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CONTENT

pOweR Rising: a utility pushes to change Oregon’s green power standards. page 7.

news

music

lead sTORY

peRFORmance 35

culTuRe

mOvies

classiFieds

FOOd & dRink 20

STAFF Editor-in-Chief Mark Zusman ediTORial Managing Editor for News Brent Walth Arts & Culture Editor Martin Cizmar Staff Writers Andrea Damewood, Nigel Jaquiss, Aaron Mesh Copy Chief Rob Fernas Copy Editors Matt Buckingham, Peggy Capps Stage & Screen Editor Rebecca Jacobson Music Editor Matthew Singer Books Penelope Bass Classical Brett Campbell Dance Aaron Spencer Theater Rebecca Jacobson Visual Arts Richard Speer Editorial Interns Ashley Jocz, Matthew Kauffman, Michael Munkvold, Enid Spitz, Brandon Widder

cOnTRibuTORs Emilee Booher, Ruth Brown, Nathan Carson, Robert Ham, Jay Horton, Reed Jackson, Emily Jensen, AP Kryza, Mitch Lillie, John Locanthi, Michael Lopez, Jessica Pedrosa, Mark Stock, Brian Yaeger, Michael C. Zusman pROducTiOn Production Manager Ben Kubany Art Director Ben Mollica Graphic Designers Kathleen Marie-Barnett, Amy Martin, Brittany Moody, Dylan Serkin Production Interns Kurt Armstrong, Autumn Northcraft adveRTising Director of Advertising Scott Wagner Display Account Executives Maria Boyer, Michael Donhowe, Carly Hutchens, Ryan Kingrey, Janet Norman, Kyle Owens, Sharri Miller Regan Classifieds Account Executives Ashlee Horton, Corin Kuppler Advertising Assistant Ashley Grether Marketing & Events Manager Carrie Henderson Give!Guide Director Nick Johnson Production Assistant Brittany McKeever

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

disTRibuTiOn Circulation Director Robert Lehrkind wweek.cOm Web Production Brian Panganiban Web Editor Matthew Korfhage musicFesTnw Executive Director Trevor Solomon Associate Director Matt Manza OpeRaTiOns Accounting Manager Chris Petryszak Credit & Collections Shawn Wolf Office Manager Ginger Craft A/P Clerk Max Bauske Manager of Information Systems Brian Panganiban Associate Publisher Jane Smith Publisher Richard H. Meeker

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Willamette Week welcomes freelance submissions. Send material to either News Editor or Arts Editor. Manuscripts will be returned if you include a self-addressed, stamped envelope. To be considered for calendar listings, notice of events must be received in writing by noon Wednesday, two weeks before publication. Send to Calendar Editor. Photographs should be clearly labeled and will be returned if accompanied by a selfaddressed, stamped envelope. Questions concerning circulation or subscription inquiries should be directed to Robert Lehrkind at Willamette Week. Postmaster: Send all address changes to Willamette Week, 2220 NW Quimby St., Portland, OR 97210. Subscription rates: One year $100, six months $50. Back issues $5 for walk-ins, $8 for mailed requests when available. Willamette Week is mailed at third-class rates. A.A.N. Association of ALTERNATIVE NEWSWEEKLIES This newspaper is published on recycled newsprint using soy-based ink.

MAIN STORE 706 SE MARTIN LUTHER KING JR. BLVD / 503.233.5973 / M-F 10-7 SAT 10-5 SUN 12-5 OUTLET STORE 534 SE BELMONT, 503.446.2205 / RIVERCITYBICYCLES.COM / OPEN EVERY DAY Willamette Week MARCH 27, 2013 wweek.com

INBOX TWO VIEWS OF WANNAMAKER

All events are free unless otherwise noted. Parking is free after 7 p.m. and all day on weekends. For daytime events on weekdays, visitors are encouraged to use public transportation. April 5-May 19 Tuesday-Sunday 11 a.m.-4 p.m. Hoffman Gallery of Contemporary Art

April 7 3:30 p.m. Evans Hall

April 8-10 Templeton Campus Center and Agnes Flanagan Chapel

April 10 and 12 8 p.m. Evans Hall

EXHIBITION

Senior Art Show See art by 27 graduating seniors in the Department of Art. Last year’s show earned praise from critic Peter Plagens of the Wall Street Journal. Opening reception April 5, 5-7 p.m. PERFORMANCE AND FILM SCREENING

Komora: To Heal A benefit concert by Martin Zarzar of Pink Martini and Luciana Proaño, Peruvian dancer and artist, will be followed by a reception and film screening of Komora: To Heal, coproduced by Dallaire Scholar Emmanuel Habamina and Natalie Ledford. Suggested ticket price is $20 for adults, $10 for students. Advance registration recommended at go.lclark.edu/komora. 51ST ANNUAL INTERNATIONAL AFFAIRS SYMPOSIUM

Power: Balance, Order, and Flux Scholars, politicians, civil servants, and nonprofit leaders will debate issues including cyber security, intrastate ethnic conflict, failed states, and regional security organizations. For the full schedule visit go.lclark.edu/ international/affairs/symposium.

RACE AND THE PRISON SYSTEM

My freshman writing professor told the class one day, “Statistics are like bikinis. They reveal a lot, but what they don’t reveal is the most important part.” I was reminded of this when reading “The Hard Truth About Oregon’s Prisons (They Work)” [WW, March 20, 2013]. The glaring omission in an article addressing incarceration and education was any mention

BUNGLED DEAL DRAWS IRE

Fine, and who got fired for this? [“3rd & Choke,” WW, March 20, 2013.] Someone needs to be shown the door, as high up the management chain as possible. Who signed the idiotic parking deal? Who approved tearing down the old garage without having an ironclad development deal inked? The word is “accountability.” —“ER”

CORRECTIONS

The name of Trammell Crow, a Portland realestate development company, was misspelled in last week’s story “3rd & Choke.” The name of Nichole Maher, president of Northwest Health Foundation, was misspelled in our March 13 story about fluoride, “Cavities in Their Campaign.” WW regrets the errors. LEttErs to thE Editor must include the author’s street address and phone number for verification. Letters must be 250 or fewer words. Submit to: 2220 NW Quimby St., Portland, OR 97210. Fax: (503) 243-1115. Email: mzusman@wweek.com

Handel’s Semele Lewis & Clark’s Opera Theatre class presents Handel’s Semele, based on a Greco-Roman myth involving the love affair between Jupiter and the mortal Semele. Tickets cost $5-$10 at the door. SOFTBALL

April 21 3 p.m. Agnes Flanagan Chapel

CONCERT

Pioneers vs. Pacific University Watch the Pioneers take on conference rival Boxers.

Cappella Nova and Women’s Chorus Music will include North African and North American music that draws upon dance rhythms as part of Cappella Nova’s upcoming tour of Egypt. Tickets cost $5-$10 at the door. BASEBALL

Pioneers vs. Linfield The Pioneers take on conference rival Wildcats.

www.lclark.edu 4

Brian Wannamaker is not nearly as noble as you give him credit for. For one thing, his rents are expensive—even for the studio spaces. And then there’s the commission you’re required to pay him for every piece [of art] you sell. I lived in the Falcon for over five years and have seen Wannamaker’s shady tactics over and over again. —“Falconer”

of race. Michelle Alexander, author of The New Jim Crow, describes mass incarceration as the new form of an old racial caste system. Looking at schools and prisons (and the pipeline between the two) with those numbers in the foreground re-frames the debate. The question, then, isn’t whether Oregon’s prison system is working, but whether it is the system we want exercising control over our communities, cities and state. We can pat ourselves on the back for having the best suite on the Titanic, or we can support Gov. John Kitzhaber and take the first step toward a life raft. Beriah Empie Northwest Portland

PERFORMANCE

April 13 Noon and 2 p.m. Huston Sports Complex

April 27 Noon and 3 p.m. Huston Sports Complex

OMG! This guy needs to be stopped! [“Rise of the Falcon,” WW, March 20, 2013.] He uses his own money to set up an artist’s community of inexpensive studio space, but insists in choosing the artists! He likes art that art critics don’t! He raised rents when he renovated apartment buildings! He tried to sneak out of taking responsibility for gentrification by not raising rents until the first tenants moved out! He owns buildings where tenants have stored things illegally, then weasled out of fines by fixing the problems promptly! What about parking tickets?! What about… overdue library books?! Seriously, an informative article about someone doing a lot of good with his life. I enjoyed it. —“Mike”

Lewis & Clark 0615 S.W. Palatine Hill Road Portland, Oregon 97219

Willamette Week MARCH 27, 2013 wweek.com

the folks planning the Columbia river Crossing bridge made it too low for big cargo carriers. Would legalized pot in oregon fix this? imagine: the bridge absorbs enough secondhand smoke to actually get “high.” Everyone’s happy! —Curious

Everybody’s a comedian. I’ll thank you, Curious, to leave the drug and masturbation references to me. (I know you didn’t say anything about masturbation; I just happened to be thinking about it.) But enough about your mom. There are three kinds of public-policy controversy: the kind only policy wonks have heard of, the kind that a few City Club types might notice, and the kind that actually penetrates the thick cloud of marijuana smoke and Kardashian trivia encircling the consciousness of the common man. If my readers—a group who routinely fall asleep face-down in a pot of Western Family macaroni and cheese—are hip to your urban-

planning snafu, congratulations: You’ve hit the big time. As you note, several companies on the Columbia make and ship things too tall to fit under the proposed 116-foot bridge. Oops. It’s true that you can’t make an omelet without breaking a few eggs. But the way the issue has been handled (and the fact that the original design had a meager 95-foot clearance) invites speculation that this decision was less a calculated sacrifice than a massive oversight. Bridge planners’ response can be summed up as (a) we can pay off the companies affected from our limitless pot of CRC money, and (b) we already spent $165 million on this design, so shut up. It’s like your dad built a boat in the living room that won’t fit through the door, and now he wants to knock down a wall to get it out. Sure, it might work—but you gotta wonder if Dad’s really the man for the job. QuEstions? Send them to dr.know@wweek.com

SUMMER CAMP GUIDE

Run 2 weeks get the 3rd week free

Publication Dates 4/3, 4/10, & 4/17 Deadline for artwork 3/29

Contact: Ashlee Horton • 503-445-3647 • ahorton@wweek.com or Corin Kuppler • 503-445-2757 • ckuppler@wweek.com Willamette Week MARCH 27, 2013 wweek.com

ENVIRONMENT: A utility’s play to undo green power standards. JUSTICE: The sheriff bends to pressure on immigration enforcement. NEIGHBORHOODS: It’s the city vs. OLCC over bar noise. COVER STORY: The Exploding Hearts’ surviving member talks.

7 8 10 12

PNCA in collaboration with Oregon Humanities Alfred Edelman Lecture:

Rebecca Solnit THE CITY’S OLD TOWN PLAN GOES FROM GOLD TO DUST.

On Getting Lost and What you Find There:

April 3, 2013 6:30 pm Swigert Commons 1241 NW Johnson St. Free and open to the public

W W S TA f f

Uses of the Unknown for Artists and Explorers

The Grove Hotel, a $3.7 million Portland Development Commission project to revitalize Old Town-Chinatown, is on life support. City emails obtained by WW show David Gold—lead partner in the plan to turn the Grove from a crumbling halfway house into a trendy, Asian-themed youth hostel—rejected the PDC’s terms in January. The PDC agreed to sell the Grove to Gold and his partners for $555,000 (a $3 million subsidy) while providing a $2.64 million loan. However, Gold and his investors—including Ace Hotel owner Alex Calderwood and Wieden+Kennedy advertising executive John Jay—rejected a requirement that they put up $900,000 in loan collateral. Gold tells WW the project is “not currently financially viable” because tenants won’t move in next to the homeless camp Right 2 Dream Too, located at Northwest 4th Avenue and Burnside Street. PDC spokesman Shawn Uhlman remains optimistic about the deal: “It is not dead,” he says.

WW, 5.727 ”W x 6.052”H B&W

19th Annual

SPRING BEER & WINE FEST And Hoppity Hops Fun Run Oregon Convention Center Portland Oregon

ADMISSION $8.00 Free Admission 1st 500 Friday

SCAN WITH SMARTPHONE

Fri & Sat • March 29-30, 2013 • Noon to 11 pm SATURDAY: Register for Hoppity Hops Fun Run Get Entrance to the Fest FREE that day! For more information please visit our website at

www.springbeerfest.com Spring Beer & Wine Fest, Inc is a registered not-for-profit organization supporting scholarships and charities

The Portland Police Association, the city’s cops union, says the sale of the city’s police bar left them holding the tab. As Murmurs reported March 13, the similarly named but separate Portland Police Athletic Association sold the building housing the members-only bar earlier this month for $945,000. On March 22, the police union sued, claiming the bar existed for its members’ enjoyment and the union is entitled to a cut. The suit asks a judge to figure out how much the union should get. Union president Daryl Turner declined to comment; a representative of the police athletic association didn’t return WW’s calls. Cyclists, city planners and composters are all breathing easier after Lewis & Clark Law School professor and acerbic blogger Jack Bogdanski announced March 22 he’s retiring his “Bojack” website for at least a year to write a book on tax law. Bogdanski—whose antipathy to government reached new heights this month when he sued the City of Portland over the new arts tax—says he doesn’t know if he’ll return. He took a similar hiatus in 2004, telling The Oregonian he would contemplate whether “to blog or not to blog.” Bojack was back six weeks later. An anti-Columbia River Crossing billboard near the junction of Interstate 5 and Highway 217 appears to have been taken down after WW threatened legal action. The billboard asked “Got Corruption?” and depicted State Treasurer Ted Wheeler and Patricia McCaig, Gov. John Kitzhaber’s adviser on the $3.4 billion freeway, bridge and light-rail project. (McCaig is also paid by the project’s biggest consultant.) WW holds rights to the photos and protested their use to Lindsay Berschauer, whose firm, Leona Consulting, arranged for the sign. Berschauer says the billboard may reappear in another form. Read more Murmurs and daily scuttlebutt.

Willamette Week MARCH 27, 2013 wweek.com

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

chrisdanger.com

NEWS

A BIG DAM FIGHT AHEAD OPPONENTS OF OREGON’S GREEN ENERGY LAW ARE SEEKING A MAJOR CHANGE. By nig e l jaq ui ss

njaquiss@wweek.com

In 2007, Oregon lawmakers decided to address global warming by moving the state aggressively away from burning coal and natural gas to produce electricity. They required big utilities to generate 25 percent of their electricity from green sources, such as wind, solar and biomass, by 2025. Now, that law is under attack. A group calling itself Oregonians for Renewable Power wants to change the law so utilities can count electricity from dams toward their green energy goals—even though the dams were built decades before the law was passed. “Hydro is one of Oregon’s historic strengths,” says lobbyist Paul Cosgrove. “It’s abundant, relatively inexpensive power. It doesn’t make sense from a public policy perspective not to include it in the standard.” But the law’s defenders say that misses the point: The standard was intended to increase the amount of green energy in Oregon, not simply count what already existed. “It’s like signing up to run a marathon and then asking to count 10 miles you ran last week against the 26 miles you are supposed to run today,” says Rep. Jules Bailey (D-Portland), chairman of the House Energy and Environment Committee. Opponents want lawmakers to grant utilities an exemption for hydro power, and they’re posed to push a 2014

ballot initiative, called the “Affordable Renewable Energy Act,” before voters if they don’t get their way. Cosgrove is a chief petitioner. Many utilities originally opposed the green mandate, but lawmakers largely satisfied their concerns about the costs of new energy sources, such as wind and solar. Scott Bolton, a lobbyist for PacifiCorp, says Oregon’s investor-owned utilities and the associations of publicly owned utilities ended up supporting the law or remained neutral. The new mandate and a subsequent energy tax credit program caused an explosion of wind farms to crop up east of the Cascades. Wind now accounts for 4.3 percent of the state’s electricity, state figures show. Coal still accounts for 35.5 percent and natural gas for another 16.2 percent. Today, as in 2007, the biggest single source of electricity in Oregon is hydropower from federal dams on the Columbia and Snake rivers. The dams provide nearly 39 percent of Oregon’s electricity. But the Oregon law counts only sources of electricity built after 1995—long after the federal dams were in. Rachel Shimshak, executive director of Renewable Northwest Project, a Portland advocacy group, says Cosgrove is trying to roll back Oregon’s most effective effort to address global warming. “The result of this ballot measure would be to wipe out, gut and render completely useless the renewable standard,” she says. The politics around the initiative are complex—and murky. Cosgrove won’t say who is backing the initiative. His group, Oregonians for Renewable Power, has not yet filed any financial disclosure forms. “I don’t want to reveal any

of the members at this point,” he says. Cosgrove lobbies for the Umatilla Electric Cooperative, a 10,000-customer public utility in Eastern Oregon. Umatilla is a powerhouse in the capitol, spending more on lobbying than Portland General Electric, which has 80 times as many customers. This session, Umatilla is asking for a legislative exemption from the green mandate. Large server farms are moving into Umatilla’s territory, and the utility wants relief from the stringent requirements for renewable energy the increased power demand will trigger. (The requirements for small utilities are less stringent than for PGE and PacifiCorp, but they get stricter over time.) Cosgrove says the success or failure of Umatilla’s legislation, House Bill 2108, could determine whether the ballot measure proceeds. “We’d prefer to resolve the issue at the Legislature,” Cosgrove says. Renewable-energy mandates are under fire nationally. The American Legislative Exchange Council, a conservative umbrella group better known as ALEC, has urged their rollback. Last year, The Oregonian identified Cosgrove as ALEC’s private-sector co-chair in Oregon. Cosgrove denies his initiative is part of a coordinated effort with ALEC. “We have not had any communication with anybody outside the state or any organization outside the state at all,” Cosgrove says. He says his group also has nothing to do with a television ad campaign extolling hydroelectricity. The ads send viewers to a website paid for by Northwest River Partners, whose executive director, Terry Flores, did not return WW’s calls. Gov. John Kitzhaber, who would have to sign Umatilla’s bill to make it law, opposes changes to the state’s green energy mandate. “The existing [law] is working as intended and should not be watered down,” Kitzhaber said through a spokeswoman. “We want to encourage even more renewable energy in Oregon, and I see no reason in the foreseeable future to change the law.” Willamette Week MARCH 27, 2013 wweek.com

NEWS

JUSTICE AMY MARTIN

FREEZING OUT ICE THE MULTNOMAH COUNTY SHERIFF WILL STOP HONORING IMMIGRATION HOLDS ON LOW-LEVEL OFFENDERS. BY AN D R E A DA M E WOO D adamewood@wweek.com

Multnomah County Sheriff Dan Staton plans to start releasing undocumented immigrants brought to his jails for lowlevel crimes before immigration officials can get their hands on them. The move is a reversal of Staton’s previous support of a controversial practice whereby U.S. Immigration and Customs Enforcement orders local jails to hold undocumented immigrants for deportation, no matter how small their alleged crimes. But since 2010, Staton has faced growing pressure from the immigration rights community and, more recently, from the Multnomah County Board of Commissioners, to reject the demands of the immigration agency, known as ICE. Under the Secure Communities program—started in 2008 but continued by the Obama administration—jail officials run fingerprint checks through the FBI to identify undocumented immigrants as they are booked into jails. ICE then requests that local authorities hold the inmates for up to two business days until they can be transferred to federal custody. Documents obtained by WW show Staton has agreed to deny ICE access to inmates brought to the jail for nonviolent misdemeanors. “People who have been living in this community for many years are pulled over for something minor like driving without a license,” Multnomah County Chairman Jeff Cogen tells WW. “They’re getting deported and families are being separated.

Willamette Week MARCH 27, 2013 wweek.com

To me, that’s not justice.” Staton—who has defended his stance on the ICE program until now—declined to be interviewed by WW. As an elected official, the sheriff doesn’t answer to the county board. But Cogen and the other four commissioners control the sheriff ’s budget and have been echoing community opposition to the ICE program for months. “These modifications will assist in addressing the concerns and requests for changes that have been brought to the sheriff,” Staton said in a statement to WW. Staton said the change will “help minimize impacts, and continue to ensure the safety of the citizens of Multnomah County during budgetary struggles facing public safety.” The county board is scheduled to vote on the policy April 4. In 2012, Multnomah County jail officials identified 1,158 inmates as ICE holds—or about 3.1 percent of the jail’s population. Some of those holds occupied jail beds while inmates accused of felonies were let out due to overcrowding. County records show the jail was forced to give early release to 916 inmates last

year. In most months when that happened, the jail had an equal or greater number of ICE holds than the prisoners it let go. “It’s clear that ICE holds are one of several factors affecting capacity in the jail,” Cogen says. “The sheriff needs the flexibility to jail the people he believes are the biggest risk to public safety.” Nationally, the program has drawn fire for upending the lives of undocumented immigrants who have been charged with minor crimes—or no crimes at all. Take the case of Miguel Cabrera Cruz, a longtime Portland resident. On Oct. 14, 2011, Cabrera, a day laborer, accused an employer of failing to pay him and jumped into the bed of the man’s pickup. The man called police, who charged Cabrera with trespassing and disorderly conduct—misdemeanor charges later reduced to noncriminal violations. Cabrera was held in the Multnomah County Jail until Oct. 19, when he was taken into ICE custody and held in the federal agency’s Tacoma, Wash., detention facility. He was later released. The American Civil Liberties Union of Oregon filed suit against the county and sheriff ’s office in September 2012, argu-

ing that Staton violated a state law that prohibits local police from enforcing federal immigration law if the detainee is not involved in criminal activity. No hearing date has been set for the case. “We’re optimistic [the new policies] are a step forward,” says Becky Straus, legislative director of the ACLU of Oregon. “But the position in our case is that detainers are not mandatory, and in Oregon, unless the detainer is accompanied by a warrant, as is required under state law, then the detainer is illegal.” Cogen says he would prefer to see Staton reject all ICE holds, but the “sheriff didn’t feel comfortable with that.” Cogen called the new plan, which is still being ironed out, “better than the status quo.” ICE maintains that local law enforcement “shall” honor its detention requests to hold undocumented immigrants—a position that’s led many local governments to believe their cooperation is required. But other jurisdictions have started refusing, including New York City; Cook County, Ill., which includes Chicago; and California’s Santa Clara and Los Angeles counties. None has faced a court test from the federal government. In a draft county resolution obtained by WW, Staton will hold inmates for ICE only if they are suspected undocumented immigrants charged with felonies or Class A misdemeanors involving violent crimes. The sheriff will also honor holds if the feds present an affidavit showing the inmate has been previously convicted of a felony or more than two misdemeanors, or if the inmate has a prior misdemeanor conviction for or is currently charged with a violent crime, sex abuse, driving under the influence of intoxicants, possession of a weapon, or drug dealing. Francisco Lopez, executive director of the statewide immigration rights group Causa Oregon, calls the plan a “good compromise.” He says it may help repair the damage caused by Staton’s slow action on the ICE program, and by his decision to send Undersheriff Tim Moore to training last fall sponsored by the Federation for American Immigration Reform, which is classified as a hate group by the Southern Poverty Law Center. “I’m glad the sheriff has responded to the outcry that was put in front of him,” Lopez says.

Willamette Week MARCH 27, 2013 wweek.com

NEWS

NEIGHBORHOODS KURT ARMSTRONG

TAKE IT INSIDE THE CITY’S LATEST BAR BRAWL WITH THE OLCC: HOW LATE CAN PATIOS STAY OPEN? BY AA R ON MESH

amesh@wweek.com

Thomas Winston Morgan marched across Southeast Yamhill Street on a summer night in 2011 in a T-shirt, boxer shorts and flip-flops, and demanded the birthday party stop. The laughing voices coming off the back patio were keeping him and his partner, Stephen Oringdulph, awake past midnight. “You’ve gotta deal with this,” he said, “or I’m calling the cops.” But there wasn’t much Morgan could do. The party wasn’t at a house, but at the Sweet Hereafter, a vegan bar on Southeast Belmont Street. In the past two years, Belmont has blossomed with watering holes, and four bars on the block between Southeast 33rd and 34th avenues feature back patios bordering homes and apartments. Prohibition-style cocktail bar Circa 33 even built a patio that wraps around the patio of the Aalto Lounge. And many neighbors have had it. “Honestly, the high, squeaking female voices when they’re drunk—I just want to rip my head off,” says Morgan, who bought a white-noise machine to drown out the crowd. “Just take it in at 10.” Portland city officials, including the mayor, agree with him. The Oregon Liquor Control Commission does not. And the state booze agency is writing one-size-fits-all patio drinking rules for the whole state—a move that prevents Portland from coming down on bars with noise problems. The OLCC rules say outdoor seating must close at 11 pm on weeknights and 1 am on Fridays and Saturdays. The city wants patios near residences to be quiet by 10 pm every night. The rules apply to any establishment in Oregon, whether it’s a bar deck in Dufur far from the nearest house, or a patio in Laurelhurst pushed up against someone’s backyard. Farshad Allahdadi, the OLCC’s director of license services, says his agency has to consider the whole state, and not give in to the city’s pressure that rules be Portland-centric. “This is the trick: Every community has its own standard,” Allahdadi says. “If you’re a McMenamins, you want to have some solid understanding of what the expectations are, regardless of where you’re going to open in Oregon.” Under current rules, bars in Oregon can keep their patios open until last call, although many are pressured into closing outdoor service at 10 pm by neighborhood associations. Mayor Charlie Hales made an unannounced appearance at the OLCC’s rule hearing March 21, imploring the liquor board to give authority to local municipalities to decide when patio service should stop. “There are tens of thousands of people who have invested in the urban lifestyle,” Hales said. “The friction is a very serious problem.” Hales has long wanted the OLCC to give Portland more authority. Their quarrel dates back to his time as a city commissioner a decade ago, when he and then-Mayor Vera Katz wanted to shut down the Gypsy on Northwest 21st Avenue 10

Willamette Week MARCH 27, 2013 wweek.com

FRACTURED BY PORCHES: Thomas Winston Morgan lives across Southeast Yamhill Street from the Belmont bar corridor…

“I WANT TO RIP MY HEAD OFF. JUST TAKE IT IN AT 10.” —THOMAS WINSTON MORGAN

…which includes the Circa 33 patio wrapped around the Aalto Lounge patio.

over noise complaints and drunken behavior. The OLCC said no. The city’s hands may be tied this time, too. Portland has noise ordinances that limit amplified music after 10 pm. “Ten o’clock is a great time to move your party indoors,” says David Sweet, chair of the city’s Noise Review Board. “Let the neighbors get some sleep.” But noise inspectors can’t go after bars for patrons talking too loudly—human voices are considered protected as free speech. So city officials are asking the OLCC to give them jurisdiction over porch hours. Last July, the OLCC quashed a city ban of malt liquor and cheap wine downtown. And the OLCC has granted liquor licenses to food carts despite a city lawsuit trying to stop it. Circa 33 manager Michael Anderson says he wouldn’t mind the city enforcing a 10 pm patio shutdown on Belmont. “We try our very best to close our patio at 10 o’clock,” he says. “It’s not worth the headache of the neighbors.” But at least one homeowner found the headache too painful. Meg Poehler lived for nine years in a townhouse behind Aalto Lounge and Circa 33 until last May, when she sold it and moved to Tigard. “There are lots of things I miss about Portland,” she says. “Lots. But sleep just makes a huge quality-of-life difference.”

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

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BY E

BOOH MILEE

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EXPLODING HEARTS: (From left) Terry Six, guitar; Adam Cox, vocals/guitar; Jeremy Gage, drums; Matt Fitzgerald, bass. 12

Willamette Week MARCH 27, 2013 wweek.com

C H R Y S T E A I B R A N C H AW

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WEB EXTRA: Watch Yout hbitch, the No Tom orrow Boys, the Cry!, Brownish Bl ack, Blue Sk ies for Black Hearts and Suicide Notes cover all 10 songs from Guitar Romantic at wweek.com .

Willamette Week MARCH 27, 2013 wweek.com

ANALISA SIX

On the way home from a sold-out show in San Francisco, the band’s tour van flipped over on Interstate 5 just north of Eugene. Only one band member survived. A decade later, the Exploding Hearts have achieved an almost mythic status. Guitar Romantic is considered among the best albums of its genre to come out in the past decade, and inspired an entire generation of Portland punks to start their own bands. While their career may have ended in 2003, the Hearts live on. But for the lone surviving member, the road to immortality has been long and painful. At age 30, Terry Six still the looks the part of a rock-’n’-roll lifer. He hasn’t played in a band since his post-Exploding Hearts project, the Nice Boys, dissolved three years ago, but his hair remains tousled, a pair of Ray-Ban sunglasses permanently shading his eyes. It’s a sunny Sunday afternoon in Oakland, where Six moved with his wife, Analisa, in 2011, and the guitarist is sitting on a bench overlooking the Inner Harbor. Having grown up in the Portland suburbs and endured 28 years of Northwest winters, he talks with fondness about California’s eternal summer. But Six moved here for reasons other than the weather. He needed a break. He needed to heal. For years after the accident that took the lives of his three best friends, Six refused to talk about the Hearts. “I was pretty angry at that point,” he says. “I didn’t want to dishonor what we did with my erratic behavior.” Six now lives a relatively quiet life, working for a school for autistic youth and attending the occasional concert. And he is beginning to write songs again. He is currently in the process of starting his own record label, on which he hopes eventually to put out his own music. He knows, however, that he’ll never re-create what he had with the Exploding Hearts. Six and the rest of the band—singer-guitarist Adam Cox, drummer Jeremy Gage and bassist Matt Fitzgerald— began playing music together in 2000, after meeting at C.E. Mason High School in Beaverton, “a school for retards and pregnant girlies,” as Cox once described it to Maximumrocknroll. The four bonded over a shared “fuck the system” attitude, spending their time together bickering, talking shit, drinking anything that came in 40-ounce bottles, smoking pot and vandalizing homes, hotel rooms and many of the other places they came across. They were a family. “Every single thing that we experienced in those teenage years, we did it together,” Six says. “We shared the same brain.” They also shared a striking visual aesthetic, which mainly came from the direction of Cox, who designed the Hearts’ look. With signature colors of black, white, pink and yellow, the guys took a do-it-yourself approach to their clothing—one of Six’s favorite outfits was a pair of black leather pants, a ratty tank top and a leopard-print women’s jacket from Goodwill that he dyed pink in the bathtub. Then there was the hair: Cox cut Six’s to look like a shagged-out mullet. “I don’t recall any other bands looking like us…. We were pretty noticeable,” Six says. “Everything we had we shredded, safety-pinned or bleached the hell out of it. We wanted to look really menacing, but also eye-catching.” After graduating from high school, Six moved into Cox’s second-floor apartment on Southeast 12th Avenue in Portland. Dubbed the “Pink Palace,” the building had a pink tire swing hanging in the front yard, and scuffed-up skateboards crowded the doorway. The smell of stale weed lingered in the rooms and spray paint covered the interior walls. The bedroom doors were tagged with names like “Led Zep,” “Dead Moon Night” and “Metallica,” the result of “spray-paint wars” between Six and Cox. The kitchen— where the band shot the cover photo for Guitar Romantic— was salmon-pink, with the album’s name painted on the wall behind the refrigerator. In 2002, the Hearts went into the studio to record their first full-length album. The group recorded all the tracks within a two-week period with local producer Pat Kearns 14

Willamette Week MARCH 27, 2013 wweek.com

TERRY TODAY: Former Exploding Hearts guitarist Terry Six is making music again in Oakland.

“I DON’T KNOW WHAT THERE REALLY IS TO SAY TO SOMEONE LIKE ME.” —Terry Six in his small setup known then as Studio 13. “We didn’t spend too much time on it, and that’s what I liked about it,” Six says. “We didn’t have to try.” Discussing influences that included Elvis Costello, the Paul Collins Beat, Nick Lowe, and the Supremes, Kearns and the band made a conscious effort to balance the buzzsaw grit of early punk music with Phil Spector’s “Wall of Sound” style to give the album a more polished sound than contemporaries such as the Briefs and the Spits. “Punk music was just so hard on its edges and didn’t have this tenderness,” Kearns says. He’d often encourage Cox to sing like Diana Ross. “Less punk, more Diana!” he’d yell while tracking the vocals. Released on April 1, 2003, through the now-Portlandbased punk label Dirtnap Records, Guitar Romantic blends influences from obscure power-pop acts and 1970s punk bands to girl groups of the 1960s. Coming from a bunch of

kids who spent their youth getting wasted and destroying property, the record expresses a surprising vulnerability. Some of that can be credited to New Orleans native King Louie Bankston, who briefly lived in Portland and jumped in and out of the band during the making of Guitar Romantic. Known to leave late-night voice mails for the band members with ideas for melodies and lyrics, Bankston pushed the Hearts to take a more honest approach to their songwriting. “Lyric-wise, [Louie] had the sparkle that we needed,” Six says. When the album came out, punk fans around the country immediately took notice. The first 1,000 wholesale pressings of Guitar Romantic sold out in two days. Portland, however, was slow to catch on: At the album-release show at now-defunct Satyricon in Old Town, the band didn’t sell a single record. “Portland didn’t give a shit,” Kearns says. “Nobody respected these guys or cared about them.” Because of their appearance, lyrics and attitude, the Hearts were often dismissed as posers. Although they played regularly around town at venues like Dante’s, Murray’s Pizza Pub and Meow Meow, their audiences were usually small. “For every die-hard, there were, like, 10 people who fucking hated us,” Six says. Gradually, though, prominent local music figures—such as Sleater-Kinney drummer Janet Weiss, promoter Mike Thrasher and Jackpot Studios owner Larry Crane—began to show up at the band’s shows. Even the more disastrous performances, which involved onstage arguments and Cox rubbing vomit in his hair, are now the stuff of legend. “They just had a charisma,” Kearns says. “It was weird. They just couldn’t screw stuff up.” Meanwhile, the group’s national buzz reached a high point when Pitchfork praised Guitar Romantic, with critic Matt LeMay calling it “simply a fucking awesome powerpop record” and remarking that “the Exploding Hearts are the best punk band to come along in a long time, maybe since the original wave.” “This was clearly a band that spent a lot of time not just listening to records, but really understanding what makes a great song—when that little guitar hook needs to come in, what drum fill is going to pick up the energy before a chorus—all those little procedural details that add up to something totally timeless,” LeMay says, looking back. “They pulled it off with a sense of joy and excitement that’s hard to find on any record from any era.” The early summer of 2003 presented big opportunities for the Hearts. They were invited to play at The Harvard

C H R Y S T E A I B R A N C H AW

SCRAPBOOK: See more Exploding Hearts photos at wweek.com.

Lampoon building, where Conan O’Brien had performed the year before and the Strokes the year before that. They opened for iconic English punk band the Buzzcocks at Berbati’s Pan. And they went to the Bay Area for the first time, selling out the small but venerable club Bottom of the Hill and visiting the headquarters of Lookout Records, to discuss a record deal. To cap the trip, the band headlined a last-minute show at Thee Parkside in San Francisco. At closing time, the venue pulled the plug on the PA midsong. It didn’t matter: The crowd was singing along so loudly, the Hearts didn’t need microphones. “It felt like all of the work we had been doing was finally starting to pay off,” Six says. On the night of July 19, 2003, the Exploding Hearts left San Francisco and set out on the 600-mile, 10-hour drive home, through the twisting roads over mountain passes. In the van, Gage picked at a rotisserie chicken—which he eventually threw out the window—as the band and its manager, Rachelle Ramos, drove through the night. Upon reaching Oregon, fatigued and eagerly looking for somewhere to rest for the night, the group pulled off in a small town south of Eugene. “We stopped at this shit-kicker country-western bar,” Six recalls. “We were really, really tired, and we were just asking around for a place that was close by to stay. These guys were really big assholes to us because we still looked like how we looked, and they didn’t want to have anything to do with us.” After being forced out of the bar, the band destroyed the wooden fence out front and left to find a place to park the van and sleep for a few hours. “I woke up to the sound of the engine starting and Matt clearing his throat and coughing,” Six says, “and then we drove off.” Just north of Eugene on Interstate 5, around 6 am, Fitzgerald veered onto the gravel on the left side of the road and lost control of the van. Authorities reported that Fitzgerald most likely overcorrected when he attempted to steer the van back toward the highway, causing it to roll multiple times. “It felt like a fucking joke,” Six says. “I remember being in the van and thinking, ‘Goddamn it, now we have to walk all the way home.’ That was what I was thinking when the van was flipping.” When it came to a stop, the damage was much more significant. Along with the instruments and equipment, Cox, Gage and Fitzgerald had all been ejected from the vehicle. “I saw our life—and our friends and just

everything—destroyed on the side of I-5,” Six says. Cox, 23, and Gage, 21, died at the scene; Fitzgerald, 20, died at the hospital shortly thereafter. Six and Ramos were treated for minor injuries and released. It was just after 6 am on July 20 when families and close friends were notified of what had happened. “When they died, the city stopped,” Kearns says. Relatives, friends, fans and musicians stood shoulder to shoulder at a packed memorial service for the band at the Old Laurelhurst Church. Benefit shows were held at Dante’s, Meow Meow, Thee Parkside, Bottom of the Hill and Chop Suey in Seattle. Six, who moved back in with his parents, was inundated by guests concerned with his wellbeing—“just like spiky-hair, leather-jacket dudes passed out on my floor,” Six says. “It was like that for months. Nobody had left me alone.” Letters to the grieving families poured in from all over the world, expressing condolences and gratitude for the band’s music. “It was shocking to me to realize the magnitude of their music and how far-reaching it was,” says Nancy Fitzgerald, Matt’s mother. “To have

GUITAR ROMANTIC By The Numbers 1. Recorded April 2002 at Studio 13 in Portland with producer Pat Kearns. 2. Released domestically April 1, 2003, on Dirtnap Records. 3. Five other albums released within a month: the White Stripes, Elephant; the Black Keys, Thickfreakness; Yeah Yeah Yeahs, Fever to Tell; The Kills, Keep on Your Mean Side; Andrew Bird, Weather Systems. 4. Only 10 tracks: “Modern Kicks,” “I’m a Pretender,” “Thorns in Roses,” “You’re Black and Blue,” “Sleeping Aides & Razorblades,” “Rumours in Town,” “Throwaway Style,” “Boulevard Trash,” “Jailbird,” “Still Crazy.” 5. Total run time: 28:33. 6. Cover photo taken in the kitchen of Adam Cox and Terry Six’s home on SE 12th Ave. by Chrysteai Branchaw. 7. Sold approximately 30,000 copies. 8. Dirtnap’s top-selling album. 9. Placed at No. 60 on Pitchfork’s Top 200 Albums of the 2000s, ahead of Elliott Smith’s Figure 8; the Thermals’ The Body, the Blood, the Machine; the Decemberists’ Picaresque; Sleater-Kinney’s The Woods and One Beat; and the Shins’ Oh, Inverted World. 10. “Modern Kicks” listed at No. 290 on Pitchfork’s Top 500 Tracks of the 2000s.

their legacy live on like this…it’s been an extraordinary experience and an extraordinary gift.” As suddenly as the Hearts’ career ended, Guitar Romantic has not faded from the public consciousness. In September 2009, Pitchfork ranked the album No. 60 on its list of the top 200 albums of the 2000s. Around the same time, Bobby Martinez—who interviewed the Hearts for Maximumrocknroll—was working at 1-2-3-4 Go! Records in Oakland when Green Day’s Billie Joe Armstrong came in asking to listen to Guitar Romantic. A few months later, Green Day played an abbreviated cover of the album’s first song, “Modern Kicks,” at a secret club show. Within Portland’s music scene, the Hearts have become a guiding light. “So much of how I try to make our band or our songs, they were doing, and doing so well,” says Hutch Harris of the Thermals, who released their debut album within a month of Guitar Romantic. “It’s hard to believe that came out of Portland in [2003]. It sounds so authentic.” Younger Portland acts like Mean Jeans, Youthbitch and the Cry! have taken notes from the Hearts’ daring songwriting, uncompromising attitude and visual aesthetic. The spark that truly ignited the band and made it so special, though, is harder to pin down. “Defining what that thing is—if I could do that, then I could be in the best band in the world,” says Mean Jeans’ Christian Blunda. But for Terry Six, the fact remains that, on that morning 10 years ago, he lost more than a band. He lost three of his closest friends. It still rattles him. “I don’t think I’ll ever not hurt,” he says. Although he has since moved to Oakland, married and played in other bands like the Nice Boys, the tragedy will always—to some extent—be tiptoed around. “I don’t know what there is to really say to someone like me,” he says. “We’ll never really know how the band could have really, really accomplished what we wanted to do.” Six is slowly easing his way back into music. There’s excitement in his voice as he describes his plans: the recording equipment he’s been hoarding, his ideas for future releases on his own label, Tuff Break Records, and writing his own music again. A few weeks ago, he called Louie Bankston and played over the phone a song he recently wrote. His occasional bandmate said it sounded just like something off Guitar Romantic. Six hadn’t written a song like that for years. It can’t actually be the Exploding Hearts, of course. But it’s a start. Willamette Week MARCH 27, 2013 wweek.com

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literary controversy festers: A fundraiser featuring JT LeRoy to benefit the youth charity P:ear at Disjecta on Thursday, March 28, promises the odd spectacle of an author who famously posed for 10 years as an ex-homeless youth, raising funds for an arts program helping actual homeless youth. Laura Albert—once called the “greatest literary hoax in a generation”—had written books as sexually Jt leroy ambiguous, abused youth JT (not appearing) LeRoy, before being outed in 2005. The event, organized by author Kevin Sampsell, includes a conversation with Albert, plus Portland writers Arthur Bradford and Monica Drake reading from LeRoy/Albert’s works. But sources close to the event say early LeRoy supporters Chuck Palahniuk and Tom Spanbauer were displeased that the event was featuring Albert, and author Lidia Yuknavitch has pulled out of the event, saying Albert “injured too many people who are dear to me, and thus I can’t have anything to do with her. I’m for P:ear, though.” Author Jon Raymond has also pulled out of the event, citing obligations to a movie project.

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Willamette Week MARCH 27, 2013 wweek.com

funches pulled: Comedian Ron Funches, who left Portland for Los Angeles last year, has canceled a homecoming appearance at Mississippi Studios scheduled for Thursday, March 28. He’s got a good excuse, though: He’s filming a pilot for a sitcom. According to the comic, the show is titled Undateable and is being produced by Scrubs funches and Cougar Town creator Bill Lawrence. Funches tells Scoop his character is a “shy musician named Shelly,” and he will be a series regular—that is, if the show gets picked up. buy more sake: Beloved Montavilla izakaya Tanuki had a tough week. As reported at wweek.com, after learning The Oregonian planned to run a restaurant review, Tanuki owner Janice “Janis” Martin abruptly closed March 20 and 21. The review ran anyway. Scoop drank a shot with a photo of a naked woman taped to it to verify that Tanuki reopened March 22. As it turns out, Tanuki is registered as a bar with the Oregon Liquor Control Commission and as a store with the Department of Agriculture, but has never had a county restaurant inspection. If retail sales outstrip restaurant sales, this can continue. So, if you like eating at Tanuki, buy more sake. musical chairs: Three music venues may be changing hands, according to the OLCC. Someday Lounge is to become 5th Avenue Lounge, a cocktail-centric space intended for the over-25 crowd; the previous owners will retain a minority share. According to an OLCC application, Patrick Kennedy and Elisabeth Martin intend to take over East End, whose staff says all existing music-show commitments will be honored. Classic Old Town dive Ash Street Saloon is the subject of a change-of-ownership application from Michael Verdun and Thomas Lamb.

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WILLAMETTE WEEK

What to do this Week in arts & culture

Where freeway-car spotters ride trains every day/ The lines red, green and Blue but the nearest bar gray.

This bar’s named for the view but it’s blocks from the bluffs/ Where thin boys and wan girls watch sunsets and dock toughs.

A hipster hotel where Frappuccinos are uncouth/ Sip espresso in the lobby, complete with photo booth.

THURSDAY MARCH 28

Drop off your mail and pick up a Willy/ get a tux from the Mr. and look like a dilly.

A Southeast spot to dine no matter the hour/ For omelettes, burgers and a ton of flour.

This mom-and-pop shop pours habanero mochas at dawn/ And even after many years, the tiger lives on.

CRACK ’EM WILLAMETTE WEEK

FIND AN EASTER EGG IN A

how many hunters does it take to spy/ This box across the street from the Alibi?

BOX AND WIN A PRIZE.

10.

Kingpins and scrooges share brews and a bite/ Outside, the BrewCycle makes a stop for respite.

You just need one buck at this Foster shopping spot/ grab a cup of Dutch joe on your way to save a lot.

Under a big white sign that named Mr. Burns/ Lewis, Clark and Ward are gone but the world still turns.

11.

The Occupation is over and an elk still stands/ Look below a tower named for one of warring clans.

12.

FRIDAY MARCH 29 ARAbIAN NIgHtS [TheATer] Finally venturing from Shakespeare, Post Five Theatre presents its first play neither by nor about the Bard. Mary Zimmerman’s playful adaptation of The Book of the 1001 Nights follows several tales spun by the wily Scheherezade. Milepost 5, 850 NE 81st Ave., 971-258-8584. 7 pm. $10.

SATURDAY MARCH 30

Peep this: easter is a bummer for grown-ups. it’s all ham and shoeshines, not chocolate bunnies and plastic grass. and no adult egg hunts. Well, until now. We hid a dozen plastic eggs in blue Willamette Week boxes around Portland. clues to find each location are on this page. reach to the roof: taped inside each box, you’ll find a plastic egg with a certificate good for one of 12 fabulous prizes, including a Mt. hood Meadows lift-ticket voucher and a $50 huber’s gift certificate. When you find the egg, please email the code to egg@wweek.com and we’ll respond with a list of available prizes. Winners will pick in the order their response is received.

MERCHANDISE [MUSIC] With its search-engineconfounding name and notoriously unclassifiable music, this Florida quartet is a hard sell. And yet, after building a cult following the last five years, the band appears to have achieved some unlikely success, with a hotly anticipated LP. Though it trades mainly in post-punk, the band has a rep for idiom iconoclasm—expect a genre-defying mix of styles. Backspace, 115 NW 5th Ave, 248-2900. 8 pm. $10. All ages

“16 Military Wives” were shot/ Across from this Southeast burger spot

tAblEtop DAy [gAMIng] geek out at the TableTop Day festivities at the Beaverton Powell’s. The national day of board gaming is organized by the geek & Sundry YouTube channel. Powell’s Books at Cedar Hills Crossing, 3415 SW Cedar Hills Blvd., Beaverton. 10 am-7 pm. Free. fARMHouSE & wIlD AlE fESt [Beer] Saraveza starts farmhouse ale season with 20 French- and Belgian-inspired farmhouse and wild ales from around the country. Bad Habit Room, 5433 N Michigan Ave., 206-4252. 1-9 pm. $20. 21+. HopHouSE CIDERfESt [CIDer] A cider celebration from the normally beery Fifteenth Avenue and hawthorne hophouses. Taste fermented fruit from Wandering Aengus, Anthem, Bushwhacker, Carlton Cyderworks, Two Towns and more. Fifteenth Avenue Hophouse, 1517 NE Brazee St., 971-266-8392. 2-8 pm. Glass and eight tasting tickets for $12; 40 tickets for $40. SINg-A-loNg wItH pINk MARtINI [MUSIC] Sing with Pink Martini— maybe even in the rain. The “little orchestra,” Oregon Symphony musicians and Shedrain umbrella company set up in Pioneer Courthouse Square for an afternoon of harmonizing. Music books made by Wieden+Kennedy are first come, first serve. Pioneer Courthouse Square, 701 SW 6th Ave. 3-5 pm.

TUESDAY APRIL 2 SHEN yuN [DAnCe] Picture the opening ceremony for the 2008 Beijing Summer Olympics, except right before your face. With a full orchestra, overwhelming kaleidoscope of colors and hundreds of costumes, worldrenowned company Shen Yun will send you on a dizzying trip. Keller Auditorium, 222 SW Clay St., 800745-3000. 7:30 pm. $65-$185. Willamette Week MARCH 27, 2013 wweek.com

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SUNDAY, MARCH 31 Feast

Celebrating the Emergence

Ring in spring with cod, lamb or a rabbit pot pie at Ned Ludd’s celebratory feast. A spring-y menu of garden veggies, cheeses and sweets honoring the season’s “new bounty” ends with pineapple upside-down cake and Cool Whip; how celebratory. Ned Ludd, 3925 NE Martin Luther King Jr. Blvd., 288-6900. 10 am-6 pm. $40, $20 for children under 10.

FRIDAY, MARCH 29

Olympic’s Easter Brunch

For the 19th year, this old school beer, wine and food festival fills the floor of the convention center. Oregon Convention Center, 777 NE Martin Luther King, Jr. Boulevard. Free for first 500 guest on Friday, $8 otherwise. Noon-11 pm Fridayand Saturday. springbeerfest.com.

SATURDAY, MARCH 30 Farmhouse & Wild Ale Festival

Farmhouse ales, spicy and fruity, began as moderate winter brews to be sipped throughout the summer. Saraveza starts oﬀ the season with 20 French- and Belgianinspired farmhouse and wild ales from around the country. Brewers including New Belgium, Pfriem and Upright bring some new oﬀerings for its inaugural Farmhouse Fest. Bad Habit Room, 5433 N Michigan Ave., 206-4252. 1-9 pm. $20. 21+.

Hophouse Ciderfest

EXTENDED, NOW THROUGH APRIL 14TH

all for $40. Participants include Wandering Aengus, Anthem, Bushwacker, Carlton Cyderworks, Snowdrift, Two Towns, Reverend Nat’s and EZ Orchards. Fifteenth Avenue Hophouse, 1517 NE Brazee. 2-8 pm. Glass and 8 tasting tickets for $12 or or 40 tickets for $40. 21+

The Asian Connection Cooking Class

Spring Beer and Wine Fest

CAN B

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

WEDNESDAY, MARCH 27

This healthy cooking class goes shrimp-y, not skimpy. Diabetic chef Ken Gordon shares his secrets for well-balanced Asian fare like green papaya salad and grilled ﬁsh. Charlee’s Kitchen at the National College of Natural Medicine, 2220 SW 1st Ave., 552-1751. 6:30-8 pm. $58.

JOIN US FOR EASTER SUNDAY BRUNCH! Y

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

Five courses with complimentary brews from pale to black ale (and black ale ice cream for dessert). Saraveza and Salt Lake City’s Uinta Brewing marry shrimp ceviche with Hop Notch IPA, and deviled eggs with barleywine for this palatable evening. Bad Habit Room, 5433 N Michigan Ave., 206-4252. 6 pm. $45. 21+.

3805 SE 52nd Ave. • 503-777-6009 • Open all week 7am-2:30am

ARAGU S A SP

FOOD & DRINK

A bumper crop of new Oregon cideries has emerged over the last few years. Now, a cider celebration from the normally beery Fifteenth Avenue and Hawthorne Hophouses. They’re promising at least 40 varieties of fermented fruit—taste them

Lent ends with a lot of meat at Oregon’s ﬁrst salumeria. Easter brunch includes variations on classic eggs Benedict, fresh biscuits and salami, of course. There are mimosas and bloody marys to cleanse the palate, if not the soul. Olympic Provisions, 107 SE Washington St., 954-3663. 10 am3 pm.

Easter Brunch

Chef Matt Christianson compiles a sprawling eight-station Easter buffet with three types of deviled eggs, jelly beans at the kids’ table and lavender creme brulee to top it off. Chicken fingers to chocolate eclairs. That’s how they do brunch above the Nines. Urban Farmer Restaurant, 525 SW Morrison St., eighth floor, 222-4900. 9 am-3 pm. $54, $19 for children under 10.

MONDAY, APRIL 1 FOOL

Beast of the Southern Wilds

Beast chef Naomi Pomeroy leads this immersion into Southern cooking with a special focus on Crisco’s golden possibility. Participants will catch urban chickens for a deep-fried waﬄe pairing. Please bring pruning shears and one crystal talisman. $13. 1-10 pm.

DRANK

LITTLE SAISON (PFRIEM FAMILY BREWERS) Pfriem Family Brewers, which opened in Hood River last year, has a lofty goal: capture sunlight in a bottle. Pfriem’s Little Saison, light but not little, almost gets there. Saisons began as thirst-quenchers for field workers during harvest season, when clean water was scarce. Once endangered, the Belgian farmhouse style made a punchy comeback thanks to fresh flavor and sessionability. Surprisingly hoppy for its 24 IBUs, Pfriem’s saison could be a flavorful replacement for an all-American Lite. Little Saison looks a little like sun rays in a bottle, and lemon and herbal flavors make gray skies less ominous. A vivid flash of bright flavor wanes refreshingly into cool grass and flower buds. Pfriem’s beers are on tap at Fifteenth Avenue Hophouse and Bazi Bierbrasserie and will be poured at this weekend’s Farmhouse and Wild Ale Festival at Saraveza. The WW office has little in common with idyllic European fields, but Pfriem’s saison kept our staff refreshed through a day of harvesting quotes and plowing through proofs. Recommended. ENID SPITZ. 20

Willamette Week MARCH 27, 2013 wweek.com

FOOD & DRINK REVIEW

lEaHnaSH.Com

CREATURE COMFORTS KINGDOM COME, IN PORTLAND AS IT IS IN MCMINVILLE. BUT WHO’S GAME?

sonings that force flesh and foliage to shine—or not. Salt-cured lingcod with shell beans, cucumber and sea vegetables was a dud— By M a rt i n C i z M a r MCizMar@wweek.com the whole thing ultimately had the flavor of salted English cucumber, with the mealy The Kingdom of Roosevelt’s menu may beans outmuscling delicate fish. I found be a minor literary work, short prose that myself gnawing on duck breast carpaccio begins with “Fallow deer heart tartare with topped with a drizzle of pumpkin seed oil, his marrow,” continues to “Eggs in various sour cherry bits and a handful of tender corn forms” and closes on “Bread and fat.” shoots, as the raw duck proved far chewier “That’s not a menu, that’s a December- than beef. On our visits, the fat portion of ists song!” a colleague sang out, reading the the bread and fat ($4) was heavy on potato restaurant’s “Fruits of the forest and field” and light on herbs and duck grease. section in a high-pitched crackle. “Wood When the scope is right, though, the pigeon liver custarrrd with elderflower and Kingdom is one of the most innovative respickled huckleberrrrrries.” taurants in town: a high-concept journey Eric Bechard’s new 26-seat restaurant through Oregon’s bountiful forests guided next to Joe Bike on Southeast Cesar E. by the sort of experimental spirit seen at Chavez Boulevard is named for the native Aviary and Castagna. Roosevelt elk and focuses on indigenous Bull’s-eyes include the smoked steelgame animals, seafood and foraged sea- head roe atop a wreath of radish bits ($13), sonal produce. It has captured Portland’s with the delightful pops of brine enlivenimagination if not our reservations—two ing a novel salad course. Meanwhile, a visits, one on a Friday potato-topped forager’s night, found plenty of Order this: Smoked steelhead roe ($13), pie—one of four vegeopen seats below antler bobwhite quail with alliums and fried tarian-friendly main chandeliers and the quail egg ($14), Hunter’s stew ($26). courses—gets amazing glass-eyed gaze of a Best deal: Forager’s pie ($14) and acorn mileage from earthy dumplings ($14). stuffed fox. hedgehog and yellowI’ll pass: The $60 six-course tasting That’s surprising menu. We’ve been told the best dining foot mushrooms bought given the Roosevelt pedi- bargains are found on tasting menus, from local foragers. but that’s not the case here. gree. Bechard’s McMinGnocchi-like dumplings nville outpost, Thistle, of woody acorn flour in was The Oregonian’s top restaurant of 2011, a rich sauce of cabbage and caraway ($14) though the polarizing chef is more infamous taste like something from the magical as the tattooed bruiser who punched an event kettle of a Black Forest gnome. organizer for allowing an Iowa pig into what Most stunning of all is an exquisitely was supposed to be an Oregon-only cook-off. savory bobwhite quail with a runny fried quail Adventure-seekers—a Friday-night egg, the cocktail of pungent bulbs bringing an crowd included seven bros who downed intoxicating warmth to gamey juices. It was five $38 wine-sized bottles of Logsdon’s all we could do to avoid the fate of another coveted peche beer then mugged for pho- diner—not one of the bros—who actually tos with pigeon legs dangling from their picked up his plate to lick up the excess gravy. mouths—begin with raw fallow deer heart Hunter’s stew ($26) is another direct ($15). Minced bits of ultra-lean muscle hit. It’s more sampler plate than stew, with are served with marrow-filled bone to be duck leg, elk meatballs, rabbit and a whole blended and spread over bread. The flavor pigeon head biting a little sprig of rosemary is unremarkable even as the experience bathed in a thin venison gravy. You crack is unforgettable. That result is not infre- the beak and peel the neck to access the quent with Bechard’s ingredient-focused meat of the quail’s throat. My companion approach, which employs delicate sea- took it before I could claim a piece: “You

hearty fare: the Kingdom of roosevelt’s “fallow deer heart tartare with his marrow.”

know why this was so tender? These muscles were only used for singing.” On our first visit, a rabbit’s blood barley pancake with cream and berries brought with the $60 six-course tasting menu was dry and drab. Bechard’s original recipe hewed closely to Scandinavian tradition, though it’s since been sweetened to appeal more to American palates. On the other hand, a birch-syrup pie with sour milk dazzled us—the sweet, spicy sap and tart milk playing perfectly off each other. But there are also some unexpectedly ragged edges for an upscale restaurant. The Kingdom is the first restaurant of its caliber in Portland to put an intense focus on fancy bottle-conditioned beer. An excellent lineup of farmhouse and wild ales in 750-milliliter bottles are fairly priced between $17 and $45. But servers schooled in wine service don’t properly handle them. After presenting the label for inspection they ruggedly dump Flemish red into a glass as though trying to aerate a tight pinot. The

first glass from each of the four bottles we had came with 3 inches of head. Servers also top off beer as they would wine, lifting bottles with one hand to hurriedly refill a glass as they grab sullied silverware. And they’re not shy about inverting the bottle to dump in the settled yeast without inquiring as to preference. Also, a restroom window facing the parking lot is uncovered at chest height, meaning that arriving customers make eye contact with men who stand pouring their Pilsners. But for all its roughness and ridiculousness, the Kingdom of Roosevelt never feels insincere. Rather, this is Bechard as an innocent, knuckle-tatted babe at play in the wild, romping field and forest, seemingly humbled by the bounty before him. Such a project is sure to be polarizing, but I ultimately found it a moving ballad. eat: The Kingdom of Roosevelt, 2035 SE Cesar E. Chavez Blvd., 477-9286, rooseveltpdx.com. 5-10 pm TuesdaySaturday. $$$.

Willamette Week March 27, 2013 wweek.com

MUSIC

March 27–april 2 PROFILE

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 27 3 Leg Torso, 45th Parallel

[HUNGARIAN HYBRID] The musical goulash of 3 Leg Torso always sported classical chops and Eastern European spice, thanks to the Hungarian heritage of co-leader and classically trained violinist Bela Balogh. Now, the band joins the city’s most eclectic classically oriented presenting organization, 45th Parallel, to look at Hungarian music from both the classical side (with Hungarian composer Ernö Dohnányi’s great 1935 sextet for piano, clarinet, horn and strings, starring Grammy-nominated guest pianist Adam Neiman) and then from 3LT’s more profane perspective, with crossover opportunities aplenty, demonstrating again that categories like pop and classical are ultimately meaningless when creative musicians collide. BRETT CAMPBELL. Alberta Rose Theatre, 3000 NE Alberta St., 7196055. 7:30 pm. $15 for students and seniors, $18 general. Under 21 permitted with legal guardian.

King Dude, Of the Wand and the Moon, A Story of Rats

[COUNTRY GOTHIC] King Dude, aka TJ Cowgill, styles himself after Johnny Cash—if Cash’s “Ring of Fire” were Dante’s Ninth Circle of Hell. The Seattle-based artist describes his style as “Luciferian” folk, and on his latest full-length, 2012’s Burning Daylight, he croons his country-gothic tunes in a baritone as demonic as it is alluring. In

a heavily atmospheric set at the Doug Fir earlier this year, the Dude, outfitted in all-black, buttoned-up duds and sporting a tattered, smoke-blackened American flag as his backdrop, showed he’s no less beguiling live. JONATHAN FROCHTZWAJG. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. $8 advance, $10 day of show. 21+.

Major Lazer, Lunice, Wynter Gordon

[TABLES TURNED] A universally acclaimed DJ, Diplo’s technical proficiency ensured that his initial jaunt with London’s Snitch into dancehall dubstep as Major Lazer would be forgiven as goofy indulgence of an extended island holiday. But with upcoming star-studded third album Free the Universe, the former Thomas Wesley Pentz has exchanged technical facility for showmanship on a rollicking EDM revue. Though the music itself has been simplified to a reggaetinged bass-fishing electro throb, your Major Lazer experience newly concentrates on overproduction and interactivity. If the overwhelming brunt feels borrowed from other performers and prepackaged to allow Diplo maximum time manufacturing diversions and directing unrelenting energies, he’s put in sufficient time behind the shadows to give the role of rock star a spin. JAY HORTON. Roseland Theater, 8 NW 6th Ave., 224-2038. 8 pm. $25 advance, $28 day of show. All ages.

CONT. on page 26

A LY S S A S T A R E L L I

FLASHBACK

The Git-Rights Gospel Revue at the Ponderosa Lounge, Aug. 27, 2011: “This was our ‘farewell’ performance at a truck-stop bar in North Portland. After the band’s five-year run, I was leaving Portland to return to Austin, Texas. The somewhat straight-laced regular crowd at the bar was very receptive as we launched into our set of Southern gospel standards, but was less impressed, some even outraged, as we transitioned into our more profane, borderline blasphemous dipsomaniacal drinking hymns. Thankfully, our faithful congregation started arriving as the regulars began to revolt. After two long sets, a whiskey communion, multiple aborted brawls and a raucous finale, we had garnered a record number of complaints to the management, and the closing band decided they’d rather just drink at the bar than follow us onto the stage. Hands down, the most fun I’ve ever had playing live. I’m thrilled to be back in town and playing gigs, and this show will be the benchmark by which I’ll gauge any future endeavors. Hallelujah, holy shit.” —Rev. Michael Sean Cummins, the Git-Rights’ singer-guitarist-proselytizer. SEE IT: The Git-Rights Gospel Revue plays Kenton Club, 2025 N Kilpatrick St., 285-3718, on Sunday, March 31. 5 pm. Free. 21+. 22

THIA KONIG

= WW Pick. Highly recommended. 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.

Willamette Week MARCH 27, 2013 wweek.com

THE GIRLS WITH THE GOLDEN EGG WHEN THE FOLK GETS GOING, SHOOK TWINS GET WEIRD. BY rOB ErT ha M

243-2122

The phrase that gets tossed around most often when publicists and writers talk about the music of Portland’s Shook Twins is “quirky folk.” It’s a simple enough descriptor that’s great to use when trying to convince skeptical friends to see the band in concert. But it’s also a term that carries some negative connotations as well. “Quirky” isn’t that far from “goofy,” after all. “I totally think it fits,” says Laurie Shook, brushing away concerns that the label is painting her and her identical twin sister, Katelyn, into a corner. “I think ‘quirky’ just means the uncommon elements in our sound. You rarely hear beat boxing or chicken bocking or giant golden eggs in folk music.” Fair points, but it’s not those little, unconventional touches that make Shook Twins’ music worth paying attention to. The pair’s 2011 album, Window, is modern folk done right. Unlike those of their contemporaries, the LP doesn’t attempt to sound as if it were recorded in one afternoon around a single microphone. This is a modern band making a modern record that feels full-bodied, even if it relies on traditional folk instrumentation and storytelling. For all that is praiseworthy about Shook Twins’ music, what really makes it shine are the sisters’ tightly knit vocals. At times, you can’t tell one voice from the other. It’s a sound some call “sibling harmony,” heard in the work of other kinfolk acts such as the Everly Brothers or Tegan and Sara. As you might imagine, it comes quite naturally to Shook Twins. “It’s been like that since we were little kids,” Laurie says. “Making up songs in the backseat of the car. There’s even a video out there of us at age 5 with our mullets, dancing in the backyard and singing ‘Nothing Compares 2 U.’” The sisters didn’t take music too seriously until they hit their 18th birthdays, when they started learning to play instruments and dabble in songwriting. There’s more of a pop element in their first album, 2008’s You Can Have the Rest, but those

voices cut deep. They were an immediate success in their humble hometown of Sandpoint, Idaho. “Once we started playing,” Laurie says, “we had a whole village of family members and friends that were behind us, supporting us the whole time. We toured out of Sandpoint for about two or three years, but we quickly became a big fish in a tiny town. Now, we’re a medium-sized fish in a huge town.” The Shook sisters moved to Portland in early 2010 and have slowly added to their musical repertoire and reputation. They have a full backing band, including bassist Kyle Volkman, fiddler Anna Tivel and drummer Niko Daoussis, and have become enmeshed with other local folksters like Nick Jaina and Mike Midlo, as well as jazz composer Ben Darwish, with whom they’ve formed the “fantasy folk-step” project Morning Ritual. And Shook Twins have become known for their joyous live performances that include some unusual homemade instrumentation—including, yes, a giant golden egg. The egg was a gift of sorts, bestowed on the twins after seeing a gentleman in Seattle standing with it under his arm. They asked him about it, and he said he was told to take it, sign his name on it and then pass it along to someone else. The Shooks have turned it into a huge shaker by poking popcorn kernels into its hollow center through a small hole. Now, at every show, the egg gets a spot on center stage and is occasionally called on to provide percussion. The intention, of course, was for the twins to pass the egg along to a new owner at some point, but according to Laurie, it “will be given away in my will.” “We’re still waiting for whoever started this whole thing with the egg to come forward and tell us how it came to be,” she says. “But there aren’t any rules to this thing. They didn’t tell me when I had to give it away. So I think I’m going to hold on to it and let it fulfill its destiny.” SEE IT: Shook Twins play Wonder Ballroom, 128 N Russell St., with Lost Lander and Bike Thief, on Friday, March 29. 8 pm. $12 advance, $14 day of show. All ages.

Willamette Week MARCH 27, 2013 wweek.com

LA Guitar Quartet April 13 | 7:30 pm April 14 | 2 pm April 15 | 8 pm

Call: 503-228-1353

Click: OrSymphony.org

MUSIC

thursday–friday

COURTESY OF GROUND CONTROL TOURING

811 E. Burnside

Bombshell Vintage

Hello from tHe road: merchandise plays Backspace on thursday, march 28.

THURSDAY, MARCH 28 Merchandise, Wet Hair

[POST-PUNK POTPOURRI] The search engine-confounding name. The hometown in the cultural hinterland. The notoriously unclassifiable music. Tampa, Fla., four-piece Merchandise is a very hard sell indeed. And yet, after building a cult following from its roots in Cigar City’s tiny punk scene for the past five years, the band appears to have achieved some unlikely success. At South by Southwest earlier this month, it played gigs sponsored by such tastemakers as Pitchfork, Vice and Thrasher, and it’ll release a hotly anticipated LP, Totale Night, in April. Though Merchandise trades mainly in postpunk, the band has a rep for idiom iconoclasm. At tonight’s Holocenepresented all-ages show, expect a genre-defying mix of punk, pop and classic indie styles. JONATHAN FROCHTZWAJG. Backspace, 115 NW 5th Ave., 248-2900. 8 pm. $8 advance, $10 day of show. All ages.

Flux Pavilion

[DUBSTEP] Joshua Steele, the English dubstep DJ known as Flux Pavilion, looks almost exactly like Billie Joe Armstrong. That makes sense. Faced with a declining pop-punk scene in the late ’90s, Armstrong dyed his hair black and colored his music in dark, anthemic shades and pre-packaged it for a wider, more desperate, more Top 40-friendly audience. Dubstep artists are faced with a similar decline in the heart of their genre. Do artists like Shackleton decompile the fundamentals of the complex dubstep beat and explore the textures à la Reich? Or do they, like Flux Pavilion, simply try to vibrate your molly-eating face off with dive bombs from squeaky radar sounds into booming bass explosions? Sometimes it’s nice to be pulverized by an unpretentious synth or two. MITCH LILLIE. Roseland Theater, 8 NW 6th Ave., 224-2038. 8 pm. $45. All ages.

Castle, Order of the Gash, Holy Grove

[PERCUSSION VALKYRIE] Tom Tom Magazine, take note: At the ripe age of 21, drummer Rae Amitay graduated from the Berklee School of Music with two degrees in three years. She then immediately cut her teeth on the pro circuit as the latter-day half of the critically acclaimed duo Mares of Thrace. More recently, Amitay has been pounding the skins for San Francisco-based “witch thrash” trio Castle, helping that hard-working group stay on the road during a Spinal Tap-esque bout of exploding drummer syndrome. Rae’s heart remains closest to her personal project Thrawsunblatt, which dropped a new disc earlier this month. Here’s a chance to catch a major talent during her formative years. NATHAN CARSON. Star Theater, 13 NW 6th Ave. 9 pm. $8. 21+.

Willamette Week MARCH 27, 2013 wweek.com

FRIDAY, MARCH 29 Michael Nesmith

[DIFFERENT DRUM LOOP] The Monkees visited Clark County in August 2011, thankfully affording fans the chance to see Davy Jones before his untimely death, but missing Mike Nesmith, who’s wealthy enough to shun the oldies circuit. So Monkees fans (like me) welcome this solo visit eagerly, though with a little anticipatory cringing, too: Reviews of a recent London concert tell of a stage festooned with MacBooks on which Nesmith attempted to, as he said, “create sonic landscapes and movies of the mind” from the raw materials of his song book, accompanied by narrated “vignettes.” The results, it seems, were as awkward as all that sounds. It remains to be seen whether his current tour repeats that scheme, or lets audiences simply “Listen to the Band.” JEFF ROSENBERG. Aladdin Theater, 3017 SE Milwaukie Ave., 234-9694. 8 pm. $39.50 advance, $42 day of show. Under 21 admitted with legal guardian.

Mudhoney, Deep Fried Boogie Band, Jagula

[MUDDY MEMORIES] Anytime Mudhoney plays a show in Portland these days, some jerk says to me, “Yeah, but it’ll never be as good as that time they played Slabtown in 2009.” Well, you know what, jerk? Some of us weren’t at that show. Some of us are sick of hearing about that show. Some of us will have to settle for seeing the band play in giant stadiums like the Doug Fir Lounge. Some of us are just thankful that, after 25 years, the godfathers of grunge are still cranking their Big Muffs to 11 and penning songs like the first single from their upcoming album, “I Like It Small,” a Stooges-meetsSex Pistols anthem celebrating “low yields,” “dingy basements” and “intimate settings.” Actually, now that I think about it, it kind of sounds like they’re rubbing it in, too. RUTH BROWN. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $18 advance, $20 day of show. 21+.

Lotus, Vibesquad

[FUNKTRONICA] Lotus does a little bit of everything, and it does it well enough to simultaneously keep you grooving and guessing. Notorious for its dance-inducing hooks and rhythms, the group also shifts seamlessly from funk to rock to electronica at the drop of a hat and without missing a beat. The occasional hip-hop sample and random video-game squiggle are always welcome, and you never know when an organ might make an appearance. You’re always left wondering what other tricks are up their collective sleeves. It all seems very weird and complicated on the surface, yet the songs are performed with grace and style as though it is the easiest thing in the world. It makes for a damn good time, so go get yourself some.

friday–saturday BRIAN PALMER. Roseland Theater, 8 NW 6th Ave., 224-2038. 9 pm. $20. All ages.

SATURDAY, MARCH 30 Phoenix, Mac DeMarco

[FRENCH DANCE ROCK] Phoenix’s last album, 2009’s Wolfgang Amadeus Phoenix, may not have taken the band in a new direction, but it undisputedly took it to new heights. The impeccable collection of poppy, danceable tunes builds upon the band’s previous three albums, swiftly opening a niche carved out by similar acts while concurrently catapulting the French outfit into the international limelight in the process. Its most recent single, the aptly titled “Entertainment,” is a formidable pop number, characterized by largerthan-life synths, bursting drums and an opening riff that sounds like a “China Girl” knockoff. Whether the band can hit the bar it set for itself on its forthcoming album, Bankrupt!, remains to be seen. BRANDON WIDDER. Crystal Ballroom, 1332 W Burnside St., 225-0047. 9 pm. Sold out. All ages.

Charlie Parr, Evan Way, Vikesh Kapoor

S C OT T L E G ATO

[MIDWEST BLUES] Guitarist Charlie Parr is an old soul in a new age, crafting haggard yet elegant folk inspired by old-timers like Woody Guthrie and Bob Dylan. Strapping on nothing but his 12-string National and fretless open-back banjo, the Midwest native has been cranking out bootstomping album after boot-stomping album for more than a decade,

MUSIC

harnessing tales of hard times and tribulations that are intrinsic to what lies at the heart of the blues and much of traditional folk music. Parr’s most recent effort, Keep Your Hands on the Plow, retains that rustic, deft approach that is slowly becoming synonymous with his name. Whether it be slide-steeped murder ballads or his own accounts of unrequited love, the man reminds us why the blues will always endure. BRANDON WIDDER. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. $12. 21+.

Clutch, Orange Goblin, Lionize, Scorpion Child

[THE GOBLINS WILL GET YOU] Since the first time I saw Clutch live in 1994, I’ve never grasped the reverence people hold for Neil Fallon’s supposedly poetic lyrics or his long-running groove-metal band. But I do have a respect for the Clutch work ethic, and its recent move to take charge and start its own label after going through decades of indie- and major-label cycles. Newest album Earth Rocker sheds most traces of the jam-band ethos, focusing on shorter and harder-hitting tunes. Unfortunately, the vocals still sound like a hybrid of Phil Anselmo and Scooby-Doo. But this show stands on the strength of main support act Orange Goblin. The British biker-stoner-punkmetal group kicks ass relentlessly on stage, and 2011 album A Eulogy for the Damned sits the group rightfully alongside contempo-

CONT. on page 28

COMMENTARY a P K ryZa o n bo b s e ger

I am on a long and lonesome highway west of Saginaw, Mich., when a voice comes wafting through the speakers: “On a long and lonesome highway/ East of Omaha.” The voice is raspy and deep. It’s punctuated by the same goddamned saxophone hook—over and over and over. The music, paired with the bumpy highway, makes my stomach ache. I cover my ears and plead for it to stop. I want to jump out of the speeding car. I am 12 years old. I hate Bob Seger. His voice is like the brown note to me. His songs are embedded like burs in my psyche. “Turn the Page” is the tip of the iceberg. His scratchy squeal on “Night Moves” haunts my nightmares. The ever-repeating guitar hook on “Mainstreet” is never gone from my head. Every time some asshole puts “Old Time Rock and Roll” on a jukebox, my immediate impulse is to punch him. In Michigan, Bob Seger isn’t just some classic rocker with a bunch of hits. Even to say he’s a god doesn’t cut it. If the Dalai Lama, Moses, Patrick Swayze, Jesus and Gandhi combined genes and started hammering out cheesy classic rock, that divine hybrid would rank two tiers below Seger. In the snowmobile track-laden forests of the Upper Peninsula, the wind whispers “Beautiful Loser.” On the decimated streets of Detroit and Flint, “Like a Rock” serves as a rallying cry. Seger is the region’s Boss. And if you don’t agree, you’re asking for trouble. So you learn to deal with it—you keep your mouth shut, causing this strange sickness that makes your guts burn. The back of that minivan was my own personal Ludovico treatment: The same horrid sounds now cause stomach pains and helplessness every time I ask some middle-aged barfly to please turn off the Seger. And lo, here Bob goes—on the roooooooooad again, hitting Portland and probably drawing every Michigan transplant (except one) to the Rose Garden. Classic-rock stations are already saturating the airwaves with his hits. And, once again, I’m trapped in the back of that van, just waiting for it all to stop. Escape is a mere fantasy. SEE IT: Bob Seger & the Silver Bullet Band play the Rose Garden Arena, 1 N Center Court, with Joe Walsh, on Saturday, March 30. 8 pm. $45-$97. All ages. Willamette Week MARCH 27, 2013 wweek.com

saturday–sunday

raries such as High on Fire. NATHAN CARSON. Roseland Theater, 8 NW 6th Ave., 224-2038. 7:30 pm. $20 advance, $25 day of show. 21+.

PROFILE M AT T H E W B R U S H

MUSIC

Christopher Owens

[SOFT ROCK] Christopher Owens is more backstory than artist. That’s not to diminish his considerable talents as an artist: With Girls, the San Francisco-based songwriter penned two albums that took classic pop melodies and structures and set them just slightly, endearingly askew. But it’s impossible to talk about Owens without mentioning his past, which includes a childhood spent in a religious cult and time working as an assistant to a Texas oil tycoon. Now, that past includes being in a successful band. But Owens has never had a problem taking a look at those experiences in the rearview. For his first solo foray, Lysandre, the singer discusses his conflicted relationship with indie fame, as well as recent relationships, over featherdelicate arrangements featuring flutes and nylon-string guitars. MATTHEW SINGER. Star Theater, 13 NW 6th Ave. 9 pm. $16. 21+.

SUNDAY, MARCH 31 California Honeydrops

[BRASS BAND JAZZ] Sounding like the kind of band you would hear on Main Street U.S.A. at Disneyland, the California Honeydrops are more than just a brass band that makes upbeat music. And don’t call them a ragtime or Dixieland jazz band, either. That would sell them short. What they are is a band that fuses gospel, R&B, blues and second-line New Orleans jazz that gives you the time of your life. This is the sort of stuff you might hear at a funeral procession when the deceased has requested the day be a celebration of life rather than a mourning of death. The Honeydrops will make the brokenhearted rejoice and the despairing feel hopeful again, and God knows you can never have too much of that. BRIAN PALMER. Doug Fir Lounge, 830 E Burnside St., 2319663. 9 pm. $13 advance, $15 day of show. 21+.

Flume, Barisone, Nathan Detroit

[ELECTRONIC YOUTH] It was a hell of a year for a kid from Sydney named Harley Streten. On New Year’s Day 2012, the artist now betterknown as Flume was a 20-year-old bedroom beatmaker plucked from relative obscurity via a radio-station competition to play a support slot at a music festival. By year’s end, he had a No. 1 album, inked a deal with U.K. label Transgressive and had become one of the most talked-about names in Australian music. All the more remarkable for a baby-faced electronic producer in a country that typically prefers rocking out to grizzly blokes with guitars. His atmospheric R&B tracks are full of rich, dreamy soundscapes, but sample and tweak just enough catchy refrains to make them dancefloor and radio friendly. RUTH BROWN. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 10 pm. $12. 21+.

Hurry Up!, La Luz, Ghost Mom

[PUNK BAND] It took me a long time to understand this, but the phrase “side project” usually sounds like a slur to the folks in the band. The implication is that the “project” (you know, like dissecting frogs) you are about to see requires less tending to—and is therefore somehow less artful—than its better-known musical cousin. Hurry Up!, which features two members of Portland’s most popular and enthusiastic punk band and a longtime pillar of its indie-rock scene—which, for the sake of this particular outfit, will go unnamed—doesn’t have an album or a press kit or a rider. I’m not even sure if the trio’s songs have titles. Hurry Up! does have passion,

CONT. on page 30 28

Willamette Week MARCH 27, 2013 wweek.com

1939 ENSEMBLE FRIDAY, MARCH 29 [POST-ROCK] A person can learn a lot about surviving in the music business from sharing a tour bus with Kim Deal. In the 13 years Jose Medeles has spent drumming alongside the Pixies bassist in the Breeders, he has absorbed many valuable lessons. He speaks admiringly of Deal’s steadfast commitment to her vision, but the piece of advice he’s taken most to heart with his own project, 1939 Ensemble, is less about staying true to one’s muse than being willing to take that muse down difficult paths: “The easy road,” he says, “isn’t always the best road.” Certainly, a duo making instrumental music out of nothing but drums, vibraphone and ephemeral noise isn’t taking any shortcuts to success. But Medeles and drummer David Coniglio have made it work. They’ve got a deal with Portland label Jealous Butcher and a new record, Howl & Bite, coming out in April. Nobody’s getting rich, of course, but considering the commercial ceiling for postrock bands with jazz and krautrock leanings, they’re feeling pretty good about how things have gone. “Everything ’s a bonus,” Medeles says, sitting across from Coniglio at a coffee shop on Northeast Prescott Street, next door to Revival Drum Shop, which Medeles owns. “I would’ve been stoked listening to demos in my Buick on a cassette player.” Medeles has done 1939 Ensemble, in one incarnation or another, for years, experimenting in his basement between Breeders obligations. It never went beyond the demo-tape stage, until one day, inspired by the amplified thumb pianos of Africa’s Konono No. 1, he tried running his 1939 Grand Apollo vibraphones through a distortion pedal. “I was all like, ‘There it is! This is where I’m going with this,’” Medeles says. He recruited Coniglio, a Berklee College of Music graduate and regular patron at Revival, and the two set about jamming Medeles’ notion—simple, glimmering melodies underpinned by big, shuddering beats—into existence. Although the instrumentation might confound traditional rock fans, the band insists its goal isn’t alienation but accessibility. They don’t mind holding the audience’s hands a bit, either. Instead of immediately overwhelming the listener with noise and odd time signatures, the duo deliberately builds its songs layer-by-layer, easing into its more obtuse sections. “We’re going to help you along this journey, because we want you to enjoy it,” Medeles says. “It’s just a couple ideas and that’s it,” Coniglio adds. “That’s all you need to know.” If anyone is being challenged by 1939 Ensemble, it’s the members of 1939 Ensemble. On Howl & Bite, Medeles and Coniglio resisted the temptation to expand their palette, holding to the band’s minimalist setup. The constrictions, it turns out, were freeing: Working with only a few elements, every whir, whoosh and fragment of feedback took on added value. It might not be the easiest way to make a record, but then, as someone once told Medeles, the easy road isn’t always the best road. “It’s a challenge because, at the end of the day, we’re drums, vibes and noise,” Medeles says. “And that’s what’s really exciting. Dynamics, tones, sounds—all that is in our arsenal.... That’s what I like about ’39: Everything matters.” MATTHEW SINGER. What can you do with just drums and vibes? a lot.

SEE IT: 1939 Ensemble plays Mississippi Studios, 3939 N Mississippi Ave., with Paper/Upper/Cuts and Gulls, on Friday, March 29. 9 pm. $10. 21+.

Alberta Rose Theatre Wednesday, March 27th

TO HUNGARY AND BEYOND

3 LEG TORSO AND 45TH PARALLEL Friday, March 29th PORTLAND UKULELE ASSOCIATION PRESENTS

UKULELE EXTRAVAGANZA! Saturday, March 30th GUESTS INCLUDE

FORMER TRAIL BLAZER

BRIAN GRANT AND THE DANDY WARHOLS

Thursday, April 4th

TAARKA

CD RELEASE CONCERT

Friday, April 5th 2013 GRAMMY WINNER

JANIS IAN

Saturday, April 6th Siren Nation presents

LADY SINGS THE BLUES a tribute to

Billie Holiday Sunday, April 7th SWING TIME VARIETY SHOW

WITH

PINK LADY & THE JOHN BENNETT JAZZ BAND Thursday, April 11th

ROSE COUSINS + CARA LUFT Saturday, April 13th OREGON MANDOLIN ORCHESTRA WITH FEATURED GUEST

DON STIERNBERG

Coming Soon 4.16 - APRIL VERCH BAND â&#x20AC;¢ CALEB KAUDER TRIO

(503) 764-4131 3000 NE Alberta

AlbertaRoseTheatre.com Willamette Week MARCH 27, 2013 wweek.com

MUSIC

sunday–tuesday

though. It’s inspiring to see people who should probably be burnt out on rock music finding bliss in such blistering, minimal rock ’n’ roll. CASEY JARMAN. The Know, 2026 NE Alberta St., 473-8729. 8 pm. Call venue for ticket information. 21+.

503.288.3895 3939 N. Mississippi info@mississippistudios.com

8pm doors/ 9pm show BarBar all ages until 9pm 21+ unless otherwise noted

101.9 KINK.FM Presents: Modern American country noir with a Southern gothic flair

Drums, vibraphone & noise from innovative PDX instrumental duo

KING 1939 ENSEMBLE DUDE

OF THE WAND AND THE MOON A STORY OF RATS

WED, MAR 27

$8 ADV

101.9 KINK.FM Presents: Heartfelt and plaintive original folk blues and traditional spirituals

CHARLIE PARR

RECORD RELEASE

PAPER/UPPER/CUTS GULLS FRI, MAR 29 $10 ADV Mississippi Studios and Bubblin Presents:

FLUME

EVAN WAY (OF THE PARSON RED HEADS)

BARISONE NATHAN DETROIT $12 ADV SUN, MAR 31 9PMDOORS/10PMSHOW $10 ADV

VIKESH KAPOOR

SAT, MAR 30

Atmospheric gothic rock from UK three-piece

ESBEN AND THE WITCH HELIOTROPES NIGHTMARE FORTRESS

TUE, APR 2

$12 ADV

Jack Daniel’s Presents Mississippin’ with the finest of disco based and electronic music

ANCIENT HEAT An Evening with

An evening w/the most diverse and stunning jazz composers around

JOEL HARRISON’S SPIRIT HOUSE (FT. BRIAN BLADE) BLUE CRANES MOSTLY SEATED

$5 ADV

Woodchuck Cider Presents Sweet-n-Coastal with Astoria up-and-comers making the finest of folk and synth-pop

$13 ADV

Stunning indie-rock featuring songs from The Invisible Way

LOW

ATOLE · DJ BEN TACTIC THU, APR 4

7PMDOORS/8PMSHOW

WED, APR 3

THALIA ZEDEK

FRI, APR 5

$18 ADV

Rising synth pop stars join us for a fashionably striking showcase

HOLIDAY FRIENDS SKY FERREIRA HOOK AND ANCHOR

SAT, APR 6

$5 ADV Sould Out Festival Presents The 12 Reasons to Die Tour

HOW TO DRESS WELL HIGH HIGHS 7PMDOORS/8PMSHOW

SUN, APR 7

$10 ADV

Mesmerizing Pacific Northwest artists whose songs are masterful delicacies of sound

MOUNT EERIE

WITH ADRIAN YOUNGES VENICE DAWN

WED, APR 10

Coming Soon... 4/12: JANEANE GAROFALO (TWO SHOWS) 4/13: AN EVENING WITH THE HOLMES BROS (EARLY) 4/13: MRS W/DJ BEYONDA (LATE) 4/14: AGALLOCH 4/17: WHEELER BROTHERS 4/18: PETUNIA AND THE VIPERS 4/19 & 4/20: STUMPFEST 2013

$8 ADV

4/21: THE MEN 4/23: MAPS AND ATLASES 4/24: THE PROCLAIMERS (ACOUSTIC DUO) 4/25: MARY LYNN RAJSKUB (TWO SHOWS) 4/26: MARNIE STERN 4/27: RAC 4/28: CHAPPO 4/30: JOHN FULLBRIGHT

tickets available at MississippiStudios.com 30

Willamette Week MARCH 27, 2013 wweek.com

[SKA-POP PIONEERS] True as it is that the English Beat has not released any new music in 30 years, we should be thankful for that fact. As it stands, the band has a spotless legacy: three incredible ’80s albums that merged its love of ska, reggae, soul, post-punk and easy-listening pop. Instead of attempting to catch that fire again, founding member Dave Wakeling and his gang of hired hands are riding a still appreciable wave of nostalgia into a comfortable payday, while still managing to knock out some amazing live performances along the way. ROBERT HAM. Wonder Ballroom, 128 NE Russell St., 284-8686. 8:30 pm. $20 advance, $23 day of show. 21+.

MONDAY, APRIL 1 fool

Erotic City

[FALSE IDOLS] Last week, it was announced that Prince—that’s Mr. Rogers Nelson himself—would be bringing his new, stripped-down band to the Roseland Theater in April, causing Portland music fans to consider eating nothing but Hot Pockets for the next month in order to afford one of the nearly $200 general-admission tickets. Clearly, this tour of intimate venues means one thing: Prince is trying to destroy Prince cover bands. Think about it: Tribute acts thrive on the idea that you’ll never be able to see the act they’re imitating in a tiny club. Now, one of those acts is cutting into their territory (relatively speaking, anyway). So, Portland’s own Erotic City is turning the tables on His Royal Purpleness: They’re going to invade his turf and play the Rose Garden. And for the price of admission to one of their regular gigs. In a way, it’s better than the real thing. After all, the actual Prince doesn’t wear assless chaps or sing about women masturbating in hotel lobbies much anymore. Plus, you won’t have to sell your first-born child to get in. MATTHEW SINGER. Rose Garden Arena, 1 N Center Court, 235-8771. 9 pm. $5. All ages.

TUESDAY, APRIL 2 Billy Bragg, Kim Churchill

[BLOKE FOLK] Billy Bragg might be pushing 60, but his autumn years find the singer-songwriter as fiery and fired up as possible. Lyrically, at least. The tone of his 13th album, Tooth & Nail, is decidedly lived in, the blurry blasts of electric guitar that marked his earliest work giving way to languidly strummed acoustic with a drowsy country band backing him every step of the way. The LP has plenty of bite to it still, as Bragg takes on the plight of migrant workers, the military-industrial complex and our current financial uncertainties with a welcome directness and melancholy. ROBERT HAM. Aladdin Theater, 3017 SE Milwaukie Ave., 234-9694. 8 pm. $25 advance, $28 day of show. All ages.

Lord Huron, PAPA

ASHLEY ERIKSSON (OF LAKE) LIKE A VILLAIN

$25 ADV THU, APR 11

The English Beat

[WIDE-OPEN FOLK] Ben Schneider, Lord Huron’s founding member, is trying to create more than just another atmospheric, run-of-themill indie-folk act—he’s attempting to build an entire universe with a mythology to boot. The Los Angeles transplant journeyed west from his home state of Michigan in 2005, looking to kick-start his career as a visual artist, only to find himself writing and recording tunes that would become Lord Huron’s full-length debut, Lonesome Dreams. Although Schneider claims the album—a mishmash of reverbdrenched acoustic guitar set to a background of sonic flourishes and romantic ideals—was inspired by

an author of his own imagination, the band’s name might say otherwise. No matter the muse, it’s an unexpected audible romp through a timeless frontier of dreamlike euphonies. BRANDON WIDDER. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $10 advance, $12 day of show. 21+.

Talib Kweli, Cory Mo, the Chicarones, DJ Biggz

[HIP-HOP] Talib Kweli is, above all else, a lyricist. It’s the reason he’s sustained a rap career going on 16 years now, but across all that time, it’s simultaneously been his greatest hindrance. Since emerging in the late ’90s alongside Mos Def in beloved hip-hop duo Black Star, the rapper has established himself as a supremely gifted writer, conveying big ideas in a single verse most MCs can’t articulate over the

course of a full album. His wordplay is always deft, his delivery always rapid-fire. But that tendency to lead with his dense thickets of language has kept him from rising above cult status. And it’s not like he hasn’t tried to cross over. He’s had dalliances with the mainstream: “Get By,” his Kanye West-produced single, received minor radio play, and he’s made plays to reach a wider audience, collaborating with the likes of Justin Timberlake, Norah Jones and Will.i.am. But he’s never been able to fully escape the underground—which, for his still considerable fan base of hip-hop true believers, is probably a good thing. Tonight, Kweli performs backed by a live band. MATTHEW SINGER. Hawthorne Theatre, 3862 SE Hawthorne Blvd., 233-7100. 8 pm. $22 advance, $25 day of show. All ages.

ALBUM REVIEWS

THE PYNNACLES THE PYNNACLES (SELF-RELEASED) [PSYCH-GARAGE FOREVER] I am not the target audience for throwback garage rock. It’s hard for me to see the point of taking something that was so vital in its day and cloning it for modern audiences. Lucky for me, the Pynnacles aren’t in the cloning business. The Portland sextet, helmed by semi-legendary local frontman Sean Croghan and a few members of fabled surfpunk act Satan’s Pilgrims, opens its debut record with punchy guitar chords reminiscent of the Kinks’ “You Really Got Me,” but that’s before Tamar Berk’s organ oozes over the track and Croghan channels Paul Weller on the chorus. Suddenly it’s apparent that the Pynnacles’ sound—playful and urgent—is only loosely tied to the decade from which it draws inspiration. The interplay between Croghan and Berk is a selling point throughout the record. But drummer Thom Sullivan and the trio of Pilgrims also show up to play, transitioning effortlessly between moments of circuslike psychedelia and swirling, powerful walls of sound. The Pynnacles can do catchy and church-y (“She Got Me Hypnotized”) but excel at fast and furious (the screeching “Walk”). This band finds inspiration in the wild garage rock of the ’60s, but refuses to handle its source material with cotton gloves. Nope, that shit is definitely getting under the Pynnacles’ fingernails. CASEY JARMAN. SEE IT: The Pynnacles play Tonic Lounge, 3100 NE Sandy Blvd., with No Tomorrow Boys and Verner Pantons, on Saturday, March 30. 9:30 pm. $6. 21+.

PHEASANT GRAVEL BEACH (SELF-RELEASED) [ROOTSY INDIE] Pheasant may not be carving a particularly distinctive niche for itself, but the band is getting closer by the album. The group’s sophomore LP, Gravel Beach, is a collection of folky, country-tinged pop tunes that doesn’t represent a radical departure from Pheasant’s full-length debut, Black Field. But the band continues to seamlessly blend and borrow from vintage classic-rock acts and more recent indie heavyweights. “Country Young,” a slow-burning number with crooning harmonies and Skynyrd-esque guitar work, could have fit nicely on the band’s debut. Other cuts reflect a more modern approach: “Dreaming On” evokes Modest Mouse, while the opening trumpet on “Fools Gold” bring to mind Patti Page’s “Conquest” before tearing into a slide-laden surf-rock jam. The upbeat closer, “Never Coming Back,” is filled with heartfelt sentiment and a blistering guitar solo. Although lead singer Matt Jenkins’ voice has become more mature and controlled since Black Field, there are moments on the record where you feel he’s about to let loose in a flurry of vocal prowess only to draw back. Gravel Beach is a record to be proud of, yet it shows the same promise as Pheasant’s debut—darting around but never hitting the mark dead center. BRANDON WIDDER. SEE IT: Pheasant plays Doug Fir Lounge, 830 E Burnside St., with Summer Cannibals and Fanno Creek, on Thursday, March 28. 9 pm. $6. 21+.

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Willamette Week MARCH 27, 2013 wweek.com

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

The Bing Lounge

Kells Brewpub

The Blue Monk

Kells

1210 SW 6th Ave. Divers

3341 SE Belmont St. Marcus Fischer, wndfrm, No Parades, Cloud City Cars, DJ EXPDX

The Know

COURTESY Of PROSTHETIC RECORDS

2026 NE Alberta St. Nux Vomica, Amarok, Dead by Dawn

White eagle Saloon

836 N Russell St. Old Light, Virgil Shaw (8:30 pm); Brothers of the Hound (5:30 pm)

FrI. March 29 aladdin Theater

3017 SE Milwaukie Ave. Michael Nesmith

alberta rose Theatre 3000 NE Alberta St. Portland Ukulele Associaton

andina

1314 NW Glisan St. Jason Okamoto Trio

ash Street Saloon

candLe MaSS: castle plays Star Theater on Thursday, March 28.

Wed. March 27 al’s den at the crystal hotel 303 SW 12th Ave. Dondero, Virgil Shaw

alberta rose Theatre

3000 NE Alberta St. 3 Leg Torso, 45th Parallel

ash Street Saloon

225 SW Ash St. PDP, Aghori, Betrayed By Weakness, Kingdom Under Fire

Backspace

115 NW 5th Ave. Lake of Blood, Barghest, Chasma, Druden

Biddy McGraw’s

6000 NE Glisan St. Stringed Migration

Goodfoot Lounge 2845 SE Stark St. The Hill Dogs, the Brassierlionaires

holocene

1001 SE Morrison St. Orquestra Pacifico Tropical, Los Estupidos, DJ Michael Bruce, Vox Mod

Ivories Jazz Lounge and restaurant

1435 NW Flanders St. Mitzi Zilka and the Imaginative Improvisators

Kells

112 SW 2nd Ave. Pat Buckley

Kelly’s Olympian

426 SW Washington St. Poena Suddarth, The Raining Frogs, Songs of Love & Healing

Kenton club

2025 N Kilpatrick St. The G.G. Aliens, Pulse Emitter, Antecessor, Grapefruit

Landmark Saloon

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

Laughing horse Books 12 NE 10th Ave. Hang Your Head, Evil Ways, Terror-Dactyl, Our First Brains

LaurelThirst

2958 NE Glisan St. The Billy Novas, Quick & Easy Boys

Mississippi Studios

3939 N Mississippi Ave.

King Dude, Of the Wand and the Moon, A Story of Rats

Mt. Tabor Theater

4811 SE Hawthorne Blvd. The Bottom Dollars, Solid Gold Balls, Deathrow Tull

roseland Theater

8 NW 6th Ave. Major Lazer, Lunice, Wynter Gordon

Slabtown

1033 NW 16th Ave. Lullwater

Thorne Lounge

4260 SE Hawthorne Blvd. Musician’s Open Mic

Tube

18 NW 3rd Ave. Eric Anarchy, Machetaso Profano, Taint Misbehavin

Valentine’s

232 SW Ankeny St. J. Colin, John Krausbauer, Brumes

Vie de Boheme 1530 SE 7th Ave. Djangophiles

White eagle Saloon

836 N Russell St. Welfare, Shoeshine Blue, Cait Olds

Thur. March 28 al’s den at the crystal hotel 303 SW 12th Ave. Dondero, Myshkin

andina

1314 NW Glisan St. Borikuas

ash Street Saloon

225 SW Ash St. We Are Brothers, The Applicants, The Kilowatt Hour

Backspace

115 NW 5th Ave. Merchandise, Wet Hair

Biddy McGraw’s

6000 NE Glisan St. Beautiful Grateful Dead Jam

camellia Lounge 510 NW 11th Ave. Anandi and Steve Christofferson

chapel Pub

430 N Killingsworth St. Steve Kerin

dante’s

350 W Burnside St. Zappa Tribute: Pojama People, Ike Willis

Willamette Week MARCH 27, 2013 wweek.com

doug Fir Lounge

830 E Burnside St. Pheasant, Summer Cannibals, Fanno Creek

duff’s Garage

1635 SE 7th Ave. King Ghidora, the Protons

hawthorne Theatre Lounge

1503 SE Cesar E. Chavez Blvd. boaconstructor, Matthew Joseph Payne, Greightbit, Nic Cunningham, Paul Brainard & Friends

hawthorne Theatre

3862 SE Hawthorne Blvd. Gypsyhawk, Mothership, Black Snake, Wolfpussy, Weresquatch

Kells

112 SW 2nd Ave. Pat Buckley

Kelly’s Olympian

426 SW Washington St. Ultra Goat, James Ramey

Landmark Saloon

225 SW Ash St. Night Nurse, Komatose, Preta, Disavow, Self Murder

Backspace

115 NW 5th Ave. Icarus The Owl, We The Wild, Ugly Colors, She Preaches Mayhem, Jade Grenade

Branx

320 SE 2nd Ave. Fallujah, Southgate, Recursion, the Suppression, Terraclypse

club 21

2035 NE Glisan St. Glitter Wizard, The Shrine, Dirty Fences, Tiny Lady

clyde’s Prime rib

5474 NE Sandy Blvd. La Rhonda Steele

crystal Ballroom

1332 W Burnside St. Anthrax, Exodus, High on Fire, Municipal Waste, Holy Grail

doug Fir Lounge

830 E Burnside St. Mudhoney, Deep Fried Boogie Band, Jagula

4847 SE Division St. The Pickups (8:30 pm); Chris Miller’s High Life Trio (6 pm)

duff’s Garage

LaurelThirst

203 SE Grand Ave. Can-D, Boing

2958 NE Glisan St. Inspirational Beets, The Left Coast Roasters

Mississippi Pizza

3552 N Mississippi Ave. Eric Hilman (9 pm); Lost Creek (6 pm)

Music Millennium

3158 E Burnside St. Pheasant

record room

8 NE Killingsworth St. Jan, The Happening

reed college, eliot hall chapel

3203 SE Woodstock Blvd Kevin Greenspon, Nicole Kidman, Shivering Window, Lavas Magamas

roseland Theater 8 NW 6th Ave. Flux Pavilion

rotture

315 SE 3rd Ave. Mutilation Rites, Inter Arma, El Cerdo, Usnea

Shaker and Vine

2929 SE Powell Blvd. John Dover Quartet

Star Theater

13 NW 6th Ave. Castle, Order of the Gash, Holy Grove

1635 SE 7th Ave. Soul Vaccination

east end

eastBurn

1800 E Burnside St. Hot Club Time Machine

Ford Food and drink 2505 SE 11th Ave. Jeremy Murphy, Slater Smith, Jack Martin and Ruth Ginelle, Dust and Thirst

hawthorne Theatre Lounge

1503 SE Cesar E. Chavez Blvd. This Not This, Aina Haina (9 pm); Ali Wesley, Tobias Berblinger (6 pm)

hawthorne Theatre

3862 SE Hawthorne Blvd. Roger Clyne & The Peacemakers

Jack London Bar 529 SW 4th Ave. Jawbone Flats

Jade Lounge

2346 SE Ankeny St. Freddy Trujillo, Edna Vasquez, K’lyn Bain

Katie O’Briens

2809 NE Sandy Blvd. Chase the Shakes, the Mormon Trannys, Ether Circus, Mr. Plow

ash Street Saloon

210 NW 21st Ave. Sami Rouisi

225 SW Ash St. Ape Machine, Ancient Warlock, Axxicorn, Lamprey

112 SW 2nd Ave. Grafton Street

Backspace

115 NW 5th Ave. Schematic, Asker, the Ecstatics, Altadore

Kelly’s Olympian

426 SW Washington St. Luck One, BigMo, J Burns, Dj Eps

Berbati’s

231 SW Ankeny St. Dark Time Sunshine, Void Pedal

Kenton club

2025 N Kilpatrick St. WL, Vicki, Colin Stetson, Beren

Branx

320 SE 2nd Ave. We Rise the Tides, Above the Broken, Upon A Broken Path, For Those Alive

LaurelThirst

2958 NE Glisan St. John Amadon, Kelly Blair Bauman, The Don, Ducky Pig

Bunk Bar

Mississippi Studios

1028 SE Water Ave. Fuzz

3939 N Mississippi Ave. 1939 Ensemble, Paper/ Upper/Cuts, Gulls

camellia Lounge 510 NW 11th Ave. Mitzi Zilka Trio

Mt. Tabor Theater

4811 SE Hawthorne Blvd. Dark Matter Transfer, Northbound Rain (theater); The Stereo Fidelics (lounge)

club 21

Original halibut’s II

2035 NE Glisan St. A Happy Death, Tiananmen Bear, Bubble Cats

record room

5474 NE Sandy Blvd. Planet Krypton

clyde’s Prime rib

2527 NE Alberta St. Sonny Hess

crystal Ballroom

8 NE Killingsworth St. Big Black Cloud, Drunk Dad, Tiny Knives

1332 W Burnside St. Phoenix, Max DeMarco

roseland Theater

dante’s

8 NW 6th Ave. Lotus, Vibesquad

350 W Burnside St. Pimps of Joytime, Vokab Kompany

Secret Society Lounge

doug Fir Lounge

116 NE Russell St. Urban Wildlife, Anna and the Underbelly, Cait Olds (9 pm); Miss Tess and the Talkbacks, Jenna Ellefson (6 pm)

830 E Burnside St. Jamie Lidell, Empress Of, Ludwig Persik

duff’s Garage

1635 SE 7th Ave. Susan and the Surftones

Slabtown

1033 NW 16th Ave. Karaoke From Hell, DJ Rescue

eastBurn

1800 E Burnside St. Jack Dwyer Trio

Star Theater

2026 NE Alberta St. The Last 45s, Pelvis Wrestles

The Lovecraft

421 SE Grand Ave. Deleyaman, DJ Nealie Neal, DJ Unruly

Thirsty Lion

Mississippi Studios

3416 N Lombard St. Mustaphamond, Swamp Buck, Flesh Lawn

3939 N Mississippi Ave. Charlie Parr, Evan Way, Vikesh Kapoor

Goodfoot Lounge

Mt. Tabor Theater

2845 SE Stark St. Jujuba

hawthorne Theatre

3862 SE Hawthorne Blvd. Nemesis, Proven, Separation Of Sanity, Lidless Eye, Path To Ruin

holocene

1001 SE Morrison St. Silent Disco

Ivories Jazz Lounge and restaurant

1435 NW Flanders St. Rebecca Kilgore, Randy Porter, Tom Wakeling

Jade Lounge

2346 SE Ankeny St. Erin Dickinson, Paul Young, Quinn Blodgett, Derek John Cerretani, Tim Alexander

4811 SE Hawthorne Blvd. Tuesday’s Project, Thundergun (theater); The Stereo Fidelics (lounge)

rose Garden

1401 N Wheeler Ave. Bob Seger and the Silver Bullet Band

roseland Theater

8 NW 6th Ave. Clutch, Orange Goblin, Lionize, Scorpion Child

rotture

315 SE 3rd Ave. Bondax

Shaker and Vine

2929 SE Powell Blvd. Arthur “Fresh Air” Moore

Slabtown

Katie O’Briens

1033 NW 16th Ave. The Good Sons, Hellokopter, Pink Slip

Kelly’s Olympian

13 NW 6th Ave. Christopher Owens

2809 NE Sandy Blvd. The Anxieties, the Bloodtypes, the Food 426 SW Washington St. Breakneck Betties

Kenton club

2025 N Kilpatrick St. The Secret Ceremony, Pothole Hotline, The Charlie Darwins

Landmark Saloon

4847 SE Division St. Robert Richter Duo, Lace and Lead

LaurelThirst

2958 NE Glisan St. Everyday Prophets, Michael Hurley & The Croakers

Mississippi Pizza

3552 N Mississippi Ave. Saloon Ensemble (9 pm); Mrs. V (6 pm)

Star Theater

The Blue Monk

3341 SE Belmont St. Nu Era, Neighbors, Chill Crew

The Know

2026 NE Alberta St. Dark Country, James Planewreck, Desert Days

Vie de Boheme 1530 SE 7th Ave. Mango Nights

White eagle Saloon

836 N Russell St. Miss Tess and the Talkbacks, the Beautiful Train Wrecks, Jenna Ellefson and Amanda Breese (9:30 pm); The Student Loan (4:30 pm)

CONT. on page 34

13 NW 6th Ave. Mykal Rose, Sister Carol, DJ XactChange HiFi, Gypsy Roots Dance

The Know

Foggy notion

BAR SPOTLIGHT N ATA L I E b E H R I N g . C O M

= WW Pick. highly recommended.

[MARCH 27–APRIL 2]

71 SW 2nd Ave. Jessie Goergen Band

Tonic Lounge

3100 NE Sandy Blvd. Fever, Fur Coats, Lydian Gray

Vie de Boheme

1530 SE 7th Ave. Tommy Hogan Band

White eagle Saloon

836 N Russell St. Blue Skies For Black Hearts, Beyond Veronica, Donovan Breakwater (9:30 pm); Reverb Brothers (5:30 pm)

Wonder Ballroom

128 NE Russell St. The Shook Twins, Lost Lander

SaT. March 30 aladdin Theater

3017 SE Milwaukie Ave. Hannibal Buress

alberta rose Theatre 3000 NE Alberta St. Live Wire! Radio

artichoke community Music

3130A SE Hawthorne Blvd. Adrian Martin, Susan Sandel, Mike Horsfall, Tim Jensen, Kevin Deitz, Gene Ermell

HOO GOES THERE: Are you fit for membership to the White Owl Social Club (1305 SE 8th Ave., 236-9672, facebook.com/ WhiteOwlSocialClub)? According to Club propaganda, a $25 fee and pledging your soul to “Ye Olde Serpent of the Bottomless Pit” gets you a membership card and a few drink tokens. No membership is required to stop in for a drink, but a taste for Metallica and local liquor helps. Essentially a large-scale spinoff of the studded and shredded Sizzle Pie late-night pizzeria, the White Owl occupies a large space in industrial inner Southeast. There aren’t any neighbors to disturb, which is good because the music is loud and the crowd favors nicotine and leather. A restaurant-like indoor section, where we got $5 pints and a disappointing salmon burger, has nothing novel to offer. But a massive patio packed with picnic tables, projectors and an old pickup truck hauling a few kegs shows promise come summer. MARTIN CIZMAR.

Willamette Week MARCH 27, 2013 wweek.com

MUSIC MILLENIUM PRESENTS: MICHAEL NESMITH FRIDAY 3/29 @ 8PM ALADDIN THEATER TICKETS AVAILABLE AT MUSIC MILLENNIUM, ALADDIN THEATER

“Michael Nesmith is a true American treasure. Don’t miss this rare appearance.” –Terry Currier

MUSIC CALENDAR Wilfs Restaurant & Bar 800 NW 6th Ave. Devin Phillips Quartet

Wonder Ballroom

128 NE Russell St. Donavon Frankenreiter, Rayland Baxter, Eric Tollefson

SUN. MARCH 31 Al’s Den at the Crystal Hotel 303 SW 12th Ave. Jeffery Martin

Andina

1314 NW Glisan St. Danny Romero

Ash Street Saloon

IT’S SINGING FOR DISCOUNTS TIME! APRIL FOOLS’ DAY THROUGH APRIL 14TH

Sing your favorite Bob Dylan or Michael Jackson song – Save 10%! Sing your favorite song from Grease or Purple Rain– Save 15%! Sing your favorite Rolling Stones or U2 song – Save 15%! Sing any two minutes of your favorite opera – Save 20%! Sing your favorite KISS or Elton John song (in costume!) – Save 25%! Discounts not good on sale items and with other offers

Have your performance filmed for a chance to win a $250 shopping spree!

UPCOMING IN-STORE PERFORMANCES 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.

SONGWRITERS CIRCLE: NICOLE CAMPBELL - BARRY BRUSSEAU JACK MCMAHON

MONDAY 4/1 @ 7 PM

225 SW Ash St. Ed Forman, Gabrial Tres, Sunny Travels, R Johnson, Aaron Ross

Biddy McGraw’s

6000 NE Glisan St. Felim Egan

Clyde’s Prime Rib

5474 NE Sandy Blvd. Ron Steen Jazz Jam

Dante’s

350 W Burnside St. Accordion Babes, William Batty, Wanderlust Circus

Doug Fir Lounge

830 E Burnside St. California Honeydrops

Jade Lounge

2346 SE Ankeny St. Elie Charpentier

Kells Brewpub

210 NW 21st Ave. Traditional Irish Jam Session

Landmark Saloon

4847 SE Division St. Hack Stitch and Buckshot (9:30 pm); Saturday Night Drive (7 pm)

WED. MARCH 27 Bossanova Ballroom 722 E Burnside St. Wednesday Swing

CC Slaughters

219 NW Davis St. Trick with DJ Robb

Dig a Pony

Mississippi Pizza

736 SE Grand Ave. Ditch Digger: Miss Callie, Cooky Parker

Mt. Tabor Theater

639 SE Morrison St. DJ OverCol

3552 N Mississippi Ave. Mr. Ben

Star Bar

Katie O’Briens

2809 NE Sandy Blvd. Poke Da Squid, Success, Pageripper

Kells

112 SW 2nd Ave. Danny O’Hanlon, Irish Sessions

Rontoms

600 E Burnside St. Wooden Indian Burial Ground 8 NW 6th Ave. All That Remains, Hellyeah, nonpoint, Sunflower Dead

Shaker and Vine

Slabtown

1033 NW 16th Ave. The Cry!, Youthbitch, Rat Party

Star Theater

13 NW 6th Ave. Common Kings, Lao Pole’o, 684 and the Long Kiss Goodnight

The Know

2026 NE Alberta St. Hurry Up!, La Luz, Ghost Mom

Tonic Lounge

3100 NE Sandy Blvd. Natural Child, White Fang, Mean Jeans

Valentine’s

232 SW Ankeny St. Daniel Rafn, William Ingrid, Neil Von Tally and Neo G Yo

Wonder Ballroom

Dante’s

350 W Burnside St.

Beulahland

CC Slaughters

1937 SE 11th Ave. Eye Candy VJs

219 NW Davis St. Revolution with DJ Robb

The Lovecraft

Dig a Pony

The Blue Monk

3341 SE Belmont St. Event Horizon, Cement Season, Very Little Daylight, Howl & Wild

421 SE Grand Ave. Psychopomp: Ogo Eion

THUR. MARCH 28

2738 NE Alberta St. Blue Flags, Black Grass

836 N Russell St. Brittany Haas, Paul Kowert, Jordan Tice, the Weather Machine

TUES. APRIL 2 Aladdin Theater

3017 SE Milwaukie Ave. Billy Bragg, Kim Churchill

Backspace

219 NW Davis St. Hip Hop Heaven: DJ Detroit Diezel 736 SE Grand Ave. Newrotics

Holocene

1001 SE Morrison St. Laid Out: Gossip Cat, DJ Pocket Rock-It, Misti Miller

830 E Burnside St. Lord Huron, PAPA

Duff’s Garage

1635 SE 7th Ave. Dover Weinberg Quartet

Goodfoot Lounge 2845 SE Stark St. Radula

Hawthorne Theatre Lounge

1503 SE Cesar E. Chavez Blvd. Dekkar x M-Double-A-L

Hawthorne Theatre

3862 SE Hawthorne Blvd. Talib Kweli, Cory Mo, the Chicarones, DJ Biggz

Jade Lounge

2346 SE Ankeny St. Colin Johnson

Jimmy Mak’s

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

Kells

112 SW 2nd Ave. Danny O’Hanlon

Laughing Horse Books

Pix Patisserie

Star Bar

639 SE Morrison St. DJ Dirty Red

Swift Lounge

1932 NE Broadway DJ Drew Groove

White Owl Social Club 1305 SE 8th Ave. Cockabilly: DJ Beyondadoubt

FRI. MARCH 29 BC’s Restaurant

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

Dig a Pony

736 SE Grand Ave. Jprez, Lord Smithingham

Foggy Notion

3416 N Lombard St. Sissy City Soul: DJ Action Slacks, The Handsome Young Men

Goodfoot Lounge

2845 SE Stark St. DJ Aquaman’s Soul Stew

Mississippi Studios

511 NW Couch St. DJ Nate C. 1001 SE Morrison St. Snap!: Dr. Adam, Colin Jones, Freaky Outty

Jones

3158 E Burnside St. John Nilsen, Swimfish

107 NW Couch St. 80s and 90s Dance: Dev From Above

Shaker and Vine

Mississippi Pizza

The Blue Monk

Rotture

3341 SE Belmont St. Pagan Jug Band

The Know

2026 NE Alberta St. Spectral Tombs, Drought, Preta

Lola’s Room at the Crystal Ballroom

1332 W Burnside St. All Decades Video Dance Attack

Savoy Tavern & Lounge

2500 SE Clinton St. Night Church: DJ Beyonda

The Lovecraft

The Whiskey Bar

Holocene

2929 SE Powell Blvd. Superjazzers

316 SW 11th Ave. Doc Adam

Mt. Tabor Theater

107 NW Couch St. Doc Adam, New Jack Swing

Ground Kontrol

Music Millennium

Fez Ballroom

421 SE Grand Ave. Salmonella!: DJs Reggie and Rustyn (9 pm); The Inhale Portion of Living (7 pm)

12 NE 10th Ave. Comadre, No Sir, Sloths, Pageripper 3939 N Mississippi Ave. Esben and the Witch, Heliotropes, Nightmare Fortress

736 SE Grand Ave. Pussy Control: Nathan Detroit, Freaky Outy

Jones

2225 E Burnside St. DJ Eric Beats

Mississippi Studios

412 NE Beech St. Shrimp Tempura, Booty Futures

The Firkin Tavern

3158 E Burnside St. Nicole Campbell, Barry Brusseau, Jack McMahon

Doug Fir Lounge

3939 N Mississippi Ave. Flume, Barisone, Nathan Detroit

SAT. MARCH 30 Beech Street Parlor

Music Millennium

LaurelThirst

3552 N Mississippi Ave. Smut City Jellyroll Society (9 pm); Counterfeit Cash (6 pm)

1465 NE Prescott St. Beacon Sound

118 NE 28th Ave DJ Bruce LaBruiser, DJ Hold My Hand

Kenton Club

Mississippi Pizza

Tiga

2401 SW 4th Ave. DJ Soul Shaker

4811 SE Hawthorne Blvd. Midnight Spin: Spirit Animal

2958 NE Glisan St. Ron Rogers & the Wailing Wind, Freak Mountain Ramblers

31 NW 1st Ave. Bass Inversion: Strive, Token, Professor Nemus, Iron Aiden

Suki’s Bar & Grill

115 NW 5th Ave. Wormbag, Putts, Sharks from Mars

2025 N Kilpatrick St. The Git Rights Gospel Revue

The Whiskey Bar

4811 SE Hawthorne Blvd. Rich Landars Sonic Jelly & Jam (lounge)

Dig a Pony

MON. APRIL 1

Willamette Week MARCH 27, 2013 wweek.com

1635 SE 7th Ave. Lily Wilde Orchestra

White Eagle Saloon

1001 SE Morrison St. HITS, Concrete Floor, HATS OFF!, DJ Allan Wilson

128 NE Russell St. The English Beat

Duff’s Garage

Holocene

2505 SE 11th Ave. Tim Roth

2929 SE Powell Blvd. Archaic Smile

Swimfish came into existence as John Nilsenʼs guitar/vocal band when he was taking a break from his demanding piano career. Swimfish is a unique, colorful band featuring high quality, original folk/rock music. The line-up is bass, drums, guitars, pedal steel guitar & vocals, but their focus lies in first class songwriting. ‘Wild Rose’ features ten Nilsen-written compositions, each recorded with a different combination of first-rate Portland-based musicians.

830 E Burnside St. San Cisco

CC Slaughters

Barry Brusseau has spent the better part of the last 20 years playing in the underbelly of the Portland Punk scene (The Jimmies, Legend Of Dutch Savage). On the stark, folk-based ‘Royal Violent Birds,’ Brusseau’s warm baritone vocals mix with minimal instrumentation, bringing hypnotic comfort and dreamlike imagination.

TUESDAY 4/2 @ 6 PM

Doug Fir Lounge

Ford Food and Drink

Roseland Theater

JOHN NILSEN & SWIMFISH

Karaoke From Hell

The Elixir Lab at Al Forno Ferruzza

Nicole Campbell transcends the one-dimensional singer/songwriter label, weaving her rich melodic tapestries with candid lyricism, spellbinding in their intimacy and stark honesty. Her third album, ‘Arm’s Distance,’ contains the perfect entanglement of pop and folk with electronic undertones.

Jack McMahon is a performing songwriter as well host and organizer of the Music Millennium Songwriters’ Showcase. McMahon has been a working musician for all of his adult life and over the years has fronted some of Portland’s more notable bands (Tracks, The Chameleons, Jack McMahon & Friends).

MARCH 27–APRIL 2

3552 N Mississippi Ave. Gay Dance Party 315 SE 3rd Ave. Blown: Mux Mool, Graintable, Saltfeend, D Poetica, Robarsky

Star Bar

639 SE Morrison St. DJ Uriah Creep

31 NW 1st Ave. Protoculture, DJ Zoxy, Jamie Meushaw, DJTimmy, DJGotek

Tiga

1465 NE Prescott St. DJ Groovy Time

White Owl Social Club 1305 SE 8th Ave. DJ Dirty Red

SUN. MARCH 31 Dig a Pony

736 SE Grand Ave. New Jack City

The Lovecraft

421 SE Grand Ave. Black Easter: DJ Musique Plastique, DJ Sharpie

White Owl Social Club 1305 SE 8th Ave. DJ SmoothHopperator

MON. APRIL 1 CC Slaughters

219 NW Davis St. Maniac Monday: DJ Robb

Kelly’s Olympian

426 SW Washington St. Eye Candy VJs

The Know

2026 NE Alberta St. Going Mental Mondays: DJ Just Dave

Tiga

1465 NE Prescott St. Todos Santos

TUES. APRIL 2 Ash Street Saloon

225 SW Ash St. Phreak: Electronic Mutations

CC Slaughters

219 NW Davis St. Girltopia: DJ Alicious

Eagle Portland

835 N Lombard St DMTV: DJ Danimal

Star Bar

639 SE Morrison St. DJ Austin Johnson

MARCH 27–APRIL 2

= 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 Anything but Brilliant—A Love Story

In Bobby Ryan’s new play, presented here by Lights Up! Productions, a middle-aged playwright copes with the death of his longtime partner. Employing poetry, song and unconventional staging, the play explores grief and love. Theater! Theatre!, 3430 SE Belmont St. 7:30 pm ThursdaysSaturdays through April 20. $15 Fridays-Saturdays, “pay what you can” Thursdays. Free opening weekend.

Arabian Nights

Post Five Theatre ventures off the Shakespearean grid with Mary Zimmerman’s playful adaptation of The Book of the 1001 Nights. Third Rail’s Philip Cuomo directs. Milepost 5, 850 NE 81st Ave., 729-3223. 7 pm Fridays-Sundays through April 28. $10 Fridays-Saturdays, “pay what you can” Sundays.

Artichoke

Portland Civic Theatre Guild presents a staged reading of Joanna McLelland Glass’ play about a couple who has fallen out of love but manages to reconnect after a visit from a childhood friend. The Old Church, 1422 SW 11th Ave., 222-2031. 10 am Tuesday, April 2. $8.

Bill W. and Dr. Bob

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

The Coleman Family’s Omission

Boom Arts presents a staged reading of Argentine playwright Claudio Tolcachir’s award-winning dark comedy, which explores the dysfunction and chaos in a three-generation household in Buenos Aires. Portland Playhouse, 602 NE Prescott St., 4885822. 7:30 pm Wednesday, March 27. $10 suggested.

The Gin Game

Allen Nause, the outgoing artistic director of Artists Repertory Theatre, stars in D.L. Coburn’s tragicomic twohander. The 1978 Pulitzer Prize-winning play centers on two elderly people at a nursing home who, over games of gin rummy, engage in psychological battle. Vana O’Brien, also an Artists Rep veteran, stars opposite Nause, and JoAnn Johnson directs. Artists Repertory Theatre, 1515 SW Morrison St. 241-1278. 7:30 pm TuesdaysSundays and 2 pm Sundays through April 28. $25-$50.

Guapa

[NEW REVIEW] Guapa (Michelle Escobar) loves soccer, and it might be her only chance to get out of the hopeless Texan barrio where she lives, naysayers be damned. These include her adopted family: her motherly, bubbly “aunt” Roly (Sofía May-Cuxim), Roly’s son Lebon (Pablo Saldaña) and Lebon’s cousin and polar opposite Hakim (Tristan Nieto). They all want out, and the big soccer tournament in Dallas is Guapa’s chance until she celebrates a little too hard. Directed by Olga Sanchez, Guapa isn’t all doom and gloom. “I’m a guapa made of dirt, feathers and fútbol!” Guapa screams in one of many triumphant monologues. Corny jokes get cracked, mostly about kids texting and using Google to befuddle their crotchety elders. (All the seniors I know these days can Google just fine.) As Guapa’s adoptive sister Pepi, the glowing Crystal Ann Muñoz coolly transitions from studying for her astrophysics Ph.D. to getting wasted with her siblings. All the while Roly bustles, and May-Cuxim allows just enough hope to mix in with her staunch realism, though hers seems to be the only character deeper than the kiddie pool. After a strong opening, Caridad Svitch’s play dissolves into a live-action telenovela with the dawdling plot of an American soap opera. MITCH LILLIE. Miracle Theatre, 525 SE Stark St., 236-7253. 7:30 pm Thursdays, 8 pm Fridays-Saturdays, 2 pm Sundays through April 13. $17-$30. FOOL

Hedwig and the Angry Inch: Live!

Capitalizing on Portland’s inexplicable love of film-to-stage adaptations, Not Yo Mama’s Theater Troupe presents an experimental, site-specific version of John Cameron Mitchell’s rollicking tale of a transexual punk rocker, with live organ accompaniment. Performed entirely with shadow puppets. Der Rheinlander, 5035 NE Sandy Blvd., 288-5503. 10 pm Monday, April 1. $10.

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, as in Sarah Ruhl’s intelligent and compassionate In the Next Room (or the Vibrator Play). Set in the 1880s in upstate New York, Ruhl’s comedy revolves around Dr. Givings (Peter Schuyler), a physician who specializes in curing women of hysteria. Believing that the cause is “congestion in the womb,” Givings employs an electric device—it looks like a cross between a hair dryer and a pistol—to bring these women to “paroxysm.” But Ruhl’s real subjects are the women and their road from sexual repression to awakening. This Triangle Productions staging, directed by Don Horn, plays In the Next Room more for comic effect than for social commentary, and it sometimes feels too safe. But it keeps a fairly lively clip and features some nice supporting performances, namely Andrea White’s vulnerable turn as a wet nurse and Michelle Maida as an empathetic medical assistant. REBECCA JACOBSON. Sanctuary at Sandy Plaza, 1785 NE Sandy Blvd., 2395919. 7:30 pm Thursdays-Saturdays, 2 pm Sundays through March 31. $15$35.

Knowing Cairo

Profile Theatre’s new “In Dialogue” series, which features staged readings of contemporary plays that deepen conversation about the season’s featured playwright (this year

Graham Elwood

Athol Fugard), continues with Andrea Stolowitz’s 2003 drama about a prickly elderly German-Jewish New Yorker and the African-American woman working as her caretaker. Stolowitz, a local playwright and a founding member of Playwrights West, studied with Fugard during graduate school. This is a chance for Portlanders to see one of her earlier works before Ithaka, a new drama about female war veterans, opens at Artists Repertory Theatre in late May. Theater! Theatre!, 3430 SE Belmont St., 242-0080. 7:30 pm Monday, April 1. $10 suggested.

Movies podcast takes the Helium stage for a four-show run. There also will be a live taping of his podcast at 4:20 pm Saturday. Helium Comedy Club, 1510 SE 9th Ave., 888-643-8669. 7:30 pm and 10 pm Friday-Saturday, March 29-30. $22.

A comedy game show, with panelists and audience members competing for prizes. Curious Comedy, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 8 pm every fourth Thursday through March 28. $5.

Micetro

A Midsummer Night’s Dream

Friday Night Fights

Mixology

Fill in the Blank

Hillsboro’s HART Theatre presents the Bard’s perenially popular fairyfilled comedy. HART Theatre, 185 SE Washington St., 693-7815. 7:30 pm Fridays-Saturdays, 2:30 pm Sundays through April 14. $10-$14.

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

Rumors

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

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.

COMEDY & VARIETY Come Out Laughing

Comedy out of the closet: LGBTQfriendly stand-up from Jason Dudey, Ian Harvie and Dana Goldberg, with an appearance by local comedian Belinda Carroll. Bob White Theatre, 6423 SE Foster Road, 503-894-8672. 8 pm Thursday, March 28. $20. 18+.

Demetri Martin

The Daily Show comedian and star of Ang Lee’s Taking Woodstock brings his offbeat (and often musical) standup routine to the Aladdin. Aladdin Theater, 3017 SE Milwaukie Ave., 2349694. 7:30 pm Thursday, March 28. $35.

Doug Benson

Brody Theater’s popular eliminationstyle improv competition. Brody Theater, 16 NW Broadway, 224-2227. 7:30 pm Fridays through March 29. $9-$12.

Late-night comedy show with improv, sketch and stand-up. Curious Comedy, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 10 pm every second and fourth Saturday. $5.

CONT. on page 36

Mother Teresa Is Dead

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 14. $23-$32.

The comedian, who’s appeared with Doug Benson in Super High Me and The High Road with Doug Benson, comes to Helium for a one-night engagement. Helium Comedy Club, 1510 SE 9th Ave., 888-643-8669. 8 pm Thursday, March 28. $15-$20.

REVIEW W I N G O O D B O DY

PERFORMANCE

VAMPIRE WEEKDAY: Ted Roisum.

ST. NICHOLAS (CORRIB THEATRE) D e e p i n t o C o n o r Mc P h e r s o n ’s S t . Nicholas, our devilish, graying narrator is engulfed by the irresistible spell of otherworldly figures, swept into their London mansion of dark wood paneling and blood-red carpets. He’s in the home of vampires. But it’s the one-man script and Ted Roisum’s stirring performance that cast the real spell, creating an impeccable theatrical reflection on what it means to be human. This is Roisum’s third time asking a Portland audience what distinguishes critics from vampires. He performed St. Nicholas with CoHo Productions in 1999 and three years later at Cygnet Theater. But this revival is the first full production for fledgling Corrib Theatre, which is on a mission to bring Irish drama to Portland. Kells’ upstairs banquet room makes for a minimalist stage. With nothing but a cocktail table and stool, Roisum’s thunderous voice and claylike facial expressions guide the audience through a tale so sumptuously visual it’s like reading a good book and imagining how any film adaptation would fall short. It begins, as in all respectable Irish writing, with a bleak and despairing Dublin populated by writers on the precipice of liquorinduced self-destruction. A theater critic in his late 50s looms perpetually drunk and self-important above his fellow writers. When sudden infatuation with an actress, aptly named Helen, reduces him to an obsessive Romeo, he takes his whiskey bottle and abandons Dublin to woo the long-legged chimera during her tour in London. Instead, vampires woo the fallen critic into their patronage. Like Lucifer’s bellhop, he is entrusted the task of delivering bright young things to nightly feasts at the vampire mansion. Roisum makes it all tangible: the shadows dancing around Helen’s sinewy ankles, the smell of over-ripe fruit in the vampires’ backyard, the beer-tinged irony of a critic’s desire to please. Before opening night even concluded, the show garnered enough requests to prompt an extended run. In her Irish lilt, director Gemma Whelan announced to a house clutching Guinness pints that the production will add two dates. Just like that, Ireland’s black comedy has found a niche in Portland. ENID SPITZ.

That’s some bloody good craic.

SEE IT: St. Nicholas is at Kells, 112 SW 2nd Ave., 389-0579. 7:30 pm Monday-Thursday, April 1-4, and Monday, April 8. $15.

The host of the popular Doug Loves

Willamette Week MARCH 27, 2013 wweek.com

DANCE COMPANY

MARCH 27–APRIL 2 BLAINE TRUITT COVERT

PAUL TAYLOR

PERFORMANCE

“Dancers capable of superhuman feats of skill and physicality.”

Sean Mahoney and Francisco Graciano in Brief Encounters. Photo by Tom Caravaglia.

-The New York Times

15 ANNIVERSARY th

LIVE MUSIC THURSDAY - SATURDAY

APRIL 4-6

Newmark Theatre 7:30pm Tickets: www.whitebird.org Info 503-245-1600 ext. 205

SPONSORED BY

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NORTHWEST DANCE PROJECT

Ruby Rocket, Private Eye

Falafel & Hummus.

930 SE Oak Street Portland Oregon, (503) 97-GONZO Middle eastern street food Open 7 days a week.

Curious Comedy founder Stacey Hallal presents a solo show about a bachelor-loving, whiskey-drinking detective. A workshop production during January’s Fertile Ground festival was somewhat uneven, but Hallal made up for plotless meandering with spunk, wit and plenty of direct interaction with audience members. Curious Comedy, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 8 pm Fridays-Saturdays through April 16 (no shows April 19-20). $12-$15.

Skootch

The ensemble, made up of Brody alums, presents What the Truck!, in which improvisers respond to randomly chosen sound bytes. Brody Theater, 16 NW Broadway, 2242227. 7:30 pm Thursday, March 28. $6.

Slingshot

Portland Center Stage and Bad Reputation Productions present another installment of smart improv comedy. Improvisers from the Brody Theater, Administration and top-notch group the Liberators will riff on personal monologues performed by guests. Christine McKinley, from Brad Meltzer’s Decoded, will appear on Friday, and Saturday’s show features pirate enthusiast Loren Hoskins and Destination DIY host Julie Sabatier. Gerding Theater, 128 NW 11th Ave., 445-3700. 8 pm FridaySaturday, March 29-30. $15-$20.

CLASSICAL Lovejoy Trio, Dan Balmer Band

Northwest Dance Project’s spring show is a trio of pieces headlined by choreographer Sarah Slipper, the company’s founding artistic director. Slipper uses five of her closest dancers to create a story based on Harold Pinter’s Betrayal, a play about hidden agendas and cut-throat competitors. Returning guest choreographer Patrick Delcroix premieres his third work for the company; he’s known for his quick, aggressive movement. Guest choreographer Wen Wei Wang rounds out the show with his piece Chi, a highly visual and energetic work he premiered in 2009. Newmark Theatre, 1111 SW Broadway, 248-4335. 7:30 pm Thursday-Saturday, March 28-30. $25-$49.

Portland hip-hop choreographer Durante Lambert reprises his show Oz, which he premiered in January. The show is back “by popular demand,” and it’s hard to see how it couldn’t be. Inspired by The Wizard of Oz and The Wiz, a diverse 28-member cast puts a twist on the story with jazz, hiphop, African and contemporary dance. Newmark Theatre, 1111 SW Broadway, 248-4335. 7 pm Monday, April 1. $22.75-$42.25.

Portland Taiko

DANCE

Picture the opening ceremony for the Beijing Summer Olympics, except right in front of your face in the Keller. Shen Yun, a worldrenowned, New York-based company, has what it takes to make fans of Chinese traditional dance. With a full orchestra, kaleidoscopeof colors and never-ending wardrobe of costumes, the show will leave your mouth agape. Keller Auditorium, 222 SW Clay St., 800-745-3000. 7:30 pm TuesdayThursday, April 2-4. $65-$185.

In what will likely be one of Portland’s better belly dancing shows, Middle Eastern band Brothers of the Baladi plays with some exquisite assistance. Dancer Sedona Soulfire, named Miss Belly Dancer U.S.A. in 2008, is joined by dancers Henna and NagaSita to dance Baladi’s upcoming new album, due this summer. The Blue Monk, 3341 SE Belmont St., 503-595-0575. 9 pm Friday, March 29. $10. 21+.

Me Siento con Vallejo

Luciana Proaño performs her

Willamette Week MARCH 27, 2013 wweek.com

Northwest Dance Project

In this fundraising benefit for the city’s most original classical orchestra, the Portland Chamber Orchestra, violinist Nelly Kovalev, violist Hillary Schoap Oseas and PCO cellist Katherine Schultz bring a rare classical program to the city’s primary jazz temple, including string trios by Mozart, Beethoven and Dohnanyi. Donors can stay for local jazz guitar master Balmer, who’s also been known to poke his axe in classical territory with Third Angle and others, at 8 pm for no additional cover charge. Jimmy Mak’s, 221 NW 10th Ave., 771-3250. 7 pm Monday, April 1. $25.

Brothers of the Baladi

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

The art of Japanese ensemble drumming is vividly displayed in Portland Taiko’s premiere of Insatiable. Featuring drums, dance, traditional Japanese imagery and song, the show by artistic director Michelle Fujii is both methodical and explosive. Fujii explores cycles and the passing of time as they affect our lives and relationships. Lincoln Hall, Portland State University, 1620 SW Park Ave., 7253307. 8 pm Friday-Saturday, March 29-30; 2 pm Saturday March 30. $20-$34.

Shen Yun

For more Performance listings, visit

VISUAL ARTS

MARCH 27–APRIL 2

= WW Pick. Highly recommended. By RICHARD SPEER. TO BE CONSIDERED FOR LISTINGS, submit show information—including opening and closing dates, gallery address and phone number—at least two weeks in advance to: Visual Arts, WW, 2220 NW Quimby St., Portland, OR 97210. Email: rspeer@wweek.com.

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 mediumsize 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.

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 double-coding repackaged for the millennial set. It sets itself up to pierce our shallow, consumerist American hearts with a rapier, but the glint of light across the metal blade is so mesmerizing, all we can do is ooh and aah. Through March 31. Portland Art Museum, 1219 SW Park Ave., 226-0973.

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., 2341324.

forces with Liston to parody tri-monikered artist Calvin Ross Carl’s oftstated aversion to trendy “deer art.” This yawn-provoking exhibit consists of five drawings, a painting, and a green-and-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., 222-0063.

Frantic Efforts to Avoid Real or Imagined Abandonment

Words written in shiny metallic paint cover Cock Gallery’s walls from top to bottom in Wynde Dyer’s installation, Frantic Efforts to Avoid Real or Imagined Abandonment. The words envelop and crowd you in, which, along with the dark lighting, makes you feel trapped. It’s an environment apropos for a show about the past. This feeling of nostalgia-tinted claustrophobia is heightened by an insistent slide show, entitled Mother’s Lovers, that unfurls on the gallery’s far wall. It shows a procession of men from an indeterminate period in the 1970s or 1980s, and it’s full of mustaches, chest hair and feathered tresses. Looking at it, you have a feeling you’ve seen these cheesy guys before, either in your own life or in the bell-bottomed recesses of collective memory. The show manages to feel both sexy and sad at the same time. Through March 30. Cock Gallery, 625 NW Everett St., No. 106, 552-8686.

Maria T.D. Inocencio: Fold Here

Last to First

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

In a rare showing of Northeast/ Northwest unity, prominent westside galleries have agreed to allow their spaces to be used on First Thursday Three white male artists making an by Last Thursday street artists and art-world in-joke about another white performers. Stilt-walkers will strut male artist: That’s the basic premise of their stuff through the Elizabeth Leach Deer Kalvin Wross Karl, this month’s Gallery, while PDX Contemporary Art window project at PDX Contemporary. will burn patchouli and nag champa Gabriel Liston is the only one of these incense to heighten the ambiance as blokes who goes by only two names. artists sell folk art, beads and hemp The others, Timothy Scott Dalbow At Laura & Russo and Scott WayneBW Indiana, joined 3H WWeek Ad: Spec14/Blind Pilot anklets. Runs: 3-6,13,27 4-3 Gallery, the

Deer Kalvin Wross Karl

traditional bread, brie and wine will be replaced by granola, tabbouleh and pot brownies. All participating galleries in the Portland Art Dealers Association (PADA), which sponsors First Thursday, will donate all April profits to local nonprofits, including the Oregon Communist Party and an organization dedicated to reversing gentrification on Alberta, Williams and Mississippi. April 4. Throughout the Pearl District and Nob Hill.

James Minden: Real/Unreal

On First Thursday, as viewers filed through Augen Gallery, many of them reached out, trying to touch the apparition-like holographs in James Minden’s series, Real/Unreal. Minden painstakingly scratches geometric forms into treated black plastic, creating 3-D effects in wall pieces and LED-lit sculptures. The works are less glossy than those in his last show, affording a more elegant finish and increased light play between deep and shallow scratches. This show is hard to beat for sheer “gee whiz!” appeal. Through March 30. Augen DeSoto, 716 NW Davis St., 224-8182. FOOL

ALTERNATING BY JAMES MINDEN

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 mushroom-dotted forest somewhere between Middle Earth and Goodwill. The trash-to-treasure trope has been thoroughly explored in contemporary art, and Inocencio’s wannabe-whimsical 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

BLIND pilot with the Oregon Symphony

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 samesex 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 not only with sculpture, but also video, closed-circuit television, reflective objects and light effects. He often references nostalgia and personal biography in his work, and while some of his past shows have bordered on the solipsistic, they have never wanted for sheer visual panache. It will be fascinating to see how the artist’s vision has matured since his show two years ago at Breeze Block. Through April 20. Breeze Block Gallery, 323 NW 6th Ave., 318-6228.

The 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 mixed-media 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.

The Monument of the 7th Dimension

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

For more Visual Arts listings, visit

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BOOKS

MARCH 27–APRIL 2

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

Most Influential Citizen” and prepare to feel unaccomplished. Mission Theater, 1624 NW Glisan St., 2234527. 7 pm. Free. FOOL

WEDNESDAY, MARCH 27

MONDAY, APRIL 1

Pamela Olson

Oregon Encyclopedia History Night

In the two years that Pamela Olson lived in Ramallah as head writer and editor for the Palestine Monitor, she attended Yasser Arafat’s funeral, dated a Palestinian conservative, toured Israelis around the West Bank, was held at gunpoint and witnessed the 2005 Disengagement from inside the Gaza Strip. Her new memoir, Fast Times in Palestine, chronicles a life of violence, romance, terror, parties and politics. Broadway Books, 1714 NE Broadway, 284-1726. 7 pm. Free.

THURSDAY, MARCH 28 Behind the Legend of JT LeRoy

Nothing riles up the literary community quite like an author taking liberties with “the truth.” In 1999, author Laura Albert helped publicize the novel Sarah written by JT LeRoy, a teenaged former street kid, about life on the streets. LeRoy went on to publish two more acclaimed works of fiction. But in 2005, it was revealed that JT LeRoy was in fact Albert herself. Fierce media backlash aside, Albert’s books continued to win praise. Disjecta, 8371 N Interstate Ave., 286-9449. 7:30 pm. $25.

FRIDAY, MARCH 29 Love Will Tear Us Apart Book Tour

Local authors Jay Ponteri and Scott Nadelson are taking a long, hard look at their lives in newly released memoirs. In Ponteri’s Wedlocked, the author is infatuated with a woman other than his wife and writes a manuscript about it, which is discovered by said wife. In Nadelson’s collection of essays, The Next Scott Nadelson: A Life in Progress, he pretty much loathes everything about himself in a two-year journey to reclaim his identity. Powell’s City of Books, 1005 W Burnside St., 228-4651. 7:30 pm. Free.

SATURDAY, MARCH 30 Spencer Reece Reading and Film

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

You know you’ve really made it once James Franco makes a film about you. But poet Spencer Reece’s other notable accomplishments include winning the Bakeless Prize for his first book, The Clerk’s Tale (in which the title poem recounts his experiences working at Brooks Brothers in the Mall of America and inspired Franco’s short film), becoming a priest in middle age (recounted in his upcoming book of prose, The Little Entrance) and receiving a Fullbright grant to return to Honduras where he teaches poetry at a girls’ orphanage. Reece will read from his upcoming book of poetry, The Road to Emmaus, followed by a screening of Franco’s film. Clinton Street Theater, 2522 SE Clinton St., 238-8899. 4 pm. $5-$10.

SUNDAY, MARCH 31 Howard Bloom

Every Friday on

wweek.com/bimstagram 38

Willamette Week MARCH 27, 2013 wweek.com

Many people look toward the wonder of the night sky and see the proof of God’s existence. Not so for author, science writer and self-proclaimed stone-cold atheist Howard Bloom (The Global Brain, The Lucifer Principle). His newest book, The God Problem: How a Godless Cosmos Creates, delves into the origins of the universe and the scientific ideas on how an inanimate universe creates life. Powell’s City of Books, 1005 W Burnside St., 228-4651. 7:30 pm. Free.

Exploring the life of one of Portland’s most influential citizens (sorry, Tres Shannon), historian Chet Orloff will present the story of Unitarian minister Thomas Lamb Eliot, who helped establish and manage a multitude of social, educational and cultural institutions that still shape the city today. Catch the lecture “Thomas Lamb Eliot, Everything But a Fool: Portland’s

Portlandia Scavenger Hunt

Continuing to promote their book Portlandia: A Guide for Visitors, Fred Armisen and Carrie Brownstein host a citywide scavenger hunt. Some of the items to be collected include a penny farthing, a freshly harvested ironic mustache, a 27-pound hunk of pork belly and a herd of goats. The winner will receive a signed copy of the book and a cameo appearance on the show. Pioneer Courthouse Square. Midnight.

For more Books listings, visit

REVIEW

AMY STEWART, THE DRUNKEN BOTANIST Amy Stewart’s The Drunken Botanist (Algonquin, 400 pages, $19.95) is a quirky exploration of the plants behind every drink menu. Part field guide for invested gardeners or bartenders, part 1,000 things you never knew you drank, this coffee-table book of ingestible knowledge ranges from historical to horticultural. We get The birds and the beers. information as disparate as the basics of beer to a guide about how to brine your own martini olives punctuated by an A-to-Z listing of plants. Like a strong drink, The Drunken Botanist should be sipped not gulped. Consumed at the appropriate pace, it’s an endearing encyclopedia of random knowledge about plants and alcohol that actually make sense to non-gardeners. The quips help, too: “Like most strange and unusual things in the natural world, the red pigment [from scale bugs] found its way into Italian liqueurs.” Unfortunately, as with so many cutesy approaches to information, excessive tweedom does eventually take a toll. But Stewart deftly avoids becoming an oenophile’s bible of pompous terms. Instead, she includes topics like sake nomenclature, how to make rum, and a profile of Betula papyrifera (the birch tree) in a tone that makes botany badass. My personal favorites: horny corn and drunken Australian fowl. Stewart explains corn’s alluring transformation to bourbon, even as she makes the cobbed form less appetizing by explaining that its husk strings are fallopian tubes. As for the birds, we learn about drunken lorikeets, who get tipsy on wild-fermented eucalyptus nectar until ornithologists take them to an avian drunk tank. It’s not all birds and bees, as Stewart also gives plenty of tips for humans. Less brightly plumed than the lorikeets, Northwestern drinkers can achieve a similar buzz with The Drunken Botanist’s 52 drink recipes, including Peru’s national cocktail, the pisco sour. Most are simple concoctions with few ingredients, but you can go all in and make your own grenadine if so inclined (recipe on page 338, success not guaranteed). There are also tips on how to best imbibe: For the perfect pastis, an anise-flavored apéritif, Stewart recommends traveling to Paris. Thankfully, her discussions of how ales differ from lagers and how sorghum can be distilled into liquor can be enjoyed from your couch. Tackling a topic that can be dull as dirt, The Drunken Botanist manages to be a smartly addicting mix of coffee-table book and botanical field guide. It does run the risk of creating more obnoxiously overinformed drink nerds to avoid at the next holiday mixer. Here’s hoping the bar is well-stocked. ENID SPITZ. GO: Amy Stewart is at Powell’s City of Books, 1005 W Burnside St., 228-4651, on Wednesday, March 27. 7:30 pm. Free.

MOVIES

MARCH 27–APRIL 2 FEATURE

= 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.

Alien Boy: The Life and Death of James Chasse

A Heartbreaking and incendiary in equal measures, Portland filmmaker Brian Lindstrom’s documentary plays out like a horror film and leaves you absolutely breathless. The story is one familiar to most Portlanders: In 2006, James Chasse, crippled by schizophrenia but by all accounts harmless, was beaten by Portland police, died in custody and was the subject of a massive cover-up that portrayed him as a monster. Lindstrom’s film pieces together eyewitness accounts and courtroom footage to forge an amazing piece of documentary journalism that’s equally focused on the procedural account of Chasse’s death and the people whose lives it affected. Everybody except the officers whose fists sealed Chasse’s fate offer their remembrances, though officers Kyle Nice, Bret Barton and Christopher Humphreys do appear in archival footage of their trial (each refused to be interviewed). But what really hammers Alien Boy home is not how he died but how he lived. After Chasse was slain, police falsely labeled him a transient junkie. Lindstrom’s film dives deeply into the life of a man who touched countless lives through the pioneering position he held in Portland’s early punk-rock scene. Chasse was starting to slip through the cracks, but before he fell, his life was extinguished by those charged with protecting him. AP KRYZA. Clinton Street Theater.

Andersen & Fisher: An Exhibition

[TWO NIGHTS ONLY, DIRECTORS ATTENDING] The avant-garde directors Thom Andersen and Morgan Fisher met in film school 50 years ago, and they’ve been friends and collaborators since. Andersen is known

Argo

A- Ben Affleck’s thriller, 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, was one of 2012’s best pictures. R. AP KRYZA. Academy, Kennedy School, Laurelhurst, Living Room Theaters, Mission, Valley.

4 3

Around the World With Vincent Moon

[ONE NIGHT ONLY] The Parisian filmmaker Vincent Moon, known for his improvised outdoor music videos of bands (including R.E.M., the Arcade Fire and Aloe Blacc), has spent the past several years traveling across five continents and recording religious rituals and traditional music. Tonight’s program features films from North Africa and the Middle East. Hollywood Theatre. 8 pm Monday, April 1.

GREAT FILM

C 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. 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, and when she’s onscreen Admission begins to stoke an anti-conformist fire. Yet 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. PG-13. REBECCA JACOBSON. Cedar Hills, Eastport, Clackamas, Mill Plain, Lloyd Center, Movies on TV.

for his film essays that patch together footage from Hollywood movies and Fisher for his conceptually rigorous work, and over the next three weeks Yale Union will present a retrospective survey of prints from 1964 to the present. This first weekend features primarily early works—including Andersen’s student film Melting, a portrait of a sundae on which Fisher assisted—and both filmmakers will appear to discuss their relationship. Hollywood Theatre. 7 pm SaturdaySunday, March 30-31. Series continues through April 13.

TERRIBLE FILM

Admission

FUN TOY

B-Movie Bingo: Robocop 2

[ONE NIGHT ONLY, REVIVAL, GAMES] Spot the B-movie clichés in this sci-fi sequel, featuring lots of robots going mano a mano. R. Hollywood Theatre. 7:30 pm Tuesday, April 2.

Barbara Stanwyck: The Miracle Woman

[ONGOING SERIES, REVIVAL] Celebrate a final week of Barbara Stanwyck with the melodrama Stella Dallas (7 pm Thursday and Saturday, March 28 and 30), in which the actress plays a foulmouthed woman from a factory town who marries a rich mill tycoon, and the inimitable Double Indemnity (7 pm Friday and Sunday, March 29 and 31), Billy Wilder’s classic noir. Closing the series is There’s Always Tomorrow (9:15 pm Saturday and 5 pm Sunday, March 30-31), a portrait of suburban life from Douglas Sirk. NW Film Center’s Whitsell Auditorium.

Big Trouble in Little China

[REVIVAL] The Hollywood Theatre’s John Carpenter kick continues with the director’s 1986 kung-fu comedy. PG-13. Hollywood Theatre.

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. There’s a sense of real peril that jabs your heart and makes your teeth grind. 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 top-notch 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

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BORING TOY

PLASTIC VS. CELLULOID FILMS BASED ON TOYS: ARE THEY EVER ANY GOOD? BY R U TH B R OWN 243-2122

The latest film based on the G.I. Joe action figure, G.I. Joe: Retaliation, is not being screened for critics. Is there any chance it won’t be a steaming pile of shit? Our culture scientists analyze 30 years of toy-to-film adaptations to find out.

1. Clue (1985)

The film: Better than expected, thanks to a surprisingly high-caliber cast, including Tim Curry, Michael McKean and Christopher Lloyd. The film was made with three different endings—sadly, none of which was Professor Plum in the library with the candlestick. The toy: Superior to Snakes and Ladders but inferior to Monopoly, this board game is severely hampered by its three-player minimum and tiny pieces that you will lose immediately.

2. The Care Bears Movie (1985)

The film: Not a patch on its sequel (the remarkably dark and stormy Care Bears Movie II: A New Generation), it’s almost mind-boggling the distributor spent $24 million at the time promoting something worse than your average direct-to-video release. The toy: Uninspiring pastel teddies that are a bitch to keep clean.

3. Masters of the Universe (1987)

The film: The casting of Dolph Lundgren as He-Man was inspired, but that’s the only good thing you can say about this live-action film that sent the most powerful man in the universe to 1980s California. The toy: Little plastic beefcake He-Man was probably the least interesting (albeit most essential) figure in the Masters collection, but

some of the other inhabitants of Eternia were spectacularly weird as shit: Battle Cat, Stinkor, Moss Man...every character makes perfect sense on an alien planet.

4. Teenage Mutant Ninja Turtles (1990)

anthropomorphized trucks. On the other hand, the cast is less impressive than the 1986 animated feature, which included Eric Idle, Leonard Nimoy and Orson Welles. The toy: It seems fairly uncontroversial to say that Transformers were the best toys of the 1980s.

The film: All the cowabungas and nunchuck fights you could hope for, plus amazing turtle suits courtesy of Jim Henson’s Creature Shop, in a pre-everything-CGI era when these sorts of films didn’t stray so far from the scope of the original franchise. The toy: Despite millions of stupid add-ons, the original figurines have barely changed in 25 years, and with good reason: How can you improve on mutant reptiles with ninja weapons? You can’t.

7. G.I. Joe: The Rise of Cobra (2009)

5. Mars Attacks! (1996)

The film: If this had simply been a movie about really attractive people on boats shooting torpedoes at each other (you know, like the actual game), it might have been good, dumb fun. But they just had to add aliens. The toy: Enjoyable only for long car trips and three rounds of play, the main redeeming feature of this game is how easy it is to cheat.

The film: Criminally underrated at its release, Tim Burton’s B-movie spoof boasts an amazing cast (including Jack Nicholson, Glenn Close, Michael J. Fox and Martin Short), awesomely cheesy special effects, and equal measures of cynicism and silliness. The toy: Although these ’60s trading cards featured the excellent artwork of comics legend Wally Wood, trading cards are still the least fun of all toys.

6. Transformers (2007)

The film: A movie that makes you actually give a shit about the fate of

The film: Almost comically terrible, this movie may one day achieve a cult following for its appalling but highly quotable script (“When all else fails, we don’t!”) and scenerychewing performances. The toy: An undeniable classic, but America’s movable fighting man feels a little outdated in a world of Halo and Counter-Strike.

8. Battleship (2012)

SEE IT: G.I. Joe: Retaliation is rated PG-13. It opens Friday at Cedar Hills, Eastport, Lloyd Center, Lloyd Mall, Pioneer Place, Clackamas.

Willamette Week MARCH 27, 2013 wweek.com

MARCH 27–APRIL 2

save a child. 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, Forest, Lloyd Center, Fox Tower, Movies on TV.

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. 99 West Drive-In, Cedar Hills, Eastport, Clackamas, Cornelius, Lloyd Center, Moreland, Oak Grove, Lloyd Mall, Movies on TV, Sandy, St. Johns Twin.

Detour

[ONE NIGHT ONLY] The Portland premiere of William Dickerson’s film about an ad executive trapped inside his SUV after a mudslide. Clinton Street Theater. 11 pm Friday, March 29.

Django Unchained

B- If nothing else, Quentin Tarantino’s

Django Unchained has audacity going for it. But when dredging up the ugliest period of American history for the sake of entertainment, is being cool enough? Because Django Unchained is exceptionally cool. A mashed-up spaghetti Western and blaxploitation flick, it is the kind of kinetic pastiche job that’s made Tarantino a genre unto himself. But it also trivializes an atrocity, and that makes it hard to digest as fun, frivolous popcorn. R. MATTHEW SINGER. Academy, Avalon, Bagdad, Edgefield, Hollywood Theatre, Kennedy School, Laurelhurst, Mission, Valley.

Emperor

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

asks MacArthur. More importantly, what happens if you put a deity on trial in a country teetering on the edge of revolution? Unfortunately, Weber can’t stop preaching cross-cultural sensitivity long enough to explore Hirohito’s cult of personality or the emperor’s actual role in implementing military strategy. Dramatic stakes are in short supply until the final act, when a half-cooked subplot involving Fellers’ love affair with a Japanese student is finally abandoned. When the emperor arrives, the movie really starts to hum. Too bad the credits are already beginning to roll. PG-13. MARSHALL WALKER LEE. Living Room Theaters.

Faux Film Festival

[FOUR DAYS ONLY] Mockumentaries, fake commercials and music video parodies crowd the lineup of this festival, timed to coincide with April Fools’ Day. For the schedule, visit fauxfilm.com. Clinton Street Theater. Various times Thursday-Sunday, March 28-April 31.

The Gatekeepers

B The Shin Bet is the Israeli government’s equivalent of the CIA, and its leaders come out of hiding in The Gatekeepers. Interviews with all six surviving former heads of the secretive counterterrorism group, speaking publicly for the first time, compose Dror Moreh’s documentary. Some events may not ring a bell, but digital re-enactments mesh with photographs to help bring them to life. Aside from these animations, The Gatekeepers relies exclusively on one-on-one interviews. 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.

Ginger & Rosa

B- It’s customary enough for

British actors to have to perfect their American accents to break into Hollywood, but it’s rare for an English-made, English-directed film to contain almost no British actors. (In this film, only the estimable Timothy Spall carries the right passport.) Poor Christina Hendricks—Joan from Mad Men—wins the prize for most distracting accent. The young Elle Fanning (the titular Ginger), on the other hand, is a wonder on every front. At heart, Ginger & Rosa is a deeply melodramatic ’60s coming-of-age girl-buddy flick with a hamfisted nuclear-bomb metaphor and a sociopathic Lothario dad. But the delicacy Fanning brings to her role just plain breaks your heart, even as the lines she’s sometimes asked to deliver do the same. Wonderful to watch an actress discover such hidden depths in oftenthin material. PG-13. MATTHEW KORFHAGE. Fox Tower.

The Godfather

[ONE NIGHT ONLY, REVIVAL] You don’t really need a summary, do you?. R. Hollywood Theatre. 7:30 pm Wednesday, March 27.

Happy People: A Year in the Taiga

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

The Host

Given the supernatural train wreck the Twilight series was, Stephenie Meyers’ next novel-to-film adaptation inspires little confidence. In this fantasyromance mash-up, an invisible enemy takes over people’s bodies and erases their memories, and it’s up to a young woman to save mankind. Not screened for critics. PG-13. Cedar Hills, Eastport,

Willamette Week MARCH 27, 2013 wweek.com

Clackamas, Mill Plain, Cornelius, Lloyd Center, Oak Grove, Bridgeport, Lloyd Mall, Movies on TV, Pioneer Place, Tigard, Wilsonville, Sandy.

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. Before anyone starts pondering telemarketing fraud as a potential career, though, we’re informed that Bateman’s heroic financial services functionary can barely support his beatific family despite his tireless labor, while McCarthy lavishes her illgotten largess on a four-figure bar tab. McCarthy’s effervescent crassness and Bateman’s mastery of the long-suffering slow burn are as richly combustible as you’d expect, but while the sudden eruptions of frankly brutal slapstick work a treat, it’s a long slog in reclaimed-hobo trousers to get there. R. JAY HORTON. Eastport, Clackamas, Forest, Oak Grove, Lloyd Mall, Movies on TV, Sandy.

urban livestock experience from a firsthand perspective. In a time when citydwellers feel detached from the land, Robin Goldschmidt-Aschenbrenner and Jeremiah Coyote Green’s heartfelt film offers a chance to reconnect with the animals that nurture our existence. Urban Farm Store, 2100 SE Belmont St. 7 pm Monday, April 1.

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. Eastport, CineMagic, Indoor Twin, Fox Tower.

Lincoln

B Steven Spielberg’s stately drama

is shrewd, balanced and impressively restrained. PG-13. REBECCA JACOBSON. Academy, Kennedy School, Laurelhurst, Mission, Mt. Hood.

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.

[ONE WEEK ONLY, REVIVAL] A new digital restoration of Fritz Lang’s 1931

REVIEW 2012 TRIBECA FILM

MOVIES

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 wigs sure look funny. Too bad nothing else is. Which is a bloody shame, given the premise of Carell and Buscemi as ultra-corny, velvet-leotarded Vegas magicians who engage in a war of one-upmanship with Carrey’s Chris Angel-esque street magician. 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. Alas, pretty much everything falls flat after 20 minutes. This is a film about magicians without a single trick up its sleeve, a flick that never pulls back the curtain or aspires to be anything more than a lazy-ass comedy in which the wigs and sequins do the talking. But they sure are funny wigs. PG-13. AP KRYZA. Cedar Hills, Eastport, Clackamas, Cornelius, Lloyd Center, Oak Grove, Movies on TV, Sandy.

Jack the Giant Slayer

B Jack and the Beanstalk is one of

the few English folktales Americans know by heart. A peasant boy sells his abusive guardian’s livestock for some beans, the beans get wet, a beanstalk grows, and off he goes to rescue a princess from a bread-crazed giant in the sky. Combining that G-rated Beanstalk yarn with all the decapitations and anus-stabbing of the true Arthurian legend, Jack the Giant Slayer is a grimy retelling of the children’s tale…in 3-D. The titular Jack, played by Nicholas Hoult, is an awkward farm boy who has grown up obsessed with this children’s tale, as has Princess Isabelle (Eleanor Tomlinson). Alas, the princess is unhappily betrothed to an ambitious nobleman (Stanley Tucci). 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, Cornelius, Oak Grove, Lloyd Mall, Movies on TV. FOOL

Life of Livestock

[ONE NIGHT ONLY] This groundbreaking documentary, shot entirely with cameras hidden on goats, chickens, rabbits and honeybees, explores the

WELCOME TO THE JUNGLE: Rachel Mwanza.

WAR WITCH Childhood on the battlefield.

There isn’t a moment in War Witch, the Oscar-nominated breakout film from Canadian director Kim Nguyen, that isn’t covered by a thick layer of dread. From its opening sequence of a harrowing slaughter to its shattering conclusion, it holds the viewer’s heart in a vise. That’s common for films focused on a child in peril, but there’s an exploratory nature to this story of 12-year-old Komona (an electric Rachel Mwanza), forced into guerrilla warfare in an unnamed African country. Unlike Fernando Meirelles’ jarring City of God, which examined child enforcers among the gangs of Rio de Janeiro, most of the violence here takes place off camera. It’s a wise choice, considering the gravity of Komona’s journey, and it allows the story to unfold as a horrifying yet redemptive coming-of-age fable. War Witch begins with Komona’s narration to her unborn baby, whom she fears will become evil as a direct result of its mother’s life as a war witch. She received this designation from a warlord after consuming “magic milk” and developing the ability to see the spirits of people slain by the rebel group for which she’s forced to fight. The film follows Komona from her peaceful life in a small village to her days of forced fighting in the jungle, where an army of AK-47-wielding children lay waste to government forces, struggle with starvation and endure daily beatings and rape. Because the film doesn’t veer from Komona’s perspective, we never fully understand why she is forced to fight or why fate has been so unkind. As a result, War Witch at times becomes a fairly sweet story. The introduction of a boy named Magician (Serge Kanyinda) injects childlike softness into a terrifying tale, and the courtship hammers home the theme of stolen innocence as the two flee into the jungle in search of a peaceful life together. However, at no point does the film relent in its depiction of harsh reality. Each moment of tenderness is overshadowed by danger, often with the ashen form of a spirit looming on the periphery. All the while, Ngyuen and his young star keep the film grounded with a wondrous sense of discovery, allowing Komona’s complex journey through battlefields and phantasmagorias to play out simply. War Witch doesn’t sermonize or propose a solution to its larger problems. It’s a portrait of a life. It just so happens that said life is playing out in a living hell. AP KRYZA. B

SEE IT: War Witch opens Friday at Living Room Theaters.

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MONTHS* is all it takes!

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, Oak Grove, Movies on TV, Sandy.

On the Road

B+ The journey to create a film

ARTICI DP PA

Olympus Has Fallen

5 0 1 4 . 5 6 6 . 8 8 8 . 1 www.concorde4me.com

The Night of the Hunter

[REVIVAL, ONE WEEK ONLY] Robert Mitchum plays a preacherturned-serial killer in this 1955 thriller, presented here in 35 mm. Cinema 21.

E nrolling Now! es ss la C — y da To l al C

YELL

but in Mental, every crazy family is crazy in its own way. In the opening scene of this outrageous Australian comedy, a plump Mrs. Moochmore re-enacts The Sound of Music while hanging laundry in the garden. This does nothing to quell the paranoia of her five teenage daughters, who all fear for their own sanity. We can hardly blame them: Aunt Doris is infatuated with marionette dolls, and their neighbor compulsively scrubs her driveway with a toothbrush. When the girls’ absent politician father sends Mrs. Moochmore to the loony bin, Shaz (Toni Collette), a hitchhiker dressed like an ’80s hooker, materializes with her psychic pit bull to play babysitter. P.J. Hogan’s autobiographical tribute to suburban madness explodes Australia into a psychotic world with oversaturated colors and over-the-top characters, its extravagance walking a thin line between irritating and enthralling. ENID SPITZ. Living Room Theaters.

Mental

C+ Happy families may all be alike,

version of Jack Kerouac’s 1957 ode to the Beat Generation 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, chatter-filled travels of Dean Moriarty and Sal Paradise to the silver screen. How, then, did director Walter Salles and screenwriter Jose Rivera succeed? The two accepted the challenge by embracing the challenges that lay within the text. Rivera hacked away at the sprawling and jagged story, emerging with a streamlined narrative that focuses on 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 women, 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. Salles and cinematographer 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. R. ROBERT HAM. Living Room Theaters.

RIB

talkie, a melodrama about a child murderer in Berlin. Cinema 21.

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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 to save the Munchkins and talking monkeys. In the hands of director Sam Raimi, L. Frank Baum’s world comes fantastically to life. From the black-and-white circus scenes in Kansas to the kaleidoscopic world of Oz, each

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DADA FILMS

MOVIES

Photo caption MENTAL tk

WWEEKDOTCOM WWEEKDOTCOM WWEEKDOTCOM

realm takes on a different aesthetic. One moment, Franco is in a wetland swarmed by cartoonish butterflies. Next, he’s in China Town, made completely of porcelain. But lest this sound too kiddie for the man who directed The Evil Dead, there’s also the matter of the witches (Rachel Weisz, Mila Kunis and Michelle Williams), who muster a few scares worthy of any Deadite. Oz is overlong and often cheesy, but those flaws are also part of the charm of a film that doesn’t try to surpass its predecessor so much as supplement it. It’s a carnival magician of a film overflowing with imagination, and to those who come ready to believe, its magic is undeniable. PG. AP KRYZA. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Lloyd Center, Oak Grove, Lloyd Mall, Movies on TV, Sandy, St. Johns Twin.

Quartet

B Dustin Hoffman’s twilight directorial debut, which takes place in a ridiculously well-appointed retirement home for former classical musicians, acts as both valedictory and wake for an entire passing generation of British actors and musicians—notably Maggie Smith, Michael Gambon, Billy Connolly and Tom Courtenay, alongside a host of former opera stars. While Hoffman seems very aware he’s gently closing the book on an entire generation of entertainers, he nonetheless allows them to do what they’ve always done best: be entertaining. PG-13. MATTHEW KORFHAGE. Cedar Hills, Fox Tower.

Reel Feminism: I Was a Teenage Feminist

[ONE NIGHT ONLY] Is feminism dead? For her 2005 documentary, Therese Shechter talked to Gloria Steinem, anti-abortion activists who call themselves feminists, frat boys and others to answer the question for herself. Clinton Street Theater. 7 pm Wednesday, March 27.

Safe Haven

D In this happily-ever-after version of domestic violence, based on a Nicholas Sparks novel, Katie (Julianne Hough) flees an abusive relationship. Her safe haven manifests itself as a tiny Southern beach town, fortuitously home to the tan and chiseled Alex (Josh Duhamel). 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.

Side Effects

B- With Side Effects, Steven Soderbergh he 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. Hollywood Theatre, Fox Tower.

Willamette Week MARCH 27, 2013 wweek.com

Silver Linings Playbook

A- Director David O. Russell

emerges with one of filmdom’s funniest stories of crippling manic depression. If Frank Capra had made an R-rated flick for the Prozac generation, it would look like this. R. AP KRYZA. Cedar Hills, Clackamas, Oak Grove, Movies on TV.

Snitch

C+ “Inspired by true events,” reads the opening title card of the oddly engrossing new thriller Snitch. The earliest scenes, while never what you’d call realistic, establish a premise essentially recognizable. Some kids fall victim to dopey choices and abysmal luck landing a teenager in federal custody after signing for a buddy’s ecstasy shipment. But as the unlikely tumbles into the improbable and crashes into the lunatic, a disregard for parameters of the real seems less fanciful than 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. If the disjointed events aren’t quite inspired by truth, at least they feel honest. PG-13. JAY HORTON. Cedar Hills, Clackamas, Oak Grove, Movies on TV.

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 Disneycentric 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 arthouse installment of Girls Gone Wild crossed with Scarface—with all the surface allure and occasional vapidity that licentious description implies. The many Skrillexscored party sequences, though gorgeously filmed, never quite transcend their own vacuousness or offer any insight into the culture they’re at 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, Stoker, a coming-of-age psychodrama. But while the film may bear Park’s imprint in its rigid stylization—and there are a handful of blood spurts—it’s more silly than shocking, more contrived than creepy. Stoker centers on India Stoker (Mia Wasikowska), 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. A pencil becomes a dangerous weapon, and Park later cuts to a close-up of its bloody tip being slowly sharpened, shavings still oozing red. The sound design, too, is compellingly off-kilter, with an eggshell cracking loudly and a metronome ticking as India makes snow angels on the bed. Yet these images and sounds have little payoff. Much of the problem lies with Wentworth Miller’s soporific screenplay, 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. Fox Tower.

Warm Bodies

B+ Director Jonathan Levine’s

goofy wisp of a film, based on Seattle author Isaac Marion’s 2011 novel, 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. 99 West Drive-In, Avalon, Bagdad, Laurelhurst, Milwaukie, Movies on TV, St. Johns, Valley.

Zero Dark Thirty

A- For all the talk about torture

Zero Dark Thirty has generated, you’d be forgiven for thinking director Kathryn Bigelow spends 157 minutes depicting detainees being waterboarded, strung up with ropes and crammed into confinement boxes. This is, of course, not the case. The majority of the film is an intricate police procedural about the decadelong hunt for Osama bin Laden. But those scenes of torture dredge up such challenging, uncomfortable and important moral questions it’s no wonder they’ve dominated discussion since before Zero Dark Thirty was released. Yet I’m unable to see the film as some rah-rah, kill-the-motherfucker piece of jingoism that pines for the days when detainees wore dog collars. Instead, it’s as uncomfortable in its relentlessly raw representations of torture as it is in its characters’ emotionally ambiguous reactions— or nonreactions—to those acts of torture. Zero Dark Thirty builds to the pivotal raid on bin Laden’s compound by a group of Navy SEALs. The suspense is thick, the carnage plentiful, and the celebration brief and fraught—this is no simple act of triumphalism. Much like the film’s earlier depictions of torture, it’s wrenchingly decisive yet, ultimately, inconclusive. R. REBECCA JACOBSON. Laurelhurst, Valley.

MOVIES

OOOOOOOOO OOOOOOOOO OOOOOOOOO MOOOOOOOO OOOOOOOOO OOOOOOOOO OOOOOOOOO OOOOOOOOO OOOOOOOOO OOOOOOOOO OOOOOOOOO OOOOOOOOO OOOOOMURS! OOOOOOOOO OOOOOOOOO OOOOOOOOO OOOOOMURS!

MARCH 29-APRIL 4

BREWVIEWS 1 9 8 9 WA R N E R B R O S .

04:40, 07:10, 09:40 LIFE OF PI Fri-Sat-Sun-Mon-TueWed 11:30, 02:00, 04:30, 06:50, 09:25 SILVER LININGS PLAYBOOK FriSat-Sun-Mon-Tue-Wed 12:00, 02:00, 04:50, 07:10, 09:30 JACK THE GIANT SLAYER Wed 11:30 GINGER & ROSA Fri-Sat-Sun-MonTue 12:10, 02:25, 04:35, 07:35, 09:35 THE CALL Fri-Sat-Sun-Mon-Tue 12:15, 02:35, 05:00, 07:30, 09:35 QUARTET Fri-Sat-Sun-MonTue 11:50, 02:30, 04:50, 07:15, 09:15

NW Film Center’s Whitsell Auditorium 1219 SW Park Ave., 503-221-1156 Wed STELLA DALLAS Sat 07:00 DOUBLE INDEMNITY Fri-Sun 07:00 THERE’S ALWAYS TOMORROW Sat-Sun 05:00

A BRIGHTER BAT: In a post-Dark Knight world, it seems laughable that Tim Burton’s 1989 Batman—with its Prince soundtrack, delightfully hammy Jack Nicholson performance and lack of horribly disfiguring facial burns—was panned for being “too dark” at the time of its release. Of course, we would later learn what a “lighter” Batman looks like, and that is Arnold Schwarzenegger smeared in silver glitter, shouting, “Let’s kick some ice!” So these things are all about perspective. But equally, now that Christopher Nolan has finally done the comics justice on the big screen, fans can stop grousing about how wrong Burton got the sacred story of an adult man who dresses like a bat and just enjoy it as the charming relic of a bygone era. The scrawny, comedy actor Michael Keaton in the title role, the vapid Kim Basinger kicking absolutely no ass, the refreshing lack of CGI and a 16-bit video game tie-in for the Commodore Amiga: This was a simpler Bat-time. RUTH BROWN. Showing at: Laurelhurst. Best paired with: Sierra Nevada Porter. Also showing: Argo (Academy). THE CROODS 3D Fri-SatSun-Mon-Tue 12:30, 03:00, 05:30, 08:00

St. Johns Twin Cinemas and Pub Lloyd Center 10 and IMAX

1510 NE Multnomah St., 800-326-3264 OZ THE GREAT AND POWERFUL: AN IMAX 3D EXPERIENCE Wed 12:40, 03:50 G.I. JOE: RETALIATION -- AN IMAX 3D EXPERIENCE Fri-SatSun-Wed 07:00, 10:00 G.I. JOE: RETALIATION Fri-SatSun-Wed 07:30, 10:30 THE CROODS Fri-Sat-Sun-Wed 02:20, 04:55, 09:50 THE CROODS 3D Fri-Sat-SunWed 11:45, 07:10 OLYMPUS HAS FALLEN Fri-SatSun-Wed 01:00, 03:55, 07:00, 09:55 ADMISSION Fri-Sat-Sun-Wed 11:30, 02:10, 04:50, 07:45, 10:25 SPRING BREAKERS Fri-Sat-Sun-Wed 11:35, 02:00, 04:25, 06:50, 09:35 INAPPROPRIATE COMEDY Wed 12:10, 02:25, 04:40, 10:05 OZ THE GREAT AND POWERFUL Fri-Sat-Sun-Wed 12:05, 06:30 OZ THE GREAT AND POWERFUL 3D FriSat-Sun-Wed 03:15, 09:45 THE CALL Fri-Sat-SunWed 12:00, 02:35, 05:00, 07:25 THE INCREDIBLE BURT WONDERSTONE Fri-Sat-Sun-Wed 11:55, 02:45, 10:30 A DEEPER SHADE OF BLUE THE HOST Fri-Sat-Sun 01:10, 04:20, 07:20, 10:25

Bagdad Theater and Pub

3702 SE Hawthorne Blvd., 503-249-7474 WARM BODIES Fri-SunTue-Wed 06:00 DJANGO UNCHAINED Sun-Tue-Wed 08:30 INTERNATIONAL FLY FISHING FILM FESTIVAL Sat 07:00 PARENTAL GUIDANCE Sun 02:00

Cinema 21

616 NW 21st Ave., 503-223-4515 THE INCREDIBLE BURT WONDERSTONE Wed 07:00, 09:10 M Fri-SatSun-Mon-Tue 07:00 THE NIGHT OF THE HUNTER Fri-Sat-Sun-Mon-Tue 09:10

Clinton Street Theater

2522 SE Clinton St., 503-238-8899 REEL FEMINISM: A FEMINIST FILM SERIES Wed 07:00 FAUX FILM FESTIVAL Fri-Sat-Sun 07:00 DETOUR Fri 01:00 THE CLERK’S TALE Sat 04:00 THE ROCKY HORROR PICTURE SHOW Sat 12:00

Laurelhurst Theatre & Pub

2735 E Burnside St., 503-232-5511 BEASTS OF THE SOUTHERN WILD FriSat-Sun-Wed 07:00 THE DEAD ZONE Wed 09:35 LINCOLN Fri-Sat-SunMon-Tue-Wed 06:30 ZERO DARK THIRTY FriSat-Sun-Mon-Tue-Wed 09:25 AMOUR Wed 06:15 DJANGO UNCHAINED FriSat-Sun-Mon-Tue-Wed 09:00 SEARCHING FOR SUGAR MAN Fri-Sat-SunMon-Tue-Wed 06:45 THE HOBBIT: AN UNEXPECTED JOURNEY Wed 08:45 LOVE AND HONOR FriSat-Sun 03:50 LES MISéRABLES Fri-Sat-SunMon-Tue 06:15 BATMAN Fri-Sat-Sun-Mon-Tue 09:25 WARM BODIES Fri-SatSun-Mon-Tue 09:45 ARGO Fri-Sat-Sun-Mon-Tue 06:30

Roseway Theatre

7229 NE Sandy Blvd., 503-282-2898 OZ THE GREAT AND POWERFUL 3D Wed 01:30, 04:45, 08:00

8704 N Lombard St., 503-286-1768 OZ THE GREAT AND POWERFUL Fri-Sat-SunMon-Tue-Wed 05:10, 07:55 IDENTITY THIEF Wed 05:45, 08:20 THE CROODS Fri-Sat-Sun-MonTue 05:30, 07:40

CineMagic Theatre

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

Hollywood Theatre

4122 NE Sandy Blvd., 503-281-4215 DJANGO UNCHAINED FriSat-Sun-Mon-Tue-Wed 07:00 A PLACE AT THE TABLE Wed 07:15 MY AMITYVILLE HORROR Wed 09:15 THE GODFATHER Wed 07:30 MAGIC FLUTE OPERA BY MOZART SIDE EFFECTS Fri-Sat-Sun-MonTue 07:20, 09:30 BIG TROUBLE IN LITTLE CHINA Fri-Sat-Sun 03:30, 09:45 ARISE Fri 07:30 SOUND & VISION: AROUND THE WORLD WITH VINCENT MOON Mon 07:30 ROBOCOP 2 Tue 07:30

Regal Fox Tower Stadium 10

846 SW Park Ave., 800-326-3264 THE WE AND THE I Wed 12:10, 02:30, 04:55, 07:25, 09:40 SPRING BREAKERS Fri-Sat-Sun-Mon-Tue-Wed 11:45, 02:00, 02:40, 04:10, 04:40, 07:00, 07:40, 09:20, 10:00 UPSIDE DOWN Fri-Sat-Sun-MonTue-Wed 12:05, 02:35, 05:05, 07:30, 09:50 STOKER Fri-Sat-Sun-MonTue-Wed 12:15, 02:30, 04:45, 07:15, 09:35 THE GATEKEEPERS Fri-SatSun-Mon-Tue-Wed 11:50, 02:15, 04:30, 07:05, 09:20 SIDE EFFECTS Fri-Sat-SunMon-Tue-Wed 11:40, 02:10,

PAGE 6

Regal Pioneer Place Stadium 6

340 SW Morrison St., 800-326-3264 G.I. JOE: RETALIATION Fri-Sat-Sun-Mon-TueWed 07:00 G.I. JOE: RETALIATION 3D FriSat-Sun-Mon-Tue-Wed 08:00 THE CROODS Wed 12:45, 09:45 THE CROODS 3D Wed 03:45, 07:00 ADMISSION Wed 01:15, 04:20, 07:10, 10:00 OLYMPUS HAS FALLEN Wed 01:40, 04:40, 07:40, 10:40 OZ THE GREAT AND POWERFUL Wed 04:10, 10:30 OZ THE GREAT AND POWERFUL 3D Wed 01:00, 07:20 THE CALL Wed 01:50, 04:50 QUARTET Wed 01:30, 04:15 THE HOST Fri-Sat-Sun-Mon-Tue 01:00, 04:10, 07:15, 10:20

PAGE 6

WWEEK DOTCOM

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 Wed 03:10, 09:15 AMOUR Wed 12:50, 06:50 THE HOBBIT: AN UNEXPECTED JOURNEY Fri-Sat-Sun-MonTue-Wed 03:30 HANSEL & GRETEL: WITCH HUNTERS Fri-Sat-Sun-Mon-TueWed 09:30 ARGO FriSat-Sun-Mon-Tue 11:50, 02:20, 07:00, 09:30 LES MISéRABLES Fri-Sat-SunMon-Tue 12:05, 06:30

Living Room Theaters

341 SW 10th Ave., 971-222-2010 THE KILL HOLE 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 Wed 12:10, 02:40, 04:20 ALIEN BOY: THE LIFE AND DEATH OF JAMES CHASSE Wed 12:15, 09:40 LORE Fri-Sat-Sun-Mon-Tue-Wed 06:50, 09:15 MENTAL FriSat-Sun-Mon-Tue 11:50, 01:50, 04:15, 07:00, 09:30 WAR WITCH Fri-Sat-SunMon-Tue 11:45, 02:20, 04:50, 07:30, 09:45

SUBJECT TO CHANGE. CALL THEATERS OR VISIT WWEEK.COM/MOVIETIMES FOR THE MOST UP-TODATE INFORMATION FRIDAY-THURSDAY, MARCH 29-APRIL 4, UNLESS OTHERWISE INDICATED

Willamette Week MARCH 27, 2013 wweek.com

CLASSIFIEDS DIRECTORY 44 WELLNESS

44 STUFF

44 SERVICES

45 JOBS

45 REAL ESTATE

46 MATCHMAKER

46 JONESIN’

TO PLACE AN AD CONTACT:

FREE WILL ASTROLOGY

ASHLEE HORTON

503-445-3647 • ahorton@wweek.com

STYLE

SERVICE DIRECTORY

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COMPUTER REPAIR

COUNSELING

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BUILDING/REMODELING

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CLEANING

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BEDTIME

TWINS

MATTRESS

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

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

SERVICES

BILL PEC

503-252-6035

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

AUTO REPAIR SE Family Auto Network

PAINTING S. Mike Klobas Painting SW

Interior & Exterior 503-646-8359 CCB #100360

WillametteWeek Classiﬁeds MARCH 27, 2013 wweek.com

PETS

AT THE GYM, OR IN YOUR HOME

GADGET SE Gadget Fix

• Strength Training • Body Shaping • Nutrition Counseling

Inner Sound

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45 MOTOR

BULLETIN BOARD

PHYSICAL FITNESS

CELL PHONE REPAIR N Revived Cellular & Technology

Metro Computerworks

WELLNESS

AUDIO SE

45 MUSICIANS’ MARKET

503-445-2757 • ckuppler@wweek.com

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

HOME CARPET CLEANING SW Steampro

CORIN KUPPLER

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(503)

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109

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

Custom Sizes » Made To Order Financing Available

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

REMODELING

Counseling Individuals, Couples and Groups Stephen Shostek, CET Relationships, Life Transitions, Personal Growth

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

503-963-8600

Gambling Too Much?

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

WWEEK.COM WWEEK.COM WWEEK.COM WWEEK.COM

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

ALTERNATIVE MEDICINE

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

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TREE SERVICES Steve Greenberg Tree Service

MO RE CLASS IFIEDS ONLINE @ p ortla nd .wweek.com

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

TO PLACE AN AD CONTACT:

JOBS CAREER TRAINING AIRLINE CAREERS

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

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GENERAL

ASHLEE HORTON

503-445-3647 • ahorton@wweek.com

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. 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.thehomemailer.com (AAN CAN)

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

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MOTOR

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503-445-2757 • ckuppler@wweek.com

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ARIES (March 21-April 19): I was too lazy to write your horoscope this week, so I went to a website that hawks bumper stickers and copied a few of their slogans to use as your “advice.” Here you go. 1. Never follow a rule off a cliff. 2. Have the courage to honor your peculiarities. 3. It’s never too late to have a rebellious adolescence. 4. Criticize by creating. 5. Never make anything simple and efficient when it can be elaborate and wonderful. 6. Complex problems have simple, easy-to-understand, morally clear, wrong answers. APRIL FOOL! I lied. I wasn’t lazy at all. I worked hard to ensure that all the suggestions I just provided are in strict accordance with the astrological gestalt. TAURUS (April 20-May 20): It’s a perfect time to watch the cult classic film Night of the Day of the Dawn of the Son of the Bride of the Return of the Revenge of the Terror of the Attack of the Evil, Mutant, Alien, Flesh Eating, Hellbound, Zombified Living Dead. It will provide you with just the right inspiration as you deal with your own problems. APRIL FOOL! I lied. Don’t you dare watch any horror movies. You’re in a phase when you can make dramatic progress in transforming long-standing dilemmas -- but only if you surround yourself with positive, uplifting influences. GEMINI (May 21-June 20): The coming week will be an excellent time to wash dishes, clean bathrooms, scrub floors, vacuum carpets, wash windows, do laundry, and clean the refrigerator. The more drudge work you do, the better you’ll feel. APRIL FOOL! I lied. The truth is, you now have astrological license to minimize your participation in boring tasks like the ones I named. It’s high time for you to seek out the most interesting work and play possible. CANCER (June 21-July 22): You know what would be a really cool prank to pull off this April Fool’s Day? Arrange to have rubber tires airlifted into a dormant volcano, then set them on fire. Smoke will pour out the top. Everyone who lives nearby will think the volcano is getting ready to explode. Don’t forget to videotape the event for Youtube. Later, when you reveal the hoax, your video will go viral and you’ll become a celebrity. APRIL FOOL! I don’t really think you should try this prank. It’s old hat. Back in 1974, a guy named Porky Bickar did it to Alaska’s Mt. Edgecumbe. Here’s my real oracle for you: It is a good time to boost your visibility by doing something funny. Or to build your brand by being mischievous. Or to demonstrate your power by showing off your sense of humor. LEO (July 23-Aug. 22): In the animated TV show The Simpsons, ten-year-old Bart is constantly getting into trouble because of the monkey business he loves to perpetrate. His teachers punish him by compelling him to write corrective declarations on the classroom blackboard. It so happens that some of those apologetic statements should be coming out of your mouth in the coming week, Leo. They include the following: “I will not strut around like I own the place. I will not claim that I am deliciously saucy. I will not instigate revolution. I will not trade pants with others. I will not carve gods. I will not Xerox my butt. I will not scream for ice cream.” APRIL FOOL! I lied. The truth is, you SHOULD consider doing things like that. And don’t apologize! VIRGO (Aug. 23-Sept. 22): The sport of ferret legging is an endurance contest. Participants vie to determine who can last longest as a live ferret runs loose inside their pants. The current record is five hours and 26 minutes, held by a retired British miner. But I predict that a Virgo will soon break that mark. Could it be you? APRIL FOOL! I misled you. I don’t really think you should put a ferret in your pants, not even to win a contest. It is possible, however, that there will soon be a pleasurable commotion happening in the area below your waist. And I suspect that you will handle it pretty well. LIBRA (Sept. 23-Oct. 22): Risk being a crazed fool for love, Libra. Get as wild and extreme as you’ve ever been if it helps you rustle up the closeness you’re hungry for. Get down on your knees and beg, or climb a tree with a megaphone and profess your passion. APRIL FOOL! I was exaggerating a little. It’s true that

now is an excellent time to be aggressive about going after the intimate connection you want. But I suggest you accomplish that by being ingenious and imaginative rather than crazy and extreme. SCORPIO (Oct. 23-Nov. 21): British comedy team Monty Python did a sketch in which a policeman apprehends a criminal. The bad guy says, “Yes, I did it, but society is to blame.” And the cop says, “Right! We’ll arrest them instead.” You should adopt this attitude, Scorpio. Blame everyone else but yourself for your problems and flaws. APRIL FOOL! I lied. In fact, the truth is the opposite of what I said. It’s time to take more responsibility for your actions. Bravely accept the consequences of what you’ve done -- with your sense of humor fully engaged and a lot of compassion for yourself. SAGITTARIUS (Nov. 22-Dec. 21): Banzai skydiving is a step beyond ordinary skydiving. To do it, you hurl your folded-up parachute out of the airplane, wait a while, and then leap into mid-air yourself. If all goes well, you free-fall in the direction of your parachute and catch up to it. Once you grab it, you strap it on and open the chute, ideally before you hit the earth. This is the kind of beyond-ballsy activity that would be perfect for you right now. APRIL FOOL! In truth, I don’t recommend banzai skydiving now or ever. Plain old skydiving is fine, though. The same principle applies in relation to any adventurousness you’re considering: Push yourself, yes, but not to an absurd degree. CAPRICORN (Dec. 22-Jan. 19): Should you relocate to Kazakhstan and grow sunflowers? Is it time to think about getting a job in Uruguay and living there for the next ten years? Can you see yourself building your dream home in Morocco on a bluff overlooking the Atlantic Ocean? I suggest you spend some quality time thinking way, way outside the box about where you belong on this earth. APRIL FOOL! I went a bit overboard in my recommendations. It is true that you should brainstorm about the kind of home you want to create and enjoy in the future. But that probably means revising and refining your current situation rather than leaving it all behind and starting over. AQUARIUS (Jan. 20-Feb. 18): Your brain has a bigger capacity than you realize. According to professor of psychology Paul Reber, it can hold the equivalent of three million hours’ worth of television shows. As I’m sure you know, your brain is not even close to being full of that much data. And in accordance with the current astrological omens, I suggest you cram in as much new material as possible. APRIL FOOL! I told you a half-truth. While it’s correct that now is an excellent time to pour more stuff into your brain, you should be highly discerning about what you allow in there. Seek out the richest ideas, the most stimulating information, the best stories. Avoid trivial crap. PISCES (Feb. 19-March 20): July 2012 was a sad time in the history of mythic creatures. The National Ocean Service, a U.S. government agency, made a formal proclamation that there are no such things as mermaids. But I predict those stuffy know-it-alls will soon get a big shock, when a Piscean scientist presents evidence that mermaids are indeed real. APRIL FOOL! I was exaggerating. I don’t really foresee the discovery of a flesh-and-blood mermaid -- by a Pisces or anyone else. I do, however, suspect that your tribe is now highly adept at extracting useful revelations and inspirations from dreams, visions, and fantasies -- including at least one that involves a coven of Buddhist Ninja clown mermaids.

Homework What quality or behavior in you would most benefit from healthy self-mocking? Tell how you keep yourself honest. Write Freewillastrology.com.

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JONESIN’ by Matt Jones 66 Was winning 67 Went on the radio 68 Toss option 69 “Gangnam Style” rapper 70 Times to eat cake, casually 71 Dark-skinned wine grape Down 1 Get on tape 2 Berry in juices 3 Sea bird 4 Stake out by the road, perhaps 5 Reporter April, friend of the Ninja Turtles 6 Great Leap Forward name 7 Jovial weatherman 8 Pole dance? 9 Loose-leaf selections 10 Stud fee? 11 Seriously irritate, based on Verdi? 12 Like a rind 13 Make pig noises 18 “Bridesmaids” director Paul 22 Diamond stat 24 Word before created or elected 26 Breakfast brand 27 Street ___ 28 Useful, based on Haydn? 30 Numerical suﬃx 31 Diver’s place 33 Banana shell 35 Weasel’s cousin 37 Plains language 38 Contributes 40 Driving force 42 Did some farm work

45 “The Pelvis” 48 Rowboat mover 50 Chicken ___ (dish on “The Sopranos”) 52 Make some money oﬀ those tickets 53 “I just remembered...” 54 Quotable Yogi 55 Tries out 57 “Moby Dick” captain 58 “Pore Jud Is

___” (Rodgers and Hammerstein song) 60 It’ll grow on you 61 Tulsa’s st. 62 New age musician/ former TV host John 65 Alt-weekly workers, brieﬂy

last week’s answers

Across 1 Insult hurled at 30-across 6 Mediterranean island nation 11 Two for Juan? 14 Block, as an Arctic ship 15 Message sender SETI hopes to detect 16 Hose problem 17 Photography size, based on Elgar? 19 Lance with a gavel 20 Driver around Hollywood 21 Spectator 23 “The Price Is Right” game 25 Ernie’s special friend 26 Reverberate 29 “Wowzers!” 30 “South Park” protagonist 32 Understand fully 34 Dropped a line 36 Longtime Harry Belafonte label 39 Polite 41 Shakespeare nickname 43 Bizarre 44 Tahrir Square’s country 46 Disturbed 47 “If it feels right, do it” 49 Public regard 51 Caustic substances 52 Scotch mixer 54 Chew out 56 Game where you tug on your ear 59 Smokin’ 63 Rand of “Atlas Shrugged” 64 2013 dance all over YouTube, based on Mahler?

“Classical Remix”–recomposing composers.

©2012 Jonesin’ Crosswords (editor@jonesincrosswords.com) For answers to this puzzle, call: 1-900-226-2800, 99 cents per minute. Must be 18+. Or to bill to your credit card, call: 1-800-655-6548. Reference puzzle #JONZ616.

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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

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