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WWEEK.COM
VOL 39/45 09.11.2013
P. 29
WILLAMETTE WEEK PORTLAND’S NEWSWEEKLY
FALL ARTS PREVIEW
24-HOUR ARTY PEOPLE A DAY IN THE LIFE OF PORTLAND’S WORKING ARTISTS. PAGE 13
M A R I O N E T T E : G E A H K B U R C H I L L / P H OTO : R O N I T FA H L
BACK COVER
NEWS RENT A PET, RENT A VET. WINE WILL WARMING KILL OREGON PINOT?
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Willamette Week SEPTEMBER 11, 2013 wweek.com
ROSNAPS.COM
CONTENT
WOMAN UP: How to get the upper hand when arm rasslin’. Page 27.
NEWS
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MUSIC
35
LEAD STORY
13
PERFORMANCE 48
CULTURE
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MOVIES
55
FOOD & DRINK
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CLASSIFIEDS
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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
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Our mission: Provide Portlanders with an independent and irreverent understanding of how their worlds work so they can make a difference. Though Willamette Week is free, please take just one copy. Anyone removing papers in bulk from our distribution points will be prosecuted, as they say, to the full extent of the law. Willamette Week is published weekly by City of Roses Newspaper Company 2220 NW Quimby St., Portland, OR 97210. Main line phone: (503) 243-2122 fax: (503) 243-1115 Classifieds phone: (503) 223-1500 fax: (503) 223-0388
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INBOX WHEELER’S BORROWING SCHEME
[Ted] Wheeler hopes voters will help him prove skeptics wrong [“Mining Fool’s Gold,” WW, Sept. 4, 2013]. It’s not the voters, but the course of the markets going forward that would prove skeptics “wrong,” and even that may be a matter more of luck than being right or wrong. Borrowing, which has a certainty in its requirement to be repaid, to invest in something that has a highly uncertain return is an inherently risky strategy. A lot will depend on actual details, but relying on [earning] averages of past performance is highly misleading and dangerous. —“PNWSkier” Our government should not pursue risky financial schemes. There is another problem with this scheme, which is that “human capital” can relocate to another state. I respect Wheeler, but I think he is dead wrong on this. —“Skepti-Cal” How about letting the various colleges and universities continue to manage their endowments, as they do today? If the citizenry thinks more people should have the opportunity to pursue a degree, let them direct their donations to their favorite schools, and increase the size of those endowments. —“Another Guest”
INMATES VS. UNION WORKERS
Willamette Week SEPTEMBER 11, 2013 wweek.com
Let me see if I follow the intellectually rigorous analysis advanced by Laborers’ Local 483 and its indignant leader, Richard “Buz” Beetle: Any brainless idiot can do the work performed by the inmates, therefore it is beneath them; however, we the taxpayers should pay top dollar, er, “a living wage,” for the very same work. Great idea. No doubt the next time Buz needs his lawn raked he will be sure to avoid the low bid and pay as much as possible. —“Celia” I hate to break it to the union folks, but they don’t own the taxpayers’ dollars. We taxpayers spend a lot of money on incarcerating prisoners. They are getting free room and board on our dime. Why shouldn’t we get a little work out of them? The unions are essentially asking us to pay twice for this service. —“PDX listener”
No matter your viewpoint, this is slave labor and government bodies should be ashamed of using this practice [“Picking at Scabs,” WW, Sept. 4, 2013]. If these governments are providing “train-
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
I hear electric cars don’t shield riders from all that electromagnetic field (EMF) radiation they produce. I pity the way the “humans” in these cars are getting their gonads micronuked. Are Portland’s hybrid-loving masses doomed? —e-Haw!
expanding the penumbra of suspicion to include electric vehicles. I’m not unsympathetic to folks who are leery of technology. Technology is scary. (Though nature, with its 100 percent-organic cholera and all-natural free-range famines, is no picnic either.) But if being in the presence of electricity is enough to kill you, we’re screwed no matter what we drive. In 2010, Consumer Reports tested 13 vehicles and found that hybrids produced about the same amount of EMF as conventional vehicles, i.e., about 2 percent of what power lines generate. It also reported that mundane items such as electric blankets, hair dryers and computers crank out more EMF than many cars. Of course, there are risks associated with riding in an electric vehicle. But 99 percent of them have to do with other cars, not magnetic fields. If you want to improve your chances in a hybrid, skip the lead-lined skivvies and learn to use your turn signals.
The way you put “humans” in scare quotes makes me wonder just how deep you think this conspiracy goes. Do you think hybrid drivers are robots? Or holograms? Are aliens involved? Do you ever take a drink in the daytime, Mr. Haw? Prius-driving pod people aside, you’re not alone in your electromagnetic jitters. For those not familiar with the EMF flap: As we all learned in high school, electric current produces an electromagnetic field. Some people believe heavy exposure to such a field—like you’d get if you lived near high-voltage power lines, say—can cause cancer or other maladies. No one has proved whether these effects are real, but that hasn’t stopped some folks from 4
ing,” then pay the inmates a compensable wage and give them job-placement services when they have completed their time. If the county charges $565 for a 10-man work crew, and the services of the inmates are only $10, what’s the other $555? Surely not for paying a “living wage” to guards and for equipment. Work is work, and it is only fair to provide comparable compensation to inmates or employees. This is hypocrisy. —“Arm of Keaau”
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COUNTY: Jeff Cogen starts a game of musical chairs. BUSINESS: A pet-rental company finds a veterinary loophole. SPORTS: Remembering the lost Blazer chalupas. COVER STORY: A 24-hour look at Portland’s arts crowd.
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WA S H I N g TO N C O u N T y S H E R I f f ’ S O f f I C E
NEWS THAT DOESN’T KNOW WHEN TO QUIT. Tigard police have long expended unusual efforts on prostitution stings (“To Catch a Stoner,” WW, Aug. 5, 2009). Their penchant for busting johns has netted one of Oregon’s top Republican political contributors. James Bisenius, founder of Portland-based Common Sense Investment Management, which has managed as much as $4 billion, was arrested Aug. 30. He has given millions to Christian bisenius charities and $116,000 to GOP candidates in Oregon races since 2010. Common Sense president Dean Derrah issued a statement to Bloomberg supporting Bisenius: “He will deal with this recent event as the personal matter that it is.” Portland officials are in talks to reopen in November a women’s winter warming shelter in Old Town—one floor below housing for predatory sex offenders. Portland’s Housing Bureau funded the warming shelter in the Medford Building at 506 NW 5th Ave. last year, and one client says men would try to talk to the homeless women while they were waiting to get inside. “To know they’re present in the building, even though they are in a separate part of the building, should make any homeless woman feel uncomfortable,” says the client, who asked not to be named because she expects to return to the shelter this fall. Six predatory sex offenders list the Medford Building as their current address. The Housing Bureau says it believes in the building’s safety.
A major theme in the 2012 mayoral race was how City Hall ignores the city’s outer east side, depriving it of resources. But WW’s news partner KATU reported Sept. 9 that the city’s new Emergency Coordination Center at 3732 SE 99th Ave. will include a $396,000 pulsing blue egg called the Heart Beacon, sculpted by Blessing Hancock and Joe O’Connell. The funding comes from the city’s “Percent for Art” ordinance—which reserves 2 percent of all budgets for capital building projects to buy and install public art. It’s a stainless steel and acrylic sculpture the artists describe as an “interactive enclosure of light, color and sound.” Resources delivered, problem solved. Read more Murmurs and daily scuttlebutt.
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Willamette Week SEPTEMBER 11, 2013 wweek.com
SkyRIM STuDIO’S PHOTOS
Prospects for the long-discussed James Beard Market— Portland’s version of Seattle’s Pike Place Market—are improving. Salem lawmakers appropriated $250,000 for the market in July. Now Ron Paul, the impresario behind the market, has hired former Portland Art Museum development director Lucy Buchanan to raise more money for the project. Buchanan earned a rep as a phenomenal fundraiser when her late husband, John, directed the Art Museum from 1994 through 2005. Another member of Team Beard: ad whiz Jelly Helm, who designed the Portland Timbers’ branding.
NEWS
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ROLE-PLAYING GAMES JEFF COGEN’S RESIGNATION MEANS LOCAL POLS ARE MANEUVERING FOR NEW CHAIRS. BY NIG E L JAQ UI SS a n d AA RO N M E S H
243-2122
Jeff Cogen has simplified the 2016 election for Charlie Hales. The embattled Multnomah County chairman announced last week he’ll resign Sept. 16—two months after revelations of his affair with a county employee. As WW first reported on wweek.com, Cogen decided to call it quits after getting a job offer from Democracy Resources, the largest signature-gathering company in state Democratic politics. His departure gives Hales more job security in the Portland mayor’s office— but also creates a power vacuum. Cogen had for years openly coveted the mayor’s job. Before admitting to a two-year affair with health department manager Sonia Manhas, he used his political heft to push back hard on the rookie mayor when the agendas of the city and county conflicted. But Ha les w i l l a lso feel C ogen’s absence. “It’s incredibly important that you have strong leaders in City Hall and at Multnomah County,” says Judy Tuttle, who served as chief of staff to former Mayor Vera Katz and worked for later
Mayors Tom Potter and Sam Adams. “It’s a disaster when they don’t work together.” Cogen’s departure will also redirect media attention to City Hall. Hales got a boost during his run for office by not being scandal-plagued like Adams or mayoral opponent Jefferson Smith, and since July he’s benefited from not being Cogen. Now the spotlight will be on Hales. After nine months in office, it’s unclear whether his priorities extend beyond fi lling potholes and moving homeless camps. W hile Hales looks like a man who needs some motivation, that’s not true for the many politicians and would-be pols who spent the weekend after Cogen’s resignation announcement trying to figure out how the vacancy would topple political dominoes. Cogen’s fall is that rare opportunity for others to make a quick leap upward. Until the special election in May his seat will be held by Cogen’s former chief of staff, Marissa Madrigal, who says she has no desire to run. And whoever does run will in turn leave open more offices behind them. Cogen may have cleared out of 2016, but he’s turned the 2014 races into a mosh pit. Here’s who’s dancing: NO LONGER A SUPERHERO: Jeff Cogen attended a 2012 Equity Foundation fundraiser in costume.
County Chair After Portland mayor, county chair is the most visible position in local politics. The chair gets paid $140,000 a year, nearly $20,000 more than the mayor, and enjoys far more executive authority over his colleagues. KAFOURY County Commissioner Deborah Kafoury is the consensus favorite to replace Cogen. She tells WW she will run—but because she must resign her seat to campaign, she won’t file for office immediately. The longer she waits, the more potential opponents gain motivation for a fight. These include former City Commissioner Jim Francesconi, now in private legal practice. Francesconi didn’t return calls, but friends say he’s pondering a run. Dan Ryan, a former member of the Portland Public Schools board, has also been mentioned but says he’s staying put at All Hands Raised, the foundation for PPS. Former Metro Commissioner Rex Burkholder’s name has circulated, but he’s told friends he’s more likely to run for the Legislature. Two of Kafoury’s colleagues, County Commissioners Judy Shiprack and Diane McKeel, have also mulled running but probably will defer to Kafoury. Tom Rinehart, chief of staff to Oregon Treasurer Ted Wheeler, is also reportedly considering running but could not be reached for comment. One rumored candidate who ruled himself out is Bill Dickey, whose Morel Ink printing company produces much of the candidate literature in local races. “No, I’m not running for county chair,” Dickey says. “I’m hoping whoever runs turns out to be my customer.”
County Commission Position 1 State Rep. Jules Bailey (D -PortBAILEY land) jumped a probable pack of wannabes for this seat. Kafoury’s district includes Portland’s west side and the area east of Cesar Chavez Boulevard and south of I-84. “I have enormous respect for Deborah and would be delighted to see her be chair,” Bailey tells WW. “If she decides to do that, it would be my desire to run for her position.” Former interim U.S. Attorney Dwight Holton, who lost a race for attorney general last year, was mentioned as a possible candidate but says he will not run. Brian Wilson, the former chief financial officer of Kalberer Co., is also thinking about the job. “I’m seriously considering it,” he wrote to WW.
House District 42 Bailey will give up his seat to run for the county commissioner job. In three terms, he earned a reputation for NOSSE brains and effectiveness, most recently chairing the House Energy and Environment Committee. In his politically active district, a number of candidates will be seeking his seat. Ted Keizer, chairman of the Multnomah County Democrats after losing to Bailey in 2008, says he’s ready. “I would definitely consider running again,” Keizer says. Rob Nosse, an organizer for the Oregon Nurses Association, would also like to replace Bailey. “I’ve thought about running for office for a long time, but as long as Jules held the seat there was no reason to,” Nosse says. Burkholder, who ran for Metro Council president, is pondering a run, as is Marisha Childs, a lawyer and 2012 graduate of Emerge Oregon, a political boot camp for Democratic women candidates.
Willamette Week SEPTEMBER 11, 2013 wweek.com
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NEWS W W S TA F F
BUSINESS
ONE SICK PUPPY QUESTIONS ABOUT VETERINARY CARE DOG A PET-LEASING COMPANY. BY AN D R E A DA M E WOO D
adamewood@wweek.com
Hannah the Pet Society, a controversial and growing company that leases pets, is exploiting a loophole in a state law intended for chicken farmers and cattle ranchers—that owners can medically treat their own animals, as long as it’s done humanely. “It wasn’t ever intended for pet animals,” says Lori Makinen, executive director of the Oregon Veterinary Medical Examining Board, “and it never contemplated an organization owning pets, not agricultural animals.” Makinen characterizes her ability to monitor Hannah the Pet Society as nonexistent. The company was investigated earlier this year by the Washington State Department of Health. And Portland’s DoveLewis Emergency Animal Hospital also severed its ties this year to provide emergency services for Hannah pets. Hannah the Pet Society promises a new model for bringing a pet into your home: “Pet parents,” as the company calls its clients, pay a flat monthly fee for a pet, its food, training and all veterinary care. Unlike a shelter that offers pets for adoption or a breeder who sells animals, the business, founded by Dr. Scott Campbell, retains ownership of its pets, and pet parents sign a contract to lease the animals (“Rent a Pup,” WW, Nov. 12, 2012). Clients may even sign over pets they already own to get on the monthly plan. DoveLewis CEO Ron Morgan says his nonprofit had “philosophical differences” with the company. Hannah representatives “haggled” by phone with clinic staff about any care that raised the price above DoveLewis’ $400 average emergency bill. Meanwhile, anxious pet parents in the lobby had no say in their pets’ care. “Their business model is their decision and their concern,” Morgan says. “We just decided it was not something that worked for us in terms of our business. I just hope those pets are getting
appropriate treatment wherever they are going.” A former Hannah veterinarian who asked not to be named, fearing retaliation, tells WW that animals weren’t getting proper care in the company’s clinics. One elderly dog, for example, needed an ultrasound to diagnose a problem, the vet says, but Hannah didn’t have the machine. “They don’t give good medical care to the pets,” the veterinarian says. “The whole point is so they can make a profit.” Other complaints have dogged the business: Local rescue organizations have said Hannah too closely mirrors the look and feel of a nonprofit, which it is not. Fourteen complaints against Hannah have been filed with the Better Business Bureau, where the company has a grade of B-, since it opened in 2010. Campbell, the multimillionaire veterinarian who grew a single Banfield Pet Hospital into the largest chain of animal clinics in the world before selling it, did not return requests for comment. But he explained his business model to WW in October 2012. Hannah wants pets to live for as long as possible, he said, because the company loses money during the first year of a pet’s life, due to immunization, neuter and spay surgeries, training and other initial costs. Taking the same flat monthly fee for a healthy, 5-year-old cat or dog is what turns a profit, Campbell said. “We’re going to tell the client, the pet parent, exactly what the doctor thinks is best for the pet,” Campbell said. But Charlie Stirling and Kay MacDierney say Hannah wasn’t looking out for Maiki, the 11-pound mixed-breed puppy the couple rented in 2011. Stirling and MacDierney adopted Maiki from Hannah the Pet Society’s Clackamas Town Center storefront. But Stirling says Maiki came to her at 12 weeks old with a serious case of kennel cough. Not long after, she developed severe diarrhea. When Maiki stopped eating and her diarrhea worsened one weekend, Stirling says her multiple calls to a 24-hour help line were never answered or returned. The dog got better. But Stirling says when she forked over $600 to break Maiki’s lease and purchase her outright, Hannah refused to release any medical records to a new veterinarian, saying the information was proprietary. Stirling’s veterinarian filed a complaint with Washington state, which dropped its investigation after Hannah turned over what Stirling called “barebones” records that gave no answers about the level of care Maiki had received. “End of story,” Stirling says, “we’d never do it again.” Willamette Week SEPTEMBER 11, 2013 wweek.com
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Willamette Week SEPTEMBER 11, 2013 wweek.com
NEWS zak eidsvoog
sports
ADIOS, LAS CHALUPAS AN ORAL HISTORY OF THE BLAZERS’ 14 SEASONS OF PROMOTING FAST FOOD. By AA r o n m e s h
amesh@wweek.com
On a November night in 1999, Arvydas Sabonis won Portland Trail Blazers fans their first free chalupas with a basket against the Los Angeles Clippers. Will Barton provided the last with a jumper against the Lakers this spring. In the 14 seasons between, the Blazers handed out more than 3 million coupons for free Taco Bell products—one per fan each time the team scored 100 points or more. By the time the front office announced last week Taco Bell had ended the promotion, the chalupa was arguably the most popular member of the team. The giveaway provided casual fans with something to cheer about, and kept the crowd engaged during blowouts. (The team says it will soon reveal a new promotion.) The incessant fourth-quarter chant—“Chalu-pa! Cha-lu-pa! Cha-lu-pa!”—irritated sportswriters, altered the careers of benchwarmers, and fed the homeless. We remember the tradition in the words of those who were there. “For probably three or four years, I just gave the coupon to my employees. But I eat out for lunch every day, so what I do is I [use] a chalupa coupon once a week. And I get a taco. And I’m an old guy, so I get a free Diet Coke. So that’s a good deal for me. I do that once a week, on Tuesdays. It’s nice to get something for nothing…. When they reach 100 points, they’re usually ahead, or close to being ahead. That’s usually the time I do some dancing.” —Season-ticket holder Bruce Jeremiah, aka “Blazer Bruce” “That 2008-2009 team, those were the salad days of Brandon Roy, LaMarcus Aldridge, Sergio Rodriguez. I remember a game against the Utah Jazz; Travis Outlaw was at the line with 98 points. Hits the first one: 99. Misses the second one. No chalupa. Travis ran back and kind of held his head down a little bit. The guys on the team really wanted to be the guys who scored the chalupa buckets. It was a really sweet
team. There was no one to make ’em feel like it was dumb to be happy about that kind of stuff.” —Casey Holdahl, digital reporter for the team “It feels good to give the fans Taco Bell.” —Reserve forward Luke Babbitt, after hitting a 3-pointer on Jan. 24, 2012. It’s his first basket in 265 days and the chalupa-securing points. He soon becomes an Internet phenomenon. “Sorry to the fans for the chalupas.” —Starting point guard Raymond Felton, after missing two free throws with the team at 99 points on March 29, 2012. He soon becomes among the most hated players in Blazers history. “If I had known, I would have missed the shot on purpose.” —Babbitt to The Columbian on April 16, 2012, reacting to his newfound stardom. He now plays on a Russian team. “I said to myself, ‘Wouldn’t it be great if we could just fill the Rose Garden up with homeless people? Then everybody would get a free meal tonight.’ Obviously, that wasn’t going to work. Then I said, ‘Why don’t I just be the middle man on this?’ I got as many volunteers as I could to stand outside and collect coupons, and redistribute them to outreach agencies. Not only to provide a warm meal for these people—using a chalupa coupon also made them a Taco Bell customer, which entitled them to use of the restroom.” —Jessie Sponberg, activist “When I think of chalupas, I think of an overeager Rudy Fernandez bonking totally unnecessary 3-pointers off the front rim. I hope the next promotion manages to make fans smarter rather than dumber. Maybe everyone should get free Burgerville shakes when the Blazers take five high-percentage shots in a row.” —Casey Jarman, former WW Blazers correspondent, now managing editor of The Believer “Are you kidding me!?! No! Screw you Moda Center!” —Brandon Geiger, fan, on Twitter “I’m actually kind of pro-getting rid of it. The amount of backlog it causes is almost horrendous—you have to wait five or 10 minutes to even get out of the stadium. And sometimes it’s a classier move to not score on another team. Say you have 99 points and you’re up by 15, it shows a little bit of old-school class not to make that extra point just to get your fans a chalupa.” —Season-ticket holder Rob Ems, aka “Free Throw Guy” Willamette Week SEPTEMBER 11, 2013 wweek.com
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Mike grippi
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SEE YOU IN 2014
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P H OTO S BY R O N I T FA H L
PORTLAND TAIKO
OREGON BALLET THEATRE
BABY LESTRANGE
24-HOUR ARTY PEOPLE A DAY IN THE LIFE OF PORTLAND’S WORKING ARTISTS.
5 am Radio has no rules before 6 am. Federal Communications Commission policies on indecent and profane broadcasting don’t apply—the DJ whirling around the tatty booth at KBOO could pump the airwaves full of “fucks,” “shits” and “cocksuckers.” Paul Roland’s path is different, but also controversial. In his weekly shift at the community radio station, Roland, a spry, soft-spoken and gray-flecked 55-yearold, broadly interprets “folk and traditional music” on KBOO’s Rise When the Rooster Crows to include European mountain songs. At 5:37 am, he plays Husmusig Jeremias vo Barn’s “Eviva i soci” from a collection of Alpine folk music.
JEFF LIDDICOAT
A
RT IS WORK. We celebrate the geniuses with virtuoso brilliance and seemingly effortless creativity, but that’s not the way it is for most professionals. Sure, Portland has plenty of dilettantes who want to sleep until noon, hot-glue neon pipe cleaners to a salvaged brick and talk about their “process.” But for the majority of local artists—those who rise before sunrise to spin Alpine folk music, who spend months carving impossibly intricate wooden marionettes, who stay up until 2 am to find the perfect twist of phrase—the act of creation is labor. It’s punctuated by flashes of inspiration and moments of wonder, but it’s work nevertheless. We wanted to watch. So, on a Thursday in August, Willamette Week writers spent 24 continuous hours immersed in the arts of varied disciplines, all across this city. You might not consider it art to fold tinfoil into a dragonfly, or to sculpt an elaborate cake, but for this day, we cast a wide and generous net. What we found was startling focus, surprising artistic vision and unnerving tolerance for repetition. Sometimes, these artists’ work produces a bird sculpture made of driftwood or a spray-painted billboard. Other times, it’s an Emmy-winning TV show or a dress to wear to the Emmy ceremony. Here’s what happened on that humid August day.
Reviews ring in from folks who tuned in expecting to hear the Carter Family and John Prine. Roland, who has barely spoken as he furiously shuffles between notes scrawled in blue ink and a stack of scuffed jewel cases, picks up the phone. “It’s, uh, mountain music from Europe. Are you enjoying it?” he asks. “No, huh, well, I’ll be playing some American mountain music a little later.” Before the next song, Roland finally uses his microphone. He’s shy—here to spin records, not to hear himself talk. “I’ve had some mixed reviews, I’ve gotta say,” he tells the dark and groggy city. “A lot of you are used to traditional American music.” He puts on an upbeat fiddle tune, Sonerien Du’s “An Dro,” and braces himself for the next call. It’s a good one. “Thank you! I’m glad to hear that,” he tells the caller. “Right on!” MARTIN CIZMAR.
6 am “I like to get up and work at this hour and not have to talk,” says Sharita Towne, a 28-year-old Master of Fine Arts student at Portland State University. Instead, Towne sits in her Northeast Portland bedroom, scanning photographs of her roommate as a young teen for one of her disparate projects—printmaking, stereo photography, videography. For one project, Towne traveled to camps for West Saharan refugees in Algeria, pairing stereoscopic images—which she turned into animated GIFs— with sounds captured by a greeting-card recording device. The resulting video is determinedly low-tech, the images arresting: tanks, arid landscapes, family portraits. CONT. on page 15 Willamette Week SEPTEMBER 11, 2013 wweek.com
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In another 45-second video clip, Towne projects onto her bare torso and breasts an old black-and-white educational film about slavery. “I work a lot around where I physically carry my particular historical burden, which is being black in this country, having native blood in this country,” Towne says. She taps my shoulder and gives a jokey look. “Hey, where do you carry your historical burden?” REBECCA JACOBSON.
7 am The just-risen sun shines through the skylights of a Southeast Portland studio. Eight people sit cross-legged on the floor, meditating and preparing for this ecstatic dance class. “Use your imagination,” a voice instructs. One woman, her gray hair tied into a bun, rolls on her back. A man closes his eyes and bobs up and down, one arm twitching not quite in sync with the music. There’s no other instruction and no talking from the participants, who groove haphazardly as the music transitions from slow Indian ragas to fast-paced bongo beats. “I’m creating a place for people to come and explore their own creativity,” says Winky Wheeler, who leads the early morning class. A sign by the door reads: “You will need: Curiosity, kindness, stamina, and a willingness to look stupid.” HALEY MARTIN.
8 am Before Jutta Bach was a professional cake designer, she was an architect. “It would just drive me crazy if this cake weren’t centered on this plate,” says the German-born Bach, stepping away from the gleaming metal countertop in her small Pearl District kitchen. She presses the back of a spoon against a frosting-covered tier and quickly draws it away, leaving a textured edge that resembles crumpled paper. “I think like an architect, still,” Bach says. “I do consider these cakes like buildings, little structures, so I think in elevations, cross sections and planes.” SARA SNEATH.
MICHELLE LESNIAK FRANKLIN
9 am Michelle Lesniak Franklin bolts into her Southeast Portland studio, wrangling her two Chihuahuas, Velcro and Ivan. The most recent Project Runway winner is here prepping for FashioNXT, the Portland fashion event running Oct. 9-12, where she’ll show women’s wear clothing in a style she dubs “rocker bitch meets princess.” There are also swatches and sketches on her desk for a dress she’s designing for a client to wear to the Primetime Emmy Awards later this month. She won’t divulge who that client is, but judging from the swatches, she’ll be rocking canary-yellow silk. The previous evening, Franklin was besieged by fans at a Crystal Ballroom show. The Portland native appreciates the attention, but says, “there are times when I just need to go buy a box of tampons” without posing for iPhone photos. Franklin still runs her business, Au Clothing, as a one-woman operation. As of late August, she still hadn’t received her $100,000 prize from Project Runway. The biggest misconception people have about her? “That I’m rich.” RICHARD SPEER.
10 am
11 am
Remember the first homework assignment of a new school year? The six dancers stretching at Oregon Ballet Theatre are having a moment like that. “They’ve been off for the bulk of the summer,” says rehearsal director Lisa Kipp, her hair pulled on top of her head in a sloppy bun, “so we’re just going to not push too hard today.” OBT’s upcoming season will have a contemporary spin, thanks to new artistic director Kevin Irving. The schedule includes Nacho Duato’s Por Vos Muero, a sensual depiction of medieval Spain, and Nicolo Fonte’s Bolero, a piece heavy with industrial imagery. The company will not do a full classical ballet like last season’s Swan Lake. “I’m way more sore after doing a contemporary piece because I’m pushing my body in a completely different way,” says Eva Burton, 22, who wears purple down boots to keep her feet warm, even though the studio is sweltering. “Like instead of just doing a well-placed développé a la seconde, I might be leaning off my leg and trying to get it cranked high.” AARON SPENCER.
Kneeling beside a small stack of wood, Jeff Liddicoat selects five sticks and gently fits them together. What had looked like little more than kindling becomes a deer, just over a foot tall, which he christens “Bumby.” “People like coherence and understandability,” says Liddicoat, a middle-aged Miami native who moved to Portland in 1981 and has twice run for mayor, winning less than a half percent of the vote each time. “Otherwise, it is just a pile of wood.” Better known as “Voodoo Jeff,” Liddicoat sees lifelike images in the wood he scavenges daily and brings back to his street gallery—and makeshift home—on Southeast 12th Avenue. Sun-bleached driftwood becomes a longbeaked bird. A human-shaped twig has been outfitted with a chunk of wood resembling a crown. Viewers stop daily to examine and take pictures of the ever-changing Watts Towers-esque installation. The gallery’s future is uncertain—Portland police have been making homeless sweeps around the city. In the meanCONT. on page 16 Willamette Week SEPTEMBER 11, 2013 wweek.com
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time, Liddicoat will wander parks and streets, waiting for shapes to appear in sticks and twigs. JEN LEVINSON.
Noon A young woman who resembles a young Jodie Foster—save the shock of green-dyed hair—proudly holds up the fruits of her labor. She has used a bleach pen to stain a black T-shirt with the phrase, “GET FUCKED PUSSY.” “I don’t care if you’re white or black or gay,” she says cheerfully. “I hate everyone equally. So get fucked, pussies!” Today at p:ear—a local nonprofit that offers arts-based mentoring to homeless and transitional youth—volunteer Michelle McClintock works with a group of mostly young women to modify donated shirts and make them their own. A 22-year-old named Sonja gets to work cutting up the sides of a shirt, striping in ribbings of blue fabric with an impossible number of safety pins. She came to Portland about a year ago, fleeing the city she calls “San Franpsycho” after a double-fatality shooting in front of her city-provided Tenderloin neighborhood housing. Since hooking up with p:ear, she has already sold a mixed-media piece called Macaroni Pictures of Jesus. “I only sold it for like $5,” says Sonja, who is happy to learn it has joined the collection of a dedicated patron. And an hour later, her patchwork shirt has begun to come into focus. “I need to challenge myself more often,” she says. Pausing, she adds, “I think clothing is a good thing for art. Because it’s functional, too. I’m gonna wear this.” MATTHEW KORFHAGE. JEFF LIDDICOAT
Jesus is Middle Eastern?
l l y k e J . r D presents
and
e d y H . r M
Bombshell Vintage 811 E. Burnside 16
Adapted by Jeffrey Hatcher From the novella by Robert Louis Stevenson Directed by Bobby Bermea
Oct. 25 – Nov. 23 Thur – Sat @ 7:30 p.m. Sun @ 2:00 p.m.
www.theatrevertigo.org • 503-306-0870 • vertigo@theatrevertigo.org The Shoebox Theater / 2110 SE 10th Ave
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1 pm In Portland Center Stage’s downstairs studio theater, actors Natalie Paul and Rodney Hicks play chess and murmur to one another. Each sits on the edge of a double bed—part of a set still in progress, a no-frills motel room. Director Rose Riordan sips iced coffee out of a massive insulated travel mug. “Do they play chess in The Mountaintop?” I whisper to her. That’s the play Paul and Hicks are rehearsing today, a two-hander by Katori Hall about the night before Martin Luther King Jr.’s assassination (it opened last weekend; see review on page 50). No, Riordan says, they’re playing chess because she likes to make actors perform another task—pattycake is another favorite—while rehearsing lines. “It creates room in their brains,” Riordan says. “The intensity of focus helps them learn how to listen to each other. It makes them partners.” REBECCA JACOBSON.
“People really value effort in Portland, and I don’t think that’s necessarily bad. There’s an incessant celebration of doing things.” —Portlandia co-star
2 pm
Carrie Brownstein
An unassuming office complex in inner Southeast, the headquarters of Portlandia would probably disappoint the series’ fan base—too clean, too utilitarian, too Los Angeles. But squint hard enough, and there are a few flashes of homegrown whimsy. Janet 2V WWeek BW Ad: Spec5_Brandi Carlile Runs: 8/21, 9/4 & 9/18 Weiss, drummer and occasional location scout, weaves her way through fresh-faced production assistants. Subtly awful watercolors, commissioned locally, are hung throughout the office. Today, as specialists enter preproduction, the mad whirl CONT. on page 19
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OCTOBER 12-19, 2013 KELLER AUDITORIUM POR VOS MUERO (Company Premiere)
Nacho Duato / Jordi Savall
A MIDSUMMER NIGHT’S DREAM Christopher Stowell / Felix Mendelssohn
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of activity is about all I’m allowed to observe. Once the cosmetologist starts drawing temporary tattoo designs, I’m ushered out. A producer deftly spins the art director’s monitor around. Celebrity anecdotes are universally brief and affectionate. However daunting the cultural footprint, Portlandia remains a relatively bare-bones operation. “There’s kind of a joie de vivre here, and an unbridled enthusiasm that can sometimes trump or obfuscate quality,” says series co-star Carrie Brownstein. “People really value effort in Portland, and I don’t think that’s necessarily bad. There’s an incessant celebration of doing things.” JAY HORTON.
3 pm In the living room of a Southeast Portland bungalow, Catherine Olson—one of Portland’s best sopranos— begins to sing: Sex is part of what we’re all about Yes, the mind’s got thought But sweat’s got salt And the chair’s got legs And the farm’s got dirt Olson sounds hesitant: It’s the first time she’s seen the lyrics and score for Viva’s Holiday. That in-progress opera, which composer/pianist Christopher Corbell hopes to finish by year’s end, is based on a memoir by Viva Las Vegas, Portland’s most celebrated stripper (and musician, actor, cancer survivor and former WW intern). “It has a great momentum,” Olson says. “I think it’ll be a fun scene.” She adopts the tone of Gene Wilder’s Dr. Frankenstein: “It’s coming alive!” she howls, devolving into giggles. BRETT CAMPBELL. LINDA AUSTIN
4 pm “I think sculptures are alive, actually,” says Linda Austin, sticking her hand into what looks like a giant turkey leg made out of wire. “That’s part of my deal—my interaction with the props is almost like I’m equal to them and they’re equal to me.” The 59-year-old choreographer and dancer moves around a few abstract sculptures in a sunlit studio off Southeast Foster Road, rehearsing for a piece called Three Trick Pony that will premiere this weekend at the TimeBased Art Festival (see additional previews on page 48). You could call it a duet between Austin and the sculptures by David Eckard. At one sculpture, Austin messily applies red lipstick and presses her lips against a paper window. At another—three boxes made from railroad ties and covered in yellow fur—she snaps at her waist, whipping her hair and grunting. Later, she showers herself with slicedup pool noodles. In its mount, the wire turkey leg looks a bit like a penny-farthing bicycle. Austin pulls out the leg, and the mount rolls freely across the room. “It’s supposed to do that,” she says. AARON SPENCER.
5 pm In a small corner room of Lidia Yuknavitch’s Milwaukie home—walls and ceiling painted navy, windows draped— the author sits barefoot at her computer with a glass of white wine. A baffling assortment of knickknacks adorns the desktop: a small rubber chicken, a bottle of Balvenie Scotch, a box full of glass eyes.
“I’m deeply connected to ritual and talismans and smells and trinkets, and I have to have it like this,” Yuknavitch says. “I’ve built it, this ritualized or over-ritualized pleasure zone. I have to have my creatures and my people near me or I literally can’t do it. I’m hoping that’s normal.” Yuknavitch’s revealing memoir, The Chronology of Water, brought her a new level of fame, which she followed with the novel Dora: A Headcase. She’s working on two more novels based on Joan of Arc and Mary Shelley. “I think it took writing the memoir to make me want to tell stories about women who free themselves from their own story,” Yuknavitch says. “It felt like I freed a girl trapped in her own past.” And with that, she takes a sip of wine and returns to her ritual. PENELOPE BASS.
6 pm In a leafy garden on Northeast Prescott Street, a tuneful rendition of “We Wish You a Merry Christmas” rings out. It’s a strange song for an unusually muggy summer day, but these 16 actors—mostly young, some barefoot, a few smoking cigarettes—are at callbacks for Portland Playhouse’s winter production of A Christmas Carol. It’s the first time the 6-year-old company has produced a holiday show, and based on the auditions, it’s unlikely to be a traditional affair. “I’m reading for Scrooge,” says Jennifer Rowe, who’d first expressed interest in the role of Belle—Scrooge’s
spurned girlfriend. Also reading for Scrooge is Jason Rouse, a big-bellied actor with sideburns just a notch slimmer than Elvis’. Inside, Rouse runs a scene, conveying Scrooge’s frustration with theatrical bombast. Director Cristi Miles, a petite woman with an intense gaze and kind voice, cuts off Rouse. “Sit down,” she says softly. “Keep your voice in the lower register. Don’t yell until you have to yell. You’re only allowed to yell three times. Three times!” REBECCA JACOBSON.
7 pm To say the corner of Southwest 3rd Avenue and Ankeny Street is a hot spot for busking would be an understatement: the line at Voodoo Doughnut means there’s nearly always an audience. Armed with a guitar and saw, two road-worn 20-somethings set up a piece of cardboard advertising their name—Itchy On the Fence—and writhe their way through a gypsy-folk rendition of Tom Waits’ “Tango Till They’re Sore.” A young dad in Ray-Bans and a Michigan Law T-shirt chuckles as his toddler bursts into an erratic dance routine you might see at a Lady Gaga concert. He tosses a crumpled $5 bill into the open guitar case. “Busking in Portland can be very lucrative,” says Nicole, the 28-year-old saw player. “It’s very competitive, but we’ve been fortunate enough to grab a lot of attention.” PETE COTTELL. CONT. on page 20 Willamette Week SEPTEMBER 11, 2013 wweek.com
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All events are free unless otherwise noted. Parking is free after 7 p.m. and all day on weekends. September 10December 15 Tuesday-Sunday 11 a.m.-4 p.m. Hoffman Gallery of Contemporary Art
EXHIBIT
September 10December 20 Daily 9 a.m.-9 p.m. Watzek Library Atrium
EXHIBIT
September 12 7 p.m. Miller 105
September 13 8 p.m. Gregg Pavilion
Figure/Ground: Stephen Hayes, A Thirty-Year Retrospective See three decades of work by one of the Pacific Northwest’s preeminent painters and printmakers. Artist’s talk September 17, 6 p.m., in Miller 105. MONTAGE
Diderot @ 300: An Exhibit on Making Knowledge in the 18th Century This student/faculty collaborative exhibit celebrates Denis Diderot’s imprint on the Encyclopedie, published 1751 to 1772. WATZEK SCREENS FILM SERIES
Elevator to the Gallows Directed by Louis Malle, this is the first movie in this fall’s French New Wave film series hosted by Watzek Library. For a full series schedule, visit watzekscreens.blogspot.com. CONCERT
Zimbabwean Music Hear Zimbabwean mbira masters Cosmas Magaya and Patience Chaitezvi perform. $10 general admission at the door.
September 17 7 p.m. Templeton Campus Center, Council Chamber
SYMPOSIUM KEYNOTE ADDRESS
September 20 3 p.m. Albany Quadrangle, Smith Hall
JOHANNAH SHERRER MEMORIAL LECTURE
Science, Democracy, and Healthy Oceans: What Is Your Role? Hear Jane Lubchenco, former administrator of the National Oceanic and Atmospheric Administration, as part of the annual Science Without Limits Symposium. For a full schedule, visit go.lclark.edu/swl.
What Librarians and Faculty Should Know About Today’s Research Practices Alison J. Head, executive director of Project Information Literacy, will discuss how students find information today, with key takeaways for teaching and librarianship. go.lclark.edu/sherrer_lecture
September 28 10 a.m.-1 p.m. Graduate Campus, South Chapel
CONT. from page 19
WORKSHOP
Building Communities With Vision and Purpose Participants will experience a simulation of a community dialogue, give feedback on the model, and take home resources to help them foster dialogue in their own communities. Advance registration required at go.lclark.edu/building/communities.
8 pm Geahk Burchill’s St. Johns studio is a mere six blocks from his apartment, but this windowless space might as well be his home. “I spend most of my waking time here,” says the self-described introvert. Burchill is a perfectionist maker of marionettes, gorgeously macabre wooden puppets that he carefully carves, paints and costumes. His Castiron Carousel Marionette Troupe makes puppet theater that is, in Burchill’s words, “dark, creepy, haunting, beautiful and surreal.” It is, he adds, “definitely not for kids.” His marionettes are remarkable. A female puppet looks like a scarier Tim Burton illustration sprung to life, with a dour face, frighteningly long neck and ruffled black skirt that lifts to reveal four articulated, spiderlike legs. A hare, each bit of fur represented by a precise notch, has had one haunch replaced by a cold mechanical limb. A little girl with pink ballet slippers and purple Princess Leia-style buns has a greenish, knobby lobster claw in place of her left arm. Tonight, Burchill, who has white-blond eyebrows and eyelashes, works on the puppets for an upcoming play called The Doom That Came to Fiddle Creak, a supernatural tale that H.P. Lovecraft might have written had he been reared on Appalachian folklore. Burchill sharpens his blade against a leather strop and picks up the head of a marionette, a young man named Jack Thursbane. With confident flicks, Burchill gives Jack ears, eye sockets and cheekbones. “There’s lots and lots of hours of this, but it’s incredibly meditative,” he says. “There’s a reason you always see old folks whittlin’ on porches.” REBECCA JACOBSON.
lurches through the ensemble like a drunken jester. In the back, a duo hammers on the same large drum. With a loud “Ha!” drumsticks are raised and everything falls quiet: all in praise of Amaterasu, goddess of the sun. Tonight, Portland Taiko prepares for its 19th season, which begins Oct. 12 with a show titled Making Waves. “It’s one of the most empowering experiences because it’s a full-body experience,” says artistic director Michelle Fujii. “It can take you on so many different spiritual paths.” RICHARD GRUNERT.
10 pm Floyd’s Coffee Shop in Old Town is filled with bearded guys in skirts and women with neondyed, Hitler Youth haircuts. The walls are hung with glittery latch-hook portraits of the Golden Girls. Tonight’s variety show is almost over. Burlesque performer Baby Le’Strange (aka Megan Buday) slinks onstage wearing a huge hot-dog bun as if it’s a floor-length parka. Ratty fuschia hair askew, she looks drunk and ready to insult someone. As the Stooges’ “I Wanna Be Your Dog” plays, she removes the bun to reveal a sparkling red gown, and seconds later, a similarly sparkling G-string. She gyrates her hips and gives her best O -face to the audience. Then she prepares for her raunchiest magic trick: From between her legs, she pulls long, glittery strands—mustard, relish and ketchup. “I have no couth,” Buday says afterwards. “One of these days I want to be a squirting cream Twinkie. I need to figure out a way to put a pastry bag in my vagina and squirt.” AARON SPENCER.
11 pm 9 pm
www.lclark.edu 20
Lewis & Clark 0615 S.W. Palatine Hill Road Portland, Oregon 97219
Willamette Week SEPTEMBER 11, 2013 wweek.com
A warehouse is shaking in a remote corner of Northeast Portland. It starts with a rumble. Beats reverberate. The floor trembles. Drummers spin and dance. Cymbals clang as a man
In standup comedy, there’s bombing, and then there’s whatever the tall, boyish kid onstage at Brody Theater’s open mic is doing. His Arnold Schwarzenegger impression sounds more Cool Runnings than The Terminator. His bit on talking squids elicits only nervous pity-titters. He asks
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the host how much time he’s got left. With four minutes to go, he hugs the back wall like a safety blanket. “Is this heroin gluten-free?” he mutters. It’s cringingly uncomfortable—and an example of what makes live comedy such a visceral art form. Even the most polished comics walk a tightrope, and while witnessing a great comic destroy a room is exhilarating, it’s an entirely different thrill watching someone plunge to their death. And there are bodies all over the Brody tonight. Back onstage, the kid mostly fills his time with dead air. “You guys like P. Diddy?” he asks. Thankfully, the host—dryly sarcastic yet uniformly supportive—steps in for the mercy kill. “You don’t have to be funny all the time,” he reminds us. MATTHEW SINGER.
Midnight Sea Tramp Tattoo Co. is Portland’s oldest such shop. It was opened three decades ago by Bert Grimm, a native Oregonian who claimed to have inked Bonnie and Clyde. His far-flung string of parlors did much to brighten the reputation of tattoos, once just for bikers and swabbies but now favored by people like 20-year-old Jerica Coughlin, a dark-haired sylph from the suburbs of Dallas. Asked if she considers tattoos art, Coughlin is vaguely offended. “Well,” she says, tapping an intricate starlike design flowering out beneath her belly button, “I drew that. I think it’s art.” JAY HORTON.
1 am From the eighth floor of her Pearl District apartment, Sandra Stone—prose writer, opera librettist, winner of an Oregon Book Award—is digging into her next volume. The manuscript chronicles her rehabilitation from a bad fall she took in 2001 in New York. Sharing hospital space with victims of the 9/11 terrorist attacks, she gained strength from those survivors’ indomitable will to live. A beloved Portland fixture known for her salons and illustrious friends, Stone has been nicknamed “Night Owl,” thanks to her penchant for witching-hour emails and all-night writing marathons. “There’s sanctum in the night,” she says. “I love hearing the voices of the sepia hours. I sometimes write with all the lights off and the screen very dim.” Stone refuses to reveal her age. Whatever the number, she has the creative juices and work ethic of a hungry young writer, setting herself to chronicle “the vagaries of the human heart leaping the chasm.” As the clock approaches 2 am, Stone hints coyly at one of her new work’s subplots. It’s something unexpected that happened to her as she recovered from her fall: a romance. RICHARD SPEER.
2013 /2014
PORT L AN D A R T S & L EC T U R E S
October 08, 2013
SALMAN
November 20, 2013
Rushdie
ANN
Patchett
CONT. on page 22
“There’s sanctum in the night. I love hearing the voices of the sepia hours. I sometimes write with all the lights off and the screen very dim.” —Sandra Stone
January 14, 2014
LAWRENCE
Wright
February 18, 2014
CHRIS Ware
in conversation with Chip Kidd
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GEAHK BURCHILL
CONT. from page 21
2 am
3 am
It’s closing time at the busy Montage restaurant under the Morrison Bridge—long known for late-night spicy mac and its Last Supper mural with staff painted as Jesus and the apostles—and Angela Vincent is preparing a dragonfly. More to the point, she’s yanking reams of aluminum foil out of long rollers to fold the abdomen of the bug around beans and rice. A screaming roll becomes a wing, another the second wing. It’s all over in about 45 seconds, leaving a fully formed insect about 3 feet long. Montage does this with all leftovers, packaging them as custommade foil creatures—or a He-Man sword. “We teach each other shapes,” Vincent says. “First snails, then cats, then squirrels. Anything with legs takes a little longer.” The best she’s seen is a flying Pegasus unicorn. Behind Vincent, server Sean Moder constructs deformities, still twisting them as he speed-walks to the waiting tables: squirrels with scorpion tails, penises with wings and other crossbred affronts to nature. Usually the shapes are at the servers’ whims, but sometimes they’re tailor-made. Late-night stoners might get bongs, for example. “Somebody asked for a single frog leg wrapped up,” Vincent says. “So I made him a frog with one leg missing.” MATTHEW KORFHAGE.
We don’t have to look homeless, says “Jane,” a street artist, because we’re heteronormative. “Cops won’t question a guy and a girl standing on a corner together.” What’s important is we look like we belong on the mostly vacant streets of the Industrial Eastside at 3 am. Jane and I are standing lookout. Down the block, “John” spray-paints a brick wall’s buffed white rectangle—graffiti that’s been painted over by the city—to look like the side of a Mack truck with balloon-animal hieroglyphics. Down the way, an actual delivery truck turns on its headlights. “Chill!” Jane says, and John tucks away his spray can. The truck doesn’t move, so she whistles an all-clear. I’ve been warned that “what we’re doing is illegal and to come with a sober mind.” Jane knows the law better than some paralegals: Painting more than 14 feet above the street is ideal, she says, because Oregon Occupational Safety and Health Administration regulations make it harder for workers to cover it up. Portland is one of the worst cities for public art, she says, with police even staking out street-art gallery shows to photograph patrons. Jane’s screen prints are intricate and lovely. She uses only plant-based materials for the ink and paste. “I worry about what I put in my body,” she says, “and I worry about what I put in the environment.” Over the course of an hour, Jane and John each place art
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at four spots. Along the way, they affectionately point out the work of other artists. Jane sighs aloud when she sees someone’s work covered over. At what will be the final stop, near Southeast Grand Avenue, John gets out his materials. As I watch, a police car stops mid-intersection three blocks away. “Chill,” I tell them. MATTHEW KORFHAGE.
4 am The rented studio inside AudioCinema is piled with replica M16s and Glocks. There’s a stack of army costumes and gaming-convention T-shirts. The fridge is stocked with Red Bull. “I’m up at 4 am because it’s when I’m most creative,” says J. Lee, the videographer who uses this space to make live-action short films based on video games. His work appears on YouTube and is discussed on gamer blogs. He plays a trailer he made for Resident Evil, hesitating before pressing play. “Straight-up art doesn’t work on the net,” Lee says. “Portland has such an indie vibe. Everyone is resistant to YouTube.” Lee is commissioned by game makers to do this. His hero is film director Michael Bay, who got his start before Transformers making 90-second promotional clips. As I leave AudioCinema at 5 am, it’s still dark. Lee walks back into his studio. “I’ll be here for a while,” he says. JOE DONOVAN.
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WHAT ARE YOU WEARING?
STREET
BANDING TOGETHER MUSICFESTNW TOOK OVER THE TOWN. PHOTOS BY VIN CEN T AGUAS wweek.com/street
Willamette Week SEPTEMBER 11, 2013 wweek.com
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WINE: How climate change will hit the wine industry. MUSIC: Kathleen Hanna riots again. PERFORMANCE: What to see at TBA 2013. MOVIES: The provocative Act of Killing.
SCOOP
GET
GOSSIP TRAPPED IN A PRISM, A PRISM OF LIGHT. SEAT SLASHER ON THE LOOSE: A seat slasher has Portland’s motorcycle community in an uproar. Starting about two weeks ago, motorcycle owners say seats of bikes left on the street at night have been slashed, leaving many with an odd, square cutout. “It seems like some somebody is doing it to have some sort of souvenir,” says Joshua Stenseth, who woke up Sept. 4 to find a patch removed from the seat of his 2003 Suzuki SV650. He walked down Northeast Hancock Street and found the same had been done to two other motorcycles. Ginger McCabe, who runs motorcycle upholsterer New Church Moto in Southeast Portland, says she’s heard of “literally hundreds” of incidents like this. She posted to her business’s Facebook page Sept. 9: “Portland motorcyclists: there is someone in town who is slashing seats.... Any help or leads or eyes kept out would be much appreciated. Let’s catch this fucker!” For more information and a map of incidents, go to wweek.com.
BREAKING
NEWS FIRST FOLLOW @WWE E K ON T WIT TER
BOARDING-PASS BEERS: To those who noticed Laurelwood Brewery’s airport locations no longer offered growler fills for outbound travelers who wanted to take some Portland beer with them after passing security gates, never fear. It was a mere glitch. The brewery has reapplied for an off-premises beer license, and will again fill and sell growlers to go. “That’s one of the great things about those airport locations,” Laurelwood founder Mike DeKalb tells WW. “People can take Oregon beer around the world.” >> And more good news for drinkers: Abram Goldman-Armstrong’s Cider Riot cidery—which WW was very taken with earlier this year at a media tasting—is one step closer to making its high-end cider available to the masses. Cider Riot applied for its winery license Sept. 4.
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LAUNCH HOUR: Local Kickstarter-funded company Carbon Audio announced a spanking new product Sept. 7 at TechfestNW at OMSI. As a follow-up to Zooka, a speaker that slides onto laptops to amp up the volume, the company demonstrated the Pocket Speaker, a Bluetooth-driven device about the size of a deck of cards, which pumps out audio at an alarming volume. “Really all we wanted to do with this was destroy Jambox,” said Jason Martin, Carbon Audio’s co-CEO, referring to the product from San Francisco mini-speaker company Jawbone. AND THE EMMY GOES TO... MusicfestNW is over, but you can see a snippet of it on the Emmy Awards show. During Fred Armisen’s variety show at Crystal Ballroom on Sept. 5, the Portlandia star invited audience members onstage to be part of a nomination reel that will air during the Emmys broadcast Sept. 22. Meanwhile, a planned protest against Armisen’s appearance, reported in Scoop last week, did not take place. Read all our MFNW coverage at wweek.com/mfnw2013.
HEADOUT ROSNAPS.COM
WILLAMETTE WEEK
WHAT TO DO THIS WEEK IN ARTS & CULTURE
WEDNESDAY SEPT. 11 DIARY OF A MADMAN [THEATER] Fresh off the Edinburgh Festival Fringe, NoPerks Theatre presents an adaptation of Nikolai Gogol’s short story about a clerk’s fall into insanity. The group, with members hailing from New York City and Switzerland, incorporates original live music to flesh out the haunting tale. The Headwaters Theatre, 55 NE Farragut St., No. 9, 289-3499. 8 pm. $15.
A FEARSOME HONEY BADGER’S TIPS FOR BOOZY ARM RASSLIN’
Aroller derby. Or such is the
rm wrestling is the new
idea behind “Honey Badgers & Cobras,” a female arm-wrestling battle royale at the Warrior Room kettlebell studio in Milwaukie on Saturday, Sept. 14. After several months of practice, I found these gladiators have honed their technique to the point they can pin a normal woman in about five seconds. After having my elbow bent back hard and fast, I asked Jody Schreffler (aka Pain Fonda) for a few tips. HALEY MARTIN.
gers ney Bad GO: Ho s is at the & Cobra oom, 1928 R Warrior ington St., h SE Was arriorroom. ie, w Milwauk aturday, Sept. S org, on l admis. Genera 14. 1 pm $15 to partici, sion $5 urnament, $1 to pate in ptu matches improm ial competic after offi n. 21+. tio
1. Look your opponent straight in the eyes. Growl. Freak your opponent out with lunatic pre-match rituals. Head-butting the wall works well. 2. Elbow on the table, upper arm close to your body, knuckles up, body as close to the table as possible. Act like you know what you’re doing. 3. Feet on the floor, with right foot forward if you wrestle with your right arm. Butt on the chair if you’re standing. 4. Grip hard. Very hard. Hide your thumb underneath your index and middle finger when you grip hard. 5. To avoid injury, the wrestler’s body should lean the same way as her arm. Try not to break anything.
THURSDAY SEPT. 12 6. Go means go. Give it everything you’ve got right away. 7. Pull downward and toward your body for maximum leverage; don’t push your opponent’s hand away from your body. Remember rule No. 2—upper arm close to your body. 8. Participate in a match with a referee calling the shots, not some drunken bum who doesn’t see your opponent holding on to her leg for leverage. 9. Don’t wrestle hung over. 10. Don’t wrestle drunk.
SHERI SPEEDE [CHIMPS] Sure, they may look adorable wearing a three-piece suit and pretending to operate a telephone, but chimpanzees are capable of a wider range of emotions than we give them credit for. Sheri Speede spent 13 years living in Cameroon and will share insights from her experiences and her new book, Kindred Beings: What 73 Chimpanzees Taught Me about Life, Love, and Connection. Powell’s on Hawthorne, 3723 SE Hawthorne Blvd. 7:30 pm. Free. COSMIC PSYCHOS [MUSIC] This Australian trio has built a nearly 30-year career of finding the sweet spot between punk’s gob-flecked abandon and the power of heavy riff-rock. The band arrives on our shores in support of a new documentary and reissues of three of its best recordings. Dante’s, 350 W Burnside St., 345-7892. 9 pm. $10. 21+
SATURDAY SEPT. 14 CRITICAL MASCARA: A POSTREALNESS DRAG BALL [DANCE] As part of PICA’s TimeBased Art Festival, genderfuck drag performer Kaj-Anne Pepper and Magic Mouth frontman Chanticleer Tru attempt to create a successful drag ball. Artists will be invited to compete against each other in the categories of looks, walk and dance. The event will also feature performances and audience challenges, so study up on your queer history. ConWay, 2170 NW Raleigh St., 224-7422. 10:30 pm. $8-$10.
SUNDAY SEPT. 15 TOMATO TASTING [FOOD, GARDEN] Fat, juicy heirloom tomatoes cost, what, like $4 each? Taste 50 varieties of new, old and rare ’maters and make plans for next year at Dennis’ 7 Dees’ tomato festival. Dennis’ 7 Dees, 6025 SE Powell Blvd., 777-1421. 10 am-4 pm. Free.
TUESDAY SEPT. 17 DEAP VALLY [MUSIC] This L.A.-based duo bashes out hard rock informed by red lipstick, White Stripes and the blues. Both women are more than able players, adding up to a crowd-pleasing formula already breaking big in England. Hawthorne Theatre, 1507 SE 39th Ave., 233-7100. 8 pm. $12 advance, $14 day of show. All ages. Willamette Week SEPTEMBER 11, 2013 wweek.com
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FOOD & DRINK = WW Pick. Highly recommended.
EAT MOBILE B E T H L AY N E H A N S E N
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By JORDAN GREEN. PRICES: $: Most entrees under $10. $$: $10-$20. $$$: $20-$30. $$$$: Above $30. Editor: MARTIN CIZMAR. Email: dish@wweek.com. See page 3 for submission instructions.
THURSDAY, SEPT. 12 Carnival Without Rides
Plenty of good shit happens in Portland. But once in a while, an event comes along that drops you to your knees in thanksgiving. Carnival Without Rides is an edible celebration of TBA:13 every bit as innovative as the festival, or as the presser put it, “a project about food and celebrating food culture through the lens of humor,” which really isn’t a very funny way of putting it. Here’s the gist: Portland chefs (Gruner, Biwa, Nostrana) serving up unique takes on latenight munchies. Carnival Without Rides will also be releasing “100 hot dogs topped by a different guest artist, chef or designer each night, and a cookbook will be released post-Festival.” Con-Way, 2170 NW Raleigh St. 9:30 pm. Prices vary.
Taste Your Whey Through the Oregon Cheese Trail
Exotic Dishes of Lamb, Chicken, Goat Gluten-Free, Vegetarian, Vegan Options
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MEYER-BAY SAISON • CRANBERRY WHEAT • THE OTHER HALF IMPERIAL PORTER • FKB ESB • PADDLE BOARD PALE • BIG BITTER • BROWN DN’UNDA
Lavish Buffets of Indian Cuisine
• Broad Variety With Over 12 Beers Brewed On Site • 10 Minutes From Downtown Portland • Massive Sunny Lakeside Patio Located on Hwy 43 in downtown Lake Oswego, featuring an Asian-influenced menu and traditional Japanese yakitori. Are you drinking well?
GATEWAY BLOND • IRON MOUNTAIN IIPA • SUMMER 13 SAISON • BUONA MATTINA COFFEE PORTER • BIG HONEY IMPERIAL KÖLSCH
REDHEAD • F-BOMB IPA • SOURPÜSS
40 N State Street | Lake Oswego, OR 503.344.4449 | www.stickmenbeer.com M–TH 11:30–10 | F–S 11–12 | SU 11–10
Willamette Week SEPTEMBER 11, 2013 wweek.com
Some time this fall, the Oregon Cheese Guild will launch the Oregon Cheese Trail, an “interactive online guide” to Oregon’s cheesemakers. This event is a teaser, as Whole Foods cheese monger Frank Schuck joins some of the state’s best artisan cheese producers in showcasing hard-to-find offerings, along with their proper beverage and food pairings. If you hate cheese, you could listen to someone rant about the dangers of casein and feel better about yourself. Whole Foods (Pearl District), 1210 NW Couch St., 525-4343. 11:30 am-1 pm. Free.
FRIDAY, SEPT. 13 Friday the 13th Party
Join the folks at Artigiano for a thoroughly inoffensive evening of Italian food and the Allen & Letts Jazz Duo. It’s also Friday the 13th, a superstition that didn’t appear on record until the 1869 biography of composer Gioachino Rossini. Friday the 13th is the Mormonism of superstitions. Artigiano, 3302 SE Division St, 781-3040. 5-9 pm. Prices vary.
SATURDAY, SEPT. 14 Lompoktoberfest
Fall in Oregon is wonderful. But am I the only one who wants to hold on to summer as long as possible? Anyway, the Oktoberfests are starting up with Lompoc Brewing. There will be brats and German potato salad, which just caused the Prussian half of my genetics to begin preparations for either war or feasting. If you’re a football fan and you’re thinking, “No, the Ducks are playing,” don’t worry, because TVs exist at 5th Quadrant, and they’ll be airing Oregon’s curb-stomping of Tennessee. If you aren’t a football fan, there will be games and the aforementioned beer and brats. 5th Quadrant, 3901-B N Williams Ave., 288-3996. Noon-5 pm.
Roam Mobile Food Conference
So you’ve got the perfect name (Nine Inch Kales) and niche foodstuff (massive vegetarian burritos), now it’s time to get serious about that food-cart concept. Roam is a national conference where successful food carters present on everything from marketing to lining up investors to picking the best reusable containers. It’s pricey, but worth it if you want to avoid making a huge and costly mistake. Lloyd DoubleTree by Hilton, 1000 NE Multnomah St., roamconference. com. 7 am-5 pm. $175-$235.
TAGLIERINI, YOU’RE IT: Gabagool’s beautiful pasta plate.
GABAGOOL Gabagool is a fun word to say. Turns out, it’s Jersey Italian slang for capicola, that gloriously salty cold cut of pork shoulder. It was a favorite of Tony Soprano’s, and if you swing by this Mississippi neighborhood cart, it might become a favorite of yours, too. You’ll first find it on the namesake sandwich ($7), which comes on a thin tortilla-like flatbread called piadine. The gabagool (fun, isn’t it?) is generously packed with capicola, salami, romaine, roasted tomato, fresh mozzarella and hot peppers. The charred flatbread that held it together lacked flavor and durability, Order this: Taglierini ($9) or any of the but the meat and cheese were housemade pastas. fresh and flavorful. UnfortuI’ll pass: Sandwiches on piadine bread. nately, they were overpowered by very spicy peppers, which you may want to leave out. Chef Ryan Sherman’s big blue cart does much better with four housemade egg-pasta options. Taglierini ($9) was among the freshest, fluffiest, most flavorful pastas I’ve had in town. Thick chunks of smoky prosciutto and a runny fried egg richly counterbalanced the fresh squash, arugula and tomato. It melts in your mouth so quickly, you’ll want another order. The tritata salad ($6) was another winner, striking a beautiful balance between spicy, tangy and salty—it’s basically the gabagool sandwich, deconstructed and without the problematic bread. This is street food at heart, pumped with oils and spices. Everything is slightly overdressed in olive oil, and the peppers mask the simple quality of other ingredients. Food takes a while to be prepared, but is served with a friendly “thanks for your patience,” until you realize just how much extra care—and quality pork shoulder—you’re getting for the price. Then you suddenly don’t mind anymore. HALEY MARTIN. EAT: Gabagool, 836 N Beech St., 753-5859. 11 am-3 pm, 6-9 pm Tuesday-Sunday. $.
DRANK
BLACK SHEEP BOURBON-AGED CDA (LUCKY LABRADOR) Cascadian Dark Ales are a benchmark of local brewing technique, featuring the bright hops of West Coast IPAs with the darkness our regional skies cry for. The Lucky Lab, despite its black Labrador figurehead, conjured up a CDA that’s not black, but reddish—plumhued, even. Bitterness is instantly supplanted by decadence that’s far more cocoa than the vanilla you’d expect from bourbon-barrel-aged beer. Likewise, in lieu of citrus-fruit flavors one might expect from black IPAs, this beer offers nuances of blackberries and plums but maintains a slight bitter bite up front that reappears on the finish. Who can say exactly what the brewing team led by Ben Flerchinger was aiming for, but given the experimental leeway at this Slabtown brewery, I suspect it wasn’t the destination but the voyage they were curious about. You’ll only find it docked at this brewpub. Recommended. BRIAN YAEGER.
FOOD & DRINK HOT SEAT
ELIZABETH BADDELEY
THE THIRD DEGREE A CLIMATOLOGIST DESCRIBES HOW GLOBAL WARMING WILL ALTER THE WINE INDUSTRY. BY R U T H B R OW N
243-2122
JEREMY SPEER
Gregor y Jones can see the future…of booze. A climatologist at Southern Oregon University, Jones is an expert in why wines taste the way they do in the places they do. But as global warming recalibrates the world’s wine regions, he has set his sights on figuring out how those wines will taste 50 years from now, when all the polar bears are dead and Mount Hood has been transformed into a year-round water park. So what will happen to the humble Oregon pinot when we crank up the mercury? Jones let us peek into his crystal ball.
GREGORY JONES
WW: Has the wine industry been receptive to the whole climate-change idea? Gregory Jones: Climate change is not an immediate threat. It’s not like you’re walking down an alleyway, somebody running at you with a knife. It’s really a slow-rolling event, and a lot of people have a hard time understanding what the threat is because there’s a time factor to it. If I tell someone, “You need to be concerned about your business in 10, 20, 30, 40 years,” it’s less of an issue than the bug that’s in their vineyard this week causing them all kinds of grief. So it’s a real challenge for climate change in general, because we humans sit here and say, “A degree and a half—that’s great, it just means I have a better time at the beach
B OOKS PG 53
in summer.” It’s a really small number to humans, it’s almost imperceptible. But for ecosystems, 1 degree has magnitudes of difference in terms of impact. What can we expect to see in Oregon wines as the climate changes? In the 1950s and ’60s, when people began looking at Oregon, many within West Coast wine production said Oregon was just too cold. It was too risky. And it was. If you take some of the data from the 1950s and ’60s, you would arguably see there was too much climatic risk—in terms of frost, rain and not enough heat to ripen fruit. Yet there were still people who came here, and they took the risk and they were the pioneers. In the 1970s, you were lucky to get one good year out of four or five. Today it’s flipped: you get four or five out of five. And it doesn’t mean there’s still not challenges, but the baseline conditions for growing grapes in Oregon today are completely different. If climates continue to change at the same rate they’ve changed over the past 50 years, then we’ll be in a completely different place. The cool-climate production areas of the Willamette Valley will likely be able to grow and ripen warmer climate varieties than they do today. The warmer regions like Eastern Oregon or Southern Oregon will, of course, move up that ladder even further to be consistent with some of the warmest varieties that are being grown today, [such as] cabernet sauvignon, syrah, malbec. So could we see a situation where pinot noir is no longer the defining wine of the Willamette Valley? The Tamar Valley of Tasmania represents the coolest and the Russian River Valley [in California] the warmest high-quality pinot noir wine regions, albeit with very different styles of pinot noir. Cool end: lighter body, less color, lower alcohol, a more finessed style. Warm end: fuller body, darker in color, higher alcohol, bolder style.
For the Willamette Valley, the climate conditions are currently centered near the middle of the pinot noir bounds, similar to Burgundy. So 1 degree of warming would likely push the average Willamette Valley producer to a different style of pinot noir, but [it would still be] suitable. But 2-plus degrees of warming places the region in a climate that today does not produce stylistically correct, high-quality pinot noir wines. However, 2 degrees of warming would put the region in a better climate for ripening other varieties. All this presumes the bounds are correct, given what we know today; however, adaptation in the vineyard, in the plant material, in the winery, etc., could stretch the upper bounds…and allow producers to maintain the system. But again, [only] up to a point.
grows pinot noir and chardonnay. And I know that pinot noir and chardonnay can be grown in other areas in France. But legally, to protect the Burgundians, the laws there say that pinot noir and certain chardonnays are suited to Burgundy, therefore they’re the ones that can grow those varieties and produce it. So what happens if the climate changes such that Burgundy cannot do that any longer? Well, then here’s a situation where the government has to get involved. If you’re growing pinot noir or chardonnay in the Willamette Valley, and you’re seeing the crop not being as suitable because the climate’s warmed over time, you have the ability to adapt to a different variety without the government saying you can’t. What are some places that will become even better wine regions? Parts of the Puget Sound in Washington. There are places in the inner sound in Vancouver and British Columbia. If you move inland, in [British Columbia’s] Okanagan Valley—they have had a burgeoning wine industry for 25 or 30 years—I would see that could only get more suitable.
Are there upsides to climate change for some regions—at least short-term? Less frost, for instance? Oh yeah, there clearly are. But it depends on the adaptability of those regions and those growers. We always look back to Europe, because there’s history there, but Europe has largely been about protectionism. The Burgundies of France or Bordeaux, or even parts of Germany or Spain, have always looked to protect their abilities to produce a crop that’s identified with their region. For example, Burgundy
GO: Gregory Jones will speak about wine and climate change at T.J. Day Hall at Linfield College, 900 SE Baker St., McMinnville, on Wednesday, Sept. 11. 7:30 pm. Free.
Karaoke 9pm nightly Hydro Pong Saturday night
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Read our story: canton-grill.com Willamette Week SEPTEMBER 11, 2013 wweek.com
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2013/2014 Season Subscriptions Now on Sale! In a summer cottage on the Chesapeake Bay, Gunner has hatched an unorthodox plan to secure his wife and adult son's future. This new drama presents a funny yet emotionally fraught look at the family dynamics that come with dementia, the specter of assisted living and end-of-life issues.
The Outgoing Tide By Bruce Graham
October 18—November 9, 2013
"...a skillful, punchy piece that careens expertly between the painful and the comic..." - Chicago Sun-Times
FearNoMusic and Resonance Ensemble Present:
ROOMFUL OF teeth FEATURING MUSIC FROM CAROLINE SHAW’S PARTITA,
WINNER OF THE 2013 PULITZER PRIZE IN MUSIC
FRIDAY, SEPTEMBER 20, 2013 7:30pm AGNES FLANAGAN CHAPEL, LEWIS and CLARK COLLEGE
WWW.FEARNOMUSIC.ORG & RESONANCECHORAL.ORG
"[Roomful of Teeth] will send an unnameable thrill down your spine.”
Set in a Tokyo comic book café, nine part-time workers, all college-educated and self-conscious, live out their loves, rivalries, break-ups and moral dilemmas in an atmosphere which can best be described as "hipster Beckett".
Enjoy By Toshiki Okada
January 17—February 8, 2014
“This hipster comedy will shake up, infuriate, challenge, annoy, and reward the same audience.“ - Stagegrade
Katha and Ryu have become allergic to their 21st-century lives. When they meet a charismatic man from a community of 1950s reenactors, they forsake cell phones and sushi for cigarettes and Tupperware parties. May 2—May 24, 2014
"Makes a sneaky, compelling case for the seductions of living the Ozzie and Harriet life… darkly playful." - The New York Times
-Pitchfork
CELEBRATE OUR 18TH SEASON! Three-show subscription package—$60 Students, educators, and seniors (60+) —$48 (503) 715-1114 or visit cohoproductions.org Performances at the CoHo Theater—2257 NW Raleigh Willamette Week SEPTEMBER 11, 2013 wweek.com
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THEATER
DANCE
FOXFINDER
NEW EXPRESSIVE WORKS
Putting parables onstage is an often iffy endeavor, but there’s no denying the impact of a successfully staged allegory. British playwright Dawn King’s Foxfinder, making its U.S. premiere at Artists Rep, should be just that. A futuristic drama about a totalitarian government that sends an agent to investigate a mysterious fox infestation in the English countryside, it’s what Time Out London called a “fascinating dystopian welter of fear, superstition and nature in revolt.” Artists Repertory Theatre, 1515 SW Morrison St., 241-1278, artistsrep.org. Oct. 29-Dec. 1. $25$55.
The second capstone performance for a new residency program at Studio 2 features four local choreographers and a healthy amount of audience interaction. Perhaps most eye-catching will be shock queen Kaj-Anne Pepper, who will seat the audience onstage for a performance that pits drag and contemporary dance against each other. Keyon Gaskin will explore the five senses, including (somehow) smell. Danielle Ross will partner with dancer Taka Yamamoto for a sort of male-versus-female piece, in which they ask for audience participation. Allie Hankins rounds out the show with an excerpt from her athletic and evocative piece The Bravest Bull Welcomes the Fight. Studio 2, 810 SE Belmont St., 221-2518. 8 pm Fridays-Saturdays, Sept. 27-28 and Oct. 4-5. $10 each, $15 for both.
SONG OF THE DODO Portland Experimental Theatre Ensemble produced one of last season’s most surprising and arresting shows, an adaptation of Shakespeare’s Richard III. PETE’s next work is a collaboratively devised piece of dance, theater and song that draws from texts by ancient Greek playwrights, Samuel Beckett and contemporary writers. Based on a short video featuring company members tiptoeing around in frilly white dresses—and another of them squatting and squawking wildly—it won’t be like anything else you’ll see on a Portland stage this fall. Studio 2, 810 SE Belmont St., petensemble.org. Nov. 9-24.
THE OTHER PLACE Continuing its pattern of producing challenging work by rising playwrights, Portland Playhouse stages this haunting psychological drama, which ended its highly lauded Broadway run in March of this year. Sharr White’s play centers on a biophysicist-turned-pharmaceutical pitchwoman who begins to show signs of a breakdown. Gretchen Corbett stars, playing a woman who’s strongwilled and charismatic—but possibly unreliable. It’s a demanding job: During the 80-minute show, her character never leaves the stage. Portland Playhouse, 602 NE Prescott St., 488-5822, portlandplayhouse.org. Nov. 13-Dec. 8. $18-$43.
OUR TOWN Last spring, a member of Liminal Performance Group suggested—as a joke, or maybe a dare—that the company stage that overproduced mainstay of high-school theater, Our Town. Despite never having seen a production of Thornton Wilder’s play, John Berendzen decided to take the proposal seriously, which means the group’s cofounder and music director is for the first time helming a play that actually has a script. Liminal emerged from hibernation in 2012 to produce a hybrid installation-performance piece about Gertrude Stein, and this fall’s Our Town will also be untraditional, but perhaps not as avantfucking-garde as many people might expect. The text will remain intact, but the set will be stripped down, with the actors onstage for the entire show—they’ll even run technical cues. The Headwaters Theatre, 55 NE Farragut St., No. 9, 567-8309, liminalgroup.org. Nov. 14-Dec. 1.
NOISES OFF Third Rail Repertory Theatre produces provocative and sometimes downright polarizing plays, and its acting company is one of the city’s best. Those performers deserve a wider audience, which elevates this winter’s production of Michael Frayn’s phenomenally funny play from pandering to a wise marketing ploy. Not only should the backstage comedy—about a regional British production of a terrible sex farce—be hilarious, but it will hopefully introduce new audiences to Third Rail. Sure, you could go to The Santaland Diaries for the fifth year in a row—but why? Winningstad Theatre, 1111 SW Broadway, 235-1101, thirdrailrep.org. Dec. 6-Jan. 11.
COMEDY TODD BARRY Though more recognizable to the casual fan as “the third Conchord,” Barry is a comic’s comic, a veteran standup with a soft delivery who can read loan documents and make them sound hilarious. He’s so good, he can even come to a gig without any actual jokes. For this tour, Barry doesn’t have an act: He’ll work off crowd interaction alone. So if you’re one of those people who gets nervous about getting picked on at live comedy shows, it’s a good idea to hide in the balcony. Mississippi Studios, 3939 N Mississippi Ave. 8 pm Friday, Sept. 20. $20.
AN EVENING WITH BOB AND DAVID (AND POSEHN) Comedy nerds, please try and contain your boners. Yes, this is indeed a reunion of Bob Odenkirk and David Cross, the two minds behind the ’90s cult-favorite sketch series Mr. Show. And yeah, they have since become more widely known as, respectively, Saul Goodman and Tobias Funke. And we know there are thousands of famous lines you want to shout at both of them. But you saw what happened when people did that to Dave Chappelle last month. This is the comedy event of the season, certainly, but there’s no need to embarrass yourself. Newmark Theatre, 1111 SW Broadway. 8 pm Saturday, Sept. 28. $47.
COMEDY BANG! BANG! LIVE
WHITE BIRD The fall lineup for dance presenter White Bird isn’t as tantalizing as the one for next spring, but the companies are world-class nonetheless. French Compagnie Maguy Marin is perhaps the most well-known—and the most controversial: Portland audiences walked out when it last appeared here in 2002. This show, Salves, should be more palatable, but still challenging. It’s a mix of dance and abstract theater that evokes images of war. Newmark Theatre, 1111 SW Broadway, whitebird.org. 7:30 pm Thursday-Saturday, Oct. 10-12. $26-$64. A more light-hearted showing is from Sydney Dance Company, Australia’s leader in contemporary dance. Backed by a flashing LED light show, the 16 dancers in 2 One Another move with both energy and subtlety as they embody the possibilities of human interaction. Arlene Schnitzer Concert Hall, 1037 SW Broadway, whitebird.org. 7:30 pm Wednesday, Oct. 23. $26-$64.
OREGON BALLET THEATRE The introductory show under new artistic director Kevin Irving will be a mix of familiar and new. The company is reviving former artistic director Christopher Stowell’s A Midsummer Night’s Dream, one of his best works, and pairing it with Nacho Duato’s Por Vos Muero. Both pieces are contemporary in style and have a fanciful air about them: Stowell’s features elaborate fairy costumes, while Duato’s paints a dark, romantic picture of 15th- and 16thcentury Spain. The selection of Duato, a world-renowned choreographer, has Irving’s fingerprints all over it—the two have close ties, so the piece should offer a taste of what’s to come. Keller Auditorium, 222 SW Clay St., 2484335. 7:30 pm Saturday, Oct. 12; 2 pm Sunday, Oct. 13; and Friday-Saturday, Oct. 18-19. $25-$142.
NORTHWEST DANCE PROJECT Joined by new dancer Viktor Usov, the contemporary company presents three new works in its New Now Wow show. Usov, whom artistic director Sarah Slipper calls a “prodigal son,” returned to the company after a nearly three-year stint in Germany. His energy will come in handy for the three works on tap: one from Danielle Agami, a former member of Israel’s Batsheva Dance Company, and two from Loni Landon and James Gregg, winners of NWDP’s Pretty Creatives International Choreographic Competition. Lincoln Hall, Portland State University, 1620 SW Park Ave., 725-3421. 7:30 pm Thursday-Saturday, Oct. 24-26. $25-$39.
Sydney Dance Company (White Bird)
THIRD ANGLE ENSEMBLE
SALMAN RUSHDIE
For nearly three decades, these venturesome musicians have been bringing Portland the fruits of today’s vibrant contemporary classical music scene. In this Entre Los Mundos/Between Worlds concert, the spotlight falls on Peruvian-American composer Gabriela Lena Frank. Lincoln Hall, Portland State University, 1633 SW Park Ave., 331-0301. 7:30 pm Thursday-Friday, Oct. 17-18. $10-$30.
You know you’ve really made it as an author when one of your books provokes orders for your execution. Salman Rushdie has published 11 novels, won nearly every major literary award and been knighted by the Queen. But it was his fourth novel, The Satanic Verses, that gained him worldwide notoriety and prompted the Ayatollah Khomeini to issue him a death sentence in 1989. Now for the first time, Rushdie has released a memoir, Joseph Anton, recounting how he and his family were forced into hiding. Rushdie will appear as part of the Literary Arts lecture series. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 248-4335. 7:30 pm, Tuesday, Oct. 8. $75 season subscription required.
SALOME Initially banned in London and Vienna for its lurid portrayal of sex and death, Richard Strauss’ searing 1905 opera can still shock, especially its climactic Dance of the Seven Veils and necrophilic finale. Portland Opera’s all-new production, starring Metropolitan Opera soprano Kelly Cae Hogan, won’t skimp on the blood and lust. Keller Auditorium, 222 SW Clay St., 241-1802. 7:30 pm Friday, Nov. 1; 2 pm Sunday, Nov. 3; 7:30 pm Thursday, Nov. 7; and 7:30 pm Saturday, Nov. 9.
CASCADIA COMPOSERS Some of the most fascinating contemporary classical music is being written by female composers, as if they’re making up for the centuries of being denied the opportunity. Likewise, of the many concerts this Oregon composers group has staged in the past few years, those devoted to the region’s women composers have been some of the most entertaining and exploratory. This year’s Crazy Jane Misbehaves lineup includes music by CC president Jan Mittelstaedt, electronic musician Susan Alexjander, PSU prof Bonnie Miksch and other talents. Lincoln Hall, Portland State University, 1633 SW Park Ave. 7:30 pm Friday, Nov. 15.
BOOKS
TOPSHAKEDANCE
BILL MCKIBBEN
Jim McGinn is a fascinating study. He started dancing late, in his 30s. Now 53, he splits his time between his extracurricular dance passion and his work as a physicist. In Float, he was inspired by his time by the ocean—not just by the fluid motion of the waves, but also by lying on the beach afterwards for hours with hypothermia. The piece is choreographed to be constantly shifting, mixing the five-member company in different combinations of duets, trios and quartets. Conduit Dance, 918 SW Yamhill St., 221-5857. 8:30 pm Friday-Sunday, Nov. 1-3, and Wednesday-Friday, Nov. 6-8. $12-$15.
Like Al Gore with a personality, author and environmentalist Bill McKibben has long advocated for action on our most critical environmental issues. In his new book, Oil and Honey: The Education of an Unlikely Activist, he describes his involvement in the global climate fight and the need to come at the problem both on a local scale—such as his partnering with a Vermont beekeeper—and the larger fight against the fossil fuel giants. Newmark Theater, 1111 SW Broadway, 248-4335. 7:30 pm Tuesday, Sept. 24. $36 (includes a copy of the book), $20 admission only.
CLASSICAL ROOMFUL OF TEETH Resonance Ensemble and FearNoMusic team up to bring one of the country’s hottest new music vocal ensembles to Portland. Propelled by the surprise success of one of its members—30-year-old composer, singer and violinist Caroline Shaw, who this year became the youngest recipient of the Pulitzer Prize for Music—Roomful of Teeth is touring the nation with music from that award-winning a capella work, Partita for 8 Voices. The ensemble will also perform works by some of today’s most adventurous— and mostly Brooklyn-based—young composers, including Judd Greenstein, Missy Mazzoli and Caleb Burhans. Lewis and Clark College, Agnes Flanagan Chapel, 0615 SW Palatine Hill Road, 957-0055. 7:30 pm Friday, Sept. 20. $11-$35.
OREGON SYMPHONY “Exotic” is usually a term of opprobrium in classical music, but not in this Scheherezade program, which features some of the most colorful music ever written for orchestra. Russian composer Nikolai Rimsky-Korsakov’s 1888 sym honic suite beautifully conjures the atmosphere of the Arabian Nights tales. Another East-meets-West excursion written a century later, 20th-century Japanese composer Toru Takemitsu’s gently evocative percussion concerto, From Me Flows What You Call Time, uses unusual instruments, some improvisation, and Japanese influences to musically embody Tibetan Buddhist principles. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 228-1353. 7:30 pm Saturday and 8 pm Monday, Sept. 21 and 23. $22-$98.
LITHOP PDX Local author, publisher and Powell’s small-press-room overlord Kevin Sampsell has put together a massive bar hop and book reading at the upper stretch of Southeast Hawthorne Boulevard between 41st and 51st avenues, where bars run dense. At venues from punk dive Bar of the Gods to the older-than-school Eagle Lodge, six local publishing houses and reading series (Tin House, If Not For Kidnap, etc.) will play host to 52 authors over three hours, including Matthew Dickman, Lidia Yuknavitch, Pauls Toutonghi and Emily Kendal Frey. Readings are 15 minutes, and each hour offers a 15-minute break to switch bars and order drinks. By the end, we expect, all readings are slurred. Various venues on Southeast Hawthorne Boulevard, 7 pm Wednesday, Oct. 2. Free. See lithoppdx.com for details.
WORDSTOCK Bibliophiles, rejoice! The annual celebration hosts nearly a week of author readings, book signings, panel discussions, workshops and more. Notable in this year’s lineup is author Nicholson Baker, whose subject matter in his fiction and nonfiction ranges from sexual theme parks to Jiffy Pop to John Updike. The festival itself spans two days, but related events begin Oct. 1. Oregon Convention Center, 777 NE Martin Luther King Jr. Blvd., 235-7575. 10 am-6 pm SaturdaySunday, Oct. 5-6. $9 a day in advance, $11 a day at the door. See wordstockfestival.com for a full program.
MALCOLM GLADWELL Almost every writer has a niche, whether sports or history or paranormal erotic fiction. But Malcolm Gladwell seems to have nestled himself in the not-so-easy-to-accomplish niche of getting his readers to think—really think—about the world around them. His new book, David and Goliath: Underdogs, Misfits and the Art of Battling Giants, will be out in October. What a perfect coincidence (or is it?) that he will be speaking in Portland that same month. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 248-4335. 7:30 pm Thursday, Oct. 10. $15 and up.
C O U R T E S Y O F B R I T I S H I N T E R N AT I O N A L P I C T U R E S
In the world of comedy podcasts, Scott Aukerman is David Letterman to Marc Maron’s Charlie Rose. Where the latter’s much-praised WTF deconstructs the craft of comedy through sometimes painfully personal conversations, on Comedy Bang! Bang!, Aukerman prefers to put the craft on display—through in-character interviews, absurd games and random acts of off-the-cuff zaniness. Before the premiere of the televised version’s second season on IFC, the show returns to Portland, with guests including the always-dapper Paul F. Tompkins and L.A. sketch troupe the Birthday Boys. Aladdin Theater, 3017 SE Milwaukie Ave. 8 pm Tuesday, Oct. 1. $25.
ALAN PRYKE
2013 FALL ARTS PREVIEW
FILM THE HITCHCOCK 9 Before Alfred Hitchcock made Americans fear motel showers, the Master of Suspense directed a string of silent movies in the U.K. in the ’20s. Thanks to a massive project at the British Film Institute last year, nine of these have been digitally restored. Highlights include Hitch’s last silent film, the thriller Blackmail (8 pm Saturday, Oct. 12), and The Ring (8 pm Friday, Oct. 18), about a love triangle between professional prizefighters and a snake charmer. But the real coup here is the live, original music that will accompany every screening, courtesy of Reed Wallsmith with Battle Hymns and Gardens, Three Leg Torso, and Tara Jane O’Neil, among others. NW Film Center’s Whitsell Auditorium, 1219 SW Park Ave., 221-1156. Oct. 12-27. Multiple showtimes. See nwfilm. org for schedule.
TURKISH RAMBO Having tackled the Turkish remake of Star Wars, the creative minds at Filmusik move onto another Turkish adaptation of classic American cinema. Released in 1983—a time when Turkish audiences demanded blockbusters but political instability prevented Western movies from appearing in theaters—Vahşi Kan, Yerli Rambo copies the Sylvester Stallone movie almost exactly, though it adds bulldozers and, in an ahead-of-its-time touch, zombies. The script has been translated into English, to be performed by a cast of local voice-over actors. They’ll be joined onstage by musicians playing composer Justin Rall’s original orchestral soundtrack, and by foley artists, who’ll re-create the sound of each hand grenade and karate chop. Hollywood Theatre, 4122 NE Sandy Blvd., 281-4215. 7 pm Friday-Saturday, Oct. 18-19 and Wednesday-Saturday, Oct. 23-26. Oct. 18-26.
VISUAL ARTS MARNE LUCAS AND JACOB PANDER In 1995, Marne Lucas and Jacob Pander collaborated on The Operation, an erotic art film shot in infrared. It got festival accolades and became a cult classic. Fast-forward to today, with the pair revisiting their landmark work with a new infrared project, Incident Energy. Pander and Lucas are keeping mum on the specifics of their subject matter, angling to heighten the surprise factor for viewers. But let it suffice to say the film fulfills their original conception in striking, dramatic and ultimately poignant ways. Disjecta, 8371 N Interstate Ave., 286-9449. Sept. 20-Oct. 13.
CONTEMPORARY NORTHWEST ART AWARDS For a Northwest artist, peer recognition doesn’t get much better than the Contemporary Northwest Art Awards, held every two years at the Portland Art Museum. From hundreds of nominees, PAM’s curator of Northwest art, Bonnie LaingMalcolmson, has chosen only six finalists to exhibit their work. At the opening-night gala Sept. 21, one will win the $10,000 prize. Check out our coverage of the awards to find out who wins and whether the show hits or misses its curatorial mark. Portland Art Museum, 1219 SW Park Ave., 2262811. Sept. 21-Jan. 12 .
JACQUES FLECHEMULLER Wit, absurdism and perversity combine in Jacques Flechemuller’s paintings and drawings. In the past, he’s brought us a portrait of Queen Elizabeth II carrying one of her prized Corgis—a work inexplicably titled My Cousin From Eugene. Then there was the charcoal drawing of a dog wearing a cone collar: God Is Invincible. For his next outing, the artist takes inspiration from French Neoclassicist Jean Auguste Dominique Ingres, whom Flechmuller imagines sitting next to him in his studio, chiding him onward to greater technical and thematic risks. This show will almost undoubtedly improve your mood. And in the nihilistic environs of contemporary art, that’s no small feat. PDX Contemporary Art, 925 NW Flanders St., 222-0063. Oct. 1-Nov. 2.
JIM RISWOLD After Wieden+Kennedy creative director Jim Riswold was diagnosed with leukemia in 2000, he decided to step down from that high-profile position to concentrate on two things: getting better and making art. Thirteen years later, he’s still doing both. His October show, Art for Oncologists, turns the fearsomeness of cancer into the stuff of unlikely whimsy. Riswold has created sculptures of oversized white hearts inscribed with the names of popular chemotherapy drugs. Coated in glossy resin and painted at an auto-body shop, they’ll be displayed inside what the artist calls “the world’s largest candy dish.” Other works will include silkscreens and nude photographs of his cancer-ravaged body. Rarely do artists, especially those whose work deals with disease, so skillfully finesse the line between fear and fabulousness. Augen, 716 NW Davis St., 546-5056. Oct. 3-Nov. 2.
TOM CRAMER AND SHERRIE WOLF It’s hard to imagine two artists more different, yet more compatible, than Tom Cramer and Sherrie Wolf. Their inspired pairing is sure to prove a highlight of the autumn visual-arts calendar. Cramer’s show, Continuum, will highlight his trippy, folk art-inspired drawings, as well as the carved relief paintings that have made him one of the region’s most recognizable artists. Wolf’s Stills, informed by her expertise in art history, are more intricate and realist but emanate a lushness of subject matter and paint application that finds an improbable thematic soulmate in the sensuality of Cramer’s work. Laura Russo, 805 NW 21st Ave., 226-2754. Oct. 3-Nov. 2.
BLACKMAIL (THE HITCHCOCK 9)
MISTY RIVER
FRIDAY, SEPTEMBER 27, 7:30 PM Misty River re-unites to celebrate the 10th Anniversary Concert Series
$20 IN ADVANCE, $25 DAY OF SHOW
WWW.MISTYRIVER.BROWNPAPERTICKETS.COM
COMING SOON
EDNA VAZQUEZ 10/4 STRUNZ & FARAH 11/8 TOM GRANT 11/15 KATE DAVIS 12/13 OREGON MANDOLIN ORCHESTRA 10/24 + 12/20
Walters Cultural Arts Center
www.hillsboro-oregon.gov/wcac 527 E. Main Street – Hillsboro, OR Box Office: 503-615-3485
CONCERTS – CLASSES – GALLERY
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MUSIC
SEPT. 11-17 TBA
= WW Pick. Highly recommended.
COURTESY OF GROUND CONTROL TOURING
Prices listed are sometimes for advance ticket sales. At-the-door increases and socalled convenience charges may apply. Event lineups are subject to change after WW’s press deadlines. Editor: MATTHEW SINGER. TO BE CONSIDERED FOR LISTINGS, go to wweek.com/ submitevents and follow submission directions. All shows should be submitted two weeks or more in advance of event. Press kits, CDs and especially vinyl can be sent to Music Desk, WW, 2220 NW Quimby St., Portland, OR 97210. Please include show or release date information with all physical mailings. Email: msinger@wweek.com. Fax: 243-1115.
WEDNESDAY, SEPT. 11 Jason Isbell, Amanda Shires
[SINGER-SONGWRITER] Jason Isbell joined Drive-by Truckers for a pair of albums in the mid-’00s, quickly made himself a seemingly indispensable creative force in a band already featuring a pair of ace songwriters, then jumped ship (or truck) for solo work once he’d made a name for himself. At first, that may have inspired cynicism, but considering the work he’s done since on the four studio and two live albums under his own name, it seems that was the right course of action. His newest release, Southeastern, finds the young Alabaman’s talent maturing even further, to the point where one might imagine that one day the Truckers could be known as “that band Jason Isbell was in once.” JEFF ROSENBERG. Aladdin Theater, 3017 SE Milwaukie Ave., 234-9694. 8 pm. $20 advance, $22 day of show. Under 21 permitted with legal guardian.
Grouplove, the Reubens
[INDIE POP] In 2011, Grouplove splashed onto the scene with the sugary single “Tongue Tied” and, sometime during the 43 weeks it spent atop Billboard’s Alternative Songs chart, became the tune of choice for advertising masterminds of all stripes. Apple, Glee, Chevrolet and, most recently, Clos du Bois wine have paired up their brands with the whimsical bebopping of the breakout SoCal quintet. But Grouplove has acted quickly to shed looming one-hit-wonder status, with the release of its sophomore album, Spreading Rumors, last month. Following a set at Star Theater on Wednesday, Grouplove and supporting act the Reubens make a stop at the Alberta Rose for an acoustic rendition of the new tunes. But be warned: The show might give you a sudden desire
to buy a Chevy, a bottle of wine and an iPod—all at the same time. GRACE STAINBACK. Star Theater, 13 NW 6th Ave. 7 pm. Grouplove also plays Alberta Rose Theater on Thursday, Sept. 12. Both shows sold out. All ages.
Why?, Karl Blau
[JANGLE HOP] Why?’s latest effort, Mumps, Etc., is an album that, fittingly, poses a good many questions. Most notably, what happened to the free-flowing verse and candid honesty that once shined in frontman Jonathan “Yoni” Wolf’s deadpan delivery? Somber ruminations still run amok amid the alt-hip-hop breaks, plump bass and indie-rock guitar, and though the instrumentation is more polished than ever before, it’s coupled with the haughty confidence of an ill-fated narrative. “Rocking soccer socks with sandals like, ‘yeah bro,’” Wolf spits over the minimalistic, piano-driven beat of “Waterlines.” While the album’s occasional mariachi dub and eight-piece chorus possess an allure, the same can’t always be said for the lyrical content. BRANDON WIDDER. Wonder Ballroom, 128 NE Russell St., 284-8686. 8:30 pm. $14 advance, $15 day of show. All ages.
THURSDAY, SEPT. 12 Cosmic Psychos, Suicide Notes, Sex Crime
[WIZARDS FROM OZ] You’ll find few statements of purpose in rock greater than the slow, scuzzed-up threenote bass riff that opens Down on the Farm, the 1985 EP by Cosmic Psychos. From that brutal salvo, the Australian trio has built a nearly 30-year career on finding the sweet spot between punk’s gob-flecked abandon and the
TOP FIVE
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BY D IARRH EA PLA N ET
NAMES WE REJECTED IN FAVOR OF DIARRHEA PLANET The Don Knotts Bowel Movement This one just didn’t roll off the tongue as well as “Diarrhea Planet.” Band names longer than two or three words are generally kind of irritating. Mountain of Power This one sounded a little too metal. There was already a ton of metal bands called this, coincidentally. Also, too serious. D’Planet Thought it would be hip and sexy to make our name more palatable by using the D’Angelo approach. Several days later we all hated the idea and thought it was wimpy. Dude Planet Another attempt to figure out a way to make our band name more accessible for the more skeptical and prissy listeners. Obviously rejected because it was totally soft and spineless. Also did not want to get a rep as a frat-bro band. Dick Pillow Another DP name. More offensive and sexual, which means someone would probably try to make it cool, which is against the rules in the DP name game. SEE IT: Diarrhea Planet plays Mississippi Studios, 3939 N Mississippi Ave., with the So So Glos and Boom!, on Friday, Sept. 13. 9 pm. $10 advance, $12 day of show. 21+.
IN SICKNESS AND HEALTH: Kathleen Hanna (center) among the Julie Ruin.
FOREVER RUINED KATHLEEN HANNA’S NEW(ISH) RIOT. BY MATTH EW SIN GER
msinger@wweek.com
No one believed Kathleen Hanna was sick. Sure, she hadn’t put out an album in a few years, but she hadn’t exactly gone into hiding. In New York, where she relocated after establishing her rep in the Pacific Northwest, she was still a frequent face in the crowd at rock clubs and political rallies. She had a documentary made about her, and donated an archive of her old fanzines to New York University. Besides, who’d imagine the flame-throwing poster grrrl of post-punk feminism could be taken down by something as dull as an autoimmune disorder? But Lyme disease is a fickle affliction. It’ll allow the stricken the illusion of health one week, then keep them quarantined for the next month. Hanna began comparing herself to Brigadoon, the fictional village that becomes visible to the world one day every 100 years, then disappears into mist. “It’s this feeling nobody gets, except maybe the person you live with,” says Hanna, 44. “Nobody gets what’s going on. They think, ‘What are you complaining about? I saw you at the Planned Parenthood march. She’s not really sick.’ They don’t know that I go home and, after just getting up to speak, I have to sleep for a week, because that was so much work for my body.” That was three years ago, around the time Hanna started thinking about revisiting her 1998 solo project, the Julie Ruin. It makes sense she’d fall ill then: Twelve years earlier, when she recorded the original Julie Ruin album, Hanna’s life hung in a similar state of uncertainty. Her band, legendary riot-starters Bikini Kill, had just broken up. With no clue what to do next, she holed up in her apartment in Olympia, Wash., with an 8-track, a drum machine and a sampler, and produced what many in her cult of devotees consider her greatest personal statement. It was so personal, in fact, that Hanna couldn’t figure out how to bring it from her bedroom to the stage. Out of her failed attempt to assemble a backing band to play the songs live, she formed Le Tigre, the dance-punk outfit that would put out three beloved albums of its own before going on an extended hiatus in 2007.
And so, bandless once again, Hanna went back to the Julie Ruin. This time, she actually managed to get a group together, made up of friends from different stages of her career, including Bikini Kill bassist Kathi Wilcox. Just as the band was starting work on its debut, Hanna got sick. Faced with the very real prospect of never making another album, she didn’t wait to get better. “I’d be sick for three weeks, then well for one,” Hanna says. “And during that one week, I’d sing my fucking little heart out. It was really important to me that, if it was going to be my last record, I wanted it to sound alive.” Indeed, the newly released Run Fast doesn’t sound like the work of a woman on her last legs. It contains all the hallmarks of a Kathleen Hanna project: spiky punk guitars, buzzy synths and her distinctive, piercing wail, deployed with equal parts clenched-fist subversion and unbridled joy. But Hanna says if it weren’t for her diagnosis, the album would have turned out much differently. In a way, the disease actually helped her as a songwriter. If the lyrics on Run Fast read a bit more abstractly than the pointed feminist screeds she’s known for, that’s because Lyme disease sometimes causes patients to misuse words. Hanna decided to keep her mistakes on the record, as a document of her illness, but also to embrace nonsense for once. “I’ve always been obsessed with communicating, and communicating really clearly,” she says. “Maybe it was my time to be a little more poetic and not have to spell things out for people.” With Hanna in remission, the Julie Ruin is finally on the road—which means those songs from the first Julie Ruin record are finally on the road as well. For Hanna, it’s an opportunity to examine a short but pivotal time in her life, one she never got to hash out in public, and see how far she’s come since. And so far, the biggest revelation has been that, in many ways, she hasn’t come that far at all. “Sometimes I’m, like, celebrating while I’m singing: ‘Oh my God, I’m so happy I’m not in that same place anymore,’” she says. “And in some cases, I’m like, ‘This is so weird: I wrote this one song about this one relationship, and I’m having the same problem in this other relationship now, 17 years later.’ So I’m seeing the places I’ve changed, and the places I’ve really stayed stuck.” SEE IT: The Julie Ruin plays as part of the TimeBased Art Festival at the Works at Con-Way, 2170 NW Raleigh St., on Thursday, Sept. 12. 10:30 pm. Free. All ages. Willamette Week SEPTEMBER 11, 2013 wweek.com
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THURSDAY-SUNDAY [SISTERS-IN-LAW] In 1986, goth mainstays the Sisters of Mercy splintered into factions. Andrew Eldritch kept the name while guitarist Wayne Huffey and bassist Craig Adams founded the Mission. Huffey’s songwriting was already a proven commodity, having written much of Dead or Alive’s first album. Though never as wellknown in the U.S., the Mission had quite a few hits in Europe, sold millions of albums, enjoyed major tours and even headlined the Reading festival. Things petered out creatively and commercially in the ’90s, though the 21st century has been kinder to Huffey’s various reunions. This one features all original members except the drummer. NATHAN CARSON. Aladdin Theater, 3017 SE Milwaukie Ave., 234-9694. 8 pm. $30. Under 21 permitted with legal guardian.
power of heavy riff rock. Along with fellow Aussies Feedtime, the Psychos inspired grunge’s early adopters Green River, the U-Men, and the Melvins. The band arrives on our shores in support of a new documentary and reissues of three of its best recordings by Goner Records. ROBERT HAM. Dante’s, 350 W Burnside St., 226-6630. 9 pm. $10. 21+.
Eternal Tapestry, High Wolf, Chicaloyoh
[LYSERGIC RISING] You’ll be forgiven if you find the slow-burning psychedelic cruise of “When I Was in Your Mind,” the opening cut to Eternal Tapestry’s most recent LP, seems a bit daunting. It tops 12 minutes, rattling with drummer Jed Bindeman’s primal, jazzlike limberness and an otherworldly dose of pummeling, dual-guitar wanderings. But while other tracks from A World Out of Time beam with the same meandering wah-wah and lucid, fuzz-stacked peaks, most remain restricted to a concise five minutes or less. Even vocals, seldom used, punctuate the hypnotic jams with a sense of warbling dissonance and spacey languidness. BRANDON WIDDER. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. $5. 21+.
Julia Holter, Nedelle Torrisi
[MUSIC FOR A DARKENED ROOM] “Cinematic” is quickly surpassing “epic” as the lazy rock-writer adjective du jour, but fucking hell: Is there any more appropriate word to describe the music of Julia Holter? The L.A.-based singer-composer’s arrangements deliberately sound like movie soundtracks— well, art-film soundtracks, but those still count, right?—and some even point directly to their celluloid inspirations. Her latest album, Loud City Song, for example, is influenced in part by the 1958 movie musical Gigi. Heady stuff, and Holter has avant-garde tendencies, but the most impressive thing about the work is that, for all its intoxicating strings and brass and Holter’s cool wisp of a voice, it’s as listenable as it is watchable. MATTHEW SINGER. Holocene, 1001 SE Morrison St., 239-7639. 7:30 pm. $10 advance, $12 day of show. 21+.
FRIDAY, SEPT. 13 Andre Nickatina, Krayzie Bone
[ALT-HIP-HOP] The fact that Andre Nickatina is touring in 2013 raises some questions. For starters, how does a middle-aged rapper stay relevant with the likes of Yeezus and Miley Cyrus dominating the popular zeitgeist? For Nickatina, the answer is pretending the world hasn’t changed since 1999. The 42-yearold rapper releases a new album every two years, providing earnest anecdotes involving cocaine and hoes and nods to his native San Francisco. You can’t blame a guy for being persistent. JOE DONOVAN. Roseland Theater, 8 NW 6th Ave., 224-2038. 8 pm. $27. All ages.
Cashmere Cat, PRSN, Tigerfresh, Quarry
[HAPPY FUTURE] Cashmere Cat came onto the scene with swaying, stuttering bootleg remixes of 2 Chainz and Jeremih, but there’s
[COUNTRY] The Zac Brown Band is proud of operating on the fringes of country’s mainstream, but the ambiguity of its sound—often labeled as “country-Southern-rockreggae”— isn’t so far from Taylor Swift’s multigenre impulses. Even its album title, Uncaged, echoes Swift’s “best” album, Fearless. Thematically, though, the albums couldn’t be more different. True to its country roots, Uncaged is a pragmatic soundtrack designed for kicking back in the garage and downing a few beers. But it’s not half-bad. After all, it’s hard to dislike a guy who just wants to sing about pickup trucks, campfires and feeling blue. JOE DONOVAN. Sleep Country Amphitheater, 17200 NE Delfel Road, Ridgefield, Wash., 360-816-7000. 7 pm. $37-$342. All ages.
Aaron Dilloway
[TAPE NOISE] Bands almost always break up over money or women, but noise artist Aaron Dilloway departed Detroit’s Wolf Eyes for a different reason: He moved to Nepal to do some recording—not an album but everything else, including rivers, drunks, demonstrations and parks. If that sounds esoteric, well, it is. If Wolf Eyes are noise-rock pioneers, making and breaking their own boundaries with dozens of limited cassette releases, Dilloway is the scout, sent far ahead of even the avant-garde. Opened Door is Dilloway’s latest 10-minute cassetteonly release, of which he’s made literally hundreds, all put out by forgettable labelettes and fashioned for obscurity—in every sense of the word. MITCH LILLIE. Yale Union (YU), 800 SE 10th Ave., Portland, 236-7996. 9:30 pm. $10. 21+.
SATURDAY, SEPT. 14 The Mission UK, Deathcharge
C O U R T E S Y O F PAV E M E N T P R
Zac Brown Band
PRIMER
MUSIC
always been a softness to the 25-year-old Norwegian’s futuristic sound. Perhaps it’s no surprise, then, that his 2012 debut, Mirror Maru, takes things pretty easy for a debut album. The album’s title track opens with delicate piano, harp and cello. While there is rhythm, and soon a trappy snare, the song is out of place for a producer who’s been featured on Diplo’s renowned BBC radio show. That’s the beauty of Cashmere Cat, though. He makes forward-thinking, off-kilter dance music without succumbing to the desire to make it really “hard” or big-room. MITCH LILLIE. Rotture, 315 SE 3rd Ave., 234-5683. 9 pm. $10. 21+.
SUNDAY, SEPT. 15 The Legendary Pink Dots
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[STORIED PSYCHEDELIA] The Legendary Pink Dots—established in 1980—have been around long enough to safely live up to their lofty moniker. The band has achieved mythical status on the strength of an awe-inspiring discography of psychedelic pop and gothic-leaning drama that doesn’t shy away from discordance. Even more impressively, the Dots have rarely flagged in terms of quality, up to and including their 2013 release, The Gethsemane Option, an album that finds harmony with Syd Barrett-esque whimsy, bucking drum machines and leader Edward Ka-Spel’s enticing purr of a voice. ROBERT HAM. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $20 advance, $22 day of show. 21+.
Haymarket Squares, Fast Rattler
[DEMON GRASS] Like an Americana counterpart to the Pogues with a very real chip on their shoulders, Phoenix, Ariz., quintet Haymarket Squares have taken old-school Appalachian folk and bluegrass and infused it with fuck-all puckishness. “I guess
CONT. on page 39
BY JEFF ROSENBERG
SWAMP DOGG Born: Jerry Williams Jr. in Portsmouth, Va., in 1942. Sounds like: A country-tinged, rock-informed soul shouter, wailing witty, dirty lyrics about conflicts between rich and poor, black and white, man and wife. For fans of: Southern soul, Sly Stone, Frank Zappa, Blowfly. Latest release: Three of the Dogg’s first four albums—Total Destruction to Your Mind, Rat On! and Gag a Maggot—have just been reissued. An album of new material is anticipated next year. Why you care: A true independent, Swamp Dogg has been making funny, savvy and obscure R&B since 1970, his singular voice encompassing a piercing wail, the grit of the chitlin’ circuit and that gargle in the back of the throat that made MLK turn heads. At once self-effacing and self-aggrandizing, his album titles tell the story: I Called for a Rope and They Threw Me a Rock; I’m Not Selling Out/I’m Buying In!, whose cover depicts the Dogg dancing in white tie and tails atop a boardroom table surrounded by nonplussed executives; and the quintessentially braggadocious If I Ever Kiss It…He Can Kiss It Goodbye! His way with a title extends to the songs themselves: political screeds, from 1971’s “God Bless America For What” to the 2007 anti-Bush blast “They Crowned an Idiot King”; racial explorations such as “I’ve Never Been to Africa (And It’s Your Fault)”; and countless meditations on marital infidelity, such as “Choking to Death (On the Ties That Bind)” and “Did I Come Back Too Soon (Or Stay Away Too Long).” And when he puts that unreal voice to another writer’s song, sparks fly, as on his damn near definitive reading of John Prine’s junkie-vet lament, “Sam Stone.” SEE IT: Swamp Dogg plays Dante’s, 350 W Burnside St., on Saturday, Sept. 14. 9 pm. $15. 21+. Willamette Week SEPTEMBER 11, 2013 wweek.com
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GET BACK TO SCHOOL WITH TUNES FROM RED SCOTT JACKSON MELBOURNE ON SALE $10.99 CD ALSO ON LP
KASKADE
ATMOSPHERE ON SALE $10.99 CD
APPEARING AT THE HOLOCENE ON 9/24
WALKING PAPERS WALKING PAPERS ON SALE $10.99 CD
JOE SATRIANI UNSTOPPABLE MOMENTUM ON SALE $10.99 CD
HIDE ON SALE $12.99 CD AVAILABLE ON 9/17
WE CAME AS ROMANS
AMON AMARTH
TRACING BACK ROOTS ON SALE $10.99 CD
DECEIVER OF THE GODS ON SALE $7.99 CD/ $14.99 DELUXE CD
LONE BELLOW
LANGHORNE SLIM
LONE BELLOW ON SALE $10.99 CD ALSO ON LP
APPEARING AT THE HISTORIC ELSINORE THEATRE IN SALEM ON 10/23
WAY WE MOVE ON SALE $10.99 CD ALSO ON LP
APPEARING AT THE WONDER BALLROOM ON 10/11
POLYPHONIC SPREE
AUGUST BURNS RED
PHILIP H. ANSELMO
RESCUE & RESTORE ON SALE $10.99 CD ALSO ON LP
WALK THROUGH EXITS ONLY ON SALE $11.99 CD ALSO ON LP
DEAFHEAVEN
IRATION
BLUE OCTOBER
YES IT'S TRUE ON SALE $12.99 CD ALSO ON LP
SUNBATHER ON SALE $8.99 CD ALSO ON LP
AWOLNATION
MEGALITHIC SYMPHONY ON SALE $8.99 CD ALSO ON LP
IN THIS MOMENT
BLOOD ON SALE $12.99 CD ALSO ON LP
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BLOODY BEETROOTS
Willamette Week SEPTEMBER 11, 2013 wweek.com
AUTOMATIC ON SALE $11.99 CD
SWAY ON SALE $11.99 CD
APPEARING AT THE CRYSTAL BALLROOM ON 10/8
KREATOR
ADAM ANT
APPEARING AT THE HAWTHORNE THEATER ON 11/13
ON SALE $12.99 CD ALSO ON LP
DYING ALIVE ON SALE $24.99 CD/DVD
ADAM ANT IS THE BLUEBACK HUSSAR MARRYING THE GUNNER’S DAUGHTER
A DAY TO REMEMBER
WHAT SEPARATES ME FROM YOU ON SALE $10.99 CD
APPEARING AT THE ROCKSTAR HOUSE PARTY TOUR AT THE EXPO CENTER ON 9/18
SUNDAY-MONDAY I don’t give a shit about giving a shit,” John Luther Norris snarls on one track from the group’s third record, Wild Ruckus, which also includes the requisite song about getting fucked up (“Let’s Get Fucked Up,” as it were), reluctantly falling for a Republican (“Forbidden Love”) and a polkafied cover of Pink Floyd’s “Hey You” you would be forgiven for mistaking for Weird Al—and that’s a compliment. It’s rowdy, goofy, wiseass stuff, a welcome infusion of angst and smarm in a genre often too self-serious to have any fun with
MUSIC
tradition. AP KRYZA. White Eagle Saloon, 836 N Russell St., 282-6810. 7 pm. Free. 21+.
MONDAY, SEPT. 16
MUSIC LIVE portlandspirit.com DATES HERE
FRIDAY EARLY ESCAPE
Lee Fields and the Expressions, Brownish Black, DJ Steven Kray
[SOUL] Don’t call the story of Lee Fields a comeback. Unlike his veteran soul brother Charles Bradley, who is now releas-
CONT. on page 41
ALBUM REVIEWS
CRUISE RIVER 503-224-3900
THIS FRIDAY
REDWOOD SON 3PM-5PM
PLANKTON WAT DRIFTER’S TEMPLE
$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.
(THRILL JOCKEY)
[INSTRUMENTAL GUITAR] Guitarist Dewey Mahood’s departure from Eternal Tapestry, the free-range psych band of which he was a member for a decade, happened quietly. There were no big blowups, no residual ill will. Unless you heard the news personally, you probably wouldn’t have figured it out until you saw him missing from the group’s concert lineup. Creatively speaking, though, the move is huge. With more time to devote to his solo work, released under the name Plankton Wat, Mahood now rehearses his material, rather than extemporizing to tape. Not a huge leap, seemingly, but one that makes Drifter’s Temple so amazing. The majority of these 10 instrumentals are gentle in nature, relying on guitar playing that moves between drawn-out chords, solos that move like slow waves and some thrilling fingerpicking. Sometimes Mahood manages to squeeze all three into the same song—the river float of “Klamath at Dusk,” the heart-swelling “Dance of Lumeria”—but otherwise he separates these moods, giving each time to breathe and expand. With more time to hone these songs, there’s always the danger of overreach. Mahood avoids such lapses, using non-guitar instrumentation smartly and with great effect: See the glowering synth that rattles through “Siskiyou Caverns.” He may be completely on his own now, but Mahood has the instrumental smarts and clarity of vision to make his continued solo journey worth chasing. ROBERT HAM.
News
page 7
HEAR IT: Drifter’s Temple is out Tuesday, Sept. 17.
KENNY FEINSTEIN LOVELESS: HURTS TO LOVE (FLUFF & GRAVY) [COWBOY BOOTGAZE] A great cover album not only pays homage to a beloved musician but reimagines the music itself. And while there’s little new about covering My Bloody Valentine, Portland’s Kenny Feinstein has succeeded in adapting the band’s 1991 shoegaze landmark Loveless via an extreme rearrangement. Through the lens of gentle, porch-lit Americana, the Water Tower frontman explores his favorite record, one he admits listening to every day for a year. Loveless: Hurts to Love shows an artist so enamored of Kevin Shields and company that he’s rendered almost speechless. Feinstein’s stark style could be interpreted as either timidity or respectful nodding, save for the fact his selection of instruments—mandolin, fiddle, dulcimer, dobro—suggest a performer confident in his ability to turn his muse on its head. My Bloody Valentine, known for its barefaced and bar-setting dream rock, has never sounded so pastoral. Richard Buckner and a few others lend their hands to the record, but mostly this is Feinstein’s baby. His lethargic vocals shuffle along beside tempered acoustic twang. Opener “Only Shallow” offers a dreamy platform with occasional fits of steely country, while “I Only Said” is a hushed, campfire counterpart to the whirring original. The record is delicate on the cusp of sleepy now and again, but overall Loveless is a stirring success, in that it reasserts both My Bloody Valentine’s importance and Feinstein’s creativity. MARK STOCK. HEAR IT: Loveless: Hurts to Love is out Tuesday, Sept. 17.
Willamette Week SEPTEMBER 11, 2013 wweek.com
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Willamette Week SEPTEMBER 11, 2013 wweek.com
MUSIC RICK BAHTO
MONDAY-TUESDAY/CLASSICAL, ETC.
$5 Burger 4-7 pm / 7 days a week
WEDNESDAY, SEPTEMBER 11 9pm. 21 & Over
Queer Night• DJ PiPPi BoNgstockiNg FREE! stoNer metal.
THURSDAY, SEPTEMBER 12 7pm. 21 & Over
microcosm PuBlishiNg seasoNal release Party • BoBBy Joe eBola aND the chilDreN macNuggits FREE!
FRIDAY, SEPTEMBER 13 8pm. All Ages
eltoN cray • mr. White • italics
SATURDAY, SEPTEMBER 14 9pm. 21 & Over
s (JeNN ghetto of carissa’s WierD) Night caDet $5.00 at the door.
JAGGED LITTLE PILLARS: Julia Holter plays Holocene on Saturday, Sept. 14. ing material again after a hiatus filled with tragedy, Fields has been steadily putting out new music over his 43-year career. He’s enjoyed a resurgence lately with the help of Truth and Soul Records, which has released and produced his last two albums, both of which return to the soul sound of the late 1960s. Fields’ voice doesn’t have the strength of Marvin’s, Otis’ or even Bradley’s, but he makes up for it with swagger. In fact, when he started his career, many called him “Little JB” for his resemblance to James Brown, who dominated his performances with a blustering strut. Fields has a similar bravado and—despite his age—hasn’t lost one step. REED JACKSON. Aladdin Theater 3017 SE Milwaukie Ave., 234-9694. $20 advance, $25 day of show. Under 21 permitted with legal guardian.
TUESDAY, SEPT. 17 Kimya Dawson, Paul Baribeau
[KINDERFOLK] Dropping into public consciousness a dozen years ago as one-half of Moldy Peaches—the beloved N.Y. antifolk duo given a posthumous semihit off the Juno soundtrack—and most recently touring with similarly hyperliterate rapper Aesop Rock as the Uncluded, Kimya Dawson is probably best-known for her collaborations, as the keening loopiness of her trademark vocals begs for a more grounded pairing. But the transplanted Northwesterner has assembled a devoted following all her own through a surprisingly expansive body of work. Thunder Thighs, her seventh and latest solo recording, blends the eff ervescent playfulness of unadulterated children’s album Alphabutt with more trenchant musings on motherhood and mortality for a winningly graceful cartwheel from the nursery to the parlor and back again. JAY HORTON. Backspace, 115 NW 5th Ave., 248-2900. 8 pm. $10. All ages.
Matt Wertz, Elenowen
[’80S ROCK] Matt Wertz’s new album, Heatwave, plays like an ’80s time capsule. Lead single “Get to You” is so hopped up on the Greed Decade rock sound that the video even includes dance battles and way too much spandex and neon colors to be healthy. With all the appearances by beat machines on the album—to say nothing of the largely upbeat pop structures— you halfway expect some reference to Kenny Loggins, E.T. or Rubik’s Cubes to show up in his lyrics. Congratulations, nostalgics: Matt Wertz is going to make your year. BRIAN PALMER. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $16 advance, $18 day of show. 21+.
King Dude
[RENEGADE FOLK] T.J. Cowgill fronts the blues-inspired freakfolk act out of Seattle known as King Dude. His froggy, sermonizing tone recalls Mark Lanegan, albeit even darker and more cavernous. Cowgill brands himself a
Luciferian, and it seeps into his harrowing Americana, imparting a fi ery, shoot-’em-up pulse that’s both hair-raising and distinguished. While King Dude’s music derives from early country and Delta blues, the throaty vocals come from somewhere else entirely, like a deep well in a dried-up Western town. Last year, the band released Burning Daylight, a record that feels like the work of the devil in a Johnny Cash outfi t. MARK STOCK. Hawthorne Theatre Lounge, 1503 SE Cesar E. Chavez Blvd., 2337100. 9 pm. $12. 21+.
Deap Vally, JJUU JJUU, Mystic Braves
[VALLEY GIRLS] An obvious product of Los Angeles, Deap Valley has stars in its eyes. The duo bashes out hard rock informed by red lipstick, White Stripes and the blues. Both women are more than able players, though Lindsey Troy’s vocals are of the makeor-break variety. Drummer Julie Edwards is powerful if busy, which works since there’s no bass player. It adds up to a crowd-pleasing formula, and industry moguls are already working to break the band in England. NATHAN CARSON. Hawthorne Theatre, 1507 SE 39th Ave., 233-7100. 8 pm. $12 advance, $14 day of show. All ages.
The Octopus Project, Paper Lions, Tiger House
[8-BIT BOOGIE] In touring the country as a rock band, Austin’s Octupus Project may be on the wrong path. Its DayGlo synth textures and skittering drum patterns are certain to shake some booties in a darkened club, but the band’s true calling might be found in the circuitous background music of whatever Mario and company are up to these days. Imagine a mini-boss throwing turtle shells your way during the climax of “Death Graduates” off this year’s Fever Forms, then imagine yourself basking in victory with “Whitby” blasting on your gocart’s stereo. Or see it live under the infl uence of adult beverages. Choose your own adventure! PETE COTTELL. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. $13 advance, $15 day of show. 21+.
Dizzy Wright, Emilio Rojas, Futuristic, Myke Bogan
[HIP-HOP] Like Joey Bada$$ and Wiz Khalifa, 22-year-old Vegas MC Dizzy Wright is part of a new legion of hip-hop artists born after the art hit the mainstream. And as such, he’s sucked up infl uences from the entire history of rap and molded them into his own style. That’s all apparent on this year’s Golden Years mixtape, a follow-up to two impressive studio eff orts. At his best, Dizzy’s an acrobat, fl ipping between slow-and-steady fl ow and verbal machine-gunnery with alarming skill over beats that draw from the classic hip-hop era. At his worst, he channels radio rap in such a way that he simply sounds like everything else. But damned if the kid doesn’t show scary skill,
making him a young blood to keep a close eye on. AP KRYZA. Peter’s Room, 8 NW 6th Ave., 219-9929. 8 pm. $16. All ages.
CLASSICAL, WORLD & JAZZ Lang Lang
[CELEBRITY CLASSICAL] Shedding listeners with their refusal to embrace contemporary music and mores, hidebound American orchestras increasingly rely on celebrity soloists to sell tickets to their repetitive, unimaginative programming. But even though the immensely popular young Chinese pianist Lang Lang certainly qualifies as a “celeb,” this particular program, featuring listener-friendly 20th-century classics by Aaron Copland and Sergei Prokofiev, along with Tchaikovsky’s colorful 1880 postcard “Italian Caprice,” is worth the ticket. BRETT CAMPBELL. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 248-4335. 7:30 pm Thursday, Sept. 12. $35-$250. All ages.
SUNDAY, SEPTEMBER 15
8pm (doors open at 7:30pm). All Ages
Small Plate Menu features: Burgers. Pulled Pork Sliders with Homemade Slaw, Chicken Strips & Fries, Caesar Salad, Soup, and Fresh Cut Garlic Fries all for under 5 bucks.
the church of rockNroll PreseNts... WormBag • tyraNts • the gout • moaN $5.00 at the door.
MONDAY, SEPTEMBER 16 9pm. All Ages
the church of rockNroll PreseNts... the littlest VikiNg • reD formaN • system aND statioN $5.00 at the door.
TUESDAY, SEPTEMBER 17 8pm. 21 & Over
Where my BoNes rest easy • hemiNgWay W Way • mossBreaker $6.00 at the door.
Falafel House: 3 to late–Night All Ages Shows: every sunday 8–11pm Free Pinball Feeding Frenzy: saturday @ 3pm
Pool. Sports. Beer. Pizza. Pinball. 529 SW 4th Ave., Portland www.rialtopoolroom.com
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Caitlin Mathes
[CABARET, OLD CHUM] Although both Portland Opera and Portland State recently produced his “Street Scene” and Storm Large sang his “Seven Deadly Sins” with the Oregon Symphony last year, 20thcentury composer Kurt Weill is still best known for his Threepenny Opera and its hit song, “Mack the Knife.” But there’s so much more smart, seductive and sometimes searing Weill music that deserves hearing, and in this Classical Revolution PDX cabaret-style show with Wild West overtones(!), former Portland Opera resident studio artist Caitlin Mathes will sing 90 minutes of it, accompanied by pianist David Saffert. Judging by her win at the 2011 Lotte Lenya Competition, her dazzling and theatrical vocal recital last year, as a compelling turn in Opera Theater Oregon’s The Cunning Little Vixen this summer, this young mezzosoprano is a star on the rise. BRETT CAMPBELL. Vie de Boheme, 1530 SE 7th Ave., 360-1233. 7:30 pm Sunday, Sept. 15. $5 suggested donation. 21+.
The Orrin Evans Trio
[JAZZ] Let’s see: A jazz pianist, named Evans, leads a trio. But Orrin Evans’ punchy, post-bop approach sounds less like the restrained Bill Evans than his fellow Philly phenom McCoy Tyner—though Orrin can summon the former’s elegance, too. A protégé of Kenny Barron, he’s released 20 albums as a leader, performed with many of the major players of his generation (Dave Douglas, Bobby Watson, Roy Hargrove) and regularly works with several different ensembles. His relatively straight-ahead trio in this PDX Jazz concert includes Evans’ longtime bassist Eric Revis and drummer Donald Edwards. BRETT CAMPBELL. Jimmy Mak’s, 221 NW 10th Ave., 2956542. 7:30 pm Monday, Sept. 16. $22 reserved seating, $18 general admission. Under 21 permitted with legal guardian until 9 pm.
Willamette Week SEPTEMBER 11, 2013 wweek.com
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MUSIC CALENDAR
sept. 11-17 Slabtown
= WW pick. Highly recommended. Editor: Mitch Lillie. TO HAVE YOUR EVENT LISTED, send show information at least two weeks in advance on the web at wweek.com/submitevents or (if you book a specific venue) enter your events at dbmonkey. com/wweek. Press kits, CDs and especially vinyl can be sent to Music Desk, WW, 2220 NW Quimby St., Portland, OR 97210. Please include show or release date information with all physical mailings. Email: music@wweek.com. For more listings, check out wweek.com.
1033 NW 16th Ave. Microcosm Release Party: Bobby Joe Ebola and the Children MacNuggits
Star theater
13 NW 6th Ave. Moving Units, Some Ember
3341 SE Belmont St. The Grahams, Laryssa Birdseye
1503 SE Cesar E. Chavez Blvd. This Not This, Aina Haina (KZME benefit)
the Know
Hawthorne theatre
17200 NE Delfel Road, Ridgefield, Wash. Zac Brown Band
HANNAH TURNER-HARTS
tiger Bar
317 NW Broadway Karaoke from Hell
tiger Bar
317 NW Broadway Karaoke From Hell
Valentine’s
232 SW Ankeny St. Dolphinity, Majisterial, Twins
West Cafe
Wed. Sept. 11 Al’s den at the Crystal Hotel 303 SW 12th Ave. Dylan Johnson, Lewi Longmire
Aladdin theater
3017 SE Milwaukie Ave. Jason Isbell, Amanda Shires
Amadeus Manor
2122 SE Sparrow St., Milwaukie Open Mic
Andina
1314 NW Glisan St. Toshi Onizuka
Ash Street Saloon
225 SW Ash St. The Grouse, Dear Indugu, Grey Melcher, Shohei Kobayashi
dante’s
350 W Burnside St. Townes Van Zandt Tribute Night
doug Fir Lounge
830 E Burnside St. Goose and Fox, De La Warr, the Ruby Pines
duff’s Garage
1635 SE 7th Ave. Suburban Slim’s Blues Jam, Arthur Moore’s Harmonica Party
east end
203 SE Grand Ave. Gay Ghost, Nerve Beats, Tyransts, Warm Trash
Goodfoot Lounge
2845 SE Stark St. Lonesome Locomotive
Ivories Jazz Lounge and Restaurant
Laurelthirst
2958 NE Glisan St. Greyson Capps, the Barkers
Lents Commons
9201 SE Foster Road Open Mic
McMenamins edgefield 2126 SW Halsey St., Troutdale Boy and Bean
McMenamins Rock Creek tavern
10000 Old Cornelius Pass Road, Hillsboro Billy D
Mississippi Studios
3939 N Mississippi Ave. NO, Black Whales, Dresses
Music Millennium
3158 E Burnside St. Amanda Shrines
Rotture
315 SE 3rd Ave. Midday Veil, Alto!, Antecessor
Shaker and Vine
2929 SE Powell Blvd. Robbie Laws Guitar Ensemble
Star theater
13 NW 6th Ave. Grouplove, the Reubens
Suki’s Bar & Grill 2401 SW 4th Ave. Jessie Goergen
the elixir Lab
2738 NE Alberta St. Open Mic Nite
1435 NW Flanders St. Rebecca Kilgore, Dave Frishberg
the Old Church
Jade Lounge
thorne Lounge
2346 SE Ankeny St. Adam Brock
Jimmy Mak’s
221 NW 10th Ave. The Mel Brown Quartet
Kells
112 SW 2nd Ave. Dave Ross
Kelly’s Olympian
426 SW Washington St. Sans, Brian Johannesen, Tractor Operator
Laughing Horse Books 12 NE 10th Ave.
1422 SW 11th Ave. The Lyric Trio 4260 SE Hawthorne Blvd. Musician’s Open Mic
tonic Lounge
3100 NE Sandy Blvd. Do You Remember Rock ‘n’ Roll? Radio Show: Pat Kearns
tony Starlight’s
3728 NE Sandy Blvd. Ayars Times Two Vocal Showcase
Valentine’s
232 SW Ankeny St. Pheasant, Jake Bellows
White eagle Saloon 836 N Russell St.
42
Willamette Week SEPTEMBER 11, 2013 wweek.com
Wilfs Restaurant & Bar 800 NW 6th Ave. Ron Steen Band, Kerry McCoy
Wonder Ballroom 128 NE Russell St. Why?, Karl Blau
tHuRS. Sept. 12 Al’s den at the Crystal Hotel 303 SW 12th Ave. Dylan Johnson, Dusty Santamaria
Alberta Rose theatre
3000 NE Alberta St. Grouplove, the Reubens
Alberta Street public House
1036 NE Alberta St. The Hooten Hallers, RootJack, Michael Dean Damron
Alhambra theatre
4811 SE Hawthorne Blvd. Bradley Wik and the Charlatans, J.A. Beltram
Andina
1314 NW Glisan St. Greg Wolf Trio
Ash Street Saloon
225 SW Ash St. Avenue Victor Hugo, the 63 Fremonts, Toy
Backspace
115 NW 5th Ave. Blue Sky Black Death, Kid SMPL, Real Magic
Buffalo Gap eatery and Saloon 6835 SW Macadam Ave. Cascade Rye, Junebugs
Camellia Lounge 510 NW 11th Ave. Kevin Wood
Chapel pub
430 N Killingsworth St. Steve Kerin
dante’s
350 W Burnside St. Cosmic Psychos, Suicide Notes, Sex Crime
doug Fir Lounge
830 E Burnside St. Polecat, World’s Finest
duff’s Garage
1635 SE 7th Ave. Lulu Lafever and the Hot Tamales, Tough Lovepyle
Goodfoot Lounge
2845 SE Stark St. Shafty (Phish tribute)
2346 SE Ankeny St. Christopher John Mead
Jimmy Mak’s
221 NW 10th Ave. Jacqui Naylor
Kells
112 SW 2nd Ave. Dave Ross
Kenton Club
2025 N Kilpatrick St. The Choices, Patrimony
Laughing Horse Books 12 NE 10th Ave. Darto, Your Rival, Sloths, Sweeping Exits
Laurelthirst
2958 NE Glisan St. Ridgerunners: Lynn Conover, Dan Haley, Tim Acott, Lewi Longmire and the Left Coast Roasters
McMenamins edgefield 2126 SW Halsey St., Troutdale Moody Little Sister
McMenamins Rock Creek tavern
10000 Old Cornelius Pass Road, Hillsboro Richard Cranium and the Phoreheads
McMenamins’ Kennedy School 5736 NE 33rd Ave. The Northstar Session
Mississippi pizza
3552 N Mississippi Ave. Cafe Istanbul, Mo Phillips, Johnny and Jason
Mississippi Studios
3939 N Mississippi Ave. Eternal Tapestry, High Wolf, Chicaloyoh
Muddy Rudder public House 8105 SE 7th Ave. Stumbleweed
Music Millennium
3158 E Burnside St. The Grahams
Secret Society Ballroom
1800 E Burnside St. Ojos Feos
Slabtown
Sleep Country Amphitheater
1507 SE 39th Ave. Megan And Liz, Kalin And Myles, Amanda Jones
Star Bar
Holocene
the Analog
1001 SE Morrison St. Ecstasy: Delroy Edwards, Miracles Club, Maxx Bass
Ivories Jazz Lounge and Restaurant 1435 NW Flanders St. Sean and Fred Sextet
Jack London Bar 529 SW 4th Ave. Decadent 80s
639 SE Morrison St. Blank Fridays 720 SE Hawthorne Idiot Science, A Killing Dove, Ultra Goat
the Know
White eagle Saloon
Jimmy Mak’s
the tARdIS Room
800 NW 6th Ave. Randy Porter Trio
FRI. Sept. 13 Al’s den at the Crystal Hotel 303 SW 12th Ave. Dylan Johnson, Mia Voltag
Aladdin theater
3017 SE Milwaukie Ave. Led Zepagain
Alberta Rose theatre 3000 NE Alberta St. Dougie MacLean
Alberta Street public House
1036 NE Alberta St. The Tribal Sessions, Vivid Cure
Alhambra theatre
4811 SE Hawthorne Blvd. Kublaki, Symmetry, David Dalla G, Shelton Harris, Tyler Dopps
Andina
1314 NW Glisan St. Dan Diresta Quartet
Artichoke Community Music 3130A SE Hawthorne Blvd. Friday Coffeehouse
Ash Street Saloon
225 SW Ash St. Echo Park, Nails Hide Metal
Backspace
115 NW 5th Ave. Parachute, Matt Hires, Paradise Fears
Biddy McGraw’s
6000 NE Glisan St. Fex Fatale, the Oregon Trailers
Buffalo Gap eatery and Saloon 6835 SW Macadam Ave. Steve Hale Trio
Camellia Lounge 510 NW 11th Ave. French Twist x 3
Clyde’s prime Rib
Sellwood public House
dante’s
5474 NE Sandy Blvd. Muthaship 350 W Burnside St. Up Until Now
doug Fir Lounge
830 E Burnside St. Robert Walter’s 20th Congress
Katie O’Briens
2809 NE Sandy Blvd. Northern Currents, Mister Tang, The Fourth Wall
Kells Brewpub
210 NW 21st Ave. Sami Rouisi
Kells
112 SW 2nd Ave. Pass the Whiskey
Kelly’s Olympian
426 SW Washington St. NTNT, Just Lions, Grandhorse
Kenton Club
2025 N Kilpatrick St. White Chocolate and the Cigarettes, ManX, The People Electric
Laughing Horse Books 12 NE 10th Ave. Young Turks, Power
Laurelthirst
2958 NE Glisan St. Marty O’Reilly, Payne & Money, Joe McMurrian & Woodbrain
McMenamins edgefield 2126 SW Halsey St., Troutdale Jon Davidson
McMenamins Rock Creek tavern
10000 Old Cornelius Pass Road, Hillsboro Garcia Birthday Band
Mississippi pizza
3552 N Mississippi Ave. Machete Men, Sam Densmore
Mississippi Studios
3939 N Mississippi Ave. Diarrhea Planet, the So So Glos, Boom!
Muddy Rudder public House 8105 SE 7th Ave. The Sportin’ Lifers Trio
Noho’s Hawaiian Cafe 4627 NE Fremont St. Hawaiian Music
peter’s Room
8 NW 6th Ave. Travis Garland, Jové, Andrew Garcia
Record Room
8 NE Killingsworth St. Palo Verde, Sei Hexe, Slow Screams
Roseland theater
8 NW 6th Ave. Andre Nickatina, Krayzie Bone
Rotture
315 SE 3rd Ave. Live and Direct
1314 NW Glisan St. Toshi Onizuka Trio
Artichoke Community Music 3130A SE Hawthorne Blvd. Rick Ruskin
Ash Street Saloon
225 SW Ash St. Aldebaran, Stargazer, Knelt Rote
Backspace
115 NW 5th Ave. Stolas, Strawberry Girls, Icarus the Owl, She Preaches Mayhem
Biddy McGraw’s
6000 NE Glisan St. 29 Steps
Branx
Bravo Lounge
2738 NE Alberta St. Hush Hush Smut Club 2026 NE Alberta St. Turbo Perfecto, Born Losers, Brother Joseph
Wilfs Restaurant & Bar
Andina
the elixir Lab
2346 SE Ankeny St. Gabby Holt, Barlow Pass 221 NW 10th Ave. The Brian Copeland Band
4811 SE Hawthorne Blvd. Charlotte Sometimes, Jitterbug Vipers
3341 SE Belmont St. Evvnflo
Jade Lounge
836 N Russell St. Matthew Lindley Commission, Buffalo Jones
Alhambra theatre
320 SE 2nd Ave. Grizzly, Still Region, Atmos, Toy Gun Conspiracy
the Blue Monk
1201 SW Jefferson St. Alan Jones Academy Jazz Jam
116 NE Russell St. Soulshake, Tezeta Band, the Keplers 8132 SE 13th Ave. Open Mic
Shaker and Vine
Hawthorne theatre Lounge
2026 NE Alberta St. Pleasure Leftists, Criminal Code, Arctic Flowers
Jade Lounge
203 SE Grand Ave. Cunning Wolves, Demain, Floorboards, Stuck on Nothing, Swim Atlantic
116 NE Russell St. Easy Big Fella, Original Middle Age Ska Enjoy Club, the Longshots, DJ Simmerdown
1033 NW 16th Ave. Elton Cray, Mr. White, Italics
the Blue Monk
Ara Lee
east end
Secret Society Ballroom
eastBurn
2415 NE Alberta St. Cron, Northern Bastard, High Cultist
The Act Of Estimating As Worthless, Strangeweather, the Sarcastic Dharma Society
1635 SE 7th Ave. The Lonesomes, Jawbone Flats, Hamdogs
2929 SE Powell Blvd. Billy D and the Hoodoos
the Alleyway Cafe and Bar
VICtIM OF LOVe: Charles Bradley performs at Crystal Ballroom during MusicfestNW. Read our coverage at wweek.com/mfnw2013.
duff’s Garage
1218 N Killingsworth St. The Soft Targets, the Mormon Trannys, the Homemakers
tiger Bar
317 NW Broadway Ruff Hausen
tonic Lounge
3100 NE Sandy Blvd. The Thornes, Satyress, The Fuckin’ Fucks
tonic Lounge
3100 NE Sandy Blvd. Sickness in September IV: Blood Magic, Neuroethics, Idolatrus, Progenitor, Damage Overdose, Bunk Dope, Existential Depression, Desolation, death agenda, Omnility, World Of Lies, Succor, American Roulette, Dead Conspiracy, Jeffrey Trapp
tony Starlight’s
3728 NE Sandy Blvd. Tony Starlight Salutes the Gentlemen of Song
Vie de Boheme
1530 SE 7th Ave. Ken DeRouchie Band
White eagle Saloon
836 N Russell St. Chris Juhlin and the Collective, Camping in a Cadillac, Kim DeLacy, Reverb Brothers
Wilfs Restaurant & Bar 800 NW 6th Ave. Linda Michelet
Yale union (Yu)
800 SE 10th Ave., Portland Aaron Dilloway
SAt. Sept. 14 Al’s den at the Crystal Hotel
303 SW 12th Ave. Dylan Johnson, Shoehorn
Aladdin theater
3017 SE Milwaukie Ave. The Mission UK, Deathcharge
Alberta Rose theatre 3000 NE Alberta St. Katie Goodman, Eric Schwartz
Alberta Street public House 1036 NE Alberta St. Rich West Blatt
Alhambra theatre
4811 SE Hawthorne Blvd. The Rodeo Clowns, State of Jefferson, Dead Remedy, Corner
8560 SE Division St. Katie Rose Trio Band, Megan Wade
Club 21
2035 NE Glisan St. The Last Stab Showdown Hot Rod and Motorcycle Show: Fireballs of Freedom, Chemicals, Bitch School, Steak Knife, DJ HWY 7, DJ Cecilia
Clyde’s prime Rib
5474 NE Sandy Blvd. Elite
dante’s
350 W Burnside St. Swamp Dogg, the Pynnacles
doug Fir Lounge
830 E Burnside St. Jill Sobule and Julia Sweeney
duff’s Garage
1635 SE 7th Ave. The 44s
eastBurn
1800 E Burnside St. Closely Watched Trains, DJ Zimmie
Goodfoot Lounge 2845 SE Stark St. Goodfoot All-Stars
Habesha
801 NE Broadway Lovers Without Borders, Memory Boys, Slim, Blind Lovejoy
Hawthorne theatre
1507 SE 39th Ave. Unchained (Van Halen tribute), Poison’Us (Poison tribute), Sonic Temple (The Cult tribute)
Holocene
1001 SE Morrison St. Julia Holter, Nedelle Torrisi (7:30 pm)
Ivories Jazz Lounge and Restaurant
1435 NW Flanders St. Hirsto Vitchev Quartet
Jack London Bar 529 SW 4th Ave. Rewind
Jade Lounge
2346 SE Ankeny St. Dan Zindler, Colin Fisher, Rudy Jeffery, Lynne Piper
Jimmy Mak’s
221 NW 10th Ave. The Linda Hornbuckle Band
Katie O’Briens
2809 NE Sandy Blvd. 48 Thrills, The Lucky Eejits, Heroes at Gunpoint
Kells Brewpub
210 NW 21st Ave. Sami Rouisi
Kells
112 SW 2nd Ave. Pass the Whiskey
Kelly’s Olympian
426 SW Washington St. Mbrascatu, Johnny and the Bells, Duover
sept. 11-17
MUSIC CALENDAR
Arena-ready anthems from LA-based indie quintet
NO
AmAren colosi
BAR SPOTLIGHT
BLACK WHALES DRESSES
Alberta Rose Theatre Friday, Sept 13th
Bar Bar open 7 days 12:00pm - 2:00am (serving lunch :: to-go orders 503.288.3895x2) Happy hour 3pm-6pm 7 days All shows are 21+ unless otherwise noted Doors 8pm / Show 9pm unless otherwise noted Minors allowed in Bar Bar until 8pm Woodchuck Cider Sweet ‘N’ Psychedelic Present blistering psych rock filled with lyrical guitar soloing and a caveman approach to rhythm
ETERNAL TAPESTRY HIGH WOLF CHICALOYOH
BLUE SKIES AND CHEESE: Around the corner from the Hop & Vine and the Naked Sheep, at the crossing of Killingsworth and Gay, you may find yourself at The Lost & Found (5426 N Gay Ave., 477-7313, lostandfoundpdx.com). After sundown, the bar is almost invisible from the street except for a spacious patio (which, unlike the Adidas-heavy Old Gold nearby, allows smoking). Indoors, however, it’s sunny until 2 am. The bunker-brick walls are painted the colors of ocean and sky, and sport cheery lamps made of suitcases, with shapes cut out for deer, bears and inadvisable airplane procedures. Other lampshades are made of cymbals. A brightly painted, 3-foot-wide cross section of a tree stump—hanging precariously over the broad-but-not-deep selection of booze—turns out to be Styrofoam. The bar’s art, says the bartender, was made by the mom of one of the owners. The almost garishly bright natural wood grain on the posts and rear booth was made by a dude with patience and a blowtorch. Meanwhile, a ceiling support advertises $3 boozesicles (vodka lemonade, rum guava, both “nice on a hot day”) and $3 koozies. The food is 100 percent quesadilla, and the sickly sweet house cocktails are named after Ron Burgundy, Kenny Powers and each of the Golden Girls. The Girls, it turns out, drink juice and Champagne—except Dorothy, who goes for Tecate with Sriracha and bloody mary mix. Does this mean, we wonder, that Tecate makes you celibate? The bartender pauses for a moment. “You know that’s not true.” MATTHEW KORFHAGE. Kenton Club
2025 N Kilpatrick St. A Volcano, Lord, Mustaphamond
LaurelThirst
2958 NE Glisan St. Garcia Birthday Band, the Yellers
McMenamins Edgefield
2126 SW Halsey St., Troutdale Halfway to St. Patrick’s Day: Professor Gall, Jon Davidson, Tony Smiley, Jackstraw, Wild Boar, Switchgrass, Pass the Whiskey, Truir Amadan, Brothers Dunne, River City Pipe Band, Na Ròsaì
McMenamins Rock Creek Tavern
10000 Old Cornelius Pass Road, Hillsboro The Northstar Session
McMenamins’ Kennedy School
5736 NE 33rd Ave. Halfway to St. Patrick’s Day: Dance Hall Days, Danny Boy O’Haley, River City Pipe Band, Redwood Son, Geraldine Murray and the Murray Irish Dancers, Hanz Araki and Kathryn Claire, the Merry Mob
Mississippi Pizza
3552 N Mississippi Ave. Trashcan Joe, Cedro Willie
Muddy Rudder Public House 8105 SE 7th Ave. Howard Wade
Record Room
8 NE Killingsworth St.
Ghost Ease, Pink Slip, A Happy Death, Young Dad, Shady Characters, DJ Hero Worship
December Rain, the Hill, Amy Ganter, Bad Wolf Bay Band, London
Rotture
3100 NE Sandy Blvd. Sickness in September IV: Tokyo Death Stare, Hyborian Rage, Devour, Aethyrium, Mortal Ashes, Morgellon, Godenied, Tiamat’s Destroyer, Crush Your Enemies, Krippler, Otis, End of All Flesh, Enslave the Creation, Sarprophagous, Embryonic Devourment, Nemesis
315 SE 3rd Ave. Cashmere Cat, PRSN, Tigerfresh, Quarry
Secret Society Ballroom
116 NE Russell St. Dearborn, Hannah Glavor and the Family Band, the Show Ponies, Davy Jay Sparrow
Shaker and Vine
2929 SE Powell Blvd. Finn Doxie
Slabtown
1033 NW 16th Ave. Night Cadet, S (Jenn Ghetto of Carissa’s Weird)
Star Theater
13 NW 6th Ave. The Inspirational Beets
The Analog
720 SE Hawthorne Smoochknob
The Blue Monk
3341 SE Belmont St. Argyle
The Know
2026 NE Alberta St. Mob 47, Tragedy, Kozmar, Frenzy
The Whiskey Bar
31 NW 1st Ave. Donald Glaude, Evan Alexander, Tourmaline
Tiger Bar
317 NW Broadway Mosby, Jet Force Gemini, Tyranny Theory
Tonic Lounge
3100 NE Sandy Blvd.
Tonic Lounge
Tony Starlight’s
3728 NE Sandy Blvd. Tony Starlight’s AM Gold Show
Vie de Boheme 1530 SE 7th Ave. Soul Vaccination
THU, SEP 12
Get Up Stand Up with comic known for Professor Blastoff and Last Comic Standing
DAVID
303 SW 12th Ave. Run On Sentence
Alberta Street Public House
MOSTLY SEATED
SAT, SEP 14 (EARLY)
$8 ADV
American music pioneer and former Bad Livers bandleader creates new project with mandolinist
co-headline high-energy gritty guitar party
DIARRHEA PLANET CO-HEADLINE W/ THE SO SO GLOS
BOOM!
FRI, SEP 13
$10 ADV
A Visually Explosive Dance Party: Theme: BEETLEJUICE
W/DJ BEYONDA
10pm-2am
SAT, SEP 14 (LATE)
$5 DoS
Indietronica legends with dance-filled new jams
DANNY THE OCTOPUS PROJECT BARNES & MATT SIRCELY SEATED SHOW
7pmDOORS/8pmSHOW
SUN, SEP 15
$12 ADV
PAPER LIONS · TIGER HOUSE TUE, SEP 17 $13 ADV
Folksy indie rockers who keep getting better
WOODS
Saturday, Sept 14th AN EVENING OF MUSIC & COMEDY
KATIE GOODMAN & ERIC SCHWARTZ Wednesday, Sept 18th
Harmonious indie pop from Olympia
LAKE
+ LOUD HARP + A BOY AND HIS KITE Friday, Sept 20th
THE QUICK & EASY BOYS + MUSKETEER GRIPWEED Saturday, Sept 21st FEATURING
RAMONA FALLS AND
THE FRESH AND ONLYS · JESSICA PRATT
WED, SEP 18
$13 ADV THU, SEP 19
Todd Barry - The Crowd Work Tour A Todd Barry show consists of two things: amazing jokes and amazing crowd work. In early 2013, Todd left the amazing jokes at home, and did a series of all “crowd work” shows. That’s right, entire shows of just riffing and bantering with the audience. The tour was such a success HE DECIDED TO DO IT AGAIN!
MORNING RITUAL PORT ST. WILLOW
$8 ADV
LOVERS
A TRIBUTE TO
+ SPECIAL GUESTS
BROTHERS OF THE BALADI
MOSTLY SEATED
7pmDOORS/8pmSHOW
FRI, SEP 20
$20 ADV
Legendary Texas country singer, songwriter and producer
RAY WYLIE HUBBARD
TENDER FOREVER · NIGHT CADET SAT, SEP 21 $10 ADV Prolific jazz clarinet composer with two new albums, also known for his early klezmer work
BEN GOLDBERG’S UNFOLD ORDINARY MIND FEAT. NELS CLINE
SIOUX CITY KID
$20 ADV
Trans-Pacific nomad and genre-hopping soundsmith with a new double-album of dissected popular music
DIRTY BEACHES
SISU CHASMS $12 ADV
Saturday, Sept 28st
AUCF BENEFIT SHOW WITH
• CURTIS SALGADO • JIMMY BE FREE • KRISTEN HEWITT
Coming Soon
7pmDOORS/8pmSHOW
TUE, SEP 24
Friday, Sept 27st
LED ZEPPELIN
(RECORD RELEASE SHOW)
DAX JORDAN
SUN, SEP 22
JONATHAN COULTON
Portland favorites return with their 7th studio album “A Friend In The World”
TODD BARRY
Andina
cont. on page 44
$8 ADV
DOUGIE MACLEAN
JOSH GARRELS
7pmDOORS/7:30pmSHOW
1036 NE Alberta St. Jimmy Be Free 1314 NW Glisan St. Danny Romero
WED, SEP 11
SEAN JORDAN MC JASON TRAEGER
836 N Russell St. Halfway to St. Patrick’s Day: Blue Skies for Black Hearts, Throwback Suburbia, Wild Bells
Al’s Den at the Crystal Hotel
7pmDOORS/8pmSHOW
HUNTSBERGER
White Eagle Saloon
Sun. SEPT. 15
$5 ADV
AN EVENING WITH
BLUE CRANES
7pmDOORS/8pmSHOW
MON, SEP 23
$12 ADV
Coming Soon...
9/25: THE MY OH MYS 9/26: ROSE WINDOWS 9/27: PETER BRODERICK 9/28: OLAFUR ARNALDS 9/29: YOUNG GALAXY 10/1: GLENN TILBROOK (OF SQUEEZE)
3939 N. Mississippi Ave. Portland, Oregon info@mississippistudios.com / 503.288.3895 tickets available at www.mississippistudios.com or at Bar Bar box office (subject to availability)
10.13 - SPYRO GYRA 10.16 - RAMBLIN’ JACK ELLIOTT 10.17 - THE DUNWELLS
+ PETER MULVEY 10.20 - JOHN MCCUTCHEON 11.23 - CHRIS HILLMAN
(503) 764-4131 3000 NE Alberta
AlbertaRoseTheatre.com
Willamette Week September 11, 2013 wweek.com
43
MUSIC CALENDAR Backspace
115 NW 5th Ave. The Epilogues
Clyde’s Prime Rib
5474 NE Sandy Blvd. Ron Steen Jazz Jam
Doug Fir Lounge
830 E Burnside St. The Legendary Pink Dots
East End
203 SE Grand Ave. Fur Coats
East End
203 SE Grand Ave. WL, Fur Coats, Polst
Fontaine Bleau
237 NE Broadway Pa’lante
Ford Food and Drink 2505 SE 11th Ave. Tim Roth
Goodfoot Lounge
2845 SE Stark St. The Sarcastic Dharma Society, Souvenir Driver, Seance Crasher, Howl and Wild (Development Action Awareness Nationwide benefit)
Ivories Jazz Lounge and Restaurant
1435 NW Flanders St. Jim Templeton and Noah Norstock
Jade Lounge
2346 SE Ankeny St. The Ink-Noise Review, Curtis B. Whitecarroll
Kells
112 SW 2nd Ave. Bill Tollner
LaurelThirst
2958 NE Glisan St. Jonny Rodgers, Freak Mountain Ramblers
McMenamins Edgefield
2126 SW Halsey St., Troutdale Lewi Longmire
303 SW 12th Ave. Run On Sentence
Aladdin Theater
3017 SE Milwaukie Ave. Lee Fields and the Expressions, Brownish Black, DJ Steven Kray
Alberta Street Public House 1036 NE Alberta St. The Northstar Session
Andina
1314 NW Glisan St. Pete Krebs
Branx
320 SE 2nd Ave. We Butter the Bread With Butter, Incredible Me, Dinner With A Bear, For Those Alive, Whispers of Wonder
Camellia Lounge
510 NW 11th Ave. Vocalist’s Jazz and Blues Jam: Joe Millward
Dante’s
350 W Burnside St. Karaoke From Hell
Duff’s Garage
1635 SE 7th Ave. Toney
Goodfoot Lounge
2845 SE Stark St. Sonic Forum Open Mic
Ground Kontrol
511 NW Couch St. Metal Monday
Jade Lounge
2346 SE Ankeny St. Emerson House Band
112 SW 2nd Ave. Bill Tollner
LaurelThirst
Rontoms
600 E Burnside St. Charts, Coma Serfs
Rotture
315 SE 3rd Ave. Valient Thor, Lord Dying, Ramming Speed
426 SW Washington St. Eye Candy VJs 2025 N Kilpatrick St. Palace of Buddies, Comfort Zone 2958 NE Glisan St. Kung Pao Chickens, Douglas T. Cremmons and the Win-Win
McMenamins Edgefield
2126 SW Halsey St., Troutdale Groovy Wallpaper, Ashleigh Flynn
McMenamins Rock Creek Tavern
Slabtown
10000 Old Cornelius Pass Road, Hillsboro Bob Shoemaker
The Conga Club
8105 SE 7th Ave. Lloyd Jones
1033 NW 16th Ave. Wormbag, Tyrants, the Gout, Moan 4923 NE Martin Luther King Jr. Blvd., Suite 102 VYBZ Reggae Night
The Elixir Lab
2738 NE Alberta St. How Long Jug Band
Tonic Lounge
3100 NE Sandy Blvd. Sickness in September IV: Pushing Wayward, Battle Axe Massacre, Boudica, Truculence, Nekro Drunkz, American Wrecking Company, Crime Machine, Compulsive Slasher, Facinorous, Pre Embalmed, Machetaso Profano, Echoic, Funeral Age
Valentine’s
232 SW Ankeny St. Wet Drag, Michael Beach
White Eagle Saloon
836 N Russell St. Haymarket Squares, Fast Rattler
3017 SE Milwaukie Ave. Hem, Dawn Landes
Andina
1314 NW Glisan St. JB Butler
Ash Street Saloon
225 SW Ash St. Experimental Portland Presents: Threads, Consumer, Feral Drollery
Backspace
115 NW 5th Ave. Kimya Dawson, Paul Baribeau
Bravo Lounge
8560 SE Division St. The Lesser Three
Bunk Bar
1028 SE Water Ave. Animal Eyes, Hats Off!
Camellia Lounge
510 NW 11th Ave. Randy Porter, Tom Wakeling, David Evans, Kelby Macnayr
Doug Fir Lounge
830 E Burnside St. Matt Wertz, Elenowen
Hawthorne Theatre Lounge
1503 SE Cesar E. Chavez Blvd. King Dude
Hawthorne Theatre
1435 NW Flanders St. Kerry Politzer
Muddy Rudder Public House
5403 NE 42nd Ave. Open Mic
Aladdin Theater
Kells
210 NW 21st Ave. Traditional Irish Jam Session
Kenton Club
NEPO 42
303 SW 12th Ave. Run On Sentence
Kells Brewpub
Mississippi Studios
8105 SE 7th Ave. Irish
TuES. SEPT. 17 Al’s Den at the Crystal Hotel
1507 SE 39th Ave. Deap Vally, JJUU JJUU, Mystic Braves
Mississippi Pizza
3939 N Mississippi Ave. Danny Barnes and Matt Sircely
Willamette Week SEPTEMBER 11, 2013 wweek.com
MON. SEPT. 16 Al’s Den at the Crystal Hotel
Kelly’s Olympian
3552 N Mississippi Ave. Rocket 3, Boa Saida
44
sept. 11-17
Muddy Rudder Public House
Record Room
8 NE Killingsworth St. Good Night Billy Goat, Heatwarmer, PWRHAUS
Slabtown
1033 NW 16th Ave. The Littlest Viking, Red Forman, System and Station
Star Bar
639 SE Morrison St. Metal Monday: DJ Blackhawk
The Know
2026 NE Alberta St. Dirty Fences, Crag Dweller, the Last 45s, Piss Test
Tonic Lounge
3100 NE Sandy Blvd. The Littlest Viking, Modern Rhapsody
Tony Starlight’s
3728 NE Sandy Blvd. Piano Bar: Bo Ayars
White Eagle Saloon 836 N Russell St. Josh Cole
Ivories Jazz Lounge and Restaurant
Jade Lounge
2346 SE Ankeny St. Siren Sessions: Margeret Gibson Wehr, Anna Spackman
Jimmy Mak’s
221 NW 10th Ave. The Mel Brown Septet
Kells
112 SW 2nd Ave. Bill Tollner
LaurelThirst
2958 NE Glisan St. Jackstraw
McMenamins Edgefield
2126 SW Halsey St., Troutdale Pete Krebs
Mississippi Pizza
3552 N Mississippi Ave. Picnic People
Mississippi Studios
3939 N Mississippi Ave. The Octopus Project, Paper Lions, Tiger House
Peter’s Room
8 NW 6th Ave. Dizzy Wright, Emilio Rojas, Futuristic, Myke Bogan
Shaker and Vine
2929 SE Powell Blvd. Ryan Meagher
Slabtown
1033 NW 16th Ave. Where My Bones Rest Easy, Hemingway, Mossbreaker
The Analog
720 SE Hawthorne Open Mic
The Elixir Lab
2738 NE Alberta St. Skidmore Bluffs
The Know
2026 NE Alberta St. Ire Adrift, Cold Troll, Vradiazei
White Eagle Saloon
836 N Russell St. Daniel Ellworth and the Great Lakes
Willamette Week SEPTEMBER 11, 2013 wweek.com
45
sept. 11-17 c o u r t e s y o f A M o n ly
MUSIC CALENDAR
Get your LeAn on: Felix Cartal spins at the Whiskey Bar on Wednesday, Sept. 11. Ground Kontrol
511 NW Couch St. DJ Featurekreep
Star theater
511 NW Couch St. A Matter of Public Records: DJ Noah Fence
the Lovecraft
Lola’s room at the Crystal Ballroom
13 NW 6th Ave. Shutup&Dance
Wed. Sept. 11 Andrea’s Cha Cha Club 832 SE Grand Ave. Salsa: DJ Alberton
Beech St. parlor 412 NE Beech St. Housecoat
Berbati’s
231 SW Ankeny St. DJ Seleckta YT
Holocene
1001 SE Morrison St. I’ve Got A Hole In My Soul: DJ Beyondadoubt, Nick Waterhouse
tiga
1465 NE Prescott St. Selecta Morganixx
SAt. Sept. 14 Beech St. parlor 412 NE Beech St. DJ Easy Ian
Star theater
13 NW 6th Ave. Church of Hive
Mon. Sept. 16 Beech St. parlor
Star Bar
east end
231 SW Ankeny St. DJ Henry Dark
511 NW Couch St. TRONix: Popcorn, Mixed Signals
the Lovecraft
Ground Kontrol
Holocene
the rose
CC Slaughters
219 NW Davis St. Trick with DJ Robb
Ground Kontrol
Slabtown
1033 NW 16th Ave. Queer Night: DJ Pippi Bongstocking
Star Bar
639 SE Morrison St. DJ Danny Dodge
the Firkin tavern 1937 SE 11th Ave. Eye Candy VJs
the Lovecraft
421 SE Grand Ave. Exhume
the Whiskey Bar
31 NW 1st Ave. Felix Cartal, Benny Rox, Colin Lake
tiga
1465 NE Prescott St. DJ Never Forget
tHurS. Sept. 12 Beech St. parlor
Willamette Week SEPTEMBER 11, 2013 wweek.com
219 NW Davis St. Hip Hop Heaven with DJ Detroit Diezel
412 NE Beech St. Ian Paige
1001 SE Morrison St. PDneXt: Strategy, Jason Burns, Natasha Kmeto, Graintable, Danny Corn, Plumblyne
46
CC Slaughters
1332 W Burnside St. The Pearly Gates: DJ Vitamin G
Berbati’s
722 E Burnside St. Wednesday Swing
2013 Restaurant Guide publishes Oct 16
231 SW Ankeny St. Studyhall: DJ Suga Shane
421 SE Grand Ave. Skullfuck: DJ Horrid
rotture
Bossanova Ballroom
RESTAURANT GUIDE
Berbati’s
Sun. Sept. 15 Ground Kontrol
412 NE Beech St. DJ Cha Cha
315 SE 3rd Ave. Soul Nite 639 SE Morrison St. DJ Jake Cheeto 421 SE Grand Ave. Misprid Rocks 111 SW Ash St. Flight: Groshong, Simon Howlett, Lil Roj, Lincolnup
tiga
1465 NE Prescott St. DJ Maxamillion
Fri. Sept. 13 Beech St. parlor
412 NE Beech St. Jae-Ho, #Paydayz
Berbati’s
231 SW Ankeny St. Cloud City Collective
CC Slaughters
219 NW Davis St. Fetish Friday with DJ Jakob Jay
Crystal Ballroom
1332 W Burnside St. ‘80s Video Dance Attack: VJ Kittyrox
Fez Ballroom
316 SW 11th Ave. Friday the 13th: Bennyrox, Hatrias, Littlefoot
Goodfoot Lounge
2845 SE Stark St. DJ Aquaman’s Soul Stew
231 SW Ankeny St. DJ Mellow Cee 203 SE Grand Ave. New Dadz DJs 511 NW Couch St. DJ Destructo, DJ Chip
Holocene
1001 SE Morrison St. Tropitaal: DJ Anjali, the Incredible Kid, Joro-Boro (10 pm)
Lola’s room at the Crystal Ballroom 1332 W Burnside St. Come As You Are: 90s Dance Flashback
Mississippi Studios
3939 N Mississippi Ave. MRS: DJ Beyonda
refuge
116 SE Yamhill St. Sandra Collins, Manoj, Solovox, Anna Langley, Octobon
Berbati’s
CC Slaughters
219 NW Davis St. Maniac Monday with DJ Robb
the Lovecraft
421 SE Grand Ave. Departures: DJ Waisted, DJ Anais Ninja
tiga
1465 NE Prescott St. DJ Grapefruit
tueS. Sept. 17 Beech St. parlor
412 NE Beech St. Hot Sauce Mechanic
Berbati’s
231 SW Ankeny St. Soundstation Tuesdays: DJ Instigatah, Snackmaster DJ
Bossanova Ballroom
Star Bar
722 E Burnside St. Tango Tuesday
the Conga Club
219 NW Davis St. Girltopia with DJ Alicious
639 SE Morrison St. DJ Overcol
CC Slaughters
4923 NE Martin Luther King Jr. Blvd., Suite 102 Tropical Saturday Salsa
Star Bar
the Lovecraft
the Lovecraft
421 SE Grand Ave. Musick for Mannequins: DDDJJJ666, Magnolia Bouvier
tiga
1465 NE Prescott St. DJ DSmith
639 SE Morrison St. DJ Smooth Hopperator 421 SE Grand Ave. TRNGL: DJ Rhienna
tiga
1465 NE Prescott St. DJ Rickshaw
TAKE SOME COOL
BACK TO SCHOOL New Releases On Sale Now
TROMBONE SHORTY Say That To Say This $12.95-cd
JANELLE MONÁE The Electric Lady $12.95-cd
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sale prices good thru 9.22.13
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OPEN EVERYDAY AT 9A.M. | WWW.EVERYDAYMUSIC.COM Willamette Week SEPTEMBER 11, 2013 wweek.com
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PERFORMANCE TBA PREVIEW WHITNEY BROWNE
TIME FOR A CHANGE Portland Institute for Contemporary Art’s TimeBased Art Festival—that 11-day spree of theater, dance, music, visual art, film and various other uncategorizable, avantgarde and batshit things—turns 11 this year, and the now-tweenage fest has flown the coop. After four years at Southeast Portland’s Washington High School, the fest’s late-night, social hub moves to a former Con-Way warehouse in Northwest Portland. In her second year, PICA artistic director Angela Mattox has again curated a globe-spanning program (get ready for some Englishlanguage supertitles!), but one that, unlike last year, mercifully leans more personal than political. Here are our top picks for the first week.
Our top picks for the first week of PICA’s Time-Based Arts Festival.
Trajal Harrell, Judson Church is Ringing in Harlem (Made-to-Measure)/Twenty Looks or Paris is Burning at the Judson Church (M2M) and Antigone Jr./Twenty Looks or Paris is Burning at the Judson Church (Jr.) In the early 1960s, a group of New York artists gathered in Greenwich Village, at Judson Memorial Church, to make dance that didn’t look like dance. This group—dancers and nondancers alike—aimed to do away with artifice, virtuosity, drama. Everyday movement was dance. Walking was dance. All of life, in fact, was dance. At the same time, uptown in the ballrooms of Harlem, gay and transgender dancers were laying the roots for voguing. Inspired by fashion magazines as well as Egyptian hieroglyphs, African-Americans and Latinos dressed in drag, struck poses and formed de facto families that competed against one another. For several years, Trajal Harrell has been driven by a question of historical impossibility: What would have happened if these two traditions—one that eschewed spectacle and another that thrived on it—had come together? Since 2009, Harrell, a dancer and choreographer, has created several pieces—all with tongue-twister names—that tackle this question. (He’ll perform four of these at TBA, including one, Antigone Jr., that introduces voguing as a way to explore the essence of ancient Greek tragedy.) Are they plausible imaginings? That’s unanswerable. What’s certain, though, is that in Harrell’s capable hands—and in his skillful moves—these creative collisions are ambitious and cerebral 48
Willamette Week SEPTEMBER 11, 2013 wweek.com
TRAJAL HARRELL
but determinedly fun. Juxtaposing the stripped-down Judson aesthetic with the audacious fashion of voguing, Harrell likes to pair athletic shorts with flamboyant leather boots, or move from an everyday gait into a slinky runway walk. He’s as fabulous as he is funny, as subversive as he is seductive. REBECCA JACOBSON. Con-Way Blackbox, 2170 NW Raleigh St. Judson Church is Ringing in Harlem (Made-to-Measure)/Twenty Looks or Paris is Burning at the Judson Church (M2M) at 8:30 pm Friday-Saturday, Sept. 13-14. $20-$25. All ages. Antigone Jr./Twenty Looks or Paris is Burning at the Judson Church (Jr.) at 6 pm Sunday, Sept. 15. $10-$15. All ages. MARINA ANCONA
Campo (Pieter Ampe and Guilherme Garrido), Still Standing You It’s not to be helped: If you tug on each other’s penises in public, that’s what people are going to talk about. And indeed, Pieter Ampe and Guilherme Garrido are naked through much of this dance performance. The two tweak each other’s genitalia in symbolic macho display, a bit like two giraffes necking in the wild. Maybe it looks tender from the outside, but it’s also a battle for sexual primacy. In their own arty-Euro way, the pair are all about the bromance, the humorous posturing and intimacy and, yes, latent sexuality inherent in close male friendship. “It’s a very selfish performance, a very self-centered performance,” Garrido has said. In a review of their Belgian performance (this will be their U.S. debut), writer Sylvain Verstricht described the show as “what Jackass would look like if it were contemporary dance instead of performance art…the kind of work that can only come from a place of deep friendship and trust. How else could a couple of straight buds hold each other’s sweaty cock?” Still Standing You is a sentimental buddy comedy taken to its furthest and most uncomfortable extreme in dance, a wild pas de dudes. But though it delights in spoofing both modern dance and the modern male, the performance is much less How High than high art, a truly intense examination of what we mean when we say, “I love you, man.” MATTHEW KORFHAGE. Portland Center for the Performing Arts, Winningstad Theatre, 1111 SW Broadway. 6:30 pm Friday-Saturday, Sept. 13-14. $20-$25. All ages.
a few musicians lock in on each other, responding to one another and the score in real time with their body language, facial gestures and careful listening. So what happens when four string players play a long and unfamiliar piece—without being able to see each other, or even the score? We’ll find out when Portland’s oldest new music ensemble, Third Angle, takes on Austrian composer Georg Friedrich Haas’ String Quartet No. 3, whose subtitle, “In the Dark,” describes the experience for audience and players alike. The four musicians will be scattered around a pitchdark planetarium. The score—more a set of instructions, really—gives the players various options that can make a performance run anywhere from 35 minutes to much longer. Each performance, as a result, is fresh and unique. It’s a rare and valuable opportunity to hear—if not see—the atmospheric microtonal music of the “spectralist” composer, who has long been preoccupied with themes of darkness and light. Says Third Angle’s Ron Blessinger: “Everyone attending the performance is going to be seeing a lot in their mind’s eye.” BRETT CAMPBELL. OMSI Planetarium, 1945 SE Water Ave. 7:30 pm Tuesday-Wednesday and 11:59 pm Thursday, Sept. 17-19. $25-$30. All ages.
The Blow, We Put It Together So We Could Take It Apart Khaela Maricich writes songs in order to explode them. Under the moniker the Blow, the ex-Portlander (now of Brooklyn, natch) has produced six albums of bang-up electro pop, accessible enough to win over Pitchfork and The New York Times. But in truth, the Blow—which started out of Olympia, Wash., in the early 2000s—is more ongoing performance-art piece than true pop group. Integrating monologues and concept-driven visuals into its performances, the band’s music is often just an excuse to put on a show, existing only to be mangled, contorted and reshaped live. Maricich and her creative partner, Melissa Dyne, just spent the last seven years crafting the self-titled follow up to 2006’s Paper Television, an “odyssey of experimentation” slated for release Oct. 1. And now, before it even comes out, they’re planning to destroy it. Little is known about what the Blow’s performance at TBA will entail exactly, but judging from the title, We Put It Together So We Can Take It Apart, there might not even be an album left to release come October. MATTHEW SINGER. Portland Center for the Performing Arts, Winningstad Theatre, 1111 SW Broadway. 8:30 pm Sunday-Monday, Sept. 15-16. $15-$20. All ages.
A.L. Steiner, Feelings and How to Destroy Them “Transgressive” is a term too often bandied about vis-à-vis contemporary artists, but with A.L. Steiner, it’s an appropriate adjective. While this self-professed “skeptical queer ecofeminist androgyne” delights in toying with conceptions about gender, sexuality and identity politics, she doesn’t proffer shock value for its own sake. Yes, her photographs, films, performances and new-media projects feature plenty of nudity, polymorphous naughtiness and most transgressively of all, pubic hair (it’s like the ’70s never left). But Steiner’s work makes a point of clinging to the larger mission of what transgressive art is supposed to aspire to: self-examination. She’s not just going for the outré to stir up a scene; she wants viewers to question uncomfortable issues. For TBA, she will exhibit five video works, photographs and photographic murals, along with her landmark 2010 collaborative film with A.K. Burns, Community Action Center. That terrifically sophisticated, brazenly erotic work (which, cheekily, runs precisely 69 minutes) blends misogynist pornographic tropes such as rape fantasy with scenes of female empowerment. It will be a highlight of this year’s TBA, and it may leave you scratching your head as well as readjusting your shorts. RICHARD SPEER. PNCA Feldman Gallery and Project Space, 1241 NW Johnson St. 10 am-7 pm daily through Oct. 26. Free. All ages.
Third Angle New Music Ensemble, In the Dark The essence of chamber music is communication: Ideally,
SEE IT: Tickets may be purchased at PICA’s box office at 415 SW 10th Ave., by phone at 224-7422 or online at pica. org. Festival passes $48-$500.
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Willamette Week SEPTEMBER 11, 2013 wweek.com
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SEPT. 11–17
= 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.
TIME-BASED ART FESTIVAL The 11-day festival, presented by the
Portland Institute for Contemporary Art, returns for its 11th year, with performances taking place across the city through Sept. 22. See full preview on page 48. TBA productions are marked . Full schedule at pica.org. with
THEATER The Big Meal
Though he made his local directorial debut last spring, Dámaso Rodriguez has now officially taken the reins as artistic director of Artists Rep, and he helms this production of Dan LeFranc’s multi-generational saga of love, partnership, child-rearing and lots and lots of family meals. Artists Repertory Theatre, 1515 SW Morrison St., 241-1278. 7:30 pm Wednesdays-Sundays, 2 pm Sundays through Oct. 6. $25-$55.
Diary of a Madman
Fresh off the Edinburgh Fringe Festival, NoPerks Theatre presents a theatrical adaptation of Nikolai Gogol’s short story about a clerk’s fall into insanity. The group, with members hailing from New York City and Switzerland, incorporates original live music to flesh out the haunting tale. Headwaters Theatre, 55 NE Farragut St., No. 9, 289-3499. 8 pm WednesdayFriday, Sept. 11-13. $15.
The Fantasticks
Hillsboro’s HART Theatre opens its season with one of Broadway’s longest-running musicals, about two fathers who pretend to feud in order to convince their kids to fall in love. HART Theatre, 185 SE Washington St., 693-7815. 7:30 pm Fridays-Saturdays, 2 pm Sundays through Sept. 22. $17.
Fiddler on the Roof
Once again, Portland Center Stage begins the season with a big musical. And this one is exceptionally big—PCS has corralled a cast of 28, including a handful of favorite locals, most notably certified star Susannah Mars. Last year’s Sweeney Todd incorporated some curious Occupy references, and the previous season’s Oklahoma! had an all black cast, which leaves us wondering: Has director Chris Coleman got some political allegory up his sleeve for this tale of a poor Jewish milkman in pre-revolutionary Russia? Gerding Theater, 128 NW 11th Ave., 445-3700. 7:30 pm Tuesdays-Sundays, 2 pm Saturdays-Sundays, noon Thursdays through Oct. 27. $38-$72.
Julius Caesar
Post Five Theatre’s production of Julius Caesar ditches the togas for hoodies and spray paint, and the heavily graffitied setting feels more like Bosnia circa 1993 than it does ancient Rome. Slimmed down to about 90 minutes, director Ty Boice has taken heavy liberties with the original material. While everyone still speaks in Elizabethan English, Portia (Veronika Nunez) spends the entirety of a scene—the only one in which she appears—yelling at Brutus (Paul Angelo) in Spanish. The military fatigues worn by the cast in later scenes make everything feel even more surreal. One notable and very welcome addition is a 15-minute precurtain lecture that explains the story’s historical context, but the play has been so truncated that many characters appear only once, meaning those unfamiliar with Shakespeare may wonder just who the hell they were and why they mattered. The actors, however, have energy and passion, and they invite the audience to crowd around Caesar’s body as they chant and demand justice. As fake blood flies, the kids in the audience seem to enjoy learning that it’s all right to
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murder politicians you don’t agree with, just as long as you say it’s for the good of the country. RICHARD GRUNERT. Milepost 5, 850 NE 81st Ave., 971-258-8584. 7:30 pm FridaysSundays through Sept. 29. “Pay what you can.”
Kiss of the Spider Woman
[NEW REVIEW] Fundamentally a meditation on how we perceive reality, Kiss of the Spider Woman is a baffling juxtaposition of humor and horror. It’s campy comedy mixed with violent drama. There are Odd Couple antics interrupted by lengthy tangents on political ideals. High-stepping musical numbers punctuate brutal prison beatings. Luis Molina (played with just enough comic effect by Bobby Ryan) is a flamboyantly gay window dresser incarcerated in a South American prison for corrupting a minor. He escapes into his mind by reliving the films of his favorite childhood actress, Aurora. His new cellmate, Valentin (Nicholas Rodriguez, the best voice in the production), is a Marxist political revolutionary being tortured for information. Molina helps Valentin survive by drawing him into his fantasies of Aurora’s dazzling musical numbers and dramatic roles. Though the eight-person Triangle Productions cast brings some impressive talent, it is limited by a show that is undeniably bizarre and unsettling—it’s surprising that it won the 1993 Tony Award for Best Musical. Is it a splashy and surreal musical comedy with something deeper to say? Or is it a heartbreaking drama that illuminates the way we mask suffering with fantasy and denial? Maybe it’s just a matter of perception. PENELOPE BASS. Sanctuary at Sandy Plaza, 1785 NE Sandy Blvd., 239-5919. 7:30 pm Thursdays-Saturdays, 2 pm Sundays through Sept. 29. $15-$35.
Nighthawks
[NEW REVIEW] Even if you’re not much of an art buff, chances are you’ve seen Edward Hopper’s Nighthawks, that snapshot-like painting of a 1940’s American diner. Push Leg theater’s latest original production loosely draws inspiration from the famous work, combining theater and dance to imagine the daily lives of the employees and customers of a small-town diner. From JoAnn (Catherine Egan), the sassy owner who dreams of expanding her pie business, to Harvey (Darren McCarthy) and Crystalene (Anne Sorce), the servers who make fun of annoying customers during the lull between lunch and dinner, to the patrons who frequent the restaurant, what we get is a series of real-life moments that highlight the humor of the workplace. Although awkward transitions and a few oddly placed dance numbers occasionally hinder the story’s flow, sometimes these offbeat elements work remarkably well, and unanswered questions become the show’s funniest parts. Why is the phone placed so high on the wall, requiring the diminutive JoAnn to jump, parkour-style, to reach it? Why does Crystalene suddenly break into a clumsy dance resembling a mix between the robot and the funky chicken? If you enter with an open mind and faith in the small but wellpracticed cast, you’ll enjoy Nighthawks for what it is—a smile-inducing look at real life. KAITIE TODD. Portland Actors Conservatory, 1436 SW Montgomery St., 274-1717. 7:30 pm ThursdaysFridays and 2 pm Sunday, Sept. 15. Through Sept. 21. $15-$18.
Ruckus in the Lobby
Traveling Lantern Theatre Company, a touring troupe that presents interactive children’s theater, brings a series of Saturday-morning performances to the Artists Rep lobby. The company will rotate three shows in the fall—The Caterpillar Hunter (a back-
Willamette Week SEPTEMBER 11, 2013 wweek.com
The popular musical comedy, which riffs on Monty Python and the Holy Grail, makes its Portland premiere at Lakewood Theatre Company. Lakewood Center for the Arts, 368 S State St., Lake Oswego, 635-3901. 7:30 pm Thursdays-Saturdays and some Sundays; 2 pm Sundays through Oct. 13. $36.
taped for TV), re-enacting previous moments, and begging the crowds to yell out types of awful roommates (the pothead, the clean freak, the compulsive masturbator). Yet, even as the troupe takes audience suggestions to flesh out a vaguely episodic structure, the production hardly feels like proper improv. Jokes crackle with brevity and precision. The staging, particularly the Real World-style “confessional” monologues, preserves a delicate illusion of scattershot editing with measured grace. The nuanced characterizations relish subtlety. Not all dramatic choices are wholly successful—interpreting Supergirl as a semi-retarded Minnesotan, say—but there is a bravura rendition of Hulk-as-Louis C.K. that recalls John Belushi’s green-skinned lout. Even if the thoughtfulness of approach and ease of execution argue against strict spontaneity, improv comedy demands the same suspension
Three Tragicomedy Playlets
REVIEW
yard “vegetable safari” led by a character based on Steve Irwin), Greek Mythology (tales of gods and mortals) and Bilbo’s Journey (which is just what it sounds like)—before a six-week run of A Christmas Carol in the winter. Performances last about 45 minutes and are recommended for kids in kindergarten through sixth grade. See travelinglantern.com for full schedule. Artists Repertory Theatre, 1515 SW Morrison St., 241-1278. 10:30 am Saturdays through Dec. 28. $5.
Spamalot
Comedian Starr Ahrens stages three one-acts exploring love, grief and letting go. In perhaps the most promising play, Jesus and Superman assist their daughter with her online dating profile. ComedySportz, 1963 NW Kearney St., 236-8888. 8 pm Thursdays through Oct. 3. $10.
of disbelief as reality programming or caped crusaders. Stop worrying about just when the jokes were first conceived, and for a blissful hour, you’ll believe that dialogue can fly. JAY HORTON. Funhouse Lounge, 24 32 SE 11th Ave., 841-6734. 7:30 pm Saturdays through Sept. 28. $10; Aug. 24 and 31 “pay what you want.”
Brody Theater Open Mic
Standup comedy open mic. Performers may sign up online. Brody Theater, 16 NW Broadway, 224-2227. 9:30 pm every Wednesday and Thursday. Free with minimum purchase of one item.
Comedy Grab Bag
The open-format comedy showcase— including sketch, standup, improv and more—probes themes of fame and greed. Action/Adventure Theatre, 1050 SE Clinton St. 8 pm Friday-Saturday, Sept. 13-14. $6-$8.
PAT R I C K W E I S H A M P E L
PERFORMANCE
Urban Tellers Invitational
Portland Story Theater gathers a halfdozen of its favorite raconteurs for an evening of short tales. Hipbone Studio, 1847 E Burnside St., 358-0898. 8 pm Saturday, Sept. 14. $15.
The Year I Was Born
As part of PICA’s Time-Based Art Festival, Argentine writer-director Lola Arias presents the U.S. premiere of her play about Pinochet’s dictatorship. In this work, 11 performers—all born in Chile while Pinochet was in power—put on their parents’ clothes and reconstruct scenes, often from a time before they can remember. In Spanish with English supertitles. Imago Theatre, 17 SE 8th Ave., 224-7422. 6:30 pm Friday and Sunday, 4:30 pm Saturday, Sept. 13-15. $20-$25.
Young Chileans and the Legacy of Pinochet
In conjunction with TBA’s The Year I Was Born, Boom Arts deepens the discussion surrounding the 1973 Chilean coup and the Pinochet regime that followed. At 3 pm there is a staged reading of Guillermo Calderón’s play Villa, which finds three young women debating the future of a site where thousands of Chileans were tortured. The reading will be followed by a panel discussion—with Calderón participating via Skype—about how today’s Chileans come to terms with their country’s history. The White Box at the UO in Portland, 24 NW 1st Ave, 412–3689. 3 pm reading and 4 pm panel, Sunday, Sept. 15. Free.
COMEDY Am I Right, Ladies? - A Totally Radical Feminist Comedy Showcase
Another week, another rape joke, another Twitter firestorm. This monthly showcase, produced by Jen Tam, positions itself as a counterbalance to the misogyny and sexism in the world of standup comedy. Merc writer Barbara Holm hosts this installment, which features a mix of men and women, and will hopefully include zero fart jokes (or at least limit itself to feminist fart jokes). Backspace, 115 NW 5th Ave., 248-2900. 8 pm Wednesday, Sept. 11. Free.
Big Brother League
Like devotees of bass fishing or stringband music, improv aficionados apply their own peculiar set of standards rather counterintuitive to traditional theatrical criticism, and the sheer professionalism of the Unscriptables’ newest pop-culture pastiche, Big Brother League, arouses more than a few murmured grumblings from the faithful. Performances begin with costumed cast members explaining the central conceit (an odd assemblage of comic-book icons picked to live in a house and have their lives faux-
MAID TO ORDER: Natalie Paul and Rodney Hicks.
THE MOUNTAINTOP (PORTLAND CENTER STAGE) There are undoubtedly new things to be said about Martin Luther King Jr. That’s not the trouble with Katori Hall’s The Mountaintop. No, the problem is that Hall condescends to her subject and audience in a manner worse than didacticism. Her play hinges on a gimmick, and one that is tired, tonally jarring and toe-curlingly cutesy. Set at Memphis’ Lorraine Motel on April 3, 1968—the night before King’s assassination—Hall’s Olivier Award-winning play introduces us to a man who’s weary, hoarse-throated and plagued by a bad case of stinky feet. King (Rodney Hicks, who strikes an impressive balance of the ordinary and the extraordinary) spitballs phrases for a new speech. “America, you are too arrogant!” he thunders, loosening his tie as he paces before the mirror. We also hear him use the toilet, as if Hall’s inclusion of King’s stinky feet hadn’t made his humanity clear enough. Into this bare-bones motel room flies Camae (Natalie Paul), an ebullient, potty-mouthed maid. She brings King coffee, which she spikes with whiskey, and cigarettes, which they smoke together. And for roughly the first half of this 90-minute play, the two banter and flirt and engage in various forms of high-flung oratory—in Camae’s case, it involves her deeming God “a funny-ass motherfucker.” The dialogue is lively if unremarkable, though certain lines are eye-rollingly blunt: “Civil rights will kill you before them Pall Malls will,” Camae says. But then Hall produces a cheap twist, which I won’t reveal here. Trust me, though: You’ve seen this one before. Let it suffice to say that Camae isn’t what she seems, and this revelation torques The Mountaintop from a moderately compelling drama to a Lifetime Christmas special. There are phone calls to God, redundant arguments about inevitable things and a boob joke that reminded me of Mean Girls. It’s a shame, really—Hicks and Paul have an engaging chemistry, one that’s alternately flirtatious and politically charged, which continues all the way to a frenzied pillow fight (it’s a lovely image, with tiny white feathers flying about the stage like snow). And director Rose Riordan keeps things tight and energetic, even as the proceedings spiral into patronizing looniness. Sometimes, a surrealistic flight of fancy allows a play to spread its wings. Other times, we just get flimsy clichés and a mess of feathers on the floor. REBECCA JACOBSON. A hokey affront to history.
SEE IT: The Mountaintop is at Gerding Theater, 128 NW 11th Ave., 445-3700. 7:30 pm Tuesdays-Sundays, 2 pm alternating Saturdays and Sundays, and noon Thursdays through Oct. 27. $40-$55.
SEPT. 11–17
PERFORMANCE
JW ZIRSCHKY
of sculptures made by David Eckard. The sculptures are somewhat hard to describe, and Austin would rather they remain a secret anyway. But let’s just say they involve a giant wire turkey leg and sliced-up pool noodles. Austin is trying to show the similarities between her body, a living thing, and the sculptures, inanimate objects. Sure, the differences are obvious, but the way she and the pieces interact with each other can be intriguing. Con-Way, 2170 NW Raleigh St., 224-7422. 4:30 pm Sunday, Sept. 15; 6:30 pm Monday, Sept. 16 and Wednesday, Sept. 18. $15-$20.
Luciana Proano
NIGHTHAWKS
Curious Comedy Cover Show
Curious Comedy sets out to challenge Christopher Hitchens’ claim that women aren’t funny with this revue of sketches paying tribute to great female comics of the past and present. Curious Comedy, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 8 pm Fridays-Saturdays through Oct. 12. $12-$15.
David Huntsberger
Standup from the likably dweeby comedian, who impressed Bridgetown audiences back in April with an act that incorporates science and math. Local comic Sean Jordan opens the show. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 7:30 pm Saturday, Sept. 14. $8.
Diabolical Experiments
Improv jam show featuring Brody performers and other local improvisers. Brody Theater, 16 NW Broadway, 224-2227. 7 pm every Sunday. $5.
Dom-Prov
If your idea of fun is playing improv games with a leather-clad dominatrix as an audience hurls marshmallows at you, this Unscriptables show is for you. Funhouse Lounge, 2432 SE 11th Ave., 309-3723. 10 pm every Saturday. $10.
Friday Night Fights
Mixology
Late-night comedy show with improv, sketch and stand-up. Curious Comedy, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 10 pm every second and fourth Saturday. $5.
Potty Talk
The comedy Web series, which proves that men aren’t the only ones who make jokes about poop, celebrates its second season with a double bill of parties: a screening on Friday at Ford Food and Drink (2505 SE 11th Ave.), which will also featured standup by several local female comics, and a swankier bigscreen event on Saturday at the Hollywood Theatre (4122 NE Sandy Blvd.). Multiple venues. 7 pm FridaySaturday, Sept. 14. $10.
Weekly Recurring Humor Night
Whitney Streed hosts a weekly comedy showcase, featuring local comics and out-of-towners. Tonic Lounge, 3100 NE Sandy Blvd., 2380543. 9:30 pm every Wednesday. “Pay what you want,” $3-$5 suggested.
You Are Here
The Brody folks present a new weekly improv showcase. Brody Theater, 16 NW Broadway, 224-2227. 7:30 pm every Friday. $12.
Competitive improv, with two teams battling for stage time. Curious Comedy, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 10 pm every first and third Friday. $5.
DANCE
The Invite: A Labor Day of Love
This is, hopefully, a successful attempt to create a drag ball in Portland. Led by genderfuck drag performer Kaj-Anne Pepper and Magic Mouth frontman Chanticleer Tru, artists will be invited to compete against each other in the creation of looks, walk, dance and other challenges. The event will also feature performances, audience challenges and queer history lessons. Con-Way, 2170 NW Raleigh St., 224-7422. 10:30 pm Saturday, Sept. 14. $8-$10. 21+.
A smorgasbord of sketch comedy and long-form improv, with one act set to music and performed without words. ComedySportz, 1963 NW Kearney St., 236-8888. 8 pm Thursday, Sept. 12. $5.
Lez Standup
Kirsten Kuppenbender hosts a lineup of feminist lesbian comedians, including Jes Rega, Diane Gasperin and others. Curious Comedy, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 8 pm Thursday, Sept. 12. $7-$10.
The Liberators
Long-form improv from one of Portland’s funniest troupes. Brody Theater, 16 NW Broadway, 224-2227. 7:30 pm Saturday, Sept. 14. $12-$15.
Maria Bamford
Sure, the super-smart Bamford returns to Helium every year. But that doesn’t make her emotionally revealing act any less wrenching or hilarious—and it shouldn’t give you an excuse to skip out if you’ve never seen her live. Helium Comedy Club, 1510 SE 9th Ave., 888-643-8669. 7:15 and 9:45 pm Wednesday, Sept. 11. $25-$30.
Micetro
Brody Theater’s popular eliminationstyle improv competition. Brody Theater, 16 NW Broadway, 224-2227. 8 pm every Friday. $9-$12.
Kaj-Anne Pepper and Chanticleer Tru
Laura Arrington and Jesse Hewit
Who knows what this is about, but it involves a lot of humping. Laura Arrington and Jesse Hewit stage this performance art duet, Adult, amid flickering lights, a jockstrap and sounds of drums and chirping birds. The piece is separated into two parts, one in the light and one nearly in pitch black. The dichotomy is supposed to represent “the living act of dying,” as opposed to “the dying act of living,” though that idea could probably be better expressed in a Huffington Post lifestyle article than in this piece. Redeeming quality: They tell stupid jokes. Con-Way, 2170 NW Raleigh St., 224-7422. 8:30 pm MondayWednesday, Sept. 16-18. $10-$15. 18+.
Peruvian dancer Luciana Proaño’s Jazz Path series features guitarist John “JB” Butler and rotating bassists. Studio 14, 333 NE Hancock St. 8 pm Fridays, Sept. 13, 20, 27. $10-$15.
Miguel Gutierrez and the Powerful People
This piece And Lose the Name of Action was inspired by Gutierrez’s father’s bouts with neurological problems. The piece investigates things that are not known or understood—neuroscience, ghosts and perhaps for many, the piece itself.Gutierrez calls it a “séance for the 21st century.” Somewhere in there the piece is meant to be a laboratory for life’s big philosophical questions, but it’s a laboratory more likely to produce madness than answers. Hampton Opera Center, 211 SE Caruthers St., 2247422 6:30 pm Tuesday-Wednesday, Sept. 17-18 and Friday-Saturday, Sept. 20-21. $20-$25.
Northwest Dance Project
A site-specifi c dance concert in Hotel Modera’s courtyard will kick off Northwest Dance Project’s 10th season. Complimentary cocktails will be served, with music by DJ Anjali. Hotel Modera, 515 SW Clay St., 484-1099. 5:30 pm Saturday, Sept. 14. $75.
Reading Is Sexy
Burlesque and vaudeville performers interpret your favorite books. Performers include contortionist Blaze; vaudeville performer Tommy Twimble; drag queen Zora Phoenix; and burlesque performers Zora Von Pavonine, Sofi a Flash, Angelique DeVil and Miss Kennedy. Dante’s, 350 W Burnside St., 2266630. 8 pm Sunday, Sept. 15. $12$15. 21+.
Suniti Dernovsek and David Stein/Bobbevy
This collaborative multimedia performance mixes sound, movement and video to create a stylized landscape: projections of trees and leaves on a screen that blow around in a semi-synchronized manner with the dancers. Titled This Is How We Disappear, the piece is a study on human relationships—not an unusual theme for a dance piece, but slightly more interesting is how it contrasts the tumult of relationships with the simple passage of time. BodyVox Dance Center, 1201 NW 17th Ave., 224-7422. 8:30 pm Friday-Sunday, Sept. 13-15; 6:30 pm Monday, Sept. 16. $15-$20.
Travesuras Flamenco
Part of Milagro’s La Luna Nueva heritage festival, guitarist Ricardo Diaz plays with a troupe of male fl amenco dancers. Miracle Theatre, 525 SE Stark St., 236-7253. 8 pm Saturday, Sept. 14. $25-$28.
UPCOMING IN-STORES & PERFORMANCES AMANDA SHIRES WEDNESDAY, 9/11 @ 6 PM
Just in case the title alone wasn’t a dead give away, Amanda Shires’ Down Fell the Doves is not a record for the faint of heart, faith or spirit. “I always hate giving things away, because I like it when people can hear a song and make their own stories,” says Shires about her latest album.
THE GRAHAMS
THURSDAY, 9/12 @ 6 PM The Grahams, the creative union of lifelong romantic partners Alyssa and Doug Graham, combine soulful bluegrass with hints of earthy Americana, adding colors from traditional folk and country blues, into an infectious blend of storytelling that results in songs of love, loss, yearning, and the view from rural American roads less traveled.
Linda Austin and David Eckard
In Three Trick Pony, Portland performance art doyenne Linda Austin does a sort of duet with a handful
For more Performance listings, visit Willamette Week SEPTEMBER 11, 2013 wweek.com
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VISUAL ARTS
SEPT. 11–17
= 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.
“A cabaret diva of the highest order.”
photo credit: Harmony Nicholas
THE NEW YORK POST
MEOW MEOW
8 pm
& T H O M A S LA U D E R D A LE
Sept 14
Gregg Segal: None of the Above
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Isaac Layman: Funeral
PORTL AND
BAROQUE ORCHESTRA
Bach Concertos: Violin and Oboe A Complete Cycle in Two Weekends
Ten concertos over two weekends by J.S. Bach open Portland Baroque Orchestra’s 30th Anniversary Season, performed by rockstar soloists Monica Huggett and Gonzalo X. Ruiz (pictured), and PBO’s stellar violinists. Full concert repertoire and information at pbo.org. Save 15% on October concerts Sections A or B with the code “WW” Program II Two concerts (no Friday performance) Sat Oct 12 7:30pm First Baptist Church
Sun Oct 6 3:00pm Sun Oct 13 3:00pm Kaul Auditorium, Reed College Kaul Auditorium, Reed College
GREAT MUSIC. PERIOD. 52
Based on how someone looks, can you guess whether they’re Democrat, Republican, independent or none of the above? Artist Gregg Segal asks us to do exactly that in his photographic series None of the Above. He’s taken dozens of cheesy, Olan Mills-style portraits, each with a neutral beige background. A plethora of “types” populates the imagery: young, middle-aged, shaved-headed, turtleneck-wearing, sunglasses-guarded, goateesporting, hoodie-clad avatars, each presumably telegraphing his or her sociopolitical persuasions. A fill-inthe-blank questionnaire beneath each portrait asks the viewer to surmise the subject’s station along the continuum from liberal to conservative. Like last month’s show at Blue Sky, which questioned viewers’ prejudices based on facial symmetry, the current show demands we second-guess our preconceptions based on physiognomy and attire. It’s a tricky, delicious mindfuck of a show. Through Sept. 29. Blue Sky Gallery, 122 NW 8th Ave., 225-0210.
Call: 503-228-1353 Click: OrSymphony.org
Program I Three concerts Fri Oct 4 7:30pm Sat Oct 5 7:30pm First Baptist Church
Roy Lichtenstein. While the current body of work lacks the human warmth of Speer’s previous series, it shows her actively engaging with a new vocabulary of materials in an ever-broadening aesthetic exploration. Through Sept. 28. Charles A. Hartman Fine Art, 134 NW 8th Ave., 287-3886.
PBO.ORG
503.222.6000
Willamette Week SEPTEMBER 11, 2013 wweek.com
EARPLUGS, BUG JUICE BY ALFRED HARRIS
Alfred Harris: Hope and Glory
Hope and Glory is a melodramatic title for a show that’s essentially about stasis. Based in Seattle, Alfred Harris follows in the historical lineage (and contemporary glut) of abstract painters who feel compelled to counterpose order against chaos. This is one of the trustiest of aesthetic tropes: to create compositions in which an underlying structure is superimposed with snaking organic gestures. In works such as Earplugs, Bug Juice, Harris contrasts the regularity of squares, rectangles, and lines with the seemingly arbitrary perambulations of thick gestures, which amble across wood panels like the half-dazed characters in a Kerouac novel. Like Portlandbased painter G. Lewis Clevenger, Harris is dedicated to the modernist proposition that by integrating the fundamental polarity of rectilinearity versus curvilinearity, artists can reconcile opposition, liberate the viewer from conflict, and effect a kind of emotional/spiritual equipoise. That’s a tall order. Happily, Harris’ technique comes as close to achieving these lofty aims as do most of his contemporaries in the Northwest art scene. Through Sept. 28. Froelick Gallery, 714 NW Davis St., 222-1142.
Clifford Rainey: In the Beginning Was Black
After a year of personal losses, Clifford Rainey transmuted grief into a suite of mournful but gorgeous glass and mixed-media sculptures. The show’s iconic work, Mourner, is a 2-foot-high stylization of the Grim Reaper. The sculpture depicts only the figure’s black robe; there is nothing inside except empty space and shadow. It’s a powerful piece, impeccably executed, deeply unsettling. Through Nov. 2. Bullseye Gallery, 300 NW 13th Ave., 227-0222.
Large in scale, fastidious in execution, Isaac Layman’s photographic prints glorify the banal. In the past, his images of ice trays, clothes dryers, ovens and hot-dog wrappers have made mountains out of molehills, elevating quotidian objects to objects of veneration. Although a cool minimalism suffuses his work, it is more Pop Art than minimalist. Like Warhol with his soup cans, Layman believes that anything, no matter how humble its station, can become the stuff of glamor and import, if only it is presented as such. Through Sept. 21. Elizabeth Leach Gallery, 417 NW 9th Ave., 224-0521.
Matt Cosby: Emily Ginsburg: Mixed Feelings Immaculate Confection
Artists, writers and composers have long pondered the relationship between the heart and the mind. Artist Emily Ginsburg is particularly interested in what happens when all three of those disciplines come together in search of elusive answers to the eternal conundrum: Where do emotions and thoughts intersect? She has taken song titles from pop music and turned them into graphic elements in mirror image. Half the songs are about feelings, the other half about thoughts. She then turns the song titles 90 degrees and lines them up at varying lengths, like lines on an EKG readout. It’s an ingenious visual-conceptual conceit, which turns the dialectic between heart and head into a diagram of our very life pulse. These are the critical elements of our psyches, so often at cross purposes, the maddeningly irregular heartbeats of our days and restless nights. Through Sept. 29. Nine Gallery, 122 NW 8th Ave., 227-7114.
Eva Speer: Alone Together
In past shows, Eva Speer (no relation to Richard Speer) painted seascapes interrupted by flashes of pure abstraction. In the current exhibition, Alone Together, she tries her hand at minimalism, playing swirly passages of house paint against industrial materials such as cast resin and Plexiglas. The tactic sometimes seems mannered, as in the red-andwhite Game #4, but can also shine with winning elan, as in More or Less (Proof). The latter work is a rectangular plastic box shot through with a matrix of holes; the interior of the wall sculpture is filled with the round plastic tags left over from the holes being drilled in the first place. In its Op-inspired eye-bogglery, it recalls screen-covered paintings by the late
You look at Matt Cosby’s artworks and wonder: Are they photorealistic paintings or painterly photographs? His technique is so formidable, it’s hard to tell. As it turns out, the works in his current exhibition, Immaculate Confection, are paintings after all. They’re alternately oil-oncanvas and acrylic-on-aluminum, an intriguing combination of media. He has themed his imagery on the motif of candy, depicting looping ribbons of bubblegum and circus peanuts arranged in chintzy tableaux, which recall the sparkling jewels in the opening credits of the classic TV show Family Affair (youtube.com/ watch?v=Uc6lSUuZEOM). In works such as Ribbon Confection Grande, Cosby deploys subtle shading to keep his composition painterly, just missing the solipsistic virtuosity of photorealism. In a smaller variation on the same imagery, Ribbon Confection, and in the piece Snakes in the Ivy, he allows metal backgrounds to add a shiny “ping” to the imagery, contributing to an overall mood of defiant superficiality. Through Sept. 28. Augen DeSoto, 716 NW Davis St., 224-8182.
Sherrie Levine
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. Through Oct. 13. Portland Art Museum, 1219 SW Park Ave., 226-0973.
For more Visual Arts listings, visit
BOOKS
SEPT. 11–17
= 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.
228-4651. 7:30 pm. Free.
TUESDAY, SEPT. 17 Street Books Reception
THURSDAY, SEPT. 12 Stevan Allred
In his debut collection of short stories, local writer and zine editor Stevan Allred draws on his encounters as he weaves together 15 tales from the lives of former classmates, loggers, farmers and strippers. A Simplified Map of the Real World uses humor, heartache and illustrations by Laurie Paus to navigate the history that binds us. Powell’s City of Books, 1005 W Burnside St., 228-4651. 7:30 pm. Free.
Sheri Speede
Sure, they may look adorable wearing a three-piece suit and pretending to operate a telephone, but chimpanzees are capable of a wider range of emotions than we give them credit for (not the least of which must surely be indignation). Sheri Speede, who spent 13 years living in Cameroon and founded In Defense of Animals-Africa, will share insights from her experiences and her new book, Kindred Beings: What 73 Chimpanzees Taught Me about Life, Love and Connection. Powell’s on Hawthorne, 3723 SE Hawthorne Blvd., 228-4651. 7:30 pm. Free.
The People’s Apocalypse
Whether you prescribe to the theory of a zombie plague or King Kong Jesus, most of us have fantasized about the end of civilization as we know it and how we would fare in the aftermath. To celebrate its seasonal release of titles, Portlandbased Microcosm Publishing will host authors Ariel Gore, Jenny Forrester and other contributors to The People’s Apocalypse to read their doomsday selections. Several authors will be on hand to sign books for sale. Slabtown, 1033 NW 16th Ave., 223-0099. 7 pm. Free.
FRIDAY, SEPT. 13 Jasper Fforde
With an affinity for literary allusion and a plucky female protagonist, British novelist Jasper Fforde rose to fame with his 2001 debut novel, The Eyre Affair, which starred his recurring literary detective, Thursday Next. He has since released six more books in the series, as well as a new series from the “Nursery Crimes Division,” and his perhaps unfortunately titled Shades of Grey series. He is releasing the newest book from his collection for young readers, The Dragonslayer Trilogy. Powell’s Books at Cedar Hills Crossing, 3415 SW Cedar Hills Blvd., Beaverton, 228-4651. 7 pm. Free.
Mitchell Jackson
Growing up as a black adolescent in a neglected neighborhood in overwhelmingly white Portland, Mitchell Jackson came of age in the ’90s in a community struggling with crack cocaine. His new autobiographical novel, The Residue Years, is told from the alternating perspectives of a mother trying to get clean and a son who has no other way to support his family than to sell the drugs plaguing them. Powell’s City of Books, 1005 W Burnside St., 228-4651. 7:30 pm. Free.
SUNDAY, SEPT. 15 Reel Bad Arabs
Reinforced by decades of racism in Hollywood, where every super-villain and incompetent terrorist has a varying shade of ethnic brown skin and a scary foreign accent, it’s no wonder people of Middle Eastern descent can feel maligned. As part of the lecture series “A Day in the Life: Memoirs From the Middle East,” PSU professor Leerom Medovoi
reveals a pattern of Arab stereotyping in the movies with “Reel Bad Arabs: How Hollywood Vilifies a People.” Central Library, 801 SW 10th Ave., 988-5123. 2 pm. Free.
Mark Russell and Shannon Wheeler
The Bible tells us a lot of things about life, mostly in lengthy, hardto-interpret allegory. So writer Mark Russell and New Yorker cartoonist Shannon Wheeler have assembled a stripped-down retelling of the book in a manner equally shocking and hilarious with the release of God Is Disappointed in You. Powell’s City of Books, 1005 W Burnside St.,
Because everyone can find comfort and enlightenment in a good read, the bicycle-powered mobile library Street Books has been operating for more than two years, checking out books to Portland’s addressless population. The Street Books reception will celebrate another successful summer, with street librarians and patrons speaking about the volunteer-run project. Skidmore Fountain, Southwest Ankeny Street and Second Avenue. 6 pm. Free.
For more Books listings, visit
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REVIEW
ROBERT BOSWELL, TUMBLEDOWN Tumbledown (Graywolf, 429 pages, $26) is a book about shallow love, lust and sex in a mental institution. The plot is a complicated web of love triangles, and by the end you’ll know exactly—relevant to the overall plot or not—how each character is in bed, what they smell like, what their favorite movies are, how many times Robert Boswell: 103. they have tried to kill themselves and their exact IQs. The story is told in a number of ways, some effective, some not. Robert Boswell will sometimes break into a numbered list in the middle of a chapter to provide additional information of varying relevance. At one point—just before Boswell finishes the chapter in the form of a psychological examination—we’re given a 20-item list of thoughts the protagonist had about his damaged older brother as a child. Later, a character has a question-and-answer session with his own psyche as he contemplates his medication. During one long sequence, the tense of the prose switches from past to present, with every other paragraph jumping between two possible alternate realities. Though the experiments are admirable, the constant shifts in style grow tiring. Primarily, we follow James Candler, a counselor at a mental hospital in Southern California. As he faces a promotion and impending marriage to a woman he doesn’t love, he embarks on a clandestine two-week relationship with a former patient who’s been stalking him for years. Meanwhile, a group of Candler’s “clients” (he’s not allowed to call them patients) get involved in a number of tangled love triangles, which Candler has to juggle in order to avoid jeopardizing his looming promotion while dealing with his own repressed mental and sexual issues. Candler’s patients—including a technical genius with anger issues, a gorgeous girl with the intellect of a brick, and a chronic public masturbator—occupy a subplot that deals with suicide and love between damaged people. Boswell explores each one’s mental and sexual hang-ups so thoroughly you’ll quickly find yourself suffering from too much information. At times, we’re introduced to characters who have minimal significance to the plot, but Boswell insists on spending multiple pages detailing each one’s life story. While Tumbledown is an interesting study of how lust can tear apart a person’s psyche, it tries to do far too much with far too many characters. To enjoy this book, you need to be willing to let Boswell digress from his plot for lengthy passages as he details every character’s history and mocks politicians with made-up IQ ratings. He thinks Vladimir Putin sits at 77, by the way. RICHARD GRUNERT. GO: Robert Boswell reads at Powell’s Books on Hawthorne, 3723 SE Hawthorne Blvd., on Monday, Sept. 16. 7:30 pm. Free. Willamette Week SEPTEMBER 11, 2013 wweek.com
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buy.sell.trade Downtown: 1036 W. Burnside St. Hawthorne District: 1420 SE 37th Ave. BuffaloExchange.com #iFoundThisAtBX
presents
December 5, 2013, 7:30 PM Arlene Schnitzer Concert Hall Tickets start at $15, available at PCPA.com
Experience true stories told live!
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Willamette Week SEPTEMBER 11, 2013 wweek.com
sePt. 11-17 REVIEW
= WW Pick. Highly recommended.
COURTESY OF DRAFTHOUSE FILMS
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. Neville never judges. He just lets them sing. And, in a more perfect universe, that would be enough. MATTHEW SINGER. Living Room Theaters.
25 New Faces of Independent Film
[ONE NIGHT ONLY] Each year, Filmmaker magazine publishes a list of 25 promising young filmmakers, and this time around the Pacific Northwest got three nods. Tonight’s program will show work by all of them: a six-minute short called The Roper by Seattle filmmakers Ewan McNicol and Anna Sandiland, about an aspiring Louisianan calf roper; fellow Seattleite Scott Blake’s Survivor, a 25-minute film about a government agent surveyor trying to return home at the end of the Mexican-American War; and Corvallis director Nandan Rao’s hourlong Hawaiian Punch, a buddy film about two Mormons on a mission in Hawaii. NW Film Center’s Whitsell Auditorium. 7 pm Thursday, Sept. 12.
Adore
C As far as cougars go, Naomi Watts and Robin Wright are pretty choice. Radiant blondes, they’re as tanned and toned as West Hills moms who spend their days taking spin classes at the Multnomah Athletic Club and shopping for organic grapefruit at Strohecker’s. Their characters in Adore, a willfully ludicrous yet ultimately unsatisfying film, live in palatial seafront properties on an Edenic stretch of Australia’s east coast. Their much younger lovers aren’t bad either. Watts’ and Wright’s characters are lifelong best friends, as are their Adonis-like lovers. There’s just one hitch: This ménage à quatre is made up of two sets of mothers and sons in pseudo-incestuous pairs. The arrangement is both deeply icky and thoroughly implausible, and Anne Fontaine’s Adore (based on a short story by Doris Lessing) unfolds in an eerily detached, foreordained manner. When some more age-appropriate lasses get tossed into the mix, Adore sloughs off the opportunity to say anything about intergenerational relationships. It also doesn’t bother to examine the psychological impact of each relationship’s end. It can’t, in fact, because it never considered what each woman got out of the romance in the first place (regular orgasms and male attention aside). Watts’ and Wright’s skillfully nuanced performances prevent the whole affair from plunging into absurdist farce, but their characters are too narcissistic and detached to actually be interesting. There are times when behaving badly is the right thing to do. Adore is not one of those times. R. REBECCA JACOBSON. Living Room Theaters.
And While We Were Here
D Though the phrase “everything is
nothing” could easily have been a dark realization you carved into your journal at the erudite age of 15, it is also the first pearl of wisdom that hunky d-bag Caleb (Jaime Blackley) drops on Jane (Kate Bosworth), an older married woman, in order to seduce her. Nineteen-year-old Caleb chases Jane all over the Italian island of Ischia while she wages a dramatic, pouty-lipped war against self-doubt—she’s married to a boring classical musician—and pursues a shaky quest to write a book about her grandma’s experiences during the two world wars. Jane is utterly unlikable and thus tough to root for as she searches for her true desires at the bottom of cappuccino cups and inside Caleb’s pants. It’s not
that she doesn’t have her problems— the coldness of a stiflingly vanilla sex life with her husband compounded by a devastating miscarriage is definitely reason for distress. But as Jane glides through picturesque European streets with gauzy, expensive-looking blouses billowing about her thinspirational frame, awash in Instagram-filter cinematography as a sexy bro worships the ground she walks on, it’s hard not to imagine a permanent subtitle reading “#whitegirlproblems.” R. EMILY JENSEN. Hollywood. 5 pm SaturdaySunday, Sept. 14-15.
Austenland
D For the briefest of moments near the end of Austenland, it seems the rom-com might buck the trappings of its genre. But don’t hold your breath—the film, directed by Napoleon Dynamite screenwriter Jerusha Hess and produced by Twilight author Stephenie Meyer, has no interest in resisting convention. Unfunny and unimaginative, it centers on a plain Jane named Jane who’s obsessed with Jane Austen. Perpetually unlucky in love, this Anglophile (played by an eager but ineffective Keri Russell) decides to blow her savings on a trip to an Austen-inspired paradise, where the female guests cram themselves into corsets and the male staff are paid to woo them (but no touching allowed). It’s a predictably garish place, the snooty proprietor married to a lecherous, burping old man who has inexplicably evaded charges of sexual harassment. The other guests are reduced to irritating stereotypes: There’s a lusty piece of trailer trash (Jennifer Coolidge) and a lusty British rose (Georgia King), but neither character amuses. Austen’s material has inspired heaps of adaptation—like, hello, Clueless?—but this one deserves to go straight into the rubbish bin. PG13. REBECCA JACOBSON. Cedar Hills, Fox Tower.
Blackfish
A Blackfish tells the story of Tilikum,
the 6-ton bull orca that killed veteran SeaWorld trainer Dawn Brancheau in 2010. Director Gabriela Cowperthwaite paints a story of a whale torn from its family as a 3-year-old, but she also tells the story of a traumatized whale that killed two other people before Brancheau, and the story of a billiondollar corporation that systematically sought to keep its staff and customers ignorant of the evidence that these highly intelligent, emotionally sensitive mammals don’t so much like living in swimming pools, being taken from their families or having people surf on their backs—and sometimes they express that violently. It’s a brilliant advocacy film—nail-biting, upsetting, maddening and at times even uplifting. PG-13. RUTH BROWN. Living Room Theaters.
Blue Jasmine
B Woody Allen’s Blue Jasmine isn’t
so much a fish-out-of-water movie; it’s a horse-with-a-broken-leg-in-water movie. You know how this thing’s going to end. Cate Blanchett’s Jasmine is a rarefied, half-delusional socialite tossed roughly down the slopes of her husband’s financial pyramid scheme after he is arrested. She lands in a strangely Bronx Guido version of San Francisco inhabited by her low-rent sister Ginger (played with wonderful sympathy by Sally Hawkins). Blue Jasmine cannot reconcile its broad comedy and pathos into coherence, but all the more impressive, then, that Hawkins’ and Blanchett’s twinned performances still manage to pick up most of the pieces. PG-13. MATTHEW KORFHAGE. Cedar Hills, Eastport, Clackamas, Moreland, Fox Tower, St. Johns Twin.
Bollywood at the Hollywood: Jaani Dushman
[ONE NIGHT ONLY, REVIVAL] DJ
CONT. on page 56
BaCk IN CONTROL: anwar Congo, former gangster and ruthless killer, plays director.
THE VICTORS’ HISTORY THE ACT OF KILLING IS A VITALLY IMPORTANT FILM. IT MAY ALSO MAKE YOU HURL. BY Ru th B R own
243-2122
The most horrifying movie scene you will watch this year begins with a giant waterfall cascading into a lush green gorge. A Muzak cover of “Born Free” plays as smiling young women in matching satin gowns sway in the fall’s mist. At the center of it all, two old Indonesian men—one squeezed into a ruffled, sequined turquoise evening gown like an overstuffed toy mermaid—raise their hands to the sky. In another context, it might be a cultural curiosity, or even make for a good laugh. In The Act of Killing, it’s truly stomach churning. Some backstory: In 1965, a violent military coup in Indonesia overthrew the 22-year presidency of Sukarno ( just Sukarno; like Cher), and ultimately led to the rise of Suharto (also like Cher; this trend was broken by his successor, Bacharuddin Jusuf Habibie), who would go on to lead the country in a repressive dictatorship for the next 31 years. His reign kicked off with a five-month anti-communist purge, which saw some 500,000 people killed. In the North Sumatra capital of Merdan, the job of slaughtering accused communists (and a good number of local ethnic Chinese) was given to a man named Anwar Congo and his pals—local thugs who previously spent their time hanging out in movie theaters and selling tickets on the black market. The Act of Killing picks up almost 50 years later. Today, Congo is a local hero, still living large on his reputation as a ruthless killer. Though Suharto eventually resigned in the late ’90s, his crimes went unchallenged and unpunished. Congo—an otherwise amiable old man who enjoys singing, dancing and playing with his grandsons—speaks openly, proudly and in sickening detail about the hundreds of lives he took, strangling men with nothing but a piece of wire. He hobnobs with senior politicians and is a guest on a state-run television talk show, on which the young anchor gushes over Congo’s movie-inspired killing methods and applauds him for his part in “exterminating communists.” History, as the saying goes, is written by the vic-
tors, and American director Joshua Oppenheimer’s masterstroke is in allowing Congo and his cronies to go one step further. He asks them to make a film of their own, re-enacting their glory days from the death squad. They’re only too happy to oblige. This is how we end up panning across a scenic waterfall, with Congo and his right-hand-man—a pudgy dolt who inexplicably spends half of their film in garish drag—swaying serenely in the breeze. Two disheveled “communists” appear, remove their wire nooses, put a gold medal around Congo’s neck, and thank him for executing them. Elsewhere, the gangsters re-create their old interrogation and execution techniques in noirish homage to their beloved gangster movies, with Congo playing the part of communist captive. It is here that he finally starts to confront and question the atrocities he committed five decades ago. This should provide some small comfort to the audience, but it really doesn’t. As Oppenheimer gently points out from behind the camera: “You know it’s only a film. They knew they were being killed.” Like visiting Auschwitz or the Killing Fields, sitting through The Act of Killing is one of those wholly distressing experiences to which we submit ourselves in an effort to comprehend the great atrocities of humanity, and memorialize the lives left in their wake. It is also a spectacular, completely gripping piece of documentary filmmaking—but it’s hard to appreciate the mise-en-scène when you’re watching an old man boast openly on film about the 14-year-old girls he raped while burning down their village. It will cost you two very difficult hours, and in return you’ll probably cry and maybe hurl. But of all the uncomfortable experiences you might endure in the name of understanding the evils of history, this film is arguably the kind that is most necessary. There was no justice served here, no war crimes tribunal, no great memorials. The bad guys won. Congo will live out his days perhaps a little more tortured by his actions, but ultimately a wealthy, revered and free man. If you don’t already know this awful chapter in history, a few hours and your appetite are probably not a lot to sacrifice in exchange for keeping the story alive. It’s the least—and, sadly, the most—you can do. A+
The Act of Killing opens Friday at Cinema 21. Willamette Week SEPTEMBER 11, 2013 wweek.com
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SEPT. 11-17
FEATURED LISTING
Getaway
A TROUBLE SHARED: “De-escalate my asshole, you dumb fuckers!” yells the writhing boy as his youthful captors wrap him in their arms, attempting to console him. It’s a moment that’s brutal, strangely beautiful and indelible—this wiry redhead has attempted to escape from the foster-care facility where he lives, and in his piercing defiance of the staff, he’s also appropriated and twisted their language. In its own way, Short Term 12 likewise twists the language and expectations of its genre. Centering on a young woman named Grace (played with remarkable sympathy by Brie Larson) who works with troubled teens, Destin Daniel Cretton’s film could easily become an issue drama about the myriad injustices wrought upon children. And while it does hit some of the expected beats in its gradual reveal of Grace’s backstory, Short Term 12 is more of a mood piece—and an exquisitely, tenderly crafted one at that—than a Lifetime drama. Cretton, who worked in a similar facility after college, is less interested in drawing broad thematic strokes than he is in capturing the quiet interactions and the unexpected explosions, the menial drone of this sort of work and its often invasive nature. Grace’s boyfriend describes her mind as both peculiar and gorgeous. The same could be said of Short Term 12. REBECCA JACOBSON. A-
SEE IT: Short Term 12 is rated R. It plays at Fox Tower.
Anjali spins vinyl alongside a 1979 Bollywood flick about a wedding that turns into a murderous monster fest. Hollywood. 7 pm Friday, Sept. 13.
The Conjuring
WIN TICKETS TO SEE
MEOW MEOW & THOMAS LAUDERDALE
SEPT. 14 TH @ THE ARLENE SCHNITZER CONCERT HALL! GO TO WWEEK.COM/PROMOTIONS
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but look for a review in next week’s paper. R. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Oak Grove, Cinema 99, Bridgeport, City Center, Division, Hilltop, Lloyd Center, Movies on TV, Pioneer Place, Sherwood, Tigard, Wilsonville, Sandy, St. Johns Twin.
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MOVIES
B- 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. At points, Wan goes into straight homage, and by the climax, The Conjuring has evolved into a full-tilt tribute to The Exorcist. 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. R. MATTHEW SINGER. 99 West Drive-In, Academy, Eastport, Laurelhurst, Valley.
Despicable Me 2
C 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. PG. JAY HORTON. Cedar Hills, Eastport, Clackamas, Indoor Twin, Lloyd Mall.
Elysium
B+ In the year 2154, we’re told,
the rich don’t care about the poor. Neill Blomkamp, whose debut film was the alien-apartheid fantasy District 9, pretty much takes this for granted. His sophomore film, Elysium, is essentially a political metaphor gone fiercely rogue in the physical world. Not only do the rich not give two flying figs about the poor, but they live in a utopian space station in the sky, constantly bathed in heavenly light. Below, on Earth, the abandoned residents of Los Angeles languish in a dreamily intricate slum that has fallen into apocalyptic steampunk, a world of shit and piss and dirt. Somewhere in the middle of this dung heap is Matt Damon as a blond-haired, blue-eyed chulo. The film is what a sci-fi epic should be: a fantastical machine fueled by our own dreams and fears, made believable by its absolute devotion to these dreams. R. MATTHEW KORFHAGE. Cedar Hills, Eastport, Clackamas, Mill Plain, Oak Grove, Fox Tower, Sandy.
Escape From New York
[REVIVAL, ONE WEEK ONLY] In 1981, John Carpenter made a movie about a dystopian future, predicting that Manhattan in 1997 would be a maximum-security prison. It’s dated, to be sure, but at least we’ve got Kurt Russell, as an antihero named Snake tasked with rescuing the president. R. Hollywood.
The Family
As the patriarch and matriarch of a mafia family relocated to France under the witness protection program, Robert De Niro and Michelle Pfeiffer revert to old ways. Screened after WW press deadlines,
D Welcome to Bulgaria, where NASCAR drivers gone bad hire out their services to criminals, anonymous super-criminals rob investment banks, Justin Bieber’s ex-girlfriend carjacks Mustangs and a police car flips over dramatically every three minutes. When former racecar driver Brent Magna’s (Ethan Hawke) wife is kidnapped (on Christmas!), Magna has to drive a nameless villain’s car on a rampage through the Bulgarian capital, following orders if he ever wants to see his wife again. Along the way, Magna is joined by a teenage girl known only as “The Kid” (Selena Gomez), a tech genius who waves guns around and routinely hacks into government computer networks from her iPad. As the villain, Jon Voight spends the majority of the film as a mysterious voice, and fittingly we see nothing but an extreme close-up of his lips as he eats olives and sips vodka. For the undiscriminating car buff, this film could be a dripping, sugary fix. For everyone else, it’s a long and vapid advertisement for iPads and expensive cars. PG-13. RICHARD GRUNERT. Eastport, Clackamas.
Getting to Know You(Tube)
[ONE NIGHT ONLY] As part of PICA’s Time-Based Art festival, a special installment of the monthly tour through YouTube’s darkest and weirdest depths. The Works at ConWay, 2170 NW Raleigh St. 10:30 pm Monday, Sept. 16.
The Grandmaster
B- “Time seems to pass,” writes Don DeLillo in The Body Artist. Wong Kar-wai’s The Grandmaster would heartily concur, with the Hong Kong auteur reminding us at several points that kung fu and the passage of time are inextricably linked. Few working filmmakers can imbue mundane events with as much majesty and grace as Wong, so when news broke about his long-awaited story of Ip Man—still best remembered as the martial-arts expert who trained Bruce Lee—it appeared as though we were in for a rare treat. But The Grandmaster takes too little time to cover too many events, not giving them enough weight or space. Wong is a master of small, melancholy moments that appear to contain all the beauty and sadness of the world, a strength The Grandmaster plays to only rarely. MICHAEL NORDINE. Cedar Hills, Eastport, Clackamas, Cornelius, Fox Tower, Lloyd Mall.
In a World...
B+ Lake Bell is on a crusade against
“sexy baby voice.” For those unfamiliar with this obnoxious tic, imagine if Betty Boop incorporated some of Ke$ha’s vocal fry—that low, guttural vibration—and ended every sentence as if it were a question. That’s Bell’s pet peeve, and she lampoons it to pitch-perfect effect in In a World…, which she wrote, directed, produced and stars in. But as funny as that sendup is, it’s still far from the best thing in the film, which takes us into the idiosyncratic and competitive realm of voice-over artists. Bell plays Carol, an aspiring voice-over artist with a bear of a father (Frank Melamed) who’s big in the biz. But rather than help Carol get her foot in the door, he’s as vain and sexist as the rest of his industry. But Carol, a graceless but tenacious 30-year-old who favors overalls and babydoll dresses, ends up vying for voice-over work on the trailers for an action “quadrilogy,” a hilarious Hunger Games-style spoof starring Cameron Diaz. The movie is overstuffed, but its unassuming tone, its generosity of spirit, and Bell’s skillful performance redeem the uneven pacing and bumpy storytelling. But most of all, In a World… suc-
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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. pG-13. AP KRYZA. 99 West Drive-In, Academy, Avalon, Laurelhurst, Milwaukie, Lloyd Mall, Valley.
Paris Is Burning
ceeds for the way it calls bullshit on Hollywood’s gender dynamics and the dreck that passes for feminist cinema. R. REBECCA JACOBSON. Cornelius, Living Room Theaters.
Insidious: Chapter 2
C- The scariest thing about Insidious: Chapter 2 is that there will probably be a Chapter 3. Full of cheap scares, loud noises that are more obnoxious than jarring, and obvious visual cues (red = evil!), it’s an expected downgrade from the lo-fi charms of the surprisingly decent original. James Wan (who’s also responsible for spawning the Saw series and this summer’s The Conjuring) applies the same formula here as he did the first time around: It’s not the house that’s haunted, but the person. The one meaningful difference is that now it’s Josh (Patrick Wilson) rather than his son Dalton (Ty Simpkins) who’s being followed from house to house and world to world. As in the original, Chapter 2’s sequences involving the Further— its vision of the netherworld—are far and away the most engaging; there’s something charming about the austerity of the place, which consists of little more than LED lamps and smoke machines. But for every good scene, there are two or three bad ones, with ludicrous plot developments hampering what little momentum Wan has established. If you want to see Barbara Hershey (who reprises her role as Josh’s mother) in something really unsettling, you’re better off seeking out Peter Tscherkassky’s Outer Space. pG-13. MICHAEL NORDINE. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Oak Grove, Cinema 99, Bridgeport, City Center, Division, Hilltop, Lloyd Center, Movies on TV, Pioneer Place, Sherwood, Tigard, Wilsonville, Sandy.
Kick-Ass 2
C- Despite all the limbs snapped in
Kick-Ass 2, it’s ultimately the shoddy filmmaking that leaves you wincing. R. CURTIS WOLOSCHUK. Lloyd Mall.
L’Avventura
[THREE NIGHTS ONLY, REVIVAL] A new 35 mm print of Michelangelo Antonioni’s groundbreaking 1960 film, an evocative but elusive mystery. NW Film Center’s Whitsell Auditorium. 7 pm Friday-Sunday, Sept. 13-15.
Lee Daniels’ The Butler
D Every time a character in The Butler goes on a trip, somebody offers him a ham sandwich. Director Lee Daniels does much the same for the viewer—in every single scene. It isn’t hard to see why Daniels wanted to tell this story, which is based (very) loosely on truth. It’s kind of irresistible: A black White House butler, Cecil Gaines (Forest Whitaker), serves closely with every U.S. president during the civil rights era and lives to be invited back to the White House by Barack Obama. But the writer of The Paperboy isn’t known for subtlety, and he treats 50 years of U.S. history with as much depth as a Forrest Gump montage, although the politics here are triumphally progressive. The film’s full title is Lee Daniels’ The Butler, and the subject of the movie doesn’t matter, because Lee Daniels has decided that Lee Daniels is going to make you cry, and he’s going
to hit you over the head until you do. pG-13. MATTHEW KORFHAGE. Cedar Hills, Eastport, Clackamas, Cornelius, Mill Plain, Oak Grove, Fox Tower, Sandy.
Monsters University
B Mike and Sulley may have been
inseparable pals in 2001’s Monsters, Inc., but that’s not how it started for these BFFs, and Monsters University takes us back to their college years. 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. Avalon, Kennedy Schol, Milwaukie, Sandy, Valley.
The Mortal Instruments: City of Bones
D+ Cassandra Clare’s bestselling series of young-adult novels, The Mortal Instruments, cribs liberally from Harry Potter in telling the story of a nonmagical girl who discovers she really is magical when forced into a world of demon-slayers, vampires, werewolves, curses and parental-abandonment issues. But the books are decidedly original compared to Harald Zwart’s adaptation of the first novel, City of Bones, which steals elements of Potter and throws in some Buffy, Blade II and Twilight for the hell of it. But fun is one thing Zwart forgot to steal from all of those superior works. Say what you will about 50 Shades of Grey, perhaps the most famous fan-fic of all. At least it knew how to titillate, and its whips weren’t even electric. pG-13. AP KRYZA. Cedar Hills, Eastport, Clackamas, Oak Grove, Lloyd Mall, Sandy.
Museum Hours
A- Museum Hours might be Jem
Cohen’s first narrative feature, but it nonetheless carries shades of his career as documentarian: Cohen set up his cameras unobtrusively in an art museum in Vienna, so his fictional characters must interact with a living world. Indeed, even his characters seem less like performers than like lonely people caught at moments of extreme vulnerability. Non-actor Bobby Sommer plays a museum security guard who befriends a Canadian woman (musician Mary Margaret O’Hara) stranded in Vienna by a friend’s illness; Cohen uses the protagonists’ unusual bond to explore our intense relationship with art and its role as balm, company and incitement. Cohen’s patience and diffuse narration lead to what is perhaps a false sense of calm: This film is an intense experience, a meditation on consuming loneliness and the solace of history. MATTHEW KORFHAGE. Living Room Theaters.
worldwide ubiquity as any right-thinking person would. And as with any documentary like this, it’s the human moments that keep things truly interesting: the five boys catching what sleep they can muster in an airport lounge, the brooding Zayn Malik looking close to tears as he talks to his mother on the phone. pG. ROBERT HAM. Cornelius, Cedar Hills, Clackamas, Lloyd Mall.
Our Nixon
B+ Before the rise of 24-hour news
channels and political blogs, the presidency of Richard Nixon was one of the most heavily documented of the modern era. And not in the manner you might suspect. During the five years he was in office, Nixon’s advisers H.R. Haldeman, John Ehrlichman and Dwight Chapin captured 500 reels of self-shot Super 8 footage, all in addition to the former president’s secret taping system that recorded hours of phone and in-person conversations. These audio and film clips form the heart of Penny Lane’s documentary, a fascinating record of the soaring heights and ignominious collapse of Nixon’s administration. This isn’t some attempt to frame Nixon’s time in office in a new light, however. Lane instead provides an alternative angle on key moments, from the moon landing and the momentous visit to China to the end of the war in Vietnam and the forced resignations of Haldeman, Ehrlichman and Chapin in the wake of Watergate. The finest moments are courtesy of the frank and unguarded dialogue between Nixon and others. Hearing Nixon’s befuddlement over the themes of All in the Family and his ever-growing paranoia allows for a pointed, and necessary, view into his tortured psyche. ROBERT HAM. Hollywood. 7 pm Monday, Sept. 16.
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. Del Toro’s worlds exist on their own phantasmagorical plane, one where the physics
Percy Jackson: Sea of Monsters
C- Percy Jackson’s opening install-
ment strolled onscreen in 2010, presuming itself the rightful heir to Harry Potter’s throne. Instead, it learned that it takes more than a serviceable premise to capture the public’s imagination. Returning considerably scaleddown and blandly directed by Hotel for Dogs’ Thor Freudenthal, this second chapter has a mechanical bull seemingly ripped from Guillermo del Toro’s sketchbook and a cheeky Nathan Fillion cameo are highlights. But such glimmers of life are snuffed out by leaden storytelling and insipid humor. pG. CURTIS WOLOSCHUK. Eastport, Clackamas, Lloyd Mall.
Planes
B+ Planes is a straightforward lark
about a plucky crop-duster afraid of heights who manages to qualify for a round-the-world race. The global stereotypes lend themselves to humor at turns racist (the Mexican plane wears a wrestling mask), anti-racist (the gleaming, unaccented Mexican air force saves the American champ), and meta-racist (the Mexican plane harbors romantic stirrings for a sleek FrenchCanadian craft) while also enabling the studio’s trademark nuggets of scattershot whimsy. Buckle up, it’s gonna be a smooth ride. pG. JAY HORTON. Cedar Hills, Eastport, Clackamas, Cornelius, Indoor Twin, Oak Grove, Lloyd Mall, Sandy.
Portland EcoFilm Festival: Cafeteria Man
B- Hold the mystery meat and keep that gruel away from my tray, please; I’ll have what the Cafeteria Man is serving. It’s nice to watch a film about something good happening for a change, and this documentary leaves you feeling that something beneficial can actually be done in our world of bureaucracies and short budgets. Richard Chisolm’s hourlong film follows Tony Geraci through two years as the Baltimore School District’s health-food czar. When kids came complaining
that their cafeteria’s awful pre-packaged food was sapping their minds, the district hired Geraci to find ways to change it. Geraci manages the seemingly impossible: He convinces the school district and Baltimore politicians that local, sustainable food is good for both the kids’ health and the city’s budget. But while his work is commendable, the film itself feels more like a victory lap than a probing documentary—could Geraci’s plan be tailored to other school districts? Would it work in areas with less access to organic farmland? Most scenes take place at conferences and in boardrooms, and we’re shown many, many politicians shaking hands with Geraci at photo-ops. At one point, frustrated, Geraci drafts a resignation letter, but Chisholm quickly drops this and never mentions it again; later, his work done, Geraci literally sails off into the sunset. We’re left admiring Geraci’s work, but feeling ultimately unsatiated. RICHARD GRUNERT. Hollywood. 7 pm Thursday, Sept. 12.
Riddick
B+ “Maybe I went and did the worst
thing of all: I got civilized.” So muses Richard B. Riddick early in the new film bearing his name. He’s ostensibly explaining how he’s come to find himself stranded on a desolate planet with a figurative knife in his back. Really, though, his words read as a self-aware statement on the downward trajectory of the first two entries in writer-director David Twohy and star Vin Diesel’s sci-fi franchise. Where Pitch Black was a simple story told well, The Chronicles of Riddick made a sincere but uneven attempt to expand said tale into a fully realized universe of warring planets and nuanced mythos. Riddick’s first 20 minutes or so immediately signal that this a welcome return to bare-bones form. Our nocturnal antihero re-establishes himself as a primitive survivalist via a series of revitalizing acts: braving the elements, evading (and even taming) the wildlife, living off the land. Once a group of bounty hunters touch down on the planet in hopes of claiming him as their prize, he slinks off into his original comfort zone—the shadows—and Riddick begins to feel like a Nightmare on Elm Street movie in which we’re meant to root for Freddy Krueger. Storm clouds loom, venomous creatures spawn, and Riddick’s dog lures the would-be hunters into the open. This is all as awesome as it sounds, if not more so. Riddick is the best of the series thus far—not to mention the best action film of the year. R. MICHAEL NORDINE. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Oak Grove, Sandy.
The Spectacular Now
B The Spectacular Now opens with
a male voice-over lamenting a recent breakup. That’s the same way (500) Days of Summer—the previous film from screenwriters Scott Neustadter and Michael H. Weber—began, but here the narration comes courtesy of high-school senior Sutter (Miles Teller).
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our nixon
[ONE NIGHT ONLY, REVIVAL] Jennie Livingston’s lively, revealing 1990 documentary goes to the ballrooms of Harlem to explore the gay and transgendered communities that drove New York City’s voguing scene. Showing as part of PICA’s Time-Based Art festival (see preview of Trajal Harrell, page 48). NW Film Center’s Whitsell Auditorium. 5 pm Saturday, Sept. 14.
MOVIES
One Direction: This Is Us
B+ Victory laps in big-screen form are
becoming the norm for the pop-music world, with superstars like Katy Perry and Justin Bieber blazing multimillion-dollar trails. So, it should come as little surprise that U.K. sensation One Direction was next in line for a glitzy combination of concert film and tour documentary. Instead, the surprise is how ridiculously enjoyable this whole publicity stunt manages to be. It helps that the boy band’s five members are as charming as can be, and quite often seem as awed by their meteoric rise to
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explain, the source of this communal woe. There’s a lot to admire on the surface of Touchy Feely—the performances are exceptional all around, and Shelton’s direction and aesthetic are both pleasantly free-wheeling—but its minimal resolution feels rushed and unearned. R. MICHAEL NORDINE. Hollywood.
Twilight Zone
[ONE NIGHT ONLY, REVIVAL] Three classic episodes on 16 mm. 7:30 pm Monday, Sept. 16.
Walking the Camino: Six Ways to Santiago
C+ Watching Walking the Camino, I was reminded of George Carlin expressing his frustration about the existence of a magazine called Walking: “What are the articles about? Putting one foot in front of the other?” Now we get a documentary about walking, covering the journeys of six strangers from around the world embarking on a 500-mile pilgrimage across northern Spain. Local director Lydia Smith objectively examines their treks with a tone that’s intensely spiritual but not preachy, and the countryside backdrop is gorgeous. There are some surprises along the way, like a Danish woman who starts the journey strictly to be alone, but ends up in a romantic relationship with a Canadian man 10 years her junior. But Smith has selected subjects whose motivations are mostly mystical, and their New Age lingo— “finding oneself” and “bringing God along for the ride”—becomes wearisome. Some viewers might find that appealing. Others, meanwhile, will be counting down how many kilometers are left to Santiago whenever the Indiana Jones-style maps show up. OKTAY EGE KOZAK. Hollywood.
We’re the Millers
RIDDICK It’s accompanied by a montage of Sutter pounding shots among packs of friends: This hard-drinking bro just wants to have fun, and he’s down about losing his ex, because, he plaintively says, “We were the life of the party.” Given the film’s pedigree and setup, you half expect a manic pixie dream girl to come along and school Sutter on being real. So that Sutter befriends and then falls for off-the-radar Aimee (Shailene Woodley) feels all the more refreshing. If the film’s lesson—that Sutter must make peace with his past in order to confront his future—seems a bit pat, well, arriving at a personal understanding of such clichés is part of coming of age. R. KRISTI MITSUDA. Living Room Theaters, Lloyd Mall.
A Teacher
C Hannah Fidell shows signs of one
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day becoming an exceptional filmmaker, but A Teacher is not a good movie. The title character, a youngish high-school teacher named Diane (Lindsay Burdge), is in the midst of a massively ill-advised affair with one of her 17-year-old students, and she behaves as rationally as the first victim in a Friday the 13th movie. The script, which expects us to take at face value her increasingly erratic behavior, falls short of that aim. It’s implied that Diane may be using their relationship as a distraction from the harsher realities in her life—namely, an ailing mother whom she does her best to avoid thinking about—but the available evidence doesn’t come close to evening the scales. A film needn’t be conventionally plausible if it’s consistent with its own logic, but A Teacher doesn’t have any: Its convincing presentation (evocative visuals and unsettling score) is constantly at battle with its protagonist’s dumb-headed actions, and the latter are winning out. Burdge’s performance is practically heroic given the material, but not enough to transcend the limitations of an underwritten screenplay that reduces her character to a distant cipher. It’s a fine line between understated and
oblique, and A Teacher can’t walk it—it’s mood divorced from meaning. MICHAEL NORDINE. Living Room Theaters.
This Is the End
B With the underrated 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 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. 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. R. AP KRYZA. Cedar Hills, Eastport, Clackamas, Lloyd Mall.
Touchy Feely
C Touchy Feely is more serious than the rom-com vibe of its title lets on. Rosemarie DeWitt plays Abby, a masseuse who becomes inexplicably averse to physical contact of any kind, throwing her personal and professional endeavors into upheaval. Lynn Shelton’s film is fascinated by the healing power of touch, showing itself in extreme close-ups on Abby’s hands, which apparently are the crux of her deep-seated ennui, and a subplot in which her uptight brother (Josh Pais) gets into reiki. There’s never any doubt that Abby and those closest to her are having a rough go of things, but neither does Shelton ever investigate, much less
B- Up until now, I only tolerated Jennifer Aniston. She’s the vanilla ice cream of the cinematic world. But her performance as a caustic stripper in We’re the Millers is a sort of remedy for all those years of good-girl typecasting (save her role as a rapey dentist in Horrible Bosses). Is the novelty of a squeakyclean Aniston working the pole yet another cheap Hollywood ploy to sell movie tickets? Absolutely. But it turns out she has the range to pull it off with surprising depth and feeling. R. EMILY JENSEN. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Oak Grove, Sandy.
The World’s End
B+ Hyperkinetic director Edgar
Wright’s previous collaborations with Simon Pegg and Nick Frost— Shaun of the Dead and Hot Fuzz— share the same DNA, and not just in the surface-value genre-mashing that makes the films both disarmingly hysterical and unexpectedly touching. The team explores the fears of men who were once the boys weaned on these very genres: abandonment, uncertainty of the future, the inability to grow up, and, chiefly, the increasing inability to deal with hangovers. It’s no surprise, then, that Wright, Pegg and Frost have rounded out what is unofficially named the Three Flavours Cornetto trilogy with The World’s End, a film that dives deep into the fractured friendship of a group of small-town pals drawn back home to re-attempt the Golden Mile, a 12-stop pub crawl that bested them two decades before. It’s kind of like The Big Chill, but without the heavy-handedness. And with a legion of murderous, body-snatching robots disguised as the townfolk and bent on taking over the universe. Yet The World’s End remains the weakest film of the trilogy, the most straightforward and accessible but also the most morose. It’s a strange approach for a movie about a robot invasion, but a perfect way to cap such a wonderful series: As soon as the credits roll, fans have to face the fact that this tremendous series is over. R. AP KRYZA. Cedar Hills, Eastport, Clackamas, CineMagic, Mill Plain, Forest, Hollywood, Fox Tower.
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BREWVIEWS
GET ’EM HIGH: Cameron Crowe was 22 years old when he persuaded the principal at San Diego’s Clairemont High School to let him pose as a student for a year. Crowe had felt caged in by the moral rigidity of his own Catholic high school, and when his New York publisher summoned him to discover what “the kids” were up to these days, he jumped at the chance to plunge into the storied sea of sex, drugs and shitty academia of the public school system. Once there, Crowe found inspiration for the character of surfer-stoner messiah Jeff Spicoli and the general filthy, beach-bum, partying lifestyle that he immortalized in his book Fast Times at Ridgemont High in 1981. Just a year later, Crowe made his screenwriting debut with the film version of that book—and Catholic high schoolers across America rejoiced by watching the Phoebe Cates pool scene over and over and over again. EMILY JENSEN. Showing at: Academy. Best paired with: Firestone Pale 31. Also showing: Escape From New York (Hollywood). Fri-Sat-Sun 08:00 FRUItVALe StAtION SatSun-Mon 09:00 Tue A pLACe At tHe tABLe Wed 07:00
Regal Lloyd Mall 8
2320 Lloyd Center Mall, 800-326-3264 ONe DIReCtION: tHIS IS US Fri-Sat-Sun-Mon 03:05 ONe DIReCtION: tHIS IS US 3D Fri-SatSun-Mon 12:20, 06:05, 08:45 tHe GRANDMASteR Fri-Sat-Sun-Mon 12:30, 03:20, 05:55, 08:25 tHe MORtAL INStRUMeNtS: CItY OF BONeS Fri-SatSun-Mon 05:45, 08:35 KICK-ASS 2 Fri-Sat-SunMon 08:55 pLANeS Fri-Sat-Sun-Mon 12:05, 02:55 peRCY JACKSON: SeA OF MONSteRS FriSat-Sun-Mon 12:10, 03:10 tHe SpeCtACULAR NOW Fri-Sat-Sun-Mon 12:00, 03:00, 06:00, 08:30 tHe WOLVeRINe Fri-Sat-SunMon 12:15, 03:15, 06:15, 09:05 pACIFIC RIM Fri-Sat-Sun-Mon 05:50, 08:50 DeSpICABLe Me 2 Fri-Sat-Sun-Mon 12:25, 03:25, 06:25 tHIS IS tHe eND Fri-Sat-Sun-Mon 12:35, 03:30, 06:10, 08:40
Avalon Theatre & Wunderland
3451 SE Belmont St., 503-238-1617 ReD 2 Fri-Sat-Sun-MonTue-Wed 09:15 tURBO Fri-Sat-Sun-Mon-Tue-Wed 03:10 pACIFIC RIM FriSat-Sun-Mon-Tue-Wed 12:50, 07:00 tHe HeAt Fri-Sat-Sun-Mon-Tue-Wed 04:55, 09:20 MONSteRS UNIVeRSItY Fri-Sat-SunMon-Tue-Wed 01:00, 05:05 WORLD WAR Z Fri-SatSun-Mon-Tue-Wed 03:00, 07:10
Bagdad Theater and Pub
3702 SE Hawthorne Blvd., 503-249-7474 RADICAL ReeLS FILM FeStIVAL Fri 07:00 tURBO Sat-Sun 02:00 DOpAMINe Sat 08:00 tHe HeAt Sun-Mon-Wed 08:45 WORLD WAR Z
Sun-Mon-Wed 06:00 KNOCK, KNOCK! It’S YOUR NeIGHBOR Tue 07:00
Cinema 21
616 NW 21st Ave., 503-223-4515 tHe ACt OF KILLING FriSat-Sun-Mon-Tue-Wed 04:15, 07:00, 09:15
Clinton Street Theater
2522 SE Clinton St., 503-238-8899 RUBIN AND eD Fri 07:00 SAMpLe tHIS Fri 09:00, 11:00 tHe BeAVeR tRILOGY Sat 07:00 LUNA MeSA Sat 09:00 tHe ROCKY HORROR pICtURe SHOW Sat 12:00 pLAN 10 FROM OUteR SpACe Sun 07:00 ReeL eAtS Mon 07:00 GAtHR pReVIeW SeRIeS Tue 07:00 pORtLAND SteW Wed 06:00 pORtLAND pReMIeRe: tHe SeCOND COMING Wed 07:00
Laurelhurst Theatre & Pub
2735 E Burnside St., 503-232-5511 tHe KINGS OF SUMMeR Fri-Sat-Sun-Mon-Tue-Wed 07:30 tHe CONJURING Fri-Sat-Sun-Mon-Tue-Wed 09:40 MUCH ADO ABOUt NOtHING Fri-Sat-Sun-MonTue-Wed 06:40 WORLD WAR Z Fri-Sat-Sun-MonTue-Wed 09:00 pACIFIC RIM Fri-Sat-Sun-Mon-TueWed 09:30 tHe HeAt FriSat-Sun-Mon-Wed 07:00 FRUItVALe StAtION Fri-Sat-Sun-Mon-Tue-Wed 07:15 Get SHORtY FriSat-Sun-Mon-Tue-Wed 09:15 tURBO Sat-Sun 01:45 ALIeN BOY: tHe LIFe AND DeAtH OF JAMeS CHASSe Tue 07:00
Mission Theater and Pub
1624 NW Glisan St., 503-249-7474-5 tHe MAGNIFICeNt SeVeN Fri-Sat 08:00 SAMSARA
Moreland Theatre
6712 SE Milwaukie Ave., 503236-5257 BLUe JASMINe Fri-SatSun-Mon-Tue-Wed 05:30, 07:40
tHe ARtISt AND tHe MODeL Fri-Sat-Sun-MonTue-Wed 11:55, 02:20, 04:45, 07:10, 09:50 SHORt teRM 12 Fri-SatSun-Mon-Tue-Wed 11:50, 02:10, 04:30, 07:15, 09:45 AFteRNOON DeLIGHt Fri-Sat-Sun-Mon-Tue-Wed 01:50, 07:45 CLOSeD CIRCUIt Fri-Sat-Sun-MonTue-Wed 11:35, 04:10, 09:55 tHe GRANDMASteR Fri-Sat-Sun-Mon-Tue-Wed 12:15, 02:45, 05:15, 07:20, 10:00 AUSteNLAND FriSat-Sun-Mon-Tue-Wed 11:45, 02:00, 04:20, 07:00, 09:30 tHe WORLD’S eND Fri-Sat-Sun-Mon-Tue-Wed 12:10, 02:40, 05:10, 07:40, 10:10 Lee DANIeLS’ tHe BUtLeR Fri-Sat-Sun-MonTue-Wed 12:20, 03:30, 06:40, 09:40 eLYSIUM Fri-Sat-Sun-Mon-Tue-Wed 12:00, 02:30, 05:00, 07:30, 10:00 BLUe JASMINe Fri-Sat-Sun-Mon-TueWed 11:30, 01:45, 04:00, 06:50, 09:20 tHe WAY WAY BACK Fri-Sat-SunMon-Tue-Wed 11:40, 02:15, 04:40, 06:45, 09:15
NW Film Center’s Whitsell Auditorium 1219 SW Park Ave., 503-221-1156 L’AVVeNtURA Fri-Sat-Sun 07:00 pARIS IS BURNING Sat 05:00
Regal Pioneer Place Stadium 6
340 SW Morrison St., 800-326-3264 INSIDIOUS: CHApteR 2 Fri-Sat-Sun-Mon-Tue-Wed 01:30, 04:15, 07:00, 10:00 tHe FAMILY Fri-Sat-SunMon-Tue-Wed 01:40, 04:30, 07:20, 10:10
St. Johns Theatre
8203 N Ivanhoe St., 503-249-7474-6 tURBO Fri-Sun-Tue-Wed 01:00, 06:30 WORLD WAR Z Fri-Tue-Wed 09:00
Academy Theater
2021 SE Hawthorne Blvd., 503-231-7919 tHe WORLD’S eND Fri-SatSun-Mon-Tue-Wed 05:30, 08:00
7818 SE Stark St., 503-252-0500 tHe CONJURING FriSat-Sun-Mon-Tue-Wed 09:20 tURBO Fri-SatSun-Mon-Tue-Wed 02:30, 04:40 pACIFIC RIM FriSat-Sun-Mon-Tue-Wed 04:20, 09:35 tHe HeAt Fri-Sat-Sun-Mon-Tue-Wed 06:50 MUCH ADO ABOUt NOtHING Fri-Sat-SunMon-Tue-Wed 02:10, 06:30 WORLD WAR Z Fri-SatSun-Mon-Tue-Wed 01:55, 07:10 FASt tIMeS At RIDGeMONt HIGH Fri-SatSun-Mon-Tue-Wed 04:30, 09:00
Kennedy School Theater
Living Room Theaters
St. Johns Twin Cinemas and Pub
8704 N Lombard St., 503-286-1768 BLUe JASMINe Fri-SatSun-Mon-Tue-Wed 05:00, 07:20, 09:40 tHe FAMILY Fri-Sat-Sun-Mon-Tue-Wed 05:20, 07:45, 10:00
CineMagic Theatre
5736 NE 33rd Ave., 503-249-7474-4 tHe HeAt Fri-Sat-SunMon-Wed 07:35 tURBO Fri-Sat-Sun-Mon-Wed 05:30 WORLD WAR Z Fri-Sat 10:05 MONSteRS UNIVeRSItY Tue-Wed 02:30
Hollywood Theatre
4122 NE Sandy Blvd., 503-281-4215 tHe WORLD’S eND FriSat-Sun-Mon-Tue-Wed 07:10, 09:15 WALKING tHe CAMINO: SIX WAYS tO SANtIAGO Fri-Sat-SunTue-Wed 07:20 eSCApe FROM NeW YORK Fri-SatSun-Mon-Tue-Wed 09:30 JAANI DUSHMAN Fri 07:00 tOUCHY FeeLY Sat-Sun 03:00, 09:00 AND WHILe We WeRe HeRe Sat-Sun 05:00 pOttY tALK Sat 07:00 tHe ReSIDUe YeARS Sun 07:00 tHe tWILIGHt ZONe Mon 07:30 OUR NIXON Mon 07:00 LOCAL ANIMAtION Tue 07:30
Regal Fox Tower Stadium 10 846 SW Park Ave., 800-326-3264
THANK YOU YOU THANK THANK YOU PORTLAND PORTLAND PORTLAND
341 SW 10th Ave., 971-222-2010 20 Feet FROM StARDOM Fri-Sat-Sun-Mon-TueWed 12:00, 01:50, 05:40, 07:45 A teACHeR Fri-SatSun-Mon-Tue-Wed 11:55, 02:30, 03:50, 06:50, 09:30 ADORe Fri-Sat-Sun-MonWed 07:15 BLACKFISH Fri-Sat-Sun-Mon-Tue-Wed 12:15, 09:40 IN A WORLD... Fri-Sat-Sun-Mon-Tue-Wed 12:20, 02:40, 04:20, 05:00, 07:30, 09:10 MUSeUM HOURS Fri-Sat-Sun-MonTue-Wed 02:10, 04:40, 09:35 ReD OBSeSSION Fri-Sat-Sun-Mon-Tue-Wed 12:10, 02:20, 04:30, 06:40, 08:50 tHe SpeCtACULAR NOW Fri-Sat-Sun-Mon-TueWed 12:30, 02:50, 05:10, 07:00, 09:00
SEE YOU YOU IN IN 2014 2014 SEE SEE YOU IN 2014
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FOR FREE ADS in 'Musicians Wanted,' 'Musicians Available' & 'Instruments for Sale' go to portland.backpage.com and submit ads online. Ads taken over the phone in these categories cost $5.
FURNITURE
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INSTRUMENTS FOR SALE
MUSIC LESSONS
TREE SERVICE NE Steve Greenberg Tree Service 1925 NE 61st Ave. Portland, Oregon 97213 503-774-4103
Massage openings in the Mt. Tabor area. Call Jerry for info. 503-757-7295. LMT6111.
Weight Mastery Stress Relief Spiritual Insight Smoking Cessation Procrastination Self Esteem Past Life
CELL PHONE REPAIR N Revived Cellular & Technology 7816 N. Interstate Ave. Portland, Oregon 97217 503-286-1527 www.revivedcellular.com
AUTO COLLISION REPAIR NE Atomic Auto 2510 NE Sandy Blvd Portland, Or 97232 503-969-3134 www.atomicauto.biz
LAWN SERVICES Residential, Commercial and Rentals. Complete yard care, 20 years. 503-515-9803. Licensed and Insured.
Learn Piano All styles, levels
Stephen Shostek, CET Relationships, Life Transitions, Personal Growth
Affordable Rates • No-cost Initial Consult www.stephenshostek.com
503-963-8600
Dating Savvy: emotional skills building group dating the second time around. Starts Sept 23, 5:30 – 7pm 15171 SW Bangy Road, Lake Oswego 97035 (503) 690-0790 Call to reserve limited space Mary E Joyce, LPC, CADC I
Totally Relaxing Massage
Featuring Swedish, deep tissue and sports techniques by a male therapist. Conveniently located, affordable, and preferring male clientele at this time. #5968 By appointment Tim 503.575.0356
Pruning and removals, stump grinding. 24-hour emergency service. Licensed/ Insured. CCB#67024. Free estimates. 503-284-2077
RENTALS
MEN’S HEALTH MANSCAPING
Bodyhair grooming M4M. Discrete quality service. 503-841-0385 by appointment.
ALTERNATIVE MEDICINE
ROOMMATE SERVICES ALL AREAS - ROOMMATES.COM. Browse hundreds of online listings with photos and maps. Find your roommate with a click of the mouse! Visit: www.Roommates.com. (AAN CAN)
OMMP Resource Center Providing Safe Access to Medicine
ON T WIT TER Week Classifieds SEPTEMBER 11, 2013 wweek.com
Valid MMJ Card Holders Only No Membership Dues or Door Fees
“Simply the Best Meds” www.rosecitywellnesscenter.com
“Atomic Auto New School Technology, Old School Service” www.atomicauto.biz mention you saw this ad in WW and receive 10% off for your 1st visit!
With 2 time Grammy winner Peter Boe. 503-274-8727.
AUTOS WANTED CASH FOR CARS: Any Car/Truck. Running or Not! Top Dollar Paid. We Come To You! Call For Instant Offer: 1-888-4203808 www.cash4car.com (AAN CAN)
Steve Greenberg Tree Service
Counseling Individuals, Couples and Groups
GENERAL
Specializing in sitar, but serving all instruments and levels! 917-776-2801 www.joshfeinbergmusic.com
TREE SERVICES
FOLLOW @WWE E K
60
Indian Music Classes with Josh Feinberg
Inner Sound
1416 SE Morrison Street Portland, Oregon 97214 503-238-1955 www.inner-sound.com
760-1598
MOTOR
Bernhard’s
AUDIO SE
CLEANING
Charles
503-740-5120
(503)
109
$
Cut your STUDENT LOAN payments in HALF or more Even if Late or in Default. Get Relief FAST Much LOWER payments. Call Student Hotline 1-888-251-5664 (AAN CAN)
REL A X!
lmt#6250
QUEEN
MISCELLANEOUS
INDULGE YOURSELF in an - AWESOME FULL BODY MASSAGE
call
FULL $ 89
Custom Sizes » Made To Order Financing Available
Enjoy the Benefits of Massage
HOME IMPROVEMENT SW Jill Of All Trades
79
7353 SE 92nd Ave Mon-Fri 9-5, Sat 10-2
GUITAR LESSONS Personalized instruction for over 15yrs. Adults & children. Beginner through advanced. www.danielnoland.com 503-546-3137
MASSAGE (LICENSED)
HOME
$
COMPANY
Buying, selling, instruments of every shape and size. Open 11am-7pm every day. 4701 SE Division & 1834 NE Alberta.
SERVICE DIRECTORY
TWINS
MATTRESS
TRADEUPMUSIC.COM
6905 SW 35th Ave. Portland, Oregon 97219 503-244-0753
STUFF
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GIVE! GUIDE 2013
Kick-Off Party Nov. 5, 6–10pm
Left Bank Annex 101 NE Weidler
Free | Open to the Public Cocktails & Light Hors d’Oeuvres
This is your chance to meet 130 fabulous local nonprofits—and to learn about great incentives for giving.
TO PLACE AN AD CONTACT:
ASHLEE HORTON
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LEGAL NOTICES
WILLAMETTE WEEK’S GATHERING PLACE NON-PROFIT DISCOUNTS AVAILABLE.
ADOPTION *ADOPTION:*
Affectionate Adventurous Artistic Financially Secure Family awaits 1st baby. Expenses paid. Beth *1-800-990-7667* PREGNANT? THINKING OF ADOPTION? Talk with caring agency specializing in matching Birthmothers with Families Nationwide. LIVING EXPENSES PAID. Call 24/7 Abby’s One True Gift Adoptions. 866-413-6293. (AAN CAN)
LESSONS CLASSICAL PIANO/ KEYBOARD Theory Performance. All ages. Tutoring. Portland
503-227-6557 MISCELLANEOUS
503-445-3647 • ahorton@wweek.com
SUPERIOR COURT OF WASHINGTON FOR CLARK COUNTY HONORABLE RICH MELNICK TRIAL SETTING NOTICE DEPT. 5, 360-397-2017 CAUSE NO. 11-3-00025-4 IN RE: MARRIAGE OF: KELLY HAIFLEY and ROBERT HAIFLEY THIS CASE HAS BEEN SET FOR: TRIAL READINESS HEARING: OCTOBER 1, 2013, at 9:00 a.m. and TRIAL DATE: OCTOBER 9, 2013 TIME: 3:00 p.m. ESTIMATED LENGTH OF TRIAL: 2 HOURS **FAILURE TO APPEAR AT READINESS HEARING WILL STRIKE TRIAL DATE** **CONTINUANCE MOTIONS MUST BE HEARD BY TRIAL JUDGE** THE TRIAL JUDGE SHALL BE NOTIFIED AT ONCE IF THIS MATTER IS DISPOSED OF PRIOR TO TRIAL
EVENTS
PORTLAND IS WEIRD!
Cynthia Whitcomb
So, do we need a Weird Jesus? Write: Weird Jesus, 4230 SE King Road #291, Milwaukie, OR 97222 - chapel@gorge.net
Speaks about Willamette Writers, Eric Witchey on writing fiction, Jennifer Lauck on writing memoirs, www.youtube.com/thewillamettewriters
SELL JOBS
Presents
Sitar, Mandolin and Tabla
Instrumental Concert
Indrajit Banerjee on Sitar, Snehashish Mozumder on Mandolin, Subrata Bhattacharya on Tabla
First Baptist Church 909 SW 11th Avenue Portland, OR 97205 Saturday, Sept. 21 2013, 7:30pm
Tickets are $20 in advance and available through www.kalakendra.org or may be purchased at the door for $25. Students $15. tickets for children (3-12) in advance is $10 & 12.50 at the door
www.kalakendra.org
YOUR STUFF GET WELL
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BEACH RENT YOUR HOUSE S E RV I C E THE MASSES
FILL A JOB
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FROM THE ROOFTOPS
CLASSIFIEDS 503.445.3647
STATE OF SOUTH CAROLINA IN THE FAMILY COURT OF THE THIRTEENTH JUDICIAL CIRCUIT COUNTY OF GREENVILLE DOCKET NO.: 2013-DR-23-3237 NOTICE OF ADOPTION PROCEEDINGS TO THE DEFENDANT: “JOHN DOE” BIRTH FATHER YOU ARE HEREBY GIVEN THE FOLLOWING NOTICE: 1. That an adoption proceeding was filed in the Family Court of Greenville County on July 22, 2013, and in this Complaint you are alleged to be the father of a Caucasian/Hispanic, male child born in Oceanside, California, on July 17, 2013. 2. That the Plaintiffs in the above captioned Notice are not named for the purpose of confidentiality; however, the Court knows the true identity of the Plaintiffs and in responding to this notice, you are required to use the caption and the number 2013-DR-23-3237. 3. That if Notice to Contest, Intervene or otherwise Respond is filed by you with the Court within thirty (30) days of the receipt of this Notice of Adoption Proceedings, you will be given an opportunity to appear and be heard on the merits of the adoption. To file notice to Contest, Intervene or otherwise Respond in this action, you must notify the above named Court at Greenville County Courthouse, Clerk of Court at 301 University Ridge, Greenville, South Carolina, 29601, in writing of your intention to Contest, Intervene or otherwise Respond. The above named Court must be informed of your current address and any changes of your address during the adoption proceedings. 4. That your failure to respond within thirty (30) days of receipt of this Notice of Adoption Proceedings constitutes your consent to the adoption and forfeiture of all of your rights and obligations to the above identified child. It is further alleged that your consent to this adoption is not required under S.C. Code Ann. Section 63-9-310 and that your parental rights should be terminated pursuant to S.C. Code Ann. Section 63-7-2570 (7). This notice is given pursuant to S.C. Code Ann. Section 63-9-730 (E). Raymond W. Godwin, Esq. (SC Bar #2162) Julie M. Rau (SC Bar #69650) 1527 Wade Hampton Blvd. Greenville, SC 29609 PH (864) 241-2883 FAX: (864) 255-4342 ATTORNEYS FOR PLAINTIFFS Date: August 8, 2013
Satu Auth and rd Croa entic Sun ay 11am t day i a – n Cu 1 12p m – 0pm isine 6pm
PUBLIC NOTICES
Live Imp orte Mus d P ic Poli olish sh Cuis Bee ine r
Got Meth Problems? Need Help?
Oregon CMA 24 hour Hot-line Number: 503-895-1311. We are here to help you! Information, support, safe & confidential!
CAREER TRAINING AIRLINE CAREERS
begin here – Get trained as FAA certified Aviation Technician. Housing and Financial aid for qualified students. Job placement assistance. Call Aviation Institute of Maintenance 877-492-3059 (AAN CAN)
Hypnotherapy Career Professional Course starts September 13th to March 2014. 175 hours tuition in hypnosis and NLP. For details of syllabus and to register www.KnightsbridgeInstitute.com
OLCC’S NEWEST ONLINE SERVER PERMIT CLASS
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.
Stars Cabaret in TUALATINHiring (Tualatin-TigardLake Oswego)
is NOW Just $12 for the Renewal Server Class. (Seasoned Pro’s) and STILL only $15 for the Initial Server Class. (First Timers) Take Your Class @ www.happyhourtraining.com where we are always ‘Bartender Tested & OLCC Approved!’ 541-447-6384.
Stars Cabaret in TUALATIN is now accepting applications for Servers, Bartenders, Hostess, Valet. Part and Full-time positions available. Experience preferred but not required. Earn top pay + tips in a fast-paced and positive environment.
EMPLOYMENT OPPORTUNITIES
Stars Cabaret is also conducting ENTERTAINERS auditions and schedule additions Mon-Sun 11am-10pm.
$$$HELP WANTED$$$ Extra Income! Assembling CD cases from Home! No Experience Necessary! Call our Live Operators Now! 1-800-405-7619 EXT 2450 http://www.easywork-greatpay.com (AAN CAN)
PETS
SUPPORT GROUPS
MCMENAMINS ROCK CREEK TAVERN
ENTERTAINERS: Training provided to those new to the business. Located @ 17937 SW McEwan Rd. in Tualatin...across from “24 Hours Fitness” Please apply at location.
More pets, pg. 63
THE NEW (AND SOON TO BE IMPROVED)
GLORIA!
Polish Festival
3900 N Intertate Ave. Portland, Oregon www.portlandpolonia.org/festival Questions: 503.281.7532
Doh doh….doo da day….I’m a sweetie pie!!! I am doughy and soft and wiggly and curvy and all and all a big ‘ol lover!! I used to watch way too much daytime TV sitting on the couch eating bonbons, so you can say I’m bit of a ‘larger’ lady. However... I have recently joined the Pixie Project Weight Watchers program and boy am I counting my points! I even write down when I have chewy bone because don’t think there aren’t some hidden calories in those things oooohhhh no! I am goofy and all around happy girl who is friendly with all. So ok I’m no marathon runner..YET! But maybe we could do it together. You know..hit the trails? Pump some iron? Maybe get into our skinny jeans?? Maybe all you needed was a little inspiration – well here I am! I am four years young and while I do awesome with other doggies sometimes kitties get me a bit excited so a feline free home would be awesome. Come on down and meet me I guarantee you I will make you smile!! I am also house trained. I am fixed, vaccinated and microchipped. My adoption fee is $220
503-542-3432 • 510 NE MLK Blvd • pixieproject.org Willamette Week Classifieds SEPTEMBER 11, 2013 wweek.com
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TO PLACE AN AD CONTACT:
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Week of September 12
CHATLINES Curious About Men? Talk Discreetly with men like you! Try FREE! Call 1-888-779-2789 www.guyspy.com (AAN CAN) Feel the Vibe! Hot Black Chat. Urban women and men ready to MAKE THE CONNECTION Call singles in your area! Try FREE! Call 1-800-305-9164 (AAN CAN)
ARIES (March 21-April 19): “A good story should make you laugh, and a moment later break your heart,” wrote Chuck Palahniuk in his book Stranger Than Fiction. From what I can tell, Aries, the sequence is the reverse for you. In your story, the disruption has already happened. Next comes the part where you laugh. It may be a sardonic chuckle at first, as you become aware of the illusions you had been under before the jolt exposed them. Eventually I expect you will be giggling and gleeful, eternally grateful for the tricky luck that freed you to pursue a more complete version of your fondest dream.
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TAURUS (April 20-May 20): Taurus musician David Byrne was asked by an interviewer to compose a seven-word autobiography. In response, he came up with ten words: “unfinished, unprocessed, uncertain, unknown, unadorned, underarms, underpants, unfrozen, unsettled, unfussy.” The coming days would be an excellent time for you to carry out similar assignments. I’d love to see you express the essential truth about yourself in bold and playful ways. I will also be happy if you make it clear that even though you’re a work-inprogress, you have a succinct understanding of what you need and who you are becoming.
Where Local Girls Go Wild!
GEMINI (May 21-June 20): The French word sillage means “wake,” like the trail created behind a boat as it zips through water. In English, it refers to the fragrance that remains in the air after a person wearing perfume or cologne passes by. For our purposes, we will expand the definition to include any influences and impressions left behind by a powerful presence who has exited the scene. In my astrological opinion, Gemini, sillage is a key theme for you to monitor in the coming days. Be alert for it. Study it. It will be a source of information that helps you make good decisions.
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Hot, Live, Real, Discreet! Uncensored live 1-on-1 HOT phone Chat. Calls in YOUR city! Try FREE! Call 1-800-261-4097 (AAN CAN)
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CANCER (June 21-July 22): “Cataglottism” is a rarely used English word that has the same meaning as French kissing -- engaging in liberal use of the tongue as you make out. But I don’t recommend that you incorporate such an inelegant, guttural term into your vocabulary. Imagine yourself thinking, while in the midst of French kissing, that what you’re doing is “cataglottism.” Your pleasure would probably be diminished. This truth applies in a broader sense, too. The language you use to frame your experience has a dramatic impact on how it all unfolds. The coming week will be an excellent time to experiment with this principle. See if you can increase your levels of joy and grace by describing what’s happening to you with beautiful and positive words.
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SCORPIO (Oct. 23-Nov. 21): The cosmos hereby grants you poetic license to be brazen in your craving for the best and brightest experiences . . . to be uninhibited in feeding your obsessions and making them work for you . . . to be shameless as you pursue exactly and only what you really, really want more than anything else. This is a limited time offer, although it may be extended if you pounce eagerly and take full advantage. For best results, suspend your pursuit of trivial wishes and purge yourself of your bitchy complaints about life. SAGITTARIUS (Nov. 22-Dec. 21): At the last minute, Elsa Oliver impulsively canceled her vacation to New York. She had a hunch that something exciting would happen if instead she stayed at her home in England. A few hours later, she got a message inviting her to be a contestant on the UK television show Who Wants To Be a Millionaire? In the days and weeks that followed, she won the equivalent of $100,000. I’m not predicting anything quite as dramatic for you, Sagittarius. But I do suspect that good luck is lurking in unexpected places, and to gather it in you may have to trust your intuition, stay alert for late-breaking shifts in fate, and be willing to alter your plans. CAPRICORN (Dec. 22-Jan. 19): “The only thing standing between you and your goal,” writes American author Jordan Belfort, “is the bullshit story you keep telling yourself as to why you can’t achieve it.” I don’t entirely agree with that idea. There may be other obstacles over which you have little control. But the bullshit story is often more than half the problem. So that’s the bad news, Capricorn. The good news is that right now is a magic moment in your destiny when you have more power than usual to free yourself of your own personal bullshit story. AQUARIUS (Jan. 20-Feb. 18): Is the truth a clear, bright, shiny treasure, like a big diamond glittering in the sunlight? Does it have an objective existence that’s independent of our feelings about it? Or is the truth a fuzzy, convoluted thing that resembles a stream of smoke snaking through an underground cavern? Does it have a different meaning for every mind that seeks to grasp it? The answer, of course, is: both. Sometimes the truth is a glittering diamond and at other times it’s a stream of smoke. But for you right now, Aquarius, the truth is the latter. You must have a high tolerance for ambiguity as you cultivate your relationship with it. It’s more likely to reveal its secrets if you maintain a flexible and cagey frame of mind.
VIRGO (Aug. 23-Sept. 22): This is a good time to free yourself from a curse that an immature soul placed on you once upon a time. I’m not talking about a literal spell cast by a master of the dark arts. Rather, I’m referring to an abusive accusation that was heaped on you, perhaps inadvertently, by a careless person whose own pain made them stupid. As I evaluate the astrological omens, I conclude that you now have the power to dissolve this curse all by yourself. You don’t need a wizard or a witch to handle it for you. Follow your intuition for clues on how to proceed. Here’s a suggestion to stimulate your imagination: Visualize the curse as a dark purple rose. See yourself hurling it into a vat of molten gold.
PISCES (Feb. 19-March 20): It’s a good time to indulge in wide-open, high-flying, anything-goes fantasies about love -- IF, that is . . . IF you also do something practical to help those fantasies come true. So I encourage you to dream about revolutionizing your relationship with romance and intimacy -- as long as you also make specific adjustments in your own attitudes and behavior that will make the revolution more likely. Two more tips: 1. Free yourself from dogmatic beliefs you might have about love’s possibilities. 2. Work to increase your capacity for lusty trust and trusty lust.
LIBRA (Sept. 23-Oct. 22): The current chapter of your life story may not be quite as epic as I think it is, so my
Homework What’s the part of yourself that is least evolved and needs most transformation? Testify at Freewillastrology.com.
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LEO (July 23-Aug. 22): This is Correct Your First Impressions Week. It’s a perfect time for you to re-evaluate any of your beliefs that are based on mistaken facts or superficial perceptions. Are you open to the possibility that you might have jumped to unwarranted conclusions? Are you willing to question certainties that hardened in you after just a brief exposure to complicated processes? During Correct Your First Impressions Week, humble examination of your fixed prejudices is one of the greatest gifts you can give yourself. P.S. This is a good time to re-connect with a person you have unjustly judged as unworthy of you.
advice may sound melodramatic. Still, what I’m going to tell you is something we all need to hear from time to time. And I’m pretty sure this is one of those moments for you. It comes from writer Charles Bukowski: “Nobody can save you but yourself. You will be put again and again into nearly impossible situations. They will attempt again and again through subterfuge, guise, and force to make you submit, quit and/or die quietly inside. But don’t, don’t, don’t. It’s a war not easily won, but if anything is worth winning then this is it. Nobody can save you but yourself, and you’re worth saving.”
check out Rob Brezsny’s Expanded Weekly Audio Horoscopes & Daily Text Message Horoscopes
D
freewillastrology.com
The audio horoscopes are also available by phone at
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Week Classifieds SEPTEMBER 11, 2013 wweek.com
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JONESIN’ by Matt Jones O-E-O – changing of the guard.
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53 Thought 54 Norm on a golf course 56 What haters of Miley’s August spectacle wanted from the media? 59 Compadre 60 Arctic dweller 61 Remains neutral? 62 1980s “truly outrageous” cartoon 63 “Melrose Place” actor Rob 64 Shannon formerly of “SNL” Down 1 Bordello big shot 2 “21” singer 3 Baltimore player 4 Wall St. events 5 Mel with 1,860 RBI 6 “The Little Mermaid” role 7 Orion feature 8 Mentalist Geller 9 Gin flavoring 10 Nervous state 11 Tennis racket string material 12 “Forgot About ___” (2000 single featuring Eminem) 13 End-of-proof abbr. 18 “Jaws” resort 23 11- or 12-year-old 25 What things could always be 26 Spock crewmate 27 Alex who starred in 2007’s “The Water Horse” (anagram of LEET) 28 Opposite of “avec” 29 Rio de ___ (Buenos
Aires’ river) 30 Word after food or kangaroo 32 Powerful whirlpool 33 Plays over and over 34 Keyboard instrument 35 “___ It Up” (Bob Marley) 36 Very, melodramatically 40 TV host Graham and boxer Ken, for two 41 Bay Area football player, for short 46 “Journey to ___” (“Sesame Street” feature) 47 Aids a criminal 48 “Island of the Blue Dolphins” author Scott 49 Singer whose surname is Kilcher 50 Unwilling to be talked down to 52 Boo-boo 53 ___-European languages 54 Brown bag staple, informally 55 “Chances ___” 57 Boy king of Egypt 58 Sister of Khloe and Kourtney
last week’s answers
Across 1 Super guy? 6 Nigeria’s capital since 1991 11 On the double 14 Adjust to fit 15 “What’s Happening!!” role 16 Galena, for one 17 Following the “Whip It” band closely? 19 Put down the first card 20 Bar selections 21 Bumped into 22 Game played “with my little eye” 24 Fellas 25 Blogger Wheaton of interest to geeks everywhere 26 Where cats get chased 29 Film studio site 30 Fidel cohort 31 This, in Tijuana 32 Punk gymnast popular in the 1980s? 35 Telenovelas, in English 37 Joint owners’ pronoun 38 Slot machine spinners 39 Hero with a black mask and a big chin? 42 Fisher of “Arrested Development” 43 Choose 44 Creator of M and Q 45 Manager’s lists 47 Obama’s mother ___ Dunham 48 Breakfast drinks, briefly 51 Like grapefruit juice 52 Award bestowed by Queen Eliz.
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©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 #JONZ640. Willamette Week Classifieds SEPTEMBER 11, 2013 wweek.com
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