39 50 willamette week, october 16, 2013 by Willamette Week Newspaper

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WILLAMETTE WEEK PORTLAND’S NEWSWEEKLY

2013 Restaurant Guide inside wweek.com

VOL 39/50 10.16.2013

P. 7

jj Gonson

NEWS Tea Party chief hides from his debts. FOOD TESTING PDX CHEFs’ NEW BOOKS. MUSIC HAIM IS BIGGER THAN TIMBERLAKE.

Willamette Week OCTOBER 16, 2013 wweek.com

M AT T H E W B I L L I N G TO N

CONTENT

HAPPY, HAPPY: The state is doubling down on taxpayer-funded ads for Obamacare. Page 10.

NEWS

MUSIC

LEAD STORY

PERFORMANCE 43

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 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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INBOX BLAZERS, TIMBERS OR…

The Blazers own this city, only because Timbers fandom is a fad—you can thank the Eurocentric nature of Portlanders for that [“Rip City vs. No Pity,” WW, Oct. 9, 2013]. Seriously, three quarters of these supposed “hardcore” Timbers fans didn’t give a damn about the team before it joined Major League Soccer. Dressing up in overpriced team swag doesn’t constitute a die-hard constituency—it shows how herd-minded and easily sold most of these “fans” are. The passion for the game and especially the team were entirely obvious 10 years ago. Now it seems people are going to the games because they should, and not because they actually feel that same passion. Sad, really. —“E-s-o” I don’t buy the overpriced Timbers merchandise, but I do love to support a local team that has less of a criminal record than the local biker gang. —“gomergirl”

…DUCKS?

The writer has a point, that there are more “O” decals adorning Portland cars than there are pinwheels or axes [“Wrong! It’s the Ducks,” WW, Oct. 9, 2013]. But watch that all change if the Blazers went to the NBA Finals or the Timbers won the MLS Cup. Indeed, the Ducks are a hot ticket, but Oregon football suffers from that most annoying of sports-fan tendencies: bandwagonism. Sure, fans all have their reasons for cheering on the UO football squad, even if they are in no way associated with the school itself.

People new to Portland tell me that our city is very passive-aggressive compared to other places. I’m sorry to say that I agree with them. What gives Portland this reputation, and what, if anything, can be done to curb it? —Andy A. Any Portlander who’s ever seen a four-way stop turn into a white-knuckled battle of wills to get the other guy to go first can appreciate the unique way that we in the Rose City have managed to turn politeness into a win-at-all-costs blood sport. People everywhere are competitive. The goals may vary—New Yorkers butt heads over money, Texans over land, Kansans over who can produce the most poorly educated children—but the desire to one-up the next guy is universal. Portland is unique, however, in that we appear to have collectively agreed to compete over who can be the least competitive. “I’m going to defeat 4

Willamette Week OCTOBER 16, 2013 wweek.com

Personally, I’ll resist the bandwagon and stick to the professional sports teams that actually represent my city. —“Amanda”

PAYING FOR THE CRC

If Oregon were to pay the entire non-federal cost of the Columbia River Crossing, is there a legal mechanism for having us pay less for tolls than Washington drivers? [“Toll On, Columbia,” WW, Oct. 9, 2013.] I thought it might be discriminatory to charge differently based on license plates, so I brainstormed. Could tolls paid by Oregon vehicles be reported to the DMV, which could then issue a refund of half the sum to the registered owner at regular intervals (quarterly, annually, etc.)? Another option: ODOT could report to the Department of Revenue and it could be applied as a tax credit. I’m sure there are plenty of other options, but you get the idea. It seems like it wouldn’t be preferential treatment from ODOT because everyone would pay the same price up front. Oregon would just put in place a separate system, through the DMV or DOR, to give our drivers a monetary “thank you” for already having done their part and taken the risk up front. If Washington wanted to put in place a similar mechanism for its residents, who didn’t pay for the bridge, that would be entirely up to them. Eric Kennedy North Portland 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.

you by proving that I am so not the kind of person who goes around trying to defeat people at stuff!” If that sounds like an unwieldy Möbius strip of paradox to wrap around our civic genitalia— well, perhaps that explains the irritability lurking beneath our veneer of mellowness. Inside every Portlander is an alien of hatred waiting to burst out of our OPB-hoodie-clad chests screaming, “Recycle this, motherfucker!” But when your entire self-image is based on believing you’re the nice-guy love child of Tom Hanks and Mahatma Gandhi, you can’t let that monster free. You can only let your assholery leak out in little Bill Lumbergh-like dribs and drabs, like an old person’s urine. Frankly, it’s pathetic. It would be one thing if we really were all genuinely nice, but since we’re human beings, that’s not really in the cards. So, Portland, if you could just go ahead and say what you really think once in a while—that’d be terrific. QUESTIONS? Send them to dr.know@wweek.com

Willamette Week OCTOBER 16, 2013 wweek.com

POLITICS: Oregon Tea Party’s founder is running from his debts. 7 TRANSPORTATION: A court filing reveals the state’s CRC motives. 8 MEDIA: The state doubles down on its Cover Oregon ads. 10 COVER STORY: Elliott Smith’s legacy, a decade after his death. 14

HAVE YOU SEEN THE MCMUFFIN MAN?

JAMES PITkIN

Opponents of Oregon’s constitutional ban on same-sex marriage are taking it to a judge. As first reported on wweek. com, Portland attorneys Lake Perriguey and Lea Ann Easton filed a lawsuit Oct. 15 in U.S. District Court in Eugene on behalf of two Portland gay couples. Perriguey says he knows Oregon United for Marriage is running a 2014 initiative campaign to overturn Measure 36 but believes a suit will be faster and less expensive. “It will not withstand constitutional scrutiny,” he says. Oregon United for Marriage spokeswoman Amy Ruiz says her group is aware of the suit. “We share the same goal, to make marriage legal for all loving and committed couples in Oregon,” she says. The Portland Independent Police Review Division wants the power to question police officers directly in response to citizen complaints. IPR director Constantin Severe says the change is required as part of the city’s settlement with the U.S. Department of Justice over the Police Bureau’s use of excessive force. “I can’t see how you can have meaningful investigations without talking directly to officers,” says Severe, whose division is part of the City Auditor’s Office. Police spokesman Sgt. Pete Simpson says that Chief Mike Reese won’t comment on this proposal and other reform ideas until he testifies about them before the City Council. Portland Police Association president Daryl Turner didn’t respond to WW’s questions by press time. The City Council will hear the proposals Oct. 23.

Who wants to give free McMuffins to the homeless? Not Jessie Sponberg. For years, the activist collected Taco Bell chalupa coupons outside Trail Blazers games and distributed them to social-service agencies. The Blazers announced recently they’re replacing the chalupa promotion with McDonald’s McMuffins when the team scores 100 points in a game. “I McQuit,” Sponberg declared in a scathing We Out Here Magazine essay Oct. 8. “I wouldn’t give a McMuffin to my worst enemy.” Sponberg tells WW he’s been attacked online but has received no offers to collect vouchers in his stead. “I’ve been called a crybaby by a thousand people,” he says. “Not a single person has offered to stand on my corner. Not one. Not even in jest.” Read more Murmurs and daily scuttlebutt. 6

Willamette Week OCTOBER 16, 2013 wweek.com

MCDONALDS CANADA

Jack Bogdanski’s lawsuit against the Portland Arts Tax is getting an encore. Voters passed the $35-per-person tax in November 2012 to help fund arts teachers in schools and local arts organizations. Bogdanski—the Lewis & Clark Law School professor and erstwhile blogger known as Bojack— challenged the tax in state court, saying it violated the Oregon Constitution’s ban on a head tax. The city got the suit thrown out of Oregon Tax Court in June, but Bogdanski appealed. This week, the tax court will again consider whether to hear his suit.

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

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NEWS

WHERE’S JOHN KUZMANICH? PROCESS SERVERS CAN’T FIND THE OREGON TEA PARTY FOUNDER, WHO’S MORE THAN THREE YEARS BEHIND ON MORTGAGE PAYMENTS. By N I G E L J AQ U I S S

njaquiss@wweek .com

Few Oregonians have cheered the congressional budget impasse and federal government shutdown more loudly than John Kuzmanich, founder and chairman of the Oregon Tea Party. Since the Tea Party started in 2009, its members have clamored for smaller government, lower taxes and stronger border security. Party leaders—including U.S. Sen. Ted Cruz (R-Texas)—have helped push Republicans further to the right, making it more difficult for House GOP leaders to reach a compromise on funding the government. While less influential in Oregon, Kuzmanich and the state’s Tea Party have nonetheless cheered the confrontation with President Obama over the budget. Kuzmanich, for example, appeared on KATU Channel 2’s Your Voice, Your Vote on Oct. 6, where he told host Steve Dunn the forced budget austerity would help Americans return to “fiscal and personal responsibility.” “We are just good and decent principled Americans who believe in the Constitution and a fiscally responsible government,” said Kuzmanich. Even as he spoke those words, Kuzmanich was on the run from his own financial responsibilities. Washington County court records show Kuzmanich

is more than three years behind in mortgage payments on a Beaverton duplex. The lender, the Federal National Mortgage Association, better known as Fannie Mae, has gone to extraordinary lengths—unsuccessfully, so far—to find Kuzmanich and serve him with court papers. Kuzmanich, 45, is a University of Iowa grad who built a family trucking business and worked as a mortgage broker. He burst onto the political scene in 2009, founding the Oregon Tea Party and launching a bid for the 1st Congressional District seat then held by U.S. Rep. David Wu (D-Ore.). He also claimed a prominent political pedigree: He is related to the late U.S. Sen. Mark Hatfield (R-Ore.). (The maiden name of Antoinette Hatfield, the senator’s widow, is Kuzmanich.) “In late 2009,” according to a Kuzmanich bio on the University of Iowa website, “John made the decision to run for United States Congress in Oregon’s 1st Congressional District, his home, and following in the political tradition of Senator Mark Hatfield, a member of his family, he decided to put all his relevant experience to work to serve and represent his principles, his family, his community and country.” He added this in his 2010 Voters’ Pamphlet statement: “We need to decrease the size of government and make it live within its means just like we do.” Kuzmanich finished third out of four candidates in the 2010 Republican primary, with 28 percent of the vote. Records show Kuzmanich four years earlier had paid $361,000 for a duplex on Southwest 150th Avenue in Beaverton. Less than two weeks after the election, on June 1,

2010, Kuzmanich failed to make the mortgage payment on his duplex, court records say. He has not made a payment since. He now owes principal of $289,000 and unpaid interest of more than $42,000. In March, Fannie Mae filed suit against Kuzmanich and since April has tried to serve him with papers 19 times, visiting his duplex, a Cannon Beach apartment, his former business address and the residence he listed in Portland when he ran for Congress in 2010. “No answer at the door, no noise inside and no movement inside. No vehicles,” the process server wrote in an affidavit after visiting that last address in June. “After exercising due diligence, Plaintiff has been unable to ser ve defendants John Kuzmanich and Occupants of the premises, but believes they reside in Washington County,” Fannie Mae’s lawyer, Michael Thornicroft, told the court Aug 12. The court has since approved publishing public notices of the foreclosure in lieu of serving Kuzmanich with papers. Aaron Crowe, president of the Oregon Association of Process Servers, says defendants are under no obligation to accept service of documents in lawsuits, but most do. Crowe says it’s common for a defendant to have to be served more than once, but Fannie Mae’s “Where’s Waldo?” experience with Kuzmanich is far from the norm. “That is unusual,” says Crowe, who was not involved in the case. “Usually we get service within a couple of days.” Process servers aren’t the only ones who have trouble finding the Oregon Tea Party founder. WW tried to reach Kuzmanich by cellphone, text, email and at the headquarters of his political consulting firm, American Strategies, that he co-founded in 2011. What we’re left with is this quote from his company’s website: “John believes that if you have the truth on your side, you have nothing to lose and everything to gain.” Willamette Week OCTOBER 16, 2013 wweek.com

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RIGHT TO THE EDGE: State oﬃcials working for Gov. John Kitzhaber (in front of the Interstate Bridge in 2011) say they can push the Columbia River Crossing nearly to the start of construction without lawmakers approving any money for it.

Willamette Week OCTOBER 16, 2013 wweek.com

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Ever since he pronounced the Columbia River Crossing dead, Gov. John Kitzhaber has been trying to claw his way back from the fatal diagnosis he gave his pet transportation project. Kitzhaber has declared Oregon can push ahead with a $2.8 billion bridge and freeway expansion without Washington state’s money— something he once said was impossible. He’s also said the Sept. 30 deadline for obtaining federal money for the project, something his aides said could not be missed, was actually more of a guideline. But the governor has been clear that the Oregon Legislature will again need to approve money for the CRC, after its funding authorization expired at the end of last month. Kitzhaber told The Oregonian on Sept. 25 lawmakers should hold public hearings on his latest CRC strategy before giving their blessing again. “If all the things line up…I would definitely entertain another one-day special session,” Kitzhaber said. But court documents show Kitzhaber’s transportation department is telling a federal judge a different story. In U.S. District Court, the Oregon Department of Transportation and the state Justice Department have argued Oregon doesn’t need legislative approval to keep spending on the project. Documents show state officials say they can burn through another $60 million, if they need to, without lawmakers giving their OK to the Oregon-only project. Kitzhaber’s office didn’t respond to WW ’s questions for this story. The CRC promises to replace the twin spans

of Interstate 5 over the Columbia River, send light rail to downtown Vancouver and expand Oregon’s highway interchanges. The Coalition for a Livable Future and other groups opposed to the CRC are suing over environmental arguments. The plaintiffs want to suspend their lawsuit, arguing the project was declared dead by Kitzhaber and Washington Gov. Jay Inslee after the Washington Legislature rejected paying its $450 million share in July. In court, however, state officials argue that little has changed about the CRC since Washington’s rejection of the project. State officials also say delaying the lawsuit would hinder ODOT’s ability to start construction next year—which they claim is possible without having the project funded by the Legislature. “Washington’s inaction did not close down the CRC division of ODOT, dismantle the construction schedule for the bridge span or otherwise cause the bridge construction to meaningfully change,” state lawyers told the court in an Oct. 4 brief. “While funding in any public project is critical, it is rarely if ever, completely known and committed before a project has been identified, planned and substantially designed and permitted, i.e. ‘shovel ready.’” “The Oregon Legislature,” the state’s court fi ling adds, “has already spoken that it supports this construction of this bridge.” What ODOT’s attorneys didn’t tell the judge is that the Legislature approved the bridge with strings attached—including a guarantee of Washington’s money by Sept. 30. Rep. Julie Parrish (R-West Linn) is a member of a joint committee that oversees the CRC. She says she was unaware the state plans to keep spending on the project without further legislative approval. “Where is the directive to keep working on the bridge?” Parrish asks. “It hasn’t come from the Legislature.” In fact, the state points to a declaration from a Federal Highway Authority employee who asserts there’s $60 million in federal money available so ODOT can proceed with the project even without another vote by lawmakers. “‘Reckless,’ that was the word that came to mind,” says Tom Buchele, a Lewis & Clark College professor of environmental law who is representing the plaintiffs in the CRC case. “It’s one thing to say you don’t have funding yet, but here their funding plan failed. Twice.”

Willamette Week OCTOBER 16, 2013 wweek.com

SUBSECTION MEDIA M AT T H E W B I L L I N G TO N

NEWS

LIVE LONG AND PROSPER STATE OFFICIALS DOUBLE THEIR SPENDING ON CHEERY COMMERCIALS FOR COVER OREGON. BY S A M A N T H A M AT S U M OTO

2 4 3 -2 1 2 2

Mark Ray leans back in his chair surrounded by wooden cutouts of rain clouds, birds and a yellow sun. They look as if they were imagined by the children who carried them in TV ads featuring Laura Gibson as she stood in a vineyard and sang “Live Long in Oregon.” The TV spots looked as if they might be advertisements for fabric softener or organic yogurt. But Ray and his team at North, the Portland agency that came up with the ads, were selling insurance— specifically, they were working for the state of Oregon to draw attention to its new health-care exchange under the Affordable Care Act. The ad agency’s choice of singers and songs was key, but the innocent, even dreamy images to portray a world under Obamacare have made the spots—and North—a national phenomenon. Ray, principal and executive creative director at North, was well aware that he was doing the unexpected by ignoring the rancor surrounding health-care reform— an almost prescient move given the current smackdown over the federal budget. “There are a lot of people using fear to talk to people about the Affordable Care Act,” Ray told WW before the current government shutdown started. “We felt like it would be the right thing to completely create contrast. What if you think of the Affordable Care Act as something to celebrate? It’s a simple thought.” Since then, Oregon officials have doubled down on the ad contract to market their health insurance exchange, called Cover Oregon. What started as an almost $10 million taxpayer-funded contract with North has expanded to more than $21 million. State officials say the ad campaign has not yet had the impact they’d hoped for and want to broaden its reach (see sidebar). North is a small satellite in Portland’s Wieden + Kennedy advertising agency orbit. The firm–with only 30 employees and annual billings of about $25 million— has clients that include Deschutes Brewery, Columbia Sportswear and Clif Bars. The firm until now has been best known for hiring Dave Allen, the former bass player for Gang of Four, as its digital strategist.

The ads have won the attention of The Washington Post and The New York Times. They have also faced withering attacks, especially from conservatives, for their feel-good glossing of Obamacare and their lack of any specifics about what, exactly, the state is trying to sell with all that public money spent on ads. The first ad—with Lost Lander frontman Matt Sheehy—evoked the ghost of Woody Guthrie, while others touched on hip-hop and a ’60s folk-music, Beatles animation riff The National Review sardonically labeled “trippy.” Ray says he intentionally played against the tension and controversy he was already seeing in other ad campaigns become self-conscious about the controversy surrounding Obamacare. “We just said we’re not even going to pay attention to that,” Ray says. Ray, 51, lives in Northeast Portland with his wife, Kristina Day, and their two children. Born in St. Louis, Ray attended Missouri State University and got his start at a small St. Louis ad agency (while also launching an independent music label).

How do I cope?

Willamette Week OCTOBER 16, 2013 wweek.com

His break came on a Jack Daniel’s campaign. The smaller firm was bought out by Boston ad agency giant Arnold Worldwide, and Ray eventually became managing partner and executive creative director. Under Ray’s direction, Jack Daniel’s saw significant gains in its international market share and the campaign won awards, including for its tag line, “Enjoyed in fine establishments and questionable joints everywhere.” In 2006, the Portland ad agency North (formed as Johnson Sheen in 1992) recruited Ray. “If I was going to continue doing advertising, I just wanted to be back at a smaller boutique size,” said Ray. “This was an opportunity to own my shop and be in Portland.” North pitched state officials when Oregon sought a way to market the new health-care exchange launched Oct. 1. The exchange helps match insurers to Oregonians and employers who want to buy coverage in response to the Affordable Care Act. The law requires most Americans to be covered by health insurance by 2014.

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Ray and his team saw the challenge as, first, getting people’s attention and then drawing them into the mechanics of what Cover Oregon offered. The first phase, the “Long Live Oregonians” anthems, were inspired by Woody Guthrie’s 1941 song “Roll On, Columbia, Roll On,” one in a series the Bonneville Power Administration commissioned Guthrie to write to build public support for hydroelectric dams on the river. “That was very successful back then,” Ray says of the Guthrie anthems. “The debate was so heated, and music is such a unifying language, and it would neutralize the debate.” The pitch won North the campaign, beating out seven other agencies for the nearly $10 million deal. In the advertising world, it’s rare for the original pitch to end up being produced. Ray says it’s happened in his career only a few times. The Cover Oregon version, featuring Sheehy strolling through the state singing a “This Land Is Your Land” homage (“From Hart Mountain, to the Skidmore Fountain”), prompted The New York Times to say it looked like a mix of Guthrie and “something from a tourism bureau.” The Laura Gibson spot dialed up the whimsy, with an ad set to an acoustic song with a background of cutouts of birds, rainbows and a yellow submarine. “I’m a huge Beatles fan, so we had to slip a reference in,” Ray says. The ad sparked The Washington Post headline: “Oregon has just launched the world’s most twee Obamacare marketplace.”

The next advertisement, by Portland rap group the LifeSavas, was a tone shift—less like an indie music video and more like a friend’s house party. Another featured Menomena touring member Dave Depper warbling, “We fly with our own wings,” while soaring through a cartoon that looked like a Raffi album cover. That ad achieved something even more valuable: Republican outrage and the attention that comes with it. “Dumbest ad ever?” asked Bill O’Reilly’s blog on Sept. 18. That mockery was part of the commercial’s viral journey through the conservative blogosphere—including the conservative blog HotAir and Americans for Tax Reform—with most posts mentioning the Beatles, LSD and the waste of taxpayer dollars. (Many pundits also

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

Willamette Week OCTOBER 16, 2013 wweek.com

Chris hornbeCker

NEWS

TAKING HEAT: “It hasn’t hurt at all,” Mark Ray, executive creative director at North, says about conservative backlash to his agency’s ads for Cover Oregon. “All it did was help the cause—and by ‘cause’ I mean the client.” The Cover Oregon ad with Laura Gibson is below left.

derided the ads for not offering a single hint of how the marketplace operated.) State Rep. Dennis Richardson (R-Central Point), who is traveling the state in an RV seeking the 2014 GOP nomination for governor, says he hasn’t seen Cover Oregon’s TV ads but he’s seen lots of the agency’s billboards. “They are feel-good ads, but they don’t tell people what Cover Oregon is going to do,” Richardson says. “I don’t think it’s an effective campaign and they seem to be spending a lot money.” Told that the original budget had more than doubled, Richardson, the vice chairman of the budget-writing Ways and Means Committee, expressed disappointment. “There’s an attitude among some people that federal funds are different,” he says. “But if the ads don’t inform people adequately, I don’t see how they are a useful expenditure.” It’s hard to say how helpful the online culture warfare is in drawing attention to the Cover Oregon health-care marketplace. But it is certainly creating buzz for North. Nothing says you’re hip like catching heat from squares. “The kind of buzz North is getting for this campaign is, in part, because it’s attached to the Affordable Care Act, hence the national press,” says Jerry Ketel, founder and creative director of Portland ad agency Leopold Ketel. “The other reason the ads are getting buzz is that the work plays to the myth of Portlandia. It shows the creatives on staff at North are in the moment—always a good thing for artistic expression, commercial or not.” Staff writers Aaron Mesh and Nigel Jaquiss contributed to this story.

DOUBLING DOWN COVER OREGON OFFICIALS SAY ADS ARE PAYING OFF. Educating Oregonians about the state’s new health insurance exchange, Cover Oregon, is a daunting proposition—and more than twice as expensive as originally reported. Cover Oregon is the local outpost of President Obama’s Affordable Care Act and is charged with offering health insurance to as many of the 560,000 uninsured Oregonians as possible. Surveys nationally and locally have shown that most people do not understand what’s happening. “On a basic level, we were a new brand and a new type of business,” says Cover Oregon spokesman Michael Cox. “The idea of a health-care marketplace is a new idea and not a common idea for most people.” Cover Oregon got a $226 million federal grant in January. That money is for technology, personnel and education—and much of that education will come in the form of advertising. In April, Cover Oregon issued a request for proposals for an ad agency. Eight firms responded, Cox says, and North won. The original contract was for $9.9 million. A series of 30-second ads began rolling out in July. State officials say baseline awareness of Cover Oregon was low. “Awareness of Cover Oregon is exceptionally low (6 percent) across all audience demographics,” the survey said. “Very few Oregonians have a solid understanding of what Cover Oregon is or exactly how they stand to benefit from it.” Market studies conducted for the campaign show awareness of Cover Oregon is now at 72 percent. Cox said the campaign has moved out of its introductory phase and will soon start describing more of the mechanics of how people can sign up. Cox says Cover Oregon decided based on surveys that the initial ad campaign was not big enough and so increased it from $9.9 million to $21.4 million. Almost all of the additional money will go to the production and airing of new ads. “As we moved forward we decided to invest much more heavily,” Cox says. “We studied the baseline survey and realized the task in front of us was a real challenge.” Cox says the feds signed off on the increase because they understand how difficult getting the message out to hundreds of thousands of Oregonians is. Cover Oregon’s key metric will be membership. The agency’s goal is to sign up more than 200,000 Oregonians by the end of 2014. “Our target demographic is everybody,” Cox says. “You can say it’s the uninsured or people who need a better deal, but those groups come from all walks of life.” NIGEL JAQUISS.

Willamette Week OCTOBER 16, 2013 wweek.com

Courtesy of JJ Gonson

from a basement on big thunder mountain: elliott smith (in red shirt and black cap) and other members of heatmiser at disneyland, shortly after the band signed to Virgin records in 1996. heatmiser would break up before releasing an album for the label.

Willamette Week OCTOBER 16, 2013 wweek.com

BY M AT T H E W S I N G E R

msinger@wweek .com

Elliott Smith sang it himself: Pictures of him are always wrong. So the photo of him at Disneyland, taken in 1996, must be Photoshopped, right? The saddest songwriter in the world—a man who committed suicide by stabbing himself in the heart a decade ago next week—at the happiest place on Earth, a smile cracked across his 20-something face. It doesn’t make sense. And yet, there’s more images like this, hung on the walls of Union/Pine as part of a one-night show last week called Elliott Smith: The Portland Years. Smith in a fur jacket, pursing his lips and posing as if he were a glam-rocker. Smith in fur pants and a devil mask threatening the camera with a plastic pitchfork. In his music, Smith was the eternal sufferer. The New York Times obituary published after his death in 2003 called him “a luminary of independent rock” who wrote “bleak stories of turmoil, addiction, domestic violence and despair.” In person, though, he was a goofy drunk with an absurd sense of humor, who beat jokes into the ground like a kindergartner. That’s how Portlanders—the people who knew Smith best—describe him. Though Smith’s best-selling record, 1998’s XO, sold only 400,000 copies, he is, to many critics, the best songwriter ever to emerge from this city. His influence still resonates. A few years ago, Paste magazine ranked Smith the very best thing about Portland—above Powell’s, Mount Hood, the book Geek Love and Gus Van Sant’s entire oeuvre. Last month, Madonna fi lmed a performance of his song “Between the Bars.” A new biography, Torment Saint, is out this month (see review, page 46), and a second documentary fi lm about Smith is in the works.

CONT. on page 16

Willamette Week OCTOBER 16, 2013 wweek.com

cont.

l a r r y c r a n e / l a r r y- c r a n e .c o m

ELLIOTT SMITH

I don’t thInk I’m ever gonna fIgure It out: Smith working on lyrics for his album XO at a studio in Los angeles in 1998.

Before Portlandia branded our city, Elliott Smith did the same—except his Portland was about self-loathing, set among the cracked sidewalks of Alameda. He told stories about addicts getting off the bus at Southeast Powell Boulevard and 6th Avenue to cop, and chronicled the absurd ritual of the Rose Parade, with its “ridiculous marching band” playing “some halfhearted victory song.” Today, local bands like the Decemberists sing about dirigibles, shipyards and CIA operative Valerie Plame, while Menomena mounts ironic album-release parties set to Pink Floyd laser shows at OMSI. These bands tend toward the conceptual, not the personal. And those bands emerged around 2003, the same year Smith died and Voodoo Doughnut opened. It was the end of gloomy, earnest Old Portland and the birth of whimsical New Portland, the “youth magnet city” of craft beer and chickens with names. Smith tapped into the same existential gloom explored in the ’80s by the Wipers’ Greg Sage, who once described Portland as “Doomtown.” It wasn’t obvious back in 2003, but it’s clear now: Elliott Smith was the last man living in Doomtown. Smith released his debut solo album, Roman Candle, in 1994. At the time, the Portland rock scene was emerging. Grunge had broken big in Seattle just three years earlier, showcasing the Pacific Northwest to the mainstream music industry. A&R men were taking Portland punk bands to dinner and dangling record offers that never materialized. The enticement of fame—or, at least, of the chance to quit working day jobs— had drawn a glut of loud rock bands set on riding the Seattle wave. And Smith, initially, was part of that wave. At Hampshire College in Amherst, Mass., Smith formed Heatmiser with Neil Gust and brought the band back to Portland in the early ’90s. Heatmiser released three albums of Fugazi-indebted post-punk, developed a fervent local following and signed a deal with Virgin Records. But Smith never totally fit in. Eventually, he went on his own. “Once he started recording his solo stuff, that was so much quieter, he realized his voice was much better suited to music that was less 16

Willamette Week OCTOBER 16, 2013 wweek.com

aggressive and had more space in it,” says Heatmiser drummer Tony Lash. Later, Smith would credit his time in the band with teaching him “a lot of things I don’t want to do musically.” Roman Candle, released on upstart Portland label Cavity Search in July 1994, was, in contrast to Heatmiser’s roaring sound, almost invasively intimate. Recorded at his girlfriend’s house at Southeast Taylor Street and 29th Avenue, it featured little more than acoustic guitar and Smith’s barely-there voice. Listening now, it’s as if you have an ear cupped against the basement door. The a lbum caught people by sur prise: Jackpot Recording Studio owner Larry Crane, who’d go on to oversee several Smith recording sessions and serve as his archivist, had written off Smith for his involvement in Heatmiser, which he lumped in with the “loud, stupid guitar bands” he was tiring of. Crane’s opinion changed after hearing Roman Candle. “I’d been listening to a lot of Nick Drake and Tim Hardin,” he says, “and I was like, ‘Fuck, that’s right in there.’” Roman Candle and the two indie records that followed—Elliott Smith and his breakthrough, Either/Or—became talismans for Portland’s basement-dwelling creative class, “cheat sheets for comprehending every Rose City songwriter who ever wrestled with a four-track recorder in his or her bedroom,” as John Graham wrote in WW after Smith’s death. Smith’s contemporaries, like Hazel’s Pete Krebs and Crackerbash’s Sean Croghan, joined him in exploring their softer, folkier sides. None of them could do it nearly as well. Today, it can be hard to place Smith. When Mark Baumgarten, WW’s former music editor who is now the editor of Seattle Weekly, moved to Portland from Minneapolis in the summer of 2003, he says he expected to interview a bunch of “up-and-coming sad bastards.” Instead, he found a scene whose energy had returned to the loud rock bands that Smith’s whispered melancholia had supposedly replaced. From an outsider’s perspective, his albums cast such a long shadow over Portland that they distorted reality. “His music was an anomaly in some sense,” Baumgarten says. “Though he, as a person, is really connected to that community, aesthetically, I don’t know if his music fits at all.”

cont.

ELLIOTT SMITH

No one, it turned out, sounded like Elliott Smith. They’d all given up trying. The moment Sean Croghan knew Elliott Smith was bigger than Portland happened in Los Angeles during a two-week tour in the mid-’90s. He, Smith and four other Rose City rockers-turned-singer-songwriters, eager to try out their new acoustic guises on the road, crammed into a van and headed down the coast. At the time, the name “Elliott Smith” meant little outside Portland. Neither did “Sean Croghan,” but because his vigorous touring fronting seminal Portland rockers Crackerbash earned him nominal recognition, he became the tour’s de facto headliner. Smith quickly emerged as the act no one wanted to follow. Whatever his failings as a rock frontman, with the volume dialed down, they transformed into strengths. His gentle wisp of a voice, often strained in Heatmiser, could absorb an entire room into his hushed orbit. And he often did so after vomiting from nervousness backstage. By the time the tour reached L.A., Smith had taken the closing slot. The show, at a bar whose name Croghan can’t remember, was filled with record-industry people and friends of industry people, perhaps the worst possible audience for unknown singer-songwriters from the Pacific Northwest. “All night long, people had been polite, having their conversations, doing what you do at a bar and enjoying themselves,” says Croghan, who lived with Smith for a time. “So there was a fair amount of chatter throughout all the sets. And Elliott got up there and started performing, and you could just watch the room get sucked up in what he was doing. One by one, people just stopped, and everyone’s attention was focused on the stage. It became obvious to me that this guy is so much more amazing than the rest of us on this tour.”

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“He wanted to write songs and He wanted to record songs. everytHing else was an obligation to get to tHose two.” —LARRY CRANE, ON ELLIOTT SMITH Why was Smith the most successful songwriter in his peer group? Some cite the tangibles (finesse as a guitarist, a gift for melody and arrangement), others the intangible (“aura”) or the dumb luck of the music industry. Ultimately, though, consensus opinion mirrors Croghan’s revelation: Smith was just better than everyone else. “He’s this entire package you don’t often see,” says William Todd Schultz, author of Torment Saint: The Life of Elliott Smith. “He really knew what he wanted in a song, and he worked at it so hard and wrote so many songs and recorded at a young age that he was making stuff effortlessly that was incredibly accomplished.” “Ambition” isn’t a word commonly associated with Smith— who dressed as shabbily as any part-time record-store clerk in town—yet in conversations with those who knew him, it comes up frequently, extending all the way back to Stranger Than Fiction, the ornate prog-pop recording project he and Lash formed along with two other friends from their Lincoln High School band class. Smith seemingly never stopped playing: Croghan often came home to find him on the couch, working on songs while watching Spanish television with the volume low. “He wanted to write songs and he wanted to record songs,” Crane says. “Everything else was an obligation to get to those two.” In 1995, Smith secured a publishing deal—something few Portland musicians could claim —allowing him to quit his drywall job and focus all his time on songwriting. “As soon as he did,” Crane says, “I know, as his archivist, there were a whole lot more reels of music being recorded, and much more songs being written.” Smith’s relentless drive to create was, perhaps, indicative of just how many demons he had to exorcise. (Much of his depression, it’s believed, stemmed from the revelation that, during his childhood in Texas, he’d been sexually abused by his stepfather.) But the more he honed his craft and the more listeners cont. on page 18 Willamette Week OCTOBER 16, 2013 wweek.com

cont.

l a r r y c r a n e / l a r r y- c r a n e .c o m

ELLIOTT SMITH

the piano man: elliott Smith during a recording session for “Baby Britain,” which would end up on the album XO, at Jackpot Studio in portland, shortly after he helped build the studio in 1997.

H O S T E D BY:

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Willamette Week OCTOBER 16, 2013 wweek.com

connected to his agony, the more obligations lack of control: leaving songs half-finished, relywere foisted upon him. ing on the audience to sing his lyrics back at him. After the success of 1997’s Either/Or, Smith It was indicative of his life offstage since leaving was something approaching a celebrity in Port- Portland in 1997, marked by what Schultz calls land. He’d lost the comfort of relative anonym- a “galloping, intense paranoia,” brought on by ity. He tried relocating to New York first, but a cocktail of heroin, alcohol, crack cocaine and found it didn’t give him the isolation he desired. psychiatric meds fogging his system. In L.A., he could disappear into the sprawl. He “From about 2000 to the end of his life, part rarely spoke to the people who kept him ground- of his personality had been taken out,” Schultz ed back in Portland. says. “That’s the way a lot of people described Crane views Smith’s famous performance at him. Pete Krebs said he was like a zombie. He the 1998 Academy Awards, shoved awkwardly was unreachably screwed up.” between the Best Original Song performances At that point, Smith’s friends in Portland had of Trisha Yearwood and eventual winner Celine lost track of him, but even from afar, it was clear Dion, not as the pinnacle of his career but the he wasn’t well. start of his descent. He was basically forced into “When I heard Figure 8, I remember feeldoing it: The show’s producers threatened to ing kind of sad,” Lash, his former Heatmiser hire a replacement to perform “Miss Misery” if drummer, says of Smith’s last album, released Smith backed out. by DreamWorks Records. “I wasn’t around him, “My feeling watchand I don’t know the ing him up there was, “from about 2000 to the degree or what subI wish he had a way he stances might have end of his life, part of didn’t have to do that,” been involved in his [smith’s] personality had life, but at least to Cra ne says. “At t he time, even. I didn’t say my ear, there was an been taken out.” that to many people emot ion a l r emove b ec au se t hey t h i n k —WilliamtoddSchultz to it that made me you’re crazy, because feel sad. He wasn’t as you’re supposed to take every opportunity and emotionally plugged into the music. It seemed all those things. In a way, that got him a lot of more like an exercise in good chord changes publicity and a lot of notice and prepped the and good notes and good words, but there was stage for XO to sell a decent amount of records, something missing from the previous records, but it would’ve been so nice if it hadn’t hap- which is that feeling of him sitting right there, pened. It’s like if Nirvana hadn’t written “Smells communicating that emotion directly.” Like Teen Spirit.” Kurt [Cobain] might still be “He got caught up in a bunch of different around.” dilemmas,” says Christopher Cooper, co-founder of Cavity Search Records, whose last memory Smith played Portland for the final time on of Smith is an equally alarming Seattle show he Dec. 20, 2001, at Crystal Ballroom. It was, by all played the night before the Crystal. “One was accounts, a disaster. He flubbed guitar parts. He his past. One was his career. And the other was forgot lyrics. He looked disheveled—more than his addiction. Different places symbolize difusual. His between-song banter (“I’m gonna ferent things to Elliott. I think that the addict get it together,” he promised during one inter- always knows where home is and always knows minable break, “I just got to think of a song”) where clean is, but the addict doesn’t always resonated as a cry for help. want to go home.” It wasn’t an isolated incident. The shows in the last years of Smith’s life were marred by a cont. on page 20

CONT.

ELLIOTT SMITH

Southeast 29th Avenue and Taylor Street The home where Smith recorded Roman Candle. According to his then-girlfriend, J.J. Gonson, she returned years later and knocked on the door to find the Shins’ James Mercer lived there.

LARRY CRANE / L A R R Y- C R A N E .C O M

Southeast 32nd Avenue and Yamhill Street Larry Crane’s former house, where he first met Smith through the singer-songwriter’s girlfriend at that time, musician Joanna Bolme, who brought him over for a barbecue. Crane and Smith tracked songs that ended up on Either/Or in the makeshift basement recording space. Jackpot Recording Studio Smith helped Crane build his studio at its original location, the corner of Southeast Morrison Street and 20th Avenue (it’s since moved to Southeast Division and 50th), where they demo e d s e ver a l s on g s a nd recorded the Oscar-nominated version of “Miss Misery.”

Photo by

@SMALLTIMEGENIUS Congratulations to Instagram user @smalltimegenius, winner of Willamette Week’s Portland Bridges Photo Contest! He won a $100 gift certificate to Bar Bar with this moody image capturing the scale of the TriMet Bridge construction project. Check out wweek.com/wwbridges to see more pictures from the contest.

La Luna Once the nucleus of Portland’s music scene (now the location of Japanese restaurant Biwa) and the site of album-release shows for Elliott Smith and Either/Or, as well as performances by Spudboys—Smith and Croghan’s Devo cover band.

COURTESY OF MARK MOORE

Space Room The Southeast Hawthorne Boulevard dive was one of the bars Smith frequented, along with My Father’s Place and Club 21. He and Sean Croghan hung out there a lot when Smith lived on Southeast Division Street, getting “very drunk,” putting Johnny Cash on the jukebox and “crying together” at the bar, Croghan says.

EJ’s A strip club-turned-rock bar on Northeast Sandy Boulevard, opened by a dancer, who lived in the apartment upstairs. A favorite haunt of Smith’s, who once played a Kinks tribute night there, backed by Quasi. Now a pawnshop. Bluebird Guesthouse The “Elliott Smith Room” at this Division Street bed and breakfast features “an antique desk, cute patterned carpet and replica fi xtures,” according to its website.

BOB KUBECZKO

Either/Or Cafe This quaint Sellwood coffee shop, opened in 2013, takes its name from Smith’s 1997 album. Elliott Smith memorial plaque Portland’s only official monument honoring Smith, affixed to a wall at Lincoln High School, where he graduated in 1987. His gold-plated visage appears to peer across the hall, forever staring at an Abraham Lincoln quote painted on the adjacent wall: “People are about as happy as they make up their minds to be.” —Matthew Singer Willamette Week OCTOBER 16, 2013 wweek.com

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JOANNA BOLME / C O U R T E S Y O F TA P E O P M A G A Z I N E

ELLIOTT SMITH

page 55

A QUESTION MARK: Smith at a 1996 photo shoot for Larry Crane’s Tape Op magazine.

If you believe certain message boards, the facts of what happened on Oct. 21, 2003, are hardly “facts.” But according to the only other person who was there, Smith’s L.A. girlfriend, Jennifer Chiba, she came out of the bathroom following an argument to find Smith with a kitchen knife sticking from his chest. There was a message scrawled on a Post-it note: “I’m so sorry.” In the years afterward, the feeling, among a certain contingent, was that Los Angeles had killed Smith. If anything, though, he had gone there to die. He spoke often of suicide long before he arrived in California; being close friends with Smith meant having to spend some nights talking him down from the proverbial ledge. In L.A., he surrounded himself with, in the words of poet Nelson Gary in Torment Saint, “sycophant banditos,” eager to keep him high in exchange for favors. He put hundreds of miles, geographically and spiritually, between himself and Portland, which, in retrospect, seems part of his deliberate, gradual self-immolation. He’d become subsumed by his musical persona: the eternal sufferer, “Mr. Misery.” And, in a way, his death was one final act of artistic grandiloquence. “I have plenty of friends who are equally as sad as Elliott,” Croghan says. “But I think Elliott did everything on a grander scale than the rest of us. He was a better musician than the rest of us. He was a better writer than most of us. So his depression sort of outshined the rest of our depression, too. He was good at everything he did.” In Portland, Elliott Smith remains an open wound. Many people—including Smith’s good friend Krebs and his father, Dr. Gary Smith, who still runs a psychiatry practice in town—declined to be interviewed for this story. Part of it is lingering sadness, and part of it is fatigue: A decade later, the world remains fascinated by Elliott Smith. It wants to understand him. That means returning to Portland—a very different Portland than Smith knew, except for the gray skies and slow river— to converse with the people who knew him best. And some have grown tired of talking. Those still willing to speak, though, know why they do. In part, it’s to keep his memory alive. “That’s the important thing about Elliott: the amazing songs he left behind,” Croghan says. “The best songs can be played by any great musician and still sound amazing. There are some songs that it takes that personality to sell them, but I think Elliott’s songs are the kind of songs that can be played by musicians 100 years from now, and people will hear the beauty, hear the complexity, hear the poetry, and it’s still going to resonate, where there are many songs that won’t last. “So maybe that’s why I like to talk about him. That’s what I got out of him more than anything else: what an amazing artist he was. He was an amazing artist in a town full of people who played in bands.”

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FOOD: Kitchen-testing four cookbooks by Portland chefs. MUSIC: Sister band Haim is bigger than Prince. THEATER: Detroit what! Detroit what! MOVIES: A girl, a bicycle and a society that cannot be.

27 31 43 47

SCOOP THIS GOSSIP IS DESPERATE ENOUGH TO SIGN TEBOW. TOTALLY JACKED: Oregon officially makes the nation’s best IPA. At least according to judges at the Great American Beer Festival in Denver, who named Barley Brown’s Pallet Jack tops out of 252 American-style IPAs. That award was the highlight of a very successful weekend for Oregon at the Colorado Convention Center. While Washington state took home only four medals, Baker City’s Barley Brown’s and its new offshoot won five, including gold medals for its Americanstyle wheat beer and Handtruck pale ale, and a silver medal for a stout. Portland’s Harvester took gold in the gluten-free category, with Deschutes grabbing silver. Portland’s Old Town Brewing won gold in a the fresh-hop category, and the Commons Urban Farmhouse Ale, WW’s 2013 Beer of the Year, won silver in the French-Belgian-style saison category. The Commons Myrtle won silver. Portland’s Breakside took home two bronze medals for its passionfruit sour and ESB. >> Tickets for the next big Oregon beer festival and competition, the inaugural Portland Pro-Am featuring one-off beers made in collaboration with local homebrewers, are now on sale at wweek.com. BROAD BUZZ: Two shows with Oregon connections have landed on Broadway. Robert Schenkkan’s All the Way, commissioned by the Oregon Shakespeare Festival in 2012, will head to New York sometime this winter. Along for the ride—and responsible for the production’s sold-out run in Cambridge, Mass.—is Breaking Bad star Bryan Cranston, who plays Lyndon B. Johnson in the political portrait, directed by OSF artistic director Bill Rauch. Meanwhile, A Night With Janis Joplin, which premiered at Portland Center Stage in 2011 (WW’s Jay Horton noted that its “comic touches fell flat,” adding that the opening-night crowd “cheered on the staple hits as they would a troubled daughter’s recital”) opened Oct. 10 on Broadway.

DEviL in gRESHAM: Casa Diablo—the Northwest Portland vegan strip club most recently in the news for stripper Lynsie Lee’s Twitter chat with Newark, N.J., Mayor Cory Booker—is expanding. Owner Johnny Zukle is holding a grand opening for his second vegan strip club, the Black Cauldron, on Halloween. The club is located on Southeast Stark Street, two blocks from the Gresham border. Until 7 pm Oct. 31, the club will be an all-ages vegan restaurant staffed by Blossoming Lotus alum Jake Farrar, complete with a seven-course fine-dining menu. At 8, the dancers come out. 24

Willamette Week OCTOBER 16, 2013 wweek.com

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BOiLing OvER: The sterling Henry Higgins Boiled Bagels, run by former Kettleman general manager Leah Orndoff, will be getting a storefront again—sort of. Starting Oct. 19, Orndoff will have a new pop-up shop: a weekend breakfast and bagel cafe at Half Pint Cafe (537 SE Ash St.), open 8 am to 2:30 pm every Saturday and Sunday. Half Pint is usually closed weekends. Higgins had previously run a pop-up bagel shop at Hogan’s Goat Pizza in the Rose City Park neighborhood. Higgins’ bakery at the former site of the vegan Black Sheep Bakery (523 NE 19th Ave.) takes orders by phone for pickup the next morning.

HEADOUT

WILLAMETTE WEEK

WHAT TO DO THIS WEEK IN ARTS & CULTURE

PUMPKINOMICS

YOUR HANDY CONVERSION CHART BETWEEN STARBUCKS’ PUMPKIN SPICE LATTES AND OTHER FALL ACTIVITIES. It seems like autumn has become little more than an extended marketing campaign for pumpkin-flavored things. As a pumpkinhead—that is, someone who will freebase anything vaguely pumpkin-flavored—I’m OK with that. In October, I don’t want to eat or drink or smell anything not squashy. Already, I’ve called Burgerville’s corporate office to ask when pumpkin smoothies will be out, and sneaked out of the office to buy Southern Tier Pumking beer. Before the sweet release of Thanksgiving, I may end up ordering a $27 pumpkin-scented wax tube from the Yankee Candle Company and some Lululemon jogging pants. Our friends in Seattle are to blame, of course. Starbucks’ wildly successful Pumpkin Spice Latte made this a corporate trend, and now even McDonald’s makes a version of the PSL—yeah, PSL. That’s what I call them now. If you walk down Northwest 23rd Avenue, you’ll find pumpkin soap at Lush and pumpkin shakes at Moonstruck and a whole book of recipes for “fall’s signature flavor” at Williams-Sonoma. I surrender. Here are some non-pumpkin Halloween activities, with a handy conversion to how many $4.55 PSLs you’re giving up in exchange. MARTIN CIZMAR.

2013 VOODOO DOUGHNUT HAUNTED CORN MAZE Where I grew up, doughnuts were an integral part of any Halloween party. In Oregon, not so much. But there’s nothing more Portland than Voodoo Doughnut-branded fun at this haunted corn maze on Sauvie Island. Watch out for the ghost of day-old Old Dirty Bastard and the Grape Ape of Death. Rubber boots recommended. 7 pm Fridays and Saturdays through Oct. 26. 16205 NW Gillihan Road., 621-9545, portlandpumpkinfarmandtwilightmaze.com.

TURKISH RAMBO [MOVIES] Having already tackled the Turkish remake of Star Wars, the creative minds at Filmusik move onto another Turkish adaptation of classic American cinema. Released in 1983, Vahşi Kan, Yerli Rambo copies the Sylvester Stallone movie almost exactly, though it adds bulldozers and zombies. Hollywood Theatre, 4122 NE Sandy Blvd., 281-4215. 7 pm. $12.

BLACKHEART BURLESQUE Remember Suicide Girls? Back in 2002, those heavily tattooed ladies were the future of softcore pornography. Now they’re bringing a burlesque tour to Roseland Theater. There are $20 general-admission tickets and a $454 VIP package that includes dinner with the strippers...ahem, burlesque performers, a signed copy of Suicide Girls’ book Hard Girls, Soft Light and a “commemorative VIP laminate.” But no lap dance, because these are burlesque performers, not strippers. 8:15 pm Wednesday, Oct. 23. Roseland Theater, 8 NW 6th Ave., blackheartburlesque.com. 18+.

$20-$454 or buy four to 99 PSLs.

THE GOLEM WITH LIVE SOUNDTRACK

$13 or buy three PSLs.

SATYRICON: MADNESS & GLORY [MOVIES] For 27 years, Satyricon was Portland’s answer to CBGB, a magical shithole that nurtured the city’s freaks and weirdos, not to mention freaks and weirdos from neighboring cities—like, say, Kurt Cobain. Smegma’s Mike Lastra immortalizes the much-missed downtown punk palace in this new doc. Cinema 21, 616 NW 21st Ave., 223-4515. 7 and 9 pm. $8.

FRIDAY OCT. 18

$10 or buy two PSLs.

The Golem: How He Came Into the World is a 1920 classic silent film from Germany, the third and only surviving film from a trilogy about a creature from Jewish folklore. The screening features Portland pianist Beth Karp providing the soundtrack. 7 pm Wednesday, Oct. 30. Alberta Rose Theatre, 3000 NE Alberta St., albertarosetheatre.com.

WEDNESDAY OCT. 16

GRAVEYARD GOODIES This family-friendly event features candy, stories from ghosts and the rotting corpses of famous Portlanders. People playing ghosts will hand out candy and give autographs to children. Noon-3 pm Saturday, Oct. 26. Lone Fir Cemetery, 2115 SE Morrison St., friendsoflonefircemetery.org. Free, bring your own PSL.

PDX-ANTICS [MUSIC] Considering how quietly the promotion has been around this event, a self-billed “mini electronic fest,” you’d expect it to be worthy of little more than a shrug. But the lineup—founding Depeche Mode and Erasure member Vince Clarke, Suicide’s Martin Rev, and industrial-strength one-man metallurgist Author & Punisher—is a dream bill for bleep-bloop fanatics. Alhambra Theatre, 4811 SE Hawthorne Blvd., 360-1450. 7pm. $25. 21+.

SATURDAY OCT. 19 DUSTIN WONG [MUSIC] Mediation of Ecstatic Energy, the master musician’s newest album, was conceived as the last part of a trilogy that found him building tracks on the fly using his guitar, a loop pedal and plenty of effects. Wong is joined on this tour by a recent collaborator, Japanese pop singer Takako Minekawa. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. $8 advance, $10 day of show. 21+. VOLKSFEST [FOOD] In case you ever thought St. Johns had more Children of the Corn than Sauvie, here’s your confirmation: A Germanic “autumn harvest” fest with beer, carving, scarecrow, fiddles and a bonfire circle at something called the Colony. Sales benefit Urban Gleaners. The Colony, 7525 N Richmond Ave. 11 am. Free.

MONDAY OCT. 21 JUNOT DIAZ [BOOKS] The Pulitzer Prize-winning author of The Brief Wondrous Life of Oscar Wao has a knack for illustrating just how tortuous life can be due to the fallible human heart, but in a wonderful, hurts-so-good sort of a way. His new collection of stories, This Is How You Lose Her, serves up some of that beautiful torture. Powell’s City of Books, 1005 W Burnside St., 228-4651. 7:30 pm. Free. Willamette Week OCTOBER 16, 2013 wweek.com

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

WEDNESDAY, OCT. 16 Keep Portland Lost

It’s pumpkin-patch time at the Pumpkin Patch on Sauvie Island. This year’s maize is themed “Keep Portland Lost,” because that’s the goal: to trap Portlanders inside the maze of corn, then harvest the hapless denizens of the Rose City into, I don’t know, corn syrup or something. Really, though, the Pumpkin Patch is the best. Get out there early to avoid lines. The Maize at the Pumpkin Patch, 16511 NW Gillihan Road. Various hours. Check portlandmaze.com for details. $5-$7, free for children under 5.

MUSIC

PG 31

This awkwardly titled event, which ranges from Astoria to Cannon Beach, includes stops along the region’s burgeoning brewing industry. Multiple locations. Various times. For information, see visittheoregoncoast.com.

SATURDAY, OCT. 19 Fort George/Next Adventure Disc Golf Tournament

THURSDAY, OCT. 17

I like to make jokes, but I would never joke about disc golf. Why? Because disc golf is sweet. Anyway, this easygoing event features barbecue, Fort George’s Black IPA and hurling slivered circles of plastic over hill and dale. Clatsop County Fairgrounds, 92937 Walluski Loop, Astoria, fortgeorgebrewery.com. Noon. $20. 21+.

Haunted Pub Crawl

Foraging the Northwest: The City

BeerQuest PDX’s latest pub crawl kicks oﬀ at Kells, runs through downtown and Old Town, and includes a tour of the Shanghai Tunnels. I took one of those tours years ago, and while the legend and lore they feed you is almost entirely bullshit, the tunnels could still be referred to as “creepy”— especially since The Big One could hit and you’d be sandwiched under Old Town for the rest of time. Ain’t nobody comin’ for ya. Beerquestpdx.com. 8 pm ThursdaySaturday, Oct. 17-19 and ThursdaySaturday, Oct. 24-Nov. 2. $25.

FRIDAY, OCT. 18 Volksfest

I’ve read the press release for St. Johns’ Volksfest at least five times now, and my loose impression is it’s essentially three days of all hell breaking loose, with food and music and drinking and breakfast in various parts of St. Johns. There are so many capital letters, it’s difficult to tell, but capital letters are important, so I’m assuming Volksfest is very important. The event also benefits Urban Gleaners. The Colony, 7525 N Richmond Ave., 939-2949. 5 pm Friday, Oct. 18, and 11 am Saturday-Sunday, Oct. 19-20. Donation.

Brewniversity: Beer 101 at the Oregon Coast

One of Oregon’s best-kept secrets is the Northern Coast in the fall, where the summer crowds have long dissipated and you can typically get by with a sweater if it isn’t raining.

The second of a three-part series on foraging Oregon’s various regions, October’s class focuses on urban environments. Lifelong forager Sara Pool teaches students how to survive the wilds of Portland, presumably on foods other than garbage and Himalayan blackberry. Good Keuken, 5031 NE 42nd Ave., goodkeuken.com. 10 am-4 pm. $85.

Killer Pumpkin Fest

Pumpkins. As far as the eye can see. Piles of pumpkins. Mountains of pumpkins. Now picture all those pumpkins at a beer festival, quaffing steins of one-of-a-kind pumpkin beer lovingly alchemized by Portland’s finest brewers. Now picture them spitting pumpkin seeds. Now picture the pumpkins leaping off seaside cliff s like lemmings, bursting on the rocks below. Then, and only then, will you begin to understand how great Killer Pumpkin Fest is. Green Dragon, 928 SE 9th Ave., 517-0660. 11 am. The event continues Sunday, Oct. 20.

SUNDAY, OCT. 20 Association Dark Dinner

This event features Mediterranean food served in the dark. On one hand, it’s pretty cool to eat a nice meal while a professor of behavioral neuroscience discusses the ins and outs of the ﬁve senses and, also, you can’t see. On the other, doesn’t this sound like an elaborate setup for a prank? Union/Pine, 525 SE Pine St., 818-292-1169. 7-11 pm. $65. 21+.

DRANK

DOWNWARD SPIRAL (WIDMER BROTHERS) There’s tension at the heart of an oaked India pale lager. The hops that make an India-anything work are better when fresh, which is why the labels of top-notch IPAs like Russian River’s Pliny the Elder, Cigar City’s Jai Alai and the Alchemist’s Heady Topper carry explicit directions to crack them as quickly as you can. On the other hand, the process of imparting oak flavor to beer through wooden barrels, chips or spirals takes time. So Widmer Brothers deserves more than a little credit for hitting the perfect balance of green and oak with its new Downward Spiral oaked Imperial IPL. Made with new oak spirals and plenty of Cascade hops, it’s got all the gummy pine resin of just-plucked cones, an aroma that reminds me of the warm sawdust left from a freshly cut two-by-four and the crisp finish of a cold-fermented lager. But for the fact that it’s an Imperial-strength 9 percent ABV, I could drink these 12-ounce bottles all night. It’s my favorite Widmer beer of the year and reason enough for this style to exist. Recommended. MARTIN CIZMAR. 26

Willamette Week OCTOBER 16, 2013 wweek.com

FOOD & DRINK FEATURE

AnnA Owen

BOOK REPORT

ROAD-TESTING FOUR NEW COOKBOOKS BY TOP PORTLAND CHEFS. Portland chefs are obsessive. If you’re looking for the thread running through our best restaurants—WW today releases its annual guide to about 100 of them—it’s the meticulous approach evidenced by the pandan-flavored free table water at Pok Pok, the menu items that disappear after a month at Le Pigeon, the encyclopedic files of everything that’s ever been served at one of John Gorham’s three stellar restaurants or the book-length collection of blog posts wherein Nick Zukin documents the consumption of every taco in Portland. That makes for great local dining—our 2013 Restaurant of the Year, Roe, has a two-man kitchen where the chefs build every plate themselves—but fastidiousness often dooms attempts to scale up. But highprofile Portland restaurateurs like Andy Ricker, Gabe Rucker, Gorham and Zukin seem committed to filleting that idea. Soon, all four will have multiple restaurants in Portland. And they all have cookbooks out. Cookbooks are an odd extension for chefs who built their names on flawless technique, hyperlocal ingredients and housemade everything. Earlier this month, the moderator of a Wordstock panel featuring Gorham and Rucker asked them what recipe they would offer to make for God at the Pearly Gates in order to get into heaven. “I’d make the foie gras and eel,” Rucker said. “I don’t think God would want to bother actually making the recipe, because it’s a big pain in the ass.” These are a new breed of cookbook: part autobiography, part history lesson, part food porn and part directions. They’re intended to be read as much as used. But we decided to do something a little crazy: ask four WW staffers to try cooking something from the cookbooks. Many of these recipes are intricate, involving ingredients that are hard to find and equipment home chefs don’t have. They take patience and technique home cooks rarely have. The overall result of our experiment: Can we make a reservation for tomorrow at 8? MARTIN CIZMAR. Le Pigeon: Cooking at the Dirty Bird (Gabriel Rucker with Meredith Erickson, Lauren Fortgang and Andrew Fortgang; Ten Speed Press, 352 pages, $40) Backstory: Gabe Rucker, identified as “one of the hottest of the hot rock star chefs” in the blurbs on this book, grew up a non-foodie in Sonoma County, Calif., and opened his first French-leaning restaurant, Le Pigeon, seven years ago, before he’d ever been to the land of turtlenecks. Recipe: Obscenely rich beef cheek Bourguignon, which was on the menu way back in 2006 with fried potatoes, and is still on the menu, but now with cocotte of gratin with black garlic and carrot salad.

Shopping experience: Completing the three pages of grocery shopping, prep work and cooking required for Le Pigeon’s classic beef cheek Bourguignon took several weekends and endless phone calls. The black fermented garlic for the vinaigrette? It exists only at a spice shop in Sellwood and at a Korean market in Tigard. And one cannot just procure beef cheeks from Safeway; they must be ordered several days in advance from a specialty butcher. Cooking experience: While some dishes in the Le Pigeon book offer clever shortcuts—chicken-fried quail is paired with Eggo waffles—this isn’t one of them. You’ll be making beef stock from scratch. You’ll glaze the shit out of some onions. You’ll be cooking those cheeks for 12 hours. Best thing about the book: There’s a whole chapter about Rucker’s love of Plymouth Valiants. Worst thing about the book: These recipes are very difficult and very expensive. ANDREA DAMEWOOD. The Artisan Jewish Deli at Home (Nick Zukin and Michael C. Zusman; Andrews McMeel Publishing, 272 pages, $27.99) Backstory: Nick Zukin is the Zuke on the marquee for Portland’s Kenny & Zuke’s artisan Jewish deli and now runs the Mi Mero Mole taqueria on Southeast Division Street. He and coauthor Michael C. Zusman—a WW contributor—helped develop the recipes for the successful local diner but were bought out by Ken Gordon, who now runs all three Kenny & Zuke’s locations. Recipe: Seeing that my one-bedroom apartment was not equipped to smoke my own pastrami, I decided to go for a simple Jewish staple: matzo ball soup. When I first scanned the ingredients, I thought, “Easy enough.” But as I read further, it became clear that the whole process would take at least 2½ hours. Shopping experience: Simple—25 minutes and $26 at Whole Foods. Cooking experience: After looking through The Artisan Jewish Deli at Home, I started to worry about how far my abilities would go. I don’t consider myself a genius chef, but not a culinary illiterate either. As my mother always says, we like to “play with food.” As I started making the dough, I thanked my immersion blender with its whisk attachment, the only thing that allowed me to beat the egg whites “until stiff peaks form(ed).” The most difficult and time-consuming part of the soup was making the dough, refrigerating it and then cooking the matzo balls. My first attempt at “Jewish penicillin,” although comforting and delicious, didn’t feel worth all the effort. If the craving strikes, I’m fine with paying $7.75 at Kenny & Zuke’s.

Best thing about the book: Once you’ve made your own home-cured pastrami, you can make a great sandwich without too much work. Worst thing about the book: A lot of the recipes are totally out of reach, given the specialized equipment required. GINGER CRAFT. Toro Bravo: Stories. Recipes. No Bull. (John Gorham and Liz Crain; McSweeney’s, 336 pages, $35) Backstory: John Gorham hadn’t spent much time in Spain when he opened Toro Bravo, WW’s 2007 Restaurant of the Year. He’s since made up for it, bringing managers along for Iberian jaunts and bringing back recipes from every trip. His new book, written with WW contributor Liz Crain, follows the evolution of the restaurant while mixing in his personal stories. Recipe: Tortilla Española, the very basic, potato-heavy Spanish omelet. Shopping experience: Most of what you need is readily available at any grocery store. Cooking experience: This recipe operates under a few assumptions. It assumes you are hosting a brunch where 12 servings are needed and that you have more than one massive saute pan and that at least one of them is ovenproof. It assumes your home stove has enough power to develop a decent crust on the edges of the tortilla in the span of just a few minutes (I should have cranked the heat to high instead of the recipe-mandated medium high) before chucking it in the oven. Finally, it assumes you can look past your own grumbling and appreciate that you can now approximate one of Toro Bravo’s signature dishes. Best thing about the book: Toro Bravo goes beyond the shiny exterior of Gorham’s very consistent and organized restaurants to show the personal turmoil behind the scenes. Plus, many of the 95 recipes inside are actually very doable at home—so long as you have 12 mouths to feed. Worst thing about the book: No Tasty N Sons recipes. BRIAN PANGANIBAN.

Pok Pok ( A n d y R i c ke r w i t h JJ Goode; Ten Speed Press, 287 pages, $35) Backstory: Andy Ricker spent his young adulthood doing odd jobs in Australia and New Zealand. He traveled to Thailand a lot and developed a love for the food. Eventually, he moved to Portland, where for eight years he worked painting houses in the summer and traveling to Thailand in the winter to learn the secrets of Thai chefs. In November 2005, he opened a takeout window that grew into a bicoastal empire and a book Anthony Bourdain calls “an argument ender.” Recipe: Neua Naam Tok, the spicy flank steak salad I always order at Pok Pok. Shopping experience: I’m used to walking lost around Fubonn, but I’m not used to walking around lost with a big cookbook under my arm. I might as well be wearing a “Farang” T-shirt. After 45 minutes at Fubonn, five minutes at New Seasons and $16.08, I had everything but Phrik Phon Khua toasted chili powder (I used regular chili powder) and Khao Khua toasted sticky-rice powder (I used regular sweetrice powder). Cooking experience: Why don’t I cook with lemongrass more? It’s fun stuff to chop and smell, and it grills up really well. It took me more than two hours to make this dish, including the wait for the charcoal in my grill to turn gray. It wasn’t terribly difficult, but by the end I didn’t have the energy to make my own rice, let alone proper sticky rice, so I just called Pok Pok and ordered some from the takeout window. Best thing about the book: It doubles as a primer on Thai cuisine. Almost everything you’ll find at Thai restaurants, down to the sauces and garnishes, is explained in great detail. Worst thing about the book: No water recipe. At Fubonn, I also picked up a few strips of the pandan leaf that Pok Pok uses to make its table water so delicious—only to discover Ricker is still keeping that secret to himself. MARTIN CIZMAR. Willamette Week OCTOBER 16, 2013 wweek.com

Willamette Week OCTOBER 16, 2013 wweek.com

MUSIC

oct. 16-22 PROFILE

= WW Pick. Highly recommended.

B E L L A H O WA R D

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

WEDNESDAY, OCT. 16 A Ray Charles Boogaloo Dance Party: Karl Denson’s Tiny Universe, Zach Deputy

[FUNKY BOOGALOO] For three decades, Karl Denson and his saxophone have tread multiple stages, supporting acts like Slightly Stoopid and Lenny Kravitz, and heading up his own funk and jazz collective, Tiny Universe. Known for his jazzy, decade-hopping performances, he has taken to paying tribute to legendary artists over the years. This time around, his tour is billed as a “Ray Charles Boogaloo Dance Party.” The best part about this boogaloo? Special guest Zach Deputy, a guitar-loopin’, beat-boxin’, footstampin’, wailing funk Buddha who has become even more beloved than Denson on the East Coast jam scene. GRACE STAINBACK. Aladdin Theater, 3017 SE Milwaukie Ave., 234-9694. 8 pm. $22 advance, $25 day of show. Under 21 permitted with legal guardian.

Ramblin’ Jack Elliott, Neil Robinson, Jim Nunally

[OLD-SCHOOL FOLK] A measly 100 words is not nearly enough to sum up 82 years of folk legend Ramblin’ Jack Elliott. Born in Brooklyn as Elliot Charles Adnopoz, he used to ride the rails alongside Woody Guthrie, with only his guitar and razor in hand. By the ’60s, he was renowned in folk circles worldwide, mentoring Dylan while earning a reputation for his traditional fingerpicking and flat, laconic vocal delivery. His 2009 Grammywinning LP, A Stranger Here, is proof the years in between only burnished

the ache in his voice for the better. BRANDON WIDDER. Alberta Rose Theatre, 3000 NE Alberta St., 7196055. 8 pm. $20 advance, $22 day of show. All ages.

Palma Violets, Skaters

[THE LI’LERTINES] After some especially fallow years in the vast underground hothouses that lie beneath Britain, where adorably dissipated poet-warrior-frontmen are grown from piss, vinegar and Replacements B-sides, U.K. headlines finally trumpeted a bumper crop. From nearly its first proper gig, London quartet Palma Violets—less an evolutionary step forward from Arctic Monkeys than a pack of feral pub-rock kids scavenging Clash and Velvet Underground records for their catchiest parts—had the broadsheets all aflutter. Stateside critics joined the choir after raucous sets by the band at Coachella and SXSW tore through shouting, anthemic singles-to-be like so many cans of cheap lager. The terrace-shaking brio and ragamuffin heart of 180, the band’s debut on Rough Trade, may not quite deserve the slavering press adoration, but with tuneful frenzy like this, who needs NME? JAY HORTON. Crystal Ballroom, 1332 W Burnside St., 225-0047. 8 pm. 94 cents. All ages.

Metric

[JOGGING MUSIC] You might not remember the days when Metric was known more as a Broken Social Scene offshoot than a standalone alt-rock radio staple—in which case, latest record Synthetica is probably what brought you to the party. Unless

TOP FIVE

CONT. on page 33

BY NATH AN CA R SON

TOP FIVE GOBLIN SOUNDTRACKS Profondo Rosso (1975) When director Dario Argento decided to scrap composer Giorgio Gaslini’s score—and after Pink Floyd declined the job—he turned to Italian prog monsters Goblin to help complete and reimagine the themes. At Argento’s behest, the group composed the score in one day and recorded the next. The resulting work sold more than a million copies and remains a classic. Roller (1976) Though not a soundtrack, Roller is a progressive-rock album that retains all the chilling hallmarks of a great Goblin album. Funk, jazz, rock and horror combine into an unsettling whole. Suspiria (1977) Goblin and Argento’s most famous collaboration. The odd, clanging sounds and whispered “witch” chants will make your blood run cold. Il Fantastico Viaggio del Bagarozzo Mark (1978) This one is a concept album, not a proper soundtrack, but it deserves honorable mention for being Goblin’s one pure vocal album. It is symphonic, magical and epic, as should be expected from an album about a beetle. Zombi (1978) Better known in these parts as the soundtrack to Dawn of the Dead, this is the final album in Goblin’s incredible mid-’70s run. Moods range from the morbid “L’ Alba Dei Morti Viventi” to the guitar-driven space funk of “Saratozom.” SEE IT: Goblin plays Hawthorne Theatre, 1507 SE 39th Ave., with Secret Chiefs 3, on Saturday, Oct. 19. 9 pm. Sold out.

SISTER LOVERS

HAIM IS THE WORLD’S FAVORITE NEW BAND. DO NOT RESIST THEM. BY MAttHEW SIN GER

msinger@wweek.com

“Every day is the best surprise party ever,” says Danielle Haim, describing the past year in the life of the band that bears her surname. Indeed, when you’re the buzziest group in music, the “is this really happening?” moments are going to come fast and furious. Today’s surprise is the most mind-blowing yet: In the U.K., Haim’s album, Days Are Gone, debuted at No. 1, ahead of Justin Timberlake. Up to this point, Danielle and her sister bandmates, Este, 27, and Alana, 21, were freaking out just mingling with pop superstars, on festival stages and in magazines. Now, they’re beating those same superstars at their own game. Shit just got surreal. “With the Justin thing, I’m his biggest fan. We were listening to a lot of FutureSex/LoveSounds while making the record, and I think he’s a fucking genius,” says Danielle, 24, over the phone from a sold-out tour stop in New Orleans. “It’s been the most surprising, weird, crazy thing that’s happened so far. It’s also the best thing ever, because it’s, like, our record. We worked so fucking hard on it, so it’s nice to see people are listening to it and liking it.” That’s an understatement: Everyone, it seems, has fallen in love with Haim—even if most still mispronounce the trio’s name (it rhymes with “time”). They’ve been endorsed, in one form or another, by Katy Perry, A$AP Rocky, One Direction, Primal Scream and David Cameron, the friggin’ British prime minister. They’ve gone on the road with Mumford & Sons, Vampire Weekend and Florence and the Machine. Jay Z signed them to his Roc Nation management group. And that was all back when they only had four songs out. The reviews for Days Are Gone, Haim’s first full-length album, which dropped Sept. 30, have backed up the hype. NME called it “one of the best pop albums you’ll hear all year.” Pitchfork bestowed the record a coveted Best New Music tag. “If I were young and Haim had a fan club,” wrote NPR critic Ken Tucker, “I’d probably join it.” That’s the kind of gushy admiration the band elicits, and it’s no wonder: In the era of the mon-

oculture, its music—Laurel Canyon harmonizing, rippling “Edge of Seventeen” guitars, Prince-like drums and production perched between ’80s soft rock and ’90s R&B—activates the closest thing to a universal pleasure center that still exists. On the surface, it doesn’t read like a leftfield success story. Three down-to-earth California girls who play their own instruments and write instantly addictive pop rock with multigenerational appeal? It sounds like an act grown in a record-company Petri dish. But what separates Haim from the many Internet-Age bands that end up choking on their own buzz is, the sisters really did work “so fucking hard” for this. After playing cover songs in their parents’ family band and prefab pop in the Nickelodeon-approved Valli Girls, the siblings went legit in 2007, and spent the ensuing five years taking any gig they could land—including opening for a Harry Potter tribute band. (“We were the first of three at the Troubadour, and the Remus Lupins headlined,” Danielle says. “Everyone was dressed up like sexy Hermione.”) They recorded and scrapped 10 EPs’ worth of material until hitting on the three tracks that made up 2012’s Forever. From there, the tides of anticipation began to rise, but the group didn’t rush to capitalize on the initial chatter. Instead, Haim sequestered itself in the studio. One year and many spins of “SexyBack” later, Days Are Gone is out, and the wait has only compounded the results. “There was a little pressure to release it earlier, but we knew, if it wasn’t right, we weren’t going to release it,” Danielle says. “We knew if we took our time and experimented with sounds, people would still care. It seems like they did.” Album sales and the clamor for Haim’s first U.S. headlining tour have certainly borne that out. (Mississippi Studios has been sold out for weeks.) But for all its confidence, the thing that’ll maintain Haim long enough to make a second album is something it learned from its years of scrounging for attention: You’re only as good as your last show. “We’re still an opening band,” Danielle says. “We’re opening for Phoenix, so it’s different types of bands—bigger bands—but we still have that same mentality, of going out and fighting for someone to listen to you.” SEE IT: Haim plays Mississippi Studios, 3939 N Mississippi Ave., with Io Echo, on Tuesday, Oct. 22. 9 pm. Sold out. Willamette Week OCTOBER 16, 2013 wweek.com

NEWS

Willamette Week OCTOBER 16, 2013 wweek.com

PAGE 7

WEDNESDAY-FRIDAY

MUSIC

ABBY BANKS

FRIDAY, OCT. 18 San Fermin

ONE MAN’S TRASH: King Tuﬀ plays Wonder Ballroom on Sunday, Oct. 20.

Crystal Stilts, Zachary Cale, Pictorials

you’re miﬀed by the group parting ways from minimalist anthems like “Combat Baby” and “Calculation Theme,” it’s hard to blame the Canadian foursome for beeﬁng up production and aiming for a larger stage. That larger stage happens to include lasers, keyboards, giant LED screens and a whole lot of Canadian dollar signs. It suits them well, even if you got left behind. PETE COTTELL. Roseland Theater, 8 NW 6th Ave., 224-2038. 8 pm. $27.50. All ages.

[POST-PUNK] There’s a coolness about N.Y.C. act Crystal Stilts. The ease with which it turns out druggy post-punk comes across as nonchalant, as if the band doesn’t know how truly good it is. That instinctive quality makes the band pretty damn fetching. Newest release Nature Noir shows the band running soundly 10 years on. Brad Hargett’s baritone vocals continue to haunt, and the band’s careening guitar riﬀs continue to impress. MARK STOCK. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. $10 advance, $12 day of show. 21+.

Holy Ghost

[21ST-CENTURY DISCO] If anyone needed a deﬁnitive answer to what the post-LCD Soundsystem electronic world might look like, look no further than Holy Ghost. Even though the band has been plying its trade since 2011’s fantastic selftitled debut, it is only now gaining steam, thanks to an excellent sophomore release, Dynamics. Holy Ghost is DFA Records’ next in line to take the synth-disco throne, and with its insanely energetic live show, its reign should be a great one. GEOFFREY NUDELMAN. Wonder Ballroom, 128 NE Russell St., 284-8686. 8:30 pm. $16 advance, $18 day of show. All ages.

The Body, the New Trust, Braveyoung

[COAGULATED METAL] Christs, Redeemers, the latest album by avant-metal duo the Body, opens in much the same fashion as its 2010 release, All the Waters of the Earth: on a hushed note that sounds like a medieval chant. In no time, the foundation-cracking riﬀs and drums and tortured wails take over. The thick, knotted-up expanse of sound only gets more diﬃcult to navigate from there, with hot spurts of noise and razor-wire electronics adding danger to the journey. Shafts of light cut through the mire, but only serve to further highlight the tar pit you’re sinking in. ROBERT HAM. The Know, 2026 NE Alberta St., 473-8729. 8 pm. Call venue for ticket information. 21+.

THURSDAY, OCT. 17 [ELECTRO-POP] Electro-rock without arena ambitions is difficult to come by these days. Leave it to Portland to offer the synth-pop enthusiast a sensible, slightly askew group of oddballs that pushes dinky synths to the absolute limits in the pursuit of booty-shaking dancehall bangers that have the “massive drums” reverb plug-in turned off. Ignore the interludes and throwaway instrumental numbers that muck up Miracle Mile and you have, at the very least, a hook-laden disco circus you won’t be driven to immediately delete after the singles lose their charm. In other words, if spending any amount of money on MGMT records left you feeling burned, consider any part of STRFKR’s modest catalog your shot at redemption. PETE COTTELL. Crystal Ballroom, 1332 W Burnside St., 225-0047. 8 pm. $17 advance, $20 day of show. All ages.

Joe Pug, Vandaveer

[SINGER-SONGWRITER] Fine, there’s only one Bob Dylan. But Joe Pug has a chillingly similar sound. The Austin-based musician picked up a guitar while working as a carpenter in the Midwest. Those preliminary strums became Nation of Heat, Pug’s first EP in a growing line of fine folk. Ever since, Pug has been weaving simple Americana with lyrics that would make most MFA students envious. Latest release The Great Despiser offers a more countrified, Steve Earle-inflected Pug. And while his backing band occasionally waters things down, Pug shines through as a true independent force. MARK STOCK. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $12 advance, $14 day of show. 21+.

D I V I N E E N FA N T

STRFKR, Chrome Sparks

[UNCLASSIFIABLE ORCHESTRAL POP] Old-school compositions and chamber melodies are not something you’d expect to thrive in the mainstream or on an independent label like Downtown Records, but San Fermin has made it work. Although it’s the solo project of Ellis Ludwig-Leone, his touring group is made up of musicians intent on bringing his full orchestral sound to life. It’s thinkingman’s pop: Not quite old, not quite new, but deﬁ nitely something unique at the intersection of both. GEOFFREY NUDELMAN. Bunk Bar, 1028 SE Water Ave., 894-9708. 9 pm. $10. 21+.

Phantogram

[SYNTHY ROCK] If the record ain’t broke, send it for another spin on the turntable. That seems to be the mantra for female-led electropop groups these days: Take an edgy frontwoman, back her up with at least one dude who’s mastered a synth, and you’re guaranteed a home in the earbuds of millennials worldwide. Phantogram, if not jawdroppingly original, is a talented duo, representing a nice middle ground in the genre—like what might happen if Crystal Castles’ Alice Glass got a straitjacket, or if the XX crew went to a few raves. GRACE STAINBACK. Crystal Ballroom, 1332 W Burnside St., 2250047. 9 pm. $18 advance, $20 day of show. All ages.

Melt-Banana, Kinski, Nasalrod

[HARDCORE JOLLIES] In the past, Japan’s Melt-Banana specialized in delivering short, sweet blasts of grindcore madness, with an emphasis on the sweet. Each of its albums were like Skittles bags containing morsels of rainbow-colored chaos: blast beats, power-drill guitars and singer Yasuko Onuki’s high-pitched shriek, all compressed in a candy-coated shell. It was just as blurred and bludgeoning as most noise rock, but shot through with a feeling of ecstatic joy. Latest album Fetch, the group’s ﬁ rst in six years, ﬁ nds the band—which is now just Onuki and guitarist-keyboardist Ichirou Agata—expanding

MIC CHECK

CONT. on page 35

BY ROBERT HAM

MARTIN REV ON THE LEGACY OF SUICIDE Although he has maintained a healthy solo career, Martin Rev will forever be known for his work in Suicide, the post-punk, proto-industrial duo he started in New York with vocalist Alan Vega. In particular, the music world won’t let him forget the terrifying and brilliant backdrops Rev created for the band’s 1977 self-titled debut, which used a primitive drum machine and an over-modulated Farfisa organ to complement Vega’s tales of desperation and obsession. At the time of its release, Suicide was lost on the larger musical world, but it has since become revered by famous fans (Bruce Springsteen cites the duo as a big influence) and music obsessives worldwide—something Rev still finds shocking. “It was a surprise. And how it was received had its own dynamic path. Some things take time to present themselves to you. That’s why a lot of things don’t get accepted at the time they’re done, but they get accepted later, at some point 10 or 20 years down the road. The first record, in its own way, was totally individual at that time. But people finally looked at it in terms of what was going on at the time and realized, ‘That was important. There was nothing else like that.’ And in 50 years, it might totally be forgotten. Suicide is still not a well-known entity. We’re hardly a household name. A lot of young musicians have still never heard of us. They may at some point find it. It’s all relative, I guess.” SEE IT: Martin Rev plays PDX-Antics at Alhambra Theatre, 4811 SE Hawthorne Blvd., with Vince Clarke, Cevin Key, Otto Von Schirach and more, on Friday, Oct. 18. 7 pm. $25-$50. 21+. Willamette Week OCTOBER 16, 2013 wweek.com

MUSIC m At t w O N g

PROFILE

YOUR RIVAL FRIDAY, OCT. 18 Thirty-year-old former emo kids still haven’t found it in their hearts to forgive Weezer for its last decade of music. Many fans threw 2001’s Green Album under the bus for being a bombastic caricature of what Rivers Cuomo thought a Weezer album should sound like. For Your Rival’s Mo Troper, though, who was just a kid when “Hash Pipe” made its rounds on alt-rock radio, his reaction was quite different. “A lot of people acknowledged that Weezer used to be really good,” Troper says. “I was 10 at the time, and I just thought that record was awesome. I eventually worked backward to Pinkerton and the Blue Album, but me and [drummer] Nate [Sonenfeld] definitely used Weezer as common ground to get the band going.” Portland’s Your Rival plays earnest power pop with searing power chords and loud-quiet dynamics that hark back to a time Troper, 21, wasn’t old enough to appreciate. Considering the band members’ average age, it would be easy for a crotchety old music blogger to off-handedly lump the group in with what the Internet has collectively dubbed “twinklecore,” a movement of young musicians giving new life to emo, a genre that, beginning in the mid-2000s, devolved into a screamy, “post-hardcore” sausagefest. Troper appreciates the gesture, but ultimately he thinks the idea of some great comeback for emo is missing the mark. “A lot of this stuff is a reaction to the shitty state of emo, but the other aspect is people wanting this Nirvana-esque thing again,” Troper says. “People really like the idea of rock ’n’ roll being popular again, especially people that write about music. That’s why people are latching on to this idea of, ‘Hey! People are playing emo again!’ Sure, that record from The World Is a Beautiful Place and I Am No Longer Afraid to Die charted, but it charted at 194. What does it even mean anymore? The charts are a ghost town.” Here’s to Me, Your Rival’s full-length debut, is filled with the bouncy hooks and shout-along choruses one would expect from a group of kids in their early 20s who know no other approach. The urgent delivery of standouts “Spraycan” and “What I Look for in a Man” is the direct product of restless youth. But even though Your Rival has plenty of youth left, Troper is already questioning whether basing a band on it is a sustainable model. “Look at Metallica—those guys act like they’re 13, which is ridiculous,” he says. “Everyone wants to be in that band when they’re a boy, then they grow out of it. With emo, it’s a similar thing. That’s why all those Kinsella brothers aren’t doing that Cap’n Jazz shit anymore. They were teenagers when they did it. Then again, Metallica never grew out of it. I just hope I’m not a shithead in band therapy when I’m 35.” PETE COTTELL.

Power pop wise beyond its years.

SEE IT: Your Rival plays Anna Bannanas, 2403 NE Alberta St., with Lee Corey Oswald, Our First Brains and Soft Skills, on Friday, Oct. 18. 7 pm. Free. All ages. 34

Willamette Week OCTOBER 16, 2013 wweek.com

FRIDAY-SUNDAY Q&A

DAREN HOFFMAN

outward, with longer song lengths and more meticulously crafted arrangements, but the sense of wild euphoria hasn’t dissipated. There’s even a dance song! MATTHEW SINGER. Dante’s, 350 W Burnside St., 226-6630. 9 pm. $12. 21+.

MUSIC

SATURDAY, OCT. 19 Macy Gray

[SOUL, COUGHING] With outsized, untamed, slightly ﬁre-damaged contralto (and aesthetic to match), Macy Gray burst upon the turn-ofthe-millennium global charts with a pleasantly unhinged, bluesy belter, oﬀering a brief glimpse into all the pedestrian design of modern R&B no longer allowed. But “I Try” quickly enough proved an early peak. After declining sales and dimming reviews culminated in 2010’s utterly meh The Sellout, she has released only a personalized take on Stevie Wonder’s Talking Book—given their divergent vocal strengths, as bizarre a choice as Lemmy reworking Transformer— and an equally daft Covered collection of Arcade Fire and Metallica tunes before this autumn’s touring of her 1999 debut. The 14th anniversary is traditionally marked by ivory, though gold is now more commonly expected. JAY HORTON. Aladdin Theater, 3017 SE Milwaukie Ave., 234-9694. 8 pm. $35. Under 21 permitted with legal guardian.

Portland’s Indies: Black Prairie, Holcombe Waller, Mirah, Oregon Symphony

[FOLKESTRAL] As backward-looking orchestras everywhere desperately try to regain cultural relevance with sometimes-dubious, so-called “crossover” concerts, the Oregon Symphony—which has earned national attention for its occasional appearances with pop performers like Pink Martini, Antony, Rufus Wainwright and others—deserves bravos for trying to broaden its audience and connect with the city’s larger musical community. Here, it teams up with three of Portland’s most successful indie-pop acts: bluegrass-tinged Black Prairie, theatrical folkie Holcombe Waller, and winsome, protean singer-songwriter Mirah. Will it be a genuine creative collaboration or, as too often happens, simply inﬂated pop songs played by a really big band? Here’s hoping the result is even greater than the sum of its substantial parts. BRETT CAMPBELL. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 248-4335. 7:30 pm. $22-$71. All ages.

Dustin Wong and Takako Minekawa, Jason Urick, Rauelsson

[EXPERIMENTAL GUITAR WONDER] Dustin Wong’s most recent album, Meditation of Ecstatic Energy, was conceived as the final part of a trilogy that found the master musician building tracks on the fly using his guitar, a loop pedal and plenty of effects. On this LP, the effects have taken over, muddying up his guitar tones in ways both beautiful and disturbing. As ever, he handles each one with respect and daring as he spins them into dizzying polyrhythms and softly melting melodies. Wong is joined on this tour by a recent collaborator, Japanese pop singer Takako Minekawa. ROBERT HAM. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. $8 advance, $10 day of show. 21+.

SUNDAY, OCT. 20 Wavves, King Tuff, The Jacuzzi Boys

[CROWD SURF] Already something of a couch-surf icon after accelerating from no-ﬁ noise-rock home recordings to the crest of stoner chic—a lingering uncommitment to Best Coast guard Bethany Cosentino, programming a radio station on Grand Theft Auto

SATYRICON: MADNESS AND GLORY WEDNESDAY, OCT. 16 In 1983, a magical shithole opened on Northwest 6th Avenue in Old Town. In the 27 years that followed, Satyricon grew into Portland’s CBGB, an epicenter for freaks and art-damaged weirdos of all musical stripes, not just within the city but also for the entire West Coast. Three years after it was finally shuttered and demolished comes a new documentary, Satyricon: Madness and Glory. WW spoke to its director, Mike Lastra of the band Smegma, a Satyricon regular, about the club’s legacy. MATTHEW SINGER. Portland’s punk palace gets immortalized on ﬁlm.

WW: Did Portland’s music and arts scene have a place like Satyricon before the club opened? Mike Lastra: There was the Blue Gallery and a smattering of other clubs that opened and closed, but it was certainly when [owner] George [Touhouliotis] opened that place, and the fact it was open for 27 years or something, that really made it the hub. It wasn’t long ago that this was a one-horse town. It’s hard to believe, the way it is now, but it was pretty bleak, so this became the watering hole, the central meeting place for cross-pollination. The documentary focuses on the bands that played there through the mid-’90s, but Satyricon was open until 2010. Did its capital decline as Portland got bigger? It actually closed [temporarily] in 2003. Part of that was twofold. One, people were getting bored of playing there. There were new venues. And plus, Satyricon wasn’t home to one genre-specific style of music and activities. Later, when there were other clubs, it was like, there’s this metal club over here, and unplugged over here. In the last few years, I’m not sure if it overtly changed, but it became known as a metal club. It seemed like it was never going to be the same after that first closing. The end of Satyricon was seen as the death knell of old Portland culture in general. People don’t realize how screwed up it was before 1979. The only way you got into clubs to play as a band is if you were doing covers. And after the doors were open and shown it could work, Satyricon showed it could have lasting power. It grew like a tree, and the tree gave fruit to all these people to go, “Let’s do our club.” It served its need in its time, and now things are different. When I play downtown, it blows my mind. Like, my God, you can walk along the street and hear music pouring out of this door and that door. Back in the day, they’d roll up the street at 7 pm. What did you learn about Satyricon from doing this documentary? I didn’t realize how important it was to some people. I went there, but I never smoked cigarettes or enjoyed drinking booze at all. I wasn’t a clubber, per se. But as I talked to people, the way they described it was their home away from home, the clubhouse. I didn’t realize it was that important to so many people, and not just a handful. SEE IT: Satyricon: Madness and Glory premieres at Cinema 21, 616 NW 21st Ave., on Wednesday, Oct. 16. 7 and 9 pm. $8.

CONT. on page 36 Willamette Week OCTOBER 16, 2013 wweek.com

MUSIC

Sunday-TueSday/ClaSSiCal, eTC.

V—Wavves head Nathan Williams navigated the ever-choppier indie-rock buzz breaks through a kicky mix of alt ’90s tropes (riffs, feedback, ebullient ennui) and a thoroughly modern preciousness (his celebrated ’09 onstage breakdown reportedly spurred by Valium, Xanax and an E overdose). If a bit too cute to be wholly uncultivated, fourth and latest release Afraid of Heights continues the successively cleaner production applied to Williams’ familiar yet distinct blending of old New Wave’s ecstatic melodies and a more manful grunge. The tide is very, very high. JAY HORTON. Wonder Ballroom, 128 NE Russell St., 284-8686. 8 pm. $18 advance, $20 day of show. All ages.

MONDAY, OCT. 21 Braids, Hundred Waters, Kodak to Graph

[GLITCHY DREAM POP] On its 2011 debut, Native Speaker, Braids made a remarkable effort at spotwelding the “blogworthy” styles of the moment—skittering, Feelsera Animal Collective percussion, dense layers of effects-heavy vocals, guitar scribbles looping in the margins, a heaving synthheavy bottom end—into a cohesive package that played more like a statement of purpose than pastiche. What’s more is the live delivery of what may sound like studio trickery on wax. These kids from Montreal absolutely nailed it. Pared down to a trio and supporting this year’s “pulls a Radiohead” effort, Flourish// Perish, expect more of a samplebased electronic setup orbiting around singer Raphaelle StandellPreston’s vocal acrobatics. If the band can pull this off live, the sky (or outer space) is the limit for Braids. PETE COTTELL. Doug Fir Lounge, 830 E Burnside St., 2319663. 9 pm. $10 advance, $12 day of show. 21+.

TUESDAY, OCT. 22 Macklemore and Ryan Lewis

[HIP-HOP] Macklemore is the ultimate well-meaning rapper, a nice young man from Seattle who fought off addiction and sneaked his way to megastardom via a combination of catchy goofery (“Thrift Shop”) and baldfaced earnestness (“Same Love”). His career would seem criticproof, if it weren’t marred by a total lack of self-awareness. Sure, “Thrift Shop” probably sounded like a wacky novelty jam when he was writing it, but coming from a middle-class white kid from the Pacific Northwest, its lyrics basically mock the aspirational hip-hop made by rappers who grew up without his privileges. And while it’s hard to fault anyone for writing a pro-gay marriage anthem, “Same Love” is still pretty trite and, coming from a straight white male, not nearly as daring as it might seem on the surface. Still, no one predicted the level of success he’s achieved, and he’s done it without any musicindustry machinery behind him. Plus, Willamette Week put him on its cover way back in 2011, declaring him the future of hip-hop. Thanks for proving us right, Mack! MATTHEW SINGER. Moda Center, 1401 N Wheeler Ave., 235-8771. 8 pm. $39.50-$45. All ages.

Earthless, Joy, Billions and Billions

[HEAVY JAMS] Drummers, rejoice! Earthless is coming, and with it, an outlet for Mario Rubalcaba (Off!, Rocket From the Crypt, Hot Snakes) to sprawl like an octopus around some poor drum set that will never know what it did to deserve such glorious punishment. That’s not to sweep his bandmates under the rug: Isaiah Mitchell and

Willamette Week OCTOBER 16, 2013 wweek.com

bassist Mike Eginton have been jamming instrumentally since 2001. The band’s third album, From the Ages, yields further sonic maturation from a group with nothing left to prove. Expect piles of riffs, sheets of effects and waves of longhairs kneeling in awe. NATHAN CARSON. Rotture, 315 SE 3rd Ave., 234-5683. 9 pm. $12. 21+.

CLASSICAL, JAZZ & WORLD Odds Against Tomorrow: Darrell Grant, Mike Horsfall, Marcus Shelby, Carlton Jackson

[MJQ TRIBUTE] Today’s many rich jazz-meets-classical experiments owe a lot to the Modern Jazz Quartet’s pioneering work from the early 1950s through the early ’90s. The masterful MJQ earned acclaim (and occasional squawks from purists) for sporting tuxes, employing “classical” techniques like fugues and, in general, insisting on respect for jazz’s equal status with other American music. But thanks principally to the great vibes of colossus Milt Jackson, it always managed to swing hard even while exploring pianist-composer John Lewis’ more cerebral concepts. In this PDX Jazz concert, a formidable West Coast foursome—featuring composerpianist Darrell Grant playing Lewis; PDX big-band drummer Carlton Jackson in the Connie Kay/Kenny Clarke role; vibist Mike Horsfall swinging like Milt; and Bay Area bassist Marcus Shelby plucking like Percy Heath— provides a contemporary take on some of chamber jazz’s enduring classics. BRETT CAMPBELL. Mission Theater and Pub, 1624 NW Glisan St., 223-4527. 7 pm Thursday, Oct. 17. $15.

Randy Weston and African Rhythms, Okropong, Wone, American Music Program

[OBO ADDY TRIBUTE] Portland music suffered a serious loss last year when Ghanaian drumming legend Obo Addy died after a quarter-century teaching at Lewis & Clark College. But this concert—by one of jazz’s living legends—attests that Addy’s significance transcended Oregon. The 87-year-old pianist, author and composer Randy Weston has recorded dozens of albums and performed with many of jazz’s most august eminences. Since 1967, Weston has also pioneered the reconnection of American jazz with its African origins in his multicultural compositions. Weston’s tribute to Addy includes the latter’s traditional Ghanaian ensemble Okropong, Portland jazz grandee Thara Memory’s AMP, and Weston’s trio featuring drummer Neil Clarke and bassist Alex Blake. BRETT CAMPBELL. Evans Auditorium at Lewis & Clark College, 0615 SW Palatine Hill Road. 7:30 pm Saturday, Oct. 19. $15-$30.

The Ensemble

[RENAISSANCE MASTERPIECE] If you have to pick only one of the major choral concerts happening this weekend, it’s hard to resist one of the foremost works of the Renaissance: Spanish composer Tomas Luis de Victoria’s “Officium Defunctorum,” written for the funeral of the Holy Roman Empress, who also happened to be the Spanish king’s sister. But what makes this concert even more special is that Victoria’s magnificent Requiem Mass is performed with only one singer to a part, affording a transparency rarely achieved in the usual big choral versions. Performing the masterpiece in this way demands only the finest singers. Fortunately, this concert includes the cream of the city’s top choirs. BRETT CAMPBELL. St. Stephen’s Church, 1112 SE 41st Ave. 3 pm Sunday, Oct. 20. $15-$20.

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8/6/2013 1:54:53 PM

Willamette Week OCTOBER 16, 2013 wweek.com

MUSIC CALENDAR

oct. 16-22 east end

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

Wed. Oct. 16 Al’s den at the crystal Hotel 303 SW 12th Ave. Wadhams & Huston, Olivia Stone

Aladdin theater

eastBurn

1800 E Burnside St. Edewaard, DJ Zimmie

Fire on the Mountain Buffalo Wings east 1706 E Burnside St. Kory Quinn

Mississippi Studios

3939 N Mississippi Ave. The Harmed Brothers, McDougall, Willy Tea Taylor, Jay Cobb

Revival drum Shop 1465 NE Prescott St. Gregg Skloff, Roger Hayes, Derek Eklund

3017 SE Milwaukie Ave. A Ray Charles Boogaloo Dance Party: Karl Denson’s Tiny Universe, Zach Deputy

Goodfoot Lounge

Alberta Rose theatre

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

Roseland theater

Hawthorne theatre

Secret Society Ballroom

3000 NE Alberta St. Ramblin’ Jack Elliott, Neil Robinson, Jim Nunally

Alhambra theatre

4811 SE Hawthorne Blvd. Monsters Scare You, Victory Heights, Lion I Am

Arlene Schnitzer concert Hall

1037 SW Broadway Jack Johnson, Bahamas

Ash Street Saloon

2845 SE Stark St. Industrial Revelation, the Wishermen

Ground Kontrol

1507 SE 39th Ave. Demure, Kings and Vagabonds, Grizzly, Medium Size Kids, Between Chaos And Creation

Katie O’Briens

2809 NE Sandy Blvd. Paul Collin’s Beat, the Maxies, the Bloodtypes, No More Parachutes

225 SW Ash St. Steezy, Leek the Barbur, Juma blaQ, Q Nice, FLVX Society

Kells

Backspace

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

115 NW 5th Ave. Real Friends, Mixtapes, Forever Came Calling, Pentimento, WHEN WE TEAM UP

Biddy McGraw’s

6000 NE Glisan St. Stringed Migration

Brasserie Montmartre 626 SW Park Ave. Tevis Hodge

Bunk Bar

1028 SE Water Ave. Restorations, Weatherbox, Lee Corey Oswald

crystal Ballroom

1332 W Burnside St. Palma Violets, Skaters

dante’s

350 W Burnside St. DRC 3, Black Black Things

doug Fir Lounge

830 E Burnside St. Rags & Ribbons, Solwave, Tango Alpha Tango

east end

Landmark Saloon

Laughing Horse Books 12 NE 10th Ave. Curse, Palo Verde, Mustapha Mond, Jonnyx and the Groadies

Laurelthirst

2958 NE Glisan St. The Lowest Pair, Quick & Easy Boys

Lola’s Room at the crystal Ballroom

1332 W Burnside St. KPSU’s 19th Birthday Party: Karaoke From Hell

McMenamins edgefield 2126 SW Halsey St., Troutdale Super Water Symphony

McMenamins edgefield 2126 SW Halsey St., Troutdale Henry Kammerer

McMenamins Rock creek tavern

10000 Old Cornelius Pass Road, Hillsboro Billy D

1465 NE Prescott St. Total Life, Existence Habit 8 NW 6th Ave. Metric

116 NE Russell St. Birds of Chicago, Dave McGraw, Mandy Fer

Star theater

13 NW 6th Ave. Worth, Marv Ellis, We Tribe, Wil Kinky

the Analog

720 SE Hawthorne Spellcaster, Dark Confidant, Cemetery Lust

the Know

2026 NE Alberta St. Scared Crow, Lonesome Shack, Ghostwriter

the Old church

1422 SW 11th Ave. Dr. Beverly Serra-Brooks

thirsty Lion

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

thorne Lounge

4260 SE Hawthorne Blvd. Musician’s Open Mic

tonic Lounge

Alberta Rose theatre 3000 NE Alberta St. Peter Mulvey, Amber Rubarth

Alberta Street Public House

1036 NE Alberta St. Josh Hoke, Jeffrey Martin, Anna and the Underbelly

Andina

1314 NW Glisan St. Matices

Artichoke community Music 3130A SE Hawthorne Blvd. Songwriter Roundup

Ash Street Saloon

225 SW Ash St. Aranya, Black Queen, Hail, Aerial Ruin

Biddy McGraw’s

6000 NE Glisan St. Train River

Brasserie Montmartre 626 SW Park Ave. The Tritones

Buffalo Gap eatery and Saloon 6835 SW Macadam Ave. Tree Top Tribe, Colin Trio

camellia Lounge

510 NW 11th Ave. Camellia Lounge Vocal Showcase: Joe Millward

430 N Killingsworth St. Steve Kerin

350 W Burnside St. Kylesa, Pinkish Black, Sierra

1332 W Burnside St. STRFKR, Chrome Sparks

dante’s

doug Fir Lounge

836 N Russell St. Twisted Whistle

830 E Burnside St. Joe Pug, Vandaveer

Wilfs Restaurant & Bar

duff’s Garage

Wonder Ballroom

128 NE Russell St. Holy Ghost

Hawthorne theatre

1507 SE 39th Ave. Deicide, Broken Hope, Disgorge, Necronomicon

Ivories Jazz Lounge and Restaurant

1435 NW Flanders St. Tom Grant Vocal Showcase: Tom Grant, Heather Keizur, Richard Arnold

Kells

112 SW 2nd Ave. Sammi

Kelly’s Olympian

426 SW Washington St. Lo’ There Do I See My Brother, Coastlands, A Collective Subconscious, Amos Val

Kenton club

2025 N Kilpatrick St. City Girl, Yell-Ow

Landmark Saloon

4847 SE Division St. The Pickups

Langano Lounge

1435 SE Hawthorne Blvd. John Damon

Laurelthirst

2958 NE Glisan St. Pine Hearts, Whistlin’ Rufus, Lewi Longmire & the Left Coast Roasters

McMenamins edgefield

chapel Pub

tony Starlight’s

800 NW 6th Ave. Ron Steen Band, Marilyn Keller, Joe Millward

1503 SE Cesar E. Chavez Blvd. Utter Underground

McMenamins Rock creek tavern

crystal Ballroom

White eagle Saloon

Hawthorne theatre Lounge

116 NE Russell St. Soulshake, Jeni Wren, Brownish Black

2845 SE Stark St. Trio Subtonic, Todd Clouser’s Love Electric

2126 SW Halsey St., Troutdale Jack McMahon

3100 NE Sandy Blvd. Do You Remember Rock ‘n’ Roll Radio? Show: Pat Kearns 3728 NE Sandy Blvd. Bo Ayars

Goodfoot Lounge

century High School

2000 SE Century Blvd. Derik Nelson (of Glee)

1635 SE 7th Ave. North Meets South Blues Harmonica Summit: Mitch Kashmar, Phil Berkowitz, Jim Wallace, Eugene Huggins

Savoy tavern & Lounge 2500 SE Clinton St. Malachi Graham, Cheryl Smith

10000 Old Cornelius Pass Road, Hillsboro Trask River Redemption

McMenamins’ Kennedy School 5736 NE 33rd Ave. Dan Haley

Mississippi Pizza

3552 N Mississippi Ave. Mel Kubik

Mississippi Studios

3939 N Mississippi Ave. Crystal Stilts, Zachary Cale, Pictorials

Mock crest tavern 3435 N Lombard St. Jo Elless

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

COURTESY Of HOWLIN’ WUELf MEDIA

203 SE Grand Ave. Curse of the North, Blood Magic, Disenchanter

112 SW 2nd Ave. Sammi

Revival drum Shop

tHuRS. Oct. 17

203 SE Grand Ave. Lonnie Winn

Secret Society Ballroom

Slabtown

1033 NW 16th Ave. Wnbajam, White Chocolate and the Cigarettes, ManX

Slim’s cocktail Bar 8635 N Lombard St. Tevis Hodge Jr.

the Analog

720 SE Hawthorne Chase Manhattan, Vogue, Hal V and Space Case, My Mind vs. Half Dead

the Firkin tavern 1937 SE 11th Ave. Foxy Lemon, Sam Densmore

the Know

2026 NE Alberta St. The Body, the New Trust, Braveyoung

the tARdIS Room

1218 N Killingsworth St. Aisle Of View

thirsty Lion

71 SW 2nd Ave. Tim Karplus Band

tiger Bar

317 NW Broadway Karaoke From Hell

tony Starlight’s

3728 NE Sandy Blvd. Starlight Standard Time: Tony Starlight, John Gilmore, Tony Morettii, Dan Murphy

Vie de Boheme 1530 SE 7th Ave. Sellwood Jazz

West cafe

1201 SW Jefferson St. Alan Jones Academy Jazz Jam

White eagle Saloon 836 N Russell St. Rivera

FRI. Oct. 18 Alberta Street Public House 1036 NE Alberta St. Will West and the Friendly Strangers

Alhambra theatre

4811 SE Hawthorne Blvd. PDX-Antics: Vince Clarke, Martin Rev, Otto Von Schirach, Malekko, Author & Punisher, Isiah Esquire, Eric Powell

Andina

1314 NW Glisan St. Dan Balmer Trio

Anna Bannana’s

Ash Street Saloon

225 SW Ash St. Suction, Shelter Red, Mohawk Yard, Hellbelly

Backspace

camellia Lounge

510 NW 11th Ave. Adlai Alexander, Andre St. James

clyde’s Prime Rib

5474 NE Sandy Blvd. Ocean

Mississippi Studios

3939 N Mississippi Ave. Cash’d Out, Robert Wynia

Mock crest tavern

doug Fir Lounge

8 NE Killingsworth St. Busy Scissors, Loud Machines, Lunch

duff’s Garage

206 SW Morrison St. Andy Stokes

east end

8 NW 6th Ave. Zed’s Dead

eastBurn

116 NE Russell St. Barn Door Slammers, Everything’s Jake

Foggy Notion

2929 SE Powell Blvd. Gary Ogan Band

350 W Burnside St. Melt-Banana, Kinski, Nasalrod 830 E Burnside St. Jukebox Heroes, Ants In the Kitchen 1635 SE 7th Ave. Duffy Bishop 203 SE Grand Ave. The Lovesores, the Crazy Squeeze, Spanish Galleons 1800 E Burnside St. The Oh My Mys, DJ Kenny 3416 N Lombard St. Ghosts and Monsters, Steelhymen

Gemini Lounge

6526 SE Foster Road Red Rose

Habesha

801 NE Broadway Order of the Gash, Ports Will Call, Attica Attica, Absent Minds

Hawthorne theatre

1507 SE 39th Ave. Capleton and the Prophecy Band, Ras Attitude, Lil Ras & Young Shanty, Yahshuwa w/T.R.B.T., DJ Ital Vibes 526 SW Yamhill St. John Wayland Harr

Ivories Jazz Lounge and Restaurant 1435 NW Flanders St. Sean Fred

Jade Lounge

2346 SE Ankeny St. Jeepers & Creepers, Missi & Mr. Baker, Matt Johnson

Jimmy Mak’s

221 NW 10th Ave. Shanghai Woolies, Reggie Houston, Janice Scroggins

Katie O’Briens

2809 NE Sandy Blvd. Omar Cripps, Ryan Davidson, Fools Rush, Matt Danger

Music Millennium

Record Room

Rock Bottom Restaurant & Brewery

Roseland theater

Secret Society Ballroom

Shaker and Vine

Slabtown

1033 NW 16th Ave. Vulva Essers, BrucexCampbell, Nekro Drunks

Slim’s cocktail Bar 8635 N Lombard St. The Get Ahead

St. Stanislaus Parish

3916 N Interstate Ave. DuoKlavitarre: Jolanta Ziemska, Maciej Ziemski

Star theater

13 NW 6th Ave. Worth, Marv Ellis, We Tribe, Wil Kinky Trio

the Analog

720 SE Hawthorne Verner Pantons, Sharks From Mars

the Blue diamond

2016 NE Sandy Blvd. Lisa Mann & Her Really Good Band

the Firkin tavern 1937 SE 11th Ave. Caldecott

the Know

2026 NE Alberta St. Muscle And Marrow, Shadows, Disenchanter

the tARdIS Room

1218 N Killingsworth St. Arthur Moore

thirsty Lion

71 SW 2nd Ave. Jacob Merlin Band

tonic Lounge

Kells Brewpub

3100 NE Sandy Blvd. Jesus Presley, Freddy Trujillo

Kells

tony Starlight’s

210 NW 21st Ave. Sami Rouisi 112 SW 2nd Ave. Flight of Earls

Landmark Saloon

626 SW Park Ave. Sidestreet Reny

3552 N Mississippi Ave. Melao de Cuba, Kory Quinn

3158 E Burnside St. Halie Loren

Biddy McGraw’s

Brasserie Montmartre

Mississippi Pizza

dante’s

1332 W Burnside St. Phantogram

Kenton club

320 SE 2nd Ave. Dying Fetus, Exhumed, Devourment, Waking the Cadaver, Abiotic

10000 Old Cornelius Pass Road, Hillsboro Butterfly Breakdown

3435 N Lombard St. Finn Doxie

Beaterville cafe

Branx

McMenamins Rock creek tavern

crystal Ballroom

Kelly’s Olympian

6000 NE Glisan St. Counterfeit Cash, Jack Dwyer

Willamette Week OCTOBER 16, 2013 wweek.com

Bunk Bar

1028 SE Water Ave. San Fermin

115 NW 5th Ave. Ghost Town, Her Bright Skies, Modern Day Escape, Oh No Fiasco 2201 N Killingsworth St. Kare Newhouse, Pretend Sweethearts, Natalie Greenfield

WHAt dOeS tHe GIRAFFe SAy?: Melt Banana plays dante’s on Friday, Oct. 18.

6835 SW Macadam Ave. Trixy and the Nasties

Island Mana Wines

8716 N Lombard Street Your Rival, Lee Corey Oswald, Our First Brains, Soft Skills

Buffalo Gap eatery and Saloon

426 SW Washington St. The Noble Firs, Yonder, Dead Teeth 2025 N Kilpatrick St. The High Desert Saints Featuring Members of Spirit Lake, Cutbank 4847 SE Division St. Pete Krebs and the Portland Playboys, Hank Sinatra and his Atomic Cowboys

Laurelthirst

2958 NE Glisan St. Lynn Conover & Gravel, Michael Hurley & The Croakers

McMenamins edgefield 2126 SW Halsey St., Troutdale Matthew Price

3728 NE Sandy Blvd. Tony Morettii (Sinatra tribute)

torta Landia

4144 SE 60th Ave. Eight-53

trail’s end Saloon

1320 Main St., Oregon City The New Iberians

Vie de Boheme

1530 SE 7th Ave. Tommy Hogan Band

White eagle Saloon 836 N Russell St. Mexican Gunfight, Kerosene Dream

Wonder Ballroom 128 NE Russell St. Oh Land, Sun Rai

Wxyz Bar at the Aloft Hotel 9920 NE Cascades Parkway Bob Hines

OCT. 16-22

MUSIC CALENDAR

BAR SPOTLIGHT

McMenamins Edgefield

ANNA JAE GOELLNER

2126 SW Halsey St., Troutdale Wild Bores

Mississippi Pizza

3552 N Mississippi Ave. Three for Silver, Tin Silver, Toy Trains

Mississippi Studios

3939 N Mississippi Ave. Dustin Wong and Takako Minekawa, Jason Urick, Rauelsson

Mock Crest Tavern

3435 N Lombard St. Johnnie Ward’s Sharkskin Review

Moda Center

1401 N Wheeler Ave. Passion Pit

Music Millennium

3158 E Burnside St. Dave Hause

Record Room

8 NE Killingsworth St. Excuses, Minot, Months

Red and Black Cafe

DOUBLE VISION: In its first incarnation as a bougie banh mi shop, Double Dragon (1235 SE Division St., 230-8340, doubledragonpdx.com) had its fans. I was not one of them. The $7.50 price for a sandwich that typically costs less than $4, obviously, was a scandal. The bread, then baked in-house, was all wrong—hefty stuff that refused to mash down as required. The pork belly was a slick of charred fat. Well, two years later, the sandwiches, believe it or not, have gotten even more expensive ($12 for roast duck, $9 for meatball or pork belly), but Double Dragon’s boozy reboot has bettered the place in every other way. They’ve kept the stylish branding on the walls, but moved the counter to make room for a long bar that serves an outstanding warm toddy called the Gold Soundz—which has lemongrass and an absinthe rinse—plus a variety of special alcoholic punches. The loungey space hosts Baby Ketten karaoke and geek trivia. The jammed-out Genders record plays all the way through on a lazy Sunday afternoon. The bread now comes from Portland French Bakery and is appropriately thin and wispy. The new chicken chorizo banh mi is no rival for Binh Minh or An Xuyen, but it’s not an affront to the form. An expanded menu of soups includes a coconut curry ramen ($10) that’s good except for its floppy noodles. But you shouldn’t eat here when you’re feeling picky, or when too much sunlight streams through the massive windows facing Division Street. To my mind, this is a bar now. It has the same vibe as the old Dragon, but far more utility. MARTIN CIZMAR. SAT. OCT. 19 Aladdin Theater

3017 SE Milwaukie Ave. Macy Gray

Alberta Rose Theatre

3000 NE Alberta St. Live Wire Radio: Twin Forks, 1939 Ensemble

Alhambra Theatre

4811 SE Hawthorne Blvd. Sally Tomato, Kris Deelane & the Sharp Little Things, James Faretheewell & The Foolhardy

Arlene Schnitzer Concert Hall 1037 SW Broadway Portland’s Indies: Black Prairie, Holcombe Waller, Mirah, Oregon Symphony

Artichoke Community Music

3130A SE Hawthorne Blvd. The Tummybuckles

Ash Street Saloon

225 SW Ash St. Cement Season, Lights Sounds, Solid Gold Balls

Backspace

115 NW 5th Ave. Hunx & His Punx, Therapist, 100s & Thousands

Branx

320 SE 2nd Ave. Griz, Two Fresh, Anvil Smith

Brasserie Montmartre

626 SW Park Ave. Paul Paresa and the People

Bravo Lounge

8560 SE Division St. Jake Bethel

Bunk Bar

1028 SE Water Ave. John Vanderslice, Prism Tats

Camellia Lounge

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

510 NW 11th Ave. Nancy King, Steve Christofferson

Jade Lounge

Club 21

Jimmy Mak’s

Dante’s

Kaul Auditorium at Reed College

2035 NE Glisan St. The People Electric, the Crazy Squeeze, Kazumis 350 W Burnside St. dBMonkey’s 11th Anniversary: Rick Bain & The Genius Position, Herman Jolly (of Sunset Valley), Pheasant, Old Hand

Doug Fir Lounge

830 E Burnside St. Carbon Leaf, Brian Wright

EastBurn

1800 E Burnside St. Soulsa

Foggy Notion

3416 N Lombard St. The Cut 45, Sleeptalker, The Grown Men

Goodfoot Lounge

2845 SE Stark St. Sugarcane, Whitewater Ramble

Habesha

801 NE Broadway Gems, Glass Knees, Minden

Hawthorne Theatre Lounge

1503 SE Cesar E. Chavez Blvd. Grapefruit

Hawthorne Theatre

1507 SE 39th Ave. Goblin, Secret Chiefs 3

2346 SE Ankeny St. American Echoes 221 NW 10th Ave. Tezeta Band, DJ Derek Smith

3203 SE Woodstock Blvd. Portland Gay Men’s Chorus: Alter Egos the Adults-Only Cabaret

Kells Brewpub

210 NW 21st Ave. Sami Rouisi

Kells

112 SW 2nd Ave. Flight of Earls

Kelly’s Olympian

426 SW Washington St. Aviel, Hype Louis, J Burns, Ed Word

Kenton Club

2025 N Kilpatrick St. Cuntbat, Minoton, Duty

Landmark Saloon

4847 SE Division St. Oregon Valley Boys

400 SE 12th Ave. Jake Cline, Old Mountain Due

Roseland Theater

8 NW 6th Ave. Timeflies, Chiddy Bang

Rotture

315 SE 3rd Ave. Raise the Bridges, The Goddamned Animals, Salix, Abadawn

Secret Society Ballroom

116 NE Russell St. Wild Bells, the Satin Chaps, the Pynnacles, Everything’s Jake

Slabtown

1033 NW 16th Ave. New Bad Things

Slim’s Cocktail Bar

8635 N Lombard St. Revolt Revolt, Left Lane Ends, the Charlie Darwins

Star Theater

13 NW 6th Ave. Twin Forks, Matrimony, Bike Thief

The Blue Monk

3341 SE Belmont St. Gabby Holt, Joseph Napkin, Johnny Keener, the Jones Society, Eye Level Eye, Jeremy Murphy, Joey Beats Brady, Neilson Olroyd, Muscle And Marrow, Born Cosmic, Black Wedding (The Mixed Bag benefit)

The Elixir Lab

2738 NE Alberta St. Bassment Jazz, Mostly Hank

The Know

2026 NE Alberta St. Drunk Dad, Lamprey, Beard of Bees

The Old Church

1422 SW 11th Ave. The Night Sky

The TARDIS Room

1218 N Killingsworth St. Soft Targets

Thirsty Lion

71 SW 2nd Ave. Will Bradley Band

Tonic Lounge

3100 NE Sandy Blvd. Dart Gun and the Vignettes, Furniture Girls, Minty Rosa

Tony Starlight’s

3728 NE Sandy Blvd. Frank, Dino, and the Wham of Sam (Rat Pack tribute), Alone Together, All-Star Horns

Torta Landia

4144 SE 60th Ave. Steve Cheseborough

Vie de Boheme 1530 SE 7th Ave. Ben Jones

White Eagle Saloon

12 NE 10th Ave. Between Earth and Sky, Carrion Spring

836 N Russell St. Red Jacket Mine, Rich West Blatt & the Once in a While Sky, The Low Bones

LaurelThirst

Wonder Ballroom

Laughing Horse Books

2958 NE Glisan St. Lewi Longmire & the Left Coast Roasters, Mike Coykendall, Psych Country Revue

128 NE Russell St. Frank Turner and the Sleeping Souls, the Smith Street Band, Koo Koo Kanga Roo

CONT. on page 40 Willamette Week OCTOBER 16, 2013 wweek.com

MUSIC CALENDAR Wxyz Bar at the Aloft Hotel 9920 NE Cascades Parkway Ian James

SUN. OCT. 20 Alberta Rose Theatre 3000 NE Alberta St. John McCutcheon

The Know

Wonder Ballroom

Tiga

836 N Russell St. Jaime Leopold and the Short Stories 128 NE Russell St. Wavves, King Tuff, The Jacuzzi Boys

World Cup Coffee and Tea 1740 NW Glisan Beth Hamon

Arlene Schnitzer Concert Hall

Alhambra Theatre

1037 SW Broadway The American Song: Tony DeSare, Oregon Symphony

Doug Fir Lounge 830 E Burnside St. The Blow, Kisses

Epworth United Methodist Church 1333 SE 28th Ave. Oregon Koto-Kai

Hawthorne Theatre Lounge

1503 SE Cesar E. Chavez Blvd. Idletap, WHIPCORD

MON. OCT. 21 4811 SE Hawthorne Blvd. Rook and the Ravens, the Autonomics

Dante’s

350 W Burnside St. Karaoke From Hell

Doug Fir Lounge

830 E Burnside St. Braids, Hundred Waters, Kodak to Graph

East End

203 SE Grand Ave. Vulva Essers, BrucexCampbell, Dodlage

Hawthorne Theatre

Fire on the Mountain Buffalo Wings East

Kells

Goodfoot Lounge

1507 SE 39th Ave. Mona, the Limousines 112 SW 2nd Ave. Bill Tollner, Irish Sessions

McMenamins Edgefield 2126 SW Halsey St., Troutdale Billy D’s HooDuo

Mission Theater and Pub 1624 NW Glisan St. John Medeski

Mississippi Pizza

3552 N Mississippi Ave. The Debts, Tree Top Tribe

Mississippi Studios

3939 N Mississippi Ave. Appendixes, the Comettes, Vice Device, Industrial Park

Muddy Rudder Public House 8105 SE 7th Ave. Irish

Music Millennium

3158 E Burnside St. Naomi LaViolette, Martin Weller

Portland State University, Lincoln Hall, Room 121

1620 SW Park Portland Wind Symphony

Rock Bottom Restaurant & Brewery 206 SW Morrison St. Wil Kinky

Rontoms

600 E Burnside St. WL, the Hugs, Souvenir Driver

Roseland Theater

8 NW 6th Ave. Hank 3: Attention Deficit Domination and 3 Bar Ranch

Rotture

315 SE 3rd Ave. Church of Misery, Saviours, Wizard Rifle

Slabtown

1033 NW 16th Ave. Grand Style Orchestra

Star Theater

13 NW 6th Ave. Church of Hive

The Conga Club

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

The Elixir Lab

2738 NE Alberta St. Skidmore Bluffs

Tonic Lounge

3100 NE Sandy Blvd. Design Drift Distance, Cadet, Spatia

Vie de Boheme 1530 SE 7th Ave. Chuck Israel

Willamette Week OCTOBER 16, 2013 wweek.com

White Eagle Saloon

Andina

1314 NW Glisan St. Boy and Bean

OCT. 16-22

1706 E Burnside St. Mimi Naja

2845 SE Stark St. Sonic Forum Open Mic

2026 NE Alberta St. Big Black Cloud, Honduran 1465 NE Prescott St. Ian Paige

Tonic Lounge

3100 NE Sandy Blvd. Shane Scheib, Matt Beltz

Valentine’s

232 SW Ankeny St. Horrible Present

White Eagle Saloon 836 N Russell St. Small Souls

TUES. OCT. 22 Aladdin Theater

3017 SE Milwaukie Ave. Stephen Kellogg, Fort Atlantic

Alhambra Theatre

4811 SE Hawthorne Blvd. Coloring Electric Like, Brakemouth, Bolander, Vaj

Ash Street Saloon 225 SW Ash St. Phreak: Electronic Mutations

Bunk Bar

1028 SE Water Ave. The We Shared Milk, the Dig, Old Age

Doug Fir Lounge

511 NW Couch St. Metal Monday

830 E Burnside St. Wildcat! Wildcat!, Adventure Galley, Fringe Class

Hawthorne Theatre

Duff’s Garage

Ground Kontrol

1507 SE 39th Ave. Streetlight Manifesto, Mike Park, Dan Potthast

Jade Lounge

2346 SE Ankeny St. Emerson House Band

Jimmy Mak’s

221 NW 10th Ave. The Dan Balmer Band

Keller Auditorium 222 SW Clay St. The Moody Blues

Kells Brewpub

210 NW 21st Ave. Traditional Irish Jam Session

Kells

112 SW 2nd Ave. Bill Tollner

Kelly’s Olympian

426 SW Washington St. Eye Candy VJs

LaurelThirst

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

Lola’s Room at the Crystal Ballroom

1635 SE 7th Ave. JW Jones

East End

203 SE Grand Ave. Love Ink, Houndstooth

Goodfoot Lounge

2845 SE Stark St. Medeski, Martin, Wood and Scofield Tribute

Hawthorne Theatre Lounge

1503 SE Cesar E. Chavez Blvd. The Icarus Line

Kells

112 SW 2nd Ave. Bill Tollner

Langano Lounge

1435 SE Hawthorne Blvd. Young Dad, Tonen, Oro Azoro

McMenamins Edgefield 2126 SW Halsey St., Troutdale Gideon Freudmann

Mississippi Pizza

3552 N Mississippi Ave. Lost Creek

Mississippi Studios

1332 W Burnside St. Clairy Browne & the Bangin’ Rackettes

3939 N Mississippi Ave. HAIM, Io Echo

McMenamins Edgefield

1401 N Wheeler Ave. Macklemore and Ryan Lewis

2126 SW Halsey St., Troutdale Skip vonKuske’s Groovy Wallpaper

McMenamins Rock Creek Tavern

10000 Old Cornelius Pass Road, Hillsboro Bob Shoemaker

Mission Theater and Pub 1624 NW Glisan St. Radical Face

Mississippi Studios

3939 N Mississippi Ave. The Paper Kites, Reuben and the Dark

Record Room

8 NE Killingsworth St. Foot Ox, Basement, Sarcastic Dharma Society

Roseland Theater 8 NW 6th Ave. Walk the Moon, the Mowglis

Sloan’s Tavern

36 N Russell St. Elliot Smith Sing-A-Long

Moda Center

Roseland Theater

8 NW 6th Ave. The Naked and Famous

Rotture

315 SE 3rd Ave. Earthless, Joy, Billions and Billions

Secret Society Ballroom

116 NE Russell St. Abigail Press, Ji Tanzer, Star Rats, ZOO

The Lovecraft

421 SE Grand Ave. Uberlush

Thorne Lounge

4260 SE Hawthorne Blvd. Tigerface, Those Willows

Tiga

1465 NE Prescott St. Yolo Biafra

Valentine’s

232 SW Ankeny St. Galaxies, Double Plus Good, Stevie Schmidt

White Eagle Saloon 836 N Russell St. Soul Progression

MUSIC CALENDAR tom beard

oct. 16-22

Li’LertineS: Palma Violets play crystal Ballroom on Wednesday, Oct. 16. DJ AM Gold

Valentine’s

232 SW Ankeny St. Mentok DJs

SAt. Oct. 19 Wed. Oct. 16 Andrea’s cha cha club 832 SE Grand Ave. Salsa: DJ Alberton

Beech St. Parlor 412 NE Beech St. DJ Ghost Capital

cc Slaughters

219 NW Davis St. Trick with DJ Robb

dig a Pony

736 SE Grand Ave. Battles

Holocene

1001 SE Morrison St. Love In This Club: DJ Nathan Detroit, DJs Kiffo & Rymes, DJ Honest John

Club Chemtrail: Vjuan Allure, Sugur Shane, Massacooramaan, SPF666, Commune

tiga

1465 NE Prescott St. Future Kills DJs

Valentine’s

232 SW Ankeny St. Psych Night: 4X4 DJs

Fri. Oct. 18 Bc’s restaurant

2433 SE Powell Blvd. Activate: DJ Dot, Trevor Vichas

Beech St. Parlor

Langano Lounge

412 NE Beech St. Whalewatchers

Slabtown

736 SE Grand Ave. Jimbo, Lee Denim

Star Bar

2845 SE Stark St. DJ Aquaman’s Soul Stew

1435 SE Hawthorne Blvd. DJ Partyboob 1033 NW 16th Ave. Queer Night: DJ Bitch Slap 639 SE Morrison St. DJ Wess Texas

the Lovecraft

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

tiga

1465 NE Prescott St. DJ Copy

tHurS. Oct. 17 Beech St. Parlor 412 NE Beech St. Ra’Sean

Berbati’s

231 SW Ankeny St. Studyhall: DJ Suga Shane

dig a Pony

736 SE Grand Ave. Safi, Aan DJs

Harlem

220 SW Ankeny St. Bounce: Tourmaline, Valen

Star Bar

639 SE Morrison St. DJ Jonny Cakes

the rose

111 SW Ash St.

dig a Pony

Goodfoot Lounge

Ground Kontrol

511 NW Couch St. DJ Simon Galaga

Hawthorne theatre Lounge

1503 SE Cesar E. Chavez Blvd. DJ P I Z, Roots Train Sound

Holocene

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

Lola’s room at the crystal Ballroom 1332 W Burnside St. 80s Video Dance Attack

Moloko Plus

3967 N Mississippi Ave DJ Maxamillion

rotture

315 SE 3rd Ave. Shutup&dance

Star Bar

639 SE Morrison St. Uncontrollable Urge: DJ Paultimore

the Lovecraft

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

tiga

1465 NE Prescott St.

Beech St. Parlor 412 NE Beech St. DJ Doug Ferious

Berbati’s

231 SW Ankeny St. DJ Mellow Cee

dig a Pony

736 SE Grand Ave. Mike Lixx, Dirty Red

eagles Lodge, Southeast

dig a Pony

736 SE Grand Ave. Boom Wow

Lola’s room at the crystal Ballroom 1332 W Burnside St. The Pearly Gates: DJ Vitamin G

Savoy tavern & Lounge 2500 SE Clinton St. DJ CIA Mind Control Sex Slave

MOn. Oct. 21 Ash Street Saloon 225 SW Ash St. DJ Tim Parasitic

4904 SE Hawthorne Blvd. Shout: DJ Drew Groove, the Silver Fox, DJ Hippie Joe, Miss Callie Danger

Beech St. Parlor

Ground Kontrol

231 SW Ankeny St. DJ Henry Dark

511 NW Couch St. DJ I

Holocene

1001 SE Morrison St. Gaycation: Mr. Charming, DJ Snowtiger

Langano Lounge

1435 SE Hawthorne Blvd. DJ Blackbars

Lola’s room at the crystal Ballroom

412 NE Beech St. DJ Nate C

Berbati’s

dig a Pony

736 SE Grand Ave. Bad Wizard

the Lovecraft

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

tueS. Oct. 22

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

Beech St. Parlor

Star Bar

Berbati’s

the Analog

Bossanova Ballroom

639 SE Morrison St. Go French Yourself: DJ Cecilia 720 SE Hawthorne DJ Heather, Mercedes, Melody Fisher, DJ Tracy, Abrasion Equation, Shylok, Kidlogic, DJ Harp

the Lovecraft

421 SE Grand Ave. Arctic Flowers

the Lovecraft

421 SE Grand Ave. DJ Bar Hopper

tiga

1465 NE Prescott St. Gina the Cook

Valentine’s

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

Sun. Oct. 20 Berbati’s

231 SW Ankeny St. DJ Linkus EDM

412 NE Beech St. DJ PRGMTC

231 SW Ankeny St. Soundstation Tuesdays: DJ Instigatah, Snackmaster DJ 722 E Burnside St. Tango Tuesday

dig a Pony

736 SE Grand Ave. Team Atkins

eagle Portland

835 N Lombard St DMTV with DJ Danimal

Lightbar

1401 SE Morrison St. Sanctuary: Jatun, Antecessor, DJ Mike Jedlicka, DJ Tim Westcott

Star Bar

639 SE Morrison St. DJ Plucky

the Analog

720 SE Hawthorne S.Y.N.T.

the Lodge Bar and Grill 6605 SE Powell Blvd DJ Easy Finger

Willamette Week OCTOBER 16, 2013 wweek.com

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

A LL

M E T TE WE EK

GIVE! GUIDE 2013

giveguide.org facebook.com/giveguide 42

Willamette Week OCTOBER 16, 2013 wweek.com

Oct. 16–22

= 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 Corrido Calavera

Miracle Theatre continues its annual Day of the Dead celebration with this original bilingual production about a couple who embark on a second honeymoon to rekindle their love. But due to some GPS issues, the two end up in the land of the dead instead—and their dying spark gets a new chance at life. Miracle Theatre, 525 SE Stark St., 236-7253. 7:30 pm Thursdays, 8 pm Fridays-Saturdays and 2 pm Sundays through Nov. 10. $15-$26.

High Spirits

The newest season of Lakewood Theatre Company’s “Lost Treasures Collection”—which presents strippeddown, script-in-hand productions of rarely seen musicals—begins with this musical based on Noel Coward’s Blithe Spirit, about a man who summons the pesky spirit of his dead wife. Lakewood Center for the Arts, 368 S State St., Lake Oswego, 635-3901. 7 pm Friday and 2 and 7 pm Saturday, Oct. 18-19. $20.

Magic Tree House: A Night in New Orleans

Oregon Children’s Theatre presents a tale based on the Magic Tree House books about a boy and girl who travel back in time to New Orleans in 1915, where they hang out with a teenage Louis Armstrong, learn about jazz and meet some pirate ghosts. Newmark Theatre, 1111 SW Broadway, 228-9571. 2 and 5 pm Saturdays and 2 pm Sundays through Nov. 10 (no 5 pm show Saturday, Nov. 9). $15-$30.

The Outgoing Tide

CoHo Productions opens its season with Bruce Graham’s drama about a family grappling with the patriarch’s dementia. The CoHo Theater, 2257 NW Raleigh St., 220-2646. 7:30 pm Thursdays-Saturdays and 2 pm Sundays through Nov. 9. $20-$25.

Pocket Pulp: Chillers

The Pulp Stage Theatre Company presents stripped-down readings of eight seasonally appropriate plays, filled with cannibals, serial killers, vampires and ghosts. Jack London Bar, 529 SW 4th Ave., 228-7605. 7:30 pm Thursday, Oct. 17. $5. 21+.

Shadows in the Dark

Ten storytellers recount true tales of spooks, terror and the supernatural. Brody Theater, 16 NW Broadway, 2242227. 9:30 pm Saturdays, Oct. 19 and 26. $8.

Turtle Doves

Next up from Monkey With a Hat On is this crime drama written and directed by Ollie Collins, which takes place in an otherworldly realm of murder, revenge and cocaine. Clinton Street Theater, 2522 SE Clinton St., 238-8899. 7 pm Friday-Sunday, Oct. 18-20. $5.

NEW REVIEWS Wilde Tales

Oscar Wilde’s two collections of fairy tales, which he wrote “not for children but for childlike people,” explore the ambiguity of the heart and the illogical nature of love. Adapted by Portland playwright Karin Magaldi and directed by Samantha Van Der Merwe, Wilde Tales unfolds through six loosely linked stories that come to life like a pop-up book. A fisherman who has fallen in love with a mermaid abandons his soul to live with her, and the soul must wander the land alone, encountering a selfish giant, a gener-

ous statue, self-sacrificing birds and a heartbroken dwarf. The intimate space at Shaking the Tree Theatre serves the show well—the six actors become whispering silhouettes behind backlit scrims, surrounding the audience like words floating up from the page. The stage direction is so simple and elegant it becomes art in itself. As if exploring a whimsical playground, the actors both play their central characters and provide their own third-person narration, and at other times they embody the plants, birds, walls, wind— and it all works magically. Each shift in expression, change in voice and delicate movement becomes transfixing. Whether or not you walk away with any grand new theories about love, you’ll certainly leave with a little more childlike wonder. PENELOPE BASS. Shaking the Tree Studio, 1407 SE Stark St., 235-0635. 7:30 pm FridaysSaturdays, 2 pm Saturdays and 5 pm Sundays through Nov. 9. $22.

ALSO PLAYING 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 an allegory for Syria? For Israel-Palestine? For the embattled Right 2 Dream Too homeless encampment? 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: 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 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 farm-to-cone ice cream parlor serving noodle-kugel sorbet. The wood chips on the floor, which go flying during peppy dance sequences, are another nice touch. 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., 4453700. 7:30 pm Tuesdays-Sundays, 2 pm Saturdays-Sundays, noon Thursdays through Nov. 3. $38-$72.

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. 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.

PRIMER M AT T I A S C L A M E R

PERFORMANCE

Hot Flashes

With rap songs by menopausal women, Kate Finn and Rick Weiss’ musical is tailor-made for your mom’s book club. Portland Metro Performing Arts, 9003 SE Stark St., 408-0604. 8 pm Saturdays and 2 pm Sundays through Oct. 27. $20-$24.

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.

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.

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, who strikes an impressive balance of the ordinary and the extraordinary) spitballs phrases for a new speech as he paces before the mirror. Into this bare-bones motel room flies Camae (Natalie Paul), an

CONT. on page 44

all tHumbs doWn: daniel tosh, fortunately not appearing at this weekend’s all Jane no dick comedy festival.

LAUGHING AT RAPE IN A CROWDED THEATER Last weekend, the Great American Rape Joke Debate finally hit Portland. It’s been a long-boiling controversy in the comedy world: Who can joke about rape and when? These questions have also raged in Portland’s comedy scene, most recently in a Mercury blog post by comic Barbara Holm, who called out a male comic who had taunted her from stage at an open-mic night. The rape-joke debate may or may not be mentioned from stage at this weekend’s all-female comedy festival All Jane No Dick, but we wouldn’t be surprised if it’s what’s being discussed at the bar. Here’s a primer on its recent history.

A brief history of the rape-joke debate.

July 6, 2012: When an audience member at Hollywood’s Laugh Factory tells professional fraternity pledge Daniel Tosh that rape jokes are never funny, Tosh replies that it would be hilarious if she were gang-raped right there, in the club. Twitter explodes. (Never mind that Tosh has been making rape jokes for years, including one in which he describes date rape as “the politest rape of all.”) July 10, 2012: Comedian Louis C.K. tweets at Tosh: “@danieltosh your show makes me laugh every time I watch it. And you have pretty eyes.” Turns out C.K. had been on vacation in Vermont and didn’t know about the rape-joke dustup when he wrote that tweet. On The Daily Show, C.K. describes how the Twitter furor increased his sensitivity to rape culture and argues that sometimes joking about bad things can make the world just a little bit better. July 12, 2012: Lindy West, the funny and smart Seattle-based Jezebel writer, schools the Internet on how to make a rape joke, which she says is sometimes OK. “Easy shortcut: DO NOT MAKE RAPE VICTIMS THE BUTT OF THE JOKE,” she writes. May 30, 2013: West and comedian Jim Norton hash things out on TV. Norton warns against censorship; West makes clear she’s not promoting censorship but reiterates that rape jokes victimize survivors. Afterward, West is bombarded with rape threats and comments about her appearance. June 4, 2013: Roseanne Barr rants on Twitter, accusing West of advocating censorship. West tweets: “I think I need to block Roseanne. This is weird.” July 25, 2013: Patricia Lockwood publishes a poem called “Rape Joke” on The Awl. Sample line: “The rape joke is that you had been drinking wine coolers. Wine coolers! Who drinks wine coolers? People who get raped, according to the rape joke.” It’s beautiful, wrenching and darkly comic. The rape-joke debate seems, at least for the moment, silenced. Oct. 12, 2013: Portland comedian Barbara Holm writes a blog post for the Merc about being called out by fellow comic Will Woodruff at an open mic. According to the post, Woodruff started telling a rape joke and then changed course: “Have you noticed that Barbara Holm never laughs at rape jokes, no matter how funny? She laughs at feminist jokes but no rape jokes. Come on, why don’t you laugh, Barbara?” Oct. 12, 2013: In a comment, Woodruff claims he wasn’t bullying Holm because “you have way more Portland cred than I have, you can bully me, not vice verse [sic]. Also I love how if you don’t like something you can paint it as this woman-hating shit.” REBECCA JACOBSON. see it: The All Jane No Dick comedy festival runs Thursday-Sunday, Oct. 17-20, at multiple venues. See alljanenodick.com for details. Willamette Week OCTOBER 16, 2013 wweek.com

Oct. 16–22

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. It’s a shame, really— 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., 445-3700. 7:30 pm Tuesdays-Sundays, 2 pm alternating Saturdays and Sundays, and noon Thursdays through Oct. 27. $40$55.

The Revenants

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, 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. 1126 SE 15th Ave. 8 pm ThursdaysSundays through Oct. 19. $17.

The Submission

Defunkt Theatre opens its season with Jeff Talbott’s 2011 dark comedy about every -ism in modern America. It centers on a floundering white, gay playwright who penned a play about a poor black family and, hoping to increase its chances of production, decides to submit it under the pseudonym Shaleeha G’ntamobi. F-bombs and worse (you can certainly guess) follow. The Back Door Theater, 4319 SE Hawthorne Blvd. 7:30 pm ThursdaysSundays through Nov. 16 (no show Oct. 31). $15-$25 sliding scale, Thursdays and Sundays are “pay what you can.”

Sweet and Sad

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. 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. This installment, which is richer and wiser than the first, finds the family on Sept. 11, 2011. They’ve 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. 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. 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. Winningstad Theatre, Portland Center for the Performing Arts, 1111 SW Broadway, 235-1101. 7:30 pm Thursdays-Saturdays and 2 pm Sundays through Oct. 20. $20-$43.

COMEDY & VARIETY Dina Martina

The cult drag queen—all garish costume, graceless stage presence and silly songs—brings her variety act back to Portland for the first time since 2004. Fez Ballroom, 316 SW 11th Ave., 1-800-838-3006. 7 and 9 pm Thursday, Oct. 17. $20-$50. 21+.

Frank Caliendo

Standup from the comic and impressionist known for his work on MADtv and his football prognostications. Helium Comedy Club, 1510 SE 9th Ave., 888-643-8669. 7:30 and 10 pm FridaySaturday, Oct. 18-19. $30-$35.

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.

Half-Life

Performers from the Brody and 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

Barbara Holm hosts a twice-monthly standup showcase. EastBurn, 1800 E Burnside St., 236-2876. 8:30 pm every first and third Monday. Free.

The Liberators

Improv and sketch comedy from some of Portland’s finest. Interstate Firehouse Cultural Center, 5340 N Interstate Ave., 306-5217. 8 pm Saturday, Oct. 19. $12-$15.

A Night With Jonah Ray and Kumail Nanjiani

The hosts of The Meltdown—the weekly event at L.A.’s Nerdist Theater that in 2012 LA Weekly named the city’s best standup show—alight in Portland for what should be a night of very funny comedy. Backspace, 115 NW 5th Ave., 248-2900. 7:30 pm Thursday, Oct. 17. $15-$18.

No Pun Intendo

The video game arcade hosts its monthly standup showcase. Ground Kontrol, 511 NW Couch St., 796-9364. 9 pm every third Thursday. $3.

Skootch: The Harold and The Kumar

Improv troupe Skootch presents a show inspired by the yin-and-yang stoner characters. In the first act, performers follow Harold’s lead and take a more traditional approach, but in the second, Kumar-inflected act, all rules go by the wayside. Brody Theater, 16 NW Broadway, 224-2227. 7:30 pm Thursday, Oct. 17. $10.

Willamette Week OCTOBER 16, 2013 wweek.com

Weekly Recurring Humor Night

Whitney Streed hosts a weekly comedy showcase. Tonic Lounge, 3100 NE Sandy Blvd., 238-0543. 9:30 pm every Wednesday. “Pay what you want,” $3-$5 suggested.

DANCE BodyVox

Foot Opera Files was the first piece performed in BodyVox’s current Northwest Portland studio in 2009, but the revival of that show, renamed Body Opera Files, is moving out. This time, the film-noir-inspired show is performed in a Northwest Portland industrial warehouse. The pieces in this show tell stories of a drifter, a vixen, a rocker and a boxer. If the show is anything like the original, it will be heavy on BodyVox’s trademark corniness and physical humor. Also like 2009’s show, Body Opera Filesis part concert, with a live indie-rock band led by bassist Michael Papillo and a group of operatic singers. Music selections include songs by Tom Waits and Elvis Costello, as well as gospel and other various Americana. NW Industrial Warehouse, 2448 NW 28th Ave., 229-0627. 7:30 pm Thursdays-Saturdays, Oct. 10-26; 2 pm Saturdays, Oct. 19 and 26. $25-$59.

are played with campy personality, with Linsmeier, Portland’s punk-rock danseur, getting a good share of the laughs. Together, the two pieces make for a diverse, if disjointed, night at the ballet. If Irving is planning a wild reinvention—and maybe he should—he isn’t letting on yet. This season opener is familiar, for better or worse. (For a full review, visit wweek.com.) AARON SPENCER. Keller Auditorium, 222 SW Clay St., 800-745-3000. 7:30 pm Friday-Saturday, Oct. 18-19. $25-$142.

Rocky’s Horror

A slightly modified version of The Rocky Horror Picture Show is the anchor for the dance party. The performance includes singing, dancing and a floor show by some of Portand’s burlesque staples. Bossanova Ballroom, 722 E Burnside St., 206-7630. 10 pm, Friday, Oct. 18. $12-$25. 21+.

For more Performance listings, visit

REVIEW BRUD GILES

PERFORMANCE

Burlescape

An evening of burlesque and boylesque performances. Crush, 1400 SE Morrison St, 235-8150. 9:30 pm Saturday, Oct. 19. $10. 21+.

Deep

The touring hip-hop dance battle returns to Portland. Deep pits local and out-of-town dancers in improvisation, two-on-two dance offs. Headliners, some of whom have danced for Chris Brown and Beyoncé, offer dance workshops in the two days leading up to the event. The crowd at the show itself is a mix between suburban dance moms whose kids are competing and Portland’s budding dance artists. All dance styles are encouraged, from contemporary to krumping. Bossanova Ballroom, 722 E Burnside St., 206-7630. 4 pm Sunday, Oct. 20. $16-$20. 21+.

Lucy Guerin Inc.

The first round of Australian dance presented by White Bird this fall, Lucy Guerin should be less impressive than the light show extravaganza offered by Sydney Dance Company next week. Guerin’s piece Weather runs a little over an hour without intermission, a run time that might feel longer because of repetitive choreography. Dancers, interpreting climate change, twist and writhe like they’re caught in the wind, sometimes at great length. Guerin, a postmodern choreographer, also includes several of her staples: the use of voice, abstract movement and unusual partnering. She uses an interesting prop, too—a ceiling of plastic bags that releases onto the dancers. Lincoln Hall, Portland State University, 1620 SW Park Ave., 725-3307. 8 pm Thursday-Saturday, Oct. 17-19. $25-$59.

Oregon Ballet Theatre

Oregon Ballet Theatre’s introductory show under new artistic director Kevin Irving is a mix of familiar and new. The show opens with Nacho Duato’s Por Vos Muero, which means “For you I would die.” The piece paints a dark and romantic picture of 15th- and 16thcentury Spain, mixing contemporary movement and classical imagery. In one scene, women in skintight taupe bodysuits hop into men’s arms, freezing as they’re caught in poses with flexed feet and spread fingers. In the next, the women wear long, billowing skirts and perform a kind of court dance. There’s no narrative arc to speak of and, surprisingly, nobody dies. The second piece, a revival of former artistic director Christopher Stowell’s A Midsummer Night’s Dream, is, of course, heavy on narrative. Set to a live orchestra, the piece begins with a wedding and follows Shakespeare’s story of humor and love spells. The chaotic romances between Hermia and Lysander (Xuan Cheng and Michael Linsmeier) and Demetrius and Helena (Brett Bauer and Makino Hayashi)

bottoms up: Victor mack and brooke totman.

DETROIT (PORTLAND PLAYHOUSE) The streets in the unnamed suburb of Detroit—which is not necessarily set anywhere near the Motor City—evoke light. Ultraviolet Lane. Fluorescent Avenue. Sunshine Way. Lightness, too: There’s Feather Boulevard, Helium Street, Weightless Avenue. But this suburb, built in the postwar housing boom and filled with prefab homes, is no longer the luminous, buoyant place of its original inhabitants’ fantasies. Detroit is set in 2009, and the four central characters occupy a world of foreclosures, layoffs and fractured dreams. It’s a world that should be familiar to us, but in this Portland Playhouse production, it feels both alien and alienating. Lisa D’Amour’s Pulitzer-nominated play centers on two couples. Mary and Ben enjoy the trappings of a middle-class lifestyle: a mortgage, patio furniture from the discount depot, heirloom tomatoes from Whole Foods. Sharon and Kenny, meanwhile, are recovering addicts who claim to be living next door with a relative’s permission, yet they have no furniture save bedsheets on the windows and a mattress on the floor. Strange times make for strange bedfellows, and these two couples strike up a friendship over grilled steak and, later, too much PBR. Unfolding over two acts, the play’s vignettes make for a fractured structure. At its best, the dialogue buzzes with an offbeat poetry that echoes this sense of fracture. “Cheetos are always the first thing to go at a party, even when they’re next to the brie,” says Sharon (Kelly Tallent) as she nervously sets out the “white trash appetizers.” But the choppy, episodic narrative has to work overtime to keep the audience engaged— we’re ejected from the action as soon as it turns intriguing, and the blackouts between scenes come often and last too long. But the bigger problem with this production, helmed by Portland Playhouse artistic director Brian Weaver, is its inability to resolve warring senses of slapstick and pathos. The characters spend more time bonking their heads, crashing through porches and vomiting on each other than they do exposing or salving their wounds. Tallent and Brooke Totman (who plays the middle-class wife) opt for caricaturish portrayals that grate for the wrong reasons—they’re uncomfortable not because they niggle at something true, but because they’re forced. The two actors perform at a consistently high pitch, rarely dialing back to let the play breathe. At one point, Totman’s character details her frustrations with an exaggerated girlishness that overpowers her words and saps them of feeling. Tallent, too, plays her role like an overgrown child, all graceless flailing and squeaky voice. It’s an interesting choice: There’s a case to be made that these characters are essentially children, thrashing about in a dangerous new world and scrambling for survival strategies. But in practice, it’s just distracting, and Detroit comes up cold. REBECCA JACOBSON.

A suburban nightmare, writ large.

see it: Detroit is at Portland Playhouse, 602 NE Prescott St., 488-5822. 7:30 pm Wednesdays-Saturdays and 2 pm Sundays through Nov. 3. $27.75-$38.75.

VISUAL ARTS

Oct. 16–22

= 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.

Daniel Robinson: Open Road

in works such as Elevator and Tracks and Below the Bullseye, daniel Robinson paints grain silos, farms and factories in a flat, uninflected style. There are no people in his tableaux, just architecture and landscape. While the compositions are technically sound, they’re dreary, chromatically bland and vaguely unnerving—but not quite unnerving enough to truly disturb the imagination. Through Nov. 2. Charles A. Hartman Fine Art, 134 NW 8th Ave., 287-3886.

Dinh Q. Lê: Fixing the Impermanent

Vietnamese artist dinh Q. Lê revisits the Vietnam War in a suite of stunning photographic tapestries. Lê uses photographic prints like strips of fabric or twine in tapestries or baskets, weaving them in and out of compositions that also integrate boldly colored linen tape. The images are often harrowing, as in Immolation in Additive and the Subtractive Colors, which appropriates an iconic photograph of Buddhist monk Thich Quang duc committing suicide in 1963 by setting himself afire. That Lê makes this disturbing image so beautiful, via its palette of jewel tones and bubblegum hues, is a credit to his knack for conflating and confusing visual beauty and political awareness. Through Oct. 26. Elizabeth Leach Gallery, 417 NW 9th Ave., 224-0521.

Jacques Flechemuller: Dance With Ingres

The understated wit of Jacques Flechemuller’s drawings flows from the sheer absurdity of their imagery and titles. There’s a picture called Darwin that shows a chimpanzee reading a christian Bible. in another, a dog wears a cone collar that’s emblazoned with the words “God is invincible.” huh? Then there’s a knight in armor; in one hand he holds a heraldic banner, in the other a shield. in place of a family crest, the shield bears the word “Mayonnaise.” Somewhere between Mad magazine and cheech and chong, this show is probably best viewed while slightly high. Through Nov. 2. PDX Contemporary Art, 925 NW Flanders St., 222-0063.

Jeffrey Butters: Passages

in a triptych of ravishing oil paintings, Jeffrey 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 float out of their very frames. Through Nov. 2. Butters Gallery, 520 NW Davis St., second floor, 248-9378.

Jim Riswold: Art for Oncologists

at least three people and some bubble-bath-infused hot water could fit inside the oversize “candy dish” at the heart of Jim Riswold’s Art for Oncologists. The “candies” the dish contains are giant heart-shaped sculptures, each inscribed with the name of a chemotherapy drug. This is a very personal piece and exhibition for Riswold, a longtime leukemia and prostate cancer survivor. he hints at the tenacity required for this 13-year battle royale in the piece Don Quixote Fights Cancer. in the photograph, a figurine of cervantes’ oblivious hero sits astride a brightly colored chemo drip. Fighting cancer, Riswold implies, may be a bit like tilting at windmills; it requires a steadfast belief that eventually, against all odds, one will succeed. Through Nov. 2. Augen DeSoto, 716 NW Davis St., 224-8182.

Maria José D’Amico: Bien de Familia

The so-called “ruin porn” genre fetishizes the interiors of derelict buildings. Several important photography exhibitions in the past five years have showcased ramshackle spaces in detroit, riffing on the unlikely beauty of urban decay. Many of these shows included images of peeling wallpaper and plants growing on the floors of once-sumptuous dining rooms—images that were often shocking to the point of exploitation. This is exactly what Maria José d’amico’s pictures do, except instead of detroit, he took his photos in argentina. in these abandoned homes, walls are stained with the outlines of bookcases no longer there; wainscoting is chipping off; hardwood floors have rotted away, leaving only a few structural support beams. a poignant image shows a baby crib lying hobbled on the floor, three of its four legs gone. These works have a bleak, postapocalyptic feel, but they’re so similar to ruin porn we’ve seen before, viewers are apt to find the show redundant. Through Nov. 3. Blue Sky Gallery, 122 NW 8th Ave., 225-0210.

Michael Schultheis: Universal Couplings of Archimedes

Like portland-based encaustic artist elise Wagner, painter Michael Schultheis is intrigued by the meeting place of science and art. Schultheis’ point of departure for his current batch of pieces were the mathematical and geometric formulas of ancient Greek mathematician and inventor archimedes of Syracuse (287 Bc-212 Bc). Through Nov. 2. Froelick Gallery, 714 NW Davis St., 222-1142.

MUSIC MILLENNIUM’S UPCOMING IN-STORES

HALIE LOREN FRIDAY, 10/18 @ 6 PM “Depending on the song, Loren can be sweet, sly, or sultry, but she always finds the right read ... pure magic.” –All About Jazz

DAVE HAUSE

ONLY PORTLAND PERFORMANCE

SUNDAY, 10/19 @ 5 PM Hause’s rock songs, tinged with folk and punk tones, are firmly rooted in his upbringing and the sensibility that comes from growing up in a blue-collar neighborhood driven by the lingering anticipation of upward mobility.

Michael T. Hensley: New Works

REVIEW

exuberant, fanciful and just a little wack, Michael T. hensley’s mixed-media works blend painting and drawing. in the imagery in the show’s 40-odd pieces, there’s something for everyone: faces, landscapes, seascapes, cityscapes, airplanes, wine bottles, chemistry beakers, fried eggs, salt shakers, cacti, ice cream cones, cherries. Through Nov. 10. Mark Woolley Gallery @ Pioneer, 700 SW 5th Ave., third floor, Pioneer Place Mall, 998-4152.

Mike Egan: We Bleed Black Blood When We Die Dark Deaths

pittsburgh-based artist Mike egan delivers a perfect halloween-themed show, full of skeletons, coffins, pumpkins, devils and ghouls. he paints them in an iconic, childlike style that’s quietly charming, if perhaps a touch too designish. egan’s professional history plays into his subject matter: he graduated from mortuary school and once worked as a licensed funeral director. in the process, he became obsessed with death and the fictions we build up around it. That obsession has found its way into his artwork. Through Nov. 2. Breeze Block Gallery, 323 NW 6th Ave., 318-6228.

aromatic garden by Tom cramEr

TOM CRAMER AND SHERRIE WOLF

Subject, Answer, Countersubject is the debut of disjecta’s third curator-inresidence, Summer Guthery. Guthery themed the show on the idea of the fugue, with art pieces playing off one another like melodies in Baroque counterpoint. The artists—Talia chetrit, Shana Lutker, Virginia Overton, Marlo pascual, Virginia poundstone, R.h. Quaytman, Marina Rosenfeld and Blair Saxon-hill—are well-chosen and complementary in sensibility. poundstone’s gritty sculpture, which juxtaposes shiny metal with a coarser, more porous substance, is a particular standout. Through Nov. 3. Disjecta, 8371 N Interstate Ave., 286-9449.

Rainy autumn skies have arrived in Portland, but inside the Laura Russo Gallery, spring is still in full bloom. In Tom Cramer’s Continuum and Sherrie Wolf’s Stills, flowers take center stage. Cramer abstracts the time-honored motif of the floral still life to practically psychedelic levels of intensity, while Wolf renders her subtly suggestive bouquets with photorealistic crispness. Both shows are so sexy, they could make a botanist blush. In a wide-ranging array of media—gilded wood-relief paintings, wood burnings and pen-and-ink drawings—Cramer pounds the idea of flora as sexual synesthesia. In the not-so-demurely titled Aromatic Garden, stylized flowers with spokelike petals spill across a mahogany panel, enmeshed in vines and curlicued fiddlehead ferns. He flecks the panel with purple and teal paint and gleaming slivers of gold leaf. In the hyperkinetic drawing Abundance, a goddesslike figure—her forehead flowerwreathed, breasts bared on either side of a toga—hoists a horn of plenty, which floweth over with blooms, apples, grapes and leaves. The artist’s obsessive lines and curves are pregnant with the symbolism of fecundity. For her part, Wolf has destabilized the neoclassical balance of her well-known floral tableaux, upending the axis of perspective in works such as Still Life With American Landscape and Still Life With White Satin. As we look precipitously down, not across, into these tilted, offkilter compositions, we practically feel the earth move under our feet. In the summery beach idyll Blue Mirror, a flower vase sits conspicuously empty among seashells and rumpled, satiny fabric. Whatever flower the vase once contained has been plucked away by someone offstage, leaving the vessel’s mouth agape, hungering for a fresh stem. With art like this, who needs pornography? The voluptuary quality of Wolf’s and Cramer’s paintings is tempered by their mutual seriousness of purpose. As divergent as their styles are, both are perfectionists who labor hours over small passages. In Wolf’s fine-bristled brushwork and Cramer’s intricate carving and drawing, a sense of illusionism prevails; Wolf makes us feel we’re looking at flowers realistic enough to smell, while Cramer hands us a tab of LSD and leaves us alone in an English garden. RICHARD SPEER.

For more Visual arts listings, visit

SEE IT: Tom cramer’s and Sherrie Wolf’s shows are at Laura Russo Gallery, 805 NW 21st ave., 226-2754, through Nov. 2. The artists will speak at the gallery at 11 am Saturday, Oct. 19. Free.

Paul Soriano: Oblivion

paul Soriano departs from his serene portraiture in a new suite of oil paintings entitled Oblivion. There’s nothing serene about these works, with their hyperkinetic undergirding of gestures, swarming underneath the paintings’ surfaces like hornets. The works’ subject matter also has a vespine sense of danger and agitation. in the imagery, Soriano confronts psychosexual demons he has never before explored in his exhibited work. The wild-haired figure in Shaman in the Twilight of his Days, the erect male nude in Lost (in the Valley of Pleasure) and the bareassed youth confronted by clothed boys in At the Crossroad (Kill the Pig) all illuminate dark corners of the sexual psyche in a manner recalling the feverish erotic fantasias of painter eric Fischl. Through Nov. 7. Cock Gallery, 625 NW Everett St., No. 106, 552-8686.

Subject, Answer, Countersubject

With art like this, who needs porn?

FROM ENGLAND

MARTIN WELLER SUNDAY, 10/20 @ 3 PM Weller dedicates his new album, Gobshite, to the people in media, governments, and entertainment, who make our lives so interesting.

NAMOI LAVIOLETTE SUNDAY, 10/20 @ 5 PM LaViolette’s new album, You’ve Got Me, represents a new sound LaViolette has developed for herself over the past year, which she describes as ”flirty and funky, with more groove.”

TIM O’BRIEN AND DARRELL SCOTT WEDNESDAY, 10/23 @ 6 PM “As writers and artists, we just witness what’s going on, describe it like journalists and put it in a nice little melodic frame,” O’Brien reflects. “And under the guise of entertainment, it makes people think about what’s happening.”

Willamette Week OCTOBER 16, 2013 wweek.com

BOOKS

OCT. 16–22

= 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. 16 XO Orpheus

Serving as a follow-up to the acclaimed collection of re-told fairy tales My Mother She Killed Me, My Father He Ate Me, the new collection turns to ancient myths. In XO Orpheus, celebrated authors oﬀer interpretations of 50 classic myths, such as Aimee Bender and the story of the Titans and Joy Williams and the myth of Argos. Editor Kate Bernheimer is joined by contributors Gina Ochsner and Willy Vlautin for a reading and conversation. Powell’s City of Books, 1005 W Burnside St., 228-4651. 7:30 pm. Free.

Tom Crawford and Ellen Waterston

Taking the literary stage for the Mountain Writers Series is Santa Fe-based poet and teacher Tom Crawford (Lauds, The Temple on Monday), whose years spent teaching in China and South Korea have inﬂuenced his work with an Eastern sensibility. Joining him is poet and memoirist Ellen Waterston (Between Desert Seasons, I Am Madagascar), who will read from her forthcoming collection, Via Lactea, A Verse Novel. The Press Club, 2621 SE Clinton St., 233-5656. 7:30 pm. $5.

THURSDAY, OCT. 17 Lynn D. Partin

Inspired by Hemingway’s recollections of 1920s Paris in his memoir A Moveable Feast, author Lynn D. Partin retraced his walks through the city with her new book, A Walkable Feast: Exploring Hemingway’s Paris on Foot. She encountered the ﬂats where Hemingway and his famous friends lived and the cafes they frequented. The added challenge is matching him drink for drink. Broadway Books, 1714 NE Broadway, 284-1726. 7 pm. Free.

Dan Beachy-Quick and Gina Ochsner

Having authored numerous books of poetry and prose, Dan BeachyQuick reads from his ﬁrst novel, An Impenetrable Screen of Purest Sky. Joining him for the reading is teacher and author Gina Ochsner (The Russian Dreambook of Color and Flight). Literary Arts Center, 925 SW Washington St., 227-2583. 7 pm. Free.

Jamie Ford

Bestselling Northwest author Jamie Ford (Hotel on the Corner of Bitter and Sweet) returns to the genre of historical ﬁction with his second novel, Songs of Willow Frost. Set in Depression-era Seattle, an orphaned boy comes to believe a famous actress is really his mother. Powell’s City of Books, 1005 W Burnside St., 228-4651. 7:30 pm. Free.

Jesse Bering

Making the argument that we are all sexual deviants on some level (tell us something we don’t know), psychologist and Slate columnist Jesse Bering’s new book, Perv, explores the history of perversions and the latest research on desire. Told with his irreverent sense of humor, zoophilia never seemed so funny. Powell’s on Hawthorne, 3723 SE Hawthorne Blvd., 228-4651. 7:30 pm. Free.

FRIDAY, OCT. 18 Fall Used-Book Sale

Bibliophiles and hoarders unite for the Friends of Multnomah County Library’s 40th annual fall used-book sale. More than 100,000 items will be for sale, with many selling for just 50 cents. Stock up your home library and support a local institution. DoubleTree Inn, Lloyd Center,

Willamette Week OCTOBER 16, 2013 wweek.com

1000 NE Multnomah St., 281-6111. Friday 6-9 pm, Saturday 9 am-6 pm, Sunday 11 am-5 pm, Monday 9 am-3 pm, Oct. 18-21. Free.

MONDAY, OCT. 21 Junot Diaz

Pulitzer Prize-winning writer Junot Diaz (The Brief Wondrous Life of Oscar Wao) has a knack for illustrating just how tortuous life can be due to the fallible human heart (but in a really, really good way). His new collection of stories, This Is How You Lose Her, serves up some of that

beautiful torture. Powell’s City of Books, 1005 W Burnside St., 2284651. 7:30 pm. Free.

Mike Madrid

It’s a man’s world, even in comics. And while many classic heroines like Wonder Woman and Sheena have held their own in modern times, many from the World War II era have been forgotten. Mike Madrid aims to remind us of some badass babes with his new book, Divas, Dames and Daredevils: Lost Heroines of Golden Age Comics, which features 28 full reproductions of vintage comics. Powell’s on Hawthorne, 3723 SE Hawthorne Blvd., 228-4651. 7:30 pm. Free.

For more Books listings, visit

REVIEW

WILLIAM TODD SCHULTZ, TORMENT SAINT: THE LIFE OF ELLIOTT SMITH In the 10 years since Elliott Smith died of a self-inflicted stab wound to the chest, the one thing we’ve collectively come to understand about the singer-songwriter is that he may never be understood. William Todd Schultz encapIn search of the man behind the misery. sulates this sentiment in the title of his biography on Smith, a mishearing of lyrics from his song “Go By.” The lasting image of Smith is that of the tragic poet laureate of Generation X, a quiet, introspective troubadour who refused to be known as a “folkie.” Torment Saint (Bloomsbury, 339 pages, $27) spills plenty of ink in an attempt to pry out the “real” Smith, but the conclusion remains the same: We may never know. Like any biography of a dead rock star, the chapters of Smith’s life—his childhood in Texas, his high-school and post-college years in dreary Portland—are parsed and analyzed ad nauseam. Schultz, whose prior works have been mostly of the “psychobiographical” genre, is ultimately unsuccessful in leaving no stone unturned as he probes the gray areas of Smith’s life in Texas. There are numerous references to Smith enduring abuse, but you’d be better off analyzing Smith’s lyrics at length—as Schultz does, to droning effect—than seeking clear-cut answers from interviews with Smith’s inner circle. Some stones would rather not be overturned. In crafting a story to which everyone already knows the ending, Schultz takes a great deal of care in painting vivid scenes of Smith’s creative blossoming in the mid-’90s, around the time his rock band, Heatmiser, was ascending from the underground and simultaneously imploding under the weight of Smith’s rising solo career. The imagery of Portland in the 1990s as the locus of sad-bastard songwriters chased by the grip of alcohol, drugs and depression is stirring in its specificity: Local readers will undoubtedly be tempted to throw on Either/Or and walk around Southeast Division Street or what’s now the Pearl District and wonder what Smith saw in these environs that made him so unbelievably destitute. Given the guarded nature of the hard facts that have left holes in “the Smith myth,” as Schultz calls it, it’s unfair to slight the author for the rambling conjecture about lyrical metaphors he uses to glue various parts of Smith’s early life in place. With the exception of an overly effusive introduction casting Smith as a greater exemplar of tortured songcraft than either Nick Drake or Kurt Cobain before him, Torment Saint is a highly readable, headlong dive into the far end of a tormented artist’s head space. It’s a cloudy, gray place at times, but even the saddest, darkest moments contain a beautiful silver lining. PETE COTTELL.

oct. 16-22 REVIEW

= WW Pick. Highly recommended.

COuRTESY OF SONY PICTuRES CLASSICS

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. Most are resigned to their roles in the musical ecosystem, content to have sacrificed their own aspirations for the sake of elevating the art itself. Whether that’s noble or a con, Neville never judges. He just lets them sing. And, in a more perfect universe, that would be enough. MATTHEW SINGER. Living Room Theaters.

All the Boys Love Mandy Lane

Seven years after premiering at the Toronto International Film Festival, the teen-slasher flick finally hits screens. It’s apparently like a mediocre Cabin in the Woods, except with a swimming pool. R. Living Room Theaters.

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. Lloyd Mall.

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 lowrent sister Ginger (played with wonderful sympathy by Sally Hawkins). Blanchett’s performance is fascinating. She’s an Ingmar Bergman figure yanked straight out of Tennessee Williams: brittle, high-bred, wellguarded against reality but wretchedly vulnerable, snapping back and forth between high-class snob and raving drunk. 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. Hollywood Theatre.

Captain Phillips

A- It’s easy to forget this while

hanging at an average Portland cafe, but America is scary as hell. Especially if you’re a Somali pirate. You probably already know the story behind the new Tom Hanks movie, Captain Phillips, because you heard it first from the helmet-haired hagiographers of cable news. Back in 2009, four Somali pirates boarded a freighter and kidnapped its captain, Richard Phillips (played in the movie by Hanks). They kept him for five days on a lifeboat, demanding a ransom of $10 million, then got their brains blown out of their skulls by Navy SEALs. In outline form, the politics of the plot are problematic for a film: It is the heroic triumph of superior, mostly white American forces against amateurish, violent African criminals. But Paul Greengrass’ film is no Black Hawk Down. Whenever the Navy SEALs emerge, they are seen in blank silhouette, accompanied by the ominous music of alien assault. They look like a machine built only for death. It’s an interesting choice by Greengrass: Why won’t he let you just root for Tom Hanks and the Navy and then cheer at the end? Instead, we observe the inevitable violent death of the only real characters in the film: the pirates themselves. Though shot with an eerie, disciplined neutrality, this is perhaps the most compassionate piece of filmmaking I’ve seen this year.

Why can’t we have heroes in this film? Because the world is too weary for them. What we have instead is a situation, and it is grim, and every part of it is sad. Watch the film, and live with that. PG-13. MATTHEW KORFHAGE. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Oak Grove, Movies on TV, Sandy.

Carrie

Stephen King’s 1974 novel gets adapted for the screen. Again. 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, Sandy.

Cloudy With a Chance of Meatballs 2

Cheeseburgers, falling from the sky! Again! PG. 99W Drive-In, Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Oak Grove, Lloyd Mall, Movies on TV, Sandy.

Concussion

B- “I belong to you, but you don’t

want me,” laments Abby to her wife, Kate, a bristly, distracted divorce lawyer who fell asleep during their last attempt at intimacy. Mind you, Kate has just discovered Abby in bed with another woman, one of many she’s taken up with thanks to a new side gig as a prostitute catering to women. Concussion’s central trope—a bored housewife flirts with mischief— isn’t fresh, but the twist is that the film centers on a lesbian couple. It’s refreshing that their homosexuality isn’t a major theme; rather, the stalemate and the philandering that plague many a couple—gay or straight—take precedence. It’s an alluring setup, but there are too many unexplained holes in Concussion to satisfy. How is it that Abby’s business associate conveniently dates a female pimp? How was Abby pulled into prostitution in the first place? And what exactly is the problem with Abby’s wife? Kate’s rigidness is never fully explained, and without enough information it’s difficult to sympathize with Abby’s sudden turn to harlotry. R. GRACE STAINBACK. Living Room Theaters.

Despicable Me 2

C This sequel to 2010’s blockbuster adds Kristen Wiig as high-spirited love interest and expands the animated repertoire to encompass 3-D thrills, but the story itself, which shoehorns Gru into the service of a global superspy league for the flimsiest of reasons, arrives packed with exposition and shorn of coherency. PG. JAY HORTON. Eastport, Clackamas, Indoor Twin, Movies on TV.

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, some good old-fashioned misogyny and, of course, sex that’s all about the man. “Condoms are just terrible,” whines Jon (Gordon-Levitt), 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 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 meat-pounding 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, and

CONT. on page 48

WHaT a GIRL WaNTS: Waad Mohammed and the bike of her dreams.

TWO WHEELS TO FREEDOM

WADJDA IS AN EXTRAORDINARY FILM, MADE IN A COUNTRY THAT BANS CINEMAS. BY ReB ecca jacoB son

rjacobson@wweek.com

Circumstances alone make Wadjda a remarkable film. It’s the first feature shot exclusively in Saudi Arabia, a country where cinemas have been banned since the mid-’80s. Its director is a woman, Haifaa Al-Mansour, who often had to direct shots via walkie-talkie from inside a van, because she couldn’t be seen working alongside men. It’s already been submitted as the country’s first-ever entry for the Academy Awards (the Saudi nominating committee had to fly to Dubai to see it). These facts alone would make Wadjda worth seeing. Yet they’re not what ultimately make the film extraordinary. It’s that, on the most basic level, Wadjda is a wonderful piece of filmmaking. It’s a tale that’s delightful and insightful and gently transgressive, and Al-Mansour tells it with economy, lyricism and terrific warmth. The story itself breaks no new ground: A 10-year-old girl named Wadjda dreams of owning a bike, a lovely emerald-green cruiser with handlebar streamers and a bell. Her good friend, a boy named Abdullah, has a bike of his own, and Wadjda wants to prove she can beat him in a race. “Losing to a girl will be a double loss,” she promises him, in one of many lines that softly prod at gender oppression and unfair double standards. Wadjda’s a cheeky wheeler-dealer—she weaves bracelets and sells them to her classmates, and for a fee she’ll deliver letters from girls to boys—but she doesn’t have enough money for that gorgeous steed. (Never mind that it’s considered scandalous and dishonorable for a girl to ride a bike.) So when her school announces a Koran-recitation competition with significant money at stake, the not-so-studious but damned determined Wadjda buys a video-game study guide and sets to work, all the while surreptitiously meeting with Abdullah to practice her pedaling skills. It’s not novel for a film to view a repressive society through the lens of a child, but young actress Waad Mohammed has the expressiveness and selfpossession to make Wadjda a complex character, rather than just a narrative instrument. She’s a headstrong schemer, a pint-size rebel with an evermischievous look on her face. Unlike her more obe-

dient classmates, Wadjda arrives home from school and dances around her bedroom to Grouplove’s “Tongue Tied.” When the school principal asks her to wear plain black shoes, Wadjda simply inks in the stars on her purple-laced Chuck Taylors. With her balance of innocence and impishness, Mohammed— who, according to Al-Mansour, sang a Justin Bieber song during her audition—carries much of the film. But the movie is more than just a portrait of an exceptional girl, and it’s here Wadjda establishes itself as something great. In some ways, it’s a slice-of-life picture, an anthropological document about a society alien to most Americans. We see blocky, sand-colored buildings and dusty streets; we observe Wadjda’s mother at the mall, where she must try on a dress in the restroom; we watch the preparation of meals. Yet Wadjda transcends these details—it’s not some mere cultural curiosity. By the same token, it’s more than an issue drama, thanks to Al-Mansour’s subversive yet never strident storytelling. She lets her characters speak: “A woman’s voice is her nakedness,” says Wadjda’s principal, a severe taskmaster with perfectly plucked eyebrows and 5-inch stilettos peeking out beneath her abaya. Later, one of Wadjda’s most dutiful classmates, a plump and homely girl, is scolded by the gum-smacking religion teacher for showing off pictures of her recent wedding to a 20-year-old man. Photos are not allowed in school. Many of the film’s sharpest observations about Saudi Arabia’s systemic misogyny arrive courtesy of Wadjda’s mother (Reem Abdullah, a Saudi soap star). As Wadjda schemes and studies, taking things into her own hands, her mother is powerless and lost. Unable to bear a son, she worries her husband may take a second wife. She works at a school far from home, and her driver—women in Saudi Arabia aren’t allowed to drive—is hopelessly crotchety, but she’s bound to him. The mother carries her trials in her body, and the way she moves languorously from task to task is tragic. Equally devastating are the moments of humor: When Wadjda falls off her friend’s bike, her mother shrieks, “Your virginity!” Heartbreaking yet hopeful, Wadjda may not reinvent the wheel. But it pedals astoundingly well. A

21.

Wadjda is rated PG. It opens Friday at Cinema

Willamette Week OCTOBER 16, 2013 wweek.com

oct. 16-22

C O U R T E S Y O F R A D I U S -T W C

There are, however, a few interviews in Portland, including a shot with Clyde Commons’ Jeffrey Morgenthaler. Still, you’d be better off hanging out on Morgenthaler’s blog learning how to make a proper mint julep. MATTHEW KORFHAGE. Living Room Theaters.

In a World...

B+ Lake Bell is on a crusade against

CONCUSSION to the film overall, 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. The main character may wear skintight deep V’s and jizz in his pants on a regular basis, but the message behind Don Jon remains subtly brilliant. R. EMILY JENSEN. Cedar Hills, Eastport, Clackamas, Living Room Theaters, Lloyd Mall.

Elysium

B+ In the year 2154, we’re told, the

rich don’t care about the poor. Neill Blomkamp, whose debut film was the alien-apartheid fantasy District 9, pretty much takes this for granted. His sophomore film, Elysium, is essentially a political metaphor gone fiercely rogue in the physical world. Not only do the rich not give two flying figs about the poor, but they live in a utopian space station in the sky, constantly bathed in heavenly light. Below, on Earth, the abandoned residents of Los Angeles languish in a dreamily intricate slum that has fallen into apocalyptic steampunk, a world of shit and piss and dirt. 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. Fox Tower, Eastport, Evergreen Parkway.

Enough Said

A- Watching Nicole Holofcener’s

Enough Said is a bit like watching any romantic comedy—provided you’re hung over and bleary-eyed and vulnerable, a little raw from the weight of life. Which is to say, it’s a bit less like the comedies of film and a bit more like the comedies that occur in life, with laughter a balm for tart failure and for the embarrassment of naked hope. In Enough Said, you’re going to get a huge sitcom-caliber calamity: Julia Louis-Dreyfus’ new best friend (Catherine Keener) turns out to be the embittered ex-wife of her new lover (James Gandolfini). But the ridiculous triangle—though unnecessarily protracted—is drawn with lines so jagged and tentative it feels formed to the shapes of the characters, rather than vice versa. The film is a rare thing: a portrait of middle-aged romance that feels genuine in its baby steps and lurches, the hesitations of people out of practice. Louis-Dreyfus’ comedy is rooted in missed opportunity and sudden regret, Keener’s often in the brittle judgment of the alpha female. Gandolfini’s? Apparently it comes from love. In his final role, he shows a tenderness and good-natured humor that imbues the film with an extra layer of pathos: that we will not know him this way again. One of his last lines in the film is “I’ve missed you.” Well, I’ll miss him, too. PG-13. MATTHEW KORFHAGE. Cedar Hills.

Escape From Tomorrow

C Much as Disney World long ago

declared itself beyond changing cultural tastes or socioeconomic inevitabilities, Escape From Tomorrow might rightly escape critique. The mere existence of a psychological horror flick shot on the grounds of the Magic Kingdom beggars reason, and

the resulting film remains eminently watchable as a triumph of guerrilla technique. There’s an inherent thrill knowing an indie auteur has lifted the keys to Disney World to illustrate the breakdown of a newly fired suburbanite on vacation with his wife and kids. The cinematographic constraints born of necessity—sudden close-ups at desperate angles, crowd scenes with impossible depth of field, monochromatic contrast stuck at 11; Touch of Evil photobombed by Pluto and Goofy—crackle with a visual tension utterly wasted by the splintered narrative. Theme parks lend themselves to an embarrassed paranoia spurred by the revelry of strangers, and early scenes depict that underlying alienation with deft staging of familial discord. Finding a momentarily lost daughter kneeling before a creepily accented interloper creates sufficient dread. We don’t need to be informed about a “cat flu” pandemic, and we shouldn’t be subjected to the most puerile elaboration of Siemens’ connection to Epcot Center. The distracting reliance upon salaciousness and morbidity (alongside a bizarre ’50s sci-fi interlude) feels like a tooobvious grasp at the cult market, which inevitably overwhelms the production’s quieter pleasures. In surer hands, a truly frightening film could’ve exploited the natural tensions rippling beneath corporate playgrounds promising manufactured fun, but, alas, it’s a small movie, after all. JAY HORTON. Cinema 21.

Escape Plan

Wait, Arnold Schwarzenegger and Sylvester Stallone? And 50 Cent?! We’re sold. Screened after WW press deadlines, but look for Jay Horton’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, Sandy.

German Film Festival

[FOUR DAYS ONLY] Cultural organization Zeitgeist Northwest shows eight German films over four days. Highlights include Ludwig II (7 pm Friday, Oct. 18), a biopic about the allegedly mad, Wagner-loving king who built the extravagant pleasure palace Neuschwanstein; and Oh Boy (7 pm Saturday, Oct. 19), an awardwinning comedy about a young man in Berlin trying to find himself. Cinema 21. Friday-Monday, Oct. 18-21. For full schedule, see zeitgeistnorthwest.org.

left hopelessly adrift with a dwindling supply of oxygen. It is perhaps the most stressful experience to be had in a movie theater this year, and as such it’s nearly perfect. Bullock exudes terror and strength in her difficult role. Clooney, here playing a supporting piece of space debris, becomes the film’s sense of calm and functions as much-needed comic relief. 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. The film is as haunting and beautiful as it is brilliant. PG-13. AP KRYZA. Cedar Hills, Eastport, Clackamas, CineMagic, Mill Plain, Cornelius, Moreland, Oak Grove, Lloyd Mall, Movies on TV, Roseway, Sandy, St. Johns Twin.

Hey Bartender

C- Ah, nothing like a good drinking movie to settle into the weekend. Too bad this isn’t one of them. Hey Bartender, directed by Douglas Tirola, is ostensibly a document of the nowoverfamiliar renaissance in craft cocktails—that world of ironed vest, waxed mustache and Dolin Blanc often nonsensically mislabeled as Prohibition-era cocktailing. Problem is, the film’s far too confused and diffuse to maintain the viewer’s interest. The brief history of the cocktail dispersed throughout is a bit shallow; the time spent with NYC pioneers Sasha Petraske and Dale Degroff is much too brief and anecdotal. You learn nothing, in fact, of why these cocktails are any better than your basic chocolatini, aside from the hilariously repeated mention of “fresh fruit juice.” (But you now have a drinking game to play while watching!) Instead, we follow the proprietor of a Jäger-bro bar in Connecticut, along with a bizarrely pretentious former Marine apprenticing at the esteemed Employees Only bar in New York, who keeps repeating the maxim that all good cocktail artists must be a blend of mixologist, sage and “rock star.” Neither subject, though, knows much yet about constructing a cocktail, nor does Tirola make good use of the expertise of actual craft-cocktail pioneers, beyond some creepily underwater-looking slo-mo shots.

“sexy baby voice.” For those unfamiliar with this obnoxious tic, imagine if Betty Boop incorporated some of Ke$ha’s vocal fry—that low, guttural vibration—and ended every sentence as if it were a question. That’s Bell’s pet peeve, and she lampoons it to pitch-perfect effect in In a World…, which she wrote, directed, produced and stars in. But as funny as that sendup is, it’s still far from the best thing in the film, which takes us into the idiosyncratic and competitive realm of voice-over artists. Bell plays Carol, an aspiring voice-over artist with a bear of a father (Frank Melamed) who’s big in the biz. He’s as vain and sexist as the rest of his industry. “Women are flying planes now!” he gasps, lounging poolside in a velvet leisure suit. But Carol, a graceless but tenacious 30-year-old who favors overalls and babydoll dresses, ends up vying for voice-over work on the trailers for an action “quadrilogy,” a hilarious Hunger Games-style spoof starring Cameron Diaz. The movie is overstuffed, but its unassuming tone, its generosity of spirit, and Bell’s skillful performance redeem the uneven pacing and bumpy storytelling. But most of all, In a World… 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.

Inequality for All

A- There are two types of political

documentarian. One shouts at you until he is red in the face, and then stares, brow furrowed, until you do something, dammit. I’m looking at you, Michael Moore and Dinesh D’Souza. Jacob Kornbluth, director of Inequality for All, falls into the other category of directors who, like Errol Morris, don’t trade the lens for a soapbox. Something of a personal tutoring session with UC Berkeley professor and former Secretary of Labor Robert Reich, Inequality for All lays it all on the table in the first 10 minutes: As inequality rises, the economy suffers. Kornbluth doesn’t break out his deadhorse whip, though. There’s a lot more data to be tastefully presented, and through the personalities of Reich and other interviewees, a sense of story emerges. Pillow tycoon Nick Hanauer explains why the 1 percent don’t really help the economy. “Even the richest people only sleep on one or two pillows,” Hanauer says. “I have the nicest Audi you can buy, but it’s still just one Audi.” We laugh with Hanauer without guilt, because Kornbluth has sailed his documentary between both the Scylla of dead facts and figures and the muckraking Charybdis. MITCH LILLIE. Hollywood Theatre.

Insidious: Chapter 2

C- The scariest thing about Insidious: Chapter 2 is that there will probably be a Chapter 3. Full of cheap scares,

loud noises that are more obnoxious than jarring, and obvious visual cues (red = evil!), it’s an expected downgrade from the lo-fi charms of the surprisingly decent original. James Wan 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 little more than LED lamps and smoke machines. But for every good scene, there are two or three bad ones, with ludicrous plot developments hampering what little momentum Wan has established. PG-13. MICHAEL NORDINE. Cedar Hills, Eastport, Clackamas, Cornelius, Lloyd Mall, Movies on TV, Sandy.

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. Academy, Indoor Twin, Kennedy School, Laurelhurst.

Machete Kills

Danny Trejo is back as a bounty hunter-dodging secret agent who must take down an evil arms manufacturer who wants to send a weapon into space. Woof. Not screened for Portland critics. R. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Oak Grove, Lloyd Mall, movies on TV, Sandy, St. Johns Twin.

Madness and Glory: The History of the Satyricon

[ONE NIGHT ONLY, DIRECTOR ATTENDING] A documentary about Portland’s legendary, now-defunct music venue, with interviews and archival footage of performances. For a Q&A with director Mike Lastra, see page 36. Cinema 21. 7 and 9 pm Wednesday, Oct. 16.

Mother of George

Andrew Dosunmu directs a drama about a young Nigerian couple in Brooklyn struggling to conceive a child. R. Living Room Theaters.

Pacific Rim

A- Guillermo Del Toro has honed a

skill that few directors—especially in the mainstream studio system—have mustered: He doesn’t make movies so much as build worlds. But what does such meticulous terraforming do for a movie about gigantic robots punching the shit out of gigantic monsters while destroying whole cities? It makes COURTESY OF PRODUCERS DISTRIBUTION AGENCY

MOVIES

Gravity

A- 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. With Gravity, Cuarón and his screenwriter son, Jonas, take on the most primal fear possible, that of being lost in an abyss of nothingness. 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

Willamette Week OCTOBER 16, 2013 wweek.com

ESCAPE FROM TOMORROW

oct. 16-22

Rush

HEY BARTENDER it effing awesome, that’s what, and Pacific Rim is like getting punched in the face with a fist full of bombastic, childish, escapist bliss. PG-13. AP KRYZA. Laurelhurst.

Planes

B+ Planes is a straightforward lark about a plucky crop-duster afraid of heights who manages to qualify for a round-the-world race. The global stereotypes lend themselves to humor at turns racist (the Mexican plane wears a wrestling mask), anti-racist (the gleaming, unaccented Mexican air force saves the American champ), and meta-racist (the Mexican plane harbors romantic stirrings for a sleek French-Canadian craft) while also enabling the studio’s trademark nuggets of scattershot whimsy. Buckle up, it’s gonna be a smooth ride. PG. JAY HORTON. Academy, Edgefield, Kennedy School, Laurelhurst, St. Johns, Valley.

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. Gloom lurks around every corner of the rain-drenched world. 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 may not have the endlessly pummeling effect of Mystic River or Ben Affleck’s Gone Baby Gone, but in terms of childabduction thrillers, 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, Cornelius, Oak Grove, Movies on TV.

Reel Music Festival: Charlie “Bird” Parker, 1920-1955

B- [ONE NIGHT ONLY, REVIVAL] This four-part documentary on the life and career of Charlie Parker, originally made for Norwegian television, presumes you are already a fan of the late jazz saxophonist. Filmmaker Jan Horne hits all the highlights, from Bird’s first recordings to his last days, mixing together the scant archival footage of Parker performing live and interviews with collaborators, friends and his widow, Chan. But for 180 minutes, you don’t get a real sense of the

man beyond the music. Horne skims over Parker’s addiction to heroin and alcohol and gives only a small taste of the fiery personality that lay within. The chief aim of the film is to cement in viewers’ consciousness the greatness of Parker’s musical mind and the innovative playing style that ushered in the bebop era. Or, at times, to paint an impressionistic picture, with montages of American city life set to classic sides like “Ornithology” and “April in Paris.” The documentary is worth your while if only to revel in the anecdotes of such iconic figures as Dizzy Gillespie, Milt Jackson and Red Rodney. They do their level best to ground Parker’s efforts in reality before the film urges this bird uncomfortably close to the sun. ROBERT HAM. Mission Theater. 3 pm Saturday, Oct. 19. See nwfilm.org for full Reel Music Festival schedule.

Riddick

B+ “Maybe I went and did the worst

thing of all: I got civilized.” So muses Richard B. Riddick early in the new film bearing his name. He’s ostensibly explaining how he’s come to find himself stranded on a desolate planet with a figurative knife in his back. Really, though, his words read as a self-aware statement on the downward trajectory of the first two entries in writer-director David Twohy and star Vin Diesel’s sci-fi franchise. Where Pitch Black was a simple story told well, The Chronicles of Riddick made a sincere but uneven attempt to expand said tale into a fully realized universe 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 the shadows and Riddick begins to feel like a Nightmare on Elm Street movie in which we’re meant to root for Freddy Krueger. This is all as awesome as it sounds, if not more so. Riddick is the best of the series thus far—not to mention the best action film of the year. R. MICHAEL NORDINE. Eastport, Movies on TV.

Runner Runner

D+ Runner Runner exists in an alternate reality where everybody speaks in gambling metaphors (“you’ve always got one more card to play”), hot college students stop midparty to gather excitedly around a computer to watch a dude play online poker for a few hours, and it’s possible for a kid with zero dollars in his bank account to hop instantly on a flight to Costa Rica. In this alternate universe, Ben Affleck never matured past his meatheaded douchebag persona—here, he plays a corrupt video-poker tycoon who smirks and lumbers around like the cocky high-school bully he played in Dazed and Confused, but who somehow never learned anything about acting in the past 20 years. It is a world where Justin Timberlake loses all his considerable charisma despite playing Affleck’s protégé, who is seduced by the glitz and glamor of the apparently super-sexy and enticing world of shady online poker. It’s a place where the great Anthony Mackie is suddenly the most cookie-cutter FBI agent ever committed to film, despite

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,” because if Ron Howard were banking on audience knowledge of the international Formula One racing scene of the 1970s to sell this biopic, EDtv suddenly wouldn’t seem like his worst misstep. 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 masculinity. Replace the subjects with, say, John McEnroe and Björn Borg, and not much changes, save all the fast driving—though it might have caused 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, Forest, Oak Grove, Lloyd Mall, Sandy.

catures of themselves. As the Rapture hits and sends pretty much everybody to heaven, these dudes are perfectly content to sit back, smoke weed and tell dick jokes. It all sounds juvenile, but for the most part, This Is the End works like gangbusters. AP KRYZA. Academy, Laurelhurst, St. Johns, Valley.

Turkish Rambo

Having tackled the Turkish remake of Star Wars, the creative minds at Filmusik move onto another Turkish adaptation of classic American cinema. Released in 1983—a time when Turkish audiences demanded blockbusters but political instability prevented Western movies from appearing in theaters—Vahşi Kan, Yerli Rambo copies the Sylvester Stallone movie almost exactly, though it adds bulldozers and, in an ahead-of-itstime touch, zombies. The script has been translated into English, to be performed by a cast of local voiceover actors. They’ll be joined onstage by musicians playing composer Justin Rall’s original orchestral soundtrack, and by foley artists, who’ll re-create the sound of each hand grenade and karate chop. Hollywood Theatre. 7 pm Friday-Saturday, Oct. 18-19 and Wednesday-Saturday, Oct. 23-26. Oct. 18-26.

We’re the Millers

B- Up until now, I only tolerated Jennifer Aniston. She’s the vanilla ice cream of the cinematic world. But her performance as a caustic stripper in We’re the Millers is a sort of remedy for all those years of goodgirl typecasting (save her role as a rapey dentist in Horrible Bosses). Is the novelty of a squeaky-clean Aniston working the pole yet another cheap Hollywood ploy to sell movie tickets? Absolutely. But it turns out she has the range to pull it off with surprising

depth and feeling. R. EMILY JENSEN. Clackamas, Laurelhurst, Mt. Hood, Movies on TV.

The Wolverine

B Wolverine’s story is seemingly the

most cinematic and easily translatable of all the mutants in his universe. The dude has been alive for hundreds of years. He’s pissed. He has gigantic metal talons that, when experiencing the aforementioned pissed-offedness, he plunges into people. Or into robots. Or into people operating robots. Sometimes into himself. That’s the rudimentary overview of this character, and yet the poor guy has been stuck in a cycle of increasingly crappy movies. But The Wolverine—star Hugh Jackman and director James Mangold’s simultaneous love letter to the character and apology to fans still spurned by X-Men Origins—is a completely different beast. It’s basically a high-budget take on an oldschool samurai flick, with Wolverine as the ronin. And it’s as awesome as it sounds. PG-13. AP KRYZA. Academy, Kennedy School, Laurelhurst, Valley.

Women Aren’t Funny

[ONE DAY ONLY, DIRECTOR ATTENDING] As part of the all-female comedy festival All Jane No Dick, director Bonnie McFarlane screens her documentary tackling the ridiculous claim of the title. It’s the Portland premiere of a film that features interviews with a long list of comics, including Lisa Lampanelli, Joan Rivers, Maria Bamford, Todd Glass, Sarah Silverman, Chris Rock and Rita Rudner. A Q&A with McFarlane and three other women—comic Phoebe Robinson, Curious Comedy co-founder Stacey Hallal and the amazingly talented Lindy West—will follow. Hollywood Theatre. 3 pm Sunday, Oct. 20.

REVIEW COURTESY OF MARS PROJECT MOVIE

COURTESY OF 4TH ROW FILMS

an excellent résumé that includes a stellar turn in The Hurt Locker. In this alternate reality, mouse clicks and Web searches are supposed to constitute white-knuckle action, and street chases are glossed over as boring. It is not a world worth visiting. Or, to use words its characters might more easily understand: Don’t buy into this game. Or play your cards elsewhere. Or...whatever. This movie sucks. R. AP KRYZA. Cedar Hills, Eastport, Clackamas, Forest, Oak Grove, Lloyd Center, Movies on TV, Sandy.

MOVIES

The Spectacular Now

B The Spectacular Now opens with

a male voice-over lamenting a recent breakup. That’s the same way (500) Days of Summer—the previous film from screenwriters Scott Neustadter and Michael H. Weber—began, but here the narration comes courtesy of highschool senior Sutter (Miles Teller). It’s accompanied by a montage of Sutter pounding shots: This hard-drinking bro just wants to have fun, and he’s down about losing his ex, because, he plaintively says, “We were the life of the party.” Given the film’s pedigree and setup, you half expect a manic pixie dream girl to come along and school Sutter on being real. So that Sutter befriends and then falls for off-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. Laurelhurst.

This Is the End

B With the underrated and misunder-

stood Pineapple Express, Seth Rogen, James Franco, Danny McBride and coscreenwriter Evan Goldberg made a rock-solid American counterpart to Shaun of the Dead and Hot Fuzz. It was a genre film told from the perspective of the kind of people who consumed such entertainment—in this case, a bunch of dopey stoners caught in the middle of an ’80s action movie. Those who decried it as—or mistook it for—a bad action movie injected with comedy seriously missed the point: What would happen if Lethal Weapon were remade with a pair of seriously high jackasses as the leads? With This Is the End, Rogen and company jump genres to the biblical apocalypse and cast Rogen, Franco, Jonah Hill and almost everyone who’s ever been in a Judd Apatow movie as horrible cari-

THIS MAGIC MOMENT: Khari “Conspiracy” Stewart wouldn’t be the first rapper said to have magic flow. The issue is that Stewart believes his flow really is magic, the psychic and extraplanetary kind, originating from a demon he calls Anacron. “I’ve heard him everywhere, from Halifax to Vancouver,” Stewart says of Anacron’s voice before adding, in a trademark what-the-fuck twist, “Speed of thought, any distance.” In Jonathan Balazs’ documentary Mars Project, psychologists call Stewart schizophrenic, though Addi, his twin brother and co-rapper, believes him. In interviews, the brothers’ voices have identical tone and cadence, but Addi’s is always the voice of reason (“This is reality!”) while Khari waxes ontological (“Basically, telepathy is…whatever you think”). Set to a creepy score seemingly swiped from the yet-to-be-realized Zombies Invade Tibet, Mars Project is as much about schizophrenia and the pitfalls of psychiatry as it is about Stewart, though it takes all 62 minutes to realize it. The tactfully if tediously drawn parallel is that both Stewart and the mental health care system incorporate illogic. “Most things we do are not very scientific,” argues psychiatrist Dr. Kwame McKenzie, and Khari would agree. “There are aliens out there with magical powers and technological superiority,” he says, with the uncanny confidence that makes Mars Project tick. MITCH LILLIE. B SEE IT: Mars Project plays at the Hollywood Theatre at 7 pm Tuesday, Oct. 22. Director Jonathan Balazs will attend.

Willamette Week OCTOBER 16, 2013 wweek.com

AP FILM STUDIES

COURTESY OF EMPIRE PICTURES

MOVIES

MAD SCIENCE: Jeﬀrey Combs gives head in Re-Animator.

OH, THE HORROR! YOUR BODY IS A SPOILER. BY A P K R Y Z A

apkr yza@wweek .com

Horror fans are perhaps the most rabid moviegoers in the world, and for true believers October is like Christmas. It’s a magical time of year when they can utter a sentence like, “Holy shit, you have to see Re-Animator,” and not only have the nonhorror fan agree but can also expose that person to the fi lm on the big screen (oh, Re-Animator is playing Saturday at the Hollywood Theatre). Horror buffs will poke and prod a friend who is afraid of My Little Pony into seeing Halloween, saying over and over it’s not really that scary, even though they know goddamn well it is. And in the lead-up to All Hallows’ Eve, it’s their goal to take any willing soul to any horror revival screening, be it The Silence of the Lambs at the Laurelhurst, the original Dracula at the Academy, or, if they’re particularly sadistic and want you never to trust them again, Martyrs at Fifth Avenue Cinema. But here’s the thing: Enjoyment of a horror film—particularly for a nonjunkie—is predicated on the notion that the less you know, the richer the experience. Which is why you should never, ever watch a legit horror flick with a superfan. Maybe it’s the synthesizer scores, or the weird Pavlovian reaction triggered by the sight of red-dyed corn syrup, but the minute the movie starts, a horror fan’s entire body turns into a spoiler factory. Some fans gasp three minutes before a scare, or stare at you every time something unexpected is about to happen, waiting for your reaction. Even the silent ones give hints, suddenly developing restless legs syndrome or cupping their hands over their mouths to prevent a spoiled surprise. Which makes revival screenings a very difficult prospect. On the one hand, there are few cinematic experiences quite like being in a room full of adults who can’t help but gasp at the terrors onscreen. On the other hand, if you’ve never seen The Silence of the Lambs, it’s not necessarily entertaining to sit in a theater full of knowing, snarky idiots who insist on doing their Multiple Miggs impressions. They’re the same people who scream “Boo!” at their friends, or during Psycho mutter, “Oh, I forgot how early she dies.” You can’t blame horror fans for getting excited to see their favorite movies on the big screen. Nor can you blame them for wanting to see how 50

Willamette Week OCTOBER 16, 2013 wweek.com

the uninitiated will react to the things that made them fall in love with these flicks in the first place. But no matter how well-intentioned and genuine a fan’s excitement, behaving like a living spoiler robs others of that magic. You got your friend to that screening of Re-Animator. Now let them fall in love on their own. ALSO SHOWING: So yeah, you should totally do that Multiple Miggs impression during The Silence of the Lambs. Laurelhurst Theater. Oct 18-24. Bela Lugosi makes Team Edward his bitch in the original Dracula. Academy Theater. Oct 18-24. Turkish Rambo makes up for the Stallone version’s complete lack of zombies, and adds extra ass-whomping. Oh, and it’s a Filmusik event, so there’s a live, original score. Hollywood Theatre. 7 pm Friday-Saturday, Oct. 18-19 and Wednesday-Saturday, Oct. 23-26. Hitchcock’s silent movie The Ring doesn’t have a creepy girl coming out of a TV, but it does feature a live score. NW Film Center’s Whitsell Auditorium. 8 pm Friday, Oct 18. Cthulhu demands you watch a series of H.P. Lovecraft shorts. Do as Cthulhu says. Hollywood Theatre. 9:40 pm Friday, Oct 18. Actor Greg Sestero milks the beguiling cult success of The Room and presents his new book about the making of the film and being torn apart by women named Lisa. Cinema 21. 10:30 pm Friday-Saturday, Oct. 18-19. Frankenstein’s monster needed love too, and when he found it, Bride of Frankenstein became one of history’s most iconic horror flicks. Hollywood Theatre. 2:30 pm Saturday-Sunday, Oct 19-20. With Martyrs, French director Pascal Laugier made a fucked-up revenge flick that would give Jeff rey Dahmer nightmares. 5th Avenue Cinema. 8 pm Saturday, Oct 19. How amazingly weird is Re-Animator? At one point, a lovelorn decapitated head attempts to orally pleasure a woman. It’s incredible. Hollywood Theatre. 9:40 pm Saturday, Oct 19. Samurai don’t sit around obeying the rules in Samurai Rebellion…no sirree! NW Film Center’s Whitsell Auditorium. 3 pm Sunday, Oct 20. Hitchcock’s silent classic Downhill gets the livescore treatment too. NW Film Center’s Whitsell Auditorium. 7 pm Sunday, Oct. 20. Before he became cinema’s most famous set of eyebrows, Martin Scorsese changed the tide of filmmaking with 1973’s Mean Streets. Mission Theater. 9 pm Tuesday, Oct 22.

MOVIES

OCT. 18-24

COURTESY OF MGM

THE CAMINO: SIX WAYS TO SANTIAGO Sat-Sun 02:45, 05:00 WOMEN AREN’T FUNNY Sun 03:00 GRIDLORDS NUMBER 18 Sun 07:30 HALLOWED GROUND: NEW LOCAL SHORTS Mon 07:00 MARS PROJECT Tue 07:00 WILLOW CREEK Tue 07:30

NW Film Center’s Whitsell Auditorium

HUNGRY FOR FAVA BEANS: The Silence of the Lambs plays at Laurelhurst Theater on Oct. 18-24.

Regal Lloyd Center 10 & IMAX

1510 NE Multnomah St., 800326-3264 CARRIE Fri-Sat-Sun 11:50, 02:25, 03:50, 05:00, 06:55, 07:35, 09:35, 10:10 ESCAPE PLAN Fri-Sat-Sun 01:00, 03:55, 07:05, 09:55 THE FIFTH ESTATE Fri-SatSun 12:15, 03:15, 06:50, 09:50 RUNNER RUNNER Fri-Sat-Sun 01:15 MERRILY WE ROLL ALONG Wed 07:00

Regal Lloyd Mall 8

2320 Lloyd Center Mall, 800-326-3264 GRAVITY 3D Fri-SatSun-Mon-Tue-Wed 12:15, 06:15, 08:30 GRAVITY Fri-Sat-Sun-Mon-Tue-Wed 02:45 I’M IN LOVE WITH A CHURCH GIRL Fri-Sat-SunMon-Tue-Wed 12:35, 03:15, 06:05, 08:50 MACHETE KILLS Fri-Sat-Sun-MonTue-Wed 12:00, 03:00, 06:00, 08:45 PULLING STRINGS Fri-Sat-Sun-MonTue-Wed 12:25, 03:25, 06:10, 08:55 DON JON Fri-Sat-Sun-Mon-Tue-Wed 12:05, 03:05, 05:40, 08:35 CLOUDY WITH A CHANCE OF MEATBALLS 2 Fri-SatSun-Mon-Tue-Wed 12:30, 05:35, 08:00 CLOUDY WITH A CHANCE OF MEATBALLS 2 3D Fri-SatSun-Mon-Tue-Wed 02:50 BAGGAGE CLAIM Fri-SatSun-Mon-Tue-Wed 12:20, 02:40, 05:50, 08:10 RUSH Fri-Sat-Sun-Mon-Tue-Wed 12:10, 05:30 INSIDIOUS: CHAPTER 2 Fri-Sat-SunMon-Tue-Wed 02:55, 08:25

Cinema 21

616 NW 21st Ave., 503-2234515 OH, HI GREG Fri 10:30 ESCAPE FROM TOMORROW Fri-Sat-SunMon-Tue-Wed 04:45, 07:15, 09:15 WADJDA Fri-SatSun-Mon-Tue-Wed 04:30, 06:45, 08:45 GERMAN FILM FESTIVAL Fri-SatSun-Mon SWEARNET: THE MOVIE Tue 08:00

Clinton Street Theater

2522 SE Clinton St., 503238-8899 BAD MOVIE NITE Fri 11:00 THE ROCKY HORROR PICTURE SHOW Sat 12:00 REEL EATS: THE NETWORK Mon 07:00 AUTOLUMINESCENT: ROWLAND S. HOWARD Tue 07:00 REEL FEMINISM: GIRLFIGHT Wed 07:00 PORTLAND STEW Wed 06:00

Laurelhurst Theatre & Pub 2735 E Burnside St., 503232-5511 THE SPECTACULAR NOW

Fri-Sat-Sun-Mon-Tue-Wed 07:00 THE SILENCE OF THE LAMBS Fri-Sat-SunMon-Tue-Wed 09:05 LEE DANIELS’ THE BUTLER Fri-Sat-Sun-Mon-TueWed 06:30 WE’RE THE MILLERS Fri-Sat-SunMon-Tue-Wed 09:15 THE WAY WAY BACK Fri-SatSun-Mon-Tue-Wed 07:20 THIS IS THE END Fri-SatSun-Mon-Tue-Wed 09:45 PACIFIC RIM Fri-Sat-SunMon-Tue-Wed 06:45 THE WOLVERINE Fri-SatSun-Mon-Tue-Wed 09:30 PLANES Sat-Sun 01:45

Mission Theater and Pub

1624 NW Glisan St., 503249-7474-5 APPROXIMATELY NELS CLINE Fri 06:30 BORN IN CHICAGO Fri 07:15 BABE’S AND RICKY’S INN Fri 09:00 CHARLIE ``BIRD’’ PARKER, 19201955 Sat 03:00 FINDING THE FUNK Sat 07:00 BAYOU MAHARAJAH: THE TRAGIC GENIUS OF JAMES BOOKER Sat 08:30 NO FILMS SHOWING TODAY Sun RADICAL FACE Mon 08:00 BROTHERS HYPNOTIC Tue 07:00 MEAN STREETS Tue 09:00 NOSFERATU Wed 08:00

Moreland Theatre

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

Roseway Theatre

7229 NE Sandy Blvd., 503282-2898 GRAVITY 3D Fri-Sat-SunMon-Tue-Wed 12:30, 03:00, 08:00 GRAVITY Fri-SatSun-Mon-Tue-Wed 05:30

St. Johns Twin Cinemas and Pub

8704 N Lombard St., 503286-1768 GRAVITY Fri-Sat-Sun-MonTue-Wed 05:00, 07:15, 09:15 MACHETE KILLS Fri-Sat-Sun-Mon-Tue-Wed 08:00, 10:15

CineMagic Theatre

2021 SE Hawthorne Blvd., 503-231-7919 GRAVITY Fri-Sat-Sun-MonTue-Wed 05:30, 07:30, 09:30

Century 16 Eastport Plaza

4040 SE 82nd Ave., 800326-3264-952 DESPICABLE ME 2 FriSat-Sun-Mon-Tue-Wed 01:55, 04:25, 06:55, 09:40 ESCAPE PLAN Fri-SatSun-Mon-Tue-Wed 01:50, 04:40, 07:30, 10:30 THE MORTAL INSTRUMENTS: CITY OF BONES Fri-SatSun-Mon-Tue-Wed 12:35,

03:40, 06:50, 09:55 RIDDICK Fri-Sat-Sun-MonTue-Wed 01:50, 04:40, 07:35, 10:25 PRISONERS Fri-Sat-Sun-Mon-Tue-Wed 02:55, 06:25, 09:50 RUSH Fri-Sat-Sun-Mon-Tue-Wed 12:10, 03:20, 06:35, 09:35 CLOUDY WITH A CHANCE OF MEATBALLS 2 Fri-SatSun-Mon-Tue-Wed 12:00, 04:55, 10:10 CLOUDY WITH A CHANCE OF MEATBALLS 2 3D Fri-SatSun-Mon-Tue-Wed 02:25, 07:40 RUNNER RUNNER Fri-Sat-Sun-Mon-Tue-Wed 12:05, 02:30, 05:00, 07:25, 10:00 DON JON Fri-SatSun-Mon-Tue-Wed 12:20, 02:40, 05:10, 07:55, 10:20 INSIDIOUS: CHAPTER 2 Fri-Sat-Sun-Mon-Tue-Wed 02:05, 04:45, 07:20, 10:10 GRAVITY Fri-Sat-Sun-MonTue-Wed 01:30, 09:00 GRAVITY 3D Fri-Sat-SunMon-Tue-Wed 12:15, 02:45, 04:00, 05:15, 06:30, 07:45, 10:15 CAPTAIN PHILLIPS Fri-Sat-Sun-Mon-TueWed 12:25, 03:50, 07:05, 10:15 MACHETE KILLS Fri-Sat-Sun-Mon-Tue-Wed 02:10, 04:50, 07:30, 10:20 CARRIE Fri-Sat-Sun-MonTue-Wed 02:00, 04:30, 07:15, 10:00 THE FIFTH ESTATE Fri-Sat-Sun-MonTue-Wed 12:30, 03:45, 07:00, 10:15

99 West Drive-In

Highway 99W, 503-538-2738 CLOUDY WITH A CHANCE OF MEATBALLS 2 FriSat-Sun 07:00 PERCY JACKSON: SEA OF MONSTERS Fri-Sat-Sun 09:00

Edgeﬁeld Powerstation Theater

2126 SW Halsey St., 503249-7474-2 PLANES Fri-Sat-Sun-MonTue-Wed 06:00 2 GUNS Fri-Sat-Sun-Mon-Tue-Wed 09:00

Kennedy School Theater

5736 NE 33rd Ave., 503-2497474-4 PLANES Fri-Sat-SunMon-Tue-Wed 05:30 LEE DANIELS’ THE BUTLER Fri-Sat-Sun-Mon-TueWed 02:30, 07:35 THE WOLVERINE Fri-Sat 10:10

Fifth Avenue Cinemas

510 SW Hall St., 503-7253551 FARGO Fri-Sat-Sun 03:00 MARTYRS Sat 08:00

Hollywood Theatre

4122 NE Sandy Blvd., 503281-4215 BLUE JASMINE Fri-Sat-SunMon-Tue-Wed 07:15, 09:15 INEQUALITY FOR ALL Fri-Sat-Sun-Mon-Tue-Wed 06:45, 08:45 TURKISH RAMBO Fri-Sat-Wed 07:00 HP LOVECRAFT DOUBLE BILL Fri-Sat 09:40 BRIDE OF FRANKENSTEIN SatSun 02:30 WALKING

1219 SW Park Ave., 503221-1156 APPROXIMATELY NELS CLINE Fri 06:30 BORN IN CHICAGO Fri THE RING Fri 08:00 BABE’S AND RICKY’S INN Fri 09:00 CHARLIE “BIRD’’ PARKER, 1920-1955 Sat 03:00 SONGS Sat 04:30 MISTAKEN FOR STRANGERS Sat 07:00 FINDING THE FUNK Sat 07:00 BAYOU MAHARAJAH: THE TRAGIC GENIUS OF JAMES BOOKER Sat 08:30 SAMURAI REBELLION Sun 03:00 DOWNHILL Sun 07:00 VIDEO MUSIC 3: FLOATING OCEANS Mon 07:00 SEPTEMBER SONGS: THE MUSIC OF KURT WEILL Mon 08:00 BROTHERS HYPNOTIC Tue 07:00 THE GREAT FLOOD Tue 07:00 MEAN STREETS Tue 09:00 CHAMPAGNE Wed 08:00

Regal Pioneer Place Stadium 6 340 SW Morrison St., 800326-3264 ESCAPE PLAN Fri-SatSun-Mon-Tue-Wed 01:00, 04:00, 07:00, 10:00 CARRIE Fri-Sat-Sun-MonTue-Wed 01:30, 04:30, 07:30, 10:15

St. Johns Theatre

8203 N Ivanhoe St., 503249-7474-6 PLANES Fri-Sat-Sun-TueWed 06:30 THIS IS THE END Fri-Tue-Wed 01:00, 08:50 THE WALKING DEAD Sun 06:00, 08:00 MONDAY NIGHT FOOTBALL Mon 05:40

Academy Theater

7818 SE Stark St., 503-2520500 THIS IS THE END Fri-SatSun-Mon-Tue-Wed 02:45, 09:30 LEE DANIELS’ THE BUTLER Fri-SatSun-Mon-Tue-Wed 04:15, 07:00 PLANES Fri-SatSun-Mon-Tue-Wed 02:20, 04:30 THE WOLVERINE Fri-Sat-Sun-Mon-Tue-Wed 06:45, 09:20 THE WAY WAY BACK Fri-Sat-SunMon-Tue-Wed 05:00, 07:15 DRACULA Fri-Sat-SunMon-Tue-Wed 02:30, 09:45

Living Room Theaters

341 SW 10th Ave., 971-2222010 20 FEET FROM STARDOM Fri-Sat-Sun-Mon-Tue-Wed 11:45, 01:50 ALL THE BOYS LOVE MANDY LANE Fri-Sat-Sun-Mon-Tue-Wed 09:20 CONCUSSION FriSat-Sun-Mon-Tue-Wed 12:10, 02:40, 04:40, 07:15, 09:55 DON JON Fri-SatSun-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 HEY BARTENDER! Fri-Sat-SunMon-Tue-Wed 05:50, 07:55 IN A WORLD... Fri-SatSun-Mon-Tue-Wed 12:30, 02:30, 03:50, 07:35, 09:30 MOTHER OF GEORGE FriSat-Sun-Mon-Tue-Wed 12:20, 03:00, 04:50, 06:50, 09:10

SUBJECT TO CHANGE. CALL THEATERS OR VISIT WWEEK.COM/MOVIETIMES FOR THE MOST UP-TODATE INFORMATION FRIDAY-THURSDAY, OCT. 18-24, UNLESS OTHERWISE INDICATED

Bond for Bullies 2nd Annual Fundraiser for:

Oct. 26, 7pm-10:30pm, Q Center Portland $35 advance, $40 at door — 21+ casino games, adult beverage, vegan eats, silent auction, & game prizes!

Tickets and event info: www.facebook.com/events/486557774740340/) Willamette Week OCTOBER 16, 2013 wweek.com

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OCTOBER 16, 2013

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AUCTION

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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.

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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.

Ruby Spa at the Grand Lodge in Forest Grove Is now hiring LMTs and Nail Techs! Qualified apps must have an open & flex sched including, days, eves, wknds and holidays. We are looking for applicants who enjoy working in a busy customer service-oriented enviro. 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. Located @ 17937 SW McEwan Rd. in Tualatin...across from “24 Hours Fitness” Please apply at location.

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REAL ESTATE HOMES N PORTLAND

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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.

Hello darlings I’m Lilac. I am as beautiful as the summer flower for which I was named. I am a proper english lady and enjoy to spending my days in the drawing room with a beam of sunlight shining on my luxurious fur. After a morning of playing string games and being heavily doted on I enjoy a platter of fine cheese for lunch with a just a tinge of wine. I know, drinking during daylight hours may not be proper for a lady but after waiting for 6 months to find my new quarters I have decided that if I slip a bit the other fine kitties will understand. I am sweet, kind, affectionate and my manners are impeccable. I reside with several other fine felines and get along with them perfectly I also enjoy the company of canines, children and any other sweet souls. I truly am a gentle soul and it is a mystery why my new family has failed to find me for so long....perhaps I have been waiting for you?Please come visit me at the pixie project so that we may have a spot of tea and a chat and I have no doubt my character will shine and you will see that we are truly meant to be together. I am fixed, vaccinated and microchipped my adoption fee is $100

503-542-3432 • 510 NE MLK Blvd • pixieproject.org Willamette Week Classifieds OCTOBER 16, 2013 wweek.com

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JONESIN’ by Matt Jones

A Little Diversion–be careful when you hear these. 52 Artist’s concern 55 Bank feature 56 See 46-across 61 Born, in a bridal bio 62 Like, yesterday 63 Flat-topped formation 64 Prime meridian setting: abbr. 65 Girl Scout cookie with caramel 66 Advanced writing degs.

Across 1 Gavel-banging shout 5 Word repeated before “hey” or after “Yo” 10 “This Is Spinal ___” 13 Three with close harmony, e.g. 14 Forester automaker 15 Aboriginal food source 16 Diversion tactic #1 18 “... a borrower ___ a lender be”

19 “Baloney!” 20 Heavy unit 21 Magazine edition 23 Diversion tactic #2 28 Toy advertised with the slogan “but they don’t fall down” 30 Speak eloquently 31 “Buffy” spinoff 32 Without a date 33 Physical measurement, for short

36 Diversion tactic #3 40 Furtive 41 Stub ___ (stumble) 42 Backwoods type 43 African language family 45 Unit named for a French physicist 46 With 56-across, diversion tactic #4 50 Hits the ground 51 To the ___ degree

Down 1 Recipe instruction 2 “___ I’ve been told” 3 Upstart business, casually 4 Cartoon cringe catchphrase 5 Organic fertilizer 6 Group formed by Duane and Gregg, for short 7 “Anna and the King” actress ___ Ling 8 “Cold outside today!” 9 German two-door sportscar 10 Angst-ridden 11 “My Cherie ___” (Stevie Wonder song) 12 Blender button 14 Add fuel to the fire 17 Bikini and others 22 “___ Done Him Wrong” (1933 Mae West film) 24 “Remote Control” host Ken 25 Oust the incumbent 26 Get rid of a voicemail 27 Newman’s Own rival 28 ___ and means 29 Hydroxyl compound 32 ___ voce 33 Person who pedals

stolen goods? 34 Harlem ___ (Central Park lake) 35 Doing nothing 37 Just chill 38 Mythological deities 39 “___ the mornin’ to ya!” 43 Letters on undies 44 “___ Fables” 45 “The Jetsons” dog 46 When doubled, essential oil used in shampoo 47 Hall colleague 48 Like some goals 49 Palindromic 1996 New York City Marathon winner ___ Catuna 53 Major in astronomy? 54 Greek letters 57 Shooting org. 58 ___ Kippur 59 “Bed-in for Peace” participant 60 “I’m thinking...”

last week’s answers

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©2013 Jonesin’ Crosswords (editor@jonesincrosswords.com) For answers to this puzzle, call: 1-900-226-2800, 99 cents per minute. Must be 18+. Or to bill to your credit card, call: 1-800-655-6548. Reference puzzle #JONZ645.

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Week of October 17

ARIES (March 21-April 19): This is an indelicate oracle. If you’re offended by the mention of bodily functions in a prophetic context you should STOP READING NOW. Still here? OK. I was walking through my neighborhood when I spied an older woman standing over her aged Yorkshire Terrier next to a bush. The dog was in discomfort, squatting and shivering but unable to relieve himself. “He’s having trouble getting his business done,” his owner confided in me. “He’s been struggling for ten minutes.” I felt a rush of sympathy for the distressed creature. With a flourish of my hand, I said, “More power to you, little one. May you purge your burden.” The dog instantly defecated. Shrieking her approval, the woman exclaimed, “It’s like you waved a magic wand!” Now I am invoking my wizardry in your behalf, Aries, although in a less literal way: More power to you. May you purge your psychological burden. TAURUS (April 20-May 20): “You won’t do it at the right time,” warns writer Kate Moller. “You’ll be late. You’ll be early. You’ll get re-routed. You’ll get delayed. You’ll change your mind. You’ll change your heart. It’s not going to turn out the way you thought it would.” And yet, Moller concludes -- are you ready for the punch line? -- “it will be better.” In describing your future, Taurus, I couldn’t have said it better myself. Fate may be comical in the way it plays with your expectations and plans, but I predict you will ultimately be glad about the outcome. GEMINI (May 21-June 20): In the coming weeks, you Geminis could be skillful and even spectacular liars. You will have the potential to deceive more people, bend more truths, and even fool yourself better than anyone else. On the other hand, you will also have the knack to channel this same slipperiness in a different direction. You could tell imaginative stories that rouse people from their ruts. You might explore the positive aspects of Kurt Vonnegut’s theory that we tend to become what we pretend to be. Or you could simply be so creative and playful and improvisational in everything you do that you catalyze a lot of inspirational fun. Which way will you go? CANCER (June 21-July 22): I’m all in favor of you indulging your instinct for self-protection. As a Cancerian myself, I understand that one of the ways you take good care of yourself is by making sure that you feel reasonably safe. Having said that, I also want to remind you that your mental and emotional health requires you to leave your comfort zone on a regular basis. Now is one of those times. The call to adventure will arrive soon. If you make yourself ready and eager for changes, the changes that come will kick your ass in mostly educational and pleasurable ways. LEO (July 23-Aug. 22): Who exactly do you want to be when you grow up, and what is the single most important experience you need in order to make that happen? What riches do you want to possess when you are finally wise enough to make enlightened use of them, and how can you boost your eligibility for those riches? Which one of your glorious dreams is not quite ripe enough for you to fulfill it, but is primed to be dramatically ripened in the coming weeks? If I were you, Leo, I would meditate on these questions. Answers will be forthcoming. VIRGO (Aug. 23-Sept. 22): At an elementary school festival some years ago, I performed the role of the Mad Hatter from Alice in Wonderland. One of my tasks was to ask kids to make a wish, whereupon I sprinkled their heads with magic fairy dust. Some of the kids were skeptical about the whole business. They questioned the proposition that the fairy dust would make their wishes come true. A few were so suspicious that they walked away without making a wish or accepting the fairy dust. Yet every single one of those distrustful kids came back later to tell me they had changed their minds, and every single one asked me to bestow more than the usual amount of fairy dust. They are your role models, Virgo. Like them, you should return to the scene of your doubts and demand extra fairy dust. LIBRA (Sept. 23-Oct. 22): “The door to the invisible must be visible,” wrote the surrealist spiritual author

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Rene Daumal. This describes an opportunity that is on the verge of becoming available to you. The opportunity is still invisible simply because it has no precedents in your life; you can’t imagine what it is. But just recently a door to that unknown realm has become visible to you. I suggest you open it, even though you have almost no idea what’s on the other side. SCORPIO (Oct. 23-Nov. 21): In Tim Burton’s film Alice in Wonderland, Alice asks the White Rabbit, “How long is forever?” The talking rabbit replies, “Sometimes, just one second.” That’s an important piece of information for you to keep in mind, Scorpio. It implies that “forever” may not necessarily, in all cases, last until the universe dies out five billion years from now. “Forever” might actually turn out to be one second or 90 minutes or a month or a year or who knows? So how does this apply to your life right now? Well, a situation you assumed was permanent could ultimately change -- perhaps much faster than you have imagined. An apparently everlasting decree or perpetual feeling could unexpectedly shift, as if by magic. SAGITTARIUS (Nov. 22-Dec. 21): “I need a little language such as lovers use,” wrote Virginia Woolf in her novel The Waves. “I need no words. Nothing neat . . . I need a howl; a cry.” If I’m reading the astrological omens correctly, Sagittarius, Woolf is speaking for you right now. You should be willing to get guttural and primal . . . to trust the teachings of silence and the crazy wisdom of your body . . . to exult in the inarticulate mysteries and bask in the dumfounding brilliance of the Eternal Wow. Are you brave enough to love what can’t be put into words? CAPRICORN (Dec. 22-Jan. 19): “I get bored with the idea of becoming a better listener,” writes business blogger Penelope Trunk. “Why would I do that when interrupting people is so much faster?” If your main goal is to impose your will on people and get things over with as soon as possible, Capricorn, by all means follow Trunk’s advice this week. But if you have other goals -- like building consensus, finding out important information you don’t know yet, and winning help from people who feel affection for you -- I suggest that you find out how to have maximum fun by being an excellent listener. AQUARIUS (Jan. 20-Feb. 18): The last time meteorologists officially added a new type of cloud formation to the International Cloud Atlas was 1951. But they’re considering another one now. It’s called “asperatus,” which is derived from the Latin term undulatus asperatus, meaning “turbulent undulation.” According to the Cloud Appreciation Society, it resembles “the surface of a choppy sea from below.” But although it looks rough and agitated, it almost never brings a storm. Let’s make asperatus your mascot for the next few weeks. Aquarius. I suspect that you, too, will soon discover something new under the sun. It may at first look turbulent, but I bet it will mostly just be interesting. PISCES (Feb. 19-March 20): Should you try private experiments that might generate intimate miracles? Yes! Should you dream up extravagant proposals and schedule midnight rendezvous! By all means! Should you pick up where your fantasies left off the last time you got too timid to explore further? Naturally! Should you find out what “as raw as the law allows” actually means? I encourage you! Should you question taboos that are no longer relevant? Most assuredly! Should you burn away the rotting pain with a show of liberated strength? Beyond a doubt! Should you tap into the open secret at the core of your wild beauty! Of course!

Homework What would be the title of your autobiography? What’s the name of the rock band you’d be in? Testify at Freewillastrology.com.

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