39 48 willamette week, october 2, 2013 by Willamette Week Newspaper

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WILLAMETTE WEEK PORTLANDâ&#x20AC;&#x2122;S NEWSWEEKLY

CITY OF BRIDGES THE WILLAMETTE DIVIDES US. LOOK CLOSER AT THE SPANS THAT CONNECT US. written by sara sneath | Photographs by evan johnson | page 11

wweek.com

VOL 39/48 10.02.2013

Willamette Week OCTOBER 2, 2013 wweek.com

MORGAN GREEN-HOPKINS

CONTENT

HECK’S ANGEL: Vests aren’t just for scooter gangs. Page 25.

NEWS

MUSIC

LEAD STORY

PERFORMANCE 49

CULTURE

MOVIES

FOOD & DRINK

CLASSIFIEDS

STAFF Editor-in-Chief Mark Zusman EDITORIAL Managing Editor for News Brent Walth Arts & Culture Editor Martin Cizmar Staff Writers Andrea Damewood, Nigel Jaquiss, Aaron Mesh Copy Chief Rob Fernas Copy Editors Matt Buckingham, Jessica Pedrosa Stage & Screen Editor Rebecca Jacobson Music Editor Matthew Singer Projects Editor Matthew Korfhage Books Penelope Bass Classical Brett Campbell Dance Aaron Spencer Theater Rebecca Jacobson Visual Arts Richard Speer Editorial Interns Ravleen Kaur, Paul Kiefer, Benjamin Ricker

CONTRIBUTORS Emilee Booher, Ruth Brown, Peggy Capps, Nathan Carson, Robert Ham, Jay Horton, Reed Jackson, Emily Jensen, AP Kryza, Nina Lary, Mitch Lillie, John Locanthi, Michael Lopez, Sara Sneath, Enid Spitz, Mark Stock, Brian Yaeger, Michael C. Zusman PRODUCTION Production Manager Ben Kubany Art Director Kathleen Marie Graphic Designers Andrew Farris, Mitch Lillie, Amy Martin, Xel Moore, Dylan Serkin Production Interns Jerek Hollender, Kayla Nguyen ADVERTISING Director of Advertising Scott Wagner Display Account Executives Maria Boyer, Michael Donhowe, Ryan Kingrey, Janet Norman, Kyle Owens, Sharri Miller Regan, Andrew Shenker Classifieds Account Executive Ashlee Horton Advertising Assistant Ashley Grether Marketing & Events Manager Carrie Henderson Give!Guide Director Nick Johnson

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

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Willamette Week OCTOBER 2, 2013 wweek.com

INBOX DISCIPLINING BLACK STUDENTS

As members of the School Board, we are committed to accelerating and deepening our efforts to eliminate racial disparities in our schools [“Expel Check,” WW, Sept. 25, 2013). We want every one of the 47,000 students in Portland Public Schools to succeed and to be treated equitably. The fact that we continue to see racially disproportionate discipline means we cannot back away from this challenge. Portland’s focus on equity has produced important gains. Today, fewer African-American, Asian, Latino and white students are being expelled than three years ago. The rate at which Native American students are disciplined compared to white students has also dropped since 2010-11. PPS has narrowed the achievement gap for students of color at a number of key academic measures. Portland has made progress by tackling the achievement gap through policy, program and practice changes. We have boosted resources for students at underserved schools. In addition, we have expanded programs that have helped schools get better results for all students, and have reduced out-of-school discipline (such as restorative justice). We have also supported training to help all staff take on a leading role in eliminating inequities from our schools. Understanding our own perceptions about race helps everyone at PPS— from School Board members to staff—challenge ourselves to better serve all students, particularly students of color. The fact that students of color are disciplined at a higher rate than white students is unacceptable. It is not an excuse that this disparity is longstanding or that it afflicts every major school

I’m running for Metro president, but there seems to be a general ignorance as to what Metro is. Before campaign season kicks off, can you explain to folks what it does? This way I can talk more about who I am, instead of what Metro even is and why it exists. —Some Guy I’m aware, Guy, that you signed your full name to this letter, but since we’re just raising awareness—and not, say, trying to gain free publicity for a particular candidate—I’m sure you won’t mind if I omit it. I’d say your problem is not that people don’t understand Metro. It’s that people—some of them, anyway—don’t want to understand Metro. They don’t want to understand the White House or the mayor’s office either, but those seep in by osmosis. Even the bleariest stoner knows that the president is some vague amalgam of Morgan Freeman and Harrison Ford who deals 4

Willamette Week OCTOBER 2, 2013 wweek.com

system in the U.S. We will continue to tackle this problem on all fronts, until we achieve better and more equitable results at all our schools. Ruth Adkins, Greg Belisle, Pam Knowles, Tom Koehler, Matt Morton, Bobbie Regan Portland School Board members PPS asks for no feedback on its Courageous Conversations. They are degrading to whites, and assume that somehow our “whiteness” is causing the problem. We had teachers come out of these meetings in tears because they were made to think they did not get where they are because of hard work, but because they are white. These conversations seem to be the politically correct thing to do, but as this article shows, PPS has no idea what it is doing. —“Sheila Reed Wilcox”

COLUMBIA RIVER CROSSING

So what’s the problem? [“The Toll Truth,” WW, Sept. 25, 2013.] If people flock to I-205, then there will be less traffic and pollution going through central Portland. I see that as a win. —“jj”

FROHNMAYER AND BIG TOBACCO

The people of Oregon can never repay Dave Frohnmayer for his years of selfless service [“Reputation for Rent,” WW, Sept. 25, 2013]. But he sure as hell is going to make us try. —“uomatters” 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

with alien invasions, and that the mayor is the guy who’s breathing down the lieutenant’s neck because McBain just doesn’t know when to quit. But Metro? W hen was the last time the Joker kidnapped Metro Council President Tom Hughes in order to put a stop—forever!—to infill development in Hillsboro? (It’s kind of a shame this didn’t happen, because District 2 Councilor Carlotta Collette has a great name to be one of Batman’s girlfriends.) What Metro does is fairly subtle, and everyone who wants to know what it is already does. What you need is a version that’s easy to understand—even if it’s slightly wrong—for people who barely care. Here it is: Metro is like a Northwest Oregon European Union. (Portland is Germany!) Each city maintains its sovereignty, but they wanted to have an overarching regulatory body to set solidwaste policy and/or levy barley tariffs. You’re welcome. QUESTIONS? Send them to dr.know@wweek.com

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PANASONIC Week

CITY HALL: Behind the city’s water fight, a power player returns. THE ARTS: The late cartoonist John Callahan deserves a memorial. JUSTICE: Sheriff barely makes a dent in jail’s immigration holds. COVER STORY: City of Bridges: A photo essay of our iconic spans.

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Publicly traded corporations usually steer clear of controversial political issues out of fear of alienating customers and shareholders. Large Oregon companies sat out the 2004 gaymarriage fight, remaining quiet as Oregon voters approved a constitutional ban on same-sex marriage. This year, however, Columbia Sportswear will support a 2014 ballot measure that repeals the ban and legalizes same-sex marriages in Oregon. Several privately held companies have announced their support for the measure but Columbia—with $1.7 billion in revenues last year—is by far the biggest company to take a stand. Columbia CEO Tim Boyle tells WW he will personally support the measure, too. “It doesn’t make any sense to exclude people from the constitutional rights they should have,” Boyle says. “Frankly, this should have happened a long time ago.”

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The U.S. Environmental Protection Agency has decided to give a major break to companies cleaning up the Willamette River’s Superfund site. In April, the EPA levied a $125,500 penalty against Lower Willamette Group, a coalition of 12 corporations (plus the city of Portland and Port of Portland) on the hook for Portland Harbor cleanup costs. The agency said the group dragged its feet in performing acceptable studies about the river’s health. The fine brought the heat down on the EPA from Oregon’s congressional delegation. The EPA now says it is suspending the penalty as long as the companies come through with the remaining studies. Rick Albright, director of the EPA’s office in Seattle, says he made the decision based on “good-faith efforts” by the Lower Willamette Group, not political pressure. “I had nobody from the congressional delegation contact me either directly or indirectly since this went into dispute,” Albright says. Time wounds all heels. A decade ago, WW twice named Vancouver, Wash., insurance salesman Michael B. Woodward our Rogue of the Week for targeting octogenarians with scams. His signature ploy in 2002? “Prepaid home service agreements,” with the elderly paying him thousands up front to guarantee he’d provide cleaning, cooking and bathing if their health failed. Investigated by the Oregon Department of Justice, Woodward fled to Las Vegas, where he shilled the same deal to California seniors. In August, a San Diego judge sentenced Woodward to 11 years in prison for bilking more than 400 people and ordered him to pay $3 million. The San Diego Union-Tribune reported that the local district attorney’s office had seized Woodward’s property—including an art collection and a home on a golf course—to pay back victims, all of whom are over 80 years old. Read more Murmurs and daily scuttlebutt.

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

LEVI HASTINGS

NEWS

MYSTERY MAN REVEALED A LEGENDARY AND CONTROVERSIAL TIMBER EXECUTIVE IS FUNDING THE ATTACK ON THE PORTLAND WATER BUREAU. BY N I G E L JAQ U I S S

njaquiss@wweek .com

It’s been a long time since Harry Merlo wielded any real power in this town. For more than 20 years, Merlo, the CEO of timber giant Louisiana-Pacific, lived the kind of imperial lifestyle Portland’s present corporate chieftains can only dream about. Merlo—sporting a Clark Gable mustache and often photographed in a white dinner jacket—entertained on L-P’s 107-foot yacht and lived on a company-owned West Hills estate complete with a helipad and chef. He traveled the world on company jets and regularly squired statuesque blondes to social events. All the while, Merlo called in favors from politicians and laid waste to forests like the timber baron he was. “He’s a throwback to a different era,” says Bob Ames, president of First Interstate Bank of Oregon during Merlo’s reign at L-P. “As a CEO, he was the ultimate cowboy.” Today, Merlo is 88 and avoids the public spotlight. But records and interviews show Merlo is staging a comeback as a power broker: He is the money behind Portland’s fight over control of water from the Bull Run Reservoir. Portland is facing a ratepayers’ crusade against the alleged misuse of public money by the city’s Water Bureau, from publicly funded elections to a $940,000 “water house” demonstration project to $1.5 million spent bailing out the Rose Festival. A group called Portlanders for Water Reform is trying to get a measure on the May 2014 ballot that would wrest control of the Water Bureau from the city and give it to an independent public utility board. The campaign has been pushed by industrial users of city water unhappy about rising rates. But who exactly was fueling the campaign wasn’t clear—until now. Portlanders for Water Reform reported its first contribution Sept. 6: $25,000 from the Portland Bottling Company, the 27th-largest user of the city’s water. But few people know Merlo controls Portland Bottling. Merlo did not respond to requests for comment, but public records and interviews reveal that he is the money behind the company, which bottles soft drinks. “He is the majority shareholder,” says Samuel Allen, owner of the Monarch Hotel and an investor in Portland Bottling. “Having Harry Merlo involved is a big deal,” says veteran lobbyist Len Bergstein, who is part of a City Club panel studying the water ballot measure. “Having a large bankroll brings more weight to an issue that otherwise could be seen as grievance politics.” Merlo’s stealthy return to city politics aligns the man whose company was a voracious clear-cutter with strange allies—the Friends of the Reservoirs, who are also part of Portlanders for Water Reform. That group’s leader, Floy Jones, says she doesn’t know much about Merlo but that doesn’t matter. “When it comes to equitable rates and transparency, different groups can

come together,” Jones says. Merlo took the helm of L-P after federal anti-trust officials ordered the company be split off from Georgia Pacific in 1973. L-P changed the lumber business by developing a way to make plywood from smaller, faster-growing trees, putting the company in a strong position as timber shortages increased in the 1980s. For 22 years, Merlo ran the publicly traded L-P like a fiefdom. But in 1995, a confluence of events prompted its board of directors to abruptly boot Merlo. The feds charged the company with environmental crimes and fraud, and a female subordinate of Merlo’s sued for sexual harassment, alleging women were hired as assistants only if they were stunning, young and “likely to acquiesce to sexual advances by the CEO,” according to a 1995 story in Business Week. L-P’s most famous disaster was its exterior siding, which within a few years discolored, rotted and grew mushrooms. The company would eventually pay out more than $500 million to compensate property owners who used the L-P siding. (The company later moved its headquarters from Portland to Nashville, Tenn.) Merlo left L-P a wealthy man—his 2 million shares were then worth nearly $50 million. Merlo has other interests. Under Merlo, L-P in 1979 bought the Portland Timbers, then of the North American Soccer League, and kept the team going until 1982 before

shutting it down amid financial losses. During those years, Merlo established a friendship with Timbers defender Clive Charles, who went on to build the University of Portland into a soccer powerhouse. Charles persuaded the former timber exec to pay for the UP soccer stadium known as Merlo Field. After exiting corporate life, Merlo focused on his Sonoma County, Calif., winery, Lago di Merlo; two Portland wine distribution companies; a 12,000-acre ranch near LaGrande; and Portland Bottling. Since 2006, records show, Merlo has contributed $92,000 to Oregon politics. He donated most heavily to the 2010 GOP nominee for governor, Chris Dudley. Merlo gave the former Trail Blazer $30,000, much of it in-kind contributions for the use of Merlo’s airplane. It’s not yet clear how much money Merlo’s bottling company is willing to sink into the water campaign—or into subsequent elections for an independent water board. Bob Sallinger, conservation director for the Audubon Society of Portland, says Merlo’s record at LouisianaPacific doesn’t suggest he’d favor the transparency or accountability the measure’s advocates say they want. “Merlo has the capacity to bankroll an initiative like this and the capacity to buy elections as well,” Sallinger says. “If you are worried about corporate influence and accountability, ask yourself if Merlo’s a person you’d trust to fundamentally reshape city government.” Willamette Week OCTOBER 2, 2013 wweek.com

SUBSECTION

I L L U S T R AT I O N B Y C R A I G H O L M E S . D E S I G N O F MEMORIAL GARDEN BY STEMMLER DESIGN

NEWS

MEMORIALIZING AN IMMORTAL JOHN CALLAHAN’S FRIENDS, FANS AND FAMILY ARE CREATING A PERMANENT TRIBUTE TO THE LATE CARTOONIST. BY MARK ZUSMAN

mzusman@wweek.com

John Callahan is coming back to life. On Oct. 3, a group of his friends and supporters will kick off a campaign to create a Northwest Portland memorial to the carrot-topped cartoonist, who died in 2010 at age 59. Callahan, who drew for WW for 27 years, expressed himself with quivering lines and a blunt, irreverent voice that was often at odds with Portland’s chronic politeness. A little more than three years ago, Callahan, a quadriplegic, died of compli-

Willamette Week OCTOBER 2, 2013 wweek.com

cations from bedsores, a constant threat to anyone confi ned to a bed or wheelchair 24 hours a day. When he was 21, Callahan was riding in a car with a friend who fell asleep at the wheel. The car crashed into a wall at 90 mph, crushing Callahan’s spine. D e s pit e e x t r a or d i n a r y phy sic a l challenges, not the least of which was difficulty holding a pen or pencil, Callahan produced a prodigious body of work: cartoons, books, record albums, two TV shows, and a movie. He infused all of them with a humor that was as black as it was politically incorrect. Callahan

was a nonconformist and one of the city’s brightest lights. In an obituary, The Washington Post called him “among the most brilliant and original cartoonists who ever lived.” Good Sa ma rita n Hospita l, in the Northwest Portland neighborhood Callahan called home, has agreed to donate land on Northwest 21st Avenue for the Callahan memorial, and Portland artist Tad Savinar and landscape architect Jesse Stemmler have provided a design— complete with a wall of Callahan’s work. The kickoff to raise money for the memorial will be held at the offices of Topaz Design, at 1815 NW Overton St., on Thursday, Oct. 3, at 5 pm. Please join us.

JUSTICE

NEWS

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New Patient $74 Exam and X-rays FROZEN: Saul Paz (right) spent 16 days in Multnomah County Jail, held by the sheriff on behalf of immigration authorities. Sheriff Dan Staton released him only after an Aug. 20 protest by friends and family.

NO THAW IN JAIL’S CHILL THE MULTNOMAH COUNTY’S SHERIFF NEW POLICY TO HOLD FEWER UNDOCUMENTED IMMIGRANTS IS HAVING LITTLE EFFECT. BY AN D R E A DA M E WO O D adamewood@wweek.com

Saul Paz spent 16 days in the Multnomah County Jail this August after flashing fake ID to a bouncer at an Old Town club. Paz is old enough to drink—he’s 26. But he’s also an undocumented immigrant from Mexico who lacks proper identification. Portland police arrested him on felony charges for possessing an illegal ID. The charges against Paz were later dropped to a misdemeanor, but the Multnomah County Sheriff’s Office didn’t release him: U.S. Immigration and Customs Enforcement wanted him held. Multnomah County Sheriff Dan Staton let Paz go only after immigrant rights groups protested. In April, Staton promised to cut the number of inmates held in the jail at the request of federal immigration officials. County commissioners wanted to end jail overcrowding, and immigration activists argued the immigration “holds” were unjust (“Freezing Out ICE,” WW, March 27, 2013). But Staton has barely made a dent in the number of undocumented immigrants held in the jail. He’s rejected fewer than one in 10 hold requests by ICE since last spring, when he promised to detain only immigrants charged with felonies or violent misdemeanors. Nicole Brown, with the Center for Intercultural Organizing, says Staton’s new approach was supposed to help immigrants feel more comfortable with police. “This policy has not made a change in the community,” Brown says. “It’s not enough.” Deputy Sheriff Drew Brosh declined to say whether Staton’s new policy was working as planned. “I’m not going to comment on the goods or evils of the policy,” he says. “This is a reasonable approach to community concern

and law enforcement interest.” Since county commissioners demanded Staton reduce overcrowding by not detaining immigrants charged with minor offenses, county data shows Staton has rejected just 27 of 323 holds sought by ICE. “This is an area where the sheriff has jurisdiction,” says Multnomah County Commissioner Deborah Kafoury. “To have an opportunity for him to talk to us publicly about what those numbers mean is important.” Like Paz, many jail inmates see charges against them dropped or reduced. Staton’s new policy doesn’t ensure such inmates won’t be held for ICE. Brosh says jail staff can’t track each case. As a result, many undocumented immigrants are still getting snagged by ICE in the Multnomah County Jail, says Ricardo Varela, an organizer for Oregon Dream Activist, who was put in an ICE hold in 2012 following an arrest at an immigrant rights rally. “A lot of innocent people get put into ICE holds because of this policy,” Varela says. “They don’t follow the cases.”

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“INNOCENT PEOPLE GET PUT INTO ICE HOLDS BECAUSE OF THIS POLICY.” —RICARDO VARELA Brosh says the department is reviewing its policy to determine if there’s a way to follow changes in charges after booking to avoid holding inmates such as Paz. “It’s going to be a resource strain,” he says. The Multnomah County Sheriff’s Office does receive some federal reimbursement for extra days immigrants are held on behalf of ICE. Last year, the payback amounted to about $230,000, Brosh says. In 2012, 1,158 inmates—about 3.3 percent of the jail population—were placed on ICE holds. Meanwhile, county records show the jail granted early release to 916 inmates. In most months, inmates on ICE holds occupied jail beds while inmates accused of felonies were let out due to overcrowding. Brosh says his department will continue to work with activists to refine the policy. In the meantime, says Brown of the CIO, immigrants who should be protected under the sheriff’s new policy are at risk of deportation. “For us,” Brown says, “we’ve seen enough to know it’s not working.” Willamette Week OCTOBER 2, 2013 wweek.com

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E VA N J O H N S O N

CITY OF BRIDGES THE WILLAMETTE DIVIDES US. LOOK CLOSER AT THE SPANS THAT CONNECT US. WRI TTEN BY SARA S NEATH

243-2122

P H OTO GRAP H S BY E VAN JO H NSON

Children sprawl on the Morrison Bridge like a spilled box of crayons. It’s 10 am on a Friday, and the Morrison opens, its great panels of roadway swinging up and looming above the third-graders from North Clackamas Christian School. The students lie on the asphalt, safely behind traffic barriers. When the bridge closes again, a red-headed boy with a Super Mario Bros. backpack rushes to the teacher and chaperones to report he had the best view ever. “I got to lay on the bridge!” he says. “I got to lay on the bridge!” Kids in Washing ton state v isit the Space Needle, and on the coast they go to the Astoria Column. But when school kids learn about Portland’s history—and the things that shape our city—they come to the bridges that cross the Willamette River. It’s all part of belonging to this place. To be a Portlander means falling in love with at least one of the city’s bridges. We fall first for the little things: how the St. Johns’ spires spike the sky, or the way the street and lampposts on the Burnside

look perfectly strange while nearly vertical as the bridge opens. Maybe it was the Marquam for that moment you dared look away from Interstate 5 traffic and glimpsed the view of Portland, rewarding yourself with perhaps the only beautiful moment the otherwise hopelessly ugly bridge can offer. The city’s 11 Willamette bridges carry more than 776,100 cars, trucks and bikes across the river every day. And whatever its aesthetic beauty, each was designed and built to solve a problem of the time. Ferries shuttled people and goods across the river before Portland built the wooden, 1887 precursor to the Morrison Bridge. The city built the Hawthorne Bridge in 1910 to replace the Madison Street Bridge and open the city to its promising east side, which a writer for The Oregonian predicted in 1909 would “one day be one of the great jobbing and warehouse locations of Portland.” We built a new bridge almost every decade until the 1970s, when the spending on new spans and more freeways halted. Now, Portland (at a combined cost of $442 million) is building two bridges at once: the new Sellwood, to replace the original that buckled under the weight of time, and the Portland Milwaukie Light Rail Bridge,

which signals a new thinking. It will carry light rail, streetcars, TriMet buses, bikes and pedestrians—but no cars. But the bridges are not simply trophies of civ ic achievement. They a re commonplace wonders, and not just for third-graders studying their structure and history. The footings cut the river like boat prows while reaching deep into the volcanic basalt underneath. Jaded drivers can forget the frustrating delays of a bridge lift long enough to marvel at the mechanics of counterweights and pulleys. We can watch once-endangered peregrine falcons on the bridges nest and thrive. We offer this photo essay—with more pictures and a bridge quiz at wweek.com— to illustrate the unusual role these structures play in our everyday lives. Portland is a city split by a river and stitched back together with steel and concrete. The bridges reach into our hearts because of the way they reach across the water in a bid to span the problems we seek to fix. They connect us as they remind us how we remain separated. Which is perhaps why each of us eventually falls in love with a bridge. It expresses how we choose to see the world, and hope to close its gaps.

Willamette Week OCTOBER 2, 2013 wweek.com

CITY OF BRIDGES

CONT.

ST. JOHNS The sweep of the suspension cables, the rise of the Gothic arches and reach of its cathedral spires give you the ethereal sense of passing through majestic gateways when crossing the St. Johns Bridge. These features, plus its color, called “verdant green,” make the St. Johns easily one of the most picturesque of the city’s bridges. (During a recent closure, when crews were tightening cables, someone threw a formal dinner party for eight on the bridge deck.) Among all the city’s bridges, the St. Johns—also the tallest, at 400 feet from tip to water—is the one most often depicted on coffee mugs, T-shirts and tattoos. “It’s beautiful, iconic and the color is really appealing,” says Alena Chun, an artist at Icon Tattoo Studio, where everyone in the North Portland shop has done the bridge at least once for a customer. Chun tattooed the bridge most recently on the left thigh of Shannon Wolf, a 25-year-old photographer and visual artist who lives in Northeast Portland. Wolf looks forward to seeing the bridge whenever she goes to Sauvie Island or to Blue Moon Camera and Machine, where she gets her film developed. “I always wanted to live in a place that wasn’t all one elevation,” says Wolf, who moved here from Florida. “There are bridges in Florida, but they’re more utilitarian. In Portland, their roles in connecting the two halves of the city make them seem almost natural. They’re manmade structures, but they’re working with nature.”

E VA N J O H N S O N

1931

FREMONT

E VA N J O H N S O N

Sharon Wood Wortman is the Bridge Lady—author of The Portland Bridge Book, the definitive volume of the city’s bridges, first published in 1989 and now in its third edition. (We used her book often as a reference for this photo essay.) She grew up on the east side but almost never crossed the Willamette because her grandmother, who raised her, suffered from gephyrophobia. Wortman didn’t share her grandmother’s fear of bridges, but a series she wrote about Portland’s spans for The Oregonian in 1984 led to her obsession. “Everything I did with the bridges made me braver,” she says. Like many Portlanders, she recalls how the span of the Fremont, pieced together at Swan Island, was floated beneath the unfinished ramps and then slowly lifted into place. She was freelancing a story about the Fremont’s 20-year anniversary in 1993 when she met Ed Wortman, who had been the field engineer for the company contracted to build the Fremont. “She was the first woman who ever fondled my bridge books,” he says. They had their first date at the Fremont’s two westside footings, which “help carry 30,000 tons of gravity into the ground.” They married in 1998. He’s co-author of the last two editions of her bridge book. Last month, Ed brought Sharon a gift: a fistsized, 39-million-year-old basalt chunk from the riverbed beneath the Sellwood Bridge. “It’s as beautiful as a diamond,” she says.

Willamette Week OCTOBER 2, 2013 wweek.com

E VA N J O H N S O N

1973

CITY OF BRIDGES

E VA N J O H N S O N

CONT.

BROADWAY 1913

At the time it opened, 100 years ago this year, the Broadway was the longest bascule bridge in the world. (“Bascule” means the drawbridge opens upward like swinging doors. The Burnside and Morrison are bascules, too.) The Broadway is still the largest Rall bascule, a complicated mechanism that actually retracts the opening spans. That’s one of the reasons the Broadway takes longer to open and close than the Willamette’s other spans. But there is an enduring mystery about the Broadway: Why is it red? In 1963, all the bridges (which were typically black) were painted different colors at the urging of architect Lewis Crutcher, who worked on several city beautification projects. The county chose red—a hue officially known as “Golden Gate”—to match the roof tiles on nearby Union Station. Willamette Week OCTOBER 2, 2013 wweek.com

CITY OF BRIDGES

CONT.

STEEL Rhonda Walters loves the Steel Bridge. As a thirdgrade teacher at Forest Park Elementary School, Walters spends three months every year teaching her students about Portland’s bridges—part of Portland Public Schools’ third-grade social studies curriculum. Students pick a bridge to build a model of with any material they choose. The Fremont is most popular; the Marquam, by far the least. “I’ve seen licorice for suspension cables and Oreos for the deck,” Walters says of the bridge projects. “It’s kind of like a right of passage.” But she likes the Steel—now owned and operated by Union Pacific Railroad—for its oddities: how the lower deck with the rail line lifts without the upper road deck, and how both decks soar to make room for even taller ships. The Steel is the only double-deck vertical-lift bridge in the world. Walters says the Steel is the bridge that most often resonates with her students when she brings them there. “When we go on our field trips, it lifts or there’s a train that goes by,” she says. “It just always performs for us.”

Willamette Week OCTOBER 2, 2013 wweek.com

E VA N J O H N S O N

1912

CONT.

CITY OF BRIDGES

BURNSIDE E VA N J O H N S O N

1926 (REPLACED BRIDGE OPENED IN 1894) The worst part of being homeless, men who live under the bridge say, is being without a roof in the rain. That’s why the 86-footwide Burnside Bridge has for decades been a camping place and center for socialservice agencies—including the Portland Rescue Mission, on the bridge’s west side, which feeds 500 to 600 people a day. On Thursdays, the nonprofit BridgeTown puts on a shindig called Night Strike, where volunteers started gathering a decade ago— first to clean streets, then offering to wash the feet of the homeless. Now the volunteers serve dinners, sew up ripped backpacks, cut hair and paint fingernails. On a recent night, one resident, John, said he has lived under the bridge for a year. Thin, in jeans and a clean shirt, he could pass for a college professor. He’s a former electrician from Milwaukie who lost his job and lived in his truck before he could no longer make the payments. He does temp work, he says, but no one wants to hire a 64-year-old man. John sleeps among what the people here call “senior row”—a line of older homeless who group together at night for companionship and security from summer travelers and street kids, who Johns says start fights and steal. “During the winter we’re fairly well protected,” John says. “We’re not trying to make a political statement. We’re just down here trying to get through another day.”

Willamette Week OCTOBER 2, 2013 wweek.com

Friends of Ridgefield National Wildlife Refuge present

BirdFest in Ridgefield, WA

14 nual An

October 5 & 6

2013

Join us for a wonder-filled weekend of nature, wildlife and Native American culture.

• Sandhill Crane Tours • Refuge hikes & bus tours • Language of Birds lecture • Kayak & Big Canoe tours • Audubon Wild Birds of Prey! • Family activities & storytelling • GPS-GeoAdventures • Birders’ Marketplace Most events • Traditional salmon bake are free. • And so much more!

For the Schedule of Events www.RidgefieldFriends.org

WW Birdfest Ad2012 1.85x3.indd 1

8/19/13 4:18 PM

Celebration of Life MUSICAL FUNDRAISERS TO ENHANCE THE LIVES OF PORTLAND CHILDREN BACK-TO-BACK EVENINGS TO SUPPORT CASCADE AIDS PROJECT KIDS CONNECTION PROGRAM THURSDAY, OCTOBER 3 5:30–9:00 P.M.

Jazz Concert & Dancing! Featuring amazing jazz vocalist Richard A . Arnold and the Groove Swingers.

Acupuncture

Chinese Herbs

Qigong/Taiji Quan

Specialty Clinics

Join us

Saturday, October 12 10:00 AM - 1:00 PM for the

OCOM Clinic Open House Featuring presentations on women’s and children’s health and wellness acupuncture n medicinary tours n tea tastings n qigong

75 NW Couch, Portland, OR 97209

Please RSVP to OpenHouse2013@ocom.edu Call 503-445-0951 to schedule an appointment

ocom.edu

An intimate evening of arias and classical music featuring soprano Jennifer Forni of the Metropolitan Opera accompanied by pianist David Saffert

Both evenings include a pre-concert reception with complimentary appetizers and cash wine & champagne bar. PORTLAND PIANO COMPANY IN THE TIFFANY BUILDING 711 SW 14TH AVE, PORTLAND, OREGON 97205 PORTLAND PIANO COMPANY: 503-775-2480 www.tickettomato.com/event_group.php?gid=68 WWW.FACEBOOK.COM/PORTLANDPATRONOFTHEARTS

Willamette Week OCTOBER 2, 2013 wweek.com WWeek_4S-ad_092713.indd 1

Opera & Classical Music Be A Gift

To buy tickets:

The science of medicine, the art of healing 16

FRIDAY, OCTOBER 4 6:00–10:00 P.M.

9/26/2013 4:17:05 PM

CITY OF BRIDGES E VA N J O H N S O N

CONT.

MORRISON

1958 (REPLACED BRIDGES OPENED IN 1887 AND 1905)

FOR $100 A NIGHT, YOU CAN HAVE THE COLOR OF YOUR CHOICE BEAMED ONTO THE MORRISON.

E VA N J O H N S O N

By day, the Morrison is one of the city’s duller bridges, basic and flat. But by night, the Morrison is the peacock. Two billboardlike panels, below the deck on each side, become color-splashed canvases from 32 high-brightness LEDs, which can change colors with a few keyboard strokes. The Morrison first lit up in December 1987, thanks to the work of the nonprofit Willamette Light Brigade, a group that formed after a number of people called on the county to do something about making the bridges less plain. That led several people to suggest lighting the bridges at night. The Morrison’s original lights (donated by electrical contractors and union workers) included 16 1,000-watt tungsten spotlights built into the piers below the bridge deck. (They are the same fixtures used to light the Eiffel Tower.) To change the hues, Light Brigade volunteers had to swap out the colored theater gels—thin plastic used to tint spotlight lenses—placed over the beams. On one occasion, red gels inadvertently created what looked like a pink triangle; Willamette Light Brigade chairman/ spokesman Paddy Tillett says a transgender organization later wrote a letter thanking them for displaying the international symbol for gay rights. Anyone can pay to have the color of his or her choice beamed onto the Morrison for $100 a night (all funds go to maintaining the lighting). Fans of out-of-town sports teams have leveraged the glowing bascule against Portland teams. When the Morrison glows blue and green in October, it will be an illuminated taunt paid for by a fan of the Portland Timbers’ archrivals, the Seattle Sounders, who will be in town for a match at Jeld-Wen Field.

Willamette Week OCTOBER 2, 2013 wweek.com

SPECIAL REPORT:

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Willamette Week OCTOBER 2, 2013 wweek.com

CITY OF BRIDGES E VA N J O H N S O N

CONT.

HAWTHORNE E VA N J O H N S O N

1910

It’s been called the singing bridge because the steel grating (the only Portland bridge that still has it) rattles and hums as you cross the Hawthorne. Oregon Department of Transportation spokesman Don Hamilton says that, while working as a reporter for the Portland Tribune, he rode over the Hawthorne while strumming a guitar to identify the note. He’s certain the bridge purrs a low, rumbling C. The bridge, with its twin 450-ton counterweights, is the oldest operating vertical lift in the U.S. (The Steel is second.) The Hawthorne may also be the most traveled by bicyclists: A bike counter installed on the bridge last year reached 2 million in September, according to Bike Portland. But the bridge can be a nightmare for the ships that travel beneath it. Rob Rich, vice president of marine services for Shaver Transportation, says the Hawthorne and Steel are the two most difficult bridges under which to navigate: both are low with narrow openings between pillars. But the combination of a river bend and the opening on the river’s west side, near the Riverplace Marina, make the Hawthorne’s turn especially tricky. “You’re lining up trying to get as far west as possible, but what’s over there? A marina,” Rich says. “Marinas are very fragile.”

Willamette Week OCTOBER 2, 2013 wweek.com

CONT.

“MOTORISTS WHO THOUGHT THE NEW BRIDGE WASN’T MUCH TO LOOK AT DISCOVERED THAT IT WAS IMPRESSIVE TO LOOK FROM.” —SHARON

E VA N J O H N S O N

CITY OF BRIDGES

MARQUAM Portland’s ugliest bridge had at least one cultural benefit: After this ribbon of slab was opened—“so gross, so lacking in grace, so utterly inconsistent with any concept of aesthetics,” as the Portland Art Commission said of the bridge at the time—city and state leaders promised never to build another eyesore across the Willamette. The elegance of the Fremont, opened seven years later, was a direct response to the Marquam. But peregrine falcons love it. The Marquam’s height (165 feet) mimics the cliffs where the birds like to lay their eggs on ledges. Peregrines—driven nearly to extinction by the pesticide DDT—were gone from Oregon when the bridge opened. As the species recovered, they were found back in Oregon during the 1980s around Crater Lake. They moved north in the 1990s and eventually made homes on the Marquam, Fremont and St. Johns bridges. As much as Portlanders may dislike the Marquam, the peregrines are helping preserve it: They feast on pigeons, which otherwise roost under the bridge and corrode it with their acidic poop. “The peregrines are ultimately pigeon control,” says Bob Sallinger of the Audubon Society of Portland. “Weird ecosystems evolve around bridges.”

Willamette Week OCTOBER 2, 2013 wweek.com

E VA N J O H N S O N

1966

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Prudent Pension Fund or Secret Stash? While spending millions on light rail expansion and hi-tech toys, TriMet wants passengers to accept fare increases and service cuts; and it wants workers and their families to accept severe income reductions. Among the reasons given for these drastic measures is that the workers’ pension plan is not fully funded.

• At $365 Million (as of 6/30/13), the fund is up 16% over the year before. • At $28 Million, payout to retirees is up only 10% over the year before. • TriMet intends to continue increasing the fund 16% annually; thus, in 2023 – ten years from now, the amount in the fund will total $1.6 Billion.

t triMet t transit worker Pension Fund vs Pension Fund Payout w $2,500.0

$2,205.3

2013-2023 in Millions of $$$

Don’t get uS wrong – we want to make sure our pensions are there when we retire. But, right now, the numbers just don’t add up. TriMet’s 2013 audited financial report (just published) indicates that the agency is taking an unnecessarily extreme approach to pension funding.*

$1,898.7

$2,000.0 $1,634.7 $1,407.4

$1,500.0

$1,211.7

$1,000.0

$500.0

$493.5

$573.2

$665.8

$773.3

$898.2

$1,043.2

$1.53 Billion Surplus

$304.8

$314.9

$365.8

$424.9

$23.1

$25.8

$28.2

$30.9

$33.9

$37.1

$40.7

$44.6

$48.9

$53.6

$58.7

$64.3

$70.5

$77.3

$84.7

2011

2012

2013

2104

2015

2016

2017

2018

2019

2020

2021

2022

2023

2024

2025

Size of Pension Fund

Amount Paid Out in Pension

• If annual payouts to retirees continue to increase at 10% per year, only $70 Million would be paid out to retirees in 2023.

The chart – generated using TriMet’s own numbers – illustrates how wide that gap between the fund and the payout is projected to grow.

Seriously? We are willing to chance earthquakes and bankruptcy if the other choice is a reduction in our families’ livelihood and more loss of services to our passengers!

• The potential difference: a $1.53 Billion pension fund surplus in 2024. (The amount

When TriMet management was asked why there was such a rush to fill the fund – at the expense of the passengers and workers – the response was: “There might be an earthquake, and we’d lose the payroll tax revenue; or TriMet might go bankrupt.”

The issue also leaves a big question in our minds and the minds of our passengers: where is the surplus pension money going to go?

may be even higher, as the pension fund has been closed to new participants since August 1, 2012. As retirees die, which they do at a younger age than the general population, the number of pension checks issued will go down.

*Numbers are taken directly from TriMet’s 2013 Audited Financial Report, page 20.

Look FoR us oN FA F cebook

Sincerely, Your Transit Workers

Let your voice count!

LeARN MoRe AT

tranSitvoice.org

Willamette Week OCTOBER 2, 2013 wweek.com

CITY OF BRIDGES

CONT.

PORTLAND-MILWAUKIE LIGHT RAIL

E VA N J O H N S O N

What now looks like two winged towers in the middle of the Willamette will, when finished, become two arrows aimed at the sky. The as-yetunnamed, $134.6 million bridge will not only stand out as Portland’s only cable-stayed bridge. It will be the only of its kind in the United States that cars can’t use: The 1,720-foot-long transit bridge will allow for light rail, streetcars, buses, cyclists and pedestrians. Standing on the elevated, unconnected decks, you feel afloat, like a polar bear on a small chunk of ice in the middle of the Arctic. You want to touch the slack cables, lying on the deck, that will soon be strung to hold the bridge in place for a century to come. Even in its unfinished form, you want to stare at the towers, where the strands of cables will hang down like a witch’s broom. In the same way Portlanders tell stories of seeing the Fremont lifted four decades ago, watching this bridge take shape is creating a new tale: how we watched it rise and how the decks grew outward, in perfect balance as they simultaneously grew closer to each other and reached for shore.

E VA N J O H N S O N

SCHEDULED 2015

Willamette Week OCTOBER 2, 2013 wweek.com

CONT.

CITY OF BRIDGES

ROSS ISLAND 1926

E VA N J O H N S O N

Except for the freeway bridges, more cars and trucks go over the Ross Island Bridge than any other span, with 55,100 vehicles a day. As Sharon Wood Wortman points out in The Portland Bridge Book, the Ross Island was the first downtown bridge built without a streetcar line—a harbinger of the city’s transportation reliance on cars. This workhorse bridge also carries the city’s lifeblood—Bull Run water. Two 24-inch pipes hang underneath it, running the 2,140-foot length. The pipes deliver almost one-third of the west side’s water—as much as 6 million gallons a day.

SELLWOOD BRIDGE E VA N J O H N S O N

1925, NEW SPAN 2015

From its beginning, the Sellwood was always an outlier. “The described area is sparsely settled,” a city report says of the span, “and lies mainly outside of the city limits and very largely outside of the limits of the county that would have to finance the structure.” That was in 1922. As its ramps weakened and decayed over the decades, the same questions kept being asked: Who was going to pay for repairing or replacing the Sellwood? Multnomah County, which owns and operates it, or residents of Clackamas County, where nearly threefourths of the trips across it begin or end? Clackamas County voters settled it by refusing to help pay for replacing the span (they rejected a $5 annual car registration fee, which would have raised $22 million) and made it a crumbling symbol for something you need but don’t want to pay for. Multnomah County has nonetheless launched the $307.5 million rebuild, making the Sellwood Portland’s first replacement bridge on the Willamette since the “new” Morrison was opened in 1958. “Where there’s a will, there’s a bridge,” says Wortman. The Willamette spans, she says, continue to show us how a city can solve its problems while creating landmarks of its ambition. “There isn’t anything you can’t teach with a bridge,” she says.

Willamette Week OCTOBER 2, 2013 wweek.com

WHAT ARE YOU WEARING?

STREET

FULLY VESTED SLEEVES ARE FOR SUCKERS. PHOTOS BY EIKO EMER SLEB EN , MOR GA N GR EEN -HOPKIN S, AU T U MN N ORTHCR A FT, A N D RO TA M wweek.com/street

Willamette Week OCTOBER 2, 2013 wweek.com

CULTURE

gaming

128 BYTES AND 35 YEARS LATER, PEOPLE ARE STILL MAKING NEW GAMES FOR THE ATARI 2600. By pe t e cot t e l l

pcottell@wweek.com

One summer day in 1989, my family found an Atari 2600 at a yard sale. Even then, it was a wood-paneled relic of a simpler time, before slap bracelets or mutated turtles. My parents were happy to fork over $10 for a withered Bankers Box stuffed with a pair of controllers and enough games to keep 5-year-old Pete enchanted for months. I was completely addicted. At bedtime, they’d have to pry the controller from my hands. Then, a few months later, I came home from soccer practice to find a sleek, gray Nintendo NES waiting for me. I’m not even sure what happened to the Atari; it might still occupy a milk crate in my parents’ basement. After almost a decade of getting fireballed and jump-smashed by a certain coin-collecting guido, Atari finally pulled the plug on the 2600 in 1992. The Atari brand changed hands several times before falling into bankruptcy early this year. But Atari looks ready to live forever—and not just because some guys can’t froghop across the pond, beat Bowser and move on to drive-by shooting hookers. There are still new games being made for the Atari 2600 35 years after it was first released. And the old ones are getting better, thanks to programmers fixing Carterera coding glitches and even trying to fix the problems with the unplayable E.T. cartridges that crashed the video-game industry in 1982 and supposedly ended up dumped in the New Mexico desert. That’s why this weekend’s Retro Gaming Expo at the Oregon Convention Center isn’t just about fetishizing antique electronics but about celebrating new ingenuity. In 1995, a hobbyist named Harry Dodgson effectively created the first “homebrew ” Atari game from cannibalized cartridges purchased in bulk from a local Big Lots. The game was a rudimentary program used to test computer monitors, but the idea of DIY Atari programming was all the old-school enthusiasts needed to keep the dream alive. For Rick Weis, the love of Atari was rekindled in 1998 while helping a friend rip 2600 programs onto hard drives for storage. Like a lot of Atari hackers, Weis, now 50, says he returned to games like Pac-Man not for warm-and-fuzzy feelings of nostalgia, but for simpler gameplay. “You have to play these modern games 26

Willamette Week OCTOBER 2, 2013 wweek.com

for weeks on end to get into them,” says Weis, a truck driver from Vancouver, Wash. “You can pick up an older game and play it for 15 minutes to get your fix. A lot of these games are still very fun.” But since no one is making those games commercially anymore, homebrew gamers took over. Weis began to hack old games with friends, tinkering with the code of existing games to alter features like text, color or the speed of gameplay. The primitive code is still tough to handle, and there’s no money to be made, but it’s fun to push a clunky old system to its limits, he says. “People get into homebrewing for the love and the challenge,” Weis says. “Being able to make a game for the 2600 is very tough. Part of that challenge is finding new ways to make this old system run more efficiently.” So kitchen-table programmers like Chris Trimiew, 31, admire the DIY potential of the 2600: “The fact that you can be one guy and sit down and make a game is incredible,” Trimiew says. “For most people, they had a dream of making games when they were a kid sitting and playing Combat on a black-and-white TV in their grandma’s basement and they said, ‘Hey, I wanna do that someday.’ It’s not something you can do with a modern game.”

“WhaT’S iNTERESTiNG TO ME iS STRiPPiNG ThE GaME dESiGN dOWN TO JuST ThaT aNd NOT haviNG aNy ExTRaNEOuS STuff TO diSTRaCT fROM ThE GaMEPLay.” —chris trimiew

After getting laid off from Blount International in 2008, Trimiew used his knowledge of C++ coding to translate wayward prototypes of obscure Nintendo and Super Ninitendo games from other countries for American gamers. A collector friend from Longview, Wash., eventually asked for help with a homebrew of his own creation, and out came Road Warriors. Rather than mass-produce the product, Trimiew sold a uniquely packaged limited run of the game at last year’s Retro Gaming Expo, which included a die-cast car, an air freshener and a hand-numbered cartridge. The ini-

daNa PERaSa

PAC FROM THE GRAVE

tial run of 41 copies sold out in a day. “For me, it’s being able to figure out a way to make simple games that are fun to play, and the other part for me is the challenge of it,” he says. “I’ve done other consoles, and working with the Atari is the hardest console I’ve ever worked with. Parts of it just don’t make sense. But the game design is so simple by necessity that it really allows you to pick one or two elements to focus on and do them extremely well. What’s interesting to me is stripping the game design down to just that and not having any extraneous stuff to distract from the gameplay.” How good could such a simple game be? There’s a Portland-centric urban legend about a game called Polybius, which had an addictive effect on gamers. As the story, which has been referenced on The Simpsons, goes, the Polybius cabinet was planted in a Portland arcade by the government as a seizure-causing mind-control device. The game is usually described as involving giant flashes of fast-moving colors. Weis asked Trimiew to re-create it for the Atari. “I emailed him back in five minutes and told him there’s no way in hell you can pull off something that complicated on an Atari. Your microwave has infinitely more processing power than an Atari 2600 does,” Trimiew says. “I started toying around with it and came up with an idea, maybe even in a dream, of how it could work. There’s all the subliminal messages and stuff like that—it was just one idea grown

on another and another. Then I emailed him back about four months ago and said, ‘Let’s do it.’” Trimiew will be selling a small batch of around 30 copies of Polybius at this year’s Retro Gaming Expo. He expects it to sell out in less than an hour, even though it costs almost as much as Grand Theft Auto 5 or Call of Duty. “With a lot of new games, you play through the story once and it’s a great ride for that six to 30 hours, but when you’re done with that, what’s left?” Trimiew says. “You can play through it and relive the same exact thing. With these older games, most of them are based on points and trying to beat yours or some other guy’s best score.” And Portland is the perfect place to keep it alive, he says. Thank the hipsters. “I think Portland is a culture that has a lot of nostalgia and a lot of memories wrapped up with when they were children,” he says. “You don’t see these people making Atari games and organizing these huge conventions in other places like the Midwest. It’s just comical to imagine some guy sitting on a farm in Wisconsin programming an Atari game. Why would you do that? It’s such a ‘Portland thing’ that I don’t think it even seems out of the ordinary to us.” GO: The Portland Retro Gaming Expo is at the Oregon Convention Center, 777 NE Martin Luther King Jr. Blvd., retrogamingexpo.com, on Saturday (9 ammidnight) and Sunday (9 am-5 pm), Oct. 5-6. Weekend passes are $25 in advance, $30 at the door.

hotseat

NEWCOMER AMY MILLER EXPLAINS PORTLAND’S COMEDY BOOMS AND BUSTS. By m a rt i n c i z m a r

mcizmar@wweek.com

mic thinking it’s easy, 99 percent of the time they have a very different opinion three minutes later. There’s no reason the “frustrated cranks” can’t blossom into beautiful comedy flowers. Yes, yes, there are some really fucking terrible comedians in Portland just like in every other place. But it’s like you have this idea that there are hordes of terrible comic zombies wandering from open mic to open mic, never getting laughs, and going home feeling like they’re killing it. The difference between comedy and mandala-making is that it’s pretty easy to spot comedy quality with an untrained eye. Laughter is the barometer. Not every comic gets laughter every time in every room, but we all have a batting average. Ultimately that batting average will determine what kind of team we get to play for. Maybe we stay on the bench and do open mics forever. Maybe we end up playing in the majors. Plenty of us hit that occasional home run that keeps us motivated. Even if it only happens once a month, that one feeling is so goddamned exhilarating, it almost makes up for all the nights on the bench. Who am I to deprive anybody of that feeling when I know how great it is?

scene” because if I don’t, it’s an insult to Dwight Slade and others who were doing comedy in Portland when Ron and Ian were still in baby-sized cargo shorts holding teeeeny, tiny sandwiches. I understand why chefs, writers, musicians, brewers, roasters, unicyclists, letter-pressers and mandalamakers move to Portland. There are people here doing all those crafts as well as anyone in the world. But if you’re in standup comedy, aren’t most of the opportunities in New York and L.A.? Are there letter-pressers in Portland raking in cash and fame? I’m assuming there are letter-pressers living a nice life doing what they love the most creatively and making rent each month, while never necessarily becoming the most famous letter-pressers in the whole wide world. There’s plenty of opportunity here to work in comedy without leaving. Shows like Portlandia and Grimm are getting comics some onscreen time, Ian had his Comcast Sports gig and Bridgetown has turned plenty of industry heads our way. The club work seems steady enough and

Cat photos. Cat photos. Girls in yoga pants. Cat photos. Tupac shrine. Pizza. Purple weed. Arrested Development GIFs. Wait, what’s this on my Tumblr feed? Oh, it’s Beaverton-bred standup comic Ian Karmel, who recently gave up his Portland Mercury column and moved to Los Angeles to write vodkatini jokes for Chelsea Handler. He’s angry about a bit in WW’s Fall Arts Guide. “I understand the intrigue of the struggling comedian archetype,” Karmel wrote. “The sad clown, the mentally anguished outcast griping to a room full of people just trying not to meet his gaze. That kind of comedian exists, but if you’re to believe Willamette Week, that’s pretty much it…. If anyone from Willamette Week reads this, I urge you to please go see what’s going on in the Portland comedy scene. Go see the astounding, innovative minds that are at work almost every single night.” Uh oh, it’s again time to hit up Ian on Twitter. Martin: Saw your sad-clown note. Give me five “astounding, innovative” comedy events next week and we’ll send reporters to all of them. Ian: I’m not going to do your job for you. Stop making this about me. Go cover some actual shows that send you press releases. Martin: Every time we cover comedy, I hear from you about how we missed the good stuff. So I’m asking you: give me one week of good stuff. Ian: Is your Google broke? Quit being glib and do your fucking job. Other Portland comedians then stepped in. Several miller week: Amy miller moved from long email exchanges, 200-odd tweets, and four hours of San Francisco to Portland to tell jokes. YouTube sets later, I picked Amy Miller, a local who is both insightful and talented, to answer some questions about the Portland standup scene and provide picks for you can either live cheaply while working locally and three solid shows this week. going on the road, or you can make a preliminary name for yourself in New York or L.A. while living in Portland. WW: How long have you been in Portland? People here want to see comedy as much as they want to Amy Miller: I’m creeping up on 10 months. I moved for see a great unicycle show. some inexact combination of the following things: a rad Denver and San Francisco are great examples of “nonjob in music, Portland comedy, a way out of San Fran- industry” towns that forced the industry to come to them cisco’s horrific tech scene that didn’t involve moving because of what they were building locally. It feels to me back into the warm embrace of my baby Oakland, and to like Portland is on the brink of that happening. And not to afford living alone with an actual door on my bedroom. sound like that “location doesn’t even matter, man, ’cause But mostly I moved here so I could show up and become a the Internet brought us together” guy, but it has actupublic authority on something people have been building ally broken down some of the regional comedy boundaries. locally without me for years and years! When a bunch of us transplants arrived this year—me, Curtis Cook, Barbara Holm, David Mascorro—the local Ian Karmel and others have pointed out that our comics were less like, “What’re they doing here,” and more comedy scene has brought transplants from bigger like, “Fuck yeah, what’s your name, let’s get brunch!” cities. Why? The Bridgetown Comedy Festival is a huge part of it. Visit- I see standup as a wonderfully pure medium that’s ing Portland during Bridgetown is like going to Austin dur- hard to do well. Steep learning curve, looks easy, ing SXSW. You leave convinced you should live here and opinions of what’s “good” range widely and it offers your days will be filled with great comedy, free beer and the opportunity to stand in front of a crowd complainpizza, creative collaboration and sunshine. Also, there are ing. Add it all up, and the lower tiers are clogged with two great clubs in town—I love working at Harvey’s, some frustrated cranks. Am I totally wrong? comics don’t; they can eat my butt—and a ton of showcas- We’re in the middle of a comedy boom. That’s a good thing. es, multiple open mics almost every night, and steady paid I doubt the mandala-makers of Portland are upset that so work within a few hours’ drive. Audiences here are very many less-skilled mandala-makers are flocking to town, open and appreciative of comedy, and comics like Ian and creating more exposure for mandalas, increasing demand Ron [Funches] have worked to put the current scene on for mandalas, and ultimately selling a shit-ton more manthe map with a palpable sense of local pride. I say “current dalas. And if anyone ever goes into their first comedy open

JAsOn tRAeGeR

SCENE SETTER

COMEDY

You’re quite good at your craft. Does seeing comedians who are really bad bother you? No, it doesn’t. Because some nights—many nights—I am that comedian. Who am I to say what’s bad? It’s up to the audience. Since I know literally dick about comedy, I listen to comics I respect. I listen to Louis C.K. and Patton Oswalt, and the thing they all seem to say is that they started off bad and just worked at it. They say, “Perform as often as possible and accept that you’ll just be bad for a while.” As a comedy fan, how can you love Louis C.K. but hate exactly what he points to as his origin, which is just terrible young comics onstage? We all want to create great comedy overnight. But if great and relatable comedy is your ideal, then skipping the terrible and awkward parts is just some fucking Weird Science version of standup and you’re wearing a bra on your head and trying to make Kelly LeBrock instead of talking to the hot girls your own age. We caught flak from Karmel and other comedy scenesters for writing about an open-mic night in a piece where we also wrote about auditions for a play, a ballet rehearsal and a tagging session without complaint. Are comedians overly sensitive or are we assholes? My short answer is yes and yes. My long answer is that those two pieces would have stung a little bit less if WW had made any effort to cover the local comedy showcases in town or profile local comedians. An open mic is a safe space. We’re allowed to be shitty there. The ballet rehearsal didn’t shake out to a reader concluding they shouldn’t go see that ballet or any ballet in Portland because the dancer fell a few times during practice. For whatever reason, out of 24 arts profiled, comedy was the only one that got shit on. Dramatic words were used, images of carnage were conjured. As one of two times your paper mentioned the local comedy scene this year—the other also being about people bombing at an open mic—aside from event listings, it was just kind of absurd. Taken as one of many mentions, it might have been funnier. We do have a sense of humor, after all. Reviewing an open mic is the equivalent of watching a homeless dude play guitar in the subway and then saying the whole town’s music scene blows. GO: We asked Amy Miller to pick three great comedy shows in the next week. Here’s what she recommended: WednesdAy, Oct. 2—Whitney streed’s Weekly recurring humor night at tonic Lounge. 9 pm. Free. sean Jordan, Zak toscani, Anthony Lopez, Bri Pruett, christian Ricketts, Gabe dinger, curtis cook, Liz Meile, shane torres and Phil schallberger. sAtuRdAy, Oct. 5—comedy for Breakfast at club 21. show up at 12:30 pm. Get bottomless mimosas for $10. It’s run by campy draper of The Spicy News. Amy Miller, danny Felts, Anthony Lopez and derek sheen. MOndAy, Oct. 7—it’s Gonna be oK with Barbara holm at eastBurn. 8:30 pm. Free. Katie Rose Leon, Jon Washington and Gabe dinger. Willamette Week OCTOBER 2, 2013 wweek.com

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SCOOP THIS GOSSIP BARELY AVOIDED THE SHUTDOWN. SALTY SiTuATion: There’s a storm swirling at Salty’s on the Columbia (3839 NE Marine Drive). The answering machine for the restaurant, which closed Sept. 24, says it shut down temporarily for an “unforeseen maintenance issue” and will reopen in October. But meanwhile, Salty’s manager Linda Addy resigned that week from her post, and has co-filed an application with the restaurant’s landlord, Peter van Schoonhoven, for a liquor license on a new restaurant called the Catch—in Salty’s space. “I don’t know what Linda and our landlord are trying to do,” says Salty’s on the Columbia managing partner Nick Nordby, who adds the restaurant still holds the lease. “Gerry and Kathy [Kingen] own the restaurant. We’re remodeling our kitchen and we’re reopening.” Van Schoonhoven says he ousted Salty’s after the owners violated their lease conditions. Salty’s filed a request for civil injunctive relief Sept. 24. A hearing is scheduled Oct. 3. More details at wweek.com. fiLmed in oregon: Those mourning the end of Breaking Bad may find small solace in House of Last Things, a supernatural thriller set in Portland starring RJ Mitte (Walter White Jr., aka Flynn, in the TV series). Writer-director Michael Bartlett’s film follows three housesitters, including Mitte, who discover their temporary suburban residence isn’t so friendly. Most of the film was shot in Portland, with some Willamette Valley vineyards standing in for Italy. It’s still on the film-festival circuit and has no release date yet. >> In other local-related movie news, the first cinematic adaptation of David Sedaris’ essay about picking apples and carving jade clocks in Oregon opens this weekend. See our review on page 56. gimme modA more: There will be no free chalupas at the Moda Center (née Rose Garden), but there will be hamburgers topped with peanut butter and bacon. Last week, a press release announced that beloved local food joints Killer Burger, Fire on the Mountain, Sizzle Pie and Bunk Sandwiches will all be selling grub at Blazers games. This is one food trend where Portland is way behind the curve—Primanti Brothers has long served disgusting french-fry sandwiches in Pittsburgh at Pirates and Steelers games, while New York Mets fans can get Shake Shack fast food, and Seattle’s Safeco Field peddles seafood from local chain Ivar’s. >> In other expansion news, Mi Mero Mole, Nick Zukin’s taqueria on Southeast Division Street, is coming to Chinatown. The new location will be at Northwest 5th Avenue and Couch Street and have a similar menu. AT WWeeK.Com: Online this week, a review of Justin Timberlake and Ben Affleck’s new flick, Runner Runner, a preview of the Oregon Ducks-Colorado Buffaloes football game, a Vice writer’s response to our defense of Portland’s hip-hop scene and reviews of local comedy shows.

Willamette Week OCTOBER 2, 2013 wweek.com

CLOuDCOVER FILMS

NCNM Clinic Open House Saturday, Oct. 5 • 1 – 5 p.m.

30 34 51 53

W W S TA F F

Women’s Health, Naturally

FOOD: Oregon-made vermouth. MUSIC: Hazel and the rest of the OMHOF class of 2013. VISUAL ARTS: Portland Art Museum’s expansive new show. BOOKS: Wordstock panelist Monica Drake on absurd comedy.

HEADOUT WHICH 2013 WORDSTOCK PANELS SHOULD YOU ATTEND?

H E AT H E R B L A C K

WILLAMETTE WEEK

WHAT TO DO THIS WEEK IN ARTS & CULTURE

WEDNESDAY OCT. 2 LITHOP PDX [BOOKS] Author and publisher Kevin Sampsell has put together a massive bar hop and book reading along Southeast Hawthorne Boulevard. Venues from punk dive Bar of the Gods to the older-thanschool Eagle Lodge will host 52 authors over three hours, including Matthew Dickman, Lidia Yuknavitch, Pauls Toutonghi and Emily Kendal Frey. By the end, all readings are slurred. Various venues on Southeast Hawthorne Boulevard. 7 pm. Free. See lithoppdx.com for details.

FRIDAY OCT. 4

AND YOU’VE ACTUALLY WRITTEN SOMETHING?

IN FULL SENTENCES, WITH PARAGRAPHS?

YOU PREFER TO READ TRUE LIES OVER TRUE FACTS?

WRITING GUIDES: HELP AND INSPIRATION FOR YOUR JOURNEY Sunday, Oct. 6, 1-2 pm

FOR PEOPLE WHO CAN DRIVE A CAR? POETRY BOOK PUBLISHERS Saturday, Oct. 5, 10-11 am

DO YOU LIKE CREEPY THINGS?

ARE YOU A 14-YEAROLD GIRL (OR A MIDDLE-AGED WOMAN WITH STEAMY THOUGHTS?)

WRITING FOR CHILDREN & TEENS Sunday, Oct. 6, 11 am-noon

BEYOND TWILIGHT: THE FUTURE OF Y.A. PARANORMAL LITERATURE Sunday, Oct. 6, noon-1 pm

INTRODUCING FOUR UNIQUE DEBUTS FROM INDEPENDENT PUBLISHERS Sunday, Oct. 6, 2-3 pm

OK THEN, REPUBLIC OF CASCADIA: TOTALLY IMPORTANT PLAN?

ON & OFF THE MENU: PDX CHEFS Sunday, Oct. 6, noon-1 pm

BUT YOU LIKE WILD ONIONS? IN THE WILD?

WRITING THE GREAT OUTDOORS Saturday, Oct. 5, 5-6 pm IN YOUR OWN BACKYARD: THE NORTHWEST NOVEL Sunday, Oct. 6, 2-3 pm

A SONGWRITER, A NOVELIST, & SOME POETS WALK INTO A BAR (WITH NICHOLSON BAKER & CHERYL STRAYED) Saturday, Oct. 5, noon-1 pm

THE DARK SIDE: CREATING SUSPENSE (WITH CHELSEA CAIN AND A.M. HOMES) Saturday, Oct. 5, noon-1 pm

DO YOU SPEND YOUR FREE TIME THINKING ABOUT THE TRANSFORMATIVE POWERS OF ONIONS?

DID YOU THINK THE ENDING OF BATTLE STAR GALACTICA WAS A TOTAL COP-OUT?

WILL IT MAKE OPRAH CRY?

PUBLICITY & PUBLISHING SECRETS NO AUTHOR CAN AFFORD TO LIVE WITHOUT (AND SOME GOSSIP, TOO!) Saturday, Oct. 5, 1-2 pm

GARY CLARK JR. [MUSIC] On Blak and Blu, the 29-year-old guitarist spins through alternating shades of the blues— reverb-ﬂooded slow burners, fervent R&B crooners, woozy hip-hop laments—but the grab bag works, because he possesses the scorching chops to back it up. Roseland Theater, 8 NW 6th Ave., 224-2038. 8:30 pm. $39.50 reserved balcony, $27.50 general admission. All ages.

OUR ROBOTS, OURSELVES? Sunday, Oct. 6, noon-1 pm

GO: The Wordstock Festival writers’ panels are at the Oregon Convention Center, 777 NE Martin Luther King Jr. Blvd., wordstockfestival.com, on Saturday and Sunday, Oct. 5-6. 9 am-6 pm. $9 per day in advance, $11 at the door, $5 children 13 and under.

YOU FIGHT ABOUT MISOGYNY MORE OFTEN THAN THE ECONOMY WHEN ON THE INTERNET?

GREAT AMERICAN DISTILLERS FESTIVAL [LIQUOR] Your chance to sip ﬁne craft spirits from Portland and beyond. The responsible move is to go in with a little list of things you’ve never been willing to buy a bottle of. Tiﬀany Center, 1410 SW Morrison St., distillersfestival.com. $25. 5-10 pm. Continues 1-10 pm Saturday.

SATURDAY OCT. 5 FRESH HOP BEER FESTIVAL [BEER] The Willamette Valley is one of the country’s two major growing regions for hops, the bitter little flower cones that make beer taste not like sugar piss. Here, they’re fresh from the fields and into the brew kettles. Oaks Amusement Park, 7805 SE Oaks Park Way. Noon-8 pm. Also 5:30-8:30 pm Friday. $15. LOUIE LOUIE DAY [MUSIC] The Kingsmen’s incoherent, definitive version of “Louie Louie” took on a life of its own almost immediately after it was spawned in a downtown Portland recording studio in 1963. This daylong 50th-birthday party for the ultimate garage-rock nugget coincides with the Oregon Music Hall of Fame induction ceremony. Aladdin Theater, 3017 SE Milwaukie Ave. 7 pm. $25 advance, $30 day of show for general admission. $100 advance, $110 day of show for VIP seating. Under 21 permitted with guardian.

SUNDAY OCT. 6 BITCH MAGAZINE: POSTFEMINISM IN ARTS & LETTERS (WITH JANE SMILEY AND SUSAN CHOI) Sunday, Oct. 6, 3-4 pm = YES

BEYOND WORDS: BREEDING SOCIAL JUSTICE OFF THE PAGE Saturday, Oct. 5, 11 am-noon

= NO

DETROIT [THEATER] Portland Playhouse opens its sixth season with Lisa D’Amour’s 2010 Pulitzer Prize ﬁnalist, a dark comedy about two couples facing ﬁnancial insecurity in a nameless suburb. Over barbecue and too much cheap beer, sunny chitchat turns into something much bleaker. Portland Playhouse, 602 NE Prescott St., 488-5822. 2 pm. $30.75-$38.75. Willamette Week OCTOBER 2, 2013 wweek.com

FOOD & DRINK DEVOUR E VA N J O H N S O N

= WW Pick. Highly recommended. By JORDAN GREEN. Editor: MARTIN CIZMAR. Email: dish@wweek.com. See page 3 for submission instructions.

WEDNESDAY, OCT. 2

PUMPKIN PATCH, PIG RACES, MAZES & More...

Sauvie Island’s Farm to City

It’s over. The summer is gone, and it’s back into the muck and gray. I try and get excited about fall—the chili and the pumpkins and whatnot—but, really, I just want it to be summer all the time. Anyway, here’s a dinner prepared from Sauvie Island-grown food. That’s the island north of here with the big pumpkin patch. I guess we’d better make a trip out there. It’s fall, after all. Ecotrust, 721 NW 9th Ave., Suite 200, 227-6225. 6-8 pm. $30-$35.

FRIDAY, OCT. 4 Beer-O-Lympics Pub Crawl

On the day you aren’t attending the Great American Distillers Festival (or the Portland Fresh Hops Festival), you can punch your liver in the kidneys at Beer-O-Lympics Pub Crawl, put on by the ﬁne folks at Beer Quest PDX. This month’s event hinges on Alberta. The street, not the province. Alberta Street Public House, 1036 NE Alberta St., 284-7665. 7:30 pm Friday and Saturday, Oct. 4-5. $25.

Great American Distillers Festival

Ah...just the thing to help me forget about the impending eight months of damp: liquor! This year’s festival will be at the same place I went to Winter Formal. It was a magical time, to be sure, but with way less drinking. According to the Great American Distiller Festival’s lowrent website, the focus this year is on beer cocktails, a joyous, foamy merger of two great things. Tiﬀany Center Crystal Ballroom, 1410 SW Morrison St., 234-5404, ext. 25. 5-10 pm Friday and 1-10 pm Saturday, Oct. 4-5. $25 for 10 tasting tickets, $49 buﬀet, $59 dinner.

Karaoke 9pm nightly Hydro Pong Saturday night

SATURDAY, OCT. 5 I get HAPPY 4-6pm Tues-Fri $3 menu

Tuesdstaryy: Fun Indu Night!

Portland Fresh Hops Festival

Dragon Lounge

Chinese-American Restaurant

2610 SE 82nd at Division 503-774-1135 Ho Ti

Read our story: canton-grill.com

Experience Lebanese cuisine at its best Bring this ad in for $10 off with a purchase of two entrees

Belly dancing Friday and Saturday evenings 223 SW STARK STREET PORTLAND, OR 503-274-0010 ALAMIRPORTLAND.COM 30

Willamette Week OCTOBER 2, 2013 wweek.com

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If you were looking for a little hair of the dog from last night’s pub crawl/ pregaming for the distillers festival, then you’d best keep the bender going, because you are going to be in deep pain when it’s all over. Or how about you skip the pub crawl and take your taste buds to the bone zone with a truckload of fresh hops. More fresh hops, please! Just mound ’em right up there, so’s I can eat ’em raw. Oaks Park, Southeast Spokane Street and Oaks Park Way, 233-5777. Noon-8 pm. $15-$40.

Red Ridge Farms Harvest Dinner

Oh, that’s right...with all that alcohol talk, I almost forgot it was fall again. Soon the green leaves will wither and fall to the ground, leaving the trees to lift their bare arms to the heavens, appealing in vain to an indiﬀerent sky. Soon food will grow scarce for the animals, and hungry coyotes will howl into the night, chilling the bones of small mammals still alive, huddling against each other in a desperate bid to ward oﬀ the icy embrace of death. Oh, this harvest dinner is being held at a winery? Drink up, everyone! Red Ridge Farms, 5510 NE Breyman Orchards Road, Dayton, 864-8502. 6-9 pm. $135.

St. Johns Oktoberfest

I asked my buddy who lives in St. Johns if this Oktoberfest is any good. He told me “no,” and that guy loves to drink. Sorry, St. Johns Oktoberfest, but you’re going up against a murderer’s row of events. St. Johns Theater & Pub, 8203 N Ivanhoe St., 283-8520. Noon-9:30 pm. Free.

ANGEL FOOD CAKE: Highway to Heaven cupcakes doused with salted caramel.

THE SUGAR CUBE On the blackboard behind the glass counter at her new bakery on Northeast Alberta Street, Kir Jensen has chalked “No guilt, just pleasure.” You’re going to need to buy into that philosophy, at least until your order is safely logged on the shop’s iPad. Order this: Chocolate blackout cake Walk into the Sugar Cube ($6) or strata ($6.50). like Corey Booker walks into Best deal: Cowgirl cookie ($2). a vegan strip club, and walk out with contact info for the decadent chocolate blackout ($6), three layers of soft, spongy cake and cocoa icing roofed by a thin layer of roasty caramel. While the recipes are lavish, the Sugar Cube’s space is minimalist: a half-dozen wood tables and a small high-top counter outfitted with kombucha by the jug and copies of Dwell and Real Simple. It’s a nice place in the breakfast hours, when you’ll fi nd toast topped by Portland-made, neighborhood-specific Bee Local honey and strata, an egg-and-bread casserole baked below a thick blanket of sharp cheddar. That strata ($6.50) will best any quiche in town with its flaky crust, juicy hunks of mushroom and bright pops of tomato. But Jensen has always been best known for her desserts, which include the infamous “ultimate” brownie ($3.50), with rich ganache and olive oil, and the fluffy “crack” coffeecake muffins ($3.75), with marionberry and pecan-inflected streusel. I left the Sugar Cube with $26 worth of treats, and the best criticism any WW staffer could level at anything was a complaint about the lack of contrast between the citrus almond cake’s hyper-lemony curd center and extremely lemony zest-heavy cake. But you couldn’t buy two boxes of baked goods from any other place in town and have so many direct hits. Remember this as you order: no guilt, just pleasure. MARTIN CIZMAR. EAT: The Sugar Cube, 3039 NE Alberta St. 971-202-7135, thesugarcubepdx.com. 8 am-5 pm Wednesday-Sunday. $.

DRANK

BITTERSWEET VERMOUTH (IMBUE) Oregon makes great gin. You could cheerfully surrender all 10 of your drink tokens at this weekend’s Great American Distillers Festival at the Tiffany Center for nothing but sips of Aria, Aviation, New Deal, Peters Family, Rogue and Ransom. But when it comes to the other piece of the martini-shaped puzzle, vermouth, your only local options come from Imbue, which is based in Gaston, 30 miles west of town. The company’s Bittersweet Vermouth is Oregon pinot gris fortified with a splash of Clear Creek brandy and lathered with bitter herbs, clove and orange peel. At 17 percent alcohol, it functions well as a cocktail on the rocks. This is a complex spirit, and hard to ascertain exactly what you’re tasting at any moment. Cocoa? Oolong tea? Tangerine? It’s even better in the 50/50 martini recipe on the back of the label. If you spot it at the distillers festival, use one token for Imbue, another on Aria and bum a few dashes of orange bitters. Recommended. MARTIN CIZMAR.

FOOD & DRINK AMANDA WIDIS

REVIEW

PEPPER PLATE: Prehispanica’s chile relleno.

HISPANICA INCOGNITA ROUGH-CUT MEXICAN RESTAURANT PREHISPANICA STILL EXCELS IN PLACES. around the horn of Mexico City and south to Oaxaca. A particular strength is the dinnertime Just one block south of Tasty n Alder and pescado empapelado ($17), a whitefish served across from Saint Cupcake, at the dusty fron- tender and juicy in paper, with tomatillo and tier of the past year’s West End restaurant mint, as well as a generously decadent bisteces boom, lies something vanishingly rare in rellenos ($11) stuffed with a bacon-and-pork Portland: an upscale-casual, family Mexican roulade. A thick, flavorful cream of poblano restaurant with aspirations beyond the coun- soup with corn ($5) was enlivened by serranos. Still, the restaurant doesn’t seem to have ter taqueria or hot-plate-don’t-touch platters laden with salty-sweet enchilada sauce and garnered much business since it opened in June, and on one visit this meant that the soupy refrieds. mussel appetizer ($8) and Prehispanica’s interior shrimp empanada ($5) did is an airy and pleasant mix Order this: Either of the pescado dishes not weather the wait for a of white tablecloths, muted for dinner, a relleno for lunch. customer; both smelled like pink and bright orange, with Best deal: A cheese empanada ($5) and a wharf. (The mushroomburnished-wood floors and a black-bean or poblano soup ($5) is a full meal for dinner. poblano-oaxacan empanada charmingly domestic fondfared significantly better.) ness for little butterflies as I’ll pass: The freshness problems of the The Mexico City classic decorative elements. But shellﬁsh need to be sorted out. carne a la tampiquena from the exterior it’s almost invisible, camouflaged into sidewalk brick and (Tampico steak, $18) was a bit tough of beef the mottled gray of its building; almost no one and gummy of cactus, however delightful the accompanying plantains. I’ve asked seems to know it’s there. The pollo en mole ($16) is its own beast This is a shame. While the restaurant is far from perfect, it’s a lovely place to spend a lunch entirely—one of the more intense moles I’ve break or an early evening sipping a stiff margari- yet encountered; sharp and spicy and as dense ta of lime or mango or grapefruit. The tomatillo as a tan tan peanut sauce, with sesame sprinsalsa, served with fresh and fluffy tortilla chips, kled on top and notes so dark it’s almost as if it is one of the best I’ve had here or elsewhere, contained soy. It is an ambitious dish with no with a stems-and-all approach to cilantro that small amount of decadence, and I’m very affectionate toward it. But bite after bite after bite, makes it almost resemble chutney. The complimentary tortillas are thick and it still eludes me whether I like it. The restaurant is probably best considered substantive, roughly granular in a way one associates with hand grinding. And the servers are a a work in progress, with some terrific highs particular breed of friendly I’ve come to appre- and some perplexing disappointments. But aside from Amelia’s in Hillsboro or ciate especially in the American Southwest: smilingly indulgent, but always a little amused Loncheria Mitzil in Oregon City, Prehispanica is with your existence, as if you’ve just asked for a model family restaurant much missed in these parts. This is reason enough to wish it well. an extra piece of candy at bedtime. Prehispanica, I should note, doesn’t actually serve Prehispanic cuisine. There’s cheese from EAT: Prehispanica, 1135 SW Morrison St., 224-1207. 11:30 am-2 pm, 5 pm-10:30 pm daily. fresco to Cotija to Oaxacan, beef at whim. The cuisine seems to range roughly from Veracruz BY M AT T H E W KO R F HAGE

mkorfhage@wweek.com

Willamette Week OCTOBER 2, 2013 wweek.com

ST. JOHNS BRIDGE PORTLAND, OREGON http://wweek.com/bridges

E VA N J O H N S O N

2013

CITY OF BRIDGES

MUSIC COURTESY OF SUB POP

PROFILE

THE LEGEND OF HAZEL A STORY OF BEARDED CUPIDS, CHRISTMAS LIGHTS AND PORTLAND’S FAVORITE SONGWRITER. BY M AT T H E W SI N G E R

msinger@wweek.com

Hazel didn’t care about being famous. It only wanted to be legendary. Which helps explain the Christmas lights. The power-pop foursome, led by singersongwriter Pete Krebs, played its first show on Valentine’s Day 1992, at a screen-printing warehouse in Southeast Portland. Naturally, dancer Fred Nemo dressed as Cupid, wearing a pink tutu and brandishing a promotional Robin Hood: Prince of Thieves bow he used to fire plush arrows into the crowd. In addition, the rest of the band tangled itself up, rather uncomfortably, in yards of blinking holiday lights. Why? Because that’s what legends do. The bulbs shorted out 30 seconds into the first song, but no matter: If legend is what Hazel was aiming for, it could’ve broken up the next day and been secure. Still, when Krebs learned his old band was going to be inducted into the Oregon Music Hall of Fame, he was floored. “I guess I always sort of felt the band was… not an anomaly, but we were just kind of a freaky band,” Krebs says, sitting cross-legged in a small second-floor den in his Northeast Portland home, his dog, Willie the Shrimp, sprawled at his feet. “We didn’t get together with any intent of doing anything else but play rock-’n’-roll shows. So to have an acknowledgement like this is just sort of above and beyond, if you’d spoken to me 22 years ago, what I would’ve expected to happen.” Until this year, Krebs, 47, tried to keep the notion of “legacy” at arm’s length. But this is the second time in eight months that his legacy has reached out and smacked him in the face. In February, Krebs was diagnosed with desmoplastic melanoma, a rare form of cancer unresponsive to chemotherapy, brought on by the radiation he received to treat the Hodgkin’s lymphoma that afflicted him in his early 20s. His wife, Birdie, sent out a message online, soliciting donations to help with the 34

Willamette Week OCTOBER 2, 2013 wweek.com

medical bills. The response was immediate: Within 24 hours, the fundraiser well surpassed its goal. Peter Buck of R.E.M. donated $5,000. Colin Meloy later headlined a series of benefit concerts. And thus far, the surgery to remove the cancer appears to have been successful. If he didn’t know it before, it’s undeniable now: Pete Krebs is, indeed, a legend. Of course, when he stepped onstage that night in 1992, looking like he’d just walked out of a display at Peacock Lane, the only impact Krebs was hoping to make was on the audience. That isn’t to say he never thought about the future, though. Quite the opposite, actually. According to his bandmates, in the Hazel days, every move was made with the hope of being remembered.

“EVERY TIME I’VE TRIED TO BE SUCCESSFUL IN MUSIC, I’VE FAILED MISERABLY.” —PETE KREBS “All those decisions that came our way in 10 years playing out generally came back to, ‘Does that decision contribute to making us legendary or making us famous?’” says bassist Brady Smith. “It helped us understand what we were about, which isn’t fame or fortune—it was about staying true to what ‘legendary’ represented to us.” Krebs and Smith met while shipping posters for an art gallery in what is now the Pearl District, bonding over a love of Hüsker Dü and the Pixies. At the time, Krebs was coming off the implosion of his first band, the aggressive (and unfortunately named) Thrillhammer. Up in Smith’s attic, the two began writing what would eventually become Toreador of Love, Hazel’s first full-length record, with Krebs leaning in a more tuneful direction. They had songs, but needed a drummer. On the recommendation of Smith’s girlfriend, they went to see Jody Bleyle play at Reed College. “It was just the coolest, most wonderful, chaotic drumming I’d ever seen in my life,” Krebs says. Even better, Bleyle sang as well. A huge fan of L.A. punk greats X, Krebs had

found his Exene Cervenka, a female voice to bristle against and challenge his own. For her part, Bleyle treated her new suitors with bemusement. “They were just kind of square guys, wearing their vintage clothes,” she says. It quickly became apparent that these guys were much more serious than the musicians she normally dealt with: After a single practice, they already started plotting merchandise. “It was big-time, man,” she says. “‘They’re a real band! They’re gonna make T-shirts! Shit just got real!’” But Hazel wasn’t complete until the addition of Nemo. About 20 years older than the rest of the group, with a prolific beard, Nemo was known for dancing between the pool tables at LaurelThirst Pub, where Krebs was also a regular. He recruited Nemo for Hazel’s debut performance, if only for the added spectacle. Slathered in heart-shaped glitter and whipping the crowd into a frenzy with his toy bow and arrow, it became obvious afterward that he should be made a permanent fixture. “In my mind,” Krebs says, “it didn’t make any sense for him not to be in the band.” Adding a 40-something interpretive dancer to the lineup was just the sort of “legendary” decision Smith alluded to. But in the post-Nirvana Pacific Northwest, as the sweet swell of mainstream success wafted down the I-5 from Seattle, the pull of fame and fortune became difficult to ignore. Hazel wasn’t immune. It released two albums on Sub Pop, 1993’s Toreador of Love and 1995’s Are You Going to Eat That?, neither proving to be the next Bleach, but the band received enough major-label interest to pique Krebs’ nascent rock-’n’-roll dreams. He admits the songs on Hazel’s final release, 1997’s Ariana EP, were his last-ditch attempts to write a hit. It didn’t work. “Every time I’ve tried to be successful in music,” Krebs says, “I’ve failed miserably.” By then, though, Hazel was reaching its natural expiration date anyway. Bleyle became increasingly focused on her label, Candy Ass, and her punk band, Team Dresch. Krebs, meanwhile, had already embarked on a solo career, putting out two well-received, folk-inflected albums that started him down the path to becoming one of Portland’s most beloved songwriters—second only, perhaps, to his close friend, the late Elliott Smith. Hazel didn’t formally break up. It just drifted apart. Now, 16 years later, Hazel is going into the Oregon Music Hall of Fame, which is precisely the kind of acknowledgement you’d think the group was aiming for all along. If it seems a bit absurd—like the band is somehow crashing a party it’s been invited to—that only makes sense. “What our career was about, in retrospect, is collecting these weird, amazing, wonderful little stories and events,” says Brady Smith, now a principal at a New York high school, “and this is the totally fitting cherry on top.” But Hazel isn’t exactly done. The members still convene for occasional gigs, though not all of them can be deemed “high-profile.” Just a few weeks ago, the band played Bleyle’s backyard for Smith’s daughter’s sweet 16 party. But it’s those shows that help reconnect Hazel to its own legend, and the time in which it was created: When the band could do a show, and all it had to worry about was that moment. “None of us are getting any younger, no one’s getting any richer, none of us are going to be rock stars,” Krebs says. “What’s left is the good stuff.”

THE REST OF OMHOF’S CLASS OF 2013 POISON IDEA

Portland’s most incendiary ’80s hardcore act isn’t likely to show up at the induction in tuxes, both because the band’s scathing worldview doesn’t allow for such decorum, and because the musicians would have difficulty finding ones that fit: In the ’80s, Poison Idea’s principal members, screamer Jerry A. and late guitarist Tom “Pig Champion” Roberts, let themselves go in the name of punk nihilism, bingeing and boozing their way to sumo size, which only made their unrelenting assault more imposing.

RICHMOND FONTAINE

Singer-songwriter and acclaimed novelist Willy Vlautin formed Richmond Fontaine with bassist Dave Harding two decades ago while playing the ponies at Portland Meadows, and built a 10-album oeuvre of stellar country rock around tales of just the kind of hard-luck folk who inhabit the world’s racetracks, not to mention its casinos and dive bars.

CHRIS BOTTI

The Portland-born, Corvallis-raised trumpeter’s résumé includes gigs playing with Frank Sinatra, Buddy Rich and Paul Simon; a Grammy; and three No. 1 jazz albums—impressive enough entries on their own that become even more eyebrow-raising once you realize the guy’s only 50.

KELLY JOE PHELPS

A blues guitarist with a jazzer’s improvisational sensibilities, Phelps has explored the boundaries of Americana over his prolific career, proving roots music doesn’t have to stay planted in any one particular patch of dirt.

JANICE SCROGGINS

Scroggins’ soulful piano has been the connective tissue of nearly all the gospel, blues and R&B produced in Portland since the late ’70s. Though she’s being inducted as a side player, her 1987 solo album, Janice Plays Scott Joplin, was nominated for a Grammy. Her new disc, Piano Love, is out later this month.

GREGG WILLIAMS

An omnipresent drummer-producer, Williams spans generations of Portland music, from Quarterflash and Nu Shooz up through the Dandy Warhols and Blitzen Trapper.

MARTY HUGHLEY

Before becoming a victim of The Oregonian’s cost-cutting purge, Hughley was one of the city’s sharpest theater critics. Before that, he was one of The O’s best music critics. And before that, he was music editor of this very paper.

MAYOR BUD CLARK

What’s the “Expose Yourself to Art” guy doing here? Well, during his mayorship, Clark supported the local music scene by booking Portland bands to play his annual Mayor’s Ball charity concert, which was basically a proto-PDX Pop Now. And you thought DJ Sam Adams was our first hipster mayor. —Matthew Singer

SEE IT: The Oregon Music Hall of Fame Induction Ceremony, featuring performances by Quarterflash, the Kingsmen and Richmond Fontaine, is at Aladdin Theatre, 3017 SE Milwaukie Ave., on Saturday, Oct. 5. 7 pm. $25 advance, $30 day of show for general admission; $100 advance, $110 day of show for VIP seating. Under 21 permitted with legal guardian.

OCT. 2-8

MUSIC

= WW Pick. Highly recommended. Prices listed are sometimes for advance ticket sales. At-the-door increases and so-called convenience charges may apply. Event lineups are subject to change after WW’s press deadlines. 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, OCT. 2 Steve Earle and the Dukes, the Mastersons

[ALT-COUNTRY TROUBADOUR TAO] San Antonio singer-songwriter Steve Earle is perhaps bestknown in recent years for his work on HBO’s New Orleans drama, Treme. The gig landed him Grammy and Emmy nods for his postKatrina anthem, “This City,” also featured on 2011 album I’ll Never Get Out of This World Alive. Earle’s latest disc, The Low Highway, is another trek through the seedy alleyways of Americana—check the dirty riff rock of “Calico County”— that revisits the Big Easy with fellow Treme contributions “Love’s Gonna Blow My Way,” “That All You Got?” and “After Mardi Gras.” Elsewhere, the outspoken, if weary, observer cops to thoughts of burning down the local Wal-Mart and takes the soapbox on “21st Century Blues.” Just as notable, though, is the tender introspection accompanying the hard truths so typical of Earle’s oeuvre. AMANDA SCHURR. Aladdin Theater, 3017 SE Milwaukie Ave., 234-9694. 8 pm. $39.50 advance, $42 day of show. Under 21 permitted with legal guardian.

Labelmates: Dual Mode, Gulls, Miracles Club DJs, DJ E3, DJ Cuica, DJ E*Rock

JOHN WRIGHT

[EVERY LABEL] Portland isn’t exactly the center of the recording world. As banging as the livemusic scene is, most bands release an album or two locally, and then look to bigwigs at indie labels in

New York, Seattle or L.A. to put out their albums. The labels featured at Labelmates, an annual celebration focusing on Portland’s small but prolific recording scene, don’t sign your typical indie-rock four-piece, though. Eighteen labels, most with not a thread of similarity outside of their map coordinates, will man booths, peddling merch and records for cash. Most performers—each from one of those 18 labels—will take to the decks, like super-deep dubheads Gulls and house maestros Miracles Club, but duel-free arcade whiz kids Dual Mode will lay down rhymes live in reppage of Futro Records. There could be no event more united in its diversity. MITCH LILLIE. Holocene, 1001 SE Morrison St., 239-7639. 8 pm. Free.

Zedd, Oliver and Alex Metric

[NEW DANCE GLORY] Known to his mother as Anton Zaslavski, German-raised electronic producer Zedd has made an incredible amount of noise at the tender age of 24. His biggest success came via a remix of a Skrillex tune, but it’s his own material that has kept him in the minds of dance-music lovers around the world. He arrives on the heels of an expanded version of his debut album, Clarity, which includes a roof-rattling collaboration with Paramore singer Hayley Williams. Also, don’t skip out on the opening set by one of house music’s brightest lights, Alex Metric. ROBERT HAM. Roseland Theater, 8 NW 6th Ave., 224-2038. 8 pm. $31.50. 18+.

PRIMER

CONT. on page 37

BY ROBERT HAM

PET SHOP BOYS Formed: 1981 in London. Sounds like: That stinging kick of reality that creeps in as you’re trying to lose yourself on the dance floor. For fans of: Erasure, Goldfrapp, Kylie Minogue. Latest release: Electric, a bold return to club-ready form recorded with house producer Stuart Price, features everything from a Springsteen cover to a song informed by 17th-century composer Henry Purcell. Why you care: In their native U.K., Neil Tennant and Chris Lowe are icons, and each Pet Shop Boys album is guaranteed to reach the top 10. In the U.S., the synth-pop duo peaked early. Their 1984 debut single, “West End Girls,” rocketed to No. 1, with a handful of chart successes keeping the band a fixture on MTV for the next five years. It’s not hard to see why American music fans gave up on the Boys. The group’s albums, starting with 1990’s Behaviour, found Tennant’s lyrics exploring complicated relationships and ruminations on world politics. Even with hummable hooks, they can be bitter pills to swallow. There’s no denying the quality of Pet Shop Boys’ overall work, though. For a pop outfit that’s been going for 30-plus years, it is astonishingly consistent. Apart from last year’s plodding, contractually obligated Elysium, the group’s discography manages to reflect ever-evolving dance-music culture while maintaining a sense of timelessness that only true students of pop can create. The Boys are obviously still capable of striking a nerve: Their current tour—including a first-ever Portland show—is packing concert halls throughout the U.S. SEE IT: Pet Shop Boys play Arlene Schnitzer Concert Hall, 1037 SW Broadway, on Friday, Oct. 4. 7:30 pm. $42.50-$107. All ages. Willamette Week OCTOBER 2, 2013 wweek.com

Willamette Week OCTOBER 2, 2013 wweek.com

THURSDAY-SATURDAY

Steve Martin and the Steep Canyon Rangers, Edie Brickell, Oregon Symphony

[BLUEGRASS] During his wild and crazy heyday, Steve Martin would often pull out a banjo, plucking away as he cracked one-liners. “Hey, this guy’s good,” he said during his immortal “Ramblin’ Guy” skit on The Muppet Show. That’s an understatement, to be sure, but few would have thought the star of The Jerk and the, ugh, Cheaper by the Dozen franchise would have a side career as one of the most renowned pluckers in the country. Here, the silver-haired superstar joins with renowned quintet the Steep Canyon Rangers, the Oregon Symphony and Edie “What I Am” Brickell for a night of pure, unadulterated bluegrass, and the very likely chance Martin will have to dodge people yelling out shit like, “Wild and crazy guy! WHOOOOOO!” AP KRYZA. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 248-4335. 7:30 pm. Sold out. All ages.

Nurses, Pwrhaus

[PSYCH POP] Technicolor avant-pop wizards Nurses might be Portland’s most mercurial band. Every few years, the group emerges with an album of off-kilter confections built upon increasingly sturdy grooves and bright instrumentation, plays a few shows, then disappears, presumably to work on the next one. Its last record, 2011’s Dracula, was densely layered yet wide open, employing the reverb-doused expansiveness of dub, but minus the haze and conjuring the feeling of floating through an ocean of rainbows. And it was the best album to come out of Portland that year. This show is their last of 2013, which hopefully means there’s another collection on the horizon. MATTHEW SINGER. Holocene, 1001 SE Morrison St., 239-7639. 8:30 pm. $10. 21+.

length debut, Blak and Blu, is like spinning a roulette wheel where the outcome is rigged in your favor. It spins freely, swiftly revealing alternating shades of the blues—i.e., reverb-flooded slow burners, fervent R&B crooners, woozy hip-hop laments—while keeping the earnest songs within the Austin-bred croupier’s glitzy grasp. Clark’s grab bag works, however, because he possesses the merciless guitar chops to back it up. Abetted by past influences as much as the present, his livewire performances have earned him slots alongside the Stones and Buddy Guy. Though a bit unpredictable, the gamble is well worth the admission price. BRANDON WIDDER. Roseland Theater, 8 NW 6th Ave., 224-2038. 8:30 pm. $39.50 reserved balcony, $27.50 general admission. All ages.

SATURDAY, OCT. 5 Dark Descent Records Showcase: Insanity, Mitochondrion, Anhedonist, Gravehill, Weregoat, Dire Omen

[EXTREME-METAL FESTIVAL] While diehard music fans will want to catch both dates of this brutal record-label showcase—Vassafor from New Zealand performs Friday night—the Saturday bill is stacked like bodies to the ceiling. Bay Area death-metal act Insanity formed back in 1985, unearthing its blurring, thrash-cum-death assault a full two years prior to Portland’s own innovators, Dead Conspiracy. The whole West Coast is fairly represented here, with the grinding Mitochondrian from Vancouver, British Columbia, Seattle deathdoomster Anhedonist and oldschool hella death-metal revivalists

Gravehill. By the witching hour, thou wilt be soaked in blood, sweat and beers. Hail Satan. NATHAN CARSON. Ash Street Saloon, 225 SW Ash St., 226-0430. 9:30 pm. $15. 21+.

[KINFOLK] A thread of kinship runs through Laura Veirs’ ninth studio album. Produced by husband Tucker Martine, Warp & Weft, released in August, explores the joy and stress of being a parent, to the tune of sweeping folk and polished, familysized country. Veirs had a second child earlier this year and, expectedly, the experience is written all over the record. Veirs said she felt an instinctive maternal fear and protectiveness while recording the album, and that is downright palpable in “Sadako Folding Cranes,” a gripping Old World ballad about the iconic young Japanese girl photographed after the bomb dropped in Hiroshima. Musically, the album saunters more than sprints, but the richness of sound achieved through a bigger band and diverse instrumentation—classical guitars, mellotrons, omnichords, various organs—creates an underlying sense of urgency. Warp & Weft is an unstoppable brushfire of refined country, and Veirs’ best work to date. MARK STOCK. Doug Fir Lounge, 830 E Burnside St., 2319663. 9 pm. $13 advance, $15 day of show. 21+.

FRIDAY, OCT. 4 Man Man, Xenia Rubinos

[POST-WAITS] If Philadelphia’s Man Man kept up the antics from its lovably bizarre 2006 breakthrough, Six Demon Bag, we’d have a national crisis of damsels tied to tracks on our hands. Something sinister has lurked in the periphery of the band’s woozy cartoonvillain circus folk, but the latest effort, On Oni Pond, may sound like a “pop” record to fans who think they know what to expect. If Tom Waits were invited to partake in the Macy’s Thanksgiving Day Parade, one could only hope he’d get a float big enough to bring these guys along for the ride. PETE COTTELL. Hawthorne Theatre, 1507 SE 39th Ave., 233-7100. 9 pm. $18 advance, $20 day of show. All ages.

Gary Clark Jr., Franchot Tone

[YOUNG GUNNIN’ IT] Listening to 29-year-old Gary Clark Jr.’s full-

PORTLAND MUSIC CO. Broadway: 503-228-8437 Beaverton: 503-641-5505 East Side: 503-760-6881 portlandmusiccompany.com

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No Joy, Heavy Hawaii

[DOOM WAVE] Best Coast’s Bethany Cosentino may have misplaced her Zoloft the day she tweeted about No Joy being “the best band ever.” The band’s combination of syrupy guitar sludge

CONT. on page 38

Mon - Sat: 11:30AM - 9PM • Closed Sundays daily happy hour 3-6PM 8000 SE 13th AvE, PortlAnd, or • 503-238-7255 OPAPIZZARIAPORTLAND.COM

PREVIEW

Fiona Apple, Blake Mills

[NEW-WORLD SIREN] Fiona Apple doesn’t need to impress anyone anymore. Her talent has been obvious since she released Tidal in 1996. Yet, with last year’s Idler Wheel…, Apple has gone for it all, making a daring record as primal and intricate as its full name is long. By excelling at pop in her early years, the piano siren earned the gusto to be as daring as she always was instinctively. In that sense, Idler Wheel… feels like a beautiful, polarizing manifesto, alienating fickle fans and drawing real ones that much closer. Her peculiar mash-up of nervous vocals, complex song skeletons and jazzy imperfections make present-day Apple perhaps the most enticing version of all. Standout folk-rock troubadour Blake Mills opens and also performs alongside her. MARK STOCK. Newmark Theatre, 1111 SW Broadway, 248-4335. 8 pm. $60. All ages.

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Laura Veirs, Karl Blau

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FRIDAY, OCTOBER 4 7pm. All Ages

THE VANDIES MADAME TORMENT SUGAR TITS WHEN VANITY KILLS

Le1f, Antwon, Lakutis, Magic Fades DJs

[RETRO WEIRDO RAP] “Avant-rap” is the genre tag many music journalists throw around when describing San Jose-based rapper Antwon’s eclectic style. But he isn’t ahead or behind anyone in the game: He’s right in the center. ’Twon fuses decidedly retro stylings—he’s as obsessed with ’90s R&B as the rest of us—with eclectic references and inspirations, which include everything from Kid Rock to Danzig to thrashcore. “Weird but grounded” is a formula that’s worked for many before him (think Kool Keith and Madlib), and Antwon follows it well. In two years of mixtapes, Antwon has covered subjects ranging from Third World honeys to thrift stores to The Omen, over production from underground New Jersey beatmaker Clams Casino and electronica artist Pictureplane. But he’s not ready to jump on the throwback backpack-rap bandwagon quite yet. The money-liquor-hoes trifecta isn’t central to his lyrics, but he isn’t above tossing it into his rhymes either, especially on this year’s In Dark Denim, where Antwon takes a slight turn toward gangsta posturing. For all his quirkiness, he’s really just a gifted everydude—and what everydude wouldn’t like his apartment littered with cash, Hennessy and women? MITCH LILLIE. Holocene, 1001 SE Morrison St., 239-7639. 9:30 pm Tuesday, Oct. 8. $12 advance, $14 day of show. 21+.

$8.00 at the door.

SATURDAY, OCTOBER 5 9pm. 21 & over

TOYBOAT TOYBOAT TOYBOAT TIBURONA GRANDHORSE EVER SO ANDROID $6.00 at the door.

SUNDAY, OCTOBER 6 6pm. 21 & over

live from Slabtown West... GRAND STYLE ORCHESTRA Free! Falafel House: 3 to Late–Night All Ages Shows: Every Sunday 8–11pm Free Pinball Feeding Frenzy: Saturday @ 3pm WITHIN SPITTING DISTANCE OF THE PEARL

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HAPPY HOUR: MON–FRI NOON–7PM PoP-A-Shot • PinbAll • Skee-bAll Air hockey • Free Wi-Fi

Willamette Week OCTOBER 2, 2013 wweek.com

MUSIC

SATURDAY-TUESDAY

and out-of-focus female vocals sounds better when doing a face plant in shag carpeting than the crest of a gnarly wave, but we’ll let the Angelenos sort that out on their own time. The ground No Joy covers is familiar, but it deserves credit for writing dreamy, sexy slow burners about dreamy, slowburning sex better than most other My Bloody Valentine acolytes that actively stare at their Keds these days. The duo has effectively beaten Warpaint at its own game, at the very least. PETE COTTELL. Holocene, 1001 SE Morrison St., 239-7639. 7:30 pm. $10. 21+.

DJ Quik, Suga Free, Cool Nutz, Chillest Illest

[G-FUNK] Compton-bred MC DJ Quik is often viewed as a little brother to West Coast hip-hop greats like Snoop, Dre and Cube, but his early albums, which mixed street lyricism with Roger Troutman-esque production, helped define the genre of gangsta funk. Over the years, as his peers have veered into pop territory, Quik has stayed mostly consistent (ignore that Fixxers mess), releasing a variety of quality albums that crackle with funky synth lines and witty lyrics. His last record, 2011’s Book of David, is also one of his best yet—it features Quik going for a smoother, more refined sound that mixes elements of disco, R&B and 1970s soul. REED JACKSON. Roseland Theater, 8 NW 6th Ave., 224-2038. 8 pm. $27. All ages.

Brainstorm, Wooden Indian Burial Ground, the We Shared Milk, Holiday Friends, Philip Grass

[COMPILATION RELEASE] Portland indie-pop label Tender Loving Empire is what Malcolm Gladwell would refer to as a “connector.” They’ve been around long enough and have relationships with enough people that most artists in town only have two degrees of separation from them, max. That spirit of shared experience is embodied by the label’s annual Friends and Friends of Friends compilation, now in its sixth volume. The most recent two-disc set features tracks from bands both closely associated with TLE—Y La Bamba, Typhoon, Radiation City—and those that are more spiritual cousins, such as Wampire, Shy Girls, Lumineers keyboardist Stealth and Argentina’s La Perla Irregular. Appropriately, to celebrate its release, the label brings together bands from across the city’s musical spectrum, from worldly avant-pop troupe Brainstorm to noisy garage rockers Wooden Indian Burial Ground to electronic producer Philip Grass, who headlines a special “afterparty.” MATTHEW SINGER. Star Theater, 13 NW 6th Ave. 9 pm. $8. 21+.

Stereophonics

[BRITPAP] Likely consigned to relative footnote status this side of the Atlantic—touring near the height of their powers 10 years back, the Welsh troupe couldn’t even sell out Berbati’s— Stereophonics strode forth that blighted age following the thaw of Cool Britannia as rockier, manful country cousins hawking a guitarbased counterpart to Coldplay’s middlebrow pretensions. Their crowds swelled to the low six-figures, they joined enviable company with five consecutive chart-topping LPs, and their trademark anthemic inanities evidently stroked some ancestral yen for empty bombast among their countrymen that even our most committed Anglophiles fail to understand. Eighth album Graffiti on the Train slathers productive sheen atop another collection of dully rousing balladry oversold by frontman-songwriter Kelly Jones’ Rod Stewart-esque soaring rasp. One of two founding members remaining (alongside the bassist), Jones possesses a voice to shake the terraces, and a muse fit to brighten the commute. JAY HORTON. Wonder Ballroom,

Willamette Week OCTOBER 2, 2013 wweek.com

128 NE Russell St., 284-8686. 9 pm. $22 advance, $23 day of show. 21+.

MONDAY, OCT. 7 Father John Misty, Kate Berlant

[SHAMANISTIC FOLK] The onetime Fleet Foxes drummer has forfeited the sad-sack Seattle scene for warmer climes and more daring musical territory. Josh Tillman, aka Father John Misty, has but one record to his new band’s name in Fear Fun, but the aggrandizing effort reveals Tillman as a true frontman. His cultish incorporation of pseudo-theology, dark humor and absurd L.A. culture makes for a Kool-Aid worth drinking. Here, Tillman performs sans backing band. MARK STOCK. Aladdin Theater, 3017 SE Milwaukie Ave., 234-9694. 8 pm. $20. All ages.

Ha Ha Tonka, Samantha Crain

[OZARK ROCK] Hailing from Missouri, wherein lies its namesake state park, Ha Ha Tonka is pure, unadulterated backwoods joy. The four-piece conjures up early prefanfare Kings of Leon, roping folk and roots rock together at the hips and lighting the whole thing on fire with a jumpy, down-home charm. Earlier this year, Ha Ha Tonka turned out Lessons, the band’s fourth studio album. The record begs for the live stage, steeped in Southern rock solos and gluey four-part harmonies. Summer’s over, but the pride of Missouri will have you pining for warm nights and sprawling backyards. MARK STOCK. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $10 advance, $12 day of show. 21+.

Jacco Gardner, Fur Coats, Ozarks

[NEW PSYCHEDELIC ARTYFACTS] The two releases Dutch musician Jacco Gardner has put out on Trouble in Mind this year—the full-length Cabinet of Curiosities and “The End of August” 7-inch— exhibit the kind of deep love of ’60s psychedelic pop that can only be learned by absorbing old Bee Gees LPs and Left Banke singles. It’s an odd fit for a label that usually trucks in garage rock, but an easy one to justify: Gardner’s adherence to downstream floating melodies and slowly melting vocals that verge on the treacly are very easy to fall in love with. ROBERT HAM. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. $10 advance, $12 day of show. 21+.

TUESDAY, OCT. 8 Dave Simonett, Ark Life

[ALL ALONE] “Interchangeable” would be a fitting adjective to describe singer-songwriter Dave Simonett’s music if it didn’t imply a sense of indistinctness. But his rustic songs can often just as effortlessly fall onto a record of either band he fronts, whether it’s the raved-up strings of Trampled by Turtles or electrified alt-country ramblings of his lesser-known band, Dead Man Winter. The poignant lyrics of TBT’s “Victory” carry the same sense of keen insight and melodic phrasing as DMW’s “Wasteland,” both rooted alongside a familiar palette of Americana acoustics and Simonett’s polished, highlonesome lulling. And with more than seven excellent albums under his belt between the two outfits, you’ll want to hear the Minnesota native dishing out material from both. BRANDON WIDDER. Doug Fir Lounge, 830 E Burnside St., 2319663. 9 pm. $13. 21+.

And So I Watch You From Afar, TTNG, Mylets

[MATH ROCK] What is math rock? Do I need a calculator to enjoy it? What if I failed high-school algebra? All good questions, the answers to which are irrelevant if

CONT. on page 40

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Willamette Week OCTOBER 2, 2013 wweek.com

MUSIC

TUESDAY/CLASSICAL, ETC.

you’re interested in actually enjoying the Sargent House Tour. It’s unfortunate that a genre predicated upon esoteric riffing, jaunty timesignature changes and effects-pedal worship has been overtaken by chinscratching doofuses, because it can be a hell of a lot of fun if you just listen to the stuff. Rather than waste the word count even referencing the headliners directly, this is all you need to know: There will be headbanging, wanton guitar soloing and more than a few songs with titles that read like obscure children’s novels. Avoid the clique of Guitar Center employees in the corner and you will enjoy yourself. To clarify: That last bit is advice, not a song title. PETE COTTELL. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 8 pm. $12 advance, $14 day of show. 21+.

Shovels and Rope

[RETRO AMERICANA] The husband-and-wife duo Shovels and Rope—Michael Trent and Cary Ann Hearst—offers up an earthy mishmash of sounds on its debut album, O’ Be Joyful, incorporating folk, country, rock and Americana together in an engaging, if slightly familiar, way. Hearst’s scratchy, occasionally Janis Joplin-like vocals mirror the sometimes arid emotional and visual landscape of their songs, while Trent’s steady vocal presence keeps the tunes grounded when Hearst threatens to overpower the music every now and then. Sounding like a throwback to a bygone era, with talk of Bonnie and Clyde and lamenting someone leaving the South for New York City, the album yearns for a simpler time, and this duo makes you yearn right along with them. BRIAN PALMER. Wonder Ballroom, 128 NE Russell St., 2848686. 7:30 pm. $15 advance, $17 day of show. 21+.

CLASSICAL, JAZZ & WORLD Trio Subtonic, Blue Cranes

[GROOVE] On their enticing new album, Night Runners, pianist Galen Clark, bassist Bill Athens and drummer Jesse Brooke trade some—but not all—of the danceable, Meters-influenced funk that fueled the Portland trio’s earlier efforts. They edge toward more relaxed, straightforward, yet somewhat darker acoustic instrumental balladry that owes as much to rock and pop (including a Nick Drake cover) as jazz. It should win fans of all three genres, much like other pop-influenced keyboard trios like the Bad Plus and Medeski, Martin and Wood, though TS doesn’t really sound like either. But giving up some funk doesn’t mean surrendering the grabby groove that has long made Trio Subtonic one of Portland’s most enjoyable young jazz combos. This show with another of the city’s most popular-beyond-jazzheads groups, Blue Cranes, and guests should be one of the liveliest of the season. BRETT CAMPBELL. Jimmy Mak’s, 221 NW 10th Ave., 295-6542. 8 pm. $12.

Portland Baroque Orchestra

[BACH’S BEST] J.S. Bach’s Passions, Brandenburg concertos and orchestral suites get most of the attention, but some of his (and therefore, anybody’s) greatest music lies in the concertos he wrote before his appointment to compose church music. Over two weekends, in one of the most urgently recommended events of the city’s classical music season, PBO performs and records 10 (five each weekend) of those magnificent concertos for one, two or three violins and/or oboe. It’s a real coup for one of the country’s finest ensembles dedicated to 17thand 18th-century European music, providing a deserved spotlight for two of the world’s most acclaimed Baroque soloists: British violinist and PBO director Monica Huggett and regular PBO oboist and Juilliard professor Gonzalo Ruiz. BRETT CAMPBELL. Kaul Auditorium at Reed College, 3203 SE Woodstock Blvd.

Willamette Week OCTOBER 2, 2013 wweek.com

7:30 pm Friday-Saturday, Oct. 4-5, 3 pm Sunday, Oct. 6. $19-$64. 21+.

Soul India: Padma Shri Hariharan

[BOLLYWOOD] If you’ve ever watched a Bollywood film, chances are you’ve already heard Hariharan’s vocal chops without realizing it. The Indian artist has paved a lucrative career as a “playback singer,” which basically means he provides the vocal talents for actors who lipsync the musical numbers onscreen. In Bollywood culture, these artists enjoy a celebrity status that rivals the attention given the actors themselves, and Hariharan is a national treasure. In addition to his exploits on the big screen, he’s also paved the way for Indian fusion music, and the Pakistani ghazal tradition of sung poetry. Soul India features Hariharan along with a 15-member ensemble from Bombay, which presents a thorough live soundtrack spectacle of Hindi and South Indian films. GRACE STAINBACK. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 248-4335. 5 pm Saturday, Oct. 5. $35-$150. All ages.

Claudia Quintet

[CHAMBER-JAZZ INNOVATORS] Drummer-led ensembles too often focus on the solos and virtuosity rather than ensemble musicality. Not so with John Hollenbeck and his many fascinating musical projects, which beautifully follow the Guggenheim and Downbeat award winner’s inclinations as one of jazz’s most accessibly inventive composers. rather than his chops as one of its finest drummers. From Refuge Trio (which visited PDX last spring) to his large ensemble and especially in his Claudia Quintet, Hollenbeck channels contemporary classical and progressive pop as much as obvious predecessors like Jack DeJohnette. A master of rhythmic imagination, Hollenbeck doesn’t need the virtuosic solos to be one of today’s most intriguing musicians. BRETT CAMPBELL. Evans Auditorium at Lewis & Clark College, 0615 SW Palatine Hill Road. 7 pm Saturday, Oct. 5. $10. All ages.

ALBUM REVIEWS

EPP CHROME PLATED CHRONICLES (1210 MUSIC) [HIP-HOP] On “Heart of Gold,” the airy opener to Epp’s proper solo debut, Chrome Plated Chronicles, the Portland MC matter-of-factly proclaims, “You can’t tell us that we ain’t working hard.” He’s referring to TxE, his trio with rapper Tope and producer Calvin Valentine, whose breezy, carefree lyricism and catchy songs are gradually making the group the face of Stumptown’s hip-hop scene. Chrome is in the same mold, but with a darker tint, thanks to Epp’s decision to dive a little deeper as a songwriter. Tracks like “Aye Okeigh,” on which he raps candidly about what it means to be a young rapper on the rise, and “Gun Break,” where he dissects the violent tendencies of modern society, show a more meditative side of Epp, full of angst and disbelief. The production, by Valentine and fellow local beatmaker Lawz Spoken, uses ’80s samples and downtempo melodies to create a sound shrouded in purple smoke and warm static. It’s a stiff drink compared to TxE’s cool glass of lemonade, but Chrome is often just as refreshing. REED JACKSON. HEAR IT: Chrome Plated Chronicles is available for streaming and download at eppstuff.bandcamp.com.

JUST LIONS PAPER CAGE (SELF-RELEASED) [AUGHT ROCK] Just Lions’ new EP, Paper Cage, conjures a sense of alt-rock playfulness harking back to the early 2000s. In Cake-like fashion, frontman Chandler Strutz speaks more than sings on the wooing, surf-rock title track. His lethargic, crackly voice hangs over the song like a puff of smoke. Just Lion’s fondness for swelling crescendos, dramatic breakdowns and the occasional blast of horns make this EP both fun and familiar. But there’s balladry, too. “Be Mine” is the perfect example, a jangly love song that blooms into a tavern anthem of communal vocals, scaling guitars and crashing drums, but ends before spinning out of control. “Too Close,” with its pulsing guitar riff and frequent string interludes, offers an interesting dualism, but that’s about as experimental as the band gets. Instead, Just Lions are focused on crafting catchy, sharp, turn-of-the-millennium rock. The accessibility of its throwback to the recent past makes Paper Cage work. MARK STOCK. SEE IT: Just Lions play Mississippi Studios, 3939 N Mississippi Ave., with New Move and Bombs Into You, on Wednesday, Oct. 2. 9 pm. $6 advance, $8 day of show. 21+.

OCTOBER 4, 5 & 6

2013

MUSIC DANCE PASTRIES TAVERNA GREAT FOOD FREE ADMISSION

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OREGON SYMPHONY

BRANDI CARLILE November 23 | 7:30 pm

Hard rocker one moment, touching a cappella singer the next, she sold the house out last year with one of the most memorable performances in our history. The crystalline voiced singer returns to perform with the Oregon Symphony for one night only!

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S W M A I N & B R O A D WAY Willamette Week OCTOBER 2, 2013 wweek.com

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

[OCT. 2-8] Vaital Deul, Megaton Leviathan, Actuary, Conscious Summary

Tiger Bar

Hawthorne Theatre

Tony Starlight’s

1507 SE 39th Ave. Between The Buried And Me, the Faceless, Contortionist, Safety Fire

Holocene

FRANK MADDOCKS

1001 SE Morrison St. Nurses, Pwrhaus

Ivories Jazz Lounge and Restaurant 1435 NW Flanders St. Tom Grant Vocal Showcase

Jimmy Mak’s

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

Kells

112 SW 2nd Ave. Danny O’Hanlon

Landmark Saloon

4847 SE Division St. The Pickups

LaurelThirst

2958 NE Glisan St. Lewi Longmire & the Left Coast Roasters

McMenamins Edgefield 2126 SW Halsey St., Troutdale Jon Koonce

McMenamins Rock Creek Tavern

10000 Old Cornelius Pass Road, Hillsboro Lynn Conover and Gravel

McMenamins’ Kennedy School

GUITAR SLINGER: Gary Clark Jr. plays Roseland Theater on Friday, Oct. 4.

WED. OCT. 2 Al’s Den at the Crystal Hotel 303 SW 12th Ave. Star Anna, Tyler Stenson

Aladdin Theater

3017 SE Milwaukie Ave. Steve Earle and the Dukes, the Mastersons

Alberta Rose Theatre 3000 NE Alberta St. Chris Thile

Amadeus Manor

2122 SE Sparrow St., Milwaukie Open Mic

Ash Street Saloon

225 SW Ash St. Theories, Worthless Eaters, The Siege Fire, Honduran

Backspace

115 NW 5th Ave. The Venetia Fair

Buffalo Gap Eatery and Saloon 6835 SW Macadam Ave. Gapfest: Cybelle Clements

Dante’s

350 W Burnside St. The Novocaines, Exile Parade, Copper Gamins

Doug Fir Lounge 830 E Burnside St. Lee DeWyze

Duff’s Garage

1635 SE 7th Ave. Suburban Slim’s Blues Jam, Woodlander

East End

203 SE Grand Ave. Cambrian Explosion, White Chocolate and the Cigarettes, Dakota Slim

Hawthorne Theatre Lounge

1503 SE Cesar E. Chavez Blvd. Rockstar Karaoke

Holocene

1001 SE Morrison St. Labelmates: Dual Mode, Gulls, Miracles Club DJs, DJ E3, DJ Cuica, DJ E*Rock

Jack London Bar

529 SW 4th Ave. Proper Movement Drums and Bass

Jimmy Mak’s

The Elixir Lab

2738 NE Alberta St. Open Mic Nite

The Know

Kells

2026 NE Alberta St. Eternal Tapestry, the San Onofre Lizards, Lieutenant Dew

Landmark Saloon

1422 SW 11th Ave. Koshanin

221 NW 10th Ave. Bernard Purdie

Artichoke Community Music 3130A SE Hawthorne Blvd. Songwriter Roundup

Ash Street Saloon

The Old Church

225 SW Ash St. Give It FM, Kings and Vagabonds, Demure

4847 SE Division St. Jake Ray, Miller and Sasser’s Twelve Dollar Band

Thirsty Lion

6000 NE Glisan St. John Ross Trio

LaurelThirst

Thorne Lounge

6835 SW Macadam Ave. Tommy Simmons

112 SW 2nd Ave. Danny O’Hanlon

2958 NE Glisan St. Pete Kartsounes’ Soulo Loop Set, Bingo, Ducky Pig

Lents Commons

9201 SE Foster Road Open Mic

McMenamins Rock Creek Tavern

10000 Old Cornelius Pass Road, Hillsboro Billy D

Mississippi Studios

3939 N Mississippi Ave. Just Lions, New Move, Bombs Into You

O’Connors

71 SW 2nd Ave. Guy Dilly and the Twin Powers 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. Bo Ayars

White Eagle Saloon 836 N Russell St. Ghosts Like Us, Jane Kramer

THURS. OCT. 3 Al’s Den at the Crystal Hotel

Revival Drum Shop

3017 SE Milwaukie Ave. Robert Earl Keen

Roseland Theater

8 NW 6th Ave. Zedd, Oliver and Alex Metric

Shaker and Vine

2929 SE Powell Blvd. Chasing Mischief

Slabtown

1033 NW 16th Ave. Queer Dance Night: Stepsister

The Blue Monk

3341 SE Belmont St. Haas, Amedola

Willamette Week OCTOBER 2, 2013 wweek.com

Buffalo Gap Eatery and Saloon

Bunk Bar

1028 SE Water Ave. The Babies, Alex Bleeker and the Freaks

Camellia Lounge

510 NW 11th Ave. Abbey Hickman, Adam Brock

Chapel Pub

430 N Killingsworth St. Steve Kerin

Crystal Ballroom

1332 W Burnside St. Judith Hill

Dante’s

7850 SW Capitol Highway The Working Stiffs, the Brothers Jam, JT Wise Band (Trillium benefit) 1465 NE Prescott St. Carson Mcwhirter, Andrew Jones

Biddy McGraw’s

303 SW 12th Ave. Star Anna, Jason Dodson

Aladdin Theater

Alberta Street Public House 1036 NE Alberta St. The Blakes, Tucker and the Mother

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

Arlene Schnitzer Concert Hall

1037 SW Broadway Steve Martin and the Steep Canyon Rangers, Edie Brickell, Oregon Symphony

350 W Burnside St. The Gnash, Advisory

Doug Fir Lounge 830 E Burnside St. Tom Odell

Duff’s Garage

1635 SE 7th Ave. The Soul of John Black

East End

203 SE Grand Ave. Mean Jeans, Peach Kelli Pop, Youthbitch

Foggy Notion

3416 N Lombard St. Beat Salad: Olde Toby

Goodfoot Lounge

2845 SE Stark St. MIke Clark, McTuff, Skerik

Hawthorne Theatre Lounge

1503 SE Cesar E. Chavez Blvd.

5736 NE 33rd Ave. Battle of the Lawyer Bands

Mississippi Pizza

3552 N Mississippi Ave. Malachi Graham, Caravan of Thieves

Mississippi Studios

3939 N Mississippi Ave. J Roddy Walston and the Business, Gringo Star, Tango Alpha Tango

Mock Crest Tavern 3435 N Lombard St. The Groovetramps

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

Newmark Theatre

1111 SW Broadway Fiona Apple, Blake Mills

Refuge

116 SE Yamhill St. Beloved Festival: Rising Appalachia, the Human Experience, Soul Visions, SaQi, Melting Pot Soundsystem, Bridgetown Revue

Roseland Theater 8 NW 6th Ave. Natalie Maines

Rotture

315 SE 3rd Ave. T. Williams, Mosca

Savoy Tavern & Lounge 2500 SE Clinton St. Leo, Gallop

Secret Society Ballroom

116 NE Russell St. The Soultans, the Get Ahead

Slabtown

1033 NW 16th Ave. Wormbag, Red Shadows, Lunch, DJ Crybaby

The Blue Monk

3341 SE Belmont St. Casey Burge, Boone Howard, Matthew Ulm, Leo London, Michael Finn

The Elixir Lab

2738 NE Alberta St. Rose City Bluegrass

Thirsty Lion

71 SW 2nd Ave. Hair Metal Acoustic

317 NW Broadway Karaoke From Hell 3728 NE Sandy Blvd. All-Star Horns

Velo Cult

1969 NE 42nd Ave. Holly’s Wood & Her Unknown Blues Band

Vie de Boheme 1530 SE 7th Ave. Loose Change

West Cafe

Steve Wilkinson

The Get Ahead

Hawthorne Theatre

Slabtown

1507 SE 39th Ave. Man Man, Xenia Rubinos

Holocene

1001 SE Morrison St. Fresh.: Kingdom, Nguzunguzu, Massacooramaan

Ivories Jazz Lounge and Restaurant 1435 NW Flanders St. Andrei Kitaev

Jade Lounge

1201 SW Jefferson St. Alan Jones Academy Jazz Jam

2346 SE Ankeny St. The Ink-Noise Review, Curtis B. Whitecarroll, Ryan Lopez, Mari Gisele

White Eagle Saloon

Jimmy Mak’s

836 N Russell St. Kinked, the Band Who Fell To Earth

221 NW 10th Ave. Trio Subtonic, Blue Cranes

Kells Brewpub

FRI. OCT. 4 Al’s Den at the Crystal Hotel

303 SW 12th Ave. Star Anna, Sara JacksonHolman

Alhambra Theatre

4811 SE Hawthorne Blvd. Josh Krajcik, Russel Stafford, Jon Davidson

Arlene Schnitzer Concert Hall

1037 SW Broadway Pet Shop Boys

Artichoke Community Music 3130A SE Hawthorne Blvd. Friday Coffeehouse

Ash Street Saloon

225 SW Ash St. Horrendous, Vassafor, Ritual Necromancy, Sempiternal Dusk

Backspace

115 NW 5th Ave. All the Apparatus, Grey Fiction, Pink Slip

Biddy McGraw’s

6000 NE Glisan St. Jug Band Extravaganza, Lynn Conover

Bipartisan Cafe

7901 SE Stark St. David Friesen, John Gross, Rob Davis, Charlie Doggett

Bunk Bar

1028 SE Water Ave. Monkey Trick, One Two Buckle My Shoe

Club 21

2035 NE Glisan St. Don’t, Spanish Galleons, The Last 45’s

Clyde’s Prime Rib

5474 NE Sandy Blvd. Randy Starr

Dante’s

350 W Burnside St. Scott Pemberton Trio

Doug Fir Lounge

830 E Burnside St. Houses, Amp Live, Jeni Wren

Duff’s Garage

1635 SE 7th Ave. The 44’s, the Hamdogs

Foggy Notion

3416 N Lombard St. The Bugs, Names Divine, Battlesnake

Ford Food and Drink

2505 SE 11th Ave. Dust and Thirst, Eagles of Freedom

Hawthorne Theatre Lounge

1503 SE Cesar E. Chavez Blvd. Light Creates Shadow, The Charlie Darwins, A Collective Subconscious

Hawthorne Theatre Lounge

1503 SE Cesar E. Chavez Blvd.

210 NW 21st Ave. Sami Rouisi

Kells

1033 NW 16th Ave. The Vandies, Madame Torment, Sugar Tits, When Vanity Kills

The Analog

720 SE Hawthorne The Healthy Dose

The Blue Diamond

2016 NE Sandy Blvd. Lloyd Allen Sr.

The Blue Monk

3341 SE Belmont St. Palace Fiction, The Weather Machine, Harrison Fulop

The Know

2026 NE Alberta St. Vapid, Defektors, Rat Party, Sharks From Mars

Thirsty Lion

71 SW 2nd Ave. Kinky Brothers

Tonic Lounge

112 SW 2nd Ave. Cu Lan Ti

3100 NE Sandy Blvd. Tin Silver, Twisted Whistle, Jeffrey Trapp

Kelly’s Olympian

Tony Starlight’s

Landmark Saloon

Vie de Boheme

426 SW Washington St. The Exacerbators, Gallow Swings, Ratpriest 4847 SE Division St. Ron Rodgers and the Wailing Wind

LaurelThirst

2958 NE Glisan St. Golden Delicious, Prairie Dogs

McMenamins Edgefield 2126 SW Halsey St., Troutdale Mark Alan

3728 NE Sandy Blvd. Tony Starlight (Neil Diamond tribute) 1530 SE 7th Ave. Shanghai Woolies

White Eagle Saloon 836 N Russell St. Major Powers and the Lo-Fi Symphony

SAT. OCT. 5 Al’s Den at the Crystal Hotel

McMenamins Rock Creek Tavern

303 SW 12th Ave. Star Anna

Mission Theater and Pub

3017 SE Milwaukie Ave. Quarterflash, the Kingsmen, Richmond Fontaine

10000 Old Cornelius Pass Road, Hillsboro Jon Koonce

1624 NW Glisan St. Wordstock Rocks Songcraft: Tanya Donnelly, Michael Hearst, Jolie Holland, Rick Moody

Aladdin Theater

Alberta Rose Theatre 3000 NE Alberta St. Live Wire! Radio

Alhambra Theatre

Mississippi Pizza

4811 SE Hawthorne Blvd. Pigs On The Wing, Halloqueen

Mississippi Studios

Artichoke Community Music

3552 N Mississippi Ave. Dear Drummer, Level 2 3939 N Mississippi Ave. The Cabin Project, Cumulus, You Are Plural

Mock Crest Tavern 3435 N Lombard St. Suburban Slim

Muddy Rudder Public House 8105 SE 7th Ave. Lauren Sheehan

Nel Centro

1408 SW 6th Ave. Mike Pardew

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

Record Room

8 NE Killingsworth St. Painted Debris, Die Geister Beschwören, C Depp

Refuge

116 SE Yamhill St. Tim Green

Rock Bottom Restaurant & Brewery 206 SW Morrison St. Tommy Simmons

Roseland Theater

8 NW 6th Ave. Gary Clark Jr., Franchot Tone

Secret Society Ballroom

116 NE Russell St. The Libertine Belles, the Jenny Finn Orchestra, Dominic Castillo

3130A SE Hawthorne Blvd. Time in a Bottle

Ash Street Saloon

225 SW Ash St. Dark Descent Records Showcase: Insanity, Mitochondrion, Anhedonist, Gravehill, Weregoat, Dire Omen

Backspace

115 NW 5th Ave. The Dancing Hats, Max’s Midnight Kitchen, the Mucks, Eidolons

Beaterville Cafe

2201 N Killingsworth St. Sky in the Road, Amy Bleu

Biddy McGraw’s

6000 NE Glisan St. The Fire Weeds, the Barkers

Branx

320 SE 2nd Ave. A Blinding Silence, From the Eyes of Cain, Keeping Secrets, Subtle City, Between Chaos and Creation

Bravo Lounge

8560 SE Division St. Fat Opie, Dan Coyle, Broken Strings

Bunk Bar

1028 SE Water Ave. Bronze Radio Return, Graham Colton

Shaker and Vine

2929 SE Powell Blvd.

CONT. on page 44

Willamette Week OCTOBER 2, 2013 wweek.com

MUSIC CALENDAR Camellia Lounge

510 NW 11th Ave. Rick Greene Quartet

Noho’s Hawaiian Cafe

Crystal Ballroom

O’Malley’s

1332 W Burnside St. Dark Star Orchestra

Dante’s

350 W Burnside St. Half Moon Run, MisterWives

Doug Fir Lounge

830 E Burnside St. Laura Veirs, Karl Blau

Duff’s Garage

1635 SE 7th Ave. Chris Baum Project

East End

203 SE Grand Ave. Guantanamo Baywatch, the Bugs, Jr. Membrah

EastBurn

1800 E Burnside St. Chris Juhlin, The Collective

4627 NE Fremont St. Hawaiian Music

6535 SE Foster Road Piggy, the Misery Men, A.C. Lov Ring, Studfinder

Record Room

8 N Killingworth St. The Ghost Ease, Woolen Men

Rock Bottom Restaurant & Brewery 206 SW Morrison St. Kivett Bedner

Roseland Theater

8 NW 6th Ave. DJ Quik, Suga Free, Cool Nutz, Chillest Illest

Secret Society Ballroom

Eugenio’s

116 NE Russell St. Wilkinson Blades, Massy Ferguson, the My Oh Mys

Goodfoot Lounge

2929 SE Powell Blvd. Cody Weathers

3584 SE Division St. TenPenny 2845 SE Stark St. McTuff, Skerik, Sophistafunk

Habesha

801 NE Broadway Oro Azoro, Names Divine, A Thousand Swords

Hawthorne Theatre Lounge

1503 SE Cesar E. Chavez Blvd. Matt Danger and guests

Hawthorne Theatre 1507 SE 39th Ave. Kingdom Under Fire, Path To Ruin, The Odious, Southgate, Bleeding Cowboy

Kells Brewpub

210 NW 21st Ave. Sami Rouisi

Kells

112 SW 2nd Ave. Cu Lan Ti

Kelly’s Olympian

426 SW Washington St. Eastern Sunz, IBQT, Bitch Slap, the Muriel Stanton Band

LaurelThirst

2958 NE Glisan St. Bingo Band, Old Flames

McMenamins Edgefield

2126 SW Halsey St., Troutdale Dan Haley is “Mr. Casual”

McMenamins Rock Creek Tavern

10000 Old Cornelius Pass Road, Hillsboro The Rainbow Sign

Mississippi Pizza

3552 N Mississippi Ave. Cutbank, Rich West Blatt, Rogue Bluegrass

Mississippi Studios

3939 N Mississippi Ave. Old Light, Kelley Stoltz, Eric D. Johnson

Mock Crest Tavern

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

Muddy Rudder Public House 8105 SE 7th Ave. Dan McCoy

Music Millennium

3158 E Burnside St. Parson Red Heads

Nel Centro

1408 SW 6th Ave.

3000 NE Alberta St. Arlie Conner and the Abettors, Robb Walker, Eden Hana

Arlene Schnitzer Concert Hall

1037 SW Broadway Superheroes at the Symphony: Pacific Youth Choir, Oregon Symphony

Ash Street Saloon

225 SW Ash St. Scary Cherry, the Ex-Girlfriends Club, Dartgun and the Vignettes, the Tanked

Buffalo Gap Eatery and Saloon

6835 SW Macadam Ave. The Born Again Hooligans

Clyde’s Prime Rib

5474 NE Sandy Blvd. Ron Steen Jazz Jam

Doug Fir Lounge

1033 NW 16th Ave. Toyboat Toyboat Toyboat, Tiburona, Grandhorse, Ever So Android

Star Bar

639 SE Morrison St. P.R.O.B.L.E.M.S., Chemical

1332 W Burnside St. Dark Star Orchestra 830 E Burnside St. Wild Ones, Minden, Paper Brain

Ford Food and Drink 2505 SE 11th Ave. Tim Roth

Hawthorne Theatre

13 NW 6th Ave. Brainstorm, Wooden Indian Burial Ground, the We Shared Milk, Holiday Friends, Philip Grass

1507 SE 39th Ave. Abadawn, Kinetic Emcees, Gums & Antitune, Rustlah, Slick Devious, ZOO, Soopah Eype, Wes Guy, Packard Browne/Jee Sick, Portside

The Blue Diamond

Holocene

Star Theater

2016 NE Sandy Blvd. Deep Blue Soul Revue

The Know

221 NW 10th Ave. Bobby Torres

Alberta Rose Theatre

Slabtown

Ivories Jazz Lounge and Restaurant

Jimmy Mak’s

3017 SE Milwaukie Ave. Bob Schneider

Crystal Ballroom

The Blue Monk

1435 NW Flanders St. Bria Skonberg

Redwoon Son and Calico

Aladdin Theater

Shaker and Vine

Holocene

1001 SE Morrison St. No Joy, Heavy Hawaii

Willamette Week OCTOBER 2, 2013 wweek.com

Mike Pardew, Dave Captein, Randy Rollofson

Clyde’s Prime Rib

5474 NE Sandy Blvd. Cool Breeze

OCT. 2-8

3341 SE Belmont St. A Tribute to John Lennon 2026 NE Alberta St. Aranya, Black Witch Pudding, Order of the Gash

The Lovecraft

421 SE Grand Ave. Accolade

The TARDIS Room

1218 N Killingsworth St. Thundering Asteroids, the Anxieties, the Nervous

Thirsty Lion

71 SW 2nd Ave. Brian O’Dell Band

Tonic Lounge

3100 NE Sandy Blvd. The Pynnacles, the Cry, the Bottom Dollars, Beyond Veronica, The Cool Whips

Tony Starlight’s

3728 NE Sandy Blvd. Oregon Music Hall Of Fame Ceremony: The Kingsmen, Quarterflash, Richmond Fontaine, the Bylines

Valentine’s

232 SW Ankeny St. Ausland

Vie de Boheme 1530 SE 7th Ave. Banda Arrasta

Westminster Presbyterian Church 1624 NE Hancock St. Straw Into Gold

White Eagle Saloon

836 N Russell St. Fox and the Law, Violet Isle, the Autonomics

Wonder Ballroom 128 NE Russell St. Stereophonics

SUN. OCT. 6 Al’s Den at the Crystal Hotel 303 SW 12th Ave.

1001 SE Morrison St. Dan Croll, Blue Skies for Black Hearts

Ivories Jazz Lounge and Restaurant

1435 NW Flanders St. Poetry in Blues: Emmett Wheatfall, Noah Peterson

Kells

112 SW 2nd Ave. Pat Buckley, Irish Sessions

LaurelThirst

2958 NE Glisan St. Freak Mountain Ramblers

McMenamins Edgefield

2126 SW Halsey St., Troutdale Lewi Longmire, Anita Lee Elliott

McMenamins Rock Creek Tavern

10000 Old Cornelius Pass Road, Hillsboro Eddie Parente and Thom Dudley

Mississippi Pizza

3552 N Mississippi Ave. Happy Otherwise

Mississippi Studios

3939 N Mississippi Ave. Chili Jamboree: Lucero, Sturgill Simpson, Daniel Romano, Shelby Earl, Mission Spotlight

Muddy Rudder Public House 8105 SE 7th Ave. Irish

NEPO 42

5403 NE 42nd Ave. Open Mic

Peter’s Room

8 NW 6th Ave. Allie Palooza: The Hill Dogs, Sawtell, Zak and Joe’s Duo

Rock Bottom Restaurant & Brewery 206 SW Morrison St. DK Band and Righteous Living

Rontoms

600 E Burnside St.

MUSIC CALENDAR

oct. 2-8 Josh TillinghasT

Kung Pao Chickens, Portland Country Underground

Mark Lanegan, Sean Wheeler, Zander Schloss

McMenamins Edgefield 2126 SW Halsey St., Troutdale Groovy Wallpaper, Moody Little Sister

McMenamins Rock Creek Tavern

10000 Old Cornelius Pass Road, Hillsboro Bob Shoemaker

Mississippi Studios

3939 N Mississippi Ave. Jacco Gardner, Fur Coats, Ozarks

Muddy Rudder Public House 8105 SE 7th Ave. Lloyd Jones

3158 E Burnside St. Horses Ha

Slabtown

1033 NW 16th Ave. Grand Style Orchestra

Slabtown

1033 NW 16th Ave. The Church of RocknRoll Presents... - Caravels

Star Theater

13 NW 6th Ave. Christian Death, Atriarch, Deathcharge

The Conga Club

4923 NE Martin Luther King Jr. Blvd., Suite 102 VYBZ Reggae Night

The Elixir Lab

2738 NE Alberta St. Skidmore Bluffs

The Know

2026 NE Alberta St. Druden, Sutratma, Stoneburner

Tonic Lounge

3100 NE Sandy Blvd. Mongrel Gods, Blue Sabbath Black Cheer

Trinity Episcopal Cathedral

147 NW 19th Ave. Evensong For the Feast of St. Francis: Cathedral Chamber Singers

Valentine’s

232 SW Ankeny St. Happynoose, Slutty Hearts

Vie de Boheme

1530 SE 7th Ave. Rogue River Revival

White Eagle Saloon 836 N Russell St. Jared & the Mill, The Weather Machine, Lexington Field, Jack Martin

Yale Union (YU)

800 SE 10th Avenue David Grubbs and Susan Howe

Mon. oCT. 7 Al’s Den at the Crystal Hotel

303 SW 12th Ave. Redwoon Son and Calico

Aladdin Theater

3017 SE Milwaukie Ave. Father John Misty, Kate Berlant

Alberta Rose Theatre

3000 NE Alberta St. Kat Edmonson, Catherine Feeny

Dante’s

350 W Burnside St. Karaoke From Hell

Doug Fir Lounge

830 E Burnside St. Ha Ha Tonka, Samantha Crain

Duff’s Garage

1635 SE 7th Ave. Lily Wilde

Goodfoot Lounge

2845 SE Stark St. Sonic Forum Open Mic

Ground Kontrol

511 NW Couch St. Metal Mondays

Hawthorne Theatre 1507 SE 39th Ave. You Me At Six, Cute Is What We Aim For, Conditions, Dinosaur Pile-Up

Jimmy Mak’s

221 NW 10th Ave. The Dan Balmer Band

Kells Brewpub

210 NW 21st Ave. Traditional Irish Jam Session

Kells

112 SW 2nd Ave. Pat Buckley

Kelly’s olympian

426 SW Washington St. Eye Candy VJs

LaurelThirst

2958 NE Glisan St.

303 SW 12th Ave. Redwoon Son and Calico

Alhambra Theatre

7850 SW Capitol Highway Songwriter Circle: Mel Kubik, Cal Scott, Richard Moore

Pub at the End of the Universe 4107 SE 28th Ave. Open Mic

836 N Russell St. Small Souls

Wonder Ballroom 128 NE Russell St.

Mississippi Studios

510 NW 11th Ave. Jared Gold, Sylvia Cuenca, Milo Petersen

3939 N Mississippi Ave. And So I Watch You From Afar, TTNG, Mylets

Crystal Ballroom

Red and Black Cafe

830 E Burnside St. Dave Simonett, Ark Life

Duff’s Garage

1635 SE 7th Ave. Dover Weinberg Quartet, Johnnie Ward’s Sharkskin Review

Hawthorne Theatre Lounge

The Know

White Eagle Saloon

3552 N Mississippi Ave. Paul Rodin

Camellia Lounge

Holocene

232 SW Ankeny St. Lunch, Permanent Collection, Free Time

McMenamins Rock Creek Tavern

Mississippi Pizza

1028 SE Water Ave. Sun Angle, Chastity Belt

1001 SE Morrison St. LE1F, Antwon, Lakutis, Magic Fades DJs

Valentine’s

2126 SW Halsey St., Troutdale Wild Bores

Bunk Bar

The Elixir Lab

2026 NE Alberta St. Brain Attack, Wounds, Freedom Club

McMenamins Edgefield

10000 Old Cornelius Pass Road, Hillsboro Bluegrass Tuesdays

1503 SE Cesar E. Chavez Blvd. The Deep Dark Woods

2738 NE Alberta St. Moonshine Monday: Michael the Blind

2958 NE Glisan St. Jackstraw

4811 SE Hawthorne Blvd. JoJo, Leah LaBelle

Doug Fir Lounge

o’Connor’s Vault

A Happy Death, (((BOING)))

Al’s Den at the Crystal Hotel

1332 W Burnside St. Blue October, Unlikely Candidates, Tori Vasquez

Music Millennium

SHRED LIGHTLY: The Ghost Ease plays Record Room on Saturday, oct. 5. Read a review of the band’s new self-titled album at wweek.com.

TUES. oCT. 8

LaurelThirst

Ivories Jazz Lounge and Restaurant

400 SE 12th Ave. Divers, Prank War, Peeple Watchin

Secret Society Ballroom

116 NE Russell St. Tall Heights, Strangled Darlings, Big E

The Elixir Lab

2738 NE Alberta St. Three For Silver

Twilight Café and Bar 1420 SE Powell Blvd. Open Mic Night Featuring House Band: The Roaming

Velo Cult

1969 NE 42nd Ave. Hollywood Bluegrass Band

White Eagle Saloon

Jimmy Mak’s

836 N Russell St. Kat Jones, Tiburones, Steph Infection & the Heebie Jeebies

Kells

128 NE Russell St. Shovels and Rope

1435 NW Flanders St. Ezra Weiss 221 NW 10th Ave. Mike Clark 112 SW 2nd Ave. Pat Buckley

Wonder Ballroom

conT. on page 47

ECM CATALOG SALE TIM BERNE’S SNAKEOIL SHADOW MAN ON SALE $14.99 CD

RALPH ALESSI BAIDA ON SALE $14.99 CD

Berne and his band of New York standouts pianist Matt Mitchell, clarinettist Oscar Noriega and drummer/percussionist Ches Smith have developed a rapport that sounds like communal telepathy. The studio outcome is a marvel of kinetic action, the six pieces of Shadow Man making for music as visceral as it is cerebral.

Alessi has created something breath-taking with Baida, an album sure to beguile a wider audience with its atmospheric depth and melodic allure. As a vessel for the album s seemingly bottomless lyricism, this quartet of virtuosos plays with extraordinary finesse.

BOLLANI/DE HOLANDA O QUE SERA ON SALE $14.99 CD

STEVE SWALLOW QUINTET IN THE WOODWORK ON SALE $14.99 CD

Italy’s creative piano virtuoso Stefano Bollani meets Hamilton de Holanda, Brazils peerless master of the bandolim, the 10-string mandolin. O Que Sera is a summery celebration of the joy of music making, radiating an irresistible enthusiasm, and raising the bar for trans-idiomatic instrumental interaction.

Offer good through 10/29/13

Praising a previous incarnation of Steve Swallows quintet, The Times of London described the band as near a perfect display of small-group jazz robust yet exquisitely poised.

BLEY/SHEPPARD /SWALLOW TRIOS ON SLAE $14.99 CD

VARIOUS ARTISTS SELECTED SIGNS III-VIII ON SALE $62.99 CD BOX-SET

Carlas robust tunes are vividly conveyed, all members solo compellingly, and the trio has never sounded better. Trios is one of the outstanding jazz albums of the season and marks the first time that a new Carla Bley album has appeared on ECM itself .

In the winter of 2012/13, the Haus der Kunst in Munich one of Europes most important museums for contemporary art hosted the exhibition ECM A Cultural Archaeology. For this exhibition, Manfred Eicher and Steve Lake created this box-set accentuating directions in ECMs rich musical history.

PEACOCK/CRISPELL AZURE ON SALE $14.99 CD

KEITH JARRETT TRIO SOMEWHERE ON SALE $14.99

Azure features beautiful duets by two great improvisers whose compatibility was proven long ago. With their shared sense of lyricism, their individual compositional styles and their profound background in free playing, Peacock and Crispell are exceptional musical partners.

Now in its 30th year, the Keith Jarrett Trio is widely considered, as the NY Times recently remarked, to have set “the gold standard” for jazz groups, and this sparkling concert recording from 2009 is issued to mark a milestone anniversary.

20% off all ECM titles in store

John Abercrombie Chick Corea Jan Garbarek Jack DeJohnette Steve Kuhn

Keith Jarrett Charles Lloyd Pat Metheny Nik Batsch's Ronin Ralph Towner

Terje Rypdal Tomasz Stanko Craig Taborn and more!

Willamette Week OCTOBER 2, 2013 wweek.com

Celebration of Life MUSICAL FUNDRAISERS TO ENHANCE THE LIVES OF PORTLAND CHILDREN BACK-TO-BACK EVENINGS TO SUPPORT CASCADE AIDS PROJECT KIDS CONNECTION PROGRAM THURSDAY, OCTOBER 3 5:30 - 9:00 P.M.

CITY OF BRIDGES

Jazz Concert & Dancing! Featuring amazing jazz vocalist Richard A. Arnold and the Groove Swingers.

FRIDAY, OCTOBER 4 6:00 â&#x20AC;&#x201C; 10:00 P.M. Opera & Classical Music Be A Gift An intimate evening of arias and classical music featuring soprano Jennifer Forni of the Metropolitan Opera accompanied by pianist David Saffert Both evenings include a pre concert reception with complimentary appetizers and cash wine & champagne bar.

wweek.com/bridges

PORTLAND PIANO COMPANY IN THE TIFFANY BUILDING 711 SW 14TH AVE, PORTLAND, OREGON 97205 4S WWeek BW Ad: Pops 1 / Portland Indies Runs: 10/2 & 9 PORTLANT PIANO COMPANY PHONE: 503-775-2480 To buy tickets:

www.tickettomato.com/event_group.php?gid=68 WWW.FACEBOOK.COM/PORTLANDPATRONOFTHEARTS

Tickets start at $22. While they last.

Willamette Week OCTOBER 2, 2013 wweek.com

OCT. 2-8

MUSIC CALENDAR

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

BAR SPOTLIGHT

STAR-CROSSED WRITERS: Back in April, WW’s Bar Guide passingly mentioned Red Star Tavern (503 SW Alder St., 222-0005, redstartavern.com) as a “Red Robin with much nicer things.” The bar and grill for the Kimpton chain’s Hotel Monaco is indeed a blandly corporate-modern edifice with omnipresent hardwood, deep booths, crisp efficiencies and conservative farmto-table entrees priced in the mid-20s—a natural habitat for young-Turk lawyers and the heavy-jowled business class of the East states and West Hills. There’s 10-foot-tall corporate branding screened onto the wood above the bar. Still, right after the jab was printed, one of our contributors, drunk and annoyed, told me that Red Star head bartender Brandon Lockman is one of the finest cocktail-makers in town. Red Star fired back a month later by throwing a drink called “Willamette Weak Sauce” on its happyhour menu. The Weak Sauce is a $6 martini variant marrying gin, Dolin blanc vermouth, lemon, orange blossom honey and serrano syrup. It’s still on the menu and it’s absolutely terrific: tart, finely balanced, a bit floral, with a healthy amount of heat and an acidic finish. It is a sincere pleasure to be insulted with such articulacy. MATTHEW KORFHAGE. The Analog

720 SE Hawthorne DJ Garth

The Conga Club

4923 NE Martin Luther King Jr. Blvd., Suite 102 Tropical Saturday Salsa

WED. OCT. 2 Ground Kontrol

511 NW Couch St. TRONix: Bryan Zentz

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

The Lovecraft

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

THURS. OCT. 3 Berbati’s

231 SW Ankeny St. Studyhall: DJ Suga Shane

CC Slaughters

219 NW Davis St. Hip Hop Heaven with DJ Detroit Diezel

Ground Kontrol

511 NW Couch St. Community Library DJs: DJ Brokenwindow, Strategy

Harlem

220 SW Ankeny St. Bounce: Tourmaline, Valen

Star Bar

639 SE Morrison St. DJ Barrett

FRI. OCT. 4 CC Slaughters

219 NW Davis St. Fetish Friday with DJ Jakob Jay

Crystal Ballroom

1332 W Burnside St.

80s Video Dance Attack: VJ Kittyrox

Goodfoot Lounge 2845 SE Stark St. DJ Magneto

Ground Kontrol

511 NW Couch St. DJ EPOR

Jack London Bar

529 SW 4th Ave. Decadent 80s: DJ Non, DJ Jason Wann

Rotture

315 SE 3rd Ave. Shutup&dance

The Lovecraft

421 SE Grand Ave. Brickbat Mansion: DJ Curatrix, DJ Wednesday

SUN. OCT. 6 Ground Kontrol

511 NW Couch St. DJ Nate C.

Lola’s Room at the Crystal Ballroom 1332 W Burnside St. The Pearly Gates: DJ Fingerbang

Star Bar

639 SE Morrison St. DJ Baby Lemonade

MON. OCT. 7 Ash Street Saloon 225 SW Ash St. DJ Brux Blackhawk

The Lovecraft

SAT. OCT. 5 Berbati’s

231 SW Ankeny St. DJ Mellow Cee

Fez Ballroom

316 SW 11th Ave. Fez Saturday: Doc Adam, DJ Le Phreak

Ground Kontrol

511 NW Couch St. DJ Etbonz

Holocene

1001 SE Morrison St. Booty Bassment: Dimitri Dickinson, Maxx Bass, Nathan Detroit

Lola’s Room at the Crystal Ballroom

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

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

TUES. OCT. 8 Ash Street Saloon 225 SW Ash St. Phreak Electronic Mutations: Foxdye, Jesiah, the Bruxist, ADHDJ

Berbati’s

231 SW Ankeny St. Soundstation Tuesdays: DJ Instigatah, Snackmaster DJ

CC Slaughters

219 NW Davis St. Girltopia with DJ Alicious

Star Bar

639 SE Morrison St. DJ Scary Jerry

Willamette Week OCTOBER 2, 2013 wweek.com

FALL STYLES

Persol

Nine West

Ernest Hemingway

Nicole Miller

Ray Ban

SCOOP

Jobs for the Food and Drink Industry Staffing solutions for owners and managers

bebe

Optical Brokers

NYC/ CHI/ SFO/ SEA /PDX/ AUS

DISCOUNT Designer Frames • Near Wholesale Prices

GOSSIP SHOULD HAVE NO FRIENDS P28

134 NW 21st Ave. 503-295-6488 opticalbrokers.com

Music Millennium’s Upcoming In-Stores Untitled-2 1

THE PARSON RED HEADS SATURDAY, 10/5 @ 3 PM “This may be one of the best albums to come out this year.”—Terry Currier. Orb Weaver focuses on recreating the improvisational bombast of their live show resulting in flashes of sun-stroked auditory maelstroms and expansive blotter-pop Americana previously missing from the band’s recordings.

6/10/12 9:41 AM

COMMUNITY DAY/ SONGWRITERS CIRLCE FEATURING

THE HORSE’S HA MONDAY, 10/7 @ 6 PM Their sound is infused with echoes of the English folk revival, that morph into lulling Bossa Nova rhythms and find their way right back to pure pop, giving the The Horse’s Ha a uniquely enduring edge.

EZZA ROSE DAN HALEY JACK MCMAHON MONDAY, 10/7 @ 7 PM

CHRIS JERICHO (FOZZY) SPECIAL AUTOGRAPH SESSION WEDNESDAY, 10/9 @ 5 PM

SAXON SPECIAL AUTOGRAPH SESSION WEDNESDAY, 10/9 @ 6 PM

Frontmen don’t come more dynamic than Chris Jericho, one of professional wrestling’s biggest superstars, the embodiment of charisma, and the byproduct of a lifetime spent immersed in heavy metal.

Winner of 2012 Golden Gods Award for Best UK Band. Saxon heavily influenced bands such as Metallica, Megadeth, Sodom, and Running Wild. Meet them at Music Millennium before their show with Fozzy on 10/9 at the Alhambra Theater.

5-DAY CLASSICAL MUSIC SALE! WED., OCT. 2–SUN., OCT. 6 20% OFF ALL NEW & USED CLASSICAL CDS, DVDS, & VINYL ENTER TO WIN A 142 CD SET OF ARTHUR RUBINSTEIN! EXCLUDES SALE ITEMS. NOT GOOD WITH OTHER OFFERS. JIMMY WEBB STILL WITHIN THE SOUND OF MY VOICE ON SALE $13.99 CD Still Within The Sound Of My Own Voice unites Jimmy Webb with some of today’s biggest selling and enduring artists for once in a lifetime performances, including the iconic Macarthur Park, Brian Wilson, Carly Simon, and Keith Urban.

DAVID BROMBERG BAND ONLY SLIGHTLY MAD ON SALE $13.99 CD Experience Bromberg’s many talents as a sensitive, masterful guitaist, mandolinist and vocalist, convincing song interpreter, songwriter, bandleader and arranger. Blues, bluegrass, gospel, folk, country, Irish fiddle tunes, English drinking songs, even a cappella, all happily coexist on only slightly mad, just as they did on his much-loved albums of the 70s and 80s.

PATTY LARKIN STILL GREEN ON SALE $12.99 CD The first album of new material in six years for this acclaimed singer, songwriter and guitarist. Patty Larkin redefines the boundaries of folk-urban pop music with her inventive guitar wizardry and uncompromising vocals and lyrics.

ARCTIC MONKEYS AM ON SALE $10.99 CD Arctic Monkeys release their highly anticipated fifth album, entitled AM. AM was produced by James Ford and co-produced by Ross Orton at Sage & Sound Recording, LA and Rancho De La Luna, Joshua Tree.

Willamette Week OCTOBER 2, 2013 wweek.com

NEW & RECOMMENDED CHECK OUT THESE GREAT NEW TITLES

ISLANDS SKI MASK ON SALE $10.99 Ski Mask percolates with the kind of polymorphous pop and hooky, left-of center rock songs that have long been the bands stock in trade.

SARAH JAROSZ BUILD ME UP FROM BONES ON SALE $12.99 CD

QUASI MOLE CITY ON SALE $10.99 CD

Build Me Up From Bones was recorded in the midst of Jarosz's final semester at the prestigious New England Conservatory (where she graduated with honors) and a rigorous touring schedule. Now set to embark on an exciting new chapter of her life, this album is a compelling portrait of an artist coming into her own.

Mole City is not in the tradition or deviating from the tradition – it is the tradition. After two decades of launching drums, guitars and pianos through the shifting interzones between harmony and chaos, Quasi are a genre of their own - they write songs in the style of Quasi.

WESLEY STACE WESLEY STACE ON SALE $12.99 CD

HALIE LOREN SIMPLY LOVE ON SALE $12.99 CD

Twenty-five years after the release of his debut album, celebrated author, NPR personality, and singer/songwriter Wesley Stace, formerly known as John Wesley Harding, returns with Self-Titled, his first record under his given name.

Jazz chanteuse Halie Loren offers an exquisite new album of carefully chosen tunes that reflect the themes of happiness, sun, and being in love—vibrant things, radiant in their being, reaching to the stars.

OCT. 2–8

= WW Pick. Highly recommended. Most prices listed are for advance ticket sales. At-the-door increases and so-called convenience charges may apply, so it’s best to call ahead. Editor: REBECCA JACOBSON. Theater: REBECCA JACOBSON (rjacobson@wweek.com). Dance: AARON SPENCER (dance@wweek.com). TO BE CONSIDERED FOR LISTINGS, submit information at least two weeks in advance to: rjacobson@wweek.com.

THEATER OPENINGS & PREVIEWS Anything Goes

Broadway Across America presents Cole Porter’s classic musical about the hijinks aboard an ocean liner. Keller Auditorium, 222 SW Clay St., 800-2731530. 7:30 pm Wednesday-Friday, Oct. 2-4; 2 and 7:30 pm Saturday, Oct. 5; 1 and 6:30 pm Sunday, Oct. 6. $35-$89.

Detroit

Portland Playhouse opens its sixth season with Lisa D’Amour’s 2010 Pulitzer finalist, a dark comedy about two couples facing financial uncertainty in a nameless suburb (not necessarily anywhere near the city of Detroit). Over barbecue and too much cheap beer, sunny chitchat turns into something much bleaker. Brian Weaver directs a powerhouse cast. Portland Playhouse, 602 NE Prescott St., 4885822. 7:30 pm Wednesdays-Saturdays and 2 pm Saturdays through Nov. 3. $17.75-$42.75.

NT Live: Othello

Olivier-winning actor Adrian Lester stars in a production of Shakespeare’s tragedy, broadcast in high-def from London’s National Theatre. World Trade Center Theater, 121 SW Salmon St., 235-1101. 2 and 7 pm Saturday, Oct. 5 and Sunday, Oct. 27. $15-$20.

Playback Theater

Audience members tell stories, which Playback’s actors and musicians improvise on the spot. Action/ Adventure Theatre, 1050 SE Clinton St. 6 pm family show and 8 pm regular show, Saturday, Oct. 5. $5-$20.

NEW REVIEWS Grim and Fischer

If Pixar choreographed a live-action danse macabre, it might look something like Grim and Fischer. But there’s no major animation studio behind this play, just a wee theater company called Wonderheads, made up of Andrew Phoenix and Kate Braidwood. After several years selling out houses and earning raves on the fringefest circuit, the married couple has returned home to Portland, bringing with them this beguiling little piece of theater. Donning full-face masks— beautiful papier-mâché creations several times larger than a human head—Phoenix plays the Grim Reaper, a balding and frowning spook of a man, and Braidwood is Mrs. Fischer, a spunky old woman not yet ready to have her flame snuffed out. During the dialogue-free hour, the two spar and waltz and groove to “Stayin’ Alive,” which carries special resonance here. They’re physical-theater virtuosos, masterfully conveying emotion— shame, embarrassment, defiance, woe—with movement. Braidwood’s hunched back and trembling fingers, for example, tell more than any line of dialogue ever could. Though some jokes are needlessly juvenile, including an extended bit with a whoopee cushion and another gag about a sex hotline, the best moments are not those of exaggeration but of subtlety. The overriding tone straddles a fine line between playful and wistful, as when Fischer dances with a suit jacket by tucking one of the sleeves under her armpit. Even though it’s a little too clear where things are heading, we’re happy to follow these charming characters there. REBECCA JACOBSON. Ethos/IFCC, 5340 N Interstate Ave., wonderheads.com. 8 pm ThursdaySaturday, Oct. 3-5. $12-$15.

The Great Gatsby

Eight figures contort their bodies

slowly in some kind of Prohibitionera tai chi. Their limbs don’t spell out “Gatsby,” but their flapper dresses, three-piece suits and the crackling blues music fairly scream it. Such is the opening scene of Bag&Baggage’s The Great Gatsby, adapted by Simon Levy and directed by Scott Palmer. Most have plodded through F. Scott Fitzgerald’s story again and again since seventh-grade English, but, especially in light of Baz Luhrmann’s recent critical flop, the B&B team manages to add a welcome gaudiness of its own. Colin Wood plays a little too soft and kind for the role of the violent, racist Tom Buchanan, but Ty Boice has perfected his slow, drawling “old sport” as Jay Gatsby. Upon meeting Gatsby, Cassie Greer’s eyes gleam robust joy and excitement, and though she shows little of Daisy’s impressionability, she owns the role and pulls it off. The company even imparts glitziness to the stagecraft: A fly system whisks Gatsby’s fine shirt collection on and then off the stage, projected quotes from the novel add a sense of poetry and a huge wooden dock protrudes from stage left. The only thing missing is the green light at the end of the dock—and an instructional DVD for flapper tai chi. MITCH LILLIE. The Venetian Theatre, 253 E Main St., Hillsboro, 693-3953. 7:30 pm Thursdays-Saturdays and 2 pm Sundays through Oct. 20. $20-$30.

Mistakes Were Made

Sometimes, a title speaks for itself, and that’s unfortunately the case with Craig Wright’s Mistakes Were Made. The play centers on a theater producer named Felix Artifex (the name in Latin means “lucky actor,” though luck is the last thing this crass huckster has) attempting to mount an epic Broadway show about the French Revolution called…well, Mistakes Were Made. And just as that clusterfuck production crumbles—there’s some issue regarding sheep trafficking in the Middle East, a subplot best ignored— so too does this Artists Rep production fail to ignite. That’s in large part due to Wright’s script, essentially a one-sided phone conversation. Felix (Michael Mendelson, who also directs) storms about his office, gesticulating rabidly as he switches between a dozen phone extensions. The jokes flop, particularly one about Miley Cyrus playing Scout in a musical adaptation of To Kill a Mockingbird that left me with horrible images of the foam finger-clutching pop star teaching Boo Radley how to twerk. It’s perhaps churlish to say Mendelson is miscast as Felix—original star Todd Van Voris had to bow out because of a family emergency—but the actor lacks the necessary erratic presence to make the role work. Instead, Mendelson gasps and whines and moans with strange and inconsistent affect, and that’s not to mention his peripatetic accent, some confused blend of Boston and Britain. Spending most of the play with his eyes cast down, he leaves the audience feeling as distant and lost as those stranded sheep. REBECCA JACOBSON. Artists Repertory Theatre, 1515 SW Morrison St., 241-1278. 7:30 pm Wednesdays-Sundays and 2 pm Sundays through Oct. 27. $25-$55.

Varsity Cheerleader Werewolves Live From Outer Space

Varsity Cheerleader Werewolves Live From Outer Space started out as a movie, with a passably professional trailer starring Daniel Baldwin. That surviving video holds almost no trace of the rollicking charms or improvisatory swagger currently being reprised at Milepost 5. By shoehorning a feature-length screenplay into little more than an hour and making the most of an effects budget likely below two digits—laser pointer, Silly String and a moth-eaten cat puppet inventively

serving as our cabaret CGI—Steve Coker sidesteps both the deadening rhythms of dated sci-fi pastiche and the high-camp artifice ordinarily infecting modern musical comedy. With successive blink-and-you’ll-missthem scenes, the continually engaging and mobile performers stick each wry aside and own every cornball bit of exposition. There’s a two-fisted physicality empowering slapstick set pieces and heightening the violent flourish or eroticized assault. Punches connect, stripteases arouse and Bananarama synth riffs impart a genuinely disturbing malevolence. The project couldn’t possibly have achieved such heights as a motion picture, but that doesn’t mean a sequel’s not deserved. JAY HORTON. Milepost 5, 850 NE 81st Ave., 729-3223. 7 pm Thursdays-Saturdays through Oct. 12 and 2 pm Sunday, Oct. 6. $10-$12.

ALSO PLAYING The 39 Steps

tale: It’s neither weepily mournful nor parodically ridiculous. As Tevye, David Studwell plays a man weary but resilient, buoyed by a dark and idiosyncratically Jewish sense of humor. The other cast members, all speaking in distinctive Russian-Jewish accents, also bring nuance to broadly drawn characters. The design choices, too, fit both Fiddler and Portland: The floor-to-ceiling backdrop of reclaimed wood would be at home in any farmto-cone ice cream parlor serving noodle-kugel sorbet. Fiddler may lack the subversion of a Sondheim musical, the humor of Spamalot or the swooning emotionality of West Side Story. But it’s hard to deny its warm and homespun allure, which tugs on our desire for tradition while warning us of the dangers of insularity. L’chaim! REBECCA JACOBSON. Gerding Theater, 128 NW 11th Ave., 445-3700. 7:30 pm Tuesdays-Sundays, 2 pm

Saturdays-Sundays, noon Thursdays through Nov. 3. $38-$72.

Going On

Performer Kristin Olson-Huddle presents a solo piece about being orphaned, grieving and healing. The Headwaters, 55 NE Farragut St., No. 9. 8 pm Thursdays-Saturdays and 2 pm Sundays through Oct. 6. $10-$12.

James and the Giant Peach

Northwest Children’s Theater kicks off its 20th season with Roald Dahl’s whimsical tale of a boy who sails across the ocean in a magical peach. NW Neighborhood Cultural Center, 1819 NW Everett St., 222-4480. Noon and 4 pm Saturdays-Sundays through Oct. 27. $18-$22.

CONT. on page 50

REVIEW OWEN CAREY

PERFORMANCE

Clackamas Rep closes its season with an adaptation of the Hitchcock spy movie, which requires a cast of four to play more than 150 characters. Clackamas Community College, Osterman Theatre, 19600 S Molalla Ave., 594-6047. 7:30 pm ThursdaysSaturdays and 2:30 pm Sundays through Oct. 6. $15-$30.

The Big Meal

How much time do we spend around the dining-room table? Can the entire scope of a life—from first dates and holiday gatherings to engagements and pregnancies and grief—be depicted at the table? With beautiful and deceptive simplicity, Dan LeFranc’s The Big Meal, directed by Dámaso Rodriguez, proves it can. As the play begins, the young Sam and Nicole meet at the restaurant where she works. From there, five generations of a family navigate life’s joys and dramas as if in a time-lapse photograph, launching ahead weeks or years but always coming back together at the table. The eight actors play family members of a range of ages, gliding between roles. As a young Nicole, Britt Harris is neurotic and angry, while middle-aged Nicole (played by a delightful Val Landrum) develops a sharp-tongued wit and perpetually clutches a glass of wine. The character of Sam remains naive and good-humored but gains a noticeable weariness. When Vana O’Brien, playing a now-elderly Nicole, wonders aloud and mostly to herself “Where does the time go?” it is with a heartbreaking poignancy. Everyone we know and love will pass through our lives, often too quickly, and we ourselves will one day finish our last meal and leave the table. PENELOPE BASS. Artists Repertory Theatre, 1515 SW Morrison St., 241-1278. 7:30 pm WednesdaysSundays, 2 pm Sundays through Oct. 6. $25-$55.

The Eternally Present Past

Using movement, sound, poetry and story, Melanya Helene and Marc Otto explore the neurobiology of relationships. Brooklyn Bay, 1825 SE Franklin St., 772-4005. 8 pm Fridays-Saturdays through Oct. 12. $20.

Fiddler on the Roof

“Twenty-eight?!” my friend exclaimed, after I told her the size of the cast for Portland Center Stage’s Fiddler on the Roof. “There aren’t even that many Jews in Portland!” (Give her a break: She’s a Jew from Long Island. And for the record, there are close to 50,000 Jews in Portland.) But I took her point. Despite our recent bagel boom, this isn’t exactly a city teeming with yarmulke-clad, kosher-keeping denizens. How would PCS artistic director Chris Coleman—himself a goy from Atlanta— treat this portrait of life in a Jewish shtetl in pre-revolutionary Russia? Would he turn it into some political allegory? The answer, mercifully, is no. It’s easy to make contemporary analogies for the classic musical, which centers on Tevye, a tradition-bound milkman facing the forces of modernity and malice. But what makes this production work is its refusal to generalize or to draw sweeping parallels. Coleman brings texture to a broad

LUNCH BUNCH: A family that laughs together and cries together.

SWEET AND SAD (THIRD RAIL REPERTORY) Between each scene in Sweet and Sad, there’s a simple sound effect: a breath. It’s a small sound—a slight inhale, a longer exhale—and easy to miss. It’s also a lovely and poignant touch, a reminder of what sustains us. And it’s a gesture that, just like the play, sneaks up on you in a quiet and astounding way. That breath is the least of reasons to see this affecting Third Rail production, directed by Scott Yarbrough. Following last season’s That Hopey Changey Thing, Sweet and Sad is the second in Richard Nelson’s fourplay series about the Apple family. It’s a topical cycle: Hopey Changey was set on the day of the 2010 midterm elections, and this installment finds the family on Sept. 11, 2011. Don’t worry if you missed the first one— you’ll quickly pick up on the family’s dynamics in Sweet and Sad, which is the richer and wiser of the two plays. The largely liberal clan has again gathered in upstate New York at the home of schoolteacher Barbara, who lives with her sister Marian (Maureen Porter, whose naturalistic and assured performance is so good it hurts) and their uncle, a retired actor with amnesia. Up from Manhattan are Barbara and Marian’s two siblings, a fat-cat lawyer (a very funny and playfully prickly Michael O’Connell) and a writer, who’s brought along her actor boyfriend (Isaac Lamb, perfectly on the edge of the action as the sole outsider). As they eat a late lunch, the 10th anniversary of the Sept. 11 attacks suffuses conversation. But this is at its heart a family drama, and the play beautifully weaves together the political and the personal. Dialogue is intimate and affectionate, but passive-aggressive undercurrents simmer beneath each joke or gibe. Grief and guilt loom large, most heartbreakingly during conversations about the death of Marian’s teenage daughter. The actors inhabit their roles fully, and there’s no affect or exaggeration to Lamb’s deferential tone, to O’Connell’s impish expressions, to Porter’s departures when conversation turns dark. Nelson, the playwright, is a master at raising provocative questions without giving any easy answers. How do we distinguish between victims and heroes? How do we compensate for the loss of life? But far from these inconclusive exchanges feeling evasive, the very difficulty of such conversations becomes the play’s subject. Next year’s Apple family gathering can’t come soon enough. REBECCA JACOBSON.

How ’bout them Apples?

SEE IT: Sweet and Sad is at the Winningstad Theatre, 1111 SW Broadway, 235-1101. 7:30 pm Thursdays-Saturdays and 2 pm Sundays through Oct. 20. $20-$43. Willamette Week OCTOBER 2, 2013 wweek.com

OCT. 2–8

STEVEN MILLER

Three Tragicomedy Playlets

Comedian Starr Ahrens stages three one-acts exploring love, grief and letting go. In one, 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.

COMEDY Curious Comedy Cover Show

Curious Comedy presents a revue of sketches paying tribute to great female comics past and present. Curious Comedy, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 8 pm FridaysSaturdays through Oct. 12. $12-$15.

ALLIE HANKINS (NEW EXPRESSIVE WORKS)

Lucky Stiff

For a campy musical to succeed, its cast must commit to the project with overwhelming sincerity. That, however, isn’t what happens in Broadway Rose’s production of Lucky Stiff. In fairness, Lynn Ahrens’ thin book and lyrics don’t offer much to work with. But the few strings that might have held the show together—bright musical melodies by Stephen Flaherty and a fair attempt at jazz-hand-heavy choreography by director Dan Murphy— are inconsistent and often fumbled. Lucky Stiff tells the story of bumbling shoe salesman Harry Witherspoon (a hollow Robert Winstead) who stands to inherit a good deal of money from his recently murdered Uncle Tony, provided he meets the terms outlined in the will. The corpse of Uncle Tony (a role nailed by David Smidebush) wants one last vacation, dead or not, and Witherspoon must accommodate or the money will literally go to the dogs (or, rather, to a charity for them). The cast members are deft singers, but some numbers are wrecks, such as the black-lit and eerily costumed “Harry’s Nightmare: Welcome Back, Mr. Witherspoon,” which is destroyed by botched choreography, save for a short tap solo. Harry must battle some stiff competition, including a dog lover (a confused Ecaterina Lynn) and Uncle Tony’s half-blind, slightly psychotic mistress (an absolutely stand-out Amy Jo Halliday), but ultimately, the audience is left as stiff as Uncle Tony’s corpse. JEN LEVINSON. Broadway Rose New Stage Theatre, 12850 SW Grant Ave., Tigard, 620-5262. 7:30 pm Thursdays-Saturdays and 2 pm Sundays and some Saturdays through Oct. 13. $20-$44.

The Mountaintop

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) spitballs phrases for a new speech as he paces before the mirror, loosening his tie. Into this bare-bones motel room flies Camae (Natalie Paul), an ebullient, potty-mouthed maid. 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.” But then Hall produces a cheap twist, which I won’t reveal here. 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—Hicks and Paul have an engaging chemistry, 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. Gerding Theater, 128 NW 11th Ave., 4453700. 7:30 pm Tuesdays-Sundays, 2 pm alternating Saturdays and Sundays, and noon Thursdays through Oct. 27. $40-$55.

Richard III

We might expect to find Barry Kyle, honorary associate director of the Royal Shakespeare Company, directing a mega-production at one of Portland’s largest theaters. Instead, he’s at Shoebox, one of the smallest, exposing England’s most devilish king in Shakespeare’s Richard III. The details of Richard’s devil aren’t lost on Kyle, the Northwest Classical Theatre Company cast, or the audience in such a tight arena. A chalkboard scrawled with characters’ names and years of birth seems out of place until their years of death are added as the massacres progress. Opposite, a projector pitches images, like a map of the U.S. dotted with photos of Richard’s grinning mug, which symbolizes the noblemen he’s recruited to his conspiracy. Given the play’s convoluted web of relationships and vengeance, the fact that half the cast plays more than one role will overwhelm those unfamiliar with the story. The leads shine, though. Grant Turner is a horrifying Richard, one moment inducing us to laugh with him at his deviousness, the next spraying chilling words of hate across the room. Before the final battle, both sides have built up such energy that the finale is as much relief as it is resolution. This production, unlike the Wars of the Roses, was planned, executed and won from the beginning. MITCH LILLIE. Shoe Box Theater, 2110 SE 10th Ave., 971-244-3740. 7:30 pm Thursdays-Saturdays and 2 pm Sundays through Oct. 13. $25.

Spamalot

Not everyone enjoys going to the theater. That’s why Spamalot is a great starter show. It’s the Kraft macaroni of musical theater—a guilty pleasure but impossible to hate. Since premiering on Broadway in 2005, the show has been produced in 20 countries and continues to tour the globe, which speaks strongly to the universal appeal of fart jokes and men in drag. If you’ve seen Monty Python and the Holy Grail, you already know the story. (And if you haven’t seen it, what’s wrong with you?) The first act more or less mirrors the film, with some added songs and dance routines. The second act is a jumbled mess of plot twists intended to wrap things up within the running time. While most of the gags are meant to slap you in the face, what really sells the humor are the facial expressions of this Lakewood Theatre Company cast, able to elicit laughs with a welltimed lip curl or raised eyebrow. Humor, after all, is all about subtlety—even when you’re farting into a trumpet. PENELOPE BASS. 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.

Willamette Week OCTOBER 2, 2013 wweek.com

Diabolical Experiments

Improv jam show featuring Brody performers and other local improvisers. Brody Theater, 16 NW Broadway, 2242227. 7 pm every Sunday. $5.

Entertainment for People

Multitalented poet and performer Derrick Brown hosts this installment of the indie variety show, which also features standup comedy, video shorts, one-man beatboxing and some sort of Satanic metal song. The Blue Monk, 3341 SE Belmont St., 503-595-0575. 8 pm Friday, Oct. 4. $6. 21+.

Friday Night Fights

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.

Funnier Than You

with help from more experienced standbys. The Mad Marquis hosts the darkly comic show featuring dancers Fleur de Sel, Layne Fawkes and Lily le Fauve. And this time, there’s a dude in the mix: Jon Dutch. The Lovecraft, 421 SE Grand Ave., 971-270-7760. 9:30 pm Tuesday, Oct. 8. $8. 21+.

Geeklesque Powers Up 3!

Why mess with a good thing? Geeklesque is luring back the retrogamer crowd a third time with a troupe of video game vixens. Probably the biggest burlesque event of the year, it has a never-ending lineup of performers, including Angelique DeVil, Claire Voltaire, Babs Jamboree, Zora von Pavonine and Isaiah and Esequiel of Burlesquire. Star Theater, 13 NW 6th Ave. 7:30 and 11 pm Friday, Oct. 4. $10$15. 21+.

Irish Music and Ceili Dance

A gathering of good ol’ Irish family fun, including dance lessons and live music. Winona Grange No. 271, 8340 SW Seneca St., Tualatin, 691-2078. 7:30 pm Friday, Oct. 4. $8-$10.

New Expressive Works

Shock queen Kaj-Anne Pepper and choreographer Allie Hankins round out the second half of a new residency program at Studio 2. Pepper’s capstone performance pits drag and contemporary dance against each other amid an audience that is seated onstage. Allie Hankins shows an excerpt from her athletic and evocative piece The Bravest Bull Welcomes

the Fight. Studio 2, 810 SE Belmont St. 8 pm Friday-Saturday, Oct. 4-5. $10.

OHANA Foundation Hula Exhibition

The hula community in the Portland metro area is pretty strong, with about 10 active schools from Tigard to Vancouver, Wash. Dancers from a 5-year-old school, Ka Lei Hali’a O Ka Lokelani, perform at a benefit funding the OHANA Foundation, which awards college scholarships and supports a number of local charitable projects. Hawaiian fare—huli huli chicken, macaroni salad, etc.—is also on hand. Alpenrose Dairy Opera House, 6149 SW Shattuck Road, 503-227-2003. 5 pm Saturday, Oct. 5. $25-$35.

Simone Forti

A pioneer of postmodern dance, Simone Forti is visiting Portland for a lecture, workshop and performance. In the ’60s, Forti was one of the first choreographers to develop a style of dance based on everyday movements, especially things children and animals would do. Instead of caring for artificial or fragmented movements, Forti is big on improvisation. The Ship Gallery Studio, 2512 SE Gladstone St. Lecture 8 pm Friday, Oct. 4; workshop 10 am Saturday-Sunday, Oct. 5-6; performance 7:30 pm Sunday, Oct. 6. $10$20. Workshop sold out.

For more Performance listings, visit

REVIEW BILL BERK

PERFORMANCE

Richie Stratton hosts a new monthly standup series, with five local comedians competing for cash prizes. Sky Club, 50 SW 3rd Ave., 223-1375. 9:30 pm every first Friday. Free. 21+.

Greg Behrendt

The former script consultant for Sex and the City—who studied theater at the University of Oregon—brings his standup act to Helium. Helium Comedy Club, 1510 SE 9th Ave., 888-643-8669. 8 pm Thursday and 7:30 and 10 pm Friday-Saturday, Oct. 3-5. $15-$27.

Half-Life

Performers from two local groups— Katie Nguyen and Tom Johnson from the Brody and Daryl Olson and Shelley Darcy from Brainwaves—team up for a night of improv. In the first act, the performers collect personal info from audience members to create a Frankenstein character, who then goes on great comedic adventures. A freeform second half follows. Brody Theater, 16 NW Broadway, 224-2227. 7:30 pm Saturdays through Oct. 19. $9-$12.

It’s Gonna Be Okay

Portlander Barbara Holm, who has an off-center and brainy brand of humor, hosts a twice-monthly standup showcase featuring local and traveling comics. East Burn, 1800 E Burnside St., 236-2876. 8:30 pm every first and third Monday. Free. 21+.

Keep Portland Dis/Orient/ Ed (and Laughing)

A standup showcase featuring several Asian-American female comedians, including Portlander Katie Chang, Seattleite Mona Concepcion and D’Lo, a queer Sri Lankan-American comic. Helium Comedy Club, 1510 SE 9th Ave., 888-643-8669. 5 pm Saturday, Oct. 5. $20-$25.

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.

DANCE Burlynomicon

Some of Portland’s newest burlesque dancers take off their training bras

IN YOUR EYES: Sean Doran (left) and Chris Murray.

ROLL OVER AND PLAY UNDEAD: Whatever the reasons for our current cultural embrace of the zombie apocalypse, live theater has largely been spared the plague. It is, after all, rather more difficult to convey the specter of undead, swarming hordes through stagecraft. Instead, The Revenants, a play by Scott T. Barsotti given its Northwest premiere by local troupe the Reformers, focuses upon the harrowing toll wrung from survivors witnessing their nearest and dearest transform into nearly unrecognizable monsters. Presented in an actual residential garage in the Buckman neighborhood (and held during torrential downpours on opening weekend), there’s no shortage of verisimilitude to the production. Tricks of lighting, eerily convincing makeup and bravura soundwork all combine to manufacture a remarkably macabre mise en scène that, nevertheless, must live and die on the abilities of the actors portraying those who have passed this mortal coil. Zombified Molly (Jennifer Elkington) and Joe (company founder Sean Doran) have been chained to the walls by their respective spouses (Chris Murray and Christy Bigelow), who hope that some shred of their paramours’ former selves remains. Murray and Bigelow accomplish yeoman’s work as our putative heroes, struggling with a script long on forced humor and dimly revelatory monologues. Grimm vet Murray, in particular, boasts the sort of scruffy sparkle that makes genre vehicles sing. But it’s the performances of Elkington and Doran—forearm-chewing figures of devolved menace who spend the near 90 minutes as grunting, slobbering scenery—that wrap even the more lurid emotional flashpoints within the skin of fresh horror. JAY HORTON. SEE IT: The Revenants is at 1126 SE 15th Ave., thereformerspdx.com. 8 pm Thursdays-Sundays through Oct. 19. $15-17.

VISUAL ARTS

OCT. 2–8

= 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.

Brad Adkins: Business

With his self-eff acing personality, trademark hoodies and whimsical, often-inscrutable artworks, Brad Adkins has been one of the most recognizable Northwest artists of the past decade. In Business, he fi lls a pop-up space with fi ve new sculptures made out of canvas, neon, plastic and wood. Among his infl uences are early 1960s pop art, roadside attractions along interstate highways and a recent fi lm-watching project during which he watched a whopping 3,500 movies across nearly all genres. It will be a treat to see what this iconic local artist has come up with this outing. Through Oct. 12. Brad Adkins Pop-up Space, 209 SW 9th Ave.

Clifford Rainey: In the Beginning Was Black

Politically aware wit and a long sociocultural viewfi nder have always distinguished the work of Northern Ireland-born artist Cliff ord Rainey. That’s still very much the case, as is clear from the trenchant works in his current show at Bullseye. You can infer a lot about the artist simply from the titles he gives his works. A wood, glass and resin sculpture of a pistol case is entitled Amend the Second Amendment, while two oversized sculptures of Coca-Cola bottles are called War and Peace. But Rainey does something in this show that he doesn’t do that often: He lets down his guard and shows his humanity. Rainey has lost several friends and family members over the past couple years, and a palpable sense of loss pervades this exhibition. It’s most potent in the haunting sculpture Mourner, a fearsome, 2-foot-high stylization of the Grim Reaper. Rather than limit himself to specifi c sociopolitical themes, Rainey is beginning to tackle more universal issues, such as the fear of death. His work, stronger than ever, benefi ts. This is one of the sad truisms of art: The more harrowing the artist’s life, the richer the work. Through Nov. 2. Bullseye Gallery, 300 NW 13th Ave., 227-0222.

Contemporary Northwest Art Awards

Expansive, thoughtful and dramatically installed, the biannual Contemporary Northwest Art Awards didn’t disappoint this year. Curator Bonnie Laing-Malcolmson has created a spectacular survey of artwork across a diverse fi eld of practices, fi lling—but not overfi lling—a generous exhibition space with work by artists from Oregon (Karl Burkheimer), Washington (Isaac Layman, Nicholas Nyland and the single-monikered Trimpin), Montana (Anne Appleby) and

Wyoming (Abbie Miller). As heterogeneous as these artists’ works are, somehow Laing-Malcolmson makes them cohere spatially and thematically. At the show’s opening gala, Trimpin took home the $10,000 Arlene Schnitzer Prize. Through Jan. 12. Portland Art Museum, 1219 SW Park Ave., 226-0973.

Incident Energy

In 1995, Portland-based artist/fi lmmakers Marne Lucas and Jacob Pander collaborated on cult-classic art fi lm The Operation. Now, 18 years later, they have followed up that fi lm with a new one, entitled Incident Energy. Like the earlier fi lm, Incident Energy is fi lmed with infrared cameras, which capture the distinction between objects that are hot (skin, warm liquids, the sun) and those that are cold (hair, trees, snow). It’s a nifty eff ect Lucas and Pander exploit in an archetypal story about the birth, life, romantic travails and death of a man and woman as they traverse a landscape that is fi rst Edenic, then blighted and postapocalyptic. A German expressionist-tinged sense of high romantic melodrama pervades the fi lm, which ultimately leaves the viewer angstfi lled and emotionally devastated. It’s not an easy fi lm to watch, but it’s highly worthwhile. Through Oct. 13. Disjecta, 8371 N Interstate Ave., 2869449.

Jeffrey Butters: Passages

In a triptych of ravishing oil paintings, Jeff rey Butters perfects a style he has been reaching toward in recent series. Cadmium Reaction I and VI, as well as Manganese Reaction I, overlay luscious impasto atop gold dust and powder pigment. Butters begins this process by rubbing the powders over wet gesso. This creates the basis for compositions that combine the extreme surfaces of van Gogh with the delicate, washy optical nature of Monet. The works’ most surprising achievement is to function as heavily layered objects while depicting wispy clouds and mists that threaten to fl oat out of their very frames. Through Nov. 2. Butters Gallery, 520 NW Davis St., second fl oor, 248-9378.

Jim Riswold: Art for Oncologists

The Pacifi c Northwest’s own private Jeff Koons, artist Jim Riswold serves up a delightfully disturbing meditation on surviving cancer, called Art for Oncologists. Like the worldfamous Koons, Riswold has a knack for creating sculptures that marry humor with high-concept rigor. Unlike Koons, Riswold has lived with leukemia for 13 years. His new show is an ode to cancer drugs, which he portrays as sculptures in the shape of valentine heart candies. The over-

size candy dish these sculptures reside in is so huge, it looks like a hot tub. Riswold manages to be droll and morbid at the same time, and in poking gentle fun at his health travails, he shows the rest of us a thing or two about fi ghting—and winning— life’s most brutal battles. Through Nov. 2. Augen DeSoto, 716 NW Davis St., 224-8182.

REVIEW

Paul Soriano: Oblivion

In the past, Paul Soriano’s seductive nude portraits and self-portraits presented male sexuality as a kind of languid harem, with bedroom-eyed odalisques lying about in anticipation of hardcore action. But in Oblivion, his new show at Cock, he depicts psychosexual dramas that are not about repose, but seething neuroses and fetishes. The oil paintings on wood panels also pose a question of great relevance, particularly to queer culture: If recent progress in LGBT rights continues, will queer life and art become so accepted in the mainstream that its transgressive edge will lapse, as the show’s title portends, into oblivion? Oct. 3-Nov. 7. Cock Gallery, 625 NW Everett St., No. 106, 552-8686.

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. On display are two vintage Levine pieces and three that were made during the past two years. But the pièce de résistance is a series of 16 paintings riffi ng on Claude Monet’s famous and ubiquitous Water Lilies. Viewers unfamiliar with Levine will benefi t from this thoughtfully conceived introduction. Through Oct. 13. Portland Art Museum, 1219 SW Park Ave., 2260973.

Tom Cramer and Sherrie Wolf

Two of the Northwest’s most beloved artists join forces in this powerful double bill. Tom Cramer’s Continuum brings together his luxurious goldand silver-leafed paintings and his elegantly phantasmagorical drawings, while Sherrie Wolf’s exhibition, Stills, showcases her gift for jaw-dropping photorealism. In wildly divergent styles, the artists capture the lavish gifts of nature’s bounty. It will be fascinating to see how their works play together in dialogue within Russo’s expansive front and back galleries. Oct. 3-Nov. 2. Laura Russo Gallery, 805 NW 21st Ave., 226-2754.

For more Visual Arts listings, visit

FEATURING 100%

SQUEEZED ARCH BY ABBIE MILLER

CONTEMPORARY NORTHWEST ART AWARDS Over the spring and summer, I went on artrelated trips to New York, Los Angeles and San Francisco, and in none of those cities did I encounter a museum show that breathed as expansively as the Portland Art Museum’s Contemporary Northwest Art Awards. Under the helm of Northwest art curator Bonnie Laing-Malcolmson, the show masterfully counterposes a dazzling array of media and styles. It goes without saying that a museum biennial such as this can never paint a comprehensive snapshot of an entire region. In fact, the only regional exhibition during the past decade to remotely approach that goal was 2003’s The Modern Zoo, and that was mounted by an adhoc nonprofit, not a museum. But what the awards have done is bring together under one roof a small but intensely satisfying sampling of gifted artists from four states: Oregon (Karl Burkheimer), Washington (Isaac Layman, Nicholas Nyland, and the single-monikered artist known as Trimpin), Montana (Anne Appleby) and Wyoming (Abbie Miller). And while Trimpin’s bizarrely modified grand piano, Red Hot, helped earn him this year’s $10,000 Arlene Schnitzer Prize, the other five artists also stepped up in big ways. Burkheimer’s and Miller’s elaborate, materially inventive sculptures dramatically complement Appleby’s understated paintings, Layman’s coolly minimalist photo constructions and Nyland’s crude but insouciant ceramics. These works are so disparate that the prospect of putting them all in a single room, albeit a large one, must have been daunting. But Malcolmson resisted the urge to cram too many pieces into any given alcove or to group all of each artist’s pieces together. Layman’s, Appleby’s and Nyland’s works are split up into different sections of the space, while Miller’s zipper sculptures appear in the main gallery, the entrance hallway and at the top of the museum’s main stairwell. This decompresses the show spatially and gives it more fluidity as an overall viewing experience. Walking through it, you feel as if you’re flowing through its veins. That’s a difficult trick to pull off, but the awards do it with a seeming effortlessness that allows the artists—and the artistic ecosystem we all share with them—to shine. RICHARD SPEER. Four states, one giant room.

SEE IT: Contemporary Northwest Art Awards at the Portland Art Museum, 1219 SW Park Ave., 226-2811. Through Jan. 12.

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BOOKS

OCT. 2–8

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

WEDNESDAY, OCT. 2 LitHop PDX

Let your logophilia loose and get wrecked on writing at the inaugural literary pub crawl LitHop PDX. Fifty-two readers, including Matthew Dickman, Pauls Toutonghi, Lidia Yuknavitch, Beth Lisick, Michael Heald, will read their work with three readers per hour at six different venues, all located within crawling distance in upper Southeast Hawthorne. LitHop PDX volunteers will hand out maps and programs. Bar of the Gods, 4801 SE Hawthorne Blvd., 232-2037. 7 pm. Free.

THURSDAY, OCT. 3 Gary Miranda

The Duino Elegies by Austrian poet Rainer Maria Rilke, written over the course of a decade beginning in 1912, weigh the beauty of life with its existential suffering. Portland-based poet Gary Miranda will release his new translation of the Duino Elegies, with him and nine other poets each reading one of the 10 elegies. Ristretto Roasters, 555 NE Couch Street, 284-6767. 7:30 pm. Free.

FRIDAY, OCT. 4 The IPRC Text Ball

The Independent Publishing Resource Center holds its eighth annual Text Ball, where guests are encouraged to include text in their attire. A.C. Dickson hosts the event, which will include a live auction, dirty limerick contest, giant crossword puzzles and a costume contest based on this year’s theme of “literary devices.” All proceeds benefit the IPRC. Independent Publishing Resource Center, 1001 SE Division St., Suite 2, 827-0249. 7-11 pm. $15 advance, $20 door.

SATURDAY, OCT. 5 Wordstock

Bibliophiles rejoice! The annual celebration of all things literary hosts two (official) days of author readings, book signings, panel discussions, workshops and more. Oregon Convention Center, 777 NE Martin Luther King Jr. Blvd., 235-7575. 9 am-6:30 pm Saturday and 9 am-5 pm Sunday, Oct. 5-6. $9 per day in advance, $11 per day at the door, $5 children under 13.

SUNDAY, OCT. 6 William Todd Schultz

As a practitioner of psychobiography, William Todd Schultz applies psychological theory and research in the study of historical figures, having written about Jack Kerouac, Roald Dahl, Oscar Wilde, Truman Capote and many others. For his newest biography, Schultz applies his psycho approach to locally beloved musician Elliott Smith in the book Torment Saint: The Life of Elliott Smith. Powell’s City of Books, 1005 W Burnside St., 228-4651. 7:30 pm. Free.

MONDAY, OCT. 7 Authors in Pubs

Joining the lineup of local authors, poets, casual writers and alcoholics at this month’s Authors in Pubs reading series is San Francisco poet,

songwriter and journalist Klipschulz as the featured author. He will read work from his newest book of poetry, This Drawn & Quartered Moon. Jack London Bar, 529 SW 4th Ave., 228-7605. 7:30 pm. Free. 21+.

Ivan Doig

Novelist Ivan Doig frequently returns to the rural Montana communities of his childhood through his books, such as in his McCaskill trilogy. His newest release, Sweet Thunder, sees regular character Morrie Morgan returning to bring the printing press to 1920s Butte, Mont. You can almost see the big sky. Powell’s City of Books, 1005 W Burnside St., 2284651. 7:30 pm. Free.

TUESDAY, OCT. 8 Salman Rushdie

Perhaps you know you’ve really

made it as an author when one of your books provokes orders for your execution. British Indian author 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 Ayatollah Khomeini to issue him a death sentence. Now for the first time, Rushdie has released a memoir about his life during that period when he and his family were forced into hiding. Rushdie appears in Portland as part of the Literary Arts lecture series to discuss his work, his life and the memoir that was also his chosen alias, Joseph Anton. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 248-4335. 7:30 pm. $75 subscription required.

For more Books listings, visit

REVIEW

A. SCOTT BERG, WILSON Woodrow Wilson’s rise to president of the U.S. was as meteoric and improbable as Barack Obama’s a century later. Within a decade of becoming president of Princeton University, Wilson “left politics,” as he liked to quip, to be elected governor of New Jersey and then president of the United States. But that Wilson: the last openly rise, as told in A. Scott Berg’s racist U.S. president. new biography, Wilson (Putnam, 832 pages, $40), also concealed a squandered opportunity. Born and raised in four Southern states, the 28th president was a son of the Confederacy who struggled to transcend his racist heritage. A brilliant orator, he couldn’t muster the courage even to mention race in a nation that was then lynching blacks on a weekly basis. Instead, Wilson told “colored” jokes throughout his life, often in black dialect, without embarrassment. Almost his entire Cabinet were Southern segregationists, including his postmaster general, at a time when the postal service was the single largest employer of blacks in the country. Measuring historic figures by modern standards is always tricky, and Berg treats Wilson’s racism evenhandedly, trying to put it in context by noting he was “fairly centrist” in his racial beliefs. He’s right, Wilson’s racial attitudes were no more or less enlightened than those of any ordinary American in the early 20th century. But then, as Berg’s book shows, Wilson was no ordinary American. As a political science professor and then university president, he stood up to wealthy alumni to transform Princeton from a rich man’s country club into a national model of higher learning. As New Jersey governor, he turned the tables on the political machine that put him in office to pass the most progressive election and civil-service reforms in the country. As U.S. president, he established the Federal Reserve, named the first Jewish justice to the Supreme Court, led the nation through its first world war and created the League of Nations, spiritual forerunner to the U.N. In addition to Wilson’s political career, Berg ’s biography reveals an intensely passionate man who overcame the grief of his first wife’s death to woo and wed a widow 20 years his junior. She became virtually the nation’s first woman president after he suffered a debilitating stroke. The greater tragedy is that a president who led the nation to war to make the world safe for democracy could not bring himself to make the nation safe for diversity. MATT BUCKINGHAM. GO: A. Scott Berg appears at Powell’s City of Books, 1005 W Burnside St., 228-4651, on Tuesday, Oct. 8. 7:30 pm. Free. Willamette Week OCTOBER 2, 2013 wweek.com

BOOKS

OCT. 2–8

BELLEN DRAKE

PROFILE

CLOWNLIKE GIRL MONICA DRAKE AND THE HUMOR OF THE TRAGIC. BY PEN ELOPE B ASS

pbass@wweek.com

Monica Drake’s sense of humor might really bum you out. The Portland-based author of the acclaimed novel Clown Girl—and, most recently, The Stud Book—finds comedy in life’s farcicality and relentless misfortune. “It’s kind of an absurd comedy. It’s that kind of tragedy upon tragedy to the point of absurdity,” Drake says of her debut novel’s title character. “I was picturing her as very much in Chaplin terms—as an underdog trying to pursue a relatively humble dream—and being ground through the big wheels of society, which becomes a kind of comedy.” Her brand of humor resonated in Hollywood, with comedic writer and actress Kristen Wiig optioning the film rights to Clown Girl. While Drake can’t talk about the status of a potential film, she’s thrilled with the idea of seeing her sense of humor translated to the screen. “I’ve been told by Hollywood to call it ‘edgy’ and not ‘quirky,’” Drake says. “Apparently ‘edgy’ has money attached to it.” In her new novel, The Stud Book, published in April, Drake takes a satirical look at the lives of four women struggling with motherhood or the idea of it. But drawing from her experience as an intern at the Oregon Zoo monitoring animal behavior, she approaches the topic with a tongue-in-cheek nod to our animalistic tendencies. She also confronts what it means to have children in an already overpopulated world. “I love my own child more than anything on the planet, but I also love the planet,” Drake says. “And how many of these babies can the planet sustain? So in the book I was hoping to not just get at what it means to be a woman and have a baby, which is the part that has gotten focused on, but what it means to be a human that chooses to make more humans. You can’t 54

Willamette Week OCTOBER 2, 2013 wweek.com

tell people how many kids to have. You really have to refrain from even judging, but there might be a material reality that is worth a greater cultural discussion.” Not exactly funny ha-ha material, but Drake has long been praised for her sharp wit and dark comic approach. It’s a style that has provoked fellow author Chuck Palahniuk to proclaim her his archenemy—in a loving way. Palahniuk and Drake are both longtime members of Tom Spanbauer’s writers group, Dangerous Writing—a Portland literary supergroup that also includes heavy-hitters like Chelsea Cain, Lidia Yuknavitch, Suzy Vitello and Cheryl Strayed. Drake is quick to acknowledge the influence of the workshop on her writing, calling it the bright spot in a process that is otherwise “solitary and excruciating and full of self-doubt.” “I definitely am a workshop writer,” she says. “I like reading my work out loud and seeing what comes back. If I can make Chuck laugh, then I’m happy. If I can make Chelsea perk up and think about my stuff, I am just so fortunate.”

“I’VE BEEN TOLD BY HOLLYWOOD TO CALL IT ‘EDGY’ AND NOT ‘QUIRKY.’” —MONICA DRAKE Sharing her own perspective on eliciting laughs, Drake will be part of a panel at the Wordstock Festival, along with Kevin Barry and Don Waters, talking about what really makes fiction funny, from snappy dialogue and unexpected situations to crushing heartbreak and humiliation. “I do think both of my novels are comedies,” she says. “I realize not everyone finds them funny, but personally I think they’re funny. At a lot of my readings, I’m always glad when people laugh; it means they get it.” GO: Monica Drake will be on a panel called “Funny Ha-Ha? The Use of Humor in Fiction” at the Wordstock Festival at the Oregon Convention Center, 777 NE Martin Luther King Jr. Blvd., wordstockfestival.com, on Sunday, Oct. 6. 3 pm.

OCT. 2-8 REVIEW

= WW Pick. Highly recommended.

C O U R T E S Y O F WA R N E R B R O S .

MOVIES

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

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. MATTHEW SINGER. Living Room Theaters.

Bad Milo!

B Bad Milo! is a horror comedy about

Ken Marino giving birth repeatedly to a demonic butt-baby, a creature that resides in his intestinal tract and emerges to murder people who have given him grief. It’s a weird and ultraviolent romp that becomes even more surreal when you realize it’s actually a pretty touching story. Marino plays a put-upon office lackey tasked with firing his peers by day and dealing with fertility issues by night. His wife wants nothing more than to have a baby but instead has to deal with Milo, the cheesy puppet that doubles as Marino’s spawn and soulmate. What results is a strange reversal of gender roles, with Marino nurturing Milo despite the creature’s murderous habits. This is Marino’s film all the way, and the comic vet of Wet Hot American Summer and Party Down effortlessly steps into the spotlight after decades in supporting roles. It helps that he’s surrounded by an amazing supporting cast, including Patrick Warburton as a skeezy executive, Gillian Jacobs as the wife and Peter Stromare as a completely batshit therapist. Funny, touching and well-acted, it’s officially the most well-rounded and best-executed film about a bloodthirsty butt-baby ever produced. R. AP KRYZA. Hollywood Theatre.

Baggage Claim

Because there just aren’t enough movies about husband-hungry women, now we have Paula Patton as a flight attendant hunting for a man. PG-13. Cedar Hills, Eastport, Clackamas.

Battle of the Year 3D

Chris Brown breakdances. PG-13. Cedar Hills, Clackamas.

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 sister Ginger (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, CineMagic.

Cloudy With a Chance of Meatballs 2

Cheeseburgers, falling from the sky! Again! PG. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Oak Grove, Sandy.

Cutie and the Boxer

A- “Be careful,” he says. “Don’t get

mugged on the way home.” That’s how 80-year-old artist Ushio Shinohara bids goodbye to his wife, Noriko, an artist 22 years his junior, as she leaves the studio. Once she’s gone, he turns to the camera: “She is just an assistant. The average one has to support the genius.” Zachary Heinzerling’s documentary Cutie and the Boxer zeroes in on the often tumultuous, always fascinating relationship between Ushio and Noriko, both Japanese immigrants

who’ve lived in Brooklyn for decades. Ushio had some measure of fame as a ’70s enfant terrible, drinking too much—we see some truly wrenching archival footage—and specializing in a pugilistic form of action painting, punching giant canvases with paintdrenched boxing gloves. (Now a lean octogenarian in neon-yellow swim goggles, he still produces these works, flinging his fists and splattering his bare chest with paint.) Noriko, meanwhile, set aside her own considerable artistic talents to tend to her volatile husband and young son. But now Noriko has rediscovered the brush, and she illustrates whimsical, semiautobiographical cartoons about a pigtailed character named Cutie and her explosive husband. Heinzerling, a firsttime director, neither takes sides nor reduces the relationship to something quaint or tragic—it’s a deeply affecting yet keen-eyed portrait of the struggles of art, love and life. REBECCA JACOBSON. Living Room Theaters.

Don Jon

A- Joseph Gordon-Levitt’s debut as a

triple threat—writer, director and star, a la Clint Eastwood—is appropriately festooned with the time-honored totems of macho masculinity. We’ve got cartoonish muscles, unbridled rage, good old-fashioned misogyny and, of course, sex that’s all about the man. “Condoms are just terrible,” whines Jon (GordonLevitt), a Guido beefcake who likes porn better than real sex. “But you gotta wear one because, unlike porn, real pussy will kill you.” Or rather, real pussy—with all its trappings of commitment—will kill your bachelor lifestyle. Jon doesn’t have time for that. He’s too busy clubbing, racking up one-night stands, jerking off, and then grunting out obligatory repentance prayers during bench presses and pullups at the gym. He is so immersed in Internet porn that it’s hard to tell whether his attitudes about sex and love are the product or the cause of his obsession. When Jon meets superfox Barbara (Scarlett Johansson) and actually tries to date her, her abject horror at his obsessive meatpounding kicks off the slow unraveling of Jon’s belief in porn as the apex of sexual stimulation. Gordon-Levitt brings just enough depth to the character to turn a schlocky premise into an honest and approachable exploration of how porn—and really, any other addictive simulation of reality— can cheat us out of the richness of actual experiences. R. EMILY JENSEN. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Living Room Theaters, Sandy.

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. 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. Eastport.

The Family

C Early on in The Family, mafiosoturned-informant Giovanni Manzoni (Robert De Niro) claims to have “no regrets” about his former life or about his decision to turn state’s evidence. It’s a declaration that immediately saps the film of its potential to say anything meaningful about the nature of

CONT. on page 56

IS THIS OXYGEN ON?: Sandra Bullock and George Clooney before the crash.

LOST IN SPACE

GRAVITY IS THE MOST STRESSFUL FILM OF THE YEAR. BY A P KRYZA

apkryza@wweek.com

Alfonso Cuarón’s Gravity begins with a staggeringly brilliant and mesmerizingly staged 17-minute single take, which manages to encapsulate every single feeling the rest of the film will instill in its viewers: tranquility, warmth, peace, trepidation, nervousness, endearment, wonder and, most of all, fear. All come racing into the heart, and by the time this incredible set piece ends, it’s impossible to trust any placid feelings you’ll have as the story unfolds. With his past three films, Cuarón established himself as one of the most versatile and talented directors of his generation by wringing unlikely fears out of a wide swath of topics: fear of impending adulthood and separation anxiety in Y Tu Mama Tambien, fear of a parallel future where mistrust of God and man turns the world to chaos in Children of Men and, most obviously, fear of evil wizards and wraiths in Harry Potter and the Prisoner of Azkaban, the boy wizard’s best outing and the one that transformed the series from cutesy kiddie romps to dark and complex tales of magic. With Gravity, the director’s first film since 2006’s Children of Men, Cuarón and his screenwriter son, Jonas, take on the most primal fear possible, that of being lost in an abyss of nothingness. There is no greater context here, just a very basic survival story told by a master director, who integrates complex camera trickery and jaw-dropping visual effects to create a mosaic of hopelessness. With little beyond nervous chitchat, the film features only two actors, Sandra Bullock and George Clooney. Their simple space-station repair mission turns into a nightmare as debris from a destroyed satellite tears their shuttle to shreds and they’re left hopelessly adrift with a dwindling supply of oxygen and no way to navigate the abyss. Most survival films would resort to flashbacks and other flourishes to aid the viewer in understanding the motivations and backstories of characters left alone for such long periods of time, but at no point does Cuarón give Bullock a volleyball

sidekick or a dream sequence where she reclaims her normal life in rural Illinois. We, like the characters, are stuck in this reality, watching the events as they unfold, mostly in real time, and gasping for our collective breath as the oxygen meter slowly runs out. It is perhaps the most stressful experience to be had in a movie theater this year, and as such it’s nearly perfect. Bullock, tasked with carrying the majority of the movie on her own, exudes terror and strength in her difficult role, her constant gasps echoing those of the audience. There are moments, though, when the script veers briefly into cheese, with Bullock psyching herself up with motivational speeches that take away from the tension, but they’re almost a welcome break from the harsh reality unfolding onscreen. Clooney, here playing a supporting piece of space debris, becomes the film’s sense of calm and functions as much-needed comic relief,

THERE IS NO GREATER CONTEXT HERE, JUST A VERY BASIC SURVIVAL STORY TOLD BY A MASTER DIRECTOR. exuding the charm only an astronaut played by George Clooney could. Both performances bring the necessary levity to the events of the film. Those events come hurtling at the screen at such an alarming rate, it’s impossible to even consider relaxing as the characters drift from one scrape with death to the next over the course of 90 unrelenting minutes. But it’s in the brief lulls that Cuarón manages his most amazing feats, allowing us to stop and stare in awe at the beauty of the images onscreen, as if we’re floating alongside these poor souls and grasping for some sort of tranquility amid the madness. After a particularly brutal encounter with projectiles, the camera pans over Earth to reveal the glowing lights of the aurora borealis. For a brief moment, peace. Serenity. Trepidation. Then fear and hopelessness. All flooding into our hearts at once like so much space debris. It’s as haunting and beautiful as it is brilliant. A- Gravity is rated PG-13. It opens Friday at Cedar Hills, Eastport, Clackamas, Moreland, Bridgeport, Oak Grove, Division, Lloyd Center, Movies on TV, Pioneer Place, St. Johns Twin, Lloyd Mall, City Center, Hilltop, Sherwood, Tigard, Wilsonville, Sandy, Cornelius.

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OCT. 2-8

loyalty within the Maﬁa. The raw materials should allow The Family to act at least as a humorous sendup of the gangster genre, but director Luc Besson spends so much time pingponging between comedy and drama that, by the ﬁlm’s climax, you don’t know how seriously to take it. R. MICHAEL NORDINE. Cedar Hills, Eastport, Clackamas, Forest, Oak Grove, Sandy.

From Nothing, Something: A Documentary on the Creative Process

A- [ONE NIGHT ONLY] For his feature-length debut, Tim Cawley mines his own multidisciplinary background (filmmaker, ASCAP card-carrying songwriter, ad man) to capture the creative process as it stems from the head as well as the heart. The talking heads are a disparate lot: Sara Quin of indie duo Tegan & Sara, Oscar-nominated scribe Tom Perrotta (Election, Little Children), star chefs Mary Sue Milliken and Susan Feniger, Pulitzer Prize-winning cartoonist Steve Breen, leading cancer researchers, a composer, choreographer, sculptor, architect, even a “Hollywood creature designer.” Director Cawley delivers a vibrant portrait of the connective threads— and the differences, too—that fuel his subjects’ respective processes, whether intuitive or intellectual. In lesser hands, such subject matter could veer into academic territory and think-piece pretension. Instead, From Nothing deftly balances the cerebral and the tangible. Animation and graphics punch up the documentary’s brisk 80 minutes, demystifying the act of creation while at the same time making for a transcendent film experience. Perhaps Cawley’s greatest triumph, then, is his ability to illuminate the creative journey while also inspiring viewers to undertake their own treks. The documentary opens the Portland Design Festival. AMANDA SCHURR. Center for Architecture, 403 NW 11th Ave. 7 pm Tuesday, Oct. 8.

tion. 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, a graceless but tenacious 30-year-old who ends up vying for voice-over work on the trailers for an action “quadrilogy,” a hilarious Hunger Games-style spoof. The movie is overstuffed, but its unassuming tone, its generosity of spirit, and Bell’s skillful performance redeem the uneven pacing and bumpy storytelling. Most of all, In a World… succeeds for the way it calls bullshit on Hollywood’s gender dynamics and the dreck that passes for feminist cinema. R. REBECCA JACOBSON. Living Room Theaters.

Informant

B+ “There’s legitimate questions

local police—to help rebuild New Orleans after Katrina, Darby traveled to Venezuela to persuade the Chavez government to support his group. Through extensive interviews under interrogation-level lighting, Darby wavers, politically and mentally, as he admits failures. He discusses how the FBI recruited him to inﬁltrate the 2008 Republican National Convention protests, where his presence as a veteran radical— and newly formed, eager-to-please informant—prompted two boys to act more aggressively. Afterwards, it seems that Darby inﬂated his side of the story, which was used to send the young activists to prison for years. The confused morality of this egomaniacal, duplicitous “revolutionary” is both revolting and compelling for both sides of the aisle. MITCH LILLIE. Hollywood Theatre.

Insidious: Chapter 2

about whether the FBI is creating the crimes that they’re solving,” says stony, baby-faced activist James Clark. It doesn’t sound like the level-headed proﬁle Informant promises itself to be. But Jamie Meltzer’s documentary of Brandon Darby, a radical anarchist-turnedFBI informant and Tea Party talking head, uses damning interviews from Darby’s former comrades to prove Clark at least somewhat right. After leading the Common Ground collective—which included former Black Panthers and had the approval of

C- Full of cheap scares, loud noises that are more obnoxious than jarring, and obvious visual cues, Insidious: Chapter 2 is an expected downgrade from the lo-ﬁ charms of the surprisingly decent original. James Wan applies the same formula here as he did the ﬁrst time around: It’s not the house that’s haunted, but the person. 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

REVIEW D AV I D K I N G

MOVIES

Gideon’s Army

B+ [ONE NIGHT ONLY] Brandy

Alexander’s newest client has been charged with raping his 12-yearold daughter. Alexander, a public defender in rural Georgia, expects him to tell her why the accusation is wrong, why he is innocent. Instead, he explains in unapologetic detail why he committed the rape. “Every case has a redeeming quality, not necessarily every person,” a colleague tells Alexander, who simultaneously oversees hundreds of similar cases. In the documentary Gideon’s Army, we meet three such public defenders, all working in the Deep South 50 years after the Supreme Court’s Gideon v. Wainwright ruling established the right to counsel for those unable to aﬀord representation. These young and idealistic lawyers are unsung foot soldiers challenging the status quo of a criminal justice system bursting at the seams. Their personal concessions are wrenching: We watch Alexander count out $3 in quarters to put gas in her car for the week. Another defender, Travis Williams, tattoos the names of defeated clients on his back. At one point, his girlfriend visits him at the oﬃce to discuss a contract they signed in which he agreed to arrive home by a certain hour. Director Dawn Porter’s presentation is austere, with sparse music, few subtitles and no voiceover narration. The tone leaves viewers with the same somber ambiguity that the subjects of Gideon’s Army face every day, in a struggle to maintain their own well-being and uphold an ideal of “justice for all.” GRACE STAINBACK. NW Film Center’s Whitsell Auditorium. 7:30 pm Sunday, Oct. 6.

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 ques-

Willamette Week OCTOBER 2, 2013 wweek.com

APPLES TO APPLES: Jonathan Groﬀ.

ME TRAVEL TO OREGON ONE DAY: David Sedaris’ writing spawned a play—The Santaland Diaries—back in 1996, but the smartass satirist has long resisted cinematic adaptations of his work. Until now, that is. Kyle Patrick Alvarez’s intermittently engaging but inconsistent C.O.G. is adapted from an essay about Sedaris’ experiences picking apples in Oregon, and our state indeed plays a starring role, cast as a misty land of mountains, fruit trees and arcadian dreams dashed by economic reality. Glee’s Jonathan Groff plays Sedaris, a windbag Yalie who’s come to the Northwest with Grapes of Wrath fantasies. But he’s also fleeing family trouble seemingly due to his recent emergence from the closet. Preppy sweater on his back and Darwin’s On the Origin of Species in his satchel (when a heavily tatted religious freak asks about his aversion to the Bible, Groff answers that it’s “poorly written”), he’s blind to his own privilege and doesn’t play well with the Mexican laborers and working-class employees out West. Nor does he handle himself much better with the crotchety orchard owner (a pitch-perfect Dean Stockwell) or the hunky forklift operator, who boasts a dildo collection that would shame She Bop. C.O.G. adopts a more introspective tone once Groff lands himself with Jesus enthusiast Jon, who makes jade clocks in the shape of the state of Oregon—they’re tchotchkes to which not even the proudest Oregonians would thrill. Occasionally, the film’s tone seesaws when it should glide, jagging from silly (the out-of-touch Groff tries to feed roast beef to a cow) to tender to painful. But Groff has an emotionally transparent face, and he’s simultaneously believable as an arrogant elitist and as a fearful young man. And, hey, at least Oregon looks great. REBECCA JACOBSON. B

SEE IT: C.O.G. is rated R. It opens Friday at Hollywood Theatre.

OCT. 2-8 COURTESY OF MAGNET RELEASING

headscarf and avoid open criticism for her estranged husband and his family, it quickly becomes apparent that her achievements have changed little for the other women in her hometown. RUTH BROWN. NW Film Center’s Whitsell Auditorium. 7 pm Thursday, Oct. 3.

Shaun of the Dead

[ONE WEEK ONLY, REVIVAL] In Shaun of the Dead, Simon Pegg, Nick Frost and Edgar Wright managed to make one of the past decade’s best comedies and one of its gnarliest zombie flicks, even before zombies were back in vogue. R. Laurelhurst.

The Spectacular Now

B The Spectacular Now opens with

little more than LED lamps and smoke machines. But for every good scene, there are two or three bad ones, hampering what little momentum Wan has established. PG-13. MICHAEL NORDINE. Cedar Hills, Eastport, Clackamas, Cornelius, Oak Grove, Sandy, St. Johns Twin.

J.J. Murphy and Andy Warhol

[TWO NIGHTS ONLY] Cinema Project opens its fall screening series with films from Andy Warhol and J.J. Murphy, who recently published a book about the seminal American artist. Monday’s program is devoted to Murphy and features his 1974 film Print Generation, which was made from reprinting a single minute of film footage 50 times, as well as two other shorts from the ’70s. Tuesday features two 33-minute works by Warhol: Bufferin, about poet Gerard Malanga, and The Velvet Underground, with concert footage of the band. Murphy will attend both programs. Portland Institute for Contemporary Art, 415 SW 10th Ave. 7:30 pm Monday-Tuesday, Oct. 7-8.

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. 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. PG13. MATTHEW KORFHAGE. Cedar Hills, Eastport, Indoor Twin.

Pacific Rim

A- Pacific Rim is like getting punched

in the face with a fist full of bombastic, childish, escapist bliss. PG-13. AP KRYZA. Bagdad, Laurelhurst.

Parkland

Zac Efron (c’mon, why?) plays a doctor who tries to resuscitate John F. Kennedy in this dramatization of the president’s assassination. PG-13. Living Room Theaters.

Prisoners

B Like Clint Eastwood’s sadistically

bleak Mystic River, Denis Villeneuve’s Prisoners presents its protagonists with an unimaginable horror: the abduction of their young daughters. As Pennsylvania patriarchs driven to the edge by the disappearance of their 7-year-olds, Hugh Jackman’s and Terrance Howard’s faces are mapped with anguish as their characters go to extreme measures to bring home their daughters. But unlike Mystic River, this year’s first high-profile awards contender wrings pulp out of the proceedings, something Eastwood was too busy torturing his characters to try. That’s not to say Prisoners is better than the overrated Mystic River, but it is far more watchable.

After all, we want to watch our villains suffer, so most audiences will thrill at the idea of Jackman, shedding his Wolverine costume but not the menace, kidnapping and torturing a suspect (Paul Dano) in an effort to translate his pain into answers. Scenes between Jackman, Howard and the impressive Dano are wonderfully tense, but the film loses traction whenever Jake Gyllenhaal’s detective enters. Still, Villeneuve, who exploded onto the scene with 2010’s devastating Incendies, shows endless potential in his U.S. debut. It’s engaging and gut-wrenching—without diving into an abyss of emotional torture in the name of entertainment. R. AP KRYZA. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Oak Grove, Sandy.

Riddick

B+ “Maybe I went and did the worst thing of all: I got civilized.” Richard B. Riddick’s words read like 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 full of warring planets and nuanced mythos. Riddick’s first 20 minutes or so immediately signal that this a welcome return to bare-bones form. 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. 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, Cornelius.

Runner Runner

Ben Affleck and Justin Timberlake play online poker in Costa Rica. Screened after WW press deadlines, but look for AP Kryza’s review at wweek.com. 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.

Running Wild: The Life of Dayton O. Hyde

ity. Replace the subjects with, say, John McEnroe and Björn Borg, and not much changes, save all the fast driving— though it might have caused director Ron Howard to (ahem) slow down a little. Ninety percent of the film takes place on racetracks and in press conferences, and the moments meant to underscore the personal relationships driving (ahem) these two diametrically opposed men feel, ahem, rushed. The screenplay is by Peter Morgan, whose words transformed Howard’s Frost/Nixon—essentially a two-hour sitdown interview—into a white-knuckle boxing match. Apparently, though, his skill doesn’t work in the other direction: Drowned out by all the vroomvroom, his dialogue can’t turn what’s essentially an intermittently entertaining actioner into the character-driven, ’70s-style talkie Howard envisions it being. R. MATTHEW SINGER. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius.

Salma

B+ [ONE NIGHT ONLY] Until the shaky

opening footage—people on a rural Indian road steal suspicious glances at the camera—I’d believed, based on the film’s blurb, I was sitting down to watch a piece of fiction. A Tamil Muslim woman is taken out of school at 13, married off and locked up for 20 years, but her relatives sneak her poetry into the world and she becomes a famous poet while still under figurative lock and key? That stuff happens in artsyfartsy film festival flicks, not in real life. Except that time it did. The remarkably strong-willed Salma really did write poems on scraps of paper and smuggle them out of her marital home in piles of laundry. Family members got them into the hands of a publisher, and her candid verse about her own repression made her an instant sensation, eventually freeing her from the shackles of religious and rural life and leading to a successful political career. This documentary from British filmmaker Kim Longinotto follows Salma as she returns to her old village, with her story slowly trickling out as she visits old neighbors and relatives and encourages them not to make the same choices for their daughters as her parents did. But the tragic part of Salma’s extraordinary tale is that it is extraordinary. While the poet’s fame allows her to walk around without a

Tlatelolco, Verano del 68

C [ONE NIGHT ONLY, DIRECTOR

ATTENDING] From antiwar and civil rights movements in the U.S. to France’s massive general strikes to the Prague Spring, 1968 found the world awash in popular rebellions. Tlatelolco, Verano del 68 is set during real events in Mexico that pivotal year, which culminated in a government-sanctioned massacre of student and civilian protesters just prior to the country’s hosting the Summer Olympics. Our entry points into this historical moment are university students Felix (Christian Vasquez) and Ana María (Cassandra Ciangherotti). Through the lens of their newfound love we witness the events that turned the world’s eyes on Mexico. Tlatelolco illuminates a period in Mexico’s past that remains shrouded in some mystery, but even if you’re unfamiliar with the uprising, nothing comes as much of a surprise in Carlos Bolado’s staid cinematic representation. The film relies on the iconography of anti-authoritarian protest (archival footage awkwardly blended with newly shot material; musical montages of marches and madness) and archetypal characters (rich girl Ana María falls for wrong-side-ofthe-tracks Felix; the president practically rubs his hands together with mwah-ha-ha glee). The result is just so much movie-contraption clockwork, ultimately distancing us rather than bringing us closer to the tragic truth. KRISTI MITSUDA. Hollywood Theatre. 7 pm Saturday, Oct. 5.

Vanessa Renwick Presents Wild Beasties

[ONE NIGHT ONLY] The Portlandbased experimental moviemaker presents two films. In Hope and Prey,

three reels play side by side, showing animals hunting and being hunted. It’s accompanied by a live score by abstract composer Daniel Menche. Also showing is Medusa Smack, a trippy film about jellyfish with a score by indie favorite Tara Jane O’Neil. Hollywood Theatre. 7:30 pm Sunday, Oct. 6.

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 has selected subjects whose motivations are mostly mystical, and their New Age lingo 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.

Women’s Edge Film Series: Far From Home

[ONE NIGHT ONLY] Rachel Tsutsumi’s 2005 documentary about school integration and educational inequities follows Kandice, an African-American teenager bused across Boston every day to attend an elite, predominantly white school. Clinton Street Theater. 7 pm Tuesday, Oct. 8.

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 surfacevalue genre-mashing that makes the films both disarmingly hysterical and unexpectedly touching. Wright, Pegg and Frost have rounded out the trilogy with The World’s End, which dives deep into the fractured friendship of a group of 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 bodysnatching robots. Yet The World’s End remains the weakest of the trilogy and 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 must face the fact that this tremendous series is over. R. AP KRYZA. Hollywood Theatre, Oak Grove, Sandy, St. Johns Twin.

Zompire: The Undead Film Festival

[TWO DAYS ONLY] Clinton Street kicks off Halloween a little early with the return of the Zompire fest, which has ditched its tradition of showing only George Romero films and The Lost Boys in favor of new indie horror flicks like Dead Banging and They Will Outlive Us All, plus shorts and keynote speeches on horror. Clinton Street Theater. Oct. 4-5.

KIM LONGINOTTO

BAD MILO!

a male voice-over lamenting a recent breakup. The narration comes courtesy of high-school senior Sutter (Miles Teller), and it’s accompanied by a montage of him pounding shots among packs of friends. Given the 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-theradar 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. Academy, Laurelhurst.

MOVIES

Director Suzanne Mitchell spent 11 years working on this documentary about Dayton O. Hyde, a cowboy and activist who runs a wild horse sanctuary in South Dakota. Living Room Theaters.

Rush

B- Right off the bat, let’s address the query that’s inevitably posed of all sports movies: Must one have a vested interest in the sport to enjoy said film? In the case of Rush, the answer is, “Of course not.” Instead, the movie, based on the six-year battle for F1 supremacy between stern Austrian Niki Lauda (Daniel Brühl) and walking British hard-on James Hunt (Chris Hemsworth), deals with much more familiar (one might say tired) themes: the nature of professional rivalry, the sociopathy of competition and the definitions of masculin-

SALMA Willamette Week OCTOBER 2, 2013 wweek.com

AP FILM STUDIES COURTESY OF NIPPON HERALD FILMS

MOVIES

pG 25

YAHOO BUCKAROO: Samurai trample the dead in Akira Kurosawa’s Ran.

MADE IN JAPAN FROM SAMURAI TO STAR WARS.

BY A P KRYZA

MURMURS

PG 6 Stay on the Edge of the Pearl.

Walk to Timbers Games!

Bargain Rates Downtown from $45 per night single occupancy ($55 double)

The GeorGia hoTel A Vintage Walk-Up Stroll to Powell’s, Shops, Restaurants, Theaters & Crystal Ballroom

308 SW 12th at Stark St. • 503- 227-3259 58

Willamette Week OCTOBER 2, 2013 wweek.com

apkryza@wweek.com

Clint Eastwood may the most gnarled paragon of American grit and masculinity—a tobaccospitting, Chrysler-shilling, gun-blasting, chickshalf-his-age-banging beast carved of granite and sinew—but he’s basically made in Japan. So are Luke Skywalker, Quentin Tarantino, Neo, most cowboys, and half the Wu-Tang Clan. That’s why the most American thing you can do in the next few months is head to the NW Film Center for its incredible Samurai Cinema series, which begins this week and continues through Dec. 21. It features some of the greatest works ever put to film, particularly those of Akira Kurosawa, who has been rightly discussed to no end in both academia and the annals of film geekery. Artistry and elegance aside, his films are gloriously entertaining. Ran (1985), the series opener and Kurosawa’s final samurai masterpiece, is a sprawling take on King Lear set in feudal Japan. Yojimbo (1961) is a twisting mosaic of betrayal and badassery, and Seven Samurai (1954) is just downright amazing from start to finish in its story of masterless ronin doing good as they roam the countryside. The series also pays homage to the more drama-driven works of Masaki Kobayashi, whose masterpiece Harakiri (1962) includes some swordplay but is more effective as a meditation on honor and cruelty. Then, of course, there are the hyperstylized bloodbaths that marked the genre’s explosion into the fantasies of action junkies and, naturally, built the Wu-Tang empire. Sadly, only lip service is paid to the ultraviolent subgenre, but hey, most of the beret-wearing regulars at the NW Film Center can only stomach so many severed limbs, spilled innards and rolling heads. The chosen ambassador of splatter is Lady Snowblood (1973), with a female protagonist who sets out to slaughter pretty much anyone she meets. These are the films that helped shape American action heroes: the lone warriors fighting for good against insurmountable odds; antiheroes of questionable honor and loyalty playing their cards against any and all challengers; and defenders of ancient legacies fighting to keep their traditions alive in a changing world. They are the Jedi of Star Wars, the hackers raging against the machine in The Matrix and the outlaws turning to righteous justice in pretty much every Western. In recognition of this, the series also pairs many of the films with their American (or, in some cases, Italian) counterparts, including classic remakes like Sergio Leone’s A Fistful of Dollars (1964) and John Sturges’ The Magnificent Seven

(1960), in addition to films inspired by the genre such as Jim Jarmusch’s Wu-heavy Ghost Dog: Way of the Samurai (1999) and Tarantino’s Kill Bill: Vol. 1 (2003), essentially a mixtape of samurai tropes with Lady Snowblood as its driving beat. These are films rife with badass fight sequences, gut-wrenching drama, gorgeous costume design, gnarly antiheroes, sadistic overlords, mysticism and epic journeys. They have shaped the American cinematic landscape, even if many people don’t realize their impact—just think of the Star Wars movies, then imagine them without all the light sabers and Force mysticism. They’d just be space Westerns. Han Solo might be space’s answer to Clint Eastwood, but his parts were made in Japan. NW Film Center’s Whitsell Auditorium. Oct. 6-Dec. 21. See nwfilm.org for schedule. That at no point in 17 years has the Portland Lesbian & Gay Film Festival shown Point Break is astounding, considering the unsubtle subtext of Kathryn Bigelow’s magnum opus, but the fest nonetheless returns this weekend with a huge slate of documentaries (including films about Alice Walker and Gore Vidal) in addition to a wide swath of films exploring identity. They include the crassly campy thriller The Trouble With Barry, dramas like Pit Stop and the comedy Who’s Afraid of Vagina Wolf? (hint: me!). Multiple venues. Oct. 4-12. See plgff.org for schedule. ALSO SHOWING: Tim Burton actually used to make original movies, and they were batshit phenomenal. Beetlejuice is proof (go for the Michael Keaton, stay for the Harry Belafonte). Academy. Oct 4-10. The NW Film Center presents Port of Shadows, a 1938 French thriller that you will either see or skip based just on the words “1938 French thriller.” NW Film Center’s Whitsell Auditorium. 7 pm Friday-Saturday, Oct 4-5. Why would you want to watch a remake of the classic Nosferatu? Because it’s directed by Werner Herzog, deals with parallels to Nazism, and stars Klaus freakin’ Kinski as the villain. Hollywood Theatre. 8:45 pm FridaySunday, Oct. 4-6. Halloween arrives early with the 1988 remake of The Blob. It’s surprisingly awesome and spectacularly gross. 5th Avenue Cinema. 7 and 9:30 pm Friday-Saturday and 3 pm Sunday, Oct 4-6. Dracula’s known weaknesses: sunlight. Stakes. And, according to the tripped-out opus Seven Brothers Meet Dracula, kung fu. Hollywood Theatre. 7:30 pm Tuesday, Oct. 8.

MOVIES

CAN DEAD PEOPLE COME BACK TO LIFE? IS IT HAPPENING TODAY?

OCT. 4-10

C O U R T E S Y O F WA R N E R B R O S .

Fri-Sat-Sun-Mon-Tue-Wed 04:45, 09:40

DEADRAISER is a captivating documentary exploring modern day resurrection stories. A true supernatural adventure, this film follows a dynamic group of spiritually empowered individuals from wide-ranging theologies, backgrounds, and location, as they team up to raise the dead!

Living Room Theaters

FILMS SHOWING TODAY Mon-Tue-Wed

341 S.W. Tenth Ave., 971222-2010 20 FEET FROM STARDOM Fri-Sat-Sun-Mon-Tue-Wed 01:30, 05:30, 08:30 CUTIE AND THE BOXER Fri-SatSun-Mon-Tue-Wed 11:45, 03:30, 06:40 DON JON Fri-Sat-Sun-Mon-Tue-Wed 11:50, 12:45, 01:45, 02:50, 03:45, 05:00, 05:45, 07:00, 07:45, 09:00, 09:45 IN A WORLD... FriSat-Sun-Mon-Tue-Wed 12:30, 02:30, 04:30, 07:30, 09:30 PARKLAND Fri-SatSun-Mon-Tue-Wed 12:20, 02:40, 05:10, 07:15, 09:20 RUNNING WILD: THE LIFE OF DAYTON O. HYDE FriSat-Sun-Mon-Tue-Wed 12:10, 02:20, 04:40, 06:50, 09:10

Kennedy School Theater

Century Clackamas Town Center and XD

YOU’RE PULLING MY LEG: Beetlejuice plays at Academy Theater Oct. 4-10.

Regal Lloyd Center 10 & IMAX

1510 NE Multnomah St., 800326-3264 GRAVITY: AN IMAX 3D EXPERIENCE Fri-Sat-Sun 12:30, 03:00, 05:25, 07:55, 10:20 GRAVITY Fri-SatSun 12:00, 02:30 GRAVITY 3D Fri-Sat-Sun 04:55, 07:25, 09:50 RUNNER RUNNER Fri-Sat-Sun 12:10, 02:40, 05:15, 07:45, 10:10 THE METROPOLITAN OPERA: EUGENE ONEGIN Sat 09:55 DEF LEPPARD VIVA HYSTERIA CONCERT Tue 08:00 THE METROPOLITAN OPERA: EUGENE ONEGIN - ENCORE Wed 06:30

Bagdad Theater and Pub

3702 SE Hawthorne Blvd., 503-249-7474 THIS IS THE END Fri-SatSun-Mon-Tue-Wed 09:00 PACIFIC RIM Fri-Sat-SunMon-Tue-Wed 06:00 TURBO Sat-Sun 02:00 HAUTE CUISINE Sat-Sun 07:45 NERD NITE Tue 07:00 OUT OF THE CLEAR BLUE SKY Wed 07:00

Cinema 21

616 NW 21st Ave., 503-2234515 THE SOUND OF MUSIC SING-A-LONG Sat-Sun 02:00

Clinton Street Theater

2522 SE Clinton St., 503238-8899 ZOMPIRE: THE UNDEAD FILM FESTIVAL FriSat 03:00 REPO! THE GENETIC OPERA Fri 12:00 THE ROCKY HORROR PICTURE SHOW Sat 12:00 PORTLAND LESBIAN & GAY FILM FESTIVAL Sun 04:00 THE OTHER SHORE Mon 07:00 WOMEN’S EDGE FILM SERIES: FAR FROM HOME Tue 07:00 QWERTY Wed 07:00

Laurelhurst Theatre & Pub

2735 E Burnside St., 503232-5511 FRUITVALE STATION FriSat-Sun-Mon-Tue-Wed 07:15 SHAUN OF THE DEAD Fri-Sat-Sun-MonTue-Wed 09:20 THE SPECTACULAR NOW FriSat-Sun-Mon-Tue-Wed 07:30 THIS IS THE END Fri-Sat-Sun-Mon-TueWed 09:45 THE KINGS OF SUMMER Fri-Sat-SunMon-Tue-Wed 07:00 THE WOLVERINE Fri-SatSun-Mon-Tue-Wed 09:05 PACIFIC RIM Fri-Sat-SunMon-Tue-Wed 06:45 THE GRANDMASTER Fri-SatSun-Mon-Tue-Wed 09:30

Mission Theater and Pub

1624 NW Glisan St., 503249-7474-5 HAUTE CUISINE Sat-Sun 07:45 NERD NITE Tue 07:00 OUT OF THE CLEAR BLUE SKY Wed 07:00

Moreland Theatre

6712 SE Milwaukie Ave., 503236-5257 GRAVITY Fri-Sat-Sun-MonTue-Wed 05:30, 07:30, 09:30

St. Johns Twin Cinemas and Pub

8704 N Lombard St., 503286-1768 GRAVITY Fri-Sat-Sun-MonTue-Wed 05:00, 07:15, 09:15 THE WORLD’S END Fri-Sat-Sun-Tue-Wed 05:55 INSIDIOUS: CHAPTER 2 Fri-Sat-Sun-Mon-Tue-Wed 08:30

CineMagic Theatre

2021 SE Hawthorne Blvd., 503-231-7919 BLUE JASMINE Fri-SatSun-Mon-Tue-Wed 05:30, 08:00

Century 16 Eastport Plaza

4040 SE 82nd Ave., 800326-3264-952 DESPICABLE ME 2 FriSat-Sun-Mon 01:55, 04:25, 06:55, 09:40 ELYSIUM FriSat-Sun-Mon 02:10, 04:50, 07:50, 10:30 THE MORTAL INSTRUMENTS: CITY OF BONES Fri-Sat-Sun-Mon 12:35, 03:40, 06:50, 09:55 BLUE JASMINE Fri-SatSun-Mon 12:05, 02:35, 05:05, 07:35, 10:05 LEE DANIELS’ THE BUTLER FriSat-Sun-Mon 12:10, 03:20, 06:40, 09:50 RIDDICK Fri-Sat-Sun-Mon 01:50, 04:40, 07:30, 10:25 THE FAMILY Fri-Sat-Sun-Mon 01:40, 04:30, 07:15, 10:00 PRISONERS Fri-Sat-SunMon 02:55, 06:25, 09:50 RUSH Fri-Sat-Sun-Mon 12:30, 03:45, 07:00, 10:05 CLOUDY WITH A CHANCE OF MEATBALLS 2 Fri-SatSun-Mon 12:00, 05:00, 10:15 CLOUDY WITH A CHANCE OF MEATBALLS 2 3D Fri-Sat-Sun-Mon 02:25, 07:40 RUNNER RUNNER Fri-Sat-Sun-Mon 12:00, 02:30, 05:00, 07:30, 10:00 DON JON Fri-Sat-SunMon 12:20, 02:40, 05:15, 07:45, 10:20 INSIDIOUS: CHAPTER 2 Fri-Sat-SunMon 02:05, 04:45, 07:25, 10:10 BAGGAGE CLAIM FriSat-Sun-Mon 02:00, 04:35, 07:10, 09:45 GRAVITY FriSat-Sun-Mon 01:30, 09:00 GRAVITY 3D Fri-Sat-SunMon 12:15, 02:45, 04:00, 05:15, 06:30, 07:45, 10:15

99 West Drive-In

Highway 99W, 503-538-2738 LABYRINTH Fri-Sat-Sun 07:15 WE’RE THE MILLERS Fri-Sat-Sun 09:30 NO

5736 NE 33rd Ave., 503-2497474-4 THE WOLVERINE Fri-SatSun-Mon 02:30 THIS IS THE END Fri-Sat-Sun-MonTue-Wed 07:35 TURBO Fri-Sat-Sun-Mon-Tue-Wed 05:30 2 GUNS Fri-SatSun-Mon-Tue-Wed 09:45 GROWN UPS 2 Tue-Wed 02:30

Fifth Avenue Cinema

510 SW Hall St., 503-7253551 THE BLOB Fri-Sat-Sun 03:00 NOSFERATU Sat 08:00

Hollywood Theatre

4122 NE Sandy Blvd., 503281-4215 C.O.G. Fri-Sat-SunMon-Tue-Wed 06:45 INFORMANT Fri-Sat-SunMon-Wed 08:45 THE WORLD’S END Fri-Sat-SunMon-Tue-Wed 09:15 BAD MILO! Fri-Sat-Sun-MonTue 09:45 HOMEBOUND Fri 07:30 NOSFERATU THE VAMPYRE Fri-SatSun 08:45 WALKING THE CAMINO: SIX WAYS TO SANTIAGO Sat-SunMon 07:15 TLATELOLCO Sat 07:00 THE SEVEN BROTHERS MEET DRACULA Tue 07:30

NW Film Center’s Whitsell Auditorium

1219 SW Park Ave., 503221-1156 PORT OF SHADOWS Fri-Sat 07:00 RAN Sun 04:30 GIDEON’S ARMY Sun 07:30 THE TRIALS OF MUHAMMAD ALI Wed 07:00

Regal Pioneer Place Stadium 6

340 SW Morrison St., 800326-3264 GRAVITY 3D Fri-Sat-SunMon-Tue-Wed 01:30, 07:30, 10:00 GRAVITY Fri-SatSun-Mon-Tue-Wed 04:10 RUNNER RUNNER Fri-SatSun-Mon-Tue-Wed 01:45, 04:20, 07:15, 09:50

St. Johns Theatre

8203 N Ivanhoe St., 503249-7474-6 THE WOLVERINE Fri-SunTue-Wed 01:00, 06:00 GROWN UPS 2 Fri-SatTue-Wed 09:00 MONDAY NIGHT FOOTBALL Mon 05:40

Academy Theater

7818 SE Stark St., 503-2520500 THE GRANDMASTER Fri-Sat-Sun-Mon-TueWed 05:00, 09:25 THE SPECTACULAR NOW Fri-Sat-Sun-Mon-TueWed 02:50, 07:20 THE WOLVERINE Fri-Sat-SunMon-Tue-Wed 02:10, 07:00 TURBO Fri-Sat-Sun-MonTue-Wed 02:25, 04:30 THIS IS THE END Fri-SatSun-Mon-Tue-Wed 06:40, 09:00 BEETLEJUICE

12000 SE 82nd Ave., 800326-3264-996 PLANES Fri-Sat-Sun-MonTue-Wed 11:45, 02:15, 04:40 DESPICABLE ME 2 Fri-Sat-Sun-Mon-Tue 11:15, 01:45, 04:20, 07:05 WE’RE THE MILLERS Fri-SatSun-Mon-Tue-Wed 11:30, 02:10, 04:55, 07:40, 10:30 PERCY JACKSON: SEA OF MONSTERS Fri-Sat-SunMon-Tue 11:15, 01:55, 04:35 RIDDICK Fri-Sat-SunMon-Tue-Wed 07:15, 10:05 BATTLE OF THE YEAR Fri-Sat-Sun-Mon-Tue-Wed 09:40 THE FAMILY FriSat-Sun-Mon-Tue-Wed 07:25, 10:10 PRISONERS Fri-Sat-Sun-Mon-Tue-Wed 12:00, 03:30, 07:00, 10:00 RUSH Fri-Sat-Sun-MonTue-Wed 12:55, 04:00, 07:10, 10:15 CLOUDY WITH A CHANCE OF MEATBALLS 2 Fri-Sat-Sun-Mon-TueWed 11:25, 02:00, 04:30, 07:00, 09:30 CLOUDY WITH A CHANCE OF MEATBALLS 2 3D Fri-SatSun-Mon-Tue-Wed 12:20, 02:50, 05:20, 07:50, 10:20 RUNNER RUNNER Fri-SatSun-Mon-Tue-Wed 11:05, 12:15, 01:35, 02:45, 04:05, 05:15, 06:40, 07:45, 09:10, 10:20 DON JON Fri-SatSun-Mon-Tue-Wed 12:45, 03:10, 05:35, 08:05, 10:35 INSIDIOUS: CHAPTER 2 Fri-Sat-Sun-Mon-Tue-Wed 11:25, 02:15, 05:05, 07:55, 10:40 INSTRUCTIONS NOT INCLUDED Fri-SatSun-Mon-Tue-Wed 11:00, 01:55, 04:50, 07:45, 10:40 GRACE UNPLUGGED FriSat-Sun-Mon-Tue-Wed 11:35, 02:10, 04:45, 07:20, 09:55 BAGGAGE CLAIM Fri-Sat-Sun-Mon-Tue-Wed 11:35, 02:05 GRAVITY Fri-Sat-Sun-Mon-Tue-Wed 11:10, 09:15 GRAVITY 3D Fri-Sat-Sun-Mon-TueWed 01:40, 04:15, 06:45 GENERATION IRON FriSat-Sun-Mon-Tue-Wed 11:05, 01:45, 04:30, 07:10, 10:25 ONE DIRECTION: THIS IS US - EXTENDED FAN CUT Fri-Sat-SunMon-Tue-Wed 11:20 ONE DIRECTION: THIS IS US 3D - EXTENDED FAN CUT Fri-Sat-Sun-Mon-TueWed 02:05, 04:50, 07:30, 10:15 PULLING STRINGS Fri-Sat-Sun-Mon-Tue-Wed 11:00, 01:50, 04:40, 07:35, 10:25 THE METROPOLITAN OPERA: EUGENE ONEGIN Sat 09:55 CAPTAIN PHILLIPS Sat 07:30 THE METROPOLITAN OPERA: EUGENE ONEGIN - ENCORE Wed 06:30

SUBJECT TO CHANGE. CALL THEATERS OR VISIT WWEEK.COM/MOVIETIMES FOR THE MOST UP-TODATE INFORMATION FRIDAY-THURSDAY, OCT. 4-10, UNLESS OTHERWISE INDICATED

One Night Only October 7th 7:00 PM Admission is Free to This Northwest Premier

Washburn Preformance Arts Center 1209 39th St Washougal Wa 98671 Run time: 105 minutes—Not rated Meet the Director: Johnny Clark Studio: Mountain Light Cinema

More info: thecallingchurch.com

GET READY TO GIVE, PORTLAND! Nov. 6, 2013

A LL

M E T TE WE EK

GIVE! GUIDE 2013

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CLASSIFIEDS DIRECTORY

OCTOBER 2, 2013

60 WELLNESS

60 SERVICES

60 MUSICIANS’ MARKET

PETS

JONESIN’

62 MATCHMAKER

FREE WILL ASTROLOGY

STUFF

JOBS

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REAL ESTATE

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WELLNESS COUNSELING

HEALTHCARE CASH for DIABETIC TEST STRIPS Help those in need. Paying up to $30/box. Free pick up. Sharon 503-679-3605

SERVICES

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

BUILDING/REMODELING

INSTRUMENTS FOR SALE TRADEUPMUSIC.COM

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

MASSAGE (LICENSED)

SERVICE DIRECTORY

Enjoy the Benefits of Massage

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

INDULGE YOURSELF in an - AWESOME FULL BODY MASSAGE

call

Weight Mastery Stress Relief Spiritual Insight Smoking Cessation Procrastination Self Esteem Past Life

AUDIO SE

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

REL A X!

HOME IMPROVEMENT SW Jill Of All Trades

Inner Sound

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

CELL PHONE REPAIR N Revived Cellular & Technology

Charles

503-740-5120

lmt#6250

MEN’S HEALTH MANSCAPING

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PSYCHICS Ellen Singleton, God-Gifted Psychic. Helps relationships, stops divorce, cheating, solves severe problems. Free 15-minute reading. (832) 884-9714 (AAN CAN)

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

Haulers with a Conscience

503-477-4941 www.anniehaul.com All unwanted items removed (residential/commercial) One item to complete clear outs

We Care

We Recycle

We Donate

LAWN SERVICES Bernhard’s

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

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

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

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Addie

We Reuse

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

Free Estimates • Same Day Service • Licensed/Insured • Locally Owned by Women

Steve Greenberg Tree Service

ALTERNATIVE MEDICINE

Learn Piano All styles, levels

PETS

HAULING/MOVING

TREE SERVICES

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

Indian Music Classes with Josh Feinberg

Specializing in sitar, but serving all instruments and levels! 917-776-2801 www.joshfeinbergmusic.com

MUSIC LESSONS

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

HOME

6905 SW 35th Ave. Portland, Oregon 97219 503-244-0753

BULLETIN BOARD MOTOR

Greetings! My name is Addy and I am 10 year old Jack Russell Terrier mix who is a real hoot! I’ve got a lot of sass so don’t judge be a number ya here!!?? If I had my way I would be walking around Reno in a bedazzled pink velour jumpsuit with my gal-pals getting my hair teased and my toe nails painted with a french manicure! I am athletic, well mannered and impeccably trained! I give high fives like they are going out of style and trust me I will dazzle your dinner guests with my antics and stories of my crazy roaring teen years when I was chasing tail and tennis balls with no apologies to anyone! I have great house manners I love to ride in the car. Oh and if you are looking for a serious mahjong partner all I can say is....Bring it!!! I am living in foster care so fill out an application at pixieproject.org so we can schedule a meet and greet! I am fixed, vaccinated and microchipped. My adoption fee is $100.

503-542-3432 • 510 NE MLK Blvd • pixieproject.org

TO PLACE AN AD CONTACT:

ASHLEE HORTON

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JONESIN’ by Matt Jones Magazine Inserts–I don’t see what the issue is.

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

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)

ANNOUNCEMENTS

EVENTS

$10,000 REWARD.

Presents

Sitar & Indian Cello Duet Concert Shubhendra Rao on Sitar, Saskia Rao-de Haas on Cello, Harshad Kanetkar on Tabla

If you know right situation of criminal harassment against an old lady in Portland neighborhood MonteVilla, you can correct by giving police information that leads to arrest for illegal use of privacy invasive equipment. Privacy invasive equipment must have been used for 1 year. Only one reward for privacy invasion. Reward may be split. Information must be given to police only.

$5,000 REWARD. If you know right situation of criminal harassment against an old lady in Portland neighborhood MonteVilla, you can correct by giving police information that leads to arrest for stalking. Only one reward for one stalking arrest. Reward may be split. Information must be given to police only.

On September 26, 2013

First Congregational Church 1126 SW Park Ave • Portland, OR 97205

Saturday, Oct. 12, 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

ADOPTION ADOPTION 49 Dien Bien ___, Vietnam 50 Activist Parks 51 Apple drink of the 21st century? 55 Like some tofu 56 Enough to count on one hand 57 “Can I give you ___?” 58 Big-box that’s blue and yellow 59 Strahan’s cohost 60 Come up again 61 Desirable for diets 62 Craft maker’s website 63 “Chasing Pavements” singer Down 1 Leather seat 2 Bearded Egyptian god 3 Was overly sweet 4 Injures 5 Not ___ many words 6 He gave Jackie her O 7 “The Inferno” poet 8 Cross on a goth kid’s necklace 9 Penny-pinching 10 Mars and Mercury 11 Birthstone for some Scorpios 12 Wedding dress part 13 Culmination 21 Paid players 22 Cheap restaurant 27 __ and Sons

29 Label for Pink Floyd 30 Lab maze runner 31 ‘60s activist org. 32 Real-life catalog in many Seinfeld episodes 33 Beer that means “Sun” 34 How a player could go, as an emphatic announcer might say 35 Airport with a BART connection 36 McKellen of the “X-Men” movies 37 Classic Jaguar 41 Ignorant (of) 42 Barak of Israel 45 ___-ripper (romance novel) 46 Of service 47 “Being and Nothingness” author 49 Crams for exams 50 Got all agitated 51 Boost in price 52 Carpenter’s estimate 53 “___ ain’t broke...” 54 “Fame” actress Irene 55 Chick-___-A

ADOPTION:

Devoted, nurturing, loving gay couple looking to adopt first baby into a family offering education, fun, travel, laughter, and unconditional love and support. Call, TEXT, or email anytime about Kyle & Adrian; 971-238-9651 or kyleandadrianfamily@gmail.com or visit kyleandadrianadoption.com

*ADOPTION:*

Art Classes to Zoo Trips & Everything in between, 1st baby will be our King/ Queen. Expenses paid 1-800-598-4594 *Shira&Justin*

On September 26, 2013

an application for license renewal was filed by Calvary Chapel of Twin Falls, Inc. with the Federal Communications Commission for FM Translator Station K288FT at Portland, OR. The K288FT transmitting site is located at geographical coordinates n lat 45-38-44; w long 123-550. K288FT operates on Channel 288 with an effective radiated power of 50 watts.

HEALTH Can’t lose weight? Always tired? NutritionalGain.com has the top three weight-loss supplements in the industry. Go to NutritionalGain.com to order your life changing bottle today! (AAN CAN)

LESSONS CLASSICAL PIANO/ KEYBOARD Theory Performance. All ages. Tutoring. Portland

503-227-6557 SUPPORT GROUPS

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!

©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 #JONZ643.

Help Wanted!

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EMPLOYMENT OPPORTUNITIES MCMENAMINS Rock Creek, Grand Lodge, and Cedar Hills Are 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.

MCMENAMINS RUBY SPA at the Grand Lodge in Forest Grove Is now hiring NAIL TECHs and LMTs! 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)

Stars Cabaret in TUALATIN is now accepting applications for Servers, Bartenders, Hostess, Valet. Part and Full-time positions available. Experience preferred but not required. Earn top pay + tips in a fast-paced and positive environment. Stars Cabaret is also conducting ENTERTAINERS auditions and schedule additions Mon-Sun 11am-10pm. ENTERTAINERS: Training provided to those new to the business.

JOBS

Located @ 17937 SW McEwan Rd. in Tualatin...across from “24 Hours Fitness” Please apply at location.

CAREER TRAINING

RENTALS

AIRLINE CAREERS last week’s answers

Across 11 2014 Olympics city 6 “The Voice” judge Levine 10 Machiavellian Karl 14 C.S. Lewis lion 15 Indian royal 16 Golf tournament, sometimes 17 Expensive dresses 18 Does comic book work 19 Marian, for one 20 Cleans up after a dance, as a janitor might? 23 “It’s a crock!” 24 Abbr. on a road map 25 Stimpson J. Cat’s partner 26 Current that flows between two objects: abbr. (hidden in YES, DEAR) 27 Ranch response 28 Some brews 32 How to get a wanderer to suddenly appear? 35 When some local newscasts start 38 Chatroom chortle 39 Does a desk job 40 Hollow gas pumps? 43 2,000 pounds 44 “... ___ will be done...” 45 Vehicle associated with 50-across 48 Geologic timespan

Loving, well educated, financially secure couple seeks to adopt an infant. Give yourself, your baby, and us a happier future. Expenses paid. Call 1-800-517-7840

An application for license renewal was filed by Calvary Chapel of Twin Falls, Inc. with the Federal Communications Commission for FM Translator Station K220IN at Portland, OR. The K220IN transmitting site is located at geographical coordinates nlat 45-31-21; wlong 122-4445. K220IN operates on Channel 220 with an effective radiated power of 11 watts.

GENERAL

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)

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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.

Willamette Week Classifieds OCTOBER 2, 2013 wweek.com

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ASHLEE HORTON

Week of September 26

BACK COVER CONTINUED...

STUFF

TO PLACE AN AD ON BACK COVER CONTINUED call 503-445-3647 or 503-445-2757

FURNITURE ARIES (March 21-April 19): Are you good at haggling? Do you maybe even enjoy the challenge of negotiating for a better price, of angling for a fairer deal? The coming week will be a favorable time to make extensive use of this skill. According to my analysis of the astrological omens, you will thrive on having friendly arguments with just about everyone, from your buddies to your significant other to your mommy to God Herself. Everywhere you go, I encourage you to engage in lively discussions as you hammer out compromises that will serve you well. Be cheerful and adaptable and forceful. TAURUS (April 20-May 20): In David Markson’s experimental novel Wittgenstein’s Mistress, the protagonist fantasizes about the winter she lived at the Louvre Museum in Paris. She says that to keep warm she made big fires and burned some of the museum’s precious artifacts. I’m hoping you won’t do anything remotely resembling that mythic event in the coming week, Taurus. I understand that you may be going through a cold spell -- a time when you’re longing for more heat and light. But I beg you not to sacrifice enduring beauty in order to ameliorate your temporary discomfort. This, too, shall pass. GEMINI (May 21-June 20): “Don’t say you want love,” writes San Francisco author Stephen Sparks. “Say you want the morning light through a paint-flecked window; say you want a gust of wind scraping leaves along the pavement and hills rolling toward the sea; say you want to notice, in a tree you walk past every day, the ruins of a nest exposed as the leaves fall away; a slow afternoon of conversation in a shadowy bar; the smell of bread baking.” That’s exactly the oracle I want to give you, Gemini. In my opinion, you can’t afford to be generic or blank in your requests for love. You must be highly specific. You’ve got to ask for the exact feelings and experiences that will boost the intensity of your lust for life. (Here’s Sparks’ Tumblr page: invisiblestories.tumblr.com.) CANCER (June 21-July 22): “The world breaks everyone, and afterward, many are stronger in the broken places,” wrote Cancerian writer Ernest Hemingway. By my estimation, my fellow Crabs, we are now entering a phase of our astrological cycle when we can make dramatic progress in healing the broken places in ourselves. But even better than that: As we deal dynamically with the touchy issues that caused our wounds, we will become stronger than we were before we got broken. LEO (July 23-Aug. 22): Let’s hope you have given deep thought to understanding who you are at this moment of your life. Let’s also hope that you have developed a clear vision of the person you would like to become in, say, three years. How do you feel about the gap between the current YOU and the future YOU? Does it oppress you? Does it motivate you? Maybe a little of both? I’ll offer you the perspective of actress Tracee Ellis Ross. “I am learning every day,” she told Uptown Magazine, “to allow the space between where I am and where I want to be to inspire me and not terrify me.” VIRGO (Aug. 23-Sept. 22): Do the words “purity” and “purify” have any useful purpose? Or have they been so twisted by religious fundamentalists and mocked by decadent cynics that they’re mostly just farcical? I propose that you take them seriously in the coming week. Give them your own spin. For instance, you could decide to purify yourself of petty attitudes and trivial desires that aren’t in alignment with your highest values. You might purify yourself of self-deceptions that have gotten you into trouble and purify yourself of resentments that have blocked your creative energy. At the very least, Virgo, cleanse your body with extrahealthy food, good sleep, massage, exercise, and sacred sex. LIBRA (Sept. 23-Oct. 22): I periodically hike alone into the serene hills north of San Francisco and perform a set of my songs for the birds, insects, squirrels, and trees. Recently I discovered that British comedian Milton Jones tried a similar experiment. He did his stand-up act for a herd of cows on a farm in Hertfordshire. I can’t speak for Jones’ motivations, but

one of the reasons I do my nature shows is because they bring out my wild, innocent, generous spirit. Now is a good time for you to do something similar for yourself, Libra. What adventures can you undertake that will fully activate your wild, innocent, generous spirit? SCORPIO (Oct. 23-Nov. 21): Are you anxious and agitated, afraid that you’re careening out of control? Is there a flustered voice in your head moaning, “Stop the insanity!”? Well, relax, dear Scorpio. I promise you that you no longer have to worry about going cray-cray. Why? Because you have already gone cray-cray, my friend. That is correct. You slipped over the threshold a few days ago, and have been living in Bonkersville ever since. And since you are obviously still alive and functioning, I think it’s obvious that the danger has passed. Here’s the new truth: If you surrender to the uproar, if you let it teach you all it has to teach you, you will find a lively and intriguing kind of peace. SAGITTARIUS (Nov. 22-Dec. 21): To give you the oracle that best matches your current astrological omens, I’ve borrowed from “Sweetness,” a poem by Stephen Dunn. I urge you to memorize it or write it on a piece of paper that you will carry around with you everywhere you go. Say Dunn’s words as if they were your own: “Often a sweetness comes / as if on loan, stays just long enough // to make sense of what it means to be alive, / then returns to its dark / source. As for me, I don’t care // where it’s been, or what bitter road / it’s traveled / to come so far, to taste so good.” CAPRICORN (Dec. 22-Jan. 19): In her book Teaching a Stone to Talk, Annie Dillard apologizes to God and Santa Claus and a nice but eccentric older woman named Miss White, whom she knew as a child. “I am sorry I ran from you,” she writes to them. “I am still running from that knowledge, that eye, that love from which there is no refuge. For you meant only love, and love, and I felt only fear, and pain.” Judging from your current astrological omens, Capricorn, I’d say that now would be a good time for you to do something similar: Take an inventory of the beauty and love and power you have sought to escape and may still be trying to avoid. You’re finally ready to stop running and embrace at least some of that good stuff.

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

AUTOS WANTED CASH FOR CARS: Any Car/Truck. Running or Not! Top Dollar Paid. We Come To You! Call For Instant Offer: 1-888-420-3808 www.cash4car.com (AAN CAN)

ww presents

I M A D E T HIS

AQUARIUS (Jan. 20-Feb. 18): The Dragon Lives Again is a 1977 film that tells the story of martial arts legend Bruce Lee fighting bad guys in the underworld. Among the villains he defeats are Dracula, James Bond, the Godfather, Clint Eastwood, and the Exorcist. I urge you to use this as inspiration, Aquarius. Create an imaginary movie in your mind’s eye. You’re the hero, of course. Give yourself a few superpowers, and assemble a cast of scoundrels from your past -- anyone who has done you wrong. Then watch the epic tale unfold as you do with them what Bruce Lee did to Dracula and company. Yes, it’s only pretend. But you may be surprised at how much this helps you put your past behind you. Think of it as a purgative meditation that will free you to move in the direction of the best possible future. PISCES (Feb. 19-March 20): After studying the myths and stories of many cultures throughout history, Joseph Campbell arrived at a few conclusions about the nature of the human quest. Here’s one that’s apropos for you right now: “The cave you fear to enter holds the treasure you seek.” He came up with several variations on this idea, including this one: “The very cave you are afraid to enter turns out to be the source of what you are looking for.” I urge you to consider making this your operative hypothesis for the coming weeks, Pisces.

Homework Name ten personal possessions that you’d put in a time capsule to be dug up by your descendants in 500 years. Testify at Freewillastrology.com.

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

freewillastrology.com

The audio horoscopes are also available by phone at

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

“Socks” Presidential pet, Clinton Administration.

by Sean Casey $800 36” H x 32”W • Acrylic on paper PortlandArtist@Outlook.com space sponsored by

Submit your art to be featured in Willamette Week’s I Made This. For submission guidelines go to wweek.com/imadethis

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BACK COVER

TO ADVERTISE ON WILLAMETTE WEEK’S BACK COVER CALL 445-1170 BANKRUPTCY

Do you want to be debt free? Call Now: 503-808-9032 FREE Consultation. Payment Plans. Scott Hutchinson, Attorney www.Hutchinson-Law.com

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It’s not too late to eliminate debt, protect assets, start over. Experienced, compassionate, top-quality service. Christopher Kane, 503-380-7822 www.ckanelaw.com

AA HYDROPONICS

9966 SW Arctic Drive, Beaverton 9220 SE Stark Street, Portland American Agriculture • americanag.com PDX 503-256-2400 BVT 503-641-3500

SEX FOR SURVIVORS W/ DUCKY DOOLITTLE / WED, OCT 9 - 5:00 - (SLIDING SCALE, SUGGESTED TICKET PRICE $20) HIPS, LIPS & FINGERTIPS: TAKE YOUR GUY OVER THE EDGE W/ DUCKY DOOLITTLE / WED, OCT 9 - 7:30 – $20 THE ART OF THE FEMALE ORGASM W/ DUCKY DOOLITTLE / THURS, OCT 10 - 7:30 – $20 TEASE A PEEL: CLASSIC BURLESQUE PEELING TECHNIQUES / WED, OCT 23 - 7:15 – $15 FULL-BODIED FELLATIO / THURS, NOV 7TH - 7:30 – $20 PLEASURE, POWER AND PAIN: AN INTRO TO BDSM / SUN, NOV 10TH - 7:30 – $20

SHEBOPTHESHOP.COM 909 N BEECH STREET, HISTORIC MISSISSIPPI DISTRICT 503-473-8018 SU-TH 11–7, FR–SA 11–8

Business Space For Lease

2,000sq/ft downtown river front community, Astoria, Oregon 503-739-0985

20% Off Any Smoking Apparatus With This Ad!

$Cash for Junk Vehicles$

BUY LOCAL, BUY AMERICAN, BUY MARY JANES Glass Pipes, Vaporizers, Incense & Candles

Ask for Steve. 503-936-5923 Licensed/Bonded/Insured

7219 NE Hwy. 99, Suite 109 Vancouver, WA 98665

(360) 735-5913

Eskrima Classes

Personal weapon & street defense www.nwfighting.com or 503-740-2666

212 N.E. 164th #19 Vancouver, WA 98684

(360) 514-8494

Guitar Lessons

Personalized instruction for over 15yrs. www.danielnoland.com 503-546-3137

1425 NW 23rd Portland, OR 97210 (503) 841-5751

6913 E. Fourth Plain Vancouver, WA 98661

Our nonprofit clinic’s doctors will help. The Hemp & Cannabis Foundation. Females 18+. Natural/hairy/unshaved. www.thc-foundation.org 503-281-5100 Good Fit Bodies. Creative/fun outdoor nude shoots for Hippiegoddess.com. Muay Thai $400-$600. 503-449-5341 Emma Self defense & outstanding conditioning. www.nwfighting.com or 503-740-2666

HIPPIE MODELS

Improvisation Classes Mary Jane’s House of Glass

Vancouver, WA 98664

North West Hydroponic R&R

(360) 213-1011

1156 Commerce Ave Longview Wa 98632

(360) 695-7773 (360) 577-4204 Not valid with any other offer

MEDICAL MARIJUANA

Now enrolling. Beginners Welcome! Brody Theater 503-224-2227 www.brodytheater.com

8312 E. Mill Plain Blvd

1825 E Street

Washougal, WA 98671

(360) 844-5779

RESTAURANT GUIDE

Opiate Treatment Program

Evening outpatient treatment program with suboxone. CRCHealth/Dr. Jim Thayer, Addiction Medicine http://belmont.crchealth.com 1-800-797-6237

Oregon Wage Claim Attorneys

2013 Restaurant Guide publishes Oct 16

Helping Oregon employees collect wages! We Buy, Sell, & Trade New & Used Hydro- Free consultation! ponic Equipment. 503-747-3624 Schuck Law Glass Pipes, Vaporizers, Incense, Candles. (503) 974-6142 10% discount for new OMA Card holders! (360) 566-9243 1425 NW 23rd, Ptld. 503-841-5751 WWEEKDOTCOM http://wageclaim.org 7219 NE Hwy 99, Vanc. 360-735-5913

SEE MORE INSIDE

BACK COVER CONTINUED

Browse & Reply FREE! 503-299-9911 Use FREE Code 2557, 18+

card Services clinic

find more online @ wweek.com 4911 NE Sandy Blvd, Portland • open 7 days

Sell us your Old Smartphone Or Cellphones Today! Buy/Sell/Repair. 7816 N. Interstate 503-286-1527 www.revivedcellular.com

WHERE SINGLES MEET

Medical Marijuana

503-384-Weed (9333) www.mmcsclinic.com

REVIVED CELLULAR

New Downtown Location! 1501 SW Broadway www.mellowmood.com

4119 SE Hawthorne, Portland ph: 503-235-PIPE (7473)

Oregon Medical Marijuana Patient Resource Center *971-255-1456* 1310 SE 7TH AVE

Open 7 Days www.ommpResourceCenter.com