40 14 willamette week, february 5, 2014 by Willamette Week Newspaper

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“THAT DOG LOOKS LIKE HE IS ABOUT TO BE MURDERED.”

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VOL 40/14 02.05.2014

THERE’S A NEW BUSINESS IN PORTLAND’S REAL CHINATOWN—MARIJUANA. BY NIGEL JAQUISS | PAGE 12

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W W S TA F F

NEWS WHAT’S GOING ON WITH GUNS IN SALEM. FOOD HAWAIIAN PLATE LUNCH. MOVIES WHAT TO SEE WEEK ONE OF PIFF.

HAVE A PINT. END HUNGER. The Oregon Food Bank would like to call out the Portland area pubs on this page for their generous support of our cause this month. This February, stop in and thank them in person for helping with the fight against hunger in our community.

Mississippi Studios / Bar Bar 3939 N. MIssissippi Ave.

The Doug Fir Lounge 830 E Burnside Blvd.

Blitz Ladd’s Addition 2239 SE 11th Ave.

Schmizza Pub & Grub 415 SW Montgomery

Henry’s Tavern 10 NW 12th Ave.

Morrison Hotel 719 SE Morrison

Velo Cult 1969 NE 42nd Ave.

C Bar 2880 SE Gladstone

Mellow Mushroom 1411 NW Flanders St.

Big Al’s 14950 SW Barnes Rd.

The Green Dragon 928 SE 9th St. 2

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Macadam’s Bar and Grill 5833 SW Macadam Ave.

PIFF

CONTENT

SURVEY SAYS: The Portland International Film Festival. Page 44.

NEWS

MUSIC

LEAD STORY

PERFORMANCE 40

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STAFF Editor-in-Chief Mark Zusman EDITORIAL Managing Editor for News Brent Walth Arts & Culture Editor Martin Cizmar Staff Writers Nigel Jaquiss, Aaron Mesh, Kate Willson 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 Dance Aaron Spencer Theater Rebecca Jacobson Visual Arts Richard Speer Editorial Interns Ramona DeNies, Kate Peifer, Lyla Rowen, Alex Tomchak Scott, Savannah Wasserman, Brendan Welch

CONTRIBUTORS Emilee Booher, Ruth Brown, Nathan Carson, Rachel Graham Cody, Pete Cottell, Jordan Green, Jay Horton, AP Kryza, Nina Lary, Mitch Lillie, John Locanthi, Enid Spitz, Grace Stainback, Mark Stock, Michael C. Zusman PRODUCTION Production Manager Ben Kubany Art Director Kathleen Marie Graphic Designers Mitch Lillie, Amy Martin, Xel Moore, Dylan Serkin Production Interns Emma Browne ADVERTISING Director of Advertising Scott Wagner Display Account Executives Maria Boyer, Ginger Craft, Michael Donhowe, Kevin Friedman, Janet Norman, Kyle Owens, Sharri Miller Regan, Andrew Shenker Classifieds Account Executive Matt Plambeck Advertising Assistant Ashley Grether Marketing & Events Manager Steph Barnhart Give!Guide Director Nick Johnson

DISTRIBUTION Circulation Director Mark Kirchmeier WWEEK.COM Web Production Brian Panganiban Web Editor Matthew Korfhage MUSICFESTNW Executive Director Trevor Solomon Associate Director Matt Manza TECHFESTNW Program Director Lizzy Caston OPERATIONS Accounting Manager Chris Petryszak Credit & Collections Shawn Wolf Office Manager/Receptionist Sam Cusumano A/P Clerk Andrea Iannone Manager of Information Systems Brian Panganiban Associate Publisher Jane Smith Publisher Richard H. Meeker

CIRCLE OF LIFE 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 ACADEMIC PROGRAM’S SUCCESS

I took part in the Advanced Scholar Program at Franklin High School, and I can say it definitely gave me more incentive to attend college [“Starting a College Stampede,” WW, Jan. 29, 2014]. The counseling sessions rea lly helped demystify the intimidating factors of applying for college, such as figuring out financial aid, and the mentors were extremely invested in student success. If it is a goal to get high-school students interested in attending college, then programs like these deserve all the funding they can get, and perhaps more important, the individuals involved with mentoring and nurturing these future college students deserve recognition for their “above and beyond” effort. I am currently studying electrical engineering in my third year at Oregon State University, and I would definitely say this program helped me get where I am today. Again, this program and its participants deserve funding and recognition. —“Garren Epley” I graduated from Franklin High School in 2009, a time when the Advanced Scholar Program was in its beginning stages. Back then, Franklin was just getting out of its reputation as a “ghetto school.” But since then, the achievements made by Susan Anglada Bartley and the administration have made me even more proud to be a Quaker. With these types of programs and the intense perseverance of the staff, they have created a space where students can really envision themselves in college; where it is a much less intimidating, and a more fun, enlightening place. —“Madeleine Harper”

Who’s moving into these apartments going up all over North Portland? Are they there to serve the projected 1 million newcomers, or are they foolishly tempting a soon-to-beimploding market? —Velveteen As the saying goes, Velveteen, all I know is that everything you know is wrong. Allow me to correct your premises in a pointlessly dickish manner. (You’re welcome.) For starters, apartments aren’t going up “all over North Portland.” They’re going up all over Portland, period. According to Multifamily NW (like a fraternity for landlords, except they do keg stands with money instead of beer), there are some 22,000 new units in the construction pipeline. As to the market imploding, we should be so lucky. As you may recall through the bong-filled haze of Econ 101, a collapse in demand would result in falling prices for renters like you (and, more importantly, me). 4

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CONTROVERSY IN CITY HALL

At first blush, it looks like Gail Shibley was trying to make sure her staffer wasn’t misusing the transit pass, but wasn’t sensitive to issues of disability [“More Harassment in City Hall?,” WW, Jan. 29, 2014]. So I would say there’s still a lot of education about disability to be had out there. —“Charlie Tafuna”

CLARIFICATION

In a recent story (“Busting the Boundary, WW, Jan. 22, 2014), Rep. John Davis (R-Wilsonville) said he got involved in the debate about Metro’s 2011 urban-growth boundary decisions at the behest of the Beaverton School District, which wants to build a new high school. The Beaverton School Board says it was not involved in the drafting of Davis’ bill related to Metro’s land-use actions, and has no position on the measure. The Metro code permits Beaverton to proceed with building a new high school in any case.

CORRECTION

Last week’s news story “More Harassment at City Hall?” misspelled the first name of Rachael Wiggins, a staffer for Mayor Charlie Hales. WW regrets the error. 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.

There appears to be approximately zero chance of that happening. I have before me Multifamily’s most recent report on the Portland rental market, and its digital pages are practically stuck together with excitement over all the money to be made off of chumps like us. Our current citywide rental vacancy rate is just 3.1 percent, and it’s close to 2 percent in some neighborhoods. (A “normal” rate is around 5 percent.) This supply-and-demand mismatch may make renters feel like the invisible hand of the market is giving them the finger, but it’s sweet, sweet music to the rentier class. In fairness to our capitalist overlords, the current spate of apartment-building should mitigate this shortage enough to keep rents from rising as fast as they might otherwise. Of course, where all these new residents are going to put their cars is another matter, and the dust is far from settled on that issue. Parking is the new fluoride; you heard it here first! QUESTIONS? Send them to dr.know@wweek.com

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VOTED

BEST DOGGIE DAYCARE

LEGISLATURE: The votes for a gun-control bill can’t be found. COURTS: How Edward Snowden changed an Oregon terror case. SCHOOLS: PPS can’t get its own report card out. COVER STORY: Inside a Chinese pot-growing operation.

7 9 11 12

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2410 SE 50th Avenue 503.238.0737 7am-7pm weekdays 8am-5pm weekends

MAYBE KITZHABER CAN START TOLLING CITY SIDEWALKS. Dog Daycare • Boarding • Behavioral Counseling

Anybody want to buy a sidewalk? City Commissioner Steve Novick has been sniffing out new taxes to fund the Portland Bureau of Transportation (Murmurs, WW, Dec. 4, 2013). He now knows what Portlanders might support: sidewalks and crosswalks. A $28,000 survey paid for by PBOT shows more than 80 percent of voters are likely to support a transportation-funding plan that would build “sidewalks and safety features in places where children need them to get to school.” The result—from a phone survey conducted by DHM Research—is a sharp increase from 2007, the last time PBOT did a poll. Novick’s options include taking to voters a gas tax or street-maintenance fee for property owners. Paul Romain, lobbyist for the Oregon Petroleum Association, says Novick hasn’t shown voters crucial information: the price tag. “We believe it would be an utter failure,” Romain says. “Most people want everything, but they want you to use the resources you have.” The Denver Post described the Jan. 15 opening of Voodoo Doughnut there as a “frenzy.” The day before was less triumphant for Voodoo co-founder Tres Shannon, who pleaded guilty Jan. 14 in Multnomah County Court to reckless driving. On Aug. 23 at 1:28 am, Portland police responded to a call at 2250 NW Thurman St., where they found Shannon “dazed and confused” with a Honey Bucket pinned between his car and a construction shannon fence. A witness told police that Shannon, 48, had used his 1992 Mercedes to “intentionally ram the porta-potty headon”; police found his car high-centered on the curb. Shannon told police he’d been drinking beer “with the Timbers Army” at the Matador bar on West Burnside Street. Shannon declined a Breathalyzer and pleaded no contest to drunken driving in November. That conviction will be diverted if he complies with court requirements. Shannon didn’t return WW’s calls. Gov. John Kitzhaber exhorted legislative leaders Jan. 27 to move the Columbia River Crossing project forward in the session that began Feb. 3. Kitzhaber assured legislative leaders in a letter that Oregon and various Washington agencies have “methodically reviewed and analyzed” the challenges an Oregon-only CRC creates to collecting tolls from Washington commuters. Apparently that doesn’t include one agency that would be directly involved. “The [Washington] Department of Licensing is not engaged in any planning effort to assist in the enforcement of Oregon-based tolls,” agency director Pat Kohler wrote in a Jan. 28 email to Sen. Ann Rivers (R-La Center). “DOL currently has no plans to play a role in toll enforcement related to a Columbia River bridge project.” Separately, an Oregon Government Ethics Commission investigator last week recommended dropping all ethics charges against Kitzhaber adviser Patricia McCaig of improper lobbying and conflicts of interest. McCaig—who’s been paid a total $525,000 as a CRC consultant since 2009—told the state investigator she’s doesn’t lobby but instead provides lawmakers “neutral information.” Read more Murmurs and daily scuttlebutt.

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NEWS

EMPTY CHAMBERS A SENATOR SAYS HE’S GOT THE VOTES TO PASS A GUN-CONTROL BILL, BUT WHERE ARE THEY? By kat e w i l l s o n

kwillson@wweek.com

The bill that some Democrats fear the most this legislative session is being pushed by a fellow Democrat. Sen. Floyd Prozanski (D-Eugene), whose district is a Democratic stronghold, will push legislation this month that would broaden background checks for gun sales in Oregon. Prozanski doesn’t have the votes to pass the measure. Moreover, a floor vote for broadening gun control will almost certainly be used against some Democrats running for re-election in November. Yet Prozanski is undeterred. “I have no doubt it will pass this year,” Prozanski tells WW. Prozanski, who is a municipal prosecutor employed by the city of Eugene, may have a broken abacus. WW’s tally of votes as of press time suggests the measure will fail. Others think Prozanski knows the move is a calculation. “It’s an election year,” says Jim Moore, director of the Tom McCall Center for Policy Innovation at Pacific University in Forest Grove. “And Prozanski—even if he doesn’t say it specifically—wants people on record with a vote.” That might help Prozanski and some other Democrats. But it could hurt those Democrats in swing districts where a vote in favor of gun control can be political sui-

cide. A good example is Sen. Alan Bates (D-Medford), who won election in 2010 by just 275 votes. Bates’ district is divided. Many in his Ashland constituency would welcome the bill, but Bates’ district also covers conservative areas of Jackson County. “Alan Bates has to hate the fact that this is coming up,” says Sen. Jeff Kruse (R-Roseburg), who sits on the Senate Judiciary Committee considering the gun-control bill. “No matter how he votes, he’s going to make people mad.” Bates declined to be interviewed for this story. “The senator has not taken a position on the bill,” says Trevor Beltz, Bates’ legislative aide. Lawmakers across the country rushed to introduce stricter gun-control legislation after 20 children and six adults were fatally shot at Sandy Hook Elementary School in Connecticut on Dec. 14, 2012. Oregon families mourned their own losses after two died in a shooting at Clackamas Town Center just three days earlier. Four gun-control bills worked their way through the Oregon House and Senate that session, riding a wave of public support. None came to a floor vote. The measure Prozanski is now pushing would require a private individual to pay for a background check before selling or giving a gun to someone other than a family member. Legislative testimony put that number at 40,000 to 75,000 additional background checks a year. Oregon has required checks on commercial gun sales since 1989, and on sales at gun shows since 2001. State police ran more than 263,000 background checks for would-be gun owners last year. Less than 1 percent of those were denied.

Kevin Starrett, executive director of the Oregon Firearms Federation, says opposition to the measure hasn’t budged. “The problem with background checks,” he says, “is that it’s a prior restraint on a right.” Democrats control the Senate by a 16-14 margin, but Prozanski does not have all of the Democrats’ votes locked up. For example, he tells WW that Sen. Betsy Johnson (D-Scappoose) “would likely reconsider” her opposition to the measure, but she told WW that he is wrong. Johnson says she doesn’t consider the bill workable; she prefers beefing up mental-health services and giving judges more flexibility to hand down lengthy prison sentences to felons who try to buy guns. She scoffed at Prozanski’s claim that she and others will change their position if the vote comes to the floor. “I think the blanket statement that says, ‘We’ll herd ’em onto the floor, make ’em squeal and they’ll fold,’ that kind of arrogance amazes me,” Johnson says. As a consequence, Prozanski will have to peel away a Republican or two to get the bill out of the Senate. He identified two who he thinks will support it. One is Sen. Bruce Starr (R-Hillsboro), who is up for re-election in 2014. Starr didn’t return WW ’s calls or emails, but he recently made his views on the bill clear on Facebook, writing on the page of the Oregon Firearms Federation, “I will not be supporting any new gun laws in Oregon.” Prozanski also named Sen. Betsy Close (R-Albany) as a potential “yes” vote. Close tells WW she’s not. “It’s a constitutional right,” Close says. “That crosses political lines.” Gun-rights advocates don’t see her position, or anyone’s position, shifting as the bill moves through the Senate in the coming weeks. “The Republican Senate caucus is locked down,” Starrett, of the Oregon Firearms Federation, says. “I have no information that a specific Republican is ready to roll.” Willamette Week FEBRUARY 5, 2014 wweek.com

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Mohamed Mohamud has been cast in many roles: as a simmering potential terrorist, as a teenager manipulated by FBI agents, and most of all as Portland’s “Christmas tree bomber.” But now he’s poised to play a new part. Nine months after Edward Snowden revealed massive unchecked government surveillance, Mohamud’s case could challenge methods used for years by the U.S. government to spy on all of us. Mohamud still awaits sentencing after being convicted last year of attempting to detonate a phony bomb near Portland’s holiday tree-lighting ceremony at Pioneer Courthouse Square in 2010. Three months ago, federal prosecutors disclosed the government may have built its case against Mohamud using warrantless surveillance gathered under the Foreign Intelligence Surveillance Act amendments of 2008. Mohamud’s defense team, in a Jan. 13 court filing, points to what it calls the government’s “knowing and intentional” violation of the law. The case—along with another in Colorado— could derail methods used for years by the National Security Agency, the FBI and others to gather evidence through warrantless overseas wiretapping. Patrick Toomey, a staff attorney with the National Security Project of the American Civil Liberties Union, says Mohamud’s case could be perfectly timed, given Americans’ growing concerns about government invasion of their privacy. “No court has yet challenged the constitutionality of the law,” says Toomey. “I think you’ll see a lot of attention focused on the Oregon case.” The defense team wants to know whether the government used other spying methods disclosed by Snowden, a former NSA contractor, including tracking Mohamud’s Web activity, installing computer malware to spy on him through his laptop camera, and monitoring him while he played video games such as Halo. Tung Yin, a Lewis and Clark Law School professor who specializes in national security issues, says millions of Americans will never know whether the government has spied on them. But because the government has now admitted that the FISA amendments act played a role in Mohamud’s trial, Yin says the defense team’s request for more information could establish a way to question whether such techniques can legally be used against U.S. citizens. “A lot of defendants just plead guilty, so they lose the right to challenge,” says Yin. “Snowden’s disclosures have opened eyes. [Mohamud]’s in the right place at the right time.” Mohamud, a former student at Oregon State University, was convicted Jan. 31, 2013, of the attempted detonation of a bomb, provided by undercover agents, near the 2010 holiday tree-

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lighting ceremony in Portland’s Pioneer Courthouse Square. Mohamud’s lawyers failed to convince a federal jury that the FBI entrapped the Somali-American, whom agents described in emails as a “conflicted/ manipulable kid” while providing him with rent money and encouragement. Now they say the recent disclosure by the government proves their case was hamstrung from the outset. Because Mohamud “did not know that this statute was used to gather information about him” until three months ago, he was denied the right during trial to challenge the evidence. The New York Times has reported that the Justice Department in October 2013 notified one other criminal defendant about warrantless wiretapping: a man in a Colorado case accused of trying to aid the Islamic Jihad Union, a terrorist organization based in Uzbekistan. His case has not yet gone to trial, but his lawyers have said they will challenge the legality of the NSA’s methods. Gerri Badden, spokeswoman for the U.S. Attorney’s Office in Portland, says prosecutors declined to be interviewed for this story but plan to file a Feb. 13 response to the defense’s motion for more disclosure about the government’s evidence and methods. Mohamud’s defense team, led by Chief Deputy Federal Public Defender Stephen Sady, also declined to comment. Joshua Dratel, chairman of the national security committee of the National Association of Criminal Defense Lawyers, says government practice has been to selectively withhold evidence from defendants. A ruling in the Mohamud case that opens the door to more disclosure could lead to a re-examination of many other cases. “The government has never been forced, in a FISA context, to describe their process in meticulous detail,” Dratel says. “It’s an uneven playing field tilted in the government’s favor.” But Mohamud’s defense attorneys may hope the field has tilted back. In its 66-page memo, Mohamud’s defense team says “the need for secrecy has been reduced by the Snowden disclosures.... Prior to trial, the mass collection of telephone and Internet content and metadata was speculative; now it is fact.” Carrie Leonetti, an associate professor at the University of Oregon’s School of Law, says secret surveillance gives the government incentive “to play fast and loose with the rules.” “Any vehicle to challenge the warrantless surveillance we now know the government engaged in,” she says, “is a rare and important thing.”

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PORTLAND PUBLIC SCHOOLS IS MONTHS BEHIND IN RELEASING ITS PROGRESS REPORT ON HELPING MINORITY STUDENTS. By RAchEl GRAhAM coDy rcody@wweek.com

Portland Public Schools managed to get reports cards out this week to its 47,000 students, who may wonder (along with hovering parents) how well they’re performing. Don’t expect the same for PPS itself. For years, PPS has published its own report card, called Milestones Framework, as proof that the district’s policies to improve outcomes for students—especially those of color—are working. But the current Milestones report is nowhere in sight. The report was due in October, but district officials have offered no public explanation where it is or when it might be issued. “How can the district be held accountable for progress on the Milestones, as well as the compact, without regular reporting on their progress?” asks Eliza ErhardtEisen of the group 80%ers for Educational Excellence. The Milestones report is a key metric for the PPS board to measure the success of the district and Superintendent Carole Smith.

But no one on the board has asked publicly where the report is. Board co-chairs Greg Belisle and Pam Knowles in October listed championing and tracking student achievement via Milestones as a top priority. Belisle didn’t respond to WW’s calls; Knowles said she didn’t have time to comment. District officials say the Milestones report will be out later this year. PPS spokesman Robb Cowie says Milestones is reflected in the district’s “achievement compact” with the state and that some have been discussed with the School Board this year. Cowie says labor negotiations with the Portland Association of Teachers have consumed much of the district’s attention. “A lot of our time in the fall was taken up with the contract negotiations,” he says. “Everyone would agree there are more productive things we could have been working on.” Five years ago, Smith debuted Milestones as a new way for the district, the public and School Board members to monitor PPS’s overall student progress and efforts to close the racial achievement gap.

The School Board uses Milestones to evaluate Smith. And the public uses Milestones to evaluate the district. Milestones tracks five basic questions annually: Are students ready to read by the start of first grade? Are they reading for content by the start of third grade? Are they ready for high school at the end of eighth grade? Are they on track to graduate by the start of their sophomore year? And how many students graduate on time? Though Milestones is not out, some of the numbers related to it are. Last fall, Melissa Goff, executive director of the PPS office of teaching and learning, reported to the School Board that the gap between the overall number of PPS students and minorities on track to graduate high school had widened.

Goff said last school year that 25 percent of the district’s third-grade readers failed the state’s reading assessment, compared to 24 percent the previous year. The results showed declines for all minority groups except Native Americans. African-American and Latino students failed the test at the rate of 53 percent and 49 percent, respectively, a one-point increase for both groups. “Over time we have seen sustained student gains, but we did have a dip,” Cowie says. “We are putting ourselves on pace to meet the state’s goals. And we want to be consistent with how we are setting targets, and how we are preparing kids at each step of the way so they can succeed and finish high school and ultimately go on to a competitive career or college.”

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LENNOX REES

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THERE’S A NEW BUSINESS IN PORTLAND’S REAL CHINATOWN—MARIJUANA.

BY NIGEL JAQUISS

njaquiss@wweek.com

Sunny Chan has a lot of history at Yummy Garden, the Brooklyn neighborhood restaurant he used to own, and at another restaurant he owned, Chinese Garden in Gresham. Today, there’s change afoot at both joints. Yummy Garden, known for its kelly-green exterior and lemon-yellow floor tiles more than its cuisine (one regular says he took to ordering a burger or grilled cheese because the Chinese food was so bad) closed Jan. 29. Chan’s Chinese Garden, which features a menu heavy on chop suey and chow mein, green vinyl booths and a flashy electronic Keno board over the cash register, remains open, although Chan abruptly assigned ownership to his wife in June. And Chan is nowhere to be found. “He’s in China,” says a Chinese Garden manager who declined to give her name. “We don’t know when he’ll be back.” Probably never. Chan is the alleged leader of a Chinese drug gang. Last week, Chan’s top lieutenant, Shu Guang “Big Rock” Wu, was in federal court and is expected to plead guilty Feb. 20 to conspiracy to manufacture marijuana. He faces 26 years in prison. Big Rock’s would be the highest-ranking conviction in a three-year investigation into a large, sophisticated Chinese marijuana-growing operation that had its unofficial headquarters in Chinese restaurants, but extended into ordinarylooking houses scattered across Southeast Portland. Nailing the leader of this operation will be difficult, unless Chan, 59, tires of China. He’s got little reason to return to Portland. Federal prosecutors who indicted him last year are demanding he cough up nearly $4 million in cash and a couple of houses and spend the next few decades as the government’s guest. Prosecutors say Chan had ties to at least three restaurants—Mandarin Palace in Beaverton was the third—as well as elaborate money-laundering and property transactions. The case offers a rare glimpse inside Asian organized crime in Portland. Someone who’s had more than a peek at this underworld is Jeff Zoria, a mortgage broker whose office at Wing Ming Square, at 2788 SE 82nd Ave., is in the heart of Portland’s new

Chinatown. Zoria, 51, whose daughters and business partner are Chinese, complained for years about illegal gambling parlors in his building. But Zoria, who says he suffers from severe asthma, thought the Chinese gamblers, who included Sunny Chan, were guilty of nothing more than clicking mahjong tiles and violating indoor smoking laws. “Why would all these Chinese guys, who speak little or no English, get into growing pot in Oregon?” Zoria asks. “They’re serious and they work like oxen. There’s just no mixture between the Chinese community and weed. I’m baffled by it.” The answer, of course, is money. Like other industrial products, such as textiles, automobiles or computers, marijuana production moves from place to place and group to group. Even as legalization in Oregon looms, growers are enjoying outsized profits by shipping their product east. “Legalization is following a very different path from the repeal of Prohibition,” says Alison Holcomb, drug policy director of the American Civil Liberties Union of Washington state. She was a leader of that state’s successful 2012 marijuana legalization campaign. “Prohibition’s end had an immediate impact because it happened at the same time nationwide,” Holcomb says. “[Marijuana] legalization is piecemeal, so won’t have the same impact on the black market.” Outdoor growing operations are still responsible for most of the 150,000 or so plants law enforcement seizes annually in Oregon—but Chinese indoor growing operations are the latest trend. Chan’s operation, for example, was equivalent to 20 percent of all the indoor grows seized in Oregon last year, according to federal statistics. “It’s all about a business opportunity,” says John Deits, a recently retired federal drug prosecutor who oversaw part of the Chan case. While Mexican cartels have dominated Oregon pot production, there’s clearly a new entrant to the market. “The Chinese growers are a real recent phenomenon,” Deits says, “and they are very well-organized.”

“WHY WOULD ALL THESE CHINESE GUYS, WHO SPEAK LITTLE OR NO ENGLISH, GET INTO GROWING POT IN OREGON?” —JEFF ZORIA

CONT. on page 14

Willamette Week FEBRUARY 5, 2014 wweek.com

no moRE CRoPS: A one-time Lents grow house owned by Sunny Chan.

noT So HAPPY VALLEY: Sunny Chan fled to China last year, leaving this $600,000 home just over the Clackamas County line to his wife.

“The marijuana markeT has changed dramaTically.” —john deiTs

m u lT n o m a h c o u n T y s h e r i f f d e p T.

If what the feds say about Sunny Chan is true, his underlings were correct to nickname him “Big Brother.” Federal warrants say he ran a large and complex “marijuana-manufacturing and money-laundering conspiracy.” Law enforcement agents believe Chan is the boss of a ring that involved at least five marijuana grow houses in outer Southeast Portland and at least one in Southwest Washington. These were not houses with just a few plants in the basement. Agents busted the houses in 2011 and 2013, seizing more than 3,000 marijuana plants with a street value of as much as $3 million. Those cases were in addition to at least four other busts of Chinese growers in Portland and in Washington and Yamhill counties since late 2010. Deits, 66, who was Oregon’s top federal drug prosecutor for 11 years before retiring in November, says the Chinese are the latest group to make a grab for Oregon’s marijuana market. Deits began his career as a drug prosecutor in 1974. “The marijuana market has changed dramatically since then,” he says. In those days, Deits recalls, marijuana growers were Caucasian. “ Way back in the late ’70s, I don’t remember a lot of ethnic groups being involved,” Deits says. “It was hippies.” Over time, however, the source of production moved north. “In the ’90s, you had ‘B.C. bud’ coming out of Canada,” Deits says. “Nobody was growing much here, and because the Canadian border was insecure, you had huge quantities of super-high stuff available.” The terrorist attacks on Sept. 11, 2001, led to tighter security and a sharp reduction in the supply of Canadian marijuana. “The Canadian drug groups—a lot of them were Vietnamese—moved down to Seattle, Portland and Sacramento,” Deits says. Mexican cartels also moved in after 9/ 11, set t i ng up ex pa nsive g row i ng operations on remote federal lands. In the mid-2000s, Deits says, law enforcement agencies started targeting such Mexican operations. They remain Oregon’s biggest growers, but the focus on them created opportunities for new growers. Chinese entrepreneu rs saw a n opportunity in plentiful cheap houses, high unemployment and profit margins unimaginable in the restaurant business. They jumped in. Unlike the Mexican cartels, which work outdoors in rural areas, Chinese pot growers work indoors in urban centers, where their plants produce a higher-quality product because of the climate-controlled conditions. “Indoor grows produce higher THC,” says Deits, referring to the main mindaltering ingredient found in marijuana. Sunny Chan’s indoor operations were almost invisible. And because most of the product got shipped out of state—experts say Oregon is a large exporter of marijuana—there was little risk of street dealers implicating Chan’s crew.

b e T h l ay n e h a n s e n

cont.

b e T h l ay n e h a n s e n

YUMMY GARDEN

tAKInG tHE FALL: the feds indicted Sunny chan and five associates last March. chan fled but others, including Sun Ae Walker (left) and chan’s nephew Yau Yee “Fat Boy” Ma, are pleading guilty.

Because Chan’s case is still pending in federal court, some of the details of the investigation that led to his indictment are not public. (Lawyers for five others indicted with Chan declined to comment.) But a 2011 bust of two of Chan’s associates and search warrants served last year reveal how his gang allegedly operated. A nybody who’s watched The Wire or crime movies knows how cops often attack drug rings—they grab low-level dealers and roll up the chain of command. Busting grow houses doesn’t work that way. Instead of info from street dealers, the best intelligence usually comes from one of the most law-abiding organizations in town, Portland General Electric. “A lot of times utilities provide a tip,” Deits says. “PGE investigators will call the police and say, ‘We see a diversion.’” W hen cops ra ided one of Cha n’s grow houses on Southeast 118th Drive in August 2011, they said the house had been using thousands of dollars of electricity each month—for free. Stealing electricity is a risky proposition. Trying to tap into the high-voltage lines on residential streets carries the risk of electrocution or fire. Ryan Luf kin, a Multnomah County

deputy district attorney who prosecuted those arrested at Chan’s house on Southea st 118th Dr ive, says investigators believe there is a rogue electrician who serves grow houses, using his training to connect grow houses to the high-voltage wires. Indoor grows require lots of electricity. Chinese growers tear out interior walls, clear all furniture and turn homes into giant greenhouses. They then hook up electricity for continuous lighting, irrigation and drying of marijuana. By tapping electricity before it goes through the household meter, the growers can hide their usage from PGE. The utility ’s investigators monitor homes and businesses for unusual consumption, and indoor growers want to avoid that scrutiny. Thieves steal nearly $1 million in electricity annually from PGE, says company spokesman Steve Corson. Corson does not know how much of that is stolen by marijuana farmers, but he says the amount is substantial. “We’ve seen a definite trend in terms of growing operations moving indoors,” Corson says. “A large grow operation can steal between $1,000 and $2,500 a month.”

CONT.

YUMMY GARDEN

LENNOX REES

luted property transactions and figured out where all the marijuana and money was going. “ T hese ca ses a re ver y complex ,” Luf kin says. “Everybody has a specific role, and it’s very organized.”

NO SMOKING: Mortgage broker Jeﬀ Zoria’s frustration with chain-smoking Chinese gamblers brought authorities to Wing Ming Square on Southeast 82nd Avenue.

Stealing power was in some ways the riskiest part of Chan’s operation. WW interviewed neighbors near grow houses on Southeast 115th and 84th avenues. Fearing retaliation, they spoke on background but said neither house raised much suspicion. A 2,640-square-foot grow house with a large garage on Southeast 115th Avenue in the Powellhurst-Gilbert neighborhood is tucked away on a flag-shaped lot and surrounded by a high fence. Ironically, in front of the home is an Oxford House, for those in recovery from alcoholism and drug addiction. After a Chan underling bought the house in foreclosure in 2010, a Chinese man moved in. Neighbors say a van stopped by periodically, and people walking in the park behind the house detected the smell of marijuana. But other than the fact that the lights never went off, it was difficult to tell if anyone lived there. Chan’s grow house on Southeast 84th Avenue in Lents has less privacy and is smaller—cops seized only 486 plants there, one-third of the total seized at the Southeast 115th Avenue house. A neighbor says an Asian woman appeared to live there by herself, only venturing outside for an occasional cigarette. The woman also received regular visits from a van

driver. Neighbors near two of Chan’s grow houses say the fi rst time they were aware something extraordinary was happening was when several PGE trucks showed up to work on the power lines. “I came home one day and couldn’t get through the street because there were so many PGE trucks,” says an 84th Avenue neighbor.

munity are reluctant to speak to police. Chan’s group used prepaid cellphones that don’t require identification for activation, court records show. That makes wiretapping difficult. Despite the language and cultural barriers to investigating Chinese growers, prosecutors say there is one officer with extraordinary expertise in Chinese grow operations.

“THE JOKE IN LAW ENFORCEMENT IS THAT THE U.S. POSTAL SERVICE IS THE BIGGEST DRUG DEALER IN THE COUNTRY.” —JOHN DEITS

Chan’s gang operated as a tightly controlled cell. Records show Chan’s wife, son and nephew were involved, along with other accomplices who were closely connected. (Chan’s son, Evan, declined to comment. Chan’s wife could not be reached.) The Portland Police Bureau and local federal law enforcement agencies employ few Chinese-speaking investigators. And like other immigrant groups, prosecutors say, members of Portland’s Chinese com-

“The cop who did a ton of these investigations is Scott McCollister,” Lufkin says. “He knows everything there is to know about them.” Today, prosecutors admire McCollister for his skillful investigations. A decade ago he was infamous for fatally shooting Kendra James, an unarmed black woman. To take down Chan’s operation, McCollister, who declined to be interviewed for this story, and his colleagues pulled together bank records, decoded convo-

All Sunny Chan needed to become a bigleague marijuana grower was people and property. It appears his enterprise began during the 2008 recession, when unemployment was high and home prices were low. The crew he assembled often met after hours, records show, at Chan’s restaurant, Chinese Garden. Chan even told one associate, his nephew Yau Yee “Fat Boy” Ma, to sponsor the immigration of a man named Chan Wen Chao to work at Yau’s restaurant, Yummy Garden. (It is unclear when Chan came to the United States. Court records show he married his wife in Portland in 1983.) Wen Chao’s real function, according to a federal search warrant, was to serve as a straw buyer for one of Chan’s grow houses. Investigators found that Wen Chao presented falsified bank statements to a title company to prove he could afford a house, when in fact the real buyers were Chan and his wife. The purpose of the deception: “To conceal Sunny’s involvement in the illegal [marijuana] manufacturing activity taking place at the residence,” the search warrant alleges. The real-estate transactions provided Chan an opportunity to launder some of the cash his operation was allegedly generating. He bought at least three houses, paying more than $500,000 in cash. Chan’s marijuana business made a lot of money. A woman arrested for her role in tending plants told police she got paid 10 percent of the proceeds from the Lents house each month. Her monthly payments were $6,000 to $7,000 during 2012, which suggests that grow house— Chan’s smallest—was netting $60,000 to $70,000 a month. None of the legal titles to Chan’s grow houses was in his name, at least initially. But when the cops started moving in, he fl ipped at least one back into his name to protect his business. Chan bought the Lents house in 2009. Less than a month later, he sold it to an associate named Jian Pan Su. In March 2011, police stopped Jian after he left a suspected marijuana grow house in Ridgefield, Wash. That same day, Jian gave the Portland house back to Chan for free, which a search warrant describes as “an attempt by Jian to avoid discovery of the marijuana-growing operation inside the 84th Avenue residence.” Bank records showed that Chan controlled accounts in other states, such as Georgia, where money would be deposited and transferred back to Portland. In the 2011 bust, investigators found stacks of boxes for mailing marijuana elsewhere. “The joke in law enforcement is that the U.S. Postal Service is the biggest drug CONT. on page 16 Willamette Week FEBRUARY 5, 2014 wweek.com

YUMMY GARDEN

cont.

The 2011 arrest and subsequent conviction of De Bin and another grower were just the first step in officials’ pursuit of Chan. To make a federal case against Chan, investigators pored over financial and property records to establish the interstate distribution and money-laundering aspects of the case. After seizing evidence from Chan’s grow houses, investigators had one final search warrant to serve. They wanted the records kept by the real-estate agent who’d worked for Chan in at least three transactions. That agent is a woman named Xiao Tang, and her realty firm shares space on Southeast 82nd Avenue with Bamboo Mortgage, Jeff Zoria’s company. (There’s no indication either of them was involved Chan’s drug ring.) Ironically, Zoria was desperate for the authorities to bust the Chinese gambling operation in his building. “The gamblers are chain smokers and they were destroying my health,” Zoria says. Throughout the first half of 2013, Zoria sent emails and letters to the Portland Police Bureau’s drugs and vice division, Portland Fire & Rescue, Multnoma h County’s smoking-prevention program and even the city agency that licenses social-gambling operations. During the spring and summer, a drugs and vice cop stopped by, as did a fire inspector and the city’s gambling-license regulator. A county code inspector even visited six times. But nothing changed. 16

Willamette Week FEBRUARY 5, 2014 wweek.com

lennox rees

dealer in the country,” Deits says. For all the sophistication of Chan’s operation, his crew made some silly mistakes. Although Chan went to great lengths to disguise his property transactions, Multnomah County property records show that his wife, Suzi, paid the 2012 property taxes for three homes held in other people’s names. Suzi Chan also figured in one of the unintentionally comedic events of the downfall of her husband’s gang. After the 2011 bust, she went downtown to bail out one of the growers, a man named De Bin Zhen, who had been arrested for growing marijuana. “Suzi provided $10,000 cash in an attempt to bail out De Bin,” according to court documents. “The money was seized follow ing an a ler t from a narcoticsdetection canine, which [was] alerted to the presence of a narcotic odor on the money.” De Bin did not fare any better in the judicial system. Lufkin, the state prosecutor, says Chinese growers usually plead guilty because such cases typically include overwhelming evidence of guilt and carry light sentences. At the house where De Bin was arrested, officers seized 1,053 marijuana plants and 490 marijuana clones, which are fastgrowing cuttings from mother plants. “The guy ’s defense was, he did not know what marijuana was,” says Lufkin, who prosecuted De Bin. “That did not go over very well in court.”

“we think the legal price [of marijuana] will track the black-market price. there’s still plenty of money to be made.” —Alison Holcomb

Then, on Oct. 10, police and federal agents raided Zoria’s office, seizing Xiao Tang’s computer and records related to Sunny Chan. Zoria says he sat in his office dumbfounded when officers served their search warrant. “I’ve been complaining to the police about the gambling for a long time,” he says. “Then they came in like storm troopers for something else.” Today, Zoria says his lungs are clear. Instead of tobacco smoke, the sugary smell of charred meat from New Wing Wa BBQ King, on the floor below, wafts through his office. In January, the Chinese gambling club in his building closed. Some of the gamblers have been arrested. Chan is gone, holing up in China. His associates are pleading guilty one by one. His wife filed for divorce in

December—perhaps in an attempt to preserve assets, because she’s said to be with Chan in China. Although Oregon is hurtling toward marijuana legalization, prosecutors say there will be plenty of people eager to take Chan’s place. Even if Oregon legalizes marijuana later this year, many states are far from such a decision, which means demand for Oregon weed will remain strong. In Colorado, where legalization went into effect last month, prices have gone up, not down. Holcomb, the Washington ACLU drug policy director and a former criminal defense lawyer, says demand will keep the Sunny Chans of the world busy. And “whack-a-mole” justice will continue. “We think the legal price will track the black-market price,” Holcomb says. “There’s still plent y of money to be made.”

5 Day Vinyl Sale WED., FEB 5 – SUN., FEB 9 20% OFF ALL NEW AND USED VINYL

Upcoming In-stores CRAIG CHEE FRI. 2/7 @ 6 PM

Wanting to bring something to share on the mainland, Craig Chee chose to focus on the ukulele before leaving Hawaii for college. He experiments with the ukulele in settings that aren’t typically associated with the instrument and hopes to continue to travel and share his passion for the ukulele and expand on how people view the instrument.

H U R R AY F O R T H E R I F F R A F F L I S T E N I N G P A R T Y

TUES., 2/11 @ 6 PM SMALL TOWN HEROES ON SALE $ $9.99 CD

Listen to the new album & enjoy food & drinks by local, independent vendors! Hurray For The Riff Raff is Alynda Lee Segarra, but in many ways it’s much more than that: it’s a young woman leaving her indelible stamp on the American folk tradition. NEW & RECOMMENDED by Music Millennium.

C E L E B R AT E L I N C O L N ’ S B I R T H D AY W I T H L I N C O L N ’ S B E A R D

WED., 2/12 @ 6 PM

Since 2006, Lincoln’s Beard has been writing, recording, and playing their original tunes far and wide throughout the Pacific NW. Currently a four piece band, consisting of acoustic guitar, electric guitar/lap steel, electric bass/banjo, and drums, Lincoln’s Beard plays high energy shows that keep your feet tapping and moving.

CHARLES NEVILLE THURS., 2/13 @ 6 PM New Orleans musical royalty Charles the “Horn Man” Neville, a founding member of The Neville Brothers and a legendary performer who has graced stages world wide and played on Grammy winning recordings, will touch in aspects of his incredible musical range in this performance. Backed by NYC’s Gent Treadly, Charles will perform Neville’s and Meters classics as well as newer original material. Neville will join forces with New York funk crew Gent Treadly for a special performance at Alhmabra Theatre on 2/13 after the in-store at Music Millennium.

New & Recommended

THE FLESHTONES WHEEL OF TALENT ON SALE $12.99 CD

Dubbed “America’s Garage Rock Band” and “The Kings Of Garage Rock,” The Fleshtones are the subject of books and movies as well as amazement from fans and detractors alike. The Fleshtones charge straight into 2014 with Wheel Of Talent, featuring thirteen new tracks full of fuzz guitar and Farfisa organ riffs to satisfy everyone’s Surf, Garage, Rockabilly, Soul needs.

NASHVILLE PUSSY

UP THE DOSAGE ON SALE $13.99 LIMITED ED. CD Limited deluxe edition includes two bonus tracks. Up The Dosage picks up seamlessly where their 2009 release From Hell To Texas left off. The quartet’s five-year hiatus seems to have done frontman Blaine Cartwright (vocals, guitar) and Ruyter Suys (guitars) good - all the songs sound like they were catapulted into to the public from a fountain of youth, rocking in typical Pussy style. Willamette Week FEBRUARY 5, 2014 wweek.com

CULTURE

BUY LOCAL

LOVE LOCAL

VALENTINE’S DAY GEAR FROM OREGON COMPANIES

3 1. PURE SWEET ALMOND MASSAGE OIL

ESCENTIAL LOTIONS & OILS, ESCENTIALONLINE.COM. 16 OUNCES, $13.50.

The moisturizer is pressed from California almonds and produced at Southeast Hawthorne Boulevard’s Escential Lotions & Oils. Along with oils the store offers a variety of lotions, skin products and lubricants for all of your skin-care desires. This sweetly scented almond massage oil is available in sizes ranging from a petite 4-ounce bottle to a giant 16-ounce bottle.

2. ALMOST NAKED ORGANIC LUBE GOOD CLEAN LOVE, GOODCLEANLOVE.COM. 4 OUNCES, $15.

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Willamette Week FEBRUARY 5, 2014 wweek.com

This vegan, organic Eugene-made lube uses seaweed and aloe vera to help partners glide together. The Almost Naked lube smells of lemon and vanilla and can be found in various sizes at retailers such as Fred Meyer.

3. CHOCOLATE CLONE-A-PUSSY AND GLOW-IN-THE-DARK CLONE-A-WILLY

SHE BOP, SHEBOPTHESHOP.COM. PUSSY, $24; WILLY, $45.

Gift your significant other with a replica of your own goodies. Ladies can make an edible chocolate vulva with this molding kit while gentlemen can give a personalized dildo in the exact shape of their own junk. But unlike flesh, this one glows in the dark and vibrates.

4. ORIGINAL CUSTOM HARNESS

INHERTUBE, INHERTUBE.COM. $70.

InHerTube’s owner, who goes by Kat, was frustrated that rubber and leather harnesses didn’t fit larger frames, so she developed a Portland-made harness available in waist sizes from 24 to 80. The harness is made from upcycled rubber previously used on heavy equipment, with industrial-strength velcro fasteners that hold fast but come on and off easily.

BUY LOCAL

CULTURE

7 6

8 5

5. AVA SLIP

FOLLY PDX, FOLLYPDX.COM. $65-$68.

They say you’re sexiest when you’re comfortable. The Ava slip works as an undergarment but also as lingerie. Local designer Sarah Bibb makes these slips for stores around the country, but you can get them fresh at Folly PDX.

6. MOONSTRUCK CHOCOLATES

MOONSTRUCKCHOCOLATE.COM

If you want fancy chocolate, Portland has plenty of chocolatiers making high-grade cacao bombs in letterpressed labels. Moonstruck has a huge selection, including cute critters with heartshaped dots and smiling faces and eyes that say “I Love You,” or heart-shaped truffles styled to look like Sweethearts candies.

7. SEX AND MISCHIEF JEWELLED FLOGGER

SCARLET GIRL, SCARLETGIRL.COM. $19. Got an old toy that’s either broken or reminds you of an ex? Take it to Portland’s Scarlet Girl, which recycles sex toys. You’ll get a $10 credit toward the purchase of items like this bejeweled vinyl ﬂogger.

8. VELVET GLOVES AND PRINTED STOCKINGS

Thursday February 6th, 2014

POLONOVA, POLONOVA.COM. $20-$75.

Polonova’s velvet gloves exude luxury. Your date will start referring to you as “daaahling” as your fingers move with the whimsical lightness of a ’40s actress accepting an award. The gloves, and the Portland company’s stockings, come in a variety of screen-printed patterns including swirls, dragons, henna and various vaguely European designs. SAVANNAH WASSERMAN AND LYLA ROWEN.

9pm

Product Sampling & Education

Contributions by:

300 SW 12th Avenue. PDX. OR 97205 503.224.2604 www. spartacusleathers.com

Willamette Week FEBRUARY 5, 2014 wweek.com

CULTURE

BOOKS

WILLIAM T. VOLLMANN SUSPECTED UNABOMBER/NATIONAL BOOK AWARD-WINNING NOVELIST ON BIG BROTHER’S INCOMPETENCE. By MATTHEW KORFHAGE

mkorfhage@wweek.com

As a journalist, William T. Vollmann has traveled with the anti-Soviet mujahideen in Afghanistan. He has lived for a year as a homeless rail-jumper, smoked crack and frequented prostitutes. He is also a National Book Awardwinning novelist of uncommon empathy and ambition, most notably in a projected seven-book cycle on Native American dealings with Europeans that will continue in 2015 with a historical novel, The Dying Grass, about Chief Joseph of Oregon’s Nez Perce tribe. But Vollmann was also a Unabomber suspect. In an essay in the September 2013 issue of Harper’s, Vollmann wrote about requesting his FBI file and discovering, amid heavily blacked-out pages, that an informant had tagged him as a possible terrorist. Vollmann will be at the Mission Theater on Wednesday night, Feb. 5, to talk about his experiences with the FBI. WW talked with Vollmann over the phone about yo-yos and the FBI’s skills as literary critics. WW: What are the chances the FBI is listening right now? William T. Vollmann: The chance that the NSA is bugging us is 95 percent. I doubt the FBI has the manpower. But we can be assured that our tax dollars are being wasted somehow. Any idea who accused you of being the Unabomber? I’ll never know for sure. If I ever met him, I would forgive him. He thought he was doing a good thing, and I just don’t want to be a professional victim. I do get tired of it, that a lot of my international mail never gets to me, that books from my publisher will arrive with the spine slit open. But what am I going to do about it? I can seethe with fury or spend my time doing something else. Which of your books troubled the FBI the most? Oh, it was Fathers and Crows. It was a long novel about Jesuits and the Iroquois. It caug ht [the FBI’s] interest because the Unabomber was publishing letters under the moniker F.C. This novel was set in Canada in the 1600s, before the U.S. existed. The fact that the FBI would think this was subversive and 20

Willamette Week FEBRUARY 5, 2014 wweek.com

supportive of terrorism—that was kind of a shock. In the Harper’s essay, you called the agents spying on you “Unamericans.” In an ideal America, that whole process would be the most un-American thing at all. We pride ourselves in allowing each person to live in his own way. But we have never lived up to that from the very beginning. It’s important not to let those Unamericans slide, which is what most of us tend to do. You’ve read your FBI file. How do you rate them as literary critics? I actually enjoyed some of the things they sa id. I got a cer ta in a mount of feeling about some of these people, as if they were literary characters. Of course, they were trying to do the same for me. But the operative in New Haven [Conn.] I sort of have a soft spot for. He might have enjoyed studying me in a way. It seemed like there was a wide range of skill and literacy. I was quite surprised by the people who interrogated me at the FBI building in New York. They seemed quite literate, although we weren’t on the same planet. When I got my file and read what they had written, it was hardly even grammatical. We’d like to think if we’re going to be spied on, they’re probably these cunning, intelligent people who know everything about us. Instead there are a lot of yo-yos and minimumwage slaves, and probably a lot of it gets outsourced. It’s got to be that way in the FBI, as everywhere else. W h e n y ou g o t d e t a i n e d i n c u s toms much later, one of the agents described your FBI file as being like a novel. I would love to read the bulk of it, which, of course, I’ll never be able to. I’m sure it would be fascinating as well as sad. Sometimes it hurts a little bit. Other people who’ve gotten their files have said that. They say, “Oh, I never thought it would be this guy who’d turn me in.” That wasn’t my experience, but some of the things that people would say or think about me made me a little sad. I think that ’s why the Freedom of Information Act is so great and should be strengthened. That’s really our only defense against authority figures writing garbage about us. The garbage just kind of builds and builds. I have a parking lot where I sometimes let homeless people stay. Somebody will sometimes leave a little garbage, and if I don’t pick it up, pretty soon other people will considerately add garbage to that pile. The FBI file is sometimes a lot like that. I was

A self-portrAit by williAm t. vollmAnn

a Unabomber suspect. And even if the Unabomber is proved to be someone else, there’s probably something suspicious about me. They might as well make me an anthrax suspect too. Who knows what I’m a suspect for now? Is there anyone whose life could withstand that kind of scrutiny? I bet there is. I bet some rather boring, simple-minded, 9-to-5 person who has a limited range of interests—who doesn’t like to travel, and who does everything with credit cards and cellphones so they can see what this person does all the time. And everything they do is so dull that the FBI is yawning. There must be people like that. Is that the goal of society? To have people so dull they bore the FBI? Maybe that’s the goal of the powers that be. Did you find insight into your own life in your file, that you didn’t have to begin with? No, it would’ve been fun. I sort of hoped for that. But I can’t say they really knew me very well. Their psychologizing was a little amusing, but also creepy and repellent. So you don’t want them to spy on you, and when they do, you’re disappointed they didn’t do a better job. I guess I wasn’t too disappointed. Maybe they think they know me well enough. At one point, they really wanted to get my Social Security number. They couldn’t f ind me in the system because they couldn’t spell my name right. That ’s what gives me hope. Not that Big Brother

is going to become nice, but that Big Brother is incompetent. Your recent book of photography, The Book of Dolores—which contains photographs of yourself as a woman—is also about public versus private identity. In that Harper’s article, I wrote that what I had to hide from the FBI is that I had nothing to hide. That is significant. People ask why I care if they’re bugging my phone. I’m not ashamed of who I am or what I’ve done. I’m not ashamed I’ve put on a dress a few times and become Dolores. But it’s my business. If I want to make it public, that’s fine. If they want to spy on me and make it part of my file, I think that’s vile. The book is an interesting document. It’s a kind of experiment. It’s a way of seeing in part who I am, in part who I might be, in part who I can never be. That ’s what I do in my writing all the time. When I write about Chief Joseph, I have to put myself in [U.S. General Oliver O.] Howard’s shoes. I have to put myself in Joseph’s shoes, which is harder. Putting myself in high heels was surprisingly difficult. I enjoy hanging out with women, but I’ll never know what it’s like to be one. So what’s next after the Chief Joseph novel, The Dying Grass? I’d like to write a nonfiction book having to do with the idea of home. Go: William T. Vollmann will speak at the Mission Theater, 1624 NW Glisan St., on Wednesday, Feb. 5. 6:30 pm. $10 suggested donation. Minors admitted with legal guardian.

WHAT ARE YOU WEARING?

STREET

WEARING MANY HATS COLD DAYS CALL FOR A LID. P H OTOS BY KAYLA N GU YEN

Vegan Dishes Available

Willamette Week FEBRUARY 5, 2014 wweek.com

FOOD: Hawaiian plate lunches compared. MUSIC: Eyelids, Portland’s low-key supergroup. THEATER: Praying for a Ponzi schemer. MOVIES: PIFF, PIFF and more PIFF.

25 27 40 44

SCOOP JEREK HOLLENDER

CYBER-BULLYING IS SERIOUS, YOU GUYS.

Summit Research Network (503)228-2273 (CARE) www.summitresearchnetwork.com

THIS SCENE IS DEAD: Dean’s Scene, a popular speakeasy on Northeast Fremont Street, closed Feb. 1 after a visit from Oregon Liquor Control Commission officials. Dean Pottle’s home brewery had been scrutinized by the OLCC since December, when the agency sent a letter warning Pottle about making more beer than allowed by law and accepting “financial consideration” for beer without a liquor license. “We’re closed,” Pottle said when reached by phone Feb. 2. “The OLCC raided me twice this week.” The OLCC first warned Pottle on Dec. 9, 2013. “If he wants to brew beer and give it to people out of the goodness of his heart, he is free to do so,” says OLCC spokeswoman Christie Scott. “We asked him not to charge people money.” Pottle applied to the OLCC for a homebrewing and private DEAN POTTLE club license Jan. 16. DUFF REDUX: Roots-rock venue Duff ’s Garage is moving to 2350 NE 82nd Ave., the former location of the Red Room, a venue best known for hosting punk and metal shows. “It’s what we needed,” says co-owner Jennifer Wallace, who says Duff ’s had been looking for a new location for two years. “It’s not perfect, but it’s a little bit bigger. We can get 20 more seats in there, I think. It’s near a freeway exit.” The lease on Duff ’s Garage’s current location (1635 SE 7th Ave.) expires in April, and Wallace anticipates the 82nd Avenue location will open the same month, provided OLCC paperwork goes through in time. Wallace expects improvements to the food menu. “That’s always been our biggest complaint,” she says. SQUATCH WATCH: Well, we got Outkast. The reunited hip-hop duo will headline the first half of the annual Sasquatch Music Festival at Washington’s Gorge Amphitheatre, which this year is spread across two weekends in May and July, and considering that the legendary Atlanta rappers proclaimed they’d perform at 40 festivals in 2014, it’d be a major disappointment otherwise. The rest of the lineup isn’t too shabby, either: Queens of the Stone Age, the National, M.I.A., Soundgarden, Kraftwerk and Frank Ocean. A smattering of Portland-based acts, such as Typhoon, Radiation City, Portugal the Man and Modern Kin, are also spread across the bill. The festival takes place on the Memorial Day and Fourth of July weekends, with tickets going on sale Saturday, Feb. 8. HAM BEEF: On Super Bowl Sunday, local scribe Robert Ham stumbled into a Twitter war with Kurt Sutter, creator of the AMC biker drama Sons of Anarchy. It began when Greg Yaitanes, a showrunner for the Cinemax series Banshee, protested a negative review of the show Ham had written for online magazine Paste. In an apparent sign of solidarity, Sutter tweeted a photo of Ham, with the comment, “just knew the dude had to grow looking like this being called ‘fat bobby ham sandwich.’” Ham responded by calling Sutter “petty and small,” leading to a volley of insults from a few Sons of Anarchy fans. “I’m not asking for an apology from anyone involved, nor do I anticipate one,” wrote Ham, a former WW contributor. “I just want to use this small platform to remind folks that words matter and we should be using them with far more care than we often do.”

Willamette Week FEBRUARY 5, 2014 wweek.com

HEADOUT

WILLAMETTE WEEK

WHAT TO DO THIS WEEK IN ARTS & CULTURE

TALKIN’ SWAP

WEDNESDAY FEB. 5 WILLIAM T. VOLLMANN [BOOKS] Author William T. Vollmann (Imperial, Butterﬂy Stories), once considered a suspect in the Unabomber and 2001 anthrax letter attacks, has been under surveillance by the FBI for decades. For Oregon Humanities’ Think and Drink, he discusses the implications of domestic spying. (Remember to use the code word “waﬄes.”) Mission Theater, 1624 NW Glisan St., 2234527. 6:30 pm. $10 donation. Under 21 admitted with guardian.

MAYHAW HOONS, ORGANIZER OF FRIDAY’S VHS SWAP, APPRAISES OUR VIDEO COLLECTION.

Dragonheart: A New Beginning What the hell is Dragonheart: A New Beginning? This looks like a sequel to a movie that no one liked in the first place. Based on that alone, I would buy it. But for no more than $2 because it probably doesn’t have any nudity.

Paula Abdul: Cardio Dance Paula can dance. Dance is exercise. Paula shows us how to exercise while dancing. That was what they were going for anyway. But I’m guessing this was mainly used as porn for 13-year-old nerds. I would wash my hands after putting it back in the dollar bin.

Oster Professional Products Home Pet Grooming Video: Learn How to Groom and Trim Your Dog at Home With This Step-By-Step Guide Look at that cover! That’s ART! That dog looks like he is about to be murdered. The video is probably boring, but it’s worth buying just for the cover. And the sticker on the front proudly proclaims that it was “MADE IN THE U.S.A!” Fuck yeah! USA! USA!

...And They Survived IV: Don Gay Presents the Most Spectacular Wrecks From the 1999 PBR Tour Holy God! This looks horrible! Cowboys getting trampled by mad bulls. It’s like Faces of Death for rednecks. And look at the price tag: $24.95. Jesus. You have to be a real sadistic pardner to pay that much. And no one even dies! Lame.

Bathrooms: Step-By-Step Video Instruction I have never done cocaine before. But from all the evidence I have collected, it sounds like the best thing ever. Take this tape, for instance. It’s just called Bathrooms, the cover art is some ’90s Beyond the Mind’s Eye shit, and it was made by Chevrolet. I have no idea what is going on here, but it looks awesome. Drugs are bad, I know, but sometimes they produce some beautiful art.

The Best of Bob Uecker’s Wacky World of Sports, Vol. 1 Sports are stupid. Who cares? They are boring, and every single sports fan is a giant baby. And this tape focuses on wacky sports fans! Barf. The only way I would buy this thing is if it showed angry bulls trampling sports fans. That’s more my kind of wacky.

GO: The fourth quadannual Great Portland VHS Swap and Puppy Fashion Show is at the Clinton Street Theater, 2522 SE Clinton St., 238-5588, on Friday, Feb. 7. 5 pm. Visitors are encouraged to bring VHS tapes for swapping and trading. After the swap, there will be a free screening of Street Trash at 8 pm. If you’re a fan of the ...And They Survived series, the Professional Bull Riders tour comes to town this weekend. See Headout pick in the right column.

RUPAUL’S DRAG RACE: BATTLE OF THE SEASONS [DRAG] TV’s most famous drag queens stop by Portland before the next season of RuPaul’s Drag Race starts Feb. 24. Portland’s Jinkx Monsoon isn’t in the lineup, but eight others make up for her absence, including Alaska Thunderfuck, Pandora Boxx and Ivy Winters. Local guys get onstage in their underwear and twerk. Crystal Ballroom, 1332 W Burnside St., 2250047. 10 pm. $30-$60. 21+.

SATURDAY FEB. 8 OREGON PINBALL CHAMPIONSHIP [“SPORTS”] The grandest pinball wizards in the state converge to determine who has the itchiest ﬂipper ﬁnger of them all. The Know, 2026 NE Alberta St., 473-8729. 2 pm. Free to attend, $20 to enter concurrent jamboree tournament. 21+. PBR TOUR [“SPORTS”] In a PBR-related event that confronts everything Portland holds dear, dudes in cowboy hats with names like Prance, Wyatt and Zane attempt to sit on an unwilling bull for eight seconds. There will also be clowns. Moda Center, 1 N Center Court St., pbr.com. 7:30 pm. $15-$50.

SUNDAY FEB. 9 WORST DAY OF THE YEAR RIDE [BIKES] In its dozen or so years, it’s barely ever rained on the day of this ride. So don that tutu or toga—there’s a costume contest— and grease that chain. There are two routes: an easy 18-miler and a 45-mile course through the West Hills. Everyone gets beer and chili at the end. Course begins at Lucky Labrador Brew Pub, 915 SE Hawthorne Blvd., worstdayride.com. Registration starts at 8 am. $35-$45. HOSPITALITY [MUSIC] With its fantastic new album, Trouble, the Brooklyn trio decided to shed its misplaced “charming indie pop” tag by ditching anything that could be interpreted as twee, packing the record with trebly electric guitars and moody synthesizers. Singer Amber Papini still plays the role of the lost 20-something, but her gritty, nuanced songs are more Marquee Moon than Frances Ha. Doug Fir Lounge, 830 E Burnside St., 2319663. 9 pm. $12. 21+.

Willamette Week FEBRUARY 5, 2014 wweek.com

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

I get HAPPY 4-6pm Tues-Fri $3 menu

Tuesdstaryy: Fun Indu Night!

THURSDAY, FEB. 6 Chef’s Week PDX

Dragon Lounge

Chinese-American Restaurant

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

Read our story: canton-grill.com

This is sold out; every single dinner, every single night, from Thursday through Sunday. But this is what well-to-do foodie types will be telling you they’ve been to, so we ﬁgured we were doing you a service by giving you a heads-up. At Ava Gene’s, Paley’s Place, Castagna and Departure, there will be meals with up to 21 courses, prepared by topshelf chefs from Portland or throughout the Western states. Unless you’re already coming, you can’t come. But on the bright side, you won’t have to spend $215 on a Sunday meal. Multiple locations, chefsweekpdx. com. Sold out.

FRIDAY, FEB. 7 10 Bridges Bus Tour

Jobs for the Food and Drink Industry Staffing solutions for owners and managers NYC/ CHI/ SFO/ SEA /PDX/ AUS

Nobody in Portland will ever cross a bridge to get a drink with you. Sad, but true. We presume it’s in an ambassadorial mode that the Portland Short Bus beer tour will be crossing all 10 driveable bridges in Portland, back and forth, all night, while hopping bars. Buy tickets at portlandshortbus.com and they’ll email you the bar where you’re supposed to meet. Multiple locations, portlandshortbus.com. 7 pm. $35. 21+.

Northwest Dungeness Crab Dinner

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The problem with crab? It’s grotesquely messy—you always end up with meat in your eye every time you crack a claw, and yet people serve it to you as ﬁne dining. Probably this is because it’s so damn expensive they feel like they have to treat you like you’re French. Well, McMenamins isn’t really cutting you a price break. It’s $65 with beers included, but they’re serving the crab family-style, which means the gluttonous can eat their ﬁll and do so sloppily, with butter on their faces like fat 6-year-olds. McMenamins Kennedy School, 5736 NE 33rd Ave., mcmenamins.com. 7 pm. Also Friday, Feb. 8. $65. 21+.

THIRST Fest 2014

This is being billed as “Portland’s ﬁrst LGBTQ-focused wine, beer and spirits event.” Heck, who knows? It might be. But it’s also a hell of a residency for Dr. Von Crunkenstein, with 40 distilleries, wineries and breweries in attendance and proceeds donated to the Cascade AIDS project. Admission fee includes 20 drink tokens. Tiﬀany Center, 1410 SW Morrison St., thirstfest.com. 5-10 pm. Also Friday, Feb. 8, 4-10 pm. $20-$25.

SATURDAY, FEB. 8 Smitten With Sake

Chocolate and wine pairings— although this time, the rice wine. Anyway, it’s official: This is a totally off-brand Valentine’s weekend, at least as far as the wine shops are concerned. But still: Truffles and sake, you know? Sake One, 820 Elm St., Forest Grove, sakeone.com/ events. 11 am-5 pm. $10. 21+.

MONDAY, FEB. 10 Ippolito 1845 Wine Dinner

A five-course dinner (including dessert) from the Firehouse folks, coupled with a quintet of wines from the Ippolito 1845 winery in Calabria, Italy. Vincenzo Ippolito, from the winery family, will be on hand, so be on your best behavior: You don’t want to go pissing off any Italian families. Firehouse, 711 NE Dekum St., 954-1702, firehousepdx. com. 6 pm. $70.

DRANK EXTRA PHOTOS BY ADAM WICKHAM

Karaoke 9pm nightly Hydro Pong Saturday night

Willamette Week FEBRUARY 5, 2014 wweek.com

CARVED OPEN: Doug Cooke in his workshop.

OPEN ’ER UP Doug Cooke never thought he’d find a better bottle opener than the hefty old hunk of Miller-branded brass given to him by his sister. For 17 years, Cooke used it to crack almost every beer he drank. Then Cooke—a design consultant who’s worked on everything from Sloan toilets to Logitech web cams and Lenovo laptops—had an idea. “Before Prohibition, almost every town had its own brewery and they used to promote themselves by having their own bottle openers,” he says. “It adds to the ceremony of opening and enjoying an excellent beverage. One day I thought, ‘Hey, I bet I could do this in Portland, because it’s the center of craft brewing and all things local,’ so I set out to see if there were any interested customers and to identify foundries and polishers.” Portland is indeed a hotbed of local beer—as you’ll see in WW’s second annual Beer Guide, an 84-page glossy released today—and so, a decade on, Open Manufacturing is a small-scale success, making openers for breweries like Deschutes, Stone, BridgePort and McMenamins. Cooke’s openers are intricately designed works of art— heavy pieces of brass, bronze or zinc retailing for about $35. The butt end of his openers are extra heavy, a design throwback to the days before refrigeration. “Old, vintage openers used to have a ball end on the back side to smash ice blocks because they had to smash ice chips to keep the beer cold,” Cooke says. “Having that at the end of the handle sort of really helps you open the bottle—it’s a counterbalance it has on the back end. You want one single, confident motion when you’re opening a beer. I think a lot of cheaper openers sort of slip, and you don’t have one single, confident motion.” Cooke, who works for Tinder, a design consultancy, and who used to work for Portland’s Ziba, which designs everything from Heinz ketchup bottles to KitchenAid’s espresso machine, says a good opener is heavy and cool—but not cold—to the touch. “Whenever anyone picks one up, the first thing they say is, ‘Wow, you could really whack someone with this,’” he says. “And they’re easy to pick up. There are a lot of stamped stainless-steel ones, but those are flat and awkward to pick up.” Cooke has mostly worked in expensive metals like brass and bronze, but has recently found a foundry that will do cast iron, which is “incredibly less expensive” depending on the metal market at the time. “It’s kind of like buying market fish,” he says. “My first cast-iron opener is out this year for a brewery in California,” he says. “The foundry for that one is in Silverton—it’s an amazing 123-year old foundry that looks exactly like it did 123 years ago—bags of sand everywhere and dirty guys working and shoveling—but they do really great work.” After doing work like that, a man needs a beer. Something local—opened in one single, confident motion. MARTIN CIZMAR. SEE IT: For more information on Open Manufacturing bottle openers, visit open-mfg.com.

FOOD & DRINK REVIEW

HANG TEN A SURVEY OF 10 KALUA PIG PLATE LUNCHES IN PORTLAND.

There is not much Hawaiian food in Portland. At least not the dishes people in my native state would call “Hawaiian.” On the islands, the term is properly used to denote something with roots in pre-contact island society. King Kamehameha was Hawaiian; Bruno Mars and Barack Obama are just locals. So Hawaiian food means raw ahi or dried aku, luau leaf and poi. Mostly poi. The food mainlanders think of as “Hawaiian” is what we would call “plate lunch.” There’s white rice and/or mac salad with meat, usually pork, teriyaki beef or chicken, or katsu. It’s what you’d eat after going to the beach back in Hawai‘i. In truth, most plate lunches on the mainland are pretty bad. But WW decided to travel the city looking for the best. We kept it simple, sampling the kalua pig plate at 10 restaurants. Traditional kalua pig is roasted in an underground oven using hot lava rocks. At its best, it’s juicy and moist, but still stringy. The rice should be sticky and come off in chunks like cake. The macaroni salad should be simple, with mayonnaise as the dominant flavor. Here’s what we found. ALEX TOMCHAK SCOTT.

OUR PICK L&L Hawaiian Barbecue 4328 SE 82nd Ave., No. 1500, 200-5599, hawaiianbarbecue.com. I’d lost my faith in kalua pig by the time I walked into this L&L in a Lents strip mall. It only took one bite of the kalua pig plate ($8.75) to bring my entire Hawaiian childhood back to me. It’s tender and juicy, but also firm, with clumps of sinew and pockets of fat. L&L has restaurants in every neighborhood on O‘ahu. It was voted best plate lunch on the island in 2008 by The Honolulu Advertiser. There really is no reason to get plate lunch anywhere else in Portland. ALEX TOMCHAK SCOTT.

ALSO GOOD 808 Grinds Southwest 9th Avenue and Washington Street, 713-8008, 808grinds.com. I’ve had Hawaiian on the Big Island, and the kalua pig plate from 808 Grinds’ food cart downtown is the closest thing I’ve had to it here. For $7, you get perfectly seasoned and tender pulled pork— just a little stringy—plus white rice that gets better with a drizzle of semi-sweet soy or tangy teriyaki and a scoop of appropriately unmemorable macaroni salad. The salty, delectably rich slowroasted meat is heaped generously atop the rice. Lilo and Stitch would be proud. SAVANNAH WASSERMAN. Ate-Oh-Ate 2454 E Burnside St., 445-6101, ate-oh-ate.com. Ate-Oh-Ate probably has the most highfalutin culinary pedigree of any of the Hawaiian spots in town; it’s the product of Laurelhurst Market and Simpatica co-owner (and emigrant haole) Ben Dyer. The bare-bones shop is one of the few in town to offer taro-leafed lau lau, not to mention three varieties of housemade kimchee. The generously heaped kalua plate is monotonous by its end even though the pork is tender and smoky and the cabbage, steamed separately, maintains a bit of snap. The basic mac salad makes blessedly liberal use of pepper and something that makes it…orange. Still, think past the merely serviceable plate lunch and make use of a varied menu that includes complex saimin soup, kimchee burgers and a solid beef hekka. MATTHEW KORFHAGE.

THE REST The Local Grind Southwest Park Avenue and Montgomery Street, 853-0807, localgrindpdx.com. Most of the food carts I can remember back in Hawai‘i peer out from under clouds of roadside dust along the North Shore stretch of Kamehameha Highway, where the smell of salt lingers in the air from tradewinds blowing off the Pacific. So, shivering in a Northwest downpour waiting for a food-cart plate lunch feels as jarring and alien as being raised by a mumbling robot nanny with clinical depression. The food itself, at least, carried the comforts

of home. The main event, the kalua pig (small $5.50, large $6.50) is competent: tender, a little smoky, and moist, but the tongue can still tell from the intact sinews that it was once part of an animal carcass. It’s served on a bed of white rice that’s still a little starchy, but enhanced immeasurably as the pork’s juices drip down into it. The macaroni salad ($1 extra) has a few bells and whistles (green onions, red onions, carrots) that give it a more nuanced texture. They’re not traditional, but not objectionable either. ALEX TOMCHAK SCOTT.

photos, pineapple-shaped salt-and-pepper shakers and a reggaefied cover of “Drift Away” on the stereo. Ohana has a good reputation, but on a recent visit, the kalua pork ($12 for a large, but the $9 regular is more than enough to satisfy) was more soggy than juicy. The mahi-mahi ($14) fared better, but the side of salt-cured salmon mix ($3.50) tasted like pico de gallo lightly seasoned with fish food. On a more positive note: Kona Brewing makes a pretty satisfying pale ale, and it pairs well with the restaurant’s sticky rice and macaroni salad. MATTHEW SINGER.

Da’Hui 6504 SE Foster Road, 477-7224. The paintings of topless Polynesian women hanging from the east wall of Da’Hui are probably worthy of a master’s thesis on the dual nature of colonialism and sexualization, but the décor, while kitschy, is authentic. There’s a rattan bar and a traditional war helmet hanging between sea turtle shells next to the door. The kalua pig plate ($8.50) is definitely high on the authenticity scale. The meat was soft and mushy, like canned tuna, which is not what you want, but it tasted right, and the texture of the rice was perfect. The macaroni salad, with egg salad and potato chunks, was more elaborate than you’d usually find in the Islands. It all reminded me of something very familiar: the monthly kalua pig plate at my elementary-school cafeteria. ALEX TOMCHAK SCOTT.

Ocean Aloha 2201 Lloyd Center, 734-9246. Ocean Aloha is in Lloyd Center’s food court, right next to McDonald’s Express (for when regular McDonald’s just isn’t fast enough!) and within earshot of the Zamboni. I’m not sure how speedy McDonald’s Express is, but it’s unlikely to operate any faster than Aloha, which hands over a massive kalua pork plate in roughly 25 seconds. A half hog was shredded and cooked with cabbage until it tastes a lot like the porky counterpart to slowcooker sauerkraut. No sauces are offered or visible, the rice is gummy, and the macaroni salad might as well have come from Safeway. MARTIN CIZMAR.

Hawaiian Time 505 NW 14th Ave., 459-4040. Part of an eight-link chain, this Hawaiian Time is located inside a renovated gas station now adorned with hibiscus flowers— as is common on the Islands. The chain offers plate lunches, a few sandwiches and a salad. The restaurant’s take on luaustyle pulled pork, the No. 4 kalua pig ($8.45), was moist and tender. The meat comes with white or brown rice (scandal!), plus very creamy mac salad. Soy sauce squirted from reused Sriracha bottles livens things up. Cans of Hawaiian Sun “juice”— it is Hawaiian even if it’s mostly not juice—are available in many flavors. A beachside mural completes the scene for dine-in guests, but like most customers, the construction worker in a neon-pink hoodie boogying in line was taking his to go. LYLA ROWEN. Ohana Hawaiian Cafe 6320 NE Sandy Blvd., 335-5800, ohanahawaiiancafe.com. With its wood-and-stone exterior and vaguely Japanese design, Ohana looks like a chic sushi bar from the outside, and if you wind up at the establishment with the same name on Northeast Broadway, that’s what you’ll be eating. Inside, though, the place gives off a touristy Waikiki vibe, all orange hues, framed flower

Noho’s Hawaiian Cafe 2525 SE Clinton St., 233-5301, nohos.com. Noho’s is Portland ’s swankiest Hawaiian joint, a warm room with wood floors, customized surfboards hanging from the walls and a massive menu that includes stir-fried ahi, short ribs and a three-quarter-pound burger. It’s priced for date night, and the “regular”-sized kalua pork plate is $12 and actually a bit smaller than most. The pork is buttery rich and flavorful even without the house’s bottled teriyaki sauce, but the rice is starchy, and a scoop of macaroni salad has a mayo sauce that’s too thin and sweet. MARTIN CIZMAR. Bamboo Grove Hawaiian Grille 515 SW Carolina St., 977-2771, bghawaiiangrille.com. The Grove has been a longtime favorite in the oddly foodless Johns Landing corridor, a hibiscus-painted theme restaurant complete with novelty longboards courtesy of Kona beer. But unless the rest of the menu is a damn sight different from the kalua plate—or the Grove’s entered a benighted phase of its existence— “Johns Landing favorite” may be damning with faint praise. The pork was a wet salt lick, otherwise limp in both flavor and texture, and the cabbage had melted into the pork in muculent strands. Meanwhile, the macaroni salad was viscous, flavorless and disconcertingly…biological. The rice was simply dried-out cooker fare. Which is to say: I enjoyed the rice the most. MATTHEW KORFHAGE.

Willamette Week FEBRUARY 5, 2014 wweek.com

MUSIC

feb. 5–11 PROFILE

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, FEB. 5 Mark Pickerel

[GRUNGETRY AND WESTERN] Mark Pickerel has made a career out of being a footnote. That probably reads like a slight, but the dude’s résumé is fairly impressive (and extensive) for a guy most music fans couldn’t identify if they bumped into him on the street, which given his connection to the region could certainly happen. His major calling card is as the original drummer in Screaming Trees, but he also contributed to a few primordial Nirvana recording sessions, played in Truly with ex-Soundgarden bassist Hiro Yamamoto, and toured with Robyn Hitchcock, Neko Case and others. On his own, Pickerel writes dark, countryish ballads and sings them like a grunge-reared Roy Orbison. Tonight, he kicks off a weeklong residency at Al’s Den, giving you plenty of opportunities to get to know this Pacific Northwest Zelig a lot more intimately. MATTHEW SINGER. Mark Pickerel plays Al’s Den, 303 SW 12th Ave., nightly through Feb. 8. 7 pm. Free. 21+.

Savoy, Dotexe, Forever Growing

[DUBSTOMP] See, the members of Savoy used to be a jam-rock band, back in their gentle, misty-mountaintop days at CU Boulder. What’s happened since then? Lasers, man. OK, it

jOHN CLARK

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

wasn’t just lasers: They found Ableton Live, and the result is a sound just like [insert your favorite dubstep artist of the week]. They’ve retained drummer Mike Kelly to keep the rock vibe of yesteryear alive, but you can’t really hear the difference over the videogame bleeps, dying-alien sub-bass and AutoTune mashups of children’s voices. GRACE STAINBACK. Star Theater, 13 NW 6th Ave., 248-4700. 9 pm. $15. All ages.

THURSDAY, FEB. 6 Toad the Wet Sprocket, Jonathan Kingham

[FROGGY GOES A-COURTIN’] Unlike their contemporaries in emptily anthemic balladry and porny cartoon monikers (Goo Goo Dolls, Big Head Todd, Hootie and the Blowfish), Toad the Wet Sprocket knew enough to break up the band at the first sign of changing tastes. The SoCal boys would reunite only for increasingly lucrative tours on the nostalgia circuit for sets blessedly free of new material. And while endless renditions of “Walk on the Ocean” might define “coasting,” last year’s Kickstarter campaign to fund their first album in 16 years seemed towering hubris sure

TOP FIVE

CONT. on page 28

BY EYELIDS

FIVE MOST UNDERRATED ALBUMS WE’VE PLAYED ON Sunset Valley, The New Speed (1998) Led by singer-songwriter Herman Jolly and featuring Eyelids guitarist Jonathan Drews, Sunset Valley’s ace guitar pop was supposed to be Portland’s Next Big Thing, before it got a tad too weird for mainstream consumption. Though mostly defunct, the band reunites for the odd gig here and there. “It still hits the nerves,” says Chris Slusarenko. No. 2, No Memory (1999) After the demise of grunge-era favorites Heatmiser, drummer Paulie Pulvirenti—and later, bassist Jim Talstra—joined Neil Gust’s follow-up project, continuing his previous band’s hooky melodic rock for two albums. Gust’s former bandmate Elliott Smith contributed guitar and keyboards to an unreleased No. 2 demo—which featured John Moen on drums—shortly before his death in 2003. Cavemanish Boys, Get a Load of… (2000) Fronted by Gerry Mohr of Nuggets-worshiping Portland cult heroes the Miracle Workers, the first band Moen, Slusarenko and Talstra played in together revived ’80s garage rock years before the national revival of the ’00s. “We recorded and mixed it in a day at Jackpot,” Slusarenko says. “It was one of those magical things.” Various artists, Colonel Jeffrey Pumpernickel: A Concept Album (2001) Although he didn’t actually perform on it, Slusarenko conceptualized this “indie-rock opera,” calling upon Stephen Malkmus, Grandaddy, Mary Timony, Lou Barlow and practically everyone else in his address book to help tell the story of…uh, a guy who fights robots, maybe? Boston Spaceships, Zero to 99 (2009) Slusarenko and Moen consider the third album in their collaboration with Guided By Voices’ Robert Pollard to be the purest encapsulation of Pollard’s glam-pop vision. “That was the one that was the most like Guided By Voices, kind of like Alien Lanes—really haphazard,” Slusarenko says.

ALL EyELIDz ON uS: (From left) Chris Slusarenko, Paul Pulvirenti, John Moen, Jonathan Drews, Jim Talstra.

REVERSE AGING WITH EYELIDS, TWO OF PORTLAND’S BUSIEST MUSICIANS RECLAIM THEIR YOUTH. bY MATTHe W SIN GeR

msinger@wweek.com.

In a booth at the back of Cup and Saucer Cafe on Northeast Killingsworth Street, John Moen and Chris Slusarenko are reminiscing about the good old days—specifically, the days when Slusarenko and his bandmates used to beat the crap out of each other onstage. “Moustache was completely about terrifying audiences,” says Slusarenko, poking at his basil pesto scramble. He’s talking about his short-lived hardcore punk band from the early 2000s, featuring Quasi’s Sam Coomes, Sean Croghan of Crackerbash and Slusarenko’s brother, Nate, whose music channeled Black Flag at its most aggressive. “It would make you angry to play it,” he says. “I’d kick Sean in the back, he’d fall down, then he’d tackle Sam and I’d jump on top of that. Then it became kind of real, and we’d get mad: I’d destroy my brother’s drum set, Sean’s got a mic wrapped around his neck…” “Chris would come off stage and look at me and his eyes had swirls in them,” Moen adds. “It was like unlocking some box you’re not supposed to.” That band, which Slusarenko regards as a stopgap between more serious projects, is worlds removed from the pretty, paisley-print pop he and Moen now make together in Eyelids. But it’s still in there somewhere, along with bits of every other band the five members—which includes guitarist Jonathan Drews, bassist Jim Talstra and drummer Paulie Pulvirenti—have ever played in. At some point in the life of an itinerant musician, even those footnotes become a kind of genetic material, passed on to each successive project. The cover of Eyelids’ new 7-inch provides a sloppily sketched map of the group’s genome: It omits the biggest names—Slusarenko played guitar in Guided By Voices, and Moen is still in the Decemberists—but even in abbreviated form, their genealogy spans the last three decades of Pacific Northwest indie rock. Collectively, the band’s history includes stints with Elliott Smith, Stephen Malkmus, Damien Jurado and R.E.M.’s Peter Buck, as well as regional legends

like the Fastbacks, Dharma Bums and the Minus 5. Those are some damn good genes. For Moen and Slusarenko, Eyelids is the kind of band they’ve always wanted to be in. Shame it took until their mid-40s to happen. “At first, it was a little bittersweet, like, man, if I was 23, imagine the possibilities,” Slusarenko says. “But this wouldn’t have happened at that age.” That’s because, at that age, Moen and Slusarenko were too busy sewing their rock ’n’ roll oats, the former with revered college-rockers the Dharma Bums, the latter with grunge-era also-rans Sprinkler. It’s hard to imagine either of them having the patience for Eyelids’ interwoven guitars, sweet melodies and relaxed tempos back then. It’s not because they weren’t mature enough. In fact, Moen says the sound of Eyelids is drawn from the music they listened to then: L.A.’s retro-psychedelic scene of the ’80s, the iconic New Zealand label Flying Nun. It’s just that, in those days, bands tended to fall apart so quickly, there was no time for that kind of intimate craftsmanship: You had to make an immediate, visceral impression—by, say, igniting a brawl in the middle of a set—before things inevitably collapsed. “We’re doing Eyelids in a way that, if we had done it then, it would’ve imploded,” Slusarenko says. “There are so many different parts going into a song to make it levitate.” It’s only with the stability of adulthood that Eyelids became possible. Although the full-length is still in production, their debut single, “Seagulls Into Submission,” showcases that aforementioned levitating quality, with sparkling guitars and aching harmonies that have already earned the band comparisons to power-pop touchstones like Big Star and Teenage Fanclub. Maybe it’s too late for the group to become more than a hobby—after all, Moen has upcoming records from both the Decemberists and Black Prairie to worry about— but as far as its principal members are concerned, after all these years and all these bands, they’re just now hitting their stride. “We’re going to be the musical Benjamin Buttons,” Slusarenko says. “Our hair’s going to start looking better as the years go on. We’ll sound better. Then, eventually, we’ll just be five babies in a crib with these giant instruments around us, making the best music.” SEE IT: Eyelids plays Doug Fir Lounge, 830 E Burnside St., with 1939 Ensemble and the Verner Pantons, on Friday, Feb. 7. 9 pm. $10. 21+. Willamette Week FEBRUARY 5, 2014 wweek.com

MUSIC

THURSDAY-SATURDAY

to embarrass all involved. That is, before faithful listeners donated a quarter-million dollars for New Constellation’s eerily unchanged evocation of early ’90s alternative. Maybe history hasn’t been kind to TTWS’s big-chorused frathouse sway-alongs, but the fans have evidently done quite well for themselves. JAY HORTON. Aladdin Theater, 3017 SE Milwaukie Ave., 234-9694. 8 pm. $35 advance, $38 day of show. Under 21 permitted with legal guardian.

SATURDAY, FEBRUARY 8 21 & Over

Nuggets Night! THE SELLWOODS THE HONUS HUFFHINES METROPOLITAN FARMS PARADISE THE PYNNACLES THE VERNER PANTONS BLUE SKIES FOR BLACK HEARTS MONICA NELSON AND THE HIGHGATES THE COOL WHIPS BEYOND VERONICA AU DUNES DEEP JOY THE ZAGS THREE FOUR TEENS HAUER THINGS RED SHADOWS

Peter Rowan

[PROGRASS] Maybe he’s not the most adventurous new-grasser, but Peter Rowan has attempted his fair share of experiments, including the poorly titled “Reggaebilly.” And while that particular recording didn’t yield anything other than an uncomfortable listening experience, the idea’s admirable. It also points toward the spirit pulsating through most of the guitarist’s catalog. His latest, last year’s The Old School, takes a more traditional approach to the genre, even sending oﬀ Doc Watson with a staid, dual-guitar composition. Rowan’s legacy, though, is always going to have a certain luster: His days with Bill Monroe, Muleskinner, and Old and in the Way still count for something. DAVE CANTOR. Alberta Rose Theatre, 3000 NE Alberta St., 719-6055. 8 pm. $20 advance, $25 day of show. Under 21 permitted with legal guardian.

Sixteen bands each playing a couple of 60s garage nuggets as a beneﬁt for The House of Sound.

FRIDAY, FEB. 7

Falafel House: 3 to Late–Night All Ages Shows: Every Sunday 8–11pm Free Pinball Feeding Frenzy: Saturday @ 3pm WITHIN SPITTING DISTANCE OF THE PEARL

Gangstagrass, Device Grips, London Victory Club

1033 NW 16TH AVE. (971) 229-1455 OPEN: 3–2:30AM EVERY DAY

HAPPY HOUR: MON–FRI NOON–7PM POP-A-SHOT • PINBALL • SKEE-BALL AIR HOCKEY • FREE WI-FI

ENJOYING OREGON

[RAPPING BLUES] Chocolate and ranch dressing. Ru Paul and Rand Paul. Tequila and desperation. Add hip-hop and bluegrass to your growing list of things that probably shouldn’t be combined but can be kind of fun for a minute. Brooklyn’s Gangstagrass lives somewhere in the neighborhood of Bubba Sparxx and the Gourds’ cover of “Gin and Juice,” but they fall closest to a modernized talking-blues style, once popularized by Woodie Guthrie and later stripmined by Bob Dylan. It’s a gimmick, but at least it’s a novel one. MITCH LILLIE. Alhambra Theater, 4811 SE Hawthorne Blvd., 610-0640. 8:30 pm. $10-$12. 21+.

And And And, Brite Lines, Tiburones

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[BASEMENT-PARTY ROCK] And And And can’t stop, won’t stop. Not content just being considered one of Portland’s best young bands—a designation made official when it placed first in Willamette Week’s 2011 Best New Band poll—the group is also one of the its most tireless. It plays constantly, host its annual Rigsketball tournament and, while its once-persistent stream of recorded output has slowed—its last release was the No Party 7-inch a year and a half ago—the group put out enough songs in its first few years to keep it going for the next five. MATTHEW SINGER. Bunk Bar, 1028 SE Water Ave., 328-2865. 9 pm. $7. 21+.

The Wood Brothers, Amy Helm

[PORCH FOLK] There’s something about brothers singing close harmonies that can’t be replicated. Maybe it’s the kin-bound timbre of Chris and Oliver Wood’s gravelly voices, or the way their familiar, rootsy music beautifully dovetails jazzy folk and backwoods blues with such fraternal ease. The brothers’ latest effort, Muse, finds the duo—and ace percussionist Jano Rix—still high-lonesome and shuffling after four albums, delivering accounts of unattainable love, bad luck and those rare nights when you get punch-drunk on a shitty bottle of rosé. BRANDON WIDDER. Crystal Ballroom, 1332 W Burnside St., 2250047. 8 pm. $20 advance, $22 day of show. All ages.

SATURDAY, FEB. 8 Augustines, My Goodness

[ALTERNATIVE] A three-year gap between albums is certainly enough time to start anew, and with their latest self-titled LP, the Augustines have done just that. On this new album, the trio has traded melancholy for balanced optimism, and borderline erratic, Isaac Brock-esque vocals for soaring, layered harmonies. The band’s ﬁrst album, Rise Ye Sunken Ships, came out in 2011 and dwelled on some heavy subjects, namely the deaths of singerguitarist Billy McCarthy’s mother and brother. On Augustines, the band maintains tinges of sadness, but the album bursts mostly with bright piano, swirling xylophone and booming kick drum, often gliding toward upliftment. “I can change, I can change,” McCarthy rasps repeatedly in the rimshot-riddled “This Ain’t Me,” and with the release of this album, it seems a promise the band is determined to keep. KAITIE TODD. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $12 advance, $14 day of show. 21+.

PALS Fest Fundraiser: Minden, the We Shared Milk, Sama Dams

[SKEWED POP] Take this one from the Good Things Still Happen on Kickstarter ﬁle: Local quirk-pop trio Sama Dams, led by a singer with the same name as our last mayor, raised $10,000 in December to fund the recording of a brand-new record. The band just spent a week in the studio, where its intricate, shapeshifting sound—one that’s easy to align with Dirty Projectors or, say, Akron/Family—begs for a proper studio treatment. Sama Dams open tonight’s fantastic bill, a fundraiser for the annual house-show extravaganza PALS Fest, that also features the glam-infected indie rock of Minden and the always wonderful the We Shared Milk. Round up your loose laundry money, because this is one of the better local bills of year. MICHAEL MANNHEIMER. The Firkin Tavern, 1937 SE 11th Ave., 206-7552. 9 pm. Call venue for ticket information. 21+.

Zion I, Sol, Mk Smth, Aileron, Tope

[HIP-HOP] Indie rap is oftentimes forgettable. Entire catalogs can blur together, with thoughtful messages and impressive lyricism getting lost in a haze of identical beats and repetitive song structures. Zion I has not fallen prey to such problems. The Bay Area duo creates trippy, spiritually conscious hip-hop that feels both nostalgic and unique. Its latest album, Shadowboxing, features a wide range of guest producers and MCs, providing dozens of memorable moments. SAM CUSUMANO. Hawthorne Theatre, 1507 SE 39th Ave., 233-7100. 8 pm. $16 advance, $18 day of show. All ages.

Verified: DJ Sliink, Gang$ing$, SPF666, Commune, Photon

[JERSEY CLUB] Newark’s Tim Foster, aka Tim Dolla, probably described the Jersey club sound, which fellow Jerseyite DJ Sliink now rules, best: “corny and hot at the same damn time.” Corny because Sliink, like Dolla before him, doesn’t hesitate to remix “SexyBack,” chop the sample and ﬁll out the booming beat with a Nokia push-tone and vinyl scratching, and sexy because Sliink’s “Putcha Back in It” has probably been the track that, for the last two years, you’ve been too club-love-drunk to remember. MITCH LILLIE. Holocene, 1001 SE Morrison St., 239-7639. 9 pm. $8 advance, $10 day of show. 21+.

Guantanamo Baywatch, Can of Beans, San Onofre Lizards

[SURF PUNK] Booking shows from New York to Hawaii, locals Guantanamo Baywatch have been crooning and thrashing their surf rockabilly around bars and basements since 2009. They play with L.A.’s Can of Beans, who’s quickand-dirty rock-’n’-roll songs never last more than two minutes, appropriate for the air of desperation in the vocals on songs like “You’re Gonna Hate Me” and “Built Up Heartbreak.” Portland’s San Onofre Lizards, featuring members of the Family Stoned, open up. LYLA ROWEN. The Know, 2026 NE Alberta St., 473-8729. 8 pm. Call venue for ticket information. 21+.

INTRODUCING... LUNCH

BY MATTHEW SINGER

Who: Prometheus Wolf (vocals, guitar), Matthew Huffman (drums), Jared Bird (bass), DJ Barnes (guitar). Sounds like: Joy Division, if they smiled once in a while. For fans of: Gun Club, Buzzcocks, Wire, the Wipers, Exploding Hearts, Sacred Bones, Dirtnap Records. Why you care: What would punk be without suburban wastelands? The members of Lunch grew up outside Sacramento in Rocklin, Calif., a town whose topography, by their description, is entirely strip malls and SUVs. There were no music clubs, though the band still managed to get gigs from time to time. “We convinced this Starbucks rip-off to let us play,” says singer-guitarist Prometheus Wolf (not his real name, sadly). “We essentially drove away all their customers and destroyed the place.” When the group fled to Portland in 2009, Lunch played what it thought was heavy noise-rock, but in retrospect it may have been “a bad version of a sludge band.” Shifting in a less torpid, more combustible direction, the songs on Lunch’s debut cassette, Quinn Touched the Sun, explode in tight, melodic bursts. It’s pop-punk with post-punk edges: The bright power chords of “Johnny Pineapple” are serrated by Wolf’s throaty holler, and the eruptive “Slug Bones” is streaked with atonal guitar scrapes. “Monochrome Lust,” meanwhile, is overlaid with oddly alluring saxophone, courtesy of a dude they met after a show. “We thought he’d be playing some weird noisy bits over top of it, some super-skronky sax, and he throws down this really mellow saxophone line,” Wolf says. “It’s very sexually charged, but it’s for the whole family.” SEE IT: Lunch plays the Foggy Notion, 3416 N Lombard St., with Piss Test and White Murder, on Friday, Feb. 7. 8 pm. $5. 21+.

Willamette Week FEBRUARY 5, 2014 wweek.com

sunday–monday

SUNDAY, FEB. 9 Hospitality, Air Waves, Honey Bucket

[NOT QUITE INDIE POP] It’s obvious from the opening seconds of “Nightingale,” the tumultuous first song on Brooklyn trio Hospitality’s fantastic new record, Trouble, that some things have changed. Often labeled with the unfortunate “charming indie pop” label since its 2012 self-titled debut, Hospitality has decided to shed the misplaced genre tag by ditching anything that could be interpreted as twee. Instead, Trouble overflows with trebly electric guitars and moody synthesizers that hit like thunder on a muggy summer day. Singer Amber Papini still plays the role of the lost 20-something, but her gritty, nuanced songs are more Marquee Moon than Frances Ha. Hospitality shines brightest on tracks like synth-pop kiss-off “Last Words” and the stomping first single “I Miss Your Bones,” a sort of Bushwick update of Deerhunter’s indelible “Nothing Ever Happens.” MICHAEL MANNHEIMER. Doug Fir Lounge, 830 E Burnside St., 2319663. 9 pm. $12. 21+.

MONDAY, FEB. 10 Biffy Clyro, Morning Parade

[MUSETRAPS] Early favorites of a U.K. music press ever keen to champion scruffy bounders of surpassing complexity, a funny thing happened during Biffy Clyro’s constant gigging for the past decade. As riffage softened and time signatures normalized to better serve an unexpectedly arena-sized talent for anthemic songwriting, the Scottish trio found themselves the biggest rock band in Britain. This led to inevitable pitfalls, such as licensing denuded tracks to Simon Cowell’s

MUSIC

dates here

reality-borne poppets, transposing a fevered stagecraft for Wembley and, most troublingly, recording a double album about the pressures of fame on tour. Still, frontman Simon Neil’s lyrical intent shouldn’t ever be taken seriously, and the quality of tunes on 2013’s sprawling Opposites somehow never dims. More to the point: Given their relative anonymity stateside, the boys should by rights embrace the shirtless ferocity of youth, however daunting their current songbook. JAY HORTON. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $15 advance, $17 day of show. 21+.

Touché Amoré, MewithoutYou, Seahaven, Drug Church

[POST-HARDCORE] Touché Amoré is one of many bands to bubble up from the basement and into the hardcore-revival spotlight, but their simplicity is what makes them stand apart from the herd. Between brief, ambling instrumental passages, this L.A. five-piece deals in punk fervor and a tandem guitar attack that recalls the galloping existential shout-alongs of Lifetime, Quicksand and any other band that could cover basements in East Coast college towns with sweat no more than three songs into their sets. PETE COTTELL. Hawthorne Theatre, 1507 SE 39th Ave., 2337100. 6:30 pm. $8 advance, $10 day of show. All ages.

Peggy Sue, Mandolin Orange, the Mariner’s Children

[HARMONIC ROCK] Portlanders still mourning the breakup of Sallie Ford and the Sound Outside should sulk to the doo-woppy, early rock’n’-roll sounds of Peggy Sue. The English trio features Rosa Slade and Katy Young exchanging crackling vocals that seem to emanate from some battered, old jukebox. The group’s junior release, Choir

CONT. on page 32

TIMOTHY SACCENTI

PREVIEW

Oneohtrix Point Never, Dawn of Midi [EXPERIMENTAL ELECTRONICS] After releasing 15 albums since 2007, Daniel Lopatin—the artist better known as Oneohtrix Point Never—has created something completely new with his latest effort, 2013’s R Plus Seven. Lopatin made a name for himself in late-aughts underground circles as an experimental artist with an eye for soft geography. His whirling synth compositions, noise sensitivities and outrageous song titles (see “Weird Times Docking This Orb” for examples of all three) made for dense yet listenable albums that could be prescribed for pain. But on R Plus Seven, Lopatin expands from where he left off with 2011’s Replica, giving rhythm an expanded role and structuring his noise more rigidly. “Americans” builds into a blasting criticism of Chicago juke before layering vocal samples over Reichian vibraphone chords, while “Zebra” will assuredly be the zippy, pop-aware introduction to whatever the nightly news looks like in 25 years. Well-timed arpeggiators keep time through much of the album, while hydrocodone synths keep Lopatin connected to his roots. He is an artist of experiments and constant surprises— expect to hear both at this show. MITCH LILLIE. Doug Fir, 830 E Burnside St., 231-9663. 9 pm Wednesday, Feb. 5. $16-$18. 21+. Willamette Week FEBRUARY 5, 2014 wweek.com

MUSIC

feb. 5–11

mark kohr

ORAL HISTORY

GREEN DAY’S “LONGVIEW” How a small Washington town inspired the song that brought Green Day to the world.

On Feb. 1, Green Day’s monumental poppunk landmark Dookie turned 20 and, subsequently, so did the single that introduced the band to the world. That was “Longview,” a song about TV, boredom and masturbation, which helped make thre neon-haired Nor-Cal punks globally famous. The people of Longview, Wash., a town on the Columbia River an hour north of Portland, weren’t surprised by this—they knew the band members well. Bite your lip, close your eyes, and let us take you away to paradise, pop. 36,648. MARTIN CIZMAR. “They’ll never admit it, but we know it was our Longview. What else could it be about? Here’s a place they visited every year for five years or longer.” —Bruce LaVerne, 64, former owner of 13th Avenue Music in Longview, now Commerce Consign & Vintage Wares “The story goes that they had this song written already but they didn’t have a name.” —T.J. McNeely, 36, former Longview concert promoter “They came through Longview every time they toured, whether they played or not. They had a buddy named Mike whom they would stay with somewhere in one of the nice semirural neighborhoods outside town. They would stay at his house and play his backyard, where he had keggers. I know a bunch of people who were there, but I was not in that clique. I was too old.” —LaVerne

“I saw them when they played Cafe Forum. It was like [Portland’s] X-Ray Cafe but not so dirty. It’s now Lite Weights for Women, a little exercise gym for ladies only. I know they also played this place called the Rainbow Tavern. Now it’s just a screen print shop called Bigfoot. I didn’t go to those, I was too young.” —McNeely “They came in the shop. They weren’t famous, they could be themselves and just be nuts back then. They’re very short people. Billy Joe is like 5-foot-5. He’s not a large human being, but when he walks into a room he commands the space.” —LaVerne “Longview has great audiences. The kids come out, they’re appreciative. It was a mill town, and at least 50 percent of the town worked at the mills. You’d be surprised who’d go to these things, because there was nothing else to do.” —McNeely “They couldn’t come back to Longview after Dookie. They sold 8 million copies of that thing [as of 2013, sales total more than 20 million], and every 14-year-old girl in the world would tear their clothes off. ” —LaVerne “It pretty much describes every small town you’ve been to. But the line about ‘unlocked doors,’ that’s Longview. And I heard it was about the hotel they stayed at, which was the Travelodge.” —McNeely

Willamette Week FEBRUARY 5, 2014 wweek.com

“Our friend/roadie Kaz Hope suggested we call our song Longview because the 1st time we played was in Longview Washington in spring 1992.” —Billie Joe Armstrong via Twitter in 2011

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PORTLAND JAZZ FESTIVAL FEBRUARY 20 - MARCH 2, 2014 portlandjazzfestival.org 503-228-JAZZ(5299)

Willamette Week FEBRUARY 5, 2014 wweek.com

monday-Tuesday/classical, eTc.

WILL MEBANE

MUSIC

what you looking at?: hospitality plays Doug Fir lounge on Sunday, Feb. 9. of Echoes, is perhaps its most lively yet, sometimes trading the band’s typically tender ways for chestbeating anthems. Imagine a less bashful Alela Diane. MARK STOCK. Holocene, 1001 SE Morrison St, 2397639. 8 pm. $5, free to first 50 students. All ages.

Incan Abraham, Sama Dams, John Bowers

[DREAMY INDIE POP] Incan Abraham, a four-piece group out of Los Angeles, utilizes hazy, sometimes beachy psychedelic guitars that rise and fall throughout their music, anchored by layers upon layers of dynamic drumming and singer Teddy Cafaro’s familiar but comfortable vocals. Its fluid, gliding pop nods to the likes of Local Natives and Grizzly Bear, but the quartet still manages to make the dreamy distortion and nearmismatched harmonies sound like its own. KAITIE TODD. Mississippi Studios, 3939 N Mississippi Ave, 2883895. 9 pm. $10 advance, $12 day of show. 21+.

TUESDAY, FEB. 11 Pallbearer, Lord Dying, the Body

[HEAVY STUFF] If one were to look up the definition of “epic” in a dictionary, there’s a good chance you’d find a picture of Pallbearer’s 2012 debut, Sorrow and Extinction. The Little Rock, Ark., quartet has brewed up a savory potion of Sabbath-worshipping doom metal that’s as groovy as it is heavy. Singer-guitarist Brett Campbell’s tortured howl cuts through the mammoth riffs and crashing cymbals, weaving tales of life beyond death with a psychedelic touch. But enough talk: Just let Pallbearer ferry your soul across to the other side. SAM CUSUMANO. Rotture, 315 SE 3rd Ave., 234-5683. 9pm. $10 advance, $12 day of show. 21+.

Black Uhuru, Indubious, the Rising Buffalo Tribe

[CLASSIC REGGAE] There are few reggae groups left in the world as truly legendary as Black Uhuru. Originally formed in Kingston in the late ’70s, the band won the first-ever Grammy for Best Reggae Album in 1983, but that’s hardly its greatest accomplishment. The group has survived countless lineup changes over the years, with Derrick “Duckie” Simpson being the lone constant member, but no matter whose velvet vocals are doing the harmonizing, its spiritual-political focus and dubwise funk—initially laid down by Sly and Robbie, instrumental legends in their own right—remains strong and utterly mesmeric. MATTHEW SINGER. Star Theater, 13 NW 6th Ave., 345-7892. 9 pm. $20. 21+.

Willamette Week FEBRUARY 5, 2014 wweek.com

CLASSICAL, JAZZ & WORLD Ilya Poletaev

[PIANO MAN] Good luck finding a more accomplished young pianist than Ilya Poletaev. The Canadianbased musician began his musical studies in Russia at age 6, before chasing his classical calling to Israel, Yale University for a master’s degree and, ultimately, Montreal. Currently an instructor as well as a touring artist, Poletaev is widely regarded as the best of his generation. Tonight, on the campus of Reed, Poletaev performs Bach’s “Well-Tempered Clavier, Book II.” In other words, dude’s gonna conquer something a genius wrote in 1742, a book of music many consider to be among the most influential in the history of classical music. MARK STOCK. Room 320, Performing Arts Building, Reed College, 3203 SE Woodstock Blvd., 771-1112. 7 pm Sunday, Feb. 9. Free. All ages.

Beethoven’s Symphony No. 7

[SYMPHONY] I’ll never hear the “Allegretto” from Beethoven’s Symphony No. 7 without thinking of the final scene in the 1974 John Boorman film Zardoz. I won’t give away too much, but imagine a long-haired Sean Connery wandering around a low-budget dystopian future wearing a red loincloth. Anyway, the ‘Allegretto’ is one of Beethoven’s most popular and enduring works, having earned an encore at its premiere in Vienna 200 years ago. Beethoven was nearly deaf by then, but he was still sound enough to consider it one of his finest works. While his Third Symphony was written as an olive branch to Napoleon, the Seventh celebrated the tyrant’s defeat. This program by the Oregon Symphony also features a modern work from Polish composer Witold Lutoslawksi, as well as the “Concerto in A Minor for Cello” by Robert Schumann. NATHAN CARSON. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 248-4335. 7:30 pm Sunday and 8 pm Monday, Feb. 9 and 10. $27-$71.

Third Angle New Music, Dan Balmer, Myra Melford, Marty Ehrlich, Brian McWhorter

[CONTEMPORARY CLASSICAL MEETS JAZZ] Before classical music was classical and composers increasingly more control-freakish, icons like Bach and Mozart were equally renowned for their improvisational skill. Third Angle brings back the sound of surprise with Portland jazz-guitar great Dan Balmer and University of Oregon-based trumpet titan Brian McWhorter playing their own originals. There is also music by the great New York improviser-composer John Zorn and Portland’s own composing colossus, David Schiff, whose return to the jazz of his youth for inspiration has produced

some of his most appealing music. Schiff’s new concerto, Road Maps, asks the soloists to improvise. And with McWhorter, Downbeat-award winning pianist Myra Melford and New York saxophonist Marty Ehrlich in the solo spotlight, the concert promises a creative confluence of improvised and composed music. BRETT CAMPBELL. Jimmy Mak’s, 221 NW 10th Ave., 295-6542. 7:30 pm Wednesday and Thursday, Feb. 5 and 6. $15-$30.

Portland Baroque Orchestra

[POST-BAROQUE JOKE] Today’s classical music is generally (too) serious business. But some composers knew how to have fun with it, including that scatological brat Mozart, whose Musical Joke, a sometimes hilarious concoction of musical calamities, preceded the likes of P.D.Q. Bach and Victor Borge by a few centuries. The great English keyboard player and conductor Richard Egarr, who leads the Academy of Ancient Music, guestdirects PBO, which normally sticks to the earlier Baroque period, in historically informed performances of music of the classical era. This includes Mozart’s jolly jape, a horn concerto (with specialist Andrew Clark on the archaic valveless horn it was written for) and the dramatic Symphony No. 49 by his equally jocular buddy, Joseph Haydn, and a cello concerto by C.P.E. Bach featuring Tanya Tomkins. BRETT CAMPBELL. First Baptist Church, 909 SW 11th Ave. 7:30 pm Friday and Saturday, Feb. 7 and 8. Kaul Auditorium, Reed College, 3203 SE Woodstock Blvd, 222-6000. 3 pm Sunday, Feb. 9. $19-$52.

Habib Koite, Shokoto

[MALIAN MASTER] Beginning in the mid-1980s, the great Malian singer and guitar virtuoso Habib Koite brought together many of his musically fertile country’s rich, disparate musical traditions. His exuberant Afrobeat performances and recordings soon brought awards, world tours and the obligatory Rolling Stone and NPR profiles. Yet rather than rest on his considerable laurels, on his just-released new album, Soo, Koite replaced his band of 22 years, along with his recording engineers and even some instruments. jettisoning the drum kit for the djembe and calabash and trading his trusty nylon-stringed guitar for a new steel-stringed, wide-neck instrument. But what hasn’t changed is Koite’s focus on contemporary issues; he sings in four languages, including English, about war, forced marriage and female-genital mutilation, as well as lighter subjects like soccer. BRETT CAMPBELL. Alberta Rose Theater. 8 pm Wednesday, Feb. 5. $22 advance, $25 day of show, $35 preferred seating. Under 21 permitted with legal guardian.

Shar� th� Musi� Yo� Lov� Wit� Th� On� Yo� Lov�

Skeletonwitch Serpents Unleashed Also on LP On Sale $10.99 CD

Touche Amore Is Survived By On Sale $8.99 CD Also on LP Appearing at the Hawthorne Theatre on 2/10

Escape the Fate Ungrateful On Sale $10.99 CD Also on LP Appearing at the Wonder Ballroom on 2/11

Nicole Atkins Slow Phaser On Sale $10.99 CD Also on LP Appearing at the Wonder Ballroom on 3/1

Against Me! Transgender Dysphoria Blues On Sale $11.99 CD Also on LP

Los Lonely Boys Revelation On Sale $10.99 CD

White Denim Corsicana Lemonade Also on LP On Sale $10.99 CD

San Fermin San Fermin On Sale $10.99 CD Also on LP Appearing at the Doug Fir on 3/1

Set It Off Cinematics Expanded version On Sale $10.99 CD Appearing at the Hawthorne Theatre on 3/ 9

Jonathan Wilson Fanfare On Sale $11.99 CD Also on LP

Philip H. Anselmo Walk Through Exits Only On Sale $11.99 CD Also on LP

Dark Tranquillty Construct On Sale $11.99 CD Also on LP Appearing at the Hawthorne Theatre on 2/19

Lucinda Williams Lucinda Williams On Sale $12.99 CD Also on LP

Counting Crows Echoes of the Outlaw Roadshow On Sale $13.99 CD Also on LP

Reverend Horton Heat REV On Sale $13.99 CD

William Beckett Genuine and Counterfeit On Sale $10.99 CD Appearing at the Hawthorne Theatre on 3/ 9

Behemoth The Satanist On Sale $12.99 CD Also on LP

Exmortus Slave to Sword On Sale $10.99 CD Also on LP

Lucius Wildewoman On Sale $10.99 CD Also on LP Appearing at Doug Fir on 2/12

Sirens and Sailors Skeletons On Sale $9.99 CD Appearing at the Branx on 2/12

Offer ends 3/4/14 Willamette Week FEBRUARY 5, 2014 wweek.com

Willamette Week FEBRUARY 5, 2014 wweek.com

MUSIC CALENDAR

[FEB. 5-11] Trail’s End Saloon

= 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.

1320 Main Street American Roots Jam

Vie De Boheme 1530 SE 7th Ave. Loose Change

White Eagle Saloon 836 N Russell St. Chris Baron & Friends

White Eagle Saloon

836 N Russell St. Annika Forrest JoyTribe VA N C E F E L D M A N

Winona Grange No. 271 8340 SW Seneca St. First Friday Céilí Mór

FRI. FEB. 7 Alhambra Theater

4811 SE Hawthorne Blvd. Gangstagrass, Device Grips, London Victory Club

Andina Restaurant 1314 NW Glisan JB Butler

Artichoke Music

3130 SE Hawthorne Blvd. Friday Night Coffeehouse

Beaterville Cafe

2201 N Killingsworth St. Trace Wiren, David Grier, James Faretheewell

Biddy McGraw’s

6000 NE Glisan St. Lynn Conover, Manimalhouse, The Rainbow Sign

Blue Diamond

GOT MARRIED: Peggy Sue plays Holocene on Monday, Feb. 10.

WED. FEB. 5 Alberta Rose Theatre 3000 NE Alberta St. Habib Koite Shokoto

Analog Cafe & Theater 720 SE Hawthorne Blvd. The Mad Marquis’ Sip N Strip Happy Hour

Andina Restaurant 1314 NW Glisan Toshi Onizuka Trio

Blue Diamond

2016 NE Sandy Blvd. The Fenix Project

Cadigan’s Corner Bar

5501 SE 72nd Ave. Band Swap Featuring Pat Stilwell

Crystal Hotel Al’s Den 303 SW 12th Ave. Mark Pickerel

Doug Fir Lounge

830 E Burnside St. Oneohtrix Point Never Dawn of Midi

Duff’s Garage

1635 SE 7th Ave. Woodlander

Duff’s Garage

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

Gemini Bar & Grill 456 N State St. Jacob Merlin/Sarah Billings

Ivories Jazz Lounge

1435 NW Flanders St. Rebecca Kilgore & Dave Frishberg

Jade Lounge

2342 SE Ankeny St. Fez Fatale

Jimmy Mak’s

221 NW 10th Ave. Third Angle New Music, Dan Balmer, Myra Melford, Marty Ehrlich, Brian McWhorter

Jimmy Mak’s

221 NW 10th Ave. Mel Brown Quartet

Landmark Saloon

4847 SE Division St. Whiskey Wednesday with Jake Ray & the Cowdogs

McMenamins Edgefield 2126 SW Halsey St. Michael Berly & Friends

Mississippi Studios

3939 N Mississippi Ave. Summer Cannibals With Grandhorse

Pairings Portland Wine Shop 455 NE 24th Ave. Leo J & The Melee

Shaker & Vine

2929 SE Powell Blvd. Keith Scott

Star Theater

13 NW 6th Ave. Savoy Dotexe, Forever Growing

The Blue Monk

3341 SE Belmont St. Arabesque Belly Dance

The Lehrer

8775 SW Canyon Ln. Acoustic Jam with Chuck Gilman

The Lodge Bar & Grill 6605 SE Powell Blvd. Pete Ford Band

Thirsty Lion Pub SW 2nd & Ash St. Jordan Harris

Trail’s End Saloon 1320 Main Street Big Monti

White Eagle Saloon 836 N Russell St. Rosaharm Ozarks, Supercrow

THURS. FEB. 6 Aladdin Theater

3017 SE Milwaukie Ave. Toad the Wet Sprocket Jonathan Kingham

Alberta Rose Theatre

3000 NE Alberta St. Peter Rowan

Analog Cafe & Theater 720 SE Hawthorne Blvd. Portland Timba Cuban Dance Party

Andina Restaurant 1314 NW Glisan Neftalí Rivera

Ash Street Saloon 225 SW Ash St. This Versus That

Beaterville Cafe

2201 N Killingsworth St. James Faretheewell

Biddy McGraw’s

6000 NE Glisan St. John Ross Trio

Alan Hagar and Dave Fleshner

Secret Chiefs 3, Atomic Ape

Holocene

Savoy Tavern

1001 SE Morrison St. Hustle and Drone, Hosannas, Mothertapes

Ivories Jazz Lounge 1435 NW Flanders St. Tom Grant & Singer’s Jam

Jade Lounge

Jimmy Mak’s

The Conga Club

Cadigan’s Corner Bar

Kelly’s Olympian

Calapooia Brewing

426 SW Washington St. Dream Parade with Sioux Falls

Camellia Lounge

4075 NE Sandy Blvd Cybelle Clements

140 Hill St. NE Rusty Hinges

510 NW 11th Ave. Laura Stilwell, Joe Millward

Camellia Lounge

510 NW 11th Ave. Stu Cook & Company

Chapel Pub

430 N Killingworth St. Steve Kerin

Corkscrew

1665 SE Bybee Ave. Mike Winkle Trio

Crystal Hotel Al’s Den 303 SW 12th Ave. Mark Pickerel

Doug Fir Lounge

830 E Burnside St. Kid Congo and the Pink Monkey Birds, Cheap Time, Suicide Notes

Duff’s Garage

1635 SE 7th Ave. Tough Lovepyle

Duff’s Garage

1635 SE 7th Ave.

116 NE Russell St. Matt Hopper Vandella, Rob Stroup & The Blame

Shaker & Vine

2016 NE Sandy Blvd. Ben Jones and Friends 5501 SE 72nd Ave. Kenny Lee Blues Jam

Secret Society Ballroom

2342 SE Ankeny St. Jaime Leopold Salon De Musique 221 NW 10th Ave. Third Angle New Music, Dan Balmer, Myra Melford, Marty Ehrlich, Brian McWhorter

Blue Diamond

2500 SE Clinton St. The Christopher Brown Quartet

Magnolia’s Corner

McMenamins Boon’s Treasury 888 Liberty St. NE Skip vonKuske’s Cellotronik

McMenamins Edgefield 2126 SW Halsey St. Red and Ruby

McMenamins Kennedy School 5736 NE 33rd Ave. Honky Tonk Union

McMenamins Rock Creek Tavern

10000 NW Old Cornelius Pass Rd. Lynn Conover and Gravel

Mississippi Pizza

3552 N Mississippi Ave. Steve Rodin & Friends

Mississippi Pizza

3552 N Mississippi Ave. Trick Sensei, Like a Circus Fire

Mississippi Studios

3939 N Mississippi Ave.

2929 SE Powell Blvd. Denis Reich 4923 NE Martin Luther King Jr. Blvd. Dina y Los Rumberos

The Elixir Lab

2734 NE Alberta St. Rose City Bluegrass

The Firkin Tavern 1937 SE 11th Ave. Sam Densmore

The GoodFoot

2845 SE Stark St. Naive Melodies, Lesser Bangs

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

The Lodge Bar & Grill 6605 SE Powell Blvd. Ben Rice B3 Trio

The Lovecraft

421 SE Grand Ave. DJ Kenny John and Skip

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

2016 NE Sandy Blvd. Billy D and the Hoodoos

Calapooia Brewing 140 Hill St. NE Brooks Robertson

Camellia Lounge 510 NW 11th Ave. Rich Halley 4

Crystal Hotel Al’s Den 303 SW 12th Ave. Mark Pickerel

Dante’s

350 W Burnside St. Jennifer Batten with Metts/Ryan/Collins Trio

Doug Fir Lounge

830 E Burnside St. Eyelids 1939 Ensemble

Duff’s Garage

1635 SE 7th Ave. Blind Boy Paxton and Lauren Sheehan

Embers Portland

11 NW Broadway The Adrienne Alexander Show

Gemini Bar & Grill 456 N State St. Nu Wave

Hawthorne Theatre 1507 SE 39th Ave. Maiden NW Agnozia, State of Balance

Hotel Oregon

310 NE Evans St. Brady Goss

Ivories Jazz Lounge

1435 NW Flanders St. The Kevin Deitz Sextet

Jade Lounge

2342 SE Ankeny St. Jeeper Creepers Swing Band

Jimmy Mak’s

221 NW 10th Ave. Soulmates

Kells Brewpub

The Original Halibut’s II

210 NW 21st Ave. Sami Rouisi

The Press Club

426 SW Washington St. School of Rock

2525 NE Alberta St. Terry Robb 2621 SE Clinton St. Perola Brasileira

Thirsty Lion Pub SW 2nd & Ash St. Redwood Son

M & M Restaurant & Lounge

The Muddy Rudder Public House

Magnolia’s Corner

The Original Halibut’s II

137 N Main Ave. Saturated Phats

4075 NE Sandy Blvd Andrew Goodwin

McMenamins Boon’s Treasury 888 Liberty St. NE Oh My Mys

McMenamins Crystal Ballroom

1332 W Burnside Street The Wood Brothers, Amy Helm

McMenamins Edgefield 2126 SW Halsey St. Mark Alan

McMenamins Rock Creek Tavern

10000 NW Old Cornelius Pass Rd. Jon Koonce & One More Mile

Midnight Roundup

345 NW Burnside Rd. Carrie Cunningham

Mississippi Pizza

3552 N Mississippi Ave. Jenny Sizzler, Krebsic Orkestar

2525 NE Alberta St. Richard Arnold

The TARDIS RoomFish & Chip Shop

1218 N Killingsworth St. Arthur Moore’s Blues Harmonica Party

The Whiskey Bar

31 NW 1st Ave. Red Cube & Asylum Events Present The Disco Fries

Thirsty Lion Pub

SW 2nd & Ash St. James Grant Blues Mythology

Trail’s End Saloon 1320 Main Street Mike Branch Band

Whiskey City Rock Bar 11140 SE Powell Blvd. The Disco Fries, Boom Jinx

White Eagle Saloon 836 N Russell St. Reverb Brothers

Mississippi Studios

3939 N Mississippi Ave. Nicky Croon and the Swinging Richards

SAT. FEB. 8 Alhambra Theater

Mock Crest Tavern

4811 SE Hawthorne Blvd. Moonspell, Leaves Eyes, Atrocity

Montavilla Station

Andina Restaurant

Music Millennium

Artichoke Music

Nel Centro

Ash Street Saloon

Peter’s Room

Beaterville Cafe

Rock Bottom Brewery Portland

Biddy McGraw’s

3435 N Lombart St. Suburban Slim 417 SE 80th Ave. Sockeye Sawtooth

3158 E. Burnside St. Craig Chee 1408 SW Sixth Ave. Mike Pardew 8 NW 6th Ave Passafire, Ballyhoo

206 SW Morrison St. Junebugs

Rotture

315 SE 3rd Ave. Shutup & Dance

Secret Society Ballroom

1314 NW Glisan Toshi Onizuka Trio

3130 SE Hawthorne Blvd. Jamie Stillway 225 SW Ash St. Solid Gold Balls

2201 N Killingsworth St. Kivett Bednar 6000 NE Glisan St. Lumberjack

Blue Diamond

2016 NE Sandy Blvd. The Sportin’ Lifers

Bravo Lounge

8560 SE Division St. Local Live Music

116 NE Russell St. KZME Live: Jack Martin & The Houseband The Moonshine, Dominic Castillo

Camellia Lounge

Shaker & Vine

303 SW 12th Ave. Mark Pickerel

2929 SE Powell Blvd. Camille’s ‘Folk for Folks’

Star Theater

13 NW 6th Ave. Scott Pemberton Trio, Audios Amigos

The Alberta Street Public House 1036 NE Alberta St. Caleb Klauder

The Blue Monk

3341 SE Belmont St. HATS OFF!, Surfs Drugs, 100 Watt Mind

The Elixir Lab

2734 NE Alberta St. Basement Jazz

The Firkin Tavern

510 NW 11th Ave. Nicole Sangsuree & Friends

Crystal Hotel Al’s Den

Doug Fir Lounge

830 E Burnside St. Augustines, My Goodness

Duff’s Garage

1635 SE 7th Ave. Chris Baum Project

East End

203 SE Grand Ave. Dart Gun & the Vignettes and ManX With The Last 45’s, Pink Slip, and DJ Goldsteez

Embers Portland

11 NW Broadway Onyx Lynn & The Follies

Fez Ballroom

The Horse Radish

1035 SW Stark St. Max Graham With Zoxy, Gotek, Timmy, and Aurelius

The Know

118 NW Couch St. Soul Minor LIVE

1937 SE 11th Ave. The CRY!, Foriegn Talks 211 W Main St. Big Chief & The Hedgehogs

Kelly’s Olympian

2026 NE Alberta St. Here Come Dots, Balms, Black Is Bright

Kelly’s Olympian

The Lehrer

426 SW Washington St. Dinner for Wolves, Mothers Whiskey, Advisory, The Ransom

8105 SE 7th Ave. Jack Dwyer

8775 SW Canyon Ln. Drop Dead Red

Floyd’s Coffee Shop Old Town

Hawthorne Theatre

1507 SE 39th Ave. Zion I, Sol, Mk Smith, Aileron, Tope

CONT. on page 37 Willamette Week FEBRUARY 5, 2014 wweek.com

FIREWORKS!

WEEKEND #1

WEEKEND #2

MAY 23-25

JULY 4-6

MEMORIAL DAY WEEKEND

FOURTH OF JULY WEEKEND

OUTKAST / THE NATIONAL / QUEENS OF THE STONE AGE / M.I.A. / FOSTER THE PEOPLE / KID CUDI / HAIM / NEKO CASE / FOALS / MAJOR LAZER / CUT COPY / DIE ANTWOORD / ELBOW / VIOLENT FEMMES / THE NAKED AND FAMOUS / CAGE THE ELEPHANT / MOGWAI / TYLER, THE CREATOR / CHANCE THE RAPPER / PORTUGAL. THE MAN / RUDIMENTAL / BOYS NOIZE / GESAFFELSTEIN / COLD WAR KIDS / CITY AND COLOUR / PHANTOGRAM / FIRST AID KIT / TUNE-YARDS / YELLE / ALUNAGEORGE / PANDA BEAR / PHOSPHORESCENT / BOB MOULD / WASHED OUT / BAND OF SKULLS / BRODY DALLE / AUSTRA / PARQUET COURTS / DAMIEN JURADO / DEAFHEAVEN / BIG FREEDIA / CLASSIXX / BLACK JOE LEWIS / LIARS / TOURIST / RYAN HEMSWORTH / TOKIMONSTA / CHET FAKER / BANKS / THE DODOS / THE LONELY FOREST / LUCIUS / THE STEPKIDS / HALF MOON RUN / LITTLE GREEN CARS / CRYSTAL FIGHTERS / HOUNDMOUTH / CLOUD CONTROL /JONATHAN WILSON / WAXAHATCHEE / FOY VANCE / MARY LAMBERT / WILLY MASON / PAPA / SHAKEY GRAVES / THE GROWLERS / SYD ARTHUR / COWBOY AND INDIAN / WHITE SEA / RATHBORNE / PINK MOUNTAINTOPS / THE PHYSICS / RADIATION CITY / LA LUZ / THE BRIGHT LIGHT SOCIAL HOUR / BIG SCARY / MODERN KIN / RAZ SIMONE / SAM LACHOW / GIFTED GAB / HOBOSEXUAL / THE GRIZZLED MIGHTY / FLY MOON ROYALTY / THE FLAVR BLUE / TACOCAT // COMEDY // PRINCESS FEAT. MAYA RUDOLPH / NICK SWARDSON / BRIDGET EVERETT / ERIC ANDRE / CHARLYNE YI / AND MORE!

SOUNDGARDEN / KRAFTWERK (3D) / NEW ORDER / RÃ&#x2013;YKSOPP + ROBYN / NEUTRAL MILK HOTEL / BROKEN BELLS / SPOON / TEGAN AND SARA / LOCAL NATIVES / LA ROUX / GOGOL BORDELLO / JAKE BUGG / ATMOSPHERE / RHYE / THE BLOODY BEETROOTS / DILLON FRANCIS / BIG GIGANTIC / THE BLACK ANGELS / DELTRON 3030 / THE HORRORS / JUNIP / THE NOTWIST / ST. LUCIA / DR. DOG / KURT VILE & THE VIOLATORS / OF MONTREAL / TALIB KWELI / THE CAVE SINGERS / PUNCH BROTHERS / ACTION BRONSON / LEE FIELDS & THE EXPRESSIONS / SHARON VAN ETTEN / CAROLINA CHOCOLATE DROPS / SOL / CASEY VEGGIES / RL GRIME / TCHAMI / AUDION / FUCK BUTTONS / COURTNEY BARNETT / THAO & THE GET DOWN STAY DOWN / CLOUD NOTHINGS / FOXYGEN / PALMA VIOLETS / MIKAL CRONIN / MAC DEMARCO / JON HOPKINS / GOLD PANDA / MAJICAL CLOUDZ / DUKE DUMONT / ONEOHTRIX POINT NEVER / DEATH / BLACK PRAIRIE / LATYRX / METZ / JOHN GRANT / REIGNING SOUND / BLACK MILK / TYPHOON / CASS MCCOMBS / YOUNG & SICK / NO / BOY & BEAR / ASGEIR / MUTUAL BENEFIT / THE BOTS / WILD CUB / GANGSTAGRASS / PHOX / AGES AND AGES / THE DISTRICTS / MIMICKING BIRDS / CHAD VANGAALEN / SHELBY EARL / HUNTER HUNTED / FLY GOLDEN EAGLE / SANDRIDER / HELMS ALEE / NIGHT BEATS / CHASTITY BELT / DUDE YORK / ISKA DHAAF / KITHKIN / POLLENS // COMEDY // DEMETRI MARTIN / EUGENE MIRMAN / KURT BRAUNOHLER / W. KAMAU BELL / KYLE DUNNIGAN / AND MORE!

ON SALE SATURDAY @ 10am

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PRODUCED BY LIVE NATION AND ADAM ZACKS TICKETS AT TICKETMASTER.COM OR BY PHONE: (800) 745-3000 SASQUATCHFESTIVAL.COM

MUSIC CALENDAR

dates

Feb. 5–11

BAR SPOTLIGHT a n n a j ay e g o e l l n e r

Hawthorne Theatre Lounge

The Brothers Jam

Midnight Roundup

1503 SE Cesar E Chavez Blvd. Rustlah, Raspy Meow, Renaissance Coalition, Montgomery Word

345 NW Burnside Rd. Carrie Cunningham

Mississippi Pizza

3552 N Mississippi Ave. Lorna Miller Little Kid’s Jamboree

Hotel Oregon

310 NE Evans St. Mark Alan

Mississippi Pizza

3552 N Mississippi Ave. Pura Vida Band

Ivories Jazz Lounge 1435 NW Flanders St. Picante! Hot Latin Rhythms

Mock Crest Tavern 3435 N Lombart St. Tracy Fordice & The 8-Balls

Jade Lounge

2342 SE Ankeny St. Keegan Heron

Nel Centro

1408 SW Sixth Ave. Mike Pardew

Jade Lounge

2342 SE Ankeny St. Wildish, Maggie Gibson, Arbielle

OMSI Oregon Museum of Science and Industry

Jimmy Mak’s

DETROIT, WHAT?: Daddy Mojo’s (1501 NE Fremont St., 282-0956) is the closest Portland will ever get to a Detroit bar. At least, this is what an enthusiastic Motor City friend tells me while touting the sports dive’s menu of crawfish, meatloaf and sushi. All available wall space at Mojo’s is mounted with flat-screen TVs sporting basketball and football—that is, when it’s not taken up with framed and autographed photos of retired Belgian tennis star Kim Clijsters; the owner is a fan. He’s also a sushi chef, but nonetheless held onto the soul-Cajun recipes he’d bought from the bar’s founder, which range from jambalaya to racks of ribs. Meanwhile, a sawbuck at happy hour will net you a massive spicy-catfish maki roll that’s a lot tastier than you’d expect in a bar with $2.25 domestic beer and a $3.50 cheeseburger and fries. Still, the menu can be haggled with. “Six days,” says the bartender, Noriko, to one of the longtime regulars. In six days, on Super Bowl Sunday, she planned to make him off-menu prime rib and lobster. Perhaps it was a consolation prize; he keeps losing sports bets to her. Later, one of the other regulars tells me about the Super Bowl where Terry Bradshaw played through a concussion. If this is what bars are like in Detroit, I have a $500 house I’d like to buy. MATTHEW KORFHAGE.

A R T I S T S

R E P E R T O R Y

1945 SE Water Ave. Laser Pink Floyd: The Wall

221 NW 10th Ave. Patrick Lamb Band

Kells Brewpub

Reed College

210 NW 21st Ave. Sami Rouisi

3203 SE Woodstock Blvd. Myra Melford and Marty Ehrlich Duo

Kelly’s Olympian

426 SW Washington St. Mufassa, Surf Drugs, Bleach Blonde Dudes

Rock Bottom Brewery Portland 206 SW Morrison St. Corner

M & M Restaurant & Lounge 137 N Main Ave. Saturated Phats

Secret Society Ballroom

116 NE Russell St. Trashcan Joe

McMenamins Boon’s Treasury 888 Liberty St. NE Wil Kinky

Secret Society Ballroom

McMenamins Edgefield 2126 SW Halsey St. McDougall

McMenamins Ringlers Pub

Shaker & Vine

1332 W Burnside Floating Pointe

McMenamins Rock Creek Tavern

116 NE Russell St. Cross-Eyed Rosie, Jacob Miller & The Bridge, City Crooners, The Harmed Brothers 2929 SE Powell Blvd. Women Songwriters in the Round

10000 NW Old Cornelius Pass Rd.

Slabtown

1033 NW 16th Ave.

Nuggets Night! Featuring The Sellwoods, The Honus Huffhines, Metropolitan Farms and Many More

Star Bar Portland

639 SE Morrison St. Lux Lives

Star Theater

13 NW 6th Ave. School Of Rock Lake Oswego: Pink Floyd - The Wall

Star Theater

The Alberta Street Public House

1036 NE Alberta St. Alder St., Three For Silver

The Annex

The Elixir Lab

2734 NE Alberta St. Sue Ray, Carrie Henschell, Mel Fraser

The Firkin Tavern

1937 SE 11th Ave. PALS Fest Fundraiser: Minden, the We Shared Milk, Sama Dams

The Goodfoot

2845 SE Stark St. Tropitaal: A Desi Latino Soundclash Presented by DJ Anjali and The Incredible Kid

The Horse Radish 211 W Main St. Sol Seed

2026 NE Alberta St. Guantanamo Baywatch Can of Beans, San Onofre Lizards 8775 SW Canyon Ln. Big Monti

8105 SE 7th Ave. Steve Cheseborough

The Original Halibut’s II

Ryan Walsh

Arlene Schnitzer Concert Hall

1037 SW Broadway Beethoven’s Symphony No. 7

2525 NE Alberta St. Reggie Houston & Janice Scroggins

Ash Street Saloon

The Triangle Salem

Beaterville Cafe

3215 Liberty Rd. S Joey Farr

Thirsty Lion Pub

225 SW Ash St. The Breaking

2201 N Killingsworth St. Songwriter Showcase: James Faretheewell, David Grier

Biddy McGraw’s

Tony Starlight’s Supper Club

6000 NE Glisan St. Off Key Bluegrass Jam

Trail’s End Saloon

2016 NE Sandy Blvd. Kevin Selfe and the Tornadoes Jam Session

3728 NE Sandy Blvd. Midnight Senenaders 1320 Main Street John Koonce

5242 N. Lombard St. Ian and the Crushers, Lady Wolf, Rocket 3

The Lehrer

The Muddy Rudder Public House

SW 2nd & Ash St. Will Bradley Band

13 NW 6th Ave. Lady Rizo

The Know

MUSIC CALENDAR

Blue Diamond

Cadigan’s Corner Bar

Venti’s Cafe And Tap House-Salem

5501 SE 72nd Ave. Portland Casual Jam

Vie De Boheme

140 Hill St. NE Blues Jam

2840 Commercial Street Joytribe

Calapooia Brewing

1530 SE 7th Ave. Blackbird Dance Party/ Family Shelter Fundraiser

Corkscrew

White Eagle Saloon

Crystal Hotel Al’s Den

836 N Russell St. Garry Meziere/No Tomorrow Blues Band Mike Manning, Jack Forrest Band

Winona Grange No. 271 8340 SW Seneca St. Celtic Community Concert

SuN. FEB. 9 Alberta Rose Theatre

3000 NE Alberta St. The Nowhere Band 50th Anniversary of The Beatles on Ed Sullivan

Andina Restaurant 1314 NW Glisan

1665 SE Bybee Ave. Jennifer Smieja 303 SW 12th Ave. Spur

Doug Fir Lounge

830 E Burnside St. Gospel Brunch Linda Hornbuckle’s

Doug Fir Lounge

830 E Burnside St. Hospitality, Air Waves, Honey Bucket

Hawthorne Theatre

1507 SE 39th Ave. Oracles, A Blinding Silence, Upon A Broken Path, Atmos

Kells

112 SW 2nd Ave.

cont. on page 38

think it’s just trivia? think again.

T H E AT R E

RAMENS RAM N

Michael Elich

Monday

C A LL TO G E T

Amy Freed

directed by

OFF TIX!

Art Manke

JAN 28 - MAR 2 RONNI LACROUTE

Thursdays @ 8pm dwing Bar & Grill Re Tuesday 4012 30th St • North Park

The Dugout (Hillsboro) — 7:00 PM Biddy McGraw's — 7:00 PM Cheerful Tortoise — 9:00 PM Shanahan's (Vancouver) — 7:00 PM Laurelwood Public House (SE Portland) — 8:00 PM Beaterville Cafe and Bar —8:00 PM (Starts Feb 11th) The Ram Restaurant & Brewery (Wilsonville)— 8:00 PM

Mondays @ 9pm Bourbon Street Bar & Grill 4612 Park Blvd - University Heights

• WORLD PREMIERE COMEDY • SEASON SPONSORS:

Thirsty Lion — 7:00 PM Hawthorne Hideaway — 8:00 PM Rose & Thistle — 8:00 PM Alberta St. Pub — 8:00 PM (Starts Feb 10)

503.241.1278 artistsrep.org

Wednesday rdays @ 8pm Satu Cheerful Bullpen — 8:30 PM Kelly’s Pub

Concordia Ale House — 8:00 PM Space Room — 7:00 PM Tonic Lounge — 7:00 PM Buffalo Gap — 7:30PM

2222 San Diego Ave • Old Town

Thursday ys @ 8pm Tues 21st Avenue Barda & Grill — 7:00 PM (starts August 14th)

Belmont Inn — 7:00 PM

South Park Abbey

1946 Fern Street • South Park www.geekswhodrink.com @geekswhodrink

facebook.com/geekswhodrink Willamette Week FEBRUARY 5, 2014 wweek.com

MUSIC CALENDAR Kelly’s Olympian

426 SW Washington St. The Phoenix Variety Review

McMenamins Edgefield 2126 SW Halsey St. Lewi Longmire

McMenamins Kennedy School

5736 NE 33rd Ave. YOU WHO: Children’s Rock Variety Show Valentines show featuring Ural Thomas & the Pain

McMenamins Rock Creek Tavern

10000 NW Old Cornelius Pass Rd. Hanz Araki

Mississippi Pizza

3552 N Mississippi Ave. All Together Now Beatles Singalong

Mississippi Pizza

3552 N Mississippi Ave. Anthemtown Open Mic With Will West

Reed College

3203 SE Woodstock Blvd. Portland Baroque Orchestra

Reed College

3203 SE Woodstock Blvd. Ilya Poletaev

Rontoms Portland

600 E. Burnside St. Albatross, Levon’s Helmet

Slabtown

1033 NW 16th Ave. Grand Style Orchestra

Star Bar Portland

639 SE Morrison St. The Bobcat

Star Theater

13 NW 6th Ave. Church of Hive

The Blue Monk

3341 SE Belmont St. Sunday Jazz Series

The Firkin Tavern 1937 SE 11th Ave. Open Mic

The Know

2026 NE Alberta St. Rye Wolves Hungers, Lamprey

8105 SE 7th Ave. Irish Music

Trail’s End Saloon 1320 Main St,. Cascade Drifters

MOn. FEB. 10

FEBRUARy SHOWERS: Kid Congo Powers and the Pink Monkey Birds play Doug Fir Lounge on Thursday, Feb. 6.

1314 NW Glisan Pete Krebs

2016 NE Sandy Blvd. Sumo, Hot Tea Cold

Camellia Lounge

510 NW 11th Ave. Jazz Vocal Jam with Joe Millward

Corkscrew

1665 SE Bybee Ave. Open Mic

Crystal Hotel Al’s Den 303 SW 12th Ave. Spur

Doug Fir Lounge

830 E Burnside St. Biffy Clyro, Morning Parade

Hawthorne Theatre

Willamette Week FEBRUARY 5, 2014 wweek.com

Touche Amore, MewithoutYou, Seahaven, Drug Church

Holocene

1001 SE Morrison St. Peggy Sue, Mandolin Orange, the Mariner’s Children

Jade Lounge

2342 SE Ankeny St. Jelly Roll Jamboree Joe Baker, Artie Bechtel Trio, The 78 Griots, Slim Bacon

Jimmy Mak’s

221 NW 10th Ave. Dan Balmer

Kelly’s Olympian

426 SW Washington St. Eye Candy VJs

McMenamins Edgefield 2126 SW Halsey St.

Skip von Kuske’s Groovy Wallpaper

McMenamins Rock Creek Tavern

10000 NW Old Cornelius Pass Rd. Bob Shoemaker

Mississippi Studios

3939 N Mississippi Ave. Incan Abraham, Sama Dams, John Bowers

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

The Blue Monk

3341 SE Belmont St. Bunker Sessions Open Mic

The Elixir Lab

2734 NE Alberta St. Moonshine Mondays With The Moonshine

The Goodfoot

TUES. FEB. 11

2845 SE Stark St. Sonic Forum Open Mic Night

Ash Street Saloon

The Muddy Rudder Public House

Blue Diamond

8105 SE 7th Ave. Lloyd Jones

Valentine’s

232 SW Ankeny St. The Sour Notes

White Eagle Saloon 836 N Russell St. Wildish

Wonder Ballroom

128 NE Russell St. Falling in Reverse, Escape the Fate, Chelsea Grin, Survive This

225 SW Ash St. Dark Oz, Walking Eages 2016 NE Sandy Blvd. The Gretchen Mitchell Band

Bossanova Ballroom 722 E Burnside St. Tuesday Blues

Cadigan’s Corner Bar 5501 SE 72nd Ave. Hip Deep

Crystal Hotel Al’s Den 303 SW 12th Ave. Spur

Duff’s Garage

1635 SE 7th Ave. Sharkskin Revue

Slim’s Restaurant & Lounge 8635 N Lombard St. Open Mic Night

1507 SE 39th Ave. Breathe Carolina, Mod Sun, Ghost Town, lionfight

Star Theater

Hawthorne Theatre Lounge

6517 SE Foster Road Joe Baker Band

Jimmy Mak’s

Andina Restaurant

Blue Diamond

Hawthorne Theatre

1435 NW Flanders St. Mac Potts

836 N Russell St. Naomi LaViolette

1037 SW Broadway Beethoven’s Symphony No. 7

1635 SE 7th Ave. Dover Weinberg Quartet

Ivories Jazz Lounge

White Eagle Saloon

Arlene Schnitzer Concert Hall

Duff’s Garage

1503 SE Cesar E Chavez Blvd. Tryouts for Hempfest 2014: Christopher Carpenter, Collection of Lone Souljahs, Sol Seed, Still Region

The Muddy Rudder Public House

1507 SE 39th Ave.

Ilse lambert

Traditional Irish Music

Feb. 5–11

221 NW 10th Ave. Partners in Jazz The Mel Brown Septet

13 NW 6th Ave. Black Uhuru, Indubious

Starday Tavern

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

The Alberta Street Public House

1036 NE Alberta St. Deep In The Grass & The Loafers

The Blue Monk

3341 SE Belmont St. The Pagan Jug Band With Special Guests

The Firkin Tavern

McMenamins Edgefield

1937 SE 11th Ave. Talkative, Hats Off, Three for Silver

McMenamins Rock Creek Tavern

The GoodFoot

2126 SW Halsey St. Pete Krebs

10000 NW Old Cornelius Pass Rd. Open Bluegrass Jam

Midnight Roundup

345 NW Burnside Rd. Open Mic Jam Sessions

Mississippi Pizza

3552 N Mississippi Ave. McDougall, Tom Vandenvond

Rotture

2845 SE Stark St. Boys II Gentlemen: A Big Party Band Featuring Members of Quick and Easy Boys and Excellent Gentlemen

The Know

2026 NE Alberta St. XDS (Experimental Dental School) Nudity, LKN

The Lehrer

315 SE 3rd Ave. Pallbearer, Lord Dying, the Body

8775 SW Canyon Ln. Hot Jam Night With Tracey Fordice and The 8-Balls

Sellwood Public House

Thirsty Lion Pub

8132 SE 13th Ave. Open Mic

Shaker & Vine

2929 SE Powell Blvd. Mark Macmillin and Friends

SW 2nd & Ash St. PDX Singer Songwriter Showcase

White Eagle Saloon

836 N Russell St. Twisted Whistle Jenny Don’t & the Spurs

FEB. 5–11

MUSIC CALENDAR

BEATLEMANIA TURNS 50! The U.S. Beatles Albums Are Finally Available On Cd!

SOUTHERN REEL

SAVE 20% ON

HEY JUDE

YESTERDAY AND TODAY

US ALBUMS BOX SET

RUBBER SOUL

MEET THE BEATLES

SOMETHING NEW

KIN FOLK: The Wood Brothers play Crystal Ballroom on Friday, Feb. 7.

WED. FEB. 5 Beech St. Parlor 412 NE Beech St. Bill Portland

CC Slaughters Nightclub & Lounge 219 NW Davis St. DJ Robb Trick

Ground Kontrol Classic Arcade 511 NW Couch St. TRONix, Bryan Zentz

Holocene

1001 SE Morrison St. #Testify: A Dance Party DJ Honest John, New Dadz DJs, DJ Portia, Magic Fades DJs

Midnight Roundup

345 NW Burnside Rd. Live DJ Mixes

Moloko Plus

3967 N Mississippi Ave. King Tim 33 1/3

Pub at the End of the Universe 4107 SE 28th Ave. Wicked Wednesdays

DJ Barrett

The Buffalo Gap

6835 SW Macadam Ave. Paintnite

Thirsty Lion Pub SW 2nd & Ash St. Redwood Son

Midnight Roundup

345 NW Burnside Rd. Carrie Cunningham

Mississippi Studios

3939 N Mississippi Ave. Mrs. Queer Dance Party With DJ Beyonda

Tiga Bar Portland

Moloko Plus

Tiger Bar

Star Bar

1465 NE Prescott St. DJ Party Dad 317 NW Broadway Karaoke From Hell

3967 N Mississippi Ave. DJ Cuica 639 SE Morrison St. DJ OverCol

The Lovecraft

FRI. FEB. 7

421 SE Grand Ave. DJ Grim Ripper

Beech St. Parlor

The Whiskey Bar

412 NE Beech St. Musique Plastique

Harlem Portland

220 SW Ankeny St. Lionsden

Holocene

1001 SE Morrison St. Cock Block Miss Shelrawka, Tracy Why, Scifi Sol

Moloko Plus

31 NW 1st Ave. Red Cube Presents Lucky Date

Tiga Bar Portland

1465 NE Prescott St. Cowboys From Swedenmonday

SUN. FEB. 9 Dante’s

Star Bar Portland

3967 N Mississippi Ave. Hans Fricking Lindauer Rhythm and Soul Review

The Lovecraft

Star Bar Portland

639 SE Morrison St. Uncontrollable Urge w/ DJ Paultimore

203 SE Grand Ave. 4x4 DJ’s

Thirsty Lion Pub

The GoodFoot

220 SW Ankeny St. DJ Jack

639 SE Morrison St. DJ Boom 421 SE Grand Ave. Event Horizon Industrial Dance Night SW 2nd & Ash St. Jordan Harris

Tiga Bar Portland

1465 NE Prescott St. Invisible Ziggurat

THURS. FEB. 6

2845 SE Stark St. DJ Magento and Friends

The Lovecraft

421 SE Grand Ave. Brickbat Mansion

Tiga Bar Portland

1465 NE Prescott St. DJ Eazy Ian

Beech St. Parlor 412 NE Beech St. Yolo Biafra

CC Slaughters Nightclub & Lounge

219 NW Davis St. Hip Hop Heaven DJ George

Harlem Portland

220 SW Ankeny St. DJ Tourmaline With DJ Valen

Midnight Roundup

345 NW Burnside Rd. Live DJ Mixes

Star Bar Portland

639 SE Morrison St.

SAT. FEB. 8 Beech St. Parlor 412 NE Beech St. KM Fizzy

Dante’s

350 W Burnside St. Sinferno Cabaret

East End

Harlem Portland

Savoy Tavern

2500 SE Clinton St. Live DJs

The Conga Club

4923 NE Martin Luther King Jr. Blvd. Reggae VYBZ Sunday

The Lovecraft

421 SE Grand Ave. Rapture DJ Finger Bang & Dungeon Master

MON. FEB. 10

350 W Burnside St. Bollywood Disco Costume Dance Party With DJ Prashant

Ash Street Saloon

Holocene

412 NE Beech St. DJ Big Baby Experience

1001 SE Morrison St. Verified DJ Sliink, Gang$ing$, SPF666, Commune, Photon

225 SW Ash St. DJ Brux Blackhawk

Beech St. Parlor

CC Slaughters Nightclub & Lounge 219 NW Davis St. Maniac Monday with DJ Robb

East End

203 SE Grand Ave. DJ Streptococcus

Ground Kontrol Classic Arcade

511 NW Couch St. Metal Mondays with Metal Kyle and DJ Shreddy Krueger

Star Bar Portland

639 SE Morrison St. Metal Monday w/ DJ Desecrator

The Lovecraft

421 SE Grand Ave. Departures DJ Waisted and Friends

Tiga Bar Portland

1465 NE Prescott St. DJ Megalodon

TUES. FEB. 11 Analog Cafe & Theater 720 SE Hawthorne Blvd. S.Y.N.T. Weekly Dubstep Night

Beech St. Parlor 412 NE Beech St. Jason Urick

CC Slaughters Nightclub & Lounge 219 NW Davis St. Girltopia DJ Alicious

CC Slaughters Nightclub & Lounge

219 NW Davis St. DJ Jakob Jay Sweat Fridays

Ground Kontrol Classic Arcade 511 NW Couch St. Rock Band Tuesdays

Star Bar Portland

BEATLES’ SECOND ALBUM

REVOLVER

Get them in mono and stereo, with the exception of The Beatles’ Story and Hey Jude, which are in stereo only. Collected in a boxed set with faithfully replicated original LP artwork, including the albums’ inner sleeves, the 13 CDs are accompanied by a 64-page booklet with Beatles photos and promotional art from the time, as well as a new essay by American author and television executive Bill Flanagan. For a limited time, all of the albums (with the exception of The Beatles’ Story, an audio documentary album) will also be available for individual CD purchase. A Hard Day’s Night (Original Motion Picture Soundtrack), The Beatles’ Story, Yesterday And Today, Hey Jude, and the U.S. version of Revolver make their CD debuts with these releases.

ALSO SAVE 20% ON ALL BEATLES CD’s

639 SE Morrison St. DJ Scary Jerry

The Lodge Bar & Grill 6605 SE Powell Blvd. DJ Easy Finger

expires 3/4/14

Thirsty Lion Pub

SW 2nd & Ash St. PDX Singer Songwriter Showcase

Tiga Bar Portland

1465 NE Prescott St. DJ Kev It Up

Willamette Week FEBRUARY 5, 2014 wweek.com

Feb. 5–11

= 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 Bo-Nita

The dynamic and funny Kate Eastwood Norris stars in this onewoman show about a 13-year-old girl trying to navigate a messy family life in a bleak Midwestern town. The script, by Elizabeth Heffron, was a hit at the JAW Playwrights Festival in 2012. Gerding Theater, 128 NW 11th Ave., 445-3700. 7:30 pm Tuesdays-Sundays; 2 pm Saturdays-Sundays; noon Thursdays through March 16. $40-$55.

Medicare: Fully Fabulous

Wendy Westerwelle has been performing in Portland since the late ‘70s, and the now-65-year-old returns to Triangle Productions with a solo show about growing older, being Jewish, sustaining friendships and losing your sex drive. The Sanctuary at Sandy Plaza, 1785 NE Sandy Blvd., 239-5919. 7:30 pm Thursdays-Saturdays through March 2 (no show Feb. 9). $15-$35.

NEW REVIEWS Band Geeks!

With its popular girls, football stars, goths and nerds, Broadway Rose’s Band Geeks! is eminently relatable, even if you’d rather not reflect on those years of hormones, pimples and vulnerability. The musical, directed by Isaac Lamb, follows a marching band fighting budget cuts to remain alive. Football star Jake is forced to participate in band as punishment; band captain Elliot struggles to keep everyone in line while crushing on the popular Nicole; goth girl Molly spouts bizarre one-liners; and studious Laura is perpetually overlooked. With upbeat performances and a peppy storyline, this production delivers all the way through to the grand finale, “Embrace Your Inner Geek,” an enthusiastic, confetti-strewn number. SAVANNAH WASSERMAN. Broadway Rose New Stage Auditorium, 12850 SW Grant Ave., 620-5262. 7:30 pm ThursdaysSaturdays and 2 pm SaturdaysSundays through March 2. $30-$41.

The Monster-Builder

Gregor Zubrowski, the megalomaniacal architect at the center of Amy Freed’s The Monster-Builder, is as slick a villain as can be: Clad in a trim black suit, he’s got a bald pate, severe goatee and round spectacles, and he delights in razing old buildings and erecting gleaming monstrosities in their place. All confident stride and rapacious gaze, he venerates Nietzsche and unleashes a cackle not heard since Dr. Evil cuddled with Mr. Bigglesworth. In case his powerhungry depravity weren’t sufficiently clear, Freed briefly provides Gregor with an animal sidekick all his own—at one point, he pulls an eel from his briefcase and slinks around with the slippery fish while warbling operatically. All of which is to say that this world-premiere production at Artists Rep, efficiently directed by Art Manke, doesn’t traffic in nuance. On a stage of polished glass and white marble, Oregon Shakespeare Festival standby Michael Elich devours the role of Gregor, retaining just enough selfaware humor in his devilish asides to the audience. Freed’s script, though, isn’t nearly so focused. It borrows as many techniques as the busiest piece of postmodern architecture, attempting to balance satire, the occasional injection of melodrama and unabashed potty humor (“Put your hand on my organ,” Gregor growls to his protege after he plays a few bars of Bach). It might work were the arguments about architecture more coherent: Gregor

calls himself “a visionary futurist,” yet Freed also suggests he has an affinity for Nazi architecture, which drew heavily on neoclassicism. For those who can swallow the references to Walter Gropius and Albert Speer, the mishmash is baffling, and for those without much knowledge of architecture, it’s just inside baseball. The performers are generally strong, even if Allison Tigard plays her idealistic architect with plodding premeditation, telegraphing each emotional shift far in advance. But even their best efforts can’t save a shaky foundation. REBECCA JACOBSON. Artists Repertory Theatre, 1515 SW Morrison St., 241-1278. 7:30 pm WednesdaysSundays and 2 pm Sundays through March 2. $25-$55.

Revival

As far as Christian revivalist conversion concerts go, Revival is surprisingly pleasant. Local folk band the Skidmore Bluffs don Amishstyle outfits to become the Roving Wheels of Christ, led by the defrocked Reverend Isaac Noble (Josh Gulotta). With their Mumford-esque ballads, the Roving Wheels would fit in at any Portland open-mic night. This selfproduced musical is like theatrical Sunday school (it’s even held at a converted church in Northeast Portland), sardonically exploring the hypocrisy of modern faith with songs that pair Christ and cocaine. It seems innocent enough until the animated redhaired pianist, Abner Billings (James Lawrence), whips out a saxophone and guitarist Saul (Andrew Fridae) starts crooning about “Moses the maniac.” This religious critique, though, proves entertaining but overzealous. Revival’s Bible-thumping examination of the Good Book’s bloody and bodacious passages amuses, but it fails to provoke deep thought, and while a gauze-thin plot runs through the show, it’s ultimately more of a concert than a piece of theater. Even so, fans of bootstompin’ Southern gospel, religious quips and O Brother, Where Art Thou? won’t be disappointed. “The word of the Lord! Can you dig it?” Noble hollers between song lyrics and gospel readings. Holy communion, in the form of a baguette and two-buck Chuck, is provided midshow. ENID SPITZ.The Little Church, 5138 NE 23rd Ave., 7896429. 7 pm Thursdays-Saturdays through Feb. 8. $10.

ALSO PLAYING American King Umps: A Midsummer Night’s Melodrama on the Tragedy of Slavery

Playwright Don Wilson Glenn drew on his great-great-grandfather’s stories of slavery for this new play, produced by Damaris Webb and Passin’ Arts. Blending Shakespearean tropes with high melodrama, the play is set during the Civil War on a West Texas plantation, where the master has abandoned his cotton fields, leaving the slaves to govern themselves. Ethos/IFCC, 5340 N Interstate Ave., 283-8467. 7 pm Thursdays-Saturdays and 3 pm Sundays through Feb. 16. $20.

Bon Ton Roulet at the Shakespeare Cafe

With comical performances and a modern-day twist on the Shakespearean voice, Bon Ton Roulet at the Shakespeare Cafe is a high-energy, engaging show set in New Orleans during Mardi Gras. The play, written and directed by Portlander Elizabeth Huffman at Post5 Theatre, takes place at a hip bar, with brightly colored couches dotting the space and Mardi Gras decor streaming from the ceiling. Narrator and vocalist Ursula (Ithica Tell), dressed in a vivid purple dress and gold cap, leads the way. We meet the bar’s regulars, including Will and

Willamette Week FEBRUARY 5, 2014 wweek.com

his French lover, Julia. Bartender Pym, meanwhile, is hopelessly in love with Ursula, while she doesn’t seem to think much of it. And then there are couples from Shakespeare: Much Ado About Nothing’s warring Beatrice and Benedict, and As You Like It’s hopeless romantics, Orlando and Rosalind. The latter couple, played by Kristopher Mahoney-Watson and Chantal DeGroat, steals the show: As Orlando writes love poems about Rosalind, little does he know that she is equally in love with him. To uncover his motives, she disguises herself for some “man talk.” Adopting a deep, scratchy voice and donning a fedora, she finds out the truth—and sends the audience roaring with laughter. SAVANNAH WASSERMAN. Milepost 5, 850 81st Ave., 971-258-8584. 7 pm ThursdaysSundays through Feb. 9. $10.

hick is a small miracle; Kelsey Tyler turns in a portrayal that’s sympathetic, even warm. Yet the sex cream, even as it causes more onstage orgasms than at the average Rocky Horror screening, proves less interesting than other parts of the play. More compelling is the examination of workplace dynamics. The End of Sex isn’t an unsatisfying romp, but with additional finesse, it might just hit the sweet spot. REBECCA JACOBSON. Shoebox Theater, 2110 SE 10th Ave., 306-0870. 7:30 pm Thursdays-Saturdays and 2 pm Sundays through Feb. 15. $20.

Enjoy

So, like real life is hard, you know? One second you’re a college graduate, working part-time at a comic book cafe, and the next you’re turning 30, still at the same cafe, living with your parents and suffering from depression due to all the unspoken pressures of society. At least, that’s the reality for the characters in CoHo Productions’ Enjoy, by Japanese playwright Toshiki Okada. The play, directed by Michael Griggs, takes place primarily in the cafe of a bustling subway station in Japan, and it focuses on the lives and relationships of Japanese “Freeters,” educated people in their 20s

PREVIEW CORRIE BETH HOGG

PERFORMANCE

Charlotte’s Web

Oregon Children’s Theatre presents a stage adaptation of E.B. White’s classic book about a pig and the spider that saves his life. Newmark Theatre, 1111 SW Broadway, 228-9571. 2 and 5 pm Saturdays and 2 pm Sundays through Feb. 16. $15-$30.

Chinglish

A snappy comedy of linguistic and cultural confusion, David Henry Hwang’s Chinglish is ready-made for anyone who’s ever traveled abroad and puzzled at signs reading “Fuck the Certain Price of Goods.” It’s a very neat play about a very tangled subject, and director May Adrales’ production at Portland Center Stage, with its whirling scenery, crisp performances and brisk pace, is solid. The story follows a naive Ohioan named Daniel Cavanaugh (an appropriately galumphing Peter O’Connor) who travels to a midsize Chinese city to score a contract for his sign-making business. Much of the play is in Mandarin, with English supertitles projected above the actors, and these messy translations prove one of the play’s chief pleasures. This farce of miscommunication quickly becomes a study of love across cultures when Daniel launches an affair with a government official, played with captivating hilarity and emotional resonance by Tina Chilip. The pair’s chemistry is dubious, yet there’s something richly satisfying about the waves of exasperation, relief and exhaustion they experience with each attempt to converse. Though too tidily constructed, Chinglish is a zippy diversion—even if, unlike the characters, we’re never really cast into the murky waters of misunderstanding. REBECCA JACOBSON. Gerding Theater, 128 NW 11th Ave., 445-3700. 7:30 pm TuesdaysSundays; 2 pm Saturdays-Sundays; noon some Thursdays through Feb. 9. $29-$69.

Dear Momma: A Love Letter

A workshop production of a play by Megan Sweigert about a girl who spent the first six years of her life in a cult. It’s a semi-autobiographical work that delves into issues of spirituality and sexuality. The Little Church, 5138 NE 23rd Ave., 789-6429. 8:30 pm Thursdays-Saturdays through Feb. 8. $8.

The End of Sex

The tagline is irresistible: “sex without sex.” That’s what this new drug promises, the ability to slather your elbows or knuckles or ears with a wonder cream that temporarily remaps sexual sensation. “Why does my ass feel like my clit?” asks one character, bewildered as she backs into the counter—and then keeps massaging herself against it. This cream is at the center of Portland-born playwright Craig Jessen’s new, somewhat patchy work, directed by Brandon Woolley at Theatre Vertigo. A scientist named Sam (Stephanie Cordell) inadvertently develops the drug, first realizing its effect when her lab rabbits stop having sex and instead stroke each other incessantly. The play introduces us to the drug-trial participants, who range from a woman who seizes up whenever penetration is attempted to a pig farmer with a disturbing fondness for his livestock. That the latter character doesn’t come off as a crass

FiRst stRiNG: Alicia Jo Rabins at Joe’s Pub in New York City.

A KADDISH FOR BERNIE MADOFF

(ALICIA JO RABINS)

In Judaism, the Kaddish is most often recited as a prayer for the dead. But occasionally, in cases of extreme wrongdoing, it’s used to mark a Jew’s excommunication from the faith. That’s where musician and Torah scholar Alicia Jo Rabins found her mind wandering when the Bernie Madoff scandal broke in 2008. At the time, Rabins was working in New York City near Wall Street, and each day she looked out to identical rows of tiny windows, she says, “with a person in each window doing their little Wall Street job.” Though Rabins, who moved to Portland a year ago, had never been interested in finance, the turmoil of that year gripped her. “If there were ever a case for contemporary excommunication, wouldn’t Bernie Madoff be it?” she asked. From that question, Rabins created a one-woman song cycle called A Kaddish for Bernie Madoff, which she’ll present this weekend at Portland Playhouse. Rabins has another song cycle about the dark and sometimes sordid stories of biblical women, and here she explores the intersection of finance and spirituality to tell what she calls a “detective story” of economic collapse. In addition to setting Buddhist texts and Jewish prayers to original music—Rabins combines live violin with electronic effects such as a loop pedal—she draws on interviews with those affected by the Madoff scandal. Each of these subjects, including a lawyer for the victims and a financial analyst, becomes a character with a distinct musical approach: An FBI agent gets a bluesy song in the style of Tom Waits, while other songs hew closer to ’80s rock. Portlander Zak Margolis, meanwhile, provides a backdrop of projected animations, from endless rows of officebuilding windows to abstract evocations of nature. In part, the song cycle is Rabins’ response to what she observed as a widespread reluctance to address Madoff’s Jewish identity. “There’s such a long stereotype of Jews in finance, and I felt like it was hard to think about Madoff as a Jewish person,” she says. “No one wanted to talk about it, because it’s so close to something that’s really hateful.” So rather than link the fraudster to Shylock or Fagin, Rabins opted to examine Jewish ideas of communal responsibility, which is how she settled on the Kaddish. Yet she’s not exactly arguing for outright excommunication—instead, the show aims to investigate the tension between banishing someone and recognizing your own complicity in the system. In that way, she says, “it’s an antidote to The Wolf of Wall Street.” “Finance and spirituality are so often seen as disparate, but I started to see this esoteric spirituality reflected in this esoteric finance,” Rabins says. “We are all connected, whether through a spark of the divine, as the ancient texts say, or through money. We’re all a part of it, no matter what we say.” REBECCA JACOBSON.

Praying for a Ponzi schemer.

see it: A Kaddish for Bernie Madoff is at Portland Playhouse, 602 NE Prescott St., 488-5822. 7:30 pm Thursday-Sunday, Feb. 6-9. $20-$35.

Feb. 5–11

Goodnight Moon

The classic bedtime story springs up on the stage of Northwest Children’s Theater for this production, recommended for kids ages 4 and up. NW Neighborhood Cultural Center, 1819 NW Everett St., 222-4480. Noon and 3 pm Saturdays-Sundays through March 2. $18-$22.

Jitney

If you can, find a moment during Jitney to listen to its rhythms rather than its words, its pulse rather than its plot. August Wilson’s plays are so often described as musical that it’s almost redundant to repeat the point, but here’s the thing: The alchemy of his poetic phrasing and beautifully knitted story lines can’t be described as anything but symphonic. Portland Playhouse’s Jitney—directed by G. Valmont Thomas, it’s the company’s fifth Wilson production and its first at the Winningstad—is a fine and frequently funny example of Wilson as both playwright and bandmaster. This installment of his 10-play Pittsburgh Cycle takes place in the 1970s of plaid bell-bottoms and colossal Afros, at the grubby-windowed office of a gypsycab company that’s about to be demolished. These unlicensed taxis are known as jitneys, and we meet their drivers, including the gossipy Turnbo (a scenestealing Victor Mack) and the agitated Youngblood (Rodney Hicks), a 24-yearold who approaches life pelvis-first but is still pawing at what it means to be a man. Presiding over them, alternately a schoolmarm and a father figure, is Becker. Played with quiet authority and a heavy-shouldered gait by Oregon Shakespeare Festival veteran Kevin Kenerly, his rich bass voice only pitches up when he answers the phone with a lilting “Car service!” But he’s haunted by the sins of his son, who’s just been released after 20 years in prison. That’s not the only issue at play: Jitney also scratches at gentrification, the dangers of defeatism and the twinned complications of money and women. This production is working out its kinks—the tension can feel stagey, and the cast could give some exchanges more room to breathe—but it still hears Wilson’s harmonies. REBECCA JACOBSON. Winningstad Theatre, 1111 SW Broadway, 488-5822. 7:30 pm WednesdaysSaturdays and 2 pm Sundays through Feb. 16. $32-$63.

Lust & Marriage

Eleanor O’Brien, known for her thought-provoking and entertaining examinations of love and sex, presents a solo show about modern marriage, monogamy and polyamory. Catalyst Art & Culture Space, 4810 NE Garfield Ave., 888-367-1117. 8 pm ThursdaySaturday, Feb. 6-8. $10.

Monkey King

Tears of Joy presents a family-friendly show about a monkey and pig, featuring 30 puppets made in China. Imago Theatre, 17 SE 8th Ave., 248-0557. 11 am and 1 pm Saturdays and 1 and 3 pm Sundays through Feb. 9. $13-$18.

The Mousetrap

Thrust eight strangers into an old mansion during a snowstorm and at least one is sure to wind up dead. We all know the setup and the question that inevitably follows: whodunit? But the predictability of the classic formula doesn’t make the tale any less enjoyable. Perhaps that’s why Agatha Christie’s

The Mousetrap has become the longestrunning show in the world, playing continuously in London’s West End since 1952 and tallying more than 25,000 performances. This Lakewood Theatre Company production passes muster with a well-cast ensemble that plays up the eccentricities and dark secrets of each character, from the squirrely Chris Wren (Samuel Summer) to the curmudgeonly Mrs. Boyle (Maxemillian Corkum). Leading the cast as the exasperated guesthouse owner, Lucy Paschall brings the most believable drama to the show’s campy vibe. Of course, some camp is to be expected—along with some heavyhanded obfuscation—when unraveling the motives of the portly foreigner who arrives unexpectedly or the mannish spinster who reveals little. But the action moves at a swift clip as characters dash through doors and up the stairs of the impressive set while Sergeant Trotter (Caleb Adderley) pieces together the events of the evening. PENELOPE BASS. Lakewood Center for the Arts, 368 S State St., Lake Oswego, 635-3901. 7:30 pm Thursdays-Saturdays and 2 pm Sundays through Feb. 16. $32.

Pep Talk

We sit on hard benches under the fluorescent lighting of a gym in North Portland’s Peninsula Park Community Center, clad in violet jerseys bearing a mascot that seems to be half-unicorn, half-mermaid—a mermicorn, if you will. I clutch a purple-and-silver pompom. A giant label emblazoned “JACOBSON” is affixed to my chest. Earlier, I’d been summoned to play a round of foosball before the audience. At this moment, the fourmember ensemble pontificates about Wayne Gretzky. “Are they fucking with us?” my friend whispers. I’m unsure how to answer. Pep Talk is the latest original work from Hand2Mouth, a plucky and innovative troupe that consistently challenges audience expectations and theater conventions. Here, it digs into the motivational culture of sports, and to the extent that the show takes place in a wood-paneled gymnasium and the performers wear candy-colored athletic garb, it’s transportive. But Pep Talk walks a fine and wobbly line: At times, the likable ensemble succeeds in genuinely hyping up the audience or winning our sympathies with stories of fears overcome. And then there are occasions when, as my friend said, they just seem to be fucking with us (if you don’t like shouting in unison, this isn’t the show for you). At its best, Pep Talk harnesses its performers’ gifts for humor. But instances of audience participation can spur more discomfort than amusement, and most crucially, the tension between the performers’ natural sincerity and the assaultive, blowhard nature of inspirational speeches is never reconciled. REBECCA JACOBSON. Peninsula Park Community Center, 700 N Rosa Parks Way, 235-5284. 8 pm Fridays-Sundays and 3 pm Sundays through Feb. 16 (no show Feb. 7). $15-$20.

COMEDY & VARIETY Entertainment for People

The freewheeling monthly variety show returns with a plethora of performers, including comedian Amy Miller (winner of WW’s Funniest 5 poll), writer-filmmaker Arthur Bradford, poet Mindy Nettifee and actor Vin Shambry. Disjecta, 8371 N Interstate Ave., 2869449. 8 pm Monday, Feb. 10. $8. 21+.

Fly-Ass Jokes

This twice-monthly showcase, produced by Jen Allen and Anatoli Brant, is one of the more consistent standup nights in town. Brody Theater, 16 NW Broadway, 224-2227. 9:30 pm Friday, Feb. 7. $8.

Funnier Than You

Richie Stratton hosts a monthly standup showcase featuring a slate of local comics. Sky Club, 50 SW 3rd Ave., 223-1375. 9:30 pm every first Friday. Free. 21+.

Laugh Yer Ass Off

Free standup from Shawn Fleek, Sean Connery, Jacob Christopher, Paul Barach and Ray McMillin. Starday Tavern, 6517 SE Foster Road, 971-8884001. 8 pm Monday, Feb. 10. Free. 21+.

The Living Newspaper

The Brody crew riffs on actual newspaper headlines to transform current events into improv comedy. Brody Theater, 16 NW Broadway, 224-2227. 7:30 pm Saturdays through Feb. 8. $9-$12.

Suzanne Westenhoefer

Though her gay-themed standup might prompt little more than a shrug these days, Westenhoefer made a name for herself back in the early ‘90s as one of the earliest openly lesbian comedians. She’s still on the comedy circuit today and now she brings her brassy, no-holds-barred standup to Mississippi Studios. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 8 pm Sunday, Feb. 9. $35. 21+.

Tom Segura

The host of the Your Mom’s House podcast and regular guest on The Tom and Bob Show—where he might be found riffing cynically on men who wear cowboy hats or white girls who sport cornrows—hits Helium for a three-night run. Helium Comedy Club, 1510 SE 9th Ave., 888-643-8669. 8 pm Thursday and 7:30 and 10 pm FridaySaturday, Feb. 6-8.

DANCE A-WOL

A new show, Love Birds, by the aerialist group is a story about a shy girl looking for love. It’s a linear tale—no abstract acrobatics here—in which woodland creatures and contorting store mannequins tell a story meant to feel uniquely Portland. It’s set to a live score by Jeremy Davidson. Alberta Rose Theatre, 3000 NE Alberta St., 719-6055. 8 pm Friday-Saturday, Feb. 7-8. $25-$35.

BodyVox-2

Six dancers of BodyVox-2, a grooming company for BodyVox, each perform a solo created by a different choreographer. One combination should be interesting: Anne Mueller, formerly of Oregon Ballet Theatre, may impart some classicism to the often modern Sam Hobbs, but even in that pairing, styles are relatively matched. BodyVox mainstay Eric Skinner worked with Josh Murry to create an athletic, lyrical piece to music by Trent Reznor, in which Murry frantically rolls across the floor. Other pairings include co-artistic directors Jamey Hampton and Ashley Roland with dancers Jeff George and Holly Shaw, respectively. To hedge the risk of creative disaster, the company will revive Wild Man, a piece Hampton created for OBT in 1991. The dancers will use the original costumes, striped leggings and bikinilike tops by the late Portland artist Michele Russo, which Roland found at OBT’s costume sale last year. BodyVox, 1201 NW 17th Ave., 229-0627. 7:30 pm Thursday-Saturday, Feb. 6-15; 2 pm Saturday, Feb. 15. $18-$36.

Boyeurism

An all-male revue expands beyond its boylesque boundaries. In addition to the glam adonis Isaiah Esquire is Magic Mouth’s Chanticleer Tru and juggler Curtis Carlyle. Blake Hicks does acrobatics on his bike, and MoNika Ell will wrap his thighs around a pole. Minyonce, a hip-hop-dancing drag Beyoncé, is a special guest. Star Theater, 13 NW 6th Ave., 248-4700. 10 pm Thursday, Feb. 6. $10-$15. 21+.

Burlesque S’il Vous Plait

The raunchy Baby LeStrange joins the barely more demure Fannie Fuller and Dee Dee Pepper, as well as a performer who’s fully embraced the word, the ironically named Mamie Demure. Crush Bar, 1400 SE Morrison St., 2358150. 9 pm Friday, Feb. 7. $10.

Burlynomicon

The burlesque show with a dark twist features the ghoulish Layne Fawkes, Dee Dee Pepper, Jon Dutch and Baby LeStrange. The Lovecraft Bar, 421 SE Grand Ave., 971-270-7760. 9:30 pm Tuesday, Feb. 11. $8. 21+.

Disney at Darcelle’s

Fortunately, Disney has a new movie, Frozen, that’s ripe for drag parody. Drag queens including Topaz Crawford,

Roxie Hart and Ambrosia Schock perform for the first time in forever (the night before), and two audience members get a princess makeover. The event is a fundraiser for AIDS Walk Portland. Darcelle XV Showplace, 208 NW 3rd Ave., 222-5338. 5 pm Sunday, Feb. 9. $10. 21+.

Distilled

Studio space is at a premium in this town, and the goal of this fundraiser is to pay for two performers’ use of Performance Works Northwest for 2014. The show includes 12 pieces by Portland’s artsy crowd, among them Linda Austin, Subashini Ganesan, Linda K. Johnson and Lucy Lee Yim. Each piece is movement-, video- or textbased and is two- to six-minutes long. They’re based on the diaries of the performers who got the studio time last year, Yim and Emily Stone. Entries include notes like, “March 29: Reverted Lara Croft (sic)” and “April 4: feeling stuck on the design of a FERAL SUIT.” Performance Works Northwest, 4625 SE 67th Ave., 777-1907. 8 pm Saturday, Feb. 8. $15-$50.

First Friday Céilí Mór

Irish dance master Sam Keator hosts the monthly community dance event. This month’s musicians are Seamus Egan on tenor banjo, Django Amerson on fiddle and Cary Novotny on guitar. Winona Grange No. 271, 8340 SW Seneca St., Tualatin, 819-2689. 7:30 pm Friday, Feb. 7. $8-$10.

Phoenix Variety Revue

Drag madame Zora Phoenix hosts a burlesque lineup including Lolita Von Honeydew and Kai Mera, as well as boylesque performer Esequiel. Kelly’s Olympian, 426 SW Washington St., 2283669. 7:30 pm Sunday, Feb. 9. $10. 21+.

RuPaul’s Drag Race: Battle of the Seasons

TV’s most famous drag queens stop by Portland on tour before the next season of RuPaul’s Drag Race starts Feb. 24. Portland’s Jinkx Monsoon isn’t among the lineup, but eight other queens make up for her absence: Sharon Needles, Alaska Thunderfuck, Pandora Boxx, Ivy Winters, Manila Luzon, Carmen Carrera, Willam and Detox. A handful of local guys will also get onstage in their underwear and twerk. Michelle Visage hosts. Crystal Ballroom, 1332 W Burnside St., 2250047. 10 pm Wednesday, Feb. 5. $30$35, $50-$60 VIP. 21+.

TriptheDark

TriptheDark, a company you might have last seen protesting human trafficking in the windows of the West Burnside Street Fantasy for Adults Only, performs its piece Picture Sentence Picture, inspired by a convoluted short story and a game the dancers played while drinking Jameson at the Coast. They tell and retell the story, by Portland’s Andrew Dickson, through the lens of the game, combining the narrative of hedge-fund managers and doppelgangers with drunken conjurings of things like the Kool-Aid Man. It probably won’t make much sense but should be entertaining. Since the show’s at the Analog, you’re free to come and go and drink as you please. The Analog Cafe, 720 SE Hawthorne Blvd., 206-7439. 7 pm Saturdays and Sundays through Feb. 15. $15.

For more Performance listings, visit

REVIEW © M I N N E S OTA O P E R A / M I C H A L DA N I E L

and 30s who work part-time minimumwage jobs in order to maximize free time. As they navigate hookups, breakups, homeless customers and a former friend-turned-businessman, they speak in a way that’s half-slangy, half-intellectual. Though this disjointed style of diaDates here logue is at times illogical and unclear, it becomes easier to understand the characters’ roundabout way of speaking as the play progresses. Led by an eager cast with ace timing—Anne Sorce steals scenes with gangly awkwardness and offhand background reactions—Enjoy cleverly examines the uncertainties of young adulthood and the power dynamics of everyday relationships. KAITIE TODD. CoHo Theater, 2257 NW Raleigh St., 220-2646. 7:30 pm ThursdaysSaturdays and 2 pm Sundays through Feb. 8. $15-$25.

PERFORMANCE

OUT FOR BLOOD: Not many 19th-century Italian operas feature a chorus of men pointing rifles at the audience in the first five minutes. But Donizetti’s enduring masterpiece Lucia di Lammermoor pulls few punches, and it delivers plenty of melodrama, blood and betrayal in its tragic tale of a Scottish woman in love with her brother’s enemy. Coloratura soprano Elizabeth Futral, who previously performed the role at the Metropolitan Opera, is Lucia, and she sings circles round the rest of the cast. That’s not to say the others fail to deliver on the rousing libretto, but the power of Futral’s voice makes your eardrums buzz. Peter Volpe has a nice turn as the chaplain Raimondo, a role that showcases his rich bass voice, and conductor George Manahan makes great use of Will Reno’s timpani. The other bright spot in this Portland Opera production is lighting designer Scott Zielinski’s commanding use of light and shadow, which helps salvage the otherwise puzzling production design: The backdrops resemble two gigantic Ruffles potato chips, rotated in each scene and eventually accompanied by a moon, portrayed by an anemic neon doughnut. But any criticism is forgotten by the third and final act, when Futral smears blood on a window with a zeal that would impress Dario Argento and then delivers the famous “Mad Scene,” her voice soaring and her expressive face recalling Sissy Spacek in Carrie. As Lucia loses all reason, we likewise surrender ourselves to her blood-soaked lunacy. NATHAN CARSON. SEE IT: Lucia di Lammermoor is at the Keller Auditorium, 222 SW Clay St., 241-1802. 7:30 pm Thursday, Feb. 6, and Saturday, Feb. 8. $20-$160. Willamette Week FEBRUARY 5, 2014 wweek.com

VISUAL ARTS

FEB. 5–11

= 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.

Through March 2. Nisus Gallery, 8371 N Interstate Ave., Suite 1, 806-1427.

Francis Bacon: Three Studies of Lucian Freud

It’s a spectacle that brings old-timey nouns to mind: brouhaha, hubbub, hullabaloo. The rather sudden and mysterious appearance of Francis Bacon’s Three Studies of Lucien Freud at the Portland Art Museum has created a stir about the astronomically priced triptych. But purely as an art object, does the piece live up to all the Sturm und Drang? In a word, no. Despite its art-historical and economic signifi cance, it’s a pretty drab, fl at exercise in basic psychological portraiture. Bacon sits his friend Freud down in a simple stool in a loose, crass pose. Bacon renders his subject’s body with illustrator-like simplicity and depicts his face in the grotesque contours that were Bacon’s stock and store. He places the stool within a receded cube, a bed frame at its endpoint, before a mustard yellow background. Bacon and Freud fans will no doubt relish the chance to see this relic of the infl uential painters’ complex dynamic, but viewers with tastes running toward more purely optical pleasures will likely leave underwhelmed. The work’s visual symbolism is simplistic, and Bacon’s fl ashy technique, which once held genuine shock value, now comes across as sophomoric and tame. Through March 30. Portland Art Museum, 1219 SW Park Ave., 226-2811.

Heidi Schwegler: Hat on a Hook

PAINTING 3 BY EMILY COUNTS AT NISUS GALLERY

Alex Lilly: A Dark Fire

Alex Lilly’s astonishing show, A Dark Fire, is morbid, shocking and sexy. In luscious oil paints, he depicts people in the act of self-immolation, which is to say, setting themselves on fi re. It’s an extreme but time-honored form of sociopolitical protest, especially among Buddhist monks, and the imagery plays well into Lilly’s passionate anti-capitalist sympathies. Formally, the work is gorgeous: dramatically composed, with the licks of multicolored fi re rendered in sensual impasto. It’s a gifted artist indeed who can depict such a horrifi c act in a way that’s simultaneously sensational and respectful. Through Feb. 15. Cock Gallery, 625 NW Everett St., 552-8686.

Bean Gilsdorf: An Exhibition That Might Exist

Bean Gilsdorf is an exceedingly talented artist who mounted instal-

lations and conceptual shows in Portland for years before moving to San Francisco. She returns to Stumptown with an exhibition based on that most dubious of pseudointellectual enterprises, art criticism. Each day during the show’s run, Gilsdorf will review an imaginary art exhibition. At the end of the show, the collected reviews will make up Gilsdorf’s own show. If that sounds a little abstruse and in-jokey to you, consider that the show’s press release touts it as an examination of “the potency and vulnerability of assessing objects that exist in the ideational stage, as well as the role of the viewer as a co-author of the work.” Reviewing imaginary shows will also reveal “criticism as historiography and the threshold at which text becomes object.” It will be hard to live up or down to a statement that pretentious, but if anyone can surmount such an impressive caliber of bullshit, it’s an artist with Gilsdorf’s chops. We look forward to

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Willamette Week FEBRUARY 5, 2014 wweek.com

the proof in the pudding. Through Feb. 28. Philip Feldman Gallery, 1241 NW Johnson St., 226-4391.

Flatlands

It has been 175 years since French painter Paul Delaroche declared, “From today, painting is dead.” Delaroche himself is long dead, but painting lives on, and in Nisus’ nineartist show, Flatlands, it proves itself enduringly inventive. Emily Counts’ watercolor Painting 3 is a standout: two menacing fi gures hunched on either side of the composition, rendered in a delicate medley of mauve, gray, bright purple and blanchedout orange. Calvin Ross Carl’s slyly lowbrow Fleet Week Boys, with its color-blocked rhombuses, is like Ellsworth Kelly as a kindergartener. Daniela Molnar’s fl oral studies juxtapose fi nely detailed realistic passages with fl at tatters of color, while Roy Tomlinson’s jaunty lines recall the jerky rhythms of modern dance.

Curator-in-residence Summer Guthery’s Hat on a Hook series turns a 6-by-8-foot box into a miniature gallery. For the space’s February iteration, artist Heidi Schwegler has installed a crumpled circle of gray material imprinted with ﬁ sh and seahorses. It looks like a miniature kiddie pool and is an extension of the artist’s ongoing fascination with repurposed detritus and objects that have been crushed. In this sense, it’s on the same page conceptually as her piece now up at the Jordan Schnitzer Museum in Eugene: a metal shed that appears to be imploding. Like that work, the Disjecta piece induces senses of dread, constriction and suﬀ ocation in the viewer—an apt metaphor for the claustrophobic, media-saturated world in which we live. Through Feb. 14. Disjecta, 8371 N Interstate Ave., 286-9449.

Mel Katz: Wall Works

One of the Northwest’s reigning object-makers, Mel Katz has a gift for combining sexy, biomorphic forms with luxuriant materials. He’s primarily known for his large-scale sculptures, but in Wall Works he continues a recent exploration of pieces that hang on the wall like paintings, even though they remain essentially sculptural. Katz’s forms hark back to Henri Matisse’s late-career gouache cutouts, their playful, childlike shapes seemingly ﬂ oating in zero gravity.

In works such as Two of a Kind, Katz keeps his color scheme simple yellow on blue superimposing the forms atop a background of anodized aluminum. Feb. 6-March 1. Laura Russo Gallery, 805 NW 21st Ave., 226-2754.

Portraits 2

As a follow-up to Portraits, his group photography show four years ago at the now-defunct Worksound Gallery, gallerist Mark Woolley mounts Portraits 2 at his sprawling gallery inside Pioneer Place Mall. The show includes not only photography, but painting and other media. Globetrotting photographer Larry Cwik joins dozens of other artists, among them poet and painter Walt Curtis, painter (and mayor of Newport) Sandy Roumagoux, portraitist Gwenn Seemel, and painterdrawer Blake Stellyes. Opening reception is 5-9 pm Wednesday, Feb. 5. Through March 1. Mark Woolley Gallery, 700 SW 5th Ave., Suite 4110, 998-4152. 5 pm. Free.

Shine: Winter Group Exhibition

There are plenty of fl ashy pieces in Charles Hartman’s winter group show, but a commitedly unfl ashy photograph outshines everything else. Jeff rey Conley’s silver gelatin print Granary Beam shows that a well-composed image of a tree trunk’s rings can be nothing short of sublime visual poetry. This exhibition also marks the fi rst appearance of Blakely Dadson’s work at Hartman. Dadson was a staple at the nowclosed Chambers Gallery. His solo show this summer should be a treat. Through Feb. 28. Charles A. Hartman Fine Art, 134 NW 8th Ave., 287-3886.

Unveiled: Nudes

In a city with scads of strip clubs and an annual nude bike ride, you’d think a gallery show of nude drawings, paintings and photographs would simply gild the lily (or the fi g leaf). But Unveiled: Nudes manages to extract some new insights out of the age-old trope of the nude female. Chronologically organized, the show begins with a 1920 painting by John Sloan, continues through Matisse and Gaston Lachaise, and fi nally winds up in the present day, with contemporary artists such as Malia Jensen and Joseph Park. Jensen’s most challenging works are photographs of a nude woman draped over tree branches, limp as a corpse, while Park’s Hallucination C looks like the fi gure in Piet Mondrian’s classic painting Evolution has been time-warped into the psychedelic ’60s. Through March 8. Elizabeth Leach Gallery, 417 NW 9th Ave., 224-0521.

For more Visual Arts listings, visit

BOOKS

Feb. 5–11

= 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, FEB. 5 Monica Drake and Friends

In a multimedia literary collaboration, several local authors will share excerpts from their work in unique formats. Portland author Monica Drake will show a short film, Georgie’s Big Break, based on a chapter from her recent novel, The Stud Book. Mark Russell will condense the gist of the bible into a 10-minute PowerPoint for his book God Is Disappointed in You. Art Edwards, former bass player for the Refreshments, will read from his new novel, Badge, and play songs from the book. Meanwhile, New Yorker cartoonist Shannon Wheeler will depict members of the audience. Broadway Books, 1714 NE Broadway St., 284-1726. 7 pm. Free.

Think and Drink

THURSDAY, FEB. 6 Late-Night Library

Bringing together visiting authors with local writers and performers, the Late Night Library’s 2 From Out of Town event will feature readings by Gregory Martin (Stories for Boys), Valerie Fioravanti (Garbage Night at the Opera) and Mark Russell (God Is Disappointed in You) with a theatrical monologue by Annabel Cantor. Literary Arts Portland, 925 SW Washington St., 227-2583. 7 pm. Free.

FRIDAY, FEB. 7 William Stafford Centennial Celebration

One of the most celebrated poets to come out of Oregon, William Stafford published more than 70 volumes of poetry, including Traveling Through the Dark, for which he won the National Book Award and served as Oregon’s poet laureate for 15 years. Celebrating the centennial of Stafford’s birth, the event will include readings by renowned poets Li-Young Lee and Ted Kooser, along with Stafford’s son (and accomplished poet) Kim Stafford and the current poet laureate, Paulann Petersen. Matthew Dickman will host the event, which will also present Stafford in his own words through archival footage. Newmark Theatre, 1111 SW Broadway, 248-4335. 7:30 pm. $19-$57.

SATURDAY, FEB. 8 AmaZine Night: Zines After Dark

Anyone can have a blog, but a zine takes the dedication to go old-school (i.e., real paper) with your own personal musings. The Portland Zine Symposium will present an intimate evening of sexy zine readings with locals Alex Wrekk, Joshua James Amberson, Kaitlin Young, David Woods-Morse, Marla Singer and Kenia Perez-Correa. Attendees can also craft their own “valenzine” and check out an array of sex-positive

2014 PORTLAND BEER GUIDE ’s

WILLAMETTE WEEK’S

Portland (INCLUDING LOCAL CIDERS) Guides

Portland Guides

WILLAMETTE WEEK

SUNDAY, FEB. 9 Tanya Selvaratnam

Although it seems celebrities are nearly ageless when it comes to conceiving children, the rest of us might not be so lucky. After experiencing several miscarriages in her late 30s, Tanya Selvaratnam went looking for information about women’s biological abilities as they age. Her new book, The Big Lie: Motherhood, Feminism and the Reality of the Biological Clock, is an account of her own experiences with delayed motherhood. Powell’s City of Books, 1005 W Burnside St., 800-878-7323. 7:30 pm. Free.

TUESDAY, FEB. 11

PORTLAND GUIDES

WILLAMETTE WEEK

Everybody Reads panel discussion

MONDAY, FEB. 10

As the most rapidly growing minority group in the country, the Hispanic experience is a continually changing one. Leading up to the visit of Supreme Court Justice Sonia Sotomayor as part of the annual community reading project, the library will host the discussion panel “Growing Up Latina: Community Health and Social Vulnerability in My Beloved World.” Sharing their insights will be PSU professors Eleanor GilKashiwabara, Carlos Crespo and Angie Mejia. Central Library, 801 SW 10th Ave., 988-5123. 6-8 pm. Free.

Entertainment for People: New Shit Show

For more Books listings, visit

We all love new shit. So the bril-

REVIEW

MCKENZIE FUNK, WINDFALL Follow the money, Deep Throat said. McKenzie Funk has done just that in Windfall (Penguin Press, 310 pages, $27.95), which takes the author to two dozen countries to examine the economics of global warming. Not surprisingly, Funk finds that oil companies like Shell do whatever they can to maximize Dead polar bears, rich old white dudes. profits, devastating the arctic and ignoring the objections of local Inuits. But he also finds surprising responses to climate change, such as a newly nationalist Canada sending soldiers to guard freshly exposed land in the Northwest Passage, and Greenlanders trading natural resources once buried by ice for an influx of cash to financially free themselves from Denmark. One revolutionary leader in Greenland boils it down to game theory: “We’re very aware that we’ll cause more climate change by drilling for oil. But should we not when it can buy us our independence?” And, as Funk discovers, melting ice uncovers all sorts of new markets. Like in the Alps, where a new Israeli desalination machine is combating a melting glacier and a dearth of new snow. Funk’s case studies paint a broad picture of how the world reacts to climate change, each study presenting a new problem and expanding the reader’s point of view beyond the simplicity of fear. Funk urges us to think about whether our responses to the environment serve the interests of social justice. He offers no solution beyond a reality check. He also sympathizes with the underdogs, noting that the people who cause the problems in the wealthy Northern hemisphere won’t have to face the most dire consequences. “I believe it is naive to hope that we in the north will significantly cut emissions or consumption...because we personally feel threatened,” he says, revealing the absurdity of our desire to chase a target that is moving faster than we can hit it. Either way, though, don’t doubt someone’s getting rich. LYLA ROWEN. GO: McKenzie Funk reads at Powell’s on Hawthorne, 3723 SE Hawthorne Blvd., 228-4651, on Monday, Feb. 10. 7:30 pm. Free.

WILLAMETTE WEEK’S 2014 PORTLAND BEER GUIDE

Shifting from last season’s topic of how we love America to the idea of our country spying on our every action, the Oregon Humanties’ new Think and Drink lecture series will focus on the theme “Private.” First up is author William T. Vollmann (Europe Central), who has also been under surveillance by the FBI for decades. Vollmann even discovered that he had been considered a suspect in the Unabomber and 2001 anthrax letter investigations. Drink and discuss the implications of domestic spying; just remember to use the code word “waffles.” Mission Theater, 1624 NW Glisan St., 223-4527. 6:30-8 pm. $10 donation. Minors admitted with adult.

and adult-themed zines. Overcome your zineophobia and get zine-y at this zinetastic zinevent. Independent Publishing Resource Center, 1001 SE Division St., 827-0249. 6-10 pm. Free; donations accepted. 18+.

liant minds behind the variety show Entertainment for People are giving us exactly what we want with the new “laboratory version” of the performance event with the New Shit Show. It’ll be a regular lineup of performers, all displaying brand-new, never-before-seen acts of creativity. Sharing their shit this month will be McSweeney’s author Arthur Bradford, Moth Storyslam host Andrew Dickson, standup comic PORTLAND Amy Miller, poet Mindy PORTLAND Nettifee, GUIDES GUIDES writer and actor Vin Shambry and the creator of it all, B. Frayn Masters. Shit. Disjecta, 8371 N Interstate Ave., 286-9449. 8 pm. $8. 21+.

PORTLAND BEER GUIDE WILLAMETTE WEEK’S 2014 GUIDE TO EVERY BREWERY AND CIDERY WITHIN A ONE-HOUR DRIVE.

Available now at BREWERIES Alameda Amnesia Ambacht Basecamp Beaumont Market Bottles Breakside BridgePort Buckman Botanical Brewing Burnside Cascade Barrel House/Racoon Lodge Coalition Columbia River Commons Deschutes Ecliptic Edgeﬁeld McMenamins Fire on the Mountain Gigantic Hair of the Dog Harvester Hillsdale McMenamins Hopworks Urban Brewing Kells Kennedy School McMenamins Laurelwood Lompoc Lucky Labrador Mash Tun McMenamins Bagdad McMenamins on Broadway Natian Pints Portland U-Brew Portland Brewing Pyramid McTarnahan Ringler’s Pub Stormbreaker Upright West Linn McMenamins Widmer

BARS, SHOPS & RESTAURANTS Above the Rest Bailey’s The Upper Lip Bazi Bierbrasserie Beer Beer Bunker Beermongers Belmont Station Bridgeport beerhosue F.H. Steinbart Full Sail Pub Fulton Pub McMenamins Green Dragon Hawthorne Hophouse Higgins Homebrew Exchange Horse Brass Imperial Bottle Shop John’s Market Max’s Fanno Creek Migration N.W.I.P.A Occidental Old Town Pizza Oregon Public House Pearl Speciality Market Philadelphia Bottle Shop Portland Bottle Shop Portland U-Brew Roscoe’s Saraveza Sasquatch Tin Bucket Two Kills Uptown Market Veritgo CIDER Bushwacker Cheese Bar Fifteenth Avenue Hophouse Reverend Nat’s

Willamette Week FEBRUARY 5, 2014 wweek.com

MOVIES

piff 2014 PHOTOS COURTESY OF PIFF

PIFF INTO DARKNESS THE PORTLAND FILM FESTIVAL EMBRACES ITS SINISTER SIDE. by ww sta f f

243-2122

It’s a dismal time of year. February is a dark, soggy slog—especially at the multiplex. It’s a perfect time, though, for snuggling into a seat in a cozy arthouse theater to watch something dark and alien. Which seems to be the approach of this year’s Portland International Film Festival. Even the opening-night films on Thursday, Feb. 6, have overtones of melancholy and gloom: The Wind Rises (showing at both Cinema 21 and OMSI) is likely to be Hayao Miyazaki’s final film, and the British period drama Belle (screening at the Whitsell), for all its 18th-century luxury, takes slavery as its subject. Beyond that, this year marks the return of PIFF After Dark, midnight-movie programming that tends toward the sinister and savage. And it doesn’t stop there: The rest of the schedule crawls with creepy Italian assassins, bodies going up in flames, mutilated corpses dangling from bridges, leering Nazi doctors, decapitated Scottish queens, bad teeth, murder in the Galapagos, escaped convicts, tombstone collectors and hellish traffic jams. Oh, and a mummified Marshal Tito. Know what, though? Things might have gone dark, but they also look pretty good. Here’s what we found for Week One.

Aftermath

B [POLAND] Wladyslaw Pasikowski’s

Aftermath tracks the tension between two brothers in rural Poland. After their father dies, elder brother Franek returns from America to reunite with the younger, Jozef, whom the villagers have deemed insane thanks to his collection of tombstones. Specifically, the tombstones of Jews murdered during the war, whose grave markers were repurposed as roadways. Jozef takes it upon himself to create a proper cemetery, but with each stone he uncovers more secrets about his town’s history—secrets that put him into violent conflict with his neighbors. Aftermath is a horror story at heart (and a fact-inspired one), but the monsters here are the legacies of evil embedded in the very fabric of a community. AP KRYZA. C21, 8 pm Sunday, Feb. 9. FT, 8:30 pm Tuesday, Feb. 11.

The Age of Uprising: The Legend of Michael Kohlhaas

D [FRANCE] A young baron has stolen two steeds from horse dealer Michael Kohlhaas, and it’s up to Kohlhaas to get his fillies back and restore justice for the little people. On its face, The Age of Uprising has the potential to be an action-packed 16th-century revenge romp through the French countryside. After all, star Mads Mikkelsen (of NBC’s Hannibal) starts a peasant uprising with a broadsword across his back and his well-scruffed face radiating vengeance. Instead, the clouds above the beautifully shot green landscapes move faster than the plot. Arnaud des Pallières’ adaptation of this 1811 German novella is so plodding that by the end you don’t care who lives or dies, just that it be over. Except for the horses. You always have to root for the horses. ANDREA DAMEWOOD. C21, 3:30 pm Saturday, Feb. 8. CM, 8:30 pm Monday, Feb. 10.

The Apostle

B+ [SPAIN] The Apostle is a wonderfully macabre blend of religious horror and biting satire, brought to life through glorious stop-motion animation. The very adult tale follows escaped thief Ramon, who disguises himself as a pilgrim on the road to Santiago to track down jewels his former cellmate claims he stashed in an elderly woman’s house. The instant Ramon rolls into town, though, it’s apparent from the grotesque locals, who seethe evil underneath their facade of hospitality, that something more sinister is in store. Based on artistic merit alone, The

Apostle is a triumph, mixing eerie gothic artwork and creepy religious iconography with old-school stopmotion punctuated by an atypically chaotic Philip Glass score. While the story occasionally slows, this remains a decidedly dark and wholly original fairy tale. AP KRYZA. FT, 1 pm Saturday, Feb. 8. C21, 8:30 pm Wednesday, Feb. 19.

Borgman

B [THE NETHERLANDS] Chaos reigns in this unsettling, spellbinding story of warped class warfare. Infiltrating an affluent family’s home by posing as a servant, a vagabond bogeyman named Borgman (Jan Bijvoet) soon proves the household’s undoing. Impish and malevolent, he corrupts their dreams while transforming their waking world into the stuff of nightmares, with the body count rising and the property increasingly infested with malicious rogues. The pitch-black moments of comedy perfectly complement the film’s dark impulses, and director Alex van Warmerdam gleans much perverse pleasure from the surreal mayhem. You’ll feel an overwhelming compulsion to laugh at the villains’ ingenious, artful and extremely cinematic disposal of their victims— at one point, they dip their heads in cement and leave them swaying underwater like macabre aquarium ornaments. CURTIS WOLOSCHUK. C21, midnight Friday, Feb. 7.

The Butterfly’s Dream

B- [TURKEY] A friend who lived in Turkey once described the country’s films as either “extremely maudlin or incredibly depressing.” The Butterfly’s Dream manages both. It’s based on a true story of two poor, aspiring poets with tuberculosis who fall for the same wealthy girl in the early years of World War II. The pair scheme to win her heart, compete to see their lines published and cough up blood. Despite the bleak outlook, there are moments of levity that keep the film from being a mopefest, and the costumes and cinematography truly transport. Just don’t hope for a happy ending. ANDREA DAMEWOOD. OMSI, 8:30 pm Saturday, Feb. 8. C21, 5:45 pm Monday, Feb. 10.

Cairo Drive

B [EGYPT] Sherief Elkatsha’s film offers a unique perspective on the Egyptian revolution: from the front seat of a car. The documentary starts out in 2009 as a lighthearted look at the hot mess that is Cairo’s roads—20 million people operating 14

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salvo million cars, buses, tuk-tuks, scooters and donkey carts in hair-raising organized chaos. The audience goes for a ride-along as drivers endure absurd commutes, attempt to navigate the country’s openly corrupt licensing system and endlessly honk their horns—oh, so much honking of horns. But the film takes a more serious detour when the uprising begins in 2011, police disappear from the roads and the nature of driving in the city is fundamentally changed. Not recommended for those who find traffic jams insufferable, but if you can endure the inertia, there’s a very entertaining and insightful documentary in here. RUTH BROWN. WTC, 1 pm Sunday, Feb. 9, and 9 pm Saturday, Feb. 15.

Child’s Pose

B [ROMANIA] Romania is currently in the midst of a decadelong cinematic hot streak, and Child’s Pose won the prestigious Golden Bear at last year’s Berlin Film Festival. In the film, a 30-something layabout faces serious time after killing a child in a car accident, and his domineering mother can’t help but try to get him off the hook. It’s an unhealthy mother-son relationship, to say the least, and Călin Peter Netzer deftly examines loss, dependency and the delicate bonds that hold families together. As the mother, Luminiţa Gheorghiu gives what may be the best performance of PIFF—she’s restrained but powerful, breathing life and credibility into what could have been an overwrought role. MICHAEL NORDINE. WH, 6 pm Saturday, Feb. 8. FT, 6 pm Saturday, Feb. 15.

Closed Curtain

B+ [IRAN] For the first hour or so,

Closed Curtain, by embattled Iranian filmmaker Jafar Panahi, is a movie about a man and his dog. Granted, even then it’s not that simple. An unnamed screenwriter (co-director Kambuzia Partovi) arrives home. He carries a duffel bag that turns out to contain a dog, referred to only as Boy. He draws every curtain in the house and shaves his head. Twenty minutes later, a young couple, on the run from unseen authorities, shows up at his door. It’s never clear why they’re there, or what the hell is going on. A little while after that, Panahi appears onscreen, as himself, and suddenly the film twists into a knotted, Charlie Kaufmanesque meditation on creative captivity. If the film is surreal in tone, the subject is painfully real to Panahi, who’s been banned by the Iranian

government from making films. In that context, Closed Curtain—like This Is Not a Film, the 2011 chronicle of Panahi’s time under house arrest, smuggled out of Iran on a flash drive inside a birthday cake—becomes, for all its surface mundanity, an act of defiance, and a poignant rumination on artistic purgatory. If it’s a bit ponderous, that’s sort of the point. Also: best performance by a dog in the history of cinema. MATTHEW SINGER. WH, 8:30 pm Saturday, Feb. 8. CM, 6 pm Wednesday, Feb. 12.

Cycling With Moliere

B- [FRANCE] Nous parlons de pratique. That’s French for “We’re talking about practice,” a phrase coined by noted American philosopher Allen Iverson. There’s a lot of chatting about rehearsal in Cycling With Moliere—more than there is cycling, in fact. A popular soap opera actor (Lambert Wilson) travels to the Ile de Re off the coast of France to coax a prematurely retired colleague (Fabrice Luchini) to appear in a production of Molière’s The Misanthrope. It’s the role he was born to play, baby! Because he is a misanthrope, see. The two commence endlessly reading from the play (occasionally while cycling around the island), arguing over the performances, passive-aggressively flirting with an Italian divorcee and mentoring an aspiring porn actress. Mostly, it’s two middle-aged French guys hanging out and being French, which, for the intended audience, should make up for the relative shortage of bicycles. MATTHEW SINGER. CM, 6 pm Friday, Feb. 7. FT, 8:30 pm Thursday, Feb. 13.

Ernest & Celestine

A- [FRANCE] This charming children’s film probably won’t win the Oscar for Best Animated Feature. But with its storybook illustrations and wholesome, heartwarming story line, it’s a refreshing inclusion in a category stacked with slick DreamWorks and Pixar offerings. No oh-so-clever pop-culture references, no 3-D, no Happy Meal tie-ins, just a sweet story about an orphaned little mouse who befriends a bear. Hollywood is doing its best to change that, of course— the broader U.S. release next month will be dubbed in English with the voices of Nick Offerman and Forest Whitaker, so best take the kids to see it now in its original form. RUTH BROWN. WH, 6 pm Friday, Feb. 7. FT, 6 pm Tuesday, Feb. 11.

Finding Vivian Maier

A- [UNITED STATES] In our era of unparalleled self-aggrandizement, it’s

difficult for us to comprehend why anyone, let alone a talented artist, might choose to keep her achievements to herself. But Vivian Maier, street photographer and Chicago nanny, did just that. When she died in 2009, penniless and alone, she left behind hundreds of thousands of negatives, as well as thousands of rolls of undeveloped film. The interviews with her former employers and child charges, while fascinating and at times disturbing, can’t hold a candle to her work, which is the real star of this documentary. The photos, particularly the self-portraits, appear on the screen like mini-revelations, flashes of genius from the best photographer you’ve probably never heard of. DEBORAH KENNEDY. WH, 3 pm Sunday, Feb. 9. CM, 8:30 pm Tuesday, Feb. 11.

Gabrielle

B- [CANADA] Gabrielle, with its story about a young woman with a rare neurodevelopmental disorder, could have been pure schmaltz. There’s not an ounce of misery to the narrative, which centers on Gabrielle’s first romantic relationship and an upcoming choral performance, and neither does writer-director Louise Archambault’s sympathetic depiction of her heroine feel condescending in the slightest. Rather than pasting a feel-good message onto the proceedings, the film favors an experiential approach that allows viewers to draw their own conclusions. Unfortunately, it isn’t entirely free of sugar, and by the end loses sight of the qualities that initially made it so engaging. MICHAEL NORDINE. CM, 1 pm Saturday, Feb. 8. OMSI, 6:15 pm Saturday, Feb. 15.

The Galapagos Affair

A- [UNITED STATES] It’s a story worthy of Agatha Christie: A heap of Europeans alight on a remote, rocky island in the Galapagos, all with their own harebrained notions of escaping the decadence of modern society and creating paradise in an exotic locale. Sexual intrigue, jealousy and betrayal flourish. Within a few years, several have disappeared under shady circumstances and others are dead, with at least one the victim of an apparent murder. This documentary recounts the deliciously pulpy events of 1934, drawing on homemovie footage from the time and an excellent voice-over cast that reads the letters and diaries of those involved, who include a Nietzscheobsessed egomaniac and a horsetoothed, revolver-wielding baroness with a “pair of servile gigolos.” In

piff 2014 the words of an American entomologist who often visited the island, “Go where you may, you cannot escape the problem of social adjustment.” There’s no Hercule Poirot here to piece together this still-unsolved mystery, but perhaps that’s all for the better. REBECCA JACOBSON. WTC, 3:30 pm Saturday, Feb. 8. CM, 8:30 pm Thursday, Feb. 13.

The German Doctor

A [ARGENTINA] Lucia Puenzo’s is the creepiest coming-of-age film you’ll ever watch. Based on a true story, it follows an Argentine family that unwittingly plays host to Josef Mengele—one of the Nazis’ most heinous war criminals—during his postwar exile in South America. Twelve-year-old Lilith becomes very taken with Mengele and, unfortunately, the feeling is mutual: The doctor directs his medical curiosity toward her, to devastating effect. As Mengele, Àlex Brendemühl is thoroughly icy, and the ever-present tension between him and Lilith’s father—one man who strives for uniformity and perfection, the other who accepts human flaws—brings rich symbolism to the film. GRACE STAINBACK. C21, 8:30 pm Friday, Feb. 7. OMSI, 8:30 pm Wednesday, Feb. 12.

The Good Road

B [INDIA] The Good Road is not a thoroughfare, a meeting area or an access point. It’s a cross-section of Indian society where class and culture matter less than mutual cooperation and respect. Seven-yearold Aditya is the son of middle-class parents, who accidentally leave him at a distant gas station. The hustler who owns the place sends him with Pappu, a well-intentioned trucker who’s hauling something sketchy. Simultaneously, Poonam, a young orphan trekking alone to her grandmother’s, wanders into a boarding house that’s far more insidious than it appears. The relationships are often as unclear as they are unsteady, but the scenes of cooperation—barefoot pilgrims saving a wealthy woman’s life—are touching. Along The Good Road, all are lost or sidetracked, until good human nature leads everyone home. MITCH LILLIE. OMSI, 6 pm Friday, Feb. 7. FT, 6 pm Friday, Feb. 8.

A Gun in Each Hand

B+ [SPAIN] Adultery? Check.

Divorce? Check. Psychotherapy? Yup. Erectile dysfunction? Yep, that too. No painful wound goes unsalted in Cesc Gay’s collection of vignettes charting the growing pains of men hitting middle age. They’ve all fallen victim to themselves and the wicked ways of love, and each story is more emasculating than the next. Together, the tales are funny, but in a self-deprecating sort of way. The evocative dialogue and superb acting by some of Spain’s best (Jordi Mollà, Eduardo Noriega, Javier Cámara) carry the film, offering a fresh look at shifting gender roles and trading the schmaltz of Hollywood love stories

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for soul-baring realism. GRACE STAINBACK. FT, 8 pm Sunday, Feb. 9. C21, 8:30 Tuesday, Feb. 11.

Heli

B [MEXICO] As Heli opens, a mutilated corpse is strung up from a bridge, indicating the brutality to follow in Amat Escalante’s unflinching account of the collateral damage of Mexico’s drug war. Even the tenderest scene is a show of strength: a teenager lifting his fiancee as if she were a barbell. When the lovebirds’ idiotic scheme to make off with stolen cocaine predictably goes sideways, the girl’s protective older brother (Armando Espitia) endures trials that make the Stations of the Cross look like a cakewalk. However, the power of Escalante’s film comes not from its grisly carnage but rather its disturbing assertion that, when home is hell on earth, such ordeals are inevitable, and reprisals become a necessary evil. CURTIS WOLOSCHUK. CM, 8 pm Sunday, Feb. 9. FT, 8:30 pm Friday, Feb. 14.

Ida

A [POLAND] In this black-and-white beauty from Pawel Pawlikowski, novitiate nun Anna is a week away from taking her vows when the mother superior tells her she must pay a long-overdue visit to her aunt Wanda, her sole surviving relative. Wanda, a chain-smoking, hard-drinking communist, informs Anna that her real name is Ida and that her Jewish parents were killed during the Nazi occupation. This is just the first of the surprises in store for naive Ida, who soon sets off with Wanda on a journey to find out where their family was buried. Ida is a sweet roadtrip/buddy pic and a tender coming-of-age tale, while avoiding the clichéd trappings of such genres. It’s also flat-out gorgeous. DEBORAH KENNEDY. WH, 6 pm Tuesday, Feb. 11. FT, 5:30 pm Sunday, Feb. 16.

Ilo Ilo

C+ [SINGAPORE] Middle-class economic turmoil plays out microcosmically in Ilo Ilo, which focuses on a Singaporean family during the Asian financial crisis. Pregnant Leng types up termination letters all day at her company while Teck hides the fact that he’s been fired. Their young son, meanwhile, acts out as often as possible in response to the tensions at home. Once Filipina domestic worker Teresa enters, it’s only a matter of time before a bond forms between caretaker and child, and attendant race and class issues arise. But despite the carefully laid details, there’s just a single scene in which the sense of desperation is resonant rather than didactic: Picking up the laundry outside, Teresa is alerted to a man’s suicidal leap only when, on the swift journey down, his body disturbs a flock of birds. KRISTI MITSUDA. WH, 3:30 pm Saturday, Feb. 8. C21 6 pm Tuesday, Feb. 11.

Le Week-End B

[GREAT BRITAIN] There’s really

PORTLAND INTERNATIONAL FILM FESTIVAL TICKET OUTLET: Portland Art Museum’s Mark Building, 1119 SW Park Ave., 276-4310, nwfilm.org. General admission, $11; Art Museum and OMSI members, students and seniors, $10; children 12 and under, $8; Silver Screen Club memberships from $300. THEATERS: C21: Cinema 21, 616 NW 21st Ave. CM: CineMagic, 2021 SE Hawthorne Blvd. fT: Regal Fox Tower, 846 SW Park Ave. OMSi: Oregon Museum of Science and Industry, 1945 SE Water Ave. WH: Whitsell Auditorium, 1219 SW Park Ave. WTC: World Trade Center Theater, 121 SW Salmon St. WW was unable to screen 16 films by press deadlines; visit wweek.com for full listings.

the missing picture nothing quite like self-indulgent baby boomers in hate. Toward the beginning of Le Week-End, Meg (Lindsay Duncan), the blonder half of a longmarried couple on vacation in Paris, offers this assessment of her relationship with her husband, Nick (Jim Broadbent): “It’s not love. It’s like being arrested.” And in many ways that’s a perfect description of this movie from director Roger Michell and screenwriter Hanif Kureishi. It’s like being caught in the panic room that is love on its deathbed—at least until Jeff Goldblum, in the form of Nick’s old friend Morgan, arrives and does what Jeff Goldblum does best (i.e., spew slime and charm all over everyone). He also does what he can to salvage not only the movie but Nick and Meg’s marriage. He almost succeeds. DEBORAH KENNEDY. WH, 8:30 pm Friday, Feb. 7. C21, 5:30 pm Sunday, Feb. 9.

The Lunchbox

A [INDIA] The Lunchbox is set in Mumbai, where a fraternity of 5,000 men, the dabbawallahs, have been delivering hot lunches from the city’s housewives to their businessmen husbands for the past 120 years. According to a Harvard study, only one in a million lunches is delivered to the wrong person. Ritesh Batra’s charming debut feature tells the story of one such unlikely lunchbox and the even more unlikely bond that forms between an unhappy stay-at-home mother, Ila (the irresistible Nimrat Kaur), and Saajan (veteran Bollywood star Irrfan Khan), who begin a sweet exchange of notes. Batra allows the relationship to develop slowly, like an old photograph, and the tender humor adds the right amount of spice to what is already a delicious mix of melancholy and hope. DEBORAH KENNEDY. OMSI, 6 pm Tuesday, Feb. 11. WH, 8:30 pm Friday, Feb. 14.

Maidentrip

B+ [THE NETHERLANDS] Jillian Schlesinger’s documentary follows a Dutch 14-year-old named Laura Dekker as she ventures around the globe solo on Guppy, her 40-foot sailboat. Laura knows the ins and outs of her boat, how to cook and care for herself and, most importantly, how to get where she’s going. Laura’s shaky footage of herself is cut with shots of the calm open sea, the white sandy beaches of French Polynesia, monkeys in the Galapagos and rough waters near Australia. Her independence and sense of adventure are astonishing, and what she manages to accomplish in 520 days is more than most of us do in a lifetime. SAVANNAH WASSERMAN. OMSI, 6:15 pm Saturday, Feb. 8. WH, 8:30 pm Tuesday, Feb. 18.

Manakamana

A- [NEPAL] For those tired of talk-

ing-head documentaries, offerings from Harvard’s Sensory Ethnography Lab—producer of previous PIFF entries Leviathan and Sweetgrass— feel like gifts from the gods. In this case, quite literally so: Manakamana focuses on trips to and from the titular Nepali temple, shrine to a Hindu goddess. The film includes 11 uninterrupted sequences, each contained within a cable car. Passenger interactions (young rockers taking selfies, women racing to consume ice cream before it melts, musicians passing time playing their instruments) and emergent patterns (the gentle swaying and creaking of the car, red clothing and green beads, exclamations about the area’s beauty) entrance. And lapses into tedium have a purposeful, lulling quality—it’s all journey here, no other destination. KRISTI MITSUDA. WTC, 8:30 pm Saturday, Feb. 8, and 3:15 pm Saturday, Feb. 15.

Mary Queen of Scots

B- [SWITZERLAND] What would happen if Mary Queen of Scots met Roman Polanski on a foggy highland meadow? We now have the answer in director Thomas Imbach’s film about the woman who would be queen if only someone, namely her cousin Elizabeth I, would let her. Mary’s story of ascendancy and exile is full to the frilled collar with ready-made drama. Consider this description, from the movie’s blood-red promotional poster: “A queen who lost three kingdoms, a wife who lost three husbands, a woman who lost her head” (spoiler alert!). So why borrow from Polanski’s Macbeth and interrupt the action—including Mary’s first sexual encounter with her true love, the Earl of Bothwell—with shaky shots of the Scottish countryside set to discordant organ music? It seems unfair to point the finger at Scotland when it’s not here to defend itself, so I’ll just blame “art.” DEBORAH KENNEDY. OMSI, 6:30 pm Sunday, Feb. 9. C21, 12:30 pm Saturday, Feb. 15.

The Missing Picture

B [CAMBODIA] Rithy Panh’s affecting documentary employs hundreds of clay figurines to tell an autobiographical story of Cambodia’s genocide of the ’70s. But this isn’t claymation—the figurines, painstakingly carved and painted, do not move. Panh, a French-Canadian director who’s made several other films about the Khmer Rouge, instead places these tiny yet haunting sculptures in elaborate dioramas of the killing fields. Alongside these tableaux, Panh splices in archival propaganda newsreels and occasionally superimposes the clay figurines into the action. Tying it all together is the preternaturally calm voice-over narration, which blends memories of horror with more abstract musings on

“conquest through emptiness” and the revolutionary power of cinema. REBECCA JACOBSON. WTC, 6 pm Friday, Feb. 7, and Saturday, Feb. 15.

Omar

A [PALESTINE] Passion becomes a weapon of war in the nail biter Omar. It’s a dystopian Romeo & Juliet set in the West Bank, except there is no Mercutio or Friar Lawrence or any friendly face to be trusted against the backdrop of an occupied, paranoid Palestine. Sensitive young baker Omar finds himself caught between manipulative Israeli authorities and his childhood friends who have, like him, become subversive freedom fighters. Omar continues to risk everything to protect his love, Nadia, despite a tangled web of secrets; the battlefield flips so often it’s difficult to track loyalties until the film’s final bloody moments. Although the suspense is the backbone of the film, newcomer Adam Bakri brings to the title role a rich combination of steeliness and sensitivity. GRACE STAINBACK. WH, 8 pm Sunday, Feb. 9. MC, 6 pm Thursday, Feb. 13.

Particle Fever

B [UNITED STATES] If you know nothing of the Large Hadron Collider, Particle Fever isn’t going to make you an expert. Essentially concerned with re-creating the conditions that led to the Big Bang (and, some blowhards insist, possibly obliterating the entire planet in the process), the LHC is a city-sized particle collider that—look, if you’ve made it this far, this is your kind of film. Surprisingly, though, Particle Fever strikes a nice balance between science and humanity: It’s just as interested in the science as in the hundreds of scientists who work on the project. The film focuses on six very different geniuses, allowing them to spell out their passions and the implications of their work in the plainest terms possible…which, to laypeople, aren’t particularly plain. But between graphs, gorgeous footage of the LHC and—for some awesome reason—nerds rapping (!), Particle Fever takes an extremely complex topic and manages to make it seem human. AP KRYZA. WTC, 6 pm Saturday, Feb. 8. OMSI, 6 pm Monday, Feb. 10.

Remote Area Medical

A [UNITED STATES] Remote Area Medical follows the titular nonprofit organization over a three-day period as it treats nearly 2,000 patients at a pop-up, free health-care clinic in Bristol, Tenn. The parking lot of Bristol’s massive NASCAR speedway transforms into a somber tailgate of working-class Americans lining up for their first medical exam in years. The film remains narrow in scope, for-

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going the larger politics to focus on the stories of individuals humbled by rotten gums, poor vision and the nagging feeling they’ve long been forgotten by a country in which they cannot afford even the most basic health-care services. It’s a stark portrait of American life, the empathic viewpoint a refreshing alternative to partisan vitriole. GRACE STAINBACK. WTC, 8:30 pm Friday, Feb. 7, and 3 pm Sunday, Feb. 9.

The Rocket

B+ [AUSTRALIA] In Ahlo’s Laotian village, luck is divided unevenly among twins, and his grandmother is certain that he, not his stillborn brother, is the unlucky one. After the government relocates their village and a family member dies, it seems she’s right—until the 10-year-old becomes obsessed with winning a makeshift rocket competition. It’s an obvious setup for a feel-good denouement, but director Kim Mordaunt integrates the themes of politics, tradition and family so smoothly that the film feels like a happy parable. Not even a character who believes he’s the James Brown of Laos can steal the stage from the adorable Ahlo (a relentlessly cheery Sitthiphon Disamoe), and his younger friend Kia (Loungnam Kaosainam, with the careful wisdom of someone 10 times her age). After studying the rocket makers carefully, Kia performs an impromptu dance while Ahlo swipes spare parts. Their strategy mimics Mordaunt’s: Be entertaining, predictable and shocking all at once. MITCH LILLIE. C21, 6 pm Saturday, Feb. 8.

Salvo

B+ [ITALY] Those who question the continued relevance of movie theaters will find their answer here. An Italian hit man is tasked with killing an attractive blind girl, and finds he can’t. That is essentially the whole film. There’s minimal dialogue, and the story moves about as fast as IBM WebExplorer on a 28.8k modem. In the age of endless push notifications, it’s almost physically painful to watch the film on a small screen—you’ll look away to IMDB the hunky lead actor, and suddenly 20 minutes will have gone by without a word being spoken onscreen. But there is a reason it won the Critics’ Week Grand Prix at Cannes last year: It’s a truly gripping piece of cinema. You just need a pitch-black theater—and mobile devices turned off—to fully appreciate the creepy brilliance of an assassin wordlessly stalking his unseeing prey for 17 straight minutes. RUTH BROWN. C21, 2:45 pm Sunday, Feb. 9, and 8:30 pm Friday, Feb. 14.

The Strange Little Cat

B+ [GERMANY] “Is Clara crazy?” someone asks as a little girl shrieks for no clear reason. Indeed, there initially seems to be a low-grade madness gripping all three generations of kin coming and going from a compact Berlin flat. That said, wouldn’t our own routines

look absurd if viewed from odd angles by a camera with a staring problem? Shifting between instances of ennui, anxiety and antagonism, Ramon Zürcher creates a compelling rhythm as he playfully charts the daily ebb and flow of a household. And should that sound a little stale, fear not: This delightfully deadpan film also features the sort of comedy that naturally occurs when family members trip over one another. Through Zürcher’s eyes, the mundane is something to behold. CURTIS WOLOSCHUK. C21, 6 pm Friday, Feb. 7. FT, 6 pm Monday, Feb. 10.

Those Happy Years

B- [ITALY] Ah, a European film about narcissism, coming of age and the redemptive value of art: Where has this been all my life? Daniele Luchetti’s Those Happy Years is a capable take on the old-fashioned European arthouse film, aside from borrowed Hollywood tropes such as the too-cute kids who always say the right things. But it’s nonetheless a lovely, nostalgic look back at the heady 1970s, as a self-regarding philanderer of an artist is forced to respect his wife only in losing her, while his son, a young stand-in for the director, finds love on the beach and thinks about dust and memory. The moral fable about the Italian sexual revolution is a bit forced, but you leave in the same afterglow as the narrator-director: wistful, confused and convinced that after 1974 nothing will ever be the same. MATTHEW KORFHAGE. OMSI, 8:30 pm Friday, Feb. 7. CM, 6 pm Saturday, Feb. 8.

Tito on Ice

D [SWEDEN] The premise is irresistible: Two Swedish comics artists tour Eastern Europe toting a mummified Marshal Tito, the founder of Yugoslavia and famous Stalin snubber. OK, it’s not the real Tito, but their creation, stuffed inside a mini-fridge, looks pretty cool. Go ahead and Google it, because sitting through Tito on Ice requires 72 uncomfortable minutes of watching a film-school thesis project get by on gimmicks and pity alone. What makes it particularly unfortunate is that director Max Andersson and his partner Lars Sjunnesson are actually talented, in both their comics and the paper animations that pepper the film. But that doesn’t make up for a complete lack of story and editing skills, made all the worse by frequent references to “art films.” Put the benevolent dictator back in the fridge, Mr. Andersson, and tear down this film. MITCH LILLIE. CM, 3 pm Sunday, Feb. 9. C21, 1 pm Sunday, Feb. 16.

Trap Street

B+ [CHINA] Especially given the Chinese government’s move to shut down the Beijing Independent Film Festival last year, it’s a wonder Vivian Qu’s Trap Street managed to slip by the censors. But here it is, a meandering love story that becomes a

heli listless indictment of China’s bureaucratic menace—pretty much everything government-related is shady here. Li Qiuming, a young worker at a digital mapping company, falls for a girl who works on a street that doesn’t officially exist: Forest Lane steadfastly refuses to show up on any digital maps. But while he’s chasing— or borderline stalking—the girl, his presence on Forest Lane is considered suspicious by the powers that be. The film’s not a thriller, though it could have played that way. It instead portrays a slow war of attrition on the innocent, in which every action could be construed as evidence of a crime. MATTHEW KORFHAGE. CM, 3:30 pm Saturday, Feb. 8. WH, 6 pm Monday, Feb. 10.

Two Lives

B- [GERMANY] From the first scene, in which our protagonist ducks into an airport bathroom to disguise herself in a brown wig, it’s clear not all is as it seems in Two Lives. Set just after the fall of the Berlin Wall, the drama follows Katrine (Juliane Köhler), who was born to a Norwegian mother and an occupying German soldier during World War II. Like many of these “children of shame,” Katrine was sent to a bleak east German orphanage, only to reunite with her mother well after the war’s end. It’s a knotty story of espionage, deceit and shame, and director Georg Maas lets the details of Katrine’s past trickle out slowly, cutting scenes of her present life in a frosty seaside Norwegian town with grainy flashbacks to earlier years. It’s a rather heavy-handed, overly solemn approach, not aided by the ominous string music that accompanies

each revelation. Köhler, fortunately, avoids sentimentality in her emotionally demanding role. REBECCA JACOBSON. CM, 8:30 pm Friday, Feb. 7. FT, 5:30 pm Sunday, Feb. 9.

Wajma (An Afghan Love Story)

B [AFGHANISTAN] The subtitle is bittersweet. While Barmak Akram’s Wajma begins as a charming romance between young Wajma and a likeable waiter named Mustafa, skulking about at the fringes of societal rules, it quickly turns into something else entirely: a traditional pregnancy drama. Mustafa becomes an implausibly sudden louse, while Wajma’s honor-bound dad lumbers around like a prodded rhino. But however much wailing there is, and there’s plenty, the film’s actual interest is not in bathos, nor even in the all-too-apparent injustices inflicted on Afghan women. Rather, the film shows the tensions between the old and the new worlds, and between honor and compassion. The film is far from perfect, but it is a moving portrait that resists easy moralizing. MATTHEW KORFHAGE. FT, 8:30 pm Friday, Feb. 7. CM, 3 pm Sunday, Feb. 16.

What Is Cinema?

C+ [UNITED STATES] Chuck Workman is the man behind numerous montages for the Oscars, so it’s not surprising that What Is Cinema?—a title that hubristically if lovingly harks back to André Bazin’s seminal film studies collection—plays like a feature-length version of the same. Interspersing iconic moments, from Meshes of the Afternoon to Titanic, and interviews with filmmakers such as Jonas Mekas (“My drug

Look for continuing coverage next week. 46

Willamette Week FEBRUARY 5, 2014 wweek.com

was movies!”), David Lynch, Kelly Reichardt, Yvonne Rainer and (natch) James Franco waxing poetic on the mysterious beauty of the art form, the documentary makes it easy to get swept up in the flow and glow of cinephilia. Segments are devoted to avant-garde, indie and documentary cinema, while mainstream modern Hollywood remains absent. Alas, as with most montages, once the music wears off, you feel betrayed. For a film focused on the complexities of the medium, it’s curiously unlayered. KRISTI MITSUDA. WTC, 1 pm Saturday, Feb. 8, and 8:30 pm Friday, Feb. 14.

Young & Beautiful

B+ [FRANCE] “Once a whore, always a whore,” the white-haired man chortles. He’s talking to Isabelle, a 17-year-old bourgeois Parisian belle he’s just paid 500 euros for a bareback blowjob. Isabelle (Marine Vacth) has picked up prostitution as a secret hobby, for reasons never fully elucidated in François Ozon’s Young & Beautiful. Like in his 2012 film, In the House, Ozon again tells a story of an adolescent rebelling in unusual, dangerous ways. This is a French film, so there’s lots of Vacth’s young and nubile flesh on display, but also plenty of saggy skin of her johns. It’s an unnerving study of teenage defiance, with just enough detachment from reality and prickling bursts of humor (as when Isabelle jokes with her shrink about his low rates) to prevent it from plunging into leering melodrama. REBECCA JACOBSON. C21, 8:30 pm Saturday, Feb. 8. FT, 8:30 pm Monday, Feb. 10.

MOVIES

= WW Pick. Highly recommended. 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.

12 Years a Slave

A Twelve Years a Slave was part of

a literary tide. When the memoir was published in 1853, Uncle Tom’s Cabin and Frederick Douglass’ autobiography were bestsellers, helping to fuel the abolitionist movement. But Solomon Northup’s story was diﬀerent. Born a free man, he led a comfortable life as a carpenter and violinist with his wife and children in upstate New York in 1841, when he was kidnapped and sold into slavery. Northup managed to regain his freedom 12 years later and soon published Twelve Years a Slave, which became a bestseller of its own. But at some point, Northup disappeared and his book fell out of print. Now, it’s little-known outside the halls of academia. All of which makes British director Steve McQueen’s 12 Years a Slave an even more staggering revelation. The ﬁlm is agonizing but not lurid, compassionate but not melodramatic, patient but still thrilling. R. REBECCA JACOBSON. Cedar Hills, Eastport, Cinema 21.

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, Academy Theater, Laurelhurst Theater.

The Act of Killing

A+ [ONE WEEK ONLY] In 1965, a

violent military coup in Indonesia led to the rise of Suharto, who would go on to lead the country in a repressive dictatorship for the next 31 years. His reign kicked off with a five-month anticommunist purge, which saw some 500,000 people killed. In the North Sumatra capital of Merdan, the job of slaughtering accused communists was given to a man named Anwar Congo. Today, as The Act of Killing picks up, Congo is a local hero. American director Joshua Oppenheimer’s masterstroke is to ask Congo and his cronies to make a film of their own, re-enacting their glory days from the death squad. Like visiting Auschwitz or the Killing Fields, sitting through The Act of Killing is one of those wholly distressing experiences to which we submit ourselves in an effort to comprehend the great atrocities of humanity, and memorialize the lives left in their wake. RUTH BROWN. Laurelhurst Theater.

American Hustle

A In director David O. Russell’s new

film, American Hustle—loosely based on the Abscam federal bribery scandal of the 1970s—everyone from New Jersey’s mayor to federal agents to small-time con artists are so warped by ambition that integrity and even identity become expensive luxury items. The film is a balls-to-the-wall, unbridled love affair with homegrown bullshit and piss-taking. American Bullshit was, in fact, the working title of the film, and in bullshit, it would seem Russell has finally found his true subject matter. From the sincerely insincere, American Hustle builds genuine characters. The film’s establishing shot is brilliant in this regard: a humorously long sequence of Christian Bale’s potbellied con man, Irving Rosenfeld, gluing a toupee to his head. When meticulously permed federal agent Richie DiMaso (Bradley Cooper) makes a move on Rosenfeld’s girl

almost immediately thereafter, it’s an insult. When he musses his rug, it’s an unforgivable violation. American Hustle is the sort of ﬂick we’ve rarely seen since the ’40s: a farce with a heart. R. MATTHEW KORFHAGE. Cedar Hills, Eastport, Clackamas, Mill Plain.

Anchorman 2: The Legend Continues

B- It’s been nearly a decade since Ron Burgundy and the Channel 4 News Team graced the silver screen, but you’d be forgiven for thinking they never left. As soon as Ron himself announced the character’s return on Conan last year, he’s been everywhere. After a year of anticipation, we’d be forgiven for being sick of the hype. But oh, does Anchorman 2 contain some serious belly laughs, and the instant Ron (Will Ferrell) hits the screen reading nonsense news and exclaiming, “By the hymen of Olivia NewtonJohn,” goodwill returns. Anchorman 2 does contain some misses, particularly a bizarre and overlong second act in which Ron leaves the business for some soul searching. But keep in mind that this is still a mile-a-minute comedy that includes a man bottlefeeding a shark, investigative reporting that involves taste-testing street drugs, condoms made of mongoose hair, and the theme song from Xanadu as an aphrodisiac. It’s good to have Ron Burgundy back, even if he kind of overstays his welcome. PG-13. AP KRYZA. Academy Theater, Edgeﬁeld, Kennedy School, Laurelhurst Theater, Mt. Hood, St. Johns, Valley.

August: Osage County

C In August: Osage County, Meryl Streep is a pill-popping Tyrannosaurus rex in a black bouffant wig. Julia Roberts is a weather-parched velociraptor in mom jeans. And when these mother-daughter dinosaurs go at it, expect things to break: mostly dinner plates, but also hearts, eardrums and any shred of goodwill that survives in this seriously twisted family. Alongside all that destruction, don’t be surprised if your patience breaks as well. This screen adaptation of Tracy Letts’ Pulitzer Prize-winning play operates at such a consistently high pitch that it numbs rather than blisters. The film finds a family reunited in northern Oklahoma following the death of Beverly Weston, a hard-drinking poet. His wife, Violet (Streep), suffers from mouth cancer, but that doesn’t stop her from spewing endless streams of bilious invective at her three daughters. Letts’ play won raves for its ability to imbue soap opera-style revelations with fiery humor, but John Wells’ directorial hand is so weak that the film just plays as a succession of histrionic showdowns. R. REBECCA JACOBSON. Cedar Hills, Clackamas.

Blue Is the Warmest Color

A- As soon as Abdellatif Kechiche’s

Blue Is the Warmest Color premiered in Cannes last May, frenzied discussion engulfed the film. Whether people found it exhilarating or exploitative, it seemed no one could shut up about this three-hour French saga about first love between two young women. The seven-minute sex scene monopolized much of the conversation, with a video montage that captures the responses of real lesbians eventually going viral. But for all the hooting it has unleashed, Blue Is the Warmest Color isn’t strident or demagogic. Instead, the film spends its 179 minutes slowly wringing you out like an old rag, until you’re finally tossed roughly over the line, depleted, devastated and stunned at what has just transpired. NC-17. REBECCA JACOBSON. Laurelhurst Theater.

Blue Jasmine

B Woody Allen’s Blue Jasmine cannot

reconcile its broad comedy and pathos into coherence, but all the more impressive, then, that Sally Hawkins’ and Cate Blanchett’s twinned per-

CONT. on page 48

DO THE ’DO: Lori Petty and Keanu Reeves in Point Break.

HAIR OF THE DOGSTAR HOW KEANU REEVES’ HAIR PREDICTS THE FUTURE OF HIS ONSCREEN LIBIDO. BY A P KRYZA

apkryza@wweek.com

Keanu Reeves has spent three decades starring in some of the era’s most iconic movies without being remotely good at acting. The dude seems to have a sixth sense for choosing roles that change the landscape of popcorn forever. But there’s an even more amazing and mystical side to Keanu’s powers: his hair. Those lustrous locks seem to change in every film, but they’re also prophetic—Keanu Reeves’ hair has the ability to predict the actor’s future cinematic love interests. Strange, yes, and there are some holes in this theory of mine. But fuck it. This is a theory about Keanu Reeves and, like his movies, it requires a certain suspension of disbelief. And so I submit to you: the Keanu Reeves Hair Prophecy Theory. It occurred to me during a not-at-all-stoned viewing of Bill & Ted’s Excellent Adventure (screening in all its excellence this week at the Laurelhurst). Something about that shaggy-dog hair looked familiar, and it really bothered me. Then it clicked: It’s the exact same cut Sandra Bullock later sports in The Lake House. Whatever…hair is hair. But then I watched Ron Howard’s Parenthood. In that film, Keanu rocks a mop that’s exactly the same as Bullock’s lid in Speed, her breakout film with Keanu, ’90s bangs and all. Whoa. And it doesn’t stop there: Midway through Parenthood, Keanu’s stoner character chops his locks into a shorter style with a butt-part. Midway through The Devil’s Advocate, Charlize Theron chops and dyes her hair into the exact same style. That means Keanu’s hair prophesied that Bullock and Theron would eventually rise to prominence in his movies. The blue pill was taking hold. It goes on. Keanu’s swing-line bob in Paula Abdul’s “Rush Rush” video? Cameron Diaz in Feeling Minnesota. Bogus Journey? That shit is damn near exactly the same as Lori Petty’s hair in Point Break, which adds a whole new layer to the theory: Keanu Reeves’ characters like to bang women with the exact same hairstyle as his. There’s a scene in Point Break in which Keanu and Petty cuddle. You can’t tell who’s who because they have the same muscular backs and wavy haircuts. In The Matrix, he falls for Trinity, a woman who sports his Dracula ’do and, throughout the

series, pretty much the same cut as Neo’s. And then, of course, there’s the Swayze. Keanu starred with Patrick Swayze in the hockey drama Youngblood. Keanu sports a hockey mullet (the Swayz has a perm). In Point Break, the tables are turned, with Swayze rocking business up front, party in back. And there has been no greater love in cinematic history than the bond between Bodhi and Johnny Utah. Keanu’s hair predicted it in 1986. The rest of us can revel in it for eternity. Yes, this is ridiculous. But think about it: What other actors’ roles predict who they fall for in the future? Two years from now, Keanu will romance a Japanese woman with his same 47 Ronin samurai bun, and you will remember me as a great prophet. Either that, or I should really lay off the grass. Laurelhurst Theater. Feb. 7-13. ALSO SHOWING: The Black Film Fest continues with 1984’s seminal Beat Street, a drama exploring the origins of that newfangled hip-hop thing. Hollywood Theatre. 7:30 pm Wednesday, Feb. 5. Floating World Comics takes over the Clinton Street for a VHS exchange and secret movie. I will gladly trade Baby Boom and Mystic Pizza for a beat-up copy of Point Break. Clinton Street Theater. 5:30 pm (exchange) and 7 pm (secret movie) Friday, Feb. 7. Speaking of movies offering glimpses into actors’ futures, The Lost Boys featured Cory Feldman as a young vampire hunter...setting the stage for his real-life transformation into a bloodsucking, reanimated shadow of his former self. Academy Theater. Feb. 7-13. It may look like cutesy anime, but 2006’s Paprika is a decidedly adult affair, with its Terry Gilliam-esque tale of a dream-invading machine on a psychiatric ward. Like The Cell, but with more frogs and less J.Lo. 5th Avenue Cinema. Friday-Sunday, Feb. 7-9. The Hollywood remembers the late, great Joan Fontaine with Suspicion. It’s one of Hitchcock’s finest, with Fontaine pitted against a possibly murderous Cary Grant. Hollywood Theatre. 2 pm SaturdaySunday, Feb. 8-9. The Black Film Fest unearths Sidewalk Stories, a little-seen, near-silent drama about a homeless artist who takes an abandoned baby under his care. Hollywood Theatre. 7:30 pm Sunday, Feb. 9. KBOO screens of Amandla! A Revolution in Four Part Harmony, a doc about the music of the South African liberation movement. Clinton Street Theater. 7 pm Tuesday, Feb. 11. Say Anything… gets a revival just in time for Valentine’s Day, proving once again that stalking is kind of cute if you look like John Cusack. Mission Theater. 8 pm Tuesday, Feb. 11. Willamette Week FEBRUARY 5, 2014 wweek.com

LEGO XD-3D (PG) 11:35AM 2:15PM 4:55PM Lone Survivor (R) 11:00AM 1:50PM 4:45PM 7:40PM 10:30PM Monuments Men (PG-13) 11:00AM 12:25PM 1:50PM 3:15PM 4:40PM 6:05PM 8:55PM Wolf Of Wall Street, The (R) 12:00PM 4:05PM 8:15PM LEGO 3D (PG) 3:00PM 7:35PM 8:30PM 10:15PM LEGO (PG) 12:15PM 12:55PM 3:35PM 5:45PM 6:15PM 9:00PM Monuments Men (XD) (PG-13) 7:30PM 10:25PM Secret Life Of Walter Mitty, The (PG) 12:05PM 6:40PM That Awkward Moment (R) 11:50AM 2:20PM 4:50PM 7:15PM 9:45PM Vampire Academy (PG-13) 11:10AM 1:55PM 4:35PM 7:20PM 10:00PM Nut Job, The 3D (PG) 2:00PM 7:00PM Nut Job, The (PG) 11:20AM 4:30PM 9:30PM

Ride Along (PG-13) 11:40AM 2:15PM 5:00PM 7:35PM 10:10PM Frozen (2013) 3D (PG) 1:45PM 7:10PM Frozen (2013) (PG) 11:05AM 4:25PM 9:55PM Frozen Sing-A-Long (PG) 11:45AM 2:35PM 5:20PM Labor Day (PG-13) 11:05AM 1:55PM 4:40PM 7:25PM 10:20PM American Hustle (R) 12:45PM 3:55PM 7:05PM 10:15PM August: Osage County (R) 11:00AM 1:50PM 4:40PM 7:30PM 10:20PM Gravity 3D (PG-13) 8:00PM 10:30PM I, Frankenstein 3D (PG-13) 2:50PM 7:55PM I, Frankenstein (PG-13) 12:20PM 5:25PM 10:25PM Jack Ryan: Shadow Recruit (PG-13) 11:30AM 2:25PM 5:10PM 7:50PM 10:30PM Hobbit: The Desolation Of Smaug, The 3D (PG-13) 2:55PM 10:05PM Hobbit: The Desolation Of Smaug, The (PG-13) 11:15AM 6:30PM Hunger Games: Catching Fire, The (PG-13) 3:10PM 9:40PM

Lone Survivor (R) 11:00AM 1:55PM 4:45PM 7:35PM 10:25PM Monuments Men (PG-13) 11:00AM 1:50PM 4:40PM 7:30PM 10:20PM LEGO (PG) 11:45AM 2:25PM 5:05PM 7:45PM 10:25PM Wolf Of Wall Street, The (R) 4:40PM 8:30PM LEGO 3D (PG) 1:05PM 3:45PM 6:25PM 9:05PM That Awkward Moment (R) 12:20PM 2:55PM 5:20PM 7:45PM 10:10PM Vampire Academy (PG-13) 11:40AM 2:15PM 4:50PM 7:25PM 10:00PM Ride Along (PG-13) 12:05PM 2:35PM 5:05PM 7:35PM 10:05PM Nut Job, The 3D (PG) 5:45PM 10:20PM Nut Job, The (PG) 11:00AM 1:15PM 3:30PM 8:00PM

August: Osage County (R) 11:05AM 1:55PM 4:45PM 7:35PM 10:25PM Frozen (2013) 3D (PG) 12:30PM 9:00PM American Hustle (R) 12:20PM 3:40PM 7:00PM 10:10PM Labor Day (PG-13) 11:15AM 2:00PM 4:45PM 7:30PM 10:15PM 12 Years a Slave (R) 12:30PM 3:45PM 7:00PM 10:05PM Her (R) 7:05PM Jack Ryan: Shadow Recruit (PG-13) 11:05AM 1:50PM 4:35PM 7:15PM 9:55PM Gravity 3D (PG-13) 11:45AM 2:10PM 4:35PM 10:15PM Frozen (2013) (PG) 3:20PM 6:10PM Frozen Sing-A-Long (PG) 11:05AM 1:55PM

Monuments Men (PG-13) 11:00AM 2:00PM 4:50PM 7:40PM 10:30PM Nebraska (R) 11:15AM 2:00PM 4:45PM 7:35PM 10:25PM Lone Survivor (R) 1:00PM 4:00PM 7:05PM 10:10PM Wolf Of Wall Street, The (R) 12:10PM 4:15PM 8:15PM LEGO (PG) 11:00AM 1:45PM 4:30PM 7:15PM 10:00PM That Awkward Moment (R) 11:40AM 2:05PM 4:40PM 7:20PM 9:55PM Vampire Academy (PG-13) 11:20AM 2:15PM 5:10PM 7:45PM 10:25PM Ride Along (PG-13) 11:10AM 1:50PM 4:30PM 7:10PM 9:50PM Nut Job, The 3D (PG) 2:10PM 7:20PM

Nut Job, The (PG) 11:15AM 4:20PM 9:30PM Frozen (2013) 3D (PG) 11:25AM 4:35PM 9:40PM Frozen (2013) (PG) 1:40PM 6:45PM American Hustle (R) 12:25PM 3:40PM 7:00PM 10:15PM LEGO 3D (PG) 12:30PM 3:15PM 6:10PM 9:00PM 12 Years a Slave (R) 6:30PM 9:45PM Jack Ryan: Shadow Recruit (PG-13) 11:00AM 1:45PM 4:40PM 7:30PM 10:20PM Labor Day (PG-13) 11:05AM 1:55PM 4:45PM 7:40PM 10:30PM I, Frankenstein (PG-13) 2:20PM 7:25PM Frozen Sing-A-Long (PG) 12:25PM 3:25PM I, Frankenstein 3D (PG-13) 11:45AM 4:55PM 10:05PM

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formances still manage to pick up most of the pieces. PG-13. MATTHEW KORFHAGE. Laurelhurst Theater, Academy Theater.

The Book Thief

C Markus Zusak’s bestselling novel The Book Thief follows Leisel, an illiterate daughter of communists who is sent to live with caretakers in a German village during World War II. Her sympathetic adoptive father teaches her to read and initiates her into the vivid and polemic world of words, which becomes the central theme of the book. Unfortunately, Brian Percival’s film adaptation, starring Sophie Nélisse as Leisel and Geoffrey Rush as her father, gets bogged down by too many subplots that are never fully fleshed out. And then there’s the fact that a bemused, chortling Grim Reaper—yes, Grim Reaper—narrates the film, reminding viewers that they “are all going to die one day” in the same tender manner that a parent might tell their children that Santa Claus isn’t real. PG-13. GRACE STAINBACK. Kennedy School.

Captain Phillips

A- You probably already know the

story behind the new Tom Hanks movie, Captain Phillips, because you heard it first from the helmethaired 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. Though shot with an eerie, disciplined neutrality, this is perhaps the most compassionate piece of filmmaking I’ve seen this year.PG-13. MATTHEW KORFHAGE. Academy Theater, Kennedy School, Laurelhurst Theater, Mt. Hood, Valley. new Cascade Festival of African Films

4122 NE SANDY BOULEVARD

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credit of writers Craig Borten and Melisa Wallack and director JeanMarc Vallée, Dallas Buyers Club has no weepy epiphanies, no soliloquies about newfound understanding. Woodroof may have been an asshole, but he was an asshole whose instinct for self-preservation eventually helped extend the lives of millions of better people. And, in the face of a plague, that’s worth more than one jerk’s enlightenment. R. MATTHEW SINGER. Cinema 21, Moreland. new

Dirtbag

[ONE DAY ONLY, DIRECTOR AND CAST ATTENDING] A documentary about San Francisco’s annual Dirtbag Challenge, in which participants try to build motorcycles on the cheap in less than a month. Clinton Street Theater. 4 pm Sunday, Feb. 9.

Frozen

B Widely hailed as a return to the classic animated features of yore, Frozen arrives as an uncomplicated triumph of traditionalism, for better or worse. A musical-theater retelling of classic Hans Christian Andersen tale The Snow Queen, hidebound Disney preservationists were worried the decidedly modern title foretold the goofy revisionism of 2010’s Rapunzel fan-fic Tangled. But there’s a far easier explanation for the name change: Once again, it’s all about the princesses. Kristen Bell’s Anna takes center stage as a rambunctious royal eagerly awaiting the social possibilities accompanying her older sister’s imminent coronation. Orphaned at a young age and isolated by a sibling whose flourishes of wintry magic are only restrained through staunch emotional unavailability, Anna thrills at the prospect of first love: One lyric snickers, “Why have a ball-

room without any balls?” Compared to the pandering messiness of most kids’ movies, there’s plenty to excite the family-friendly faithful. Widescreen 3-D visuals sculpt an endlessly inventive setting of ice palaces and snowcapped peaks, the original songs written by veterans of Avenue Q and The Book of Mormon soar and tickle as needed, and snowman sidekick Olaf giddily beats back the encroaching melodrama. It’s the sort of Disney film even Disney barely makes anymore, as majestic and problematic as a sudden snowfall, and, like all blizzards of youth, we’ll mourn its passing. PG. JAY HORTON. Cedar Hills, Eastport, Clackamas, Indoor Twin, Sandy. new

Getting to Know You(Tube)

[ONE NIGHT ONLY] A guided tour through the depths of YouTube. ZOMG! BABY ANIMALS! Hollywood Theatre. 7:30 pm Monday, Feb. 10.

Gravity

A- With Gravity, Alfonso 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 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. PG-13. AP KRYZA. Cedar Hills, Clackamas.

The Great Beauty

A The Great Beauty begins with a

cannonball, followed closely by a heart attack, and concludes with a 104-year-old toothless nun crawl-

REVIEW

The festival’s second weekend features the Malian documentary Sand Fishers, about men who’ve abandoned their traditional fishing practice to harvest sand and gravel from the river; Mother of George, a drama about Nigerian immigrants in Brooklyn; Virgin Margarida, set at a re-education camp for Mozambican prostitutes in the ‘70s; and two films from Senegalese director Ousmane Sembène, including his 1963 short about a cart driver in Dakar. PCC Cascade, Moriarty Arts and Humanities Building, Room 104. For full festival schedule, visit africanfilmfestival.org.

Cloudy With a Chance of Meatballs 2

Cheeseburgers, falling from the sky! Again! PG. Academy Theater.

Dallas Buyers Club

A The first time Matthew

McConaughey appears onscreen in Dallas Buyers Club, the reflex is to gasp. That carved-from-amber beach bod has been whittled down to a toothpick. It’s a transformation mirroring that of McConaughey’s career over the past year, ever since the day he woke up, put on a shirt and decided to become the best actor of his generation: The rom-com lothario has withered away. In his place arrives a performer at his peak, in a role that better damn well win him an Oscar, as an AIDS activist the movies have never seen before: a shit-kicking, homophobic redneck. That redneck actually existed, too. In 1985, Ron Woodroof, a Dallas electrician, bull rider and pussy-chasing, coke-snorting degenerate, became one of the rare straight men in the early years of the AIDS epidemic to contract HIV. Frustrated by the grinding inertia of Big Pharma, Woodroof went to Mexico, where, with a cocktail of natural supplements and non-FDA-approved meds, he was nursed back to health. Figuring there was a great racket in AIDS drugs that actually worked, he returned to Texas and opened a “buyers club.” To the

PRESERVE AND PROTECT: The story of The Monuments Men is inspiring. During World War II, a squadron of older art scholars was dispatched to Europe in an effort to protect art and other precious cultural artifacts from being destroyed by bombs, stolen by the Nazis or swiped by private collectors. It sounds like incredible fodder for a film, especially with George Clooney in front of and behind the camera, and a dream cast that includes Matt Damon, Cate Blanchett, John Goodman, Bill Murray and Jean Dujardin. Alas, what could have been a weird cross between Inglourious Basterds and Ocean’s Eleven turns out to be a bit of a slog. A beautiful slog, sure, with its glorious images of European architecture, painting and sculpture, but a slog nonetheless. Much of the dullness comes from an episodic story line that requires these great performers to spend most of the film apart, contemplating in voice-over whether art is worth the ultimate sacrifice and pontificating about the righteousness of their cause. The performances are great and the views are stunning, but The Monuments Men still comes off more as a sermon than an entertaining piece of art unto itself. AP KRYZA. C+ See IT: The Monuments Men is rated PG-13. It opens Friday at Cedar Hills, Eastport, Clackamas, Mill Plain, Oak Grove, Cinema 99, Bridgeport, City Center, Division, Lloyd Center, Sherwood, Tigard, Wilsonville, Sandy.

2 0 1 3 C O L U M B I A P I C T U R E S I N D . , I N C . & T W E N T I E T H C E N T U R Y F O x F I L M C O R P.

MOVIES

feb. 5-11 WA R N E R B R O S . E N T E R TA I N M E N T I N C .

ing on her knees up the steps of a church. Paolo Sorrentino’s luxuriously sprawling film is both enchanted and repulsed by the decadence it depicts, a tension that makes for one of the richest cinematic experiences of the year. At the center is Jep Gambardella (a wondrous Toni Servillo), a 65-yearold hedonist who wrote an acclaimed novel as a young man and now spends his days (and nights) living large in Rome. Toward the beginning of the film, he learns that his first love has died, which jolts him down a path of grief, nostalgia and, because he’s at times a pompous cad, pride. That journey is a sensuous feast, scored by haunting choral music and techno mariachi, and marked by appearances by washed-up socialites, a blue-haired dwarf, vanishing giraffes and dreadful performance artists, including a woman who runs naked and blindfolded into a stone wall. The loosely connected vignettes can meander, but taken together they compose a fascinating portrait of Berlusconi’s Italy, one that is too consumed by orgiastic terrace parties and neverending conga lines to realize how stagnant it’s become. REBECCA JACOBSON. Living Room Theaters.

Her

B+ And so there’s this computer. It’s

an artificially hyperintelligent operating system that’s half personal secretary, half therapist. It speaks in a naturalistic feminine rasp. It seems to be thinking. It seems to know you. You fall in love with her. She falls in love with you. Then she develops the capacity for jealousy. Eventually, you’re arguing about sex. She starts saying things like, “I’m becoming much more than they programmed.” Twenty years ago, this scenario would’ve played as a dystopian nightmare. But in the era of Catfish, where “dating” is an increasingly abstract concept, the premise of Spike Jonze’s Her can serve as the basis for an honest-to-goodness relationship drama. Her, the first film Jonze has written himself, isn’t another Charlie Kaufman mind puzzle, but its emotions are no easier to untangle, nor to categorize. Is it sci-fi? Horror? Satire? Or is a story about falling in love with binary code the only honest way to talk about modern romance? Her is, perhaps, a movie that is easier to think about than to watch: It’s overlong, and prone to greeting-card proverbs. But its central thought is one that will only grow more significant as the world becomes a bigger, more alienating place: Is any feeling real, or are we just programmed that way? R. MATTHEW SINGER. Cedar Hills, Living Room Theaters.

The Hobbit: The Desolation of Smaug

B+ When last we saw Bilbo Baggins (Martin Freeman) and his band of dwarves, they were headed to confront a dragon. But along the way, they also took an awful lot of time to do the dishes and sing songs seemingly stolen from Led Zeppelin. That was a central complaint about Peter Jackson’s first entry in his Hobbit trilogy, and it made fans wonder whether swelling J.R.R. Tolkien’s shortest book into three films would result in stagnation. That fear goes flying out the window like a decapitated orc head in The Hobbit: The Desolation of Smaug, which justifies its nearly threehour runtime not by cramming in tons of story, but by allowing the action pieces to play out with the lunacy of an ultraviolent Looney Tunes short. And so we have our heroes floating downriver in barrels as a battle between elves and orcs rages overhead, and a freaky showdown with an army of spiders. It all leads up to a confrontation with the titular dragon, who instantly becomes the most terrifyingly beautiful winged beast ever put to film. It wouldn’t be a Tolkien film without the self-seriousness, but The Desolation of Smaug never loses its sense of fun, forgoing the confusingly labyrinthine setup of its predecessor in favor of watching its heroes escape ridiculous peril time and time again. PG-13. AP KRYZA. Clackamas.

The Hunger Games: Catching Fire

B While other young-adult novel

adaptations preoccupy themselves

THE LEGO MOVIE with knockoff magic and chaste vampires, The Hunger Games series instead caters to the “adult” part of the equation. Taking what initially seemed like a watered-down version of Battle Royale, it has created a sprawling and very grown-up world for young audiences. With Catching Fire, director Francis Lawrence further expands this post-apocalyptic universe where children are forced to slay one another in an annual gladiatorial event designed to tamp down discontent. This film finds heroine Katniss (Jennifer Lawrence) and her milquetoast cochamp Peeta (Josh Hutcherson) on a “victory tour” through a country where the rich bathe in luxury while the poor undergo flogging and execution in what resembles WWII-era Russia. Fearing Katniss will become a symbol for a simmering rebellion, the president (Donald Sutherland) forces her back into the arena with even deadlier stakes. As with the first film, Catching Fire goes slightly flat once the actual Hunger Games commence. But in the lead-up to the most violent episode of Survivor imaginable, the director crafts a dense dystopia full of political allegory, media satire and other elements that most YA films consider their core audiences too dumb to handle. Though flawed, Catching Fire manages something no adaptation since Harry Potter has: It respects its fans enough to challenge them while maturing alongside them. PG-13. AP KRYZA. Clackamas, Indoor Twin.

I, Frankenstein

Here’s what you will see in the trailer: Aaron Eckhart with some gnarly scars across his face, giant winged beasts and Gothic architecture that looks straight out of a video game. This shit looks awful. Not screened for Portland critics. PG-13. Clackamas, Eastport, Oak Grove.

In a World...

B+ Lake Bell is on a crusade against

“sexy baby voice.” For those unfamiliar with this obnoxious tic, imagine if Betty Boop incorporated some of Ke$ha’s vocal fry—that low, guttural vibration—and ended every sentence as if it were a question. That’s Bell’s pet peeve, and she lampoons it to pitch-perfect effect in In a World…, which she wrote, directed, produced and stars in. But as funny as that sendup is, it’s still far from the best thing in the film, which takes us into the idiosyncratic and competitive realm of voice-over artists. Bell plays Carol, an aspiring voice-over artist with a bear of a father (Frank Melamed) who’s big in the biz. But rather than help Carol get her foot in the door,

he’s as vain and sexist as the rest of his industry. “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. 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. Laurelhurst Theater.

Inside Llewyn Davis

B+ A down-on-his-luck folk musician

in 1961 New York City, Llewyn (Oscar Isaac) crashes on friends’ squeaky couches, gigs at the Gaslight Cafe and mills about while waiting for his big break. It isn’t much of a spoiler to say he’ll be waiting awhile. Witnessing all this unfold is, in a word, lovely. That may seem an odd way to describe such a bittersweet portrait of failure and disenchantment, but Joel and Ethan Coen are experts in drawing out the bitter and the sweet in nearly equal measure. R. MICHAEL NORDINE. Hollywood Theatre, St. Johns.

Jack Ryan: Shadow Recruit

C+ Jack Ryan: Shadow Recruit is a reboot and an origin story, wherein a college-age Jack (Chris Pine, the go-to guy for college-age versions of iconic heroes) heeds the call of duty when the Twin Towers go down. He first serves as a Marine and then becomes a brilliant analyst enlisted by the CIA to infiltrate Wall Street to discover who might be funding terror. Because this is a post-Bourne film, there’s some neck-punching paired with fights in bathrooms, motorcycle chases and aggressive Googling, with our hero pensively staring at a computer while his fingers fly. Pulling double duty as the film’s director and its slinky villain, a slumming Kenneth Branagh proves he can be more fun than his PBS pedigree lets on, yet Jack Ryan remains a pretty bland affair that’s cobbled together from bits and pieces of other, better films. PG-13. Cedar Hills, Eastport, Clackamas, Oak Grove, Sandy.

new

Kung Fu Theater: Death Chamber

[ONE NIGHT ONLY, REVIVAL] A 35 mm print of the 1976 martial-arts classic, which features a fight with some fierce wooden robots. Hollywood Theatre. 7:30 pm Tuesday, Feb. 11.

Labor Day

C- There’s no burger phone in Labor Day, but Jason Reitman’s film makes up for it with the most patently absurd baking sequence you’ll ever see. Frank (Josh Brolin), an escaped prisoner with a heart of gold, woos a dispirited single mother named Adele (Kate Winslet) over a dreamy weekend in 1987. Adele is all tics and stutters—you feel like Frank might knock her over just by breathing too heavily in her direction. Every potentially menacing thing that this on-the-lam Casanova says while politely kidnapping Adele and her seventh-grade son Henry betrays a certain sensitivity. Though you may wonder about his innocence—he’s a convicted murderer—the fact that he’s a standup guy is never called into question. Theirs is a culinary romance: Frank spoon-feeds her chili (she’s tied up at this point, natch), they interlock fingers while making a peach pie, and you won’t believe the soaring melody that accompanies Adele’s first bite of his homemade biscuits. Though there’s something to be said for Reitman’s newfound sincerity, the self-satisfaction that colored his earlier efforts (Juno and Up in the Air especially) has merely been replaced by a self-seriousness that manages to be simultaneously humorless and laughable. PG-13. MICHAEL NORDINE. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Oak Grove, Sandy.

new

The Lego Movie

B+ In the Toy Story series, some of

the best scenes take place in a child’s imagination. They’re tremendous action sequences, revealed to exist only in the mind of a child playing with toys. The Lego Movie stretches that idea to feature length, and the results are pretty incredible. 21 Jump Street and Cloudy With a Chance of Meatballs directors Phil Lord and Christopher Miller have imagined a world of chaotic bliss. Using a combination of computer and stop-motion animation that keeps the herky-jerky laws of Lego physics in mind, The Lego Movie follows milquetoast construction worker Emmet (Chris Pratt) on a hero’s journey. Emmet is seen as the unwitting prophet who could end the reign of President Business (Will Farrell), a tyrant who believes all creations should be made exactly according to instructions. We follow Emmet as he teams with Lego allstars ranging from Batman to Shaq, who together attempt to keep imagination alive. The Lego Movie comes dangerously close to the pop culturesaturated Shrek model of comedy, but just when the film starts becoming too cute, the plot shifts into another nutso

MOVIES

action sequence filled with clever sight gags. Naysayers will whine that it’s just an extended toy commercial. But for those of us who remember the limitlessness of our imaginations as we played with little plastic blocks, this is a joy to behold. PG. AP KRYZA. Bagdad Theater, Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Oak Grove, Cinema 99, Bridgeport, City Center, Division, Hilltop, Lloyd Center, Lloyd Mall, Pioneer Place, Sherwood, Tigard, Wilsonville, Sandy, St. Johns, Roseway.

Lone Survivor

C Reading about the true events that inspired Lone Survivor brought a tear to my eye. Watching Peter Berg’s movie made me queasy. The film centers on 2005’s failed Operation Red Wings—a mission to remove a high-profile Taliban target in the mountains of Afghanistan that instead resulted in the death of 19 American soldiers—and it lionizes its heroes while utterly demonizing their enemies. Berg clearly has nothing but reverence for the armed forces, but that admiration renders him incapable of portraying anything dispassionately: Lone Survivor has little more nuance than the average recruitment poster. The film aims to show the soldiers’ personalities via their response to the dire situation—they’re vastly outnumbered, with malfunctioning communications equipment and nowhere to go. It’s a Passion of the Christlike flogging in which Berg shows every graphic detail of the soldiers’ ordeal, but examines nothing of what made them so impressive in the first place. R. MICHAEL NORDINE. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Sandy.

Nebraska

C Alexander Payne has built his brilliant career on examinations of pathetic characters—and I mean that literally, not pejoratively. In the blackand-white Nebraska, a combination Valentine and fuck-you to his home state, he continues this project, but to dishearteningly flat results. You can predict the emotional arc based on the premise alone: David (Will Forte) decides to accompany his near-senile father, Woody (Bruce Dern), with whom he has a fractious relationship, on a road trip from Montana to Nebraska to claim the million-dollar magazine sweepstakes prize Woody believes he’s won. Payne’s typically trenchant observations on humanity’s soft underbelly feel broad, perhaps due to his non-involvement in the script, a first. Instead, the film rests on lazy humor (get your overweight, mouth-breathing Midwesterners here!), forced provocations (crotch-flashing at a cemetery!) and ingratiating moments of father-son bonding (David and Woody recover lost dentures near the train tracks!). After unsparing takedowns of self-delusion in Citizen Ruth and Election, more forgiving assessments in About Schmidt and Sideways and the line-walking of The Descendants, it’s disappointing to see Payne succumb to sentimentality untempered by insight or depth. R. KRISTI MITSUDA. Eastport, Living Room Theaters.

The Nut Job

Animated squirrels plan a heist of a nut store. Parents, try to keep the dick jokes to a minimum. PG. Cedar Hills, Eastport, Clackamas, Cornelius, Oak Grove, Sandy. new

Philip Cohran Live

[ONE NIGHT ONLY] The jazz musician makes his first-ever appearance in Portland, with a slide show and lecture about Sun Ra, slavery and more, and a live performance on trumpet, harp and frankiphone. Hollywood Theatre. 7:30 pm Thursday, Feb. 6.

Ride Along

Ice Cube plays a cop who takes his prospective brother-in-law (Kevin Hart) on a 24-hour patrol through Atlanta. PG-13. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Oak Grove, Sandy.

CONT. on page 50

Willamette Week FEBRUARY 5, 2014 wweek.com

MOVIES NEW

Warren Washington Climate Change, Societal Impacts, and Environmental Justice Warren M. Washington, senior scientist at the National Center for Atmospheric Research, was among the first scientists to develop models that evaluate humankind’s impact on the global environment. Washington will discuss climate models, show simulations of future climate change, address scientific uncertainty, and analyze potential policy options. February 13 7 p.m. Agnes Flanagan Chapel A reception will follow.

FEB. 5-11

Rock N Roll Trailer Show

[TWO NIGHTS ONLY] Some of the best rock docs of all time get the trailer treatment. Hollywood Theatre. 9:30 pm Friday-Saturday, Feb. 7-8. NEW

Run & Jump

B Right on the heels of Nebraska,

Saturday Night Live alum Will Forte turns in a memorable, subdued performance in Steph Green’s feature debut, Run & Jump. Forte stars as Ted Fielding, an American neuropsychologist in Ireland as part of a research project. His focus is Conor, a 30-something husband and father whose recent stroke has left him in full emotional and mental retreat, and has left his wife, vibrant redhead Vanetia (the excellent Maxine Peake), to manage the household. As the doctor observes and then slowly begins to interact with the couple and those around them, his own isolation becomes as obvious as that of his subject. Hidden behind a beard, glasses and, initially, a handheld videocamera, Forte is a minor revelation—think shades of Steve Carrell in Little Miss Sunshine—in this quietly affecting story of loss and change. Director and co-writer Green has a way with nuance, and Conor’s carpentry serves as symbolism that’s powerful but not ham-fisted. The unforced visual aesthetic verges on painterly, the sun-dappled flashbacks contrasting with ultra-vibrant scenes set in the present. Run&Jump approaches its various “case studies” with equal parts humor and romance, sorrow and warmth. AMANDA SCHURR. Living Room Theaters.

Saving Mr. Banks www.lclark.edu

C Disney movies walk a fine line between warm-and-fuzzy feelgoodery and all-out cheese, but few straddle the line as frustratingly as Saving Mr. Banks. This is, after all, a film that casts Tom Hanks as Walt Disney himself, struggling to get Mary Poppins made by awakening the inner child of prim, proper and persnickety British author P.L. Travers, played with eccentric hilarity by the great Emma Thompson. There’s considerable joy to be had in The Blind Side director John Lee Hancock’s depiction of 1960s Hollywood, and in watching Travers slowly seduced by the infectious songs that made Poppins a classic. Alas, Travers suffers more flashbacks than Timothy Leary. Each time the film hits a stride, we’re forced back to turn-of-the-century Australia to witness her upbringing with her whimsically alcoholic dad (Colin Farrell, definitely playing to character). For all its considerable joy and fantastic performances, Saving Mr. Banks gets greedy: It starts out tugging at the heartstrings but, with its strained sentimentality, eventually tears a ventricle. PG-13. AP KRYZA. Mt. Hood.

The Secret Life of Walter Mitty

D+ The Secret Life of Walter Mitty is a movie for anyone prone to existential crises during soft-drink commercials. Based on James Thurber’s 1939 short story about a teenage punk rocker-turnedgraying office drone with severe delusional psychosis (because one can only assume director-star Ben Stiller remained totally faithful to the source material), the film adopts a long-winded motto from Life magazine as its motivational tagline-cum-greeting card message that can be easily distilled down to “Do the Dew, brah!” Spurred by a shitty new boss (Adam Scott with General Zod facial hair), love interest (Kristen Wiig, less phoning in her performance than texting it while in line at the post office) and spirit animal (Sean Penn), Stiller’s Mitty sets off to make his vivid daydreams into reality. Soon he’s bounding through airports to the tune of Arcade Fire, leaping out of helicopters, fighting sharks and skateboarding toward erupting volcanoes. The thing quickly blows

Willamette Week FEBRUARY 5, 2014 wweek.com

up into an extended Super Bowl ad break—complete with promotions for eHarmony, Papa John’s, Cinnabon and whatever cellphone carrier has coverage in the Himalayas—with all the heart and genuine emotion that suggests. PG. MATTHEW SINGER. Clackamas. NEW Sex Worker Film Series: Profane

[ONE NIGHT ONLY] A Muslim dominatrix experiences a spiritual crisis. Clinton Street Theater. 8 pm Saturday, Feb. 8.

That Awkward Moment

We have to assume the title applies to the experience of watching the ﬁlm itself, a strained-looking comedy starring Michael B. Jordan, Miles Teller and (oh dear) Zac Efron. R. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Oak Grove, Sandy.

Thor: The Dark World

C Thor is Marvel’s most unidentifiable character, but his first solo cinematic outing worked because of how hilariously batshit it was. 2011’s Thor was part goofball sci-fi epic, part fish-out-ofwater comedy set in small-town New Mexico, anchored by Chris Hemsworth’s charmingly boyish performance. Thor: The Dark World is the God of Thunder’s first postAvengers romp, and it reverses the formula, transporting Thor’s scientist girlfriend (Natalie Portman) to his psychedelic space kingdom. It shows us a world of rainbow roads, elves with bazookas and giant rock monsters…only to make us long to be back in New Mexico. There’s some nonsense about dark elves and a forced teaming up with Thor’s a-hole brother Loki (Tom Hiddleston, great as always), but director Alan Taylor sucks all the fun out of the picture, creating a cornball drama that plays a lot like one of his episodes of Game of Thrones, minus the incest but with spaceships. The film finds some footing in itPG-13. AP KRYZA. Academy Theater, Valley.

NEW

Vampire Academy

Like Mean Girls, with actual bloodsucking. Not screened for Portland critics. PG-13. Cedar Hills, Eastport, Clackamas, Cornelius, Oak Grove, Sandy.

Walking With Dinosaurs

Giant dinosaurs POKING YOU IN THE EYE. PG. Academy Theater, Kennedy School, Mt. Hood, St. Johns, Valley.

The Wolf of Wall Street

A Martin Scorsese’s best picture

since Goodfellas and his fifth with Leonardo DiCaprio is at once hilarious, terrifying, hallucinogenic, infuriating, awe-inspiring, meandering and, at three hours, utterly exhausting. It’s also (in this critic’s opinion) the best movie of the year, possibly DiCaprio’s finest work and the bitch slap that Wall Street deserves—even if the true but ludicrous story of financial criminal, stock-market juggernaut and rampant drug addict Jordan Belfort could inspire others to aspire to his level of douchebaggery. This is a man who makes Gordon Gecko seem like Mother Teresa. With his buddies, he runs roughshod over the financial well-being of rich and poor alike and creates for himself a world of drug-addled debauchery that makes Hunter S. Thompson’s escapades seem like a college freshman’s. Some may scoff at the runtime, or at the film’s episodic look into Belfort’s debauchery, but both just serve to further pummel you into submission as our “hero” glides through a privileged life with a steady diet of Quaaludes, cocaine, hookers, alcohol, sushi and hubris. Every moment counts. Every scene is frontloaded with hysterics and backloaded with dread. It is a modern masterpiece of excess, style and lunacy. R. AP KRYZA. Cedar Hills, Eastport, Clackamas.

FEB. 7-13 WA R N E R H O M E V I D E O

MOVIES

PEOPLE ARE STRANGE: The Lost Boys plays Feb. 7-13 at the Academy Theater.

Regal Lloyd Center 10 & IMAX

1510 NE Multnomah St., 800326-3264 THE MONUMENTS MEN Fri-Sat-Sun 12:40, 01:20, 03:40, 04:20, 06:40, 07:20, 09:40, 10:20 THE LEGO MOVIE Fri-Sun 02:25, 07:45, 10:25 THE LEGO MOVIE 3D FriSun 11:45, 05:05 THE METROPOLITAN OPERA: RUSALKA Sat 09:55 THE METROPOLITAN OPERA: RUSALKA - ENCORE Wed 06:30 ROBOCOP: THE IMAX EXPERIENCE Wed 01:30, 04:30, 07:30, 10:25 ROBOCOP Wed 12:50, 03:50, 06:50, 09:50

Regal Lloyd Mall 8

2320 Lloyd Center Mall, 800-326-3264 THE LEGO MOVIE Fri-SatSun-Mon-Tue-Wed 02:40, 08:00 THE LEGO MOVIE 3D Fri-Sat-Sun-Mon-TueWed 12:00, 05:20

Bagdad Theater and Pub

3702 SE Hawthorne Blvd., 503-249-7474 THE LEGO MOVIE Fri-SatSun-Mon-Tue-Wed 11:30, 01:50, 04:30, 07:15, 09:45

Cinema 21

616 NW 21st Ave., 503-2234515 DALLAS BUYERS CLUB Fri-Sat-Sun-Mon-TueWed 04:15, 07:00, 09:20 PHILOMENA Fri-Sat-SunMon-Tue-Wed 04:15, 06:30 12 YEARS A SLAVE Fri-SatSun-Mon-Tue-Wed 08:30

Clinton Street Theater

2522 SE Clinton St., 503238-8899 REPO! THE GENETIC OPERA Fri 10:00 PROFANE Sat 07:00 THE ROCKY HORROR PICTURE SHOW Sat 11:59 MANON LESCAUT Sun 01:00 DIRTBAG Sun 04:00 THE DEFLOWERING OF ARIELLA VON Sun 07:30 ADULT WORLD Mon 07:00 AMANDLA! A REVOLUTION IN FOUR-PART HARMONY Tue 07:00

Laurelhurst Theatre & Pub

2735 E Burnside St., 503232-5511 IN A WORLD... Fri-SatSun-Mon-Tue-Wed 07:00 THE ACT OF KILLING FriSat-Sun-Mon-Tue-Wed 09:00 CAPTAIN PHILLIPS Fri-Sat-Sun-Mon-Tue-Wed 06:45 BILL AND TED’S EXCELLENT ADVENTURE QUOTE ALONG Fri-SatSun-Mon-Tue-Wed 09:30 ANCHORMAN 2: THE LEGEND CONTINUES FriSat-Sun-Mon-Tue-Wed

07:15, 09:45 20 FEET FROM STARDOM Fri-SatSun 01:30, 04:30 BLUE JASMINE Fri-Sat-Sun-MonTue-Wed 06:30 BLUE IS THE WARMEST COLOR Fri-Sat-Sun-Mon-Tue-Wed 08:45

Moreland Theatre

6712 SE Milwaukie Ave., 503236-5257 DALLAS BUYERS CLUB Fri-Sat-Sun-Mon-Tue-Wed 05:30, 08:00 FROZEN SING-ALONG Sat-Sun 03:10

Roseway Theatre

7229 NE Sandy Blvd., 503282-2898 THE LEGO MOVIE 3D FriSat-Sun-Mon-Tue-Wed 11:15, 02:00, 04:45, 07:30

St. Johns Cinemas

8704 N Lombard St., 503286-1768 THE LEGO MOVIE Fri-SatSun-Mon-Tue-Wed 04:45, 07:00, 09:20 INSIDE LLEWYN DAVIS Fri-SatSun-Mon-Tue-Wed 05:05, 07:30, 09:45

CineMagic Theatre

2021 SE Hawthorne Blvd., 503-231-7919 CYCLING WITH MOLIERE Fri 06:00 TWO LIVES Fri 08:30 GABRIELLE Sat 01:00 TRAP STREET Sat 03:30 THOSE HAPPY YEARS Sat 06:00 VIC & FLO SAW A BEAR Sat 08:30 MY MOMMY IS IN AMERICA AND SHE MET BUFFALO BILL Sun 01:00 TITO ON ICE Sun 03:00 BEFORE SNOWFALL Sun 05:30 HELI Sun 08:00 TEENAGE Mon 06:00 AGE OF UPRISING: THE LEGEND OF MICHAEL KOHLHAAS Mon 08:30 AGLAJA Tue 05:45 FINDING VIVIAN MAIER Tue 08:30 CLOSED CURTAIN Wed 06:00 OF HORSES AND MEN Wed 08:30

Century 16 Eastport Plaza

4040 SE 82nd Ave., 800326-3264-952 12 YEARS A SLAVE FriSat-Sun-Mon-Tue 06:30, 09:45 THE WOLF OF WALL STREET Fri-SatSun-Mon-Tue 12:10, 04:15, 08:15 NEBRASKA FriSat-Sun-Mon-Tue 11:15, 02:00, 04:45, 07:35, 10:25 FROZEN Fri-SatSun-Mon-Tue 01:40, 06:45 FROZEN 3D Fri-Sat-SunMon-Tue 11:25, 04:35, 09:40 AMERICAN HUSTLE Fri-Sat-Sun-Mon-Tue 12:25, 03:40, 07:00, 10:15 THE MONUMENTS MEN Fri-SatSun-Mon-Tue 11:00, 02:00, 04:50, 07:40, 10:30 LONE SURVIVOR Fri-Sat-SunMon-Tue 01:00, 04:00, 07:05, 10:10 JACK RYAN: SHADOW RECRUIT Fri-Sat-

Sun-Mon-Tue 11:00, 01:45, 04:40, 07:30, 10:20 RIDE ALONG Fri-Sat-Sun-MonTue 11:10, 01:50, 04:30, 07:10, 09:50 THE NUT JOB Fri-Sat-Sun-Mon-Tue 11:15, 04:20, 09:30 THE NUT JOB 3D Fri-Sat-SunMon-Tue 02:10, 07:20 I, FRANKENSTEIN Fri-SatSun-Mon-Tue 02:20, 07:25 I, FRANKENSTEIN 3D FriSat-Sun-Mon-Tue 11:45, 04:55, 10:05 LABOR DAY Fri-Sat-Sun-Mon-Tue 11:05, 01:55, 04:45, 07:40, 10:30 THAT AWKWARD MOMENT Fri-Sat-Sun-Mon-Tue 11:40, 02:05, 04:40, 07:20, 09:55 THE LEGO MOVIE Fri-Sat-Sun-Mon-Tue-Wed 11:00, 01:45, 04:30, 07:15, 10:00 THE LEGO MOVIE 3D Fri-Sat-Sun-Mon-TueWed 12:30, 03:15, 06:10, 09:00 VAMPIRE ACADEMY Fri-Sat-Sun-Mon-Tue 11:20, 02:15, 05:10, 07:45, 10:25 FROZEN SING-ALONG FriSat-Sun-Mon-Tue 12:25, 03:25 ROBOCOP Wed 11:00, 01:55, 04:50, 07:45, 10:35

Kennedy School Theater

5736 NE 33rd Ave., 503-2497474-4 THE BOOK THIEF Fri-SatMon 02:30 WALKING WITH DINOSAURS FriSat-Sun-Mon 05:30 ANCHORMAN 2: THE LEGEND CONTINUES FriSat-Sun-Mon-Tue-Wed 02:30, 05:30 CAPTAIN PHILLIPS Fri-Sat-Tue-Wed 08:30

Empirical Theatre at OMSI

1945 SE Water Ave., 503797-4000 MYSTERIES OF THE UNSEEN WORLD FriSat-Sun 11:00, 03:00 JERUSALEM Fri-Sat-Sun 01:00 GREAT WHITE SHARK Fri-Sat-Sun 12:00, 04:00 FLIGHT OF THE BUTTERFLIES 3D Fri-SatSun 02:00, 05:00 THE GOOD ROAD Fri 06:00 THOSE HAPPY YEARS Fri 08:30 MAIDENTRIP Sat 06:15 THE BUTTERFLY’S DREAM Sat 08:30 MARY QUEEN OF SCOTS Sun 06:30

5th Avenue Cinema

510 SW Hall St., 503-7253551 PAPRIKA Fri-Sat-Sun 03:00 RASHOMON Fri 07:30

Hollywood Theatre

4122 NE Sandy Blvd., 503281-4215 INSIDE LLEWYN DAVIS Fri-Sat-Sun-Mon-Tue-Wed 07:00, 09:50 THE OSCAR NOMINATED SHORT FILMS 2014: ANIMATED Fri-SatSun-Mon-Tue-Wed 06:45 THE OSCAR NOMINATED SHORT FILMS 2014: LIVE ACTION Fri-Sat-SunMon-Tue-Wed 08:45 ON THE ICE Fri 07:30 THE ROCK AND ROLL TRAILER SHOW Fri-Sat 09:30

SUSPICION Sat 02:00 12 O’CLOCK BOYS Sat 07:30 SIDEWALK STORIES Sun 07:30 GETTING TO KNOW YOUTUBE Mon 07:30 DEATH CHAMBER Tue 07:30 SOUL TRAIN EXPRESS Wed 07:30

NW Film Center’s Whitsell Auditorium

1219 SW Park Ave., 503-2211156 ERNEST & CELESTINE Fri 06:00 LE WEEK-END Fri 08:30 ILO ILO Fri-Sat 03:30 SHORT CUTS 1: INTERNATIONAL TIES Sat 01:00 CHILD’S POSE Sat 06:00 CLOSED CURTAIN Sat 08:30 SHORT CUTS II: INTERNATIONAL TIES Sun 12:30 FINDING VIVIAN MAIER Sun 03:00 BENDS Sun 05:30 OMAR Sun 08:00

Regal Pioneer Place Stadium 6

340 SW Morrison St., 800326-3264 THE LEGO MOVIE 3D FriSat-Sun-Mon-Tue-Wed 04:30, 10:00 THE LEGO MOVIE Fri-Sat-Sun-Mon-TueWed 01:45, 07:15 ROBOCOP Wed 01:30, 04:30, 07:30, 10:20

St. Johns Theater

8203 N Ivanhoe St., 503-2497474-6 OLYMPICS OPENING CEREMONY Fri 04:30 WALKING WITH DINOSAURS Sat-Mon-Tue-Wed 06:30 ANCHORMAN 2: THE LEGEND CONTINUES SatMon-Tue-Wed 01:00, 08:50 OLYMPICS Sat-Sun 11:00 THE WALKING DEAD Sun 06:00, 08:00

Academy Theater

7818 SE Stark St., 503-2520500 WALKING WITH DINOSAURS Fri-Sat-Sun-Mon-Tue-Wed 04:40 ANCHORMAN 2: THE LEGEND CONTINUES Fri-Sat-Sun-Mon-Tue-Wed 02:15, 06:45, 09:15 THOR: THE DARK WORLD Fri-SatSun-Mon-Tue-Wed 02:35, 09:25 CAPTAIN PHILLIPS Fri-Sat-Sun-Mon-TueWed 02:05, 07:00 BLUE JASMINE Fri-Sat-Sun-MonTue-Wed 05:00 20 FEET FROM STARDOM Fri-SatSun-Mon-Tue-Wed 07:15 THE LOST BOYS Fri-Sat-SunMon-Tue-Wed 04:50, 09:45 CLOUDY WITH A CHANCE OF MEATBALLS 2 Sat-Sun 02:15

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Willamette Week FEBRUARY 5, 2014 wweek.com

CLASSIFIEDS DIRECTORY 52

WELLNESS

BULLETIN BOARD

SERVICES

MOTOR

FREE WILL ASTROLOGY

JOBS

MUSICIANS’ MARKET

PETS

54 JONESIN’

TO PLACE AN AD CONTACT:

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JONESIN’ PG. 54

TO PLACE AN AD CONTACT:

MATT PLAMBECK

Week of February 5

JOBS GENERAL

ARIES (March 21-April 19): “You know it’s Saturday when you are wiping off vodka stains from your face with a marshmallow,” testifies the woman who writes the Tumblr blog “French Fries Absinthe Milkshakes.” I really hope you don’t even come close to having an experience like that this week, Aries. But I’m worried that you will. I sense that you’re becoming allergic to caution. You may be subconsciously wishing to shed all decorum and renounce self-control. To be clear, there’s nothing inherently wrong with relaxing your guard. I hope you will indeed give up some of your high-stress vigilance and surrender a bit to life’s sweet chaos. Just please try to find a playful and safe and not-too-insane way to do so. TAURUS (April 20-May 20): What is the single best thing you could do to fulfill your number one desire? Is there a skill you should attain? A subject you should study? A special kind of experience you should seek or a shift in perspective you should initiate? This is a big opportunity, Taurus. You have an excellent chance to identify the specific action you could take that will lead you to the next stage of your evolution. And if you do manage to figure out exactly what needs to be done, start doing it! GEMINI (May 21-June 20): When songwriters make a “slant rhyme,” the words they use don’t really rhyme, but they sound close enough alike to mimic a rhyme. An example occurs in “The Bad Touch,” a tune by the Bloodhound Gang: “You and me baby ain’t nothing but mammals / So let’s do it like they do on the Discovery Channel.” Technically, “mammals” doesn’t rhyme with “channel.” I suspect that in the coming week you will have experiences with metaphorical resemblances to slant rhymes. But as long as you don’t fuss and fret about the inexactness you encounter, as long as you don’t demand that everything be precise and cleanedup, you will be entertained and educated. Vow to see the so-called imperfections as soulful. CANCER (June 21-July 22): “Almost,” writes novelist Joan Bauer. “It’s a big word for me. I feel it everywhere. Almost home. Almost happy. Almost changed. Almost, but not quite. Not yet. Soon, maybe.” I’m sure you know about that feeing yourself, Cancerian. Sometimes it has seemed like your entire life is composed of thousands of small almosts that add up to one gigantic almost. But I have good news: There is an excellent chance that in the next 14 to 16 weeks you will graduate from the endless and omnipresent almost; you will rise up and snatch a bold measure of completeness from out of the ever-shifting flow. And it all kicks into high gear now. LEO (July 23-Aug. 22): One of the chapter titles in my most recent book is this: “Ever since I learned to see three sides to every story, I’m finding much better stories.” I’m recommending that you find a way to use this perspective as your own in the coming weeks, Leo. According to my analysis of the astrological omens, it’s crucial that you not get stuck in an oppositional mode. It would be both wrong and debilitating to believe that you must choose between one of two conflicting options. With that in mind, I will introduce you to a word you may not know: “trilemma.” It transcends a mere dilemma because it contains a third alternative. VIRGO (Aug. 23-Sept. 22): In 1984, Don Henley’s song “The Boys of Summer” reached the top of the Billboard charts. “Out on the road today / I saw a Deadhead sticker on a Cadillac,” Henley sings wistfully near the end of the tune. He’s dismayed by the sight of the Grateful Dead’s logo, an ultimate hippie symbol, displayed on a luxury car driven by snooty rich kids. Almost 20 years later, the band The Ataris covered “The Boys of Summer,” but changed the lyric to “Out on the road today / I saw a Black Flag sticker on a Cadillac.” It conveyed the same mournful contempt, but this time invoking the iconic punk band Black Flag. I offer this tale to you, Virgo, as an encouragement to update the way you think about your life’s mythic quest . . . to modernize your old storylines . . . to refresh and refurbish the references you invoke to tell people about who you are.

LIBRA (Sept. 23-Oct. 22): Food aficionado Michael Pollan says that Americans “worry more about food and derive less pleasure from eating” than people in other countries. If you ask them what their association is with “chocolate cake,” they typically say “guilt.” By contrast, the French are likely to respond to the same question with “celebration.” From an astrological perspective, I think it’s appropriate for you to be more like the French than the Americans in the coming weeks -- not just in your attitude toward delicious desserts, but in regards to every opportunity for pleasure. This is one of those times when you have a license to guiltlessly explore the heights and depths of bliss. SCORPIO (Oct. 23-Nov. 21): In the Inuktitut language spoken among the Eastern Canadian Inuit, the word for “simplicity” is katujjiqatigiittiarnirlu. This amusing fact reminds me of a certain situation in your life. Your quest to get back to basics and reconnect with your core sources is turning out to be rather complicated. If you hope to invoke all of the pure, humble clarity you need, you will have to call on some sophisticated and ingenious magic. SAGITTARIUS (Nov. 22-Dec. 21): “What is the purpose of the giant sequoia tree?” asked environmentalist Edward Abbey. His answer: “The purpose of the giant sequoia tree is to provide shade for the tiny titmouse.” I suggest you meditate on all the ways you can apply that wisdom as a metaphor to your own issues. For example: What monumental part of your own life might be of service to a small, fragile part? What major accomplishment of yours can provide strength and protection to a ripening potential that’s underappreciated by others? CAPRICORN (Dec. 22-Jan. 19): “To burn with desire and keep quiet about it is the greatest punishment we can bring on ourselves,” wrote the poet Federico García Lorca. I urge you to make sure you are not inflicting that abuse on yourself in the coming weeks, Capricorn. It’s always dangerous to be out of touch with or secretive about your holy passions, but it’s especially risky these days. I’m not necessarily saying you should rent a megaphone and shout news of your yearnings in the crowded streets. In fact, it’s better if you are discriminating about whom you tell. The most important thing is to not be hiding anything from yourself about what moves you the most.

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EMPLOYMENT OPPORTUNITIES Stars Cabaret in TUALATINHiring (Tualatin-TigardLake Oswego)

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I started Early – Took my Dog And visited the Sea The Mermaids in the Basement Came out to look at meOh! Pardon me, you caught me on my way out to my poetry club. It’s my turn to read today. This is one of my favorites by Emily Dickinson. But don’t get me carried away on poetry. Ooh How I adore it. I could read and write all day. I love how the words dance and sing. Please allow me to introduce myself. My name is Jake I’m a Min Pin born and raised in the northwest. I’m still In my youth at 3 1/2 years of age and 17 pounds. I’m neutered, vaccinated and microchipped. My adoption fee is $220. I socialize well with other dogs. Especially if they have an affection for literature and words. If you’d like to arrange to talk of poetry or start a club of our own please contact the Pixie Project and we can plan on it. Until then here’s a piece of my own work that I wrote for you. I’ll wait beside your bed tonight Watch over you as you sleep Looking forward to the morning When I’m following your lead

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Homework I’ve gathered together all of your longrange, big-picture horoscopes in one place. Go here to read your forecasts for 2014: http://bit.ly/BigLife2014

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

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PISCES (Feb. 19-March 20): “I believe more in the scissors than I do in the pencil.” That’s what 20th-century author Truman Capote said about his own writing process. Back in that primitive pre-computer era, he scrawled his words on paper with a pencil and later edited out the extraneous stuff by applying scissors to the manuscript. Judging from your current astrological omens, Pisces, I surmise you’re in a phase that needs the power of the scissors more than the power of the pencil. What you cut away will markedly enhance the long-term beauty and value of the creation you’re working on.

freewillastrology.com

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AQUARIUS (Jan. 20-Feb. 18): Back in 2002, three young men launched Youtube, in part motivated by a banal desire. They were frustrated because they couldn’t find online videos of the notorious incident that occurred during the Superbowl halftime show, when Janet Jackson’s wardrobe malfunction exposed her breast. In response, they created the nowfamous website that allows people to share videos. I foresee the possibility of a comparable sequence for you, Aquarius. A seemingly superficial wish or trivial interest could inspire you to come up with a fine new addition to your world. Pay attention to your whimsical notions.

The audio horoscopes are also available by phone at

MUSICIANS MARKET

wweekdotcom

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

Willamette Week Classifieds FEBRUARY 5, 2014 wweek.com

MATT PLAMBECK

503-445-2757 • mplambeck@wweek.com

JONESIN’

by Matt Jones

Supplemental Outcome–well, good for you. conclusion? 63 What the theme entries are full of 67 Stagecraft 68 Don Juan’s mother 69 Homer’s dad 70 Low poker pair 71 Site of the Taj Mahal 72 “Don’t think so”

THE POWER OF

CLASSIFIEDS

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20 Win 21 “___ It Up” (Bob Marley classic) 22 Needing stitches 25 Built onto the house, maybe 30 Genre for B.B. King 32 Space or nautical prefix 33 Parkay product 34 Refuses to admit 36 Bust ___ (laugh really hard) 38 He followed Peyton as Super Bowl MVP

39 10 years ago 42 Neely of hockey 44 Sidekicks 45 Exactly so 48 “Now we’re in for it!” 50 Tells a completely different story? 52 Stick or gel alternative 53 Did some birthday party work 56 Give a hoot 57 “Dirty Jobs” host Mike 58 “Aladdin” parrot 60 Rocky

Down 1 Cartridge filler 2 “To Kill a Mockingbird” author Harper 3 Arced toss 4 Inspiration for Broadway’s “Mamma Mia!” 5 Scales in the sky 6 “To do today” list 7 Bid silently 8 Make people wonder 9 “Labor ___ vincit” (Oklahoma’s motto) 10 Oddball 11 Yodeling setting 12 Tatter 13 “L.A. Law” actress Susan 18 Epic poem with 9,896 lines 21 Coat fabric 22 Unknown, on a sched. 23 Cape-waving cheer 24 Go haywire 26 Lowest point on Earth’s surface 27 Record label of Cee Lo Green 28 Toon collectible

29 Japanese carp 31 Filter through slowly 35 Imps 37 New Mexico arts mecca 40 “Curiouser and curiouser!” utterer 41 Company behind “Mega Man” and “Street Fighter” 42 Rookie reporter 43 You might say it when you get it 46 Stirrup’s spot 47 Needle hole 49 Jazz legend Hancock 51 Aspen activity 54 Lorna of literature and cookies 55 Picky ___ 59 Strip in the Middle East 60 Echolocation user 61 Berlin wail 62 8 1/2” x 11” size, briefly 63 By means of 64 Mr. McKellen 65 Thunder’s org. 66 Use thread

last week’s answers

©2014 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 #JONZ661.

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SEE US ONLINE @ WWEEK.COM 54

Week Classifieds FEBRUARY 5, 2014 wweek.com

MATT PLAMBECK

503-445-2757 • mplambeck@wweek.com

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

EEK

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Willamette Week Classifieds FEBRUARY 5, 2014 wweek.com

TO ADVERTISE ON WILLAMETTE WEEK’S BACK COVER CALL 445-2757

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