39 37 willamette week, july 17, 2013 by Willamette Week Newspaper

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THE FIGHT OF THE LIVING DEAD: Why the CRC continues on, despite claims by the Oregon and Washington governors. Page 7.

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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, Jessica Pedrosa Stage & Screen Editor Rebecca Jacobson Music Editor Matthew Singer Projects Editor Matthew Korfhage Books Penelope Bass Classical Brett Campbell Dance Aaron Spencer Theater Rebecca Jacobson Visual Arts Richard Speer Editorial Interns Alex Blum, Joe Donovan, Katie Gilbert, Richard Grunert, Haley Martin, Emily Schiola, Sara Sneath

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INBOX FERAL CATS AND BIRD DEATHS

tance of KBOO. It is the only listener-supported, nonprofit, volunteer, on-air progressive radio station in the region. For 45 years, KBOO has been broadcasting news, opinion and music; local, national and international. KBOO delivers an amazing variety of music, spanning tastes from bluegrass and the Grateful Dead...to cutting-edge hip-hop. In doing so, it informs and entertains on a level not approached elsewhere on the dial. KBOO has successfully challenged the assumption that only corporate donors and/or advertisers can pay for meaningful broadcast service. KBOO manages to influence local politics and shape opinion. In the last year, KBOO programmers opposed the sneaky fluoridation effort, the enormously expensive plan to cover the city’s reservoirs, and the effort to send filthy coal from Montana and Wyoming down the Columbia Gorge and through Portland to Asia. It is a community station that covers the arts, health, women’s and gay issues, and all manner of contemporary concerns. KBOO carried live the Occupy actions in Portland, as well as the [Waterfront] Blues Festival. The station does need more publicity and more paying members. If more of the 50,000 estimated listeners became dues-paying members, the station’s solvency would be secured. KBOO can always improve. But at age 45, it is hardly “a corpse.” Joe Uris Northeast Portland

THE RELEVANCE OF KBOO

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

Is cycling worse for the environment than driving? The theory I’ve heard is that cycling requires energy from food, which needs to be grown, transported and cooked, and doing all that is worse than using fossil fuels. What’s your take? —Mia Birkenstock

to approximately no one that this argument is total bullshit. (Though I will acknowledge that “fossil” is a really funny word. Fossil, fossil, fossil.) Yes, you use the energy from the food you eat to do things like riding a bicycle. And, yes, the food you eat has a carbon footprint. But the problem is, you’re going to keep eating whether you ride a bike or not. The anti-biking argument holds water only in the very narrow sense that, to the extent that you are a human being, the world would be a better place if you dropped dead. Stop biking, stop eating, stop breathing—all of that will definitely help. The truth is we’re still monkeys, and more monkeys mean more mess. If you’re going to the drugstore, it really doesn’t matter if you bike or drive a Hummer, as long as you remember to pick up condoms while you’re there. Oh, and Doritos! Grab some Doritos!

Just hours before picking up your issue featuring the article on feral cats [“I Can Haz Bird?” WW, July 10, 2013], my wife witnessed a cat kill a fledgling Northern Flicker (a woodpecker) in our backyard. It was a traumatic experience for us, as we’d followed the brief life of this young bird as it achieved independence from its parents. We love and monitor and care for the birds that inhabit our yard and neighborhood as much as any pet owner cares for his or her pet, and it is deeply upsetting to witness one of “our” birds be killed by someone else’s cat. Trap-neuter-return is much better than not neutering feral cats. But maintaining cat colonies facilitates the death of countless wild birds that otherwise would grace our neighborhoods. I admire the kind hearts of the folks who maintain these colonies, but they need to realize that their kindness has consequences: Feeding a feral cat will not stop it from killing birds. All it does is keep the cat alive longer so that it kills more of them. Cats kill out of instinct, not for sustenance. A person who subsidizes feral cats is making a choice to value the lives of a few non-native, domesticated animals over the lives of many native, wild animals. In my view, we instead should be working together to find solutions to limit the number of cats let loose outdoors in the first place. Jay Withgott Southwest Portland Your story on radio station KBOO [“KBOO Coup,” WW, July 10, 2013] misses the impor-

I’d be more interested in answering your question, Mia, if I weren’t so totally baked. You see, this column represents the 200th edition of “Dr. Know,” and I feel compelled to celebrate such roundnumber occasions by getting completely faded. Some of you might be wondering: Why didn’t I do something similar for my 100th column? Actually, I did; you just couldn’t tell because I spent the whole week under a blanket making a turtle out of putty. Anyway, what was your question? Oh, right; how bikes are actually more fossil-fuel-intensive than SUVs. Well, I’m sure it will come as a surprise 4

Willamette Week JULY 17, 2013 wweek.com

QUESTIONS? Send them to dr.know@wweek.com

ODOT is repaving I-84 between I-5 and I-205 in Portland this summer. In order to complete the project as quickly as possible, ODOT is closing this section of I-84, one direction at a time, for three full weekends.

from I-5 to I-205 starting at 10 p.m. on Friday, July 19. All lanes will reopen by 5 a.m. on Monday, July 22.

Map your alternate route Plan for increased traffic Take public transit Go online or call the hotline to get the latest information!

www.i84paving.org

Project Hotline: (503) 731-4663 (English/Español )

Willamette Week JULY 17, 2013 wweek.com

TRANSPORTATION: The CRC is not dead yet. 7 EDUCATION: The governor’s education chief violated travel rules. 9 SPORTS: The Portland Thorns make a run for the playoffs. 12 COVER STORY: A tale of a child welfare adoption gone bad. 14

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DEPUTY FIFE RIDES THE PORTLAND STREETCAR. There’s more trouble for Diversified Abilities, a Happy Valley company designated by the state as a qualified rehabilitation facility (“Janitorial Mess,” WW, June 26, 2013). As WW reported, Diversified Abilities faces $382,000 in federal and state tax liens for failing to pay employee withholding taxes. On July 8, the Oregon Employment Department filed a notice of garnishment with Portland State University, which has given Diversified Abilities a no-bid janitorial contract. The Employment Department declined to comment, but records show the agency is seeking $201,753 from Diversified Abilities for unemployment insurance unpaid since 2008. Diversified Abilities CEO Ann Toth declined to comment. The Oregon Government Ethics Commission unanimously voted July 12 to investigate potential state ethics law violations by Gov. John Kitzhaber’s top adviser on the Columbia River Crossing. The commission found there appears to be “a substantial objective basis” that Patricia McCaig violated laws against conflicts of interest and failing to disclose her lobbying activities. McCaig led Kitzhaber’s efforts to win funding for the $3.4 billion project in the Oregon Legislature (“The Woman Behind the Bridge,” WW, Feb. 27, 2013). McCaig earned more than $417,000 working as a consultant for top CRC contractor David Evans and Associates while also working as the governor’s top adviser on the CRC. McCaig told the commission her actions have been legal and above board. Even though the governor has said the CRC project has been halted, a spokeswoman for Kitzhaber says, “Patricia’s position has not changed.” Loyal subscribers of The Oregonian have wondered if they will get a break on the cost of the newspaper once the paper drops to a four-day-aweek delivery starting Oct. 1. The answer: not much. The paper is telling current subscribers its new delivery rate will be $5 a week—down from the current rate of $6, the newspaper’s website says. While that buys three fewer delivered papers, subscribers will get access to an online edition that looks like the print version. There’s a new fare enforcement officer in town. The Portland Streetcar, finally, is preparing to hand out citations for riders who don’t pay to ride. WW reported in March the streetcar has collected barely half the fares projected since last fall. Streetcar officials are now considering a fare hike from $1 to $2 in January 2014. The fine for not paying a fare will be $175—the same amount levied by TriMet. The lone streetcar fare inspector is getting trained how to hand out citations. “We can’t issue a ticket until he’s fully certified,” Portland Streetcar director Rick Gustafson says. “My understanding is he’s very close.” Read more Murmurs and daily scuttlebutt.

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K U N G F U T O A S T. C O M

NEWS

ZOMBRIDGE! IF THE CRC IS DEAD, WHY ARE STATE OFFICIALS STILL SEEKING PERMISSION TO BUILD IT? BY AN D R E A DA M E WO O D

adamewood@wweek.com

About 25 opponents of the now-defunct Columbia River Crossing raised their drinks at Produce Row’s bar July 12 to celebrate the megaproject’s death. The happy hour included activists, economists and business people who clinked glasses and gave away door prizes, including a “Build That Bridge” button once handed out by the project’s many backers. Maybe they should have checked the CRC’s pulse first. Even as the project’s staff members clean out their desks, CRC officials are hoping to resurrect it from beyond the grave. The $3.4 billion effort to expand Interstate 5 interchanges, replace the spans between Oregon and Washington, and bring light rail to downtown Vancouver purportedly died June 30 when the Washington Senate killed its funding. Gov. John Kitzhaber and Washington Gov. Jay Inslee immediately announced they were shutting down the project. But interviews and records show CRC officials are still pursuing the state and federal permits needed to build the bridge.

CRC spokeswoman Mandy Putney confirmed the project isn’t pulling any of its permit requests. She says Sept. 30 is the deadline the Oregon Legislature gave Washington lawmakers to deliver their half of the $900 million needed in state funding. That’s also the date by which the Coast Guard is expected to answer whether spans with 116 feet of clearance would be high enough to allow river traffic through. “It seems too soon to preclude anything from happening,” Putney says. Federal officials also say they still have hope the CRC can be revived. The CRC is still seeking to land $850 million from the Federal Transit Administration to fund the light-rail portion of the project. FTA administrator Peter Rogoff released a statement to WW in which he continued to praise the project’s “economic and safety benefits.” “The U.S. Department of Transportation is disappointed with the current situation but is working with leadership in both states to determine what options remain available,” Rogoff says. CRC opponents, having put down their celebratory drinks, say they aren’t surprised state officials are still pushing the project. “The CRC folks and supporters think if they get these permits in place, they can put this on the shelf until next year,” says Tom Buchele, a Lewis and Clark Law School professor whose endangered-species lawsuit against the CRC is still active. “It’s really wishful thinking and a waste of public resources.” The Oregon Department of Environmental Quality, for example, was to review the CRC’s plans to perform work in the Columbia River—such as building piers to hold up the new bridge. But CRC officials have told the DEQ to keep working on the review, despite the public proclamations the project is dead.

“It lives, I guess, in some way, shape or form,” says Courtney Brown, a DEQ employee working on the review. “They haven’t said anything more beyond saying they don’t want to withdraw the application.” Meanwhile, the U.S. Coast Guard is continuing to spend taxpayer money to work on permits for the bridge. “It is up to the applicant to determine how they want to move ahead,” says Coast Guard spokeswoman Lisa Novak. “The Coast Guard will continue to review the bridge permit application while awaiting further information from the CRC.” So is the U.S. Army Corps of Engineers, which must approve in-water work and changes to the Columbia’s navigation channel. “We haven’t had much interaction with them on this since the first of July,” says Army Corps spokeswoman Marci Johnson. “We have not received a withdrawal request for the permit.” Oregon and Washington taxpayers have already spent $172 million on planning for the CRC. Washington will have its employees out of the project by Sept. 1. Putney says about 35 of its 96 employees are still working in the CRC office. “The governor’s office, if they’re serious and they meant what they said about closing it down, they should pull these permits and lawsuits,” Buchele says. “Nobody should be wasting time on this project.” Kitzhaber’s office insists the CRC office is closing down. However, spokeswoman Amy Wojcicki says Oregon is going to try and use the decade’s worth of work on the CRC to see if traffic would be improved with upgrades to interchanges on the south side of the Columbia River. Buchele says it’s just another sign that entrenched supporters are having a hard time letting go. “There are some people in the CRC office,” Buchele says, “who aren’t going to stop this until they’re fired and the locks are changed.” Willamette Week JULY 17, 2013 wweek.com

Willamette Week JULY 17, 2013 wweek.com

EDUCATION

W W S TA F F

WHERE RUDY CREW FLEW

NEWS

RECORDS SHOW OREGON’S EX-EDUCATION CHIEF VIOLATED STATE EXPENSE AND TRAVEL RULES. BY NIG E L JAQ UI SS

and

ALE X BLUM

243-2122

Rudy Crew was supposed to be the force that shook up Oregon’s schools. Gov. John Kitzhaber christened Crew—who arrived here in June 2012 a national figure—as the state’s first education reform czar, paying him $280,000 a year and a $1,000-a-month car allowance. But Crew, 62, barely lasted a year before he bolted Oregon in June to become president of Medgar Evers College in Brooklyn, N.Y. He left plenty of unfinished business and little to show for his time in Oregon. As it turns out, he didn’t spend all that much time here. Records obtained by WW suggest the governor and the Oregon Education Investment Board left Crew unsupervised in his high-profile job. He jetted to conferences and private speaking engagements in faraway locales such as Alaska and the Bahamas, often flying first class. On Feb. 13, his calendar shows, Crew charged the state $336 for a town car to shuttle him between Portland International Airport and his Salem home for a trip to Washington, D.C. On that trip, Crew also charged the state $350 to have his ticket upgraded to first class. On Feb. 21, Angelique Bowers, a state accountant, flagged the expenses as improper. “We are unable to reimburse an employee for airfare other than coach class,” Bowers wrote to Crew’s assistant. She also said the state would not pick up the car tab. Crew did not respond to WW for comment. A spokeswoman for Gov. John Kitzhaber’s office says the governor took steps to address issues with Crew’s travel. “As soon as we saw it was a problem, the issue was raised with Dr. Crew,” says Kitzhaber spokeswoman Amy Wojcicki. She says the state does not plan to seek any reimbursement from Crew. “We have come to an agreement on Dr. Crew’s separation with the state,” she says. “Beyond the terms of this agreement, we are not aware of any additional expenses that the state would seek to reimburse.” But from Crew’s calendar and time sheets, it’s difficult to determine when he was working and when he was not. His calendar shows Crew was out of the state at least 63 days in the year he worked here. Crew took 32 vacation

OREGON’S AMBASSADOR: Rudy Crew traveled to all the spots on this map last year, going twice to Washington, D.C., San Francisco and Los Angeles.

days, and was out of the office another 17 days for furloughs, sick leave and personal days. In all, Crew took at least 17 trips out of state—some paid for by taxpayers, others by groups paying to hear him speak—that took him to such cities as New York, Las Vegas and Santa Fe, N.M. Crew came to Oregon after a series of high-profile jobs: He was chancellor of public schools in New York City and then superintendent in Miami (“Wrecking Crew,” WW, Jan. 16, 2013). Records show, for example, that on Thursday, May 9, Crew flew first class to San Francisco to give a speech to a group called Partners in School Innovation. The next day, he flew to the Bahamas for a Friday kickoff for the Parent Academy at Lyford Cay International School. He gave a keynote speech in Nassau the next day. Crew’s time sheets show he reported both days as work days. Neither the San Francisco nor Bahamas event had any apparent connection to his job. If Crew was in fact working on those trips, state ethics laws prohibited him from traveling first class, even if the host organization paid his expenses. This spring, Kitzhaber transferred an experienced state administrator, Lisa Van Laanen, into Crew’s office

to inject some discipline. But she could not figure out how Crew spent his time. “I am unable to confirm the accuracy of Rudy’s time and do not feel like I am able to sign authorizing these hours,” Van Laanen wrote on his time sheet June 17. “Maybe it can be routed to the [governor’s] office for signature?” Crew was supposed to implement Kitzhaber’s education reforms, which call for 100 percent of students to graduate from high school by 2025. “He has the courage to do what’s right, even if he needs to ruffle a few feathers to do it,” Kitzhaber said when he introduced Crew on May 30, 2012. But Crew had little impact on the state’s education system. Lawmakers funded only a fraction of his biggest initiative—$120 million for regional teachers’ academies. Key lawmakers noticed his absences. Crew was scheduled to meet weekly with the co-chairs of the Joint Ways and Means Subcommittee on Education. “He missed at least 50 percent of our scheduled meetings,” says Rep. Betty Komp (D-Woodburn), one of the co-chairs. “The governor’s staff was doing its best to keep the OEIB’s goals moving forward, but their leader [Crew] was missing.” WW intern Sara Sneath contributed to this story.

Willamette Week JULY 17, 2013 wweek.com

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CLUB CONCERT at Mississippi Studios Wednesday, July 17 * 8 pm * $20 CHAMBER MUSIC BY Andy Akiho, Liszt, Chausson. PERFORMED BY Dover Quartet, Andy Akiho (steel pan, pictured), Yekwon Sunwoo (piano) and special guest Ida Kavafian (violin). Chamber Music Northwest’s Protégé Project Club Concerts bring world class chamber music to casual settings throughout the 43rd Summer Festival. For tickets, call 503-294-6400, visit www.cmnw.org, or buy at the door starting at 7 pm. 21+ only.

Arts

pG 44 Willamette Week JULY 17, 2013 wweek.com

NEWS

SPORTS

EVERY ROSE HAS ITS THORNS

BY G EO F F G I B SO N

C O L L A G E W W S TA F F. A L L P H O T O S C R A I G M I T C H E L L DY E R / P O R T L A N D T H O R N S F C

PORTLAND’S PRO WOMEN’S SOCCER TEAM STRIVES TO REACH THE PLAYOFFS IN ITS FIRST SEASON. 243-2122

It’s taken a few years, but Portland is finally back to living up to its nickname as Soccer City USA. In fact, it’s become the hottest place for soccer in the nation. A lot of the heat is due to the surge in the Portland Timbers, who under Coach Caleb Porter have gone from one of the worst teams in Major League Soccer to one of the best in a single season. But it’s the new team in town, the Portland Thorns, that hark back to the grassroots origins of the city’s soccer insanity. In their inaugural National Women’s Soccer League season, the Thorns appear headed for the playoffs and now stand No. 2 in the eight-team league. Their popularity is unrivaled: Average attendance at Thorns home games is 12,797—nearly three times that of the next highest team. And their evolving style on the field has kept fans guessing. The Thorns’ ability earlier in the season to dominate opponents easily has been thwarted as other coaches figure out how to break down Thorns Coach Cindy Parlow Cone’s style of play: a direct, possessionbased approach. The result has been fewer goals and fewer wins in recent games, making the season’s final stretch all the more suspenseful. The Thorns have three more home games this season at Jeld-Wen Field, including two against teams—FC Kansas City and Sky Blue FC—that are competing with them for the league’s top spot. If you’re a Thorns regular—or someone who has not caught the team in action yet—here’s what to watch for as they hunt the championship. You can’t talk about the Thorns without mentioning Alex Morgan and Christine

SINCLAIR, FOXHOVEN, SHIM

the league and scores often on breakaways (watch for through-balls from Sinclair and midfielder Allie Long). Sinclair, a Canadian national star, has been an attacking midfielder this season, making the all-important creative decisions that allow Morgan and others to score goals. She’s now been moved forward alongside Morgan as a striker, giving her even more chances to score.

LEBLANC

Sinclair, two of the most prolific goal scorers in the world. Together, they account for nearly all of the Thorns’ 19 goals. Morgan, a star on the U.S. national women’s team, is one of the fastest players in

The Thorns’ latest strategic success is due in large part to the arrival of Tobin Heath, the attacking midfielder for the U.S. national women’s team who until now has been finishing out her commitment to Paris Saint-Germain of the French professional women’s league. In seven appearances for her French side, Heath scored two goals, which is pretty good for a midfielder. That said,

Heath might not cure what ails the Thorns’ current system. Heath is known for generating plays that set up scoring chances for others—more of a possession style than the long-ball approach the Thorns seem to be developing. “Heath allows the team to finally stretch the attacking impetus into the final third [of the field],” says John Nyen, who blogs for the Rose City Riveters, the Thorns’ supporters group. “There is the potential that Heath won’t be able to affect the game as much as Thorns fans would believe.” The Thorns’ “supersub,” as she’s labeled by fans, is Danielle Foxhoven. She has scored three goals (ranking her behind only Morgan and Sinclair) while starting only one game this season. Cone tends to unleash Foxhoven in the second half on the front line when the

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The Thorns have failed to find their scoring edge in recent matches, and the defense has sometimes faltered under increasing pressure and the confidence shown by opponents. That has forced goalkeeper Karina LeBlanc to make some truly outrageous and heroic saves. Witness her clutch stop July 14 of a late-game penalty kick by Western New York Flash forward (and U.S. national women’s team star) Abby Wambach. The save preserved a 1-1 tie. While it’s not necessarily a good thing to see your team’s goalkeeper need to make those kinds of saves—it underscores that the defense is having issues—it has brought LeBlanc, also goalkeeper for the Canadian national team, deserved attention. She was named the league’s player of the week in June. And she may be the key to whether the Thorns’ amazing first season ends early, or takes them to the finals. As Thurston of RoseCitySoccerPress.com, writes, “Karina has kept us in games we had no business being in.” Geoff Gibson is the managing editor of StumptownFooty.com. GO: The Portland Thorns’ next home match is against the Chicago Red Stars on Sunday, July 28, at 4 pm at Jeld-Wen Field.

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Meleana Shim, a rookie forward with a bit of a chip on her shoulder, has become one of the more important players for the Thorns. “One of the unsung heroes for the Thorns this season,” says Jeremiah Braeback of NWSLNews.com. Shim doesn’t yet have the scoring chops of Morgan or Sinclair—she’s scored two goals, including one July 14 against Western New York Flash—but she has a natural sense for knowing where to be during an attack. “Shim always seems to be at the right place at the right time,” Braeback says.

Bro

Thorns needs a late goal or a sense or urgency. “Danielle injects energy back into the match, constantly putting pressure on the opposing back line,” says Anthony Thurston of RoseCitySoccerPress.com. “She really could be starting for many NWSL teams this year.” The question for the team is whether Foxhoven should play a larger role as the fight for the playoffs tightens.

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NO GOOD DEED HEATHER MERRIFIELD ADOPTED AN ABUSED BOY. NOW HE’S BACK WHERE THE ABUSE STARTED—AND SHE’S BEING BLAMED.

BY NIG E L JAQ UI SS

njaquiss@wweek.com

n 2006, Heather Merrifield tried to rescue a 6-year-old boy named Daniel. The boy had been so severely abused by his mother and father that the state of Oregon terminated their parental rights when he was 3. Daniel’s first adoptive parents gave up on him when he was 5 because they couldn’t stop him from sexually touching his little sister. But Merrifield believed she could make a difference in Daniel’s life. She’s been paying for that decision ever since. She adopted the boy, shouldering the legal and financial responsibilities of caring for him. Four years later, when his problems became so severe she could no longer handle him, she returned him to the custody of state child welfare officials. Merrifield is still legally responsible for Daniel, now 13. But she has watched in disbelief as the Oregon Department of Human Services sent Daniel back to his birth mother, in whose care he was traumatized. “I was shocked that you would put a child back with a parent who did that,” Merrifield says.

hild abuse in Oregon is a large and growing problem. The number of reported incidents soared 85 percent over the past decade to nearly 75,000 a year. In 2011, the state took nearly 13,000 children into protective custody. State officials are charged with finding permanent, safe homes for these children—and doing so quickly. “The cases in the child welfare system

have become increasingly complex,” says Kathy Prouty, permanency director for DHS. “[And] children who do enter foster care have more serious abuse or neglect histories.” State officials declined repeated requests to discuss Daniel’s case. Daniel’s story includes many of the elements common to the state’s efforts to protect children: the hidden cost of abuse, CONT. on page 17

Willamette Week JULY 17, 2013 wweek.com

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EMPTY NEST: Heather Merrifield hasnâ&#x20AC;&#x2122;t seen or spoken to her adopted son, Daniel, since 2010. Willamette Week JULY 17, 2013 wweek.com

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CONT.

the powerful institutional drive to find permanent homes for Oregon’s most traumatized kids, and the difficulty of navigating a system shrouded in secrecy. Merrifield has taken the unusual step of going public with her story and making available hundreds of pages of normally confidential documents—including half a dozen evaluations that link the boy’s abuse by his birth parents to his later psychological problems. (WW is not using the boy’s real name.) In retrospect, Merrifield, 41, a Milwaukie resident and project manager for a health-care company, wishes she had been given more training and resources to help Daniel. But she also says she was not told how serious his problems were before she adopted him. Today she is fighting the state’s allegations she was an unfit parent. She contends it’s Daniel’s birth mother who is unfit. “I always had faith the state sets the rules and does the right thing—especially for kids,” Merrifield says. “But I don’t have that faith any more.”

errifield grew up in Gladstone, the oldest of three girls. Her parents divorced when she was 16, but her dad moved in next door and the family remained close. Merrifield was outdoorsy, studious and empathetic. “She’s the type of person who is always there for other people,” says her mother, Francie Petrone. “She’d play with the kids other kids wouldn’t play with.” After graduating from Gladstone High School, Merrifield served a 2½-year Army hitch at Fort Sill, Okla., providing computer support for the base. She earned a graphic design degree from Portland State University in 2004. She then worked as a creative director at a design firm, and got her Master of Business Administration at night. Then she went to work for her family’s chemical business. In her early 30s, Merrifield was moving up the professional ladder, but knew she wanted to have a child with her then-partner, Kate. (Kate agreed to speak to WW on the condition her real name not be used.) “I wanted to either have a baby of my own or adopt,” Merrifield recalls. The couple hadn’t yet decided how to have a child when in late 2005, Kate, an elementary school counselor, learned of a family at her school struggling with a 6-year-old boy it had recently adopted. Merrifield and Kate met the boy at his Washington County home and were smitten. Small for his age, Daniel had a blond crewcut, bright blue eyes and all of his baby teeth. The adoptive parents told them he had been abused by his birth parents. The first sign the women saw that Daniel had developmental problems was the way he walked. “He dragged one leg,” Merrifield says. “It just broke your heart.” Merrifield noticed how the boy’s adoptive mother looked. “She was all frazzled,” Merrifield says. “When you are looking at it from the outside, you say he doesn’t seem so bad. I was wondering how she got to the point where she just gave up.” Then the adoptive parents told their story. They had adopted Daniel and his sis-

C O U R T E S Y O F H E AT H E R M E R R I F I E L D

NO GOOD DEED

HAPPIER DAYS: “We thought with enough love, structure and therapy, he would get better,” Merrifield says of Daniel, photographed here when he was 6.

FOR ADOPTIVE PARENTS WHO FEEL MISLED, LAWYER CATHERINE DEXTER SAYS, “THERE IS NO RIGHT OF RETURN.” ter only six months earlier. Now they were desperate to get rid of the boy—permanently. Daniel often intentionally urinated on furniture and clothing, requiring that he wear a nighttime diaper. Worse, the adoptive parents said, he displayed a strong sexual interest in his adoptive father (something psychologists would later link to his earlier abuse) and was sexually touching his sister. His pursuit of his sister was so serious his adoptive parents locked Daniel in his room at night. Today, Merrifield acknowledges she and Kate were unprepared and perhaps naive about what they were getting into. “We had some hesitation based on his sexualized behavior,” Merrifield says. But Merrifield and Kate thought they could help Daniel. Their home would be a good fit for the boy because there was no male figure or younger sibling to pursue sexually. And Merrifield was a hiker, cyclist and snowboarder—interests she hoped would engage a young boy. “It was a feeling you are giving somebody an opportunity for a better life,” Merrifield says. “He can be loved like he’s never been loved before.”

ithin a week of meeting Daniel, Merrifield and Kate agreed to be the boy’s guardians and moved him into their Milwaukie home. It was February 2006. Daniel’s behavior was worrisome from the start. “I went in and checked on him, and his diaper was dry,” Merrifield says of one of her earliest recollections of him. “But there was pee all over his bed and his clothes. I asked him why he did it, and he said, ‘To make you mad.’” That was their first realization of how Daniel used his bodily functions as a way of acting out. “The urinating on furniture and other places, I didn’t realize was every single day,” Merrifield says. “And the defecating—he was pooping and hiding it. A lot of it was mind games.”

Soon after Daniel moved into their home, Merrifield says, the two women received a copy of a psychological evaluation of Daniel done at the Albertina Kerr center in Portland. The report told an alarming tale. “Daniel was removed from his biological parents’ home just before his third birthday secondary to their methamphetamine use. It is alleged that he was severely neglected and possibly sexually abused by his father,” the Jan. 21, 2006 report stated. The Albertina Kerr psychiatrist diagnosed Daniel with “reactive attachment disorder,” common among children who were abused as infants before bonding with their parents. Daniel’s urinating and defecating around the house were symptoms of the disorder. So were his difficulty sleeping, eating disorders, manipulative behavior and cruelty to animals. “Children with reactive attachment disorder seem bright but can’t seem to learn and don’t learn from discipline,” professor Debra Eisert, an Oregon Health & Science University clinical psychologist, tells WW. “Underneath everything is a belief any relationship won’t last.” Merrifield and Kate found hope in the occasional moments when Daniel acted like a normal little boy. He liked to feed the ducks at Westmoreland Park and enjoyed letterboxing, an outdoor game that is a cross between a treasure hunt and geocaching. “We took him hiking and we took him to Disneyland,” Merrifield says. “We taught him how to read and to ride a bike.” Yet there were enough warning signs to instill caution. Merrifield says she asked DHS if she and Kate could serve as foster parents, a temporary arrangement with fewer legal and financial responsibilities than adoption. “They said, ‘No, you’re already his guardian, you need to adopt him,’” Merrifield says. DHS officials declined to discuss what

they told the women. But Oregon’s top priority for all children under its supervision is a permanent home. “I wish we had taken him into our home with DHS assistance,” Kate says. “But DHS was already done with him. There was a concern he would be returned to the fostercare system and be labeled ‘unadoptable.’ It felt like we were locked in.” The women moved forward with the adoption. In February 2007, Merrifield and Kate became his legal parents. “You don’t give up on somebody,” Merrifield says, “just because they have problems.”

bout 1,700 kids a year are adopted in Oregon—730 through DHS, and the rest, like Daniel, through private adoptions. A private adoption means DHS case workers who would normally evaluate the home and prescribe services are not involved. It also means the new parents— in this case, Merrifield and Kate—might get far less information about the child. Emily Cohen, a Portland adoption lawyer, says parents often feel they have not been given full information when they adopt. “Some families have told me they did not have a clue as to how serious the child’s issues are until they got into the home,” Cohen says. Another local adoption lawyer, Catherine Dexter, says adoptive parents have little recourse if they learn after the fact that key information about the child was withheld from them in a private adoption. “To my knowledge, there is no right of return,” Dexter says. “If they feel they have been misled intentionally, they might have a fraud claim. But I’m not aware of a case where such a claim has been successful.” Daniel’s first adoptive parents could not be reached for comment. But when they took Daniel to the Albertina Kerr center, just before they gave up custody, the adoptive parents told officials his medical records “contained information they were seeing for the first time.”

errifield and Kate began to learn more about Daniel’s past as they sought help for him. The two spent thousands of dollars for Daniel to see therapists who specialized in traumatized children. For the first year and a half, the couple took Daniel every weekend to the Northwest Neurodevelopmental Training Center in Woodburn, where experts used “touch therapy” to try to recreate the developmental stages the boy had missed. The women fed Daniel a healthy diet, and limited his access to television and video games. Still, his behavior worsened. “If you had a holiday or something special, he’d throw up,” Merrifield says. “We were worried, so we took him to the doctor. The doctor realized it was a game for him—he was choosing these actions.” Merrifield requested his entire file from Clackamas County and DHS. It contained information that Merrifield and Kate had never seen. “All we had before was little bits of the file,” Merrifield says. CONT. on page 19 Willamette Week JULY 17, 2013 wweek.com

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NO GOOD DEED

They learned Daniel’s birth parents— both meth users—had allowed him to urinate and defecate all over their Eagle Creek home. They learned Daniel was allowed to eat whatever he found on the floor—usually Top Ramen—and that he had eaten a 2-foot section of wall in his bedroom. They learned Daniel’s birth father had allegedly, in Daniel’s words, “threatened to cut off his head and legs and pour gasoline on him,” according to a state report. (Court records show Daniel’s birth mother sought two restraining orders against his father during this time.) And they learned his father, according to what Daniel told investigators, had “played elephant with him” and “put a squirt gun” in his buttocks. (Clackamas County investigators were told Daniel and an older sister had been sexually abused, but did not bring charges against the father.) The revelations shocked Merrifield and Kate. When asked if she would have adopted Daniel knowing what she does now, Kate says, “I don’t think so.” Merrifield says if a full range of training and support were available from the beginning, she would probably make the same decision to adopt. “It’s a very difficult question,” she says.

errifield and Kate soon had to deal with what one therapist called Daniel’s “ hypersexualization”— specifically, his sexual attraction to men with beards (like his birth father) and to younger children. In fourth grade, Daniel couldn’t be allowed out of the sight of an adult because of his “history of sexualized behavior toward others” and a “history of verbal or physical threats toward others,” his fivepage safety plan said. “He is not permitted to use any student bathrooms.” Daniel was then 9. One day in 2009, on the way home from an after-school day-care program, Daniel admitted to Merrifield he had kissed a 3-year old boy. “I asked Daniel what else happened,” Merrifield says. “He said he ‘stuck his wiener up the boy’s butt’ and made him ‘suck his wiener.’” Based on his previous behavior, Merrifield says, she believed the incident occurred. Kate says she reported the incident to a DHS hotline, but was surprised no one from the state followed up. “The assault was a huge turning point,” Merrifield says. “I could deal with the attitude and the anger. But with the whole sexualized part, I didn’t know what to do because you can’t protect the whole world from him.” A new psychologist recommended Daniel be institutionalized. Merrifield says there were no suitable placements available, so they enrolled him in a therapeutic day program at the Parry Center in Portland. Merrifield says Daniel made progress, but it was only temporary. “He threatened to shoot a little girl on the bus and threatened to stab me while I was sleeping,” Merrifield says. A Clackamas County Behavioral Health evaluation in 2009 painted a dire picture.

ON HER OWN: Merrifield’s former partner has agreed to the state’s plan to make Daniel’s birth mother his permanent guardian.

“MY RIGHT MIND IS SAYING, ‘BE DONE WITH IT.’ BUT I CANNOT WALK AWAY.” —HEATHER MERRIFIELD “Daniel made comments during intake that he does not intend to work on his problems and make changes,” the caseworker wrote. “He states he wants to continue to be sexual as he has in the past. He does not seem to respond to concerns he will get in trouble, stating he wants to go to jail.”

fter five years as a couple, and nearly four years of caring for Daniel, Merrifield and Kate split up in late 2009. “If that stress of raising Daniel wasn’t there,” Merrifield says, “we’d still be together.” Merrifield had few respite options to help care for the boy. Soon, she wore out. Clackamas County Behavioral Health officials advised her to take time away from Daniel. Kate was also exhausted, so in 2010 Daniel, then 10, went back into foster care. “For me to quit anything is really hard,” Merrifield says. “I felt like a failure.” Statistics on how frequently adoptions fail are imprecise. But DHS’s Prouty says it is rare for an adoptive family to relinquish parental rights; for two adoptions to fail happens only “in a very small percentage of cases.” Merrifield knew she remained legally and financially responsible for Daniel, but was turning over custody to the state of Oregon. She says she expected the state would send him to a safe place. And DHS did send him into “treatment foster care.” Merrifield didn’t see or speak to Daniel for a year. Then, in early 2011, she learned

DHS officials intended to reunite him with his birth mother—the woman in whose care he’d been so abused as an infant. “I said, ‘This is completely wrong,’” Merrifield says. “‘You can’t do this.’” In late 2011, Merrifield sought a “reunification” to have contact with Daniel, stopping short of taking him back into her care. But DHS in 2012 moved forward with a plan for Daniel’s birth mother to adopt him. In August 2012, DHS officials placed Daniel with his birth mother, who had moved to a nearby state. But Oregon officials determined she could not adopt him because she was still married to Daniel’s biological father and previously had her parental rights terminated. The state then shifted to a different plan—Daniel’s birth mother would become his permanent guardian. In order for that to happen, state officials sought to prove in court Merrifield and Kate had been “unfit” parents because they abandoned him. Merrifield, sifting through public records, determined the birth mother’s family included toddlers and babies who’d be living close to Daniel. Merrifield says DHS officials are disregarding Daniel’s safety, and the safety of the children he might victimize. “I’m a rule-follower,” she says. “If a sign says, ‘Don’t trespass,’ I don’t trespass. His mother never followed any rules, and now DHS isn’t, either.” For the first three months Daniel was

back with his birth mother, Oregon officials acknowledge in court, no caseworker checked on him. In January, a caseworker in his new state met with Daniel and his mother. “Mother spoke of the chaos the family is going through,” the caseworker wrote on Jan. 15, 2013. “She states she feels she has lost control over her children.” Nonetheless, Oregon officials have repeatedly said in court they believe that living with his birth mother is the best option for Daniel. His court-appointed attorney and a court-appointed special advocate agree. “[Daniel] has experienced abuse, rejection and uncertainty,” wrote Daniel’s advocate, Dan Hortsch, on May 20, 2013. “No other home will allow him a a true sense of belonging.” Under the settlement the state proposes, Merrifield would remain Daniel’s adoptive mother, legally and financially responsible for him. He would live with his birth mother with no further DHS oversight. Merrifield’s friends and family tell her she should give in to DHS. But she keeps thinking of the fresh-faced 6-year-old she first met—and all the damage he might someday do. And she’s still the one accountable for his actions until he’s 18. “My right mind is saying, ‘Be done with it,’” Merrifield says. “But I cannot walk away.” Willamette Week JULY 17, 2013 wweek.com

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OUT OF WHISKEY: A popular Portland DJ has lost his regular gig after using racially charged imagery to promote the event online. Last week, Nathaniel Knows, host of a weekly dubstep night at the Whiskey Bar in Old Town, posted a mockup of a food stamp on his Facebook page. The image, a variation on a meme used to attack President Obama, showed Knows’ face along with a minstrel cartoon and pictures of malt liquor, watermelons and fried chicken. He was quickly assailed on social media. Knows did not immediately respond to a request for comment, but defended himself on Twitter by saying he “grew up” on food stamps. “I put my face on it for jokes,” he wrote. “I am far from racist.” On June 13, the Whiskey Bar severed ties with Knows. A planned protest organized by local EDM booker Coco Madrid, who created the Facebook group “86 Racism From the Club” in response to the controversy, was then canceled. Madrid tells Scoop several DJs are calling other venues, urging them not to hire Knows. S RA BLE T LES M SSING: On Saturday, Aug. 3, Friends of Lone Fir Cemetery will hold a Scrabble tournament at Lincoln Street United Methodist Church (5145 SE Lincoln St.) to raise funds for the restoration of a Scrabble-themed headstone defaced by vandals last spring. Cemetery group spokeswoman Rachel Fellman says the cemetery hopes to raise about $300 for the restoration. The money will go to the family of the late Paul Ebbighausen, whose family designed and built the original monument. “They say they’ll be able to make it much sturdier this time,” she said. The tournament will feature two brackets and offer prizes that include a $50 gift certificate from Cloud Cap Games and cemetery coffee mugs. The entry fee is $10. WE SUCK BUT WE’RE AWESOME: Last week’s bar review (“Light at the End of the Tunnel,” WW, July 10, 2013) incorrectly stated that the bar had fake crystal chandeliers. Actually, they’re partly made of real Swarovski crystals, according to Jonquil LeMaster, the artist who made the chandeliers. WW regrets the error. >> Since we don’t always screw up, WW was also the only Pacific Northwest newspaper to win four national awards from the Association of Alternative Newsweeklies last weekend. WW took third place for elections coverage of the Portland mayoral race, third place in innovation for “The President of Beers” and third place in special sections for our “Artbreaker” package. Martin Cizmar won for best music criticism. DIABLO EAST: Johnny Diablo Zukle, co-owner of Northwest Portland’s infamous Casa Diablo, the vegan strip bar known for its red-stained $2 bills, is looking for new digs. Zukle told the Oregon Liquor Control Commission he plans to turn the Woodshed, newly opened at 16015 SE Stark St. (formerly the Wetlands), into a strip club. Casa Diablo encountered protests when it attempted to open a Sellwood location next to steak-slinging Acropolis in 2011. That bar has yet to materialize.

Willamette Week JULY 17, 2013 wweek.com

WA LT E R S A R T M U S E U M

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WILLAMETTE WEEK

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WEDNESDAY JULY 17

IT TOOK $1.4 BILLION TO CHANGE OUR STREAM FROM OPEN SEWER TO CLEAN BLUE DREAM.

tretching out deep underground, it works to keep our river clean while swimmers race, tubers chain round: Willamette’s hero, unheard, unseen. Now as it helps us enjoy summer o’er a diseased river we need not fret; the river’s clean, its valiant plumber a noble Big Pipe we mustn’t forget. Back when Portland was so young, into that river Willamette the people here thought nought and flung their scraps and trash—everything, dammit. Water swirled and bred infection, a situation we could not abide. At last there came time for correction to stem the noxious, sordid tide. In ’51 we got our wish, a treatment plant where all filth goes. But such great pain hard rain could dish, when it brought septic overflows. Ten billion gallons every year with waste our river was attacked; the people couldn’t help but fear, but then came the Clean Water Act. In ’91 our champions sued, the city finally set a date; raw-sewage leaks would be subdued, just 20 years we’d have to wait. With great plans and big investment, the people stood by with concern, and after long and slow assessment, two tunnels would be dug by worm. Though they had no federal backing, the pits they dug seemed near to hell; they kept on through the dirt attacking, so Willamette could be well. In oh-11 at last they finished, and though no different did it look, the people’s joy never diminished, for our raw sewage was now cooked. Now while we boat and swim and race, with little sewage, sickness, gripe, a cleanish river does our city grace, joyous Willamette; thanks, Big Pipe!

GO: River events possible now that the Big Pipe cleaned up 94 percent of the sewage once dumped into the Willamette include the Portland Bridge Swim, a group swim along an 11-mile route from Sellwood to St. Johns. July 21. 7:30 am. $125-$210. See portlandbridgeswim.com for more information. The Big Float, a group ﬂoat on inner tubes from Marquam Beach to the Hawthorne Bridge, is July 28. 9 am. $5-$125. See thebigﬂoat.com for more information. BY RICHARD GRUNERT.

ASCENDING THE GIANTS [TALL TREE TALES] Two guys who make a living climbing and measuring gigantic trees show ﬁlm of themselves climbing and measuring gigantic trees. They’re like a two-headed Lorax, but with cameras, ropes and fear of sudden death. Lucky Labrador, 1700 N Killingsworth St., 283-6343, ext. 223, oregonwild.org. 6:30 pm. Free. PUCKERFEST [BEER] Belmont Station wraps up a weeklong celebration of sours. Matt Swihart from Double Mountain Brewery pours some popular brews, including Devil’s Kriek (one of WW’s top beers last year). Belmont Station, 4500 SE Stark St., 232-8538, belmont-station.com. 5 pm. Cash only. 21+.

THURSDAY JULY 18 CHAD CHATS 5: SAVE THE BRAINS [COMEDY] CHAD—the Center for Humorism and Amusement Dynamics—regales audiences with more satirical PowerPoint presentations, this time exploring the wonders of the human brain. Minilectures range from “Hobo Tom’s Guide to Fighting Robots in Your Dreams” to “Making Unicorns Out Of Book Presentations” to the aptly chosen, dread-inducing “PowerPoint Presentations: Why They Are Slowly Killing You.” Jack London Bar, 529 SW 4th Ave., 228-7605. 8:30 pm. $7-$10. 21+. BLACK FLAG [MUSIC] As disheartening as it is to see the band that created both hardcore punk and the stringent DIY ideals of indie rock go the way of reunited ‘80s casino acts and split into two feuding factions, it’s still Black fucking Flag. Plus, this one’s got founding mastermind Greg Ginn, which means it’s legit. Hawthorne Theatre, 1507 SE Cesar Chavez Blvd., 233-7100. 8 pm. $25 advance, $30 day of show. All ages.

FRIDAY JULY 19 PDX POP NOW! [MUSIC] The all-ages, all-local, allfree summer tradition turns 10 this year, and to celebrate, organizers have done what they always do: put together a stellar, eclectic lineup of Portland music, including all 10 of WW’s 2013 Best New Band ﬁnalists. Eastbank lot at Southeast Water Avenue and Salmon Street. Through Sunday, July 21. Free. All ages. See pdxpopnow.com for complete schedule.

SATURDAY JULY 20 BACK FENCE PDX [STORYTELLING] Taking performance storytelling to the not-quitelife-or-death extreme, the eight featured guests of Back Fence PDX will play their own version of Russian roulette. Each storyteller spins the wheel of juicy prompts and then has ﬁve minutes to prepare a true story, with the audience picking a winner. Disjecta, 8371 N Interstate Ave., 286-9449. 8 pm. $16-$18. 21+. Willamette Week JULY 17, 2013 wweek.com

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WEDNESDAY, JULY 17 Puckerfest at Belmont Station

Belmont Station wraps up a weeklong celebration of sour, wild and funky beer with 20 beers for adventurous palates. Matt Swihart from Double Mountain Brewery will pour some popular brews, including Devil’s Kriek (one of WW’s top beers of last year), Rainier Kriek and the Milkman’s Son. Swihart will also bring cherries, which are used to make the krieks, from his personal orchard. Belmont Station, 4500 SE Stark St., 232-8538. 5 pm. Cash only. 21+.

THURSDAY, JULY 18 St. Arnoldus Day Celebration

“ ...Because Beer Is Good!”

12-12 Sunday – Thursday & 12-1am Friday – Saturday NE 22nd & Alberta

During a plague, St. Arnoldus, the patron saint of Belgian hop pickers, urged his congregation to drink beer, not water. Portland’s water is pretty safe, but you’re better safe than sorry, right? Bazi offers a Belgian taster tray for $12 to honor Arnie. Bazi Bierbrasserie, 1522 SE 32nd Ave., 234-8888. 6-9 pm. Prices vary. 21+.

SATURDAY, JULY 20 Oregon Lavender Daze Festival

It’s the peak of Oregon lavender season. Celebrate the purple plant at the ninth annual festival in Hood River. Enjoy wood-fired pizza, barbecue and local wines as well as six live bands and 30 art vendors. Oh, and there’s you-pick organic lavender. Hood River Lavender, 3801 Straight Hill Road, Hood River, 541-354-9917. 10 am SaturdaySunday, July 20-21.

Saturday Market 40th Anniversary

It’s not entirely a food event—but what can you call it, really? Portland Saturday Market turns 40 this Saturday with a marching band, a history tour and the release of its 40th anniversary poster. 2 SW Naito Parkway. 10 am-5 pm Saturday, 11 am-4:30 pm Sunday, July 20-21. Free entry. saturdaymarket.org.

SUNDAY, JULY 21 Vegan Iron Chef Presents Pop up! Taco Shop!

Know of a great vegan chorizo or tofu taco recipe? The Portlandbased Vegan Iron Chef is hosting a community taco cook-off. Bring your own animal-free fillings. Corn and flour tortillas, hot sauce, salsa and vegan queso will be provided. Mount Tabor Presbyterian Church Dining Room, 5441 SE Belmont St. 2:30 pm. $10 advance, $12 door.

MONDAY, JULY 22 Booze and Chocolate: Chardons

As Pix boss Cheryl Wakerhauser explains it, chardons are shots of liquor covered with a crystallized sugar shell then dipped in dark chocolate. It sounds semi-magical and her execution will probably be flawless. Pix Patisserie, 2225 E Burnside St., 971-271-7166. 2 pm-2 am. $10.

Willamette Week JULY 17, 2013 wweek.com

NO BREAD, NO CIRCUS: Bluebird Bakers’ stark interior.

BLUEBIRD NOT FOR EARLY BIRDS A veteran news reporter and a grizzled editor are having a discussion in the Willamette Week newsroom. REPORTER: So we go to this new bakery, Bluebird, at 24th and Thurman, to talk about a story. EDITOR: Place doesn’t open until 10 am. No bakery in the world opens that late. You’ve missed all the business. REPORTER: I ask the guy behind the counter if he has any bread, because I’m going to a party tonight and I’m supposed to bring bread. EDITOR: He says, “Go down the street to Saint Honore, they make bread.” REPORTER: We want food, but there are no muffins, no scones, no egg sandwiches… EDITOR: Cookies. All they make is cookies. A cookie boutique. REPORTER: No decaf, either. EDITOR: I asked him for decaf. He seemed kind of pissed. REPORTER: And my coffee, it was lukewarm. Jesus. EDITOR: Then we try to sit down at these little tables, they’re like TV trays. No chairs, only a bench on one side. REPORTER: We didn’t want to sit next to each other. It’s not that kind of meeting. We’re there to talk news. And eat. But there’s nothing to eat. EDITOR: Except cookies. The whole time, the guy behind the counter, he’s watching us and rearranging his cookie samples. Samples need to be neat, I guess, if cookies are all you got. REPORTER: Even in Northwest Portland, 10 am? Really? EDITOR: It’s a Portlandia episode without cameras. REPORTER: But you bought a cookie, and ate it. EDITOR: It was pretty good—I had oatmeal with cranberries ($2). REPORTER: I had a snickerdoodle ($2). It was pretty good, too. NIGEL JAQUISS AND BRENT WALTH. EAT: Bluebird Bakers, 2390 NW Thurman St., 415-1278, bluebirdbakers.com. 10 am-6 pm Tuesday-Saturday, 11 am-4pm SundayMonday $.

DRANK

PORTLAND SANGRIA (ENSO URBAN WINERY) I had big plans for Portland Sangria, the new bagged wine from Enso Urban Winery. I was hoping, I suppose, for an alcoholic warmweather counterpart to Oregon Chai. I imagined it as a delicious, lightly spiced beverage, serendipitously branded with the name of the place I live. As I purchased the stylish $20 container (not a bad price, as it’s two bottles) at New Seasons Market, I had dreams of strapping the bag to my bike rack, floating down the river with it and tucking it discreetly under a hoodie at Laurelhurst Park. Sadly, the liquid inside proved divisive. I liked the stuff—it’s a light-bodied and fruity red augmented with local berries and a blend of mulling spices that, in fact, recalls Oregon Chai—but when I pressed the dispensing button for five other people, they were put off, comparing it unfavorably to glögg and Kool-Aid. I watch dejectedly as they dumped their cups. What fun is bagged wine if no one else wants to sneak a sip? Not recommended. MARTIN CIZMAR.

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The restaurant is a broad-gestured showcase for well-sourced ingredients, with produce picked to complement the flavor of meat much as BY M AT T H E W KO R F H AGE mkorfhage@wweek.com cheese is chosen for wine. The thick cuts of rare albacore ($16), cooked just enough to firm their Old Salt contains multitudes. A stately exteriors, made a surprisingly amenable comple6,000-square-foot pleasure dome of food in the ment to the honeyed acidity of apricot. However, otherwise barren Cully neighborhood, the venture the pork ($15)—served as loin, rib and rind in encompasses a butchery that works only from jus—overwhelmed the slight turnip and bland whole animal carcasses, a deli with $10 to-go cheddar polenta that were served with it. Luckily, plates, a pastry shop and a cooking school. One of none of the three cuts needed any help. Appetizers, however, are a jumbled affair. The the owners brews fine farmhouse beer, which is always on tap. A farmers market debuted out front soft-on-soft chevre gnocchi ($12), served in mushJuly 11, and a produce market is in the works. It’s room sugo with earthy chili sprinkle, was played got a little of almost everything Portland holds to terrific effect against the refreshing crispness dear at the moment; if they annex the Spare Room of fava beans. A dish of prettily halved farm raddance hall across the street, they’ll have it all. ishes with house-whipped butter ($5) offered no But vast though this follow-up to Grain & reason for complaint—nor particular reason for Gristle may be, its supper club is nonetheless an celebration. But a too-cute-by-half concoction of intimate affair, a wood-slatted “buffalo-style cardoons”($8) featuring grotesquely intense, space that wouldn’t be out of place on Twin Peaks. The chef, Order this: The hearth-roasted beef is Cheetos-powdery dehydrated unparalleled in this town. Also? Duck. wing sauce on tempura thistle, Timothy Wastell, an alum of Also? Pork. DOC and Firehouse, is known Best deal: Even unaccompanied, the served in a shallow cat dish of for his obsession with the for- hearty protein entrees sate for a price buttermilk with shaved cruthat some comparable restauaged and fresh, so the early ($15-$18) dités, just about put me off of rants would charge for a second course. my meal. A tempura vegetable summer menu is thick with I’ll pass: Buffalo cardoons are dismal. cardoon, trumpet mushroom salad ($8), though warmly and pickled spring ramps. verdant, quickly wore out its Meat entrees are uniformly wonderful and far welcome. cheaper than it seems they should be, especially Biscuits ($4), on the other hand, tasted like as each showcases multiple cuts. One presumes reconstructed heaven, and were a better showthis is an advantage of having an in-house butch- case than radishes for the house butter. A chocoer shop. The duck ($17) was served two ways, ten- late marionberry tart might sum up the menu: der confit breast and lightly crisped legs glazed elegant in its simple combination of fruit and with sweet Brooks cherries whose lightness was ganache, but with additional intense sides that deepened—justified, even—by the rich fattiness distracted from the show. of the duck. Old Salt is not without its stumbles, but it has The generous and immensely flavorful the makings of what could become a quinteshearth-roasted beef ($18) was served rare and sential Portland eatery. Its ambition certainly paired beautifully with meaty heirloom tomato. seems to prepare it for this. But for now, a word And while simply prepared cuts of meat are on how to use the menu. Stick to the entrees, and often lovely but rarely surprising, this was a blaz- order the dish that looks the most boring: “Pork,” ing exception. It was as if I could taste not only “Roast beef” or “Ham hock.” It will not be boring. the beef but the grass the cow had eaten. The It’ll feel like coming home. accompanying short ribs were a little dry, but the charred baby onion and Padrón pepper were EAT: Old Salt, 5027 NE 42nd Ave., 971-2550167, oldsaltpdx.com. 5 pm-midnight daily. $$. likewise well matched to the cut, a sharp bitterto-salty yin and yang.

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Read our story: canton-grill.com Willamette Week JULY 17, 2013 wweek.com

Willamette Week JULY 17, 2013 wweek.com

MUSIC JASON QUIGLEY

12:25 am, the Forth THEN: An energetic power trio led by Skyler Norwood. NOW: Norwood is a producer for, like, everybody in town.

SATURDAY, JULY 10, 2004 Noon, Ross and the Hellpets THEN: A garage-pop soapbox for the left-wing political spiels of PDX Pop Now co-founder (and sometime Neutral Milk Hotel bassist) Ross Beach. NOW: Beach drops the occasional homemade recording. 12:40 pm, UHF THEN: Throwback psych rockers. NOW: UHF hasn’t released an album since 2010’s Here Come the Ghosts, but is starting to play shows again.

PDX POP THEN: Mirah performing at the Meow Meow in 2004.

WHERE ARE THEY (PDX POP) NOW? REVISITING THE FIRST EDITION OF PORTLAND’S ALL-AGES MUSIC TRADITION A DECADE LATER. BY M AT T H E W SI N G E R

msinger@wweek.com

In 2004, a group of 50 musicians and aficionados, spurred by a conversation on a Web forum, met at the Lucky Lab to discuss how to better connect the community of Portland to the music being made in its own backyard. After a few hours of unorganized conversation, it was decided to gather the music scene’s leading lights under one roof—the Meow Meow’s, to be exact—for a free three-day, all-ages, locals-only music festival. Now in its 10th year, PDX Pop Now—both the festival and the nonprofit volunteer board behind it—is a Portland institution. In anticipation of its milestone edition, we decided to go all the way back to Year One, and catch up with the 42 bands and artists who kicked off the tradition.

FRIDAY, JULY 9, 2004 7 pm, Alarmist THEN: The first band at the first PDX Pop Now was an abrasive noise-punk quartet that, according to a former board member, was given its slot for being “anti” the idea of an all-local music festival. NOW: Defunct, though its members have stayed active: Guitarist Eric Crespo continues his experimental pop project Ghost to Falco, drummer Nick Bindeman records avant synthpop as Tunnels, singer Eva Saelens (nee Eva Pox) moved to Oakland and put out a record on Kill Rock Stars, and other singer James Reling (nee James Squeaky) works at Kill Rock Stars. 7:40, Pseudosix THEN: An outlet for the widescreen songwriting of Tim Perry. NOW: Perry fronts the choral-pop ensemble Agesandages, the first runner-up in our 2011 Best New Band poll. 8:25, Binary Dolls THEN: A math-y rock trio with songs “about Civil War submarines and the Siege of Leningrad,” according to singer Nick Jaina. NOW: Dat’r, Matt Dabrowiak and Paul Alcott’s spinoff electronic duo, has allegedly been working on its second album since 2008. Meanwhile, Jaina has written a ballet, not to mention several albums of accomplished chamber folk. 9:05, the Punk Group THEN: Two synth-punk deconstructionists offering cultural critique

through songs like “I Married a Gay Guy” and “Fat Girls on Bicycles.” NOW: Left Portland for California in 2010, though not before recruiting a bunch of bands to help record a tribute album…to itself. 9:50, System and Station THEN: Big-in-Wisconsin indie rockers struggling to find an audience in their adopted hometown. NOW: Just released its eponymous seventh album. Resigned to local obscurity. 10:30, Talkdemonic THEN: At the time, drummer Kevin O’Connor played live all by his lonesome, triggering Lisa Molinaro’s viola and other prerecorded instrumental parts on a laptop. NOW: Signed to Isaac Brock’s Glacial Pace label, and recently expanded into a four-piece. 11:15, Viva Voce THEN: Husband-and-wife indie poppers with a classic-rock jones who were a few months away from releasing their breakout third album, The Heat Can Melt Your Brain. NOW: Lately, Kevin Robinson devotes much of his time to Electric Ill, his electro-funk offshoot, and insists on being called “Kaylee Robb” for some reason. 11:45, the Minders THEN: Crazy-hooky Elephant 6 associates with an already convoluted history. NOW: Broke up in 2008, but reformed to record a song for the 2011 PDX Pop Now compilation, though that’s the only new music the Minders have produced so far.

1:20, the Divided THEN: Jangle-pop quartet nursing a ’90s hangover. NOW: Everyone’s scattered, though drummer and ex-PPN board member Martti Hill plays in Curezum, a “semitheatrical extreme metal tribute to the Cure.” 2:05, Junior Private Detective THEN: Off-kilter prog-pop quartet imported from Ohio. Witnesses to its inaugural PPN set recall guitarist Bo Fickel doing his best Pete Townshend impression and bleeding all over his ax as a result. NOW: Went on hiatus in 2006 and never came out of it. 2:45, Bella Fayes THEN: Scorching power-pop tunesmiths. NOW: Frontman Lael Alderman went back to his singer-songwriter roots, but recently resurrected the Bella Fayes for a one-off reunion gig. 3:25, Wow & Flutter THEN: Wildly underappreciated postpunk genre blurrers. NOW: Still going, still wildly underappreciated. 4:10, Per Se THEN: Moniker of songwriter Anne Adams, who stunned the PPN crowd by performing on the floor of the Meow Meow bedecked in homemade silver butterfly wings. NOW: Adams continues to write eccentric pop as Grey Anne, and also gives tarot readings using plastic dinosaurs. 4:50, Modernstate THEN: Alias of prodigiously bearded loop-peddler Sam Schauer. NOW: For a time, Schauer teamed with Papi Fimbres—as Portland musicians are wont to do—in party-starting favorite O Bruxo. Since that band’s 2010 breakup, Schauer has returned to playing solo (with occasional guests) as Sam Humans. 5:30, Lackthereof THEN: The rhythmic solo project of Danny Seim, who was prepping the first album from his other band, Menomena. NOW: Although Menomena became his main gig, Lackthereof still is a going concern: Seim put out a free EP, his 11th release under the name, last year. 6:15, the Jolenes THEN: An endlessly effervescent allgirl country-rock trio. NOW: Disbanded in 2007 and had its name usurped by an old-timey quartet from England. 6:55, We’re from Japan! THEN: Instrumental post-rockers not actually from Japan. NOW: Finally made it to Japan in 2007. Still play gigs around town. 7:35, Kieskagato THEN: Imagine Radiohead as Mike Patton-loving jazzbos. NOW: Defunct, with ex-members contributing to System and Station and Blind Pilot. 8:20, Andrew Kaffer THEN: Ex-singer of momentarily popular late-’90s twee-pop band Kissing Book; described by Ross Beach as

“the next Jonathan Richman…with a laptop?” NOW: Last heard making weirdo bedroom soul as Fuck the Rules. 9, Shicky Gnarowitz THEN: A klezmer trio that initiated a game of musical chairs during its PPN set. NOW: Played a party at Ross Beach’s house a few weeks ago. 9:40, the Wanteds THEN: After a last-minute cancelation, a call went out to Tommy Harrington, who hauled in his keyboard, guitar and drum machine and did his one-man band shtick. NOW: After being the subject of a 2011 documentary, Harrington moved on to acting, appearing in a local production of Sam Shepard’s Fool For Love in April.

5:25, Blue Skies for Black Hearts THEN: A platform for singer Pat Kearns’ love of classic pop. NOW: Gearing up to play this year’s festival. 6:10, the Snuggle-Ups THEN: In the words of Ross Beach, “Essentially a boy band parody.” NOW: Broke up in 2007. 6:50, Jonah THEN: Brit-pop-inspired alternative rock with a sound fit for TV soundtracks.NOW: Still somewhat alive, based on its Facebook page. 7:30, Charmparticles THEN: Exceptionally pale shoegazers. NOW: Organized yearly benefit shows for Ethos Music Center through 2012.

10:25, Empty Set THEN: “Big guitar pop tunes with harmonies galore,” says PPN board member Jayme Caruso, who produced a later incarnation of the group. NOW: Went through multiple lineup changes and became the Contestants. Currently building a studio and plotting its third album, says member and PPN co-founder Josh Kirby.

8:15, Yacht THEN: Jona Bechtolt at a computer, pumping out largely instrumental electro beats with dissonant edges. NOW: Added singer-scientific theorist Claire Evans (and later Jeffrey Jerusalem and Bobby Birdman), got increasingly more user-friendly and Pitchfork-approved, signed to DFA Records, then, naturally, moved to L.A.

11:05, Corrina Repp THEN: Smoky-voiced singer-songwriter known for writing sparse, hushed confessionals. NOW: Repp is on a break from Tu Fawning, the noir-pop outfit she formed with 31Knots’ Joe Haege in the late 2000s.

8:55, Blitzen Trapper THEN: Stylistically manic indie rock. NOW: Since 2008 national breakthrough Furr proved fans liked its rootsier excursions best, the group went further in that direction until becoming a full-fledged Southern rock band with American Goldwing. Eric Earley moonlights in trad-country group Denver.

11:45, Wet Confetti THEN: A dark-hued art-rock trio. NOW: Evolved into the dark-hued dance trio Reporter. Drummer Mike McKinnon owns french-fries cart Potato Champion. 12:25, Sunset Valley THEN: Portland’s next big thing, playing tight guitar pop. NOW: After the band was dormant for many years, leader Herman Jolly tentatively revived Sunset Valley in 2011, though all it has done so far is played a gig at Mississippi Studios two years ago.

9:35, Mirah THEN: A bracingly unguarded singer-songwriter who drew such a large crowd to the Meow Meow that organizers worried about violating fire codes.NOW: Spent the last few years touring and recording with Thao Nguyen.

SUNDAY, JULY 11, 2004

10:20, Tea for Julie THEN: The brainchild of PPN co-founder Michael Deresh, playing an excitable and emotional brand of indie rock NOW: Deresh runs Lamplight Studios and is producing the upcoming fulllength debut from Genders, who are playing this year’s PPN.

2 pm, Stars of Track and Field THEN: A spacey pop outfit with digital undercurrents. NOW: After dalliances with national success—placement on Billboard’s Heatseeker chart, an appearance on Late Night With Conan O’Brien—the band went full-bore pop with 2009’s A Time for Lions, then fizzled out. Singer Kevin Calaba performs acoustically in New York.

11, Jeremy Wilson THEN: Formerly of Portland garage legends the Dharma Bums, Wilson was booked for the festival on the strength of his alt-countryish contribution to the first PPN compilation, but ended up turning in an ear-ringing rock set. NOW: Launched a foundation in 2010 to provide health care for musicians. Gets back together with the Bums now and again.

2:40, At Dusk THEN: A band featuring PPN board members Cary Clarke and Greg Borenstein, self-described as “Mission of Burma, had they been from the West Coast, fronted by a confused Colin Blunstone and Brian Wilson.” NOW: Borenstein lives in New York and works in technology, while Clarke served as arts and culture policy director for then-Mayor Sam Adams.

11:40, Tara Jane O’Neil THEN: Multifaceted artist and musical explorer who was joined onstage at PPN by Hazel’s Fred Nemo, Portland’s answer to Bez from Happy Mondays. NOW: Her last album for K Records was a largely improvisational collaboration with Japanese singer Nikaido Kazumi.

3:20, Loch Lomond THEN: Chamber-pop pioneers who became popular enough to convince the rest of the world that this is what every band in Portland sounds like. NOW: Though the band is still in existence, founder Ritchie Young vowed last year never to tour America again. 4:05, Gravity and Henry THEN: A duel between Matt Sheehy’s multitracked guitars and Jarhid Brown’s massive rock drumming. NOW: Sheehy went into the woods with producer Brent Knopf and emerged as Lost Lander in 2011. 4:45, Reclinerland THEN: For a while, Michael Johnson made a strong case for being Portland’s John Darnielle. NOW: Johnson left for Germany in the late aughts, and beamed back the last self-titled Reclinerland album in 2011.

12:20 am, the Joggers THEN: Portland’s kings of angular, guitar-driven, post-punkish melodic rock, who closed out the inaugural PDX Pop Now by encoring with a string of Led Zeppelin covers. NOW: Singer-guitarist Ben Whitesides moved to Massachusetts, while drummer Jake Morris is the most visible exmember, having played with the Jicks and Shaky Hands and, most recently, the retro-riffin’ Street Nights.

SEE IT: PDX Pop Now, featuring Shy Girls, Natasha Kmeto, Sons of Huns and dozens more, is at the eastbank lot at Southeast Water Avenue and Salmon Street on Friday-Sunday, July 19-21. Free. All ages. See pdxpopnow.com for schedule.

Willamette Week JULY 17, 2013 wweek.com

MUSIC LIVE portlandspirit.com

CRUISE RIVER 503-224-3900

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= WW Pick. Highly recommended. Prices listed are sometimes for advance ticket sales. At-the-door increases and so-called convenience charges may apply. Event lineups are subject to change after WW’s press deadlines.

FRIDAY EARLY ESCAPE THIS FRIDAY WHITE RHINO MARIMBA

3PM-5PM

THURSDAY-FRIDAY

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.

$28 PER PERSON

Includes two hour cruise and live entertainment. Bistro style menu and beverage from our full service bars available for purchase on board Discounted group pricing available.

WEDNESDAY, JULY 17 Chicago Afrobeat Project

[MIDWEST LAGOS] Chicago is known as the reigning kingdom of the blues and house music, but apparently it’s also a powerhouse for white dudes churning out Afrobeat jams like it’s their lifeblood. The Chicago Afrobeat Project has been serving up a fresh take on the sounds of Fela Kuti to the American masses since 2002, and the dynamic musical collective is a well-oiled funk machine 10 years strong. If you didn’t get enough Afrobeat at the Motet last weekend, head over to the Goodfoot to see up to 14 musicians—including West African percussionists, a full horn section and a dancer—squeezed onto the stage, and most likely spilling right over into the grooving audience. GRACE STAINBACK. Goodfoot Lounge, 2845 SE Stark St., 503-239-9292. 9 pm. $8. 21+.

The Postal Service, Big Freedia

U N D E F E A T E D . C O M , B L U E C O L L A R D I S T R O . C O M , F O U R T O R O N T O . C O M , I N T E R P U N K . C O M . E T S Y. C O M / S L E A Z Y S E A G U L L , S S T R E C O R D S

[CACHET ON DELIVERY] Feels faintly implausible that the emotive touchstone to score the virtual generation’s wonder years came together via snail-mail collaborations, but the Postal Service released sole album Give Up to a far different world a decade ago. When Deathcab driver Ben Gibbard first gave tremulous voice to an unusual directness of lyrical ennui above producer Jimmy “DNTL” Tamborello’s tastefully synthesized musings—with backing vocals from Rilo Kiley’s Jenny Lewis, also in appearance this evening—the oddly affecting loveliness crystallized

Willamette Week JULY 17, 2013 wweek.com

through wedding the sounds of isolation hardly seemed a good bet to pack arenas. Though this commemorative tour deservedly takes advantage of the indie-electronica ubiquity Gibbard and Tamborello’s landmark recordings so effectively packaged, there’s little reason to believe our couriers of post-millennial alienation will soon revisit their appointed rounds. JAY HORTON. Rose Garden, 1401 N Wheeler Ave., 235-8771. 8 pm. $29.50-$44.50. All ages.

THURSDAY, JULY 18 Portugal. The Man, Avi Buffalo

[WIDESCREEN POP] More often than not, when Brian “Danger Mouse” Burton produces a record, his involvement turns out to be a blessing. His work with James Mercer in Broken Bells imparted an appealing revivalist soul to the relatively muted Shins frontman. With the Black Keys, the duo’s blues rock was a perfect match for Burton’s classic-pop sensibility. Yet, on parts of Portugal The Man’s latest record, Evil Friends, the band’s natural psych-rock inclinations just don’t mesh with Burton’s production style. Which is not to dismiss John Gourley and his bandmates for their best-manicured work to date. The band has no reservations about producing purebred pop, and the record’s power chords and arena-rock feel testify to that. But previous albums and killer live shows have shown Portugal The Man to be much more individualistic than most of Evil

TOP FIVE

CONT. on page 30

BY MAT T HEW SIN G ER

FIVE APPROPRIATIONS OF THE BLACK FLAG LOGO Cat Flag The Etsy shirt design that sparked a bazillion other Internet parodies. Bonus points for the “Meow War” spinoff. Black Fag Don’t freak out: It’s a gay Black Flag cover band from, ahem, “Mimosa Beach, Calif.” Four Restaurant The logo for this upscale Toronto restaurant is probably a coincidence, though when you think of Black Flag, you imagine Henry Rollins annihilating a plate of grilled Atlantic salmon with quinoa, yes? It’s Casual This two-piece hardcore band—which also jacked the Ramones’ logo for merch purposes—got to open for the reunited Black Flag in L.A. recently… and is probably about to get sued by Greg Ginn. Undefeated Clothing ’Cause why stop at four, right?

SEE IT: Black Flag plays Hawthorne Theatre, 1507 SE Cesar Chavez Blvd., with Good For You and Piggy, on Thursday, July 18. 8 pm. $25 advance, $30 day of show. All ages. Also see listing, page 30.

MUSIC COURTESY MADISON HOUSE

PROFILE

Hot Blues and Rock EVERY Friday! Free Pool Sunday and Monday! Wednesday, July 17 Proper Movement Drum and Bass 10pm • free

Saturday, July 20 All House Presents: Brett Johnson. 9pm ($10 after 10pm)

Thursday, July 18 “CHAD CHATS!” Smart. Funny. Informative. 7pm

Sunday, July 21 Club Love 9pm • free

Tuesday July 23 Free Lecture! “Portland’s Alternative Friday, July 19 History” Live Theatre! “The Adventures of Dex Dick- 7pm • free son: Paranormal Dick” 7:30pm • $5

LIFESAVAS SATURDAY, JULY 20 [GROUNDBREAKING HIP-HOP] Listen closely to Spirit in Stone, the 2003 debut from Portland trio Lifesavas, and you can hear the foundation of the city’s hip-hop scene coming together—literally. “If you listen to the a cappella [parts] of Spirit in Stone, you will hear nailing and hammering in the background, because we were building a studio as we recorded,” says group member Vursatyl. “With our deadline, we couldn’t afford just to be working on music. We also had to be Sheetrocking and building.” For eight months, the trio—MCs Vursatyl and Jumbo the Garbageman and DJ Rev. Shines—lived in that newly built studio, crafting what would become the most complex and musically sophisticated hip-hop album ever to come out of Portland. Released on Quannum Projects, the Bay Area label that acted as a beacon for the national underground hip-hop scene in the ’90s and early 2000s, Spirit in Stone represented a breakaway from the California-influenced G-funk that previously dominated the sound of Portland rap. It was a record brimming with fresh ideas, from its beats—built on funk, Afrobeat and dancehall samples— to its lyrical content, which touched on everything from religion to politics to growing up in Portland in the ’80s. Ten years later, its influence is still palpable. “You can still see it even now when you hear about a [local] artist going on a national tour or playing a big show,” Vursatyl says. “It really kicked down the door for other hip-hop artists who realized, ‘Wow, we can do it.’” At the time Lifesavas came to Quannum’s attention, Jumbo was working as a janitor for Portland Public Schools, while Vursatyl and Rev. Shines worked at local record shops. They had spent hours in Jumbo’s windowless basement on Northeast 14th Avenue and Prescott Street, digging through records and creating beats, not knowing what it would lead to. The label decided to take a chance on the group after its flagship artist, Blackalicious, championed Lifesavas’ demo. It wasn’t until a session in Sacramento with producer Chief Xcel, though, that the group realized just what it had. Playing back the takes of eventual single “HelloHiHey” for the first time, their mouths dropped. “We left that recording session, and we were like, ‘OK, this is a career. Let’s go,’” Jumbo says. As much as the album did for the city of Portland, though, the city did even more for the album. To measure Portland’s influence, you would have to go song by song, whether it’s the independent spirit of “Fever” or the nostalgia of “Me,” about the group’s teenage years spent playing basketball at Alberta Park, sleeping in ice-cream trucks and dealing with gang violence. It’s a side of Portland that many of its residents still don’t know about, and it’s just part of what can be learned from Spirit in Stone, an album that helped give voice to Portland’s inner city. “That record says that our city is cool,” Jumbo says. “That record says that with hip-hop, we’re not just doing it out here— we’ll come to your city and smash.” REED JACKSON. Commemorating the album that built Portland hip-hop, from the drywall up.

SEE IT: Lifesavas celebrate the 10th anniversary of Spirit in Stone at Doug Fir Lounge, 830 E Burnside St., with TxE, on Saturday, July 20. 9 pm. $16 advance, $20 day of show. 21+.

Willamette Willamette Week Week JULY 17, 2013 wweek.com

MUSIC

THURSDAY-FRIDAY

Friends would indicate. Too many songs feel like a tug-of-war between Burton’s dial-turning and the Portland band’s free-range musical persona—a struggle everyone ends up losing. MARK STOCK. Crystal Ballroom, 1332 W Burnside St., 2250047. 9 pm. Sold out. All ages.

Black Flag, Good for You, Piggy

[ORIGINAL HARDCORE] There’s a reason writer Michael Azerrad starts Our Band Could Be Your Life, his indispensable tome on the birth of the American indie-rock underground, with a chapter on Black Flag: If it weren’t for them, the book wouldn’t exist. The group more than just expanded punk’s sonic extremities. In the late 1970s, it redefined what it meant to be a truly independent rock band, blazing a brand-new touring circuit and creating the network that allowed an entire national scene to burgeon and thrive completely off the mainstream radar. On the other hand, in its burly instrumental attack, it also made punk more macho, and in its later years mistook joyless brutality for visceral intensity. (And, of course, they group is the reason Henry Rollins pops up in every music doc made in the last 20 years.) It also doesn’t help that the band has recently gone the way of reformed ’80s casino acts, with two touring variations vying for nostalgia dollars and bickering over rights to the brand. All things considered, though, it’s still Black fucking Flag. Plus, this one’s got guitarist and founding mastermind Greg Ginn, so in that way, at least, it’s legit. MATTHEW SINGER. Hawthorne Theatre, 1507 SE 39th Ave., 233-7100. 8:30 pm. $25 advance, $30 day of show. All ages.

Weird Al Yankovic

[DARE TO BE STUPID] Weird Al is not only still going, he’s getting better. Early chestnuts like “I Love Rocky Road” sound cute and formative when stacked up against production numbers on 2011’s Alpocalypse. “Stop Forwarding That Crap to Me,” his pastiche of Jim “Total Eclipse of the Heart” Steinman-style power ballads, is the final word on junk email, and further proof that Al is staying white and nerdy and in step with the times. “Craigslist,” from the same album, sends the Doors out to garage sales, and “Whatever You Like” finds a way to be both hilarious and far more romantic than T.I.’s original. If you still hate Weird Al, have fun kicking those puppies. I’ll be at the zoo.. NATHAN CARSON. Oregon Zoo, 4001 SW Canyon Road, 220-2789. 7 pm. Sold out. All ages.

Rogue Wave

[MELLOW GOLD] Hitting the studio again after putting out a commercial dud is surely an intimidating prospect. In 2010, Oakland multiinstrumentalist Zach Schwartz—the brainchild of Rogue Wave—watched as the group’s fourth album, the dance-pop foray Permalight, slipped into obscurity, selling half as many records as the band’s two preceding albums. Nightingale Floors, its latest, represents a return to the rollicking, heartfelt indie pop that first garnered the band commercial appeal and defined its affable nature. The repetitive and gauzy guitar lines, quivering synths and Schwartz’s soft-spoken tendencies still float above the electronic flourishes and austere sonic landscape, albeit with more comfort than ever before.. BRANDON WIDDER. Wonder Ballroom, 128 NE Russell St., 284-8686. 8:30 pm. $16 advance, $18 day of show. All ages.

FRIDAY, JULY 19 Danava, Lecherous Gaze, Long Knife, DJ Dennis Dread

[ROCK ’N’ ROLL] Anyone who still believes in the power of the electric guitar owes it to themselves to see Graham Clise shred. From the rhythm and blues of Chuck Berry

Willamette Week JULY 17, 2013 wweek.com

to the punk-infused rock of the Damned to the furious onslaught of RKL, Clise has fused decades of rock guitar into one seamless whole called Lecherous Gaze. It’s the Stooges on steroids with a lysergic twist. The Oakland quartet’s rhythm section ably backs up Clise, and mysterious vocalist Zaryan Zaidi often wears menacing masks and makeup, making this revelatory rock even more confrontational. Tonight is also the debut of Acid Wash, a new local group boasting members of Bi-Marks and Autistic Youth. NATHAN CARSON. Ash Street Saloon, 225 SW Ash St., 226-0430. 9 pm. $7. 21+.

Big Freedia, DJ Beyonda

[POSTERIORS ARE OMNIPRESENT] In a town like Portland, attending a rowdy show by New Orleans sissybounce pioneer Big Freedia is almost

a rite of passage. Where else can you watch a gigantic transgendered MC shout-rap over 808 beats while the crowd is coaxed onstage to shake its collective ass, as Freedia’s female Flava-Flav licks booty sweat off the star and screams about seeing “ass everywhere” on a seemingly endless loop? It’s a chaotic spectacle, and one that’s growing. Three years ago, Freedia played Sassy’s. Two days before this show, she’s opening for the Postal Service at the Rose Garden. But it’s much more spectacle over substance, like walking into a Sir Mix-a-Lot acid dream with the music on repeat. If you’ve already witnessed it once, you’ve kinda seen everything on offer. For newcomers, it’s a surreal blast. AP KRYZA. Wonder Ballroom, 128 NE Russell St., 284-8686. 8 pm. $15. 21+.

CONT. on page 32

ALBUM REVIEWS

HOUNDSTOOTH RIDE OUT THE DARK (NO QUARTER) [SUMMER SONGS] Ride Out the Dark, the debut album from Portland quintet Houndstooth, certainly could not have come at a better time. In fact, the album couldn’t have a more apt title: Katie Bernstein’s crooning vocals, layered over guitarist John Gnorski’s twangy surf-rock riffs, are a suitable soundtrack for Oregon’s three glorious months of summer sun. The first single, “Canary Island,” is a breezy buildup of rugged blues destined to be played during a highway cruise with the windows down. Quite literally, at that: “Take me for a drive in your fast machine/ Bring me into town where the bright lights gleam,” Bernstein sings with a slight drawl, likening her to the ’60s pinup archetype crystallized by Zooey Deschanel in She & Him. But Houndstooth avoids road-trip indie homogeneity on tracks like “Thunder Runner” and “Francis,” revealing the band’s Southernrock influences through distorted guitar reminiscent of Wilco’s more experimental songs. Charming rhythmic standouts “Wheel On Fire” and “Baltimore” round out a consistent helping of easily digestible blues grooves that predict a promising future for these Portland upstarts. GRACE STAINBACK. SEE IT: Houndstooth plays Bunk Bar, 1028 SE Water Ave., with Pearly Gate Music, on Thursday, July 18. 9 pm. $7. 21+.

THE MEMORIES LOVE IS THE LAW (BURGER) [LOVE STONED] In describing the aesthetic of the Memories’ second batch of basement-pop balladry, “lo-fi” doesn’t quite cut it: If it turned out the band fashioned its four-track into a smoking apparatus and took hits out of it while recording, it wouldn’t be surprising. If your stereo doesn’t smell like a used Econoline van after playing these 17 tracks, it’s a wonder. But Love Is the Law isn’t just some stoned goof. Not entirely, anyway. Although the arrangements often sound held together by packaging tape, the ’50s-derived melodies, spindly C86 guitar jangle and cardboard-box drums are sticky enough to register through the hiss. Most songs are ADD-length, but the tunes that break the two-minute mark—in particular the post-rager comedown “After Party (4 AM)” and the four-minute epic “Love Is Not a Dream,” a hazy drift down the kraut-pop autobahn—really make you wonder what these guys could do if they took themselves a tad bit seriously. Things devolve into giggly sex humor on the jaunty “You Need a Big Man,” a barely double-entendre dick joke, and “Go Down on You,” which dispenses with innuendo altogether for what comes close to being a Blowfly-level parody of the Beatles’ “From Me to You.” But the winsomely nostalgic closer “I Remember You” proves the Memories are smarter than they let on, reaching the tragic conclusion all habitual tokers come to eventually: Contrary to popular belief, marijuana is an ineffective way to forget the things you want. MATTHEW SINGER. SEE IT: The Memories play PDX Pop Now, at the eastbank lot at Southeast Water Avenue and Salmon Street, on Sunday, July 21. 7:35 pm. Free. All ages.

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SPICED RUM

Willamette Week JULY 17, 2013 wweek.com

JJAY-Z

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SATURDAY, JULY 20 8 Track Relay

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Sara Bareilles • Court Yard Hounds • Mayer Hawthorne Matt Nathanson • Robert Randolph • Ace Hood • Girls

[RUN FOR THE HILLS] For the sake of fairness, let’s ignore that there’s another music festival happening this same weekend, in a more central location, and for no cost. Let’s just look at the lineup. It’s basically a survey of the last 10 years of Northwest independent music, condensed into a single, 24-hour period. Headlined by bands that should require no description for anyone willing to fork over the admission fee—if you’ve ever picked up this paper before, you should know who Menomena, Blitzen Trapper and the Cave Singers are—it’s an impressive bill for a first-time event, if and of itself. That won’t stop the grumbling about the festival elbowing in on PDX Pop Now’s 10th anniversary, but considering it’s framed around an all-night relay race, I think it’s safe to say they’re each courting different audiences. Isn’t Portland big enough now to support two concurrent local music festivals, anyway? MATTHEW SINGER. Portland International Raceway, 1940 N Victory Blvd, 823-7223. 10 am. $40. All ages.

SUNDAY, JULY 21 Candlebox

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

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

[FAUX GRUNGE] On the heels of the reunion circuit that finds latter-day heroes Soundgarden and (what’s left of) Alice in Chains back on the road, we have Candlebox. If you were too young to realize how bland the band was the first time around, your time has come: Its selftitled debut will be played in its entirety at the Crystal Ballroom. (I kept trying to punctuate that sentence with an exclamation, but Clippy, the Microsoft Office helper, kept switching it back to a period and playing the solo from “Far Behind” on repeat. OK Clippy, I get it.) The band may dig out some hits from its pre-hiatus records, but you won’t recognize any of them, because you probably moved on to Godsmack and Oleander by that point. PETE COTTELL. Crystal Ballroom, 1332 W Burnside St., 225-0047. 8 pm. $20. All ages.

Peter Murphy, Ours

[DARK PARTY] For 35 years, Peter Murphy has stood as the lithe, spooky icon for goths and Twihards the world over, thanks almost entirely to his days fronting the pioneering post-punk band Bauhaus. Despite a healthy solo career that includes eight fine full-lengths dabbling in electronic, world beat and jazz textures, Murphy is spending this tour looking backward, with a set list comprising nothing but his former band’s classic material. It’s sure to be a trippy ride down a fogcovered memory lane. ROBERT HAM. Hawthorne Theatre, 1507 SE 39th Ave., 233-7100. 8 pm. $25 advance, $30 day of show. All ages.

MONDAY, JULY 22 Heartless Bastards, Writer

[WAILIN’ NEW FOLK] Erika Wennerstrom has one of those voices that’s rich, textured, everbillowing and downright scary. The charismatic lead of Austin’s Heartless Bastards sings with the charge of an old-time diva—sometimes to a fault, as her heaving vocals occasionally overshadow the rest of the band. Celebrating 10 years together, Heartless Bastards are still riding high from 2012’s Arrow, which pairs roots rock with West Texas folk. There’s a bluesy persona about the band as well, which comes primarily through Wennerstrom’s commanding and captivating vocals. MARK STOCK. Aladdin Theater, 3017 SE Milwaukie Ave., 234-9694. 8 pm. $18.50 advance, $20 day of show. Under 21 permitted with legal guardian.

Willamette Week JULY 17, 2013 wweek.com

CHRISTOPHER MARCH

ON SALE NOW

MUSIC

SON (AND DAUGHTER) OF NO ONE: Heartless Bastards play Aladdin Theater on Monday, July 22.

Bruno Mars

[RADIO SOUL] Bruno Mars has a highly punchable voice. It’s not that he’s a bad singer, it’s just that there’s a gratingly slick, American Idol-level artificiality to his pop-R&B croon, rendering everything he sings cloyingly inauthentic—no matter how much he might actually mean it. That’s precisely why last year’s Unorthodox Jukebox was something of a stroke of genius, and kind of a new pop classic: The album’s entire concept is rooted in blatant inauthenticity. Every track sounds like an alternate version of a song you already know by heart. It’s basically Bruno Mars karaoke, with the diminutive Hawaiian-born studioghostwriter-cum-megastar unapologetically swagger-jacking everyone from Sam Cooke to Prince to the Police. The title is meant to be taken literally, and as it turns out, with Mars acting like the lead in a Broadway jukebox musical, he’s not just tolerable: He’s actually quite entertaining. MATTHEW SINGER. Rose Garden, 1401 N Wheeler Ave., 235-8771. 7:30 pm. $39.50-$79.50. All ages.

TUESDAY, JULY 23 Holy Grail, AntiMortem, Spellcaster, Terraclipse, Kong at the Gates

[STRAIGHT-UP HEAVY METAL] One of the best heavy rock albums to arrive this year is Ride the Void, the second full-length from Holy Grail. The Pasadena-based quintet tosses together elements of vintage thrash, speed and power metal for an oldschool sound that should delight folks still lamenting Metallica’s slow and steady decline. And on its latest album, it thrills in lyrics that encourage an oncoming apocalypse followed by “Rains of Sorrow.” Joining the band on this tour is labelmate Anti-Mortem, a quintet from Oklahoma that manages to sew a little Southern boogie into its thudding hard-rock attack. ROBERT HAM. Backspace, 115 NW 5th Ave., 248-2900. 7 pm. $12. All ages.

Powerdove, LUKE WYLAND, Dragging an Ox Through Water

[EXPERIMENTAL] Annie Lewandowski is a nomad, in more ways than one. The former member of the Curtains started in Minnesota before relocating abroad and ultimately to upstate New York. Musically, she drifts in and out of baroque pop, classical and acoustic folk. The brainchild of Powerdove, she collaborated with Deerhoof’s John Dieterich to create Do You Burn?, a quiet yet stirring collection of ballads. Live, Powerdove plays as a trio, Lewandowski’s smoky vocals framed by drifting, experimental guitar, accordion, banjo and rhythmic tapping. In essence, it’s a highly evolved drum circle, wherein traditional drums are swapped with the aforementioned instruments, narrated by Lewandowski’s brushy voice. MARK STOCK. Secret Society Lounge, 116 NE Russell St., 4933600. 8 pm. $7. 21+.

CLASSICAL, JAZZ & WORLD Cathedral Park Jazz Festival

[JAZZ TAPESTRY] The oldest free outdoor jazz festival west of the Mississippi surges into its fourth decade. On Thursday night, some of Portland’s finest players, including Devin Phillips, Marilyn Keller and Tim DuRoche, convene with the estimable composer pianist in Ezra Weiss’ New Band. Friday features Picante Latin Jazz, Norman Sylvester’s electric blues outfit and Roseland Hunters’ New Orleans-style marching band. Saturday mixes big bands with the Dmitri Matheny Quartet’s jazz noir, Tom Grant Trio and more. Sunday is all over the map, including Sao Paulo’s Ventura Trio, New York’s Eri Yamamoto Trio, Jessie Marquez’s Cuban-influenced band, New West Guitar Group’s warm pop and finally, Portland’s own Blue Cranes, still flying high on their new album. Expect a massive jam-session finale involving a cast of dozens. BRETT CAMPBELL. Multiple venues. $5-$15 for late-night shows, main stage events are free. See cpjazz.com for a complete schedule and more information. All ages.

New West Guitar Group, Spencer Day

[JAZZ MEETS POP] This is a concert of jazz-influenced pop meeting popinfluenced jazz. Erstwhile Oregonian John Storie’s virtuoso New West Guitar Group plays a warm, Metheny-esque blend of various solid- and hollow-body acoustic and electric guitars that appeals to jazz fans appreciative of tight, inventive excursions into pop instrumental territory. The band makes a seemingly odd pairing with Spencer Day, who made his rep crooning standards on the Bay Area jazz circuit, then somehow hit the pop charts with ’60s-style Bacharachian torchsong originals. BRETT CAMPBELL. Jimmy Mak’s, 221 NW 10th Ave., 295-6542. 8 pm. $10. 21+.

Fanfare Ciocarlia, Chervona, DJ Global Ruckus

[BRASS BAND OF GYPSIES] The group has been known to cover everything from Steppenwolf to traditional Balkan tunes to the James Bond theme, but whatever it plays, Fanfare Ciocarlia—the erstwhile wedding band from the Zece Prajini village in northeastern Romania’s Carpathian Mountains—makes it sound utterly unlike anything else. Touring constantly since stealing the show at the celebrated Gypsy Caravan tours a decade ago, the dozen-member brass band has unleashed its raucous Roma party music in more than 1,200 concerts and eight albums over 15 years, winning throngs of fans throughout Europe and beyond. These wild and crazy guys will have you dancing faster than you believed possible. BRETT CAMPBELL. Alberta Rose Theatre, 3000 NE Alberta St., 719-6055. 8 pm. $25. Under 21 permitted with legal guardian.

Alberta Rose Theatre

WEDNESDAY, JULY 17 • 21 & OVER

HOOKERS MADE OUT OF COCAINE

Wednesday, July 17th

THURSDAY, JULY 18 •ALL AGES THE CHURCH OF ROCK N ROLL PRESENTS:

CAROLYN WONDERLAND

ACXDC • RAW NERVES • MAGNUM FORCE HONDURAN • CLOSET CASE • RKC

WITH

$6.00 AT THE DOOR.

SHIVERING TIMBERS

FRIDAY, JULY 19• 9PM. ALL AGES

CURSE OF THE NORTH • GORGON STARE WORLDS WITHOUT SUN SATURDAY, JULY 20

Thursday, July 18th

SATURDAY, JULY 20 9PM. 21 & OVER

FOOLS • STEELHYMEN • CONTEMPT BEARD OF BEES $5.00 AT THE DOOR.

SUNDAY, JULY 21 8PM. ALL AGES THE CHURCH OF ROCK N ROLL PRESENTS:

LUCIA FASANO • JOHN GOLD HALF WAY THERE MONDAY, JULY 22 • 8PM. ALL AGES

HOMEWRECKER • BAD DECISIONS NOTHING LEARNED $5.00 AT THE DOOR.

Falafel House 3 to Late-Night All Ages Shows Every Sunday 8-11pm Saturday @ 3pm: Free Pinball Feeding Frenzy

Food & Drink pg. 24

ZINNIE FOR SHORT

CD RELEASE

+ MICHAEL LANSING + MARISSA DEITZ

Saturday, July 20th BELLYDANCE LEGEND

Aziza & Issam

MASTER PERCUSSIONIST

Sunday, July 21st

Within Spitting Distance of The Pearl

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HAPPY HOUR: MON–FRI NOON–7PM Pop-A-Shot • Pinball • Skee-ball Air Hockey • Free Wi-Fi

PAUL THORN Tuesday, July 23rd

ALBERTA ROSE BALKAN BIRTHDAY BASH

WITH

WORLD’S BEST GYPSY BRASS BAND

FANFARE CIOCARLIA + CHERVONA + DJ GLOBALRUCKUS

Wednesday, July 24th CHAMBER MUSIC NW CLUB CONCERT II

THE DOVER QUARTET WITH

GABRIEL KAHANE

July 26th and 27th

NIGHT FLIGHT

PRESENTS

SEA OF DREAMS

VESPERTINE CIRCUS PRESENTS Sunday, July 28th

IMPORTANT BUSINESS

Coming Soon 8.16 - BREWER & SHIPLEY 8.20 - OTTMAR LEIBERT & LUNA NEGRA (503) 764-4131 3000 NE Alberta

AlbertaRoseTheatre.com Willamette Week JULY 17, 2013 wweek.com

july 19, 20, 21 se water and se salmon

free entry all ages

food carts street fair

friday

Blue skies for black Hearts / Genders / Like a villain / PWRHAus / Ramona falls Sons of huns / the we shared milk / WL / Wooden Indian Burial Ground / Youthbitch

Saturday

ancient heat / Billions and billions / dusu mali / fanno creek / grammies / hausu / luck one magic mouth / minden / mojave bird / natasha kmeto / orquestra pacifico tropical / palo verde richmond fontaine / woolen men / y la bamba / Special guests

sunday

cassow / dangerous boys club / gaytheist / ghost ease / hot victory / litanic mask magic fades / the memories / satin chaps / shy girls / slimkid3 ft. Doo doo Funk allstars sun angle / trio subtonic / unkle funkle / vice device / warm hands / witch mountain

check www.pdxpopnow.com for schedule 34

Willamette Week JULY 17, 2013 wweek.com

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

[JULY 17-23] Sister Sparrow & the Dirty Birds, Jelly Bread

Duff’s Garage

1635 SE 7th Ave. Tuck Foster & the Moserites

East End

203 SE Grand Ave. Machine, Governess, Sweet Tooth

M ichael W eintro b

For more listings, check out wweek.com.

Goodfoot Lounge

2845 SE Stark St. Kloz’d Circuit, Excellent Gentlemen

Hawthorne Theatre

2346 SE Ankeny St. Pacific Oceans: Colin Fisher, the Railflowers, Stephan Caston

Jimmy Mak’s

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

Kenton Club

Wed. July 17 Al’s Den at the Crystal Hotel 303 SW 12th Ave. Sam Densmore, Michael Blind and the Moonshine

Aladdin Theater

3017 SE Milwaukie Ave. The BoDeans, Clarence Bucaro

Alberta Rose Theatre 3000 NE Alberta St. Carolyn Wonderland, Shivering Timbers

Alhambra Theatre

4811 SE Hawthorne Blvd. A Happy Death, Glassbones, MBRASCATU

Andina

1314 NW Glisan St. Toshi Onizuka

Arlene Schnitzer Concert Hall

1037 SW Broadway Music on Main Street The Satin Chaps

Ash Street Saloon

225 SW Ash St. Erik Anarchy, Fluid Spill, Whiskey Dickers, Dreizehn, Blastfemur

Beaterville Cafe

2201 N Killingsworth St. Open Mic

Buffalo Gap Eatery and Saloon 6835 SW Macadam Ave. Tyler Stenson

Dig a Pony

736 SE Grand Ave. Battles

Doug Fir Lounge

830 E Burnside St. Roadkill Ghost Choir, Bike Thief, Balto

Duff’s Garage

1635 SE 7th Ave. John Nemeth

East End

203 SE Grand Ave. Mangled Bohemians, Rainstick Cowbell, Mr. Frederick, Ms.

Ecotrust

721 NW 9th Ave., Suite 200 Portland Cello Project, Adam Shearer

2845 SE Stark St. Chicago Afrobeat Project

Hawthorne Theatre Lounge

1503 SE Cesar E. Chavez Blvd. Jeffrey Trapp

Jack London Bar

Shaker and Vine

2929 SE Powell Blvd. Howard Wade

Slabtown

1033 NW 16th Ave. Hookers Made Out of Cocaine

529 SW 4th Ave. Proper Movement Drums and Bass

Suki’s Bar & Grill

Jade Lounge

The Blue Monk

2346 SE Ankeny St. Jeffrree White Music Showcase

Jimmy Mak’s

221 NW 10th Ave. The Mel Brown Quartet

Kelly’s Olympian

426 SW Washington St. Grand Lake Islands, Northern Currents, Stephen Augustin and the Fourth Wall

Landmark Saloon

4847 SE Division St. Jake Ray, Bob Shoemaker

LaurelThirst

2958 NE Glisan St. Denim Wedding, the Railflowers, the Resolectrics

Lents Commons

9201 SE Foster Road Open Mic

Main Street

Main Street, between Broadway and Park Ave. The Satin Chaps

Mississippi Studios

3939 N Mississippi Ave. The Dover String Quartet, Yekwon Sunwoo, Ida Kavafian

Music Millennium

3158 E Burnside St. Chris Funk and Scott Law

O’Connor’s Vault

7850 SW Capitol Highway Dave Fleschner, Alan Hagar

Revival Drum Shop

1465 NE Prescott St. The Wishermen, Trying

Rose Garden

1401 N Wheeler Ave.

2401 SW 4th Ave. Jon Rankin

3341 SE Belmont St. Hush Puppies

The Know

2026 NE Alberta St. Eets Feats, Bath Party, Rat Party

The Old Church

1422 SW 11th Ave. Jocelyn Claire Thomas

The Secret Society Ballroom

116 NE Russell St. The Javier Nero Quartet

Thorne Lounge

4260 SE Hawthorne Blvd. Musician’s Open Mic

Tonic Lounge

3100 NE Sandy Blvd. Do You Remember Rock ‘n’ Roll? Radio Show: Pat Kearns

Valentine’s

232 SW Ankeny St. Reignbeau, Kevin Greenspon

Vie de Boheme

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

White Eagle Saloon

836 N Russell St. California Wives, My Gold Mask

Wilfs Restaurant & Bar 800 NW 6th Ave. Ron Steen Band, Linda Michelet

Thurs. July 18 Al’s Den at the Crystal Hotel 303 SW 12th Ave.

Aladdin Theater

3017 SE Milwaukie Ave. Grand Mothers of Invention

Alberta Rose Theatre

3000 NE Alberta St. Zinnie for Short, Michael Lansing, Marissa Deitz

Alhambra Theatre

4811 SE Hawthorne Blvd. Obie Trice (theater); The Autonomics, Water District, Atlas and the Astronaut (lounge)

Andina

1314 NW Glisan St. Matices

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

Artichoke Community Music 3130A SE Hawthorne Blvd. Songwriter Roundup

Ash Street Saloon

225 SW Ash St. Mobile Death Camp, Hollywood Jesus, Skelator, Tanagra

Backspace

115 NW 5th Ave. Walter & The Conquerer, the Toy Gun Conspiracy, Foreign Talks, Still Region

Bunk Bar

1028 SE Water Ave. Houndstooth, Pearly Gate Music

The Secret Society Ballroom

116 NE Russell St. Emily Asher’s Garden Party

The TARDIS Room

317 NW Broadway Karaoke from Hell

Jade Lounge

Sam Densmore, Zac Zerzan and Brassierillionaires, Pretend Sweethearts

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

Ivories Jazz Lounge and Restaurant

529 SW 4th Ave. Chad Chats

The Postal Service, Jenny Lewis, Laura Burhenn

The Lovecraft

1507 SE 39th Ave. Black Flag, Good for You, Piggy

Jack London Bar

Goodfoot Lounge

2026 NE Alberta St. The Great Goddamn, Audrey Horne, Black Magic Dragon

1218 N Killingsworth St. Wolfgang Warneke

1435 NW Flanders St. Tom Grant Vocal Showcase: Megan Moll, Bre Gregg

ghosts in the machine: Chicago Afrobeat Project plays Goodfoot Lounge on Wednesday, July 17.

The Know

2025 N Kilpatrick St. Lady Elaine, Zeb Dewar, The Century

Landmark Saloon

4847 SE Division St. The Pickups, Jonathan Warren and the Billy Goats

LaurelThirst

2958 NE Glisan St. Renegade Stringband, Windy Hill,Lewi Longmire & the Left Coast Roasters

McMenamins’ Kennedy School

5736 NE 33rd Ave. Freak Mountain Ramblers

Mississippi Pizza

3552 N Mississippi Ave. Mel Kubik, Annie Bany, Wynter Byrnes

Mississippi Pizza

3552 N Mississippi Ave. Cafe Istanbul

Mock Crest Tavern 3435 N Lombard St. JT Wise

Muddy Rudder Public House 8105 SE 7th Ave. Jack Dwyer

O’Connor’s Vault 7850 SW Capitol Highway Bob Livingston

Oregon Zoo

4001 SW Canyon Road Weird Al Yankovic

Sellwood Public House 8132 SE 13th Ave. Open Mic

Shaker and Vine

2929 SE Powell Blvd. Patricia Silverberg, Annie Vergnetti

Slabtown

Tiger Bar

Tonic Lounge

3100 NE Sandy Blvd. Demure, So to Speak, Brown Erbe

Tony Starlight’s

3728 NE Sandy Blvd. Julie Osborn

Valentine’s

232 SW Ankeny St. No Phone, 1000 Swords, William Ingrid

Vie de Boheme 1530 SE 7th Ave. Jaime Leopold

West Cafe

1201 SW Jefferson St. Alan Jones Academy Jazz Jam

White Eagle Saloon

836 N Russell St. Water District, Rocket 3, Atlas and the Astronaut, Kory Quinn

Wilfs Restaurant & Bar 800 NW 6th Ave. Dan Wilensky Band

Wonder Ballroom 128 NE Russell St. Rogue Wave

Fri. July 19 Al’s Den at the Crystal Hotel 303 SW 12th Ave. Sam Densmore, Mike Coykendall

Alhambra Theatre

4811 SE Hawthorne Blvd. The Bella Fayes, Doctor Theopolis, UHF

Andina

1314 NW Glisan St. Danny Romero Trio

Artichoke Community Music 3130A SE Hawthorne Blvd. Friday Coffeehouse

350 W Burnside St. Finn Doxie

Doug Fir Lounge 830 E Burnside St.

The Blue Monk

3341 SE Belmont St. Hidden Rebel Bass

1332 W Burnside St. ‘80s Video Dance Attack

Dante’s

350 W Burnside St. Floater, Groovy Wallpaper

3939 N Mississippi Ave. Sometimes A Great Notion Festival: Pink Skull, Das Fluff, White Fang, Pulse Emitter, Pinks Quieter

Mock Crest Tavern 3435 N Lombard St. Will West

Muddy Rudder Public House

Doug Fir Lounge

8105 SE 7th Ave. Terry Robb & Lauren Sheehan

Duff’s Garage

3158 E Burnside St. Clarence Bucaro

830 E Burnside St. Scott Pemberton Trio

Music Millennium

1635 SE 7th Ave. The Black Crabs, the Hamdogs

Nel Centro

East End

Noho’s Hawaiian Cafe

203 SE Grand Ave. Black Snake, Merciful Zeus, Mursa

EastBurn

1408 SW 6th Ave. Mike Pardew 4627 NE Fremont St. Hawaiian Music

O’Connor’s Vault

1800 E Burnside St. Sister Lip

7850 SW Capitol Highway John Bunzow

Foggy Notion

Original Halibut’s II

3416 N Lombard St. Bad Move, Minoton, The Cut 45

Ford Food and Drink 2505 SE 11th Ave. Lorna Miller

Ground Kontrol

511 NW Couch St. 88 MPH Arcade: Simon Galaga

Hawthorne Theatre Lounge

1503 SE Cesar E. Chavez Blvd. Mada Nile, Sister Molly Rose, Higher Reasoning Sound

Hawthorne Theatre 1507 SE 39th Ave. Kristine Levine’s Kick Rocks

Ivories Jazz Lounge and Restaurant

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

Jack London Bar

529 SW 4th Ave. Adventures of a Paranormal Dick. - steve coker

Jade Lounge

2346 SE Ankeny St. Paul Young

2527 NE Alberta St. Lisa Mann

Plew’s Brews

8409 N Lombard St. Demure

Record Room

8 NE Killingsworth St. Hausu, Satan Wriders, Cellmate

Shaker and Vine

2929 SE Powell Blvd. The Knit Pickers

Slabtown

1033 NW 16th Ave. Curse of the North, Gorgon Stare, Worlds Without Sun

Sleep Country Amphitheater

17200 NE Delfel Road, Ridgefield, Wash. John Mayer, Phillip Phillips

Slim’s Cocktail Bar 8635 N Lombard St. Otis Heat

The Analog

720 SE Hawthorne Device Grips, Jay Tablet, Kytami Le Blanc

The Elixir Lab

2738 NE Alberta St. Miwa Gemini

The Know

2809 NE Sandy Blvd. Disciples Of Rock And Roll, Karmaceuticals, Somerset Meadows, Broken Bodies

The Secret Society Ballroom

Beaterville Cafe

Kells Brewpub

Tiger Bar

Kelly’s Olympian

Tonic Lounge

2201 N Killingsworth St. The Breaking Yard and Elise Brianne, Jim Mead

Crystal Ballroom

Dante’s

Crystal Ballroom

Mississippi Studios

Katie O’Briens

8635 N Lombard St. Tevis Hodge Jr.

720 SE Hawthorne Water Tower, Left Coast Country and Shivering Timbers

5474 NE Sandy Blvd. Ocean

3552 N Mississippi Ave. Kings on Fire, Patina

115 NW 5th Ave. Joyce Manor, Merry Christmas, Lee Corey Oswald

32 SW 3rd Ave. Ed Bennett Group

The Analog

Clyde’s Prime Rib

Mississippi Pizza

Backspace

Slim’s Cocktail Bar

1332 W Burnside St. Portugal. The Man, Avi Buffalo

2035 NE Glisan St. Edgar Allen Posers, Vodka Wilson Overdrive

2958 NE Glisan St. Garcia Birthday Band, Michael Hurley & The Croakers

2026 NE Alberta St. Mugen Huso, Bison Bison, Matthew Heller & the Clever

Chapel Pub

430 N Killingsworth St. Steve Kerin

Club 21

LaurelThirst

Jimmy Mak’s

Biddy McGraw’s

510 NW 11th Ave. Rick Green Quartet

North Edison Street and Pittsburg Avenue Cathedral Park Jazz Festival: Lulu Lafever & the Hot Tamales, Transcendental Brass Band, Norman Sylvester, Roseland Hunters

225 SW Ash St. Danava, Lecherous Gaze, Long Knife, DJ Dennis Dread

Ash Street Saloon

1033 NW 16th Ave. ACxDC, Raw Nerves, Magnum Force, Honduran, Closet Case, RKC

Camellia Lounge

Cathedral Park

6000 NE Glisan St. Counterfeit Cash, Coldwater

Bijou Cafe

Buffalo Gap Eatery and Saloon 6835 SW Macadam Ave. Toledo Kesch

Camellia Lounge 510 NW 11th Ave. Dirty Cello

221 NW 10th Ave. Toque Libre, Brothers O

210 NW 21st Ave. Sami Rouisi 426 SW Washington St. Order of the Gash, Doomsower, Barrowlands

Kenton Club

2025 N Kilpatrick St. Miss Massive Snowflake, HeadShapes, Quincy Sharp

116 NE Russell St. Stompy Jones, Possessed By Paul James, Delaney Davidson, Boy and Bean 317 NW Broadway Warner Drive 3100 NE Sandy Blvd. The Cry, Pataha Hiss, RAD, Them Bones and Bootleggers

Tony Starlight’s

3728 NE Sandy Blvd. Tony’s AM Gold Show: Tony Starlight

Landmark Saloon

Vie de Boheme

Laughing Horse Books

White Eagle Saloon

4847 SE Division St. Pete Krebs & His Portland Playboys 12 NE 10th Ave. Illustrations, Hollow, Vultures In the Sky

1530 SE 7th Ave. Swingtown Vipers and Smut City Jelly Roll 836 N Russell St.

cont. on page 36

Willamette Week JULY 17, 2013 wweek.com

Big City Wind Down, Jawbone Flats, Roselit Bones, Reverb Brothers

JULY 17-23 BAR SPOTLIGHT E VA N J O H N S O N

MUSIC CALENDAR Wilfs Restaurant & Bar 800 NW 6th Ave. David Frieson Band

Wonder Ballroom

128 NE Russell St. Big Freedia, DJ Beyonda

SAT. JULY 20 Al’s Den at the Crystal Hotel

303 SW 12th Ave. Sam Densmore, Silverhawks and Headshapes

Andina

1314 NW Glisan St. Toshi Onizuka Trio

Ash Street Saloon

225 SW Ash St. End Ever, Separation Of Sanity, Othyrs, Betrayed By Weakness

Backspace

115 NW 5th Ave. Earth Control, the Helm, Raw Nerves, Rohit, the Siege Fire

Beaterville Cafe

2201 N Killingsworth St. Patricia Silverberg, Abram Rosenthal

Biddy McGraw’s

6000 NE Glisan St. Jim Creek, the Barkers

Buffalo Gap Eatery and Saloon 6835 SW Macadam Ave. Rockin’ Piano Party

Camellia Lounge

510 NW 11th Ave. George Colligan Trio

Cathedral Park

North Edison Street and Pittsburg Avenue Cathedral Park Jazz Festival: Roosevelt High School Jazz Ensemble, Dmitri Matheny, NoPo Big Band, Tom Grant, Trio Flux, Stan Bock & the New Tradition, Chuck Israel’s Orchestra

Clyde’s Prime Rib

5474 NE Sandy Blvd. Andy Stokes

Dante’s

Jimmy Mak’s

221 NW 10th Ave. Soul Vaccination

Music Millennium

350 W Burnside St. Reckless In Vegas, Kinked

Doug Fir Lounge

Katie O’Briens

Nel Centro

830 E Burnside St. Lifesavas

Duff’s Garage

1635 SE 7th Ave. Barn Door Slammers, Get Rhythm

East End

203 SE Grand Ave. Hot Fruit, Rap Class, IBQT

EastBurn

1800 E Burnside St. Chris Juhlin, the Collective

Fifteenth Avenue Hophouse

1517 NE Brazee St. Steve Cheseborough

Foggy Notion

Kells Brewpub

210 NW 21st Ave. Sami Rouisi

Kelly’s Olympian

426 SW Washington St. Fellwoods, Mystery Ship, Gravel Road

Landmark Saloon

4847 SE Division St. Roy Kay Trio

Langano Lounge

1435 SE Hawthorne Blvd. Hey Lover, Trumans Water

LaurelThirst

Goodfoot Lounge

Lola’s Room at the Crystal Ballroom

Hawthorne Hophouse 4111 SE Hawthorne Blvd. Hot Club Time Machine

Hawthorne Theatre Lounge

2958 NE Glisan St. James Low Western Front

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

Mississippi Pizza

3552 N Mississippi Ave. The Alphabeticians

1503 SE Cesar E. Chavez Blvd. Ceschi, Sleep, Rafael Vigilantics, Graves 33

Mississippi Pizza

Hawthorne Theatre

3939 N Mississippi Ave. Sometimes A Great Notion Festival: Rose Windows, Ken Stringfellow, Cambodian Space Project, The Maldives, Matthew Heller

1507 SE 39th Ave. Six Feet Under, Decrepit Birth, Cannabis Corpse, Dealey Plaza, Nemesis, Season of Suffering

3552 N Mississippi Ave. Sam Cooper Band

Mississippi Studios

Ivories Jazz Lounge and Restaurant

Mock Crest Tavern

Jade Lounge

Muddy Rudder Public House

1435 NW Flanders St. Ezra Weiss

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

Willamette Week JULY 17, 2013 wweek.com

2809 NE Sandy Blvd. Mormon Trannys, Bitch School, the Decliners, Soft Targets

3416 N Lombard St. Sam Humans, The Weak Knees, Dinosaur Heart 2845 SE Stark St. McTuff, Mike Dillon Band

NATTY AND NICE: It’s been a fruitful two years for Reverend Nat’s Hard Cider. Launched in the fall of 2011 in a Woodlawn basement and garage, the operation has just moved to much larger digs in the Eliot neighborhood, a 3,500-square-foot warehouse with massive fermentation tanks in the back, empty apple crates stacked against one wall and a very pleasant public taproom in front (1813 NE 2nd Ave., 567-2221, revnats.com). The space is informal and garagelike, with enough wood to construct a ski lodge. Stroll in through the roll-up door and take a seat at a barstool big enough to be an ottoman, or sink into the brown leather sofa beneath the chalkboard, which lists the available ciders. A tasting flight ($8) is the best bet, so sample the surprisingly dry yet floral Hibiscus Hymnal, the Belgianstyle Hallelujah Hopricot or a classic dry cider from the spinoff Cascadia Ciderworkers United, a new and less-expensive Reverend Nat’s brand. But avoid the Sacrilege Sour Cherry, a cider fermented with Lactobacillus and 168 pounds of sour pie cherries that smells like a basement and tastes like past-expiration yogurt. Unlike Bushwhacker across town, Reverend Nat’s does have one beer on tap (on my visit, the Commons Urban Farmhouse Ale), but ordering that foamy quaff at this cider shrine would be the true sacrilege. REBECCA JACOBSON.

3435 N Lombard St. Johnnie Ward’s Sharkskin Review

8105 SE 7th Ave. Patricia Rojas

3158 E Burnside St. Martin Zarzar

Slabtown

1033 NW 16th Ave. Fools, STEELHYMEN, Contempt, Beard of Bees

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

Slim’s Cocktail Bar

Noho’s Hawaiian Cafe

SoHiTek Records

4627 NE Fremont St. Hawaiian Music

O’Connor’s Vault

7850 SW Capitol Highway Sterno Kings

Original Halibut’s II

2527 NE Alberta St. Franco and the Stingers

Peter’s Room

8 NW 6th Ave. Garden of Eden, Forbidden Symphony, Mohawk Yard, She Is Not Dead, Heavy Baang Staang, Idle Tap

Plew’s Brews

8409 N Lombard St. The Infinity of it All

Portland International Raceway 1940 N Victory Blvd 8 Track Relay

Record Room

8 NE Killingsworth St. Mammoth Salmon, Super Brown, Towers

Rose Garden

1401 N Wheeler Ave. American Idol Live: Amber Holcomb, Angie Miller, Burnell Taylor, Candice Glover, Curtis Finch Jr, Devin Velez, Janelle Arthur, Kree Harrison, Lazaro Arbos, Paul Jolley, Aubrey Cleland

8635 N Lombard St. Jazzfest Jam: Suburban Slim 625 NW Everett St., Suite 102 You Are Plural, the Ocean Floor

Star Theater

13 NW 6th Ave. Bustin’ Surfboards: Davie Allen, Guantanamo Baywatch, Adios Amigos, The Protons, DJ Danny Dodge

The Blue Monk

3341 SE Belmont St. Bike Thief, the World Radiant, Where Are All the Buffalo?

The Fixin’ To

8218 N Lombard St. Boo Frog, Child Children, Irie Idea, Slow Screams, Thee Sultan

The Know

2026 NE Alberta St. Caparza, Fools Rush

The Lovecraft

421 SE Grand Ave. Noctooa, Will O’ the Wisp, DJ Bar Hopper

The Secret Society Ballroom

116 NE Russell St. Keep the Fork There’s Pie, Lefty and the Twin, Everything’s Jake

The TARDIS Room

Rotture

1218 N Killingsworth St. The Crush

Shaker and Vine

3100 NE Sandy Blvd. G.L. Morrison, Strangers in Harmony, Rory James & the Majestic, Flat Black Tomato, Lukeus

315 SE 3rd Ave. Dyme Def, Soopah Eype, Black Gravity, Dre C, Sea One, ThirdWave, Masta X-Kid, DJ Just In Case 2929 SE Powell Blvd. Brooklyn Street

Tonic Lounge

Tony Starlight’s

3728 NE Sandy Blvd.

Willamette Week JULY 17, 2013 wweek.com

Pranksters Big Band

Vie de Boheme

1530 SE 7th Ave. Beacon Street Titans, Annie Corbett

White Eagle Saloon

836 N Russell St. Dryland Farmers Band, 21 Horses, Adam Brock

Wilfs Restaurant & Bar 800 NW 6th Ave. Ron Steen Band, Emma Davis

SUN. JULY 21 Al’s Den at the Crystal Hotel

303 SW 12th Ave. Russell Stafford, Chris Merrill

Alberta Rose Theatre 3000 NE Alberta St. Paul Thorn

Alhambra Theatre

4811 SE Hawthorne Blvd. J Ras

Ash Street Saloon

225 SW Ash St. The Body, Set and Setting, Chasma, Braveyoung

Beaterville Cafe

2201 N Killingsworth St. Roots Sundays: Jack DeVille

Cathedral Park

North Edison Street and Pittsburg Avenue Cathedral Park Jazz Festival: New West Guitar Group, Jessie Marquez, Ventura Trio, Eri Yamamoto Trio, Blue Cranes

Clyde’s Prime Rib

The Country Side of Sunday: Bob Love, Jeff Woodcock, Kurtis Piltz, Jon Koonce, Steve Bradley

LaurelThirst

Portland Piano Company

Muddy Rudder Public House

711 SW 14th Ave. David Salminen

Rontoms

Slabtown

1401 N Wheeler Ave. Bruno Mars

600 E Burnside St. Grandparents, Us Lights

Crystal Ballroom

The Elixir Lab

1332 W Burnside St. Candlebox

Dante’s

736 SE Grand Ave. Boom Wow

Doug Fir Lounge

830 E Burnside St. Melissa Ferrick, Jason Scott Dodson, A.P. Dugas

East End

203 SE Grand Ave. Key of Solomon, Red Forman, boneworm

Hawthorne Theatre

1507 SE 39th Ave. Peter Murphy, Ours

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

Jack London Bar 529 SW 4th Ave. Club Love

Jade Lounge

2346 SE Ankeny St. Jeremy Murphy, The InkNoise Review

Kenton Club

2025 N Kilpatrick St. Them Bones and Bootleggers, Patrimony, Boobie Tuesday

Langano Lounge

1435 SE Hawthorne Blvd. Dr. Killemoff

LaurelThirst

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

Mississippi Pizza

3552 N Mississippi Ave. Chris Robles, Malachi Graham

2738 NE Alberta St. Closely Watched Trains

The Know

2026 NE Alberta St. Lecherous Gaze, Sons of Huns, Acid Wash

Tonic Lounge

3100 NE Sandy Blvd. The Shell Corporation, Lost City, Vultures In The Sky, Fools Rush

Valentine’s

232 SW Ankeny St. Ghost To Falco, Zachary Cale, Kelli Schaefer

Vie de Boheme 1530 SE 7th Ave. Chuck Israel

White Eagle Saloon

836 N Russell St. Mason Reed, Northeast Northwest, Justin Farren

MON. JULY 22 Al’s Den at the Crystal Hotel 303 SW 12th Ave. Russell Stafford, Lance Kinnaird

Aladdin Theater

3017 SE Milwaukie Ave. Heartless Bastards, Writer

Andina

1314 NW Glisan St. Pete Krebs

Camellia Lounge

510 NW 11th Ave. Vocalists’ Jazz & Blues Jam: Joe Millward

Dante’s

350 W Burnside St. Karaoke From Hell

Director Park

815 SW Park Ave. Back Alley String Band

Jimmy Mak’s

Mississippi Studios

221 NW 10th Ave. New West Guitar Group, Spencer Day

Music Millennium

Kells Brewpub

3939 N Mississippi Ave. Dessa, Sims 3158 E Burnside St. LuLu LaFever and the Hot Tamales

NEPO 42

5403 NE 42nd Ave. Open Mic

O’Connor’s Vault

7850 SW Capitol Highway

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

8105 SE 7th Ave. Lloyd Jones

1033 NW 16th Ave. Lucia Fasano, John Gold, Half Way There

Dig a Pony

Willamette Week JULY 17, 2013 wweek.com

BELA LUGOSI’S STILL DEAD: Peter Murphy plays the Hawthorne Theatre on Sunday, July 21.

5474 NE Sandy Blvd. Ron Steen Jazz Jam

350 W Burnside St. Deadstring Brothers, Root Jack

JULY 17-23 GUIOMAR FERNÁNDEZ

WWEEkdotcom

MUSIC CALENDAR

210 NW 21st Ave. Traditional Irish Jam Session

Rose Garden

Slabtown

1033 NW 16th Ave. Homewrecker, Bad Decisions, Nothing Learned

The Analog

720 SE Hawthorne Gothique Blend

Thorne Lounge

4260 SE Hawthorne Blvd. Fox Colton

Twilight Café and Bar 1420 SE Powell Blvd. SIN Night

Valentine’s

232 SW Ankeny St. Paleo, CJ Boyd, Cairo, Wooden Indian Burial Ground

White Eagle Saloon

836 N Russell St. Marca Luna, The Hey Listen

Wonder Ballroom

128 NE Russell St. The Dirty Heads, The Expendables, Big B, Suburban Legends

TUES. JULY 23 Al’s Den at the Crystal Hotel 303 SW 12th Ave. Russell Stafford, Peter Rodocker

Alberta Street Public House

1036 NE Alberta St. The Bylines, Morgan Karr

Andina

1314 NW Glisan St. JB Butler

Ash Street Saloon

225 SW Ash St. Phreak: Electronic Mutations

Backspace

115 NW 5th Ave. Holy Grail, Anti-Mortem, Spellcaster, Terraclipse, Kong at the Gates

Branx

320 SE 2nd Ave. Hundredth, Counterparts, Being as an Ocean, Heart To Heart, Subverse

Bunk Bar

1028 SE Water Ave. The Autonomics, the Kitchen, Boys Beach

Kelly’s Olympian

Dig a Pony

Landmark Saloon

Duff’s Garage

426 SW Washington St. Eye Candy VJs 4847 SE Division St. Hack, Stitch & Buckshot

736 SE Grand Ave. Team Atkins 1635 SE 7th Ave. Dover Weinberg Quartet

Goodfoot Lounge 2845 SE Stark St. Radula

Hawthorne Theatre

1507 SE 39th Ave. Top Hat Confederacy, E.A.R.T.H., Master Sultan, Aisle Of View, Art House Marquee, Rabid Wombat

Ivories Jazz Lounge and Restaurant

1435 NW Flanders St. Jeff Baker, George Colligan, The Spin Quartet

Jade Lounge

2346 SE Ankeny St. Brahnanas & the Brahs

Jimmy Mak’s

221 NW 10th Ave. The Mel Brown Septet

Kelly’s Olympian

426 SW Washington St. 80s Euro Disco Dance Party Extravaganza

Landmark Saloon

4847 SE Division St. Rocky Butte Wranglers

LaurelThirst

2958 NE Glisan St. Zoe Muth & the Lost High Rollers, Jackstraw

Mississippi Pizza

3552 N Mississippi Ave. Down Home Music

Mississippi Studios

3939 N Mississippi Ave. Love Gigantic, Michael Jodell

Mock Crest Tavern 3435 N Lombard St. Michael Koppy

Music Millennium

3158 E Burnside St. Fruition

Record Room

8 NE Killingsworth St. Barnaby Woods, Shadowlands, Teething Veils

Secret Society Lounge

116 NE Russell St. Powerdove, LUKE WYLAND, Dragging an Ox Through Water

Shaker and Vine

2929 SE Powell Blvd. Chasing Mischief

The Analog

720 SE Hawthorne Black Bottom Lighters, the Sindicate, Steady Riot!

The Secret Society Ballroom

116 NE Russell St. Powerdove, Luke Wyland, Dragging An Ox Through Water

Valentine’s 232 SW Ankeny St. Haste

White Eagle Saloon

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

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Friday, August 2nd advanced tickets at TicketTomato.com UPCOMING SHOWS: Soul Vaccination, July 20th New West Guitar Group (with Spencer Day), July 22nd Thomas Giampietro, July 24th

The Bobby Torres Ensemble, August 3rd Picante, with Catarina New & The Brazilian Touch, August 6th

Soulmates, July 26th

Dan Siegel, with Patrick Lamb, August 7th

Michele Van Kleef and Steve Hale, July 27th

Brownish Black, August 8th

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

Willamette Week JULY 17, 2013 wweek.com

MUSIC CALENDAR

JULY 17-23

BASS LASS: Natasha Kmeto plays PDneXt at Holocene on Wednesday, July 17. Multiplex

625 NW Everett #101 Kevin Greenspon, Reighnbeau, Lavas Magmas, Regosphere, Veil

Star Bar

WED. JULY 17 Andrea’s Cha Cha Club 832 SE Grand Ave. Salsa: DJ Alberton

Beech St. Parlor 412 NE Beech St. DJ Lorax

Berbati’s

231 SW Ankeny St. DJ Seleckta YT

Bossanova Ballroom 722 E Burnside St. Wednesday Swing

Ground Kontrol

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

Holocene

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

Star Bar

639 SE Morrison St. DJ Scary Jerry

The Firkin Tavern 1937 SE 11th Ave. Eye Candy VJs

The Lovecraft

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

THURS. JULY 18 Beech St. Parlor 412 NE Beech St. DJ Easy Ian

Berbati’s

231 SW Ankeny St. DJs Def Ro and Suga Shane

Dig a Pony

736 SE Grand Ave. DJ Safi

Holocene

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

Langano Lounge

1435 SE Hawthorne Blvd. DJ Mister Nick

Star Bar

639 SE Morrison St. DJ Jonny Cakes

The Rose

111 SW Ash St. Club Chemtrail: Lenkemz, DJ Zack, Massacooramaan, SPF666, Commune

FRI. JULY 19 BC’s Restaurant

118 NE 28th Ave DJ Nik Fury

Branx

320 SE 2nd Ave. Jai Ho!

Dig a Pony

736 SE Grand Ave. Jimbo, DJ Nealy Neal

Goodfoot Lounge

2845 SE Stark St. DJ Aquaman’s Soul Stew

Holocene

1001 SE Morrison St. Rockbox: Matt Nelkin, DJ Kez, Roane Namuh, Reva DeVito

Moloko Plus

3967 N Mississippi Ave DJ Maxamillion

Rotture

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

The Rose

111 SW Ash St. Synthesis: John Massey, Jak, Micah McNelly, ET

The Whiskey Bar

31 NW 1st Ave. Play: Jason LeMaitre, WEB, Eddie Pitzul, Lone Wolf and Cub

Valentine’s

232 SW Ankeny St. Futro DJ Set

SUN. JULY 21 Berbati’s

231 SW Ankeny St. DJ Linkus EDM

Star Bar

639 SE Morrison St. DJ Andrew Loomis

The Lovecraft

421 SE Grand Ave. DJ Ol’ Sippy

The Lovecraft

Ash Street Saloon

639 SE Morrison St. Uncontrollable Urge: DJ Paultimore 421 SE Grand Ave. Perforce!: Musique Plastique, DJ Sharpie, DJ Blk Rainbow

The Rose

111 SW Ash St. House Call: Kalven Swell, Richie Staxx, Brad Elliot, Eric Pipedream

Valentine’s

MON. JULY 22 225 SW Ash St. DJ Desecrator

Beech St. Parlor

412 NE Beech St. Cowboys From Sweden

Berbati’s

231 SW Ankeny St. DJ Henry Dark

Dig a Pony

232 SW Ankeny St. DJ Cry Baby

736 SE Grand Ave. DJ Bad Wizard

SAT. JULY 20 Beech St. Parlor

511 NW Couch St. Metal Monday: DJ Shreddy Krueger

Berbati’s

639 SE Morrison St. Metal Monday: DJ Nefarious

412 NE Beech St. DJ Primitiva, Invisible Ziggurat 231 SW Ankeny St. DJ Mellow Cee

Beulahland

118 NE 28th Ave Jon-Ra DJs

CC Slaughters

219 NW Davis St. Revolution with DJ Robb

Dig a Pony

736 SE Grand Ave. Mikee Lixxx, DJ Dirty Red

Fez Ballroom

316 SW 11th Ave. Fresh to Death: DJ Nature, DJ Le Freak

Ground Kontrol

Beech St. Parlor

1001 SE Morrison St. Gaycation: Mr. Charming

231 SW Ankeny St.

639 SE Morrison St. Go French Yourself: DJ Cecilia

Star Bar

511 NW Couch St. DJ I

Berbati’s

Willamette Week JULY 17, 2013 wweek.com

Beulahland

2433 SE Powell Blvd. Activate: DJ Dot, Trevor Vichas 412 NE Beech St. DJ Dweomer

Cloud City Collective

Holocene

Jack London Bar

529 SW 4th Ave. Wax It Up: DJ Kryptic

Ground Kontrol

Star Bar

The Lovecraft

421 SE Grand Ave. Departures: DJ Waisted, DJ Anais Ninja

TUES. JULY 23 Beech St. Parlor 412 NE Beech St. DJ Doug Ferious

Eagle Portland

835 N Lombard St DMTV with DJ Danimal

Langano Lounge

1435 SE Hawthorne Blvd. DJ Barrett

Star Bar

639 SE Morrison St. DJ Austin Paradise

The Lovecraft

421 SE Grand Ave. DJ Acid Rick

Full schedule out now! musicFestnw.com/ schedule

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animal collective

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Willamette Week JULY 17, 2013 wweek.com

JULY 17–23

= 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). Dance: AARON SPENCER (dance@wweek.com). TO BE CONSIDERED FOR LISTINGS, submit information at least two weeks in advance to: rjacobson@wweek.com.

THEATER All at Sea

[NEW REVIEW] A new performance devised by local writer and actor Paul Susi, All at Sea begins in familiar territory—with a phone call to Mom. The character, unhappy with how work consumes his life, is struck by an idea: He should move into a house with five of his friends. Each would have a room, and together they would live in harmony (hopefully). The house hunt begins, and as it stretches over months, we watch as the friends call their mothers to discuss their worries, their relationships and the dreams they’ve been having about Spanish conquistadors or about being stuck on a boat together. When not caught up in metaphors that don’t always relate clearly to the story, All at Sea is both poignant and funny for a story made up mostly of phone conversations. The way one character smiles when saying hello or another holds back tears when revealing a recent breakup feels relatable and honest—and, for a onesided conversation, proves surprisingly entertaining. The six talented performers fidget and joke their way through the calls home, gently touching on the risks we all take—both in our relationships and when talking to Mom on the phone. KAITIE TODD. BodyVox Dance Center, 1201 NW 17th Ave., 229-0627. 8 pm Thursdays-Saturdays through July 20. $12, cyclists and bus commuters $6.

Cats

“What’s a Jellicle cat?” It’s a phrase repeated throughout the opening of Andrew Lloyd Webber’s seminal oddity Cats, which somehow became an instant smash upon its 1981 release, and it’s a question that’s plagued my thoughts since age 7, when my teenage brother returned from a Detroit production with cat-scratch fever. Webber harvested his idea from a series of T.S. Eliot poems, which he put through the filter of cheesy hot jazz and creepy, off-key synthesizer cues. Then, apparently, he raided David Bowie’s costume closet post-Labyrinth. What the hell was Webber on? Two decades later, I finally chanced upon Broadway Rose’s revival and learned the answer: There are no answers. But, oh, what a glorious spectacle, re-created here in all its nonsensical, synthblasting, jaw-droppingly wacky glory. What is a Jellicle cat? Why, it’s an excuse for an actor to don a skintight leotard and belt out jazzy balladry while performing extremely elaborate and acrobatic choreography. It shows how versatile actors are—and how well they can endure repeated utterances of the word “Skimbleshanks” without breaking into giggles. This troupe, without exception, nails every beat. Seven-year-old me would have been amazed. Thirty-one-year-old me wanted to drink heavily, immediately, and go home and listen to the Glee soundtrack. That’s what the cool kids like these days, right? AP KRYZA. Deb Fennell Auditorium, 9000 SW Durham Road, Tigard, 620-5262. 7:30 pm Wednesday-Saturdays, 2 pm Sundays and some Saturdays through July 21. No show Thursday, July 4. $20-$37.

Comedie of Errors

Claiming to stage Shakespeare’s plays the way they were done in the Bard’s day, the Original Practice Shakespeare Festival sets its shows outside, with minimal rehearsal, plentiful audience interaction and actors who switch roles for each performance. Shakespeare’s tale of two sets of twins and mistaken identities is a perfect fit for OPS Fest, and this adaptation flourishes as the actors improvise their way through bawdy humor and mixups. One performance incorporated bonus material solicited by a prompter

dressed like a referee, who occasionally stopped the play to ask a character to sing a love song, or to expound on “how he really feels.” The actors are equally comfortable wielding swords, quoting Ghostbusters and confessing their love for specific audience members. But take note: Unless you want to be dragged into the action, don’t sit in front. JOE DONOVAN. Multiple locations, 890-6944. Various Saturdays and Sundays through Sept. 29; see opsfest.org for exact times and dates. Free.

Greater Tuna

[NEW REVIEW] The best thing about Lakewood Theatre Company’s production of Greater Tuna isn’t the fact that just two actors successfully play a combined 21 different characters (22 if you count an invisible dog). Nor is the best thing the script’s biting wit, every intentionally mispronounced word delivered perfectly by both men. What’s really amazing is how an improvised scene with audience involvement manages to fit seamlessly into the overall production, a credit to the actors’ skill: They turn the audience into the congregation of the local Baptist church, commenting on the crowd’s clothing in a very funny, very hokey way. Directed by Steve Knox and starring Gary BricknerSchulz and Jay Randell Horenstein, Greater Tuna takes audiences into the world of 1980s Tuna, the “third-smallest town in Texas,” a place where the local Klan leader makes PSAs over the radio and the “Smut Snatchers” want to ban Shakespeare for corrupting youth. A series of satirical vignettes loosely connected by the town radio station OKKK, the play has a huge cast of characters, requiring the actors to change into radically different costumes quickly, something Brickner-Schulz and Horenstein do with seemingly inhuman speed (in as little as five to eight seconds in some cases). If you’re looking to spend your evening watching two expert actors perform a hilarious little piece of theater, look no further. RICHARD GRUNERT. Lakewood Center for the Arts, 368 S State St., Lake Oswego, 635-3901. 7:30 pm Thursdays through Saturdays; 2 and 7 pm some Sundays through Aug. 18. $32.

Harvey

It’s not every day you come across a 6-foot, boozing, talking rabbit. But in Mary Chase’s 1944 play Harvey, that’s exactly who you’ll meet. Harvey is the (presumably) imaginary friend of Elwood P. Dowd (Jason Shanafelt), who is also unseen to the audience. Clackamas Repertory Theatre’s rendition of this slapstick comedy is lighthearted and very funny, despite the dated cheesiness. As Harvey opens, Elwood’s socialite sister Veta (Amanda Valley) and her daughter are fed up with Elwood embarrassing them, so they decide to have him committed to a sanitarium. Veta believes her brother’s insanity is rubbing off on her, and between her hysterical weeping and madman cackling, Valley conjures the biggest laughs from the audience. Elwood is eccentric and amiable, with some of his slyest comments the funniest in the show, and there’s a sense he may be more in control than those trying to tame him. “In this world, you must be oh so smart, or oh so pleasant,” Elwood says. “And I got tired of being smart.” HALEY MARTIN. Clackamas Community College, Osterman Theatre, 19600 S Molalla Ave., 594-6047. 7:30 pm ThursdaysSaturdays and 2:30 pm Sundays through July 21. No show Thursday, July 4. $26.

Lovers’ Quarrels

Masque Alfresco, which produces commedia dell’arte reworkings of Moliere, updates the playwright’s domes-

Willamette Week JULY 17, 2013 wweek.com

tic comedy with modern-day political references and plenty of slapstick. The family-friendly show tours to parks in Lake Oswego, Beaverton and Hillsboro. See masquelafresco.com for performance locations. REBECCA JACOBSON. Multiple venues. 7 pm Fridays-Sundays, July 19-Aug. 4 and Aug. 23-25. 7 pm Saturdays-Sundays, Aug. 10-18. Free.

Over the Cliff Notes on A Midsummer Night’s Dream

The Shakespeare Liberation Army boils down the Bard’s incessantly produced comedy into an hourlong adaptation, interspersed with commentary about the playwright. REBECCA JACOBSON. Washington Park Rose Garden Amphitheater, 400 SW Kingston Ave., 823-2787. 2 pm Saturday, July 20. Free.

Some Americans Abroad

Hillsboro’s HART Theatre presents Richard Nelson’s comedy about a group of American college professors and their students who voyage to London for a marathon theater-going extravaganza. REBECCA JACOBSON. HART Theatre, 185 SE Washington St., 693-7815. 7:30 pm Fridays-Saturdays and 2 pm Sundays through July 28. $14.

his flesh in repayment for a debt— all Italian and Jewish characters don modern dress and carry iPhones, while the princes of Morocco and Aragon wear period clothing. It’s an inconsistency that sometimes makes for a jarring, less-than-cohesive production. With his booming voice, Shylock (James Peck) steals the thunder from many of the younger actors. Still, despite the mishmash of costumes and varied performances. this Merchant still manages to entertain, thanks to the energy of the cast. And unlike the June performances in downtown’s Terry Schrunk Plaza, which were interrupted by blaring hip-hop music and police sirens, most of July’s shows will thankfully be held in the much quieter Washington Park. RICHARD GRUNERT. Multiple locations, 467-6573. 7 pm Thursday-Saturday, June 27-29. 7 pm Friday, July 5. 6 pm Saturday-Sunday, July 6-7. 7 pm Thursday-Saturday, July

11-13. 7 pm Thursday-Friday, July 18-19. 6 pm Saturday, July 20. Free.

The Tale of Cymbeline

Portland Actors Ensemble continues its season with Shakespeare’s phenomenally convoluted romance. Performances take place in parks across the city. REBECCA JACOBSON. Multiple venues. Times and dates vary; see portlandactors.com for details. Free.

The Taming of the Shrew

There’s plenty of Shakespeare at the park during the summer, but Portland Shakespeare Project brings the Bard indoors for a production of the morethan-mildly misogynistic comedy. REBECCA JACOBSON. Artists Repertory Theatre, 1515 SW Morrison St., 241-1278. 7:30 pm Thursdays-Saturdays and some

CONT. on page 43

REVIEW D AV I D K I N D E R

PERFORMANCE

Take Me Out

[NEW REVIEW] As Take Me Out opens, Darren—the center fielder of a fictional Major League Baseball team— has just come out of the closet. “I have come to understand that baseball is a perfect metaphor for hope in a democratic society,” says his gay accountant. That response encapsulates the saccharine message of Richard Greenberg’s 2003 play, presented here by Two Rooks Productions and Gorilla Bomb Theatre and directed by Micah Tate Loiselle. But Darren (Edward Lyons Jr.) gets upstaged by the trials of minor characters. When newcomer Shane Mungitt (Zachary Koeller) kills an opposing player with his pitch, the play takes a dramatic turn toward a soap opera and the dilemma of Darren’s sexual identity—and his teammates’ uncomfortable reactions to it—becomes an afterthought. There’s some tension around Darren’s teammates’ mixed reactions: Some are accepting and others devoutly opposed, particularly Mungitt, who simply refers to him as “the fucker”or “the faggot.” But the production plods, dancing around heavy topics rather than swinging for the fences. Not even numerous shower scenes—with the actors stripped down to their birthday suits—and ear-piercing expletives enliven the action. With the exception of Kippy (Peter Liptak), the amiable shortstop and narrator, performances lack spark. Turns out not even a cast of naked men can bring this ill-fated play back to life. HALEY MARTIN. Interstate Firehouse Cultural Center, 5340 N Interstate Ave., 3065217. 7:30 pm Thursdays-Saturdays, 2 pm Sundays through July 21. $12.

The Complete Works of William Shakespeare [Abridged]

Post Five Theatre’s Complete Works, directed by Ty Boice, is an absurd farce but an all-around good time. Dressed in black tights and colorful jockstraps, Phillip Berns, Adam Thompson and Brett Wilson ambitiously take on all of the Bard’s 37 plays in 90 minutes. Romping around in goofy costumes and outrageous wigs, they could be called the Three Stooges of modern-day Shakespeare. Bear in mind that taking a front-row seat could result in an up-close and personal encounter with an actor, which may turn into an invitation onto the stage. HALEY MARTIN. Milepost 5, 850 NE 81st Ave., 262-853-9344. 7:30 pm Fridays-Sundays through Aug. 4. “Pay what you can.”

The Merchant of Venice

Portland Actors Ensemble’s free, al fresco production of The Merchant of Venice is like watching Miami Vice characters trying to speak Elizabethan English. In director Bruce Hostetler’s rendition of Shakespeare’s play—centered, of course, on a Jewish usurer who seeks revenge on an anti-Semitic merchant by demanding a pound of

WEDDING CRASH: Shrew Katherina (Maureen Porter, far left) flees her groom.

THE TAMING OF THE SHREW

(PORTLAND SHAKESPEARE PROJECT)

Shakespeare gets served.

Wild women need to be tamed by their husbands. Whether or not Shakespeare wrote The Taming of the Shrew as a prescription, his comedy holds this misogynistic thesis as proven fact. In the 21st century, though, the play can be taken only as farce, which is precisely how Portland Shakespeare Project treats it. As if the cast’s well-timed winks and intentional overplaying weren’t enough, sarcasm drips from every line: It’s feminist comedy at its most hilarious. Katherina (Maureen Porter) is the eponymous shrew, the shrieking, icy elder sister of Bianca (Foss Curtis), who has two suitors but cannot marry until Katherina has found a husband. In a garish banded hat, gleaming suit and thin tie, Lucentio (Peter Platt) enters and instantly falls for Bianca, deciding to pose as her Latin tutor. Another of Bianca’s suitors, Hortensio (an unmistakably Belushi-like Sam Dinkowitz), has decided to don a beret to call himself a music tutor. Brash Petruchio (James Farmer) chooses to marry Katherina for her dowry before he’s even met her, determined to domesticate her first by praising each of her evil qualities and then through outright torture. But director Michael Mendelson hasn’t forgotten this is a comedy— quite the opposite. Taming is actually an extended frame tale, with a poor, drunken man being tricked into believing he’s a lord. This is how the production opens, with Matthew Kerrigan in drag as the new lord’s wife, making flamboyant remarks as he takes iPhone photos of the passed-out peasant and intermittently implores his play-husband to “shutteth the hell up.” Offered a plate of food by servants, he waves a hand in the air, exclaiming, “Carbs!” Once his character arrives, Dinkowitz continues the uncouth comic relief. Part Italian slimeball and part prodigal frat boy, Dinkowitz won’t say Bianca’s name unless it’s sung as if in a pop song. While disguised as the music instructor, his affected lisp alone could carry a standup routine. The supporting cast steals many moments, but it’s the polished performances and feminist touches of the leads, especially Porter, that give Taming its political depth and make it such a successful production. Letting all the venom drain out of her voice, Porter intones with a narrow brow, “I’m ashamed that women are so simple.” MITCH LILLIE.

SEE IT: Alder Stage, Artists Repertory Theatre, 1515 SW Morrison St., 7:30 pm Wednesday, July 17, 7:30 pm Thursdays-Saturdays, 2 pm Sundays through Aug. 4. $30, students $20.

PERFORMANCE

JULY 17–23

Wednesdays; 2 pm Sundays through Aug. 4. $20-$30.

Tunde’s Trumpet

A wild array of funky puppets annoy, cajole and distract a talented 10-year-old trumpet player in this short, jazzy kids production from Boom Arts. Tunde (Blake Stone) has the heart to become a true musician, but first he must vanquish five challenges, including frustration and jealousy, in order to reach his potential. Powerful singer and storyteller Ithica Tell and live trumpeter Jon Roberts help anchor the can-do story, while puppets cleverly crafted from old piano keys, bungee cords and bedsheets charm grade-school-aged viewers. KELLY CLARKE. Multiple locations, 567-1644. 12:15 pm Thursday, June 27. 1 and 4 pm Saturday, June 29. 6:30 pm Saturday, July 13. 6:30 pm Sunday, July 21. 6:30 pm Friday, July 26. 7 pm Friday, Aug. 2. 2 and 7 pm Saturday, Aug. 3. 2 pm Sunday, Aug. 4. Free-$25.

COMEDY & VARIETY CHAD Chats 5: Save the Brains

CHAD—the Center for Humorism and Amusement Dynamics— regales audiences with more satirical PowerPoint presentations, this time exploring the wonders of the human brain. Mini lectures range from “Hobo Tom’s Guide to Fighting Robots in Your Dreams” to “Making Unicorns Out of Book Presentations” to the dread-inducing “PowerPoint Presentations: Why They Are Slowly Killing You.” REBECCA JACOBSON. Jack London Bar, 529 SW 4th Ave., 228-7605. 8:30 pm Thursday, July 18. $7-$10. 21+.

Citywide Theatresports Tournament An elimination-style improv competition, with teams of Portlandarea performers building scenes based on audience suggestions. Blank Slate won the last tournament, but can the troupe defend the crown? REBECCA JACOBSON. Brody Theater, 16 NW Broadway, 224-2227. 8 pm Fridays through Aug. 16 and 10 pm Saturdays through Aug. 3. $8-$10.

Dan Mintz

The voice of Tina on Bob’s Burgers, Mintz is known for delivering one-liners with deadpan stoicism. He’s joined by Derek Sheen and MC Jason Traeger. REBECCA JACOBSON. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 8 pm Thursday, July 18. $10-$12. 21+.

How to Age Disgracefully

A new scripted sketch-comedy revue taking on the banalities and absurdities of life, death and the beyond. Caitlin Kunkel, a faculty member at Chicago’s fabled Second City, directs. REBECCA JACOBSON. Brody Theater, 16 NW Broadway, 224-2227. 8 pm Saturdays through Aug. 10. $8-$10.

Ian Karmel’s Last DTF Summer Spectacular

Before Portland’s comedy king carpetbags to Los Angeles, he hosts a final edition of the “Down to Funny” showcase, featuring Anthony Lopez, Katie Brien, Barbara Holm, Curtis Cook and Sean Jordan. REBECCA JACOBSON. EastBurn, 1800 E Burnside St., 236-2876. 8:30 pm Monday, July 22. Free.

Lonnie Bruhn

The local comedian, who was diagnosed with cerebral palsy at birth, celebrates the release of his second DVD, Truth Hurts, with a live recording of his podcast and standup sets from guest comics. REBECCA JACOBSON. Red Room, 2530 NE 82nd Ave., 256-3399. 9 pm Saturday, July 20. Free.

Myq Kaplan

This vegan atheist is one of the

sharpest and most cerebral comics currently working the standup scene, and his nerdy jokes should land well in Portland. REBECCA JACOBSON. Helium Comedy Club, 1510 SE 9th Ave., 888-643-8669. 8 pm Thursday and 7:30 and 10 pm Friday-Saturday, July 18-20. $15-$25.

Skootch

The improv troupe returns with Error 404, featuring three acts of multimedia-heavy improv, including a new segment inspired by vintage radio. REBECCA JACOBSON. Brody Theater, 16 NW Broadway, 224-2227. 7:30 pm Thursday, July 18. $6.

DANCE Aziza

Belly dancer Aziza returns to Portland with a cavalcade of musicians. Syrian percussionist Issam Houshan joins Portland’s Ritim Egzotik, with Michael Nageub on nay flute and Tracy Helming on violin. AARON SPENCER. Alberta Rose Theatre, 3000 NE Alberta St., 719-6055. 8 pm Saturday, July 20. $20-$25.

Save $10 off a MFNW wristband Saturday, July 20th at Oui Presse. 9am to 1pm 1740 SE Hawthorne Blvd

Black Light Circus Burlesque

Bisexual Circus, the aptly named circus based on bisexual orientation, goes under black lights. Performances include virtually every dance-club stunt—trapeze, silks and LED hula hoops—in addition to some variety show acts like singing, comedy and live theater. Some form of ballet is also involved. AARON SPENCER. The Analog, 720 SE Hawthorne, 432-8079. 10 pm Saturday, July 20. $10. 21+.

Dance+

The annual series by nonprofit Conduit Dance brings together contemporary talent from around the Northwest—and this year, from around the country—for performances that stretch the imagination. The highlight of this five-act lineup is likely to be former Batsheva member and Gaga expert Danielle Agami. It’s a quartet and series of solos with an animal-like quality and a high level of technical acumen; Agami typically pairs full-bodied movements with smaller articulations. Similar work comes from Seattle’s Maya Soto, who is known to blur style lines between funk, popping and cultural dance. On the more conceptual side are Portland’s Jin Camou and Stephanie Lanckton. Camou’s work is more theatrical, with small sets and minimal, humorous movement instead of full-out dancing. Lanckton’s piece has its base in the Japanese performance art of butoh, though it only feels organic as Lanckton did, indeed, choreograph it. Rounding out the show is a video, Clipped Wing, by Chris Peddecord and dancer Kara Girod. It’s a romantic narrative featuring Girod, Northwest Dance Project’s Franco Nieto and Lindsey Matheis, and BodyVox’s golden-maned Josh Murry. AARON SPENCER. Conduit Dance, 918 SW Yamhill St., Suite 401, 221-5857. 8 pm ThursdaySaturday, July 18-20. $17-$20.

presents

December 5, 2013, 7:30 PM Arlene Schnitzer Concert Hall Tickets start at $15, available at PCPA.com

Northwest Dance Project

The two winners of the Northwest Dance Project Pretty Creatives international choreographic competition show works created with the dancers from Northwest dance Project’s Launch program. Choregraphers Simone Orlando of Vancouver, British Columbia, and Yin Yue of New York, were chosen out of 70 entries. AARON SPENCER. Northwest Dance Project Studio & Performance Center, 833 N Shaver St., 421-7434. 7:30 and 8:30 pm Saturday, July 20. $10 suggested donation.

Experience true stories told live!

For more Performance listings, visit Willamette Week JULY 17, 2013 wweek.com

Headout

VISUAL ARTS

JULY 17–23

= 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.

landscapes are barren, L’Amie’s teem with animal life. Although there is an undeniable whimsy in these works, they manage, barely, to avoid preciousness. Through July 27. PDX Contemporary Art, 925 NW Flanders St., 222-0063.

Karen Esler: Hurricane

Central Florida native Karen Esler, now a Portlander, revisits the Sunshine State in a suite of decidedly unsunshiny oil paintings entitled Hurricane. Unerringly, unnervingly, the artist captures the storms’ pounding wind and rain. Dark skies and gale-whipped palm trees lend the series a sense of violence and foreboding. Through July 27. Augen DeSoto, 716 NW Davis St., 224-8182.

Lucy Skaer

PG 23

Scotland-based artist Lucy Skaer traveled to Iowa to pick out large chunks of limestone for her installation at YU. The rocks were so heavy, she had to have them shipped to Portland in an 18-wheeler. The stones are strategically placed in YU’s spectacular, light-bathed exhibition hall, complemented by a myriad bricksized terra-cotta sculptures. Skaer is well known internationally, having represented Scotland in the prestigious Venice Biennale in 2007, and she works across a wide range of media, not only sculpture but also film, drawing and video. The YU show promises to number among the most memorable Portland installations of the year. July 19-Sept. 12. YU Contemporary, 800 SE 10th Ave., 236-7996.

Sherrie Levine

LUCY SKAER’S ROCKS ON DISPLAY AT YU CONTEMPORARY

18th Annual Recent Graduates Exhibition

Work by recent graduates from 15 of Oregon’s colleges and universities is displayed in this sprawling exhibition. Among the highlights is Linfield College graduate Lucas Cook’s Awareness: Equanimity, a split-screen video installation showing a nude man swimming. With its slo-mo imagery and bubbling, downtempo soundtrack, this deceptively simple piece has sensuality and sophistication to burn. Another piece that kicks serious ass is Reed College graduate Alisa Bones’ Subtractive Brushstrokes Over Color Field. The acrylic painting invigorates a time-worn trope by counterposing horizontal gestures in pink, salmon, chartreuse and aqua beneath a sexy, waxy finish. Through July 27. Blackfish Gallery, 420 NW 9th Ave., 234-2634.

Barbara Sternberger: Confluence

Barbara Sternberger paints with snow cones loaded with oil paint, raw pigment and wax. Despite this gimmicky, newfangled technique, the paintings have a decidedly oldfashioned charm. In works such as Moving and Beginnings, she lets color, form and surface come to the fore, weaving narratives of pure opticality in the vein of Abstract Expressionist Joan Mitchell. Through July 27. Elizabeth Leach Gallery, 417 NW 9th Ave., 224-0521.

COGnition: Contemporary Wood-fired Sculpture by Richard Brandt, John George Larson, and Brad McLemore

The newish Eutectic Gallery showcases contemporary ceramic arts and crafts. Its latest show, COGnition, is all about cogs, wheels, gears, chains, and other imagery from the high industrial age. Richard Brandt’s sculptures exude a shimmering glow, while John George Larson’s have a geometric precision counterbalanced by an agreeably crude material thickness. Brad McLemore’s abstracted mechanical devices walk the line between depiction and evocation. Together,

Willamette Week JULY 17, 2013 wweek.com

the artists perform a seemingly impossible task: using the eminently breakable medium of fired clay to portray objects made of impermeable metal alloys. Through July 28. Eutectic Gallery, 1930 NE Oregon St., 974-6518.

Flight

The Falcon Art Community, recently featured in a WW cover story by Aaron Mesh (“Rise of the Falcon,” March 20, 2013), partners with P:ear for the group exhibition Flight. The paintings, mixed-media work and music in the show are the products of several months of workshops between Falcon artists and P:ear youth. Through July 26. P:ear, 338 NW 6th Ave., 228-6677.

Jessica Curtaz: Under the Sun’s Glare

Nothing says summertime like hydrangeas in bloom, so Jessica Curtaz’s show of works on paper is perfectly timed. The Philadelphiabased artist begins with thin graphite outlines of hydrangeas, then layers the images atop one another until they’re veritable heaps of petals and pistils. This visual glut is counterweighted by Curtaz’s subtle grayscale palette, for an overall impression at once maximalist and minimalist. Through July 27. Charles A. Hartman Fine Art, 134 NW 8th Ave., 287-3886.

Justin L’Amie: The Trunk of a Tree

Antique books by botanists and other naturalists influenced Justin L’Amie’s suite of new works, collectively titled The Trunk of a Tree. Their subject matter—birds, insects and plants—could indeed be found in and around the trunk of a single tree. The artist is at his strongest in small-scale works such as Delaney’s Moth, which depicts the eponymous moth via carefully placed slivers of gouache atop a background of rough-edged handmade paper. In The Island, L’Amie zooms out to a wide shot of a fantastical landscape. There are similarities between this vision and that of another PDX Contemporary artist, Adam Sorensen, but whereas Sorensen’s

Art superstar Sherrie Levine made a name for herself in the 1970s and ’80s as part of the “Pictures Generation” and appropriationist movements. Essentially, she has based her career on reproducing and recontextualizing the work of other artists, and the Portland Art Museum’s exhibition of her work illustrates this tactic well. On display are two vintage Levine pieces and three that were made during the past two years. But the pièce de résistance is a series of 16 paintings riffing on Claude Monet’s famous and ubiquitous Water Lilies. Viewers unfamiliar with Levine will benefit from this thoughtfully conceived introduction. Through Oct. 13. Portland Art Museum, 1219 SW Park Ave., 226-0973.

Suzanne Flynn and Susan Cunningham: In Her Mind’s Eye

Suzanne Flynn’s abstract mixedmedia paintings have rich surfaces: crests and crinkles that interact fetchingly with paint, evoking channels of water or sections of farmland as seen from above. The paintings are chromatically thoughtful and well-composed. Susan Cunningham’s acrylic paintings are vivid color fields of turquoise, tomato red, lime green and purple. With their primarily horizontal orientations, they suggest abstracted landscapes, with misty divisions between sky and earth. Through July 21. Talisman Gallery, 1476 NE Alberta St., 284-8800.

Wilder Schmaltz: Night Lands

In Wilder Schmaltz’s drawing Catalan, a sunken-eyed old man confronts the viewer as he stands before an eerie background of arched windows and lapping waves. It’s the strongest image in Schmaltz’s exhibition, Night Lands. In this and other single-figure portraits, Schmaltz’s sense of compositional drama blazes forth, although it tends to dilute when he includes more figures. The works’ high-gloss finish also distracts from their overall appeal. Schmaltz’s luxuriant, chalkylooking marks would benefit from a more direct sight line; there is nothing here to hide and everything to show off. Through July 28. Gallery 6 PDX, 131 NE 6th Ave., 206-7280.

For more Visual Arts listings, visit

BOOKS

JULY 17–23

= 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.

focusing on prose, poetry and visual art—will launch with a reading by contributing writers Thomas Mowe and Andrew Palmer, with music by Hazel Ra. The Waypost, 3120 N Williams Ave., 367-3182. 8 pm.

WEDNESDAY, JULY 17

MONDAY, JULY 22

Think and Drink

Because most good ideas need a little lubrication to get off the ground, the Oregon Humanities’ Think and Drink series continues with part three of its four-part conversation project “How to Love America.” This go-around will focus on the promotion of democratic ideals overseas and will feature Olga Oliker of the RAND Corporation and Bruce Gilley of Portland State University with Tim DuRoche of the World Affairs Council of Oregon moderating. Mission Theater, 1624 NW Glisan St., 223-4527. 6:30 pm. Free. 21+.

Curtis Sittenfeld

Everyone knows twins are born with an innate psychic sense (that and a secret language). In her new novel, Sisterland, bestselling author Curtis Sittenfeld (American Wife, Prep) explores the relationship between sisters Kate and Violet, and the lifealtering events that bring them back to their hometown after growing apart. Powell’s Books at Cedar Hills Crossing, 3415 SW Cedar Hills Blvd., Beaverton, 228-4651. 7 pm. Free.

Chris Bohjalian

For his newest novel, The Light in the Ruins, prolific author Chris Bohjalian (The Sandcastle Girls, Midwives) throws together a garden variety of story elements, including a war-ravaged Tuscan countryside circa 1943, a beautiful woman with a haunted past, a noble Italian family and a serial killer for good measure. Powell’s City of Books, 1005 W Burnside St., 228-4651. 7:30 pm. Free.

THURSDAY, JULY 18 E.E. Charlton-Trujillo

You can tell from the offset that the titular character of E.E. CharltonTrujillo’s new novel, Fat Angie, has it rough. Her war-hero sister was captured in Iraq, her mother ignores her, she is tormented at school, and her recent suicide attempt was a failure. All she has left to find comfort in is a mountain of junk food, until the arrival of a mysterious girl. Powell’s City of Books, 1005 W Burnside St., 228-4651. 7:30 pm. Free.

FRIDAY, JULY 19 Kari Luna, Kirsten Smith and David Iserson

Combining their penchant for whimsical comedy and quirk, authors Kari Luna, Kirsten Smith and David Iserson will each read from their new books. Luna’s The Theory of Everything follows Sophie Sophia’s search for her father, accompanied by a shaman panda named Walt. Smith’s Trinkets tells a story from multiple perspectives as three girls work toward recovery and find friendship. Iserson’s Firecracker is a tragicomedy about the recently expelled Astrid Krieger, who must attend public school for the first time. Powell’s City of Books, 1005 W Burnside St., 228-4651. 7:30 pm. Free.

SATURDAY, JULY 20 Back Fence PDX

Taking performance storytelling to the not-quite life-or-death extreme, the eight featured guests of Back Fence PDX will play a version of Russian roulette. After being randomly drawn, each storyteller will spin the wheel of juicy story prompts and then have five minutes to prepare a true, five-minute story

based on that prompt; the audience selects a winner. Spinning the wheel this month will be previous winner Jason Sauls, plus Steve Almond, Jillian Lauren, Arthur Bradford, Emmett Montgomery, Shannon Balcom, Sarah Mirk and Leather Storrs. Disjecta, 8371 N Interstate Ave., 286-9449. 8 pm. $16-$18.

Big Big Wednesday

Because in Portland we accept no limits on good things (craft beer, artisan snacks, overeducated creative types), a new literary/ arts pub is hitting the scene. The release party for the new independent journal Big Big Wednesday—

In celebration of WW’s upcoming Best of Portland issue, enter to win a pair of tickets to our Best of Portland Party.

July 24 • 5:30-9pm! Enter @ wweek.com/promotions

Verse in Person

Just like some sweet smooth jazz, Verse in Person will be hosting “A Mellifluence of Poets” for this month’s reading. Following the open mic will be featured poets Nancy Flynn, Cindy Williams Gutierrez, Camille Perry and Suzanne Sigafoos. Multnomah County Library— Northwest Branch, 2300 NW Thurman St., 988-5560. 6 pm. Free.

For more Books listings, visit

REVIEW

MATTHEW SPECKTOR, AMERICAN DREAM MACHINE Beau Rosenwald is not a Hollywood pretty boy. He will never be handsome. He’s 5-foot-8, 275 pounds. But as the narrator of American Dream Machine (Tin House, 460 pages, $25.95) explains, if you look at anything long enough, even Beau, even a street lamp, “it establishes dominion, a quiddity: it becomes itself.” Talent is in the blood. This sentiment sums up American Dream Machine, the sophomore novel from Matthew Specktor. And it is indeed a good, long look at the Hollywood film biz from the 1970s to the present day. The result: Hollywood is not all bad. American Dream Machine thus manages to produce a creature with more human features than the standard “Hollywood novel.” Referring to Beau’s career as a talent agent, Specktor writes that “not only are there second acts in American lives, there were thirds, fourths, fifths.” Machine begins when Beau unknowingly impregnates two women, starting a story, ultimately, more about family than the film industry. One of his sons, Nate Myer, is the book’s cautious narrator, and part of a trio that he, at one point, wryly calls the “Hollywood Princes.” Often neglected as a child, Nate is willing to paint his father with both light and dark colors. Beau, from Nate’s perspective, is a product of his humble Queens upbringing who ultimately earns enemies, ex-wives and millions of dollars. But Beau doesn’t fit the bill of a classic self-made man. He is neither bright nor cultured. He reads only one book, but it happens to be Shakespeare’s Coriolanus, and it’s clear that Beau approaches the 1970s film biz a bit like a Shakespearean bloodbath. American Dream Machine is most successful when it channels this bloodbath, the dangerous undercurrent of Beau’s often ambitious Hollywood maneuvers, but fails when Specktor chooses to pair Beau’s story with that of Emily White, an intern at Beau’s production studio who advances quickly in the film biz. Her story begins in the mailroom of a talent agency, exactly like Beau’s 30 years previously. The close pairing of Emily’s narrative with Beau’s feels more like an episode of Bewitched than anything. Showtime has already picked up the rights to turn Specktor’s book into a TV series, with the actor who plays the serial murderer and forensic investigator in Dexter (Michael C. Hall) signed on to produce. This is perhaps fitting. The film business might be a bloodbath, but Specktor’s lurid portrait of Beau and his sons is a thing of fat, hair and sweat. JOE DONOVAN.

Willamette Week Headquarters 2220 NW Quimby St.

ces

Upcoming In-Store Performan CHRIS FUNK AND SCOTT LAW: A Tribute To Johnny Cash WEDNESDAY 7/17 @ 5 PM

The Decemberists’ founding member, Chris Funk, pairs with guitar master, Scott Law. They will also appear at the 12TH NORTHWEST STRING SUMMIT, THURS., JULY 18.

CLARENCE BUCARO FRIDAY 7/19 @ 6 PM

Over six albums the prolific, honey-voiced Brooklyn singer-songwriter Clarence Bucaro has crafted an impressive canon of uplifting Americana, garnering comparisons to Jackson Browne and Van Morrison.

MARTIN ZARZAR

SATURDAY 7/20 @ 4 PM

Martin Zarzar’s new album is full of vitality and rhythm. It’s about the music, but it also deals with current events in not so subtle but still entertaining ways.

LULU LAFEVER & THE HOT TAMALES SUNDAY 7/21 @ 3 PM

Lulu has been compared to Ella Fitzgerald, Bonnie Raitt, and Cindy Lauper. Her songwriting has the sizzle of pop jazz and the fun of jukejoint swing. The Hot Tamales are: Jon Lindahl, Marc Hutchinson, Leah Hinchcliff, Brandy Hutchinson.

FRUITION: RECORD RELEASE EVENT TUESDAY 7/23 @ 6 PM

Sharing a common love of music, whiskey and life on the road, Fruition was originally brought together by the lure of adventure. For the last five years, the Portland string infused quintet has racked up the miles playing sold out shows in their adopted hometown and garnering new fans across the country.

GO: Tin House authors Matthew Specktor and Jodi Angel read at Powell’s City of Books, 1005 W Burnside St., on Monday, July 22. 7:30 pm. Free.

Willamette Week JULY 17, 2013 wweek.com

JULY 17-23 DATES HERE REVIEW

= WW Pick. Highly recommended.

WILD BUNCH

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.

20 Feet From Stardom

A- Life is unfair, and the music indus-

try is worse. If there were a rubric to figure out what makes one performer a household name and the other just another name in the liner notes, the history of pop would read much differently. Turning the spotlight on several career backup singers, Morgan Neville’s 20 Feet From Stardom shows, with great warmth and color, what it might sound like. These are voices and personalities every bit as big as Tina’s and Aretha’s but that, through the vagaries of fate more than anything else, never made what Bruce Springsteen calls “the long walk” from the back of the stage to the front. Only Sheryl Crow, it seems, fully shed the stigma of being a supporting player. Others have come frustratingly close: Lisa Fischer won a Grammy in 1992 but still has to wait in line at the post office. Merry Clayton helped make “Gimme Shelter” into the Stones’ finest moment but never had a major hit herself. Darlene Love, a protégée and plaything of Phil Spector, is the most recognizable, though that’s mostly because she played Danny Glover’s wife in the Lethal Weapon movies. She was inducted into the Rock and Roll Hall of Fame in 2011, but only after the surreal experience of hearing her voice wafting from the radio in a house she’d been hired to clean. Most are resigned to their roles in the musical ecosystem, content to have sacrificed their own aspirations for the sake of elevating the art itself. Whether that’s noble or a con, Neville never judges. He just lets them sing. And, in a more perfect universe, that would be enough. MATTHEW SINGER. Living Room Theaters.

Hurt Me

Big Star: Nothing Can

B Long ago, in a galaxy far, far, far

away, a little power-pop group from Memphis was once as famous as the Beatles. Children by the millions sang odes to the lead singer, and teenagers of the 1970s blasted its songs in their Vista Cruisers. That’s the fanfic version of the Big Star story, anyway. In reality, the band’s lack of success was so startling, given the utter perfection of its first two albums, that admirers from the Replacements to the creators of That ’70s Show have rewritten history to try and make things right. Failure defines Big Star, and that’s the lens through which Nothing Can Hurt Me frames them. Sure, Drew DeNicola and Olivia Mori’s detailed primer follows the familiar “what once was lost, now is found” narrative, but unlike many recent rock docs, the focus here is on what was lost—namely, its twin geniuses, Alex Chilton and Chris Bell. After Big Star’s debut, the ironically titled #1 Record, flopped, Bell didn’t even stick around for album No. 2: He descended into drugs and religion, wrote at least one more achingly poignant tune and died in 1978 at age 27 in a car accident. Chilton lived long enough to witness Big Star’s rediscovery, but by then he’d grown embittered, and he died suddenly in 2010. Neither guy was wont to talk about himself on the record, so much of the film is told by those who traversed their orbit: first-generation rock writers, the late producer Jim Dickinson, drummer and lone surviving member Jody Stephens. DeNicola and Mori don’t really explain why “In the Street” wasn’t actually blaring from every car in 1972, or why “September Gurls” isn’t played every hour on classic-rock radio, but if their film encourages one person to pick up one of the band’s masterpieces and imagine what could’ve been, then it is triumph enough. MATTHEW SINGER. Hollywood Theatre.

Born to Royalty

[FOUR DAYS ONLY] For die-hard Anglophiles only, here comes a BBCproduced film about the baby—about to be born to Prince William and Kate

Middleton—who will have not only a highchair but a throne. Narrated by Hugh Bonneville, aka the earl of Grantham. Hollywood Theatre. FridayMonday, July 19-22.

Broken

B [ONE WEEK ONLY] Rufus Norris’

debut feature, Broken is a powerful British coming-of-age drama, with some scenes so real you have to look away. Based on Daniel Clay’s 2008 novel—which is itself a modern interpretation of To Kill a Mockingbird—the captivating film follows three families in a middle-class suburban neighborhood. At the center is a lonely 11-year-old, Skunk Cunningham (Eloise Laurence), who becomes jaded too soon by an unrelentingly bitter world. In the opening scene, she visits her reclusive and mentally disabled neighbor as he washes his car, when suddenly an older man shows up and beats him to a bloody pulp, believing that he raped his teenage daughter. This is the first of many brutal crises that unfold over the course of Broken, which benefits from stylish cinematography but whose nonlinear structure can be hard to follow. Laurence’s impressive performance helps to ground the film. Before bed one night, she rests with her father—a lawyer who tries to shield her from the trauma that surrounds her—and asks, “What would you do if I died, Dad? Would you cry a lot?” Yet she still shows glimpses of a playful but fading innocence, as when she giggles with her brother or ventures into a nearby junkyard. The characters’ suffering is palpable, but sincere moments of love and childlike joy show life is worth fighting for, even when all seems broken. HALEY MARTIN. Clinton Street Theater.

Casablanca

[ONE NIGHT ONLY, REVIVAL] Here’s looking at you, kid. PG. Hollywood Theatre. 7 pm Sunday, July 21.

Despicable Me 2

C Gru, the lead character of Despicable Me 2, is the sort of megalomaniacal evildoer bound to risk everything on grandiose schemes destined to fail spectacularly. Steve Carell, fittingly, blesses him with richly textured, endlessly inventive vocal embellishments, cultivating every last nuance of long suffering from the character. But the joke rings somewhat hollow when anti-villain Gru’s ambitions have been reduced from stealing the moon to caring tenderly for three adopted daughters amid the wilds of suburbia. This sequel to 2010’s blockbuster adds Kristen Wiig as high-spirited love interest and expands the animated repertoire to encompass 3-D thrills, but the story itself, which shoehorns Gru into the service of a global super-spy league for the flimsiest of reasons, arrives packed with exposition and shorn of coherency while allowing precisely no opportunities for expression of the dastardly hubris that named the franchise. Gags either pander to the target audience’s fart-joke triggers or inanely reference past cartoons— allusions to Carmen Miranda’s fruittopped headwear evidently still forced upon children no longer familiar with old movies or South American-themed floor shows (or perhaps even fruit)— without any trace of genuine wit or verve. The one bright spot is the the slapstick camaraderie of Gru’s minions. All unblinking eye and bristling energy, there’s an anarchic zest to their headlong confusion that happily overwhelms each scene. As importantly, only when commanding those little yellow creatures does Gru truly reclaim his voice. PG. JAY HORTON. Cedar Hills, Clackamas, Oak Grove.

Epic

B The words “from the makers of Ice

Age and Robots” and “starring the voices of Beyoncé, Pitbull and Steven Tyler” don’t exactly inspire confidence in a summer animated release. In fact,

Willamette Week JULY 17, 2013 wweek.com

ARMS TOO SHORT TO THAI BOX WITH GOD: Hey, girl, welcome to Ryan Gosling’s Punch-Out!!.

THE DIVINE BRUTALITY ONLY GOD FORGIVES SWINGS AND MISSES. BY AP KRYZ A

243-2122

Despite their extreme differences in content—the retro gangsters of Drive, the Danish drug lords of the Pusher trilogy, the wayward Christian vikings traversing their own personal hell in Valhalla Rising—there is no confusing a Nicholas Winding Refn film with that of any other director. He establishes his characters in neon-swathed worlds where long moments of placid silence are interrupted by jarring and brutal violence, doing the right thing often means doing horrible things to others, and innocence is the rarest of all commodities. By all criteria, Only God Forgives is unmistakably Refn’s work. In fact, the film takes all the director’s trademarks—the violence, the synth score, the stoicism, the colors, the Ryan Gosling—and boils them down to a potent bullion cube of a film, and the result is at once a visceral, purely cinematic experience and a numbing exercise in existential filmmaking. No wonder the film’s Cannes debut elicited confusion and boos: Only God Forgives makes the metaphysical Viking mayhem of Valhalla Rising seem like a children’s book. That’s no easy task, and on paper, Only God Forgives sounds about as simple as a film can get. Gosling plays Julian, an American expat in Thailand who runs a boxing club as a front for his Jersey-trash gangster mother (Kristin Scott Thomas). When Julian’s older brother is killed after committing a particularly heinous crime, Thomas demands not only that the murderer be slain, but also the police who allowed the retribution. This sets her up against Chang (Vithaya Pansringarm), an unassuming, karaoke-loving, sweater vestwearing police lieutenant who may or may not be God, and who doles out blank-faced justice using a katana, eye-gouges and his fists as tools. That sets the stage for a pretty standard revenge thriller, but Refn’s not interested in simplicity—or coherence, for that matter. But damned if it isn’t gorgeous to look at. Eyes Wide Shut cinematographer Larry Smith bathes the set in crimson, allowing the camera to slowly track down glowing hallways draped in gaudy floral wallpaper, posing each character with

an almost obsessive attention to symmetry. The violence is stark yet gorgeously choreographed. The entire film plays out like a fever dream, with the narrative often interrupted by prolonged hallucinations. and characters behaving in such exaggerated ways that nothing seems entirely real. It’s as if David Lynch and Gaspar Noé, whom Refn consulted for the film, decided to make a Thai gangster movie together, but subbed out the mob boss for a vengeful deity.

ONLY GOD FORGIVES MAKES THE METAPHYSICAL VIKING MAYHEM OF VALHALLA RISING SEEM LIKE A CHILDREN’S BOOK. There are moments of pure, chaotic force, most of them perpetrated by Pansringarm, who lends an otherworldly sense of menace to the proceedings while hardly speaking a word, and by Thomas, whose mob maven is a boiling pot of rage and domineering oedipal complexity. Whenever these two characters are onscreen, the film comes vibrantly to life, crackling with electricity and fear that the only thing that can be expected is that the unexpected isn’t going to be pleasant. Yet, despite its dreamlike nature and frequent jolts, Only God Forgives rings hollow. It’s a dreary and, despite all odds, forgettable exercise whose style overpowers its characters. Gosling, who proved in Drive that he can work miracles with minimal lines, is nothing but a statue posed in various vignettes here. The film makes the interesting choice of telling its tale through the eyes of an emotional blank slate, but there’s simply not enough percolating to the surface to make it particularly engaging beyond its visual beauty. The film manages to drop you into an unimaginable, gorgeous nightmare. The style’s amazing. The substance, though, may cause drowsiness. C+ SEE IT: Only God Forgives is rated R. It opens Friday at Hollywood, Living Room Theaters.

JULY 17-23

SINGER. Academy, Laurelhurst.

The Heat

BROKEN based on the promotional materials for Blue Sky Studios’ Epic, one would be forgiven for thinking it was making a play for the pop-cultureaddled throne of Shrek, or perhaps positioning itself as a modern-day FernGully full of heavy-handed environmental grandstanding. Those assumptions are, thankfully, very, very wrong. Epic is a sprawling, otherworldly adventure that combines the best elements of The Wizard of Oz and Lord of the Rings into a surprisingly poignant fairy tale. A troubled teen girl (Amanda Seyfried) is magically reduced to the size of an insect only to discover the flora and fauna are all living in an advanced society guarded by tiny soldiers called Leafmen and under attack by an evil king (Christoph Waltz). In terms of pure visual spectacle, Epic is a wonder. A tree stump becomes the dark castle from which an evil army plots world domination. Tiny soldiers dogfight through the skies atop hummingbirds and bats. Miraculously, none of this comes off as particularly cutesy. Most impressive, though, is the sense of wonder that permeates Epic. With its eyepopping art and living forest aesthetic, it’s only natural to compare the setting to James Cameron’s Avatar. Yet Epic has more life in one frame than Cameron mustered in his entire film. It isn’t perfect, but Epic nonetheless nails a balance of heart and popcorn fun. And that it doesn’t resort to a bunch of fart jokes or a sing-along between Beyoncé, Pitbull and the dude from Aerosmith truly sets it apart. PG. AP KRYZA. Academy, Laurelhurst.

Frances Ha

A- People have been trying to figure

out twentysomethings at least since Dustin Hoffman unzipped Anne Bancroft’s dress. In 2010, The New York Times Magazine ran a late-tothe-game article about a “new” life stage called “emerging adulthood” (a phrase coined by a psychology researcher a decade before) when self-indulgence and self-discovery collide. The exuberant and disarming Frances Ha is a portrait of one such emerging adult, shot in resplendent black-and-white and scored like a French New Wave film. As played with haphazard elegance by Greta Gerwig, Frances is a 27-year-old aspiring dancer in New York City still lurching through the obstacle course of a privileged post-collegiate life. Sometimes life is a playground, as when Frances and best friend Sophie (a snappy Mickey Sumner) play fight in Central Park or snuggle platonically in their apartment. And sometimes it’s a minefield, with the perils of adulthood blowing up without warning in Frances’ face, as when Sophie announces she’s moving out. While Sophie grows more serious about her hedge-fund boyfriend, Frances remains needy, frequently oblivious of others and prone to hogging conversations with directionless soliloquies. Yet she’s immensely likable. Gerwig strips her performance of affect or cutesiness; unlike those manic pixie dream

girls, she’s not being quirky just to snag a guy. This non-romantic bent lends Frances Ha freshness, amplified by the rhythmic, sprightly screenplay, co-written by Gerwig and Noah Baumbach. “I’m not messy, I’m busy,” says Frances. Later, after a squabble, she sputters at Sophie: “Don’t treat me like a three-hour brunch friend!” It’s fluid yet fizzy, specific yet eminently relatable. In one of the loveliest moments, David Bowie’s “Modern Love” plays as Frances spins through the streets. Backpack bouncing, floralprint dress cutting a contrast with the crosswalk striping, she’s every bit the emerging adult: aimless yet hopeful, self-absorbed yet in wide-eyed awe at the big, beautiful world. And as the audience, we’re lucky to run alongside her. REBECCA JACOBSON. Academy, Laurelhurst.

Girl Most Likely

The good news: Annette Bening and Kristen Wiig team up to play mother and daughter in this comedy about a New York playwright (Wiig) whose career has flopped. The bad news: Not screened for Portland critics, which is never a promising sign. PG-13.

Grown Ups 2

Adam Sandler and Chris Rock return with more juvenile clowning. In an additionally unpromising move, not screened for Portland critics. PG-13.

Hackers in Hecklevision

[ONE NIGHT ONLY, REVIVAL] A movie about the Internet’s dark ages is a perfect match for the fancy technology that allows the audience to send snarky texts that appear onscreen. Wait till the scene where the hackers use payphones to stage their assault. Tonight’s special wisecrackers include Shane Torres, Sean Jordan and Amy Miller. PG-13. Hollywood Theatre. 7 pm Saturday, July 20.

Handmade Monsters: The Masters of Practical Effects

[ONGOING SERIES, REVIVAL] More beasts in 35 mm with 1981’s comedyhorror mashup An American Werewolf in London. R. Hollywood Theatre. Friday-Monday, July 19-22.

The Hangover Part III

D Five minutes into The Hangover Part III, Zach Galifianakis decapitates a giraffe with a freeway overpass, then basically kills his father. That these moments are played for guffaws (“He killed a giraffe. Who gives a fuck?” snickers Bradley Cooper) shows how blackened and mean the frat-comedy franchise got between the surprise megahit original and the lazy, cynical first sequel. But at least with those gags, writer-director Todd Phillips appears to be trying. Otherwise, the third and, we’re assured, final movie in what’s been retroactively christened the “Wolfpack Trilogy” is somehow lazier and more cynical than the last. Tossing out the formula he recycled in Part II, Phillips drops a tepid crime-comedy in its place, the apparent intent being to bore audiences into never demanding another installment. An all-out parade of degrada-

C The Heat may be the most tragic blunder since Pryzbylewski gunned down that plainclothes cop in Season 3 of The Wire. Despite the combined talents of Bridesmaids director Paul Feig, Parks and Recreation writer Katie Dippold and go-for-broke star Melissa McCarthy, the few jokes that hit their mark are severely overshadowed by the film’s lousy rap sheet. After rushing to team up Ashburn (Sandra Bullock), a buttoned-down FBI control freak, with Mullins (McCarthy), a borderline-feral Boston police detective, the action-comedy sets them off in lukewarm pursuit of a shadowy drug lord. With the film barely feigning interest in its own slapdash plot, it quickly devolves into a succession of scenes intended to reinforce that Ashburn is extremely strait-laced while Mullins is incredibly slovenly. You can watch McCarthy and Bullock bounce off each other for only so long before the effect becomes about as amusing as staring at a Newton’s cradle. In terms of meeting its “buddy cop” requirements, The Heat is content to go through the paces, and Feig tends to become overly enamored with his stars, allowing them to riff for far too long. McCarthy is a nimble actor, but—as in the abysmal Identity Thief— she’s reduced here to strictly a bluntforce weapon. Asking her to do little more than hurl f-bombs is just a crime. R. CURTIS WOLOSCHUK. Cedar Hills, Clackamas, Oak Grove.

A Hijacking

B Those in search of a little swashbuckling best look elsewhere. Though based on a true story of contemporary high-seas piracy, Tobias Lindholm’s slow-burning thriller makes a bid for verisimilitude that extends well beyond the use of natural light and handheld cameras. In this follow-up to his prison drama R, the Danish writerdirector again explores the psychological effects of confinement. When Somali pirates overrun a cargo ship, the cook Mikkel (Pilou Asbæk) struggles to keep it together as the sense of an awful and imminent end cedes to the dreadful suspicion that he’s actually been condemned to an inescapable limbo. And how else is he to feel as ransom negotiations between his captors and Peter (Søren Malling), the shipping company’s president, grow ridiculously protracted? While Mikkel’s bid to retain his dignity earns our sympathy, Peter’s attempts to save face demand our rapt attention. Having previously displayed his own predatory instincts, the executive now faces adversaries who can more than match his callousness. By staging his study of brinksmanship on two fronts, Lindholm illustrates how a brutal ordeal for those in the line of fire might amount to just a bad day at the office for the suits calling the shots. R. CURTIS WOLOSCHUK. Living Room Theaters.

Hunter S. Thompson’s Birthday: The Spirit of 76

[ONE NIGHT ONLY] Celebrate what would have been Thompson’s 76th birthday with a free screening of Wayne Ewing’s 2010 film Animals, Whores and Dialogue, a portrait of the master of gonzo journalism at work. Cocaine and mescaline not provided. Clinton Street Theater. 9 pm Thursday, July 18.

Iceberg Slim: Portrait of a Pimp

A- According to author K’wan Foye,

the iconic pimp-turned-writer Iceberg Slim “would paint beautiful pictures using ugly paint.” The same could

be said of first-time director Jorge Hinojosa and producer Ice-T, who craft a compelling, surprisingly level-headed tale not only of Slim’s life bewitching women with his “poisonous pimp charisma,” but also of his escape from that life through writing. Interviewees such as Snoop Dogg, Chris Rock and a handful of comparatively dweeby clinical psychologists speak of the late Slim with a twisted sort of awe, detailing a terrifying childhood that included Slim being raped by a female babysitter. It’s an unusual opportunity to examine the roots of a man who eventually made a living brutalizing and objectifying women in what he called “the grimy catacombs of the ghetto.” An interview with Slim’s ex-wife, who croaks out the story of their life together while sucking on a cigarillo in bed and leering at the camera with her one functional eye, is a standout. If ever

there was a testament to the perils of pimpdom, she is it. But most striking is the film’s unexpected takeaway: What Slim wished to leave behind was not so much a glamorous image but rather a cautionary tale. R. EMILY JENSEN. Hollywood Theatre.

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

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STUDIOCANAL

tion would’ve given the series the conclusion it deserved, but the only one willing to truly wallow in shit is Ken Jeong, whose Asian minstrel show—used sparingly in the first film— overpowers the core trio, who can’t even bother. There’s no hangover in this Hangover, but the effort is that of employees forced into work the morning after the office party, who only want to survive the day and get back into bed. “We’re going to die, finally,” mutters Jeong’s Mr. Chow at one point. Let’s hope so. R. MATTHEW

MOVIES

REALLY? YOU’RE GOING INTO THE BASEMENT?: Lili Taylor tempts fate.

THE CONJURING Few people, I’m guessing, have been to Harrisville, R.I., site of the alleged true-life incident that inspired The Conjuring. But everyone will find it familiar: an isolated nowhere town where movie families go to get tormented by malevolent spirits. What else could the Perrons have expected when they bought that rotting lakeside farmhouse at an auction in 1971? Haven’t they seen, oh, every horror flick ever made? Director James Wan sure has. Though The Conjuring wears its “based on a true story” tag proudly, the universe it inhabits is purely, unabashedly cinematic. Wan, who kicked off the torture-porn era with the original Saw but has gradually wound back to more traditional forms of horror, reaches into a bag of scare tactics now so elemental the audience titters in nervous anticipation every time the music drops out and the camera holds on a single frame for a tad too long. Will someone slowly descend a dark staircase with only a lit match for light? Yep. Will a figure suddenly appear behind someone as they’re looking into a mirror? Of course. Will you know the exact moments to brace yourself? Absolutely. It feels like a waste of word count to recite the entire plot when a disorganized list of its elements will do: a boarded-up cellar. Mysterious bruises. A clairvoyant dog. Kamikaze birds. A creepy old jackin-the-box. An almost laughably creepy doll. Haunted linens. That’s basically how the movie progresses, running through a hodgepodge of decently executed tropes that add up to an entertaining YouTube montage. At points, Wan goes into straight homage, referencing everything from The Changeling (a ball leaping out of the dark) to Paranormal Activity (invisible forces yanking people out of bed) to The Amityville Horror (the entire thing, really). Even the broken piano in the basement is warped to sound like one of Goblin’s synthesizers. By the climax, The Conjuring has evolved into a full-tilt tribute to The Exorcist, and through the performances of its three leads—Vera Farmiga, Patrick Wilson and especially Lili Taylor—achieves visceral, armrestclutching fright nirvana. But then it just sort of ends, and you walk out thinking not about Catholic guilt or the power of Christ but about how you should probably go to the beach soon. MATTHEW SINGER. The power of beach vacations compels you!

B- SEE IT: The Conjuring opens Friday at Cedar Hills, Clackamas, Lloyd Center, Oak Grove, Bridgeport, City Center, Pioneer Place, Sherwood, Tigard, Wilsonville.

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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. Academy, Laurelhurst.

Killing Me

C+ [ONE NIGHT ONLY, DIRECTOR

ATTENDING] The quest for infamy at any cost has been explored endlessly in modern film—highlighted by Gus Van Sant’s masterful satire To Die For—but local filmmaker Henry Weintraub has managed a wholly unique creation in the form of Aaron (Patrick O’Driscoll). He’s a sociopath who, having failed at acting, writing and other fame-seeking endeavors, has decided the best route to immortalization is through mass murder. Trouble is, Aaron can’t bring himself to harm anyone. The character spends the film’s entertaining first half studying up on serial killers for inspiration, going as far as seeking advice, a la Son of Sam, from dogs. O’Driscoll instills his character with a mix of docile sweetness and simmering violence, which makes for an engaging monster, but when Aaron seeks the tutelage of a particularly sadistic serial killer, the film spins off the rails and into a thrill-kill voyage that wants to have its giggles and decapitate them too. As far as black comedy goes, there are moments of inspiration, but in losing control of its narrative in favor of increasingly unsettling (and sadly overacted) violence, it becomes increasingly difficult to sympathize. The concept is golden. The execution (pun intended) makes for a very confusing, if often wry, commentary on the desire for relevance in an increasingly anonymous society. AP KRYZA. NW Film Center’s Whitsell Auditorium. 7 pm Thursday, July 18.

Kon-Tiki

A- Whether you see it because it’s

Les Blank Tribute

[TWO DAYS ONLY, REVIVAL] The recently deceased Les Blank was well known for his documentaries about American regional music, but the idiosyncratic filmmaker covered a wider range of subjects. The NW Film Center pays homage to Blank by screening two films: 1980’s Garlic Is As Good As Ten Mothers (7 pm Friday, July 19), an ode to the fragrant plant and those who love it, and 1982’s Burden of Dreams (8:45 pm Friday and 7 pm Saturday, July 19-20), about the production of Werner Herzog’s Peruvian epic, Fitzcarraldo. NW Film Center’s Whitsell Auditorium. Friday-Saturday, July 19-20.

Let’s Bury the Hatchet! (Deep in Your Face)

C+ [ONE NIGHT ONLY] Let’s Bury the

Hatchet! is a movie so surreal it defies the concept of genre, and the name of the lead actor—Rich Cashin—might fool viewers into thinking the whole thing is a hoax. Local writer-director Bryan Hiltner’s film revolves, extremely loosely, around an insane father with anger management issues. He and his “Team Death Squad” exact revenge on an avant-garde Portland theater director who rejects his daughter’s audition for a pretentious production of Once We Reach Leixlip, My Darling (not a real piece of theater, if you were wondering). Each member of the team has a very specific skill (killing people through their own anger, blowing up cats, targeting demonic possession, etc.) and one, a “Portland superhero” in green spandex named in the credits only as Frogman, is there purely to, as he declares, “keep things weird.” To its credit, this obviously low-budget production makes decent use of its limited resources. As heads explode and mimes play invisible tennis, at the end of the film’s 102 minutes you’ll probably ask yourself what the hell you just watched. But then again, that was probably just what Hiltner set out to do. RICHARD GRUNERT. Clinton Street Theater. 9 pm Saturday, July 20.

The Lone Ranger

C- Updating olden-day heroes is a difficult task. Like Superman, the Lone Ranger’s mythos is rooted in an outmoded American ideal, one where unquestionable good always triumphs over evil, damsels are in constant distress, and putting a small scrap of cloth over your eyes serves as a perfect disguise. But in these more cynical times, is it possible to update such a paragon of righteousness? Eighty years after the hero first ambled into the American imagination, director Gore Verbinski’s megabudget blockbuster can’t seem to muster any freshness. Here, the Lone Ranger still seems old-fashioned, but

PHASE 4 FILMS

about a guy named Thor braving Mother Nature, or because you can watch ripped Norwegian dudes sailing the Pacific in their tighty-whities, or because you want to witness a shark getting stabbed in the head, the important thing is that you see Kon-Tiki. Based on the true story of Norwegian ethnographer Thor Heyerdahl, who set off in 1947 to float 5,000 miles from Peru to Polynesia on

a balsa-wood raft, this gorgeously shot adventure flick is not only awesome because of the epic voyage that could easily fail. It’s awesome because of Heyerdahl’s utter certainty that it will not. PG-13. EMILY JENSEN. Laurelhurst.

all the director really does to alter the character is make him something of a prick. That prick is played with minimal charisma by rising star Armie Hammer (the Winklevoss twins of The Social Network), who spends most of the movie stumbling around and treating his reluctant partner, Tonto (Johnny Depp, again subbing a weird hat for nuance), like dogshit. The pair is in cahoots to hunt down a murderous bandit (William Fichtner, reliably evil) while a tycoon (Tom Wilkinson) lays the literal tracks for Western expansion. Despite inspired action sequences, Verbinski somehow makes the film simultaneously chaotic and dull. Then there’s the matter of the violence, which is amped up to a discomforting level. Yes, our hero still operates by a firm moral compass, but the world he inhabits is one of almost absurd violence. Say what you will about antiquated values: The new Lone Ranger could benefit from being a little more old-fashioned—and its titular character could stand to be a lot less of a sniveling prick. AP KRYZA. Cedar Hills, Clackamas, Oak Grove.

Loud! Fast! Philly!

[ONE NIGHT ONLY, CREATOR ATTENDING] An impressive collection of archival footage of Philadelphia’s hardcore punk scene from the early ’90s to today, assembled and edited by Joseph A. Gervasi. Hollywood Theatre. 7:30 pm Wednesday, July 17.

Man of Steel

C Seventy-five years ago, as the Greatest Generation geared up to save the planet from tyranny, a figure of Christ-like perfection standing up for Earth’s right to exist was precisely what pop culture needed. In 1938, an alien savior in red underwear appeared in newsprint. Seven years later, the threat of global fascism lay dismantled. For Superman, it was all downhill from there. Original archetypes don’t adapt well (see: the Sex Pistols, Hulk Hogan, Cheerios), and as the world changed, old Supes stayed the same, fighting for truth, justice and the American Way, even as those definitions blurred, warped and finally lost meaning. There’s a reason the Superman mythos has been revisited on film only one other time since 1987, and it’s the same reason people fall asleep in church: Flawlessness is boring. Approaching Superman in the post-Dark Knight era means either altering fundamental aspects of the character or embracing full-blown camp. Or, y’know, doing what Zack Snyder does in Man of Steel: recycling the origin story with stonefaced seriousness, and blowing shit up for two hours. Snyder can’t film three seconds of laundry flapping in a gentle breeze without getting jittery, let alone stop to ponder the thin discrepancies between good and evil. This is his Superman, and he isn’t going to think about much of anything else. But if Snyder wasn’t going to rethink Superman for the 21st century, what the hell is the point? Henry Cavill looks the part, with his square jaw and action-figure chest, but he’s mostly there to fill out a suit. Is it possible for Superman, in 2013, to grip the zeitgeist like Batman and the Avengers? He doesn’t have to be a scowly, growly antihero or a wisecracking frat boy. He just has to be more than what he is right now. In Snyder’s hands, he’s the same thing he’s always been: just a god in spandex. PG-13. MATTHEW SINGER. Cedar Hills.

Monsters University

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B Mike and Sully may have been inseparable pals in 2001’s Monsters, Inc., but that’s not how it started for these BFFs. Monsters University takes us back to their college years, when Sulley (John Goodman) was the cocky bro who didn’t bring a pencil to class and Mike (Billy Crystal) was the Hermione-esque know-it-all who studied rather than partied. As Dan Scanlon’s film opens, the two don’t get along. But, after being kicked out of their major and faced with exile, they’re forced to work together with a team of misfits to prove they belong in the prestigious Scare Program. It’s an old formula that follows the story line of pretty much all college-underdog movies. But Monsters University somehow captures the giddy ups and

WILLIAM EGGLESTON

MOVIES

BIG STAR: NOTHING CAN HURT ME miserable downs of entering your first year of college—the wonder of first stepping onto campus, or the envy you feel toward the classmate who can carry four cups of coffee in his arms during finals. It does this while adding charming twists that keep things interesting (like the fact that the classmate with the coffee actually has four arms). Although not the best of Pixar’s lineup, there’s enough slapstick comedy for the kids and fast-paced banter for the adults to make it at least good for a laugh. G. KAITIE TODD. Cedar Hills, Clackamas.

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. It’s a remarkably simple set-up, but 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. Add to that the divorce of Ellis’ parents and Neckbone’s feelings of abandonment, and the emotional heft is staggering. It’s also a lot for young actors to handle, but Sheridan and Lofland shoulder it beautifully. McConaughey meshes Mud’s conflicted morals and his mysticism, creating a character at once larger than life and completely rudderless. Central to the entire narrative, though, is the river. As in The Adventures of Huckleberry Finn— 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. AP KRYZA. Academy, Laurelhurst.

Much Ado About Nothing

A Much Ado About Nothing is all

about trickery. The comedy—one of Shakespeare’s best—centers on two strong-minded singles, Beatrice and Benedick, each determined never to love and never to marry. Until, of course, their friends decide to play matchmaker. Like those sly friends holding the strings, Joss Whedon is a masterful puppeteer himself. After wrapping The Avengers, the director retreated to his airy Santa Monica home, corralled some friends and, over the course of 12 days, secretly filmed

his adaptation of Much Ado. It’s shot in black-and-white, often with a handheld camera, but it’s set in the present day. Yet the text is still Shakespeare’s, even if the actors’ cadence and mannerisms feel modern. It’s a dizzying, and initially jarring, mix of styles. But don’t doubt puppeteer Whedon: Just like the film’s characters, he knows when to loosen hold of the strings and let his capable players take over. Simply put, Whedon’s take on the Bard is one of the loveliest films I’ve seen this year. While it has an off-thecuff nonchalance, it’s grounded by precise performances, careful camera work and a sharp understanding of the gender politics at play. And wisely, the cast plays it more like a Shakespearethemed dinner party than a self-serious affair. Amy Acker, whose features are as sharp as her tongue, makes her Beatrice a fierce-minded feminist hero. Alexis Denisof, meanwhile, brings an endearing daftness and goofball sense of vanity to his Benedick, striking farcically dramatic poses and dropping for push-ups when he sees Beatrice. Visually, Whedon keeps viewers engaged with unexpected framing and smart sight gags. But most surprising is how bold this Much Ado feels. Shakespeare often gets outlandish updates in live theater, and brash film adaptations are hardly new. Whedon’s Much Ado, though, strikes an especially impressive balance of loyalty and audacity, embracing its source text while still having some serious fun. PG13. REBECCA JACOBSON. Cinema 21.

Now You See Me

C In an early scene in the magicheist movie Now You See Me, Jesse Eisenberg’s character gives an audience a piece of advice. “The more you think you see,” he says, “the easier it will be to fool you.” That’s apparently a tip director Louis Leterrier (The Incredible Hulk, Clash of the Titans) tried to follow, pulling from his bag of tricks plenty of glitz, a throbbing techno soundtrack and a camera that swirls as if on a merrygo-round and makes viewers just as dizzy. Unfortunately, being fooled by this flashy flick is no fun. An opening montage introduces us, Ocean’s Eleven-style, to our four magicians: the smartass cardsharp (Eisenberg), the charming but slightly shady mentalist (Woody Harrelson), the sexy escape artist (Isla Fisher, here to look good in miniskirts and do little else), and the streetwise pickpocket (Dave Franco, here to do even less than Fisher). Summoned by an unknown mastermind and christening themselves the Four Horsemen, they launch a series of heists. Why? Who knows! Not even, apparently, the Horsemen themselves. At their first show in Las Vegas, a “randomly chosen” audience member teleports to Paris to help the Horsemen rob a French bank, which causes 3.2 million Euros to rain down on the giddy spectators. This raises eyebrows at the FBI and Interpol, who begin trailing the wily illusionists. For a moment it seems the Horsemen might be Occupy types, modern-day Robin Hoods who seek to return money to those who’ve been screwed over by banks and insurance companies. Yet they’re neither

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MOVIES BENJAMIN GREENÉ FILMS

developed into well-drawn characters nor made into symbols of economic justice. Throughout, characters explain how magic is all about misdirection, about getting the audience to look away from where the real trick is happening. Too bad, then, that with all his interest in distracting the audience, Leterrier has left us nothing else to see. PG-13. REBECCA JACOBSON. Living Room Theaters.

One Track Heart: The Story of Krishna Das

A documentary about the man born as Jeffrey Kagel, a musician who bypassed membership in Blue Öyster Cult and instead became an enlightenment-seeking singer of kirtan, an Indian devotional chant. Living Room Theaters.

SURVIVAL PRAYER

Pacific Rim

A- Guillermo Del Toro has honed a

skill that few directors—especially in the mainstream studio system—have mustered: He doesn’t make movies so much as build worlds. Whether it’s the bustling troll marketplace in Hellboy II or a dark underground realm of child-eating monsters in Pan’s Labyrinth, Del Toro’s worlds exist on their own phantasmagorical plane, one where the physics and mechanics of every moving piece are thought out. It’s as if the smartest kid on the planet invited you to play in the sandbox in his mind. But what does such meticulous terraforming do for a movie about gigantic robots punching the shit out of gigantic monsters while destroying whole cities? It makes it effing awesome, that’s what, and Pacific Rim is like getting punched in the face with a fist full of bombastic, childish, escapist bliss. Del Toro tosses his audience into a nottoo-distant future where the ocean floor—having apparently read a lot of Lovecraft—has cracked open a portal to another dimension, which keeps sending out snarling, neonblooded monsters called Kaiju to wreak havoc. Humanity, in turn, has put aside its differences and formed a U.N. of ass-whompery in its army of Jaegers, 25-story-tall humanshaped machines operated by pilots who must link their minds to avoid zapping their brains while fighting. The beauty of Pacific Rim is that it’s a dumb movie with brilliance lurking in the corners of its robust world, for those who want to observe it. For those who don’t care, there’s a robot beating the shit out of a giant fish-gorilla monster by wielding an oil tanker like a bat: further evidence that Del Toro’s remains the greatest sandbox on the playground. PG-13. AP KRYZA. Cedar Hills, Clackamas, Oak Grove.

The Parade

B [ONE NIGHT ONLY] Human rights

drama meets buddy comedy in this curious tale, based on true events, of pride and prejudice in modern-day Serbia. Limun, a gangster-turnedjudo fighter for hire, wants to give his Bridezilla fiancée the ceremony of her dreams. But he balks after meeting their wedding coordinator, Mirko, a gay activist—and the partner of the mild-mannered veterinarian, Radmilo, who saved Limun’s cherished pooch at gunpoint. Upon discovery of their respective significant others, Radmilo and Limun strike an uneasy deal: The thug will provide protection for Mirko, who’s staging a gay pride parade in Belgrade despite persistent nationalist homophobia and attacks by local skinheads, and Mirko will deliver the nuptials. “When it comes to love, there’s no difference between a criminal and a faggot,” Radmilo reasons, in what sends Limun—flying solo after his band of bigots opts out of the job—on a soul-searching recruiting mission. Writer-director Srdjan Dragojevic strikes a brisk balance between screwball, sometimes lowbrow humor—the rapport between Limun and his henchmen is over-the-top homoerotic— and relentless hate speech and ambushes. With its stock charac-

ters, upbeat soundtrack and more broad strokes than you can shake a brush at, The Parade is neither a subtle nor probing affair. Still, it’s an entertaining one, helped by fine performances and droll references to The Magnificent Seven. AMANDA SCHURR. NW Film Center’s Whitsell Auditorium. 7 pm Sunday, July 21.

Red 2

Morgan Freeman is sadly out, but Anthony Hopkins has joined the sequel to the 2010 popcorn blockbuster, which finds the government assassins again emerging from retirement. Screened after WW press deadlines, but look for Jay Horton’s review at wweek.com. PG13. Cedar Hills, Clackamas, Lloyd Center, Oak Grove, Bridgeport, City Center, Sherwood, Tigard, Wilsonville.

Re-Run Theater: Bionic Battle

[ONE NIGHT ONLY, REVIVAL] Though crossovers between The Bionic Woman and The Six Million Dollar Man were frequent, 1976’s “Kill Oscar” storyline remains one of the best—and Jaime gets to fight the Fembots. Hollywood Theatre. 7:30 pm Thursday, July 18.

R.I.P.D.

Undead police officers—the Rest In Peace Department, which includes Jeff Bridges and Ryan Reynolds— try to bring criminals to justice. Screened after WW press deadlines, but look for a review in next week’s issue. PG-13. Cedar Hills, Clackamas, Oak Grove, Bridgeport, City Center, Sherwood, Tigard.

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.

Specticast Operas: La Boheme

Second in Living Room Theaters’ summerlong series of high-def opera screenings is Puccini’s ever-popular romance about young Parisians. Living Room Theaters.

Stories We Tell

spective. Stories We Tell is Sarah Polley’s layered, thoughtful exploration of this idea, in which she turns the lens on her own family. Polley (who has directed features like Take This Waltz and helms her first documentary here) goes on a journey to investigate secrets about her mother, Diane, who died of cancer when Polley was 11. Polley gathers her four siblings, her father and others who knew her mother to “start from the beginning.” Their recollections create a colorful picture of Diane and her life, often accompanied by Super-8 footage—shot to look like home video but staged by Polley—that brings an illustrative charm to the film. As more than one secret unfolds, Stories We Tell wisely allows the family’s humorous and emotional moments to peek through. “What are you, some kind of sadistic interviewer?” her father, Michael, half jokes at one point. It’s moments like these, when we see not talking heads but family members piecing together a mystery, that unite the past and present to make the film so engaging. PG-13. KAITIE TODD. Laurelhurst.

WWEEKDOTCOM

Survival Prayer

B+ [ONE NIGHT ONLY, DIRECTOR

ATTENDING] Survival Prayer is exactly what its title suggests: a cinematic Hail Mary. The documentary, directed by the Bellingham-based director Benjamin Greene, details and ultimately advocates for the threatened traditional practices of the inhabitants of Haida Gwaii, an archipelago located off the coast of British Columbia. The crux of the islanders’ plight is primal and might hold particular appeal for sustainability-loving Pacific Northwest audiences: Inhabitants of the isles, past and present, have lived largely off the land but have begun to feel the effects of modern plagues, including overfishing and -logging. Although interviews with locals provide an overview of the environmental changes, Survival Prayer thankfully doesn’t spend as much time explicating the problem as it does silently observing Haida Gwaii’s people and their practices. Greene captures extreme close-ups of faces, or of hands foraging for wild edibles or gathering seaweed. They’re elegantly filmed sequences, often accompanied by natural sounds of birdsong and ocean. In capturing the specific beauty and rhythms of this corner of the world, the film itself becomes an act of preservation. KRISTI MITSUDA. NW Film Center’s Whitsell Auditorium. 7 pm Wednesday, July 17.

This Is the End

B With the underrated and mis-

understood Pineapple Express, Seth Rogen, James Franco, Danny McBride and co-screenwriter Evan Goldberg made a rock-solid American counterpart to Shaun of the Dead and Hot Fuzz. It was a genre film told from the perspective of the kind of people who consumed such entertainment—in this case, a bunch of dopey stoners caught in

A We all know that every family

has its own drama, secrets and per-

CONT. on page 50 Willamette Week JULY 17, 2013 wweek.com

JULY 17-23

F I L M PA R A DA

NEWS

MOVIES

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THE PARADE the middle of an ’80s action movie. Those who decried it as—or mistook it for—a bad action movie injected with comedy seriously missed the point: What would happen if Lethal Weapon were remade with a pair of seriously high jackasses as the leads? With This Is the End, Rogen and company jump genres to the biblical apocalypse and cast Rogen, Franco, Jonah Hill and almost everyone who’s ever been in a Judd Apatow movie as horrible caricatures of themselves. As the Rapture hits and sends pretty much everybody to heaven—except for those at Franco’s housewarming party— these dudes are perfectly content to sit back, smoke weed and tell dick jokes. Like, a lot of dick jokes. It all sounds juvenile, but for the most part, This Is the End works like gangbusters, particularly in the way the actors lampoon their public personas. There are even some time-capsule moments, particularly a prolonged and heated debate between Franco and McBride regarding the latter’s frequent and explosive ejaculations. These dudes could make any movie fun. That this one happens to have decapitations and a brawl with Satan takes it to another level of stoned-out bliss. AP KRYZA. Clackamas.

Turbo

C- It seems “slow and steady wins

the race” doesn’t carry much weight in an era of instant gratification. Furthermore, thanks to reality television, people now feel entitled to a shot at their impossible dream and don’t care who they have to step on—or, in the case of David Soren’s animated flick, slither over—to achieve it. Such is the case with Turbo (Ryan Reynolds), a gardenvariety snail who, once doused with nitrous oxide, has speed to burn and the single-mindedness necessary to pursue his fantasy: winning the Indy 500. As he and his human buddy (Michael Peña) betray their brothers’ trust (and steal several thousand dollars), Turbo’s morality becomes increasingly dubious. Granted, undemanding tykes will probably be satisfied by race sequences that are fast-paced, if not particularly inventive. Unfortunately, the humor is similarly uncreative, with a reliance on running jokes—snails are picked off midsentence by predatory crows—resulting in only a handful of gags. In a just world, the filmmakers would have to justify their shameless use of racial stereotypes to elicit giggles from unsophisticated viewers. However, the ultimate lesson here is that there are no consequences to your unconscionable actions as long as you walk away a winner. PG. CURTIS WOLOSCHUK. Cedar Hills, Clackamas, Oak Grove, Bridgeport, City Center, Lloyd Mall, Sherwood, Tigard, Wilsonville.

Willamette Week JULY 17, 2013 wweek.com

be, there is a plot. D.C. cop John Cale (Tatum) takes his angsty preteen daughter Emily (Joey King) on a tour of the White House. When Emily goes in search of a restroom, a bomb explodes nearby, and a squadron of bedraggled dudes with automatic weapons floods the marble hallways. Cale narrowly escapes B The Way, Way Back is a movie a spray of bullets and takes off looking for his daughter, but instead about a boy—awkward and introfinds the president. Ample violence, verted 14-year-old Duncan, all awkward political references and hunchback slouch and downcast eyes—who learns to become a man. obnoxious racial stereotyping ensue as the unlikely duo scramble through But it’s also a film about two men stuck in boyhood. They’re men-chil- elevator shafts and underground tunnels, with Cale shouldering the dren of entirely different species: dual responsibility of protecting the Trent (Steve Carell, playing against president and finding Emily. What type to mixed results) is a philangives this trigger-happy flick some dering meanie and the boyfriend charisma, aside from feeding the of Duncan’s divorced mom. Owen red-blooded American fascination (Sam Rockwell) is the fast-talking with attacks on Washington, is the manager of a slightly shabby water park, too fond of cracking jokes and patriotic appeal of an underdog premaking ’80s references to follow the vailing against the odds. Tatum’s rules or think much about his future. beautiful bod and fearless fatherly And each has the potential to make instincts don’t hurt, either. All told, it’s a silver-screen fireworks show— or break Duncan’s summer vacation in a quaint New England coastal senseless, extravagant and just in time for the Fourth. PG-13. EMILY town, where the kids spend their JENSEN. Clackamas. days sulking and the parents sneak off to the dunes to smoke weed. Wanting to escape Trent, Duncan (admirably underplayed by Liam [ONE WEEK ONLY, REVIVAL] A James) finds a girly pink bicycle 35 mm print of the 1988 classic, a and pedals to Water Wizz, the park murder mystery that brings together Owen runs. In a Dirty Dancing-style 1940s cartoon stars and live actors. twist, it’s here with the comparative PG. Academy Theater. riffraff that Duncan blossoms. Much of his growth is due, of course, to Owen’s alchemic, anarchic mix of C Thanks to $20 million in gentle ribbing and overt encourreshoots, Marc Forster’s World War agement, which Rockwell conveys Z has managed to conceal most of with warmth and wit. It’s a wellthe cosmetic evidence of its clusworn model, but Nat Faxon and terfuck production and emerge as Jim Rash (who shared a screenwritan eminently watchable summer ing Oscar with Alexander Payne for blockbuster. That said, it remains The Descendants and make their fundamentally flawed. Billed as “an directorial debut here) manage a oral history of the zombie war,” film saturated in both summery Max Brooks’ inventive 2006 novelcharm and gratifying laughs. It’s not turned-source material saw dozens without faults—Maya Rudolph, as of characters sharing their horrific Owen’s love interest, doesn’t get to accounts of humanity’s annihilation use her significant comedic chops, at the rotting hands of the undead. and Faxon’s bit part as a leering It’s disappointing, then, that this water-slide attendant feels unnecadaptation centers on just a single essarily misogynistic—but for the character. Brad Pitt plays Gerry most part, The Way, Way Back has Lane, a former U.N. investigator serious soul for such scant subject whose family is set upon by agents matter. Like the looping water slide of the zombie apocalypse. With this at Water Wizz, it may not surprise, brand of walking dead more akin to but it still satisfies. PG-13. REBECCA rabid sprinters than somnambulists, JACOBSON. Cedar Hills. humanity is quite literally overrun in record time. Forster’s previous work on Quantum of Solace and Machine B- In a time of international turmoil, Gun Preacher hasn’t instilled much divisive politics and increasing moral faith in his aptitude for directing vacancy, two all-American truths action, and he lives down to his repremain: Channing Tatum is smokin’ utation here. The best that can be hot, and watching big explosions said is that his lack of spatial awareis fun. These are the principles that ness occasionally serves to heighten guide White House Down, in which the frantic chaos of the large-scale Independence Day director Roland skirmishes. What World War Z most Emmerich again lays waste to our glaringly lacks, though, is any unique nation’s capital. Now, instead of an sensibility. The screenplay has no alien invasion, he unleashes cominterest in subtext—the lifeblood of puter hackers, terrorists and other any great zombie film. Ultimately, enemies of the state on a mission such a product can only satisfy the to capture President Sawyer (Jamie most mindless of hordes. PG-13. Foxx). Superfluous though it may CURTIS WOLOSCHUK. Cedar Hills, Clackamas.

Under the Bed

[ONE NIGHT ONLY] In every 4-yearold’s greatest nightmare, two brothers battle the monster underneath the bed. Clinton Street Theater. 9 pm Friday, July 19.

The Way, Way Back

Who Framed Roger Rabbit

World War Z

White House Down

MOVIES

JULY 19-25

BREWVIEWS WA R N E R B R O S .

Sat-Sun-Mon-Tue-Wed 02:15 IRON MAN 3 Fri-Sat 10:20 EPIC Fri-Sat-SunMon-Wed 05:30 FAST & FURIOUS 6 Fri-Sat-SunMon-Wed 07:45

Fifth Avenue Cinemas

510 SW Hall St., 503-725-3551 WINTER’S BONE Fri-SatSun 03:00

Hollywood Theatre

HEE-HAW WITH SHOTGUNS: You might’ve thought the last thing the American South would embrace in 1972 was a movie that depicts its people as a pack of corrupt backwoods hill folk and inbred, troglodytic rapists obsessed with the pretty mouths of city folk. You would’ve been wrong. Deliverance is one of the best damn movies ever made about the untamed violence of America. On the one hand a brutal thriller, John Boorman’s film is also an ode to Southern rural exceptionalism. Those soft city dwellers (Jon Voight, Burt Reynolds, Ned Beatty, Ronny Cox) just can’t make it down there in the Cahulawassee River valley, not without getting the living snot beaten out of them in a banjo contest by a creepy kid with no eyebrows and an old man’s face, not without the river eating their lunch, and not without becoming existentially haunted by a newfound vision of the real. They might have grown up in the city, but a Southern river made them men. MATTHEW KORFHAGE. Playing at: Laurelhurst Theatre. Best paired with: Pabst Blue Ribbon by the pitcher. Also playing: Who Framed Roger Rabbit (Academy), An American Werewolf in London (Hollywood).

Lloyd Center 10 and IMAX

1510 NE Multnomah St., 800326-3264 PACIFIC RIM: AN IMAX 3D EXPERIENCE Fri-SatSun 01:00, 04:15, 07:30, 10:40 RED 2 Fri-SatSun 12:50, 03:55, 07:05, 10:00 R.I.P.D. Fri-Sat-Sun 02:35, 07:45 R.I.P.D. 3D Fri-Sat-Sun 12:00, 05:10, 10:20 THE WAY WAY BACK Fri-Sat-Sun 11:35, 02:15, 04:55, 07:35, 10:15 TURBO Fri-Sat-Sun 02:20, 07:20 TURBO 3D Fri-Sat-Sun 11:50, 04:50, 09:50 THE CONJURING Fri-Sat-Sun 12:40, 03:35, 06:30, 09:30 PACIFIC RIM Fri-Sat-Sun 12:30, 03:45, 07:00, 10:10 DESPICABLE ME 2 Fri-SatSun 11:30, 02:05, 04:40, 07:15 DESPICABLE ME 2 3D Fri-Sat-Sun 09:55 THIS IS THE END Fri-Sat-Sun 12:20, 03:25, 06:50, 09:40 GROWN UPS 2 Fri-Sat-Sun 11:45, 02:25, 05:05, 07:50, 10:30 SPRINGSTEEN & I Mon 07:30

Regal Lloyd Mall 8

2320 Lloyd Center Mall, 800-326-3264 TURBO Fri-Sat-Sun-MonTue-Wed 03:30, 06:00 TURBO 3D Fri-Sat-SunMon-Tue-Wed 12:00, 09:00

Regal Tigard 11

11626 SW Pacific Highway, 800-326-3264 TURBO 3D Fri-Sat-Sun 11:40, 04:40, 09:40 TURBO Fri-Sat-Sun 02:10, 07:10 R.I.P.D. Fri-Sat-Sun 01:40, 07:00 R.I.P.D. 3D Fri-Sat-Sun 11:10, 04:20, 09:30 RED 2 Fri-Sat-Sun 11:00, 01:45, 04:30, 07:20, 10:10 THE CONJURING FriSat-Sun 11:15, 02:00, 04:45, 07:30, 10:15

Avalon Theatre & Wunderland 3451 SE Belmont St.,

503-238-1617 EPIC Fri-Sat-Sun-MonTue-Wed 11:15, 01:05, 03:00 FAST & FURIOUS 6 Fri-Sat-Sun-Mon-TueWed 02:50, 07:15 THE HANGOVER PART III FriSat-Sun-Mon-Tue-Wed 05:10 THE GREAT GATSBY Fri-Sat-Sun-Mon-Tue-Wed 07:00, 09:35 IRON MAN 3 Fri-Sat-Sun-Mon-Tue-Wed 12:30, 04:50, 09:35

Bagdad Theater and Pub

3702 SE Hawthorne Blvd., 503-249-7474 IRON MAN 3 Fri-Sat-Sun 02:00 THE GREAT GATSBY Fri-Sat-Sun-Mon 06:00 FAST & FURIOUS 6 SatSun-Mon 09:10 CLOSED FOR PRIVATE EVENT Tue SPARK: A BURNING MAN STORY Wed 07:30

Cinema 21

616 NW 21st Ave., 503-223-4515 MUCH ADO ABOUT NOTHING Fri-Sat-Sun-MonTue-Wed 04:30, 07:00, 09:10

Clinton Street Theater

2522 SE Clinton St., 503-238-8899 BROKEN Fri-Sat-Sun-MonTue-Wed 05:00 UNDER THE BED Fri 09:00 BAD MOVIE NITE Fri 12:00 LET’S BURY THE HATCHET! (DEEP IN YOUR FACE) Sat 09:00 THE ROCKY HORROR PICTURE SHOW Sat 12:00 FIDDLER ON THE ROOF (SING-A-LONG) Sun 02:00 THE ARTIST AND THE MODEL Tue 09:00 APARTMENT 1303

Laurelhurst Theatre & Pub

2735 E Burnside St., 503-232-5511 KON-TIKI Fri-Sat-Sun-MonTue-Wed 07:10 FRANCES

HA Fri-Sat-Sun-Mon-TueWed 09:15 THE GREAT GATSBY Fri-Sat-Sun-MonTue-Wed 06:30 MUD Fri-Sat-Sun-Mon-Tue-Wed 09:25 FAST & FURIOUS 6 Fri-Sat-Sun-Mon-TueWed 09:40 IRON MAN 3 Fri-Sat-Sun-Mon-Tue-Wed 07:00 STORIES WE TELL Fri-Sat-Sun-Mon-Tue-Wed 06:40 DELIVERANCE Fri-Sat-Sun-Mon-Tue-Wed 09:00 EPIC Sat-Sun 01:20

4122 NE Sandy Blvd., 503-281-4215 ONLY GOD FORGIVES Fri-Sat-Sun-Mon-TueWed 07:20, 09:20 AN AMERICAN WEREWOLF IN LONDON Fri-Sat-Sun-Mon 09:30 BIG STAR: NOTHING CAN HURT ME Fri-SatSun-Mon-Tue-Wed 06:45 ICEBERG SLIM: PORTRAIT OF A PIMP Fri-Sat-SunMon-Tue-Wed 09:10 BORN TO ROYALTY Fri-Sat-SunMon 07:30 HACKERS Sat 07:00 CASABLANCA Sun 07:00 VICE SQUAD Tue 07:30 ALL THE LABOR Wed 07:00

NW Film Center’s Whitsell Auditorium

1219 SW Park Ave., 503-221-1156 LES BLANK TRIBUTE FriSat 08:45 SCHOOL OF FILM STUDENT SCREENING Sat 03:30 THE PARADE Sun 07:00

Regal Pioneer Place Stadium 6 340 SW Morrison St., 800-326-3264 THE CONJURING Fri-SatSun-Mon-Tue-Wed 01:30, 04:30, 07:30, 10:30

St. Johns Theatre

8203 N Ivanhoe St., 503-249-7474-6 IRON MAN 3 Fri-Sun-MonTue-Wed 06:00 AIN’T IN IT FOR MY HEALTH: A FILM ABOUT LEVON HELM Fri 09:00 THE BREAKFAST CLUB Sat-Sun-Mon-TueWed 01:00, 08:50

Academy Theater

7229 NE Sandy Blvd., 503-282-2898 DESPICABLE ME 2 Fri-SatSun-Mon-Tue-Wed 12:00, 03:00, 05:30, 08:00

7818 SE Stark St., 503-252-0500 EPIC Fri-Sat-Sun-Mon-TueWed 12:10, 02:25, 04:40 FRANCES HA Fri-Sat-SunMon-Tue-Wed 11:45, 04:30, 09:20 THE GREAT GATSBY Fri-Sat-Sun-Mon-Tue-Wed 01:40, 06:30 IRON MAN 3 Fri-Sat-Sun-Mon-TueWed 06:50, 09:30 MUD Fri-Sat-Sun-Mon-Tue-Wed 02:15, 07:10 GIRL RISING Fri 07:00 WHO FRAMED ROGER RABBIT Fri-SatSun-Mon-Tue-Wed 12:00, 04:55, 09:50

St. Johns Twin Cinemas and Pub

Living Room Theaters

Mission Theater and Pub

1624 NW Glisan St., 503-249-7474-5 BEER HUNTER Sat 07:00 BEERFEST Sun 07:00

Roseway Theatre

8704 N Lombard St., 503-286-1768 RED 2 Fri-Sat-Sun-MonTue-Wed 04:30, 07:00, 09:30 THE LONE RANGER Fri-Sat-Sun-Mon-Tue-Wed 05:30 WORLD WAR Z Fri-Sat-Sun-Mon-Tue-Wed 08:30 THE WOLVERINE

CineMagic Theatre 2021 SE Hawthorne Blvd., 503-231-7919 RED 2 Fri-Sat-Sun-MonTue-Wed 05:30, 08:00

Regal City Center Stadium 12

801 C St., 800-326-3264 THE CONJURING Fri-SatSun 12:00, 02:40, 06:15, 08:55 RED 2 Fri-Sat-Sun 11:45, 02:30, 06:25, 09:10 TURBO 3D Fri-Sat-Sun 11:30, 09:00 TURBO FriSat-Sun 02:00, 04:20, 06:40 R.I.P.D. 3D Fri-SatSun 12:30, 09:25 R.I.P.D. Fri-Sat-Sun 02:55, 07:00

Kennedy School Theater

5736 NE 33rd Ave., 503-249-7474-4 THE GREAT GATSBY Fri-

341 SW 10th Ave., 971-222-2010 20 FEET FROM STARDOM Fri-Sat-Sun-Mon-Tue-Wed 11:40, 01:40, 03:40, 05:10, 05:40, 07:45, 08:45, 09:30 A HIJACKING Fri-Sat-SunMon-Tue-Wed 11:45, 01:50, 04:20, 07:15, 09:35 NOW YOU SEE ME Fri-Sat-SunMon-Tue-Wed 12:00, 02:00, 04:30, 07:00, 09:25 ONE TRACK HEART: THE STORY OF KRISHNA DAS Fri-SatSun-Mon-Tue-Wed 11:45, 01:20, 03:20, 06:40, 08:25 ONLY GOD FORGIVES Fri-Sat-Sun-Mon-Tue-Wed 11:50, 01:30, 02:30, 03:30, 04:40, 05:30, 06:50, 07:30, 09:40, 10:05 LA BOHEME - PUCCINI - ENCORE Sun 12:00

SUBJECT TO CHANGE. CALL THEATERS OR VISIT WWEEK.COM/MOVIETIMES FOR THE MOST UP-TODATE INFORMATION FRIDAY-THURSDAY, JULY 19-25, UNLESS OTHERWISE INDICATED

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TREE SERVICES Steve Greenberg Tree Service

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JOBS CAREER TRAINING

ARIES (March 21-April 19): The 19th-century Italian composer Gioachino Rossini was a prolific creator who produced 39 operas. Renowned for his lyrical melodies, he was sometimes referred to as the “Italian Mozart.” So confident was he in his abilities that he bragged he could set a laundry list to music. I trust you will have comparable aplomb in the coming weeks, Aries, since you will be asked to do the equivalent of composing an opera using a laundry list for inspiration. This will be a different challenge than making lemonade out of lemons, but it could be even more fun and interesting. TAURUS (April 20-May 20): Is the grass really greener on the other side of the fence? Or is its more vivid hue just an optical illusion caused by your inability to see the situation objectively? Judging from my analysis of your current astrological omens, I suspect that you’re not deluded. The grass really is greener. But it’s important to note the reason why this is true, which is that there’s more manure over on the other side of the fence. So your next question becomes: Are you willing to put up with more crap in order to get the benefits of the greener grass? GEMINI (May 21-June 20): You know the voice in your head that’s kind of a sneaky bastard? The voice that sometimes feeds you questionable advice and unreliable theories? Well, I suspect that this voice might be extra active in the coming week. But here’s the weird thing: It might actually have a sound idea or two for you to consider acting on. For once, its counsel may be based on accurate intuition. So don’t completely lower your guard, Gemini. Maintain a high degree of discernment towards the sneaky bastard’s pronouncements. But also be willing to consider the possibility that this generator of so much mischief could at least temporarily be a source of wisdom. CANCER (June 21-July 22): We keep million-dollar works of art in well-guarded museums. Paintings created hundreds of years ago are treated with reverence and protected as if they were magical treasures. Meanwhile, beautiful creatures that took nature eons to produce don’t get the same care. At least 5,000 animal and plant species are going extinct every year, in large part due to human activities. Among the recently lost works of art are the Madeiran Large White butterfly, West African black rhinoceros, Formosan clouded leopard, golden toad, and Tecopa pupfish. I’m asking you not to allow a similar discrepancy in your own life, Cancerian. The astrological omens say that now is a perfect moment to intensify your love for the natural world. I urge you to meditate on how crucial it is to nurture your interconnectedness with all of life, not just the civilized part. LEO (July 23-Aug. 22): Hurry up, please. It’s time. No more waffling or procrastinating. You really need to finish up the old business that has dragged on too long. You really should come to definitive decisions about ambiguous situations, even if they show no sign of resolution. As for those nagging questions that have yielded no useful answers: I suggest you replace them with different questions. And how about those connections that have been draining your energy? Re-evaluate whether they are worth trying to fix. VIRGO (Aug. 23-Sept. 22): “This morning I walked to the place where the street-cleaners dump the rubbish,” wrote painter Vincent van Gogh in one his letters. “My God, it was beautiful.” Was he being ironic or sarcastic? Not at all. He was sincere. As an artist, he had trained himself to be intrigued by scenes that other people dismissed as ugly or irrelevant. His sense of wonder was fully awake. He could find meaning and even enchantment anywhere. Your next assignment, Virgo -- should you choose to accept it -- is to experiment with seeing the world as van Gogh did. LIBRA (Sept. 23-Oct. 22): I believe you will undergo a kind of graduation in the next four weeks, Libra. Graduation from what? Maybe from a life lesson you’ve been studying for a while or from an institution that has given you all it can. Perhaps you will climax your involvement with a situation that has made big demands on you. I

suspect that during this time of completion you will have major mixed feelings, ranging from sadness that a chapter of your story is coming to an end to profound gratification at how much you have grown during this chapter. SCORPIO (Oct. 23-Nov. 21): What’s your favorite sin, Scorpio? I’m talking about the mischievous vice or rebel tendency or excessive behavior that has taught you a lot. It may be the case that now and then this transgressive departure from normalcy has had redeeming value, and has even generated some interesting fun. Perhaps it puts you in touch with a magic that generates important changes, even if it also exacts a toll on you. Whatever your “favorite sin” is, I’m guessing that you need to develop a more conscious and mature relationship with it. The time has come for it to evolve. SAGITTARIUS (Nov. 22-Dec. 21): The Sagittarian writer and artist William Blake (1757-1827) made drawings of many eminent people who had died before he was born. Julius Caesar was the subject of one of his portraits. Others included Dante, Shakespeare, and Moses. How did Blake manage to capture their likenesses in such great detail? He said their spirits visited him in the form of apparitions. Really? I suppose that’s possible. But it’s also important to note that he had a robust and exquisite imagination. I suspect that in the coming weeks you, too, will have an exceptional ability to visualize things in your mind’s eye. Maybe not with the gaudy skill of Blake, but potent nevertheless. What would be the best use of this magic power? CAPRICORN (Dec. 22-Jan. 19): How close do you really want to be to the people you care about? I invite you to think about this with unsentimental candor. Do you prefer there to be some distance between you? Are you secretly glad there’s a buffer zone that prevents you from being too profoundly engaged? I’m not saying that’s a bad thing. It might be correct for who you are right now. I merely want to suggest that it’s important for you to know the exact nature of your need for intimacy. If you find that you actually do want to be closer, spend the next four weeks making that happen. Ask your precious allies to collaborate with you in going deeper. AQUARIUS (Jan. 20-Feb. 18): I love your big, energetic thoughts. I enjoy watching as your wild intuitive leaps lead you to understandings that mere logic could never produce. I have benefited many times from the Aquarian tribe’s ability to see angles no one else can discern. In the immediate future, though, I hope you will be a specialist in analyzing the details and mastering mundane mysteries. I’ll be rooting for you to think small and be precise. Can you manage that? I expect there’ll be a sweet reward. You will generate good fortune for yourself by being practical, sensible, and earthy. PISCES (Feb. 19-March 20): Is it a river or a creek? Is it a mountain or a hill? It’s important for you to decide questions like these -- preferably on the basis of the actual evidence rather than on wishful thinking. I’m not saying that the river is better than the creek or that the mountain is better than the hill. I simply want you to know that it’s important to be clear about which it is. The same principle applies to other experiences you’ll soon have. Is the catalytic person you’re dealing with a temporary friend or a loyal ally? Is the creation you’re nurturing just a healthy diversion or is it potentially a pivotal element in transforming your relationship with yourself? Is the love that’s blooming a transient pleasure or a powerful upgrade that’s worth working on with all your ingenuity?

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MCMENAMINS GRAND LODGE in Forest Grove is now hiring LMTs and NAIL TECHs! Qualified apps must have an open & flex sched including, days, eves, wknds and holidays. We are looking for applicants who have prev exp related exp and enjoy working in a busy customer service-oriented enviro. We are also willing to train! We offer opps for advancement and excellent benefits for eligible employees, including vision, med, chiro, dental and so much more! Please apply online 24/7 at www.mcmenamins.com or pick up a paper app at any McMenamins location. Mail to 430 N. Killingsworth, Portland OR, 97217 or fax: 503-221-8749. Call 503-952-0598 for info on other ways to apply. Please no phone calls or emails to individ locs! E.O.E.

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

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wweekdotcom Willamette Week Classifieds JULY 17, 2013 wweek.com

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Willamette Week Classifieds JULY 17, 2013 wweek.com

47 “___ Ninjas” (Nickelodeon show with George Takei) 49 Gut response 53 Long-winded diatribe 55 Ancient Roman building where pigs made noises in pairs? 57 Revealing swimsuit 59 Folk singer’s accompaniment 60 Like stadium seating 61 Angry moods 62 Trapeze artist’s safety 63 Ruined 64 First part of a news story 65 Trick finish? Down 1 Big name in routers 2 Edgar ___ Poe 3 “Key & ___” (Comedy Central show) 4 Mimicked 5 Betsy and Diana, for two 6 How contracts are signed 7 ___-Flush (bathroom brand) 8 Shirley Temple, for example 9 Blocking Ming 10 “The ___ Incident” (Henry Fonda movie) 11 Name for a pet-friendly brewpub? 12 Applies frosting to 13 ___ San Lucas (Baja resort) 18 Super Bowl XXXIII MVP 21 Defiant response 25 School bus driver on

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last week’s answers

GET SOM E CLASSIFIEDS

Across 1 Baseball hat 4 Sportscaster Collinsworth 8 Nearsighted 14 ___-de-la-Cite (Notre Dame locale) 15 Eugene O’Neill’s actress/daughter 16 State of southern Mexico 17 Beats the clock? 19 Attic dust collector 20 What the phone ID tells you about Nolte? 22 ___ buco (Italian entree) 23 Half a pay period, often 24 “___ Like Alice” (Peter Finch film) 26 They pop up here and there 27 Body work, for short? 28 Consumed 31 Beloved Blume 34 To ___ mildly 35 Rock venue? 36 “Damned dirty” creature 37 Comes up with a plea, for short? 39 Rhubarb or blueberry 40 DeLuise in Burt Reynolds outtakes 41 Words before remember or relax 42 Leader of pre-1917 Russia 43 Experimental musician Brian 44 Private investigators, for short 45 Afr. neighbor

©2013 Jonesin’ Crosswords (editor@jonesincrosswords.com) For answers to this puzzle, call: 1-900-226-2800, 99 cents per minute. Must be 18+. Or to bill to your credit card, call: 1-800-655-6548. Reference puzzle #JONZ632.

TO PLACE AN AD CONTACT:

ASHLEE HORTON

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CORIN KUPPLER

503-445-2757 • ckuppler@wweek.com

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Willamette Week Classiﬁeds JULY 17, 2013 wweek.com

BACK COVER

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Everyday Adventures

BANKRUPTCY

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