39 28 willamette week, may 15, 2013 by Willamette Week Newspaper

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“THEY ABSCOND TO A SWAMP PLANET AND BUMP LIZARD NASTIES.”

WILLAMETTE WEEK PORTLAND’S NEWSWEEKLY

money bucket Portland wants every city to have its patented toilet.

P. 45 wweek.com

VOL 39/28 05.15.2013

By Aaron Mesh | Page 13

A n n a J ay e G o e l l n e r

NEWS A Chief justice becomes a lobbyist. MUSIC THE GRATEFUL DEAD’S LOST SHOW. HOTSEAT MIKE DAISEY ON JOURNALISM .

Willamette Week Date, 2008 wweek.com

CONTENT

Portland’s premier shop on the East Side.

W’s ARC’TERYX Altra Backpacks (Visit website for all models & sizes) $272.00 - $478.00

RIESLING ROUNDUP: Our blind tasting of Oregon-made German wine. Page 26.

NEWS

MUSIC

LEAD STORY

PERFORMANCE 39

CULTURE

MOVIES

FOOD & DRINK

CLASSIFIEDS

2975 NE Sandy Blvd. Portland, OR Hours: M-F 10-7 SAT 10-6 SUN 12-5 503-227-1038

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, Sara Sneath, 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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DISTRIBUTION Circulation Director Robert Lehrkind WWEEK.COM Web Production Brian Panganiban Web Editor Matthew Korfhage MUSICFESTNW Executive Director Trevor Solomon Associate Director Matt Manza OPERATIONS Accounting Manager Chris Petryszak Credit & Collections Shawn Wolf Office Manager Ginger Craft A/P Clerk Max Bauske Manager of Information Systems Brian Panganiban Associate Publisher Jane Smith Publisher Richard H. Meeker

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

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INBOX POLITICS AND FLUORIDE

Dentistry In The Pearl That’s Something To Smile About!

An anti-fluoride ad that appeared in the May 8, 2013, edition of your paper mentions my name and House Bill 3162, which I co-sponsored. I’m writing to clarify that this legislation does not include fluoride, and that I support fluoridated water. I introduced HB 3162—the “Toxics Disclosure for Healthy Kids Act”—to safeguard our kids from toxic chemicals. I’ve been working with environmental and health professionals for 18 months to craft legislation to require large manufacturers to report if any of the 19 “high-priority chemicals of concern” are used in their children’s products, and to phase out the chemicals over five years. These chemicals are identified through a rigorous scientific review by Oregon’s Department of Environmental Quality and Washington’s Department of Ecology. Fluoride is not one of those 19 toxic chemicals, and there is no detectable difference in the amount of any of these chemicals in non-fluoridated and fluoridated water. As a Portlander, mother, legislator and longtime public-health advocate, I believe that fluoridating drinking water in the amount recommended by the Centers for Disease Control and Prevention is a safe and highly cost-effective public-health measure. I agree with the boards of every major newspaper (including Willamette Week), the governor, Portland City Council, Multnomah County Commission, Portland City Club, and more than 80 community groups that water fluoridation would bring tremendous benefits to our region. I have devoted my career to promoting social justice and a healthy environment in which all children can thrive. While I strongly support water fluoridation, I hope to continue working with people on both sides of this issue to protect

the environment and close the enormous health disparities in our community. Alissa Keny-Guyer, Master of Public Health State representative, House District 46

EDITOR’S NOTE

Last week, WW reported on a 2012 study by Harvard-based researchers that asserted high exposure of fluoride in drinking water in China correlates with lower IQ scores among children [“You Can’t Handle the Tooth,” May 8, 2013]. The original study, published in Environmental Health Perspectives, said 27 previous studies in China showed an average half-point decrease in IQ scores. The study looked at various kinds of IQ testing in areas with fluoride levels three to 10 times higher than planned for Portland. In September 2012, after criticism about the weaknesses in the study and its conclusions, the authors clarified their results, claiming the difference in standardized tests would equate to seven points lower in U.S.-based IQ tests. WW should have noted the authors had clarified their study. As WW reported, the study remains questionable in its relevance to the city’s debate over Measure 26-151 on the May 21 ballot. “Fluoride released into the ground water in China in some cases greatly exceeded levels that are typical in the U.S.,” the authors wrote in clarifying their findings, adding, “These results do not allow us to make any judgment regarding possible levels of risk at levels of exposure typical for water fluoridation in the U.S. On the other hand, neither can it be concluded that no risk is present.” LETTERS TO THE EDITOR must include the author’s street address and phone number for verification. Letters must be 250 or fewer words. Submit to: 2220 NW Quimby St., Portland, OR 97210. Fax: (503) 243-1115. Email: mzusman@wweek.com

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Willamette Week MAY 15, 2013 wweek.com

I always hear that Portland has the most strip clubs of any city in the U.S.—or at least the most per capita. Are either of these claims even slightly true? —Statistically Curious I don’t want to alarm you, Curious, but in the run-up to last year’s Republican National Convention, I saw several news stories that mentioned Tampa, Fla.—yes, Tampa—as the “strip bar capital of America.” While grizzled fixtures like myself have been hearing the “most strip bars per capita” statistic about Portland since you were just a gleam in the mailman’s eye, in all these years I have yet to see a citation. (Unless you count the one I got for indecent exposure during Fleet Week in 1994.) Could this be one of those titles that every city claims? You know, like “worst drivers” or “most changeable weather” or “smuggest baristas”? To find out, I headed to Devils Point, where I

sat for an hour watching the show and discreetly zapping my genitals with a pocket Taser. Then I went home and got on the Internet. The good news: No lesser a light than PolitiFact refutes Tampa’s claim. The bad news: They put Tampa at No. 3, behind Las Vegas and Cincinnati. Luckily, these rankings are for all adult businesses—and while Cincinnati may have us beat on jack shacks, according to the Ultimate Strip Club List (TUSCL), their strip-club total is risible. As a user-maintained reviews site (think Yelp for people whose pants are stuck to their legs), TUSCL may not be comprehensive. Still, it had every Portland strip club I could think of, which is a lot. Turns out Portland, with one strip club for every 9,578 residents, is indeed the leader among the 50 largest U.S. cities, narrowly edging Tampa at 10,813 and blowing Las Vegas’ 33,002 out of the water. Myth confirmed. QUESTIONS? Send them to dr.know@wweek.com

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iSamu noguChi With leSSonS of muSokokuShi, 1966 photo by niColaS ekStrom

Willamette Week Date, 2008 wweek.com

THE LEGISLATURE: Oregon’s former chief justice turns lobbyist. SOCIAL SERVICES: The uncounted cost of food-stamp fraud. HOTSEAT: Zeke Johnson of Amnesty International USA. COVER STORY: Flushing away money on the Portland Loo.

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Just as Mayor Charlie Hales moves to bust the Portland police commanders union, a bill to expand the rights of police brass to unionize is working its way through the Legislature. House Bill 2418 expands the right to union protection to more public employees, including police chiefs and assistant chiefs. According to Hales’ office—which has been lobbyREESE ing against the bill—even Police Chief Mike Reese would be eligible to join a union under the measure, sponsored by Rep. Greg Matthews (D-Gresham). The bill has passed the House and is up for a hearing in the Senate. Meanwhile, a measure making it easier to fire cops who use unlawful force is dead. Senate Bill 747—sought by Portland attorneys Greg and Jason Kafoury and sponsored by Sen. Chip Shields (D-Portland)— would have prevented Portland police officers who have been disciplined or fired for using unlawful force from appealing to the state arbitration board. Jason Kafoury says they’ll bring the bill back in 2014. “We’ll tinker with it and build up a larger coalition of groups behind it,” he says. Turns out the Dalai Lama wasn’t the only world religious leader in Portland last weekend. David Miscavige, head of the Church of Scientology, dropped by the May 11 opening ceremonies of an “Ideal Org,” an opulent church headquarters and recruiting center at ORG PARTY 360 SW Oak St. The event included a white-robed choir singing the “Battle of Portland” anthem. You ask, the Battle of Portland? It involved two months of Scientology marches through city streets in 1985—with appearances by church glitterati John Travolta and Chick Corea—protesting a Multnomah County jury finding the church guilty of defrauding a defector named Julie Christofferson Titchbourne. The jury awarded Titchbourne $39 million in damages. Scientologists from across the country turned the verdict into a referendum on religious freedom, a judge tossed out the verdict and the two sides later settled for an undisclosed amount. In the ongoing fiasco known as the Portland arts tax, the nonprofit that pushed the $35-per-person tax to fund arts education may actually feel some financial pain as a result. The city faces two legal challenges to the tax approved by voters in November. If the courts reject the tax, Mayor Charlie Hales says, the city will guarantee $2 million of the $3 million payment that’s supposed to go to the city’s six public school districts next fall. As first reported at wweek.com, Hales has decided that—if the city has to cover the schools’ costs—he’ll take $1 million out of the hide of the Regional Arts & Culture Council, the publicly funded nonprofit that pushed for the tax. Jack Bogdanski—the Lewis & Clark Law School professor and ex-blogger who first sued the city over the tax—says the Oregon Tax Court will hear preliminary motions on his case next week. Read more Murmurs and daily scuttlebutt.

Willamette Week MAY 15, 2013 wweek.com

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NEWS

THIS ROBE FOR HIRE A RETIRED CHIEF JUSTICE OF THE STATE SUPREME COURT LOBBIES FOR THE INSURANCE INDUSTRY. BY NIG E L JAQ UI SS

njaquiss@wweek.com

Last week, the Hon. Paul J. De Muniz, recently retired chief justice of the Oregon Supreme Court, strode into a state capitol hearing room to offer his legal opinion on a bill being debated by lawmakers. De Muniz is a renowned constitutional expert. He served a decade on the Oregon Court of Appeals and 12 more years on the top court, more than six as chief justice. So when De Muniz weighed in on the bill, he did so with two decades of cumulative legal authority. The bill he testified about May 9, Senate Bill 814, would force insurance companies to reach speedier settlements on environmental claims. It’s being pushed by companies faced with paying for the cleanup of the Portland Harbor Superfund site. After identifying himself by his new job title in retirement—“distinguished jurist in residence at the Willamette University School of Law”—De Muniz proceeded to tell lawmakers the bill before them was unconstitutional. “If you are looking for a statute that reduces litigation,” De Muniz testified, “this isn’t it.” What De Muniz did not make clear to legislators, however, was why he was there: He’s now a paid lobbyist for the insurance companies that want to kill SB 814. De Muniz downplays his role. “The insurers just asked to give an opinion,” he says. “They just registered me [as a lobbyist] to be careful.” De Muniz also chairs Gov. John Kitzhaber’s Commission on Public Safety, which is working on sentencing reform, De Muniz has frequently meeting with lawmakers in that role. But Rep. Jeff Barker (D -Aloha), who as chairman of the House Judiciary Committee has worked with De Muniz for a decade, says he was “shocked” when the ex-chief justice came to lobby him on an insurance bill. “It just seems odd to me that he’s walking out the door as chief justice and walking into my office as a lobbyist,” Barker says. “I respect and like him, but it does smack of him selling the title of ‘Chief Justice.’” De Muniz’s work as a lobbyist has raised ethical questions both about the way the former chief justice is trading on his reputation, and how power works in Salem. De Muniz’s lobbying is an unusual situation that state ethics laws and the code of judicial conduct do not address.

Roger Martin, a lawmaker and lobbyist for nearly 50 years, says he cannot recall another Supreme Court justice lobbying. “I don’t think anybody’s ever done that before,” Martin says. A 2007 law prohibits legislators and state agency directors from lobbying for one year after leaving public office. That law was silent, however, on the matter of judges. The Oregon Code of Judicial Conduct prohibits work that “creates a reasonable doubt about the judge’s impartiality.” The 65-year-old De Muniz—who retired Jan. 7—still serves as a part-time judge, filling in on the bench at least 35 days a year. On April 9, De Muniz first registered as a lobbyist, signing on with Perserverance Strategies, a lobbying firm, to advocate for the national popular vote, an alternative to the Electoral College. He wrote an April 18 editorial on the topic for The Oregonian, which identified him as a retired Supreme Court chief justice—but not as a paid lobbyist. In May, De Muniz surfaced in the state capitol lobbying on behalf of the Property Casualty Insurers Association of America against the environmental cleanup bill. He registered as an insurance industry lobbyist with the Oregon Government Ethics Commission on May 6, three days before testifying against the clean-up bill. De Muniz he earlier circulated his legal opinion about the insurance bill on the letterhead of Willamette’s College of Law. Willamette officials say they were unaware of De Muniz’s use of university letterhead, and that his lobbying activities are not tied to the school. Willamette University ’s employee handbook says the use of university assets, including letterhead, for personal business “should be avoided.”

PAUL J. DE MUNIZ

That’s a common standard. “Law faculty should not, in general, use law firm or university letterhead for private practice activities,” says a 2005 article in the University of Kansas Law Review. “Such use could be construed to suggest some connection of the law school or the university to the representation, which would generally not be true and which would, therefore, be misleading.” De Muniz says using Willamette letterhead was a mistake. “I just thought as a law professor I was expressing my own opinion,” he says. “It was never my intent to communicate something about Willamette University.” When De Muniz testified in front of the House Consumer Protection and Government Efficiency Committee about the cleanup bill, he did not clearly identify himself as a paid advocate. “The Property Casualty Insurers Association of America contacted me and requested that I assess the constitutionality of certain provisions of Senate Bill 814,” he said in his written testimony. During his oral testimony, De Muniz made several references to his role on the

Supreme Court, using the word “we” in reference to the court 10 times. De Muniz tells WW he never intended to imply any connection between his opinion and Willamette. Nor, he says, did he think he might be trading on the influence he gained as a Supreme Court justice. “The insurers asked me to look at a constitutional question,” he says. “I don’t consider myself a lobbyist.” After De Muniz finished his testimony, however, committee chairman Rep. Paul Holvey (D-Eugene) took the unusual step of identifying De Muniz’s role. “It bears repeating that although you served very honorably on the Oregon Supreme Court, you are not here representing the Supreme Court,” Holvey told De Muniz. “And, I think, you are not representing Willamette University either. You are working for the property and casualty insurers.” Holvey tells WW his intention was to clarify for other lawmakers in what capacity De Muniz was acting. “I wanted to make sure,” Holvey says, “there wasn’t a perception he was there representing the Supreme Court.” Willamette Week MAY 15, 2013 wweek.com

NEWS

SOCIAL SERVICES

COUNTING CARDS A STATE AUDIT SAYS THE DEPARTMENT OF HUMAN SERVICES ISN’T TRACKING FOOD-STAMP FRAUD. BY A N D R E A DA ME WO O D

adamewood@wweek.com

In the wrong hands, food stamps can buy a lot more than milk and bread. State officials say they know there’s a black market for Oregon Trail cards, the electronic debit-style cards used by poor people to buy groceries. It’s a problem nationwide: The cards are sold for cash, often about 50 cents on the dollar, so cardholders can buy items not allowed by the federal Supplemental Nutrition Assistance Program, or SNAP. Oregon’s Department of Human Services, which administers the federal food-stamp program, has been pushing the message that it’s on top of fraud cases. In an April 2013 story in the Salem Statesman Journal headlined “Revealing the Myth of Food Stamp Fraud,” John Carter, the state’s lead fraud investigator, says, “I would never characterize [fraud] as running rampant. That would be way off.” But DHS actually has no clue how much fraud is going on among the state’s 813,446 Oregon Trail cardholders, a new report by the Secretary of State Audits Division says. DHS officials have tried to dismiss that portion of the audit. But auditors found 37,300 clients of the program had requested five or more replacement cards in the previous three years—a warning sign recipients may be selling them. “There should be someone paying more attention,” Gary Blackmer, director of the Audits Division, tells WW. “We recommend they start managing those cards a little better.”

Willamette Week MAY 15, 2013 wweek.com

Oregon Trail cardholders get their monthly allotment of SNAP benefits (the average is $129 a month) credited to their accounts on the first day of the month. When they go to buy groceries, they run the cards like a debit card, using a secret personal identification number, or PIN. Here’s how the scam works: Someone who wants cash sells the card along with its PIN; federal law bars stores from asking cardholders for ID, so anyone who knows the PIN can use the card. The seller waits a few days for the buyer to drain the balance, then reports the card lost or stolen. The state replaces the card, but not the spent money. The state audit doesn’t allege everyone who requests replacement cards is committing fraud, but auditors did find some people receiving as many as 30 new cards in a period of three years. DHS investigated 4,041 suspected cases of food-stamp fraud last year. About a quarter resulted in the state taking some sanction against the cardholder. The department doesn’t track numbers for each type of fraud, so the state has no idea how many cases it’s investigated for card selling. “Nobody knows that number for sure,” DHS’s Carter says. Criminal prosecutions of cash-for-card rackets are also scant. In 2012, there were just 10 criminal convictions for fraud statewide. The last case in Multnomah County was in 2011, when a handful of people were arrested after a nine-month investigation revealed they were selling their Oregon Trail cards to a local store owner. Gary Meabe, a Multnomah County senior deputy district attorney, says card-selling cases usually involve both local police and the U.S. Department of Agriculture, which funds the program. Meabe says such cases take a lot of time for little prosecutorial payoff. “These are important cases,” Meabe says, “but on the other hand the Legislature has deemed these almost the lowestlevel crime. You’re going to be put on probation.” Last fall, as auditors worked on their review, state officials began sending warning letters to recipients who request more than six replacement cards in a year. The state warns them their future requests will be more closely monitored, and they will be contacted by program inspectors if they keep seeking new cards. Officials also rolled out a new process for replacement cards, requiring clients to call a toll-free number and wait for up to five days for the cards to arrive by mail. DHS Chief Operating Officer Jim Scherzinger says requests for new cards have dropped 19 percent since then. The audit, released May 8, also criticized DHS for making public-assistance payments to dead people, state pensioners and lottery winners. Scherzinger called the portion of the audit devoted to potential card-trafficking an “add-on” to the full report. Blackmer, the state auditor, disagrees. “If something comes to our attention that we think is a potential problem, we’re not going to ignore it,” he says. “If it’s a system where you don’t even know how extensive the problems are, you can’t say it’s not cost-effective to go in and put some controls in place.”

WW’S ENDORSEMENTS OUR PICKS FOR THE MAY 21 ELECTION.

GONZALEZ

Don’t forget to mail your ballot for the May 2 1 election. WW made its endorsements on three ballot measures and seven contested races for local school boards. You can read the endorsements at wweek.com/2013 election. Here’s our call:

KOEHLER

BALLOT MEASURES Measure 26-150, city of Portland, renews Children’s Levy: YES.

LADD

HARPER

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 MADDEN

COCHRAN

Zone 4: MARTIN GONZALEZ. Zone 6: TOM KOEHLER.

PORTLAND COMMUNITY COLLEGE Zone 2: KALI THORNE LADD. Zone 4: JIM HARPER. Zone 5: KEN MADDEN.

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MULTNOMAH EDUCATION SERVICE DISTRICT Position 1: CHRIS COCHRAN. Position 2: NELS JOHNSON. Position 3: ERICA THATCHER.

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THE AMNESTY INTERNATIONAL ACTIVIST APPLAUDS RON WYDEN—BUT SAYS THE OREGON SENATOR NEEDS TO DO MORE. BY AARON MESH

amesh@wweek.com

Who watches the watchers? Lately, it’s been Sen. Ron Wyden (D-Ore.). Who watches Wyden? Zeke Johnson. Johnson is the director of Amnesty International USA’s Security with Human Rights Campaign. That means he’s one of the nation’s loudest voices questioning the Obama administration’s use of armed drones to attack suspected terrorists—including U.S. citizens—with targeted strikes in foreign countries. He applauds Wyden as a lonely voice demanding to know what legal advice Obama is using to justify those killings. But he says Wyden —and other members of Oregon’s congressional delegation—should be doing more. Johnson is in Portland this week to meet with Amnesty International’s Portland chapter. He spoke with WW about drone warfare, the excruciatingly slow closure of Guantánamo Bay, and what Wyden should do. WW: Can Ron Wyden save the U.S. from committing a grave ethical sin with these drones? Zeke Johnson: He certainly can help. There are key things that Sen. Wyden should do today. He should demand more information from the administration about who it’s killing and why. Reject the Obama administration’s radical redefinition of the term “imminent,” because the imminence standard is one of the keys to reforming U.S. policy on drone strikes. Wyden should lead the effort to repeal the 2001 Authorization for Use of Military Force, the key law that’s enabling this idea of a global battlefield. He and others in Congress should ensure that the Obama administration sets up independent investigations into drone strikes and ensure that any strikes that are found to be unlawful, that there’s justice for them, that there’s remedy for victims and accountability for lawful killings.

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So Wyden shouldn’t be patting himself on the back just yet? That’s right. There’s still deep concerns about what the Obama administration is doing, not only with drones but, obviously, also at Guantánamo and the complete lack of accountability for torture. And Sen. Wyden has been one of the leaders in the Senate to make some progress toward human rights. But that’s all the more reason to encourage him to do more. Was this “global battlefield” strategy Obama’s idea? It came from President [George W.] Bush initially, but it’s been carried over by the Obama administration with a few tweaks. The basic idea is that the world is a battlefield to which only the law of armed conflict applies to the exclusion of human rights. And that’s a huge problem. If I’m a U.S. citizen plotting to work with Al Qaeda, don’t I deserve what I get? All people have rights. The government can’t take

ZEKE JOHNSON

“THE BASIC IDEA IS THAT THE WORLD IS A BATTLEFIELD.... THAT’S A HUGE PROBLEM.” —ZEKE JOHNSON them away in the name of national security or countering terrorism. Did the Boston Marathon bombings add to the Obama administration’s political will for greater surveillance and response? President Obama used the federal justice system to prosecute the suspect—exactly what should be happening in the fight against terrorism. Meanwhile, the Guantánamo prison has developed a life of its own. There’s actually a simple solution to the Guantánamo crisis—take each detainee and give them a fair trial in federal court or release them. That’s the standard that we would expect to apply to ourselves and to anyone else. Instead of justice for 9/11, Guantánamo’s given us over a decade of torture, indefinite detention and unfair trials. There’s a better way to ensure security and justice: fair trials in federal court. Oregon has a long history of taking a pacifist stance when the U.S. charged into war. Could Sens. Jeff Merkley and Wyden fill the shoes of Sens. Wayne Morse and Mark Hatfield? They absolutely should, and the really concrete way of doing that is for them to take a leadership role in repealing the 2001 Authorization for Use of Military Force. That’s really the heart of the problem with drones and Guantánamo, and we need to see that and the “global war” paradigm go the way of the dodo bird. GO: Zeke Johnson will meet with members of Amnesty International’s Portland chapter at Peets Coffee & Tea, 508 SW Broadway, at 10 am Wednesday, May 15. The meeting is open to the public.

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LOO FOR SALE: Anne Peterson runs operations and sales of the Portland Loo for the city. “Maybe we sell them for 10 years,” she says. “Maybe somebody will invent the fabulous holographic toilet and whap us out of business. I don’t know.”

MONEY BUCKET PORTLAND WANTS EVERY CITY TO HAVE ITS PATENTED TOILET. By AAro n mesh

amesh@wweek.com

| Photos By A n n A JAye Goelln er

Anne Peterson is a problem solver. She may not look like one—her dyed maroon hair and goldrimmed sunglasses hint at her second life as a “Burner” (one who regularly attends Burning Man)—but in 2006, when the city of Portland wanted citizens to disconnect their downspouts, it put Peterson in charge. In 2011, when it wanted to convince restaurants to install grease traps, Peterson handled that too. When Peterson looks at the latest problem she’s been handed, she sees a load of crap. cont. on page 14

Willamette Week MAY 15, 2013 wweek.com

LOO

cont.

Last December, the Bureau of Environmental Services assigned Peterson to sell the Portland Loo, a 3-ton steel outhouse made in Oregon. Her job is persuading other city governments to buy our loos at $90,000 a pop. Why? If Peterson, supervising two marketing consultants working on commission, can sell enough loos to other cities, the proceeds will pay the cleaning bill for the six public toilets Portland has already installed. The loo has been the most celebrated and debated addition to the Rose City streetscape since then-City Commissioner Randy Leonard returned from a trip to Europe in 2006 with the idea for a stainless-steel, open-air public toilet. The invention is designed to solve the woes associated with decrepit, dangerous public restrooms. It’s made of steel, so you can’t break it. It has angled slats at the top and bottom, so police can see inside. It has a single stall usable by both men and women, with enough room inside for a wheelchair, a stroller or a bicycle. It can be installed directly on the sidewalk and plugged into city utility pipes. It even has solar panels. Leonard was so gung-ho on the idea that he had the city patent the design. But Leonard didn’t budget for the cost of cleaning the loos. And that expense— which has ballooned to nearly $90,000 a year—has been paid with the water and sewer bills of city ratepayers. Now Peterson, who also oversees loo upkeep, has been handed custody of a political orphan—a project City Hall officials either scoff at or don’t want to talk about. Irate water ratepayers have even sued the city for the $617,588 spent to date on maintaining the loo and marketing it. If the city wants to make the loo selffunding, it would have to sell at least four toilets a year. And that’s not counting Peterson’s $76,814 annual salary and her benefits—add those in, and the city would need to sell eight loos a year. Since it began marketing in 2010, the city has sold three. Peterson did not create the loo, nor did she ask for the task of marketing it. And the cost of the Portland Loo’s trial is chump change compared to some of the

city’s other experimental projects, like the multimillion-dollar Portland Streetcar. But her assignment does suggest how far Portland’s government can drift from its core responsibilities. Providing loos downtown may be a beneficial public service. Trying to sell them around the globe to pay for maintenance? Not so much. The money Peterson will spend marketing the loo could preserve the job of one of the firefighters or cops who are about to be laid off as new Mayor Charlie Hales tries to account for a $21.5 million budget shortfall. The loo sales project hasn’t been mentioned as a budget cut. Nobody at City Hall knows how to shut the faucet off. “Is my time worth it?” asks Peterson, as she walks between loos on Southwest Naito Parkway. “Some days, I’m like, ‘I don’t know.’” When Peterson was handed the assignment last December, she laughed—because working with “a giant stainless-steel thing” is also how she spends her free time. In 2005, a year before she landed at the sewer bureau after years spent managing children’s services programs for Multnomah County, Peterson drove with her 16-year-old daughter in a 1970s motor home to Burning Man, the annual weeklong bonfire extravaganza in the Nevada desert. Since then, she returns regularly with her partner, artist Martin Montesano, and his signature machine: a 7-foot-tall, 6-ton mechanical spider called “The Walking Beast.” (The creature, a perennial Burning Man attraction now equipped with a massive flamethrower, is housed in a Salem garage.) Peterson, 54, stands out in the buttoned-down sewer bureau: Her dyed hair is a remnant of the green-and-blue dreadlocks she grew for Burning Man. The day in 2006 when she walked into her Bureau of Environmental Services office—wearing leopard-print calfskin boots—she decided she needed to buy some khakis. Peterson flourished at the sewer bureau, proving herself a proficient and accomplished project chief. But now—in a legacy of a city that tethered its future to projects outside its borders—she is a loo sales clerk. Her role—assisted by her boss, facilities manager Scott Turpen—is to field calls

DIRTY DEEDS: The city pays a contractor $14,566 annually to clean each loo, like this one at Southwest Naito Parkway and Taylor Street. 14

Willamette Week MAY 15, 2013 wweek.com

from other cities interested in buying a loo, explaining the logistics of purchasing, shipping and installing a toilet. (A Boston official recently expressed worry that the loo, which weighs as much as 6,000 pounds, would crash through the sidewalk and into the subway system.) Peterson doesn’t do any outreach, and she doesn’t see her mission as entrepreneurial. “Our goal is not to sell loos,” she says. “That’s a strategy. Our goal is to maintain a public good. And it’s an undefinable public good. Randy Leonard’s office took it on as a hallmark project. And like many hallmark projects, it created issues that weren’t anticipated.” That main issue is basic: cleaning it. Portland’s loos are cleaned twice a day by a contractor, managed by the Portland Business Alliance. The cost is $14,566 a year for each toilet. For six loos, that adds up to $87,396 a year, in addition to a $12,000 mechanical repairs budget. (The city’s seventh loo, which opens May 17 in the Pearl District’s new Fields Park, is an anomaly: It will be cleaned by the Parks & Recreation staff, and is open only during park hours.) When Leonard announced his idea for the loo in 2008, he cited the fact that the toilets weren’t self-cleaning as a sell-

ing point. Seattle had just abandoned its own public-toilet project—the five citypurchased, $1 million automated toilets ended up a squalid mess that attracted drug addicts and prostitutes. By contrast, the Portland Loo could be cleaned with a hose attached to a faucet on the structure’s wall. “The guts of this are basic and designed to take a lot of abuse,” Leonard told The Oregonian. Leonard left office in December. WW attempted to reach him at his new home in West Linn. “I don’t want to talk to you,” Leonard said softly, and closed the door. Leonard was so proud of his idea that he had the city patent it, at a cost of $15,441. The patent application—approved in July 2010—reads “Inventor: Charles Randall Leonard.” (Private architect Curtis Banger drafted the actual designs.) The patent application describes the loo as “the brainchild of Commissioner Randy Leonard, who saw a growing global problem and devised a novel, local solution…there is an ever-increasing demand for functional, low-cost, easy-to-maintain, low-power-consuming, safe and accessible public-restroom facilities available to all citizens of a modern society.” Two years after the Leonard-run Port-

cont. selling the loo, the City Council voted to double down—and contract with marketers to sell the loo to other cities, giving them a 10-percent commission for every loo they sold. The only vote against the plan? City Commissioner Dan Saltzman, who called it “ill-timed” and pointed to the lawsuit against the Water Bureau as evidence the city shouldn’t be attempting any additional loo efforts. Saltzman still opposes using city time to market loos anywhere. He says the idea of paying for loo upkeep by selling more loos is foolhardy. “Sounds like a drug addiction or something,” Saltzman says. “Sounds like a bad addiction.” One of the two marketers the city contracted is Greg Madden, who runs Madden Fabrication, the steel company that builds the loo. The other is Carol McCreary—the woman who originally sold the city on public toilets. “I’m sure there are people in our bureau who would rather do anything but talk to Carol McCreary,” says Peterson, who now manages her. “They just couldn’t handle the overwhelming nature of her head.”

EVERYONE MUST GO: Anne Peterson (left) manages Carol McCreary, who is contracted by the city to sell loos for a 10 percent commission. They are shown in this composite photo at the loo on Northwest Couch Street and 8th Avenue, along the Park Blocks.

land Water Bureau began installing loos— at a final cost of $686,000 in general-fund money and $156,000 from the Portland Development Commission—the Water Bureau began marketing the toilet to other cities. The goal, Leonard’s staffers told the press, was to make the city money. A Portland Loo sells for between $90,000 and $110,000, depending on amenities and whether it includes electric power or solar panels. Madden Fabrication, a welding company in Industrial Northwest Portland, charges $60,000 to build one. In 2010, Water Bureau officials and Leonard’s staff started sending emails to cities—including Las Vegas, Oakland and San Jose, Calif.—suggesting they buy. The response was mixed. “Sounds perfect for so many of our areas,” a staffer in the Berkeley, Calif., mayor’s office wrote the Water Bureau. “Of course, we’d need to find a funding source with things so tight (and scary) here in California.” The Water Bureau sold its first loo to Victoria, B.C., in 2011; it was promptly voted “Canada’s Best Restroom” after a socialmedia push by Portland city staffers. Since February, the city has sold a second and third loo to Ketchikan, Alaska, and Nanaimo, B.C., both for their waterfront

tourist districts. The San Diego City Council is set to finalize its two-loo deal this month, but the contract has hit a familiar snag: Nobody in San Diego has found money for cleaning the toilets. “In the world of loveliness, there would be cities lining up and we’d be cranking contracts out,” Peterson says. Back in Portland, hostility grew from the people who were footing the cleaning bill— water ratepayers. In 2011, ratepayers that included former City Commissioner Lloyd Anderson sued the city, claiming that revenue from water and sewer bills was paying for projects unrelated to providing water and sewer service. One of their targets is the $617,588 of Water Bureau money that’s been spent on maintaining and marketing the loo. Not long after, former Mayor Sam Adams transferred the loo project to the Bureau of Environmental Services— removing it from an embattled Water Bureau. Kent Craford, a former seaplanecompany CEO who is a spokesman for the plaintiffs, says the city tried to avoid ratepayer scrutiny. “BES got the turd put in their pocket—pun intended,” he says. Last year, facing a lack of success in

In 2010, as Portland prepared to unveil its second loo next to the Salmon Springs Fountain on Southwest Naito Parkway and Taylor Street, McCreary ghostwrote a speech for the Water Bureau to use at its “First Flush” opening ceremony. “A hundred years ago, Simon Benson saw a universal need: the need for a clean drink of water,” the speech begins. “Right now, we’re standing in front of another elegant piece of street furniture. Like the Benson Bubbler, it promotes commerce and tourism and is likely to be seen as the kind of amenity that all cities should have. And like the Benson Bubbler, for me at least, the Portland Loo just shouts out, ‘Welcome to Portland!’” The expansion of the loo project marked a triumph for McCreary and her organization, Public Hygiene Lets Us Stay Human, or PHLUSH. The group was originally formed in 2005 as an ad hoc subcommittee of the Old Town/ Chinatown Neighborhood Association. PHLUSH’s original goal was simply to badger

LOO

city officials into putting public restrooms in Old Town to relieve the city’s homeless. The group first gained the ear of thenMayor Tom Potter—who opened City Hall’s restrooms 24 hours a day—and then Leonard. Two years before Leonard announced his loo plans, PHLUSH published a report calling for public restrooms in Old Town— including the suggestion that the city install free-standing “street furniture.” “Had Carol [McCreary] not been doing this stuff, there wouldn’t have been a Portland Loo,” says Robert Brubaker, program manager for the American Restroom Association, a Baltimore nonprofit that advocates for public restrooms. The PHLUSH offices, on the fifth floor of an Old Town office building, look like a sanitation museum crossed with a highway construction site: Plastic buckets and barrels line the walls, including a blue rain barrel with a white seat on top, lettered in curving script: “Donations Accepted Inside.” A cartoon chart of the Portland sewer system is displayed on an easel, and books on the shelves include Rose George’s The Big Necessity: The Unmentionable World of Human Waste and Why It Matters. “ We human beings are just highly sophisticated tubes,” McCreary says, walking along a MAX line in Old Town. “We’re tubes. And we’re absolutely obsessed about food. But we won’t look at daily needs on the other end.” McCreary, 67, spent three decades in and out of developing countries: Yemen, Morocco and Afghanistan. Her jobs ranged from developing a TV show with messages about HIV in Pakistan to coaching executives at the Tunisian-American Chamber of Commerce how to get investments. But it wasn’t until she arrived in Portland in 2002 and began taking care of her aging parents that she became obsessed with public toilets—not for developing nations, but in the First World. “We’ve got an absolute crisis,” she says. “We don’t talk about it, we don’t write about it. We’re doing toilets all wrong, everywhere.” McCreary has dedicated herself to fighting the notion that toilets should be cont. on page 16

ALL TOMORROW’S POTTIES: Carol McCreary prepares a PHLUSH exhibit on the Twin Bucket Emergency Toilet, which she warns will be critically important after an earthquake. Willamette Week MAY 15, 2013 wweek.com

private property, indoors and separated by gender, or should even tie into the water system. Instead, she seeks 24-hour, unisex public restrooms as a common good, just like sidewalks or street lamps. A slight woman with a tuft of white hair, McCreary is a dizzying conversationalist, seemingly hard-wired for epiphanies, which she often yelps out. Despite her evangelical style, McCreary hasn’t sold a toilet since being contracted to market the Portland Loo last October. “It just hasn’t been on my radar,” she says. Peterson still believes she can harness McCreary’s energies toward selling the loo. “People go to the Macy’s parade to see the balloon,” Peterson says. “That balloon would not be in the parade if not for someone holding onto the cord. I would say Carol is probably a Macy’s balloon. I’m the one holding on.”

AY DW E A G O ID BR BR

WEB EXTRA: Take a video tour of a Portland Loo at wweek.com/loo

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Portland Loo locations >> 1. SW Naito Parkway and SW Taylor St. >> 2. SW Naito Parkway and SW Ash St. >> 3. NW Glisan St. between 5th and 6th Aves. >> 4. NW Johnson St. and 11th Ave. at Jamison Square >> 5. NW 10th Ave. and Overton St. at Fields Park >> 6. NW Couch St. and 8th Ave. >> 7. SW Columbia St. and Park Ave.

Willamette Week MAY 15, 2013 wweek.com

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pany called Romtec Inc. “The Portland Loo comes with all the frills and thrills—the solar panels, the stainless steel,” says Jon Harmon, legislative director for Cincinnati City Council-

man Chris Seelbach, who first championed ity bills. Hales’ budget proposes moving 11 the purchase. “The Romtec model has that programs—even those as small as $62,000 as an option.” for elm-tree protection—from the water Romtec Inc. is a private manufacturer and sewer bureaus into the general fund. of public-restroom buildings in RoseBut the loo sales experiment persists. It NE BROA DWAY burg—178 miles south of Portland. lives on as a shining steel example of how Romtec has been selling restrooms to occasionally Portland area governments cities and national parks since 1991. But fund big projects without thinking about only last year did it begin marketing an the cost of maintaining them. item called “the Sidewalk Restroom.” Multnomah County built the $60 milThat metal public restroom looks like lion Wapato Jail in North Portland in 2004 the Portland Loo’s identical twin—the without having the money to run it. It has same steel structure, the same slats, the never housed an inmate, and is now being same size. On the company’s website, it is rented out for movie shoots. billed as “a new direction for urban restThe Portland Streetcar’s eastside rooms.” extension cost $148 million to build last The Sidewalk Restroom starts at year, but the city’s funding dropped so $38,500. much that the streetcar couldn’t afford Greg Madden, the loo builder, says the operators to drive the cars, and had to Sidewalk Restroom doesn’t compare to increase time between arrivals. NE GLISAN ST. D. his product. “My marketing technique DisY B LV And Metro’s natural-lands levy on the N SA to keep improving the loo so it’s the only May 21 ballot asks voters to approve a new NE product out there,” he says. tax to upgrade 12,000 acres the planning Despite the fact that Portland is being agency bought with two other tax levies— underbid by more than half,E despite offi- but has no money to maintain. BURNS IDE ST. cials’ skepticism and despite the ratepayCraford says ratepayer advocates are ers’ lawsuit, Hales has not cut the loo sales preparing a ballot measure creating a project—or any loo expense—from his people’s utility district for as early as the bureau-slashing city budget. May 2014 election—taking the water and “Should the city be in the business of sewer departments out of City Hall control selling products like the loo in the future? and placing SE STARKthem ST. in a public co-op run by I don’t know,” Hales says. “And frankly, it an elected board. wasn’t as high a priority in my budget as He says loo marketing shows ratepayer police reform and keepingSEwater and sewer money is still “being siphoned off for some MORR ISON ST. rates low. Will I take a stronger look at the ex-commissioner’s vanity project. And BELMO ST.that’s a problem? We’re issue for the next budget? Likely.” theySE don’t seeNT how One new arrival at City Hall is dubious not convinced that there’s ever going to be of the loo sales strategy. any meaningful change from City Hall.” “We shouldn’t be involved in a comPeterson, who will probably be moved mercial enterprise that doesn’t make to another project at the end of the year, money,” says Commissioner Steve Novick. says the loo’s distress is familiar. His colleagues Amanda Fritz and Nick Fish “Fifty years from now,. will the loos be SE HAWT HORN E BLVD declined to comment. as iconic to Portland as the Benson BubThe mayor has acknowledged that blers?” she asks. “I sure hope so. [But] you numerous projects in the water and sewer can’t just plunk it down and think it’s going bureaus shouldn’t be funded by util- to maintain itself.”

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The challenge of selling loos has become more difficult—competition has emerged. And it is pricing toilets lower. Last November, the Cincinnati City Council announced it was looking at buying a Portland Loo for the city’s farmers market. National media trumpeted the proposed purchase as another indication of Portland’s leading role in public toilets. But Cincinnati backed away in January, citing the cost and saying it wanted to study the project for another year. City officials also said they had found a cheaper free-standing metal toilet, built by a com-

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JULYB1U2RG NEILIMHAHMEIDEREICC)K & T (OF TIM &

may 26

BOMBINO WEDNESDAY MAY 15

WHITE FANG

COLLEEN GREEN HEAVY HAWAII & COMA SERFS

$8 ADVANCE TICKETBISCUIT • 9PM SHOWTIME • 21+ ONLY

THURSDAY MAY 16

LAURA MARLING SOLO ACOUSTIC

$20 ADVANCE TICKETBISCUIT • 9PM SHOWTIME • 21+ ONLY

SUNDAY MAY 19

MONDAY MAY 27

SUNDAY MAY 19

TUESDAY MAY 21

INCUBATOR

PORTLAND’S SHOWCASE OF PERFORMANCE WORK-IN-PROGRESS FREE SHOW • 8:30PM SHOWTIME

WED MAY 22 & THU MAY 23 ENTERTAINER • DREAM MAKER • CHANTEUSE • SUPERSTAR

BLOOD CEREM0NY - WHITE HILLS - LAZER/WULF

$15 ADVANCE TICKETBISCUIT • 9PM SHOWTIME • 21+ ONLY

FRIDAY JUNE 1 SIGNAL FIRE CD RELEASE

FEATURING ROB DAIKER & BROOKE LIZOTTE

$12 ADVANCE TICKETBISCUIT • 9PM SHOWTIME • 21+ ONLY

JUNE 14 - GIGGLE & BLUSH PEEPSHOW JUNE 15 - DRK SMMR JUNE 22 - CLASSICAL REVOLUTION PDX MAY 28 - BOLT THROWER - SOLD OUT JUNE 23 - JOHN WATERS BURLESQUE MAY 31 - THE LAMPSHADE BALL JUNE 28 - ROYAL TEETH JUNE 1 - MATINEE 3PM - SCHOOL OF ROCK JUNE 29 - WOODEN INDIAN BURIAL GROUND JUNE 6 - BOYEURISM JULY 5-6 - FUZZFEST JUNE 7 - LAURA IVANCIE CD RELEASE JULY 11 - CHRIS NEWMAN BD SHOW JUNE 8 - MATINEE 3PM - SCHOOL OF ROCK JULY 12 - NEIL HAMBURGER & TIM HEIDECKER JULY 20 - LUCHADOR SURF FEST JUNE 8 - LOVE GIGANTIC CD RELEASE $15 ADVANCE TICKETBISCUIT • 9PM SHOWTIME • 21+ ONLY JULY 24 - CARAVAN PALACES TICKETS AVAILABLE AT STAR THEATER, DANTE’S, WWW.STARTHEATERPORTLAND.COM OR CALL 503-345-7892 AUG 2-3 - SMMR BMMR

LADY RIZO

COMING SOON

FRIDAY MAY 2

THE JAMES LOW WESTERN FRONT & MICHAEL HU

$7 ADVANCE TICKETBISCUIT • 9PM SHOWTIME • 21+

SATURDAY MAY 2

T H E

KIDS

CLASSIC PU FROM BELGI

MEAN JEANS • CHEMICALS • SEX

SUNDAY MAY 2

$20 ADVANCE TICKETBISCUIT • 9PM SHOWTIME • 21+ ONLY

HIVE

SATURDAY MAY 18

$20 ADVANCE TICKETBISCUIT • 9PM SHOWTIME • 21+ ONLY

FREE SHOW • 8:30PM SHOWTIME

REL RTY

$12 ADVANCE TICKETBISCUIT • 9PM SHOWTIME • 21+

WITH LAST GOOD TOOTH

CHURCH OF

Facebook.com/StarTheaterPortl L VINEY ASE

$17 ADVANCE TICKETBISCUIT • 9PM SHOWTIME • 21+ ONLY

BOMBINO

PORTLAND’S PROM THE PROM YOU WISH YOU HAD.

T 7

$10 ADV TICKETBISCUIT • 9:30P

$13 ADV TICKETBISCUIT • 9PM

JULY GER R IL E N HAHMEBIDUECKER IM & T (OF TIM & ERIC)

LOVE GIGANT

SATURDAY MAY 2

pitchfork motorway THE FOOD & SPECIAL GUESTS $8 ADV TICKETBISCUIT • 9:30PM

SINFERNO

FRIDAY MAY 17

SEPARATION OF SANITY - JACKRABBIT - MATT WOODS

SE RELERA TY

JULY 11

VA MICKEY A

Open Daily 11am-2:30am Facebook.com/DantesLive

PORTLAND’S PROM THE PROM YOU WISH YOU HAD. CHURCH OF

HIVE

FREE SHOW • 8:30PM SHOWTIME

TUESDAY MAY 21

INCUBATOR

PORTLAND’S SHOWCASE OF PERFORMANCE WORK-IN-PROGRESS FREE SHOW • 8:30PM SHOWTIME

WED MAY 22 & THU MAY 23 ENTERTAINER • DREAM MAKER • CHANTEUSE • SUPERSTAR

LADY RIZO

$15 ADVANCE TICKETBISCUIT • 9PM SHOWTIME • 21+ ONLY

BOMBINO WITH LAST GOOD TOOTH

$20 ADVANCE TICKETBISCUIT • 9PM SHOWTIME • 21+

MONDAY MAY 27

BLOOD CEREM0NY - WHITE HILLS - LAZER/W

$15 ADVANCE TICKETBISCUIT • 9PM SHOWTIME • 21+

FRIDAY JUNE

SIGNAL FIRE CD RELEASE

FEATURING ROB DAIKER & BROOKE LIZOT

$12 ADVANCE TICKETBISCUIT • 9PM SHOWTIME • 21+

COMING SOON

MAY 28 - BOLT THROWER - SOLD OUT MAY 31 - THE LAMPSHADE BALL JUNE 1 - MATINEE 3PM - SCHOOL OF ROCK JUNE 6 - BOYEURISM JUNE 7 - LAURA IVANCIE CD RELEASE JUNE 8 - MATINEE 3PM - SCHOOL OF ROCK JUNE 8 - LOVE GIGANTIC CD RELEASE

TICKETS AVAILABLE AT STAR THEATER, DANTE’S, WWW.STARTHEATERPORTLAND.COM OR CALL 503-345-7892

JUNE 14 - GIGGLE & BLUSH PEEPS JUNE 15 - DRK SMMR JUNE 22 - CLASSICAL REVOLUTIO JUNE 23 - JOHN WATERS BURLESQ JUNE 28 - ROYAL TEETH JUNE 29 - WOODEN INDIAN BURIAL G JULY 5-6 - FUZZFEST JULY 11 - CHRIS NEWMAN BD SHO JULY 12 - NEIL HAMBURGER & TIM HEID JULY 20 - LUCHADOR SURF FEST JULY 24 - CARAVAN PALACES AUG 2-3 - SMMR BMMR

Willamette Week MAY 15, 2013 wweek.com

the PATIO IS OPEN

WHAT ARE YOU WEARING?

STREET

PRIME TIME RED, BLUE, YELLOW MAKE FASHION. P H OTOS BY M OR GA N GRE EN- H O PK I N S A N D AUTUM N NO RT HCR A FT wweek.com/street

Willamette Week MAY 15, 2013 wweek.com

GOLF: Playing through Portland mini-golf courses. DRANK: Hair of the Dog makes its first lager. MUSIC: Re-creating a lost Grateful Dead show. HOTSEAT: Mike Daisey versus Journalism.

23 25 29 41

SCOOP ALICIA J. ROSE

GOSSIP LETTING THE MUSIC RULE ITS LIFE.

CARRIE MAE WEEMS

CLOSING MAY 19

THREE DECADES OF PHOTOGRAPHY AND VIDEO

portlandartmuseum.org

Organized by the Frist Center for the Visual Arts, Nashville.

FEST-ERING: A new Portland-centric music festival is making its debut this summer—and it’s happening the same weekend as PDX Pop Now! The 8 Track Relay—a 24-hour event meshing music with running—is scheduled for Portland International Raceway on July 20, with sets from big-name acts like Menomena, Blitzen Trapper, Nurses and Quasi. Mississippi MENOMENA Studios’ Jim Brunberg and Matt King put together the lineup but say the date was chosen by the city, which is helping put on the event. But that hasn’t stopped grumbling that 8 Track is undermining a cultural institution on its 10th anniversary. “I had a lot of people approaching me…saying they’re concerned about the other festival maybe stepping on our toes,” says PDX Pop Now! artistic director Chris Cantino. He says he didn’t find out about the new festival until well into the booking process, forcing him to stop pursuing certain acts. Cantino says artists have expressed frustration with the conflict. Both sides, however, say they have worked to figure out how to coexist. Brunberg blames “avid commentators” on Facebook for stirring the pot. “There are other fests that weekend, and I’d like it if all the promoters and commentators stopped complaining and did what was best for the musicians,” he says. Cantino agrees both festivals can coexist because they aren’t targeting the same demographic, with 8 Track targeting runners. And he adds, “Theirs costs money; ours is free.” This year’s PDX Pop Now! lineup will be announced early in June.

DAMAGED: Former WW music editor Casey Jarman is launching a record label. Co-run by his Morals bandmate Ben Hubbird, the first releases for Party Damage Records, scheduled for this summer, include a solo record from Tu Fawning’s Joe Haege, an anticipated album from indie-poppers Wild Ones and the debut from young power-pop JARMAN outfit Your Rival, which Jarman says “sounds a lot like a lost Weezer record.” An avid illustrator, Jarman adds that the label will “have some of the bestdesigned albums around, of this I am sure.” CLARIFICATION: A review of Roadside Attraction in WW’s Bar Guide (April 24, 2013) took note of many men dressed in Utilikilts. However, reader Rich Mackin wrote to clarify that while some patrons were indeed wearing Utilikilts, the vast majority of Roadside Attraction patrons prefer locally made StumpTown Kilts. WW regrets any confusion. 20

Willamette Week MAY 15, 2013 wweek.com

W W S TA F F

HARLEM RENAISSANCE: A company called the Ankeny Group has filed for a liquor license to restart Old Town’s Harlem nightclub inside the former Central space at 220 SW Ankeny St. The first incarnation of Harlem, a weekends-only boutique hip-hop venue, shut down within months despite entry lines that often extended halfway into the neighboring oyster bar. According to manager Doug Posey, the group plans to have a broader musical selection, patio tables and Korean tacos from mobile-food empire Koi Fusion served up in the spot’s front window.

HEADOUT PHOTO: KURT ARMSTRONG

WILLAMETTE WEEK

WHAT TO DO THIS WEEK IN ARTS & CULTURE

THURSDAY MAY 16 THE OFFICE FINALE [TV] When did you stop watching The Office: When Jim and Pam got together? When they had a baby? When Michael left? When it was revealed that Dwight had a sister that had never been mentioned before? It all ends here. 9 pm on NBC. MOBB DEEP [MUSIC] East Coast gangster rap’s grittiest storytellers haven’t dropped a full album of new material in seven years, but that doesn’t diminish the chilling power of classics like “Shook Ones Pt. II” and “Quiet Storm.” Alhambra Theatre, 4811 SE Hawthorne Blvd., 360-1450 (formerly Mt. Tabor Theater). 8 pm. $18. 21+.

FRIDAY MAY 17

KNOW YOUR SAUSAGE JAWOHL! MAIFEST, GERMANY’S OLDEST SAUSAGE PARTY, IS HERE.

Oktoberfest gets a lot of column inches—the legislated purity of Bavarian beer, the goofy hats, the giant urinal troughs—while Maifest always gets short shrift. And who does not excite himself over a Maibaum in the willage? Certainly not the folks at Zeitgeist Northwest, who are hosting a Maifest at Oaks Amusement Park on May 18, with a beribboned Maypole for the kids and some yodeling and some, you know, beer.

1. Bratwurst (Old Country Sausage Co., 4839 NE 106th Ave.): Bratwurst is the pizza of sausage, as seemingly every German region has its own version. It’s also the most common standard: chopped veal, pork or beef and mild spicing in a fat casing. It’s good. Just ask the entire state of Wisconsin. 2. Bierwurst (Old Country): Pepper-garlic beer sausage, for eating with beer. Because black pepper is so spicy for the German palate. A smoked sausage made with precured meat. 3. Currywurst (Edelweiss Sausage & Delicatessen, 3119 SE 12th Ave.): This sausage from Edelweiss is a beautifully trashy German street food (pork sausage seasoned with curry ketchup), all wrapped up one package: curried pork in a sausage. You want to eat like a fat Berliner? Just add ketchup.

But there’s one Maifest tradition they won’t be observing: The hanging of the sausage. Back in olden times, the Germans hung sausage from the Maypole as a symbol of pride and industry vis-àvis the stuffing of spiced meat into digestive parts. Here’s a short guide to the types of German sausage you can hang at home, from your home Maypole, for Maifest. Because if there’s one thing Portland loves, it’s old-school meat. Let your meat flag fly, Portland. MATTHEW KORFHAGE.

4. Weisswurst (Edelweiss): Bavarian breakfast; you eat it after noon, you lose your hair, the superstition goes. It’s white because no nitrites are added, which means you should always eat it fresh. Also, don’t grill: cook it in hot water just shy of boiling. 5. Blutwurst (Edelweiss): The least kosher food, maybe ever: pig’s blood, pork fat, seasoning. But awesome. As with weisswurst, you cook this in hot, sub-boiling water. Or you can fry up thin slices and crisp it into little scabs. Yum. 6. Liverwurst (Edelweiss): Liver sausage, man. Pig liver, some veal, some allspice. This one’s a mini-version, which kind of makes organ meat seem cute.

7. Braunschweiger (Otto’s Sausage Kitchen, 4138 SE Woodstock Blvd.): Liverwurst on crack. Or, at least, on hickory. Smoked liverwurst, often with extra pork or beef trimmings, usually used as a spread. 8. Mettwurst (Otto’s): Minced, cured pork sausage, often heavily spiced with mustard seed or onion. Germans don’t do pepper spice, but they will knock your sinuses the fuck out. 9. Frankfurter (Olympic Provisions, 1632 NW Thurman St.): Do you need this explained? Spiced sausage, Frankfurt style. Very popular among Americans.

GO: Maifest, a German-themed celebration of spring, is at Oaks Amusement Park, 7805 SE Oaks Park Way, on Saturday, May 18. 10 am-7 pm. zeitgeistnorthwest.org.

UFO FESTIVAL [ALIENS] Screw on those antennae and braid those Princess Leia buns: This two-day celebration of all things alien returns for the 14th year. Expect space rock, fashion contests (for both humans and pets) and lectures from UFO wonks. McMinnville Community Center, 600 NE Evans St., McMinnville. Various times Friday-Saturday, May 17-18. See ufofest.com for details. Free-$35.

CROOKED [THEATER] CoHo does best with small-scale productions that still prod big themes, so the company is well-placed for Catherine Trieschmann’s play about two teenage girls and a newly divorced woman. The play digs into domestic dynamics, sexual identity, religion, rebellion and the discomfort of adolescence. CoHo Theater, 2257 NW Raleigh St., 715-1114. 7:30 pm. $25.

SATURDAY MAY 18 BREWVANA PUTT-PUTT [GOLF] Putt-putters are ferried

around by bus to nine breweries and beer bars that have set up miniature golf holes on their premises. Noon-6 pm. $55 for nine drink tickets. Reservations at 729-6804 or experiencebrewvana.com.

CANNIBAL CORPSE, NAPALM DEATH, IMMOLATION [MUSIC] Death metal is popular music’s most misunderstood subgenre—the incomprehensible “Cookie Monster in a wood chipper” vocals might have something to do with that—and if you still don’t get it after going to this show, featuring three legends of the form, then sorry, grandma, it just might not be for you. Wonder Ballroom, 128 NE Russell St., 284-8686. 7 pm. $22 advance, $25 day of show. All ages. I CAN LICK ANY SONOFABITCH IN THE HOUSE [MUSIC] Portland’s convivial cowpunks return with Mayberry, a slice of post-millennial Americana featuring barroom-ready odes to puppies, guitars and Andy Griffith. Dante’s, 350 W Burnside St., 226-6630. 9 pm. $8. 21+.

Willamette Week MAY 15, 2013 wweek.com

JIMMY MAK’S “One of the world’s top 100 places to hear jazz” – Downbeat Magazine

OVER 65

HAPPY HOUR ITEMS

VOTED BEST CHINESE FOOD THREE TIMES

The Karen Lovely Band “Stirred & Shakin’ “

Friday, May 17th with generous support from Belvedere Vodka enjoy tastings of Belvedere products tonight advanced tickets at TicketTomato.com

RAND OPEN BAR G IN ICE AY 15 THRU MAY 25. G M

FREE

PARKING

AFTER 4:30 PM ON WEEK DAYS, ALL DAY SATURDAY AND SUNDAY

Classic Coltrane 1964-65 with The Azar Lawrence Quintet Devin Phillips, George Colligan, Alan Jones, Eric Gruber

HAPPY HOUR

FOOD ITEMS 1/2 OFF (STARTING AT $1) MONDAY - SATURDAY 3:30 TO 7:00 SUNDAY 3:30 TO 9:00

May 30th and May 31st presented by PDX Jazz @ Jimmy Mak’s advanced tickets at TicketTomato.com Upcoming shows:

The Linda Hornbuckle Band, May 18th The Ty Curtis Band, May 24th Soulmates, May 25th Lloyd Jones, June 1st

111 SW Columbia & 1st Ave 503-222-0006 www.mandarin-cove.com

Mon-Sat. evenings: Dinner from 5 pm, Music from 8 pm 221 NW 10th • 503-295-6542 • jimmymaks.com

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Willamette Week MAY 15, 2013 wweek.com

FLAG

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GOLF

CULTURE

SAFARI SAM’S 16260 SW Langer Dr., Sherwood, 925-8000. $5 for 18 holes. No alcohol.

Imagine yourself in a cartoon jungle that glows in the dark. This is exactly what Safari Sam’s feels like. The building is hidden behind a Target in the suburbs of Sherwood, and aimed squarely at the 12-and-under crowd. Empty save for another two-person group, the junglethemed golf course is lit by black lights and dotted with palm trees, a volcano and jungle-animal obstacles. Giant crates reading “DANGER!” sometimes emanated sounds of a snarling animal, mixing awkwardly with an old Justin Bieber song playing on the sound system. The 18-hole course is easy but provides some fun obstacles. The most challenging part was getting our eyes to adjust to uncomfortable glowing neon. KAITIE TODD. SUNSET GOLF CENTER

16251 SW Jenkins Road, Beaverton, 626-2244. 9 am-10 pm daily. $5.50 adults. Alcohol available.

PUTTERING AROUND

Beaverton’s only putt-putt course is a small, 18-holer tacked on to a covered driving range and pro shop. It was surprisingly dead on a recent Saturday night, the lack of screaming youth as refreshing as the warm weather. A 10-foot Statue of Liberty towers at the course entrance, casting a shadow over the miniature baby-blue windmill, tumbledown bridges and other ramshackle obstacles that rest amid the rolling hills of worn carpeting and brightly colored bricks outlining the green. The holes are short, makeable in one or two shots if you’re moderately skilled. Widmer Brothers Hefeweizen and Deschutes Mirror Pond bottles line the sunfloweryellow trash cans haphazardly placed throughout the course, emphasizing the fact that everyone who can drink here does. The crowd is a cordial mix of father-son outings, bickering families—I, too, saw the kid with the bowl cut cheat twice—and tween daters. BRANDON WIDDER.

TAKING A SWING AT PORTLAND’S PUTT-PUTT COURSES.

EAGLE LANDING

WILSONVILLE FAMILY FUN CENTER

BY WW STA F F

If a typical putt-putt course has the vibe of a chili-dog stand, Eagle Landing is more of a Cheesecake Factory. Located out in the hills of Clackistan, it features well-planted beds and tasteful copper-styled plaques numbering each hole. The entire complex, which also features full-sized golf and a par-3 course, is surrounded by condos and McMansions. As we pull up, two teens in polo shirts drive up, one in an SUV, the other in a midsize family sedan. In the little hut where you pay the greens fee and buy drinks and snacks, a dad complains that he wants to finish the course quickly so he can go play a round on the big course while mom and the kids shop at the nearby mall. The course is surrounded by well-tended flower beds and burbling water features. It’s as tasteful as anything made of artificial turf can be. It’s also fairly straightforward. Watch out for the slippery green on hole 11, where we had to fish three balls from the water feature. MARTIN CIZMAR.

Outside of a headache-inducing arcade and family restaurant sits go-kart tracks, bumper boats, batting cages and this miniature golf course. On a nice summer evening, the water on the course and under the bumper boats carries a cool breeze throughout the grounds. The course is Western-themed and Frodo-sized, the perfect backyard for a couple of cowboy-obsessed 8-year-olds. For some inexplicable reason, totem poles line either side of the first hole, but the rest of the course features a miniature general store, hotel and mill in between caves, fountains and bridges over a rushing creek. The biggest challenge is keeping up the pace on this surprisingly busy course. On a recent Wednesday night, when the fee is half off, five groups were stacked up at the last hole. KAITIE TODD.

243-2122

Miniature golf is still wholesome. Unlike kickball, dodgeball, roller skating or pinball, it’s still mostly played sober, fueled by ice cream and the sweaty palms of teenage romance. Among the fondly remembered activities of a well-spent American childhood, it remains one of the few not yet frequently combined with tall boys and ironic costuming. Well, until this weekend. Brewvana, a beer-centric tour service that shuttles craft-beer lovers between Portland’s bars and breweries, hosts a nine-hole tournament with stops at places like Laurelwood, Fifth Quadrant, Beer Mongers and Bazi Bierbrasserie. We got a head start by playing through seven area miniature-golf courses. Following is an abbreviated version of our course notes, posted in full at wweek.com. OAKS AMUSEMENT PARK

10220 SE Causey Ave., Happy Valley, 698-7888. 9 am-dusk daily. $8 for 18 holes, $11 for 36 holes. Alcohol available.

7805 SE Oaks Park Way, 233-5777. Noon-7 pm Saturday and Sunday through June 14. $6 adults. No alcohol.

TUALATIN ISLAND GREENS

The longest-running amusement park in these United States of America, Oaks Park features rides operated by countless generations of miscreants and stoners (including, back in the day, members of the Exploding Hearts). There are dishwater-dull kiddie train rides, multistory slides, a Ferris wheel, cotton candy, carnie games, a vomitous “Looping Thunder” roller coaster, bumper cars and a roller rink with a huge organ, plus a big riverfront park right next door. Surprisingly, Oaks Park mini golf is deeply bucolic. The course is situated on a riverfront sideline to the park, in an eminently shady bower of trees. The minimalist course’s features are likewise arboreal, consisting of a huge rock waterfall and a number of fake hollow logs, plus some fake bears, beavers and squirrels. The wind blows gently from the river, while the screams waft desultorily from the distant Octopus ride. The most serious challenge comes from the fact that half the holes slope up toward the cup in every direction. MATTHEW KORFHAGE.

The name Tualatin probably means “sluggish” or “lazy” in a Native American language, and that’s a vibe channeled at Island Greens. In a sea of office parks and oversized shopping centers, this is an island of serene respite, however contrived. Each hole is modeled after one at a famous course, including Carmel Valley and Pebble Beach. Don’t ask me how accurate they are—I’ve never golfed on a real course—but Island Greens abounds with calming greenery and mostly well-pruned bushes, though watch out for the blackberries. The crowd is mostly suburban families, with a few uber-competitive power couples scattered throughout. Beware of the abundant water features: Between the babbling brooks, mini-waterfalls and marshy areas (cattails! goldfish! frogs!), you’re bound to end up wading for your ball at some point. REBECCA JACOBSON.

20400 SW Cipole Road, Tualatin, 691-8400. 8 am-10 pm daily. $5 for 18 holes. Alcohol available.

29111 SW Town Center Loop W, Wilsonville. $7.25 for 18 holes. 11 am-9 pm Sunday-Thursday, 10 am-11 pm Friday-Saturday. No alcohol.

GLOWING GREENS

509 SW Taylor St., 222-5554. Noon-10 pm Sunday-Thursday, noonmidnight Friday and Saturday. $9.50 for 18 holes, plus $1.50 for 3-D glasses. No alcohol.

Located in the basement of the downtown Hilton, Glowing Greens is Portland’s only ghost-pirate-themed, glowin-the-dark, 3-D, indoor miniature golf course. Looking like a Pirates of the Carribean-themed prom after the punch has been spiked, the course—often laden with soda-sipping teenagers on first dates—is a DayGlo hallucination of garish pinks and greens and blues and oranges vomited over midpriced haunted-house decorations. Naturally, the golf is secondary to the fact that such a place exists at all. The holes are simple even by putt-putt standards: The only “challenges” are the animatronic skeleton pirates that suddenly buzz to life in an effort to startle you as you swing. Well, that, and the fact that you have to try getting through all 18 holes without the benefit of booze. At least the optional 3-D glasses will blur your vision, though that’s all they really do. MATTHEW SINGER. GO: Brewvana’s first Putt Putt Drink 9-Hole Mini Golf Tourney is Saturday, May 18. Noon-6 pm. $55. Reservations at 729-6804 or experiencebrewvana.com. Willamette Week MAY 15, 2013 wweek.com

Lavish Buffets Traditional Indian Cuisine

811 E. Burnside

Delight in All-You-Can-Eat or A la Carte Exotic Dishes of Lamb, Chicken, Goat

Gluten-Free, Vegetarian, Vegan options

Bombshell Vintage

Namaste Parkrose since 2009

8303 NE Sandy Blvd 503-257-5059

Vancouver since 2001

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

Celebrating creative paths to peace

Art Festival ...a benefit for Sisters Of The Road Featuring established and emerging artists and their art including paintings, fabric art, jewelry and more, as well as fun activities and lively conversations about art and social justice throughout the day.

The Armory 128 NW Eleventh, Portland Saturday May 18th

from 10am to 5pm $10 Suggested Donation

Willamette Week MAY 15, 2013 wweek.com

= WW Pick. Highly recommended.

TASTE-OFF KURT ARMSTRONG

FOOD & DRINK 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.

THURSDAY, MAY 16

MONDAY, MAY 20

Champagne Tasting and Sabering with Duval Leroy

Escape From New York 30th Anniversary Party

Learn the ultimate parlor trick of opening a bottle of wine by sword while tasting four champagnes. In between the sabering demonstration, you’ll get the chance to taste Duval Leroy Brut, Cuvée Paris 2006, NV Rosé and 2005 Vintage Clos des Bouveries. Pix will also serve macarons. Pix Patisserie, 2225 E Burnside St., 971-271-7166. 7-9 pm. $5.

FRIDAY, MAY 17 Terres et Vins de Champagne

There will be wine from 21 Champagne growers at this three-day event that includes a tasting of more than 40 wines. The first two nights include 20 Champagne tastings each, followed by the five-course dinner on the final evening at Sauvage, where you can sample and buy seven limited-release bottles of bubbly. E & R Wine Shop, 6141 SW Macadam Ave., 246-6101. 6 pm Friday, 1 pm Saturday and 6 pm Sunday, May 17-19. $25 May 17-18, $105 May 19. 21+.

SATURDAY, MAY 18 Gluten-free Food Fair

Believe it or not, Portland has had a gluten-free food fair for nine years now, and currently has 60 vendors targeting the fashionable dietary restriction. Mittleman Jewish Community Center, 6651 SW Capitol Highway, 244-0111. 11 am-3 pm. $10; $15 per family.

SUNDAY, MAY 19 Edible Wild Plants

Can you eat that mushroom in your neighbor’s lawn? Learn which wild plants you can eat during a lecture by Dr. John Kallas, the botanist who wrote Edible Wild Plants: Wild Foods From Dirt to Plate. Kallas will point out edible plants you walk right by on your way to the grocery store. Central Library, 801 SW 10th Ave., 988-5123. 1-3 pm. Free.

Portland’s first by-the-slice seller celebrates 30 years in business by giving away a free slice of pizza and a drink. Festivities include balloon animals, a pizza-eating contest and getting to hang out with legendary owner Phil Geffner. Escape From New York Pizza, 622 NW 23rd Ave., 227-5423. 11:30 am-11 pm. Free.

4 GREAT PORTLAND PRETZELS Pretzel Nook

It still looks like an old airport shuttle, but the Pretzel Nook cart now houses a kitchen that twists out some of the best soft pretzels in town. The pretzels ($3) are airy and salty on their own, but spring for the beer cheese dip ($2), made with Tillamook cheese and local beer. Look for the cart outside the Commons Brewing tasting room on Friday nights. pretzelnook.com.

Fatcat

Fatcat Pretzels ($6 for a 1-pound bag) sprinkle the crunchy homemade knots with cinnamon-sugar for their addictive cinnamon toast blend or coat the snacks with a tongue-tingly cayenne and serrano mix. The pretzels are light, not at all dry, and oily enough you’ll ruin your shirt in your haste to devour the entire bag. Fatcat Pretzels are available at Portland-area Made in Oregon stores and the Hollywood and Montavilla farmers markets, among other locations. 250-3749, fatdogmustard.com.

Italian Market

This cart, parking behind the new addition to Belmont Station, sells Philly’s less-famous but no less-greasy brand of Italian sandwiches. The pretzels ($2.25) are big, soft and puffy like Italian bread left to rise all day. 4500 SE Stark St., 908-294-1854, italianmarketpdx.com.

Grüner

Pretzel bread so sweet and tender that it comes close to cake. The bread is also well-used as a sausage wrap at this high-end downtown restaurant. 527 SW 12th Ave, 241-7163, grunerpdx.com.

DRANK

LILA (HAIR OF THE DOG) Old dogs are notoriously reluctant to perform new tricks. So someone give Hair of the Dog brewmaster Alan Sprints a good belly scratching for his new Lila Maibock. Sprints’ brewery will celebrate its 20th anniversary in November, but, before last week, he’d never sold a lager. Named for the German verb “to store,” lagers differ from ales because they are made with yeast that sits at the bottom of the fermentation tanks for several weeks at cool temperatures. The resulting beer is generally cleaner and less complex than an ale. Though all 10 of the world’s top-selling beers are lagers, craft versions are an oddity given the extra equipment required and the challenges of making something that stands apart from the macros. Named for Sprints’ mother, Lila was made without separate lagering tanks, meaning the brewery’s equipment was tied up as it conditioned, causing a temporary shortage of topselling Blue Dot IPA. Lila is a very noble beast, mild and caramelcolored, with its most distinct flavor coming from earthy Saaz hops. On tap at the brewery for $4.50 a glass, it makes for a nice spring sip—especially with Blue Dot momentarily tapped out. Recommended. MARTIN CIZMAR.

YELLOW BELLIES

Portland Ketchup Company Organic Yellow Mustard (69)

If regular yellow French’s mustard was made with apple-cider vinegar, it would be indistinguishable from this. Locavores who want a standard yellow mustard for their Ball Park Franks should look no further. Tasting notes: “Regular hot-dog mustard for committed locavores.” “Kicks French’s to the curb.” “Super boring.”

WHICH LOCAL MUSTARDS PASS MUSTER? BY MA RTIN CIZMA R

mcizmar@wweek.com

Most shelves at the Made in Oregon store are stocked with the obvious: Jams made from native berries, our famous wines and cheeses, the blankets our pioneers traded to indigenous people before stealing their land. Then there’s the oddly large stack of mustards. For some reason, this state makes a lot of mustard. Maybe it’s our climate, which isn’t so dissimilar from Germany and France. Maybe it’s because Cascadian cuisine features so much sausage and cheese. With so many to choose from, a taste-off made sense. So six WW tasters sat down with nine kinds of sausages and two boxes of Super Pretzels and set to work. Here’s what to keep in your fridge.

Monastery Mustard Deli Original (82 points)

Made by Catholic nuns in the small, heavily German town of Mt. Angel, this versatile deli-style mustard would be at home on almost anything we’d care to eat mustard on. The only downside: In Portland, it’s only available at places like Laurelhurst Florist, Sheridan Fruit Co. and the Grotto gift shop, and runs about $6 a jar. Tasting notes: “Perfect deli mustard— versatile, nice kick, a little pepper.” “Classic mustard. I could stand behind their religion.” “Fuck yeah, nuns. Divine inspiration. A gospel mustard.”

Gustav’s Dijon with White Wine (81)

Straw yellow with a super-smooth fine grain, the bottled house mustard from this local restaurant chain gets surprising bite from a blend of three vinegars. Tasting notes: “Spicy bite. Good with dry salami.” “Lots of kick for a Dijon—what would you eat this on? Sharp, tart, vinegary.” “Crane kick to the sinus.”

Laurelwood Tree Hugger Porter Mustard (79)

The fat grains in this dark, rich mustard using the porter from Portland’s Laurelwood Brewing look almost like sesame seeds and have the same satisfying pop as the tapioca balls in bubble tea. Three types of chili peppers provide extra kick, but it remains quite balanced. Tasting notes: “Delightfully smoky.” “Yep. Great for sausages and anything off the grill.” “Love the feel of those fat, juicy mustard grains. Great for pretzels.”

This “full-strength” mustard is actually an imprint of Beaverton Foods, which makes Beaver mustard. It features big, fat grains and would be right at home on a big bratwurst. Tasting notes: “Lotsa kick.” “Classic stone ground.”

Monastery Mustard Apricot Ginger (66)

The Benedictine Sisters of Mt. Angel actually make about 10 different styles of mustard. This one is pale and eggy. Tasting notes: “Dull.” “Delicately charming.”

Willamette Valley Mustards Sweet & Hot Stone Ground Mustard (66)

Willamette Valley Mustards Dill Mustard (75)

Almost pastel yellow in color with strong egg and pickle flavors, this oddball mustard from Pendleton— which is nowhere near the Willamette Valley—proved divisive among tasters. On the plus side, you can substitute this spread for mustard, eggs and pickles. Tasting notes: “Love that dill flavor. So rich and supple.” “Good flavor, nuanced effect on the breadiness.” “Tastes like really good salad dressing.”

Laurelwood Workhorse IPA Chipotle and Apricot Mustard (72)

Sweet, and a little bitter, this orangeyellow mustard looks like pureed apricots and tastes about the same. Tasting notes: “Fucking sweet. As in baby food.” “I’d put it on a sandwich—by itself.” “Very good versatile spread. Even if no discernible IPA quality.

Beaver Sweet Hot Mustard (70)

Inglehoffer Stone Ground Mustard (67)

This grocery-store staple from Beaverton advertises itself as “rich with honey.” It’s dark and syrupy, almost the same color as natural peanut butter in the bottle, but the intense burn is what sticks with you. There’s more sugar than mustard seed, but the seeds are on the spicy side. Tasting notes: “Very, very hot. Not sweet. Eyes watering. Ouch. Rich with honey, my ass.” “A milder kick than Gustav’s, but I prefer the full-on punch.” “First add mayo, then spread thinly so you don’t blow your sinuses out.”

Thoroughly unremarkable, this small $1.75 jar is perfect for those who just want to keep a jar in the fridge. Tasting notes: “Almost relish.” “Pretentious. Doesn’t pass as mustard.” “Lacks anything exciting.”

City of Roses Pinot Gris Creamy Mustard (64) Eggs are the first ingredient in this sweet, farm-y spread, which looks and tastes a lot like mayonnaise. Tasting notes: “Tastes like white wine, all right. Very light and fruity.” “Creamy, novel, flavorful complementary condiment.” “Like creamed deviled eggs.”

Inglehoffer Horseradish Mustard (64)

A lot like the regular Inglehoffer deli mustard, but with a little horseradish. Tasting notes: “Not much kick for horseradish—nice flavor but a little soft.” “Balanced, smooth and pleasant.” “Good texture, bland taste.”

Beaver Dijon Garlic Mustard (61)

This offering from Beaver seemed more like garlic spread than mustard. Tasting notes: “Pickle juice and herbs. Some caper flavor in the garlic?” “Pickled garlic. Period.” “Spreadable garlic—beats the fuck out of your tongue.”

Fatdog Mustard (51)

Sweet, eggy and onion-y, this jar of thin gray-yellow mustard costs $8.50 for a 9-ounce jar, proving you don’t always get what you pay for. Tasting notes: “Looks like Totino’s cheese spread that’s gone bad. Too sweet. Kool-Aid sweet.”

Willamette Week MAY 15, 2013 wweek.com

FOOD & DRINK A N G I E WA N G

Tasting notes: “Very mild and a little buttery. Like a biscuit with a thin layer of apple butter spread on it.” “The most characteristic riesling.” “Beautiful balance of sweet and tart.”

Hinman Vineyards Riesling (67)

27012 Briggs Hill Road, Eugene, silvanridge.com Located just south of Eugene, this vineyard has been around since 1979 and produces eight wines under two names: Hinman Vineyards and Silvan Ridge Winery, which include their reserve wines. Hinman’s warm, buttery riesling couldn’t make up its mind whether to be sweet or sour, and settled for too much of both, with an unfortunate sour bite on the finish. Tasting notes: “A bipolar wine that lures you with sweetness and then turns sour halfway through.” “So buttery. Butter that melts into a bitter dandelion.” “Transformative, pleasant and sweet. Just like Amanda Bynes.”

Union Wine Co. 2011 Kings Ridge Willamette Valley Riesling (67)

RIES ABOVE

Eola Hills Wine Cellars 2011 White Riesling (85 points)

TESTING 11 GROCERY-STORE-BOUGHT OREGON RIESLINGS. BY KA I T I E TO D D

ktodd@wweek.com

Oregon rieslings are not like German rieslings. Grown in the cool climates along the Rhine river, traditional German rieslings are sweet and fruity. Though the Willamette Valley is also known for its cool climate, Oregon rieslings are a different beast altogether, says Charles Humble of the Oregon Wine Board. “The kind of riesling made in Oregon tends to be high in acid, and a lot of people like it that way, they like that sort of crispness, that kind of pucker on the mouth,” Humble says. “It’s definitely dry, it’s not sweet.” Riesling is also growing in popularity, both in Oregon and beyond. Though sales of sauvignon blanc currently double those of riesling, wine-industry speculators believe the German grape may one day overtake its rival white in the U.S. In honor of spring and Oregon Wine Month, seven WW writers held a blind tasting of 11 Oregon rieslings. As is WW taste-off custom, we rated each on a scale of 1 to 100 based on how much we liked what was in our glass, instead of employing the scale used by actual wine experts, which spots winemakers 50 points and is preceded by years of intense study. (Also of note: There are no spit cups at our taste-offs.) We sampled broadly accessible wines befitting our station: All were purchased from area grocery stores for between $8 and $17. Eola Hills Wine Cellars 2011 white riesling, which uses fruit from the Umpqua Valley, most impressed us, with Teutonic Wine Co.’s 2012 riesling coming in a close second. Below, our scores and tasting notes.

501 S Pacific Highway 99W, Rickreall, eolahillswinery.com Eola Hills, a winery named for the tiny American Viticultural Area surrounded by the giant Willamette Valley AVA, combines riesling grapes from warmer Southern Oregon with fruit from the Willamette Valley to create a wine with subtle, pleasant sweetness that can be had for less than $10. Tasting notes: “A hint of sparkle, like a happy German Maifest in your mouth.” “Transports you to the fields of Bavaria.” “Fucking fantastic. When I order a riesling, I am thinking of this.”

Teutonic Wine Co. 2012 Crow Valley Vineyard Riesling (83)

3546 NE Tillamook St., teutonicwines.com Teutonic Wine Co. set out to make German-style wines in Oregon, and it seems to be doing so quite well. Featuring hints of lemon and pear, we found the 2012 Crow Valley Vineyard riesling to be satisfying and exciting. Tasting notes: “Warmer flavors and rounder. It bites at the sides of your tongue in a rewarding way.” “I would drink more of this.” “Nice acidity, better body and kinda tastes like an $8 pack of Sweet Tarts—in a good way.”

Hyland Estates No. 33 Riesling (77)

20980 NE Niederberger Road, Dundee, hylandestateswinery.com Made by one of Oregon’s largest vineyards, this riesling offered hints of pear, apple and peach, and left everyone happy.

God seeks me?

Celebrate!

1-Year Anniversary Saturday, May 18 4160 NE Sandy Blvd. 26

503-284- 6327

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Parking at rear

P.O. Box 370, Sherwood, unionwinecompany.com Using riesling grapes from Chehalem Mountain Vineyard in Newberg, the Union Wine Co.’s only riesling features aromas of “white flowers, sea foam and wet stone,” according to its makers. It just tasted like cider to us. Tasting notes: “Less riesling, more apple cider.” “Uninteresting, thin, not too sweet but a bit too tart.” “Very light and inoffensively sweet. I forgot what it tastes like while drinking it.”

Amity Vineyards 2008 Willamette Valley Riesling (66)

18150 SE Amity Vineyards Road, Amity, amityvineyards.com A pioneering Oregon winery opened in 1974 by Myron Redford, Amity is best known for its pinot noir and rare gamay noir, as well as for creating Eco-Wine, Oregon’s first organic and sulfite-free pinot noir. A little sweet, but mostly citrus-y, this riesling was a little too acidic for our taste. Tasting notes: “Tastes kind of like sparkling cider at first, but not as sweet.” “Too citrus-y.” “Like lemon Perrier with simple syrup.”

Elk Cove Vineyards 2011 Estate Riesling (63)

27751 NW Olson Road, Gaston, elkcove.com An old-money winery in Oregon terms, the well-regarded Elk Cove has produced rieslings since 1978. Despite those many years of experience and accolades, in a blind tasting we were put off by the sharp tartness and lingering aftertaste. Tasting notes: “It attacks you, and not in the good Stockholm syndrome kind of way. It pickled my mouth.” “Overwhelming at first. The aftertaste is sour and lingers too long.” “Sharp and invigorating—like getting stabbed by a shiv carved from an angel’s halo.”

Illahe Vineyards 2011 Illahe Estate Dry Riesling (52)

3275 Ballard Road, Dallas, illahevineyards.com Powered by draft horses, solar panels and classic technique, Illahe Vineyards was founded in 1999 with a goal of making wine as naturally as possible. Trying for candy, apple and tobacco leaf, Illahe’s dry and mild riesling tasted more like lemon water. This isn’t necessarily a bad thing, but it’s not what we were looking for. Tasting notes: “I like it, but it isn’t a riesling. It’s a tart juice for drinking at your sunny picnic.” “Like water, maybe with a lemon wedge. Inoffensive but too mild.” “Pleasant for drinking, but, as for food, this thing would get railroaded by cold chicken.”

Montinore Estate 2009 Montinore Estate Sweet Reserve Riesling (43) 3663 SW Dilley Road, Forest Grove, montinore.com After taking over in 2005, Montinore owner Rudy Marchesi transitioned his vineyard from organic practices to biodynamic practices—that is, leaving ground quartz inside a cow’s horn buried for several months and spreading it on the fields at daybreak, and fertilizing his fields with yarrow flowers inside a stag’s bladder. More of a dessert wine than a traditional riesling, Montinore’s only riesling was too sweet for us. Tasting notes: “Is it trying to be ice wine? It’s like whipped cream—it’s good because it’s sweet, but then you realize you’re not a kid at a picnic.” “Soft but sweet, like Dairy Queen ice cream. A clear dessert wine.” “This is a bit like the sugar sediment at the bottom of a child’s cereal bowl.”

Brooks Winery 2009 Riesling (29)

9360 SE Eola Hills Road, Amity, brookswine.com Founded in 1998, Brooks is one of Oregon’s newer wineries and focuses on making pinot noir and riesling. It gets its grapes from Eola Hills Vineyard—not the same as our winner, Eola Hills Wine Cellars—to make a riesling we found shockingly sour. We think this may have been oxidized. Tasting notes: “Sharp, one-note. Corked?” “I would be bitter too if I was supposed to be a riesling.” “Sour and only sour.”

St. Josef’s Winery 2010 Estate White Riesling (25)

28836 S Barlow Road, Canby, stjosefswinery.com Hungarian-born owner and winemaker Josef Fleischmann worked as a baker for years before planting his first grapes in Oregon in 1978. St. Josef’s winemakers tried for a semi-sweet riesling, but with an overall musty essence, we were left wondering if the seal was flawed. Tasting notes: “It tastes and smells like Asian soup. And fish sauce.” “This tastes like someone boiled mushrooms in water.” “Musty. Like drinking a basement.”

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FEATURE

ORIGINAL ARTYFACTS: (Left) The handbill for the Portland Masonic Temple show. (Above) A press photo of the Grateful Dead in 1967.

BRINGING OUT THE DEAD A PSU STUDENT ATTEMPTS TO RECREATE A LOST GRATEFUL DEAD SHOW, BASED ON THE MEMORIES OF THOSE WHO WERE THERE. GOOD LUCK! BY BR A N D O N W I D D ER

243-2122

They say anyone who remembers the ’60s wasn’t there. Tell it to Travis Neel. For the last six months, the 29-year-old Portland State University graduate student has been studying the Grateful Dead in an effort to bring a 1967 Portland concert to life with the help of a local Dead tribute band and one of the original opening acts. It sounds easy enough: Nearly every moment from the Grateful Dead’s decadeslong career was preserved on miles and miles of reel-to-reel tape, traded among fans and translated from cassette to MiniDisc to MP3. You could spend the next few years listening to the more than 2,000 known Dead bootlegs, enjoying hundreds of iterations of Jerry Garcia’s “Fire on the Mountain” guitar solo. But, as Neel soon learned, not quite every moment. “When I first set out to do the project, I intended to use the recordings to frame the show,” he says. As it turns out, he couldn’t find such a recording. So, instead, Neel has had to create “this docu-memory of sorts,” using the fractured, acid-fried 50-year-old memories of people who were there. “Is it a revision or is it accurate?” says the clean-shaven soccer player and confirmed non-Deadhead as he sits at the counter inside a Heart Coffee Roasters on East Burnside Street. “I guess I just don’t know.” On July 18, 1967, a rising San Francisco band flew into Portland to play one of its first gigs outside California in support of its just-

released self-titled debut. The gig was at the local Masonic Temple. Unlike the Grateful Dead’s semi-famous Crystal Ballroom show the following year, little record of the night exists. There’s no known set list. People who were there disagree about whether there was a light show. Some people remember there being about 400 people in attendance, but others claim it was several thousand. Even the musicians who performed on the bill can’t remember the details. As Neel started trying to piece the show together for his class project—part of Portland State University’s Art and Social Practice Master of Fine Arts program— the only things he could confirm were the names of the openers, the presence of go-go dancers, the lack of merchandise and that the Dead played last. His theory of what actually happened that night comes from playbills, archival research and first-hand accounts. This week, at the Portland Art Museum, the former site of the Masonic Temple, Neel will try to recreate not just the sounds but the sights of the gig, with local tribute act the Garcia Birthday Band taking the headlining slot. “I knew the Dead had a large, unique following,” Neel says. “It’s a studied culture in and of itself, one that has made vast recordings of the band. Because the show was very early in the band’s history, there’s no audio recording of it. So I thought that was a nice gap in the archive to plug into and create something for that archive out of living memory.”

In his attempt to fill that gap, Neel drew upon two crucial sources. One is Jim Felt, the promoter who originally brought the Dead to Portland as part of a summer concert series featuring bands that regularly headlined San Francisco’s famed concert theater, the Fillmore. The other is Portland band U.S. Cadenza, one of the show’s three opening acts, which has agreed to reunite for the project and revisit its performance. Despite the firsthand accounts from Cadenza, Felt and various members of the online Deadhead community, Neel discovered that memories of the era, though assuredly vivid in some cases, were faint and unclear in others. In 1967, Cadenza was a group of five clean-cut kids between ages 17 and 22.

MUSIC

about it. I thought I might have made it up. I thought, ‘Did I just imagine that?” Harmonica player John Ward and guitarist Steve Bradley assured him it happened. While playing the Paul Butterfield Blues Band’s “Born in Chicago” during afternoon warm-ups, Dodge cranked up the volume on his twin-reverb amp before his lead solo, only to be greeted by the sound of hissing static and a blown amp. “I was paralyzed,” Dodge says. ”And I look over to the side of the stage, and here’s the Grateful Dead, pointing and rolling on the floor laughing. Really fun joke.” Garcia let Dodge use his equipment. After the Portland quintet received a standing ovation from the crowd, however, the Dead grew disgruntled, according to Felt, nervous to follow the hometown heroes. “Three of [the Dead] came charging in, whiny and bitchy,” Felt says. “I told them they needed to get their shit together and get changed out. There was no negotiating it. The city would turn the light off because of our permit at a certain [closing] time.” The show went on. There was no alcohol, no merch table slinging tie-dye T-shirts adorned with dancing bears, and no encore. Go-go dancers reportedly danced atop risers on either side of the stage, hanging above the few thousand—or a few hundred, depending on who you’re talking to— college and high-school students clouded in the haze of pot smoke. There may have been a liquid light show and possibly security but, naturally, accounts differ. The set list also remains shrouded in mystery. To build its set, the Garcia Birthday Band researched the songs the Dead were documented as having regularly performed during that period. Surveying actual attendees online, the band learned the show potentially featured one of the earliest renditions of fan-favorite R&B cover “Turn on Your Lovelight,” which Neel chose as the title of the project. But according to the tribute band’s members, when it comes to honoring the Dead, the details aren’t what matter. “This is a celebration of the time that

“I PLAYED JERRY GARCIA’S AMP. FOR A LONG TIME, I WAS AFRAID TO TALK ABOUT IT. I THOUGHT I MIGHT HAVE MADE IT UP. I THOUGHT, ‘DID I JUST IMAGINE THAT?’” —STEW DODGE, U.S. CADENZA The band, like many musicians during that period, was busy churning out more cover songs than originals. Nevertheless, it was a prominent act in the once-bustling coffee-shop circuit revolving around the now-defunct Cafe Espresso. Felt, then a 20-year-old concert promoter and friend of Cadenza guitarist Stew Dodge, recruited the band as the final opener for the Dead. “The Cadenza were that good,” recalls Felt, 66. “They were a blues band with an actual act. The rest of the bands were OK, but I liked [Cadenza], so they were popular.” The specifics of that night, however, remain cloudy at best. “I played Garcia’s amp,” says Dodge, 68. “For a long time, I was afraid to talk

they played there. We’re not trying to recreate what that was,” says Garcia Birthday Band drummer Arthur Steinhorn. After all, considering how early the show occurred in the Dead’s career, the Garcia Birthday Band can probably play these songs better than the Grateful Dead did on that night in 1967. “We’ve had the advantage of playing those songs for another 20, 25 years longer than the Dead,” Steinhorn says. “If you do something long enough, you’re bound to get good at. We’re all just looking forward to having a good time in the spirit of then.” SEE IT: “Turn On Your Love Light” is at the Portland Art Museum, 1119 SW Park Ave., on Friday, May 17. 7 pm. $15. All ages.

Willamette Week MAY 15, 2013 wweek.com

MUSIC

may 15–21

= WW Pick. Highly recommended. Prices listed are sometimes for advance ticket sales. At-the-door increases and socalled convenience charges may apply. Event lineups are subject to change after WW’s press deadlines. 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 15 The Milk Carton Kids, the Barefoot Movement

[BITTERSWEET FOLK] For the most part, the Milk Carton Kids’ debut album, The Ash & Clay, is a simple, no-frills Americana experience. Joey Ryan and Kenneth Pattengale sing subtly yet richly about life’s hardships, usually without a lot of fanfare, though at times they juxtapose serious content with upbeat acoustic guitars. The duo’s voices intertwine in a style reminiscent of Simon and Garfunkel, but such nods to the past are brief and do not ring hollow. Ryan and Pattengale also score points for making songs that are contemplative and thought-provoking without being manipulative or judgmental. This is some classic folk music here. BRIAN PALMER. Aladdin Theater, 3017 SE Milwaukie Ave., 234-9694. 8 pm. $15. Under 21 permitted with legal guardian.

The Technicolors, Fictionist

ARRON HEWITT

[DREAM ROCK] Listening to the music of Fictionist is like having the weight of the world lifted off your shoulders and hurtled into space. There is a dreaminess to the guitars and nostalgia in the lyrics to put your mind at ease, and when singer Stuart Maxfield lets loose, you somehow feel like anything is possible. This isn’t overproduced, super-happy sunshine music, but it is warm enough for the band’s visit to feel perfectly timed. BRIAN PALMER. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $8 advance, $10 day of show. 21+.

PROFILE

THURSDAY, MAY 16

Unico

[EXPERIMENTAL CHORALES] Fear not, stalwart fans of experimental music: The Creative Music Guild is not turning its regular Outset Series over to a representative from a real estate investment firm. No, this Unico is an all-vocal ensemble featuring a balance of male and female singers who perform songs from the American folk tradition or, in the words of one of the members, Alyssa Reed-Stuewe, “original creations with syncopated rhythms and hymnal overtones.” The group will be augmented by percussion, electronics and a pair of dancers who will be twisting their bodies in response to Unico’s vocal expressions. ROBERT HAM. Revival Drum Shop, 1465 NE Prescott St., 719-6533. 8 pm. $5-$15 sliding scale. All ages.

The Black Angels, Hanni El Khatib, Wall of Death

[PSYCHEDELIC GARAGE PUNK] Austin-based psychedelic shoegazers the Black Angels have churned out dark riffs and even darker ruminations since 2005’s opus, Passover. Alex Maas and company return to the battlefield on their fourth record, the just-released Indigo Meadow, while tripping in groovier terrain that channels the Doors, Velvet Underground and Jesus and Mary Chain. But don’t miss opener Hanni El Khatib, the latest act to be taken under the production wing of Black Keys’ Dan Auerbach. On his scrappy-sexy 2011 debut, the grunge bluesman showed a knack for imaginative covers, taking on every-

TOP FIVE

thing from Funkadelic to Elvis to an allbut-unrecognizable Louis Armstrong classic (the crunchy rager “You Rascal You”). His Auerbach-produced follow-up, Head in the Dirt, is in fact a much less dirty outing, but El Khatib’s aggressive talent and quirks set him apart from the trendy lo-fi herd. AMANDA SCHURR. Wonder Ballroom, 128 NE Russell St., 284-8686. 9 pm. $16 advance, $18 day of show. 21+.

BY JO E M C MUR R I A N

SONGS FROM ANTHOLOGY OF AMERICAN FOLK MUSIC “The Cuckoo,” Clarence Ashley This is one of those grand old songs from across the seas that is timeless and transcends the limits of our current mode of musical thought. “See That My Grave is Kept Clean,” Blind Lemon Jefferson A tale of imminent death, as told from the eyes of the dying, as white horses, golden chains, coughing sounds, the ringing toll of the church bell and other poor boys going down into the perpetual ground fill the still, dense air. “Fishin’ Blues,” Henry Thomas Who would think that in these times, one of the most amazing songs in American history would be written about fishing by a man playing a set of pan pipes on a harmonica rack? “Stackalee,” Frank Hutchison A feared American myth of the American South, Stackalee is the baddest man in the land. Many tales of killers fill the anthology, but this man is bad to the bone. “Gonna Die With My Hammer in My Hand,” The Williamson Brothers and Curry The harsh result of the Industrial Revolution on the common man. Man meets machine, machine roars, man huffs, machine squeals, man bleeds, steel bends, hammer breaks, mountain falls, people cry, boy learns. SEE IT: Harry Smith’s One Kind Favor: A Tribute Concert to the Anthology of American Folk Music is at Mission Theater, 1624 NW Glisan St., on Saturday, May 18. 7 pm. $15 advance, $20 day of show. 21+. See deadpanfolk.blogspot.com for more information. Read extended interviews with Joe McMurrian and Rani Singh, director of the Harry Smith Archives at the Getty Museum, at wweek.com.

Mobb Deep

[HARDCORE HIP-HOP] East Coast gangster rap godheads Mobb Deep have had a rough decade. Outed as studio thugs in 2001—at New York radio station Hot 97’s annual hip-hop summit Summer Jam, Jay-Z projected a photo of group member Prodigy as a kid, uncharacteristically smiling and dressed for dance lessons, on the stadium Jumbotron—the duo spent the rest of the aughts scrambling to reclaim the hardcore cred it’d built in the ’90s, leading to subpar albums and increasingly cartoonish lyrics. Then Prodigy did a three-year prison term for gun possession, got out and started beefing with his partner, Havoc. Disheartening as all that recent history is, it can’t diminish the chilling power of classics like “Shook Ones Pt. II” and “Quiet Storm,” or the fact that 1995’s The Infamous is one of the best albums of its era. MATTHEW SINGER. Alhambra Theatre, 4811 SE Hawthorne Blvd. 8 pm. $18. 21+.

White Rainbow, the Memories, Donnie Blossoms, Dani Shivers, Unkle Funkle, Rob Walmart

[RIFFS, BEATS AND BLUNTS] Those who see Portland as a mecca for precious, waxed-mustached folk outfits drenched in sepia tones need to get out more. When I think of independent music in Portland, I think of the bands on this bill: White Rainbow’s trunk-rattling dance weirdness, the exceptionally stoned innocence of the Memories, Donnie Blossoms’ unlistenable Casio funk, that gross album cover featuring Unkle Funkle’s shriveled balls and Rob Walmart’s musical ice-cream van bringing parties out into the street. The city I love runs on pizza and marijuana, and these are the musicians who keep it running. Get weird with them. CASEY JARMAN. Backspace, 115 NW 5th Ave., 248-2900. 9 pm. $6. All ages.

Black Pus, Deep Fried Boogie Band

[VISCOUS AND DANGEROUS] Black Pus is the stomach-curdling name of the solo project from Lightning Bolt drummer Brian Chippendale, and like his other musical efforts, the sound of All My Relations, his latest album, is meaty with occasional gristly spews of manic drums and bass tones that will have your intestines threatening to prolapse. This is no full-bore sensorial assault, though. There are enough shades and textures on the album to chew on for days on end. Sharing the bill is Deep Fried Boogie Band, the psych-explosion supergroup featuring Sam Coomes of Quasi. ROBERT HAM. Bunk Bar, 1028 SE Water Ave., 8949708. 9 pm. $8 advance, $10 day of show. 21+.

MGMT, Kuroma

[PSYCH POP] It’s hard to believe, but Oracular Spectacular, MGMT’s colossal electro-pop-leaning debut, is now a half-decade old. Since its release, Ben Goldwasser and Andrew VanWyngarden have been spending big-label money on relatively risky neo-psychedelic projects, estranging their original following while gaining a smaller, albeit more sophisticated, audience. The comfort level with which MGMT is turning out brainy experimental pop suggests this is what the duo wanted all along; it just needed a little cash up front. Recent success stories such as Foxygen owe MGMT for repopularizing the fantastic and the cerebral in mainstream music, and leaks from the group’s forthcoming record suggest it’ll only solidify the tantalizing trend. MARK STOCK. Crystal Ballroom, 1332 W Burnside St., 225-0047. 9 pm. Sold out. All ages.

GEORGE ROZWICK, ACCORDION MASTER The accordion has 233 buttons, 41 keys and 8,888 chords. George Rozwick won’t claim he knows all the chords off the top of his head. Pretty much everything else, though? He’s got it. Of course, he’s had 81 years of practice. At age 94, the still-energetic Rozwick performs up to 15 times per month. He may well be the oldest active accordion player in Oregon—not that there are many active accordion players in Oregon to begin with. “If you were an accordionist who moved to this city and said, ‘I’d like to meet four or five good players,’ you’d have trouble finding them,” he says. “You’d even have trouble finding an accordion in Portland.” Things were different when Rozwick was growing up. “It was the No. 1 thing in music,” he says. He remembers when he played his first accordion at age 13, a gift from his Lithuanian father: “I came home one day, and there was an accordion on the table. And my dad is foreign, of course, very proud. ‘We’ve got you an accordion.’ ‘Well I don’t want an accordion. I want to be a guitar player.’” Guitar lessons didn’t work out. Instead, starting in 1932, Rozwick learned traditional German accordion music, often practicing at least two hours per day. By the time he was 19, he was teaching others how to play, and opened the first of five music studios he’s owned over the course of his life. “It never stopped,” he says. “But I didn’t know if I was doing that great or anything. I knew what the finances were, but that’s not what I was there for. I just loved what I was doing.” He loved it so much, he opted out of going to medical school and chose to continue as a teacher and performer. It was around that time he met Eldon Tichenor, then age 7. Rozwick taught Tichenor how to play the accordion, and the two ended up performing together for the next few decades. Rozwick, who never had children, classifies their relationship as practically father-son. In the early 2000s, after 20 years apart, the two randomly bumped into each other at an accordion event in Canby, rekindling their musical partnership, which has continued to this day. In addition to being at the center of one of his closest friendships, the accordion may have once saved Rozwick’s life. At the beginning of his service in the Army during World War II, officials changed his orders after discovering his talent, keeping him off the front lines in Europe. “They said, ‘Well, could you play for the officers next Saturday for their party?’” Rozwick recalls. “I said, ‘Yeah, well, I could, but I won’t be here.’ So they said, ‘Well, we could change your orders.’” Following his five year stint in the military, Rozwick moved to Oregon and then Alaska, opening more music shops, before finally settling in Canby. Though he no longer teaches, Rozwick, along with Tichenor, still performs with his 40-pound accordion at nursing homes around Portland, and occasionally plays at a restaurant or a Nike event, and at the Portland Marathon. While he might be getting up there in years, Rozwick has no intention of stopping. “I will [play] until I can’t,” he says. “When you get involved in your own music, your life is full.” KAITIE TODD. at age 94, Portland’s accordion king is still pushing buttons.

GO: The Rose City Accordion Club meets the third Saturday of every month at the Milwaukie Public Safety Building, 3200 SE Harrison St. 1-5 pm. Visit rosecityaccordionclub.org for more information.

CONT. on page 33 Willamette Week MAY 15, 2013 wweek.com

Willamette Week MAY 15, 2013 wweek.com

MUSIC COURTESY OF PRESS HERE PUBLICITY

THURSDAY–SATURDAY

Laura Marling

[U.K. FOLK FAVORITE] In her native England, Laura Marling is music royalty. Her first two albums were nominated for the Mercury Prize, the award given to the best record made by a U.K. artist. And in 2011, the 23-year-old snapped up a Brit Award for Best British Female Solo Artist. As you can guess, anticipation for the folk artist’s fourth album, Once I Was an Eagle, is high. As soon as it’s out, look for the rest of the world to snap to attention in response to its Dylanesque lyrical bite and the full flower of Marling’s ample vocal gifts. ROBERT HAM. Star Theater, 13 NW 6th Ave. 9 pm. $17. 21+.

Yo La Tengo

[SONIC HONORED CITIZENS] After nearly 30 years, you know what to expect from Yo La Tengo. Strange, perhaps, that a willfully eccentric act so inclined to traverse the outer reaches of a rangy muse should end up beloved for a redoubtable consistency. If the band’s career has ever lacked for Zeitgeist-scaling peaks, the Hoboken, N.J., trio has blessedly avoided the hollows miring just about every other group. While Ira Kaplan and Georgia Hubley may never have won their Simpsons moment, they are notably still together and still capable of manufacturing sui generis pastoral noise at turns epic and intimate. The recently released 13th full-length, Fade, seems of a piece with the group’s relative ’90s heyday, though some folkier tendencies may have inspired this tour’s sharply divided sets: restrained subtleties, then blistering feedback, then lengthy encore of crowd-suggested covers. JAY HORTON. Wonder Ballroom, 128 NE Russell St., 2848686. 8:30 pm. $18.50 advance, $20 day of show. All ages.

FRIDAY, MAY 17 Man or Astro-Man?, Audacity

[SURF-AND-TURF SPACE PUNK] Among the most prolific underground acts of the ’90s, the mad scientists of Man or Astro-Man? dropped one sonic petri dish after another of sci-fi samples and electro audio tweaks, New Wave attitude and surf-rock guitars. The collective took a couple of hiatuses during the last decade before original members Star Crunch, Birdstuff and Coco the Electronic Monkey Wizard—not their real names—reunited in 2010, releasing last month’s Defcon 5…4…3…2…1 some 20 years after their eponymous debut. True to extraterrestrial form, clones, robots and more MST3K connections than you can shake a Tesla coil at populate the largely instrumental album. So, too, do the considerable skills of its creators, who can still blast out hooky collages of punk and fanboypleasing textures. Expect an epic live show, where most all manner of geek weirdness can and will happen. AMANDA SCHURR. Doug Fir Lounge, 830 E Burnside St., 2319663. 9 pm. $16 advance, $17 day of show. 21+.

The Lonesome Billies, the Staxx Brothers

[DARK COUNTRY] Portland’s Lonesome Billies may take a cue from the likes of Johnny Cash and Waylon Jennings, but I’m pretty sure neither of them ever entered a jingle contest for a shot at $10,000. The Hazel Dell, Wash.-bred outfit is in the middle of recording its fulllength debut, a welcome addition to its discography, which already includes five-track EP Useless Bay. “Fuck all my friends, I guess it’s the end,” sings lead vocalist Billy McCune throatily on “Rats at Your Feet,” one the EP’s standout cuts, amid a soft backdrop of acoustic guitar and light cymbals. The rest of the album delivers similarly dark, twanged-out country tunes that are far from uplifting but fit for drinking. BRANDON WIDDER. Kenton Club, 2025 N Kilpatrick St., 285-3718. 9 pm. Free. 21+.

THE SPIRIT OF THE STAIRWAY: Laura Marling plays Star Theater on Thursday, May 16.

The Quick & Easy Boys, Sassparilla, World’s Finest

[BAR CHORDS] When the Quick & Easy Boys emerged on the Portland music scene a few years back, the trio described itself as some kind of hydra-headed beast fusing Funkadelic, the Minutemen, Jimi Hendrix, the Police and My Morning Jacket, suggesting this was either the greatest band of all time or an epic mess. Turns out, the group is mostly just an amiable bar band, playing solid, party-ready jams that hint at its professed blues, funk and country influences vaguely enough that it all blends into a beer-spilling, dance-floor-filling mélange, with just enough quirk to keep things interesting. It’s fun and boozy and blue-collar, and expect more of it from album No. 3, Make It Easy. MATTHEW SINGER. Wonder Ballroom, 128 NE Russell St., 2848686. 8 pm. $11 advance, $12 day of show. 21+.

SATURDAY, MAY 18 Cold War Kids, Superhumanoids

[INDIE POP ROCKS] Nathan Willett, the vocalist for Cold War Kids, hasn’t quite made up his mind on which musical front his band is waging a war. After two buzzworthy albums of lo-fi indie blues and retro-leaning R&B, the Long Beach-based foursome decided to take a crack at overly polished, sprawling anthemic pop on its next two releases. Latest record Dear Miss Lonelyhearts finds the band still treading the murky waters of critic contempt, this time awash with a layered fusion of staggered keys, trill drums and loose, distorted guitar that offers refined pop hooks only previously hinted at. The album may be more Killersesque than killer, but that doesn’t mean it lacks the ghostly idiosyncrasies and underlying ambition that defined the band’s 2006 beginnings. BRANDON WIDDER. Crystal Ballroom, 1332 W Burnside St., 2250047. 9 pm. $22 advance, $20 day of show. All ages.

I Can Lick Any Sonofabitch in the House, Separation of Sanity, Jackrabbit, Matt Woods

[LEFT-COAST SOUTHERN ROCK] After a few years off, the convivial fellas in ICLASITH return with more cowpunk-soused rock ’n’ roll. Fifth album Mayberry is a slice of postmillennial Americana with barroomready odes to puppies, guitars and Andy Griffith. “Mayberry is dead and gone,” mourns frontman Michael Dean Damron over wailing harmonica on the title track. In Damron’s rearview mirror, only swimmin’ hole days can soothe the ills of hatred and violence, rednecks and guns, pills and liquor. Elsewhere, he finds common ground with Judas, goes gospel for a crucified “King James” and gives up on everything except his dog and maybe PBR—none too surprising for a guy who got the band back together over beers at Yorgo’s. ICLASITH walks a deft line between red-state nostalgia and

blue-state politics, kicking ass and kicking out a few saloon anthems along the way. AMANDA SCHURR. Dante’s, 350 W Burnside St., 2266630. 9 pm. $8. 21+.

Daughter, Jeremy Messersmith

[INFORMAL AMERICANA] No longer uncelebrated, Twin Cities indie darling Jeremy Messersmith has signed with Glassnote Records, home of acts like Mumford and Sons and Phoenix. His arresting 2010 effort, The Reluctant Graveyard, a fizzy LP pairing early ’60s electric guitar picking and rich vocal harmonies with freewheeling folk, is still an inspiring listen today. Messersmith’s more recent material is a bit exploratory, wandering into scenic, more instrumental territory, as on last year’s Paper Moon EP. Should Messersmith cleverly bridge the stylistic gap he’s created over the past few years with his forthcoming release, we could be in for a real transcendent treat. London’s moody folk-rock trio Daughter shares the bill. MARK STOCK. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $12. 21+.

Sara Watkins, Kris Orlowski

[FIDDLE FOLK] It is sometimes hard to remember that Watkins, who is 31 years old, was in the bluegrass band Nickel Creek for almost 20 years, but she has been blazing a solo trail for a handful of years now, and has finally come into her own. Her latest goes beyond mere bluegrass, wandering into the realms of alt-rock, funk, folk and pop. Watkins shows she can be daring, exemplified by a dark duet with Fiona Apple on the Every Brothers’ classic “You’re the One I Love.” Her fiddling is as accomplished as ever, and her sweet vocals grab you and will not let go. BRIAN PALMER. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. $15 advance, $18 day of show.

Little Sue

[AMERICANA] With a gentle “One, two, three, four,” Susannah Weaver, aka Little Sue, counts off “History Mystery,” the leadoff track on New Light, her first album in five years. It’s a welcome return by a mainstay of the Portland roots scene, whose performing career was interrupted in recent years by her pursuit of an education degree. Hearing her sometimes tender, sometimes mischievous voice again is a treat. But as has been the case lately, she’ll continue to balance musical endeavors with academic ones, so opportunities like this to see her perform should be seized—both by those who’ve missed her, and those who missed out on her before. JEFF ROSENBERG. Music Millennium, 3158 E Burnside St., 2318926. 3 pm. Free. All ages.

Cannibal Corpse, Napalm Death, Immolation, Cretin

[DEATH METAL] Cannibal Corpse did itself a huge favor in 2008 by releasing an extensive threehour documentary laying out its 20-year history with plenty of live footage and humble interviews from

CONT. on page 35 Willamette Week MAY 15, 2013 wweek.com

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SCOOP PAGE 20

LIPSTICK TRACES: The Detroit Cobras play Dante’s on Tuesday, May 21. members past and present. The film was a shot in the arm to the death-metal quintet’s career, bringing in plenty of new fans eager to experience the onslaught of riffs and blast beats in real life. The Buffalo, N.Y., band—joined here by fellow genre legends Napalm Death and Immolation—brings its road show of eardrum abuse to Portland on the heels of its 12th studio effort, the masterful and seamy Torture. ROBERT HAM. Wonder Ballroom, 128 NE Russell St., 2848686. 7:30 pm. $22 advance, $25 day of show. All ages.

SUNDAY, MAY 19 The Brothers Comatose, Left Coast Country

[STRANGS] Owning an old, beat-up touring van is a musthave milestone on the long road to becoming a successful band. I bet, however, that not all musical outfits love their rides quite so much as the five guys of the Brothers Comatose cherish their dusty-red 1988 Chevy G20. The folk-tinged bluegrass band’s latest release, Respect the Van, is a collection of raucous, string-laden tunes regarding love, hypocrisy, aging and, of course, the Brothers’ van. Since 2008, the band has earned a reputation for rip-roaring live sets and audience interaction, often handing out chopsticks to the crowd for a big-group percussive romp. BRANDON WIDDER. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 8 pm. $10 advance, $12 day of show. 21+.

MONDAY, MAY 20 Fabolous, Pusha T, Portland Express, SupaNova, Mr. C

[FLY RAPS] When Fabolous hit MTV in 2001, he was a magical combination of a handful of New York’s finest. His monotone voice and penchant for seductive raps reminded me of a slightly less drowsy P. Diddy, while his streetwise skill set was much closer to Biggie’s. The former John Jackson may have come to the fore in the middle of the crossover gold rush, but throughout his career he has been careful to pepper hard-hitting raps that rep N.Y.C. with saucier R&B-tinged jams like “Trade It All” and “Baby.” Two recent singles once again showcase this duality: “So N.Y.” is a thoroughly satisfying slice of boom-bap and trash talk. Then there’s Fab’s far more popular new single with Chris Brown, “Ready,” a sex jam that seems written exclusively for date rapists and women who wish the MC would come over and “Rodney King” their vaginas, I guess. Classy and timely! CASEY JARMAN. Roseland Theater, 8 NW 6th Ave., 224-2038. 8 pm. $27. All ages.

TUESDAY, MAY 21 Shout Out Louds, Haerts

[ICE POP] Shout Out Louds make a particularly Swedish brand of pop, one evoking rays of sunlight trying to pass through a glacier. It’s bright and bummed out at the same time, which isn’t a new concept, of course, but the band’s brand of catchy melancholia is particularly potent. Instrumentally, latest album Optica leans toward the brighter side of things, with sharp strings and synths and a few odd disco rhythms, but then singer Adam Olenius comes in with his Robert Smith-channeling mopiness and reminds us that the sun just makes you squint. The group is at its best when balancing its twin moods within a single track, and on Optica, it manages a better ratio than its past few efforts. MATTHEW SINGER. Aladdin Theater, 3017 SE Milwaukie Ave., 234-9694. 8 pm. $16. All ages.

BASEMENT BAR @THE BLUE MONK

For the full calendar, visit www.thebluemonk.com

Wednesday 5/15 8:00 Arabesque Belly Dance Thursday 5/16 9:00 Thursday Hip Hop Series Neighbors Prapa Gramma Chatham the $UN Friday 5/17 7:30 Offbeat Belly Dance Saturday 5/18 8:00 Soul Vaccination Sunday 5/19 8:00 Sunday Jazz Series John Gross Trio Tuesday 5/21 4S WWeek BW Ad: Spec18/Boz Skaggs 6:30 Pagan Jug Band

Runs: 5/15, 5/29, 6/5

And And And, Sama Dams

[HIGH VOLTAGE] Portland’s beloved renegade post-punk quintet And And And releases its Live at the Banana Stand record with hard-rocking friends Sama Dams here, and the terrific bill of esteemed local bands is made all the cooler thanks to Bunk Bar’s uber-intimate setting. And so officially begins And And And’s West Coast spring tour. Tiny-venue acoustics be damned, it’s not going to matter when And And And is peeling the paint off the walls with its cascading, foaming-at-themouth sound. MARK STOCK. Bunk Bar, 1028 SE Water Ave., 894-9708. 9 pm. $5. 21+.

The Detroit Cobras, Pangea

[ARCHIVAL R&B] Live shows by the Detroit Cobras are the mildest of letdowns. Based on the Cobras’ delightfully scuzzy recorded versions of semi-obscure soul and R&B tracks from the ’60s, you’d expect to be twisting and/or shouting as though seeing Otis Day at a Faber College frat party. The songs are the same—highlights include “You Don’t Knock,” “Midnight Blues,” and “I’ll Keep Holding On”—but the touring versions of the group I’ve seen (seven or eight of them, at least) aren’t nearly as tight as the stone-cold killers singer Rachel Nagy and bassist Gina Rodriguez bring into the studio. You will be goaded to put the bartenders to use, which helps with that. MARTIN CIZMAR. Dante’s, 350 W Burnside St., 2266630. 9:30 pm. $13. 21+.

Black Moth Super Rainbow, The Hood Internet, Oscillator Bug

[DRUGGY ELECTRO] If, before listening to the group, you read about how “accessible” Black Moth Super Rainbow’s sound has gotten in recent years, then went out and bought its last few records, you’d probably assume the Pennsylvania outfit’s earlier output must’ve

June 11 | 7:30 pm ARLENE SCHNITZER CONCERT HALL

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COME & GET ‘EM V VAMPIRE WEEKEND Modern Vampires Of The City $12.95-cd/$15.95- lp

VISUAL ARTS

Limited-edition white vinyl will be available only at indie record stores while supplies last. Don’t miss them at Keller Auditorium on May 23.

DEERHUNTER D UNTER Monomania

$12.95-cd/$16.95-lp

Branford Cox continues to defecate all over the mundane. At least according to NME. Get the new album on sale now and judge for yourself.

Gallery listings and more. PAGE 42

SH & HIM SHE Volume 3

MUSIC

TUESDAY

been really fucking bizarre. You’d mostly be right. In truth, though, the only thing the band did with 2009’s Eating Us and last year’s Cobra Juicy was take a duster to its sound, cleaning up the deliberately lo-fi cobwebs covering its mix of psych folk and trippy-dippy electro. Basically, if 1980s uberdrug-fiend-era Flaming Lips had access to 2000s digital-recording technology, the music they’d make to come down from their own acid freakouts would sound a bit like BMSR’s version of “accessibility.” MATTHEW SINGER. Hawthorne Theatre, 1507 SE 39th Ave., 2337100. 8 pm. $15 advance, $18 day of show. All ages.

Corb Lund, Michael Hurley

[CALGARY STAMPEDE] A former ranch hand and founding member

of ’90s speed-metal outfit the Smalls, rangy troubadour Corb Lund won seven consecutive Juno awards for Best Roots Artist while compiling a body of work that stands as his generation’s definitive take upon what really should be known as Canadiana. Cabin Fever, his seventh album with the Hurtin’ Albertans, isn’t especially concerned with authenticity, but the well-received 2012 collection, largely conceived and recorded in a self-built shelter on the northern fringe of the Rocky Mountains, hits all the sardonic tear-in-the-beer touchstones of country, even if it’s technically a different country altogether. JAY HORTON. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 8 pm. $12 advance, $15 day of show. 21+.

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

SCOUT NIBLETT IT’S UP TO EMMA (DRAG CITY) [HEARTBROKEN ROCK] Don’t be fooled by the picture on the cover of Scout Niblett’s new album, a photo-booth shot of a couple in full make-out mode. The heart of It’s Up to Emma is not a romantic one. These nine brooding, deeply scarred songs—eight originals and one well-chosen cover—are performed and sung as a form of personal exorcism for Niblett. Before they were written, the U.K. native and Portland transplant went through a supremely affecting breakup. It’s fine background information to put this amazing album into context, but also unnecessary. Niblett splays it all out over jagged guitar chords and drums that burst out the mix like pistol reports. She groans lyrics like, “I wish that you will find all you need/ I wish we could have been a reason for you to believe” and “God get him away from her spell” with shivering pain leaking through the tumult. If that weren’t enough, Niblett has the audacity to turn TLC’s “No Scrubs” into a midtempo lament, rendering its well-known chorus with withering, icy contempt. Hope finally comes in the album’s closer, “What Can I Do?,” as Niblett wishes this former lover well just as a sun-drenched string section comes to life behind her. She may not trust the light at the end of the tunnel yet, but she’s comforted knowing it’s there. ROBERT HAM. HEAR IT: It’s Up to Emma is out Tuesday, May 21, on Drag City.

MORNING RITUAL THE CLEAR BLUE PEARL (IN MUSIC WE TRUST) [POP OPERA] Concept albums demand some suspension of disbelief and a little imagination from the listener. When the story being related is in the realm of epic fantasy, as is the case with Morning Ritual’s The Clear Blue Pearl, the imagination required to follow the story is right up there with a game of Dungeons & Dragons or an afternoon of LARPing. None of which should dissuade you from listening. This is a passionate, ambitious project that stretches the range and comfort zones of everyone involved. Morning Ritual’s Ben Darwish, best known as a versatile jazz and pop keyboardist, transforms into an entrancing, prog-y balladeer. His pipes meld beautifully with those of Shook Twins, who are also treading entirely new territory from their usual folky fare. Once or twice, the story—about a drought-ridden family’s quest for an underground oracle that will replenish its land—gets in the way of the fantastic vocal and musical arrangements. More often, the fantasy elements are a cool extra layer on a record generous with sacred moments—the sparse piano lines of “The Drought,” the incredible vocal twists of “Tunnel of Light”—that sound unlike anything that has come before them. CASEY JARMAN. SEE IT: Morning Ritual plays Doug Fir Lounge, 830 E Burnside St., with De La Warr, on Thursday, May 16. 9 pm. $10 advance, $12 day of show. 21+. 36

Willamette Week MAY 15, 2013 wweek.com

MUSIC CALENDAR

MAY 15-21

= WW Pick. Highly recommended.

Laura Marling

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

The Analog

720 SE Hawthorne Open Mic

The Blue Diamond

2016 NE Sandy Blvd. Ben Jones

The Blue Monk SEVEN FIELDS OF APHELION

3341 SE Belmont St. Thursday Hip Hop Series: Neighbors

The Know

2026 NE Alberta St. Steve Adamyk, Needles And Pins, Youthbitch

The Secret Society Ballroom 116 NE Russell St. The Waxwings

Thirsty Lion

71 SW 2nd Ave. Chris Merrill

Tiger Bar

317 NW Broadway Karaoke from Hell

Tony Starlight’s

3728 NE Sandy Blvd. The Satin Chaps

Valentine’s

232 SW Ankeny St. 4x4

Vie de Boheme 1530 SE 7th Ave. Gypsy Jazz Jam

White Eagle Saloon

YOU’LL NEVER SLEEP AGAIN: Black Moth Super Rainbow plays Hawthorne Theatre on Tuesday, May 21.

WED. MAY 15 Al’s Den at the Crystal Hotel 303 SW 12th Ave. Mike Musickanto

Aladdin Theater

3017 SE Milwaukie Ave. The Milk Carton Kids, the Barefoot Movement

Andina

1314 NW Glisan St. Toshi Onizuka

Ash Street Saloon

225 SW Ash St. Spanish Galleons, Sewers of Paris, Gin and Tillyanna

Backspace

115 NW 5th Ave. The Dancing Hats, Finish Ticket, Pageripper, SUN FUN

Branx

320 SE 2nd Ave. Krisun, Arsis, Mortal Plague, Existential Depression

Conga Club

4932 NE Martin Luther King Jr. Blvd. Too Loose Cajun Band

Dig a Pony

736 SE Grand Ave. Battles

Doug Fir Lounge 830 E Burnside St. The Technicolors, Fictionist

Hawthorne Theatre Lounge

1503 SE Cesar E. Chavez Blvd. Jeffrey Trapp

Hawthorne Theatre

1507 SE 39th Ave. Rehab, BNMC, DJ Chris Crisis, The Sindicate

Ivories Jazz Lounge and Restaurant 1435 NW Flanders St. Blueprints Trio

Jade Lounge

2346 SE Ankeny St. Jeffrey White

Kelly’s Olympian

426 SW Washington St. Oker, A Volcano, Steel Hymen

LaurelThirst

2958 NE Glisan St. Brad Parsons, Cedar & Boyer, Anna & the Underbelly, Los Comatosos

Mississippi Studios

3939 N Mississippi Ave. Philly’s Phunkestra, Brownish Black

Revival Drum Shop 1465 NE Prescott St. Unico

Andrea’s Cha Cha Club 832 SE Grand Ave. Pilon D’Azucar Salsa Band

Artichoke Community Music

Ivories Jazz Lounge and Restaurant

Jimmy Mak’s

128 NE Russell St. Yo La Tengo

1435 NW Flanders St. Tom Grant, Jaclyn Gillou

Slabtown

221 NW 10th Ave. Mel Brown B3 Organ Band

Ash Street Saloon

Kenton Club

Star Theater

225 SW Ash St. The Originalites, The Longshots, Muffalufagus

13 NW 6th Ave. White Fang, Colleen Green, Heavy Hawaii, Comaserfs

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

The Blue Diamond

2016 NE Sandy Blvd. The Fenix Project Blues Jam

The Know

2026 NE Alberta St. Eternal Tapestry, Family Stoned

Thirsty Lion

71 SW 2nd Ave. Jordan Harris

Thorne Lounge

4260 SE Hawthorne Blvd. Musician’s Open Mic

Valentine’s

232 SW Ankeny St. No More Parachutes, Sweeping Exits, City Squirrel

White Eagle Saloon

836 N Russell St. Northeast Northwest, TV Mike & the Scarecrows

Wilfs Restaurant & Bar 800 NW 6th Ave. Ron Steen Band, Toni Lincoln

Wonder Ballroom

128 NE Russell St. The Black Angels, Hanni El Khatib, Wall of Death

THURS. MAY 16 Aladdin Theater

3017 SE Milwaukie Ave. The Manhattan Transfer, Cascade

Backspace

115 NW 5th Ave. White Rainbow, the Memories, Donnie Blossoms, Dani Shivers, Unkle Funkle, Rob Walmart

Biddy McGraw’s

6000 NE Glisan St. Train River

Branx

320 SE 2nd Ave. Turquoise Jeep, Kosha Dillz, Stewart Villain

Bunk Bar

1028 SE Water Ave. Black Pus, Deep Fried Boogie Band

Camellia Lounge

510 NW 11th Ave. Kerry Politzer, Anandi, Adam Brock

Club 21

2035 NE Glisan St. VJ Night Flight

Crystal Ballroom

1332 W Burnside St. MGMT, Kuroma

Doug Fir Lounge

830 E Burnside St. Morning Ritual, De La Warr

Duff’s Garage

1635 SE 7th Ave. Terry Hanck

East End

203 SE Grand Ave. Autopilot is for Lovers, Old Age

2025 N Kilpatrick St. Pillow Fight, SYAM

Landmark Saloon

4847 SE Division St. Rose City Ravens

LaurelThirst

2958 NE Glisan St. Big City Wind Down, Jawbone Flats, Lewi Longmire & the Left Coast Roasters

Mission Theater and Pub 1624 NW Glisan St. Refuge Trio

Mississippi Pizza

3552 N Mississippi Ave. Sam Wegman, Ryan Traster, Lost Creek

Mock Crest Tavern 3435 N Lombard St. Robert Richter, Matt Hundley

Muddy Rudder Public House 8105 SE 7th Ave. Sleepy Eyed Johns

Rock Bottom Restaurant & Brewery 206 SW Morrison St. Jacob Merlin, Malia

Rotture

315 SE 3rd Ave. Bike Thief, Eidolons, Noble Firs

Savoy Tavern & Lounge

2500 SE Clinton St. Anne-Marie Sanderson, Margaret Wehr

Shaker and Vine

Goodfoot Lounge

2929 SE Powell Blvd. Corkscrew Cabaret

Hawthorne Theatre Lounge

1033 NW 16th Ave. The Sorry Devils, Fringe Class, Annie Dang

2845 SE Stark St. Scott Pemberton Trio

Slabtown

Slim’s Cocktail Bar

4811 SE Hawthorne Blvd. Mobb Deep

1503 SE Cesar E. Chavez Blvd. Lenny Rancher, Paul Brainard

Andina

Hawthorne Theatre

639 SE Morrison St. DJ Jonny Cakes

Alhambra Theatre

1314 NW Glisan St. Matices

1507 SE 39th Ave. R5, Brandon And Savannah, Taylor Mathews, Alex Aiono

Wilfs Restaurant & Bar

800 NW 6th Ave. Ellen Whyte, Gene & Jean

3130A SE Hawthorne Blvd. Songwriter Roundup

1033 NW 16th Ave. Progress Band, Rocket 3, William’s Crux, Sky Burial

836 N Russell St. Kool Stuff Katie, Swim Atlantic, Beautiful Lies

8635 N Lombard St. Tevis Hodge Jr.

Star Bar

Star Theater

13 NW 6th Ave.

Wonder Ballroom

FRI. MAY 17 Alberta Rose Theatre 3000 NE Alberta St. Wanderlust Circus Orchestra, Underscore Orkestra

Alhambra Theatre

4811 SE Hawthorne Blvd. Deaed Language, 2 Planets, Bottom Shelf Band, Northern Draw, Slurgeon

Andina

1314 NW Glisan St. Nat Hulskamp Trio

Backspace

115 NW 5th Ave. Battle of the Bands

Biddy McGraw’s

6000 NE Glisan St. Counterfeit Cash

Biddy McGraw’s

6000 NE Glisan St. Lynn Conover

Buffalo Gap Eatery and Saloon

6835 SW Macadam Ave. The BeckerHeads

Camellia Lounge 510 NW 11th Ave. Jeff Baker Quintet

Dante’s

350 W Burnside St. Pitchfork Motorway

Doug Fir Lounge

830 E Burnside St. Man or Astro-Man?, Audacity

Duff’s Garage

1635 SE 7th Ave. Chad Rupp, Big Monti, Franco Paletta

East End

203 SE Grand Ave. Paul Collins Beat, Blue Skies for Black Hearts, the Cry, Thee Four Teens

Ford Food and Drink

2505 SE 11th Ave. Strange Language, Lorna Miller

Ground Kontrol

511 NW Couch St. Simon Galaga

Hawthorne Theatre Lounge

1503 SE Cesar E. Chavez Blvd.

Ultra Goat, Black Snake, Vice Riot, PL Young, Jessica Wilke, Allen Russell

Hawthorne Theatre

1507 SE 39th Ave. Marianas Trench, Air Dubai, The Good Natured, DJ Protector

Ivories Jazz Lounge and Restaurant 1435 NW Flanders St. Gordon Lee Trio

Jade Lounge

2346 SE Ankeny St. Delaney and Paris, the Oh My My’s

Heavy Voodoo, Satyress, Dark Country, DJ Overcol

Slim’s Cocktail Bar 8635 N Lombard St. We Sick Boss

The Analog

720 SE Hawthorne Live Undead

The Blue Diamond

2016 NE Sandy Blvd. Lisa Mann

The Blue Monk

3341 SE Belmont St. Unicornz, NoBone, Sweat Lodge

The Know

Jimmy Mak’s

2026 NE Alberta St. Gun Outfit, Nucular Aminals, Industrial Park

Katie O’Briens

The Secret Society Ballroom

221 NW 10th Ave. Karen Lovely 2809 NE Sandy Blvd. The Hand That Bleeds, RLLRBLL, Komal Sa

Kells Brewpub

210 NW 21st Ave. Sami Rouisi

Kelly’s Olympian

426 SW Washington St. Pink Slip, Isolated Cases, Don Schrieber and Monica Nelson, DJ Tony Stewart

116 NE Russell St. The Barn Door Slammers, the Jenny Finn Orchestra

The TARDIS Room

1218 N Killingsworth St. Arthur Moore

Thirsty Lion

71 SW 2nd Ave. Sugarcookie

Tiga

Kenton Club

1465 NE Prescott St. Sweet Jimmy T

Landmark Saloon

3728 NE Sandy Blvd. Tony Morettii (Sinatra tribute)

2025 N Kilpatrick St. The Lonesome Billies, the Staxx Brothers 4847 SE Division St. Hank Sinatra

Laughing Horse Books 12 NE 10th Ave. Lunch, Weed, Cascadia, Busy Scissors

LaurelThirst

2958 NE Glisan St. Red Cotrell & the Outlaws, New Iberians, the Yellers

Lola’s Room at the Crystal Ballroom

1332 W Burnside St. Feral Pigs, Monster Sized Monsters

Mission Theater and Pub

1624 NW Glisan St. A Simple Colony, Swansea, Ritchie Young

Mississippi Pizza

3552 N Mississippi Ave. Melao de’ Cuba, Jenny Sizzler

Mississippi Studios

3939 N Mississippi Ave. Stephen Kellogg, Rebecca Pidgeon

Mock Crest Tavern

3435 N Lombard St. DC Malone & the Jones

Noho’s Hawaiian Cafe 4627 NE Fremont St. Hawaiian Music

Original Halibut’s II 2527 NE Alberta St. Steve Kerin and Jim Miller

Plew’s Brews

8409 N Lombard St. Another Musician, Amish Rage, Tim Karplus, Michael Bode

Record Room

8 NE Killingsworth St. Havania Whaal, Ron Wayne, Silent Numbers

Red Room

2530 NE 82nd Ave. Bobby Joe Ebola and the Children MacNuggits, Mystic Knights of the Cobra, Juicy Karkass, Wormbag

Ringside Fish House 838 SW Park Ave. The Djangophiles

Rock Bottom Restaurant & Brewery 206 SW Morrison St. Chris Merrill

Shaker and Vine

2929 SE Powell Blvd. Dan Diresta Quartet

Slabtown

1033 NW 16th Ave.

Tony Starlight’s

Vie de Boheme

1530 SE 7th Ave. Brazilian Capoeira: A Night In Brazil

White Eagle Saloon

836 N Russell St. Charming Birds, Brothers of the Watch, Reverb Brothers

Wilfs Restaurant & Bar 800 NW 6th Ave. Dick Berk, Michael Wolff, Phil Baker

Wonder Ballroom

128 NE Russell St. The Quick & Easy Boys, Sassparilla, World’s Finest

SAT. MAY 18 Alberta Rose Theatre 3000 NE Alberta St. Uncle Bonsai

Alhambra Theatre

4811 SE Hawthorne Blvd. Doctor Theopolis

Andina

1314 NW Glisan St. Toshi Onizuka Trio

Artichoke Community Music 3130A SE Hawthorne Blvd. Woodlander

Ash Street Saloon

225 SW Ash St. Mohawk Yard, Chaotic Karisma, Pool Old Leroy, The Big Small

Backspace

115 NW 5th Ave. The Sheds, Lo’ There Do I see My Brother, WHEN WE TEAM UP, The Last Department, Trey The Ruler

Biddy McGraw’s

6000 NE Glisan St. Oreganic Music, the Barkers

Blackwater Records 1925 SE Morrison St. Infernoh, Effluxus

Branx

320 SE 2nd Ave. Savoy

Buffalo Gap Eatery and Saloon

6835 SW Macadam Ave. Rockin’ Piano Party

Bunk Bar

1028 SE Water Ave. Painted Palms

Camellia Lounge 510 NW 11th Ave. Circle 3 Trio

Club 21

2035 NE Glisan St.

The Lovesores, The People Electric, Pájaros Impares

Crystal Ballroom

1332 W Burnside St. Cold War Kids, Superhumanoids

Dante’s

350 W Burnside St. I Can Lick Any Sonofabitch in the House, Separation of Sanity, Jackrabbit, Matt Woods

Doug Fir Lounge 830 E Burnside St. Daughter, Jeremy Messersmith

Duff’s Garage

1635 SE 7th Ave. DK Stewart Sextet

East End

203 SE Grand Ave. C Leb & the Kettle Black, Nine 50 Nine, Horsebodies

EastBurn

1800 E Burnside St. Tapwater, DJ Zimmie

Fifteenth Avenue Hophouse

1517 NE Brazee St. Rogue Bluegrass Band

Goodfoot Lounge 2845 SE Stark St. Reeble Jar

Graeter Art Gallery 131 NW 2nd Ave. Silk & Olive, Cheetah Finesse, DJ El Diablo

Hawthorne Hophouse 4111 SE Hawthorne Blvd. Ben Larsen

Hawthorne Theatre Lounge

1503 SE Cesar E. Chavez Blvd. Dinner for Wolves, The Thornes, Dark Country, Rad Habits

Ivories Jazz Lounge and Restaurant 1435 NW Flanders St. Ezra Weiss Sextet

Jade Lounge

2346 SE Ankeny St. Sparkle Nation, JD Dawson and the Cosmic Roots

Jimmy Mak’s

221 NW 10th Ave. Linda Hornbuckle Band

Katie O’Briens

2809 NE Sandy Blvd. ManX, Gun Party, Dr. Stahl, Shit Wolf

Kells Brewpub

210 NW 21st Ave. Sami Rouisi

Kelly’s Olympian

426 SW Washington St. Bob Dylan’s 72 Birthday Show

Kenton Club

2025 N Kilpatrick St. Don & the Quixotes, Fruit of the Legion of Loom, Ghost Train

Landmark Saloon

4847 SE Division St. Sam Yale

LaurelThirst

2958 NE Glisan St. Amanda Richards, Demanda, James Low Western Front

Mission Theater and Pub

1624 NW Glisan St. Harry Smith’s One Kind Favor, M.C. Miz Kitty

Mississippi Pizza

3552 N Mississippi Ave. Puff Puff Beer, Hey Shut Up, Small Souls

Mississippi Studios

3939 N Mississippi Ave. Sara Watkins, Kris Orlowski

Mock Crest Tavern

3435 N Lombard St. Tracey Fordice & the 8-Balls

Music Millennium

3158 E Burnside St.

CONT. on page 38

Willamette Week MAY 15, 2013 wweek.com

MUSIC CALENDAR

MAY 15-21

BAR SPOTLIGHT JAMES REXROAD

Hawthorne Theatre Lounge

1503 SE Cesar E. Chavez Blvd. Hanzel Und Gretyl, Dead Animal Assembly Plant, Ghost Motor

Hawthorne Theatre

1507 SE 39th Ave. Hurt, Witchburn, Cellar Door, Element 57, Mohawk Yard

Mississippi Pizza

3552 N Mississippi Ave. Hungry Hungry Hip Hop

Mississippi Studios

3939 N Mississippi Ave. The Brothers Comatose, Left Coast Country

Red Room

2530 NE 82nd Ave. Erik Anarchy, Ion Storm, Street Metal, God Bless America, Mentes Ajenas, Flesh Lawn, Super Desu, Town and the Writ, start a war

Rock Bottom Restaurant & Brewery 206 SW Morrison St. Michael Lewis Martinez

Rontoms

600 E Burnside St. Just Lions, Rio Grands

Shaker and Vine

2929 SE Powell Blvd. Steve Adams, Cassandra Adams, Tina S. Marie

Slabtown

1033 NW 16th Ave. Rvivr, Divers

Star Theater

13 NW 6th Ave. HIVE: Spirit House

Nel Centro

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

Noho’s Hawaiian Cafe 4627 NE Fremont St. Hawaiian Music

Original Halibut’s II 2527 NE Alberta St. Lloyd Allen

Plew’s Brews

8409 N Lombard St. The Real, Mugspoon

Record Room

8 NE Killingsworth St. Hearts and Tigers, Neighbors, Ten Speed Music

Ringside Fish House 838 SW Park Ave. The Tracy Kim Duo

Rock Bottom Restaurant & Brewery 206 SW Morrison St. Brothers Todd

Rotture

315 SE 3rd Ave. Tormentium, Dead Conspiracy, Panzergod, Infernus

Secret Society Lounge

116 NE Russell St. Midnight Serenaders, Boy & Bean, Portland Rhythm Shakers

Shaker and Vine

13 NW 6th Ave. Just People, Excellent Gentlemen, Worth, DJ Demitri

The Analog

720 SE Hawthorne Poison Us, Jar of Flies

The Blue Diamond

2016 NE Sandy Blvd. Margo Tufo, Doug Rowell

The Blue Monk

3341 SE Belmont St. Soul Vaccination

The Know

2026 NE Alberta St. Mic Crenshaw, Redray Frazier, Fingerpaint Afro Jazz, DJ Deff Ro

The Old Church

1422 SW 11th Ave. Mo Phillips

The Secret Society Ballroom

116 NE Russell St. Midnight Serenaders, Boy & Bean, the Portland Rhythm Shakers, Everything’s Jake

The TARDIS Room

1218 N Killingsworth St. Governess, Dodge Logic, An Argot, Fine Pets

Wilfs Restaurant & Bar 800 NW 6th Ave. Dick Berk, Michael Wolff, Phil Baker

Wonder Ballroom

128 NE Russell St. Cannibal Corpse, Napalm Death, Immolation, Cretin

SUN. MAY 19 Al’s Den at the Crystal Hotel 303 SW 12th Ave. Garcia Birthday Band

Andina

1314 NW Glisan St. Lauren Sheehan, Never Strangers

Clyde’s Prime Rib

Dig a Pony

Ford Food and Drink

Slim’s Cocktail Bar

3728 NE Sandy Blvd. Pranksters Big Band

1635 SE 7th Ave. Steve Kerin 2505 SE 11th Ave. Tim Roth

Ground Kontrol

511 NW Couch St. DJ Noah Fence

3341 SE Belmont St. John Gross Trio

The Elixir Lab

2738 NE Alberta St. Closely Watched Trains

The Secret Society Ballroom 116 NE Russell St. Tim Snider

Trail’s End Saloon

1320 Main St., Oregon City Arthur Fresh Air Moore Harp Party

Valentine’s

232 SW Ankeny St. The Slidells, Andrew Graham & the Swarming Branch, Speck Mountain

Vie de Boheme 1530 SE 7th Ave. ARC Jazz Trio

White Eagle Saloon

836 N Russell St. Ray Tarantino, Goose & Fox, Krista Herring

MON. MAY 20 Al’s Den at the Crystal Hotel 303 SW 12th Ave. Garcia Birthday Band, Lewi Longmire

Andina

1314 NW Glisan St. Pete Krebs

Dante’s

350 W Burnside St. Karaoke From Hell

Camellia Lounge

White Rainbow, Jordan Dykstra, Caspar Sonnet, DJ Musique Plastique

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

Ivories Jazz Lounge and Restaurant

Dante’s

Jade Lounge

350 W Burnside St. The Detroit Cobras, Pangea

Dig a Pony

736 SE Grand Ave. Last Call

Doug Fir Lounge 830 E Burnside St. Sir Sly, JMSN

Duff’s Garage

1635 SE 7th Ave. Dover Weinberg Quartet

Hawthorne Theatre

1507 SE 39th Ave. Black Moth Super Rainbow, The Hood Internet, Oscillator Bug

Holocene

1001 SE Morrison St.

1435 NW Flanders St. Clay Giberson

2346 SE Ankeny St. Siren Sessions: Margeret Gibson Wehr, Anna Spackman

Jimmy Mak’s

221 NW 10th Ave. The Mel Brown Septet, Lincoln High School Band

Keller Auditorium 222 SW Clay St. Brit Floyd

Kenton Club

2025 N Kilpatrick St. Muscle and Marrow, Courtney Marie Andrews, Gavin Castleton

LaurelThirst

2958 NE Glisan St. Dustin Hamman, Paleo, Jackstraw

Roseland Theater 8 NW 6th Ave. Fabolous, Pusha T, Portland Express, SupaNova, Mr. C

Rotture

315 SE 3rd Ave. Stay Calm, Week of Wonders, Surfs Drugs

Slabtown

1033 NW 16th Ave. Bradford Loomis and Todd Joseph, Supercrow, Fort Union

Star Bar

639 SE Morrison St. Metal Monday: DJ Blackhawk

The Blue Diamond

2016 NE Sandy Blvd. Sumo “The Band”

The Blue Monk

2738 NE Alberta St. Blue Flags and Black Grass

WED. MAY 15 Andrea’s Cha Cha Club 832 SE Grand Ave. Salsa: DJ Alberton

Beech Street Parlor 412 NE Beech St. DJ Rhienna

Dig a Pony

736 SE Grand Ave. Battles

Holocene

1001 SE Morrison St. PDneXt: Objekt, SPF666, Graintable, Plumblyne, Danny Corn, Natasha Kmeto

TUES. MAY 21 303 SW 12th Ave. Garcia Birthday Band, Matt Butler

Aladdin Theater

3017 SE Milwaukie Ave. Shout Out Louds, Haerts

Andina

1314 NW Glisan St. Neftali Rivera

Backspace

115 NW 5th Ave. Shoulderblades, Joy Pearson, Levi Warren, Danna Nieto

Beech Street Parlor 412 NE Beech St. Dweomer

Buffalo Gap Eatery and Saloon

6835 SW Macadam Ave. Nicole Wells, Carson Wells, John Rankin

Bunk Bar

1028 SE Water Ave.

Club 21

2035 NE Glisan St. DJ Bad Wizard

Crystal Ballroom

1332 W Burnside St. VJ Kittyrox

Dig a Pony

736 SE Grand Ave. Jimbo, Nealy Neal

Goodfoot Lounge

Tiga

1465 NE Prescott St. DJ Dog Daze

THURS. MAY 16 Beech Street Parlor

231 SW Ankeny St. DJs Def Ro and Suga Shane

Al’s Den at the Crystal Hotel

320 SE 2nd Ave. Jai Ho! Bollywood Bass: DJ Prashant

1001 SE Morrison St. Rockbox: Matt Nelkin, DJ Kez, Supreme La Rock

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

Tiga

836 N Russell St. Roseland Hunters, Tevis Hodge Jr.

Branx

The Lovecraft

412 NE Beech St. DJ Nate C

White Eagle Saloon

DJ Ramophone

2845 SE Stark St. DJ Aquaman’s Soul Stew

116 NE Russell St. Carlton Jackson/Dave Mills Big Band 1465 NE Prescott St. Count Lips

Mississippi Studios

3939 N Mississippi Ave. Corb Lund, Michael Hurley

Music Millennium

3158 E Burnside St. Radiation City

Shaker and Vine

2929 SE Powell Blvd. Avery Hill

The Blue Diamond

2016 NE Sandy Blvd. Margo Tufo, Doug Rowell

The Know

2026 NE Alberta St. Infernoh, Effluxus, Silencer, Apocalypse Now

Valentine’s

232 SW Ankeny St. PWRHAUS

White Eagle Saloon 836 N Russell St. Lustful Monks

White Owl Social Club 1305 SE 8th Ave. Totaled Tuesdays: DJ Mike V. & Manee Friday

Refuge

8105 SE 7th Ave. Lloyd Jones

The Secret Society Ballroom

836 N Russell St. Tango Alpha Tango, Fox & The Law, Violet Isle, the Student Loan

And And And, Sama Dams

Muddy Rudder Public House

The Blue Monk

Tiger Bar

Willamette Week MAY 15, 2013 wweek.com

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

White Eagle Saloon

Tonic Lounge

LaurelThirst

2016 NE Sandy Blvd. Kevin Selfe and the Tornadoes

1033 NW 16th Ave. Transient, Hummingbird of Death, the Drip, Pleasure Cross 8635 N Lombard St. Ruby Feathers

4847 SE Division St. Hack, Stitch & Buckshot

1530 SE 7th Ave. ManimalHouse

Vie de Boheme

736 SE Grand Ave. Boom Wow

Tony Starlight’s

Landmark Saloon

The Elixir Lab

Thirsty Lion

3100 NE Sandy Blvd. Drag Me Under

210 NW 21st Ave. Traditional Irish Jam Session

The Blue Diamond

Duff’s Garage

Slabtown

Kells Brewpub

720 SE Hawthorne Lake Sun

1320 Main St., Oregon City Honkey Tonk Union

317 NW Broadway Foxy Lemon, Lunch, Young Dad

2929 SE Powell Blvd. Sue Zalokar

The Analog

2346 SE Ankeny St. The Dreadnoughts

3341 SE Belmont St. Anna Horvitz, Simply Luscious

5474 NE Sandy Blvd. Ron Steen Jazz Jam

71 SW 2nd Ave. Gentlemen’s Club

Hawthorne Theatre

Jade Lounge

2958 NE Glisan St. Kris Deelane & the Sharp Little Things, Freak Mountain Ramblers

Trail’s End Saloon

830 E Burnside St. Halo Refuser, Melting Pot, Asher Fulero

Jade Lounge

LaurelThirst

Star Theater

Doug Fir Lounge

1435 NW Flanders St. Jaclyn Gillou, Randy Porter 2346 SE Ankeny St. Alexa Wiley, Jasper Brokaw-Falbo

Little Sue

736 SE Grand Ave. Tre Slim

1507 SE 39th Ave. Headbang For The Highway: Mayhem, Nemesis, Toxic Zombie, 30 Pound Test, Beringia, Mursa, American Roulette, Heathen Shrine, Anonymia, Amerakin Overdose

Ivories Jazz Lounge and Restaurant

SLIDE BY: The vaguely Germanic Slide Inn (2348 SE Ankeny St., 236-4997, slideinnpdx.com) is an ambitious restaurant. It’s also an abject failure: Fried polenta is a flavorless crunch coated in a discordantly sweet, purplish marinara that tastes like rotten strawberries; curried tofu sausage is mostly brown rice and carrot and comes on a pile of unseasoned purple cabbage; veggie tempura is coated in thick, hard and salty batter that more closely resembles the dregs from the bottom of a Long John Silver’s fryer. Almost all of the Slide Inn’s plate-shaped land mines are best avoided. This is true even at happy hour, when those dishes run $4 to $5. And even on Monday and Tuesday, when happy hour lasts all night. As a bar, though, you can do a lot worse than this little inn on the border of the Buckman and Kerns neighborhoods. The wait staff is friendly, local pints run $3.50 and a nice selection of German imports (Bayreuther Kellerbier, Spaten Optimator, Veltins Pilsner) runs $4 at happy hour. There’s great people-watching along the Southeast Ankeny Street bike corridor, and a post-rock band practicing across the street provides a nice Monday night soundtrack for the patio tables. One small corner of gustatory refuge: sauteed spätzle ($6), a large pile of supple egg noodles with caramelized onions, salty Swiss cheese and little chunks of smoked and salt-cured speck. It’s not exciting, but it’s safe. Here, safe is good. MARTIN CIZMAR.

Dig a Pony

Berbati’s

Dig a Pony

736 SE Grand Ave. Cooky Parker

Jones

107 NW Couch St. Doc Adam

Lola’s Room at the Crystal Ballroom 1332 W Burnside St. Limelight Dance Millenium

The Lovecraft

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

The Whiskey Bar

31 NW 1st Ave. Bass Cube: Candyland, BennyRox, KELLAN

Vie de Boheme

1530 SE 7th Ave. Bohemian Blues: DJs Lynn Winkle & Mark Stauffer

FRI. MAY 17 BC’s Restaurant 2433 SE Powell Blvd. Activate: DJ Dot, Trevor Vichas

Beech Street Parlor 412 NE Beech St.

Holocene

Jones

107 NW Couch St. DJ Zimmie

Moloko Plus

3967 N Mississippi Ave DJ Maxamillion

Rotture

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

Star Bar

116 SE Yamhill St. Lifted 2: Cold Blank, Keith Mackenzie, ECUA, Alex Bradley, Minesweepa, Killa K, Strive, Renegade, Sidetracked, Alex Lightspeed, Halv, Spacecase, DJ Deformaty, Vize

Star Bar

639 SE Morrison St. Go French Yourself: DJ Cecilia

The Lovecraft

421 SE Grand Ave. DJ Bar Hopper

The Whiskey Bar

31 NW 1st Ave. Play Saturday: Kyau & Albert

Tiga

1465 NE Prescott St. Hostile Tapeover

SUN. MAY 19 Dig a Pony

736 SE Grand Ave. Boom Wow

Savoy Tavern & Lounge

2500 SE Clinton St. DJ Rhienna

MON. MAY 20 Beech Street Parlor 412 NE Beech St. DJ Pattern & Shape

639 SE Morrison St. Uncontrollable Urge: DJ Paultimore

Dig a Pony

The Lovecraft

Kelly’s Olympian

421 SE Grand Ave. Perforce!: Musique Plastique, DJ Sharpie, DJ Blk Rainbow

Valentine’s

232 SW Ankeny St. Trust the DJ: Mr. MuMu

SAT. MAY 18 Beech Street Parlor 412 NE Beech St. DJ Lord Smithingham

Dig a Pony

736 SE Grand Ave. Mike Lixxx and Dirty Red

Fez Ballroom

316 SW 11th Ave. Doc Adam, DJ Le Freak

Ground Kontrol

511 NW Couch St. DJ I

Holocene

1001 SE Morrison St. Gaycation: Mr. Charming, Roy G Biv, Miss Pop

Jones

107 NW Couch St. DJ Marty Mar

736 SE Grand Ave. TreSlim 426 SW Washington St. Eye Candy VJs

The Analog

720 SE Hawthorne DJ Gothique Smooch

The Know

2026 NE Alberta St. Montgomery Word

TUES. MAY 21 Ash Street Saloon 225 SW Ash St. Phreak: Electronic Mutations

Dig a Pony

736 SE Grand Ave. Last Call

Star Bar

639 SE Morrison St. DJ Smooth Hopperator

The Lovecraft

421 SE Grand Ave. TRNGL: DJ Rhienna

Tiga

1465 NE Prescott St. DJ Zero

Vie de Boheme 1530 SE 7th Ave. Salsa Night

MAY 15–21

= 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

[NEW REVIEW] What if life was really just a giant game of musical chairs? And what if you didn’t end up in the chair you wanted? That’s the story Aloha, Say the Pretty Girls sets out to explore. Told in a series of interconnected vignettes, Naomi Iizuka’s play follows 11 characters as they try to figure out who they are and where they’re going in life, from a pregnant, neurotic woman recently dumped by her boyfriend who moves to Alaska, to a dog who isn’t really sure anymore if he is a dog or a man. The story itself, as these twentysomethings try to discover themselves and find romance, is frankly a little exhausting. Existentially angsty questions weigh down the script: “I don’t know who I am! I don’t know what I’m supposed to be!” But the Theatre Vertigo cast, directed by Jen Wineman, delivers well-timed comedic performances as the characters grapple with whether they should, in fact, marry the person they love, or whether that paw is indeed a hand. KAITIE TODD. 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, crooning vocals as Patsy Cline as it is by Sharon Maroney’s entertaining and comedic narration as Louise. 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 dancing in the front row, as happened at a recent Sunday matinee. KAITIE TODD. Broadway Rose New Stage Theatre, 12850 SW Grant Ave., Tigard, 620-5262. 7:30 pm ThursdaysSaturdays, 2 pm Sundays and select Saturdays through May 19. $30-$40.

Ari-Maria

We love our celebrity couples. 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. 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. 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 presents Mart Crowley’s acid-tongued comedy about a group of gay men in 1968. The show takes place in an East Burnside home, with audience members planted throughout the space. The play runs in repertory with The Children’s Hour. 3125 E Burnside St., 481-2960. 7:30 pm ThursdaysSundays (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.

The Children’s Hour

Defunkt Theatre stages Lillian Hellman’s 1934 drama, in which a boarding-school student accuses the headmistresses of having an affair. It’s part of Defunkt’s Herstory/History project to present two of theater’s earliest depictions of homosexuality, and it runs in repertory with Mart Crowley’s The Boys in the Band. The Back Door Theater, 4319 SE Hawthorne Blvd., 4812960. 7:30 pm Thursdays-Sundays through June 15. $15-$20.

Crooked

CoHo Productions presents Catherine Trieschmann’s play about two teenage girls and a newly divorced woman. The drama digs into domestic dynamics, religion and rebellion. The CoHo Theater, 2257 NW Raleigh St., 715-1114. 7:30 pm Thursdays-Saturdays, 2 pm Sundays through June 8. $25.

Dance for a Dollar

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, have developed a pay-per-groove system to soothe the dancing needs of their male clientele. With plenty of leopard-framed 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. 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. 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.

Gathering Blue

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 man-eating beasts. 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 gets laughs out of children and adults alike. KAITIE TODD. Winningstad Theatre, Portland Center for the Performing Arts, 1111 SW Broadway, 228-9571. 2 pm Saturday-Sunday, May 18-19. $15-$28.

La Cage aux Folles

[NEW REVIEW] Even among the staunchly classical theater crowd, there is something undeniably entertaining about a man in a dress. Throw in a gay cabaret owner and his transvestite headliner/life partner—who pretend to be man and wife in order to meet conservative parents of their son’s fiance—and hilarity is bound to ensue. Lakewood Theatre’s production of La Cage aux Folles excels thanks to its supremely talented cast, in particular Joe Theissen as Albert and drag queen extraordinaire Zaza. Theissen’s singing is lovely, but it’s his mannerisms and spot-on delivery that have the audience roaring through each scene. The equally talented chorus

dancers, in a hurricane of glitter and marabou, shimmy, flip and high-kick their way through the musical’s uptempo numbers in what must be the most cardio-intensive acting gig on stage. Have fun guessing which actors are actually women. PENELOPE BASS. Lakewood Center for the Arts, 368 S State St., Lake Oswego, 635-3901. 7:30 pm Thursdays-Saturdays; 7 pm Sunday, May 19; 2 pm Sunday, May 26 and June 2 and 9. Through June 9. $35.

The Left Hand of Darkness

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? So it’s fitting that this new adaptation of Le Guin’s novel 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 and an immersive synth score to transport the audience to Gethen, an icy planet populated by androgynous beings. John Schmor’s overstuffed script works too hard to establish an intricate set of political circumstances, but the second act gains steam, charting a treacherous trek over a glacier. “Ambitious” is often a euphemism for “unsuccessful,” and there are pieces of The Left Hand of Darkness that are both. 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. Portland Playhouse, 602 NE Prescott St., 488-5822. 7:30 pm Thursdays-Saturdays, 2 pm SaturdaysSundays through June 9. $23-$32.

genius fiance in order to land a theatrical success. The six-character cast lacks nothing in melodrama or gags; Navratalova threatens suicide with a fish knife. But the theatrical iceberg is the faulty script. “Predictable from top to bottom,” Turai laments. Unfortunately, it’s also true of Bag & Baggage’s production. It’s a rough crossing through the play, which fails to make headway despite a talented cast carried by Ian Armstrong’s bumbling Russian valet, Dvornichek. He perpetually drinks the cognac Turai commands, yet is the only sure-footed soul when the ship rocks. Armstrong brings spirit and strength to the slapstick comedy, but it still crawls glacially along to its predictably happy ending. ENID SPITZ. The Venetian Theatre, 253 E Main St., Hillsboro, 6933953. 7:30 pm Thursdays-Saturdays and 2 pm Sundays through May 26. $18-$26.

The Seagull

[NEW REVIEW] Like many great works of art, Anton Chekhov’s The Seagull was booed on its 1896 opening night before finding wild success. Northwest Classical Theatre Co.’s production, directed by Don Alder, uses an intimate venue and emotive acting to add immediacy to this theatrical jewel. Set in the lakeside summertime home of Irina (Jane Bement Geesman), an aging but famous actress, and her idealistic playwright son Konstantin (Ben Buckley), the play’s atmosphere seems idyllic. Yet, as Irina admits, “It’s hot and humid. No one does anything! Everyone philosophizes.” An ensemble cast bears the comedy that arises from what becomes a love hexagon, but unrequited and uncertain desires, along with Konstantin’s attempted

CONT. on page 40

REVIEW JAMIE BOSWORTH

PERFORMANCE

The Match.com Monologues

This play, written by former Mercury editor Phil Busse, delves into the failure-riddled world of online dating. Northwest Dance Project Studio & Performance Center, 833 N Shaver St., 421-7434. 8 pm Fridays-Sundays through May 19. $10-$14.

The People’s Republic of Portland

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. (And it was apparently a bit of deliberate mispronunciation, the dramaturg has informed me.) 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 winds up somewhere between Portlandia-style 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. REBECCA JACOBSON. Gerding Theater, 128 NW 11th Ave., 445-3700. 7:30 pm TuesdaysSundays, 2 pm Sundays and select Saturdays, noon Thursdays through June 16. $34-$54.

Playland

For the final staged reading of its season, Profile Theatre presents Athol Fugard’s drama, set in 1989 at a carnival in South Africa. Theater! Theatre!, 3430 SE Belmont St., 242-0080. 7:30 pm Monday, May 20. $10 suggested.

Rough Crossing

[NEW REVIEW] A chandelier swings precariously over a Russian diva and stuttering songwriter in Rough Crossing, which is set on an ocean liner and examines the perils of both theatrical collaboration and cruise ships. In Tom Stoppard’s metafictional comedy, renowned playwrights Sandor Turai (Adam Syron) and Alex Gal (Norman Wilson) must reunite unfaithful actress Natasha Navratalova (Megan Carver) with her musical

HELLO, MR. CHIPS: Bobby Bermea as an enthusiastic teacher.

MY CHILDREN! MY AFRICA! (PROFILE THEATRE) For the first 45 minutes of Profile Theatre’s My Children! My Africa!, you may think a latter-day Mr. Chips has single-handedly defeated the entire edifice of 1980s-era South African apartheid with nothing but the love of learning and a few lines of Wordsworth. Privileged white prep-school girl Isabel (Chelsie Kinney) visits a black township school and bonds with promising student Thami (Gilbert Feliciano) and especially his energetic teacher, Mr. M (Bobby Bermea); what follows is some of the more saccharine dialogue ever put to stage. Mr. M wants to get Isabel and Thami together for a literary quiz bowl, and Isabel couldn’t be more excited. As his students throw lines from the Lake Poets back and forth, Mr. M wipes his brow and declares that all this insane hope is making him sweat. But anyone who knows the politicized work of South African playwright Athol Fugard knows we don’t have some cheap Michelle Pfeiffer moment of racial harmony waiting for us at the end of the play. As the young Thami moves further and further into the struggles that defined South Africa in the ’80s (it’s set during the mid-decade township uprisings that left more than 600 dead), the play becomes not so much a conflict over a few children’s lives, but rather an examination of how apartheid ruined everyone it touched. It is an Aristotelian tragedy in which the flaws of each person’s character are determined by terrible history. Any three-person play puts a heavy burden on its performers— especially since director Adriana Baer’s minimalist staging places all attention squarely on their interplay—and the actors acquit themselves admirably, despite some wavering in difficult South African accents. Bermea in particular has a natural warmth, charisma and decency that carry the show through some of its dodgier script moments; Kinney and Feliciano are much younger actors, and this sometimes shows up as unsure footing early on, but the pair’s depth of feeling in the closing scenes allow the play to find its full emotional resonance. It’s a shame that one has to sit so long through a patchy prelude to reach the pathos and subtlety that characterize the play’s climax and conclusion, but it is a price worth paying. It has been almost 30 years since the events in question, but the struggles the play depicts are, if anything, even more relevant. MATTHEW KORFHAGE.

Starts with sugar, ends with meat.

SEE IT: My Children! My Africa! is at Theater! Theatre!, 3430 SE Belmont St., 242-0080. 7:30 pm Wednesdays-Saturdays, 2 pm Sundays through May 26. $16-$30. Willamette Week MAY 15, 2013 wweek.com

PERFORMANCE

michaEl jacksON aT ThE aRlENE schNiTzER cONcERT hall Go to wweek.com/promotions

suicide, temper any humor. The writer Trigorin, one of Chekhov’s deepest characters, is valiantly played by Jason Maniccia. In the center stand Brenan Dwyer as a fragile but sunny Nina and Clara-Liis Hillier, Nina’s foil as a jaded, blackhearted Masha. The tone is convoluted and dark, but as Nina advises, “You must learn to bear your cross.” MITCH LILLIE. Shoe Box Theater, 2110 SE 10th Ave., 971-244-3740. 7:30 pm Thursdays-Saturdays, 2 pm Sundays through June 16. $20.

Ten Chimneys

Jeffrey Hatcher’s comedy centers on Alfred Lunt and Lynn Fontanne, lauded as the greatest husbandand-wife team in the history of American theater. It picks up in 1938, with the couple hosting rehearsals for a production of Anton Chekhov’s The Seagull. That means (deep breath) we have actors (the finely tuned Artists Rep cast) playing actors (Lunt, Fontanne and others) playing actors (Chekhov’s melancholy characters). For those willing to surrender to the play’s self-aware nostalgia, it’s an affectionate throwback to the likes of Noel Coward and George S. Kaufman. REBECCA JACOBSON. Artists Repertory Theatre, 1515 SW Morrison St., 241-1278. 7:30 pm Wednesdays-Sundays, 2 pm Sundays through May 26. $25-$50.

COMEDY Bryan Callen

The tough-talking comedian—known for his appearances in The Hangover movies—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 16-18. $20-$29.

David Alan Grier

From his Shakespeare training at Yale to his Comedy Central appearances, Grier has been around the block. Bagdad Theater &Pub, 3702 SE Hawthorne Blvd., 236-9234. 9 pm Friday, May 17. $25. 21+.

Girls! Girls! Girls!

Brody’s all-female improv troupe proves that ladies have got comedic chops, too. Brody Theater, 16 NW Broadway, 224-2227. 8 pm Saturdays through June 1. $8-$10.

Lance Banks

Comedian Lance Banks presents Putting the Y-O-U in Your Y-OUniverse, a pseudo-motivational show. Jack London Bar, 529 SW 4th Ave., 228-7605. 8 pm ThursdayFriday, May 16-17. $12-$15.

The Liberators

One of Portland’s finest improv troupes returns to the stage. Interstate Firehouse Cultural Center, 5340 N Interstate Ave., 306-5217. 7:30 pm Saturday, May 18. $13-$16.

Pipes: An Improvised Musical

At first glance, it would seem difficult to craft a full-fledged 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 implausible, you wouldn’t know it by watching this Curious Comedy ensemble. At a recent Saturday performance, the Pipes quintet managed to flesh out an hourlong musical, complete with a healthy dose of songs. 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. BRANDON WIDDER. Curious Comedy, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 8 pm Fridays-Saturdays through June 1. $12-$15.

That’s What She Said! A Night of Funny Portland Women

Comedy and music from a long slate of local performers. Proceeds will benefit the sketch-comedy

Willamette Week MAY 15, 2013 wweek.com

TRIUMPH PHOTOGRAPHY

ENTER TO wiN TickETs TO

MAY 15–21

LA CAGE AUX FOLLES web series “Potty Talk,” which skewers stereotypes of the modern American woman. Ford Food and Drink, 2505 SE 11th Ave., 236-3023. 7 pm Thursday, May 16. $10.

Tom Segura and Christina Pazsitzky

The married comedians record their snarky podcast, “Your Mom’s House.” Funhouse Lounge, 2432 SE 11th Ave., 841-6734. 10:30 pm Friday, May 17. $20-$27. 18+.

CLASSICAL Bird in My Horns

Two members of the award-winning City of Tomorrow wind quintet— flutist Elise Blatchford and hornist Leander Star—join Portland pianist Maria Choban in music by Brahms, contemporary composer Catherine Hoover and arrangements by Portland indie rockers and singersongwriters. First Presbyterian Church, 1200 SW Alder St., 228-7331. 2 pm Sunday, May 19. $12.

Oregon Symphony

Violinist Jennifer Koh, who has recorded other Bela Bartok works with Carlos Kalmar’s other orchestra in Chicago, is the star soloist in a 20th-century classic: Bartok’s dazzling, virtuosic 1938 Violin Concerto No. 2. The orchestra concludes its season with Brahms’ Symphony No. 1. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 228-1353. 7:30 pm Saturday-Sunday and 8 pm Monday, May 18-20. $21-$96.

PSU Chamber Choir

This fundraising concert propels the singers to Italy’s 52nd annual Seghizzi International Competition for Choral Singing, where they’ll be the first American choir to participate. Sunday’s free performance is at the Tigard Public Library (13500 SW Hall Blvd., Tigard) St. Stephen’s Church, 1112 SE 41st Ave., 725-3307. 7:30 pm Friday, May 17 and 2 pm Sunday, May 19. $22.

Wildwood Consort

In this concert devoted to the works of influential 18th-century German organist and composer Dieterich Buxtehude, the excellent Baroque chamber ensemble and singer Melanie Downie Robinson demonstrate why the young J.S. Bach was willing to walk nearly 300 miles to hear the composer’s music. Central Library, 801 SW 10th Ave., 988-5123. 2 pm Sunday, May 19. Free.

DANCE 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 20 pieces to showcase the company’s ingenuity and pursuit of beauty. BodyVox Dance Center, 1201 NW 17th Ave., 229-0627. 7:30 pm ThursdaySaturday and 2 pm Saturday, May 16-18. $36-$59.

Breath and Blink

The acclaimed acrobatic group Do Jump! presents its teenage ensemble the Zig Zags, which has created a show on the theme of interdependence. The dancers were inspired by poetry, personal experience and their own impulses when making this show that includes aerial artistry, partner acrobatics and ensemble theater and dance. Echo Theater, 1515 SE 37th Ave., 231-1232. 1 pm and 4:30 pm Sunday, May 19. $8-$12.

The How and the Why of It

Members of the PCO team up with OHSU neuroscientist Larry Sherman, composer John Smith and visual artist Lisa Caballero in one of the university’s performance-discussions, this one devoted to how our brain development is influenced by our genes and our environment—nature and nurture. Newmark Theater, 1111 SW Broadway, 9467272. 7 pm Monday, May 20. $30.

Choreographers Christy Funsch and Katherine Longstreth premiere new dances that are abstract but have promise to be palatable. Funsch’s solo Moving Still(s) is a disorienting nod to film noir, wherein characters know themselves less than they know those who they’re trying to catch. Longstreth, in proceeding companion solos, explores a sense of Americana that she implies never existed. The use of props—a giant yellow petticoat that becomes a sea anemone, a lantern, a dress and a daffodil—are references to cultural images that clash with an unknown future. A duet also makes use of giant spools and yards of thread to examine relationships between doctors and patients, parents and children and others. Zoomtopia, 810 SE Belmont St., zoomtopia.com. 8 pm Thursday-Friday, May 16-17; 3 pm and 8 pm Saturday, May 18. $10-$20.

Portland Opera

Luciana Proano

Portland Chamber Orchestra, Valerie Day

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 Christopher Mattaliano and conducted 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 Thursday, May 16; and Saturday, May 18. $25-$138.

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

INTERVIEW

MIKE DAISEY

CULTURE

THE CONTROVERSY-COURTING MONOLOGUIST PROFESSES LOVE FOR AN INDUSTRY THAT HAS SAVAGED HIM. M I K E D A I S E Y. B L O G S P O T. C O M

underpinnings of what we think about as Western civilization start to fray. What do you see as the relationship between theater and journalism? At their root, theater and journalism are connected by the fact that they’re both storytelling. They’re both the construction of narrative. They’re both at the root of human consciousness. And where they’re extremely different is, their rules and polarities are almost entirely inverted in terms of audience expectation. The default setting in the theater is that everything is a fiction. Journalism has the opposite orientation, where the assumption is that everything is true. It’s a very charged and dangerous assumption, because all storytelling involves omission, crafting, shaping.

MIKE DAISEY

BY R E B E CC A JACO BSO N rjacobson@wweek.com

Mike Daisey is sucking up to the industry that pilloried him. After it emerged that he’d lied in an episode of This American Life about Apple’s factories in China, journalists raked Daisey over the coals. But now he has a new monologue called Journalism, getting its world premiere in Portland on May 21, in which he argues journalistic objectivity is a myth. With that in mind, here’s this journalist’s subjective opinion of Daisey’s record and of the phone conversation she had with him: He’s a skilled performer but a weaselly talker who spins like an iPod wheel. WW: Give me a preview of your show. Mike Daisey: It’s about journalism, which I think is one of the most important things. It’s something we don’t engage with in the theater, even though journalism is the

framework for which all stories are told in our culture. Particularly, I’m interested in the myth of objective journalism, and how it weakens the structure of journalism because it doesn’t recognize how hard journalism actually is. It sets things up too easily for the system to not tell the stories that need to get told. Your press release describes this as a love letter to journalism. In the wake of the This American Life scandal, you were ripped apart by a lot of journalists. Why are you now writing them a love note? I really like journalism and I really like journalists. I may be in a period when not all of them like me back, but that’s fine. I don’t need to be liked. I think journalism is about the most important thing that exists. Without people making the earnest attempt to try and tell stories that penetrate what is actually going on, the

With TAL, you’ve argued that you had a goal to effect change. What distinguishes your work from propaganda? What distinguishes Wired magazine from propaganda? That [February 2011 Wired cover story about Foxconn] is a great example of framing and assumption. A writer went to China and never spoke to any workers. Omissions, as we know in the world of journalism, are not cardinal sins. They’re inevitable, right? Omissions may be inevitable, but your fabrications were not. Right, and it provides great cover that someone can simply omit something one doesn’t want to see in their story. It covers your bases if you want to write a story that leaves out things that would be disruptive to your worldview. Yes, omissions can be a problem. But fabrications are more destructive. I’m not debating which one is more destructive. I just know which one is more pernicious and present and which one is acceptable and therefore happens constantly.

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Readers understand omissions are inevitable, but fabrications break trust in a different, more grievous way. Another way of framing that is that readers don’t think about the omissions. Like if they were actually given an accounting of what’s been left out in certain stories, it might not be so easy. Like in the case of this Wired story. I’m asking about your work, not Wired. Was your story propaganda? I don’t know. It was definitely a monologue. It was definitely a piece of theater. How did the scandal play out for you? I’m very happy with where I am now. It feels really good to have apologized fully and completely over a year ago. I didn’t vanish, as people often do in these sorts of scandals when they’re not theater practitioners and they’re instead traditional journalists for whom this kind of a scandal would be a death sentence. You weighed in on The Portland Mercury’s recent blog post about you? Why? Probably because I drank some NyQuil. It was a terrible idea. One should never respond to Internet comments. It was the Mercury! Of course I regret it. It was kind of hilarious because they talked themselves into a fascinating corner. They said, “The very fact that you’re here shows how pathetic you are, because we’re pathetic,” which I just thought was the saddest fucking thing I’d ever read, because on some level I thought they might actually want to have a conversation. I have that delusion every once in a while that people want to have a conversation on places like the Mercury blog. SEE IT: Mike Daisey premieres Journalism at the Tiffany Center, 1401 SW Morrison St., pica.org, on Tuesday, May 21. 7 pm. $25-$45.

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VISUAL ARTS

MAY 15–21

Matt Leavitt: Curio

= 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.

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Matt Leavitt’s Curio consists of a sand castle, a photo of a tarp-covered car, and 17 doorstops. And that’s it. Are you fascinated yet? Leavitt’s artist statement calls the installation’s elements “archetypes in a critique of the isolation they suggest.” They are, he continues, part of his overall artistic emphasis on “reconciling rational thought with the immediacy and sensuality of direct experience.” With due respect to doorstops, this is exactly the brand of horseshit that has landed the bulk of contemporary art in its current postmodern quagmire. To assemble a hodgepodge this facile, then attempt to rationalize it with M.F.A. lingo this gaseous, takes true nerve. Oy vey. Through June 1. PDX Window Project, 925 NW Flanders St., 222-0063.

Renée Zangara: Ruralization

FLOATERS BY JAQ CHARTIER

Ann Ploeger: My Melinda

Who can forget photographer Ann Ploeger’s gory 2009 series of blood-spattered 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 fauxhorror 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.

Gail Tremblay: Reframing Images, Conceptualizing Indigenous Art

Gail Tremblay’s vividly colorful sculptures would be noteworthy even if you didn’t know their backstory. But factor that story in, and they become downright intriguing. A member of the Onondaga and Micmac nations, Tremblay stitches together strips of 16 mm and 35 mm ﬁlm and leader into basket forms. These sculptures reference native basket-weaving traditions and the ways in which those traditions have long been used to stereotype Native Americans. With their interplay of black- and brown-hued ﬁlm stock; green, red and yellow leader; and metallic thread, the works have an all-too-rare blend of formal beauty and conceptual ambiguity. Through June 1. Froelick Gallery, 714 NW Davis St., 222-1142.

HEADS

Curator Alex Frum zooms in on the human head as an aesthetic trope in the 11-artist show HEADS. Painters, illustrators and a sculptor interpret the subject matter in a contemporary light, even as they nod and wink at antecedents like the classical bust and cheesy photographic “head shots.” Frum is a fashion por-

Willamette Week MAY 15, 2013 wweek.com

trait photographer, and his eye for intense saturation and sharp angles guided his selection of artists for this exhibition, among whom are painter Dan Ness and mixed-media artist Richard Schemmerer. Through June 9. Mark Woolley Gallery @ Pioneer Place Mall, 700 SW 5th Ave., third ﬂoor, 998-4152.

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 dressers-to-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

Fuchsia blobs slowly morph before a fuzzy white background in Jaq Chartier’s transﬁxing video installation in the exhibition Ultra Marine. Known for her stain-based paintings, Chartier deploys her signature motifs to depict sea creatures in this show. Particularly revelatory are her works on paper, many of which have glittery surfaces that evoke the phenomenon of bioluminescence. The works on panel are most eﬀective when, as in Floaters, the gestures are big and bold. The fact that Chartier has adapted her essentially abstract style so seamlessly to representational imagery shows just how versatile her technique has become. Through June 1. Elizabeth Leach Gallery, 417 NW 9th Ave., 224-0521.

Lucas Foglia: A Natural Order

Lucas Foglia’s photo essay A Natural Order charts his four-year trek through the backwaters of the American Southeast, documenting the lives of people living oﬀ the grid. Some are hippies, some have chosen this way of life for religious reasons, some out of anti-government sentiment, others out of sheer poverty or desperation. Foglia captures them with a piquant but sympathetic eye as they skinny-dip, hunt for food with bows and arrows, teach their daughters to shoot guns, and store freshly slaughtered meat in pink-watered clawfoot tubs. This is one of Blue Sky’s most beautiful and disturbing shows to date. Through June 2. Blue Sky Gallery, 122 NW 8th Ave., 225-0210.

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 all hell, but somehow Zangara’s Ruralization elicits more smiles than smirks. Through June 2. Nine Gallery, 122 NW 8th Ave., 227-7114.

Sandy Roumagoux: Thresholds

Artist (and mayor of Newport, Ore.) Sandy Roumagoux slathers her canvases with creamy paint, her quick brushwork conveying a dynamism that counterbalances the serenity of her landscapes. In pieces like Moonshine Falls I and II and Logsden Clearcut, she portrays Oregon’s natural environs with aﬀection and an assured technique. “Northwest regionalism” is sometimes used as a pejorative, but Roumagoux elevates both the phrase and the style itself in these elegant works. Less regal but more amusing than her landscapes are her quirky Family Shelf Life pastiches, with their panting dogs, idiosyncratic portraits and cobbled tchotchkes. Through June 1. Blackﬁsh Gallery, 420 NW 9th Ave., 234-2634.

Working Classics

The two artists in this show are Portland icons, plain and simple. Jason Brown has curated visualarts programming at the Goodfoot for the past 12 years and is one of those unassuming, under-the-radar types whose civic imprint is way bigger than his personal ﬁngerprint. Then there’s Chris Haberman, who co-manages People’s Art of Portland with Brown. He’s been painting lovably cartoonish, textladen 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

BOOKS

MAY 15–21

= 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 15 Ralph Salisbury and Ingrid Wendt

Since 1960, when his work was originally published in The New Yorker, Ralph Salisbury has been hailed as a pre-eminent poetic voice for his Native American and Irish heritage. He recently released his 11th book of poetry, Like the Sun in Storm, and will be joined in a reading with fellow famed poet Ingrid Wendt. Prepare to hear some fancy words. Milepost 5, 850 NE 81st Ave., 7293223. 7:30 pm. Free.

Think & Drink

Because this is Portland, we like to enjoy our cocktails with a side of intellectual conversation about topical issues. Continuing the Oregon Humanities’ Think & Drink series with the theme “How to Love America,” Tamar Jacoby, CEO of ImmigrationWorks USA, and Gregory Rodriguez, founder of Zócalo Public Square, will explore the multifaceted topic of immigration. Grab your thinking caps and beer koozies. Mission Theater, 1624 NW Glisan St., 223-4527. 6:30-8 pm. Free, minors allowed with an adult. 21+.

THURSDAY, MAY 16 Eve Ensler

Perhaps most famous for giving a sassy voice to vaginas everywhere as the creator of The Vagina Monologues, playwright, activist and author Eve Ensler will be in Portland to read from her new memoir. In the Body of the World follows Ensler’s experiences in the Congo witnessing rape and horrific violence against women while learning of her own diagnosis with uterine cancer. But what could be a real downer ends up being a story of resiliency. Powell’s City of Books, 1005 W Burnside St., 228-4651. 7:30 pm. Free.

FRIDAY, MAY 17 Michael Meade

The path followed by each soul is a unique and beautiful journey, much like that time your roommate brought home some peyote and firecrackers. Leading an exploration of the journey for the presentation the “Pathless Path,” mythologist and storyteller Michael Meade will share an evening of myth, poetry, stories and discussion. First Unitarian Church, 1011 SW 13th Ave., 228-6389. 7 pm. $12.

SATURDAY, MAY 18 AmaZine Day

Zines are great because they offer a creative outlet and freedom of expression regardless of a person’s resources or talent. Luckily, Portland is filled with a lot of talented people, and the quarterly AmaZine Day, organized by the Portland Zine Symposium, brings together zinesters and self-publishing enthusiasts for an afternoon of presentations, workshops and local exhibitors. Independent Publishing Resource Center, 1001 SE Division St., Suite 2, 827-0249. 2 pm. Free.

SUNDAY, MAY 19 Honoring Our Rivers

In celebration of the many rivers and watersheds that crisscross our lives in the Northwest, each year students and teachers across Oregon submit essays, poems and artwork for the Honoring Our Rivers anthology. Now in its 13th year, the event will host student contributors to read their

work along with local authors and artists. Powell’s City of Books, 1005 W Burnside St., 228-4651. 4 pm. Free.

TUESDAY, MAY 21 Scott Johnson

Growing up, we all fantasized our dad was really a secret agent performing covert operations instead of a vacuum salesman on business trips to Des Moines. But for Scott Johnson, it became a reality when, as a teenager, he learned his dad was actually one of the CIA’s most trusted officers. His new book, The

Wolf and the Watchman, explores truth and manipulation in the bond between a father and son. Powell’s City of Books, 1005 W Burnside St., 228-4651. 7:30 pm. Free.

Ristretto Reading Series

It’ll be a triple-header of innovative fiction when Massachusetts author Noy Holland visits for a reading from her new collection of stories, Swim for the Little One First, along with local author Leni Zumas (The Listeners) and short-fiction writer and editor Sara Jaffe. Because sometimes you just need to hear a really good story. Ristretto Williams, 3808 N Williams Ave., 288-8667. 7:30 pm. Free.

For more Books listings, visit

REVIEW

GARY GREENBERG, THE BOOK OF WOE As a defense mechanism, the third edition of the Diagnostic and Statistical Manual of Mental Disorders was equal parts identification and repression. Having weathered a decade of attacks from the general public and the insurance companies signing the checks, the guide Crazy for claims forms. was published in 1980 as psychiatry’s claim to “carving the mind at its joints.” But as author Gary Greenberg shows in The Book of Woe: The DSM and the Unmaking of Psychiatry (Blue Rider, 416 pages, $28.95), the diagnoses in psychiatry have as much to do with politics as science, and even more to do with satisfying insurers who want a clearly named disease before they’ll pay for treatment. The DSM IV and now the DSM 5—published May 14—each radically revise their predecessors, but they do so in much the same way that Reagan revised Carter. Psychiatrists Allen Frances and Bob Spitzer—editors of DSM IV and III, respectively—have become the most vocal opponents of the new DSM 5, whose draft versions have abolished Asperger’s syndrome and gender dysmorphic disorder and instated a psychosis risk syndrome that basically implies someone might go crazy someday. And just as in politics, the results of psychiatric infighting redound into the real world. Frances warns that the new DSM 5, in proliferating the number of mental illnesses and making it easier to diagnose them, will cause “diagnosis epidemics” such as the sudden rush to medicate people for bipolar disorder in the early 2000s that led to a near-doubling of the number of children treated with antipsychotic drugs known to cause weight gain, diabetes and shortened lifespans. Mental illnesses are real, Frances says, but the demarcations are arbitrary “bullshit.” Greenberg isn’t shy about his own feelings, either; a practicing psychologist, Greenberg says he won’t use insurance companies because they require diagnoses that are neither true nor false. The simple naming of a disorder, he writes, can affect not only how patients are understood by others but how they understand themselves. But the naming doesn’t always describe a real thing, he writes, and people trying earnestly to relieve suffering have been turned into bullshit artists by insurance forms. Greenberg’s book is shy on the actual details of the DSM 5—it wasn’t out when he wrote The Book of Woe, and the committee behind it is oddly secretive—focusing instead on the politics of its making. So there’s a bit of sleight-of-hand here, warning us about something he knows not of. But as a polemic book grounded in gonzo journalism, it’s effective in one thing: It gives pause to anyone whose doctor hands them a little red pill and a name for their suffering. MATTHEW KORFHAGE. Go: Gary Greenberg will join Will Hall, director of Portland Hearing Voices and host of KBOO’s Madness Radio, in a discussion at Powell’s City of Books, 1005 W Burnside St., on Sunday, May 19. 7:30 pm. Free. Willamette Week MAY 15, 2013 wweek.com

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MAY 15–21 FEATURE

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PA R A M O U N T T E L E V I S I O N

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.

33 Postcards

C+ [TWO DAYS ONLY] If you must

see Guy Pearce’s cheekbones on the big screen this week, go watch them hamming it up in Iron Man 3. It hardly stretches their acting chops, but at least Pearce’s shirtless torso also makes a cameo, and y’know: Iron Man! 33 Postcards theoretically offers more for Pearce’s cheekbones to sink their teeth into—they star on the face of a really angsty, incarcerated criminal— but even those perfectly chiseled specimens of facial sculptural relief aren’t enough to support the incredulous plot and one-dimensional characters of this Australia-China co-production. Mei Mei (Zhu Lin) is a 16-year-old orphan in China, sponsored by Dean (played by Pearce’s cheekbones and also the rest of his body), an Australian man who sends her postcards telling of his idyllic family life on the beaches of Sydney. When she turns up unannounced in Australia and discovers he’s actually an angsty, incarcerated criminal with an incredibly well-defined jawline, things get super-awkward. For him. She just keeps showing up and insisting they can be a family. (For some reason, this unaccompanied minor with no documentation is allowed basically unlimited visitation. This is just one of so, so many times viewers must suspend disbelief for this film to work.) On the upside, there are some pretty shots of Sydney, and the Australian cast is strong—they just don’t have a lot to work with. And thus, Pearce’s cheekbones delivering campy one-liners in 3-D is your better choice here. RUTH BROWN. Clinton Street Theater. 4 pm Friday and Sunday, May 17 and 19.

D+ Jackie Robinson is an American legend: The first black player to break Major League Baseball’s color barrier, he shouldered the hopes of a generation, weathering a flurry of abuse to open the gates for future players to partake in America’s pastime. 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. Despite Boseman’s best efforts, Robinson’s character is criminally underdeveloped, and Ford is reduced to the kind of white-person-solves-racism role that scored Sandra Bullock an Oscar. 42 is a hackneyed, cookie-cutter 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. PG13. AP KRYZA.Cedar Hills, Eastport, Clackamas, Oak Grove, Cinema 99, City Center, Evergreen Parkway, Fox Tower, Lloyd Mall, Movies on TV, Sherwood, Tigard, Wilsonville.

The Adventures of Robin Hood

[ONE WEEK ONLY, REVIVAL] Ah, Errol Flynn, that injustice-fighting swashbuckler. PG. Laurelhurst Theater.

At Any Price

C+ If a film could be a genetically

modified organism, it would be this overly earnest family melodrama, a pastiche of oedipal strife, heartland clichés and Zac Efron’s perfect hair. The High School Musical alum struggles to prove he can act as the

bad-boy youngest of Henry Whipple (Dennis Quaid), a fourth-generation corn-farming patriarch whose awkward attempts at wooing clients include candy bars and painfully forced “casual” charm. With his beloved eldest—the former high-school quarterback, natch—off scaling mountains in Argentina, Henry wants Dean (Efron) to step up, but Dean has his sights on a NASCAR bid that will get him out of small-town Iowa. Henry has designs on more than new business and his makeshift heir apparent: He’s juggling a mistress (Heather Graham, again, natch), a tacky graveside play for more land and authorities increasingly suspicious that he’s reselling genetically modified seeds. Director and co-writer Ramin Bahrani’s strokes are as subtle as a Mack truck—fisticuffs and trophies, windmills and grain fields, stars and stripes, and lines like “That is beer, beer and abortion money.” The highlight here is Quaid’s measured, curiously physical performance, a coda to the aging hero of Everybody’s All-American. Twentyfive years later, that once-winning smile admits despair—not only can Henry no longer convince others of his success, he can’t convince himself. R. AMANDA SCHURR. Fox Tower.

The Big Lebowski Live! An Interactive Moviegoing Experience

[THREE NIGHTS ONLY, REVIVAL] The Dude onscreen not enough for you? That’s why the Clinton Street Theater has assembled a full cast to perform live, in front of the screen, as the Coen Brothers’ legendary comedy plays behind them. R. Clinton Street Theater. 8 pm Wednesday, 7 and 10 pm Friday, 6 and 8:30 pm Saturday, May 15-18.

The Big Wedding

A rom-com with an ensemble cast too good for this project (including Robert De Niro, Susan Sarandon and Diane Keaton). Not screened for Portland critics. R. Cedar Hills, Clackamas, City Center, Division, Evergreen Parkway, Movies on TV, Sherwood, Tigard, Wilsonville, Sandy.

Black Rock

When three twentysomething women go camping in Maine, an encounter with young war veterans turns a weekend getaway into a fight for survival. R. Living Room Theaters.

Change: The Life Particle Effect

[ONE NIGHT ONLY] Author, yogi and meditation teacher Ilchi Lee’s documentary aims to teach viewers to discover and actualize their true potential. Lofty goal, there. Portland Art Museum. 6 pm Wedneday, May 15.

The Croods

B So here’s the thing: The Croods fails to conjure a complex or logically consistent world. It fails to populate that world with credible characters, or to usher those characters through a series of dramatically satisfying trials. But so what? This is primitive, pre-Pixarian family entertainment at its most rambunctious. Psychedelic, exuberant and dumb, The Croods harks back to a simpler time when so-called “family films” were permitted—nay, expected— to be willfully incoherent, so long as they served up thrills, spills, zingers, romance and a healthy dose of innocuous schmaltz. Now, for better or for worse, filmgoers weaned on Pixar and Studio Ghibli have come to expect— nay, demand—sophistication and subtlety, not to mention visual pyrotechnics, from second-tier animated films (Ice Age, Madagascar). Of course, not every animated feature can be WALL-E; some of them have to be The Croods. In a nutshell: Nic Cage, voicing a knuckle-dragging caveman, cracks wise, pulls faces and delivers zany, half-cooked monologues on death and love and family amid stunning, oversaturated landscapes that evoke both

CONT. on page 46

SPOCK ROCKS OUT: But this 1969 Star Trek episode falls hard.

TREKKING NOWHERE FAST WHERE’S JJ WHEN YOU NEED HIM? BY MITCH LILLIE

mlillie@wweek.com

JJ Abrams’ Star Trek Into Darkness has gotten great reviews. Already released in Australia, Mexico and other countries, the movie’s U.S. release was delayed because of a competing opening of The Great Gatsby. Reviews thus far argue that Into Darkness barters a little originality for theatrics pulled from Mission: Impossible III, swirled with Lost’s melodrama. (That still doesn’t excuse refusing to screen the film for Portland critics before press deadlines, though.) Abrams has done more than just made a good prequel: He’s lifted a 34-year curse on Star Trek films. Serious Trekkies believe the odd-numbered films are doomed to fail, and there may be some evidence to support that superstition. Before 2009’s Star Trek, that is: The 11th film in the series was one of the bestreviewed to date. Into Darkness, the 12th, will have the curse—if it still exists—working on its side. But what of those cursed films and TV episodes the producers would just as soon leave out of DVD reissues? We compiled Star Trek’s worst moments throughout its 47-year history on the big and little screens, in part to thumb our nose at the critichating studio, and in part to illustrate just how good Abrams really is. Star Trek, Season 2: “The Omega Glory” (1968) Two factions on an alien planet are in a standoff when suddenly Kirk and Spock decode the groups’ names. “Yangs...Yankees!” Kirk blurts. “Kohms... Communists,” Spock says. Jinkies! The Cold War and its factions have been magically duplicated on the planet Omega IV, and we’ll leave it up to you to guess which are the blue-eyed Johnnies. At first, the plot seems in high orbit around realism. But when the Yangs parade out a tattered American flag and a copy of the U.S. Constitution and then stumble through a distorted Pledge of Allegiance, it’s clear the Trek writers plotted a course straight to planet WTF. Star Trek, Season 3: “The Way to Eden” (1969) Pitiful hairdos and child-crafted instruments fail to fill a disjointed plot, while the acting makes In

Living Color’s parodies look like tributes. Curlyhaired hippies who speak in future jive and refer to strangers as “Herbert” are trying to find their way to Eden, but thanks to the modern scientific advance known as the fast-forward button, the audience can be there in seconds. Star Trek: The Next Generation, Season 2: “Shades of Gray” (1989) The only way to save Commander Riker’s life is to force him to relive all of his bad memories in an induced dream state, effectively showing a montage of the 21 worst moments of the critical flops that were seasons one and two of The Next Generation, including a battle with the tar monster of Vagra II. The whole episode was shot in three days, which is about how long watching it seems to last. Star Trek V: The Final Frontier (1989) William Shatner’s first and only shot in the director’s chair was, unfortunately for him, an odd-numbered film. Incessant jokes about the aging of the crew don’t fit with their still-virulent fighting styles. The Enterprise has been co-opted into a search for— who else?—God. Cue one of hundreds of reaction shots! These geezers need to be transported back to Yosemite National Park, where they were enjoying semi-retirement at the opening of the film. Star Trek: Voyager, Season 2: “Threshold” (1996) Lieutenant Paris becomes the first human to travel at Warp 10, but he finds his body mutating into a giant reptile as a result of the stresses. Naturally, he kidnaps Captain Janeway and turns her into a mate, and the two abscond to a swamp planet and bump lizard nasties, producing three squirming sucklings. Of course, the offspring are left to fend for themselves while Janeway and Paris are reverted to their human selves, but how the characters manage to heal those kinky emotional scars remains a mystery. SEE IT: Star Trek Into Darkness is rated PG-13. It opens Thursday at Cedar Hills, Eastport, Clackamas, Lloyd Center, Bridgeport, Division, Evergreen Parkway, Lloyd Mall, Movies on TV, Pioneer Place, St. Johns Twin, Moreland, Tigard, Wilsonville, City Center. Look for AP Kryza’s review at wweek.com. Willamette Week MAY 15, 2013 wweek.com

MAY 15–21

Dr. Seuss and early Tex Avery-era Looney Tunes. Allow me to reiterate: Nic Cage, cavemen, zaniness. That’s all you need to know, that’s pretty much all you’ll get, and that ain’t necessarily a bad thing. PG. MARSHALL WALKER LEE. Cedar hills, Eastport, Clackamas, Indoor Twin, Oak Grove, Cinema 99, City Center, Division, Evergreen Parkway, Lloyd Mall, Movies on TV, Sherwood, Tigard, Wilsonville, Sandy.

Diabolique

[ONE NIGHT ONLY, REVIVAL] This 1996 remake of Henri-Georges Clouzot’s French thriller was a commercial and critical trainwreck. NW Film Center’s Whitsell Auditorium. 7 pm Tuesday, May 21.

Django Unchained

B- If nothing else, Quentin Tarantino’s Django Unchained has audacity going for it. But it raises a question that, ultimately, makes it tough to enjoy: When dredging up the ugliest period of American history for the sake of entertainment, is being cool enough? Because Django Unchained is exceptionally cool. But it trivializes an atrocity, and that makes it hard to digest as fun, frivolous popcorn. R. MATTHEW SINGER. Laurelhurst Theater.

Erased

A violent thriller set in Europe, only with Aaron Eckhart in Liam Neeson’s place. R. Living Room Theaters.

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. It’s impressive, engineering this leviathan, but unbeing The Evil Dead isn’t being alive. Or good. R. JAY HORTON. Eastport.

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 post-WWII Japan ignited by social ferment, the film’s young characters battle authority and discover love. This family affair—Miyazaki worked on the screenplay and his son Goro directed— is dreamlike, endearing and fiercely visual. But scenes of Umi gazing over a misty harbor fall short of the mystical 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 G.I. Joe: Retaliation’s end credits, dejected viewers will be excused for muttering, “I actually liked you a lot better before.” While this sequel/reboot boasts the same slapdash storytelling and risible dialogue as its predecessor, John M. Chu (Step Up 3D) 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 gardenvariety ridiculousness. PG-13. CURTIS WOLOSCHUK. Clackamas, Indoor Twin.

The Great Gatsby

C 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-just-outside-the-action narrator of Gatsby, is telling the entire story of the movie to his psychologist. 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. Luhrmann’s 1920s New York is a phantasmagoric spectacle, and the script lobotomizes the novel’s dialogue into amazing subcamp clunkers. But while Luhrmann’s Gatsby is a far cry from the novel 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, but as star-crossed lovers. DiCaprio plays the kid from Titanic grown up into a clueless Howard Hughes. Daisy’s a nice girl, too, though almost too sympathetic in Mulligan’s capable hands for her callow decisions to make sense. Though the film is often effective in roping the viewer in, it has all the subtlety of a young drunk who’s just been left by his girlfriend. The contemporary soundtrack, despite a lot of kneejerk criticism, isn’t overly distracting. 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. PG-13. MATTHEW KORFHAGE. Cedar Hills, Eastport, Clackamas, Cornelius, Oak Grove, Cinema 99, City Center, Division, Evergreen Parkway, Fox Tower, Lloyd Mall, Movies on TV, Sherwood, Tigard, Wilsonville, Sandy.

Harry Smith Seance

[ONE NIGHT ONLY, REVIVAL] The highlight of this collection of 16 mm films by legendary avant-garde filmmaker Harry Smith is a 66-minute cut of 1966’s Heaven and Earth Magic. The film employs cutout and stopmotion animation to tell a story involving a toothache, a watermelon, Israel, Montreal, Max Müller and London sewers. The screening will be preceded at 3 pm by a free panel discussion about Smith. Hollywood Theatre. 7 pm Thursday, May 16.

High Tech, Low Life

B+ [THREE NIGHTS ONLY] “I used

to be nobody. Until I discovered the Internet,” says Zhou Shuguang, a citizen journalist attempting to circumvent China’s harsh censorship laws through blogging. According to the film, which follows Zhou and an older blogger named Zhang Shihe, 68 Chinese citizens were in jail as of 2012 for online activities. Director Stephen Maing juxtaposes clips of watered-down government TV broadcasts with scenes from Zhou and Zhang’s quest oblivionto bring real news to their followers online, fighting through “The Great Firewall” of China’s Web censorship. Both risk arrest and prosecution for, as Zhou puts it, simply recording what they witness. “I’m in my 50s,” says Zhang, who bikes through the countryside searching for untold stories. “I won’t live much longer. I should tell the truth.” Zhou, on the other hand, uses his reporting both as a tool for justice and a platform for his own personal fame. Though his hammy bravado can be annoying (taking a grinning selfie in front of a murdered girl’s coffin, for example), the fact remains that he and Shihe are both brave souls practicing journalism in its purest, most exciting form—in a country where the truth is so scarce and powerful that it can change lives just by being told. EMILY JENSEN. Clinton Street Theater. 7 pm Sunday, Tuesday and Thursday, May 19-23.

In the House

A- In the delightfully sinister In

the House, a high-school teacher named Germain (Fabrice Luchini) positions himself as the Sultan to student Claude’s (Ernst Umhauer) 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 asks his students to write about their weekend, Claude responds with a provocative, leering story about a classmate and his bourgeois family. Germain, a failed writer of

Willamette Week MAY 15, 2013 wweek.com

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, Eastport, Clackamas, CineMagic, Cornelius, Oak Grove, Cinema 99, City Center, Division, Evergreen Parkway, Lloyd Mall, Movies on TV, Sherwood, Tigard, Wilsonville, Sandy, St. Johns Twin, Roseway.

Jack the Giant Slayer

B Jack the Giant Slayer is focused on

moving from one epic fantasy scene to another, whether it’s Ewan McGregor shouting, “Tally ho!” as he zip-lines across the beanstalk or a two-headed giant (Bill Nighy) bursting through a tiled floor. And to that end, it’s a great deal of fun. PG-13. JOHN LOCANTHI. Bagdad, Edgefield, Vancouver, Valley.

Jurassic Park 3D

That velociraptor is reaching out to get you…and your wallet. PG-13. Cedar Hills, Clackamas, Cinema 99, Lloyd Mall.

Life of Pi

C Ang Lee’s Life of Pi surrenders the more subtle messages of Yann Martel’s novel for ham-handed schlock and slack-jawed awe. PG. REBECCA JACOBSON. Academy, Kennedy School, Valley.

Man No Run

[ONE NIGHT ONLY, REVIVAL] The Northwest Film Center closes its tribute to French filmmaker Claire Denis with her 1989 documentary about the first European tour of Cameroonian band Les Têtes Brûlées. NW Film Center’s Whitsell Auditorium. 7 pm Thursday, May 16.

Midnight’s Children

B- I never thought I’d say this, but perhaps Salman Rushdie isn’t giving

REVIEWS RABBITBANDINI PRODUCTIONS

MOVIES

CRUISE CAPTAIN: James Franco (right) gets sweaty in Interior. Leather Bar.

PORTLAND QUEER DOCUMENTARY FILM FESTIVAL For the seventh year, the Portland Queer Documentary Film Festival—the only one of its kind in the country—returns for a weekend of gender-bending, boundary-breaking and cross-dressing, with a healthy dose of tragedy. Here are three highlights:

James Franco, porn stars and hate crimes.

Interior. Leather Bar. B [DIRECTOR ATTENDING] “Fucking” James Franco and gay artporn director Travis Mathews team up to make a docudrama about making a gay art-porn film. The goal: to re-create the 40 minutes of footage apparently cut from the 1980 Al Pacino flick Cruising, which featured graphic sex in a gay nightclub. As things get more and more pornographic, and it becomes increasingly clear Franco has no idea what he’s doing, the actor playing Pacino playing an undercover cop begins to freak out at what he’s gotten himself into just for the sake of being part of Franco’s “mission.” Confusing? It is, but unlike our protagonist, it’s best not to overthink it—just sit back and enjoy the meta-commentary on male sexuality and Franco’s fame, and all the big, throbbing penises. RUTH BROWN. 9:15 pm Friday, May 17, at Kennedy School. Co-director Travis Mathews will attend. Mr. Angel B [SUBJECT ATTENDING] Porn star Buck Angel has a thick neck, a ginger Fu Manchu mustache and a shaved head. He has tribal tattoos down his muscled arms and the word “Pervert” inked across his back. He also has a vagina. Angel was born a girl but always identified as male, and he’s transitioned to a man in every way but one. When Angel films a scene with a transwoman, the two look every part the heterosexual couple—except the machinery operates in the opposite direction expected. This baffles some around him, none more so than his father, a manly man who sees Angel as a sexual oddity yet still aches to understand him. Dan Hunt’s film, which took six years to make, wisely doesn’t dwell on definitions, and while Angel’s comments about nonconformity can grow trite, they still ring genuine. REBECCA JACOBSON. 9:30 pm Saturday, May 18, at Kennedy School. Buck Angel will attend. Valentine Road B+ [DIRECTOR ATTENDING] Lawrence King never stood a chance. A biracial foster kid in a conservative town, he didn’t know eighth-grade boys aren’t supposed to wear women’s clothing and profess their love for other boys. For that, in 2008, he was shot in the back of the head by a classmate. The prevailing attitude in the aftermath—that King’s murder was somehow inevitable, maybe even his fault—frames the outrage burbling beneath Valentine Road. (Full disclosure: I lived in Oxnard, Calif., where the incident occurred, and have loose connections to some of the people involved.) Director Marta Cunningham shows sympathy for the shooter—then-14-year-old Brandon McInerney, currently serving a 21-year jail sentence—by detailing a childhood with a drug-addict mother and fuckup stepfather, while refusing to paint him as the victim. The film isn’t outwardly angry, but comments from jurors, defense attorneys and, especially, teachers at the school where the shooting occurred will make you want to punch a hole in the screen. MATTHEW SINGER. 7 pm Sunday, May 19, at Kennedy School. Director Marta Cunningham will attend. SEE IT: The Portland Queer Documentary Film Festival is at the Bagdad Theater, 3702 SE Hawthorne Blvd., on Thursday, May 16, and at the Kennedy School Theater, 5736 NE 33rd Ave., on Friday-Sunday, May 17-19. Visit queerdocfest.org for complete schedule and ticket information.

himself enough credit. In adapting his 1981 Booker Prize-winning novel, he works with director Deepa Mehta for a film that clocks in at 146 minutes, but which hardly seems long enough to give the three-part epic its due. Rushdie’s 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. Onscreen, 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. Instead of staying so true to the narrative arc, time should’ve been 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 is switched at birth and grows up wealthy, with a front-row seat to a politically volatile India. 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. There are moments, though, 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. 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. Which is to say, even defanged, the metaphor sometimes lands. SAUNDRA SORENSON. Fox Tower.

HIGH TECH, LOW LIFE shorts. One such short, the twominute Fresh Guacamole by PES, is a charmingly simple stop-motion retelling of how to make guacamole—with a twist, as all of the ingredients are inedible objects, like a pincushion as a tomato or a grenade as the avocado. In his short Animation Hotline, animator Dustin Grella asked people to call a hotline number and leave a voicemail message that tells a story. Grella animates the narrative using colored chalk on a blackboard as each message plays, creating bright and detailed illustrations of everyday stories (a woman with rainbow socks on a bus) and more philosophical vignettes (a man who ponders life as an artist). The festival also includes discussions with a few of the animators and a chance to try your own hand at some animation. KAITIE TODD. Hollywood Theatre. Friday-Sunday, May 17-19. See hollywoodtheatre.org for schedule.

Oblivion

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. Meanwhile, vigilantes and crooked cops home in on the island. What seems like a cut-anddry 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. The emotional heft is staggerin, 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— another tale of a child and fugitive— 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. Clackamas, Hollywood Theatre, City Center, Fox Tower.

NW Animation Fest

[THREE DAYS ONLY] After receiving more than 600 submissions, the NW Animation Fest returns for its third year, showcasing 155 films with different animation techniques and a couple of Oscar-nominated

MOVIES ARGOT PICTURES

MAY 15–21

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. After all, how many directors other than Christopher Nolan have recently convinced a studio to pony up nine figures on a sci-fi epic that wasn’t already a proven commodity? Joseph Kosinski—whose TRON: Legacy failed to make much of a commercial or critical impression— somehow convinced Universal execs to loosen their purse strings and make his unpublished comic a rendered-in-IMAX 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. Oblivion kicks off in much the same fashion as Legacy: with onerous exposition. Jack Harper (Tom Cruise) informs us it’s 2077, some 60 years after Earth was decimated during an alien invasion. Jack now resides with his “assigned” wife, Victoria (Andrea Riseborough), in a gleaming penthouse towering over an expansive wasteland. 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. In the interim, we’re left to marvel at the immaculate post-apocalyptic vistas and to lament Cruise’s continued devolution into an action-movie automaton. Forsaking its languid pace in its second hour, Oblivion piles on dodgy plot developments and largely unsurprising “revelations.” PG-13. CURTIS WOLOSCHUK. Cedar Hills, Eastport, Clackamas, Oak Grove, Cinema 99, City Center, Division, Evergreen Parkway, Movies on TV, Sherwood, Tigard, Wilsonville, Sandy.

Oconomowoc

[FIVE NIGHTS ONLY] Try pronouncing this one at the box office. Andy

Gillies’ comedy is set in the titular Wisconsin town, where a sad-sack man-child moves back into his mom’s house. Clinton Street Theater. 9 pm Sunday-Thursday, May 19-23.

Oz the Great and Powerful

UPCOMING IN-STORE PERFORMANCES LITTLE SUE

B Watching the spectacle that

is James Franco feels like watching a great con man. But damned if the handsome bastard isn’t a charmer. So it only makes sense to cast Franco as moviedom’s original master con man in Oz the Great and Powerful. In The Wizard of Oz, the “man behind the curtain” was nothing but a carnival magician using smoke and mirrors to maintain the illusion of power. Here, the curtain’s pulled back further to reveal the wizard’s origins as a hack transported from Kansas to Oz, where he must take on an evil witch to save the Munchkins and talking monkeys. But 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 the charm of a film that doesn’t try to surpass its predecessor so much as supplement it. It’s a carnival magician of a film overflowing with imagination, and to those who come ready to believe, its magic is undeniable. PG. AP KRYZA. Eastport, Clackamas, Forest, City Center, Evergreen Parkway, Lloyd Mall, Movies on TV, Tigard.

SATURDAY 5/18 @ 3 PM

CD Release Show for new album, New Light. Little Sue will give away her CD, and encourage you to give to charity. Portland-based folk singer-songwriter Little Sue pulls her musical musings from multiple backgrounds. Her sprite-like spirit is carried through her songs somewhere between classic rock, country, and acoustic-pop.

RADIATION CITY SATURDAY 5/18 @ 6 PM

Radiation City’s debut LP, The Hands That Take You quickly earned them a reputation as one of Portland’s most promising young acts. The new album Animals in the Median takes them to the next level.

Pain & Gain

LEGENDARY DOORS DRUMMER

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 actioncomedy subgenre. It’s doubtful that even the most ardent critics of Tooth Fairy (a long list that presumably includes nearly everyone who saw Tooth Fairy) would deny the part-time WWE star’s inherent charisma, with his easygoing demeanor and thousand-watt smile providing a vital counterbalance to his imposing physique. So perhaps it’s not so surprising that Johnson’s new movie isn’t all that bad, despite being directed by Michael Bay. Opposite Mark Wahlberg—who plays Daniel Lugo, a former personal trainer and bodybuilder from Miami currently on death row for crimes he committed in 1995—Johnson plays Lugo’s accomplice Paul Doyle. Doyle is a mostly gentle giant who gets in over his head, but he remains the closest thing the film has to a moral compass. Lugo decides to be a “doer” after attending a selfimprovement seminar. That in mind, he 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 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. How many of Bay’s films can be said

JOHN DENSMORE

B- When considering Dwayne

Book Signing

SUNDAY 5/19 @ 3 PM John Densmore of The Doors will be doing an in-store signing for fans who buy his new book Unhinged. Buy the book now for guaranteed admission and get one additional piece signed.

ELIJAH FORD WEDNESDAY 5/22 @ 6 PM

No stranger to the industry, Ford is the son of former Black Crowes’ guitar heavyweight Marc Ford. The younger Ford has surely taken some valuable rock ‘n’ roll notes from his father, but has also put together a pop rock vibe that’s completely his own.

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MAY 15–21

to rest upon an ideological foundation of any kind? Pain & Gain tells a story so perfectly suited to its director’s music-video aesthetic that it almost seems immaterial whether Bay knows (or cares) that he’s part of the surfacelevel pursuits his film both glamorizes and laments. R. MICHAEL NORDINE. Cedar Hills, Eastport, Clackamas, Oak Grove, Cinema 99, City Center, Division, Evergreen Parkway, Movies on TV, Sherwood, Tigard, Wilsonville.

The Place Beyond the Pines

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. It’s a film that’s completely overstuffed, and oftentimes overcooked. 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. Had Cianfrance given his characters more room to breathe, the film might transcend the genre trappings it falls into so easily. R. AP KRYZA. Clackamas, Forest, City Center, Fox Tower, Lloyd Mall.

The Reluctant Fundamentalist

C 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 followup. However, this story of a Muslim foreigner growing fiercely disenchanted with his adopted American home was always bound to court controversy. 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, he also falls for an affluent artist (a woeful Kate Hudson). Then, the Twin Towers fall and Changez’s world implodes. Given the withering view Nair takes of 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. Ahmed evinces Changez’s internal conflict and conveys key turning points with subtle shifts in his bearing or hardening of his eyes, but this sophisticated performance deserves better material. At its most crucial stage, The Reluctant Fundamentalist lacks the courage of its convictions, allowing Changez and Bobby’s game of ideological cat-andmouse to degenerate into a much more conventional standoff. As Nair’s film forgoes provocation for pandering, it assumes a tragic air, albeit not for the reasons intended. R. CURTIS WOLOSCHUK. Living Room Theaters.

Renoir

B- “Color should control the structure of a work, not line.” So opines Pierre-August 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 argu-

ably 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, who spends roughly 60 minutes in the buff. Like a nice dry Côtes du Rhône, 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.

Repressed Cinema: Fallguy

[ONE NIGHT ONLY, REVIVAL] A rarely seen, low-budget, black-and-white noir from 1962, about a teenager on the lam from the Mob. Hollywood Theatre. 7:30 pm Tuesday, May 21.

The Sapphires

B+ According to crusty Irish boozer

Dave—played with impeccable comic charm by Chris O’Dowd, Kristen Wiig’s cop boyfriend in Bridesmaids— 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 (Blair’s mother was a member of the original group), The Sapphires butts up against serious issues, most prominently racial tension and the trauma of war. But between the spirited songs, big-hearted story line and hypersaturated cinematography, this is a film that unapologetically encourages finger-snapping rather than head-scratching—and bless its spangled heart for that. PG-13. REBECCA JACOBSON. Fox Tower.

Seconds

[ONE NIGHT ONLY, REVIVAL] John Frankenheimer’s 1966 take on the legend of Faust is a study in paranoia. R. NW Film Center’s Whitsell Auditorium. 7 pm Wednesday, May 15.

The Silence

B+ Like a suffocating heat, the

German crime thriller The Silence bears down on viewers with an insidious sense of dread. The story of two murdered girls—killed on the same day more than two decades apart, under eerily similar circumstances— unfolds deliberately and cruelly, suspense stoked not by secrets but by the sheer awfulness of what is known. We briefly meet Pia, an 11-year-old girl raped and killed in a field, and then the story springs forward 23 years, as another 11-year-old girl disappears. The film’s characters are studies in obsession: Pia’s mother (a wrenching Katrin Sass), who keeps her daughter’s room intact; an aging detective whose marriage fell apart due to his fixation on the original case; a young detective (a tightly wound, steelyeyed Sebastian Bloomberg) still grieving the loss of his wife to cancer. And then there’s the matter of the killer, a pokerfaced pedophile, and his passive partner-in-crime. Swiss-born director Baran bo Odar fills his debut feature with austerely beautiful shots and a hypnotically suggestive score marked by grating static and ominous string music. It’s a chilling tale, but the atmosphere is stifling. REBECCA JACOBSON. Living Room Theaters.

Silver Linings Playbook

A- With Silver Linings Playbook, director David O. Russell emerges with one of filmdom’s funniest stories of crippling manic depression. R. AP KRYZA. Academy, Laurelhurst Theater, Valley.

Something in the Air

A You could call it something in the

air, but it’s more like the poetry of air going out of a tire. Director Olivier Assayas has evolved from stylist (Irma Vep, Clean) to an empathetic documenter of the political made personal (Carlos), and his newest ensem-

Willamette Week MAY 15, 2013 wweek.com

ble film is a nostalgic what-next for radical youth after the student riots of May 1968. The answer, of course, is that after a failed revolution one is left, simply, with life. The French youth of those days belong also to the youth of today—adrift, a bit mercenary and far from the storm. So what happens to the party when the party is over? Mostly, it seems, it turns into an Antonioni film. A damn good one. MATTHEW KORFHAGE. Living Room Theaters.

The Source Family

A The tag line on the poster for this

fascinating documentary is “God Has a Rock Band,” a reference to the fact that members of the Source Family, a quasi-religious cult from the late ‘60s through the ‘70s, supposedly recorded enough whacked-out psychedelia to fill 65 albums. The core of the film, though, is the relationship that Source acolytes had with their figurehead, Father Yod (known before he started experimenting with drugs and religion as James Baker). Through interviews with former lovers and followers of Yod, directors Maria Demopoulos and Jodi Wille create a strange and compelling portrait, moving from his days as a WWII hero to his open combination of what he saw as the best parts of numerous spiritual practices into an uber-doctrine. Like L. Ron Hubbard (or Lancaster Dodd in Paul Thomas Anderson’s The Master), Yod made it up as he went along, including an embrace of polygamy that frayed the connection he had with several followers. The Source Family provides a clearer sense of how rootless so many children of the Vietnam era were and how, in their search for a father figure, they wound up under the sway of socalled gurus and swamis. That so many emerged from these experiences in one piece is the real miracle. ROBERT HAM. Hollywood Theatre.

writer-director Shane Carruth. Though Carruth allows us one scene of a woman cuddling with a piglet, the experimental film also includes swine being bagged for an unpleasant fate, a weird surgery in which a human and hog are psychically joined and time-lapse footage of a drowned and decomposing pig. In addition to the swine, this disorienting and non-narrative film also includes a kidnapping, a romance and some squirmy, mindaltering grubs. Make sense? It probably shouldn’t. With its elliptical narrative, swooning visual aesthetic and hushed dialogue and narration, the film feels like Terrence Malick tackling dystopian sci-fi. It centers, mostly, on a woman named Kris (Amy Seimetz) who is drugged, with those mind-altering grubs, by a character identified only as Thief. While forcing her to copy Walden by hand, Thief cons Kris out of her money and her sense of iden-

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, opaque and fragmented thoughts about love, spirituality and truth. “Where are we when we’re there?” one character asks. Malick’s metaphysical themes and radiant imagery have earned him cultish disciples, but his films arrive slowly. This is only his sixth feature in almost 40 years, yet it comes a mere two years after the unabashedly grand Tree of Life. But unlike that film, in which the characters’ personal struggles matched the film’s towering philosophical ambitions, the human center of To the Wonder lacks urgency. The film opens with sturdy American Neil (Ben Affleck) and spirited Ukrainian Marina (Olga Kurylenko). “I’ll go wherever you go,” Marina murmurs in voiceover. Where Neil goes—and where Marina follows—is a subdivision in Oklahoma. Amid the romantic turbulence, Malick intersperses the story of a priest (Javier Bardem). As Bardem ministers to the unfortunate, these scenes feel like incongruous bursts of advocacy docudrama, with nonactors playing prisoners and hospital patients. “Where are you leading me?” Bardem says in voice-over. His sentiment is clearly aimed at God, but I would have liked to direct it at Malick. R. REBECCA JACOBSON. Kiggins, Laurelhurst Theater.

Tristana

[TWO NIGHTS ONLY, REVIVAL] Luis Buñuel unites with Catherine Deneuve for a surrealist critique of corruption and Catholicism. PG-13. NW Film Center’s Whitsell Auditorium. 7 and 9 pm Saturday and 7 pm Sunday, May 18-19.

Twilight Zone

[ONE NIGHT ONLY, REVIVAL] Three classic episodes on 16 mm. Hollywood Theatre. 7:30 pm Monday, May 20.

Upstream Color

Visuals: PSU’s Community Film Festival

[ONE NIGHT ONLY] Portland State University hosts an evening of locally made shorts, ranging from music videos to animation to experimental films. Fifth Avenue Cinema. 7 pm Friday, May 17.

REVIEW

To the Wonder

C+ Terrence Malick’s The Tree of Life

tity. When Kris wakes up, she becomes entwined with disgraced stockbroker Jeff (Carruth), who may or may not have had the same experience. Though ultimately secondary to the mesmerizing visuals and ambient score, the plot is surprisingly engaging, which prevents Upstream Color from becoming a formal obscurity too arch for its own good. You’re free to debate what it all means; I’m happy to lose myself in its messy mystery. REBECCA JACOBSON. Hollywood Theatre.

M I L L E N I U M E N T E R TA I N M E N T

MOVIES

IN COLD BLOOD: Michael Shannon as a heartless hit man.

THE ICEMAN A true-crime nightmare that’s completely cold.

Michael Shannon—whose hot streak of late includes 2011’s best (and most overlooked) performance in Take Shelter—has steadily built a catalog that dips into a huge swath of roles, from heroes to villains to corrupted do-gooders and stoned-out hillbillies. His unique visage adds an extra dimension to his startling portrayals, with his cracked features serving as a road map for all his characters have been through. The man’s terrific in pretty much everything. Shannon’s considerable physical presence is perfect for The Iceman, the tale of Richard Kuklinski, a hit man who claimed to have killed more than 100 people while posing as a businessman to his unsuspecting family. As Kuklinski, Shannon seethes menace, stoically staring into the hellish abyss as he guns down whomever his boss (a formidable Ray Liotta) sees fit. It’s a chilling true-crime nightmare. Yet The Iceman comes off completely cold. Shannon brings bravado, but everything else is off. Ariel Vromen’s film has the look, feel and pace of a TV movie crafted by a kid who grew up on Goodfellas, right down to montages of slaughter set to classic rock, and time jumps where you can only guess the decade by Shannon’s ever-changing facial hair. At no point do we get much backstory about Kuklinski, but that’s almost irrelevant. This is, after all, a monster who showed no remorse whatsoever for his killings. That leaves it up to the supporting cast to shoulder the humanity as Kuklinski’s crimes grow more disturbing, and with the exception of Liotta, nobody seems game. As the clueless wife, Winona Ryder seems on autopilot in a thankless role. Things begin looking up with the introduction of the gloriously named Mr. Freezy, an uneasy partner for Kuklinski who operates out of an ice-cream truck, but Chris “Captain America” Evans is underused and lost under a sea of bad wigs. Other casting choices are befuddling and distracting, such as a frantic, ponytailed David Schwimmer or a James Franco cameo. In the hands of less-focused directors, The Iceman could have glorified the crimes of a monster, but Vromen manages to tell Kuklinski’s story without piling on over-stylized violence. Shannon, meanwhile, creates a believable boogeyman. But as the supporting cast flounders and the plot becomes increasingly rudderless, the film grows more and more sterile. Maybe coming off ultra-cold is the point, but it certainly doesn’t make the film engaging. AP KRYZA.

B Pigs figure heavily in Upstream

Color, the sophomore feature from

SEE IT: The Iceman is rated R. It opens Friday at Fox Tower.

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MOVIES

MAY 17–23

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Fri-Sat-Sun 01:00, 07:00 THE SOURCE FAMILY FriSat-Sun-Mon-Tue-Wed 07:20, 09:20 MUD Fri-SatSun-Mon-Tue-Wed 06:45, 09:10 FALLGUY Tue 07:30 INTERNATIONAL YOUTH SILENT FILM FESTIVAL TueWed 07:00

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DISNEY GONE WILD: The words “spring break” are repeated so often in Spring Breakers that the phrase takes on a mantralike quality. Still best known for writing Kids and directing Gummo, backwater auteur Harmony Korine teams up with a Disney-centric cast led by Selena Gomez and Vanessa Hudgens to turn up the decadence and sleaze to 11 in a candy-coated vision of the American Nightmare. Neon lights, blinged-out cribs and James Franco’s white-trash gangsta rapper Alien make this akin to an arthouse installment of Girls Gone Wild crossed with Scarface—with all the surface allure and occasional vapidity that licentious description implies. 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. MICHAEL NORDINE. Showing at: Laurelhurst, Academy. Best paired with: 10 Barrel Hop Rye’It IPA. Also showing: Mud (Hollywood).

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Lloyd Center 10 and IMAX

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1510 NE Multnomah St., 800-326-3264 STAR TREK INTO DARKNESS: AN IMAX 3D EXPERIENCE Fri-SatSun-Mon-Tue-Wed 12:20, 03:40, 07:00, 10:20 STAR TREK INTO DARKNESS 3D Fri-Sat-Sun-Mon-TueWed 11:20, 05:50 THE HANGOVER PART III Wed 10:00 STAR TREK INTO DARKNESS Wed 02:35, 09:15

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2320 Lloyd Center Mall, 800-326-3264 STAR TREK INTO DARKNESS Fri-Sat-SunMon-Tue-Wed 12:10, 06:05 STAR TREK INTO DARKNESS 3D Fri-Sat-SunMon-Tue-Wed 12:30, 03:30, 06:30, 09:30 PEEPLES Fri-Sat-Sun-Mon-Tue-Wed 12:20, 03:25, 06:15, 09:25 THE GREAT GATSBY 3D Fri-Sat-Sun-Mon-TueWed 11:55, 06:10 THE GREAT GATSBY Fri-SatSun-Mon-Tue-Wed 03:05, 09:15 IRON MAN 3 3D Fri-Sat-Sun-Mon-Tue-Wed 12:00, 09:00 IRON MAN 3 Fri-Sat-Sun-Mon-Tue-Wed 02:55, 06:00 42 Fri-SatSun-Mon-Tue-Wed 12:15, 03:20, 06:25, 09:20 THE PLACE BEYOND THE PINES Fri-Sat-Sun-Mon-Tue-Wed 06:10, 09:10 JURASSIC PARK 3D Fri-Sat-Sun-MonTue-Wed 03:15, 09:05 THE CROODS Fri-Sat-SunMon-Tue-Wed 12:25, 03:10, 06:20, 08:55 OZ THE GREAT AND POWERFUL Fri-Sat-Sun-Mon-Tue-Wed 12:05, 03:05

Bagdad Theater and Pub 3702 SE Hawthorne Blvd., 503-249-7474 JACK THE GIANT SLAYER Sat-Sun-Mon-Tue-Wed 06:00 SPRING BREAKERS

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Sat-Sun-Mon-Tue-Wed 08:45

Cinema 21

616 NW 21st Ave., 503-223-4515 THE BIG HEAT Fri-Mon 09:00 BODY HEAT FriSun-Tue 04:30 LAURA FriMon 07:00 IN A LONELY PLACE Sat 01:30 THE NARROW MARGIN SatTue 09:15 BLOOD SIMPLE Sat-Mon 05:00 THE POSTMAN ALWAYS RINGS TWICE Sat-Wed 07:00 NIGHT AND THE CITY Sat 09:15 SAFETY LAST Sat-Sun 12:00 THE LONG GOODBYE Sun-Tue 07:00 GUN CRAZY Sun-Wed 09:15 MILDRED PIERCE Sun-Wed 04:30

Clinton Street Theater

2522 SE Clinton St., 503-238-8899 33 POSTCARDS Fri-Sun 04:00 THE BIG LEBOWSKI LIVE Fri-Sat 06:00, 08:30 BAD MOVIE NITE Fri 12:00 THE ROCKY HORROR PICTURE SHOW Sat 12:00 HIGH TECH, LOW LIFE Sun-Mon-Tue-Wed 07:00 OCONOMOWOC SunMon-Tue-Wed 09:00 3 GEEZERS! Wed 05:00

Laurelhurst Theatre & Pub

2735 E Burnside St., 503-232-5511 THE ADVENTURES OF ROBIN HOOD Fri-Sat-SunMon-Tue-Wed 07:10 TO THE WONDER Fri-SatSun-Mon-Tue-Wed 09:20 UPSTREAM COLOR Fri-SatSun-Mon-Tue-Wed 09:30 THE COMPANY YOU KEEP Fri-Sat-Sun-Mon-Tue-Wed 07:00 SILVER LININGS PLAYBOOK Fri-Sat-SunMon-Tue-Wed 07:20 SPRING BREAKERS Fri-SatSun-Mon-Tue-Wed 09:50 HAPPY PEOPLE: A YEAR IN THE TAIGA Fri-Sat-

Mission Theater and Pub

1624 NW Glisan St., 503-249-7474-5 NO FILMS SHOWING TODAY Fri-Tue OLYMPUS HAS FALLEN Sat-Sun-MonWed 05:30

Moreland Theatre

6712 SE Milwaukie Ave., 503-236-5257 STAR TREK INTO DARKNESS Fri-Sat-SunMon-Tue-Wed 05:30, 08:15

Roseway Theatre

7229 NE Sandy Blvd., 503-282-2898 IRON MAN 3 3D Fri-SatSun-Mon-Tue-Wed 01:00, 04:30, 08:00

St. Johns Twin Cinemas and Pub

8704 N Lombard St., 503-286-1768 STAR TREK INTO DARKNESS Fri-Sat-SunMon-Tue-Wed 04:00, 06:45, 09:30 IRON MAN 3 Fri-Sat-Sun-Mon-Tue-Wed 04:30, 07:10, 09:55

CineMagic Theatre

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

Kennedy School Theater

5736 NE 33rd Ave., 503-249-7474-4 PORTLAND QUEER DOCUMENTARY FESTIVAL Fri-Sat-Sun-Mon-Tue-Wed 07:00 LIFE OF PI Mon 02:30 IDENTITY THIEF Tue-Wed 07:45

Fifth Avenue Cinemas

510 SW Hall St., 503-725-3551 VISUALS COMMUNITY FILM FESTIVAL Fri 07:00

Hollywood Theatre

4122 NE Sandy Blvd., 503-281-4215 NW ANIMATION FESTIVAL

846 SW Park Ave., 800326-3264 THE GREAT GATSBY FriSat-Sun 11:45, 01:30, 02:30, 04:30, 07:00, 07:30, 09:30 THE GREAT GATSBY 3D Fri-Sat-Sun 01:00, 04:00, 05:00, 07:45 THE ICEMAN Fri-Sat-Sun 11:50, 02:30, 04:45, 07:15, 09:25 AT ANY PRICE Fri-Sat-Sun 11:30, 02:20, 07:10, 09:55 MIDNIGHT’S CHILDREN Fri-Sat-Sun 12:00, 03:00, 06:30, 09:30 MUD FriSat-Sun 11:40, 01:50, 04:30, 07:20, 10:00 42 Fri-Sat-Sun 11:35, 01:45, 04:15, 07:00, 09:40 THE PLACE BEYOND THE PINES Fri-Sat-Sun 11:35, 07:05 RENOIR Fri-Sat-Sun 04:35, 10:05 THE SAPPHIRES Fri-Sat-Sun 11:40, 02:45, 05:30, 07:55, 09:55 FROM UP ON POPPY HILL Fri-SatSun 11:30, 02:05

NW Film Center’s Whitsell Auditorium 1219 SW Park Ave., 503221-1156 CHOCOLAT Sat 04:30 TRISTANA Sat-Sun 07:00

Regal Pioneer Place Stadium 6

340 SW Morrison St., 800326-3264 STAR TREK INTO DARKNESS 3D Fri-Sat-SunMon-Tue-Wed 01:00, 04:15, 07:30, 10:45 STAR TREK INTO DARKNESS Fri-SatSun-Mon-Tue-Wed 12:00, 03:15, 06:30, 09:45

St. Johns Theatre

8203 N Ivanhoe St., 503249-7474-6 SNITCH Fri-Sun-MonTue-Wed 06:30 ERASED Fri-Sat-Sun-Mon-Tue-Wed 01:00, 09:00

Academy Theater

7818 SE Stark St., 503-2520500 THE COMPANY YOU KEEP Fri-Sat-Sun-Mon-Tue-Wed 02:00, 07:00 SPRING BREAKERS Fri-Sat-SunMon-Tue-Wed 02:40, 09:45 NO Fri-Sat-SunMon-Tue-Wed 04:30, 09:30 IDENTITY THIEF Fri-SatSun-Mon-Tue-Wed 01:50, 06:45, 09:15 LIFE OF PI Fri-Sat-Sun-Mon-Tue-Wed 04:10 SILVER LININGS PLAYBOOK Fri-Sat-SunMon-Tue-Wed 04:45, 07:15

Living Room Theaters

341 SW 10th Ave., 971-2222010 BLACK ROCK Fri-SatSun-Mon-Tue-Wed 12:10, 02:20, 04:45, 07:50, 09:45 ERASED Fri-SatSun-Mon-Tue-Wed 11:55, 02:30, 05:10, 07:30, 09:40 IN THE HOUSE Fri-Sat-Sun-Mon-TueWed 11:50, 02:10, 05:00, 06:50 THE RELUCTANT FUNDAMENTALIST FriSat-Sun-Mon-Tue-Wed 12:15, 02:00, 04:10, 06:40 SOMETHING IN THE AIR Fri-Sat-Sun-Mon-Tue-Wed 12:05, 02:50, 05:20, 07:00, 09:15 THE SILENCE FriSat-Sun-Mon-Tue-Wed 12:00, 02:40, 04:30, 07:15, 09:35 THE HANGOVER PART III Wed 10:00 SUBJECT TO CHANGE. CALL THEATERS OR VISIT WWEEK.COM/MOVIETIMES FOR THE MOST UP-TODATE INFORMATION FRIDAY-THURSDAY, MAY 17-23, UNLESS OTHERWISE INDICATED

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SERVICES BUILDING/REMODELING

INSTRUMENTS FOR SALE TRADEUPMUSIC.COM

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MUSIC LESSONS GUITAR LESSONS Personalized instruction for over 15yrs. Adults & children. Beginner through advanced. www.danielnoland.com 503-546-3137

Learn Piano All styles, levels

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Willamette Week Classiﬁeds MAY 8, 2013 wweek.com

TO PLACE AN AD CONTACT:

ASHLEE HORTON

503-445-3647 • ahorton@wweek.com

CORIN KUPPLER

503-445-2757 • ckuppler@wweek.com

CLEANING

SUPPORT GROUPS ALANON Sunday Rainbow

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

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

Changing the image of rescue, one animal at a time... LAWN SERVICES

Interested in adopting from the Pixie Project

Bernhard’s

CALL 503.542.3433

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

BRUCE SP ONSOR E D BY

Willamette Week is now hiring a part-time Accounting Clerk. This position will be responsible for accurately performing A/P, A/R, Credit and Administrative tasks. Schedule will be 12-5pm, Monday-Friday, with additional hours as needed. The successful candidate will have knowledge and understanding of basic accounting principles, experience with computerized accounting software programs, ability to self manage and multi-task, strong communication skills and a working knowledge of Microsoft Office including: Excel, Word and Outlook. Candidates will be required to pass a background check to be considered. To apply, email cover letter, resume, and salary requirements to: resumes@wweek. com with “Accounting Clerk” in the subject line. No phone calls, please.

GENERAL

Willamette Week Classiﬁeds MAY 8, 2013 wweek.com

www.wweek.com

Live like a popstar.

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

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McMenamins Cornelius Pass Roadhouse Is now hiring Line Cooks, Dishwashers, Catering Servers, Hosts, Bussers, Food Runners, and Pub Servers! Qual apps must have; A willingness to learn and enjoy working in a busy cust service-oriented enviro, an open & flex sched including, days, eves, wknds, hldys and an open summertime sched. We have seas and long term opps. Looking for a career in the hospitality industry? We offer opps for growth and great benefits. Come to the Cornelius Pass Roadhouse, on Tuesday, May 28 to fill out an app between the hours of 11am and 2pm! Mgrs will be on hand to talk to interested apps. We are located at 4045 NW Cornelius Pass Road, Hillsboro, OR 97124. Apply online 24/7 at www.mcmenamins. com or kick it old school and pick up a paper app at any McMenamin loc. Mail your app; Attn: HR, 430 N. Killingsworth, Portland OR, 97217, or fax: 503-221-8749. E.O.E.

McMenamins Edgefield 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. 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)

Stars Cabaret in TUALATINHiring (Tualatin-Tigard-Lake 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.

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EMPLOYMENT OPPORTUNITIES

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“Sound Oﬀ ”—or so I’ve heard Across 1 Convention city 7 Network with videos 10 Greenish-blue 14 Where mimes may be trapped 15 Hokkaido “yes” 16 Phoenix ﬁve (plus the bench) 17 How termites start on trees? 19 Good last name for a veterinarian 20 ___ out a living 21 Chipmunk in a red shirt 23 AFL-___ 24 “___ for Ricochet” (2004 mystery novel) 25 Restaurant handout 27 Pillager 29 Place for a pedicure 31 Quiz site 32 Get bigger 35 Make a remix for YouTube, often 39 Ditch 41 Bubbly mixer 42 Like some women’s bathing suits 44 Ramona’s sister, in the Beverly Cleary books 45 Gaza gp. 46 Like some pools 48 Home of the Oregon Ducks 51 Itty-bitty city 52 Maritime abbr. that predated SOS 55 “Weekend Edition Saturday” airer 56 ___ whale 58 Feng ___ 59 “Bloom County” penguin

61 Modern miniobituary? 64 Fallon’s replacing him 65 Alley ___ 66 Most wintry 67 Bohemian 68 Ball or top 69 Humpty-___ Down 1 Futuristic artist H.R. 2 Japanese mushroom 3 Local areas, casually 4 Subsides 5 Stereo knob abbr. 6 Fire truck accessory 7 Taco-like Taco Bell item 8 Sports announcer Albert who says “Yesssss!” 9 Polynesian idols 10 Be a good journalist 11 Hype around a bad doctor? 12 Set loose 13 Fur tycoon John Jacob ___ 18 Cessations 22 Complex guy? 25 Extra-large pads

26 Singer Gorme 28 Word after cookie or cigar 29 Horse with spots 30 Sydneysider’s nat. 32 Tokyo of old 33 Preﬁx meaning “foreign” 34 Lackey who hauls around seasonal marshmallows? 36 Kneeler on the ﬁeld 37 Modern, in Munich 38 Urgent care alternatives 40 VII times XIII 43 Tendency toward chaos 47 Acronym in 2013 Supreme Court news 48 ___ Gay 49 Not lower 50 Center in central Florida 52 Chick noise 53 A Tribe Called ___ 54 Simple song 57 Ending for switch 58 Take to the lake 60 Miso makeup 62 Joke (around) 63 Fort Worth sch.

last week’s answers

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STRAIGHT/GAY/BI/???? Willamette Week Classiﬁeds MAY 8, 2013 wweek.com

TO PLACE AN AD CONTACT:

ASHLEE HORTON

503-445-3647 • ahorton@wweek.com

CORIN KUPPLER

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ARIES (March 21-April 19): In the alternate universe created by Marvel comic books, there is a mutant superhero called Squirrel Girl. She has the magic power to summon hordes of cute, furry squirrels. Under her guidance, they swarm all over the bad guy she’s battling and disable him with their thousands of tiny chomps and thrashing tails. She and her rodent allies have defeated such arch-villains as Dr. Doom, Deadpool, Baron Mordo, and Ego the Living Planet. Let’s make her your role model for the coming weeks, Aries. The cumulative force of many small things will be the key to your victories. As in Squirrel Girl’s case, your adversaries’ overconfidence may also be a factor.

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TAURUS (April 20-May 20): You have arrived at the edge of reality. Or rather, to be precise, you have arrived at the edge of what you think of as reality. Here’s where things could get very interesting. Just on the other side of that edge you’re brushing up against, there is much, much more reality — a vast territory you have barely imagined, let alone believed in or explored. Are you feeling brave? If you’re willing to find out about stuff you didn’t even realize you would love to experience, I suggest you slip across the border and wander around on the other side.

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GEMINI (May 21-June 20): A character in Neil Gaiman’s graphic novel A Game of You delivers this speech: “Everybody has a secret world inside of them . . . No matter how dull and boring they are on the outside, inside them they’ve all got unimaginable, magnificent, wonderful, stupid worlds. Not just one world. Hundreds of them.” As a Gemini, you are not, of course, dull and boring on the outside. That may have something to do with why your secret inner worlds are often even frothier and sparklier than most people’s. But lately, I’m afraid, some of those secret inner worlds of yours have gotten a bit shabby and dank. It’s time for a deep cleansing. To be thorough, don’t just wash your own brain. Wash your wild heart and funky soul, too. CANCER (June 21-July 22): “You begin saving the world by saving one person at a time,” said writer Charles Bukowski. “All else is grandiose romanticism or politics.” I invite you to make that thought one of your guiding principles in the coming week, Cancerian. Translate your high ideals into actions that make a practical impact on particular human beings and animals. Instead of merely talking about what good things you want to do, actually do them. As much as possible, be sure that every detail of your daily life reflects your vision of ultimate truth and beauty. LEO (July 23-Aug. 22): If you were a fledgling savior, now would be a propitious moment to begin your messianic mission. If you were a musician hoping to leap to the next level of career success, this would be prime time to plan an extensive tour. If you were the inventor of the Next Big Thing, I’d suggest that you get your marketing campaign in gear. And if none of those descriptions fits your personal situation, regard them as apt metaphors for your use. How can you spread the word about what’s most important to you? VIRGO (Aug. 23-Sept. 22): As frontman of the band Queen, Virgo singer Freddie Mercury made use of his four-octave range with flamboyant showmanship and breathtaking technique. Many critics regard him as one of the greatest vocalists in the history of pop music. Freddie joked that he was perfect except for one glaring flaw: his overbite. Because he had four extra teeth in his upper mouth, his top jaw protruded. But he chose not to alter his appearance with surgery because he suspected it might change his singing voice in unpredictable ways. Is there a comparable situation in your own life, Virgo? A so-called imperfection that seems to be entwined with a beautiful asset? I urge you to be like Freddie. Accept the paradox — embrace it and celebrate it — and move on. LIBRA (Sept. 23-Oct. 22): The 14th-century poet Dante was a major influence on 20th-century novelist James Joyce. “I love Dante,” wrote the author of the epic novel Ulysses. “He is my spiritual food.” And yet Joyce felt he had to absorb Dante in small doses. “Dante tires one quickly,” he said. “It is as if one were

to look at the sun.” Is there any influence like that in your own life, Libra? Judging from the astrological omens, I’m guessing it’s a fine time for you to get as much sustained exposure to that glorious source as you can bear. SCORPIO (Oct. 23-Nov. 21): Greek poet Sappho was renowned in antiquity. The nine books she wrote were so esteemed that the historian Strabo wrote, “in this whole span of recorded time we know of no woman to challenge her as a poet even in the slightest degree.” And yet little of Sappho’s work survives. As of 2004 there were just 264 fragments and three complete poems. But then a fourth complete poem emerged. Its text was written on papyrus that had been wrapped in the casing of an Egyptian mummy. The mummy had been stored for years in a backroom at Cologne University in Germany before someone discovered its hidden treasure. Your assignment, Scorpio, is to seek an equivalent recovery. Search for a part of the past that’s still beautiful and useful, even if that quest leads you to unlikely and obscure places. SAGITTARIUS (Nov. 22-Dec. 21): When I turn my psychic attention in your direction, I smell smoldering smoke. Here’s how I interpret that: Your internal fire is burning with less than maximum efficiency. Do you agree, Sagittarius? If so, do you know why that might be? Did you not provide enough kindling? Is the wood too green? Is the ground wet? I urge you to find out what the problem is. You can’t afford to have sputtering flames and sooty light and spotty warmth. You need a steady blaze that radiates brilliant light and strong heat. CAPRICORN (Dec. 22-Jan. 19): Very few of us are completely uninhibited about expressing who we really are. Most everyone is shy about revealing at least one facet of his or her identity. Why? Maybe because we’re afraid that people will judge us harshly for being different from what they think we should be. Or maybe our secret side is at odds with our self-image, and we hesitate to acknowledge it even to ourselves. What is this part of you, Capricorn? In what sense are you still in the closet about a truth or quality or event that’s central to your character? I urge you to have a conversation with yourself about it. You aren’t necessarily ready to tell the whole world about it, but now might be the right time to start considering the possibility that you can give it more room to play. AQUARIUS (Jan. 20-Feb. 18): I absolutely forbid you to be a slave of happiness, a victim of pleasure, or a prisoner of love. Wait. Sorry. I take that back. What gives me the right to forbid you from doing anything? It’s your life. You’re the boss. So let me reframe my previous advice. Dear Aquarius, I beg you not to be a slave of happiness, a victim of pleasure, or a prisoner of love. None of the good things in life will give you what you need if you make yourself crazy or sick while pursuing them. That’s the cautionary news. The encouraging news is that in the next five weeks, I think you will have a knack for cultivating a graceful relationship with happiness, pleasure, and love. PISCES (Feb. 19-March 20): Don’t be like the ducks that are floating on Phoenix Lake a short distance from where I’m sitting. They’re feeding entirely on the surface, happy to skim a few insects from the top of the placid waters they’re drifting on. No, Pisces, be more like the frogs that are diving to probe for morsels down below. This is a phase of your astrological cycle when the quest for more variety can deepen your perspective and provide better nourishment.

Homework Do you allow your imagination to indulge in fantasies that are wasteful, damaging, or dumb? I dare you to stop it. Testify at Freewillastrology.com.

check out Rob Brezsny’s Expanded Weekly Audio Horoscopes & Daily Text Message Horoscopes

freewillastrology.com

The audio horoscopes are also available by phone at

1-877-873-4888 or 1-900-950-7700 54

Willamette Week Classiﬁeds MAY 8, 2013 wweek.com

TO PLACE AN AD CONTACT:

ASHLEE HORTON

503-445-3647 • ahorton@wweek.com

CORIN KUPPLER

503-445-2757 • ckuppler@wweek.com

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mi, amigo, freund, amiko, rafiki, dost – it doesn’t matter how you say it, the truth is that I want to be your friend! My name is Buddy and I am a happy, wiggly, silly, pure-bred Irish Setter that has had quite an exciting first year of life! Just a couple months ago I was hit by a car and hurt my leg really bad, I thought it was a goner and I would be a tri-pod, but luckily I got to Pixie Project and received such good care that my leg is almost fully healed and I can use it just fine! Boy, have I been a real trooper through it all! Weeks of daily bandage changes and not getting to run around a whole lot has not dampened my spirit in the slightest. I am so sweet and loving. I can’t wait to share my affection with a family of my own! I am great with other animals and kids too! Do I sound like the dream dog your family has been looking for? Fill out an application at pixieproject. org so we can schedule a meet and greet. I am potty trained, fixed, vaccinated and microchipped. Because I racked up $1000 in vet bills, my adoption fee is $500 to help pay for some of the cost. I am worth every penny!

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I M A D E T HIS

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