39 18 willamette week, march 6, 2013 by Willamette Week Newspaper

Kevin Mercer

NEWS A ballet leap into debt. FOOD NO QUIERO MAS UNO MAS. MOVIES ROCKING WAYNE’S WORLD . P. 8

P. 24 P. 46

WILLAMETTE WEEK PORTLAND’S NEWSWEEKLY

“I DON’T EVER PLAN TO BE A ROLLING STONE.”

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P. 27 wweek.com

VOL 39/18 03.06.2013

By Erin FennEr | Page 14

Willamette Week MARCH 6, 2013 wweek.com

CONTENT

TRipping: The Oregon ballet Theatre owes $300,00 in back rent—just in time for a taxpayer bailout. page 8.

news

music

lead sTORY

peRFORmance 41

culTuRe

mOvies

classiFieds

FOOd & dRink 24

ANNIVERSARY

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, Peggy Capps Stage & Screen Editor Rebecca Jacobson Music Editor Matthew Singer Books Penelope Bass Classical Brett Campbell Dance Aaron Spencer Theater Rebecca Jacobson Visual Arts Richard Speer Editorial Interns Erin Fenner, Matthew Kauffman, Michael Munkvold, Kate Schimel, Enid Spitz

cOnTRibuTORs Emilee Booher, Ruth Brown, Nathan Carson, Robert Ham, Jay Horton, Reed Jackson, Emily Jensen, AP Kryza, Mitch Lillie, John Locanthi, Michael Lopez, Jessica Pedrosa, Mark Stock, Brian Yaeger, Michael C. Zusman pROducTiOn Production Manager Ben Kubany Art Director Ben Mollica Graphic Designers Kathleen Marie-Barnett, Amy Martin, Brittany Moody, Dylan Serkin Production Interns Kurt Armstrong, Autumn Northcraft 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, Corin Kuppler Advertising Assistant Ashley Grether Marketing & Events Manager Carrie Henderson Give!Guide Director Nick Johnson Production Assistant Brittany McKeever

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INBOX CHRISTIANS AND ROCK I enjoyed your article about Kutless [“Jesus Freaks,” WW, Feb. 27, 2013]. I’m a Christian, but not one of those Christians. I have heard of Kutless, but only because they sell their CDs at Fred Meyer. I did a quick YouTube search on the artists listed for the [March 1] show. Kutless sound like every other band that’s trying to sound like Pantera (this is what people generally mean when they say “hard rock” nowadays). Jeremy Camp is a soft balladeer in the manner of John Mayer et al. MercyMe is typical of the soft-rock rubbish that people are referring to when they say “Christian rock.” Tedashii is a rapper; his songs are good and very catchy, and the video I watched has great dance moves. I really like his music, and I say that as someone who does not consider himself a hip-hop fan. Yes, I know it isn’t cool to be a Christian here in Puddletown. Kutless, however, wouldn’t be considered cool here regardless of their lyrical content.... One of the problems with mainstream Christianity in this country is that it’s made mediocrity into a virtue. When I think about Christian music, I think Bach; when I think about Christian rock, I think Stryper. Isaac Hudson Southeast Portland

NOT BRIDGING THE GAP

Isn’t this Oregon? [“The Woman Behind the Bridge,” WW, Feb. 27, 2013]—a state widely considered to be the most sustainable and progressive in the nation, teeming with trees and hippies and salmon? Not anymore, there’s a new sheriff in town.

With Portlandia, Grimm, and the last season of Leverage all taking place in our fair city, Portland seems to have become a hot setting for TV shows. Why are we getting so much attention now, after decades of neglect? —TSTV Party While I normally like to begin my columns by taking a dump all over the questioner’s premise, in this case I’m compelled to admit that you have a point. By my count, at least seven Portland-set shows have already aired in this young decade. The accepted answer to your question is that the Oregon Governor’s Office of Film & Television has been hustling like a mad bitch to get shows to shoot here—and if you’re shooting here, you might as well set the show here, too, so you don’t have to explain what a Voodoo Doughnut is doing in the middle of Waco, Texas. Still, I take umbrage at your contention that 4

Willamette Week MARCH 6, 2013 wweek.com

Oregon’s reputation as a Green stronghold is being seriously threatened by some otherwise fairly blue Democrats pulling the jobs card to endorse every bad policy that comes their way. —“Hart Noecker” “If it’s bad advice and a bad project,” [Alan] Rosenthal says, “Gov. Kitzhaber will have a political price to pay.” Uhhh, yeah, there’s another price to be paid in addition to that...like taxpayers’ dollars! —“Joe”

STAGE REVIEW ON AA FOUNDERS

I recently read your review of the play Bill W. and Dr. Bob [WW, Feb. 27, 2013]. This is not a great theatrical piece, as it is just a biographical treatment. But because of your review, people not attending this play [does] a disservice to the community. These two gentlemen, who founded AA over 75 years ago, have saved millions of lives. I am sorry you feel this way about what these men accomplished. Bob Lemon Gresham

CORRECTION

In last week’s story “The Woman Behind the Bridge,” we incorrectly identified the job title of Tom Imeson. He is the Port of Portland’s director of public affairs. We also incorrectly reported that he directed the transition team of Gov. Barbara Roberts. WW regrets the errors. 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

this is somehow a new development. Who could forget, aside from everybody, Under Suspicion, whose late-1994 to early-1995 run galvanized the nation?* And in 1991, there was something called Sons and Daughters, which was apparently so bad the Internet has agreed never to speak of it again. But these all pale before the granddaddy of all Portland TV shows, 1979’s Hello, Larry. For two seasons, McLean Stevenson would visibly regret leaving M*A*S*H as a radio host who relocates to the Northwest to build a new life after his divorce. (Yes, that was also the premise of Frasier. TV is weird.) Rated the 12th-worst show of all time by TV Guide, Hello, Larry was created by the same folks who brought us the 1975 sitcom One Day at a Time, starring Bonnie Franklin, who died last week at 69, as a divorced mom named…Ann Romano! Do the math, Mercury readers. *Not this nation. Maybe Sri Lanka? QUESTIONS? Send them to dr.know@wweek.com

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K-12 supporters saw reason to cheer the legislative budget released Monday: It provides $300 million more for schools than Gov. John Kitzhaber’s budget and nearly 15 percent above 2011-13 funding. But the legislative budget includes a big slight to Kitzhaber’s education czar, Rudy Crew. As WW reported in our recent profile (“Wrecking Crew,” WW, Jan. 16, 2013), the state education chief wants $120 million for new teacher training centers. Legislators omitted that money, saying it would unfairly take away resources for special education. Kitzhaber spokesman Tim Raphael says the training centers remain a priority. “There may be other ways to fund the investment,” Raphael says.

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Political pressure has been increasing on Mayor Charlie Hales to restore $1.2 million for sidewalk construction on Southeast 136th Avenue, after a 5-year-old girl, Morgan Maynard-Cook, was struck and killed by a car Feb. 28 on the East Portland road. The accident occurred less than a mile from where Hales’ new Bureau of Transportation director, Toby Widmer, proposed cutting the project to fund road paving elsewhere— even though residents warned that 136th was dangerous for children walking home from school (“Whacking Cracks,” WW, Feb. 27, 2013). Hales has since declared “public safety has to be our North Star” and distanced himself from the plan. He has also reached out to Rep. Shemia Fagan (D-East Portland), who with 10 other legislators sent a letter demanding the City Council approve building the sidewalk.

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Healthy Kids, Healthy Portland, the campaign to fluoridate Portland’s drinking water, has raised $50,000 thanks to some hefty political contributions in advance of the May 21 city ballot measure battle over the issue. The campaign has collected checks of $5,000 each from the Nurses United Political Action Committee, the Oregon Dental Hygienists’ Association and Healthy Teeth for a Lifetime. The anti-fluoridation committee, Clean Water Portland, has raised $15,000 to date. Clackamas County Counsel Stephen Madkour has filed an Oregon State Bar complaint against a county attorney he fired. As first reported on wweek.com, Madkour alleges Scot Sideras improperly used his position to help oust County Administrator Steve Wheeler. Wheeler, 60, resigned Feb. 25. The complaint, filed Feb. 27, contains a four-page handwritten memo by Sideras for incoming Chairman John Ludlow of the Board of County Commissioners on how to get rid of Wheeler. Sideras tells WW he wrote the documents at the behest of Ludlow—but before Ludlow took office Jan. 7. “I am extremely confident that I will be exonerated by the bar.” Sideras says. Read more Murmurs and daily scuttlebutt.

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ROILED RIVERS: Washington State Sen. Ann Rivers (R-La Center) says she’s faced “tremendous pressure” to support the Columbia River Crossing. She’s turning that pressure back around, rallying the Senate to reject the project and send it back for a redesign.

BRIDGE END OREGON BACKERS OF THE CRC THINK THEY’VE WON THE DAY. THEY HAVEN’T MET ANN RIVERS. By An d r e A dA m e wo o d

adamewood@wweek.com

Ann Rivers sips her skinny vanilla latte in a Ridgefield, Wash., coffee shop on a bright Sunday morning, smiling at the new role she has found herself playing in Northwest politics: the bridge killer. Rivers, a La Center Republican, has served in the Washington Legislature for a little more than two years. She understands power—Rivers has a political consulting business, running campaigns and lobbying for local schools. But Rivers, 46, has quickly found herself the most prominent and perhaps most persuasive player in Olympia on the proposed $3.4 billion Columbia River Crossing. She hates the project, even though she knows some residents of her Clark County district might benefit from the massive freeway bridge and light-rail. She knows the CRC has influential backers—business and labor unions, and that she will feel heat when the time comes to stop the project. “I will not be intimidated,” she says. She isn’t alone. The Washington Senate appears united in its determination to stop the CRC, which recently rolled through the Oregon Legislature. Other Clark County lawmakers have lined up in opposition as well, but Rivers has emerged as the leader of that opposition, unswayed by arguments that Oregon and

Washington must build this project now. “It’s almost been like a timeshare sales pitch: ‘If you don’t buy now, by God, you’ll never be able to get it at this price!’” Rivers says. “We need some sanity on this.” The CRC would replace the Interstate 5 Bridge between Oregon and Washington, expand nearby highway interchanges and extend TriMet’s MAX to Vancouver. Backers say the project is needed to reduce freeway congestion and replace the aging spans. The Oregon Legislature pushed through a $450 million CRC funding measure in just three weeks, backed by business and labor interests and powerful Democrats, including House Speaker Tina Kotek (D-Portland) and Gov. John Kitzhaber. Two years ago, the notion that Washington would balk at the CRC while Oregon forged ahead was unthinkable. The state’s Democrats back the project. And in 2012, Democrats held a majority of seats in the Senate. The turning point, for the CRC and Rivers, came when two Democrats agreed to caucus with Republicans. That gave GOP senators control and, with it, the ability to stop the bridge. Sen. Curtis King (R-Yakima), co-chairman of the Senate Transportation Committee, says Rivers’ engaging, conversational style of politics has made her a force behind putting the CRC on the Senate’s radar. “She’s a more quiet individual than some of the other legislators,” King says. “She gathers her information and has the ability to articulate the reasons behind the way she votes or feels.” Rivers grew up in Michigan and earned degrees in political science from Central Michigan University and natural sciences from Lewis-Clark State College in Lewiston, Idaho. She and her husband, Fred, who works in the pulp and paper industry, moved to Southwest Washington more than 20 years ago. Rivers was first elected to the Washington House in 2010, was appointed to a Senate seat last year, and won

the seat outright in November. She’s campaigned on traditional GOP themes: shrinking government payrolls and reducing barriers to business. Above all, though, she’s known for her opposition to the CRC. Now Senate majority whip, Rivers says the project’s costs aren’t worth shaving only a minute off the rush-hour commute from Portland to Vancouver. “This is not a project about congestion relief, not a project about freight mobility,” Rivers says. “All those things were shells. It’s about light rail.” Washington Democrats back the CRC: Gov. Jay Inslee, House leaders and U.S. Sen. Patty Murray. But the feds won’t commit money—including financing for light rail— until both states pony up their $450 million share. Rivers has her own influential ally in King, the transportation committee co-chairman, who announced his committee won’t approve the CRC. King and Rivers served on an oversight committee on the project. “The deeper we looked, the more questions we had,” Rivers says. “We would wait and wait and wait, and never get the information we wanted.” Unlike Oregon, Washington has seen cost overruns, poor design and inaccurate tolling forecasts strike other transportation megaprojects in the state. Among the most recent: a 37 percent revenue decline on the SR 520 bridge near Seattle after tolling began in late 2011. A local legislator who supports the CRC, Sen. Annette Cleveland (D -Vancouver), says she has most Senate Democrats on her side—and she needs only two Republican votes. “I don’t yet feel that it’s dead,” Cleveland says. “I want to believe.” But Rivers says she won’t let the opportunity to kill the CRC slip away. She’s taken no chances, working her Senate colleagues on the issue and trying to keep her fellow Republicans together. “My shoulders have gotten very broad and strong from being the only one saying, ‘No, no, no,’” Rivers says. “And now others are beginning to join me.” Willamette Week MARCH 6, 2013 wweek.com

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NEWS

DEBT ON POINTE OREGON BALLET THEATRE OWES $300,000 IN BACK RENT. JUST IN TIME, HERE COMES THE ARTS TAX.

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City officials finally produced details last week of a new arts tax that voters passed last November, requiring Portlanders to pay $35 a year to fund arts teachers in the public schools and support many of the city’s arts groups. It’s arrived just in time for taxpayers to help bail out one of the city’s best-known arts groups, Oregon Ballet Theatre. Records obtained by WW show OBT skipped paying all of its rent last year—$300,000—to the Portland Center for the Performing Arts. The ballet rents space at Keller Auditorium and the Newmark Theatre—both owned and operated under the umbrella of PCPA by the regional government, Metro. In September, the Metropolitan Exposition and Recreation Commission, the Metro committee that oversees the facilities, approved what amounted to an interest-free loan to OBT: The ballet has five years to pay its back rent. Teri Dresler, Metro’s general manager of visitor venues, says the agency tried to balance the dual responsibilities of supporting arts groups and safeguarding public assets. “The commission took some risk here,” Dresler says. As WW reported previously (“Cashdance,” WW, Sept. 30, 2009), OBT’s ambitions—and spending—have long exceeded its ability to generate revenue. OBT finance director Diane O’Malley says the company lost money on its trip to South Korea last year to perform The Nutcracker. After that, an ambitious new show in Portland sold far fewer tickets than expected. “The wheels started coming off a little bit,” O’Malley says. OBT supported the arts tax, O’Malley says, but isn’t banking on benefiting from it. She says OBT has agreed to a payment plan on the back rent, cut its budget by nearly 20 percent and is tracking cash flow very carefully. “We are current on all payments,” O’Malley says. The city expects the arts tax to raise $9 million this year and $12.2 million in 2014. A little over half will go to help hire and support arts teachers in schools. Much of the remainder is available for arts groups approved by the Regional Arts & Culture Council. The council’s executive director, Eloise Damrosch, says groups such as OBT are eligible to receive up to 5 percent of their operating revenues from the new tax. Last year, the arts council gave OBT $83,000. Based on next year’s $5 million budget, OBT could be eligible for $250,000. “OBT will get a sizable increase if they can present acceptable financials,” Damrosch says. Portland economist Eric Fruits, who opposed the arts tax, says he’s unhappy the tax will bail out struggling organizations. “If these arts programs are so vital, why can’t the private sector support them?” Fruits says. “Why can’t they support themselves with ticket sales and contributions?”

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Sam Stidham, a sales clerk at West Burnside clothing boutique Reveille, had no idea that parking around the corner from her storefront had jumped to $3.50 an hour during Portland Timbers games. “I don’t drive down here because I already didn’t want to pay for parking,” she says. “But that’s insane. Nice job, Charlie Hales.” Stidham’s frustration with the new mayor is understandable, but maybe misplaced. In January, the Portland Bureau of Transportation quietly expanded the area around Jeld-Wen Field where it charges special-event rates at meters. The Jeld-Wen Field On-Street Parking Event District expanded two blocks east, to Southwest 12th Avenue, almost without notice. Business owners in Portland’s burgeoning West End weren’t consulted. Neither, it turns out, was Hales. Departing PBOT director Tom Miller authorized the expansion of the parking-event district Jan. 31—five days before leaving his job. Hales had fired Miller a month earlier (even before Hales took office Jan. 1) but let Miller stay on for another month. Under then-Mayor Sam Adams, Miller’s mentor and protector, the City Council gave Miller authority to enlarge the district when it increased rates around the soccer stadium in 2011. Miller didn’t need to ask permission, and he didn’t seek it from the mayor who had fired him. An aide to Hales confirmed Miller enacted the parking-event district expansion without telling the mayor. Hales declined to comment. Miller could not be reached by press deadline. The event-parking district’s expansion went into effect March 3, during the Timbers’ season

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CHASING CARS: Tom Miller has told Bike Portland performance-pricing on meters would “nudge” people not to drive.

SIGN, SIGN, EVERYWHERE A SIGN: The street-parking instructions outside Jake’s Famous Crawfish are 6-feet tall. The sign announcing higher rates is at the bottom.

opener against the New York Red Bulls. During games, the meter rate more than doubles from $1.60 an hour to $3.50 an hour. The move adds 182 on-street parking spaces to the 449 where PBOT had already increased meter rates during stadium events. Miller had long argued more parking-meter money would give the Transportation Bureau a revenue boost. Hales has declared he wants to fix city streets before seeking new funding sources. Miller was a champion of “performance pricing”—parking spots where the rate fluctuates based on demand. He argued during PBOT work sessions last fall that such parking spaces would help fill the bureau’s $4.5 million budget shortfall and encourage people to take public transit to games instead of driving. PBOT made one concession: It cut back by half the hours that higher-meter prices apply during soccer matches, from eight hours to four. “We made that adjustment realizing that this would affect the property owners in the area,” says PBOT spokeswoman Cheryl Kuck. Jane Jabonski, who manages Jake’s Famous Crawfish at 401 SW 12th Ave., says she learned that the parking-event district had reached her restaurant by reading about it in The Oregonian. “It’s unfortunate,” she says. “I feel bad for our employees who have to park here, and I feel bad for our customers. But it’s the price of doing business in the city. I don’t own the street.” Outside Jake’s, the new rules have created a byzantine tower of signage. Last week’s addition of a “Stadium Event Parking District” placard means the signs outside the restaurant’s valet station are stacked 6-feet high. Workers adding the new sign had to extend the pole by more than a foot. (The sign announcing the change is at sidewalk level, where it’s hard to spot.) “Too many signs, man,” says Jake’s valet Jose Avendano, who watched a customer pay $14.50 to park at the restaurant during the first Timbers game. “I get all these complaints,” Avendano says. “Who are you going to complain to? Are you going to complain to the City of Portland, or are you going to complain to the valet?”

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kschimel@wweek.com

Outside the United States, losing out on an education means much more than poor job prospects. Girl Rising, a new documentary opening in Portland on March 7, makes the case that educating girls has a tangible effect not just on an individual woman but on the entire community and even the nation where she lives. According to the documentary, an additional year of schooling improves a young woman’s earnings as an adult by 20 percent. In India, an increase of 1 percent in the number of girls attending secondary school would raise the nation’s gross domestic product by $5 billion. But the film, by Oscar-nominated director Richard Robbins, shows how difficult getting that added year can be. The movie follows nine girls from all over the world through the challenges they face in getting an education. The documentary follows one girl, Senna, from Peru, who lives under the threat of sex work. The film says 80 percent of human trafficking victims are girls. Girl Rising also follows Amina, from Afghanistan, who was married off at age 11. Fourteen million girls worldwide under the age of 18 will walk down the aisle this year, and the No. 1 killer of women between the ages of 15 and 19 is childbirth. The March 7 premiere at Cinema 21 features a panel discussion, including Wendy Hawkins, executive director of the Intel Foundation, which provided the financial backing for Girl Rising; Elizabeth Nye, executive director of Girls Inc. of Northwest Oregon, a life-skills program; and Chane Griggs, assistant director for offender management and rehabilitation at the Oregon Department of Corrections.

GIRL RISEN: Senna, one of nine girls followed in Girl Rising, a documentary about the benefits of educating the world’s women, holds a poetry medal she won in La Rinconada, Peru. “Poetry is how I turn ugliness into art,” she says in the film.

“ I thInk we can recognIze the Importance of a gIrls-only envIronment.” —elizabeth nye The premiere is sold out. (Other screenings are being scheduled through the crowdsourcing distribution company Gathr.com.) So WW spoke with three of the panelists about what they see as the most pressing education issues for girls. WW: What are the biggest changes that can be made to improve girls’ education in Portland? Wendy Hawkins: A lot of parents are not comfortable going to talk to teachers to be an advocate for their daughter. An open door between school and home is really

critical, and it requires public support and encouragement. It can’t just be up to the school and educators to keep an eye out for girls who fall between the cracks. Elizabeth Nye: I think we can recognize the importance of a girls-only environment, for girls to explore their interests and passions. Boys traditionally play Legos and move into building and robotics. You throw a girl into that environment and she begins to doubt herself.

NEWS

What’s the biggest obstacle for improving education for girls here? Hawkins: Some of the issues we see in the film are unlikely to be faced by American girls. Others are unfortunately all too common. There are girls outside of the U.S. who are, because of the dire poverty their families face, pulled into sex labor and enforced labor. We know that this occurs in Portland too. Nye: We have a phrase, “Believing in the inherent rights and abilities of girls.” We project all of these things on girls. I’d love to see a society that accepts girls for themselves, rather than putting them in boxes. Girls need to see women in positions of leadership. They need examples. I have two daughters, one 9 and one 8 years old. I look at my daughters and think, “They have access to everything.” We were having a conversation over dinner, and my daughter turned to me and asked, “Can a woman be governor?” I’m looking at her and thinking, “She has access to everything, and she is still doubting herself.” It’s important to see women in positions of leadership, for girls to see, “I could do that.” How does a lack of education impact the state’s prison population? Chane Griggs: About 38 percent of our population, both male and female, comes into our custody without even a GED. Most of our women are in for things like identity theft and property crime. Those are not crimes of passion, those are crimes of needing money. If someone has an education and they have a job, they are constructively living in our communities and not committing crime. We offer basic skills-development that helps people with low reading and math levels to prepare for the GED. We have college classes and vocational opportunities, including hairstyling, barista classes, eyeglass refinishing, and welding. Those are all either paid for by the inmate or by donors. How can getting an education early on make the difference down the road? Griggs: Our hope is that with the right education, those women never come to us.

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OREGON CAN, WITH ONE SIMPLE STEP. SO FAR, IT HASN’T. BY E RI N FE NNER

efenner@wweek.com

Dr. Gary Oxman spent his career trying to save people who don’t care whether they live or die. Oxman—who just retired as health officer for Multnomah, Clackamas and Washington counties—has long wanted to do more to rescue drug users. He was one of the earliest supporters in Portland of free needle exchanges, aimed at stopping the spread of HIV among addicts who share syringes. That idea, first floated in the late 1980s, was often met with derision: Why should we condone the use of dangerous drugs by making it safer for addicts to keep shooting up? Oxman helped champion a needle-exchange program in Portland, and he says it’s the reason the city never saw the explosion of HIV among drug users as other communities did. “Pure and simple,” Oxman says. “Something that went very right.” But Oxman, who retired last month, has been unable to reverse another epidemic: opiate addiction. In Oregon, unintentional drug overdoses now kill more people than car accidents. The drugs that are driving up those numbers and killing most often are opiates—heroin and prescription pain medication, including methadone. In 2011, Oregon saw nearly 300 people die because of opiate overdoses—the highest year yet for heroin deaths. The rate of people dying from opiate-related overdoses has more than tripled in the past decade. In fact, Oregon has the highest rate of opiate abuse

Willamette Week MARCH 6, 2013 wweek.com

among people under 25 than anywhere else in the country. More than half the drug overdose deaths in Oregon are linked to prescription opiates such as OxyContin and Vicodin. In Multnomah County, the top killer is heroin. Nearly half of drug users addicted to heroin here say they got hooked first by taking prescription pain pills. Gov. John Kitzhaber has called the state’s addiction to these drugs “calamitous.” Oregon has tried to battle drug addiction with education and treatment programs. But Oxman wants the state to go further. He wants to expand the use of another drug that will snap users out of an overdose of heroin, methadone or pain pills. It’s commonly called Narcan, and for more than four decades paramedics and emergency-room personnel have injected it into people dying of opiate overdoses to give them a chance to hang on. Across the country, recovery agencies and treatment centers have been making Narcan (also known by its generic name, naloxone) available to drug users’ friends, families, counselors and even addicts themselves—giving them a chance to deliver a life-saving dose before paramedics arrive. Considered radical when it started, the wider use of Narcan has saved as many as 10,000 lives by reversing the effect of overdoses. But Oregon—once in the forefront of helping protect the health of drug addicts—has not joined in. Now, Oregon senators are considering a bill to make it CONT. on page 17

A n n A J Ay e G o e l l n e r

REducing haRm: “What we’re dealing with is a population of individuals who’ve gotten involved with a very dangerous drug,” says dr. gary Oxman, recently retired health officer for multnomah, Washington and clackamas counties. “We can pull them out of that. We should do that. These folks are our brothers and sisters.” Willamette Week MARCH 6, 2013 wweek.com

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CONT.

A native of Minneapolis, Oxman came to Oregon after graduating from the University of Minnesota Medical School in 1978. When he was in private practice in the early 1980s, he recalls seeing patients he suspected were describing problems with pain that didn’t exist. “They were trying to manipulate me into giving them opiates,” Oxman, 60, says. “That’s always been there in the community. It’s just way worse now than it was a few decades ago.” Oxman was named Multnomah County medical director in 1984, and the county’s public health officer three years later. Around 2000, Oxman helped reverse the spike in heroin deaths, in part by targeting addicts themselves with information about how to use the drug more safely. The overdoses the Portland area sees now are not driven by heroin alone. The long line of drug deaths often begin at the prescription pads of doctors. Nearly half of the prescriptions tracked by state officials last year were for opiates. That amounted to 3.7 million painkiller prescriptions—nearly one for every resident of Oregon. Drug users say painkillers lead to addiction—43 percent of heroin users in Multnomah County say they were first hooked on prescription painkillers. (Heroin is often cheaper and easier to get than prescription drugs.) These drugs have created a widespread occasion of death. More than 60 percent of current opiate abusers say they’ve seen someone overdose in the past year. “The docs are sort of trapped in this situation where patients are in pain and there’s no logical alternative,” Oxman says. “It’s not bad doctors. It’s the structure of the health-care system that’s really driving this.” Tom Burns, director of pharmacy programs for the Oregon Health Authority, says in many cases physicians and dentists overprescribe pain meds to avoid having to write repeat prescriptions. But Burns says the state has no intention of challenging physicians’ autonomy when it comes to making medical decisions. “We’re not Big Brother,” Burns says. Instead, the state has tried educating doctors. In 2009, the Oregon Legislature created the Oregon Prescription Drug Monitoring Program, intended to help physicians track their patients’ prescriptions, no matter who writes them. A medical professional who’s concerned about a patient’s use of OxyContin, for example, can log on and see if the patient has been “doctor shopping” by getting prescriptions from other sources. Ryan Lufkin is a deputy district attorney in Multnomah County who focuses primarily on drug crimes—he estimates he’s handled 1,100 drug cases in the last three years. He says too little money spent on recovery and treatment programs makes matters worse. “The solution that seems to be the gold standard from a criminal-justice perspective is a treatment bed straight from a jail bed,” Lufkin says. “The ultimate goal is not conviction, but treatment.” Last fall, Vero Majano came to Portland to help organize a film festival at the national convention of the Harm Reduction Coalition, an organization that works to help protect the health—and the rights—of people who use drugs. Majano manages a drop-in center for the homeless in the Mission District of San Francisco. A social activist for years, Majano says most people don’t understand the goal of harm reduction—in part because they demonize the drug-using community. “There’s this thing around drug use being evil,” she says. “So the idea is that drug users are also bad. If people were to look at trauma, how people self-medicate—people

use [drugs] for good reasons.” Majano’s views reflected the message at the conference, which drew hundreds from around the country: Drug users should have no fewer rights to have their health and welfare protected than anyone else. Yet proponents say society should do more than simply jail people who use drugs, or try to combat addiction through education and treatment programs. It also means helping keep addicts alive and healthy, even when they show no signs of stopping their drug use. Take the case of Jake Rhew. Rhew was born in Pullman, Wash., in 1982, and attended Sam Barlow High School in Gresham. His family recalls Jake as a kid who loved to fish, raft the Clackamas River and stood up for people who were powerless—even as a kindergartner, he protected other kids from school bullies. “He had a good heart—a compassionate soul,” Rhew’s stepmother, Kathy Thomes-Rhew, says. Before he was out of high school, Rhew got hooked on pain pills and stole medication from his family.

F A C E B O O K . C O M /J A K E . R H E W

easier to distribute Narcan. By doing so, lawmakers will shift the state’s efforts to fight drug overdoses not just with education, prevention and treatment, but by giving addicts a safety net even as they practice self-destructive behavior. “These overdoses are individual and community tragedies,” Oxman says. “They can be treated, and so we don’t need to have people dying needlessly.”

“JAKE WAS DESPERATE”: Supporters of expanding the use of Narcan (also known as naloxone) say the drug might have helped snap Jake Rhew out of his heroin-induced stupor in August 2011. He died while in a residential center that, under current state law, didn’t have access to the drug.

Rhew earned a GED diploma and enlisted in the Army National Guard, only to get kicked out. He moved to his father’s house in Troutdale, stole to buy drugs, and tried to hide track marks on his arms. From 2009 to 2011, Rhew was arrested and charged five times for theft and once for possessing heroin. “Jake was desperate,” Thomes-Rhew says. “It wasn’t the Jake we knew, and that’s what heroin can do to a person.” Rhew often recorded his battle with drugs on his Facebook page. “5 months sober,” he wrote in June 2010. Two weeks before his last overdose, he wrote, “Damn going to sleep is a lot harder then [sic] passing out.” And three days before he died, he posted a photo of himself: short-cropped blond hair, broad nose, clean white T-shirt, cautious smile. “Lookin’ good Jake,” a friend wrote. On Aug. 23, 2011, Rhew, 29, was living at the men’s residence center run by Volunteers of America in Northeast Portland when he and another client slipped into a bathroom to shoot heroin. Rhew was already in full nod by the time the center’s staff found him. They couldn’t revive him and he choked on his vomit. It’s the center’s only death.

NARCAN

“The counselors did everything that could be done,” Thomes-Rhew says, but the staff didn’t have access to Narcan. “At least he would have had a chance.” Greg Meenahan, director of development and communications for Volunteers of America, said medical privacy rules prevented him from talking about Rhew’s death. But he says he would want Narcan in the hands of the organization’s staff. “We view this as a life-saving medication,” Meenahan says. “If we were able to have it, there’s little doubt that we would use it.” Narcan is a brand name for naloxone, developed in New York in 1960 by researchers who found the drug had a remarkable ability to block the effects of heroin and other opiates. The use of Narcan isn’t quite as dramatic as perhaps the most famous scene of reviving someone in the throes of a drug overdose: the stabbing of Uma Thurman’s character in the heart with an adrenalin-filled hypodermic needle in Quentin Tarantino’s Pulp Fiction. The drug is often injected into the skin or a muscle, such as the biceps or thigh, and also comes as a nasal spray. Narcan throws the overdose into reverse—people can go from being blue and not breathing, to gasping for air in an instant withdrawal. John Sanborn knows how it feels. He says he’s been “Narcanned” by paramedics during heroin overdoses. Like the time he cooked up shot after shot in a Portland State University restroom. Or the time other junkies dragged him into a downtown apartment hallway and left him for dead. “It’s horrible if you’re living with an addiction,” Sanborn says of Narcan’s effects. “It brings you right down to where you were before you started shooting.” Narcan, Sanborn says, gave him a new chance at recovery. He’s currently in Central City Concern’s Community Engagement Program and is reconnecting with his 9-yearold son. “I realized that if I ever wanted to have any kind of a life,” he says, “I was going to have to stop using drugs.” Sanborn got Narcan the way almost everyone in Oregon does: from a medical professional. But nearly 20 years ago, activists in other states realized the greater potential of the drug to save lives. Dan Bigg, executive director of Chicago Recovery Alliance, says his organization had already seen harmreduction strategies work with needle exchanges, slowing the AIDS epidemic among IV drug users. “[We] turn to the next big issue, which is overdose,” Bigg says. “Why not use the existing pathways to get [Narcan] into the hands of people who overdose?” In 1996, Bigg’s organization began to train and distribute naloxone to laypeople. He says he has administered naloxone to an overdosing person at least six times. In 2010, Illinois finally made it legal to do what Bigg’s group had been practicing, but he says he’s frustrated that other parts of the country are behind. “It’s a pure antidote,” Bigg says, “and you’d think it’d be available to scores of people suffering from premature death.” By that time, according to the Centers for Disease Control and Prevention, the use of Narcan by nonmedical professionals had broadened: Nearly 200 programs in 15 states and the District of Columbia were making Narcan more available. A 2012 CDC report said these programs helped reverse the effects of drug overdoses in more than 10,000 cases. The CDC also found “many states with high drug-overdose death rates have no opioid-overdose prevention programs that distribute naloxone.” That includes Oregon. Allan Clear, executive director of the Harm Reduction Coalition in New York, says Narcan should be ubiquitous, especially in a city like Portland that has an opiate-overdose problem and has been a leader in needle exchanges. “Overall, nationally, it’s not that well-known as a community intervention program,” Clear says. “In New York City and San Francisco—when the health department got CONT. on page 18 Willamette Week MARCH 6, 2013 wweek.com

CONT. A N N A J AY E G O E L L N E R

NARCAN

on board—it really added that level of legitimacy to it. There’s always been this level of caution because naloxone is one of those drugs you prescribe to use on someone else.” Dr. Sharon Stancliff, medical director of the Harm Reduction Coalition, says Narcan hasn’t proved controversial in many communities. “In New York, we actually have it set up so different kinds of agencies can distribute it to whoever they want,” she says. “It has gone from being this sort of edgy thing to really becoming mainstream.” Dr. Sandro Galea, chairman of the epidemiology department at Columbia University, says Narcan was controversial in New York because people believed making it widely available would encourage drug users to indulge in opiates. Galea’s studies showed that drug users were not encouraged to be more reckless with heroin by having Narcan handy. “There is no excuse for not making naloxone widely available to the [drug-using] community,” Galea says.

HARM-REDUCTION REDUX: Kathy Oliver, executive director of Outside In, says her organization supports making naloxone, commonly known as Narcan, more available. While advocating for harm-reduction efforts to help drug addicts in the past, such as free needle exchanges, Outside In has not advocated for expanded use of naloxone as other organizations have elsewhere.

“THERE IS NO EXCUSE FOR NOT MAKING NALOXONE WIDELY AVAILABLE.” —DR. SANDRO GALEA

A N N A J AY E G O E L L N E R

If drug-overdose deaths are so common here, why is Oregon so far behind in the movement toward Narcan? Oxman says cities and states that moved ahead with making Narcan more available also have more vocal and organized groups advocating for the welfare of drug users. “I think when you get a critical mass of folks who believe in a particular issue, that makes organized action easier,” Oxman says. “It’s not that Portland lacks the drug users—we have lots and lots of drug users. “Government is not in a position to be the leaders of harm reduction. It’s really a community activity. And it is really bewildering why that hasn’t been more prominent here.” In Portland, the organization that helped pioneer the needle-exchange program, Outside In, has been the obvious place to experiment with making Narcan more available. Outside In works with homeless youth and what it calls “marginalized people.” Kathy Oliver, Outside In’s executive director, says health-care workers in the organization’s clinic on Southwest 13th Avenue near Main Street are allowed to both inject and prescribe Narcan to people for use only on themselves. Oliver would like to see Narcan more widely available. “The reason I want to do it is the same reason I wanted to open the syringe-exchange program,” she says. “Death by overdose is preventable, so giving people the means to

NARCANNED: John Sanborn, in a Portland recovery program run by Central City Concern, says medical personnel have used naloxone on him during at least three of his many heroin overdoses. “It takes you out of the nod,” says Sanborn (who asked that his face not be photographed). “It saves lives. It probably saved mine.” 18

Willamette Week MARCH 6, 2013 wweek.com

protect themselves makes sense.” But Outside In has been largely silent on the issue, despite the high overdose rates in Multnomah County. Oliver says she’s aware that scores of other organizations like hers around the country have distributed Narcan or promoted its use. “We did think the best way to achieve [a community pathway for naloxone] would be through the legislative and not through Outside In being a political advocate,” she says. In Salem, state Sen. Alan Bates (D-Medford) has introduced a bill to expand access to Narcan. Jackson County, where Bates lives, saw 30 people die in 2012 from drug overdoses, according to Dr. Jim Shames, the county health officer. Ashland, a community known for staging the Oregon Shakespeare Festival, was stunned recently by the death of three men within six weeks of each other—all from opiate overdoses. Maxwell Pinsky, 25, the son of a local blues musician, died Jan. 15 of a suspected opiate overdose; the Jackson County sheriff’s office says the toxicology reports aren’t finished yet. A month earlier, Ashland had two heroinoverdose deaths within a day of each other: Pinsky’s friend Jordan Roth, 34, the son of a retired physician; and Colin McKean, 36, son of actor Michael McKean. Bates’ bill would make Narcan a drug that anyone— from social workers to drug users—can get training to use and be able to purchase to have with them in the case of an emergency. Part of the bill also makes people who administer Narcan in an overdose situation immune from civil prosecution. Emergency-room physicians have warned legislators the drug can cause a powerful reaction in people coming out of an overdose if the dosing isn’t done properly. “It’s still a large question as to whether the public should have access to this powerful drug,” says Jim Anderson, lobbyist for the Oregon Chapter of the American College of Emergency Physicians. “We have mixed emotions about it.” Oxman says passage of the bill will mark a big step in Oregon moving toward accepting the idea that government has a role to play in helping drug users stay alive, regardless of whether they stop using. “I think people have really come around,” he says, “to seeing what we’re trying to do is help people who have problems with drug abuse, and there’s a variety of different pathways to get there.”

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2/13/13 9:24 AM

Bombshell Vintage 811 E. 811 E. Burnside Burnside

Grab a pint and join us as we celebrate

our top ten beer selections from Oregon and crown a winner!

Gerding Theater at the Armory 128 NW Eleventh Avenue

“MESMERIZING” —NEWARK STAR-LEDGER

503.445.3700

Willamette Week’s 2013

pcs.org

“AUDACIOUS”

—ASSOCIATED PRESS

Beer

Guide release

Party Green dragon Brewery 928 Se 9th Ave, Portland

March 19th, 5pm

Harold and Arlene Schnitzer CARE Foundation

Willamette Week MARCH 6, 2013 wweek.com

FEB 26– MAR 23

What are You Wearing?

STREET

RED SHOE DIARIES CLICK YOUR HEELS THREE TIMES. Photos bY mor ga n gr een -hoP kin s wweek.com/street

Willamette Week MARCH 6, 2013 wweek.com

FOOD: No mas, no mas! MUSIC: Chatting with Portland’s own Moz. STAGE: Race onstage. MOVIES: Women’s film festival. Schwing!

24 27 41 46

SCOOP

V. K A P O O R

THIS GOSSIP USES SRIRACHA JUST LIKE KETCHUP. TRUNKS 1, DRUNKS 0: The Oregon Zoo’s annual beer festival, Zoo Brew, has been trampled by elephants. Scoop has learned the zoo will discontinue the annual beer fest because the space where it was staged is being given to Packy’s gang. “Unfortunately, while support was strong for this beloved community event, upcoming construction of Elephant Lands will significantly limit the space,” the zoo told us. (“Reduced financial return” was given as another reason.) Zoo spokespeople, possibly still smarting from public outrage that erupted after it was revealed a traveling elephant show owned its new baby elephant, Lily, declined to answer further questions.

ciNemaS 22 aND 23: Cinema 21 could soon be a threescreen movie house. Owner-operator Tom Ranieri tells Scoop that he’s just submitted an application to the city to build two new, smaller auditoriums in the vacant building to its east. Exclusively digital, these auditoriums would seat 50 to 80. Ranieri says films could move from the main 500-seat theater down to the smaller rooms for longer runs. “It’s going to allow us to compete more vigorously because of the flexibility we’ll have,” he says. “We’re going to be more aggressive in going after the films that we want.” Ranieri says construction would take up to 10 weeks.

Publishes: April 10th, 2013 Space Reservation & Materials Deadline: Thursday, April 4th at 4pm Call: 503.243.2122 • Email: advertising@wweek.com 22

Willamette Week MARCH 6, 2013 wweek.com

cURTaiN Up: A month after learning that Theater! Theatre! would close this summer, Profile Theatre has found a new home. Artistic director Adriana Baer announced last weekend that her company plans to move into Artists Repertory Theatre’s downtown building. This means two of the theater scene’s newest and youngest artistic directors—Baer is in her first year at Profile, and Southern California transplant Damaso Rodriguez will helm ART next season—will work in the same space and share the auditoriums. “For us to be in a building that is an active theater center is just so thrilling,” Baer says. “It’s great to think about going into the lobby and having an interesting creative conversation with somebody on a whim.”

LEAHnASH.COM

ShoT aND a ciDeR: In happier booze news, it looks like Portland will be making its own brand of tequila’s country cousin, mezcal. Sofia Acosta Rascon has applied for a license to begin distilling the Oaxacan-style maguey (blue agave) spirit under the name Meteca—Spanish for “foreigner.” Rascon recently hosted an artisanal mezcal tasting at Southeast eatery Xico. >> In related news, Hopworks Urban Brewery applied for a winery license at its location on 2944 SE Powell Blvd. According to Bruce Kehe, marketing director at Hopworks, the brewery needs the winery license so it can make fruit beers that are fermented from more than 50 percent fruit juice. “It gives us a bit more flexibility,” says Kehe, “and it also leaves us open to make ciders in the future.... But we’re not going to make wine. You won’t see us saying, ‘This is our new Cabernet.’”

WHAT TO DO THIS WEEK IN ARTS & CULTURE

WALTON ON

WILLAMETTE WEEK

HEADOUT

WEDNESDAY MARCH 6 HOP IN THE SADDLE [BIKES, BEER] Authors of Hop in the Saddle, a biking guide to Portland’s craft-brew scene, discuss beer for folks on spokes. They’ll share both bike and brew-centric routes, and hopefully good stories from along the way. REI, 1405 NW Johnson St. 6:30 pm. Free.

Walton THE FORMER BLAZER HOLDS FORTH ON THE JERSEY SCULPTOR. Art fans, this is truly a magnanimous moment in the history of modern civilization. Not since Gutenberg first threw down the word of the Big Man upstairs has the printed letter held quite such esteem. I, Bill Walton—two-time NBA champion, college basketball legend, father of the eighthbest forward on the Cleveland Cavaliers’ roster and first-ballot inductee to the Hyperbolic Sports Announcer Hall of Fame—have been asked by this esteemed publication, in the very city for which I brought home my first professional championship, to critique the work of another towering Bill Walton. The late minimalist, sculptor and proud son of Camden, N.J., Bill Walton’s work is currently exhibiting at the storied Adams and Ollman Gallery. Folks, I suggest you cut out this article and frame it, for this is the single most important page of newsprint not just in the history of Willamette Week, or Oregon, or even America. It is, in fact, the most important piece of literature ever produced on this, or any, planet. BILL WALTON with help from MATTHEW SINGER. W W P H OTO I L L U S T R AT I O N C O U R T E S Y O F T H E E S TAT E O F B I L L WA LT O N & A D A M S & O L L M A N

THURSDAY MARCH 7 IN THE NEXT ROOM (OR THE VIBRATOR PLAY) [THEATER] Before Hysteria winked at Victorian-era gynecological therapy, Sarah Ruhl did it better. Sanctuary at Sandy Plaza, 1785 NE Sandy Blvd., 239-5919. 7:30 pm. $15-$35. JOHN HODGMAN [COMEDY] The Daily Show correspondent, onetime Jason Schwartzman nemesis and foremost expert on being a foremost expert is a comedy renaissance man. Bagdad Theater, 3702 SE Hawthorne Blvd., 467-7521. 7 pm. $25. Under 21 permitted with legal guardian.

FRIDAY MARCH 8 BIG BEER FEST [BEER] Strong beers, up to 13 percent alcohol, including a long list of barleywine and stouts from Lucky Lab and other local brewers. Lucky Labrador Brew Pub, 915 SE Hawthorne Blvd., 236-3555. Noon Friday-Saturday, March 8-9. $9, $1.50 additional tickets. 21+. BLACK ’N BLUE [MUSIC] Portland’s answer to Anvil has yet to experience its triumphant second act, but the hair-metal footnotes did have a song featured in Vision Quest, so, y’know, that’s something. Hawthorne Theatre, 1507 SE Cesar Chavez Blvd., 233-7100. 8 pm. $20 advance, $25 day of show. 21+.

SATURDAY MARCH 9 RED FLOOR/WHITE FLOOR Quite simply, this is the most awe-inspiring stack of ﬂoor tiles I have ever had the privilege of laying my UCLA-educated eyes upon. It reminds me of the estimable Greg Ostertag in his prime: tall, bold and completely immobile.

FOUR FOLD

The sheer majesty with which Walton presents this dingy folded cloth is utterly astounding—breathtaking, even. It brings to mind something my UCLA Bruins coach, the immortal Wizard of Westwood, John Wooden, once told me: “Walton, pick your disgusting sweat rag off the floor and hang it on the rack like a proper human being! And cut that filthy hair, you goddamned dirty hippie!” A poet worthy of Keats, that man was.

PAINT BRUSHES

Ladies and gentlemen, I have gazed upon the works of the great Renaissance painters at the Musée du Louvre. I have watched Larry Legend practice his jumper in an empty gymnasium. I have witnessed Jerry Garcia play a 75-minute guitar solo at the Fillmore. All fail to match the grace, power and overwhelming beauty of these old paint brushes hanging on a hook. Bill Walton truly knows the essence of being and what it means to be alive—and also how best to keep one’s art supplies organized and easily accessible.

SMALL SCULPTURE Eh.

GO: Bill Walton is at Adams and Ollman, 811 E Burnside St., through April 27. 11 am-5 pm Wednesdays-Saturdays, and by appointment.

TRUTH AND BETRAYAL [DANCE] Seattle-based Khambatta has a penchant for audience involvement. Before Truth and Betrayal and three other dance pieces, audience members will find a handwritten note suggesting a lens through which to experience the show. Conduit Dance, 918 SW Yamhill St., Suite 401, 221-5857. 8 pm. $15. MODERN HOME TOUR [ARCHITECTURE] A self-guided romp through upscale homes sure to make you feel like a slumdweller. Curated by Portland architectural expert Brian Libby, the tour includes a Mount Tabor home of Portlandia notoriety and one of the first residences built to Passir Haus energy-efficiency standards. portland.modernhometours.com. $30 in advance, $40 day of show. RAW UN-COOKING CLASS [NOT COOKING] Local raw, organic, gluten-free chef Betty Rawker leads an “un-cooking” class for those eager to make “sunflower ‘not refried’ no-bean dip.” TaborSpace, 5441 SE Belmont St. 4-6 pm. $40. Willamette Week MARCH 6, 2013 wweek.com

FOOD & DRINK Delight in All-You-Can-Eat or A la Carte

Fine Dishes of Lamb, Chicken, Goat

Sumptuous Gluten-Free, Vegetarian, Vegan options Select Seafood Specialties

= WW Pick. Highly recommended.

REVIEW V. K A P O O R

Lavish Buffets Traditional Indian Cuisine

By ENID SPITZ. PRICES: $: Most entrees under $10. $$: $10-$20. $$$: $20-$30. $$$$: Above $30. Editor: MARTIN CIZMAR. Email: dish@wweek.com. See page 3 for submission instructions.

WEDNESDAY, MARCH 6 Spring Wine Dinner

Portland’s Tabor Tavern pairs its “elevated pub fare” with Alchemy Wine selections for an inaugural winery dinner. This seriously elevated menu includes scallop ceviche, duck leg conﬁt and grilled rabbit sausage. Tabor Tavern, 5235 E Burnside St., 208-3544. 7 pm. $50. 21+.

THURSDAY, MARCH 7 Savor Cannon Beach Wine Festival

Namaste Dine-in or Carry-out

8303 NE Sandy Blvd. 503-257-5059 &

6300 NE 117th Ave in Vancouver (360) 891-5857

NamasteIndianCuisine.com

A coastal weekend of wine, art-gallery browsing and sipping seminars. At Saturday’s wine walk, 30 wineries will pour samples at central galleries and shops. Other events include pairing dinners and a battle of the blends. Multiple venues. Various times Thursday-Sunday, March 7-10. $119 festival ticket, $35 individual event, $30 wine walk.

Beer Dinner

Three courses in true Bavarian style: pretzels, sauerkraut, kartoﬀelpuﬀer and all. Each course is served with a carefully selected beer complement, just like in the old country. Begin brushing up on your German and loosening your belt. The Slide Inn, 2348 SE Ankeny St., 236-4997. 6:30 pm. $45. 21+.

FRIDAY, MARCH 8

Stay on the Edge of the Pearl.

Barleywine Big Beer Fest

Is 13 percent alcohol strong enough for ya? A long list of barleywine and stout mashers from Lucky Lab and other local brewers, most weighing in above 10 percent. Entry includes two tasting tickets, more for sale if you can handle it. Lucky Labrador Brew Pub, 915 SE Hawthorne Blvd., 236-3555. Noon Friday-Saturday, March 8-9. $9, $1.50 additional tickets. 21+.

Tapas and Tango

An Argentinian exploration of wine, tango and tapas. Dancing encouraged—but don’t worry, there will be tango lessons and plenty of wine. Tapas provided by Toro Bravo and Tasty n Sons chef John Gorham. Penner-Ash Wine Cellars, 15771 NW Ribbon Ridge Road, Newberg, 5545545. 6:30-9:30 pm. $55 members, $65 nonmembers.

Walk to Timbers & Viking Games!

Winter Bargain Rates Downtown from $45 per night single occupancy ($55 double)

The GeorGia hoTel A Vintage Walk-Up Stroll to Powell’s, Shops, Restaurants, Theaters & Crystal Ballroom

308 SW 12th at Stark St. • 503- 227-3259 24

Willamette Week MARCH 6, 2013 wweek.com

SATURDAY, MARCH 9 Raw Un-Cooking Class

Local raw, organic, gluten-free chef Betty Rawker leads an “un-cooking” class for those eager to make “sunﬂower ‘not refried’ no-bean dip.” Craft a Mexican meal from scratch without any animal products or cooking. TaborSpace, 5441 SE Belmont St. 4-6 pm. $40.

SUNDAY, MARCH 10 Meet the Brewers Tour: U-Brew

The beer masters of U-Brew homebrew shop lead a Brewvana bus tour around their Southeast neighborhood. Hot spots include the Commons Brewery and Taqueria Los Gorditos. 1-5 pm. Reservations and more information at 729-6804 and experiencebrewvana.com. $85. 21+.

PORK, PRAWN, PULPO: Half a meal at Uno Mas.

MASA? NO MAS. At Uno Mas, the new taco shop from Oswaldo Bibiano (Autentica, Mextiza), the al pastor pork is carved off a spinning spit and paired with a shard of pineapple in a taco’s 3-inch corn masa envelope; the chicken comes bathed in subtle, earthy achiote; and the epazote-nettled octopus yields with unexpected softness, carrying none of the characteristic Goodyear elasticity of a mollusk too often overcooked. Like the other eateries at Kevin Cavenaugh’s culinary strip mall, the Ocean, Uno Mas specializes in just one menu item. Just about every entree on the menu is a two-bite, $2 grilled taco. (Seafood hikes the per-piece price to $3.75.) But unlike many taquerias, where the seasoning comes assembly-line Order this: The barbacoa taco ($2) is the standout. off a dirty grill—unchanged but for Best deal: You’d think it’d be the the choice of meat—Uno Mas’ spices 12 tacos for $20. But when we and sauces are tailored to the cut. ordered that platter, we got a The light, briny pop of the prawns pile of chicken and carnitas and no fun at all. One understands is brought to ground by the rasp of why the kitchen might shy from fresh oregano, while the carnitas pushing moronga or tripas, but it was tragic nonetheless. Order take on a faint tang of vinegar. singly, with the knowledge the Still, there’s a mighty problem $3.75 seafood tacos usually receive double bulk on ﬁllings. with the mini-tacos at Uno Mas: I’ll pass: None of the veggie ﬁllThey don’t really function as tacos. ings hold up against bland corn. In six trips, the snow-globediameter masa has taken multiple forms. In two early visits, the single tortilla was so soaked in fat it unzipped itself at the bottom. Two times, the tortillas arrived bone-dry and nearly saltless; the toothick masa sapped all of the flavor from each taco except the rich, lovely barbacoa and bright-profile prawns. Once, a pair of liberally fat-drenched tortillas were used; this at least seemed to solve the basic-level engineering difficulties. And once, the tortillas were note-perfect. But on that slow Tuesday, the shop closed early and the person manning the counter swabbed pungent ammonia around my table while I ate, tainting the food’s flavor. On the majority of visits, the generous double-digit array of salsas—from a one-note habanero Maya to a mild aguacate with the texture of melted ice cream—had flavors so stale, watery and faint it was as if we were tasting them from a vast distance, with dim flavors discernible only through a deep haze. On the most recent visit, however, the verde sauce was thick, fresh and rich, as if prepared only moments before. How to judge such a place? Among the miniscule, buck-a-bite tacos, it is easy to spend $12 or more. And yet each two-chomp nip is a roll of the dice, with worse odds than keno. Next time I win big at keno, perhaps I’ll try again. MATTHEW KORFHAGE. EAT: Uno Mas, 2329 NE Glisan St., 208-2764. 11 am-9 pm SundayThursday, 11 am-10 pm Friday-Saturday.

FOOD & DRINK viviANjohNSoN.coM

REVIEW

Jobs for the Food and Drink Industry Staffing solutions for owners and managers NYC/ CHI/ SFO/ SEA /PDX/ AUS

Untitled-2 1

nAm nom: Kalbi barbecue beef and sesame balls at Fish Sauce.

GOOD FISHING

sides of Sriracha, flaming sambal oelek and a mix-it-yourself dish of salt, pepper and lime. A second top choice: Korean-style crosscut kalbi short ribs ($16), grilled simply and imbued with a sweet-garlicky flavor. The meat is tender, with just enough chew to keep things interesting and the portion fair-sized for the price. On the two-item dessert menu, order the bánh mè ($2), a deep-fried, sesame-coated sphere BY M IC H A E L C . Z US M AN 243-2122 of rice dough filled with a yellow bean paste and In a gauzy dream sequence, I am beckoned coconut and served with honey for dunking. Skip to a remote area of town to check out a dingy, the chuoi chiên ($5), a rice-paper-wrapped fried under-the-radar ethnic joint where every dish banana that arrived a goopy mess in a puddle of is a stunning success of bright, bold, exotic fla- coconut milk, tapioca and never-admit-it Hervors. I’m the only non-native there to enjoy the shey’s sauce. Several deficiencies remain at Fish Sauce, but demonstration of unblemished culinary artistry. “Everyone should know about this place,” I think. for the most part fall into common (and remediBut dreamtime ends with an alarm clock’s jangle, able) categories. The chao tôm appetizer ($8), the identity of the joint lost behind the wall of ground shrimp pressed around a segment of sugar cane and fried, lacked any discernible seasoning; wakefulness. Reality at Fish Sauce, a 6-month-old Vietnam- broth for the pho ($11) was assertively flavored ese restaurant on a quiet corner just west of the though I strongly suspect short cuts were taken to avoid the long process of Pearl District, departs at an reducing beef bones, spices acute angle from the dream and water down to a pure, ideal. It’s not remote, most of order this: Kalbi barbecue beef ($16) rich distillation; and the gà the clientele sports a distinctly and bánh mè (sesame balls, $2). Hainan (poached chicken in pale skin tone, and the food is Best deal: Bánh bèo (steamed rice a southern Chinese style, $9) up and down. Chosen careful- cakes, $6). I’ll pass: Chuoi chiên (fried banana, $5). with a gingery soy and fish ly, there are enough attractive sauce dunk was fine, but the offerings to make Fish Sauce a customary accompaniments worthwhile stop. The word is out, too, and the joint has been jumping whenever of chicken stock-enhanced steamed rice and chicken broth were missed. I’ve dropped in for a bite. Unlike the dreamscape, Fish Sauce is pleasTwo memorable appetizers highlight the menu’s opening khai vi section. Freshly con- antly designed. Sit at comfortable tables for structed, warm bò bía ( jicama rolls, $7) get two, stools at the bar or at kitchen counters that crunch from the namesake ingredient and a fer- are arrayed along either side of a 15-foot-long, mented-meat baritone boost from sweet Chinese repurposed wooden beam. Clever light fixtures sausage. The other star starter is bánh bèo ($6), rely on Mason jars and wooden pallets. A large a disc of rice-flour batter steamed until firm in a chalk drawing high behind the bar illustrates small, shallow bowl, then topped with a choice of the journey from fish in the sea to fish sauce in yellow bean paste, minced shrimp, bits of crisp- the bottle. I imagine the fishing boat bobbing, fried pork belly, or a chicken and mushroom silvery fish schooling, and the smell of sea salt mixture. At four to an order, try all the variations and the cosmic funk of months-long fermentaat once and spoon liberally from the bowl of bois- tion. Reality yields again to the dream world terous chili- and palm sugar-enhanced fish sauce and another chance to glimpse potential fully realized. at the center of the serving platter. Among main courses, the best I sampled were gà chiên ($10 half, $17 whole), deeply bronzed, EAT: Fish Sauce, 407 NW 17th Ave., 227-8000, fishsaucepdx.com. 11:30 am-2:30 pm Mondaycrispy-skinned fried chicken that was moist Friday. 4:30-10 pm Monday-Saturday. $$-$$$. throughout. Accents came from small but ample

FISH SAUCE BRINGS SOLID VIETNAMESE TO NORTHWEST.

6/10/12 9:41 AM

Grab a pint and join us as we celebrate

our top ten beer selections from Oregon and crown a winner!

Willamette Week’s 2013

Beer

Guide release

Party Green dragon Brewery 928 Se 9th Ave, Portland

March 19th, 5pm

Willamette Week MARCH 6, 2013 wweek.com

BRIEF STRONG LANGUAGE

Willamette Week MARCH 6, 2013 wweek.com

MUSIC

March 6–12 PROFILE

= WW Pick. Highly recommended.

SuSAN BLOND INC.

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, MARCH 6 Southerly

[DARK POP] For the past decade-plus, Wisconsin native Krist Krueger has been Portland’s answer to the National. He’s quietly produced three albums of brooding, ornate pop songs under the name Southerly, displaying his knack for framing confessional lyricism against lush arrangements. Krueger has spent years at a time on the road, which probably explains why he’s rarely seemed like a “local” artist, but he and his band are celebrating their 12th anniversary here at home, with a career-spanning show and new 7-inch, Southerly’s first official release since 2011’s sparsely ornamented full-length, Youth. MATTHEW SINGER. Backspace, 115 NW 5th Ave., 248-2900. 9 pm. $5. All ages.

The Hush Sound, the Last Royals, Sydney Wayser

MARCHMuSICMODERNE.ORG

[DREAMY FOLK ROCK] Listening to Sydney Wayser’s easygoing brand of folk rock cannot help but transport you back to a time when folk music felt more genuine than it sometimes feels now. More John Lennon than John Mayer, Wayser is not just a coffee shop-loving singer-songwriter with a guitar, a song in her heart and dreams of making it big. Her thick, rich vocals are confident but subtle, and her introspective lyrics are thoughtprovoking without being so morose they make you want to kill yourself. Her recordings have a slightly dirty quality to them, which augments the feeling of being transported back to the time of LP records and 8-tracks, and that’s not a bad thing. BRIAN PALMER. Hawthorne Theatre, 3862 SE

Hawthorne Blvd., 233-7100. 6:30 pm. $12 advance, $15 day of show. All ages.

Parenthetical Girls, PWRHAUS, Stay Calm [ART-POP TITANS] Seeing Parenthetical Girls is a rite of passage in Portland music. The unapologetic, always theatrical local quartet delivers more feeling during a single live show than most bands do in a year. Privilege (Abridged), which culls the best songs from a series of vinyl-only EPs, dropped last month, and the sometimes baroque, sometimes glam, sometimes dance-y album stretches pop to the brink of bursting. Rooted in Zac Pennington’s ever-whiffling, effervescent vocals, Parenthetical Girls continues to emphatically redefine what it means to be musically novel and avant-garde. MARK STOCK. Holocene, 1001 SE Morrison St., 239-7639. 8:30 pm. $8. 21+.

THURSDAY, MARCH 7 Waffle Taco, Fond of Snakes, Lithopedian, Hellocitizen

[ELECTRO-JAZZ] Local electro-jazz freaks Waffle Taco are influenced by Portishead, Miles Davis and Venetian Snares. Though the comparison is plastered all over the band’s Web presence, it is apt. Ben Beauvais lays down deep, belching basslines and chimes chords on his Rhodes piano while Kyle Linneman fulfills the Miles requirement, soloing in trumpet bursts over his own electronic polyrhythms. The jazz old guard will see no more Kind of Blue here than in a parking cone. When Waffle Taco references Miles, it

TOP FIVE

CONT. on page 29

BY RO BERT HA M

TOP FIVE MUST-SEE ACTS AT MARCH MUSIC MODERNE Soundwalk (Saturday, March 9, at Mount Tabor Park, 1 pm) Artist and composer Susan Alexjander leads a structured listening session for curious souls to drink in the raw sounds of nature. The Late Now (Saturday, March 9, at the Piano Fort, 9 pm) The Dadaist variety show hosts a special edition featuring interviews with some March Music Moderne participants and a noise-inspired take on The Rite of Spring by local group [NULL]. Arnica String Quartet (Friday, March 15, at the Old Church, 7 pm) This local ensemble spends an evening focused on 20th- and 21stcentury compositions by the likes of Arvo Pärt, Esa-Pekka Salonen and Béla Bartók. Gordon Lee (Wednesday, March 20, at the Old Church, 7:30 pm) In a program titled “Shining Thru the Rain,” master pianist Lee brings his own compositions to life via collaborations with his longtime cohorts in the Mel Brown Septet as well as the Amadei Cello Ensemble. Portland Jazz Composers Ensemble (Friday, March 22, at the Community Music Center, 7:30 pm) This 12-piece group brings out new works they have commissioned by folks such as Blue Cranes leader Reed Wallsmith, cellist Eric Allen and young guitarist Joseph Berman. SEE IT: March Music Moderne runs March 7-23. See marchmusicmoderne.org for a full schedule.

LOUDER THAN MOZ A CONVERSATION WITH MORRISSEY...OR CLOSE ENOUGH. BY Matthew sin ger

kept sufficiently separate. Not that it’s an either/ or scenario. I don’t need to sit with serial animal killers or sell out my beliefs in order for my music to be heard.

msinger@wweek.com

Morrissey is dead. Not literally, of course. In terms of media exposure, the great and powerful Moz is more alive right now than he’s been in years, what with the recent stunts he’s pulled in the name of animal rights. But make no mistake: Steven Patrick Morrissey—the Mancunian who, in the ’80s, wrote the songs that made a whole generation of sexually confused lit majors clutch copies of The Picture of Dorian Gray and cry in their bedrooms—died long ago. Like Elvis or John Lennon, Morrissey is now less a person than an idea, an abstract concept that only truly exists in the minds of his most obsessive fans. This is problematic for someone in my position. Dead men make terrible interviews. And anyway, knowing Morrissey, he’d probably force me to sign a waiver promising not to eat meat for a month before talking to him on the phone. (I love the Smiths, but not enough to give up Slim Jims.) Rather than go through a whole process to inevitably get turned down, we decided to do the next best thing: Interview Jeremy Petersen, host of OPB’s In House music program and frontman for Smiths tribute act This Charming Man, and ask him the same questions we’d pose of the actual Morrissey. WW: So, Morrissey, how are you feeling after your recent health scare? “Morrissey”: A bit surprised to be here, but the loins are girded and so forth. Aging before the public is one thing, but I don’t ever plan to be a Rolling Stone. You’ve been in the news lately more for your animal-rights activism than anything else. At what point do you worry about your militant vegetarianism overshadowing your music? Outside of the title of what some have claimed is at once the worst Smiths song and best Smiths album [Meat Is Murder], I think the two have been

Portland is a vegan-friendly town, but we also put bacon in everything. There’s got to be one meat dish you are at least curious about trying while you’re here. I’m not the least bit curious about the taste of death. Smiths tribute acts have become something of a cottage industry. Being that you are Morrissey, what is your opinion of them? I suppose I’m flattered. They’re silly, but they probably mean well. By all means, if your city has one, heap your love and adoration upon them! Many of your most fervent fans these days are young Latinos. How do you account for that? As an outsider by birth and by choice, it’s a status I’ve written about again and again in one way or another over the years. Perhaps that’s something that Latino-Americans in particular are able to relate to. Maybe it’s the quiff. In any case, the feeling is mutual. What is your opinion of Johnny Marr’s new solo album? Do you mean the fact that it exists? I’m happy that one of us has a record deal. What will it take to reunite the Smiths? Only the dissolution of the British Royal Family. It would only be prudent to consider it at that point. Now that you’ve reached an advanced point in your life and career, would you, Morrissey, describe yourself as a happy person? I am generally happy, yes...or as much as can be reasonably expected, given the circumstances. But does it really matter either way? SEE IT: Morrissey plays the Arlene Schnitzer Concert Hall, 1037 SW Broadway, on Friday, March 8. 9 pm. $53.50-$68.50. All ages. Willamette Week MARCH 6, 2013 wweek.com

Willamette Week MARCH 6, 2013 wweek.com

thursday–friday

G. Love & Special Sauce, John Fullbright

[BRO ARTS] The self-titled debut from G. Love & Special Sauce may technically have arrived without clear precedent two decades back, but let’s not esteem too highly the original vision behind a supra-casual conglomeration of stoned blues licks, whitewashed hip-hop hackery and barroom rock ’n’ roll. Even as that first album rode the memes of antiquity—a Sassy “cute band alert” here, an MTV Buzz Band nod there— to wend its way toward heavy rotation on the frathouse stereo, one couldn’t help but credit the sudden splintering of alternative radio and post-Clintonian evolution of the nouveau bro searching out newly familiar jams guaranteed never to threaten or challenge or even distract. After an ill-fated go at solo relevance, Love has embraced the nostalgia circuit and currently tours with a rejiggered Special Sauce, at the moment supporting another greatest-hits collection essentially unchanged from the 2002 package. It’s just ketchup and mayonnaise, you know. JAY HORTON. Wonder Ballroom, 128 NE Russell St., 284-8686. 8 pm. $20 advance, $23 day of show. 21+.

FRIDAY, MARCH 8 Ladysmith Black Mambazo

[SUB-SAHARAN A CAPPELLA] For those prematurely adult-contempo diehards who’ve only ever known an interconnected world of indigenous music expressly introduced to American audiences by soft-rock gods’ late-career explorations, the early controversy over Graceland wouldn’t make much sense. Why shouldn’t a profoundly whitebread songwriter beloved for distilling the sounds of suburbia incorporate traditional African idioms to bolster a comeback album? Twenty-seven years on, Paul Simon’s boycott-busting collaboration with Ladysmith Black Mambazo feels far more organic than, say, bringing along Chevy Chase for the video. The traditional South African choral group has maintained a solid Western fan base, spurred along by continual duets with the cream of KINK balladeers hoping to inspire the merest whiff of Simon’s faintly miraculous resurgence. If the incandescent nine-part harmonies increasingly pander to stateside crowds (a nursery-rhyme collection soon to be joined by a celebration of American gospel), they’ll still pack halls well after the name of Garfunkel has faded from memory. JAY HORTON. Aladdin Theater, 3017 SE Milwaukie Ave., 234-9694. 8 pm. $32.50 advance, $35 day of show.

Shout Out Out Out Out

[HEARTFELT DANCE POP] Don’t let Shout Out Out Out Out’s cumbersome name—nor its tendency to truck in worrisome song titles like “Now That I’ve Given Up Hope, I Feel Much Better”—throw you off this Canadian ensemble’s trail. The sextet’s music pulsates with the inner nostalgic glow of ’80s synthpop while indulging in modern EDM delights. The band’s most recent album, Spanish Moss and Total Loss, is also strung with a feeling that is, in the words of leader Nik Kozub, both “celebratory and remorseful.” Lose yourself in the dance beats, but don’t deny the emotions the songs dredge up in you. ROBERT HAM. Dante’s, 350 W Burnside St., 2266630. 9 pm. $10. 21+.

Black ’N Blue, Sonicles, Sonic Temple (A Tribute to the Cult), Labansky

[ALMOST FAMOUS] Portland’s metal scene has become renowned in only the past five five years, but it would be wrong to overlook the stab at fame that a local band called Black ’N Blue made 30 years ago. Musically, Black ’N Blue was sort of a poor man’s Twisted Sister, with a tinge of Ratt—heavy riffs and attitude, with all the requisite spandex and hairspray. The group charted, made videos and moved to L.A. An early demo track made its way onto the first Metal Massacre comp, alongside Metallica. It’s song “Nature of the Beach” was featured on the B-side of a Madonna single from the Vision Quest soundtrack. In the long run, vocalist Jaime St. James filled in for a stint in Warrant while Jani Lane was on hiatus, only to return when Lane got his job back. But it was guitarist Tommy Thayer who hit the big time, as he’s currently got Ace Frehley’s role in KISS, and will not be appearing tonight. NATHAN CARSON. Hawthorne Theatre, 3862 SE Hawthorne Blvd., 233-7100. 8 pm. $20 advance, $25 day of show. 21+.

Ecstasy: Total Freedom, Miracles Club, Beyondadoubt

[LIBERATED EDM] For the latest installment in its party series, local label Ecstasy has brought Total Freedom, aka Ashland Mines, up from the City of Angels to crown a bill also featuring Portland’s own house group Miracles Club and the indubitable queen of soul DJs, Beyondadoubt. Mines is one of the foremost DJs of one of clubdom’s foremost DJ crews, Fade to Mind, and is considered by some to be L.A.’s finest record spinner. In keeping with Fade to Mind’s catholic, iconoclastic DJing philosophy, a typical Total Freedom set spryly silo-hops among EDM subgenera. One recent mixtape encompassed both Destiny’s Child and Brian Eno reworks. JONATHAN

FROCHTZWAJG. Holocene, 1001 SE Morrison St., 239-7639. 9 pm. $5. 21+.

Thomas Mapfumo and the Blacks Unlimited, Loveness Wesa (theater); Bigfoot Country (lounge)

[CLASSIC AFRO-POP] Growing up in the 1970s, Loveness Wesa, who now leads Portland’s Bantus Band, thrilled to the Chimurenga (“liberation”) music of the great Zimbabwean musician Thomas Mapfumo, who helped invent modern Afro-pop. She later sang and danced in his band from 2004 to 2010. By blending American R&B and James Brown funk with the interlocking grooves of southern Africa’s Shona people, often transferring mbira lines to electric guitar, Mapfumo created an irresistibly danceable groove that was as revolutionary to music as to politics. Now based in Eugene, of all places, Mapfumo usually performs abroad, so this is a welcome opportunity to hear the Lion of Zimbabwe roar— and to see him share the stage with one of our own world-music treasures. BRETT CAMPBELL. Mount Tabor Theater, 4811 SE Hawthorne Blvd. 7 pm. $15 advance, $20 day of show. All ages.

Shabazz Palaces

[AVANT-RAP] Something’s in the weed up in Seattle. In the past few years, the hip-hop coming out of the Emerald City has gotten increasingly more weird and warped, and spiked pot is the only logical explanation for what morphed Digital Planets jazzbo Ishmael “Butterfly” Butler into Shabazz Palaces’ enigmatic abstract gangster, Palaceer Lazaro. On their 2011 debut fulllength, Black Up—Sub Pop’s firstever hip-hop release—Butler’s surrealistic street rhymes don’t so much ride atop Knife Knight’s amor-

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FLASHBACK D AV I D H A I N E S

means the rockier style of Bitches Brew. Occasionally the beats do trip to a certain hop, though usually they are content to explore textures with nothing more than Beauvais’ bass keeping time. Technically, the duo’s sound flagellates far more than its influences, but it’s this roughness that keeps it appealing. Waffle Taco has no albums. Waffle Taco has limitations. Waffle Taco is aurally, weirdly delicious. MITCH LILLIE. East End, 203 SE Grand Ave., 232-0056. 8 pm. Free. 21+.

MUSIC

DJ Anjali spinning at Atlas on July 10, 2010. The “postnational bass dance party,” founded by Anjali, E3 and the Incredible Kid in 2003, started at Holocene just a few months after the club opened, and over the years has introduced a variety of genres—from dubstep to reggaeton to bhangra—to Portland’s dance culture. This week, Atlas ends its nine-year run. We asked Stephen “Incredible Kid” Strausbaugh about the night this photo was taken. “At this point, we were nearing our seven-year anniversary and we were aware of how little documenting we had done of the party—years and years with nary a photo. Anjali reached out to [photographer] David [Haines] to take some photos of our night. Atlas was a very unique party in many senses, one being that we very rarely had guests, so that almost every night focused on the three resident DJs. This was a typical hot, sweaty summer Atlas night in the sense that it was the three resident DJs with a packed floor of dancers for five hours.” SEE IT: The final Atlas party is at Holocene, 1001 SE Morrison St., on Saturday, March 9. 9 pm. $5. 21+. Willamette Week MARCH 6, 2013 wweek.com

MADELEINE PEYROUX

THE BLUE ROOM ON SALE $ 1099 CD

“The Blue Room” features Madeleine Peyroux reinterpreting songs from Ray Charles’ seminal album “Modern Sounds in Country & Western Music”, as well as others from legendary artists such as Randy Newman and Leonard Cohen. Infusing her own vision and reinterpretation of the songs with modern sensibility, Peyroux brings elements of jazz, country and blues into each song, while evoking a depth of emotion and sound of such legends as Billie Holiday, Patsy Cline, Edith Piaf, and Bob Dylan. Featuring sparse arrangements, each of the 11 tracks on the album sets a tone and mood that respects where the originals came from, but offers a modern reinterpretation of each song, resulting in a truly inspired record.

OFFER GOOD THRU: 4/2/13

GUEST OF HONOR PENELOPE SPHEERIS

Willamette Week MARCH 6, 2013 wweek.com

MUSIC

SAM BUTLER

friday–sunday

getting funky before god: the relatives play the Aladdin theater on Sunday, March 10, with the James Hunter Six. phous, minimalist production as fold into it, creating a dreamy listening experience unlike much else in the genre. MATTHEW SINGER. Reed College Student Union, 3203 SE Woodstock Blvd, 771-1112. 9 pm. Free for Reed College students. Limited $20 tickets for the public available only at Paradox Olde Shop on the Reed campus. 21+.

to Dress Well and Grimes have brought to fore. Arthur Ashin’s smooth and hypnotic Autre Ne Veut, which released its second album, Anxiety, in February, shares in the evening’s spoils. MARK STOCK. Bunk Bar, 1028 SE Water Ave., 894-9708. 9 pm. $10. 21+.

Sons of Huns, Ape Machine, Bison Bison

[INDIE ROCK] Frightened Rabbit is Scotland’s version of Mumford & Sons, but with more electrification, a couple more albums and a weirder name. The band’s moniker reflects a nickname given to frontman Scott Hutchison due to his severe shyness growing up. Yet its music is driving, full and confident. With the recent release of its fourth full-length, Pedestrian Verse, the quintet brings forth its most polished tracks—thanks to producer Leo Abrahams, who worked under Brian Eno for more than a decade—soaked in dueling electric guitar riffs and subtly powerful percussion. At the forefront of the soundscape, with phrases both poetic and sometimes crude, sits Hutchison’s songwriting, which continually dismisses his once-youthful shyness through personal and unabashed lyrics. EMILEE BOOHER. Hawthorne Theatre, 3862 SE Hawthorne Blvd., 233-7100. 9 pm. $17 advance, $20 day of show. All ages.

[METAL FOR THE MASSES] Sons of Huns has risen quickly to the upper echelons of Portland’s hardest-rocking bands, built on a solid foundation of balls-tothe-wall beats, huge guitar solos and blistering live shows. The band’s latest single, “Leaving Your Body,” released late last year, is a perfect example of why its music has great appeal beyond the Ash Street Saloon double-denim crowd. Somewhere between Fu Manchu and Black Sabbath, the trio combines the psych-y riffing and freewheeling energy of the former with the shout-along vocals and dramatic sensibilities of the latter. In other words, it’s good, no-bullshit rock anyone with two ears and a pulse can enjoy. RUTH BROWN. The Know, 2026 NE Alberta St., 473-8729. 8 pm. $5. 21+.

SATURDAY, MARCH 9 Smoke DZA, Yo X! and Kid Kid, Stewart Villain, Cassow and Nottus

[WEED RAP] Harlem MC Smoke DZA has been labeled a “weed rapper,” and deservedly so. His songs have names like “K.U.S.H.” and “Smoke-N-Dope,” and his latest album is aptly titled Rolling Stoned. This isn’t necessarily a bad thing. DZA, along with fellow endo smokers Curren$y and Wiz Khalifa, has carved a niche out for himself by creating lush, spacedout hip-hop that floats somewhere between ambient electronica and “’93 Til Infinity.” Of course, this type of music sounds best when you’re stoned, so prepare to see DZA through a thick veil of smoke at the show, which is actually a release party for Seattle rapper AyeLogics. If a bunch of weed rappers want to have a release party, why not do it in Portland, right? REED JACKSON. Branx, 320 SE 2nd Ave., 234-5683. 9 pm. $20. 18+.

Autre Ne Veut, Majical Cloudz

[SOUL-GAZE] The Turn Turn Turn EP by Majical Cloudz is strong enough to make me forget just how bad the band’s name is. In other words, the four-song synthand-soul effort is really, really good. Ample ambient noise and simple chord progressions are filled in by Devon Welsh’s towering vocals. And while the project sounds of the late-night bedroom variety, Majical Cloudz also sounds like a deserved member of a certain arena of minimalistic neo-R&B that acts like How

Frightened Rabbit, the Twilight Sad

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Joe Ely Duo, Joe Pug

[AMERICANA CULT LEGEND] Joe Ely is perhaps best known as a member of alt-country supergroup the Flatlanders, but a supergroup doesn’t earn that tag unless its individual members bring an impressive pedigree into the band format. Long before the Flatlanders earned their reputation in the early ’90s, Ely was already one of the greatest songwriters ever to come out of Texas. Blessed with a voice that required little effort to sound lonesome and world-weary, the Amarillo-born, Lubbock-raised artist has inspired everyone from Bruce Springsteen and the Chieftains to the Clash (whom he once toured with) to plumb deeper emotional depths. But Ely doesn’t lean on heartache alone: He called his last album Satisfied at Last, and while the title rings sardonic, the 66-yearold singer sounds, if not completely satisfied, at least at peace with his lot in life. MATTHEW SINGER. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 6:30 pm. $20. 21+.

SUNDAY, MARCH 10 The James Hunter Six, The Relatives

[THE FUNKY GOSPEL] While headliner James Hunter’s blueeyed take on Sam Cooke balances precariously between genuinely pleasant and Starbucks bland— Minute by Minute, his first record in five years, leans toward the for-

CONT. on page 35 Willamette Week MARCH 6, 2013 wweek.com

JOBS

IS HIRINg! page 52

Willamette Week MARCH 6, 2013 wweek.com

MUSIC

Alberta Rose Theatre

A N g E l A DAW N

PROFILE

Wednesday, March 6th HEIDI HAPPY

ORA COGAN

+ THE TAILOR

Friday, March 8th

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[DOWNTEMPO] Doug Appling, known in electronic music circles as Emancipator, has just been on what he calls a “little adventure.” He’s currently in Costa Rica, where he performed at the music- and art-focused Envision Festival. Before the show, Appling went a bit wild, getting on a zip line and zooming through the trees, past hordes of howler monkeys. “Nature is what spurs my imagination,” he says over the phone, still giddy from the experience. Strange for an artist who, at his most natural, will throw in samples of dripping water behind a trip-hop beat. But in the last few years, the Portland-based downtempo producer’s international popularity has grown to the point that he’s become a staple at outdoor electronic festivals, which, he says, is the ideal environment to experience his music. “My music is made to mesh with nature, not represent it,” he says. “Festivals are a fusion between the feelings we have inside and modern humanity and technology, which is how I see my music.” Sonically, the music of Emancipator inspires a smile and bobbing head, but there’s none of the hard-hitting beats associated with, say, ’90s trip-hop forebears Massive Attack. Instead, Appling puts melodies and harmonies in the foreground, with minor chords on piano, guitar and violin reinforced by plinking bells and hammered dulcimer. They’re the perfect jams for relaxing poolside—or chilling out at a hot festival. Emancipator played a dozen such festivals last summer, and will play a dozen more this summer, including Wakarusa Music in Arkansas, Electric Forest in Michigan and Lightning in a Bottle in Southern California. Festival junkies will recognize this circuit as more focused on jam bands than events like Coachella or Bonnaroo. “I got my foot in the door with the jam-band scene, but ever since I’ve tried to escape it,” Appling says. “The main goal is to start my own thing, with my own people.” Last year, Appling took a step in that direction by starting his own label, Loci Records, on which he released his latest album, Dusk to Dawn, in January. He says the goal of the label is to be an outlet for a sound he can’t quite put a finger on, one that combines world and classical music with the clean sound of chillout, and one that puts some distance between his music and the “jam band” associations. Whether Loci will simply be Emancipator’s vanity label remains to be seen. Given that Appling ’s mood is as chilled out as his music, though, the label’s main purpose will probably be exposure, not profit. For him, it’s not about cashing in or impressing anyone. It’s about making the right music for the right time and place. “Context is everything,” Appling says. “If I’m playing a sunrise set, it will be uplifting. Everything will be different if I’m opening up for a group like STS9, or if I’m playing my own tours. The same songs can have so many different meanings.” MITCH LILLIE. SEE IT: Emancipator plays Wonder Ballroom, 128 NE Russell St., on Friday, March 8. 9 pm. $16 advance, $20 day of show. All ages.

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comInG soon: black 'n blue · RogeR clyne & The PeacemakeRs · muRs · nile · cluTch · m.s.i. Willamette Week MARCH 6, 2013 wweek.com

Music froM your backyard. twitter.com/localcut • facebook.com/localcut NEW & RECOMMENDED

IVAN & ALYOSHA

ROBYN HITCHCOCK

ON SALE $10.99 CD LP ALSO AVAILABLE FREE LIVE PERFORMANCE SUNDAY 3/24 @ 3 PM

ON SALE $12.99 CD LP ALSO AVAILABLE

ALL THE TIMES WE HAD

“All the Times We Had”, Ivan & Alyosha’s first full-length album, encapsulates the personalized blend of rousing songcraft, infectious melodic hooks and thoughtful lyrical introspection that’s already endeared the band to anyone who’s witnessed one of their effortlessly uplifting live shows, or who’s heard either of their two prior indie EP releases.

LOVE FROM LONDON

“Love From London” celebrates life in a culture imperiled by economic and environmental collapse. “These are exciting times,” Robyn says. “We are surfing on the momentum of chaos. If a consensus on global warming comes from the people, then the media, the politicians, and the corporations will have to adapt to it. Rock and Roll is an old man’s game now, so I’m staying in it.” The release of “Love From London” commemorates and celebrates Robyn’s 60th birthday.

OFFER GOOD THRU: 3/31/13

UPCOMING IN-STORE PERFORMANCES LEAVES RUSSELL FRIDAY 3/8 @ 6 PM

Portland quartet Leaves Russell owes its unique rock n’ roll sound to its members’ divergent backgrounds, but each has something in common: a love of music that stretches back to his earliest days. “We Chose The Devil Red” balances a lilting playfulness with a swelling intensity and exciting musical ingredients.

RICK BASS & STELLARONDO SUNDAY 3/10 @ 5 PM

“Stellarondo’s music is utterly unique: a cutting-edge blend of orchestral folk and rock with splashes of bluegrass and country. When the band hooks up with an expert storyteller, Rick Bass, the performance is mesmerizing. You hear one story in the music and one in the narration that, somehow, weave together to form something wonderful and new.” - Cherie Newman, Montana Public Radio

JACK & THE BEAR WEDNESDAY 3/13 @ 6 PM

Jack & the Bear provides a unique blend of musical backgrounds; traditional guitar stylings of artists such as Bruce Springsteen and Glen Hansard meet new-wave cascading instrumentals found in songs of Fleet Foxes and Beirut. The use of three part harmony and instruments such as trumpet, accordion, and organ sets the group apart, as does their must-see live show.

Willamette Week MARCH 6, 2013 wweek.com

SUNDAY–TUESDAY

Benoît Pioulard, Cars & Trains, Mojave Bird

[ACOUSTIC COLLAGE] Recording under the moniker Benoît Pioulard for four full-length albums now, Tom Meluch has transitioned from a musician hiding behind the layers of his own sonic collages—more apt to create home recordings than to play live shows—into a songwriter who now tours regularly and whose voice is front and center. His brandnew album, Hymnal, showcases the full spectrum of his growth while remaining true to his soothing aesthetic of mixing field recordings, static texture and delicate acoustic chords with that of his own melodic voice. While Meluch is no longer a resident of the Rose City, having resettled in Seattle, his solo output remains very much entrenched in the Pacific Northwest. Remnants of nature scattered throughout allow his unconventional folk gems to sound comforting and familiar upon first listen. NILINA MASONCAMPBELL. Holocene, 1001 SE Morrison St., 239-7639. 8:30 pm. $7.

Blind Boys of Alabama

[GOSPEL] The story behind the Blind Boys of Alabama is the stuﬀ of legend. Seventy years ago, six black and blind 9-year-old Southerners came together to start a gospel group. Since then, they’ve become part of the history of music and this country, performing for Dr. King during the civil rights movement and inﬂuencing artists from Marvin Gaye to Ray Charles. It’s no secret the Boys are getting up there in age (four of the founding members have already passed), but the group, which still features original band leader Jimmy Carter, can still move an audience with its haunting hymns of salvation. REED JACKSON. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 8 pm. $40 advance, $45 day of show. 18+.

TUESDAY, MARCH 12 Martha Wainwright, AroarA

[SINGER-SONGWRITER] Singersongwriter scion Martha Wainwright has struggled to define her musical identity as clearly as others in her gifted family—until now. Come Home to Mama is her strongest album yet, showing a confident stylistic grip and mastery of her singular voice. Musical variation abounds, from the cascading guitars of “Radio Star” to the pointillist keyboards of “Four Black Sheep.” The album provides a lovely setting for its true jewel: Wainwright’s heartbreaking rendering of her late mother Kate McGarrigle’s final composition. “Proserpina” is an ancient tale of loss (the title character is the Roman analog of Persephone), though the mythical mother’s longing for her daughter is sadly reversed here. JEFF ROSENBERG. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $14 advance, $15 day of show. 21+.

PROFILE DIANA MARKOSIAN

mer—opener the Relatives heaps praise on the Lord with the same raw-throated joy Cooke employed for his electric live performances. Of course, Cooke didn’t live long enough to discover psychedelic guitars, but the Dallas-based gospel-funk vocal quintet, came of age in the era of Hendrix, and in its 1970s heyday used blistering sixstring pyrotechnics and guttural James Brown howls to communicate the word of God. After a 30-year break, during which founding brothers Gean and Tommy West started their own parishes, the group reconvened this year for the utterly smoldering The Electric Word. Imagine Funkadelic as a church band—if that doesn’t convert the hopeless sinner, nothing will. MATTHEW SINGER. Aladdin Theater, 3017 SE Milwaukie Ave., 234-9694. 8 pm. $20 advance, $25 day of show. Under 21 permitted with legal guardian.

MUSIC

LIKE A VILLAIN TUESDAY, MARCH 12 [EXPERIMENTAL MUSICAL THEATER] Holland Andrews stands just beyond the fray of the final gathering site at last year’s Portland May Day protests, in a video for local music-media website Into the Woods. “All I ever wanted was for everyone to know how to love us,” the pierced, feathery-haired 24-year-old sings in a composed, almost operatic voice. “If you don’t know how, I can show you.” Then she lowers the mic, gets on her knees and starts to scream. For Andrews, this wasn’t an uncommon performance. Since 2010, under the name Like a Villain, the Portland multi-instrumentalist has been using her jazzy clarinet, looping pedals and musical theater-trained voice—along with a musical theater-cultivated flair for the dramatic—to make experimental music that revels in the dichotomy between pretty and provocative. A typical Like a Villain song starts melodic but ends chaotic. Andrews doesn’t know how to do it any other way. “If I were to try and do something sweet and normal, then I would have to somehow alter it or fuck it up, and I wish I could tell you why,” she says. “Maybe it has something to do with my parents being divorced. Blame my parents.” Growing up in Southern California, Andrews, the sister of a drama kid and the daughter of a former member of a ’70s soul combo, was supposed to be the artistic, quiet one in the family. But tagging along with her sister to theater camps, she discovered that she came alive onstage. “I don’t like to attract a lot of attention, but in places where it makes sense, I enjoy it,” she says. “It made sense to be onstage singing.” Andrews also played clarinet in school ensembles, but she didn’t put it all together until she moved to Portland and acquired a one-woman band’s most important instrument: the digital audio program GarageBand. Yet, while Apple technology enabled Andrews to create harmonies with her chordless instruments and develop her sound, Like a Villain has always been more about performance than recording. The compact tracks from the two collections on Like a Villain’s Bandcamp page don’t come close to capturing Andrews’ sprawling live pieces—to say nothing of her bright-eyed, steady-handed stage presence. Andrews hopes a forthcoming record she’s working on with producer Mike Erwin will be more reflective of who she is as a musician. “I’m really excited to finally have something that I think better represents what I do,” she says. For the time being, Andrews will keep doing with her live performances what she says she’s always sought to do through music: heal people. “Before I play, I cast a little spell—or pray, it’s all the same shit—to be able to help people grow, so they can feel deeper next time their lover says, ‘I love you,’” Andrews says. “I want to tap into some really deep part of people that at first makes them really uncomfortable, and then they finally crack that shell and there’s a flood of whatever needs to be felt.... Performing is the only way I know how to do that.” JONATHAN FROCHTZWAJG. Holland Andrews wants to teach the world to love.

SEE IT: Like a Villain plays Bunk Bar, 1028 SE Water Ave., with WL, on Tuesday, March 12. 9 pm. $3. 21+.

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our 105 favorite bars, pubs & clubs

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Wednesday, March 6 • 9pm

21 & Over

WL Soft Shadows

Get your career off the ground TODAY! Call Now 800.868.1816

$6.00 at the door.

Thursday, March 7 • 9pm

21 & Over

What Portland is listening to!

Every Tuesday on wweek.com/pdxcharts

First Thursdays at Slabtown with DJ Crybaby DJ Cry Baby Therapists Pro Teens FREE! DJ Crybaby will be spinning records in the main room (21+ w/ ID, free), and the live music will be in the DIY space (all ages, $3-$5 sliding scale).

Saturday, March 9 • 9pm

21 & Over

Jagula The Decliners Gemet Gemet Sunday, March 10 • 8pm

All Ages

The Church of RocknRoll Presents... Mister Tang Banh Mi Toim Tyrants $3.00 at the door.

Within Spitting Distance of The Pearl

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Willamette Week Recommendations Sorted by category and neighborhood.

see pg. 51

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• 9 month, hands on, career focused training • Job Placement assistance • Small class sizes • Financial Aid available for those who qualify • Fast growing industries, great opportunity for growth • A new segment of our curriculum devoted to sustainability and green operations

Let your people skills earn you money. International Air and Hospitality Academy 2901 E. Mill Plain Blvd., Vancouver, WA 98661

Food & drink

Don’t throw it away. Get it fixed!

WILLAMETTE WEEK’S SERVICE DIRECTORY

TO PLACE AN AD CONTACT: Ashlee Horton 503-445-3647 • ahorton@wweek.com Tracy Betts 503-445-2757 • tbetts@wweek.com

Page 24 Willamette Week MARCH 6, 2013 wweek.com

MUSIC CALENDAR

march 6–12

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

Muddy rudder Public house

doug Fir Lounge

8105 SE 7th Ave. Sleepy Eyed Johns

830 E Burnside St. The Maldives, Richard Buckner

red room

duff’s Garage

reed college, eliot hall chapel

east end

2530 NE 82nd Ave. Random Axe

LEIf PODHAjSkY

3203 SE Woodstock Blvd Oneirogen

rotture

315 SE 3rd Ave. Junius

Sellwood Public house 8132 SE 13th Ave. Open Mic

Shaker and Vine

2929 SE Powell Blvd. Portland Jazz Composers’ Ensemble

Someday Lounge 125 NW 5th Ave. The Fix

The Blue Monk

3341 SE Belmont St. Hill Dogs

Thirsty Lion

71 SW 2nd Ave. Hair Assault

Tiger Bar

317 NW Broadway Karaoke from Hell

Tonic Lounge

3100 NE Sandy Blvd. Monarchies, The Taste

Torta Landia

4144 SE 60th Ave. Brian Francis and the FoPo Follies

Vie de Boheme

KaLeIdOScOPe dreaM: Shabazz Palaces play reed college Student union on Friday, March 8.

Wed. March 6 al’s den at the crystal hotel 303 SW 12th Ave. Joe McMurrian

alberta rose Theatre

3000 NE Alberta St. Heidi Happy, Ora Cogan

andina

1314 NW Glisan St. Toshi Onizuka

ash Street Saloon

225 SW Ash St. Lucas Dix, Vichi Mumraw, Phantom Balance, Adapt, Doze

Backspace

115 NW 5th Ave. Southerly

Berbati’s

231 SW Ankeny St. World Music Dance Party with DJ Jason Catalyst

Buffalo Gap Saloon

6835 SW Macadam Ave. Tyler Stenson

doug Fir Lounge

830 E Burnside St. Caspian, Native, This Patch of Sky

eastBurn

1800 E Burnside St. Na Rosai Irish Jam

Goodfoot Lounge

2845 SE Stark St. Danny Barnes and Matt Sircely, Giraffe Dodgers

hawthorne Theatre

3862 SE Hawthorne Blvd. The Hush Sound, the Last Royals, Sydney Wayser

holocene

1001 SE Morrison St. Parenthetical Girls, PWRHAUS, Stay Calm

Ivories Jazz Lounge and restaurant 1435 NW Flanders St. Randy Porter Trio

Jade Lounge

2346 SE Ankeny St. Carl Solomon

Jimmy Mak’s

221 NW 10th Ave. The Mel Brown Quartet

Landmark Saloon

4847 SE Division St. Jake Ray (9 pm); Bob Shoemaker (6 pm)

LaurelThirst

2958 NE Glisan St. Rob Wynia, Rich Landar, Quick & Easy Boys

Lents commons

9201 SE Foster Road Open Mic

Mission Theater

1624 NW Glisan St. Portland State Chamber Choir

Mississippi Studios

3939 N Mississippi Ave. Nathaniel Talbot Quartet, Swansea

record room

8 NE Killingsworth St. Woolen Men, Pony Time, Stickers

red Lion on the river

909 N Hayden Island Drive Cascade Zydeco Dance Camp: T Broussand and the Zydeco Steppers, Mary Jane Broussard and Sweet La La

red room

2530 NE 82nd Ave. Furniture Girls, Sightseer, the Lily Affair, Dae, Uncle Rat

reed college, eliot hall chapel

3203 SE Woodstock Blvd John Wiese

Slabtown

1033 NW 16th Ave. WL, Soft Shadows

Someday Lounge 125 NW 5th Ave. Phase One

The Know

2026 NE Alberta St. Koban, Lié, Vice Device, Hole in My Head

Thirsty Lion

71 SW 2nd Ave. Jordan Harris

Thorne Lounge

4260 SE Hawthorne Blvd. Musician’s Open Mic

Torta Landia

4144 SE 60th Ave. Jon Ransom

Tube

18 NW 3rd Ave. Dead Conspiracy, Infernus, Aethyrium, DJ Dungeonmaster

Willamette Week MARCH 6, 2013 wweek.com

ThurS. March 7 al’s den at the crystal hotel 303 SW 12th Ave. Joe McMurrian

aladdin Theater

3017 SE Milwaukie Ave. Great Big Sea

andina

1314 NW Glisan St. Sonasi

artichoke community Music 3130A SE Hawthorne Blvd. Open Mic

ash Street Saloon

225 SW Ash St. Gums and Antitune, John Henry MC, Architex, Sediments

Berbati’s

231 SW Ankeny St. DJ Deaf Row

Buffalo Gap Saloon

6835 SW Macadam Ave. The Tempest Theory

camellia Lounge 510 NW 11th Ave. Paula Byrne, Craig Bidondo

chapel Pub

430 N Killingsworth St. Steve Kerin

dante’s

350 W Burnside St. Electric Six, Gabriel the Marine, Bend Sinister

hawthorne Theatre Lounge

1503 SE Cesar E. Chavez Ave. Cotton, Waver Clamor Bellow, Gresham Transit Center, Butt 2 Butt

hawthorne Theatre

3862 SE Hawthorne Blvd. Marduk, Moonspell, Inquisition, The Foreshadowing, Deathwolf

holocene

1530 SE 7th Ave. Loose Change

Wonder Ballroom

128 NE Russell St. G. Love & Special Sauce, John Fullbright

FrI. March 8 al’s den at the crystal hotel 303 SW 12th Ave. Joe McMurrian

aladdin Theater

3017 SE Milwaukie Ave. Ladysmith Black Mambazo

1001 SE Morrison St. Golden Retriever, Swahili, Holy Balm, CLOAKS, DJ Charles Berlitz

alberta rose Theatre

Ivories Jazz Lounge and restaurant

1314 NW Glisan St. Sambafeat Quartet

1435 NW Flanders St. Tom Grant

3000 NE Alberta St. Mason Jennings

andina

angelo’s

2346 SE Ankeny St. Bergerette

4620 SE Hawthorne Blvd. Tender Age, Porcelain God, Havania Whaal, Gazzookabazookaz

Jimmy Mak’s

ash Street Saloon

Jade Lounge

221 NW 10th Ave. Stanley Jordan (7:30 and 9:30 pm)

Kelly’s Olympian

426 SW Washington St. Yards, Lowmen Markos

Kenton club

2025 N Kilpatrick St. M.A.R.C with Valkyrie Rodeo, GALLONS, Beta Crack, The Hand That Bleeds, The Mood Dies

Landmark Saloon

225 SW Ash St. Shotgun Overdose, Violent Majority, Highway Star

Backspace

115 NW 5th Ave. Yung Rob, The Resistance, Kid Huss, Young Kirb

Berbati’s

231 SW Ankeny St. Decadent 80’s: DJ Non, DJ Jason Wann

4847 SE Division St. Ruby Feathers (9 pm); Chris Miller’s Highlife Trio (6 pm)

Blackwater records

LaurelThirst

1635 SE 7th Ave. Peter Karp, Sue Foley

2958 NE Glisan St. The Barkers, the Left Coast Roasters

Branx

east end

Mississippi Pizza

Buffalo Gap Saloon

doug Fir Lounge

830 E Burnside St. De La Warr, the Family Crest, the Bottlecap Boys

duff’s Garage

203 SE Grand Ave. Waffle Taco, Fond of Snakes, Lithopedian, Hellocitizen

eastBurn

1800 E Burnside St. Eat Off Your Banjo Bluegrass

Goodfoot Lounge

2845 SE Stark St. Scott Pemberton Trio

3552 N Mississippi Ave. Sparkle Nation (9 pm); the Jamblers (6 pm)

Mississippi Studios

3939 N Mississippi Ave. Ben Miller Band, Ed and the Red Reds

Mock crest Tavern 3435 N Lombard St. The Roving Eyes

Mount Tabor Theater

4811 SE Hawthorne Blvd. Stunt Poets, Blue Skillet

1925 SE Morrison St. Generacion Suicida, Bellicose Minds, Adelit@s 320 SE 2nd Ave. Lord Dying, Atriarch, Nether Regions, Gaytheist 6835 SW Macadam Ave. Toledo Kesch

camellia Lounge 510 NW 11th Ave. Matt Lande, Taylor Williams

club 21

2035 NE Glisan St. Dollywood Babylon, Wavesauce, TBA

dante’s

350 W Burnside St. Shout Out Out Out Out

1635 SE 7th Ave. Rae Gordon, Lisa Mann 203 SE Grand Ave. National Burger Records Day: Youthbitch, No Tomorrow Boys, Isaac Rother and the Phantoms, Glitter Dick, Wormbag

eastBurn

1800 E Burnside St. Closely Watched Trains

Flywheel Skate Shop

2032 NE Alberta St. Hammered Grunts, Transient, the Rebel Spell, Barbarian Riot Squad, I Have No Friends

red room

Bob White Theatre

reed college Student union

320 SE 2nd Ave. Smoke DZA, Yo X! and Kid Kid, Stewart Villain, Cassow and Nottus

2530 NE 82nd Ave. Bloodoath, Hive Tyrant, Within the Pyre, Battle Axe Massacre

3203 SE Woodstock Blvd Shabazz Palaces

ringside Fish house 838 SW Park Ave. Brent Martens Combination

roseland Theater

8 NW 6th Ave. Hollywood Undead, Dance Gavin Dance

Sassy’s

927 SE Morrison St. DJ Hazmatt

Secret Society Lounge

6423 SE Foster Road Sneakin’ Out

Branx

Bunk Bar

1028 SE Water Ave. Autre Ne Veut, Majical Cloudz

camellia Lounge

510 NW 11th Ave. George Colligan and Kerry Politzer

club 21

2035 NE Glisan St. Wild Bells, The Way Downs, DJ Seoul Brother #1

116 NE Russell St. The Twangshifters, Jon Koonce Trio, High Flyer Trio

doug Fir Lounge

Shaker and Vine

duff’s Garage

Ford Food and drink

Star Theater

east end

Gemini Lounge

The Blue Monk

Foggy Notion

3416 N Lombard St. BMP/GRND 1 year anniversary party: DJ Amy Kasio, DJ Rhienna 2505 SE 11th Ave. Cedro Willie, Nick Peets 6526 SE Foster Road Jive Coulis

hawthorne Theatre

3862 SE Hawthorne Blvd. Black ‘N Blue, Sonicles, Sonic Temple (The Cult tribute), Labansky

holocene

1001 SE Morrison St. Ecstasy: Total Freedom, Miracles Club, Beyondadoubt

Ivories Jazz Lounge and restaurant 1435 NW Flanders St. Mardi Gras Band

Jade Lounge

2346 SE Ankeny St. Cascade Rye, Dust and Thirst

Jimmy Mak’s

221 NW 10th Ave. Soul Vaccination, Bruce Conte, Chester Thompson

Katie O’Briens

2809 NE Sandy Blvd. Absent Minds, 48 Thrills, YO ADRIAN, Pageripper

Kells Brewpub

210 NW 21st Ave. Sami Rouisi

Kelly’s Olympian

426 SW Washington St. Speaker Minds, Neighbors, Bad Tenants

Kenton club

2025 N Kilpatrick St. Aranya, Fur Coats, Mustaphamond, The Chair Project

LaurelThirst

2958 NE Glisan St. Bingo, Joe McMurrian, Woodbrain

Mississippi Pizza

2929 SE Powell Blvd. Wrong Kind of Girl 13 NW 6th Ave. KMFDM, Legion Within

The crown room

Fifteenth avenue hophouse

205 NW 4th Ave. Noise Fridays: Doc Adam, Dev From Above, Swerveone, DJTJ

The Know

2026 NE Alberta St. Sons of Huns, Ape Machine, Bison Bison

The Lovecraft

421 SE Grand Ave. Golden Gardens, Appendixes

Thirsty Lion

71 SW 2nd Ave. Rubella

Tonic Lounge

3100 NE Sandy Blvd. Elora, Acrid Intent, Perry Gerber

8105 SE 7th Ave. The Sportin’ Lifers Trio

Music Millennium

3158 E Burnside St. Leaves Russell

Noho’s hawaiian cafe 4627 NE Fremont St. Hawaiian Music

Original halibut’s II 2527 NE Alberta St. Jim Wallace

1517 NE Brazee St. Hot Club Time Machine

Foggy Notion

3416 N Lombard St. Metropolitan Farms, Johnny Ma, Certain Death

Goodfoot Lounge

2845 SE Stark St. Freak Mountain Ramblers, Garcia Birthday Band

hawthorne hophouse 4111 SE Hawthorne Blvd. Steve Cheseborough

hawthorne Theatre Lounge

Tony Starlight’s

Torta Landia

3862 SE Hawthorne Blvd. Frightened Rabbit, the Twilight Sad

3728 NE Sandy Blvd. Shanghai Woolies (Louis Armstrong tribute) 4144 SE 60th Ave. The Infinity of it All

Trail’s end Saloon

1320 Main St., Oregon City Billy D and the Hoodoos

Wilfs restaurant and Bar

800 NW 6th Ave. Bill Beach and Brasil Beat

Wonder Ballroom 128 NE Russell St. Emancipator

SaT. March 9 al’s den at the crystal hotel

Mississippi Studios

Muddy rudder Public house

1800 E Burnside St. The Keplers

1503 SE Cesar E. Chavez Ave. The Moustache Bandits, Back Alley Barbers

3017 SE Milwaukie Ave. Out of Sight Salsa

Mount Tabor Theater

203 SE Grand Ave. La Pump, Wishbeard, Therapy

eastBurn

303 SW 12th Ave. Joe McMurrian

4811 SE Hawthorne Blvd. Thomas Mapfumo and the Blacks Unlimited, Loveness Wesa (theater); Bigfoot Country (lounge)

1635 SE 7th Ave. Karen Lovely Band

3341 SE Belmont St. SuperPositon Quartet, Alton Garcia Band

3552 N Mississippi Ave. Skerik’s Bandalabra (9 pm); Level 2 (6 pm) 3939 N Mississippi Ave. Assembly of Dust, Sugarcane

830 E Burnside St. Leaves Russell, No Kind of Rider, Josh & Mer

aladdin Theater

andina

1314 NW Glisan St. Toshi Onizuka Trio

artichoke community Music

3130A SE Hawthorne Blvd. Tom May and Doug Smith

ash Street Saloon

225 SW Ash St. Krystos, Weresquatch, Gate of the gods, Gladius

Backspace

115 NW 5th Ave. Half Way There, the Great Train Robbery, the Deadmen

Berbati’s

231 SW Ankeny St. Prince vs Michael, DJ Dave Paul

hawthorne Theatre

Ivories Jazz Lounge and restaurant

1435 NW Flanders St. Nancy Curtin and Tom Grant

Jade Lounge

2346 SE Ankeny St. Colin Fisher, RJ Stangland, Walter Rockwell, Julia Marie Richfield, Fireflyz

Jimmy Mak’s

221 NW 10th Ave. Soul Vaccination, Bruce Conte, Chester Thompson

Katie O’Briens

2809 NE Sandy Blvd. General Nasty, Skoi, PDX Punk Collective

Kells Brewpub

210 NW 21st Ave. Sami Rouisi

Kelly’s Olympian

426 SW Washington St. Liquid Light, Rococode, Bike Thief

Kenton club

2025 N Kilpatrick St. Muscle Beach, Super Duper Fun Gun, Sista Fist, Smoke Rings

Landmark Saloon

4847 SE Division St. Rocky Butte Wranglers (9 pm); Sam Yale (6 pm)

LaurelThirst

2958 NE Glisan St. Saloon Ensemble, James Low Western Front

Mississippi Pizza

3552 N Mississippi Ave. Get Rhythm (9 pm); Closely Watched Trains, Lucy Horton Band (6 pm)

Mississippi Studios

3939 N Mississippi Ave. Joe Ely Duo, Joe Pug

march 6–12 BAR SPOTLIGHT

Tonic Lounge

rosnaps.com

3100 NE Sandy Blvd. Frame By Frame, The Flurries, Assisted Living

Tony Starlight’s

3728 NE Sandy Blvd. Midnight Serenaders

Trail’s end Saloon

1320 Main St., Oregon City Boogie Bone

Valentine’s

232 SW Ankeny St. Stay At Home Mob

Vie de Boheme 1530 SE 7th Ave. Al Perez

Wonder Ballroom 128 NE Russell St. Greensky Bluegrass

Sun. march 10

AHOY, MATEY: Add a few animatronic pirates, and Lighthouse Inn (10808 NW Saint Helens Road, 240-8827) could pass for a Universal Studios theme ride. Each door—even in the restrooms, cutely marked “Gulls” and “Buoys”—has a porthole window, mermaid figurines dot the walls, and there’s a coconut fashioned to look like a shrunken head. But there’s also a friendly, belowdeck familiarity to this Linnton neighborhood outpost, wedged between the Willamette and Forest Park, which allows it to steer clear of gimmickry. The bar, varnished to a high gleam, is strewn with freshwater fishing publications, and landlubbing patrons sip grog (bloody marys, $6, are a popular choice) and play shuffleboard as the jukebox flips between Maroon 5, classic country and “Footloose.” Haven’t found yer sea legs? Avoid the barstools, which swivel and keel in all directions. Avast, me bucko, you’ll be loaded to the gunwales smartly. REBECCA JACOBSON. mount Tabor Theater

4811 SE Hawthorne Blvd. Autonomics, Tigress

muddy rudder Public house 8105 SE 7th Ave. Alan Hagar

noho’s hawaiian cafe 4627 NE Fremont St. Hawaiian Music

original halibut’s ii 2527 NE Alberta St. Lloyd Jones

record room

8 NE Killingsworth St. Cloud City Cars, Ethernet, No Parades

red room

2530 NE 82nd Ave. Exogorth, Totes Brute, Nekro Drunkz, Road Kill Carnivore

reed college, eliot hall chapel 3203 SE Woodstock Blvd Grouper

ringside Fish house 838 SW Park Ave. Brent Martens Combination

Secret Society Lounge

116 NE Russell St. Trashcan Joe, Zbumba, DJ Prashant

Shaker and Vine

2929 SE Powell Blvd. Trio Flux

Slabtown

1033 NW 16th Ave. Jagula, the Decliners, Gemet-Gemet

Someday Lounge

125 NW 5th Ave. Just People, Diego’s Umbrella, Theoretics

Star Theater

13 NW 6th Ave. The Slants, Splintered in Her Head

The Blue monk

3341 SE Belmont St. Tim Connor, Karyn Patridge, Joseph Litttle, Janet Julian, Robert Richter, Marianne Flemming, Rich West Blatt, Carly Baer, Wil Koehnke, Regina La Rocca, Paul Davies (Tom Waits tribute)

The Know

2026 NE Alberta St. C Average, Nasalrod, Humours, Poison Apple DJs

The old church

1422 SW 11th Ave. Makindu Children’s Program Benefit: Mel Brown Trio, Jof Lee, Tim Gilson, WOU Western Hemisphere Orchestra

Thirsty Lion

71 SW 2nd Ave. Will Bradley

al’s den at the crystal hotel 303 SW 12th Ave. Chance Hayden and Ian James

aladdin Theater

3017 SE Milwaukie Ave. The James Hunter Six, The Relatives

alberta rose Theatre 3000 NE Alberta St. Roy Rogers and the Delta Rhythm Kings

andina

1314 NW Glisan St. Danny Romero

Bossanova Ballroom

722 E Burnside St. Chuck Par-Due, the Mike Curtis Project (Harry James and Frank Sinatra tribute)

clyde’s Prime rib

5474 NE Sandy Blvd. Ron Steen Jazz Jam

doug Fir Lounge

830 E Burnside St. Marcus Foster, Sean Rowe, Ruston Kelly

Ford Food and drink 2505 SE 11th Ave. Tim Roth

holocene

1001 SE Morrison St. Benoit Pioulard, Cars & Trains, Mojave Bird

ivories Jazz Lounge and restaurant 1435 NW Flanders St. Laura Cunard

Jade Lounge

2346 SE Ankeny St. Vanessa Rogers

Landmark Saloon

4847 SE Division St. Ian Miller

LaurelThirst

2958 NE Glisan St. Kris Deelane & Co., Freak Mountain Ramblers

mississippi Pizza

3552 N Mississippi Ave. Papa Couch (9 pm); Dismal Niche Orchestra (6 pm)

mississippi Studios

3939 N Mississippi Ave. Blind Boys of Alabama

muddy rudder Public house 8105 SE 7th Ave. Irish

music millennium

3158 E Burnside St. Rick Bass, Stellarondo

nePo 42

5403 NE 42nd Ave. Open Mic

rontoms

600 E Burnside St. Slim Fortune, Thanks

Shaker and Vine

2929 SE Powell Blvd. Jennifer Batten, Steve Adams

Slabtown

1033 NW 16th Ave. Mister Tang, Banh Mi, Toim, Tyrants

8105 SE 7th Ave. Lloyd Jones

roseland Theater

8 NW 6th Ave. Flogging Molly, Mariachi El Bronx, Donots

Secret Society Lounge 116 NE Russell St. Rick Bass, Stellarondo

The crown room

205 NW 4th Ave. DJ King Fader, Nathaniel Knows, Sepkt1

Twilight café and Bar 1420 SE Powell Blvd. SIN Night

TueS. march 12 al’s den at the crystal hotel 303 SW 12th Ave. Chance Hayden and Ian James

andina

1314 NW Glisan St. Neftali Rivera

ash Street Saloon

Wed. march 6

SaT. march 9

Beech Street Parlor

cc Slaughters

Star Bar

dante’s

412 NE Beech St. DJ Zac Eno

219 NW Davis St. Trick with DJ Robb 639 SE Morrison St. DJ samFM

412 NE Beech St. DJ Bob Ham

219 NW Davis St. Revolution with DJ Robb

The Firkin Tavern

350 W Burnside St. Juno What?!, DJ Dave Paul

Tiga

736 SE Grand Ave. DJ Maxamillion

Vie de Boheme

316 SW 11th Ave. DJTJ

1937 SE 11th Ave. Eye Candy VJs

1465 NE Prescott St. Tony Remple 1530 SE 7th Ave. Swing Night: Inspirational Beets

ThurS. march 7

dig a Pony

Fez Ballroom

holocene

1001 SE Morrison St. Atlas: DJs Anjali, E3, the Incredible Kid

Lola’s room at the crystal Ballroom

1332 W Burnside St. Come As You Are 90s Dance Flashback

225 SW Ash St. Phreak: Electronic Mutations

Beech Street Parlor

The Know

Backspace

cc Slaughters

rotture

Slabtown

Star Bar

639 SE Morrison St. The Bobcat 2026 NE Alberta St. Fools Rush, the Bogarts, the Savage Henry’s

Tonic Lounge

3100 NE Sandy Blvd. Donots, Tiananmen Bear

Tube

18 NW 3rd Ave. Tant, Sick Whips, Open Marriage

Valentine’s

232 SW Ankeny St. Tunnels, Sedan

Vie de Boheme 1530 SE 7th Ave. Arthur Moore’s Harmonica Party

mon. march 11 al’s den at the crystal hotel 303 SW 12th Ave. Chance Hayden and Ian James

andina

1314 NW Glisan St. Jason Okamoto

ash Street Saloon 225 SW Ash St. Open Mic

camellia Lounge 510 NW 11th Ave. Joe Millward

dante’s

350 W Burnside St. Karaoke From Hell

duff’s Garage

1635 SE 7th Ave. Susie and the Sidecars 2845 SE Stark St. Sonic Forum Open Mic Night

angel ceballos

muddy rudder Public house

Star Bar

Goodfoot Lounge

Jade Lounge

2346 SE Ankeny St. Jaime Leopold

Jimmy mak’s

221 NW 10th Ave. The Dan Balmer Band (8 pm); Bright Lights Conversation (6 pm)

Kells Brewpub

210 NW 21st Ave. Traditional Irish Jam Session

Landmark Saloon

4847 SE Division St. Hack Stitch and Buckshot (9 pm); Saturday Night Drive (6 pm)

LaurelThirst

2958 NE Glisan St. Kung Pao Chickens, Portland Country Underground

mississippi Pizza

3552 N Mississippi Ave. Mr. Ben

aLL WhiTe eVeryThinG: Parenthetical Girls play holocene on Wednesday, march 6.

MUSIC CALENDAR

115 NW 5th Ave. Ari Chersky, Nick Sweet Trio, Kozyol, Chris McKelway/Manuel Abreu Duo

Bunk Bar

1028 SE Water Ave. Like a Villain

doug Fir Lounge

830 E Burnside St. Martha Wainwright, AroarA

duff’s Garage

1635 SE 7th Ave. Dover Weinberg Quartet

Goodfoot Lounge

2845 SE Stark St. The Roseland Hunters

hawthorne Theatre Lounge

1503 SE Cesar E. Chavez Ave. The Bright Light Social Hour

ivories Jazz Lounge and restaurant

1435 NW Flanders St. Ron Steen Jam Session

Jimmy mak’s

221 NW 10th Ave. The Mel Brown Septet (8 pm); Milwaukie High School Jazz Band (6:30 pm)

Landmark Saloon

4847 SE Division St. Sagebrush Sisters

LaurelThirst

2958 NE Glisan St. Jackstraw

Shaker and Vine

2929 SE Powell Blvd. Blake Lyman Quintet

Torta Landia

4144 SE 60th Ave. Zak’s Jazzy night

Twilight café and Bar

1420 SE Powell Blvd. Open Mic Night with The Roaming

Valentine’s

232 SW Ankeny St. Gubia, A Pale Blue Dot, Jewelry Rash

412 NE Beech St. Türk Mali

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

315 SE 3rd Ave. DJ Nark, DJ Kasio Smashio, Lisa Dank

1033 NW 16th Ave. DJ Cry Baby, Therapists, Pro Teens

639 SE Morrison St. DJ Jessicat

The Know

421 SE Grand Ave. DJ Tom Jones, DJ Erica Jones

2026 NE Alberta St. DJ Bruce LaBruiser

The Lovecraft

The Whiskey Bar

421 SE Grand Ave. Vortex: DJs Kenny, John and Skip

31 NW 1st Ave. Play Saturdays: Lange

The Whiskey Bar

1465 NE Prescott St. DJ Bad Wizard

31 NW 1st Ave. Recess: Gladkill, Project Aspect, Unlimited Aspect, Mr. Wu

Tiga

Sun. march 10

Trader Vic’s

Savoy Tavern & Lounge

Valentine’s

Someday Lounge

1203 NW Glisan St. DJ Drew Groove 232 SW Ankeny St. Sex Life DJs

Fri. march 8 cc Slaughters

219 NW Davis St. Fetish Friday with DJ Jakob Jay

crystal Ballroom

1332 W Burnside St. VJ Kittyrox

Goodfoot Lounge

2500 SE Clinton St. Tender Loving Care 125 NW 5th Ave. Hive

mon. march 11 Beech Street Parlor 412 NE Beech St.

Cowboys From Sweden

Kelly’s olympian

426 SW Washington St. Eye Candy VJs

Star Bar

2845 SE Stark St. Soul Stew: DJ Aquaman

639 SE Morrison St. Metal Monday: DJ Desecrator

Groove Suite

The Know

440 NW Glisan St. Cock Block: Trinitron, Lil’C, Sara Z, Susie C

record room

8 NE Killingsworth St. Addictions Drag Night: DJ Brando4sho, DJ Ill Camino, Sparkle Princess Forever

rotture

315 SE 3rd Ave. Live and Direct

Someday Lounge

125 NW 5th Ave. Recess, Verse, Mr. Romo, Jerry Abstract, Art of Hot, Michael Grimes

Star Bar

639 SE Morrison St. Blank Friday: DJ Highway 7

The Whiskey Bar

31 NW 1st Ave. Basscube, Gladiator

Tiga

1465 NE Prescott St. DJ Ramophone

Valentine’s

232 SW Ankeny St. Bad Wizard DJs

Vie de Boheme

1530 SE 7th Ave. Chervona, DJ Zhenya

2026 NE Alberta St. The Resistance, Buck Turtle, Bottom Shelf Bnd, Jah’di, DJ Kelly Hallinburton

Tiga

1465 NE Prescott St. DJs Sunny 1550

TueS. march 12 Beech Street Parlor 412 NE Beech St. Jason Urick

cc Slaughters

219 NW Davis St. Girltopia with DJ Alicious

dots cafe

2521 SE Clinton St. DJ Drew Groove

eagle Portland

835 N Lombard St DMTV with DJ Danimal

Someday Lounge 125 NW 5th Ave. Lift

Star Bar

639 SE Morrison St. DJ Smooth Hopperator

Tiga

1465 NE Prescott St. DJ Mattressland

Willamette Week MARCH 6, 2013 wweek.com

PERFORMANCES MANCES MAN CES

SPRING

“ONE OF THE HOTTEST DANCE COMPANIES IN AMERICA.” - PORTLAND STAGE REVIEWS

MAR 28 – 30 / 7:30PM WORLD PREMIERE / SARAH SLIPPER WORLD PREMIERE / PATRICK DELCROIX CHI / WEN WEI WANG

TICKETS

NWDANCE NWDANCEPROJECT.ORG NW DANCEPRO PROJE JECT. CT.OR ORG G INFO / 503. 503.828.8285 503 .828 828..828 8285 5 ALSO LSO AVAIL AVA AVAILABLE ILAB ABLE LE AT PCP PCPA PC PA P AB BOX OX OFFICE OX O FFICE OFF ICE

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March 20th • 2013

WW’s guide to all local breweries, bottle shops & home brewing supplies, along with WW picks for best breweries outside of Portland. Space Reservation & Materials Deadline March 7th at noon • Call 503.243.2122 • Email advertising@wweek.com 40

Willamette Week MARCH 6, 2013 wweek.com

PERFORMANCE

March 6–12 REVIEW

= WW Pick. Highly recommended.

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

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: REBECCA JACOBSON. Theater: REBECCA JACOBSON (rjacobson@ wweek.com). Classical: BRETT CAMPBELL (bcampbell@wweek.com). Dance: AARON SPENCER (dance@wweek.com). TO BE CONSIDERED FOR LISTINGS, submit information at least two weeks in advance to: rjacobson@wweek.com.

THEATER 4.48 Psychosis

Directed by Rebecca Lingafelter (of Third Rail and Portland Experimental Theatre Ensemble), the Lewis & Clark theater department presents British playwright Sarah Kane’s final play. The distinctive work has no stage directions, nor does it indicate the number or genders of performers. This production takes a vaudeville approach, shifting between vignettes to explore Kane’s themes of sanity and depression. There will be two pre-show panels: one on Kane’s work in the context of British playwriting and contemporary performance (6 pm Saturday, March 9), and the other on artistic and cultural constructions of otherness (6 pm Saturday, March 16). Fir Acres Theatre, Lewis & Clark College, 0615 SW Palatine Hill Road, 768-7495. 7:30 pm Friday-Saturday, March 8-9 and Thursday-Saturday, March 14-16. $7-$10; $3 Thursday, March 14.

Antony and Cleopatra

Northwest Classical Theatre Company stages Shakespeare’s tragic romance. Shoe Box Theater, 2110 SE 10th Ave., 971-244-3740. 7:30 pm ThursdaysSaturdays, 2 pm Sundays through March 10. $18-$20.

Bill W. and Dr. Bob

You know those made-for-Mormon plays about Joseph Smith? His trials, tribulations and eventual triumph over the world? Well, this play is a lot like that, except it’s for die-hard 12-steppers. The two playwrights are psychologists whose previous plays include the opus We Have to Talk: Healing Dialogues Between Men and Women. Bill W. and Dr. Bob is pure propaganda for the healing powers of Alcoholics Anonymous (the group’s creepy, anachronistic religious content is downplayed for comic effect). No scene is without its thudding didactic purpose, and all dialogue is so distressingly on-the-nose that one would think the play’s a bloody-faced boxing match. By the end of its tedious 2 1/2 hours, it’s become less a play about alcoholism and healing than a horror story about the hell-on-earth of a life lived without a single unexpressed thought. Still, the play did have its own pathos. While I felt little for the cardboard characters—even Dr. Bob, charismatically played by Gary Powell—I did, finally, feel bad for the actors who had to play them. MATTHEW KORFHAGE. The CoHo Theater, 2257 NW Raleigh St., 715-1114. 7:30 pm Thursdays-Saturdays, 2 pm Sundays through March 30. $20-$25.

Coming Soon to a Theater Near You

No Social Life Theatre Company, recently transplanted from Chicago, has set a goal of staging 12 shows in 12 months. In Coming Soon to a Theater Near You, the group’s first production, No Social Life’s Samuel Morris brings Portland a semiautobiographical play about Samuel Hardwick, a writer bringing his semiautobiographical screenplay to Hollywood. The nervously twitching Hardwick is spun into a web of L.A. caricatures who replace his touching screenplay with sex and explosions…and gay fairy hallucinations. Hardwick loses himself to a world where actors become writers become producers. Unfortunately, the audience may struggle to play along. With the ambiance of your kid sibling’s theatrical productions, Coming Soon plays out like a thinly veiled Inception in which struggling actors play struggling actors. When characters break the fourth wall to explain technical difficulties, it’s clear there is little suspension of disbelief to ruin. But Coming Soon is obviously a labor of love, and for that it gets a sticky gold star. ENID SPITZ. The No Social Life Theatre Company, 4038 N Mississippi Ave., 323-404-6274. 8 pm Fridays-Saturdays, 7 pm Sundays through March 10. $15.

The Great American Trailer Park Musical

A vibrant end to Stumptown Stages’ eighth season, The Great American Trailer Park Musical celebrates the high comedy of low culture amid Jerry Springer-rific hootenanny. The ostensible story, as introduced with a gimlet eye and rollicking invective by a tanning trio (picture Macbeth’s witches in hot pants and hairspray), follows the crumbling marriage of an agoraphobe and a toll collector after an exotic dancer moves into Armadillo Acres. But that wafer-thin plot is little more than a clothesline on which to hang satirical song-and-dance numbers as brief and garish as the costumes. It’s all in awful taste, of course, and the show has attracted charges of snickering classism since its first off-Broadway production nine years ago. Still, since the days of Li’l Abner, there’s been a proud tradition of ennobling hillbilly caricatures through incandescent theatricality. The real offense, as with so many modern re-creations of the musical, lies with the music itself. While Kirk Mouser’s direction smartly keeps the momentum brisk without pause for spotlighted showstopping, the lyrics (cleverly bitchy and possessed of their own internal thrust) are thoroughly let down by the live band’s soft-rock balladry treacle and pop-by-numbers banality. If the characters of Pickles and Pippi had lyrics to match the performers’ élan, an

JOSEPH LAMBERT

CONT. on page 42

KHAMBATTA DANCE COMPANY

OuT Of BONDAgE: gavin gregory (left) and Christopher Livingston play newly freed slaves in The Whipping Man.

THE RACE IS OFF TWO THEATER PRODUCTIONS THROW RACE RELATIONS INTO STARK RELIEF. BY r eBecca jacoB son

rjacobson@wweek.com

From Othello to A Raisin in the Sun, the immediacy of theater has cast a light on race relations. It’s arresting to witness such dynamics live. Last weekend, two plays opened that, on the surface, present similar themes. In Matthew Lopez’s The Whipping Man, a Confederate soldier and two former slaves grapple with the end of the Civil War. Athol Fugard’s Blood Knot finds half-brothers—one dark-skinned, one fair—navigating apartheid in South Africa. Both take a microcosmic approach, examining family dynamics as a mirror to the broader social climate, and both investigate ownership and freedom. But the treatment could scarcely differ more. The Whipping Man, under Rose Riordan’s gutsy direction at Portland Center Stage, traffics in direct emotion, carefully timed revelations and visceral incident, including an amputation scene. Lopez’s drama takes place in Richmond, Va., just as the Civil War has ended. Carter Hudson plays a wounded Confederate soldier named Caleb, who has heaved himself to his family’s gutted home. There he also finds former slaves Simon (Gavin Gregory) and the younger John (Christopher Livingston). Here’s the twist: These men are Jewish, and it’s Passover. Prodded by Simon, they hold a makeshift Seder in the half-demolished manor. That hulking house—with its moldering wallpaper, cockeyed banister and blasted-out windows— is captured perfectly by scenic designer Tony Cisek. Abetted by moody lighting and dramatic sound design, it makes for an intensely atmospheric experience. Lopez’s dialogue can grow didactic, and the talky style can trample subtlety. Simon is often the wise mouthpiece: “All these things you’re telling me to do, by rights now you need to be asking me to do,” he says to Caleb. And later, to John: “You living in this world now, not just servin’ in it.” But the actors give such propulsive

performances that the action feels vital and urgent. As John, an intellectual jokester with angry undercurrents, Livingston astonishes. His relationship with Caleb is fraught, though studded with brotherly mischief. In an early scene, John is triumphant yet irreverent, grinning impishly as he dangles a flask over the writhing Caleb. Throughout the play, John returns to the house with sacks slung over his shoulder like a swindler Santa Claus, bearing loot from neighboring houses. But beneath, he seethes with bitter memories. As he recounts his first experience being whipped, John casts his eyes downward and crams his hands in his pockets. The play also has humor. Some is unintentionally topical: Simon eats horse meat even though it isn’t kosher (take note, IKEA shoppers). When the Seder arrives, the symbolism is heavy—Passover commemorates the liberation of the Israelites from Egypt—but wit remains. When Simon asks why Jews eat bitter herbs at the Seder, John answers dutifully, like a modern-day kid enduring the holiday rigmarole: “To remind us of the bitterness of slavery.” But then he adds a weary coda: “As if we needed reminding.” In reminding us that we must not forget, The Whipping Man leaves a powerful mark. Profile Theatre’s production of Blood Knot, however, does not. Some of this stems from the challenges of the script, a very different theatrical beast from The Whipping Man. Fugard’s 1961 play is metaphorical, next-to-plotless and interrupted by surrealism. Under focused direction, a production can develop an internal logic, but this staging by Kevin Jones feels bloated. As the darker-skinned brother, Don Kenneth Mason is fine, but Ben Newman gives a one-note performance as his fairer-skinned sibling. They spend the entirety of the play—close to three hours—in a one-room shack, a space just as claustrophobic for the audience as for the characters. Profile’s Fugard-only season has impressed so far, but its production of his breakout work—which so inflamed the apartheid government that his passport was revoked—lands with a thud. SEE IT: The Whipping Man is at the Gerding Theater, 128 NW 11th Ave., 445-3700. 7:30 pm Tuesdays-Sundays, 2 pm Saturdays-Sundays, noon Thursdays through March 23. $39-$65. Blood Knot is at Theater! Theatre!, 3430 SE Belmont St., 242-0080. 7:30 pm Wednesdays-Saturdays, 2 pm Sundays through March 17. $16-$30. Willamette Week MARCH 6, 2013 wweek.com

March 6–12

enduring treasure might be found lurking in this revivified white trash. JAY HORTON. PCPA Brunish Theatre, 1111 SW Broadway, 946-7272. 7:30 pm Thursdays-Saturdays, 2 pm Sundays through March 10. $15-$30.

home. Still, director Jane Bement Geesman and her Theatre Vertigo cast and crew manage to treat this heavyhanded excursion with vigor. Eerie sound design and a canny set—triangular prisms that rotate to represent urinals at Port Authority, cinema marquees and deli windows—create a rich atmosphere as Andrew meets a series of shady characters played by the excellent Andy Lee-Hillstrom. As Andrew, teenage actor Nathan Berl balances innocent inquisitiveness with growing anxiety. The nightclub scene is a highlight: It’s a madcap triptych, with Berl glow-sticking on one side, two actors grooving enthusiastically on the other and Wennstrom flailing in the middle. But just when it seems the play has dropped enough hints to conclude with appealing mystery, it jackknifes into lurid overexplanation. If this is what happens when the characters wake up and see the truth, I’d rather their hallucinations continue. REBECCA JACOBSON. Theater! Theatre!, 3430 SE Belmont St., 3060870. 8 pm Thursdays-Saturdays through March 16. $15 FridaysSaturdays, “pay what you want” Thursdays.

PA U L FA R D I G

PERFORMANCE Hard Times Come Again No More

Sowelu Theater presents Martha Boesing’s play based on the life of proletarian writer and activist Meridel Le Sueur. Set during the explosive 1934 Teamsters strike in Minneapolis, the play delves into issues of poverty, joblessness and nonviolent organizing. Performance Works NW, 4625 SE 67th Ave., 568-4017. 7:30 pm ThursdaysSaturdays; 2 pm Saturdays, March 16 and 23; and Sunday, March 17; through March 23. $12-$25 sliding scale.

How Sweet Was My Swamp

Mask & Mirror Community Theatre presents a melodramatic family comedy set in the swamps of Louisiana. Calvin Presbyterian Church, 10445 SW Canterbury Lane, Tigard, 691-1779. 7:30 pm Saturdays, 2 pm and 7:30 pm Sundays through March 17. $5-$12.

Venus in Fur

In the Next Room (Or the Vibrator Play)

Before Hysteria winked at Victorianera gynecological therapy, Sarah Ruhl did it more successfully. Triangle Productions presents Ruhl’s smart, compassionate play. Sanctuary at Sandy Plaza, 1785 NE Sandy Blvd., 2395919. 7:30 pm Thursdays-Saturdays, 2 pm Sundays (no show March 10) through March 31. $15-$35.

Macbeth

Post Five Theatre inaugurates its new black-box space with a lusty version of Shakespeare’s bloodiest play, Macbeth. Ty Boice, Post Five’s artistic director, plays the murderous thane with a brooding masculinity and a wardrobe recalling Marlon Brando in Streetcar Named Desire. Far from “unsexed,” his Lady Macbeth (Cassandra Schwanke) is a full-blown Shakespearean seductress in a black silk robe, and the action verges on voyeurism when the two meet. Fake blood galore, knife fights and combat boots further update the Scottish monarchy, but the cuts to Shakespeare’s text are unobtrusive and keep the spirit loyal. The cast, especially Nathan Dunkin as Banquo, captures Shakespeare’s dark world with intensity rather than melodrama. Actors weave through the audience to make their entrances into the small space, which lends the production a refreshing intimacy. (But watch your toes and elbows.) ENID SPITZ. Milepost 5, 850 NE 81st Ave., 971-2588584. 7 pm Fridays-Sundays through March 17. $10 Fridays-Saturdays, Sundays “pay what you can.”

The Merry Wives of Windsor, or the Amorous Adventures of the Comical Knight Sir John Falstaff

At the turn of the 18th century, little-known playwright John Dennis revised Shakespeare’s comedy about a very fat, very vain knight who courts two married women. Bag&Baggage artistic director Scott Palmer adapts Dennis’ version, setting it in the black-and-white style of ’50s television. The Venetian Theatre, 253 E Main St., Hillsboro, 345-9590. 7:30 pm Thursdays-Saturdays, 2 pm Sundays through March 4. $18-$26.

Red Herring

The title of Red Herring is—surprise!— a red herring. The play’s murder is no mystery whatsoever after the first five minutes, and the only complicated procedural on display is in the vaudevillian slapstick of the dialogue. “Why are you drinking vodka with a spoon?” asks one character. “Because,” comes the Russian-inflected response, “when I drink with fork it spills on lap.” Herring is an enjoyably farcical romantic comedy disguised as a hard-boiled detective farce and, like a lot of young lovers, it’s fast, loose and a bit thin. The play wraps three star-crossed pairs—a lady detective and a G-man, a spy’s wife and an unwilling spy, Joe McCarthy’s daughter and a free-thinking physicist—into a paper-thin espionage plot that’s mostly an excuse to

THE GREAT AMERICAN TRAILER PARK MUSICAL enact a 1940s-style fast-talkie full of whippet-quick banter and PG-rated sexual innuendo. This means the play is carried mostly by its winking wits and the hurtling speed of Christopher Liam Moore’s stage direction—truly, one of the most important characters in the play is a Murphy bed. While the entire cast performs its gymnastics admirably, the standout is Michael Mendelson as the sad Russian fisherman Andrei Borchevsky, who infuses his comedic role with genuine soulfulness. The wind does go out of the play’s sails in the final scene, but it still has more than enough momentum to drift across the finish line. Not to mention I laughed out loud more often than at any Portland production in recent memory. MATTHEW KORFHAGE. Artists Repertory Theatre, 1515 SW Morrison St., 241-1278. 7:30 pm Wednesdays-Sundays, 2 pm Sundays through March 23. $25-$50.

Rumors

Lakewood Theatre Company stages Neil Simon’s farce about a posh dinner party that goes haywire when the host shoots himself in the ear. Lakewood Center for the Arts, 368 S State St., Lake Oswego, 635-3901. 7:30 pm Thursdays-Saturdays; 7 pm Sundays, March 10, 17 and 24; 2 pm Sundays, March 17 and 24 and April 7 and 14; through April 14. $27-$30.

The Servant of Two Masters

Portland State University’s drama department presents an adaptation of Carlo Goldoni’s farcical comedy of errors from the 18th century. Lincoln Hall, Portland State University, 1620 SW Park Ave., 725-4612. 7:30 pm Thursday-Saturday, Feb. 28-March 2 and Wednesday-Saturday, March 6-9. 2 pm Sunday, March 3. $6-$12.

The Stinky Cheese Man and Other Fairly Stupid Tales

Oregon Children’s Theatre presents an adaptation of Jon Scieszka’s irreverent fairy tales. Winningstad Theatre, Portland Center for the Performing Arts, 1111 SW Broadway, 228-9571. 2 pm and 5 pm Saturdays, 2 pm Sundays through March 24. $15-$28.

Three Days of Rain

The architect Ludwig Mies van der Rohe was famous for the aphorism “Less is more.” Though his design was guided by an abstract philosophy, his steel-and-glass buildings were outwardly simple and direct. There’s something of Mies’ maxim in Richard Greenberg’s Pulitzer-nominated Three Days of Rain, directed by Tom Moorman in an uneven Defunkt production. Its structure is elegant and its language hyperarticulate, but behind its clean exterior there’s a thorny emotional through-line. In the first act, set in Manhattan in 1995, impulsive Walker

Willamette Week MARCH 6, 2013 wweek.com

and his sister Nan reunite before the reading of their father’s will. Their father was a lauded architect—on a level with Mies, whose Farnsworth House gets name-dropped in the play—but cold and taciturn with his children. Matthew Kern plays Walker as a volatile and flamboyant egoist, in love with his own words and unconcerned for his uptight sister (Christy Bigelow). Then enters Pip (a dynamic Spencer Conway), the charming son of their father’s long-dead partner, and tensions boil over as dangerous revelations come into focus. In act two, Greenberg jumps 35 years back in time, and we meet the previous generation. Walker and Nan’s father (Kern, affecting an unconvincing stammer), is a struggling architect while Pip’s father (Conway) is just as ebullient as his son. Bigelow plays boozy Southern belle Lina, who comes between the two men. The parallel structure offers a fascinating prism through which to examine the legacies and secrets parents hand down, as well as the misinterpretations their children contrive. But the second act stumbles, and Bigelow in particular. Lina should possess both pluck and desperation, but Bigelow lacks spark, and there’s no heat between her and Kern. After a vigorous first act, in which Moorman and his cast construct a sturdy and compelling edifice, the peek behind the façade proves unsatisfying. REBECCA JACOBSON. The Back Door Theater, 4319 SE Hawthorne Blvd., 481-2960. 8 pm ThursdaysSundays through March 23. $15-$25 Fridays-Saturdays, “pay what you can” Thursdays and Sundays.

The Velvet Sky

Bethany Palmer hasn’t slept in 13 years, not since her son Andrew was born. Fearing a ghoulish Sandman she believes is out to steal Andrew’s eyes, she stays up all night nervously knitting sweaters and tremulously singing lullabies. When her husband absconds with Andrew to New York City, Bethany follows in her plaid pajamas. As she frantically explains to a dopey bookstore owner before holding up his shop with a plastic gun, “I’m a patchwork woman, a crazy quilt.” The same could be said of Roberto AguirreSacasa’s nightmarish fairy tale of a play. There is much of this quilt to like: the bursts of dark comedy, the unraveling moral landscape, the improbably adult wishes of young Andrew, the hallucinatory blurring of dream and reality. But Aguirre-Sacasa’s script is also frustratingly intent on spelling out its sensationalistic warnings from the beginning. On the bus to New York, Bethany (Karen Wennstrom) meets a ditzy woman (admirably underplayed by Beth Thompson) who delivers the ultimate fear-instilling message: “Kids are never safe,” she intones. The Velvet Sky goes on to bludgeon that message

Fifty Shades of Grey reduced sadomasochism to handcuffs and spanking. Venus in Fur—while not devoid of dog collars and riding crops—throws into question such simple ideas of control and compliance. In David Ives’ work, in a jagged but entertaining Portland Center Stage production directed by Nancy Keystone, the relationship between domination and submission is an erotic power play that revels in its ambiguous stakes. Thomas (David Barlow) is a playwright-director who has adapted Leopold von Sacher-Masoch’s 1870 novella about a man who dreams of being enslaved by a woman, and as Venus in Fur begins he’s just endured a disastrous string of auditions. But as he calls his fiancee to snivel about those 35 inept actresses, into the dingy rehearsal room blows Vanda (Ginny Myers Lee), swearing about the perverts on the subway. Vanda may have come dressed in spike heels and leather bustier (which she’ll later unzip with a very funny “Geronimo!”), but on first glance she’s not so different from the 35 previous ninnies. That quickly changes, though, as she cajoles Thomas into letting her audition. Lee, with impressive control, transitions between more than two roles: In addition to modernday Vanda, a ditzy motor mouth, and 19th-century Vanda, a haughty aristocrat, there’s another Vanda who cites Greek mythology and dips into startling psychosexual insights. Lee flings herself into these rapidly shifting guises, and she’s hilarious to boot—in the show’s comedic highlight, Vanda improvises a scene as a German-accented Venus, whispering “I’ll be back” as if she’s Schwarzenegger. Opposite this swirling tempest, Barlow falters. As his character is alternately flattered and berated, Barlow’s default response is to widen his eyes and gape at Vanda like a startled puppy. Best, perhaps, to turn attention to Ives’ sizzling script, a fiercer whip than E.L. James could ever hope to crack. REBECCA JACOBSON. Gerding Theater, 128 NW 11th Ave., 445-3700. 7:30 pm Tuesdays-Saturdays and most Sundays, 2 pm Saturdays-Sundays, noon Thursdays through March 10. $25-$54.

A Wall is a Road

In this Well Arts production, professional actors perform stories written by people living with mental illness. Portland Actors Conservatory, 1436 SW Montgomery St., 459-45000. 7:30 pm Fridays, 2 pm Saturdays through March 16. $5-$10.

COMEDY & VARIETY The Big Show

Three sets of eight-minute acts, which may include short films, dance, shadow puppets, musical acts, standup, sketch comedy, juggling, bagpipe performances, unitards, unicorns and all variety of animals. Alberta Rose Theatre, 3000 NE Alberta St., 7196055. 8 pm Saturday, March 9. $10.

Cinema Curiouso

Movie-themed sketch comedy. Curious Comedy, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 8 pm FridaysSaturdays through March 9. $12-$15.

Comedy Grab Bag

Sketch comedy, stand-up and video shorts, inspired by a different theme each month. This installment: “Is Action/Adventure Theatre haunted?” Headliner Paul Jay, monologist Jed Arkley and a slew of improvisers investigate. Action/Adventure Theatre, 1050 SE Clinton St. 8 pm Friday-Saturday, March 8-9. $5.

Dom-Prov

If your idea of fun is playing improv games with a leather-clad dominatrix as an audience hurls marshmallows at you, this Unscriptables show is for you. Funhouse Lounge, 2432 SE 11th Ave., 309-3723. 10 pm Saturdays through April 27. $10.

Down and Dirty: A Dark Comedy Showcase

Ash Street Saloon presents its monthly stand-up sampler of dark and risqué comedy. Ash Street Saloon, 225 SW Ash St., 226-0430. 9 pm Sunday, March 10. $5.

Erik Griffin

The star of the Comedy Central series Workaholics hits Helium for a fournight run. Helium Comedy Club, 1510 SE 9th Ave., 888-643-8669. 8 pm Wednesday-Thursday, 7:30 pm and 10 pm Friday-Saturday, March 6-9. $10$25.

Friday Night Fights

Competitive improv, with two teams battling for stage time. Curious Comedy, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 10 pm every first and third Friday. $5.

John Hodgman

The Daily Show correspondent, onetime Jason Schwartzman arch-nemesis and foremost expert on being a foremost expert is a comedy renaissance man. Just being in the same room as him will make you a better person. Bagdad Theater, 3702 SE Hawthorne Blvd, 4677521. 7 pm. $25. Under 21 permitted with legal guardian.

Micetro

Elimination-style improv competition. Brody Theater, 16 NW Broadway, 2242227. 7:30 pm Fridays through March 29. $9-$12.

Spectravagasm 2

Post5 Theatre presents a fresh round of Portland-specific sketch comedy with a futuristic spin (think robotic prostitutes). Milepost 5, 850 NE 81st Ave., 971-258-8584. 10:30 pm FridaysSaturdays through March 16. “Pay what you can,” $10 suggested.

Weekly Recurring Humor Night

Whitney Streed hosts a weekly comedy showcase, featuring local comics and out-of-towners. Tonic Lounge, 3100 NE Sandy Blvd., 2380543. 9:30 pm every Wednesday. “Pay what you want,” $3-$5 suggested.

CLASSICAL Aashish Khan

The sarod—gorgeous plucked lute— master, son of Indian music legend Ali Akbar Khan and grandson of Ravi Shankar’s teacher, worked with the great sitarist in projects with Western musicians like George Harrison and Eric Clapton, on movie scores including Gandhi and A Passage to India and more. Plus he has won the highest awards in Indian music. He’ll be accompanied by Pranesh Khan on tabla drum in this concert of Hindustani classical music. First Baptist Church, 909 SW 11th Ave., 702-6937. 7:30 pm Saturday, March 9. $10-$25.

Consonare Chorale, Cowlitz Indian Tribe Drumming Group

The choir continues its admirably varied programming with music by today’s most popular choral composers, Beaverton-born Morten Lauridsen

MARCH 6–12 and L.A.’s Eric Whitacre, plus other dreamy and ritualistic sounds, some accompanied by Native American percussion. First Congregational Church, 1126 SW Park Ave., 228-7219. 7:30 pm Saturday, March 9. $12-$18.

recorder player Polly Gibson and Baroque guitarist and theorboist Hideki Yamaya in sublime music by some of Baroque Italy’s greatest composers: Monteverdi, Frescobaldi and two women singer-composers, Barbara Strozzi and Francesca Caccini. Community Music Center, 3350 SE Francis St., 823-3177. 7:30 pm Saturday, March 9. $14-$16.

Jerusalem Quartet

One of the most impressive events of the classical season commences with this acclaimed young foursome’s complete traversal of one of the 20th century’s most monumental musical achievements: Dmitri Shostakovich’s 15 string quartets. Each program contains three or four of the Russian composer’s often ferocious masterpieces. This landmark Friends of Chamber Music/ March Music Moderne extravaganza also boasts a borscht of free events, including talks on the composer, Soviet culture of his time and the quartet cycle; at Multnomah County Central Library on Saturday afternoon, there will be a roundtable discussion with the players, an open rehearsal and more. Lincoln Hall, Portland State University, 1620 SW Park Ave., 224.9842. 3 pm Sunday, 7:30 pm Monday-Thursday, March 10-14. $30–$45.

Oregon Symphony

In this March Music Moderne concert, prizewinning violinist Benjamin Schmid takes the virtuoso turn in Saint-Saëns’ third and ﬁnal violin concerto. Finnish guest conductor Hannu Lintu also leads the orchestra in one of the highlights of this month of Shostakovich masterpieces, the Russian composer’s Symphony No. 15, plus an earlier Russian favorite, Mussorgsky’s ever popular Night on Bald Mountain in its less familiar, original orchestration. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 228-1353. 7:30 pm Saturday, 2 pm Sunday and 8 pm Monday, March 9-11. $21-$96.

DANCE

March Music Moderne

The Mousai

In the latest installment of the Celebration Works series, the longrunning chamber sextet performs its characteristic blend of listenerfriendly contemporary music. This includes Kevin Gray’s Africanﬂavored, improv-tinged Mebasi; a newly commissioned trio by young Oregon composer Katerina Kramarchuk (whose work was featured at last summer’s Chamber Music Northwest festival); Brian DuFord’s New York Streetscapes, the latest in a line of lively urban evocations running from Gershwin to Reich; contemporary jazz great Paquito D’Rivera’s Latin Americanﬂavored Danzon; Montana composer David Maslanka’s pastoral Blue Mountain Meadow; and the oldie from 1939, Darius Milhaud’s medieval-tinged “The Fireplace of King René.” First Presbyterian Church, 1200 SW Alder St., 228-7331. 2 pm Sunday, March 10. $10-$12.

Musica Maestrale

Dueling sopranos! Two of the ﬁnest singers in Oregon—sopranos Catherine Olson and Melanie Downie Robinson—join viola da gamba and

BodyVox-2

A program by BodyVox’s house dance troupe BodyVox-2 features four new contemporary dance works by local choreographers. Oregon Ballet Theatre interim artistic director Anne Muellercontributes a piece that ties to ballet’s classical roots but is the least like ballet and includes small stage props. Eric Skinner, an artistic director at Skinner/Kirk Dance Ensemble,takes the dancers on a more contemporary path, while BodyVox aristic director Jamey Hampton’s duet showcases two of the company’s strongest dancers, Holly Shaw and Josh Murry. BodyVox’s Éowyn Emerald Barrett rounds out the performance with a piece that shows her evolution as a new choreographer. BodyVox Dance Center, 1201 NW 17th Ave., 229-0627. 7:30 pm Thursday-Friday, 2 pm and 7:30 pm Saturday, March 7-9. $36-$59.

Just Right

Portland dance company Trip the Dark presents the life of Little Red Riding Hood’s grandma through dance, roller skating and storytelling. The show draws inspiration from Xanadu and child beauty

pageants, and it features Chrisse Roccaro as Goldilocks and monologues by author Jacob Aiello of the Portland Fiction Project and Soft Show. Dante’s, 350 W Burnside St., 226-6630. 7 pm Sunday, March 10. $12-$15. 21+.

Khambatta Dance Company

Conduit Dance presents the Khambatta Dance Company, a New York-to-Seattle transplant contemporary group with a penchant for audience involvement. The ﬁvemember company will premiere Truth and Betrayal and perform three more of its repertory works. Before the show, each audience member will have in his or her seat a handwritten, crumpled note. On each note will be words suggesting a lens through which the audience member can experience the performance. Conduit Dance, 918 SW Yamhill St., Suite 401, 221-5857. 8 pm Saturday, March 9. $15.

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Phoenix Variety Revue

Portland drag queen and WW’s Best of Portland honoree Zora Phoenix presents her monthly cabaret, this time featuring local burlesque dancers Babs Jamboree and Angelique DeVil, Seattle’s Vixen Valentine and belly dancing by Eva. Kelly’s Olympian, 426 SW Washington St., 228-3669. 8:30 pm, Sunday March 10. $10. 21+.

Shimmy! Shake! Shindig!

Burlesque group Orchestre L’Pow, which accompanies dancers with the music of a live pit band, begins its 2013 season with a ’60s-themed show. The show stars New York’s Bettina May, an award-winning dancer who has been featured on HBO’s Real Sex and Bravo’s The Real Housewives of New York City. Also featured are L’Pow company dancers Madison Moone, Itty Bitty Bang Bang and the Infamous Nina Nightshade. Performances include ’60s-era dance moves, an homage to Breakfast at Tiﬀany’s and a bump ’n’ grind routine from Mad Men’s Joan. Bossanova Ballroom, 722 E Burnside St., 206-7630. 7 pm Saturday, March 9. $10-$40. 21+.

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JOKE IN A BOX SD HOLMAN

In its third season, the upstart citywide celebration of 20th- and 21stcentury classical music has become one of the biggest stories in an increasingly active indie classical scene. Thursday’s opening night preview party and panel discussion at Polish Hall focus on the centenary of Stravinsky’s century-defining radical masterpiece, The Rite of Spring and issues in Portland contemporary classical music, and includes performances of music by Lutoslawski, Esa-Pekka Salonen (the former L.A. Phil conductor), dance and videos. Friday’s Free Marz String Trio performance at the Community Music Center includes 10 new one-minute marches commissioned to celebrate the Rite’s birthday. Plus there will be works by Shostakovich, Lutoslawski and MMM founder and Portland composer Bob Priest. Another Portland composer, Susan Alexjander, leads an ear-opening sound walk on Mt. Tabor Saturday afternoon, while avant-talk show host Leo Daedalus facilitates conversation and multimedia performances on Saturday night at Sellwood’s Piano Fort. MMM returns to the Community Music Center Sunday for 10 homegrown works from Classical Revolution PDX’s 2013 Composer Competition, and Tuesday’s Creative Music Guild concert at the Gallery at Port City showcases solo works for flute and sax, violin, dance and drums. Other MMM first week events are covered in separate previews on this page. Multiple venues. Various times Thursday-Tuesday, March 7-12. See marchmusicmoderne.org for details. Free-$96.

PERFORMANCE

WHITNEY STREED A man walks into a bar... “...and says to the bartender, ‘I’m looking for a priest, a rabbi and a nun. Have you seen any of them?’ The bartender shrugs. He’s heard it all before. He doesn’t even care enough to say the lines anymore. He thinks back to his first love, the one that truly got him. They had been young then, the bar had been new. They had welcomed the jokes, thinking they would bring in business. But they were wrong. The relentless march of premises in and out of the door, the men and babies and Texans and lawyers and thieves—they rarely bought anything and hardly ever tipped. The bar fell into disrepair, became a joke itself. The struggle became too much and his love had left him. The man had left too, the bartender realized, coming out of his memory. He was alone now, again, as he had always been. Then suddenly, from the back door, he heard a noise. Knock knock. The bartender looked up. Maybe this was something different, something new, a joke that nobody had ever heard before. What choice did he have but to answer? Knock knock. ‘Who’s there?’”

gh the eyes See Portland throu ggest fan. of local music’s bi

Every Friday on

wweek.com/bimstagram

GO: Whitney Streed hosts the Weekly Recurring Humor Night every Wednesday at Tonic Lounge, 3100 NE Sandy Blvd. 9 pm. $3-$5 payment. 21+. Willamette Week MARCH 6, 2013 wweek.com

VISUAL ARTS

MARCH 6–12

= 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.

Adam Sorensen: The Optimist

Epic, sprawling, psychedelic, phantasmagoric—it’s hard not to break out the hyperbolic adjectives when describing Adam Sorensen’s paintings. His landscapes bear only a cursory resemblance to the Cascades and the Columbia River Gorge, on which they are partially based. They’re actually more mindscapes than landscapes, borrowing from the realms of science ﬁction and fantasy. Candy-colored geodes, impossibly high waterfalls and preternatural light turn these works into rhapsodies of imagination. This just might be the show to see in Portland this month. Through March 30. PDX Contemporary Art, 925 NW Flanders St., 222-0063.

Alex Steckly: Entitlement

Alex Steckly’s immaculate white-onwhite stripe paintings, ﬁrst exhibited several years ago at Fourteen30, are a hard act to follow. But the artist has set out to top himself in Entitlement, his new show at Nationale. A sartorial elegance permeates his work—think $400 silk dress shirts mashed up with minimalist art of the 1970s. Appropriating techniques from automobile-painting, his suave, obsessively detailed canvases take the genre of “ﬁnish fetish” to new heights. Through March 24. Nationale, 811 E Burnside St., Suite 112.

Apex: Sang-ah Choi

MARCH MUSIC MODERNE III Listening to the Here of the Now

The glittery panels, cereal boxes and blow-up Easter Bunny and Frosty the Snowman that make up Sang-ah Choi’s exhibition are intended to critique American culture, yet they are so visually seductive, they wind up celebrating it. This is commodity critique and Charles Jencksian doublecoding repackaged for the millennial set. It sets itself up to pierce our shallow, consumerist American hearts with a rapier, but the glint of light across the metal blade is so mesmerizing, all we can do is ooh and aah. Through March 31. Portland Art Museum, 1219 SW Park Ave., 226-0973.

Danny Lyon: The Bikeriders

Is it possible for a piece of paper with a black-and-white image to distill the essence of an era? That’s what photographer Danny Lyon is betting on with The Bikeriders, a distillation of the motorcycle-gang subculture of the 1960s. These images are chock-full of bikes and beer guts, tattoos and wifebeaters,

greasy-spoon diners and yards upon yards of leather. Through March 16. Charles A. Hartman Fine Art, 134 NW 8th Ave., 287-3886.

James Minden: Real/Unreal

“How’d he do that?” That’s what gallerygoers will wonder when they see James Minden’s nifty holographic abstractions, which Minden calls “light drawings.” He spends a lot of time painstakingly etching geometric forms into sheets of Plexiglas, so that under controlled conditions—a combination of diffused lighting and spotlights—the overlapping shapes seem to pop out of the picture plane and into threedimensional space. It’s a gee-whiz eﬀect, intensiﬁed by the knowledge that Minden creates the pieces by hand, without the aid of machines or lasers. Through March 30. Augen DeSoto, 716 NW Davis St., 224-8182.

Kayla Newell

A rising star in Portland’s art constellation, Kayla Newell mounts a strong showing of mixed-media drawing/painting hybrids at Mark Woolley’s gallery at Pioneer Place Mall. In fantastical mountainscapes such as Stone Pile and Ascend, she uses paint drips to suggest waterfalls and majestic, Middle Earth-like vistas. Her work has a similar feel to that of fellow Portland artists Adam Sorensen and Anna Fidler, but with the addition of meticulously rendered geometric motifs, glitter and sludgy black paint covering up intricate structures beneath. One of Newell’s pieces is called Nihilism/ Existentialism, but there is nothing sinister or depressing about this inventive show. Through March 10. Mark Woolley Gallery @ Pioneer, 700 SW 5th Ave., third ﬂoor, Pioneer Place Mall, 998-4152.

Reed Arts Week 2013

“Reverie” is the theme of this year’s Reed Arts Week, Reed College’s always-lively visual and performing arts festival. Participating artists include New York-based video artist Michael Robinson, Los Angeles artist and theorist Zach Blas, and Portland multimedia artist Brenna Murphy. For more information about performers and venues, visit www.reed. edu/raw/2013. March 6-10. Reed College Student Union, 3203 SE Woodstock Blvd, 771-1112.

Sophia Wallace: Truer

It’s Sophia Wallace’s contention that lesbians can’t ﬁnd honest depictions

of themselves in mainstream culture—that women who love women are more often the objects of heterosexual male fantasy. This is arguably less true in 2013 than it was decades ago when second- and third-wave feminism were at their peaks. Regardless, Wallace made it her mission to create a depiction of a lesbian relationship that was—to invoke this exhibition’s title—truer to real life. So she documented her own same-sex relationship for seven months, capturing tender and pensive moments during the relationship’s trajectory. These photographic prints are raw, honest, thought-provoking and, yes, sexy, no matter what your sexual orientation. Through March 31. Newspace Center for Photography, 1632 SE 10th Ave., 963-1935.

Stephen Scott Smith: Seeyouyousee

Stephen Scott Smith has been working on Seeyouyousee for the past 60 days, carving 10,000 pounds of plywood into a fully immersive installation. A sophisticated handler of diverse media, he’s appointing the show not only with sculpture, but also video, closed-circuit television, reﬂective objects and light eﬀects. He often references nostalgia and personal biography in his work, and while some of his past shows have bordered on the solipsistic, they have never wanted for sheer visual panache. It will be fascinating to see how the artist’s vision has matured since his show two years ago at Breeze Block. Through April 20. Breeze Block Gallery, 323 NW 6th Ave., 318-6228.

The Monument of the 7th Dimension

The Faux Museum may well be the next 24-hour Church of Elvis. Its exhibit, The Monument of the 7th Dimension, has a similarly oﬀ-kilter, DIY vibe. Conceived as a portal to another dimension, the walkthrough installation is laid out like a cardboard haunted house. Viewers walk a corridor, through tin-foil curtains and a papier-mâché cave, past sound-activated hanging bamboo stems and an electric organ that has a conspicuous depiction of a beaver on top. An audio track blends the squawking of gulls with a recording of late President Ronald Reagan’s infamous outtake about bombing the Soviet Union. An agreeably crazed, lowbrow aesthetic pervades. By the time you’re at the end of the cardboard hallway, you won’t be to the seventh dimension, but you’ll deﬁnitely be questioning the curators’—and your own—hold on reality. Through March 31. The Faux Museum, 139 NW 2nd Ave.

For more Visual Arts listings, visit

32 Concerts • 19 Countries • 85 Composers 2013 Global Village PDX

7–23 March 2013 www.marchmusicmoderne.org

TRUER BY SOPHIA WALLACE AT NEWSPACE CENTER FOR PHOTOGRAPHY 44

Willamette Week MARCH 6, 2013 wweek.com

BOOKS

MARCH 6–12

Time-Tested Family Recipes

= 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.

Live! ’s mre Mark Ha Guitar c ti Roman enings Wed. Ev

SUNDAY, MARCH 10

Fresh, Authentic Flavors of our Jalisco Heritage

The Studio Series

This month’s poetry reading and open-mic night will feature Portland poet Catherine McGuire (Glimpses of a Garden) and local poet and translator Carlos Reyes (Pomegranate, Sister of the Heart). Feel free to share your own agriculturally themed writing. Stonehenge Studios, 3508 SW Corbett Ave., 224-3640. 7-9 pm. Free.

Robert Ham maps the fringes of Portland music. Biweekly on wweek.com 4160 NE Sandy Blvd • 503-284-6327 • parking in rear

MONDAY, MARCH 11 Joyce Carol Oates

WEDNESDAY, MARCH 6 Dave Zirin

Proving that no arena is safe from the inﬁltration of political corruption, sports writer Dave Zirin tackles the breach in his new book, Game Over: How Politics Has Turned the Sports World Upside Down. Because there is nothing so fun that politics can’t suck the life from it. Powell’s City of Books, 1005 W Burnside St., 228-4651. 7:30 pm. Free.

THURSDAY, MARCH 7 Dan DeWeese and James Bernard Frost

Local lit lovers unite: Portlandbased writers Dan DeWeese (You Don’t Love This Man) and James Bernard Frost (A Very Minor Prophet) will get together for an evening of discussion as part of the Oregon Book Club—a project of the Oregon Writers Colony, of which Frost is the executive director. Broadway Books, 1714 NE Broadway, 284-1726. 7 pm. Free.

Comics Underground

Monthly shenanigan Comics Underground will partner with Dark Horse Comics for a special tribute to legendary cartoonist and writer Will Eisner. Some of the country’s most talented comics creators, including Brian Michael Bendis, Matt Fraction, Michael Avon Oeming, Dylan Meconis and Kelly Sue DeConnick, will each read a story from Eisner’s Last Day in Vietnam. Erik Nebel will accompany a wordless story on violin. You’ll laugh, you’ll cry, you’ll drink. Jack London Bar, 529 SW 4th Ave., 503-228-7605. 8 pm. $3-$5.

Roger Peet

Portland artist Roger Peet spent a month in the Democratic Republic of the Congo with a conservation organization trying to establish a new national park in the war-torn country. Peet will share videos, audio recordings and stories of his experiences encountering warlords, armed deserters and new species of monkeys. The Waypost, 3120 N Williams Ave., 367-3182. 8 pm. Free.

SATURDAY, MARCH 9 Poetry Out Loud

Prepare to get served...in iambic pentameter. Students from 35 high schools in 21 Oregon communities will be competing for more than $50,000 in college scholarships by memorizing and reciting classic poetry in the eighth annual Poetry Out Loud competition. Powell’s Books at Cedar Hills Crossing, 3415 SW Cedar Hills Blvd., Beaverton, 228-4651. 5 pm. Free.

Releasing critically acclaimed books more regularly than most of us ﬁle our taxes, literary legend Joyce Carol Oates has published more than 50 novels, racking up a hefty list of awards, including the National Book Award and multiple Pulitzer Prize nominations. So she’s kind of a big deal. Oates will sign books and read from her latest novel, The Accursed. Powell’s Books at Cedar Hills Crossing, 3415 SW Cedar Hills Blvd., Beaverton, 228-4651. 7 pm. Free.

Joel Magnuson

Whether we choose to acknowledge it or not, the end of cheap oil is swiftly approaching. But instead of stocking up on ammo and siphoning gas from your neighbor’s car twice a week, perhaps there is an economical way to transition. Joel Magnuson oﬀers his theory in the new book The Approaching Great Transformation by focusing on communities already in transition. Powell’s City of Books, 1005 W Burnside St., 228-4651. 7:30 pm. Free.

Marc Spitz

Music journalist, author and playwright Marc Spitz looks back to his youth spent as a suburban kid seeking glory and acceptance through a series of druggy and dangerous decisions. Spitz will read from his hilarious yet touching memoir, Poseur. Powell’s on Hawthorne, 3723 SE Hawthorne Blvd., 228-4651. 7:30 pm. Free.

TUESDAY, MARCH 12 Sherman Alexie

Combining poignant racial commentary with his signature wry wit and self-deprecating humor, author Sherman Alexie (The Absolutely True Diary of a Part-Time Indian) knows how to make a point. As the chosen author of the Multnomah County Library “Everybody Reads” program, Alexie will appear for an evening of readings, discussion and slightly oﬀensive Indian jokes. Trust us, he’s even better in person. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 248-4335. 7:30 pm. Sold out.

Laurence Overmire

Actor, poet and social-environmental advocate Laurence Overmire is tackling the simple topic of the survival of mankind with his new book, The One Idea That Saves The World. Aiming for a combined call to action and conscience, Overmire will share his new book with the goal of inspiring other writers and artists to speak out. Bring your notepad and delusions of grandeur! Tualatin Public Library, 18880 SW Martinazzi Ave., Tualatin. 6:30-8:30 pm. Free.

Street page 21

3H WWeek BW Ad: Spec14/Blind Pilot Runs: 3-6,13,27 & 4-3

BLIND pilot with the Oregon Symphony

For more Books listings, visit

A p r i l 2 7, 2 0 1 3 / 7:30 pM / o r s y M p h o n y. o r g Willamette Week MARCH 6, 2013 wweek.com

MOVIES

interview

PENELOPE SPHEERIS

LiNda SPHEEriS

THE FILMMAKER TALKS ABOUT PUNK ROCK AND LOSING HER TEMPER.

WW: I hear you were already interviewed by The Oregonian’s Marc Mohan, so I don’t want to repeat the same conversation. Penelope Spheeris: That was an odd interview, honestly. It turned out that the questions had more to do with being a woman in this business. We didn’t really talk about my past work. His topic had to do with how women are treated in an unequal manner in Hollywood. Hopefully, yours won’t be as well. Honestly, over the years it’s just been a beaten-to-death issue. I don’t know what to do about it. Nobody knows what to do about it. What goes through your head when you’re repeatedly asked those sorts of questions? I understand why [Mohan] hit that so hard, and it’s because it’s a women’s film festival, so you can’t avoid the issue. Only 7 percent of the Directors Guild [of America] are women. We get stuck under different kinds of rules than the men do. Oliver Stone can have a flop with Alexander and then have another deal the next week, whereas if a woman has a flop, then you don’t get another job immediately, if ever.

pEnElopE SphEErIS In 2000

BY r e B e cc a jaco Bs o n

rjacobson@wweek.com

Teenage angst has paid off well for Penelope Spheeris. Her breakout film, the remarkable 1981 documentary The Decline of Western Civilization, chronicled the Los Angeles punk-rock scene, with performances and interviews from Black Flag, Germs, Circle Jerks, X and others. She would go on to make two follow-up films in the Decline series, one about heavy metal and another about gutter-punk teens. Her narrative films Suburbia and Dudes also home in on the darker sides of youth culture, and her biggest commercial success, Wayne’s World, needs no introduction. Now 67, Spheeris still isn’t quite ready to grow up. “I have always done movies about teenage angst,” she says. “I’m sure it’s just me trying to work out my own problems.” Spheeris will be in town as the guest of honor at this weekend’s Portland Oregon Women’s Film Festival. (For POW Fest recommendations, see next page.) Spheeris spoke with WW by telephone from Los Angeles about Hollywood’s rules for women filmmakers, working with Mike Myers and why she doesn’t listen to rock ’n’ roll anymore.

What else is different for women? You don’t see us getting arrested. You don’t see us getting busted for DUI or drugs. We can’t, because you just don’t work after that. You can’t lose your temper on the set. A guy loses his temper on the set and he’s a genius. A woman loses her temper on the set and it’s the wrong time of the month. That one is very, very true. You can’t lose your temper, because there’s something about an irate woman that is just off-limits in this business. I complained one time when I was working at Universal that some guys in the transportation department were—what shall I say? My assistant was an attractive girl and they were trying to pick her up. They would harass her, so I complained about it, and guess who got in trouble? Me. They think you should keep your mouth shut. You’ve made several documentaries about music, most notably about punk rock. What’s your relationship with music? I had a very difficult upbringing, as many people do. I had seven stepfathers and an alcoholic mother. I went toward music to ease the pain. Music became my friend: I totally related to it and escaped with it. I remember the first time I put music together with a piece of film when I was a student at UCLA. It was like the heavens opened up. I just felt ecstatic when I saw what would happen when you put the two together. It was a film called Hats Off to Hollywood, and it was a song by Traffic called “The Low Spark of High Heeled Boys,” and I put it together with a couple of very colorful drag queens walking down Hollywood Boulevard. I’ll never forget how I felt when I put the music to the film. It felt like I had a calling. And this is before MTV. When I did the first Decline, it was 1980. Afterward, people would say, “Why did you copy MTV?” My answer was, I think it was the other way around. What kind of music drew you? In my younger years, it was just plain old rock ’n’ roll. I cannot hear a song that was on the

Willamette Week MARCH 6, 2013 wweek.com

radio before 1970 that I don’t know every lyric to. And then they get stuck in my head. Mike Myers, when we were working on Wayne’s World, said, “I think I’m gonna start a school that will help you get a song out of your head.” I kind of gave up on music in the early ’70s; it started getting to be very disco and pop. Then, when the Sex Pistols came around and tore the walls down, I got back into it. What kind of music do you listen to now? I really like to listen to meditation music, where it’s very Zen and ethereal. I don’t listen to punk rock, I don’t listen to heavy metal, I don’t listen to rock ’n’ roll. What do you have in the works? I have a follow-up to the Decline series [about punk rock]. I haven’t told anybody else that yet. But I also have a narrative picture called Boneyard about a heavy-metal band. What’s the state of the punk-rock scene? My daughter is very much into it, and sometimes I’m glad about that, sometimes I’m not. It is flourishing, to be honest with you. It’s bigger now than it ever was. It really has become extremely pervasive, not only in the United States but internationally, and not only with the music, but with the fashion and the look and even the philosophy and the standards. One of the aspects of punk rock is that it’s kind of creepy to promote yourself. You don’t see me promote myself a lot. I think I’ve had an extended career just because I don’t oversaturate. I’m not Kim Kardashian, thank God. For me, it just has to do with self-respect. You directed Mike Myers and Dana Carvey in Wayne’s World. What was that like? One of the great moments was when Dana and Mike were lying on the hood of the car on a soundstage and they were supposed to be at the airport watching the planes go overhead. It was the last day of the shoot, and they were both so exhausted that they got into one of those laughing fits, and Mike just started spitballing. It was insane. We started talking about Daffy Duck or Bugs Bunny or something, and it was just an insane moment when Mike started having this stream of consciousness. It didn’t make any sense, but it was funny as hell. And when we were doing that headbanging scene in the car, Mike said he didn’t want to keep doing it because his head hurt, his neck hurt and he didn’t think it was funny. I made him do it over and over and over and over again, and he was a little bit upset with me, but it turns out that’s the memorable moment in the movie. Sometimes you have to negotiate with the actors. I had to shoot that movie three times. I had to shoot it my way, I had to shoot it Dana’s way, I had to shoot it Mike’s way, and sometimes, when Lorne [Michaels] was around, I had to shoot it his way. SEE IT: POW Fest is at the Hollywood Theatre, 4122 NE Sandy Blvd., 281-4215. Spheeris’ films show on Saturday, March 9: Dudes (2 pm), Suburbia (7 pm) and The Decline of Western Civilization Part III (9 pm). Conversations with Spheeris follow the 2 and 7 pm screenings. $7, festival pass $60.

maRch 6–12 REVIEW

= WW Pick. Highly recommended.

WINGNUT FILMS

MOVIES

Editor: REBEccA JAcOBSON. 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: rjacobson@wweek.com. Fax: 243-1115.

5 Broken Cameras

A [ONE NIGHT ONLY] Emad Burnat

lives in Bil’in, a Palestinian village in the West Bank, flanked by the Green Line and an Israeli settlement creeping ever closer. In 2005, on the occasion of the birth of his fourth son, he acquires a video camera and begins filming his community’s efforts to fight the fence being erected between the settlement and their village, and their clashes with Israeli soldiers. In doing so, he unwittingly sets about making this documentary, capturing five years of struggle and triumph in the village, alongside the growth of his son. It is, of course, the very definition of one-sided, but it is also a brave, raw, honest portrayal of one man’s experience, existing somewhere between citizen journalism, activism and video memoir. 5 Broken Cameras is rough, grisly viewing at times, but it is also deeply engaging, and a valuable contribution to the ongoing coverage of the Israeli-Palestinian conflict. RUTH BROWN. Portland State University, Smith Memorial Student Union, Room 329. 5:30 pm Friday, March 8.

21 and Over

From Jon Lucas and Scott Moore, writers of The Hangover, comes another gross-out comedy, this one about a straight-A student who has a wild 21st birthday the night before a big medical school interview. Not screened for critics. R. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Lloyd Center, Oak Grove, City Center, Evergreen Parkway, Pioneer Place, Sherwood, Tigard, Wilsonville, Sandy.

56 Up

a sentiment voiced often in 56 Up, the latest in Michael Apted’s visionary, often-depressing series that has documented the lives of 14 disparate Britons, in seven-year installments, since they were 7 years old in 1964. For those who’ve not watched all the previous installments, 56 Up is largely of anthropological or cultural interest; for those who have, there’s a wistful sadness to the affair. Still, it’s one of the great journeys in documentary film; it’s unlikely there will be another one like it. MATTHEW KORFHAGE. Living Room Theaters.

The ABCs of Death

C- How many directors does it take to

suck the fun out of watching people die? As many as there are letters in the alphabet, apparently. The ABCs of Death is a splatter film, in genre and concept. Producers Ant Timpson and Tim League recruited an international coterie of modern horror directors—26 filmmakers from 15 different countries—assigned each a letter around which to craft a theme and asked them to create a short film about the many nauseating ways in which to shuffle off this mortal coil, with no restrictions beyond that. The result, naturally, is like a blast cannon spewing blood, guts and other bodily fluids against a wall and seeing what sticks. Little does. The Americans are overly pleased with their own cleverness, the Japanese are totally batshit, the Indonesian guy wins the sickest-fuck award, and everyone is oddly fixated with toilets. It’s anarchic enough to keep you wondering what’s next, but as with most anthology films, no one seems to be giving full effort. If any entries stick, it’s those that place visual

A This documentary is “a complete

cONT. on page 48

fraud,” says one of its subjects. It’s

TOP FIVE

BY E NID S P ITZ

TOP FIVE FILMS TO SEE AT POW FEST Beat Down A runaway teen squeezes into scintillating pink spandex as she follows her wrestling dream. Deanne Foley’s film congenially captures showy wrestling, pubescent awkwardness and familial struggles. Unfit: Ward vs. Ward It’s lesbian vs. murderer in this documentary about a 1995 custody battle. Mary Ward, an out lesbian, was ruled more unfit for parenthood than her ex-husband, who served nine years for murdering his previous wife. The film is a dramatic journey through family testimony and legal proceedings. Rock N Roll Mamas For better or worse, rock stars procreate, too. Portland director Jackie Weissman’s “mamafesto” follows the likes of Zia McCabe of the Dandy Warhols and Kristin Hersh of Throwing Muses through six years of juggling babies and guitars. Rest easy: No feuding Osbournes here. Rumblestrips There’s nothing like an RV, a pot-smoking mom and two foulmouthed young girls to lift your spirits. Toby Poser’s romp of a dramedy makes you long for a family road trip with such heart. We Women Warriors In this raw documentary, Colombian widows and wives weave their way through massacres and social unrest—literally, as they make yarn and bags to support themselves. The film successfully dodges bleedingheart narrative, trading panache for sincerity and occasional gore. SEE IT: Portland Oregon Women’s Film Festival runs Thursday-Sunday, March 7-10, at the Hollywood Theatre, 4122 NE Sandy Blvd., 281-4215. For schedule, see powfest.com.

DaRkNESS ImPRISONING mE: Damien Echols behind bars.

…AND JUSTICE FOR NONE PETER JACKSON LEAVES MIDDLE EARTH TO INVESTIGATE A WRONGFUL CONVICTION. BY Ru th B R own

rbrown@wweek.com

West of Memphis is a compelling documentary— surprisingly so at a butt-numbing 147 minutes—that unwittingly provokes serious ethical questions. At this point, most people know the gist of the West Memphis Three story: In 1994, three teens were convicted of the murders of three young boys in West Memphis, Ark., due in part to accusations that they were Satanists. Henry Rollins and Eddie Vedder got involved at some point, and the men were released—but not exonerated—in 2011. We know how the film will end. But where West of Memphis is an unmitigated success is as a thorough history of the 17-year case and the myriad fuckups and deliberate deceptions of those investigating and prosecuting it. While bearing in mind that it’s produced by the most prominent member of the WM3, Damien Echols, and one of his biggest supporters, filmmaker Peter “Hobbit” Jackson, it is a comprehensive and fascinating retelling of how things unfolded—from their perspective, at least. Much territory was already covered by HBO’s first two Paradise Lost documentaries, so this film kicks in seriously from 2007, with a particular focus on the perspective of Lorri Davis. She’s a Brooklyn architect who struck up a relationship with Echols after watching the first documentary, and they eventually married. Davis became close to Jackson and his wife through the case, and between the three, we watch how a network of supporters and celebrities around the world doggedly pursued (not to mention financed) the fight for justice. Along the way, they employed independent experts and investigators to prove the three’s innocence and expose how poorly the original trials had been conducted. As noted by the judge who finally released the men, their efforts are truly commendable. But the film’s creators swim into murkier waters by taking that evidence and their own detective work in order to spend a good hour portraying Terry Hobbs, the stepfather of one of the murdered boys, as the real killer. They form a believable case: Hair

matching Hobbs’ DNA was found in a knot binding one of the boys, a neighbor remembers seeing him with the boys shortly before their deaths, several relatives say he had a history of beating his stepson, and his nephew’s friends claim they’d been told of this “family secret.” But much is conjecture and speculation, making for uncomfortable viewing. It’s worth remembering that Paradise Lost 2 pointed at another of the boys’ fathers, John Mark Byers, as the killer, but he is now largely considered to be innocent. Hobbs certainly appears as an unlikable character, and his family has some serious problems. But it’s important to note that the WM3’s troubled circumstances—poverty, mental illness, lack of education—are exactly what made

MAYBE IT’S JUST AS EASY TO BLAME THE cREEPY REDNEcK AS IT WAS TO POINT FINGERS AT THE WEIRD GOTH KIDS. it so easy to put them behind bars. Echols himself notes that “bottom-of-the-barrel poor white trash,” like he and his friends, are wrongly convicted of crimes all the time. Maybe it’s just as easy for us to blame the creepy redneck as it was for people to point fingers at the weird goth kids. Thorny class politics underscore each side. It’s frustrating that justice is never really served for the victims’ families or the WM3, and that small-town corruption and small-mindedness win out in the end. So it’s exciting—and slightly surreal—to watch Jackson and his celebrity friends attempt to do the investigative work the cops never did. Jackson’s Nancy Drew turn gives the film a greater sense of resolution—Hobbs may not be in jail, but at least we have a villain. And, hey, maybe he did do it. But as we watch hacker group Anonymous enact vigilante justice in Steubenville, Ohio, in a similar case of urban liberals vs. redneck corruption, it seems an apposite time to ask whether trial-bymedia is better or worse than no trial at all. I don’t have the answer, but it’s certainly something to consider as feeling returns to your ass cheeks. B+ SEE IT: West of Memphis opens Friday at cinema 21.

Willamette Week MARCH 6, 2013 wweek.com

MOVIES

maRch 6–12 ATO P I C T U R E S

pow above all else: Lee Hardcastle’s claymation potty-training nightmare “T Is for Toilet” (I told you they’re obsessed) looks like something left over from Liquid Television, MTV’s old alt-animation showcase, while Bruno Forzani’s sleek, fetishistic “O for Orgasm” resembles a Nine Inch Nails video the network would’ve banned in the ’90s. Really, though, someone just needs to go ahead and do what the Final Destination series has come tantalizingly close to accomplishing and string together 90 minutes of unrelated death scenes, set it to “Yakety Sax” and be done with it. MATTHEW SINGER. Hollywood Theatre.

Amour

A Midway through Michael Haneke’s scrupulously devastating Amour, the elderly Georges (Jean-Louis Trintignant) tells his wife, Anne (Emmanuelle Riva), about a film he remembers watching as a child. Though he can no longer recall any details, he keenly remembers how the film made him feel, and the reminiscence brings him to tears. “The emotions remain,” he tells Anne. Over the film’s course, Austrian writer-director Haneke, ever the psychologically brutalizing provocateur, takes an unsentimental, dignified and painfully transfixing look at infirmity and mortality. Set almost entirely in Georges and Anne’s comfortable apartment in modern-day Paris, Amour lays its groundwork early. Anne has a stroke one morning, seeming to disappear mentally for several moments. She soon ends up in a wheelchair, having lost function on one side of her body. Though Amour may not contain the same cold shocks of menace or cruelty as Haneke’s other films, it also does not relent in its painful realism. And that is precisely what endows it with such power. PG-13. REBECCA JACOBSON. Fox Tower.

Argo

A- Ben Affleck’s thriller tells the

bizarre story of a joint mission between the Canadian government, the CIA and Hollywood to extract six Americans hiding in Tehran by posing as a Canuck film crew on a location shoot. Affleck has taken what others would have turned into farce and emerged with one of 2012’s best pictures. R. AP KRYZA. Clackamas, CineMagic, Living Room Theaters, City Center, Lloyd Mall.

Beautiful Creatures

C As its teenage characters woo each other with Charles Bukowski quotes and Kurt Vonnegut references, Beautiful Creatures fancies itself an impassioned ode to overcoming alienation. But the film—despite any mileage it gains thanks to its eerie Southern gothic setting—hews closer to Twilight than to any other literary forebear. Lena (Alice Englert) is a spookily enigmatic newcomer to the small town of Gatlin, S.C. But the Vonnegutworshipping Ethan (Alden Ehrenreich) quickly cozies up to Lena, even when she reveals she’s a witch under the grasp of an age-old curse. Lena swears her powers are becoming darker, but as the film plods on, all that supports such a conviction is that she wears thicker eyeliner and accidentally produces more lightning bolts. Aside from scenery-chewing turns by Jeremy Irons as a morally ambiguous dandy and Emma Thompson as an unequivocally evil witch, the cast is wide-eyed and wooden. Beautiful Creatures attempts to make itself a supernatural Gone With the Wind, complete with gauzy Civil War flashbacks and a truth-telling maid, but a modern-day Tara this ain’t. PG-13. REBECCA JACOBSON. Clackamas.

The Big Chill

[THREE DAYS ONLY, REVIVAL] Lawrence Kasdan’s 1983 film about baby boomers facing the suicide of a friend assembled lots of big-name stars, whose characters smoke pot, reminisce and listen to Three Dog Night. R. Fifth Avenue Cinema. 7 and 9:30 pm Friday, 3 pm Sunday, March 8-10.

Bless Me, Ultima

B- In the mystical world of Bless Me, Ultima, women stick pins in doughy

THE MONK voodoo dolls and men vomit up physical manifestations of evil that look like squirming black Koosh balls. Carl Franklin’s film, adapted from Rudolfo Anaya’s 1972 novel, takes place in a version of 1940s New Mexico where first-graders soberly discuss sin and debate the existence of God. The story follows 7-year-old Antonio’s relationship with the elderly Ultima, a healer with herbal and magical powers. As Ultima (Míriam Colón) teaches Antonio the ways of nature and of the universe, the boy must reconcile her supernatural and pagan beliefs with the doctrines of the Catholic church. This leads to an overabundance of ham-fisted dialogue, as well as gratuitously pedantic narration by an adult Antonio. It’s a shame—Paula Huidobro’s cinematography nicely captures the stark beauty and dramatic weather of rural New Mexico, but this is undercut by the voice-over that painstakingly spells out each moment of significance. For such a fablelike tale, Franklin mostly avoids mawkishness. He’s constructed a respectful adaptation, yet one that—squirming Koosh balls aside—never really pulses with its own sense of life. PG-13. REBECCA JACOBSON. Fox Tower.

Circle in the Sand

[ONE NIGHT ONLY, DIRECTOR ATTENDING] Cinema Project presents experimental filmmaker Michael Robinson for a screening of Circle in the Sand, a loosely narrative film about hippies in a post-apocalyptic world. Robinson will also screen two earlier films, These Hammers Don’t Hurt Us and Line Describing Your Mom. Yale Union. 7:30 pm Thursday, March 7.

Dark Skies

A horrifying force threatens a suburban family. Not screened for critics. PG-13. Cedar Hills, Eastport, Clackamas, Lloyd Center, Sherwood, Wilsonville.

Dead Man Down

Director Niels Arden Oplev and actress Noomi Rapace—who worked together in the original Girl With the Dragon Tattoo—team up for another crime drama, which also stars Colin Farrell. Not screened for critics. R. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Lloyd Center, Oak Grove, City Center, Evergreen Parkway, Fox Tower, Sherwood, Tigard, Wilsonville, Sandy.

Django Unchained

B- If nothing else, Quentin Tarantino’s film has audacity going for it. But it raises a question that, ultimately, makes it tough to enjoy: When dredging up the ugliest period of American history for the sake of entertainment, is being cool enough? Because Django Unchained is exceptionally cool. A mashed-up spaghetti Western and blaxploitation flick, it is the kind of kinetic pastiche job that’s made Tarantino a genre unto himself. But Django Unchained trivializes an atrocity, and that makes it hard to digest as fun, frivolous popcorn. Its staggering runtime—two hours and 45 minutes— is earned only by its three lead actors. As the sociopath-cum-abolitionist Dr. King Schultz, Christoph Waltz makes Tarantino’s words sing. Jamie Foxx finds a captivating stoicism as Django.

Willamette Week MARCH 6, 2013 wweek.com

And Leonardo DiCaprio, playing a psychotic cloaked in Southern gentility, bites down with rotted teeth into a role of slimy, slithering, utterly unsubtle evil. R. MATTHEW SINGER. Lloyd Center, City Center, Evergreen Parkway, Fox Tower.

Emperor

B- Talk about burying the lead.

Hirohito, the enigmatic Japanese monarch whose endorsement of criminal atrocities during the Second SinoJapanese War and World War II is now a matter of historical fact, doesn’t actually appear on screen until the final minutes of Peter Webber’s dour period drama. According to Shinto tradition, the emperor is arahitogami, “a living god,” which poses a problem for Allied Commander Douglas MacArthur (Tommy Lee Jones) and Gen. Bonner Fellers (Matthew Fox), the men tasked with investigating Hirohito and bringing Japanese war criminals to justice. “What the hell do you say to a god?” asks MacArthur. More importantly, what happens if you put a deity on trial in a country teetering on the edge of revolution? Unfortunately, Weber can’t stop preaching cross-cultural sensitivity long enough to explore Hirohito’s cult of personality or the emperor’s actual role in implementing military strategy. As Fellers, Fox strikes a note of buried, simmering regret, and Jones is more engaged than usual as MacArthur, but neither actor has enough to do. Dramatic stakes are in short supply until the final act, when a half-cooked subplot involving Fellers’ love affair with a Japanese student is finally abandoned. When the emperor arrives, the movie really starts to hum. Too bad the credits are already beginning to roll. PG-13. MARSHALL WALKER LEE. Living Room Theaters.

Eurospy: Special Mission Lady Chaplin

[ONE NIGHT ONLY, REVIVAL] In the final film of the Eurospy trilogy, James Bond wannabe Dick Malloy must prevent nuclear catastrophe. Clinton Street Theater. 8 pm Wednesday, March 6.

First Oscars Silent Film Series: The Last Command

[ONE NIGHT ONLY, REVIVAL, LIVE MUSIC] Emil Jannings won a Best Actor Oscar in 1929—the first year the awards were handed out—for his role as a Russian general who winds up in Hollywood. Organist Jonas Nordwall will provide live accompaniment to the silent film. Hollywood Theatre. 7:30 pm Monday, March 11.

Girl Rising

This new documentary tells the stories of nine girls around the world fighting for the chance to go to school. Thursday’s showing at Cinema 21 is sold out, but for more showtimes, visit girlrising.com. For a news story, see page 13. PG-13. Cinema 21. 8 pm Thursday, March 7.

A Good Day to Die Hard

C+ 2007’s Live Free or Die Hard was,

to the pleasant surprise of many, the best entry in the Die Hard series since we were first introduced to John McClane nearly two decades earlier. It was self-aware, funny and joyously

over the top. John Moore’s A Good Day to Die Hard doubles down on that film’s maximalist approach and silly title but drifts away from nearly everything else that defines a Die Hard film. At the film’s beginning, McClane flies to Moscow in order to help his gone-rogue son; once there, things quickly escalate—as they are wont to do whenever Bruce Willis’ flagship character gets involved. The scenario yields a number of early pleasures: It would be self-defeating to deny the joy of seeing Willis yell “Do you think I understand a word you’re saying!?” immediately after punching out an angry Muscovite. But such moments are overshadowed by the baddies’ propensity to speak only English and lazy plotting that leads to a radioactive climax in Chernobyl. Moore and writer Skip Woods also expend considerable energy creating an overly ominous atmosphere. The explosions and gunfire are often exciting despite not holding up to narrative or logical scrutiny, but they nevertheless leave one longing for the moments of levity that colored the previous entries. R. MICHAEL NORDINE. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Lloyd Center, Oak Grove, City Center, Evergreen Parkway, Pioneer Place, Sherwood, Tigard, Wilsonville, Sandy.

Greedy Lying Bastards

B- Craig Scott Rosenbraugh’s Greedy

Lying Bastards is sort of a “yeah, what he said” response to An Inconvenient Truth, but with more emphasis on where to place the blame. As said bastards—Big Oil executives, particularly corporate giants like the Koch brothers and Exxon Mobil, and conservative politicians—state repeatedly that global warming is either not real or not a big deal, Rosenbraugh juxtaposes this footage with scientists confirming the exact opposite. Shaky cellphone footage of catastrophes, like floodwater gushing through Mississippi streets and wildfires blazing across a Colorado mountain neighborhood, punctuate this sharp but at times redundant reminder that climate change really is destroying the planet—and that anyone who claims otherwise is definitely being paid to do so. By the end, it’s hard not to despise Rosenbraugh’s voiceovers, even if you’re on board with his message—his sleekly manipulative yet robotic tone falls somewhere between Michael Moore’s signature whine and the artificial voice of a speech-generating device. There is value, however, in his concluding suggestions for how to take action; because his film centers on those who are building roadblocks to solving climate change issues, he’s able to close with lucid plans for how to stop them. EMILY JENSEN. Living Room Theaters, Eastport.

Happy People: A Year in the Taiga

B Werner Herzog’s 2010 documentary takes us to a remote fur-trapping village in central Russia, where 300 people live a long helicopter ride from civilization. Divided into segments for each of the four seasons, the film is a pastoral portrait of the villagers working wood into traps with the same tools used for generations. They seem no more or less happy than the subjects of any of Herzog’s earlier documentaries, which are better paced and far better scored than Happy People. Nevertheless, Herzog’s hilariously poignant monotone, laid over scenes of expansive and desolate beauty, helps redeem the documentary. MITCH LILLIE. Living Room Theaters.

Identity Thief

C- If an awareness of dimming economic realities were to occupy any Hollywood genre, you’d figure the gross-out comedy would be a natural fit. Shouldn’t lowest-common-denominator humor cater to the 99 percent? For the briefest of moments, as an ebullient Melissa McCarthy blithely swindles Jason Bateman’s buttoneddown Denver accounts manager by pretending to be a bank employee offering a credit protection service, there’s a hint of the anarchic zeal that could have lent Identity Thief a distinct personality. Before anyone starts pondering telemarketing fraud as a poten-

tial career, though, we’re informed that Bateman’s heroic financial services functionary can barely support his beatific family despite his tireless labor, while McCarthy lavishes her illgotten largess on a four-figure bar tab. McCarthy’s effervescent crassness and Bateman’s mastery of the long-suffering slow burn are as richly combustible as you’d expect, but it’s a long slog in reclaimed-hobo trousers to get there. R. JAY HORTON. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Lloyd Center, Oak Grove, City Center, Evergreen Parkway, Pioneer Place, Sherwood, Tigard, Wilsonville, Sandy.

Jack the Giant Slayer

B Jack and the Beanstalk is one of

the few English folktales Americans know by heart. A peasant boy sells his abusive guardian’s livestock for some beans, the beans get wet, a beanstalk grows, and off he goes to rescue a princess from a bread-crazed giant in the sky. Combining that G-rated Beanstalk yarn with all the decapitations and anus-stabbing of the true Arthurian legend, Jack the Giant Slayer is a grimy retelling of the children’s tale…in 3-D. Jack, played by Nicholas Hoult, is an awkward farm boy who has grown up obsessed with this children’s tale, as has Princess Isabelle (Eleanor Tomlinson). Alas, the princess is unhappily betrothed to an ambitious nobleman (Stanley Tucci, in the thankless role of a cartoonish bad guy). Given the history of this tale, it’s surprising it took until 2013 for a major studio to tackle the rapidly growing beanstalk with CGI. It’s a spectacle unto itself as the sinewy tendrils rip through the ground, out of the cabin and into the sky. The story isn’t particularly important, and the film can’t decide whether it wants to be serious or tongue-in-cheek. No, Jack the Giant Slayer is focused on moving from one epic fantasy scene to another, whether it’s McGregor zip-lining across the beanstalk or a two-headed giant (Bill Nighy) bursting through a tiled floor. And to that end, it’s a great deal of fun. PG-13. JOHN LOCANTHI. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Lloyd Center, Oak Grove, City Center, Evergreen Parkway, Pioneer Place, Lloyd Mall, Sherwood, Tigard, Wilsonville, Sandy.

Koch

B In this film’s opening scene, former New York City mayor Edward Koch looks out an airplane window while flying over the metropolis he once governed. “This belongs to me,” he says. “It’s extraordinary. Thank you, God.” There’s bombast to that statement, but first-time director Neil Barsky doesn’t dwell on it. He’s content to let the famously blunt and often inflammatory man speak for himself, which Koch does happily and humorously. When Koch came into power in 1978, New York was a beleaguered city on the brink of bankruptcy. When he was voted out, in 1989, crime and poverty persisted, but the city had begun its renaissance. With a mix of talking-head interviews and archival footage, the documentary charts the major touchstones of Koch’s career: the tight 1977 election, the colossal housing projects he oversaw, a major transit strike in 1980. Barsky also touches on the lowlights, including Koch’s failure to respond to the AIDS crisis. In the end, Koch winds up serving as a eulogy—Koch died the week the film was released in New York, and Barsky even includes footage of him contemplating how his obituary will read. In one scene, Koch discusses why he doesn’t want one of the Jewish cemeteries opened up for him, noting that they get no foot traffic. “I want to be in a bustling cemetery,” he crows. With a laugh, he goes on: “My plot will be on the subway.” REBECCA JACOBSON. Living Room Theaters.

Kung Fu Theater: Fatal Flying Guillotine

[ONE NIGHT ONLY, REVIVAL] A 35 mm print of Raymond Lui’s low-budget kung fu flick, in which an evil old master beheads opponents with motorized flying guillotines. Hollywood Theatre. 7:30 pm Tuesday, March 12.

march 6–12

D Tom Hooper’s Les Misérables lives

up to its name. With the exception of about 10 minutes, the nearly threehour film is an endless wallow in the fields of squalor, filth, chancre and herpes. PG-13. MATTHEW KORFHAGE. Clackamas, Indoor Twin.

Life of Pi

C Ang Lee’s Life of Pi, based on Yann Martel’s Booker Prize-winning novel, surrenders the book’s more subtle messages for ham-handed schlock and slack-jawed awe. PG. REBECCA JACOBSON. Eastport, CineMagic, Fox Tower, St. Johns Twin, City Center, Lloyd Mall.

Lincoln

B Focusing on the fight to abolish

slavery in the first few months of 1865, Steven Spielberg’s stately drama turns in mesmerizing moments of political wheeling and dealing. More like a stage production than a Spielbergian spectacle, some of the best dialogue comes during the boisterous House vote on the 13th Amendment. Though we know the result, Spielberg manages to imbue the scene with moral complexity and gripping tension, as well as rowdy humor. PG-13. REBECCA JACOBSON. Cedar Hills, Indoor Twin, Fox Tower, Tigard.

Lore

B- Cate Shortland’s Lore fancies itself an atypical World War II movie. Insofar as it’s told from the perspective of a 14-year-old German daughter of SS parents, it lives up to that distinction. Fleeing but not necessarily repentant, Lore (Saskia Rosendahl, excellent in her debut) and her four younger siblings trek through the Black Forest and struggle to reconcile who they know themselves to be with the way the postwar tide is turning. A constant stream of saturated colors and soft focus make Lore a gorgeous visual experience, but the story line isn’t always as powerful as the premise suggests it could be. MICHAEL NORDINE. Living Room Theaters.

Mermaids

[THREE DAYS ONLY, REVIVAL] In this 1990 film, Cher plays a vagabond single mom who moves her daughters to New England. PG-13. Clinton Street Theater. 7 pm Friday, 4 and 7 pm Saturday-Sunday, March 8-10.

The Monk

B- If Alban Butler met M. Night

Shyamalan in a darkened cathedral, the result would resemble this haunted fit of tunnel vision and religious fervor. Based on a 1796 gothic novel, Dominik Moll and Adonis Kyrou’s film follows Ambrosio, who is abandoned as an infant at a Spanish monastery and then becomes something of a demigod. But when an eerie, masked monk confesses to being female, Ambrosio is bitten by a poisonous centipede and reduced to a sex fiend. Already shadowy, the monastery goes jet-black with multiple deaths, a pregnant nun locked up with rats and graveyard apparitions. Pinhole transitions splice together this hellish world with a parallel plot following the chaste Antonia and her suitor. After a few Shakespearean turns, though, everyone succumbs to sin and Antonia becomes Ambrosio’s next sexual obsession. But The Monk finishes too quickly to satisfy. Striking visuals can’t distract from the outdated pinhole effect and corny ghost apparitions transplanted from the ’80s. Satan himself goes retro, appearing for the listless ending as a graying ethnic man in fur. r. ENID SPITZ. Living Room Theaters.

Pump Up the Volume

[ONE NIGHT ONLY, REVIVAL] Christian Slater plays a quiet highschool student who, by night, hijacks the radio waves to broadcast sexobsessed social commentary. Tonight’s screening is a fundraiser for a new, yet-to-be-launched local radio station, XRAY-FM. r. Hollywood Theatre. 7 pm Wednesday, March 6.

Quartet

B You’ve seen this film before: A pack of love-drunk song-and-dancers needs a ton of money to save their

home, so they band together to put on a big music show. Can they pull it off? Will the big star agree to take part? Heck, it’s the plot of at least two Muppets movies. But in Quartet, Dustin Hoffman’s twilight directorial debut, the stars are septuagenarians. The film, which takes place in a ridiculously well-appointed retirement home for former classical musicians, acts as both valedictory and wake for an entire passing generation of British actors and musicians—notably Maggie Smith, Michael Gambon, Billy Connolly and Tom Courtenay, alongside a host of former opera stars. But it’s surprisingly fun. While Hoffman seems very aware he’s gently closing the book on an entire generation of entertainers, he nonetheless allows them to do what they’ve always done best: be entertaining. PG-13. MATTHEW KORFHAGE. Cedar Hills, Hollywood Theatre, Lake Twin, Fox Tower.

Reel Relics: Conspiracy

[TWO NIGHTS ONLY] The music and film series continues with archival footage of ’80s bands, including R.E.M., Tears for Fears and the Smiths. Clinton Street Theater. 9:30 pm FridaySaturday, March 8-9.

Rendezvous With French Cinema

[THREE NIGHTS ONLY] A showcase of contemporary French film. First up is Journal de France (7 pm Tuesday, March 12), Raymond Depardon’s examination of his oeuvre and filmmaking process, followed by Suicide Shop (9:30 pm Tuesday, March 12), an animated film about a family that sells suicide equipment in a city ravaged by climate change. The next day features Granny’s Funeral (7 pm Wednesday, March 13), about a pharmacist grappling with his grandmother’s death, and Rich Is the Wolf (9:30 pm Wednesday, March 13), which follows a woman trying to solve the case of her husband’s mysterious disappearance. The showcase closes with Thérèse Desqueyroux (7 pm Thursday, March 14), starring Audrey Tautou as a bored married woman itching to break free from her suburban life, and Augustine (9:30 pm Thursday, March 14), a period drama about a 19th-century neurologist and his teenage patient. Hollywood Theatre. Various times Tuesday-Thursday, March 12-14.

Safe Haven

D In this happily-ever-after version of domestic violence, based on a Nicholas Sparks novel, Katie (Julianne Hough) flees an abusive relationship, blood on her hands, with the help of her neighbor, an elderly cherrypicker. Her safe haven manifests itself as a tiny Southern beach town, fortuitously home to the tan and chiseled Alex (Josh Duhamel). While Katie copes with the trauma by repainting her kitchen floor canary yellow, Sparksian flames ignite between her and widower Alex. But the deranged, abusive husband won’t disappear so easily, and the events that follow will offend—if not outrage—feminists and anyone remotely knowledgeable about domestic abuse. PG-13. ENID SPITZ. Clackamas, Cornelius, City Center, Evergreen Parkway, Lloyd Mall, Sherwood.

Searching for Sugar Man

B- Gaining an appreciable level of success outside of one’s home country is not an unusual feat. What’s stranger is for that artist to have no clue about his or her fame in some far-flung country until nearly 30 years after the fact. Such is the case with Rodriguez, a Detroit-born musician recognized in the U.S. only by crate diggers and music scholars who revel in the darker recesses of the psychedelic era. In the documentary Searching for Sugar Man, freshman director Malik Bendjelloul reveals that in South Africa, his albums were revered. Bendjelloul plays out the story of Rodriguez like a detective novel. About halfway through Sugar Man, it is revealed that Rodriguez is alive, well, and still living in Detroit, working as a manual laborer. Once that is uncovered, the now nearly 70-yearold musician is placed in front of the camera. Only then does the film take flight. PG-13. ROBERT HAM. Living Room Theaters.

Side Effects

B- Warning: Steven Soderbergh’s

new film may cause anxiety, frustration, terror, temporary memory loss, episodes of euphoria, Hitchcockian feelings of nostalgia, numbing, exhilaration, dread and apathy. Side effects of Side Effects may also include jaw clenching and eye rolling. Consumption of Side Effects is recommended with a grain of salt. Soderbergh combines the medical horrors of 2011’s middling Contagion with a noir-style narrative about a woman (Rooney Mara) who commits a horrendous crime while under the influence of a radical new antidepressant. What emerges is a nail biter that eventually sacrifices a gorgeous concept for standard mystery beats. The first hour plays like a nightmare in which you occupy the head of a severely disturbed mental patient. Alas, just as the film ratchets up the jitters and paranoia, it takes a turn for the conventional in the second half. r. AP KRYZA. Cedar Hills, Fox Tower.

corpse: all mussed hair, starburst eyes and deep-shadowed lids…and a little mouth slime. The CGI effects are laughable, and it takes a while to adjust to the willfully cheeseball tone. But once it clicks, it’s irresistible. PG-13. KELLY CLARKE. Eastport, Clackamas, Lloyd Center, Evergreen Parkway, Pioneer Place.

Zero Dark Thirty

A- For all the talk about torture Zero

Dark Thirty has generated, you’d be forgiven for thinking director Kathryn Bigelow spends 157 minutes depicting detainees being waterboarded, strung up with ropes and crammed into confinement boxes. This is, of course, not the case. The majority of the film is an intricate police procedural about the decadelong hunt for Osama bin Laden. But those scenes of torture dredge up such challenging, uncomfortable

and important moral questions it’s no wonder they’ve dominated discussion since before Zero Dark Thirty was released. Yet I’m unable to see the film as some rah-rah, kill-the-motherfucker piece of jingoism. Instead, it’s as uncomfortable in its relentlessly raw representations of torture as it is in its characters’ emotionally ambiguous reactions—or nonreactions—to those acts of torture. Zero Dark Thirty builds to the pivotal raid on bin Laden’s compound by a group of Navy SEALs. The suspense is thick, the carnage plentiful, and the celebration brief and fraught— this is no simple act of triumphalism. Much like the film’s earlier depictions of torture, it’s wrenchingly decisive yet, ultimately, inconclusive. r. REBECCA JACOBSON. Cedar Hills, Eastport, Fox Tower, Tigard.

REVIEW M E R I E W E I S M I L L E R WA L L A C E

Les Misérables

MOVIES

Silver Linings Playbook

A- Director David O. Russell emerges

with one of filmdom’s funniest stories of crippling manic depression. If Frank Capra had made an R-rated flick for the Prozac generation, it would look like this. r. AP KRYZA. Cedar Hills, Eastport, Clackamas, Lake Twin, City Center, Evergreen Parkway, Fox Tower, Lloyd Mall, Tigard, St. Johns Twin.

Snitch

C+ “Inspired by true events” reads the opening title card of the oddly engrossing thriller Snitch. The earliest scenes, while never what you’d call realistic, establish a premise essentially recognizable. Some kids fall victim to dopey choices and abysmal luck landing a teenager in federal custody after signing for a buddy’s ecstasy shipment. But as the unlikely tumbles into the improbable and crashes into the lunatic, a disregard for parameters of the real seems less fanciful than arrogant. All things considered, the unrelenting tone of high seriousness imposed on spiraling implausibilities would have proven unbearable with anyone besides Dwayne Johnson playing the lead. In the closest he’s yet come to a strictly dramatic role, with eyebrows affixed at half mast and alien physicality buried beneath leisure wear, the Rock still bears only the slightest resemblance to actual people. When momentum finally takes the wheel in the final 20 minutes, the abandonment of all pretense of coherency arrives as odd comfort. If the disjointed events aren’t quite inspired by truth, at least they feel honest. PG-13. JAY HORTON. Cedar Hills, Eastport, Clackamas, Cornelius, Oak Grove, Evergreen Parkway, Lloyd Mall, Tigard, Wilsonville, Sandy.

Tess

[FOUR DAYS ONLY, REVIVAL] This 1979 adaptation of Thomas Hardy’s classic Tess of the d’Urbervilles was the first film Roman Polanski made after fleeing the U.S., and it shot 17-year-old Nastassja Kinski to fame. PG. NW Film Center’s Whitsell Auditorium. 7 pm Friday-Saturday and Monday, 5 pm Sunday, March 8-11.

Twilight Zone

[ONE NIGHT ONLY, REVIVAL] Classic episodes on 16 mm. Hollywood Theatre. 7:15 Monday, March 11.

Warm Bodies

B+ “Don’t be creepy, don’t be creepy,

don’t be creepy,” the lovesick zombie begs himself as he stares, slack-jawed, at the very blond, very alive object of his affection. He’s your average twentysomething zombie. He’s conflicted about all the killing, but considering his only way to reconnect to the world is to download a human’s memories by devouring their brains, he’ll take it. That is, until he locks eyes with shotgun-wielding Julie and falls head over undead heels in love. Director Jonathan Levine’s goofy wisp of a film is a charming lurch through zombieland that bypasses the usual headshots to aim at the heart—and scores a surprisingly direct hit. It helps that Nicholas Hoult is the world’s cutest

a whIz of a wIz: James franco.

OZ THE GREAT AND POWERFUL Watching the glorious spectacle that is James Franco feels like watching a great con man. Here’s a proven movie star who made an art film re-enacting the Al Pacino leather-daddy sex thriller Cruising. As a tribute to the president, he wrote a rambling poem and performed it in bed. And let’s not even discuss the 2011 Oscars. But damned if the handsome bastard isn’t a charmer. So it only makes sense to cast Franco as moviedom’s original master con man in Oz the Great and Powerful. In The Wizard of Oz, the “man behind the curtain” was nothing but a carnival magician using smoke and mirrors to maintain the illusion of power. Here, the curtain’s pulled back further to reveal the wizard’s origins as a hack transported from Kansas to Oz, where he must take on an evil witch to save the Munchkins and talking monkeys of the land. It’s a risky endeavor that sounds suspiciously similar to Tim Burton’s horrid Alice in Wonderland reboot. But in the hands of director Sam Raimi, Frank L. Baum’s world comes fantastically to life, with a charismatic Franco as guide. From the black-and-white circus scenes in Kansas to the kaleidoscopic world of Oz, the film bursts with vibrancy, and each realm takes on a different aesthetic. One moment, Franco is in a wetland swarmed by cartoonish butterflies. Next, he’s in China Town, which is made completely of porcelain and features the film’s most jaw-dropping character, a tiny doll who becomes a valuable ally. But lest this sound too kiddie for the man who directed The Evil Dead, there’s also the matter of the witches, who muster a few scares worthy of any Deadite. It helps that the battling magicians are played by the great Rachel Weisz, Mila Kunis and Michelle Williams. It would be a sin to reveal which witch is which, but let it suffice to say each performs wonderfully, though Kunis is shouldered with the task of pulling off a switcheroo so steeped in iconography it’s doomed to fail. Kunis’ straining isn’t the only thing wrong with Oz. It’s overlong and often cheesy. But those flaws are also part of the charm of a film that doesn’t try to surpass its predecessor so much as supplement it. Like its hero and star, it’s a master of sleight of hand. It’s a carnival magician of a film overflowing with imagination, and to those who come ready to believe, its magic is undeniable. AP KRYZA.

hello, yellow brick road.

B SEE IT: Oz the Great and Powerful is rated PG. It opens Friday at Eastport, Clackamas, Lloyd Center, Lloyd Mall, Pioneer Place, Cedar Hills, Bridgeport, St. Johns Twin, Moreland, Evergreen Parkway.

Willamette Week MARCH 6, 2013 wweek.com

MOVIES

MARCH 8–14

BREWVIEWS RENAISSANCE PICTURES

Mon-Tue-Wed 01:30, 04:20, 07:50, 09:20 ZERO DARK THIRTY Fri-Sat-Sun-MonTue-Wed 11:35, 02:15, 05:30, 08:45 LIFE OF PI Fri-Sat-Sun-Mon-Tue-Wed 11:40, 02:15, 05:05, 07:15, 09:45 SILVER LININGS PLAYBOOK Fri-Sat-SunMon-Tue-Wed 11:35, 02:10, 04:45, 07:20, 09:50 LINCOLN Fri-Sat-Sun-MonTue-Wed 12:00, 03:20, 06:30, 09:30 BLESS ME, ULTIMA Fri-Sat-Sun-MonTue-Wed 11:45, 02:25, 04:50, 07:10

NW Film Center’s Whitsell Auditorium 1219 SW Park Ave., 503-221-1156 TESS Fri-Sat-Sun 05:00

Regal Pioneer Place Stadium 6

WWEEKDOTCOM WWEEKDOTCOM WWEEKDOTCOM

SKIN FLICK: Before Sam Raimi got his hands on Spider-Man, he had to make up his own comics to adapt for film. He tried and failed to secure rights to Batman and The Shadow at the end of the ’80s, and from the loins of his botched maiden voyage into comic-book adaptation, 1990’s Darkman was born. The character Darkman is really just the charred remains of Peyton Westlake, a scientist who manufactures synthetic skin. But then, on the brink of a breakthrough, gangsters blow up his lab. Now a hideous shell of his former self, Darkman uses his recipe for artificial skin to create disguises, which melt into fleshy mush after extended exposure to light. The faux-epidermis shenanigans, combined with sweet cross-fades between bubbling science experiments and Darkman’s torched face, make for the best kind of nostalgia: the face-melting kind. EMILY JENSEN. Showing at: Laurelhurst. Best paired with: Sierra Nevada Porter. Also showing: Quartet (Hollywood).

St. Johns Theatre LININGS PLAYBOOK FriSat-Sun-Mon-Tue-Wed 08:20

CineMagic Theatre Lloyd Center 10 and IMAX

1510 NE Multnomah St., 800-326-3264 OZ THE GREAT AND POWERFUL: AN IMAX 3D EXPERIENCE Fri-Sat-SunMon-Tue-Wed 01:30, 04:35, 07:40, 10:45 OZ THE GREAT AND POWERFUL Fri-Sat-Sun-Mon-Tue-Wed 11:30, 02:35, 05:40, 08:45, 09:45 OZ THE GREAT AND POWERFUL 3D Fri-SatSun-Mon-Tue-Wed 12:30, 03:35, 06:40 DEAD MAN DOWN Fri-Sat-Sun-MonTue-Wed 01:00, 04:25, 07:20, 10:20 EMPEROR Fri-Sat-Sun-Mon-Tue-Wed 12:20, 03:25, 06:30, 09:30 JACK THE GIANT SLAYER Fri-Sat-Sun-Mon-Tue-Wed 03:55, 09:50 JACK THE GIANT SLAYER 3D Fri-SatSun-Mon-Tue-Wed 12:50, 07:00 WARM BODIES Fri-Sat-Sun-Mon-Tue-Wed 11:45, 02:30, 05:15, 07:50, 10:25 IDENTITY THIEF Fri-Sat-Sun-Mon-TueWed 12:40, 03:45, 10:00 21 AND OVER Fri-SatSun-Mon-Tue-Wed 12:10, 02:40, 10:05 DJANGO UNCHAINED Fri-SatSun-Mon-Tue-Wed 11:35, 03:10, 06:50 DARK SKIES Fri-Sat-Sun-Mon-TueWed 10:30 PALEYFEST FEATURING THE BIG BANG THEORY Wed 07:00

Regal Lloyd Mall 8

2320 Lloyd Center Mall, 800-326-3264 OZ THE GREAT AND POWERFUL 3D Fri-SatSun-Mon-Tue-Wed 12:00, 06:15 OZ THE GREAT AND POWERFUL Fri-SatSun-Mon-Tue-Wed 03:00, 09:10 JACK THE GIANT SLAYER Fri-Sat-Sun-MonTue-Wed 12:10, 06:10 THE LAST EXORCISM PART II Fri-Sat-Sun-Mon-Tue-Wed 12:35, 03:30, 06:35, 09:00 JACK THE GIANT SLAYER 3D Fri-Sat-Sun-Mon-TueWed 03:10, 08:50 SNITCH Fri-Sat-Sun-Mon-TueWed 12:30, 03:20, 06:30,

Willamette Week MARCH 6, 2013 wweek.com

340 SW Morrison St., 800-326-3264 OZ THE GREAT AND POWERFUL 3D Fri-SatSun-Mon-Tue-Wed 01:00, 04:15, 07:30 OZ THE GREAT AND POWERFUL Fri-Sat-Sun-Mon-TueWed 12:30, 03:45, 07:00, 09:30 JACK THE GIANT SLAYER 3D Fri-Sat-SunMon-Tue-Wed 12:40, 03:30, 06:30, 10:15 21 AND OVER Fri-Sat-Sun-Mon-TueWed 01:30, 04:50, 07:45, 10:40 WARM BODIES Fri-Sat-Sun-Mon-Tue-Wed 12:50, 04:30, 07:15, 10:00 IDENTITY THIEF Fri-SatSun-Mon-Tue-Wed 01:10, 03:50, 10:20 A GOOD DAY TO DIE HARD Fri-Sat-SunMon-Tue-Wed 10:30

09:05 ESCAPE FROM PLANET EARTH 3D Fri-SatSun-Mon-Tue-Wed 06:25 ESCAPE FROM PLANET EARTH Fri-Sat-Sun-MonTue-Wed 12:20, 03:25 A GOOD DAY TO DIE HARD Fri-Sat-Sun-Mon-Tue-Wed 03:05, 08:40 LIFE OF PI 3D Fri-Sat-Sun-Mon-TueWed 12:05, 02:55, 06:05, 08:55 SILVER LININGS PLAYBOOK Fri-Sat-SunMon-Tue-Wed 12:25, 03:15, 06:00, 08:45 ARGO FriSat-Sun-Mon-Tue-Wed 12:00, 06:00 SAFE HAVEN Fri-Sat-Sun-Mon-Tue-Wed 08:35

Cinema 21

616 NW 21st Ave., 503-223-4515 WEST OF MEMPHIS Fri-SatSun-Mon-Tue-Wed 04:00, 07:00, 09:35

Clinton Street Theater

2522 SE Clinton St., 503238-8899 MERMAIDS Fri-Sat-Sun 04:00, 07:00 REEL RELICS: CONSPIRACY FriSat 09:30 THE ROCKY HORROR PICTURE SHOW Sat 12:00 BIRTH STORY: INA MAY GASKIN AND THE FARM MIDWIVES Sun 02:00 Mon-Tue A PISTOL FOR RINGO Wed 08:00

Mission Theater and Pub

1624 NW Glisan St., 503-249-7474-5 THE HOBBIT: AN UNEXPECTED JOURNEY Fri-Sat-Sun-Mon-Wed 05:30 THE MASTER FriSat-Sun-Mon-Wed 08:50 THIS IS THE SEA 5 Tue 07:00

St. Johns Twin Cinemas and Pub

8704 N Lombard St., 503-286-1768 OZ THE GREAT AND POWERFUL Fri-Sat-SunMon-Tue-Wed 05:10, 07:55 LIFE OF PI Fri-Sat-SunTue-Wed 05:40 SILVER

2021 SE Hawthorne Blvd., 503-231-7919 ARGO Fri-Sat-Sun-MonTue-Wed 05:15, 10:15 LIFE OF PI Fri-Sat-Sun-Mon-TueWed 07:40

Kennedy School Theater

5736 NE 33rd Ave., 503-249-7474-4 RISE OF THE GUARDIANS Fri-Sat-Sun-Mon-Tue-Wed 05:30 THE HOBBIT: AN UNEXPECTED JOURNEY Fri-Sat-Sun-Mon-Tue-Wed 07:45 GANGSTER SQUAD Tue 02:30

Fifth Avenue Cinema 510 SW Hall St., 503-725-3551 THE BIG CHILL Fri-Sat-Sun 03:00

Hollywood Theatre

4122 NE Sandy Blvd., 503281-4215 QUARTET Fri-Sat-SunMon-Tue-Wed 07:10, 09:10 THE ABCS OF DEATH Fri-Sat-Sun-Mon-Tue-Wed 09:45 POW FEST 2013 Fri-Sat-Sun THE TWILIGHT ZONE Mon 07:15 THE LAST COMMAND Mon 07:30 THE FATAL FLYING GUILLOTINES Tue 07:30 JOURNAL DE FRANCE Tue 07:00 THE SUICIDE SHOP Tue-Wed 09:30 GRANNY’S FUNERAL Wed 07:00 RICH IS THE WOLF Wed 09:30 SOMEWHERE BETWEEN Wed 07:30

Regal Fox Tower Stadium 10

846 SW Park Ave., 800-326-3264 DEAD MAN DOWN Fri-SatSun-Mon-Tue-Wed 11:30, 02:10, 04:45, 07:25, 09:55 THE LAST EXORCISM PART II Fri-Sat-Sun-Mon-TueWed 09:55 SIDE EFFECTS Fri-Sat-Sun-Mon-Tue-Wed 11:40, 02:00, 04:40, 07:40, 09:45 AMOUR Fri-SatSun-Mon-Tue-Wed 11:30, 02:00, 04:50, 07:05, 09:50 QUARTET Fri-Sat-SunMon-Tue-Wed 11:50, 02:50, 05:00, 07:35 DJANGO UNCHAINED Fri-Sat-Sun-

8203 N Ivanhoe St., 503-249-7474-6 THE HOBBIT: AN UNEXPECTED JOURNEY Fri-Sat-Sun-Mon-Tue-Wed 01:00, 06:30 GANGSTER SQUAD Fri-Sat 09:45 THE WALKING DEAD Sun 06:00, 08:00

Academy Theater

7818 SE Stark St., 503-252-0500 RISE OF THE GUARDIANS Fri-Sat-Sun-Mon-Tue-Wed 04:25 THE HOBBIT: AN UNEXPECTED JOURNEY Fri-Sat-Sun-Mon-TueWed 01:05, 03:40, 06:30, 09:00 JACK REACHER Fri-Sat-Sun-Mon-Tue-Wed 09:50 BEASTS OF THE SOUTHERN WILD FriSat-Sun-Mon-Tue-Wed 01:45, 07:00 SKYFALL Fri-Sat-Sun-Mon-Tue-Wed 03:55 THE IMPOSSIBLE Fri-Sat-Sun-Mon-Tue-Wed 01:35, 06:45 THE MASTER Fri-Sat-Sun-Mon-Tue-Wed 09:10

Living Room Theaters

341 SW 10th Ave., 971-222-2010 56 UP Fri-Sat-Sun-MonTue-Wed 12:10, 06:35 ARGO Fri-Sat-Sun-MonTue-Wed 12:00, 02:00, 04:30, 07:15, 09:15 EMPEROR Fri-Sat-SunMon-Tue-Wed 12:15, 02:20, 05:00, 07:00, 09:30 GREEDY LYING BASTARDS Fri-Sat-Sun-Mon-Tue-Wed 11:50, 02:10, 04:15, 07:30 HAPPY PEOPLE: A YEAR IN THE TAIGA Fri-SatSun-Mon-Tue-Wed 11:55, 03:00, 05:10, 07:40, 09:40 HOCHELAGA Fri-Sat-SunMon-Tue-Wed 04:50 LORE Fri-Sat-Sun-Mon-Tue-Wed 11:45, 01:50, 04:20, 06:45, 09:00 SEARCHING FOR SUGAR MAN Fri-Sat-SunMon-Tue-Wed 09:25 THE MONK Fri-Sat-Sun-MonTue-Wed 02:30, 09:45 SUBJECT TO CHANGE. CALL THEATERS OR VISIT WWEEK.COM/MOVIETIMES FOR THE MOST UP-TODATE INFORMATION FRIDAY-THURSDAY, MARCH 8-14, UNLESS OTHERWISE INDICATED

CLASSIFIEDS DIRECTORY 51

WELLNESS

BULLETIN BOARD

TO PLACE AN AD CONTACT:

MUSICIANS’ MARKET PETS

ASHLEE HORTON

HOME CARPET CLEANING SW Steampro 503-268-2821

www.steamprocarpetcleaners.com

COMPUTER REPAIR NE Portland Mac Tech 25 SE 62nd Ave. Portland, Oregon 97213 503-998-9662

HOME IMPROVEMENT SW Jill Of All Trades

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

MOTOR

STUFF

MATCHMAKER

JONESIN’

FREE WILL ASTROLOGY

REAL ESTATE

CORIN KUPPLER

503-445-2757 • ckuppler@wweek.com

WELLNESS

SERVICES

COUNSELING

BUILDING/REMODELING

Totally Relaxing Massage

Featuring Swedish, deep tissue and sports techniques by a male therapist. Conveniently located, affordable, and preferring male clientele at this time. #5968 By appointment Tim 503.575.0356

Massage openings in the Mt. Tabor area. Call Jerry for info. 503-757-7295. LMT6111.

Enjoy the Benefits of Massage

REL A X!

INDULGE YOURSELF in an - AWESOME FULL BODY MASSAGE

PAINTING S. Mike Klobas Painting SW

call

Charles

503-740-5120

Interior & Exterior 503-646-8359 CCB #100360

lmt#6250

PHYSICAL FITNESS BILL PEC Personal Trainer & Independent Contractor

• Strength Training • Body Shaping • Nutrition Counseling

CLEANING

AT THE GYM, OR IN YOUR HOME

503-252-6035 www.billpecfitness.com LOOK FOR ME ON FACEBOOK

MUSICIANS MARKET

HAULING/MOVING

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.

Haulers with a Conscience

AUTO COLLISION REPAIR NE Atomic Auto 2510 NE Sandy Blvd Portland, Or 97232 503-969-3134 www.atomicauto.biz

AUTO REPAIR SE Family Auto Network 1348 SE 82nd Ave. Portland, Oregon 97216 503-254-2886 www.FamilyAutoNetwork.com

MOVING Alienbox LLC 503-919-1022 alienbox.com

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

503-750-6586 spiderwebsewingstudio@gmail.com 7204 N. Leonard St Portland, Or 97203

Inner Sound

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

JOBS

MASSAGE (LICENSED)

AUDIO SE

SEWING & ALTERATIONS N Spiderweb Sewing Studio

6905 SW 35th Ave. Portland, Oregon 97219 503-244-0753

PROPERTY MANAGEMENT SW JMPDX LLC

SERVICES

STYLE

GADGET SE Gadget Fix 1012 SE 96th Ave. Portland, Oregon 97216 503-255-2988 Next to Target (Mall 205)

503-445-3647 • ahorton@wweek.com

SERVICE DIRECTORY

MARCH 6, 2013

503-839-7222 3642 N. Farragut Portland, Or 97217 moneymone1@gmail.com

INSTRUMENTS FOR SALE TRADEUPMUSIC.COM Counseling Individuals, Couples and Groups Stephen Shostek, CET Relationships, Life Transitions, Personal Growth

Affordable Rates • No-cost Initial Consult www.stephenshostek.com

503-963-8600

Gambling Too Much?

Free, confidential help is available statewide. Call 1-877-MY-LIMIT to talk to a certified counselor 24/7 or visit 1877mylimit.org to chat live with a counselor. We are not here to judge. We are here to help. You can get your life back.

Buy one massage or facial get half off 2nd one, good for 1 hr or longer massage or European Facial or Specialized Facial

Monday–Saturday, 9–6:

ELIXIA WELLNESS 503.232.5653

Sundays: COMMON

GROUND WELLNESS

Buying, selling, instruments of every shape and size. Open 11am-7pm every day. 4701 SE Division & 1834 NE Alberta.

MUSIC LESSONS GUITAR LESSONS Personalized instruction for over 15yrs. Adults & children. Beginner through advanced. www.danielnoland.com 503-546-3137 Learn Jazz & Blues Piano with local Grammy winner Peter Boe. 503-274-8727.

503-477-4941 www.anniehaul.com All unwanted items removed (residential/commercial) One item to complete clear outs

Free Estimates • Same Day Service • Licensed/Insured • Locally Owned by Women We Care

We Recycle

We Donate

We Reuse

HOUSESITTING LIVE-IN HOUSE SITTER Over 18, up to $925/month, plus car and tuition assistance. Non-smoking preferred. Call 713-647-0460. Houston Location.

503.238.1065

KEN (LMT#10773) nowradiance.wordpress.com

LANDSCAPING 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

WillametteWeek Classiﬁeds MARCH 6, 2013 wweek.com

TO PLACE AN AD CONTACT:

ASHLEE HORTON

503-445-3647 • ahorton@wweek.com

$$$HELP WANTED$$$ Extra Income! Assembling CD cases from Home! No Experience Necessary! Call our Live Operators Now! 1-800-405-7619 EXT 2450 www.easywork-greatpay.com (AAN CAN)

JOBS CAREER TRAINING AIRLINE CAREERS

Become an Aviation Maintenance Tech. FAA approved training. Financial aid if qualified - Housing available. Job placement assistance. CALL Aviation Institute of Maintenance 877-492-3059 (AAN CAN)

ATTEND COLLEGE ONLINE

from home. *Medical, *Business, *Criminal Justice, *Hospitality. Job placement assistance. Computer available. Financial Aid if qualified. SCHEV authorized. Call 800-481-9472 www.CenturaOnline.com (AAN CAN)

GENERAL

MCMENAMINS Edgefield in Troutdale, OR Is now hiring a Pastry Chef for the Black Rabbit Restaurant! Qualified apps must have an open & flex sched including, days, eves, wknds and holidays. We are looking for a Pastry Chef with restaurant baking and mgmnt exp and enjoys working in a busy customer service-oriented enviro. Please apply online 24/7 at www.mcmenamins.com or pick up a paper app at any McMenamins location. Mail to 2126 SW Halsey, Troutdale, OR 97060 or fax: 503-667-3612. Call 503-952-0598 for info on other ways to apply. Please no phone calls or emails to individ locs! E.O.E.

CORIN KUPPLER

BULLETIN BOARD WILLAMETTE WEEK’S GATHERING PLACE NON-PROFIT DISCOUNTS AVAILABLE.

ADOPTION *ADOPTION:*

Adoring Couple, Architect & Internet Exec. yearn for precious baby to LOVE FOREVER! Expenses paid. *1-800-990-7667* PREGNANT? CONSIDERING ADOPTION? Talk with caring agency specializing in matching Birthmothers with Families Nationwide. LIVING EXPENSES PAID. Call 24/7 Abby’s One True Gift Adoptions. 866-4136293 (AAN CAN)

EVENTS

Ruby Spa in Forest Grove

www.ExtrasOnly.com 503.227.1098 Help Wanted!

Make extra money in our free ever popular homemailer program, includes valuable guidebook! Start Immediately! Genuine! 1-888-292-1120 www.howtowork-fromhome.com (AAN CAN)

Live like a rockstar.

Now hiring 10 spontaneous individuals. Travel full time. Must be 18+. Transportation and hotel provided. Call Shawn 800-716-0048

Is now hiring LMTs and Nail Techs! Qualified apps must have an open & flex sched including, days, eves, wknds and holidays. We are looking for applicants who have prev exp and enjoy working in a busy customer service-oriented enviro. Please apply online 24/7 at www.mcmenamins.com or pick up a paper app at any McMenamins location. Mail to 430 N. Killingsworth, Portland OR, 97217 or fax: 503-221-8749. Call 503-952-0598 for info on other ways to apply. Please no phone calls or emails to individ locs! E.O.E.

Discover the “Success and Moneymaking Secrets” THEY don’t want you to know about. To get your FREE “Money Making Secrets” CD, please call 1 (800) 470-7545. (AAN CAN)

EMPLOYMENT OPPORTUNITIES Copy Editor/Writer/ Social Media Content Administrator This position will be part of McMenamins Corporate Marketing Department based at Edgefield (Troutdale, OR). The primary objectives are: to write and edit copy for all marketing materials (ads, posters, press releases, brochures, etc.); proof materials using the AP Style; develop content/promotions for social media; post and monitor social media; coordinate the production calendar; act as a gatekeeper for corporate events by compiling and editing copy. Qualified applicants must have: excellent written and verbal skills; a creative writing style; excellent editing skills; ability to work under pressure and meet deadlines; attention to detail; 3-5+ years professional editing/ writing experience; 1-3 years professional social media experience. This is a full-time, salaried exempt position (Monday-Friday daytime availability) that may require attendance at special events outside these hours. Please mail or fax a cover letter, resume and two professional references to: McMenamins Edgefield- Attn: HR 2126 SW Halsey Troutdale, OR 97060 or FAX: 503-667-3612. The deadline is Sunday, March 10. Please, no phone calls or emails. E.O.E.

MISCELLANEOUS PSALMS - 3

Lord, how are they increased that trouble me! And many are they that rise up against me. Many there be that say of my soul: There is no help for him from God. BUT, YOU, OH LORD, are a shield for me; my glory and the Lifter of my head. I cried unto the Lord with my voice, and HE heard me out upon HIS Holy Hill [in Heaven]. ...Therefore, I will not be afraid of ten thousands of people, that have set themselves against me round about. Arise, Oh LORD and save me Oh my God [once again]. For you have smitten all my enemies upon the cheek - and have broken the fangs [ jaw] of the ungodly [devourers]. For Salvation [Deliverance] belongs to the LORD; and HIS blessing falls like the rain, upon HIS people.

PETS

Puppies!

So, join with US in Prayer today, that the Hand of God will come and bind up [and throw down] all of HIS enemies in Portland. chapel@gorge.net

SUPPORT GROUPS ALANON Sunday Rainbow

5:15 PM meeting. G/L/B/T/Q and friends. Downtown Unitarian Universalist Church on 12th above Taylor. 503-309-2739.

Got Meth Problems? Need Help?

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

The First Baptist Church

909 SW 11th Ave • Portland Saturday, March 9, 2013, 7:30pm Tickets are $20 in advance and available through www.kalakendra.org or may be purchased at the door for $25. Students and children $15

Sales

IN-HOME SALES PROFESSIONALS Realistic $70K earning opportunity. NO cold calling; Appointments are set for you from our call-in television and online leads. Local territories. Commissions paid weekly. Must have reliable transportation. Join our Sales Team today! Email resumes to Dene Jolly at djolly@empiretoday.com or fax to 562-868-6416 or call 877-588-5219 x2239. EOE m/f/d/v

featuring Grammy nominee Aashish Khan on Sarod accompanied by Pranesh Khan on Tabla.

BUSINESS OPPORTUNITIES

SALES/MARKETING Empire Today, LLC, a leading home improvement and home furnishing shop-at-home company featuring quality name-brand Carpet, Flooring and Window Treatments with next day installation, is currently hiring:

Presents

SAROD CONCERT

503-445-2757 • ckuppler@wweek.com

www.kalakendra.org

MOTOR

FilmLab

Submit short script, see it produced & shown to Hollywood producers at Willamette Writers conference, 8/2, http://www.willamettewriters.com/ wwc/3/inf-filmcontest.php

GENERAL “Atomic Auto New School Technology, Old School Service” www.atomicauto.biz mention you saw this ad in WW and receive 10% off for your 1st visit!

AUTOS WANTED CASH FOR CARS: Any Car/Truck. Running or Not! Top Dollar Paid. We Come To You! Call For Instant Offer: 1-888-420-3808 www.cash4car.com (AAN CAN)

STUFF FURNITURE

BEDTIME

LESSONS CLASSICAL PIANO/ KEYBOARD

Theory Performance. All levels. Portland 503-227-6557.

Warm Puppies! Get your Puppies! Playful and snuggly - the latest and greatest - these pups are hot hot hot!!! What’s that you say? You can’t find puppies in rescue? The shelters are bare? Well these little angels are living, breathing, teething proof that shelters and rescues across this great land are filled with wonderful pooches and kitties of all ages, shapes and sizes! So buy no more, adopt you must, for feeling good is simple and these words you can trust! We have four wonderful puppies in our Pixie Project foster homes. They are 10 weeks old and ready to start their new lives. These pups are miniature pinscher / chihuahua mixes. They are all little girls and will be spayed with their adoptions as well as vaccinated and microchipped. Their adoption fees will be $350 If you would like to meet one of our puppies please fill out the adoption application on our website at www.pixieproject.org and send it on in!

TWINS

MATTRESS

COMPANY

FULL $ 89

QUEEN

(503)

760-1598

109

7353 SE 92nd Ave Mon-Fri 9-5, Sat 10-2

Custom Sizes » Made To Order Financing Available

WillametteWeek Classifieds MARCH 6, 2013 wweek.com

503-542-3432 • 510 NE MLK Blvd

pixieproject.org

TO PLACE AN AD CONTACT:

CHATLINES CALL THE EDGE CHAT FREE CHAT FOR MEN & WOMEN OF ALL LIFESTYLES CALL NOW (712) 432-6434 WWW. THEEDGECHAT.COM PROPERTY OF TELE-MEDIA INC. NORMAL LD CHARGES MAY APPLY 18+ (AAN CAN)

ASHLEE HORTON

503-445-3647 • ahorton@wweek.com

CORIN KUPPLER

503-445-2757 • ckuppler@wweek.com

JONESIN’ by Matt Jones 57 “___ Window” 58 Vizquel of baseball 59 “Fanny” author Jong 60 Prefix meaning “within” 61 Clue weapon 62 Ford’s famous flop 63 TV chef Paula 64 Scrape spot Down 1 Stuffed doll material 2 Therefore 3 Conjunctions seen with a slash 4 Honk the horn 5 Simon in South American history 6 With a high BMI 7 ___ pit 8 Category for Daniel Day-Lewis 9 Sound purchase? 10 After-dinner wine 11 Krabappel of “The Simpsons” 12 ___ to rest 13 Soapmaking caustic 21 California/Nevada lake 22 Makes new friends? 26 Hill of the Clarence Thomas scandal 27 Secondary study 28 Not in any way 29 Having ___ hair day 30 Super-long ride 31 Two, in Toulouse 32 Pop singer Anthony 33 “Moral ___” (Cartoon Network show) 34 Way back when 35 Exhausted 39 Market divisions?

41 Maritime patrol gp. 42 Club on the fairway 44 Option given by Howie Mandel 47 Wesley Snipes title role 48 Pumbaa’s cartoon buddy 49 Rickman, in the “Harry Potter” ﬁlms

50 Terms and conditions option 51 Snipe or thrush 52 Line on a graph 53 Pleasant 54 It may be spliced 55 Monkees member Peter 56 Wallace of “E.T.”

last week’s answers

Across 1 Cool, in 1990s rap parlance 5 Disaster, like the four movies in the theme entries 9 Hide words from the kids, maybe 14 Host with rumors of retiring in 2014 15 One woodwind 16 The present 17 “Edit” menu option 18 It may be more 19 Orange Muppet 20 Pattern for highland families 23 ___ Majesty 24 Mass ___ (Boston thoroughfare, to locals) 25 Word after Gator or Power 26 “Now I see!” 27 Richard or Maurice of 1940s fast food 32 Trips around the earth 36 Village Voice award 37 Golfer Palmer 38 Yoko of “Dear Yoko” 39 SeaWorld star attraction 40 Geometric shape: abbr. 41 Outside the box 43 Comet, for example 45 “I’m amazed!” 46 Columbus Day’s mo. 47 Dizzy Gillespie genre 48 Gp. that regulates carry-on luggage 51 Itinerary collected by a rock historian 56 The South

“Nuclear Disasters”–stuck in the middle with... ewww.

©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 #JONZ613.

Located Downtown

18 and over

Strip Club

Hot Lap Dance Club

Featuring Ryder & Raquel

BUSINESS HOURS ARE 6PM TO SUNRISE 324 sw 3rd ave • 503.274.1900 WillametteWeek Classiﬁeds MARCH 6, 2013 wweek.com

TO PLACE AN AD CONTACT:

ASHLEE HORTON

503-445-3647 • ahorton@wweek.com

CORIN KUPPLER

YOU ARE 10 DIGITS AWAY from your 15 minutes of fame!

It's FREE to participate in the FORUMS and create your own FORUM on any topic.

Chat LIVE with other callers! UNLIMITED VIP access

Only $19/ WEEK! •STRAIGHT•GAY•BI LIVECHAT • PERSONALS • FORUMS

503-222-CHAT (2428) VANCOUVER 360-696-5253 TACOMA 253-359-CHAT

EVERETT 425-405-CHAT SEATTLE 206-753-CHAT

www.livematch.com

LIVELINE DOES NOT PRESCREEN MEMEBERS! 18+ 54

WillametteWeek Classifieds MARCH 6, 2013 wweek.com

Week of March 7

ARIES (March 21-April 19): Maybe you’re not literally in exile. You haven’t been forced to abandon your home and you haven’t been driven from your power spot against your will. But you may nevertheless be feeling banished or displaced. It could be due to one of the conditions that storyteller Michael Meade names: “We may experience exile as a lack of recognition, a period of transition, an identity crisis, a place of stuckness, or else having a gift and no place to give it.” Do any of those describe your current predicament, Aries? The good news, Meade says, is that exile can shock you awake to the truth about where you belong. It can rouse your irrepressible motivation to get back to your rightful place. TAURUS (April 20-May 20): Do you have a recurring nightmare that has plagued you? If so, I suspect it will recur again soon. Only this time, Taurus, you will beat it. You will trick or escape or defeat the monster that’s chasing you. Or else you will outrun the molten lava or disperse the tornado or fly up off the ground until the earth stops shaking. Congratulations on this epic shift, Taurus. Forever after you will have more power over the scary thing that has had so much power over you. GEMINI (May 21-June 20): The following request for advice appeared on Reddit.com: “My identical twin is stuck in an alternate dimension and she can only communicate with me by appearing as my own reflection in mirrors and windows. How can I tell her I don’t like what she’s done to her hair?” This question is a variant of a type of dilemma that many of you Geminis are experiencing right now, so I’ll respond to it here. I’m happy to say that you will soon get an unprecedented chance to commune directly with your alter egos. Your evil twin will be more available than usual to engage in meaningful dialog. So will your doppelganger, your shadow, your mirror self, and your stuntperson. CANCER (June 21-July 22): Usually I advise Cancerians to draw up precise borders and maintain clear boundaries. As a Crab myself, I know how important it is for our well-being that we neither leak our life force all over everything nor allow others to leak their life force all over us. We thrive on making definitive choices and strong commitments. We get into trouble when we’re wishy-washy about what we want. OK. Having said all that fatherly stuff, I now want to grant you a partial and temporary license to get a little wild and fuzzy. Don’t overdo it, of course, but explore the smart fun you can have by breaking some of your own rules and transgressing some of the usual limits. LEO (July 23-Aug. 22): In the course of formulating his theory of evolution, Charles Darwin read many books. He developed a rather ruthless approach to getting what he needed out of them. If there was a particular part of a book that he didn’t find useful, he simply tore it out, cast it aside, and kept the rest. I recommend this as a general strategy for you in the coming week, Leo. In every situation you’re in, figure out what’s most valuable to you and home in on that. For now, forget the irrelevant and extraneous stuff. VIRGO (Aug. 23-Sept. 22): Here’s a passage from Charles Dickens’ novel Great Expectations: “It was one of those March days when the sun shines hot and the wind blows cold: when it is summer in the light, and winter in the shade.” Judging from the astrological omens, Virgo, I suspect your life may be like that in the coming days. The emotional tone could be sharply mixed, with high contrasts between vivid sensations. The nature of your opportunities may seem warm and bright one moment, cool and dark the next. If you regard this as interesting rather than difficult, it won’t be a problem, but rather an adventure. LIBRA (Sept. 23-Oct. 22): “I worked as a hair stylist in Chicago’s Gold Coast for 20 years with some of the most gorgeous woman and men in the world,” writes sculptor Rich Thomson. “Once I asked a photographer who shot for the big magazines how he picked out the very best models from among all these great-looking people. His response: ‘Flaws. Our flaws are what make us interesting, special, and exotic. They define us.’” My challenge to you, Libra, is to meditate on how your

supposed imperfections and oddities are essential to your unique beauty. It’s a perfect moment to celebrate -- and make good use of -- your idiosyncrasies. SCORPIO (Oct. 23-Nov. 21): The genius of Leonardo da Vinci was in part fueled by his buoyant curiosity. In his work as an artist, musician, inventor, engineer, and writer, he drew inspiration from pretty much everything. He’s your role model for the coming week, Scorpio. Just assume that you will find useful cues and clues wherever you go. Act as if the world is full of teachers who have revelations and guidance specifically meant for you. Here’s some advice from da Vinci himself: “It should not be hard for you to stop sometimes and look into the stains of walls, or ashes of a fire, or clouds, or mud or like places, in which, if you consider them well, you may find really marvelous ideas.” SAGITTARIUS (Nov. 22-Dec. 21): Ready for a reality check? It’s time to assess how well you know the fundamental facts about where you are located. So let me ask you: Do you know which direction north is? Where does the water you drink come from? What phase of the moon is it today? What was the indigenous culture that once lived where you live now? Where is the power plant that generates the electricity you use? Can you name any constellations that are currently in the night sky? What species of trees do you see every day? Use these questions as a starting point as you deepen your connection with your specific neighborhood on planet Earth. Get yourself grounded! CAPRICORN (Dec. 22-Jan. 19): There’s a writer I know whose work is brilliant. Her ideas are fascinating. She’s a champion of political issues I hold dear. She’s well-read and smarter than me. Yet her speech is careless and sloppy. She rambles and interrupts herself. She says “uh,” “you know,” and “I mean” so frequently that I find it hard to listen, even when she’s saying things I admire. I considered telling her about this, but decided against it. She’s an acquaintance, not a friend. Instead, I resolved to clean up my own speech -- to make sure I don’t do anything close to what she does. This is a strategy I suggest for you, Capricorn: Identify interesting people who are not fully living up to their potential, and change yourself in the exact ways you wish they would change. AQUARIUS (Jan. 20-Feb. 18): The German word Verschlimmbesserung refers to an attempted improvement that actually makes things worse. Be on guard against this, Aquarius. I fear that as you tinker, you may try too hard. I’m worried you’ll be led astray by neurotic perfectionism. To make sure that your enhancements and enrichments will indeed be successful, keep these guidelines in mind: 1. Think about how to make things work better, not how to make things look better. 2. Be humble and relaxed. Don’t worry about saving face and don’t overwork yourself. 3. Forget about short-term fixes; serve long-range goals. PISCES (Feb. 19-March 20): “Telling someone your goal makes it less likely to happen,” says musician and businessman Derek Sivers. Numerous studies demonstrate that when you talk about your great new idea before you actually do it, your brain chemistry does an unexpected thing. It gives you the feeling that you have already accomplished the great new idea -- thereby sapping your willpower to make the effort necessary to accomplish it! The moral of the story: Don’t brag about what you’re going to do someday. Don’t entertain people at parties with your fabulous plans. Shut up and get to work. This is especially important advice for you right now.

Homework Describe how you plan to shake off some of your tame and overly civilized behavior. Testify at Freewillastrology.com.

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BACK COVER

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