39 27 willamette week, may 8, 2013 by Willamette Week Newspaper

H aw k K r a l l

NEWS Big trouble at PSU’s hotel. DRANK PORTLAND’S BEST HARD CIDER. THEATER PEOPLE’S REPUBLIC FALLS HARD. P. 7

P. 23 P. 35

WILLAMETTE WEEK PORTLAND’S NEWSWEEKLY

“THEY’RE DOING YOGA. I DON’T KNOW WHAT IT IS.” P. 43 wweek.com

VOL 39/27 05.08.2013

why the far right and left have come together to defeat fluoride. Page 13

2 PROGRAMS, 13 DANCERS, 22 DANCES CELEBRATING 15 YEARS OF DANCE AND INNOVATION

Willamette Week MAY 8, 2013 wweek.com

CONTENT

Portland’s premier shop on the East Side.

W’s ARC’TERYX Alpha SL Jacket $318.95 NOW $234.94

WHY THE LONG FACE?: The Portland Police Mounted Patrol is up for elimination in the city’s budget. If it goes, it would keep the Portland Development Commission from having to pony up millions to move the horses from their waterfront home. Page 11.

NEWS

MUSIC

LEAD STORY

PERFORMANCE 35

CULTURE

MOVIES

FOOD & DRINK

CLASSIFIEDS

STAFF Editor-in-Chief Mark Zusman EDITORIAL Managing Editor for News Brent Walth Arts & Culture Editor Martin Cizmar Staff Writers Andrea Damewood, Nigel Jaquiss, Aaron Mesh Copy Chief Rob Fernas Copy Editors Matt Buckingham, 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 Ann-Derrick Gaillot, Ashley Jocz, Matthew Kauffman, Kaitie Todd, 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, Enid Spitz, 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, Andrew Shenker 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

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DO YOU HAVE PSORIASIS?

This endorsement [“Chew on This,” WW, May 1, 2013] simply reiterates all the tired old clichéd notions about the supposed benefits of adding fluoride to drinking water. There is a lot of science now to show that it is problematic and we should not be drugging the public water supply. There are so many reasons to oppose adding fluoride from industrial waste to the water, but the overriding and most significant one is that it is an assault on our civil liberties. It is drugging without informed consent. If the WW editors want to drink fluoridated water, have at it. Get some fluoride tablets or just drink a glass of orange juice. The problem is that we are subjected to too much fluoride in our food and drinks as it is. We definitely don’t need to add any more. But the bottom line is it goes against our right to [drink] clean water. There is no evidence that ingesting fluoride is beneficial to anyone. It’s bad for the environment too, as the Sierra Club and other environmental organizations have pointed out. Clean water is a human and animal right. Just say no to the drugging of our pure Bull Run water. —“Courtney Scott” In 1996, I went up against a tobacco-company representative on Measure 44, which would increase taxes on cigarettes. I was the executive vice president of the Oregon American Cancer Society at the time. Back then, WW supported our side and called the tobacco lobby’s arguments “bullshit.” I remember writing a thank-you letter and saying I wished I could say that. I can say this now: In a very long career, I’ve been up against the spin doctors of the tobacco industry, Monsanto and Exxon Mobil. They have

nothing on the spin doctors of the pro-fluoride gang in being masters of deception. WW had a chance to speak truth to power. You didn’t. Rick North Durham I thought WW was a progressive publication. It’s pretty sad you haven’t researched fluoridation with all the debating that has gone on; pathetic really. It’s a harmful chemical, not some benign thing. I’m no longer a fan of WW. Vote no in May to protect the entire public. —“Mike James”

LAYING DOWN THE LAW

Michael C. Zusman’s review of Quartet undermines WW’s reputation as a reliable source of food criticism [“Way Off-Key,” May 1, 2013]. In the review, Zusman implies that Quartet dilutes its crab cake with “cheap brown gulf shrimp.” He offers no evidence for this damning and daringly specific accusation. That kind of reporting is potentially fatal to Quartet and damaging to the restaurant industry as a whole. Mr. Zusman is a [Multnomah County Circuit Court] judge. His editor, Martin Cizmar, has a law degree. In a court of law, unsubstantiated accusations are not only frowned upon, they are not allowed. Luckily, this isn’t a courtroom, it’s just journalism. Leather Storrs, chef/owner of Noble Rot James L. Huffman, dean emeritus, Lewis & Clark Law School 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

Subjects at least 18 years of age can take part in a research study of an investigational medication for PSORIASIS. Participation will last up to 5 years. There is no charge for investigational study medication, study visits and tests.

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U.S. President Herbert Hoover was from Oregon. How come nothing here is named after him? —Tequila Wilhelmina I admire your penchant for brevity, Willi. You should be on Twitter—and while you’re there, why not follow me, @martysmithpdx? (How shameless was that? Pardon me while I go autoclave my tongue.) Anyway, it’s a legitimate question: If L.P.W. Quimby—a hotel manager whose main claim to fame was that he once gave some 19th-century dudes a lift to Salem—can get a street in Northwest Portland named after him, where’s Hoover’s swag? Born in Iowa in 1874, Hoover moved to Newberg at 10 and stuck around long enough to do his first two years of college there. Given our lax local standards—half the Oregonians you know are from elsewhere—that’s good enough that we can claim him if we want. That’s a big “if,” though. I don’t know how much attention you were paying in 20th-century

American history, but Hoover is the guy who tends to absorb a lot of the blame for the Great Depression. That may not be entirely fair, but given that the shantytowns of homeless starvelings that sprang up during this period were called “Hoovervilles,” our forefathers can be forgiven for finding the prospect of “Herbert C. Hoover Memorial Bridge” about as appealing as, say, “Adolf Hitler Expressway” or “Jeffrey Dahmer City Park.” It’s kind of too bad, because until he had the bad luck to become president, Hoover was known as a humanitarian genius whose efforts as head of the U.S. food relief program saved millions from starvation during WWI. Even so, there is the Hoover Dam, which does to the Colorado River what its namesake couldn’t do to the Depression. But speculation that the famous vacuum cleaner took the name Hoover because “it also sucks” is just mean. QUESTIONS? Send them to dr.know@wweek.com

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Willamette Week MAY 8, 2013 wweek.com

HIGHER ED: Charges of kickbacks and fraud at a hotel owned by PSU. LAW ENFORCEMENT: Fake IDs from China vex the OLCC. CITY HALL: Why killing off the horse patrol is good for business. COVER STORY: The strange bedfellows of the anti-fluoride campaign.

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AFTER NIKE’S SWEETHEART DEAL, INTEL MAKES A PLAY.

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The city of Portland may never stop finding new and interesting ways that the $35-a-person arts tax voters approved last November is screwed up. In March, Mayor Charlie Hales announced the city had discovered the tax unfairly fell on people who made less than $1,000 a year— and it would cost a bundle to fix. Now the mayor reports the city will be sending refunds to people whose earnings come HALES primarily from Social Security or the Public Employees Retirement System. Hales says he wants the city to be fair to taxpayers, but given the way the measure was written, “This arts tax puts us in a bind.” Meanwhile, Creative Advocacy Network, the nonprofit that pushed for the tax, is seeking to extend the contract of executive director Jessica Jarratt Miller so she can keep pressure on City Hall not to junk the tax completely. Jarratt Miller was previously paid $100,000 a year. Her new contract, calling for part-time work, would pay her $60,000, including benefits. VOTE!: Don’t forget to mark and mail your ballot for the May 21 election. Last week, WW made its endorsements on three ballot measures and seven contested races for local school boards. You can read the endorsements at wweek.com/2013election. Here’s the bottom line: • Measure 26-150, city of Portland, renews children’s levy: Yes. • Measure 26-151, city of Portland, mandates fluoridation of the city’s drinking water: Yes. • Measure 26-152, Metro, levy to support maintenance of open spaces and park lands: Yes. • Portland Public Schools: Zone 4: Martin Gonzalez. Zone 6: Tom Koehler. • Portland Community College: Zone 2: Kali Thorne Ladd. Zone 4: Jim Harper. Zone 5: Ken Madden. • Multnomah Education Service District: Position 1: Chris Cochran. Position 2: Nels Johnson. Position 3: Erica Thatcher. Read more Murmurs and daily scuttlebutt.

P E T E R H I AT T

R O E B OT/ C C

Intel now wants what Nike got. Emails obtained by WW under a public records request show that, in late March, Intel met with Gov. John Kitzhaber’s team “for a follow-on conversation to the December special session legislation.” That’s when Kitzhaber TEAR SHEET INVOICE and lawmakers locked in Nike’s current “single sales factor” tax treatment for 30 years in exchange for Nike investing $150 million and creating 500 new jobs. Intel, which employs 17,000 people in Oregon (twice Nike’s in-state payroll), has not yet proposed specific terms, but there could be one big difference: Nike agreed to cap property-tax breaks under a separate program at $5 million; Intel has already received about $500 million in breaks. Intel spokeswoman Jill Eiland says, “We have not yet made an official decision to move forward.”

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ROOM SERVANTS: Duy Phuong Do says he had to pay kickbacks to a supervisor before he could get hired at University Place Hotel, owned by Portland State University (below). PSU officials say there is no evidence to support his allegation, but university officials fired two hotel managers this week after an investigation.

KURT ARMSTRONG

THE OVERLOOKED HOTEL PORTLAND STATE UNIVERSITY FACES ALLEGATIONS OF KICKBACKS AND CRONYISM AT ITS HOTEL. BY N IGEL JAQU ISS

njaquiss@wweek.com

Workers at a downtown hotel owned and operated by Portland State University say they have faced extortion, lost wages to ghost employees and had their tips stolen by supervisors. The workers tell WW that their bosses—all PSU employees—have created a culture of cronyism that has allowed them to hire their own relatives to work at the University Place Hotel. One worker says he had to pay kickbacks to his supervisor in order to get hired. And

workers say they have been told to clean the universityowned Dunthorpe home of PSU President Wim Wiewel. “I’ve worked in other places,” Ty Van, 53, a housekeeper at the PSU-owned hotel since 2007, tells WW through an interpreter, “but no one has ever treated me like this.” Like other state universities, PSU is pushing the Legislature for more autonomy. The allegations raise questions about PSU’s ability to manage its own business affairs. The conditions workers describe are difficult to square with university employment policies, and some practices— such as kickbacks—would be criminal if proved true. University officials were told of the allegations in March. PSU spokesman Scott Gallagher says officials had interviewed 14 hotel employees, suspended three supervisors and were just wrapping up the investigation when WW inquired about the charges this week. After the newspaper’s inquiries, Gallagher said in an email that the investigation found “no evidence” of extortion or tip stealing, but on May 7, PSU fired the hotel’s general manager and an assistant. The allegations first came to light after Service Employees International Union Local 89 began representing workers at the hotel earlier this year. SEIU collected statements from workers and reported the allegations to PSU officials in March. Local 89 president Marc Nisenfeld says he’s never heard allegations such as those made by the hotel workers, who earn about $11 an hour. “It’s absolutely appalling that what’s alleged could be happening in a public university,” Nisenfeld says. In 2004, the university purchased the DoubleTree Hotel (formerly known as the Red Lion Inn), located at 310 SW Lincoln St., for $19.7 million. The purchase of the four-acre site was part of an ambitious growth strategy for PSU, whose student enrollment of 28,731 is larger than that of any other public Oregon university. The original plan called for PSU eventually to demolish the 235-room hotel and replace it with dorms and classrooms, but the recession stalled that development. PSU officials chose to keep operating the hotel rather than hire an outside company to manage it. The staff, including general manager Dennis Burkholder, became PSU employees. PSU now advertises its University Place Hotel as “a smart little secret in the midst of downtown Portland.” But Vietnamese workers responsible for cleaning rooms at the hotel say the real secret is how they were treated by their managers, including their supervisor, who is also a Vietnamese immigrant. Although some of the housekeeping workers have been in the U.S. for as long as 15 years, they speak limited English and have few job skills. Still, three of the workers agreed to speak on the record about their experiences working at PSU’s hotel. WW interviewed the workers with the assistance of a Vietnamesespeaking SEIU organizer and an independent translator, and reviewed time sheets and other documents. Many of the allegations focus on Kim Nguyet Thi Christian, the hotel’s housekeeping supervisor, who co-owns a Portland cleaning business and a beach property in Ocean Shores, Wash., with Burkholder, the hotel’s general manager. Workers say Nguyet demanded a kickback from Duy Phuong Do, 33, who showed WW pay records indicating PSU paid him more than $18,000 in 2008 for work that he says he never performed. Duy says the work was either done by someone else or not done at all. Duy says Nguyet ordered him to kick the money back to her, holding out the prospect of future shifts as an inducement. “If I did not allow it, she would not hire me,” Duy tells WW. Duy was eventually hired to work at the hotel. CONT. on page 8 Willamette Week MAY 8, 2013 wweek.com

NEWS

2013 THINK & DRINK

Another hotel housekeeper, Ty Van, backs up Duy’s story. Ty tells WW she twice acted as a go-between, collecting $1,400 in cash from Duy and giving it to Nguyet, who denies the allegation. “They are liars,” Nguyet says. “If she [Ty Van] were here now, I’d knock her down.” Housekeepers also say Nguyet and other workers under her direction stole cash tips for them. “When the supervisor went into a room, there was never any [tips],” says Ty, who says when she worked previously for six years cleaning rooms at a local Holiday Inn, she’d usually bring home $10 to $15 a day in tips. “I brought it up with [Nguyet],” Ty says. “And she said, ‘Tips belong to the supervisor, and you can’t question that.’” Nguyet says neither she nor subordinates stole tips. “It’s not true,” she says. The hotel workers also describe a widespread culture of nepotism, which they say starts with Burkholder, 64. On the hotel’s website, Burkholder says he’s a Vietnam War veteran. The profile says he’s returned to Vietnam three times and is “currently researching and writing a novel about the country.” Workers say Nguyet, Burkholder’s subordinate and business partner, hired friends and family members and gave them shifts that should have been worked by people already on the payroll, and paid favored employees for work they did not do and regularly assigned easier tasks to friends and family. Nguyet acknowledges hiring friends and their family members but says complaints about favoritism are untrue. Workers say one assistant supervisor hired her parents in 2011 and immediately put them on the payroll for 40 hours a

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week, while reducing veteran workers’ hours. They say she also filled out her husband’s time sheet for hours he did not work. Tien Ong, another housekeeper, says Burkholder is ultimately to blame. “He knows everything,” Tien says, “but he does nothing to help us.” Burkholder, who earned $68,304 as the hotel’s general manager, says he never disclosed to PSU owning property or being in business with Nguyet, which he admits was a mistake. But he says he’s dismayed by employee complaints. “I’ve always been complimented for running a tight ship,” he says. Nisenfeld, president of the union local, says nepotism and cronyism violate university policies. He says bringing in family members discriminates against those already on the payroll, as does selectively handing out work. Bao Nguyen, an SEIU organizer who frequently works with Asian immigrants, says it’s not unusual for immigrants to be preyed upon, but it is unusual on a public payroll. “I haven’t seen anything this egregious before,” Bao says. “They are operating their own little fiefdom.” PSU’s Gallagher says hotel housekeeping staff cleaned Wiewel’s residence twice a week and after PSU events held at the residence. Gallagher says the work is appropriate: The hotel employees work for the university’s facilities office, which maintains the president’s house. Nisenfeld says SEIU’s contract with the university does not include custodial services for buildings not owned by the hotel. On March 11, the union informed PSU of the employees’ allegations and filed grievances. In an April 25 email to SEIU, Shana Sechrist of PSU’s human resources department said the university interviewed employees and “promptly placed the managers alleged to have engaged in wrongdoing on administrative leave.” On the morning of May 7, the day after WW contacted PSU about the hotel workers’ allegations, PSU fired Nguyet and Burkholder. “After conducting the investigation, [we] decided to make a fresh start,” Gallagher tells WW. “[We] will begin a search for their replacements.”

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NEWS

LAW ENFORCEMENT

TAXPAYERS MAY END UP SUBSIDIZING PORTLAND BARS TO STEM THE FLOOD OF FAKE IDS FROM CHINA. BY ASH L E Y J O C Z

ajocz@wweek.com

The Barrel Room was the first bar ever to let in Maddy Eivers. It was a Saturday night, it was summer, and she wasn’t yet 21. The memory is sharp for Eivers, not only because of the bouncer’s tribal tattoos, a Katy Perry remix pounding inside the Old Town bar and the smell of Hollister cologne. She remembers it because she was amazed how easy it was to get in with a fake ID she had ordered online from China. “The bouncer basically looked at it for a second and then let me in,” Eivers, now 22, says. “It was like a joke. It was too easy.” Fake IDs have long been a rite of passage for the young and want-to-be-drunk, and they are the chief weapons in the struggle between the under-21 set on one side and, on the other, the Oregon Liquor Control Commission and bars charged with keeping the underage from drinking. But OLCC officials say fake IDs from China like the one Eivers used—sold by a company called ID Chief—have made enforcement especially tough. ID Chief, the industry leader in phony ID sales, has been selling fakes since 2008, and the OLCC estimates the company has made about $40 million in the U.S. You can order one in the same amount of time it takes to purchase season two of Game of Thrones on Amazon. “All you need to get a fake ID these days is $200 and Internet access,” says Matt Roberts, an OLCC enforcement officer in Medford who specializes in tracking the phony cards. The agency collects an average of 1,400 fake IDs every year, most confiscated by bartenders, store clerks and bouncers. Roberts says more than half come from China, and most from ID Chief. Some of these IDs can be detected with the latest scanners that bars and taverns could be using at the front door. The clubs aren’t required to use the scanners, so Multnomah County is considering a plan to have taxpayers shell out as much as $150,000 in subsidies, using a federal grant to buy the scanners for bars and taverns. “It would be incentive for the licensees to use the scanners and to work with the Portland police for over service and underage drinking,” says Devarshi Bajpai, manager of the county’s addiction services program. Eivers, who graduated from Wilson High School in Southwest Portland in 2009, turned 21 a year ago. Before that, she says, she had been drinking alcohol since she was 16—often 40-ouncers of Olde English 800 malt liquor in parks, the booze 10

Willamette Week MAY 8, 2013 wweek.com

bought by friends’ older siblings. Once she got to Lane Community College in Eugene, Eivers wanted to buy liquor on her own and socialize in bars. “I thought to myself, I better get me one of these ID Chiefs,” she says. Friends had told Eivers about ID Chief, based in Guangzhou, China, which produces fakes that are nearly flawless: They look authentic and have holograms and magnetic strips that allow them to go undetected by most scanners. She ordered her fake ID in March 2011. She chose an Idaho driver’s license, which is one of the easiest to forge. She used her real name but listed a false address, in Grangeville, Idaho. Because ID Chief offers volume discounts, Eivers says about 30 University of Oregon and Lane students went in on the order. She paid $60 and got two IDs in the mail—the extra was included, in case one got confiscated. To beat the U.S. Customs Service, ID Chief ships the IDs hidden in various products. Eivers’ came in a plastic telephone with Chinese characters on the keypad. A friend smashed open the phone with a hammer, and the fake IDs popped out. “The IDs all seemed so real,” Eivers said. “It felt too good to be true.” Eivers used her ID for the first time the next weekend at a Dari Mart in Eugene, buying a 24-pack of Pabst Blue Ribbon for a campus party. At the time, the OLCC was beginning to see a flood of the Chinese IDs. Roberts estimates he’s seen fake-ID use double in the past four years, mostly thanks to the Chinese websites. ID Chief became so significant a problem that in the summer of 2012, four U.S. senators sent a letter to the Chinese government asking it to shut down ID Chief and similar operations. The company closed but moved to a new domain, idchief. me. The new domain is still operating, and OLCC officials believe it’s behind other sites like idsbuddy.com. To combat the phony IDs, the OLCC has been working closely with bouncers in Old Town, where the city’s highest density of nightclubs are located, attracting flocks of underage drinkers. “Any door guy that works downtown has been trained,” says Mark Smith, an OLCC enforcement officer for Portland. “The downtown area is not a good place to take your fake ID.” OLCC officials say the phony IDs can be detected, but declined to describe the telltale signs. Ross Harper, a bouncer at the Dixie Tavern in Old Town, says the OLCC regularly updates books and software that help businesses detect fraudulent IDs. Harper says Arizona IDs are the most common fakes. “The coloring on them is different, the fakes are more pink whereas the real

JAMES REXROAD

IDENTITY CRISIS

CARDED: Maddy Eivers (above) says she used her Chinese-made fake ID dozens of times to buy alcohol before it was confiscated. Law-enforcement officials say fakes from China make it difficult to tell the phony driver’s licenses (below left) apart from the real ones.

Arizona IDs are more brown,” Harper says, standing under Dixie’s awning. “The fakes have the holograms on them, but it’s almost like they’ve just been laid right on top of the ID, whereas with the real IDs you have to angle them to see the hologram.” The Multnomah County Department of Human Services is targeting unhealthy drinking habits of people under 25 with a $200,000 federal grant. Along with educational programs and public-service announcements, the grant would pay for scanners for the busier bars in Old Town. Scanners cost about $1,000 each, in addition to a monthly software fee of $199 to $299. The county is also considering paying the bars monthly software fees for the first six months to a year. “While we haven’t decided if we will purchase the scanners or the fake-ID detectors yet, we are considering both,” says Bajpai. Community Action to Reduce Substance Abuse is also part of the task force in lending scanners to the bars. “The bars have never had scanners before, so they’re not sure how beneficial they would be,” says Donna Libemday, the organization’s director. “We would buy the scanners and let the bars use them for a limited time to see how they worked and how useful they are.” But OLCC officials say spending taxpayer money to buy new scanners would be a waste of money. “In my mind, that would be an ineffective tool; almost all IDs can scan and will say they’re over 21,” says John Mereen, an OLCC enforcement officer. County officials are also looking at scan-

ners similar to ones used by the U.S. Border Patrol, which reportedly are sophisticated enough to detect Chinese fake IDs. “This is a community response, not subsidizing,” says Bajpai. “It’s us working with bars and the Portland police to address overservice and underage drinking. It lines up with bar goals and Portland police goals.” Eivers used her ID Chief fake for about seven months, until she was busted at the state liquor store on Southwest Barbur Boulevard on New Year’s Eve by a cashier who spotted the ID as a phony. She says she was bummed that her “passport to inebriation” was confiscated, and thought the worst punishment she would face was waiting until her 21st birthday, which was about five months away. But she had been ticketed before for being a minor in possession of alcohol, and the OLCC tracked her down. Eivers was charged with a misdemeanor for misrepresenting her age. She pleaded guilty and did eight hours of community service and another eight hours in an alcohol education class. The OLCC’s Roberts says the sophistication of the fake IDs will continue to make it difficult to stop them. “We are working with schools and other law-enforcement agencies to make it more painful to have these IDs than to not have one,” Roberts says. “We’re working on programs for these IDs so they’re easily catchable and no longer a threat. And then we’ll just wait for the next wave of new fake IDs to come.”

CITY HALL

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

HORSE TRADING

NEWS

KILLING THE MOUNTED PATROL HAS A HIDDEN BENEFIT FOR THE CITY: SAVING THE PDC MILLIONS. BY AN D R E A DA M E WO O D

adamewood@wweek.com

Monty the police horse strains against the fence of his paddock, sticking his neck out to munch on a bush that is just out of his reach. A runner jogging along Northwest Naito Parkway stops to take an iPhone picture of Monty’s efforts. A few yards away, the Willamette River glistens blue in the midmorning sun. “It’s a great view for a horse,” says Sgt. Marty Schell, supervising officer of the Portland Police Mounted Patrol Unit. The land offers an even better view in the eyes of local developers, who want the nine-horse unit moved out of there as soon as possible. The potential demise of the mounted patrol—proposed by Mayor Charlie Hales to help cover the city of Portland’s $21.5 million budget hole—would have the side bonus of saving the Portland Development Commission millions and aiding the plans of a powerful Portland family. The police ponies are kept on part of the former Centennial Mills site owned by the PDC, which has sunk an unprecedented $13 million into the property since it was acquired in 2000. The PDC has promised to move the horses off the site to make way for development by the Schnitzer family’s Harsch Investment Properties. The site consists of nearly 4.5 acres a half-mile north of the Broadway Bridge, with 670 feet of waterfront. The landmark flour mill still stands on the site, and Harsch promises to maintain 12 buildings from the early 1900s on the site as it builds office, retail and residential property. But before Harsch can move in, the police horses have to go, and the cash-strapped PDC has promised to pay at least $1.7 million for relocation. The agency won’t have to pay if Hales gets his way and gets rid of the horse patrol. The PDC leases the spot to the cops for $1 a year. County records say the site is worth $9.1 million. “I’m not saying that’s the motivation for cutting the mounted patrol,” says City Commissioner Amanda Fritz. “But tying up that space—near the railroad, near the river—for horses does not seem the highest and best use.”

CHAMPING AT THE BIT: Portland Police Officer Ryan Albertson watches his horse, Zeus, trot the arena that holds the city’s Mounted Patrol Unit. Developers want the riverfront property freed up as soon as possible. If the unit is cut, as proposed by Mayor Charlie Hales, the city would save millions in relocating the horses.

Hales’ office says the potential side effect of savings for the PDC wasn’t considered when drafting the budget. “[It’s a] happy coincidence that the mayor’s proposal also would save PDC money,” Hales spokesman Dana Haynes tells WW in an email. The PDC says it had nothing to do with crafting Hales’ budget and still has money set aside for moving the police horses. “Relocation is something we’ve had on the books for a long time; that’s the commitment we’ve stood by,” PDC spokesman Shawn Uhlman says. But the PDC has struggled to find the right fit for the former flour mill, first earmarking it for a park and then choosing a California-based developer to turn it into a food-centric hot spot. That deal fell through in 2011, and the city settled a lawsuit brought by the developer, Shaheen Sadeghi and his companies Project SEED LLC and LAB Holding, for $200,000 last month. But supporters of the horse unit, Friends of the Mounted Patrol, have been pushing back for months against

APPEAL TO THE BASELINE The retail politics of the Hales budget creates winners and losers. Politicians don’t usually gain support by making budget cuts. But the startling thing about Mayor Charlie Hales’ first budget, released April 30, is how the mayor’s cutting of $21.5 million has been met with enthusiasm and even gratitude. “He said he was going to protect core services,” says City Commissioner Nick Fish. “He’s done so. It evidences a spirit of collaboration.” Hales hasn’t just kept his promise to fill the city’s budget shortfall. He’s also used the decisions of what to keep and what to cut as a way to settle scores from last fall’s election, send notice to bureaus he plans to shake up, and build a political coalition. Let’s take a look at who Hales likes:

WINNER: The safety net

Housing is the only city bureau to get every dollar it asked Hales for—including the 90-bed men’s shelter at the Clark Center. That generosity shows the mayor is paying proper deference to the city’s powerful social-services lobby.

LOSER: Firefighters

Portland Fire & Rescue is a longtime adversary for Hales. He not only slashed its staffing (by 41.8 positions) but attacked its traditions, reducing the size of rigs responding to calls instead of closing fire stations. The move is a loud repudiation of his predecessors—Mayor Sam Adams and Commissioner Randy Leonard—who had protected the bureau.

WINNER: Neighborhood associations Hales has made neighborhood livability a top priority, keeping graffiti-removal, tree-planting programs and Sunday Parkways. By moving noise control into the Office of Neighborhood Involvement, he

enhances that bureau’s profile—a win for Commissioner Amanda Fritz as well as Portland’s always-restless NIMBYs.

LOSER: Urban renewal areas

The Portland Development Commission’s tax base is quickly expiring, so Hales might have backfilled a bit of it. Instead, he sent a sharp signal to the PDC that its salad days are over—cutting the bureau’s budget by 18 percent and shutting down Main Street programs for the Alberta and Hillsdale neighborhoods.

WINNER: Seniors and schools

No retail politician ever went wrong by appealing to the elderly (who vote) or funding children (whom everybody votes for). Hales kept senior-center money flowing, preserved school police, and funded four SUN schools.

LOSER: Litigious water ratepayers

The mayor weakened the case of ratepayers suing the city—he scaled back proposed water-rate increases 14.8 percent to 3.6 percent. One of the ways Hales did that: axing the 24-hour security guards at the city’s reservoirs, a legacy of Leonard that costs the city $1.5 million a year. AARON MESH.

June plans to relocate the paddock. The nonprofit group wrote the City Council last December to protest the PDC’s plans to move the horses to a former firehouse at Northwest 3rd Avenue and Glisan Street. That site, the letter says, is too small and surrounded by train tracks, which would create round-the-clock noise and vibration. “We appreciate PDC’s desire to fast-track development of the Centennial Mills site,” reads the letter, signed by president E. Kimbark MacColl Jr. of the Friends of the Mounted Patrol. “However, we believe making a rushed relocation decision, without an adequate community process and an opportunity for input from [Mounted Patrol Unit] stakeholders, is unwise.” The site preferred by the organization, under the west side of the Broadway Bridge, could cost as much as $4 million. The police and city hope to cut that to $2.5 million. The PDC has put relocating its equine tenants on a fast track, with a memorandum of understanding signed with Harsch in March agreeing the city would “physically relocate the [Mounted Patrol Unit] as soon as possible.” Harsch hopes to start construction in early 2015. PDC officials wouldn’t comment on potential relocation sites if the patrol survives budget cuts, calling talks to move the horses too preliminary. “It’s not appropriate to rank them or say that this is the location,” says Bruce Wood, the PDC’s senior program coordinator for Centennial Mills. “It’s really up to what resources we have available, and what will fit the needs of the mounted patrol.” Jordan Schnitzer, CEO of Harsch Investment Properties, says the horse arena and stables take up nearly half the site, making it impossible for them to remain. “Every time they talk about cutting back on the mounted patrol, I feel a twang inside,” Schnitzer says. “It’s just a friendlier kind of sense of community policing downtown.” Back at the paddock, two other horses, Red and Diesel, stand ear to ear, lightly biting one another in play. They’re best friends, Sgt. Schell says. He says he isn’t ready to give up hope for the unit—it’s been proposed for elimination repeatedly since 1985. Schell also hopes the horses can stay near their current spot, where they’re visible to the public and can walk to work in Old Town and downtown. “No one has ever pet my police car—they’ve vandalized it,” Schell says. “It’s all about making the police accessible to the public.” Willamette Week MAY 8, 2013 wweek.com

PAID ADVERTISEMENT

CHILDREN NEED SAFE and HEALTHY DRINKING WATER ………and the FREEDOM OF CHOICE

Moms for Safe Water.org does not support toxic and carcinogenic fluoridation chemicals such as arsenic and lead in our drinking water. We support public health programs offering dental hygiene instruction and good nutritional education for children of all ages providing skills that last a lifetime. We do not want toxic chemicals that cause harm to our children during their growing and formative years. Fluoridation chemicals added to drinking water are not “safe for everybody” and originate from the fertilizer, aluminum, and nuclear industries. 1 Fluoride chemical analysis is not performed by EPA or FDA. Theses chemical mixtures are industrial grade not the pharmaceutical grade we find in toothpaste. Toxic heavy metals such as arsenic, cadmium, chromium, copper, lead, mercury, etc., are acknowledged in the National Sanitary Foundation drinking water fluoride chemical summary. 2Heavy metals such as these are hormone disruptors common in the chemical mixture used for fluoridating drinking water. The cumulative negative effect on children’s health from heavy metals exposure can be profound. The human endocrine system is responsible for controlling and coordinating many body functions including the production of hormones. Our endocrine system includes the pancreas, pituitary, thyroid, adrenal, and male and female reproductive glands. Endocrine disruptors interfere with the production, release, transport, metabolism, or elimination of the body’s natural hormones. These chemicals being added for fluoridation can mimic naturally occurring hormones, potentially causing overproduction or underproduction of hormones. They may also interfere or block the way natural hormones and their receptors are made or controlled.34 •••••• The world is awakening to the negative public health impacts of heavy metals. In September of 2004 the City of Portland adopted the Precautionary Principle as its Toxic Reduction Strategy; “Preventing pollution has long been common practice at the City of Portland and Multnomah County. Even here in our own community, low income and underserved populations are disproportionately exposed to toxic substances and pollution, and children bear greater risks of the potential resulting health effects.” Moms for Safe Drinking Water .org agrees. Introducing toxic fluoridation chemicals would only add to the burden of our heavy metal pollution exposure negatively affecting Portland’s public health. Lead, mercury, and arsenic are part of the fluoridation chemicals identified as a concern for the City of Portland. “ Exposures to persistent, bio accumulative and toxic pollutants (PBTs) in water, air and soil have been linked to serious health impacts, including cancer, asthma, birth defects, developmental disabilities, autism, endometriosis, and infertility.”56 •••••• The State of Oregon now recognizes the heavy metal public health crisis with our children. Oregon 2013 House Bill 3162 is sponsored by State Representative Alissa Keny –Guyer and State Senator Elizabeth Steiner- Hayward. Oregon 2013 HB 3162 identifies and recognizes mercury, arsenic and cadmium in the first round of toxic heavy metal chemical entries found to harm children and infants. These are three of the many toxic and carcinogenic heavy metal chemicals found in drinking water fluoridation mixtures. Studies also find these chemicals of concern in the bodies of Oregonians recognizing infants and children are at greatest risk of lasting harm from exposure. Currently, chemical ingredients are not fully disclosed to consumers or health officials. To understand and address rising rates of disease, public health experts need to know where and how people are exposed to toxic chemicals. The Toxics Disclosure for Healthy Kids Act establishes an efficient system to identify high priority chemicals when they exist in children’s products sold in Oregon. A product is something produced by human or a mechanical effort or by a natural process, such as drinking water. •••••• The world governments are acknowledging what Moms for Safe Drinking Water.org already knew. Environmental chemicals such as heavy metals found in fluoridation play a profound role in public health. Recently the United Nations Environmental Health Program and the World Health Organization released a new study “State of the Science of Endocrine Disrupting Chemicals 2012”. •••••• The solutions to keep children safe and healthy are simple, cost effective, and retain the freedom of choice in the community. We do not want our children exposed to toxic and carcinogenic chemicals that can cross the blood-brain barrier, cross the placenta, and systemically accumulate these heavy metals over time. We want our children to have safe and healthy drinking water. The following governmental organizations do not support hormone disrupting heavy metals in our environment and drinking water; • Portland Water Bureau- Lead Hazard Reduction Program http://www.portlandoregon.gov/water/29755 • City of Portland 2006 Toxics Reduction Strategy- Precautionary Principle http://www.sehn.org/pdf/portland.pdf • State of Oregon 2013 HB 3162 Toxics Disclosure for Healthy Kids Act http://www.leg.state.or.us/13reg/measpdf/hb3100.dir/hb3162.intro.pdf • CDC, EPA - “no safe level of Lead”, “no safe level of Mercury”, etc. http://yosemite.epa.gov/ochp/ochpweb.nsf/content/fastfacts.htm#lead http://www.boxer.senate.gov/en/press/releases/120503.cfm United Nations, World Health OrganizationState of the Science Endocrine Disrupting Chemicals-2012 http://unep.org/pdf/9789241505031_eng.pdf There is no safe level of fluoridation chemicals for children. There is no absolute method available to remove these fluoride chemicals from your drinking water. The only way to have safe drinking water is to not add them in the first place.

Moms for Safe Drinking Water.org momsforsafedrinkingwater.org@gmail.com Moms for Safe Drinking Water.org 2013 ©

Cargill Corporation-fertilizer , Alcoa Corporation – aluminum, Pelindaba Nuclear and Chemical Corporation- nuclear waste National Sanitation Foundation Chemical Summary pg. 7 2012 3 Dartmouth Toxic Metals-Endocrine Disruptors 2012 4 National Library of Medicine-Endocrine Disruptors 2012 5 City of Portland-Toxic Reduction Strategy- Precautionary Principle Executive Summary 2006 6 Biological Trace Element Research March 2013-Autistic Children Have More Toxic Metals in Blood 1 2

Willamette Week MAY 8, 2013 wweek.com

L KRAL H AW K

WHY THE FAR RIGHT AND LEFT HAVE COME TOGETHER TO DEFEAT FLUORIDE. It’s an April evening at Dishman Community Center in Northeast Portland, and people are pissed. The occasion is a public debate between Healthy Kids, Healthy Portland, the local campaign that’s backing the Portland ballot measure to fluoridate our water, and its fluoride-hating counterpart, Clean Water Portland. Local public-policy debates aren’t usually hot tickets, but this one is so packed that organizers had to call the fire marshal for permission to admit a beyond-capacity crowd. Every seat is taken, and people are sitting on the gym floor. Sentiment in the room is running heavily against fluoride. While debate organizers warn against audience outbursts (“you won’t be asked to leave, you will be removed”), on several occasions dentist and fluoride backer Mike Plunkett is hissed like a silent-movie villain. CONT. on page 14 Willamette Week MAY 8, 2013 wweek.com

CONT. KURT ARMSTRONG

FLUORIDE

FIGHTING CHEMICALS: Anti-fluoridation protestors (above) at the east end of the Burnside Bridge; a flyer from 1955 (below) that tied fluoridation to other right-wing fears of a Communist plot against the United States.

At the end of Clean Water Portland’s closing statement, an overwhelming majority of those assembled erupt in applause (no such luck for Healthy Kids, Healthy Portland’s final speech), and a ragged chant of “No fluoride!” bubbles up from the back of the hall. Fluoride supporters may have the federal Centers for Disease Control and Prevention and the vast majority of the medical profession on their side, but— tonight at least—the advantage in naked passion lies with the opposition. As the crowd files out, it’s hard not to be struck by the variety of the opponents— gutter punks, yoga moms, septuagenarian military veterans. The mix reflects Clean Water Portland’s diverse support base: The political action committee’s roster includes the Pacific Green Party, the Oregon Progressive Party, the Organic Consumers Association, the Oregon Association of Acupuncture and Oriental Medicine, and libertarian groups like Cascade Policy Institute. It’s as if an Occupy protest, a talk on artisanal cheesemaking, and a Tea Party rally were all accidentally booked at the same hotel ballroom. It’s hard to imagine such a diverse group all voting the same way on anything. But fluoridation has always seemed to grab people in a way unlike any other issue. Since last September, when the issue lurched back into Portland’s consciousness following a naive attempt to enact the practice through a City Council vote, opponents have assailed fluoridation (and its supporters) with chest-poking intensity. Facebook battles are raging, lawn signs are being ripped down, and fluoride backers’ phone numbers are being posted on the Internet. 14

Willamette Week MAY 8, 2013 wweek.com

What’s even more remarkable than the primal revulsion that opponents feel toward fluoridation, though, is the unlikely coalition of political forces that have allied to battle it here in Portland. Fluoride has had its impassioned enemies for decades. In cities across America, whenever fluoride has reared its cavityfree head, vocal detractors have emerged to oppose it. For decades, that opposition came from the ideological right: anti-communism, individual freedom, the Tea Party. As recently as 2011, a fluoride battle in Florida was led by what the Tampa Bay Times called “anti-fluoride zealots and Tea Party conservatives.” That won’t work here. So what has emerged instead is an unlikely movement where traditionally leftist constituencies—peace punks, alternative-health practitioners and organic-produce enthusiasts—take the lead, backed by the political support of local conservative groups and money from national hardright donors. Politics, like tequila, makes strange bedfellows. In case you’ve spent the past year or so vacationing on Neptune, here’s some background: On Sept. 12, the Portland City Council voted unanimously to build a $5 million plant near Dodge Park that would add fluoride to what is currently the nation’s largest unfluoridated city water supply. If the plan proceeds, fluoridation would begin in 2015, at a cost to ratepayers of about 25 cents a month per household. Just 22 days after the vote, the Wile E. Coyote of fluoridation was beaned by its first anvil in the form of 20,000 signatures (opponents would eventually gather more than 33,000) that took the matter out of the City Council’s hands and put it on the May 2014 ballot. The waters were further fouled when the council chose to move that vote to a May 21, 2013, special election. Fluoride opponents groused that the fast-track vote was an effort to sabotage democracy, while backers cheered that the new election date would eliminate a year of needless uncertainty. Whoever wins, the vote on Measure 26-151 will probably be close. The last publicly available scientific poll was conducted by The Oregonian last August, before the initial council vote. At that time, fluoridation squeaked out a 50.47 percent to 49.53 percent victory. An unscientific readers poll on the Portland Business Journal’s website showed a tie. A source close to one of the campaigns says recent polls show that voters are slightly in favor of fluoride— but the numbers are very close. Mark Wiener, a Portland political consultant working with pro-fluoride Healthy Kids, Healthy Portland, won’t disclose the results of that group’s internal polling, but one gets the impression that every vote counts. “There are people who look at [fluoridation] as simple common sense,” Wiener says, “and those people need to remember to mail in their ballots.” To describe fluoride opposition as historically conservative, one might imagine the

sort of genteel conservatism where New York Times columnist David Brooks and former Republican presidential candidate Jon Huntsman sit by the fire with snifters of brandy, toasting the memory of William F. Buckley. Dream on. For decades, the opposition to fluoride was the province of blood-andguts, hard-right forces, as exemplified by the John Birch Society, the group that led the U.S. anti-fluoride charge through the 1950s and ’60s. The John Birch Society was founded in 1958 by, among others, Fred C. Koch, patriarch of the petrochemical empire now helmed by his sons David and Charles. (These days, the two sons are generally lumped together by their many progressive foes as “the Koch brothers.”) It may be an oversimplification to call the John Birch Society a cross between the Tea Party and the Ku Klux Klan, but as oversimplifications go, it’s a pretty useful one. John Birchers called liberals “secret communist traitors,” believed that the civil rights movement was a communist plot, and called Republican President (and WWII hero) Dwight Eisenhower a “dedicated, conscious agent of the communist conspiracy.”

FLUORIDE

KURT ARMSTRONG

CONT.

CONT. on page 16

SIGNS OF OPPOSITION: Anti-fluoridation activists dislike modern-day opposition to past campaigns fueled by right-wing groups. Of today’s opponents, says anti-fluoridation volunteer Kristi Parson, “It’s a whole different generation now.”

FACT FROM FICTION Many opponents of fluoridation acknowledge there’s a consensus in the scientific establishment that fluoride is safe. What they dispute is whether that consensus is correct. I looked at some of the claims about fluoride promoted in Clean Water Portland’s literature or by its spokespeople. Here’s what I found. Claim: A National Academy of Sciences study saw a possible link between fluoride in drinking water and severe skeletal fluorosis, osteosarcoma and thyroid dysfunctions. Fluoride occurs naturally in much of the world’s groundwater. Some water, like Portland’s, contains no fluoride at all. Other sources contain 10, 20 or even 30 times more fluoride than the 0.7 parts per million proposed for our city. At these high levels, fluoride can cause problems. Public health officials need to know how much naturally occurring fluoride can be in water before it’s not safe to drink, and they’ve done studies to find out. Scary-sounding studies like the aforementioned one are talking about the phenomenon of naturally occurring high concentrations of fluoride, not the low concentrations seen in artificially fluoridated water. The most common side effect of fluoridated water is mild dental fluorosis, a mottling of tooth enamel. According to the Centers for Disease Control and Prevention, children under age 8 are at risk of moderate or severe fluorosis only if their water has more than 2 ppm of fluoride, nearly three times Portland’s proposed level.

Claim: A Harvard University study of Chinese children found high fluoride was associated with lower IQ scores. Like the study above, this paper dealt with populations exposed to water naturally fluoridated to ultrahigh levels. In this case, the levels ranged from 2.5 to 26 times the level proposed for Portland. But let’s be fair: This high-fluoride group did have lower IQ scores than the low-fluoride group. How much lower? One whole IQ point. Still, any loss of IQ is too much, especially for my brother-in-law. But this result was only found in children receiving massive doses of fluoride, not the Department of Health and Human Servicesapproved levels proposed for Portland. Speaking of which, just out of curiosity, those smarter kids—you know, the control group that didn’t lose an IQ point, like the high-fluoride group did—how much fluoride was in their water? The answer is an average of 0.78 ppm, just a bit more than the 0.70 ppm proposed for the Rose City. I’ll say it again: The control group—the one that didn’t have the problems highlighted in the study— was receiving a higher level of fluoride than that proposed for Portland. The Harvard study’s authors further found that the reduced IQ effect caused by high fluoride reversed itself by adulthood: “The intellectual ability, and even life expectancy, of people in the highfluoride endemic region appeared to be higher than the non-endemic region, indicating that the effect of fluoride poisoning on intellectual ability is negligible.” Claim: There has never been a placebocontrolled, double-blind study—the gold standard of scientific research—on community water fluoridation.

The previous two claims could be chalked up to honest mistakes, but this one seems willfully misleading. There have been multiple studies on the safety and efficacy of fluoride, but it is technically correct to say that there’s never been a placebo-controlled, double-blind study on community water fluoridation. Here’s why: Such a study would involve taking two separate cities, giving one of them fluoride and withholding it from the other, without telling anyone involved which city was getting it and which one wasn’t. Putting aside the political difficulty of such a plan—if you think fluoride opponents are cranky now, imagine how they’d feel about not only risking fluoridation but being kept in the dark about it—it’s not a practical experiment. Claim: The Portland Water Bureau plans to use fluorosilicic acid, a byproduct of the phosphate fertilizer industry, for fluoridation. This product is contaminated with lead and arsenic, which will in turn contaminate our water. Fluoridation backers prefer the term “co-product,” but this claim about the source of the fluoridation agent is substantially correct—the chemical process employed at phosphate facilities produces several products, one of which is used for fertilizer and another of which is used for fluoridation. However, according to Water Bureau spokesman Tim Hall, contaminant levels in all water additives nationwide are monitored by the National Sanitation Foundation. Hall, quoting the NSF, wrote: “NSF test results continue to show that fluoride ‘does not add measurable amounts of arsenic, lead, other heavy metals or radionuclide contamination to drinking water.’” MARTY SMITH.

Willamette Week MAY 8, 2013 wweek.com

CONT. HART NOECKER

FLUORIDE

Fluoridation, too, was denounced by the John Birchers as a communist plot to weaken America, possibly through mind control. By 1964, fluoridation paranoia was so closely associated with the red-baiting right that director Stanley Kubrick used it as a running gag in his film Dr. Strangelove.

POLITICAL TONES: Dandy Warhols keyboardist Zia McCabe (center) says she was always liberal but not truly engaged in politics until the fluoridation fight hit Portland. “I didn’t make any real-time investments in a political movement until now,” she says.

a white man”—led an anti-fluoridation march through Last Thursday festivities April 25. At a recent event at Southeast Portland’s Goodfoot bar, music scenesters and young environmentalists made their case

EMOTIONS RUNNING HIGH With fluoride passions at a fever pitch and the results of the vote too close to call, some fluoride opponents seem to be resorting to questionable methods: Healthy Kids, Healthy Portland has received multiple reports of pro-fluoride signs being stolen or defaced. In another incident, the email address and work phone number of Healthy Kids, Healthy Portland staffer Jennifer Snook were posted on a fluoridation opponent’s Facebook page with the comment, “I would never suggest that each and every one of my friends send her some educational information about fluoride or call just to chat, nor would I ever suggest that anyone complain to her supervisor.” The supervisor’s name and work email address were included in the comment. Contacted for comment about these tactics, Clean Water Portland executive director Kim Kaminsky suggests there’s plenty of blame to go around. “We have people calling us every day about their ‘No Fluoride’ signs being stolen,” she says. With regard to the posting of personal information, she says, “We obviously can’t control idiots on the Internet regardless of what side of the fluoridation debate they’re on.” Clean Water Portland campaign manager Kristen Robison says pro-fluoride commenters haven’t been all angels either. “[One] apparently said that he hoped some of the ‘no fluoride’ commenters were hit by drunk drivers.” It’s nice to see everyone getting along. MARTY SMITH.

KARIN HANSEN

It’s hard to get much further from Dr. Strangelove’s war room than Southeast Hawthorne Boulevard, where vaguely hippie-looking cool kids wave anti-fluoride signs as passing Priuses honk approvingly, and to understand how far since the John Birch Society days the anti-fluoride movement has come. Anti-fluoride activist Zia McCabe is keyboardist for Portland rock band the Dandy Warhols. “I’m sure I land somewhere in the liberal, environmentalist category,” she says. “I was fairly active for animal rights in my early teens, and I was on the news during the ‘No on 9’ campaign [a successful push to defeat a 1992 anti-gay Oregon ballot measure] wearing braces. But I didn’t make any real-time investments in a political movement until now.” McCabe has organized a series of seven anti-fluoride benefit concerts to raise money and awareness, and is encouraging other liberally inclined local musicians to take up the cause. Perennial Burning Man favorite MarchFourth Marching Band—whose song “Skin Is Thin” includes an apology to the human race “for being

against fluoridation. “It’s an environmental issue,” says Seth Woolley, who was the Pacific Green Party’s candidate for Oregon secretary of state in 2012. “We’re part of the wider environment.” Anti-fluoride volunteer Kristi Parson, a twentysomething pharmacist, thinks the John Birch Society connection is irrelevant. “It’s a whole different generation now,” she says. It’s not clear when the left began to adopt the far right’s opposition to fluoride, but sometime during the past couple of decades, the fear that fluoride was a Jewish plot to “weaken the Aryan race mentally and spiritually,” according to a midcentury newspaper publisher in San Diego, gave way to a liberal concern about putting a chemical in the water supply. As Jim Moore, a political science professor at Pacific University in Forest Grove, puts it, the concern about fluoride comes from the same set of liberal beliefs “that looks suspiciously at immunization. Parents look at immunization and see that the science is unclear and believe that social engineering like this has in the past created big problems.” According to the authors of The Fluoride Wars, a 2009 book, early social studies linked anti-fluoridation attitudes with poverty and ignorance. No more. There are many new constituencies that vote against fluoridation. “Chief among them is the environmental constituency, whose members have exhibited a growing reluctance to have chemical agents of any type added to the environment,” write authors R. Allan Freeze and Jay H. Lehr. “There has also been a growth in the number of people who question...increased government interventions in our lives. It is not just alienated cranks who sometime doubt the wisdom of government-recommended programs.” Fluoridation may have found new, young

Willamette Week MAY 8, 2013 wweek.com

foes on the left, but its old enemies haven’t gone away either. Lifelong Portlander Stu Tyson has voted against fluoridation “three or four times” over the years. (Portlanders voted down fluoride in 1956 and 1962. In 1978, voters approved fluoridation but overturned it two years later.) As to the considerably more left-leaning fluoride opponents just down Hawthorne, Tyson shrugs. “I guess it’s something we can all agree on,” he says. While most of the votes against fluoride in this race will seemingly come from the left, most of the money will come from the right. As reported by WW, Clean Water Portland got its largest contribution, $43,000, from James Garvey, founder of the limited-government, free-market Kansas Taxpayers Network. He’s also a financial supporter, through his family trust, of the Koch brothers’ Americans for Prosperity group. (The largest campaign contribution to the pro-fluoride campaign is $215,000 from the Northwest Health Foundation.) Another $9,000 to the anti-fluoridation campaign came from Abundant Living, an organization founded by Utah businessman Ken Howard to promote his political views. The group’s website divides its time between bashing fluoridation and recoiling from conservatives’ triple-headed nightmare of Obamacare, taxation and social welfare spending. It’s a lot to ask of a cash-strapped grassroots organization to turn down money from any source. “We’re just happy to have the support,” says Clean Water Portland spokeswoman and physical therapist Kellie Barnes, adding that she doesn’t share these supporters’ political views, or even know what those views are. She says the majority of contributors are local, small-amount donors. Fluoride proponents characterize this kumbaya moment a little differently. “[It’s] where the crazy right meets the crazy left,” says Wiener, the political consultant, “and they link arms and march into battle.”

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APRIL 23 –JUNE 16

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CHEERS TO

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Alberta Rose Theatre Wednesday, May 8th

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Thursday, May 9th

EILEN JEWELL Friday, May 10th

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+ ADAM SWEENEY Saturday, May 11th LIVE RADIO SHOW GUESTS

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Sunday, May 12th RESONANCE ENSEMBLE PRESENTS

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UNCLE BONSAI BOOK / CD RELEASE

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DRANK: Portland’s best cider. MUSIC: Wampire Weekend. BOOKS: Chasing Alaska through an uncle’s journal. MOVIES: The Great Gatsby via Baz Luhrmann.

23 25 38 39

SCOOP C H R I S R YA N P H O T O . C O M

GOSSIP BORNE CEASELESSLY INTO THE FUTURE.

REO’S RIBS

REO-PENING: Controversy-plagued barbecue eatery Reo’s Ribs has reopened in a building on outer Southeast Powell Boulevard. Owned by Reo Varnado, Snoop Lion’s uncle, Reo’s originally opened as a cart in Beaverton before getting a glowing write-up in Gourmet magazine and moving into a restaurant space on Southwest Macadam Avenue. There, neighbors complained about the smoke from Reo’s barbecue rig, which they said fogged the road, setting off fire alarms and making their patios unusable. Scoop stumbled upon a new Reo’s last weekend at 11140 SE Powell Blvd. The restaurant, its interior still under construction, uses the outdoor smoker and brings food to tile-topped tables scavenged from a Mexican restaurant. (Scoop also verified the existence of a pulled-pork sandwich.) A cashier said the shop has plans to serve breakfast and have a full bar. “We’re gonna have a grand opening when we’re a little more grand,” she said. OPEN AND SHUT: A battle of New-York-dubbed pizzas is apparently shaping up on the west side. Salem-based Straight From New York Pizza is moving into the space of longtime pizza-slinger Pizza Oasis, six blocks from Escape From New York Pizza, and expects to be open in June. Pizza Oasis had been making pies in that space since 1986. >> Meanwhile, the taco-makers from Taco the Town have opened a new food cart, called Guero (slang for “white boy”), in the cart pod on Southeast 28th Avenue and Ankeny Street. WW called Taco the Town its favorite bike-delivered food in our April 10 bike issue. The cart plans to resume delivery, eventually including neighboring carts Grilled Cheese Grill and Wolf & Bear’s as part of its delivery service. CANNED: A tipster noticed that the Pilsner from Portland-founded, Seattle-brewed Churchkey Can Co. had disappeared from store shelves a few months ago. The beer got international attention for its old-school steel flat-top cans without pulltabs, but was plagued by quality problems: WW called it “lousy beer in a stupid package—just like dad used to drink” (“Drank,” May 30, 2012). Turns out we weren’t the only ones unhappy with the product. After customer-tweeted photos of sediment-filled skunky brew, the company offered refunds and pulled the product until it can figure things out. “The beer wasn’t staying fresh for the period of time that we wanted,” says Churchkey co-owner Justin Hawkins. “We jury-rigged a machine that was meant for aluminum [cans].” The company hopes to have its beer back on shelves by July, using a new packaging method but keeping the design. “It’s trial and error every day,” Hawkins says. CORRECTION: Last week’s story “Degender Bender” incorrectly stated that Ursula K. Le Guin’s novel The Left Hand of Darkness was being adapted for the stage for the first time. A Chicago theater company adapted the work 17 years ago. 20

Willamette Week MAY 8, 2013 wweek.com

HEADOUT

WILLAMETTE WEEK

WHAT TO DO THIS WEEK IN ARTS & CULTURE

THURSDAY MAY 9 SANDY BOULEVARD TOUR [ARCHITECTURE] Take a stroll down everyone’s favorite slanted thoroughfare, spotting brutalist and art-deco buildings. Meeting location provided to ticket purchasers. 6 pm. $10-$15. Register online at visitahc.org.

FRIDAY MAY 10 THE BOYS IN THE BAND [THEATER] As part of its project to stage two of theater’s earliest depictions of homosexuality, Defunkt presents Mart Crowley’s acidtongued comedy about a group of gay men in 1968. The play is set in a New York apartment, and this show will take place in a Portland home, with audience members planted throughout the space. Private home, 3125 E Burnside St., 481-2960. 7:30 pm. $15-$20.

SATURDAY MAY 11

UNDERDEVELOPED You will have made a terrible mistake if you go to an Arrested Development party without knowing these references. After years of rumors and speculation, once-dead Fox sitcom Arrested Development returns via Netflix later this month. To mark the occasion, Holocene is hosting an Arrested Development party with live music, banana drinks and a Bluth family costume party. In Portland, where so many conversations are peppered with references to the show, this could well be the social event of the season. The problem: Arrested Development was known for building up inside jokes through its three seasons. And if you haven’t seen the series, it’s quite possible you’ll embarrass yourself like Gob attempting a magic trick. This brief glossary may help you fake your way through it. KAITIE TODD.

Analrapist:

Her?:

Never-nudes:

Tobias Fünke lists this as his profession. Pronounced “uh-NAL-ruh-pist,” it means he’s a combination analyst and therapist.

Often used to refer to George Michael’s forgettable girlfriend, Ann Veal (question mark always included and necessary).

Someone who is never naked. Never-nudes are identified by their ever-present pair of cut-off jean shorts...even while in the shower.

Annyong:

“I’ve made a huge mistake...”:

Stair car:

The adopted Korean son of Lucille and George Sr., Annyong is sent to military school and later revealed to be a mole, spying on the Bluth family by hiding in their walls.

The Chicken Dance: Most every character in the show uses a different, memorable version of the Chicken Dance to mock one another.

The Cornballer:

A device beloved by the Bluth family that deep-fries cornballs. The Cornballer was made illegal after it caused serious burns.

Franklin: Spewing offensive obscenities and racially stereotyped phrases, Franklin is Gob’s African-American puppet who is often treated as a real person.

A recurring phrase, most often used by Gob when he’s made a huge mistake.

Les Cousins Dangereux: Dangerous Cousins, a French film that George Michael enjoys after he and Maeby discover it’s about two cousins who secretly love each other.

Loose seal:

Not to be confused with Lucille. This escaped seal with a yellow bow tie chomped off Buster’s hand.

“Marry me!” A phrase Maeby Fünke uses to deflect an unwanted conversation.

Formerly used to enter the Bluth family jet, which was sold when they went broke, this truck with a staircase on top becomes the Bluths’ only transportation, and is used to climb trees, escape from prison and knock down a homecoming banner.

“That’s what you get when...”: A phrase used after trying to teach someone a lesson, including but not limited to: “That’s what you get when you...don’t leave a note/try to teach George Michael a lesson.”

Winking: Done to emphasize a point, or to encourage you to drink more alcohol.

GO: The Arrested Development party is at Holocene, 1001 SE Morrison St., 239-7639, on Wednesday, May 8. 8:30 pm. $5 advance, $6 day of show. 21+.

RETURN TO NOIRVILLE [MOVIES] For its second annual tribute to film noir, Cinema 21 brings back Bogie but also scoots into the ’70s and ’80s with a fine trio of neonoirs, including The Long Goodbye with Elliott Gould as Philip Marlowe, and the Coen Brothers’ Blood Simple. Cinema 21, 616 NW 21st Ave., 223-4515. Various times, see cinema21.com for schedule. $6 for one film, passes for $40. OYSTERFEST [FOOD] Yeah, yeah, we know you’ve had farm-to-table shoved down your throat since the heady days of premillennium tension. But seriously: oyster farm to table. Oysters from five farms, plus booze. The Parish, 231 NW 11th Ave., 227-2421. 2-5 pm. $1 tasting tokens. WHISKEYFEST [WHISKEY] You know the names: Hayden, Dickel, Booker, Glenmorangie, Cragganmore. Now, hang out with all of them at once. The first Whiskeyfest NW also includes a mixology competition and a Prohibition-themed cigar lounge. Portland Pearl District Lot 15, Northwest 11th Avenue and Northrup Street, whiskeyfestnw.com. 11 am-10 pm. $25. 21+.

SUNDAY MAY 12 MARC MARON [BOOKS] Comedian Marc Maron has interviewed every actor, musician or author with anything remotely interesting to say while hosting his podcast WTF. He’ll read from his memoir Attempting Normal. Powell’s City of Books, 1005 W Burnside St., 228-4651. 7:30 pm. Free.

TUESDAY MAY 14 JIM JAMES [MUSIC] On his first full-length solo album, My Morning Jacket’s singerguitarist puts down the Flying V for a set of spiritual, transcendent soul. It’s stirring, weird and awesome. Crystal Ballroom, 1332 W Burnside St., 225-0047. 8 pm. $25 advance, $29 day of show. All ages. Willamette Week MAY 8, 2013 wweek.com

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

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A guided walking tour of restaurants on East Burnside. The list of stops is a secret, but the host, Dishcrawl, promises a mix of old and new. Chefs will introduce themselves and the restaurant, as well as the food they will be serving. Multiple locations, dishcrawl.com/edibleburnside. 7 pm. $45.

SATURDAY, MAY 11 Raw Vegan Brunch-Fest

Learn how to create a full vegan, gluten- and sugar-free breakfast spread in this class taught by Betty Rawker. Participants will make and eat a green basil smoothie, almond milk, blueberry pancakes, a “veggie” scramble and more. Reservations required. KitchenCru, 337 NW Broadway, 2261900. 10 am-noon. $40.

WhiskeyFest NW

Finally decide if you prefer Basil Hayden’s or Booker’s without buying the bottles. More than 50 local and national distilleries will sample their wares at the first ever WhiskeyFest Northwest. The festival will also have music from acts like Bronze Radio Return and Sassparilla, a mixology competition and a Prohibition-themed cigar lounge. Pearl District Lot 15, Northwest 11th Avenue and Northrup Street. 11 am-10 pm. $25. 21+.

OysterFest 2013

Lavish Buffets Traditional Indian Cuisine Delight in All-You-Can-Eat or A la Carte Exotic Dishes of Lamb, Chicken, Goat

Gluten-Free, Vegetarian, Vegan options

EaT: An Oyster Bar and the Parish are teaming up to host OysterFest 2013, an afternoon of shucking oysters paired with a selection of wine, beer and liquor. Five Northwest oyster farmers will be there to show off their bounty and answer questions. The Parish, 231 NW 11th Ave., 227-2421. 2 pm.

SUNDAY, MAY 12 Concoct Your Own Dessert Buffet and Mother’s Day Tea Create your own dessert for your mom under the guidance of Pix Patisserie’s chefs with a buffet of pastry ingredients. Later, the patisserie will serve Townshend’s Tea and 15 bite-sized treats for you and Mom. Reservations required. Pix Patisserie, 2225 E Burnside St., 232-4407. 2-4 pm. $30 for tea, $8 per dessert concoction.

Mother’s Day High Tea

Namaste Parkrose since 2009

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6300 NE 117th Ave 360-891-5857 NamasteIndianCuisine.com 22

REVIEW N ATA L I E B E H R I N G . C O M

Karaoke 9pm nightly Hydro Pong Saturday night

Willamette Week MAY 8, 2013 wweek.com

An afternoon tea at the Tea Zone and Camellia Lounge pairs a pot of tea with assorted pastries of your (or your mom’s) choice. The menu includes fresh seasonal strawberries, rosemary chicken skewers, chocolate Frangelico hazelnut mousse and an orange- and white-chocolate scone. Reservations required. Tea Zone and Camellia Lounge, 510 NW 11th Ave., 221-2130. 11:30 am-4 pm. $21.95.

The Bruery Mother’s Day Brunch at Wildwood

Wildwood hosts a special Mother’s Day dinner, teaming local sous chef Paul Kasten with California’s Bruery. The dinner features eight limitedrelease or vintage beers paired with menu items like grilled halibut, seared duck breast and roasted rib-eye filet. Kasten has also created his own surprise ice cream flavor for the occasion. Wildwood, 1221 NW 21st Ave., 248-9663. 5:30 pm. $85.

I’M COMING HOME: Via Chicago’s four-cheese pizza.

VIA CHICAGO It’s been seven years since I lived in Chicago, where I attended college, drinking too much Midwestern beer and cramming as much of the city’s famous stuffed pizza into my maw as my student budget allowed. I haven’t been back since, but the memory of buttery crust and stringy mozzarella hasn’t faded. So when Via Chicago, Portland’s only attempt at the Windy City’s signature pie, moved from a cart at the Portland Farmers Market to a high-ceilinged space on Northeast Alberta Street, I figured this was the way to get my fix. To fully remind me just how good these slices are, WW shipped in a sausage pizza and a spinach pizza straight from Chicago’s best pizzeria, Lou Malnati’s. Malnati’s reminded me of the fundamentals: Chicago pizza isn’t just a gargantuan deep-dish pie. It’s a special thing, its crust packed with more butter than I care to know before being stuffed with cheese and toppings, then finished with a layer of oregano-accented sauce. Order this: “Meaty” pizza There is no such thing as too much ($15.95 for an 8-inch pie that serves one or two). cheese; you should be able to hold a slice Best deal: Any slice of pie a foot away from your face and still ($3.50-$4) makes a have a string of melty mozzarella conpretty substantial lunch. necting it to your mouth. For the timid, I’ll pass: Farro and roasted veggie salad, forks are recommended. But even after vegan cheese pizza. being flown 2,000 miles and reheated in a home oven, Malnati’s far outclassed Via Chicago. Compared to other heavy hitters in Portland’s pizza scene, there isn’t much to recommend the place. Since its February opening, Via Chicago has had consistent timing problems, forgotten ingredients, sodden sandwiches and a doughy crust that’s nothing like the real thing. Two separate takeout orders, both promised in 35 minutes, took an hour, leaving us hovering near the counters, staring hungrily at those who already had their slices. The first time we picked up our order, a prosciutto and arugula pizza came without the promised arugula (which no self-respecting blue-collar Midwest joint would permit), and a farro and roasted greens salad was so limp and bland it went straight to the backyard chickens. In-house dining was better, as we tucked into a warm goat cheese and tomato sauce appetizer that helped bide the time waiting for our order of the “Meaty,” featuring hot sausage, pepperoni and giardiniera peppers, which was the best of Via Chicago’s signature pizzas. Chicago’s Goose Island wheat ale makes a welcome appearance on tap, but it can’t cover for the crust. Via Chicago seems to skimp on expensive butter in favor of more flour, making a pie best left on the plate. The meats and veggies are solid—we loved being able to make a spinach and roasted garlic dish—and the ample application of cheese (less than what you’ll get in the Second City) doesn’t make the pizza greasy. But without a decent anchor of a good crust, Via Chicago is just mediocre. A homemade cannoli lacked anything special, and the Italian beef sandwich—another Midwestern specialty—was soggy at the bottom and served with a greasy au jus that made it more sodden. With slices starting at $3.50 and 12-inch pizzas costing a minimum of $20.95, it’s really more worth it to bank that money in a Chicago vacation fund. Or just order Malnati’s—$58.99 for two small pies, including shipping. ANDREA DAMEWOOD. EAT: Via Chicago, 2013 NE Alberta St., 719-6809, viachicagopizza. com. Lunch and dinner daily. $$.

FOOD & DRINK E.Z. Orchards Hard Cider (62.4)

RONITPHOTO.COM

Notes: “The creamy aftertaste floats back up your throat.” “A saison beer with extra apples in it.” “Mmm, hops. Nice yeast.” “The aftertaste is like a buttered popcorn jellybean.”

French-style cider “enlivened by a gentle sparkle,” according to the makers. Lackluster, in our opinion. Notes: “Tree bark with a bit of cinnamon on it.” “Instead of coring the apple, they cored the apple flavor.” “Tastes dirty...not in a good way.” “Aggressively dry. Not so much taste.”

Finnegan Semi-sweet (75)

The newest blend from Finnegan goes for sweeter and bubblier, but it has commitment issues. Notes: “Dry-ish.” “No opinion.” “Meh.”

Finnegan Semi-dry (62)

Kinda sweet, kinda dry. Kinda unimpressive. The semi-dry is made with Finnegan’s classic mix of apples, but some sweetness stays through the fermentation. Notes: “Los Angeles tap water?” “Dirty, dirty water.” “Cider-soaked dirt.”

Wandering Aengus Oaked Dry (74.6)

Exactly like its name, the Oaked Dry tastes barrel-aged and worthy of the founding fathers, with a mix of fruit from Oregon and New Hampshire. Notes: “Very molasses-y.” “It’s oaky, apple-y and sweet.” “Bold and balanced, but thick as an oak.”

Finnegan Dry Cider (61.6)

Wandering Aengus Wickson Single Varietal (73.8)

PICKIN’ APPLES A MASSIVE BLIND TASTE TEST OF PORTLAND-AREA APPLE CIDERS. BY E N I D SP I TZ

espitz@wweek.com

Like the national census or U2’s popularity, a cider boom recurs about once a decade. We’re nearing the crest of a wave right now, according to Wandering Aengus co-owner James Kohn. “The number of Oregon cideries pretty much tripled in the past five years,” Kohn says. Though it’s still a short list compared with craft breweries, there are almost 20 cideries in Oregon by our count. “I know of another 10 in the planning,” Kohn says, “so our number could double in the next 18 months.” The boom is buoyed by growing masses of gluten-phobes and thirsty tap-trollers who are trying ciders to break up beverage monotony. “People are curious and they want diversity,” Kohn says. Variety abounds. Traditionally, cider was an alternative to contaminated well water on our founding fathers’ agrarian homesteads, but today’s ciders span from bone-dry to syrupy bourbon barrel-aged options and weird, fruity varieties like Hallelujah Hopricot made with apricots and hops. So six WW staffers held a blind tasting of 18 apple-based ciders from the cideries within a one-hour drive of Portland. All were scored from 1 to 100. In the end, a very traditional classic won: Salem’s Anthem Traditionally Fermented Cider. Here are the scores and our tasting notes.

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The cidermaker aimed for a dry, tart and citrusy tipple to pair with goat cheese, but our Wickson tasted earthier. Notes: “Do apples ever grow on oak trees? ’Cuz this is oaky. Nice balance, though.” “I think Winnie-the-Pooh would dig it.” “Tastes like fir bark and honey.”

Anthem Traditionally Fermented Cider (82.2 points)

The flagship cider from Anthem, Wandering Aengus’ offshoot label, is semi-dry, medium tart and completely classic. Notes: “Nice, round, drinkable.” “The appliest!” “It actually feels like an apple in my mouth.” “Super-balanced—the bees spent a little extra time pollinating these blossoms.”

Bull Run Cider Gravenstein Single Varietal (80.2)

Gravenstein, a tart Danish apple variety, is normally used to make applesauce, but Bull Run makes splendid cider from it. Notes: “A solid standard.” “Balanced and refreshing.” “Actually smells and tastes like an apple.”

Anthem Hops (78.4)

Using Cascade hops, a local variety found in many Oregon craft beers, this cider has 10 International Bittering Units on top of its apple base. It’s like a nicotine patch for beer drinkers abstaining from gluten. Notes: “Sweet and boring. Smooth and inoffensive.” “This is a good beer.” “Hoppy with a sweet aftertaste.”

Reverend Nat’s Hallelujah Hopricot (77.8)

Nat’s best settler, this Belgian-style cider base is finished with hops and apricot juice.

Bull Run Cider Powerhouse Dry (71.8)

Bull Run’s staple, pressed from heirloom and bittersharp apples grown within 100 miles of the cidery. Notes: “It has Warhead-like tartness.” “Tastes green and sharp. Not overly carbonated.” “Just like Granny Smith.” “The tang really gets you at the back of the tongue.”

OutCider Dry (67.2)

The inaugural batch out of North Portland’s newest cidery uses wild yeast and botanicals it says are “culture in a bottle.” Notes: “A Champagne of ciders.” “Definitely a session cider.” “You didn’t accidentally open the chardonnay, did you?” “Sweet, with a little vanilla. I want to keep drinking this.”

Portland Cider Co. Kinda Dry (65.8)

Portland Cider Co. is part of the new wave, started in 2012 by an Oregon native and some Brits. They produce two indecisive ciders. Notes: “I feel like we should be pouring this on pancakes.” “Flowery but bland.” “Sweet but it has body. Anise.” “Concord grape juice.”

Wandering Aengus Wanderlust (64)

Its “warm ginger tone” apparently pairs well with barbecue, pork and cheddar—we found it far too bland. Notes: “Pear-y.” “I taste nothing, and then suddenly it blooms like a flower.” “Tastes just like everything else.” “Watery and too sweet, like simple syrup.”

A Sahara-dry and “lightly oaked” cider from a mix of American, French and English apples. Notes: “Like a banana that’s been bruised totally black.” “So dry it hurts!” “My throat just had a seizure.”

Reverend Nat’s Deliverance Ginger (57.4) White-wine yeasts, fresh ginger juice and cane sugar mix with a dessertapple base. Off-dry, a bit off-putting. Notes: “It has a medicinal smell.” “Whoa there, ginger!” “Tastes like gross cough drops. Weak flavor—not sweet but not fresh either.”

Portland Cider Co. Sorta Sweet (54.2)

All Oregon-grown apples with sugar, yeast and sulfites. And extra sugar? Notes: “Jesus, there it is: sweet” “Would you put maple syrup on an apple? Then why did you?” “Thick, overly syrupy and unappealing.” “Very, very sweet.”

Wandering Aengus Golden Russet (48.2)

At almost 10 percent alcohol, it’s supposed to be heavy on fruit flavorings. But it tasted more copper than golden to us. Notes: “Lame! Suck a penny.” “This is actually offensive.” “Tastes like licking a phone pole.” “Mmmm, copper.”

Bushwhacker Dry (47.2)

This growler came from the keg at Southeast Powell Boulevard’s Bushwhacker Cider Co. There’s not much flavor here, but there is alcohol. Notes: “I want to put it in the microwave and see if it will do anything interesting.” “Like water with an apple wedge in it...no, not that much apple. A lemon wedge, maybe.” “Not even interesting enough to be well water. On the plus side, they’ve invented alcoholic water.”

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Willamette Week MAY 8, 2013 wweek.com

MUSIC

MAY 8–14 PROFILE

= WW Pick. Highly recommended.

A N DY D E SA N T I S

Prices listed are sometimes for advance ticket sales. At-the-door increases and socalled convenience charges may apply. Event lineups are subject to change after WW’s press deadlines. Editor: MATTHEW SINGER. TO BE CONSIDERED FOR LISTINGS, go to wweek.com/ submitevents and follow submission directions. All shows should be submitted two weeks or more in advance of event. Press kits, CDs and especially vinyl can be sent to Music Desk, WW, 2220 NW Quimby St., Portland, OR 97210. Please include show or release date information with all physical mailings. Email: msinger@wweek.com. Fax: 243-1115.

WEDNESDAY, MAY 8 Mbrascatu, Sad Little Men, the Ruffled Feather

[FIRENZE FOLK] Andrea Algieri’s Old World-by-way-of-PDX collective Mbrascatu is a modern throwback to traditional music lore. Since forming the group stateside in 2010, the Calabria-born singer-songwriterguitarist has conjured up sonic postcards direct from the quaint villages of southern Italy. If the band’s name, a tribute to Algieri’s grandfather, or debut album cover, with its photo of his mother at 16, don’t speak to the deep roots present here, the music will. Various strings (viola, banjo, ukulele), lap steel and other lush instrumentation echo Algieri’s expressive vocals, delivered in his native tongue. Rounding out the bill are the pleasant pop flutterings of Vancouver, British Columbia’s Ruffled Feathers and Portland’s Sad Little Men, former sax- and record-label man Dusty York’s percussive foray into indie rock. AMANDA SCHURR. Dante’s, 350 W Burnside St., 226-6630. 9 pm. $5. 21+.

Javelin, Helado Negro, Jamaican Queens

W W P H OTO I L L U S T R AT I O N PHOTO BY CHRISTOPHER MICHEL/CC

[ZANY POP] With 2010’s No Mas, the Brooklyn-based duo of Tom Van Buskirk and George Langford proved itself a top-tier engineer of what could be called “funhouse pop.” The playful sampling, gummy beats, colorful melodic

textures and sharp production make for a hyperactive cocktail of sunny sounds. This year’s Hi Beams certifies Javelin’s zaniness while showcasing the duo’s tremendous comfort level behind the sound board. It’s like the experimental dance-pop equivalent of Discovery Zone. MARK STOCK. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. $12. 21+.

Joe Budden, DJ Fatboy, Cool Nutz, Feez the Germ, J-Key, Aquino

[HIP-HOP] In the early 2000s, Jersey rapper Joe Budden was hip-hop’s next big thing. Radio played his arenarumbling debut single, “Pump It Up,” seemingly every 10 minutes, and his reputation for street lyricism made him a worthy candidate to fit right in alongside the likes of 50 Cent. Things never panned out. Instead, Budden went underground, where he gained a cult following for his introspective Mood Muzik series, which remains his best work to date. Now, Budden is almost better known for his girlfriends than his music—he’s a cast member on one of those cheeseball VH1 relationship shows—but his role as a member of underground Slaughterhouse, featuring Joel Ortiz, Royce da 5’9” and Crooked I, keeps his day-one fans happy. REED JACKSON. Peter’s Room, 8 NW 6th Ave., 219-9929. 8 pm. $17.50. All ages.

TOP FIVE

CONT. on page 26

BY M ATTH EW SI N GER

MANTRAS FROM THE DALAI LAMA & ANTHONY KIEDIS ON FRIENDSHIP

Dalai Lama: “Old friends pass away, new friends appear. It is just like the days. An old day passes, a new day arrives.” Anthony Kiedis: “And my friend’s named Bob. Like the devil knows hell, I know Bob well. Well enough to tell you about his 67 smells.” ON LOVE

Dalai Lama: “Love is the absence of judgment.” Anthony Kiedis: “Let me shine your diamond. The girl got a scratch. Slap that cat. Have mercy.” ON RELIGION

Dalai Lama: “There is no need for temples, no need for complicated philosophies. My brain and my heart are my temples; my philosophy is kindness.” Anthony Kiedis: “Catholic school girls rule!” ON DEATH

Dalai Lama: “If from the beginning your attitude is, ‘Yes, death is part of our lives,’ then it may be easier to face.” Anthony Kiedis: “Now I lay me down to sleep. I pray the funk will make me freak. If I should die before I waked, allow me, Lord, to rock out naked.” ON WISDOM

Dalai Lama: “Sometimes one creates a dynamic impression by saying something, and sometimes one creates as significant an impression by remaining silent.” Anthony Kiedis: “Jam Bob, Jim Bob, slim Bob boogie. To the tune of slime-a Billy, lookin’ like you’re mighty silly. Say what, you got a pumpkin in your pants?” SEE IT: Red Hot Chili Peppers play Memorial Coliseum, 300 N Winning St., as part of the Dalai Lama Environmental Summit, on Saturday, May 11. 3:30 pm. See dalailamaportland2013.net for ticket information.

BLOOD BROS

FANGING OUT: Wampire’s Rocky Tinder (left) and Eric Phipps.

WAMPIRE CRAWLS OUT OF THE BASEMENT. BY M ATTHEW SIN GER

msinger@wweek.com

Six years ago, the last band anyone would’ve pegged to make it big outside of Portland might have been Wampire. First of all, there’s that name. An inside joke goofing on the German pronunciation of “vampire,” it doesn’t exactly scream, “Take us seriously.” Then there’s the group’s inauspicious origin story. Asked if they could provide music for a house party, longtime friends Rocky Tinder and Eric Phipps threw together a set in less than a week, then continued playing those hastily written songs for the next few years. Its live shows, for a while reliant on prerecorded backing tracks streamed through an iPod, were marked by a loose zaniness, and often ended with Phipps and Tinder stripped to their underwear. It’s not that the band didn’t possess the chops to take its music to a broader audience. In fact, even its earliest songs—blissfully lysergic, synthspangled, lo-fi dance tunes—displayed an advanced sense of pop smarts. But then, those early songs had titles like “Wooby Dooby.” Lack of talent wasn’t the issue. They just didn’t seem to give a shit. Until last summer, that was pretty much the case. “We’d almost given up,” says Phipps from a bench at Colonel Summers Park in Southeast Portland. “We’d been really inactive, and just been content doing what we’re doing, but didn’t see it going anywhere.” At the behest of Starfucker’s Josh Hodges, the head of respected Illinois-based Polyvinyl Records came to see the band play live. Not long after, the label offered Wampire a contract. The opportunity reinvigorated the band. “I don’t want to sound like being signed was my inspiration,” says Tinder, taking a break from a game of croquet, “but it gave me a lot more energy to come up with new stuff.” That new stuff, which makes up Wampire’s excellent debut, Curiosity, is the sound of a band finally getting serious with itself. Pulsing with newwave grooves, surfy guitars, psychedelic organ and a wealth of murky hooks, the record recasts the group as a sort of shroomed-out Strokes. Curiosity doesn’t come out until May 14, but the album has already made admirers of Spin and Rolling Stone. Now performing with a full band, and having played

its first gigs beyond the West Coast—including nine showcases at South By Southwest—Wampire may have just stumbled upon a legitimate career. Around this time in 2011, though, the band had ground to a standstill. It had planned to release a string of 7-inches that year, but after going on the road as tour manager for Unknown Mortal Orchestra, Tinder grew disenchanted with Wampire’s material. “I pulled up my laptop and all the recording we’d worked on and listened to it, and was not excited at all about what we were recording at the time,” he says. Jacob Portrait, UMO’s bassist, urged Tinder and Phipps to scrap everything and record with him in his warehouse studio. He encouraged the band not to overthink things—and not to get too attached to its ideas. “He showed us that you can go into a studio and know how a song is going to sound, then go 180 degrees in the opposite direction with it,” Phipps says. “It opened up my mind to going in with ideas so they can be destroyed.” Allowing the album to come together on its own, the band says the sound of Curiosity emerged organically. They call it “spooky,” but really, the vibe is more funhouse than haunted house: Songs like “The Hearse” and “Spirit Forest,” despite their titles, are built on melodies too hazy-bright to be genuinely creepy. But even with Portrait steering its creation, the record is mostly a reflection of Wampire’s split personalities: the introspective Phipps, who wrote the romantically anxious ballad “Trains”; and Tinder, who’s more inclined to write songs about killing people and getting stoned in graveyards...among other things. “The song ‘Giants’ was originally just about my cat, [imagining] if I lived in his perspective, with these giant people you’re super dependent on,” Tinder says. “Then Jake was like, ‘Great idea. Bag that, and let’s make it about being on mushrooms and feeling like you’re a giant.’” So maybe Wampire hasn’t completely grown out of, in Tinder’s words, “the don’t-give-a-shit party stuff.” Only now, the band knows a lot more people are coming to the party. And that has made all the difference. “That changes everything,” Phipps says, “knowing our music isn’t just going to be stuck in our own basement.” SEE IT: Wampire plays Mississippi Studios, 3939 N Mississippi Ave., with Wild Ones and DJ Preacher Teacher, on Tuesday, May 14. 9 pm. $6 advance, $8 day of show. 21+. Willamette Week MAY 8, 2013 wweek.com

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Sissy Spacek, Thrones, Men of Leisure, Tenses, Rebecca Carlisle Healy

[WEST COAST NOISE] The members of noise maestros Sissy Spacek are currently split between Portland and Los Angeles, so shows like this are a special occurrence indeed. The group plays with typical instrumentation—guitars, drums, bass, vocalist—but nothing it performs feels typical, however. Instead, the quintet unleashes cluster bombs of sound, with beats and melodies eschewed in favor of punkish energy, and the raw power and joy of playing as hard and fast as possible. Opening the show is Joe Preston’s one-man doom-metal experience, Thrones, and Smegma side project Tenses. ROBERT HAM. Valentine’s, 232 SW Ankeny St., 248-1600. 9 pm. Call venue for ticket information. 21+.

Talkdemonic, Grammies, Hats Off

[AVANT-INSTRUMENTAL] It’s somewhat ironic that Portland transplant Kevin O’Connor chose to name his band Talkdemonic, considering his duo with Lisa Molinaro features no singing—let alone talking—whatsoever. The purely instrumental project, voted Willamette Week’s Best New Band more than eight years ago, has been playing label hot potato since its debut, eventually signing with Isaac Brock’s Glacial Pace Recordings for the release of 2011’s sweltering Ruins. Once dubbed “folktronic hop” by O’Connor, the twosome heaves Molinaro’s fluid viola on top of a bombastic cannonade of live drums, prerecorded string compositions and laptop-induced electronic beats that would find a raw sense of solace alongside the likes of Explosions in the Sky and Britain’s James Blackshaw. Now that the duo plays as a four-piece live, you can expect the laptop to be taking a backseat. BRANDON WIDDER. Mississippi Studios, 3939 N Mississippi Ave., 2883895. 9 pm. $12. 21+.

Richard Thompson Electric Trio

SEA WOLF

Willamette Week MAY 8, 2013 wweek.com

INFRASTRUCTURE

[ACID-ROCK DEITIES] The lineup for this touring version of Japanese psych-rock powerhouse Acid Mothers Temple lists among its members Julian “God” Waters as God. I’ve no earthly idea what his actual role is, but the fact the group brings its own deity on the road should give you some indication as to the sky-scraping heights to which this long-running project aspires. This God, however, has to fight for that title with the band’s shredding, wailing dynamo of a frontman, Kawabata Makoto. The best we plebeians can do is sit back and absorb some of the sonic and spiritual energy the band exudes with abundance. ROBERT HAM. Star Theater, 13 NW 6th Ave. 9 pm. $12. 21+.

FRIDAY, MAY 10

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WEDNESDAY–FRIDAY

MIKE HARPER

MUSIC

[FOLK ROCK] On his bold departure of a new album, Richard Thompson embraces dubstep, African polyrhythms, Burroughsian cut-up lyrics and…hell, I’m just kidding, though I wish I weren’t. Instead, Electric sports the same formula as every annual Thompson release: roiling electric guitar (which, admittedly, he still plays like no other) adorning British folk-informed songs, with typically dour vocals delivering typically downbeat lyrics. To a point, it was a signature style. It’s now a tiresome liability. There are some bright moments on the album, but the most honest song is called “Stuck on the Treadmill.” JEFF ROSENBERG. Aladdin Theater, 3017 SE Milwaukie Ave., 234-9694. 8 pm. Sold out.

Tracy Grammer, Adam Sweeney

[FOLK] Posthumous releases are a bittersweet musical tradition predating even the three J’s (Jimi,

CONT. on page 29

DIVINE AFRO: SoHiTek signees Fanno Creek.

SOHITEK RECORDS WEDNESDAY, MAY 8 The founder of SoHiTek Records, 30-yearold Erik Carlson, lives the quintessential Portland dream. Aside from owning and operating his own homegrown record label, he also curates the SoHiTek visual arts gallery in Old Town and lives in a loft just a staircase away from the viewing space. Humble in discussing his lifestyle, he jokingly tiptoes around references to the obvious city clichés. “I feel like it’s such an episode of Portlandia,” he says. But more effort goes into Carlson’s business than a comedy sketch could portray. Because the California-raised, University of Oregon graduate is SoHiTek’s sole employee, he takes on everything from courting prospective bands and writing press releases to packaging album releases and stapling posters across the city. Carlson originally formed the label in 2009 after he approached Hosannas—then called Church—about releasing the avant-pop band’s first album, Song Force Crystal. With what turned into a co-release with Portland label Tender Loving Empire, SoHiTek’s inaugural record reinforced Carlson’s eagerness to run a business that provides a platform for lesser-known and unrecorded local bands. Since then, SoHiTek has put out albums from experimental act Chrome Wings, spacey synth-pop group Pegasus Dream, dancepop quartet Pocketknife and Carlson’s own electro-surf project, DoublePlusGood. The label’s newest addition, indie-folk up-andcomer Fanno Creek, is also in the midst of recording its first LP. “SoHiTek—and I think it’s true for many smaller, local labels—is essentially an artist’s label,” says Fanno Creek singer-guitarist Evan Hailstone. “We don’t feel any pressure to change our sound in any way or create one particular kind of album.” There are, of course, obstacles that come with running such a small operation. At a time when access to free music is just a few keystrokes away, the headaches for emerging labels like SoHiTek have multiplied. “You have to be more creative about how you’re trying to get people to buy music,” Carlson says. “Luckily…with a lot of our bands being smaller, [albums do] sell, because people still buy records at live shows.” Although Carlson hopes to eventually expand the label beyond a one-man outfit, working with only a handful of groups is enough to keep SoHiTek going for now. And he manages to stay plenty busy. “I’m a pretty tenacious dude,” he says. “I like following through on projects, and SoHiTek just seems like an infinite project.” Ultimately, through all of the unreturned publicity emails and tattered show fliers that come with his job, Carlson just wants to help young artists. “He’s super-supportive and is more of a friend who just wants to see us succeed more than anything,” says Pegasus Dream’s Andy Carlson (no relation), whose band has released two albums on SoHiTek. And while he’s modest in talking about the life he’s created, Erik Carlson doesn’t deny his satisfaction. “I get to work with all my favorite bands,” he says. “I get to work with people I love and encourage them and what they do. I just get to be No. 1 fan of a band kind of permanently.” EMILEE BOOHER. Not every young person comes to Portland to retire. Some start record labels.

SEE IT: The SoHiTek Records Showcase, featuring Fanno Creek, Pegasus Dream, DoublePlusGood and Pocketknife, is at Doug Fir Lounge, 830 E Burnside St., on Wednesday, May 8. 9 pm. $5. 21+.

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FRIDAY–SUNDAY

MUSIC

Of Montreal, Wild Moccasins

FLOWER CHILD: Jim James plays Crystal Ballroom on Tuesday, May 14. Janis and Jim), sometimes revelatory, sometimes barrel-scraping. Thankfully, in the case of muchmissed Portland folk bard Dave Carter, who died suddenly in 2002, the recordings discovered by his partner, Tracy Grammer, in their basement and released last year as Little Blue Egg don’t disappoint in the least. It’s wonderful to hear Carter’s sublime songwriting and genial singing again, matched as ever by Grammer’s vocal and instrumental prowess. She’s since released a limited EP, Joy My Love, featuring five more archival duo performances. You can bet Carter would’ve loved reedyvoiced, sweet-natured, thoughtful songwriter Adam Sweeney, who opens for Grammer tonight. JEFF ROSENBERG. Alberta Rose Theatre, 3000 NE Alberta St., 7196055. 8 pm. $15 advance, $18 day of show. Under 21 permitted with legal guardian.

Kurt Vile and the Violators, the Fresh & Onlys, Steve Gunn

[PSYCH ROCK] Kurt Vile won’t play venues like the Doug Fir for much longer. After the recent release of his highly acclaimed fifth album, Wakin on a Pretty Daze, the Philadelphiabased artist launched the biggest year of his career. With a long string of sold-out tour dates ahead of him, plus a trip back to Portland for Pickathon this summer, Vile is quickly rising to the top of the list of contemporary American songwriters. And for good reason: His new LP—a free-spirited fusion of quirky introspection, conversational lyrics and deeply meditative guitar riffs— seamlessly ebbs and flows through 11 spacious compositions that get better with each listen. Enjoy seeing him in smaller venues while you can, because he’s destined for the big stage. EMILEE BOOHER. Doug Fir Lounge, 830 E Burnside St., 2319663. 9 pm. Sold out. 21+.

The Soul of John Black

[FUNKY BLUES] John Bigham has been around the block. The guitarist and singer worked with Miles Davis toward the end of the jazz giant’s life, then did a stint with genre-destroying cult faves Fishbone before transitioning into a career as an ace session player. In the past decade, though, Bigham has focused his talent on the Soul of John Black, a group reflective of the many genres the Chicago-born musician has absorbed and mastered over the years. In most cases, when a career sideman tries to prove himself as a songwriter, the result is a tangled mess of ideas, but over the course of the four albums Bigham has released under the John Black name, he has wisely kept it simple, displaying his dexterity in soul, blues, rock and funk without being too showy about it. It’s uncomplicated but deeply effective. MATTHEW SINGER. Duff’s Garage, 1635 SE 7th Ave., 234-2337. 9 pm. $10. 21+.

Sara Bareilles

[PIANO POP] By now, there is no denying that you either love or hate the reigning princess of piano power

pop, Sara Bareilles. She’s been on The Voice, appeared in commercials and scored several big hits on the radio, so there is no doubting her mass appeal. Her music is feisty in ways Feist is not, and her lyrics have an appealing bite and sassiness to them that rise above the usual pop fare. Is she changing the world through her music? No. But considering most of the bland fluff on mainstream radio, Bareilles and her music prove that popular music does not have to be crappy. BRIAN PALMER. Roseland Theater, 8 NW 6th Ave., 224-2038. 9 pm. $35. All ages.

SATURDAY, MAY 11 Denver, Lewi Longmire

[MUSTACHIOED COUNTRY] The fact that Denver is more than 1,200 miles away from Portland hasn’t stopped the up-and-coming sextet from performing under the Mile High City’s name at home. The twangy outfit, featuring a rotating lineup of some of Stumptown’s finest bootstompin’ fellows, is more than just a sum of its members’ country influences and backroad shenanigans. Denver’s self-titled debut album pitches sweet, all-American harmonies next to Scruggs-esque banjo, honky-tonk guitar and some old-fashioned walking basslines. Chief songwriters Birger Olsen, Mike Elias and Tom Bevitori don’t write songs about blue jeans and John Deere, they write them about being lonesome and homesick— just the way country was meant to sound. BRANDON WIDDER. Kelly’s Olympian, 426 SW Washington St., 228-3669. 9 pm. $8 advance, $10 day of show. 21+.

St. Johns Bizarre: Ancient Heat, Blue Cranes, 1939 Ensemble, Kim Baxter, Orquestra Pacifico Tropical

[FESTIVAL] It’s officially festival season. Of course, if you didn’t buy tickets to Coachella, Sasquatch, Bonnaroo, etc. months ago, you’re shit out of luck by now. And anyway, if you’re an adult, the notion of being crammed shoulder-to-shoulder with a bunch of sweaty, shirtless college kids for four straight days probably sounds like a nightmare. But staying home during the warmer months doesn’t have to mean staying indoors. Case in point: the seventh annual St. Johns Bizarre. Held in Portland’s undiscovered country, the event is the best street fair of the season, in no small part because it actually features music people want to hear. This year, that includes mutant disco ensemble Ancient Heat, post-jazzers Blue Cranes, post-rockers 1939 Ensemble, resurgent power-popper Kim Baxter, and Papi Fimbres’ tradcumbia orchestra Orquestra Pacifico Tropical. And there’s not likely to be a single tween freaking out on molly anywhere in sight! MATTHEW SINGER. St. Johns Bizarre, North Lombard Street and Philadelphia Avenue. 10 am. Free. See stjohnsbizarre.com for more information. All ages.

[INDIE DRAMEDY] Try to imagine a big-budget Of Montreal show. Using only the funds available to a scrappy veteran indie act, the Athens, Ga.based band’s concerts have found frontman Kevin Barnes riding a white horse onstage, clothed in only whipped cream and mimicking suicide in a Broadway-quality staged hanging. Behind him, the band wears a full Gaga worth of shiny costumes and plays a 15-year catalog that starts with the band sounding a lot like its lo-fi Elephant 6 colleagues before evolving into the delightful electro-pop of The Sunlandic Twins, peaking with the highly conceptual yet taught Hissing Fauna, Are You the Destroyer?, and continuing with the two scattershot efforts that followed. Of Montreal is working on a documentary funded by Kickstarter. The trailer includes the band summing up its career thusly: “I guess that’s the overall theme of our lives—doing the weirdest shit you could possibly imagine, casually.” MARTIN CIZMAR. Wonder Ballroom, 128 NE Russell St., 2848686. 8 pm. $15 advance, $17 day of show. All ages.

David Friesen

[JAZZ] Internationally celebrated Portland bassist David Friesen puts his heart into his playing, certainly never more so than on his latest release. Brilliant Heart is an album of new work dedicated to Friesen’s son, Scott, who died in 2010. The younger Friesen was a musician himself, as well as a photographer and painter. His colorful, evocative artwork adorns the CD and booklet, and will be on display at tonight’s CD-release show. All three disciplines are celebrated by the album’s compositions, which include “Where the Light Falls,” with Greg Goebel’s pointillist piano evoking the play of light on film, and “Violin,” where Friesen’s gently percolating bass, rather than the titular instrument, steers the contemplative piece. Like a loving memorial service, the album’s tone is largely one of celebrating a life rather than mourning the dead, though it closes with the weighty, moving “Scotty F.” JEFF ROSENBERG. Woodstock Wine & Deli, 4030 SE Woodstock Ave., 7772208. 8 pm. $12. All ages.

SUNDAY, MAY 12 IAMX, Moto Boy

[VARIABLE TECHNO] Rarely do artists get edgier as they get older, but that’s just what Chris Corner, in his solo project, IAMX, has done. Corner was half of the founding duo of Sneaker Pimps, the ’90s English trip-hop group. The Pimps’ music certainly had a heroin-soaked darkness to it, but the tempos rarely broke 120 BPM, and the dress code was yellow-sunglasses casual. For the Berlin-based IAMX, Corner rarely appears in colors other than black and stylizes his techno-infused pop performances with gold-encrusted pony statuettes, Addams Family hairdos and dark cabaret theatrics. This is goth for club kids. The Unified Field, IAMX’s fifth album, released this March, doesn’t depart from Corner’s usual formula, but it’s complex and philosophical enough to undergo plenty of variations on a theme. MITCH LILLIE. Doug Fir Lounge, 830 E Burnside St., 2319663. 9 pm. $15. 21+.

Kisses, Trails & Ways

[FLASHBACK POP] It’s hard to determine exactly where Kisses departs from ’80s music. The synths and basslines run the gamut from New Wave to spacey disco, with Zinzi Edmundson’s head-inhand, dreamy guitar solos filling in the breaks. Vocalist Jesse Kivel often channels Depeche Mode’s Dave Gahan, only to get suddenly poppier and sunnier. (I swear there’s a Scandinavian affect in his voice that makes his voice seem all the

CONT. on page 31 Willamette Week MAY 8, 2013 wweek.com

3341 SE Belmont 503-595-0575 BASEMENT BAR @THE BLUE MONK

For the full calendar, visit www.thebluemonk.com

Wednesday 5/8

8:00 Arabesque Belly Dance

Thursday 5/9

9:00 Thursday Hip Hop Series: iAMe, Mostafa, Jesus Chris Willis, Chatham, and more...

Friday 5/10

9:00 Rare Monk Damn Divas The World Radiant

Saturday 5/11

9:00 thebrotheregg The Blackout Dates Studfinder Bitch School

Sunday 5/12

8:00 Pelican Brewery presents: Sunday Jazz Series

Tuesday 5/14

6:30 Pagan Jug Band

Willamette Week MAY 8, 2013 wweek.com

SUNDAY–TUESDAY sweeter.) But “The Hardest Part,” the gem from upcoming sophomore album Kids in L.A., sounds way too of-the-moment to be dismissed as nostalgia. After an ethereal intro and smash that recalls Kate Bush’s “Running Up That Hill,” Kisses get into a chilled-out, post-Yacht groove, all with those unbearably cute lyrics. Kivel wails, “At the end of the day/When you go away/And you leave and softly say/That falling in love is the hardest part/Well, I’m not sure.” I’m sure: See Kisses. MITCH LILLIE. Holocene, 1001 SE Morrison St., 239-7639. 8 pm. $8. 21+.

MONDAY, MAY 13 The Appleseed Cast, Hospital Ships, Ugly Colors, For the Life of Me

I S L A N D D E FJ A M . C O M

[POST-ROCK] The Appleseed Cast kicks ass, but does it subtly. The band doesn’t melt your face with distortion, punishing drums, heavy basslines or any of the obvious means rock bands tend to use. Instead, the musicians embrace variety through odd time signatures, sucking you into an energetic track with inventive hooks and refusing to play the same three chords over and over. You don’t even realize how intricate the layers of their songs are until the experience is practically finished, and by then you’re already having so much fun the details might not even matter. Sneaky like ninjas, the guys in the Appleseed Cast slay you with their unexpected musical savvy rather than beaning you with a sledgehammer. BRIAN PALMER. Backspace, 115 NW 5th Ave., 2482900. 7 pm. $12 advance, $14 day of show. All ages.

MUSIC

TUESDAY, MAY 14 Jim James, Cold Specks

[GODLIKE GENIUS] Throughout My Morning Jacket’s career, a subtle, indistinct religiosity has underscored the songwriting of singerguitarist Jim James. It’s often hard to hear over the roaring din of Southern-fried guitars, but in the group’s quieter moments, when James’ voice lowers to a chinadelicate falsetto, he often sounds overwhelmed by a sort of spiritual ecstasy. Unencumbered by the expectations of MMJ’s fan base, for his first full-length solo foray, James put down the Flying V, then went ahead and called his album Regions of Light and Sound of God. Apparently inspired in equal parts by a 2008 hospital stay, a 1929 graphic novel called God’s Man and George Harrison’s post-Beatles explorations into Eastern mysticism, the record is James unguardedly grasping at the heavens. Its sound—presaged by “Dear God,” his sublime contribution to the 2009 Monsters of Folk album—is a stirring, celestial brand of metaphysical soul, a star map of dusky piano, moody sax and psyched-out drum loops. Not everything coheres, but that’s the beauty of searching for divinity: You don’t have to reach any conclusions to find glory in the journey. And this journey is mighty glorious. MATTHEW SINGER. Crystal Ballroom, 1332 W Burnside St., 225-0047. 8 pm. $25 advance, $29 day of show. All ages.

PRIMER

5/9 Thursday

Shakespeare Pop-Up Theatre “Romeo & Juliet” (It’s like Shakespeare karaoke..with dance breaks.)

7pm free

5/10 Friday

5/11 Saturday

REWIND deejays/dance pre-2000 Industrial & goth

5/14 Tuesday

Corey Heppner Jazz Trio 9pm $5

Free Lecture.”GLT Protagonists in Contemporary Lit” by Krista Humphry

BENEATH THE HISTORIC RIALTO POOL ROOM

4th & Alder Downtown Portland JACKLONDONBAR.TUMBLR.COM

CONT. on page 32

BY M ATTH EW S IN GER

BIG BOI Born: In Savannah, Ga., in 1975. Sounds like: Listening to the coolest dude at the party shoot the shit as the DJ spins ’70s soul, ’80s boogie funk and the occasional modern electro-pop record. For fans of: Outkast (duh), Goodie Mob (duh), Suga Free, DamFunk. Latest release: 2012’s Vicious Lies and Dangerous Rumors, in which the Southern fire-spitter cozies up to Planet Pitchfork through collaborations with Phantogram, Wavves and Little Dragon. Why you care: Well, he is half of the greatest hip-hop duo of all time. But Antwan “Big Boi” Patton wasn’t the half of Outkast anyone was supposed to care about in 2013, seven years after the pair’s last album. Like Phife in A Tribe Called Quest, Patton’s streetwise wit kept the group tethered to earth, allowing his partner, Andre 3000, to transcend into more cosmic realms. To use a worn analogy, Patton was Scottie Pippen to Andre’s Michael Jordan. The thing people forget, though, is that Pippen had the better post-Bulls career—taking the Trail Blazers to within a game of the NBA Finals is a better entry on one’s résumé than owning the Charlotte Bobcats—and, in the case of Outkast, the same is true of Patton. While Andre has spent their “hiatus” acting, trading shaving tips with Adrian Brody and Gael García Bernal and dropping the occasional guest verse, Big Boi has continued doing what he does best: rapping his ass off. That doesn’t mean he’s played it safe. In the era of skeletal trap-rap and slurring, monosyllabic MCs, 2010’s Sir Lucious Leftfoot: The Son of Chico Dusty shuddered with thick, fluorescent beats and wordplay that would give most young rappers lockjaw. And even though Vicious Lies’ glad-handing with the indie world produced some awkward experiments (Wavves doing hip-hop? Who signed off on that?), Patton still came off looking cooler than a polar bear’s toenails. Andre who? Shoot, Outkast who? SEE IT: Big Boi plays Roseland Theater, 8 NW 6th Ave., with Killer Mike, on Monday, May 13. 8 pm. $75 VIP, $25 general admission. All ages.

Willamette Week MAY 8, 2013 wweek.com

MUSIC

TUESDAY

Pokey Lafarge, the Lonesome Billies

[RAGTIME REVIVALISTS] Streaming digital versions of Pokey Lafarge’s most recent release, Middle of Nowhere, feels borderline sacrilegious. Since 2009, the St. Louis native and his dapper, tight-knit trio have been dishing out the kind of Western swing and thumb-picking country blues normally reserved for pre-WWII jukeboxes and those crackling 45s buried in your grandparents’ attic. Lafarge emanates authentic oldtimey Americana in a modern age, stirring up a gumbo of upright

bass, washboard and mean archtop guitar courtesy of bandmate Adam Hoskins. Although Lafarge recently signed to Jack White’s Third Man Records, he more often sounds as though he gunned the Delorean to 1931, pounding shots of whiskey with Jimmie Rodgers and Milton Brown upon his arrival. BRANDON WIDDER. Doug Fir Lounge, 830 E Burnside St., 2319663. 9 pm. $12 advance, $14 day of show. 21+.

ALBUM REVIEWS

SUN ANGLE DIAMOND JUNK (NEW MOSS) [PSYCH-PUNK] One does not simply record Sun Angle. Feeding psychedelic guitars and pan-global rhythms through punk tempos delivered with free-jazz abandon, the band—a collaboration between three of Portland’s most restless musicians—generates a kind of lightning in its gale-force live shows not easily bottled in a studio. Good thing, then, that for its debut album, the group bypassed the studio entirely, recording in a cabin near Mount Hood. Even smarter, it hired Menomena’s Danny Seim—a guy who knows something about translating inscrutable ideas for the masses—to produce. The result is a record as free and feral as the group is in concert, except now, the cacophony makes sense. On Diamond Junk, singer-guitarist Charlie Salas-Humara’s effects-damaged needling dives through drummer Papi Fimbres’ electrocuted-octopus flailing rather than blurring into a morass. Once overwhelming, here it’s exhilarating. Seim deserves credit for the album’s dynamism, but Marius Libman’s bass plays the most crucial role. In the scrum of amphetamine Afropop riffing and speedball-merengue patterns, Libman’s tight, circular grooves are an anchor—a weather vane twisting with the storm but never losing its position. Sun Angle still isn’t big on “songs,” per se, so it’s pointless to pick out individual tracks for highlighting. You have to just stand there and let the full brunt of the hurricane hit you. It’s worth it. MATTHEW SINGER. SEE IT: Sun Angle plays Mississippi Studios, 3939 N Mississippi Ave., with Nice Nice and Like a Villain, on Friday, May 10. 9 pm. $6 advance, $8 day of show. 21+.

ELUVIUM NIGHTMARE ENDING (TEMPORARY RESIDENCE) [INSTRUMENTAL MINIMALISM] Ambient music is a dangerous proposition for even the most studied of musicians. The combination of elongated drones, stillness and washes of synth has to be measured precisely, or the whole soufflé is going to collapse. For the most part, Matthew Cooper, the musician who records under the name Eluvium, has the formula down pat. Yet on his latest collection, Nightmare Ending, far too many of the songs fail to cohere. The otherwise lovely solo piano pieces “Caroling” and “Entrende” feel like throwaway interludes. “Happiness,” the album’s closer, floats peaceably by, trailing ghostly guitar and organ yet offering no color or substance to make you want to chase after it. The unintended effect of these flat moments is that the great tracks on Nightmare are even more amplified. The slow, tidal-wave build of buzz and fluttering piano chords on “Rain Gently” sounds epic by comparison. “Sleeper,” with its use of what sounds like a prenatal heartbeat with a rhapsodic, lullabylike melody, is a song you can envision curling inside of for a warm nap. What may have been Nightmare’s undoing was trying to pour too much new material into this release. Stretching 14 songs over two CDs was a gamble to begin with. Like all the filmmakers he’s been working with, Cooper needed an unmerciful editor to pare down this set to its most effective moments. ROBERT HAM. HEAR IT: Nightmare Ending is out Tuesday, May 14, on Temporary Residence. 32

Willamette Week MAY 8, 2013 wweek.com

MUSIC CALENDAR

MAY 8–14

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

WED. MAY 8 Al’s Den at the Crystal Hotel 303 SW 12th Ave. Richmond Fontaine

Alberta Rose Theatre 3000 NE Alberta St. Joseph Vincent

Alchemy

1022 NW Lovejoy St. Tit Maus, Abraxas of Lemuria

Andina

1314 NW Glisan St. Toshi Onizuka

Ash Street Saloon

225 SW Ash St. Pastel Motel, ZODIAC, Momento Mori

Mufasa, the Noble Firs, One F

Mississippi Pizza

3552 N Mississippi Ave. Welfare

Mississippi Studios

3939 N Mississippi Ave. Javelin, Helado Negro, Jamaican Queens

Peter’s Room

8 NW 6th Ave. Joe Budden, DJ Fatboy, Cool Nutz, Feez the Germ, J-Key, Aquino

Rock Bottom Restaurant & Brewery 206 SW Morrison St. Adam East

Shaker and Vine

Dante’s

2929 SE Powell Blvd. Robbie Laws Guitar Ensemble

Doug Fir Lounge

13 NW 6th Ave. Acid Mothers Temple, Tjutjuna

350 W Burnside St. Mbrascatu, Sad Little Men, the Ruffled Feather 830 E Burnside St. Fanno Creek, Pegasus Dream, Doubleplusgood, Pocketknife

Hawthorne Theatre Lounge

1503 SE Cesar E. Chavez Blvd. Black Black Things

Holocene

1001 SE Morrison St. Tango Alpha Tango, Animal Eyes, The We Shared Milk, DJ Trim Jones

Ivories Jazz Lounge and Restaurant 1435 NW Flanders St. Art Resnick Trio

Kelly’s Olympian

426 SW Washington St.

Star Theater

Suki’s Bar & Grill 2401 SW 4th Ave. Jessie Georgen

The Blue Diamond

2016 NE Sandy Blvd. The Fenix Project Blues Jam

The Know

2026 NE Alberta St. Fur Coats, Wett Nurse, Sycamore Smith & the Gray Beast, Big Black Cloud

The Lovecraft

421 SE Grand Ave. Death Wish: Black Medic, Jim Strange

Thirsty Lion

71 SW 2nd Ave. Jordan Harris

Thorne Lounge

4260 SE Hawthorne Blvd. Musician’s Open Mic

Tony Starlight’s

3728 NE Sandy Blvd. Mitzi Zilka, Carol Rossio, Heather Keizur

Valentine’s

232 SW Ankeny St. Sissy Spacek, Thrones, Men of Leisure, Tenses, Rebecca Carlisle Healy

White Eagle Saloon 836 N Russell St. La La Land, Ara Lee, Chris Couch

Wilfs Restaurant & Bar

800 NW 6th Ave. Ron Steen Band, Catarina

THURS. MAY 9 Alberta Rose Theatre 3000 NE Alberta St. Eilen Jewell

Andina

1314 NW Glisan St. Greg Wolfe Trio

Ash Street Saloon

225 SW Ash St. The Cosmos: Grace Constantine, ALTO!, AUX 78, Kai-anne Pepper, Maureen

Backspace

115 NW 5th Ave. Living With Lions, Falling In Flight, Southtowne Lanes, All Falls Through, the Isotopes

Blackwater Records

1925 SE Morrison St. Absurdo, Bellicose Minds, Dente Na Mente, Life Form

Doug Fir Lounge

830 E Burnside St. Laura Stevenson, Field Mouse, Dresses

East End

203 SE Grand Ave. Friends of Cesar Romero, Moyster, Foxy Lemon

EastBurn

1800 E Burnside St. Eat Off Your Banjo Bluegrass

Gemini Lounge

6526 SE Foster Road Eric Vanderwall

Goodfoot Lounge

2845 SE Stark St. Scott Pemberton Trio

Hawthorne Theatre Lounge

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

Jimmy Mak’s

221 NW 10th Ave. Mel Brown B3 Organ Band

Kelly’s Olympian

426 SW Washington St. The Dandelyons, the Laurels, Paul Dillon

Kennedy School

5736 NE 33rd Ave. Black Lillies

Kenton Club

2025 N Kilpatrick St. Endless Loop, Stein

LaurelThirst

2958 NE Glisan St. Absent Iris, Muscle & Marrow, Dashenka, Lewi Longmire

Mississippi Pizza

3552 N Mississippi Ave. Mo Phillips, Johnny & Jason

Mississippi Studios

ROSNAPS.COM

BAR SPOTLIGHT

3939 N Mississippi Ave. Talkdemonic, Grammies, Hats Off

Mock Crest Tavern

3435 N Lombard St. Claes of the Blueprints

Mt. Tabor Theater

4811 SE Hawthorne Blvd. The We Shared Milk, Paper Brain, Bear and Moose, Mister Tang

Ponderosa Lounge

10350 N Vancouver Way Battle of the Bands SemiFinals: Country Wide, Willow Grove

Refuge

116 SE Yamhill St. Funtcase, Cookie Monsta, Roksonix, KELLAN, Way Way

Secret Society Lounge 116 NE Russell St. Tezeta Band

DIRECTION UNKNOWN: While the world around it bathed in filthy lucre, now-defunct dive bar Chin Yen was a dimly lit, dirtcheap holdout of turpentine drinks and oil-slick Chinese food, home to old men who fought their livers and won. Cardinal Club (18 NE 28th Ave., 348-0763, cardinalclubportland.com)—named after the four cardinal directions because the bar putatively sits at Portland’s exact center—is a noble rehabilitation. The new owners, fresh from the tough streets of Philly, have diligently brightened the corners in what we assume is documented with an ’80s music montage, and now offer a small array of bar snacks (including a massive pile of fried calamari for a mere $6) and midpriced meals, plus a fine bourbon and housemade ginger syrup concoction called the Pedestrian in a pint glass for $5. Still, the bar may have gone too far in smoothing out the edges: Its hodgepodge of old vinyl, letter-magnet bar slate, corporate-deco signage, neutral walls and scattershot menu leave a diffuse impression; it feels like the new owners haven’t quite moved in yet. (A batch of overboiled, herb-choked deviled eggs didn’t help.) Though it may be at the center of everything, it might help if Cardinal Club picked a direction and ran with it. MATTHEW KORFHAGE.

Shaker and Vine

2929 SE Powell Blvd. Melz Prigodich Erskine Group

Slabtown

1033 NW 16th Ave. Radio Bikini, HidingInsideVictims, Disavow, Flight 19

Slim’s Cocktail Bar

8635 N Lombard St. Closely Watched Trains

The Analog

720 SE Hawthorne Simon Tucker

The Blue Diamond

2016 NE Sandy Blvd. Ben Jones

The Blue Monk

3341 SE Belmont St. Thursday Hip Hop Series: IAMe, Mostafa, Jesus Chris Willis, Chatham the SUN, The Hashtonaut

The Know

2026 NE Alberta St.

Needles and Pizza, Fox&Law, Sex Ghost

Tiga

1465 NE Prescott St. Sex Life DJs

Tiger Bar

317 NW Broadway Karaoke from Hell

Vie de Boheme

1530 SE 7th Ave. Swingin’ Speakeasy: Pink Lady, John Bennett, Boy and Bean

FRI. MAY 10 Aladdin Theater

LaurelThirst

2958 NE Glisan St. The Fall To Pieces, Raina Rose, Rebecca Loebe, Joe McMurrian, Woodbrain

Mission Theater

1624 NW Glisan St. The Tineke Postma Quartet

Mississippi Pizza

3552 N Mississippi Ave. Krebsic Orkestar, Level 2

Mississippi Studios

3939 N Mississippi Ave. Sun Angle, Nice Nice, Like a Villain

3017 SE Milwaukie Ave. Richard Thompson Electric Trio

Mock Crest Tavern

Alberta Rose Theatre

Mt. Tabor Theater

3000 NE Alberta St. Tracy Grammer, Adam Sweeney

Andina

3435 N Lombard St. Sneakin’ Out

4811 SE Hawthorne Blvd. Theoretics, Speaker Minds, TxE

Portland Spirit

SAT. MAY 11 Aladdin Theater

3017 SE Milwaukie Ave. Chris Thile, Michael Daves

Alberta Rose Theatre

3000 NE Alberta St. Live Wire Radio: Genders

Andina

1314 NW Glisan St. Nat Hulskamp Trio

Ash Street Saloon

225 SW Ash St. The Omega Moo, Faithless Saints, Three Round Burst, Benson Jones

Backspace

115 NW 5th Ave. Busy Scissors, Voices, Kitten Forever, cockeye

Branx 320 SE 2nd Ave. Rotten Sound, Black Breath

Camellia Lounge

Ash Street Saloon

Southwest Front and Salmon streets The KPSU Kruise: Onuinu, Grandparents

Record Room

Backspace

8 NE Killingsworth St. The Rarities, Night Mechanic, DJ Charles Austin

350 W Burnside St. 12th Annual Pimps & Hoes Ball: Smoochknob, American Bastard, Crazy Like Me

Red and Black Cafe

Doug Fir Lounge

1314 NW Glisan St. Sambafeat Quartet 225 SW Ash St. The GoodSons, Sorta Ultra, Machine, The Ed and Mike Show 115 NW 5th Ave. Mischief Brew, meisce, Dirty Kid Discount, Rum Rebellion

Beech Street Parlor 412 NE Beech St. Mudslide McBride

Branx 320 SE 2nd Ave. Saint Warhead, IAMe, Quizzilla, Bad Habitat, Tawksicc

Buffalo Gap Saloon

6835 SW Macadam Ave. Trixy and the Nasties

Camellia Lounge

510 NW 11th Ave. George Colligan Trio

Club 21

2035 NE Glisan St. Sioux, IX, Humours

Doug Fir Lounge

830 E Burnside St. Kurt Vile and the Violators, the Fresh & Onlys, Steve Gunn

Duff’s Garage

1635 SE 7th Ave. The Soul of John Black

East End

203 SE Grand Ave. JOY, R.I.P., Billions and Billions

EastBurn

1800 E Burnside St. Closely Watched Trains

Habesha

801 NE Broadway Old Light, Virgil Shaw, Sad Horse

Hawthorne Theatre Lounge

1503 SE Cesar E. Chavez Blvd. A Crab’s Life, John Rankin, DJ Lorax, DJ Bob Ham

Hawthorne Theatre

400 SE 12th Ave. Foot Village, Clipping, Destroy Nate Allen, Lovebomb Go-Go, the Beauty

Roseland Theater 8 NW 6th Ave. Sara Bareilles

Secret Society Lounge

116 NE Russell St. Ruby Pines, Worth, Goose and Fox, Anna & the Underbelly, Bottlecap Boys, Pete Krebs and his Portland Playboys

Shaker and Vine

2929 SE Powell Blvd. Wrong Kind of Girl

Slabtown

1033 NW 16th Ave. Tiananmen Bear, Pitchfork Motorway, Gordon Taylor, Karmaceuticals

Star Bar

426 SW Washington St. Bevelers, Floorboards, Thee Ahs, Johnny Keeper

Kenton Club

2025 N Kilpatrick St. Fat Sasquatch, Sky Seals

Langano Lounge

1435 SE Hawthorne Blvd. Havania Whaal, Tiny Knives, Smoke Rings, Magic Mouth

Music Millennium

3158 E Burnside St. Super Water Sympathy

Nel Centro

1408 SW 6th Ave. Mike Pardew, Dave Captein, Randy Rollofson

Record Room

8 NE Killingsworth St. Acid Farm, Temples, Transparent Aluminum

Red and Black Cafe 400 SE 12th Ave. X-Vandals

Ringside Fish House 838 SW Park Ave. Pete Krebs and Brent Martens

Rock Bottom Restaurant & Brewery 206 SW Morrison St. Lost and Found

Roseland Theater 8 NW 6th Ave. Machine Gun Kelly, Portland Express, Portside

Rotture

315 SE 3rd Ave. Odesza, the Great Mundane

Secret Society Lounge 116 NE Russell St. ZBumba, Trashcan Joe

Shaker and Vine

1635 SE 7th Ave. The Buckles

2929 SE Powell Blvd. Stu Cook Quartet

East End

Slabtown

Hawthorne Theatre Lounge

Slim’s Cocktail Bar

203 SE Grand Ave. RAF, DJ Drew Groove

1503 SE Cesar E. Chavez Blvd. Patrimony, The Grizzled Mighty, The Choices

Hawthorne Theatre

3862 SE Hawthorne Blvd. Richie Spice, Gypsy Roots, Jagga Culture with Peoples Choice, Serious De Witness, Soljah Sound

Jade Lounge

Jimmy Mak’s

1033 NW 16th Ave. Terminal Filth, I Have No Friends, Apocalypse Now 8635 N Lombard St. Suburban Slim, Karmaceuticals, Charlie Darwins

St. Johns Bizarre

North Lombard Street and North Philadelphia Avenue. Ancient Heat, Blue Cranes, 1939 Ensemble, Kim Baxter, Orquestra Pacifico Tropical

Star Bar

639 SE Morrison St. 1776, The Gnash

Star Theater

The Analog

221 NW 10th Ave. Farnell Newton, OPUS, DJ OG One, Chris Lay

Katie O’Briens

The Analog

The Blue Diamond

2809 NE Sandy Blvd. Bubble Cats, The Fasters, The Mucks

720 SE Hawthorne Tributes to Weezer and Cake, Ben Union

Kells Brewpub

The Blue Diamond

The Blue Monk

210 NW 21st Ave. Sami Rouisi

2016 NE Sandy Blvd. Sonny Hess, Vicki Stevens

3341 SE Belmont St. Rare Monk, Damn Divas, The World Radiant

Kelly’s Olympian

The Blue Monk

The Know

Kenton Club

13 NW 6th Ave. Born Ruffians, Moon King 720 SE Hawthorne Atlas and the Astronaut, Bubble Cats 2016 NE Sandy Blvd. Pat Stilwell

2026 NE Alberta St. Stovokor, Wartorn, Night Nurse

The TARDIS Room

1218 N Killingsworth St. Wolfgang Warneke

1465 NE Prescott St. DJ Bad Wizard

Kelly’s Olympian

4811 SE Hawthorne Blvd. Moon Alice, Garcia Birthday Band

Duff’s Garage

Star Theater

Katie O’Briens

210 NW 21st Ave. Sami Rouisi

830 E Burnside St. Cody Beebe & The Crooks, Super Water Sympathy, Redwood Son

2346 SE Ankeny St. Ama Bently, Colin Johnson

Thorne Lounge

Kells Brewpub

Dante’s

639 SE Morrison St. DJ Bar Hopper

3862 SE Hawthorne Blvd. Anonymia, Ion Storm, Kraniul Saw, Recursion, Choke The Silence, Cast Down 2809 NE Sandy Blvd. The Loss, Black Delany, Brigadier, Absent Minds

510 NW 11th Ave. Toque Libre

Mt. Tabor Theater

4260 SE Hawthorne Blvd. Charlie Vaughn and the Daily Routine

Tiga

Tonic Lounge

3100 NE Sandy Blvd. Anhedonist, Shroud Of The Heretic, Withering of Light, Servitor

White Eagle Saloon 836 N Russell St. Red Jacket Mine, Steelhead, Don of Division St., Reverb Brothers

Wonder Ballroom

128 NE Russell St. MartyParty, Salva, Buku

426 SW Washington St. Denver, Lewi Longmire 2025 N Kilpatrick St. Medicine Family, McDougall

LaurelThirst

2958 NE Glisan St. Palace Fiction, Memes, James Low Western Front

Lot 15

Northwest 11th Avenue and Northwest Northrup Street WhiskeyFest NorthWest: Spirit Family Reunion, Sassparilla, Danny Barnes, the Stolen Sweets

Mississippi Pizza

3552 N Mississippi Ave. Roseland Hunters, Industrial Revelation,Sons of Malarkey

Mississippi Studios

3939 N Mississippi Ave. John Nilsen & Swimfish

Mock Crest Tavern

3435 N Lombard St. Dakota Bob & the Business Man’s Blues Band

13 NW 6th Ave. Tom Odell

3341 SE Belmont St. thebrotheregg, The Blackout Dates, Stud Finder, Bitch School

The Know

2026 NE Alberta St. Drunk Dad, Prizehog, Diesto

The Lovecraft

421 SE Grand Ave. Musick for Mannequins: Tom Jones, Erica Jones, Shadowhouse

Tiga

1465 NE Prescott St. DJ Fun Boy

Vie de Boheme 1530 SE 7th Ave. Medler Quintet

White Eagle Saloon

836 N Russell St. yOya, the Student Loan

Wilfs Restaurant & Bar

800 NW 6th Ave. Mia Nicholson Trio, Randy Porter

Wonder Ballroom 128 NE Russell St. Of Montreal, Wild Moccasins

CONT. on page 34 Willamette Week MAY 8, 2013 wweek.com

SUN. MAY. 12 Aladdin Theater

3017 SE Milwaukie Ave. Kuana Torres Kahele

Andina

1314 NW Glisan St. Galen Clark, Hannah Penn, Matices

Arlene Schnitzer Concert Hall

1037 SW Broadway Portland Youth Philharmonic

Ash Street Saloon

225 SW Ash St. Erik Anarchy, Whiskeys Lament, Super Desu, Crime Machine, William Herd

Bossanova Ballroom 722 E Burnside St. 1945: A Tribute to Frank Sinatra and Harry James: Chuck Par-Due, Michael Curtis Jazz Project, Cheryl Morris

Dante’s

350 W Burnside St. Slow Bird, Here Come Dots

Doug Fir Lounge 830 E Burnside St. IAMX, Moto Boy

Duff’s Garage

1635 SE 7th Ave. Eddie Scheer & the Love Dogs

East End 203 SE Grand Ave. Cadaver Dogs, A Happy Death, Autonomics, She Preaches Mayhem

Holocene

NEW & RECOMMENDED

MARQUEE VOLUME 1 ON SALE $14.99 2 CD SET Marquee has joined forces with Black Hole Recordings to produce a compilation series, featuring the club’s resident artists and affiliated DJs. Showcasing ATB and Paul Oakenfold, Audien and Denzal Park.

MAY 8–14

The Blue Diamond

2016 NE Sandy Blvd. Kevin Selfe and the Tornadoes

The Blue Monk

3341 SE Belmont St. The Wishermen

The Elixir Lab at Al Forno Ferruzza 2738 NE Alberta St. Closely Watched Trains

The Lovecraft

421 SE Grand Ave. Mortar & Pestle, Not From Brooklyn

Vie de Boheme

MON. MAY 13 Al’s Den at the Crystal Hotel

303 SW 12th Ave. Mike Musickanto

Alberta Rose Theatre

3000 NE Alberta St. Portland Youth Jazz Orchestra

Andina

1314 NW Glisan St. Pete Krebs

Arlene Schnitzer Concert Hall

1037 SW Broadway Of Monsters and Men

Backspace

115 NW 5th Ave. The Appleseed Cast, Hospital Ships, Ugly Colors, For the Life of Me

Dante’s

350 W Burnside St. Karaoke From Hell

Mississippi Studios

East End

3939 N Mississippi Ave. Leopold and his Fiction, Old Age, Eidolons

203 SE Grand Ave. Leopold and his Fiction, Bike Thief

Rontoms

221 NW 10th Ave. Dan Balmer Band

Rotture

315 SE 3rd Ave. Appendixes, Jeremy C. Long, Abusive Consumer, Metanoia, Child Children

Slabtown

1033 NW 16th Ave. Rat Party, Bad Sun, T-Rex Files, Grand Style Orchestra

WALL OF SOUND: The Soul of John Black plays Duff’s Garage on Friday, May 10.

1530 SE 7th Ave. Arthur Moore

1001 SE Morrison St. Kisses, Trails & Ways

600 E Burnside St. Magic Fades, Daniel Rafn

PEP WILLIAMS

MUSIC CALENDAR

Jimmy Mak’s

Kells Brewpub

210 NW 21st Ave. Traditional Irish Jam Session

LaurelThirst

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

Mississippi Studios

3939 N Mississippi Ave. Kate Nash, Peach Kelli Pop

Muddy Rudder Public House

Bunk Bar

8105 SE 7th Ave. Lloyd Jones

1028 SE Water Ave. Yeah Great Fine, Couches

Pub at the End of the Universe

Crystal Ballroom

4107 SE 28th Ave. Open Mic, Damien Rice

1332 W Burnside St. Jim James, Cold Specks

Roseland Theater

Doug Fir Lounge

8 NW 6th Ave. Big Boi, Killer Mike

Slabtown

1033 NW 16th Ave. Danbert Nobacon, Sean Croghan, Trever Jones

Goodfoot Lounge

Star Bar

801 NE Broadway Ethereal and the Queer Show, Sun Falls, Consumer

639 SE Morrison St. Metal Monday: DJ Desecrator

The Blue Diamond

2016 NE Sandy Blvd. Sumo “The Band”

The Blue Monk

3341 SE Belmont St. Howl & Wild

The Elixir Lab at Al Forno Ferruzza 2738 NE Alberta St. Blue Flags and Black Grass

Tiga

1465 NE Prescott St. Champagne Jam

TUES. MAY 14 Andina

1314 NW Glisan St. JB Butler

Beech Street Parlor 412 NE Beech St. Jason Urick

UPCOMING IN-STORE PERFORMANCES SUPER WATER SYMPATHY SATURDAY 5/11 @ 3 PM Hailing from Louisiana, Super Water Sympathy calls themselves “water pop”—a synthesis of classic symphonic ambience with modern rock ’n’ roll anthems.

KATE NASH MONDAY 5/13 @ 6 PM Although Kate Nash took a year off, she never stopped writing. By last summer she met with Bernard Butler, the former Suede guitarist and producer. The result, a unique sound that is eclectic, adventurous, and honest.

FRI. MAY 10 Dig a Pony

736 SE Grand Ave. Hostile Tapeover, Paul Montone

WED. MAY 8 Beech Street Parlor 412 NE Beech St. DJ Folklore

Bossanova Ballroom 722 E Burnside St. Wednesday Swing

CC Slaughters

219 NW Davis St. Trick with DJ Robb

Dig a Pony

736 SE Grand Ave. Pretty Ugly

Star Bar

SATURDAY 5/18 LITTLE SUE @ 3PM | RADIATION CITY @ 6 PM

John Densmore’s book signing Sun., May 19 at 3 PM

639 SE Morrison St. DJ Danny Dodge

Tiga

1465 NE Prescott St. DJ Invisible Ziggurat

THURS. MAY 9 Berbati’s

231 SW Ankeny St. DJs Def Ro and Suga Shane

Dig a Pony

736 SE Grand Ave. Marti

Willamette Week MAY 8, 2013 wweek.com

Holocene

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

Lola’s Room at the Crystal Ballroom

1332 W Burnside St. Top of the World Party: DJ Anjali & The Incredible Kid

Rotture

315 SE 3rd Ave. Soul Nite

Star Bar

830 E Burnside St. Pokey Lafarge, the Lonesome Billies

Goodfoot Lounge 2845 SE Stark St. DJ Aquaman’s Soul Stew

Holocene

1001 SE Morrison St. Ecstasy: Kim Ann Foxman, Willie Burns, Beyondadoubt, DJ Maxx Bass

Jones

107 NW Couch St. Dev From Above

Lola’s Room at the Crystal Ballroom

2845 SE Stark St. Radula

Habesha

Hawthorne Theatre Lounge 1503 SE Cesar E. Chavez Blvd. De Solution Band, Roots Revolution

Jimmy Mak’s

221 NW 10th Ave. The Mel Brown Septet

LaurelThirst

2958 NE Glisan St. Jackstraw

Mississippi Studios

3939 N Mississippi Ave. Wampire, Wild Ones, DJ Preacher Teacher

Shaker and Vine

2929 SE Powell Blvd. Avery Hill

Slabtown

1033 NW 16th Ave. Absurdo, Defect Defect, Criminal Damage, Flight 19

SAT. MAY 11

3100 NE Sandy Blvd. DJ Desecrator Fireside Lounge

Tony Starlight’s

3728 NE Sandy Blvd. John Gilmore

Twilight Café and Bar

1420 SE Powell Blvd. Open Mic Night Featuring House Band: The Roaming

Valentine’s

232 SW Ankeny St. Dropping Gems Label Showcase

Vie de Boheme

1530 SE 7th Ave. Salsa Dancing w/ Lynn Winkle and Mark Stauffer

White Eagle Saloon 836 N Russell St. Blanco

White Owl Social Club

1305 SE 8th Ave. Totaled Tuesdays: DJ Mike V., Manee Friday

SUN. MAY 12 231 SW Ankeny St. DJ Linkus EDM 736 SE Grand Ave. Bad Wizard 808 SE Morrison St. DJ North

Dig a Pony

Mississippi Studios

Kelly’s Olympian

3939 N Mississippi Ave. MRS, DJ Beyonda

The Whiskey Bar

1465 NE Prescott St. Sex Life DJs

Tonic Lounge

1001 SE Morrison St. Tropitaal a Desi-Latino Soundclash: DJ Anjali and the Incredible Kid, DJ Chilly, DJ Cuica

The Lovecraft

Tiga

1465 NE Prescott St. DJ Survival Skillz

Holocene

The Rose

111 SW Ash St. DJ JR

Tiga

Grand Central Bowl

736 SE Grand Ave. Montel Spinoza

315 SE 3rd Ave. Live and Direct

The Rose

2026 NE Alberta St. The Gladness, Muscle & Marrow, U Sco

Dig a Pony

Rotture

31 NW 1st Ave. Bass Cube: Mutrix, Koyote, Veloci

The Know

Dig a Pony

736 SE Grand Ave. DJ Maxamillion

The Lovecraft

The Whiskey Bar

2738 NE Alberta St. Johnny D’s Community Jam

Dig a Pony

412 NE Beech St. DJ Roxie Stardust

111 SW Ash St. Movement: Apartment Fox, Mike M, Spencer D, Erik Hanson, Metronome

421 SE Grand Ave. Skullfuck: DJ Horrid

The Elixir Lab at Al Forno Ferruzza

Berbati’s

1332 W Burnside St. 80s Video Dance Attack

111 SW Ash St. DROOG, Justin Sloe

3341 SE Belmont St. Pagan Jug Band

Beech Street Parlor

639 SE Morrison St. DJ Jake Cheeto 421 SE Grand Ave. Nightmoves

The Blue Monk

The Rose

31 NW 1st Ave. Donald Glaude, Jamie Meushaw, Evan Alexander

Tiga

1465 NE Prescott St. DJ Fun Boy

MON. MAY 13 736 SE Grand Ave. Sam FM 426 SW Washington St. Eye Candy VJs

The Analog

720 SE Hawthorne DJ Gothique Smooch

TUES. MAY 14 Dig a Pony

736 SE Grand Ave. Sweet Jimmy T

Tiga

1465 NE Prescott St. DJ Survival Sklz

MAY 8–14

= 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 Aloha, Say the Pretty Girls

Theatre Vertigo closes its season with Naomi Iizuka’s comedy about a heap of 20-somethings that tromps from Hawaii to Alaska to Borneo in pursuit of romance and self-discovery. Theater! Theatre!, 3430 SE Belmont St., 306-0870. 8 pm Thursdays-Saturdays through June 8. $15 Fridays-Saturdays, “pay what you want” Thursdays.

Always...Patsy Cline

In Always...Patsy Cline, the famous country singer meets one of her biggest fans, Louise, and the two form a bond that continues until Cline’s death years later. Based on a true story, the musical is carried just as much by Sara Catherine Wheatley’s flawless vocals as Patsy Cline as it is by Sharon Maroney’s entertaining and comedic narration as Louise, with the events broken up by classic Cline songs. As ballad after ballad begins to blur together, non-Cline buffs may grow numb— though they’re sure to be jolted by impromptu country line dances, as happened at a recent Sunday matinee. KAITIE TODD. Broadway Rose New Stage Theatre, 12850 SW Grant Ave., Tigard, 620-5262. 7:30 pm Thursdays-Saturdays, 2 pm Sundays and select Saturdays through May 19. $30-$40.

Ari-Maria

[NEW REVIEW] We love our celebrity couples, especially those with tumultuous or scandalous relationships. Throw in a baby mama or some rumored domestic violence and we’re hooked. And nostalgic romance aside, famed opera diva Maria Callas and wealthy Greek businessman Aristotle Onassis were a doozy of a duo. The new original musical Ari-Maria, with book and lyrics by Triangle Productions managing director Don Horn and music by Jonathan Quesenberry, follows the few years of the couple’s turbulent romance. Lead actors Amy Jo Halliday as Callas and Bruce Blanchard as Onassis embody their roles remarkably—with Halliday in particular showing off an impressive set of pipes and some serious opera chops. In fact, the performances are almost too believable, and it’s difficult to have sympathy for two such unlikable people: She’s a spoiled, narcissistic diva and he’s an arrogant, power-hungry misogynist. The doomed love affair unfolds through a series of trite musical numbers and gossip-column-style narration before wrapping up in a foregone (yet still baffling) conclusion. If nothing else, the show serves as a decent refresher course in historic celebrity gossip. PENELOPE BASS. Sanctuary at Sandy Plaza, 1785 NE Sandy Blvd., 239-5919. 7:30 pm Thursdays-Saturdays, 2 pm Sundays through May 26. $15-$35.

The Boys in the Band

As part of its Herstory/History project to stage two of theater’s earliest depictions of homosexuality, Defunkt Theatre presents Mart Crowley’s acidtongued comedy about a group of gay men in 1968. It’s a site-specific production, a decision that can prompt suspicion but, here, makes sense: The play is set in a New York apartment, and this show will take place in an East Burnside home, with audience members planted throughout the space. The play will run in repertory with Lillian Hellman’s The Children’s Hour, which opens next week. 3125 E Burnside St., 481-2960. 7:30 pm Thursdays-Sundays (no shows May 24-26). 7:30 pm Tuesday, June 11. 7:30 pm Wednesdays, May 22 and June 5 and 12. Through June 15. $15-$20.

Cinderella

Cinderella trades in glass slippers for some tap shoes in this Northwest Children’s Theater musical adaptation. NW Neighborhood Cultural Center, 1819 NW Everett St., 222-4480. Noon and 4 pm Saturdays-Sundays through May 26. 7 pm Fridays, May 10, 17 and 24. $13-$22.

Dance for a Dollar

[NEW REVIEW] Whether your music of choice is house or swing, finding a partner in a loud, pheromonal club can be frustrating. The ladies of Las Palmas, the Queens nightclub of Mariana Carreño King and Daniel Jáquez’s dance-theater production Dance for a Dollar, have developed a pay-per-groove system to efficiently soothe the dancing needs of their male clientele. With plenty of leopardframed cleavage and drunken ogling, Las Palmas would seem to satisfy more than just a need to dance. That is, until Julieta (Nurys Herrera) resolutely rejects an overzealous patron’s advances and wad of cash. Most of the men, like Gabriel (an ever-energetic Carlos Alexis Cruz), are sending money back to Mexico to support their families, or, like the Orthodox Jew Jacobo (Orion Bradshaw), simply want to dance without the trappings of social protocol. All characters have their own monologues to explain their motivations, and while this deepens personalities, it seems too cheap and easy. The dancing and music are at their best when they favor cumbia and duranguense; esoteric, vaguely symbolic sequences are a little excessive. Dance for a Dollar is successful as a meditation on the romantic effects of migration. Mexican ranchera singer Vicente Fernández wails this sentiment beautifully over the Las Palmas PA in his classic “Volver Volver”: “I know how to lose/I want to go back, go back, go back.” MITCH LILLIE. Miracle Theatre, 525 SE Stark St., 236-7253. 7:30 pm Thursdays, 8 pm FridaysSaturdays and 2 pm Sundays through May 25. $17-$30.

Winningstad Theatre, Portland Center for the Performing Arts, 1111 SW Broadway, 228-9571. 2 pm and 5 pm Saturdays and 2 pm Sundays through May 19. No 5 pm shows Saturdays, May 11 and 18. $15-$28.

La Cage aux Folles

Lakewood Theatre Company presents a musical about the romance between a Saint-Tropez nightclub owner and a brassy drag queen. Lakewood Center for the Arts, 368 S State St., Lake Oswego, 635-3901. 7:30 pm ThursdaysSaturdays; 7 pm Sundays, May 12 and 19; 2 pm Sundays, May 12 and 26 and June 2 and 9. Through June 9. $35.

The Match.com Monologues

This play, written by former Mercury editor Phil Busse, delved into the failure-riddled world of online dating last summer, and it now returns for a second run. Northwest Dance Project Studio & Performance Center, 833 N Shaver St., 421-7434. 8 pm FridaysSundays through May 19. $10-$14.

My Children! My Africa!

Profile Theatre’s season of Athol Fugard closes with the South African playwright’s 1989 drama about students whose friendship is put to the test by apartheid. Theater! Theatre!, 3430 SE Belmont St., 242-0080. 7:30 pm Wednesdays-Saturdays, 2 pm Sundays through May 26. $16-$30.

Rough Crossing

The S.S. Italian Castle sails to Hillsboro for Bag&Baggage’s production of Tom Stoppard’s madcap comedy set on an ocean liner. The Venetian Theatre, 253 E Main St., Hillsboro, 693-3953. 7:30 pm Thursdays-Saturdays and 2 pm Sundays through May 26. $18-$26.

The Seagull

Northwest Classical Theatre Company presents Anton Chekhov’s classic drama of romantic disillusionment and artistic debate. Shoe Box Theater, 2110 SE 10th Ave., 971-244-3740. 7:30 pm Thursdays-Saturdays, 2 pm Sundays through June 16. $20.

Shakespeare Party: Romeo and Juliet

Surprise Party Theatre hosts another karaoke-style production, assigning parts and handing out scripts at the door. Tonight, it’s off to Verona for some teenage lovin’. Jack London Bar, 529 SW 4th Ave., 228-7605. 7:30 pm Thursday, May 9. Free, $5 suggested.

Ten Chimneys

Fixed

Well Arts presents short plays written by Portlanders living with physical or mental illness. Portland Actors Conservatory, 1436 SW Montgomery St., 459-4500. 7:30 pm Friday and 2 pm Saturday, May 10-11. $5-$10.

Gathering Blue

[NEW REVIEW] Oregon Children’s Theatre teams up with beloved children’s author Lois Lowry for the third time to present Gathering Blue, adapted from Lowry’s 2000 novel set in a futuristic world. The story revolves around Kira, a young girl with a disfigured leg who lives in a village plagued by sickness and surrounded by maneating beasts. After her mother dies, Kira is forced to become a weaver, working on an important ceremonial robe that leads her and her friends to discover the truth behind the history of their village and its repressive government. Concrete slabs, broken furniture and threadbare curtains strung across the stage successfully evoke this dystopian world, as does the hollow percussion of metal rods against metal barrels. The desolation is brightened by the performances of the eight-member cast, including Camille Cettina, who morphs easily from a bully to an ornery and entertaining dye-maker, Stephanie Roessler as the physically disabled Kira, and the young Peyton Symes as Kira’s friend Matt, who provides the necessary comic relief and gets laughs out of children and adults alike. The soundscape and lighting design can make for a spooky environment, but Gathering Blue should be fine for ages 9 and up—a 13-year-old in the audience found the story thought-provoking and the performances powerful. KAITIE TODD.

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

PERFORMANCE

Ten Chimneys premiered in 2011. But with its old-fashioned form and frothy narrative, it might as well have been produced in the 1930s. That’s not entirely a bad thing. Jeffrey Hatcher’s comedy centers on Alfred Lunt and Lynn Fontanne, lauded as the greatest husband-and-wife team in the history of American theater. It picks up in 1938, with the couple hosting rehearsals at their rural Wisconsin estate for a production of Chekhov’s The Seagull. That means we have actors (the finely tuned Artists Rep cast) playing actors (Lunt, Fontanne and others) playing actors (Chekhov’s melancholy characters). Add in the fact that The Seagull is also set at a country estate, and the meta-theatricality is head-spinning. For non-buffs, it all might be opaque or even off-putting. But for those willing to surrender to the play’s selfaware nostalgia, it’s an affectionate throwback. At one point, Lunt (Michael Mendelson) and Fontanne (Linda Alper) rehearse a scene repeatedly, each iteration gaining velocity and heat. As Lunt’s half sister, Sarah Lucht provides an acid-tongued antidote to all the fluff—in a moment of contained rage, she spouts how The Seagull is a stupid play about stupid people acting stupidly. Ten Chimneys, on the other hand, is a mostly smart play about showy people acting in occasionally foolish ways, as Chekhov and Noel Coward whisper to them from the wings. REBECCA JACOBSON. Artists Repertory Theatre, 1515 SW Morrison St., 241-1278. 7:30 pm WednesdaysSundays, 2 pm Sundays through May 26. $25-$50.

CONT. on page 36

NO LIFTOFF: Los Angeleno Lauren Weedman riffs on Portland, with mixed results.

THE PEOPLE’S REPUBLIC OF PORTLAND (PORTLAND CENTER STAGE) It would be easy to carp about Lauren Weedman’s mispronunciation and misnaming of this newspaper (on opening night, she referred to it as “Will-uh-met Weekly”). But that would be too simple, and just a bit cheap. No, I applaud Weedman, a Los Angeles resident and former Daily Show correspondent, for picking up a copy of WW in her mission to understand our city, a quest she details in this solo show commissioned by Portland Center Stage. But Weedman—an affable monologist, gifted physical comedian and pretty decent dancer—may well have lost this one before she even started. Though her talents are on display, The People’s Republic of Portland winds up somewhere between Portlandiastyle potshots and The New York Times’ lovey-dovey coos, with Weedman’s confessional bursts more genuine than those on The Real World but still not meaty enough to carry the performance. The 90-minute show, directed by Rose Riordan, has live-wire Weedman bouncing between humorous anecdotes, skillful character impersonations, hip-hop dance breaks and thoughts about her family. These personal considerations—Weedman’s perpetual sense of dislocation, her husband’s work that takes him to Alaska every summer, her desire for her son to grow up somewhere nurturing—provide a loose framework, but they’re underdeveloped. Weedman’s observations about Portland, meanwhile, hit too many of the expected beats. The show has a bearded barista, a public transit proselytizer, a tattooed stripper, gaggles of Amelie look-alikes, geek trivia whizzes and a woman rhapsodizing about her vision quest at an ecstatic dance party. There’s even a mention of fluoride. Weedman puts her chameleonic skills to good use: In seconds, she transforms from her blond ponytailed self into a huskyvoiced, fidgety, drunken paralegal with a flannel fetish, and at another point she’s grapevining across the stage, imitating a stripper who looks like she belongs in Oklahoma! But it’s telling that one of opening night’s biggest laughs came from an impersonation of a whispery, anorexic Los Angeleno. “I’m so hungry,” Weedman sighed, crumpling to the stage. Weedman—who speaks without punctuation or pause, animated to the point of near-hysteria—presents herself as unguarded, but there’s a caginess to her. It’s one of the things that makes her so engaging: There’s a sense she’s withholding something from the audience, or even from herself. But this undercurrent of anxiety pairs uneasily with her jokes, about strip clubs being the Applebee’s of Portland, about the Pearl District’s anti-kid streak, about aggressive DIY-ers, about Portlanders so in love with their city they chew up their passports. These gags aren’t unfunny, but they seem designed for PCS subscribers to chuckle knowingly about the quaint and quirky charms of our attention-loving city. The video montages don’t help, particularly not an extended film set to “Home” by Edward Sharpe and the Magnetic Zeros, in which we watch Weedman traipse about Portland. Look as she plays pinball! As she bikes across the Broadway Bridge! As she drinks beer! And coffee! And more beer! And more coffee! The whole montage rings false. Strangely, I left the show feeling bad, and almost embarrassed, for Weedman. She’s witty and dynamic, and it’s clear she’s taken with Portland. But Portland isn’t her wheelhouse, and People’s Republic feels unfinished—and couldn’t somebody have told her how to pronounce the name of the river that runs through our city? REBECCA JACOBSON. Maybe she should have put a bird on it.

SEE IT: The People’s Republic of Portland is at Gerding Theater, 128 NW 11th Ave., 445-3700. 7:30 pm Tuesdays-Sundays, 2 pm Sundays and select Saturdays, noon Thursdays through June 16. $34-$54. Willamette Week MAY 8, 2013 wweek.com

MAY 8–14

A Year With Frog and Toad

Oregon Children’s Theatre springs around the forest with this vaudevillestyle musical. Newmark Theatre, 1111 SW Broadway, 228-9571. 2 pm and 5 pm Saturdays (no 5 pm shows May 25 or June 1) and 2 pm Sundays through June 2. $15-$30.

COMEDY Bill Cosby

The man, the legend: Who deigns Cosby with a wimpy introduction? Arlene Schnitzer Concert Hall, 1037 SW Broadway, 248-4335. 5 pm and 8 pm Saturday, May 11. $53-$100.

Chris Hardwick

The podcaster—he presides over Nerdist Industries—and host of AMC’s Talking Dead takes the Helium mic. Helium Comedy Club, 1510 SE 9th Ave., 888-643-8669. 8 pm Thursday, 7:30 pm and 10 pm Friday-Saturday, May 9-11. $20-$30.

Improv Double Header

Troupes Representatives and Horse Play Ground Meat go back-to-back with long-form improv and then join forces for some collaborative comedy. Brody Theater, 16 NW Broadway, 2242227. 7:30 pm Thursday, May 9. $6.

Lez Stand Up

Feminist-fueled stand-up from a slate of lesbians, including Jes Rega and Diane Gasperin. Curious Comedy, 5225 NE Martin Luther King Jr. Blvd., 4779477. 8 pm Thursday, May 9. $5-$10.

Pipes: An Improvised Musical

[NEW REVIEW] At first glance, it would seem difficult to craft a fullfledged musical around flying, fairies and the Western television drama Gunsmoke—and even more so when the lyrics, music and story are to be created entirely on the spot. But if the task seems daunting or implausible, you wouldn’t know it by watching this Curious Comedy ensemble. After a brief opening improv show featuring local comedians, the rotating lineup of Pipes performers takes the stage, eliciting a quick series of audience suggestions for inspiration. At a recent Saturday performance, the Pipes quintet managed to flesh out an hourlong musical inspired by the aforementioned suggestions, complete with a healthy dose of songs accompanied by pianist Knute Snortum. Yet for improvisation, the show appeared surprisingly polished, anchored by a talented group of performers who enjoy the spontaneity and abrupt plot twists of every act. Watching the ensemble musically fumble as they piece together a song about oversized gun barrels is just as amusing as the quick dialogue that carries the story along, albeit rather slowly at times. It’s not audience expectations or preconceptions that make Pipes enticing, however—it’s the lack thereof. BRANDON WIDDER. Curious Comedy, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 8 pm FridaysSaturdays through June 1. $12-$15.

Russell Peters

Of Indian descent but born and raised in Canada, Peters is a comedian known for his cracks on race and nationality, as well as his imitations of accents. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 800-273-1530. 8 pm Friday, May 10. $60-$75.

CLASSICAL Circle 3 Trio

One of jazz’s greatest bassists, David Friesen, has been based in Portland for more than three decades while frequently winning raves in Europe, Japan and elsewhere for his thoughtful musical mastery. After his son Scott died two years ago, the Oregon Music Hall of Fame charter member wrote new music related to the young painter’s life, and this concert celebrates the release of a new CD of that material by his trio, Circle 3. Woodstock Wine & Deli, 4030 SE Woodstock Ave., 777-2208. 8 pm Saturday, May 11.

Oregon Symphony, Tiempo Libre

Orchestra pop concerts usually inhabit a different world—and use a different conductor—from the standard symphony program, but when Oregon Symphony music director Carlos Kalmar heard the classically trained Cuba-born and Miami-based ensemble, he decided he wanted to make music with the Grammy-nominated septet. Kalmar will lead the orchestra and the band in symphonic timba (a hybrid of Latin jazz and Cuban son). Arlene Schnitzer Concert Hall, 1037 SW Broadway, 228-1353. 7:30 pm Thursday, May 9. $21-$95.

Portland Opera

Verdi’s last opera, Falstaff, pungently portrays one of Shakespeare’s—and literature’s—most colorful comic characters. Eduardo Chama returns to the immensely vain title role from PO’s last (1991) production, and this one directed by George Manahan also features a splendid cast including rising stars Nicholas Phan and Angela Niederloh. Keller Auditorium, 222 SW Clay St., 241-1802. 7:30 pm Friday, May 10; Thursday, May 16; and Saturday, May 18. 2 pm Sunday, May 12. $25-$138.

Portland Youth Philharmonic

The Portland area hosts a slew of grown-up symphony orchestras, but not one this year has presented programs as imaginative and relevant to contemporary Portland listeners as PYP’s music director, David Hattner, and his young musicians who play with verve and skill that belie their ages. This year’s closing concert features the 1997 Indian-influenced Visions and Miracles by accomplished composer Christopher Theofanidis, inspired by texts from Timothy Leary, Nietzche and a medieval troubadour. The program includes a pair of 20th-century classics: Stravinsky’s short, influential Symphonies of Wind Instruments and Bartok’s blazing Concerto for Orchestra. Plus there will be Polish Romantic composer Henryk Wieniawski’s 1862 Violin Concerto No. 2, featuring PYP soloist competition winner Emily Wu. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 2235939. 4 pm Sunday, May 12. $11-$40.

Resonance Ensemble

Think classical music is entirely chaste? The top-tier choir comprising many of the best choral singers in town brings its season to a rousing, ah, climax with a program that explores musical depictions of passion’s pinnacle through the centuries—from operatic scenes by Verdi and Wagner that not so subtly portray le petit mort to tensionand-release solos, duets and choral works by composers including Mozart, Pergolesi and more. Saturday’s concert is at Lewis & Clark’s Agnes Flanagan Chapel (0615 SW Palatine Hill Road). Alberta Rose Theatre, 3000 NE Alberta St., 719-6055. 7:30 pm Saturday and 7 pm Sunday, May 11-12. $11-$22.

Risonante

Comprising members of Portland Baroque Orchestra and Musica Maestrale chamber ensemble, Risonante features archaic but alluring instruments such as Baroque flute, mandora (lute), viola d’amore and pardessus de viole (two obsolete violas). Community Music Center, 3350 SE Francis St., 823-3177. 7:30 pm Saturday, May 11. $14-$16.

Tineke Postma Quartet

The term “Dutch jazz” often suggests Euro avant-garde free flights, but for a decade now, the award-winning young alto saxophonist-composer has been making lyrical, intriguing music in both Amsterdam and New York. Esperanza Spalding guest stars on Postma’s latest album, and her band displays a solid chemistry that should endear them to fans of straight-ahead sounds. Mission Theater, 1624 NW Glisan St., 223-4527. 7:30 pm Friday, May 10. $15.

Tunnel Six

Three young Canadian jazzers plus Portland pianist Andrew Oliver, Seattle trumpeter Chad McCullough and Oregon-turned-New York drummer Tyson Stubelek have produced a graceful new live album, Alive, and

Willamette Week MAY 8, 2013 wweek.com

an even tighter yet still easygoing interplay that appeals to fans of melodic jazz. Ivories Jazz Lounge and Restaurant, 1435 NW Flanders St., 2416514. 8 pm Saturday, May 11. $12.

REVIEW CHRISTINA RICCETTI

PERFORMANCE

DANCE Ballet BC

White Bird concludes its season with the Portland debut of Ballet BC, a Vancouver, British Columbia, company that’s more fun than its simple name suggests. That’s due to artistic director Emily Molnar, who took charge in 2009 and has been praised for reinvigorating the company. Much of Ballet BC’s strength is its numbers: 17 dancers who fill the stage and make the simplest acts feel exhilarating when performed in unison. The group takes advantage of this in the first of three works, Jacopo Godani’s A.U.R.A., in which the dancers move like cells, joining and splitting with a dizzying effect compounded by the percussive score by German group 48nord. But the company’s real strength is its character, which it displays in Molnar’s Aniel. Brightly colored costumes enhance the dancers’ comedic talents as they shuffle, prance and tumble around stage. The closing piece, Mehdi Walerski’s Petite Ceremonie, brings these strengths together, as the dancers don formal wear to scream and fist pump at the audience as they gracefully navigate around white boxes. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 248-4335. 7:30 pm Wednesday, May 8. $26-$64.

BodyVox

Two alternating programs mark the 15th anniversary show for BodyVox. Fresh off the company’s international tour, co-artistic directors Jamey Hampton and Ashley Roland have put together a combined 20 pieces to showcase the company’s ingenuity and pursuit of beauty. Among the pieces is a new creation, a jazzy closer called Cafe Blanco; it’s a Lindy Hop-inspired piece which appears in both programs. BodyVox Dance Center, 1201 NW 17th Ave., 229-0627. 7:30 pm ThursdaysSaturdays and 2 pm Saturdays, May 11 and 18; through May 18. $36-$59.

Charming Roulette Performance Cabaret Part of the Feminist Pop-Up Festival, Rachel Nelson and Johanna Cairns premiere their work Dark/Heavy/ Full of Holes. Nelson’s background in theater and Cairns’ background in dance have produced a piece they say brings a dancer’s sensibility to satirical comedy. It involves character work and pop culture, as well as audience involvement. While you won’t be asked to tap dance, Nelson and Cairns are interested in exploring what it means to not passively watch a performance. Performance Works NW, 4625 SE 67th Ave., 777-1907. 6 pm Sunday, May 12. $5-$10 suggested.

Find It

A conceptual program by choreographers Rachel Slater and Kristine Anderson depicts a range of human emotion. Slater has herself and others convulsing in the literally named Lorazepam, Sweaty Palms and the Shakes, a piece produced this past winter at Zoomtopia’s Studio 2. Slater is joined by Anderson, a budding choreographer premiering a work about failure and reactions to societal expectations. A three-member female ensemble accompanies the choreographers in the physically expressive show. Conduit Dance , 918 SW Yamhill St., Suite 401, 221-5857. 8 pm Friday, May 10; 5 pm and 8 pm Saturday, May 11. $10-$15.

Luciana Proano

Peruvian cultural dancer Proaño presents Chaski, a performance based on the Quechua word for “messenger.” Accompanied by guitar and several percussion instruments, Proaño guides the audience through a dream of positive transformations as a testament to human endurance. Studio 14, 333 NE Hancock St. 8 pm Fridays, May 10-31 and June 14-21. $10-$15.

For more Performance listings, visit

GO FOG WILD: Allison Tigard and Damian Thompson.

THE LEFT HAND OF DARKNESS (HAND2MOUTH THEATRE/PORTLAND PLAYHOUSE) Androgynous aliens in a world of blue AstroTurf.

When Portland author Ursula K. Le Guin wrote The Left Hand of Darkness in 1969, she imagined it as a thought experiment. What would a world be like, she asked, where humans spent most of their lives as androgynous beings? A world where people only adopted sexual identities for a few days each month, and could become either male or female? What if traits were neither masculine nor feminine? So it’s fitting that this new adaptation of Le Guin’s novel—of her thought experiment—is rather experimental itself. The show, co-produced by Hand2Mouth Theatre and Portland Playhouse and directed by Jonathan Walters, follows Le Guin’s narrative but also incorporates stylized movement, haunting songs, an immersive synth score, a fog machine and cool blue lighting to transport the audience to Gethen, an icy planet populated by androgynous beings. Dressed in bulky wool and with faint streaks of gray across their faces, the ensemble moves in deliberate and fluid ways through the blue AstroTurf-walled space. We meet Estraven (Allison Tigard), the prime minister who has just been exiled for treason, and Genly (Damian Thompson), an envoy sent from Earth to build alliances. John Schmor’s overstuffed script works hard to establish an intricate set of political circumstances, but it grows convoluted even for those familiar with the novel. Estraven’s country recalls medieval Europe, complete with an insane—and in this case pregnant—king (Lorraine Bahr, with an unfocused and off-putting battiness). Eerily clinical interludes feature lab-coated scientists explaining the idiosyncrasies of Gethenian sexuality, and mystical foretellers and drunken politicians populate other scenes. By the end of the first act, we’ve arrived in a Soviet-like state, where Genly labors at a “voluntary resettlement farm” until being rescued by Estraven. The second act changes course, charting Estraven and Genly’s treacherous trek over a glacier and the thawing of their frosty relationship. It’s here where the show gains steam. Though the first act establishes why Estraven and Genly have been pushed together, each exiles and aliens of their own making, it’s not until later that their characters are developed. What unfolds in the compelling second act—as these two navigate foreign social codes and excruciating physical tests—doesn’t need the fragmented, abstruse exposition provided earlier in the play. The two halves could exist independent of each other. Despite the centrality of gender to Le Guin’s novel, questions about androgyny and sexual difference in the play become secondary to the unconventional love story. With her white-blond hair and striking features, Tigard brings to mind Tilda Swinton, fiercely impassive and commanding. But Thompson, as the play’s lone Earthman, feels phoned-in. The androgynous humans around him refer to him as a pervert, yet Thompson seems the least sexed of them all. (If you saw his violently seductive performance in last year’s Brother/Sister Plays at Portland Playhouse, you know he’s capable of more.) “Ambitious” is often a euphemism for “unsuccessful,” and there are pieces of The Left Hand of Darkness that are both. H2M and Portland Playhouse gave themselves a massive challenge in adapting Le Guin’s dense and complicated novel for the stage. Best, then, to treat the play as an experiment: a gutsy leap into Le Guin’s world, which these scientists and voyagers are still learning to navigate. REBECCA JACOBSON.

SEE IT: The Left Hand of Darkness is at Portland Playhouse, 602 NE Prescott St., 488-5822. 7:30 pm Thursdays-Saturdays, 2 pm SaturdaysSundays through June 2. $23-$32.

VISUAL ARTS

MAY 8–14

= 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.

slightly off-kilter ambiguity of questions—such as “Who was my mother, and who am I?”—that cannot fully be answered. Through June 1. Butters Gallery, 520 NW Davis St., second floor, 248-9378.

Uncontrollable Urge Ann Ploeger: My Melinda

Who can forget photographer Ann Ploeger’s gory 2009 series of bloodspattered faces, aptly titled Blood? She’s up to the old horror antics again in her current show at Pushdot, My Melinda. This sublimely creepy show features a single model portraying the eponymous foxy redhead, a character in faux-horror movies drawn from Ploeger’s imagination. In photo after photo, the intrepid Melinda finds herself in danger’s path: inside a claustrophobic shower enclosure, glimpsed by a voyeur through a window at night. What harm will befall her? Can sheer pluck and great lipstick save her from impending doom? Through May 31. Pushdot, 1021 SE Caruthers St., 224-5925.

Cynthia Lahti: Elsewhere

In Elsewhere, Cynthia Lahti combines ceramics with pages from old books, photographs of the circus, party favors and mass-produced figurines. By cobbling these objects together, she aims—not very successfully—to evoke common memories from the well of the collective unconscious. She made these works last year during a residency in Berlin, and indeed, with their marriage of abstruseness and decadence, they exude a decidedly Eurotrash sensibility. They withhold just enough meaning to make you feel cheated, and allow just enough to make you feel cheap. Through June 1. PDX Contemporary Art, 925 NW Flanders St., 222-0063.

Hector Mediavilla: S.A.P.E.

Whether they’re called dandies, fops or, in the Congo, “sapeurs,” it’s undeniable that people who dress with conspicuous panache provide eye candy for everyone in their sartorial and social orbits. Spanish documentary photographer Hector Mediavilla traveled to the Republic of Congo to document exemplars of the country’s “sapeur” style. These dressersto-the-nines model themselves after Congolese citizens who visited Paris in the 1920s and returned home with a distinct Parisian flair. Mediavilla’s photo essay highlighting these men’s contemporary heirs gets to the heart of costume’s sometimes uneasy relationship with identity. Through June 2. Newspace Center for Photography, 1632 SE 10th Ave., 963-1935.

Jaq Chartier: Ultra Marine

One of the most compelling artists working on the West Coast, Jaq Chartier draws a new arrow from her quiver in her exhibition, Ultra Marine. Well-known for her pseudoscientific, stain-based “tests,” which explore abstract color effects based on unknown outcomes, Chartier has

adapted the technique to portray representational imagery. Instead of neat rows or diffused dots, she arranges her extravagantly hued experiments to evoke the contours of coral and other marine life. And instead of her signature white backgrounds, she experiments with backgrounds of luxuriant black. The show also includes a video element and works on paper made with phosphorescent paint, referencing the eerie beauty of bioluminescence. Through June 1. Elizabeth Leach Gallery, 417 NW 9th Ave., 224-0521.

Oregontology

This group show began on Earth Day and is an appropriately earthy celebration of Oregon’s old-growth forests, mushrooms, mountains, ecospheres, and all other things that go “crunch!” in the night. Thirty artists participate in the lovefest, which bears the wittily punned and downright cute title of Oregontology. If you love Oregon, you might not love this show, but chances are your state pride will get you at least to second base. Through May 12. People’s Gallery, Pioneer Place Mall, 700 SW 5th Ave., third floor, Suite 4005.

Renée Zangara: Ruralization

With Portland’s backyard-chicken craze having gone viral to the point of metastasis, you’d think artists would pounce to parody the phenomenon, just as the TV show Portlandia has. But that’s not what Renée Zangara does in her paean to poultry, Ruralization. No, she plays it straight, rendering chickens and roosters, along with pigs and sheep, with a neo-Impressionist technique that romanticizes rather than satirizes. In the painting Scuffle, she renders a cockfight as a flurry of jots and dashes that would read as an abstract painting, were it not for a beak here, some waddle there, and the odd claw. The chicken fad itself is annoying as hell, but somehow Zangara’s Ruralization elicits more smiles than smirks. Through June 2. Nine Gallery, 122 NW 8th Ave., 2277114.

Ted Katz: Questions

After his beloved mother passed away, painter Ted Katz traveled to Eastern Europe and Russia to absorb the heritage that had been hers. In those diverse landscapes, both terrestrial and psychological, he found the inspiration for the paintings in Questions. Katz paints landscapes semi-abstractly, so that according to the viewer’s eye and mood, swaths of color register either as sweeping brushstrokes, plains, hills or misty skies. In works such as What Light You Have, he tilts the horizon line, imbuing the composition with the

You’ve heard of the yeti, right? You know, the Abominable Snowman? But Yeti is also the name of a multiformat journal edited by Mike McGonigal, who conceived the project as “a general-interest magazine for those with marginal interests.” Thirty artists from around the world, including seven based in Portland, will exhibit artwork featured in Yeti’s pages through the years, much of it with a lowbrow or self-taught aesthetic. The show coincides with the publication of Yeti issue No. 13. To miss it would be…abominable. Through June 14. Portland Museum of Modern Art, 5202 N Albina Ave., 953-0515.

Wider Than a Postcard

Talk about whiplash! You couldn’t swing any further from Breeze Block’s previous show—Stephen Scott Smith’s immersive and monolithic installation—to the gallery’s current offering, which incorporates more than 200 small works by as many artists. How small? They’re the size of a postcard. Curator Sven Davis asked the artists to use existing postcards or to create their own, with each piece themed around the postcard’s locale. Beyond that, anything goes. It’s an exercise in stylistic heterogeneity within homogenous spatial constraints, and while the work varies wildly in subject matter and quality, the salonstyle hang lends a spunky energy to the show as a whole. Through June 1. Breeze Block Gallery, 323 NW 6th Ave., 318-6228.

Working Classics

The two artists in this show are Portland icons, plain and simple. Jason Brown has curated visual-arts programming at the Goodfoot for the past 12 years and is one of those unassuming, under-theradar types whose civic imprint is way bigger than his personal fingerprint. Then there’s Chris Haberman, who comanages People’s Art of Portland with Brown. He’s been painting lovably cartoonish, text-laden portraits of Portland peeps for so long, his unique style has gone from irksomely ubiquitous to downright beloved. Both men share a dauntless work ethic and an undiluted love of all things Stumptown. They collaborated on the paintings in this show, which is themed loosely around the idea of the “working-class hero.” Through May 28. Goodfoot Lounge, 2845 SE Stark St., 239-9292.

For more Visual Arts listings, visit

REVIEW

OFF THE PLAIN The plain! The plain!

Whether in his photography, curatorial endeavors or seminal gallery, Soundvision, TJ Norris has always been a reliable purveyor of conceptually and visually elegant projects with a minimalist bent. His latest outing, Off the Plain, extends his signature aesthetic into the conceit of photography-as-sculpture. The 17 artists Norris (who has contributed to WW) has assembled—all but one either born or based in the Northwest—deploy an arsenal of media above and beyond photography. Norris is interested in what happens when the medium stops referencing both the geographic “plain” and the “plane” of the two-dimensional photographic print. Artist Richard Schemmerer takes up the challenge with his sliced, diced and reconfigured photographs, which resemble origami. Brooks Dierdorff, donning a metaphorical hunter’s cap, shoots an arrow into the wall, scoring a crumpled image of a deer. Jennifer Vaughn’s Silence Apart, a portrait on round steel, rotates on a 45-rpm record player. Several pieces incorporate unusual presentations: Sarah Knobel sheaths her imagery in Plexiglas, transparencies and colored gels, while Ben Buswell fastidiously hand-scores photos of sand in his First There Is a Mountain, eroding the surfaces as sand erodes terrain. No one will dispute that all this toying with photography’s possibilities of texture and form is terribly inventive, but just as a porno leaves you hankering for the real thing, these works incite in the viewer a rabid longing for, say, a classic Ansel Adams, Richard Avedon, Robert Mapplethorpe or Nan Goldin—a nice,

INVENTING THREE-DIMENSIONAL ARRANGEMENTS 2 BY MELANIE FLOOD

flat photograph of an intriguing place or person. The closest this exhibition comes are two prints by Melanie Flood. One shows a piece of pastel-colored fabric draped opulently over a box; the other, an insouciant chunk of melted cotton candy. Although these works would have benefited from a more asymmetrical composition and savvier use of negative space, they exude a straightforward playfulness lacking in the show’s more contrived work. Off the Plain is a rigorous and well-executed exercise, but ultimately, a photograph is truest to its nature when it is a picture of something, not just a glorified sheet of papier-mâché to be cut apart and turned into paper airplanes. RICHARD SPEER. SEE IT: Off the Plain is at Pioneer Place Mall, 700 SW 5th Ave., third floor, placepdx.com. Through June 2.

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Willamette Week MAY 8, 2013 wweek.com

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Give!Guide 2013!

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GIVE! GUIDE 2013

Willamette Week’s 2013 Give!Guide

Applications OPEN on June 1st @ wweek.com/giveguide

BOOKS

MAY 8–14

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

WEDNESDAY, MAY 8 Jeremy Scahill

As our society edges closer and closer toward an Orwellian dystopian future, author Jeremy Scahill explores the new form that warfare has taken in America and across the globe in his new book, Dirty Wars. Complete with shadowy covert warriors, Scahill reveals the human face of the many casualties that result from a deadly official policy. Powell’s City of Books, 1005 W Burnside St., 228-4651. 7:30 pm. Free.

FRIDAY, MAY 10 Tanya J. Peterson

Exploring the exciting worlds of post-traumatic stress disorder, depression and schizophrenia, Tanya J. Peterson draws on her work as a counselor for her new novel, Leave of Absence. Her presentation “Banishing Barriers and Living Life” will delve into the lives of women dealing with mental illness and the power of fiction to illuminate the struggle of mental illness. In Other Words, 14 NE Killingsworth St., 2326003. 7 pm. Free.

SATURDAY, MAY 11 Live Wire

Weekly radio variety show Live Wire packs so many interesting people into one show you might just have an awesome overload. Try to contain yourself as this week’s show features comedian and WTF podcast host Marc Maron, director Scott Schwartz and writer Ken Davenport of the new musical Somewhere in Time premiering at Portland Center Stage, local author of Clown Girl and The Stud Book Monica Drake, and founder of sci-fi blog Io9. com Annalee Newitz. Alberta Rose Theatre, 3000 NE Alberta St., 7196055. 7:30 pm. $20-$35.

MONDAY, MAY 13 Monica Wesolowska

Mere days after giving birth to her son, Monica Wesolowska receives the worst of possible diagnoses for him and must make an unthinkable choice. Her resulting memoir, Holding Silvan, explores not only the death of her child but her own evolution through the process and an examination of bioethics and euthanasia. Powell’s on Hawthorne, 3723 SE Hawthorne Blvd., 228-4651. 7:30 pm. Free.

TUESDAY, MAY 14 Jacob Young

Portland-based writer and performer Jacob Young will present a reading and puppet show based on his new novel, There is a Place in the Throat That Has No Voice, 8:0:8, a sci-fi romp into the future following a family of visionary thinkers and a curious new species of animal. Backspace, 115 NW 5th Ave., 2482900. 8 pm. Free.

Vince Welch

Native Portlander Amos Burg is considered to be the only person known to have paddled all major Western rivers from source to mouth in the 1930s, including the Snake, Columbia and Colorado. Vince Welch’s new biography, The Last Voyageur: Amos Burg and the Rivers of the West, explores the life and adventures of a true manly man. Broadway Books, 1714 NE Broadway, 284-1726. 7 pm. Free.

Willamette Week MAY 8, 2013 wweek.com

Animal Stories

Anyone who has ever owned a pet— whether hamster, dog or exotic lizard—can attest to the impact it can have on your life. Animal behaviorist Rosemary Douglas Lombard has combined her passion for writing with her research into turtle cognition, and will share from her current work in progress, Diode’s Experiment: A Box Turtle Investigates the Human World. And, yes, the turtles will be present at the reading. Joining her will be essayist and poet Karen Walasek sharing her experiences with her service dog, Finn, from A Question of Loyalty. Milepost 5, 850 NE 81st Ave., 729-3223. 7 pm. Free.

Michael Pollan

Effectively making us feel really guilty about the food we eat (or self-righteous depending on your diet), best-selling author Michael Pollan tackles all facets of the food chain and our place within it in his books The Omnivores Dilemma, In Defense of Food and Food Rules. His newest endeavor brings us back to the kitchen as he explores the importance of cooking for both health and enjoyment in Cooked: A Natural History of Transformation. Pollan will talk food with OPB’s Dave Miller—but it’s a hot ticket, so you might have to scalp yours from a back-alley foodie. Newmark Theatre, 1111 SW Broadway, 248-4335. 7:30 pm. $37.95.

For more Books listings, visit

REVIEW

C.B. BERNARD, CHASING ALASKA Anyone who has lost a weekend pursuing their heritage through the waggling leaves of Ancestry.com understands the dynamic driving C.B. Bernard’s Chasing Alaska: A Portrait of the Last Frontier Then and Now (Lyons Press, 275 pages, $18.95). The book follows Bernard through an Alaskan Dead polar bears everywhere. adventure begun on a whim in his native Massachusetts, but shaped by the discovery that his great uncle Joe Bernard, a notable Arctic explorer, is buried within sight of his new apartment. This bit of kismet carries us a long way—though not as far as Bernard intends. Chasing Alaska juxtaposes snippets of Uncle Joe’s 1,000-pluspage journal with prose from Bernard, now a Portlander, who moves to Sitka to work as a newspaper reporter. As Nephew explains, his rainy Alaska looks very little like the white wasteland where Uncle spent 10 long winters eating adorable Arctic mammals as he waited for a month of melt when he could push his small but sturdy boat, Teddy Bear, through the bays along the Beaufort Sea. Both vagabond Bernards are Alaskans of their era. Uncle lives off trapped and shot game while trading for one of the world’s greatest collections of Eskimo artifacts; Nephew ponders the challenges of rural economies and the disappearance of true wilderness. At his worst, Bernard is a preachy crank, complaining about cruise tourists (“they spend a week on the water but never get wet”) or a Tlingit boy who asks his dad if that fishing boat was on Deadliest Catch (“it breaks my heart, an Alaskan Native so impressed by a small-screen version of his homeland”). At his best, he composes elegant snapshots of contemporary life in Alaska, as when following a state trooper investigating a rape, and giving a nuanced take on the white-trash town that launched Sarah Palin. What’s missing, though, is an overarching conflict to tie it all together. In the final pages, the best chance emerges: Uncle Joe’s rivalry with the better-known explorer Vilhjalmur Stefansson, which turned bitter over a lost group of Canadian colonists. Bernard’s cousins have a theory about this, he tells us, that could be proved using a letter that may be buried beneath the ice. Alas, it’s “too long and complex to nutshell.” Toward the end, we see correspondence in which Uncle Joe brushed aside an editor’s request to weave a narrative into his manuscript, which he felt may have compromised a more complex truth. It seems Nephew did the same. Maybe it’s in the genes. MARTIN CIZMAR. GO: C.B. Bernard will read at Powell’s City of Books, 1005 W Burnside St., on Monday, May 13. 7:30 pm. Free.

MAY 8–14 REVIEW

= WW Pick. Highly recommended.

WA R N E R B R O S

MOVIES

Editor: REBECCA JACOBSON. TO BE CONSIDERED FOR LISTINGS, send screening information at least two weeks in advance to Screen, WW, 2220 NW Quimby St., Portland, OR 97210. Email: rjacobson@wweek.com. Fax: 243-1115.

D+ Jackie Robinson is an American

legend. Brian Helgeland’s Robinson biopic, 42, will also secure a spot in history: history class. This is the kind of shoddy biopic that teachers will keep in the bullpen for sick days, so some hung-over substitute can put it on for a “lesson.” Yet this is neither a good sports movie nor a worthwhile historical film. If one were to piece together Robinson’s story based solely on 42, it would read as follows: Jackie Robinson (Chadwick Boseman) was a nice, college-educated man who loved his wife. One day, Brooklyn Dodgers general manager Branch Rickey (Harrison Ford) called him up to the bigs. Most white players didn’t like him, spending so much time snarling racial slurs they didn’t realize he was both nice and good at baseball. Then everyone realized he was good at baseball. Then they were friends. 42 is a hackneyed, cookiecutter film that manages to tell us absolutely nothing about a turning point in American history. But on the bright side, at least it’ll provide endless naps for future history students when their teachers are sick. PG-13. AP KRYZA. Cedar Hills, Cornelius, Oak Grove, City Center, Evergreen Parkway, Fox Tower, Lloyd Mall, Movies on TV, Wilsonville.

Admission

C Paul Weitz’s lukewarm dramedy, takes a subject, the neurotic frenzy of college admissions, that could be played seriously or for laughs, and lands in an erratic middle. PG13. REBECCA JACOBSON. Kennedy School, Laurelhurst Theater.

Aftershock

Apparently based on true events from Chile’s 2010 earthquake, this thriller— co-written by Hostel director Eli Roth— finds a group of tourists trapped in an underground nightclub. R. Living Room Theaters.

Aliens

[REVIVAL] Sigourney Weaver battles the alien queen, in 35 mm. R. Hollywood Theatre.

The Angels’ Share

B- Although the Scottish slang

spoken in The Angels’ Share is slightly more comprehensible than that in Trainspotting, this heartwarming yarn of a thug turned good might still make viewers yearn for subtitles. Fortunately, though, the goofy heist plot is simple enough you should be fine with only a 30 percent grasp of the dialogue: Four young Glaswegians sentenced to community service after minor offenses hatch a scheme to pilfer some very pricey Scotch whisky. Headed up by new father Robbie (real-life ex-con Paul Brannigan, a wiry and endearing presence with a short fuse), the clumsy quartet dons some tartan and tromps to the misty Scottish Highlands, along the way hitchhiking with nuns, developing their whisky noses and unleashing plenty of potty humor. The film is genial enough, with its lighthearted jokes and sugary soundtrack tempered by director Ken Loach’s periodic injections of leftist social commentary. REBECCA JACOBSON. Living Room Theaters.

The Big Wedding

A rom-com about a wedding weekend, with a cast too good for this project (including Robert De Niro, Susan Sarandon and Diane Keaton). Not screened for Portland critics. R. Cedar Hills, Lloyd Center, Oak Grove, City Center, Evergreen Parkway, Fox Tower, Movies on TV, Wilsonville, Sandy.

Cloud Cult: No One Said It Would Be Easy

C [ONE NIGHT ONLY] As a culture, we seem ready to canonize the artists of the world far too quickly. Take Cloud

Cult, a well-meaning indie-pop group with Christian leanings. The Minnesotabased group has released eight fulllength albums, including its most recent effort Love, and has indoctrinated many a member into its denomination. But is that legacy enough to warrant a feature-length documentary about the band? My spidey senses tell me no, yet in 2009, directors John Burgess and Scott West took up cameras to create this portrait of the group. They follow the standard music-documentary template closely, with fans rhapsodizing about the power of the group’s music, extensive interviews with the band’s leader, Craig Minowa, and plenty of live footage. Viewers also get a glimpse into one of the defining moments of the band’s existence: the death of Minowa’s 2-year-old son in 2002, which inspired the breakthrough album They Live on the Sun. Beyond that harrowing event, there’s little drama or substance to warrant this kind of exploration. For a documentary whose title promises difficulty, this sure felt like a smooth ride to the top of the Christian indie heap. ROBERT HAM. Mission Theater. 7 pm Sunday, May 12.

The Croods

B 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. In a nutshell: Nic Cage, cavemen, zaniness. PG. MARSHALL WALKER LEE. Cedar Hills, Indoor Twin, Oak Grove, City Center, Evergreen Parkway, Lloyd Mall, Movies on TV, Wilsonville, Sandy.

Disconnect

A movie from Murderball director Henry Alex Rubin about how the Internet destroys lives. Not screened for Portland critics. R. Fox Tower.

Django Unchained

B- Django Unchained trivializes an atrocity, and that makes it hard to digest as fun, frivolous popcorn. R. MATTHEW SINGER. Laurelhurst Theater.

Evil Dead

C Should there be any doubt, we’re

not speaking about The Evil Dead from 1981. The new movie—on which series godhead Sam Raimi served as producer—is undeniably effective. But the response it provokes has less to do with traditional notions of fear than with autonomic revulsion from the cavalcade of brutality. R. JAY HORTON. Lloyd Center, Pioneer Place.

From Up on Poppy Hill

B- The newest addition to Studio Ghibli’s emporium of wondrous Japanese animations is a tale of schoolgirl romance, containing all the delight but hardly the depth of Hayao Miyazaki’s Howl’s Moving Castle or Spirited Away. Umi is a Cinderella of sorts, running her family’s coastal boarding house after her sailor father dies and her mother leaves to study in America. Her prince is daredevil activist Shun, who’s set on saving their school’s unkempt student center. Set in a postWWII Japan ignited by social ferment, the young characters battle authority and discover love. This family affair— Miyazaki worked on the screenplay and son Goro directed—is dreamlike, endearing and fiercely visual. But scenes of Umi gazing over a misty harbor fall short of the wonder expected from the studio behind Howl’s living, teleporting mansion. PG. ENID SPITZ. Fox Tower.

G.I. Joe: Retaliation

D As “How You Like Me Now?” blares presumptuously over the end credits, dejected viewers will be excused for muttering, “I actually liked you a lot

CONT. on page 40

MACARON DADDY: Leonardo DiCaprio is mad about cakes.

PRETTY, DUMB

BAZ LUHRMANN’S THE GREAT GATSBY REMAKES THE ’20S FOR THE TWEENS. BY MATTHEW KOR FHAGE

mkorfhage@wweek.com

Baz Luhrmann’s adaptation of The Great Gatsby begins, appropriately enough, with decoration—a gold-filigreed frame that accordions outward in 3-D before suddenly cutting to a swimmy shot of some water, under a voice-over that dopily bastardizes the book’s opening lines. Then, yet another framing device. Turns out Nick Carraway (Tobey Maguire), the always-justoutside-the-action narrator of Gatsby, is telling the entire story of the movie to his psychologist. The poor kid’s both Carraway and Caulfield. Well, it’s always good to let the crowd know what they’re in for: a little bit of pretty, a little bit of confusion, a whole lot of stupid. But you can go a long way in this world being pretty and stupid, and it doesn’t mean you don’t have a heart. Luhrmann’s 1920s New York is a phantasmagoric spectacle—one second it’s a psychedelic Busby Berkeley routine, the next it’s a neo-realist version of The Hudsucker Proxy—and the script lobotomizes the novel’s dialogue into amazing subcamp clunkers like, “I’m taking her away from you, Carraway! Rich girls don’t marry poor boys. She’s mine!” But while Luhrmann’s Gatsby is a far cry from the book by F. Scott Fitzgerald, it is in its own way quite affecting: Badly married silver-spooner Daisy Buchanan (Carey Mulligan) and besmirched tycoon Jay Gatsby (Leonardo DiCaprio) have been cast here not as cautionary tales about ambition and old money and the intractability of the past, but as star-crossed lovers. From Romeo and Juliet to Moulin Rouge, it’s the story Luhrmann understands. Even as the camera lurches around like a drunken wasp, the actors are often treated with a blessedly soft touch: Maguire mushmouths his way around his bystander role with characteristic humility, while Elizabeth Debicki, as fellow bystander Jordan Baker, buys herself into a movie career with a feline self-possession bordering on inhuman. DiCaprio, meanwhile, plays the kid from Titanic

grown up into a clueless Howard Hughes, though his pathological quest to buy off his past and his girl with a hydroplane of ill-gotten money is portrayed as the height of dreamy nobility. (It ain’t for nothing Jay-Z’s a producer of the film.) Gatsby’s the poor boy made good, against the odds, to get the girl, and the dirty money never seems to stain his suit. Daisy’s a nice girl, too; it seems Luhrmann left out the quotation marks around “nice” that Fitzgerald took care to add. She’s almost too sympathetic in Mulligan’s capable hands—the wounded object of male need, stripped naked by her suitors—for her callow decisions to make sense. Her husband, meanwhile, is even more of a lout than he is in the novel. So it’s not just Gatsby who’s doomed in the end; it’s Gatsby. The movie’s a high-drama, highsaturation emotional spectacle. And though it’s often effective in roping the viewer in, it has all the

IT HAS ALL THE SUBTLETY OF A YOUNG DRUNK WHO’S JUST BEEN LEFT BY HIS GIRLFRIEND. subtlety of a young drunk who’s just been left by his girlfriend. Eventually, as he keeps loudly repeating himself, all you want is an excuse to turn back to your own drink. The contemporary soundtrack, despite a lot of knee-jerk criticism and a silly scene on a bridge, isn’t overly distracting. It’s easy to understand why rap substitutes for jazz: It is the modern equivalent, blending low-brow fun and high-rolling bank accounts with a leftover frisson of danger. But this, of course, assumes the audience is too dumb to understand the role jazz played in the 1920s—that the music, like the hilariously hamfisted script, must be translated into only the most familiar terms. The novel, for all the Jazz Age frenzy it depicts, plays a much softer music—and it is this music one recalls when thinking back on the book, the sadness and the subtle sense of doom contained in every misbegotten line uttered by its characters. Funny that in such a musical film, this music is the one thing Luhrmann couldn’t hear. C The Great Gatsby is rated PG-13. It opens Friday at Cedar Hills, Clackamas, Cornelius, Lloyd Center, Oak Grove, Cinema 99, Bridgeport, City Center, Fox Tower, Evergreen Parkway, Lloyd Mall, Eastport, Division, Tigard, Movies on TV, Sherwood, Sandy.

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MAY 8–14

better before.” While this sequel/reboot boasts the same slapdash storytelling and risible dialogue as its predecessor, John M. Chu can’t infuse the material with the same cartoonish energy Stephen Sommers lent 2009’s The Rise of Cobra. Displaying an aversion to outrageousness, this action flick instead traffics in garden-variety ridiculousness. PG-13. CURTIS WOLOSCHUK. Indoor Twin, Evergreen Parkway, Lloyd Mall, Movies on TV, Wilsonville.

Harry and the Hendersons

[TWO DAYS ONLY, REVIVAL] John Lithgow comes to the Pacific Northwest—and finds Bigfoot! PG. Hollywood Theatre. 2:30 pm SaturdaySunday, May 11-12.

He’s Way More Famous Than You

D+ [THREE NIGHTS ONLY] Is Halley

Feiffer beloved or just persistent? Make no mistake, He’s Way More Famous Than You lurches onto a dozen or so screens across the country this weekend solely because of the succession of cameos (Mamie Gummer! Vanessa Williams!) tossed off by A-toZ-listed celebrities via a framing device of breathtaking arrogance. Within the story line, you see, Halley Feiffer plays a minor actress named Halley Feiffer determined to relaunch her career by hustling purloined star power to promote an autobiopic titled He’s Way More Famous Than You. If the mind wanders, some fun can be had by connecting the dots between each guest’s appearance: Our heroine debuted on Broadway with Ben Stiller; she was Jesse Eisenberg’s girlfriend in The Squid and the Whale; Austin Pendleton probably knows her cartoonist dad; Ralph Macchio may have been getting a burger nearby. But seemingly absent any scripted dialogue or professional production standards, none of those performances could have taken too terribly long to film. As director of both the movie and the movie within the movie, Ugly Betty shibboleth Michael Urie takes full advantage of indie associations to slough off improvisatory awkwardness as something more than sloppiness, and weirdly, the film’s stifling air effectively highlights Feiffer’s comic timing and gamely manic gyrations. Frankly amateurish, perhaps the project was originally shot as a test reel for a sitcom before things spiraled out of control and into theaters—nothing ever just disappears when one’s friends are so much more famous. JAY HORTON. Clinton Street Theater. 7:30 pm Friday-Saturday, May 10-12.

In the House

A- In the delightfully sinister In

the House, a high-school teacher named Germain positions himself as the Sultan to student Claude’s Scheherazade, waiting eagerly and somewhat menacingly for each fresh chapter. It’s just one of many cunning constructions in French director François Ozon’s film, which celebrates the power of storytelling while also detailing its dangerously high stakes. When Germain (Fabrice Luchini) asks his students to write about their weekend, Claude (Ernst Umhauer) responds with a provocative, leering story about a classmate and his bourgeois family. Germain, a failed writer of fiction, quickly finds himself wrapped up in Claude’s unfolding tale: as an editor and as an avid reader. Claude entangles himself with the family: He joins basketball games, sleeps over, eavesdrops on private conversations, sneaks into the parents’ bedroom and ultimately seduces the mother. Ozon allows his characters to comment on or interrupt the proceedings, and it’s not always clear where reality stops and Claude’s fantasy sequences begin. But the film is propelled by performances alternately entrancing and repellent. Luchini’s deadpan comedy contrasts brilliantly with Umhauer’s moody, mischievous and slightly smarmy performance as a teenage boy who knows he’s in too deep. As teacher and student bask in their choreographed drama, Germain’s wife, Jeanne (Kristin Scott Thomas), drops cutting asides and cautionary remarks from the wings. Ozon may be knowingly clever, but the thrills and tortures of voyeurism have rarely been so playful—or so skin-crawling. R. REBECCA

JACOBSON. Living Room Theaters.

Iron Man 3

A- Going dark, as superhero movies

are wont to do in the third round, without losing its charm, Iron Man 3 emerges as a top-tier superhero yarn that emphasizes something too often forgotten by its brethren: Comic-book movies are supposed to be fun. Here, our hero (the great Robert Downey Jr.) squares off against an Osama bin Laden-type villain known as the Mandarin (Ben Kingsley), a deranged scientist (Guy Pearce) and an army of super soldiers. In reuniting Downey with Kiss Kiss Bang Bang director Shane Black, Marvel has managed yet another home run in a series of blockbuster gambits. In Black—the man who invented the banter-driven buddy-cop genre with Lethal Weapon—Marvel has finally found a writer who can convey Stark’s gift for fast talk and self-deprecating barbs. He’s populated his film with loquacious henchmen, slapstick sight gags and enough putdowns to fuel 1,000 celebrity roasts. In keeping Stark out of his armor for much of the film, Black has crafted a superhero film that harks back to the golden years of summer action. Iron Man 3 isn’t just a fine superhero film. It isn’t just a fine action flick, either. It’s a film that embraces a mold before completely breaking it with out-of-left-field twists and turns that keep the viewer engaged and chuckling with alarming frequency. PG-13. AP KRYZA. 99 West Drive-In, Cedar Hills, CineMagic, Cornelius, Lloyd Center, Oak Grove, City Center, Evergreen Parkway, Lloyd Mall, Movies on TV, Pioneer Place, Wilsonville, Sandy, St. Johns Twin.

Jurassic Park 3D

That velociraptor is reaching out to get you…and your wallet. PG-13. Cedar Hills, Lloyd Mall, Movies on TV, Pioneer Place.

KBOO at the Clinton: The Inconvenient Truth Behind Waiting for Superman

[ONE NIGHT ONLY] A documentary, produced by teachers and parents in New York City, to rebut 2010’s Waiting for “Superman.” Clinton Street Theater. 7 pm Thursday, May 9.

Kung Fu Theater: Queen Boxer

[ONE NIGHT ONLY, REVIVAL] In this 1972 flick, an enigmatic female kickboxer sets out to avenge the death of her brother. Hollywood Theatre. 7:30 pm Tuesday, May 14.

The Loreley’s Grasp

[ONE NIGHT ONLY, REVIVAL] When this film about young women’s hearts being horrifically torn from their beautiful bosoms was released in 1976, viewers received vomit bags. That probably won’t be necessary tonight, but consider yourself warned. Clinton Street Theater. Midnight Friday, May 10.

The Lyrical Space of Claire Denis: White Material

A [REVIVAL, ONGOING SERIES] It takes time to get your bearings in a Claire Denis film. Her movies define themselves leisurely, like a landscape fading up from night to dawn to morning. White Material, the remarkable movie by this French master, begins with a succession of unsettling fragments: a soldier lying dead in a dark room; a man trapped in a burning building; and a woman, Maria Vial (Isabelle Huppert), running to or from some as yet vague emergency. Broad context emerges soon enough—we are in an unnamed African country verging on a post-colonial Hobbesian hell— but Denis embellishes slowly and carefully, even gently, as if White Material’s escalating chaos could tip over into incurable madness at any moment. Committed to staying on at her floundering coffee plantation, Maria remains startlingly unfazed by the machetewielding boy soldiers and the mercenary rebels demanding exorbitant tolls. Maria’s willful occlusion and sometimes cruel denials—of her own culpability, of her son’s slow slide into nihilism—never register as frigid villainy, because Denis is less intent on probing postcolonial psychology than conjuring a vivid daydream of creeping dread and

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bound destinies. White Material ends where it begins—a figure in limbo, running—and there are still people left alive to follow their loved ones into death, yet I did not want this horrible story to end, not as long as Denis was acting as guide. CHRIS STAMM. NW Film Center’s Whitsell Auditorium. 7 pm Sunday, May 12. For a full schedule of Claire Denis’ films, see nwfilm.org.

Mud

B As with many stories about coming of age under harsh circumstances, a mighty river runs through the center of Jeff Nichols’ Mud, a Southern-fried fable about two adolescent Arkansas boys whose childhoods are wrested from them. Yet unlike last year’s excellent Beasts of the Southern Wild, this is a fable more grounded in reality. Rampaging prehistoric monsters are replaced by unfaithful women and gangsters. But, much like Beasts, Mud is at heart the story of mighty forces encroaching on children’s innocence. The film centers on buddies Ellis (Tye Sheridan) and Neckbone (Jacob Lofland), who encounter Mud (Matthew McConaughey), a disheveled fugitive hiding out on an isolated island and waiting for his love to join him so they can flee. Drawn to his charisma, Ellis plays Pip to Mud’s Magwitch, delivering food and supplies in hopes of proving that true love conquers all. It’s a remarkably simple set-up, but what seems like a cut-and-dry tale of a mythical bum is instead a rich story of adolescent confusion. Each choice the boys make to help Mud comes steeped in consequence. It’s a lot for young actors to handle, but Sheridan and Lofland shoulder it beautifully. McConaughey meshes Mud’s conflicted morals and his mysticism, creating a character at once larger than life and completely rudderless. Central to the entire narrative, though, is the river. As in The Adventures of Huckleberry Finn, it functions almost as a character, rising and falling with the narrative, hiding secrets in its murky depths and moving everything forward with its current. Mud is far from perfect, but it’s almost impossible not to get swept away by it. PG-13. AP KRYZA. City Center, Fox Tower.

A Night at the Opera

[ONE WEEK ONLY, REVIVAL] Classic mayhem from the Marx Brothers. Laurelhurst Theater.

Oblivion

C- In terms of blockbuster source material, “based on an unpublished graphic novel” may not send pulses racing, but it at least offers the allure of the unknown. Joseph Kosinski— whose TRON: Legacy failed to make much of an impression—somehow convinced Universal execs to loosen their purse strings and make his unpublished comic a rendered-inIMAX reality. And while his sophomore feature capably demonstrates his knack for envisioning and realizing alternate realms, it also confirms that he remains incapable of cobbling together a compelling story. Jack Harper (Tom Cruise) informs us it’s 2077, some 60 years after Earth was decimated during an alien invasion. His initial objective is simply to do his job: harvest Earth’s remaining water for an off-planet colony. However, a throwaway line about “mandatory memory wipes” is destined to boomerang back and complicate matters. Alas, we practically have to wait until the 22nd century for the other shoe to drop and Julia (Olga Kurylenko) to crash from the heavens, claiming to be Jack’s real wife. The film is too somber to cater in escapist thrills and too vacuous to offer emotional or intellectual engagement. PG-13. CURTIS WOLOSCHUK. Cedar Hills, Cornelius, Forest, Lloyd Center, Moreland, Oak Grove, City Center, Evergreen Parkway, Movies on TV, Pioneer Place, Wilsonville, Sandy, St. Johns Twin.

Olympus Has Fallen

C+ Olympus Has Fallen harks back to the late-’80s, early-’90s subgenre known as the “Die Hard on an X” flick, that special brand of knockoff adrenaline rush, 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. Olympus Has Fallen is 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. R. AP KRYZA. Movies on TV.

Oz the Great and Powerful

B 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. In the hands of director Sam Raimi, L. Frank Baum’s world comes

fantastically to life. Oz is overlong and often cheesy, but those flaws are also part of its charm. PG. AP KRYZA. 99 West Drive-In, City Center, Evergreen Parkway, Lloyd Mall, Movies on TV.

Pain & Gain

B- When considering Dwayne Johnson’s cinematic oeuvre, it’s helpful to keep one thing in mind: The Rock’s movies may not be especially good, but he still makes for an infinitely more likable lead than most of his peers in the action-comedy subgenre. Opposite Mark Wahlberg—who plays Daniel Lugo, a former personal trainer and bodybuilder currently on death row—Johnson plays Lugo’s accomplice Paul Doyle. Doyle is a mostly gentle giant who gets in over his head, but

REVIEW 108 MEDIA

MOVIES

LONESOME DOVES: Shriya Saran (left) and Satya Bhabha.

MIDNIGHT’S CHILDREN I never thought I’d say this, but perhaps Salman Rushdie isn’t giving himself enough credit. In adapting his 1981 Booker Prize-winning Midnight’s Children, he works with director Deepa Mehta—no stranger to sparking controversy herself —for a film that clocks in at a generous 146 minutes, but which hardly seems long enough to give the three-part epic its due. Adapting Rushdie to the screen proves a too-delicate balance: His work of historical fiction is an allegory that covers the end of British colonialism in India and the subsequent formation of Pakistan and, later, Bangladesh. On screen, it’s difficult to avoid beating the audience with a sack full of symbolism, and so Rushdie overcompensates by dulling the metaphoric edge—and the magical realism—a little too much. The wit and whimsy of the first act get bogged down in service of too many plot points. Instead of staying so true to the narrative arc, time would’ve been better spent developing the spirit of the novel, best represented by the children born in the first hour of India’s independence and imbued with mystical talents. We follow Saleem Sinai (Satya Bhabha), one such Midnight’s Child, who has the telepathic ability to summon his enigmatic spirit-siblings. After being switched at birth with the child of a wealthy family, Saleem grows up wealthy, with a front-row seat to a politically volatile India. When the story turns unapologetically surreal, as in the book, Saleem fits naturally into the inciting incidents that splinter his country. But in a film that can never quite nail down its own mood, Saleem comes off as a more somber Forrest Gump figure, always at the right place at the right time to give us a somewhat awkward tour of India’s recent history. The film too often feels gutted for brevity’s sake. The foreboding Widow, later revealed to be Prime Minister Indira Gandhi, is not even mentioned onscreen; Gandhi simply makes her cameo in a too-rushed final act. But there are moments when the allegory is treated with a light enough touch to make it devastating. There can be no greater metaphor for the damage wrought by colonialism than when a British businessman and madman (Charles Dance) impregnates the sweet young Vanita, a traveling musician he forces to perform mindless English ditties. Even after this, Vanita is destined to die in childbirth, but we watch as she and her husband endure the indignity of literally singing for their supper in a painful, almost vulgar state of self-awareness— and just a touch of authentic joy, even in the face of total subjugation. Which is to say, even defanged, the metaphor sometimes lands. SAUNDRA SORENSON. Tiptoeing into the mystic.

B-

SEE IT: Midnight’s Children opens Friday at Fox Tower.

MAY 8–14

Picture in Picture: Japanese Experimental Films of the Late 1970s & 1980s

[ONE NIGHT ONLY] Cinema Project presents work by Takashi Ito and Toshio Matsumoto, who use still photographs in their experimental films. Yale Union, 800 SE 10th Ave. 7:30 pm Wednesday, May 8.

Portland EcoFilm Festival: The Fruit Hunters

B [FOUR NIGHTS ONLY] Supermarket fruit has never looked as unappetizing as in The Fruit Hunters. In the opening minutes of Canadian director Yung Chang’s documentary, colorful fruits you’ve probably never seen or imagined are juxtaposed with piles of dull and colorless fruit at a grocery store. Chang’s film is an agricultural love story intent on showing the masses that fruit isn’t just something to eat every day— it’s something that has caused the rise and fall of dynasties, something that connects us to nature and something that can be a sort of treasure hunt, if only you seek it out. With fruit orchards looking just as grand as the arches of an Italian monastery, The Fruit Hunters carefully weaves the history of some of our best-known fruits (like Clementine

oranges and Haas avocados) with the stories of dedicated fruit hunters, growers and “detectives,” such as a woman who searches for the Italian fruits depicted in centuries-old frescoes. We meet actor Bill Pullman as he works to create a community orchard in his neighborhood, and Honduran botanist Juan Fernando Aguilar as he tries to create a new breed of banana. While the footage of people tasting fruit grows a little tired—you can’t taste the fruit, after all—The Fruit Hunters succeeds in introducing the vibrant and surprisingly fascinating world of fruit while subtly advocating for its sustainability. KAITIE TODD. Hollywood Theatre. 7:30 pm Thursday and Friday, 4:45 pm Saturday, 4:45 pm and 7:30 pm Sunday, May 9-12.

COHEN MEDIA GROUP

he remains the closest thing the film has to a moral compass. After attending a self-improvement seminar, Lugo launches a plot to part a wealthy client (Tony Shalhoub) from his considerable fortune. The ensuing hijinks feature all the slow-mo, violence, bottle blondes and casual homophobia we’ve come, resentfully, to expect from director Michael Bay. What’s unexpected, however, is that Pain & Gain occasionally transcends the mindless, bringing to mind the much more nuanced Bernie in its examination of outwardly likable villains. R. MICHAEL NORDINE. Cedar Hills, Cornelius, Lloyd Center, Oak Grove, City Center, Evergreen Parkway, Movies on TV, Pioneer Place, Wilsonville, Sandy.

Renoir

B- “Color should control the structure of a work, not line.” So opines PierreAugust Renoir in Gilles Bourdos’ oversaturated but ultimately underwhelming examination of two generations of Renoirs: the aforementioned painter, enfeebled by arthritis in his seventh decade, and his son, Jean, who would go on to become arguably the greatest filmmaker of the first half of the 20th century. Like the elder Renoir, the film Renoir rejoices in the sensual pleasures of Provençal life (it’s easy to have joie de vivre when your vivre consists of seaside villas, lavish parties, naps and picnics) and celebrates the beauty of the female form, specifically the form of actress Christa Theret. Renoir is mildly intoxicating, but as Bourdos thickly applies his azure blues and lemon yellows, it all but collapses under the weight of its own prettiness. R. MARSHALL WALKER LEE. Fox Tower.

to turn up the decadence and sleaze to 11. Neon lights, blinged-out cribs and James Franco’s white-trash gangsta rapper Alien make this akin to an art-house installment of Girls Gone Wild crossed with Scarface. The many Skrillex-scored party sequences, though gorgeously filmed, never quite transcend their own vacuousness. 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. Bagdad, Kennedy School, Laurelhurst Theater.

The Place Beyond the Pines

Reel Relics: Slowhand

[TWO NIGHTS ONLY] A screening of the rarely seen 1979 Eric Clapton documentary Rolling Hotel, in which the musician and his band tour Germany by train. Clinton Street Theater. 9:30 pm Friday-Saturday, May 10-11.

MOVIES

IN THE HOUSE

Room 237

A- Rodney Ascher’s Room 237 stands

as a monument to overthinking an artist’s work. For whatever reason, the theorists in this documentary were deeply affected by Stanley Kubrick’s The Shining. The film comprises voiceover interviews atop footage from The Shining and other Kubrick films. There’s a trancelike effect to listening to these theories, which range from basic interpretations about the film’s use of ancient Greek imagery to wild conspiracy theories about the film functioning as a confessional for Kubrick to atone for faking the Apollo 11 moon landing. Of course, much of it comes off as either total bullshit, a regurgitation of the obvious, or both. But in allowing its subjects to talk, Room 237 emerges as a triumphantly objective examination not only of The Shining but of the human need to identify with art, even if it evolves into obsession. AP KRYZA. Living Room Theaters, Kiggins.

Sci-Fi TV Tribute to Gerry Anderson

[ONE NIGHT ONLY, REVIVAL] British producer Gerry Anderson sold two different futuristic television programs to networks, and the Hollywood Theatre pays him tribute by screening an episode from each. In the pilot episode of UFO, first broadcast in 1970, purple-wigged moonbase commanders fend off an alien invasion. The series Space 1999 is also about a moonbase, but here its citizens find themselves trapped on a planetoid hurtling through space. Hollywood Theatre. 7:30 pm Wednesday, May 8.

Spring Breakers

B- The words “spring break” are repeated so often in Spring Breakers that they take on a mantralike quality in Harmony Korine’s most outwardly conventional outing to date. Still best known for writing Kids and directing Gummo, the backwater auteur teams up with a Disney-centric cast led by Selena Gomez and Vanessa Hudgens

C+ Among the things that made director Derek Cianfrance’s breakout feature, Blue Valentine, so powerful was its extremely limited scope. With The Place Beyond the Pines, Cianfrance expands this scope, enveloping two families across more than a decade of distress, triumph and tragedy. Yet somewhere along the way, the director loses the heart that marked his previous triumph. The Place Beyond the Pines packs bravura performances across a sprawling narrative. But it’s also about 60 minutes longer than it needs to be, and runs out of gas after its remarkable first act. In the film’s most captivating section, we’re introduced to Luke (Ryan Gosling), a carnival stuntman who discovers he’s sired a son. As he turns to robbing banks, he crosses paths with a rookie cop (Bradley Cooper), who himself comes across massive corruption. Were that not enough, the film then fast-forwards 15 years to peer into the clichéd lives of the pair’s sons. Each segment has a rushed quality, and too little time devoted to developing motivations. In widening his lens, the director loses focus on the big picture. R. AP KRYZA. City Center, Fox Tower, Lloyd Mall.

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MOVIES

MAY 8–14

The Sapphires

B+ According to crusty Irish boozer

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Dave—played with impeccable comic charm by Chris O’Dowd— country-western and soul music are both rooted in loss. The difference, Dave says, is that while country-western stars whine about it, soul singers fight desperately for redemption. That exuberant sense of resilience takes center stage in first-time filmmaker Wayne Blair’s massively entertaining tale about an Australian Aboriginal girl band that travels to Vietnam to entertain American troops in 1968. Loosely based on a true story, The Sapphires butts up against serious issues, most prominently racial tension and the trauma of war. But between the spirited songs, bighearted story line and hypersaturated cinematography, this is a film that unapologetically encourages finger-snapping rather than headscratching—and bless its spangled heart for that. PG-13. REBECCA JACOBSON. Fox Tower.

Women’s Edge Film Series: The Mosque in Morgantown

[ONE NIGHT ONLY] A new series devoted to films made by women launches with a documentary about Muslim writer and activist Asra Nomani’s campaign to reform her West Virginia mosque. Clinton Street Theater. 7 pm Tuesday, May 14.

REVIEW

This Is Spinal Tap Three Kings

[THREE DAYS ONLY, REVIVAL] Before David O. Russell filmed madcap dance routines with Bradley Cooper and Jennifer Lawrence, he deconstructed the Gulf War in this 1999 film starring George Clooney, Mark Wahlberg and Ice Cube. R. Fifth Avenue Cinema. 7 and 9:30 pm Friday-Saturday, 3 pm Sunday, May 10-12.

To the Wonder

C+ Terrence Malick’s The Tree of

Life overflowed with voice-over narration. His new film is practically an audiobook. Actually, “audiobook” is misleading: That would suggest To the Wonder’s voice-over helps establish plot, character or scene. No, the whispered flutters are more existential poetry than anything else. And unlike The Tree of Life, in which the characters’ personal struggles matched the film’s towering philosophical ambitions, the human center of To the Wonder lacks urgency. R. REBECCA JACOBSON. Living Room Theaters.

B- As best I can tell, Trance is the first film—outside porn, maybe— to have a plot that hinges on a woman’s pubic hair. Though the Goya painting that goes missing in this art-heist thriller is an image of cannibalistic male witches, the work that actually holds the secrets is a life-size female nude. That painting, also by Goya, is widely regarded as one of the first clear depictions of pubic hair, and it becomes a dippy device in Danny Boyle’s brashly maximalist film. Trance begins with narration from auction-house employee Simon (James McAvoy) on how to prevent an art heist. When smooth crook Franck (Vincent Cassel) busts in, we learn Simon is actually in on the crime. Then Simon is bonked on the head, leading him to forget where he’s stashed the valuable painting, but he enlists the assistance of bombshell hypnotherapist Elizabeth (Rosario Dawson) to recover his memories. As slick as the film can feel, it’s also at times a great deal of fun, thanks largely to the plucky cast. But even they can’t stop Trance from whooshing by, leaving viewers with throbbing ears and mildly dizzy heads, yet little sense of impact. R. REBECCA JACOBSON. Hollywood Theatre, Living Room Theaters.

The Waiting Room

A- “I wish there would’ve been

another way to do this,” laments Demia Bruce, who has brought his daughter to Highland Hospital emergency room for a case of strep throat. “Nothing’s going right right now.” Bruce’s feelings mirror those of just about everyone around him at this “safety net” ER in Oakland,

Willamette Week MAY 8, 2013 wweek.com

any kind of voice-over, on-screen text or infographics. Nicks lets the obvious speak for itself: Whether you’re navigating it as a patient, a doctor, a nurse or a social worker, our health care system is the ultimate clusterfuck. EMILY JENSEN. Hollywood Theatre.

[TWO NIGHTS ONLY, REVIVAL] Turn it to 11. R. Hollywood Theatre. 7 pm Wednesday-Thursday, May 8-9.

Trance

a last-resort medical facility where director Peter Nicks and his team posted themselves for 24 hours to make The Waiting Room. Their film is part of a larger social-media initiative seeking both to reveal the alarming lack of medical resources for low-income patients, and to provide those patients an avenue to take greater control over their own health care through an interactive multimedia platform. What’s most striking about this enthralling documentary is the unprecedented access Nicks achieves with patients, families and hospital staff—and, even more impressive, the fact that the filmmakers’ presence is seldom felt at all. There’s a pristine quality to the footage, unsullied by

MIRABAI FILMS

On May 11, 2013. Please join us for the

SMOKE AND MIRRORS: Riz Ahmed plays a firebrand academic.

THE RELUCTANT FUNDAMENTALIST Serving up a fiery tale but packing little heat.

Heading into The Reluctant Fundamentalist, you can’t help but admire director Mira Nair’s nerve. After suffering a setback like 2009’s Amelia—a dull biopic about Earhart— many filmmakers would’ve looked to fly under the radar with their follow-up. However, this story of a Muslim foreigner growing fiercely disenchanted with his adopted American home was always bound to court controversy. In the wake of the Boston Marathon bombing, it’s likely to feel even more of the spotlight’s glare. Unfortunately for Nair, this haphazard adaptation of Mohsin Hamid’s novel doesn’t stand up so well. After an American professor is kidnapped in Lahore, journalist Bobby Lincoln (Liev Schreiber) scores an interview with Changez Khan (Riz Ahmed), a firebrand academic who’s a “person of interest” in the disappearance. This establishes a Life of Pi-like framing device in which Changez flashes back to a life-altering journey he made from Pakistan to New York City in 2001. A rising star on Wall Street, where his cold-blooded, analytical traits are revered, he also falls for an affluent artist (a woeful Kate Hudson, saddled with a story line that even Neil LaBute might dismiss as “a little distasteful”). Then, the Twin Towers fall and Changez’s world implodes. Given the withering view Nair takes on the racial profiling that flourished after 9/11, it’s odd that she’s so comfortable populating her film with one-dimensional supporting characters and outright stereotypes. Even Ahmed has the unenviable task of uncovering the nuances of a character primarily charged with dispensing food for thought. Fortunately, he rises to the challenge, evincing Changez’s internal conflict and conveying key turning points with subtle shifts in his bearing or hardening of his eyes. It’s a sophisticated, engrossing performance that deserves better material than the stuff provided by Nair and screenwriter William Wheeler. Regrettably, at its most crucial stage, The Reluctant Fundamentalist lacks the courage of its convictions, allowing Changez and Bobby’s game of ideological cat-and-mouse to degenerate into a much more conventional standoff. Even the customarily frenetic camerawork of Declan Quinn (who made Rachel Getting Married look like The Hurt Locker) can’t infuse the supposedly high-stakes climax with any sense of urgency. As Nair’s film forgoes provocation for pandering, it assumes a tragic air, albeit not for the reasons she intended. CURTIS WOLOSCHUK. C SEE IT: The Reluctant Fundamentalist is rated R. It opens Friday at Living Room Theaters.

MOVIES

MAY 10–16 Regal Fox Tower Stadium 10

UNITED ARTISTS

BREWVIEWS

MARLOWE FOR THE ME GENERATION: For its second tribute to film noir, Return to Noirville, Cinema 21 celebrates the genre’s apex with eight classics, but it also hops a few decades forward with a trio of neo-noirs. Top among these is The Long Goodbye, Robert Altman’s 1973 take on Raymond Chandler. Here, the inimitable, chain-smoking private eye Philip Marlowe lands himself in ’70s Hollywood, where he’s as out of touch with the amoral gangsters as he is with his hippy-dippy, candle-making, flowerpower, perma-high neighbors. (“They’re doing yoga,” Marlowe says, as another man gawks at the topless contortionists. “I don’t know what it is.”) Gone is the romantic masculinity Humphrey Bogart brought to the role in The Big Sleep, replaced here by Elliott Gould’s mildly paranoid shabbiness. But Gould makes his loping gait and doleful eyes work, and his Marlowe is as incorruptible as ever as he investigates a suspicious murder-suicide. But the plot is less important than the characters’ charged interactions, and Altman fills his stable with quack doctors, venal henchmen and the aristocratic Nina van Pallandt as a tan-in-a-can millionairess. In a way, The Long Goodbye bids farewell to the institution of the private eye—it’s a sendoff not triumphant but melancholic, remorseful yet droll. REBECCA JACOBSON. Showing at: Cinema 21. Full showtimes below. Best paired with: Breakside Pilsner. Also showing: Aliens (Hollywood Theatre).

Lloyd Center 10 and IMAX

1510 NE Multnomah St., 800-326-3264 IRON MAN 3 3D Fri-SatSun-Mon-Tue-Wed 12:30, 03:45, 05:00, 07:00, 10:15 IRON MAN 3 Fri-Sat-SunMon-Tue-Wed 12:00, 01:30, 03:15, 06:30, 08:30, 09:45 THE GREAT GATSBY FriSat-Sun-Mon-Tue-Wed 12:20, 02:35, 03:35, 06:10, 07:10, 09:30, 10:30 THE GREAT GATSBY 3D FriSat-Sun-Mon-Tue-Wed 11:50, 03:05 OBLIVION Fri-Sat-Sun-Mon-Tue-Wed 12:50, 03:50, 06:50, 09:50 PAIN & GAIN Fri-Sat-SunMon-Tue-Wed 12:10, 03:30, 07:20, 10:25 THE BIG WEDDING Fri-Sat-SunMon-Tue 12:45 EVIL DEAD Fri-Sat-Sun-Mon-Tue-Wed 12:05 THE METROPOLITAN OPERA: GIULIO CESARE ENCORE Wed 06:30 STAR TREK INTO DARKNESS 3D Wed 12:01 STAR TREK DOUBLE FEATURE Wed 09:00

Bagdad Theater and Pub

3702 SE Hawthorne Blvd., 503-249-7474 JACK THE GIANT SLAYER Fri-Sat-Sun-Mon-Tue-Wed 06:00 SPRING BREAKERS Fri-Sat-Sun-Mon-Tue-Wed 08:45

Cinema 21

616 NW 21st Ave., 503-223-4515 MILDRED PIERCE Fri-Sun 07:00 THE POSTMAN ALWAYS RINGS TWICE Fri-Sun-Wed 04:30 GUN CRAZY Fri-Mon 05:00 THE NARROW MARGIN

Sat-Mon 09:15 NIGHT AND THE CITY Sat-Tue 09:00 BLOOD SIMPLE Sat-Wed 09:15 LAURA Sat-Wed 07:00 THE BIG HEAT Sat-Tue 07:00 IN A LONELY PLACE Sun-Tue 05:00 BODY HEAT Sun 09:20 A LONG GOODBYE Mon 07:00 THE LONG GOODBYE

Clinton Street Theater

2522 SE Clinton St., 503-238-8899 HE’S WAY MORE FAMOUS THAN YOU Fri-Sat-Sun 07:30 REEL RELICS: SLOW HAND Fri-Sat 09:30 THE LORELEY’S GRASP Fri 12:00 PLAY AGAIN Sat 05:00 THE ROCKY HORROR PICTURE SHOW Sat 12:00 BIRTH STORY: INA MAY GASKIN AND THE FARM MIDWIVES Sun 02:00 NO FILMS SHOWING TODAY Mon THE MOSQUE IN MORGANTOWN Tue 07:00 AIN’T IN IT FOR MY HEALTH: A FILM ABOUT LEVON HELM Tue 09:00 PORTLAND STEW Wed 06:00 THE BIG LEBOWSKI LIVE Wed 08:00 PACIFIC UNIVERSITY THESES FILM SCREENING

Laurelhurst Theatre & Pub 2735 E Burnside St., 503-232-5511 LIFE OF PI Fri-Sat-SunMon-Tue-Wed 06:30 SIDE EFFECTS Fri-SatSun-Mon-Tue-Wed 09:15 ADMISSION Fri-Sat-SunMon-Tue-Wed 07:00 IDENTITY THIEF Fri-SatSun-Mon-Tue-Wed 09:30

SILVER LININGS PLAYBOOK Fri-Sat-Sun-Mon-Tue-Wed 07:20 SPRING BREAKERS Fri-Sat-Sun-Mon-Tue-Wed 09:50 A NIGHT AT THE OPERA Fri-Sat-Sun-MonTue-Wed 06:45 DJANGO UNCHAINED Fri-Sat-SunMon-Tue-Wed 08:55 JACK THE GIANT SLAYER SatSun 01:30

St. Johns Twin Cinemas and Pub

8704 N Lombard St., 503-286-1768 OBLIVION Fri-Sat-SunMon-Tue-Wed 04:50, 07:25, 10:10 IRON MAN 3 Fri-Sat-Sun-Mon-Tue-Wed 04:30, 07:10, 09:55 STAR TREK INTO DARKNESS Wed 12:01

CineMagic Theatre

2021 SE Hawthorne Blvd., 503-231-7919 IRON MAN 3 Fri-Sat-SunMon-Tue-Wed 05:30, 08:15

Fifth Avenue Cinemas

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

Hollywood Theatre

4122 NE Sandy Blvd., 503-281-4215 THE WAITING ROOM Fri-Sat-Sun-Mon-TueWed 07:20 THE FRUIT HUNTERS Fri-Sat-SunWed 07:30 TRANCE Fri-Sat-Sun-Mon-Tue-Wed 07:10, 09:20 UPSTREAM COLOR Fri-Sat-Sun-MonTue-Wed 09:30 ALIENS Fri-Sat-Sun-Mon-Tue-Wed 09:10 HARRY AND THE HENDERSONS Sat-Sun 02:30 OREGON BALLET THEATRE PRESENTS: BLACK SWAN UNPLUCKED Sat 06:30 DOCTORED: A DOCUMENTARY Mon 07:30 THE QUEEN BOXER Tue 07:30

846 SW Park Ave., 800-326-3264 THE GREAT GATSBY 3D Fri-Sat-Sun-Mon-Tue-Wed 12:30, 01:30, 03:30, 04:30, 06:30, 07:45, 09:30 THE GREAT GATSBY Fri-SatSun-Mon-Tue-Wed 11:30, 02:00, 04:00, 05:00, 07:00, 07:30, 09:35 MIDNIGHT’S CHILDREN Fri-Sat-Sun-Mon-Tue-Wed 01:10, 04:25, 06:35, 09:40 THE BIG WEDDING Fri-SatSun-Mon-Tue-Wed 11:30 MUD Fri-Sat-Sun-Mon-TueWed 11:30, 02:05, 04:15, 07:00, 09:45 DISCONNECT Fri-Sat-Sun-Mon-Tue-Wed 11:40 42 Fri-Sat-Sun-MonTue-Wed 11:35, 02:00, 04:40, 07:10, 09:50 THE PLACE BEYOND THE PINES Fri-Sat-Sun-Mon-Tue-Wed 01:00, 07:05 RENOIR Fri-Sat-Sun-Mon-Tue-Wed 11:35, 02:15, 04:45, 07:25, 10:05 THE SAPPHIRES Fri-Sat-Sun-Mon-Tue-Wed 11:45, 02:10, 04:20, 07:55, 09:55 FROM UP ON POPPY HILL Fri-Sat-Sun-Mon-TueWed 02:20, 04:50, 09:50

NW Film Center’s Whitsell Auditorium 1219 SW Park Ave., 503-221-1156 TROUBLE EVERY DAY Fri 07:00 I CAN’T SLEEP Fri 09:15 WINGS OF DESIRE Sat 02:00 BEAU TRAVAIL Sat 02:00 35 SHOTS OF RUM Sun 04:45 THE INTRUDER Sun 02:00 WHITE MATERIAL Sun 07:00

Regal Pioneer Place Stadium 6

340 SW Morrison St., 800-326-3264 IRON MAN 3 3D Fri-SatSun-Mon 01:30, 04:15, 04:45, 08:00, 10:40 IRON MAN 3 Fri-Sat-Sun-Mon 01:00, 03:30, 06:45, 07:30, 10:00 PAIN & GAIN FriSat-Sun-Mon 12:55, 04:00, 07:15, 10:30 OBLIVION FriSat-Sun-Mon 01:15, 04:30, 07:40, 10:45 JURASSIC PARK 3D Fri-Sat-SunMon 12:45, 03:45, 07:00, 10:15 EVIL DEAD Fri-SatSun-Mon 12:50 STAR TREK DOUBLE FEATURE Wed 09:00 STAR TREK INTO DARKNESS 3D Wed 12:01 STAR TREK INTO DARKNESS Wed 12:15

INVITE YOU AND A GUEST TO THE ADVANCE SCREENING OF

St. Johns Theatre

8203 N Ivanhoe St., 503-249-7474-6 JACK THE GIANT SLAYER Fri-Sat-Sun-Mon-Tue-Wed 06:30 SILVER LININGS PLAYBOOK Fri-Sat-SunMon-Tue-Wed 01:00, 09:10

Living Room Theaters

341 SW 10th Ave., 971-222-2010 AFTERSHOCK Fri-Sat-SunMon-Tue-Wed 12:05, 02:10, 04:30, 07:40, 09:35 THE ANGELS’ SHARE Fri-SatSun-Mon-Tue-Wed 02:40, 09:25 IN THE HOUSE Fri-Sat-Sun-Mon-Tue-Wed 11:50, 02:50, 05:00, 06:50, 09:40 LEONIE Fri-SatSun-Mon-Tue-Wed 12:10, 05:15 THE RELUCTANT FUNDAMENTALIST Fri-SatSun-Mon-Tue-Wed 12:00, 02:20, 04:10, 06:40, 09:00 ROOM 237 Fri-Sat-SunMon-Tue-Wed 12:15, 07:30 TO THE WONDER Fri-SatSun-Mon-Tue-Wed 02:00, 05:05, 09:10 TRANCE Fri-Sat-Sun-Mon-Tue-Wed 12:20, 02:30, 04:40, 07:00, 09:20

send an email (subject line “epic”) with your full name and address to contestpdx@gmail.com for your chance to win passes to the screening! Screening will be held on Saturday, May 18th at 11:00am at Regal Bridgeport. This film has been raTed pg for mild acTion, some scary images and brief rude humor. parenTal guidance suggesTed. some maTerial may noT be suiTable for children.

SUBJECT TO CHANGE. CALL THEATERS OR VISIT WWEEK.COM/MOVIETIMES FOR THE MOST UP-TODATE INFORMATION

No cellular phones or electronic devices will be allowed in the screening. Please Note: Passes received through this promotion do not guarantee you a seat at the theater. Seating is on a first come, first served basis, except for the members of the reviewing press. Theater is overbooked to ensure a full house. No admittance once screening has begun. All federal, state and local regulations apply. A recipient of tickets assumes any and all risks related to use of ticket, and accepts any restrictions required by ticket provider. 20th Century Fox, Las Vegas City Life and their affiliates accept no responsibility or liability in connection with any loss or accident incurred in connection with use of a prize. Tickets cannot be exchanged, transferred or redeemed for cash, in whole or in part. We are not responsible if, for any reason, recipient is unable to use his/her ticket in whole or in part. All federal and local taxes are the responsibility of the winner. Void where prohibited by law. No purchase necessary. Participating sponsors, their employees and family members and their agencies are not eligible. NO PHONE CALLS!

FRIDAY-THURSDAY, MAY 10-16, UNLESS OTHERWISE INDICATED

IN THEATERS EVERYWHERE MAY 24th www.EpicTheMovie.com Willamette Week MAY 8, 2013 wweek.com

WILLAMETTE WEEK

CLASSIFIEDS DIRECTORY 44 WELLNESS 45 JOBS TO PLACE AN AD CONTACT:

44 MUSICIANS’ MARKET 45

FREE WILL ASTROLOGY

ASHLEE HORTON

44 STUFF

44 MOTOR

44 SERVICES

46 MATCHMAKER

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CORIN KUPPLER

AUDIO

COMPUTER REPAIR

N Metro Computerworks

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

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

Inner Sound

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

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

COUNSELING

503.226.3021 x220

2023 NW Hoyt St • Portland

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

MUSIC LESSONS MASSAGE (LICENSED) Enjoy the Benefits of Massage

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

call

lmt#6250

LAWN SERVICES

STUFF

Bernhard’s

Residential, Commercial and Rentals. Complete yard care, 20 years. 503-515-9803. Licensed and Insured.

FURNITURE

REMODELING

BEDTIME

HAULING N LJ Hauling

Totally Relaxing Massage

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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

Counseling Individuals, Couples and Groups Relationships, Life Transitions, Personal Growth

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503-963-8600

TWINS

MATTRESS

COMPANY

FULL $ 89

QUEEN

(503)

760-1598

109

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

Custom Sizes » Made To Order Financing Available

MANSCAPING

Bodyhair grooming M4M. Discrete quality service. 503-841-0385 by appointment.

Stephen Shostek, CET

Willamette Week Classiﬁeds MAY 8, 2013 wweek.com

CLEANING

Charles

MEN’S HEALTH

With 2 time Grammy winner Peter Boe. 503-274-8727.

503-740-5120

MOVING

www.rosecitywellnesscenter.com

Learn Piano All styles, levels

REL A X!

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

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INDULGE YOURSELF in an - AWESOME FULL BODY MASSAGE

COLLISION REPAIR NE Atomic Auto

Valid MMJ Card Holders Only No Membership Dues or Door Fees

SERVICES

TRADEUPMUSIC.COM

Low cost. No one turned away for inability to pay.

AUTO

Providing Safe Access to Medicine

PETS

BUILDING/REMODELING

Serving Individuals Families  Couples

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

OMMP Resource Center

INSTRUMENTS FOR SALE

CELL PHONE REPAIR N Revived Cellular & Technology

ALTERNATIVE MEDICINE

REAL ESTATE

MUSICIANS MARKET

Counseling HOME

45 BULLETIN BOARD

503-445-2757 • ckuppler@wweek.com

WELLNESS SERVICE DIRECTORY

MAY 8, 2013

PHYSICAL FITNESS BILL PEC Personal Trainer & Independent Contractor

• Strength Training • Body Shaping • Nutrition Counseling

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

AT THE GYM, OR IN YOUR HOME

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

TREE SERVICES Steve Greenberg Tree Service

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

TO PLACE AN AD CONTACT:

ASHLEE HORTON

503-445-3647 • ahorton@wweek.com

McMenamins Edgefield

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

ADOPTION

CAREER TRAINING AIRLINE CAREERS

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

ATTEND COLLEGE ONLINE

Presents

KRISHNA

A Dance theater Choreographed by:

Shijith N Parvathy

The Performing Arts Center at PCC Sylvania 12000 SW 49th Avenue Portland, OR 97219

Saturday, May 11, 2013, 7:30pm Tickets are: Adults $25 ($30 at the door) Children 3-12yrs: $12.50 ($15 at the door) Students: $20

www.kalakendra.org

LESSONS CLASSICAL PIANO/ KEYBOARD

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

MISCELLANEOUS GOD’S WISDOM

These are the Proverbs of Solomon, the Son of David, King of Israel: To know WISDOM and instruction; to perceive the words of understanding; to receive the instruction of WISDOM, Justice, judgment, and equity; to give subtly to the Simple; to the young man knowledge and discretion. A wise man will hear [them] and will increase in Learning; And a man of understanding shall attain unto wise counsels [through them]; to understand a Proverb, and the [correct] interpretation thereof; to understand the words of the wise - and their dark sayings! (Proverbs 1: 1-6) chapel@gorge.net

Is hiring line cooks, pizza cooks, prep cooks and catering cooks for the Power Station Pub and Black Rabbit Restaurant. Prev high vol rest kitchen exp a MUST. Must have an open & flex sched; days, eves, wknds and holidays. Please apply online 24/7 at www.mcmenamins.com or pick up a paper app at any McMenamins. Mail to 2126 SW Halsey, Troutdale, OR 97060 or fax: 503-667-3612. Call 503-952-0598 for info on other ways to apply. Please no calls or emails. E.O.E.

McMenamins Grand Lodge in Forest Grove

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

OLCC’S NEWEST ONLINE SERVER PERMIT CLASS

EVENTS

CORIN KUPPLER

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

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

McMenamins Edgefield is now hiring Servers for the Power Station Pub! This is a pt-ft, seas position. Qualified apps must have an open & flex sched including, days, eves, wknds and holidays. We are looking for servers who have high vol. serve exp and enjoy a busy customer service-oriented enviro. Please apply online 24/7 at www.mcmenamins.com or pick up a paper app at any McMenamins location. Mail to 2126 SW Halsey, Troutdale, OR 97060 or fax: 503-667-3612. Call 503-952-0598 for info on other ways to apply. Please no phone calls or emails to individ locs! E.O.E. Paid In Advanced! MAKE up to $1000 A WEEK mailing brochures from home! Helping Home Workers since 2001! Genuine Opportunity! No Experience required. Start Immediately! www.mailing-station. com (AAN CAN)

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Stars Cabaret in TUALATINHiring (Tualatin-TigardLake Oswego)

Stars Cabaret in TUALATIN is now accepting applications for Servers, Bartenders, Hostess, Valet. Part and Full-time positions available. Experience preferred but not required. Earn top pay + tips in a fast-paced and positive environment. Stars Cabaret is also conducting ENTERTAINERS auditions and schedule additions Mon-Sun 11am-10pm. ENTERTAINERS: Training provided to those new to the business. Located @ 17937 SW McEwan Rd. in Tualatin...across from “24 Hours Fitness” Please apply at location.

EMPLOYMENT OPPORTUNITIES EARN $500 A DAY. Airbrush & Media Makeup Artists For: Ads - TV - Film Fashion Train & Build Portfolio in 1 week Lower Tuition for 2013. AwardMakeupSchool.com (AAN CAN) $$$HELP WANTED$$$ Extra Income! Assembling CD cases from Home! No Experience Necessary! Call our Live Operators Now! 1-800-405-7619 EXT 2450 http:// www.easywork-greatpay.com (AAN CAN)

BUSINESS OPPORTUNITIES Discover the “Success and Moneymaking Secrets” THEY don’t want you to know about. To get your FREE “Success and Money Making Secrets” CD, please call 1 (800) 790-5752. (AAN CAN)

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

Got Meth Problems? Need Help?

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

Week of May 9

ARIES (March 21-April 19): The Tarahumara Indians of northwestern Mexico are renowned for their ability to run long distances. The best runners can cover 200 miles in two days. The paths they travel are not paved or smooth, either, but rather the rough canyon trails that stretch between their settlements. Let’s make them your inspirational role models in the coming week, Aries. I’m hoping that you will be as tough and tenacious as they are -- that you will pace yourself for the long haul, calling on your instinctual strength to guide you. TAURUS (April 20-May 20): You may have only a dim idea about how your smart phone and computer work, but that doesn’t prevent you from using their many wonderful features. While you’re swimming, you know almost nothing about the physiological processes that are active inside you, and yet you have no problem making all the necessary movements. In that spirit, I’m not worried about whether or not you will grasp the deep inner meaning of events that will be unfolding in the coming week. Complete understanding isn’t absolutely necessary. All you need to do is trust your intuition to lead you in the direction of what’s interesting and educational. GEMINI (May 21-June 20): “I need not sell my soul to buy bliss,” says a character in Charlotte Bronte’s 19thcentury novel Jane Eye. “I have an inward treasure born with me, which can keep me alive if all extraneous delights should be withheld, or offered only at a price I cannot afford to give.” This would be a great speech for you to memorize and periodically recite in the next two weeks. Do it in front of your mirror at least once a day to remind yourself of how amazingly resourceful you are. It will also help you resist the temptation to seek gifts from people who can’t or won’t give them to you. CANCER (June 21-July 22): What is the big adventure you’ve been postponing forever because it hasn’t been convenient? How about an intriguing possibility you have always wanted to experiment with but have consistently denied yourself? Or what about that nagging mystery you’ve been wishing you had the time and energy to solve? Wouldn’t your life change for the better if you finally dived in and explored it? In the next two weeks, Cancerian, I urge you to consider giving yourself permission to pursue something that fits one of those descriptions. LEO (July 23-Aug. 22): Right now, Leo, you are a majestic and mysterious mess of raw power. You are a fresh, flaming fountain of pure charisma. Irresistible! That’s you! Unstoppable! You! Impossible to fool and immune to the false charms of heartfelt mediocrity! You! You! You! In your current condition, no one can obstruct you from seeing the naked truth about the big picture. And that’s why I am so sure that victory will soon be yours. You will overcome the fuzziness of your allies, the bad vibes of your adversaries, and your own inertia. Not all conquests are important and meaningful, but you will soon achieve the one that is. VIRGO (Aug. 23-Sept. 22): A character in Herman Hesse’s novel Demian says the following: “I live in my dreams. Other people live in dreams, but not in their own.” Whose dreams do you live in, Virgo? What is the source of the fantasies that dominate your imagination? Are they the authentic outpourings of your own soul? Or did they originate with your parents and teachers and lovers? Did they sneak into you from the movies and songs and books you love? Are they the skewed result of the emotional wounds you endured or the limitations you’ve gotten used to? Now is an excellent time to take inventory. Find out how close you are to living in your own dreams.

SUPPORT GROUPS ALANON Sunday Rainbow

503-445-2757 • ckuppler@wweek.com

LETTERPRESS PRINTING

Desi Girl Designs • Foil Stamping • Die-Cutting • Letterpress Printing

LIBRA (Sept. 23-Oct. 22): Charles Ives was a renowned American composer who lived from 1874 to 1954. Because his music was experimental and idiosyncratic, it took a long time for him to get the appreciation he deserved. When he was 73 years old, he won the prestigious Pulitzer Prize for a symphony he had written when he was 30. I expect that in the near future you might be the beneficiary of a similar kind of mojo, Libra. A good deed you did or a smart move you

made in the past will finally get at least some of the recognition or response you’ve always wanted. SCORPIO (Oct. 23-Nov. 21): “There are no right answers to wrong questions,” says science fiction writer Ursula K. Le Guin. And that’s why you must be so conscientious about coming up with the very best questions. Right, Scorpio? All your efforts to hunt down solutions will be for naught unless you frame your problems elegantly and accurately. Now here’s the very good news: Your skill at asking pertinent questions is at a peak. That’s why I suggest you make this Focused Inquiry Week. Crisply define three questions that will be important for you to address in the next seven months. SAGITTARIUS (Nov. 22-Dec. 21): Charlie Parker was a great jazz musician. As a saxophonist and composer, he was an influential innovator. Unfortunately, he also had an expensive heroin addiction. It interfered with his ability to achieve financial stability. There’s a famous story about him showing a bystander two veins on his arm as he prepared to shoot up. “This one’s my Cadillac,” he confessed. “And this one’s my house.” I’m bringing this up, Sagittarius, in the hope that it will provide a healthy shock. Are you doing anything remotely like Charlie Parker? Are you pouring time and energy and money into an inferior form of pleasure or a trivial distraction that is undermining your ability to accomplish higher goals? If so, fix that glitch, please. CAPRICORN (Dec. 22-Jan. 19): “I hate a song that makes you think that you are not any good,” said iconic songwriter Woody Guthrie. “I hate a song that makes you think that you are just born to lose. Because you are too old or too young or too fat or too slim too ugly or too this or too that. Songs that run you down or poke fun at you. I am out to sing songs that will prove to you that this is your world.” Amen, brother Woody! I have the same approach to writing horoscopes. And I’m happy to advise you, Capricorn, that you should have a similar attitude toward everything you put out and take in during the coming week. Just for now, reject all words, ideas, and actions that demoralize and destroy. Treat yourself to a phase of relentless positivity. AQUARIUS (Jan. 20-Feb. 18): “I know not what my past still has in store for me,” testified the Indian spiritual poet Tukaram. I believe most of us can say the same thing, and here’s why: The events that happened to us once upon a time keep transforming as we ripen. They come to have different meanings in light of the ever-new experiences we have. What seemed like a setback when it first occurred may eventually reveal itself to have been the seed of a blessing. A wish fulfilled at a certain point in our history might come back to haunt us later on. I bring up these ideas, Aquarius, because I think you’re primed to reinterpret your own past. PISCES (Feb. 19-March 20): According to legend, Jennifer Lopez’s butt is insured for $300 million. Bruce Springsteen has supposedly insured his voice for $31 million and wine expert Angela Mount is said to have insured her taste buds for $16 million. In that spirit, Pisces, I encourage you to consider insuring your imagination. To be clear, I don’t anticipate that you will have occasion to collect any settlement. Nothing bad will happen. But taking this step could be a fun ritual that might drive home to you just how important your imagination will be in the coming weeks. Your power to make pictures in your mind will either make you crazy with unfounded fantasies and fearful delusions, or else it will help you visualize in detail the precise nature of the situations you want to create for yourself in the future.

Homework In what circumstances do you tend to be smartest? When do you tend to be dumbest? Testify at Freewillastrology.com.

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Across 1 Held on to 5 Letter sequence in the air 8 Panhandling person 14 Cat, in Cancun 15 “V for Vendetta” actor 16 Player at Camden Yards 17 *Gossiping sort 19 Put in storage, like coal 20 *Infamous Hollywood institution 22 He went through a Blue Period 25 Chapter of history 26 Boxing ref’s call 27 Epps or Khayyam 28 Saturn SUV 29 Abbr. in many job titles 30 Dwight and Stanley’s coworker 31 It shows shows 35 *Retailing buzzword 38 Involved 39 Company that created Watson and Deep Blue 42 Prepare potatoes, perhaps 45 “Heidi” peak 46 Poet Angelou 47 Rattler relative 48 551 49 Wall-to-wall alternative 52 *Company follower? 55 Asian capital 56 *Mr. Hyde, for Dr. Jekyll 60 Beating by a little bit 61 Preﬁx for classical or conservative 62 “I ___ the

opinion...” 63 Try the bar code again 64 Kazakhstan, once: abbr. 65 It follows the last word of each starred entry Down 1 CIA foe, once 2 Seine stuﬀ 3 Arcade game amts. 4 Matchbox product 5 Rap duo Kris ___ (R.I.P. Chris Kelly) 6 Followed logically 7 Question of permission 8 Oprah’s longtime personal trainer 9 “Fear of Flying” author Jong 10 “I Just Wanna Stop” singer ___ Vannelli 11 Flip out 12 Smart ___ 13 Very popular 18 ___-relief 21 Of a certain bodily system 22 Bubble wrap sound 23 “Thank God ___ Country Boy” 24 Hunter’s clothing, for short 28 Content

last week’s answers

©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 #JONZ622.

“New Wave”—catch it! blocker 29 Suﬃx after meth31 Its middle letter stands for a city in Tennessee 32 Pulse rate or temperature 33 Colleague of Roberts and Breyer 34 Finish 36 “Whatever” grunt 37 Half a Jim Carrey movie 40 Provo sch. 41 Newsrack choice, for short 42 Mean something 43 Slightly 44 Parsley units 46 Fabric named for a city in India 48 Cortese of “Jersey Shore” 49 Van Gogh painted there 50 Helicopter part 51 Who’s out in the pasture? 53 12-part miniseries, say 54 Gives the axe 57 Bird on a ranch 58 “Gosh,” in Britain (hidden in RIGOROUS) 59 Outta here

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