39 20 willamette week, march 20, 2013 by Willamette Week Newspaper

NEWS FOR THE CITY, A LOT OF PAIN. DRANK DR. WORT SPEAKS. MOVIES ON THE ROAD...AGAIN.

P. 9

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“SHE THREW OFF HER SHOES AND SCREAMED, ‘OBAMA! OBAMA!’”

WILLAMETTE WEEK PORTLAND’S NEWSWEEKLY

Rise Falcon CAN ONE MAN’S MILLIONS KEEP STRUGGLING PORTLAND ARTISTS ALOFT? By Aaron Mesh PAge 12

VOL 39/20 03.20.2013

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P. 20 WWEEK.COM

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HEAD EXAMINATION: Dr. Wort is brutal on Portland beer. Page 23.

NEWS

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EDITORIAL Managing Editor for News Brent Walth Arts & Culture Editor Martin Cizmar Staff Writers Andrea Damewood, Nigel Jaquiss, Aaron Mesh Copy Chief Rob Fernas Copy Editors Matt Buckingham, Peggy Capps Stage & Screen Editor Rebecca Jacobson Music Editor Matthew Singer Books Penelope Bass Classical Brett Campbell Dance Aaron Spencer Theater Rebecca Jacobson Visual Arts Richard Speer Editorial Interns Erin Fenner, Matthew Kauffman, Michael Munkvold, Kate Schimel, Enid Spitz

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CIRCLE OF LIFE Our mission: Provide Portlanders with an independent and irreverent understanding of how their worlds work so they can make a difference. Though Willamette Week is free, please take just one copy. Anyone removing papers in bulk from our distribution points will be prosecuted, as they say, to the full extent of the law. Willamette Week is published weekly by City of Roses Newspaper Company 2220 NW Quimby St., Portland, OR 97210. Main line phone: (503) 243-2122 fax: (503) 243-1115 Classifieds phone: (503) 223-1500 fax: (503) 223-0388

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INBOX CRIME AND PUNISHMENT

I was disappointed to read WW’s coverage of the Measure 11 controversy [“The Hard Truth About Oregon’s Prison’s,” March 13, 2013]—not because the research was unsound or the position catered to public opinion, but because a vital point was omitted regarding mandatory minimum sentencing: the role that this sort of legislation plays in plea bargaining. The systemic issue regarding this system of punishment is that it gives a defendant good reason to accept a plea bargain for a lesser offense— even if they are not guilty—in order to avoid the mandatory minimum sentence for a Measure 11 conviction. This issue calls into question the claim that Oregon’s incarceration rate for violent criminals is particularly successful—how many of those individuals, especially youths, have pleaded guilty to a crime they did not commit in order to avoid extended jail time? This should also make us question statistics regarding the use of mandatory sentencing, since it can be (and is) used as a tool of coercion without actually being applied and tracked. In order to more completely address the question of mandatory minimum sentencing, research into how often this technique is used by prosecutors is vital. To publish an article addressing both sides of the Measure 11 debate without addressing this inherent issue is irresponsible. Taylor Sharpe Southeast Portland Thank you for nailing Gov. John “Don’t Lock ’Em Up, Let ’Em Out” Kitzhaber. Facts have a funny way of killing bad ideas. Measure 11 has been working masterfully. Oregon is one of the safest

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places to live and raise families...and now our governor wants sex offenders and violent convicted criminals back on the street? Yikes! Let’s not forget what Oregon was like before Measure 11. The state was putting repeat violent offenders back on the street after serving minimal time in prison. Because of our state government’s lack of willpower to fix our then-broken correctional system, the people of Oregon, through the initiative process, voted to enact Measure 11. And Oregon became a better place to live—unless you were a violent criminal. Don’t let professional politicians twist the facts. Oregon’s correctional system is one of the best in the country, and we can thank Measure 11, our district attorneys, John Foote and Steve Doell for all their great efforts. Bob Tiernan Chief sponsor, Measure 11, 1994

FACING FLUORIDE FEARS

There is widespread support for fluoridation in Portland [“Cavities in Their Campaign,” WW, March 13, 2013]. We know this from a lot of sources, polling and face-to-face contact. This includes minorities as well. It is a pity that Clean Water Portland has done such a disservice to Portland’s citizens by not only trying to prevent a necessary public-health measure but striking fear and anxiety into their hearts. This is called fear mongering. It is brutal, sad and Portlanders do not deserve it. — “Billy Rubin-Velazquez” LEttErs to thE Editor must include the author’s street address and phone number for verification. Letters must be 250 or fewer words. Submit to: 2220 NW Quimby St., Portland, OR 97210. Fax: (503) 243-1115, Email: mzusman@wweek.com

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Willamette Week MARCH 20, 2013 wweek.com

i recently learned that plastic sportsdrink bottles are not redeemable for the 5-cent deposit. Juice and tea containers are also exempt from the bottle bill. shouldn’t these also be part of this jewel in oregon’s legislative crown? —Dumpster Diver Needs Money

Diver—you great, quivering blancmange—there are forces at work here far beyond the comprehension of mortal men like you and me. (Dr. Know only pawn in game of life.) Even now, great bureaucratic wheels are turning that will render your question meaningless—better get out of that dumpster before they grind you up. Allow me to explain: Like most heavy marijuana users, you’ve probably heard voices coming from the general direction of the TV saying something about a bottle-bill expansion. At some later point, you noticed that water bottles now included a 5-cent deposit, and you were all, “Whoa! That must be the new bottle bill!” Not so fast, Neo—you don’t know kung fu just

yet. Only the most saffron-robed of legislative mystics (and people who read the whole newspaper) realize there have been two, count ’em, two bottle-bill expansions in the past few years. The first took effect in 2009 and covers water bottles—meh. The second, signed into law in 2011, is a much bigger deal: It’ll extend the deposit-and-return paradigm to almost all beverage containers. But since grocery stores are already sick of redeeming your empties, the massive influx of additional container returns triggered by the law will be handled by new, freestanding “bottle drop” centers. The deposit expansion won’t take effect until the centers are up and running, or in 2018, whichever comes first. Either way, that dumpster full of sports-drink bottles you’re currently wallowing in will soon be worth money, transforming you into an extremely low-rent version of Scrooge McDuck. Congratulations. QuEstions? Send them to dr.know@wweek.com

thursday march 21: friday march 22: saturday march 23: sunday march 24:

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Willamette Week MARCH 20, 2013 wweek.com

CITY HALL: Portland’s fire bureau, dragged toward reforms. 7 REAL ESTATE: The city’s $5 million money pit—it’s a lot. 9 HOTSEAT: Dissent editor Michael Kazin. 10 COVER STORY: How one man’s millions are reshaping art in Portland. 12

BUT CAN YOU USE THE BILL AS ROLLING PAPERS? It’s not like Jack Bogdanski to be coy. The Lewis & Clark Law School professor, best known by the nom de blog Bojack, is ever willing to skewer local officials and the media. But this week he hinted in a post that someone had filed a lawsuit against the city over Portland’s new arts tax. And how about that—Bogdanski Bojack himself (as first reported by wweek. com) is the lone plaintiff in the suit, filed March 7 in Oregon Tax Court. Bogdanski alleges the city’s $35-per-person arts tax violates the state constitution’s ban on head or poll taxes. “I’m going to let my court papers speak for themselves,” he tells WW by email. “Judges don’t appreciate lawyers trying their cases in the press.”

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St. Mary’s Academy, the private all-girls school, is making a big splash in the city’s sluggish real-estate market. St. Mary’s spokeswoman Mary Ann Albright tells WW the school has agreed to purchase the city block where the University Station post office operated, at 1505 SW 6th Ave. The site is owned by a German investor. Terms of the transaction have not been made public. Portland has lost a journalism hero. Kathie Durbin, 68, a longtime Portland-area journalist and author, died March 15 of cancer. During her 40-plus years as a reporter, Durbin worked for WW, The Oregonian, The Register-Guard in Eugene and The Columbian in Vancouver, Wash. She won awards for her investigative and environmental reporting, including groundbreaking investigations into the DURBIN overcutting of Northwest forests and the northern spotted owl debate in the late 1980s and early 1990s. Durbin’s relentless reporting, clear prose and suffer-no-fools style will be missed—as will her tenacity. Told a month ago her cancer was terminal, Durbin closed her hospital room door to visitors for two days to finish the last three chapters of her final book, The Columbia River Gorge: Bridging a Great Divide, to be published by OSU Press. A memorial begins at 3 pm March 24 at Holman’s Funeral Service, 2610 SE Hawthorne Blvd.

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In the campaign to legalize marijuana in Oregon, the big money has arrived. Drug Policy Alliance, a New York marijuana legalization group associated with billionaire financier George Soros, sunk $1.3 million into the successful measure to legalize dope in Washington state in 2012. Now, DPA is investing in Oregon to make pot legal here. And it’s moved beyond traditional true believers into the ranks of professional political operatives. The group has hired Gard Communications and Salem lobbyists Gary Oxley and Shawn Miller to push a legalization measure, House Bill 3371. If lawmakers don’t greenlight the bill, backers will look to an initiative petition for the 2014 ballot.

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NEWS

IN THE LINE OF FIRE IS CITY HALL FINALLY READY TO REFORM PORTLAND FIRE & RESCUE? By NIG E L JAQ UI SS

njaquiss@wweek.com

For decades, Portland Fire & Rescue has had the political clout to fight any meaningful change in the way it does business. And, as city records show, that’s meant big budgets, slow response times and traditional approaches experts say are expensive and inefficient. Even as the number of fires has plummeted—to less than 3 percent of the 70,000 calls firefighters responded to last year— the bureau has added more employees and still rolls a four-person fire truck even for minor medical calls.

And when threatened with reduced spending, fire bureau officials have always claimed that any cuts would mean a greater risk of Portlanders dying. But City Hall—after decades of failing to stand up to the bureau—is about to call fire officials’ bluff. Documents show the City Budget Office has called for sweeping changes in the fire bureau to reduce its inefficient ways. The proposed reforms follow a shift in power on the City Council after the 2012 elections. And the changes are in tune with consultants’ reports critical of the way the fire bureau has operated. These include reports WW uncovered last fall but city officials have largely ignored (“Burning Money,” WW, Sept. 26, 2012). “In the past, nobody would have let

those recommendations see the light of day,” says City Commissioner Dan Saltzman. “[The fire bureau doesn’t] want to look at how to operate in the 21st century.” Previous Mayor Sam Adams deferred on fire issues to then-City Commissioner Randy Leonard, who had served as a firefighter for 25 years, included a dozen as head of the firefighters’ union. Leonard was a relentless supporter of the bureau, and never more so than during budget season. Even as the Police Bureau closed two of its five precincts during the past decade, Leonard not only kept all 30 fire stations operating, he led a successful 2010 ballot-measure campaign to renovate stations and buy new equipment. The new mayor, Charlie Hales, battled Leonard and the bureau’s tradition-bound culture in the late 1990s, when Hales was the city’s fire commissioner. During the mayoral race, Firefighters Local 43 bet big on Hales’ opponent, Jefferson Smith. The union also spent heavily in a failed attempt to defeat incumbent

Commissioner Amanda Fritz, who has been skeptical of the fire bureau and has a history of clashing with Saltzman. That’s three of five council members inclined to shake up the fire bureau. Hales says the budget office’s approach to pushing back against the fire bureau is the result of a broader effort to scrub budget proposals across city government. “We just laid down a tone,” Hales says of the budget office. “They’re pushing the bureaus hard with my encouragement.” The fire bureau is led by Chief Erin Janssens, who has not been tested by City Hall budget fights before. She has so far faced three hours of grilling in City Council budget hearings. “The changes we’re talking about are really big deals,” Janssens says. Last fall, WW reported the fire bureau sends a four-person fire vehicle to every medical call, no matter how insignificant— making it the only major U.S. city to do so. The story cited a report from Virginiabased TriData, which consults to fire agencies around the country, that found two-person vehicles can respond to many medical calls more efficiently. WW also reported that the bureau’s response times don’t meet city targets, and that a consultant’s draft study had been edited so other proposals—such as cutting staffing at fire stations—could be kept out of the final report. The city’s budget office is calling on the fire bureau to prioritize medical calls and send two-person rapid-response vehicles on such calls instead of four-person trucks and engines. Janssens says she backs the plan only if it means adding fire bureau staff. The biggest issue, however, is station closure. The city faces a $25 million budget gap next year, and Hales has asked all bureaus to propose 10 percent cuts in their budgets. In their proposal, fire officials say they would have to close seven of 30 stations—and predicted an increased danger to citizens. “Any budget changes that do not restore all stations to operation are a concern to us,” says Alan Ferschweiler, fire union president. Currently, there is a wide disparity in how busy Portland’s 30 fire stations are. Two stations respond to more than 6,000 calls per year; two others respond to fewer than 600. Even with 30 stations, the bureau’s average response time is nearly two minutes off its goal of getting to calls within five minutes and 20 seconds. The City Budget Office has recommended the bureau close three stations and spread equipment and personnel more evenly. Janssens says the bureau is still gathering data about how closures might occur, but she’s hoping that funding will materialize. “We don’t want to close any fire stations,” she says. “Our No. 1 priority is protecting the public.” Willamette Week MARCH 20, 2013 wweek.com

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FIELD OF DREAMS: Lawyer Bob Stoll’s agreement with the Portland Development Commission calls for the city to continue to provide parking at Southwest Oak Street and Third Avenue. He calls the city’s demolition of the parking garage “stupid.”

3RD & CHOKE A BUNGLED LAND DEAL COSTS THE CITY $5 MILLION—WITH TAXPAYERS ON THE HOOK FOR THE NEXT 293 YEARS. By nig e l jaq ui ss

njaquiss@wweek.com

At the corner of Southwest 3rd Avenue and Oak Street lies an empty, weed-filled lot that may be the most costly dirt in the city’s history. The lot is on its way to costing its owner nearly $5 million—more than four times what it’s worth. Despite the land’s prime location, there are no plans to build on it. And the owner’s financial obligations last another 293 years. That’s not a typo—293 years, as in nearly three centuries. Who got stuck with such a loser of a deal? That would be you. City of Portland taxpayers are on the hook for the land and its growing costs, thanks to an overly ambitious—and ultimately failed—plan to build a 26-story condo tower on the site. But the true cost of the deal—struck more than a decade ago—became public this month, buried in an audit report sent to the City Council. The audit has forced the Portland Development Commission to come clean about the exposure it created for Portland taxpayers. “The Oak Street parking deal is consistent with PDC’s history of wasting our property-tax dollars,” says developer Randy Rapaport. Here’s what happened. In 2002, the PDC, the city’s economic development agency, bought the parcel at the northeast corner of 3rd and Oak. The agency paid $1.2 million for the quarter-block of land, records show, well over its appraised value of $850,000. The PDC often stockpiles land, using urban renewal money to purchase property to encourage the kind of development the agency wants. In 2005, the PDC announced it would give the land at no cost to Trammell Crow, which planned to build a condo tower on the site. The subsidy, the agency said at the time, was granted in exchange for an agreement that Trammel Crow would offer some of the units at below-market prices in order to create what the city defines as affordable housing downtown.

But the deal had one long string attached: 32 underground parking spaces controlled by a company owned by trial lawyer Bob Stoll. His firm, Stoll Berne, has offices next door in the old Police Headquarters Building at 209 SW Oak St. The PDC agreed to preserve the underground parking spaces—or pay to provide new spaces. In the fine print, the city agreed to the guarantee for 99 years, and gave Stoll the option to renew the 99-year agreement—twice. But the Trammell Crow deal collapsed in 2007 under the weight of uncertainty in the housing market and a dispute whether the building project would pay union wages. The proposed land giveaway so incensed then-City Commissioners Erik Sten and Randy Leonard they placed a measure on the 2007 ballot curtailing the PDC’s autonomy in future. The measure passed, leaving the PDC more accountable to city commissioners, but also holding a very expensive bag at 3rd and Oak. PDC officials, so confident they would cut a deal with Trammel Crow, had already demolished the parking garage at a cost of $500,000. Up to that point, the parking agreement with Stoll hadn’t cost the city anything. But once the PDC demolished the garage, the agency had to start leasing the parking spots for Stoll. Today there’s nothing at the lot except a few cigarette butts and a depression where the underground lot used to be. Meanwhile, city auditors discovered the PDC wasn’t accounting for taxpayers’ long-term costs to fill the agreement with Stoll: $3.2 million. With the money spent on the property, the bill for the empty lot hits $4.9 million. PDC public affairs director Keith Witcosky says his agency had confidence it could find a buyer for the lot and could pass the parking obligation to Trammel Crow or another developer. “The way you did things was to prepare the site by demolishing the existing [parking] structure,” Witcosky says. “[The block] is in a pocket that missed the wave of development.” A PDC memo says the city now has three options. First, it could sell the land and unload the long-term obligation, if it could find a buyer. Second, the city could rebuild the underground parking garage to provide the spaces. Cost: $2.8 million. Or, third, the city could negotiate with Stoll to settle the matter. As the PDC’s Witcosky acknowledges, “That probably won’t happen.”

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2013 THINK & DRINK

How to Love America MARCH 21

Dissent and Defend Michael Kazin, Georgetown University, and Steven T. Wax, U.S. Federal Public Defender Mission Theater / 1624 NW Glisan St., Portland / 6:30–8:00 p.m. / doors at 5:00 p.m. Minors with parent or guardian

Willamette Week MARCH 20, 2013 wweek.com

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In 1970, Michael Kazin wanted to get to Portland so badly, he hitchhiked his way across the USA. It took Kazin, then in his early 20s, a week to thumb it from New York to Portland, where he wrote for the now-defunct radical newspapers Willamette Bridge and Portland Scribe. More than 40 years later, Kazin, 64, is editor of venerable leftist magazine Dissent and a professor of history at Georgetown University. He’s written numerous books, including 2011’s American Dreamers: How the Left Changed a Nation. On March 21, Kazin will join Steven T. Wax, federal public defender for Oregon (who most recently defended Mohamed Osman Mohamud in his Portland terrorism trial), for “Dissent & Defend,” the first of Oregon Humanities’ Think & Drink lecture series, “How to Love America.” We talked to Kazin—who recalls Portland in all its hippie glory—about why progressives who are disappointed with President Obama are naive, why online protest is too easy and what potent potables go best with civil disobedience. WW: Do you agree with those on the left who say President Obama is too centrist? Kazin: Obama is constrained. The Republican Party has united against him, so there’s not much we can get done. I think in his heart of hearts, he is more liberal than he sometimes sounds. We’re coming out of roughly 30 years of conservative dominance, ideologically, in the country—it’s hard to roll all that back all at once.

It sounds like you’re one of the people on the far left who is still ready to support Obama. Obama is more sympathetic to left ideas than any president since Lyndon Johnson—at least on domestic issues. There’s a certain frustration from people who voted for Obama in 2008 who thought he was somehow going to radically transform American society. That was naive.

CMY

How can the left successfully spread its message when red and blue are starting to be so geographically separate? Most people are not hard rightists. We have to find a way to speak to them because they are also Americans, and many of them are hurting in this economy, and they’re not sure which way this country should go. We are going to have to understand them. For me, as a historian and as a political activist, empathy is the key element. You’ve written liberals need to take patriotism back from “put-a-boot-in-your-ass” conservatives. How do can they do that? There’s a way for the left to look to American history and reclaim our ideals: Freedom, social responsibility, equality of all people, that the government should help you pursue happiness. They’re wonderful ideals. Some patriotism is jingoistic and aggressive and can lead to very bad outcomes and wars, but there’s another side to it. People can feel connected to one another. 10

Willamette Week MARCH 20, 2013 wweek.com

PHIL HUMNICKY

THE EDITOR OF DISSENT—AND FORMER PORTLAND JOURNALIST—TALKS ABOUT THE FUTURE, AND NAIVETÉ, OF THE LEFT.

MICHAEL KAZIN: For the political left to reach out to conservatives, says the editor of Dissent, “We can’t just make fun of them as deluded.”

What’s your memory of Portland’s activism and underground papers in the 1970s? I was working for a radical version of the Associated Press in New York called Liberation News Service, and I wanted to work at a local paper. [Willamette Bridge] was exciting. It had connections with the student left, the feminist movement, the emerging gay and environmental movements, but also labor. We had a lot of environmental coverage. It was ahead of its time. We were very informal. We wouldn’t put our last names on articles. That was too professional or something. People used pseudonyms, names like “Muffin.” Did you have a pseudonym? I was just Mike. In the Internet era, is protest—in the sense of pounding the pavement and chanting slogans—dead? No, it’s quite lively on the right and left. Whenever there’s an unpopular policy, people are out in the streets again. People today sign online petitions and spend a lot of time commenting on articles and think that’s a form of protest. Is one really better than the other? I’m sure it’s my age, but I sometimes think that online protests are too easy. If you’re signing online petitions on change.org and that’s all you do, that’s not much of a commitment, and you are not going to learn much. You’re taking part in the Think & Drink lecture. What alcohol would you say pairs best with dissent? It doesn’t matter what you are drinking, you’ve just gotta be drinking together—and talking and gesticulating while you’re doing it. SEE IT: “Dissent & Defend” is at Mission Theater, 1624 NW Glisan St., on Thursday, March 21. 6:30 pm. Free. Minors admitted with guardian.

Willamette Week MARCH 20, 2013 wweek.com

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Detail of the cover image: Fa, a self-portrait by Samir Khurshid.

Willamette Week MARCH 20, 2013 wweek.com

You won’t believe who is in Brian Wannamaker’s basement. Against one wall, Modest Mouse frontman Isaac Brock plays electric guitar next to a wild boar. Nearby, rock chanteuse Storm Large belts out a song in nothing but a yellow bikini bottom. And in the corner, babies hatch from giant cream-colored eggs, menaced by a rattlesnake, a gorilla and a shark. They’re all the subjects of huge oil paintings in a threestory apartment building on North Albina Avenue called the Falcon Art Community. A 50-year-old Canadian-born real-estate developer, Wannamaker is best known as the man who gentrified North Mississippi Avenue, turning the street from a crackblighted byway into a chic boutique strip a decade ago. But he has made the Falcon his obsession, devoting a lot of money in a way that is unlike anyone in Portland has done before. It’s not uncommon for a wealthy Portlander to support a struggling artist with commissions or grants. And a litany of developers have made fortunes turning warehouses into cheap studios in poor neighborhoods, where painters— between shifts as baristas or clerks—build a body of work and hope to land a gallery where they can sell it. At the Falcon, Wannamaker does much more. He personally selects the 24 artists—painters, sculptors, musicians and authors—who work in Falcon’s basement studios and live in the upstairs apartments, often rent-free. He takes them on speedboat outings on the Columbia River, displays their work in “micro-galleries” in his North Mississippi buildings and throws lavish parties to get them noticed by gallery owners. “He’s the Medici of Portland,” says Alexander Rokoff, who painted the Brock portrait and rents the Falcon’s center studio with his rabbit, Robert. “What Brian’s created here is a hub of creativity that’s hard to find.” It’s unprecedented that so much money and attention would go to a handful of unknown talents simply because they caught the eye—the one good eye—of one man. The artists Wannamaker sponsors fly in the face of contemporary art trends. Their paintings are often big, deliberately anachronistic and flirting with tackiness.

“He doesn’t care about it getting the stamp of approval from the institutional world,” says Gavin Shettler, a former Falcon tenant who managed the city-backed artist community Milepost 5. “He’s running an old-school patronage that we see very little of, and definitely not on the West Coast.” Public funding of the arts is as controversial as it’s ever been in Portland, as bills arrive for the city’s new $35-a-person arts tax passed by voters last November. The money raised from that tax (which Wannamaker supported) will go largely to established organizations already getting plenty of public subsidy. Wannamaker, without planning to do so, honed a starkly different model, in which one man’s treasure can spur a movement—one some critics say borders on unironic kitsch—beyond the walls of his own art colony. “Is he doing good? Yes,” says Bryan Suereth, director of nearby arts nonprofit Disjecta. “Supporting art is a valuable endeavor on any scale. But what he offers is within a construct of his own making—a vault of his own aesthetics.” On the corner of North Killingsworth Street and Albina, the Falcon is a beige stucco hulk beached behind a convenience store and a furniture warehouse, just down the street from the Chapel Pub, a McMenamins bar built inside a former funeral home. The entryway is marked only by a shingle reading “Falcon Art Community” and a security buzzer that unlocks two black metal doors. The building was built by Alaskan gold-rush tycoon William P. Sinnott in 1911. He named it the Peninsula, but after it burned 22 years later, the repaired building reopened as the Falcon. In the basement—which Wannamaker says looked liked the Roman catacombs when he bought the building in 1997—the curving red hallways lead past distressed oak doors and concrete beams dangling crystal chandeliers. Piano tinkling pours out of the studio of musician Ben Darwish. Banjo player Tony Furtado is sculpting intricate clay elephants. Author Peter Zuckerman keeps a stack of his books by his door with a sign marked “for thieves, professional reviewers.” The floor-to-ceiling paintings, combined with the artists’ shingles in front of studio doors, make the basement feel like a blend of medieval village and Victorian explorers’ club. The work reflects the mood. Stephanie Buer draws photo-realist landscapes of abandoned buildings covered cont. on page 15

James RexRoad

CELLAR DOOR: Brian Wannamaker looks out the coal chute in the basement of the Falcon Art Community. The developer wants to turn the last unimproved basement room into Ghost Bar, a club with proceeds going to painters. Willamette Week MARCH 20, 2013 wweek.com

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The Wheeler Foundation

in graffiti. Molly Maine, who just moved out, based her paintings on European folklore during the Black Death; most feature deer skulls. Brin Levinson draws familiar Portland industrial landmarks—the Burnside Bridge, the Alameda water tower—overtaken by elephants, raccoons and a rhinoceros. Levinson’s most recent work shows crows perched in a graveyard of AR-15 semiautomatic rifles outside an abandoned Wal-Mart. “That’s a murder of crows,” he says. “I was trying to be clever. Maybe too clever.” The paintings made in the Falcon are old-fashioned, outsized and self-consciously cheesy—completely out of step with the trends in major art capitals like New York and Berlin. “Who doesn’t want a 20-foot painting of yourself in a 1785 setting?” asks Portland art critic and show curator Jeff Jahn. “I don’t want that. But there are a lot of people who do.” The resident artists have made a habit of producing oil paintings over 10 feet long. One of the gigantism painters is Rokoff, a jovial, bearded oil painter, the Falcon’s first signature artist. He paints towering nudes, often in the act of setting ships on fire. (The model is usually his girlfriend, fellow Falcon artist Lauren Garverick.) Rokoff recently returned from an apprenticeship with Scandinavian painter Odd Nerdrum, founder of the “Kitsch Movement” that scorns abstract and conceptual trends in contemporary art. He painted the monumental portraits of Large and Brock in a grandiose, neo-Romantic style that evokes old masters like Rembrandt. “I’ve been in other art communities that are really just Pabst-fests,” he says of Wannamaker’s choices. “To not be renting to people who aren’t deserving of the space really keeps the dynamic potent.” The roster of current and former tenants is a who’swho of Portland hip: Large, of course, and band members of Modest Mouse and the Decemberists, novelist Chelsea Cain, and Zuckerman, who is former Mayor Sam Adams’ partner. Mississippi Studios owner Jim Brunberg rents a recording studio. Former Smiths guitarist Johnny Marr, who played with Modest Mouse, left his iTunes library accessible for other tenants on the building’s Wi-Fi while he stayed in a room upstairs. “If you can assimilate the right characters in a group,” Wannamaker says, “then all of a sudden it’s magic.” Wannamaker has a wide smile and perpetual three-day stubble. He wears his designer shirts open to the second button, revealing ruddy brown chest hair. Legally blind in his left eye, he has just this year started wearing glasses, which he buys in packs of three at Walgreens because he keeps losing them. He and his companies own 12 buildings with 150 residents and 10 businesses. In all, these holdings have a net worth of $12 million. The son of an Electrolux appliance-company executive in Oakville, Ontario, Wannamaker dropped out of Toronto’s York University one Shakespeare term paper shy of his English degree, and moved to Portland in 1986 to join his brother Jeff. He started renovating houses in the Lloyd District—single-family homes, duplexes, four-plexes, and a 16-unit building on Northeast 7th Avenue and Fargo Street paid for in cash. He discovered a knack for designing apartments. “Barn wood,” he says, pointing to the rough-hewn counter in the Red E Cafe, a coffee shop in another Killingsworth-neighborhood building he owns. “Things that probably a million years of evolution have told us we like.” In between projects, Wannamaker financed trips around the globe, often visiting indigenous cultures before modernity: the Peruvian Amazon, Uganda, Kenya. In 1996, he visited tribes in Irian Jaya, the western mountain province of Papua New Guinea, where locals use stone tools and practice cannibalism. (Wannamaker’s translator discovered their hosts were planning to kill and eat a visiting Berkeley linguist. His group warned the professor before traveling on.) In Portland, Wannamaker shifted his attention to com-

Falcon

photos: James RexRoad

cont.

MR. MISSISSIPPI: Wannamaker (above) walks down North Mississippi Avenue a decade after spurring its transformation. He now funds Falcon artist Alexander Rokoff (below left), who painted Wannamaker with pet parrots Inca and Manu (below right).

Martin recalls a block filled with churches, and says he now can’t walk down the street without stepping around the vomit of partiers. “Drunks. Every night, drunks,” he says. “Ten years ago, you could not buy alcohol on Mississippi. Now all it is, is drunks.”

mercial properties—especially on North Mississippi Avenue. He picked six apartment buildings, most near the intersection of North Mississippi and Shaver Street, and chose the retail anchors: the candlelit Crow Bar, the auteur-stocked DVD rental store Video Verite, the upscale soul-food purveyor Miss Delta. “I felt like I could buy…the whole street is an exaggeration,” he says. “But a lot of the street.” Shettler, who bartended at Crow Bar, says Wannamaker’s work changed North Mississippi. “Someone was parked out in front of the Crow Bar dealing crack at 2 o’clock in the afternoon,” he says. “In six months, they were gone. It changed so fast.” But some longtime residents say the change made Mississippi—a mostly African-American neighborhood that had been left behind in the city’s growth—more exclusive but not more livable. Huey Martin Jr. lives a block west on North Michigan Avenue, and has worked on or around Mississippi Avenue for more than 50 years. (He and Wannamaker have each been called “the mayor of Mississippi,” though by different demographics.)

Wannamaker is also dissatisfied by what became of North Mississippi Avenue, though for different reasons. He doesn’t like the second wave of development—the fourand five-story apartment complexes that look like Rainbow Brite was put in charge of Soviet housing. He took a lesson from this: If he wanted to determine how a scene turned out, he would have to own it all himself. “If I was doing it over, I probably would have held on to more property,” he says, gazing south down the street from the Fresh Pot coffee shop. “I probably would have tried to have more of an influence, just by owning even more properties.” He saw a chance to make the Falcon “its own little castle.” When he purchased the building for $900,000 in 1997, the halls were filled with crack addicts. He cleared out the troublemakers until the building had a core of longtime residents, mostly African-American, and he hired one resident to patrol at nights. The transformation was slow. New drug dealers set up shop on the corner. Drive-by shooters sprayed the Falcon. Wannamaker started carrying a 9 mm Glock. Inside, Wannamaker partitioned the dark, leaky basement into studios. The first tenant he recruited was Rokoff, who agreed to paint portraits of the building residents in exchange for free rent. cont. on page 16 Willamette Week MARCH 20, 2013 wweek.com

cont.

James RexRoad

Falcon

BIGGER THAN SADDAM: Iraqi refugee Samir Khurshid was repeatedly forced to paint Saddam Hussein’s portrait. Now his paintings in the Falcon’s basement include the dreamscape D (above) and Cranes (below).

“Most landlords know the quickest way to turn a ghetto swank is to make it into an arts district,” Rokoff says. “When I first met him, I thought, ‘I’ll get cheap rent for a certain period of time and then I’ll move on.’ Within five minutes, I realized I was talking to a different kind of player. He could see through walls.” Not everyone has enjoyed their stay at the Falcon. Wannamaker was sued by a tenant for housing discrimination in 1998, but the case was dismissed. The city has issued a handful of nuisance citations against his properties over the past decade, mostly for tenants dumping trash and construction materials in the buildings’ yards. Records show Wannamaker fixed all the problems promptly. Last August, Beth Hodtwalker claimed black mold in her Falcon apartment was making her sick. A group of 37 housing-rights activists with the Portland Solidarity Network marched on the Falcon Art Community to demand her deposit back. “He actually sent a check and then canceled it,” says Sam Junge, a Portland Solidarity Network organizer. “That gave us an idea of where he was coming from. He was pretty clearly not treating his tenant fairly.” Wannamaker, who says the woman’s complaint was really about a neighbor smoking, says he canceled the check after Portland Solidarity Network called his house at 2 am and posted thousands of fliers calling him an exploiter. “It seemed like terrorism to me, actually,” he says. “I was not feeling bad for the 26-year-old girl who wanted her deposit so she could move back to Nebraska.” There were other troubles. Thieves stole 26 paintings in 2010, including six of Rokoff’s War On Nature series. The paintings explore systemic violence by perpetrating it against fruit—self-explanatory titles include The Only Good Pumpkin Is a Dead Pumpkin and Rape of the Grapefruit. He lost a painting of a lynched banana. “Now we have [security] cameras everywhere,” he says. But those frustrations are eclipsed by successes, including Samir Khurshid, a 34-year-old Iraqi artist who in art school painted a few pictures of Saddam Hussein. Government officials took notice and commissioned portraits. They didn’t give him much choice: Saddam had Khurshid’s brother in prison, and threatened never to release him unless Khurshid agreed. So he painted Saddam, 380 times—each time from photographs, never meeting the dictator. He imagined Saddam in heroic scenarios: launching a rocket, killing a snake. After American forces invaded Iraq in 2003, Khurshid fled to Turkey, and was brought to Portland as a United Nations refugee in November 2010. Wannamaker offered 16

Willamette Week MARCH 20, 2013 wweek.com

him a free studio and apartment after reading a profile of him in The Oregonian. Two years later, Khurshid still lives at the Falcon. A $390-a-month stipend from Catholic Charities has expired, and so has the yearlong, $110,000 fellowship he split with four other Falcon painters from a private donor called the Calligram Foundation. Khurshid now has a body of work but no gallery representing him yet. His huge canvases show traces of folk art, but they are equally influenced by the hellscapes of medieval painter Hieronymus Bosch and the surrealism of Salvador Dalí. Khurshid says they are visions of the future. The children hatching from eggs represent people emerging from confusion and superstition. But they are beset by dangers: A rattlesnake lurks at the mouth of a cave, and a parrot yanks at the molar of a man suspended from chains. (It’s Wannamaker’s parrot, Manu.) Khurshid has painted one self-portrait. He is hunched like an ancient Greek discus thrower, holding an egg, escaping from hot lava at the bottom of the canvas. He is riding a falcon. Through a translator, Khurshid says he hated Saddam and loves America. He says he is finally free.

“Portland is like my second mother,” he says. “Brian is my father.” Most of the art critics WW spoke to declined to go on the record about Falcon artists, describing them in terms ranging from condescending to scorching. But the audience has grown to include a lot of Portland tastemakers. Jahn says Wannamaker’s creation of an against-thegrain community is part of Portland’s charm. “Portland appreciates it when people are pursuing their own bliss,” he says. “Are any of these artists going to end up in the Museum of Modern Art in New York? No. Most of the artists at the Falcon are not on that trajectory. Contemporary art is suspicious of something that puts more emphasis on the craft of art than the ideas behind it.” Wannamaker himself says the Portland arts scene is mediocre. He says he’s chosen artists who are dedicating themselves to getting better but aren’t being recognized. “I’m so specific in who I like to have at the Falcon,” he says. “The people at the Falcon are working endlessly. And they’re not being valued.” In January, Khurshid’s paintings went on display in a Pearl District pop-up gallery with the work of the Falcon’s four other Calligram fellowship recipients. The Calligram Foundation didn’t renew its fellowship grants after the show. It moved them instead to the Portland Institute for Contemporary Art because the directors wanted to expand their styles and be less hands-on. Calligram executive director Satya Byock says the Falcon couldn’t take over grant operations, because it isn’t a nonprofit. But the gala was attended by two mayors: Sam Adams and Charlie Hales. Adams had placed a Rokoff painting—the one featuring Isaac Brock and the boar—on the wall of the mayor’s office lobby in City Hall. Hales, who has taken a private tour of the Falcon, took the Rokoff painting down and replaced it with two Jack Portland oil and wax expressionist paintings of Cathedral Park arches. Adams and Wannamaker remain close friends. Adams has moved four oil paintings by Falcon alum Nate Praska into the offices at his new job as executive director at the City Club of Portland. “City Club had no art on the walls when I got here,” Adams says. “Where there’s a blank wall, there’s a Falcon artist who can have space.” “In terms of direct benefit, there is none,” Wannamaker says. “The closer ties the Falcon has with the political world, the more exposure the Falcon gets.” Public subsidy for the arts in Portland grew more direct under Adams. He channeled hundreds of thousands of dollars to arts organizations through grants, and shepherded the $35-per-person arts tax voters passed in November. Wannamaker donated $5,000 to the arts-tax measure; he considered it a duty but dislikes the tax. Elections records show he didn’t vote in November. “Part of why I left Canada was government was so involved in everything,” he says. “The marketplace of meaning gets perverted when you have the government saying, ‘We don’t care if you’re selling anything.’” But Wannamaker seems content having his artists as an extended family. He and his partner, Celeste Trapp, founder of the HairM salon chain, have just had their first child, Hudson. Wannamaker, who just moved into a $1 Council Crest home, has been seen changing the infant’s diaper in the Falcon’s art sink. “It seems to be a drive in my life to have greater experiences, whether it’s tribes in New Guinea or the art community in Portland,” he says. “Who doesn’t want that? To be able to hang out with your friends all the time, and have them be great musicians or amazing painters.” Jahn, the critic, says Wannamaker should want more. “Portland won the lottery by having this vacuum filled with young creatives,” says Jahn, the national art critic. “We’ve reached this point where simply being arty is not enough. Is Brian Wannamaker capable of doing this again for something that would gather major international attention? I wouldn’t put it past him.”

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DRINK: Portland’s most-hated beer blogger. MUSIC: A life with Hell. CLASSICAL: Tomorrow’s music, today. MOVIES: Kerouac is back.

23 25 35 39

SCOOP MCSO.US

THIS GOSSIP HAS THE ZIPS IN THE FINAL FOUR. A LESS JOYFUL NOISE:

As first reported by WW, Beth Ditto, the 32-year-old singer for internationally renowned dance-punk band Gossip, was arrested on North Mississippi Avenue in the early hours of Saturday, March 16, and charged with second-degree disorderly conduct. According to a source, Ditto—real name Mary Beth Patterson— was cut off from drink service dITTO at the Bungalow Bar, after which she “walked out in the middle of the street, threw off her shoes and purse and screamed, ‘Obama! Obama!’” Police arrived to find Ditto blocking traffic, “with her arms extended from her side like an airplane,” according to the Portland Police Bureau. She was later released on her own recognizance. A court date is pending. bOxEd Up: Theatre Vertigo, six weeks after learning that Southeast Belmont Street’s Theater! Theatre! would close this summer, has found a place to land. The company announced Tuesday, March 19, that it plans to join Northwest Classical Theatre Company at the Shoe Box Theater in the eastside industrial neighborhood. According to company member Brooke Calcagno, this is a short-term plan: The two companies ultimately aim to build a new arts space in Southeast Portland to fill the void left by the closure of Theater! Theatre! “We’re hoping to continue this relationship,” Calcagno says. “We want to create a new space together.” Shoe Box seats about 40, significantly smaller than Vertigo’s current 100-seat space. “Some of our shows are really in-your-face, so it’s going to be exciting,” Calcagno says. Vertigo’s 2013-14 season will begin in the fall with Jeffrey Hatcher’s suspenseful Dr. Jekyll and Mr. Hyde adaptation. REALITY bITES AGAIN: Brace yourself: Portland is going to be the subject of yet another reality show. At least this one involves music. A pilot for a new program titled Extras Only is shooting at Dante’s in April, and the producers are looking to cast three bands “that would typically play a place like Dante’s,” according to a post on the club’s Facebook page. They are particularly interested in finding a femalefronted “grunge” band, if such a thing still exists. Interested parties are encouraged to send band name, the names and instrument of each member, and a recent photo to sally@ extrasonly.com. LIGHTbAR, MINIMART, NANObREW: Lightbar, located at 1401 SE Morrison St., has applied for a liquor license and is billing itself as the “world’s first light-therapy cafe and bar.” The bar plans to open in April, a bit late for peak seasonal affective disorder in Portland, but it nonetheless promises “general good vibrations” on its Twitter account. >> The folks at Sizzle Pie are continuing their bid to take over the known universe. After recently helping kick-start the White Owl Social Club in the old Plan B space, Sizzle Pie co-owner Matt Jacobson has confirmed they will move into the former 3 Brothers’ Market at 638 E Burnside St.—almost next door to the original Sizzle Pie—with a minimart called Mini Mini. >> Meanwhile, a two-barrel, mini-mini-brewery is starting up in St. Helens under the name Columbia County Brewing; an alder-smoked pale ale named Aldern is slated as one of its first brews.

Willamette Week MARCH 20, 2013 wweek.com

HEADOUT H AW K K R A L L

WILLAMETTE WEEK

What to do this Week in arts & culture

WEDNESDAY MARCH 20 wrenched [movies] edward Abbey, that quintessential environmental saboteur, is the focus of m.L. Lincoln’s still-in-progress documentary. Waging eco-war might not be free, but tonight’s test screening is. Academy Theater, 7818 SE Stark St., 252-0500. 6 pm. Free.

THURSDAY MARCH 21 JOeY BAdA$$ [mUsiC] Hip-hop purists have been waiting years for someone like this 18-year-old mC to come around. He’s become a darling of the underground for his impressive wordplay and vintage east Coast beats, built on dusty samples and classic soul breaks. Peter’s Room at Roseland Theater, 8 NW 6th Ave., 971-2300033. 8 pm. Sold out. All ages.

FRIDAY MARCH 22 cheLSeA LIGhT MOVInG [mUsiC] Face it: sonic Youth is done. Take heart: After 30 years, Thurston moore will never be able to move on completely, and his new project bears all the characteristics of his beloved indie-rock monolith, from the dissonant guitars to his beat-inspired speak-singing. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $15. 21+.

SATURDAY, MARCH 23

RUDN BEHAVIOR FUNNY IMPROVISATIONAL COMEDY GAME YOU PROBABLY NOT LIKE. “Do not go to this performance,” Vladimir, an East Portland greengrocer, advises me. “You will not like the jokes.” I’ve lived in Russia and heard jokes like the ones RUDN, a winning team from Russia’s national competitive comedy TV show KVN, is bound to make Saturday, March 23, at the Alberta Rose Theatre. Russian humor tends to be as dark, irreverent and complicated as the Russian spirit. Vladimir is right—don’t go to this Russian-language show. Instead, we’ve created a very brief history of Soviet comedy. Try not to smile. In 1778, a treaty between Imperial Russia and the indigenous Chukchi people is signed, thereby guaranteeing the native arctic peoples would be the butt of jokes for centuries. There is a story about one Chukchi man who opened the yogurt in the grocery store because the lid read “Open Here.”

On Nov. 8, 1961, the first episode of KVN, or Club of the Funny and Inventive, airs on the First Soviet Channel. KVN is a competition between two teams of college students to joke, mime, sing and dance their way to the top, judged in a haphazard, “whose line is it anyway?” sort of way. One of the co-creators was a Russian doctor named Albert Akselrod. Akselrod. In 1965, as the number of televisions across the Soviet Union rapidly expands, two teams of witty, shaggy-haired students in the finals solidify KVN in the collective consciousness. Their jokes are funny only if you’ve been collectivized: “Who goes into the forest and who collects the wood? The forest manufacturing collective goes in the forest, and the forest cooperative goes to get the wood.” In 1969, as we had Woodstock, Soviet censors started cracking down. Teams on KVN were warned in advance about unbecoming language, and the show stopped being broadcast live. Yes, the jokes only got tamer. On April 1, 1973, after the Soviet Union deemed KVN’s students “unruly” and

banned the show altogether in 1972, the team from Odessa, Ukraine, founded Humorina, a wacky festival of parades and performances that takes place on April Fools’ Day every year. Don’t go buying a rainbow clown suit yet. A popular rhyme goes: “A little boy found a machine gun/ Now the village population is none.” On Sept. 27, 1986, Ukranian-American comedian Yakov “Soviet Russia” Smirnoff becomes popular through the American TV show What a Country! Though his accent is authentically Slavic, his jokes are not. Trust me, I’ve tried them. In America, you can always find a party. In Soviet Russia, Party find you! In 2002, a highly multicultural KVN team from RUDN, or the People’s Friendship University of Russia, wins the First League Cup, moving it up to the Premier League, where it will compete 14 times, the second most in KVN history. The introduction of the team’s winning performance included four team members dressed in Men in Black suits and singing a parody of Shaggy’s “Mr. Bombastic.” In 2006, RUDN wins the national championship, and seven years later, the team is in America. What a country! MITCH LILLIE. GO: Team RUDN hams it up in Russian at the Alberta Rose Theatre, 3000 Ne Alberta st., on saturday march 23. 7:30 pm. $20-$40.

rIchArd heLL [BooKs] Richard Hell is punk’s patient zero, and he’s got the stories to prove it. His new autobiography is a brutally honest account of a life spent in a state of constant escape, and all the sex, drugs and rock ’n’ roll to go along with it. Powell’s City of Books, 1005 W Burnside St., 2284651. 4 pm. Free. pdx BIcYcLe ShOw [BiKes] it’s like an auto expo...for bikes. Cycle over to the expo Center to buy new gear, test-ride handmade frames, listen to seminars by experts or roll the indoor pump track. Portland Expo Center, Hall E, 2060 N Marine Drive. 10 am-5 pm Saturday, 10 am-4 pm Sunday, March 23-24. $10, kids 12 and under free with adult. pedalnationevents.com. BeArded cIVIL wAr [HAiR] Beardos from oregon and Washington compete in a freestyle bearding competition. Tonic Lounge, 3100 NE Sandy Blvd., 238-0543. 8 pm. $15 to compete, $10 admission. 21+.

MONDAY, MARCH 25 ST. nIchOLAS [THeATeR] st. Patrick’s Day has passed, but here’s another reason to patronize Kells: Corrib Theatre, a new company dedicated to irish drama, stages its first full production there. Ted Roisum stars in Conor mcPherson’s one-man show about a cynical theater critic who follows a pretty actress to London, where he’s pulled into a coven of vampires. Kells, 112 SW 2nd Ave., 227-4057. 7:30 pm. $15. Willamette Week MARCH 20, 2013 wweek.com

FOOD & DRINK

SUNDAY BRUNCH IS BACK! Along with our regular menu

= WW Pick. Highly recommended.

All you can eat buffet. 10am – 5pm Sundays

AN T

CAN B

Only $14. Unbelievable! 503.654.4423 • 10605 SE Main St. Milwaukie, OR www.CanbyAsparagusFarm.com

Delivery & Shipping Available

THURSDAY, MARCH 21

• Pork Rojo SPARAGUS • Grilled Asparagus F YA • Tamales • Empanadas 40 • Cottage Cheese Varieties Taste the of Gourmet Difference • Enchilada Roja Tamales • Enchilada Verde CASA DE • Fruit Cocktail A R LE • Mexican Sweet Bread S R E S TAU

M TA

• Beans • Rice • Potatoes • Huevos a la Mexicana • Chicken Verde • Chile Rellenos • Beef Rojo

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.

Local Hero Awards Dinner

Music calendar page 32

Ecortrust cheers champions of the food industry with beers, brats and kraut galore. Six nominees in restaurant, ranch and food artisan categories will be crowned environmental heroes. Even sidekicks can enjoy sausages from the likes of Feastworks; sundry krauts and beers provided by Breakside and Fort George. Ecotrust, 721 NW 9th Ave., Suite 200, 227-6225. 7-10 pm. $32.

FRIDAY, MARCH 22 Four-Year Anniversary and Blend Love Release

Upright celebrates year four with a Friday of tapped specials. The big debut will be its sole keg of 2013 Blend Love, a sour cherry and raspberry blend of two barrel-aged Upright classics. Upright Brewing, 240 N Broadway, Suite 2, 735-5337. 4:30 pm. Prices vary. 21+.

Toast

Whiskey, vodka, tequila, brandy, absinthe, aquavit and about 99 more. Cheers! There will be 50 distillers bringing spirits for sipping and bottles to buy at America’s largest artisan spirits expo. An on-site food-cart court balances the booze. World Trade Center Sky Bridge Terrace, 121 SW Salmon St. 5-10 pm Friday, 1-10 pm Saturday, March 22-23. $20 advance, $25 day of event. 21+.

MONDAY, MARCH 25 Winemaker Dinner

Equinox’s newest chef, Mark Cuneo, cooks up a full Italian evening, antipasti through dolce. And in true Italian fashion, it’s a family affair. Cuneo’s winemaker father, Gino of Tre Nova, offers red-wine pairings for the slow-cooked wild boar and handmade ravioli. Reservations required. Equinox, 830 N Shaver St., 460-3333. 6:30 pm. $75. 21+.

MIkE GRIPPI

EAT MOBILE

bEliEvE in bElizE: Chicken, rice and beans.

LOVE BELIZEAN I spent much of my week in Belize feeling various states of queasiness, an extended gut-sickness that culminated in me carrying a baggie of my own vomit through customs in Houston. Which is to say that I don’t have especially fond memories of the cuisine of the tiny Central American nation best known for bungling a murder investigation involving software guru John McAOrder this: The only thing fee. But Love Belizean, a 3-month-old you can order, chicken and rice ($6) with pineapple cart on Southwest 6th Avenue, makes upside-down cake ($1.50). me forget all that. This cart’s food is as good as the best of Belize—and further benefits from Portland’s advanced water-treatment system. The menu is simple: a box of stewed chicken with rice and beans and salad ($6). The menu is rounded out by a version with double chicken ($8) and pineapple upside-down cake ($1.50). Considering Belizeans distinguish between dishes called “rice and beans” and “beans and rice,” this is as much diversity as should be expected. But the chicken, stewed and roasted until its skin is black and its flesh is moist and peppery, pairs very well with dirty rice that tastes strongly of coconut milk. The cart carries the full line of Marie Sharp’s hot sauces, considered a national treasure—go with the original hot, which has a fruity sweetness with its habanero heat. And get the cake, which uses traditional canned fruit but has a wonderfully moist crumb and a crispy, crackly bottom that’s a joy to fork. MARTIN CIZMAR. EAT: Love Belizean, corner of Southwest 6th Avenue and Columbia Street, 752-7333, facebook.com/LoveBelizean. Monday-Saturday 11 am-6 pm. $. 22

Willamette Week MARCH 20, 2013 wweek.com

m at t h e W B i l l i n G to n

FOOD & DRINK How have people responded to you? Local readers responded with denial, disbelief and threats of physical violence. Rarely an intellectual rebuttal. The Doc doesn’t take offense to words, just threats. A person in this country has a right to voice his opinion, whether others like it or not. Every human—man, woman or child—has the right to listen, read or ignore. I found it funny that those who didn’t like the Doc were the ones who followed him the closest. Sometimes people don’t like to see or hear the truth, others have no sense of self-deprecation and prefer to just be hostile rather than insightful. Our society has changed for the worse over the past 10 to 15 years. Being PC is more in vogue than honesty, truth, opinion or individualism.

WORTS AND ALL PORTLAND’S MOST-HATED BEER BLOGGER SWITCHED TO WINE. BY M A RT I N C I Z M A R

persona was created to be a pot stirrer, soothsayer, educator and comic. The character was to be abrasive enough to cause attention, but witty enough to bring in a slap of reality. His slant on beer, beer society and the brewing business is an amalgamation of the writer along with other similar-minded beer aficionados. His comments and observations are collective; the Doc hears what others are saying in a crowd, amplifying those thoughts amongst his own.

mcizmar@wweek.com

Dr. Wort is a gadfly in the Socratic sense: an anonymous blogger who bites the lumbering steed that is Portland’s brewing scene, whipping local beer geeks into a fury with what he says is in the service of truth. Given he runs a little blogspot.com page that looks like it was optimized for Netscape, it’s surprising how much Wort has chafed beeristas. Then again, maybe not. Of esteemed local beer writer Jeff Alworth, Wort once wrote: “Mr. Beervana couldn’t describe an ice cube to an Eskimo.” In an attempt to quiet Wort, Dave Selden, creator of the 33 Beers tasting notebook, wrote a blog post in 2009 “outing” the man he thought was the Doc. Selden poured the pint of hemlock because Wort’s “commentary strays from facts and opinion into insults and mudslinging.” The blog has been quiet of late, but the Doc lives on— he’s just drinking more wine these days. Today, we published a Beer Guide that celebrates everything right in Portland beer—look for it at bars and bottle shops and in boxes listed at wweek.com. But we also wanted to talk to someone who hasn’t been so impressed. So, over the past month, I’ve had an email correspondence with Portland’s most-hated beer writer. This is a very truncated version of that conversation. WW: So how did the Doc get started and what’s he been up to? It seems like he’s been pretty quiet lately. Dr. Wort: Switched to cocktails and wine! Beer has become rather boring lately. With the exception of a small handful of new beers, the current beer scene has become mostly repetitious and banal. The Doc got tired of beating the same drum over and over. The local beer scene was getting out of hand; its selfingratiating habits were losing sight on reality and the progressing beer world outside its borders. The Doctor’s

What’s wrong with the Portland beer scene? Complacency and those that promote it. Portland has become the Jan Brady of the West Coast. Lost in the middle but forcing others to take notice of the smallest accomplishments, and even glorifying blunders. The Portland beer scene has become a sea of strip-club barkers and snake-oil hawkers preying on the impressionable local beer drinkers. Blogger and media barkers try to lure the public into pubs. Sometimes for events that are self-profiting. Self-proclaimed beer-expert hawkers write fallaciously glorified beer reviews. Now, you might find exactly what the hawker and barker proclaimed or you could end up drinking some sorry swill while watching some saggy, midaged broads with bruises on their asses. That’s the reality if you accept their hook. The Doc’s always waiting to read this review: “Great new brewery opened down by the Willamette in an old sanitation waste-processing plant. Some say the place is rather odoriferous, but I rather enjoyed the pungent fecal aromas as they mingle with the hops of their IPA. Those hops are grown right here in Oregon! Clem and Goober down by Salem have been growing them for the past two years. They’re super-uber-sublime. They don’t use any pesticides and the whole process is green!’ It’s all self-promotion at any cost, even if it’s a fallacy or fantasy. To make it worse, if Dr. Wort walked into the same pub, he’d be quickly shunned because his wardrobe doesn’t consist of Goodwill/dumpster relics and he’s not wearing a fedora last worn by someone’s dead Uncle Waldy. He’s ignored or asked to leave because he doesn’t quite fit within the pub’s ambiance. “Hey! I just wanna have a beer!” This self-segregation is not welcoming, and beer drinkers come from all walks of life.

Are there any Portland breweries you actually like? Hair of the Dog and Lucky Labrador. Basically, these breweries represent both sides of the Doc’s beer preferences. Hair of the Dog has been a favorite for years—not a secret to any Dr. Wort reader. The new pub is open, inviting and airy. It’s a check-your-attitude-at-the-door kind of place. Owner Alan Sprints has true love for the artistry, skill and craft of brewing. Years before we had beers like Arrogant Bastard, Alan went out on a limb and chose to brew Adam as his flagship beer! He could have easily made a quick profit off easy-drinking beer like pale ale or IPA. He chose artistry over the almighty dollar. It took Hair of the Dog more than 10 years to turn a profit. I asked Alan once, “Why did you keep going?” His answer: “I wanted to brew the beers I liked, and I hoped others would like them, too.” That’s pride in artistry, and integrity to not cave to mass appeal. People wait to buy his beers starting in the wee-morning hours despite the cold, dark or rain to buy a limited-batch beer. I don’t see that happening at any other brewery in town, do you? Lucky Lab isn’t always a big favorite by locals, but I’ve always found Lucky Lab’s breweries to be unpretentious and welcoming. I prefer the larger, barn-like venues of the Hawthorne and Quimby locations. They remind me of

“portlanD’s Beer scene has Become the jan BraDy of the West coast.” —Dr. Wort

large German bierkellers where one can socially interact or just quickly lose oneself. Lucky Lab always has a huge selection of beer creations. Some are great, some not so much, but I enjoy the endless imagination that makes beer fun and exciting. I love their English Bitter, especially when they served it off a beer engine from the cask. It was English Bitter perfection in a glass or as an old friend used to say, “Smooth and alluring as the nipples of Venus.” So how can Portland drinkers help improve our beer scene? Don’t sit back on your laurels. Look outside the Oregon beer bubble, be adventurous and drop the “in-your-face” cheerleading attitude. Oregon is becoming too aloof, screaming like a psychotic with Tourette’s syndrome, “Look! Look! We have 50 breweries in one city! Look at what we’ve done! Drink this! This is really good!” Unfortunately, the rest of the beer world has been progressing. All one has to do is look at some of the national beer competitions: They’ll see that Oregon isn’t winning all those hoppy-beer categories. Growing the hops isn’t enough; breweries all across the country can brew decent and award-winning IPAs. Your complacency is just breeding lackluster beer by stagnation. GO: Dr. Wort’s Buzz-erk Beer Blog is at wortblog.blogspot. com. Willamette Week’s 2013 Beer Guide is on shelves now. Visit wweek.com for a list of locations. Willamette Week MARCH 20, 2013 wweek.com

Willamette Week MARCH 20, 2013 wweek.com

MUSIC

march 20–26 PROFILE

= WW Pick. Highly recommended.

INEZ & VINOODH

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 20 Django Django, Night Moves

[FOLKTRONICA] London’s Django Django must find it difficult to subdue the endless comparisons to Brian Eno, Hot Chip and the Beta Band, especially since drummer David Maclean actually shares ties with the latter. Its music pleasingly pits the rustic nuances of pre-psychedelic rock against the futuristic, Blade Runner-esque hubbub of the ’80s. On their self-titled debut, Django’s members offer sprightly, groove-steeped jams laden with surfrock guitar, pulsing rhythms and otherworldly keyboards. Guitarist Vincent Neff sings about everything from nature to getting belligerently smashed, and although the music is essentially minimalistic in its approach, it still somehow manages to reach multifaceted heights you didn’t think possible. Far out, man! BRANDON WIDDER. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $15. 21+.

The David Haney Cadence Event

M AT T H E W S I N G E R

[JAZZ TRIBUTE] One of the benefits of having the jazz-nerd magazine Cadence now based here in Portland is editor and much-recorded jazz pianist David Haney’s plan to stage associated jazz events around town, and there could be no worthier cause than Haney’s own trio tribute to composer Herbie Nichols. One of the most innovative of midcentury jazz pianists, Nichols was initially overshadowed by

the superficially similar sound of his friend, Thelonious Monk, and further limited by his own shyness. After he wrote the music Billie Holiday turned into “Lady Sings the Blues” and finally got to record his Satie- and Bartóktinged jazz for the esteemed Blue Note label in the late 1950s, winning critical raves, Nichols was struck down by leukemia. Since then, other jazzers have rediscovered his fascinating music, and an all-star tribute group has recorded three discs of his unrecorded compositions. Now, the Nichols revival continues in Portland. BRETT CAMPBELL. Ivories Jazz Lounge and Restaurant, 1435 NW Flanders St., 241-6514. 8:30 pm. $7. 21+.

Morning Ritual, Glorious Veins

[FANTASY FOLKSTEP] Portland pianist and composer Ben Darwish has spent the last seven years blazing trails. Between his work with jazz trios, funk bands and his current genrebending group, Morning Ritual, you never know what Darwish is going to do next. Morning Ritual’s combination of folk, jazz, dubstep and R&B never feels schizophrenic or aimless, despite its variety. Its upcoming release, The Clear Blue Pearl, is a fantastical concept record about a couple from a drought-ravaged land looking for a mystical pearl that is thought to be able to save and sustain them. Portland’s Shook Twins provide solemn, sirenlike vocals and help to

TOP FIVE

CONT. on page 27

BY M ATTH EW SI N GER

TOP FIVE REALLY UNOFFICIAL SXSW SHOWCASES Drunk Kid Waiting for the Late-Night Bus He started his set by staggering into the street, where he came nailbitingly close to getting hit by a car. Narrowly surviving the trip to the other side, he interpretive danced to the accompaniment of a bucket drummer, before grabbing the sticks for some arrhythmic pounding of his own. Now that’s showmanship! Old Guy on Bus Rocking shades, a Kangol hat, several dozen necklaces and giant headphones, he serenaded the bus heading downtown with 45 minutes of soul classics. He may have been a Blind Boy of Alabama, but that is unconfirmed. The Yeah Babies This electro soul-rock combo from Columbus, Ohio, had the most cumbersome setup of all the street performers: bass, drums and a foursided rig carrying multiple keyboards, a drum machine, amps and a PA system. If the thing also morphed, Transformer-like, into a tour van, I wouldn’t have been surprised. Clothing Store DJ He set up in the storefront’s window and spun hip-hop and dancehall, attracting a small, curbside mob of bikini-topped dancers. It was the only party on 6th Street without a line, so why not? Two Strangers on a Bench One was a bedraggled, possible Vietnam vet. The other had a VIP badge around his neck. Spontaneously, while waiting for a bus, they began trading lines from the blues classic “Black Betty.” Of course, the former kept singing long after the latter returned to checking his phone, but they had a real human connection there for a minute. MORE: See WW’s South by Southwest coverage at wweek.com/sxsw.

THIS IS HELL THE GODFATHER OF PUNK HAS WRITTEN HIS LIFE STORY. IT’S NOT PRETTY. BY maTTh EW SIN GEr

msinger@wweek.com

Richard Hell is punk rock’s patient zero. Born Richard Meyers in Lexington, Ky., in 1949, he ran away to New York at age 17, where he traded poetry for a bass guitar, spiked his hair and safety-pinned his clothes, and helped father a subculture. His signature song, 1977’s “Blank Generation,” captured both the thrilling independence and fatalistic ambivalence of the era in one strutting, nervy anthem, and his personal style—which Malcolm McLaren famously took back to England and transposed onto the Sex Pistols—gave punk its look. Maybe the Ramones’ three-chord rush set punk’s sonic template more than Hell’s electrocuted Dylanisms, and maybe his peers, including Patti Smith and Johnny Thunders, get more credit, but make no mistake: When you see kids on the street with crazy hair and tattered leather jackets, Hell is part of their genome, whether they know it or not. I Dreamed I Was a Very Clean Tramp, Hell’s new autobiography, is a brutally honest account of a life spent in a constant state of escape. Willamette Week spoke to Hell about seeking redemption through literature, his retirement from music, and the chances of ever seeing him and his former bandmate-turned-persona non grata, Television’s Tom Verlaine, out on the reunion circuit. WW: Why an autobiography? Richard Hell: When you pass a certain age, when you’re out of your youth, I think it’s pretty universal that you start assessing what it all added up to, and it’s too complicated to do it in your head. It’s like a really elaborate math problem or something. So that was part of my motivation. I wanted to take a look at it. I wanted to turn it into something that was outside of me that I could kind of hold up in different lights and make sense of it. You write how you feel this book has redeemed you in some way. What do you mean? For me—as a writer, a musician, an artist—that’s

the only way I have to justify being alive. I’m a big mess. I’m confused, insecure and, all that said, I’m also egotistical, and part of the impulse to make works does come from that desire to have some meaningful result from your existence. Any book I write is an attempt to do something of interest so I’m not just a total waste. But when the book is also a description of your life…it has that added value of being doubly redeeming, because it’s your life that gets turned into being materially useful. There are a lot of dead people in this book. How did you manage to survive? It’s pure luck. It could’ve easily happened to me. There was once or twice when I OD’ed and woke up in a hospital—and, of course, the first thing I asked when I woke up is, “Man, where do I get more of that?” But it doesn’t have any particular meaning to me. It’s not like I’m any different for having survived. It’s a roll of the dice. You retired from music in 1984. Is it safe to assume you didn’t care enough about music to continue making it? There’s something to that. But the part I like about being in a band and being a musician is making the record. If all there was to having a band was to make a record every 18 months, I would’ve made a record every 18 months and loved it. Sometimes I get angry and a little bitter, thinking, “Somebody out there should value me enough to allow me to do that every 18 months, because there are all these great songs that don’t exist.” Are you content with your legacy? Legacy? I don’t have a legacy. I just try to stay interested every day. It’s ongoing. There’s never, like, “OK, I’m ready to die now.” Do you regret anything you wrote about Tom Verlaine? We are who we are. You can’t be 19 again. What happened when we were 19 had to do with our being 19. I don’t really have any regrets about anything I wrote in the book. So I guess we’ll never get the Tom and Richard Reconciliation Tour? That’s not even funny. SEE IT: Richard Hell is at Powell’s City of Books, 1005 W Burnside St., on Saturday, March 23. 4 pm. Free. Read the full interview at wweek.com. Willamette Week MARCH 20, 2013 wweek.com

Willamette Week MARCH 20, 2013 wweek.com

make it a beautiful—if at times bittersweet—journey. BRIAN PALMER. White Eagle Saloon, 836 N Russell St., 282-6810. 8:30 pm. Free. 21+.

THURSDAY, MARCH 21 Wishbone Ash

[PROTO-METAL ICONS] When folks talk about influences on the world of heavy metal, Wishbone Ash doesn’t trip off the tongue as regularly as other prog and hard-rock groups like King Crimson or Blue Öyster Cult. Yet this long-running U.K. band’s sound— particularly its early ’70s efforts—has an epic quality that can be traced forward to the sound of groups like Iron Maiden and early Judas Priest. This version of the band (which features only one original member, guitarist Andy Powell) looks firmly backward on this tour, which puts its 1972 masterpiece, Argus, as a centerpiece of the performance. ROBERT HAM. Aladdin Theater, 3017 SE Milwaukie Ave., 234-9694. 8 pm. $35. Under 21 permitted with legal guardian.

FRIDAY, MARCH 22 George Clinton and Parliament Funkadelic, Doo Doo Funk All Stars

[FOUNDING FATHER OF FUNK] James Brown might be the Godfather of Soul, but when it comes to funk, George Clinton ﬁlls the role in the Vito Corleone sense of the word. He’s the patriarch of a musical family whose branches intersect with a wide swath of artists, from the Red Hot Chili Peppers (Clinton produced their second album) to Talking Heads (they borrowed Parliament-Funkadelic synth wizard Bernie Worrell for a spell) and the entirety of ’90s West Coast gangsta rap, a genre built from samples of his elastic bounce. After dissolving both Parliament and Funkadelic in the ’80s, he’s mostly

spent the past three decades touring with a revolving cast of players known as the P-Funk All Stars. Who knows who’s in the band these days, and Clinton is often a cameo performer at his own gigs (the dude is 71, give him a break), but it hardly matters. If you want to get funked up, there’s still only one man for the job, and he’s the one with rainbow dreads. MATTHEW SINGER. Crystal Ballroom, 1332 W Burnside St., 225-0047. 9 pm. $25 advance, $27 day of show. 21+.

Chelsea Light Moving, Grass Window

[AFTER THE DAYDREAM] Thurston Moore is moving on—or so he’d like us to think. Two years ago, the Sonic Youth singer-scarecrow separated from his wife and bandmate, Kim Gordon, after close to 30 years of marriage, essentially conﬁrming the end of alt-rock’s most monolithic empire (even though no one’s yet said it out loud). Now, Moore’s emerged with a new band, Chelsea Light Moving…and it sounds an awful lot like Sonic Youth, with dissonant, roaring guitars twisting around thunderclap rhythms and Moore’s Beatinspired half-singing. Perhaps that’s to be expected, though. After all, Moore practically invented an entirely new musical language three decades ago, and he can’t be expected to stop using it now. And anyway, after that much time together, is moving on ever truly possible? MATTHEW SINGER. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $15. 21+.

Jai Ho!: Cheb-i-Sabbah

[WORLDWIDE DANCE PARTY] Chebi-Sabbah DJs world-fusion music, often taking his cues from Middle Eastern, African and South Asian traditions. His life is even more cosmopolitan. It began in Algeria in 1947, where he was born into a Jewish-Arabic family, and continued in 1964, when he moved to Paris and started spinning soul records. After meeting world-

fusion pioneer Don Cherry in New York, he relocated to San Francisco in the ’80s and began developing his unique style. The warehouse parties of the ’90s were his proving ground and, ultimately, his launch pad. To top it all oﬀ, Cheb-i-Sabbah has just beaten cancer. He may be aging, but Cheb-iSabbah can still spin global grooves with the best of them. MITCH LILLIE. Refuge, 116 SE Yamhill St. 9 pm. $12 advance, $15 day of show. 21+.

Fruition, Dead Winter Carpenters

[WHISKEY ROCK] Fruition is simultaneously familiar and fresh. Between music that, at times, calls to mind the likes of Gillian Welch and Nickel Creek, among others, and with singer-mandolinist Mimi Naja channeling a slightly throatier Brandi Carlile, it is not hard to hear what sort of sound they are aiming for. Three-part harmonies make appearances throughout, mandolin solos pop up from time to time (and really, who doesn’t like a mandolin solo?), and whether it be a ballad or a more lively tune, these songs crackle with electricity. The band is all about energy, and it scores points for not resorting to copying Mumford & Sons or the Lumineers in order to make it happen. BRIAN PALMER. Star Theater, 13 NW 6th Ave. 9 pm. $12. 21+.

SATURDAY, MARCH 23 Ted Leo, Deathfix

[PUNK EVOLUTION] There’s much to talk about with this show. For one, it marks the return of Ted Leo, the punk- and reggae-inspired musician who arrives without his crack backing band, the Pharmacists, and soon after the formation of the duo #BOTH with fellow singer-songwriter Aimee Mann. This show also welcomes Deathﬁx to Portland for the ﬁrst time. The new project from ex-Fugazi member Brendan Canty will force fans of

GREENLABELSOUND.COM

WEDNESDAY–SATURDAY

PRIMER

MUSIC

BY REED JACKSON

JOEY BADA$$ Born: In 1995 in Brooklyn, N.Y. Sounds like: Your older brother’s favorite hip-hop cassette tape from the early ’90s. For fans of: Nas, Gang Starr, Pete Rock & C.L. Smooth. Latest release: PEEP: The Aprocalypse, a collection of meditative songs released by the Pro Era crew, which Joey Bada$$ is part of. It’s the last release involving talented member Capital Steez, who took his own life on Christmas Eve last year at age 19. Why you care: Hip-hop purists have been waiting years for someone like Joey Bada$$ to come around. The 18-year-old rapper has become a darling of the underground for his impressive wordplay and vintage East Coast beats, built on dusty samples and classic soul breaks. For those who consider A$AP Rocky too Southern-fried or French Montana lyrically weak, Joey and his Pro Era crew represent the return of the “golden era” New York sound. That’s all great, but what’s really intriguing about the young MC is his ability to take a traditional formula and make it sound fresh again. Just hearing him and his crew Willimette weekly laugh and spit clever rhymes about adolescent problems like girls and school over sample-based crop ad to 5.727 x 6.052 production infuses new excitement into an old sound. For years, we’ve heard veteran groups such as L.A.’s People Under the Stairs use a similar formula, but there’s something truly refreshing about hearing a talented youngster like Bada$$ give us his take. SEE IT: Joey Bada$$ and Pro Era play Peter’s Room at Roseland Theater, 8 NW 6th Ave., with Flatbush Zombies, the Underachievers and DJ Statik Selektah, on Thursday, March 21. 8 pm. Sold out. All ages.

CONT. on page 28

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Willamette Week MARCH 20, 2013 wweek.com

MUSIC

SATURDAY–MONDAY

Canty’s former band to make quite a mental adjustment, as in place of agitprop aggression, this outﬁt takes a looser, glammier approach that follows cues from inﬂuences such as Pere Ubu and This Heat. ROBERT HAM. Backspace, 115 NW 5th Ave., 248-2900. 9 pm. $10. All ages.

revival mold nicely. JONATHAN FROCHTZWAJG. Wonder Ballroom, 128 NE Russell St., 284-8686. 9 pm. $15. All ages.

Veronica Falls, Brilliant Colors, Golden Grrrls

[AVANT-PSYCH POP] Sometimes it takes a band a few years— and more than 10 self-produced records—before it ﬁnally comes into its own. Jonathan Rado and Sam France, aka Foxygen, only recently released their debut full-length after signing with Jagjaguwar Records last year. Their music, produced and honed by Shins keyboardist Richard Swift, is the kind of sonically layered hodgepodge of glam rock and psychedelia you’d expect to be an 8-track exclusive. The duo’s most recent release, We Are the 21st Century Ambassadors of Peace & Magic, follows the same vein as its debut—a quirky concoction that sounds a bit like a modern BowieJagger love child, which actually isn’t the toughest thing to imagine. BRANDON WIDDER. Holocene, 1001 SE Morrison St., 239-7639. 8:30 pm. $10 advance, $12 day of show. 21+.

[BOY-GIRL POP] When London quartet Veronica Falls released its self-titled debut in 2011, fans praised the fringy nature of the record. Not quite shoegaze and too dark to be labeled pop, the band operated under some dark, distant cloud. Sophomore effort Waiting for Something to Happen shows a band enamored by hooks and sugary vocal duets, like an upbeat version of the xx at a yesteryear prom. Swaths of darkness persist, especially lyrically, but overall Veronica Falls has plunged unapologetically into the deep and glimmering pool of pop, a move as brazen and unexpected as the group’s punk-rock beginnings. Scottish trio Golden Grrrls open the show, offering a similarly sweet batch of lo-fi, revivalist pop. MARK STOCK. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $10 advance, $12 day of show. 21+.

Gold Panda, Dauwd, DJ Tan’t

[DIGI-RAGA] “Quitter’s Raga,” Gold Panda’s Indian-tinged folktronic feel-good track initially released on 7-inch in 2009, begs you to close your eyes. Long, meandering ragas normally feature sitar riff after sitar riff, all the more disorienting because of their ever-shifting time signatures and unfamiliar scale. Gold Panda takes one of those transcendent riffs, lays pulsing strings and claps behind the sitar and Indian chanting, and parboils the whole track in the salty, decompiling broth of glitch. In just one minute and 49 seconds, Gold Panda takes us to an odd, globally warmed future, where the sun hits the earth’s collective face and everything’s okay. Or maybe it’s just a summer jam. MITCH LILLIE. Holocene, 1001 SE Morrison St., 239-7639. 10 pm. $12. 21+.

Iceage, Bellicose Minds, Still Caves, Sewers From Paris

[BUZZKILL BAND] The youth is getting restless in Denmark, apparently. In the last few years, a community of scowling, barely post-pubescent Danes making music as distraught and angry as its members look has developed out of Copenhagen. At the forefront of that scene is Iceage. The band plays a brand of scraping, blood-spurting punk so joyless it makes lateperiod Black Flag look like a circus troupe. On newly released second album You’re Nothing, singer Elias Bender Rønnenfelt rants like the kid in “Institutionalized,” except in a totally incomprehensible accent— his idea of a chorus is shouting “Pressure!” or “Excess!” over and over—while the rest of the group throws three simultaneous tantrums with their instruments which only seem to have a tenuous connection to what everyone else is playing. It’s certainly bracing, but it’s absolutely no fun, and cacophony without charm is a rough listen indeed. MATTHEW SINGER. Star Theater, 13 NW 6th Ave. 9 pm. $10. 21+.

Pickwick, Shy Girls

[NEO-SOUL] Pickwick’s transformation from neo-folk to neo-soul in 2010 was something of a musical about-face, but in terms of ethos, the Seattle sextet merely traded one plainspoken, heartfelt genre for another. Besides, the switch paid oﬀ: Pickwick, which released its debut full-length, Can’t Talk Medicine, this month is among Seattle’s biggest current acts. With its equal-parts groovy, garage-y sound, led by pounding piano and singer Galen Disston’s gut-wrenching vocals, the band isn’t breaking any molds—but it’s ﬁlling the soul-

Willamette Week MARCH 20, 2013 wweek.com

SUNDAY, MARCH 24 Foxygen, Pure X

The Virgins, Har Mar Superstar, C.O.L.O.R.

[SIX DEGREES OF THE STROKES] Sean Tillman isn’t your average sex symbol—he’s a sex symbol for the average. Overweight and balding, bearing a striking physical similarity to The Critic’s Jay Sherman, the performer better known as Har Mar Superstar serenades audiences with his seductive electroclash R&B, often while clad in little more than tight, form-ﬁtting briefs. Tillman has been embraced by all sorts of rock tastemakers over the past decade, most notably the Strokes—whose Julian Casablancas is releasing Tillman’s ﬁfth album, Bye Bye 17, on his own Cult Records imprint next month. Earlier this year, Casablancas also put out Strike Gently, the second album from Brooklyn’s the Virgins, whom you might remember for being “the Strokes of 2008.” Ah, the circle of hype is complete. MATTHEW SINGER. Lola’s Room at the Crystal Ballroom, 1332 W Burnside St., 2250047. 8 pm. $12 advance, $15 day of show. All ages.

Ducktails, Widowspeak, Mark McGuire

[AMBIENT INDIE ROCK] Lead guitarist Matt Mondanile is seemingly becoming less and less lonesome as the days go on. Performing under the moniker Ducktails, the New Jersey-based musician’s solo endeavor is no longer just a side project but a full-blooded collaborative venture complete with all the hallmarks of a full-blown band. With its most recent release, The Flower Lane, Ducktails’ discography now contains four albums brimming with airy vocals, swirling synths and sounds that echo— but never mirror—Mondanile’s main project, Real Estate. Although the bane of the album is its split personality, consistently treading between psychedelic pop hooks and melancholy funk-tinged jams, it’s also its most alluring feature. Now, if only the name didn’t remind us of a Disney cartoon. BRANDON WIDDER. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. $12. 21+.

MONDAY, MARCH 25 Doldrums, Sean Nicholas Savage, Strategy

[MONSTER MASH-UPS] Montrealbased Airick Woodhead possesses an almost freakish ability to fabricate musical gremlins. As Doldrums, the experimental electronic artist works in the arena of collage, pasting ghostly samples

CONT. on page 30

MUSIC todd BAxter

PROFILE

KIM BAXTER WEDNESDAY, MARCH 20 [POP] Last April, Kim Baxter, former member of Portland power-twee group All Girl Summer Fun Band, released her first solo album, The Tale of Me and You, though you’re probably unaware of it. That’s really through no fault of its creator, who would love nothing more than to put this album in the hot little hands and hard drives of music fans across the globe. Rather, it comes down to the fact that, as much as the 35-year-old still loves making music and playing shows, she has to balance it with the realities of adulthood. When AGSFB decided to take an extended hiatus, it was because Baxter and bandmate Jen Sbragia were both having babies, and drummer Kathy Foster was occupied with her other band, the Thermals. Baxter was also plenty busy herself, finishing up a master’s program in applied linguistics. So, when she and her husband, Chris Flanagan, decided to start recording The Tale, the process, according to Baxter, was lengthy. “I never want to do that again,” she says with a laugh, hands wrapped around a cup of tea at a cafe in Northeast Portland. “It taught me to be really respectful of the process, but it wasn’t like, ‘Oh, let’s go record an album over a weekend.’ It was so much slower. Like, ‘OK, the baby’s napping, I’ll run down there and record something, and then let’s switch.’” The Tale doesn’t have the breezy punch of Baxter’s former band. Instead, Baxter layers the songs with reverb-dappled guitar lines, ’60s keyboard tones and a denser production style that calls to mind the shoegazer explosion of ’90s Britpop. Baxter says she took a more thoughtful approach when it came to the lyrical content of these songs, exploring the crossroads she has come upon over the past five years or so. The fuzzed-up rocker “Devil on My Side,” for example, came to life around the same time she was finishing her thesis. “I was weighing all these options,” she says. “Do I want to go on the road and travel, or do I want to stay here? How do I balance my home life and my creative life?” And, of course, there is plenty of material centered on her relationship with Flanagan, her partner for 16 years. “We’ve been in bands for 20 years now, so we have kind of learned how to communicate through music,” she says. If anything else has fed into The Tale’s below-the-radar status, it’s that Baxter and Flanagan are handling the album’s promotion themselves. They’ve sent copies to supportive reviewers, and have been dipping their toes into playing live after putting together a band featuring ex-bandmates and longtime friends. So far, that has yielded only one local show beyond this week’s performance at Mississippi Studios. The biggest move forward for the album will be a European tour to support its vinyl release via German label Expect Candy. But for Baxter, the most exciting part is to have her son on the road with her. “I want him to see how we travel and have friends all over the world who are like family,” she says, “and that we made this connection with them through music.” ROBERT HAM.

Blending real life with the pop life.

SEE IT: Kim Baxter plays Mississippi Studios, 3939 N Mississippi Ave., with Genders and Still Caves, on Wednesday, March 20. 9 pm. Free. 21+. Willamette Week MARCH 20, 2013 wweek.com

MUSIC

monday–tuesday

next to frenzied, atypical beats and genderless vocals on a single sheet of music. Debut Lesser Evil is as mechanized and industrial in function as it is organic and unstructured in form. The result is a multicolored, transformative wall of digital noise that flirts dangerously with mayhem, but pulls up just before reaching the cliff’s edge. Doldrums is fantasy and horror, connected by elastic digital creativity. MARK STOCK. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. $10. 21+.

The Joy Formidable, Guards, Fort Lean

[HEAVY ART POP] Taking the bombastic sound that marked its staggering and surprising debut, The Big Roar, and ratcheting up the musicianship and explosiveness to artful new levels, Welsh trio the Joy Formidable’s sophomore release, Wolf’s Law, sets a new bar for a band unfairly relegated to pop radio in the wake of its hit, “Whirring.” Here, double-bass pedals hammer down like thunder over wailing guitar hooks guided home by Ritzy Bryan’s ethereal vocals. On Wolf’s Law, the trio proves there’s no limit to the amount of sound a sparse outfit can emit, veering into Zeppelin territory with epic compositions that aren’t afraid to get metallic even when grounded in surefooted art pop. AP KRYZA. Wonder Ballroom, 128 NE Russell St., 284-8686. 8 pm. $18 advance, $20 day of show. All ages.

TUESDAY, MARCH 26 Nu Sensae

[FULL-TIME PUNKS] One of my favorite moments on Vancouver trio Nu Sensae’s most recent full-length, Sundowning, is the brief reference the fury-driven punks make to Sonic Youth’s “’Cross the Breeze.” I mentioned this to the band’s drummer Daniel Pitout via Twitter and his response was, “I think it was unintentional, but the tattoo on my arm that says ‘Burning ’Cross the Breeze’ might beg to differ.” That’s right, kids: Nu Sensae literally wears its influences on its sleeves, and it wants to give you a full-force blast of it right into your amygdala. Don’t be afraid to get some of it on (or in) you. ROBERT HAM. Dante’s, 350 W Burnside St., 226-6630. 9 pm. $10. 21+.

K. Flay

[LADY SOC] A hyperproductive, universally beloved hip-hop adept whose technical facility and blistering flow won passionate devotees within the underground rap community, it’s tempting to describe K. Flay as the alternate-universe Kreayshawn. But that would imply just the sort of gimmicky connotations the unassuming, defiantly dressed-down former Kristine Flaherty has taken pains to avoid ever since trading her Stanford sociology degree for a beatcraft apprenticeship. If anything, her autobiographical musings have drawn considerably less attention than the muscular work ethic that brought about so many releases between 2004 debut Suburban Rap Queen and recent mixtape West Ghost. Absent electro collaborators (like Prodigy’s Liam Howlett) or indie samples (the xx or the Decemberists, notably), she tends toward coldly sparse self-production bolstering dominant lyrical themes of over-aware alienation that only really diminish midconcert as, beats constructed and audience enthralled, she indulges a richly deserved swag. JAY HORTON. Holocene, 1001 SE Morrison St., 239-7639. 8 pm. $10 advance, $12 day of show. 21+.

Fol Chen, Royal Canoe

[AVANT-POP] It makes perfect sense that Fol Chen is putting out its new album, The False Alarms, on Sufjan Stevens’ Asthmatic Kitty label. Like Stevens, the Los Angeles avant-pop outfit is probingly creative, and kind of weird: For one show of a monthlong residency at L.A.’s the Echo, the band performed with singers recruited through Craigslist; for

Willamette Week MARCH 20, 2013 wweek.com

another, it had metalheads Viscera cover its songs. Happily, like Sufjan, Fol Chen has the talent to back up its art-school antics. Lead singles from False Alarms indicate the group is sticking to its successful formula: taking the produced vocals and electronic beats of radio pop and turning them intriguingly, infectiously askew. JONATHAN FROCHTZWAJG. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. $12. 21+.

The Specials, Little Hurricane

[TWO-TONE SKA] If ska had never been revived in the ’90s as a shortswearing, garishly neon-colored, puppet corpse, then maybe the Specials would get the respect they deserve. Back in 1980s England,

the group was every bit as punk as the Sex Pistols or the Clash, only it communicated its frustrations through an interpretation of Jamaican dance music shaped by the concrete and industrial smoke of its First World surroundings. Sure, true pop historians recognize the band’s greatness, but the group is reuniting in a world not yet fully recovered from the brief, Hawaiian-shirted tyranny of ska’s so-called “Third Wave.” What’s more, conspicuously absent on this tour is ailing singer Neville Staple, the font of light and energy to cofrontman Terry Hall’s gray monotone, confirming the proceedings will be more drab than they should be. MATTHEW SINGER. Roseland Theater, 8 NW 6th Ave., 219-9929. 8 pm. $33. All ages.

ALBUM REVIEWS

THE WOOLEN MEN THE WOOLEN MEN (WOODSIST) [PUNK ’N’ ROLL] When Portland garage-rock trio the Woolen Men signed with New York label Woodsist late last year, you could almost hear the city gasp. Would our beloved, punktinged lo-fi group—known for its fuzzy sound and self-released cassettes and 7-inches—be cleaned up beyond recognition? The answer, according to the Woolen Men’s self-titled debut LP, is a resounding “no.” Recorded entirely to analog tape, the 10-track record demonstrates a group still basking in the charmingly bedraggled nature of DIY rock. The Woolen Men have honed a sweet spot somewhere between early R.E.M. and Ty Segall. Frontman Raf Spielman sings jumpy and antagonistically at times (“Submission”), grounded and haunting at others (“Hold It Up”). The guitar work is an endless dose of frayed punk riffs, ’60s-tinged experimentalism and the flickering drones of Turn on the Bright Lights-era Interpol. Surprisingly, the record’s only shortcoming is its undercooked persona. Stripped-down tracks like “Ode to an Hour” feel a touch undone. Overall, however, the trio is as self-made, unified and explosive as ever, with the hard-hitting chops to please those still mourning the demise of Sleater-Kinney. MARK STOCK. SEE IT: The Woolen Men play Mississippi Studios, 3939 N Mississippi Ave., with Stay Calm and Sad Horse, on Friday, March 22. 9 pm. $5. 21+.

MYKE BOGAN MONKEYS ON THE BEACH (SELF-RELEASED) [HIP-HOP] Myke Bogan is a sad-clown rapper. Almost all the material released by the twentysomething MC has filtered heartbreak and loneliness through the sound of an empty PBR can getting crushed on a warm summer day. He spits bars of pain with a smile on his face, using his airy rasp of a voice to tie together his lyrical highs and lows. Monkeys on the Beach is no different. On the surface, it comes off as a sun-dappled album about the squanders of youth: “Beers and Bars” is an anthem for friends bullshitting while drinking in a basement, and “Beach and a Blanket” is pure summertime nostalgia. The album’s beats, mainly supplied by Bogan’s in-house crew, crackle with warm soul samples and laid-back basslines. Between all the drinking and smoking, however, Bogan often takes a step back to examine where life has taken him—whether it’s realizing he must provide for his family on “Sunrise to Sunset,” or the fact he might never make it in the rap game on “The Way I Feel.” Perhaps his most poignant lines are on “Memories,” when he describes his constant battle with time and how “if life is a game,” he “will take a timeout.” As warm weather approaches, Monkeys on the Beach will undoubtedly get more plays just because of how it sounds. Heck, I know I’ll be bumping “Beach and a Blanket” on Sauvie Island this summer. But when I’m six PBRs deep and hear a line like, “My lyrics that come from my pain/ I know that shit dope—it’s all in your veins,” I’ll realize the true depth of the record. REED JACKSON. HEAR IT: Myke Bogan’s Monkeys on the Beach is available for streaming and download at djbooth.net.

Willamette Week MARCH 20, 2013 wweek.com

MUSIC CALENDAR

March 20–26 Landmark Saloon

= 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.

ALbERTE KARREbAEK

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

Wilfs restaurant & Bar 800 NW 6th Ave. Gaea Schell, Dave Bones Quartet

FrI. March 22

ash Street Saloon

alberta rose Theatre

3000 NE Alberta St. The City of Tomorrow: Wind Chamber Music of the Future

The Old church

1422 SW 11th Ave. Gordon Lee

Thorne Lounge

4260 SE Hawthorne Blvd. Musician’s Open Mic

Torta Landia

andina

1314 NW Glisan St. Toshi Onizuka

Backspace

115 NW 5th Ave. Kitty Pryde

crystal Ballroom

1332 W Burnside St. Family of the Year

doug Fir Lounge

830 E Burnside St. Django Django, Night Moves

Goodfoot Lounge

2845 SE Stark St. Brad Parsons Band, Jack Dwyer and the Bad Liars

hawthorne Theatre Lounge

1503 SE Cesar E. Chavez Blvd. Marisa Anderson

holocene

1001 SE Morrison St. And And And, The We Shared Milk, Minden, The Ecstatics

Ivories Jazz Lounge and restaurant

4144 SE 60th Ave. Ten-String Classical Guitar: Renaissance to Romance

Valentine’s

232 SW Ankeny St. Great Horned Owl, River Monks, Sorry Devils

White eagle Saloon

836 N Russell St. Morning Ritual, Glorious Veins

Wilfs restaurant & Bar 800 NW 6th Ave. Chris Brown Band

ThurS. March 21 aladdin Theater

3017 SE Milwaukie Ave. Wishbone Ash

1314 NW Glisan St. Matices

ash Street Saloon

Kenton club

6000 NE Glisan St. Train River

Landmark Saloon

320 SE 2nd Ave. Eskmo

LaurelThirst

6835 SW Macadam Ave. Mosby, Frame By Frame

4847 SE Division St. Jake Ray, Bob Shoemaker

Jimmy Mak’s

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

Kelly’s Olympian

426 SW Washington St. Bear and Moose, Mount Mazama, Outer Space Heaters

LaurelThirst

2958 NE Glisan St. The Ukeladies, The Left Coast Roasters

Mississippi Pizza

3552 N Mississippi Ave. The Vulva Underground (9 pm); the Satisfied Minds (6 pm)

Mississippi Studios

andina

Kells

2025 N Kilpatrick St. On The Stairs

1435 NW Flanders St. Tom Grant

Muddy rudder Public house

3000 NE Alberta St. Tom Russell

115 NW 5th Ave. Yardsss, Lick

112 SW 2nd Ave. Cronin

Ivories Jazz Lounge and restaurant

3939 N Mississippi Ave. Magic Fades, Bruxa, Interiors

Jimmy Mak’s

221 NW 10th Ave. The Mel Brown Quartet

1503 SE Cesar E. Chavez Blvd. Paul Brainard and Friends

alberta rose Theatre

225 SW Ash St. Erik Anarchy, Fluid Spill, Street Metal, Super Desu, Town and the Writ

1435 NW Flanders St. The David Haney Cadence Event

hawthorne Theatre Lounge

Backspace

Biddy McGraw’s

Branx

Buffalo Gap Saloon

8105 SE 7th Ave. Sleepy Eyed Johns

Peter’s room

8 NW 6th Ave. Joey Bada$$, Pro Era, Flatbush Zombies, the Underachievers, DJ Statik Selektah

rotture

315 SE 3rd Ave. Eidolons, Oh! Pears, De La Warr

Secret Society Lounge 116 NE Russell St. Fishtank Ensemble, Everything’s Jake

Sellwood Public house 8132 SE 13th Ave. Open Mic

2958 NE Glisan St. Quick and Easy Boys, Bird Flying South

camellia Lounge

Shaker and Vine

Mississippi Pizza

club 21

The Blue Monk

3552 N Mississippi Ave. Lake Sun

Mississippi Studios

3939 N Mississippi Ave. Genders, Still Caves, Kim Baxter

Mt. Tabor Theater

4811 SE Hawthorne Blvd. Reggae Night, Outpost

Suki’s Bar & Grill 2401 SW 4th Ave. Positive Vibrations

The Know

2026 NE Alberta St. Carrion Spring, Debrailler

510 NW 11th Ave. Lori Boone, Matt Tabor 2035 NE Glisan St. The Mean Jeans, Therapists, Youthbitch, Middle Ages

crystal Ballroom

1332 W Burnside St. Josh Ritter and the Royal City Band, Lake Street Dive

doug Fir Lounge 830 E Burnside St. Hayden

duff’s Garage

1635 SE 7th Ave. James Grant Mythology

Willamette Week MARCH 20, 2013 wweek.com

2929 SE Powell Blvd. Corkscrew Cabaret 3341 SE Belmont St. Transcendental Brass Band, the Jazzistics

The Know

2026 NE Alberta St. Raw Nerves, Burials, Drunk Dad

Thirsty Lion

71 SW 2nd Ave. Singer Songwriter Winners

Tiger Bar

317 NW Broadway Karaoke from Hell

White eagle Saloon 836 N Russell St.

225 SW Ash St. Landmine Marathon, Elitist, Eight Bells, Honduran

Backspace

115 NW 5th Ave. Off With Their Heads, Roll The Tanks, Rendered Useless, Absent Minds, Faster Housecat

Biddy McGraw’s

6000 NE Glisan St. Blue Lotus (9:30 pm); Ben Rice Trio (6 pm)

crystal Ballroom

1332 W Burnside St. George Clinton and Parliament Funkadelic, Doo Doo Funk All Stars

doug Fir Lounge

830 E Burnside St. Chelsea Light Moving, Grass Window

duff’s Garage

1635 SE 7th Ave. Chad Rupp

eastBurn

1800 E Burnside St. The Oh My Mys

Foggy notion

3416 N Lombard St. Bison Bison, Key of Solomon, Spatia

Ford Food and drink

2505 SE 11th Ave. Lorna Miller and Walter Cryderman, The Rainbow Sign

habesha

801 NE Broadway Hot Victory, You Are Plural, William Ingrid, Goomy, Poppet

hawthorne Theatre Lounge

1503 SE Cesar E. Chavez Blvd. We’re From Japan, Shrines, A Collective Subconscious

hawthorne Theatre

3862 SE Hawthorne Blvd. Collected Souls, Say It Ain’t Weezer, The Fifth Elephant

Katie O’Briens

2809 NE Sandy Blvd. The Effies, Dwight Dickinson, the Homemakers, Hod Rod Carl

Mt. Tabor Theater

1028 SE Water Ave. Ivan and Alyosha, Josh and Mer

Goodfoot Lounge

Foggy notion

3552 N Mississippi Ave. Pura Vida Band (9 pm); Back Porch Revival (6 pm)

Mississippi Studios

3939 N Mississippi Ave. The Woolen Men, Stay Calm

Mt. Tabor Theater

3158 E Burnside St. Rodrigel and Gabrigo, Insanitizers

Peter’s room

8 NW 6th Ave. French Montana

record room

8 NE Killingsworth St. Aranya, Full Moon Radio, Holy Grove

refuge

116 SE Yamhill St. Jai Ho!: Cheb-i-Sabbah

ringside Fish house 838 SW Park Ave. Jason Okamoto Duo

Secret Society Lounge

116 NE Russell St. Steve Lockwood and the Redeemed, Baby and the Pearl Blowers (9 pm); Pete Krebs and His Portland Playboys (6 pm)

Shaker and Vine

2929 SE Powell Blvd. Stu Cook Quartet

Slabtown

1033 NW 16th Ave. Young Turks, Clarity, Sloths

Star Theater

13 NW 6th Ave. Fruition, Dead Winter Carpenters

The Blue Monk

3341 SE Belmont St. Blvd Park, The Libertine Belles

The Know

2026 NE Alberta St. P.R.O.B.L.E.M.S., Alarms, Vultures In the Sky

The Lovecraft

421 SE Grand Ave. Progress Band, DJ Horrid

White eagle Saloon

836 N Russell St. Excellent Gentlemen, Sol Seed (9:30 pm); Reverb Brothers (5:30 pm)

Wonder Ballroom

128 NE Russell St. Dubtronic Kru, Clinton Fearon, Madgesdiq

SaT. March 23 aladdin Theater

3017 SE Milwaukie Ave. Mika

alberta rose Theatre 3000 NE Alberta St. Russian Comedy Show: Kvn Rudn

ash Street Saloon

Kelly’s Olympian

115 NW 5th Ave. Ted Leo, Deathfix

Kenton club

2035 NE Glisan St. Inferno of Joy, the Decliners, Old Hand, DJ Cleanwater Revival, DJ Truth Decay

2025 N Kilpatrick St. Bitch School, Child Children, Shut Your Animal Mouth

Bunk Bar

Mississippi Pizza

Kells Brewpub

426 SW Washington St. Just Lions, The Ecstatics, The Torn ACLs, The Mucks, Michael Heald, Steven Meads

Rich Landars Sonic Jelly & Jam

doug Fir Lounge

225 SW Ash St. COVEN, Headless Pez, Cemetery Lust, Gorgon Stare

210 NW 21st Ave. Sami Rouisi

Federation X, Rabbits, Gaytheist, Nasalrod

830 E Burnside St. Veronica Falls, Brilliant Colors, Golden Grrrls

Music Millennium

1314 NW Glisan St. Dan Diresta Quartet

350 W Burnside St. Danava, Occultation, Borrowed Time, DJ Dennis Dread

doug Fir Lounge

alberta rose Theatre

andina

dante’s

2958 NE Glisan St. Ruby Feathers, Medicine Family, Cedar and Boyer, Alice Stuart

4811 SE Hawthorne Blvd. White Water Ramble, the Student Loan, Grasshoppah

3000 NE Alberta St. Anne Weiss, Mary Flower, Janice Scroggins, LaRhonda Steele

Wed. March 20

LaurelThirst

aladdin Theater

3017 SE Milwaukie Ave. Iris Dement

GaTeKeePerS: Iceage plays Star Theater on Saturday, March 23.

4847 SE Division St. Countryside Ride, W.C. Beck

Backspace

club 21

crystal Ballroom

1332 W Burnside St. Rebelution, J Boog, Hot Rain

2845 SE Stark St. Henhouse Prowlers, Renegade String Band

hawthorne Theatre Lounge

1503 SE Cesar E. Chavez Blvd. Poe and Monroe, Big Bad Wolf, Kyle Stevens

hawthorne Theatre

3862 SE Hawthorne Blvd. Nile, Ceremonial Castings, World Of Lies, Heathen Shrine, Season of Suffering

holocene

830 E Burnside St. Citizens!, Grayshot

3416 N Lombard St. Gazzookabazookaz, Full Moon Radio, Minty Rosa

hawthorne Theatre

3862 SE Hawthorne Blvd. The Green Carts, Jet Force Gemini, Mosby, Bellwether, The Fatty Rippers, The Starship Renegade, Truth Vibration, Lost & Found, The Kivett Bednar Band, The Charlie Darwins

holocene

1001 SE Morrison St. Foxygen, PURE X

1001 SE Morrison St. Gold Panda, Dauwd, DJ Tan’t

Kells

Katie O’Briens

Lola’s room at the crystal Ballroom

2809 NE Sandy Blvd. Ion Storm, Erik Anarchy, Not Sure, Super Desu

Kelly’s Olympian

426 SW Washington St. Snowy Plover, Ethereal and The Queer Show, Fang Moon

LaurelThirst

2958 NE Glisan St. Pagan Jug Band, Mimi & Jay Cobb

Mississippi Pizza

112 SW 2nd Ave. Pat Buckley, Irish Sessions

1332 W Burnside St. The Virgins, Har Mar Superstar, C.O.L.O.R.

Mississippi Pizza

3552 N Mississippi Ave. Hungry Hungry Hip Hop (9 pm); Rogue Bluegrass (6 pm)

Mississippi Studios

3939 N Mississippi Ave. Ducktails, Widowspeak, Mark McGuire

3552 N Mississippi Ave. Mental Hygiene, Rock Refuge (9 pm); the Onlies (6 pm)

rontoms

Mississippi Studios

rotture

3939 N Mississippi Ave. Lemolo, Sara JacksonHolman, The Cabin Project

Mt. Tabor Theater

4811 SE Hawthorne Blvd. Sonic Temple, Iceland, Western Family (lounge)

Peter’s room

8 NW 6th Ave. Ty Curtis Band and Kurt Van, Meter

record room

8 NE Killingsworth St. Jewelry Rash, A White Hunter, Million Brazilians

Shaker and Vine

2929 SE Powell Blvd. Nick Sweet Trio

Slabtown

1033 NW 16th Ave. Behead The Prophet NLSL, The Need, Jonny X and the Groadies, Disemballerina

Star Bar

639 SE Morrison St. Fireballs of Freedom, Black Pussy

Star Theater

13 NW 6th Ave. Iceage, Bellicose Minds, Still Caves, Sewers From Paris

The Know

2026 NE Alberta St. Lubec, Empty Rooms

The TardIS room

1218 N Killingsworth St. Bubble Cats, Burner Courage, Great Wilderness

Thirsty Lion

71 SW 2nd Ave. Gentlemen’s Club

White eagle Saloon

836 N Russell St. Western Haunts, Rich West Blatt and the Once In A While Sky (9:30 pm); The Student Loan (4:30 pm)

Wonder Ballroom

128 NE Russell St. Pickwick, Shy Girls

Sun. March 24 ash Street Saloon 225 SW Ash St.

600 E Burnside St. New Move, Cheers Elephant 315 SE 3rd Ave. Menace Ruine, Thrones, Waldteaful, Daniel Menche

Slabtown

1033 NW 16th Ave. Secnd Best, Angry Lions, Faithless Saints, Wet Sock

The Lovecraft

421 SE Grand Ave. Occultation, Borrowed Time, DJ Dennis Dread

White eagle Saloon 836 N Russell St. Walking Willows

MOn. March 25 Bunk Bar

1028 SE Water Ave. Animal Eyes, Ash Reiter, Pony Village, Couches, Talkative

4811 SE Hawthorne Blvd. Science, Cheers Elephant, the Junebugs, the Ruby Pines (lounge)

Valentine’s

232 SW Ankeny St. Grace Pool, Anemic Psychics

White eagle Saloon 836 N Russell St. Jolliff

Wonder Ballroom

128 NE Russell St. The Joy Formidable, Guards, Fort Lean

TueS. March 26 ash Street Saloon

225 SW Ash St. Graves at Sea, Ash Borer, Aldebaran, Ephemeros

Backspace

115 NW 5th Ave. Asteroid M, Ghost Animals, Haley Johnson, Toy Gun Conspiracy

Bunk Bar

1028 SE Water Ave. Miracles of Modern Science

dante’s

350 W Burnside St. Nu Sensae

doug Fir Lounge

830 E Burnside St. The Last Bison, Kris Orlowski

Goodfoot Lounge

2845 SE Stark St. The Roseland Hunters

hawthorne Theatre Lounge

1503 SE Cesar E. Chavez Blvd. Eric Vanderwall

hawthorne Theatre

3862 SE Hawthorne Blvd. Enter Shikari, Architects, Heartist, Crossfaith

holocene

1001 SE Morrison St. K. Flay

Jimmy Mak’s

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

Kells

112 SW 2nd Ave. Pat Buckley

Kelly’s Olympian

426 SW Washington St. Baby Soft, Derde Verde, The Brother Egg

Landmark Saloon

dante’s

4847 SE Division St. Rocky Butte Wranglers

doug Fir Lounge

2958 NE Glisan St. Jackstraw

350 W Burnside St. Karaoke From Hell

LaurelThirst

830 E Burnside St. Lianne La Havas, Jamie N Commons

Mississippi Pizza

hawthorne Theatre

Mississippi Studios

3862 SE Hawthorne Blvd. Andrew McMahon, Barcelona, Erland Wanberg

holocene

1001 SE Morrison St. Bad Weather California, the Blank Tapes, Sun Angle

Kells Brewpub

210 NW 21st Ave. Traditional Irish Jam Session

LaurelThirst

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

Mississippi Pizza

3552 N Mississippi Ave. Mr. Ben

Mississippi Studios

3939 N Mississippi Ave. Doldrums, Sean Nicholas Savage, Strategy

Mt. Tabor Theater

4811 SE Hawthorne Blvd.

3552 N Mississippi Ave. Sloe Loris 3939 N Mississippi Ave. Fol Chen, Royal Canoe

roseland Theater 8 NW 6th Ave. The Specials, Little Hurricane

rotture 315 SE 3rd Ave. Today Is the Day, Black Tusk, Kenmode, Fight Amp

Shaker and Vine

2929 SE Powell Blvd. Blake Lyman Quintet

Valentine’s

232 SW Ankeny St. Golden Retriever, Chuck Johnson, Danny Paul Grody, Plankton Wat

White eagle Saloon

836 N Russell St. Will West, the Druthers, the Sale

Wonder Ballroom

128 NE Russell St. Matt Costa, Carly Ritter, Sam Outlaw

MARCH 20–26

MUSIC CALENDAR

ON SALE NOW

KURT ARMSTRONG

BAR SPOTLIGHT

JU JUSTIN TIMBERLAKE The 20/20 Experience $11.95-cd/$21.95-lp

Timberlake returns with his third solo album that includes the single “Suit & Tie” with Jay-Z.

LOW OW The Invisible Way

$11.95-cd/$12.95-lp

Low’s 10th album was produced by Jeff Tweedy and recorded in Wilco’s studio in Chicago.

Food & Drink pg. 22 OENOGEEK CHIC: Although the bar is dubbed “savage” in French, nothing at Sauvage (537 SE Ash St., No. 102, 971-258-5829, sauvagepdx.com) falls below perfectly refined—except maybe the taxidermied goose imposingly perched on a stack of wine barrels. Hardly identifiable from the street, the entryway is marked by a chalkboard wall with “#102 Sauvage” scrawled next to a veiled door. The wine nook’s interior is as pretentious as the welcome suggests: Hanging glass orbs and candles make the mahogany tables glow, a mixture of fine art and wine barrels are against the walls, and the owners (appropriately named Nicolas Vernon Duff and Chris Vandersloot) prattle off varietals with tongue-twisting dexterity. This is oenogeek turf and don’t forget it, says the large glass door showing off Sauvage’s on-site winery, Fausse Piste. But after a whiff of Kobe beef carpaccio and a few glasses from the extensive wine list (try the flight of orange wines, $19, for something different), that taxidermied goose looks a lot more welcoming. ENID SPITZ.

BLACK RE REBEL MOTORCYCLE CLUB MOTO Specter At The Feast $11.95-cd

Rolling Stone has already called BRMC’s new release a “superb new album.” Also available on vinyl. Sale prices good thru 3.30.13

OUT THIS WEEK:

Billy Bragg • Clutch • London Suede • The Ocean Blue • Six Feet Under Marnie Stern • Swollen Members • Thalia Zedek • Sexmob • Josh Rouse

USED NEW &s & VINYL VD CDs, D FOR ANY & ALL USED CDs, DVDs & VINYL

DOWNTOWN • 1313 W. Burnside • 503.274.0961 EASTSIDE • 1931 NE Sandy Blvd. • 503.239.7610 BEAVERTON • 3290 SW Cedar Hills Blvd. • 503.350.0907 OPEN EVERYDAY AT 9 A.M. | WWW.EVERYDAYMUSIC.COM

Fez Ballroom

316 SW 11th Ave. DJ G Roy

Lola’s Room at the Crystal Ballroom

WED. MARCH 20 CC Slaughters

219 NW Davis St. Trick with DJ Robb

Dig a Pony

736 SE Grand Ave. Battles, Lamar

Ground Kontrol

511 NW Couch St. TRONix: Labwerx, Mike Gong, Bliphop Junkie

The Lovecraft

421 SE Grand Ave. Event Horizon: DJ Straylight, DJ Backlash

THURS. MARCH 21 CC Slaughters

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

Ground Kontrol

511 NW Couch St. \JOYSTICK/

Holocene

1001 SE Morrison St. Night Moves: Sex Life DJs, DJ Cooky Parker, DJ Freaky Outty

Slabtown

1033 NW 16th Ave. DJ Sweet Jimmy T

Star Bar

639 SE Morrison St. DJ Jake Cheeto

The Lovecraft

421 SE Grand Ave. Synthicide: Tom Jones, Erica Jones, Jared White, Luke Buser

The Rose

111 SW Ash St. Club Chemtrail #4: DBC DJs, Nathan Detroit, Massacooramaan, SPF666, Commune

The Whiskey Bar

31 NW 1st Ave. Bass Cube: Bare, Kellan, Ekim

Valentine’s

232 SW Ankeny St. DJ Johnny Clowdus

FRI. MARCH 22 Boxxes 1035 SW Stark St. Decadent 80’s: DJ Non, DJ Jason Wann

CC Slaughters

219 NW Davis St. Sound Glitter with DJ Peter Calandra

Dig a Pony

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

Mt. Tabor Theater

4811 SE Hawthorne Blvd. Hip Hip and Zouk II: Bel Mizik and the Balkans, the Resistance, DJ Snackmaster (theater); Dementia: DJ Non (lounge)

Rialto Pool Room

529 SW 4th Ave. Dj Missionary, DJ Kryptic

The Lovecraft

421 SE Grand Ave. DJ Maxamillion

SUN. MARCH 24 Dig a Pony

Goodfoot Lounge

736 SE Grand Ave. Boom Wow Records Three Year Anniversary Party

Holocene

639 SE Morrison St. DJ Nico

736 SE Grand Ave. Sex Life DJs, Icarus 2845 SE Stark St. Soul Stew: DJ Aquaman 1001 SE Morrison St. Dropping Gems x Bubblin’: Bok Bok, SPF666, Lincolnup, Ben Tactic, Jffry Dhmr

Lola’s Room at the Crystal Ballroom

1332 W Burnside St. ‘80s Video Dance Attack

Star Bar

639 SE Morrison St. Blank Friday: DJ Paultimore

SAT. MARCH 23 Branx

320 SE 2nd Ave. Blow Pony

CC Slaughters

219 NW Davis St. Revolution with DJ Robb

Star Bar

MON. MARCH 25 Dig a Pony

736 SE Grand Ave. Courtship: DJ Troubled Youth

Ground Kontrol

511 NW Couch St. Service INDUSTRIAL: DJ Tibin

TUES. MARCH 26 Eagle Portland

835 N Lombard St DMTV with DJ Danimal

Star Bar

639 SE Morrison St. DJ Smooth Hopperator

The Lovecraft

421 SE Grand Ave. DJ Worm, Murderbait

Willamette Week MARCH 20, 2013 wweek.com

UPCOMING IN-STORE PERFORMANCES RODRIEL & GABRIGO, THE INSANITIZERS FRIDAY 3/22 @ 6 PM

Rodriel & Gabrigo, The Insanitizers, use both whimsy and precision to fuse rockabilly with flamenco into flamencobilly. This new genre carries all the energy, tension, mystery, and showiness of both, without the melancholy. “Wild Surf Guitars”, the latest release from the Insanitizers, includes three recordings by Rodriel & Gabrigo.

IVAN & ALYOSHA

SUNDAY 3/24 @ 3 PM

The Seattle combo delivers its songs of struggle, perseverance and spirituality with a resilient, upbeat attitude that’s reflected in their bubbly brew of stirringly strummed folk-rock guitars, surging instrumental interaction and a bright, buoyant blend of voices, evoking a timeless pop ideal that’s as affecting emotionally as it is pleasing to the ear. “All the Times We Had” perfectly encapsulates their blend of rousing songcraft, infectious melodic hooks and thoughtful lyrical introspection.

PHEASANT

THURSDAY 3/28 @ 7 PM

From its roots in lead singer Matt Jenkins’ lone guitar to the dynamic combo they are now, Pheasant has always been about the songs. Through their early lineup changes, the songs have remained as the beating core—have expanded and evolved into the tightly orchestrated folk/pop tunes they are now. “Gravel Beach” chronicles the band’s growth and maturity, while still keeping their good-natured hooks intact. THE 5TH ANNUAL ‘SINGING FOR DISCOUNTS’ STARTS APRIL FOOLS DAY!

GO TO WWW.MUSICMILLENNIUM.COM FOR DETAILS

Willamette Week MARCH 20, 2013 wweek.com

march 20–26

= 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 Bill W. and Dr. Bob

Pure propaganda for the healing powers of Alcoholics Anonymous. No scene is without its thudding didactic purpose, and all dialogue is so onthe-nose that one would think the play’s a bloody-faced boxing match. MATTHEW KORFHAGE. The CoHo Theater, 2257 NW Raleigh St., 715-1114. 7:30 pm Thursdays-Saturdays, 2 pm Sundays through March 30. $20-$25.

Guapa

In Caridad Svich’s English-language play, a young woman in a Texas border town, who dreams of becoming a soccer star, befriends a single mother. Miracle Theatre, 525 SE Stark St., 236-7253. 7:30 pm Thursdays, 8 pm Fridays-Saturdays, 2 pm Sundays through April 13. $17-$30.

Hard Times Come Again No More

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 for Sowelu Theater, 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. 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 manner that’s believably realistic. As the play moves on, tensions boil over and the strike begins to have an effect. 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 ThursdayFriday, 2 and 7:30 pm Saturday, March 21-23. $12-$25 sliding scale.

In the Next Room (Or the Vibrator Play)

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. Set in the 1880s, Sarah Ruhl’s intelligent comedy revolves around Dr. Givings, 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. Triangle Productions plays In the Next Room more for comic effect than for social commentary, 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., 239-5919. 7:30 pm Thursdays-Saturdays, 2 pm Sundays through March 31. $15-$35.

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

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. The production goes fullthrottle ‘50s with comedic overacting, a flashing applause sign and cheesy product placement. 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, 3459590. 7:30 pm Thursdays-Saturdays, 2 pm Sundays through March 24. $18-$26.

Mother Teresa Is Dead

[NEW REVIEW] Trembling and anxious, young mother Jane (Nikki Weaver) tells middle-aged expat Frances (Gretchen Corbett) that she doesn’t remember coming to India. But she knew she needed to help someone, or do something simple, and that’s what compelled her to leave England, unannounced, to pursue charity work in Madras. Jane, though, isn’t well. Is it a mental health crisis? A crisis of conscience? After hoping to aid others, Jane ends up in need of help when she’s found alone and wailing in a public square. Helen Edmundson’s Mother Teresa Is Dead picks up as Jane’s husband, Mark (Chris Harder), arrives from England to retrieve his wife, and the unfolding drama pulses with fraught emotion but occasionally slips into flat characterization. Slick, British-educated aid worker Srinivas (Luke Bartholomew) is a cad who’s suave enough to sound well-meaning; Mark espouses racist and paternalistic views without fully realizing it; Frances and Jane are ofthysterical women subject to masculine manipulations. Edmundson’s play is thorny, and it frustrates in places where it should unsettle. But, as ever from Portland Playhouse, the production is deeply felt: The performers bring vulnerability and nuance to roles that can feel one-dimensional, and Isaac Lamb’s taut direction imbues the action with palpable emotional suspense. REBECCA JACOBSON. Portland Playhouse, 602 NE Prescott St., 4885822. 7:30 pm Thursdays-Saturdays, 2 pm Saturdays-Sundays through April 7. $23-$32.

Mythology 10-Minute Play Festival

Tie your toga: Monkey With a Hat On presents 11 short, mythology-themed plays featuring Greek gods, Kool-Aid and Jesus. Clinton Street Theater , 2522 SE Clinton St., 238-8899. 7 pm Thursday and Sunday, March 21 and 24. $5.

Play Time With Pete and Randy

Blame Avenue Q for the adult puppet-show trend: Pete and Randy are puppies (their puppeteers are Bill Holznagel and Jason Miranda) who hate felines, love pranks and have a knack for biomechanical engineering. Action/Adventure Theatre, 1050 SE Clinton St. 8 pm Friday-Saturday, March 22-23. $10.

Red Herring

The title of Red Herring is—surprise!— a red herring. The play’s murder is no mystery whatsoever, and the only complicated procedural on display is in the vaudevillian slapstick of the dialogue. Herring is an enjoyably farcical romantic comedy disguised as a hard-boiled detective farce. 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 WednesdaysSundays, 2 pm Sundays through March 23. $25-$50.

PREVIEW TA R I N A W E S T L u N D

PERFORMANCE

St. Nicholas

New company Corrib Theatre, devoted to Irish theater, presents its first full production. Ted Roisum stars in Conor McPherson’s one-man show about a cynical theater critic who follows a pretty, young actress to London, where he’s pulled into a coven of vampires. Kells, 112 SW 2nd Ave., 3890579. 7:30 pm Mondays-Wednesdays through April 3. $15.

The Whipping Man

In Matthew Lopez’s drama, which takes place just as the Civil War has ended, a wounded Confederate soldier (Carter Hudson) heaves 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 Seder in the half-demolished manor. That house—with its moldering wallpaper, cockeyed banister and blastedout 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. 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.

The Winter’s Tale

Northwest Classical Theatre Company presents the Bard’s tragicomedy, which swirls together buffoonish shepherds, romance and a very hungry bear. Shoe Box Theater, 2110 SE 10th Ave., 971-244-3740. 7:30 pm Thursdays-Saturdays, 2 pm Sundays through April 28. $18-$20.

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 Three Days of Rain, directed by Tom Moorman in an uneven Defunkt production. Its structure is elegant and its language hyperarticulate, but behind its clean exterior there’s a thorny emotional through-line. In the first act, 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—but cold and taciturn with his children. In act two, Greenberg jumps 35 years back in time, and we meet the previous generation. The parallel structure offers a fascinating prism through which to examine the legacies and secrets parents hand down. But after a vigorous first act, in which Moorman and his cast construct a sturdy and compelling edifice, the peek behind the façade proves unsatisfying. REBECCA JACOBSON. The Back Door Theater, 4319 SE Hawthorne Blvd., 481-2960. 8 pm ThursdaysSundays through March 23. $15-$25 Fridays-Saturdays, “pay what you can” Thursdays.

COMEDY & VARIETY Bob Saget

Does it get more vulgar than Bob Saget? Probably. But when the jokes are coming from a man who made his name in a family sitcom, it’s just that much raunchier. Helium Comedy

CONT. on page 36

THE CITY OF TOMORROW French-horn player Leander Star and his partner, flutist Elise Blatchford, had already rented a truck to move from Chicago back to his hometown of Portland when they got the news. Their year-old wind quintet, the City of Tomorrow, was among 12 wind groups selected from more than 120 entries to compete in the annual Fischoff Competition, the world’s biggest chamber-music contest. “It was our first competition, and we didn’t know what to expect,” Star says. “We were all really poor, and so we shared a single hotel room between the five of us. ” They were even more surprised when they won the gold medal— the first wind quintet in a decade to take the top prize, which brought national acclaim and a victory tour, making the group one of only a handful of wind quintets that plays new music and tours. That 2011 victory convinced the young band members (all then under 30) they had a future—even though one member left to join the Navy band, and the rest scattered: Blatchford and Star to Portland, others to New York City and San Antonio, leaving only oboist Andy Nogal in Chicago. Can a group that requires rigorous rehearsal really sustain itself despite geographic dispersion? “It is unusual, but at this point, thanks to technology, it’s less of a problem than it would have been years ago,” Nogal says, noting that rock bands such as the aptly named Postal Service have maintained long-distance relationships by exchanging ideas via Bandcamp and email. “It means that all the ideas have to be big, because just to bring us together requires so much time and energy and money.” This year’s big project is the quintet’s first West Coast tour, which includes tonight’s headlining show at the Alberta Rose Theatre and two March Music Moderne concerts. The group will play medieval-influenced, pastoral music from a 1939 film score by great French composer Darius Milhaud, and several works that use modern rhythms and harmonies in playful ways. These include “Arabesques” by contemporary Finnish composer Magnus Lindberg (a one-time ’80s Berlin punkrocker), which swings from gentle to boisterous and back; and Italian modernist Luciano Berio’s joyfully jittery “Occurrences.” Fiercer than other chamber music, it’s not afraid to be fun. Despite challenges posed by distance, living in relatively low-cost Portland offers its own advantages. Star and Blatchford quickly found gigs in the city’s burgeoning indie-classical and theater scenes, and the band participated in Portland Cello Project’s live performance of Radiohead’s OK Computer last fall. “The way we live here is very cheap, so we have the freedom to do the quintet stuff,” says Star, a former Portland Youth Philharmonic member. ”You can be grounded in this really grounding place and be nomads the other half of the year. That is a luxury that Portland has given us.” BRETT CAMPBELL.

a wind quintet, scattered to the four winds.

see it: The City of Tomorrow plays the Alberta Rose Theatre, 3000 NE Alberta St,, on Wednesday March 20. 7:30 pm. $10-$17. Willamette Week MARCH 20, 2013 wweek.com

2 YEAR ANNIVERSARY PARTY

Hula Dancers Live music by Kaloku Holt Giant Jenga Tournament

MARCH 20–26

Club, 1510 SE 9th Ave., 888-6438669. 8 pm Thursday, 7:30 pm and 10 pm Friday-Saturday, March 21-23. $30-$35.

FESTIVITIES INCLUDE:

3 Shells for $5

PERFORMANCE

10% of proceeds for the entire week will be donated to a charity chosen by our customers.

Raffle for 2 prize packages including 1lb. of fresh root Opihikao kava and a Fijian strainer bag ($65 value)

ALL DAY MARCH 22nd

ing singer Catherine Olson, violinist Tylor Neist and NWNM founders Florian Conzetti on percussion and cellist Diane Chaplin in solo works, duos, trios and quintets, including Berio’s tribute to the just-murdered Martin Luther King, Salonen’s ferocious Yta III (musically depicting a moth incinerated in a ﬂame) and Donatoni’s wild woodwind excursions. Community Music Center, 3350 SE Francis St., 753-3357. 7:30 pm Saturday, March 23. $25.

Double Header: Fit to Print and Instant Comedy

For Fit to Print, the Curious Comedy Playas improvise sketches based on newspaper headlines. Next, ﬁve local comics riﬀ on topics provided by the audience. Curious Comedy, 5225 NE Martin Luther King Jr. Blvd., 4779477. 8 pm Friday-Saturday, March 22-23. $12-$15.

Opera on Tap Seattle

Invading Valkyries from the northland cross the river and invade Classical Revolution’s wonderfully informal Waypost space! Not exactly. The organization may be based in the legendary lands of legal pot and marriage equality, but almost all the singers come from Portland Opera’s excellent studio artist program, Opera Theater Oregon and Portland Opera to Go. They’ll sing well-known operatic gems by Mozart, Bernstein, Bizet, Puccini, Wagner and more. The Waypost, 3120 N Williams Ave., 3673182. 8 pm Sunday, March 24. $5. 21+.

CLASSICAL Cantores in Ecclesia

One of the Northwest’s ﬁnest choirs celebrates the Christian Holy Week with one of the most moving English choral masterpieces, Thomas Tallis’ Lamentations of Jeremiah, along with equally divine vocal masterworks by fellow Renaissance masters. St. Stephen’s Church, 1112 SE 41st Ave. 3 pm Sunday, March 24. $15-$20.

Oregon Symphony

Contemporary Portland Orchestra Project

Music froM your backyard. twitter.com/localcut • facebook.com/localcut

Russian pianist Kirill Gerstein stretches his hands to the limit to play Rachmaninoﬀ ’s ﬁrst piano concerto, and Jun Märkl leads the orchestra in Dvorak’s Symphony No. 8 and Liszt’s dramatic tone poem Prometheus. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 228-1353. 7:30 pm Saturday-Sunday, March 23-24. $21-$96.

Another newcomer to Portland’s ﬂourishing new-music scene focuses on young, local and other West Coast composers, particularly those who embrace contemporary electronic and other sounds. This after-hours March Music Moderne concert includes new music by Joe Colombo, Danny Clay, CPOP founder Justin Ralls and Charles Copeland, along with one of the great, living American composers, Alaska’s John Luther Adams. Bamboo Grove Salon, 134 SE Taylor St., 236-0386. 11 pm Friday, March 22. $10.

Portland Baroque Orchestra

One of Europe’s most respected contemporary Baroque music conductors, Rinaldo Alessandrini, leads our local period-instrument specialists (who just got a lot of practice playing George Frideric Handel’s music in Portland Opera’s current production of Rinaldo) in one of the most ebullient works of the era: Handel’s Water Music. Commissioned by King George I, the music was ﬁrst played for him on a barge in the Thames, and he liked it so much he demanded two complete encores. Modern audiences have similar feelings, as it remains one of the most popular Baroque hits. The concert contains another exuberant Baroque masterpiece: dance music from JeanPhilippe Rameau’s Les Boréades. Sunday’s performance is at Reed College’s Kaul Auditorium (3203 SE Woodstock Blvd.). First Baptist Church, 909 SW 11th Ave., 222-6000. 7:30 pm Friday, 3 pm SaturdaySunday, March 22-24. $18-$54.

The Ensemble

The mid-sized choir that consists of the cream of the crop of the city’s larger choral organizations offers another too-rarely performed masterpiece: Haydn’s 1767 Stabat Mater. Modeled in part on Pergolesi’s famous setting of the biblical text about the suffering of Jesus’ mother, it was Haydn’s best-known sacred work in his lifetime. But these days, when heard at all, its clarity is often muddied by bloated forces rather than what Haydn’s score specifies: an ensemble of just this size (12 singers, seven instrumentalists). This is a rare chance to hear a classic the way the composer intended it. St. James Lutheran Church, 1315 SW Park Ave., 227-2439. 8 pm Friday, March 22. $15-$20.

Portland Opera, Portland Baroque Orchestra

Gordon Lee, Mel Brown Septet, Amedei Cello Quartet

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 epic, Rinaldo, features a stellar cast and some of the most beautiful tunes of the Baroque era, conducted by Gary

Jazz fans know Gordon Lee as one of Oregon’s most valuable veteran improvising players, composers and educators. He’s also written for classical forces for many years, and this March Music Moderne concert features world premieres of three original classical works for the Amedei Cello Quartet, pianist Janet Coleman and violinist Adam LaMotte and a jazz piano concerto for the great Mel Brown Septet with longtime comrade Lee as a soloist. The Old Church, 1422 SW 11th Ave., 222-2031. 7:30 pm Wednesday, March 20. $15.

The city’s newest new-music ensemble is ﬁlling a gap our other estimable contemporary classical groups just don’t have room to thoroughly explore: European midcentury modern music. This March Music Moderne concert focuses on music by inﬂuential 20th-century Italian composers Luciano Berio and Franco Donatoni, plus three of the latter’s students: New York Philharmonic composer-in-residence Magnus Lindberg and his fellow Finn former Los Angeles Philharmonic conductor Esa-Pekka Salonen and English composer Robert Keeley. Guest artists the City of Tomorrow woodwind quintet join Third Angle pianist Susan Smith, spellbind-

Willamette Week MARCH 20, 2013 wweek.com

Third Angle

In some musically progressive cities, too many narrow-minded major classical institutions seem to wrongly define classical music as musty museum music written by long-dead Europeans. It’s refreshing—and essential—to have groups like Third Angle who properly treat it is a living tradition. Last year’s first installment of New Ideas in Music proved contemporary classical music written by 20- and 30-somethings can be at least as vibrant as modern pop and rock. This year’s finalists, chosen from dozens of submitted string quartets, include new works by composers from Portland, Forest Grove, Kansas City, Australia, the Netherlands and Wisconsin. The winner, chosen at the concert, will receive a $2,500 prize. It’s a chance to hear the classical music of tomorrow. Lincoln Hall, Portland State University, 1620 SW Park Ave., 331-0301. 7:30 pm Thursday, March 21. $5-$35.

DANCE Columbia Dance Company Spring Gala

The Vancouver, Wash., dance company for students ages 12-20 holds its signature concert. Pieces include excerpts from the classic comic ballet Coppélia, as well as new works by company alumnae. Artistic director Jan Hurst offers three works, one an en-pointe solo by Laura Branfield. Éowyn Emerald and Lyn Wiltshire offer contemporary pieces that showcase duality, subtlety and aggression. Royal Durst Theatre, Vancouver School of Art and Academics, 3103 Main St., Vancouver, 360-737-1922. 2 pm and 7 pm Saturday, March 23; 1 pm and 5 pm Sunday, March 24. $12-$15.

Illstyle and Peace Productions

White Bird presents the Philadelphia hip-hop group founded by Brandon Albright. Twelve dancers—many of them former street performers— bring together tap, ballet, house and contemporary dance. The high-energy show also features DJing and beatboxing. Lincoln Hall, Portland State University, 1620 SW Park Ave., 725-3307. 8 pm ThursdaySaturday, March 21-23. $20-$30.

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. Studio 14, 333 NE Hancock St. 8 pm Fridays, March 22 and 29. $10-$15.

For more Performance listings, visit

JOKE IN A BOX BEOWULF SHEEHAN

Northwest New Music, City of Tomorrow

Thor Wedow. 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.

DAVE HILL What are your impressions of Portland? Portland doesn’t seem to skimp on drifters, which is great for me. Also, last time I was in town, I was presented with a large doughnut in the shape of male genitals. I realize the locals probably take that sort of thing for granted by now, but being a guy from Cleveland who has spent most of his life having to put totally regular doughnuts into the shape of male genitals himself all the time, I really appreciate how much time this saves me. GO: Dave Hill is at Funhouse Lounge, 2432 SE 11th Ave., on Thursday, March 21. 8 pm. $10-$12. 21+.

VISUAL ARTS

march 20–26

= 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.

Liston to parody tri-monikered artist calvin Ross carl’s oft-stated aversion to trendy “deer art.” This yawnprovoking exhibit consists of five drawings, a painting and a greenand-yellow wooden panel with an orange safety jacket hung over it. While each of these artists does superb work on his own, their lackluster joint effort doesn’t exceed the sum of its parts. Yes, “deer art” is an annoying trend, but a “meta” piece about deer art is just plain tedious. Through March 30. PDX Window Project, 925 NW Flanders St., 2220063.

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.

Sophia Wallace: Truer

lorca by david nielsen

Adam Sorensen: The Optimist

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

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 age 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 four years later, after a recent car accident left him with broken ribs and a punctured lung, he’s just happy to be here. his new paintings have an earnest, workmanlike quality informed by hours of 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

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 intends to pierce our shallow, consumerist 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.

David Nielsen

There’s a nifty materiality to david Nielsen’s text-based acrylic paintings. in pieces such as Lorca, the letters are raised in relief against the picture plane, while in others, words are layered manically atop one another to the point of illegibility. Most relate tragicomic or bittersweet personal narratives with droll humor. With their fetishization of alphanumeric characters, these pieces share a lineage with military stencils (think M*A*S*H) and ransom notes. if you’re not interested in the text’s content, chances are you’ll be taken in by the handling of materials, and vice versa. Nielsen is a relatively new arrival on the portland art scene, but he has a cool bag of tricks. it will be interesting to see how he evolves this conceit in future shows. Through April 2. La Merde at Le Bistro Montage, 301 SE Morrison St., 234-1324.

Deer Kalvin Wross Karl

Three white male artists making an art-world in-joke about another white male artist: That’s the basic premise of Deer Kalvin Wross Karl, this month’s window project at pdX contemporary. Gabriel Liston is the only one of these blokes who goes by only two names. The others, Timothy Scott dalbow and Scott Wayne indiana, joined forces with

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.

Stephen Scott Smith: Seeyouyousee

Stephen Scott Smith worked on Seeyouyousee for 60 days, carving 10,000 pounds of plywood into a fully immersive installation. a sophisticated handler of diverse media, he’s appointing the show with sculpture, video, closed-circuit television, reflective objects and light effects. he often references nostalgia and personal biography in his work, and while some of his past shows have bordered on the solipsistic, they have never wanted for sheer visual panache. it will be fascinating to see how the artist’s vision has matured since his show two years ago at Breeze Block. Through April 20. Breeze Block Gallery, 323 NW 6th Ave., 318-6228.

The End and After

Bullseye’s previous show was about memento mori; the current one is about apocalypse. The staff should start handing out Zoloft to gallery visitors. despite the moribund theme, the new exhibit, The End and After, is surprisingly lively, with oil paintings and kiln-formed glass works by Michael endo and mixedmedia pieces by Stacy Lynn Smith. The most striking of these is Smith’s interactive Blue Spark, which invites viewers to pull a pin out of a steel contraption, which makes a rectangle of glass crash to the floor and shatter. The sound of the shattering is amplified and made to reverberate by four microphones, which are hooked up to an eerie sound installation designed by Robert Burns. Through April 27. Bullseye Gallery, 300 NW 13th Ave., 227-0222.

For more Visual arts listings, visit Willamette Week MARCH 20, 2013 wweek.com

BOOKS

MARCH 20–26

= WW Pick. Highly recommended.

wIn a paIr of tIckets to the InternatIonal craft dIstIllers revIval

March 22-23

@ the world trade center! Go to wweek.com/promotions

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.

THURSDAY, MARCH 21 Puppetry/Poetry

If you ﬁnd poetry a little dry and inaccessible, you clearly haven’t tried it with puppets. Poet Deborah Poe (Keep) and writer Maryrose Larkin (The Identiﬁcation of Ghosts) will read from their work. Michiganbased shadow-puppet artist Patrick Elkins will perform his newest work: A series of 101 shadow-puppet plays performed in less than 30 minutes. Let the magic begin. Milepost 5, 850 NE 81st Ave., 729-3223. 8 pm. Free.

Think & Drink 2013

Exploring a complicated, often-abusive relationship in a new season of public discourse on the theme “How to Love America,” the Oregon Humanties’ Think & Drink series kicks oﬀ with the lecture “Dissent and Defend.” Georgetown University history professor and Dissent magazine co-editor Michael Kazin will join Steven T. Wax, federal public defender for the District of Oregon, to discuss civic dissent and the defense of civil rights. Mission Theater, 1624 NW Glisan St., 2234527. 6:30-8 pm. Free. 21+.

The Top 10 Things in Portland and the World.

Joshua Mohr

Yet another middle-aged man dealing with the frustration of modern suburbia, Bob Coffin finally snaps when his neighbor’s SUV runs his bike off the road. Author Joshua Mohr will read from his new novel, Fight Song, joined by Portland authors Patrick DeWitt (The Sisters Brothers) and James Bernard Frost (A Very Minor Prophet). Powell’s City of Books, 1005 W Burnside St., 2284651. 7:30 pm. Free.

Mondays on

4S WWeek BW Ad: CL12/Dvorak Runs: 3/20

FRIDAY, MARCH 22 Luisah Teish

Teacher, author and Oshun chief Luisah Teish will read from and discuss selections from her famous book Jambalaya: The Natural Woman’s Book of Personal Charms and Practical Rituals, as well as from her new book, On Holy Ground: Commitment and Devotion to Sacred Lands. Practical charms for the Portland woman on the go. In Other Words, 14 NE Killingsworth St., 232-6003. 7 pm. $10-$20 suggested donation.

“Brilliant, perceptive and stunningly fresh.”

Elissa Altman

The New York Times

Dvorˇák’s Eighth Symphony March 23 | Sat 7:30 pm March 24 | Sun 7:30 pm Jun Märkl, conductor • Kirill Gerstein, piano Liszt: Prometheus • Rachmaninoff: Piano Concerto No. 1 Dvorˇák: Symphony No. 8 (“English”)

Liszt’s romantic Prometheus sets the tone for Jun Märkl’s Portland debut concert, with Rachmaninoff ’s lush Piano Concerto No. 1 as its centerpiece. The sumptuous evening closes with Dvorˇák’s sunny Eighth Symphony. Tickets start at just $21 Groups of 10 or more save: 503-416-6380

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

SCHNITZER

SUNDAY, MARCH 24 David Shields

Genre-defying author David Shields uses himself as a case study for readers and writers who seek literary salvation, combining criticism and autobiography in his new book, How Literature Saved My Life. Powell’s City of Books, 1005 W Burnside St., 228-4651. 7:30 pm. Free.

Laura Read and Maya Jewell Zeller

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

James Beard Award-winning writer Elissa Altman combines a love story of humor and honesty with 27 recipes, illustrating how we are directly linked with what we feed ourselves and the people we love in her new book, Poor Man’s Feast: A Love Story of Comfort, Desire and the Art of Simple Cooking. What does that say about our obsession with pork belly? Powell’s City of Books, 1005 W Burnside St., 2284651. 7:30 pm. Free.

CONCERT

Willamette Week MARCH 20, 2013 wweek.com

HALL

Laura Read, winner of the 2011 Donald Hall Prize for Poetry, explores how the loss of a parent at a young age can aﬀect a child well into adulthood in her book of poems Instructions for My Mother’s Funeral. She will be joined by Maya Jewell Zeller reading from her debut poetry collection, Rust Fish. Powell’s

on Hawthorne, 3723 SE Hawthorne Blvd., 228-4651. 4 pm. Free.

TUESDAY, MARCH 26 Nerd Nite: Sex, Dying and the Future

Appealing to the inner geek in us all, new monthly event Nerd Nite will host a variety of scientists, artists and nerdy experts to speak on titillating topics of the intellectual persuasion. For the inaugural Nite, sexuality educator L. Kris Gowen will discuss the science of

sex in “Who Turns You On?,” science teacher Anders Liljeholm will talk about pontiﬁcators of the past in “Predicting the Future!” and scienceﬁction writer Jay Lake will tackle the humorous side of his incurable case of colon cancer in “Cancer, Baby, Won’t You Hurry Up My Chimney Tonight?” Mission Theater, 1624 NW Glisan St., 223-4527. 7 pm. $8. 21+.

Unchaste Readers

This lineup for the quarterly series of “women reading their minds” will feature Jenna Zine, Nora Robertson, a.m. O’Malley, Jill Greenseth, Nathalie Weinstein and Milcah Orbacedo. The Blue Monk, 3341 SE Belmont St., 595-0575. 7 pm. $5. 18+.

For more Books listings, visit

REVIEW

FIRE AND FORGET Fire-and-forget missiles are launched and then left to their own devices, whizzing toward inevitable destruction. The veteran authors of Fire and Forget: Short Stories From the Long War (Da Capo Press, 234 pages, $15.99) are on a mission to ensure U.S. soldiers aren’t similarly treated. Their compilation is a grim expedition to the front lines and back home, giving a personal face to the desert wars that linger in soldiers’ lives long Born on the 11th of after they’ve left the sand. September. “ We all know happiness throws white ink against a white page. What we need is darkness for the meaning to come clear,” explains Colum McCann’s foreword. There is plenty of darkness on these pages. The front line in “Red Steel India” flows mind-numbingly by in a montage of jacking off, video games and suicide bombers. Between deployments, an Army scout in “And Bugs Don’t Bleed” wakes up, hung over and newly single, and slaughters his young neighbor’s chicken just to kill. “Big Two-Hearted Hunting Creek” sees two veterans fishing. Picturesque, until one beheads a trout with his teeth and the other exposes his mutilated privates (no pun intended) to nearby picnickers. In “Play the Game,” the game is apparently to drink until you black out, harass police and yell “fuck this shit!” in In-N-Out Burger. The personal face of war, it seems, is teeming with hopelessness. It is also as masculine as a Hemingway novel: There’s just one female author. At worst, the compilation reinforces negative soldier stereotypes. Almost every story is underlined by a dismal relationship, at times reducing the compilation to a narrative of failed couple’s therapy. It is an isolated snapshot: young male Army infantry in a world of cursing, alcohol and PTSD. As one author puts it: “The Army is everywhere. Look around, all you can see is porn shops, drug stores and chain restaurants.” But at best, Fire and Forget gives human features to distant wars. A few standouts, ensnaring readers without sugar-coating, save the collection from being an overly painful slog. “Poughkeepsie,” in which an AWOL soldier dreams of woodland bunny armies, is a welcome comedic respite. And Gavin Kovite’s choose-yourown adventure story puts readers in the action: “At the front of your field of vision is the enormous black barrel of an M2.50 caliber machine gun...that shoots rounds the size of small dildos.” It’s hard to seduce readers when you begin, as the foreword does, by calling them “wadded with lies.” It’s harder still when the alternative you offer is a depressing world of emotionally mauled figures in failing relationships. Fire and Forget, like almost any war, is an uncomfortable look into the dark corners of humanity. ENID SPITZ. GO: Roy Scranton, David Abrams and Gavin Kovite will be at Powell’s City of Books, 1005 W Burnside St., on Wednesday, March 20. 7:30 pm. Free.

maRch 20–26

= WW Pick. Highly recommended. 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.

20,000 Leagues Under the Sea

[ONE NIGHT ONLY, REVIVAL] The silent 1916 film, based on Jules Verne’s novel, gets live musical accompaniment from experimental orchestra Bent Knee. Hollywood Theatre. 8 pm Thursday, March 21.

21 and Over

From the 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. Eastport, Clackamas, Forest, 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 transient junkie. 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. But what really hammers Alien Boy home is not how he died but how he lived. The film dives deeply into the life of a man who touched countless lives through the pioneering position he held in Portland’s early punkrock scene. Chasse was starting to slip through the cracks, but before he fell, his life was extinguished by those charged with protecting him. AP KRYZA. Living Room Theaters.

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. It’s one of 2012’s best pictures. R. AP KRYZA. CineMagic, Living Room Theaters, Lloyd Mall, Tigard.

Barbara Stanwyck: The Miracle Woman

[ONGOING SERIES, REVIVAL] The Northwest Film Center’s tribute to the Hollywood star continues with Witness to Murder (9 pm Saturday, March 23), in which Barbara Stanwyck sees someone strangled across the street and sets out to prove the killer’s guilt, and the screwball comedy Ball of Fire (7 pm Thursday and 5 pm Sunday, March 21 and 24). Rounding out the week are Meet John Doe (7 pm Friday and Monday, March 22 and 25), with Stanwyck as a fired journalist who gets herself into trouble, and Baby Face (7 pm Saturday-Sunday, March 23-24), in which she plays a seductive golddigger. NW Film Center’s Whitsell Auditorium. Through March 31.

The Call

C- Apparently in a stiff competition

with Cuba Gooding Jr. and Adrien Brody to see who can stretch the goodwill of an Oscar win the farthest without snapping it completely, Halle Berry knows no bounds. The Call is beneath an actress of her caliber. It’s pulpy, shticky, slimy, manipulative and bombastic. But here’s the problem: For a while, The Call is a good film, and there’s a sense of real peril. Then, just as it brings all its nifty tricks and narrative sucker punches to a climax, it becomes the worst kind of terrible: the predictable, sleazy, torture-porn kind of horrible. Berry plays Jordan, a topnotch Los Angeles 911 operator jarred into a catatonic state of failure when she inadvertently helps a murderer capture and kill a young girl. But she springs back into action when she’s

forced to take a call from an abducted teenager (Little Miss Sunshine’s Abigail Breslin). At the film’s core is a compelling story of using minimal means to save a child. It’s at once frustrating and breathless. Then logic itself totally leaves the equation, with the film spiraling into standard horror fare when Breslin and her kidnapper arrive at a creepy murder den. What’s most frustrating is that Anderson has taken a great—if sloppily executed—potboiler of a premise and boiled it down to the basest, most contrived and idiotic revenge fantasy imaginable. Berry and Breslin, for some reason, give it their all, but it’s almost sad to see such fine performances undercut by a narrative that feels the need to pander to moronic urges. R. AP KRYZA. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Lloyd Center, City Center, Division, Evergreen Parkway, Pioneer Place, Sherwood, Tigard, Wilsonville.

The Croods

B So here’s the thing: The Croods

fails to conjure a complex or logically consistent world. It fails to populate that world with credible characters, or to usher those characters through a series of dramatically satisfying trials. But so what? This is primitive, pre-Pixarian family entertainment at its most rambunctious. Psychedelic, exuberant and dumb, The Croods, written and directed by Chris Sanders and Kirk DeMicco, harks back to a simpler time when so-called “family films,” including animated features from major studios like Warner Bros. and DreamWorks, were permitted— nay, expected—to be willfully incoherent, so long as they served up thrills, spills, zingers, romance and a healthy dose of innocuous schmaltz. Now, for better or for worse, filmgoers weaned on Pixar and Studio Ghibli have come to expect—nay, demand—sophistication and subtlety, not to mention visual pyrotechnics, from second-tier animated films (Ice Age, Madagascar) that are, at their core, frivolous entertainment created to engage the imaginations of young children. Of course, not every animated feature can be WALL-E; some of them have to be The Croods. In a nutshell: Nic Cage, voicing a knuckle-dragging caveman, cracks wise, pulls faces and delivers zany, half-cooked monologues on death and love and family amid stunning, oversaturated landscapes that evoke both Dr. Seuss and early Tex Avery-era Looney Tunes. Allow me to reiterate: Nic Cage, cavemen, zaniness. That’s all you need to know, that’s pretty much all you’ll get, and that ain’t necessarily a bad thing. PG. MARSHALL WALKER LEE. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Lloyd Center, Bridgeport, City Center, Division, Evergreen Parkway, Lloyd Mall, Pioneer Place, Sherwood, Tigard, Wilsonville, Sandy, 99 West Drive-In, Lake Twin

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. Eastport, Forest.

Defining the 1980s Through Classic Commercials

[ONE NIGHT ONLY] A tour through more than 100 television ads from the ’80s, including a Jeep commercial for the first SUV and lots of spots about cereal, cigarettes and tampons. Faux Museum Microcinema, 139 NW 2nd Ave. 7:30 pm Saturday, March 23.

Django Unchained

B- Quentin Tarantino’s Django Unchained 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? A mashed-up spaghetti Western and blaxploitation flick, it is the kind of kinetic pastiche job that’s made

Tarantino a genre unto himself. But it also trivializes an atrocity, and that makes it hard to digest as fun, frivolous popcorn. R. MATTHEW SINGER. Academy, Bagdad, Edgefield, Hollywood Theatre, Kennedy School, Laurelhurst, Mission, City Center, Valley.

Double Impact in Hecklevision

[ONE NIGHT ONLY, REVIVAL] Two Jean-Claude Van Dammes are better than one. R. Hollywood Theatre. 8 pm Saturday, March 23.

Emperor

B- Talk about burying the lead. Hirohito, the enigmatic Japanese monarch whose endorsement of criminal atrocities during the Second SinoJapanese War and World War II is now a matter of historical fact, doesn’t actually appear on screen until the final minutes of Peter Webber’s dour period drama. According to Shinto tradition, the emperor is arahitogami, “a living god,” which poses a problem for Allied Commander Douglas MacArthur (Tommy Lee Jones) and Gen. Bonner Fellers (Matthew Fox), the men tasked with investigating Hirohito and bringing Japanese war criminals to justice. 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. PG-13. MARSHALL WALKER LEE. Living Room Theaters.

Happy People: A Year in the Taiga

B Werner Herzog’s 2010 documen-

tary 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- For the briefest of moments, as an ebullient Melissa McCarthy blithely swindles Jason Bateman’s buttoneddown Denver accounts manager by pretending to be a bank employee offering a credit protection service, there’s a hint of the anarchic zeal that

could have lent Identity Thief a distinct personality. But then 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. While the sudden eruptions of slapstick work a treat, it’s a long slog to get there. R. JAY HORTON. Cedar Hills, Eastport, Clackamas, Cornelius, City Center, Division, Evergreen Parkway, Lloyd Mall, Sherwood, Wilsonville, Sandy, St. Johns Twin.

The Incredible Burt Wonderstone

D+ 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 fakelooking one on Olivia Wilde. Those

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REVIEW GREGORY SMITH

MOVIES

Euro Cult: Tragic Ceremony

[ONE NIGHT ONLY, REVIVAL] A gory Italian shocker from 1972 featuring hippies, satanic sacrifices and a string of cursed pearls. Clinton Street Theater. 8 pm Tuesday, March 26.

The Fantastic Argoman

[ONE NIGHT ONLY, REVIVAL] In this 1967 Italian film, a mysterious superhero swoops into action after a diamond heist. Too bad he loses his powers for six hours each time he beds a woman. Clinton Street Theater. 7:30 pm Saturday, March 23.

The Gatekeepers

B The Shin Bet is the Israeli govern-

ment’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. Aside from some animations, The Gatekeepers relies exclusively on one-on-one interviews. 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. PG13. MITCH LILLIE. Fox Tower.

A Good Day to Die Hard

C+ John Moore’s A Good Day to Die Hard drifts away from nearly everything else that defines a Die Hard film. At the film’s beginning, McClane flies to Moscow in order to help his gonerogue son; once there, things quickly escalate. 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, Division, Evergreen Parkway.

Great Expectations

[ONE NIGHT ONLY] Charles Dickens’ classic is adapted for the stage for the first time in London’s West End. Tonight, catch a telecast of the lavish opening night. Living Room Theaters. 7 pm Thursday, March 21.

Grindhouse Film Festival: Demons

[ONE NIGHT ONLY, REVIVAL] A 1985 horror flick from Italy, in which filmgoers are trapped and attacked by terrifying demons. Hollywood Theatre. 7:30 pm Tuesday, March 26.

WHEEL LIFE: Kristen Stewart and Garrett Hedlund.

ON THE ROAD The journey to create a film version of Jack Kerouac’s 1957 ode to the Beat Generation, On the Road, has been a treacherous one. Over the years, Francis Ford Coppola, Gus Van Sant and Joel Schumacher have all tried and failed to bring the frantic, chatterfilled North American travels of Dean Moriarty and Sal Paradise to the silver screen. How, then, did director Walter Salles and screenwriter Jose Rivera succeed where so many others have failed? The two accepted the challenge by embracing the challenges that lay within the text. In its print version, the story is too sprawling and jagged for a literal adaptation. So Rivera hacked away at the edges, emerging with a streamlined version of the narrative that focuses on both the strange, almost erotic attraction between Dean (Garrett Hedlund) and Sal (Sam Riley). The two leads don’t shy away from this, looking at each other with slight twinges of hunger on which they never dare act. With some notable exceptions—including a weary salesman played by Steve Buscemi—Dean focuses his lust on the women in his life, whom he repeatedly embraces and discards. The two most locked in his orbit are the young Marylou (Kristen Stewart in full sex-and-sass mode) and Camille (Kirsten Dunst), a put-upon beauty who bears Dean’s kids. Rivera lets you see the emotional scars inflicted on these women by their partners’ wanderlust. It’s a beautiful layer of depth to what could have otherwise been a threadbare plot. Salles and cinematographer Eric Gautier took on the hardest part: to make the experience of travel as alluring onscreen as Kerouac does through his writing. They wrap every frame in rich, warm colors, so that even when Sal is huffing his way along a snowy stretch of road, you yearn to be walking alongside him. More than that, the feeling the cast and crew bring forth is a rare one in movies about young people: a sense of inclusion and possibility. In one scene, Dean, Sal, Marylou and a few dozen friends spend New Year’s Eve dancing to Dizzy Gillespie in a small apartment. It’s so far removed from, and so much more inspiring than, the rager of 21 & Over. With On The Road, you don’t need an invitation, just a desire and madness to live. ROBERT HAM. mad to live, as Kerouac would have wanted.

B+ SEE IT: On the Road is rated R. It opens Friday at Living Room Theaters.

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march 20–26 D R E A M W O R K S A N I M AT I O N

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MOVIES

THE CROODS wigs sure look funny. Too bad nothing else is. Which is a bloody shame, given the premise of Carell and Buscemi as ultra-corny, velvetleotarded Vegas magicians who engage in a war of one-upmanship with Carrey’s Chris Angel-esque street magician. Alas, the film makes the fatal mistake of insisting on audience investment in an unlikable character’s redemption. Carell’s 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. Leaps in goodwill could be forgiven if Wonderstone contained some real chuckles, but this is a film about magicians without a single trick up its sleeve. PG-13. AP KRYZA. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Lloyd Center, City Center, Division, Evergreen Parkway, Sherwood, Tigard, Wilsonville, Sandy.

Jack the Giant Slayer

NEWS

B 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, City Center, Division, Evergreen Parkway, Lloyd Mall, Sherwood, Tigard, Wilsonville.

The Kill Hole

C- A clumsy mix of fantasy and

hyperreality, The Kill Hole attempts to marry a serious drama about soldiers with PTSD to a macho psychological thriller. The relationship is a resounding failure. Samuel Drake (Chadwick Boseman) is an Iraq War vet living in Portland, where he divides his time between driving for Radio Cab and attending a support group—reportedly improvised scenes starring reallife veterans and led capably by actor Billy Zane. Drake’s seen some shit, apparently. Exactly what shit we never learn, but enough that a private security company persuades him to hunt down and kill a mercenary (Tory Kittles), who saw the same shit and now lives in the mountains performing ponderous voice-over monologues and plotting bloody, batshit retribution. This is, not surprisingly, where things get pretty dumb. There are some worthy stories hinted at in the support-group scenes, but they’re ultimately just background to an underdeveloped First Blood rehash. Some lovely shots of the Oregon wilderness, though. RUTH BROWN. Living Room Theaters.

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Last Call at the Oasis

[ONE NIGHT ONLY] A screening of Jessica Yu’s documentary, which explores the global water crisis, to benefit El Porvenir, an organization working to bring clean water to Nicaragua. PG-13. Clinton Street Theater. 7 pm Friday, March 22.

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. PG-13. MATTHEW KORFHAGE. Clackamas, Indoor Twin.

Life of Pi

C Ang Lee’s Life of Pi surrenders the more subtle messages of Yann Martel’s novel for ham-handed schlock. PG. REBECCA JACOBSON. 99 West Drive-In, Eastport, CineMagic, Fox Tower, City Center, Lloyd Mall.

Like Someone in Love

B- It may be hard out there for a pimp, but it’s definitely harder for a prostitute. Iranian director Abbas Kiarostami makes that abundantly clear in his plodding, bittersweet tale of a Tokyo college student-turned-call girl named Akiko (Rin Takanashi). We meet Akiko at a slick bar, where her pimp is coercing her to make a house call instead of allowing her to visit her grandmother. Akiko sulks in the back of a cab all the way to her destination, which turns out to be the home of a downright adorable elderly man named Takashi (Tadashi Okuno). After a night mercifully devoid of geriatric sex acts, it becomes clear that Takashi is simply a lonely old dude who wants to feel needed. The action unfolds extremely slowly, with long stretches shot in real time as Takashi becomes entwined in Akiko’s life. Though Kiarostami’s cinematic vision is masterful, his fixation on detail is ultimately a detriment to what is almost a wonderful film. EMILY JENSEN. Living Room Theaters.

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.

My Amityville Horror

B- It’s easy to forget—after a long

life in the news cycle, 10 increasingly bad films and endless imitators—that the 1977 book The Amityville Horror was based on purportedly true events. When you view those events through the eyes of the children who actually experienced them, it’s irrelevant whether they were fabricated by a domineering patriarch or were the result of real paranormal chaos. If this documentary is any indication,

MARCH 20–26

No Return Midnight Movie: Metropolis

muster a few scares worthy of any Deadite. To those who come ready to believe, its magic is undeniable. PG. AP KRYZA. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Lloyd Center, Moreland, City Center, Division, Evergreen Parkway, Lloyd Mall, Pioneer Place, Sherwood, Tigard, Wilsonville, Sandy, St. Johns Twin.

A Place at the Table

B+ Participant Media presents an

incisive examination of the hunger problem in the U.S., where 50 million citizens go to bed hungry. A Place at the Table opens 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. A superb companion piece to the local documentary American Winter, A Place at the Table examines why the government chooses to subsidize big corporations over social-service programs. How many documentaries will it take before our lawmakers pay attention? PG. WW MOVIE STAFF. Hollywood Theatre.

Quartet

B Quartet, Dustin Hoﬀman’s twilight directorial debut, takes place in a ridiculously well-appointed retirement home for former classical musicians, and it acts as both valedictory and wake for an entire passing generation of British actors and musicians. While Hoﬀman seems very aware he’s gently closing the book on an entire gen-

Visual arts

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REVIEW D AV I D L E E

the events damaged young Danny Lutz irreparably. The film homes in on a fortysomething Lutz—a recluse with jittery posture, a tendency to snap under pressure and a firm belief that spirits may still be residing in his body—as he tells his story to therapists, the camera and reporters. He’s a fascinating subject, and director Eric Walter intersperses his film with dimly lit interviews with the rattled loner and trips to visit various figures from his past. The doc falters a bit when it leaves Danny to eavesdrop on goofy roundtable discussions among paranormal investigators about the authenticity of the case. But one thing is certain: Lutz is haunted. Whether that’s the result of an abusive stepfather, overexposure to the media, his own imagination or actual malicious spirits is ultimately inconsequential. His story is heartbreaking. AP KRYZA. Hollywood Theatre.

MOVIES

[ONE NIGHT ONLY, REVIVAL] Giorgio Morodor’s 1948 restoration of Fritz Lang’s landmark Weimarera sci-ﬁ ﬁlm, with computerized colorization and a pop soundtrack. Clinton Street Theater. Midnight Friday, March 22.

Olympus Has Fallen

C+ Olympus Has Fallen harks back

to the late-’80s, early-’90s subgenre known as the “Die Hard on an X” flick, that special brand of knockoff adrenaline rush that includes such escapism as Speed, Passenger 57 and Sudden Death, which all saw one man in the wrong place at the wrong time facing a whole army of terrorists. With Olympus, it’s a literal army that storms the White House, taking the president (Aaron Eckhart) and his cabinet hostage. Luckily, his disgraced former head of security (Gerard Butler) survives the initial onslaught and proceeds to stab, shoot, blow up and maim his way to saving the boss. Director Antoine Fuqua could be called insensitive for depicting iconic American landmarks being torn to shreds by advanced weaponry as a staggering number of civilians are felled on camera. But Olympus Has Fallen doesn’t seem to exist in a post-9/11 world. It’s firmly grounded in the early ’90s, when all we wanted to do was watch sinewy men spit one-liners at menaces from foreign lands before going on killing sprees. In that sense, it delivers the goods, but it never rises above the level of a big-budget B-movie. It’s Passenger 57 in the White House. Luckily, Passenger 57 is pretty entertaining for a horrible film. R. AP KRYZA. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Lloyd Center, City Center, Division, Evergreen Parkway, Pioneer Place, Sherwood, Tigard, Wilsonville, Sandy.

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 leatherdaddy 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. In the hands of director Sam Raimi, L. Frank Baum’s world comes fantastically to life. 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

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LADY AND THE STAMP: Tina Fey.

ADMISSION In one of the funnier moments in Admission, several Princeton admissions officers make notes on a giant chart. On one side are fawning remarks they’ve received from parents whose offspring have just been accepted to the Ivy League. “You’re an angel on earth,” reads one. On the other side are insults from parents of rejected applicants. Admissions officer Portia (Tina Fey), approaches the board with a comment she’s just received. “I hope you get rectal cancer,” she scrawls. Paul Weitz’s lukewarm dramedy, though, prompts neither rapture nor wrath. It takes a subject, the neurotic frenzy of college admissions, that could be played seriously or for laughs, and lands in an erratic middle. Fey is an uptight admissions officer who receives a phone call from a former classmate named John (Paul Rudd), who runs an alternative school where students learn to build sustainable irrigation systems, assist cows in labor and generally fight the man. There she meets Jeremiah (Nat Wolff, in the film’s most sincere performance), a genius autodidact with ghastly grades. When John tells Portia that Jeremiah might be the son she gave up for adoption during college, her life goes into a tailspin. Fey plays Portia as a neat-freak Liz Lemon, a screwball with an office she keeps scrupulously clean and a bonsai she obsessively trims. But she’s still a klutz who babbles before thinking and makes ethical compromises both small (crashing a college party to check on Jeremiah) and large (interfering with Jeremiah’s Princeton application). In an overstuffed subplot, Portia’s sheepish poetryprofessor partner (Michael Sheen) leaves her for a Virginia Woolf scholar he’s already impregnated. Three cheers for academia. Rudd, while not as endearing as Fey, does his usual deadpan act, but the screenplay is too tepid to generate any real laughs. The most charming performance comes from Lily Tomlin as Portia’s freewheeling feminist mother, who quotes Erica Jong and boasts a Bella Abzug tattoo on her biceps. When she’s onscreen Admission begins to stoke an anti-conformist fire. Even as the film pokes elitist Ivies in the eye, it asks viewers to root for an underdog who seeks acceptance to one such institution. Sorry, Admission: After review of your application, we have voted to place your name on our waitlist. REBECCA JACOBSON. It gets the thin envelope, not the fat one.

C SEE IT: Admission is rated PG-13. It opens Friday at Cedar Hills, Eastport, Clackamas, Lloyd Center, Division, Pioneer Place, Tigard.

Willamette Week MARCH 20, 2013 wweek.com

MOVIES

MARCH 20–26 PA L A D I N

eration of entertainers, he nonetheless allows them to do what they’ve always done best: be entertaining. PG-13. MATTHEW KORFHAGE. Cedar Hills, Lake Twin, Pioneer Place, Tigard.

Reel Relics: Revolutions

[TWO NIGHTS ONLY] Archival footage of ’70s performances by Foreigner, Supertramp, Boston and Journey. Clinton Street Theater. 9:30 pm Friday-Saturday, March 22-23.

Safe Haven

D In this happily-ever-after version of domestic violence Katie (Julianne Hough) flees an abusive relationship to a tiny Southern beach town, fortuitously home to the tan and chiseled Alex (Josh Duhamel). While Katie copes with the trauma, 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, Evergreen Parkway, Sherwood, Tigard.

Side Effects

B- With Side Effects, Steven 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. 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- David O. Russell emerges with

one of ﬁlmdom’s funniest stories of crippling manic depression. R. AP KRYZA. Cedar Hills, Eastport, Clackamas, City Center, Evergreen Parkway, Fox Tower, Lloyd Mall.

Snitch

Stay on the Edge of the Pearl.

Walk to Timbers & Viking Games!

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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 arrogant. All things considered, the unrelenting tone of high seriousness imposed on spiraling implausibilities would have proven unbearable with anyone besides Dwayne Johnson playing the lead. 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, Forest, Division, Lloyd Mall, Sandy.

Spring Breakers

B- The words “spring break” are

repeated so often in Spring Breakers that they eventually begin to lose their meaning. That may seem obvious, given the title, but it’s worth pointing out: The phrase takes on a mantralike quality in Harmony Korine’s most outwardly conventional outing to date. Still best known for writing Kids and directing Gummo, the backwater auteur teams up with a Disney-centric cast led by Selena Gomez and Vanessa Hudgens to turn up the decadence and sleaze to 11 in a candy-coated vision of the American Nightmare. Neon lights, blinged-out cribs and James Franco’s white-trash gangsta rapper Alien make this akin to an art-house installment of Girls Gone Wild crossed with Scarface—with all the surface allure and occasional vapidity that licentious description implies. The many Skrillex-scored party sequences, though gorgeously ﬁlmed, never quite transcend their own vacuousness or oﬀer any insight into the culture they’re at

THE WE AND THE I once glamorizing and lampooning. That said, an utterly sincere rendition of Britney Spears’ “Everytime,” performed by Alien and set to a violent montage, is an early contender for sequence of the year, and nearly enough to forgive the ﬁlm’s shortcomings. R. MICHAEL NORDINE. Cedar Hills, Eastport, Clackamas, Lloyd Center, Fox Tower.

Stoker

B- 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, 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, a comingof-age psychodrama. But while Stoker 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. The film centers on India Stoker (Mia Wasikowska), a moody 18-year-old who becomes even more sociopathic after the accidental death of her father. Her mother, Evelyn (a very arch Nicole Kidman), has warmed up quickly to India’s mysterious Uncle Charlie (Matthew Goode), the first of many nods to Alfred Hitchcock. But where in Shadow of a Doubt 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. The sound design, too, is compellingly off-kilter. Yet these images and sounds have little payoff. Much of the problem lies with Wentworth Miller’s soporific screenplay, and the performances hardly help, though Wasikowska is something of an exception. Where Kidman is austere to the point of cartoonishness and Goode a bulgy-eyed psychopath, Wasikowska brings some softness to her role. 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. R. REBECCA JACOBSON. Cedar Hills, Clackamas, Fox Tower.

The Thing

[REVIVAL] In John Carpenter’s 1982 remake of the 1951 Howard Hawks original, a shape-shifting creature attacks scientists in the Antarctic. R. Hollywood Theatre.

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. PG-13. KELLY CLARKE. Bagdad, Clackamas, Indoor Twin, Lloyd Mall, St. Johns.

The We and the I

B Midway through the long city

bus ride captured in The We and the I, the ﬁlm goes silent and slow-

motion. Every teenage eye follows a sundress-clad white woman biking alongside the bus. “Hey, bitch, nice tits,” says one of the boys, breaking the spell. Most of this 103-minute commute home with Bronx public schoolkids on the brink of summer vacation is similarly blunt, with conversations revealing broken families and dreams of art school interspersed with pudding-related pranks and sex jokes. This “participatory film” from Michel Gondry (Eternal Sunshine of the Spotless Mind) sourced all its first-time teen actors from The Point, a South Bronx arts center. Exasperating squabbles force an exodus of all other bus riders, but viewers will stick around for the unvarnished performances. Even the claustrophobic setting is surprisingly tolerable thanks to flashbacks, antics en route, and the occasional hop off the bus—two boys bolt, clutching their sagging jeans, grab pizza during a long stop. It feels so real you can almost smell the greasy cheese. ENID SPITZ. Fox Tower.

Welcoming Departure

B- [ONE NIGHT ONLY] If it weren’t

for the computers Hank (Tom Campbell) dusts oﬀ in his job as the library’s night janitor, director Scott Ballard’s Welcoming Departure could easily be mistaken for a ’60s historical drama. After all, Hank drives a 1963 Chevy Nova and takes a lunch break with a pail and steel thermos. Going through his mail one day, listening to his usual rainy-day jazz on vinyl, he does a double take at a letter informing him that an unknown relative has left him something as an inheritance. As Hank’s friend Robert (Dave Morales) puts it, “You inherited an old lady!” Odessa (Eve Pryce) is that lady, forced to live in Hank’s apartment, unable to speak English and completely unrecognized by Hank. As Hank makes use of his library’s genealogy section, Odessa knits quietly. The two unlikely relatives struggle to relate, if not communicate. Though the plot is bizarre, it’s more quirky than unbelievable, thanks in part to Dave Rosenblum’s noir cinematography and to the appropriately chosen locations. (Portlanders may recognize the tinsel-lined bingo board of Southeast Hawthorne Boulevard’s Eagles Lodge.) The bluesy soundtrack seldom cheers up, even when characters are smiling ear-to-ear, but it usually suits the cycle of grief in Welcoming Departure: to question, to lament and ﬁnally to accept. MITCH LILLIE. NW Film Center’s Whitsell Auditorium. 7 pm Wednesday, March 20.

Who Framed Roger Rabbit

[TWO DAYS ONLY, REVIVAL] A 35 mm print of the 1988 classic, a murder mystery that brings together 1940s cartoon stars and live actors. PG. Hollywood Theatre. 2:30 pm Saturday-Sunday, March 23-24.

Wrenched

[ONE NIGHT ONLY] Edward Abbey, that quintessential environmental saboteur, is the focus of M.L. Lincoln’s still-in-progress documentary. Academy Theater. 6 pm Wednesday, March 20. Free.

march 22–28 BREWVIEWS

MOVIES

pa r a M o u n T p i c T u r e S

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NW Film Center’s Whitsell Auditorium

1219 SW Park Ave., 503-221-1156 mEET JOhN DOE Fri 07:00 BaBY FacE Sat-Sun 07:00 WITNESS TO mUrDEr Sat 09:00 BaLL OF FIrE Sun 05:00

HEADOUT

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WHEN MISSILES FLY: Like The Shining, The Dead Zone is proof that films are much better off using Stephen King’s ideas as a template rather than treating them as gospel. Make no mistake, 1983’s The Dead Zone is a full-on, bug-fuck David Cronenberg flick, and King himself could never have imagined a creation so strange and surreal as Christopher Walken. Here, as a man plagued by psychic premonitions and visions of a global disaster, Walken eschews punctuation in his trademark way and one-ups his own oddball delivery. Matching Walken step by step is Martin Sheen as a deranged senator. But really, if the movie consisted solely of Walken reacting in a Walken-y way to his premonitions as if being zapped in the brain, it would still be terrific. AP KRYZA. Showing at: Laurelhurst. Best paired with: Manny’s Pale Ale. Also showing: The Thing (Hollywood), Lincoln (Academy).

Lloyd Center 10 and IMAX

1510 NE Multnomah St., 800-326-3264 OZ ThE GrEaT aND POWErFUL: aN ImaX 3D EXPErIENcE Fri-SatSun-Mon-Tue-Wed 12:40, 03:50 ThE crOODS FriSat-Sun-Mon-Tue 02:20, 04:55, 10:05 ThE crOODS 3D Fri-Sat-Sun-Mon-Tue 11:45, 07:30 OLYmPUS haS FaLLEN Fri-Sat-SunMon-Tue-Wed 01:00, 03:55, 07:15, 10:15 aDmISSION Fri-Sat-Sun-Mon-Tue-Wed 11:30, 02:10, 04:50, 07:45, 10:25 SPrING BrEaKErS Fri-Sat-Sun-Mon-Tue-Wed 11:35, 02:00, 04:25, 06:50, 09:35 INaPPrOPrIaTE cOmEDY Fri-Sat-SunMon-Tue-Wed 12:10, 02:25, 04:40, 07:00, 09:30 OZ ThE GrEaT aND POWErFUL Fri-SatSun-Mon-Tue-Wed 12:05, 06:30 OZ ThE GrEaT aND POWErFUL 3D Fri-SatSun-Mon-Tue-Wed 03:15, 09:45 ThE INcrEDIBLE BUrT WONDErSTONE Fri-Sat-Sun-Mon-Tue-Wed 11:55, 02:45, 10:30 ThE caLL Fri-Sat-Sun-MonTue-Wed 12:00, 02:35, 05:00, 07:25, 09:55 G.I. JOE: rETaLIaTION -- aN ImaX 3D EXPErIENcE Wed 07:00, 10:00 G.I. JOE: rETaLIaTION Wed 07:30, 10:30

Regal Lloyd Mall 8

2320 Lloyd Center Mall, 800-326-3264 ThE crOODS Fri-SatSun-Mon-Tue-Wed 12:05, 03:05, 06:05, 08:30 ThE crOODS 3D Fri-Sat-SunMon-Tue-Wed 12:35, 03:35, 06:35 OZ ThE GrEaT aND POWErFUL Fri-SatSun-Mon-Tue-Wed 03:00, 09:10 OZ ThE GrEaT aND POWErFUL 3D FriSat-Sun-Mon-Tue-Wed 12:00, 06:15 JacK ThE GIaNT SLaYEr Fri-SatSun-Mon-Tue-Wed 03:10, 08:50 JacK ThE GIaNT SLaYEr 3D Fri-Sat-SunMon-Tue-Wed 12:10, 06:10

IDENTITY ThIEF Fri-SatSun-Mon-Tue-Wed 03:20, 09:00 Warm BODIES Fri-Sat-Sun-Mon-Tue-Wed 12:30, 06:30 LIFE OF PI 3D Fri-Sat-Sun-Mon-Tue-Wed 12:15, 03:25, 06:20, 09:10 SILVEr LININGS PLaYBOOK Fri-Sat-Sun-Mon-Tue-Wed 12:25, 03:15, 06:00, 08:45 arGO Fri-Sat-Sun-MonTue-Wed 02:55, 05:55, 08:40 EScaPE FrOm PLaNET EarTh Fri-SatSun-Mon-Tue-Wed 12:20 SNITch Fri-Sat-Sun-MonTue-Wed 08:55

Bagdad Theater and Pub

3702 SE Hawthorne Blvd., 503-249-7474 Warm BODIES Fri-SatSun-Mon-Tue-Wed 06:00 ParENTaL GUIDaNcE Sat-Sun 02:00 DJaNGO UNchaINED Sun-Mon-TueWed 08:30

Clinton Street Theater

2522 SE Clinton St., 503-238-8899 LaST caLL aT ThE OaSIS Fri 07:00 rEEL rELIcS: rEVOLUTIONS Fri-Sat 09:30 GIOrGIO mOrODEr PrESENTS mETrOPOLIS Fri 12:00 arGOmaN Sat 07:30 ThE rOcKY hOrrOr PIcTUrE ShOW Sat 12:00 BIrTh STOrY: INa maY GaSKIN aND ThE Farm mIDWIVES Sun 02:00 TraGIc cErEmONY Tue 08:00 rEEL FEmINISm: a FEmINIST FILm SErIES Wed 07:00

Laurelhurst Theatre & Pub

2735 E Burnside St., 503-232-5511 BEaSTS OF ThE SOUThErN WILD FriSat-Sun-Mon-Tue-Wed 07:00 ThE DEaD ZONE Fri-Sat-Sun-Mon-Tue-Wed 09:35 LINcOLN Fri-SatSun-Mon-Tue-Wed 06:30 ZErO DarK ThIrTY FriSat-Sun-Mon-Tue-Wed 09:25 amOUr Fri-SatSun-Mon-Tue-Wed 06:15

DJaNGO UNchaINED Fri-Sat-Sun-Mon-Tue-Wed 09:00 SEarchING FOr SUGar maN Fri-Sat-SunMon-Tue-Wed 06:45 ThE hOBBIT: aN UNEXPEcTED JOUrNEY Fri-Sat-Sun-MonTue-Wed 08:45

Mission Theater and Pub

1624 NW Glisan St., 503-249-7474-5 LINcOLN Fri-Sat-SunMon-Wed 05:30 DJaNGO UNchaINED Fri-Sat-SunMon-Wed 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

Hollywood Theatre

4122 NE Sandy Blvd., 503-281-4215 DJaNGO UNchaINED FriSat-Sun-Mon-Tue-Wed 07:00 ThE ThING FriSat-Sun-Mon-Tue 10:00 a PLacE aT ThE TaBLE Fri-Sat-Sun-Mon-Tue-Wed 07:15 mY amITYVILLE hOrrOr Fri-Sat-SunMon-Tue-Wed 09:15 WhO FramED rOGEr raBBIT Sat-Sun 02:30 DOUBLE ImPacT IN hEcKLEVISION Sat 07:30 DEmONS Tue 07:30 ThE GODFaThEr Wed 07:30 maGIc FLUTE OPEra BY mOZarT

Regal Fox Tower Stadium 10

846 SW Park Ave., 800-326-3264 ThE WE aND ThE I FriSat-Sun-Mon-Tue-Wed 12:10, 02:30, 04:55, 07:25, 09:40 SPrING BrEaKErS Fri-Sat-Sun-Mon-Tue-Wed 12:20, 02:25, 05:10, 07:20, 09:35 UPSIDE DOWN Fri-Sat-Sun-Mon-TueWed 12:05, 02:35, 05:05, 07:30, 09:50 STOKEr Fri-Sat-Sun-Mon-Tue-Wed 12:15, 02:30, 04:45, 07:15, 09:35 ThE GaTEKEEPErS Fri-Sat-Sun-Mon-Tue-Wed 12:00, 02:20, 04:40, 07:05, 09:20 SIDE EFFEcTS FriSat-Sun-Mon-Tue-Wed 11:40, 02:10, 04:40, 07:10, 09:40 LIFE OF PI Fri-SatSun-Mon-Tue-Wed 11:30, 02:00, 04:30, 07:00, 09:25

340 SW Morrison St., 800-326-3264 ThE crOODS Fri-Sat-SunMon-Tue 12:45, 09:45 ThE crOODS 3D Fri-Sat-SunMon-Tue 03:45, 07:00 aDmISSION Fri-Sat-SunMon-Tue 01:15, 04:20, 07:10, 10:00 OLYmPUS haS FaLLEN Fri-Sat-SunMon-Tue 01:40, 04:40, 07:40, 10:40 QUarTET Fri-Sat-Sun-Mon-Tue 01:30, 04:30, 07:30, 10:10 ThE caLL Fri-Sat-Sun-Mon-Tue 01:50, 04:15, 10:20 OZ ThE GrEaT aND POWErFUL 3D Fri-Sat-Sun-Mon-Tue 01:00, 07:20 OZ ThE GrEaT aND POWErFUL Fri-SatSun-Mon-Tue 04:10, 10:30 G.I. JOE: rETaLIaTION Wed 07:00 G.I. JOE: rETaLIaTION 3D Wed 08:00 ThE hOST

St. Johns Theatre

8203 N Ivanhoe St., 503-249-7474-6 BEaUTIFUL crEaTUrES Fri-Sat-Mon-Tue-Wed 06:00 DESPIcaBLE mE Fri-Sat-Sun-Mon-Tue-Wed 01:00 Warm BODIES FriSat-Mon-Tue-Wed 08:30 ThE WaLKING DEaD Sun 06:00, 08:00

pAgE 21

Academy Theater

7818 SE Stark St., 503-252-0500 DJaNGO UNchaINED FriSat-Sun-Mon-Tue-Wed 01:10, 06:30, 09:45 rISE OF ThE GUarDIaNS FriSat-Sun-Mon-Tue-Wed 04:25 LINcOLN Fri-SatSun-Mon-Tue-Wed 12:10, 06:15 ZErO DarK ThIrTY Fri-Sat-Sun-Mon-Tue-Wed 03:10, 09:15 amOUr FriSat-Sun-Mon-Tue-Wed 12:50, 06:50 ThE hOBBIT: aN UNEXPEcTED JOUrNEY Fri-Sat-Sun-Mon-Tue-Wed 03:30 haNSEL & GrETEL: WITch hUNTErS Fri-SatSun-Mon-Tue-Wed 09:30

Living Room Theaters

341 SW 10th Ave., 971-222-2010 ThE KILL hOLE Fri-SatSun-Mon-Tue-Wed 12:00, 02:10, 04:50, 07:30, 09:45 ON ThE rOaD FriSat-Sun-Mon-Tue-Wed 12:05, 02:30, 05:10, 06:40, 09:10 EmPErOr Fri-SatSun-Mon-Tue-Wed 12:20, 02:20, 05:00, 07:00, 09:35 haPPY PEOPLE: a YEar IN ThE TaIGa Fri-SatSun-Mon-Tue-Wed 11:55, 02:45, 04:40, 07:45 arGO Fri-Sat-Sun-Mon-Tue-Wed 02:00, 04:30, 07:15, 09:20 LIKE SOmEONE IN LOVE Fri-Sat-Sun-Mon-Tue-Wed 12:10, 02:40, 04:20 aLIEN BOY: ThE LIFE aND DEaTh OF JamES chaSSE Fri-SatSun-Mon-Tue-Wed 12:15, 09:40 LOrE Fri-Sat-SunMon-Tue-Wed 06:50, 09:15

SubjecT To change. call TheaTerS or ViSiT WWeek.coM/MoVieTiMeS For The MoST up-TodaTe inForMaTion Friday-ThurSday, March 22-28, unleSS oTherWiSe indicaTed

Willamette Week MARCH 20, 2013 wweek.com

CLASSIFIEDS DIRECTORY 44 WELLNESS

44 SERVICES

45 BULLETIN BOARD

TO PLACE AN AD CONTACT:

PETS

ASHLEE HORTON

SEWING & ALTERATIONS N Spiderweb Sewing Studio

503-268-2821

www.steamprocarpetcleaners.com

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

CORIN KUPPLER

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

HOME IMPROVEMENT SW Jill Of All Trades

1505 SW 6th #8155 Portland, Oregon 97207 503-730-5464

TREE SERVICE NE Steve Greenberg Tree Service

Inner Sound

46 JONESIN’

REAL ESTATE

503-445-2757 • ckuppler@wweek.com

MASSAGE (LICENSED) CONT.

Enjoy the Benefits of Massage

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

CELL PHONE REPAIR N Revived Cellular & Technology

REL A X!

INDULGE YOURSELF in an - AWESOME FULL BODY MASSAGE

call

Charles

503-740-5120

COLLISION REPAIR NE Atomic Auto

Alienbox LLC 503-919-1022 alienbox.com

HAULING N LJ Hauling

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

PAINTING S. Mike Klobas Painting SW

Interior & Exterior 503-646-8359 CCB #100360 WillametteWeek Classiﬁeds MARCH 20, 2013 wweek.com

ELIXIA WELLNESS 503.232.5653

Sundays: COMMON 503.238.1065

PHYSICAL FITNESS BILL PEC Personal Trainer & Independent Contractor

503-252-6035 www.billpecfitness.com

Counseling Individuals, Couples and Groups

LOOK FOR ME ON FACEBOOK

Stephen Shostek, CET Relationships, Life Transitions, Personal Growth

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.

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

TREE SERVICES Steve Greenberg Tree Service

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

MUSICIANS MARKET

Totally Relaxing Massage

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

CLEANING

KEN (LMT#10773) nowradiance.wordpress.com

AT THE GYM, OR IN YOUR HOME

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

MOVING

Monday–Saturday, 9–6:

• Strength Training • Body Shaping • Nutrition Counseling

2510 NE Sandy Blvd Portland, Or 97232 503-969-3134 www.atomicauto.biz

1348 SE 82nd Ave. Portland, Oregon 97216 503-254-2886 www.FamilyAutoNetwork.com

good for 1 hr or longer massage or European Facial or Specialized Facial

GROUND WELLNESS

lmt#6250

AUTO REPAIR SE Family Auto Network

SERVICES BUILDING/REMODELING

MASSAGE (LICENSED)

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

1925 NE 61st Ave. Portland, Oregon 97213 503-774-4103

46 MATCHMAKER

AUDIO

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

PROPERTY MANAGEMENT SW JMPDX LLC

STUFF

Buy one massage or facial get half off 2nd one,

AUTO

GADGET SE Gadget Fix

COUNSELING

2256 N Albina Ave #181 503-289-1986 metrocomputerworks.com

45 MOTOR

WELLNESS

7816 N. Interstate Ave. Portland, Oregon 97217 503-286-1527 www.revivedcellular.com

Metro Computerworks

45 JOBS

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

HOME CARPET CLEANING SW Steampro

FREE WILL ASTROLOGY

503-445-3647 • ahorton@wweek.com

STYLE

SERVICE DIRECTORY

44 MUSICIANS’ MARKET

MARCH 20, 2013

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

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 TRADEUPMUSIC.COM

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

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

MO RE CLASS IFIEDS ONLINE @ por tl and.wweek.com

TO PLACE AN AD CONTACT:

JOBS CAREER TRAINING STOP THE PRESSES!!!

OLCC’S NEWEST ONLINE SERVER PERMIT CLASS is NOW Just $12 for the Renewal Server Class. (Seasoned Pro’s) and STILL only $15 for the Initial Server Class. (First Timers) Take Your Class @ www.happyhourtraining.com where we are always ‘Bartender Tested & OLCC Approved!’ 541-447-6384.

GENERAL

ASHLEE HORTON

503-445-3647 • ahorton@wweek.com

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

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

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

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 (AAN CAN)

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. 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)

Ruby Spa in Forest Grove 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.

LEGAL NOTICES

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

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

CLASSICAL PIANO/ KEYBOARD

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

MISCELLANEOUS FILTERED CIGARS.

Better Than Cigarettes. Only $12.99+ per carton. Large cigars. Pipe tobacco. $5 off your first order. (800) 613-2447 Coupon code: “ALT” www.cigartiger.com (AAN CAN)

PSALMS - 3

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

A Beautiful Home, Laughter Love Art Music, Many Opportunities waits for 1st baby. Expenses paid. Astrid *1-800-844-1670*

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!

PETS

CLASSES

Samson OPEN HOUSE Saturday, April 13, 2013 1:00pm - 4:00pm Come see our specially prepared environments for children. Take a tour of our facility, view lessons with Montessori materials and see videos to learn more about Montessori education for all age groups. Montessori Institute Northwest 622 SE Grand Avenue Portland, OR 97214 503.963.8992 www.montessori-nw.org

EVENTS

My name is Samson. I’ll let you in on a little secret—I’m a lover, not a fighter. With my creamy soft white coat, and regal bearing, I could pass for an alabaster statue from ancient Egypt. My tabby tail and markings make the picture complete. But don’t be fooled by my elegant appearance! I sport mitten feet and am known as a wicked poker player. My extra toes give me quite the advantage. But you can rest assured I would never deal from the bottom of the deck or hide an ace behind my extra digit. I am a seven year old neutered sweet boy who would dearly love to mellow out with my perfect human. When you look into my jade-colored eyes, you will see that I have wisdom beyond my years. Do cats smile? Take me home, and I will show you.I am fixed, vaccinated and microchipped. My adoption fee is $100

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

Week of March 21

James Corbett Corrigan

LESSONS

GENERAL

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

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CORIN KUPPLER

ARIES (March 21-April 19): “Nourish beginnings, let us nourish beginnings,” says poet Muriel Rukeyser in her poem “Elegy in Joy.” “Not all things are blest,” she continues, “but the seeds of all things are blest. The blessing is in the seed.” I urge you to adopt this perspective in the coming weeks, Aries. Be extra sweet and tender and reverent toward anything that is just sprouting, toward anything that is awakening, toward anything that invokes the sacredness of right now. “This moment,” sings Rukeyser, “this seed, this wave of the sea, this look, this instant of love.” TAURUS (April 20-May 20): As you seek more insight on your current situation, consider the possibility that the bad guys may not be as bad as they seem. They might simply be so deeply under the spell of their own pain that they can’t see straight. And as for the good guys: I wonder if they are as purely good as they would like you to imagine. It might be the case that they are at least partially serving their own selfinterest, while pretending to be utterly altruistic. If there’s any truth to these speculations, Taurus, you’d be wise to stay uncommitted and undecided for now. Don’t get emotionally riled up, don’t get embroiled in conflict, and don’t burn any bridges. GEMINI (May 21-June 20): Here’s your mantra: “I get fresher under pressure.” Say it ten times right now, and then repeat it in 10-repetition bursts whenever you need a tune-up. What it means is that you stay cool when the contradictions mount and the ambiguities multiply. And more than that: You actually thrive on the commotion. You get smarter amidst the agitation. You become more perceptive and more creative as the shifts swirl faster and harder. Tattoo these words of power on your imagination: “I get fresher under pressure.” CANCER (June 21-July 22): “Stories happen to those who tell them,” said the ancient Greek historian Thucydides. Modern radio journalist Ira Glass goes even further. “Great stories happen to those who can tell them,” he has said. Let’s make this strategy a centerpiece of your life plan in the weeks ahead, Cancerian. I have a suspicion that you will need first-hand experience of novel, interesting stories. They will provide the precise nourishment necessary to inspire the blooming of your most soulful ambitions. One way to help ensure that the best stories will flow your way is to regale receptive people with transformative tales from your past. LEO (July 23-Aug. 22): “Dear Rob: I’m spreading the word about Beer Week in your town, and I’d love to see you and your beer-loving readers at some of the events. Any chance you can include some coverage of Beer Week celebrations in your upcoming column? Cheers, Patricia.” Dear Patricia: I don’t do product placement or other forms of secret advertising in my horoscopes. To allow it would violate the sacred trust I have with my readers, who rely on me to translate the meaning of the cosmic signs without injecting any hidden agendas. It is true that Leos might be prone to imbibing great quantities of beer in the coming week, simply because they’d benefit from lowering their inhibitions, getting in touch with their buried feelings, and expanding their consciousness. But to be frank, I’d rather see them do that without the aid of drugs and alcohol. VIRGO (Aug. 23-Sept. 22): Hoping to stir up some fun trouble, I posted the following message on my Facebook page: “Don’t judge someone just because they sin differently than you.” A torrent of readers left comments in response. My favorite was from Sue Sims, who said, “Yeah, they might be better at your kind of sin and you might learn something!” That advice is just the kind of healing mischief you need right now, Virgo. It’s a bit ironic, true, but still: Take it and run with it. Study the people who have mad skills at pulling off the rousing adventures and daring pleasures and interesting “sins” that you’d like to call your own. LIBRA (Sept. 23-Oct. 22): The French verb renverser can be translated as “to turn upside-down” or “to reverse the flow.” The adjectival form is renversant, which means “stunning” or “astonishing.” I think you

may soon have experiences that could be described by those words. There’s a good chance that a dry, impoverished part of your life will get a juicy, fertile infusion. A deficiency you have worried about might get at least half-filled. An inadequacy that makes you feel sad may be bolstered by reinforcements. Alas, there could also be a slight reversal that’s not so gratifying. One of your assets may temporarily become irrelevant. But the trade-off is worth it, Libra. Your gains will outstrip your loss. SCORPIO (Oct. 23-Nov. 21): Professor Martyn Poliakoff creates short Youtube videos to help teach the public about chemistry. In one video, he explains why an explanation he gave in a previous video was completely mistaken. “It’s always good for a scientist to be proved wrong,” he confesses cheerfully. Then he moves on to speculate about what the right answer might be. I love humility like that! It’s admirable. It’s also the best way to find out the truth about reality. I hope you will summon a similar attitude in the coming weeks, Scorpio: a generous curiosity that makes you eager to learn something new about stuff you thought you had all figured out. SAGITTARIUS (Nov. 22-Dec. 21): On the one hand, menopausal women are no longer able to bear children. On the other hand, they often overflow with fresh possibilities and creative ideas. More time is available to them because their children have moved out of the house or don’t require as much care. They can begin new careers, focus on their own development, and devote more attention to their personal needs. So in one way their fertility dries up; in another way it may awaken and expand. I suspect that whether or not you are menopausal, you are on the cusp of a comparable shift in your fecundity: one door closing, another door swinging open. CAPRICORN (Dec. 22-Jan. 19): The TV reality show Freaky Eaters profiled a woman named Kelly who had eaten nothing but cheesy potatoes for 30 years. Her average intake: eight pounds of potatoes and four cups of cheese per day. “I love cheesy potatoes,” she testified. “They’re stewy, gooey, and just yum-yumyummy. They’re like crack to me.” I’m a bit concerned that you’re flirting with behavior comparable to hers. Not in regards to cheesy potatoes, of course, but to some other fetish. I will ask you to make sure that you’re not starting to over-specialize. It would be wise to avoid obsessing on a single type of anything. AQUARIUS (Jan. 20-Feb. 18): In the 17th century, polite people referred to mountains as “warts” and “boils on the earth’s complexion.” So says Robert Macfarlane in his book Mountains of the Mind. Annie Dillard describes the peculiar behavior of educated European tourists in the 18th century. When they visited the Alps, she writes in Pilgrim at Tinker Creek, “they deliberately blindfolded their eyes to shield themselves from the evidence of the earth’s horrid irregularity.” Don’t be anything like those dumb sophisticates, Aquarius. When you spy irregularities in the coming weeks, consider the possibility that they are natural and healthy. This will allow you to perceive their useful beauty. PISCES (Feb. 19-March 20): You are not for sale. Remember? Your scruples and ideals and talents cannot be bought off for any amount of money. You will not be cheated out of your birthright and you will not allow your dreams to be stolen. Although it’s true that you may have to temporarily rent your soul from time to time, you will never auction it off for good. I’m sure you know these things, Pisces, but I suspect it’s time to renew your fiery commitment to them.

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