHOCOLATE PORTER (THREE CREEKS BREWING CO.) Chocolate beers, like chocolate bars, fall along a wide sweetness continuum. Put Rogue’s popular chocolate stout right in the middle. Far to one side, there’s the layered bitterness of Brooklyn Brewery’s Black Chocolate Stout, which is 10 percent alcohol and uses only heavily roasted malted barley, but no cocoa, to get its flavor. On the other side, you’ll find this bottled Hershey’s bar. Brewing with seven specialty malts, Sisters’ Three Creeks Brewing adds Belgian cacao nibs by the pound to create the sweet and smooth Five Pine porter. Interestingly, Three Creeks has a new brewmaster, outspoken traditionalist Zach Beckwith. The Lompoc-trained Beckwith is a vocal proponent of old-fashioned English ales who has criticized “novelty” brews but jumped from the Old Town upstart Pints Brewing only a few months after heating his kettles to take over this hungry-to-expand brewery. So far, Beckwith is still putting chocolate in his beer—I expect some new bitterness, one way or another. MARTIN CIZMAR.

FOOD & DRINK LEAHNASH.COM

REVIEW

Time-Tested Family Recipes

Starts Oct. 6

Indian Cuisine Buffets Delight in All-You-Can-Eat

Fresh, Authentic Flavors of our Jalisco Heritage

& All-You-Can-Dance with DJ PANTHER Fridays on Sandy Blvd.

Namaste 8303 NE Sandy Blvd. & 6300 NE 117th Ave in Vancouver

4160 NE Sandy Blvd. 503-284-6327 parking in rear

Jobs for the Food and Drink Industry Staffing solutions for owners and managers

SHELL-SHUCKED: Raw oysters and lemon at the Parish.

THE BOOK OF BIVALVE

NYC/ CHI/ SFO/ SEA /PDX/ AUS

THE PEARL GETS OYSTERS, COURTESY OF EAT OWNERS’ NEW RESTAURANT, THE PARISH.

enjoyable. The creamy shrimp étouffée ($14) has a peppery kick, though its crab broth could be fishier. The soft-shell crab on a soft roll ($15) is what every fast-food fish sandwich aspires to be, dressed with mayo and pickles like a Big Mac but with a delicious, crisp-fried crab in place BY BE N WAT E R H O U SE 243-2122 of a soggy tilapia patty. Grilled jumbo shrimp ($11) are excellent, crisp but still tender, with At the Parish, communion comes on the half shell. a pimento bite. All were improved by a glass of white from the restaurant’s surprisingly affordIt’s a pun, see? This New Orleans-inspired bistro from Tobias able wine list, which includes a number of subHogan and Ethan Powell, the owners of North $30 bottles. Williams Avenue’s EaT: An Oyster Bar, takes its Non-fish dishes are less consistent. The name from Louisiana’s equivalent of counties. jambalaya ($12) is fluffy, with respectably spicy The Pelican state was crehousemade andouille, but ated from former French and the Creole sloppy Joe ($14), a Order this: Raw oysters, octopus salad Spanish colonies, and has kept with rabbit sausage. moist midden of pulled rabbit the colonial designation out Best deal: The $25 prix ﬁxe oﬀers on a soft roll, is a disappointof a proto-hipster love of anti- savings equal to getting a free dessert. ment. It might have been a I’ll pass: Avoid the high two-tops, quated nostalgia. nice change from the usual, have unpleasant chairs that dig But the Parish, which which he a rtburn- induc ing be e f into the thighs. opened in May in the Pearl version, but the kitchen seaDistrict space formerly occusoned the meat with a fistful pied by the In Good Taste kitchen store, also of clove. The tongue-numbing mess was pleasembraces the ecclesiastical connotations of the ant at first, but eventually grew unbearable, like title: the booths have a gothic geometry to them, making out with Roger Rabbit at a goth bar. At the host station is a salvaged pulpit, and the least the fries were good. menu, divided into six categories, is parsed as Rabbit fares better in a warm, tart salad of easily as Leviticus. black-eyed peas and octopus ($12), a highlight For all the churchiness of the space, the Parish of the meal. The sausage is well-seasoned and worships only at the altar of the almighty oyster, grilled crisp, complementing the chewy tentacles and up to a dozen varieties are available raw, and soft peas. Order two of these and some oysbaked or fried by the dozen. Get them raw, for ters and you’ll have plenty of room for dessert. $14 a half-dozen (or a buck apiece at happy hour). There are really only two options here, They come well-shucked and sparely dressed, whatever your waiter tells you: the heavenly with only some lemon to offset the brine. For the bread pudding in whiskey sauce ($6), which best view, grab a captain’s chair at the bar and tastes the way clouds would if they were made watch the shuckers at work while you sip a glass of gluten and sugar; and pecan pie ($6), which is of bubbly or a 9-ounce mug of Pilsner. definitely unearthly, but must come from some The other oyster preparations are good, but lower realm. not great. The baked oysters with Parmesan and Chase it with a Sazerac. Ite, missa est. butter (three for $7) are nice enough, but inferior to baked scallops; the fried ones (three for $6) do EAT: The Parish, 231 NW 11th Ave., 227-2421, theparishpdx.com. 11 am-10 pm Mondaynothing to convince me that bivalves should ever Thursday, 11 am-midnight Friday, 3 pm-midnight be battered. Saturday, 3-10 pm Sunday; brunch 10 am-3 pm Seafood dishes at the Parish are invariably Saturday-Sunday. $$.

NamasteIndianCuisine.com

Upcoming In-Store Performances Untitled-2 1

AMANDA PALMER

6/10/12 9:41 AM

AUTOGRAPH SIGNING

FRIDAY 9/28 @ 4 PM Arguably her most pop-influenced album yet, ‘Theatre Is Evil’ showcases Amanda’s powerful vocals and talented songwriting in ways that might surprise even her most ardent fans. Written over the course of several years, the album offers a collection of sounds and rhythms heavily influenced by the music Palmer grew up listening to - most notably ‘80s synth rock and Brit Pop.

TIM MAIA

LISTENING PARTY/ BIRTHDAY PARTY

FRIDAY 9/28 @ 7 PM Celebrate the birthday of one of the best soul artists of all time, Tim Maia! Win 12” singles! Listen to the upcoming Tim Maia release ‘Nobody Can Live Forever’! Tim Maia was the man. A soul superstar with outsize talents and appetites, he revolutionized popular music in his native Brazil in the 1970s. He also married five times, served multiple prison sentences, and at the height of his fame, joined a UFO-obsessed religious cult.

BEER PROVIDED BY NINK ASI! MARTI MENDENHALL SUNDAY 9/30 @ 4 PM With roots in vocal jazz and classical piano, Marti Mendenhall transforms singing into genuine entertainment with scat solos that leave audiences tapping their feet and smiling ear to ear. Her debut album ‘An Evening Of Live Jazz’ was recorded live during a Halloween benefit concert in Portland, and features George Mitchell on keys, Todd Strait on percussion and Scott Steed on bass. SONGWRITERS CIRCLE W/

GREG GEORGESON, ELVICIOUS CASH, JACK MCMAHON MONDAY 10/1 @ 7 PM

Willamette Week SEPTEMBER 26, 2012 wweek.com

KING OF THE BLOCKS BY M A RT I N C I Z M A R

mcizmar@wweek.com

In 1990, with the original Nintendo console at its peak popularity, the Mariomaker staged a national tour of convention centers, complete with a competition that looked something like Fred Savage’s The Wizard. I was 9 on the big day it came through my city, and can remember only an American Idol-style line of excited kids in Hammer pants stretching across an acre of musty red carpet and a monitor displaying the opening screen of the not-yet-released Castlevania III. Robin Mihara’s memories of the event are much clearer. At 13, the Portlander went to his city’s Nintendo World Championships with serious intentions of going on to Florida to win a $10,000 savings bond, a Geo Metro convertible, a giant projection television and a trophy shaped like a squat Italian plumber. The competition remains one of the defining moments of his life— something that brings him both pride and disappointment. “I was really, really good at video games,” he says. “To the point that I’d buy a game and it’d seem like a waste of money because I’d beat it in two days. I remember this game Rygar, it was a $35 game—which is like $80 today—and I beat it in two hours. It was like I wished I wasn’t as good as I was.... And I’ve never been as good at anything else in my life.” Maybe that’s why it’s been so hard to walk away from a 27-year-old video game system. Though he took a decade off, Mihara is still playing Nintendo games— including competing in this weekend’s World Tetris Championship at the Portland Retro Gaming Expo. He’s also still hoping to win, once. Mihara is the Buffalo Bills of electronic gaming, always getting close but never quite grabbing the glory. “Video games were basically an addiction since the Intellivision came out,” he says. “I was 6 and got Pitfall. My parents didn’t really know that you shouldn’t let your kids play for eight hours a day.” A boy genius who was given the SATs as a child for a possible Doogie Howser-like path to early postgraduate education and country-club life, Mihara instead ended up dropping out of high school. Today he makes his living selling vintage video games, something he fell into a few years ago when he needed quick cash after the birth of his daughter. He sold off his copy of the Nintendo World Championship game cartridge, one of only 116 made for finalists in the NWC, and one of the most valuable games ever made. The NWC was a triathlon of sorts. Played on a special cartridge developed for

the 29-city roving contest in 1990, it featured the first several levels of Super Mario Bros., one course from Road Racer, and Tetris. In order to race, players needed to get 50 coins in Mario. Players then had to finish the race before they got to dissolve lines of blocks in Tetris. The amount of time contestants have to rack up points in Tetris—everyone got a total of 6:21 to play all three games—depended on how quickly they could navigate the other two games. Tetris, it turns out, is Mihara’s passion. “I’d rented Tetris but I didn’t like it, I just thought it was ridiculous. [But] Tetris is where the World Championship was won or lost, so I started practicing.” As players trained for the NWC, they started figuring out all the angles. For example, it’s faster to wreck your car across the finish line in Road Racer than to let the computer stop you. In the mania of the tour, families made sacrifices to travel to competitions so their kids could practice. Mihara didn’t win at the Portland stop, but did well enough to want to mow lawns to buy a bus ticket to Oakland, where he qualified for the final matchup in Florida. Hooking up a reproduction of the game to an old tube television in the Willamette Week office—flat-screens have a half-second delay that’s unnoticed by most people but would wreak havoc on a practiced player— Mihara has an off game and yet scores five times as many points as our best player. Mihara eventually took third at the NWC finals, losing to a kid named Thor Aackerlund, a home-schooled Nintendo prodigy who dominated the field. Aackerlund, who didn’t even own a Nintendo when he entered the competition, became a paid spokesman for several games, actually supporting his entire family with the money. Aackerlund’s rough life figures prominently in a documentary called Ecstasy of Order, about the world’s best Tetris players engaging in a King of Konglike quest to battle for perfection straight up to the kill screen. The movie will screen at this weekend’s Portland Retro Gaming Expo, where this year’s championship competition will be held. The film also follows Mihara as he organizes the world’s first Tetris championship in Los Angeles. Unlike the famed documentary about a quarter-powered gorilla’s barrel hopping, there’s no good and bad guys. Everyone still living in the 8-bit era is likable—if also a little damaged. “It’s kind of interesting. Of all the top seven players in the NWC—I’ve met five of them in the last three years—none of us were working,” Mihara says. “We all had this story of unfulfilled potential. It was almost the same as kid stars—they get all of this fame and don’t know how to put it together in the real world.” Mihara’s last taste of glory was when Street Fighter II ruled the arcade. He skipped classes his freshman year of high school to play through a line of challengers

AGONY AND ECSTASY: Former Nintendo champion Robin Mihara schooled WW in a reproduction game but came up short against top competition. COURTESY OF ROBIN MIHARA

AFTER 22 YEARS IN AN 8-BIT WORLD, ROBIN MIHARA STILL WANTS TO BE MASTER OF TETRIS.

CULTURE

that formed at the player-two spot. “I was an asshole. I’d show up in headto-toe Chicago Bulls gear with my hair gelled up and just beat up on these kids who waited 45 minutes to play me,” he says. “I’d win the first game, then let them win the second, and then crush them. It was the only thing that was like being on stage with a crowd behind me. But then people moved on to the first-person shooters and I didn’t get into that.” Despite being the local king, Mihara has lost the big matches that matter to him. In Ecstasy of Order, Mihara sets a world record in the little-known Tengen version of Tetris, only to see Aackerlund, his old nemesis, pick up the controller for the first time in years and double his score. And yet he keeps hitting start—because he always has. His son, though, is limited

to an hour of video games at a time. Which Mihara recommends to all parents— especially ones with bright and obsessive children. “I have ADD and I actually believe that a large part of my ADD at least was caused by this constant feedback stimulus, because then I had to go to school and listen to this analog, boring teacher with a piece of chalk,” Mihara says. “I just didn’t have the attention for her to sit there and get through things. Whereas with video games you get this score and reward—all these great things happen so fast. To this day I can’t read a book—it’s just boring.” GO: The Portland Retro Gaming Expo is at the Oregon Convention Center, 777 NE Martin Luther King Jr. Blvd., on SaturdaySunday, Sept. 29-30. $25 weekend pass. retrogamingexpo.com. Willamette Week SEPTEMBER 26, 2012 wweek.com

W W P H OTO I L L U S T R AT I O N , P H OTO B Y P E T E R H I AT T

VIDEO GAMES

Willamette Week SEPTEMBER 26, 2012 wweek.com

MUSIC

Sept. 26-oct. 2 PROFILE

= WW Pick. Highly recommended.

STEVE DOUBLE

Prices listed are sometimes for advance ticket sales. At-the-door increases and socalled convenience charges may apply. Event lineups are subject to change after WW’s press deadlines. Editor: MATTHEW SINGER. 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: msinger@wweek.com. Fax: 243-1115.

WEDNESDAY, SEPT. 26 Sam Cooper, Mimi Naja and Jay Cobb Anderson (of Fruition)

[FOLK] Coming from a member of gentle Portland folkies Horse Feathers, it should be pretty easy to predict the sound of Sam Cooper’s Long Lost Love. Your guess would probably be right: impeccably warm arrangements of acoustic guitar, fiddle, banjo, piano and mandolin; earnest, heart-swelling harmonies; lovesick lyrics referencing the weather and nature; a little bit sleepy. But Cooper throws in a few slight curveballs, including subtle dabbling in Balkan melodic passages. And on the first song, he teases a fairly novel creation: rootsy doo-wop. Unfortunately, it’s an intro, only lasts a minute or so, and never really returns. It’s a path Cooper should consider exploring further on his next solo go’round. MATTHEW SINGER. Al’s Den at the Crystal Hotel, 303 SW 12th Ave., 972-2670. 7 pm. Free. Sam Cooper’s residency continues through Saturday, Sept. 29. 21+.

Ash Borer, Menace Ruine, L’Acephale, Druden

[CVLT METAL] You can take your one-man black-metal bands and shove them. The second wave of Scandinavian bands did it best way back in the ’90s. U.S. black metal has always been a slippery slope, but Arcata, Calif., quintet Ash Borer is clearly on the right track. On Cold of Ages—released just last month—following the requisite keyboard intro, vibes of Emperor, Enslaved and Dissection appear. There are also nods to modern French boundary-pushers Deathspell Omega and Blut Aus Nord. Overall, the album is American black metal done with class and classicism. Making this show even more crucial is cult Quebec industrial-folk duo Menace Ruine, on hand to weave burnt offerings of hypnotic drones. NATHAN CARSON. Backspace, 115 NW 5th Ave., 248-2900. 8 pm. $10. All ages.

Trash Talk, Left Brain (of Odd Future, DJ set)

[HARDCORE] Skip the sophomoric provocation of Odd Future’s Roseland set and head straight to Branx’s virtually Future-free after-party, where OFWGKTA associate Trash Talk will put on an angry display worth getting worked up about. Like fellow hardcore revivalists Ceremony, Trash Talk has managed to worm its way into Pitchfork-pricked ears, but the L.A.by-way-of-Sacto quartet has, contra Ceremony, figured out how to succeed in business without really trying to change. The band has continued to pursue a perfect balance of powerviolence and muscular punk. Seven years into its project, Trash Talk still sounds like a gang of kids hooked on Cry Now, Cry Later comps and shitty beer. Which is just as it should be. CHRIS STAMM. Branx, 320 SE 2nd Ave., 2345683. 11 pm. $10. 21+.

The Shins

[THE QUALITY OF MERCER] James Mercer dismissed his Shins mates in 2009, wresting the mantle of the band for his personal brand and, incidentally, hoarding the riches from a subsequent Columbia signing for himself. People have wondered if the ends would justify the meanness. The answer, on March’s Port of Morrow, is murky. Some songs (especially “It’s Only Life”) suggest a greater emotional maturity, perhaps hard-won, to match the empathy his voice and plaintive melodies always conjured. But, five years after the last Shins disc, it appears that, as with 2007’s three-years-in-the-

making Wincing the Night Away, the quality of Mercer’s writing is strained over the course of an entire album. JEFF ROSENBERG. Keller Auditorium, 222 SW Clay St., 800-745-3000. 8 pm. $32.50. All ages.

Odd Future

[WOLF GANG] When California rap collective Odd Future stepped on the scene last year, people got scared. They saw Tyler, the Creator, the group’s croaky-voiced leader, with black pupils, vomiting cockroaches in the video for “Yonkers.” They saw the group’s warped album covers and heard its lyrics depicting raunchy sex and vulgar violence. But as time has passed, it has become clear that Odd Future is just a group of immature, creative goofballs, not Satanists. And despite the fact the origins of their popularity are based in shocks, the group seems to be embracing change. Its recent projects, which include a solid collaboration between member Domo Genesis and beat legend Alchemist and the brilliant debut of R&B crooner Frank Ocean (who will not be at this concert), demonstrate a growth both musically and emotionally. REED JACKSON. Roseland Theater, 8 NW 6th Ave., 224-2038. 9 pm. $27.50 advance, $32 day of show. All ages.

Balam Acab, Tyler Tastemaker, Massacooramaan, Cestladore

[ELECTRONIC ATMOSPHERICS] Wander/Wonder, the 2011 full-length debut from New York producer Balam Acab, is the sound of R&B in a state of drowning. Taking the ethereal, lightly pulsating tones of of-the-moment hipster-soulsters like the Weeknd and Frank Ocean, tying concrete to their ankles and tossing them into a crisp blue lake, the former Alec Koone makes blissfully hazy soundscapes evoking the feeling of ecstatically peaceful death. Some have lumped his music in with so-called “witch house”— the atmosphere-heavy chillwave offshoot—but the Pennsylvania-born artist’s sonic paintings are much more heavenly than his contemporaries in that already fading microgenre. MATTHEW SINGER. Rotture, 315 SE 3rd Ave., 234-5683. 9 pm. $10. 21+.

THURSDAY, SEPT. 27 He’s My Brother She’s My Sister, Shaky Graves

[ROCKABILLY CABARET] An album called Nobody Dances in This Town is clearly after the hearts of the many folks who stand in corners at shows and tweet complaints about how stationary Portland crowds are. But L.A. ensemble He’s My Brother She’s My Sister—whose debut full-length comes out next year—truly puts its money where its feet are, considering the group gets much of its percussion from a drummer who simultaneously tap dances. “Whaaa?” you say. Why yes, that little parlor trick is the main selling point behind this band— indeed fronted by the brother-sister duo of Robert and Rachel Kolar—and it’s a gimmick that can tend to overshadow its bluesy melodies and rockabilly swing. Ain’t nothing wrong with a little showmanship, though. And who knows? Maybe seeing a band working extra hard will actually encourage a Portland audience to move for once… probably not, though. MATTHEW SINGER. Bunk Bar, 1028 SE Water Ave., 894-9708. 9 pm. $10. 21+.

Garbage, Screaming Females

[RECYCLABLES] Many critics seemed utterly shocked to discover the trium-

CONT. on page 31

SYSTEM REBOOT HOW LEGENDARY U.K. DANCE DUO ORBITAL GOT ITS GROOVE BACK. BY R o Be Rt HA M

243-2122

For nearly 25 years, one of the most instantly recognizable sounds and looks in electronic dance music has belonged to Orbital. Which isn’t to imply the U.K.-based duo has been hitting the same notes all that time. Brothers Phil and Paul Hartnoll have openly embraced the ever-changing moods of club culture during their lengthy and still-thriving career. Yet if you were to put Orbital’s discography on shuffle, signifiers would keep popping up: pulsating synth lines; steady 4/4 beats; sultry female vocals; major-chord melodies that linger in the brain for days. And if you check out footage from Orbital’s most recent series of gigs, you’ll see the same thing you would if you were to cue up the DVD of the duo’s highly revered performance at the 1994 Glastonbury Festival: Phil and Paul standing behind a bank of equipment, their signature flashlight glasses framing their close-cropped pates as they bop in time with the music. The pair doesn’t shy away from this notoriety, either. When the Hartnoll brothers made an appearance at the opening ceremonies for the 2012 Paralympic Games, they gladly fitted Stephen Hawking, who was being sampled in the track the two performed, with their trademark specs. And live sets often dip all the way back to “Chime,” the acidhouse classic that kicked off Orbital’s career in 1989. For as deeply ingrained as the Hartnolls’ work has been since the two began recording together (“Chime” hit No. 17 on the U.K. pop charts, and three of its full-lengths cracked the top 10), the pair hit a creative wall about eight years ago. “We felt we were sort of lost,” says Phil Hartnoll, speaking from his home outside London via Skype. “We weren’t really feeling what we were coming up with. It would’ve been easy to carry on, really, but we felt, ‘Well, we’re not feeling it, we’re not grooving it.’ So we felt it was time to stop doing it.” But just as the two rarely sit still, in live performances and interviews—Phil kept moving out of

the frame of his webcam during our conversation— the Hartnolls quickly moved forward. Paul released The Ideal Condition, a well-regarded orchestralbased solo album, in 2007, and Phil started a new duo and kept up a steady schedule of DJ gigs. The two might have continued on their separate paths were it not for an offer in 2009 from the Big Chill, another U.K. music festival, to perform a set in celebration of the two decades since the release of “Chime.” “That spiraled into people wanting us and booking us,” Phil says. “That carried on for a year and a half, and then we came to a point going, ‘All right, we really can’t be rocking around the world with old tracks. We’ve either got to say, “That is it,” or do some more music.’” Opting for the latter, Orbital knocked out a new single in 2010, and followed it this year with

“WE FELT, ‘WELL, WE’RE NOT FEELING IT, WE’RE NOT GROOVING IT.’ SO WE FELT IT WAS TIME TO STOP DOING IT.” —PHIL HARTNOLL Wonky, the duo’s eighth studio album. Recorded with renowned U.K. producer Flood (Depeche Mode, the Pains of Being Pure at Heart), Wonky pays heed to Orbital’s earliest acid-house influences while also dabbling in the wobble of dubstep (“Beelzedub,” is a caked-on remake of “Satan,” one of the group’s biggest singles) and stringy bits of minimalist house. Now comes the fun part for Orbital: hitting the road for an extensive tour, a scenario where the band has thrived from the beginning. “It’s always been an important thing for us,” Phil says. “It was a way of getting the music out there, just the same as an indie band. Build up a following. And the way we play live, basically we set our studio up onstage, so we can improvise with the structure of songs and see how it feeds off the audience. It’s great. You get a chance to see the audience’s reactions and feel it with them.” SEE IT: Orbital plays Roseland Theater, 8 NW 6th Ave., on Friday, Sept. 28. 9 pm. $30. 21+. Willamette Week SEPTEMBER 26, 2012 wweek.com

Willamette Week SEPTEMBER 26, 2012 wweek.com

thursday-friday PROFILE

DEStInY LAnE

phant return of Garbage sounded unchanged from the group’s salad days: Fifth album Not Your Kind of People, its first in seven years, is an unapologetic Version 5.0. But the “band” always struck purists as cheating. the whole notion of three studio boffins, led by Nevermind, Siamese Dream and Dirty producer Butch Vig, hiring Scottish minx Shirley Manson as iconic chanteuse to bristle as they mined canned pop and industrial detritus, might have cynically exploited alt-radio’s momentary prominence, but few folks have ever spun gold from FM trash so thrillingly. JAY HoRton. Roseland Theater, 8 NW 6th Ave., 224-2038. 8 pm. $30. 21+.

MUSIC

Patterson Hood and the Downtown Rumblers, Hope for Agoldensummer

[FLAnnERY o’RocKER] Unlike too many contemporary groups, Southern rock true believers Drive-By truckers don’t depend on a single songwriter to generate an album’s worth of topshelf material at a steady clip. Leader Patterson Hood and guitarist Mike cooley trade inspired songs on record and onstage, often bolstered by those of additional members. Hood’s surplus has filled three solo albums over the past eight years, including the justreleased Heat Lightning Rumbles in the Distance. Remarkably, the solo songs measure up to those picked for DBt albums, Hood’s unforced literary quality and ardent humanism persistent throughout. He’s one writer who could carry a band all by himself. JEFF RoSEnBERG. Star Theater, 13 NW 6th Ave. 9 pm. $20. 21+.

FRIDAY, SEPT. 28 Willy Porter, David Jacobs-Strain

[FEARSoME FoLK] A folk guitarist of the Leo Kottke school, Willy Porter has built a solid—if far from messianic—career over the past 20 years by employing such old-school methods as busking, playing coffee shops and diligently hawking cDs after gigs. Porter’s precise guitar work and elegiac ballads bear the crisp imprint of years spent playing to roadside admirers in locales as various as Paris and the Mississippi Delta. How to Rob a Bank, Porter’s latest LP, released in 2009, leans toward pop, though his signature flourishes of blues, folk and Americana are still in ready supply. SHAnE DAnAHER. Aladdin Theater, 3017 SE Milwaukie Ave., 234-9694. 8 pm. $20 advance, $22 day of show. All ages.

Laura Marling

[AnGELIc FoLK] Laura Marling may be too young to know it, but the the 22-year-old English singersongwriter sounds a lot like Joni Mitchell. Her fluttering vocals and effervescent delivery are a nod to the folk goddess of a generation ago. What is uniquely Marling’s is the pastoral, melodic breath she sings with, the product of the U.K. countryside she was raised in. Last year saw Marling win Best Female Solo Artist at the Brit Awards and the release of her best record to date, the serene and sailing A Creature I Don’t Know. MARK StocK. Backspace, 115 NW 5th Ave., 248-2900. 9 pm. $13. All ages.

Joss Stone, Vintage Trouble

[A MERRY oLD SoUL] nine years ago, well before Adele and Amy Winehouse legitimized the soulbelter-as-porcelain-figurine genre, Joss Stone twinned a heaven-sent vocal register and connoisseur’s vinyl habit to platinum results with The Soul Sessions. After successively more rockin’ collections of originals won diminishing returns, she’s back with another set of archival covers backed by all-star sidemen for Volume 2. not the most auspicious of signs for a groundbreaking

cont. on page 32

THE ALAN SINGLEY ORCHESTRA SATURDAY, SEPT. 29 [CLASSICAL] When he was 11 years old, Alan Singley bought an album containing all of Beethoven’s symphonies. This wasn’t a parental directive; they listened mostly to classic rock. Rather, it stemmed from the young Singley’s realization that popular classical tunes, like Tchaikovsky’s cannon-climaxed “1812 Overture” and Johann Strauss Jr.’s “The Blue Danube,” “were just the pop sensations of their day,” he says. “Catchy is catchy. A good tune is a good tune.” A few weeks later, his ears primed by Beethoven, Singley, who grew up in Florida, was swimming in the Atlantic Ocean when he heard symphonic sounds in his head. He realized, right then, that he wanted to be an orchestral composer. On Saturday, Sept. 29, Singley takes a big step toward fulfilling that youthful ambition. Nine years after moving to Portland and establishing himself in the local rock scene with his energetic, quirky pop songs, the 30-year-old musician will perform a concert of two original, classical song cycles, scored for a small orchestra. “I’ve been doing this behind the scenes for years,” he says, laughing, “but I just never pimped it out the way I wanted to.” Six years ago, Singley started teaching at Ethos Music Center. While hanging out with string players who also taught there, he indulged his curiosity about classical instrumentation, augmenting his recent recordings with strings, flutes and tubas. He enrolled at Portland Community College’s Cascade campus and spent a year learning the basics of music theory and honing his craft by orchestrating albums for other bands. “Guitar-and-drum rock music is pretty cool,” Singley says, “but nothing is as cool as when you go to the [Arlene Schnitzer Concert Hall] and see The Rite of Spring, with 80 musicians working their asses off to make this complex sound.” His new works don’t adhere to classical structures like traditional sonata-allegro form. “They’re more like a song cycle,” Singley says. The first half of the show is composed of theme exercises, while the second is devoted to a tribute to the 1950s classical-jazz hybrid called Third Stream music. The concert—which also benefits the Old Church, an important Portland music venue—signals not just a culmination but also a departure. Next month, Singley will return to Florida to work in his mother’s restaurant. He’ll be back next year to debut his next album, “a Latin thing with horns that’s already in the computer.” In the interim, he’ll use the time away from Portland’s enticements to “bust out the string thing. I’ve got to learn how to talk to the string players in their language so I can know where they’re coming from and what their needs are. I’m learning a lot on the fly. “I’ve always been meaning to get to this place,” he continues. “I’ll probably spend the next 10 years just doing instrumental orchestral music. I don’t plan on writing words for a long time.” BRETT CAMPBELL. A Portland pop mainstay reveals his classical side.

SEE IT: the Alan Singley orchestra plays the old church, 1422 SW 11th Ave., on Saturday, Sept. 29. 8 pm. $10-$25 sliding scale. All ages. Willamette Week SEPTEMBER 26, 2012 wweek.com

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DEER FRIENDS: Deerhoof plays Branx on Saturday, Sept. 29. career. Once again, however, her selections are so cleverly idiosyncratic and her pipes so extraordinary (and, at 25, the bloom hardly oﬀ the rose) that one imagines she could continue the transcendent karaoke for decades to come. JAY HORTON. Crystal Ballroom, 1332 W Burnside St., 225-0047. 9 pm. $40. All ages.

Scott Pemberton, Eldridge Gravy and the Court Supreme

[SHREDDER] Portland guitar monster Scott Pemberton is a master eclectic shredder, a man as skilled at riding in the pocket of a funk groove as he is going psychedelic without becoming overly jammy, ripping through classic rock riﬀs or, on the rare occasion, exploding into crunching metal. What makes Pemberton even more fascinating is that on this spring’s excellent solo debut, Sugar Mama, and in his live shows, he does it all—often in the same song. It seems like those styles would clash, but when they’re blasting through Pemberton’s amp, they congeal into a glorious sound, uniﬁed by his stark charisma and his earnest sense of sweetness and goofballery. AP KRYZA. Doug Fir Lounge, 830 E Burnside St., 2319663. 9 pm. $12. 21+.

Julianna Barwick, Maria Minerva, Father Finger

[HYPNOGOGIC POP QUEENS] Julianna Barwick is often spoken of in the same breath as our local heroine Grouper, as both love to lose their voices and themselves behind smoky walls of atmospheric sound and ecstatic melody. Barwick’s 2011 release, The Magic Place, was a quiet storm of beauty, with huge, billowing songs reﬂecting the pink, purple and orange tones of her glowing voice. She is joined on this date by the slightly clearer approach of Maria Minerva. The 24-year-old Estonian singer-producer adds a great deal of haze to her work, but leaves enough air to maintain the focus on her ghostly voice and refracting disco beats. ROBERT HAM. Holocene, 1001 SE Morrison St., 239-7639. 7 pm. $10 advance, $12 day of show. 21+.

Rick Ross, Tyga, Cool Nutz, Kris England, DJ OG One

[MAYBACH MUSIC] Miami kingpin Rick Ross is responsible for many of hip-hop’s most head-scratching moments over the past couple years, perhaps the biggest being how he morphed, almost out of nowhere, from a generic trap rapper into a well-rounded MC. Not that anyone is complaining. His recent albums may sound basic in nature (topics include money, drugs and guns), but Ross has become a master at bragging about his status without being boring or even arrogant. Instead, he uses clever metaphors and his

hefty, gruﬀ voice to give his boasts some teeth. It’s rocketed him to superstar status, which makes me wonder if he’ll actually show up at a concert in, of all places, the Oregon Convention Center. But if Kendrick Lamar can rock a crowd at an indoor skate park on 82nd Avenue (yes, that happened a few weeks ago), then I’m pretty sure this is in the realm of possibility. REED JACKSON. Oregon Convention Center , 777 NE Martin Luther King Jr. Blvd., 235-7575. 8 pm. $75 VIP, $60 general admission. All ages.

SATURDAY, SEPT. 29 George Thorogood & the Destroyers

[GOD OF THE BAR] George Thorogood could have become blues rock’s Chubby Checker, recycling “Bad to the Bone” in an endless cycle until it was all but beaten to death. Instead, he became something of a poor man’s Bruce Springsteen, a man who, over the course of 16 albums— including last year’s great bluesstandards comp, 2120 South Michigan Ave.—and three decades, chose to shred his guitar without pretension, forgoing the temptation to get political, instead sticking to what he knows best: dirty blues rock about lowlifes living the dream. Because of that, the Delaware Destroyer will never have to drink alone. AP KRYZA. Aladdin Theater, 3017 SE Milwaukie Ave., 234-9694. 7 pm. $49.50. All ages.

Deerhoof, Buke and Gase, Raleigh Moncrief

[GROOVE MERCHANTS] Deerhoof is one of the few bands that feels like it is constantly evolving, ﬁghting against what is expected of a traditional rock lineup. In the case of the Brooklyn-based quartet’s most recent album, Breakup Song, the band is embracing more synthetic sounds. Keyboard parts wiggle their way through most of the songs, and John Dieterich and Ed Rodriguez make their guitars sound as unnatural as possible. Deerhoof shows oﬀ some wicked dance moves throughout, peppering arch pop songs with squirrely funk and swell Latin grooves. ROBERT HAM. Branx, 320 SE 2nd Ave., 234-5683. 8 pm. $15. 21+.

Mike Watt and the Missingmen, Divers

[FREE PUNK] “Start your own band!” That’s Mike Watt’s signature sign-off, his “Goodnight and good luck,” shouted to the crowd with a fist in the air at the conclusion of every show he plays. Like the brief, fiery songs he performed with his most famous group, Southern California underground legends the Minutemen, the statement is short but says a lot. It is an economically beautiful summation of the punk ethos, the thing

saturday-sunday

[GRoUP HUG] While a great many indie record labels enter the fray with pie-eyed dreams of fiscal solvency and community involvement, imprints like tender Loving Empire, which regularly achieves both, are so rare as to fall into the same category as unicorns. this show marks the label’s fifth anniversary, as well as the release of its Friends and Friends of Friends, Vol. 5 compilation, which showcases much-loved tLE mainstays side by side with talented groups from outside the fold. Aan, Body Parts, the Shivas and Finn Riggins all rock far harder than your average band, and offer a sense of warmhearted inclusiveness to boot. . SHAnE DAnAHER. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 8 pm. $10. 21+.

Ariel Pink’s Haunted Graffiti, Dam-Funk, Bodyguard

A M A n D A PA L M E R . n E t

[tIME tRAVELERS] Ariel “Pink” Rosenberg and Damon “DamFunk” Riddick just weren’t made for these times. Although the two make strange touring part-

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Finn Riggins, Aan, Body Parts, The Shivas, Hustle and Drone (Tender Loving Empire fifth anniversary)

ners on the surface—Rosenberg is a bedroom-pop savant; Riddick plays the kind of squiggly, candypainted electrofunk that billowed from El camino stereo systems in the mid-’80s—both thirtysomething Southern californians have built careers from grasping at memories of their respective childhoods. Scholarly critics have applied the philosophical term “hauntology” to the music of Ariel Pink, a reference to the staticky, beyond-lo-fi quality of his records, which sound literally haunted by the ghosts of radio past. Mature Themes, this year’s follow-up to 2010 breakthrough Before Tod ay, is his cleanest-sounding album yet, but the sense of sifting through the fog of history remains. Dam-Funk’s nostalgia is more blatant, distilling West coast gangsta rap down to its elemental building blocks, but he re-creates the rubbery rhythms of oldschool boogie acts like Zapp and Midnight Star with such studied authenticity it’s as if he stepped through a rift in the space-funk continuum and popped out in the present day. Lucky us. MAttHEW SInGER. Wonder Ballroom, 128 NE Russell St., 284-8686. 9 pm. $15 advance, $17 day of show. 21+.

that drove the now-fiftysomething Watt to pick up a bass back in the 1980s and express himself in a way that transcended his blue-collar background. thirty years later, he is still on the road and living the dream, cranking out records that somehow weld the head rush of hardcore to the angular rhythms of funk and improvisatory feel of free jazz, and playing his guts out every single night. tonight, he’ll run straight through his “third opera,” Hyphenated Man, with his clenched-fist-tight trio. Even if you saw him do just that last year, you already know you want to see it again. MAttHEW SInGER. Doug Fir Lounge, 830 E Burnside St., 2319663. 9 pm. $15. 21+.

MUSIC

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SUNDAY, SEPT. 30 Patrick Wolf, Woodpigeon

[MAGIc REPoSItIonInG] to celebrate a decade of being a recording artist, Patrick Wolf pulled a move usually reserved for artists well past their sell-by date. For the recently released Sundark and Riverlight, the London-born Wolf picked 18 tracks from his six previous albums, re-recording them all. Wolf uproots the songs in dramatic and impish ways. the clattering electropop jam “Vulture” becomes a torch ballad. His splashy, glammy break-

PRIMER

cont. on page 35

By MARtIn c IZMA R

AMANDA PALMER & THE GRAND THEFT ORCHESTRA Born: 1976 in New York City. Sounds like: Ben Folds’ theater-geek high-school girlfriend. For fans of: Referential piano-based pop music, Twin Peaks, Regina Spektor. Latest release: The epic-yet-loose Theatre Is Evil, an arty exploration of memes, fame and sex that was funded by Kickstarter and, strangely, seems to anticipate the backlash that’s followed Amanda Palmer’s appeal for backing musicians to play for free on her tour. Why you care: Because Palmer’s career is almost as interesting as her music. Like a lot of acts with intensely devoted fan bases, the burlesque-y pianist/ukulele player found the best way to profit from her art was to ditch the industry and appeal for funds via the Internet. Turns out, people were happy to fork over $1 million, which is way more than it costs to record, manufacture and distribute a record these days. But there is some bizarre sort of accountability/ownership thing that arises. After raising a quick million thanks to the generosity of listeners like you, Palmer dared plot a tour where local baritone saxophonists and trombone players would honk along with her band for a song or two in exchange for beers, T-shirts and high-fives. Who’s in a position to complain? Everyone, as it turns out: union musicians; donors who funded Palmer’s record; anyone who owns a trumpet; Steve Albini. Palmer eventually backed down, yielding to a boss far nastier than any A&R man. If, as they say, you work for whomever you are afraid to offend, Palmer now works for the whole Internet. A bitch gig, if you ask me. SEE IT: Amanda Palmer & the Grand theft orchestra play Wonder Ballroom, 128 nE Russell St., on Friday, Sept. 28. 9 pm. $25-28. All ages. Willamette Week SEPTEMBER 26, 2012 wweek.com

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Willamette Week SEPTEMBER 26, 2012 wweek.com

SUNDAY-TUESDAY

Citizen Cope

[ADULT CONTEMPORARY] Memphis-born songwriter Citizen Cope has a knack for getting people to like him. I still remember when his sophomore album, The Clarence Greenwood Recordings, dropped while I was in high school. Girls loved him for his poignant lyrics and handsome looks, while the guys respected him for his ability to mix hip-hop and blues without sounding corny. The rest of the country shared these sentiments, as his music started appearing in everything from Acura commercials to shitty teen sports movies. Since then, Cope has tried a little too hard to get on everyone’s good side. With each new album, his sound has drifted more toward the dreaded dullness of stiffs like Jason Mraz and Jack Johnson. His newest, One Lovely Day, removes hip-hop and blues completely from the equation and inserts cheesy lyrics and generic ska riffs. He can now add the dentist’s office to places his music has been played. REED JACKSON. Crystal Ballroom, 1332 W Burnside St., 225-0047. 9 pm. $29. All ages.

sulked after that band split, spending six years privately manifesting his own musical ideas. Field Report stings with talent, oﬀering a blustery brand of self-reﬂexive Americana that resides somewhere between Nebraska-era Springsteen and Calexico. Aimee Mann headlines, touting newest record Charmers, the product of what she’s calling “super-pop” from the ’70s and ’80s. MARK STOCK. Aladdin Theater, 3017 SE Milwaukie Ave., 234-9694. 8 pm. $35. All ages.

Radiation City, Maus Haus, The Ocean Floor

[TIME WARP] Lizzy Ellison and Patti King, the duo whose haunting

vocals propel the soundscapes of Radiation City, evoke the heyday of vocal jazz. Their harmonies sound like they’re being sung into a tin can, hitting the odd notes indicative of that age, and it’s a strangely perfect match for Rad City’s synthy, stripped-down, punchy psychedelia, which lands in an oﬀ-zone somewhere between Stereolab and the Flaming Lips. Like any time warp, it’s jarring. But as it bounds between being rocking and hallucinatory, the band pulls a rare feat: In the course of two albums, these mismatched aesthetics have found a wonderful balance. AP KRYZA. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. $10. 21+.

PROFILE MIKE MELNYK

through track “The Magic Position” now bounces on disco strings. That these tunes can survive the transition without breaking is a testament to the strength of Wolf’s composing abilities. ROBERT HAM. Aladdin Theater, 3017 SE Milwaukie Ave., 234-9694. 8 pm. $20. All ages.

MUSIC

William Elliott Whitmore, Samantha Crain, Ryan Sollee (of The Builders & the Butchers)

[RURAL FOLK] If you look at the “Journal” section of William Elliott Whitmore’s website, you’ll ﬁnd short entries written by the Midwest singer-songwriter. “My old horse’s ribs are showing,” he writes. “He eats and eats and doesn’t have worms. He’s just old as hell.” In a way, these spare sentences about rural life exemplify the sound of his music. Last summer, Whitmore, who lives on a 160-acre farm in Iowa, released his ﬁfth LP, Field Songs— which, as its name suggests, brims with themes of agriculture, labor, harvest and history. Recalling traditional workman’s songs, Whitmore switches between the acoustic guitar and the banjo with some occasional foot stomps thrown in. But his most gripping instrument is his worn, bluesy voice, bringing a timeless authenticity to his music. EMILEE BOOHER. Hawthorne Theatre, 3862 SE Hawthorne Blvd., 233-7100. 7:30 pm. $12 advance, $15 day of show. 21+.

Beach House

[DREAM POP] When bands touch a global nerve and the music sounds too good to be true, they invariably end up under the microscope of music critics and crowd-sourced Internet scrutiny. The Baltimore duo Beach House released its third album, Teen Dream, on Sub Pop back in 2010, hitting a peak that it was widely assumed would not be surpassed. But here and now we unfold 2012’s Bloom, which takes the group’s modern pop twist on the Cocteau Twins and maraschinosweet heartache to even higher levels. Seeing real artists work in a pop oeuvre without succumbing to industry pressure or massive fan disappointment is one of those magic tricks that’s still a best-kept secret. NATHAN CARSON. Roseland Theater, 8 NW 6th Ave., 224-2038. 8 pm. $23. All ages.

TUESDAY, OCT. 2 Aimee Mann, Field Report

[WOODSY] Just as Justin Vernon retreated Walden-style to the backwoods to build the Bon Iver phenomenon, Chris Porterﬁeld retreated into himself, writing chilling folk tracks under the Field Report name. The onetime pedal guitarist for Vernon’s original band, DeYarmond Edison, Porterﬁeld

THE FOGHORN STRINGBAND THURSDAY, SEPT. 27 [OLD-TIME PARTY MUSIC] It’s been well over a decade since mandolinist Caleb Klauder and fiddle player Sammy Lind first met with friends at the Northeast Portland pub the Moon and Sixpence to kick-start a Sunday-evening residency of hell-for-leather oldtime music. No matter what changes have overtaken the troupe, nor how far afield its tours may veer, the Foghorn Stringband still cherishes its home base. “You come back, you play for six hours just for the hell of it,” Klauder says. “I feel like that gig is our lifeblood.” Outshine the Sun, the seventh album to be recorded under the Foghorn imprimatur—self-released, like all of its releases, save a mid-aughts dalliance with Nettwerk ’midst the label’s Avril Lavigne/Sarah McLachlan heyday—reclaims the Stringband title following outings as Duo and Trio. During the past few years’ constant touring, Klauder and Lind chanced upon Quebecois bassist Nadine Landry and Bellingham, Wash., guitarist Reeb Willms as perfectly appointed means to flesh out the group’s sound and sweeten the harmonies. “What we do hasn’t changed, it’s just expanded,” Klauder says, “and we have some new songs in the repertoire.” While the majority of Outshine the Sun comprises authentic old-time numbers, there are relatively eclectic selections—a Cajun waltz here, a cover of ’70s bluegrass pioneer Hazel Dickens there— that would once have been anathema to the formerly orthodox traditionalists. “It was a cool thing,” Klauder says. “We had a kind of niche, and it gave us a super-strong identity as this hardcore old-time band. Some people in the band were really adamant about the traditional stuff, but we kind of felt cornered after a while.” From the beginning, the Stringband has been a live favorite around the country and, indeed, the world: In 2005, the group performed at the Rainforest World Music Festival in Malaysia, pickin’ to thousands in the jungles of Borneo. Later this year, the troupe joins festivals in Canada, Louisiana and Scotland before a slight hiatus when Klauder and Willms tour Germany and Denmark and Lind and Landry head off to Australia. “We like the fast ones,” Klauder says of the band’s live sets. “I think we’re the only old-time band that plays like a bluegrass band: more exciting, more to the audience.” JAY HORTON.

The old times, they are a-changin’.

SEE IT: The Foghorn Stringband plays Velo Cult Bike Shop, 1969 NE 42nd Ave., on Thursday, Sept. 27. 8 pm. $10. All ages. Willamette Week SEPTEMBER 26, 2012 wweek.com

NEWS

got a good tip? call 503.445.1542 or email newshound wweek.com

Willamette Week SEPTEMBER 26, 2012 wweek.com

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

M AT T H E W S C OT T

For more listings, check out wweek.com.

[SEPT. 26-OCT. 2] Wilfs Restaurant and Bar 800 NW 6th Ave. Ron Steen Band with Kimberly Hall

Wonder Ballroom

128 NE Russell St. Hatebreed, Whitechapel, All Shall Perish, Deez Nutz

tHuRS. Sept. 27 Al’s den at the Crystal Hotel 303 SW 12th Ave. Sam Cooper, Matt Harmon and Kali Giaritta

Andina

1314 NW Glisan St. Borikuas Trio

Andrea’s Cha Cha Club 832 SE Grand Ave. Pilon D’Azucar Salsa Band

Artichoke Community Music 3130A SE Hawthorne Blvd. Open Mic

Ash Street Saloon

225 SW Ash St. Idletap, Better Days, King Ghidora

Backspace

115 NW 5th Ave. Pink Slip, Rotties, Black Pussy

Biddy McGraw’s

6000 NE Glisan St. Shells

Bob White theater

6423 SE Foster Road Portland Pranksters’ Ball

Brasserie Montmartre 626 SW Park Ave. John “JB” Butler & Al Craido

Buffalo Gap Saloon

BLOWIn’ SMOKe: dam-Funk plays Wonder Ballroom with Ariel pink’s Haunted Graffiti on Saturday, Sept. 29.

6835 SW Macadam Ave. Mike Gibbons, Scott Gallegos, Chris Merrill

Bunk Bar

Wed. Sept. 26 Al’s den at the Crystal Hotel

303 SW 12th Ave. Sam Cooper, Mimi Naja and Jay Cobb Anderson (of Fruition)

Andina

1314 NW Glisan St. Jason Okamoto

Ash Street Saloon

225 SW Ash St. Better Beings, CC Swim, Fang Moon

Backspace

115 NW 5th Ave. Ash Borer, Menace Ruine, L’Acephale, Druden

Boom Bap!

640 SE Stark St. Lee Corey Oswald, Feuding Fathers, Boyfrndz, Soft Skills, Dads Li

Branx

Suburban Slim’s Blues Jam (9 pm); High Flyer Trio (6 pm)

east Burn

1800 E Burnside St. Irish Music Jam

east end

203 SE Grand Ave. The Ocean Floor, Eidolons

east India Co.

821 SW 11th Ave. Josh Feinberg

ella Street Social Club 714 SW 20th Place Dodge Logic, Tomten, Constellation Prize

Goodfoot Lounge 2845 SE Stark St. Conjugal Visitors, Sidestreet Reny

Ivories Jazz Lounge and Restaurant 1435 NW Flanders St. Lloyd Jones

320 SE 2nd Ave. Trash Talk, Left Brain (of Odd Future, DJ set)

Jade Lounge

Buffalo Gap Saloon

Jimmy Mak’s

6835 SW Macadam Ave. Michele Van Kleef

2346 SE Ankeny St. Rob Johnston

Burgerville (Montavilla)

221 NW 10th Ave. The Mel Brown Quartet (8 pm); Marti Mendenhall (6:30 pm)

Camellia Lounge

222 SW Clay St. The Shins

8218 NE Glisan St. Sara Jackson-Holman

Keller Auditorium

510 NW 11th Ave. Jazz Jam with Errick Lewis and the Regiment House Band

Kelly’s Olympian

doug Fir Lounge

Kenton Club

830 E Burnside St. K. Flay, Michna, Magic Fades

duff’s Garage

1635 SE 7th Ave.

426 SW Washington St. Brain Capital (music show and film screening) 2025 N Kilpatrick St. Cove, Metapynnacle, Bikethief

Ladd’s Inn

1204 SE Clay St. Lynn Conover

Landmark Saloon

4847 SE Division St. Jake Ray and the Cowdogs (9:30 pm); Bob Shoemaker (6 pm)

Laurelthirst

2958 NE Glisan St. Pete Kartsounes’ Soulo Loop Set (9 pm); The Barbeque Orchestra (6 pm)

Lents Commons

9201 SE Foster Road Open Mic

Mississippi pizza

3552 N Mississippi Ave. Mark Elmer Band (9:30 pm); Mr. Hoo (12 pm)

Mississippi Studios

3939 N Mississippi Ave. Genders, Paper Brain, Father Figure

Mount tabor theater

4811 SE Hawthorne Blvd. Mister Nick, Urban Shaman, Big Shell, Mighty Misc

palace of Industry

5426 N Gay Ave. Mystery String Band

plan B

1305 SE 8th Ave. Cut Hands, Thrones, Daniel Menche, Okha, An Exquisite Corpse

Red Room

2530 NE 82nd Ave. The Sindicate, Simon Tucker, Christopher Carpenter

Roseland theater

8 NW 6th Ave. Odd Future

Rotture

315 SE 3rd Ave.

Balam Acab, Tyler Tastemaker, Massacooramaan, Cestladore

1028 SE Water Ave. He’s My Brother She’s My Sister, Shaky Graves

Someday Lounge

510 NW 11th Ave. The Wishermen

125 NW 5th Ave. Cedar Teeth, Mad Moniker, Ramune Rocket 3, Ciara Carruthers

the Blue diamond

2016 NE Sandy Blvd. The Fenix Project Blues Jam

the Crown Room

205 NW 4th Ave. Proper Movement: Sense One, the Dirtmerchant

the Know

2026 NE Alberta St. Gypsyhawk, Avi Dei, Weresquatch, DJ Ken Dirtnap

thorne Lounge

4260 SE Hawthorne Blvd. Open Mic

tillicum Club

Camellia Lounge

Chapel pub

430 N Killingsworth St. Steve Kerin

Clyde’s prime Rib

5474 NE Sandy Blvd. Mesi & Bradley

Jimmy Mak’s

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

1425 NW Glisan St. Nancy King

Valentine’s

ella Street Social Club 714 SW 20th Place Solomon’s Hollow, Montclaire, Siren & the Sea, Bevelers

Holocene

1001 SE Morrison St.

8635 N Lombard St. Lace and Lead, Trysh Hill Band, Stumptown Duo

Someday Lounge

125 NW 5th Ave. Soriah, Ashkelon Sain

Spare Room

4830 NE 42nd Ave. Sam Densmore

Star theater

13 NW 6th Ave. Patterson Hood and the Downtown Rumblers, Hope for Agoldensummer

the Blue diamond

2016 NE Sandy Blvd. Ben Jones

Backspace

115 NW 5th Ave. Laura Marling

Bamboo Grove Salon 134 SE Taylor St. Creative Music Guild Benefit

Biddy McGraw’s

6000 NE Glisan St. Funk Shui (9:30 pm); Lynn Conover (6 pm)

Bipartisan Cafe 7901 SE Stark St. Lewi Longmire

Bob White theater

6423 SE Foster Road Portland Pranksters’ Ball

Branx

Kenton Club

the eastside taproom

Brasserie Montmartre

the Lovecraft

Camellia Lounge

3530 N Vancouver Ave. Soulmates

421 SE Grand Ave. Waldteufel, River, Ironwood

Laurelthirst

thorne Lounge

Clyde’s prime Rib

tiger Bar

Crystal Ballroom

2025 N Kilpatrick St. Valkyrie Rodeo, Loose Values, Tyrants

LV’s Sports Bar

2958 NE Glisan St. Tin Silver, Gabriel Trees (9:30 pm); Lewi Longmire Band (6 pm)

McMenamins edgefield 2126 SW Halsey St., Troutdale Furthur

Mississippi pizza

3552 N Mississippi Ave. Christine Havrilla, Rachael Rice, Heather Combs (9 pm); Rachael Rice, Belinda Underwood, Cassandra Robertson (6 pm)

Mississippi Studios

3939 N Mississippi Ave. Colleen Green, Plateaus, Still Caves

Mount tabor theater

4811 SE Hawthorne Blvd. Giraffe Dodgers, Allie Kral, Mimi Naja and Jay Cobb Anderson (of Fruition), The Brad Parsons Band

3341 SE Belmont St. Alan Jones Jam 1618 NE 122nd Ave. Leo Rise

4260 SE Hawthorne Blvd. Katherine Maund 317 NW Broadway Karaoke from Hell

tonic Lounge

3100 NE Sandy Blvd. Sistafist, Forever (Pussy Riot benefit)

tony Starlight’s

3728 NE Sandy Blvd. The Tara Williamson Show

Valentine’s

232 SW Ankeny St. Arielle Zamora, Leo, Zak Zerken

Velo Cult

1969 NE 42nd Ave. Foghorn Stringband

Vie de Boheme

1530 SE 7th Ave. Catarina New Big Band

White eagle Saloon

Muddy Rudder public House

836 N Russell St. The Lesser Bangs, Andrew’s Ave. (8:30 pm); Brothers of the Hound (5:30 pm)

O’Connor’s Vault

Wilfs Restaurant and Bar

8105 SE 7th Ave. Adlai Alexander

duff’s Garage

203 SE Grand Ave. Di Di Mau, Si Si Si

Slim’s Cocktail Bar

General Nasty, Road Kill Carnivore, Truth Vibrations, Skatter Bomb

the Blue Monk

Record Room

1635 SE 7th Ave. Kim Archer (9 pm); Tough Lovepyle (6 pm)

1033 NW 16th Ave. Sir Coyler, The Hooded Hags, Bubble Cats, DJ Marcel Da Chump

426 SW Washington St. Pinehurst Kids, The Choices, Lydian Gray

doug Fir Lounge

830 E Burnside St. Dragonette, The Knocks

Slabtown

320 SE 2nd Ave. Syx, Twenty Shades of Red, Kill on Sight, Amerakin Overdose, Karken

Kelly’s Olympian

palace of Industry

350 W Burnside St. Jucifer, Ninja

203 SE Grand Ave. Beyond Veronica, the Purrs, the Pynnacles

836 N Russell St. Bitterroot

2346 SE Ankeny St. Jason Simpson

Original Halibut’s II

east end

White eagle Saloon

Jade Lounge

dante’s

touché Restaurant and Billiards

1530 SE 7th Ave. Jenny Hauser & the 12th Ave. Hot Club

1435 NW Flanders St. Mike Winkle, Ramsey Embick, Dave Captein

7850 SW Capitol Highway Kathy James Sextet

1669 SE Bybee Blvd. Infinitia Art Ensemble

east end

Vie de Boheme

Ivories Jazz Lounge and Restaurant

Corkscrew Wine Bar

8585 SW BeavertonHillsdale Highway Chad Rupp

232 SW Ankeny St. Communist Daughter, Terrible Buttons, The Lower 48

Regular Music, Rob Walmart, Ryan McAlpin (of Typhoon), Devin Gallagher (of Typhoon), Eric Phipps (of Wampire), Lisa Schonberg (of Secret Drum Band), Papi Fimbres (of Sun Angle), Erik Carlson, DJ Zack (Event 3 improvisation night)

2527 NE Alberta St. Terry Robb 5426 N Gay Ave. Crucial Andy

8 NE Killingsworth St. Busy Scissors, Tender Age

Red Room

2530 NE 82nd Ave. End Notes, Bad Butch, Town and the Writ

Roseland theater

8 NW 6th Ave. Garbage, Screaming Females

Rotture

315 SE 3rd Ave. Erik Blood, Pheasant, Friends and Family, Tiananmen Bear

Secret Society Lounge 116 NE Russell St. Jeremy Wilson (9 pm); The Longhorn Slammers (6 pm)

Sellwood public House 8132 SE 13th Ave. Open Mic

800 NW 6th Ave. Anandi, Andrea Niemice, Karry Bolitzer

Wonder Ballroom

128 NE Russell St. Kimbra, The Stepkids

FRI. Sept. 28 Al’s den at the Crystal Hotel 303 SW 12th Ave. Sam Cooper, Omni Omnibus (of Ah Holly Fam’ly)

Aladdin theater

3017 SE Milwaukie Ave. Willy Porter, David Jacobs-Strain

Alberta Rose theatre 3000 NE Alberta St. The Don of Division Street, The My Oh Mys, Wire Faces

Andina

1314 NW Glisan St. Sambafeat Quartet

Artichoke Community Music

3130A SE Hawthorne Blvd. Friday Night Coffeehouse

Ash Street Saloon

626 SW Park Ave. Trashcan Joe

510 NW 11th Ave. Linda Lee Michelet Quartet 5474 NE Sandy Blvd. LaRhonda Steele 1332 W Burnside St. Joss Stone, Vintage Trouble

dante’s

350 W Burnside St. Local H, Ambassadors, The Cry

doug Fir Lounge

830 E Burnside St. Scott Pemberton, Eldridge Gravy & the Court Supreme

duff’s Garage

1635 SE 7th Ave. Hank Shreve (late show); The Hamdogs (early show)

east Burn

1800 E Burnside St. Santino Cadiz

east end

203 SE Grand Ave. The Prids, Helvetia, Silent Numbers

ella Street Social Club

714 SW 20th Place Palo Verde, The Ghost Ease, Blind Lovejoy, Break Up Flowers

Hawthorne theatre

3862 SE Hawthorne Blvd. SafetySuit, Go Radio, Crown Point

Holocene

1001 SE Morrison St. Julianna Barwick, Maria Minerva, Father Finger, DJ vs. Nature

Island Mana Wines 526 SW Yamhill St. Joe Marquand

Ivories Jazz Lounge and Restaurant 1435 NW Flanders St. Ezra Weiss Sextet

Jade Lounge

2346 SE Ankeny St. Jacob Miller and the Bridge City Crooners (8 pm); Jeff Masterson (6 pm)

Jimmy Mak’s

221 NW 10th Ave. Martin Zarzar, Toque Libre

Katie O’Briens

2809 NE Sandy Blvd. Dr. Stahl, 48 Thrills, Simply Luscious, Mr. Plow

CONT. on page 38

225 SW Ash St.

Willamette Week SEPTEMBER 26, 2012 wweek.com

Calendar

vivianjohnson.com

BAR SPOTLIGHT

Willy Porter, Finn Riggins (Live Wire!)

The Crash Engine, dKOTA, Towering Trees

The New Iberians, Atomic Gumbo

andina

Kenton Club

Star Bar

1314 NW Glisan St. Toshi Onizuka Trio

artichoke Community Music

Ted’s Berbati’s Pan

225 SW Ash St. Rex Sole, Stone the Murder, Simple Tricks & Nonsense

McMenamins Edgefield

2016 NE Sandy Blvd. The Matt Schiff Trio

Backspace

Mission Theater

ash Street Saloon

115 NW 5th Ave. Carrion Spring, Our First Brains, Crooks

Beaterville Cafe

2201 N Killingsworth St. Kory Quinn

Biddy McGraw’s

6000 NE Glisan St. Shannon Tower Band (9:30 pm); The Barkers (6 pm)

Bob White Theater

6423 SE Foster Road Portland Pranksters’ Ball

Branx

320 SE 2nd Ave. Deerhoof, Buke and Gase, Raleigh Moncrief

Brasserie Montmartre 626 SW Park Ave. Eddie Parente Trio

Buffalo Gap Saloon

6835 SW Macadam Ave. Begin Oliver

Camellia Lounge 510 NW 11th Ave. Frank Tribble Trio

Clyde’s Prime Rib

5474 NE Sandy Blvd. Andy Stokes

Kelly’s Olympian

426 SW Washington St. The Ax, Monoplane, City Squirrel

Kenton Club

2025 N Kilpatrick St. Battlehooch, Cerdo, Opposition Party, Lord Master

LV’s Sports Bar

3530 N Vancouver Ave. Ben Jones

Langano Lounge

1435 SE Hawthorne Blvd. Fat Nancy, Baby Lemonade

LaurelThirst

2958 NE Glisan St. Country Trash, Slaughter Daughters (9:30 pm); Alice Stuart (6 pm)

McMenamins Edgefield 2126 SW Halsey St., Troutdale Furthur

Mississippi Pizza

3552 N Mississippi Ave. Robin Jackson Band, Mark Growden (9 pm); Troy Richmond Dixon Band (6 pm)

Mississippi Studios

3939 N Mississippi Ave. The Pynnacles, Paradise, Brothers of the Last Watch

Mount Tabor Theater

4811 SE Hawthorne Blvd. Irie Idea, The Sindicate, Chris Carpenter (reggae Elton John tribute)

Oregon Convention Center

777 NE Martin Luther King Jr. Blvd. Rick Ross, Tyga, Cool Nutz, Kris England, DJ OG One

The Blue Diamond

Original Halibut’s II

1937 SE 11th Ave. Dadz, Bubble Cats

2527 NE Alberta St. Steve Kerin & Jim Miller

Papa G’s Vegan Organic Deli

2314 SE Division St. Forest Bloodgood

Plan B

1305 SE 8th Ave. Mos Generator, Tenspeed Warlock, Lamprey, Ancient Warlocks

Record Room

8 NE Killingsworth St. Tiny Knives, Steelhymen, Banh Mi

Red Room

2530 NE 82nd Ave. The Embalming Process, Kriminal Mizchif, Parallaxx, Thee Truth, Public Drunken Sex, Logik

Refuge

O’Malley’s

6535 SE Foster Road Muddy River Nightmare Band, Disciples of Rock and Roll, Rich with Snakes, Burn Champion

3120 N Williams Ave. Jon Ransom, Chris Gavazza

Thorne Lounge

4260 SE Hawthorne Blvd. Travis Petersen

Tiger Bar

317 NW Broadway Royal Bliss

Tonic Lounge

3100 NE Sandy Blvd. Jana Losey

Tony Starlight’s

3728 NE Sandy Blvd. Tony’s AM Gold Show

Touché Restaurant and Billiards 1425 NW Glisan St. Dennis Hitchcox

836 N Russell St. Garcia Birthday Band (9:30 pm); Reverb Brothers (5:30 pm)

116 NE Russell St. Get Rhythm (9 pm); Pete Krebs and His Portland Playboys (6 pm)

Slabtown

Music Millennium

4627 NE Fremont St. Hawaiian Music

The Waypost

Secret Society Lounge

8635 N Lombard St. Child PM

Noho’s Hawaiian Cafe

The Firkin Tavern

Vie de Boheme

Muddy Rudder Public House

3158 E Burnside St. Amanda Palmer & the Grand Theft Orchestra

2016 NE Sandy Blvd. Franco Paletta and the Stingers

116 SE Yamhill St. FurtherMore: Great American Taxi, Fruition String Band, Scott Law

1033 NW 16th Ave. Rabbits, Diesto, Hot Victory, Towers

8105 SE 7th Ave. Spodee-O’s

Indubious, Outpost, Higher Reasoning Sound

Slim’s Cocktail Bar

Spare Room

4830 NE 42nd Ave. The Caleb Klauder Country Band, Dave Stucky & the Rhythm Gang

Star Theater

13 NW 6th Ave. Patterson Hood and the Downtown Rumblers, Hope for Agoldensummer

Ted’s Berbati’s Pan 231 SW Ankeny St.

1530 SE 7th Ave. Everything’s Jake

White Eagle Saloon

Wilfs Restaurant and Bar 800 NW 6th Ave. Tony Pacini Trio

Wonder Ballroom

128 NE Russell St. Amanda Palmer & the Grand Theft Orchestra

SaT. SEP. 29 al’s Den at the Crystal Hotel 303 SW 12th Ave. Sam Cooper, Kim Delacy and the Petite Bear

aladdin Theater

3017 SE Milwaukie Ave. George Thorogood & the Destroyers

alberta Rose Theatre 3000 NE Alberta St.

Willamette Week SEPTEMBER 26, 2012 wweek.com

LaurelThirst

639 SE Morrison St. Pierced Arrows, The Ransom, Pity Fucks, DJ Kelly H

2958 NE Glisan St. Jimmy Boyer, Lynn Conover, Dan Haley, Tim Acott (9:30 pm); Tree Frogs (6 pm)

3130A SE Hawthorne Blvd. Larry Potts with DonnaLynn

CARRY ON: No self-respecting Portlander should step foot inside W XYZ (9920 NE Cascades Parkway, 200-5678, wxyzportland.com). Located adjacent to the airport in the lobby of the tacky Aloft Hotel, it’s a bar designed exclusively for people trying to get the hell out of here. Even tourists would balk: Any visitor who’d come all the way to Portland to lodge in the big-box dystopia of Cascade Station clearly doesn’t know how to vacation properly. With its antiseptic neon glow, charmlessly chic decor and smattering of Portlandia memorabilia, it’s more like a detention center for dudes who missed the connecting flight to their buddy’s bachelor party in Vegas and need a place to suck back oversweetened mojitos. I suppose it’s also convenient if you’re looking to get liquored up before wandering around IKEA, but isn’t that what Red Robin is for? MATTHEW SINGER.

2025 N Kilpatrick St. Small Arms, Bonneville Power, Ny Riffles

Doug Fir Lounge

830 E Burnside St. Mike Watt and the Missingmen, Divers

Ducketts Public House 825 N Killingsworth St. Zmoke

Duff’s Garage

1635 SE 7th Ave. Micki Lee & True Blue

East Burn

1800 E Burnside St. Bottleneck Blues Band

East End

203 SE Grand Ave. Snow Bud and the Flower People, Black Pussy, Unicornz

Ella Street Social Club 714 SW 20th Place Fair Weather Watchers, The Awful Truth, Levi Fuller & the Library, Jesse Carsten & the Half Shadow

Foggy Notion

3416 N Lombard St. Marmits, Battlehooch, Wolf in the Dream Catcher

Goodfoot Lounge

2126 SW Halsey St., Troutdale Furthur 1624 NW Glisan St. Meiko, Bobby Long

Mississippi Pizza

3552 N Mississippi Ave. Patina, Old Zealand (9 pm); Brad Creel & the Reel Deel (6 pm)

Mississippi Studios

3939 N Mississippi Ave. Finn Riggins, Aan, Body Parts, The Shivas, Hustle and Drone (Tender Loving Empire fifth anniversary)

Mount Tabor Theater

4811 SE Hawthorne Blvd. Among the Weeds (Dark Alice in Wonderland Ball)

231 SW Ankeny St. Let’s Get Lost, Pheasant, Gresham Transit Center

The Blue Diamond

The Blue Monk

3341 SE Belmont St. The Planet Jackers

The Know

2026 NE Alberta St. Unnatural Helpers, Defect Defect, Rat Party

Thorne Lounge

4260 SE Hawthorne Blvd. Michele Van Kleef

Tiger Bar

317 NW Broadway Unchained, Sweet Emotion

Tony Starlight’s

3728 NE Sandy Blvd. The Bureau of Standards Big Band

Touché Restaurant and Billiards

Muddy Rudder Public House

1425 NW Glisan St. Nat Hulskamp

Noho’s Hawaiian Cafe

1530 SE 7th Ave. The Ukeladies (8 pm); Mitzi Zilka Duo (5:30 pm)

8105 SE 7th Ave. Maggie and Patrick Lind 4627 NE Fremont St. Hawaiian Music

Original Halibut’s II 2527 NE Alberta St. Cool Breeze

Record Room

8 NE Killingsworth St. Sad Horse, Nucular Aminals, Gutters

Red Room

2530 NE 82nd Ave. Nemesis, Set to Burn, Fallen Theory, Back Alley Barbers

Refuge

116 SE Yamhill St. FurtherMore: Monophonics, Polyrhythmics, Brown Edition

Secret Society Lounge

116 NE Russell St. Once in a While Sky, Riviera, Jackrabbit (9 pm); Jamie Leopold & the Short Stories (6 pm)

Slabtown

1033 NW 16th Ave. Megaton Leviathan, Hungers, Sangre De Muerdago, Disemballerina

Slim’s Cocktail Bar

8635 N Lombard St. Sold Only As Curios, Rubella Grave, DJ Chris Rhodes

Spare Room

4830 NE 42nd Ave.

Vie de Boheme

White Eagle Saloon

836 N Russell St. Garcia Birthday Band (9:30 pm); The Student Loan (4:30 pm)

Wilfs Restaurant and Bar 800 NW 6th Ave. Devin Phillips Quartet

Wonder Ballroom

128 NE Russell St. Ariel Pink’s Haunted Graffiti, Dam-Funk, Bodyguard

SuN. SEPT. 30 al’s Den at the Crystal Hotel 303 SW 12th Ave. Woody Pines

aladdin Theater

3017 SE Milwaukie Ave. Patrick Wolf, Woodpigeon

andina

Clyde’s Prime Rib

8 NW 6th Ave. Beach House

Crystal Ballroom

Spare Room

1332 W Burnside St. Citizen Cope

Dante’s

350 W Burnside St. Sinferno Cabaret, Walking Papers

Doug Fir Lounge

830 E Burnside St. Firewater, Chervona

East End

203 SE Grand Ave. Shadows, Billions and Billions, Nudity, Sei Hexe

Hawthorne Theatre

3862 SE Hawthorne Blvd. William Elliott Whitmore, Samantha Crain

Jade Lounge

2346 SE Ankeny St. Clambake

Landmark Saloon

4847 SE Division St. Jake Ray

Laughing Horse Books 12 NE 10th Ave. The Sidekicks, Lee Corey Oswald, Potsie, Dads

LaurelThirst

722 E Burnside St. Double Dutchie

The Know

2026 NE Alberta St. Lunge, Eiger Sanction, Young Dad

Tony Starlight’s

3728 NE Sandy Blvd. Gary Smith’s Mardi Gras All-Stars

Valentine’s

232 SW Ankeny St. Micrasoft, Minden

Vie de Boheme

1530 SE 7th Ave. John Dover’s Legacy Big Band

White Eagle Saloon 836 N Russell St. Open Mic

MON. OCT. 1

225 SW Ash St. Open Mic

1332 W Burnside St. Rose’s Pawn Shop

Mississippi Pizza

3552 N Mississippi Ave. Ataxia Cab (9 pm); Gingko Murphy, Caryn Jameson (6 pm)

Mississippi Studios

3939 N Mississippi Ave. The Lighthouse and the Whaler, The Lower 48 (8 pm); School of Rock (Van Halen tribute, 2 pm)

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

303 SW 12th Ave. Woody Pines

ash Street Saloon

Brasserie Montmartre 626 SW Park Ave. Eric John Kaiser

Dante’s

350 W Burnside St. Karaoke from Hell

Doug Fir Lounge

830 E Burnside St. A Happy Death, Chicharones, Pictorials

Duff’s Garage

1635 SE 7th Ave. Lily Wilde Orchestra

Goodfoot Lounge 2845 SE Stark St. Open Mic

Music Millennium

Jade Lounge

NEPO 42

Jimmy Mak’s

Nationale

LaurelThirst

Red Room

Mission Theater

3158 E Burnside St. Marti Mendenhall 5403 NE 42nd Ave. Open Mic

Biddy McGraw’s

Bossanova Ballroom

13 NW 6th Ave. Eastside Speed Machine, One Moment, My Robot Lung, TOL

Lola’s Room at the Crystal Ballroom

2530 NE 82nd Ave. Go Ballistic, Zebrena Bastard, Aaron Baca

6000 NE Glisan St. Felim Egan

Star Theater

al’s Den at the Crystal Hotel

ash Street Saloon

225 SW Ash St. Illusion of Self, LeMay, The Repair

4830 NE 42nd Ave. The Angel Bouchet Band Jam

2958 NE Glisan St. Dan Haley with Tim Acott (9:30 pm); Freak Mountain Ramblers (6 pm)

811 E Burnside St., Suite 112 Lynnae Griffin, Portland Sacred Harp singers

1314 NW Glisan St. Danny Romero

Roseland Theater

5474 NE Sandy Blvd. Ron Steen Jazz Jam

Rontoms

600 E Burnside St. Shadows on Stars, Body Parts

2346 SE Ankeny St. Elie Charpentier 221 NW 10th Ave. The Dan Balmer Band 2958 NE Glisan St. Kung Pao Chickens (9 pm); Portland Country Underground (6 pm) 1624 NW Glisan St. Renegade Minstrels (music show and presentation)

Mississippi Pizza

3552 N Mississippi Ave. Mr. Ben

2845 SE Stark St. McTuff

L i z F Ly n t z

MUSIC

Hawthorne Theatre

3862 SE Hawthorne Blvd. Set in Stone, Ravages of Time, Cellar Door, ((A)) wake, Character Assassin

Ivories Jazz Lounge and Restaurant 1435 NW Flanders St. Two Tenors and Dave Frishberg

Jade Lounge

2346 SE Ankeny St. Jeffrey Martin, Anna and the Underbelly (8 pm); Eden Hana (6 pm)

Jimmy Mak’s

221 NW 10th Ave. The Bobby Torres Ensemble

Katie O’Briens

2809 NE Sandy Blvd. Il Marzo, Rawdawg, Close Calls

Kelly’s Olympian

426 SW Washington St.

BaCKLIT IN BLaCK: Beach House plays Roseland Theater on Sunday, Sept. 30.

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

O’Connor’s Vault

7850 SW Capitol Highway Jon Koonce, Cal Scott, Richard Moore

Peter’s Room

8 NW 6th Ave. Rockie Fresh, Mark Battles, Easy McCoy, Juma Blaq, Covae

Red Room

2530 NE 82nd Ave. Unruly Instinct, Arsenic Addiction, Echoic

The Blue Diamond

2016 NE Sandy Blvd. Tom Grant Trio

Tiger Bar

317 NW Broadway AC Lov Ring

White Eagle Saloon 836 N Russell St.

Leo, Elle Zamora, No Hawk Yet

TUES. OCT. 2 Al’s Den at the Crystal Hotel 303 SW 12th Ave. Woody Pines

Aladdin Theater

3017 SE Milwaukie Ave. Aimee Mann, Field Report

Doug Fir Lounge

830 E Burnside St. Tycho, DJ Heathered Pearls

East End

The Blue Diamond

203 SE Grand Ave. Brave Julius, Slater Smith, Darryl Shawn

CC Slaughters

219 NW Davis St. Trick with DJ Robb

Ground Kontrol

511 NW Couch St. TRONix with Logical Aggression

Holocene

1001 SE Morrison St. 13 Months of Sunshine: DJs E3, Humans, Jeffrey Jerusalem, Sahelsounds, Hanukkah Miracle

Matador

1967 W Burnside St. DJ Whisker Friction

Red Cap Garage

1035 SW Stark St Riot Wednesdays with DJ Rhienna

Slim’s Cocktail Bar 8635 N Lombard St. DJ AM Gold

Star Bar

639 SE Morrison St. DJ OverCol

Ted’s Berbati’s Pan 231 SW Ankeny St. DJ Catalyst

Tiga

1465 NE Prescott St. DJ Ramophone

Yes and No

20 NW 3rd Ave. Death Club with DJ Entropy

THURS. SEPT. 27 Beech Street Parlor 412 NE Beech St. Alex John Hall

CC Slaughters

219 NW Davis St. Hip Hop Heaven with DJ Detroit Diezel

Fez Ballroom

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

Goodfoot Lounge

2845 SE Stark St. King Tim 33 1/3, Seoul Bro #1, DJ Roane

Someday Lounge

Alberta Rose Theatre

3341 SE Belmont St. Superposition State Quartet (8 pm); Pagan Jug Band (6:30 pm)

Ivories Jazz Lounge and Restaurant

The Know

Backspace

3000 NE Alberta St. Comas, Colleen Raney

115 NW 5th Ave. False, The Body, Cower, Contempt

Bunk Bar

1028 SE Water Ave. Torches, Ash Reiter

Crystal Ballroom

1332 W Burnside St. Nightwish

The Crown Room

205 NW 4th Ave. Counter Culture with DJ Coulter

The Know

1435 NW Flanders St. Jazz Jam with Carey Campbell and the Hank Hirsh Trio

Jimmy Mak’s

221 NW 10th Ave. The Mel Brown Septet (8 pm); YamaYama (6:30 pm)

Mississippi Studios

412 NE Beech St. DJs Mike Olson, Matt Fargo

CC Slaughters

219 NW Davis St. Sound Glitter with Peter Calandra

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

Foggy Notion

3416 N Lombard St. Apocalysp

Goodfoot Lounge

2845 SE Stark St. Soul Stew with DJ Aquaman

Ground Kontrol

511 NW Couch St. DJ Notaz

Holocene

1001 SE Morrison St. Snap!: Dr. Adam, Colin Jones, Freaky Outty, Sammy Bananas

Jack London Bar

529 SW 4th Ave. Libra Party with DJ Encrypted

Lola’s Room at the Crystal Ballroom 1332 W Burnside St. ‘80s Video Dance Attack with VJ Kittyrox

Palace of Industry 5426 N Gay Ave. DJ Holiday

Red Cap Garage

1035 SW Stark St Mantrap with DJ Lunchlady

Rotture

8 NW 6th Ave. Orbital

315 SE 3rd Ave. BMP/GRND: DJs Kid Amiga, Amy Kasio, Rhienna

Star Bar

639 SE Morrison St.

White Eagle Saloon 836 N Russell St. Bottlecap Boys

Plan B

1305 SE 8th Ave. Hive: DJs Owen, Brian Backlash

MON. OCT. 1

The Crown Room

CC Slaughters

421 SE Grand Ave. DJ [product]

The Whiskey Bar Beech Street Parlor

3728 NE Sandy Blvd. Lacey Shaylene, John Knowles

Beech Street Parlor

Tiga

FRI. SEPT. 28

Tony Starlight’s

3341 SE Belmont St. The Down Stroke: DJs N-Able, Void

The Lovecraft

Star Bar

231 SW Ankeny St. DJ Deaf Row

The Blue Monk

205 NW 4th Ave. Noise Fridays: Doc Adam, Dev from Above, Swerveone, DJ TJ

1465 NE Prescott St. DJ F

2026 NE Alberta St. Pageripper, Slatwall, ‘ol Doris

3939 N Mississippi Ave.

2026 NE Alberta St. Eye Candy with VJ Reverend Danny Norton

Roseland Theater

Ted’s Berbati’s Pan

The Blue Monk

2845 SE Stark St. Kory Quinn, Jay Cobb Anderson Band

125 NW 5th Ave. DJs Mr. Romo, Michael Grimes 639 SE Morrison St. DJ Red Rooster

2016 NE Sandy Blvd. Sportin’ Lifers

Goodfoot Lounge

231 SW Ankeny St. Guilty Pleasures: DJ P.K. O. Blivion, Hawn Solo, Mistress Birmingham

412 NE Beech St. DJ Copy

Roseland Theater

8 NW 6th Ave. Stephen Marley, Spragga Benz, Jo Mersa

1635 SE 7th Ave. Dover Weinberg Quartet

Ted’s Berbati’s Pan

Beech Street Parlor

Radiation City, Maus Haus, The Ocean Floor

Duff’s Garage

Blank Fridays with DJ Ikon

WED. SEPT. 26

MUSIC

31 NW 1st Ave. Trance Mission: DJ Zoxy, Jamie Meushaw, DJ Timmy, DJ Gotek

Tiga

1465 NE Prescott St. DJ Nate C

Valentine’s

232 SW Ankeny St. DJ Zac Pennington

SAT. SEPT. 29 Andrea’s Cha Cha Club 832 SE Grand Ave. DJ Sonero

Beech Street Parlor 412 NE Beech St. DJ Yuccan Woman

CC Slaughters

219 NW Davis St. Revolution with DJ Robb

Fez Ballroom

316 SW 11th Ave. Popvideo with DJ Gigahurtz

Holocene

1001 SE Morrison St. Jai Ho! with Prashant

Lola’s Room at the Crystal Ballroom 1332 W Burnside St. Come As You Are

Palace of Industry 5426 N Gay Ave. DJ Pippa Possible

Someday Lounge 125 NW 5th Ave. Manoj

Ted’s Berbati’s Pan 231 SW Ankeny St. Mellow C

The Lovecraft

421 SE Grand Ave. Darkness Descends with DJ Maxamillion

Tiga

1465 NE Prescott St. DJ Sarge

SUN. SEPT. 30

DOORS @ 9:30PM

412 NE Beech St. DJ Cha Cha, Maxx Bass 219 NW Davis St. Maniac Monday with DJ Doughalicious

Kelly’s Olympian

BELLYDANCE PERFORMANCE BY QUEEN AYOMIDE PRESALE TICKETS SOLD AT BOSSANOVABALLROOM.COM 21+ • ADM: $20 • @DOOR $25

426 SW Washington St. Eye Candy VJs

Star Bar

639 SE Morrison St. Metal Mondays with DJ Blackhawk

722 E. BURNSIDE PORTLAND, OR

Ted’s Berbati’s Pan

231 SW Ankeny St. Rock & Roll Mondays with Josh

Ted’s Berbati’s Pan 231 SW Ankeny St. DJ Catalyst

The Crown Room

205 NW 4th Ave. Project Monday Mayhem: DJ King Fader, Nathaniel Knows, Sepkt1

The Know

2026 NE Alberta St. DJ Just Dave

Tiga

1465 NE Prescott St. DJ Valkyrie

TUES. OCT. 2 Beech Street Parlor 412 NE Beech St. DJ Bad Wizard

CC Slaughters

219 NW Davis St. Girltopia with DJ Robb

Eagle Portland

835 N Lombard St DMTV with DJ Animal

Spare Room

4830 NE 42nd Ave. Sugar Town: DJs Action Slacks, Magic Beans

Star Bar

639 SE Morrison St. DJ Bradly

Tiga

1465 NE Prescott St. DJ Kevin Lee

Trader Vic’s

1203 NW Glisan St. Temptation Tuesday with DJ Cabana

Yes and No

20 NW 3rd Ave. Idiot Tuesdays with DJ Black Dog

Matador

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

Willamette Week SEPTEMBER 26, 2012 wweek.com

WHITE BIRD “Invariably sensuous and inventive.”

Free Talk about Trisha Brown’s Artistry Sat, Oct 13, 1pm at PICA, 415 SW 10th

The New York Times

LA .

DANCE . PROJECT

A trailblazing new company from Benjamin Millepied featured on So You Think You Can Dance

15 ANNIVERSARY th

TRISHA BROWN THURSDAY - SATURDAY

D A N C E C OMPA N Y

OCT 11-13 Newmark Theatre, 8pm

TONIGHT

Photo by Paul B. Goode.

Sept 26

SPONSORED BY

DARCI H. SWINDELLS

Photo by Benjamin Millepied

9/19/2012 2:07:23 PM L.A. Dance Project - WW - Sep 26.indd 1

9/18/2012 11:47:26 AM

SCOOP GOSSIP SHOULD HAVE NO FRIENDS....PAGE 22

WHEN THE GOING GETS TOUGH,THE TOUGH GET CLASSIFIEDS Classifieds start on page 51 40

Willamette Week SEPTEMBER 26, 2012 wweek.com

Sept. 26-Oct. 2

= WW Pick. Highly recommended.

Original Practice Shakespeare Festival

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. Theater: REBECCA JACOBSON (rjacobson@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.

THEATRE And So It Goes

And So It Goes, which opens Artists Repertory Theatre’s 30th season, takes love as its subject and handles it with the utmost skill. The play’s source is a somewhat unlikely one: Kurt Vonnegut, better known for dark comedy and science fiction than for schmaltz. But in adapting three short stories from the author’s Welcome to the Monkey House for this new play, writer-director Aaron Posner highlights Vonnegut’s gentler—yet still keenly observant— side. The trio of linked sketches, which guide Tim True steers us through with ease and wit, begins with a sweet scene about a young soldier (Andy Lee-Hillstrom) who goes AWOL to chase the girl he adores. With his measured cadence and raw sincerity, LeeHillstrom captures both the fear and the buzz of love. The second sketch is even funnier, with Alex Hurt transforming from timid hardware store clerk to fiery lead actor in the town’s production of A Streetcar Named Desire. One might quibble that And So It Goes presents a one-dimensional representation of love: heterosexual, monogamous, traditional. But Posner is unapologetic and sincere in his approach, and while the production doesn’t explore love’s darkest corners, it does tiptoe toward the shadows. In the final sketch, Sarah Lucht plays a five-times-divorced movie star and Norby a repentant husband, and True is summoned to the chaos. Once our trusty puppeteer, he seems to lose hold of the strings, which is disorienting at first. But it’s also a reminder of the vagaries and snags of love—it’s a “pure and complicated” thing, remember? REBECCA JACOBSON. Artists Repertory Theatre, 1515 SW Morrison St., 241-1278. 7:30 pm WednesdaysSaturdays, 2 and 7:30 pm Sundays. Through Oct. 7. $20-$50.

Art

New company Theatre Now presents Yasmina Reza’s popular French comedy about a man who buys a white-on-white canvas for an extraordinary sum of money. As the play ponders the value of art, audience members can look around and do the same—each weekend, the performance will move to a different Pearl District gallery. Multiple venues. 7:30 pm Fridays-Saturdays, 4 pm Sundays. Closes Oct. 21. $12-$20.

Avenue Q

Triangle Productions stages the irreverent, Tony Award-winning adult puppet musical. Warning: raunchy scenarios, filthy language and explicit puppet nudity. Sanctuary at Sandy Plaza, 1785 NE Sandy Blvd., 239-5919. 7:30 pm Thursdays-Saturdays, 2 pm Sundays. Through Sept. 30. $15-$35.

The BFG

Northwest Children’s Theater opens its 20th season with this Roald Dahl favorite about a young girl and a “Big Friendly Giant” who must save England from the BFG’s evil, child-eating counterparts. Best for ages 6 and up. NW Neighborhood Cultural Center, 1819 NW Everett St., 222-4480. Noon and 4 pm Saturdays and Sundays. Through Oct. 28. $18-$22.

The Body of an American

The title of Dan O’Brien’s play references a photograph: An image of a dead American soldier being dragged through the streets of Mogadishu. War journalist Paul Watson won a Pulitzer Prize for that 1993 shot, but it haunted him long after the shutter snapped. O’Brien’s play, receiving its world premiere at Portland Center Stage, is both a portrait of Watson and a story of the relationship between the two men as they bear witness and seek absolution.

At the helm of this promising production is ambitious risk-taker Bill Rauch, artistic director of Oregon Shakespeare Festival. Gerding Theater, 128 NW 11th Ave., 445-3700. 7:30 pm TuesdaysSundays, 2 pm Sundays, with alternating Saturday matinee and Sunday evening performances, noon select Thursdays. Closes Nov. 11. $25-$54.

Campaign 2012 10-Minute Play Festival

To mark the election season, community theater company Monkey With a Hat On presents 12 short plays with political themes. Someday Lounge, 125 NW 5th Ave., 248-1030. 7 pm Sundays Sept. 7 and Oct. 7. $5. 21+.

The Clean House

In Sarah Ruhl’s poignant, somewhatnutty comedy, a Brazilian cleaning woman dreams of being a comedian. Lunacy Stageworks presents the Pulitzer Prize-nominated play. Sellwood Masonic Lodge, 7126 SE Milwaukie Ave., 971-275-3568. 8 pm Thursdays-Saturdays, 2 pm Sunday, Oct. 7. Through Oct. 13. $10-$15, Thursdays are “pay what you will.”

A Dame’s Destiny

Rose Baker, Anne Penfound and Rebecca Hom tell stories of courage, desire and womanhood. Hipbone Studio, 1847 E Burnside St., 358-0898. 8 pm Friday, Sept. 28. $10-$13.

Diabolical Experiments

Improv jam show featuring Brody performers and other local improvisers. Brody Theater, 16 NW Broadway, 2242227. 7 pm Sundays. $5.

End Days

Clackamas Rep stages Deborah Zoe Laufer’s bittersweet comedy about a splintered family. Lots of oddball characters here: A teenage goth girl who idolizes Stephen Hawking, a Jesus-obsessed mother and an Elvis-impersonating boy next door. Clackamas Repertory Theatre, 19600 Molalla Ave., Oregon City, 594-6047. 7:30 pm Thursdays-Saturdays, 2:30 pm Sundays through Oct. 7. $12-$24.

La Cosa Esta Pelua

Theater company Pelú, which has roots in Puerto Rico but calls Portland home, presents a circus show about the experiences of an immigrant day laborer. Miracle Theatre, 525 SE Stark St., 236-7253. 7 pm Wednesday, Sept. 26. $15-$18.

Legally Blonde: The Musical

Pixie Dust Productions presents a musical adaptation of the movie about a sorority girl who takes Harvard Law by storm. Newmark Theatre, 1111 SW Broadway, 946-7272. 7:30 pm Fridays and Thursday, Oct. 4; 2 pm and 7:30 pm Saturdays; 2 pm Sundays. Closes Oct. 7. $15-$57.

Little Shop of Horrors

Broadway Rose presents the doo-wop horror spoof about a loser florist who acquires a reckless carnivorous plant. Abe Reybold and Mont Chris Hubbard direct a strong cast, including Rebecca Teran as Audrey and Brian Demar Jones as her sadistic dentist boyfriend. Broadway Rose New Stage Theatre, 12850 SW Grant Ave., Tigard, 6205262. 7:30 pm Thursdays-Saturdays; 2 pm Sundays; 2 pm Saturdays, Sept. 29, Oct. 6 and Oct. 13. Closes Oct. 14. $20-$40.

Of Mice and Men

Bag&Baggage stages John Steinbeck’s tale of two migrant workers scraping to survive during the Great Depression. Scott Palmer directs the production, which features folk music and photography from the era. The Venetian Theatre, 253 E Main St., Hillsboro, 3459590. 7:30 pm Thursdays-Saturdays, 2 pm Sundays. Closes Oct. 14. $18-$26.

REVIEW

The Original Practice Shakespeare Festival bills its performances as more championship sports game than stodgy theatrical production, featuring minimal rehearsal, improvised blocking and energetic audience interaction. This week, the company stages its final performance of the season, Twelfth Night, in Glenwood Park. Glenwood Park, Southeast 87th Avenue and Claybourne Street, 890-6944. 1 pm Sunday, Sept. 30.

PAT R I C K W E I S H A M P E L

PERFORMANCE

Sherlock Holmes: The Case of the Hansom Cab Killer

Canadian troupe Black Sheep Theatre presents a comedic Sherlock Holmes sendup. Elementary, my dear Watson. Eh? Theater! Theatre!, 3430 SE Belmont St., 971-238-3873. 7:30 pm Friday-Saturday, Sept. 28-29. $10-$12.

South Pacific

Lakewood Theatre presents the classic Rodgers and Hammerstein musical about romance and prejudice during World War II. Lakewood Center for the Arts, 368 S State St., Lake Oswego, 635-3901. 7:30 pm ThursdaysSaturdays, 2 pm Sundays. Through Oct. 14. $32-$35.

A Steady Rain and The Detective’s Wife

Both A Steady Rain and The Detective’s Wife, presented by Hellfire Productions, take place on stormy nights. At least that’s what the thundery sound effects suggest—the exact context of each play remains uncertain. Squally darkness fits these two gritty cop dramas by Keith Huff, stuffed as they are with intrigue, conspiracy and corruption. But it’s almost too fitting, as is much else in these two neat and tidy plays. Pat Patton directs A Steady Rain, the earlier of Huff’s plays. Don Alder and David Sikking play Denny and Joey, two Chicago beat cops, friends since childhood and steady allies on patrol. In intersecting monologues, Joey and Denny recount the spiral of mistakes that threatens their careers and undoes their friendship. It’s an overwritten yarn, but Sikking and Alder keep it afloat. The Detective’s Wife, directed by JoAnn Johnson, takes a similar storytelling format but cuts the cast to one. Marilyn Stacey stars as Alice, the wife of a homicide detective gunned down on the job. Alice is a voracious consumer of mystery novels, and she, predictably, works to crack the story behind her husband’s death. Its outcome is less apparent than A Steady Rain’s, and it handles some of the same moral questions—the conflict between loyalty and duty and whether the end justifies the means— with greater subtlety. Both plays are too neat, but The Detective’s Wife is just a bit more rumpled, just a tad richer. REBECCA JACOBSON. Shoe Box Theater, 2110 SE 10th Ave., 7576836. 7:30 pm Thursdays-Sundays, 4 pm Sundays. Closes Oct. 7. $20 each or $35 for both.

A Thousand Clowns

In Herb Gardner’s 1962 play, an eccentric man navigates unemployment and fights to keep custody of his nephew. Portland Civic Theatre Guild presents a staged reading of the dark comedy. The Old Church, 1422 SW 11th Ave., 971-322-5387. 10:30 am Tuesday, Oct. 2. $8.

COMEDY AND VARIETY Brody Theater Open Mic

Comedy/variety open mic. Performers can sign up online. Brody Theater, 16 NW Broadway, 224-2227. 9:30 pm Wednesdays. Free with minimum purchase of one item.

Dana Gould

Helium hosts Dana Gould, who wrote for The Simpsons for seven years and now produces a humor podcast. Helium Comedy Club, 1510 SE 9th Ave., 888-643-8669. 8 pm Thursday, 7:30 and 10 pm Friday-Saturday, Sept. 27-29. $15-$30.

CONT. on page 42

CuTTHroaT buSInESS: aloysius Gigl takes a swipe at Matthew alan Smith.

SWEENEY TODD: THE DEMON BARBER OF FLEET STREET (PORTLAND CENTER STAGE) Shave and a haircut…and murder!

House lights still on, a rags-clad crowd shuffles about the stage, looking forlorn and doing little. Suddenly, two actors dressed as riot police storm the stage and haul off one of the men, exiting without explanation. The lights dim and the orchestra begins. It’s an ambiguous introduction. Is this London, the setting for Sweeney Todd, or are we in Lownsdale Square, one of the Portland parks claimed by Occupy protesters last year? Has director Chris Coleman converted Stephen Sondheim’s macabre musical into contemporary political commentary? Not really. Though Coleman places some emphasis on Sweeney Todd’s class struggles, those riot police are the only transparent contemporary reference. Otherwise, this Portland Center Stage production serves the play straight, dishing up plenty of grisly mayhem and a fair bit of gore but stopping short of wild melodrama. It’s a twisted tale: Having served 15 years on a trumped-up charge, a barber returns to London to take revenge on the judge who sentenced him. His rage grows after he misses his first opportunity. He winds up slaying heaps of unsuspecting customers, whose bodies are baked into savory pastries by enterprising pie shop owner Mrs. Lovett. Where Johnny Depp played the titular barber as a ghostly maniac in Tim Burton’s film adaptation, Aloysius Gigl stays tightly clenched—clearly haunted, but never completely unhinged. Gigl’s restrained portrayal makes his murderous turn all the more gruesome, but he could sometimes use a bit more juice. While Gigl holds back, Gretchen Rumbaugh—one of few locals in the cast—does not. Mrs. Lovett becomes deliciously complex in Rumbaugh’s hands, at once the voice of reason, humor and insanity. Rumbaugh brings expressive inflection and saucy physicality to the role, and her ace comic timing livens Gigl from occasional torpor. Beyond the emotional and moral intricacies of Sweeney Todd, the show is a tough one to stage. With so many murders, where do you send all the bodies? PCS handles this deftly, with Todd’s “tonsorial parlor” elevated above the pie shop and a chute that delivers victims to the ovens beneath. As Todd and Mrs. Lovett sing in “A Little Priest,” this is the show’s barbed perversion of traditional power structures: “How gratifying for once to know, that those above will serve those down below.” Even without the disconnected Occupy prologue, that message rings plenty loud from this capable—if not consistently captivating—production. REBECCA JACOBSON.

SEE IT: Sweeney Todd: The Demon Barber of Fleet Street is at Gerding Theater, 128 NW 11th Ave., 445-3700. 7:30 pm Tuesdays-Saturdays, 2 and 7:30 pm Sundays, with alternating Saturday matinee and Sunday evening performances. Noon select Thursdays. Through Oct. 21. $30-$70. Willamette Week SEPTEMBER 26, 2012 wweek.com

PERFORMANCE

SEPT. 26-OCT. 2

Fantastically Weird

Nathan Brannon, crowned “Portland’s Funniest Person” earlier this year, hosts a showcase of up-and-coming local comedians. Audience members get to vote on some of the show’s activities. Helium Comedy Club, 1510 SE 9th Ave., 888-643-8669. 8 pm Wednesday, Sept. 26. $8.

Micetro

Brody Theater’s popular eliminationstyle improv competition. Brody Theater, 16 NW Broadway, 224-2227. 8 pm Fridays. $8-$10.

Monologic

Improvisers and storytellers craft intertwined monologues and scenes. Brody Theater, 16 NW Broadway, 224-2227. 7:30 pm Saturdays through Oct. 6. $8-$10.

WWeek ad 6V Spec4 NMerchant Runs 2x: 9/26, 10/3

The Neutrino Project

Groups of improvisers race against the clock to whip up a movie, relying on audience participation for title suggestions, donated props and cameo performances. Each night features a genre chosen at random, and the improvised frenzy goes straight to the big screen. Curious Comedy, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 8 pm Fridays-Saturdays through Oct. 13. $12-$15.

The Smutty Clown

An X-rated comedy open mic hosted by Sterling Clark and Whitney Streed. The Know, 2026 NE Alberta St., 473-8729. 9:30 pm every last Thursday. Free. 21+.

Two for the Show

Double the improv, double the fun: The Brody Theater showcases two improv twosomes at each performance. Brody Theater, 16 NW Broadway, 224-2227. 9:30 pm Saturdays through Oct. 6. $8-$10.

CLASSICAL

One night only!

Cascadia Quartet, Mousai Trio, Clarinets a la Mode, String Theory

In this fundraiser for the Portland Columbia Symphony Orchestra, ensembles drawn mainly from the orchestra’s ranks perform various chamber works. First United Methodist Church, 1838 SW Jeﬀerson St., 234-4077. 7 pm Wednesday, Sept. 26. Free, donations suggested.

“She has never sounded quite so right.” THE BOSTON GLOBE

Joe Powers and Yosuke Onuma

Thursday, October 4 | 7:30 pm Sarah Hicks, conductor One night only with the Oregon Symphony! Natalie Merchant’s distinctive voice and her gift for musical storytelling put her concerts in the “must see” category.

La Luna Festival

Miracle Theatre’s annual September arts-festival series concludes with a trio of music performances by old amigos. Thursday, Mexican singer/ guitarist/songwriter Edna Vasquez returns with guest artists and original music. Friday, Alex Krebs Tango Quartet joins guest singers (including Pepe Raphael of the Bottle Blondes), dancer Hannah Poston and percussionists to play traditional and contemporary tango music by the great Astor Piazzolla and others. And Saturday, the excellent guitarist and longtime Portlander Alfredo Muro returns from his new home in Colorado (and a European tour) to play music of Spain, Brazil and other Latin American lands, including works by Piazzolla, Jobim and originals. Miracle Theatre, 525 SE Stark St., 236-7253. 8 pm Thursday-Saturday, Sept. 27-29. $15-$18 Thursday, $25-$28 Friday, $20-$23 Saturday.

Northwest New Music

The newest of Oregon new-music ensembles returns with an excellent program of contemporary sounds featuring one of the greatest living American composers, George Crumb, who’s been creating evocative sound worlds for more than four decades now. His Madrigals, Book III from 1969 and haunting 1971 masterpiece Voice of the Whale (for masked cellist, pianist and amplified flutist) remain some of the most original and colorful music of the 20th century. The concert also contains a piano trio from the same period by 20th-century German composer Boris Blacher and Crumbinfluenced contemporary music by Ian Clarke and one of today’s rising composers, Ken Ueno. Colonial Heights Presbyterian Church, 2828 SE Stephens St., 753-3357. 7:30 pm Tuesday, Oct. 2. $30.

Oregon Symphony, Portland Symphonic Choir

Brahms’ popular, consoling “A German Requiem,” featuring Portland-based baritone Richard Zeller and soprano Dominique Labelle, is the centerpiece of this choral orchestral concert, which also includes one of J.S. Bach’s greatest cantatas, No. 51. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 228-1353. 7:30 pm Saturday, Sept. 29. $25-$95.

PAT R I C K W E I S H A M P E L

Natalie Merchant

The Portland-based harmonica virtuoso and Tokyo guitar genius join

forces with guest koto master Kozue Okabe to play a program that probably includes tango, jazz and more. The Old Church, 1422 SW 11th Ave., 224-0328. 3 pm Sunday, Sept. 30. $20-$25.

S P ON S OR :

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

Willamette Week SEPTEMBER 26, 2012 wweek.com

DANCE Geeklesque: Powers Up 2

The jokes about joysticks practically write themselves at Geeklesque: Powers Up 2, a burlesque show staged to coincide with the Portland Retro Gaming Expo. The Mad Marquis hosts this intersection of geeky and cheeky—performers include the Infamous Nina Nightshade, Kai Mera, Burlesquire, Fleur de Sel, the Assettes and Seattle guest Iva Handfull. Star Theater, 13 NW 6th Ave. 7:30 and 11 pm Saturday, Sept. 29. $12-$35. 21+.

L.A. Dance Project

Former New York City Ballet principal dancer Benjamin Millepied (better known to you movie buﬀs as Mr. Natalie Portman) strikes out on his own with the L.A. Dance Project, a company whose collective repertoire spans Nijinska to Petronio. The founder himself contributes two of the program’s three works: Closer, set to Philip Glass’ Mad Rush for piano, and Moving Parts, set to a commissioned score by Nico Muhly. The third is an interesting choice: Merce Cunningham’s 1964 ensemble piece Winterbranch, with costumes and lighting by Robert Rauschenberg. It strips dance to a classroom essential, falling and getting up again, slowly and quickly, alone and in groups. In a bit of a coup for White Bird, this is the company’s ﬁrst stop after its L.A. debut. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 248-4335. 7:30 pm Wednesday, Sept. 26. $26-$64. All ages.

For more Performance listings, visit

Come in: 923 SW Washington | 10 am – 6 pm Mon – Fri

CONCERT

Third Angle

The Northwest’s ﬁnest new-music ensemble opens its season with a single vast work by one of the Northwest’s greatest composers. Alaska-based John Luther Adams is ﬁnally starting to approach the acclaim long-accorded to Berkeleybased John Coolidge Adams. JLA’s masterful evocations of natural beauty and phenomena, and especially the Arctic lands he’s called home for decades, are among the most original and enticing by a contemporary American composer. Using nature sounds (like birds, rivers, thunder), recorded voices of Eskimo narrators, strings, some of Oregon’s top singers and three percussionists (including wild, rocking movements for drums only), Adams’ varied 10-movement Earth and the Great Weather conjures a spectacular “sonic landscape” of real and imagined vistas. Agnes Flanagan Chapel at Lewis & Clark College, 0615 SW Palatine Hill Road, 3310301. 7:30 pm Friday, Sept. 28. $5-$35. All ages.

Montreal-based choreographer Sylvain Émard has been working all summer to whip more than 150 of your friends and neighbors into performance shape for the West Coast premiere of Le Grand Continental. Dancers and non-dancers of all ages will perform “a contemporary reimaging of a traditional, festive line dance” at this 15th-anniversary celebration for local dance presenters White Bird. Better still, this bit of Portland-dance-history-in-themaking is free. Pioneer Courthouse Square, 701 SW 6th Ave. 2 and 4 pm Sunday, Sept. 30. Free. All ages.

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

SCHNITZER

The ever-entertaining, danceenhanced Asian American percussion ensemble hauls out its colossal mega-drums to premiere a quartet of new works by several Portland taiko artists. Lincoln Hall, Portland State University, 1620 SW Park Ave., 288-2456. 8 pm Saturday and 2 pm Sunday, Sept. 29-30. $15-$25.

Le Grand Continental

Tickets start at $35 while they last!

ARLENE

Portland Taiko

HALL

THE BODY OF AN AMERICAN

VISUAL ARTS

Sept. 26-Oct. 2

= 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.

to finding a certain creepy charm in childhood idylls, you’ll probably dig this show. if you find such motifs tired and cloying, you’ll probably find dennison’s shtick, well, tired and cloying. Through Sept. 29. Froelick Gallery, 714 NW Davis St., 222-1142.

Nine @ 25

Tucked inside Blue Sky Gallery is a diminutive, boxy space known as Nine Gallery. despite its modest scale, it continues to host some of the most forward-thinking art installations in portland. This month, Nine celebrates its 25th year with a retrospective featuring work by the Nine collective’s founders, as well as other members past and present. it will afford an opportunity to appreciate a small space that has had a disproportionately big impact on the local art scene for a quarter-century and counting. Through Sept. 30. Nine Gallery, 122 NW 8th Ave., 227-7114.

Reynier Leyva Novo: The Novo Anniversary Collection

Reynier Leyva Novo, a cuban artist who has exhibited in the prestigious Venice Biennale, shows his work here in portland for a limited engagement. Novo’s politically influenced silk-screens, posters and T-shirts are themed around the 50th anniversary of the cuban Revolution and its lingering influence over cuban culture. Through Oct. 29. The Best Art Gallery in Portland, 1468 NE Alberta St., 203-1219.

Storm Tharp: Holding a Peach

spring picture (Athlete) by storm tHarP

Aaron Yassin: Beijing

The woozy geometries in aaron Yassin’s Beijing alternate between vertical and horizontal axes of symmetry. his strongest works, such as The Red Nest, enliven coldly impersonal compositions with bursts of color. The weakest, such as Linked Hybrid, have a forced artificiality, like too much c.G. in a superhero movie. Through Sept. 29. Chambers @ 916, 916 NW Flanders St., 227-9398.

Anna Fidler: Vampires and Wolf Men

anna Fidler seductively re-imagines Oregon history in a terrific new show called Vampires and Wolf Men. What if the state’s founding fathers and mothers were actually vampires and werewolves à la Twilight and True Blood? Using sepia-tinted antique portraits as her source material, the artist has turned diminutive photos into large-scale, psychedelic-colored fantasias, full of woozy washes, intricate outlining and lots of beady, weirdly glowing eyes. The pieces are virtuosic and, apropos of the show’s fanciful conceit, more than a little unnerving. Through Sept. 29. Charles A. Hartman Fine Art, 134 NW 8th Ave., 287-3886.

Annemieke Alberts and Maya Sikorska: Portraits of Perception and Place

annemieke alberts returns for a second month at Victory, sharing the gallery with emerging polish artist Maya Sikorska. Sikorska’s oil paintings employ a foggy, faded palette appropriate to their subject matter: portraits and groupings of figures whose faces are as grainy and blue as stone-washed denim. You can almost hear the Beatles’ “Nowhere Man” in your inner ipod when you encounter the pieces Jurek, Adam, Gabriel and Boys, in which amorphous blobs of color clump together, loosely depicting slumped shoulders and downward-cast eyes.

Yes, these sad-sack studies are relevant to the human condition, but they’re also soul-leachingly depressing. This is a worthwhile show, but you might want to pop a Zoloft before you see it. Through Sept. 30. Victory Gallery, 733 NW Everett St., 208-3585.

Elise Wagner: Event Horizons

in monotypes and paintings such as Cartography Study III, Collision Transits and Spacetime Compass, elise Wagner frames imagery of black holes in antiquarian contexts. The pieces’ edges resemble parchment paper and illuminated manuscripts: irregularly scalloped and silver-edged, like alchemical formulas unearthed from a hidden chamber in some medieval monastery. The effect is heightened by the runelike characters with which Wagner surrounds imagery of nebular clouds being sucked into black holes’ event horizons, never to escape. Through Sept. 29. Butters Gallery, 520 NW Davis St., 2nd floor, 248-9378.

Margaret Shirley

What if you could distill the beauty of ferns, flowers and leaves into an aesthetic essence that never faded, wilted or dried up? That’s what Margaret Shirley does in her elegant studies of the vegetal world. With only one or two colors, her mixedmedia works layer materials into insouciant portraits of plant life, winningly composed and utterly charming. Through Sept. 29. Laura Russo Gallery, 805 NW 21st Ave., 226-2754.

Matthew Dennison: A Current History of Encroachment

in heavily varnished, willfully naive paintings, Matthew dennison troops out girls and boys pulling toy wagons, bunnies and foxes, bears and tigers, and a menagerie of other juvenile tropes. if you’re predisposed

departing from the eccentric faces that established his signature style, Storm Tharp turns his attention to the body and fashion in his September show, Holding a Peach. in ink and gouache works on paper, Tharp deploys a precise technique to depict hybridized body parts clad in sumptuous plaids (Spring Picture: Knee), fishnets (Strut With Collar), stripes (Athlete), and floral prints (Peonies & Plaid Sleeve). Much of this imagery is repurposed in fabric-stuffed sculptures displayed inside pedestal-mounted vitrines, all lined up in a row. There’s a perverse, serial-killer fastidiousness to these displays, as if Tharp has gleefully dismembered bodies and sewn them back up, Frankenstein-style, in unholy new configurations. Through Sept. 29. PDX Contemporary Art, 925 NW Flanders St., 222-0063.

The Unseen Eye: Photographs From the W.M. Hunt Collection

“To engage you, to provoke, to excite you, and most importantly, to delight you.” That’s how prominent art collector W.M. hunt describes the mission of photography, and the lion’s share of photos in this salon-style exhibition live up to that vaulted purpose. hunt’s tastes are assertive, favoring portraits and nudes (mostly male), with a few still lifes and architectural studies peppered throughout. an insinuating portrait of Truman capote numbers among the show’s highlights. Through Sept. 30. Blue Sky Gallery, 122 NW 8th Ave., 225-0210.

William Chad Willsie: Folklore

a little girl playing with a dead blackbird. a bikini-clad woman spreading her legs behind a children’s sand bucket at the beach. a little boy with neck tattoos and another boy in clown makeup, smoking a cigarette. These are some of the provocative and often disturbing images conjured by painter William chad Willsie. With a solid realist technique and a proclivity for off-kilter humor, the artist shows us the dark underbelly of pop-culture imagery. Through Oct. 27. Graeter Art Gallery, 131 NW 2nd Ave., 477-6041.

For more Visual arts listings, visit

Willamette Week SEPTEMBER 26, 2012 wweek.com

BOOKS

Sept. 26-Oct. 2

= WW Pick. Highly recommended. 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, SEPT. 26 Greg Palast

Fed up with our Monopoly-game style of government (picture Mitt Romney in a monocle) in which the ultra-rich simply purchase the politicians and policies that suit them, investigative journalist Greg Palast is indicting the whole process with his new book, Billionaires & Ballot Bandits: How to Steal an Election in 9 Easy Steps. Partnering with political cartoonist Ted Rall, Palast is going after both small-time abusers of voting laws as well as the Bond villains of democracy, intending to “name and shame” them all. The reading will also serve as a fundraiser for radio station KBOO. Clinton Street Theater, 2522 SE Clinton St., 238-8899. 7:30 pm. $35 (includes book copy).

THURSDAY, SEPT. 27 Johnny Misfit and Jill Summers

Chicago-based zinesters Johnny Misfit (Field Manual: Human Body) and Jill Summers (winner of the 2012 Paper Darts Short Fiction Award) will be passing through Portland for a reading with locals Keith Rosson (Avow) and Alex Wrekk (Brainscan). It’s an evening sure to be loaded with quirky goodness. Portland Zine Works, 1322 N Killingsworth Street, 9222684. 8 pm. Free.

Michael Chabon

2 0 1 2

Skyrocketed to literary fame at age 25 with The Mysteries of Pittsburgh, author Michael Chabon (Wonder Boys, The Amazing Adventures of Kavalier & Clay) has become well known for his complex writing, use of metaphors and really long sentences. His new book, Telegraph Avenue, is already being proclaimed the great American novel. Catch his reading to see if he can complete a thought in one breath. Powell’s Books at Cedar Hills Crossing, 3415 SW Cedar Hills Blvd., Beaverton, 228-4651. 7 pm. Free.

Daniel Smith

Suffering from anxiety must suck, but it sure is funny to read about. Daniel Smith’s new memoir Monkey Mind explores the horrors and humor of living with anxiety. We imagine it’s been a stressful book tour. Powell’s City of Books, 1005 W Burnside St., 228-4651. 7:30 pm. Free.

FRIDAY, SEPT. 28 Them’s Fightin’ Words

Celebrating all things gritty, the new reading series Them’s Fightin’ Words (curated and hosted by local slam poet Johnny No Bueno) brings together local authors and regular working stiffs to share their writing. After kicking off the evening with an open mic, this month’s reading will host writer and artist Matty Byloos (Don’t Smell the Floss) and Robert Lashley (Songs My City Taught Me). St. Johns Booksellers, 8622 N Lombard St., 283-0032. 7 pm. Free.

SATURDAY, SEPT. 29 XY&Z Party and Fundraiser

A magazine-style guide to our favorite places to brunch, lunch and dine.

Publishes: October 24th 44

Willamette Week SEPTEMBER 26, 2012 wweek.com

Admit it, you’ve holed up in the bathroom at work just to play a few extra rounds of Words with Friends on your smartphone. Well, get ready to celebrate your wordgame obsession in public. The XY&Z cocktail party and fundraiser will host rounds of Boggle, speed Scrabble and other games,

along with food and drinks, a silent auction and a raffle to raise money for Write Around Portland, a local organization that hosts writing workshops in schools, hospitals and shelters. Design Within Reach, 1200 NW Everett St., 220-0200. 7:30-10 pm. $50-$60.

W. Vandoren Wheeler

New Mexico-born poet and current Portland-based teacher W. Vandoren Wheeler (who writes touching poems with titles like Desk Robot and Why Saints Knit Hair Shirts) will host a release party for his upcoming book The Accidentalist. Musical guests will include Catherine Feeny, Sebastian Rogers and Sam Adams. The Piano Fort, 1715 SE Spokane St., 314-6474. 7:30 pm. $5.

SUNDAY, SEPT. 30 Portland, Oregon, Chef’s Table Reception

Love dining out in Portland but already maxed out your credit cards on housemade Negroni and foie-gras-stuffed profiteroles? Make it at home with the new cookbook Portland, Oregon Chef’s Table: Extraordinary Recipes from the City of Roses, featuring recipes from more than 60 of Portland’s best restaurants. Author Laurie Wolf will be joined by several of the chefs from restaurants like Little Bird Bistro, Grüner and DOC. Pastaworks Hawthorne/Evoe, 3735 SE Hawthorne Blvd., 232-1010. 2 pm. Free.

MONDAY, OCT. 1 Storytime for Grown-ups

For storytime this month, local actor David Loftus will read excerpts from the poet, satirist and all-around sassy broad Dorothy Parker. Grendel’s Coffee House, 729 E Burnside St., 595-9550. 7:30 pm. Free.

Charles Bernstein

As one of the most prominent theorists and practitioners of language poetry—an avant-garde style that emerged in the ’60s—Charles Bernstein’s work is noted for its playful approach to sound and syntax, including political reference and humor. Like the poetry itself, you might not understand him, but you’re bound to be entertained. Portland State University, Smith Memorial Student Union, 1825 SW Broadway. 6 pm. Free.

Matthew Dickman

Portland poet Matthew Dickman is known for his poignant lyricism and emotional universality. Dickman’s most recent collection of poems, Mayakovsky’s Revolver, centers on the suicide of his older brother. Powell’s City of Books, 1005 W Burnside St., 228-4651. 7:30 pm. Free.

TUESDAY, OCT. 2 Phillip Margolin and Ami Margolin Rome

New York Times bestselling author Phillip Margolin (Gone, but Not Forgotten) will speak at Willamette Writers with his daughter Ami Margolin Rome about the process of authoring a book together, the acclaimed Vanishing Acts. The Old Church, 1422 SW 11th Ave., 222-2031. 7 pm. $5 for guests of members, $10 for non-members.

For more Books listings, visit

sePt. 26-oct. 2 REVIEW

= WW Pick. Highly recommended.

ALAN MARKFIELD

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.

16th Annual Portland Gay & Lesbian Film Festival

[ONGOING SERIES] A lot of important issues affecting the LGBT community are covered at this year’s festival: gay marriage (Married and Counting, 6 pm Saturday, Oct. 6); the difficulties of living transgendered (Trans, 7 pm Monday, Oct. 1); police harassment (Raid of the Rainbow Lounge, 7 pm Saturday, Sept. 29); rape in the armed forces (The Invisible War, 7 pm Thursday, Oct. 4). Let’s be honest, though: What you really want to see is Gayby (7:30 pm Friday, Sept. 28), essentially a queer version of Friends With Kids. Cinema 21. See a full schedule at plgff.org.

2016: Obama’s America

Not screened for critics, probably due to some kind of Democrat-socialistMuslim-terrorist conspiracy. PG. Oak Grove, City Center, Division, Movies On TV, Tigard.

Adaptation

[THREE NIGHTS ONLY, REVIVAL] If you think I’m going to give myself an aneurysm by trying to summarize the plot of screenwriter Charlie Kaufman’s labyrinthine comedy in this tiny space, then you’ve severely overestimated my dedication to these movie listings. R. Fifth Avenue Cinema. 7 and 9:30 pm Friday-Saturday, 3 pm Sunday, Sept. 28-30.

Arbitrage

B Arbitrage is putatively a story of financial misdeeds—wrapped up in arcana of derivative, doubled bookkeeping and hamfisted industrial espionage—but at its heart it is the fable of Icarus. Richard Gere has gotten too gosh darn close to the sun, and for his sins his charred feathers and tarnished helm will be ceremonially stripped from his body, Shirley Jackson style, by every single aggrieved woman who survives him. No one in this film is likable, all are wrong, all is wretched isolation, and somewhere a young Michael Mann is beating a very angry drum. R. MATTHEW KORFHAGE. Living Room Theaters.

B-Movie Bingo: Gladiator Cop

[ONE NIGHT ONLY, REVIVAL] A rogue detective (that’s basically a cop, right?) played by Lorenzo Lamas (because this movie is awesome) helps an attractive history museum docent (they’re like librarians, only hotter) recover a mystical sword that once belonged to Alexander the Great from the leaders of an underground fight club (because, again, this movie is awesome). R. Hollywood Theatre. 7:30 pm Tuesday, Oct. 2.

Babe

[TWO DAYS ONLY, REVIVAL] Sure, a talking pig is cool and all, but can he rescue a drowning baby goat? G. Hollywood Theatre. 2 pm SaturdaySunday, Sept. 29-30.

Beasts of the Southern Wild

A In the Bathtub—the fictional

Louisiana bayou settlement that forms the backdrop and lifeblood of the enchanting Beasts of the Southern Wild—the price of existing off the grid is living in waterlogged squalor. Shot among the ravages of post-Katrina New Orleans but set on the eve of the hurricane’s arrival, the film is a clear allegory for the Ninth Ward, an area certain authorities were seemingly happy to see drowned out of existence. Although showered with festival accolades, some have labeled the movie’s director and co-writer, a white Wesleyan graduate named Benh Zeitlin, a “cultural tourist.” It’s a dubious criticism, considering that where Beasts really takes us is on a tour of a child’s imagination. As far as we know, the Bathtub we experience only exists in the mind of Hushpuppy (dynamo first-timer

Quvenzhané Wallis, already the subject of Oscar handicapping). And it’s got giant, mythical horned pigs in it, for crying out loud. Accusing Zeitlin of making—in the words of one critic— an “art-house minstrel show” is like accusing Maurice Sendak of misrepresenting imaginary monsters. The movie is a fable, not a documentary. It’s like Southern-fried, live-action Miyazaki. Is it messy? A bit. But like the Bathtub, that’s part of the film’s charm and power. It manipulates waterworks at its emotional climax, which isn’t necessary. Beasts clamps its jaws down on you long before then. PG-13. MATTHEW SINGER. Hollywood Theatre, Living Room Theaters.

The Bourne Legacy

B Now Matt Damon-less, and suffering a bit from the residuals, screenwriter Tony Gilroy’s Bourne series moves in a slightly different direction with Legacy…but not that different. This time, it’s Jeremy Renner— continuing his quest to appear in every single action franchise ever—as Aaron Cross, who finds himself dodging missiles, brandishing assault rifles and seeking to find more of the medication that transformed him from a learning-disabled grunt into a super-agile, hyper-intelligent warrior. While Damon is certainly missed, Renner is an apt replacement, bringing a startling physical prowess and easy charisma. The only real problem here is Gilroy’s direction, which lacks the unique style of his predecessors. PG-13. AP KRYZA. 99 West Drive-In, Cedar Hills, Clackamas, Eastport, Bridgeport, City Center, Division, Evergreen Parkway, Hilltop, Lloyd Mall, Movies On TV, Sherwood, Tigard.

The Campaign

D- Zach Galifianakis and Will Ferrell

have become the paunchy, awkward Wayans brothers of American comedic film, broad-stroked and choked up with cheap gags, sweaty and desperate for the audience’s love. Their comedic affinity for each other is so pronounced it was only a matter of time before they finally starred together onscreen: In The Campaign, they play small-town North Carolina political candidates bent on utterly destroying each other. But no matter how obvious the pairing might have seemed during backroom Hollywood meetings, it was a terrible, terrible mistake. Like two needy over-talkers in the same conversation, Ferrell and Galifianakis engage throughout the film in a kind of scenic tug of war, a nuclear escalation of comedic ADHD that threatens to flatten the entire landscape. Galifianakis plays his usual brand of effete mental instability as a family-money misfit tapped by evil industrialists (Dan Aykroyd and John Lithgow) to run as Ferrell’s opponent. Ferrell’s performance, on the other hand, draws from an oddball hodgepodge of past presidents—most notably Bushes I and II—mélanged together into an aggressively retarded Republican stew. Strange, then, that he plays a Dixiecrat who pals up to Bill Clinton. And in comedy, as in politics, absolutely no stunt is beyond bounds, from childhood bestiality to Asian women talking in a Southern-mammy dialect to baby-punching. And as in any no-holds-barred political dragout, everyone loses. R. MATTHEW KORFHAGE. Clackamas, Moreland Theatre, St. Johns.

Cinema Project: Torse

[TWO NIGHTS ONLY, REVIVAL] A seldom seen 1977 film by Charles Atlas, training multiple 16 mm cameras on a dancer performing a piece by the late, legendary choreographer Merce Cunningham. Restored in HD and featuring a score from Maryanne Amacher. Yale Union. 9 pm SaturdaySunday, Sept. 29-30.

CONT. on page 46

yIPPIE-kI-yay, mE: Bruce Willis and Joseph Gordon-Levitt as each other.

BRUCE & JOE’S EXCELLENT ADVENTURE GORDON-LEVITT IS WILLIS. WILLIS IS GORDON-LEVITT. LOOPER IS GREAT. BY AA R oN MesH

amesh@wweek.com

Brain-bending sci-fi loses its snap when treated like homework, but you won’t really understand Looper unless you prepare by watching a few episodes of Moonlighting. These will reacquaint you with the languid glances, open-mouthed smirks and corona of intense self-satisfaction that glowed from the young Bruce Willis. And they will prime you to better appreciate the lead Looper performance of Joseph Gordon-Levitt, who delivers a precise, slyly parodic mimicry of Willis circa 1987. The ubiquitous trailers have revealed that Gordon-Levitt plays the same character as Willis, and that he’s been given a makeup job to recall a skinnier baby Bruce, but the previews barely scrape the forgery of mannerisms. Die hard and leave a reanimated corpse—maybe that’s the lesson. Gordon-Levitt has been a regularly mesmeric actor for the last decade (though he’s probably best known as a sidekick in Christopher Nolan movies, which waste him), so it’s peculiar that his breakthrough comes through impersonating an icon. But that paradox fits the aims of director Rian Johnson, who used Gordon-Levitt as a teenage Sam Spade in Brick, and with Looper throws 100 years of film noir into a blender. The picture is set in the future—2040, with a brief discursion to 2070—but it is breathlessly in love with movies past. Early buzz is praising the originality, but Johnson has in fact succeeded at repurposing familiar elements in unusually satisfying ways. At various junctures, Looper reminded me vividly of the following antecedents: Point Blank, Donnie Darko, Once Upon a Time in the West, Blade Runner, Chinatown, D.O.A., The Omen, Witness and the anime Akira. It’s like a Girl Talk record if Greg Gillis sampled classic jazz riffs. Forget neo-noir: This is retro-neo-futurist noir. One of these mash-ups demands further review: How is it possible that Gordon-Levitt and Willis meet in a roadside diner, clutching sawed-off hand cannons called “blunderbusses,” as two incarna-

tions of the same hired gun, an amoral hard case named Joe? But not too much review. Old Joe tells Joe not to think about the matter too hard, or they’ll be there all day making diagrams out of the drinking straws. Anyway, voice-over gives sufficient explanation: “Time travel hasn’t been invented yet, but 30 years from now it will have been.” So it’s a one-way trip, made only by the doomed souls wished into a cornfield by the mob that hires Joe to blow them away. That hit list is supposed to include Joe himself—or Old Joe, technically. But getting to that appointment involves a narrative shell game so jaw-dropping that it makes the closed loop feel open to any possibility. The movie just about fulfills that promise. Its second half, undermining

FORGET NEO-NOIR: LOOPER IS RETRO-NEO-FuTuRIST NOIR. Willis’ heroic image nearly as completely as Moonrise Kingdom did, shifts focus from time travel to telekinesis, then actively questions whether it’s possible for a person to make an original decision. Is it possible for a movie? “This job doesn’t tend to attract the most forward-thinking people,” Joe muses. Looper thinks backward. It is that rare science fiction movie as interested in style as plot, making it keenly aware of how bound we are to whatever came before us. In an era when computer graphics lend themselves to empty triumphalism, dystopia may be the only trustworthy actionmovie genre left. It knows how the past frustratingly repeats itself. Playing a mob boss, Jeff Daniels (wearing a thicket of neck beard and pilfering his scenes) rails against kids without the imagination to try anything new, enslaved to vintage. But in resurrecting sights and faces we never thought we’d see afresh, Looper knows what movie lovers always feel: The past is never dead. It’s not even past. And it’s got a gun. A SEE IT: Looper is rated R. It opens Friday at Lloyd Center, Cedar Hills, Clackamas, Eastport, Mill Plain, Cornelius, Oak Grove, Bridgeport, City Center, Division, Evergreen Parkway, Hilltop, Movies On TV, Sherwood, Tigard, Sandy.

Willamette Week SEPTEMBER 26, 2012 wweek.com

SEPT. 26-OCT. 2 S O N Y P I C T U R E S A N I M AT I O N

MOVIES

HOTEL TRANSYLVANIA

Dangerous Desires: Film Noir Classics

[ONGOING SERIES] NW Film Center’s monthlong showcase of 35 mm noir rarities from the ’40s and ’50s wraps up this week by running through a gamut of genre archetypes, including the wrongly accused (High Wall, 7 pm Saturday, Sept. 29), washed-up boxers (99 River Street, 9:15 pm Saturday, Sept. 29), deadly love triangles (The Naked Alibi, 7 pm Sunday, Sept. 30) and what’s described as “a B-movie version of Les Miserables” (Loophole, 5 pm Sunday, Sept. 30). NW Film Center’s Whitsell Auditorium. See nwﬁlm.org for a complete schedule.

The Dark Knight Rises

A Let’s keep this simple: The Dark

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Knight Rises is the best entry in Christopher Nolan’s Batman trilogy. It’s tighter and better paced than its hyperbolically praised predecessor. Its set pieces, including a midair plane hijacking and an imploding football field, are more spectacular. And, despite ongoing themes of torment and loss and a zeitgeisty plot involving the 1 Percent’s heavily armed chickens coming home to roost, it’s the most exciting, purely pleasurable entry in the series. Sure, it’s still plenty broody, but take away the grim veneer and you’ll find the framework of a traditional, rousing superhero movie. Perhaps the redemptive title should’ve been a clue: After seven years of Bat-cycling through the wreckage of human suffering, the takeaway ends up being an unambiguous message of hope. It goes to show that, for all the talk of Nolan reinventing the epic-sized box-office juggernaut, he’s still working with familiar templates. A certain segment of the audience will find that disappointing, as if the only way for this kind of movie to qualify as high art is to detach completely from its inkand-paper roots. In the words of somebody we used to know, I ask: Why so serious? PG-13. MATTHEW SINGER. 99 Indoor Twin, Clackamas, Evergreen Parkway, Movies On TV, Tigard.

Dredd

B+ Director Pete Travis and

Willamette Week SEPTEMBER 26, 2012 wweek.com

screenwriter Alex Garland understand that exposition and overexplaining are death for an action ﬁlm. Just give people enough

information to keep them engaged, then let the bullets fly. For their adaptation of the U.K. comics series Judge Dredd, all you need know is that Dredd (played with a massive sneer by Karl Urban) and new recruit Judge Anderson (Olivia Thirlby)—two members of an elite police force fighting crime in the dystopian metropolis Mega-City One—are locked inside a 200-story tower and working their way to the top floor to take out drug kingpin Ma-Ma (a scarified and scary Lena Headey). Of course, Travis and Garland do tart the story up with the inclusion of Slo-Mo, Ma-Ma’s drug of choice, which turns the brain down to 1 percent of its normal speed. They could have included any narcotic, but this one allows Travis to include a number of shots of slowly exploding exit wounds. The rest of the film is a quickly sparking blast of mindless fun capped by wisely understated performances from the three leads and genuinely thrilling set pieces. Turn off your mind, relax and float upstairs with them. R. ROBERT HAM. Lloyd Center, Cedar Hills, Clackamas, Eastport, Cornelius, Oak Grove, Bridgeport, City Center, Division, Evergreen Parkway, Hilltop, Movies On TV, Sherwood, Tigard.

End of Watch

C- Are we sick of the foundfootage conceit yet? Apparently it doesn’t matter, because the movies keep on coming. The latest attempt to add grit and realism to a well-worn genre is this shakycam, faux-documentary version of the buddy-cop movie. In an age where anyone can pick up a camera, make a movie and post it online for all to see, why do professional ﬁlmmakers feel the need to re-create this aesthetic? I’m not against all found footage movies. There are strong examples out there, like The Blair Witch Project, [Rec] or even this year’s Chronicle. But it’s beyond tired at this point, and I yearn for genre cinema to return to being, you know, cinematic. Jake Gyllenhaal and the great Michael Peña are two cops in South Central L.A. who say “dude” and “bro” a lot, kill bad guys, and run afoul of a nasty cartel. The near-constant action would be great, if only we could see it. Instead, the camera shakes, the editing sucks, and half the time when writer-director David Ayer— who loves his L.A. crime movies— drops the found-footage shtick, he still can’t compose a damn shot.

MOVIES

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Keep your eco-conscious trash compactors and grumpy old men and even your toy cowboys: For my money, the movie about the emo clownﬁsh is still Pixar’s best, and even the crass cash grab of a useless 3-D re-release won’t change that. G. Lloyd Center, Cedar Hills, Clackamas, Eastport, Cornelius, Bridgeport, Division, Evergreen Parkway, Hilltop, Movies On TV, Sherwood, Sandy.

B Here’s a movie that features Meryl Streep shopping for bananas on which to practice fellatio, yet the only cringes it elicits are ones of recognition. A blessedly measured (if, truth be told, a little stagy) chamber piece, Hope Springs gently plumbs a marriage where one spouse (Tommy Lee Jones) is resigned to kvetching and regret until death parts him from the La-Z-Boy, but the other partner (Streep) isn’t ready to throw in the dishtowel. It has been tagged with the dreaded label “a movie for grown-ups”—three cheers for muesli!—but it’s a cuspof-retirement riff on the virginityloss comedy, with the protagonists getting laid again for the first time. And without the rampant dishonesty of Nancy Meyers, at that. As written by Vanessa Taylor, a creator of the HBO couples-therapy series Tell Me You Love Me, it feels like an episode of unflinching television somewhat awkwardly shoehorned into the mold of conventional rom-com cinema. (Very conventional, at times: The score would be forgettable if it didn’t refuse to leave, while Steve Carell is a little too unctuous as the bobbleheaded shrink.) Both leads are excellent: Streep resists her usual instinct to showboat, which makes her energy all the more ferocious. But it’s Jones who owns Hope Springs, subverting his laconic-asshole persona with vulnerable lifts of those shaggy eyebrows, creating a man pained by the conviction that his desires can only cause disappointment. As a reward for finally trying, he gets his own late entry in the canon of

Finding Nemo 3D

Hope Springs

year, Filmmaker magazine compiles a list of 25 up-and-comers in the independent film industry— alumni include Rooney Mara, Ryan Gosling and Lena Dunham. From this year’s list of obscure artists, the NW Film Center is screening a series of short films, totaling 110 minutes. Selections run the gamut, from Oregon native Ian Clark’s ponderous 24-minute film about a hipster forlornly spray-painting flowers and rocks, to an extended music video starring a transvestite prostitute. Interesting ideas and concepts abound—most not fully fleshed out over their brief runtimes—but several films, like Ian Harnarines’ Doubles With Slight Pepper and Jonas Carpignano’s The Plain, about African immigrants rioting in Italy, are being expanded into full features. You’ll feel sad. You’ll be disturbed. You may even cry. One thing you won’t do is laugh. Somewhere in between films about a son unable to save his estranged father from a terminal illness and a 13-year-old girl being raped, I began to wonder if independent filmmakers even tried to make comedies these days. JOHN LOCANTHI. NW Film Center’s Whitsell Auditorium. 7 pm Thursday, Sept. 27.

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C [ONE NIGHT ONLY] Every

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Filmmaker Magazine’s 25 New Faces of Independent Film

p. 52

[ONE NIGHT ONLY, DIRECTORS ATTENDING] A locally produced documentary, nine years in the making, about the Burlesque Hall of Fame, erected on a goat farm in the Mojave Desert. Goats and pasties—what could be sexier? Hollywood Theatre. 7:30 pm Saturday, Sept. 29.

Exotic World and the Burlesque Revival

E WEEK

A bunch of leathery, ’roidedup Republicans invade a foreign country and explode the shit out of it. Again. But this time…it’s personal. Not screened for critics. R. Eastport, Division, Movies On TV, Sandy.

D Breakups are tough. Divorces are even worse. But not everyone gets to move back into her parents’ mansion while her family tries to set her up with a wealthy investment banker. Three months removed from the divorce from her “big entertainment lawyer” husband, Amy (Melanie Lynskey) has been moping about the house ever since. That is, until she meets an angsty 19-year-old actor named Jeremy (Christopher Abbot), the stepson of one of her father’s wealthy potential clients. Despite the noticeable lack of chemistry, a torrid love aﬀair ensues. Age and fear of interfering with their parents’ business deal force them to keep it on the downlow. Amy’s parents are also going through some money problems, which apparently don’t prevent her mother from buying expensive lip sculptures. Hello I Must Be Going has some important messages about moving on with life and the rejuvenating power of a good shag, but they’re attached to a story about two whiny trust-fund babies bonding over how hard they have it in their parents’ mansions in Westport. R. JOHN LOCANTHI. Fox Tower.

The Expendables 2

Hello I Must Be Going

The performances feel real, but the ﬁlmmaking—and the copout (sorry) of an ending—feel false. R. ERIK MCCLANAHAN. Lloyd Center, Cedar Hills, Clackamas, Eastport, Mill Plain, Cornelius, Oak Grove, Pioneer Place, Bridgeport, City Center, Division, Evergreen Parkway, Hilltop, Movies on TV, Sherwood, Tigard, Sandy.

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SEPT. 26-OCT. 2

theater-seat erotic pleasuring, a tradition stretching from from Mickey Rourke to Eugene Levy. PG-13. AARON MESH. Oak Grove, Movies On TV, Tigard.

Hotel Transylvania

C- Hotel Transylvania is yet another

example of a studio-made animated picture cast as if the audience were expected to play Spot the Celebrity—only this one plays like the bastard love child of Grown Ups and several, much better Pixar films. David Spade as the Invisible Man! Kevin James as Frankenstein! Adam Sandler as Dracula! Hold on: Adam Sandler is Count Dracula? It’s an idea even worse in practice than on paper. Imagine the same old, garbled voice the former SNL great has been retreading for the better part of two decades, but this time with a half-assed Bela Lugosi accent mixed in. The plot, in which Dracula hosts a birthday party for his daughter at his monsters-only hotel, is wafer thin and annoyingly stretched to feature length. A more appropriate game for the audience would be Spot the Pixar Storylines: controlling widowed daddy unable to let go of his child (Finding Nemo); monsters scared of humans (Monsters, Inc.). The filmmakers seemed to think this laziness could be overcome by pacing Hotel Transylvania like an ADHD case on a threeday bender of Walter White’s blue meth. The camera zooms; things fly all over the frame (in worthless 3-D, no less). It’s all very flashy and dull, and so, so forgettable. PG. ERIK MCCLANAHAN. Cedar Hills, Clackamas, Eastport, Cornelius, Pioneer Place, Bridgeport, City Center, Division, Evergreen Parkway, Hilltop, Lloyd Mall, Movies On TV, Sherwood, Tigard, Wilsonville.

Wettest County in the World, author Matt Bondurant’s investigation into his family’s history as outlaw moonshiners, the ﬁlm blends truth and myth into the kind of crowdpleasing, Western-style thriller that used to get Kevin Costner nominated for Oscars back in the ’90s. R. MATTHEW SINGER. Cedar Hills, Clackamas, Forest Theatre, Moreland Theatre, City Center, Division, Evergreen Parkway, Lloyd Mall, Movies On TV.

The Life and Times of Rosie the Riveter

[ONE NIGHT ONLY, REVIVAL] A 1980 documentary about the American women who went to work “men’s jobs” during World War II. Hollywood Theatre. 7:30 pm Friday, Sept. 29.

Jackpot Records Music & Film Festival

Jackpot’s ninth annual film festival, celebrating “misunderstood geniuses and visionaries,” highlights one of the most misunderstood visionaries of the last few decades: queer icon Jobriath. In Jobriath A.D.: A Rock ’n’ Roll Fairy Tale (8 pm Thursday, Sept. 27), director Kieran Turner explores the brief reign of the so-called “American Bowie,” whose career and life ended with him excommunicated from both the music industry and the gay community. He died in the Chelsea Hotel in 1983, an early AIDS casualty. In the ensuing decades, however, his flashy glam rock has been rediscovered and namechecked by everyone from Def Leppard to Morrissey. Also showing: Charles Bradley: Soul of America (8 pm Wednesday, Sept. 26), documenting the unlikely rise to fame of the 63-year-old soul singer; and Rhino Resurrected (8 pm Friday, Sept. 28), charting the history of the L.A. music-geek haven. Bagdad Theater. See jackpotfilmfest.wordpress.com for a complete schedule.

Lawless

B Here is Australian director John

Hillcoat’s idea of a good time: a Prohibition-era period piece about a real-life clan of Virginia bootleggers, in which throats are slashed with knives and crushed with brass knuckles, a cripple gets his neck snapped, a man is scalded by hot tar, and at least one pair of testicles are cut oﬀ, packaged and left on a doorstep. In an oeuvre deﬁned by overbearing bleakness—this is the guy who thought The Road would make a great movie—Lawless is the most easily digestible of Hillcoat’s bitter pills. Based on the book The

Willamette Week SEPTEMBER 26, 2012 wweek.com

about this whole ﬁlm subgenre of sensitive dudes played by sitcom stars who get new leases on life by returning to their hometowns to reconnect with a father ﬁgure, then meet a collection of colorful locals—including a precocious, possibly special-needs hot chick— that show them the world is beautiful because, “Hey, we’re all wacky and depressed, but mostly wacky.” Here, How I Met Your Mother’s Josh Radnor is a thirtysomething bookworm who returns to his Ohio alma mater to attend the retirement party of a professor, only to meet a saucy 19-year-old played by Elizabeth Olsen, an irritating manic pixie nightmare with whom he becomes infatuated when she tells him she totally likes improv, books, classical music and frolick-

REVIEW

ACROSS THE TABLE AND DREAMING: Emma Watson and Logan Lerman.

House at the End of the Street

We preferred its working title, Jennifer Lawrence Wears a Tank Top and Screams a Lot. Not screened for critics. PG-13. Lloyd Center, Cedar Hills, Clackamas, Eastport, Mill Plain, Cornelius, Oak Grove, Pioneer Place, Bridgeport, City Center, Division, Evergreen Parkway, Hilltop, Lloyd Mall, Movies On TV, Sherwood, Tigard, Wilsonville.

Liberal Arts

D This needs to stop. I’m talking

JOHN BRAMLEY

WWEEKDOTCOM WWEEKDOTCOM Headout !

MOVIES

THE PERKS OF BEING A WALLFLOWER Teenage angst, paid oﬀ well.

The truest essence of this film can be stirred up from the angsty sediment in the YouTube comments section for its trailer. Here in the stinky, putrid underpinnings of the Web, pubescent humans from around the globe gather to howl through their keyboards with such thoughtful remarks as, “Emma Watson Y U SO HOT?” and “Oh God I’m crying already lol,” and most pointedly, “HOLY FUCK I CAN’T HOLD BACKK MY EMOTIONS AHHHHHH FUCKING YES.” Precisely. This teen movie, like most teen movies, harvests the raw power of adolescent passion in all its sloppy, horny glory to craft a cinematic confection that reflects, interprets and glorifies the universally shared experience of being a teenager. In this rendition, Charlie, a lonely, gazellelike high-school freshman, played by the inappropriately handsome Logan Lerman, fumbles his way into that rare circle of upperclassmen mature enough to be kind to him but reckless enough to get him wasted. Among his newfound crew of misfit seniors is Sam (Emma Watson), an outcast indie goddess with whom Charlie predictably, hopelessly, falls in love, and Patrick (Ezra Miller), Sam’s histrionic yet lovable half-brother. The trio proceeds to engage in a series of typical adolescent shenanigans and, of course, comes to life-altering realizations like, “We accept the love we think we deserve.” This line would be insufferable were it not delivered by Paul Rudd, who plays the Understanding English Teacher and friend to all weirdos. In fact, a slew of other clichéd and contrived teen-movie moments unrelated to Rudd’s sweater-vested performance somehow manage to eschew their intrinsic cheesiness and sound fresh. Perhaps it’s because, while such flicks typically stick to a certain level of fluff, Wallflower finds a way to come across as deeply, disarmingly sincere. Stephen Chbosky, who authored the titular book, also adapted his epistolary novel into a screenplay and directed the film as well. So it must be his prolonged closeness not only to the story but to each of its characters that allows him to craft something so endearing and intimate. Wallflower is wild, hormonal and hyperbolically emotional, a well-calibrated film incarnation of an actual teenage life. It’s kind of perfect, actually. PG-13. EMILY JENSEN. A

SEE IT: Perks of Being a Wallﬂower opens Friday at Bridgeport.

sept. 26-oct. 2

The Master

A As you might have heard, Paul

Thomas Anderson’s The Master is the film Scientology maybe, sort of doesn’t want you to see. While it makes deliberate allusions to L. Ron Hubbard’s sci-fi pseudo-religion, that’s not what it’s actually about. It’s a picture that’s nearly impenetrable on first viewing, but few directors’ films are as worthy of their challenges as Anderson’s. It’s a film you’ll feel the need to watch again immediately out of sheer obligation. For the movie’s first 30 minutes or so, we’re alone with Joaquin Phoenix’s Freddie Quell. It’s an uncomfortable half-hour. In that time, he mimes intercourse with a female-shaped sand sculpture, then masturbates into the ocean; undergoes a Rorschach test in which he reports seeing only genitalia; and attempts to choke a customer at his postwar job as a mall photographer. Although claustrophobic in their intimacy, these early scenes don’t help us understand Quell any better, but then, we’re dealing with a character who doesn’t understand himself. Stowing away on a boat, Quell eventually encounters Lancaster Dodd (Philip Seymour Hoffman), a pink-hued huckster selling salvation through “the Cause,” a self-help movement based on a variation of repressed-memory therapy. It’s here that Anderson drops in bits of Hubbard’s biography. But as Quell and Dodd become increasingly intertwined, the Scientology allegories fade into the background. Anderson is fascinated by these two unknowable characters, to the point of eschewing traditional narrative just to focus on them. Abetted by grandiose 65 mm cinematography and a crazy-making score from Radiohead’s Jonny Greenwood, The Master is an ambitious enigma that never figures itself out, and that’s precisely what makes it one of the year’s best films. R. MATTHEW SINGER. Lloyd Center, Cedar Hills, Clackamas, Eastport, Bridgeport, City Center, Evergreen Parkway.

Moonrise Kingdom

A- Those who find everything that

follows Bottle Rocket fussy and puerile have fair warning: Moonrise Kingdom is Wes Anderson’s Boy Scout film, set on an imaginary island. pG-13. AARON MESH. CineMagic, Hollywood Theatre, St. Johns.

Must Come Down

[ONE DAY ONLY, DIRECTOR AND ACTORS ATTENDING] The quirky adventures of two twentysomethings in the midst of a quarter-life crisis. Clinton Street Theater. 3:30 pm Saturday, Sept. 29.

The Odd Life of Timothy Green

B+ Jim and Cindy Green (Joel

Edgerton and Jennifer Garner) lead a life of exceptional blandness. Even bleaker, the couple struggles with infertility issues, and learn after countless failed medical procedures that they cannot conceive. Drunk on misery and red wine, they scrawl characteristics of their imaginary child on slips of paper, stuff them listlessly into a wooden box, and bury them in the backyard along with their hopes of ever becoming parents. And then something less depressing happens: A 10-year-old child comes busting out of the ground where the box was buried, slathered in mud and sprouting leaves around his ankles. The ensuing story, albeit saccharine and silly, is genuinely adorable. pG. EMILY JENSEN. Eastport, Oak Grove, Lloyd Mall, Movies On TV, Sherwood.

ParaNorman

B+ Is ParaNorman as good as the first

Laika picture, 2009’s Coraline? No. It doesn’t have the depth of imagination, nor the emotional pull. Although it contains moments of impressive visual pow—it’s animated in remarkable stop-motion—it doesn’t match the barrage of sheer awe that made Coraline such a wondrous experience. As long as we’re measuring the films against each other, though, let it be said: ParaNorman is a lot more fun. pG. MATTHEW SINGER. Indoor Twin, Cedar Hills, Clackamas, Eastport, Oak Grove, Division, Evergreen Parkway, Lloyd Mall, Movies On TV, Tigard.

Pitch Perfect

College students sing at each other, aggressively. pG-13. Clackamas, Bridgeport.

The Possession

Pro: Sam Raimi produced this movie, an alleged true story involving curses and angry spirits. Con: He didn’t direct it. And it’s not rated R. Eh, think we’ll pass. It wasn’t screened for critics, anyway. pG-13. Cedar Hills, Clackamas, Forest Theatre, Division, Lloyd Mall, Movies On TV.

Resident Evil: Retribution

The fifth movie in the Resident Evil series takes extraordinary zombiekilling machine Alice (Milla Jovovich) on a world tour to save what’s left of humanity on a planet quickly becoming a giant desert. She has more powers, wears a tight vinyl jumpsuit and has a great haircut. And Oded Fehr is back! Not screened for critics, but what the hell? We’ll recommend it anyway. R. KENDRA CLUNE. Lloyd Center, Cedar Hills, Clackamas, Eastport, Cornelius, Oak Grove, Pioneer Place, City Center, Division, Evergreen Parkway, Hilltop, Movies On TV, Sherwood, Tigard.

Robot & Frank

B Indirectly answering the question

of what happened to Rocky’s cousin Paulie and his robot maid as they grew old together, freshman director Jake Schreier’s touching Robot&Frank asks big questions about the automation of elder care while avoiding the tendency to milk tear ducts. The film follows an elderly, retired cat burglar (the great Frank Langella) who lives in isolation in the near future, struggling with kleptomania and bouts of dementia to the chagrin of his son (James Marsden), who purchases an ASIMOlike robot (voiced by Peter Sarsgaard) to cook, clean, and care for him. Plagued by boredom and the yuppies who seek to digitize and close his local library—and thus sever his relationship with librarian Susan Sarandon— Frank begins to plot a series of heists, and finds a companion and capable partner in his robot friend. This all sounds rather precious, but Schreier’s is a small film examining the surprisingly poignant relationship between man and machine, families and societal changes without teetering into saccharine preaching. Langella gives a cantankerous performance of subtle pain, and the film fully utilizes the great actor in every single scene, allowing you to get inside his wilting brain and explore the impact of his waning memories. It’s a buddy film in which the buddy is a computer, yet somehow it all registers on a deeply human level. pG-13. AP KRYZA. Fox Tower.

Samsara

A Samsara, the title of the new word-

less, non-narrative documentary from the creators of 1992’s similarly structured Baraka, is a Sanskrit word referencing, more or less, the circle of life. If that doesn’t reek of patchouli enough for you, the film is also bookended by trips to a Buddhist temple, features a score that sounds taken from a CD purchased at the counter of an organic food co-op, and, through its juxtaposition of images, expresses a disapproving view of the modern industrialized world. Anyone allergic to New Age-isms will break out in hives. Put aside those aversions, however, and Samsara is, without question, the most visually intoxicating film of year. Shot in gleaming 70 mm by Ron Fricke

and Mark Magidson, the movie travels to 25 countries—from hurricane-ravaged New Orleans to East Africa, from Egyptian apartment complexes built in view of the pyramids to a Bangkok strip club full of undulating “lady-boys”— and paints an astounding portrait of human existence. (Narrowing down any single moment for highlighting is difficult, but for me, it might be the procession of pallbearers carrying a coffin shaped like a handgun.) Whether or not it’s as profound as the filmmakers want it to be depends on your predilection toward enlightenment, but as a travelogue, Samsara is simply goddamned beautiful. pG-13. MATTHEW SINGER. Fox Tower.

Sergei Parajanov Double Feature: The Color of Pomegranates and Shadows of Forgotten Ancestors

[ONE WEEK ONLY] Two films from the towering Soviet director: 1964’s Shadows of Forgotten Ancestors, a wrenching Romeo and Juliet-style tragic love story set in Western Ukraine; and The Color of Pomegranates, Parajanov’s masterpiece, a dense yet richly beautiful 1969 film based on the life of poet Sayat Nova. Clinton Street Theater. 7 and 9 pm, respectively, Friday-Wednesday, Sept. 28-Oct. 3.

But as a movie, it’s peanuts. pG-13. MATTHEW KORFHAGE. Lloyd Center, Cedar Hills, Clackamas, Eastport, Mill Plain, Cornelius, Lake Twin, Oak Grove, Pioneer Place, Bridgeport, City Center, Division, Evergreen Parkway, Hilltop, Lloyd Mall, Movies On TV, Sherwood, Tigard, Sandy, St. Johns.

Won’t Back Down

C- I’m often puzzled by movies like

Won’t Back Down. Here’s a story “inspired by actual events” that plays like a two-hour, live-action equivalent of Rev. Lovejoy’s wife screaming, “Won’t somebody please think of the children?!” Or, to make another Simpsons comparison, this movie is basically Martin Prince. It means well, is full of energy, thinks it should be more popular than it is, and loves going to school, but in the end, it will never be cool. It’s simply a case of good

message, not-so-good movie. And the confusing part is, who is this for? The story, about a Pittsburgh teacher (Viola Davis) and a student’s parent (Maggie Gyllenhaal) fighting to reform their children’s awful school, is admirable, but it preaches to the converted. It’s propaganda that makes for the least interesting of cinematic excursions, the kind that finds depth in predictable, syrupy sentiment and feigns complexity but never achieves it. There’s a great cast involved—including the wonderful character actors Oscar Isaac, Rosie Perez, Ving Rhames, Bill Nunn and Lance Reddick—but they have little to do in a movie that could’ve been so much better had the story actually started where it ends. pG. ERIK MCCLANAHAN. Cedar Hills, Clackamas, Eastport, Mill Plain, Cornelius, Hilltop, Lloyd Mall, Movies On TV, Sherwood, Tigard, Wilsonville.

REVIEW O S C I L L O S C O P E L A B O R ATO R I E S

ing in the grass. Radnor reluctantly returns to court his creepily younger crush, and the two do wacky things like talk about Twilight and lay in the grass some more, until the eventual emotional confrontation (also about Twilight). Radnor, who wrote and directed, is so convinced he’s made a post-college, man-baby take on The Graduate he doesn’t realize his sloppy flick is a minefield of clichés (enlightened stoner, sagelike pixie, suicidal genius). If this doesn’t sound obnoxious enough, consider this: Olsen’s character is named Zibby. AP KRYZA. Living Room Theaters.

MOVIES

Sleepwalk with Me

A In what can unofficially be consid

ered This American Life’s first feature film, Ira Glass co-writes a full-length dramatization of Mike Birbiglia’s popular stand-up routine about chronic sleepwalking and brushes with death— and it holds up in translation. As comedian autobiographies go, it’s among the more humane. Birbiglia’s narrative pretense—that he is a road comic speaking to a camera riding shotgun as he drives between gigs in the present day—allows him to include some of the delivery that made “Sleepwalk” land as a live performance. This also preserves some of Sleepwalk’s bite as it moves from stage to screen and Birbiglia becomes a hapless in player in his own surreal story. In hindsight, it is possible to look back and laugh. SAUNDRA SORENSON. Living Room Theaters.

Stars in Shorts

[ONE WEEK ONLY] A collection of short films starring big-name actors such as Judi Dench, Colin Firth and Keira Knightley. Sadly, not playing as a double feature with the little-seen underground film D-List Celebrities in Jorts. Hollywood Theatre. 7 pm Friday-Thursday, additional shows 2:15 and 4:45 pm Saturday-Sunday, Sept. 28-Oct. 4.

Trouble With the Curve

C If you wanted to know whether Clint Eastwood yells at chairs in his new movie, the answer is a resounding yes. He yells at chairs, bleachers, doors, garages and Amy Adams. He drinks Schlitz beer and unironically jeers at the “Interweb,” makes old-man wisecracks at his vegan daughter and his own recalcitrant genitalia. Because, oh gosh, Clint Eastwood is old. Trouble With the Curve, directed by longtime Eastwood producer Robert Lorenz, reminds us of this in countless demeaning ways that relentlessly kneecap the red-blooded, American-born, deeply self-sufficient man he has always portrayed. Still, Trouble is one American icon grinding its teeth on another, and for this it is in some small part irresistible. Eastwood plays an aging Major League scout named Gus Lobel who lives, breathes and loves baseball. And he does it for America’s team, the Atlanta Braves. But in a strange turn, the film slowly morphs from a tale about a hard-bitten old-timer facing the end of his relevance to the story of a bright, young career woman (Adams) who finally comes to know herself and find love with a boy-band singer (Justin Timberlake) while on the road with her dad (Eastwood). It is a funny world in which everyone always witlessly says what they mean, every life episode is dubiously calculated for your favorite character’s benefit, and every incompetent person is also morally repellent and physically grotesque. The young men get Amy Adams, the old men get redeemed, and Adams gets everything. Great world, I guess.

mElancholy mooSE: Ryan o’nan as alex, performing for a class of mentally disabled kids.

THE BROOKLYN BROTHERS BEAT THE BEST Whining the night away.

Guys like Ryan O’Nan give struggling artists a bad name. In The Brooklyn Brothers Beat the Best, O’Nan plays Alex, a goingnowhere musician and miserable piece of shit. A scruffily bearded white dude, he works in a low-level New York real estate office during the day, plays sad-sack acoustic folk in empty clubs at night, and walks around with the deflated body language of someone who feels entitled to a bohemian lifestyle he’s not actually living. He likes to warn listeners that his music is highly depressing, but it’s better described as neutered and self-pitying. He carries a handwritten breakup letter with him everywhere and slouches alone in the park, quietly screaming out for someone to ask what’s the matter—an in-the-flesh incarnation of the person who writes vaguely suicidal Facebook status updates every few hours just to read their friends’ concerned inquiries. Don’t worry, though. He’ll be fine. If you’ve seen any recent quirky independent comedy about mopey twentysomethings, then you already know affirmation is just an impromptu cross-country road trip away. And considering O’Nan wrote and directed the film, you know he’ll be doubly OK. Through a series of serendipitous events, Alex finds himself on tour with Jim (Michael Weston), a songwriter with a fetish for toy instruments. On the car ride to its first gig, the duo hatches its sound, later described as “the Shins meet Sesame Street.” The movie treats this as a novel creation, ignoring that half the indie-pop bands of the past few years could be described the same way. Nevertheless, wherever the group performs—a bar, a rooftop, a Revenge of the Nerds-style frat house—the crowds sway in approving unison. One woman, a pouty blonde named Cassidy (actress-model Arielle Kebbel, unconvincing as a Pennsylvania club promoter despite her totally rock-’n’-roll nose ring), is so impressed she joins them on the road. She and O’Nan eventually fuck, because everyone knows morose losers who can’t get over their girlfriends are irresistible to Maxim pinups. At that point, it becomes clear that Brooklyn Brothers is little more than a vanity project for O’Nan—who also wrote the soundtrack—and an inroad toward a musical career of his own. And what do you know? The Brooklyn Brothers are now a real-life touring concern, coming soon to put an entire venue to sleep in a town near you. MATTHEW SINGER.

D SEE IT: The Brooklyn Brothers Beat the Best opens Friday at Hollywood Theatre.

Willamette Week SEPTEMBER 26, 2012 wweek.com

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NW Film Center’s Whitsell Auditorium 5328 N. Lombard • 503-285-7150 • thefishwife.com T, W, Th 11am - 9pm • Fri 11am - 10pm • Sat. 4 - 10pm

DECADENT AND DEPRAVED: At age 77, William Friedkin has ceased giving any semblance of a fuck. Killer Joe is maybe the most skin-crawlingly nasty picture to come from a major American director since David Lynch’s Blue Velvet. Set against the burnt-out landscape of the American Southwest, in an unnamed town on the outskirts of Dallas, it indulges in the ugliest of white-trash stereotypes. If it were the product of a younger filmmaker, the cruelty and condescension would translate as desperately attention-seeking. But Friedkin has been pushing, prodding and provoking audiences for decades. Killer Joe has no underlying message to leaven and redeem the violence and perversion; it has only the visceral charge of a master shit-disturber going all-in appealing to his basest instincts. It’s disgusting, but just try looking away. You can’t. MATTHEW SINGER. Showing at: Laurelhurst, Academy. Best paired with: PBR. Also screening: The Crow (Laurelhurst).

807 Lloyd Center 10 and IMAX

FOOD & DRINK

1510 NE Multnomah Blvd., 800-326-3264 tHe DARK KNIGHt RIses: tHe IMAX eXpeRIeNce Fri-Sat-Sun-Mon-Tue 12:20, 09:30 FRANKeNWeeNIe Fri-Sat-Sun-Mon-TueWed DReDD Fri-SatSun-Mon-Tue 12:05, 05:10 HoUse At tHe eND oF tHe stReet Fri-Sat-SunMon-Tue 01:00, 04:35, 06:45, 10:10 ResIDeNt eVIL: RetRIBUtIoN FriSat-Sun-Mon-Tue 12:00, 02:30, 05:00, 07:30, 10:05 LoopeR Fri-SatSun-Mon-Tue 12:45, 01:15, 03:55, 04:25, 06:50, 07:20, 09:50, 10:20 tRoUBLe WItH tHe cURVe Fri-SatSun-Mon-Tue 12:30, 03:30, 09:35 eND oF WAtcH Fri-Sat-Sun-Mon-Tue 12:55, 03:45, 07:05, 10:00 tHe MAsteR Fri-Sat-Sun-MonTue 12:10, 03:20, 06:35, 09:45 FINDING NeMo 3D Fri-Sat-Sun-Mon-Tue 12:35, 03:40, 07:15, 09:55 DReDD 3D Fri-Sat-SunMon-Tue 02:35, 07:45, 10:15 ResIDeNt eVIL: RetRIBUtIoN 3D Fri-SatSun-Mon-Tue 04:05, 07:00 MALooF MoNeY cUp WoRLD sKAteBoARDING cHAMpIoNsHIp eVeNt Tue 07:30 tcM pReseNts e.t. tHe eXtRAteRRestRIAL 30tH ANNIVeRsARY eVeNt Wed 07:00

Regal Lloyd Mall 8 Cinema

reviews, events & gut reactions Page 24 50

Willamette Week SEPTEMBER 26, 2012 wweek.com

2320 Lloyd Center Mall, 800-326-3264 tHe oDD LIFe oF tIMotHY GReeN Fri-Sat-Sun-MonTue-Wed 12:20, 03:10 tHe BoURNe LeGAcY Fri-Sat-Sun-Mon-Tue-Wed 12:05, 03:05, 06:05, 09:05 pARANoRMAN Fri-SatSun-Mon-Tue-Wed 12:05, 03:35, 06:25, 08:40 tHe possessIoN Fri-Sat-SunMon-Tue-Wed 06:20, 08:40 WoN’t BAcK DoWN Fri-

Sat-Sun-Mon-Tue-Wed 12:15, 03:15, 06:15, 08:50 HoteL tRANsYLVANIA Fri-Sat-Sun-Mon-TueWed 12:10, 12:30, 03:20, 03:30, 06:30, 08:30, 09:00 HoteL tRANsYLVANIA 3D Fri-Sat-Sun-MonTue-Wed 12:00, 03:00, 06:00 tRoUBLe WItH tHe cURVe Fri-Sat-SunMon-Tue-Wed 12:25, 03:25, 06:10, 08:45 LAWLess Fri-Sat-Sun-Mon-Tue-Wed 06:05, 08:55

Avalon Theatre

3451 SE Belmont St., 503-238-1617 DIARY oF A WIMpY KID: DoG DAYs FriSat-Sun-Mon-Tue-Wed 05:45 totAL RecALL Fri-Sat-Sun-Mon-Tue-Wed 04:50, 08:50 Ice AGe: coNtINeNtAL DRIFt FriSat-Sun-Mon-Tue-Wed 12:30, 02:15, 04:00 teD Fri-Sat-Sun-Mon-Tue-Wed 10:05 BRAVe Fri-Sat-SunMon-Tue-Wed 01:10, 03:00, 07:00 MARVeL’s tHe AVeNGeRs Fri-Sat-SunMon-Tue-Wed 07:30

Bagdad Theater and Pub

3702 SE Hawthorne Blvd., 503-249-7474 JAcKpot RecoRDs MUsIc FILM FestIVAL Fri 08:00 BRAVe Sat-Sun-Mon-Tue 06:00 MoULIN RoUGe Sat 09:30 MARVeL’s tHe AVeNGeRs Sun-Mon-Tue 08:25

Cinema 21

616 NW 21st Ave., 503-223-4515 poRtLAND LesBIAN & GAY FILM FestIVAL Fri-SatSun-Mon-Tue-Wed cALL tHeAtRe FoR sHoWtIMes Fri-Sat-Sun-Mon-Tue-Wed

Clinton Street Theater

2522 SE Clinton St., 503-238-8899 sHADoWs oF FoRGotteN ANcestoRs Fri-Sat-

1219 SW Park Ave., 503-221-1156 cAUGHt Fri 07:00 HIGH WALL Sat 07:00 99 RIVeR stReet Sat 09:15 LoopHoLe Sun 05:00 NAKeD ALIBI Sun 07:00

Pioneer Place Stadium 6

Sun-Mon-Tue-Wed 07:00 tHe coLoR oF poMeGRANAtes FriSat-Sun-Mon-Tue-Wed 09:00 MUst coMe DoWN Sat 03:30 tHe RocKY HoRRoR pIctURe sHoW Sat 11:30

340 SW Morrison St., 800-326-3264 LeARNING to FLY FriSat-Sun-Mon-Tue-Wed 01:15, 04:15, 07:15, 10:00 FRANKeNWeeNIe FriSat-Sun-Mon-Tue-Wed HoUse At tHe eND oF tHe stReet Fri-Sat-SunMon-Tue-Wed 01:05, 04:05, 07:05, 10:10 ResIDeNt eVIL: RetRIBUtIoN FriSat-Sun-Mon-Tue-Wed 01:30, 10:00 HoteL tRANsYLVANIA Fri-SatSun-Mon-Tue-Wed 01:00, 04:00, 07:00 tRoUBLe WItH tHe cURVe Fri-SatSun-Mon-Tue-Wed 01:20, 04:20, 07:20, 10:05 eND oF WAtcH Fri-Sat-SunMon-Tue-Wed 01:10, 04:10, 07:10, 09:55 ResIDeNt eVIL: RetRIBUtIoN 3D Fri-Sat-Sun-Mon-Tue-Wed 04:30, 07:30 HoteL tRANsYLVANIA 3D Fri-SatSun-Mon-Tue-Wed 09:45

Laurelhurst Theatre

Academy Theater

2735 E Burnside St., 503-232-5511 MARVeL’s tHe AVeNGeRs Fri-Sat-Sun-Mon-Tue-Wed 06:45 tHe cRoW Fri-SatSun-Mon-Tue-Wed 09:40 BRAVe Fri-Sat-Sun 01:30, 04:30 KILLeR Joe Fri-SatSun-Mon-Tue-Wed 09:30 ceLeste AND Jesse FoReVeR Fri-Sat-Sun-MonTue-Wed 07:30 sAFetY Not GUARANteeD Fri-SatSun-Mon-Tue-Wed 07:15, 09:15 tHe Best eXotIc MARIGoLD HoteL Fri-SatSun-Mon-Tue-Wed 06:30 totAL RecALL Fri-SatSun-Mon-Tue-Wed 09:05 Ice AGe: coNtINeNtAL DRIFt Sat-Sun 01:45

Mission Theater and Pub

1624 NW Glisan St., 503-249-7474 to RoMe WItH LoVe SunTue 05:30 MARVeL’s tHe AVeNGeRs Sun-Tue 08:00

CineMagic Theatre

2021 SE Hawthorne Blvd., 503-231-7919 MooNRIse KINGDoM FriSat-Sun-Mon-Tue-Wed 05:30, 07:35

Kennedy School Theater

5736 NE 33rd Ave., 503-249-7474 BRAVe Fri-Sat-Sun-MonTue-Wed 02:30, 05:30 totAL RecALL Fri-SatSun-Mon-Wed 07:45 Ice AGe: coNtINeNtAL DRIFt Fri-Sat-Sun-Mon 03:00 teD Fri-Sat 10:15 DIARY oF A WIMpY KID: DoG DAYs Sat-Sun 12:30

Fifth Avenue Cinemas

510 SW Hall St., 503-725-3551 ADAptAtIoN Fri-Sat-Sun 03:00

7818 SE Stark St., 503-252-0500 BRAVe Fri-Sat-Sun-MonTue-Wed 02:40, 04:40, 07:15 MARVeL’s tHe AVeNGeRs Fri-Sat-SunMon-Tue-Wed 01:50, 06:50 pRoMetHeUs Fri-Sat-SunMon-Tue-Wed 09:45 Ice AGe: coNtINeNtAL DRIFt Fri-Sat-Sun-Mon-Tue-Wed 04:30 tHe Best eXotIc MARIGoLD HoteL Fri-SatSun-Mon-Tue-Wed 02:00, 06:35 KILLeR Joe Fri-SatSun-Mon-Tue-Wed 09:10 totAL RecALL Fri-SatSun-Mon-Tue-Wed 04:50, 09:25

Living Room Theaters

341 SW 10th Ave., 971-222-2010 LIBeRAL ARts Fri-SatSun-Mon-Tue-Wed 12:20, 02:50, 05:10, 07:45, 09:50 DReDD 3D Fri-Sat-SunMon-Tue-Wed 12:00, 02:05, 09:00 sLeepWALK WItH Me Fri-Sat-Sun-Mon-TueWed 12:30, 02:30, 05:00, 07:00, 09:10 ARBItRAGe Fri-Sat-Sun-Mon-Tue-Wed 11:50, 02:15, 04:40, 07:30, 09:45 pARANoRMAN 3D Fri-Sat-Sun-Mon-Tue-Wed 11:40, 01:50 FoR A GooD tIMe, cALL... Fri-Sat-SunMon-Tue-Wed 04:00, 10:05 BeAsts oF tHe soUtHeRN WILD Fri-SatSun-Mon-Tue-Wed 12:10, 02:40, 04:50, 07:15, 09:20

SubjecT To change. call TheaTerS or ViSiT WWeek.coM/MoVieTiMeS For The MoST up-TodaTe inForMaTion Friday-ThurSday, SepT. 28-ocT. 4, unleSS oTherWiSe indicaTed

CLASSIFIEDS DIRECTORY 51

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HOME IMPROVEMENT SW Jill Of All Trades 6905 SW 35th Ave. Portland, Oregon 97219 503-244-0753

PROPERTY MANAGEMENT SW JMPDX LLC 1505 SW 6th #8155 Portland, Oregon 97207 503-730-5464

TREE SERVICE NE Steve Greenberg Tree Service 1925 NE 61st Ave. Portland, Oregon 97213 503-774-4103

AUDIO SE

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1416 SE Morrison Street Portland, Oregon 97214 503-238-1955 www.inner-sound.com

CELL PHONE REPAIR N Revived Cellular & Technology 7816 N. Interstate Ave. Portland, Oregon 97217 503-286-1527 www.revivedcellular.com

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.

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featuring art by Jahna Vashti pg. 55 WillametteWeek Classiﬁeds SEPTEMBER 26, 2012 wweek.com

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STEALING - 8

Go to now [consider] you rich men, weep and howl - for your miseries shall soon come upon you! For your riches have corrupted you - and your garments are motheaten. Your gold and silver is cankered [corrupted]; and the rust of them shall be a witness against you, and it shall eat your flesh, as it were by [Hell] Fire. For you have heaped [such] treasure together for [your] Last Days. Behold, the hire of the Labourers who have reaped your fields, which is kept back by you in FRAUD, cries out; and the cries of them... are entered into the ears of the Lord of Sabaoth [Angelic Armies]. You have lived in pleasure on the earth, and are want on; You have nourished your [own] hearts, as for a Day of slaughter. You have condemned and killed the Just! (James 5:1-6) REPENT! [See Proverbs 21:13 + Deu 15:7-10 + Luke 16:24-25]

SUPPORT GROUPS ALANON Sunday Rainbow

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Oregon CMA 24 hour Hot-line Number: 503-895-1311. We are here to help you! Information, support, safe & confidential!

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Week of September 27

ARIES (March 21-April 19): Here’s the curious message I derived from the current astrological configurations: It’s one of those rare times when a wall may actually help bring people together. How? Why? The omens don’t reveal that specific information. They only tell me that what seems like a barrier might end up serving as a connector. An influence that in other situations would tend to cause separation will in this case be likely to promote unity. Capitalize on this anomaly, Aries! TAURUS (April 20-May 20): In my first dream last night, I gave you a holy book that you left out in the rain. In my second dream, I cooked you some chicken soup that you didn’t eat. My third dream was equally disturbing. I assigned you some homework that would have helped you discover important clues about tending to your emotional health. Alas, you didn’t do the homework. In the morning, I woke up from my dreams feeling exasperated and worried. But later I began to theorize that maybe they weren’t prophecies, but rather helpful warnings. Now that you’ve heard them, I’m hoping you will become alert to the gifts you’ve been ignoring and take advantage of the healing opportunities you’ve been neglecting. GEMINI (May 21-June 20): There’s a good chance that your rhythm in the coming days will resemble a gentle, continuous orgasm. It won’t be stupendously ecstatic, mind you. I’m not predicting massive eruptions of honeyed bliss that keep blowing your mind. Rather, the experience will be more like a persistent flow of warm contentment. You’ll be constantly tuning in to a secret sweetness that thrills you subliminally. Again and again you will slip into a delicious feeling that everything is unfolding exactly as it should be. Warning! There are two factors that could possibly undermine this blessing: 1. if you scare it away with blasts of cynicism; 2. if you get greedy and try to force it to become bigger and stronger. So please don’t do those things! CANCER (June 21-July 22): Philosopher Jonathan Zap (zaporacle.com) provides the seed for this week’s meditation: “Conscious reflection on the past can deepen the soul and provide revelations of great value for the present and future. On the other hand, returning to the past obsessively out of emotional addiction can be a massive draining of vitality needed for full engagement with the present.” So which will it be, Cancerian? One way or another, you are likely to be pulled back toward the old days and the old ways. I’ll prefer it if you re-examine your history and extract useful lessons from the past instead of wallowing in dark nostalgia and getting lost in fruitless longing. LEO (July 23-Aug. 22): Picture a TV satellite dish on the roof of a peasant’s shack in rural Honduras. Imagine a gripping rendition of Beethoven’s Moonlight Sonata played on the mandolin. Visualize the Dalai Lama quoting Chris Rock a bit out of context but with humorous and dramatic effect. Got all that? Next, imagine that these three scenes are metaphors for your metaphysical assignment in the coming week. Need another hint? OK. Think about how you can make sure that nothing gets lost in the dicey translations you’ll be responsible for making. VIRGO (Aug. 23-Sept. 22): Here are some ways to get more respect: 1. Do your best in every single thing you do -- whether it’s communicating precisely or upholding the highest possible standards at your job or taking excellent care of yourself. 2. Maintain impeccable levels of integrity in everything you do -- whether it’s being scrupulously honest or thoroughly fair-minded or fiercely kind. 3. On the other hand, don’t try so compulsively hard to do your best and cultivate integrity that you get self-conscious and obstruct the flow of your natural intelligence. 4. Make it your goal that no later than four years from now you will be doing what you love to do at least 51 percent of the time. 5. Give other people as much respect as you sincerely believe they deserve. 6. Give yourself more respect. LIBRA (Sept. 23-Oct. 22): The German poet and philosopher Friedrich von Schiller liked to have rotting apples in his desk drawer as he worked; the scent inspired him. Agatha Christie testified that many of

her best ideas came to her while she was washing dishes. As for Beethoven, he sometimes stimulated his creativity by pouring cold water over his head. What about you, Libra? Are there odd inclinations and idiosyncratic behaviors that in the past have roused your original thinking? I encourage you to try them all this week, and then see if you can dream up at least two new ones. You have officially entered the brainstorming season. SCORPIO (Oct. 23-Nov. 21): It’s expensive for the U.S. to hold prisoners at its Guantanamo Bay detention camp in Cuba: $800,000 per year for each detainee. That’s 30 times more than it costs to incarcerate a convict on the American mainland. According to the Miami Herald, Guantanamo is the most expensive prison on the planet. How much do you spend on locking stuff up, Scorpio? What does it cost, not just financially but emotionally and spiritually, for you to keep your secrets hidden and your fears tamped down and your unruly passions bottled up and your naughty urges suppressed? The coming weeks would be a good time to make sure the price you pay for all that is reasonable -- not even close to being like Guantanamo. SAGITTARIUS (Nov. 22-Dec. 21): What time is it, boys and girls? It’s Floods of Fantastic Gratitude Week: a perfect opportunity to express your passionate appreciation for everything you’ve been given. So get out there and tell people how much you’ve benefited from what they’ve done for you. For best results, be playful and have fun as you express your thanks. By the way, there’ll be a fringe benefit to this outpouring: By celebrating the blessings you already enjoy, you will generate future blessings. CAPRICORN (Dec. 22-Jan. 19): Telling the whole deep truth and nothing but the whole deep truth isn’t necessarily a recipe for being popular. It may on occasion provoke chaos and be disruptive. In an institutional setting, displays of candor may even diminish your clout and undermine your ambitions. But now take everything I just said and disregard it for a while. This is one of those rare times when being profoundly authentic will work to your supreme advantage. AQUARIUS (Jan. 20-Feb. 18): “Show me the money” is a meme that first appeared in the 1996 movie Jerry Maguire. It has been uttered approximately a hundred trillion times since then. Have you ever said it in earnest? If so, you were probably demanding to get what you had been promised. You were telling people you wanted to see tangible proof that they valued your efforts. In light of your current astrological omens, I propose that you use a variation on this theme. What you need right now is less materialistic and more marvelous. Try making this your mantra: “Show me the magic.” PISCES (Feb. 19-March 20): My acquaintance Jacob fell for a woman who also professed her ardor for him. But in the midst of their courtship, as the mystery was still ripening, she suddenly left the country. “I’ve got to go to Indonesia,” she texted him one night, and she was gone the next day. Jacob was confused, forlorn, dazed. He barely ate for days. On the sixth day, a FedEx package arrived from her. It contained a green silk scarf and a note: “I wore this as I walked to the top of the volcano and said a five-hour prayer to elevate our love.” Jacob wasn’t sure how to interpret it, although it seemed to be a good omen. What happened next? I haven’t heard yet. I predict that you will soon receive a sign that has resemblances to this one. Don’t jump to conclusions about what it means, but assume the best.

Homework Make up a secret identity for yourself, complete with a new name and astrological sign. Tell all at Freewillastrology.com.

check out Rob Brezsny’s Expanded Weekly Audio Horoscopes & Daily Text Message Horoscopes

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1-877-873-4888 or 1-900-950-7700

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To place a personals ad, please contact ASHLEE HORTON 503-445-3647 • ahorton@wweek.com – or – TRACY BETTS 503-445-2757 • tbetts@wweek.com

WillametteWeek Classifieds SEPTEMBER 26, 2012 wweek.com

TO PLACE AN AD CONTACT:

ASHLEE HORTON

503-445-3647 • ahorton@wweek.com

SERVICES

TRACY BETTS

MOTOR

BUILDING/REMODELING

503-445-2757 • tbetts@wweek.com

Jonesin’ by Matt Jones

GENERAL HANDYPERSON MILLS HANDYMAN AND REMODELING 503-245-4397. Free Estimate. Affordable, Reliable. Insured/Bonded. CCB#121381

“Atomic Auto New School Technology, Old School Service” www.atomicauto.biz

“Adjusted to Fit Your screen”–what the flip is going on?

mention you saw this ad in WW and receive 10% off for your 1st visit!

HONDA

HAULING/MOVING

Haulers with a Conscience

503-477-4941 www.anniehaul.com

CLEANING

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

We Donate

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LANDSCAPING

03 Honda Civic EX AC, Alarm System, Fully Loaded, Beautiful Car

Only

6,998

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MERCEDES

Bernhard’s Professional MaintenanceComplete yard care, 20 years. 503-515-9803. Licensed and Insured.

TREE SERVICES Steve Greenberg Tree Service

Pruning and removals, stump grinding. 24-hour emergency service. Licensed/ Insured. CCB#67024. Free estimates. 503-284-2077

wweekdotcom

Dear Eliza

2000 Mercedes Benz

C-Class C230 Kompressor

Only

6,995

Auto, Leather, Beautiful Car & Great Shape!

Family Auto Network 503-254-2886 familyautonetwork.com merrily got the attention of your attendees! Really, you are such a dear, and it’s not just me that thinks so. Everyone who meets you is quite taken, I’m positive. Now all we have to do is find someone that appreciates your good looks and sweet temperment and you will have a home right proper in no time. Do stay strong. We all hit these little rough patches in life, you will be drinking warm milk and sherry while lounging on a lace pillow again in now time! Well, my dear, I must be off! Write soon!

its just I can’t believe your current predicament. Also, please forgive me that I was unable to attend your 1st birthday just a couple of months ago. I heard you were the life of the party! I’m sure your beautiful black fur was flowing as your

Your Very Good Friend, Miss Mittens Eliza is fixed, vaccinated and microchipped. Her adoption fee is $100. She is currently living in foster care, so fill out an application at pixieproject.org to schedule a meet and greet.

503-542-3432 510 NE MLK Blvd pixieproject.org

46 They’re collected in passports 48 Coffee dispensers 49 Cartoonist Guisewite, or her comic strip 51 Faith that emphasizes the oneness of humanity 53 Rapper ___ Def 54 Walkway on an airplane 58 Bullfighting cheer 59 Neil Armstrong went on one 62 Homer’s outburst 63 It’s tossed after a wedding 64 Charity benefit, say 65 View 66 Doesn’t eat for a while 67 Bridge’s length Down 1 Like some checks: abbr. 2 Opera solo 3 Sty dwellers 4 Crafty plans 5 Symbols after brand names 6 Rule over a kingdom 7 South American mountain range 8 Checklist component 9 Rawls of R&B 10 “Land sakes alive that’s awesome!” 11 Prefix for byte meaning “one billion” 12 Amorphous clump 15 Jam, margarine and cream cheese 18 Sci-fi film set inside a computer 23 Exercise machine unit 25 Makes embarrassed

26 Class warmup before a big exam 27 Postpone 28 Make big speeches 29 Do the “I am not a crook” thing with the double V-signs, for example? 30 Three, in Germany 31 Completely devour 32 ___ fatty acids 35 Troy’s friend on “Community” 36 Under the weather 39 ___ salon 43 Well-known quotations 45 “Are you a man ___ mouse?” 47 Warm up after being in the freezer 49 Amounts on a bill 50 Liability counterpart 51 Physiques, casually 52 Lotion ingredient 53 Actress Sorvino 55 Dove or Ivory 56 Hit for the Kinks 57 Actor McGregor 60 Clumsy sort 61 Org. that provides W-2 forms

last week’s answers

How are things? I hear you are staying with a Pixie Project foster? Is this true? If so how are the accommodations? Pillow service? Warm saucer of milk in the mornings? Oh dear I suppose not. Being that you are ‘homeless’ and all. Oh I’m terribly sorry to use that word

Across 1 Big letters, for short (and what your answers must be written in to understand the theme) 5 Hiking path 10 “Which came first?” choice 13 Clapton or Cartman 14 “The Freshmaker” candy 16 Stuff to fix a squeaky hinge 17 Aligned correctly 19 Pompous attribute 20 Stun gun relative 21 Jewel 22 Amy Winehouse hit 24 Complainer’s sounds 26 1980s hairstyle that may have involved a kit 27 Donut shop quantities 30 Cop show with the line “Just the facts, ma’am” 33 Cupid’s Greek counterpart 34 Wire-___ (like some terriers’ coats) 37 Rowboat propeller 38 Send a document over phone lines 39 Devices that, when turned, adjust themselves (just like the theme answers) 40 Greek vowel 41 Biblical verb suffix 42 Audrey Tautou’s quirky title role of 2001 43 Stay away from 44 Changed an area of town from residential to commercial, e.g.

©2012 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 #JONZ591.

WillametteWeek Classifieds SEPTEMBER 26, 2012 wweek.com

TO PLACE AN AD CONTACT:

ASHLEE HORTON

503-445-3647 • ahorton@wweek.com

TRACY BETTS

REAL ESTATE

RENTALS

GETAWAYS

REAL ESTATE

ROOMMATE SERVICES

MOUNT ADAMS

Looking for Residential or Commercial Property Listings?

ALL AREAS - ROOMMATES.COM. Browse hundreds of online listings with photos and maps. Find your roommate with a click of the mouse! Visit: www.Roommates.com. (AAN CAN)

Mt Adams Lodge

at the Flying L Ranch

503-445-2757 • tbetts@wweek.com

BACK COVER CONTINUED TO PLACE AN AD ON BACK COVER CONTINUED call 503-445-3647 or 503-445-2757

Open Noon until 3am EVERYDAY www.zachsshack.com

4 cabins & 12 rooms on 80 acres 90 miles NE of Portland Dog Friendly Groups & individual travelers welcome!

Visit: nwhpr.com View Homes, Commercial, and Business Property for Sale and Lease in Oregon & SW Washington

www.mt-adams.com 509-364-3488

SEE MORE on the

BACK COVER SEE MORE on the

Lunch Special valid Noon-3pm Monday-Friday 4611 SE HawtHornE Blvd • Portland, or

Locally Owned & Operated Since 2001 ww presents

I M A D E T HIS

Fresh, local produce, from area farms Get delivery or visit our Market Day, Tuesdays from 3 to 7p. 503-236-6496 • 2030 N. Williams

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• Your Safe Access Resource Center • Premium source for resource • No membership fee

Mon-Sat 10:30am to 7pm Sunday 11:30am to 5pm

“Forest Festivities” by Jahna Vashti $20 and up Available in various sizes and paper qualities

For Sale on Etsy: www.etsy.com/shop/jahnavashti jahna.vashti@gmail.com

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Submit your art to be featured in Willamette Week’s I Made This. For submission guidelines go to wweek.com/imadethis

WillametteWeek Classiﬁeds SEPTEMBER 26, 2012 wweek.com

BACK COVER

THE CAT ADOPTION N TEAM’S

TO ADVERTISE ON WILLAMETTE WEEK’S BACK COVER CALL 243-1170 Bankruptcy Attorney HOT GAY LOCALS Mary Jane’s It’s not too late to eliminate debt, protect Send Messages FREE! House of Glass assets, start over. Experienced, 503-299-9911 compassionate, top-quality service. Christopher Kane, 503-380-7822 www.ckanelaw.com

AA HYDROPONICS

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Glass Pipes, Vaporizers, Incense, Candles. 10% discount for new OMA Card holders! 1425 NW 23rd, Ptld. 503-841-5751 7219 NE Hwy 99, Vanc. 360-735-5913

MEDICAL MARIJUANA

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Qigong Classes

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20 YEARS EXPERIENCE. DEBT RELIEF AGENCY. www.nwbankruptcy.com FREE CONSULTATIONS, 503-242-1162

Alternative Medical Choices

We Have Moved! ph:971-270-0262/Fax: 888-846-1172 www.altmedchoices.com

Area 69

ATTORNEYBANKRUPTCY

Revived Cellular

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Evening outpatient treatment program with suboxone. CRCHealth/Dr. Jim Thayer, Addiction Medicine www.belmonttransitions.com 503-505-4979

SuperDigital

Oregon Wage Claim Attorneys

TaiChi

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CDPDX

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WWEEKDOTCOM

Opiate Treatment Program

Poppi’s Pipes

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Share your portfolio. Network. Exhibit. www.cannonbeachphotoreview.com October 12-14”

Cash For Cars

Guitar Lessons

Tickets ickets $75 per person

PHOTOGRAPHERS!

FREE Consultation. Payment Plans. Experienced. Debt-Relief Agency Scott Hutchinson. 503-808-9032 www.Hutchinson-Law.com

Improv, Stand Up, Sketch Writing. Best comedy training in Portland. Register Now! Classes weekly Sept 11th through Oct 23rd! www.curiouscomedy.org

Cat Adoption Team eam

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7720 SE 82nd Ave Adult Movies, Video Arcade and PIPES! Molly pills, Kratom Detox 503-774-5544

CURIOUS COMEDY CLASSES!

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(360) 514-8494

1425 NW 23rd Portland, OR 97210 (503) 841-5751

6913 E. Fourth Plain Vancouver, WA 98661

8312 E. Mill Plain Blvd Vancouver, WA 98664

1156 Commerce Ave Longview Wa 98632

(360) 695-7773 (360) 577-4204 Not valid with any other offer

MAMA’S MEDICAL Marijuana Clinic

Getting registered for medical marijuana needn’t be a counter-culture experience. MAMA: 503-233-4202. MAMAS.org

(360) 213-1011

NEW POPPIS PIPES LOCATION!!

(360) 844-5779

North West Hydroponic R&R

We Buy, Sell, & Trade New & Used Hydroponic Equipment. 503-747-3624

$Quick Cash for Junk Vehicles$

Free removal. Ask for Steve. 503-936-5923

Help us register voters across the state of Oregon & make sure people’s voices are heard! • NO Previous experience required • Full time and Part Time positions • Great Political Experience $10-$12/Hour Call Sandy @ (503)342-2391

MEDICAL MARIJUANA

Card Services Clinic

503-384-WEED (9333) www.mmcsclinic.com

4911 NE Sandy Blvd, Portland

Cell Phone • iPhone • iPod • iPad Xbox • PS3 • Wii • Computers 6 Month Warranty No Appointments Needed 503-255-2988 www.GadgetFixNW.com

Coming soon 36th and SE Division

1825 E Street

Washougal, WA 98671

GADGET FIX Repair • Buy • Sell • Trade

Smokers Rejoice! www.mellowmood.com

4119 SE Hawthorne, Portland ph: 503-235-PIPE (7473)

INSIDE BACK COVER

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