40 17 willamette week, february 26, 2014 by Willamette Week Newspaper

mary contrary

“WATER DOES NOT NATURALLY REMAIN UNFLUORIDATED.”

WILLAMETTE WEEK PORTLAND’S NEWSWEEKLY

PAGE 12

P. 16 wweek.com

VOL 40/17 02.26.2014

NEWS BASIC RIGHTS’ MISTAKES.

P. 7

HEADOUT sober steve-o.

P. 23

movies obscure oscars.

P. 40

Willamette Week FEBRUARY 26, 2014 wweek.com

CAMERON BROWNE

CONTENT

THINKING THEATER: Teens rehearse August Wilson. Page 36.

NEWS

MUSIC

LEAD STORY

PERFORMANCE 36

CULTURE

MOVIES

FOOD & DRINK

CLASSIFIEDS

STAFF Editor-in-Chief Mark Zusman EDITORIAL Managing Editor for News Brent Walth Arts & Culture Editor Martin Cizmar Staff Writers 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 Kathryn Peifer, 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, Will Levenson 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

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

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

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INBOX CLASS ACTION CONTROVERSY

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This bill simply changes the distribution of unclaimed class action money [“Collecting What’s Owed,” WW, Feb. 19, 2014]. Currently, that unclaimed money is returned to the wrongdoer. Why not channel the unclaimed money to legal aid and provide critical legal service programs for Oregon’s poor? I don’t understand why there would be opposition to that. Unless you work for Philip Morris, of course. —“Lauren” The only opposition to this bill is coming from corporate lawbreakers trying to minimize the consequences of their wrongdoing, and a few lawyers who make bank defending them from the people that got hurt. Even a few Republicans voted for this bill (of course, the vast majority of Republicans voted to protect corporate lawbreakers—go figure). —“Mikenathan” I object to the class action lawscams as they are currently administered. The legal eagles collect all the money, ignore the damaged individuals, and the judges go along as accomplices because it makes their jobs easier. —“Skeptical”

RELEVANCE OF THE PIXIES

So this is what the cool kids are doing now, shitting on the Pixies? [“Death to the Pixies,” WW, Feb. 19, 2014.] I saw the show Feb. 19. I got my money’s worth. No, they didn’t banter and, yeah, Kim Deal is missed. But I left satisfied nonetheless because I went there to hear the Pixies blow the roof off the place. Mission accomplished. —“Malfunction0101” Aw, man. Time to tear up my tickets, shut the garage door and start the car. Thanks for helping me see the light, WW. —“pete592” 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.

An asshole coyote just reduced our chicken population from 14 to ﬁve. There’s probably a ﬁne for shooting that bastard in the face, but what should I do instead? —TLDR

pack has only one breeding pair. That means each pack has a half-dozen or more frustrated, horny coyotes only too ready to get their groove on should any holes arise in the coyote population. To coin a phrase: Crunch all you want; they’ll make more. Coyotes don’t hunt household pets for food, but they can be dangerous to cats. According to the Portland Bureau of Environmental Services, they may also attack dogs, “especially small, noisy breeds, such as Chihuahuas.” (Though frankly, this sounds more like a case of Bowser’s mouth writing a check that his ass can’t cash.) Having chickens in coyote country is no picnic, TL, but you’re just going to have to suck it up. Experts say your best bet is to fortify your chicken coop to be impregnable to coyotes—and, obviously, don’t sign for any suspicious packages from the ACME Corporation. *Message for those who would point out that earwigs don’t actually live in people’s ears: Shut up.

You’ve got asshole coyotes? Wow, and I thought earwigs* were bad. Of all the things you could have living in your nether regions, coyotes are probably the worst—at least if they were rabbits, you could get some cheap laughs out of changing your name to Warren. Still, I can’t fault your coyotes for eating chickens—I eat chickens myself. (By a similar line of reasoning, I’m also reluctant to censure coyotes for drinking their housemates’ whiskey and trying to pay hookers with food stamps.) As to your plan of shooting the offending animals: The official line is not so much “don’t” as “don’t bother.” You might as well try to eradicate cockroaches with a fly swatter. Under normal circumstances, a typical coyote Willamette Week FEBRUARY 26, 2014 wweek.com

It’s a state’s rights issue, huh? Whenever I hear that phrase, I get a ringing sensation in my ears that harks back to the days of segregation and discrimination. That whole slippery-slope theory is played out. —“John Neumann”

DEBATING SAME-SEX MARRIAGE

The gay-marriage issue, like man-woman marriage, is all about the money [“Hotseat: Richard Carlbom,” WW, Feb. 19, 2014]. Why not admit it?

Why else would the couple need a “contract”? If we are to change the state constitution, it must be done by a vote of the people, not a judge. The means matters! —“Stevie B.”

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

Willamette Week FEBRUARY 26, 2014 wweek.com

CIVIL RIGHTS: Why Oregon is late to the same-sex wedding. SCHOOLS: The Portland district punts a reading program. SPORTS: After last season, are the Timbers for real?

7 9 11

READ THIS FASTER ON GOOGLE FIBER. A House bill to reform the payment of awards in class action lawsuits survived stiﬀ opposition in the Senate Judiciary Committee and will now proceed to the Senate ﬂoor for a vote. House Bill 4143 would require companies that lose such lawsuits to pay all the money they owe and would raise millions of dollars in legal-aid funding for low-income Oregonians (see “Collecting What’s Owed,” WW, Feb. 19, 2014). “Now members of the Senate will have a chance to join the House in doing what’s right,” says one of the bill’s co-sponsors, Rep. Jennifer Williamson (D-Portland).

V. K A P O O R

Three employees of the Oregon Construction Contractors Board have been placed on indefinite leave following the abrupt retirement of the agency’s director, according the CCB’s interim director, Berri Leslie. The Oregonian reported that former agency director Craig Smith retired Feb. 13. Smith’s sudden departure and the suspension of the three employees—Traci Barnett, Bill Ridgway and Rich Blank—follow a state investigation of what Berri says was a complaint about “inappropriate workplace behavior.” The three employees declined to comment. Baruti Artharee, former police liaison for Portland Mayor Charlie Hales, appeared on local pubicaccess television last week to level incendiary charges against African-American leaders he says conspired to destroy him. Artharee was suspended by Hales for a week last July after making sexually suggestive remarks about County Commissioner Loretta Smith at a public dinner event. In his Feb. 16 appearance on Oregon ARTHAREE Voter’s Digest, Artharee said the scandal was the work of “puppet masters” in the black community. He singled out Roy Jay, president of the African American Chamber of Commerce of Oregon. “If you try to commit a drive-by,” Artharee said, “and you don’t take your subject out, you better be prepared to deal with consequences.” Artharee claimed he has asked the U.S. Department of Justice to investigate a program run by Jay and Multnomah County to expunge criminal records for minor offenses. “Baruti Artharee is mistaken and looking for a scapegoat,” Jay tells WW. “I have instructed my legal team to explore a $50 million defamation and slander lawsuit against Mr. Artharee.” A coalition of county, city and nonprofit agencies established to combat underage and problem drinking is seeking a refund for $60,000 worth of high-tech ID scanners they purchased for downtown Portland bars and clubs. Unaware of a state law passed in 2009 that regulates such scanners, Portland police encouraged Old Town bar owners to use the devices, which upload customers’ names, ages and photos to a central database (see “Recording Everything,” WW, Feb. 12, 2014). Bars shared some of that data with police as part of criminal investigations. “Now that we’ve found out that these machines cannot legally be used in Oregon,” says Multnomah County spokesman David Austin, “we’d like to get our money back.” Read more Murmurs and daily scuttlebutt. 6

Willamette Week FEBRUARY 26, 2014 wweek.com

CIVIL RIGHTS: Why Oregon is late to the same-sex wedding. SCHOOLS: The Portland district punts a reading program. SPORTS: After last season, are the Timbers for real?

7 9 11

READ THIS FASTER ON GOOGLE FIBER. A House bill to reform the payment of awards in class action lawsuits survived stiﬀ opposition in the Senate Judiciary Committee and will now proceed to the Senate ﬂoor for a vote. House Bill 4143 would require companies that lose such lawsuits to pay all the money they owe and would raise millions of dollars in legal-aid funding for low-income Oregonians (see “Paying What’s Owed,” WW, Feb. 19, 2014). “Now members of the Senate will have a chance to join the House in doing what’s right,” says one of the bill’s co-sponsors, Rep. Jennifer Williamson (D-Portland).

V. K A P O O R

Willamette Week FEBRUARY 26, 2014 wweek.com

NEWS

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

WINNING BY DEFAULT MARRIAGE EQUALITY BY STATE

MARRIAGE EQUALITY IS ON ITS WAY TO OREGON DESPITE ADVOCATES’ TACTICAL ERRORS. By KAT E W I L L S O N

WA VT

kwillson@wweek.com

When Oregon Attorney General Ellen Rosenblum announced last week that her office would not defend the state’s constitutional ban on gay marriage, it signaled the decade-long battle for marriage equality was close to being won. Oregon could soon join 17 states that allow same-sex marriage. Surprisingly, it happened despite Oregon’s most powerful gay-rights advocates opposing the lawsuit that spurred the AG’s announcement. “It’s been a long time coming,” says Christa Orth, a New York-based historian of queer politics in the Northwest. “Oregon should have been one of the first to eliminate discrimination across the board.” Critics within the gay-rights movement say Oregon is lagging behind other states in legalizing same-sex marriage in part because of a series of flawed decisions by Basic Rights Oregon—missteps that began 10 years ago and continued through late last year. A decade ago, Basic Rights pushed Multnomah County to start issuing marriage licenses to gay couples. Provoked by that unilateral action, Oregon voters approved a constitutional amendment banning gay marriage. In recent years, as Basic Rights clung to hopes of overturning that ban at the ballot, more aggressive states leapfrogged Oregon. In 2003, the U.S. Supreme Cour t struck down state laws outlawing sodomy—making homosexual sex legal. That November, a Massachusetts court ruled that gay couples could marry. Then, in January 2004, President George W. Bush proposed amending the U.S. Constitution to “defend the sanctity of marriage.” Basic Rights decided the best defense was a good offense. “We were under attack in this state,” says Roey Thorpe, then executive director of Basic Rights. In January 2004, Thorpe approached Multnomah County commissioners. “Roey just asked whether, if a [gay] couple came in to be married, would we as a county grant a marriage license,” recalls then-County Commissioner Lisa Naito. “My initial sense was, we wouldn’t do that; it was against the law. She indicated that might not be the case.”

NY RI IA

Then-County Chairwoman Diane Linn says Basic Rights hinted it might take legal action if the county did not play ball. “They said, ‘We need you to make an administrative decision,’” Linn recalls. On March 3, 2004, Multnomah County began unilaterally issuing same-sex marriage licenses. Nearly 3,000 couples wed in the ensuing days. The backlash was immediate. The public blasted the county for skirting open meeting laws and secretly devising a major public policy change with an advocacy organization. (The commission had decided to issue marriage licenses without informing conservative fellow Commissioner Lonnie Roberts.) “It was well-intended but poorly thought out,” said Marty Davis, longtime publisher of Just Out. “People knew it was wrong. But you get caught up in a tide.” The move played right into the hands of the religious right, which felt it now had the provocation to seek a state constitutional amendment banning gay marriage. “[Basic Rights] will tell you we were planning all the time to do a marriage amendment, but that’s just not true,” says Tim Nashif, who ran the campaign that outlawed gay marriage. “We had talked

about it; But there was no urgency.” Nashif’s group, the Defense of Marriage Coalition, filed ballot-title language the same day couples began to marry and in just five weeks gathered 244,000 voter signatures—a record for Oregon. Measure 36, the constitutional amendment to ban gay marriage, passed 57 to 43 percent. Thorpe defends Basic Rights’ Multnomah County ploy, but some veteran gayrights activists blame the guerrilla tactic for fueling the constitutional ban. “It left us behind other states where we’ve always been a leader,” said Scott Seibert, a prominent gay-rights advocate throughout the 1990s who chaired Eugene’s Human Rights Commission. “I think it set us back five years.” The years after Measure 36 brought advancements in gay rights elsewhere in the country. Connecticut and Iowa joined Massachusetts in allowing gay couples to marry. The Vermont Legislature legalized same-sex marriage. In Oregon, Basic Rights and the American Civil Liberties Union fought for protection for the LGBT community in jobs, housing and domestic partnerships.

MARRIAGE EQUALITY TIMELINE 1996

Basic Rights oregon forms.

2003

U.S. Supreme court strikes down state ban on sodomy.

2004

Multnomah county starts issuing same-sex marriage licenses.

2012

Maine, Maryland, Minnesota and Washington approve marriage equality.

2013

U.S. Supreme court strikes down Defense of Marriage Act.

2014

oregon Attorney General announces office will not defend ban on same-sex marriage.

cont. on page 8 Willamette Week FEBRUARY 26, 2014 wweek.com

NEWS

CIVIL RIGHTS

By 2010, Basic Rights decided to use the initiative process to overturn a constitutional ban by popular vote. “We knew that even if you won a lawsuit or a policy battle, it doesn’t change opinion on the ground,” says Jeana Frazzini, who took over as executive director of Basic Rights in 2008. The ACLU agreed. “Getting the state to remove a constitutional ban would provide a big boost to the nationwide movement,” says ACLU Oregon’s executive director, David Fidanque. Basic Rights seriously considered challenging Oregon’s gay-marriage ban on the November 2012 ballot. But by October 2011, polling showed only 48 percent of Oregonians supported gay marriage. The coalition decided to wait two more years, Frazzini says. Attention and donations shifted to states where gay-marriage advocates had a better chance to win, and on Nov. 6, 2012, Maine, Maryland, Minnesota and Washington voters leaped ahead of Oregon, approving marriage equality. A month later, poll results showed Oregon might have erred: 54 percent of voters supported same-sex marriage. In June 2013, the U.S. Supreme Court struck down the federal Defense of Marriage Act (which Congress passed in 1996) and upheld same-sex marriages performed in California. Impatient after the Supreme Court decisions, Portland lawyer Lake Perriguey decided to challenge Oregon’s ban in federal court. When Perriguey told Basic Rights and the ACLU about his plan, he says the groups encouraged him to wait. “We didn’t want to divert resources from the ballot measure,” says Mike Marshall, campaign director for Oregon Unit-

“ROSENBLUM’S DECISION WAS HARDLY A SURPRISE. THE ONLY ONES WHO WERE SURPRISED WERE THE PEOPLE ASKED TO THROW A GARDEN PARTY.” —LAKE PERRIGUEY ed for Marriage, a consortium of advocacy groups that includes Basic Rights and the ACLU. When local pressure didn’t change Perriguey’s mind, the nation’s leading gay-rights group stepped in. Human Rights Campaign’s national field director, Marty Rouse, asked Perriguey not to file his lawsuit until after the ballot initiative had run its course. Nevertheless, Perriguey and co-counsel Lea Ann Easton filed their lawsuit Oct. 15. Meanwhile, Oregon United for Marriage was on course to raise $2 million from 10,000 donors with the help of more than 4,000 volunteers, says spokesman Peter Zuckerman. The day after Perriguey and Easton filed suit in October, the Oregon Department of Justice announced the state would recognize same-sex marriages performed in other states. The following week, Attorney General Rosenblum signed a brief supporting same-sex couples, saying, “The exclusion of samesex couples from marriage is unconstitutional.” Basic Rights and the ACLU followed two months later with a lawsuit of their own, changing their pitch from a ballot measure only to “a parallel strategy.” When Rosenblum said last week her office would not defend Oregon’s ban on same-sex marriage, Oregon United for Marriage had just finished a fundraising sweep, hosting 200 house parties to raise money for the ballot measure. Volunteers worked the phones until the night before the announcement. “Rosenblum’s decision was hardly a surprise,” Perriguey says. “The only ones who were surprised were the people asked to throw a garden party.” Basic Rights issued a statement that night, effectively taking credit for action it had tried to stop. “Today’s step forward is another example of the decadeslong partnership between Basic Rights Oregon and the ACLU of Oregon,” Basic Rights said in the statement. “The important work on this case could not have been accomplished without the collaboration between our organizations.” Editor’s note: Last year, reporter Kate Willson supported efforts and performed volunteer work for Oregon United for Marriage. 8

Willamette Week FEBRUARY 26, 2014 wweek.com

sCHOOLs

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PORTLAND PUBLIC SCHOOLS DELAYED A KEY READING PROGRAM TO FOCUS ON CONTRACT TALKS. By R AC H E L G R A H A M CODy

rcody@wweek.com

Amid the angst over whether the Portland Association of Teachers would go on strike Feb. 20, Portland Public Schools’ central administration put a hold on one of its key priorities—getting struggling students to read. “Early literacy is a top priority at PPS,” said Superintendent Carole Smith in November, when she launched the district’s Read Big, Read Together campaign. “Every student can read. All of us can help.” Smith’s words sounded great. But since November, the adults have paid most of their attention to battling each other and delayed a major part of the campaign to have 100 percent of this year’s first-graders reading proficiently by the end of third grade. Focused on the teacher contract, the district postponed a pilot project that would have put trained adults in up to seven low-income elementary schools to help 1,700 students learn to read. Struggling readers at those schools will have to wait until next fall to get the additional targeted supports. And if they are in third grade now, they won’t get the pilot project’s extra services at all. Advocates say the district’s myopia hurts kids. “We’ve seen PPS launch other initiatives with great intentions and not follow through,” says Otto Schell, lobbyist for the Oregon PTA. “This is one of those really basic pieces to help kids succeed that should never get any kind of second-class treatment.” “This delay is another example of the district’s inability to have ‘fidelity of implementation,’ as noted in the high-school audit last year,” says John Hirsch, co-chairman of Portland 80%ers for Educational Excellence, which worked on the pilot program. “It means another year where kids are not getting needed extra supports to be successful readers.” Critics are frustrated that the district could not simultaneously negotiate a teacher contract and implement a literacy pilot. PPS central administration includes 36 employees in its human resources department, in-house and outside legal counsel, and a $15,000-a-month labor consultant—as well as dozens of instructional experts who have nothing to do with labor negotiations. Yet district officials acknowledge the reading initiative stalled because of contract talks. Reading by third grade is a key indicator of students’ success. A 2012 Annie E. Casey Foundation study found that students who aren’t reading proficiently by the end of third grade are four times as likely to drop out of high school. “When we talk about third-grade reading, what we are really talking about is graduation rates down the road,” says Jennifer Samuels, executive director of Reading Results, a Portland

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nonprofit participating in the initiative. PPS’s third-grade reading scores on state standardized tests have been poor. Last year, 25 percent of the district’s thirdgraders failed the state reading assessment. More than half of the district’s African-American third-graders and 49 percent of Latino thirdgraders failed the test in 2013. Improving those numbers is part of the district’s state achievement compacts. In fall 2013, Smith announced “a gamechanging effort” to prioritize early literacy. Working with the Portland Trail Blazers and other nonprofit partners, the district’s Read Big campaign offered students a reading superhero (Blazers center Robin Lopez), a party at Moda Center and Blazers tickets, and the district’s first-ever book harvest, which collected more than 28,000 books in less than a month. Reading Results and other groups were ready to start work by the first week of February. Reading Results planned to have employees spend 2,250 hours reading with 100 kids between February and May. Volunteers for Start Making a Reader Today, were going to read with struggling students at least once a week. But after months of preparation, Jon Isaacs, Smith’s top aide and the district’s point man for the initiative, told the groups in early January the district was postponing the project. With their energies on contract negotiations, Isaacs and other district administrators had not laid the groundwork with teachers and principals at the pilot schools. Isaacs says he was also concerned about starting the pilot program in the face of a potential teacher strike. “At the end of the day, it was the protracted bargaining that really led us to postpone this,” he says. “There’s no question the protracted negotiations cost us.” The pilot program’s targeted interventions will start in the fall, Isaacs adds, and other parts of Read Big are on track for this spring. Meanwhile, the mountain of books the district collected sits in shuttered Marshall High School. Volunteers are racing to prepare them for distribution to students in the primary grades before the start of summer vacation in June. School Board member Tom Koehler says kids lost out because of the district’s management. “Great organizations know how to multitask,” Koehler points out. “We ought to strive for that as well. It’s disappointing that good programs have been stalled because of negotiations.”

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Willamette Week FEBRUARY 26, 2014 wweek.com

MIKE GRIPPI

SPORTS

GREAT EXPECTATIONS AFTER A BREAKOUT SEASON, THE PORTLAND TIMBERS MUST SHOW THEY’RE FOR REAL. BY AL E X TO M C H A K S CO TT

ascott@wweek.com

As the Portland Timbers continue their preseason tournament tonight against Portmore United, a Jamaican club, nobody would blame fans for being nervous. The 2013 season was close to perfect. “Now, the Timbers will have a massive target on their back each time they take the field,” says John Strong, NBC Sports’ lead Major League Soccer announcer. The team made the MLS playoffs for the first time, after two years of disappointment. It went from blowing leads to mastering comebacks. New coach Caleb Porter’s possessionoriented game plan got a lot of the credit for the team’s turnaround. “It’s easy on the eye,” ESPN soccer columnist Jeff Carlisle says. “And you like to see that kind of style rewarded.” If the Timbers thrive this year, the team’s early struggles will be regarded as merely a teething period. If they flounder, though, Porter’s first season will seem a fluke. Here are some factors that could decide which storyline plays out this season.

NEWS

THREE REASONS THE TIMBERS COULD BE EVEN BETTER THIS YEAR:

THREE QUESTIONS THE TEAM STILL NEEDS TO ANSWER:

No World Cup players.

What’s behind the Great Wall?

The World Cup comes around every four years and vacuums the biggest stars out of MLS, then spits them back out a month later, exhausted and unfocused. This year, each of the major contenders for the title will lose a key man to the cup, except Portland. In both of the past two World Cup years, the MLS Cup winner’s players logged zero World Cup minutes.

Last season, the central defensive partnership of Mamadou “Futty” Danso and Pa Modou Kah earned them the nickname “the Great Wall of Gambia,” although ESPN’S Carlisle thinks one reason they were so impressive is that Portland’s ball control masked their deﬁciencies. Both are over 30, old for soccer. Nevertheless, the Timbers got rid of three center backs in the oﬀseason, signing only Paparatto. That puts the Timbers a couple of injuries from desperation.

Two team newcomers can pass.

Portland has signed players who ﬁt into Porter’s passing-centered approach. In the preseason, two players signed from Argentina—striker Gastón Fernández from Estudiantes and center back Norberto Paparatto from Tigre—stood out for their shrewd passing. Both told reporters they signed with Portland because Porter sold them on the Timbers’ style. “He talked to me about his style of play,” Paparatto told MLS’s website Jan. 28. “I was very much interested in the opportunity to come and play for him.”

Darlington Nagbe could be improved. MLS named Nagbe the best young player in the league last year, and it’s easy to see why. The 23-year-old Liberian’s squat, powerful build allows him to take the ball past players at will, and his shooting and passing are deadly. Thing is, he still thinks he has room to improve. “I feel like my possession game is good, but I could be more dangerous and take more chances, take more risks,” he told the MLS website.

Can Fernández and Diego Valeri connect? MLS has a history of success with insouciant, creative players from Argentina. Valeri led the Timbers in goals and assists in 2013, making him the latest superstar in that mold. But with Valeri absent in the preseason, Fernández took his spot as the team’s playmaker and looked like a natural. Much will depend whether they can strike up a relationship—or just get in one another’s way.

Will team doctors see more of Steve Zakuani than the Timbers Army does? The Timbers gambled when they signed Zakuani from Seattle in the offseason. He might not be the same player who scored 10 goals in his first season with the Sounders. A Colorado Rapids player shattered Zakuani’s leg in 2011, and since then the Timbers’ acquisition has spent more time on the injured list than on the soccer field. “If he’s back, what an awesome addition,” Strong says. “If not, they have plenty of other quality players at his position.”

Willamette Week FEBRUARY 26, 2014 wweek.com

no.

BECAUSE

WE’RE NO. 1 IN SEMIFACTUAL SUPERLATIVES NO. 1 AMERICA’S 10 BEST CITIES Movoto real-estate blog, Dec. 2013

NO. 1 AMERICA’S UNHAPPIEST CITIES BusinessWeek, March 2009

NO. 1 AMERICA’S 50 GREENEST CITIES Popular Science, Feb. 2008

hat comes to mind when you think about why you love Portland? Powell’s, beer, strippers, third-wave coffee, food carts, weird doughnuts, water fountains that don’t stop running, plastic horses tied to metal rings... Sure. But this week, we’d like to point out a few other, more personal and idiosyncratic reasons this city still wows us—whether we’ve just moved here or been taxpayers for decades. Such as having the world’s most entertaining basketball bloggers, and the fact you can go to any restaurant in town wearing flip-flops. OK, this idea isn’t original. The city magazine in a little burg 3,000 miles away has made an annual tradition of cataloging their mayor’s gym habits and the continued existence of the cronut. But that’s hardly a big deal—we have Pix’s macaronut, and it didn’t even make our list. Here are 26 things we’re excited about right now, starting with our city’s role in creating the world’s most used cryptocurrency, and making the dream of Cool Runnings a reality.

ou’ve heard of Bitcoin, the mysterious cryptocurrency that can now be used to buy a Whiffies fried pie or a lap dance at Kit Kat Club. But even if you haven’t yet figured out that popular Web-based currency, it’s already Grandma’s cryptocoin. Litecoin, Quarkcoin and Peercoin are equally outré. You might as well be paying for your sandwich in Mariah Carey CDs. The new king of virtual money is Dogecoin, which IBM programmer Billy Markus invented in Beaverton three months ago. On Jan. 14, it overtook Bitcoin as the world’s most popular cryptocurrency. Currently, $2.5 million in Dogecoin changes hands every hour. And thanks to a Dogephile who took it upon himself to raise funds in the currency to send the Jamaican bobsled team and the Indian ski team to the Sochi Olympics, it made international news outside Wall Street Journal think pieces. There’s even a Dogecoin ATM in Vancouver, B.C., which consists of a tablet computer glued to a briefcase. Thing is, it started as a joke. In November, New Zealander Jackson Palmer tweeted, “Investing in Dogecoin. Pretty sure it’s the next big thing.” A “doge,” if you’ve been hiding under your dad’s barbecue apron for the past year, is a ridiculously versatile Web meme—a shiba inu who speaks charmingly lobotomized English.

no.

BECAUSE

OUR VIRTUAL MONEY IS TAKING OVER THE WORLD

“I thought, ‘Ha!’” says Markus. “That’s pretty funny. I should just make this.” So he did. In four hours, hopped up on caffeine, on a Friday night, he cloned Dogecoin off another Web currency and showed Palmer his work. By December, Dogecoin was born. Every Dogecoin in existence now

totals about $51 million. Instead of E pluribus unum, the JPGcoin’s rim says “wow much coin how money so crypto plz mine v rich very currency,” around a pic of a shiba inu. Its popularity spiked on the social network Reddit, where commenters tipped each other in Dogecoin—valued at a hundredth of a cent—for charming or helpful comments. Within a month, the currency gained enough traction that Dogecoin fundraisers were able to exchange it on a Chinese marketplace for tens of thousands of dollars to fund Olympic teams’ travel. Palmer says he’s been offered $500,000 for the currency, but that accepting money would be against the spirit of Dogecoin. Instead, he supports a foundation for service-animal charities. “You know what I’m going to tell my grandkids?” he told the blog Techly.com. “I’m going to tell them that we paired service dogs with children in need, off the back of a fucking joke.” Nothing could be more appropriate to our fair city: A world-beating virtual currency, based entirely on social capital, used for the whims of well-meaning people who aren’t sure whether what they’re doing is a joke. “It’s completely unregulated,” says Markus, who stresses that people should not invest seriously in Dogecoin. “It’s the wild west.” MATTHEW KORFHAGE.

NO. 1 AMERICA’S BEST BIKE CITIES Bicycling magazine, 2012

NO. 1 AMERICA’S BEST CITIES FOR MOVIE LOVERS Movoto, Oct. 2013

NO. 1 AMERICA’S BEST BEER CITIES Travel + Leisure magazine, May 2013

NO. 1 AMERICA’S TOP 10 CITIES FOR CASUAL SEX OkCupid dating site, Aug. 2011

NO. 1 AMERICA’S TOP 10 CITIES FOR BOOK LOVERS livability.com, Sept. 2011

NO. 1 AMERICA’S TOP 10 PET CITIES livability.com

NO. 1 AMERICA’S BEST CITIES FOR PEOPLE 35 AND OVER vocativ.com, Nov. 2013

NO. 1 AMERICA’S LEAST RELIGIOUS CITIES 2010 U.S. religion census, May 2012

NO. 1 AMERICA’S MOST STRIP CLUBS PER CAPITA tuscl.net, May 2012

NO. 1 AMERICAN CITY WITH MOST SEMIFACTUAL SUPERLATIVES Willamette Week, Feb. 2014

Willamette Week FEBRUARY 26, 2014 wweek.com

no.

arlier this month, a new 40-tap growler station opened in the 3300 block of Southeast Hawthorne Boulevard. Its floor is painted like a green bike lane, its shelves lined with 64-ounce brown beer jugs. The new Growlers Hawthorne has a lot of competition. Up the street in the 3800 block, the Fred Meyer grocery store added its own taps a week before Growlers. In the 3700 block, the Bagdad Theater fills growlers with Hammerhead and Terminator. In the 3200 block, Bazi Bierbrasserie has filled growlers since it opened two years ago. The Safeway at 2800 also fills growlers, as does Lardo at 1212 and Lucky Lab at 915. Meanwhile, in the 4100 block, Hawthorne Hophouse has 24 taps available for beer to go, and in the 4700 block, Apizza Scholls fills growlers to go for $10 with the purchase of a pie. And that’s just one section of one street. Restaurants, bodegas, beer bars and grocery stores all over Portland are now filling jugs with fresh, ecologically responsible kegged beer to go. More are coming every day. At this rate, they’ll soon be on nearly every block. MARTIN CIZMAR.

BECAUSE

YOU WILL SOON BE ABLE TO GET A JUG OF BEER ON EVERY CORNER

26 REASONS

COURTESY OF PONG WOLFGUN

CONT.

no.

TOM OLIVER

no.

BECAUSE

WE’RE UNWITTINGLY FOMENTING SECESSIONISM WITH SOCCER FLAGS

BECAUSE

STEVE NOVICK IS AMERICA’S MOST ENTERTAINING CITY COUNCIL MEMBER

ne year into Steve Novick’s first term in the first elected office he’s ever held, we can’t tell if the city commissioner has the diligence to make significant reforms in the operations of Portland government. Here’s what we do know: He makes it infinitely more entertaining. Bearing no small resemblance to comedian Patton Oswalt in both physical manifestation and online presence, Novick has seen his election as an opportunity to become the city’s blogger-in-chief. He launched a campaign against DirecTV for charging him for football games he didn’t want. He wrote a letter to Santa Claus asking for hundreds of millions of dollars in transportation funding. He was recently in a prank war with talkradio host Lars Larson that involves plastic flamingos. All this whimsy carries the risk of reducing Novick to City Hall’s comic relief. But in recent months, his jokes have taken an intriguingly combative tone. He’s begun questioning city spending platitudes. His suggestion that the Police Bureau could save money by abandoning the War on Drugs—a “failed national 40-year effort”—is radical and substantive. Most famously, he has declared his own war on The

no.

BECAUSE

MOVIE THEATERS WITH BEER WILL SOON OUTNUMBER MOVIE THEATERS WITHOUT

ntering a Portland movie theater that doesn’t serve alcohol feels like fi nding a dry county in Nevada: alien, disappointing, even disconcerting. But what has long

Oregonian’s right-wing editorial board, using Seattle Seahawks cornerback Richard Sherman’s notorious rant as a springboard for his own jeremiad. “We’re the best City Council in the league,” Novick wrote in January. “And we’re not going to be bullied by some sorry Orange County right-wing publisher.” In that screed, Novick nicknamed his colleagues the “Council of Boom.” But it’s Novick who could make real noise. For the first time, he’s using his natural likability to upend the status quo. Keep it up, and he could demonstrate that the pun is mightier than the sword. AARON MESH.

been an integral part of moviegoing in this city—get your ticket, get your popcorn, get your pint—is about to hit a tipping point. Provided three pending Oregon Liquor Control Commission permits go through, cinemas with booze will outnumber those without. Very soon, beer will flow at 14 of Portland’s 24 movie theaters. We’re already lauded as a city for mov ie lovers—movoto.com recently ranked us No. 1, thanks to all our film societies and festivals and repertory theaters. But we have beer lovers to thank for the fact that we’re drinking stout instead of Sprite at the cinema, whether at a French art fl ick or revival screenings

resumably, Major League Soccer didn’t absorb the Portland Timbers to foment secessionist unrest. It would take a lunatic to suggest that. It’s a fact, though, that the banner of the Cascadian Independence Project had been around since 1994 and yet was obscure before the Timbers joined America’s top soccer league in 2009. For the unfamiliar, the project is an effort to gain political or economic independence from the United States and Canada for the Pacific Northwest. It blends lefty environmentalism with libertarian freedom-loving. Before the Timbers entered MLS, Elmer’s Flag & Banner in Portland was the sole manufacturer for the Cascadian flag, known as the Doug Flag, and it wasn’t selling many. All of a sudden, people started pouring in for it, said former Elmer’s owner Mike Hale. “I was surprised,” he said. “I was saying, ‘What do you want that for?’” Now dozens of the banners wave in the stands at every Timbers home game, including occasional section-sized versions. All of which can’t help but increase awareness for the secession movement that inspired the flag. No one’s saying soccer is just a cover for bringing down the government, but if it ever falls, we’ll be able to blame the Timbers. ALEX TOMCHAK SCOTT.

of Die Hard. Back in the early ’80s, the alcohol industry, led by the McMenamin brothers, lobbied the state Legislature to change a law that prohibited breweries from selling beer on the premises. That cleared the way for such McMenamins theaters as the Bagdad, the Mission and Kennedy School. But it ’s not just at the second-run theaters or indie arthouses—Hollywood, Cinema 21, Laurelhurst and so on—that you can enjoy some medicated moviegoing. Living Room Theaters will pour you a flaming Spanish coffee. You can sip a glass of syrah at downtown’s Regal Fox Tower, and Regal also has pending applications at

Lloyd Center and Pioneer Place. (When a Regal outpost in Little Rock, Ark., sought a liquor license, the state alcohol board scolded the theater’s managers.) Look south to California for comparison: There are nine cinemas in the entire city of Los Angeles (pop. 3.9 million) licensed to serve alcohol. New York recently rewrote its laws banning the sale of alcohol in movie theaters, but so far, only a few cinemas in New York City offer booze, and they’re required to have tables at each seat. Portland, of course, got rid of those dumb rules 30 years ago, and we’ve been tipsy during penguin documentaries ever since. REBECCA JACOBSON. Willamette Week FEBRUARY 26, 2014 wweek.com

Talk Show Doctor Reveals Digestion Remedy That Works Instantly! Television host and best selling author Dr. Bryce Wylde explains how a new aloe-vera extract can make bouts of heartburn, acid-reflux, constipation, gas, bloating, diarrhea, and other stomach nightmares disappear! By Damian Wexler, Freelance Health Reporter

ecently, alternative medicine expert Dr. Bryce Wylde, a frequent guest on the Dr. Oz show, revealed a simple secret that amazed millions who suffer with digestion nightmares. And people haven’t stopped talking about it since.

“I’d give anything to make it stop!” That’s what most people will tell you when asked about their digestive problems. “It’s just horrible says Ralph Burns, a former digestion victim. I was tortured for years by my AcidReflux. Sometimes I’d almost pass out from the pain. My wife suffers with digestion problems too. If she eats one wrong thing, she spends hours stuck in the bathroom dealing with severe bouts of constipation or diarrhea.”

FDA Warns About Popular Antacids A recent FDA warning explained that excessive use of antacids could lead to an increased risk of hip, wrist, and spine fractures. Especially in people over the age of 50. So when alternative medicine expert Dr. Bryce Wylde discussed an alternative on National TV, you can imagine how thrilled people were to find out they could finally get relief without having to rely on Prevecid®, Nexium®, Prilosec® and other dangerous antacids. But now, according to Dr. Wylde, your stomach problems could be over by simply drinking a small amount of a tasty Aloe Vera extract. It’s as simple as that!

Finally There’s Hope... At first, the thought of drinking aloe vera might make some people back away. But in fact, this delicious “digestion cocktail” is doing amazing things for people who suffer with stomach problems --- even if they’ve had them for years. Here’s how it works…

Stop Stomach Agony Your stomach naturally produces acid so strong, it can dissolve an aluminum spoon in just 30 minutes! And when excess acid escapes into your esophagus, throat and stomach lining, it unleashes the scorching pain of Acid-Reflux, heartburn, ulcers and more misery. Add the problems of stress, and “all hell breaks loose.” Dr. Liza Leal, a well known expert on chronic pain management explains... “The AloeCure® can work genuine miracles. it buffers high acid levels with amazing speed. So your stomach feels completely at ease just moments after drinking it.” In fact, it could wipe out stomach pain, discomfort, and frantic runs to the bathroom.

Until Now, Little Could Be Done... But “AloeCure® can help virtually anyone. Even people with chronic stomach pain can feel better right away,” says Dr. Leal. And what’s really exciting is AloeCure® aids in keeping your digestive tract healthy, so intestinal distress stops coming back.

Willamette Week FEBRUARY 26, 2014 wweek.com

cont.

Digestion Defender #1: Balances Stomach Acid Your first line of defense is calcium malate. This natural acid buffer instantly sends stomach acid levels plunging. And holds acid levels down so they don’t return!

Dr. Bryce Wylde, frequent guest on the Dr. Oz show and author of the best selling book, Wylde on Health

Digestion Defender #2: Instant, Soothing Relief

AloeCure® is brimming with polysaccharides, a “wonder” compound that gently coats the throat, esophagus and stomach, carrying instant relief to cells scorched by excess acid.

Here’s What Doctors Are Saying!

AloeCure® is backed by important scientific studies that confirm... aloe calms stomach acid and allows your body to heal itself. Dr. Liza Leal, M.D & Chief Medical Officer at Meridian Medical. says, “That’s why I recommend it to patients who suffer from bouts of heartburn, Acid-Reflux, ulcers, and irritable bowel syndrome...” Dr. Santiago Rodriguez agrees. “Just two ounces of AloeCure® reduces the acids in your stomach by ten times.” Francisco DeWeever, a Certified Nutritional Microscopist, “My patients report their IBS, Crohn’s, Colitis, Constipation, Acid-Reflux and a host of other digestive problems have all but disappeared.” Dr. Bryce Wylde says that pure Aloe Vera extract like AloeCure® may be the most important application ever discovered for digestive health!

Safe And Easy To Use With no sugar, no stimulants, and zero calories, AloeCure® is safe, all-natural and has absolutely no side effects. It’s tasty, drug-free, and simple to use. Just drink two ounces, once in the morning, and once at night, and start enjoying immediate life-changing relief!

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26 REASONS will levenson

SPECIAL REPORT:

claudia

no.

BECAUSE

WE’RE TEACHING THE ARAB WORLD HOW TO BELLY-DANCE LIKE US

n the late 1970s, a mercurial Jordanian belly dancer named Badawia thrilled sell-out crowds at downtown Portland Greek nightclubs like Athens West. Her unique style—oh-so-gradual veil removal, a floor-writhing sequence interpreting childbirth, an emphasis on “snake arms”—was wildly influential locally, leading acolytes to create a new form of the ancient dance. They call it American Cabaret, Portland-style. “You can look at a dancer and say, ‘She’s definitely from Portland,’” says Claudia, a prominent local belly-dance instructor. “We get hired to teach this style around the world.” Badawia is long retired, but students of her students are now exporting Portland-style belly dance to India, China, Japan and even back to the Middle East. Last year, Claudia—who learned from world-renowned dancer Aziza, herself taught by Ruby, a star pupil of Badawia— was hired to teach belly dance in Turkey, often considered the wellspring of the art. “I did not expect the audience to go as crazy as they did—they were crying, talking to me after,” Claudia says. “The float move we do across the stage is definitely something Aziza brought. That drives crowds wild. That and the tail spin.” Claudia says Portland style is defined by an emphasis on emotional expressiveness and improvisation—fewer of the shimmies and pop-and-locks that give a dancer the jiggles, and more use of veils, finger cymbals (called zills) and expansive arm movements borrowed from another emerging strain of West Coast belly dance: tribal style. “With travel and the Internet, everyone’s fusioning,” Claudia says. “But you can’t run away from your basics. Badawia taught Ruby, Ruby taught Aziza, and Aziza is teaching the world.” RAMONA DeNIES.

26 REASONS

cont.

BECAUSE

MIDDLE-CLASS PEOPLE RIDE THE BUS O

last compiled in 2011, show that an astounding 84 percent of passengers are “choice riders”—people with cars who decided to take public transit—as opposed to “captive riders,” who have no other option. Even if these numbers are generous (and even if the dichotomy is false), it’s clear the stigma of taking the bus simply doesn’t apply in this town. The result is that riding the No. 6, the No. 77 or the No. 14 is a journey into the most diverse rooms in Portland—on wheels. You’ll meet a cross-section of people who want to be there, people who don’t, and people whose desires are both louder and more mysterious. Everybody’s getting home. AARON MESH.

et’s say, God forbid, that you’re stuck at Sea-Tac Airport, in the exurban wastes of Seattle. The seats are slimed with Microsoft. It stinks of Frasier. You need a beer more than you’ve ever needed a beer in your life. You’ll end up at a crappy, corporate “Seattle Taproom,” and you’ll pay $8.75 for a craft beer, and you’ll say thank you, because you can’t go anywhere else. But at Portland International Airport, that pint of Laurelwood costs a mere $4.75, same as at the brewery on Northeast Sandy Boulevard. Why? Because since 1998, the Port of Portland requires that retail and food shops at the airport charge the same price at the airport that they would in the big, beautiful world beyond the security gates. According to port spokesman Steve Johnson, the airport actually sends out street teams to verify that pricing is the same at PDX as it is in Portland proper. The Port of Portland apparently doesn’t read Forbes magazine. Because if it did, the port would know that fettering the free market’s ability to pricegouge captive airport customers would lead directly to food riots and stabbings. Restaurants would fail one by one until the food desert spanned the concourses, causing laid-over travelers to resort to eating each other’s tender, meaty thighs. Presumably, Moda Center concessioners understand this, which is why a Laurelwood beer in a plastic cup there goes for what the market will bear: $9. Not at our pinko airport. And PDX fliers nonetheless spend $11.61 per passenger on our mostly local concessions, 64 percent more than the industry average for airports. Just like Winston and Julia, you will learn to love Big Brother. MATTHEW KORFHAGE.

Portland, or

new York

Miami

IT’S NOT AS WET AS YOU THINK

ebruary has found Portland suffering torrential downpours. In the last two weeks, the city accumulated 3.62 inches of rain. But, as it happens, that’s more rain than we got in each of the months of October, November, December and January. Despite our damp reputation, Portland is not among the wettest cities in the country. It’s not even the wettest Portland. Here is the average annual precipitation in a number of notable U.S. cities, according to the National Oceanic and Atmospheric Administration.

Inches of rain per Year

BECAUSE

n the past decade, there have been 23 cyclists killed on city streets in Portland. In 2012, there were two deaths, same as in 2011. But while Portland’s streets aren’t as safe as they could be—six pedestrians have been killed crossing streets in the last three months—not a single cyclist died on city streets in 2013. Bike advocates hope the city can keep that streak alive for a decade. Rob Sadowsky, executive director of the Bicycle Transportation Alliance, says it’s possible. “We know we can create separated facilities for bikes and streets,” he says, “[and] work toward better driver-education classes and DMV tests.” That means more projects like the $4.7 million South Waterfront Greenway approved by the City Council on Feb. 5. According to a recent citycommissioned survey of 800 Portlanders regarding the city’s transportation budget, a whopping 64 percent said they favor a city transportation package that includes protected bike lanes or offstreet paths. KATHRYN PEIFER.

100

no.

houston

n the second night of the recent snowfall, a police squad car pulled over the No. 15 TriMet bus near JeldWen Field. W hat seems to be the trouble, officer? The cop wanted the driver to know that a would-be rider was stumbling through the powder, trying to catch a lift. The driver waited— then refused to charge the latecomer a fare. “Everybody’s getting home!” she bellowed. “I’m not filling out any paperwork tonight!” The passengers cheered. A woman passed around a bag of peanut-butter cups. Not every bus ride in Portland is so convivial, as a quick glance at the #TriMet hashtag on social media will prove. Yet for all the hostilities the regional transit agency has accumulated, one fact makes Portland a happy anomaly: People ride the bus because they want to. TriMet’s official ridership numbers,

NO ONE DIED ON A BIKE IN THE CITY LAST YEAR

BECAUSE

b e n wat e r h o u s e

no.

OUR AIRPORT PROVES THE COMMAND ECONOMY WORKS

BECAUSE

olympia

ustin, Texas, has never forgiven us for stealing the “Keep Portland Weird” motto from them. Well, hate to break it to our unofficial sister city, but we’ve jacked their other claim to fame: Based on statistics, Portland is the leading city for live music per capita in America. The numbers are complicated,

asheville, nC

atlanta

THE STATS SAY WE’RE THE REAL CAPITAL OF LIVE MUSIC

no.

honolulu

BECAUSE—SORRY, AUSTIN—

no.

Jackson, Ms

but according to the concert-industry trade publication Pollstar, we’ve got more claim to the title. Six Stumptown venues—Roseland Theater, Wonder and Crystal ballrooms, Aladdin Theater, Hawthorne Theatre and Doug Fir Lounge—finished in the top 100 for ticket sales in 2013. Austin had only two venues on the list. Altogether, the listed Austin venues sold 150,000 fewer tickets than the Portland venues. Sure, one can argue those figures don’t reflect the fact that Austin hosts three major music festivals during the year, but is touting an exponentially devolving shit-show like South by Southwest really something to be proud of? Don’t worry, though, Austin: Your barbecue is still pretty good, we guess. MATTHEW SINGER.

Portland, Me

no.

Willamette Week FEBRUARY 26, 2014 wweek.com

cont.

no.

EMMA BRoWnE

26 REASONS

no.

BECAUSE

OUR AIRPORT IS AN UNWILLING BASTION OF FREE SPEECH

OUR FOOD CARTS SELL FOOD FROM GUAM, BELIZE, MAURITIUS, TRINIDAD…

….and Ethiopia, Argentina, Brazil, England, Scotland, El Salvador, Colombia, Venezuela, China, Georgia, Poland, the Czech Republic, France, Germany, Greece, Nepal, India, Indonesia, Iran, Iraq, Israel, Italy, Japan, Korea, Lebanon, Egypt, Mexico, Morocco, Norway, the Philippines, Fiji, Peru, Canada, Uruguay, Romania, Thailand, Turkey, Portugal, Vietnam and Australia. SEE: PDX 671, Love Belizean, Chez Dodo, Trinidad Doubles, Emame’s, Argentina PDX, Brazilian House, London Pasty Company, the Frying Scotsman, Pupuseria la Flor, El Pilon, La Arepa, Beijing House, Kargi Gogo, Taste of Poland, Tabor, Perierra Creperie, Altengartz, Ramy’s Lamb Shack, Momo, Tiffin Asha, Batavia, Caspian Kebob, Saaj Baghdad, Gonzo, Burrasca, Minizo, Koi Fusion, Lebanosh, Elmasry, Lindo Michocan, Gamila, Viking Soul Food, Inasal, Taste of Fiji, La Sangucheria, Potato Champion, PDX Empanadas, Delicios, Run Chicken Run, Istanbul Delight, Eurotrash, Saigon Food to Go, and Jaffles and Wraps.

no.

14 BECAUSE

THE MOST UNDERRATED BAND OF THE ’90S IS STILL HERE

am talking, of course, about Everclear. A lot of people in Portland are dismissive of Everclear. These people sneer as they voice the name Art Alexakis. They dismiss Sparkle and Fade and So Much for the Afterglow as pop-punk novelty records that killed time and brain cells between Dead Moon and Typhoon. These people are idiots. In fact, the two aforementioned albums are the most emotionally vulnerable and melodically clever recordings released by any Portland artist not named “Elliott Smith.” And they rock harder. They offer the big, blunt catharsis that will always be described as “dumb” by people who have never had the joy of a welfare Christmas. Everclear is the band that rattles the bones of a damaged, dismissed city beneath the cheese shops lately built atop it. The band carries with it a rollicking sadness that will never be respected. It will always be weird inside. It will always be lame. Forever and ever, amen. AARON MESH. 16

Willamette Week FEBRUARY 26, 2014 wweek.com

ART ALEXAKIS

no.

15 BECAUSE

CITIZENS WILL GO TO THE MAT OVER HORSES, SWIMMING POOLS AND POT FESTIVALS

ere are a few of the items that Portlanders have argued about during public hearings in City Hall over the past two years: • Protecting the city’s water supply from the fluoride chemicals found in nearly every other city’s water supply. • The number of parking spaces each apartment building should have. • Police riding horses. • The possible end of funding for a swimming pool in a basement. • Which city park should host a marijuana festival. Yes, this list exposes the Portland citizenry to a certain amount of ridicule. (A lot of ridicule.) But it also betrays a laudable tendency to fight to protect a way of life that would disappear without vigilance. The Buckman Pool does not protect itself, and water does not naturally remain unfluoridated. These things require NIMBYs. We should be earnestly grateful to the characters who protect this city’s characteristics. Without them, we’d just be Seattle. AARON MESH.

no.

ast month, Portland International Airport welcomed tourists to the “Home of the Clear-Cut.” The ad was a protest by Oregon Wild. Despite the group offering cash, the Port of Portland, which runs the airport, never wanted the ads displayed. But thanks to arguments from the American Civil Liberties Union of Oregon and the December ruling of Judge Pro Tem Eric J. Neiman, the ads were shown on a rotating video display above the escalators leading to the airport’s baggage claim. As visitors arrived in Portland, they were greeted with photos of mountainsides stripped bare of trees by rapacious and under-regulated logging. It’s as if LaGuardia showed dioramas of garbage trawlers, or Cleveland Hopkins’ arrivals gate suggested visiting “the river that caught fire.” In short: It was a showcase of the perverse glory of free speech, and a reminder of our shame that should make us proud. Having proved its point, Oregon Wild stopped paying for the ad, which has been taken down. AARON MESH.

no.

18 THERE’S NO RESTAURANT WITH A WE HAVE SOME OF THE WORLD’S MOST BIZARRE BASKETBALL WRITERS DRESS CODE I P BECAUSE

BECAUSE

ortland’s finer restaurants have come up w it h a lot of ways to encourage you not to wear a hat, hoodie, holey jeans or sneakers into their refined environs. “Smart casual,” they say, or “business casual,” or “casual sophistication.” And yet, no public restaurant in Portland dares tell patrons what to wear. We know, because we hit the best 100 in town for our annual Restaurant Guide and because we are—we’ve been told—sloppy-ass slouches. Oh, we’ll button up from time to time, but, for the most part, I drop $200 on dinner for two dressed in the same hoodie and ball cap I wear to work. And everywhere I go, I’m treated quite well. Some restaurants get close. Two chefs ago, Genoa had a soft dress code, and it’s still partial to nattily dressed diners. Earlier this month, a waiter at Departure, the retrofuturist Asian fusion joint atop the Nines hotel, asked my colleague Matthew Korf hage to remove his cap. Mr. Korfhage politely declined and the matter was dropped. MARTIN CIZMAR.

n the beginning, there was FreeDarko, and it was weird. FreeDarko was a blog. FreeDarko was named after Darko Milicic, a former NBA player who was not talented at playing basketball. FreeDarko was the brainchild of Bethlehem Shoals, a Wieden + Kennedy copywriter (real name: Nathaniel Friedman) whose analysis of the NBA was often interrupted by digressive fantasias such as “If Dirk Nowitzki Was a Chair, What Kind of Chair Would He Be?” Shoals’ fusion of avant-garde comedy and incisive basketball analysis has garnered him a lot of imitators. Few have taken his model to quite the extremes as his hometown colleagues at the Portland Roundball Society—who concentrate on the Trail Blazers in ways that usually involve several references to dragons. A recent recap by Joe Swide of an otherwise unremarkable Blazers win over the Minnesota Timberwolves started with a long paragraph focusing on the possibility that Timberwolves star Kevin Love missed the game because he was up all night holding open a barf bag for a teammate vomiting raw goat. These are, it goes without saying, the best Blazers game recaps in the city. AARON MESH.

CONT. COURTESY OF PITTOCK

26 REASONS

ing a sweat from standing eganism has the tendency to be a scary cult of conon their tiptoes to see the no. vegan offerings of the top sumption. Armed with an encyclopedic knowledge of shelf. This is apparently the proper position to assume well-rehearsed, horrific details when working to demonrelating to the meal you’re tryBECAUSE ing to eat, contentious vegans strate the superiority of their diet for the economy, might just leave you facing a real moral dilemma. Only the ecology and personal if, however, those facts were health. Our fat vegans serve as being delivered by someone obviously faster, stronger or proof there are no hidden paths to happiness. prettier than yourself. They show us that moralFortunately, Portland has fat vegans. ity doesn’t arise from that which is best for other You don’t have to worry beings, but rather that the a b out w het her some one true meaning of life is about might be a vega n; as the Facebook meme goes, they’ll tell you. justifying one’s own desires and indulging Here in Portland, though, the quickest without remorse before ever having to deal way to spot one in the wild is to visit a with the consequences of those actions. Voodoo Doughnut and look for any indi- And that even vegan fare can, indeed, be viduals breathing laboriously and break- all too delicious. RIAN NIELSEN.

WE HAVE FAT VEGANS

his year, Portland’s origSometimes Pittock rode no. inal hipster hangout is all the way to his paper mill celebrating its centennial. in Camas, Wash.—a 23-mile That, of course, is the drive on modern roads. Pit tock Ma nsion, the P it t o c k w a s a l s o a n 22-room West Hills estate outdoorsman, ascending BECAUSE built for Weekly Oregonian Mount Hood four times. publisher Henry Pittock His love of the wilderness and his family. extended to his own garden, Finished in 1914, the which favored local plants mansion-turned-museum in a naturalistic setting. sits on 46 acres just north “There were plans drawn of West Burnside Street. up for elaborate gardens— Ta ke a tour, a nd you’ll terraced, manicured flower learn about Pittock, his beds—and he didn’t do any wife, Georgiana, and their of that,” Bones says. “He children. One thing becomes quickly said, ‘I like the forest how it is.’” apparent: These pioneering Portlanders Georgiana favored sewing and garshared many of the same interests we do dening. “You can think of her as a crafty, today, including bicycling, ecologically hands-on person,” Bones says, “between responsible permaculture gardens, hik- all the rose gardening she did and the ing and crafting. sewing guild.” “It’s not as if they were the only people The Pittocks also liked to fiddle with in their time who were doing these sorts then-modern devices: The mansion had of things,” says Marta Bones, executive lines for both of Portland’s rival teledirector of the mansion. “But they were phone services to keep the couple on top very enthusiastic about them.” of news and trends. Cycling, for starters. Pittock, who “He was always working hard to wore a thick goatee and locally made find out the news early, so he was conwool clothing, was known to take long stantly trying to be aware of what was rides on his fi xie. going on locally,” Bones says. “They “He took it up later in his life because wanted to be able to communicate bicycling wasn’t really a thing until the with anyone they needed to, in the late 1800s, so he started bicycling when way we might have an iPad and the he was a senior,” Bones says. “But he best, fastest Internet connection.” would bike all over.” MARTIN CIZMAR.

EVEN OUR CITY FATHERS WERE PROTOHIPSTERS.

no.

22 BECAUSE

WE ARE NOW THE OFFICIAL ARBITERS OF GOOD COFFEE

ortland has long claimed to be the nation’s best coffee city. Since October, when the Alliance for Coffee Excellence opened an office here, we’re actually the official deciders of the world’s best beans. “We’re in the mecca,” says Anna Abatzoglou of the ACE. “Portland very much treasures quality, and our program is about quality coffee.” The ACE is a global not-for-profit organization that owns and operates the “Olympics of coffee,” known as the Cup of Excellence. It was founded in 2002 in Missoula, Mont., and still maintains its headquarters there. But, as it expanded, the organization wanted to open an office in a city more accommodating to coffee-world dignitaries and a large base of serious baristas. That was neither Seattle nor San Francisco. “It was definitely always Portland,” Abatzoglou says. “I think Portland has a spirit, a vibe going that is conducive to what’s happening in speciality coffee.” The Cup of Excellence involves coffeebean farmers from 10 countries in Africa

and the Americas. Their beans go through a three-week competition where thousands of samples are cupped using a ceramic glass and a bowl-shaped spoon, with scoring based on acidity, sweetness, flavor and aftertaste. “You want to get the proper extraction from the coffee, and there’s this very strict protocol for cupping, especially for Cup of Excellence,” Abatzoglou says. Once the winners are chosen, the coffee is priced and sold at auction. Sisters Coffee Co., Nossa Familia and Nordstrom Cafe currently serve Cup of Excellence coffee in Portland. Abatzoglou says the farmer who produces the superior beans is given roughly 85 percent of auction proceeds. The remaining 15 percent goes back to the country coordinators of Cup of Excellence. “Portland really cares about traceability and cares about a sustainable infrastructure,” Abatzoglou says. “The coffee is the best coffee in the world, but it’s also a win-win situation because it is the farmers who get rewarded.” KATHRYN PEIFER.

EMMA BROWNE

no.

20 BECAUSE

WE’RE ABOUT TO FINISH THE ONLY BRIDGE IN THE COUNTRY THAT CARRIES TRAINS, BUSES, BIKES AND PEDESTRIANS BUT NO PERSONAL CARS Willamette Week FEBRUARY 26, 2014 wweek.com

top public and private consultants on how these grand changes can benefit your business and neighborhood! Michele Reeves founded Civilis Consultants to assist commercial districts, businesses, and large public sector organizations to recognize and leverage their strengths, accomplish economic development goals, and craft their unique stories to create compelling, multi-faceted brands.

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MEDALLION THE WHITE EAGLE, SAT. MARCH 1ST, 9 PM

This event is free to all dues paying DCBA members. Members please respond to treasurer@peoplepc.com. Non-members are welcome for a $10.00 fee. Purchase non-member admission by clicking on the PayPal button at www.divisionclinton.com or you may pay at the door. To join the DCBA, go to www.divisionclinton.com/join and follow the instructions in red.

HEARD S TO BE 25 YEAR IT TOOK

WITH THE TUMBLERS AND THE STUBBORN LOVERS Made possible in part by a grant from

7:30 PM MARCH 1st

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Afraid of political persecution, Dmitri Shostakovich silenced the 1936 premiere of his masterful Fourth Symphony. Twenty-five years later, he was no longer fearful, and audiences celebrated the first performance in 1961. Not heard in Oregon for 29 years, the Portland Youth Philharmonic invites you to experience this monumental work. This performance also features: WALCZYK: Celebration Fanfare

MUSIC PG. 27

BARTOK: Concerto for Viola Samuel Zacharia, Viola, PYP Concerto Competition Winner

$9 TICKETS WITH THE CODE WORD “SHOSTY”

CALL 503.223.5939 O R O N L I N E AT www.portlandyouthphil.org @PDXYouthPhil

Willamette Week FEBRUARY 26, 2014 wweek.com

FIND US!

cont.

23 BECAUSE

QUESTLOVE IS OBSESSED WITH US

he Eagles may have robbed Chip Kelly from the state of Oregon, but that ’s still a lopsided trade, considering that, long ago, Portland stole of the heart of Philadelphia’s coolest son. Ahmir “Questlove” Thompson— drummer for rap’s greatest live act, the Roots; walking music encyclope-

no.

24 BECAUSE

PORTLAND IS QUICKLY GOING CASH-FREE Y

ou’ll be telling your grandkids this story, and they won’t believe you. In 2010, if you wanted a homemade Bosnian pita from a trailer in front of the Governor Hotel, you had to pull wadded-up fabric—laden with disease and cocaine—out of a strip of cow leather. And the lady at the cart would

dia; Afro enthusiast; Time’s Coolest Person of 2013; and, as of last week, the new Tonight Show bandleader— grew up in the city of brotherly love, dog-fighting quarterbacks and winging batteries at Santa Claus. But if his current job didn’t require him to stay in New York, he’d be kicking it in the land of craft beer and roses. “My All-Time Favorite City In The World!” Thompson tweeted last June, when he dropped in to DJ at the Do Over, a hip-hop day party at Produce Row in Southeast Portland. That’s not an empty platitude of the sort rock stars use to get cheap applause: He’s been shouting out Stumptown for years. Back in 2008, when Rolling Stone asked him about the places he’d most like to live, he

actually trade that filth for delicious beef burek and phyllo bread. Well, thank God, that’s almost over. Since the addition of pointof- s a le c a r d r e ader s s uc h a s Square, it ’s gotten to the point where you can count Portland’s c a s h- on ly r e s t au r a nt s on 10 knuckles. Lazy Portland has been a ridiculously enthusiastic adopter of credit-card readers. In 2012, our city was No. 1 in per-capita Square usage nationwide. Today, we’re still among the leading cities, while also using scrappy, local card-reader startups like Ulutu. We currently count 75,000 of those little Square readers among the city’s merchants. That’s one for every nine people in town. You can buy fresh raspberries with your debit card at the

no.

25 BECAUSE

emma browne

THE HOOLEY REATTACHED SOUTH PORTLAND TO THE CITY

said Portland tops his list “because of its record stores—plus it has the most strip clubs in America per capita.” Three years later, in Philadelphia magazine, Thompson reiterated his infatuation, ranking us above Austin, Tokyo and, yes, even Philadelphia, adding Nike headquarters and our “awesome throwback ’80s arcade” to his reasons for loving Portland. The tourism bureau might as well shred every livability study and whatever else it uses to sell the city to outsiders: When a guy who’s jammed with Elvis Costello, Jay-Z and President Obama is envious of our ability to play BurgerTime whenever we want, what other testimonial do you need? MATTHEW SINGER.

freaking farmers market. You can use cards to pay for parking. Just this year, Escape From New York Pizza backed down from a 30-year cash-only policy. Beulahland, Dots Cafe and the Slammer Tavern now take credit. Even the vast majority of food carts have little readers on their phones and iPads—although notably not Burrasca, our newly minted Food Cart of the Year. We offer, humbly, a very tiny hit list of brick-and-mortar holdouts, in no particular order: Voodoo Doughnut, Boxer Ramen, Fuller’s, Taqueria Los Gorditos, Roadside Attraction, Lemongrass Thai. Just wait, in five years there will be protests at their doors. It’ll be 1968 all over again. It’ll be Apple’s “1984” commercial. Watch out. MATTHEW KORFHAGE.

moved to Southwest Portland’s Corbett-TerwilligerLair Hill neighborhood 40 years ago, just before Willamette Week published its first issue. My house—heat, water and electricity included—totaled $90 a month. Back then, CTLH—which officially shortened its name to South Portland in 2006—was a hippie haven home to the city’s biggest LSD manufacturer. It has everything I want: great neighbors, modest Victorian houses, a grocery store across the street, easy access to I-5. That last item created the neighborhood’s one major drawback: The Willamette River lies just a few hundred yards to the east, but it’s been largely inaccessible since the freeway severed the neighborhood. But, a few years back, the city hung a tram on Pill Hill. With it came a sop to the neighborhood in the form of a 700-foot steel-box girder bridge across I-5 for pedestrians and cyclists. That bridge—officially named for former U.S. Congresswoman Darlene Hooley but often mistakenly called the Gibbs Street bridge—has changed the way my neighborhood relates to the city. Suddenly, we’re connected to the waterfront parks, the new Sellwood Bridge, the Hawthorne Bridge, the Esplanade and the streetcar line that will soon be a complete loop between downtown and the east side. In a year or so, it’ll be possible to bicycle from my house all the way to Gresham while riding only a few blocks on city streets. Gresham! What could be better? RICHARD H. MEEKER.

no.

26 BECAUSE

ROBIN LOPEZ IS THE COOLEST GUY IN THE NBA jerek hollender

no.

26 REASONS

ortland has a habit of falling for the wrong Blazers. There was our fling with Rudy Fernandez, who briefly enamored us with his exotic Eurotrashiness before whining his way out of the league and back to España. Patty Mills was sweet, but he was a certified towel-waver. Channing Frye was certainly charming, and he reciprocated our feelings, but his favorite restaurant was the Buffalo Gap in John’s Landing—major red flag. What we have with Robin Lopez is different. He’s different. He’s a lot like us. He loves comic books. He’s obsessed with all things Disney. He uses Twitter and Instagram to make references to Boy Meets World and The Goonies and crushing on Emmy Rossum. He plays Bruce Springsteen deep cuts as his pregame warm-up music. In a city of overgrown man-children, the Blazers’ starting center is the biggest kid of all. If he didn’t look like a walking oak tree and speak in the rumbling baritone of an orc standing guard over a medieval castle, he wouldn’t appear out of place hanging on a porch in Southeast Portland, ranking Harry Potter characters and arguing the merits of traditional cartoon animation versus CGI. These are not things NBA players are supposed to care about. Professional athletes are celebrated for having a single-minded focus on the game—see the media’s exaltation of near-sociopaths Kobe Bryant and Derrick Rose. When Lopez and his twin brother, Brook, were at Stanford, Sports Illustrated and The New York Times wrote profiles gawking at their love of video games and Michael Jackson. But Robin has never played up his outside interests for marketing purposes. He isn’t trying to brand himself as the NBA player non-basketball fans can relate to. He’s just a 7-foot, 255-pound rebounding machine, who also happens to rock a big reddish-brown ’fro and have strong opinions on wizards. Lopez doesn’t seem to know why any of this makes him cool—which is precisely why he’s the coolest guy in the league. And as long as the Blazers keep winning with him in the middle, he’s ours. May this relationship live long and prosper. MATTHEW SINGER. Willamette Week FEBRUARY 26, 2014 wweek.com

Karaoke 9pm nightly Hydro Pong Saturday night

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Willamette Week FEBRUARY 26, 2014 wweek.com

o od

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STEEL MY HEART ONE MORE REASON TO LOVE PORTLAND RIGHT NOW: THE IDEA OF SEALING YOUR RELATIONSHIP WITH A PADLOCK ON A BRIDGE SUPPOSEDLY BEGAN IN SERBIA, SPREAD THROUGHOUT EUROPE AND OVER TO PORTLANDâ&#x20AC;&#x2122;S STEEL BRIDGE. P H OTOS BY R ICHA R D H. MEEKER

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FOOD: Grilled pizza from Hawaii. MUSIC: Instrument theft in Portland. THEATER: Teens do August Wilson monologues MOVIES: Esoteric Oscar predictions.

24 27 36 40

SCOOP RONITPHOTO.COM

TWO STARS? HOW IS THAT GOOD?!

SHORT MOVE: Karam Lebanese restaurant will move from its 316 SW Stark St. location in March. “They gave me just 30 days’ notice,” Karam owner Majdolin Mossa says of the building’s new owner, BPR Properties of Palo Alto, Calif., which bought the Pioneer Building on Jan. 16. Multiple business owners on the block tell WW that BPR plans to turn the building into a hotel. BPR did not respond to requests for comment. Karam will reopen around the corner at 515 SW 4th Ave., the former home to both Jackson’s Lite-N-Tasty hamburger shop and Döner Kebab. Mossa says her restaurant will undergo significant work to change the décor of the former burger restaurant. “It’s not so far away,” she said, “so maybe my customers can find me.” Maxene Jackson, owner of Crimpers Hair Design next door, received an eviction notice without explanation and plans to rent a space in another downtown salon. “I’m kind of over the neighborhood anyway,” she says. “I’m just glad they’re not tearing the building down. I’ve been here 21 years. It was starting to turn into a blight on the neighborhood.” >> In other restaurant news, Moda Center will get Stumptown Coffee and Salt & Straw ice-cream counters in coming weeks, according to Trail Blazers president Chris McGowan.

Diabetes & Nutrition, Naturally WHAT CAUSES DIABETES?

FREE PRESENTATIONS: 1:30 p.m.

What is diabetes and how can naturopathic medicine treat it? Get the straight scoop from a naturopathic physician.

2:45 p.m.

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4:00 p.m.

Diabetes panel (“Ask the Doctor”). Your diabetes and nutrition questions answered by natural medicine professionals.

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The NCNM Clinic is located at the west end of the Ross Island Bridge. For directions, visit www.ncnm.edu and click on “Quick Links.” 3025 SW Corbett Avenue, Portland, OR 97201 • 503.552.1551

Willamette Week FEBRUARY 26, 2014 wweek.com

BLAINE TRUITT COVERT

NCNM Clinic Open House Saturday, March 8, 2014 • 1:30 – 5:00 p.m.

What can you do to prevent diabetes? Learn valuable tips and receive useful nutrition handouts from ND residents, and senior ND and Chinese medicine students.

LET THEM EAT CAKE: Sweet Cakes by Melissa, the Gresham bakery that in February 2013 famously refused to make a wedding cake for a lesbian couple, recently wrote on the bakery’s Facebook page that it had refused service to other gay customers, who “understood and went to another bakery.” “Just because I have a public business does not mean I should have to set aside my morals, beliefs and convictions,” the comment read. The post was later updated with a claim that the bakery has made non-wedding cakes for gay clients: “We have had gay people order other occasion cakes and have served them happily.” Last month, the Oregon Bureau of Labor and Industries found “substantial evidence” that Sweet Cakes by Melissa unlawfully refused service to the lesbian couple. The bakery maintained that being forced to make wedding cakes for gays and lesbians impinged on its religious freedom, despite an Oregon statute forbidding discrimination against gays. The bakery closed its storefront in August, but it still sells baked goods from the home of owners Aaron and Melissa Klein.

THE NUTCRACKER

NEW STEPS: Oregon Ballet Theatre just announced its 25th season, the first programmed solely by artistic director Kevin Irving, who came on board last summer. There’s The Nutcracker, of course, an opulent production of Cinderella, plenty of work from the company’s repertoire—including a piece by James Canfield, OBT’s controversial former artistic director— and several world premieres, most notably a piece by Irving’s partner, Nicolo Fonte, and one by Darrell Grand Moultrie, who has choreographed for Beyoncé and Savion Glover.

HEADOUT ALLISON KEREK

WILLAMETTE WEEK

WHAT TO DO THIS WEEK IN ARTS & CULTURE

WEDNESDAY FEB. 26 MOONFACE [MUSIC] Ever since Wolf Parade went on “indefinite hiatus,” Spencer Krug has focused his energy as Moonface, releasing meandering organ-plus-drum machine dirges and collaborating with Finnish krautrock bands. But it wasn’t until last fall’s Julia With Blue Jeans On that we hit Peak Krug: With only his stark, naked vocals and acoustic piano, the record is at once oddly beautiful and emotionally bare. Who knew he could do something so simple? Mission Theater, 1624 NW Glisan St., 223-4527. 7 pm. $15 advance, $17 day of show. 21+.

THURSDAY FEB. 27

You’ve seen him snort wasabi, light fireworks from his ass and bathe in human excrement. Now, Steve- O is attempting his wildest stunt of all: sobriety! America’s favorite Jackass is off the weasel dust, but that doesn’t mean life has to suck. There’s still plenty of danger for an almost 40-yearold glorified circus geek to get into, even without pot, booze, cocaine, ketamine, Ecstasy, Whip-Its and animal tranquilizers to numb the pain. Grab a barf bag and set your face to cringe—it’s time to experience the insanity of Sober Steve-O! MATTHEW SINGER.

SLAM UP TOUR [COMEDY] Blending slam poetry, music and standup, childhood friends Emily Lowinger and Cali Bulmash achieve a style of live performance that transcends any of its individual parts. This show is about love in all its forms, fi ltered through a fi ercely feminist lens and served up with lots of charm, irreverence and smarts. In Other Words, 14 NE Killingsworth St., 232-6003. 7 pm. Free.

FRIDAY FEB. 28 The Car 2 Go If you thought watching the Jackass crew hurtle down a hill in a shopping cart was gnarly, wait till you see Steve-O try to merge on the freeway in one of those Legosized clown cars. Like Ralph Nader said: Unsafe at any speed, bro!

CIBO MATTO [MUSIC] During the 15 years since Miho Hatori and Yuka Honda vanished to the intercontinental ether, their duo act, Cibo Matto, wasn’t quite forgotten: Only a fool would deny the pervasive influence forged by their genre-bending, hip-hopdappled, food-obsessed art pop. New release Hotel Valentine organizes tropicalia-digitalist flourishes around a concept album devoted to a ghost’s impressions of an afterlife stranded amid upscale lodgings. Wonder Ballroom, 128 NE Russell St., 284-8686. 8 pm. $20 advance, $22 day of show. 21+.

The Nose Piercing Stapling your scrote is one thing. Getting a stud at a mall kiosk is another trip entirely! Are those needles sterilized to state health standards? Who knows? That’s the risk of taking life to the extreme.

SATURDAY MARCH 1 ONE FLEA SPARE [THEATER] Samantha Van Der Merwe, artistic director of Shaking the Tree, has proven herself adept at kid-appropriate fare, as well as more adult stuff. Here, she swings decidedly toward the latter, directing a pitch-black comedy by Naomi Wallace that explores politics, class and sex in its story of a plague in 17th-century London. Shaking the Tree Studio, 1407 SE Stark St., 2350635. 7:30 pm. $18-$22. The Public Bathroom Steve-O is gonna wish he was back in that upside-down Port-a-Potty when he realizes the nearest restroom is at a mid-level suburban Thai restaurant. That place only has 3.5 stars on Yelp, dude! Bet the hand soap is that weird foam crap, too. Nasty!

The 5-Hour Energy A normal person slugs an energy drink to get through the workday. Guess what, though? Steve-O doesn’t have a job! He’ll take three 5-Hours to the dome at, like, 5:15 pm! He’s definitely not getting to sleep until after Kimmel’s monologue!

The Binge Watch Steve-O has been too busy swallowing goldfish and getting kicked in the nuts the last few years to keep up with his stories. With the Jackass franchise slowing down, he’s finally got hours to spend in front of the tube. Y’know what that means? Downton Abbey marathon, bro! Man, when he sees what happens to Lady Sybil in season three…not enough tissues in the world, bro.

GO: Steve-O is at Helium Comedy Club, 1510 SE 9th Ave., on Thursday-Saturday, Feb. 27-March 1. $22-$30. 21+.

TUESDAY MARCH 4 CLOUD GATE DANCE THEATRE [DANCE] The Taiwanese company—the most acclaimed contemporary dance troupe in Asia—makes its Portland debut with Songs of the Wanderers. The work evokes a spiritual pilgrimage, bringing it to life with 3½ tons of luminous, golden grains of rice that rain on the dancers. Keller Auditorium, 222 SW Clay St., 2746560. 7:30 pm. $26-$70.

Willamette Week FEBRUARY 26, 2014 wweek.com

FOOD & DRINK ASHLEY ANDERSON

REVIEW

PUDDIN’ TIME: The Meyer lemon pudding cake.

MAURICE Maurice, named after chef-owner Kristen D. Murray’s pet rabbit, is bright white as an art gallery, with signage on reams of butcher paper in the front window. The sunnily domestic train-car bistro is alternately a small-batch baker of spelt bread, a pastry case serving hefty $3 scones with tomato-anise marmalade, a luncheonette and brunchery, and a highfalutin evening hall of wine and constructed desserts. Though Murray is a veteran of now-closed swanky spots Lucier and Fenouil—alongside mainstay Paley’s Place—Maurice is more cozy old-Portland twee than new-Portland slick. The service on each visit was excitable, attentive and Order this: Come in after 4 and order charmingly idiosyncratic. dessert first. Then fill to satiety with the rotating provincial savories. Your oysters ($3 apiece) Best deal: The heartiest standmight arrive with a skeptialone meal is a football of a bone-in, cal aside about how the chicken-thigh, peasant pot pie for $10. French will use any excuse That $3 scone is also ample. to eat bread and butter, plus a surprise taster of sparkling wine. “Bubbly,” says the server, “because oysters!” The menu is handwritten and changes almost daily, although if they didn’t remember to write it new that day, they’ll tell you what’s different. Listen carefully; the stacked-up ingredients go by fast. The food, however, is always precise. At brunch one Saturday, we received perhaps the most well-executed poached egg I’ve heretofore seen, atop a dish of oiled croutons resembling a Spanish migas, pungent with brutally spicy harissa. The simple plate of fresh greens ($6) and nothing but, lightly dusted with lemon and oil, almost smelled of the field. The lefse ($8) was likewise airily fresh, topped with strips of fennel, pickled pygmy onions, iridescent roe and sweetly acidic pickled sole; although, I’d prefer Murray charge $2 extra and add more fish. Maurice will likely stake its claim, however, on its evening dessert menu, available after 4 pm. For example, a lady apple ($7)—nature’s SweeTart—was cored, baked and stuffed with farro risotto and paired with brown-butter ice cream that tasted like the essence of caramel. It’s an unexpected, savory twist on the old-school candied apple, both complex and approachable. A two-story pagoda stack of blood-orange sorbet and candied corn tuiles ($10) rested on a sweet coffee mousse that was adorned with blood orange segments. The sorbet was perhaps a bit sticky-sweet, but when the dessert was broken down to its fundamentals, the bitter coffee essence opened up the flavor like a swinging barn door. The oh-so-basic bowl of warm Meyer lemon pudding cake ($6) was more impressive for its simplicity: It was a marvel of texture and balance, yielding gently to the spoon without losing its coherence, overpowering neither with sweetness, tartness nor hints of bitter zest. Just watch out for the hot metal handle on the dish, because it’ll burn the dook out of your finger. Each meal ends with little macarons flavored with local hops whose bite rattles around crazily on the underside of the tongue. It’s like any literary romance: first sweet, then bitter. But still, what you remember is the sweetness. MATTHEW KORFHAGE. EAT: Maurice, 921 SW Oak Street, 224-9921, mauricepdx.com. 10 am-6pm Monday-Wednesday, 10 am-10 pm ThursdaySaturday. “Postre” desserts after 4 pm. Willamette Week FEBRUARY 26, 2014 wweek.com

Willamette Week FEBRUARY 26, 2014 wweek.com

MUSIC

feb. 26–march 4 FEATURE

= WW Pick. Highly recommended.

SARA BILL

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

WEDNESDAY, FEB. 26 Chris Thile and Mike Marshall

[MANDOLIN MASTERS] 2014 is Chris Thile’s year for rekindling past partnerships. He first announced Nickel Creek’s reunion, and now he’s on tour with multi-instrumentalist Mike Marshall, with whom Thile showed off his classical chops on 2003’s stellar Into the Cauldron via bright, intricately intertwining mandolins. Eleven years have passed since that album, and the two have expanded their repertoire even further, performing bluegrass covers of the Strokes and recording an album of duets inspired by Brazilian choro music. But there’s no doubt these two Bach-heads will eventually mine their classical roots, making for a night of genre-shifting awesomeness. KAITIE TODD. Aladdin Theater, 3017 SE Milwaukie Ave., 234-9694. 8 pm. $25 advance, $28 day of show. Under 21 permitted with legal guardian.

Lilacs and Champagne, Sun Angle, Hot Victory

COURTESY OF NICK JAINA

[SPACED-OUT BEATS] Released on Mexican Summer, Lilacs and Champagne’s 2013 LP, Danish and Blue, is a collage of soulful downtempo beats, dreamy spoken-word clips and scratchy vinyl samplings. A slight departure from its 2012 selftitled release, which used more psychrock instrumentation, the duo’s latest tracks rely more heavily on hip-hop beats that don’t sound quite as bright. The Portland-based band will play here and in Seattle before jetting off

on a European tour with instrumental rockers Grails, the other project of L&C’s Emil Amos and Alex Hall. With all that and a new release in the works, the pair have a lot on their plates this spring. LYLA ROWEN. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. $5. 21+.

Com Truise, Phantoms

[’80s ELECTRO] With the freshly released Wave 1 EP, Seth Haley, the New York artist known as Com Truise, proves he’s still stuck in the ’80s. That’s a good thing. You can’t get much more buzz-worthy than analog synths, heavy, slow kicks and melodies that sound like Carl Sagan curating a baby-making compilation, and Haley still rides those trains. On Wave 1, though, he’s tuned into a different sort of oldies station. There’s something Prince-ly about “Miserere Mei” and its sexy, high-energy beat, while “Declination” introduces Com Truise’s first vocals, courtesy of Tigercity’s Joel Ford. Here’s hoping Com Truise keeps advancing. May he never leave the ’80s, though: That way, he’ll never discover Scientology, or break up with Kicole Nidman. MITCH LILLIE. Rotture, 315 SE 3rd Ave., 234-5683. 9 pm. $12. 21+.

THURSDAY, FEB. 27 Together Pangea, Mozes, the Firstborn

[GARAGE PUNK] William Keegan ain’t no slack motherfucker. As frontman

TOP FIVE

CONT. on page 29

BY M ATTH EW SI N GER

FIVE NOTABLE PORTLAND INSTRUMENT THEFTS OWNER: The Decemberists WHEN: March 2005 WHAT: A trailer full of equipment, which was found abandoned on the side of a logging road in Boring. Stolen items included a vintage Martin guitar given to Colin Meloy by his sister and an Italian reedstyle accordion belonging to Jenny Conlee. OWNER: Thara Memory WHEN: July 2011 WHAT: A custom-made trumpet, taken when the Grammy-winning jazz musician was moving out of a downtown condo. It was recovered along Highway 30 in Northwest Portland. OWNER: Jennifer Batten WHEN: January 2013 WHAT: A Washburn JB 100 electric guitar, autographed by Jimmy Page. It was found on East Burnside Street outside Casa Del Matador, near where it was taken from the Sandy-based session guitarist’s vehicle. OWNER: Nick Jaina (pictured) WHEN: October 2013 WHAT: A Blueridge acoustic guitar, half-stained purple with an “I Heart New Orleans” sticker, grabbed from the songwriter’s car. OWNER: Allen Poole WHEN: January 2014 WHAT: A 19th-century heirloom Martin guitar, a violin from the early 1900s and a rare LaPolla cello. Poole, an amateur musician, recovered the cello from a flea market and found it had some curious adjustments that could only be made by a highly skilled musician.

LIvING ON BORROWED INSTRumENTS: San Fermin performing at Turner Hall in milwaukee in January.

AUDIO JACKED

DOES PORTLAND HAVE AN INSTRUMENTTHEFT PROBLEM? bY maTTheW SIN Ger

msinger@wweek.com

As the members of San Fermin stood in the parking lot of the Red Lion Hotel near Portland International Airport last October, staring at their rented tour van, it took them a moment to process what was going on. “The first person to say anything was our trumpet player, John,” says Ellis Ludwig-Leone, the band’s lead songwriter. “He goes, ‘Does this look right to you?’” The Brooklyn-based chamber-pop ensemble was at the tail end of a West Coast swing that brought it to Bunk Bar the night before. That evening after the show, as the eight musicians slept, someone used a blowtorch to remove the trailer holding nearly all of their gear. The band lost just about everything: guitars, a drum set, pedals, a baritone saxophone. LudwigLeone estimates the robbery set the group, which returns to Portland this week, back about $20,000. “It was pretty remarkable how thoroughly it destroyed us,” he says. Holland Andrews can certainly relate. In January, the singer, who performs under the name Like a Villain, had several instruments burglarized from her home in Southeast Portland. Along with a tenor sax, a bass clarinet and three of her boyfriend’s guitars, the thieves took a laptop containing recordings meant for her upcoming album. Oh, and a taxidermied bat, too. “It’s like having a good friend move away or die,” she says. Many other Portland artists know the feeling. While music equipment accounted for less than 1 percent of total reported thefts in the city last year, according to the Portland Police Bureau, in anecdotal terms, Portland has earned a reputation as a place where musicians must keep an especially watchful eye on their gear. “A lot of bands I’ve met have had problems in Portland,” Ludwig-Leone says, “which is really too bad, because it’s such a great music city otherwise.” “It’s a problem everywhere, but it does seem to be acutely terrible here,” says Dewey Mahood, a manager at Trade Up Music on Northeast Alberta Street. He says hardly a day passes when someone doesn’t come in looking for a recently stolen instrument:

Moments before Mahood and I spoke on the phone, Paul Brainard, a Portland musician who’s played on sessions with She & Him and Eels, came by the store searching for a lap steel taken from his car the previous night. Mahood feels these aren’t just crimes of opportunity. “I think it’s pretty well-planned and done methodically,” he says. Brent Bates, a former officer with the Police Bureau’s Special Property Investigations unit, doubts criminals are specifically targeting instruments. Most thefts are the result of “car prowls,” he says, in which thieves nab anything they can see through a window. He agrees it’s a problem, though. In 2005, Bates helped develop the Regional Automated Property Information Database, which requires secondhand stores, including Trade Up, in Multnomah and surrounding counties to enter a description of any expensive item into the database to check it against police reports before it’s cleared for resale. When it comes to music-related thefts, though, RAPID has been an inefficient tool for recovery: Of the 239 cases of reported instrument theft in Portland in 2013, only 18 resulted in recovered property. That’s partly because thieves like to use difficult-to-track markets such as Craigslist, but also because people fail to keep proper documentation of their valuables. A new component of the RAPID system, called Homewatch, allows users to store property information online, including photos and, most crucially, serial numbers, so that in the event of a theft, the information can be sent to an investigator. “The whole idea is to get better-informed victims,” Bates says. For San Fermin and Holland Andrews, though, their only recourse so far has been to hold benefit concerts and fundraisers to help recoup at least part of their losses. Andrews says she has “virtually no idea” how to recreate the songs on her stolen laptop, because they were largely improvised. Police did eventually find San Fermin’s trailer, after the band had returned to New York. Nothing was inside except a case of warm Pabst Blue Ribbon. “It was like adding insult to injury,” LudwigLeone says. “They left our shitty beer and took everything else.” SEE IT: San Fermin plays Doug Fir Lounge, 830 E Burnside St., with Son Lux and the Beauty, on Saturday, March 1. 9 pm. $10 advance, $12 day of show. 21+. A benefit for Holland Andrews, featuring Au, members of Typhoon and special guests, is at Bunk Bar, 1028 SE Water Ave., on Sunday, March 2. 8 pm. $5-$20 sliding scale. 21+. Willamette Week FEBRUARY 26, 2014 wweek.com

Willamette Week FEBRUARY 26, 2014 wweek.com

THURSDAY–SATURDAY shuﬄes with twanged doo-wop, Skynyrd-esque guitar and Nicki’s tender vocals while ruminating on burning regrets, ﬂeeting desires and the long trek home. BRANDON WIDDER. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $15 advance, $17 day of show. 21+.

of L.A.’s Together Pangea, this guy has clearly done his research (and more than a few bong rips), fusing 40-plus years of garage-rock milestones together into sub-two-minute punk bangers one would’ve expected from Wavves or Black Lips before their sound became more ﬂower than power. PETE COTTELL. Bunk Bar, 1028 SE Water Ave., 328-2865. 9 pm. $8. 21+.

Bottomless Pit, Kinski, Chris Brokaw

[ALT-ROCK] Beloved indie group Silkworm disbanded in 2005, but the Missoula, Mont., band is survived, at least in part, by Tim Midyett and Andy Cohen’s new project. Named Bottomless Pit, the guitar-heavy, ’90s-minded act is a sibling of Pavement and Archers of Loaf. Latest record Shade Perennial is set in the mode of noisy hooks, playful wandering and stormy, heavily ampliﬁed jams a la Crazy Horse. Midyett’s sagging baritone guitar lines balance the fuzz nicely, grounding Bottomless Pit and inﬂicting some darkness. MARK STOCK. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. $8 advance, $10 day of show. 21+.

Moonface, Like a Villain

[PIANO MAN] Throughout his career, Spencer Krug has never been easy to pin down. Ever since Wolf Parade went on “indeﬁnite hiatus” in 2011, he’s focused his energy as Moonface, releasing meandering organ-plus-drum machine dirges on the aptly named Organ Music Not Vibraphone Like I’d Hoped and collaborating with Finnish krautrock band Siinai on 2012’s devastating Heartbreaking Bravery. But it wasn’t until last fall’s Julia With Blue Jeans On that we hit Peak Krug: With only his stark, naked vocals and acoustic piano, the record is at once oddly beautiful and emotionally bare. Stripped of his usual artiﬁce and knotty instrumentation, Krug ditches his usual Icarus metaphors and stacked stanzas to look inward on highlights “November, 2011” and “Dreamy Summer.” Who knew he could do something so simple? MICHAEL MANNHEIMER. Mission Theater, 1624 NW Glisan St., 223-4527. 7 pm. $15 advance, $17 day of show. 21+.

The Low Bones, Kathryn Claire

[ROOTS ROCK] The Low Bones’ second album, Waiting for the Dawn, expands mightily on the scope and sound of the act’s debut, 2010’s Come Back Alone. And return alone Joel Roth has not, because while the Low Bones seem now more a handle for Roth’s songs and gentle voice than a band per se, he’s enlisted a host of Portland’s ﬁnest roots-rockers, under the never-surer production hand of Rob Stroup. The album’s stylistic breadth allows those players to really show their dexterity. It opens with a steel-laden Americana ballad, and its third song is an ’80s-style heartland rocker— but between those is a chugging, guitar-slashing, electric-piano-percolating approximation of late-’70s Pink Floyd, wherein Roth’s unhur-

FRIDAY, FEB. 28 NTNT, Rare Monk, Neighbors

[ELECTRO-POP] NTNT’s first fulllength album, 2012’s I’ll Find You in the Colors, is a collection of shiny dance-floor anthems, ripe with thudding, groovy basslines, bouncy beats and flurries of hazy guitar riffs set amid heavy and varied synths. “The Attitude,” the first song on the quartet’s latest effort, And Then the Moon, follows suit, rising and falling in a wave of bright, Postal Service-y synth, exuberant drums and a soaring, call-and-response chorus. The year-and-a-half gap between the two albums left plenty of time for the musicians to write— the band’s website says they wrote more than 50 songs before choosing five for the EP and plenty of time to create more polished electro-pop. KAITIE TODD. Alhambra Theater, 4811 SE Hawthorne Blvd., 610-0640. 9 pm. $6 advance, $8 day of show. All ages.

Nicki Bluhm and the Gramblers, Carly Ritter

[AMERICANA SOUL] Nicki Bluhm and the Gramblers may have first entered the folk-rock limelight with a rendition of Hall and Oates’ “I Can’t Go for That (No Can Do)” recorded in their tour van, but such viral cover videos sell the San Franciscan troupe short. Bluhm and company, which includes Nicki’s husband, Mother Hips guitarist Tim Bluhm, effortlessly deliver the kind of honest-to-goodness country rock fit for Southern FM radio of the early ’70s. The band’s self-titled debut

SEAN GARMIRE

The Coup, Risky Star, MY-G

[HIP-HOP] Listening to Oakland’s the Coup too much might count as unwitting indoctrination. But in a career that’s spanned about 20 years, Boots Riley and DJ Pam the Funkstress have made politico-rap a more playful thing than it might have been otherwise. Sure, Dead Prez and other guests have served to add a tinge of anger to the duo’s albums, and moving from titling an album Kill My Landlord to Sorry to Bother You could seem like a cessation of fury. But it’s just the Coup taking another approach to rebellion. “You Are Not a Riot” could be sold oﬀ to a punk band somewhere—the instrumentation and tempo are already in place. Boots and Pam, though, probably aren’t into hawking their wares like that. DAVE CANTOR. Star Theater, 13 NW 6th Ave., 248-4700. 9 pm. $16. 21+.

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ried vocals take on a more sinister tone. JEFF ROSENBERG. Secret Society Ballroom, 116 NE Russell St, Portland, 493-3600. 9 pm. $10. 21+.

Prizehog, Thrones, Polst

[WEIRDO SLUDGE] Eolian Empire’s latest offering comes in the form of Portland-via-Bay Area act Prizehog and its new record, Re-Unvent the Whool, which comes out March 4. In keeping with the label’s M.O., the album is as awesomely over-thetop weird as it is brutally heavy. The trio’s erratic noise is piled atop dirty sludge riffs, and drawn-out post-rock buildups make for an unpredictable, enthralling journey, whether in person or on record. But the live Prizehog experience is not to be missed—fans of both weirdo punk and mystifying stoner metal will find common ground at this release-show celebration. CAT JONES. The Know, 2026 NE Alberta St., 473-8729. 8 pm. $5. 21+.

SATURDAY, MARCH 1 Mascaras, Sons of Hippies

[PIN-UP PSYCH POP] The Floridaborn Sons of Hippies met each other at a music festival out in the sticks of Tennessee, and after viewing their music videos, it makes sense. The band’s aesthetic is indeed of the hippie variety, but considering that, its sound isn’t what you might expect: The band trades sitar for synth, and is much closer sonically to catchy, charttopping indie-pop bands like Metric and Foster the People than Phish. Catch them alongside Mascaras, a new psychedelic surf-pop trio featuring local favorite Papi Fimbres on drums. ASHLEY JOCZ.The Know, 2026 NE Alberta St., 473-8729. 8 pm. $5. 21+.

CONT. on page 30

INTRODUCING... RIO GRANDS

BY GRACE STAINBACK

Who: Colin Jenkins (vocals, guitar, percussion), Steve Amon (keyboards), Richard Bennett (bass), Lee Ritter (drums). Sounds like: A ’60s lounge band from Miami time-warped to present-day Portland. For fans of: Frank Sinatra, the Beach Boys, Pink Martini. Why you care: Colin Jenkins chronicles Portland weirdness through Rio Grands’ forthcoming A-Z, an album in which every track takes its title from a girl’s name, one for each letter of the alphabet. Imagine “My Cherie Amour” tailored to 26 songs charting the various types of Pacific Northwest-specific relationships— like, for example, the song “Quinn,” about a hippie who frequents Reed College’s Renn Fayre and gets lost in “Burning Man-crowd cuddle puddles.” “It’s actually kind of silly, and shouldn’t be taken seriously the way a concept album should,” Jenkins says of A-Z, which has been two years in the making. “It was a tongue-in-cheek project exploring the classic song that uses a girl’s name as the hook.” After playing in indie-rock bands for years, Jenkins found himself gravitating back to his love of jazz-chord progressions. Everything about the Rio Grands’ sound is classic, from the lounge-ready tunes to the Tascam 16-track reel-to-reel they were recorded on. Lyrically, though, the stories contained on A-Z should be recognizable to all modern-day Portlanders. “Beverly” and “Ivy,” for example, both evoke jazzy Tropicália, but the former tells a tale of getting picked up by the cops and tossed in the drunk tank, while the latter is about a “spiritual space-case,” who Jenkins says is “pretty indicative of a lot of 20-to-40-something Portland culture.” The contrast between the easy-listening harmonies our parents grew up on and the whip-smart lyrics describing someone who could be your neighbor, your yoga teacher or yourself makes for an amusing listen that is quintessentially Portland. SEE IT: Rio Grands plays Rontoms, 600 E Burnside St., with Smokey Brights, on Sunday, March 2. 9 pm. Free. 21+. Willamette Week FEBRUARY 26, 2014 wweek.com

SUNDAY–TUESDAY/CLASSICAL, ETC.

SUNDAY, MARCH 2 Casket Girls, Stargazer Lilies, Dott, Dreamend

[GHOST HUNTING] The ethereal, haunted pop of Casket Girls seems more at home in Portland than the trio’s hometown of Savannah, Ga. Sisters Elsa and Phaedra Greene, along with instrumentalist-producer Ryan Graveface of psychedelic acideaters Black Moth Super Rainbow, make dreamy, electronic indie pop that feels more apt in the endless Northwest drizzle than under blue Southern skies. The group’s latest album, True Love Kills the Fairy Tale—which by Graveface’s account was written by the Greene sisters one mystical night, in a session of which they remember nothing— is an excellent piece of spooky yet saccharine introversion. SAM CUSUMANO. Holocene, 1001 SE Morrison St., 239-7639. 8:30 pm. $8 advance, $10 day of show. 21+.

Skinny Puppy

[GOTH INDUSTRIAL] Skinny Puppy is widely regarded as one of the most famous and inﬂuential bands in the history of industrial music. In fact, in its early days, Nine Inch Nails used to open for them. This Canadian-American trio pulls out all the stops live, with envelope-pushing antics and full-on light shows that somehow still leave the crowd feeling shrouded in darkness. The band recently saw a huge surge of press after discovering its music was being used to torture inmates at Guantanamo Bay. Rather than stage a protest, the band invoiced the government for $666,000. CAT JONES. Wonder Ballroom, 128 NE Russell St., 284-8686. 8:30 pm. $27.50-$30. All ages.

very much the product of a band sailing high on early rock ’n’ roll, emphasis on the “sail” part. MARK STOCK. Wonder Ballroom, 128 NE Russell St., 284-8686. 8:30 pm. $15 advance, $17 day of show. All ages.

TUESDAY, MARCH 4 Maps and Atlases, And And And, the We Shared Milk

[QUIRKY INDIE ROCK] Mix Vampire Weekend’s guitar parts with Justin Vernon’s vocal delivery and it might sound a little something like Maps and Atlases. Formed in 2004 with the intent of creating technical, artsy rock, the quartet’s most recent release, 2012’s Beware and Be Grateful, finds the group indulging in the same dual-guitar interplay it’s known for. Intricate riffs bubble over layers of off-kilter drums, small touches of synth and Dave Davison’s confident but slurred vocals, creating a textured balance between catchy and complex. KAITIE TODD. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $3 with RSVP, $12 at door. 21+.

Ladi6, Laura Ivancie

[POP TAKEOVER] Sorry, haters, but I got news for you: New Zealand, of all places, really is the new popmusic hotbed. After the runaway success of teenage pop sensation Lorde, it’s hard not to hear fellow kiwi singer Karoline Tamati’s 2013 album, Automatic, and question why this show isn’t at, like, the Roseland. Often compared to Erykah Badu, Tamati—who records under the

name Ladi6—balances nu-soul tendencies with a more futuristic R&B bent that is equal parts “Royals” and post-chillwave production. She may never be a ruler, but here’s to hoping more people call Ladi6 their queen bee. MICHAEL MANNHEIMER. Holocene, 1001 SE Morrison St., 239-7639. 8 pm. $12. 21+.

CLASSICAL, JAZZ & WORLD Portland Jazz Festival: Jazz at Lincoln Center Orchestra with Wynton Marsalis

[JAZZ] If you’ve seen the 10-episode Ken Burns series Jazz, then you’ve witnessed the love Wynton Marsalis holds for his music. Few men have done more to keep the tradition of jazz music alive in modern times. As a trumpeter, he is world-renowned. As an educator, he’s hosted a television series and co-founded the program Jazz at Lincoln Center. He’s the only guy to ever win Grammys for both jazz and classical recordings. Tonight, he’s bringing 15 of the ﬁnest soloists, players and arrangers to perform the music of Count Basie and Duke Ellington. NATHAN CARSON. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 248-4335. 7:30 pm Friday, Feb. 28. $45-$125. All ages.

Lubomyr Melnyk

[CONTINUOUS PIANO] It’s as if Chopin’s cascading ﬂourishes of chords never stop. This is the idea behind continuous music, a style founded by Canada-based Ukrainian

PREVIEW SEAN LENNON

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MONDAY, MARCH 3 Jay Arner

[SOLO SYNTHETICS] As a multiinstrumentalist more than capable in the studio, Jay Arner is used to company. The Vancouver, B.C., musician is a frequent collaborator, bandleader and producer. For the first time, however, Arner is on his own, touring on a debut selftitled effort he wrote, recorded and mixed in its entirety. It offers the digital layering and synthy gloss one might expect from a solo project circa Right Now, but Arner’s current work also flirts with psychedelia and funk. MARK STOCK. Bunk Bar, 1028 SE Water Ave., 328-2865. 9 pm. Call venue for ticket information. 21+.

Dr. Dog, Saint Rich

[MOTOWN-Y FOLK] By all accounts, the dudes in Dr. Dog seem pretty damn comfortable with where their career is right now. With eighth album B-Room, the Philadelphia-based sextet unleashed a live mélange of soulful folk and stripped-down harmonies that has rarely been executed with such breeziness since the Band churned out Cahoots in ’71. Even though the group solidiﬁed its rootsy brand of psychedelic pop-rock albums ages ago, light string arrangements and stilted guitar give it a twist, rendering vintage cuts like “The Truth” and “The Cuckoo” more apt than ever. BRANDON WIDDER. McMenamins Crystal Ballroom, 1332 W Burnside Street, 225-0047. 9 pm. $23 advance, $25 day of show. All ages.

Real Estate, the Shilohs

[BEDROOM SURF ROCK] It’s easy to forget the Garden State is home to long July days and surfers on top of late-night bar renditions of “Glory Days,” and the breezy sound turned out by New Jersey’s Real Estate speaks more to a bubbling coastline than the Boss. Real Estate effortlessly offers this other side, a polite, melodic and sometimes hypnotic adaptation of surf rock best heard on the trio’s impressive 2011 record, Days. Newest effort Atlas, which conveniently drops the day after this show, is partially inspired by drives through Arizona, but it is still

Willamette Week FEBRUARY 26, 2014 wweek.com

Cibo Matto, Salt Cathedral [LES GIRLS] During the 15 years since Miho Hatori and Yuka Honda vanished into the intercontinental ether, their duo act, Cibo Matto, wasn’t quite forgotten. If their initial pair of albums haven’t exactly been on anyone’s heavy rotation, only a fool would deny the pervasive influence forged by idiom-bending, hippest-hop-dappled artful dodges of intent. In those halcyon days before Facebook, nobody else so blithely substituted meaning with strung-together references to friends of mutual interest, microgenres of presumable import and, well, lunch. New release Hotel Valentine slightly deepens the conceit by organizing Tropicália-digitalist flourishes around a concept album devoted to a ghost’s impressions of an afterlife stranded amid upscale lodgings. Whatever their failings of vision, no act has framed chic wispiness better. The dreaminess of Cibo Matto’s offerings has always been overstated, not least because the band’s relentlessly thoughtful design lay so vividly in the foreground. Like Cibo Matto’s Beastie cousins in end-of-thecentury tastemaker ubiquity, any cloak of stoned whimsy arrived drenched with sweat—less a genuine reverie than multimedia presentation of (and commentary on) altogether ordinary dream journals dutifully recorded by exceptional folk. For better or worse, their cultural heirs have either taken up concerted residencies in adopted genres or let their dilettante flag flow freely. With all the world presuming itself the Lower East Side, why must anyone count themselves mere guests? JAY HORTON. Wonder Ballroom, 128 NE Russell St., 284-8686. 8 pm Friday, Feb. 28. $20 advance, $22 day of show. 21+.

classical, etc. composer Lubomyr Melnyk. For Melnyk, it’s more about what’s under the lid rather than what’s on the music stand. His technically challenging arrangements explore the harmony and dissonance of the piano as instrument. Melnyk’s broad patterns recall a certain side of La Monte Young or, of course, Steve Reich, except Melnyk doesn’t have 18 musicians, only his 10 fingers. MITCH LILLIE. Yale Union, 800 SE 10th Ave. 9 pm Friday, Feb. 28. $12. All ages.

Portland Jazz Festival: Bobby Watson and Horizon, James Carter Organ Trio

[SAX MASTERS] My pick for the Portland Jazz Festival concert most likely to be unfairly over-

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dates here

looked double-bills two undeservedly not-famous-enough geniuses. Exploding on the scene in the late 1980s, James Carter is a force of nature, able seemingly to embrace every style of jazz. The classic organ trio format affords him the space to stretch, often on several different saxes and flute. Meanwhile, Bobby Watson first won acclaim as music director of the great jazz finishing school, Art Blakey’s Jazz Messengers, in the late 1970s, and is celebrating the 30th anniversary of his great acoustic quintet, Horizon, with whom he made some of the most admired Blue Note albums of the late 1980s and early ’90s. BRETT CAMPBELL. Newmark Theatre, 1111 SW Broadway, 248-4335. 7:30 pm Saturday, March 1. $28-$58.

E M I LY T H E o B A L d

PROFILE

Carlos Hernandez (front) and Ava Luna.

AVA LUNA SUNDAY, MARCH 2 Carlos Hernandez takes pleasure in harming the things he cherishes most. In his band, Ava Luna, the Brooklyn-based musician defaces the classic soul music he grew up on, stabbing it with dissonant postpunk guitars, bending the rhythms at odd angles and burning the edges with abrasive noise. Considering his father has made a living spinning R&B records around New York, Hernandez’s compulsion to damage the music of his youth might suggest unresolved daddy issues. In fact, it’s the opposite: Ava Luna is his admission that, no matter how far you run from it, your DNA will always catch up. “I’ve always heard the old maxim that eventually, everyone will make the records they liked when they were 10,” he says. “It doesn’t matter how punk rock you are, you’ll end up remaking your dad’s record collection.” Of course, it’s doubtful there’s a record in his father’s collection quite like Electric Balloon, Ava Luna’s new album. There aren’t many artists in general daring enough to apply the selfdestructive tendencies of No Wave to the elegant grooves of Motown. Naturally, the group is full of surprises: “Daydream,” a frantic, nervy dance tune, opens Electric Balloon with a nod toward early Talking Heads before being blitzed in its final moments by a crazed, mewling sax solo. “Sears Roebuck M&Ms” and “Plain Speech” ride funky guitar riffs worthy of the Meters, but with a creeping discordance under the surface. Unlike its predecessor, 2012’s Ice Level, which was informed by a period of itinerancy during which Hernandez moved five times in a year, Electric Balloon was conceived in a state of unusual stability for the band. Moving into a house upstate outfitted with a recording studio, the group had more time to work, allowing more opportunities for improvisation. Oddly, though, Electric Balloon contains some of the most distressed music Ava Luna has made. Blame Hernandez for disrupting the sense of comfort: If “Daydream,” for example, sounds authentically frazzled, that’s because he insisted backing vocalist Felicia Douglass sprint around the house with him five times just before laying down the vocals. “You sort of have to find a new way to fuck up the things you hold dear,” he says. MATTHEW SINGER. Art-damaged soul with an appetite for destruction.

SEE IT: Ava Luna plays Valentines, 232 SW Ankeny St., with Krill, Modern Marriage and Half Shadow, on Sunday, March 2. 9 pm. Call venue for ticket information. 21+. Willamette Week FEBRUARY 26, 2014 wweek.com

MUSIC ALBUM REVIEWS

AGES AND AGES DIVISIONARY (PARTISAN)

MARCH MUSIC MODERNE IV Listening to the Here of the Now

#bcaconnect #bcaconnect

BCA ARTS CONNECTOR 2014: A dynamic networking event for young professionals

32 Events 19 Countries 67 Composers

7–16 March 2014 Global Village PDX

www.marchmusicmoderne.org

BCA Arts Connector is a dynamic networking event to introduce young professionals, particularly those from communities of color, to nonproﬁt arts organizations looking for new board and committee members. What makes it cool? We’re going to do some of the work for you! When you arrive you’ll receive a custom networking card based on information you provide about the kind of arts that excites you and the skills and opportunities you’re looking for - use your networking card to connect with board members and leaders of arts organizations that you’ll want to meet!

Community Day/Songwriters’ Circle WITH CARL SOLOMON, RALPH ARCHENHOLD, JACK MCMAHON Mon 3/3 @ 7 PM

March 6th | 5:00 PM

The Nines, Portland

Jack McMahon is our host of Music Millennium’s Songwriters’ Circle. Jack’s penchant for expressive lyrics and catchy hooks, combined with a soulful voice and journeyman guitar chops, has made him a favorite of long time fans and neophytes alike. Carl Solomon has been described as “A Weaver of New Americana Folk Tales.” Solomon’s songs lay out images you can see, feel and touch. His recollections and humor bring to life a collection of wonderful songs you won’t soon forget!

connecting business to the arts

#bcaconnect

Ralph Archenhold is a gifted songwriter, who is known for his sensitive voice as well as his guitar and harmonica (echo and chromatic) skills. He thoughtfully renders ballads, love songs, novelty songs and intricate moods when he performs. His music incorporates folk, jazz, rag time, country and more. SPONSORED BY

A N D R E W G R AY H I C K S SUN 3/9 @ 7PM

SEE IT: Ages and Ages plays Mississippi Studios, 3939 N Mississippi Ave., with Fanno Creek and Us Lights, on Saturday, March 1. 9 pm. $12. 21+.

BATTLEME FUTURE RUNS MAGNETIC (EL CAMINO)

Visionary Sponsor & Host:

www.BusinessCultureArts.org

[CHORAL POP] On the surface, Ages and Ages’ sophomore release, Divisionary, might appear to shine with as much bright optimism as the band’s debut album, 2011’s Alright You Restless. Bringing to mind childhood summer camp—the good one, not the one where you got 17 mosquito bites on your face—the music remains focused on the tight, soaring vocal harmonies of the group’s seven members, rising and falling with the vibrant acoustic guitars, shakers, hand claps and driving bass drum. Upon further inspection, though, you’ll find the honeymoon is over for the fresh-faced gang that set out to start a commune on its previous concept album. Instead, with Divisionary, we’re introduced to a group that has faced a storm together and is now addressing personal demons and heavier sociological issues. The album’s title track grows on a simple acoustic melody, over which frontman Tim Perry sings, “Do the right thing/ Do it all the time/ Make yourself right/ Never mind them/ Don’t you know you’re not the only one suffering?” It slowly evolves into a swirling mass of harmonies, delicate piano and floating strings, a conflicted mix of hopefulness and obligation. Album opener “Light Goes Out” starts off in a similar manner, hands clapping behind Perry’s musings on the nature of authenticity, which quickly morphs into a spiral of group vocals, repetitive piano and a groovy bassline. This mix shows up throughout the album, with the group displaying a harder bite, musically and lyrically, than before. But as the choirlike rounds of repeating lyrics build over simple, energetic rhythms, Ages and Ages still manages to retain a bright veneer as it travels through the darkness. KAITIE TODD.

Willamette Week FEBRUARY 26, 2014 wweek.com

[ELECTRO-SHOEGAZE] Battleme started as a single acoustic country ballad called “Burn This Town,” which received heavy airplay after its inclusion in the second-season finale of Sons of Anarchy. And while Matt Drenik, the songwriter behind the project, has contributed several more tracks for the FX biker-gang drama, he has been revising his husky retro-rock since relocating from Austin to Portland in 2009. A follow-up to his 2012 self-titled debut, Future Runs Magnetic continues to hone Drenik’s electro-shoegaze blend. All that remains from “Burn This Town” is Drenik’s haunting croon and a fetching folk influence. His shift to a much thrashier brand of electro-rock has been rounded out by a band that includes drummer Zach Richards and bassist Eric Johnston. But above all the noise, Drenik’s disposition for ballads reigns. While opening track “Just Weight” is decidedly Wayne Coyne-esque, the rest of the album channels Perry Farrell, with throaty, reverb-heavy vocals delivered over muscular guitar licks. “Shotgun Song,” with its shouted refrains echoing into a thunderous crunch, could fit right in on any Jane’s Addiction album. “Nights on the Strand,” another standout, finds Drenik ruminating on human insignificance over soft strums that build into a crescendo of wailing guitars; the lyrics couched in self-actualization. Future Runs Magnetic forgoes the gritty appeal of Battleme’s first LP, but it arrives in a more musically congruous, organic packaging. A switch in producers—from Thomas Turner (Ghostland Observatory) to Doug Boehm (Girls, Dr. Dog)—may account for the change, but the album continues to showcase Drenik’s penchant for a truly unique, genre-eluding sound. GRACE STAINBACK. SEE IT: Battleme plays Club 21, 2305 NE Glisan St., with Phantom Ships, on Saturday, March 1. 9 pm. Free. 21+.

MUSIC CALENDAR

[FEB. 26-MARCH 4]

= ww Pick. Highly recommended. Editor: Matthew Singer. TO HAVE YOUR EVENT LISTED, send show information at least two weeks in advance on the web at wweek. com/submitevents. 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.

The Parson Red Heads, Norman, Mike Coykendall

Ponderosa Lounge

10350 N Vancouver Way The Swon Brothers

Savoy Tavern

For more listings, check out wweek.com. ALLISON bRUNS

2500 SE Clinton St. The Christopher Brown Quartet

Secret Society ballroom

116 NE Russell St. Redray Frazier, Department of Gold, Dean!

Shaker & Vine

2929 SE Powell Blvd. Racheal Miles

Star Theater

13 NW 6th Ave. The Coup, Risky Star, MY-G

The Alberta Street Public House 1036 NE Alberta St. Blue Cranes, Trio Subtonic

The blue Monk

3341 SE Belmont St. EllaMemories, Pheasant, Cristina Cano

The Conga Club

4923 NE Martin Luther King Jr. Blvd. Dina y Los Rumberos

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

The Know

2026 NE Alberta St. Grammies, Mother Tapes, Wishyunu

The Lodge bar & Grill

LAVeNdeR dIAMONdS: Lilacs and Champagne play Mississippi Studios on wednesday, Feb. 26.

wed. Feb. 26 Aladdin Theater

3017 SE Milwaukie Ave. Chris Thile and Mike Marshall

Andina Restaurant 1314 NW Glisan Toshi Onizuka Trio

Ash Street Saloon 225 SW Ash St. Dead Kingmaker

blue diamond

2016 NE Sandy Blvd. The Fenix Project

Songbird Showcase Host Cynthia O’Brien

Jimmy Mak’s

221 NW 10th Ave.

Mel brown Quartet (7:30 pm); PdX Jazz Festival: Grace Kelly Quartet (9:30 pm) Kells 112 SW 2nd Ave. Pat Buckley

Landmark Saloon

4847 SE Division St. Jake Ray & the Cowdogs

Cadigan’s Corner bar

LaurelThirst Public House

Camellia Lounge

McMenamins edgefield

5501 SE 72nd Ave. Band Swap, Pat Stilwell

510 NW 11th Ave. PDX Jazz Festival: Michelle Medler Quintet

doug Fir Lounge

830 E Burnside St. Griffin House, Clarence Bucaro

duff’s Garage

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

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

Hawthorne Theatre 1507 SE 39th Ave. T. Mills, Blackbear

Hawthorne Theatre Lounge

1503 SE Cesar E Chavez Blvd. Dave Hause, Northcote

Holocene

1001 SE Morrison St. Don’t Drivers, No Good Lovers

Ivories Jazz Lounge

1435 NW Flanders St. Rebecca Kilgore & Dave Frishberg

Jade Lounge

2342 SE Ankeny St.

2958 NE Glisan St. Redray Frazier

2126 SW Halsey St. Brian McGinty

McMenamins Mission Theater 1624 NW Glisan St. Moonface

McMenamins Rock Creek Tavern

10000 NW Old Cornelius Pass Rd. Billy D

Mississippi Studios

3939 N Mississippi Ave. Lilacs and Champagne, Sun Angle, Hot Victory

O’Connor’s

7850 SW Capitol Hwy. A Fine Mess

Rotture

315 SE 3rd Ave. Com Truise, Phantoms

Shaker & Vine

2929 SE Powell Blvd. Josie Johnson

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

The Lovecraft

421 SE Grand Ave. Psychopomp curated by Ogo Eion

The Red And black Cafe

Ash Street Saloon

400 SE 12th Ave. Music for the Working Class

225 SW Ash St. Joshua Powell and the Great Train Robbery, Zinnie for Short

Thirsty Lion Pub

biddy McGraw’s

SW 2nd & Ash St. Jordan Harris

Tony Starlight’s Supper Club

3728 NE Sandy Blvd. Piano Bar, Bo Ayars

Trail’s end Saloon 1320 Main Street Big Monti

Valentines

232 SW Ankeny St. Not Bitter Turtle

Vie de boheme 1530 SE 7th Ave. Gypsy Jazz Jam

white eagle Saloon

836 N Russell St. Supraphonics The Brass Roots Movement

wilf’s Restaurant & bar 800 NW 6th Ave. Ron Steen Band

THuRS. Feb. 27 Aladdin Theater

3017 SE Milwaukie Ave. The Musical Box, The Exclusive, Authorized by Peter Gabriel, Re-Creation of Genesis

Alberta Rose Theatre 3000 NE Alberta St. Cahalen and Eli, Ruth Moody Band

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

Andina Restaurant 1314 NW Glisan Jason Okamoto

Artichoke Music

3130 SE Hawthorne Blvd. Songwriter Roundup

6000 NE Glisan St. Grateful Buds

blue diamond

2016 NE Sandy Blvd. Ben Jones and Friends

branx

320 SE 2nd Ave. Middle Class Rut, Dinosaur Pile-Up, Brick and Mortar

brasserie Montmartre 626 SW Park Ave. Paul Paresa and the People

Camellia Lounge

510 NW 11th Ave. PDX Jazz Festival: Rick Greene Quartet

Chapel Pub

430 N Killingworth St. Steve Kerin

Crystal Hotel Al’s den 303 SW 12th Ave. Snowblind Traveler, Thomas Daholt

duff’s Garage

1635 SE 7th Ave. Tough Lovepyle, Alan Hagar

Hawthorne Theatre 1507 SE 39th Ave. Death Angel, TYR, Kingdom Under Fire, Revolution Overdue, Gladius

Ivories Jazz Lounge 1435 NW Flanders St. Tom Grant & Singer’s Jam Guest Vocalist Marilyn Keller

Jade Lounge

2342 SE Ankeny St. Pacific Oceans, Host Colin Fisher

Jimmy Mak’s

221 NW 10th Ave.

Mel Brown B3 Organ Group, Helen Sung Portland Jazz Festival

Kells

112 SW 2nd Ave. Pat Buckley

Kelly’s Olympian

426 SW Washington St. Levon’s Helmet

LaurelThirst Public House

2958 NE Glisan St. Lewi & the Left Coast Roasters

LaurelThirst Public House 2958 NE Glisan St. The Foothills

Lincoln Performance Hall

1620 SW Park Ave. Student Chamber Music

Magnolia’s Corner

4075 NE Sandy Blvd Richie Rosencrans

McMenamins boon’s Treasury 888 Liberty St. NE Ivie Mezziere

McMenamins Crystal ballroom

1332 W Burnside Street Greensky Bluegrass

McMenamins edgefield 2126 SW Halsey St. Jon Koonce

McMenamins Kennedy School 5736 NE 33rd Ave. The Twangshifters

McMenamins Rock Creek Tavern

6605 SE Powell Blvd. Ben Rice B3 Trio

The Original Halibut’s II 2525 NE Alberta St. Terry Robb

The Press Club

2621 SE Clinton St. Coconino Trio

The Tonic Lounge

3100 NE Sandy Blvd. Octane OK and Kieran Strange Life After Liftoff

Thirsty Lion Pub SW 2nd & Ash St. Brian O’dell Band

white eagle Saloon

836 N Russell St. Chris Baron and Friends (5:30 pm); Jeffrey Martin, Ray Tarantino (8:30 pm)

FRI. Feb. 28 Aladdin Theater

3017 SE Milwaukie Ave. Willy Porter, Ashleigh Flynn

Alberta Rose Theatre

3000 NE Alberta St. Mason Jennings, Rebecca Pidgeon

Alhambra Theater

4811 SE Hawthorne Blvd. NTNT, Rare Monk, Neighbors

Arlene Schnitzer Concert Hall

1037 SW Broadway PDX Jazz Festival: Wynton Marsalis

Ash Street Saloon

225 SW Ash St. Panzergod, Aethyrium, Sarcalogos, Grim Ritual

10000 NW Old Cornelius Pass Rd. SolomonCrow

beaterville Cafe

Mississippi Pizza

biddy McGraw’s

3552 N Mississippi Ave. Eric Himan, Hungry, Hungry Hip Hop Hip Hop Showcase

Mississippi Studios

3939 N Mississippi Ave.

2201 N Killingsworth St. Anna Stone, Betty Moss 6000 NE Glisan St. Blanco and Wandering Zero, Thermal Boogie, Manimalhouse

blackwater Records 1925 SE Morrison St.

Nomad, Future, Mongoloid, Reactor

blue diamond

2016 NE Sandy Blvd. Michael Osborne and the Drivers

branx

320 SE 2nd Ave. Marty Party, Joker

brasserie Montmartre 626 SW Park Ave. Down Home Music

Camellia Lounge

510 NW 11th Ave. PDX Jazz Festival: David Valdez Quintet, Tom Periera

Clyde’s Prime Rib Restaurant & bar

5474 NE Sandy Blvd. Party Code

Crystal Hotel Al’s den 303 SW 12th Ave. Snowblind Traveler, Thomas Daholt

dante’s

350 W Burnside St. Red Elvises, Lovebomb Go-Go Marching Band

doug Fir Lounge

830 E Burnside St. Nicki Bluhm and the Gramblers, Carly Ritter Polecat

doug Fir Lounge

830 E Burnside St. Nicki Bluhm and The Gramblers, Carly Ritter

duff’s Garage

1635 SE 7th Ave. Roseland Hunters

First united Methodist Church 1838 SW Jefferson St. The PSU Symphony Orchestra

Rainworms

McMenamins Mission Theater

1624 NW Glisan St. PDX Jazz Festival: Portland Jazz Composers Ensemble Showcase

McMenamins Rock Creek Tavern

10000 NW Old Cornelius Pass Rd. Brad Creel and the Reel Deel

Midnight Roundup

345 NW Burnside Rd. Michele Drey

Mississippi Studios

3939 N Mississippi Ave. Bottomless Pit, Kinski, Chris Brokaw

Mock Crest Tavern 3435 N Lombart St. Bad Assets

Nel Centro

1408 SW Sixth Ave. Mike Pardew

Rock bottom brewery Portland 206 SW Morrison St. Zenda Torrey

Roseland Theater

8 NW 6th Ave. Datsik, Heroes x Villians

Secret Society ballroom

116 NE Russell St. Pete Krebs and His Portland Playboys, The Low Bones, Root Jack, Kathryn Claire

The Alberta Street Public House

1036 NE Alberta St. Quiet Life, Soul Night

The blue Monk

Gemini bar & Grill

3341 SE Belmont St. Justin Stark

Hawthorne Theatre

6835 SW Macadam Ave. Tender Deluxe

456 N State St. Norman Sylvester

1507 SE 39th Ave. Simon Says Die, We Rise The Tides, Above The Broken, How The West Was Won

Hotel Oregon

310 NE Evans St. Paul Basile of Great Elk

The buffalo Gap

The Know

2026 NE Alberta St. Prizehog, Thrones, Polst

The Lehrer

8775 SW Canyon Ln. Mitch Kashmar

The Old Church

Ivories Jazz Lounge

1422 SW 11th Ave. The Northwest Horn Orchestra

Jade Lounge

The Original Halibut’s II

1435 NW Flanders St. The Jeff Baker Quintet 2342 SE Ankeny St. Puddletown Ramblers, Three For Silver

Jimmy Mak’s

221 NW 10th Ave. NW Soul! featuring Linda Hornbuckle, Lady A and Andy Stokes

Kelly’s Olympian

426 SW Washington St. Lil Ass Boom Box Festival: Liquid Light, Brother Elf, Electro Kraken, Charming Birds

Kenton Club

2025 N Kilpatrick St. Kool Stuff Katie

Landmark Saloon

2525 NE Alberta St. Carlton Jackson

The Tonic Lounge

3100 NE Sandy Blvd. Dogs of August, Tuesdays Project, Black Powder County

The Youth Music Project

2015 8th Ave. Blues Trio Ellen, Gene and Jean

Thirsty Lion Pub SW 2nd & Ash St. Kinky Bros

Tony Starlight’s Supper Club

4847 SE Division St. Countryside Ride

3728 NE Sandy Blvd. The Bureau of Standards’ Big Band Sinatrafest

LaurelThirst Public House

Trail’s end Saloon

2958 NE Glisan St. Old Flames, Lewi Longmire & the Left Coast Roasters, Jenny Don’t & the Spurs

McMenamins boon’s Treasury

888 Liberty St. NE Will West & The Friendly Strangers

McMenamins Crystal ballroom

1332 W Burnside Street The Led Zeppelin Experience, No Quarter

McMenamins edgefield 2126 SW Halsey St.

1320 Main Street Lloyd Jones

Valentines

232 SW Ankeny St. Deep Burn

Vie de boheme 1530 SE 7th Ave. Zinnie for Short

white eagle Saloon

836 N Russell St. Reverb Brothers, The Rainbow Sign, Erin Leiker and Friends

CONT. on page 34

Willamette Week FEBRUARY 26, 2014 wweek.com

MUSIC CALENDAR

BAR SPOTLIGHT

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

ROSNAPS.COM

Wilf’s Restaurant & Bar 800 NW 6th Ave. Tony Pacini Trio

FEB. 26–MARCH 4

Wonder Ballroom

128 NE Russell St. Cibo Matto

Yale Union (YU)

800 SE 10th Ave. Lubomyr Melnyk

SAT. MARCH 1 Analog Cafe & Theater

720 SE Hawthorne Blvd. z’Bumba Brazilian Carnaval

Artichoke Music

3130 SE Hawthorne Blvd. Alison Rice & Keeter Smith

Ash Street Saloon

225 SW Ash St. The Decliners, Car 87, Milhous, The Stims

Beaterville Cafe

2201 N Killingsworth St. Amy Bleu, Chris Baron

Biddy McGraw’s

6000 NE Glisan St. The Barkers, Celtic Grey

Branx

320 SE 2nd Ave. We Butter the Bread with Butter, Lion Lions, Honour Crest

Club 21

2305 NE Glisan St. Battleme, Phantom Ships

Crystal Hotel Al’s Den

303 SW 12th Ave. Snowblind Traveler, Thomas Daholt

Doug Fir Lounge

830 E Burnside St. San Fermin, Son Lux, The Beauty

Duff’s Garage

1635 SE 7th Ave. Soul Vaccination

BASEMENT BOOCH: Certain things about Soma Kombucha Speakeasy (7319 N John Ave., facebook.com/somapdx) are very much like a speakeasy. Starting with the fact that it’s hidden under an insurance office and you gain entry by ringing a buzzer. Once inside, you’re confronted with the bitter smell of fermenting kombucha and a set of stairs that lead down to a crimson-hued hangout furnished with wooden lawn chairs that don’t quite feel broken-in after a month. The playlist includes both old-timey jazz and breathing ohms. Battery-powered candles sit atop the matching tables. Our host, April, fills in while owner Jean-Pierre is in India. She graciously pours the entire selection before getting back to the book on her iPad. At this tasting room with very limited hours (5-9 pm Thursday-Friday and 11 am-6 pm Saturday-Sunday), you can get free tastings of the two kombuchas on tap and the company’s larger line of bottled booch. I found the coffee kombucha too acidic, but loved the sugar and spice of the cherry chai. Growlers, gallons, pints and bottles are available to take home. There is only one food item available: organic quinoa with seasonal vegetables and a side salad. It’s a unique place to visit if you find yourself with time to kill in St. Johns and don’t feel like tacos and beer. Be warned, though: The kombucha served here is non-alcoholic, which some would say makes it not like a speakeasy at all. LYLA ROWEN.

East End

203 SE Grand Ave. Rabbits, Honduras, Humours, Sloths

Hawthorne Theatre 1507 SE 39th Ave. Zion I, Sol, Tope

Hotel Oregon

310 NE Evans St. Billy D

Ivories Jazz Lounge

1435 NW Flanders St. Jazz Conversations: Carter/ Colligan & Watson/Essiet/ Phillips, Andini Quartet Randy Porter, David Evans; Late Night Fest: Jam David Valdez Trio

Jade Lounge

2342 SE Ankeny St. Kelsey Mousley, The Debts, Christopher Birch

Jimmy Mak’s

221 NW 10th Ave. Toque Libre

Nel Centro

1408 SW Sixth Ave. Mike Pardew

Newmark Theatre

1111 SW Broadway PDX Jazz Festival: Bobby Watson and Horizon, James Carter Organ Trio

Peter’s Room

8 NW 6th Ave Aer, New Beat Fund

Portland Art Museum

1219 SW Park Ave. The Four Seasons by Antonio Vivaldi

Secret Society Ballroom

116 NE Russell St. The Libertine Belles, Jessie Marquez, The Upper Left Trio

Shaker & Vine

2929 SE Powell Blvd. Camile’s Folk for Folks

The Annex

112 SW 2nd Ave. Pat Buckley

5242 N. Lombard St. Atlas & The Astronaut, Sorta Ultra

Kells Brewpub

The Blue Monk

LaurelThirst Public House

The GoodFoot

Kells

210 NW 21st Ave. Sami Rouisi 2958 NE Glisan St. The Yellers, Brian & the Ballentines, The Oh My Mys

M & M Restaurant & Lounge 137 N Main Ave. Mike Branch Band

McMenamins Mission Theater

1624 NW Glisan St. PDX Jazz Festival: Portland Jazz Composers Ensemble Showcase

Mississippi Studios

3939 N Mississippi Ave. Ages and Ages, Fanno Creek, Us Lights

Mock Crest Tavern 3435 N Lombart St. Adequates

3341 SE Belmont St. Three-for-Silver 2845 SE Stark St. Jujuba

The Know

2026 NE Alberta St. Mascaras, Sons of Hippies

The Lehrer

8775 SW Canyon Ln. The Jim Mesi Band

The Original Halibut’s II 2525 NE Alberta St. Big Monty

The Press Club

2621 SE Clinton St. Jenna Ellefson

The Tonic Lounge

3100 NE Sandy Blvd. Arsonists Get All the Girls, Abolishment of Flesh

The Waypost Coffeehouse & Tavern 3120 N Williams Ave.

Willamette Week FEBRUARY 26, 2014 wweek.com

East Fores

Tigardville Station

12370 SW Main Street Blue Evolution

White Eagle Saloon

Ivories Jazz Lounge

1435 NW Flanders St. The Mark Simon Quintet; Late Night Fest: Jam David Valdez Trio

836 N Russell St. The Student Loan, The Stubborn Lovers, The Medallions, The Tumblers

Kells

Wonder Ballroom

2958 NE Glisan St. Freak Mountain Ramblers, Joshua Powell Band, Avery Hill

128 NE Russell St. Nicole Atkins, Arc Iris, Davey Horne

SUN. MARCH 2 Ash Street Saloon

225 SW Ash St. Betrayed by Weakness, American Me, Proven

Blue Diamond

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

Bunk Bar

1028 SE Water Ave. Benefit for Holland Andrews: Au, members of Typhoon, special guests

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

Dante’s

112 SW 2nd Ave. Bill Tollner

LaurelThirst Public House

McMenamins Edgefield

2126 SW Halsey St. Jaime Leopold & the Short Stories

Newmark Theatre

1111 SW Broadway PDX Jazz Festival: Pat Metheny Unity Group, Chris Potter, Antonio Sanchez, Ben Williams, Giulio Carmassi

Rontoms

600 E. Burnside St. Rio Grands, Smokey Brights

Slabtown

1033 NW 16th Ave. Grand Style Orchestra

St. James Lutheran Church

1315 SW Park Ave Music for Two Organs

350 W Burnside St. She’s Not Dead, the Sinferno Cabaret

The Blue Monk

Doug Fir Lounge

The Tonic Lounge

830 E Burnside St. Glasvegas, The Ceremonies

First United Methodist Church-Portland 1838 SW Jefferson St. The PSU Symphony Orchestra

Hawthorne Theatre 1507 SE 39th Ave. March Metal Fest

Holocene

1001 SE Morrison St. The Casket Girls, The Stargazer Lilies, Dott, Dreamed

3341 SE Belmont St. Sunday Jazz Series 3100 NE Sandy Blvd. Here Come Dots, The Hat Madder, Nails Hide Metal

The Waypost Coffeehouse & Tavern 3120 N Williams Ave. Classical Revolution

Valentines

232 SW Ankeny St. Ava Luna, Krill, Modern Marriage, Half Shadow

Vie De Boheme 1530 SE 7th Ave. Dan Wilensky

FEB. 26–MARCH 4 Wonder Ballroom

128 NE Russell St. Skinny Puppy

MON. MARCH 3 Blue Diamond

2016 NE Sandy Blvd. Sumo

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

Doug Fir Lounge

830 E Burnside St. Dale Earnhardt Jr. Jr.

Jimmy Mak’s

221 NW 10th Ave. Dan Balmer

Kells

112 SW 2nd Ave. Bill Tollner

McMenamins Crystal Ballroom

1332 W Burnside Street Dr. Dog, Saint Rich

McMenamins Edgefield

2126 SW Halsey St. Skip VonKuske’s Cellotronik

MUSIC CALENDAR

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

Wonder Ballroom

128 NE Russell St. Real Estate, the Shilohs

TUES. MARCH 4 Alberta Rose Theatre

Maps and Atlases, And And And, the We Shared Milk

Holocene

1001 SE Morrison St. Ladi6, Laura Ivancie

Jimmy Mak’s

221 NW 10th Ave. Marti Mendenhall (6 pm); The Mel Brown Septet (8 pm)

3000 NE Alberta St. The New Iberians, DK Stewart, Lloyd Jones Funktation

McMenamins Edgefield

Ash Street Saloon

Mock Crest Tavern

225 SW Ash St. Ian and the Crushers

Blue Diamond

2126 SW Halsey St. Hanz Araki 3435 N Lombart St. Johnnie Ward & the Eagle Ridin’ Papas

2016 NE Sandy Blvd. The Gretchen Mitchell Band

Suki’s Bar & Grill

Cadigan’s Corner Bar

The Blue Monk

Crystal Hotel Al’s Den

The GoodFoot

5501 SE 72nd Ave. Hip Deep 303 SW 12th Ave. Sam Cooper

2401 SW 4th Ave. Butterfly Breakdown 3341 SE Belmont St. The Pagan Jug Band 2845 SE Stark St. Asher Fulero Band

Doug Fir Lounge

Moloko Plus

3967 N Mississippi Ave. DJ Roane

Beech Street Parlor 412 NE Beech St. DJ Ghost Capital

Berbati

19 SW 2nd Ave. DJ Seleckta YT Riddim Up Wednesday

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

Ground Kontrol Classic Arcade

511 NW Couch St. TRONix: Bryan Zentz

Harlem

220 SW Ankeny St. DJ Jack

Moloko Plus

3967 N Mississippi Ave. King Tim 33 1/3

Star Bar

639 SE Morrison St. DJ OverCol

Tiga Bar

1465 NE Prescott St. RaSean

THURS. FEB. 27 Analog Cafe & Theater

720 SE Hawthorne Blvd. Bubble Up

Beech Street Parlor

412 NE Beech St. DJ Roxy, DJ Blackburn

Berbati

19 SW 2nd Ave. Study Hall, DJ Suga Shane

CC Slaughters Nightclub & Lounge 219 NW Davis St. Hip Hop Heaven, DJ George

Harlem

220 SW Ankeny St. DJ Tourmaline, DJ Valen

Holocene

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

Midnight Roundup

345 NW Burnside Rd. Live DJ Mixes

Star Bar

639 SE Morrison St. DJ Andrew Loomis

The Lovecraft

421 SE Grand Ave. Rock, Death Trip & DJ Tobias

Tiga Bar

1465 NE Prescott St. Bill Portland

FRI. FEB. 28 Beech Street Parlor 412 NE Beech St. DJ L-Train

CC Slaughters Nightclub & Lounge 219 NW Davis St. DJ Jakob Jay, Sweat Fridays

CC Slaughters Nightclub & Lounge

Star Bar

639 SE Morrison St. DJ Jessicat Rock n’ Roll

Whiskey City Rock Bar

11140 SE Powell Blvd. Feenixpawl, Jamie Meushaw

SUN. MARCH 2 Analog Cafe & Theater

720 SE Hawthorne Blvd. Sensory Bittersweet Productions and PANZEN

219 NW Davis St. Sound Gliter: DJ Peter Calandra

Berbati

Harlem

CC Slaughters Nightclub & Lounge

220 SW Ankeny St. Lionsden

Holocene

1001 SE Morrison St. Snap! ‘90s Dance Party: Dr. Adam, Colin James, Freaky Outty

Moloko Plus

3967 N Mississippi Ave. Monkeytek & Friends

Rotture

315 SE 3rd Ave. The Cockpit Featuring The Perfect Cyn & Team Sexy

Star Bar

639 SE Morrison St. DJ Bar Hopper

The GoodFoot

2845 SE Stark St. Soul Stew: DJ Aquaman

The Jack London Bar 529 SW 4th Ave. Decadent 80s

The Lovecraft

421 SE Grand Ave. Dance Party, DJ Horrid

Tiga Bar Portland

1465 NE Prescott St. DJ Kevin Lee

SAT. MARCH 1 CC Slaughters Nightclub & Lounge 219 NW Davis St. Revolution DJ Robb

Hawthorne Theatre Lounge

1503 SE Cesar E Chavez Blvd. DJ Abilities, Bad Tenants, Rap Class

Holocene

1001 SE Morrison St.

9pm. 21 & Over

SUBSIST REDNECK RECESSIONS MORE HELL

$6.00 at the door.

FRIDAY, FEBRUARY 28 9pm. 21 & Over

two-year Anniversary

DEFECT DEFECT BLOODTYPES WORMBAG

SATURDAY, MARCH 1 9pm. All Ages

two-year Anniversary

830 E Burnside St.

Booty Bassment: Maxx Bass, Nathan Detroit, Ryan & Dimitri

WED. FEB. 26

THURSDAY, FEBRUARY 27

LOVE AND CARING THE GOUT RED SHADOWS Free!

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

WITHIN SPITTING DISTANCE OF THE PEARL

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

think it’s just trivia? think again.

19 SW 2nd Ave. Sunday Syndrome

219 NW Davis St. The Superstar Divas, DJ Robb

Star Bar Portland

639 SE Morrison St. DJ Baby Lemonade

The Conga Club

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

RAMENS RAM N

MON. MARCH 3 CC Slaughters Nightclub & Lounge 219 NW Davis St. Maniac Monday, DJ Robb

The Lovecraft

421 SE Grand Ave. Departures DJ Waisted and Friends

TUES. MARCH 4 Analog Cafe & Theater

720 SE Hawthorne Blvd. S.Y.N.T. Weekly Dubstep Night

Berbati

19 SW 2nd Ave. Soundstation Tuesdays: Featuring DJ Instigatah and Snackmaster DJ

CC Slaughters Nightclub & Lounge

219 NW Davis St. TNA Tuesdays: DJ Jakob Jay

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

Monday

Wednesday

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

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

The Dugout (Hillsboro) — 7:00 PM Biddy McGraw's — 7:00 PM Shanahan's (Vancouver) — 7:00 PM Ship Tavern — 8:00 PM (Starts March 25) 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

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Punch Bowl Social — 8:00 PM (Starts March 5th) Concordia Ale House — 8:00 PM Space Room — 7:00 PM Tonic Lounge — 7:00 PM Buffalo Gap — 7:30PM

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2222 Thursday

21st Avenue Bar & Grill — 7:00 PM Belmont Inn — 7:00 PM

Tuesdays @ 8pm (starts August 14th)

South Park Abbey

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

facebook.com/geekswhodrink Willamette Week FEBRUARY 26, 2014 wweek.com

Feb. 26–March 4

= 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.

up by live guitar, violin and yodeling, and it toys with questions of piety and morality while inciting genuine laughter. KATHRYN PEIFER. Milepost 5, 850 NE 81st Ave., 971-258-8584. 7:30 pm Fridays-Sundays through March 16. $15 Fridays-Saturdays; “pay what you can” Sundays.

FEATURE CAMERONBROWNE.COM

PERFORMANCE

ALSO PLAYING

THEATER OPENINGS & PREVIEWS The Caretaker

Imago dipped into Harold Pinter with last December’s endlessly sly The Lover, and now Jerry Mouawad directs the tragicomedy that established the iconic dramatist’s reputation. It’s a psychological study exploring the power dynamics between two brothers and the homeless vagabond they bring into their shabby home. Local theater legend Allen Nause plays the tramp. Imago Theatre, 17 SE 8th Ave., 231-3959. 7 pm Thursdays and Sundays and 8 pm Fridays-Saturdays, Feb. 27-March 23. $17-$25.

Crumbs From the Table of Joy

A staged reading of Lynn Nottage’s play about an African-American widower who moves his family from Florida to Brooklyn in the ’50s. The Old Church, 1422 SW 11th Ave. 10:30 am Tuesday, March 4. $8.

King Lear

Northwest Classical Theatre stages what is, according to George Bernard Shaw, the best tragedy anyone will ever write. Shoe Box Theater, 2110 SE 10th Ave., 971-244-3740. 7:30 pm Thursdays-Saturdays and 2 pm Sundays through March 30. $18-$20.

The Light in the Piazza

Craig Lucas and Adam Guettel’s musical—which premiered in Seattle in 2003 and hit Broadway in 2005—is set in the 1950s and centers on a mother and her emotionally stunted adult daughter who travel to Florence, where the young woman falls in love with an Italian man. This Portland Playhouse production stars Susannah Mars and Merideth Kaye Clark, who played Elphaba in a national tour of Wicked. Portland Playhouse, 602 NE Prescott St., 488-5822. 7:30 pm Wednesdays-Saturdays and 2 pm Sundays through March 30. $32-$36.

The Motherfucker With the Hat

Artists Rep presents Stephen Adly Guirgis’ exhilaratingly raucous, highly profane comedy about an ex-addict trying to stay clean. The cast is killer, with John San Nicolas as the former druggie, Val Landrum as his strungout girlfriend and Victor Mack as his bullshit-spouting A.A. sponsor. Artists Repertory Theatre, 1515 SW Morrison St., 241-1278. 7:30 pm WednesdaysSundays and 2 pm Sundays, Feb. 25-March 30. $25-$55.

Nashville Hurricane

In this one-man show, Chase Padgett spins a tale of a guitar-playing savant, all the while doing plenty of fingerpicking himself. Curious Comedy Theater, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 8 pm Friday-Saturday through March 14.

One Flea Spare

Samantha Van Der Merwe, the artistic director of Shaking the Tree, has proven herself adept with kid-appropriate fare—including last fall’s charming Wilde Tales—as well as with decidedly more adult stuff. Here, she swings firmly toward the latter, directing a pitch-black comedy by Naomi Wallace that explores issues of class, politics and sex in its story about a plague in 17th-century London. Shaking the Tree Theatre, 1407 SE Stark St., 971-207-9081. 7:30 pm. 7:30 pm Thursdays-Saturdays and 5 pm Sundays through March 22. $18-$22; Thursdays “pay what you will.”

A Small Fire

Portland Center Stage presents Adam Bock’s 2011 drama about a woman

who develops a mysterious disease that robs her of her senses. This is director Rose Riordan’s third spin with a Bock play in Portland—she directed The Thugs in 2007 and The Receptionist in 2008—and if those productions are any indication, this should be an excellent show. Gerding Theater, 128 NW 11th Ave., 445-3700. 7:30 pm Tuesdays-Sundays; 2 pm Saturdays-Sundays; noon Thursdays through March 23. $29-$67.

The Tell-Tale Heart

Tears of Joy presents a puppet-filled adaptation of Poe’s classic tale. Best for kids 10 and up. Hollywood Theatre, 4122 NE Sandy Blvd., 248-0557. 2 pm Saturday, March 1. $15.

Zombie in Love

Proving the zombie craze knows no age boundaries, Oregon Children’s Theatre stages a world-premiere musical about a lonely, brain-eating boy who just wants to find the girl of his undead dreams. Best for ages 4 and up. Winningstad Theatre, 1111 SW Broadway, 228-9571. 2 and 5 pm Saturdays and 11 am and 2 pm Sundays (no shows March 2 and 9). $15-$28.

NEW REVIEWS Aida

Originally optioned by Disney from a children’s storybook—which was itself based on the Verdi opera of the same name—Elton John and Tim Rice’s Aida retains all the depth of an animated feature, with the erotic undercurrent of a Danielle Steel novel. Sure, the slave girl may actually be a Nubian princess, but you can still take her roughly in your palace bedchamber. Stumptown Stages’ adaptation embraces the campiness, yet it’s more humorous than was likely intended. In the titular role, Joann Coleman nearly channels Oprah Winfrey, with all the fierce enthusiasm of an enslaved princess giving away free cars. Her captor and lover, an Egyptian soldier named Radames (James Langston Drake), isn’t exactly bored, but he doesn’t seem passionate enough to commit treason, and there’s an overall lack of chemistry between the star-crossed lovers. Some of the best performances—and voices—are found in the supporting roles, including Joy Martin as Princess Amneris, a shallow blonde who (surprise!) ultimately learns about her own self-worth, and Antonio Tillman as the effeminate houseboy Mereb. Even though we know how it’s all going to end, it still makes for an enjoyable Disneyland ride. PENELOPE BASS. Brunish Theatre, 1111 SW Broadway, 381-8686. 7:30 pm Thursdays-Saturdays, 2 pm SaturdaysSundays through March 9. $25-$40.

Tartuffe

Molière’s 17th-century comedy Tartuffe gets a Texas twang and country tunes in this rollicking Post5 Theatre production. It’s the story of unyielding patriarch Orgon (Keith Cable), who is entranced by Tartuffe (Garland Lyons), a slimy charlatan who wears a veneer of religious zeal and lusts after Orgon’s wife, Elmire (Christy Drogosch). In Post5’s close quarters, it’s easy for the actors to let audience members in on their jests. The cast speaks with ease and clarity, turning the rhymed verse into something conversational, and all the while maintaining their Texan accents. As the maid, Sarah Peters is relentless with snarky stabs and jabs that steer everyone to the truth. Lyons’ performance as Tartuffe is marvelously disgusting: He’s a sleazeball you love to hate. As he sits next to Elmire, stroking her thighs, it’s hard not to cringe and squeeze your own legs together in horror. The production is livelier than the rowdiest of parties, amped

Willamette Week FEBRUARY 26, 2014 wweek.com

Ardiente Paciencia

Miracle Theatre’s production of Antonio Skármeta’s Ardiente Paciencia is a dizzying and viscerally funny exercise in metaphors and layers. Chilean poet Pablo Neruda, played by the regal Enrique E. Andrade, is a poetic and romantic mentor to Mario as he pursues Beatriz in the small fishing village of Isla Negra. Though the allSpanish production, supertitled in English, skimps on Neruda’s quirks, his humor and capacity for love suffuse the show. MITCH LILLIE. Miracle Theatre, 525 SE Stark St., 236-7253. 7:30 pm Thursdays, 8 pm FridaysSaturdays and 2 pm Sundays through March 8. $17-$26.

A Night in November

Irish playwright Marie Jones’ A Night in November charts the political awakening of a Belfast man named Kenneth. Played in this Corrib Theatre production by Damon Kupper, Kenneth is a welfare clerk who’s as dutiful in the disgruntled rigmarole of his government job as he is in his rigid, practiced Protestantism. But when dragged to a soccer match by his crass bigot of a father-in-law, Kenneth has a revelation so concussive it’s a wonder he wasn’t struck on the head with a rogue ball. It’s a crisis of conscience that smacks Kenneth all too rapidly, and the script overloads him with a series of shellshocked musings. The good news is that Kupper has an ebullient, winning presence, and in the second act— when Kenneth hops across the pond for the World Cup—he’s able to shake off the heavy-handed philosophizing. However briefly, we’re able to forgive the script’s glib resolutions and give over to the game’s “bloody good craic.” REBECCA JACOBSON. Kells Irish Pub, 112 SW 2nd Ave., corribtheatre.org. 7:30 pm MondaysWednesdays through March 5. $25.

Band Geeks!

Band Geeks! follows a marching band fighting budget cuts to remain alive. With upbeat performances, this Broadway Rose musical delivers. SAVANNAH WASSERMAN. Broadway Rose New Stage Auditorium, 12850 SW Grant Ave., Tigard, 620-5262. 7:30 pm Thursdays-Saturdays and 2 pm Saturdays-Sundays through March 2. $30-$41.

Bo-Nita

Written by Seattle playwright Elizabeth Heffron, Bo-Nita follows the titular 13-year-old and her mother as they react to discovering Bo-Nita’s sort-of stepfather lying dead on the floor. Outrageously dysfunctional chaos ensues as the motherdaughter duo tries to hold everything together the best way they know how—a plan involving fishnet stockings and a belly-dancing costume. Kate Eastwood Norris deftly embodies six characters, one moment gangly and awkward as the spunky Bo-Nita, and seconds later adopting the stern intonation of a mother not to be questioned. But even when Bo-Nita’s personal beat is buoyant, this remains a complex dance with a dark bite. KAITIE TODD. Gerding Theater, 128 NW 11th Ave., 445-3700. 7:30 pm Tuesdays-Sundays; 2 pm SaturdaysSundays; noon Thursdays through March 16. $40-$55.

Flash Ah-AHHH!

A rollicking schlock-operetta, StageWorks Ink’s Flash Ah-AHHH! pays faithful tribute to 1980 camp classic Flash Gordon, embracing B-movie grandeur through music-hall ebullience and tent-revival triumphalism. The effect is something like a Godspell panto dreamed up in a church basement by an assemblage of boozy dramatists and the neighborhood kids they’ve press-ganged into service as

PumPed uP: Ryan townsley.

IN AUGUST COMPANY Ryan Townsley comes onto the stage swinging. The gangly 17-year-old, a junior at Clackamas High School, stomps his feet, winds up an imaginary baseball bat and sways side to side as if readying for a fight. He’s rehearsing a monologue from August Wilson’s Fences, portraying that play’s patriarch as he recounts a wrestling match with the specter of death. “I ain’t going easy,” Townsley says, growling his final line—and then cracking a little smile. “Did you read the play?” asks actor Chantal DeGroat from a back row of the auditorium. “Yeah, I read it,” Townsley shrugs, with classic adolescent insouciance. DeGroat bolts to her feet. “Yeah, you did!” she howls. “Ryan, I cannot tell you how good it feels to see you start to throw—this—down.” It’s Saturday morning in an auditorium in North Portland, and Townsley and a dozen other teenagers are running through monologues written by one of America’s greatest playwrights. Wilson, who died in 2005, wrote a 10-play cycle chronicling the black experience in the 20th century, and for the past five years, high-school students across the country have taken part in a monologue competition honoring his work. This year, thanks to the August Wilson Red Door Project, a local nonprofit that aims to address racial issues through the arts, Portland is one of eight cities participating. A preliminary January audition winnowed a group of 40 down to 16, and all but one have stuck it out till now. They’ll compete in the regional finals Monday, March 3—the event is free and open to the public—and three will advance to the national finals, held in New York City in May. Of the cities participating in the competition, Portland is the second smallest (after Pittsburgh, Wilson’s hometown) and the whitest, but Wilson’s work isn’t new to this city: Six of his plays have been professionally mounted here since 2010, most at Portland Playhouse. Even so, the chance to see some of his most memorable monologues rounded up on a single evening, as they’ll be next week, is unique. Wilson’s plays give voice to characters—ex-cons, gypsy cab drivers, trash collectors—rarely seen onstage. His themes are weighty: death, drugs, poverty, infidelity, struggling families, crumbling communities. One goal of the competition is to convey the gravity of Wilson’s work to these students, who come from a range of racial backgrounds and vary in acting experience. A few have been groomed as performers since toddlerhood; others have never acted; one is homeless. In the master classes taught by area actors, the kids haven’t been coddled. One described the coaches’ criticism as “staggering.” Another said it’s been “relentless.” Coach Russell Hornsby, who plays homicide detective Hank Griffin on Grimm, doesn’t hold back. On Saturday, he demonstrates what he calls “a musical downshift.” Thrusting out his broad chest, he unleashes a guttural holler and then mimes pulling back a gearshift as his voice drops into a low rumble. The students look on, wide-eyed. A few laugh nervously. For Hornsby, this aggressive tack is necessary. “You can’t tiptoe around the foul language or the foul images,” he says. “That’s what the material is. There’s hope, but there’s also desperation. You can’t sugarcoat that. You can’t ignore that.” REBECCA JACOBSON. 15 teenagers take on august Wilson.

see it: The August Wilson Monologue Competition is at the Gerding Theater, 128 NW 11th Ave., 971-266-0344. 7:30 pm Monday, March 3. Free. RSVP at reddoorproject.org/awmc.

Feb. 26–March 4

The Glass Menagerie

Portland Actors Conservatory stages Tennessee Williams’ elegiac story about a Southern family framed through the recollections of the grown son. Portland Actors Conservatory, 1436 SW Montgomery St., 274-1717. 7:30 pm Thursdays-Saturdays and 2 pm Sundays through March 2. $10-$25.

Let A Hundred Flowers Bloom

Let a Hundred Flowers Bloom is a romance, a politically driven tale and a riveting comedy. Take the play’s prologue: The narrator, a vivacious author of gay Marxist porn, tells a politicoerotic story titled Mein Cock. The action is set in the mid-’90s, as AIDS drugs are improving, and playwright David Zellnik introduces us to a group of gay men and examines how they deal with uncertainty and instability. The script’s philosophical musings, Paul Angelo’s exuberant direction and the sheer energy of the Defunkt cast keep things engaging, with plenty of cheesy porno music and a campy sex scene—or two, if you count a handy in the back of a Payless shoe store— thrown in for good measure. LAUREN TERRY. The Back Door Theater, 4319 SE Hawthorne Blvd., 481-2960. 7:30 pm Thursdays-Sundays through March 22 (no show March 2). “Pay what you can” Thursdays and Sundays, $15-$25 sliding scale Fridays and Saturdays.

Medicare: Fully Fabulous

As Medicare: Fully Fabulous begins, performer Wendy Westerwelle lies on a hospital bed on the dimly lit stage. Then God’s voice booms overhead, giving her the choice of life or death. At age 66, Westerwelle tells God she isn’t ready to go, and he offers her a second chance at life—but only if she promises to quit gossiping, eat healthier and be nice. At times, the one-woman show verges on standup, with musical outbursts that include a rap performance with Westerwelle clad in gold sequined pants and gold chains. With her sassy attitude and hilarious outlook on life, Westerwelle makes 66 look, well, fabulous. SAVANNAH WASSERMAN. The Sanctuary at Sandy Plaza, 1785 NE Sandy Blvd., 239-5919. 7:30 pm ThursdaysSaturdays through March 2. $15-$35.

The Monster-Builder

Gregor Zubrowski, the megalomaniacal architect at the center of Amy Freed’s world-premiere play 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. Michael Elich devours the role, retaining just enough self-aware humor in his devilish asides to the audience. Freed’s script, though, isn’t nearly so focused. The performers are generally strong, 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 Wednesdays-Sundays and 2 pm Sundays through March 2. $25-$55.

NT Live: Coriolanus

Shakespeare’s tragedy, starring Tom Hiddleston (you know him as Loki from The Avengers and Thor) as the Roman warrior, broadcast in hi-def from London. World Trade Center Theater, 121 SW Salmon St., 235-1101. 2 and 7 pm Sunday, March 2. $15-$20.

NT Live: War Horse

A hi-def broadcast from London’s West End of the hit play about France during World War I, featuring some of the most epic puppets ever to gallop across a stage. World Trade Center Theater, 121 SW Salmon St., 235-1101. 2 and 7 pm Saturday, March 1; 2 and 7 pm Sunday, March 16; and 2 and 7 pm Saturday, April 5. $15-$20.

The Pillowman

Martin McDonagh’s The Pillowman examines child abuse, innocence lost and the importance of a written legacy as it follows an author named Katurian. He’s being questioned after a series of child deaths that follow the plots of his short stories, and the script spins brutal tales of children who undergo great abuse—think crucifixions and death by razor blades. Unfortunately for this Epiphany Theatre production, there’s little to be stunned about. This five-member cast is impassioned but stiff, erupting into strained yelling and insincere cursing that makes giggly schoolgirls look like ol’ swearin’ sailors. At one point, the mean-muggin’ cop KATHRYN PEIFER. Subud Portland, 3185 NE Regents Dr. 7:30 pm. 7:30 pm Fridays-Sundays through March 1. $15 Fridays and Saturdays, $5 Sundays.

COMEDY & VARIETY Buzzword Bingo

Kind of like the Hollywood Theatre’s B-Movie Bingo, just for standup—you get a card filled with words, jokes and random stage activities, and you check the boxes each time one of those things happens at the mic. The always amiable Sean Jordan hosts, with sets from Joann Schinderle, Randy Mendez, Don Frost and Jacob Christopher. The winner gets two tickets to see Steve-O this weekend. Helium Comedy Club, 1510 SE 9th Ave., 888-643-8669. 8 pm Wednesday, Feb. 26. Free.

Steve-O

You’ve seen him snort wasabi and bathe in human excrement. Now, Steve-O attempts his wildest stunt of all: sobriety. America’s favorite jackass hits Helium for a weekend of standup. Helium Comedy Club, 1510 SE 9th Ave., 888-643-8669. 8 pm Thursday, 7:30 and 10 pm Friday-Saturday, Feb. 27-March 1. $22-$30. 21+.

Surrounded by Idiots

A sketch revue, written by Brody founder Tom Brody, with a sprawling cast of characters. Brody Theater, 16 NW Broadway, 224-2227. 9:30 pm Saturdays through March 1. $9-$12.

TJ Miller

Miller has voiced video-game characters, toured with legendary improv company Second City, released a hip-hop comedy album and gabbed away on his Nerdist podcast, and now he and Nick Vatterot hit Portland for some standup. The Star Theater, 13 NW 6th Ave. 10 pm Saturday, March 1. $15.

DANCE Agnieszka Laska Dancers

Do you like your standup loud, abrasive and frequently misogynistic? Then Aussie comic Jim Jefferies is for you. Newmark Theatre, 1111 SW Broadway, 248-4335. 8 pm Friday, Feb. 28. $45.

The modern-dance company with a taste for classical music and a heart for Polish heritage is raising money for its trip to Zakopane, Poland, where it will perform three of its top works, Broken Flowers, Rite of Spring and The Chopin Project. At this fundraiser, the group will perform excerpts from those pieces and previews of works still being created. The event includes a Polish dinner and live chamber music. Polish Hall, 3832 N Interstate Ave., 287-4077. 7 pm Saturday, March 1. $30-$300 suggested.

Ladies and Gentlemen

Cedar Lake Contemporary Ballet

Jim Jefferies

A new monthly improv showcase, in which each go-around gets a different group of gals. Troupe Whiskey Tango reps the male persuasion each month. Curious Comedy Theater, 5225 NE Martin Luther King Jr Blvd., 477-9477. 10 pm every fourth Friday. $5.

The Liberators

One of Portland’s snazziest comedy troupes—a four-member group that excels at both improv and sketch— hits IFCC for a one-night stand. Ethos/ IFCC, 5340 N Interstate Ave. 7:30 pm Saturday, March 1. $13-$16.

Midnight Mass

Amy Miller learned from the legendary Tony Sparks—he’s hosted open-mic nights at an Oakland laundromat for 14 years—and she brings those chops to this monthly showcase. Funhouse Lounge, 2432 SE 11th Ave., 841-6734. Midnight Saturday, March 1. Free.

Pizza-Sippi

Standup from Jeremiah Coughlan, Paul Jay and Matthew Edward, and improv from Whiskey Tango. Mississippi Pizza, 3552 N Mississippi Ave., 288-3231. 9 pm Wednesday, Feb. 26. Free.

Show Us Your Wits

Standup comedy from three Seattle ladies (Bettina McKelvey, Elicia Sanchez and Sarah Skilling) and two Portland dudes (Gabe Dinger and Jason Traeger), hosted by Andie Main. The Jack London Bar, 529 SW Stark St. 8 pm Thursday, Feb. 27. $5. 21+.

Slam Up Tour

Blending slam poetry, music and standup, childhood friends Emily Lowinger and Cali Bulmash achieve a style of live performance that transcends any of its individual parts. This show is about love in its many forms, filtered through a fiercely feminist lens and served up with lots of charm, irreverence and smarts. In Other Words, 14 NE Killingsworth St., 2326003. 7 pm Thursday, Feb. 27. Free.

Spectravagasm IV: Opiate of the Masses Post5 returns with more sketch comedy, this time batting at everyone’s favorite punching bag, religion. Milepost 5, 850 NE 81st Ave., 971-2588584. 10 pm Friday-Saturday through March 14. “Pay what you can.” 21+.

All seven of you who saw 2011’s The Adjustment Bureau will remember the scene where Matt Damon pulls up to Cedar Lake’s Chelsea studio and goes inside to watch Emily Blunt, in a blood-red dress, be repeatedly lifted and tossed by two of the company’s men. Blunt, who before the role had no dance experience, does justice to the company, chosen for the film for its innovation and downtown edge. Cedar Lake, in general, is comfortable with pop culture; dancer Billy Bell did well on So You Think You Can Dance, and dancer Ebony Williams was in Beyoncé’s “Single Ladies” video. Nothing that saucy will appear in the company’s one-night Portland performance, presented by White Bird, but neither does anything resemble classical ballet. The 16 dancers perform three contemporary pieces by Canada’s Crystal Pite, Great Britain’s Hofesh Shechter and Sweden’s Alexander Ekman. Often rhythmic and dark, they tend to evoke mixed reactions, but not due to poor skill. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 248-4335. 7:30 pm Wednesday, Feb. 26. $26-$70.

Cloud Gate Dance Theatre

The crown jewel of dance presenter White Bird’s season, Taiwan’s Cloud Gate is a nerve-touching force, heavy on symbolism, prolonged stillness and, in this case, three-and-a-half tons of shimmering rice. Choreographer Lin Hwai-min’s magnum opus, Songs of the Wanderers, showcases his trademark simple but stunning visuals. Set to a score of Georgian folk songs, the piece is inspired by Lin’s journey to the Indian village of Bodhgaya, where the Buddha attained enlightenment. The piece effectively turns ancient rites into dance theater, set in a world where rice falls like rain to become a river, then hills, then a desert. Cloud Gate dancers train in an array of Eastern and Western arts, including meditation, martial arts, modern dance, ballet, calligraphy and the ancient breathing exercise Qi Gong. These inform their performance: They move explosively, but maintain a quiet intensity. Lin once told The Guardian, “Instead of invading space, we now internalize our focus and discover a new world: our own bodies.” Keller Auditorium, 222 SW Clay St., 245-1600. 7:30 pm Tuesday, March 4. $26-$70.

East Coast Swing Social Dance

The Sons of Norway Grieg Lodge, a Nordic fraternal organization that claims to help you get in touch with your “inner Scandinavian,” is raising money for its youth dance group Leikarringen. The event includes swing dance lessons and a performance by the group, making it basically a fiddlebacked dance hall for Vikings. Norse Hall, 111 NE 11th Ave., 236-3401. 7 pm Friday, Feb. 28. $10.

Heart Attack Special

Drag queen Pagan Holladay produces a queer cabaret that includes burlesque from Honey LeFleur, music from Justin Whomever and Tammy Whynot, boylesque from Tod Alan and a chorus line of drag queens. Scandals PDX, 1125 SW Stark St., 227-5887. 9:30 pm Wednesday, Feb. 26. Free.

Nun the Lesque

The Portland Sisters of Perpetual Indulgence, a queer convent of bearded, clown-faced nuns most often seen distributing condoms at bars, produce a variety show of drag, burlesque and singing. Fez Ballroom, 316 SW 11th Ave., 221-7262. 6:30 pm Saturday, March 1. $5. 21+.

Oregon Ballet Theatre

Part of principal dancer Alison Roper’s deal to keep her from retiring last year was the promise of a tall male dance partner. Artistic director Kevin Irving delivered, bringing back Artur Sultanov, who retired from OBT in 2012. The 6-foot-4-inch Sultanov will join Roper, who’s just short of 5-foot9, in Nicolo Fonte’s Bolero, which the two first danced in 2008. Other works include James Kudelka’s Almost Mozart, an innovative piece of minimalism performed mostly in silence, and Christopher Wheeldon’s mystical and complex Liturgy, set to a score by sacred music composer Arvo Pärt.

Finally, former OBT artistic director Christopher Stowell premieres a new work set to the music of Shostakovich that walks the line between the opulence and danger of Soviet Russia. Keller Auditorium, 222 SW Clay St., 222-5538. 7:30 pm Thursday-Saturday, Feb. 27-March 1. $25-$150.

Sex Workers’ Rights Benefit

Prostitutes, hustlers and their kin are often targets of violence in the U.S. due to their criminal status and consequent stigma. That’s according to the Sex Workers Outreach Project, a beneficiary, along with with Portland Women’s Crisis Line, of funds from this drag, burlesque and strip show. Star Theater, 13 NW 6th Ave., 248-4700. 7 pm Monday, March 3. $12.

Ten Tiny MLC Dances

A 4-by-4-foot stage is all these dancers get in the 29th installment of Mike Barber’s series raising funds for Metropolitan Learning Center. This year, five high-school students and five professional dancers create five- to eight-minute-long works for the glorified coffee table. It’s the most graceful game of hot lava you’ve ever seen. McMenamins Kennedy School, 5736 NE 33rd Ave., 916-5737. 7 pm Wednesday, Feb. 26. $20.

Turnt! Up!

This is alterna-scenester-hip territory (think buzzwords like “queerdos” and “basement vibes”), but if you can hang, you’ll get your recommended glam gender-fluid/variant/nonconforming dosage with Isaiah Esquire and DieAna Dae. DJs Sappho and Roy g Biv spin “cosmic, next-level house” and “rad and weird-ass jams,” respectively. East End, 203 SE Grand Ave., 232-0056. 9:30 pm Friday, Feb. 28. $5.

For more Performance listings, visit

REVIEW OWEN CAREY

a live band. Well aware the lunatic source material needs no elaboration, the performers invest themselves in rousing renditions that manage to underplay the original’s hamminess while spotlighting quieter amusements. Gordon has risen indeed. JAY HORTON. Funhouse Lounge, 2432 SE 11th Ave., 841-6734. 7 pm ThursdaysSaturdays through March 1. $10-$15.

PERFORMANCE

TANGLED UP: The setting is the epitome of pedagogical order. Posters of Hindu deities line the walls, a giant bottle of hand sanitizer sits sentry on the teacher’s desk, buckets of markers top the tables. But in Johnna Adams’ Gidion’s Knot, this cheery classroom becomes a battlefield. A fifth-grader named Gidion has been suspended for mysterious reasons, and his mother, Corryn, stops by for a parent-teacher conference. Corryn is a blowsy, distraught match for the evasive teacher, and understandably so, as the details surrounding Gidion’s suspension trickle agonizingly out. But what could be a didactic, hot-button debate is instead a sophisticated and open-ended discourse that plays out in real time, with the clock tick-tocking on the wall. The women’s conversation moves from a recitation of Gaelic poetry—all “fucking and fighting,” Corryn says, in a bit of foreshadowing—to a discussion of adolescent sexuality to questions of creative expression and censorship. Dana Green and Amy Newman, the only actors in this taut Third Rail production, are simultaneously sympathetic and detestable, and they maintain the play’s tension through its many pauses and halts. It’s rare for a piece of theater to resonate on emotional and intellectual levels, but that’s precisely what these 80 minutes manage to do. REBECCA JACOBSON. SEE IT: Gidion’s Knot is at CoHo Theater, 2257 NW Raleigh St., 235-1101. 7:30 pm Thursdays-Saturdays and 2 pm Sundays through March 15. $27. Willamette Week FEBRUARY 26, 2014 wweek.com

VISUAL ARTS

Feb. 26–March 4

= 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.

on paper depicting what appears to be a cross section of a bean or sweet pea, connected to a diagram of a pink-and-red bacterium that looks disturbingly like an embryo. The work is quasi-scientific in the worst possible way; it incites our Frankensteinian fears that something has gone terribly awry with the natural order. Through March 1. Blackfish Gallery, 420 NW 9th Ave., 224-2634.

Laura Ross-Paul: Urban Forest

Laura Ross-paul is known for her evocative paintings of the human figure, but many of the paintings in Urban Forest have no people in them at all, only trees. ah, but not “only” trees—these are roots and trunks and limbs rendered with an almost supernatural reverence. The looping, arcing contours recall previous series in which Ross-paul depicted twin brothers linked by curved tree branches and auras of mysterious energy. This is an artist with a profound transcendentalist relationship to the natural world. Through March 15. Froelick Gallery, 714 NW Davis St., 222-1142.

PHotograPH from donald Weber’s interrogations

Bean Gilsdorf: An Exhibition That Might Exist

Bean Gilsdorf is an exceedingly talented artist who mounted installations 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. Through Feb. 28. Philip Feldman Gallery, 1241 NW Johnson St., 226-4391.

Bill Will: God and Country, Etc.

in 1989, when artist dread Scott inflamed conservatives with his provocative installation, What Is the Proper Way to Display a U.S. Flag?, americans were a lot more easily offended by contemporary art than they are now. Today, an artist like donald Weber can subject a flag— and the christian cross—to all sorts of indignities and hardly raise an eyebrow. Bill Will feeds flags into mousetraps and pencil sharpeners and fabricates crosses out of chew toys, plumbing tools, Q-tips, and steel brushes. These are irreverent presentations of once-sacrosanct symbols, but they’re hardly shocking anymore. and that’s good, because it means we’ve come a long way, baby. Through March 2. Nine Gallery, 122 NW 8th Ave., 225-0210.

Christopher Rauschenberg: Studio Photography

We tend to have romanticized notions of what an artist’s studio is supposed to look like: brick walls, concrete floors, art tools and personal effects strewn about in bohemian disarray. This isn’t the kind of artist space christopher Rauschenberg records in his series Studio Photography. documenting the studios of artists such as adrian chesser, Robert Frank, chuck close and his own father, Robert Rauschenberg, christopher Rauschenberg winds up documenting spaces that are surprisingly wellordered and antiseptic. The best print in the entire exhibition flies

Willamette Week FEBRUARY 26, 2014 wweek.com

(literally) in the face of this trend toward Ocd decorum, however. it’s a close-up of two dead flies lying on an artwork in Susan Weil’s studio. The mundanity of this image is unexpectedly poignant, reminding us how artists routinely commingle profound truths (such as death) with the realities of everyday life. Through March 8. Elizabeth Leach Gallery, 417 NW 9th Ave., 224-0521.

Donald Weber: Interrogations

The picture of the man with the gun to his head isn’t staged. Somehow, photographer donald Weber managed to get the Russian and Ukrainian police to let him snap pictures as they interrogated people accused of crimes. These are some of the most harrowing images you’re apt to see this year: a terrified woman with tears streaming down her cheeks; a young man with hands clasped, pleading for his life, a demeaning phrase in cyrillic scrawled on his forehead by his captors. One gets the sense these interrogators aren’t winning any points with amnesty international. The harsh lighting and grainy textures, coupled with the dingy wallpaper behind the detainees, add to an atmosphere of pornographic violence. Through March 2. Blue Sky Gallery, 122 NW 8th Ave., 225-0210.

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’ nine-artist show, Flatlands, it proves itself enduringly inventive. emily counts’ watercolor, Painting 3, is a standout: two menacing figures hunched on either side of the composition, rendered in a delicate medley of mauve, gray, bright purple and blanched-out orange. calvin Ross carl’s slyly lowbrow Fleet Week Boys, with its colorblocked rhombuses, is like ellsworth Kelly as a kindergartener. daniela Molnar’s floral studies juxtapose finely detailed realistic passages with flat tatters of color, while Roy Tomlinson’s jaunty lines recall the jerky rhythms of modern dance. Through March 2. Nisus Gallery, 8371 N Interstate Ave., Suite 1, 806-1427.

Group Show

The standouts in this eclectic group show are works that engage our sense of the uncanny. Greg conyne’s Raven is a 2-foot-long carving of a raven’s head made from salmon-colored alabaster. it’s held in a cedar chest lined with black feathers. There’s something iconic, fetishized and deeply unnerving about this piece, which seems more an ancient reliquary than a contemporary artwork. The same can be said for ellen Goldschmidt’s Hybrid, a graphite, ink and collaged work

Line

curated by Melinda Stickney-Gibson, Line explores the ways in which six New York artists deal with one of the building blocks of art: the line. By far the most engaging work is Matt Straub’s mixed-media painting Ghost I. On first inspection, it looks abstract, with black and acidgreen drips perfectly balanced atop a smeared, washed-out background. But look closer at that background and you’ll see the contours of a pop art-like cartoon. The cartoon shows the kind of imagery that has long fascinated this artist: cowboys, cowgirls, Native americans and horses. Straub is obsessed with the idea of the “vanishing West,” and in this virtuosic painting, he allows the West to effectively disappear behind a veil of seductive abstraction. Through March 1. Butters Gallery, 520 NW Davis St., 248-9378.

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 floating 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. Through March 1. Laura Russo Gallery, 805 NW 21st Ave., 226-2754.

Terry Toedtemeier: Skies

Late photographer Terry Toedtemeier was a master of communicating the simultaneous beauty and desolation of the Oregon landscape. in this moving suite of blackand-white silver-gelatin prints, Toedtemeier deployed the earth and sky to create moving topographical and emotional vignettes. Frozen Spray, Government Cove Jetty shows icicles from waves that froze in the middle of cresting: an image so bizarre, one could be forgiven for assuming (falsely) it was photoshopped. Beacon Rock captures the iconic columbia River Gorge landmark enshrouded by moody fog, while Palomino Lake, Malheur County, Oregon paints a rapturous picture of swirling clouds and water to rival anything in Montana could offer, despite its longstanding claim on the moniker “Big Sky country.” Through March 1. PDX Contemporary Art, 925 NW Flanders St., 222-0063.

For more Visual arts listings, visit

BOOKS

FEB. 26–MARCH 4

= 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.

newest book, a collection of stories in the making for nearly as long, deﬁes both categorization and reality. The Parable of You follows in the footsteps of literary fantasists, playing with perception as it veers between tales of a shipwrecked sailor or the lone survivor of an alien invasion. The guy’s a pro. Powell’s on Hawthorne, 3723 SE Hawthorne Blvd., 228-4651. 7:30 pm. Free.

FRIDAY, FEB. 28

WEDNESDAY, FEB. 26 Justin Hocking

A lifelong skater and surfer, Justin Hocking’s new memoir, The Great Floodgates of the Wonderworld, ventures far beyond the thrill-seeking of an adrenaline junkie. Imbued with the near-maniacal obsession of Captain Ahab, Hocking follows the trail of adventure across the country to New York, in search of something he can scarcely name himself. Powell’s City of Books, 1005 W Burnside St., 228-4651. 7:30 pm. Free.

Steve Lieber

Superheroes get all the press, with their good deeds and their spandex-clad physiques. But what about all the hard work villains put into mayhem and world domination? Portland artist and Eisner Award-winner Steve Lieber will be signing copies of the ﬁ rst collection of The Superior Foes of Spider-Man No. 1-6 and has agreed to draw your favorite foe on the inside of your comic. Cosmic Monkey Comics, 5335 NE Sandy Blvd., 517-9050. 5-7 pm. Free.

THURSDAY, FEB. 27 Kim Ghattas

For four years, BBC correspondent Kim Ghattas had unparalleled access to former Secretary of State Hillary Clinton and those closest to her. Ghattas’ new book, The Secretary, is both a detailed account of Clinton’s working life on the road and an intimate perspective of one of the most wellknown female politicians. Cue joke about pantsuits. Powell’s City of Books, 1005 W Burnside St., 228-4651. 7:30 pm. Free.

Russian Roulette

SUNDAY, MARCH 2 Ariel Gore

As founder and editor of Hip Mama magazine, Ariel Gore helped spawn the “maternal feminism” movement. Now in her new memoir, The End of Eve, Gore explores the experience of becoming her dying mother’s caretaker. Dubbed a cross between Terms of Endearment and Whatever Happened to Baby Jane?, The End of Eve is dosed with dark humor and a re-evaluation of love. Reading Frenzy, 3628 N Mississippi Ave., 274-1449. 4 pm. Free.

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Eco-Poetry and Fiction

New York poet Gretchen Primack (Kind) and Washington author Midge Raymond (Forgetting English) both share a passion for animals and the environment. Together, they read from their ecologically themed work and discuss the role of environmental advocacy and animal protection in ﬁ ction. Central Library, 801 SW 10th Ave., 988-5123. 2-3:30 pm. Free.

Phrase: A Quarterly Reading Series

Aiming to present written text as visual art, the reading series Phrase hosts authors and artists to share their work. Contributing this go-around will be fi ction and creative-nonfi ction writer Debra Busman, poet Lee Herrick and artist and series co-founder Juleen Johnson. Place Gallery, 700 SW 5th Ave., third fl oor, placepdx.tumblr.com. 6:30 pm. Free.

MONDAY, MARCH 3 Molly Antopol

Recently named one of the top ﬁ ve writers under 35 by the National Book Foundation, Molly Antopol’s debut collection of short stories, The UnAmericans, is already being hailed with comparisons to short-ﬁ ction writers like Grace Paley. The San Franciscobased writer reads a selection of her work. Frank Manor House, Lewis & Clark College , 0615 SW Palatine Hill Road, 768-7000. 7 pm. Free.

HEADOUT P. 23

Brought to you by the folks of Back Fence PDX, Russian Roulette oﬀ ers a whole new world of storytelling magic and potential humiliation. Stepping up to spin the wheel of story prompts will be returning winner Jessica Lee Williamson, Portland Mercury editor Bill S. Humphrey, comic-book writer Matt Fraction, comedian Alex Falcone, musician Katy Davidson, administration assistant Shannon Balcom and Live Wire! head writer Courtenay Hameister. Disjecta, 8371 N Interstate Ave., 286-9449. 8 pm. $15-$18. 21+.

We think we truly understand our spouses, siblings and best friends when, really, God only knows what could be going on in their twisted minds. University of Chicago psychologist Nicholas Epley explores the mystery of others and why we continue to think others want what we want and feel what we feel in his new book, Mindwise. Prepare to never look at Grandma the same. Powell’s City of Books, 1005 W Burnside St., 228-4651. 7:30 pm. Free.

W W W. WA G P O RT L A N D . C O M

Nicholas Epley

Tony Wolk

Portland author Tony Wolk has taught writing and literature at Portland State since 1965. His

For more Books listings, visit

Willamette Week FEBRUARY 26, 2014 wweek.com

MOVIES

feb. 26–march 4 FEATURE

= WW Pick. Highly recommended.

3 Days to Kill

Kevin Costner tries to pull a Liam Neeson. PG-13. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Oak Grove, Hilltop, Movies on TV, Pioneer Place, Sandy.

12 O’Clock Boys

B [ONE NIGHT ONLY] Documentary

filmmaker Lotfy Nathan apparently began creating 12 O’Clock Boys with one question in mind: Who are these gangs of kids barreling around Baltimore on dirt bikes? His film answers that question but leaves the audience with many more. The “12 o’clock boys” in question are pretty much what they seem—a loosely organized group of young men who share a love of high speeds, nail-biting stunts and evading the local cops. The short documentary follows 12-year-old Pug, a small kid with a big, cheeky mouth who dreams of riding with the “flock.” Pug’s mother, naturally, would prefer he didn’t, but the hyperactive tween will not be deterred, and over the course of three summers, we watch him grow from a fairly sweet kid to a foulmouthed punk and fully fledged 12 o’clock boy. The film briefly notes that some riders have been killed or seriously injured and are a danger to pedestrians and drivers. But, as an older member points out, in comparison to the kids in these impoverished neighborhoods who are joining gangs or dealing drugs, dirt-bike riding is a relatively positive activity. With so many advocacy documentaries on screens of late, Nathan’s unwillingness to take a side is refreshing—most of the film features Pug fooling around or pontificating about his life, interspersed with slow-mo footage of the bikers zooming about town. Nathan clearly hasn’t made up his mind whether the 12 o’clock boys are ruthless menaces or misunderstood thrillseekers. But he doesn’t give us enough information to make up ours, either. RUTH BROWN. Hollywood Theatre. 7 pm Friday, Feb. 28.

12 Years a Slave

A Steve McQueen’s 12 Years a Slave

is agonizing but not lurid, compassionate but not melodramatic, patient but still thrilling. McQueen exposes the full extent of slavery’s physical cruelty, from the endless hours of cotton-picking to the capricious acts of violence, as well as the system’s psychological toll. Chiwetel Ejiofor, with stoicism and crushing reserve, plays a man forced to keep his head down and feign illiteracy. Despite its handful of vicious instances of violence, 12 Years has none of the garish extravagance of last year’s Django Unchained, in which Quentin Tarantino perverted a historical atrocity into a hip-hop-scored spaghetti Western. Alongside the film’s occasional brutality, McQueen stages takes of astounding beauty and surprising tranquility. He’s a patient filmmaker, favoring long shots and wide angles over the quick cuts and close-ups that can sap scenes of their impact. Most impressive is that 12 Years a Slave does not feel like an ethical or educational obligation. While its instructive value is undeniable, this is also a rousing portrait, a morally complicated tale and a masterful work of art. r. REBECCA JACOBSON. Cornelius, Movies on TV.

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 of these backup singers are resigned to their roles in the musical ecosystem, content to have sacrificed their own aspirations

DANIELLE SPIRES

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.

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.

About Last Night

Between Endless Love and Robocop, it’s all ’80s redux at movie theaters this month. Here, Kevin Hart stars in a remake of the 1986 Rob Lowe-Demi Moore movie about love, sex and commitment. r. Cedar Hills, Eastport, Clackamas, Movies on TV.

Adult World

C The premise is almost too precious:

Amy (Emma Roberts), a sheltered suburbanite with a poetry degree, struggles to make a living after her parents cut the financial cord, so she grudgingly accepts a job at Adult World, a dingy porn hub owned by two horny geezers. Adult World targets the sort of young people who smugly announce their ambitions to be writers or activists yet lack the broken heart or mature soul necessary for success. But most real-life millennials don’t have compadres like Amy’s: the awkwardly charming love interest (Evan Peters), the sassy transvestite Rubio (Armando Riesco), the abrasive poet Rat Billings (John Cusack). Though Amy may not be able to swallow their ruminations about desire, authenticity and the bus route, they come as a relief to viewers. That’s because Amy’s naiveté is eyerolling—she wonders why the pornos returned to the store are often sticky— and her poetry is shit. She can only find her voice after a few whiskey shots, a puff of weed and the publication of her poem in Shit Poetry, a book that’s truly worthy as a companion to bowelemptying. Roberts and Peters, who are a couple off the screen as well as in American Horror Story, are enjoyable yet unremarkable in their roles. Director Scott Coffrey, an on-and-off Portlander, strives for quirkiness, even including intermittent, Zooey Deschanel-style jingles. But there’s no honest punch here, merely a sense of optimism without an ounce of luster. r. KATHRYN PEIFER. Laurelhurst Theater.

Afternoon of a Faun: Tanaquil Le Clercq

A documentary about Tanaquil Le Clercq, one of the greatest ballerinas of the 20th century, who inspired George Balanchine and Jerome Robbins before contracting polio at age 27. Cinema 21.

American Hustle

A Director David O. Russell’s vision of

America has always been Winesburg, Ohio, hopped up on trucker speed: a place of frantic grotesques distorted by their own need. In his 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 pisstaking. From the sincerely insincere, American Hustle builds genuine characters. It’s a wild pretzel of a plot: Irving Rosenfeld (Christian Bale) and mistress Sydney Prosser (Amy Adams) have been caught by federal agent Richie DiMaso (Bradley Cooper) in an undercover sting and are forced to run confidence rackets for the feds in order to nab other grifters. Halfway through the film, it’s unclear who’s conning whom, but it’s clear everybody’s conning themselves. This is the high wire that makes American Hustle so exhilarating, with the quick turns of a David Mamet or Howard Hawks fast-talkie. Really, it’s the sort of flick we’ve rarely seen since the ’40s: a farce with a heart. r. MATTHEW KORFHAGE. Cedar Hills, Eastport, Clackamas, CineMagic, Mill Plain, Cornelius, Lloyd Center, Movies on TV.

Willamette Week FEBRUARY 26, 2014 wweek.com

DRESSED TO WIN: Costume designer Michael Wilkinson with his American Hustle wardrobe.

DEEP END OF THE POOL PREDICTING OSCAR’S OBSCURITIES. bY savannah wasserman

swasserman@wweek.com

Oscar betting pools are won and lost on the more esoteric categories. How do you really judge a film’s editing? What’s the difference between sound mixing and sound editing? What the hell goes into production design? Wanting to increase our chances of winning the pool, we asked local experts for their predictions in some of the more technical categories. Here’s what they said. Production Design What it is: The production designers are the visual storytellers, responsible for a film’s overall look. The expert says: “The Great Gatsby. Everyone and their mother was swooning over the style and sets. Did I like this movie? It was OK, but the production design was amazing. This category is not about how amazing a film is to watch—it’s about the look and feel of it.” —Joshua Leake, director and producer, whose films include Glena, a documentary about a female professional cage fighter Sound Editing What it is: Sound editors gather sound from the time of shooting, namely dialogue, and effects captured at other times. Think of sound editors as the grocery shoppers and sound mixers as the chefs. The expert says: “Either The Hobbit or Lone Survivor seem like leading contenders. Both of these films have major editing tasks, adding hefty amounts of foley (fake swords don’t clang and swoosh) or cut effects (blanks on a set are often low-powder charges for safety, which sound like balloons popping).” —Christian Dole, freelance production sound mixer who’s worked on Grimm, Leverage, feature films and commercials Sound Mixing What it is: After the sound editor does the grocery shopping, the sound mixer makes the meal, assembling the sounds for the movie’s final track. The expert says: “I like to see the awards go to films that break new ground, or utilize creative solutions to support their narratives. Towards that end, I think Gravity deserves a nod. How do you

suggest sound in the vacuum of space? Their choice of using the muted thuds of suit contact really add to the visceral ‘you are there’ feeling. Tension in that kind of movie only works if its presentation is truly transportive, and I found it to be very effective.” —Christian Dole Film Editing What it is: The so-called “invisible art” entails selecting and assembling raw footage into something coherent. The expert says: “Gravity. There were a few treacly moments I could have lived without, but overall it’s a very lean film. It takes you on an amazing journey in a very short time. The crew did a fantastic job of keeping the audience oriented in a world where there is no up or down. I love a story that breathes and takes its time to unfold, but the events in Gravity happen very quickly, and it needed to be tight.” —Laura Roe, editor and camera loader who’s worked on Leverage, Grimm and Wild Makeup & Hairstyling: What it is: Painting faces and sculpting hair. The expert says: “Hands down Dallas Buyers Club. The makeup for Jared Leto’s character was so authentic and really helped define his role as Rayon. Matthew McConaughey’s character was so distressed and tortured. The makeup department did an amazing job of showing the characters’ pain and anguish.” —Jessica Needham, head of Portlandia’s hair and makeup department Costume Design What it is: Pretty straightforward—costume designers craft a film’s wardrobe. Period films tend to win, and this year there’s not a single nominee set in the present. The expert says: “While I think Patricia Norris should win for 12 Years a Slave for her ability to have clothing play such an intricate role in the film, my gut tells me that Michael Wilkinson will win for his incredible and articulate approach in designing American Hustle. [I’m] still dreaming of a few pieces Amy Adams wore in that film.” —Amanda Needham, two-time Emmy Award-winning costume designer for Portlandia WaTCH: The Oscars air Sunday, March 2, on ABC.

feb. 26–march 4 COuRTESY OF IFC FILMS

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

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. Eastport.

Cascade Festival of African Films: The Square

B+ [ONE NIGHT ONLY] The heroes are young, cosmopolitan freethinkers; the villain, a ruthless regime; the location, Cairo’s Tahrir Square. Jehane Noujaim’s The Square, which captures disturbing footage of the recent Egyptian revolution, has been nominated for the Academy Award for Best Documentary—it’s Egypt’s first Oscar bid—but it has yet to receive permission to be screened in its motherland. Yet it’s protest in itself, waging its own variety of war as it shells audiences with scenes of military vehicles slamming into the protesting masses and soldiers opening fire on peaceful activists. Noujaim emphasizes the cycles of protest and governmental overthrow that have gripped Egypt for the past three years, as Mubarak’s regime has led to Morsi’s has led to Mansour’s. Though the turbulent footage demands our attention, the documentary’s sympathies obviously lie with the revolutionaries, and specifically with the young, privileged protesters. Consequently, the film lacks much input from other perspectives, such as those of the elderly and uneducated. “Give others a chance to speak,” urges an older demonstrator. There’s no doubt, however, that The Square demonstrates the power of undying hope, calling out to the rest of the world for solidarity. KATHRYN PEIFER. PCC Cascade, Moriarty Arts and Humanities Building, Room 104. 7 pm Thursday, Feb. 27. For full festival schedule, visit africanfilmfestival.org.

Chlorine

[ONE NIGHT ONLY] Kyra Sedgwick plays a materialistic matriarch in a New England family trying to keep up with the Joneses. Clinton Street Theater. 5 and 9 pm Friday, Feb. 28.

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: 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 pussychasing, 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.” Operating out of a fleabag motel, he skirted federal regulations by selling “memberships” at a rate of $400 per month and doling out the banned substances for “free.” 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. Laurelhurst Theater, Academy Theater.

Easy Money: Hard to Kill

[ONE WEEK ONLY] The second movie in a Swedish gangster franchise about a fugitive social climber. Clinton Street Theater.

Endless Love

D Endless Love is 2014’s first contribution to the catalog of sexed-up tweenie love dramas, and in all its idealistic idiocracy and over-the-top affirmations of “soulmates,” it best serves as a reminder that Hollywood has completely lost its grip on what a normal relationship actually looks like. Shana Feste’s remake of the 1981 Brooke Shields flop centers on the ill-fated romance of nerdy “outcast” Jade Butterfield (Gabriella Wilde) and rough-around-the-edges David Axelrod (Alex Pettyfer). A flurry of blandly predictable scenes (slow-motion jogs through grassy fields, dramatic reunions in an airport, consummations of love by a roaring fireplace) chase down romance so doggedly that they run it straight out of the film. Bruce Greenwood offers the most compelling performance as Hugh Butterfield, Jade’s rigid father who channels his grief over a dead son into maintaining an iron grip on the rest of his family. His unnaturally orange skin tone, moreover, strengthened my hypothesis— already shored up by Mitt Romney and the cast of Jersey Shore—that there is nothing more sinister than a man on a power trip with a bad spray tan. PG-13. GRACE STAINBACK. Cedar Hills, Clackamas, Forest, Movies on TV, Pioneer Place.

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. 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.PG. JAY HORTON. Cedar Hills, Eastport, Clackamas, Hilltop, Movies on TV, Pioneer Place.

Gloria

A Two phrases that should probably

be retired from the English language— “slice of life” and “woman of a certain age”—have both been applied to Gloria, the new film from Chilean director Sebastian Lelio. Neither does justice to this nuanced portrait of a woman who, in her late 50s, goes about the hard work of finding happiness where she can. Nothing about Gloria (Paulina García) is remarkable. She isn’t beautiful or brilliant or quirky. Her office job is dreary and unsatisfying, as are her interactions with her two children, who treat her visits as sweet but exasperating obligations that can’t end soon enough. When the weekend arrives, she dresses up and heads to a Santiago bar, where she dances, sometimes by herself and sometimes in the arms of an anonymous silver fox, to sappy Chilean love songs. Everything changes (or does it?) when she meets Rodolfo, a former naval officer and gastric bypass surgery survivor, who sweeps her off her feet. Literally: He owns an amusement park and on their third date treats her to a joyous session of bungee jumping. Lelio’s generous pacing allows Gloria’s story to unfold with grace, and García invests the character with a winning vulnerability. The film is a triumph of quiet beauty and subtle storytelling that, if you like that sort of thing, will haunt you for days. r. DEBORAH KENNEDY. Living Room Theaters.

The Great Beauty

A The Great Beauty begins with a can-

nonball, followed closely by a heart attack, and concludes with a 104-yearold toothless nun crawling 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-year-old 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

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. 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. Academy Theater, Avalon, Clackamas, Empirical Theatre, Laurelhurst Theater, Mt. Hood, Valley.

The Hunger Games: Catching Fire

B While other young-adult novel

adaptations preoccupy themselves 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. As with the first film, Catching Fire goes slightly flat once the actual Hunger Games commence. But in the lead-up to the

CONT. on page 42

REVIEW STuDIO GHIBLI

adult world

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. Hollywood Theatre, Living Room Theaters.

MOVIES

I’LL FLY AWAY: Early in Hayao Miyazaki’s latest—and probably final—film, an earthquake strikes Tokyo. The earth buckles and writhes, rippling like a belly dancer’s abdomen. It’s a remarkably moving scene, both for its raw kinetic energy and for the clear sense of physical and human destruction. Alas, the rest of The Wind Rises, even as it showcases Miyazaki’s painterly hand-drawn animation, isn’t nearly so dynamic. And that’s in spite of a story that revolves around flight, the based-on-truth tale of an ace aeronautical engineer named Jiro. Born in 1903, Jiro’s devotion to airplanes gets him unwillingly swept up in the war machine: He travels to Germany to meet Nazi engineers and helps build machines that, no matter how beautiful, are designed to kill. There’s an interesting tension here between technology and totalitarianism, but Jiro is so thinly developed—he’s a genius at work and a sweet husband to his consumptive wife at home—that the question quickly evaporates. The film has a lovely melancholy, but that feels largely due to Miyazaki’s impending departure from cinema. He’ll be missed, even if The Wind Rises is a bumpy ride. REBECCA JACOBSON. B- SEE IT: The Wind Rises is rated PG-13. It opens Friday at Fox Tower, Lloyd Center, Clackamas, Bridgeport, Cedar Hills.

Willamette Week FEBRUARY 26, 2014 wweek.com

MOVIES

FEB. 26–MARCH 4

SISTERMARYSANGEL.COM

the average recruitment poster. It’s a Passion of the Christ-like 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, Clackamas, Hilltop, Movies on TV.

The Monuments Men

SISTER MARY’S ANGEL 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. PG-13. AP KRYZA. Academy Theater, Avalon, Laurelhurst Theater, Milwaukie, Movies on TV.

Inside Llewyn Davis

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

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 Lone Survivor (R) 11:00AM 1:50PM 4:45PM 7:40PM Labor Day (PG-13) 11:05AM 1:55PM 4:40PM 7:25PM 10:30PM 10:20PM Monuments Men (PG-13) 11:00AM 12:25PM 1:50PM American Hustle (R) 12:45PM 3:55PM 7:05PM 10:15PM 3:15PM 4:40PM 6:05PM 8:55PM Wolf Of Wall Street, The (R) 12:00PM 4:05PM 8:15PM August: Osage County (R) 11:00AM 1:50PM 4:40PM 7:30PM 10:20PM LEGO 3D (PG) 3:00PM 7:35PM 8:30PM 10:15PM Gravity 3D (PG-13) 8:00PM 10:30PM LEGO (PG) 12:15PM 12:55PM 3:35PM 5:45PM 6:15PM I, Frankenstein 3D (PG-13) 2:50PM 7:55PM 9:00PM I, Frankenstein (PG-13) 12:20PM 5:25PM 10:25PM Monuments Men (XD) (PG-13) 7:30PM 10:25PM Secret Life Of Walter Mitty, The (PG) 12:05PM 6:40PM Jack Ryan: Shadow Recruit (PG-13) 11:30AM 2:25PM That Awkward Moment (R) 11:50AM 2:20PM 4:50PM 5:10PM 7:50PM 10:30PM Hobbit: The Desolation Of Smaug, The 3D (PG-13) 7:15PM 9:45PM 2:55PM 10:05PM Vampire Academy (PG-13) 11:10AM 1:55PM 4:35PM Hobbit: The Desolation Of Smaug, The (PG-13) 7:20PM 10:00PM 11:15AM 6:30PM Nut Job, The 3D (PG) 2:00PM 7:00PM Hunger Games: Catching Fire, The (PG-13) 3:10PM Nut Job, The (PG) 11:20AM 4:30PM 9:30PM 9:40PM LEGO (XD-3D) (PG) 11:35AM 2:15PM 4:55PM

Monuments Men (PG-13) 11:10AM 2:00PM 4:50PM 7:40PM 10:30PM Non-Stop (PG-13) 11:20AM 2:00PM 4:40PM 7:20PM 10:00PM Winter’s Tale (PG-13) 2:00PM 7:30PM Lone Survivor (R) 11:00AM 1:55PM 4:45PM 7:35PM 10:25PM Pompeii 3D (PG-13) 11:55AM 5:05PM 10:15PM Son Of God (PG-13) 12:40PM 3:50PM 7:00PM 10:10PM Wind Rises-Dubbed, The (PG-13) 12:30PM 4:00PM 7:05PM 10:05PM Pompeii (PG-13) 2:30PM 7:40PM Robocop (2014) (PG-13) 11:05AM 1:55PM 4:45PM 7:35PM 10:25PM LEGO 3D (PG) 12:00PM 2:40PM 5:20PM 10:30PM

About Last Night (R) 11:50AM 2:30PM 5:00PM 7:40PM 10:20PM American Hustle (R) 12:20PM 3:40PM 7:00PM 10:10PM LEGO (PG) 11:00AM 1:40PM 4:20PM 7:05PM 8:00PM 10:05PM 3 Days To Kill (PG-13) 11:00AM 1:50PM 4:40PM 7:30PM 10:20PM Anchorman 2 (R) 11:50AM 3:10PM 6:30PM 9:50PM Frozen (2013) (PG) 11:10AM 4:35PM 7:25PM Jack Ryan: Shadow Recruit (PG-13) 11:20AM 4:50PM 10:20PM Endless Love (PG-13) 11:00AM 1:35PM 4:10PM 7:00PM 9:35PM Frozen (2013) 3D (PG) 2:05PM 10:15PM

Philomena (PG-13) 11:40AM 2:10PM 7:20PM Pompeii 3D (PG-13) 11:20AM 4:45PM 7:25PM Nut Job, The (PG) 11:25AM 1:45PM 4:10PM Wolf Of Wall Street, The (R) 12:10PM 4:15PM 8:10PM Non-Stop (PG-13) 11:00AM 1:50PM 4:40PM 7:30PM 10:20PM Son Of God (PG-13) 12:30PM 3:45PM 7:15PM 10:30PM Winter’s Tale (PG-13) 7:20PM 10:15PM Robocop (2014) (PG-13) 11:00AM 1:55PM 4:45PM 7:35PM 10:25PM Pompeii (PG-13) 2:00PM 10:10PM Ride Along (PG-13) 11:10AM 1:50PM 4:25PM 7:00PM 9:35PM

LEGO (PG) 11:00AM 1:40PM 4:30PM 7:15PM 10:00PM American Hustle (R) 6:10PM 9:30PM Anchorman 2 (R) 12:00PM 3:30PM 7:00PM 10:30PM About Last Night (R) 11:30AM 2:15PM 4:55PM 7:30PM 10:05PM Monuments Men (PG-13) 11:05AM 1:55PM 4:50PM 7:40PM 10:30PM 3 Days To Kill (PG-13) 1:15PM 4:15PM 7:10PM 10:10PM Jack Ryan: Shadow Recruit (PG-13) 4:40PM 9:50PM LEGO 3D (PG) 12:20PM 3:10PM Frozen (2013) (PG) 11:15AM 4:40PM 10:10PM August: Osage County (R) 11:10AM 2:05PM 5:00PM 7:50PM Frozen (2013) 3D (PG) 2:00PM 7:25PM

Movie times subject to change, call theaters for times Showtimes valid Friday to Thursday 42

Willamette Week FEBRUARY 26, 2014 wweek.com

cian 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 the Coen brothers are experts in drawing out the bitter and the sweet in nearly equal measure. Ultimately, Inside Llewyn Davis is a one-man act, and we follow Llewyn almost painfully closely as he tries to improve his lot, or at least make sense of it. When he eventually sees the words “What are you doing?” written on a restroom stall, he seems genuinely taken aback. As the viewer, getting to share in Llewyn’s struggle to answer that question in any meaningful way is more than worth the accompanying sorrow. R. MICHAEL NORDINE. Hollywood Theatre.

Jack Ryan: Shadow Recruit

C+ Jack Ryan: Shadow Recruit exists in a strange world of hybridized espionage clichés. At its core, it stays loyal to the roots of Tom Clancy’s enduringly popular title character, pitting a younger version of Ryan against Russians who exist in a sort of Cold War vacuum and hate America as much as they hate the letter W. But this is a post9/11 Jack Ryan as well, so those very same Russians also operate a sleeper terrorist cell bent on blowing up Manhattan with homemade bombs. The new Jack Ryan 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. 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.

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. Directors Phil Lord and Christopher Miller have imagined a world of chaotic bliss. Using a combination of computer and stopmotion 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 culture-saturated Shrek model of comedy, but just when the ﬁlm starts becoming too cute, the plot shifts into another nutso 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. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Indoor Twin, Oak Grove, Hilltop, Lloyd Center, Movies on TV, Pioneer Place, Sandy, St. Johns.

Like Father, Like Son

A If Like Father, Like Son were

simply a film about two families who discover their 6-year-old boys had been switched at birth, it would solidly fill out its two-hour runtime, especially in hands as capable as director Hirokazu Koreeda’s. But add in melancholic, grayscale cinematography and true-to-life characters, and it’s easy to see why Like Father, Like Son took the Jury Prize at Cannes last May. One father, Yuta (Lily Franky), owns a small electronics shop in a rural town, but goofs off in the ball pit at the mall with his kids as much as possible. The other father, Ryota, works for a “large firm,” taking only a few hours off on weekends to see and sputter a couple words at his wife and son, who stay cooped up in their high-rent high-rise. As a cold father warming up to his family, he experiences the greatest change, and as such takes center stage as the couples choose to switch their children back. Ryota is played by Masaharu Fukuyama, a singer who has acted only in TV dramas until this point, and his performance is flawless, as in one scene when he chokes on long-overdue tears. The story tends to keep the wives in the shadows, but for a film about fatherhood, Like Father, Like Son is of a lineage all its own. MITCH LILLIE. Living Room Theaters.

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

C+ 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. PG-13. AP KRYZA. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Moreland, Oak Grove, Hilltop, Lloyd Center, Movies on TV, Sandy, St. Johns.

Nebraska

C Alexander Payne has built his brilliant career on examinations of pathetic characters—and I mean that literally, not pejoratively. In the black-and-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, forced provocations and ingratiating moments of fatherson bonding. 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. Laurelhurst Theater, Living Room Theaters, Valley, Academy Theater.

Non-Stop

Hey, look: Liam Neeson is on a plane. But with Julianne Moore and Lupita Nyong’o, which thickens the plot. Screened after WW press deadlines, but look for AP Kryza’s review at wweek.com. PG-13. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Oak Grove, Bridgeport, City Center, Division, Hilltop, Lloyd Center, Movies on TV, Pioneer Place, Sherwood, Tigard, Wilsonville, Sandy.

The Nut Job

Animated squirrels plan a heist of a nut store. Parents, try to keep the dick jokes to a minimum. PG. Eastport, Movies on TV, Milwaukie.

Omar

A Passion becomes a weapon of

war in Hany Abu-Assad’s nail biter Omar. It’s a dystopian Romeo &

FEB. 26–MARCH 4

Philomena

C- The hardest part about watching Philomena, a film based on the true story of an Irish woman’s search for the son she gave up for adoption 50 years previous, is accepting the amazing Judi Dench as a bumbling simpleton in the title role. “We don’t have Mexicans in England—we have Indians,” she excitedly explains to the Mexican-American cooks. If you can get over Dench as Grandma Goof, then Philomena stands on its own two feet. One of those feet is the enthralling, often emotional storyline. Philomena and Martin Sixsmith (Steve Coogan), a political journalist who’s taken on his first human-interest story, uncover secrets both cloistered in the nunnery where Philomena’s child was born and spread across America, where her son was taken as a child. Unfortunately, the other foot is the waiter-my-soup humor that Fawlty Towers made irrelevant four decades ago. After suggesting that Martin not print her real name in the story, Philomena asks, “What about Anne… Anne Boleyn? It’s a lovely name!” After the film ends, it’s Philomena’s story that sticks. Director Stephen Frears and company should be given credit only for staying out of the real Philomena’s way. PG-13. MITCH LILLIE. Eastport, Cornelius, Movies on TV.

Pompeii

Will the slave-turned-gladiator save his betrothed as Mount Vesuvius erupts and Pompeii crumbles? Ain’t nothing like love against a backdrop of lava. PG-13. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Oak Grove, Hilltop, Lloyd Center, Movies on TV, Pioneer Place, Sandy.

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. Eastport, Clackamas, Movies on TV.

The Rocket

B+ In Ahlo’s Laotian village, luck is

divided unevenly between 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-yearold 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 Rocket 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. Cinema 21.

Sister Mary’s Angel

B [ONE NIGHT ONLY] Local ﬁlm-

maker Mary Knight was a social worker for 23 years and later earned recognition for One Man’s Anger, One Woman’s Love, a semi-autobiographical ﬁlm exploring verbal domestic abuse. So at ﬁrst glance, it

seems a bit strange for her to follow that fi lm with Sister Mary’s Angel, a risqué chronicle of two estranged twins—one a nun, the other a lingerie model—trading places. The swap occurs after the penniless lingerie model, Angel, is diagnosed with breast cancer and the nun, Mary, hatches a plan so Angel can tap into the church’s generous medical coverage. The fi lm is downright satirical, complete with a nosy senior nun, an altruistic suitor vying for innocent Mary’s aff ection and a freshly nunnifi ed Angel stripping off her habit and down to her panties on a public bus. But as it progresses, Knight’s focus on abuse resurfaces, introducing dark themes that contrast with the otherwise whimsical tone. Though this lends a certain level of vitality, it also leaves you a bit uncertain whether to laugh or cry. But amid the awkward moments, Sister Mary’s Angel is, above all, a story of rekindled sisterhood and a triumph over both sexual repression and objectifi cation . GRACE STAINBACK . Joy Cinema, 11959 SW Pacifi c Highway, Tigard. 5 pm Saturday, March 1.

Son of God

AP FILM STUDIES COURTESY OF MGM

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. Living Room Theaters.

SIN NEVER DIES: The inimitable Piper Laurie.

THE WILD-EYED PIPER

Survivor producer Mark Burnett pares down his 10-hour miniseries about Jesus to a mere 138 minutes. Screened after WW press deadlines, but look for Jay Horton’s review at wweek.com . PG-13 . Cornelius.

CARRIE ’S PIPER LAURIE EMERGES FROM YOUR NIGHTMARES.

Winter’s Tale

BY A P KRYZA

apkryza@wweek.com

D+ A supernatural romance set

in both 1916 and the present day, Winter’s Tale charts the star-crossed romance between charming thief Peter Lake (Colin Farrell) and terminally ill ingénue Beverly Penn (Downton Abbey ’s Jessica Brown Findlay). Their meet-cute is as contrived as they come: Peter tries to rob her house while fl eeing from his former mentor (Russell Crowe, a vindictive demon whose entire time-spanning purpose is to make Peter miserable) but is so thrown off by her sprightly demeanor in the face of tuberculosis that he abandons his plans and accepts her off er of a cup of tea. They instantly fall in love. Because, of course. Akiva Goldsman’s adaptation of Mark Helprin’s 1983 novel also features a fl ying horse that’s actually a dog, a stunt-cast Lucifer, a star-fi lled vision of the afterlife, and other confusing supernatural esoterica that’s never as sublime as it wants to be. It’s all quite heartfelt and earnest, but so intent on reinforcing a simplistic, it’s-allconnected message that any potential for nuance evaporates by the end of Beverly’s opening narration. PG13 . MICHAEL NORDINE . Cedar Hills, Eastport, Clackamas, Movies on TV.

The Wolf of Wall Street

A Martin Scorsese’s best picture

since Goodfellas and his fi fth 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 fi nest work and the bitch slap that Wall Street deserves—even if the true but ludicrous story of fi nancial 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 fi nancial 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 fi lm’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 . Eastport, Cornelius.

MOVIES

There were a thousand things wrong with the 2013 remake of Carrie. It took Stephen King’s story of a bullied teen pushed into a killing spree and reimagined it as what director Kimberly Peirce called a “superhero origin story.” It glorified the slaughter of innocent teens at the hands (well, mind bullets) of a troubled young woman. In a post-Columbine-and-Sandy Hook world, its tone-deafness was staggering. But the tone wasn’t the only issue with this misguided revamp of Brian De Palma’s cult classic. The biggest problem was the absence of Piper Laurie. Laurie, who received her second Oscar nomination for playing Carrie’s crazed mother, Margaret White, will fend off horror geeks in Portland on Saturday, March 1, when she and co-stars Nancy Allen and P.J. Soles hit Movie Madness for an autograph signing. That evening, the 1976 classic will play at the Hollywood, with the stars sticking around for a postscreening Q&A. For anyone unfortunate enough to have caught Carrie as a child, you might remember Laurie from every fucking nightmare you’ve ever had. In a film crowded with macabre images—a blood-soaked Sissy Spacek and a young John Travolta among them—Laurie manages to be the most singularly terrifying thing on the screen. One moment she’s seemingly calm and collected, and the next she’s grinning maniacally as she stalks her daughter with a kitchen knife. And she does it all in the name of God. Laurie’s performance just might be the scariest thing to come out of Christianity since Mormon underwear. But what’s even more startling about Laurie’s performance is how surprisingly well it has aged. Despite its revered status, Carrie as a whole doesn’t hold up very well. Its split-screen climax is about as dated as “Disco Duck.” Its Giallo-inspired lighting snaps the film out of reality and makes it look like a community-theater production of Suspiria. Its Travolta is sooo Travolta-y. But Laurie’s looney-tunes Margaret White remains terrifying, a diabolical mix of high camp and classic horror. Look at those crazy eyes and the way she seems to float down the hallway, her nightgown blowing ethereally as if by being sent aflutter

by the breath of demons. She isn’t just the epitome of the warped righteousness of fundamentalism. She’s one of the best monsters ever committed to film. Piper Laurie, Nancy Allen and P.J. Soles will be at Movie Madness, 4320 SE Belmont St., on Saturday, March 1, from 12:30 to 3 pm. Carrie screens at the Hollywood at 6:45 pm. ALSO SHOWING: The NW Film Center shakes off the elderly penises and failed romances of the Portland International Film Festival with a revival of Sweet Smell of Success (7 pm Friday and 4:30 pm Saturday, Feb. 28-March 1), a 1957 Burt Lancaster-Tony Curtis drama set in a time when newspaper columnists wielded actual power, using it for evil rather than Keanu Reeves jokes. The film kicks off a monthlong Forever Burt series. This week, you can also catch Lancaster in a swashbuckler costume in The Crimson Pirate (4:30 pm Sunday, March 2) and in a trench coat in noir flick Criss Cross (7 pm Sunday, March 2). NW Film Center’s Whitsell Auditorium. Michael Roemer’s Nothing But a Man examines the black experience of the 1960s through the lens of a family crumbling under the weight of racism in the South. 5th Avenue Cinema. 7 and 9:30 pm Friday-Saturday and 3 pm Sunday, Feb. 28-March 2. Portland’s incidental Sissy Spacek Week also includes Badlands, the Terrence Malick classic in which she rubs her dirty pillows on Martin Sheen. Laurelhurst Theater. Feb. 26-March 6. Vancouver’s Kiggins Theatre gets into the revival-and-beer game with a run of Airplane! that is surely good enough reason to cross the river. Kiggins Theatre. Feb. 28-March 4. Young Frankenstein turns 40 this year, and it still hasn’t been surpassed as the most ridiculous homage/ensemble comedy out there. Academy Theater. Feb. 28-March 6. The NW Film Center launches its impressive Studio Ghibli retrospective with Nausicaä of the Valley of the Wind, the first peek into the ingenious mind of Hayao Miyazaki. NW Film Center. 7 pm Saturday, March 1. Directed by a stunt man and featuring little more than a bunch of shit exploding, Action U.S.A. might be the most ass-kicking B-Movie Bingo entry to date. Hollywood Theatre. 7:30 pm Tuesday, March 4. The Clinton Street celebrates Fat Tuesday with a double feature by documentarian Les Blank, whose Southern-fried work includes barbecue doc Dry Wood and Always for Pleasure, examining the shit show that is Mardi Gras in NOLA. Clinton Street Theater. 7 pm Tuesday, March 4. Willamette Week FEBRUARY 26, 2014 wweek.com

MOVIES

FEB. 28–MARCH 6

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

MOVIE Fri-Sat-Sun-Mon-TueWed 01:10, 06:45 POMPEII 3D Fri-Sat-Sun-Mon-TueWed 01:00, 07:30 POMPEII Fri-Sat-Sun-Mon-Tue-Wed 03:40, 10:15 3 DAYS TO KILL Fri-Sat-Sun-Mon-TueWed 01:50, 04:45, 07:40, 10:00 FROZEN Fri-Sat-SunMon-Tue-Wed 01:15, 03:45 ENDLESS LOVE Fri-Sat-SunMon-Tue-Wed 10:30

Living Room Theaters

ROAD TO HELL: Badlands plays Feb. 28March 6 at the Laurelhurst Theater.

Regal Lloyd Center 10 & IMAX

1510 NE Multnomah St. STALINGRAD: AN IMAX 3D EXPERIENCE Fri-Sat-SunMon-Tue-Wed 12:20, 03:40, 06:50, 10:00 SON OF GOD Fri-Sat-Sun-Mon-Tue-Wed 11:55, 03:15, 06:30, 09:45 NON-STOP Fri-Sat-SunMon-Tue-Wed 01:00, 03:55, 07:30, 10:15 THE WIND RISES Fri-Sat-Sun-MonTue-Wed 12:00, 03:05, 06:55, 10:05 THE LEGO MOVIE Fri-Sat-Sun-MonTue-Wed 02:30, 07:45, 10:25 THE LEGO MOVIE 3D Fri-Sat-Sun-Mon-Tue-Wed 11:50, 05:10 AMERICAN HUSTLE Fri-Sat-SunMon-Tue-Wed 12:10, 03:25, 06:40, 09:50 THE MONUMENTS MEN Fri-SatSun-Mon-Tue-Wed 12:40, 03:35 GRAVITY 3D Fri-SatSun-Mon-Tue-Wed 12:30, 02:50, 05:20, 07:55, 10:20 ROBOCOP Fri-Sat-SunMon-Tue-Wed 12:50, 03:50, 07:20, 10:15 POMPEII Fri-Sat-Sun-Mon-Tue-Wed 04:20, 09:55 POMPEII 3D Fri-Sat-Sun-Mon-TueWed 01:10, 07:05 THE METROPOLITAN OPERA: PRINCE IGOR Sat 09:00 THE METROPOLITAN OPERA: PRINCE IGOR ENCORE Wed 06:30

Avalon Theatre & Wunderland

3451 SE Belmont St., 503-238-1617 THE SECRET LIFE OF WALTER MITTY FriSat-Sun-Mon-Tue-Wed 09:55 WALKING WITH DINOSAURS Fri-SatSun-Mon-Tue-Wed 12:40, 05:05 THE HOBBIT: THE DESOLATION OF SMAUG Fri-Sat-Sun-Mon-TueWed 01:00, 04:00, 07:00 THE HUNGER GAMES: CATCHING FIRE Fri-SatSun-Mon-Tue-Wed 02:25, 06:50, 09:30

Clinton Street Theater

2522 SE Clinton St., 503-238-8899 CHLORINE Fri 05:00, 09:00 EASY MONEY: HARD TO KILL Fri-Sat-SunMon-Tue-Wed 09:00 OR Sat 07:00 THE ROCKY HORROR PICTURE SHOW Sat 12:00 QUEEN OF THE SUN: WHAT ARE THE BEES TELLING US? Sun 06:30 ON MY WAY Mon 07:00 1ST ANNUAL CLINTON STREET FAT TUESDAY CELEBRATION Tue 07:00 HOLY GHOST PEOPLE Wed 07:00

Laurelhurst Theatre & Pub 2735 E Burnside St., 503-232-5511 DALLAS BUYERS CLUB

Willamette Week FEBRUARY 26, 2014 wweek.com

Fri-Sat-Sun-Mon-Tue-Wed 07:00, 09:40 NEBRASKA Fri-Sat-Sun-Mon-TueWed 06:30 THE HUNGER GAMES: CATCHING FIRE Fri-Sat-Sun-Mon-Tue-Wed 09:00 ADULT WORLD Fri-Sat-Sun-Mon-Tue-Wed 09:30 BADLANDS FriSat-Sun-Mon-Tue-Wed 07:15 THE HOBBIT: THE DESOLATION OF SMAUG Fri-Sat-Sun 12:30, 03:40 OSCAR NOMINATED ANIMATED SHORTS FriSat-Sun-Mon-Tue-Wed 06:50 OSCAR NOMINATED SHORTS - LIVE ACTION Fri-Sat-Sun-Mon-Tue-Wed 09:15 SAVING MR. BANKS Sat-Sun 01:10

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6712 SE Milwaukie Ave., 503-236-5257 THE MONUMENTS MEN Fri-Sat-Sun-Mon-Tue-Wed 05:30, 08:00

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8704 N Lombard St., 503-286-1768 THE LEGO MOVIE FriSat-Sun-Mon-Tue-Wed 04:45, 07:00, 09:20 THE MONUMENTS MEN Fri-SatSun-Mon-Tue-Wed 05:30, 08:15

CineMagic Theatre

2021 SE Hawthorne Blvd., 503-231-7919 AMERICAN HUSTLE FriSat-Sun-Mon-Tue-Wed 05:30, 08:15 FROZEN SING-ALONG Sat-Sun 03:10

Century 16 Eastport Plaza

4040 SE 82nd Ave., 800-326-3264-952 THE WOLF OF WALL STREET Fri-Sat-Sun-MonTue-Wed 12:10, 04:15, 08:10 FROZEN Fri-SatSun-Mon-Tue-Wed 11:15, 04:40, 10:10 FROZEN 3D Fri-Sat-Sun-Mon-Tue-Wed 02:00, 07:25 AMERICAN HUSTLE Fri-Sat-Sun-MonTue-Wed 06:10, 09:30 THE MONUMENTS MEN Fri-Sat-Sun-Mon-Tue-Wed 11:05, 01:55, 04:50, 07:40, 10:30 ANCHORMAN 2: THE LEGEND CONTINUES Fri-Sat-Sun-Mon-Tue-Wed 12:00, 03:30, 07:00, 10:30 PHILOMENA Fri-Sat-SunMon-Tue-Wed 11:40, 02:10, 07:20 AUGUST: OSAGE COUNTY Fri-Sat-SunMon-Tue-Wed 11:10, 02:05, 05:00, 07:50 SON OF GOD Fri-Sat-Sun-Mon-Tue-Wed 12:30, 03:45, 07:15, 10:30 JACK RYAN: SHADOW RECRUIT Fri-Sat-Sun-MonTue-Wed 04:40, 09:50 RIDE ALONG Fri-Sat-SunMon-Tue-Wed 11:10, 01:50, 04:25, 07:00, 09:35 THE NUT JOB Fri-Sat-Sun-MonTue-Wed 11:25, 01:45, 04:10 WINTER’S TALE Fri-Sat-

Sun-Mon-Tue-Wed 07:20, 10:15 THE LEGO MOVIE Fri-Sat-Sun-Mon-Tue-Wed 11:00, 01:40, 04:30, 07:15, 10:00 THE LEGO MOVIE 3D Fri-Sat-Sun-Mon-Tue-Wed 12:20, 03:10 ROBOCOP Fri-Sat-Sun-Mon-Tue-Wed 11:00, 01:55, 04:45, 07:35, 10:25 ABOUT LAST NIGHT Fri-Sat-Sun-Mon-Tue-Wed 11:30, 02:15, 04:55, 07:30, 10:05 POMPEII Fri-SatSun-Mon-Tue-Wed 02:00, 10:10 POMPEII 3D Fri-SatSun-Mon-Tue-Wed 11:20, 04:45, 07:25 3 DAYS TO KILL Fri-Sat-Sun-Mon-TueWed 01:15, 04:15, 07:10, 10:10 NON-STOP Fri-SatSun-Mon-Tue-Wed 11:00, 01:50, 04:40, 07:30, 10:20

Empirical Theatre at OMSI

1945 SE Water Ave., 503-797-4000 JERUSALEM Fri-Sat-Sun 01:00 GREAT WHITE SHARK Fri-Sat-Sun 12:00, 04:00 FLIGHT OF THE BUTTERFLIES 3D FriSat-Sun 02:00, 05:00 MYSTERIES OF THE UNSEEN WORLD Fri-SatSun 11:00, 03:00 GRAVITY 3D Fri-Sat-Sun 06:00 THE HOBBIT: THE DESOLATION OF SMAUG Fri-Sat 08:00

5th Avenue Cinema

510 SW Hall St., 503-725-3551 NOTHING BUT A MAN Fri-Sat-Sun 03:00 THE PASSION OF JOAN OF ARC Fri 07:30

Hollywood Theatre

4122 NE Sandy Blvd., 503-281-4215 HER Fri-Sat-Mon-TueWed 07:10, 09:40 INSIDE LLEWYN DAVIS Fri-SatMon-Tue-Wed 07:20, 09:20 12 O’CLOCK BOYS Fri 07:00 THE TELL-TALE HEART Sat 02:00 CARRIE Sat 06:45 FATEFUL FINDINGS Sat 09:30 OSCAR PARTY Sun 04:00 B MOVIE BINGO: ACTION USA Tue 07:30 WITNESS: THE LEGACY OF HEART MOUNTAIN Wed 07:30

NW Film Center’s Whitsell Auditorium

1219 SW Park Ave., 503-221-1156 SWEET SMELL OF SUCCESS Fri-Sat 04:30 NAUSICAÄ OF THE VALLEY OF THE WIND Sat 07:00 THE CRIMSON PIRATE Sun 04:30 CRISS CROSS Sun 07:00 NO FILMS SHOWING TODAY Mon-TueWed AN EVENING WITH ELIJAH HASAN

Regal Pioneer Place Stadium 6

340 SW Morrison St. NON-STOP Fri-Sat-SunMon-Tue-Wed 01:40, 04:30, 07:15, 10:10 SON OF GOD Fri-Sat-Sun-Mon-Tue-Wed 12:45, 04:10, 06:30, 09:50 THE LEGO MOVIE 3D FriSat-Sun-Mon-Tue-Wed 03:50, 09:40 THE LEGO

341 SW 10th Ave., 971-222-2010 20 FEET FROM STARDOM Fri-Sat-Sun-Mon-Tue-Wed 11:40 GLORIA Fri-Sat-SunMon-Tue-Wed 11:55, 02:30, 05:10, 07:00, 09:20 HER Fri-Sat-Sun-Mon-Tue-Wed 01:35, 04:10, 06:50, 07:30, 10:00 LIKE FATHER, LIKE SON Fri-Sat-Sun-Mon-TueWed 12:10, 02:00, 04:30, 06:35, 09:30 NEBRASKA Fri-Sat-Sun-Mon-Tue-Wed 12:05, 02:20, 04:40, 07:15, 09:40 OMAR Fri-Sat-SunMon-Tue-Wed 11:40, 02:10, 04:20, 07:45, 09:45 OSCAR SHORTS PROGRAM A FriSat-Sun-Mon-Tue-Wed 02:40 OSCAR SHORTS PROGRAM B Fri-Sat-SunMon-Tue-Wed 11:50 THE GREAT BEAUTY Fri-Sat-SunMon-Tue-Wed 09:00

Century Clackamas Town Center and XD

12000 SE 82nd Ave., 800326-3264-996 THE HOBBIT: THE DESOLATION OF SMAUG Fri-Sat-Sun-Mon-Tue-Wed 09:50 FROZEN Fri-Sat-SunMon-Tue-Wed 11:05, 04:25, 10:00 FROZEN 3D Fri-SatSun-Mon-Tue-Wed 01:45, 07:10 AMERICAN HUSTLE Fri-Sat-Sun-Mon-Tue-Wed 12:15, 03:45, 07:00, 10:15 THE MONUMENTS MEN Fri-Sat-Sun-Mon-Tue-Wed 11:00, 01:50, 04:40, 07:30, 10:25 ANCHORMAN 2: THE LEGEND CONTINUES FriSat-Sun-Mon-Tue-Wed 12:10, 03:40, 07:00, 10:20 LONE SURVIVOR Fri-Sat-SunMon-Tue-Wed 11:10 SON OF GOD Fri-Sat-Sun-Mon-TueWed 12:30, 03:45, 07:00, 10:15 JACK RYAN: SHADOW RECRUIT Fri-Sat-Sun-MonTue-Wed 11:30, 02:25 RIDE ALONG Fri-Sat-Sun-MonTue-Wed 11:40, 02:15, 04:55, 07:35, 10:10 WINTER’S TALE Fri-Sat-Sun-Mon-Tue-Wed 01:45, 07:10 THE LEGO MOVIE Fri-Sat-Sun-Mon-TueWed 11:00, 01:40, 04:30, 07:15, 09:55 THE LEGO MOVIE 3D Fri-Sat-Sun-MonTue-Wed 11:35, 02:20, 05:05, 07:50, 10:30 ROBOCOP Fri-Sat-Sun-Mon-Tue-Wed 11:05, 02:00, 04:50, 07:45, 10:35 ABOUT LAST NIGHT Fri-Sat-Sun-Mon-Tue-Wed 11:45, 02:20, 05:00, 07:40, 10:20 ENDLESS LOVE FriSat-Sun-Mon-Tue-Wed 11:10, 04:35, 10:05 POMPEII FriSat-Sun-Mon-Tue-Wed 11:00, 09:45 POMPEII 3D Fri-SatSun-Mon-Tue-Wed 12:00, 01:40, 02:40, 04:20, 05:20, 07:05, 08:00, 10:40 3 DAYS TO KILL Fri-Sat-Sun-MonTue-Wed 11:05, 12:20, 01:55, 03:15, 04:45, 06:10, 07:35, 09:05, 10:30 NON-STOP Fri-Sat-Sun-Mon-Tue-Wed 01:15, 03:55, 06:35, 09:20 MET OPERA: PRINCE IGOR Sat 09:00 REAR WINDOW Sun-Wed 02:00, 07:00 THE METROPOLITAN OPERA: PRINCE IGOR ENCORE Wed 06:30

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last week’s answers

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Week of February 27

JOBS ACTIVISM

ARIES (March 21-April 19): The battles you’ve been waging these last ten months have been worthy of you. They’ve tested your mettle and grown your courage. But I suspect that your relationship with these battles is due for a shift. In the future they may not serve you as well as they have up until now. At the very least, you will need to alter your strategy and tactics. It’s also possible that now is the time to leave them behind entirely -- to graduate from them and search for a new cause that will activate the next phase of your evolution as an enlightened warrior. What do you think? TAURUS (April 20-May 20): “Life is like Sanskrit read to a pony,” said Lou Reed. That might be an accurate assessment for most people much of the time, but I don’t think it will be true for you in the coming days. On the contrary: You will have a special capacity to make contact and establish connection. You’ve heard of dog whisperers and ghost whisperers? You will be like an all-purpose, jack-of-all-trades whisperer -- able to commune and communicate with nervous creatures and alien life forms and pretty much everything else. If anyone can get a pony to understand Sanskrit, it will be you. GEMINI (May 21-June 20): Does Kim Kardashian tweak and groom her baby daughter’s eyebrows? They look pretty amazing, after all -- elegant, neat, perfectly shaped. What do you think, Gemini? HA! I was just messing with you. I was checking to see if you’re susceptible to getting distracted by meaningless fluff like celebrity kids’ grooming habits. The cosmic truth of the matter is that you should be laser-focused on the epic possibilities that your destiny is bringing to your attention. It’s time to reframe your life story. How? Here’s my suggestion: See yourself as being on a mythic quest to discover and fully express your soul’s code. CANCER (June 21-July 22): The 19th-century American folk hero known as Wild Bill Hickok was born James Butler Hickok. At various times in his life he was a scout for the army, a lawman for violent frontier towns, a professional gambler, and a performer in Buffalo Bill’s Wild West Show. Women found him charismatic, and he once killed an attacking bear with a knife. He had a brother Lorenzo who came to be known as Tame Bill Hickok. In contrast to Wild Bill, Tame Bill was quiet, gentle, and cautious. He lived an uneventful life as a wagon master, and children loved him. Right now, Cancerian, I’m meditating on how I’d like to see your inner Wild Bill come out to play for a while, even as your inner Tame Bill takes some time off. LEO (July 23-Aug. 22): “If I was a love poet,” writes Rudy Francisco, addressing a lover, “I’d write about how you have the audacity to be beautiful even on days when everything around you is ugly.” I suspect you have that kind of audacity right now, Leo. In fact, I bet the ugliness you encounter will actually incite you to amplify the gorgeous charisma you’re radiating. The sheer volume of lyrical soulfulness that pours out of you will have so much healing power that you may even make the ugly stuff less ugly. I’m betting that you will lift up everything you touch, nudging it in the direction of grace and elegance and charm. VIRGO (Aug. 23-Sept. 22): “You miss 100 percent of the shots you don’t take,” says hockey great Wayne Gretzky. In other words, you shouldn’t be timid about shooting the puck toward the goal. Don’t worry about whether you have enough skill or confidence or luck. Just take the damn shot. You’ll never score if you don’t shoot. Or so the theory goes. But an event in a recent pro hockey game showed there’s an exception to the rule. A New York player named Chris Kreider was guiding the puck with his stick as he skated toward the Minnesota team’s goalie. But when Kreider cocked and swung his stick, he missed the puck entirely. He whiffed. And yet the puck kept sliding slowly along all by itself. It somehow flummoxed the goalie, sneaking past him right into the net. Goal! New rule: You miss only 99.9 percent of the shots you don’t take. I believe you will soon benefit from this loophole, Virgo. LIBRA (Sept. 23-Oct. 22): If you are the type of person who wears gloves when you throw snowballs, Germans

would call you Handschuhschneeballwerfer. They use the same word as slang to mean “coward.” I’m hoping that in the coming days you won’t display any behavior that would justify you being called Handschuhschneeballwerfer. You need to bring a raw, direct, straightforward attitude to everything you do. You shouldn’t rely on any buffers, surrogates, or intermediaries. Metaphorically speaking, make sure that nothing comes between your bare hands and the pure snow. SCORPIO (Oct. 23-Nov. 21): In his song “4th of July, Asbury Park (Sandy),” Bruce Springsteen mentions a disappointing development. “That waitress I was seeing lost her desire for me,” he sings. “She said she won’t set herself on fire for me anymore.” I’m assuming nothing like that has happened to you recently, Scorpio. Just the opposite: I bet there are attractive creatures out there who would set themselves on fire for you. If for some reason this isn’t true, fix the problem! You have a cosmic mandate to be incomparably irresistible. SAGITTARIUS (Nov. 22-Dec. 21): “Some people say home is where you come from,” says a character in Katie Kacvinsky’s novel Awaken. “But I think it’s a place you need to find, like it’s scattered and you pick pieces of it up along the way.” That’s an idea I invite you to act on in the coming weeks, Sagittarius. It will be an excellent time to discover more about where you belong and who you belong with. And the best way to do that is to be aggressive as you search far and wide for clues, even in seemingly unlikely places that maybe you would never guess contain scraps of home. CAPRICORN (Dec. 22-Jan. 19): What words bring the most points in the game of Scrabble? Expert Christopher Swenson says that among the top scorers are “piezoelectrical” and “ubiquitarianism” -- assuming favorable placements on the board that bring double letter and triple word scores. The first word can potentially net 1,107 points, and the second 1,053. There are metaphorical clues here, Capricorn, for how you might achieve maximum success in the next phase of the game of life. You should be well-informed about the rules, including their unusual corollaries and loopholes. Be ready to call on expert help and specialized knowledge. Assume that your luck will be greatest if you are willing to plan nonstandard gambits and try bold tricks. AQUARIUS (Jan. 20-Feb. 18): Sorry to report that you won’t win the lottery this week. It’s also unlikely that you will score an unrecognized Rembrandt painting for a few dollars at a thrift store or discover that you have inherited a chinchilla farm in Peru or stumble upon a stash of gold coins half-buried in the woods. On the other hand, you may get provocative clues about how you could increase your cash flow. To ensure you will notice those clues when they arrive, drop your expectations about where they might come from. PISCES (Feb. 19-March 20): Avery, a character in Anne Michaels’ novel The Winter Vault, has a unique way of seeing. When he arrives in a place for the first time, he “makes room for it in his heart.” He “lets himself be altered” by it. At one point in the story he visits an old Nubian city in Egypt and is overwhelmed by its exotic beauty. Its brightly colored houses are like “shouts of joy,” like “gardens springing up in the sand after a rainfall.” After drinking in the sights, he marvels, “It will take all my life to learn what I have seen today.” Everything I just described is akin to experiences you could have in the coming weeks, Pisces. Can you make room in your heart for the dazzle?

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