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WWEEK.COM

VOL 37/25 04.27.2011

OUR ELECTION PICKS FOR SCHOOL BOARDS AND THE MONEY MEASURES. BY WW EDITORIAL STAFF | PAGE 14

CRISTIANA COUCEIRO

BACK COVER

NEWS NAKED LADIES AND TAXES. HEADOUT LET’S PLAY MUSICAL BEDS! BOOKS DFW’S AFTERLIFE.

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Willamette Week APRIL 27, 2011 wweek.com

CONTENT

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SWINE FEVER: Portland’s upcoming budget could include some pork. Page 11.

NEWS

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FOOD & DRINK

25

LEAD STORY

14

MUSIC

27

CULTURE

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MOVIES

46

HEADOUT

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CLASSIFIEDS

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EDITORIAL Interim Arts & Culture Editor Ruth Brown Interim Managing News Editor Beth Slovic Staff Writers Nigel Jaquiss, James Pitkin Copy Chief Kat Merck Copy Editors Matt Buckingham, Sarah Smith Special Sections Editor Ben Waterhouse Screen Editor Aaron Mesh Music Editor Casey Jarman Assistant Music Editor Michael Mannheimer Editorial Interns Ailin Darling, Kevin Davis, Rachael DeWitt, Nathan Gilles, Ashley Gossman, Evan Sernoffsky CONTRIBUTORS Stage Ben Waterhouse Classical Brett Campbell Dance Heather Wisner Visual Arts Richard Speer

Dynamic range does not only apply to exposure. This seminar consists of two parts: 1) How to actually shoot for ExDR. Specifically all the considerations you need to think about when harvesting for, focus blur and image structure.

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Erik Bader, Natalie Baker, Nathan Carson, Shane Danaher, Robert Ham, Whitney Hawke, Jay Horton, Matthew Korfhage, AP Kryza, Jessica Lutjemeyer, Nilina Mason-Campbell, Jeff Rosenberg, Matt Singer, Chris Stamm, Mark Stock PRODUCTION Production Manager Kendra Clune Art Director Ben Mollica Graphic Designers Soma Honkanen, Adam Krueger, Brittany Moody, Carolyn Richardson, Dylan Serkin Production Interns Christa Connelly, Jessica Stambach ADVERTISING Director of Advertising Jane Smith Display Account Executives Sara Backus, Maria Boyer, Michael Donhowe, Drew Harrison, Janet Norman, Kyle Owens Classifieds Account Executives Jennifer Lee, Corin Kuppler Advertising Assistant Ashley Grether Marketing and Events Manager Jess Sword Marketing and Promotions Coordinator Brittany McKeever

Our mission: Provide our audiences with an independent and irreverent understanding of how their worlds work so they can make a difference.

Circulation: 90,000 (except during holidays and school vacations.)

Though Willamette Week is free, please take just one copy.

Anyone removing papers in bulk from our distribution points will be prosecuted, as they say, to the full extent of the law.

Willamette Week is published weekly by City of Roses Newspaper Company 2220 NW Quimby St., Portland, OR 97210.

Main line phone: (503) 243-2122 fax: (503) 243-1115 Classifieds phone: (503) 223-1500 fax: (503) 223-0388

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Join photographer Vincent Versace as he shows you some of the best ways to convert an image to black and white. In this seminar, you will learn which methods give you the best results, and when to choose a simple or a complex solution. Vincent will also show how to create an image specific printer profile and discuss the importance of Color Management.

DISTRIBUTION Circulation Director Robert Lehrkind WWEEK.COM Web Production Brian Panganiban MUSICFESTNW Executive Director Trevor Solomon Dan With a Plan Dan Winters OPERATIONS Accounting Manager Andrea Manning Credit & Collections Shawn Wolf Office Manager & Receptionist Nick Johnson Office Corgi Bruce Manager of Information Systems Brian Panganiban Publisher Richard H. Meeker

Willamette Week welcomes freelance submissions. Send material to either News Editor or Arts Editor. Manuscripts will be returned if you include a self-addressed, stamped envelope.

To be considered for calendar listings, notice of events must be received in writing by noon Wednesday, two weeks before publication. Send to Calendar Editor. Photographs should be clearly labeled and will be returned if accompanied by a selfaddressed, stamped envelope. Questions concerning circulation or subscription inquiries should be directed to Robert Lehrkind at Willamette Week. postmaster: Send all address changes to Willamette Week, 2220 NW Quimby St., Portland, OR 97210. Subscription rates: One year $100, six months $50. Back issues $5 for walk-ins, $8 for mailed requests when available. Willamette Week is mailed at third-class rates.

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Willamette Week APRIL 27, 2011 wweek.com

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AN INVITE TO THE ZOO

sustainability, we are replacing worn and outdated equipment across the zoo. One such project, a new filtration system at the penguin exhibit, will be completed in just over a month and will save millions of gallons of water each year.

We aren’t doing all of this behind closed doors.

WW was invited along with the public to the two open houses we held in late March and early April, where all of our plans were on display and participants discussed the improvements we’re making with our animal care staff, educators and managers and gave us feedback. We’ll hold more open houses in the future and I hope you and your readers will come see for yourselves—and talk to us about—the changes at the zoo. We maintain current information about the bond program work on our website at oregonzoo.org.

The care we provide our animals—Packy, our elephant herd and all of our zoo residents—is our highest priority. Zoo staff can’t wait to see our animals in new, larger habitats with expanded views, all-day access to the outdoors and opportunities to make choices about how and where they spend their day. That is what voters provided when they supported the bond.

We value dialogue, and we appreciate different perspectives. I believe in honest and transparent communication and hope WW will accept my invitation to meet with me to discuss our future vision and plans. I feel you will find we are using our funds wisely and for the welfare of our animals. There are plenty of real rogues who are deserving of exposure and shame. The Oregon Zoo is not one of them.

I look forward to working with WW on accurate coverage of the exciting changes coming to the zoo.

Kim Smith Director, Oregon Zoo

I’ve noticed Goodwill’s prices rising during this recession—in some cases, you could buy something new for about the same cost. And now they’ve opened a “Goodwill Boutique” on Hawthorne. Are they getting snobby on us? —Frugal Fred

garage sale,” says Dale Emanuel, the P.R. rep for Goodwill Industries of the Columbia-Willamette.

“It’s to provide employment to people who have barriers to employment.” The organization plows 93 percent of its sales revenue back into programs for these folks.

Given that the stores exist specifically to raise money for charitable work, it seems a bit churlish to fault them for not being cheaper. It’s like nickel-and-diming a Girl Scout over the markup on a box of Thin Mints.

Finally, if prices have been rising lately, we’ve no one but ourselves to blame. “The market drives the price,” says Emanuel. Items that don’t sell get marked down until they do, so prices are only high to the extent we’re willing to pay them.

So, while Goodwill does manage to separate you from your cash with gimlet-eyed efficiency, it does it for a good cause—and if you really miss that dried vomit, there’s always Value Village.

I am writing to set the record straight on the new elephant exhibit and the other projects at the Oregon Zoo funded by the 2008 voter-approved bond and to express my dismay at WW’s unfortunate portrayal of the zoo and its governing agency, Metro [Rogue of the Week, WW, April 20, 2011]. By misrepresenting the status of these projects you do a disservice to the caring residents of the region who voted in support of the zoo and its conservation work.

Here are the facts: The zoo is developing a 20-year master plan to make the best use of public funds by considering future needs as we develop current projects. We are carefully considering the best use of every inch of our modest sized campus. We are thoughtfully planning the order in which we construct new exhibits and upgrade electrical and plumbing systems. This is important because while all of this construction is going on we will continue to provide a delightful and inspiring experience for the 1.6 million visitors who enjoy the zoo each year.

Our new veterinary medical center is currently being built and is on time and on budget. Zoo visitors can see its construction near the Family Farm. This new medical center will give our veterinary team the facilities they need to provide the top-notch care we demand for all of our animals. The elephant, polar bear, primate and condor exhibits and the conservation education center, as well as numerous water and energy conservation projects funded by the 2008 bond, are currently under design and constitute Phase 1 of the 20-year plan. The designs will be finished this fall and the exhibits will be built over the next six to 10 years.

To save water and power and improve our overall

There will always be those hard-core thrifters for whom paying more than a quarter smacks of bourgeois pretension. In the purist’s mind, it’s not a real score unless you had to chip it out of a puddle of dried vomit with a putty knife, so it’s hardly surprising that some folks regard the clean, well-organized stores of Goodwill Industries with suspicion—especially since, as you note, they’re not the cheapest.

But don’t condemn them as hypocritical, money-grubbing tools of fascism just yet. After all, Goodwill’s purpose in life was never to provide stingy hipsters with cheap, ironic sportswear.

“Our mission is not to sell donations like a 4

Willamette Week APRIL 27, 2011 wweek.com

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Willamette Week APRIL 27, 2011 wweek.com

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COURTS: IRS vs. strip clubs.

CITY HALL: Pork spending.

ROGUE: Health reform killed.

COVER: Portland’s $548 million bond.

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Former state Sen. Ryan Deckert (D-Beaverton), now the president of the Oregon Business Association, is considering challenging embattled U.S. Rep. David Wu in the 2012 Democratic primary. Deckert’s members, many of the state’s largest employers, would form a solid base of financial support.

His 10 years of legislative service (1997 to 2007) also make him a familiar face in the 1st District’s RYAN population center, Washington DECKERT County. “I’m certainly exploring the idea and thinking hard about it,” Deckert says, adding he must first decide whether his family is ready for a challenging campaign. Then he must assess his chances against Wu and a Democratic field that already includes Labor Commissioner Brad Avakian.

Speaking of Avakian, the commissioner for Oregon’s Bureau of Labor and Industries released a report this week that says he has raised more than $55,000 since announcing April 18 that he plans to challenge Wu. Earlier this month, Wu said he had far more than that—about $219,000. But Wu still carries about $50,000 in debt. And as Avakian’s backers note, only about $60,000 of Wu’s new money comes from Oregonians.

Several local media outlets and the secretary of state’s office last week highlighted a new Tufts University survey of under-30 voter turnout in 2010, which showed Oregon first in the nation at about 35 percent. Turns out the widely cited survey was also wildly inaccurate—about 55 percent above the actual percentage of under-30 voters who cast ballots.

The actual turnout is about what Tufts found to be the national average. Scott Moore of Our Oregon, a group that registers young voters, acknowledges the survey is wrong but sees a silver lining: “What the numbers show is that more young Oregonians place a high value on voting than others do.”

Portland Public Schools Superintendent Carole Smith this week introduced two versions of her proposed budget for the 2011-12 school year. One draft budget, for $431 million, depends on voter approval in May of a $59 million local-option levy. A second, less detailed version of the budget takes as its base a lower figure that doesn’t include the new, bigger levy.

PPS is banking on the levy’s passage, which is why the superintendent chose not to delve too deeply into what they’re calling Plan B. “If we don’t need to have that conversation, let’s not,” says Matt Shelby, a spokesman for PPS.

CAROLE SMITH

WW reporter Beth Slovic is leaving the paper after five years to cover City Hall for The Oregonian. “Beth has distinguished herself as a journalist of persistence and intelligence,” WW editor Mark Zusman says. “We wish her well.” Slovic’s fiancé, former longtime WW reporter Nick Budnick, currently at The Bend Bulletin, is joining The O as well.

Read more Murmurs and daily scuttlebutt.

6

Willamette Week APRIL 27, 2011 wweek.com

NEWS

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

STRIP BARS LAID BARE UNDERCOVER AGENTS ACCUSE TWO CLUB OWNERS OF FILING FALSE TAX RETURNS.

BY JA M E S P I T K I N

jpitkin@wweek.com

P H O T O S : C H R I S R YA N P H O T O . C O M

The owners of two separate Portland-area strip club chains are under criminal investigation by the IRS for allegedly concealing income from tax collectors, according to court documents.

On April 11, the IRS asked a federal judge’s permission to raid four Dolphin and Cabaret strip club locations. The move came after owners David Kiraz and Dean MacBale allegedly told two different undercover agents that they each hid from the feds more than a million dollars flowing through their clubs.

Documents filed at U.S. District Court in Portland show searches were carried out April 12 at the Dolphin I in Milwaukie and Dolphin II in Beaverton, and April 13 at Cabaret in downtown Portland and Cabaret 2 in Gresham.

Searches were also carried out at MacBale’s house in West Linn and Kiraz’s home in Happy Valley.

MacBale’s Dolphin clubs, where private VIP sessions in a couch-lined room cost as much as $500 an hour, have a relatively glitzy reputation by local strip-club standards.

Kiraz’s downtown Cabaret location—one of two Cabaret locations searched—often hosts spillover crowds from Old Town’s meat-market bars gawking at caged dancers.

IRS agents claim they found more seediness afoot in the clubs’ finances.

“MacBale’s businesses are permeated with fraud,” writes IRS Special Agent Maranda Nelson. “Per MacBale’s admissions, he is causing his businesses to substantially underreport their gross receipts by skimming cash. The excess cash is skimmed by MacBale and used for his own personal benefit.”

MacBale and Kiraz did not return phone messages seeking comment. Neither man has been charged with a crime, and IRS spokesman Dan Wardlaw declined to comment. The affidavit did not describe how MacBale personally benefited.

Search-warrant affidavits outline separate undercover criminal investigations against MacBale and Kiraz, who are both suspected of filing false tax returns—a felony punishable by a maximum $250,000 fine and up to three years in prison. MacBale is also suspected of felony tax evasion, which carries up to five years in prison, according to an affidavit.

Striking details from both investigations are laid out in the search-warrant affidavits filed by IRS special agents.

According to her affidavit, Special Agent Nelson took a hidden camera to a meeting with MacBale at Dolphin II on June 22, 2010. Nelson posed as a potential buyer. MacBale said the club was not listed on the market, but he “would sell for the right price,” the affidavit says.

When Nelson asked how much money the club makes, MacBale said he brings in about $600,000 a year in cash but claimed only around $250,000 each year from 2005 to 2009, the affidavit says.

“In this business there is a lot of cash, so if I show you on paper, it’s not gonna be the same worth as what the

KIRAZ’S CLUB: Cabaret on West Burnside Street.

MACBALE’S CLUB: Dolphin I in Milwaukie.

papers say,” MacBale told Nelson, according to the affidavit. “It’s strictly profit—$50,000 a month.”

MacBale broke down his revenue streams, the affidavit says. He said he collected about $5,000 a month in ATM fees, about $10,000 for video poker, and about $35,000 a month from cover charges, the VIP room and stage fees the dancers pay the club before working each shift, the court documents say.

MacBale told Nelson he destroys the true records of his cash income every 30 days, according to the affidavit. But alcohol sales—which are subject to state oversight—are strictly “on the books,” MacBale allegedly said.

MacBale also said he claims substantial write-offs, the affidavit says. That list includes suits, travel, health insurance, car payments and restaurant meals. “It’s like everybody that doesn’t want to pay so much taxes,” MacBale said, according to the affidavit.

The IRS went so far as to slap a GPS tracker on MacBale’s Toyota Tacoma to follow his movements between his different businesses. Meanwhile, the agency was also looking into Kiraz’s activities at Cabaret.

According to a second affidavit, Special Agent Clint Kindred also posed as a potential buyer and met with Kiraz in August 2010. Kiraz told Kindred receipts from Cabaret and Cabaret 2 totaled a little more than $2 million each year from 2007 to 2009, the affidavit says.

Kindred pulled Kiraz’s tax returns and found he had allegedly failed to report between $334,000 and $461,000 each year from 2007 to 2009, according to the affidavit.

Kindred also rifled through the trash outside Kiraz’s house in Happy Valley, finding dancer applications, bartender résumés, sales spreadsheets and other business records, the affidavit says.

“I know from my training and experience that strip clubs deal heavily in currency,” Kindred wrote. “The investigation has revealed that Kiraz is likely filing false tax returns with the Internal Revenue Service by substantially underreporting his gross receipts earned from the business.”

Willamette Week APRIL 27, 2011 wweek.com

7

NEWS

LEGISLATURE

COOL SCHOOLS ON ICE GOV. KITZHABER’S TOP CAMPAIGN PRIORITY LOSES HEAT.

BY N IGEL JAQU ISS

COMMUNITY LAW WEEK May 2-7 THE MULTNOMAH BAR ASSOCIATION YOUNG LAWYERS SECTION PRESENTS ...

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BANNER SPONSOR: Barran Liebman Cosgrave Vergeer Kester

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Gevurtz Menashe Larson & Howe Hiefield Foster & Glascock Pacific Northwest Paralegal Association Perkins Coie

Samuels Yoelin Kantor Schwabe Williamson & Wyatt Stoll Berne Wyse Kadish

njaquiss@wweek.com

Last fall, gubernatorial candidate John Kitzhaber campaigned on what seemed a novel concept.

He proposed renovating hundreds of Oregon schools to make them more energy efficient and create jobs.

To do that, Kitzhaber proposed issuing $100 million in state bonds, which he said would lead to 1,000 new jobs.

But nearly five months into the legislative session, Kitzhaber’s signature legislation, House Bill 2960, appears stuck in the budget-writing Ways and Means Committee.

The idea is generating little enthusiasm among some potential beneficiaries. And it’s not actually all that new.

During a session in which K-12 education is getting about $1 billion less than advocates wanted, some who might derive advantages from Kitzhaber’s plan, dubbed “Cool Schools,” call it a distraction.

“I’m not sure how many jobs this would really create, and when we’re putting teachers out of work and trying hard just to keep school doors open, it’s hard to get excited,” says Chuck Bennett, a lobbyist for the Confederation of Oregon School Administrators.

Personnel costs are about 80 percent of school expenses, but energy is also high on the list, costing the average district more than textbooks and computers combined.

Kitzhaber’s aim is to free up instructional dollars by reducing energy costs. He and proponents of a $548 million Portland schools bond (see our endorsement of that measure, page 14), say educators can protect school programs by making sure districts’ limited budgets pay for teachers’ salaries, not new roofs.

There’s a difference, however, between the Portland capital bond and Cool Schools.

Portland lacks sufficient funds to spend on building improvements, but there’s already money available for energy retrofits.

A law enacted in 2002, when Kitzhaber was last governor, carves off a 3 percent “public purpose charge” on utility bills. That charge yielded about $80 million last year, 10 percent of which was set aside for energy audits and retrofits of schools located in the service territories of either Portland General Electric or PacifiCorp.

Prior to Kitzhaber’s 2010 victory, nearly 750 schools—about 90 percent of those eligible—had already used public purpose money to pay for energy audits.

After getting their audit results, some districts upgraded their buildings, but most chose to do nothing, even though there was funding available.

Scott Nelson, Kitzhaber’s point man on Cool Schools, acknowledges demand has been tepid, leaving as

much as $15 million of the schools’ public purpose money unspent.

In addition to that existing stream of money, Nelson says there is also a hefty pot of federal stimulus money—about $39 million—already available. Those funds are effectively free, because the U.S. Treasury pays the interest on the bonds.

But Nelson says trying to use those federal dollars, which can be spent regardless of whether the Cool Schools bill passes, requires extensive coordination of many different jurisdictions.

“There was never any doubt that it would be complicated,” Nelson says.

He says he’s aware that school districts are embroiled in pressing budget crises and may share the criticism that COSA’s Bennett expressed.

Yet Nelson says the Cool Schools legislation, which would establish a pilot program within the Oregon Department of Energy and enlist utilities to advance money to districts against future energy savings, is intended to create an administrative framework that would absorb the burden of managing retrofits.

“What we are trying to do is work this through administratively and make it as easy as possible for [local districts] and take the load off for them,” Nelson says.

Rep. Mark Johnson (R-Hood River), a contractor who chairs the Hood River School Board and saw his district use public purpose money to repair schools, is skeptical about the need for a new program.

“There’s [public purpose] money and other funds just sitting out there already,” Johnson says. “These guys are a little late to the play.”

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Willamette Week APRIL 27, 2011 wweek.com

NEWS COREY THOMPSON

CITY HALL

TEN FOR YOUR MONEY WHAT EARMARKS MIGHT PORTLAND’S 2011-12 BUDGET INCLUDE?

BY BE T H S LOV I C

bslovic@wweek.com

Mayor Sam Adams is supposed to introduce his proposed city budget this week for the fiscal year that starts July 1.

The majority of Portland’s $391 million discretionary general-fund budget, which is 3 percent higher than this year’s pot of money, will go to salaries for cops, firefighters and parks department employees.

But each year the mayor and city commissioners earmark hundreds of thousands of dollars for other public agencies and nonprofit groups who seek the city’s financial support. In 2011-12, the total amount requested comes to $3.3 million, compared with the $1.5 million allocated last year.

Call it pork or call it charity, this year’s list of proposed recipients of “special appropriations” includes high-school students, low-income Portlanders and people who really, really need a bathroom.

Japanese Garden Society of Oregon: $500,000 The 5.5-acre garden built in 1967 north of Washington Park wants to expand—at a cost of $19.2 million. The board of directors at the garden would match Portland’s $500,000 gift with $1 million. In a break from standard practice, this request does not appear on the mayor’s or any other individual commissioner’s special appropriation request. “It’s in the hopper for consideration, but without a sponsor,” Adams’ spokeswoman, Amy Ruiz, explains.

High-School Sports Fields: $400,000 This contribution proposed by Commissioner Nick Fish continues support started last year, when Portland contributed $200,000 to Roosevelt High School’s improved athletic complex. The new money would go to the Portland and Parkrose school districts.

Portland Loos: $352,000 Commissioner Randy Leonard has so far christened four loos in Portland. An additional $352,000 would pay for four new public toilets.

CARES Northwest: $100,000 A regional child-abuse assessment center based at Legacy Emanuel Medical Center, CARES Northwest treats 1,500 juvenile victims of abuse a year. Commissioner Dan Saltzman’s girlfriend works as a development director for CARES Northwest, but Commissioner Randy Leonard made this funding request.

David Douglas High School SUN School: $100,000 SUN Schools, or Schools Uniting Neighborhoods, provide extra educational resources for kids and parents in high-poverty neighborhoods. “David Douglas High School is the only high-poverty index school in the region without a SUN program,” the mayor’s request reads.

Black Parent Initiative: $100,000 The five-year-old nonprofit that helps black parents improve their children’s educations is poised to get $12,500 from the city’s taxpayer-funded Children’s Levy.

Commissioner Dan Saltzman, who started the levy and requested the appropriation, says the $100,000 would fund a separate program. “This program keeps kids safely at home, and increases the role of relatives and natural support systems, therefore decreasing the disproportionate number of black youth in the care of the Department of Human Services,” his request reads.

CASH Oregon: $75,000 By providing free tax-preparation services to low-income residents, CASH, or Creating Assets, Savings and Hope, Oregon says it brings in close to $20 million in tax credits and refunds for filers. In 2010, the group helped file 15,600 tax returns, according to its newsletter. Adams gave the group $75,000 last year.

Oregon Food Bank: $75,000 The distributor of food for the needy last year got $50,000 from Portland taxpayers. This year, Adams may increase the city ’s donation at Leonard’s request.

“Exacerbating the challenge of keeping up with demand of emergency and supplemental food is the decrease in donations of food from industry partners in the retail and grocery business, growers and manufacturers,” city documents read. “This decision package requests $ 7 5,0 0 0 t o p r ov i d e a p p r ox i m a t e l y 150,000 pounds of food, or 115,000 meals to hungry people.”

VOZ Day Laborer Center: $25,000 The brainchild of former Mayor Tom Potter, the day laborer center got its start in

2008 with $200,000 from the city. The center, basically a parked trailer on an asphalt lot on Northeast Martin Luther King Jr. Boulevard, allows contractors and other employers to hire temporary workers, many of whom are undocumented.

Leonard made this request.

Portland Rose Festival: $20,000 Starting in 2008, the City Council gave the 104-year-old Portland tradition money for “temporary public toilets and designated seating areas for the elderly, disabled and families with young children.” Leonard has asked that the city continue that support for the Rose Festival, whose new headquarters in a cityowned building got a $1.5 million facelift on taxpayers’ dime.

Willamette Week APRIL 27, 2011 wweek.com

11

NEWS

ROGUE

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When President Obama and Congressional Democrats caved last year and passed a health reform bill without a public option, the best hope left for reining in runaway healthcare costs fell to state-run insurance exchanges.

The Oregon Health Authority last year began gathering input on how best to run an exchange program, as required of all states by 2014 under federal health-insurance reform. But like doctors removing the wrong limb, a key Legislative committee botched key portions of the bill that would have best protected individuals, families and small businesses—making the Senate Subcommittee on Health Care Reform this week’s Rogue.

Affordable-care advocates say the three members of the subcommittee—Frank Morse (R-Albany), Alan Bates (D-Medford) and Laurie Monnes Anderson (D-Gresham)—failed consumers by compromising on the bill in two key ways. First, the bill

“TO BE BARRED FROM ACTUALLY NEGOTIATING LOWER COSTS IS OUTRAGEOUS.”—OSPIRG allows insurance-industry representatives to sit on the board.

Even worse, it bars the exchange from negotiating for prices.

As the bill stands, the exchange is required to accept an equal number of plans from each insurer—taking away the leverage that would have come from being able to pick and choose plans to best serve consumers.

Laura Etherton, a lobbyist for the Oregon State Public Interest Research Group, says the committee gradually yielded to the powerful insurance lobby despite OSPIRG and other groups’ efforts to salvage the bill’s effectiveness. In a public hearing April 14, Monnes Anderson praised the consumer advocates’ amendments but said a deal with Republicans had already been struck.

Monnes Anderson defends the result.

“We wanted to get that plan going,” she says. “I’m not saying it’s a good end result, but it’s definitely a good start.”

Etherton disagrees.

“It’s just unfortunate that they had to compromise the heart out of it,” Etherton says. “To be barred from actually negotiating lower costs is outrageous.”

The Senate passed the bill April 25 by a vote of 24-5.

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SCHOOLS OF SALMON GOT YOUR MONEY. OUR ELECTION PICKS FOR SCHOOL BOARDS AND THE MONEY MEASURES.

BY WW EDITOR IA L STA FF

Call up your best Tina Fey voice, and say it together: Really?

In the depths of a recession, with unemployment still topping 9 percent, Portland Public Schools has come to voters with two tax measures, including one for more than a half-billion dollars.

Really?

And WW, after interviewing dozens of people, poring over documents, and touring schools that look like they belong in Detroit (sorry, Detroit) rather than the City of Roses, has concluded they deserve your support.

Really?

Look at it this way. In 2008, Portland-area voters supported a $125 million tax hike so Packy the Elephant could have new stomping grounds at the Oregon Zoo. (We didn’t support that measure, by the way.)

In 2010, voters narrowly approved a $72.4 million fire

14

Willamette Week APRIL 27, 2011 wweek.com

bond so the city could have brand-new radios, trucks and fireboats. (We opposed that measure as well.) And last year, Oregon voters also said yes to continuing to give about $82 million of lottery money each year to parks and wildlife habitat. (That one also failed to get our support.) Our point?

If taxpayers are willing to dig deep for elephants, fireboats and salmon, shouldn’t they also be willing to provide the setting for a proper education for our kids?

We think so.

One of the money measures on the ballot is a $548 million construction bond to rebuild nine schools and upgrade the district’s 76 others. The other measure renews an existing levy—but also increases the amount it raises annually. That $59-million-a-year operating levy would protect the jobs of 600 teachers.

You won’t find Donald Trump anywhere on the May 17 ballot. This election is all about education. In addition to the money measures, there are tough choices to be made about the people who will guide our schools.

Before delving into those races, let’s start with some basic facts about the ballot measures. Remember: As your

WHY NOT SCHOOLS FOR KIDS? teachers told you, there’s no such thing as a stupid question. OK, “Where is the president’s birth certificate?” is an idiotic question. But these are good questions.

Let’s say you don’t have kids and you don’t own a home. Why should you keep reading?

We’ll spare you the usual song and dance—children, future, etc.—and remind you (A) someone paid for the school you attended and (B) you will pay for this, if it passes, no matter what. You may not owe property taxes, but your landlord certainly does, and he’s more than happy to pass on that new cost to you in the form of higher rent.

First, the smaller of the two measures. The school district wants to renew its existing levy. What will the levy do?

The $59 million-a-year levy will raise property taxes for teachers’ salaries. As you may know, state law limits the amount of property taxes that can be raised for schools by capping both the amount per thousand dollars of assessed property value that can be devoted to schools and by limiting the annual growth in assessed value.

But that is why God made loopholes.

Schools have been able to get around these limits by asking voters to pass “local option levies,” which are for limited periods of time. PPS passed such a levy in 2006; it currently generates $40 million annually. And though it doesn’t expire until 2012, PPS wants to renew it now.

(Why? The Legislature in 2007 agreed to let local schools raise more via these tools. Second, advocates thought it made more strategic sense to combine a campaign to extend the levy with the construction-bond campaign, rather than wait.)

The new levy would protect a total of 600 teaching jobs—or 200 more than the current levy.

Fine. How much will it cost me?

The $59 million levy would raise property taxes for a typical homeowner (whose house is assessed at $143,000) in the district by about $100 per year, bringing the total cost of the levy to about $300 a year through 2015.

CONT. on page 16

Willamette Week APRIL 27, 2011 wweek.com

15

ENDORSEMENTS

CONT.

OK, now the construction bond—what is it for?

Districts are allowed to ask voters to raise their property taxes for bricks and mortar, too.

And last year voters agreed to expand the definition of what counts as “bricks and mortar.”

What will the $548 million be spent on? Full renovations for nine schools: Markham Elementary; Laurelhurst, Rigler, Faubion and Marysville K-8 schools; East Sylvan Middle School; and Roosevelt, Jefferson and Cleveland high schools.

Plus architectural designs for a new Lincoln High.

The money would also pay for more modest upgrades at the remaining schools—new covered playgrounds, science labs, security systems and fire-suppression systems, plus improved playing fields, roofs and seismic upgrades.

Rebuilt schools would also be furnished with new desks, bookshelves and computers thanks to the new, broader rules about what constitutes “bricks and mortar.”

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What will it cost?

The $548 million construction bond will raise Portlanders’ property taxes by $2 per $1,000 of assessed value. For a house whose assessed value is $143,000, that would translate to an extra $300 a year.

Who’s donating money to this campaign?

The people who could make money from it, silly goose. More than $1 million has been raised from major construction companies, architecture and design firms, plus labor groups and others.

The opposition, a loose coalition of parents who call themselves Learn Now, Build Later (because they support the operating levy but not the construction bond), has barely raised enough to buy dinner at McDonald’s.

What’s the best reason to support the bond?

Portland Public Schools’ facilities are, on average, 65 years old. Maintaining them is costly because much of their equipment is outdated. Expensive repairs take money from the classroom. And the list of needed fixes that would be addressed if the bond passes is long. The roof at Grant High School is in such disrepair, the damage is visible in images from Google Maps. One school is secured with a padlock because the doors are broken. Inefficient boilers from the 1950s send soot into custodians’ faces and money out the leaky windows.

But what sense does it make to rebuild schools when we just closed 12?

PPS’s enrollment has dropped dramatically since the 1950s, when many of the district’s schools were built. In the past 10 years, PPS has closed a dozen schools to consolidate students so the district’s 3,200-member teaching staff isn’t stretched across buildings.

The remaining facilities have more students in them, but they remain in poor condition.

5/29/11

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Willamette Week APRIL 27, 2011 wweek.com

What’s the best reason to vote no?

It’s expensive and the timing stinks. And let’s be clear: So long as people keep having children, this is not the last construction bond voters will face.

The plan is to ask voters to renew the construction bond about every six years for the next three decades in order to fully modernize every school.

Besides that, there’s the question of priorities.

PPS wants to rebuild two schools whose populations have fallen so dramatically they were at risk for closure last year. Opponents say PPS is not “allocating our very scarce resources to protect and educate as many students as we can at a time of huge budgetary crisis.”

SO, HOW DO WE VOTE? YES, ON BOTH. Nobody ever sends us letters asking to give us money (except for that nice Nigerian man).

But we believe Portland Public Schools has done its due diligence and our schools are too crucial to the health of our city to defer this needed maintenance any longer.

Portland is a city that raises taxes for elephants, fireboats and salmon. We ought to be a city that teaches its children in schools that aren’t raining ceiling tiles. To channel Tina Fey once more: We want to go to there.

PORTLAND PUBLIC SCHOOLS BOARD OF EDUCATION The crew entrusted with making sure Portland Public Schools spends its money effectively is the all-volunteer board.

Julia Brim-Edwards, a School Board member from 2001 to 2005, calls the job “one of the most challenging public service positions” in Portland and “the best position to make a huge impact on your community and your community’s future.”

That future looks challenging. This year, the seven-member School Board must close a $40 million budget gap, or almost 10 percent of the district’s general fund, because state revenue is not keeping up with expenses. Even if the levy passes, the gap would be $20 million.

Beyond budget matters, School Board members hire the superintendent and set policy. They don’t write curriculum, but they do approve textbook purchases. They don’t manage departments, but they do offer guidance when the district hires top administrators. School Board members also vote to close schools and redraw enrollment boundaries.

Sexy it ain’t. Yet a total of 10 people are vying for the four available seats on the School Board.

What are we looking for? Someone smart and skeptical. Someone who can look past the demands of individuals to do what’s best for the

DARRYL JAMES

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ZONE 1, SOUTHWEST PORTLAND AND SELLWOOD: RUTH ADKINS Adkins first ran in May 2007 on a platform of not closing schools. She won. Three years later, in October 2010, Adkins voted to close Marshall High.

Hyprocrite? We prefer to think of her as more seasoned.

A 47-year-old mother of three from Hillsdale, Adkins calls that about-face the “hardest decision I’ve made.”

We may not agree Marshall was the right school to close, but we don’t fault Adkins for realizing the district needs to consolidate resources.

Adkins is running again because she wants to oversee implementation of the two tax measures if voters approve them.

A Yale graduate, Adkins works for the Oregon Opportunity Network, an affordable housing group. Painfully quiet in 2007, Adkins speaks more forcefully now. We’re glad.

Adkins is running against Larry Lawson, a network security manager and a photographer. He graduated from Grant in 1979 and has some budget experience, but he lacks any record of improving schools. He opposes the $548 million construction bond measure.

“It’s too much at one time,” he says. But he supports the levy. He doesn’t offer a compelling reason for unseating Adkins.

Glen Livingston, a self-described community activist, is also on the ballot. His inexperience makes Adkins a clear choice.

ZONE 2, INNER NORTHEAST PORTLAND: MATT MORTON Three candidates seek to replace David Wynde, a banker who is stepping down, in the

35

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CE

entire district. Board members are elected citywide and represent everyone in the school district, but they must live in the zone to which their seat is assigned. To read about the candidate in the one uncontested race, visit wweek.com. Here are our choices in the contested elections:

BRATI LE

NG

RAISE THE ROOF: A custodian at Faubion K-8 School in the Concordia neighborhood examines damage to the school’s roof. Faubion would be rebuilt if the bond passed.

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CONT. on page 18 Willamette Week APRIL 27, 2011 wweek.com

17

ENDORSEMENTS

CONT.

most competitive of May races.

Two of the candidates—Matt Morton and Maggie BristerMashia—are impressive advocates with real passion for education.

This race stands out for a second reason—if either of the two strong candidates wins, the outcome will maintain diversity on the board. Morton is a member of the Squaxin Island Tribe in Washington, and Brister-Mashia is AfricanAmerican. The School Board has long been a majority white institution, though the schools are increasingly diverse.

We give the slight edge to Morton, deputy director for the Portland-based National Indian Child Welfare Association. Morton offers budget experience that will be lacking on the board once Wynde’s term expires.

John Sweeney, who makes his third run at the Portland School Board, is also on the ballot.

Sweeney has run for almost every office available in Portland. We have yet to find one that fits his skills.

ZONE 3, NORTHWEST AND SOUTHWEST PORTLAND: BOBBIE REGAN

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Eight years ago, Bobbie Regan came to our office seeking our endorsement, and the former marketing consultant and mother of two struck us as timid.

Either we were wrong or she has done a lot of growing up in two terms. In recent years, Regan has operated on a statewide stage with the Oregon School Boards Association.

Critics say Regan protects the interests of wealthier parents and students with programs like “school choice.” That lets middle-class white parents who buy homes in gentrifying neighborhoods send their kids to schools in wealthier neighborhoods where the schools have more resources. We don’t always agree with votes she casts, but Regan is a knowledgeable board member who deserves another shot.

Regan has two opponents. Christine Nelson is a pet portraitist who told WW she wants to bring “more accountability” to the board. She offers little more than platitudes.

Martha Perez has run for a number of elected positions. Her zeal exceeds her abilities.

PORTLAND COMMUNITY COLLEGE While Portland State University gets all the attention for its bike-friendliness and the Mark O. Hatfield School of Government, PCC quietly churns out more students from three campuses and seven specialized centers.

In 2008, voters passed a $374 million construction bond for PCC to build new facilities.

There are at least four years left to go on the projects.

PCC board members have similar authority to local school board members. They help President Preston Pulliam, now in his seventh year at PCC, establish budget priorities. But they also have the power to set tuition rates.

ZONE 2, NORTH PORTLAND AND A PORTION OF COLUMBIA COUNTY: HAROLD WILLIAMS This zone stretches from North Portland to Columbia County.

Harold Williams has served in this position for 20 years.

And while we might otherwise be inclined to give someone else the nod in light of William’s long tenure, we’re sticking with him because of the broad perspective he brings to his duties—and the absence of a credible alternative.

Opponent Michael “Micro” Durrow doesn’t offer much more than a bitter critique of the status quo. “We don’t need newer and shinier toys,” he said at one point.

William “Al” Petersen, who owns an architecture firm in St. Helens, is angry that PCC offers too few classes in Columbia County. He may be right, but that’s not a sufficient reason to offer our endorsement.

Kitty Harmon, a tea partyer, ran as a Republican against state Rep. Tina Kotek (D-Portland) last year. We called her “pleasant enough” then.

We’ll go for Williams, who says this next term would be his last.

ZONE 7, WASHINGTON COUNTY: DEANNA PALM Deanna Palm was appointed to the board in 2009, 25 years after getting her associate’s degree in information systems from PCC. She has a stellar reputation in Washington County as the president of Hillsboro’s Chamber of Commerce and says she would focus most on making sure PCC spends its construction dollars wisely.

Palm is running against Chuck Riley, a former three-term member of the Oregon House who has better name recognition in the zone that stretches west from Beaverton. In Salem, Riley was mediocre. He says he wants to be on PCC’s board to advocate for increased community college funding. That sounds like a lobbying job and Riley sounds like a legislator looking for a lifeline. We’ll pass.

Jerry Tobin, a physics and math instructor in the community college system for decades, has a few ideas for promoting efficiencies in the system. He doesn’t like PCC’s annual celebration of Semana de la Raza. We do. We’ll take Palm.

MULTNOMAH EDUCATION SERVICE DISTRICT Like the 19 other education service districts in Oregon, the MESD is so obscure it’s typically only in the news for something bizarre. Former MESD board member Ron Chinn, for example, made a stir in 2007 when he denigrated special education students as “SLABs,” or “slow, low and belows.” In recent months, state Sen. Mark Hass (D-Raleigh Hills) has attacked ESDs as inefficient.

So what the heck is an ESD? An ESD acts like a co-op that delivers regional educational services. Among other things, it provides speech pathologists, special education teachers and school nurses to school districts. And, oh yeah, the ESD offers local kids Outdoor School.

DARRYL JAMES

SOCIAL SECURITY?: A padlock and chain compensates for broken locks on a door at Faubion K-8 School.

POSITION 5, ZONE 1 (NORTH AND NORTHWEST PORTLAND): GARY HOLLANDS Neither Gary Hollands nor his opponent, Dick Osborne, had ever attended an MESD board meeting when they came to our office seeking an endorsement. Neither one has significant experience managing budgets anywhere near MESD’s $70 million.

Because we have to choose one of these underwhelmers, we give the nod to Hollands, a small-business owner who hauls junk. His wife is employed by MESD. That gives us pause, but we don’t think it’s a deal breaker. At least he’d read transcripts from meetings to, at a minimum, get an idea what is involved.

Osborne worked for more than 40 years in the food-service industry. He ran as a Republican against Rep. Jackie Dingfelder (D -Portland) in 2006 when he warned us of a “homosexual agenda” in schools. We ignored that then. We’ll ignore it now.

Because there’s nothing better than a new magazine, a cup of coffee and a piece of toast.

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POSITION 6, AT LARGE: DOUG MONTGOMERY Doug Montgomery seeks to replace Mike Delman, a policy consultant who was elected two years ago to fill a vacancy.

Delman more recently was the subject of bitter criticism from one board member.

In the words of an MESD resolution that was never forwarded, “While the April 20, 2010, Regular Board meeting was in session, Director Delman chose to listen through earphones to radio commentary on a basketball game and, upon both private and public admonition from the Chair, continued while the meeting proceeded.”

Talk about weird. We’ll go with Montgomery, a smart and highly qualified candidate who taught public policy at Portland State University and once served as a board member for the Northwest Regional ESD.

TO THE

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POSITION 7, ZONE 3 (SOUTHWEST AND INNER SOUTHEAST): KEVIN SPELLMAN This is easy. Kay Bridges, a nice woman who owns a flower delivery service, has no grasp of the issues facing MESD and seems incapable of answering questions succinctly.

We see no reason to replace Kevin Spellman, a retired construction firm operator who was appointed to the board to fill a vacancy in 2006. Spellman has a strong understanding of budgetary issues and policy.

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FRIDAYS

SCOOP GOSSIP THAT WOULD RATHER MARRY THE GINGER PRINCE. CART ATTACK: WW held its annual Eat Mobile food cart festival on Sunday, April 24, with nearly 3,000 eaters gathering under the Morrison Bridge to sample from 39 different carts and vote for their favorites in the 2011 Carty Awards. Also enjoying the street eats was an all-star lineup of judges, including local chefs Naomi Pomeroy (Beast), Tommy Habetz (Bunk Sandwiches) and Adam Sappington (The Country Cat), who picked their own winner.

Whiffies Fried Pies took the audience vote for a second year in a row, while the judges chose Fifty Licks ice cream as the most stylish cart, and newcomer Kim Jong Grillin’ as their favorite.

Sadly, shortly after Kim Jong Grillin’ owner Han Ly Hwang finished serving his acclaimed bulgogi beef and smoked pork belly at the festival, his actual cart burst into flames at its pod on Southeast 48th Avenue and Division Street. “Kim Jong Grillin’ will rise like a phoenix from these ashes and bring you even more of the food our loyal patrons have come to love,” promises Hwang.

MEN NOT AT WORK: Proceeding on the valid premise that this town could always use more Raymond Carver, newly arrived filmmakers Andrew Franks and Alexander Atkins are preparing to adopt the Northwest writer’s short story “What Do You Do in San Francisco?” into a 10-minute film. The movie, which starts shooting in Southeast Portland in May and has been given the locally appropriate title Men Who Don’t Work, centers on a buttinski postman—and perhaps the most interesting aspect of the project is that Franks and Atkins have invited snooping (along with Kickstarter funding), making the screenplay and the production’s itemized budget available to read online at menwhodontwork.com.

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FOOD WITH A CULT FOLLOWING: The old Taste of Jakarta space on Southwest Jefferson Street and 12th Avenue has finally found a new tenant: the Loving Hut, the international chain of vegan eateries run by Supreme Master Ching Hai International (which is also associated with Old Town’s Vegetarian House), a religion that worships a bizarre bleach-blond Vietnamese woman who dresses like a Disney rendering of a Southeast Asian princess and believes the planet must become vegan so it can ascend to a “higher galactic civilization” (lest we die out like those livestock-raising Martians, you see).

OLCC ROUND-UP: Rogue Brewery is planning to open a public house at PSU, in the former Paccini space on Southwest Park Avenue; a new brewpub called Sasquatch Brewery is looking to open on Southwest Capitol Highway; Cha! Cha! Cha! has applied for a license in the old Pixti space on North Lombard Street; and the Seven Rivers barbecue stall from the Rose Garden is taking over the old Su Casa spot on North Lombard.

HEADOUT

WILLAMETTE WEEK

WHAT TO DO THIS WEEK IN ARTS & CULTURE

THURSDAY, APRIL 28 [MUSIC] MAKE IT POP PDX Pop Now! is the best local music event of the midsummer, but the free weekend festival doesn’t pay for itself. Friday’s benefit features killer local talent performing acoustically (Laura Veirs and Laura Gibson with Eric Earley of Blitzen Trapper and Israel Nebecker of Blind Pilot), hors d’oeuvres from Beast and desserts from Bakery Bar and Fifty Licks. That’s a lotta musical and foodie goodness. The Cleaners at Ace Hotel, 403 SW 10th Ave. 6:30 pm. $35 GA, $70 VIP. All ages.

TUNE WITH A VIEW

LY L

E H EHN

[TALK] ART SPIEGELMAN Legendary former New Yorker cartoonist and the artist behind the Pulitzer Prize-winning graphic memoir Maus, Art Spiegelman, will be giving a talk and Q&A session on the history of comics. Not cheap, but well worth selling a few collector’s editions for. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 248-4335. 7:30 pm. $70+. Tickets through ticketmaster.com.

THE CRYSTAL HOTEL SUGGESTS YOU SLEEP ON THESE SONGS.

Like indie bands playing a match of “Dueling Banjos,” Portland’s hoteliers keep upping the ante on rock ’n’ roll accommodations.

(You still must supply your own vomit to drown in.) McMenamins’ White Eagle Saloon started the trend with rooms above a rock venue; the Jupiter Hotel modified that concept with a ski-lodge firepit; the Ace Hotel offers in-room turntables and vinyl rentals at the concierge desk. Next week, as McMenamins opens its downtown flagship, the Crystal Hotel, cater-corner to the Ace, it takes the music-geek specificity to a new level of detail: Every one of its 48 rooms is themed around a single song.

The 1911 hotel has been remodeled into a shrine to the history of the next-door Crystal Ballroom: “The criteria for having a room [named after your song] is that you have to have played the Crystal at some point in its history,” says McMenamins director of music Jimi Biron. This week, construction workers and artists are rushing to finish the project. (Not without complications: A painting that gorgeously if literally visualized the Shins’ “Sleeping Lessons” lyric “Eviscerate your M YR ER D N O fragile frame/ And spill it out in the ragged floor” was A Y YO A N D ER YR axed when company brass decided the sight of M James Mercer being disemboweled might unsettle guests.) Check out the headboards as we preview three rooms that top the charts. AARON MESH.

Room 310 (above) Room 212 Song: “Paper Thin Walls” Artist: Modest Mouse Lyrics written above bed: “These walls are paper thin/ And everyone hears every little sound.”

What you should do in this room: Have extremely loud sex.

Song: “I Think I’ll Just Stay Here and Drink”

Room 416

Artist: Merle Haggard

Song: “Cocoon”

Lyrics written above bed: “Could quit doing wrong, start doing right / You don’t care about what I think.”

Artist: The Decemberists

What you should do in this room: Stay there and drink.

What you should do in this room: Overdose on antidepressants.

Lyrics written above bed: “And I waited there for you.”

FRIDAY, APRIL 29 [THEATER] BUST After spending two years as a correspondent for The Daily Show, comedian Lauren Weedman volunteered at a Southern California women’s prison. She turned the experience into a successful one-woman show, which Portland Center Stage is importing to its downstairs-studio theater. Gerding Theater, 128 NW 11th Ave., 445-3700, pcs.org.

7:30 pm Tuesdays-Wednesdays and Fridays, 2 and 7:30 pm Saturdays and Sundays, noon and 7:30 pm Thursdays, through June 19. $18-$40.

SATURDAY, APRIL 30 [DRINK] CHEERS TO BELGIAN BEERS Forty-two Oregon breweries take the same strain of yeast and produce different styles of Belgian beers. Alcohology is our favorite school of science. Metalcraft Fabrication 723 N Tillamook St., oregonbeer.org/pctbb. Admission is free, $15 for five drink tickets and a tasting glass, additional tastes $1.

[MOVIES] PHIL OCHS: THERE BUT FOR FORTUNE Ochs was the real-deal folk singer, if a complex individual, and the general fucked-upness of the ’60s literally drove him insane. You don’t need to know anything about the guy to appreciate this movie. NW Film Center’s Whitsell Auditorium, 1219 SW Park Ave., 221-1156. 7 and 9 pm. $6-$9.

MONDAY, MAY 2 MUSIC] MENOMENA The Doug Fir has a capacity of, like 300, people! Don’t miss this special chance to see a reconfigured version of one of Portland’s best bands—down a Brent Knopf, but with an extra member—blow your mind at a relatively small club. Doug Fir, 830 E Burnside St., 231-9663. $15 advance, $18 day of show. 21+.

Willamette Week APRIL 27, 2011 wweek.com

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Willamette Week APRIL 27, 2011 wweek.com

INTERVIEW

JAMES E. MCWILLIAMS

CULTURE

WHY YOUR LOCALLY GROWN HEIRLOOM TOMATOES WON’T SAVE THE WORLD. LEILA KEMPNER

WW: What exactly will you be speaking about in Portland?

James McWilliams: What I’m trying to do is shift the dialogue on food and agriculture away from an intense local focus to a global focus, and I’m not doing that because I think there’s anything necessarily wrong with focusing on our local food systems. I think a lot of good has come from it, but at the same time I think there are extremely important global questions—particularly bearing on how we’re going to feed 9 billion people by 2050—that are really being overlooked in our popular discussions on food and agriculture.

So, you actually started out as a devout locavore?

It’s not that I left the locavore movement—I still support many of its values—I just try to give it a context. A more international context.

BY R UT H B R OWN

When this first started to dawn on you, did you think: “This is just going to bring a rain of opposition”?

What is challenging about it is that it’s a much harder problem to solve than focusing on decentralizing the local food system or developing my local foodshed.... I can’t shape international food policies, for example. I can’t change the way our subsidy system works in this country.

Perhaps the most common criticism—I will add unfounded—is that I am somehow a corporate shill or in bed with corporations....

Because I do argue that we’re going to need large-scale food production. That is immediately interpreted as supporting industrial agriculture as it now exists. And I’m very clear in my work to be highly critical of industrial agriculture as it now exists.

It’s difficult to position yourself in opposition in any way, however mildly, to locavore concerns and not be caricatured as a kind of right-wing supporter of agribusiness.

243-2122

For much of his academic career, James McWilliams was writing about some pretty unsexy subjects: bugs, insecticides, 17th-century Massachusetts. But about four years ago, the Texas State University associate professor and historian began tackling a much more controversial topic: the “locavore” food movement.

His 2009 book, Just Food: How Locavores are Endangering the Future of Food and How We Can Truly Eat Responsibly (subsequently retitled more diplomatically as Where Locavores Get It Wrong and How We Can Truly Eat Responsibly) provoked predictable controversy, casting McWilliams in the media as a sort of anti-Michael Pollan figure.

Speaking to McWilliams via phone, and reading his pot-stirring columns for The Atlantic online (“Free Range Meat Isn’t ‘Natural,’” “Community Supported Agriculture: A Ripoff?”), it’s clear he enjoys and encourages the status. But his passion for tackling what he sees as a looming global food crisis appears equally sincere.

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Visit wweek.com to read the full interview.

SEE IT: James McWilliams speaks at 5:30 pm on Wednesday, April 27, at the University of Oregon in Portland’s White Stag Building, 70 NW Couch St., 346-3934. Free. The talk will be webcast live at ohc.uoregon.edu.

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Do you think ultimately people will wake up to these issues?

I think this is very much a media issue. Right now, the only place you read about escalating food prices—which is a tremendously frightening issue to me if you look at how dependent so much of the world is on the price of rice, or wheat, or sorghum or millet, and you see the prices of these staple commodities increasing. Right now this is being reported primarily in business pages. But if they become severe enough, you will start to see starvations move into front-page news and food sections. I think if that happens, you might see more of a willingness on the part of people who write about food, write about agriculture, to balance out what I see as a kind of overindulgence in locavore issues with these perhaps less sexy global food issues.

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read deeply on literature for moral rights for animals, layer upon layer of justification for eating animals has turned me into a vegan....

I started to do a series of essays about that experience and taking on some of these issues that are central to the philosophic debate of animal rights. I somehow managed to pick the one topic of conversation that is even more controversial than criticizing locavores!

I’m a historian at a state university. I don’t have any stake in these arguments beyond just intellectual interest. I find this really interesting. If I argue—with a small-scale pig farmer, let’s say—about some of the ethical issues around eating pork.... I will be condemned for being associated with an interest, like I’m a supporter of industrial agriculture. Again, not true. Whereas...nobody says to the smallscale pig farmer, “Wait a minute, you have an interest here in promoting the virtues of what you’re doing.” ...If you’re small, or you’re local, then your motives are pure. You couldn’t possibly have an ulterior motive—like money.

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BUSINESS

OMFGCO

OMFGCO

RANDALL GARCIA

CULTURE

DESIGNERS WHO GET THEIR HANDS DIRTY: (From left) Fritz Mesenbrink, Mathew Foster and Jeremy Pelley.

THINGMAKERS’ MARK THE BRANDING BOYS AT OMFG MAKE PORTLAND LOOK COOL, ONE POP-A-SHOT AT A TIME.

BY R U T H B R OW N

rbrown@wweek.com

It’s 5 pm Friday, and the area around Southwest Stark Street and 10th Avenue is heaving. Pretty young things crowd the bar at Clyde Common, drifter hipsters lounge in the lobby of the Ace Hotel, and office workers click-clack cycling shoes through Stumptown Coffee for an afterwork pick-me-up. The City of Portland couldn’t create a better tourism ad if it tried.

The food is great, the coffee is good and the Wi-Fi is free.

But it takes more than that to pull a crowd in this spoilt-forchoice market. Nowadays a business needs an image, a hook— a brand—to entice customers to choose it over the other craft roasters and buzzed-about restaurants around town.

Meet Jeremy Pelley, Fritz Mesenbrink and Mathew Foster—known as the Official Manufacturing Company, or OMFG—the three designers who make this sort of branding happen. They look a bit like an art-school rock band: Confident, sharply dressed and always in control, Pelley, 34, would be the frontman; bespectacled, articulate Foster, 29, the bass player; lanky, wise-cracking Mesenbrink, 32, the drummer. They wouldn’t look out of place in the Ace, or Clyde, or Stumptown. You’d never know the days they spent designing the menu you’re reading or the coffee cup you’re sipping from. And that’s exactly how they like it.

“We don’t want to be the focus to our clients,” says Pelley with a shrug. “Once we’re done with the branding, we hand them the keys.”

The company formed in late 2009. Foster and Mesenbrink worked at Wieden & Kennedy. Pelley was the wunderkind behind the look of the famously fashionable Ace Hotel Portland, designing everything from signage to stationery.

Meanwhile, Mesenbrink had scored both Stumptown Coffee and Clyde Common as clients, brands that have become icons of a vintage, cool-but-classy look so many venues in Portland (and beyond) strive to emulate.

After all three left their respective posts, they combined forces as OMFG. With three of the city’s hottest properties under their belts, the company was well-placed 24

Willamette Week APRIL 27, 2011 wweek.com

to help other businesses tap into that now very identifiably Portland brand of cool.

One of OMFG’s first projects was Olympic Provisions, the industrial eastside charcuterie bar co-owned by Clyde Common’s Nate Tilden. As with Clyde, the outfit worked on the branding: the logo, the packaging, the menu. But the most important thing it created was something it wasn’t commissioned—or possibly even qualified—to do.

“We were working with them for about a year, and we had this idea to do this broken sign,” says Pelley. The sign in question was a giant light-up wall decoration spelling out M-E-A-T. It would have cost thousands to have custom-made, and neither party had any money to spare, so the designers set about building it themselves. “It’s a miracle that we didn’t kill ourselves,” laughs Pelley. But they pulled it off, andthe “broken” sign has become one of the restaurant’s most iconic images, snapped for newspapers and magazines across the country.

OMFG’s work for Olympic Provisions highlights the almost uncomfortable space the trio occupies between marketing and design. Did a group of former Wieden designers really just stumble onto such a marketing hit by happy accident?

Certainly, they don’t come across as your average ad men. Their jeans are indie designer rather than thrift store, but they’re clearly not afraid to get a bit of paint on them. There’s no talk of “target demographics” or “buzz,” and the concept of “viral videos” is met with sneers. Drawing from Pelley’s eclectic work at the Ace, they refer to themselves as “thingmakers” rather than “designers.”

As they tell it, they’re not trying to a construct a particular look or brand to appeal to the city’s hipsterati or trend-seeking tourists—just helping brands they already like “tell their story.” “It’s never been, ‘Oh we can’t do that ’cause it’s not ‘Portland,’ It’s never been that,” insists Foster. “It’s inherent. It’s not like, ‘How do we make this Portland?’ it’s: ‘How do we make this smart, funny, creative?’”

Inherent as it may be, beneath the slang and swear words, it’s clear there are three savvy minds, finely tuned in to the city’s sensibilities.

The company was recently recruited by local vegetarian chef Aaron Woo, owner of Northeast Alberta Street’s Vita Cafe, to help brand his new venture—a high-end vegan and

MEAT HERE: Olympic Provisions “collateral” (above) and the famous broken “Meat” sign (below).

vegetarian supper club they dubbed Natural Selections. It was a tough gig. Even in a hippie town like Portland—or perhaps especially—the V-word can be instant poison for a restaurant. “It’s almost a bad word,” says Pelley.

The result is evidence of the effect a team like OMFG can have on making or breaking a new business. The small space (designed by Fix studio, responsible for Portland icons like the Doug Fir and Clarklewis) is just two doors from the casual Vita Cafe, but it feels worlds away, with a vintage aesthetic similar to that in and around the Ace— and nary a V-word in sight.

And then there’s OFMG’s crowning achievement to date, an ambitious collaboration between Nate Tilden and Ace Hotel co-owner Jack Barron with a lofty ambition: to create a “non-douchey” sports bar. “So many people in this town don’t have cable, love the Blazers, but aren’t sports guys,” says Mesenbrink. “I was like, ‘Where the hell do we go to watch a game?’ It felt like you could either go to a total shithole or the douchiest place in town.”

The result was Spirit of 77, a giant single-room space in the Rose Quarter, with real food, craft beer (not a PBR in sight) and a single, giant 221-inch screen towering above it all. It was a very deliberate move to give the bar a “community” atmosphere, says Foster, and it works brilliantly— whenever the Blazers score, the entire bar erupts.

Under the guidance of Barron, OMFG spent four months physically building the bar, the tables and another giant light-up sign, as well as Spirit’s centerpiece—a custom-built Pop-A-Shot game. “Initially we were going to buy one, but for a four-lane game like that it’s like 28 grand,” says Pelley. So the trio found a friend who worked with electronics and built it themselves.

More recently, the company has run campaigns for Google and Nike and was part of “those” Portland Timbers billboards. It’s now fielding offers from companies in L.A. and New York, who want to buy a piece of Portland style for themselves. (A resort in Venice Beach wanted a “Portland” restaurant. The trio said no.)

“If there was ever a project we’d just outright turn down—maybe the GOP?” says Foster.

“Though it sounds like an interesting challenge, right?” laughs Mesenbrink, only half-joking. “How do we make the Republican Party sound cool…?”

FOOD & DRINK

D E S I G N • D E TA I L • C R A F T S M A N S H I P • E S T 1 9 8 2

= WW Pick. Highly recommended.

PRICES: $: Most entrees under $10. $$: $10-$20. $$$: $20-$30. $$$$: Above $30. Editor: RUTH BROWN. Email: dish@wweek.com. See page 3 for submission instructions.

SATURDAY, APRIL 30 Cheers to Belgian Beers

Cheers to Belgian Beers was started by the Oregon Brewers Guild to introduce Portland to the many varieties of Belgian beers. Sample more than 40 different brews from the likes of Lompoc, Deschutes and Alameda Brewing, all made from the same strain of yeast. KAREN LOCKE. Metalcraft Fabrication, 723 N Tillamook St. Noon Saturday, April 30. Free admission, $15 for five drink tickets and tasting glass. 21+.

SUNDAY, MAY 1 Kanpai!

Support Mercy Corps’ relief efforts in Japan by drinking some sake.

There will be 40 to 50 kinds available, along with food, music and an auction. Reservations recommended.

KL. Holocene, 1001 SE Morrison St., 239-7639. 5 pm Sunday, May 1. $30 minimum donation. 21+.

Salted Sustainable Seafood Series

As part of Sustainable Seafood Sundays at Paley’s Place, Chef Vitaly Paley and Mark Bitterman, author of Salted: A Manifesto on

the World’s Most Essential Mineral, have come up with a feast pairing salt and sustainable seafood, with dishes like salt-roasted red snapper.

Bitterman will offer facts about salt and sell signed copies of his book.

KL. Paley’s Place, 1204 NW 21st Ave., 243-2403. 5 and 8 pm Sunday, May 1. $65 for food, $25 for wine.

LET US MAKE YOUR BED Designers and Master Craftsmen of Sust ainably Harvested Hardwood Furniture

MONDAY, MAY 2 23rd Annual Taste of the Nation

It might seem contradictory to fight childhood hunger by eating, but the sigh of relief comes in knowing that 100 percent of ticket sales actually go toward hunger-relief efforts in Oregon. Enjoy unlimited tastings from 50 restaurants, 20 wineries and 11 breweries. KL. Luxe Autohaus, 410 NE 17th Ave. 5 pm Monday, May 2. $85-$185. 21+.

COURTESY OF LONESOME’S PIZZA

REVIEW

4804 SE WOODSTOCK BLVD • 503.788.8547 • OPEN DAILY • THEJOINERY.COM

GOOD ENOUGH FOR ME: Lonesome’s “Hammy’s Pizza vs. a wet paper bag with a mustache.”

ARE YOU LONESOME’S TONIGHT?

are delicious. They’re thin-crust, with marinara, white sauce or the mysterious custom “Ethiopi“Be good and you will be lonesome,” says the an” spiced-tomato sauce. Toppings are generous Mark Twain quote on the front of a Lonesome’s and high-grade; the bacon comes in hefty chunks, Pizza box. Twain might not have been talking the cheese blends in nicely (with a perfect cheeseabout pizza specifically. And who knows if what to-sauce-to-crust ratio), and the vegetables are he says is true. But if you are Lonesome’s, one ultra-flavorful. Only the slightly dry prosciutto could argue, you don’t even have to be all that fell short. The pizza’s not cheap, but it’s clear the good. Lonesome’s Pizza has such an attractive ingredients are chosen and assembled with care.

Salads are named after favorite Halloween and multifaceted shtick going on that its pizza costumes of co-owner and could suck and I’d still order original Mini Kiss member it now and then.

Order this: The No. 16, “Hammy’s Pizza Nic. The Papa Smurf ($7) has For one thing, Lonesome’s vs. a wet paper bag with a mustache” sliced pear, walnuts, Gorgondelivers until 4 am. The menu ($21), is a garlicky wonder with mozzarella, shiitake mushrooms, sliced tomazola and dried cranberries on is hilarious; pizzas are named toes and fresh basil leaves. spinach. The garlic scallion after great fights that never Best deal: Ordering two 10-inch pizzas happened (Erik Estrada vs. ($9 each) is more fun than one large, and dressing may be a little over just as filling. the top for a salad, but it a Komodo dragon). Also, the I’ll pass: The prosciutto-arugula-pecorino makes an awesome dipping pizza boxes are bedazzled. combo (“Dolph Lundgren vs. a puma”) sauce for breadsticks ($6).

The larges (17-inch) come doesn’t really mesh, and the meat on ours was a little dry. Sorry, Drago.

If you live outside the with art or music inside—a delivery zone, you can pick recent order contained the new CD by local musician Turn to Crime. The up your pizza at the Lonesome’s kitchen, which smaller pies (10-inch) are decorated with various is appropriately hidden between a bakery and a silly and/or brilliant pictures and mini-manifes- motorcycle workshop. There’s no dine-in space, tos, such as a screed mocking tribal tattoos (espe- just a door to the kitchen, so waiting can be awkcially on guys at strip clubs) and another praising ward, but the ETA you’ll get when you order is pretty accurate. BECKY OHLSEN. the magnificence of actor Lorenzo Lamas.

“We come up with these ideas while drinking,” EAT: Lonesome’s Pizza, 523 NE 19th Ave., the online menu acknowledges.

234-0114; westside delivery, 274-9570; loneFor late-night entertainment value alone, somespizza.com. Delivery or pick-up 5 pm-4 Lonesome’s is ace. But it helps that the pizzas am daily. $ Inexpensive.

LATE-NIGHT LAUGHS WITH A SIDE OF PIZZA.

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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.

Editors: CASEY JARMAN, MICHAEL MANNHEIMER. 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: cjarman@wweek.com. Fax: 243-1115.

WEDNESDAY, APRIL 27 The Dana Fuchs Band with Linda Hornbuckle & Janice Scroggins

[DANA DOES PORTLAND] It’s a thin line between selling it and just plain owning it. Dana Fuchs is squarely in the latter category. Pop radio isn’t really equipped to run with what Fuchs does these days: They’ve chosen gaudy outfits over actual voices, and Fuchs’ is one that reminds of raspy powerhouses of days past like Melissa Etheridge and that Janis Joplin. Not to say Love to Beg is all big, ballsy rock—she’s an emotive singer as capable of low-key ballads (co-written with her guitarist, industry vet Jon Diamond) as she is of belting out Joe Cocker-style rock numbers. Which is probably why she broke out playing (Sexy) Sadie in that Beatles movie, Across the Universe. If you dig bluesy rock—the churchy sort or the roadhouse sort—Dana’s your gal. Having two epic Portland singers on board won’t hurt the mood, either.

CASEY JARMAN. Alberta Rose Theatre, 3000 NE Alberta St., 719-6055. 8 pm (minors accompanied by parent or guardian). $20. All ages.

Zac Nelson, Brainstorm, Neal Morgan

[WEIRD POP PERFECTION] Zac Nelson has recorded music with a lot of people—Hexlove, Trawler Bycatch, and Chil Pil, his collab with Hella’s Zach Hill, a.k.a. the Best Drummer on the Planet— but his new album, Wicked Work It Out, is probably his finest work to date.

Playing almost every instrument himself (drums, guitar, bass, electronics and vocals), Wicked Work It Out is trippedout experimental pop of the highest order, like a one-man Elephant 6 jam from another planet. Tracks like “Adult Contemporary” and “Grand Tower Illinois” balance experimental leanings with earworm melodies, creating an endlessly replayable record that will surely stick by my turntable for years.

MICHAEL MANNHEIMER. Holocene, 1001 SE Morrison St., 239-7639. 8:30 pm. $5. 21+.

THURSDAY, APRIL 28 Make It Pop 2011: Laura Veirs, Eric Earley, Laura Gibson, Israel Nebecker, DJ Jeremy Petersen

[PDX POP FOREVER] So, the first thing you’re going to notice about this show is that $35 cover charge.

And you’re gonna go “Yowza!” But just think—and imagine I’m using my telethon voice for this one, because I really want to sell this—of all you’ll be getting for your contribution. You get the two finest musicians named Laura this city has to offer in an intimate setting. You get the very shy and very handsome dudes from Blitzen Trapper and Blind Pilot trying out new songs.

You get the snacks. You get the desserts. All this and a DJ set from Jeremy “Rock You Like a Hurricane” Petersen from OPB Music. And you know what else you get? You get the piece of mind of knowing, in these changing times, that you’re helping local nonprofit PDX Pop Now! to keep doing good work in the community and to keep putting on the greatest free, allages annual music festival in the world.

How was that for selling it? CASEY JARMAN. Ace Cleaners, 403 SW 10th Ave. 6:30. $35 GA, $70 VIP All ages.

Tune-Yards, Buke & Gass, White Hinterland

[FUNKYARD DOG] Success seemed like the worst thing that could ever happen to Merill Garbus. Her first record under the name Tune-Yards, 2009’s Bird-Brains (initially released

on Portland’s Marriage Records), was so do-it-yourself: Made over the course of two years, its charm lay in hearing musicians pick up seemingly random instruments and learn as they went along. Following it up with anything halfway professional would kill all the mojo that made the album a sleeper hit in the indie community. A listen to her 4AD debut, w h o k i l l, however, makes it clear working in a real studio hasn’t constrained her at all. If anything, it’s shaved off the artschool pretensions that sometimes muddied Bird-Brains’ sense of discovery, leaving intact the joyous primitivism that attracted fans in the first place. Only now you can dance to it.

MATTHEW SINGER. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $12 advance, $14 day of show. 21+.

ASSS, Garrincha & the Stolen Elk, Rene Hell, Indignant Senility

[BRASH, CLANGY, DISTURBING] The duo known as ASSS creates music that, in the proper setting, can border on terrifying. I don’t think this is intentional, but just a byproduct of how the band presents itself onstage. The two gents in the band, Alex Smith and Sean Sumler, use sparse stand-up drum kits that sit close together, so they are playing unholy tribal rhythms while facing one another. It is almost as if they are daring one another to flinch even as they lock in together playing beats in tandem. Add to it the creepy, insistent electronic noise that the two play off of, and some strained, fuzzy vocals, and see if your spine doesn’t get a little chilled. ROBERT HAM. Ella Street Social Club, 714 SW 20th Place, 227-0116. 9 pm. $5. 21+.

Dusu Mali

[AFRO GROOVE] Afrobeat is typically marked by polyrhythmic drum beats, blaring horns trumpeting in repetition, thick bass grooves and calland-response choruses in foreign languages. Malian transplant Ibrahim Kelly’s Dusu Mali Band does all this, but ups the ante with generous doses of rock, blues, roots music and a panAfrican bent that makes the music soar while grounding it all in the most highly danceable and hypnotic grooves imaginable. Kelly’s troupe exploded onto Portland’s often-overlooked Afrobeat underground seemingly out of the blue, but its powerful and playful sound hopefully won’t stay hidden for long. AP KRYZA. Goodfoot Lounge, 2845 SE Stark St., 503-2399292. 9 pm. $7. 21+.

Starfucker, Guidance Counselor, DJ Brkfst Sndwch

See music feature, this page. Holocene, 1001 SE Morrison St., 239-7639. 9:30 pm. $5. 21+.

Jamaica, Chain Gang Of 1974, Wild Ones

[IRIE DANCE MUSIC] Antoine Hilaire and Florent Lyonnet, the Parisian duo behind indie electro outfit Jamaica, don’t sample steel drums or incorporate reggae or even name-check the host of outsized symbols propping up the nation’s branding, and their trademark skittering synths and cheese guitar runs are the furthest thing from stoned. Rather, their blend of Gallic kitsch-chic nightclubbery (layered with icy precision by Justice production) and cock-rock touchstones render a sun-dappled, stupidly ebullient joie de vivre that does helplessly bring to mind an islands vibe. Once you go, you’ll know. JAY HORTON. Mississippi Studios, 3939 N Mississippi Ave., 2883895. 9 pm. $15. 21+.

CONT. on page 33

BURY US ALIVE

THE RISE AND FALL AND RISE OF STARFUCKER.

BY C ASEY JA R MA N

cjarman@wweek.com

In its infancy, Starfucker taught Portland indierock audiences how to dance. In dank basements and tiny clubs all over Portland, Josh Hodges’ explosive drum ’n’ synth one-man dance band sounded—and, coming out of an era when many dance musicians simply clicked “return” on their Macbook keyboards, looked—like nothing else in the city. It was 2007.

But Starfucker wasn’t supposed to catch on.

Having grown frustrated in his role as a singer/ songwriter with his solo-project-turned-band Sexton Blake, Hodges started the project to try and salvage some joy from playing live music. He gave away CD-R copies of his music (packaging them with stickers or radish seeds) and opted to play free, all-ages basement shows over stuffy club dates. Most tellingly, though, was the name. Hodges called his project Starfucker as a refusal of rock band culture: An act with such a dumb name couldn’t possibly catch on, Hodges thought. “That was the whole point...fuck doing it for any other reason besides that it’s like therapy for me,” he told WW in 2009.

Hodges gets sentimental about the early days.

“The first few house shows that I ever played, where it was a packed room and people were all dancing, that was the most incredible thing for me,” Hodges says. “That was pretty much my main goal, so we accomplished it a long, long time ago.”

One by one, Hodges’ friends began to join the band. First Shawn Glassford, who “just showed up and started playing,” Hodges said at the time.

Then Hodges’ old Sexton Blake bandmate Ryan Biornstad, who both upped the energy level and fleshed out the live sound by introducing live guitar (though all the members are multi-instrumentalists). By the time the band released a self-titled full-length in 2008, Starfucker was a completely different animal onstage than it was in the studio, where Hodges was still a one-man band.

Somewhere along the line, Starfucker started making money and stopped having fun. It went through two managers, neither of which, Hodges says now, was a good fit. The group had slipped out of its members’ control—something Hodges still blames himself for—and become Starfucker Inc.

In the summer of 2009, everyone around the band agreed Starfucker could be wildly successful— it might even score a big record deal—if it would just change its name. The band, on tour at the time, went along with the plan of having fans come up with a new name, and Pyramid (later Pyramiddd, because there were already bands named Pyramid) was born. The change was confusing, and it also felt wrong. This project began as a rejection of the concept of “making it.” Now everything, including the band’s name, was up for sale.

“By the time the dust settled, we got back from tour and said ‘What’s going on?,’” Hodges says.

“To me, it felt like the project was dead. And it was such a stupid way to go out, to change the name and then fizzle. Shawn [Glassford] was the one who said ‘Fuck that, you can change it back, you can do anything you want to.’”

Hodges took the advice to heart. Starfucker fired its manager, vowing to never hire one again, and the band signed with one of its favorite labels, Polyvinyl (Reptilians, Starfucker’s excellent sophomore record, is out this week). Much of the minutiae of running a band—including merch-table duties and email correspondence with fans—is now shared by Starfucker’s four members (Guidance Counselor’s Keil Corcoran was the final addition).

Despite scaling back its operation, Starfucker is at the height of its success. The band sold out shows across the country on its latest tour, and it has done so in startlingly old-school fashion. “It’s really cool to see how it’s grown,” Hodges says. “I feel like we grew through hard work and word of mouth, and just going out and putting on good shows.”

That’s where Starfucker fascinates, and why the band—despite its foibles—is worth rooting for: In an era where over-hyped bands-of-the-minute draw curious (rather than enthusiastic) crowds, Starfucker has built a cult following the old-fashioned way. It has had little help from Internet tastemaker Pitchfork, which recently gave Reptilians a chilly review before concluding—funnily enough, given the history—that “this band’s name sucks.”

Hodges likes being out of favor with the blog world. “I was never cool growing up. But when Starfucker first started, and it was just me, that was like the coolest I’ve ever felt in my life. It was kind of uncomfortable, really. That’s not who I am—I’m a nerd. Now I feel like we’re back to that—that’s where we fit into the whole blogosphere. Starfucker is not cool.”

SEE IT: Starfucker has three sold-out recordrelease shows this week. See listings for details.

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MUSIC

Since 1974

Never a cover!

ELLI RADE

PROFILE

Buffalo gap We d n e s d ay 4 / 2 7 • 9 : 0 0 p m

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DESSA FRIDAY, APRIL 29 [KNOWLEDGE IS QUEEN] As the daughter of parents who played the lute and studied Elizabethan theater, becoming a rapper would seem to be an act of sedition for 29-year-old Margret Wander. But growing up, the MC who now goes by Dessa never felt the urge to defy the intellectualism she was raised around. She acted out, sure, but even her outbreaks of teenage disobedience wouldn’t get in the way of her education.

“I had a pretty serious rebellious streak, but it didn’t manifest itself against the academic upbringing I had,” she says over the phone from her hometown of Minneapolis, a few days before the start of her first headlining tour. “I ran away from home, I dyed my hair pink, but I still got straight A’s.”

If anything, the path Wander’s life has taken—from technical writer to poet to rising member of indie rap collective Doomtree—is the direct result of the values that were instilled in her at an early age, in particular, a love of language. In the mid2000s, after spending some time in the Minnesota slam poetry scene, her friends coaxed her into giving hip-hop a try. It wasn’t a smooth transition. Her first attempts at rapping sounded, by her own admission, like “piss-poor” imitations of Ladybug from Digable Planets. She went to her then-boyfriend, Doomtree’s breakout star P.O.S, for advice. “He said, ‘I don’t get why you don’t write raps like you write essays,’” Wander says.

The result of that suggestion can be heard on her full-length solo debut, 2010’s A Badly Broken Code. Over jazz-accented beats, her unique flow travels naturally from a traditional rap cadence to spoken-word to very capable singing (she is also a member of an a cappella group), often within the same verse. Some have called Wander a hip-hop Ani DiFranco, but unlike the famed alt-folk songstress, Wander generally avoids gender issues and sexual politics in her lyrics, preferring to use autobiography—or “creative nonfiction”—to address more universal themes.

“I try to write songs about human nature without sounding miserably preachy, or so impersonal that it’s hard to get a foothold into the song,” she says. Love is a frequent topic, but not simply the joy of being in it or the pain of losing it. On “Matches to Paper Dolls,” Wander details an addiction to an unhealthy relationship by referencing Love in the Time of Cholera. And on “Memento Mori,” what reads like a sentimental romance is tinged with vague regret. “I write a lot about love in the shadow of death—the idea that it hurts sometimes even in the throes of love, because you know there’s a statute of limitations that’s ever-approaching by the inevitable separation of death.”

Considering her background, it’s not surprising Wander would find her place along hip-hop’s more literary fringe. But that doesn’t mean she’s above having fun.

“Every once in a while,” she says, “I’ll write a straight-ahead rap track about how I’m kind of fresh.” MATTHEW SINGER. Who says you can’t rap about Love in the Time of Cholera?

SEE IT: Dessa plays Rotture on Friday, April 29, with Sims, Lazerbeak, Sapient and Cloudy October. 9 pm. $10 advance, $12 day of show. 21+.

w/ Stephen Baker and The Vegas Car Chasers (acoustic rock) S at u r d ay 4 / 3 0 • 9 : 0 0 0 p m

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MUSIC

ALBUM REVIEWS

DESTRO ILL.USTRATED (VINYL FLUID RECORDS) [RETURN OF THE BOOM BAP] You’d expect a new release from a veteran Northwest MC to sound a little old school. And Ill.ustrated— the new disc from longtime Portland MC Destro, a founding member of Oldominion and the Boom Bap Project—houses reminders of an era when hip-hop was embattled, pissed off and ready to defend its honor at every turn.

Destro shows his gritty side right off the bat. “I maneuver through the streets with a chip on my shoulder,” he rhymes over a boxing-match bounce beat on the album’s introductory track.

“With an arctic attitude like nobody colder.” The disc’s first seven songs are focused on defining Destro as a never-say-die MC who is focused on both self-improvement and—as his name would imply—on destroying every obstacle in his path. That theme begins to tire, but the album’s pacing is saved by some truly infectious beats (eclectic producers Arkitek, Mr. Hill and PeGee 13 are a huge help in that arena) and Destro’s impressive range as an MC: The MC slips into a groove reminiscent of Latyrx on “Back on the Flow,” then spends the entirety of “Never Know”— its Arkitek beat a reboot of Peggy Lee’s “Fever”—navigating words with double meanings.

The disc’s first half closes out with “Together,” a touching open letter to the MC’s family, but it’s the second half of Ill. ustrated on which things get really interesting. From the exotic (“Rest When I’m Dead” finds Destro hustling over haunting Middle Eastern melodies) to the bombastic (“Eat ’Em Up” and “Oldominion Coming Thru,” both featuring Portland’s Sleep, are full of fighting words), Destro thoroughly mixes his attack and his lyrical themes. “Mr. Brown,” which melds sonic futurism (it samples the Wailers’ song of the same title, but tricks it out with creepy piano and dubbed-out percussion) with crisp, descriptive biographical-style storytelling, is especially striking. Destro’s heart may be old school, but his mind is all over the place—he’ll take a great song wherever he can find it. CASEY JARMAN.

RED FANG MURDER THE MOUNTAINS (RELAPSE) [HEAVINESS] The folks that pay attention to stuff like this (us music geeks) will notice two interesting things on the packaging of Red Fang’s second full-length LP: the logo for Relapse Records and a producing credit for Decemberists guitarist Chris Funk. And from the sounds of Murder the Mountains, these additions to the band’s already stocked arsenal of friends and supporters have had quite an impact on the new disc.

It’s not that the quartet’s self-titled debut was lacking sonic oomph in any way (it still stands as one of the Northwest’s best hard-rock/metal releases since 2000), but having some label money to throw into the recording process for album No. 2 has helped give Red Fang an epic, Cinemascope-style boost. It’s a huge-sounding album that keeps spilling over with lava-thick riffs and John Sherman’s absolutely ferocious drumming. Having Funk on board obviously challenged the band to fill in this larger canvas with some surprising touches, like the xylophone that pops up to take over the melody during the breakdown in “Wires,” and the eerie synth whine and post-production deconstruction that connects the slow simmering “Throw Up” with the punky blast of “Painted Parade.”

Co-vocalists and songwriters Maurice Bryan Giles and Aaron Beam rise to the challenge presented by Funk with lyrics that plow some impressive emotional depths. “Into the Eye” matches the slow burn of the music with a wrenching look at the end of a relationship; “Wires” wraps in bereaved imagery that seems to be for soldiers toiling overseas (“Mother’s not OK/ She lights a candle for every day that you’re away”).

But for all these steps forward, the molten core of Red Fang is still very much intact. It has just been given a greater chance of melting the minds of an entirely new fanbase. Let’s hope they can handle the heat. ROBERT HAM. SEE IT: Destro plays Saturday, April 30, at Slabtown, with Sleep and JFK. 9 pm. Cover. 21+. Red Fang plays Branx on Saturday, April 30, with Mongoloid Village, Lord Dying and Drunk Ladies.

9 pm. $10. All ages.

FRIDAY

FRIDAY, APRIL 29 KPSU Benefit: Mean Jeans, Guantanamo Baywatch, Starparty

[THE GRIME AND THE GLORY] Headlining this benefit show for KPSU are two bands whose glorious reveling in sonic filth has taken on an artist’s myopic dedication to its own perfection. Guantanamo Baywatch filters surf rock through the grimy lens of punk, whereas Mean Jeans has evolved from its early days as an imitator of a Ramones imitation into a worthy garage-punk outfit that sounds…. well, it sounds a whole lot like the Ramones. Both groups rank entertainment value high on their list of priorities, with Guantanamo Baywatch setting a new standard for sexy discomfort each time it takes the stage and Mean Jeans accomplishing with gusto what Joey and Dee Dee told us to do 30 years ago—rock the fuck out.

SHANE DANAHER. Backspace, 115 NW 5th Ave., 248-2900. 9 pm. $5.

All ages.

Starfucker, Blouse

PR BROWN

[L.A. HASN’T KILLED THEM YET] I have no reservation in predicting that Blouse, playing its debut show tonight, is going to own the Portland summer, despite the fact the local dreampop trio has only three songs available to the general public. The thing is, “Shadow,” “Into Black” and “Firestarter”—released one at a time to Bandcamp starting in November and slowly picking up steam ever since—are so strong, so of-the-moment that the unknown band was signed to fashionable Brooklyn label Captured Tracks and Seattle super-indie Sub Pop for separate, 7-inch single releases.

Led by singer and Los Angeles transplant Charlie Hinton, along with Patrick Adams and producer Jacob Portrait, Blouse makes ’80-indebted pop that is hazy and nostalgic but too catchy and lasting to be labeled as chillwave.

Call it new New Wave or haze pop or whatnot, but please, add “Shadow” to your summer party playlist before Pitchfork gets to it first. MICHAEL MANNHEIMER. Doug Fir Lounge, 830 E Burnside

MUSIC

St., 231-9663. 9 pm. Advanced tickets sold out, limited number available at the door for $5. 21+.

Electric Opera Company, MegaFauna

[CATEGORY EVADERS] This is about as transgenre as Portland shows get: A half dozen or more electric guitarists (ofttimes abetted by voice and keyboards) play music by classical, Baroque and especially opera composers (Verdi, Wagner, Vivaldi, Tchaikovsky, Mozart and more), and it works.

Filmusik composer and head honcho Galen Huckins’ jazz band MegaFauna also performs. BRETT CAMPBELL. Mississippi Pizza, 3552 N Mississippi Ave., 288-3231. 9 pm. $5. All ages.

The Felice Brothers, You Are Plural, Vikesh Kapoor

[WEIRD UNCLE FOLK] Rooted as they are in the Catskill Mountains, one might expect some accordion, fiddle and washboard scratching from the Felice Brothers.

Since 2006, brothers Ian and James have bounced around the country on their rubbery, rollicking, pre-industrialized twang. The roots-rockers try on some contemporary flair on upcoming release Celebration, Florida (out on the suddenly super-hip Fat Possum Records), trading in parlor organs for synthesizers and a darker, electric vaudevillian approach. On top of sounding like Bob Dylan, vocal leader Ian Felice and company have absorbed the folk master’s later career, when shit got a bit weirder and collaborations with the Grateful Dead were commonplace.

MARK STOCK. Mississippi Studios, 3939 N Mississippi Ave., 288-3895.

9 pm. $15 advance, $17 day of show. 21+.

Portugal. The Man, Telekinesis, Brainstorm

[NORTH TO THE FUTURE] These sure are heady times for Wasilla, Alaska. The home of Sarah Palin also whelped Portugal. the Man—the approachably eccentric psych-rock troupe lately of Portland—and rather solidified a reputation as breeding ground for aspirational mavericks.

PRIMER

CONT. on page 35

BY MICHAEL MANNH E I ME R

PAPA ROACH Formed: On a football field in Vacaville, Calif., in 1993.

Members: Jacoby “Coby Dick” Shaddix (vocals), Jerry Horton (guitar), Tony Palermo (drums), Tobin Esperance (bass).

Sounds like: Korn, Slipknot, Limp Bizkit, Alien Ant Farm, Disturbed, Hed PE, Sevendust, Godsmack, Staind, Static-X, Powerman 5000, Drowning Pool, Orgy, Die Trying, Linkin Park, Three Days Grace, Mudvayne, System of a Down, Incubus, Stabbing Westward, Filter, Jimmie’s Chicken Shack, Trust Company, Rob Zombie, Saliva, Coal Chamber, Fuel, the current version of Guns N’ Roses.

For fans of: Neck tattoos, self-loathing.

Latest release: 2010’s Time for Annihilation...On the Record and On the Road, a live collection of KUFO hits that showcases the band’s swift transition from early-aughts rap rock and nü-metal to hard-rock also-rans.

Why you care: CUT MY LIFE INTO PIECES/ THIS IS MY LAST RESORT/ SUFFOCATION, NO BREATHING/ DON’T GIVE A FUCK IF I CUT MY ARM BLEEDING/ THIS IS MY LAST RESORT. Yes, Papa Roach made it big on a rap-rock classic about suicide, which led to a bunch of angry aggro dudes sitting alone in their rooms crysterbating. But! The band’s first hit, “Last Resort,” is kinda a perfect, stupid pump-up jam in the way that First Blood is a perfect action movie—just forget about the lyrics (or plot), shotgun a Rainier tallboy, and jump around until you can’t feel anything.

SEE IT: Papa Roach plays Saturday, April 30, at the Roseland Theater, with Finger Eleven and Pop Evil. 8 pm. $25. All ages.

Willamette Week APRIL 27, 2011 wweek.com

33

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34

Willamette Week APRIL 27, 2011 wweek.com

FRIDAY - SATURDAY

MUSIC

DATES HERE

PUT A BIRD ON IT: Laura Gibson plays at Ace Cleaners on Thursday.

After releasing five full-lengths in as many years and reshaping its sound (last spring’s American Ghetto burnishing post-ironic drum-machine funk) even as live shows indulge ever more in elaborate groove jams, Portugal. the Man has maintained remarkable secrecy around its forthcoming major-label debut, though successive mastery of anthemic flourishes and ineffable lyricism suggest it will satisfy hockey moms and pit bulls alike. JAY HORTON. Roseland Theater, 8 NW 6th Ave., 224-2038. 9 pm. $17.50 advance, $20 day of show. All ages.

an artist. It is not Mascis’s first foray into hushed vulnerability— he unplugged for 1996’s Martin Me and the 2005 Eastern devotional J and Friends Sing and Chant for Amma—but it’s certainly his best, featuring crisp guitar work that’s as gleaming and beautiful as his usual stuff is sludgy and wailing, and a lyrical directness that, for a mush-mouthed singer whose passive-aggressiveness has literally destroyed bands, is revelatory.

MATTHEW SINGER. Dante’s, 350 W Burnside St., 226-6630. 9:30 pm. $18 advance, $20 day of show. 21+.

Rvivr, Divers, Killing Hinsler

The Pipettes, Gina Noell, Blue Skies For Black Hearts

[CONDITION OLYMPIA] Although it hails from the capital of Washington, Rvivr trucks in the kind of driving, melodic pop punk that for a number of years threatened to push aside psychedelia as San Francisco’s greatest musical export. In fact, it isn’t surprising at all to hear that the band’s vocalistguitarist, Matt Camino, has much the same timbre and delivery as the late Lance Hahn did in his Cringer days. And like the band’s Bay Area brethren, Rvivr leaves the political realm behind, preferring to lay punchy chords atop lyrics that spill out the remnants of broken hearts, shattered dreams and bruised emotions. ROBERT HAM. Saratoga, 6910 N Interstate Ave., 719-5924. 8 pm. $5. 21+.

SATURDAY, APRIL 30 Johnny Clegg Band

[IDENTITY CRISIS POP] They called their 2006 debut We Are the Pipettes, but five years later the female English vocal trio are a bit less sure of who exactly they are. Back then, the outfit had a clear objective: rehash the sounds of Spectorian girl-group pop in the most unabashedly retro way possible, from the harmonies to the outfits. It was a pure novelty act, sure, but at least there was a commitment to character. After some time off and turnover within the band—actually, make that a lot of turnover, considering there are no original members left—it returned with 2010’s Earth vs. the Pipettes, and not only is the group unrecognizable physically but musically, it bears no resemblance to how it started, now mimicking ’80s New Wave disco femme bots à la Bananarama. I guess that’s what happens when you’re the construction of a svengali named Monster Bobby. MATTHEW SINGER. Doug Fir Lounge, 830 E Burnside St., 2319663. 9 pm. $10 advance, $12 day of show. 21+.

[AFRICAN POP] Johnny Clegg made his name (and his nickname, “Le Zoulou Blanc”) fronting South Africa’s first racially mixed band, Juluka, which true to its make-up blended indigenous music with strains of pop and other Western styles and featured lyrics in both English and Zulu. When that band’s co-leader, Sipho Mchunu, retired, Clegg continued his career with Savuka, his pop influence becoming more pronounced, generating international hits—and even coining a word, “scatterlings” (on 1982’s lovely “Scatterlings of Africa”) that Paul Simon himself would borrow (along with so much else) on Graceland. Clegg’s latest work, last year’s Human, retains the unblinking political awareness that made the band outlaws in the apartheid era, not least on the pointedly titled opener, “Love in the Time of Gaza.” JEFF ROSENBERG. Aladdin Theater, 3017 SE Milwaukie Ave., 234-9694. 8 pm (minors accompanied by parent). $29.50 advance, $32 day of show. All ages.

[WONDERFUL WORLD] 3 Leg Torso has virtually exploded since violinist Béla Balogh and Courtney Von Drehle formed the group 15 years back—the excellent Animals & Cannibals nabbed a 2011 Portland Music Award for Album of the Year, and the group has branched into scoring films for the likes of animator Bill Plympton and Oscar winner Joan Gratz. Torso has become a Portland treasure, a melting pot with a chamber-music stock spiced

by Eastern European gypsy jive, Middle Eastern melodies and playfully cacophonous compositions.

Seeing the band for the first time is a rite of passage. Lucky for repeat customers, each performance is as fresh as the last. AP KRYZA. Jimmy Mak’s, 221 NW 10th Ave., 295-6542.

8 pm. $12. All ages.

J Mascis, Black Heart Procession

Starfucker, Champagne Champagne, Arohan

[WHEN THE FEEDBACK FADES] On the list of things Dinosaur Jr. fans didn’t think they’d ever want to hear guitar god J Mascis do, “play drums”—as he does in his glam-rockin’ side project Sweet Apple—is probably at the top of the list, but “record an album of acoustic ballads” is pretty high up there, too. What good is this guy if he’s not using his instrumental skill to unleash tidal waves of brainbashing noise? Well, this year’s Several Shades of Why shows us why it’s never wise to pigeonhole

3 Leg Torso, Ben Darwish Trio

MAKE IT POP!

LAURA VEIRS ERIC EARLEY (OF BLITZEN TRAPPER)

LAURA GIBSON ISRAEL NEBEKER (OF BLIND PILOT)

PLUS! DJ JEREMY PETERSEN OF OPB MUSIC April 28th, 2011 6:30 PM The Cleaners at Ace Hotel $35 All-Ages

WWW.PDXPOPNOW.ORG

See music feature, page 27.

Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm.

SOLD OUT. All ages.

Transient, Amarok, Spirit of Radio, Atriarch

SUPPORTERS:

Anne Amie Winery | Bakery Bar | Beast | Captured by Porches | Fifty Licks

[UNDER THE SURFACE] As hip as metal has become of late, it’s easy to forget there are still plenty of high-functioning acts that operate way below the radar. Local grind

CONT. on page 37 Willamette Week APRIL 27, 2011 wweek.com

35

36

Willamette Week APRIL 27, 2011 wweek.com

SATURDAY - TUESDAY

MUSIC CONGRATS TO THE

2011

We met our revenue goals for the concert, and the Doug Fir was nearly at capacity. Many of the attendees were new faces — folks who don’t go to our regular performances at the Newmark, which means our ads in WW worked. Many people specifically mentioned the WW ad.

Our commissioners couldn’t stop talking about the event, and were impressed that we’re not the musty, “serious” institution they had thought.

We are so thankful for Willamette Week’s support!”

Patricia Price, Executive Director Portland Piano International

HE’S BACK: M. Ward plays the Crystal Ballroom Tuesday through Thursday. merchant Transient is packing rooms, touring under its own steam, and has a new release on the successful independent metal label Relapse. Atriarch is at the opposite end of the mood and tempo spectrum—its mournful howls echo over turgid post-punk gloom. New album Forever the End was just successfully self-released on a handmade CD, and is due on vinyl this summer from Seventh Rule. It has more of the poise and vibe of a second record than a debut; all these guys are veterans. Ensconcing these two amazing local acts are Chico, Calif., pulverizers Amarok and Seattle’s technical ecstatics Spirit of Radio.

NATHAN CARSON. The Know, 2026 NE Alberta St., 473-8729. 8 pm.

Cover. 21+.

SUNDAY, MAY 1 Fleet Foxes

[CHORAL FOLK ROCK] Following an epochal first album that might retroactively be called Timelessness Blues, Seattle’s Fleet Foxes took nearly three years to produce their follow-up, Helplessness Blues (out Tuesday).

The hazy, mytho-historical landscape evoked by leader Robin Pecknold’s lyrics on that self-titled debut has faded, perhaps predictably (though not in a bad way) replaced with concerns more personal and here-and-now. Yet, even if the new disc may feel fleetingly like a Pecknold solo album, with passages of unadorned voice and guitar, elsewhere the band adds its reliably stalwart, polyglot support—even, at one point, improbably juxtaposing Coltrane and the Beach Boys. Helplessness Blues defies the sophomore slump, and was well worth the wait. Now a sextet, the Foxes should ably convey in concert the lushness of their painstakingly rendered studio sound. JEFF ROSENBERG. Crystal Ballroom, 1332 W Burnside St., 2250047. 9 pm. SOLD OUT. All ages.

The Head and the Heart, The Devil Whale

[OLD-TIME AFFECTIONS] Bad name aside, Seattle’s the Head and the Heart offers a promising story set in the oft-discouraging music industry. Built around open-mic nights and word of mouth praise in the Ballard neighborhood, Josiah Johnson and Jonathan Russell wooed crowds with their roughhewn, rainy-day folk renderings.

Then came added members and the backing of Sub Pop, setting the stage for an easy-on-the-ears, though somewhat predictable, 2010 self-titled record. Six members strong and summoning the heartsick sounds of Ryan Bingham, the Head and the Heart has made it.

We’re crossing our fingers for a greater deviation from the congested Northwest folk-revival sound come record No. 2. MARK STOCK. Wonder Ballroom, 128 NE Russell St., 284-8686. 9 pm. $15. All ages.

MONDAY, MAY 2 Menomena, EMA, Hosannas

[VERSION 2.0] While it will be a little weird to see Menomena—

still the undisputed best band in Portland, for my money—play a whole set without any of Brent Knopf’s songs, this is still a really big deal. Coming off last year’s fantastic growth spurt of a third record, Mines, the band played its last local show in September headlining the Crystal Ballroom, a venue with a capacity around 1,400. So the chance to see the new version of the band—Knopf left to focus on his project Ramona Falls, and Dat’r’s Paul Alcott now mans his keyboard and gadget station—playing an itsy-bitsy venue shouldn’t be missed. Show up early for EMA’s opening set—early word is that Past Life Martyred Saints is one of the best debut albums in years. MICHAEL MANNHEIMER. Doug Fir Lounge, 830 E Burnside St., 231-9663. 8:30 pm. $15 advance, $18 day of show. 21+.

TUESDAY, MAY 3 Menomena, Talkdemonic

See Monday listing. Doug Fir Lounge, 830 E Burnside St., 2319663. 9 pm. $15 advance, $18 day of show. 21+.

WINNERS

MUSIC MILLENNIUM PRESENTS WANDA JACKSON

JUDGES’ CHOICE: KIM JONG GRILLIN’

THE PARTY AIN’T OVER

ON SALE $12.99 CD LP ALSO AVAILABLE

This collection of vintage and contemporary covers was produced by fan and new-found friend Jack White at his Nashville studio and recorded with a late-night honky-tonk feel by members of My Morning Jacket, the Raconteurs, and Dead Weather, among others.

TICKETS AVAILABLE AT MUSIC MILLENNIUM

UPCOMING IN-STORE

PERFORMANCE

PAGE 42

PERFORMANCES

DESSA/SIMS

FRIDAY 4/29 @ 6PM Dessa’s first release, False Hopes, introduced a unique sensibility to underground hip-hop: literary, bittersweet and wry. She alternated between a clever, droll persona as an emcee and her earnest, unaffected delivery as a singer with a low, clear alto voice.

‘A Badly Broken Code’ is the name of her solo full-length record.

Sims has seen enough of life to know there are no easy answers.

His second full-length release, ‘Bad Time Zoo,’ reflects this rapper’s ongoing quest for solid understanding in a society on the brink of dystopia.

ROB TOBIAS • SATURDAY 4/30 @ 5PM

Rob Tobias writes and plays roots music inspired by folk, blues, jazz, reggae, pop, sing-along and spiritual styles. Tobias lives in Eugene, OR and has his own stamp of originality that is both familiar and distinctive. Rob sings, plays piano, guitar, harmonica, and percussion and collaborates with a talented group of musicians including his group, The Northwest Express.

BRIAN OBERLIN • SUNDAY 5/1 @ 3PM

Scott McCaughey

[HAIR ROCK] No Portland showgoer gets starstruck when they see Scott McCaughey. It’s not a lack of respect for the singer/guitarist’s epic résumé—need we remind you again that McCaughey has played with R.E.M., Liz Phair, Robyn Hitchcock, his own influential bands the Young Fresh Fellows and the Minus 5?—it’s just that we see him all the time. Because in addition to being a consummate sideman and kick-ass rock frontman, McCaughey is a true-blue music geek; Even as that black hair fades to gray, he will both drink and rock you under the table if properly challenged. So come hear McCaughey tackle old favorites, Nick Lowe covers and tracks from his band the Baseball Project’s latest album, High and Inside, as he breaks in McMenamin’s newest venue, Al’s Den (I am told that it’s very cool). CASEY JARMAN. Al’s Den at the Crystal Hotel, 303 SW Burnside St., 2250047. 7 pm. Free. 21+.

SATURDAY 5/7 @ THE ROSELAND THEATER

OFFER GOOD THRU: 5/10/11

M. Ward, The Corin Tucker Band, Lord’s Own Choir

[RAVE ON] It’s been a minute since Matt Ward has played under his birth name. Since releasing Hold Time in 2009, Ward has put much of his energy into two “side projects” that probably equal (or overwhelm) his solo output in name recognition: She & Him, the throwback pop loving outfit with Zooey Deschanel, and Monsters of Folk, his collaboration with indie-folk titans Jim James and Conor Oberst.

And though he’s perfectly fine when sharing the spotlight with his famous friends, Ward’s songwriting is richer when he’s recording by himself, as gems like 2006’s PostWar continue to stand the test of time. Tonight’s show doubles as the grand opening party for the Crystal Hotel (see Headout, page 21 and today’s Scott McCaughey listing).

MICHAEL MANNHEIMER. Crystal Ballroom, 1332 W Burnside St., 2250047. 9 pm. $25. All ages.

“WE HELD A CONCERT AT THE DOUG FIR AND ARE HAPPY TO REPORT THE EVENT WAS A SUCCESS!

STAGE•CLASSICAL•DANCE

Brian Oberlin is a singing multi-instrumentalist who began his music career with the alto saxophone in grade school. His quest for more music was immediately ignited - drums, guitar, tenor banjo, fiddle, piano, concertina, and, of course, mandolin - his central instrument, which he has played for more than fifteen years. He has just released his highly anticipated solo mandolin album ‘Solo Swing.’

SONGWRITERS CIRCLE • MONDAY 5/2 @ 7PM

Rich “Waggs” Waggoner is an Oregon native. He’s been writing songs and playing music his whole life. His songs blend the sentimental, sarcastic, and humorous with vivid detail, emotion and energy. His mantra is simply ‘The Music Is Magic.’

Mindy Dillard approaches musical composition and songwriting with mischievous spirit and fierce determination. In her song-stories, everyday life is mythical and the mundane is magical. ‘Awakening Under Fluorescent Lights’ is Mindy Dillard’s debut album.

Eric McEuen is a singer/songwriter and multi-instrumentalist based in Portland. His music ranges from folk to rock with side trips through other styles such as Latin and blues. What unites these strands in Eric’s music are strong guitar chops, heartfelt singing, and an ear for the right musical setting to match any given feeling.

NoPoMoJo THURSDAY 5/5 @ 6PM STEVE EARLE SUNDAY 5/8 @ 3PM

Willamette Week APRIL 27, 2011 wweek.com

37

COME CELEBRATE

CINCO DE MAYO

BEER TENT AND MUSIC MAY 5TH EAST PORTLAND LOCATION

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HAPPY HOUR TWICE DAILY Over 95 Tequila Selections

38

Willamette Week APRIL 27, 2011 wweek.com

MUSIC CALENDAR Mississippi Pizza

= WW Pick. Highly recommended.

TO HAVE YOUR EVENT LISTED, send show information at least two weeks in advance on the web at wweek.com/submitevents or (if you book a specific venue) enter your events at dbmonkey.com/wweek.

Press kits, CDs and especially vinyl can be sent to Music Desk, WW, 2220 NW Quimby St., Portland, OR 97210. lease include show or release date information with all physical mailings. Email: music@wweek.com Find more music: reviews 27, clublist 41 For more listings, check out wweek.com/music_calendar

WED. APRIL 27 Alberta Rose Theatre 3000 NE Alberta St. The Dana Fuchs Band, With Special Guests Linda Hornbuckle & Janice Scroggins

Alberta Street Public House

1036 NE Alberta St. Suck my Open Mic with Tamara J. Brown

Andina

1314 NW Glisan St. Toshi Onizuka

Ash Street Saloon

Beauty Bar

111 SW Ash St. Baby Ketten Karaoke

Biddy McGraw’s

6000 NE Glisan St. Fairweather (9:00 pm); Little Sue (6:00 pm)

Blue Monk

3341 SE Belmont St. Arabsque Bellydance

Buffalo Gap Saloon

6835 SW Macadam Ave. “Buffalo Bandstand” Presented by: Live Artist Network

Camellia Lounge

225 SW Ash St. Disco for Deer, An Epidemic at Hand, All Things Shine, Assault of Senses

510 NW 11th Ave. Jon Hecox

Beaterville Cafe

Doug Fir Lounge

2201 N Killingsworth St. Shug Mauldin & Riders in the Round

Dante’s

350 W Burnside St. Jedi Mindf*ck 830 E Burnside St. Fake Problems, Pomegranates, Laura Stevenson & The Cans, A.W Feldt

[APRIL 27 - MAY 3]

Duff’s Garage

Holocene

1635 SE 7th Ave. Suburban Slim’s Blues Jam (9:30 pm), Trio Bravo (6 pm)

1001 SE Morrison St. Zac Nelson, Brainstorm, Neal Morgan

Ella Street Social Club

2346 SE Ankeny St. Stone White

714 SW 20th Place Horace Pickett, racingpaperplanes, Bjornstigen, David Kyle & the Invisibles

Good Neighbor Pizzeria

800 NE Dekum St. Open Mic

Gypsy Restaurant & Lounge 625 NW 21st Ave. Laura Ivancie

Hawthorne Theatre Lounge 1503 SE 39th Ave. Rockstar Karaoke

Hawthorne Theatre

3862 SE Hawthorne Blvd.

Sick Puppies, Framing Hanley, Adelitas Way, Madam Adam

Jade Lounge

Jimmy Mak’s

221 NW 10th Ave. The Mel Brown Quartet

LaurelThirst

2958 NE Glisan St. Counterfeit Cash (9 pm); Norman, Tango Alpha Tango (6 pm)

Matador

1967 W Burnside St DJ Whisker Friction

McMenamins Edgefield Winery 2126 SW Halsey St. The Radical Revolution

McMenamins Rock Creek Tavern

10000 Old Cornelius Pass Road Redwood Son

3552 N Mississippi Ave. The Dirty Words, The Neverdowells

Mt. Tabor Theater Lounge

Red Room

Vie de Boheme

Andina

Rotture

Vino Vixens Wine Shop & Bar

Andrea’s Cha Cha Club

2530 NE 82nd Ave. Open Mic with Mr. Plow

4811 SE Hawthorne Blvd Musty’s 420 Funny

315 SE 3rd Ave. Fuck The Facts, Ken Mode, Elitist, Heathen Shrine

Mt. Tabor Theater

Slabtown

4811 SE Hawthorne Blvd.

Lucid Sound, Doc Ocular

Mudai

801 NE Broadway Vox Populi Karaoke

Muddy Rudder Public House 8105 SE 7th Ave. Lost Creek

O’Connor’s Vault

7850 SW Capitol Highway Kit Garoutte on guitar

Papa G’s Vegan Organic Deli

2314 SE Division St. Organic Happy Hour 5-7pm - Billy Kennedy

Plan B

1305 SE 8th Ave. Face The Box, The Knuckles, Chapel Perilous

Pub at the End of the Universe 4107 SE 28th Ave. Sunny Travels, My Robot Lung, Daryl Lee Thompson

1033 NW 16th Ave. Reverend Deadeye, Henry Hill Kammerer, Rollie Tussing

Someday Lounge

125 NW 5th Ave. Portland Unplugged Series

Star Bar

639 SE Morrison St. DJ Overcol, DJ Sean Moder

The Crown Room

205 NW 4th Ave. Crush Drum and Bass

The Heathman Restaurant and Bar 1001 SW Broadway Key of Dreams

The Knife Shop at Kelly’s Olympian

426 SW Washington St. Axxicorn, Knox Harrington

The Know

2026 NE Alberta St. Murderess, The Born Ugly’s, WWK

1530 SE 7th Ave. LaRhonda Steele

2929 SE Powell Blvd.

6bq9

Vino Vixens Wine Shop & Bar 2929 SE Powell Blvd.

Autumnal Bliss - 6bq9

White Eagle Saloon

836 N Russell St. The Defendants, Camping in a Cadillac

Wilf’s Restaurant

800 NW 6th Ave. Ron Steen, Alyssa Schwary, Kerry McCoy, Dave Captein

THUR. APRIL 28 Ace Cleaners

403 SW 10th Ave. Make It Pop 2011: Laura Veirs, Eric Earley, Laura Gibson, Israel Nebecker, DJ Jeremy Petersen

Alberta Rose Theatre

3000 NE Alberta St. Lloyd Jones, Mary Flower, Friends

Alberta Street Public House

1036 NE Alberta St. Chervona (9:30 pm); Jack McMahon Band (6 pm)

1314 NW Glisan St. Borikuas 832 SE Grand Ave. Dina & Bamba Y Su Pilon D’Azucar with La Descarga Cubana

Artichoke Community Music 3130A SE Hawthorne Blvd.

Songwriter Roundup

Ash Street Saloon

225 SW Ash St. Secnd Best, Eken is Dead, Faithless Saints, Glassbones

Backspace

115 NW 5th Ave. Super Adventure Club, The Police Cars, The Tomorrow People, VERSO/RECTO

Beaterville Cafe

2201 N Killingsworth St. Kevin ‘Carolina Dreams’

Biddy McGraw’s

6000 NE Glisan St. Jimmy Boyer (9 pm); The Old Yellers (6 pm)

Blue Monk

3341 SE Belmont St. Alan Jones Quintet

Bossanova Ballroom

722 E Burnside St. Live Loud N Local Music Festival

Branx

320 SE 2nd Ave. Terror, Stick To Your Guns, Trapped Under Ice, Close Your Eyes, Your Demise

Buffalo Gap Saloon

6835 SW Macadam Ave. “Attic Time” with Acoustic Minds, Travis Petersen

Camellia Lounge 510 NW 11th Ave. Blake Lyman Trio

Chapel Pub

430 N Killingsworth St. Steve Kerin

Dante’s

350 W Burnside St. Tana The Tattooed Lady’s Burlesque Revue, The Fascinators

Doug Fir Lounge

830 E Burnside St. Tune-Yards, Buke & Gass, White Hinterland

Duff’s Garage

1635 SE 7th Ave. Oregon Valley Boys

East End

203 SE Grand Ave. Archers, Sons of Huns, Support Force, Youth

Club

Ella Street Social

714 SW 20th Place ASSS, Garrincha & The Stolen Elk, Rene Hell, Indignant Senility

Goodfoot Lounge 2845 SE Stark St. Dusu Mali

Gypsy Restaurant & Lounge 625 NW 21st Ave. Karaoke Kings

Gypsy Restaurant & Lounge 625 NW 21st Ave. Brian McGinty

Hawthorne Hophouse 4111 SE Hawthorne The Student Loan

Hawthorne Theatre Lounge

1503 SE 39th Ave. Savoir Faire Burlesque

CONT. on page 40

THE KINGS OF LIMBS: Fleet Foxes play the Crystal Ballroom on Sunday, May 1.

Willamette Week APRIL 27, 2011 wweek.com

39

MUSIC

CALENDAR

SPOTLIGHT

Branx

CAMERONBROWNE.COM

320 SE 2nd Ave. Mimosa, Paper Diamond, BOGL

Buffalo Gap Saloon

6835 SW Macadam Ave. “Save a Kidney” with Stephen Baker and the Vegas Car Chasers

Camellia Lounge 510 NW 11th Ave. Trio Elf

Canvas Art Bar & Bistro

1800 NW Upshur St. Acoustic Open Mic with host Steve Huber

Clyde’s Prime Rib

5474 NE Sandy Blvd.

La Rhonda Steele

Dante’s

350 W Burnside St. Afroman, Chicharones

NO BABIES: The Observatory, the Montavilla restaurant that has been overrun by neighborhood families, mildly geeky youth and urban-homesteader types since the day it opened, has undergone parthenogenesis. The bouncing-baby bar, Over and Out (410 SE 81st Ave.), retains the ridiculously cheap happyhour menu, sugary cocktails and good taste in beer of its parent, without all the babies and with the addition of billiards, pinball and television. It is clean, and pleasant, and neighboring tables are as likely to be discussing the hotness of coworkers at Intel as the finer points of chicken-coop construction. The bar hasn’t acquired much in the way of character yet, but you can eat your chicken liver pâté while watching the Blazers struggle through the playoffs, and that’ll do for now. BEN WATERHOUSE.

Doug Fir Lounge

830 E Burnside St. Starfucker, Blouse

Duff’s Garage

1635 SE 7th Ave. Robbie Laws Band

East Burn

1800 E Burnside St. Opa Groupa

East End

203 SE Grand Ave. Snare And The Idiots, Wolfman Fairies, Pinehurst Kids, The Illicitors, Matthew Peterson

Gypsy Restaurant & Lounge 625 NW 21st Ave. Karaoke

Hawthorne Theatre Lounge Hawthorne Theatre

3862 SE Hawthorne Blvd.

The Odious, From Ashes to Grace, Bleeding The Raines

Holocene

1001 SE Morrison St. Starfucker, Guidance Counselor, DJ Brkfst Sndwch

Jimmy Mak’s

221 NW 10th Ave. Mel Brown B3 Organ Group

LaurelThirst

2958 NE Glisan St. Early Hours, Barleywine (9:30 pm); Lewi Longmire & Friends (6 pm)

McMenamins Grand Lodge

3505 Pacific Ave. The Twilite Broadcasters, Jon Koonce

Red and Black Cafe 400 SE 12th Ave. Capsule

Rotture

315 SE 3rd Ave. SNDTRKR, Death Songs, Stepkids

Sellwood Public House 8132 SE 13th Ave. Open Mic w/ Two Rivers

Slim’s Cocktail Bar

8635 N Lombard St. Rare Monk, Bryan Minus & The Disconnect, Tigress

Someday Lounge

125 NW 5th Ave. The Fix, Rev. Shines, Kez, Dundiggy

Star Bar

639 SE Morrison St. Northern Soul Night - DJ Isaiah Summers, DJ A Train

McMenamins Rock Creek Tavern

The Heathman Restaurant and Bar

Mississippi Pizza

The Knife Shop at Kelly’s Olympian

10000 Old Cornelius Pass Road Jaime Leopold Trio 3552 N Mississippi Ave. The I’s (9 pm); Christine Havrilla (6 pm)

Mississippi Studios

3939 N Mississippi Ave. Jamaica, Chain Gang Of 1974, Wild Ones

Mock Crest Tavern 3435 N Lombard St. Air Show

Mt. Tabor Theater Lounge

4811 SE Hawthorne Blvd 7th Planet Picture Show

1001 SW Broadway Johnny Martin

426 SW Washington St. Macho Novela

The Know

2026 NE Alberta St. The Polaroids, The Bloodtypes, DJ Ken Dirtnap

The Whiskey Bar

31 NW 1st Ave. Hives Inquiry Squad

The Woods

6637 SE Milwaukie Ave. Baby Ketten Karaoke

Twilight Café and Bar

Mt. Tabor Theater

1420 SE Powell Blvd.

Cement Season, Sons of Richard, Invivo

Muddy Rudder Public House

Vie de Boheme

4811 SE Hawthorne Blvd.

Daryl Hance, The Bellboys

8105 SE 7th Ave. Lauren Sheehan with Jim Bruneis

Plan B

1305 SE 8th Ave. Life Against Death, Spectral Tombs, Excruciator

Red Room

2530 NE 82nd Ave. Katz Eyez

40

1530 SE 7th Ave. Chuck Israel’s Big Band

White Eagle Saloon

836 N Russell St. Garcia Birthday Band (9:30 pm); Will West and The Friendly Cover Up! (5:30 pm)

Wilf’s Restaurant 800 NW 6th Ave. Randy Porter Trio

Willamette Week APRIL 27, 2011 wweek.com

FRI. APRIL 29 Alberta Rose Theatre 3000 NE Alberta St. Live Wire! Radio with musical gueset Celilo

Alberta Street Public House 1036 NE Alberta St. Mikey’s Irish Jam

Alberta Street Public House

1503 SE 39th Ave. Rockstar Karaoke

Hawthorne Theatre Lounge 1503 SE 39th Ave. Neva

Hawthorne Theatre

3862 SE Hawthorne Blvd.

She’s Not Dead, One Hour Newport, Pigeon Fist, Meet Your Monster, Delta Bravo

Mt. Tabor Theater Lounge

4811 SE Hawthorne Blvd Switchup

Mt. Tabor Theater

4811 SE Hawthorne Blvd.

Benefit for Japan

Muddy Rudder Public House 8105 SE 7th Ave. Kinzel and Hyde

Music Millennium

3158 E Burnside St. Dessa Sims

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

Plan B

1305 SE 8th Ave. Excuses for Skipping, Dangerous Ponies, Destroy Nate Allen, Cat Fancy

Press Club

2621 SE Clinton St. Lara Michelle, Lisa Stringfield, Skip von Kuske

Roseland Theater

8 NW 6th Ave. Portugal. The Man, Telekinesis, Brainstorm

Rotture

315 SE 3rd Ave. Dessa, Sims, Lazerbeak, Sapient, Cloudy October

Saratoga

6910 N Interstate Ave. Rvivr, Divers, Killing Hinsler

Someday Lounge

125 NW 5th Ave. The Someday Lounge PDX Pop Machine Showcase - Skip Roxy, Novosti, The Rainy States, River Banks, Hutson

Star Bar

639 SE Morrison St. DJ Paultimore

Star Bar

639 SE Morrison St. DJ Ikon

The Crown Room

205 NW 4th Ave. Blown: Nicky Mason, Cin, D.Poetica, More

1036 NE Alberta St. J. Veccereli, C. Odds, K. Sewicki, B. Brusseau, N. Clark (9:30 pm); Mikey’s Irish Jam (6:30 pm)

Jade Lounge

The Heathman Restaurant and Bar

Andina

2346 SE Ankeny St. Lillian Soderman, Flying Bird South, Lynnae Gryffin, Karyn Partridge

Jimmy Mak’s

The Knife Shop at Kelly’s Olympian

1314 NW Glisan St. Danny Romero Trio

Artichoke Community Music

3130A SE Hawthorne Blvd.

Friday Night Coffeehouse

Ash Street Saloon

225 SW Ash St. MDC unplugged, Thee Iron Tide, Growler, Shogun

BC’s Restaurant

2433 SE Powell Blvd.

The Laptop Battle: DJ Stephen R., Business 80, Chris Alice, Audioelectronic

Backspace

115 NW 5th Ave. KPSU Benefit: Mean Jeans, Guantanamo Baywatch, Starparty

Beaterville Cafe

2201 N Killingsworth St. Dawn & The Dents

Biddy McGraw’s

6000 NE Glisan St. Funk Shui (9 pm); Billy Kennedy and Jimmy Boyer (6 pm)

Bipartisan Cafe 7901 SE Stark St. Worn Out Shoes

Blue Monk

3341 SE Belmont St. Terry Robb Electric Band

Bossanova Ballroom

722 E Burnside St. Live Loud N Local Music Festival

221 NW 10th Ave. The Midnight Serenaders, The Bridgetown Sextet

LaurelThirst

2958 NE Glisan St. Low Down Whiskey Rebels, Kory Quinn & The Comrades, Fruition, Naomi Hooley & Rob Stroup (9:30 pm); Alice Stuart (6 pm)

McMenamins Edgefield Winery 2126 SW Halsey St. Lisa and Her Kin (Duo)

McMenamins Grand Lodge 3505 Pacific Ave. Faire in the Grove

McMenamins Hotel Oregon

310 Northeast Evans St. Lincoln Crockett

McMenamins Rock Creek Tavern

10000 Old Cornelius Pass Road The Twilite Broadcasters, Billy D. and the Hoodoos

Mississippi Pizza

3552 N Mississippi Ave. The River Empires

Mississippi Pizza

3552 N Mississippi Ave. Electric Opera Company, MegaFauna

Mississippi Studios

1001 SW Broadway Johnny Martin

426 SW Washington St. The Ex-Girlfriends Club

The Know

2026 NE Alberta St. Ports Will Call, St. Elias, Microtia

The Woods

6637 SE Milwaukie Ave. Ferraby Lionheart, Henry Wolfe, Charlie Wadhams

Twilight Café and Bar 1420 SE Powell Blvd.

Power Inc.

Valentine’s

232 SW Ankeny St. Rock Yr Baby with DJ Vision Quest and Stoned Werewolf

White Eagle Saloon 836 N Russell St. Satin Love Orchestra (9:30 pm); Reverb Brothers (5:30 pm)

SAT. APRIL 30 Aladdin Theater

3017 SE Milwaukie Ave. Johnny Clegg Band

Alberta Rose Theatre 3000 NE Alberta St. Linda Hornbuckle, Soul Vaccination

Alberta Street Public House

3939 N Mississippi Ave. The Felice Brothers, You Are Plural, Vikesh Kapoor

1036 NE Alberta St. Renniasance Cocktail (9:30 pm); Nancy Curtain and Friends (6:30 pm)

Mock Crest Tavern

Andina

3435 N Lombard St. Vox Swifts

1314 NW Glisan St. Toshi Onizuka Trio

Artichoke Community Music

3130A SE Hawthorne Blvd.

James Faretheewell with Lincoln Crockett and Marie Black

Ash Street Saloon

225 SW Ash St. Gunfighter, Ape Machine, Last Watch, Electric Fawn

Backspace

115 NW 5th Ave. Charmparticles, Problems?, Alpha Leonis (9 pm); Goat, Bipoloar, Allan Van Vliet, Natalie McDonald (4 pm)

Beaterville Cafe

2201 N Killingsworth St. D.C. Malone and the Jones

Biddy McGraw’s

6000 NE Glisan St. Bottleneck (9:30 pm); Twisted Whistle (5 pm)

Blue Monk

3341 SE Belmont St. Gretchen Mitchell/Tariah Memory

Bossanova Ballroom

722 E Burnside St. Live Loud N Local Music Festival

Branx

320 SE 2nd Ave. Red Fang, Mongoloid Village, Lord Dying, Drunk Ladies

Brasserie Montmartre 626 SW Park Ave. Reggie Houston Trio

Buffalo Gap Saloon

6835 SW Macadam Ave. Sol Seed, Verdelite

The Twilight Broadcasters (7 PM); Chris Robley’s False Fables (7 PM)

McMenamins Grand Lodge

3505 Pacific Ave. Crown Point (7 pm); Faire in the Grove (10 am)

McMenamins Hotel Oregon

310 Northeast Evans St. Sig Paulson’s Shotgun Shack

Mississippi Pizza

3552 N Mississippi Ave. Basinbillies & The Fallmen (9 pm); Whiskey Puppy (6 pm); Singers & Stompers with Mr. Ben (4 pm)

Mississippi Studios

3939 N Mississippi Ave. Starfucker, Champagne Champagne, Arohan

Mock Crest Tavern 3435 N Lombard St. NoPo Mojo

Mt. Tabor Theater

4811 SE Hawthorne Blvd.

Hackensaw Boys, Left Coast Country

Muddy Rudder Public House 8105 SE 7th Ave. JD Dawson Trio

Music Millennium

3158 E Burnside St. Rob Tobias

Plan B

1305 SE 8th Ave. My New Vice, All Bets On Death, Zero Down, Ace of Spades (Motorhead Tribute)

Press Club

The Woods

6637 SE Milwaukie Ave. Blue Cranes, Wayne Horvitz, Pigpen

The World Famous Kenton Club

2025 N Kilpatrick St. The Whines, The Blimp, Burning Yellows, Desert Moans

Twilight Café and Bar 1420 SE Powell Blvd.

Drunken Debauchery, The Viggs

White Eagle Saloon 836 N Russell St. The Student Loan

Wilf’s Restaurant 800 NW 6th Ave. Mia Nicholson

SUN. MAY 1 Andina

1314 NW Glisan St. Tupai Spring Performance Series 2011: Klezmocracy

Andina

1314 NW Glisan St. Danny Romero

Ash Street Saloon

225 SW Ash St. Gorilla Monsoon, The No Tomorrow Boys, DJ Miss Meghan

Biddy McGraw’s

6000 NE Glisan St. The Brothers Todd

Bossanova Ballroom

722 E Burnside St. Live Loud N Local Music Festival

Crystal Ballroom

1332 W Burnside St. Fleet Foxes

Camellia Lounge

2621 SE Clinton St. Afterlife Revival, Lewi Longmire

Clyde’s Prime Rib

Red Room

350 W Burnside St. Christian Kane

Roseland Theater

830 E Burnside St. Lesser Saints, Ruby Feathers, Brush Praire, Buzzyshyface

510 NW 11th Ave. Infinite Bossa

5474 NE Sandy Blvd.

Elite

Dante’s

350 W Burnside St. J Mascis, Black Heart Procession

Doug Fir Lounge

830 E Burnside St. The Pipettes, Gina Noell, Blue Skies For Black Hearts

Duff’s Garage

1635 SE 7th Ave. Rich DelGrosso

East Burn

1800 E Burnside St. Everyday Prophets

East End

203 SE Grand Ave. Orca Team, Bare Wires, Fast Takers, Tensions

2530 NE 82nd Ave. Mouthwash Enema, Cuntagious, Ramblin’ Rods Bastard Children

Ella Street Social Club

Rotture

Hawthorne Theatre

315 SE 3rd Ave. Relief Thru Repetitive Beats: A Benefit for Japan - Tom Mitchell, M.Quiet, Bryan Zentz, Ryan Organ, Pipedream, Ian Obe, Cloudburst

Saratoga

6910 N Interstate Ave. The Helping Hands, The Honeycuts, The Neverdowells

Secret Society Lounge 116 NE Russell St. The Portland Playboys (6 pm)

Gypsy Restaurant & Lounge

1033 NW 16th Ave. Destro, Sleep, JFK a.k.a.

Ninjaface

625 NW 21st Ave. Karaoke

Hawthorne Hophouse 4111 SE Hawthorne Folk and Spoon

Hawthorne Theatre Lounge 1503 SE 39th Ave. NoPoMoJo

Hawthorne Theatre

3862 SE Hawthorne Blvd.

Monody, Sons of Malarkey, Jetpack Missing

Jade Lounge

2346 SE Ankeny St. The Mustaches (8 pm); Ronno Rutter (6 pm)

Jimmy Mak’s

221 NW 10th Ave. 3 Leg Torso, Ben Darwish Trio

LaurelThirst

2958 NE Glisan St. Lone Madrone, Mike Midlo

McMenamins Edgefield Winery 2126 SW Halsey St.

Doug Fir Lounge

8 NW 6th Ave. Papa Roach, Finger Eleven, Pop Evil

Goodfoot Lounge

2845 SE Stark St. “Electric” Jackstraw, Freak Mountain Ramblers

Dante’s

Slabtown

714 SW 20th Place This Patch of Sky, Tigress 3862 SE Hawthorne Blvd.

Between The Buried And Me, Job For A Cowboy, The Ocean, Cephalic Carnage

Jade Lounge

2346 SE Ankeny St. Rich Lander (8:30 pm); Sam Hawkin (6:30 pm)

LaurelThirst

2958 NE Glisan St. Billy Kennedy & Tim Acott (9 pm); Quick & Easy Boys (6 pm)

Matador

1967 W Burnside St Next Big Thing: DJ Donny Don’t

Mississippi Pizza

Someday Lounge

3552 N Mississippi Ave. GRW (9 pm); The Satisfied Minds (6 pm)

Someday Lounge

Muddy Rudder Public House

125 NW 5th Ave. Haymaker Reunion Show 125 NW 5th Ave. Stellar’s Jay, The Harvey Girls (5 pm)

Spare Room

8105 SE 7th Ave. Irish

Plan B

4830 NE 42nd Ave. James Low Western Front

1305 SE 8th Ave. Hive - Gothic/Industrial/ Darkwave - DJ Owen, Guest DJs and Bands

Star Bar

Star Bar

639 SE Morrison St. British Backlash - DJ Tiny Corrupter

The Heathman Restaurant and Bar 1001 SW Broadway Halie Loren

639 SE Morrison St. Karaoke (That Doesn’t Suck)

The Knife Shop at Kelly’s Olympian

The Know

426 SW Washington St. Straight-Razor Stalemate, Piss Broke Rebels

The Whiskey Bar

2026 NE Alberta St. Merdoso, Death Machine, Wild Mohicans

2026 NE Alberta St. Transient, Amarok, Spirit of Radio, Atriarch 31 NW 1st Ave. Louder Than Love

The Know

Valentine’s

232 SW Ankeny St. Mojave Bird, House of Wolves, Port St. Willow

CALENDAR White Eagle Saloon

836 N Russell St. “Open Mic / Songwriter Showcase” featuring Portland’s finest talent (6:30 pm)

Wonder Ballroom

128 NE Russell St. The Head and the Heart, The Devil Whale

MON. MAY 2 Alberta Street Public House 1036 NE Alberta St. Colin Cline, Sons of Malarky

Andina

1314 NW Glisan St. JB Butler

Ash Street Saloon

225 SW Ash St. The White Woods, The Outdoors

Biddy McGraw’s

6000 NE Glisan St. Nicole Campbell

Blue Monk

3341 SE Belmont St. Renato Caranto’s Funk Band

Dante’s

350 W Burnside St. Karaoke From Hell

Doug Fir Lounge

Hawthorne Theatre Lounge 1503 SE 39th Ave. Rockstar Karaoke

Jade Lounge

2346 SE Ankeny St. Open Mic featuring host John Anthony Black

Jimmy Mak’s

221 NW 10th Ave. The Terry Robb Electric Band

LaurelThirst

2958 NE Glisan St. Kung Pao Chickens (9 pm); Little Sue & Lynn Conover (6 pm)

Mississippi Studios

3939 N Mississippi Ave. Jessica Lea Mayfield, Nathaniel Rateliff

Mt. Tabor Theater

4811 SE Hawthorne Blvd.

Keegan Smith & The Fam

Muddy Rudder Public House

White Eagle Saloon 836 N Russell St. Buoy LaRue

TUES. MAY 3 Al’s Den at the Crystal Hotel

303 SW 12th Ave. Scott McCaughey (7 pm); Poison Waters (5:30 pm)

Andina

1314 NW Glisan St. Neftali Rivera

Ash Street Saloon

225 SW Ash St. Aaron Lee and the Love Vigilantes, Ant & the Eagle, Leaving the Scene

Beaterville Cafe

2201 N Killingsworth St. Alan Ames

Buffalo Gap Saloon

8105 SE 7th Ave. Lloyd Jones

6835 SW Macadam Ave. Open Mic Night Hosted

By Scott Gallegos

Star Bar

Bunk Bar

639 SE Morrison St. Into the Void - DJ Blackhawk

The Knife Shop at Kelly’s Olympian

830 E Burnside St. Menomena, EMA, Hosannas

426 SW Washington St. FREE Monday!

Duff’s Garage

1635 SE 7th Ave. Lily Wilde Orchestra

18 NW 3rd Ave. Fight Amp, Wizard Rifle, DJ Starbird

Goodfoot Lounge

Twilight Café and Bar

2845 SE Stark St. Sonic Forum Open Mic Night

Double Plus Good, Pocket Knife

Tube

1420 SE Powell Blvd.

SIN Night

Valentine’s

232 SW Ankeny St.

1028 SE Water Ave. The Charts, The Woolen Men

Crystal Ballroom

1332 W Burnside St. M. Ward, The Corin Tucker Band, The Lord’s Own Choir

Dante’s

350 W Burnside St. The Ed Forman Show, DSL Open Mic Comedy

Doug Fir Lounge

830 E Burnside St. Menomena, Talkdemonic

Duff’s Garage

1635 SE 7th Ave. Dover Weinberg Quartet (9 pm); Trio Bravo (6 pm)

Ella Street Social Club

714 SW 20th Place Solar Shade, Unicorn Domination, Autopilot is for Lovers

Goodfoot Lounge

2845 SE Stark St. Scott PembertonTrio

Gypsy Restaurant & Lounge 625 NW 21st Ave. Kent Smith

Hawthorne Theatre

3862 SE Hawthorne Blvd.

Motograter, Amerakin Overdose, Karmedy, Fear The Slaughter

Jimmy Mak’s

221 NW 10th Ave. The Mel Brown Septet (8 pm); Parkrose High School Jazz Band (6:30 pm)

LaurelThirst

2958 NE Glisan St. Jackstraw

Mississippi Pizza

3552 N Mississippi Ave. Baby Ketten Karaoke (9 pm); Lost Creek (6 pm)

Mt. Tabor Theater

4811 SE Hawthorne Blvd.

The Family Funktion featuring Average Leftovers

Muddy Rudder Public House 8105 SE 7th Ave. Open Mic with Lowell J. Mitchell

MUSIC

SAT. APRIL 30

Rotture

315 SE 3rd Ave. Jatun, Tadoma, Dweomer

Beauty Bar

Secret Society Lounge

Fez Ballroom

116 NE Russell St. Dominic Castillo

Slim’s Cocktail Bar 8635 N Lombard St. Open Mic

Star Bar

639 SE Morrison St. Rock & Roll Swindle DJ JD Star

The Crown Room

205 NW 4th Ave. See You Next Tuesday: A Weekly Dubstep Party - Kellan, Avery

The Knife Shop at Kelly’s Olympian

426 SW Washington St. Twisted Whistle

The Know

2026 NE Alberta St. Eye Candy All-Request Video DJ Night featuring music from Don & The Quixotes

Twilight Café and Bar 1420 SE Powell Blvd.

Open Mic Night Featuring House Band: The Roaming

Valentine’s

232 SW Ankeny St. Amir Coyle, Birch Cooper, Benoît Pioulard

White Eagle Saloon 836 N Russell St. Kory Quinn

111 SW Ash St. Girls Night Out

WED. APRIL 27

FRI. APRIL 29

East End

Beauty Bar

203 SE Grand Ave. Last Wednesdays on the Left with Dennis Dread

111 SW Ash St. NMDZ Presents: Fast Life

The Crown Room

316 SW 11th Ave. Decadent 80s

205 NW 4th Ave. Crush Drum and Bass

Valentine’s 232 SW Ankeny St. DJ Bad Wizard

THUR. APRIL 28 Beauty Bar 111 SW Ash St. DJ Sad Panda

Fez Ballroom 316 SW 11th Ave. Shadowplay with DJ Horrid, DJ Ghoulunatic, DJ Paradox

The Crown Room 205 NW 4th Ave. Gen.Erick and Crown Room Present: WooHah

Tube 18 NW 3rd Ave. Doc Adam

Valentine’s 232 SW Ankeny St. TLC Country Night with DJ Gordon Organ and DJ Split Rail Fence

Fez Ballroom

Goodfoot Lounge 2845 SE Stark St. DJ Aquaman’s Soul Stew

Holocene 1001 SE Morrison St. SNAP! ‘90s Dance Party: Dr. Adam, Colin Jones, Burners & Hooch

Lola’s Room at the Crystal Ballroom 1332 W Burnside St. 80’s Video Dance Attack in Lola’s Room

Palace of Industry 5426 N Gay Avenue DJ Holiday

Tube

316 SW 11th Ave. Twice As Nice

Holocene 1001 SE Morrison St. Sorted: Darwin, Ben Tactic, Lincolnup

The Crown Room 205 NW 4th Ave. Massive

Valentine’s 232 SW Ankeny St. DJ Hwy 7

SUN. MAY 1 Produce Row Cafe 204 SE Oak St. The Do-Over

MON. MAY 2 The Know 2026 NE Alberta St. Going Mental Mondays with host DJ Just Dave

TUES. MAY 3 Al’s Den at the Crystal Hotel

18 NW 3rd Ave. Ronin Roc

303 SW 12th Ave. DJ Safi

Valentine’s

Yes and No

232 SW Ankeny St. Rock Yr Baby with DJ Vision Quest and Stoned Werewolf

20 NW 3rd Ave. DJ Black Dog

©2011 COORS BREWING COMPANY, GOLDEN, CO Willamette Week APRIL 27, 2011 wweek.com

41

APRIL 27 - MAY 3

= WW Pick. Highly recommended.

Girls! Girls! Girls!

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: BEN WATERHOUSE. Stage: BEN WATERHOUSE (bwaterhouse@wweek. com). Classical: BRETT CAMPBELL (bcampbell@wweek.com). Dance: HEATHER WISNER (dance@wweek.com). TO BE CONSIDERED FOR LISTINGS, submit information at least two weeks in advance to: bwaterhouse@wweek.com.

THEATER The Adding Machine

Do you feel oppressed by technology? Do you worry that your ceaseless toil will never be rewarded by your employer? These may seem like prompts from the writers’ room at The Office, but Elmer Rice addressed them all in 1923. Jane Bement Geesman has dusted off this classic expressionist comedy and given it a Fritz Langian masque-theater production for the final show of Theatre Vertigo’s season.

Despite its age, the show feels unsettlingly contemporary; but for the Jazz Age slang, it could have been written

by Sarah Ruhl. Gary Norman, with all his usual hangdog charm, plays Mr. Zero, a colorless functionary at a department store who spends his days doing endless sums and lusting after his assistant (Jenn Hunter). When his boss informs him he’ll be laid off after 25 years of labor and replaced by an adding machine, Zero murders him.

He is executed, and mopes his way through undeath, the Elysian Fields and some kind of mechanical hell.

BEN WATERHOUSE. Theater! Theatre!, 3430 SE Belmont St., 306-0870. 8 pm Thursdays-Saturdays. Closes May 7. $15. Thursdays are “pay what you will.”

Bust

Former Daily Show correspondent Lauren Weedman volunteered at a Southern California women’s prison and turned the experience into a solo show, now at Portland Center Stage. Gerding Theater, 128 NW 11th Ave., 445-3700. 7:30 pm TuesdaysWednesdays and Fridays, 2 and 7:30 pm Saturdays and Sundays, noon and 7:30 pm Thursdays, through June 19. $18-$40.

Cymbeline

Northwest Classical Theatre Company presents Shakespeare’s very strange, flawed fairy tale. Shoe Box Theater, 2110 SE 10th Ave., 971-244-3740. 7 pm Thursdays-Saturdays, 2 pm Sundays.

Closes May 15. $15-$18.

Grand Guignol 3: Ménage à Trois

Another batch of gory horror vignettes from Third Eye Theatre. The Back Door Theater, 4319 SE Hawthorne Blvd., 970-8874. 8 pm Thursdays-Saturdays through June 4. $12-$15.

How I Became a Pirate!

Oregon Children’s Theatre presents a musical version of a book about juvenile piracy. Winningstad Theatre, 1111 SW Broadway, 228-9571. 2 and 5 pm Saturdays-Sundays through May 22. $17.50-$33.

I Left My Heart

Broadway Rose presents a “salute to the music of Tony Bennett.” Broadway Rose New Stage Theatre, 12850 SW Grant Ave., Tigard, 620-5262. 7:30 pm Thursdays-Saturdays, 2 pm Sundays.

Closes May 8. $20-$35.

Ma Rainey’s Black Bottom

Having enjoyed great success in 2010 with August Wilson’s final play, Radio Golf, Portland Playhouse now returns to the playwright’s work to end its season with his first. The fascinations with music, family and insecurity that appear throughout Wilson’s work are already evident here: The entire play takes place in 1923 in three rooms of a Chicago recording studio, where white record producer Sturdyvant (Bruce Burkhartsmeier) is preparing for a session with blues singer Ma Rainey (alternately Julianne Johnson and Marilyn Keller). The problem: Ma Rainey has not shown up. The musicians, who gather in the studio’s rehearsal room, manage very little rehearsing between a lot of first-rate bullshitting: Cutler (Wendell Wright), Slow Drag (Jerry Foster), Toledo

42

(Wrick Jones) and Levee (Victor Mack, in his best performance I’ve yet seen) are characters you can chew on for hours. BEN WATERHOUSE. Portland Playhouse, 602 NE Prescott St., 2050715. 8 pm Wednesdays-Saturdays, 2 pm Sundays. Closes May 29. $20-$25.

Opus

This is a story of four men and a fiddle.

And a woman and a viola, too, but let’s not complicate matters overly.

Michael Hollinger’s very funny chamber-music drama is all about the experience of playing in a string quartet, which is, if Brendon Fox’s production for Portland Center Stage is to be believed, like really amazing sex with an irremediably crazy, emotionally abusive partner. When we meet the Lazara String Quartet, the crazy has boiled over. Lead violinist Elliot (Chris Coleman) has fired violist Dorian (Matthew Boston), who is also his ex-boyfriend. The drama unfolds slowly, in flashbacks interpolated with the addition of Grace (Sarah Stevens), Dorian’s young replacement, to the quartet one week before the group is scheduled to perform at the White House. BEN WATERHOUSE. Gerding Theater, 128 NW 11th Ave., 445-3700.

7:30 pm Tuesdays-Fridays, 2 and 7:30 pm Saturdays-Sundays, 12 and 7:30 pm Thursdays. Closes May 8. $33-$58.

Passion Play

Portland Actors Conservatory students perform Sarah Ruhl’s study of backstage politics of actors in passion plays through history. Portland Actors Conservatory, 1436 SW Montgomery St., 274-1717. 7:30 pm Thursday-Saturday, 2 pm Sunday, April 28-May 1. $15-$25.

Same Time, Next Year

The Public House Theatre Company admirably pulls off this Bernard Slade play with a meager cast of two and an unassuming one-room set. The story spans 20 years but starts with Doris (Melissa Kaiser) and George’s (Leif Norby) first encounter between the sheets at a romantic inn. Although married to others, they agree to meet in the same hotel room every year.

The cast integrates comedic and dramatic moments seamlessly, immersing the audience in the tangled emotion of their tryst. KAREN LOCKE. The CoHo Theater, 2257 NW Raleigh St., 922-0532. 7:30 pm Thursday-Saturday, April 28-30. $19-$24, $14 Thursdays.

Singlehandedly!

Portland Story Theater’s solo-performance fest returns with seven nights of adult storytelling (see the full schedule at portlandstorytheater.com/2011solo/index.htm). This week: Kristin Olson-Huddle, Lawrence Howard, Enrique Andrade on Friday; Sharon Knorr, Enrique Andrade and Joseph Boyd on Saturday. Hipbone Studio, 1847 E Burnside St., 793-5484.

8 pm Friday-Saturday, April 29-30. $15 per night, $48 for four.

Songs of Noel Coward and Kurt Weill

This month, the reader’s theater of Portland Civic Theatre Guild is musical.

The Old Church, 1422 SW 11th Ave., 222-2031. 10 am Tuesday, May 3. $6.

COMEDY Comedy Night at the Bagdad

Timmy Williams headlines. Bagdad Theater, 3702 SE Hawthorne Blvd., 2369234. 10 pm Friday, April 29. $5. 21+.

Entertainment for People

San Francisco sketch comedian Beth Lisick hosts a variety show with Shelley McLendon and Michael Fetters, Riley Michael Parker and Colleen Elizabeth Rowley, John Breen and B. Frayn Masters. The Woods, 6637 SE Milwaukie Ave., 890-0408. 8 pm Wednesday, April 27. $12-$15. 21+.

Willamette Week APRIL 27, 2011 wweek.com

All-female improv at the Brody. Brody Theater, 16 NW Broadway, 224-2227. 8 pm Saturdays through May 14. $8-$12.

Mice-tro

Put 16 improv actors onstage with a voice-of-God maestro pitting them against each other and the audience voting them off, and what do you get?

STACY BROWNHILL. Brody Theater, 16 NW Broadway, 224-2227. 8 pm Fridays through May 27. $8-$12.

T.G.I.Funday!

The Brody crew improvises an episode of an early-’90s-style sitcom, complete with Bubble Yum ads. Brody Theater, 16 NW Broadway, 224-2227. 10 pm Saturdays through May 14. $8.

The Uninvited

The Unscriptables improvise a Tennessee Williams-esque family drama—with zombies. The Unscriptables Studio, 1121 N Loring St., theunscriptables.com. 8 pm Saturday, April 30. “Pay what you want.”

and big themes. Based on the 1925 play by Elmer Rice, with lyrics by the great Harlem poet Langston Hughes, the social drama of high passions on the Lower East Side blends Weill’s European classical and cabaret sensibility with American blues, jazz and pop music (including an ode to ice cream cones), choreographed movement and even a crowd-pleasing jazzdance sequence. Occupying a no man’s land between opera and Broadway, comedy and tragedy, it’s American musical theater’s missing link between Porgy and Bess and West Side Story.

PSU’s eager student actors and musicians surmount its manifold challenges in a well-staged production that leans more toward humor and charm than gritty social realism. Clever direction brings out the rich texture of urban life before our ubiquitous screens drove us into isolated bubbles. Yet its themes and events—birth, death, recession, eviction, love affairs, greed, murder, atavist anti-immigrant rants, capitalist exploitation of workers—make

Street Scene relevant more than half a century later. Lincoln Hall, Portland State University, 1620 SW Park Ave., 725-3307. 7:30 pm Friday, April 29; 2 pm Sunday, May 1. $15-$26.

Portland Youth Philharmonic

Members of the youth orchestra play wind music by Richard Strauss, Tchaikovsky’s Serenade for Strings and Sarasate’s Romanza Andaluza. Wieden & Kennedy Atrium, 224 NW 13th Ave., 223-5939. 4 pm Sunday, May 1. $8-$12.

Resonance Ensemble

For the culminating event of its first full season, the chorus offers one of the 20th century’s most dramatic artistic breakthroughs: Igor Stravinsky’s ballet cantata, Les Noces (The Wedding). The concert also includes a more recent wedding cantata by Daniel Pinkham.

Agnes Flanagan Chapel, Lewis & Clark College, 0615 SW Palatine Hill Road, 427-8701. 8 pm Friday, April 29. $11-$22.

REVIEW

The Weekly Recurring Humor Night

OWEN CAREY

PERFORMANCE

Whitney Streed hosts a weekly comedy night. This week: Don Frost, Kristine Levine, Todd Armstrong, Cody Smith, Jon Washington, Joe Wrabek and Bahiyyih Mudd. Tonic Lounge, 3100 NE Sandy Blvd., 238-0543. 9:30 pm Wednesdays. $3-$5. 21+.

You Have the Right to Remain Dead

The Black Tie Comedy Troupe performs a murder mystery comedy as a fundraiser for Madison High School’s speech team. Theater! Theatre!, 3430 SE Belmont St., 1-800-992-8499 (TicketsWest). 8 pm Wednesday, April 27. $11.50.

CLASSICAL Belle Voci

The women’s vocal ensemble celebrates its first decade by revisiting favorites, which include music by contemporary composers Eric Whitacre and Einojuhani Rautavaara, new settings of George MacDonald’s poetry

by Robert Hawthorne and music by Joan Szymko. First Christian Church, 1315 SW Broadway, 772-0772. 8 pm Saturday, April 30. $10-$15.

FearNoMusic

After a yearlong series of workshops, some of Portland’s classical players give sixth- through 12th-graders the opportunity to hear their music.

Lincoln Hall, Portland State University, 1620 SW Park Ave., 335-3386. 2 pm Sunday, May 1. $15-$26.

Oregon Symphony

Conductor Jeff Tyzik brings fun yet far-from-flimsy music by Arturo Marquez (Danzón No. 2), nuevo-tango genius Astor Piazzolla and guest artists, Tiempo Libre, from Cuba.

Arlene Schnitzer Concert Hall, 1037 SW Broadway, 228-1353. 7:30 pm Saturday, 3 pm Sunday, April 30-May 1. $20-$90.

Portland Baroque Orchestra

Many people know Antonio Vivaldi’s colorful Four Seasons, but the concertos tend to unfairly eclipse the rest of his vast and varied output. So, when we hear some of the Italian composer’s dazzling works for Baroque guitar, lute and mandolino, they’re usually played using a modern guitar, depriving us of the original nuances.

Fortunately, PBO has enlisted soloist Richard Savino, who’s a leading scholar and performer of this delightful music. First Baptist Church, 909 SW 11th Ave., 205-0715. 7:30 pm Friday-Saturday, April 29-30. Kaul Auditorium at Reed College, 3203 SE Woodstock Blvd., 205-0715. 4 pm Sunday, May 1. $16-$59.

Portland State University Opera

PSU’s evocative production of Kurt Weill’s 1949 Street Scene is ambitious in every way—it has a cast of several dozen, a beautiful set (with backdrops borrowed from Third Rail’s last production), formidable music that veers from classical opera to blues, jazz and midcentury pop, dance numbers,

UNCOMFORTABLE CRUELTY: (from left) Vana O’Brien, Amy Newman and Linda Alper.

THE CHERRY ORCHARD (ARTISTS REP) All done: With the premiere of Richard Kramer’s commissioned adaptation of The Cherry Orchard, Chekhov’s classic about a family of penniless aristocrats who must sell their useless orchard, Artists Repertory Theatre and director Jon Kretzu have completed the project of four new Chekhov adaptations they began six years ago.

Kramer’s take maintains the tug-of-war between sorrow and wit that Constantin Stanislavski began in 1904, when the director infamously turned what Chekhov meant to be farce into tragedy, but the TV writer (My So-Called Life) adds his own flair to the play’s emotional dissonance with sitcom-esque humor. Uncomfortable cruelty and explorations of profound loneliness are peppered with witty banter and conspicuous laugh lines that swing between flavorful and tasteless: The affluent Yermolay (Tim Blough) is announced to have stepped in crap, Yasha (Colton Ruscheinsky) smells like a chicken in a brothel, and the rotund Pischik (Todd Van Voris) claws at the air with a long “meowww” once a purse-lipped Varya (Val Landrum) turns her back.

The talented cast is an easy highlight of the production. As Pischik, Van Voris epitomizes the play’s farcical notes with impeccable comedic timing and blabbering kiss-assery. Michael Mendelson brings delectable sass to the stage as Leo Gayev, while Landrum balances her Varya’s wannabe-nun severity with the occasional deadpan gibe.

Also enjoyable is the immaculate detail given to the play’s set and props, down to the individually crinkled bills thrown at a blood-coughing Chekhov (Jeffrey Jason Gilpin) as he stumbles, covered in rags, through his own play. Kramer isn’t the first contemporary playwright to pull the audience self-consciously into the adaptation process, but he does so without cheapening the performance. In the opening of the show and nearly two hours later as the lights fade, a coughing Chekhov calmly prompts the dying footman (Tobias Andersen), “So life has gone by and I still haven’t lived...so life has gone by...and I still haven’t lived.”

It’s an oddly desolate way to begin and end such a re-farced tragedy, but like many of the liberties Kramer takes, it works. NATALIE BAKER.

Dragging Chekhov from the grave, for laughs.

SEE IT: Artists Repertory Theatre, 1515 SW Morrison St., 241-1278. 7:30 pm Wednesdays-Saturdays, 2 and 7:30 pm Sundays. Closes May 22. $20-$42.

PERFORMANCE BLAINE TRUITT COVERT

APRIL 27 - MAY 3

PAULUSTheKAPTEYN Pursuit of Happiness First Friday, May 6th, 2011, 6-9pm Nationale Gallery, Portland, Oregon

Nose in place with strings, 2010 Acrylic, graphite, pastel on paper

www.pauluskapteyn.com OREGON BALLET THEATRE

University of Oregon Opera

The spring’s flood of rarely performed but worthy operas continues with UO Opera’s premiere Portland performance. These Italian madrigal comedies span musical styles and centuries, and are accompanied by lute and harpsichord. The 20th-century composer Berio’s A-Ronne shows servants gone wild, while Renaissance composer Adriano Banchieri’s Senile Madness comically recounts the old story of love and youth vs. age and money. Scholar and bass-baritone singer Nicholas Isherwood directs. White Stag Building, UO Portland campus, 70 NW Couch St., 541-346-5678. 7 pm Saturday, April 30. $10.

DANCE Dance West

Dance goes to the movies at Dance West’s 2011 spring concert, with selections from West Side Story, tap numbers like Tap Dance Concerto and 42nd Street, ballets Swan Lake Waltz and Snow Ballet, and David Ward’s America’s Shadow. Arts & Communication Magnet Academy Performing Arts Center, 11375 SW Center St., Beaverton. 7:30 pm Friday, 2 and 7:30 pm Saturday, 2 pm Sunday, April 29-May 1. $12.50-$18.

Marylhurst Art Gym Dance Exhibits

The exhibit Dance: Before, After, During will include documentation and performances by local choreographers Linda K. Johnson, Linda Austin, Tahni Holt and Susan Banyas. Banyas will perform April 30. A gallery talk with choreographers will be held at noon Thursday, April 28. Marylhurst University, 17600 Highway 43, 699-1814.

Now Repeat in Steinese

What goes best with problematic one-acts? In the case of Gertrude Stein’s White Wines, take a guess.

Now Repeat in Steinese is four back-to-back stagings of a Stein work that contains no plot, no characters and no setting, guided by performance artist Drew Pisarra.

Four West Coast artists—dancers Carolyn Stuart and Patrick Gracewood (a.k.a. TouchMonkey), musical collective the Steinways, thespians Kyle Delamarter and Starr Ahrens and filmmaker Austin Newsom—see what they can do with the material. Performance Works NW, 4625 SE 67th Ave., 7771907. 8 pm Saturday-Sunday, April 29-30. $8-$15.

Oregon Ballet Theatre Annual School Performance

Oregon Ballet Theatre keeps it all in the family this year at its school performance, which features the youngest members of the OBT clan—its pre-professional students—performing

work by OBT Artistic Director Christopher Stowell’s dad, Kent Stowell. The elder Stowell, founding artistic director of Seattle’s Pacific Northwest Ballet, has done his own version of Coppélia, the famous comedic story ballet about toys that come to life; the students will dance this along with short works by balletic pillars George Balanchine (La Source) and Jerome Robbins (Circus Polka).

Bruce Wells’ Glazunov Waltz and Robert Henry Johnson’s Road to the Yellow Carnival round out this family-friendly program. Newmark Theatre, Portland Center for the Performing Arts, 1111 SW Broadway, 222-5538. 7:30 pm Friday, 2 pm Saturday, April 29-30. $31.95$53.80.

Oregon Ballet Theatre

The Bloodhound Gang, Bach, Cole Porter and Vivaldi walk into a bar—no, wait, a barre—in Oregon Ballet Theatre’s spring program Song and Dance. This evening of shortish works has something for most tastes, musically and otherwise. Hip-hop fans will see how ballet does it in Trey McIntyre’s Speak, Nicolo Fonte takes a more serious turn with the limber athleticism of the Bach-based Left Unsaid, which OBT premiered two years ago, and OBT Artistic Director Christopher Stowell’s Eyes on You is also a repeat performance. Eyes on You is a series of vignettes that range from cheerful to melancholy to slightly corny, set to Porter and costumed from the same era. That leaves the company premiere of the Balanchine classic Square Dance, which features a live caller onstage and takes inspiration from the American West, set to Vivaldi and Corelli and danced primarily in the classical idiom. Newmark Theatre, Portland Center for the Performing Arts, 1111 SW Broadway, 248-4335. 7:30 pm Thursday and Saturday, 2 pm Sunday, April 30-May 1. $25.50 and up.

Ten (No, Five!) Tiny Dances/23

In this special edition of the twiceannual performance party—in which dancers crammed onto a tiny stage perform experimental work both inspired and constrained by the limited surface area—five new and veteran Ten Tiny dancemakers have paired up with five female electronic-music composers in a benefit for Electrogals, Heather Perkins’ showcase for female electronic musicians. The following choreographer-composer pairs will be staging collaborative new works: Tere Mathern and Mireaya Medina, Michelle Fujii and Renee Favand-See, Danielle Ross and Christi Denton, Tracy Broyles and Heather Perkins, and Liz Hayden and Sylvia Hackathorn. Bluehour, 250 NW 13th Ave., 971-225-3532. 9 pm Sunday, May 1. $15-$18.

For more Performance listings, visit Willamette Week APRIL 27, 2011 wweek.com

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VISUAL ARTS

NEWS

APRIL 27 - MAY 3

= WW Pick. Highly recommended.

APR

27

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. Fax: 2431115. Emailed press releases must be backed up by a faxed or printed copy.

BETHANY MAINES / Compact with the Devil (Atria) Nikki is back and ready to take on an exotic anarchist.

WED / 27TH / 7P CEDAR HILLS

OLGA GRUSHIN / The Line (Penguin) A transformative work that speaks to the endurance of the human spirit.

WED / 27TH / 7:30P DOWNTOWN

WAYNE PACELLE / The Bond (William Morrow)

Explores the deep links of the human-animal connection.

THU / 28TH / 7P CEDAR HILLS

MIKE SACKS / Your Wildest Dreams, within Reason (Tin House) Collects Sacksís unique humor pieces into one volume.

THU / 28TH / 7:30P DOWNTOWN

HEATHER SHOUSE / Food Trucks (Ten Speed Press)

BREASTSPRAY BY NAN CURTIS AT CASCADE AIDS PROJECT’S ART AUCTION.

Provides a compass for finding the best movable feasts in America.

THU / 28TH / 7:30P HAWTHORNE

MARC FREEDMAN / With The Big Shift (PublicAffairs) Offers advice to Americans entering their 40s, 50s, and 60s.

FRI / 29TH / 7P CEDAR HILLS

KIM BARKER / The Taliban Shuffle (Doubleday)

got a good tip? call 503.445.1542 or email

newshound wweek.com

Offers an insiderís account of the ì forgotten warî in Afghanistan.

FRI / 29TH / 7:30P DOWNTOWN

DAVID LINDEN / The Compass of Pleasure (Viking) A neuroscientist explains how pleasure affects us.

SAT / 30TH / 4P CEDAR HILLS

IVETTE SOLER / The Edible Front Yard Offers instructions for converting a lawn into an edible paradise.

SUN / 1ST / 3P PDX NURSERY

TOD DAVIES / Snotty Saves the Day A manuscript delivered by owl is left under an old fir tree in the snow.

SUN / 1ST / 4P HAWTHORNE

NIKKI MCCLURE / To Market, to Market (Abrams) McClureís latest book explores the farmers market.

SUN / 1ST / 4P CEDAR HILLS

SUSIE BRIGHT / Big Sex Little Death (Seal Press) In her courageous coming-of-age story, Bright opens her heart and her life.

SUN / 1ST / 7:30P DOWNTOWN

A WRITING WORKSHOP WITH SUSIE BRIGHT Details at BrownPaperTickets.com.

MON / 2ND / 7P DOWNTOWN

ANNE ZIMMERMAN / An Extravagant Hunger (Counterpoint) M. F. K. Fisher is exquisitely captured in this biography.

MON / 2ND / 7P CEDAR HILLS

LYANDA LYNN HAUPT / Crow Planet (Back Bay Press)

Haupt draws readers into the ì crow storiesî that unfold around us every day.

MON / 2ND / 7:30P DOWNTOWN

YAN LIANKE / Dream of Ding Village (Grove) RAHUL BHATTACHARYA / The Sly Company of People Who Care (Farrar, Straus & Giroux)

Powell's joins PEN World Voices in celebrating 2 intníl authors.

MON / 2ND / 7:30P HAWTHORNE

ALEXA MARTIN / Girl Wonder A poignant story about the ups and downs of senior year.

TUE / 3RD / 7P CEDAR HILLS

KEVIN DESINGER / The Descent of Man (Unbridled) A quiet man turns on two thieves.

TUE / 3RD / 7:30P DOWNTOWN

Visit POWELLS.COM/CALENDAR for further details and to sign up for our EVENTS NEWSLETTER. 44

Willamette Week APRIL 27, 2011 wweek.com

SPECIAL EVENT Cascade AIDS Project Art Auction

Perhaps the most glamorous event on Portland’s visual arts calendar, the Cascade AIDS Project’s annual art auction, is coming up Saturday, April 30. It’s hard to believe the auction is now in its 22nd year of showcasing top-flight artwork to benefit CAP’s programs for HIV/ AIDS education, prevention and support. This year, the live auction will feature 15 artworks curated

by Marylhurst University Art Gym director Terri Hopkins, including pieces by artists such as glass sculptor Dale Chihuly, mixedmedia artist Nan Curtis, and painters Laura Ross-Paul, Rick Bartow and Tom Cramer. In addition, 280 artworks will be presented in the event’s silent auction. As a whole, these works are consistently engaging and surprisingly affordable. Entertainers for the evening include Thomas Lauderdale, Storm Large, and the Portland Gay Men’s Chorus, among others. Portland Memorial Coliseum, 300 N Winning Way, 223-9255, capartauction. org. April 30, patron event 6-11 pm ($250), grand event 8-11 pm ($100).

NOW SHOWING Mary Josephson

Mary Josephson’s colorful figurative style is one part symbolist and one part naive. In Work += Play (Rites and Rituals), she depicts children and adults in highly saturated hues, surrounding them with objects that stand in as symbols of the activities that consume us while we’re on the clock, and the often very different activities we engage in at home and at play. Can these be reconciled? Josephson seems to believe they can and should. Laura Russo, 805 NW 21st Ave., 226-2754. Closes April 30.

Masao Yamamoto

In “KAWA = FLOW” Japanese photographer Masao Yamamoto presents a suite of immaculate black-and-white silver gelatin prints. “Kawa” is Japanese for “flowing water,” and indeed, the most striking of these images, #1599, shows a splash of water frozen as it arcs through the air like a crystalline epiphany. Other works show trees, waterfalls, dragonflies and diaphanous shimmerings of light, the precise subject matter of which is ambiguous. This is understated and superbly modulated work. PDX Contemporary Art, 925 NW Flanders St., 222-0063. Closes April 30.

Ron van Dongen

Sometimes time works in ways that are both arbitrary and profound. Photographer Ron van Dongen found this out when he recently came across a series of black-and-white Polaroid studies for floral still lifes. The Polaroids were not holding up well to the ravages of time. Mottled, chromatically adulterated, and otherwise on their way out, they nevertheless showed a kind of beauty that appears only when decay sets in.

The works, shown together as a series called Proof, suggest that since time cannot be stopped, nor its ravages reversed, the artist—and perhaps all of us—would do better to embrace the signposts of age and change rather than endeavor vainly to mitigate them. Froelick Gallery, 714 NW Davis St., 222-1142.

Closes April 30.

Holly Andres

Holly Andres is known for her eerie narrative photographs, which often weave stories around the fundamental creepiness of small-town America. In The Fall of Spring Hill, her first solo show with Charles Hartman, she heralds the heroism of mothers protecting their children. Some of the works have the unnerving quality that has become her signature style: the pissed-off, baseball bat-brandishing mothers in The Mothers Ascending Spring Hill, and the disturbing The Mother With Child and Ax. But other works come across prosaic and flat: Unremarkable shots of watermelons and punch bowls are hard to get excited about. While these prints may play into the larger narrative, as individual statements, they lack kick. Charles A. Hartman Fine Art, 134 NW 8th Ave., 2873886. Closes May 14.

TJ Norris

TJ Norris is a local treasure, but he also exhibits his work out of town—as in, like, Europe. So when he shows his work in Portland, which he is this month at Anka, it’s cause to take notice. Norris wears two of his many hats this outing.

In B/W, he presents black-andwhite photographs of dilapidated advertising signs seen on a crosscountry road trip. The compositions have the blend of immaculate composition and eerie sterility that have become the artist’s signature. As curator, Norris teams up with Anna Solcaniova King for PXL, a group show with work themed around pixels. This is the strongest double bill Anka has mounted in a long time. Anka Gallery, 325 NW 6th Ave., 224-5721. Closes April 29.

For more Visual Arts listings, visit

BOOKS

APRIL 27 - MAY 3

= WW Pick. Highly recommended.

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

WEDNESDAY, APRIL 27

TUESDAY, MAY 3

Olga Grushin

Avel Louise Gordly

Spurred by a rumor that an exiled composer is coming back to Russia for a performance, people begin to line up outside of a shuttered kiosk to purchase tickets. As the wait grows longer and longer, the members of the queue evolve into a haphazard society. Olga Grushin’s The Line explores how waiting in line can become something else entirely. Powell’s City of Books, 1005 W Burnside St., 228-4651. 7:30 pm.

Free. All ages.

THURSDAY, APRIL 28 Art Spiegelman

Art Spiegelman, legendary former New Yorker cartoonist and artist behind the Pulitzer Prize-winning graphic memoir Maus, will be giving a talk and Q&A session on the history of comics, and the current state of the union. RUTH BROWN. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 248-4335. 7:30 pm. $70+. Tickets through ticketmaster.com

FRIDAY, APRIL 29 BALDERDASH! A Benefit for the Children’s Book Bank

Help get books to children and have fun doing it at this benefit for the Children’s Book Bank. It promises a silent auction, appetizers, wine and beer, games of Balderdash with local celebrities, and more. BodyVox Dance Center, 1201 NW 17th Ave., 229-0627. 7-10 pm. $75. 21+.

SATURDAY, APRIL 30 Write Around Portland Hosts Saturday WRITE!

Write Around Portland aims to attract people who do not normally find themselves attending writing workshops. To register, call 796-9224 or email saturdaywrite@writearound.org with your name, phone number and the workshop location you would like to attend. Visit writearound.org/events/ events.html for times and locations.

Multiple locations, 503-796-9224.

Four workshops from 10 am-noon, one from 2-4 pm. Free.

SUNDAY, MAY 1 Susie Bright

Susie Bright co-authored the first magazine of erotica written by women. She is a bold woman who is not afraid of her sexuality, as you can tell from her new memoir, Big Sex Little Death. Get in touch with the erogenous zones of your mind.

Powell’s City of Books, 1005 W Burnside St., 228-4651. 7:30 pm. Free.

MONDAY, MAY 2 Lyanda Lynn Haupt

Crow stories are Lyanda Lynn Haupt’s forte. Haupt’s Crow Planet: Essential Wisdom from the Urban Wilderness is just that, her musings about the lives of crows and how we should open our eyes to the natural world, even in the big city.

So prepare for this reading by taking a stroll through your neighborhood and observing the birds like a naturalist. Powell’s City of Books, 1005 W Burnside St., 228-4651. 7:30 pm.

Free. All ages.

If anyone has earned the right to pen a memoir, it’s Avel Louise Gordly. Remembering the Power of Words: the Life of an Oregon Activist, Legislator, and Community Leader tells of Gordly’s struggle growing up in Portland as a young black woman and how she used her passion for the power of words and her unwavering determination to attend college and become involved in causes she believed in. She was the first African-American woman

to be elected to the Oregon Senate and is currently associate professor in the Black Studies department at PSU. Broadway Books, 1714 NE Broadway, 284-1726. 7 pm. Free.

All ages.

FOOD & DRINK

Doug Magedanz

The Oregon Archaeological Society presents Doug Magendanz, curator for the Architectural Heritage Center, with an illustrated talk, “Curator’s Choice: Selections from the Collections.” The presentation will include historic images of regional architecture and architectural fragments that offer a glimpse of how this area looked in the past.

OMSI, 1945 SE Water Ave., 503-7273507. 7:45 pm. Free. All ages.

For more Words listings, visit

reviews, events & gut reactions Page 25

REVIEW

DAVID FOSTER WALLACE THE PALE KING Perhaps no American writer of the past 25 years has inspired more devotion, hope and resentment than David Foster Wallace.

When his dense-prosed, blockparagraphed doorstopper, Infinite Jest, dropped in 1996, it felt to many of us that the book actually gave literature a chance to truly matter again—that a novel could actually still be an integral part of Boredom ain’t boring. what it meant to exist here, now, as a shared culture rather than merely an aggregation of disjointed marketing categories.

Others were more interested in calling him out as a hoax, a hollow and banal stylist. People who had not read the book told people who had read the book that doing so made them foolish or pretentious. Still: It seemed important to have an opinion.

The root of why Wallace is so loved but also so infuriating is because he doesn’t always offer literature’s traditional comforts— economy, balance, absorption into character. Proust, Harold Brodkey, William Gaddis and also Wallace do not create perfect books or well-made stories but rather flabby-seeming repositories of language, unlikely observation and deeply human empathy; the world seems new because newly described, understandable because conscientiously articulated, but their books spill over as sloppily as the world.

The excerpts of his posthumous, unfinished The Pale King (Little Brown, 560 pages, $27.99) that were published in The New Yorker and Harper’s seemed, nonetheless, a little airless—devoid of entertainment or joy or possible redemption. This turns out to be no accident: The book’s stated goal is to escape the damaging need for entertainment altogether, to find the heroism in boredom and the bliss that lies in transcending it. But boring isn’t remotely what the book becomes, even though it mostly takes place in an IRS office.

It is a book of wildly disparate, hyperbolic set pieces, stunningly described small moments of doubled consciousness or examinations of character. Again and again, the capacity to withstand the mind-crushing boredom required to be an IRS examiner is shown to be a product of brutal damage or a denial of those qualities that make us human. One of the examiners, Stecyk, can only do right, is always polite and attentive. He is also the most hated man alive.

Toni played dead while she watched her own mother murdered, and David Wallace (yes, that’s the author) is so disfigured by acne he can’t be looked at.

The effect on the reader is an absorption of sorts, but one without a climax, just a continuing, engaging engagement of a problem deep in the fabric of American bureaucratic life. It is also a deeply moving, deeply intelligent work, despite that neither the work nor its author was able to complete its project of transcending the boredom that’s just plain killing us, or the need for entertainment that’s doing the same. MATTHEW KORFHAGE. READ IT: The Pale King is in bookstores now.

Willamette Week APRIL 27, 2011 wweek.com

45

MOVIES

APRIL 27 - MAY 3 DATES HERE REVIEW

= WW Pick. Highly recommended.

Editor: AARON MESH. 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: amesh@wweek.com. Fax: 243-1115.

African Cats

spaghetti!” Hollywood Theatre. 7:30 pm Friday and Sunday, April 29 & May 1.

NEW

The graphic novel about the supernatural P.I. now stars Brandon Routh. Not screened for critics. PG-13. Clackamas, Eastport, Broadway, Bridgeport, Lloyd Center.

Disneynature visits lions and cheetahs. Not screened for critics. G. Cedar Hills, Clackamas, Eastport, Bridgeport, Evergreen, Lloyd Center.

Aguirre, the Wrath of God

99

[FOUR NIGHTS ONLY, REVIVAL] Once upon a time, Werner Herzog was fucking bonkers. He’s still missing a few sandwiches, picnic-wise, but he’s more quotable Muppet than potentially homicidal maniac these days.

We’re talking 1972 here, when dude was crazy. But, as it turned out, not as many cards short, deck-wise, as Klaus Kinski, who, if he were still alive, would decapitate your grandmother if he had any reason to suspect she hid spare change in her neck. So of course Werner had to hook up with this loon ASAP. And where do two fruitcake Germans go on their first date? The Amazon, naturally, to make a movie about Lope de Aguirre, the mutinous conquistador with a hard-on for the mythical city of El Dorado. By dint of being just a smidge more unhinged than Werner and Klaus, Aguirre was the only man worthy of launching one of the greatest psychotic partnerships in film history. CHRIS STAMM. Clinton Street Theater. 7 and 9 pm FridayMonday, April 29-May 2.

Arthur

32 Russell Brand attempts to squeeze into Dudley Moore’s tiny shoes in this misbegotten remake of 1981’s unapologetic ode to crapulent dandyism, and it’s as sad and exhausting as a threeday bender’s blighted home stretch.

PG-13. CHRIS STAMM. Cedar Hills, Clackamas, Oak Grove, Broadway, Cinema 99, Bridgeport, Evergreen, Hilltop, Sandy.

Atlas Shrugged: Part 1

27 This jerry-built adaptation doesn’t plunge us into Ayn Randland so much as assume we’ve been marinating in this bizarro world for half a century: Villainous characters say things like “I’m giving the money to the less fortunate” with the same mustache-twirling sneer traditionally reserved for “I’m going to burn down the orphanage and build condominiums over the dead babies’ bodies.” PG-13. AARON MESH. Fox Tower, Bridgeport, Eastport.

Bill Cunningham New York

82 Arriving with the prized imprimatur (and fonts) of the Sulzberger Times, director Richard Press’ graceful documentary is deceptively spontaneous—a quality it shares with fashion photographer Cunningham’s “On the Street” column. AARON MESH. Living Room Theaters.

Cedar Rapids

50 Miguel Arteta hosts a Midwestern potluck of current indie-comedy talent, which means it isn’t very ambitious, and only superficially funny. R. AARON MESH. Living Room Theaters.

Certified Copy

77 It’s middling Abbas Kiarostami,

but it also might be Juliette Binoche’s greatest achievement. CHRIS STAMM. Living Room Theaters.

The Conspirator 68 Although the film is ostensibly

a re-enactment of the trial of Mary Surratt, the sole woman accused of partaking in the plot to assassinate Abraham Lincoln, Robert Redford’s intentions are clear the moment the other alleged co-conspirators are dragged in front of a military tribunal wearing Guantánamo-style hoods.

It only gets more obvious from there. PG-13. MATTHEW SINGER. Cedar Hills, Eastport, Tigard.

NEW

Cut Throats Nine

[ONE NIGHT ONLY, REVIVAL] They say it’s the most violent spaghetti western ever made. We say, “Yay! Blood on the

46

NEW

NEW 59

Dylan Dog: Dead of Night

The Elephant in the Living Room

Terry Brumfield and Tim Harrison both wake up in the morning thinking about animals. For Brumfield it’s Lambert, the African lion he loves like a child and keeps in his yard.

In Harrison’s case, it’s more likely a 16-foot Burmese python or another one of the hundreds of escaped exotic pets he’s had to capture in his job as a public-safety officer in Dayton, Ohio. Both men are brought vividly to life in The Elephant in the Living Room, a documentary about people who own wild animals, and the headaches they cause.

A number of states (including Oregon, in 2009) have outlawed exotic pets, and the movie focuses on the growing conflict between pet owners and the authorites. The film was funded by the Humane Society of the United States, and from the opening scenes of Lambert pacing in his tiny cage, there’s little doubt which side director Michael Webber ultimately takes. From Brumfield, a disabled truck driver of limited mental capacity, to the CzechAmerican trophy wife who insists on keeping panthers in her living room, it’s not overly difficult to portray exotic-pet owners as some of the most pathetic human beings imaginable.

But Webber still manages to portray them—and Harrison, the animal cop— with a sympathetic touch that makes for a fascinating, if one-sided, film. PG. JAMES PITKIN. Lloyd Mall.

NEW

Fast Five

Vin Diesel vs. Dwayne “The Rock” Johnson. How could this not be screened for critics by WW press deadlines? Look for a review on wweek.com.

PG-13. Cedar Hills, Clackamas, Eastport, CineMagic, Cinetopia, Cornelius, Oak Grove, Pioneer Place, Cinema 99, Bridgeport, Evergreen, Hilltop, Lloyd Center, Lloyd Mall, Tigard, Sandy, St. Johns Twin Cinema-Pub. NEW Green Fire: Aldo Leopold and a Land Ethic for Our Time

[ONE NIGHT ONLY] A documentary about the early ecologist and forestry innovator. World Forestry Center, Miller Hall, 4033 SW Canyon Road. 3 and 7 pm Wednesday, April 27.

Hanna

65 If there were an Oscar for location scouting, Hanna would be the 2011 front-runner; as it is, the eerie moonscapes throughout the film (Finnish ice floes, orange-tiled Berlin subway stations, granite military compounds under the Moroccan desert) help compensate for a script that feels a little too eager to be a punky parable. PG-13.

AARON MESH. Cedar Hills, Clackamas, Eastport, Cinetopia, Cornelius, Oak Grove, Cinema 99, Bridgeport, Evergreen, Fox Tower, Hilltop, Lloyd Center, Tigard, Sandy, St. Johns Twin Cinema-Pub.

NEW 74

Henry’s Crime

Boy, there’s just not much to do in Buffalo. Henry (Keanu Reeves) is a patsy in a bank heist, and when he gets finished with hard time, he decides to actually rob the bank he was falsely imprisoned for robbing, because like I said: not much going on. But there’s quite a bit happening in the movie, where the whimsical premise rings false but everything else feels unexpectedly true. The key is in the performances: Reeves’ sleepwalking quality develops a passive charm (Henry makes Mark Wahlberg’s character in The Fighter seem comparatively proactive); James Caan looks like a kid in a money shop, playing a confidence man with a gift for

Willamette Week APRIL 27, 2011 wweek.com

GUESS WHO’S COMING TO DINNER: Natthakarn Aphaiwonk, Sakda Kaewbuadee and Jenjira Pongpas around the family table.

EXIT GHOST MONKEY UNCLE BOONMEE IS A THAI DISH OF DEATH YOU HAVE TO TASTE.

BY CHR IS STA MM

243-2122

Until movies can cure acne and anxiety disorders, praising a film as “life-changing” will remain the sneakiest and saddest kind of critical grandstanding—look at me and my fibromyalgic aesthetic sensitivity!—and so, as much as I would love to tell you that Uncle Boonmee Who Can Recall His Past Lives changed my life and might possibly change yours, I won’t, because it didn’t, not in the way a truly transformative event like war or circumcision does. But I have seen Thai director Apichatpong Weerasethakul’s magnificent new film a few times since its visit to the Portland International Film Festival in February, and it persists in so disarming and enchanting me that I cannot even try to skirt the shrubbery here: Uncle Boonmee is a nearly perfect movie, and I want you to see it, because watching it and thinking about it has made me happy to be alive, and I want to share this joy with people. It’s just that simple.

Which is not to say it is a simple movie, not really. It is and it isn’t. Like the shape-shifting and time-traveling wraiths and beasts and humans populating the film itself, it is a thing contentedly adrift in the in-between. In six long, clearly demarcated sequences, the ailing title character humbly goes about the business of coming to terms with the slow dissolution of his being. Kidney failure has made Uncle Boonmee weak and tired, and as he works to persuade his sister-in-law to take over his farm after he departs, emissaries from the spirit world begin to encroach. They’re not underworld vultures spying carrion, but consolers, benevolent guides to the unknown briefly manifesting as uncanny chimerae.

In the movie’s most powerful sequence, which comprises 25 minutes of terrifying, surreal, surprisingly funny, downright peerless filmmaking—it could stand alone as one of the greatest short films ever made—Boonmee’s al fresco supper is interrupted by the ghost of his dead wife before his long-vanished son appears as a crimson-eyed mon-

key ghost with a warning for Boonmee: “There are many beings outside right now. Spirits and hungry animals like me. They sense your sickness.” The film only gets weirder, as in a subsequent sequence depicting what might be Boonmee’s past life as a princess who, distraught, is drawn into sexual congress with an amorous catfish. This all sounds outlandish, and it is, but Weerasethakul’s deadpan reverence renders the sheer oddity into something more profound and universal. Boonmee is an initiate, and those he has loved the most, even those he has himself been, have come back—as memories or ghosts or visions, it doesn’t really matter—to assuage his fears, to gently usher him through.

It’s easy and eminently pleasurable simply to acquiesce to the film’s lapping beauty, to enter into it as you would a dream. However, while its occupation of some twilit territory between wideeyed clarity and daymare impenetrability certainly encourages a kind of hypnotized abandonment to Weerasethakul’s rhapsody in blue and green, Uncle Boonmee is not only concerned with one man’s mystical journey. The film is actually the final installment in a multifilm project called “Primitive,” a series of shorts and installations exploring the Thai village of Nabua, its fraught political history and its haunted present. Boonmee certainly stands alone, and you need not explore “Primitive” further to appreciate its wonder, but it is a multivalent ghost story, as much about one man’s wispy memories as a disappeared community’s collective recollection.

When Boonmee, nearing his end, journeys at dusk to the cave in which he was once born, monkey ghosts standing guard, he has a vision of the future, a future wherein lights travel through people to project images. Weerasethakul is referring, of course, to this very film itself: a vision of a place that is also no place, about people who are not people, a village as it is and once was, a present that is a past that is a future. And in the end, it is a vision of the power of film itself to once in a while reduce the epic mess of existence into something we can hold in our heads for seconds at a time. It is glorious.

98 SEE IT: Uncle Boonmee Who Can Recall His Past Lives opens Friday at the Hollywood Theatre.

APRIL 27 - MAY 3

NEW 55

Hop

38 The holiday rabbit is front and center in the form of E.B., the heir to the Easter Bunny dynasty. This being a big studio project, E.B. is a flannel-sporting, jellybean-crapping slacker voiced by Russell Brand. PG. AP KRYZA. Cedar Hills, Clackamas, Eastport, Cornelius, Moreland, Oak Grove, Broadway, Cinema 99, Bridgeport, Evergreen, Hilltop, Lloyd Mall, Tigard, Sandy.

House (Hausu)

97 [ONE WEEK ONLY, REVIVAL] Detailing the specifics of House will only spoil the fun, but suffice it to say an ass-munching flying head, a feline pianist, blood-spewing art, a dancing skeleton, a slow-motion white pony and a killer baby-grand recital all figure prominently into one of the weirdest films ever crafted.

AP KRYZA. Cinema 21. 8:45 pm Friday-Thursday, April 29-May 5.

I Am

29 The high point is watching director Tom Shadyac control the energy field of a petri dish full of yogurt with his feelings about his lawyer.

KELLY CLARKE. Broadway.

NEW

cent sadism. At least I finally know what an Iñárritu film stripped of coincidence and temporal tomfoolery would be like: still empty, only more so. R. CHRIS STAMM. Fox Tower.

Insidious

30 If you cast your eyes downward, you should see letters P and G and number 13 all bolded there.

That should probably tell you everything you need to know about how “horrific” the latest horror flick from the Aussie duo behind Saw, Leigh Whannell and James Wan, really is.

PG-13. RUTH BROWN. Clackamas, Forest, Cinema 99.

CONT. on page 48

REVIEW

Hoodwinked Too! Hood vs. Evil

The answer to your prayers, if you’ve been praying for a midtier production company to make an animated version of Mission: Impossible featuring the principal characters of the Little Red Riding Hood fairy tale. If this is the case, you probably aren’t reading this review. Your parents might be; lucky for them, they’ll find some adult-oriented dialogue and nods to films like GoodFellas and The Silence of the Lambs amongst the varied levels of expected children’s humor in this fairy-tale populated universe. Unfortunately, the inevitable and annoyingly repeatable catch phrases intrinsic to the genre are also present (muffins! schnitzel!). To that parental demographic, I implore: Do not let your children experience these iconic characters solely through films like this. At the very least, such movies are far richer having experienced the original fables. To paraphrase the evil bunny Boingo, while parodying Hannibal Lecter: “Nobody reads books anymore, movies are quite better.” Prove the evil bunny Boingo wrong. PG. JUDGE BEAN. Cedar Hills, Clackamas, Eastport, Cornelius, Oak Grove, Pioneer Place, Cinema 99, Bridgeport, Evergreen, Hilltop, Lloyd Mall, Tigard, Sandy.

21

but In a Better World is essentially a Waterston-less Law & Order that presses a hot button until it’s cold as death. Give me 10 seconds and save yourself 118 minutes: Bullied kid and slightly unhinged friend, having been respectively bullied and unhinged long enough to lose all perspective, eventually resort to pyromaniacal revenge tactics that totally backfire in ways that you will see coming from two tedious hours away. The spatchcocked images of “African trouble”—sliced bellies, dead kids, maggot-infested wounds—amount to little more than decontextualized shock tactics, nasty breaking-news reports interrupting the regularly scheduled soap opera about pubes-

COURTESY OF PIFF

shoveling piles of bullshit; and Vera Farmiga perfectly conveys the mannered theatricality of a regional-company thespian, while remaining fairly irresistible. Really, Malcolm Venville’s entire movie rides on chemistry: between Reeves and Caan, between Reeves and Farmiga, and between Farmiga and Caan, who engage in a delightful little slap-fight in a parked sedan. The plot is well-worn material (though the addition of gunshots to The Cherry Orchard is a surprise, one that even Artists Rep hasn’t thought of), but the movie inhales an atmosphere of resigned failure—when a bank security man brags he could get the Bills back in the Super Bowl, his partner moans: “Perfect. Another chance to lose”—and breathes out something with real zest. I found myself hoping with increasing fervor that these fully realized characters would, for once, win for losing. R. AARON MESH. Fox Tower.

MOVIES

In a Better World

Susanne Bier’s turducken of shamelessly overwrought mixed messages goes to risible lengths to locate a salient lesson about the nature of violence, and because you can’t put “risible” and “nature of violence” in the same room these days without some meaningless statue being born, this insult to time’s passage won the Oscar for Best Foreign Film (That You Will Totally Forget One Week From Now) this year. Bier attempts to complicate her pat morality play with a subplot about the Kenyan civil war,

SHELL SHOCK JOCK: A soldier in Armadillo.

ARMADILLO Midway through a battle in the searing Danish documentary Armadillo, the camera suddenly becomes shaky, then virtually still, as if moving underwater. Bullets and debris flash across the screen to a symphony of chaos—explosions, gunfire, screams. The world slows to a crawl. It’s an odd time for artful editing. People are dying. But this isn’t embellishment. Cameraman Lars Skree has taken a bullet, and we’re watching the world through the eyes of a wounded man.

Documenting fear requires fearlessness. The recent deaths of documentarian Tim Hetherington and photographer Chris Hondros in Libya are grim reminders of the dangers journalists and filmmakers face in their attempts to show us the human sides of horror half a world away. Hetherington’s death looms large when pondering Armadillo, and not only because the film serves as a sister piece to the late documentarian’s brilliant Afghan doc Restrepo.

Filmmakers Janus Metz Pedersen and Skree capture, in starkly intimate detail, six months in the lives of young Danish soldiers: the boredom of waiting for something to happen and, when it does, the terror of a world where friends and humanity are among the casualties.

Yet Armadillo doesn’t immediately register as a documentary.

Pedersen captures the men—boys, really—in conversations among themselves, forgoing on-camera interviews in favor of Hollywoodstyle shot/reverse shot editing. Early scenes of the men enjoying rowdy send-off parties are shot like Guy Ritchie films, with rapid-cut editing and the requisite heavy-metal soundtrack. That’s where Armadillo breaks from Restrepo’s fly-on-the-wall style. It’s filmed like an action flick, so we feel just as disconnected as the soldiers, whose boredom manifests in chest-thumping bloodlust and manufactured bravado. We watch one grunt gleefully laying waste to baddies in Call of Duty and see the same thirst when he looks down his scope—only to watch that gung-ho expression dissolve into that of a frightened child as reality sets in.

Pederson and Skree’s intimacy with the soldiers—now their protectors—allows them to capture war in all its horror. On the battlefield, good men are turned into feral beasts. Strong men crumble. All along, the camera lingers, eventually capturing a potential war crime and its subsequent investigation by military police. Armadillo ranks among film’s most harrowing and personalized accounts of war. Pedersen and Skree (who survived his ordeal) have created a portrait of lost innocence in an era of mechanized war. It’s filmmaking at its most mesmerizing and fearless.

As such, it’s absolutely terrifying. AP KRYZA.

In war reporting, courage means scaring others.

93

WWEEKDOTCOM

EAT MOBILE DOES FORKTOWN FOOD CART TOURS Eat Mobile and Forktown Food Tours have teamed up with EcoShuttle for two bus tours of carts in their natural habitats.

Survey the best of the city's food carts.

FOOD CART TOURS THIS WEEKEND: Friday 4/29, 11 am-2 pm: Lunchtime Cart Hop Saturday 4/30, 6-9 pm: Southeast Sunset Snack-a-Thon

Tickets for each tour are $45 and include samples at 8-10 cart stops and non-alcoholic beverages on the bus.

All ages. Space is limited, reserve your spot now. Go to forktown.com for details. 503.234.3663

SEE IT: Armadillo opens Friday at the Hollywood Theatre.

Willamette Week APRIL 27, 2011 wweek.com

47

MOVIES

BREW VIEWS

Irma Vep

[THREE NIGHTS ONLY, REVIVAL] Olivier Assayas dresses Maggie Cheung in a latex catsuit in 1996. We love the ’90s. 5th Avenue Cinema. 7 and 9:30 pm Friday-Saturday, April 29-30. 3 pm Sunday, May 1.

Jane Eyre

77 A word of warning for fans of

PA R A M O U N T P I C T U R E S

NEW

APRIL 27 - MAY 3

sweeping period romances: This is not the Jane Eyre you are looking for. Young director Cary Fukunaga and screenwriter Moira Buffini pull everything dark out of Charlotte Brontë’s classic novel and unleash it in all its gothic glory on the big screen. PG-13. RUTH BROWN. Fox Tower.

Legend of the Fist: The Return of Chen Zhen

★★★★★

WINNER WINNER

“A MODERN MASTERPIECE.” –TIME OUT NEW YORK

2010 2010CANNES CANNES FILM FILMFESTIVAL FESTIVAL

STRAND RELEASING presents

UNCLE BOONMEE Who Can Recall His Past Lives

64 If Donnie Yen looks familiar rocking a black leather getup— complete with Kato mask—and howling like a deranged chicken while beating asses in the name of Chinese nationalism, there’s a damn good reason. The titular character of Legend of the Fist: The Return of Chen Zhen is the Philip Marlowe of kung fu cinema. AP KRYZA. Hollywood Theatre.

Limitless

71 Neil Burger’s camera tunnels

forward through Manhattan streetscapes, and when Bradley Cooper’s high wears off, the image literally flips, so that he is vomiting vertically upward, into the air and onto his shoes. PG-13. AARON MESH. Clackamas, Cinetopia, Pioneer Place, Tigard.

The Lincoln Lawyer

a film by APICHATPONG WEERASETHAKUL

HOLLYWOOD THEATRE STARTS FRIDAY, 4122 NE Sandy Blvd., Portland (503) 281-4215 APRIL 29

VISIT US ON FACEBOOK

WWW.STRANDRELEASING.COM

3.85" X 2" WED 4/27 PORTLAND WILLAMETTE WEEK (circle one:) AE:GUEST Artist: (circle one:) INVITE YOU AND A TO A SPECIAL ADVANCE SCREENING Angela Maria Josh Heather Staci Freelance 2

Aurelio Emmett

Jay

Steve

Freelance 3

or after the movie!

Deadline:

Book your appointment today at 503-223-7847.

At Aequis, we celebrate the ritual and ceremony.

It is what we do and what makes us who we are. aequisspa.com

Bring this ad in or mention BRIDESMAIDS THE MOVIE while scheduling an appointment and receive 15% off any single service! unless scheduling more than one service for yourself! Offer good through May 31, 2011.

TUESDAY, MAY 10 7:00 PM LLOYD CENTER CINEMAS

FOR A CHANCE TO WIN A COMPLIMENTARY PASS FOR TWO, SEND US A PHOTO OF YOUR WORST BRIDESMAIDS DRESS AND A SELF-ADDRESSED, STAMPED ENVELOPE TO THE ADDRESS BELOW. Attn: BRIDESMAIDS Janet W ainwright PR, Inc. P.O. Box 47087 Seattle, WA 98146 ENTRIES MUST BE RECEIVED NO LATER THAN W EDNESDAY, MAY 4.

BRIDESMAIDS is rated R for som e strong sexuality, and language throughout. Seats are first-come, first-served.

W hile supplies last. Only a limited number of passes available. Limit 1 pass per person. Each pass admits 2.

Seating is not guaranteed. Arrive early. Theater is not responsible for overbooking. Screening will be monitored for unauthorized recording. NO PURCHASE NECESSARY. NO PHONE CALLS!

IN THEATERS MAY 13 48

67 Matthew McConaughey is a

lawyer who rides around in the back of a black Lincoln Continental with the custom license plate “NTGUILTY.” The movie is NTGOOD, exactly, but it’s NTBAD, either. Proceed, counselor. R. AARON MESH. Cedar Hills, Clackamas, Eastport, Briadgeport.

Meek’s Cutoff

93 “We’re close, but we don’t know

what to.” These lines, spoken in an

ART APPROVED apprehensive hush near the close of Kelly Reichardt’s pioneer drama AE APPROVED Meek’s Cutoff, are a key to what makes her film—which is methodiTim McCool CLIENT APPROVED cal, arid, uneventful and without resTake your girls out before

nfirmation #:

Willamette Week APRIL 27, 2011 wweek.com

LIZARD SCROUNGE: Ain’t it funny that two of the stronger films out of the 2010 gate are westerns? Sure, Rango and Meek’s Cutoff couldn’t be more distinct in tempo— Gore Verbinski’s cartoon is frantic where Kelly Reichardt’s Oregon Trail convoy is still. Plus, Rango stars a screaming chameleon. But spot how both movies begin submerged in cool water, and then turn into a dire search for hydration. While the pioneers on Meek’s wagon train debate where to find an alkali-free lake, the hideous citizenry of Rango’s town, Dust, gather for occult ceremonies at the base of a sacred faucet. Together, these pictures make a fellow plumb thirsty. AARON MESH. Academy, Bagdad, Kennedy School, Laurelhurst, Valley. Best paired with: Full Sail Amber Ale. Also showing: Octopussy (Laurelhurst).

olution—so improbably thrilling. It saturates an audience with the sensations of what it was like actually to be on the Oregon Trail: the complete disorientation, the exhausting routines as a means of warding off fear, the paranoia of being surrounded by so much silence but being unable to quite hear the most important conversations. It is a vision of the West different from and more intimate than any I have seen before, and it sets a high-water mark for the Oregon film renaissance. PG. AARON MESH. Fox Tower.

Of Gods and Men

87 A deeply serious study of devo-

tion and doubt as experienced by a brotherhood of French monks whose quiet lives of prayer and community service (and a whole lot of puttering in the garden) are threatened by the Algerian Civil War. I emerged from the theater with some understanding of how grace might feel, and I liked it. PG-13. CHRIS STAMM. Living Room Theaters.

NEW Phil Ochs: There But For Fortune 88

[THREE NIGHTS ONLY] Some of Phil Ochs’ best songs are all but lost to history. His most political material is just never going to strike a chord with young people of today—the outspoken folkie wrote songs that were torn from the headlines (see his 1964 debut album, All the News That’s Fit to Sing), and let’s face it, ultra-specific diddies about the Cuban Missile Crisis aren’t exactly racing up the charts these days. But Ochs, a big-hearted kid from Ohio who also wrote some beautiful, elegant folk songs, is still one hell of a compelling character—

especially when his story is told with the patience and care that There But For Fortune uses in presenting the life of one of the great underdogs in American music. The film, through dozens of interviews with famous artists and friends in low places alike, builds a portrait of Ochs that manages to delve into his discography and offer an emotional authenticity at the same time. Candid archival audio interviews with the singer himself reveal a keen intellect and rare self-awareness—there’s foreshadowing in that material that haunts the viewer long after the film is over. There But For Fortune is that rare documentary that’s as sensitive and ambitious as its subject—it deserves your full attention whether you’re an Ochs fan or you’ve never even heard of the guy. CASEY JARMAN. NW Film Center’s Whitsell Auditorium. 7 pm and 9 pm FridaySaturday, April 29-30. 4:30 pm and 7 pm Sunday, May 1.

NEW POM Wonderful Presents: The Greatest Movie Ever Sold

35 I imagine the conceit of The Greatest Movie Ever Sold sounded oh-so-clever to Morgan Spurlock when he first dreamed it up: Make a film about product placement in movies by filming himself selling product placement into the movie itself, and thereby exposing the big Hollywood secret that: Brands pay money to put their products in movies! Did you hear me? THEY HELP FINANCE THE FILMS BY PUTTING THEIR PRODUCTS INTO THEM! Oh…you knew that? Your 7-year-old knows that? Forgive my facetiousness, but the very concept of this film is inherently flawed. The actual movie is amusing enough: Spurlock talks moronic marketing people from largely D-list brands (Sheetz, POM Wonderful, Amy’s Organic Pizza—damn you, rapacious Amy’s Organic Pizza!) into sponsoring the project, mocking them and their products as he fulfills his part of the deal by including them in the film. There are some irrelevant interviews with Noam Chomsky and Ralph Nader, some more relevant ones with Quentin Tarantino and Brett Ratner (who basically just shrug, because: duh). It’s occasionally very funny, often mildly funny, and winds up with Spurlock smugly

declaring that the entire $1.5 million film was financed by these suckers.

And then you leave the cinema wishing it had been 30 minutes shorter and thinking about Sheetz, POM Wonderful and Amy’s Organic Pizza. Who’s laughing now? PG-13.

RUTH BROWN. Fox Tower.

Potiche

54 Catherine Deneuve takes the reins of the factory run by her piggish husband (Fabrice Luchini).

It makes umbrellas. Yep, as in Cherbourg. François Ozon’s winking, 1977-set gender skirmish is painted in the Technicolors of Demy’s musical, though it also looks a lot like the set of The Brady Bunch. It could use a laugh track. R. AARON MESH. Fox Tower.

NEW

Prom

It’s the night we all get laid! Except it’s a Disney movie, so we probably won’t. Not screened by WW press deadlines; look for a review at wweek.com. PG. Cedar Hills, Clackamas, Eastport, Cornelius, Oak Grove, Pioneer Place, Cinema 99, Bridgeport, Evergreen, Hilltop, Lloyd Center, Tigard, Sandy, Wilsonville.

Queen of the Sun

80 The vivid documentary from

Portlanders Taggart Siegel and Jon Betz (the same team behind The Real Dirt on Farmer John) packs a wealth of disturbing and delightful info nuggets about bees—those buzzing harbingers of doom—in less than 90 minutes. KELLY CLARKE. Hollywood Theatre.

Queen to Play

Kevin Kline plays chess. In French.

Living Room Theaters.

Rio

63 The new Fox cartoon begins with a Busby-Berkeley-in-Brazil number, a computer-choreographed cavalcade of tropical feathers. But then Man Is in the Rain Forest, and Rio never regains that first kinetic burst. Eventually, more little CGI birds get made, and I didn’t mind that. I’m only human—I like artificial colors and flavors. G. AARON MESH. Cedar Hills, Clackamas, Eastport, Cinetopia, Cornelius, Lake Twin, Oak Grove, Pioneer Place, Cinema 99,

APRIL 27 - MAY 3

MOVIES

“MICHELLE WILLIAMS EXCELS!”

MICHAEL WEBBER

Bridgeport, Evergreen, Hilltop, Lloyd Center, Lloyd Mall, Tigard, Sandy.

A FILM BY KELLY REICHARDT DIRECTOR OF “WENDY AND LUCY”

Scream 4

Neve Campbell, Courteney Cox and David Arquette are back, possibly because they have nothing else to do. Not screened for critics. R. Cedar Hills, Clackamas, Eastport, Forest, Cornelius, Oak Grove, Broadway, Bridgeport, Evergreen, Hilltop, Lloyd Center.

ELLE MAGAZINE

MEEK’S

CUTOFF

Soul Surfer

Source Code

93 The director Duncan Jones must

understand the desire to recapture a fleeting experience: His alone-withmy-clone movie Moon was one of the handful of films in recent years to develop a devoted cult following, and he has returned to the same theme of multiple lives for a largerscale sophomore feature, Source Code. Lightning has struck twice: Source Code is the best science-fiction film since Moon, and may prove the finest picture of this year. I think I’m going to love it for a long, long time. PG-13. AARON MESH. Cedar Hills, Clackamas, Eastport, Cinetopia, Moreland, Oak Grove, Bridgeport, Evergreen, Fox Tower, Lloyd Center, Tigard, Sandy, St. Johns Twin Cinema-Pub. NEW

Stake Land

44 [ONE WEEK ONLY] In its best moments, Jim Mickle’s grotty vampire movie runs off a clever premise: When America finally succumbs to apocalypse, the whole country will turn into West Virginia.

In its backwoods setting, with cold winter dust motes and moldering, ruined factory buildings, Stake Land tries to combine the vampire genre with the lyricism of early David Gordon Green and Terrence Malick—much like Shaun of the Dead and its knockoffs melded zombie tropes with BBC sitcoms. (In one shot that could be a parody of Green’s Undertow, our teenage hero sits by a rotten pond at sunset, listlessly tossing bricks at the head of a burnt corpse.) But is imitating a better class of movie really a sign of originality? Stake Land has none of its predecessors’ bracing humor and no new conception of bloodsuckers—they behave exactly like the zombies you’ve seen in a dozen other movies, or the vampires in Buffy: cake-faced, screaming and writhing. The title (ah yes, another Land to explore) gives a rough idea of the imagination. Even the lead performance, with Nick Damici as a ruthless slayer who looks like Mickey Rourke granted a decade of youth, is instant microwave bummer. By the time Klan-like cultists start dropping vampires on helpless townsfolk via parachute, and our narrator offers a solemn voiceover in response, the movie has turned into the most outrageously terrible camping trip ever.

It’s also like The Road, but with more “Rawwwwr” and “Blaurrrrgghh” noises. AARON MESH. Cinema 21.

7 pm Friday-Thursday, April 29-May 5. 2 pm Saturday-Sunday, April 30-May 1.

NEW 73

Stranded in Canton

[TWO NIGHTS ONLY] It’s common to insult experimental film by saying it looks like some-

THE ELEPHANT IN THE LIVING ROOM body’s home movies, but that’s a clinical description of Stranded in Canton: It’s William Eggleston’s home movies, shot in 1974 on two brand-new Sony Porta-paks, which turn everybody’s skin translucent.

The collection straddles the line between “interesting even if you don’t know who William Eggleston is” and “will annoy the bejesus out of you even if you do know who William Eggleston is.” (William Eggleston is a photographer. Maybe you’ve seen his ceiling shot on the cover of Big Star’s record Radio City?) The setting is Memphis and surrounding Mississippi; the subjects are artists, musicians, drag queens, lowlifes and one very angry veterinarian. “Everyone liked Quaaludes,” the photographer recalls, and they surely do seem to enjoy them— much of the movie is hypnotic chanting and aggrieved rambling, in barrooms and parlors, with breaks to chow down on those magnificently dreadful Krystal hamburgers.

I mean it as a kind of compliment to say that Stranded in Canton most reminded me of Harmony Korine’s unjustly maligned Trash Humpers: It is night, it is the South, and the weirdos come out to play. AARON MESH. Clinton Street Theater. 7:30 pm Tuesday-Wednesday, May 3-4.

Presented by Cinema Project.

Super

58 [TWO NIGHTS LEFT] Super plays like a geek-chic Taxi Driver, if Martin Scorsese couldn’t decide whether the Schrader script was some kind of sick joke, and if he superimposed the killing of Sport with cartoon balloons reading “BANG!” and “POW!” AARON MESH. Cinema 21. 10:30 pm FridaySaturday, April 29-30.

Tyler Perry’s Madea’s Big Happy Family

68 Like a lot of pale dudes, I’ve come to Tyler Perry movies somewhat belatedly and crabwise—starting with For Colored Girls, and only now seeing my first Madea picture.

So forgive me if this has been often noted before, but what strange genre mash-ups these movies are: very straightforward, three-hanky melodramas abruptly interrupted by brassy, trashy sitcom characters who come pounding in to make everything right and everybody laugh.

It’s essentially low-production-value Almodovar broken up by short episodes of Mama’s Family. And Madea (Perry in drag) is fascinating in her own right: a self-confessed scofflaw and terrible role model who solves everybody’s problems—and reveals all their psychic wounds—with a combination of unsought advice and physical intimidation. It’s like Kramer showing up in Jerry’s apartment and beating him about the head until he starts treating Elaine better. But this movie, at least, works like gangbusters: Loretta Devine, who was spectacular in For Colored Girls, is nearly as good here as a dying mom who just wants to serve her kids some collard greens and say goodbye. I found myself engrossed by the horribleness of her grown children—at times, Big Happy Family resembles an Atlanta-set Make Way

for Tomorrow or Tokyo Story, aiming for the same emotional devastation.

Then there’s a coda of people rolling around on the floor of a Maury Povich show. Ah, well—nobody’s perfect. PG-13. AARON MESH. Cedar Hills, Clackamas, Eastport, Cornelius, Bridgeport, Lloyd Mall.

The Visual Language of Herbert Matter NEW

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[TWO NIGHTS ONLY, DIRECTOR ATTENDING] A documentary about the Madison Avenue ad man and his legacy of design. NW Film Center’s Whitsell Auditorium. 7 pm Wednesday-Thursday, April 27-28.

Director Reto Caduff will introduce the film.

Water for Elephants

REGAL CINEMAS

FOX TOWER STADIUM 10

-Kenneth Turan, LOS ANGELES TIMES

IN A BETTER WORLD A Film By SUSANNE BIER

A.M.P.A.S.

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STARTS FRIDAY, APRIL 29

THA – SF

25 The true story of Bethany Hamilton is basically a genderswitched 127 Hours, except she gets her arm stuck in a shark. There’s a scene in which the family is about to eat dinner, but Bethany reminds them they need to say grace first, but when they start to hold hands, she can’t hold hands, because she doesn’t have a hand. That sort of thing. Yes, I know I shouldn’t be so cynical, and plenty of people will be inspired by Soul Surfer to...surf, maybe, or help tsunami victims, or help tsunami victims surf. But this is the first movie I’ve ever attended where the security guards were unsuccessfully stifling laughter. PG. AARON MESH. Cedar Hills, 99 West Drive-In, Clackamas, Cinema 99, Bridgeport, Evergreen, Hilltop, Lloyd Mall, Sandy.

REGAL FOX TOWER STADIUM 10

Publication Size Run Date(s) 30 Oddly, at no time in this sur846 SW Park Avenue, Portland passingly dreary circus movie does TH (800) FANDANGO anybody fetch any water for the WILLAMETTE WEEK 3.772 x 6.052 WEDNESDAY 4.27 show’s sole elephant. The pachyVIEW THE TRAILER AT WWW.INABETTERWORLDMOVIE.COM derm is seen slurping up lemonade, and often it is served buckets of 3.825" X 2" WED 4/27 contraband hooch (it’s Prohibition, but try telling that to the elePORTLAND WILLAMETTE WEEK phant); however, there’s no watercarrying—which is strange, since you’d think with all that boozing, AE: (circle one:) Artist: (circle one:) the poor creature would be dehyAngela Maria Josh Aurelio Heather Staci Freelance 2 drated. Anyway, it’s a gorgeous elephant (played by Tai, who has also starred with Bill Murray and posed Tim McCool Emmett Jay Steve Freelance 3 for Banksy, and so may be the second-most accomplished actor here, after Hal Holbrook), and just Deadline: Confirmation #: about every scene she’s in is interesting—as opposed to just about every scene Robert Pattinson is in, which is boring. I’ve vouched for the Twilight kid’s chops before, but here he takes a nothing role and makes even less out of it. Director Francis Lawrence takes a Far and Away-style whitewashed periodpiece approach that favors dull lovebirds—including Reese Witherspoon, who was beating a hot retreat to squaresville even before she won her Oscar—over actors who are trying something: Here, that’s pretty much just Christoph Waltz and Tai, who develop a guilt-ridden abusivepartners dynamic that is so much more interesting than Pattinson and Witherspoon making whoopee to orchestral flourishes. No movie set on a train can be completely worthless, but Water for Elephants comes very close. PG-13. AARON MESH. Cedar Hills, Clackamas, Eastport, Lake Twin, Living Room Theaters, Cinetopia, Cornelius, Oak Grove, Pioneer Place, Cinema 99, ALCON ENTERTAINMENT PRESENTS A 2S FILMS PRODUCTION A WILD OCEAN FILMS PRODUCTION A LUKE GREENFIELD FILM KATE HUDSON GINNIFER GOODWIN JOHNCO-KRASINSKI “SOMETHING BORROWED” COLIN EGGLESFIELD STEVE HOWEY Bridgeport, Evergreen, Hilltop, Lloyd EXECUTIVE MUSIC

BY ALEX WURMAN PRODUCERS YOLANDA T. COCHRAN AND STEVEN P. WEGNER PRODUCER ELLEN H. SCHWARTZ Center, Tigard, Sandy.

PRODUCED

BY HILARY SWANK MOLLY MICKLER SMITH BRODERICK JOHNSON ANDREW A. KOSOVE AARON LUBIN AND PAMELA SCHEIN MURPHY BASED ON SCREENPLAY DIRECTED

BY LUKE GREENFIELD THE NOVEL “SOMETHING BORROWED” BY EMILY GIFFIN

BY JENNIE SNYDER URMAN

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Willamette Week Wed 04.27

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Win Win

81 In Tom McCarthy’s redoubtable

indie film, Paul Giamatti plays Mike, a New Jersey high-school wrestling coach who takes in a runaway (Alex Shaffer), who turns out to be a champion high-school wrestler. This is perhaps one coincidence too many for the movie to bear, but Shaffer recalls Sean Penn’s Spicoli in Fast Times at Ridgemont High. R. AARON MESH. Fox Tower.

May 2 at 7:00 PM in Portland To download your tickets, go to gofobo.com/rsvp and enter the RSVP code: WWEEKHNS2 This film is rated PG-13 for sexual content including dialogue, and some drug material. Tickets are available while supplies last. Tickets received through this promotion do not guarantee admission. Seating is on a first-come, first-served basis. THEATRE IS OVERBOOKED TO ENSURE A FULL HOUSE. No one will be admitted without a ticket or after the screening begins. All federal, state and local regulations apply.

A recipient of a ticket assumes any and all risks related to use of the ticket and accepts any restrictions required by ticket provider. Warner Bros. Pictures, Willamette Week, Terry Hines & Associates and their affiliates accept no responsibility or liability in connection with any loss or accident incurred in connection with use of a prize.

— www.somethingborrowedmovie.com —

IN THEATERS FRIDAY, MAY 6 Willamette Week APRIL 27, 2011 wweek.com

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