39 19 willamette week, march 13, 2013 by Willamette Week Newspaper

NEWS East Portland’s new champion. FOOD MONTAVILLA MOVIN’ ON UP. MUSIC THE GREAT HUGS COMEBACK. P. 21

P. 23

“LIKE A GIANT SPICE RACK FOR DEAD GRANDMAS.” P. 4

So Why Does Gov. John Kitzhaber Want to “Reform” Them? By Nigel Jaquiss | Page 13 wweek.com

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MAIN STORE 706 SE MARTIN LUTHER KING JR. BLVD / 503.233.5973 / M-F 10-7 SAT 10-5 SUN 12-5 OUTLET STORE 534 SE BELMONT, 503.446.2205 / RIVERCITYBICYCLES.COM / OPEN EVERY DAY Willamette Week MARCH 13, 2013 wweek.com

INBOX SAVING OPIATE USERS

I was both thrilled and disappointed by WW’s cover story [“Who Wants to Save a Junkie,” March 6, 2013]. First, I’d like to applaud Sen. Alan Bates [introducing] Senate Bill 384 to make Narcan widely available. This vital public-health tool, and the important overdose-response training that will come with it, will inarguably save lives across Oregon. With regards to the tone of the article, I’d like to point out that Oregonians who use drugs WW refers to as “junkies” represent valuable, irreplaceable members of our community. Drug addiction robs people of the opportunity to live full, healthy and happy lives. These Oregonians are members of our families and are counted among our neighbors and friends. The article highlights three individuals who [recently] died of overdoses in Jackson County, detailing that they were all the sons of respected community members (physician, actor, blues musician). These individuals’ lives matter, especially to their families and their friends. Saving their lives is important. Laurel Bentley Southwest Portland I’m a former opiate user (23 years clean), and one whose treatment included a Narcan-induced detox. While I wasn’t in OD -mode when I received Narcan, it was instrumental in helping to flush the opiates out of my system. That one time, that is. Unfortunately, even with Narcan—and the six months of inpatient treatment at one of the leading (at the time) drug-treatment centers in the Portland area—I still went back to using opiates. Ultimately, if the addict isn’t ready to quit, no amount of treatment will be of any use to them. —“BubbaX”

In a list of Oregon “factoids,” I found the following: “The Tillamook Rock Lighthouse, built in 1880, is currently used as the final resting place of up to 467,000 cremated individuals.” Any truth to this? —Dana L.

Depends on what you mean by “truth.” There are “up to” 467,000 powdered stiffs at the site in much the same sense that this reporter’s net worth is “up to” $1 billion. In both cases, the actual number is more like 30. That said, there are indeed cremains on Tillamook Rock, thanks to a group of investors who, in 1980, bought the decommissioned lighthouse (and the rocky island promontory it sits on) and turned it into the “Eternity at Sea Columbarium.” (A columbarium, as I’m sure we all learned in goth kindergarten, is a building where cremation urns are filed away in little niches, like a giant spice rack for dead grandmas.) 4

Willamette Week MARCH 13, 2013 wweek.com

“Drug users should have no fewer rights to have their health and welfare protected than anyone else.” No, sorry, you have the right to protect your own health and welfare, it is not up to society to protect it for you. It’s called “free will,” and most long-term addicts have “died” a handful of times. Now you want everyone else to pay for it? —“Frankie”

BRIDGE, YES; LIGHT RAIL, NO

Sen. Ann Rivers (R-La Center, Wash.) is calling “bullshit” on the [Columbia River Crossing] project because it is an Oregon-contrived “solution” to an interstate traffic problem that reaches far beyond Portland and Vancouver [“Bridge End,” WW, March 6, 2013]. The cost to interstate trucking traffic alone must be in the tens of millions of dollars annually because of Portland’s 1917- and 1958-vintage bridges on I-5. Dump the light-rail extension, and build the bridge! —“Mark” Build the bridge, yes please! But Portland, you can keep your scuzzy drug dealers and transients. I, along with many other Vancouver residents, don’t want that crap in my neighborhood. Please, no light rail. —“Becka” 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

For two decades, people who thought it would be pretty bad-ass to be interred on a site that looks like the laboratory of Dr. Weird from Aqua Teen Hunger Force could fork over a sum in the low four figures to reserve a spot as one of Eternity’s “honorary lighthouse keepers.” But don’t start making your final arrangements just yet. The columbarium lost its license to practice, um, dead-person storage in 1999. Regulators were put off by the seabirds nesting in the building, and that the deceased were being stacked on cinder-block bookcases like you had in college. A 2005 attempt at reinstatement went nowhere. My call to Eternity’s last known phone number yielded only a computerized voice asking me to leave a message for “professional offices.” While there’s something poetic about the idea of heaven’s phone going straight to voice mail, it seems more likely that Eternity is now just history. QuesTIOns? Send them to dr.know@wweek.com

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PUBLIC HEALTH: The anti-fluoridation campaign, lacking teeth. HOTSEAT: Rep. Shemia Fagan (D-East Portland). TRANSPORTATION: The CRC’s bridge design sags again. PORTLAND INDEX: Guns in Oregon: What really does the killing?

7 8 10 11

LAWMAKERS CLOSE A PUBLIC-HEALTH LOOPHOLE. The Oregon Senate voted 29-0 this week to require restaurants run by public entities to undergo routine health inspections. The legislation was prompted by a WW story in December that reported the Oregon Zoo’s restaurants hadn’t been inspected since 2006, and that government-run restaurants are exempt from inspections under a loophole in state law. WW examined the zoo’s record after a norovirus sickened 135 people at a zoo restaurant. Metro, the area’s regional government, runs the zoo. “Customers expect food from diners, cafes and bistros to be prepared in clean and safe kitchens,” says Sen. Chip Shields (D-Portland), the bill’s sponsor. “Restaurants operated by public entities should have to go through the same inspections.” The bill now goes to the Oregon House.

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The Portland Police Athletic Association has sold the building and closed the bar where members and retirees could drink without being bothered by common riffraff. The members-only police bar, recently reviewed in these pages (Bar Spotlight, WW, Feb. 20, 2013), closed March 1 when the $945,000 sale was completed. New owner Tom Biggs says his two sons plan to redevelop the space at 706 SE 6th Ave.

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Anti-CRC billboARd At inteRstAte 5 And HigHwAy 217

The battle over the Columbia River Crossing has moved to outdoor advertising. Last week, a billboard went up at the confluence of Interstate 5 and Highway 217 that cryptically raises questions about the CRC—“Got Corruption?”—and features the Twitter hashtag #stopcrc. The billboard includes photos of two players in the $3.4 billion project: political consultant Patricia McCaig and Oregon State Treasurer Ted Wheeler. WW recently profiled McCaig’s role in pushing the CRC as both adviser to Gov. John Kitzhaber and a paid consultant to the project (“The Woman Behind the Bridge,” WW, Feb. 27, 2013). Wheeler is on the hot seat because he’s required by law to approve the project’s financial plan before the state can sell bonds. The billboard was purchased by Lindsay Berschauer, a Republican consultant and ex-director of the Oregon Transformation Project, which last year backed Clackamas County candidates opposed to light rail with big contributions from Stimson Lumber (“The King of Clackistan,” WW, Oct. 31, 2012). Berschauer tells WW her firm, Leona Consulting, has been hired to fight the CRC but won’t say by whom. Meanwhile, Stimson Lumber CEO Andrew Miller tells WW neither he nor Stimson was involved in financing the billboard. Note to readers: The billboard’s photos of McCaig and Wheeler originally appeared in WW, which holds rights to the photos, and were used without WW’s permission or knowledge. Editor Mark Zusman has asked Berschauer to remove the photos. Berschauer has declined to do so. Read more Murmurs and daily scuttlebutt. 6

Willamette Week MARCH 13, 2013 wweek.com

GOT A GOOD TIP? CALL 503.445.1542, OR EMAIL NEWSHOUND@WWEEK.COM

w w s ta f f

NEWS

CAVITIES IN THEIR CAMPAIGN ANTI-FLUORIDE ACTIVISTS HAVE NO BACKING FROM GROUPS REPRESENTING LOW-INCOME PORTLANDERS OR MINORITY GROUPS. By m ic h a e l m u n kvold

mmunkvold@wweek.com

In the debate over fluoridating Portland’s water, the two sides trying to persuade voters can agree on one thing: Low-income children aren’t getting the dental care they need and deserve. And each side says its position offers the best hope for helping those kids. But for one side in the battle—Clean Water Portland, which opposes fluoridating the city’s water supply—that argument is getting little traction with groups that say they represent low-income and minority Portlanders. None has sided with anti-fluoridation forces. Meanwhile, Healthy Kids, Healthy Portland, the backers of a May 21 ballot measure to authorize fluoridation, has lined up more than 80 local organizations that have endorsed its campaign, including the African American Health Coalition, Causa, the Latino Network, and the Asian Pacific American Network of Oregon. Kimberly Kaminski, executive director of Clean Water Portland, says she won’t disclose in detail what her group has done to reach out to low-income or minority groups. “We have offered to meet with most, if not all, of the groups within the communities of color that have spoken out in favor of fluoridation to hear their perspective and share ours,” Kaminski wrote in an email to WW. “Our volunteers have also recently met with both groups and indi-

viduals. These conversations are ongoing and the response has been mixed, with some clearly supporting and others clearly opposing fluoridation.” But Kaminski won’t name a single group that has endorsed Clean Water Portland’s position. “We’re not prepared to give out that information at this time,” she says. Organizations that have backed the fluoridation efforts say Healthy Kids, Healthy Portland reached out to them early—in some cases, they had been part of a pro-fluoridation coalition in the past. “Healthy Kids, Healthy Portland arose with communities of color at the grassroots level,” says the Rev. Joseph Santos-Lyons, executive director of APANO. “With Clean Water Portland, there isn’t really leadership at the table from communities of color, so they have to do more external, after-the-fact outreach.” The debate highlights the wide gulf in perceptions and political approaches between the two political campaigns so far. Healthy Kids, Healthy Portland left opponents trying to break into an established political circle and pry away groups that had already expressed support. For decades, experts have said adding fluoride to drinking water cuts down on tooth decay, especially in children. But Portland has resisted fluoridation for years: Voters defeated fluoridation ballot measures in 1956 and 1962; they approved a fluoridation measure in 1978, but overturned it in 1980. Supporters launched a swift, quiet strike last fall, getting then-Commissioner Randy Leonard and other City Council members to approve a plan for a fluoride plant. The fluoridation facility would cost $5 million to build, and $500,000 annually to operate. So far, the Water Bureau

has spent $152,657 on plans for the facility. Opponents of fluoridation—who say the dangers of adding the chemical to drinking water outweigh any health benefits—collected more than 33,000 valid signatures to put the question on the 2014 general election ballot. The council instead referred the issue to voters this spring. But backers of Measure 26-151 say there is no meaningful evidence that fluoridated water poses health risks. Many Healthy Kids, Healthy Portland coalition members say fluoridation opponents don’t understand the inequities that Portland’s underserved communities face in accessing dental care. “The anti-fluoridation people have access to fluoride; one of the most common arguments I’ve heard is, ‘Why don’t you just take your child to the dentist?’” says Nichole Mahar, president of Northwest Health Foundation. “It shows, I think, a basic misunderstanding of what lowincome people are going through.” Opponents point to studies that say too much fluoride can lead to fluorosis, which creates spotting on the teeth, and that young children and infants are at risk, especially if they consume infant formula and other foods mixed with too much fluoridated water. “Fluoridation is not the silver bullet that will fix everything,” Kaminski says. “Putting a toxic waste byproduct into our drinking water and calling it good is an insult, I think, to families and poor kids who are suffering the effects of lack of access to dental care.” Frances Quaempts-Miller, one of the chief petitioners of the anti-fluoride referendum, says Clean Water Portland has found plenty of opposition to the city’s plan, but many organizations who support it don’t necessarily reflect the views of people they represent. “Many members within Portland’s communities of color that I have spoken with were never asked about their feelings regarding water fluoridation,” Quaempts-Miller wrote in an email to WW. “Minority leaders and community members don’t necessarily agree on this issue.” Willamette Week MARCH 13, 2013 wweek.com

NEWS

City hall

SHEMIA FAGAN

EAST PORTLAND’S NEW CHAMPION PUSHES BACK AGAINST CITY HALL. JAMES REXROAD

WW: You grew up in central Oregon but also East Portland. Shemia Fagan: I lived with my dad growing up in Dufur and The Dalles. My mom, who we visited once a month, lived in East Portland around the Gateway area, [Northeast] 100th and Halsey or Glisan. We were the kids wandering the streets of East Portland back in the late ’80s, early ’90s. So when I say I’ve walked the walk of kids in East Portland, I mean that literally. What are the greatest obstacles for East Portland? The perception there’s not a lot of political power there. People in East Portland are not large donors. When a politician looks at where they’re going to get their power, they’re not going to get their money from East Portland, so they tend to ignore it. A lot of families in East Portland are refugee families, not actually American citizens. They deserve equal representation in the same way a big donor in the West Hills does. THE COLD SHOULDER: “A kid should be able to cross the street in front of her house without risking her life,” says Rep. Shemia Fagan (D-East Portland), who protested cuts to a sidewalk program before a 5-year-old girl was killed by a car Feb. 28. “Until we solve that, I don’t even want to turn the attention away to other issues.” By KatE SChiMEl

kschimel@wweek.com

Shemia Fagan insists she is not the new mayor of East Portland. That unofficial title, Fagan says, still belongs to East Portland ex-legislator Jefferson Smith. But Fagan, 31, is arguably on her way to eclipsing Smith in standing up for Portland’s often-forgotten neighborhoods east of Interstate 205. Fagan, a Democrat, is a freshman state representative from House District 51 who lives near Powell Butte. She has forged a caucus of East Portland lawmakers in response to the area’s transportation problems. She protested Mayor Charlie Hales’ cancellation of the Southeast 136th Avenue sidewalk construction project, even before 5-year-old Morgan MaynardCook was fatally struck by a car on 136th on Feb. 28. Fagan’s leadership after Morgan’s death helped prompt Hales to reconsider his decision. WW talked to Fagan—a lawyer who spent part of her childhood growing up in East Portland—about her new political prominence, why she can relate to rural Oregon’s dislike of Portland, and what book she would make other legislators read if she had the chance.

Willamette Week MARCH 13, 2013 wweek.com

For East Portland, you’ve said transportation issues—safe biking and safe walking routes—need to be addressed first. I would say safe walking. Folks in East Portland are not huge on the bicycle lane. They’re more often used because we don’t have sidewalks— someone in a motorized wheelchair needs to be on a smooth surface. So they’ll often drive in the bike lanes. You had protested City Hall’s plan to cut the sidewalk project along Southeast 136th. How well do you know this spot? I drove 136th 20 minutes before the accident happened. I’m intimately familiar with that road. You have to walk up a hill, literally in the road—it’s a 35 mph road—without being able to see oncoming traffic and, more importantly, without them being able to see you. This street serves two elementary schools and one middle school—2,000 kids in the David Douglas School District five days a week. They have to cross 136th in order to get home. It is basic. It is 2013. A kid should be able to

cross the street in front of her house without risking her life. Has any part of the tragedy of Morgan Maynard-Cook’s death been overlooked? One thing really struck me when I went to the candlelight vigil for the little girl the day after she was killed. Her classmates were invited, [so] you walk up to the haunting chorus of children mourning. But her family was remarkable in that just 24 hours after she passed away, they were fired up and they were demanding action. And so that is important to recognize—that in this instance, a family that had every right to grieve and mourn in private has instead chosen to pick up the battle cry. How does your upbringing inform your work as a legislator? My dad was a very staunch Republican. He was an ordained minister in the Foursquare church. Growing up in a Republican family— you know, Oregon was this Democratic state. We didn’t feel our voices were heard. That’s incredibly similar to how people in East Portland feel toward the city of Portland. I want to be very clear here, I’m new at this. I’m a new legislator, and I’m not cynical yet. The new mayor, Charlie Hales, and the council deserve the benefit of the doubt. The City Council has been incredibly responsive. You’ve written that you and your father, when you were younger, exchanged books with competing ideologies. What book would you have city officials or your Oregon House colleagues read? [Long pause.] Maybe To Kill a Mockingbird. Why? Just the reality of how other folks live. In a city that’s praised nationwide for its greenness, its transportation, cutting-edge activities, the fact that we have a little girl who can’t just cross the street in front of her house without risking her life means that we are not the city yet that the rest of the nation thinks we are—and some of Portland wants to believe we are.

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TRANSPORTATION PA R S O N S B R I N C K E R H O F F

NEWS

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(RE)DRAW BRIDGE: The U.S. Coast Guard has returned a required permit application from the Columbia River Crossing, saying the CRC’s work was so insuﬃcient that the Coast Guard cannot consider reviewing it.

LIMBO DANCE CRC OFFICIALS HAVE SPENT MILLIONS TO OVERCOME A BRIDGE DESIGN THAT’S TOO LOW. THEY STILL DON’T HAVE IT RIGHT.

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Willamette Week MARCH 13, 2013 wweek.com

BY A N DR EA DA MEWOOD

adamewood@wweek.com

When Oregon lawmakers recently agreed to hand over $450 million for the Columbia River Crossing, they put a condition on the money: Settle questions about how high the bridge needs to be. CRC officials have spent more than $165 million planning the $3.4 billion project, but they failed to design a bridge tall enough to satisfy federal law and allow for the river’s ship traffic. The project’s backers assured state legislators this was a problem that was all but solved. Gov. John Kitzhaber assured a legislative committee Feb. 11 the CRC has been “studied and analyzed and restudied and reanalyzed. The result is a project that’s ready to be built.” But documents obtained by WW suggest the proposed CRC spans are not only too low, the project hasn’t come close to fixing the problem. In January, CRC officials applied for a permit from the U.S. Coast Guard, which has the authority to decide whether or not the bridge’s clearance—originally designed at 95 feet but now proposed at 116—will obstruct too many ships. Planners spent more than a year and $1 million getting the permit application ready. Now comes the Coast Guard’s response: The application isn’t even close to being adequate— it’s full of holes and incomplete answers. The letter, sent March 8 to the directors of Oregon and Washington’s departments of transportation, guarantees even more delays in the project, which is trying to get the bridge height approved by Sept. 30. Meanwhile, the CRC project burns through money—$2.9 million alone in December, according to project documents. The Coast Guard letter cites three major flaws in the CRC’s application. But the most glaring oversight is the CRC’s failure to fully evaluate the biggest issue involving the bridge height: the number of jobs it would put in jeopardy. “The application identifies a projected financial impact to three industrial fabricators, but does not provide the underlying data or analysis

that supports it,” Rear Adm. K.A. Taylor wrote in the letter. Four manufacturers operate on the Washington side of the river at the Columbia Business Center, with 4,000 employees earning $300 million in salaries, according to a letter to the Coast Guard by business center operator Killian Pacific. CRC officials say they could pay the businesses $30 million to $116 million to “mitigate” their losses. Three companies—Thompson Metal Fab, Oregon Iron Works, and Greenberry Industrial— manufacture massive offshore oil platforms. Each needs well more than 116 feet of clearance to move the rigs they manufacture about a mile upriver from the current Interstate Bridge. John Rudi, president of Thompson Metal Fab, says the only mitigation that will work is to move his company’s entire production downstream. Oregon Iron Works Vice President Tom Hickman says that his company isn’t willing to move, but could move some assembly work. “It is unfortunate that the design effort got so far down the road before they dealt with the height and clearance issues,” Hickman tells WW. The Coast Guard will decide if the project runs afoul of federal law prohibiting bridges that “unreasonably obstruct the free navigation of the waterway over which it is constructed.” But the Coast Guard letter by Taylor also faults the CRC for failings in its forecasting of future river users, and for not having worked out a resolution with the large manufacturers. CRC officials didn’t respond to WW’s requests for comment. The states of Oregon and Washington have been pushing plans for the CRC for years. The new bridge and accompanying freeway interchanges are intended to reduce congestion along Interstate 5 and replace the aging spans. The project also includes extending MAX light rail from Portland to Vancouver. But the project has been mired in controversy over its costs, faulty traffic and revenue projections, and its design. The Oregon Legislature in the last two weeks approved $450 million as a down payment for the project. But Washington state lawmakers have not yet done so. Rudi says he knows that since planners already made a crucial error in height, he must stay vigilant. “I’ve been spending a considerable amount of our own money, time and resources to put up a defense,” Rudi says. “If we sit back and do nothing, it could put us out of business.”

PORTLAND INDEX

PISTOLWHIPPED AS THE FIREARM DEBATE FADES, THE NUMBERS REVEAL PATTERNS IN OREGON’S GUN DEATHS. BY M AT T KAUF F M A N

mkauffman@wweek.com

When the gunfire fell silent after Clackamas Town Center and Sandy Hook last December, politicians raced to proclaim it was time to do something about gun violence in America. The news set off a buying spree of assault-style rifles—the choice of many sharpshooters, hunters and crazed mass killers—as lawmakers wrote bills to address the easy availability of such weapons and big ammunition clips. Less than three months later, the debate has cooled, and the talk in Salem is that there is little Oregonians can expect from the Legislature. We hear from pro-gun rights activists that these rifles—the AR-15s and Bushmaster 22s, for example—aren’t the problem.

All other guns

Suicides

82%

Deaths by handguns

59%

All other guns

41%

NEWS

33% Deaths by handguns

All others

67%

18%

OREGON GUN DEATHS

OREGON

PORTLAND AREA

S O U R C E S : O R E G O N H E A LT H A U T H O R I T Y, F B I . N O T E : S T A T I S T I C S A R E F O R 2 0 0 5 T O 2 0 1 0 .

Still, we remained curious about the gun violence no one seems in any particular hurry to address: Just who is getting killed, and by what kind of gun? So we dug through the numbers—specifically, the tally of gun deaths in Multnomah County and Oregon. It turns out the handgun does more damage. Of the almost 780 gun-related deaths in Clackamas, Multnomah and Washington counties over a five-year period, more than 500—or about two out of three—deaths were from handguns, according to statistics from the Oregon Health Authority. Statewide, it’s just under 60 percent. While the debate has focused on how to prevent one person from shooting another, the gun violence that does the most damage is self-inflicted.

Gun-related suicides in Oregon account for four out of five firearm deaths. That’s well above the national average of about 60 percent, according to the Centers for Disease Control and Prevention. Kevin Starrett, director of the Oregon Firearms Federation, says the numbers show legislators are addressing the wrong kind of gun if they’re trying to have the most impact. “A handgun is just more practical,” Starrett says. “With crime, it’s easier to be concealed and it’s easier to be disposed of. For suicides, it’s just easier to use. Why focus on the firearm that is least likely to be used? Because you can get the most emotion out of it.” The most far-reaching bill aimed at curbing gun violence is House Bill 3200, which would ban the ownership or sale of

assault weapons and large-volume magazines. Current owners would either have to give up their assault weapons or register them with the state. Critics say it’s overreaching. Even the bill’s chief sponsor, Mitch Greenlick (D-Portland), says it’s problematic. The outlook is, it won’t get far. But those hopeful for some action in Salem—acknowledging that assault weapons don’t pose the biggest threat—say they still want lawmakers to address assaultstyle guns. Penny Okamoto, executive director of Ceasefire Oregon, says bills requiring universal background checks and a strict, two-week buyer waiting period would help curb suicides and handgun deaths. “Bottom line,” she says, “let’s get these weapons of war off the streets.”

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SO WHY DOES GOV. JOHN KITZHABER WANT TO “REFORM” THEM? By Nigel Jaquiss n j a q u i ss @ wweek .co m

Oregon has one of America’s best prison systems. Gov. John Kitzhaber knows that. After all, he helped build it. When Kitzhaber was governor from 1995 to 2003, he spent hundreds of millions constructing new prisons. He didn’t like spending big money to warehouse society’s problems. A former emergency-room doctor, Kitzhaber prefers low-cost prevention to high-cost treatment, often noting it costs $10,000 a year to educate a child but more than $30,000 to house a prisoner. But when sentencing laws forced his hand, Kitzhaber built a prison system

that has become the envy of other states. As Jody Sundt, an assistant professor of criminology at Portland State University, puts it, “Oregon’s correctional system is nationally recognized as a leader.” In a variety of ways, state and federal figures show, Oregon has one of the most effective corrections models anywhere. The system uses prison sparingly, locks up the right people and helps keep them from reoffending. Yet now Kitzhaber is trying to undo that good work. He says we can’t afford the current system. cont. on page 14

Willamette Week MARCH 13, 2013 wweek.com

CONT. W W S TA F F

OREGON’S PRISONS

“The relentless growth in the Department of Corrections is one of the major reasons we cannot adequately invest in education,” he told Oregonians in his Jan. 14 State of the State address. Kitzhaber’s commission on public safety proposed big changes to sentencing laws in an effort to stop that “relentless growth.” They would be the biggest reductions in sentencing in 20 years. That approach is risky for a few reasons: First, polls show citizens fear crime and don’t know it has declined. Second, data from his own Department of Corrections show that Kitzhaber’s assertions about the prison system’s “relentless growth” are false. And finally, according to critics, Kitzhaber’s reform plan will tamper with an aspect of state government that functions unusually well. “The Oregon public-safety system is doing exactly what it was designed to do,” says Clackamas County District Attorney John Foote. “Over the past 25 years, it is the most successful part of state government.”

THE REFORMER: Gov. John Kitzhaber says he can save $600 million over 10 years by adopting smarter approaches to crime. “And the fact is that this $600 million—if spent on public education—would keep hundreds of people out of the criminal-justice system in the ﬁrst place,” he has told lawmakers.

In 2011, Kitzhaber returned to the governor’s office for a third term, determined to reshape Oregon. When he looked at Oregon’s education system, the state’s biggest budget item, he saw too many dropouts and too few teachers. He vowed improvement. When he examined Oregon’s approach to health care, the state’s second-biggest cost, he saw unnecessary procedures, too many ER visits and gold-plated hospital beds. So he launched aggressive reforms. This year, he is taking aim at the state’s third-biggest cost, prisons. Kitzhaber was unavailable for comment on this story, but he’s made plenty of public statements on the subject. “If we are unwilling to act on this issue, we will, by default, be choosing prisons over schools and condemning untold numbers of today’s students to a future in our system of corrections rather than in our system of postsecondary education,” Kitzhaber told lawmakers in January.

And in February, he submitted to the Oregon Legislature a reform plan that would dramatically shift the Department of Corrections’ course and rein in its $660 million annual budget. He has proposed to save $60 million annually over the next 10 years. He wants to prevent bad outcomes rather than paying more to fix them later. Kitzhaber oversaw a massive increase in the prison population last time around. In 1994, the year he was first elected governor, voters approved Kevin Mannix’s Measure 11, which established mandatory minimum sentences for violent crimes. That fueled a rapid increase in the number of prisoners: Oregon state prisons, which hold all offenders sentenced to more than a year, saw their population increase by 85 percent from 1995 to 2005. Kitzhaber’s plan is to reduce sentences for three common Measure 11 crimes,

“THE OREGON PUBLIC-SAFETY SYSTEM IS DOING EXACTLY WHAT IS WAS DESIGNED TO DO.” —JOHN FOOTE

Oregon’s Incarceration Rate Is Low Despite Measure 11’s mandatory minimum sentences, Oregon incarcerates felons at about three-quarters of the national average, as it did in 1990, before voters approved Measure 11.

400

297

373

300 200

316 223 U.S. imprisonment rate

100 0

502

478

500

’90

’91

’92

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Willamette Week MARCH 13, 2013 wweek.com

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S O U R C E : U . S . B U R E A U O F J U S T I C E S TAT I S T I C S ; OREGON COMMISSION ON PUBLIC SAFETY

Prisoners per 100,000 population

600

promote alternatives to incarceration and effectively cap the number of inmates in Oregon’s 14 prisons around the current number—14,308. He has said Oregon is laboring under “the burden of an unsustainable system” that is increasingly imprisoning the wrong people. From the beginning, critics hated Oregon’s mandatory minimum sentences. David Rogers, director of the Partnership for Safety and Justice, a Portland nonprofit opposed to Measure 11, says mandatory minimums are bad policy because they remove judicial discretion and brand convicted juveniles for life. “Measure 11 is not getting the job done,” Rogers says. “There are smarter approaches.” Proponents and opponents of Measure 11 will never agree. But here’s what’s indisputable: Despite Measure 11, Oregon’s incarceration rate is modest. The state ranks 33rd in incarceration, according to the federal Bureau of Justice Statistics, imprisoning 373 people per 100,000, just three-quarters of the national average. “I think a lot of people are taken in by the propaganda, but Oregon is not the gulag,” says Don Rees, chief deputy in the Multnomah County District Attorney’s office. He serves on the prison population forecast committee. Perhaps more important is who is doing time in Oregon prisons. With a low rate of incarceration, it seems logical that Oregon is leaving bad guys on the streets. In fact, statistics show our system does an outstanding job of putting away the criminals Oregonians want locked up. A 2010 Bureau of Justice Statistics study shows Oregon has the highest rate of violent offenders behind bars of the 33 states that report such figures. That means we have the lowest rate of nonviolent offenders. As of March, fewer than 6 percent of

CONT. Oregon inmates were doing time solely for drug offenses. Federal figures show we have the second-lowest incarceration rate for drug offenders in the country. “It’s almost impossible to get into prison in Oregon for drug possession,” Rees says. Kitzhaber wants Oregon to shift spending to addiction services and more effective alternatives to incarceration, and stop released convicts from returning to prison. Prosecutors agree with him. But Oregon already has the nation’s lowest recidivism rate because of innovative post-prison supervision policies. The national nonprofit organization that is leading prison reforms around the country—including in Oregon—acknowledges the state’s success. “Oregon is a state that is ahead of the pack,” says Adam Gelb, director Pew’s Public Safety Performance Project. “But state leaders think there is room for significant improvement not just in sentencing and corrections policies but overall in how the state is attacking crime.” Six months after taking office for his third term, Kitzhaber named the 2011 Commission on Public Safety. His directive to the seven-person panel was pointed: “As a result of the incarceration costs of our current sentencing policies, Oregon faces the untenable choice of having to fund its prisons or educate our children,” Kitzhaber wrote in the executive order creating the commission. The commission, led by then-Oregon Supreme Court Chief Justice Paul De Muniz, included former Gov. Ted Kulongoski, four lawmakers and a Salem car dealer. A glaring omission on the panel—no cops or prosecutors. Steve Doell, of the advocacy group Crime Victims United, says that made no sense. “How do you have a commission on a topic that is so important without having all the key stakeholders and their expertise at the table?” Doell asks. The panel’s makeup also disappointed Foote, the Clackamas County district attorney.

Foote, 62, a politically savvy prosecutor, would have been an obvious choice for the commission. In 2008, he worked with anti-incarceration advocates to defeat an expansion of mandatory sentencing laws. And Foote, the Clackamas County DA since 2000, had also served as deputy director and inspector general of the Department of Corrections from 1990 to 1995. So he and other prosecutors watched Kitzhaber’s commission with keen interest. What they heard didn’t fit their experience. Uninvited, Foote showed up in late 2011 to testify in front of the commission. Although, like others who wanted to comment, he was granted only three minutes, he and prosecutors from Multnomah and Washington counties created enough political heat that Kitzhaber reconstituted his Commission on Public Safety in 2012. This time, the panel included a defense attorney, Department of Corrections director Colette Peters, Marion County Sheriff Jason Myers—and Foote. Kitzhaber, De Muniz and legislative leaders also invited the Washington D.C.based Pew Center for the States to staff the commission. Pew started a national Public Safety Performance Project in 2006, helping roll out reforms in higher-incarceration states such Arkansas, South Carolina and Texas. In commission meetings, Foote sparred with Pew staffers. Although Pew praised Oregon’s past correctional performance, its analysts warned that Oregon’s mix of prisoners and length of sentence were trending the wrong way—toward lessviolent offenders and longer sentences. Pew based its assertions on data from 2000 to 2010, despite the fact that conditions changed dramatically in 2005, when prison growth ground nearly to a halt. “In the seven years since 2005, Oregon’s prison population has expanded by 9 percent,” says an Oregon Office of Economic Analysis review of the prison population. “In the seven years prior, the population expanded by 67 percent.”

Where the Money Is

CONT. on page 16

Recidivism: Oregon Is the Lowest A 2011 study by the Pew Center on the States found Oregon has the lowest rate of recidivism—deﬁned as a felony conviction within three years of leaving prison—in the country. Here’s how Oregon compares to adjacent states and the national average:

California 43.3%

Washington

42.9%

Idaho Oregon 0%

33.6% 22.8% 20%

40%

60%

80%

100%

S O U R C E : P E W C E N T E R O N T H E S TAT E S

57.8%

National

OREGON’S PRISONS

When Gov. John Kitzhaber says he wants prison reform, what he’s really saying is, he wants to cut costs. “Our prison forecast predicts the need to build 2,300 new beds over the next decade at a cost of $600 million,” Kitzhaber said in his Jan. 14 State of the State address. “Cost reduction is both needed and possible.” But the 10-year prison population forecast Kitzhaber is leaning on has a long history of overestimating growth. “The track record is terrible,” says Don Rees, chief deputy in the Multnomah County District Attorney’s Office and a member of the committee that oversees the forecast. From 1995 to 2002, for instance, the state produced 14 separate 10-year forecasts. Each significantly overstated growth. On average, the guesses were 15 percent high. Colette Peters, whom Kitzhaber hired last year to run the Oregon Department of Corrections, tells WW, “We have an unsustainable trajectory of spending in corrections.” That is false. Over the past decade, the state general fund increased 41 percent. The Department of Corrections budget went up 39 percent. Peters expects an influx of 2,300 new inmates over the next decade, many of them nonviolent property-crime offenders convicted under 2008’s Measure 57. But prosecutors say Measure 57 projections have been consistently high. Figures show that Oregon’s prison population has grown only 1.3 percent annually since 2005, when it effectively flatlined. As a result, Kitzhaber is calling for a reduction in the prison budget based on faulty forecasts and bad math. If he nonetheless wants to reduce prison spending, however, he could address operating costs. That’s one area where Oregon has lots of room for improvement. Three reports in the past decade have found the state’s perprisoner spending is high. A 2004 federal study found Oregon had the seventh-highest perday cost in the country. A 2010 study by the American Correctional Association pegged our per-day costs at $84.46, well above the national average of $79.84 per day. And a 2011 Legislative Fiscal Office report compared Oregon’s prisonstaffing costs with those in 11 other states. Again, Oregon was high. Oregon’s correctional officers with 10 years of seniority had a total compensation at roughly 119 percent of the averages of all 12 states, while beginning correctional officers received 124 percent, and registered nurses almost 130 percent, the study found. Kitzhaber’s spokesman, Tim Raphael, says reducing costs is important. “Tackling and reducing the per-day cost of corrections has to be a priority. The commission made recommendations on this front, and the law enforcement community has emphasized this as well. But it’s not the whole answer,” Raphael says, adding Kitzhaber wants to target addiction, post-prison supervision and other community corrections programs to save money. Raphael says the governor wants to invest in best practices and not just prisons. “Spending state revenue without targeting it for the best return on investment is unsustainable,” he says. “Rising prison costs are squeezing out critical public investments in state police and community prevention programs we know work.” Don Loving, a spokesman for the American Federation of State, County and Municipal Employees, which represents correctional officers, says prison jobs are enormously stressful. “I’m not going to apologize for what our members make,” Loving says. “It’s a fair wage for a very challenging job.” State Rep. Chris Garrett (D-Lake Oswego), who served on Kitzhaber’s public-safety commission, says the panel limited its discussion of labor costs because state labor issues are not unique to the corrections system and have been the subject of more comprehensive policy discussions. Sen. Doug Whitsett (R-Klamath Falls), a member of the Joint Ways and Means Committee on public safety, says the failure to tackle labor costs shows the safety commission’s real agenda was Measure 11. “They are trying to drive sentencing reform by saying we’ve got this Armageddon on costs,” Whitsett says. “I don’t believe it.” NIGEL JAQUISS. Willamette Week MARCH 13, 2013 wweek.com

CONT.

Foote disputed Pew’s findings, using state figures to show the percentage of violent offenders has actually increased slightly since 2005, and the length of sentences has oscillated in a range but remains far less than the national average. “For the past nine months, we have tried to quietly, but clearly, raise our concerns about the work that Pew has been doing, both behind the scenes and directly to Pew and others, with virtually no success,” Foote says. Pew’s Gelb says his analysts did not cherry-pick data. “The commission got a very robust comprehensive and accurate portrait of where the system is and where it’s headed without significant action by the legislature.” When Pew claimed Oregon was locking up too many “low-risk” inmates, Foote pushed back hard. He and other DAs checked a list of 850 inmates Pew said could safely be released from prison. Pew’s list included 57 people convicted of homicides, and dozens more convicted of rapes and especially violent crimes. And many, such as James R. Tourdot, convicted of assault in the second degree in Multnomah County in 2011, seemed anything but “low risk.” On April 16, 2011, Tourdot, according to a prosecutor’s summary, became enraged when a man named Curtis Threelegs pushed him out of a chair in a downtown Portland building. “The defendant then broke his victim’s orbital socket and ripped out his eye with his hand,” the summary read. “Despite emergency treatment at OHSU, the eye could not be saved.” Tourdot was sentenced to 56 months in prison. Although he had a long record in Washington, California and Montana, the risk-assessment tool cited by Pew failed to take that into account. After Foote made his case, media outlets jumped on the “low-risk” controversy. At the next Commission on Public Safety meeting, Kitzhaber decried “the use of fear and emotion to drive public policy by anecdote,” and batted down any implication he was soft on crime. “I’m not interested in nor will I support any reform of the public-safety system that shortens sentences or provides for early release of violent offenders,” Kitzhaber

W W S TA F F

OREGON’S PRISONS

THE SKEPTIC: Clackamas County District Attorney John Foote doubted the Washington D.C.-based Pew Center on the States’ assertions about whether its reform agenda ﬁt Oregon’s needs.

said Sept. 24. Raphael says Kitzhaber wasn’t advocating early release for prisoners already sentenced under Measure 11. “The governor thinks we need to consider all constructive alternatives and find the most effective ways to redirect resources to investments that will prevent crime in the first place,” Raphael says. Yet his commission eventually took a meat cleaver to Measure 11. The proposal it sent the Legislature would end mandatory minimum sentences for second-degree robbery, second-degree assault and firstdegree sex abuse. Collectively, figures show, those crimes account for more than 40 percent of Measure 11 convictions. De Muniz, the former Supreme Court chief justice who chaired Kitzhaber’s public-safety panel, says it’s time to put sentencing back in judge’s hands. “One way to bend the cost curve in corrections is to allow more judicial discretion so we can consider the character of the offense and the character of the offender,” De Muniz tells WW. “That doesn’t work

with mandatory minimums.” Rogers, of the Partnership for Safety and Justice, calls the suggested sentencing changes “modest change that will leave the vast majority of Measure 11 intact.” Chuck French, a former Multnomah County prosecutor now doing policy work for Metro-area district attorneys, disagrees. “These three crimes are the No. 1, 3 and 4 most-charged Measure 11 offenses, and they make up 42 percent of all Measure 11 indictments,” French says. “It is statistically accurate to say this would gut Measure 11.” Foote says Pew’s remedies are wrong for Oregon. “Many of the problems Pew wants to fix in other states are just not problems here,” Foote says. Pew—after offering what was supposed to be objective analysis—is lobbying to get Oregon to approve the agenda it drafted for Kitzhaber. Pew is deploying and paying for a dozen registered lobbyists—including wellknown figures such as Kristen Leonard, Greg Peden and brothers Kevin and Craig Campbell—to make the case for cutting Measure 11.

A key measure of whether prisons are being used effectively is the percentage of violent vs. nonviolent offenders they hold. A 2010 U.S. Bureau of Justice Statistics study found Oregon incarcerates the highest percentage of violent offenders of the 33 states that keep such figures. Here’s how Oregon compares to adjacent states and the national average:

Idaho

National

California

Washington

Oregon

38.2%

53.0%

58.1%

59.9%

67.2%

Willamette Week MARCH 13, 2013 wweek.com

S O U R C E : U . S . B U R E A U O F J U S T I C E S TAT I S T I C S

Locking Up Violent Offenders: Oregon Is Best

“They were supposed to be impartial staff for the public-safety commission,” French says. “But now we see they are advocates.” Pew’s Gelb says his organization provided unbiased analysis but always planned to help implement the commission’s findings. He says there’s no conflict of interest. “We had a very clear agenda from the beginning,” Gelb says. “A better public safety return on Oregon’s corrections spending.” In his third term, Kitzhaber has shown a mastery of power politics—he rolled his education reforms through the 2011 Legislature and skillfully punched a Nike tax bill though a special legislative session in December. Now, with the endorsement of an influential nonprofit, he has pushed a major revision of Measure 11 close to the brink of reality—lawmakers probably will vote next month—with little fanfare. Even for a governor who last year bucked the Oregon Constitution with his refusal to allow death-row inmate Gary Haugen to be executed, rolling back sentencing is a big political gamble. That’s especially true when the data doesn’t support such a move. Former Labor Commissioner Jack Roberts, who followed the public-safety commission from afar, says making big changes to Measure 11 could have the unintended consequence of increasing the percentage of nonviolent offenders in prison and spurring an increase in mandatory sentencing. “First, the underlying premise here is wrong,” Roberts says. “We have a system that works really well.” If lawmakers roll back Measure 11, Roberts says it could cause law-and-order advocates to put even tougher measures on the ballot, and next time put them in the constitution so lawmakers cannot change them. “You don’t save much money,” Roberts says, “and you end up with a system that’s less flexible and less effective.”

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FOOD: Chillin’ like a Montavillan. MUSIC: Staging a career comeback...at age 24. DANCE: You swig, these kids jig. MOVIES: The Korean Tarantino.

21 23 33 38

SCOOP SAD ABOUT LADD: Ladd’s Inn, the beloved 50-year-old dive on the northwest corner of the Addition from which it gets its name, will close Saturday, March 16. A bartender told Scoop the owners admitted to being several months behind on rent—surprising given the popularity of neighboring Lardo and High Dive. >> In other bad bar news, Someday Lounge, the 6-yearold Old Town music venue, is also closing this week. The building is in the process of being sold to a group of investors, according to operating manager Mike Grimes, though their plans for the space are undisclosed. Since opening in fall 2006, the club has been home to exciting regular events, including hip-hop showcase the Fix and Portland funkateer Tony Ozier’s Dookie Jam. “We wanted to do something creative down here,” Grimes says. As the neighborhood has changed, though—with businesses shifting toward what Grimes calls “mainstream entertainment” the Someday went in a more dance-oriented direction. But the growing stigma attached to that part of town kept away the club’s target demographic, says former bar manager Shelley Bowers. “There’s an attitude in Portland that you have fun on the east side,” she says. Eventually, the owners “had to pick financial stability over what they’re passionate about,” she adds. The Someday’s going-away party, featuring Ozier, Alameda, Cool Nutz and more, is scheduled for Thursday, March 14. MORE BEER: The area is picking up another brewery soon. The folk at Lake Oswego’s Maher’s Irish Pub have applied for a license to start a brewery called Feckin’ Ales, at 415 S McLoughlin Blvd. in Oregon City. It will be next to Highland Stillhouse—forming a new, mega-boozy Celtic corner along the Oregon City riverfront. According to co-owner Mark Maher, the new brewery will focus on “authentic Irish reds with a Northwest twist.” That twist, in part, is a few more hops, but Maher said it will also dredge up some old recipes from Ireland. BEST nEw BALLOT: Calling Portland’s music insiders! Willamette Week wants you—or someone you know—to help choose this year’s Best New Band. For the next few days, we are opening our inbox to suggestions on whom to add to our list of BNB voters. The only requirement is being a vociferous consumer of Portland music. If you know someone who fits that description— including yourself—please send a message to bestnewband@ wweek.com. Include your nominee’s name and affiliation in the subject line and, in the body, a brief explanation for why they should receive a BNB ballot. Be sure to include the best email address at which to contact the nominee. All entries must be received by Monday, March 18. cORREcTiOn: Last week’s Scoop incorrectly stated the direction that Cinema 21 plans to expand, which is north. 18

Willamette Week MARCH 13, 2013 wweek.com

THEkIrBSTEr / CC

BETTING ONE SHINY SHILLING ON AN IRISH POPE.

kUrT ArMSTrONg

What to do this Week in arts & culture

GETTING

JUGGY WITH IT GRAB AN OLD BOTTLE AND START BLOWING. Orange juice cartons, cherry-cola bottles and a wine jug litter the tables in Arlo Leach’s attic music room. He’s neither a lush nor a hoarder: He’s a jugger. According to Leach, there are dozens of other attics and basements like this in Portland. The Iowa-born Leach, whose flannel shirt and quiet manner make him more like a pre-electric Bob Dylan than a 39-year-old software engineer, says Portland is a hot spot for juggin’. You’ll find them jamming at Northeast Alberta Street’s Anna Bannanas Cafe on the second Thursday of every month and at the Secret Society on Friday for Jugapalooza, which will feature six prominent jug bands in an old-fashioned jug-off. I spent a recent Monday evening perched on a stool in Leach’s attic learning the spittle-covered craft. ENID SPITZ.

BLOW LIKE YOU MEAN IT. Juggin’ ain’t just bottle blowing. Juggers blow directly through pursed lips into an empty jug to create a resonating bass vibration. The talented ones can produce a sound like the love child of a kazoo and trumpet. “Really, the jug is a substitute for a tuba,” Leach says. But I found the experience to involve lots of fartlike noises and sputtering. “As you practice, you’ll be able to relax and you’ll expand your range,” Leach says. My clenched-lip attempt was a good ab workout, producing noises pitched to call neighborhood dogs and sounding nothing like a tuba.

J UGG I N ’ DON E B E E N AROU N D A LON G WHILE . “Some of the earliest recordings are of jug bands,” Leach says. He’s traced the style back to the first recorded juggin’ in 1925. Jug bands peaked in the 1930s, when black musicians along the Ohio and Mississippi rivers dressed in suits and ties to play washboards and banjos. Modern juggers still blow the same songs, but there has been one big change: Juggin’ was taken over by white players. Folkies in the ’60s revived jugging, riding the skiffle craze that even included the early Beatles. Today, Portland juggers include aspiring twentysomething sons of Mumford who insist on writing their own juggin’ songs (totally taboo) and aged flower children wo play the classes.

GET DIRTY! Like a granddaddy of rap battles, jug tunes are notorious for double-entendres and innuendos, like limericks set to the banjo. As I jugged the baseline at my lesson, Leach sang: “I ain’t no farmer, ain’t no farmer’s son, but I’ll plow your field until the farmer come.” With all their talk of “bumble bees” (a male lover with a big stinger) and “fair-browns” (an attractive female lover) doing “bed-spring poker” (sexual intercourse), these juggalos give Weezy a run for his money.

go: Juggers will be jamming at Anna Bannanas Cafe, 2403 NE Alberta St., on Wednesday, March 13. 7-9 pm. Free. Jugapalooza is at the Secret Society, 116 NE russell St., on Friday, March 15. 9 pm. $8. 21+. jugapalooza.com.

WILLAMETTE WEEK

HEADOUT

FRIDAY MARCH 15 me siento con vallejo [DANCE] That hammock isn’t just for lounging—Luciana Proaño turns the modest piece of netting into a bed, swing and even a prison gate in her tribute to the surrealist Peruvian poet César Vallejo. Studio 14, 333 NE Hancock St., 971-275-0595. 8 pm. $10-$15. mazamas used-gear sale [gEAr] Mazamas membership requires summiting a glaciated peak. No climbing is necessary to shop the group’s used-gear sale. Members sell used adventure gear: snowshoes, camping supplies and climbing equipment to outfit your next ambitious outing. rEI and the Mountain Shop will bring deals, too. Mazama Mountaineering Center, 527 SE 43rd Ave. 6-8 pm. a triBute to PLASTIC ONO BAND [MUSIC] When John Lennon left the Beatles, he truly went solo. Plastic Ono Band, his first post-Fab Four album, is a record made only for himself and those willing to travel with him to deep, dark, alarmingly personal places his previous group never dared. Fanno Creek, the We Shared Milk and Old Age perform the record in full along with other Lennon material. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. $5. 21+.

SATURDAY MARCH 16 nordic walking [SPOrTS] You too can be one of those baffling walkers using ski poles for propulsion. Learn all the health and eccentricity benefits of Nordic walking at this group walk. register by Friday, March 15. Next up: the lesser-known nordic walk competition in the Portland Marathon. Salmon Fountain at Southwest Salmon Street and Naito Parkway. 7:30-8:30 am. $25, poles $5. wondersofwalking.com.

SUNDAY MARCH 17 st. patrick’s day [hOLIDAY] Make like the Irish and get bladdered, blootered, fluthered, langered, pished, rubbered, stocious, steamin’ or just plain plastered. You’ll be talkin’ like a wet wellie in no time at all. Anywhere with Guinness or whiskey. As early as you can stomach. 21+. seinfeld quiz night [TrIVIA] What kind of bike did Jerry have hanging on his wall? Did Jerry have any siblings? What was george’s ATM code? EastBurn, 1800 E Burnside St. 6 pm. Free. 21+.

MONDAY MARCH 18 milk music [MUSIC] If this Washington-based quartet isn’t living in the past, it certainly trades in it, playing mossy, guitar-heavy indie rock that conjures the spirits of Pacific Northwest forebears from the Wipers to Nirvana. Star Theater, 13 NW 6th Ave., 248-4700. 9 pm. $8. 21+. Willamette Week MARCH 13, 2013 wweek.com

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FOOD & DRINK WEDNESDAY, MARCH 13 Sherryfest West

Sherry Week in NYC last year was the largest ever outside of Spain; Bar Vivant is giving the West Coast a shot with a weeklong exploration of finos, palo cortados and aging oxidatively. Tonight’s swanky sherry dinner ($75) features Asian small plates at Smallwares with Sherry, Manzanilla & Montilla co-author Peter Liem. Sunday’s Taste of Andalucia pairs 30 sherries with tapas and flamenco dancing. Bar Vivant, 2225 E Burnside St., 271-7166. Various times Wednesday-Sunday, March 13-17. Free-$75. 21+.

Pi Day

Pi Day lives up to its name with $1 off all Random Order pies. “PreP:ear for Pi Day” features a social from 6 pm to midnight the night before, when pie-slice sales benefit homeless youth, and DJ Teknomadix will spin. Random Order Coffeehouse, 1800 NE Alberta St., 971-340-6995. 6 pm-midnight Wednesday, 6:30 am-midnight Thursday, March 13-14. Prices vary.

SATURDAY, MARCH 16 Beaverton St. Patrick’s Day Farmers Market

Spud-themed crafts for little leprechauns and craft spirits for the older ones. Beaverton’s market hosts the mayor, Irish dancing and the only Oregonians to ever play in Scotland’s World Pipe Band Championship.

Beaverton Farmers Market, Southwest Hall Boulevard between 3rd and 5th streets, 643-5345. 10 am-1:30 pm. Free.

St. Joseph’s Day Pig Roast

A grand brew release and pig roast in honor of Mary’s hubby. Occidental will reveal its Bourbon Barrel-Aged Lucubrator Doppelbock and turn two pigs on the spit. Occidental Brewing Co., 6635 N Baltimore Ave., 719-7102. Noon-8 pm.

SUNDAY, MARCH 17 Sunday Salon Series

Local storyteller Sam Smith and studio owner-chef Sophie Lippert kick off Vibrant’s new Sunday series with a seasonal meal, local beer and vegan chocolates. Every first and third Sunday, the creative community space will host dinner and a new local artisan. Vibrant Studios, 1532 SW Jefferson St. 7 pm. $10-$20.

MONDAY, MARCH 18 Cuaresma Seafood Dinner

“Cuaresma” means “Lent” in Spanish and a whole religious season of no meat on Friday. Mi Mero Mole throws a four-course seafood dinner to feast anyway. No gluten-free or vegan options, but plenty of fish and the orangey drink Agua de Cuaresma. One seating only, and reservations are required. Mi Mero Mole, 5026 SE Division St., 232-8226. 7 pm. $28.

DRANK

DRY STOUT (BREAKSIDE BREWERY) Breakside’s Dry Irish Stout is shockingly simple next to the brewery’s more exotic dark beers, which include Coconut Pumpkin Sweet Stout and a porter made with caraway, dill and fennel pollen. Why did such a boring brew medal at international competitions? Well, there’s a reason Irishmen order Guinness as a “pint of plain.” Though Guinness’ imposing color has given it international mystique, it’s actually quite wimpy: only 4.2 percent alcohol by volume, the same as Bud Light. Generally lighter in alcohol and calories than even lagers, Irish stouts are made with roasted unmalted barley. It’s a safe bet ol’ Arthur Guinness would take a shine to Breakside’s black stuff, a 4.5 percent ABV beer that is indeed quite dry, with the subtle smokiness of full city roast coffee and a light dusting of cocoa powder. The beer is a staple at the original Northeast Dekum Street location but seems more appropriate at the austere new industrial space in Milwaukie. Recommended. MARTIN CIZMAR.

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Northwest larder that has, for better or worse, come to dominate Portland’s food scene. This restaurant won’t prompt westsiders to find their way to the backside of the volcano—Tanuki covers that base—but it’s a good addition to the neighborhood, and worth a try before catching a movie across the street. The best dish we tasted was a generous portion of seared trout ($14) that was deboned, served in its skin and topped with sprigs of cilantro and a thick, refreshing poblano vinaigrette I’d favorably compare to the salsa verde found in squeeze bottles at good taquerias. The fish sat atop a pile of crispy corn-specked home fries, which also benefited greatly from the sauce. Other entrees included chicken and biscuits ($14)—a fancified version of hearty chicken stew with crisp carrots and peas topped with two flaky, herbed biscuits—and moist pork shoulder ($14) with a side of fluffy, hushpuppy-style apple fritters and a sweet-cream dipping sauce. Those apple fritters, lightly fried in buttery golden batter, also appeared as an appetizer ($8) alongside batter-heavy fried chicken wings with a too-light drizzle of Thai chili sauce ($8) and a gratin dish of smoky, pan-fried Brussels sprouts ($6). Opt for the sprouts instead of the roasted beet salad ($8), which has a pile of beets next to a LIkE A VILLA: The trout at Redwood. big hunk of blue cheese and large pieces of candied walnut. By the time we finished blending the salad together, we had an unappetizing pink mess. A pork shank sandwich ($9) seemed a little Only a few years ago, Montavilla’s reputation light on meat and heavy on slaw, but a salad with a revolved around car lots and hookers. That stretch housemade mustard vinaigrette bettered the plate. of 82nd Avenue is still a great place to find a 2008 The desserts and cocktails are nothing special: A Silverado, but on a recent Friday night, the ladies slice of chocolate-espresso cake tasted like a Costco walking the streets were young, defrost job, and the Young Amerimiddle-class gals dressed like can cocktail (bourbon, Aperol, ginJulia Roberts at the beginning of Order this: Fried Brussels sprouts ger ale, lime) mixed by our waitress Pretty Woman—that is to say, very ($6), seared trout ($14) and a tall ended up overly watery after the boy ($2). fashionably. massive pile of ice melted. Best deal: The Brussels sprouts What’s up with Montavilla? are only $4 and most sandwiches That’s not much of a loss: You’re This was the question a thirty- $7 during happy hour (4-6 pm going to want to wander around something couple posed to a and 10 pm-close). Montavilla a little these days. I’ll pass: Dessert or cocktails, at bartender inside Redwood, a least for now. Owners of the new Look for great cocktails at Vintage 2-month-old restaurant across the restaurant may put a little more Cocktail Lounge nearby, beer at street from the Academy Theater work into the extras later. the Bunker or Roscoe’s, and desand Portland Tub & Tan. It was sert just next door at Pastrygirl. too loud to hear the answer. As And those aren’t hookers—slouchy at the other small bars and restaurants cloistered leather boots, big hoops and biker jackets are big on along Southeast Stark Street’s canopy-covered Tumblr. MARTIN CIZMAR. sidewalks, the heavy wood tables inside the darkEAT: Redwood, 7915 SE Stark St., 841-5118, walled restaurant were full. redwoodpdx.com. 4 pm-close daily. $$. It’s not hard to see why. Redwood’s small menu includes a solid selection of the Southern-fried

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REVIEW

= WW Pick. Highly recommended. 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.

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Willamette Week MARCH 13, 2013 wweek.com

march 13–19 PROFILE

= WW Pick. Highly recommended.

DESTINY LANE

MUSIC

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 13 Efterklang, Nightlands

[EARTHEN POP] I saw Efterklang in the electronica section of my local record store the other day and felt sympathy for such a placement. To classify the highly melodic Danish troupe’s sound would require years of further study. What is known about Casper Clausen’s intrepid group is that pop can be found anywhere, from rural found sounds to the clatter of big municipal gatherings. Like a child on his first field trip, Efterklang processes such inspiration beautifully, creating a grandiose brand of pop that feels so close to home we can’t believe we haven’t heard it before. MARK STOCK. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $13 advance, $15 day of show. 21+.

THURSDAY, MARCH 14 Harlowe and the Great North Woods, Catherine Feeny

[GRACEFUL FOLK] Contrary to what you might think, Goodwill-acquired recording equipment does have a place in this world. Mark Robertson and the rest of Harlowe and the Great North Woods can attest to that. The band’s tape recorder-bred, studiomixed EP features something of a throwback sound, chock-full of acoustic numbers intertwined with hushed harmonies sitting atop gentle string arrangements. Yet the band doesn’t wear all of its influences on its sleeve, and the short six-song collection surely hints at more to come, especially since the local outfit is currently recording a full-length studio album. BRANDON WIDDER. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. $6 advance, $8 day of show. 21+.

FRIDAY, MARCH 15 Duffy Bishop, LaRhonda Steele, Amy Keys, Rae Gordon, Lady Kat, DK Stewart Sextet (Etta James tribute)

[BLUES POWER] When a handful of the Northwest’s most notable blues belters came together at the Alberta Rose Theatre last April, it was both to honor the memory of a recently fallen idol—the great Etta James, who died in January 2012—and to lend a helping hand to a more modern blues singer in need—Candye Kane, whose all-too-frequent bouts with cancer left her busted both physically and financially. This time around, the singers come together to celebrate: Kane is doing much better and touring again, and the show from last April has been turned into a tribute CD titled Tell Mama. This, the album’s belated release show, is another opportunity to hear this collection of Portland talent singing Etta’s hits backed by the DK Stewart Sextet. At last! CASEY JARMAN. Alberta Rose Theatre, 3000 NE Alberta St., 719-6055. 7 pm. $15 advance, $18 day of show. Under 21 permitted with legal guardian.

Mission Spotlight, Hello Damascus

[ALT-COUNTRY] Mission Spotlight’s debut EP, Everything That Floats, is everything you’d expect from a classic alt-country album: crooning, downhome vocals, soaring slide guitar, broken lyrics and a whole lotta twang. Although the debut runs less than a half-hour, frontman Kurt Foster and the gang capture what some bands spend years fruitlessly searching for. Mission Spotlight has crafted a modern soundtrack suited for the American West, and it feels pretty damn sincere. BRANDON WIDDER. Bunk Bar, 1028 SE Water Ave., 894-9708. 9 pm. $5. 21+.

JEFFDREWPICTURES.COM

CONT. on page 25

TOP FIVE

BY RU STY FEATHER CA P

FIVE TIPS FOR ENJOYING SOUTH BY SOUTHWEST Bands—who needs ’em!? Pssh, come on! You’ll hear bands without even trying, man. Anyway, that’s not really why you are here, is it? Focus on “networking,” kissing ass, getting signed—or, better yet, getting laid! Find a clean restroom. No one wants to stand in line for an hour while listening to that awful dubstep music just to use some plastic shit box with old, sticky beer juice all over the floor. Find the tallest building in sight, take the elevator up a few floors and discover a nice, cozy baño you can call your own. Carry marijuana on your person. That ol’ Oregon hierba works better than a VIP pass, brother! Don’t wear flip-flops. Are you kidding me with those Birks? Have you ever been to a music festival? Have you ever been to Texas? They have real snakes. Keep those dogs covered, hombre. I learned my lesson at Woodstock ’99. Go big on the tacos, but lay off the queso dip. Just trust me on this one. It was also learned through real-world experience. See also tip 2, which is definitely related. And, hey, have a great trip! GO: South by Southwest continues in Austin, Texas, through March 17. Follow our coverage at wweek.com and twitter.com/localcut.

BIG YOUTH THE HUGS’ DANNY DELEGATO IS READY FOR A COMEBACK—AT AGE 24. BY maTTh EW SIN GEr

msinger@wweek.com

In 2007, 18-year-old Danny Delegato sat across from the head of the U.K. branch of Columbia Records and listened to him explain how he was going to make Delegato and his band, the Hugs, into stars. For a kid freshly graduated from Southeast Portland’s Cleveland High School, the experience wasn’t just surreal, but also frightening. Delegato remembers his bandmates sitting there, shaking and red-faced, afraid to say a word. He felt brave for just talking back. What really sticks out from that meeting, though, isn’t the empty promises, but something the record-company president said almost in passing: “I don’t want to fuck you up.” At the time, Delegato didn’t know what he meant. Six years later, he has an idea. Plucked from Portland, where it labored in obscurity, and deposited directly into the machinery of the British music industry, the Hugs were, for a flash of time, England’s next big thing. Of course, over there, next big things come and go with editions of the Daily Mail. After 2 1/2 years of building buzz around its guitar-driven, ’60s-inflected garage pop, the subsidiary label that signed the Hugs folded, its album never came out, and the band returned to Portland, where it was no less obscure than when it left. Looking back, Delegato understands why the label head said what he did. It was a warning. “He was basically saying, ‘I don’t want to destroy you as a kid,’” Delegato says from a table at the Starbucks near his home in Northwest Portland. “Because we were kids, y’know?” At 24, Delegato still looks very much like one. Tangled black hair hangs to his shoulders. His boyish face, dotted with a teenager’s blemishes, is augmented by round-frame glasses. Naturally, Delegato is a bit sick of discussing those days in London, mostly because he’s made a lot of music since, under his own name and as the Hugs, but also because, well, who wants constantly to be reminded of who they were at age 18? When he does talk about that time, it’s with the resigned nostalgia of someone recalling a

particularly eventful summer camp. In 2006, Rod Sargent, an English rock photographer, came across demos on the band’s Myspace page. Impressed by the maturity of the arrangements and melodies— and, no doubt, Delegato’s Brit-pop leanings as a songwriter—Sargent went to James Endeacott, the A&R rep responsible for discovering the Strokes, and together they flew to Portland to see the Hugs play live. Even though the most high-profile gigs the group could line up were at coffee shops and house shows, Endeacott signed the Hugs to his Columbiabacked imprint, 1965 Records, and brought them to London—which, as might be expected, didn’t help the band’s standing among its local music peers. “We got a lot of backlash from Portland in general,” Delegato says. “Just people being jealous that we were so young and getting loads of money from the label that aimlessly signed us out of nowhere.” For the next few years, the Hugs lived in the U.K., where it toured, had meals with major industry figures, got name-checked in NME, smashed newlybought guitars, hung out with the Libertines and, eventually, went into the studio with producer Liam Watson. Although he’d won a Grammy for his work on White Stripes’ Elephant, Watson “sucked the soul out of our sound,” Delegato says. As the label waffled on putting out the album, the band returned to Portland. Three months later, 1965 Records went under. Then the rest of the band quit on Delegato. At a career crossroads at age 21, Delegato struggled to decide what to do next. He started processing his flirtation with stardom through solo acoustic songs. Now, Delegato is on his third incarnation of the Hugs. He self-released the first album and its follow-up, Again & Again, in 2009, and last year put out an EP indicating a shift toward a more rhythmic sound. He’s got another full-length planned for the summer. He says he’s not scarred by his dalliance with fame. It taught him a lot about being an artist. And the biggest lesson, he says, is what it takes to truly make it in the music business—something he’s still aspiring to. “I was much more concerned with doing what I wanted,” Delegato says of himself back then. “I was young and just didn’t give a fuck about what other people thought. Now, I’m like, I need fans. They need to hear that thing that makes them go, ‘Wow.’ And I’m still waiting for that moment. I don’t think I’ve written anything that’s amazingly great.” SEE IT: The Hugs play Mt. Tabor Theater, 4811 SE Hawthorne Blvd., on Friday, March 15. 9 pm. $5. 21+. Willamette Week MARCH 13, 2013 wweek.com

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friday

[HUcKLEBERRY HoUnD on MY tRAIL] Even during its early ’90s heyday, when uncomplicated sentiment soaring over prefab riffs and a moniker redolent of secondtier comic strips all but guaranteed college radio play, Big Head todd and the Monsters wasn’t exactly the likeliest alt-band to endure a quarter of a century. once freed from majorlabel supervision, the Boulder trio embarked on what may well be a lifelong tour of a sprawling, explicitly casual mélange of funk, roots and members’ passions of the moment: Latest album 100 Years of Robert Johnson assembles a fantasy camp of living legends to bless technically proficient renditions of the Delta blues as interpreted by men who’ve perhaps never known sadness. JAY HoRton. Crystal Ballroom, 1332 W Burnside St., 225-0047. 9 pm. $25 advance, $27 day of show. 21+.

Hillstomp, Sassparilla, Hong Kong Banana

[coUntRY cHAoS] It’s easy to imagine PDX duo Hillstomp as the house band at some rowdy smalltown bar, playing its blend of rootin’ tootin’ country and blues as a soundtrack to endless fights that eventually get broken up by Patrick Swayze. A longtime fixture of the city’s alt-country scene, guitarist Henry christian and drummer John Johnson have crafted a sound rooted in the rowdiest of Americana. the band has a habit of disappearing for long periods of time, so consider this two-night stint at the Doug Fir a chance to let loose before letting your inner Appalachian ass-beater go into hibernation. AP KRYZA. Doug Fir Lounge, 830 E Burnside St., 2319663. 9 pm. $10. Hillstomp also plays Doug Fir Lounge Saturday, March 16, with the Pynnacles and Paradise. 21+.

Plastic Ono Band Tribute: Old Age, Fanno Creek, the We Shared Milk

[WoRKInG-cLASS HERo WoRSHIP] Ready for a shocking statement? Plastic Ono Band is better than anything John Lennon did with the Beatles. to me, anyway. And that’s a crucial distinction. the Fab Four preoccupied itself with speaking for a generation and defining the zeitgeist of the ’60s, and when Lennon left the group construct in 1970, he truly went solo, making a record only for himself and those willing to abandon the hippie utopian dream and travel with him to some deep, dark, alarmingly personal places. Famously inspired by primal scream therapy, the album is more visceral, frightening and straight-up exhilarating than the Beatles could dare to go, even at their most experimental. Here, three of Portland’s rising bands— Fanno creek, the We Shared Milk and old Age (who are technically from corvallis, but close enough)— pay tribute to the record by coming together to perform it in full, along with other Lennon material. Done right, everyone should be coughing up blood afterward. MAttHEW SInGER. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. $5. 21+.

Imagine Dragons, Atlas Genius, Nico Vega

[APocALYPSE RocK] You’ve probably heard Imagine Dragons’ breakout hit “Radioactive” in one of a million advertisements, movie ads and pre-game sports coverage features in 2012, so you might be sick of the band by now. Still, between the earthy, stomping rock sound and the almost apocalyptic verbal and sonic landscapes of its full-length debut, Night Visions, it’s hard not to be drawn into the spectacle of it all. Frontman Dan Reynolds holds you in his sway with his throat-raking, sky-rending cries, and all the talk of battling inner demons and trying to live a meaningful, rather than somnambulant,

PROFILE BEnJAMIn tRoGDon

Big Head Todd and the Monsters

MUSIC

MILK MUSIC MONDAY, MARCH 18 indie rock’s punk past, thawed out in the present.

[INDIE RAUCOUS] Charles Waring doesn’t appreciate the suggestion that his band, Milk Music, is living in the past. He’ll admit the group is big on honoring its heroes—which, from the sound of its upcoming debut LP, includes every aggressive, squalling guitar band of the 1980s’ indie-rock underground—but he’s quick to add that ultimately the goal is “to do our own thing.” That’s probably true. But speaking to the 28-year-old guitarist, it also wouldn’t be surprising to discover the band was recently rescued from the basement of a defunct college radio station where it’s been trapped since about 1986. “I don’t have a computer,” Waring says over the phone from Milk Music’s home base in Olympia, Wash., in a tone that suggests he finds such technology to be a bourgeois extravagance. “I mean, we know how to use computers, we’re not dummies. We’re definitely living in our own time. But all that light and numbers and information, that’s supposed to represent your mortal body. That doesn’t make sense.” So maybe Milk Music isn’t living in the past. It definitely trades in it, though. In 2010, the band put out Beyond Living, an EP of mossy, melodic riffs and open-throated yowling from singer Alex Coxen, conjuring the spirits of bygone Pacific Northwest forebears from the Wipers to Nirvana. True to a bunch of punks leery of the Internet, the quartet didn’t make a push to promote the record online. Up until last year, it didn’t even have a website. But the band’s music stimulated too many long-dormant rock-critic pleasure centers to remain undiscovered. Pitchfork eventually picked up on it, then Spin and The New York Times, and soon, it was all “Dinosaur Jr. Junior” this and “Hüsker Dü” that—fairly obvious comparisons, but ones that irked musicians drawing from a much deeper well of music history. “It’s not fun to hear people compare you to someone you’re not intending to sound like,” Waring says. “When I think of bands I want to sound like, I’m thinking of the Beatles or something, like everybody else.” In an effort to express itself more clearly, for its first full-length, Cruise Your Illusion—no Guns N’ Roses pun intended, though Waring is a card-carrying member of the GNR fan club, and he’s got the complimentary tapestry to prove it—the band laid off the noise a bit, allowing its wide panoply of influences, from Neil Young to Kate Bush, to rise out of the fuzz. It’d seem like the group, once willfully oblivious to the mechanisms of digital-age hype, allowed outside chatter to affect its sound, but Waring insists the evolution happened organically. “Alex wants to write really sincere songs in a time where no one’s really writing sincere songs,” he says. “And if they’re not going to be able to hear that over the [distortion pedal], we’re going to turn it down a little bit.” The result, Waring says, is a record that plays “like a dream,” one that works heard as a whole or in parts, and which isn’t beholden to any particular time or place—except, perhaps, right now. “If anything, this is Milk Music’s time,” Waring says. “Milk Music’s time is not the ’80s or the ’90s hardcore scene. This is when we’re coming out with our best shit. Everything we have to say is in our songs—and we turn up the vocals really loud on this record so you can hear it.” MATTHEW SINGER. SEE IT: Milk Music plays Star theater, 13 nW 6th Ave., with Gun outfit and Bath Party, on Monday, March 18. 9 pm. $8. 21+.

cont. on page 26 Willamette Week MARCH 13, 2013 wweek.com

friday–sunday

life makes for a simultaneously cathartic and draining experience. BRIAn PALMER. Roseland Theater, 8 NW 6th Ave., 224-2038. 8 pm. Sold out. All ages.

PROFILE tHoLLEM.coM

MUSIC

Don’t, Summer Cannibals, Monoplane [ALtERnAtIVE] on the pair of songs Summer cannibals has posted to Bandcamp, the promising new Portland trio feasts on the carcass of ’90s alt-rock. Singer Jessica Boudreaux, formerly of Your canvas, channels Gwen Stefani with her pouty, sneering delivery, while the band’s distorted guitar and aggressive percussion would have fit right in on a classic Lollapalooza lineup. Glimpses through the grunge, meanwhile, see these maneaters nibbling at elements from surf rock, girl groups and blues. Similarly hard-rocking local four-piece Don’t, featuring exWipers drummer Sam Henry, headlines. JonAtHAn FRocHtZWAJG. The Know, 2026 NE Alberta St., 4738729. 8 pm. Call venue for ticket information. 21+.

SATURDAY, MARCH 16 Barrowlands, Serial Hawk, Hungers

[PAcIFIc noRtHWESt MEtAL] on Serial Hawk’s Buried in the Grey EP, the Seattle power trio unleashes monolithic tunes that recall early Unsane, Godflesh and Helmet. Muscular riffs, sleek production (compliments of local boy Adam Pike and toadhouse Studio) and patient unfolding of apocalyptic vibes are all on display here. nuanced touches, like the whispered vocals on “Silence Means nothing,” help break Serial Hawk out of the standard approach of keeping the volume on 11 at all times. Local upand-coming cascadian black-metal group Barrowlands tops the bill. Its 2012 demo focuses on storms, mountains and inner turmoil, with a frosting of cello just to stay classy. nAtHAn cARSon. Club 21, 2035 NE Glisan St., 235-5690. 10 pm. Free. 21+.

SUNDAY, MARCH 17 Murs, Prof, Fashawn, Black Cloud Music, Saint Warhead

[HIP-HoP] In recent years, rappers like Kendrick Lamar and Lupe Fiasco have earned acclaim for presenting a second-person narrative on life in the hood. It’s not a new phenomenon for the genre: california rapper Murs, for example, has been doing it for years. And, like those previously mentioned, Murs is gifted at depicting the pain and hardships of others through his own words. Last summer, he took it to a new level when he released “Animal Style,” a song written from the perspective of a young gay male in love with his best friend. REED JAcKSon. Hawthorne Theatre, 3862 SE Hawthorne Blvd., 233-7100. 7:30 pm. $15 advance, $18 day of show. All ages.

Billygoat, Pwrhaus

[A/V cLUB] Billygoat, the local duo of multimedia artists David Klein and nick Woolley, does play music, but this write-up should, by rights, be a few pages over in the Visual Arts section. Klein and Woolley’s atmospheric, drowsy instrumental compositions are substantive enough to require a stage-congesting array of instruments, including harp, drums and keyboard. In the end, though, the pieces can serve only as an accompaniment to Billygoat’s involved, stony stopmotion videos—the word “mindblowing” is perfectly employed here. JonAtHAn FRocHtZWAJG. Rontoms, 600 E Burnside St., 2364536. 9 pm. Free. 21+.

cont. on page 29

Willamette Week MARCH 13, 2013 wweek.com

THOLLEM ELECTRIC WEDNESDAY, MARCH 13 [KEYBOARD EXPRESSIONISM] Thollem McDonas is quite literally a man without a home. The 46-year-old keyboard master has been circumnavigating the world on a journey of musical exploration for nearly seven years. You could call it a tour, but the experience has been much more intensive and varied than simply hitting one city each night and moving on the next morning. “I’m able to play solo concerts and free improv with local musicians,” McDonas writes via email, naturally from the road. “I have some rock bands in different countries, and I give large-ensemble improvisation and collaboration workshops. I lead listening meditations in yoga centers, and I work with filmmakers and dancers and so on. Diversify, diversify, diversify!” Of course, no fly-by-night piano jockey could get away with a life like the one McDonas leads. The fact he still remains in such high demand as a live performer and recording artist says much about the depth of his abilities as a player and composer. Raised by a pair of musicians in California, McDonas spent his formative years studying the classical repertoire, and went on to earn degrees in piano performance and composition. After graduating, he worked primarily as an accompanist for modern dance, ballet and opera ensembles, along with sitting in with jazz groups. But it wasn’t until a decade ago that McDonas decided to focus only on his own work. Since then, he hasn’t stopped moving. His concert calendar and discography are littered with a vast array of styles and collaborators. Look quickly through either and you’ll find yourself running into familiar names from both the experimental- and pop-music worlds: Nels Cline, Brian Chase of Yeah Yeah Yeahs, Susie Ibarra, Jad Fair and Deerhoof’s John Dieterich, to name very few. His performance this week at Backspace—part of the March Music Moderne avant-garde classical festival—finds McDonas supporting a project called Tsigoti in the Valley of the Cloudbuilder. In it, he attacks a Rhodes electric piano with fevered energy, while singing dense, messy jeremiads about the geopolitical landscape such as, “Somebody’s gonna build a missile defense shield/ And somebody else is gonna build better bombs.” Perhaps more than almost any of his other projects, there’s a real, sweaty passion to the Tsigoti songs, especially when McDonas plays them live—a perfectly sensible reaction to singing about war and poverty, but one rooted in a long history of protest and activism, protesting the first Gulf War and organizing on behalf of animal rights, as well as years of work doing ecological restoration. As edifying and engaging as that time was for McDonas, he still feels he “lost a lot of time in the sense of building a musical career,” he writes. “I had so many extraordinary experiences through activism, and those years have had a great influence on who I am now. Yet I really feel I have no time to waste, and I am kind of obsessively working and producing my music.” ROBERT HAM. a journeyman keyboardist wages war against war.

SEE IT: thollem Electric plays Backspace, 115 nW 5th Ave., on Wednesday, March 13. 9 pm. $7. All ages.

Willamette Week MARCH 13, 2013 wweek.com

sunday–tuesday

Kevin Seconds, Sean Croghan, Sorta Ultra

[ALL AGES] Kevin Seconds and Sean Croghan each brought the spirit of punk rock to very un-punk places: Seconds in Reno with his fabled early hardcore band, 7 Seconds, and Croghan in Portland with a handful of outfits that were just a little too heavy and passionate for their drab Stumptown surroundings. But the most inspiring thing about these local legends isn’t that they stuck around their respective scenes. It’s that they stayed engaged and relevant while making their local scenes better. Both dudes can still kick out the jams, but expect to hear their quiet sides—Seconds just released a very folky and catchy acoustic EP called Van Songs, and Croghan has been focused on his visual art and bands the Needful Longings and the Pynnacles—at this intimate and inspiring all-ages alternative to all the St. Patty’s bullshit downtown. CASEY JARMAN. Slabtown, 1033 NW 16th Ave., 223-0099. 8 pm. Call venue for ticket information. All ages.

TUESDAY, MARCH 19 The Story So Far, Man Overboard, Tonight Alive, Citizen, the American Scene

[POP PUNK] The old-school progenitors of the pop-punk world are not doing much to keep the genre alive, with both Green Day and Blink 182 releasing absolute messes of albums recently. Leave it to the young bucks to resurrect this floundering sound. Leading the herd is the Story So Far, a quintet from the suburbs of Southern California with a mighty sound at its disposal. The group’s soon-tobe unleashed full-length, What You Don’t See, whips through 11 hypercharged fist-pumpers that give a

MUSIC

backdrop for lead singer Parker Cannon to bemoan the broken relationships and frayed nerves of constantly being on the road. ROBERT HAM. Branx, 320 SE 2nd Ave., 234-5683. 7 pm. $13 advance, $15 day of show. All ages.

Anais Mitchell and Jefferson Hamer, Frank Fairfield

[OLD ENGLISH] Last year, Anais Mitchell quietly turned out a darkhorse candidate for folk album of the year with Young Man in America. The Vermonter’s grasp on the traditional is evident in everything she touches, from her simple but structured guitar picking to her heaven-sent vocal register. Fitting that she’s now taking on old English folk songs with Child Ballads, a collaboration with East Coast singer-songwriter Jefferson Hamer. Mitchell is among a select few who manage to blend folk and lore while still sounding present. MARK STOCK. Doug Fir Lounge, 830 E Burnside St., 231-9663. 8 pm. $12 advance, $14 day of show. 21+.

Hoodie Allen, Aer, Jared Evan

[SUBURB-HOP] New York rapper Hoodie Allen first came on the scene a few years ago as part of the “frat rap” wave, which consisted of innocent party jams that appealed to white twentysomething college students. In actuality, Allen’s songs strive for a little more depth than those usually associated with that scene, but there’s no denying that the young MC has a certain type of audience. He’s covered Blink 182’s “All the Small Things,” and his songs rest on the border between corny and catchy. But, as much as Rick Ross would like to think otherwise, hip-hop is a genre that often rewards those for being true to themselves. You can’t knock Allen for sticking to who he is. REED JACKSON. Peter’s Room, 8 NW 6th Ave., 219-9929. 8 pm. $20. All ages.

CURT KENTNER

FLASHBACK

Boat at Portland’s Towne Lounge, June 21, 2006. “This is a picture from the end of our first-ever West Coast tour. We were so excited for this one. We had played absolutely empty venues in California prior to this. We drove from San Francisco the night before. Curt [Kentner] at Magic Marker [Records] got us an opening spot for the Minders. I loved the Minders ever since I saw them open for Elliott Smith on the Figure 8 tour. The Towne Lounge was sold out, and I think it was pretty hot outside, too. When we started to play, I looked out and saw Janet Weiss nodding her head along. My mind was blown. This type of mindblowing musical idol-spotting has become a tradition for Boat. We have looked out and seen Britt Daniel and Doug Martsch, and once, Sarah Silverman even was at a show (NYC’s Cake Shop—she was only there to eat cake). These idols have yet to stick around until the end of a show, but Janet Weiss did stick around—even if it was to see her friends in the Minders.” —David Crane, Boat singer-guitarist SEE IT: Boat plays Mississippi Studios, 3939 N Mississippi Ave., with Aqueduct, on Saturday, March 16. 9 pm. $12. 21+. Willamette Week MARCH 13, 2013 wweek.com

MUSIC CALENDAR

march 13–19 Mississippi Studios

= 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.

J AY S A N S O N E

For more listings, check out wweek.com. Steve Hale Trio (8:30 pm); Brothers of the Hound (5:30 pm)

Wilfs restaurant & Bar 800 NW 6th Ave. Ron Steen, George Mitchell, Ed Bennett

FrI. March 15 aladdin Theater

3017 SE Milwaukie Ave. Dervish

alberta rose Theatre

3000 NE Alberta St. Duffy Bishop, LaRhonda Steele, Amy Keys, Rae Gordon, Lady Kat, DK Stewart Sextet (Etta James tribute)

ash Street Saloon

225 SW Ash St. Stein, The Lovely Lost, The Get Ahead, Commonly Courteous, The Man Who Laughs, Poe and Monroe, City

Branx

IT TaKeS TWO: anais Mitchell (right) and Jefferson hamer play doug Fir Lounge on Tuesday, March 19.

Wed. March 13 al’s den at the crystal hotel 303 SW 12th Ave. Chance Hayden and Ian James

ash Street Saloon

225 SW Ash St. Kool Stuff Katie, Beautiful Lies

Backspace

115 NW 5th Ave. Thollem Electric

doug Fir Lounge

830 E Burnside St. Efterklang, Nightlands

Goodfoot Lounge

2845 SE Stark St. Sugarcane String Band

hawthorne Theatre

3862 SE Hawthorne Blvd. Headbang For The Highway, Subtle City, Sisyphean Conscience, Bless And Defy, Ocean of Mirrors, I Reckon, Recursion, Of Fact And Fiction, Madrona, Verah Falls, Elenora

Thirsty Lion

71 SW 2nd Ave. Jordan Harris

Valentine’s

232 SW Ankeny St. Havana Whaal, Nancy Drew Pentagrams, Tender Age

White eagle Saloon 836 N Russell St. World’s Finest

ThurS. March 14 aladdin Theater

3017 SE Milwaukie Ave. Tommy Castro and the Painkillers

alberta rose Theatre 3000 NE Alberta St. Portland Youth Jazz Orchestra

andina

1314 NW Glisan St. Greg Wolfe Trio

ash Street Saloon

Jimmy Mak’s

Kells

115 NW 5th Ave. Tylan Greenstein

112 SW 2nd Ave. Bill Tollner

LaurelThirst

2958 NE Glisan St. Denim Wedding, Welfare, Quick & Easy Boys

Mississippi Studios

3939 N Mississippi Ave. Violet Isle, Snowblind Traveler, Just Lions

Music Millennium

3158 E Burnside St. Jack and the Bear

Peter’s room

8 NW 6th Ave. Wax, Tope, the Stoop Kids

Shaker and Vine

2929 SE Powell Blvd. Robbie Laws Guitar Ensemble

The Know

2026 NE Alberta St. Folkeiis, Mundo Muerto, Mauser, Generacion Suicida

The Lovecraft

421 SE Grand Ave. Black Medic

Jade Lounge

2346 SE Ankeny St. Colin Fisher Acoustic Oceans, Maria Maita, Mary Polly Esther, Beth Champion

Kells

225 SW Ash St. The Goddamned Animals, The Fail Safe Project, Sketch The Rest

221 NW 10th Ave. The Mel Brown Quartet

Strangers in Harmony, Mike Winkle, The West Fire Bug, Ryan David Dwyer, Tom Foolery, Of Fact And Fiction, Jesse Layne

Backspace

doug Fir Lounge

112 SW 2nd Ave. Bill Tollner

Kelly’s Olympian

426 SW Washington St. Eggplant, SS Curmodgeon

LaurelThirst

2958 NE Glisan St. The Laurelthirst Allstars, Freak Mountain Family, Lewi Longmire and the Left Coast Roasters

Mississippi Studios

3939 N Mississippi Ave. Harlowe and the Great North Woods, Catherine Feeny

Mt. Tabor Theater

4811 SE Hawthorne Blvd. The Keplers, Doc Brown Experiment, the Struts, Amorus (theater)

830 E Burnside St. Halo Refuser, Sixis, Linda Brown

Shaker and Vine

duff’s Garage

Someday Lounge

1635 SE 7th Ave. Doug Macleod, Lauren Sheehan

east end

203 SE Grand Ave. Slutty Hearts, We Are Like The Spider, Smoke Rings

Gemini Lounge

6526 SE Foster Road Eric Vanderwall

Goodfoot Lounge

2845 SE Stark St. Scott Pemberton Trio

hawthorne Theatre Lounge

1503 SE Cesar E. Chavez Blvd. The Applicants, We Are Brothers, The Kilowatt Hour

hawthorne Theatre 3862 SE Hawthorne Blvd.

Willamette Week MARCH 13, 2013 wweek.com

2929 SE Powell Blvd. Sugarfree Jazz 125 NW 5th Ave. DJ Anjali and the Incredible Kid, Classical Revolutino PDX, Monkey With A Hat On, Johnny No Bueno, Tope, Cool Nutz, Someday Incubator, Alameda, Tony Ozier, the Doo Doo Funk All Stars

Star Bar

639 SE Morrison St. Piss Test, Sick Rats, DJ Jonny Cakes

The Blue Monk

3341 SE Belmont St. Soul Installation, Jasper T and the Homies

320 SE 2nd Ave. Idols, Prestige, the Diggers, Hail the Artilect

Bunk Bar

1028 SE Water Ave. Mission Spotlight, Hello Damascus

camellia Lounge 510 NW 11th Ave. Nicole Sangsuree

club 21

2035 NE Glisan St. Dangerous Boys Club, Dubais

crystal Ballroom

1332 W Burnside St. Big Head Todd and the Monsters

dante’s

350 W Burnside St. Hell’s Belles

doug Fir Lounge

830 E Burnside St. Hillstomp, Sassparilla, Hong Kong Banana

duff’s Garage

1635 SE 7th Ave. Mia Vermillion, the Hamdogs

east end

203 SE Grand Ave. Kingston Club: The Israelites, Rising Buffalo Tribe

eastBurn

1800 E Burnside St. Sawtell

hawthorne Theatre Lounge

1503 SE Cesar E. Chavez Blvd. Hawthorne Soul, Battles and Lamar

hawthorne Theatre

Original halibut’s II 2527 NE Alberta St. Duffy Bishop

record room

8 NE Killingsworth St. Brumes, Rinus Van Alebeek, Sun Hammer

roseland Theater

8 NW 6th Ave. Imagine Dragons, Atlas Genius, Nico Vega

Secret Society Lounge

116 NE Russell St. Jugapalooza: Eagle Ridin’ Papas, Smut City, Jellyroll Society, How Long Jug Band, Jacob Miller and the Bridge City Crooners, Tevis Hodge Jr., Federal Cigar Jug Band

Shaker and Vine

Jimmy Mak’s

221 NW 10th Ave. Bart Ferguson and the Edward Stanley Band

Kelly’s Olympian

Tiger Bar

LaurelThirst

2958 NE Glisan St. Bingo, the Old Yellers, Ed and the Boats, Petty Cash

Mississippi Pizza

3552 N Mississippi Ave. Melao d’Cuba

Jade Lounge

2346 SE Ankeny St. Tyler Kind, Mandy Morgan, Time and the Bell, Brahñana, Shafty Duo

Jimmy Mak’s

221 NW 10th Ave. Sista Monica Parker

Katie O’Briens

2809 NE Sandy Blvd. My New Vice, 42 Ford Prefect, Dartgun & The Vignettes, Thorntown Tallboys

Kelly’s Olympian

426 SW Washington St. Cambrian Explosion, Tiananmen Bear, Hands In

Kennedy School

5736 NE 33rd Ave. Mosley Wotta, Worth, Irish Family Hooley, the Merry Hob, DJ Danny Greene

Mississippi Pizza

3552 N Mississippi Ave. Chris Marshall, Star Anna, Shane Tutmarc (9 pm); Cedro Willie (6 pm)

Mississippi Studios

2929 SE Powell Blvd. Ritim Egzotik

Slabtown

Mt. Tabor Theater

1033 NW 16th Ave. Lunch, Rat’s Rest, Mythological Horses

SohiTek records

625 NW Everett St., Suite 102 Charts, Teenspot

Star Theater

8105 SE 7th Ave. Terry Robb and Lauren Sheehan 3158 E Burnside St. Dick Weissman

Secret Society Lounge

2026 NE Alberta St. Don’t, Summer Cannibals, Monoplane

Shaker and Vine

Tony Starlight’s

Slabtown

Vie de Boheme

1530 SE 7th Ave. Music Bridge Acoustic Blues Festival

White eagle Saloon 836 N Russell St. Edmund Wayne (9:30 pm); Reverb Brothers (5:30 pm)

Wilfs restaurant & Bar 800 NW 6th Ave. Rita Marques Band, Ron Steen, Dennis Caiazza

SaT. March 16 aladdin Theater

3017 SE Milwaukie Ave. The Paperboys

alberta rose Theatre 3000 NE Alberta St. Live Wire Radio

225 SW Ash St. Luicidal, 13 Scars, Spellcaster, Contempt, Raptor 320 SE 2nd Ave. John Clark, Stewie Vuiton, Mic Capes, Corey the Kid

dante’s

350 W Burnside St. Atlas and the Astronaut, Amerikan Overdose, Never Awake, Earth 2 Ashes

doug Fir Lounge

830 E Burnside St. Hillstomp, the Pynnacles, Pardise

hawthorne Theatre

3862 SE Hawthorne Blvd. Crazy Train, Mercury Rising, Highway Star

Ivories Jazz Lounge and restaurant 1435 NW Flanders St.

Branx

320 SE 2nd Ave. Stories and Soundtracks, She Preaches Mayhem, Toy Gun Conspiracy, the Restitution, Ryan Bisson

clyde’s Prime rib

5474 NE Sandy Blvd. Ron Steen Jazz Jam

darcelle XV

208 NW 3rd Ave Erik Anarchy, Aftereverything, Flying Vimanas, Super Desu, Feral Drollery, the Kos

doug Fir Lounge

830 E Burnside St. Ben Union, Redwood Son, Mbrascatu, the Ruby Pines

duff’s Garage

1635 SE 7th Ave. Arlie Conner

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

hawthorne Theatre

116 NE Russell St. The Stolen Sweets, Seth and May, Everything’s Jake

3728 NE Sandy Blvd. The Tony Starlight Show Salutes the Copa

1925 SE Morrison St. Folkeiis, Mauser, Mundo Muerto, Lebenden Toten, Frenzy

Muddy rudder Public house

The Blue Monk

The Know

Blackwater records

Goodfoot Lounge

Music Millennium

3341 SE Belmont St. Down North

The Chancers, the Old Yellers, Bob Soper Trio, Anton Emery, Felim Egan, Nancy Conescu and Geraldine Murray, the Stomptowners

4811 SE Hawthorne Blvd. Blue Lotus, Maca Rey (theater)

13 NW 6th Ave. Drag the River, I Can Lick Any Sob In the House, Bad Assets

Branx

2346 SE Ankeny St. Camping in A Cadillac, Bogg, Pageant Dads

Jim Templeton’s Frontline Quartet, Eric Beam

3939 N Mississippi Ave. BOAT, Aqueduct, Shelley Short

Jade Lounge

2026 NE Alberta St. King Ghiroda, Horus

836 N Russell St.

4811 SE Hawthorne Blvd. The Hugs, A Happy Death, Father Figure (theater); Mars Water, Bath Party, Mufasa (lounge)

ash Street Saloon

The Know

White eagle Saloon

Mt. Tabor Theater

3862 SE Hawthorne Blvd. Dirtnap, The Suppression, Tetramorphic, Ritual Healing, Warkrank, Hell’s Parish

426 SW Washington St. Hopeless Jack and the Handsome Devil, the Spirit Animals, Sharks from Mars

317 NW Broadway Karaoke From Hell

3939 N Mississippi Ave. The Plastic Ono Band Tribute: Old Age, Fanno Creek, the We Shared Milk

2929 SE Powell Blvd. Jill Cohn, Avery Hill 1033 NW 16th Ave. DJ Scott Oseth, the Vandies

The Blue Monk

3341 SE Belmont St. Trio Subtonic, A Love Electric

The elixir Lab at al Forno Ferruzza 2738 NE Alberta St. Da Bassment Jazz

The Know

2026 NE Alberta St. Bi-Marks, Chemicals, Cathedral Ghost, Adelit@s

2845 SE Stark St. Simon Tucker Band

3862 SE Hawthorne Blvd. Murs, Prof, Fashawn, Black Cloud Music, Saint Warhead

Lewis & clark college, evans auditorium

Vie de Boheme

rontoms

600 E Burnside St. Billygoat, PWRHAUS

rontoms

600 E Burnside St. Billygoat, PWRHAUS

Slabtown

1033 NW 16th Ave. Kevin Seconds, Sean Croghan, Sorta Ultra

The Know

2026 NE Alberta St. Cascabel, Habits, Bone Dance, Yuppie

Valentine’s

White eagle Saloon

MOn. March 18 ash Street Saloon 225 SW Ash St. Open Mic

Backspace

115 NW 5th Ave. Blue Sky Black Death, Child Actor

1530 SE 7th Ave. Music Bridge Acoustic Blues Festival

Berbati’s

White eagle Saloon

camellia Lounge

836 N Russell St. Mexican Gunfight, Rule of the Bone (9:30 pm); The Student Loan (4:30 pm)

Sun. March 17 al’s den at the crystal hotel 303 SW 12th Ave. Paleo

231 SW Ankeny St. Rock & Roll Mondays 510 NW 11th Ave. Joe Millward

dante’s

350 W Burnside St. Karaoke From Hell

doug Fir Lounge

830 E Burnside St. The Jackalope Saints, HelloKopter, Palace Fiction

alberta rose Theatre

Goodfoot Lounge

Biddy McGraw’s

Jade Lounge

3000 NE Alberta St. Kevin Burke and Cal Scott 6000 NE Glisan St.

1825 SW Broadway, Suite S18 No More Parachutes

Kells Brewpub

210 NW 21st Ave. Traditional Irish Jam Session

Kells

112 SW 2nd Ave. Cronin

LaurelThirst

2958 NE Glisan St. Portland Country Underground

Mississippi Pizza

3552 N Mississippi Ave. Mr. Ben

Mt. Tabor Theater

4811 SE Hawthorne Blvd. Rich Landars Sonic Jelly & Jam

Star Theater

13 NW 6th Ave. Milk Music, Gun Outfit, Bath Party

The Blue Monk

3341 SE Belmont St. Sara Gentner

Twilight café and Bar 1420 SE Powell Blvd. SIN Night

White eagle Saloon 836 N Russell St. Jolliff

TueS. March 19 alberta rose Theatre 3000 NE Alberta St. Wendy MacIsaac, Mary Jane Lamond

320 SE 2nd Ave. The Story So Far, Man Overboard, Tonight Alive, Citizen, the American Scene

3552 N Mississippi Ave. Molly Newman (9 pm); Red Yarn (6 pm)

Tonic Lounge

147 NW 19th Ave. Given to Fly: A Liturgy Set to the Music of Nirvana and Pearl Jam

KPSu

Mississippi Pizza

836 N Russell St. Brave Julius, Luke Redfield

Trinity episcopal cathedral

221 NW 10th Ave. The Dan Balmer Band

andina

Thirsty Lion

3100 NE Sandy Blvd. Ghostwriter, Spanish Galleons

Jimmy Mak’s

0615 SW Palatine Hill Road Venerable Showers of Beauty Gamelan

232 SW Ankeny St. Yolke, Big Yawn, Document Swell

71 SW 2nd Ave. Audio Syndicate (8 pm); Dirty Blonde (4 pm);

Emerson House Band

2845 SE Stark St. Sonic Forum Open Mic 2346 SE Ankeny St.

1314 NW Glisan St. JB Butler

Branx

Bunk Bar

1028 SE Water Ave. LiquidLight, Here Come Dots

camellia Lounge

510 NW 11th Ave. Steve Christofferson, Tom Wakeling, David Evans, Todd Strait

doug Fir Lounge

830 E Burnside St. Anais Mitchell and Jefferson Hamer, Frank Fairfield

hawthorne Theatre Lounge

1503 SE Cesar E. Chavez Blvd. Slim Bacon, Steven Smith

Jimmy Mak’s

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

Kells

112 SW 2nd Ave. Cronin

LaurelThirst

2958 NE Glisan St. Jackstraw

Melody Ballroom

615 SE Alder St. BeauSoleil, the New Iberians

Music Millennium

3158 E Burnside St. Anaïs Mitchell and Jefferson Hamer

roseland Theater

8 NW 6th Ave. Hoodie Allen, Aer, Jared Evan

Shaker and Vine

2929 SE Powell Blvd. Blake Lyman Quintet

Slabtown

1033 NW 16th Ave. Leafy Greens

MARCH 13–19 BAR SPOTLIGHT

MUSIC CALENDAR Jack London Bar

JAMES REXROAD

529 SW 4th Ave. Wax it UP: DJ Kryptic

Mt. Tabor Theater

4811 SE Hawthorne Blvd. Dementia (lounge)

Rotture

315 SE 3rd Ave. Bearracuda: DJs Matt Stands and Hifi Sean

Someday Lounge

125 NW 5th Ave. Curve: DJs Smasheltooth, Andrew The Pirate, Coop Da Loop, Barisone, Mr. Wu, Michael Grimes

Star Bar

639 SE Morrison St. Go French Yourself: DJ Cecilia Paris

The Lovecraft

421 SE Grand Ave. DJ Bar Hopper

The Whiskey Bar

FLIGHT TO DUB: The Leaky Roof (1538 SW Jefferson St., 222-3745, theleakyroof.com) may be across from Lincoln High School, but its patrons are distinctly longer of tooth and eyebrow. The bar serves its once-bluecollar Goose Hollow crowd with triflingly cheap happy-hour food ($4.95 for a one-third-pound burger, 3-6 pm) and costlier dinners, including an excellent lamb shepherd’s pie ($14.50) so spiced it’s almost curried. The website promises “the largest selection of Irish whiskey available in Portland,” and while we can’t verify the claim, the list doesn’t disappoint, with 24 marks and vintages of uisce beatha in its tiny hearth-and-hardwood space. Dirt-cheap, triple-shot whiskey flights are available, including a resolutely obscure tour of Éireann ($12) featuring mild Knappogue Castle, hot Tyrconnell and sweetly balanced Tullamore Dew; and the chance to taste a lineup from Jameson ($17) and Bushmills ($12). Single young women should be prepared, however, for the gallantries of silver foxes. As we arrived, a middle-aged gentleman was busy distributing a $500 tip among the friendly female bar staff. Later on, my drinking companion— when left briefly alone while I ordered from the bar—was politely asked by two men in their 60s whether she’d join them for supper. Noble Éire may be an island, but no man is. MATTHEW KORFHAGE.

WED. MARCH 13 722 E Burnside St. Wednesday Swing

Dig a Pony

736 SE Grand Ave. Pretty Ugly

Ground Kontrol

511 NW Couch St. TRONix: DJ-808

Holocene

1001 SE Morrison St. PDneXt: Graintable, Plumblyne, Danny Corn, Obey City, Rap Class

Someday Lounge

125 NW 5th Ave. Folding Space V8.0: The Architects, bahb, Micah McNelly

Star Bar

639 SE Morrison St. DJ Danny Dodge

THURS. MARCH 14 Beech Street Parlor 412 NE Beech St. DJ Lorax

Dig a Pony

736 SE Grand Ave. Marti

Holocene

1001 SE Morrison St. I’ve Got a Hole In My Soul: DJ Beyondadoubt, DJ Primo

Rotture

The Whiskey Bar

31 NW 1st Ave. Bass Cube: Torro Torro, Evan Alexander, Way Way

Tiga

1465 NE Prescott St. DJ Sweet Jimmy T

Valentine’s

232 SW Ankeny St. DJ Maxx Bass

FRI. MARCH 15 BC’s Restaurant

2433 SE Powell Blvd. Activate: DJ Dot, Trevor Vichas

Beech Street Parlor 412 NE Beech St. DJ Dad Jeans

Boxxes

1035 SW Stark St. Decadent 80’s: DJ Non, DJ Jason Wann

Dig a Pony

736 SE Grand Ave. Cooky Parker, Nealy Neal

Gold Dust Meridian

3267 SE Hawthorne Blvd. DJ Drew Groove

Goodfoot Lounge

2845 SE Stark St. Soul Stew: DJ Aquaman

Groove Suite

440 NW Glisan St. Trifecta: Tronic, Jose Sosa, Ernest Ryan

315 SE 3rd Ave. Soul Nite: DJ Chazz Madrigal, Freaky Outty

Ground Kontrol

The Lovecraft

Holocene

421 SE Grand Ave. Nightmoves

511 NW Couch St. DJ Epor 1001 SE Morrison St. Rockbox: Matt Nelkin, DJ Kez

Tiga

1465 NE Prescott St. Hostile Tapeover

Valentine’s

232 SW Ankeny St. DJ Tre Slim

SUN. MARCH 17 736 SE Grand Ave. El Dorado

Ground Kontrol

511 NW Couch St. DJ Simon Galaga

Savoy Tavern & Lounge 2500 SE Clinton St. Champagne Jam

Someday Lounge 125 NW 5th Ave. Hive

Star Bar

639 SE Morrison St. Blank Friday: St. Paultimore, DJ A-Train

MON. MARCH 18 Beech Street Parlor

Rotture

Dig a Pony

315 SE 3rd Ave. Shutup&dance: DJ Gregarious

Sloan’s Tavern

36 N Russell St. Touch Your Woman with DJ Action Slacks

Someday Lounge

125 NW 5th Ave. XX, Mario Maroto, Maximum, Miss Vixen, Lilroj

Star Bar

639 SE Morrison St. Blank Friday: DJ Paultimore

The Lovecraft

421 SE Grand Ave. SkullfucK!: DJ Horrid, Nightmoves

The Whiskey Bar

31 NW 1st Ave. Contagious: American Girls, Caach, El Cucuy

Tiga

1465 NE Prescott St. Lord Smithingham

SAT. MARCH 16 Beech Street Parlor 412 NE Beech St. DJ Rndm Noise

Dig a Pony

736 SE Grand Ave. Mikee Lixxx, Dirty Red

Fez Ballroom

316 SW 11th Ave. DJ Nature

Ground Kontrol

511 NW Couch St. DJ I

Holocene

1001 SE Morrison St. Gaycation: DJ Snowtiger, Mr. Charming

21 & Over

Lunch • Rat’s Rest Mythological Horses $5 at the door. Saturday, March 16 • 8pm

21 & Over

Melissa Meszaros: “I Smile, but Who am I Kidding?”, Book Release Party DJ Scott Oseth FREE! Sunday, March 17 8pm (doors open at 7pm)

All Ages The Church of RocknRoll Presents...

Kevin Seconds Sean Croghan Sorta Ultra Tuesday, March 19

21 & Over

March Madness

Dig a Pony

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

Bossanova Ballroom

31 NW 1st Ave. Glow Job: DJs Jamie Meushaw, Radius, Tronic

Friday, March 15 • 9pm

412 NE Beech St. DJ Golden Wilson

736 SE Grand Ave. TreSlim

Tuesday, March 19 • 9pm

21 & Over

Leafy Greens Within Spitting Distance of The Pearl

1033 NW 16th Ave. 971.229.1455 Everyday Noon - 2:30am Happy Hour Mon - Fri noon-7pm • Sat - Sun 3-7pm Pop-A-Shot • Pinball Skee-ball • Air Hockey • Free Wi-Fi

ST. PATRICK’S DAY CONCERT

Ground Kontrol

511 NW Couch St. Service INDUSTRIAL: Dj Tibin

Mt. Tabor Theater

4811 SE Hawthorne Blvd. EU: DJ Pope, Tyrant, Brotha Boom, Flossy the Snow Man (theater)

Star Bar

639 SE Morrison St. Metal Monday: DJ Blackhawk

The Know

2026 NE Alberta St. DJ Montgomery Word

Tiga

1465 NE Prescott St. Nick Bindeman

Valentine’s

232 SW Ankeny St. DJ Cavelier

TUES. MARCH 19 Ash Street Saloon

225 SW Ash St. Phreak: Electronic Mutations

Beech Street Parlor 412 NE Beech St. DJ Audrey Horne

Dig a Pony

736 SE Grand Ave. Last Call

Star Bar

639 SE Morrison St. DJ Austin Johnson

The Lovecraft

421 SE Grand Ave. TRNGL: DJ Rhienna

Tiga

1465 NE Prescott St. DJ Old Frontier

WITH

KEVIN BURKE & CAL SCOTT MARCH 17 • 7:30PM

ALBERTA ROSE THEATRE 3000 NE ALBERTA 503.764.4131

FOR TICKETS VISIT ALBERTAROSETHEATRE.COM MINORS OK WHEN ACCOMPANIED BY A PARENT OR GUARDIAN Willamette Week MARCH 13, 2013 wweek.com

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Crossing Over

UPCOMING IN-STORE PERFORMANCES JACK & THE BEAR WEDNESDAY 3/13 6 PM

A Musical Haggadah A Celebration of Passover and Crossing The Red Sea Music by Michael Allen Harrison • Books and Lyrics by Alan Berg

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.

photo by campbellsalgado.com

In Memory of Emily Georges Gottfried z”l A Benefit Concert for The Oregon Area Jewish Committee Sat, March 23, 7:30 PM • Sun, March 24, 2:00 PM PCC Sylvania Performing Arts Center • 12000 SW 49th Ave. Portland, OR 97219 • info@oajconline.org

A spectacular, multi-media interpretation and musical extravaganza that will deepen and inspire your understanding of the Passover Seder. Starring Michael Allen Harrison, Ida Rae Cahana, Anna Heinze, Julianne Johnson, Kirk Mouser, Jimmy Wilcox, and Ashley and Cayla Bleoajas Narrated by Rabbi Emanuel Rose Featuring A Jazz Orchestra, Metropolitan Youth Symphony, and a Charming Children’s Choir. General Admission: $36, Student/Youth: $15 Friend: $100 Includes Preferred Seating Group Rates: 10 or more $29/per person Patron: $180 Includes Preferred Seating and an invitation to a special gathering with Michael Allen Harrison and Alan Berg

Reserve Your Seat Today On-Line | info@oajconline.org or (503) 295-6761 Through Jewish values, the Oregon Area Jewish Committee advances social justice, human rights, religious liberty, support for Israel, mutual understanding, and democratic principles.

PURCHASE TICKETS AT WWW.OAJCONLINE.ORG 32

Willamette Week MARCH 13, 2013 wweek.com

DICK WEISSMAN SATURDAY 3/16 5 PM

Dick Weissman is the last surviving member of The Journeymen, which he founded with John Phillips and Scott McKenzie. He is also an author, with eighteen published books on subjects that include the music business, a history of the folk music revival, and music and politics. “Near and Far” offers four songs and twelve instrumentals, played on banjo, nylon and steel string guitars, and twelve string guitar.

ANAÏS MITCHELL & JEFFERSON HAMER TUESDAY 3/19 6:15 PM

Anaïs Mitchell & Jefferson Hamer used their shared love of Celtic and British Isles music, especially the classic ‘70s-era folk albums, to create “Child Ballads”, a collection of epic old folk songs from across the Atlantic. The songs are driven by two-guitar arrangements and the kind of close harmonies that call to mind Gram Parsons & Emmylou Harris or an acoustic Fleetwood Mac.

march 13–19

= WW Pick. Highly recommended. Most prices listed are for advance ticket sales. At-the-door increases and so-called convenience charges may apply, so it’s best to call ahead. Editor: 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 a panel at 6 pm on Saturday, March 16 on artistic and cultural constructions of otherness. Fir Acres Theatre, Lewis &Clark College, 0615 SW Palatine Hill Rd., 768-7495. 7:30 pm Thursday-Saturday, March 14-16. $7-$10; $3 Thursday, March 14.

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. Bill W. and Dr. Bob is pure propaganda for the healing powers of Alcoholics Anonymous. 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 ThursdaysSaturdays, 2 pm Sundays through March 30. $20-$25.

Blood Knot

In Athol Fugard’s Blood Knot, two half-brothers—one dark-skinned, one fair—navigate apartheid in South Africa. The play takes a microcosmic approach, examining family dynamics as a mirror to the broader social climate. But Fugard’s script is an immensely challenging one: The 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 at Profile Theatre feels bloated. As the darker-skinned brother, Don Kenneth Mason is fine, but Ben Newman gives a one-note performance as his fairerskinned 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. REBECCA JACOBSON. Theater! Theatre!, 3430 SE Belmont St., 242-0080. 7:30 pm Wednesdays-Saturdays, 2 pm Sundays through March 17. $16-$30.

Hard Times Come Again No More

[NEW REVIEW] Meridel LeSueur’s socialist-tinged tales of life in depression-era Minneapolis are the meat and bones of Hard Times Come Again No More, an effort by contemporary playwright Martha Boesing to draw attention to LeSueur’s fiction. Co-directed by Lorraine Bahr and Jim Davis, Hard Times is set largely in a boarding house owned by the maternal Mrs. Mason (Nancy Wilson), who is initially unconcerned with the truckers’ strike her itinerant tenant Karl (Evan Honer) is helping to organize. She just wants her rent money, which he doesn’t

have. Suddenly, strangely and successfully, the cast bursts into “It’s Only a Paper Moon,” with all the gesturing of a musical. It’s the first of 10 such interludes, and each time the cast breaks into song in a down-to-earth, haphazard manner that’s believably realistic. As the play moves on and summer nears, tensions boil over. Karl’s pregnant wife (Stephanie Woods) loses her sunny mood, it’s tax season and, most importantly, the strike begins to have an effect and the position of the people sways. The batty old lady upstairs begs, “Touch us! We’re here!” If considering the vivid realism and relevance of these characters, she’s got a point: Hard Times succeeds in making tangible humans out of its characters. MITCH LILLIE. Performance Works NW, 4625 SE 67th Ave., 568-4017. 7:30 pm Thursdays-Saturdays; 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 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.

In the Next Room (Or the Vibrator Play)

[NEW REVIEW] Myth has it that tablecloths were popular during the Victorian era because they concealed the table’s legs, thus preventing diners from thinking about human legs and, moreover, from thinking about the body parts between those limbs. Whether there’s any accuracy to that claim, the latter half of the 19th century was not a particularly auspicious period for sexual desire. But the sexual politics of that time do make for clever theatrical material, as in Sarah Ruhl’s intelligent and compassionate In the Next Room (or the Vibrator Play). Set in the 1880s in upstate New York, Ruhl’s comedy revolves around Dr. Givings (Peter Schuyler), a physician who specializes in curing women of hysteria. Believing that the cause is “congestion in the womb,” Givings employs an electric device—it looks like a cross between a hair dryer and a pistol—to bring these women to “paroxysm.” But Ruhl’s real subjects are the women and their road from sexual repression to awakening. This Triangle Productions staging, directed by Don Horn, plays In the Next Room more for comic effect than for social commentary, and it sometimes feels too safe. But it keeps a fairly lively clip and features some nice supporting performances, namely Andrea White’s vulnerable turn as a wet nurse and Michelle Maida as an empathetic medical assistant. REBECCA JACOBSON. Sanctuary at Sandy Plaza, 1785 NE Sandy Blvd., 2395919. 7:30 pm Thursdays-Saturdays, 2 pm Sundays through March 31. $15$35.

Ireland on the Airwaves

To mark St. Patrick’s Day, Readers Theatre Repertory offers a double bill of Irish plays by Brendan Behan, both of which were originally broadcast as radio shows in the early ’50s. Moving Out and A Garden Party, both one-acts, explore the lives of the Irish working class. Blackfish Gallery, 420 NW 9th Ave., 234-2634. 8 pm FridaySaturday, March 15-16. $8.

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. 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

[NEW REVIEW] Bag & Baggage’s Merry Wives of Windsor begins with a tap-dancing pack of cigarettes, an outrageous opener even for the bawdy bard. But this Merry Wives isn’t Shakespeare. It’s a 1647 rewrite by unsung playwright John Dennis, reimagined by director Scott Palmer as a 1950s black-and-white television show. Think I Love Lucy, slapstick shticks and circle skirts, with Shakespearean vernacular. The production goes fullthrottle ‘50s with comedic overacting, a flashing applause sign and cheesy product placement (as one character pauses to pull out a pack of Old Gold cigarettes, he touts them as “a treat instead of a treatment”). But Falstaff and the cuckolds of Windsor are Shakespearean as ever, as two young lovers hatch a marriage plot and the merry mistresses fall into their own amorous caper. Michael Kutner’s irritating overacting distracts, but when done well this reinvention is delightfully entertaining. Gary Strong impressively balances ye olde comedie and retro melodrama as the famously fat seducer. Who knew the 1950s and the 1500s would make such a good pair? ENID SPITZ. The Venetian Theatre, 253 E Main St., Hillsboro, 345-9590. 7:30 pm Thursdays-Saturdays, 2 pm Sundays through March 4. $18-$26.

Mother Teresa is Dead

In Helen Edmundson’s drama, a young mother leaves Britain, unannounced, to volunteer in a South Indian orphanage. Isaac Lamb directs this Portland Playhouse production, which features a strong four-member cast. Portland Playhouse, 602 NE Prescott St., 4885822. 7:30 pm Thursdays-Saturdays, 2 pm Saturdays-Sundays through April 7. $23-$32.

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 Russianinflected 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 into a paper-thin espionage plot that’s mostly an excuse to enact a 1940sstyle 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. 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. Lakewood Center for the Arts, 368 S State St., Lake Oswego, 635-3901. 7:30 pm Thursdays-Saturdays; 7 pm Sundays, March 17 and 24; 2 pm Sundays, March 17 and 24 and April 7 and 14; through April 14. $27-$30.

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

CONT. on page 34

FEATURE MIKE WHITE

PERFORMANCE

lePre-cancan: The Murray Irish Dancers perform at Kells.

YOU SWIG, THEY JIG Underage entertainment for your St. Patrick’s Day.

Drink enough on St. Patrick’s Day, and you may think you’re seeing leprechauns dance for you. But those aren’t leprechauns: They’re kids from local dance studios, whose parents are happy to let them Flatley as you Farrell. Irish dancing is big with kids, so it makes sense to get them involved on the most Irish day of the year—even if everybody else is drunk off their asses. Each year, pint-sized Irish dancers, some as young as 5, take center stage among hundreds of pint-swigging revelers. As the rhythmic pounding of the dancers’ jig shoes rises over the roar of the crowd, carousers can grow rowdy. Kinsey Brimhall, 21, is from the Tony Comerford School of Dance. She wasn’t old enough to drink last year, but she still got a taste of the crowd at Kells Irish Restaurant & Pub downtown. “They were screaming and cheering, and you could kind of see them dancing in the background,” she says. “In some ways it’s nicer, actually, because they clearly don’t know what they’re watching, so I guess there’s less pressure.” Two years ago, a young male championship dancer became cougar bait. “These two ladies that were obviously drunk were, like, catcalling him,” says Kylie Fraser, a 17-year-old with the Murray Irish Dancers. Yet parents aren’t worried. In fact, Kells is something of a Grand Ole Opry for Portland’s Irish dancers: Everyone wants to perform there. It’s also a recruiting tool for local dance schools. “Kells is kind of a big thing,” says Brimhall’s mother, Cathy. “Most of the schools are represented. It gets their names out there so they can get more students into the school.” That’s certainly the case for Geraldine Murray, director of the Murray School of Irish Dancing, whose students spend St. Patrick’s Day weekend shuffling between bar gigs. “Sometimes the crowd will hoot and holler at the kids,” Murray says, though she’s quick to add that—aside from floors made slippery by spilled beer—she’s never encountered a problem. “Kells has been really tight with OLCC regulations,” she says. “They escort the kids in through the back, have us up on the stage dancing and have us out through the door.” Compared to how St. Patrick’s Day is celebrated in Ireland—where parents bring their tots to the pub—the precautions seem almost prudish. Why, then, bother with kid performers? Why not book adults? There’s a simple answer: The adults in this town just aren’t very good. “Adults dance because they really like it,” Murray says, “but they’re not going to be leaping as high as the kids. They’re not going to be as fast as the kids.” AARON SPENCER. see IT: St. Patrick’s Irish Festival is at Kells, 112 SW 2nd Ave., 227-4057. Various times Friday-Sunday, March 15-17. Free-$25. Willamette Week MARCH 13, 2013 wweek.com

march 13–19

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 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. She 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 Thursdays-Sundays through March 23. $15-$25 Fridays-Saturdays, “pay what you can” Thursdays and Sundays.

Troll 2: The Musical

After a sold-out Fertile Ground presentation, Action/Adventure Theatre stages a second reading of Jillian Snow Harris and Jade Harris’ musical adaptation of the horror B-movie. Action/ Adventure Theatre, 1050 SE Clinton St. 8 pm Friday, March 15. $7.

Varsity Cheerleader Werewolves Live From Outer Space

Written and directed by Steve Coker, this cabaret-comedy performance features roller-derby girls, parasitic aliens and puppets. Funhouse Lounge, 2432 SE 11th Ave. 7:30 pm Friday, Feb. 15. $10.

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 Aguirre-Sacasa’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 AguirreSacasa’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 (Beth Thompson) who delivers the ultimate fear-instilling message: “Kids are never safe,” she intones. The Velvet Sky goes on to bludgeon that message 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

Friends of Rain

CASEY CAMPBELL

PERFORMANCE

In this March Music Moderne concert, Lewis & Clark College’s faculty newmusic ensemble plays music by two of the 20th century’s finest composers, Toru Takemitsu and Benjamin Britten. The program also includes the excellent contemporary American composers Gabriela Lena Frank (California) and Nickitas Demos (Georgia), Shulamit Ran (Israel), and new and recent 21st-century works by two of the university’s own faculty members: Michael Johanson’s piano solo based on a Beethoven theme and Brett Paschal’s sonata about the impending arrival of his first child. Evans Auditorium at Lewis & Clark College 0615 SW Palatine Hill Road. 7:30 pm Saturday, March 16. Free.

Jerusalem Quartet

The merry wives of windsor 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., 306-0870. 8 pm Thursdays-Saturdays through March 16. $15 Fridays-Saturdays, “pay what you want” Thursdays.

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.

The Whipping Man

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, as in Matthew Lopez’s The Whipping Man, which takes place 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 in Richmond, Va. There he finds former slaves Simon (Gavin Gregory) and 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. Though Lopez’s dialogue can grow didactic, the actors give such propulsive performances that the action feels vital and urgent. As John, an intellectual jokester with angry undercurrents, Livingston astonishes. In an early scene, he’s triumphant yet irreverent, grinning impishly as he dangles a flask over the writhing Caleb. But beneath, he seethes with bitter memories. As he recounts his first experience being whipped, Livingston 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, but wit remains. When Simon asks why Jews eat bitter herbs at the Seder, John answers dutifully: “To remind us of the bitterness of slavery.” 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. REBECCA JACOBSON. Gerding Theater, 128 NW 11th Ave., 445-3700. 7:30 pm Tuesdays-Sundays, 2 pm Saturdays-Sundays, noon Thursdays through March 23. $39-$65.

COMEDY & VARIETY Christopher Titus

Known for joking about his dysfunctional family and tumultuous childhood, Titus deems his brand of comedy therapeutic. Helium Comedy Club, 1510 SE 9th Ave., 888-643-8669.

Willamette Week MARCH 13, 2013 wweek.com

8 pm Thursday, 7:30 pm and 10 pm Friday-Saturday, March 14-16. $18-$30.

Funny Over Everything

This month, the stand-up showcase features Nate Bargatze, a Tennesseeborn comedian known for his soft-spoken, off-kilter style. Hollywood Theatre, 4122 NE Sandy Blvd., 281-4215. 8 pm Monday, March 18. $10.

Lez Standup

Kirsten Kuppenbender hosts a lineup of feminist lesbian comedians, including Jes Rega, Diane Gasperin and others. Curious Comedy, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 8 pm Thursday, March 14. $5-$10.

Skootch

The improv group performs a show called Searching for Meaning that takes audience suggestions and travels down a trail of random associations. Brody Theater, 16 NW Broadway, 2242227. 7:30 pm Thursday, March 14. $6.

Spectravagasm 2

Post5 Theatre presents Portlandspecific sketch comedy with a futuristic spin. Milepost 5, 850 NE 81st Ave., 971-258-8584. 10:30 pm FridaysSaturdays through March 16. “Pay what you can,” $10 suggested.

CLASSICAL Arnica String Quartet

In this March Music Moderne concert, the Portland-based string quartet presents one of the season’s best chamber music programs, including music of the great contemporary ArgentineAmerican composer Osvaldo Golijov, former L.A. Philharmonic conductor Esa-Pekka Salonen, Europe’s greatest living composer Arvo Pärt, and 20thcentury genius Béla Bartók. The Old Church, 1422 SW 11th Ave., 222-2031. 7 pm Friday, March 15. $10.

Cascadia Composers

In this March Music Moderne concert, the increasingly active composers association presents new music from a dozen Portland-based and other West Coast composers performed by the Chicago-based City of Tomorrow wind quintet and other top musicians. Colonial Heights Presbyterian Church, 2828 SE Stephens St., 284-4884. 3 pm Sunday, March 17. $5-$20.

Enso String Quartet

In these Friends of Chamber Music concerts, the award-winning, young New York-based foursome, among the rising stars of the next generation of chamber ensembles, plays an early quartet by Mozart and the second quartets of both Benjamin Britten and Brahms on Monday. Tuesday’s fascinating program includes a quartet by 20th-century Argentine composer Alberto Ginastera (whose underrated work the group is helping revive), arrangements of folk and Renaissance tunes, and one of Beethoven’s finest, his A-major String Quartet No. 5. Lincoln Hall, Portland State University, 1620 SW Park Ave., 224-9842. 7:30 pm Monday-Tuesday, March 18-19. $30–$45.

In these Friends of Chamber Music concerts, the award-winning, young foursome concludes its epic journey through perhaps the 20th century’s greatest chamber music cycle: Dmitri Shostakovich’s 15 string quartets, one of the most impressive events of Portland’s classical music season. Lincoln Hall, Portland State University, 1620 SW Park Ave., 224.9842. 7:30 pm WednesdayThursday, March 10-14. $30–$45.

Molly Barth and Dieter Hennings

The Grammy-winning, Eugene-based flutist, who made her reputation with Eighth Blackbird before taking a teaching job at the University of Oregon, and the prizewinning Kentucky-based guitarist unite to play music by the great 20th-century Japanese composer Toru Takemitsu, Bang on a Can’s David Lang and other 21st-century composers. Part of March Music Moderne. White Stag Building, 70 NW Couch St., 541-346-3134. Noon Saturday, March 16. Free.

Portland Columbia Symphony Orchestra

University of Oregon percussion master Pius Cheung plays the spectacular solo part in a familiar American masterpiece—Gershwin’s jazzy Rhapsody in Blue—on an unfamiliar instrument: the marimba. Wisconsinbased, New Zealand native Andrew Sewell also leads the orchestra in Dvorak’s Symphony No. 7 and a picturesque 1940 overture by fellow Kiwi composer Douglas Lilburn whose Maori title translates as “the land of the long white cloud.” Sunday’s concert is at the Good Shepherd Community Church in Boring (28986 SE Haley Road). First United Methodist Church, 1838 SW Jefferson St., 2344077. 7:30 pm Friday, March 17 and 3 pm Sunday, March 17. $10-$30.

Portland Gay Men’s Chorus

Victoria-based singer-pianist Louise Rose joins the choir in a program of vocal jazz arranged by Portland’s Dave Barduhn, longtime leader of Mt. Hood Community College’s jazz program. Kaul Auditorium at Reed College, 3203 SE Woodstock Blvd., 226-2588. 8 pm Saturday, 3 pm Sunday, March 16-17. $17-$48.

Portland Opera, Portland Baroque Orchestra

After a scintillating and successful 2009 venture into the resurgent world of Baroque opera with La Calisto, PO and PBO resume their productive collaboration with a welcome revival of the 1711 opera that made George Frederic Handel a star in England. This new production of his magnificent Christians vs. Saracens sword and sorcery epic, Rinaldo, features a stellar cast of the company’s top studio artists and some of the most beautiful tunes of the Baroque era, conducted by PBO’s own Baroque expert, Monica Huggett. Newmark Theatre, 1111 SW Broadway, 241-1802. 7:30 pm Friday, Tuesday, Thursday and Saturday, March 15-23; 2 pm Sunday, March 17. $53-$79.

Surmani V.K. Raman

In this Rasika concert, one of southern India’s greatest bamboo flutists is accompanied by Mysore Srikanth on violin and B. Sivaraman on mridangam drum in a program of classical Carnatic music. Brunish Theatre, 1111 SW Broadway, 946-7272. 4 pm Saturday, March 16. $20-$25.

Tessa Brinckman and Mitsuki Dazai

In one of the most fascinating concerts in the March Music Moderne festival, the New Zealand-born, Ashland-based flutist joins Oregon’s omnipresent koto (the Japanese stringed instrument) virtuosa to play music by contemporary Finnish composer Esa-Pekka Salonen, jazz legend Chick Corea, Elizabeth Brown (a work inspired by the great 20th-century Northwest painter Morris Graves), Japanese composers and other contemporary sounds. Hipbone Studio, 1847 E Burnside St., 358-0898. 4 pm Saturday, March 16. $15.

Venerable Showers of Beauty

In this March Music Moderne concert, Lewis & Clark’s gamelan ensemble performs contemporary music by Portland-born composer Lou Harrison (also featuring trumpet and cello); Seattle’s Jessika Kenney (who will also sing), including her gamelan setting of a Persian classic with lyrics by Rumi; and contemporary Javanese composer Aloysius Suwardi. Evans Auditorium at Lewis & Clark College 0615 SW Palatine Hill Road. 7:30 pm Sunday, March 17. $10-$15.

DANCE Family Irish Hooley

The dancers of the Murray School of Irish Dancing host family nights of dancing on St. Patrick’s Day weekend. Events include lessons and free dance time to the music of the Jig Jam Band. Kennedy School, 5736 NE 33rd Ave., 249-3983. 2 pm-4 pm, SaturdaySunday, March 16-17. Free.

Irish Dancing at Kells

Local Irish dance troupes perform under Kells St. Patrick’s Day festival tent throughout the day. Dance groups include the Murray Irish Dancers, the Yeats Irish Dancers and the Comerford Irish Dancers. Minors are welcome in the festival tent until 4 pm Saturday and until noon Sunday. Kells, 112 SW 2nd Ave., 227-4057. Various times Saturday-Sunday, March 16-17. $25 after 4 pm Saturday and after noon Sunday.

Me Siento Con Vallejo

Luciana Proaño performs her dance homage to César Vallejo, the revolutionary Peruvian poet. Proaño tells Vallejo’s story using only a hammock, which becomes at different times a swing, bed and prison gate. The performance includes dance, recitation, percussion and acoustic guitar. Studio 14, 333 NE Hancock St. 8 pm Fridays, March 15, 22 and 29. $10-$15.

New Expressive Works

Resident dancers at Studio 2@ Zoomtopia present New Expressive Works. Dancers include Tracy Broyles, Stephanie Lanckton, Rachel Slater and Robert Tyree. Zoomtopia, 810 SE Belmont St.. 7:30 pm Friday-Sunday, March 15-17. $10-$11.

Seasons to Dance

The Center for Movement Arts, a youth company of dancers ages 10 to 18, presents concert dance by its most dedicated students. The show features music by Vivaldi, Bach and Benjamin Britten, as well as choreography by Tim Ryan, Margretta Hansen, Laura Haney and Tino Nozaki. Scottish Rite Center, 1512 SW Morrison St., 332-2714. 7:30 pm Saturday, March 16. $10-$15.

St. Patrick’s Day Festival

The All-Ireland Cultural Society of Oregon holds its 72nd annual St. Patrick’s Day celebration. The festival features local Irish dance schools, ceili dancers and traditional music by Mikey Beglan and the Co Cavan Ceili Band, as well as Peter Yeates. Ambridge Event Center, 1333 NE Martin Luther King Jr. Blvd., 239-9921. Noon to 8 pm Sunday, March 17. $5-$10; free for children ages 11 and under.

For more Performance listings, visit

How Edward Abbey lit the flame of environmental activism and gave the movement its soul.

With

Edward Abbey Paul Watson Doug Peacock John De Puy Ingrid Eisenstadter Arlo Guthrie Jack Loefler Ken Sanders Katie Lee Robert Redford Tim DeChristopher Charles Bowden Catherine Hardwicke PRODUCED AND DIRECTED BY ML LINCOLN WRENCHED captures the passing of the monkey wrench from the pioneers of eco-activism to a new generation who, in following Edward Abbeyâ&#x20AC;&#x2122;s footsteps, ask the question: How far are we willing to go in defense of wilderness?

Wednesday March 20, 6:00pm Free pre-screening with questionnaires. Seating in a first come basis.

Academy Theater 7818 SE Stark Street www.wrenched-themovie.com Willamette Week MARCH 13, 2013 wweek.com

NEWSPAPER

VISUAL ARTS

A l l T h i n g s R e a l E st a t e i n s e r t b ro u g h t t o yo u by :

march 13–19

= 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

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it’s a cool coincidence that adam Sorensen’s show, The Optimist, opened the same week as disney’s Oz the Great and Powerful. Sorensen’s sweeping, candy-colored vistas bear a striking resemblance to the fantastical landscapes of the film and its famous 1939 predecessor. Sorensen has been painting these inspired views for many years, and this outing he is in his finest form ever. across the exhibition, paintings of all sizes—from the modest Prehistoric series on paper, to medium-size works like Baby in the Corner, to the 7-foot-tall The Optimist—are consistent in quality, packing maximum visual punch per square inch. Through March 30. PDX Contemporary Art, 925 NW Flanders St., 222-0063.

Alex Steckly: Entitlement

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.. in short, this is exactly what you’d expect from a photographic essay of this time and milieu, which makes you wonder: is this a portrait or a caricature of its era? Or, in the end, is there any difference? Through March 16. Charles A. Hartman Fine Art, 134 NW 8th Ave., 287-3886.

James Minden: Real/Unreal

On First Thursday, as viewers filed through augen Gallery, many of them reached out, trying to touch the apparition-like holographs in James Minden’s series, Real/Unreal. Minden painstakingly scratches geometric forms into treated black plastic, creating 3-d effects in wall pieces and Led-lit sculptures. The works are less glossy than those in his last show, affording a more elegant finish and increased light play between deep and shallow scratches. This show is hard to

Willamette Week MARCH 13, 2013 wweek.com

Maria T.D. Inocencio: Fold Here

Maria T.d. inocencio fills the boxy Nine Gallery with diminutive, podlike piles of secondhand clothes mounted on wooden pedestals. Viewers walk among these castoffs like giants in a mushroomdotted forest somewhere between Middle earth and Goodwill. The trash-to-treasure trope has been thoroughly explored in contemporary art, and inocencio’s wannabewhimsical installation does nothing to justify yet another exploration. The clothes may be secondhand, but the concept is fourth-rate. Through March 31. Nine Gallery, 122 NW 8th Ave., 227-7114.

For more Visual arts listings, visit

REVIEW

it’s worth noting that alex Steckly’s new show is called Entitlement. There was undoubtedly a whiff of entitlement emanating from the painter back in 2009 when, at the age of 23, he had his first solo show ever at Fourteen30 contemporary. Steckly had the kind of cocky brashness that wunderkinds are supposed to have. But now, four years later, and after a recent car accident that left him with broken ribs and a punctured lung, he’s just happy to be here. in keeping with this, his new paintings have an earnest, workmanlike quality informed by hours of perfectionist toiling in the studio. in a series of understated but charismatic minimalist works, Steckly proves he has the chops to evolve his style over time like the proverbial fine wine. Through March 24. Nationale , 811 E Burnside St., Suite 112.

Apex: Sang-ah Choi

beat for sheer “gee whiz!” appeal. Through March 30. Augen DeSoto, 716 NW Davis St., 224-8182.

Sophia Wallace: Truer

The most radical thing about Sophia Wallace’s photographs is how mundane they are. Truer, her chronicle of her own same-sex relationship, captures images of her partner and her doing the sorts of ordinary things that wouldn’t shock the Bible Belt if the couple were hetero. These two lovebugs watch TV, hang out on the sofa, cuddle with their dog and drink a milkshake from two straws. how adorable, how utterly unthreatening, is that? Yes, one of them dresses butch and binds her chest and, yes, the two share a sexy shower in one of the prints. Other than that, this show is pure vanilla. Queer culture has come a long way when depictions of same-sex relationships inspire little more than an “aaaawwwww!” followed by a contented yawn. Through March 31. Newspace Center for Photography, 1632 SE 10th Ave., 963-1935.

seeyouyousee aT brEEzE block gallEry

STEPHEN SCOTT SMITH, SEEYOUYOUSEE Grab your mother’s keys, we’re leaving.

If you grew up in suburbia, the hairs on the back of your neck are apt to stand up as you make your way through the creepy Proustian labyrinth that is Stephen Scott Smith’s Seeyouyousee. The installation meticulously distills the physical and emotional essences of a typical suburban home, and it’s not a happy place. It took Smith 60 days to construct this faux domestic interior inside Breeze Block Gallery’s project space. With its gray walls and white baseboards, innocuous carpeting and lone potted plant, it’s a dreary simulacrum of the middle-class American dream—except it’s not appointed with furniture, appliances or bric-a-brac like a real house. Instead, its mostly spartan halls are punctuated with odd, simplified objects that spur common childhood memories. A black rectangle mounted on a pedestal stands in for a stereo speaker or the family TV; steel-capped fir planks lean against a wall like oversized crayons; and a furry black cowhide hangs from a hook, an abstraction of some garment you might come across in your parents’ closet. In a cramped side room, a video monitor in the floor plays a slowly moving image of an explosion, evoking the churning tectonics of childhood growth itself. There is no privacy here: The home has no doors; walls are cut through with slats; and closed-circuit cameras simulcast your every move to screens in other rooms, so you better not jack off or smoke weed in your room. Smith heightens this paranoid atmosphere with an eerie soundtrack that drones from the rafters with staticky ambient sounds, just below the threshold of recognizability. In a 2011 installation called These Dreams, Smith dealt with nostalgia in a cozier fashion, re-creating a 1980s teenager’s bedroom, complete with Madonna and Prince LPs. His current exhibit offers no such footholds for specific memories. It is a past whose contours have blurred and blunted, a haunted house whose bogeymen have no faces. In this unsettling installation, Smith implicitly replies to Thomas Wolfe’s novel You Can’t Go Home Again with a resounding “Why on earth would you want to?” RICHARD SPEER .

SEE IT: Seeyouyousee is at Breeze Block Gallery, 323 NW 6th ave., 318-6228. Through april 20.

BOOKS

march 13–19

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

WEDNESDAY, MARCH 13

TUESDAY, MARCH 19

Timothy Donnelly

Journey Into the Demonweb Pits

Poet Timothy Donnelly teaches at Columbia University’s writing program, serves as the poetry editor for the Boston Review, is a Guggenheim Fellow and was awarded the Kingsley Tufts Poetry Award for his second book, The Cloud Corporation. He’ll be reading as part of PSU’s visiting writers series. Portland State University, Smith Memorial Student Union, 1825 SW Broadway. 7 pm. Free.

SATURDAY, MARCH 16 Melissa Meszaros

Releasing her fifth self-published book, local author and youth writing advocate Melissa Meszaros will read from her new collection of essays, I Smile, But Who Am I Kidding?, exploring her own life from groupiehood to motherhood. Book sales from the event will support youth writing programs in the area. Slabtown, 1033 NW 16th Ave., 223-0099. 8 pm. Free; books for sale.

SUNDAY, MARCH 17 Sunday Salon Series

In collaboration with local organization Community Supported Everything, Vibrant Studios will begin hosting a Sunday Salon Series featuring live performance, music, discussion and local foods. The inaugural event will feature Portland storyteller Sam Smith on the theme “The Kindness of Strangers.” Vibrant Studios, 1532 SW Jefferson St. 7 pm. Free.

MONDAY, MARCH 18 Amanda Coplin

When a solitary orchardist in the American West provides sanctuary to two teenaged runaways, his actions will have unforeseen dramatic consequences. Amanda Coplin’s debut novel, The Orchardist, crafts a haunting mix of violence and compassion. Powell’s Books at Cedar Hills Crossing, 3415 SW Cedar Hills Blvd., Beaverton, 228-4651. 7 pm. Free.

Smallpressapalooza

Powell’s sixth annual Smallpressapalooza celebrates Portland’s literary do-it-yourself folks with a hearty lineup of small-press authors reading their work. Readers include fiction writers Carrie Seitzinger, Nancy Rommelmann, Janey Smith and Jeremy Robert Johnson; memoirists Lindsey Kugler and Chloe Caldwell; zinester Aaron Dactyl; novelist Barry Graham; and poets W. Vandoren Wheeler, Thomas Patrick Levy, Mindy Nettifee, Donald Dunbar and Susan Denning. Powell’s City of Books, 1005 W Burnside St., 2284651. 6 pm. Free.

Left Coast Roast

Here in Portland, we love our coffee as much as our beer and our smug sense of superiority. But the West Coast as a whole is a hotbed for thriving coffee roasters, from little guys like Heart to the megacorporation Starbucks. In her new book, Left Coast Roast: A Guide to the Best Coffee and Roasters From San Francisco to Seattle, Hanna Neuschwander offers a guide to the 55 key coffee companies of the region. Get your fix after the reading with a free tasting. Powell’s on Hawthorne, 3723 SE Hawthorne Blvd., 228-4651. 7:30 pm. Free.

Cult-lit lovers unite for an evening of bizarro fiction starring Cameron Pierce (editor of Lazy Fascist Press). Backspace, 115 NW 5th Ave., 248-2900. 7 pm. Free.

Jim Lynch

A native of the Pacific Northwest, author Jim Lynch has created a reputation for himself as a characterdriven storyteller with his previous

novels The Highest Tide and Border Songs. Dabbling in semi-historic fiction, Lynch explores the 1962 Seattle World’s Fair in his newest book, Truth Like the Sun. Broadway Books, 1714 NE Broadway, 284-1726. 7 pm. Free.

OMSI Science Pub

Insights into the growth of cancerous tumors have been found in an unlikely place—the eyes of a zebrafish. In this addition of OMSI’s Science Pub, biology professor Kara Cerveny will discuss the fishy discovery in the presentation “Through the Eyes of a Zebrafish: Cell Behaviors and Clues to Cancer.” OMSI, 1945 SE Water Ave., 797-4000. 7 pm. $5. 21+.

Robert Ham maps the fringes of Portland music. Biweekly on wweek.com

For more Books listings, visit

BOOK REVIEWS

SAM LIPSYTE, THE FUN PARTS Sam Lipsyte chortlingly revels in the warty and the ruined of America, the wounded strivers who live in the world of spit, shit and piss. He’s also an unrepentant selfamuser prone to the literary equivalent of fart jokes. “I bought an energy bar, and as I ate it a great weariness came over me,” he wrote in his novel The Ask. But in that novel about two men who’d failed themselves in unexpected ways, Lipsyte also managed, amid gin-gimlet wit, to allow the pathos of his characters to sneak through. In The Fun Parts (Farrar, Straus and Giroux, 240 pages, $24), Lipsyte’s new short-story collection, he instead sprints along the surface of his characters like a cartoon duck over a lake, troubling the skin but leaving the depths undisturbed. “The Wisdom of the Doulas,” about a male “doulo,” seems designed mostly as a treatment for the first half of a lesser Seth Rogen screwball comedy about stupid men behaving badly, plus possibly traumatizing babies. In its desperation to be funny, it is desperately unfunny. It’s just in a couple stories—“The Climber Room” and parts of “The Republic of Empathy”—that we spend time in the rooms where humans actually live. The best humor resides there; heck, the best dick joke in the book resides there. But for most of the collection, self-amusement comes perilously close to self-abuse. MATTHEW KORFHAGE.

MAYER-SCHÖNBERGER & CUKIER, BIG DATA You don’t need a sophisticated algorithm or large database to calculate how many pennants (zero) that Billy “Moneyball” Beane has won in 15 years running the Oakland Athletics. But even if data-driven scouting hasn’t brought rings to the diamond, sabermetrics remains influential. Authors Viktor Mayer-Schönberger and Kenneth Cukier don’t believe the data revolution will stop at baseball or airfare. In Big Data: A Revolution That Will Transform How We Live, Work, and Think (Houghton Mifflin Harcourt— also my publisher—197 pages, $27), they stop just short of calling for the end of the methods used at grade-school science fairs and Nature alike. “Causality won’t be discarded, but it is being knocked off its pedestal as the primary foundation of meaning,” they write. Their argument: In an age of almost unlimited data, it’s better to find correlations than to bother understanding why they should be so. (Who cares how lead poisoning works? Just stop drinking from lead cups.) Most examples—Beane excluded—are mildly persuasive, but also ignore our desire for meaning. “More trumps better,” they argue while praising the ingenuity of Wal-Mart placing Pop Tarts next to hurricane supplies. This is popular science for people who appreciate how the humble hot dog repurposes pork slurry. Wow, perhaps; but, also, ick. MARTIN CIZMAR.

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

GO: Sam Lipsyte appears Wednesday, March 13, and Big Data’s authors on Friday, March 15, at Powell’s City of Books, 1005 W Burnside St. Both 7:30 pm. Free. Willamette Week MARCH 13, 2013 wweek.com

march 13–19 REVIEW

= WW Pick. Highly recommended.

FOx SEARCHLIGHT

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.

13 Assassins

A [THREE DAYS ONLY, REVIVAL]

Although he’s done a bit of everything at this point, the name Takashi Miike is still associated with a few specific things in the minds of Japanese cult movie fans. Namely, human entrails. And emotional degradation. And the exploitation of social taboos for pitchblack comedic effect. So when fans heard Miike had remade a samurai epic from the 1960s, the assumption was he’d take the genre to bloody, transgressive new extremes. 2010’s 13 Assassins is quite the opposite. It is, in fact, a very traditional picture, a reverential throwback to the feudal period pieces of Akira Kurosawa. And here’s a suggestion: It might be the best of its kind since Kurosawa’s 1954 standardbearer, Seven Samurai. The climax, an exhilarating 45-minute blur of blades and blood and explosions and flaming bulls (yes, flaming bulls—the CGI is subpar, but it’s the thought that counts), is a career-defining sequence from a filmmaker who’s always known how to orchestrate violence. Only here, he uses his skill not for shock but for a brutal kind of beauty. It’s masterful. MATTHEW SINGER. Fifth Avenue Cinema. 7 and 9:30 pm Friday and Saturday, 3 pm Sunday, March 15-17.

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, Cornelius, Oak Grove, Bridgeport, Division, Lloyd Mall, Pioneer Place, Sherwood, Wilsonville, Sandy.

Alien Boy: The Life and Death of James Chasse

A Heartbreaking and incendiary in equal measures, Portland filmmaker Brian Lindstrom’s documentary plays out like a horror film and leaves you absolutely breathless. The story is one familiar to most Portlanders: In 2006, James Chasse, crippled by schizophrenia but by all accounts harmless, was beaten by Portland police, died in custody and was the subject of a massive cover-up that portrayed him as a monster. Lindstrom’s film pieces together eyewitness accounts and courtroom footage to forge an amazing piece of documentary journalism that’s equally focused on the procedural account of Chasse’s death and the people whose lives it affected. Everybody except the officers whose fists sealed Chasse’s fate offer their remembrances, though officers Kyle Nice, Bret Barton and Christopher Humphreys do appear in archival footage of their trial (each refused to be interviewed). But what really hammers Alien Boy home is not how he died but how he lived. After Chasse was slain, police falsely labeled him a transient junkie. Lindstrom’s film dives deeply into the life of a man who touched countless lives through the pioneering position he held in Portland’s early punk-rock scene. Ex-girlfriends, family members, musicians, artists and parishioners from his church all tell of a deeply troubled but caring man whose mental despair robbed him of peace. This human setup makes Alien Boy’s outcome all the more difficult, and Humphreys’ smug apathy and on-record lies all the more infuriating. Chasse was starting to slip through the cracks, but before he fell, his life was extinguished by those charged with protecting him. Lindstrom does a tremendous job showing what we lost as Chasse lay dying on a Pearl District sidewalk: not just a life, but our confidence in those sworn to serve and protect. AP KRYZA. Living Room Theaters.

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. That scene is almost too perfect, but it captures what makes Amour both calmly beautiful and tremendously wrenching. 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. Amour may not contain the same cold shocks of menace or cruelty as Haneke’s other films, but 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, Bridgeport, City Center, Lloyd Mall.

Authority and Expectations

[ONE NIGHT ONLY] In this documentary, 24-year-old Iraq War veteran Wray Harris speaks candidly about PTSD, sectarian conflict, Abu Ghraib and more. A Q-and-A with Harris will follow the screening. Fifth Avenue Cinema. 7:30 pm Saturday, March 16.

Barbara Stanwyck: The Miracle Woman

[ONGOING SERIES, REVIVAL] The Northwest Film Center pays tribute to one of Hollywood’s most charismatic actresses with three weeks of movies starring Barbara Stanwyck, all in 35 mm. The series kicks off with The Lady Eve (7 pm Friday and Sunday, March 15 and 17), a slapstick comedy co-starring Henry Fonda, and Forty Guns (9 pm Friday and 7 pm Saturday, March 15-16), with Stanwyck playing a despotic Arizona rancher. Also showing are two noirs: the 1948 Sorry, Wrong Number (9 pm Saturday and 5 pm Sunday, March 16-17), starring Stanwyck as a bedridden heiress who overhears a murder plot on the telephone, and 1954’s Witness to Murder (7 pm Monday, March 18), in which Stanwyck sees someone strangled across the street and sets out to prove the killer’s guilt. NW Film Center’s Whitsell Auditorium. Through March 31.

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. “She looks like death eatin’ a cracker,” sneers one of her prim, Bible-thumping classmates. But the Vonnegut-worshipping 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

Willamette Week MARCH 13, 2013 wweek.com

STaND uNDER my umBRELLa: matthew Goode and mia Wasikowska.

KOREAN GOTHIC DIRECTOR PARK CHAN-WOOK SUCKS THE BLOOD OUT OF STOKER. BY r eBecca jacoB son

rjacobson@wweek.com

On a scale of zero to Quentin Tarantino, South Korean director Park Chan-wook is not stuck in the middle with anyone. In his hyperviolent Vengeance trilogy (2003’s Oldboy won the Grand Prix at Cannes), characters have their teeth pulled with pliers and slice out their own tongues, a live octopus is consumed whole, incest occurs both intentionally and accidentally, a woman guns down a puppy, and a man goes on a killing rampage with a hammer. Viewers will find little of that in Park’s American debut, Stoker, a coming-of-age psychodrama that strives for Freudian freakiness and Hitchcockian tension. But while the film may bear Park’s imprint in its rigid stylization—and there are a handful of blood spurts—it’s more silly than shocking, more contrived than creepy. Stoker centers on India Stoker (Mia Wasikowska), an 18-year-old who lives in an odd, country gothic corner of Connecticut. (The film was shot in Tennessee.) Clad in prim saddle shoes, her dark curtain of hair severely parted like Wednesday Addams’, the already moody India becomes even more sociopathic after the accidental death of her father (Dermot Mulroney, who appears in flashbacks). In an early scene, she pages through The Encyclopedia of Funerals as she tells her mother, Evelyn (a very arch Nicole Kidman), how widows in China mourn their husbands for three years. Evelyn has warmed up quickly to India’s mysterious Uncle Charlie (Matthew Goode), the first of Park’s many nods to Alfred Hitchcock. As in 1943’s Shadow of a Doubt, Charlie is a smooth looker with a shady past—but where Joseph Cotten was a charismatic murderer of wealthy widows, Goode is a straight-up, unblinking lunatic. This being a Park film, perverse events and stylized violence follow, though Stoker never hits the batshit heights of the auteur’s previous work. A pencil becomes a dangerous weapon, and Park later cuts to a close-up of its bloody tip being

slowly sharpened, shavings still oozing red. Blood sprays across embossed red wallpaper. India pops a pus-filled blister. Cinematographer Chung-hoon Chung—a frequent collaborator of Park’s—fills the screen with lush colors and tight shots of the performers’ impassive eyes. The sound design, too, is compellingly off-kilter, with an eggshell cracking loudly and a metronome ticking as India makes snow angels on the bed. Yet these images and sounds have little payoff. Much of the problem lies with Wentworth Miller’s soporific screenplay, which relies on brazenly dumb lines (“Charlie, who in the world are you?” Kidman asks) and discontinuous but unfulfilling storytelling. Spoken revelations prompt laughs rather than gasps. Indeed, the more satisfying scenes are those without dialogue, as when India and Charlie play

AS RIGIDLY STYLIZED AS THEIR SuRROuNDINGS, THE ACTORS’ MANNERISMS QuICKLY TuRN FROM BIZARRE TO BORING. a piano duet that seethes with creepily incestuous tension. There is also a pivotal shower scene (hello again, Hitch) spliced with bloodstained imagery and shots of spine-cracking brutality. But these hardly make up for the slightness of story. Nor do the performances help. As rigidly stylized as their surroundings, the actors’ mannerisms quickly turn from bizarre to boring. Wasikowska is something of an exception, bringing a surprising level of depth to her role even as she’s not allowed to move the lower half of her face. Where Kidman is austere to the point of cartoonishness and Goode a bulgy-eyed psychopath, Wasikowska brings enough softness to her role that she’s believable as a preternaturally dour and lonely teenager. At more sinister points, she manages to lodge herself under your skin. But for all its elegant weirdness, Stoker adds up to little. Like the spider that repeatedly crawls up India’s bare leg, it keeps creeping forward without ever really arriving anywhere. B-

Stoker is rated R. It opens Friday at Fox Tower.

march 13–19

MOVIES N E W H A R D E N T E R TA I N M E N T

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 (Viola Davis plays a telepathic housekeeper), but a modern-day Tara this ain’t. PG-13. REBECCA JACOBSON. Clackamas.

Bollywood at the Hollywood: Qurbani

[ONE NIGHT ONLY, REVIVAL] DJ Anjali returns for the next installment of the series. In 1980’s Qurbani, a singer finds herself falling in love with a series of criminals. Disco dance sequences ensue. Hollywood Theatre. 7 pm Friday, March 15.

The Call

Halle Berry wears a bad wig while playing a 911 operator who tries to save Abigail Breslin’s life. Screened after WW press deadlines, but look for AP Kryza’s review at wweek.com. r. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Lloyd Center, Bridgeport, City Center, Division, Pioneer Place, Sherwood, Tigard, Wilsonville.

Dark Skies

A horrifying force threatens a suburban family. Not screened for critics. PG-13. Lloyd Center, Division.

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. Not screened for critics. r. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Lloyd Center, Oak Grove, Bridgeport, City Center, Division, Fox Tower, Sherwood, Tigard, Wilsonville, Sandy.

Django Unchained

B- If nothing else, Django Unchained 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 Quentin 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. 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. City Center, Fox Tower, Lloyd Mall.

Emperor

B- Talk about burying the lead.

Hirohito, the enigmatic Japanese monarch whose endorsement of criminal atrocities during the Second Sino-Japanese 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

THE INTERNATIONAL SIGN FOR CHOKING 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. Dramatic stakes are in short supply until the final act, when a halfcooked 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. PG13. MARSHALL WALKER LEE. Living Room Theaters, Lloyd Center.

The Gatekeepers

B The Shin Bet is the Israeli gov-

ernment’s equivalent of the CIA, and its leaders come out of hiding in The Gatekeepers. Interviews with all six surviving former heads of the secretive counterterrorism group, speaking publicly for the first time, compose Dror Moreh’s documentary. Some events may not ring a bell, but digital re-enactments mesh with photographs to help bring them to life. Aside from these animations, The Gatekeepers relies exclusively on one-on-one interviews, but its clean organization keeps wandering thoughts at bay. Though the Palestinian side of the story is completely absent, Moreh doesn’t pull any punches. The Shin Bet leaders’ replies are honest, astute and even compassionate as they let the cruel skeletons out of their closet. PG-13. MITCH LILLIE. Fox Tower.

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. McClane has gone from a likable everyman to an indestructible super-cop. At the film’s beginning, McClane flies to Moscow in order to help his gone-rogue son; once there, things quickly escalate. This scenario yields a number of early pleasures: It would be selfdefeating to deny the joy of seeing Bruce 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. 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. Clackamas, Bridgeport, Division, Sherwood, Tigard, Wilsonville.

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 buttoned-down 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 potential 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 ill-gotten 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 while the sudden eruptions of frankly brutal slapstick work a treat, it’s a long slog in reclaimedhobo trousers to get there. If we’ve learned anything in the past few years, it’s that there’s no such thing as a comedy too big to fail. r. JAY HORTON. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Lloyd Center, Oak Grove, Bridgeport, City Center, Division, Pioneer Place, Sherwood, Tigard, Wilsonville, Sandy, St. Johns Twin.

The International Sign for Choking

C- [ONE NIGHT ONLY] Like when a pretzel fragment lodges itself in an unsuspecting esophagus, Olympia director Zach Weintraub’s film is mostly about what’s unseen. But the only choking here is metaphorical, as the film’s characters are stifled by their own ambivalence. The scruffy, down-and-out Josh (Weintraub) is a college graduate in ’70s-style glasses who arrives in Buenos Aires with the plan to make a film. Instead, he befriends and beds his American neighbor Anna, imbibes incessantly and digresses into general douchebaggery, all the while scouring the city for some long-lost love named Martina. Lengthy, blurry shots leave viewers feeling as detached as the

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march 13–19

characters seem. And the complete absence of a soundtrack allows frequent, meaningless sex scenes to play out like unappetizing smacking sessions. Eventually, the film peters out, with Josh wrapping up his computer cord and moving out, as uninspired as when he began. ENID SPITZ. NW Film Center’s Whitsell Auditorium. 7 pm Wednesday, March 13.

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. The titular 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 who does evil things to advance the plot). 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. Jack the Giant Slayer is focused on moving from one epic fantasy scene to another, whether it’s Ewan McGregor shouting, “Tally ho!” as he zip-lines 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, Oak Grove, Bridgeport, Division, Lloyd Mall.

KBOO at the Clinton: Grateful Dead Night

[ONE NIGHT ONLY] Attention, Deadheads: In addition to the documentary Festival Express, which includes footage of the Grateful Dead traversing Canada by train in 1970, tonight will also include a trivia contest and a screening of the 16 mm short film The Hippie Temptation, about LSD in San Francisco in the late ’60s. Clinton Street Theater. 7 pm Thursday, March 14.

Les Misérables

D With the exception of about 10 minutes, the nearly three-hour film is an endless wallow in the fields of squalor, filth, chancre and herpes. PG13. 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. PG. REBECCA JACOBSON. Eastport, CineMagic, Fox Tower, Bridgeport, City Center, Lloyd Mall.

Lincoln

B Steven Spielberg’s stately drama

is shrewd, balanced and impressively restrained. PG-13. REBECCA JACOBSON. Academy, Cedar Hills, Edgefield, Kennedy, Laurelhurst, Tigard, Valley.

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.

Metal Messiah: Born Again Sage

[ONE NIGHT ONLY, REVIVAL] The 2010 metal musical centers on an ’80s thrash band at an Oregon City high school that aims to rule over the suburbs. Hollywood Theatre. 7:30 pm Thursday, March 14.

The Men of Dodge City

D [ONE NIGHT ONLY] As both a man

and a Detroiter, I am confounded by the title of Corvallis native Nandan Rao’s second feature, in which three white friends with no guiding beliefs buy a derelict cathedral in Detroit, where they succumb to moral torpor and infantilism. Not only does the film take place in Detroit’s historic Corktown district, more than 10 miles from the old Chrysler Warren Assembly Plant known as “Dodge City,” but there is nary a man to be found in Dodge City. The trio of twentysomething boys at the center of this muddled, unfunny film spend their days drinking Miller Lite, eating Oreos and staring at their own stubbled visages in the polished screens of their MacBook Pros. Ostensibly they dream of converting the abandoned church and grounds into a utopian crash pad-cum-community center, but mostly they just horse around and make mock-serious declarations (“Let’s build geodesic domes! Dome-iciles! Dome City, dude!”) like children playing house. Every night the boys venture out to ogle the picturesque “ruins” of their adopted home, meanwhile seeming to hold the living city and its people in contempt. As you might expect from a film about boys who refuse to grow up, Dodge City is almost pathologically afraid of women. Yet it’s Sophia Takal’s brief performance as a skeptical local that lends Dodge City a much-needed spark. Takal’s performance is a minor miracle, but it’s not enough to rescue the boys or their film from naval-gazing and apathy. MARSHALL WALKER LEE. NW Film Center’s Whitsell Auditorium. 7 pm Thursday, March 14.

Oz the Great and Powerful

B Watching the 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. 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. 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, L. Frank Baum’s world comes fantastically to life. From the black-and-white circus scenes in Kansas to the kaleidoscopic world of Oz, each realm takes on a different aesthetic. One moment, Franco is in a wetland swarmed by cartoonish butterflies. Next, he’s in China Town, made completely of porcelain. But lest this sound too kiddie for the man who directed The Evil Dead, there’s also the matter of the witches (Rachel Weisz, Mila Kunis and Michelle Williams), who muster a few scares worthy of any Deadite. Oz is 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. It’s a carnival magician of a film overflowing with imagination, and to those who come ready to believe, its magic is undeniable. PG. AP KRYZA. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Lloyd Center, Moreland, Oak Grove, Bridgeport, City Center, Division, Lloyd Mall, Pioneer Place, Sherwood, Tigard, Wilsonville, St. Johns Twin, Sandy.

A Pistol for Ringo

[ONE NIGHT ONLY, REVIVAL] In Duccio Tessari’s spaghetti Western, a gunslinger tries to rescue a wealthy

Willamette Week MARCH 13, 2013 wweek.com

family from bandits. Clinton Street Theater. 8 pm Wednesday, March 13.

A Place at the Table

B+ Participant Media (Food, Inc.;

An Inconvenient Truth; Waiting for “Superman”) dishes up another cinematic classroom lesson with this incisive examination of the hunger problem in the U.S., where 50 million citizens go to bed hungry. Directors Kristi Jacobson and Lori Silverbush open A Place at the Table with achingly beautiful shots of agrarian America, its fertile lands brimming with crops—and then hit us with horrific statistics, obesity joined at the diseased hip with malnutrition and starvation. The well-paced documentary cuts between individual stories and talking-head experts: the single mom, forced to feed her kids junk food; a well-meaning congressman who lived on a food-stamp diet for a week; a winsome young girl unable to concentrate in class because her empty stomach hurts; impassioned comments from actor Jeff Bridges (who formed End Hunger Network nearly 30 years ago). “If another country was doing this to our kids, we would be at war,” he says. A superb companion piece to the local documentary American Winter (premiering March 18 on HBO), A Place at the Table likewise examines why the government chooses to subsidize big corporations over social-service programs. Together, the films pose the question: How many documentaries will it take before our lawmakers pay attention? PG. KIMBERLY GADETTE. Hollywood Theatre.

ration, 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 young 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, an effect augmented by jittery sound design that gives the illusion of constant whispers following Mara. 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. Fox Tower.

Silver Linings Playbook

A- Director David O. Russell emerges

with one of filmdom’s funniest stories of crippling manic depression. r. AP KRYZA. Cedar Hills, Eastport, Clackamas, Cornelius, Oak Grove, Bridgeport, Division, Lloyd Mall, Wilsonville, Sandy.

Snitch

C+ “Inspired by true events” reads the opening title card of the oddly engrossing new 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 arro-

REVIEW BEN GLASS

MOVIES

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? 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, Bridgeport, Fox Tower.

Repressed Cinema: Maximum Shame

[ONE NIGHT ONLY, REVIVAL] Spanish director Carlos Atane’s 2010 film blends BDSM, chess and musical numbers into a post-apocalyptic, dystopian jumble. Also showing is The Phallus Killer, a short whose title speaks for itself. Hollywood Theatre. 7:30 pm Tuesday, March 19.

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, Forest, Bridgeport, City Center, Sherwood.

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, exhila-

wiggEd out: Steve Buscemi (top) and Steve Carell.

THE INCREDIBLE BURT WONDERSTONE Pay no attention to the man behind the sequins.

Goofy wigs are always a bad omen, especially when they’re the centerpiece of a film. The Incredible Burt Wonderstone seems pitched by a really good wig-maker who thought it would be hysterical to plop ridiculous feathery rugs on Steve Carell and Steve Buscemi, a post-grunge one on Jim Carrey, a scraggly old-man one on Alan Arkin, and an intentionally fake-looking one on Olivia Wilde. Those wigs sure look funny. Too bad nothing else is. Which is a bloody shame, given the premise of Carell (who plays Wonderstone) and Buscemi as ultra-corny, velvet-leotarded Vegas magicians who engage in a war of one-upmanship with Carrey’s Chris Angel-esque street magician. Carrey, on a show called Brain Rapist, pulls off stunts like sleeping on hot coals and not urinating for two weeks. The film shows signs of life as a look at how traditional showmanship suffers in an age of rapid-fire Internet trickery, with seasoned pros like Jay Mohr and James Gandolfini (in bad wigs) representing the old-school Vegas mentality as endangered. Alas, the film makes the fatal mistake of insisting on audience investment in an unlikable character’s redemption. Carell is a master of making viewers sympathize with brutishly inconsiderate characters, as evidenced by his weirdly tender suffering on The Office. In films like The 40-Year-Old Virgin and the surprisingly not-horrible Dan in Real Life, his sweet streak shines through even the most boorish veneer. But Wonderstone is just a horrible human being: sexist, racist, rapey, cruel, egomaniacal, crude, selfish and destructive. Yet when his life hits the skids, we’re asked to forget nearly all that came before. We’re supposed to hope the asshole wins back the good-natured buddy he cast aside and score with the assistant (Wilde) he treated like a slave. Leaps in goodwill could be forgiven if Wonderstone contained some real chuckles. Alas, pretty much everything falls flat after 20 minutes. Carrey comes out of the gate with a hilarious skewering of Angel, then turns into Jim Carrey. Buscemi does the sweet thing and falls down a lot. Corny magic is shown as corny. This is a film about magicians without a single trick up its sleeve, a flick that never pulls back the curtain or aspires to be anything more than a lazy-ass comedy where the wigs and sequins do the talking. But they sure are funny wigs. AP KRYZA. D+ SEE it: The Incredible Burt Wonderstone is rated PG-13. It opens Friday at Cedar Hills, Eastport, Clackamas, Cinema 21, Lloyd Center, Bridgeport, Division, Tigard, Oak Grove, Sandy, City Center, Mill Plain.

march 13–19

Terminator 2: Judgment Day

[ONE WEEK ONLY, REVIVAL] He’s back. r. Laurelhurst Theater.

Turning

B [FIVE NIGHTS ONLY] In 2004,

musician Antony Hegarty and video artist Charles Atlas collaborated on a special performance for the Whitney Biennial, wherein Hegarty would perform some of his songs, while a series of women joined him onstage one by one. The women would stand on a rotating platform, cameras pointed at them. The images of these females—an assortment of 13 straight, gay, transgendered, old and young women—were then blown up and projected behind Hegarty and his band. The show eventually traveled to Europe for a series of performances, from which Atlas compiled this documentary. The beauty of Turning comes not from Hegarty’s fluttering, androgynous vocals, nor from the dramatic juxtaposition of the string-drenched music and the pictures of the women, but instead from the one-on-one interviews with all the women involved. Each explores her role in this project, along the way relaying some raw truths about what it means to be female in the 21st century. Though the film never strikes a balance between everything Atlas tries to squeeze into its abbreviated runtime—the combination of performance, interviews, backstage hangouts and rehearsals can border on the overindulgent—Turning still manages to cut deeply. ROBERT HAM. 7:30 pm Friday-Wednesday (no show Monday), March 15-20..

VHSEX

[ONE NIGHT ONLY] A scintillating salmagundi of sexploitation clips. Hollywood Theatre. 7:30 pm Saturday, March 16..

Warm Bodies

B+ 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 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, Indoor Twin, Lloyd Center, Division, Pioneer Place.

Yossi

C At once heartwarming and infuriat-

ingly dull, Yossi tells the quiet story of a gay Israeli doctor yearning for love and acceptance. But this isn’t the first time we’ve encountered Yossi’s identity crisis: The first was in the groundbreaking 2002 film Yossi&Jagger, in which Yossi (Ohad Knoller) forged an intense but ill-fated romance with a fellow soldier. It’s intriguing to revisit the heartbroken Yossi still reeling, 10 years later, from heartache and loss. Though a successful cardiologist, Yossi is in a deep funk, turning down invitations in favor of masturbating and eating takeout in his small apartment. Naturally, Yossi is poised for a little self-discovery, which comes in the form of a young soldier who prods him to start living life in the present. That’s all fine and sweet, but Yossi is stretched paper-thin at less

than 90 minutes, and director Eytan Fox pads the time with endless shots of the titular character sulking alone. If this is representative of the exciting Israeli gay-film subculture, the genre has a long way to go… after all, you can’t have a movement if you refuse to move in the first place. AP KRYZA. Living Room Theaters.

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, front-loaded in the first third of the film, 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. Academy, Cedar Hills, Eastport, Kennedy, Laurelhurst, Mission, Bridgeport, Tigard, Valley.

REVIEW SuNDANCE SELECTS

gant. 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. PG-13. JAY HORTON. Cedar Hills, Eastport, Clackamas, Cornelius, Oak Grove, Bridgeport, Division, Lloyd Mall, Wilsonville, Sandy.

MOVIES

WWEEKdotCOM

PrEtty woman: rin takanashi.

LIKE SOMEONE IN LOVE a needy hooker makes an elderly friend.

It may be hard out there for a pimp, but it’s definitely harder for a prostitute. Iranian director Abbas Kiarostami makes that awfully clear in his plodding, bittersweet tale of a Tokyo college student-turned-call girl named Akiko (Rin Takanashi). Akiko is a cloyingly pretty young thing with the permanent expression of a frightened baby animal. When she’s not being ordered around by her oddly genteel pimp, she weathers endless abuse from her control-freak fiance, who is beginning to catch on to her secret life as a hooker. We meet Akiko at a slick bar, where her pimp is coercing her into making a house call instead of allowing her to visit her grandmother. Akiko sulks in the back of a cab—the first of many scenes taking place in an automobile, a Kiarostami trademark—all the way to her destination, which turns out to be the home of a downright adorable elderly man named Takashi (Tadashi Okuno). He’s a retired professor with thin white hair, a lumpy cardigan and thick glasses. In other words, he’s the sort of old person who looks huggable, but he’s definitely not someone whose billowing khaki pants you’d want to unzip. As Takashi gingerly steps out of his orthopedic loafers and into his slippers, it appears Like Someone in Love could go one of two ways: It’ll either wander off into freaky, avant-garde indie porn territory, with a hearty helping of wrinkled nudity; or it’ll bloom into the touching tale of a kindly codger coming to the rescue of a frightened and confused prostitute. Luckily for Akiko, it’s closer to the latter. After a night mercifully devoid of geriatric sex acts, and instead filled with polite conversation and homemade soup, it becomes clear that Takashi is simply a lonely old dude who wants to feel needed. And boy, did he find a woman in need. The action unfolds extremely slowly, with long stretches shot in real time as Takashi becomes entwined in Akiko’s life over the course of a few days. The effect is sometimes absorbing but too often flat-out boring—unless you’re in the mood to count every one of Takashi’s snow-white mustache hairs as he gazes out the car window. Though Kiarostami’s cinematic vision is masterful, and his characters undeniably compelling, his fixation on detail is ultimately a detriment to what is almost a wonderful film. EMILY JENSEN. B- SEE it: Like Someone in Love opens Friday at Living Room Theaters.

Willamette Week MARCH 13, 2013 wweek.com

MOVIES

MARCH 15–21

BREWVIEWS ALIVE FILMS

Wed 11:35, 02:30, 04:50, 07:15, 09:45 AMOUR Fri-Sat-Sun-Mon-Tue-Wed 02:00, 09:50 QUARTET Fri-Sat-Sun-Mon-Tue-Wed 12:15, 02:15, 05:00, 07:15 DJANGO UNCHAINED FriSat-Sun-Mon-Tue-Wed 12:20, 04:00, 07:45, 09:15 LIFE OF PI Fri-Sat-SunMon-Tue-Wed 11:35, 02:20, 04:35, 07:10, 09:25 SILVER LININGS PLAYBOOK FriSat-Sun-Mon-Tue-Wed 11:50, 02:20, 04:55, 07:20, 09:35 MASQUERADE FriSat-Sun-Mon-Tue-Wed 11:30, 02:05, 04:30, 07:00, 09:45

NW Film Center’s Whitsell Auditorium

1219 SW Park Ave., 503-221-1156 THE LADY EVE Fri-Sun 07:00 FORTY GUNS FriSat 07:00 SORRY, WRONG NUMBER Sat-Sun 05:00

Review of

The Call aT wweek.Com

Breaking news?

call 503.445.1542 or email newshound@wweek.com 42

Willamette Week MARCH 13, 2013 wweek.com

BUM FIGHTS AND ROWDY RODDY: Sure, some movies are brilliantly subversive and ahead of their time. But how many Orwellian fantasies about a world subjugated by alien advertising feature the longest bum fight ever committed to film? They Live is a movie that oozes John Carpenter in every frame. You’ve got a nutty homeless dude (“Rowdy” Roddy Piper) who comes across secret sunglasses that allow him to see that behind each billboard is a sign that says “Obey,” and behind each smiling face is the twisted visage of an alien invader. You’ve got the throbbing synth. Machine guns. Comedy. Asskicking. Bubblegum. And just when you think it can’t get any more amazing… cue the bum fight. They Live, released in 1988, wasn’t just ahead of its time. It’s ahead of any time. AP KRYZA. Showing at: Hollywood. Best paired with: Miller High Life. Also showing: Terminator 2 (Laurelhurst). Sat-Sun-Mon-Tue-Wed 06:30 THIS IS 40 Fri-SatSun-Mon-Tue-Wed 09:30

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 THE CALL Fri-Sat-Sun-Mon-Tue-Wed 12:00, 02:25, 04:55, 07:30, 10:00 THE INCREDIBLE BURT WONDERSTONE Fri-Sat-Sun-Mon-TueWed 12:10, 02:45, 07:00, 09:50 OZ THE GREAT AND POWERFUL Fri-Sat-SunMon-Tue-Wed 12:30, 03:35, 06:40, 09:00 OZ THE GREAT AND POWERFUL 3D Fri-Sat-Sun-Mon-TueWed 11:45, 02:50, 05:55 EMPEROR Fri-Sat-SunMon-Tue-Wed 12:20, 03:25, 06:30, 09:30 DEAD MAN DOWN Fri-Sat-Sun-MonTue-Wed 01:00, 04:25, 07:20, 10:20 JACK THE GIANT SLAYER 3D Fri-SatSun-Mon-Tue-Wed 12:50, 03:55 DARK SKIES Fri-SatSun-Mon-Tue-Wed 09:45 IDENTITY THIEF Fri-SatSun-Mon-Tue-Wed 12:40, 03:45, 07:10, 10:05 WARM BODIES Fri-Sat-Sun-MonTue-Wed 11:50, 02:30, 05:15, 07:50, 10:25 THE METROPOLITAN OPERA: FRANCESCA DA RIMINI LIVE Sat 09:00 THE METROPOLITAN OPERA: PARSIFAL ENCORE Wed 06:30

Regal Lloyd Mall 8

2320 Lloyd Center Mall, 800-326-3264 OZ THE GREAT AND POWERFUL Fri-Sat-SunMon-Tue-Wed 03:00, 09:10 OZ THE GREAT AND POWERFUL 3D FriSat-Sun-Mon-Tue-Wed 12:00, 06:15 21 AND OVER Fri-Sat-Sun-Mon-Tue-Wed 12:35, 03:30, 06:35, 09:00 JACK THE GIANT SLAYER Fri-Sat-Sun-Mon-Tue-Wed 03:10, 08:50 JACK THE GIANT SLAYER 3D Fri-SatSun-Mon-Tue-Wed 12:10, 06:10 SNITCH Fri-Sat-SunMon-Tue-Wed 12:30, 03:20,

06:30, 09:05 ESCAPE FROM PLANET EARTH Fri-Sat-Sun-Mon-Tue-Wed 12:20, 03:25 DJANGO UNCHAINED Fri-Sat-SunMon-Tue-Wed 12:15, 04:00, 08:30 LIFE OF PI 3D FriSat-Sun-Mon-Tue-Wed 12:05, 02:55, 06:05, 08:55 SILVER LININGS PLAYBOOK Fri-Sat-Sun-Mon-Tue-Wed 12:25, 03:15, 06:00, 08:45 ARGO Fri-Sat-Sun-MonTue-Wed 06:00, 08:40

Bagdad Theater and Pub

3702 SE Hawthorne Blvd., 503-249-7474 THE HOBBIT: AN UNEXPECTED JOURNEY Fri-Sat-Sun-Mon-Tue-Wed 06:00 JOHN DIES AT THE END Sat-Sun-Mon-Tue-Wed 09:45

Cinema 21

616 NW 21st Ave., 503-223-4515 THE INCREDIBLE BURT WONDERSTONE Fri-SatSun-Mon-Tue-Wed 04:30, 07:00, 09:10

Clinton Street Theater

2522 SE Clinton St., 503-238-8899 TURNING Fri-Sat-SunMon-Tue-Wed 07:30 BAD MOVIE NITE Fri 12:00 THE ROCKY HORROR PICTURE SHOW Sat 12:00

Laurelhurst Theatre & Pub

2735 E Burnside St., 503-232-5511 BEASTS OF THE SOUTHERN WILD FriSat-Sun-Mon-Tue-Wed 07:00 THE HOBBIT: AN UNEXPECTED JOURNEY Fri-Sat-Sun-Mon-Tue-Wed 09:00 LINCOLN Fri-SatSun-Mon-Tue-Wed 06:40 TERMINATOR 2: JUDGMENT DAY Fri-Sat-Sun-Mon-TueWed 09:40 SEARCHING FOR SUGAR MAN FriSat-Sun-Mon-Tue-Wed 07:15 ZERO DARK THIRTY Fri-Sat-Sun-Mon-Tue-Wed 09:15 THE MASTER Fri-

Regal Pioneer Place Stadium 6

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

Mission Theater and Pub

St. Johns Theatre

St. Johns Twin Cinemas and Pub

Academy Theater

1624 NW Glisan St., 503-249-7474-5 THE HOBBIT: AN UNEXPECTED JOURNEY Sat-Sun-Mon-Wed 05:30 THE MASTER Sat-Sun-MonWed 08:50 ZERO DARK THIRTY Sat-Sun 02:00

8704 N Lombard St., 503-286-1768 OZ THE GREAT AND POWERFUL Fri-Sat-SunMon-Tue-Wed 05:10, 07:55 IDENTITY THIEF Fri-SatSun-Mon-Tue-Wed 05:45, 08:20

CineMagic Theatre

2021 SE Hawthorne Blvd., 503-231-7919 LIFE OF PI Fri-Sat-SunMon-Tue-Wed 05:00, 07:30 ARGO Fri-Sat-Sun-MonTue-Wed 09:55

Fifth Avenue Cinema 510 SW Hall St., 503-725-3551 13 ASSASSINS Fri-Sat-Sun 03:00

Hollywood Theatre

4122 NE Sandy Blvd., 503-281-4215 A PLACE AT THE TABLE Fri-Sat-Sun-Mon-Tue-Wed 07:20, 09:20 QUARTET Fri-Sat-Sun-Mon-Tue-Wed 07:10, 09:10 THEY LIVE Fri-Sat-Sun-Mon-TueWed 09:30 QURBANI Fri 07:00 VHSEX Sat 07:30 ROADMAP TO APARTHEID Mon 07:30 MAXIMUM SHAME Tue 07:30 20,000 LEAGUES UNDER THE SEA

Regal Fox Tower Stadium 10

846 SW Park Ave., 800-326-3264 STOKER Fri-Sat-Sun-MonTue-Wed 12:10, 02:25, 04:30, 05:30, 07:00, 07:30, 09:30 DEAD MAN DOWN Fri-Sat-Sun-Mon-Tue-Wed 11:40, 02:00, 04:35, 07:25, 09:55 THE GATEKEEPERS Fri-Sat-Sun-Mon-Tue-Wed 11:45, 02:15, 04:40, 07:20, 09:40 SIDE EFFECTS Fri-Sat-Sun-Mon-Tue-

8203 N Ivanhoe St., 503-249-7474-6 THE HOBBIT: AN UNEXPECTED JOURNEY Fri-Sat-Sun-Mon-Tue-Wed 06:30 MAMA Fri-SatSun-Mon-Tue-Wed 01:00 THE WALKING DEAD Sun 06:00, 08:00 7818 SE Stark St., 503-252-0500 LINCOLN Fri-Sat-Sun-MonTue-Wed 12:00, 03:00, 09:30 RISE OF THE GUARDIANS Fri-Sat-SunMon-Tue-Wed 04:40 ZERO DARK THIRTY Fri-Sat-SunMon-Tue-Wed 01:35, 06:45, 09:50 THE IMPOSSIBLE Fri-Sat-Sun-Mon-Tue-Wed 01:20, 07:00 THE HOBBIT: AN UNEXPECTED JOURNEY Fri-Sat-Sun-Mon-Tue-Wed 03:40, 09:20 WRENCHED Wed 06:00

Living Room Theaters

341 SW 10th Ave., 971-222-2010 ALIEN BOY: THE LIFE AND DEATH OF JAMES CHASSE Fri-Sat-Sun-MonTue-Wed 09:10 ARGO Fri-Sat-Sun-Mon-Tue-Wed 12:00, 02:00, 04:30, 07:15, 09:20 EMPEROR Fri-SatSun-Mon-Tue-Wed 12:10, 02:30, 05:00, 07:00, 09:30 HAPPY PEOPLE: A YEAR IN THE TAIGA Fri-Sat-SunMon-Tue-Wed 11:55, 02:50, 05:10, 07:40, 09:40 LIKE SOMEONE IN LOVE Fri-SatSun-Mon-Tue-Wed 12:20, 02:40, 04:10, 06:40, 09:00 LORE Fri-Sat-Sun-Mon-TueWed 11:50, 01:50, 04:20, 06:50 YOSSI Fri-Sat-SunMon-Tue-Wed 11:45, 02:10, 04:50, 07:30, 09:45

SUBJECT TO CHANGE. CALL THEATERS OR VISIT WWEEK.COM/MOVIETIMES FOR THE MOST UP-TODATE INFORMATION FRIDAY-THURSDAY, MARCH 15-21, UNLESS OTHERWISE INDICATED

CLASSIFIEDS DIRECTORY 43

WELLNESS

44 BULLETIN BOARD TO PLACE AN AD CONTACT:

43 MUSICIANS’ MARKET 44

PETS

ASHLEE HORTON

43 SERVICES

44 JOBS

44 MOTOR

44 STUFF

45 MATCHMAKER

45 JONESIN’

WILL 46 FREE ASTROLOGY

503-445-3647 • ahorton@wweek.com

CORIN KUPPLER

REAL ESTATE

503-445-2757 • ckuppler@wweek.com

WELLNESS SERVICE DIRECTORY

MARCH 13, 2013

PHYSICAL FITNESS BILL PEC Personal Trainer & Independent Contractor

COUNSELING

SERVICES BUILDING/REMODELING

• Strength Training • Body Shaping • Nutrition Counseling AT THE GYM, OR IN YOUR HOME

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

STYLE

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

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

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

SW S. Mike Klobas Painting

call

Charles

503-740-5120

Interior & Exterior 503-646-8359 CCB #100360

lmt#6250

MUSICIANS MARKET FOR FREE ADS in 'Musicians Wanted,' 'Musicians Available' & 'Instruments for Sale' go to portland.backpage.com and submit ads online. Ads taken over the phone in these categories cost $5.

INSTRUMENTS FOR SALE 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

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

CLEANING

TRADEUPMUSIC.COM

Learn Jazz & Blues Piano with local Grammy winner Peter Boe. 503-274-8727.

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

INDULGE YOURSELF in an - AWESOME FULL BODY MASSAGE

PAINTING

Inner Sound

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

Enjoy the Benefits of Massage

REL A X!

AUDIO SE

LOOK FOR ME ON FACEBOOK

MASSAGE (LICENSED)

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

PROPERTY MANAGEMENT SW JMPDX LLC

www.billpecfitness.com

SEWING & ALTERATIONS N Spiderweb Sewing Studio

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

503-252-6035

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.

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

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.

Totally Relaxing Massage

TREE SERVICES

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

Steve Greenberg Tree Service

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

ALTERNATIVE MEDICINE

OMMP Resource Center Providing Safe Access to Medicine Valid MMJ Card Holders Only No Membership Dues or Door Fees

“Simply the Best Meds” www.rosecitywellnesscenter.com

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

MO RE CLASS IFIE DS ONLINE @ por tl and.wweek.com WillametteWeek Classiﬁeds MARCH 13, 2013 wweek.com

TO PLACE AN AD CONTACT:

ASHLEE HORTON

503-445-3647 • ahorton@wweek.com

Paid In Advanced! MAKE up to $1000 A WEEK mailing brochures from home! Helping Home Workers since 2001! Genuine Opportunity! No Experience required. Start Immediately! www.mailing-station.com (AAN CAN)

JOBS GENERAL

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 popstar.

Now hiring 10 spontaneous individuals. Travel full time. Must be 18+. Transportation and hotel provided. Call Loraine 877-777-2091

SALES/MARKETING Sales

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: 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

EMPLOYMENT OPPORTUNITIES $$$HELP WANTED$$$ 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)

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

MCMENAMINS ROADHOUSE AND IMBRIE HALL is now hiring for ALL POSITIONS! 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.

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.

CORIN KUPPLER

503-445-2757 • ckuppler@wweek.com

EVENTS Variety Show Acts Needed For local television show. Possible employment opportunity for those that qualify. The Lehrer: 8775 SW Canyon Lane Portland, OR 97225 Between 7pm - Midnight on Thursdays & Sunday March 24th 3pm - Midnight Call for appt. 971-277-0171

Willamette Writers is now on MeetUp

Get info about meetings, gatherings, critique groups, http://www.meetup.com/ Willamette-Writers-Monthly-Meetings/

LEGAL NOTICES James Corbett Corrigan

PETS

More Pets

Tiki & Cindy!

Is hereby summoned to appear in court on April 19, 2013 at 2:00 pm. You are hereby notified that a petition has been filed with the Superior Court of Washington County of Clark requesting termination of ParentChild Relationship and a Petition for Adoption. Case number 135000860

MOTOR GENERAL

LESSONS

“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

CLASSICAL PIANO/ KEYBOARD

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

MISCELLANEOUS PSALMS - 3

CASH FOR CARS: Any Car/Truck. Running or Not! Top Dollar Paid. We Come To You! Call For Instant Offer: 1-888-4203808 www.cash4car.com (AAN CAN)

STUFF FURNITURE

BEDTIME

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

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. 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

BULLETIN BOARD

ALANON Sunday Rainbow

NON-PROFIT DISCOUNTS AVAILABLE.

Got Meth Problems? Need Help?

WILLAMETTE WEEK’S GATHERING PLACE

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. 866-413-6293 (AAN CAN)

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

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

It’s the Tiki and Cindy Show!! That’s right folks this is our weekly special with our two favorite Darlings Tiki and Cindy the adorable duo of chihuahuas!. Goofy and sweet, loving and silly, these two characters graduated from the School of Hard Knocks and are now we are documenting their journey through shelter life while they wait to find their forever home. This isn’t one of those reality TV shows like 16 and Pregnant that makes you want to avert your eyes and lock up your kiddos nope, no siree this is a show that focuses on the power of love, companionship, resilience, and eventually....a happy ending! These two chis started out rough. Growing up in a home where gambling, drugs and sketchy characters circled their puppy play pen. Poor Cindy was even born with back legs that just aren’t quite right but that has never stopped this team! They learned to lean on one another,Tiki, the 6 year old big brother always looked out for little Cindy who is now just two years old. He would take her into their crate and cover it up and tell her all kinds of wonderful stories if things around them were not good. He would make up fantasies of the life they will one day have full of rivers of beef gravy and boats made of cheese. They would float along lazily on, stopping only for a mid-day game of fetch with huge meatballs. What do you think? Could you give them that life? Are you the season finale of happiness on this show? We hope so!! Contact the Pixie Project to set up a meet!

503-542-3432 510 NE MLK Blvd

pixieproject.org we’ve got the

•job•

for you – wweek.com 44

pg. 46

WillametteWeek Classifieds MARCH 13, 2013 wweek.com

TO PLACE AN AD CONTACT:

ASHLEE HORTON

503-445-3647 • ahorton@wweek.com

CORIN KUPPLER

503-445-2757 • ckuppler@wweek.com

JONESIN’ by Matt Jones

CHATLINES The largest LOCAL chatline..FREE to TRY!

FREE to participate in the member FORUMS. UNLIMITED LIVE CHAT $19/week Free call 503-222-CHAT • 360-696-5253 www.LiveMatch.com

63 Vexation 64 Ad line that caused a Muppet to answer “You bet me do!”? 66 Turn down 67 More level 68 “So Big” author Ferber 69 Nyan ___ (internet meme) 70 Nissan model 71 Awestruck response Down 1 Band events 2 “For two,” on sheet music 3 Woody’s last name on “Cheers” 4 Miami Sound Machine surname 5 Two-year degree type (hidden in REMEMBER) 6 New Rochelle, New York college 7 Actor Tudyk of “Suburgatory” 8 Timex competitor 9 Birthday balloon material 10 Ques. counterpart 11 Drawbridge site 12 Bank (on) 13 Cereal that rarely got eaten by its mascot 18 You can dig ‘em 22 Like some gummy candy 24 “That smells horrible” reaction 26 Recessions 27 Spot in the water 28 Mad Libs category 29 Apres-ski drink 30 Spoken 31 Make it really clear? 33 Jeter at short 34 “___ bleu!” 37 Candle end

38 Senegal’s capital 39 Singer Perry 41 “A Death in the Family” playwright James 44 Like some truth 45 Party item with a tap 48 What this glue has 50 Where oranges are grown 51 Movie with the line “What’s in the box?”

53 Stuﬀ in lozenges 54 Opera highlight 55 “Friday After ___” 57 Like paperclips 58 Rival of Dell 60 Opera set in Egypt 61 Reading rooms 62 Posthaste 64 Primus leader Claypool 65 “... ___ mouse?”

last week’s answers

Across 1 “Welcome Back, Kotter” star Kaplan 5 Unpleasant atmosphere 11 He hosted a reality show called “I Pity the Fool” 14 Vows sometimes rushed in comedies 15 “The Other ___ Girl” (2008 Natalie Portman movie) 16 “Star-Spangled Banner” contraction 17 Five on a dude’s foot? 19 Clay, later 20 Passover dinner 21 “Put Your Head On My Shoulder” singer Paul 22 “Kilroy Was Here” band 23 Co-star of Morgan and Baldwin 25 Chunky milkshake ingredient 27 Words before “ﬁre” or “emergency” 32 BFFs 35 “Are we there yet?” answer, maybe 36 Time oﬀ from the group? 40 Former NHL star Robitaille 41 Thorny trees 42 Co. whose mascot is Nipper 43 The right amount to be serendipitous? 45 “Win, Lose or Draw” host Convy 46 Herb that’s also a name 47 Old-school fastener at the roller disco 49 Hit for ZZ Top 52 Bread for a reuben 53 Madcap 56 Sitcom starring a singer 59 Big name in handbags

“That’s a Tough One”–actually, a tough two.

©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 #JONZ614.

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Week of March 14

ARIES (March 21-April 19): “If it’s stupid and it works, it’s not stupid.” That could turn out to be a useful mantra for you in the coming week. Being pragmatic should be near the top of your priority list, whereas being judgmental should be at the bottom. Here’s another mantra that may serve you well: “Those who take history personally are condemned to repeat it.” I hope you invoke that wisdom to help you escape an oppressive part of your past. Do you have room for one more inspirational motto, Aries? Here it is: “I am only as strong as my weakest delusion.” TAURUS (April 20-May 20): Don’t you just love to watch the spinning of those wheels within wheels within wheels? Aren’t you grateful for the way the ever-churning plot twists keep you alert and ready to shift your attitude at a moment’s notice? And aren’t you thrilled by those moments when fate reveals that its power is not absolute -- that your intelligence and willpower can in fact override the seemingly inexorable imperatives of karma? If you are unfamiliar with the pleasures I’ve just described, the coming weeks will be an excellent time to get deeply acquainted. GEMINI (May 21-June 20): It won’t be a good week to issue unreasonable, illogical, and self-centered demands. And please don’t make peanut butter and jelly a part of your sex life, take a vacation in Siberia, or photocopy your butt and deliver it anonymously to your boss. On the other hand, it will be an excellent time to scrawl motivational poetry on your bedroom wall, stage a slow-motion pillow fight, and cultivate your ability to be a deep-feeling free-thinker. Other recommended actions: Give yourself a new nickname like Highball or Root Doctor or Climax Master; write an essay on “The Five Things That the Pursuit of Pleasure Has Taught Me;” and laugh uproariously as you completely bypass the void of sadness and the abyss of fear. CANCER (June 21-July 22): In the mid-19th century, prospectors mined for gold in the mountains of western Nevada. The veins weren’t as rich as those in California, but some men were able to earn a modest living. Their work to extract gold from the terrain was hampered by a gluey blue mud that gummed up their machinery. It was regarded as a major nuisance. But on a hunch, one miner took a load of the blue gunk to be analyzed by an expert. He discovered that it contained rich deposits of silver. So began an explosion of silver mining that made many prospectors very wealthy. I suggest you be on the alert for a metaphorical version of blue mud in your sphere, Cancerian: an “inconvenience” that seems to interfere with the treasure you seek, but that is actually quite valuable. LEO (July 23-Aug. 22): When pioneer filmmaker Hal Roach worked on scripts with his team of writers, he sometimes employed an unusual strategy to overcome writer’s block. He’d bring in a “Wildie” to join them at the conference table. A Wildie was either a random drunk they found wandering around the streets or a person who lived in an insane asylum. They’d engage him in conversation about the story they were working on, and he would provide unexpected ideas that opened their minds to new possibilities. I don’t necessarily recommend that you seek the help of a Wildie, Leo, but I hope you will come up with other ways to spur fresh perspectives. Solicit creative disruptions! VIRGO (Aug. 23-Sept. 22): Is the term “unconscious mind” a good name for the foundation of the human psyche? Should we really be implying that the vast, oceanic source of everything we think and feel is merely the opposite of the conscious mind? Dreamworker Jeremy Taylor doesn’t think so. He proposes an alternate phrase to replace “unconscious”: “not-yet-speech-ripe.” It captures the sense of all the raw material burbling and churning in our deep awareness that is not graspable through language. I bring this up, Virgo, because you’re entering a phase when a lot of not-yet-speech-ripe stuff will become speech-ripe. Be alert for it! LIBRA (Sept. 23-Oct. 22): In 1928, biologist Alexander Fleming launched a medical revolution. He developed the world’s first antibiotic, penicillin, making it possible to cure a host of maladies caused

by hostile bacteria. His discovery was a lucky fluke that happened only because he left his laboratory a mess when he went on vacation. While he was gone, a bacteria culture he’d been working with got contaminated by a mold that turned out to be penicillin. I’m thinking that you could achieve a more modest but quite happy accident sometime soon, Libra. It may depend on you allowing things to be more untidy than usual, though. Are you game? SCORPIO (Oct. 23-Nov. 21): “I am iron resisting the most enormous Magnet there is,” wrote the Sufi mystic poet Rumi. He was wistfully bemoaning his own stubborn ignorance, which tricked him into refusing a more intimate companionship with the Blessed Source of all life. I think there’s something similar going on in most of us, even atheists. We feel the tremendous pull of our destiny -- the glorious, daunting destination that would take all our strength to achieve and fulfill our deepest longings -- and yet we are also terrified to surrender to it. What’s your current relationship to your Magnet, Scorpio? I say it’s time you allowed it to pull you closer. SAGITTARIUS (Nov. 22-Dec. 21): NASA used whale oil to lubricate the Hubble Space Telescope and Voyager spacecrafts. There was a good reason: Whale oil doesn’t freeze at the low temperatures found in outer space. While I certainly don’t approve of killing whales to obtain their oil, I want to use this story to make a point. It’s an excellent time for you, too, to use old-school approaches for solving ultra-new-school problems. Sometimes a tried-and-true method works better, or is cheaper, simpler, or more aesthetically pleasing.

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CAPRICORN (Dec. 22-Jan. 19): The theory of the “butterfly effect” proposes that a butterfly flapping its wings in China may ultimately impact the weather in New York. Here’s how the writer Richard Bernstein explains it: “Very slight, nearly infinitesimal variations and the enormous multiplicity of interacting variables produce big differences in the end.” That’s why, he says, “the world is just too complicated to be predictable.” I find this a tremendously liberating idea. It suggests that every little thing you do sends out ripples of influence that help shape the kind of world you live in. The coming week will be an excellent time to experiment with how this works in your daily life. Put loving care and intelligent attention into every little thing. AQUARIUS (Jan. 20-Feb. 18): Former football quarterback Joe Ayoob holds the world’s record for throwing a paper airplane the longest distance. After it left his hand, the delicate craft traveled over 226 feet. I propose we make Ayoob your patron saint and role model for the coming week. From what I can tell, you will have a similar challenge, at least metaphorically: blending power and strength with precision and finesse and control. It’s time to move a fragile thing or process as far as possible. PISCES (Feb. 19-March 20): A source of fulfillment you will enjoy in the future may seem almost painful when it initially announces its presence. In other words, your next mission may first appear to you as a problem. Your situation has a certain resemblance to that of prolific Russian composer Pyotr Tchaikovsky, who produced a wide variety of enduring works, including symphonies, ballets, operas, and concertos. When he was a precocious child, he was assailed by the melodies and rhythms that frequently surged through his mind. “This music! This music!” he complained to his mother. “Take it away! It’s here in my head and won’t let me sleep!”

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