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TO ADVERTISE ON WILLAMETTE WEEK’S BACK COVER CALL 243-2122 Eating Disorders Improvisation Classes MAC REPAIR Free Family and Sufferers Support Now enrolling. Beginners Welcome!

Brody Theater 503-224-2227 PORTLAND MAC TECH Groups. 12 Week Treatment Groups.

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Individual Counseling. Call for free “Steps To Recover” brochure. A Better Way Counseling Center 503-226-9061 www.abwcounseling.com

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OCTOBER CLASSES ANAL SEX FOR EVERYBODY THURSDAY, OCTOBER 13TH • 7:30PM • $20 THE JOYS OF TOYS! WEDNESDAY, OCTOBER 19TH • 7:30PM • $10 PLEASE RESERVE YOUR SPOT ONLINE AT SHEBOPTHESHOP.COM — SPACE IS LIMITED

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EXPLORING BURLESQUE, BDSM PART 1, & G-SPOT WITH TRISTAN TAORMINO! Check website for details.

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Interested in BDSM, leather, kink, etc. www.thc-foundation.org 503-281-5100 971-222-8714.

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20 YEARS EXPERIENCE. DEBT RELIEF AGENCY. www.nwbankruptcy.com FREE CONSULTATIONS, 503-242-1162

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Experienced. Debt-Relief Agency Scott Hutchinson. 503-808-9032 www.Hutchinson-Law.com

WILLAMETTE WEEK PORTLAND’S NEWSWEEKLY

SESSION TWO: 1:00 – 2:30, BRINGING CREATIVITY AND THE ARTS IN TO THE CLASSROOM Cost: $15 if you Register Prior to October 1st. $25 If you Register AFTER October 1st or at the door.

Anita Manishan Bankruptcy Attorney

Quality used women’s clothing.

Inside It’s My Pleasure 503-280-8080.

SESSION ONE: 9:00 – NOON, AUTHORS CHARLES FADEL & BERNIE TRILLING Cost: $45 if you Register Prior to October 1st. $55 If you Register AFTER October 1st or at the door.

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North West Hydroponic R&R

We Buy, Sell, & Trade New & Used Hydroponic Equipment. 503-747-3624

The Aurora Clinic 503.232.3003 1847 E. Burnside, Portland www.theauroraclinic.com info@theauroraclinic.com PHYSICIAN OPPORTUNITIES

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18+ Paid casting call.

Make up to $1,000/day in commissions.

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Opiate Treatment Program

Evening outpatient treatment program with suboxone.

CRCHealth/Dr. Jim Thayer, Addiction Medicine www.transitionsop.com 503-348-2840

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Free removal. Ask for Steve. 503-936-5923

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Hypnotherapy works.

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SuperDigital

The Recording Store. Pro Audio. CD/DVD Duplication. www.superdigital.com 503-228-2222

Tai Chi & QiGong In Vancouver www.NWTaiChi.com 509-499-1264

THERAPY

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Adam Zwig, Ph.D. NW Location 503-227-1439 www.Adamzwigtherapy.com

THE “SOCK PUPPETS” THE PENTAGON DOESN’T WANT YOU TO KNOW ABOUT—AND 9 OTHER STORIES YOU DIDN’T HEAR FROM THE MAINSTREAM MEDIA.

P. 28

Card Services Clinic

Turned down for loan modification?

Short Sale Quinn has your solution!

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WE BUY GOLD!

open 7 days • 30 minute appts • low-income discounts Serving OR & WA • Habla Espanol

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BUY, Don’t RENT! $673 to $679 mo., No balloon! 2 or 3 bdrm, Milwaukie, Johnson City or Damascus. www.topnotchhomes.net 503-519-4216

FRIDAY, OCTOBER 14TH 9:00 AM – 2:30 PM THE TIFFANY CENTER

JiuJitsu

Bankruptcy Attorney

$499-$699 down, 2 & 3 bdrm mobile home

THE 2011 CREATING MINDS SYMPOSIUM’S DISCUSSION WITH EDUCATORS: THE FUTURE OF EDUCATION

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P H OTO : M AT T W O N G

BACK COVER

NEWS JEFFERSON SMITH TALKS. CULTURE WORDSTOCK ANSWERS. MOVIES GUS VAN SANT MEETS THE BEETLES.

STEVESIMPORTS.COM | 503.771.6701

The Jewelry Buyer 2034 NE Sandy Blvd. Portland.

503-239-6900

BY REBECCA BOWE WWEEK.COM

VOL 37/48 10.05.2011

PAGE 15

P. 51

Food Network’s “Dessert First” Host Anne Thornton – Live at Spirit Mountain Saturday, October 15th at 11 a.m.

Come see Food Network star Anne Thornton serve up scrumptious desserts and treats on stage, live in the Mountain View sports bar. The popular host of “Dessert First” will present unique baking and decoration tips just in time for the upcoming holiday season. Admission is free and includes question and answer segment followed by prize drawings for fun kitchen items and free slot play.

Anne Thornton Live!

October 15th

spiritmountain.com ~ 800.760-7977 ~ Hwy 18 ~ Grand Ronde, OR 2

Willamette Week OCTOBER 5, 2011 wweek.com

find yourse��

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in �ot wate� Holiday Spa Escape in the Columbia River Gorge Getaway this holiday season to Bonneville Hot Springs Resort and Spa. The extraordinary beauty and color of the scenic Columbia River Gorge, soothing Hot Springs Mineral Water, relaxing accommodations, over 40 relaxing body treatments, locally crafted wines, and local Northwest ingredients are just a few of the many reasons that make Bonneville Hot Springs Resort & Spa the top Gorge getaway.

Gift Card ORIENTAL ORNAMENTALS: Craig Thompson’s Habibii, page 27.

NEWS

4

HEADOUT

27

LEAD STORY

15

MUSIC

33

CULTURE

25

MOVIES

51

FOOD & DRINK

30

CLASSIFIEDS

58

STAFF Editor-in-Chief Mark Zusman EDITORIAL Managing Editor for News Brent Walth Interim Arts & Culture Editor Ruth Brown Staff Writers Nigel Jaquiss, Corey Pein Copy Chief Sarah Smith Copy Editors Matt Buckingham, Rob Fernas Assistant Arts & Culture Editor Ben Waterhouse Movies Editor Aaron Mesh Music Editor Casey Jarman Editorial Interns Emilee Booher, Emily Green, Maggie Summers, Annie Zak CONTRIBUTORS Classical Brett Campbell Dance Heather Wisner Food Kelly Clarke Visual Arts Richard Speer Erik Bader, Judge Bean, Nathan Carson, Devan Cook, Shane Danaher, Jonathan Frochtzwajg, Robert Ham, Shae Healey, Jay Horton, Matthew Korfhage, AP Kryza,

• Only 35 miles from Portland or Vancouver • 25 meter indoor lap pool filled with natural mineral hot spring water.

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Hannah Levin, Jessica Lutjemeyer, Jeff Rosenberg, Matt Singer, Chris Stamm, Mark Stock

DISTRIBUTION Circulation Director Robert Lehrkind

PRODUCTION Production Manager Kendra Clune Art Director Ben Mollica Graphic Designers Melissa Casillas, Soma Honkanen, Adam Krueger, Brittany Moody, Carolyn Richardson Production Interns Steel Brooks, Morgan Green-Hopkins, Lana MacNaughton

WWEEK.COM Web Production Brian Panganiban Web Editor Ruth Brown

ADVERTISING Director of Advertising Jane Smith Display Account Executives Sara Backus, Maria Boyer, Michael Donhowe, Drew Harrison, Janet Norman, Kyle Owens Classifieds Account Executives Ashlee Horton, Corin Kuppler Advertising Assistant Ashley Grether Marketing and Events Manager Jess Sword Marketing Coordinator Jose Tancuan Give!Guide Director Brittany Cornett Production Assistant Brittany McKeever

OPERATIONS Accounting Manager Andrea Manning Credit & Collections Shawn Wolf Office Manager & Receptionist Nick Johnson Office Corgi Emeritus Bruce Manager of Information Systems Brian Panganiban

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

Circulation: 80,000-90,000 (depending on time of year, holidays and 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

Perfect for friends or family in any amount you choose.

Call 866-743-9718

• Mineral spring filled indoor and outdoor jetted soaking pools • 78 guest rooms and suites – all with private fresh air balcony and many with natural spring filled private hot tub • Healthy dining and regional specialties in the Pacific Crest Dining Room

MUSICFESTNW Executive Director Trevor Solomon There Was Money in That Banana Stand Dan Winters

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.

A.A.N. Association of ALTERNATIVE NEWSWEEKLIES This newspaper is published on recycled newsprint using soy-based ink.

Willamette Week OCTOBER 5, 2011 wweek.com

3

INBOX BRADY’S BICYCLE MISADVENTURE There is no reason for a cop to write in a report that they were threatened with political influence unless it was true [“Pedaling By Her Own Rules,” WW, Sept. 28, 2011]. That’s only to cover their asses if [mayoral candidate Eileen Brady] does squawk and it makes it more difficult for one of her commissioner friends to intervene for her if it’s recorded in a report.... She got caught and now she’s lying through her teeth. Welcome to the city council, Ms. Brady. You’ll be a good replacement for the current lying mayor.—“Ret”

BOOT-UP FOR FALL Follow your feet to Footwise for comfortable boots

Featuring: Clarks Keen Indigo Teva Wolky

sandals•clogs•shoes•boots•socks

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FEATURING Ursula K Le Guin Colin Meloy & Carson Ellis Kim Stafford

October 12, 2011 McMenamins Mission Theater - NW Glisan Reservations: www.forestparkconservancy.org or call 503-223-5449 ext. 101 All proceeds benefit:

4

Willamette Week OCTOBER 5, 2011 wweek.com

Just because an officer made this claim doesn’t mean that it’s true. Remember what police allegedly said to witnesses of the James Chasse beating? They held up a baggie with some bread crumbs in it and told them Chasse was a drug dealer. What we have here is a citizen and an officer with two different stories, and there is no reason to assume the citizen is lying.—“Dave” What I’m troubled with is the moral equivalence given to what other candidates have done in their past. Excuse me, but riding in a path you did not know was not for bikes at the time is not the same as knowingly driving with a suspended license.

In my opinion, the latter deserves jail time. Nor is it the same as moving to Washington to avoid paying taxes.—“John” ...[T]he reason people have a problem with this story is not because, as you say, she was riding her bike on a path that she did not know was meant for pedestrians. It was clearly posted...and she ignored the officer’s warning. The issue here is that she invoked the “do you know who I am”

Metro accepts used oil for curbside recycling, but they insist that it be in a transparent container, which rules out any motor oil bottle I’ve ever seen. Why can’t we recycle used motor oil in the containers the new oil came in?

—Ugly Barry One of the great things about being Dr. Know (aside from the lovely tiara, and the power to turn milk sour with a glance) is the fact that, on the rare occasion I can’t find the answer to a question, the readers will. And that’s good, because this one is surprisingly difficult to get to the bottom of.

First things first: Metro will accept your motor oil in opaque jugs if you take it to the transfer station yourself—it’s only when you put it on the curb that it’s snubbed.

According to Metro’s Jim Middaugh, the transparent-jug rule is part of the agreement between the city of Portland and the private

rule and thinks she’s too good to follow the rules.

What, the rules don’t apply to rich white people?

That’s the problem.... It’s an example of character. That she is using this as an opportunity to claim she’s standing up for people’s rights against the police, when all the officer did was ask her to walk her bike, is ridiculous.—“Portlander” Here’s to Brady standing up for herself against police harassment.... As for the police behavior—it speaks for itself. What a waste of time and energy on their part—the only explanation has to be that Brady didn’t bow down to the officer’s abuse of his power.

—“Nola Wilken”

WORTHY ONLY OF PRAISE

We feel compelled to correct Geoff Thompson’s statement in the Sept. 28 story [“The Crucifixion of Geoff Thompson”] disparaging our beloved and recently deceased Sandra Duffy. Simply put, Sandy made this world a better place. Sandy not only gave herself to the people of Multnomah County as legal counsel for 23 years, but fought tirelessly and to great success for improved provision of health services for all.... Sandy’s love and concern for others...is her gift to those of us who were fortunate to know her. Sandy is a shining example of humanity’s potential for good, and each of us would do well to follow in her path.

Jed Tomkins, on behalf of the Office of the Multnomah County Attorney LETTERS TO THE EDITOR must include the author’s street address and phone number for verification.

Letters must be 250 or fewer words.

Submit to: 2220 NW Quimby St., Portland, OR 97210.

Fax: (503) 243-1115, Email: mzusman@wweek.com

trash haulers. A city employee then told me, unofficially, that the haulers want to be sure that it’s really oil in the jug. But since they turn over that jug, unopened, to the same transfer station that accepts the opaque jugs anyway, why should anyone care?

Here’s another interesting tidbit: In Seattle, they accept opaque jugs curbside! But they have to be one-gallon jugs, which still rules out the one-quart jugs new oil usually comes in. Suspicious, no?

Since neither of the two private haulers I called with this question got back to me, I figure I’ll just make something up and wait for the phone to ring: It’s a conspiracy. The garbage company doesn’t want to deal with your oil, so they make it tough to recycle on purpose. Also, most garbagemen are werewolves. Anybody wants to correct me, drop me a line.

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

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Acupuncture, Massage and Herbal Medicine

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Join us for our Open House

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ocom.edu Willamette Week OCTOBER 5, 2011 wweek.com WW_4unit_K_092111.indd 1

9/21/2011 10:27:39 AM

5

Birdfest-WW 1x 3" AD 9.11

Friends of Ridgefield National Wildlife Refuge present

BirdBluegrass Fest TM

FREE SCREENING! OCTOBER 11, 2011 DEAF JAM A film by Judy Lieff

A deaf teen discovers the power of American Sign Language poetry.

Film@6:00 PM followed by panel and Q&A

University of Oregon in Portland, 70 NW Couch Street turnbullcenter.uoregon.edu

BUSINESS: Oregon’s “green jobs” are missing.

HOTSEAT: Mayoral candidate Jefferson Smith.

COVER STORY: Project Censored’s top 10 ignored stories.

7 10 15

and

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Ridgefield, WA

Saturday & Sunday

An

• • • •

October 8 & 9

2011

OPB and the University of Oregon in Portland present

9/12/11

Guided Nature & Bird Walks.

Bluegrass Music-12 bands, 2 stages.

Birders’ Marketplace-Arts & Crafts for sale.

Children’s Activities: � Bird focused Art Projects (all ages) � Bird House Building � Audubon Live Birds Show � Geo-Adventures for teens • Sandhill Crane, Big Canoe & Kayak Tours.

Ridgefield is a • Cathlapotle Plankhouse Tours.

25 minute drive North of Portland. • Food Vendors & Salmon Bake on Sunday.

• Park & Ride the Shuttle between venues.

Go to the Schedule of Events to plan your weekend.

www.RidgefieldFriends.org

OH, BLAZERS! WHERE SHALL I GO? WHAT SHALL I DO? Former State Rep. Brent Barton (D-Clackamas) has moved out of his old legislative district so he can run for the seat being vacated by former House Speaker Dave Hunt (D-Gladstone), who’s running for Clackamas County chairman. If he wins, Barton, 31, will help reinvigorate a House D caucus that’s lost one young Portland rep, BARTON Ben Cannon, who joined the governor’s staff; and faces losing another, Jefferson Smith, who is running for mayor. Barton—who has moved to Oregon City—would also claim the rare distinction of having carpetbagged into two districts: He moved into his old district from Portland so he could run in 2008.

Remember to remember: The citywide ban on plastic grocery bags takes effect on Oct. 15. “Now,” a new City of Portland web page says, “is a great time for Portlanders to get even better at remembering to bring reusable bags!” Memory is a famously mysterious and ephemeral aspect of the human mind. So the Bureau of Planning and Sustainability offers several excruciatingly helpful points of advice for forgetful shoppers: “Store bags near your house keys” and “Put a reminder on your grocery list.” The bureau’s $2.5 million sustainability education and assistance program is responsible for the “Climate Action Now!” campaign, which includes bringyourbagpdx.com. The cost of the campaign itself is unclear. A bureau spokesperson did not return WW’s call.

One of the state’s highest-profile public lawyers is out of a job. Henry “Chip” Lazenby, formerly chief counsel to Gov. John Kitzhaber, the Portland Development Commission and Portland State University, has left his latest gig—a $152,000a-year post as Multnomah County’s top lawyer after less than a year on the job. The county doesn’t comment on personnel matters, but a settlement agreement WW obtained shows Lazenby, 59, will get six months’ salary and benefits—which costs taxpayers more than $110,000—in exchange for his Sept.

30 resignation. Lazenby says the job “just wasn’t a good fit.”

Just how does your cellphone provider hold on to your phone records and text messages? According to a Justice Department internal memo obtained by the American Civil Liberties Union, it depends on the company. As first reported by wired.com, Verizon keeps track of which cell towers your phone has used (which can be used to track your movements) for one year, but Sprint and Nextel hang on to tower usage for 18 to 24 months. Most major carriers don’t retain your text messages, but Verizon keeps them three to five days. The ACLU got the records as part of their battle against the government’s use of cell-phone data to track our whereabouts. See the memo at wweek.com.

Read more Murmurs and daily scuttlebutt.

6

Willamette Week OCTOBER 5, 2011 wweek.com

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

K E AT T E O H

NEWS

OUTGREENED AND UNCOUNTED OREGON SPENT HUNDREDS OF MILLIONS TO CREATE “GREEN” JOBS, BUT IT CAN’T SAY HOW MANY IT GOT.

BY CO R E Y P E I N

cpein@wweek.com

It was supposed to be the New Deal of our time: billions in federal spending to create “green jobs” that would save the environment while ending the recession.

That’s what President Obama promised in his 2009 Earth Day speech, delivered just two months after Congress passed the $800 billion American Recovery and Reinvestment Act.

Obama pledged stimulus spending would “focus on unleashing a new, cleanenergy economy that will begin to reduce our dependence on foreign oil, will cut our carbon pollution by about 80 percent by 2050, and create millions of new jobs.”

Govs. Ted Kulongoski and John Kitzhaber have both hyped the green economy, overseeing the spending of millions to create new jobs based on sustainability, conservation and renewable energy.

But this New Deal for our times has turned out to be the same old deal.

WW has examined reports on thousands of projects funded by federal stimulus money, analyses by state agencies responsible for tracking jobs, and indepen-

dent studies that tried to figure out how many green jobs exist in the state.

The result? With tens of millions spent, Oregon can account for only a relative handful of “green” jobs created or saved.

Training opportunities for these jobs are scarce. Agencies and companies that were supposed to report back on how many jobs they created haven’t done so, making reliable counts impossible.

When they talk about green jobs, Obama and Kitzhaber speak of careers in such cutting-edge fields as solar and wind energy, advanced fuel cells, and “green” chemistry.

But records show that the state has stretched its “green job” definition so broadly it includes such low-tech occupations

as mowing lawns and shoveling manure.

According to the Oregon Employment Department, the No. 1 “green job” in Oregon is “carpenter.” No. 2? Truck driver.

The state says a green job is any that works to “increase energy efficiency; produce renewable energy; prevent, reduce, or mitigate environmental degradation; clean up and restore the natural environment; [or] educate, consult, and provide other services that support the above.”

“The vast majority of green jobs are in existing occupations—they’re in jobs that have been around for decades,” says Gail Kiles Krumenauer, green jobs economist for the department.

Using this very broad definition, officials claim Oregon has more than 50,000 green jobs, composing some 4 percent of the state’s workforce.

A more realistic number comes from a recent Brookings Institution study of “clean economy” jobs around the country.

The study says Oregon has 845 jobs in solar, wind and geothermal energy. (Oregon Employment Department figures show the state has lost 133,000 jobs since 2008.) The Brookings study, using a more restrictive definition than the state’s, placed the Portland metro area 15th in the nation, behind Denver and Albany, N.Y., for green jobs as a share of the local workforce.

The state claims that overall, more than 4,700 jobs have been created or saved thanks to $727 million spent on Oregon’s stimulusfunded projects—whether or not the money was supposed to create “green” jobs.

But that’s just an estimate. The companies and agencies who spent the money are supposed to be reporting how many jobs they’ve created or saved, but they aren’t doing that. As a result, records show, they have only officially claimed 911 jobs.

The number of jobs reported that directly relate to energy efficiency, renewables or sustainability is much smaller— about 400, based on WW’s analysis.

State experts can’t say how many green jobs have been produced as a result of the stimulus money. “The data you’re looking for might not exist yet,” says Cylvia Hayes, whose company, 3E Strategies, got a state contract paid for with stimulus money to come up with a green jobs plan for Oregon.

Using part of a $1.25 million stimulus grant, the Oregon Employment Department developed an “automated tool” that scours help-wanted ads for any openings that might be “green jobs.” The idea was to create a constantly updated online green jobs board.

The results are likely to disappoint anyone looking for work on wind turbines.

One of the latest openings flagged by the online tool was “hog farm laborer” in Wheatland, Wyo., a seasonal job that pays $9.90 an hour. Duties include raising piglets, castrating animals, mixing feed and “flush[ing] hog wastes into holding pits.”

The more expansive the definition of CONT. on page 8 Willamette Week OCTOBER 5, 2011 wweek.com

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ECONOMY

M AY O R S A M A D A M S . C O M

NEWS

GREEN IS GOLD: Last week, ReVolt technology Chairman John Searle and Portland Mayor Sam Adams celebrated the opening of the Swiss company’s new U.S. headquarters near Portland International Airport.

green jobs, the more success officials can claim in meeting their goals. For example, a state-produced green jobs brochure— also paid for by stimulus money—promotes growing opportunities for landscapers and groundskeepers, whose responsibilities include “dig[ging] trenches, ditches, or holes with hand tools.” It’s hard to imagine that these are the “shovel-ready” projects Congress had in mind.

“Everybody who is working in this field...has really struggled with (the definitions). Oregon is no exception,” Hayes says.

“We were really one of the first to come up with a working definition. It still is to some a little squishy.”

Squishiness hasn’t stopped subsidies for green companies.

Last week, corporate executives and local officials, including Mayor Sam Adams, cut a big green ribbon with a comically oversized pair of scissors at the opening of the U.S. headquarters of ReVolt Technologies, a Swiss company working on an experimental rechargeable battery design.

ReVolt is a flagship green jobs project, and Oregon taxpayers have a lot riding on its success. Last year, the company received a $5 million stimulus grant to subsidize research and development. On top of that, ReVolt has received a $1.2 million loan from the Portland Development Commission, $3.3 million from an Oregon Department of Energy loan program, and a $500,000 forgivable loan from Kitzhaber’s “strategic reserve fund.” ReVolt has also been certified for business energy tax credits from the state Energy Department.

In exchange for the subsidies, ReVolt officials in 2009 said they would create 75 jobs in the first phase of operations, and eventually hire 250 workers in Portland.

ReVolt officials didn’t respond to WW’s calls. But in the most recent federal stimulus report, dated June 30, ReVolt reported 8.2 full-time employees.

PDC officials tell WW the actual number is 18. Last week, its website advertised only four open positions: two technicians, a machinist and an accountant. City officials say they aren’t worried that ReVolt’s jobs haven’t appeared yet. “It’ll be a phased approach,” says PDC spokesman Shawn Uhlman. “They’ll add [ jobs] as needed.”

As with many advanced tech jobs, ReVolt’s openings require skills that are hard to come by. Which points to another area in which the national green jobs push has fallen short: education and training.

Hayes, the energy consultant, who is Kitzhaber’s live-in companion, addressed this issue in a report that her company wrote under a $162,000 contract from the state Department of Community Colleges and Workforce Development.

The October 2010 report calls for increasing by 30 percent jobs in energy efficiency, renewable energy production and generation, green manufacturing, and energy transmission and storage. The report says that means training workers— such as at the University of Oregon, Oregon State University and other state schools that grant degrees in environmental sciences, ecological engineering and environmental economics, policy and management.

State officials boast Oregon has prepared workers for green jobs faster than most other states. But a Community Colleges and Workforce Development report shows that—despite all the buzz—only 6 percent of the state’s community college students have received “green” training—a number that’s unchanged since 2008.

A $5 million federal stimulus grant to train Oregonians for “green” careers has so far enrolled 731 students at community colleges statewide. Locally, state numbers show, 72 students have begun or completed stimulus-funded courses at Mount Hood Community College, Portland Community College and the Oregon Institute of Technology’s Portland campus—roughly 1.3 percent of the enrollment at those schools.

And what, exactly, are these “green job” training programs?

Of the 27 trainees enrolled at PCC, it’s unclear how many are actually moving toward work in the renewable energy or sustainable building fields. The school’s “green” courses include associate’s degree programs in “automotive technology” and “facilities maintenance.” Five trainees have been placed in internships.

Recruitment at PCC has proven difficult, an Aug. 12 state progress report notes,

because “eligible candidates often find academic standards difficult to achieve.”

Whether or not graduates end up working on electric vehicles, or gasolineburning internal combustion engines, their enrollment counts as a successful “green” training opportunity. In reality, they’ll be lucky to find a job at all.

“Our looming challenge,” says Oregon Workforce Investment Board executive staffer Greg White, “is that even though we’re training these folks for opportunities that most experts say are going to be there, right now, with the economy the way it is, there just aren’t that many jobs out there.”

A state community colleges report in September tracked 5,198 students who received at least 30 hours of “green” training in 2008 and 2009.

The result: “Green-trained students” went to work in administrative services, nursing, health care and “repair and maintenance.” Others got jobs at restaurants and bars, clothing stores and in “amusement, gambling and recreation industries.”

“People don’t go necessarily where you’d like them to go,” White says. “Maybe they’d rather go off and be a barista or whatever. More likely, they can’t get a job in their field.”

RENEWABLE ENERGY JOBS 5,000 4649

In Oregon In the Portland-Vancouver metro area 3,000

1,000

880

300 320

444 270 254 61

Hydropower

Wind

Biofuels/ Biomass

55

Solar Thermal

39 Solar Photovoltaic

12

12

Renewable Energy Services

Source: The Brookings Institution, July 2011

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9

NEWS

CITY HALL

JEFFERSON SMITH

THE STATE REP. AND BUS PROJECT FOUNDER TELLS WHY HE WANTS TO BE MAYOR. PHOTOS BY MORGAN GREEN-HOPKINS

WW: You say you quit your first job out of law school, with New York City law firm Wachtell, Lipton, Rosen & Katz, because you didn’t like the firm’s representation of tobacco companies. Is that the one industry that created ethical problems for you?

Jefferson Smith: Yeah.

If it had been Exxon, you would have been fine?

Yeah, probably. I was briefly at [Portland law firm] Stoel Rives and I gave a speech at a Labor Day picnic, where I criticized Enron and Capital Consultants in a speech. And then afterwards I realized, wait a minute, those are both clients of the firm.

You stayed about a year at Stoel Rives.

About the same time I started there, I started the Bus [Project]. I was thinking it would be a sort of avocation. Ended up doing, trying to do both things for a year, a little better.

And went to half time for a little bit. You know, ended up getting probably a C in one, a D-minus in the other.

Did they ask you to leave?

I had lousy billable hours, but I—both because I was trying, essentially, two very full-time jobs. I think the phrase that was used [was] “a mutual parting of ways.”

BY WW STA F F

news@wweek.com

Jefferson Smith wants to loom large in the mayor’s race, and not just because he’s the tallest candidate so far (6 feet 4 inches), but because he sees himself as an alternative to former City Commissioner Charlie Hales and businesswoman Eileen Brady.

Smith, 38, grew up in California and Portland, graduating from Grant High School and the University of Oregon before earning a law degree from Harvard.

He’s now in his second term in the Oregon House representing Southeast Portland (he lives in the Hazelwood neighborhood).

He didn’t last long working for law firms, preferring politics instead. He’s best known as founder of the Bus Project, a get-out-the-vote organization launched in 2002 that seeks to involve young people in politics. (Full disclosure: Smith and the Bus Project work with WW on the “Candidates Gone Wild” election-year showcases. ) Smith’s experience as a political organizer and potential favorite of labor unions (and their money and supporters’ help) could allow him to triangulate in a race against Hales and Brady. He also trumps them in one area of the city they’ve been playing to: east Portland, where he’s already shown he can win.

Smith also entered the race late and is famous for his frenetic, verbose style that leaves many associates wondering how effective a mayor he would be.

Smith has publicly acknowledged he has attention deficit hyperactivity disorder—he blamed his condition in part for his failure to pay his bar dues.

In a two-hour interview, we asked Smith about his past accomplishments and top issues, the economy, the Police Bureau, engaging citizens in civic debate and how his ADHD does and doesn’t matter. We also talked about his performance as a legislator, his political history in high school, and why he’s like the giant Soviet boxer in Rocky IV.

10

Willamette Week OCTOBER 5, 2011 wweek.com

You probably spent $150,000 going to law school. As we’ve learned, you weren’t a terribly active voter in those days. What made you throw away a comfortable living for a nonprofit in an area that you didn’t appear to have a burning interest in?

The thing that helped motivate the Bus were a series of conversations with people of my generation. And we were looking at ourselves like, you know what, maybe we’re lazy bastards. Or if not lazy, selfish. The [Harvard] Kennedy School of Government in the ’70s, the ’80s sent three-quarters of its graduates to public service. And in my graduating year, I think they sent one-third.

What would you say is the single greatest accomplishment of the Bus Project?

In 2004, Oregon had one of the biggest gaps between older voter turnout and younger voter turnout in the country. In 2008, Oregon had one of the five smallest gaps and the biggest growth in youth vote share in the country.

It was the Obama year, which certainly played a role, but Obama was running in every state of the union. And there weren’t yet buses in other places.

The [second] most significant contribution will, in 10 years, be the easiest to tell a story about—the people who came through and the leaders that were developed.

How about biggest failing?

I think we would have had some impact on voter registration, which, in 2010, Oregon saw a dip. I think the Bus bears—that I bear—some responsibility for that. I think had I put my energies into it and the Bus’s energies into it,

we would have passed voter-owned elections in Portland in 2010.

When we met you five years ago, it was clear you were running for office someday.

When did that first occur to you?

I think any kid who is precocious and verbose without being entirely obnoxious gets, “Oh, you’re going to run for office one day.” I think the first time I was told I was going to be president, I was 14 and I was running for, you know, high-school student council and we were doing a car wash.

What was your slogan?

I think it was “fresh start.”

Did you win?

No, I didn’t win my first election. I think I was appointed.

We want to know your calculus about where your opportunity is to win. Is it younger people? Labor? People east of 82nd? New immigrants to the city? People taller than 6 foot 1?

That’s what it was. The essence of it was that I am bigger and faster and I think stronger than the other candidates in the race. And we did an analysis—I don’t know if you’ve seen Rocky IV, but I’m the Ivan Drago in this race.

Do I think I can hold my own in competing for certain endorsements? Yeah. Do I think I have any of them sewn up? No. Do I think that we can compete in attracting and working with and empowering volunteers in the campaign? Yeah. Do we have that sewn up? No. Do I think that this city has been a place that has sometimes been electrified by new energy and young people—not just young candidates, but sort of young energy? Yeah.

What are the most important issues facing the city that you’d confront as mayor.

An economy worthy of the city. Jobs. Two, a public-safety system that fits the city and addresses the whole city. And then third, working with the whole city, I’d sort of combine the civic engagement stuff and the east Portland stuff, making sure that the informal power of the city as well as the formal power of the city is connecting with the whole city and a changing Portland.

What do you do as mayor to “create an economy worthy of the city”?

Any politician—much less a city politician— who says that they are going to turn around the global economy is a liar.

Nonresident companies in Oregon [those with headquarters elsewhere] in the last 10-plus years have not grown jobs, they’ve lost jobs. The latter-stage companies, like 100 to 400-plus employees, have lost jobs, not gained jobs. That’s true of most states. What’s gained jobs is earlystage, homegrown, smaller companies.

And there are things we can do to help those. One is, some of the entrepreneurship CONT. on page 12

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11

NEWS

CITY HALL

stuff that the city’s doing right now with the seed fund, etc. Another is more access to capital, including partnering with the state on a state finance authority—[maybe] a way to use a small portion of pension dollars to be focused more on in-state investments. Third, I think there’s more we can do with technical assistance, on helping earlier-stage companies find new markets and find new customers.

What do you have in mind for public safety?

This city has been at its best public safety when, like under Tom Potter as police chief and under Chief [Charles] Moose, there was a real commitment to community-oriented police. And that means being focused on building trust between the police department, police officers and the members of the community.

I think looking at three things—relationship with the community, prevention in addition to response, and looking at innovative models of citizen-engaged policing. Those are ways we can build a safety system that fits our city.

And your third issue was— Engaging the city in a changing Portland.

The city’s been at its best when the people in the city have been really close to the power of the city. When we decided not to build the Mount Hood Freeway, it was in significant part because citizens were wielding real influence on the decisions of the city.

12

Former Mayor Tom Potter spent two years on his listening project. Mayor Adams put together large task forces around transportation, the Memorial Coliseum, a headquarters hotel. There’s virtually no one in this city who hasn’t sat on one of his committees. So, how’s that worked?

I don’t think the answer is more task forces. I’ll tell you two ways how to do them better. One is to give clearer objectives and principles earlier. If we knew there were things that were gonna get vetoed on the Memorial Coliseum before we did them, we should have done that early. Second, monitor decisions as it goes. You don’t create a task force because it’s going to solve your problem. You do it so you’re making sure you’re hearing the things that need to be heard so a good decision can be made.

You publicly revealed that you have been diagnosed with ADHD. Yeah.

And when did that occur?

I didn’t know it then, but apparently, the first time when I was 8 years old. The second time when I was 20. I met a friend who thought I probably was, and I didn’t believe him, but I got checked out.

Were you or have you been prescribed medication?

Yeah, I take medication.

You brought up ADHD in relation to your failure to keep up with your bar dues. Is the medication working?

What do you know about it?

I don’t know very much.

OK, so find out. I don’t mean to be sparring, but it does get sort of personal.

I’ll tell you what I think is germane.

What’s really important for me to do is build really good teams and focus on doing sort of cross-platform management, whatever that means—just being able to get a lot of people working together. I think that’s the kind of leadership that is long overdue in the city. I will not run for mayor or anything claiming to be a perfect person or without flaws. I make mistakes, I am not always right. But I think I can help institutions and policymakers and citizens make their lives better and get things done.

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Applying that to what I’ve seen in my district, where you get fewer requests for community gardens, fewer calls to fix streetlights. You get fewer requests to clean up brownfields when there’s stimulus dollars available. This city is run on, largely, informal power.

How do we make that work for the future of the city? Portland’s reputation being a pretty white place. Our leadership very often is. In the biggest school district in my legislative district [David Douglas], there are 73 languages spoken. The city is changing. We need to figure out how to change with it.

Willamette Week OCTOBER 5, 2011 wweek.com

If you were to grade yourself for your time in the Legislature, what grade would it be?

A-minus.

An A-minus. You think others down there would agree?

Depends.

If we didn’t ask lobbyists?

Depends. Some of the things I’m proudest of are not the things that I think are the primary priorities of the lobby.

No, if we didn’t ask the lobby. If we asked other legislators.

Yeah, I think actually I’m growing on some of them.

Willamette Week OCTOBER 5, 2011 wweek.com

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P H OTO : M AT T W O N G

D E R O S N E C T C E PROJ WS E N D E R O N T IG S O M ’S R A E THE Y

PENTAGON E TH S” ET P P U P CK O THE “S KNOW ABOUT— TO U YO T N A W ’T N DOES U DIDN’T HEAR YO S IE R O ST ER TH O 9 AND M MEDIA. FROM THE MAINSTREA CA

BY R EB EC

B OW E

re be cc ab @s

fb g.c om

acks logs, tweets, h b f o e g a n a In by e a n s sp il le d b f o s e il p d an edia e notion of m th s, k a e il ik W . But ay seem dated m ip h rs so n ce ject of stories Pro n w o d n ru e th to ll s a tt e n ti o n a c d e r o s n e C der es as a remin rv se r a e y is th tlets am media ou re st in a m t a th the perficial over su e th g n ri o v fa the on’t give us all d e v ti n a st b su e need. information w ge 16 CONT. on pa

Willamette Week OCTOBER 5, 2011 wweek.com

15

CONT.

Since 1976, Project Censored has endeavored to spotlight important news articles that didn’t find their way into mainstream headlines. Originating with a classroom assignment in a communications course taught by Carl Jensen at Sonoma State University, the perennial project has evolved into a book, a radio show, and the Project Censored and Media Freedom International websites, which aggregate underreported independent news stories from around the globe.

Students and professors engaged in unearthing oftignored stories, part of a nationwide network of affiliates working under the direction of history professor Mickey Huff, bringing a harsh critique to standard mainstream media fare.

“Corporate media (singular) is the information control wing of the global power structure,” former Project Censored director Peter Phillips writes in the introduction to Censored 2012: Sourcebook for the Media Revolution. “The corporate media systematically censors the news stories that challenge the propaganda of empire.”

In Huff’s words, “We try to highlight the things that are highly relevant, that seem to be conspicuously absent.”

Huff says the selection process for the top censored stories begins with nominations of independent articles that readers feel warrant greater attention than they’ve received. From there, students comb through LexisNexis or other databases to see whether they’ve been adequately covered. If not, they fact-check the stories with professors or other experts in the field.

Once they’ve been “validated” in this way, they’re posted to Project Censored’s sister site, Media Freedom International. The famed Top 25 Censored Stories list, which has long served as the tagline of the organization, is the result of a ranked-choice voting process in which judges and affiliates select from the entire pool of validated news articles posted in a 12-month period.

The end product—an annual book featuring a compilation of the censored stories as well as sociological essays on media censorship and scathing critiques of “junk food news” churned out by the likes of Fox News—can be considered a kind of historical almanac, Huff says.

“Journalism is the rough draft of history,” he notes, “and if you have these mainstream corporate news outlets getting so much of it wrong or missing it, how does that impact historical construction?”

For the most part, Project Censored’s story list offers a sampling of smart investigative journalism produced by the independent press. They include deep investigative pieces such as “Diet Hard With a Vengeance,” by David Moberg of In These Times, and a heart-rending portrayal by Chris Hedges of a Marine stationed in a mortuary unit in Iraq.

Yet there are instances when Project Censored seems to wander too far afield. Its claims of “censorship” seem dubious at times, as with the charge that the mainstream media has ignored the real unemployment rate because it hasn’t turned an eye toward the analysis of economist John Williams, who maintains a website called Shadow Government Statistics.

Huff and Phillips regularly discuss questions surrounding the Sept. 11, 2001, attacks on the World Trade Center on their KPFA radio show (94.1 FM in Berkeley, Calif.), and their emphasis on this particular issue, along with a recent tendency to give weight to fringe theories concerning things like suspicious vapor trails (or “contrails”) issuing from airplanes, have caused some allies of the organization to defect.

The organization’s definition of censorship has evolved, too, to the point where the authors cast it as a form of propaganda that is “intentional by nature.... In essence, this is a conspiracy.”

Nevertheless, the Project Censored team delivers yet another rundown of surprising, alarming and thoughtprovoking stories that are worth noting—more so, perhaps, because they received so little attention to begin with. Without further ado, here are the top 10.

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Willamette Week OCTOBER 5, 2011 wweek.com

1

DE I C I U S D E T IT M M O 10 C 0 S 2 R N E I I T D L A O B S M MORE U.S. THAN DIED IN CO #

Six more, to be exact. That’s the figure reported by GOOD magazine and spotlighted by Project Censored in an article highlighting the fact that 462 American soldiers were killed in combat in 2010 while 468 soldiers, counting enlisted men and women, as well as veterans, took their own lives.

This was the second consecutive year that more soldiers died by their own hands than in combat; in 2009, the 381 suicides of active-duty soldiers recorded by the military also exceeded the number of deaths in battle.

The GOOD report, which references Congressional Quarterly as a source, was published in January 2011, just weeks after military authorities announced that a psychological screening program seemed to be stemming the suicide rate among active-duty soldiers.

“This new data, that American soldiers are now more dangerous to themselves than the insurgents, flies right in the face of any suggestion that things are ‘working,’” GOOD senior editor Cord Jefferson wrote.

Project Censored also spotlighted Chris Hedges’ sobering portrayal of Jess Goodell, a Marine who was stationed in the Mortuary Affairs unit in Iraq. Goodell published a memoir titled Death and After in Iraq, also the name of Hedges’ column.

2

#

P H OTO : M AT T W O N G

PROJECT CENSORED

CONT.

2

#

’S Y R A T I L I T U M O E U. S .

K A F ‘FRIEND’ Anyone suspicious of “sock puppets,” those online commenters pretending to be someone they’re not, would be unnerved by the U.S. military’s “online persona management service,” a little-known program described in The Guardian UK, Raw Story and Computerworld stories unearthed and highlighted by Project Censored.

The U.S. Central Command (Centcom) secured a contract with a Los Angeles-based tech company to develop the program, which enables U.S. service workers to use fake online personas on social media sites to influence online chatter. Using up to 10 false identities, they can counter charged political dialogue with pro-military propaganda.

“These ‘personas’ were to have detailed, fictionalized backgrounds to make them believable to outside observers, and a sophisticated identity protection service was to back them up, preventing suspicious readers from uncovering the real person behind the account,” according to a Raw Story account.

A Centcom spokesperson told The Guardian UK that the program would only intervene in online conversations in Arabic, Farsi, Urdu or Pashto, and that it wouldn’t initially target Twitter or Facebook. However, critics likened this U.S. endeavor to manipulate social media to China’s attempts to control and restrict free speech on the Internet.

3

#

PROJECT CENSORED

IST L T I H S ’ A O BA M

On Sept. 30, drones flown by the Central Intelligence Agency launched Hellfire missiles at a convoy in Yemen, killing Anwar al-Awlaki, a U.S. citizen who had become one of the most visible radical Muslim clerics.

He was prominent in al Qaeda’s affiliate in Yemen and had been linked to the planning of terrorist attacks.

The missiles also killed another U.S. citizen, Samir Khan, 25, an editor of Inspire, an English language news site supported by al Qaeda.

Al-Awlaki, 40, was on the Obama administration’s hit list of this country’s own citizens and had survived a U.S. missile strike in May. In 2010, Obama gave the CIA and U.S. military authorization to hunt down and kill al-Awlaki without the due process Obama himself championed while running for president in 2008.

The CIA and U.S. military have the authority to kill U.S. citizens abroad, outside war zones, if strong evidence exists that they’re involved in terrorist activity, The Washington Post reported in a front-page story in January of 2010.

Despite this prominent media treatment of targeted assassinations under the Obama administration, Project Censored deems this an underreported news story because “a moral, ethical and legal analysis of the

assassinations seems to be significantly lacking inside the corporate media.”

The authors instead point us to coverage in Salon, the Inter Press Service, Common Dreams and several other sources that sharply question the president’s authority to license extrajudicial executions of individuals. In December of 2010, Human Rights Watch asked for clarification of the legal rationale behind this practice after a judge dismissed a lawsuit challenging the notion.

Columnist Glenn Greenwald blasts the practice in Salon: “Bush merely imprisoned [Jose Padilla] for years without a trial. If that’s a vicious, tyrannical assault on the Constitution—and it was—what should they be saying about the Nobel Peace Prize winner’s assassination of American citizens without any due process?”

PROJECT CENSORED CONT. on page 19

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CONT.

PROJECT CENSORED PCC is turning 50!

#

October 7, 2011 at 11:30am Pioneer Courthouse Square

4

S I S I R C D O FO E D A M N A M

You are invited! Please join PCC as we kick off our year-long anniversary with a community festival in the Square.

• Remarks from U.S. Senator Jeff Merkley and PCC District President Preston Pulliams

David Moberg offers an in-depth breakdown of the global food crisis for In These Times in an article highlighted by Project Censored, touching on the environmental context of worsening droughts and flooding, as well as the economic ramifications of a system in which free-market speculators stand to profit from volatile food prices.

Beyond crop reductions resulting from irregular weather patterns, Moberg places the blame for rising food prices and increasing malnutrition on flawed economic policies.

“Hunger is currently a result of poverty and inequality, not lack of food,” he concludes.

The food price index rose to its highest level since 1990 in February 2011, according to a report by the Food and Agriculture Organization of the United Nations. “Since 2010 began, roughly another 44 million people have quietly crossed the threshold into malnutrition, joining 925 million already suffering from lack of food,” Moberg writes. “If prices continue to rise, this food crisis will push the ranks of the hungry toward a billion people.”

• Refreshments and live music • Academic program booths and more!

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5

#

IES N A P M O C PRISON D ANTI-IMMIGRANT FUN N O I T A L S I G LE When Arizona Gov. Jan Brewer ran for re-election in 2010, her greatest out-of-state campaign contributions came from high-ranking executives of Corrections Corporation of America, one of the nation’s largest prison companies.

Brewer gained notoriety among immigrant-rights advocates after championing SB 1070, strict anti-illegal immigration legislation that drew criticism for legitimizing racial profiling.

SB 1070 established new crimes and corresponding prison sentences relating to illegal immigration; CCA profits directly from building and operating prisons and detention centers. Bringing it closer to home, CCA previously employed two of Brewer’s legislative aides as lobbyists.

In a Counterpunch article entitled “Wall Street and the Criminalization of Immigrants” that is spotlighted by Project Censored, Peter Cervantes-Gautschi illuminates Brewer’s links to CCA. It also goes deeper, offering an historic account of how investors in CCA and prison giant Geo Group have for years actively pushed for legislation that would result in the widespread incarceration of undocumented immigrants.

PROJECT CENSORED CONT. on page 21

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CONT.

#

6

PROJECT CENSORED

?

S E I P S E L GOOG

A flurry of stories aired in the spring of 2010 when it became apparent that Google Street View vehicles, in the process of collecting data for its mapping service, also picked up consumer “payload” data on Wi-Fi networks, including email messages, website data, user names and passwords.

The tech giant publicly apologized for what it characterized as a mistake, saying it had “failed badly.” The Federal Trade Commission admonished Google in a letter, but declined to pursue it further. From there, Project Censored authors make the leap that the FTC abandoned its inquiry because a week earlier, Obama attended

a Democratic Party fundraiser at the Palo Alto home of Google executive Marissa Mayer, citing a San Francisco Chronicle article about the $30,000-per-person affair.

Project Censored authors also point to an article by Eric Sommer titled “Google’s Deep CIA Connections,” appearing on Pravda.ru (a website whose most-read article was “Bermuda Triangle: New Anomalous Phenomenon Discovered”). Sommer claims that “Google is, in fact, a key participant in U.S. military and CIA intelligence operations,” basing his argument on a perplexing set of links between investors in Google and CIA technologies.

7

#

T S O C L L A T —A E V I T I S O P STAY A military training program that Project Censored has deemed the “U.S. Army and psychology’s largest experiment—ever” was profiled in a detailed American Psychologist series in early 2011. Comprehensive Solider Fitness is described as a “holistic approach to warrior training,” emphasizing positive psychology as a means to counter mental-health problems arising from horrific combat situations.

While the American Psychologist series reads like a puff piece finessed by the professionals who developed CSF, Project Censored spotlighted articles in Truthout and The Psychology of WellBeing that raised questions about the wisdom of

#

S

launching a required, untested psychology program for more than 1 million soldiers, one that encourages soldiers to think positive even in the face of traumatizing events.

In an article appearing on OpEdNews.com, authors Roy Eidelson, Marc Pilisuk and Stephen Soldz write that the CSF “training ” program would better be described as a research project.

They point out that a hypothesis of the program’s success lies at the very core of CSF, “yet it is merely a hypothesis—a tentative explanation or prediction that can only be confirmed through further research.”

8

EAN L C F O H T THE MY NUCLEAR POWER The terrifying meltdowns of Japan’s Fukushima nuclear reactors reignited a worldwide debate about the wisdom of relying on nuclear energy as an electricity source. While Germany opted to phase out its nuclear facilities by 2022 in the wake of the tragedy, the U.S. Nuclear Regulatory Commission came under scrutiny after a Union of Concerned Scientists report analyzed 14 “near misses” at nuclear power plants in 2010, revealing the shortcomings in NRC inspections.

Project Censored’s critique of mainstream media’s treatment of nuclear power is that it’s too willing to endorse the idea that nuclear power

is safe so long as proper safety measures are in place, and that major news publications readily go along with the nuclear industry’s branding of the power source as “clean” and “carbon free” when it’s really not.

Claiming that “the refrain of the corporate media” is that nuclear power is “perfectly harmless,” the authors spotlight a number of articles and literature from anti-nuclear nonprofit organizations explaining the health hazards of radiation, plus Jeff Goodell’s “America’s Nuclear Nightmare,” an in-depth Rolling Stone article investigating ties between the NRC and the nuclear industry.

PROJECT CENSORED CONT. on page 23 Willamette Week OCTOBER 5, 2011 wweek.com

21

george harrison • the blue devils • cab calloway

FREE WILL

the swell season • noise pop • the sound of mumbai

astrology

stravinsky • frank zappa • benda bilili mott and hopple • the doors preservation hall jazz band portland music videos • foo fighters david byrne & brian eno • vinyl richard thompson • tea opera mozart’s sister • the writers of fiction music from haiti • marian mcpartland jim mesi & steve bradley

29

the golden years of portland jazz jim pepper • ornette coleman sonny rollins • elliott smith • bob forrest vinicius • zanzibar music club • harry belafonte fugazi • cuban-american jazz

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page 62

CONT.

Organic Seed Garlic

#

PROJECT CENSORED

9

T N E M N R E V THE GO MANIPULATING IS R E H T A E W THE This one stretches credulity, and it’s probably the best example of why Project Censored has gained detractors even on the left in recent years. The authors point us to a Centre for Research on Globalization article entitled, “Atmospheric Geoengineering: Weather Manipulation, Contrails and Chemtrails,” by Rady Ananda, who begins by informing readers, “The military-industrial complex stands poised to capitalize on controlling the world’s weather.”

It describes an “international symposium” held in Belgium in May of 2010 during which “scientists asserted that manipulation of climate through modification of Cirrus clouds is neither a hoax nor a conspiracy theory,” and is “fully operational.”

That sounds rather serious, but a Web video of that symposium easily located online offers a closer look. One speaker begins by showing slides of old paintings to demonstrate “what the sky is supposed to look like,” then offers evidence of a chemtrail coverup by quoting an unnamed pilot who tells someone in an online comment that he could reveal the truth about chemtrails, but is bound by contract to shoot anyone he tells.

Scientific American and other publications have reported that geoengineering—spreading tiny atmospheric particles to reflect sunlight as a method to counter climate change—has actually come under serious consideration in recent years. Yet Project Censored seems to conflate this with a fringe obsession with supposedly suspicious airplane contrails.

10

#

THE ‘REAELN’T RATE M Y O L P M E N U

The U.S. Bureau of Labor Statistics calculates the “official unemployment rate” by counting everyone who had no job, was available for work, and had actively sought work in the past four weeks, according to the BLS website. But alternative BLS statistics incorporate so-called “discouraged workers,” unemployed individuals who’ve given up on the job hunt.

In the first four months of 2011, the national unemployment rate officially stood at about 9 percent, while a BLS statistic incorporating discouraged workers and the marginally employed bumped that figure up to 15.9 percent.

However, Project Censored highlights an article by Greg Hunter published on Information Clearinghouse, claiming that the “real” unemployment rate is actually 22.1 percent, or one out of five U.S. residents. Hunter’s claim is based on his interview with San Francisco-based economist John Williams, who maintains a website called Shadow Government Statistics. By ignoring the claims of this economist, Project Censored argues, the mainstream media is engaging in censorship.

As with several claims in this year’s list, that may be stretching things a bit.

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upcoming in-store performances STELLARONDO • THURSDAY 10/6 @ 5:30PM Stellarondo emerged in Missoula, Montana during winter 2010 when Caroline Keys responded to a challenge by writing and recording an album of original music during the month of February. Keys' project quickly evolved to include a full band of stalwarts from Missoula's music scene, including players from Broken Valley Roadshow (Caroline Keys and Angie Biehl), Tom Catmull and the Clerics (Travis Yost and Gibson Hartwell) and Wartime Blues (Bethany Joyce). Stellarondo's lush, dreamy alt-folk debut was recorded in Portland

by Adam Selzer at Type Foundry and Scenic Burrows.

BRYAN MINUS & THE DISCONNECT TUESDAY 10/11 @ 6PM Bryan Minus & The Disconnect are stuck in a rock & roll cliche. Since forming in February 2010, the band has been through a half dozen drummers. Now, they are self-releasing their debut full-length album ‘Empty Skies.’ After recording his solo EP, Bryan Minus set out to put a new band together.

Through a local wanted ad he met Jason Lanning. Bryan also invited Anastasia Poirier (Obscure Opus) to play bass. Over the next year they had many drummers in and out before deciding to stick with their drum machine, Keith, finding it had the sound they were after.

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RUTH BROWN

Ed Forman’s

NOPE, CHUCK TESTA: On Saturday, Oct. 1, people who are important on the Internet met in real life in Portland for ROFLCon Summit (a spinoff of the larger ROFLCon event that takes place in Massachusetts every two years) to discuss the current state and future of the interwebs. Serious topics like net neutrality, online anonymity and archiving Internet history were discussed alongside Star Wars kid, My Little Pony and the ongoing debate over Forever Alone versus Courage Wolf. Props to host Wieden + Kennedy for decorating its office in memes for the event, including a mounted Scumbag Steve hat, “Never Gonna Give You Up” on repeat in the bathrooms, a wall-sized nyan cat, and, of course, a series of tubes.

IF I WANT TO BISSELL, I BISSELL: What do you get the writer who has a Guggenheim Fellowship, a video-game writing contract and a WW cover profile? How about a movie at the New York Film Festival? Add it to Tom Bissell’s résumé: The author and Portland State University professor’s short story “Expensive Trips Nowhere” has been adapted by Julia Loktev (the director of the terrific terrorism study Day Night Day Night) into The Loneliest Planet, starring Gael Garcia Bernal. The movie, about a couple on troubled holiday in post-Soviet Georgia, made its U.S. debut last week to mostly admiring reviews: GreenCine Daily praised “the commitment to transfixingly queasy sex scenes.” Tom Bissell: Indirectly making you feel better about your sex life since 2005!

AND THE WINNER IS...: WW has selected its 2011 Skidmore Prize winners. The prize is a $4,000 award given annually to four people 35 or younger who do great work at Portlandarea nonprofit organizations. This year’s winners are Stephen Marc Beaudoin, executive director of PHAME Academy; Jenn Cohen, artistic/executive director and founder of the Circus Project; Ian Mouser, executive director of My Voice Music; and Temmecha Turner, professional mentor at Friends of the Children. You can read more about these folks in our annual Give!Guide in the Nov. 9 edition of Willamette Week.

RIP: Scoop was deeply saddened to hear that Teisha Helgerson, frontwoman for Portland’s Amelia, passed away last Thursday at 42 after a long fight with cancer. See wweek. com for thoughts from friends, family and contemporaries (as well as a 2008 podcast Amelia recorded for WW).

A memorial service is scheduled for 2 pm on Saturday, Oct. 8, at Peace Lutheran Church (2201 N Rosa Parks Way), with a potluck afterward.

Helgerson, and her lovely voice, will be sorely missed.

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HEADOUT

WILLAMETTE WEEK

WHAT TO DO THIS WEEK IN ARTS & CULTURE

WEDNESDAY OCT. 5 [FASHION] PORTLAND FASHION WEEK “Portland fashion” may look like an oxymoron most of the time, but there are beautiful people and beautiful clothes out there, and this week they come together for runway shows, parties and shopping. Oct.59. See portlandfashionweek.net for times and locations.

CRAIG THOMPSON’S HABIBI IS A MASSIVE MASTERPIECE. Portland cartoonist Craig Thompson was 27 when he published Blankets, an enormous, autobiographical “illustrated novel” about growing up in an evangelical family in rural Michigan. It’s an extraordinary, visually ornate book that immediately launched Thompson to the top tier of American graphic novelists. Since that book’s 2003 publication, though, Thompson’s only public output has been a 2004 travelogue, Carnet de Voyage, and an album cover for Menomena—until last week, when his new book, Habibi, finally arrived in stores. So what has Thompson been doing for the past seven years?

THURSDAY OCT. 6 [MUSIC] GIRLS, SONNY AND THE SUNSETS, PAPA San Francisco’s Girls sideswiped everyone in 2009 with Album, a chiming garage-pop record that ended up on every best-of-the-year list. Yet their sophomore album, Father, Son, Holy Ghost, still comes as a brilliant surprise. Wonder Ballroom, 128 NE Russell St., 2848686. 9 pm. $13 advance, $14 day of.

FRIDAY OCT. 7 [MOVIE] THE IDES OF MARCH If you are feeling a wee cynical about the compromises of one Democratic president, this George Clooney movie will curdle those doubts into perfect sourness. It’s like an anti-Bus Project. Various theaters including Regal Fox Tower Stadium 10, 846 SW Park Ave., 221-3280.

Multiple showtimes. $10.50.

Learning Arabic calligraphy: Blankets was a visually busy work, with recurring paisley and natural motifs often filling every nook and cranny of its pages. So it’s no wonder that he would be attracted to the intricacies of Islamic calligraphy and geometric design. Habibi’s pages are rich with ornamentation.

[THEATER] NO MAN’S LAND Artists Rep brings back genuine famous person William Hurt for his fourth show with the company in a production of Harold Pinter’s strange play. Artists Repertory Theatre, 1515 SW Morrison St., 2411278. 7:30 pm Tuesdays-Saturdays, 2 and 7:30 pm Sundays. Closes Nov. 6. $35-$65, $25 students.

SATURDAY OCT. 8

Reading. A lot: Habibi is, in addition to being a love story, a terrifying fantasy and an ecological cautionary tale, about the stories we tell and why we tell them. Thompson alludes to or quotes from the Quran and the Hebrew Bible and a dozen or so Muslim poets.

[CHEESE] THE WEDGE FESTIVAL Cheese lovers gather at this festival featuring artisan and farmstead cheesemakers from Oregon, Washington and beyond. Green Dragon, 928 SE 9th Ave., 517-0660.

10 am-4 pm. Free, $5 suggested donation. 21+.

SUNDAY OCT. 9

Drawing. A lot: Habibi is 672 pages, longer than the already hefty Blankets and even more richly illustrated.

Brooding: Thompson’s prior work wasn’t exactly dark. Habibi is. Its two protagonists endure dehydration, starvation, enslavement, castration, incarceration, torture and multiple rapes.

Letting his imagination run wild: It will take more than one read to evaluate the merit of Thompson’s thoughts on storytelling and divinity. The

same is not true of the world he’s created around them. At once medieval and modern, full of harems and skyscrapers and slavers and outlandish weaponry, Habibi’s fictitious Middle Eastern kingdom is a complex and scary place. It would make a great setting for a tabletop RPG. Now where did I put my dice?

BEN WATERHOUSE.

GO: Thompson appears Thursday, Oct. 6, from 6 to 10 pm at Floating World Comics, 400 NW Couch St.; Friday, Oct. 7, from 6 to 9 pm at Bridge City Comics, 3725 N Mississippi Ave.; and Saturday, Oct. 8, from 3 to 4 pm on Wordstock’s McMenamins Stage at the Oregon Convention Center, 777 NE Martin Luther King Jr. Blvd. The Thursday and Friday events are free.

Wordstock costs $7.

[MUSIC] FEARNOMUSIC Pianos and percussion combine in a new piece by composer Shaun Naidoo, FNM’s original four-piano version of Stravinsky’s “Rite of Spring” and more. Kaul Auditorium at Reed College, 3203 SE Woodstock Blvd., 234-9694. 8 pm. $24.50-$35. All ages.

[MUSIC] CELSO MACHADO, GEOFF BERNER If you think a human beat box is something, Brazilian-born Celso Machado is a whole human rain forest. He plays his guitar’s strings, but also its body, as a percussion instrument. Hell, he plays his own body as a percussion instrument.

The Old Church, 1422 SW 11th Ave., 222-2031. 6 pm. $15. All ages.

Willamette Week OCTOBER 5, 2011 wweek.com

27

WORDS

WORDSTOCK

AUTHOR! AUTHOR!

bwaterhouse@wweek.com

This Saturday and Sunday, the Oregon Convention Center will be overrun by some 150 novelists, journalists, poets and cartoonists for the 2011 Wordstock book fair. The big names on the marquee include Jennifer Egan, author of this year’s Pulitzer Prize-winning novel, A Visit from the Goon Squad; Michael Ondaatje, author of The English Patient; and nature writer Barry Lopez. None of them responded to our emailed questions, but the following five authors, all of whom we find just as interesting as that Ondaatje guy, did:

PHOTOS COURTESY OF WORDSTOCK

WORDSTOCK WRITERS IN THEIR OWN WORDS.

COMPILED BY B EN WAT ERHOU SE

Craig Thompson Thompson, a Portland cartoonist, is best known for his enormous and renowned graphic novel Blankets. His new book, Habibi, was released last week. Thompson appears on the McMenamins stage at 3 pm Saturday.

WW: So, what are you reading these days?

Craig Thompson: Sometimes a Great Notion by Ken Kesey.

Is it any good?

Are you kidding ? It’s one of the best novels ever! And I’m discovering it for the very first time. And, of course, it churns up plenty of longing for Northwest landscapes—which I’m missing on book tour.

What was the first book that changed your life?

Narcissus and Goldmund by Hermann Hesse. The correlations with my own work may be obvious. I read it at age 20 when I was really wrestling with falling from my evangelical Christian faith.

What’s the most beautiful word in English?

Water.

What’s the best idea you’ve had rejected by an editor?

The only time I’ve had in-depth collaboration with an editor was while drawing children’s comics and illustrations for Nickelodeon Magazine. And they constantly edited out any moments of real danger or characters being consumed. And they required an obvious punchline rather than the “so nonfunny it’s funny” humor that amuses me. Thankfully, they were cool with fart jokes.

Fill in the blank: Kids today are...

All right.

28

Lauren Oliver There are many writers of young-adult fiction at this year’s Wordstock. Oliver, author of Before I Fall, Delirium and the new middle-grade fantasy Liesl and Po, is one of the best known.

Oliver appears in the panel “Teens Facing Fears in Fiction” on the Wieden + Kennedy stage at 5 pm Saturday, and on the Knowledge Universe Children’s Stage at 3 pm Sunday.

WW: What are you reading?

Lauren Oliver: A Game of Thrones, much to my fiancé’s distress. All I can speak about is Westeros and Winterfell. I’m not sure he realized he was marrying a fantasy geek!

What was the first book you remember changing your life?

Alphabears! It’s the most beautiful illustrated book, and reading it (with my mom) was the first time I’d had the experience of falling into the world of a book, of really feeling its world and its beauty as though I was there. Granted, it was one of the first books I ever read.

The loveliest word in English?

Lyricism. Or pasta.

What have you written today?

Yesterday, I wrote [this]: “Michael felt as though he’d accidentally ingested a thousand grasshoppers, and now they were all tumbling around in his stomach, and climbing up his throat. In the short time since they had crossed the red dust road, almost all of the light had swirled out of the sky, as though someone had opened a giant drain at the horizon. Now the woods around them were full of shifting dark masses, leaves that hissed as the wind moved through them, and darting black shadows.”

Willamette Week OCTOBER 5, 2011 wweek.com

Isaac Marion Marion’s first novel, Warm Bodies, is about a zombie who falls in love with a living girl. A film adaptation directed by Jonathan Levine is currently in production.

Marion appears on the McMenamins stage at 2 pm Saturday with R.A. Salvatore and noon Sunday in the panel “Vampires Are So Last Season.”

WW: What are you reading?

I sa a c M a r i o n : I ’m h a l f way through A Better Angel, a short story collection by Chris Adrian.

Is it any good?

It’s really good. Very quiet, matter-of-fact tellings of very dark, insane stories. Chris Adrian is a practicing Christian, which is weird to me given how thoroughly fucked up, impure and unredemptive his stories are, but I guess I was writing pretty dark stuff during the twilight of my religious life, too.

What’s the view outside your window today?

I live in an RV, so the “today” in this question is important. Today the view is the nice suburban townhouse I’ve been parked in front of for three days. They’ve been remarkably patient with me, considering how noisy my generator is.

What’s the worst line you ever wrote?

My worst line would be pretty much any given line from the first novel I wrote, a thousand-page, anime-inspired fantasy epic that I finished shortly before my 18th birthday.

Kids today are...

More adult than many adults.

Bharati Mukherjee Born in Calcutta, Mukherjee left India to attend the Iowa Writers’ Workshop, where she met her husband, the Canadian writer Clark Blaise. She has written eight novels and two short-story collections. Mukherjee appears on the McMenamins stage at 1 pm Saturday.

WW: What are you reading?

Bharati Mukherjee: I’ve just started the galley of a novel titled In the Shadow of the Banyan Tree

by Vaddey Ratner. It’s about a young Cambodian girl’s experience of the excesses of the Khmer Rouge regime.

Is it any good?

So far, yes. The setting is of lush countryside ravaged by war.

What was the first book you remember changing your life?

Anton Chekhov’s complete works.

I first read Chekhov as a 14-yearold in Kolkata in the mid-1950s.

Kolkata (formerly Calcutta), my hometown, was going through enormous social and economic changes. I could empathize with Chekhov’s characters.

What’s the view outside your window today?

I’m sitting with my laptop at a bistro table in my kitchen in the Cole Valley neighborhood (formerly Upper Haight) in San Francisco.

It’s a warm, sunny late September afternoon, particularly welcome, because yesterday was chilly and foggy. The kitchen is on the second floor, and through the wall of two glass windows and a glass door I can see my wildly overgrown backyard, the solar-panel-equipped roofs of neighbors’ one- and twofamily homes, and in the distance, the spires of a church.

Jerry Aronson The documentary producer and director received an Oscar nomination in 1979 for his short film The Divided Trail and has recently released an updated version of his acclaimed 1994 feature, The Life and Times of Allen Ginsberg, which will be screened at 7 pm Sunday, Oct. 9, at Portland Art Museum’s Whitsell Auditorium, 1219 SW Park Ave. Aronson appears on the Attic Institute Stage at 5 pm Saturday.

WW: What are you reading?

Jerry Aronson: I am re-reading Allen Ginsberg Collected Poems.

What was the first film you remember changing your life?

Again, it was a documentary: Don’t Look Back, the film by D.A. Pennebaker about Bob Dylan’s first tour to England.

The loveliest word in English?

Project (as in projection).

Who’s the worst person in America right now?

Rupert Murdoch.

Kids today are...

Searching, driven and confused.

What are you working on now?

I am co-producing a documentary film about climate change about a photographer who has been doing time-lapse imagery to prove how fast the glaciers in Greenland, Iceland and Alaska are melting due to man’s influence. The film is called Chasing Ice. GO: The Wordstock Book Fair, 10 am-6 pm Saturday-Sunday, Oct. 8-9, at the Oregon Convention Center, 777 NE Martin Luther King Jr. Blvd., wordstockfestival.com.

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The geeks, sportos, motorheads, dweebs, dorks & buttheads all adore us.

They think we’re one righteous wing joint.

FOOD & DRINK = WW Pick. Highly recommended.

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

THURSDAY, OCT. 6 Salty’s Clam Boil

1708 E Burnside • 503-230-9464 & 4225 N Interstate • 503-280-9464

Columbia River spot Salty’s bubbles up big pots of bivalves for its oldschool clam boil this Thursday. Fork over $24.99, and you’ll get a trough of clams with corn, potatoes and onions, Caesar salad and a pint of Hopworks IPA. If you donate to the Oregon Food Bank, you also get to spin “The Wheel o’ Prizes.” Salty’s on the Columbia, 3839 NE Marine Drive, 505-9986. Seatings begin at 5:30 pm. $24.99. Reservations required.

Salted Caramels with Xocolatl de David Class

David Briggs makes damn good caramels: salty-sweet, sticky, decadent little nubbins that you could bankrupt yourself buying if you weren’t careful. Luckily, Briggs will share his secrets on how to make a fine caramel at a special class at the Meadow. Meadow man Mark Bitterman will also be there to explain how salt makes everything better (especially desserts).

Attendees get knowledge, wine

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

EAT MOBILE

GRINDHOUSE COFFEE There’s nothing particularly sexy about the intersection of North Rosa Parks Way and Denver Avenue, but there it is, out on the sidewalk: a black-and-white sandwich board announcing “Sexy Coffee,” with an arrow pointing to what looks like the offspring of a food cart and a tool shed. Since 2009, Grindhouse Coffee has served as the de facto coffee shop for this neck of Arbor Lodge, and indeed, the scene inside the covered outdoor seating area is nearly indistinguishable from that of a brick-and-mortar place: sullen, doodling teenagers; moms blocking entryways with Order this: Stud Muffin breakfast strollers; tattoos; dogs. Why sandwich ($4.25). the “sexy”? “Because it’s that Best deal: Garlic bagel with cream good,” says proprietor Amanda cheese schmear ($2.50).

Horne. “Once people order, they can’t help but say, ‘Now that’s a sexy cup of coffee.’” Though no trousers were doffed on our visit, it can be said the Extracto coffee drinks on offer— replete with artistically applied rosetta leaf—are excellent. A hearty variety of Fleur de Lis pastries sits behind the window, but don’t miss the breakfast sandwiches on bagel, ciabatta or English muffin (especially the $4.25 “Stud Muffin” packed with soy sausage), or the parfait ($3.75) featuring Nancy’s honey yogurt and local berries…if you feel your morning needs, you know, a little more sugar. KAT MERCK. EAT: Grindhouse Coffee, 1934 N Rosa Parks Way, 459-4148, grindhousecoffeepdx.com. 7 am-3 pm daily. $.

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and candy during the class and take home a pot of fresh caramel sauce.

The Meadow, 3731 N Mississippi Ave., 388-4633. 6:30 pm Thursday, Oct. 6, and 7:30 pm Friday, Oct. 14. $25.

Call to reserve a seat.

FRIDAY, OCT. 7 Fresh Hops Tastival

Aside from the supremely twee name, this statewide tour of mini celebrations focusing on seasonal beers made with fresh hops is a great idea. This Saturday brings the hops love to Oaks Park, where an array of Oregon breweries will pour their heady drafts while you gobble eats from local restaurants and carts. Bonus: free, local root beer for the kids. There’s also a Tastival Preview Party on Friday,

Oct. 7. For $20, you get a glass, seven sampler tickets and a half sammy from Philadelphia’s Steaks and Hoagies. Oaks Park, Southeast Spokane Street and Southeast Oaks Park Way, 233-5777. Noon-8 pm Saturday, Oct. 8. Free entry. $10 for a glass and two drink tickets, $15 for a glass and seven tickets, $20 for two glasses and four tickets. Cash only. All ages. Info at oregonbeer. org/fhbt2011/.

SATURDAY, OCT. 8 The Wedge Festival

There are few things in life more important than cheese. Just ask those sad-sack lactose intolerants.

This Saturday, the Northwest’s most ardent cheese lovers gather to celebrate the curds and whey at

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

EAT MOBILE

the Wedge, a one-day fest featuring artisan and farmstead cheesemakers from Oregon, Washington and beyond. The whole creamy, gooey, salty, moldy affair occurs in front of the Green Dragon and also features the other two things that make life worth living: local beers and charcuterie. Green Dragon, 928 SE 9th Ave., 517-0660. 10 am-4 pm. Free, $5 suggested donation to benefit the Oregon Cheese Guild. Info at dairyfarmersor.com/ thewedge/. 21+.

NEWS

Fruit Fermentation and Drinking Vinegar Workshop

Fruit vinegars are so hot right now.

Just ask the crew at Pok Pok, which has had so much success with their puckery concoctions they just started selling bottles of the stuff at local retailers. You too can get in on the action with the Portland Fruit Tree Project’s fruit fermentation and drinking vinegar workshop. They’ll talk you through the process of creating these elixirs, and then everybody gets to take home a sample. Win-win. Portland Fruit Tree Headquarters, 1912 NE Killingsworth St., 284-6106. 3-6 pm. $25, scholarships available. Info, sign up and more classes at portlandfruit.org/ food-preservation.html.

MONDAY, OCT. 10 Andina FACES Fundraiser

The surgically enhanced denizens of the Pearl District can put their pocket money toward a good, somewhat related cause this Monday at Peruvian spot Andina, which hosts a tasty threecourse, family-style dinner (with lots of South American wine) to benefit local nonprofit FACES. As the name hints, the group provides both surgery and follow-up therapy for cleft-palate patients in isolated pockets of Peru. Andina, 1314 NW Glisan St., 228-9535. 6 pm. $125. Call 701-9879 or visit facesfoundation.org for tickets and info.

got a good tip? call 503.445.1542 or email newshound wweek.com

BEST BREAKFAST

BURRITOS in PDX! Sundays 9:30-2:30 Our drinks are pretty awesome too.

C RU Z RO OM NE 24th & Alberta • cruzroom.com

FOUR FANTASTIC FRIES Foster Burger

BR-EGG-FAST: Donald Kotler assembles a Brother.

YOLK Having survived four years of break-ins, vandalism and even hitand-run collisions at his Woodstock neighborhood restaurant, Toast, Donald Kotler is in an expansionist mood. The first step in his campaign for total neighborhood domination is a food cart: Bright-yellow Yolk opened in September in the parking lot of the Joinery furniture workshop, alongside excellent established carts Artigiano and El Gallo. It’s stiff competition, but Yolk is up to the challenge with a lineup of over-the-top breakfast sandwiches like the Brother, a small loaf of Little T pretzel bread stuffed Order this: The cheesy, spicy with wilted arugula, mapleGlendale, $7. glazed pork belly and two fried Best deal: “The Sandwich,” a housemade English muffin with an eggs ($8). It’s like a good bowl egg, cheese, and ham or braised of ramen in sandwich form. greens, $4.

Even better is the Glendale, a messy slop of onions, peppers, ground sausage, scrambled eggs and sharp cheese fried up and served in a baguette ($7)—essentially a sausage pizza for breakfast, without the embarrassment of calling Round Table at 10 am. For really adventurous eaters, Yolk offers “The Breakfast,” a $10 mystery meal that boldly refuses to accommodate options, substitutions, allergies, diets or “texture issues.” Recently, it was a plate of greens, pork belly, potatoes, carrots and three fried eggs, but it could be anything. BEN WATERHOUSE.

A frequent special, the black-andwhite fries is too weird to appeal to most children. The fries are dressed with truffle oil and Parmesan, and come with a ramekin of thick, black squid-ink aioli. It looks disgusting and tastes amazing. BEN WATERHOUSE. 5339 SE Foster Road, 775-2077, fosterburger.com.

Potato Champion

The adorably decorated indie-rock fry cart serves fresh, hot Belgianstyle frites with one of nine sauces to late-night eaters of all stripes.

P-Champ also offers poutine, a Canadian monstrosity consisting of fries topped with cheese curds and chicken gravy. BEN WATERHOUSE. Southeast Hawthorne Boulevard and 12th Avenue, potatochampion.com.

El Burrito Loco

Why would anyone order chili cheese fries at El Burrito Loco?

Because, instead of standard chili, these fries are slathered in smoky, spicy red enchilada sauce. They’re then dusted in cheese and melted into a heart-stopping delight.

ETHAN SMITH. 3126 NE 82nd Ave., 252-1343.

The Frying Scotsman

James King’s extraordinary fish and chips, inspired by the former oil-rig cook’s homeland of Ayrshire, Scotland, must be shared with the world. The fries are crisp and the fish approaches the platonic ideal.

But beware—eating a portion on your own may force a midafternoon nap. BEN WATERHOUSE. Southwest 9th Avenue and Alder Street, 7063841, thefryingscotsmanpdx.com.

EAT: Yolk, 4804 SE Woodstock Blvd., 568-0787. Breakfast and lunch 9 am-“2:30 pm-ish” Wednesday-Sunday. $.

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OCT. 5 - 11 PRIMER

KIDS IN THE HALL

Editor: CASEY JARMAN. 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.

Justin Townes Earle, Jason Isbell & the 400 Unit, Caitlin Rose

THURSDAY, OCT. 6

Celilo Duo

[THE NATURAL] The son of country legend Steve Earle is to music what Brandon Roy is to basketball: silky smooth, skillful and a born entertainer.

Better still, Earle’s knees are in good health and shaking to the tune of his shimmering throwback folk. Earle boasts the rare charm of a Nashville upbringing with East Village wit and sophistication. Last year’s Harlem River Blues demonstrates this best, a seamless display of twangy Americana and sharp, deservedly confident songwriting. Earle and his trusty band take Wilco’s fondness for beautifully weathered alt-country to loftier, rootsier heights. MARK STOCK. Aladdin Theater, 3017 SE Milwaukie Ave., 234-9694. 8 pm. $20. 21+.

The Pains of Being Pure at Heart, Starfucker, Big Troubles, Alexico

There is no Oregon Music Hall of Fame. No building with vaulted archways and gold records lining the halls. But for its board of directors and 87 past inductees—punk guitarists, jazz drummers and club owners alike—the hall of fame is very real.

Terry Currier is co-founder and president of the OMHOF. “I wanted it to be more than just an organization that honored people from the past,” he says of its origins. “I wanted it to both preserve and promote music in Oregon.”

These days, the OMHOF is hitting its stride.

This week’s fifth-annual induction ceremony also features a charity guitar auction, one of many fundraisers to try and get music back into Oregon schools. Still, Portlanders who don’t share Currier and company’s extensive knowledge of the state’s musical history are bound to wonder: Who the hell are this year’s inductees? We asked Currier to help answer that question. CASEY JARMAN.

Robert Earl Keen

[TOWNES WITHOUT PITY] Maturing amidst a fairly fallow crop for independently minded Lone Star troubadours in the early ’80s—relatively speaking, of course; Lyle Lovett lived one porch over during college—Robert Earl Keen had neither the surrounding scene nor vocal prowess (flat and unadorned as a West Texas horizon) to achieve much of a mainstream following, and his 16-album oeuvre still seems most lovingly regarded by other songwriters.

Ready for Confetti, his latest release, adds another blistering collection of wryly cynical anti-anthems and richly textured narratives of hard-luck souls.

JAY HORTON. Aladdin Theater, 3017 SE Milwaukie Ave., 234-9694. 8 pm. $25. 21+.

cjarman@wweek.com

Chad Vangaalen, Gary War, Aan

[RECLUSE] Arguably Sub Pop’s most hermitic artist, Chad Vangaalen offers

TOP FIVE

CONT. on page 34

Dharma Bums (1986-’92) A jangly, punk-leaning rock act that reminds of the Replacements, Hüsker Dü and—on its Scott McCaughey-produced debut, Haywire—R.E.M., the Dharma Bums were a staple of the late ’80s/early ’90s Portland music scene and one of the best rock bands of the era. “When I first met them, they were just teenagers,” Currier says. “But they had lots of energy and drive, and their live shows were really, really dynamic.” A reunion show in 2010 filled the Crystal Ballroom. “Nobody ever thought there would be a Dharma Bums reunion,” Currier says.

BY FOUNTAINS OF WAYNE’S CHRIS COLLINGWOOD

MY FAVORITE ROAD MOVIES Tommy Boy I was wrong to dismiss this movie as a throwaway when I first saw it. I know this because it’s 16 years later and I’m still reflexively quoting it like an annoying Monty Python fan.

Zabriskie Point It has a 1952 Buick Special Deluxe, a lot of open roads and a lot of open sky. The film’s star was a self-professed, real-life revolutionary who died in prison after taking part in a politically motivated bank robbery.

Planes, Trains & Automobiles I’m pretty sure this is the only John Hughes movie I’ve ever liked.

Perfect casting turns what could have been a dull series of odd-couple gags into a thoughtful piece on class and dignity. I get weepy at the end.

Bring Me the Head of Alfredo Garcia I bet Tarantino loves this Sam Peckinpah movie, in which a bartender and his hooker girlfriend are out to make a million dollars by retrieving the head of the man who knocked up a gangster’s daughter. There was probably something wrong with Peckinpah, whose turbulent personal life would make a great Peckinpah movie.

Your Highness Filed in your video store under “Improvised While High” or “Made on a Dare.” I laughed almost all the way through this movie, mostly because I couldn’t believe they had spent all that money on props and sets and CGI for a bong-inspired plot about a medieval loser.

SEE IT: Fountains of Wayne plays Wonder Ballroom on Saturday, Oct. 8, with Mike Viola. 9 pm. $18 advance, $20 day of show. 21+.

JEFFREYFREDERICK.COM

CHRIS STRONG

[NOISE POP] The Pains of Being Pure at Heart doesn’t quite coincide with the grunge and electronic sounds coming from New York City streets

BY CASEY JA R MA N

Sequel (1976-present) This rock band’s legacy is forever frozen in a state of suspended animation: It dissolved in 1983 while waiting for Elektra records to release its sophomore album. The band’s self-titled debut, though, still stands up surprisingly well as a shining collection of Top-40 coulda-beens (think “Jessie’s Girl” or “Sunglasses at Night”), and reunion shows in the past decade have proven that the band still has moxie. “Most of the Sequel gigs seemed to be in the suburbs,” Currier says. “They had melodic singalong songs but with a harder edge to them.”

N WA M . C O M

[BOOTGAZER] A month after Celilo loosed new album Buoy Bell around Europe to outstanding reviews— venerable glossy Q Magazine offering four stars—the Portland troupe is finally celebrating its local release with various shows, including this short residency at Al’s Den with frontman Sloan Martin and guitarist Darin Joye, which welcomes a host of guests to its pared-down distillation of lush, lovely, sometimes heartbreaking folk-pop forays. JAY HORTON. Al’s Den at the Crystal Hotel, 303 SW 12th Ave., 9722670. 7 pm. Free. 21+.

as of late. Put on the map after their 2009 self-titled debut, the jangly, pop-rock rebels started rising quicker than a hot-air balloon. Songs like “The Body” and “Belong,” two purely pop, anthem-worthy car bangers on Belong—out now on pioneering indiepop label Slumberland Records —are just as sticky. “Girl of 1000 Dreams” will ruffle any pre-teen, post-heartbreak feathers you forgot to pluck (“Sadness hurts, but that’s OK/ Get back up and cry again/ Fall asleep in outer space/ But wake up at your parents’ place”), and the album as a whole will leave you with a general feeling of nostalgia. NIKKI VOLPICELLI. Wonder Ballroom, 128 NE Russell St., 284-8686. 8 pm. $15. All ages.

GETTING TO KNOW THIS YEAR’S OREGON MUSIC HALL OF FAME INDUCTEES

JAMES REXROAD

WEDNESDAY, OCT. 5

says. Though Frederick died in 1997, many of his old bandmates are still making Portland dance as the Freak Mountain Ramblers.

PNWBANDS.COM

= WW Pick. Highly recommended.

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

Jeffrey Frederick and the Clamtones (1975ish-’77ish) The Clamtones are recorded evidence that the old, weird America really existed. A sister band to the Holy Modal Rounders, the group played an unholy combination of freak folk, country and jam rock that put musicianship in the driver’s seat, with the band’s oddball sense of humor riding shotgun. “They packed the clubs—it was rootsy kind of music, but high energy on the dance floor,” Currier

Norman Sylvester (1985-present) Portland bluesman Norman Sylvester has staying power. For over 25 years he has entertained Oregonians with his blues band—a group that facilitates Sylvester’s funky and soulful streaks alike, both of which play a hand in his party-friendly sound. Sylvester still plays gigs in Portland every weekend. He also has the best nickname in Oregon showbiz: the Boogie Cat. “He always had five to seven people onstage, and when he could do it, he’d have background singers and the whole thing,” Currier says of Sylvester’s early days. “It was blues boogie with a lot of soul.”

COURTESY OF WILL HOBBS

MUSIC

Wheatfield (1971-present) Oregon’s Wheatfield is a folk-rock outfit that gathered momentum in the early ’80s on the back of its self-titled debut, a solid folk journey that takes some unexpected detours into gospel, string-based baroque instrumental and piano jazz. Wheatfield disbanded in 1982, citing family and road-weariness, but its 2010 comeback album, Odyssey—only the group’s second disc—is proof of a recent comeback. “Dave Leiken down at Double Tee [Concerts] thought this was probably one of the best bands that ever came from Oregon,” Currier says. “In the ’70s, these guys were pretty huge in this state.”

SEE IT: The OMHOF induction ceremony is Saturday, Oct. 8, at the Newmark Theater, with Crazy 8s and Johnny and the Distractions. 7 pm. $25. All ages.

Willamette Week OCTOBER 5, 2011 wweek.com

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MUSIC

THURSDAY - FRIDAY

YOU’RE A REAL LIFESAVA: Vursatyl plays Upfront Bar & Grill on Saturday. a sound as soft and tender as solitude itself. The Canadian animator/ guitarist/singer is a true creative, with a colorful Michel Gondryesque worldview that may as well be taken straight from a children’s book. Vangaalen’s latest record, Diaper Island, expresses the restive ways of an artist on his own, fit with minimal instrumentation and an ever-present moping guitar. Mr. Vangaalen—whose recent material reminds of Built to Spill godhead Doug Martsh’s solo work—is always musically prudent and fearlessly introspective. MARK STOCK. Holocene, 1001 SE Morrison St., 239-7639. 8:30 pm. $10. 21+.

Zola Jesus, Xanopticon

[GOTH POP] Zola Jesus’ harrowing debut, 2009’s The Spoils, evoked the sort of suffocating sadness that befalls a person trapped for too long in a sick room. But before she could be buckled for good in the “lo-fi goth” straitjacket, Jesus (born Nika Roza Danilova) dropped two pristine EPs of dark and baleful synth pop that reveled in the space opened up by higher production values. The newly released Conatus finds Jesus floating in similarly chilly lunar climes, her spooky croons doubled and trebled in flights above plaintive synths and tumbling drummachine beats. It is a gorgeous album, and that its creator is only 22 years old is rather terrifying.

CHRIS STAMM. Mississippi Studios, 3939 N Mississippi Ave., 288-3895.

9 pm. $15. 21+.

Fall Into Darkness: Laudanum, Wizard Rifle, Author and Punisher, Eight Bells

[METAL FEST] A colleague of mine noted recently that he loves Fall Into Darkness because it gives him a chance to take stock of what is going on in the world of metal/heavy music each year.

And considering the bands that have been booked for the annual festival in years past—including Sunn 0))), Russian Circles and Nachtmystium—appeared just before their respective rises to prominence, he’s dead on. While the scope of the 2011 edition has been scaled back to focus solely on acts from the West Coast, each of the three nights is a powerful reminder of how thrilling the metal scene has become over the past decade. For one, the number of local acts on tap is plain ridiculous, including a headlining spot on Saturday by one of the biggest names in black metal right now, Agalloch, as well as appearances by young prog firebrands Wizard Rifle and festival booker (and WW contributor) Nathan Carson’s doom metal outfit Witch Mountain.

Add to that an impressive array of bands from down California way will be descending upon the city, chief among them Laudanum, a drone-tastic outfit from Oakland, and San Francisco’s long-running doom-boogie group Acid King. It’s time to check in with the music of the night, children. Don’t miss your

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Willamette Week OCTOBER 5, 2011 wweek.com

chance. ROBERT HAM. Rotture, 315 SE 3rd Ave., 234-5683. 9 pm.

Opening night is free! See Friday and Saturday listings for more information. 21+.

Girls, Sonny and the Sunsets, PAPA

[POP OF AGES] San Francisco’s Girls sideswiped everyone in 2009 with Album, a chiming garagepop record that dropped out of a weed cloud somewhere, shone sunny ’60s melodies through the perspective of druggy street kids and ended up on every bestof-the-year list. So we probably should have seen Father, Son, Holy Ghost coming. Yet the scope of the band’s sophomore album still comes as a brilliant surprise.

It’s as ambitious as the title of its debut was unassuming. Remember “Hellhole Ratrace,” Album’s slowbuilding, attention-grabbing centerpiece? There are three of those on this new one, each sprawling out beyond five minutes and containing organ, Mellotron, flutes, even gospel singers. If that sounds messy, marvel at frontman Christopher Owen’s gift for arrangement. Two years ago, Owen seemed like an eccentric who stumbled upon a few jangly gems.

On Father, Son, we learn he’s a songwriter of true worth, able to touch on tropes from the Beatles to Pink Floyd and make them his own. MATTHEW SINGER. Wonder Ballroom, 128 NE Russell St., 2848686. 9 pm. $13 advance, $14 day of show. 21+.

FRIDAY, OCT. 7 Fall Into Darkness: Agalloch, Atriarch, Sedan

See Thursday Fall Into Darkness listing. CHRIS STAMM. Branx, 320 SE 2nd Ave., 234-5683. 8 pm. $15.

All ages.

Super Diamond, Funk Shui

[THE NEIL THING] A Jewish Elvis convention? Fuck yeah! Not one but two Neil Diamond tributes hit Portland on Friday, and they couldn’t be more different. Tony Starlight’s genteel take on Neil goes head-to-head with perennial Diamond dogs Super Diamond, the San Francisco sextet that forgoes impersonation for a golden-era show that incorporates butt-rock theatrics (songs end with riffery from Scorpions and the like) amid the sequined outfits. Front man Randy “Surreal Neil” Cordero’s take on Diamond is a gruff and libidinous kick in the stuffed crotch.

Neither show is anywhere near the real deal (seriously, Neil still fucking rocks), but this weekend you can have your Diamond in any flavor you want (fear not, it’ll still taste like vanilla). AP KRYZA. Dante’s, 350 W Burnside St., 2266630. 9:30 pm. $18 advance, $20 day of show. 21+.

CONT. on page 37

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AUTUMN RECOMMENDS DEAD BLACK HEARTS THE SOUTHERN FRONT

MELISSA FERRICK STILL RIGHT HERE ‘Still Right Here’ is folk-rock powerhouse Melissa Ferrick’s 1st studio album in 5 years, combining the 99 CD lyrical sophistication of Aimee Mann with the driving acoustic guitar of Dave Matthews. Featuring performances by Ani DiFranco & Kaki King, the album perfectly showcases Ferrick’s finely-honed chops as a singer & guitarist, while highlighting her prowess on piano & drums. Co-produced

by Ferrick with Brooklyn indie darling Alex Wong (The Paper Raincoat, Vienna Teng).

ON SALE $9.

‘The Southern Front’ is a tight set of cohesive yet distinct indie rock 99 CD songs taking influences from acts like Wolf Parade, Arcade Fire, The Secret Machines, and the Beatles. Self-produced in Austin, TX and mixed at Public Hi-Fi (Spoon, Mates of State), the atmosphere is roomy and organic, incorporating layered guitars, keys, brass, bass, distinct percussion, and claps ... oh, the claps.

ON SALE $7.

BJORK BIOPHILIA

CLAUDIO RODITI BONS AMIGOS

TROMBONE SHORTY FOR TRUE ‘For True’ is the new album from Grammy nominee Troy Andrews 99 CD AKA Trombone Shorty.

Produced by Galactic’s Ben Ellman, the album features Andrews’ band Orleans Avenue as well as a string of legendary performers with whom he recently shared the stage, including Jeff Beck, Kid Rock, Lenny Kravitz, Ledisi, Warren Haynes, Ivan and Cyril Neville, The Rebirth Brass Band and more.

Troy wrote or co-wrote all 14 tracks on the new album including co-writes with Ledisi, Kid Rock, Lamont Dozier and others.

ON SALE $11.

Multi Grammy-nominated Claudio Roditi is one of Brazil’s renowned jazz 99 CD trumpeters and ‘Bons Amigos’ proves it. Claudio has an incredible repertoire with decades of sideman experience with stellar jazz giants including McCoy Tyner, Horace Silver, Herbie Mann, and Michael Franks. He earned a 1995 Grammy nomination for ‘Symphonic Bossa Nova,’ and another in 2010 for Best Latin Jazz Album (Brazilliance X4).

ON SALE $13.

ART ABRAMS SWING MACHINE BIG BAND SPEAK LOW SWING HARD

DEATH CAB FOR CUTIE CODES AND KEYS

AVAILABLE 10/11 ‘Biophilia’ is the Icelandic singer and composer’s most ambitious undertaking in a 20-year career distinguished by continuous innovation and artistic evolution. The album title refers to a love 99 CD of all living things, and in every aspect of LP ALSO AVAILABLE this game-changing multi-media effort, Björk brilliantly connects nature, music, and technology. In addition to the music itself, this project will offer interactive iPad apps, designed by the industry’s most creative minds, that feature games, music, and editorial content-allowing listeners to explore more deeply the concepts and sounds of each of Biophilia’s 13 songs.

ON SALE $13.

By their seventh studio album, many bands are running out of creative steam and original ideas. But in the case of Death Cab for Cutie, nothing could be further 99 CD from the truth. ‘Codes And Keys’ is singuLP ALSO AVAILABLE lar in the quartet’s catalog when it comes to sonic exploration and lyrical ambition.

If anything, the band has never sounded more excited to experiment with textures, words, sounds and even the process of recording itself.

‘From my personal perspective, each recorded album must not only be superior in musicianship to the one 99 CD that came before, but also provide new challenges for the musicians. The music in ‘Speak Low Swing Hard’ reflects the expertise and dedication of an incredible array of area professionals, in creating arrangements, original composition and performance.’– Art Abrams

APPEARING THURSDAY 10/20 @PORTLAND MEMORIAL COLISEUM

TABLE RESERVATIONS: ARTABRAMS@CASCADEACCESS.COM FURTHER INFO: 503 630-7224

ON SALE $13.

ON SALE $11.

LIVE MUSIC FULL BAR FOOD FUN

Saturday Oct 8th

Celebrate Thelonious Monk’s birthday and the Blue Monk’s 9-year anniversary with a special Monk tribute with David Ornette Cherry Featuring: Renato Caranto (sax) Carlton Jackson (drums) Tye North (bass) 9pm, $8. every tuesday: Pagen Jug Band 6:30pm every weds: Arabesque & Belly Dance 8pm every thursday: Alan Jones JAM 8pm Now serving home made NY pizza!

MUSIC 7 NIGHTS A WEEK

CD RELEASE CELEBRATION SUNDAY OCTOBER 30TH 5PM @ THE BENSON HOTEL MAYFAIR BALLROOM

Portland’s best happy hour 5pm—7pm Daily and All Day Sunday

OFFER GOOD THRU 10.31.11

3341 SE Belmont thebluemonk.com 503-595-0575

DANIELE LUPPI MALOS HABITOS

ON SALE

$12.99 CD

Trained in classical piano and jazz organ, Luppi was immersed from an early age in the film scores of the most influential Italian composers of the era. He wrote the emotional, orchestral score for this award winning film, Malos Habitos (Bad Habits), which premiered at both Sundance and Cannes Film Festival. Like the eternal city of Rome, Daniele Luppi’s music is at once exotic, familiar, sophisticated but funky, sexy yet sinister, sleekly modern and wonderfully timeless.

THE

REAL TUESDAY WELD THE LAST WEREWOLF

MATT HAIMOVITZ & CHRISTOPHER O’RILEY

SHUFFLE.PLAY.LISTEN ON SALE $18.99 2CD ‘Shuffle.Play.Listen’ unites ground-breaking, Grammy-nominated cellist Matt Haimovitz with pianist Christopher O’Riley, famous for his piano tributes to Radiohead, in a collaboration that blurs the boundaries between classical and pop music. Two performers, each a superstar in his own right, come to-

gether to plumb the virtuosic and lyrical possibilities of their instruments in an expansive 2CD set from Oxingale Records. ‘Shuffle.

Play.Listen’ embraces a new kind of listening public who mix Wagner with Lady Gaga on their iPods, exploring new sounds and moving comfortably between genres.

FOR A COMPLETE LIST OF MOVIES & SHOW TIMES VISIT: nwfilm.org/festivals/reelmusic

36

Willamette Week OCTOBER 5, 2011 wweek.com

‘The Last Werewolf’ takes Glen Duncan’s novel as the backdrop for a widescreen emotional cabaret tailor-made for the iTunes generation. The album is both a high concept single piece and a diverse playlist for the eclectic of ear and heart, all in the band’s own genre ‘Antique Beat’.

The book’s themes of violence, friendship, transformation, love and betrayal are recast as a suite of songs bound together in a soundtrack by voices and readings from the text. Guest vocalists include The Puppini Sisters, Joe Guillotine, Pinkie Maclure and Piney Gir.

ON SALE

$9.99 CD

DAVID BYRNE RIDE RISE ROAR ON SALE $11.99 DVD ‘Ride, Rise, Roar’ is a concert film featuring David Byrne that blends riveting onstage performances with intimate details of the creative collaborations that make the music and performance happen. Shot with multiple cameras over several concerts during the 08/09 tour, the film blends the energy and charisma of classic Talking Heads with the heartfelt pathos of David Byrne and Brian Eno’s most recent collaboration.

OFFER GOOD THRU: 11/1/11

FRIDAY - SATURDAY

Dum Dum Girls, Crocodiles, Colleen Green

[DARK CRYSTALS] For all the technicolor emoting and hysterical situations, girl-group music isn’t really meant to deal with measured grieving, but Only In Dreams, the Dum Dum Girls’ just-released sophomore album co-produced by Sune Rose Wagner (the Raveonettes’ brooding half) and Richard Gottehrer (legend in the field who helmed the Go-Go’s debut and wrote “My Boyfriend’s Back”), accomplishes the impossible. Lowering the fuzz and upping the vocals of Kristin Gundred—Dee Dee, in band lore, aside Jules, Sandy and Bambi—the songs retain their cheekily anthemic bite even as the surrounding tone focuses upon the deteriorating health of Gundred’s mother, who died during recording. JAY HORTON. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $13. 21+.

Loch Lomond, Lost Lander, Lewi Longmire

[FOLKTRONICA] Loch Lomond makes a lot of noise. Portland’s understaffed orchestra just finished its West Coast tour celebrating the release of Little Me Will Start a Storm, the band’s first record on the Tender Loving Empire label.

Heavy with plucky folk melodies and notes of Nick Drake or the Shins, Little Me is a sound example of what can happen when you put a bunch of talented musicians in a room with a shit ton of exotic instruments and a few guitars. Do you hear the vibraphone? What about the glockenspiel? You don’t know what a glockenspiel is? Well, trust me, it’s in there, and so is lead singer Ritchie Young’s ringaround-the-rosie vocals, filled with a thick medieval tone that’s only a bit more apparent in his earlier stripped-down stuff (think “Alice Left With Earrings”). Tonight’s soiree celebrates the band’s month at home before heading out to the Netherlands and Belgium. NIKKI VOLPICELLI. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. $10. 21+.

Absent Minds, Thundering Asteroids, Vacillators

[SHRED THE CELLO] Absent Minds specializes in that boisterous brand of early-’90s East Bay punk that might as well come packaged with a skateboard and a detention slip. The hyperactive anthems on last year’s Emergence EP are shot through with the same kind of wide-eyed hope and gruff solicitude that made (and still make?) Operation Ivy and its first wave of acolytes such essential stepping stones for just about every punk kid I’ve ever met.

Portland’s latter-day practitioners of this strain of rowdy joy have taken it upon themselves to add a cello to the fail-proof formula, and it totally works, but if Absent Minds doesn’t name its next album Cello Biafra, I will be very upset. CHRIS STAMM. Slabtown, 1033 NW 16th Ave., 2230099. 9 pm. Cover. 21+.

Richmond Fontaine, Ian Moore, Mercy Graves

See album review, this page. JAY HORTON. Star Theater, 13 NW 6th Ave. 8 pm. $10. 21+.

Neil Diamond Tribute

See Friday Dante’s listing. AP KRYZA. Tony Starlight’s, 3728 NE Sandy Blvd., 517-8584. 8 pm. $15. 21+.

SATURDAY, OCT. 8 Japanther, Unstoppable Death Machines, Blood Beach, Youthbitch

[FUN PUNK] It seems like Brooklyn happy-punk duo Japanther has been engaged in a very cool, artsyfartsy party since its 2001 inception. Composed of Ivan Vanek and Matt Reilly, Japanther plays a jumpy, occasionally off-kilter brand of punk that is roughly as conducive to the dance party as it is to

the mosh pit. It seems a logical consequence of Japanther’s maniacal productivity that the group has wound up dabbling in multimedia projects ranging from video installations to synchronized swimming performances to puppet rock operas with Portland’s own Night Shades puppetry collective. However, the proper testament to Japanther’s prodigious habits is its discography, a document that spans some 20-odd releases, to which last year’s JapantherNinjasonik 7-inch is the latest addition. SHANE DANAHER. Branx, 320 SE 2nd Ave., 234-5683. 9 pm. $10. All ages.

Fall Into Darkness: Acid King, Premonition 13, Witch Mountain, Tombstalker

See Thursday Fall Into Darkness listing. ROBERT HAM. Rotture, 315 SE 3rd Ave., 234-5683. 9 pm. $10 advance, $12 day of show. 21+.

David Ornette Cherry

[MONK’S MUSIC] The tributes to jazz legends keep coming, this time featuring Portland pianist Cherry, who met Thelonious Monk as a child when the great composer-pianist visited David’s famous trumpetplaying avant-jazz dad, Don Cherry.

By any measure, bop legend Monk (1917-82) ranks as one of the most important and influential American composers, thanks to classics like “Round Midnight,” “Straight, No Chaser,” “Epistrophe,” “In Walked Bud,” “Well, You Needn’t” and a couple dozen others, including the masterpiece that named the fine jazz club where this birthday tribute (to both Monk and the club, celebrating its ninth anniversary) takes place. Cherry will play both his music and Monk’s and share memories of his encounters with the aptly dubbed “Genius of Modern Music.”

BRETT CAMPBELL. The Blue Monk, 3341 SE Belmont St., 503-595-0575.

8 pm. $10. 21+.

MUSIC

Vursatyl (of Lifesavas), Vitamin D, Rev. Shines

[NW HIP-HOP] One of the items atop our wish list for 2011 was the long-awaited follow-up to Lifesavas’ 2008 insta-classic, Gutterfly. It doesn’t appear that’s going to happen, but we are heartened to hear that one-third of the group is making moves in the short term.

Vursatyl has long been one of the Rose City’s best and brightest, and tonight he’ll be debuting some new tracks for the in-crowd at the Upfront Bar & Grill. Don’t expect a full set from Vurs—it’s his birthday party, after all—but do expect a night of great beats from Lifesavas’ Rev Shines and Seattle’s Vitamin D, a ridiculously talented producer who has literally worked with everyone in hip-hop. Literally. If you don’t have a Vitamin D beat, you are not making hip-hop. Happy birthday, Vursatyl.

Now we’re hoping for two new records come fall. CASEY JARMAN. Up Front Bar & Grill, 833 SW Naito Parkway, 220-0833. 9 pm. $5. 21+.

Fountains of Wayne, Mike Viola

[POWER POP] Power pop is the genre forever suspended in the amber of the Beatles circa 196566. So can it ever really grow up?

Fountains of Wayne songwriters Chris Collingwood and Adam Schlesinger—now releasing fifth album Sky Full of Holes 15 years into their band’s career—must wonder, as their lyrics become more reflective while the style’s de rigueur bouncy tempos, merry melodies and keening vocals continue to signify nothing but the youth. It’s an especially tough bind for a band whose signature hit is sung from the POV of a MILF-lovin’ schoolboy. Of note: Opener Mike Viola of the Candy Butchers co-wrote Grammy-winning neo-nugget “That Thing You Do”

america is a story that never ends

experience over 150 stories from the american narrative at wordstock · october 6–9, 2011 bewordstock.org · oregon convention center

CONT. on page 41

ALBUM REVIEW

RICHMOND FONTAINE THE HIGH COUNTRY (EL CORTEZ) [LIT-COUNTRY] More than five minutes pass on Richmond Fontaine’s new, 10th album, The High Country, before Willy Vlautin’s voice is heard. His singing voice, that is; it’s clear from the opening narration, “Inventory,” recited by guest Deborah Kelly of Austin band the Damnations, that we’re deep in Vlautin’s dead-end world. But the album resembles no other in the band’s canon—or, really, genre— its tale unfolding as part song, part story; part Raymond Carver, part Thornton Wilder; part high lonesome sound, part Northwest garage; part goth horror comic, part mumblecore noir, part some new intravenous delivery system for a novel.

Like its characters’ assignations on remote logging roads, the album is pitched between points A and B in the middle of nowhere, committing dizzying shifts of medium—as when an uncomfortably vérité scene of dialogue warps into expressionist audio collage at the moment a character demands three Burgerville milkshakes in exchange for conspiring with another—and lurches tonally from terrifying to tender, cut by one farcical interlude in which every song on the radio is a genre cliche about lumber (“Been a logging man since I got back from ’Nam...”). There’s another duality between the songs sung by Vlautin and those performed—inhabited—by Kelly, who imbues the unnamed heroine with fully fleshed reality; her hushed delivery of “I Can See a Room” alone is the kind of performance that wins an actress an Academy nod.

And Richmond Fontaine, by now, is to Willy Vlautin what a CGI beastie is to Andy Serkis—effortlessly, intuitively responding to and amplifying his every emotional gesture or tonal feint.

His novel, The Motel Life, is about to be brought to life on film by Dakota Fanning and Emile Hirsch. But it’s hard to imagine a more vivid rendering of Vlautin’s blooded, bleeding-heart vision than the one provided here by his co-star and his stalwart band. JEFF ROSENBERG.

TALKDEMONIC/RUINS

OUT NOW

SEE IT: Richmond Fontaine plays the Star Theater on Friday, Oct. 7, with Ian Moore and Mercy Graves. 8 pm. $10. 21+.

Willamette Week OCTOBER 5, 2011 wweek.com

37

MUSIC CA BOTHWELL

PROFILE

ASTRONAUTALIS SUNDAY, OCT. 9 Astronautalis crossed the streams and lived to tell the tale.

[PUNK HIP-HOP] Minneapolis may be the only city in America where Andy Bothwell’s music doesn’t make him a weirdo. After three years in Seattle, Bothwell—better known as the MC/songwriter Astronautalis— moved to the Twin Cities in June. There he’s able to focus energy on Four Fists, an ambitious and semi-absurd collaboration with Doomtree’s P.O.S. that is entirely focused on reworking F. Scott Fitzgerald short stories into hip-hop songs. The project fits with Astro’s track record of making outsider hip-hop that is just as influenced by Modest Mouse as it is by De La Soul. But Bothwell’s move was about more than just music.

“Seattle is not an incredibly enthusiastic city. Not to say they’re not passionate or ambitious, but the idea of enthusiastic outburst is not a Pacific Northwest characteristic,” he says via telephone from the road. “And I am nothing without enthusiastic outbursts. I think all my friends in Seattle found it completely charming that you get two shots of whiskey in me and I’m fucking Foghorn Leghorn, but my energy was never really matched. And my friends in Minneapolis are enthusiastic and overly optimistic and overly ambitious. It’s always, ‘Tonight is going to be the best night ever.’ And we’re just going bowling.”

Bothwell’s own unguarded enthusiasm is matched by a borderline hyperactive disposition and a knack for distilling striking scenes and gutwrenching dialogue into his razor-sharp raps.

It’s an awkward skillset that comes together to form a 20th century music-geek troubadour who moves effortlessly through the worlds of indie rock (he opens the moving, piano-fueled “Measure the Globe” by dropping an obscure reference to Sacramento punk legend Kevin Seconds) and hip-hop (one of his most popular early songs, “Something for the Kids,” raps a quite romantic story about fictional road trips alongside Fat Joe and Tupac).

At least, that’s the idea. For Bothwell, finding an audience to properly appreciate his far-flung musical interests (let alone his sometimes Decemberists-esque thematic interests) has been an uphill struggle. But as his musical vision has coalesced—both 2008 effort Pomegranate and this year’s downright masterful This Is Our Science rely less on the novelty of genre-fucking and more on the strength of Bothwell’s snowballing songwriting and singing abilities—the fans have slowly found him. It’s one of many reasons Bothwell remains an optimist in an ugly time. “America at large is doing what America at large is doing,” he laughs. “But at the same time, I’m able to make indie-artsy, historical-fiction rap music, and through the power and the witchcraft of the Internet, I’m able to channel that to the right people. I’m able to kind of sidestep what capital-A America is doing and make my own little private nation.”

Unlike some of his avant garde hip-hop peers, Bothwell—who now tours with a full band—has not left the art of rhyme behind.

“I don’t think I’ll ever totally abandon it. When a fucking awesome beat comes up and I feel that I can kill it on some doubletime stuff—I’m just still so addicted,” he says. Then he does something few MCs will ever do: He drops a Dinosaur Jr. reference. “It’s like, as much as I love watching J Mascis sing and play a song, when he really lets loose, it’s fucking awesome. There’s just something to be said for watching someone who’s good at their craft be good at their craft.” CASEY JARMAN. SEE IT: Astronautalis plays Rotture on Sunday, Oct. 9, with iAMe, Hurtbird and Dope Thought. 9 pm. $8. 21+.

38

Willamette Week OCTOBER 5, 2011 wweek.com

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PAGE 58 Willamette Week OCTOBER 5, 2011 wweek.com

39

40

Willamette Week OCTOBER 5, 2011 wweek.com

SATURDAY - TUESDAY

MUSIC

with Fountains’ Schlesinger. JEFF ROSENBERG. Wonder Ballroom, 128 NE Russell St., 284-8686. 9 pm. $18 advance, $20 day of show. See also Top Five, page 33. 21+.

SUNDAY, OCT. 9 Richard Cheese & Lounge Against the Machine

[CHEESE SHTICK] Richard Cheese has a shtick, and he’s sticking to it.

Leading L.A. Rat-Pack pucks Lounge Against the Machine, Cheese co-opts Will Ferrell’s Robert Goulet-rapping gag (technically, Cheese’s version came first) and adds swing and swagger to metal, ’80s pop, industrial and everything in between.

Touring in support of last year’s Johnny Aloha: Lavapalooza and the upcoming A Lounge Supreme, your tolerance of Cheese is based on how funny you think a cover of Mystikal’s “Shake Ya Ass” would be if crooned

by Tony Bennett (answer: pretty fucking funny). If that’s your bag, take heed. Cheese has pasteurized his shtick to perfection. AP KRYZA. Aladdin Theater, 3017 SE Milwaukie Ave., 234-9694. 8 pm. $36.50 advance, $38 day of show. 21+.

Wild Beasts, EMA

[DARK, NOISY POP] When tallying the highlights of this past year’s MusicfestNW, it’s hard to place the performance of lo-fi pop sensation EMA anywhere but near the top.

After a good many years building her cred in the So Cal band Gowns, Erika M. Anderson (EMA, get it?) released her solo debut, Past Life Martyred Saints, earlier this year.

After damned near breaking the Internet with blog-based adoration, that album has become one of the year’s clear standouts. Somewhere in the wilderness between goth, grunge, lo-fi and folk, Anderson has been able to lasso songs like “Milkman” and “California” into her service. The latter tune, with its foghorn synths and damaged stream-of-consciousness lyrics, seems like a “no, duh” choice for becoming the anthem of a generation. Headlining quartet Wild Beasts is touring on May’s Smother, a disc that maintains the Beasts’ obsession with post-punk vaudeville, as well as its comfortably competitive predilections for ragged falsetto and molasses-thick baritone. Cheesy at times, but never winkingly so, Smother owns every one of its odd contours. SHANE DANAHER. Doug Fir Lounge, 830 E Burnside St., 2319663. 9 pm. $13 advance, $15 day of show. 21+.

Portland Folk Festival: Celso Machado, Geoff Berner, The Brazilionaires

[FOLK FEST] If you think a human beat box is something, Brazilianborn Celso Machado is a whole human rain forest. He plays his guitar’s strings, but also its body, as a percussion instrument. He plays his own body as a percussion instrument, as well as anything he can get his hands on. He uses his voice to sing, and to play any number of musical instruments he can’t get his hands on, or to conjure any animal sounds he can’t produce on his assortment of flutes and other toys. The preceding Geoff Berner is a swaggering, staggering klezmer assassin, wielding his wit like a shiv and his accordion as a blunt instrument to assault your mind and funny bone, with occasional blows to the heart. You’ll be grateful for Machado’s musical medicine. JEFF ROSENBERG. The Old Church, 1422 SW 11th Ave., 222-2031. 6 pm. $15 advance. All ages.

Cut Copy, Washed Out, Midnight Magic

[ECSTATIC DANCE POP] My first thought as I watched Cut Copy perform at this year’s Pitchfork Music Festival was, this is like a modernday Men at Work. It was meant as a withering statement before I remembered that I used to LOVE Men at Work. And I’m starting to warm up

ALL THE DRESSINGS: Dum Dum Girls play Doug Fir on Friday. to the joyful disco pop exhibited by the younger group. Cut Copy’s latest album, Zonoscope, is a toothacheinducing collection of hyper-sweet party jams aimed for the lovers and the dreamers crowding the dance floor. And in concert, the group is nothing but sweat, energy and giddiness. It’s almost guaranteed that you will be, too. ROBERT HAM. Wonder Ballroom, 128 NE Russell St., 2848686. 8 pm. $23 advance, $25 day of show. All ages.

MONDAY, OCT. 10 The Drums, Veronica Falls, Io Echo

[LO-FI, BOY-GIRL] Fewer lo-fi bands have received raver reviews for their debut full-length than England’s Veronica Falls. The catchy vocal partnership of Roxanne Clifford and Patrick Doyle, backed by sugary, buzzing, whitewashed guitar work, makes the quartet’s self-titled debut worthy of your record collection.

And while sometimes sleepy and overtly shoegazey, Veronica Falls— intentionally or otherwise—employs the same British retro-pop elements that ran rampant in the 1980s.

Headliners the Drums offer a bit of a counterpoint, fresh off the release of its frayed and dreamy sophomore album, Portamento. MARK STOCK. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $12. 21+.

Boris, Tera Melos, Master Musicians of Bukkake

[TOKYO RIFFS] All through its career, Japanese trio Boris has displayed a great ability to reach out from the doom-metal muck in which it was born, pull various genres down into the sludge and make them feel at home. (It’s a testament to the band’s sonic diversity that it could pay tribute to Nick Drake on the cover of 2005’s Akuma No Uta and have the distance between his depressed quietude and its skullfracturing thud not seem all that far.) This year, the group released two albums, each bearing a different identity: Heavy Rocks is, well, heavy and rocking, a relatively straightahead bone-bruiser highlighted by a pair of transfixing 12-minute epics that unfold at sloth speed; Attention Please, however, is something else entirely. Even for a band with a healthy experimentation streak, it sounds unlike anything Boris has produced before. It’s a slinky, almost sexy record, enveloped in a dark ethereality akin to the xx or Blonde Redhead, with only a few traces of the band’s signature crunch ’n’ drone.

MATTHEW SINGER. Hawthorne Theatre, 3862 SE Hawthorne Blvd., 233-7100. 8 pm. $16 advance, $18 day of show. All ages.

Veronica Falls

See Monday Doug Fir listing.

MATTHEW SINGER. Jackpot Records-Hawthorne, 3574 SE Hawthorne Blvd., 239-7561. 3 pm.

Free. All ages.

descriptions of New York’s Cymbals Eat Guitars, but for my money, the quartet takes more cues from Lonesome Crowded West-era Modest Mouse than anything else.

Cymbals Eat Guitars’ two records to date—2009’s Why There Are Mountains and this August’s Lenses Alien—are replete with violently yelped vocals, twitchy guitar abuse and schizophrenically epic songs that span six-plus minutes and at least as many melodic variations.

Frontman Joseph D’Agostino seems like he’s persistently singing and composing on the absolute farthest edge of his abilities. The resulting rapture and squall serves as a welcome reminder that indie rock can still accommodate some wonderfully unhinged ambition. SHANE DANAHER. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. $12. 21+.

TUESDAY, OCT. 11

fiction

america is a story that never ends

experience over 150 stories from the american narrative at wordstock · october 6–9, 2011 bewordstock.org · oregon convention center

The Fucking Wrath, Sons of Huns, Triplehorn

[THE DEVIL’S MUSIC] Despite a penchant for infernal imagery and such parlor tricks as releasing its debut album on 6/6/06, the Fucking Wrath revels in the assemblage of all that’s hard and heavy of a decidedly metallic stoner rock. On the heels of recently released sophomore album Valley of the Serpent’s Soul, the So Cal boys again take to the road (they average 150 shows a year) for another nationwide blitzkrieg; Lord knows, the brutal percussion and unreconstructed riffage makes grand driving music. JAY HORTON. East End, 203 SE Grand Ave., 2320056. 9 pm. $6. 21+.

Chromeo, Mayer Hawthorne and the County, Sammy Bananas

[OLD SCHOOL FOR THE NEW SCHOOL] Although this may seem like an odd pairing, Canadian retro-rockers Chromeo and L.A. DJ-turned-singer Mayer Hawthorne are actually pretty alike. Both started off producing hip-hop, and both now create music that sounds like it was made decades ago— Chromeo crafts the same synthy cheese funk made famous by bands like Klymaxx and Sylvester, while Hawthorne sings sophisticated soul ballads built from late-’60s influences. Both have achieved mainstream success after starting on widely respected indie labels (Fool’s Gold for Chromeo; Stones Throw for Hawthorne). Not to mention how awesomely dorky both dress.

They should call this the “Young Guys With Goofy Glasses Singing Vintage Pop for the Masses Tour.”

Chromeo and Mayer Hawthorne have something else in common: They both know how to get things poppin’. There will be dancing.

REED JACKSON. Roseland Theater, 8 NW 6th Ave., 224-2038. 8 pm. $26 advance, $30 day of show. All ages.

Cymbals Eat Guitars, Hooray for Earth, Brainstorm

[GUITAR ROCK] The name Pavement keeps cropping up in

Willamette Week OCTOBER 5, 2011 wweek.com

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Hosted the Oakridge Hostel with theand Lanewe County Special Projects Grant. We operate recreation under a special ►by Expert Lectures &assistance Guided Forays useOakridge permit with the Willamette National Forest and we are an equal opportunity outdoor recreation service provider.

Hostel

Oakridge Hostel ► Culinary Uses of Mushrooms

48175 East First St. Oakridge, OR 97463 541.782.4000 Oakridge Hostel

48175 East First St. Oakridge, OR 97463 541.782.4000 For complete details and OR to register online, visit www.oakridgehostel.com/events 48175 East First St. Oakridge, 97463 541.782.4000 For complete details and to register online, visit www.oakridgehostel.com/events For complete details and to register online, visit www.oakridgehostel.com/events Oakridge Willamette Hostel Week OCTOBER 5, 2011 wweek.com

Hosted by the Oakridge Hostel with assistance from the Lane County Special Projects Grant. We operate under a special use permit with the Willamette National Forest and we are an equal opportunity outdoor recreation service provider.

No Cover 8pm Show

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SATURDAY OCT 15 SATURDAYOCT15

TUE11SDAY T

Join Join other other mushroom mushroom enthusiasts enthusiasts for for an October 14, 15, 16th, 2011 an educational educational and and fun-filled fun-filled weekend weekend October 14, 15, 16th, 2011 in the heart of the Willamette National in the heart of the Willamette National October 14, 15, 16th, 2011 Forest.

Forest. Naturalists Naturalists Bruce Bruce Newhouse Newhouse and and Peg Peg Boulay Boulay will will guide guide participants participants Join other mushroom enthusiasts for on forest forays to identify edible oneducational forest forays to identify edible an and fun-filled weekend Join other mushroom enthusiasts for mushrooms. mushrooms. in heart of the Willamette National anthe educational and fun-filled weekend Forest.

Naturalists Bruce Newhouse Benjamin Nadolny, Sous Chef King in the ofwill the Willamette National Benjamin Nadolny, Sous Chef at at King and Pegheart Boulay guide participants Estate Winery, will demonstrate the Forest.

Naturalists Bruce Newhouse Estate demonstrate the on forestWinery, forays towill identify edible culinary of along and Peg use Boulay will guide participants mushrooms. culinary use of mushrooms mushrooms along with wine pairings and He on forest forays to identify edible with wine pairings and tasting. tasting.

He Benjamin Nadolny, Sous Chef at Kingon will prepare a gourmet dinner mushrooms. will prepare awill gourmet dinner Estate Winery, demonstrate theon Saturday evening.

Saturday evening. culinary use of mushrooms along Benjamin Nadolny, Sous Chef at King with wine pairings and tasting. He Estate Winery, will demonstrate the will prepare a gourmet dinner on Registration Cost is $300 culinary use of mushrooms along Saturday evening.Cost is $300 Registration with wine pairings and tasting. He will prepare a gourmet dinner on Includes: Registration Cost is $300 Includes: Saturday evening.

42

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For the Love of Mushrooms...

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MUSIC CALENDAR = WW Pick. Highly recommended.

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

Email: music@wweek.com.

Afrique Bistro

102 NE Russell St. The Javier Nero Quintet

Al’s Den at the Crystal Hotel

303 SW 12th Ave. Celilo Duo

Aladdin Theater

3017 SE Milwaukie Ave. Justin Townes Earle, Jason Isbell & the 400 Unit, Caitlin Rose

Alberta Rose Theatre

3000 NE Alberta St. Holcombe Waller, Gabriel Kahane, Classical Revolution PDX

Alberta Street Public House 1036 NE Alberta St. Open Mic

Andina

Ash Street Saloon 225 SW Ash St. Sun Kids

Beaterville Cafe

2201 N Killingsworth St. Lowell John Mitchell, The Triplets of BeaterVille

Camellia Lounge

510 NW 11th Ave. Open Jazz Jam Night

Crystal Ballroom

1332 W Burnside St. Erasure, Frankmusik

Dante’s

Biddy McGraw’s

350 W Burnside St. Goddamn Gallows, The Independents, Jayke O, James Hunnicutt

Brasserie Montmartre

Doug Fir Lounge

6000 NE Glisan St. Half-Step Shy 626 SW Park Ave. A Tiempo with Nat Hulskamp & Danny Romero

Buffalo Gap Saloon

6835 SW Macadam Ave. Jelly Bread, Supervisor, Ill Lucid Onset, Buffalo Bandstand

Bunk Bar

1028 SE Water Ave. And And And, The Wandas, Support Force

2126 SW Halsey St., Troutdale The McMenamins

830 E Burnside St. Reva Devito, Shaprece

Duff’s Garage

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

Ella Street Social Club 714 SW 20th Place Ugly Flowers, Towering Trees, Tigress

Goodfoot Lounge 2845 SE Stark St.

Trio Subtonic, Pocket

Gypsy Restaurant & Lounge 625 NW 21st Ave. Protégé

Holocene

1001 SE Morrison St. Reporter, Boys IV Men, The Ononos, DJ Maxx Bass, DJ Liz B

Jade Lounge

2346 SE Ankeny St. Worth

Jimmy Mak’s

221 NW 10th Ave. The Mel Brown Quartet

Kelly’s Olympian

426 SW Washington St. Black Black Things, The Lockouts, Earl Patrick

LaurelThirst

2958 NE Glisan St. Michael Dean Damron (9 pm); Black Prairie (6 pm)

Plan B

1305 SE 8th Ave. Key of Solomon, Gravy and the Stamp, Velvet Hustle, No More Parachutes

John Ross (9 pm); Nicole Campbell (6 pm)

Brasserie Montmartre 626 SW Park Ave. John “JB” Butler & Al Craido

PCPA Antoinette Hatfield Hall 1111 SW Broadway The Spitfires

Plan B

Press Club

Camellia Lounge

1305 SE 8th Ave. Glassbones, Faithless Saints, Eken is Dead, Mouthwash Enema

Red Room

Chapel Pub

Plew’s Brews

3552 N Mississippi Ave. Bad Rabbit

2530 NE 82nd Ave. Open Mic with Go Fuck Yerself

Mississippi Studios

Star Theater

830 E Burnside St. Megafaun, Doug Paisley

McMenamins Rock Creek Tavern

Mississippi Pizza

3939 N Mississippi Ave. The Lonely Forest, Themes, The Hague

Mt. Tabor Theater Lounge

2621 SE Clinton St. Jeffery Trapp

13 NW 6th Ave. Elvis’ Birthday Party: Jesus Eagle, Holy Children, Hog Wild, Frank Furter & The Hot Dogs

4811 SE Hawthorne Blvd.

Smiley, Get Dressed; A Thief At Heart; Fastfox

The Globe

Muddy Rudder Public House

The Heathman Restaurant and Bar

8105 SE 7th Ave. Sleepy Eyed Johns

O’Connors

7850 SW Capitol Highway Kit Garoutte

Patagonia

907 NW Irving St., Suite 100 Dolorean

ADAM KRUEGER

1314 NW Glisan St.

Pete Krebs

McMenamins Edgefield Winery

10000 Old Cornelius Pass Road, Hillsboro Billy D

For more listings, check out wweek.com.

WED. OCT. 5

[OCT. 5 - 11]

2045 SE Belmont St. Quintillion

1001 SW Broadway Nancy Curtin

The Know

2026 NE Alberta St. Protestant, Raw Nerves, Amarok, Squalora

Thirsty Lion

71 SW 2nd Ave. Kent Smith

Tony Starlight’s

3728 NE Sandy Blvd.

Andrew Oliver

Touché Restaurant and Billiards 1425 NW Glisan St. Nancy King

Vie de Boheme

1530 SE 7th Ave. David Valdez Tristano Project

Vino Vixens Wine Shop & Bar 2929 SE Powell Blvd.

Rory Sullivan

White Eagle Saloon 836 N Russell St. Perfect Zero

Wilfs Restaurant & Bar 800 NW 6th Ave. Ron Steen Trio

Wonder Ballroom

128 NE Russell St. The Pains of Being Pure at Heart, Starfucker, Big Troubles, Alexico

Yukon Tavern

5819 SE Milwaukie Ave. Open Mic

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

Aladdin Theater

3017 SE Milwaukie Ave. Robert Earl Keen

Alberta Street Public House

1036 NE Alberta St. The Mcmenamins, Calamity Cube, Scott MacDougall (9:30 pm); Jonah Luke, Kelsey Morris (6:30 pm)

Andina

1314 NW Glisan St. Tracy Kim Trio

Andrea’s Cha Cha Club 832 SE Grand Ave. Dina & Bamba Y Su Pilon D’Azucar with La Descarga Cubana

Artichoke Community Music 3130A SE Hawthorne Blvd.

Songwriters Roundup

Ash Street Saloon

225 SW Ash St. All The Apparatus, Pocket Panda, Fancy Bandits

Biddy McGraw’s

6000 NE Glisan St.

LADIES’ NIGHT: Chromeo plays the Roseland on Tuesday.

510 NW 11th Ave. Senayit

430 N Killingsworth St. Steve Kerin

Doug Fir Lounge

Duff’s Garage

1635 SE 7th Ave. Ken Hanson Band (9 pm); Lovepyle (6 pm)

East End

203 SE Grand Ave. Jacuzzi Boys, Boom!, Psychic Feline, Mythological Horses

Ella Street Social Club 714 SW 20th Place Dirt Castle, Fort Union, Pale Tourist, Stephen Nielsen

Goodfoot Lounge

2845 SE Stark St. Philly’s Phunkestra, The Polyrhythmics

Hawthorne Theatre Lounge

1503 SE 39th Ave. Savoir Faire Burlesque

Hollywood Theatre

4122 NE Sandy Blvd.

Sing for Your Supperclub Sing-Off

Holocene

1001 SE Morrison St. Chad Vangaalen, Gary War, Aan

Jade Lounge

2346 SE Ankeny St. Nicole Sangsuree

Jimmy Mak’s

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

Kelly’s Olympian

426 SW Washington St. Book on Tape Worm, Jobo Shakins

Kennedy School

5736 NE 33rd Ave. Uncle B & Auntie E & J Dog

Kenton Club

2025 N Kilpatrick St. The Streakin’ Healys

LaurelThirst

2958 NE Glisan St. Fancy Pants, Drunk on Pines (9:30 pm); Lewi Longmire Band (6 pm)

McMenamins Edgefield Winery 2126 SW Halsey St., Troutdale Gabriel Kahane, Jon Davidson

McMenamins Rock Creek Tavern

10000 Old Cornelius Pass Road, Hillsboro Lynn Conover, Gravel

Mississippi Pizza

3552 N Mississippi Ave. Loose Change

Mississippi Studios

3939 N Mississippi Ave. Zola Jesus, Xanopticon

Mock Crest Tavern 3435 N Lombard St. Kinzel & Hyde

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

Music Millennium

3158 E Burnside St. Stellarondo

Original Halibut’s II 2527 NE Alberta St. Terry Robb

8409 N Lombard St. Porches, Gilgamesh Brewing Party

Red Room

2530 NE 82nd Ave. Angry Patria, Vamonos, Skatter Bomb, The Rotten Truth

Rotture

315 SE 3rd Ave. Fall Into Darkness: Laudanum, Wizard Rifle, Author and Punisher, Eight Bells

Sellwood Public House

8132 SE 13th Ave. Open Mic with Two Rivers

Slim’s Cocktail Bar

8635 N Lombard St. Johnny Credit and the Cash Machine

The Blue Monk

3341 SE Belmont St. Alan Jones Jam

The Heathman Restaurant and Bar 1001 SW Broadway Johnny Martin

The Hobnob Grille

3350 SE Morrison St. Open Mic

Thirsty Lion

71 SW 2nd Ave. Adventure Galley, DJ Soulshaker

Tonic Lounge

3100 NE Sandy Blvd.

Sucker For Lights, The Slutty Hearts, Sex Offender, Lubec

Touché Restaurant and Billiards 1425 NW Glisan St. Flamenco Trio

Trail’s End Saloon

1320 Main St., Oregon City Rae Gordon

Valentine’s

232 SW Ankeny St. DJ Spencer D (art reception)

White Eagle Saloon

836 N Russell St. Bad Assets (8:30 pm), Tanner Cundy (5:30 pm)

Wilfs Restaurant & Bar

800 NW 6th Ave. Mike Horsfall, Karla Harris, Todd Strait

Wonder Ballroom

128 NE Russell St. Girls, Sonny and the Sunsets, PAPA

FRI. OCT. 7 Al’s Den at the Crystal Hotel 303 SW 12th Ave. Celilo Duo

Alberta Street Public House 1036 NE Alberta St. Midnight Serenaders (9:30 pm); Mikey’s Irish Jam (6:30 pm)

Andina

1314 NW Glisan St. JB Butler Trio

Artichoke Community Music

3130A SE Hawthorne Blvd.

Friday Night Coffeehouse

Ash Street Saloon

225 SW Ash St. The Tomorrow People, Hema, Vinegar

CONT. on page 44 Willamette Week OCTOBER 5, 2011 wweek.com

43

MUSIC

CALENDAR

VIVIANJOHNSON.COM

BAR SPOTLIGHT

The Surf Weasels, Los Perros Olvidados, The Forgotten Ones

Kells

Vino Vixens Wine Shop & Bar

Kelly’s Olympian

2929 SE Powell Blvd.

Rich Layton & The Troublemakers

White Eagle Saloon 836 N Russell St. Mars Retrieval Unit, Twisted Whistle (9:30 pm); Reverb Brothers (5:30 pm)

Wilfs Restaurant & Bar 800 NW 6th Ave. Richard Arnold & Groove Swingers

SAT. OCT. 8 15th Avenue Hophouse

GOOD OLD MOUNTAIN DEW: Three-month-old Moonshine Kitchen & Lounge (1020 NW 17th Ave., 943-2780) does what it does well. Its location is unmarked, reminiscent of the days of Prohibition, save for four picnic tables outside its storefront on Northwest 17th Avenue (between Lovejoy and Marshall Streets).

The modest interior is accented with cool blues and a wood ceiling. The walls are lined with moonshine bottles, candles in Mason jars glow at each table. The drink list is short and sweet, with cute cocktails and a finely tuned selection of brews on tap (including a $2 pint of Hamm’s for you cheapskates). Burgers, chili and fries are the offerings here; all are delicious and affordable. All is casual and relaxed. Order at the bar, sip a brew and reminiscence about days gone by. You’ll want to come back. MAGGIE SUMMERS. Backspace

115 NW 5th Ave. Glitter Express, Play/Start, AM Exchange

Barile Wine and Beer 4759 NE Fremont St. Acoustic Flux

Beaterville Cafe

2201 N Killingsworth St. Drive By Empathy

Biddy McGraw’s

6000 NE Glisan St. John Ross (9:30 pm); Billy Kennedy and Jim Boyer (6 pm)

Branx

320 SE 2nd Ave. Agalloch, Atriarch, Sedan

Brasserie Montmartre 626 SW Park Ave. Al Craido & “Tablao”

Camellia Lounge 510 NW 11th Ave. Upper Left Trio

Clyde’s Prime Rib

5474 NE Sandy Blvd.

Muthaship

Dante’s

350 W Burnside St. Super Diamond, Funk Shui

Doug Fir Lounge

Jimmy Mak’s

221 NW 10th Ave. The Curtis Salgado Band

Kelly’s Olympian

426 SW Washington St. The North Wind, Sport Of Kings, Design Drift Distance

Kenton Club

2025 N Kilpatrick St. Breezin, Dinosaur Heart, Lord Master

LaurelThirst

2958 NE Glisan St. Baby Gramps (9:30 pm); The James Low Western Front (6 pm)

McMenamins Edgefield Winery 2126 SW Halsey St., Troutdale Mark Alan

McMenamins Rock Creek Tavern

10000 Old Cornelius Pass Road, Hillsboro Jon Koonce & One More Mile

Mississippi Pizza

3552 N Mississippi Ave. AnnaPaul & the Bearded Lady, Boy and Bean (9 pm); Jenny Sizzler (6 pm)

Mississippi Studios

830 E Burnside St. Dum Dum Girls, Crocodiles, Colleen Green, DJ Mario Orduno

3939 N Mississippi Ave. Loch Lomond, Lost Lander, Lewi Longmire

Duff’s Garage

Mock Crest Tavern

1635 SE 7th Ave. Lloyd Jones (9 pm); Honey and the Hamdogs (6 pm)

3435 N Lombard St. Blueprints

East End

8105 SE 7th Ave. The Sportin’ Lifers Trio

203 SE Grand Ave. Excruciator, Silver Tongue Demon, Cemetary Lust, DJ Cory Boyd

Ella Street Social Club

714 SW 20th Place Nucular Aminals, Million Brazilians, Lazer Zeppelin, Hermit Thrushes

Hawthorne Theatre

3862 SE Hawthorne Blvd.

Death Angel, Dethproof, Beyond the Red Horizon, Gladius

Jade Lounge

2346 SE Ankeny St. Tyson Motsenbacher, Christopher Benson, Stirling Myles, Mike Clark, The Changing Colors

44

Willamette Week

Muddy Rudder Public House

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

Original Halibut’s II 2527 NE Alberta St. Big Monti

PCPA Antoinette Hatfield Hall 1111 SW Broadway Brongaene Griffin

Papa G’s Vegan Organic Deli

2314 SE Division St. Lynn Conover

Plan B

1305 SE 8th Ave. White Orange, Towers, Lamprey, Moth Dust OCTOBER 5, 2011 wweek.com

Plew’s Brews

8409 N Lombard St. Jellybread

Red Room

2530 NE 82nd Ave. Red Ships of Spain, Stonewall Mistress, No More Parachutes, Forget the Fall

Roseland Theater

8 NW 6th Ave. Pepper, The Expendables, Ballyhoo

Slabtown

1033 NW 16th Ave. Absent Minds, Thundering Asteroids, Vacillators

Someday Lounge

125 NW 5th Ave. This Charming Man (The Smiths tribute), DJ Manny

Star Theater

13 NW 6th Ave. Richmond Fontaine, Ian Moore, Mercy Graves

The Heathman Restaurant and Bar 1001 SW Broadway Pete Krebs

The Know

2026 NE Alberta St. Sad Horse, Deaf Wish, Eiger Sanction

The Lovecraft

421 SE Grand Ave. Siouxsie and the Banshees Tribute, DJ Wednesday, DJ Curatrix

Thirsty Lion

71 SW 2nd Ave. The Dirty Syncopators

Tiger Bar

317 NW Broadway Radumus, Soul Distraction

Tonic Lounge

3100 NE Sandy Blvd.

Holy Tentacles, Pocket Panda, Hot Drama

Tony Starlight’s

3728 NE Sandy Blvd.

Neil Diamond Tribute

Touché Restaurant and Billiards 1425 NW Glisan St. Bill Beach Trio

Trail’s End Saloon

1320 Main St., Oregon City Kevin Selfe

Twilight Café and Bar 1420 SE Powell Blvd.

1517 NE Brazee St. Ron Hughes

Al’s Den at the Crystal Hotel 303 SW 12th Ave. Celilo Duo

Aladdin Theater

3017 SE Milwaukie Ave. Wild Ones (Live Wire! recording)

Alberta Street Public House

1036 NE Alberta St. Dan Kimbro, Will Layng

Andina

1314 NW Glisan St. Toshi Onizuka Trio

Backspace

115 NW 5th Ave. Deelay Ceelay, Strength, Pegasus Dream

Beaterville Cafe

2201 N Killingsworth St. Alexa & The Wildenerness

Biddy McGraw’s

6000 NE Glisan St. Power of Country (9:30 pm); Twisted Whistle Happy Hour (6 pm)

Branx

320 SE 2nd Ave. Japanther, Unstoppable Death Machines, Blood Beach, Youthbitch

Brasserie Montmartre

626 SW Park Ave. Foghorn Stringband (9 pm); Al Craido & “Tablao” (5:30 pm)

Camellia Lounge

510 NW 11th Ave. Kelsey Lindstrom, The Sale

Clyde’s Prime Rib

5474 NE Sandy Blvd.

Randy Star Band

Crystal Ballroom

1332 W Burnside St. Colbie Caillat, Andy Grammer

Dante’s

350 W Burnside St. Cash’d Out (Johnny Cash tribute)

Doug Fir Lounge

830 E Burnside St. The Funeral Party, Mona

Duff’s Garage

1635 SE 7th Ave. Big Monti and the Precious Darlings

East End

203 SE Grand Ave. Danava

Goodfoot Lounge

2845 SE Stark St. Sugarcane, Hobo Nephews of Uncle Frank

Grapevine Restaurant and Lounge 11525 SW Barnes Road JackBone Dixie

Hawthorne Theatre

3862 SE Hawthorne Blvd.

I Declare War, Proven, Southgate, Way of the Yeti, Fear The Slaughter

Jade Lounge

2346 SE Ankeny St. Stephanie Scelza

Jimmy Mak’s

221 NW 10th Ave. The Devin Phillips Band

112 SW 2nd Ave. Kells Pipes and Drums

Star Theater

13 NW 6th Ave. June & Jean Millington, Johanna

The Blue Monk

426 SW Washington St. Chris Margolin, Stone the Murder, Marca Luna

3341 SE Belmont St. David Ornette Cherry

Kennedy School

The Crown Room

5736 NE 33rd Ave. Ants in the Kitchen, Pagan Jug Band, Gypsy Heart Tribal, Haldeman’s Oom-Pah Boys

Kenton Club

2025 N Kilpatrick St. Sugar Sugar Sugar, Hong Kong Banana, Verner Pantons

LaurelThirst

2958 NE Glisan St. Bingo Band (9:30 pm); Tree Frogs (6 pm)

McMenamins Edgefield Winery 2126 SW Halsey St., Troutdale Laura Ivancie

McMenamins Rock Creek Tavern

10000 Old Cornelius Pass Road, Hillsboro Pagan Jug Band

Mission Theater

1624 NW Glisan St. Trashcan Joe, The Charleens, The Brassroots Movement, Lisa Ornstein, Matt Baker

Mississippi Pizza

3552 N Mississippi Ave. Z’Bumba (9 pm); Jenny Finn Orchestra (6 pm); Lorna Miller Little Kid’s Jamboree (4 pm)

Mississippi Studios

3939 N Mississippi Ave. Lake, French Quarter, Youth

Mock Crest Tavern 3435 N Lombard St. NoPo Mojo

Mount Tabor Theater

4811 SE Hawthorne Blvd.

Erik Anarchy, Effword, Indecisive Hooligans, KRiX, Lucky Beltran, Patria Jodia

Newmark Theatre

1111 SW Broadway Oregon Music Hall of Fame Concert & Inductions: Johnny & the Distractions, Crazy 8’s

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

205 NW 4th Ave. Rah Digga, Rose Bent, 4th Pyramid, Manimalhouse

The Globe

2045 SE Belmont St. Macy Bensley

The Heathman Restaurant and Bar 1001 SW Broadway Barbara Lusch

The Know

2026 NE Alberta St. Moosejaw

The Woods

6637 SE Milwaukie Ave. Petoskey, 1939 Ensemble, River Whyless, Gallop

Thirsty Lion

71 SW 2nd Ave. Jacob Merlin Band

Tiger Bar

317 NW Broadway Sickamore

Tonic Lounge

3100 NE Sandy Blvd.

Vivid Curve, Thumptown

Tony Starlight’s

3728 NE Sandy Blvd.

Mia Nicholson and the Two Daves

Touché Restaurant and Billiards 1425 NW Glisan St. Kelley Shannon Trio

Trail’s End Saloon

1320 Main St., Oregon City Bump Kitchen

Twilight Café and Bar 1420 SE Powell Blvd.

The Dicers, The Protons

Grill

Up Front Bar &

833 SW Naito Parkway Vursatyl (of Lifesavas), Vitamin D, Rev. Shines

Valentine’s

232 SW Ankeny St. DJ Tropical Depression

Vie de Boheme

1530 SE 7th Ave. Mia Nicholson & Steve Christofferson

Vino Vixens Wine Shop & Bar

2527 NE Alberta St. Lisa Mann

2929 SE Powell Blvd.

Arthur “Fresh Air” Moore Harmonica Party (8 pm); Blues Jam (2 pm)

Peter’s Room

White Eagle Saloon

Original Halibut’s II

8 NW 6th Ave. Reid Speed, FS, Cyberoptics

Plan B

1305 SE 8th Ave. Tanagra, Revolution Overdue, Ritual Healing, Madame Torment

Plew’s Brews

8409 N Lombard St. The Hand That Bleeds, Cheap Eats, Placentapede, Lunar Graves

Press Club

2621 SE Clinton St. James Low, Lewi Longmire

Red Room

2530 NE 82nd Ave. Asteroid M, Sindicate, Bumpin Nastys, Welfare, Go Ballistic

Refuge

116 SE Yamhill St. Artists Inspiring Action Launch: Isaac Gill, Brant Colella

Rotture

836 N Russell St. Wendy and the Lost Boys, Bad Bad Tomorrow (9:30 pm); The Student Loan (4:30 pm)

Winona Grange No. 271 8340 SW Seneca St., Tualatin Leo Mac Namara, Aurora Burd

Wonder Ballroom

128 NE Russell St. Fountains of Wayne, Mike Viola

SUN. OCT. 9 Al’s Den at the Crystal Hotel 303 SW 12th Ave. Michael Dean Damron, Michael Jodell

Aladdin Theater

3017 SE Milwaukie Ave. Richard Cheese & Lounge Against the Machine

Andina

1314 NW Glisan St. Danny Romero Trio

315 SE 3rd Ave. Fall Into Darkness: Acid King, Premonition 13, Witch Mountain, Tombstalker

Ash Street Saloon

Slabtown

Biddy McGraw’s

1033 NW 16th Ave. Buster Blue

225 SW Ash St. Los Other Phux, 2 Grams Heavy, Wayne Gacy Trio, Reefer Madness 6000 NE Glisan St. Andrew’s Ave.

Buffalo Gap Saloon

6835 SW Macadam Ave. Johnny B

Tillicum Club

Clyde’s Prime Rib

8585 SW BeavertonHillsdale Highway Johnny Martin

Dante’s

3728 NE Sandy Blvd.

Barbara Lusch

5474 NE Sandy Blvd.

Ron Steen Jazz Jam 350 W Burnside St. Sinferno Cabaret

Doug Fir Lounge

830 E Burnside St. Wild Beasts, EMA

East End

203 SE Grand Ave. TV Ghost, Peroxide, DJ Skell

Ella Street Social Club 714 SW 20th Place Log Across The Washer, Nathan Baumgartner (of And And And)

Hawthorne Theatre

3862 SE Hawthorne Blvd.

Cops & Robbers, After Avalanche, Alex Masak, Wide-Mouth Masons, Fantom Fingers, Zay Harrison, DotCom, B.I.T.

Holocene

1001 SE Morrison St. Cut Copy (DJ set), Midnight Magic, The Miracles Club

Jade Lounge

2346 SE Ankeny St. The Keep (8 pm); Adolfo Angel Cuellar IV (6 pm)

Kells

112 SW 2nd Ave. Traditional Music Session

LaurelThirst

2958 NE Glisan St. Billy Kennedy & Tim Acott (9:30 pm); Freak Mountain Ramblers (6 pm)

McMenamins Edgefield Winery 2126 SW Halsey St., Troutdale Billy D

McMenamins Rock Creek Tavern

10000 Old Cornelius Pass Road, Hillsboro Bronnie Griffin, Nancy Conescu

Mission Theater

1624 NW Glisan St. Crafty Underdog: The My Oh Mys, Dave Lindenbaum, Mangled Bohemians, Bradley Wik, Brianne Kathleen

Mississippi Pizza

3552 N Mississippi Ave. Satori Bob (9 pm); Three Finger Jack (6 pm)

Mississippi Studios

3939 N Mississippi Ave. Big Sir, Alameda, Symmetry/Symmetry

Muddy Rudder Public House 8105 SE 7th Ave. Irish Music

NEPO 42

5403 NE 42nd Ave. Open Mic

Red Room

2530 NE 82nd Ave. American Roulette

Rontoms

600 E Burnside St. Harlowe & The Great Northwoods, Orale

Rotture

315 SE 3rd Ave. Astronautalis, IAMe (of Sandpeople), Hurtbird, Dope Thought

The Blue Monk

3341 SE Belmont St. Tim Wilcox

The Globe

2045 SE Belmont St. Rychen

The Old Church

1422 SW 11th Ave. Portland Folk Festival: Celso Machado, Geoff Berner, The Brazillionaires

The Woods

6637 SE Milwaukie Ave. The Brothers Baladi (Daniel Pearl World Music Days benefit)

Tony Starlight’s

Trail’s End Saloon

1320 Main St., Oregon City Lynn Wymore, Gordon Hermanson

Tube

18 NW 3rd Ave. Le Reservations

Valentine’s

232 SW Ankeny St. Support Force, Ghosties, The Early, The Shade

Vie de Boheme

1530 SE 7th Ave. Pete Petersen Septet

Vino Vixens Wine Shop & Bar 2929 SE Powell Blvd.

Songwriter Circle

White Eagle Saloon 836 N Russell St. Open Mic/Songwriter Showcase

Wonder Ballroom

128 NE Russell St. Cut Copy, Washed Out, Midnight Magic

MON. OCT. 10 Al’s Den at the Crystal Hotel 303 SW 12th Ave. Michael Dean Damron, A.G. Donnaloia

Alberta Street Public House

1036 NE Alberta St. Sean Fitzpatrick, Kristen Ford, Kara Kulpa

Andina

1314 NW Glisan St. Pete Krebs

Ash Street Saloon 225 SW Ash St. Open Mic

Backspace

115 NW 5th Ave. Battery-Powered Music

Biddy McGraw’s

6000 NE Glisan St. Mike D.

Brasserie Montmartre 626 SW Park Ave. Eric John Kaiser with Todd Bayles

Disjecta

8371 N Interstate Ave. Electrogals Festival: Stephanie Rearick

Doug Fir Lounge

830 E Burnside St. The Drums, Veronica Falls, Io Echo

Duff’s Garage

1635 SE 7th Ave. Suzie and the Sidecars

Goodfoot Lounge 2845 SE Stark St. Open Mic

Hawthorne Theatre

3862 SE Hawthorne Blvd.

Boris, Tera Melos, Master Musicians of Bukkake

Jackpot RecordsHawthorne

3574 SE Hawthorne Blvd.

Veronica Falls

Jade Lounge

2346 SE Ankeny St. Salon de Musique

Jimmy Mak’s

221 NW 10th Ave. Dan Balmer

Kelly’s Olympian

426 SW Washington St. David Gerow, Ike David

LaurelThirst

2958 NE Glisan St. Kung Pao Chickens (9 pm); Portland Country Underground (6 pm)

McMenamins Edgefield Winery 2126 SW Halsey St., Troutdale Bingo

CALENDAR McMenamins Rock Creek Tavern

10000 Old Cornelius Pass Road, Hillsboro Bob Shoemaker

Mississippi Pizza

3552 N Mississippi Ave. Mr. Ben

Mississippi Studios

3939 N Mississippi Ave. Cymbals Eat Guitars, Hooray for Earth, Brainstorm

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

Newmark Theatre

Norman, Ascetic Junkies, Sean Spellman

TUES. OCT. 11 15th Avenue Hophouse

1517 NE Brazee St. Steve Cheeseborough

Al’s Den at the Crystal Hotel

303 SW 12th Ave. Michael Dean Damron, Allan Hunter

Alberta Street Public House 1036 NE Alberta St. Camping in a Cadillac

1111 SW Broadway Idan Raichel and India Arie

Andina

O’Connors

Ash Street Saloon

7850 SW Capitol Highway Kit Garoutte

Plan B

1305 SE 8th Ave. Chop Tops, The Hard Money Saints, Dragstrip Riot, Craic Haus

1314 NW Glisan St. JB Butler 225 SW Ash St. The Dark Backward, Magnuson, Death Letters

Backspace

115 NW 5th Ave. Age Sex Occupation, Fringe Class, Sucker For Lights

Duff’s Garage

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

East End

203 SE Grand Ave. Electra, The Fucking Wrath, Sons of Huns, Triplehorn

Ella Street Social Club

714 SW 20th Place Adventures! With Might, C.C. Swim, Rate of Rise

Goodfoot Lounge

2845 SE Stark St. Scott Pemberton Trio

Jackpot RecordsHawthorne

Jimmy Mak’s

The Blue Monk

Bunk Bar

2958 NE Glisan St. Jackstraw

The Globe

2045 SE Belmont St. Hank Hirsh’s Jazz Lounge and Open Jam

Tube

18 NW 3rd Ave. Foreign Orange, Hawkeye

Valentine’s

232 SW Ankeny St. The Ocean Floor, On the Stairs

White Eagle Saloon 836 N Russell St.

1028 SE Water Ave. 1939 Ensemble, Nucular Aminals

Crystal Ballroom

1332 W Burnside St. The David Crowder Band, Chris August, Gungor, John Mark McMillan

Disjecta

LaurelThirst

McMenamins Edgefield Winery 2126 SW Halsey St., Troutdale Bingo

McMenamins Rock Creek Tavern

10000 Old Cornelius Pass Road, Hillsboro Open Bluegrass Jam

8371 N Interstate Ave. Electrogals Festival: Natasha Kmeto

Mississippi Pizza

Doug Fir Lounge

Mississippi Studios

830 E Burnside St. Zee Avi

8 NW 6th Ave. Chromeo, Mayer Hawthorne and the County, Sammy Bananas

Someday Lounge

125 NW 5th Ave. The Pink Slip, The I’s, Isolated Cases

The Blue Monk

3341 SE Belmont St. Pagan Jug Band

The Woods

Buffalo Gap Saloon

3341 SE Belmont St. Renato Caranto Project

Roseland Theater

Jade Lounge

2530 NE 82nd Ave. AUX 78, Rainy River Blues Experience

6835 SW Macadam Ave. Open Mic

3158 E Burnside St. Bryan Minus & The Disconnect

The Lovecraft

221 NW 10th Ave. The Kandinsky Effect; The Willamette University Jazz Ensemble (7 pm)

Red Room

Music Millennium

3574 SE Hawthorne Blvd.

Arborea 2346 SE Ankeny St. Hot Club of Hawthorne

3552 N Mississippi Ave. The Begonias 3939 N Mississippi Ave.

Groove Suite

Deep Dark Robot, Old Wars

421 SE Grand Ave. Burleynomicon 6637 SE Milwaukie Ave. Arborea, Alina Hardin

Thirsty Lion

71 SW 2nd Ave. PDX Singer-Songwriter Showcase

Tony Starlight’s

3728 NE Sandy Blvd.

Ayars Vocal Showcase

Twilight Café and Bar 1420 SE Powell Blvd.

Open Mic with The Roaming

Valentine’s

232 SW Ankeny St. SHK THT, Serious Business, Damon Boucher, DJ Winston Lane

Vie de Boheme

1530 SE 7th Ave. Lynn Winkle & Mark Stauffer

White Eagle Saloon 836 N Russell St. Bottlecap Boys, Goose and Fox, Bitterroot

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

303 SW 12th Ave. Musicology with DJs Gregarious, Disorder

East End

203 SE Grand Ave. DJs Total Fucker, Moderhead

Ground Kontrol

511 NW Couch St. TRONix: Bryan Zentz

Slim’s Cocktail Bar 8635 N Lombard St. DJ Dirty Nick

Tiga

1465 NE Prescott St. DJ Dog Daze

Tube

18 NW 3rd Ave. Paint it Black with DJ Josh Spacek

Valentine’s

232 SW Ankeny St. DJ Bad Wizard

Yes and No

20 NW 3rd Ave. Death Club with DJ Entropy

THURS. OCT. 6 Al’s Den at the Crystal Hotel

303 SW 12th Ave. DJ Anjali & the Incredible Kid

Groove Suite

440 NW Glisan St. House Call: Craig Hamilton, LuRob, Kevrok

Ground Kontrol

440 NW Glisan St. Party at the Trash Fence: Kidlogic, Chaach, El Cucuy, Capcom D, Sporeganic, DJ Twinkletits, Michael Friedman, Dj HazMatt

511 NW Couch St. DJs Brokenwindow, Strategy

Ground Kontrol

Jade Lounge

Holocene

2346 SE Ankeny St. DJ Le Profane

The Crown Room

205 NW 4th Ave. House Blend: Ian Asbury, Nathan Jenkins

The Know

2026 NE Alberta St. Dirtbag

The Whiskey Bar 31 NW 1st Ave. Damage

Tiga

1465 NE Prescott St. DJ Comidienne

Tube

18 NW 3rd Ave. Fast Weapons Night with DJ Nate Preston

FRI. OCT. 7 Al’s Den at the Crystal Hotel

303 SW 12th Ave. DJ Santo

511 NW Couch St. DJ Epor 1001 SE Morrison St. Fresh: The Polish Ambassador, Mochipet, Machinedrum (9 pm); Aperitivo Happy Hour with DJ Robert Ham (5 pm)

303 SW 12th Ave. DJ Drew Groove

Groove Suite

440 NW Glisan St. Sean Majors, DJ Manoj

Ground Kontrol

511 NW Couch St. DJ Destructo

Holocene

Refuge

Someday Lounge

116 SE Yamhill St. DJ Mark Farina, Mercedes, The Perfect Cyn, Sknny Mrcls

Rotture

315 SE 3rd Ave. Deep Cuts: Bruce LaBruiser, DJ Kasio Smashio, Freddie Fagula

Star Bar

639 SE Morrison St. Blank Fridays

The Crown Room

Fez Ballroom

31 NW 1st Ave. Treasure Fingers, Jamie Meushaw, American Girls

Goodfoot Lounge

6637 SE Milwaukie Ave. In the Cooky Jar with Cooky Parker

2845 SE Stark St. DJ Magneto

SAT. OCT. 8 Al’s Den at the Crystal Hotel

2621 SE Clinton St. DJ Miles (art reception)

Beauty Bar

316 SW 11th Ave. Decadent ‘80s: DJ Jason Wann, DJ Non

232 SW Ankeny St. Miracles Club DJs

1001 SE Morrison St. Buck and Bounce: DJs Beyondadoubt, Brice Nice

Press Club

205 NW 4th Ave. See You Next Friday: Kellan, Avery, Antics

111 SW Ash St. Wasted Youth: American Girls, DJ Sacrilicious

MUSIC

Valentine’s

The Whiskey Bar

The Woods

Tiga

125 NW 5th Ave. Sounds of the Underground: LuRob, Marc Madina, Tom Mitchell, Dave Bate, Ryan Walz, Jaxxmaster Kevrok

The Lovecraft

421 SE Grand Ave. Glam: DJs Overcol, Horrid

MON. OCT. 10 Tiga

1465 NE Prescott St. Boolar

TUES. OCT. 11 Jade Lounge

2346 SE Ankeny St. DJs Herr Pong, TommyTank

Tiga

1465 NE Prescott St. DJ Rickshaw

1465 NE Prescott St. DJ Ikon

©2011 COORS BREWING COMPANY, GOLDEN, CO Willamette Week OCTOBER 5, 2011 wweek.com

45

PERFORMANCE

OCT. 5 - 11

= WW Pick. Highly recommended.

Most prices listed are for advance ticket sales. At-the-door increases and so-called convenience charges may apply, so it’s best to call ahead.

Editor: 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 Annie Get Your Gun

Lake Oswego’s prosperous Lakewood Theatre tackles the classic Broadway musical about unrefined sharpshooter Annie Oakley’s transformative adventures with Buffalo Bill’s Wild West Show. Directed by Ron Daum and performed by a handful of talented familiar faces, Lakewood’s production delivers on all notes. Sara Catherine Wheatley’s shining performance as Annie is the apt highlight, carrying the charm of her innocently mischievous ways from the musical’s beginning to end, whether she’s hunting the bird on vindictive Dolly Tate’s (Stephanie Heuston) hat or covered in medals and wearing “oh day colog-neh water.” The cast’s quality singing (directed by Alan D. Lytle) and dancing (choreography

by Joel Walker, who also plays Tommy Keeler) ties it all together. NATALIE BAKER. Lakewood Center for the Arts, 368 S State St., Lake Oswego, 6353901. 7:30 Thursdays-Saturdays, 2 and 7 pm Sundays, Sept. 18 and 25; 2 pm Sundays Oct. 2-16. $32, $29 seniors.

Crimes of the Heart

There are considerable tears shed throughout Beth Henley’s 1981 Pulitzer winner, Crimes of the Heart. This is, after all, the grandmammy of dysfunctional Southern sisters stories, which ushered in an era of Dixieland feminine breakdowns in the 1980s.

There are perfectly good reasons for Crimes’ Magrath sisters to be upset: Babe (Arianne Jacques) has shot her hubby; middle sister Meg (Cassie Greer) can get her bones jump-started more readily than she can her singin’ career; and elder sister Lenny (Maggie Chapin) is frazzled to the point of incapacitation by the hospitalization of their grandfather. It’s heavy stuff, but Hillsboro’s Bag & Baggage Productions’ take on Crimes manages to effectively stir the pot with tears of laughter. As Chick, Gunn is a tornado of innocence and instability, while the stunning Greer brings Meg’s insecurities and addictions to startling light.

But it’s Chapin—in her final B&B production—who carries the emotional heft, like Atlas shouldering the weight of a million hyper-hormonal sisters.

Bag & Baggage knows Crimes is melodrama at its purest. Where the group succeeds is in its ability to wring fresh tears from the well-worn story. AP KRYZA. The Venetian Theatre, 253 E Main St., 345-9590. 7:30 pm ThursdaySaturday, 2 pm Sunday, Oct. 6-9. $19-$25.

Gem of the Ocean

Portland Playhouse tackles its third August Wilson play in three years. In this one, 285-year-old former slave Aunt Ester (Brenda Phillips) sends Citizen Barlow, a new arrival from the South, on a journey from 1904 Pittsburgh to the mythical City of Bones aboard a slave ship. Brian Weaver, who directed the company’s excellent Radio Golf in 2010, takes the helm again here. World Trade Center Theater, 121 SW Salmon St., 205-0715.

7:30 pm Thursdays-Fridays, 2 and 7:30 pm Saturdays, 2 pm Sundays. Closes Oct. 30. $15-$32.

God of Carnage

“Children consume our lives, and then they destroy us,” says Alan (Michael Mendelson). As far as French playwright Yasmina Reza is concerned, this is a half-truth. The psychological (and occasionally physical) cage match that rocks the stage in her Tony-winning comedy has its roots in matrimony and the innate violence of humanity, but children provide the accelerant. Michael (Patrick Dizney) and Veronica (Allison Tigard) Novak, he a wholesaler of housewares and she a seller of art books writing a mono-

46

graph on Darfur, have invited Alan and Annette (Trisha Miller) Raleigh, a pharmaceutical company lawyer and a wealth manager, to their Design Within Reach-outfitted living room (somewhere on Vista, from the view) to discuss the prior evening’s beating with a stick of the Novaks’ 10-year-old by the Raleighs’, which left the Novak child down two teeth. The children are not present. The evening would end quickly enough were Veronica not determined to force a teachable moment over coffee and clafoutis in a civilized manner. Civilization does not enter into child rearing, apparently—the ensuing hour of philosophy and fisticuffs turns husband against wife, men against women, hunters against farmers. Director Denis Arndt, who performed in Seattle Rep’s 2010 production of the show, has wisely chosen to interpret Carnage as a particularly disturbing farce. The show is outrageously funny, and its more sober moments are either too absurdist or too French (“What we like about women is sensuality, wildness, hormones,” Alan says, forgetting to mention je ne sais quoi) to be taken entirely seriously by an American audience. Instead we get a comedic brawl with no winners, performed by four terrific actors—Mendelson’s uncharacteristic show of bellicosity is especially welcome—that will leave you either shaking with laughter or just plain shaken. BEN WATERHOUSE. Artists Repertory Theatre, 1515 SW Morrison St., 241-1278. 7:30 pm WednesdaysSaturdays, 2 and 7:30 pm Sundays.

Closes Oct. 16. $20-$42.

I Love You Because

[NEW REVIEW] Joshua Salzman and Ryan Cunningham’s musical romance draws the names of its characters and the general shape of its plot from Pride and Prejudice, but has much more in common with the CBS sitcom How I Met Your Mother: It stars an uptight man of habit who fights with and then falls for an unpredictable nutcase. They hang out in an Irish pub with their friends, whose hobby is inventing arbitrary rules by which relationships must be run. It’s full of unsubtle sex jokes. The similarities are coincidental, as the musical and TV series premiered simultaneously, but I nonetheless found myself wishing for a Neil Patrick Harris intervention to break up the mediocrity of the show’s unmemorable music and miserable book. (One of the characters even has a hackneyed malaprop problem, saying things like, “It’s kind of iconic” when he means “ironic.”) Broadway Rose’s flawless production, directed by Dan Murphy, goes a long way toward redeeming the shortcomings of the material with a charming cast and great costumes, but the talent on stage would be better served by something hummable. BEN WATERHOUSE. Broadway Rose New Stage Theatre, 12850 SW Grant Ave., Tigard, 620-5262. 7:30 pm Thursdays-Saturdays, 2 pm Sundays; 2 pm Saturdays, Oct. 1-15. Closes Oct. 16. $20-$35.

Junie B. in Jingle Bells, Batman Smells!

Northwest Children’s Theater presents a play about a precocious first-grader.

NW Neighborhood Cultural Center, 1819 NW Everett St., 222-4480. Noon and 4 pm Saturdays-Sundays through Oct. 30. $13-$22.

Lips Together, Teeth Apart

[NEW REVIEW] Profile Theatre kicks off its 15th anniversary with a fantastic bang, returning to the work of Terrence McNally for a play about two straight couples spending a weekend in the Fire Island beach house of the gay brother of one of the women, who has just died of AIDS. The play may begin by tickling your funny bone, but it swerves into a brutally honest

Willamette Week OCTOBER 5, 2011 wweek.com

exploration of the human condition.

Directed by Jane Unger, Lips Together takes the archetypal woe-is-me genre of struggle sans adversity and swaps annoying calls for pity with an irresistible case for empathy, creating an intricately woven tale of intimacy in the process. Each of the four characters’ flaws ring with such truth, not the least of which is Chloe Haddock (Susannah Mars), whose nerve-grinding perkiness and Kristen Wiig-esque comedic flair serve only as the lid on a boiling pot of anguish. Hilarious, troubling and refreshing, this performance is a must-see. NATALIE BAKER. Theater! Theatre!, 3430 SE Belmont St., 242-0080. 7:30 pm WednesdaysSaturdays, 2 pm Sundays. Closes Oct. 23. $16-$30.

Love Song

Love Song is like Rice Krispies cereal— it snaps, it crackles, it pops. Fiery, sharp banter fuels much of the action, but playwright John Kolvenbach has also peppered his script with oddball yet tender lines. It’s no small task to balance such toughness and such poignancy, but Lunacy Stageworks pulls it off in this powerful production.

The story follows four characters: the high-strung Joan (Lori Ferraro); her husband, Harry (Samuel Holloway); Joan’s loner brother, Beane (Glenn McCumber); and Molly (Joanna Tyler), who burgles Beane’s apartment and steals his heart in the process. Molly is “a liberator,” Beane explains to Joan, and indeed, she helps transform Beane from a maladjusted recluse into a fervent lover of life. McCumber and Tyler have a slightly melancholic but whimsical chemistry, and Ferraro and Holloway’s performances grow stronger as their characters allow some playfulness into their own relationship. Though Love Song could easily take itself too seriously, director John Steinkamp renders it neither saccharine nor sentimental, but captivating and compassionate. REBECCA JACOBSON. Sellwood Masonic Lodge, 7126 SE Milwaukie Ave., www.lunacystageworks.org. 8 pm ThursdaySaturday, Oct. 6-8. $15, $12 students and seniors.

No Man’s Land

Artists Rep brings back genuine famous person William Hurt for his fourth show with the Portland company, this time with his son in tow, in a production of Harold Pinter’s strange play about a pair of heavy-drinking old men (played by Hurt and Artists Rep’s artistic director, Allen Nause) who engage in a sort of mnemonic combat, trading at least partially invented memories and lamenting the general decline of things. It’s a comedy, but not a hopeful one. Hurt’s particular brand of grumbling should be well-suited to the role of Spooner. Portland favorite Tim True is also in the cast. Artists Repertory Theatre, 1515 SW Morrison St., 241-1278.

7:30 pm Tuesdays-Saturdays, 2 and 7:30 pm Sundays. Closes Nov. 6. $35$65, $25 students.

Oklahoma!

For a regular fixture of high-school stages, Rodgers and Hammerstein’s first collaboration is a pretty bleak show. Its nominal hero, Curly, is a bully, and its female lead, Laurey, is a snob.

Its moral is that looking at dirty pictures leads to murder. Of course, the show’s a lot of fun, too, enough that two generations of drama teachers have decided that big crowd scenes, cowboy hats and “Oh, What a Beautiful Mornin’” are worth talking down any parents alarmed by Jud’s porn collection and Ado Annie’s inability to heed Nancy Reagan’s advice.

Chris Coleman, in his production of the show at Portland Center Stage, very ably balances its dual personalities of darkness and delight. Rodney Hicks is restless and brash as Curly, Joy Lynn Matthews-Jacobs makes a cheerfully frightening Aunt Eller and Jonathan Raviv is a delightfully skeezy Ali Hakim. Justin Lee Miller’s Jud had me tearing up during “Lonely Room.”

The brightest light on stage, though, is Marisha Wallace, who brings contagious joy to the role of Ado Annie. Her Annie can’t say no, not because she’s mentally disabled (as she’s often portrayed), but because she overflows

with feeling. She is sensual, generous and fun, completely free of cynicism.

She could teach us all a thing or two.

BEN WATERHOUSE. Gerding Theater, 128 NW 11th Ave., 445-3700. 7:30 pm Tuesdays-Saturdays, 2 pm Sundays, alternating 7:30 pm Sunday and 2 pm Saturday performances. Closes Oct. 30. $39-$69, $25 students.

Once on This Island

[NEW REVIEW] In The Little Mermaid, the sea divides Ariel and the handsome prince. In Once on This Island, a Caribbean retelling of the fairy tale, it’s not human legs and a scaly tail driving the lovers apart, class and race cause the rift. Imagine Romeo and Juliet plopped in the French Antilles, with calypso beats and tribal dances supplanting iambic pentameter and amorous soliloquies. Written by Lynn Ahrens and composed by Stephen Flaherty, the team behind Ragtime, the high-spirited musical has potential, but this Stumptown Stages production falls short. The story follows Ti

Moune (Jalena Montrond), a peasant girl who falls in love with Daniel (a flat Quincy Hickson), a wealthy mixedrace aristocrat from the other side of the island. The romance, though, never quite coheres. Montrond gives a selfconscious, hesitating performance, and she and Hickson have as much chemistry as an awkward brother and sister.

The show benefits from a few exuberant ensemble numbers, notably “Mama Will Provide,” carried by the vivacious, wholly captivating Sarah Russell.

But such powerhouse individual performances cannot rescue the stilted pacing and uneven cast. REBECCA JACOBSON. PCPA Brunish Hall, 1111 SW Broadway, 800-982-2787. 7:30 pm Thursday-Saturday, Oct. 6-8. $34.40, $17.10 students (ticket fees included).

The Real Americans

Fed up with yuppie brunch and his life in the liberal bubble in general, San Francisco native Dan Hoyle decided he needed to explore the oft-lauded “real America” of the 2008 presidential

PREVIEW

PAMELA Z

ELECTROGALS In 1995, Mills College student Heather Perkins was surprised to find herself one of the few women in a graduate electronic-music class. Mills, one of America’s most prominent undergraduate women’s colleges (its graduate school is coed), became home in 1996 to American academia’s first electronic-music program. It was cofounded by a woman, the electronic composer Pauline Oliveros. Perkins decided to redress the imbalance in her class by curating a show just for female composers.

After she moved to Portland, Perkins repeated the occasion in 2004 at the Museum of Contemporary Craft, and again at Holocene in 2008 and 2010. Each time, she drew more collaborators from Seattle, Portland and beyond. This year, the group is sponsoring a five-day festival that features the riveting San Francisco performance artist Pamela Z, as well as performances and workshops.

Electrogals workshops—a “rock and roll camp for nerds”—will include a talk by PSU music professor Bonnie Miksch, Electrogal Christi Denton demonstrating music-making on iPads, and Natasha Kmeto explaining the loop-based software music-sequencer Ableton.

In all-day installations, composers including Perkins will create music on stage with their computer screens projected so that viewers can see how the magic is made.

A baker’s dozen of performers covers the spectrum from academic to more pop- and beat-oriented electronica sounds, low-fi to futuristic digital. Some will use gadgets such as Wii units and glove MIDI controllers, and many will be accompanied by video. Pamela Z, a pioneer in live digital looping, will combine performance art, extended vocal techniques, text and found noise, using controllers that allow her to translate physical gestures into provocative sounds. It’s the group’s most ambitious production yet.

“We’ve never had trouble finding amazing female composers and performers,” Perkins says. “There’s nothing inherently manly about a synthesizer.” BRETT CAMPBELL.

Bleeps and bloops aren’t just for boys.

SEE IT: Electrogals 2011 Festival: Gals Gone Wired will run Oct. 10-15 at Disjecta, 8371 N Interstate Ave., 286-9449, disjecta.org. Workshops will be held at 7 pm Oct. 10-13. Evening concerts are at 8 pm FridaySaturday, Oct. 14-15. Workshops $5; concerts $15-$20.

OCT. 5 - 11 invites a younger couple over for drinks, then ensnares them in an allnighter of vicious repartee—makes ever less sense as the evening wears on and the put-downs get nastier, but the guests don’t just leave. Of course, Who’s Afraid—which won the 1963 Tony for Best Play—was never going for realism. An American take on Theatre of the Absurd, Albee’s play is a stylized study of the illusions and projections that bind any close relationship—sometimes at great cost. Clackamas Repertory Theatre’s production of the show is faultless.

The set, a house that’s all façade, is pointed as well as beautiful, and reallife spouses K.B. Mercer and Doren Elias give masterful performances as the principal couple. JONATHAN FROCHTZWAJG. Clackamas Community College, Osterman Theatre, 19600 S Molalla Ave., 594-6047.

7:30 pm Thursday-Saturday, 2:30 pm Sunday, Oct. 6-9. $12-$22.

The Snake With Seven Heads

Curious Garden

Play After Play, which performs plays for small (age 8 and younger) children followed by playtime, presents a South African folk tale about a woman who must dance to save her husband from being permanently transformed into a seven-headed snake. Brooklyn Bay, 1825 SE Franklin St., 772-4005. 10 am Saturdays, 2 pm Sundays through Oct. 23. $7, free for kids under 2.

Storython

Portland Storyteller Guild performs five-minute stories. Kennedy School Community Room, 5736 NE 33rd Ave. 7 pm Saturday, Oct. 8. $5, $10 per family.

A Touch of Well Arts

[FUNDRAISER] An evening of food, speeches and presentations, storytelling and music to support the nonprofit that provides writing workshops for people with severe health issues.

Hollywood Senior Center, 1820 NE 40th Ave., 459-4500. 7 pm Thursday, Oct. 6. $20.

Urban Tellers

Ordinary people, coached in the art of storytelling by Lawrence Howard and Lynne Duddy, tell autobiographical tales. Hipbone Studio, 1847 E Burnside St., reservations@portlandstorytheater.com. 8 pm Friday, Oct. 7. $10 (cash only). Reservations required.

Who’s Afraid of Virginia Woolf?

Edward Albee’s 1962 classic is not a believable play. The characters are practically caricatures, the dialogue is awkwardly expository, and the plot—a seriously screwed-up married couple

COMEDY Comedy Is OK

The monthly comedy showcase celebrates its second anniversary with Ian Karmel, Ron Funches, Dave Dahl (of Dave’s Killer Bread), Kevin-Michael Moore and DJ Mike McGonigal. Clinton Street Theater, 2522 SE Clinton St., 238-8899. 9 pm Wednesday, Oct. 5. $2.

Sketch comedy for kids. Curious Comedy, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 10:30 am Sunday, Oct. 9. $5 suggested donation.

Mice-tro

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

A raw and clever show that’s disgustingly full of talent. The actors take cues from the audience, asking them to shout out a hardware object, scenario or sentence, which they instantly incorporate into their skits. STACY BROWNHILL. Brody Theater, 16 NW Broadway, 224-2227. 8 pm Fridays through Oct. 21. $8-$12.

The Liberators

Really good improv comedy. With pie.

Brody Theater, 16 NW Broadway, 2242227. 8 pm Saturday, Oct. 8. $12-$15.

The Weekly Recurring Humor Night

Whitney Streed hosts Nathan Brannon, Jen Allen, Christopher Huizar, Iris Gorman, Marcus Gibson and Jordan Wolf. Tonic Lounge, 3100 NE Sandy Blvd., 238-0543. 9:30 pm Wednesdays. $3-$5. 21+.

CLASSICAL Inon Barnatan

Still in his early 30s, the Israeli-born pianist has already racked up awards, a three-year stint with the prestigious Chamber Music at Lincoln Center series, performances with major

chamber stars and orchestras around the world and recitals at Carnegie Hall.

He’s won a reputation for his Schubert and his devotion to contemporary music. This compelling solo recital lineup includes both: Schubert’s great A major sonata (D. 959); Debussy’s Suite Bergamasque; Ravel’s Gaspard de la Nuit; music from Benjamin Britten’s opera Peter Grimes; and Darkness Visible, a pensive, early work by the hottest name in British music since Britten, Thomas Ades. Newmark Theatre at the Portland Center for the Performing Arts, 1111 SW Broadway, 228-1388, portlandpiano.org. 4 pm Sunday, Oct. 9. $14-$54.

REVIEW SUMI WU

campaigns. He bought a van and spent 100 days traveling rural highways through the Deep South, Appalachia and the Midwest in search of homegrown country wisdom. What he found was anger, ignorance and racism, as well as kindness, hospitality and hope. Hoyle, a journalist, playwright and performer, turned his experiences from the trip into an acclaimed, new one-man show, The Real Americans, in which he tells the stories of the people he met in their own words, voices and mannerisms, and creates composite characters to represent them—many of which would be offensive if they weren’t so hilariously dead-on. There’s the crippled racist in Alabama who reckons that terrorists don’t mess with the South because they must have seen Cops and know that “rednecks don’t go down easy,” and the evangelist grandfather in Texas who explains that giraffes are proof of creationism because they don’t get dizzy when they raise their heads. But whether ranting about how Obama is a Muslim, lamenting the lack of work to be found or praying for their grandchildren shipping out to Afghanistan, each of Hoyle’s characters comes off as both real and surprisingly sympathetic.

PENELOPE BASS. Gerding Theater, 128 NW 11th Ave., 445-3700. 7:30 pm Tuesdays-Saturdays, 2 pm Sundays, alternating Saturday matinee and Sunday evening performances. Closes Nov. 6. $26-$46.

PERFORMANCE

FearNoMusic

Multiple pianos and percussion combine in Diamond Morning, a new two-piano piece by contemporary South African/Southern California composer Shaun Naidoo, a two-piano piece by 20th-century composer Witold Lutoslawski, a percussion work by former Portlander Joseph Waters, and FNM’s own original, powerful fourpiano version of the work that helped define 20th-century music and dance: Igor Stravinsky’s “Rite of Spring.” Kaul Auditorium at Reed College, 3203 SE Woodstock Blvd., 234-9694. 8 pm Sunday, Oct. 9. $24.50-$35.

Gabriel Kahane, Classical Revolution PDX, Holcombe Waller

Waller’s indie folk is the big local draw, but Brooklyn’s Kahane has won a national reputation in the altclassical world for his smart, classically influenced songs such as the clever “Craigslistlieder.” His new album includes members of the National, Sufjian Stevens and Rufus Wainwright’s bands. Classical Revolution this time will feature excerpts from what promises to be a startling upcoming production of Schubert’s great song cycle Winterreise. 8 pm Wednesday, Oct. 5.

Alberta Rose Theater, 3000 NE Alberta St., 764-4131. $12.

In Mulieribus

The women’s chorus sings music by early female composers (medieval composers Hildegard of Bingen and Kassia) to 20th- and 21st-century composers, including Portland’s own Joan Szymko, plus a world premiere commissioned by the group by young New York composer Kay Rhie. They’ll be accompanied by Portland Baroque Orchestra viola da gambist Joanna Blendulf, keyboard master Douglas Schneider and theorbo player Michael Wilhite. It’s a treat to see these vocalists exploring contemporary music and other territories beyond the early music they sing so well. St. Mary’s Cathedral, 1716 NW Davis St., 283-2913.

8 pm Saturday, Oct. 8. $12-$20.

Oregon Symphony

Virtuoso Yefim Bronfman takes the spotlight for Johannes Brahms’ big, Romantic Piano Concerto No. 1, and the orchestra, with rising young guest conductor Rossen Milanov, also plays Joseph Haydn’s delightful Symphony

CONT. on page 48

ALL IN: Gregg Bielemeier (right) bets big.

ZUGZWANG (IMAGO THEATRE) Jerry Mouawad’s madcap caper.

The thing to keep in mind, as you sit down to see a show at Imago Theatre, is that co-directors Jerry Mouawad and Carol Triffle are basically fearless. Not content to rest on their animal-masked laurels, they are constantly pushing beyond the styles in which they feel comfortable.

Six years ago, Triffle started writing plays. Four years ago, Mouawad started making dances. Sometimes their experiments are successful, and sometimes they are not, but they always make for interesting post-show conversation.

Mouawad’s latest hourlong experiment in the series of narrative movement pieces he calls “theater without words” takes as its inspiration the classic heist flick. It begins with a gambler (performed with Gene Hackman-ish flair by dancer Gregg Bielemeier) losing piles of cash in a tragic poker match, much to the distress of his wife.

To make up for his losses, he and his black-clad crew set out to steal some unspecified treasure, sneaking along corridors, skulking in elevators, dodging mysterious pools of radioactivity, blowing a safe and negotiating an Entrapment-style laser field.

The story doesn’t make a lot of sense, for reasons revealed in a very clever twist that I don’t care to reveal, but the company’s typically creative way with lights, music and sound lends a strong impression of place to the adventure.

Bielemeier is, as always, a blast to watch. He stands rail straight, chin up, and his limbs seem to sneak around of their own accord, as if his torso were a passive passenger. But Mouawad hasn’t created enough variety of movement to hold audience attention through the middle section of the show. For a good 15 minutes, the action seems repetitive.

Maybe this is part of the project, making hay out of monotony. I don’t know. I enjoyed Zugzwang, but found it to be less engaging (if more comprehensible) than Mouawad’s last movement experiment, Stage Left Lost. Nonetheless, it’s a treat to watch a director performing the sort of public experiment that we for the most part, thanks to budgetary constraints, never get to see. BEN WATERHOUSE. SEE IT: Imago Theatre, 17 SE 8th Ave., 231-3959. 7:30 pm ThursdaysSaturdays through Oct. 22. $10-$16.

Visual arts

Gallery listings and more! PAGE 49 Willamette Week OCTOBER 5, 2011 wweek.com

47

PERFORMANCE

OCT. 5 - 11

No. 60 and Zoltán Kodály’s Galánta Dances. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 228-1353. 7:30 pm Saturday, Oct. 8 and 8 pm Monday, Oct. 10. $21-$92.

Portland Columbia Symphony Orchestra Musicians

Orchestras don’t just give communities symphonic music, they also provide a home base for excellent musicians who perform in other ensembles that enrich the city’s cultural life. In this benefit for the orchestra, several subsets of the CSO, including Stumptown Winds, Rainbow Quintet, DTQ (Duo/ Trio/Quattro), Gabriel Quartet and Portland Brass Quintet, play music of Beethoven, Charles Ives, Brahms, Vaughan Williams, jazz great and composer Paquito D’Rivera, and Baroque composer Samuel Scheidt. First United Methodist Church, 1838 SW Jefferson St., 234-4077. 7 pm Wednesday, Oct. 5. Donation.

DANCE Arabesque

Locally and nationally known belly dancers perform at Arabesque, a weekly Middle Eastern music and dance party. Members of longtime world-music ensemble Brothers of the Baladi play traditional acoustic Turkish, Persian and Armenian music; dancers are signed up a year in advance and rotate weekly, giving everyone a chance to perform, and offering viewers variety from week to week.

Speaking of viewers, the band also plays open dance music for amateur dancers, belly or otherwise. The Blue Monk, 3341 SE Belmont St., 503-5950575. 8 pm Wednesdays. $5. 21+.

Bobbevy’s Palace of Crystal

Wild visuals, theatrical costuming and bold dancing—you can expect all of these in a performance by Bobbevy, the contemporary-dance company formerly known as Hot Little Hands.

Its founders, dancer-choreographer Suniti Dernovsek and visual artist David Stein, have embarked on a new multimedia production called Palace of Crystal. Performed by skilled local movers Richard Decker, Jessica Hightower and Keely McIntyre, the piece pits idealism and the desire for happiness against an uncaring reality.

The physicality of Dernovsek’s choreography is set against an installation

by Stein, video by artist John Bacone and original music by Ash Black Bufflo.

The Mouth, Inside Zoomtopia, 810 SE Belmont St., brownpapertickets.com/ event/193674. 8 pm Fridays-Sundays, Oct. 7-9 and 14-16. $12-$15.

Open Fire Dance Night

Grab a bucket of water and head for Tigard, where fire dancers put on a show in the Sheelah’s Dance Studio parking lot every second Saturday of the month. Fire spinner K’ahi leads the movement to music; participants are asked to bring their own fuel and safety gear as well as LEDs, staffs, fans and anything else they can spin.

Imagination—and flame-retardant clothing—are encouraged. Sheelah’s Dance Studios, 14335 SW Pacific Highway, Tigard, 352-5644. 9 pm second Saturdays monthly. Donations requested. Info at sheelah.net.

Oregon Ballet Theatre

Two classic ballets—both, in their own ways, about love—are reclassified on the double bill that opens Oregon Ballet Theatre’s season. Visiting choreographer Nicolo Fonte presents his vision of Petrouchka that, against the colorful backdrop of a Russian carnival, tells the sad tale of one puppet’s unrequited affections. OBT artistic director Christopher Stowell, meanwhile, offers his take on the gypsy romance Carmen. OBT’s orchestra plays Stravinsky and Bizet scores live at these two world premieres.

A Fill Your Dance Card event. Keller Auditorium, 222 SW Clay St., 2225538. 7:30 pm Saturday, Oct. 8; 2 pm

Sunday, Oct. 9; 7:30 pm ThursdaySaturday, Oct. 13-15. $29.15-$156.40, fees included.

Pilobolus

The shape-shifting, perennially popular Pilobolus returns after a four-year absence from Portland to open White Bird’s 2011-2012 season. Rightfully famous for their imaginative, occasionally funny, frequently gravity-defying movement, the dancers transform themselves into creatures and creations larger than their individual selves. A Fill Your Dance Card event.

Arlene Schnitzer Concert Hall, 1037 SW Broadway, 248-4335. 7:30 pm Wednesday, Oct. 5. $26-$64.

Polaris Dance Theatre

Polaris Dance Theatre is revisiting iChange—a contemporary-dance work about interpersonal relationships— and adding new material. Originally created by the company’s artistic director, Robert Guitron, as a five-part exploration, this installment covers a range of human experience, from betrayal and loss to practical joking to romance. “Souvenirs of Portland,” a new dance work on film, captures “chance” encounters around Portland.

Newmark Theatre, 1111 SW Broadway, 248-4335. 7:30 pm Wednesday-Friday, Oct. 5-7. $22-$37.75.

Richard Foreman Mini-Festival

The beauty of art is seeing how 10 people can find 10 different ways to interpret material from the same source. Such is the nature of the ninth Annual Richard Foreman Mini-Festival, which celebrates the founder of New York’s Ontological-Hysteric Theater.

As in years past, Portland artists working in various media get 10 days to create new work based on and inspired by an assigned text from one of Foreman’s notebooks. Movement, video, visuals and additional text are fair game in this pursuit. Each show in the two-night festival features a different lineup: On Saturday, look for

BOBBEVY’S PALACE OF CRYSTAL dancers Philip Elson, Paige McKinney and Katrina O’Brien, artist Drew Pisarra and others. Sunday’s highlights include dancers Greg Paul, Keyon Gaskin, Grace Nowakoski, Nathan H.G. and Our Shoes Are Red/The Performance Lab. Also included are drinks, snacks, a silent auction and performances by the Boris and Natasha Dancers and a rotating cast of untrained male dancers who bravely accept whatever choreographic challenge organizer Linda Austin throws their way.

Performance Works NW, 4625 SE 67th Ave., 777-1907. 8 pm Saturday, 7 pm Sunday, Oct. 8-9. $15-$50.

Savoir Faire Burlesque Revue

Weekly burlesque revue featuring local, regional, and national burlesque and cabaret performers. Hawthorne Theatre, 3862 SE Hawthorne Blvd., 233-7100. 10 pm Thursdays. $8. 21+.

Sea/Port

Port, an evening of three contemporary works by emerging Seattle and Portland artists. Seattle’s Shannon Stewart (aided by filmmaker Adam Sekular and familiar to fans of tEEth, with whom she has danced) offers The Third Floor, the fictional history of a hotel and its many made-up inhabitants; fellow Seattlelite Allie Hankins takes an entirely different tack, mining moments from ballet legend Vaslav Nijinsky’s life in Like a Sun That Pours Forth Light but Never Warmth. And in Song & Dance, Portland’s Lucy Yim works with musician Jean Paul Jenkins on a piece using folk vernacular, assimilation and reinterpretation as its springboard. Conduit Dance, 918 SW Yamhill St., Suite 401, 221-5857, conduit-pdx.org. 8 pm Friday-Saturday, Oct. 7-8. $12-$15.

For more Performance listings, visit

Meet some interesting local characters, real and otherwise, at Sea/

N W DANCE

FILL YOUR DANCE CARD AND WIN! www.pdxdancecard.org

PROJECT

NEW NOW WOW!

ARTISTIC DIRECTOR

SA R A H S L IPP E R

OCTOBER

14 + 15 8PM

THIS SHOW CONTAINS PARTIAL NUDITY BOLD NEW WORKS FROM 3 WORLD–RENOWNED CHOREOGRAPHERS World Premiere / Didy Veldman / The Netherlands World Premiere / Noam Gagnon / Canada World Premiere / Pedro Dias / Portugal Lincoln Performance Hall 1620 SW Park Avenue BEST TICKETS at nwdanceproject.org Info / 503.828.8285 Also available at PSU Box Office + Ticketmaster Media Sponsor:

48

Willamette Week OCTOBER 5, 2011 wweek.com

VISUAL ARTS

OCT. 5 - 11

= WW Pick. Highly recommended.

By RICHARD SPEER. TO BE CONSIDERED FOR LISTINGS, submit show information—including opening and closing dates, gallery address and phone number—at least two weeks in advance to: Visual Arts, WW, 2220 NW Quimby St., Portland, OR 97210. Email: rspeer@wweek.com. Fax: 243-1115.

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

SPECIAL EVENTS Portland Open Studios

One hundred artists will invite the public into their creative spaces two weekends in a row at the annual Portland Open Studios. Armed with a tour map, art lovers can peer into the lives and creative processes of artists who work across the gamut of media. 10 am-5 pm, Saturday and Sunday, Oct. 8-9 and 15-16. $5-$15.

See portlandopenstudios.com.

Suzanne Cotter

In the first of a series of high-profile lectures, YU presents a talk by world-renowned curator Suzanne Cotter, who is in charge of creating visual-arts programming at the forthcoming Guggenheim Museum

in Abu Dhabi, United Arab Emirates.

The talk should provide an invigorating analysis of the realities of curating art cross diverse cultures. YU Contemporary, 800 SE 10th Ave., 236-7996. 7 pm, Wednesday, Oct. 5. $5.

NOW SHOWING Gregory Grenon

Horia Boboia

Horia Boboia returns to one of his first loves, painting, with a series of diptychs. The two sides of each piece metaphorically wrestle with one another, informing the other component’s formal and conceptual crux.

Nine Gallery, 122 NW 8th Ave., 2250210. Oct. 6-30.

Sarah Ellen Taylor

The mixed-media works in Sarah Ellen Taylor’s Lovejoy series transmute imagery of jewelry, cosmetics, and clothing into elegant, whimsical semi-abstraction. Augen Gallery, 716 NW Davis St., 546-5056. Oct. 6-29.

Sally Finch

One of the Northwest’s iconic painters, Gregory Grenon uses a reverseglass technique to create distinctive figurative work in a deliberately naive style. Grenon’s work tends to polarize viewers into “Love it!” or “Hate it!” camps. Stylistically, it has not evolved much over the years but has stayed reliably quirky. Laura Russo Gallery, 805 Northwest 21st Ave., 226-2754, laurarusso.com. Oct. 6-29.

Sally Finch’s Weather Studies meticulously plots global climate data onto grids. Finch’s work is both conceptually challenging and visually rapturous, a one-two punch all too rarely seen. Froelick Gallery, 714 NW Davis St., 222-1142. Closes Oct. 29.

For more Visual Arts listings, visit

Q&A

JIM LOMMASSON Portland photographer Jim Lommasson is a storyteller. He has two documentary books under his belt, Shadow Boxers: Sweat, Sacrifice, and the Will to Survive in American Boxing Gyms and Oaks Park Pentimento, and is currently working on two ongoing photography series. The first is Exit Wounds, a traveling exhibition and book project through which Lommasson highlights the effects of war on soldiers returning home from Iraq and Afghanistan. His second project, What We Carried, which opens this week, takes a look at war from the other side, by documenting precious belongings of Oregon Iraqi refugees, including the handwritten stories they inscribed on the images. EMILEE BOOHER.

often have the opportunity to rent a pod and put all of your belongings in it. You leave sometimes with a kid under each arm, a passport, a family photo, a Quran or a Bible, and you’re off to Jordan.... So people showed me their family photo or whatever, and I photographed it on white, made a print and gave it back to them and asked them to tell me why this was one of the few things they brought with them.

What was your experience in letting much of the project out of your hands?

Every time I get back one of these photographs that an Iraqi has done something to, it just blows me away with their sense of freedom.... A 60-year-old anthropologistbrought her books to reconstruct the history of Iraq going back 60,000 years. She painted this beautiful ancient calligraphy over the picture of the book that ANTHROPOLOGY BOOK – HAIFA BY I had photographed.

JIM LOMMASSON AT LAUNCH PAD GALLERY How amazing, how The Portland photographer tells the humbling.

WW: Why did you choose to photograph the belongings of Iraqi refugees?

Jim Lommasson: Wh at We C a r r ie d is the flipside of the soldier stories. I’ve been hearing from soldiers about their experiences in Iraq story of Oregon’s Iraqi refugees. and Afghanistan, and Who are these peomany of the soldiers came home and had a completely opposite view ple? Why did they leave? of why they went there. Some of those people Most of the people I’ve interviewed have been in who originally went to fight for America have Oregon for less than four years. People have left now come back and are ready to overthrow the because life is just so hard in Iraq.... [One refugee,] government that they originally went to fight for. Samir, he painted portraits for Saddam.... After That’s such a dramatic, 180-degree worldview Saddam was gone, he did portraits for American change. I thought, I really need to hear from soldiers. He wanted to get out of Iraq, so he ended the people in those countries who were caught up going to Turkey. It took him five years of in the crossfire, and I knew there were a certain paperwork to try to get out of Turkey.... So he paid number of Iraqi refugees coming to Portland.... I some smugglers to smuggle him out in a shipping feel like we don’t know these people, just like we crate. They put him in the crate, screwed it down, don’t know the soldiers that we send to war. gave him a can of oxygen, and he was theoretically going to be shipped to Italy.... It’s hard for me to How did you go about depicting their stories? breathe just talking about it.

I started thinking, what if I didn’t photograph people and I photographed the things that they SEE IT: What We Carried is at Launch Pad Gallery, 534 SE Oak St., 427-8704, launchpadbrought with them? When you leave, you don’t gallery.com. Oct 7-29.

Willamette Week OCTOBER 5, 2011 wweek.com

49

BOOKS

OCT. 5 - 11

= WW Pick. Highly recommended.

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

WEDNESDAY, OCT. 5 Rick Geary

Cartooning veteran Rick Geary will be at Bridge City Comics to talk about and sign copies from his 34 years in comics, including his Treasury of Victorian Murder series. Bridge City Comics, 3725 N Mississippi Ave., 282-5484. 6 pm.

Free. All ages.

Wordstock Think and Drink

Oregon Humanities’ Think and Drinks happy hour series this month features cultural historian Jennifer Michael Hecht discussing “the history of happiness.” Hecht has written two books of history and philosophy, two books of poetry, and for The New York Times and The Washington Post. Rontoms,

600 E Burnside St., 236-4536. 6 pm.

Free. 21+.

THURSDAY, OCT. 6 In Other Words Birthday and Fundraiser

Portland’s favorite feminist bookstore and community center is turning 18. To celebrate, it’s holding a fundraising celebration, with live music by Marisa Anderson; Lather, Rinse, Repeat; the Crossettes; and DJ Amai. Plus, there’ll be a raffle, food, beer and wine. P:ear, 338 NW 6th Ave., 503-228-6677. 6 pm. $12 before the event; $18 at the door.

Gay in America

Photographer Scott Pasfield signs copies of his new book, Gay in

America. The book features the portraits and personal stories of 140 gay American men from all walks of life. The photos are beautiful and the biographies engaging. Q Center, 4115 N Mississippi Ave., 234-7837.

7 pm. $5 suggested donation. All ages.

SATURDAY, OCT. 8 Live Wire! Wordstock Extravaganza

OPB’s Live Wire! is recording its second Wordstock special, including Pulitzer Prize-winning authors Jennifer Egan (A Visit to the Goon Squad) and Isabel Wilkerson (The Warmth of Other Suns: The Epic Story of America’s Great Migration), so-hot-right-now graphic novelist Craig Thompson (Habibi), short-story writer Steve Almond and music from Wild Ones and Stephanie Schneiderman. Aladdin Theater, 3017 SE Milwaukie Ave., 234-9694. 7:30 pm. $25-$35.

For more Words listings, visit

Q&A

CHUCK KLOSTERMAN KRIS DRAKE

I think the way the world operates now is that someone’s public perception and someone’s public happiness is more important, because of what we collectively concluded makes up a good life.

But I don’t know if somebody can be truly happy if they’re not happy by themselves. I think that is the more essential state of being.

Of people you’ve interviewed, from whom could you glean the most by observing him or her alone?

I would say Bono. Bono seems to me the most aware of how he’s being perceived at all times....

The idea of Bono is always central to him, so it’d be interesting to see what he’s like by himself.

Interviewing Chuck Klosterman is an intensely meta experience. For one thing, he’s an interviewer of some renown himself: His profiles on everyone from Britney Spears to Billy Joel to Steve Nash have appeared in Spin and Esquire and, most recently, on the sports and culture website Grantland.

Now, he’s framed an entire book around the interaction between interviewer and subject— except the former isn’t a journalist but a therapist, and the latter is not an athlete or pop star but a voyeuristic loner who develops sophisticated cloaking technology allowing him to observe people as his own gorillas in the mist.

Although The Visible Man—Klosterman’s second novel and seventh book overall—is fiction, it is an extension of ideas that run through his work as America’s sharpest pop-culture pundit: the way media transforms reality; the meaning of culture; the dissonance of self-perception. And, of course, it is full of references to Philip K. Dick, Rush, the Texas Longhorns, and Duran Duran album art. MATTHEW SINGER. WW: In the book, the psychopath character asserts that observing someone while they’re alone is a view into true, unfettered humanity. Who do you think is more important: the person we are when we’re alone, or the person we are in front of other people?

Chuck Klosterman: In practice, people care much more about their happiness in group settings or in public. People who are depressed very often want to be perceived as happy in public. So 50

Willamette Week OCTOBER 5, 2011 wweek.com

I feel that your work has progressively gotten a few shades darker.

That’s not totally wrong.... But I don’t think it would be so noticeable if it wasn’t for the fact that in those first two books, there was basically a joke a paragraph. [First essay collection] Sex, Drugs and Cocoa Puffs, it’s hard to find a paragraph in that book without a joke.... That book, to me, it’s about culture and it’s not stupid, but it’s mostly supposed to be entertaining.

Are there any essays in Sex, Drugs and Cocoa Puffs you regret now?

Regret is too strong a word, because that book completely changed my life.... The biggest thing that now is not really applicable is when I was writing about the newspaper industry. When I wrote that in 2000 or 2001, I was talking about something that doesn’t even exist anymore. The problems in newspapers I perceived in that time are not the problems newspapers have now....

The country is more polarized now probably than in any time I’ve been alive. People did not take Fox News and the early stages of MSNBC seriously like they do now. There wasn’t this idea that a network could be a journalistic enterprise, a political enterprise and an entertainment enterprise at the same time. As it turns out, people just like that way more. People do not like unbiased coverage. They want things that reflect and mirror their own personal biases. That’s just because it’s the dominant way people get news now. Read the full interview at wweek.com.

GO: Chuck Klosterman appears at Powell’s City of Books, 1005 W Burnside St., 228-4651. 7:30 pm Monday, Oct. 10. Free.

OCT. 5 - 11 REVIEW

= WW Pick. Highly recommended.

SCOTT GREEN

MOVIES

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.

NEW

1911

40 Jackie Chan’s 100th movie is no

Rush Hour 4. Instead, it’s an ambitious epic detailing the unfolding of China’s 1911 Xinhai Revolution that eventually concluded more than 2,000 years of imperial rule, overthrowing the Qing dynasty. History buffs will appreciate the intricacy of the story and the authenticity of the costumes and set designs. For the rest of us non-history buffs, though, the plot is exasperatingly difficult to follow. The action goes back and forth at a rapid, almost frantic pace. Character development is on the back burner here, to a significant degree, which is unfortunate because that is usually what keeps us ordinary folk interested in an epic of this magnitude. During a lot of the film, it’s difficult to say who is who and what is what. Sorry, Jackie, but I would have rather watched you in that fourth Rush Hour. MAGGIE SUMMERS. Hollywood Theatre.

NEW

4 Months, 3 Weeks and 2 Days

48 [THREE NIGHTS ONLY, REVIVAL]

Cristian Mungiu’s 2007 Palme d’Orwinning Romanian back-alley abortion drama was easily among the bestreviewed movies in America when it was released here the following spring; that hissing sound you may recall hearing in 2008 was hundreds of critics blowing their lids when it wasn’t nominated for a Best Foreign Language Film Oscar. So I’m not sure how to keep being a spoilsport, except bluntly: 4 Months, 3 Weeks and 2 Days left me completely cold. It’s unsparing, to be sure, and highly effective in achieving a mood of agonizing dread. But the acting is uneven, and the motivations of the heroine (Anamaria Marinca) are implausibly selfless. The ugliness of 4 Months is the kind that disguises itself as profundity; it belongs to the school of feel-bad European filmmaking that thinks that showing a distressing image is the same thing as having something to say about it. Mungiu has directed his movie for maximum shock value, and has ramped up the suffering of his characters to a degree that smothers scrutiny; confronted by the sight of a girl having a plastic tube shoved roughly inside her, all questions die on the tongue. This is a film that discourages its audience from thinking about what it means. AARON MESH. 5th Avenue Cinema. 7 and 9:30 pm FridaySaturday, Oct. 7-8. 3 pm Sunday, Oct. 9.

50/50

57 So far as I know, there’s been one genuinely funny movie about cancer, and it is Mike Nichols’ HBO adaptation of Margaret Edson’s Wit—a play where the humor, as withering as a chemo round, annihilates all defenses, leaving only emotions pure enough to repeatedly reduce this viewer to racking sobs. Wit is art confronting death.

50/50 is entertainment about sickness.

Despite its title referring to the hero’s odds of survival, the movie feels hesitant to explore the implications that one character might soon vanish from the company of all others. It’s skittish, even—as uncomfortable as Bryce Dallas Howard as oncology patient Joseph Gordon-Levitt’s girlfriend, who would rather wait in the parking lot for four hours than venture into a hospital.

50/50 goes in the building, obviously, but it never really faces what happens there. It has jokes about scamming to get your dick sucked and jokes about hitting the bong—the same jokes as The 40-Year-Old Virgin, basically, but delivered in a hush, like throwing a 4/20 party next to a funeral home.

Gordon-Levitt is an electric actor (he single-handedly elevated Hesher out of mediocrity into something gloriously bizarre), so it is strange to see him subdued into a kind of inertia: a blankness that has something to do with denial, but more to do with the lack of a script. The entire project— scripted by Will Reiser and directed

by Jonathan Levine—feels compulsory and not fully thought through. R. AARON MESH. Cedar Hills, Clackamas,

Eastport, Cinetopia, Cornelius, Oak Grove, Pioneer Place, Cinema 99, City Center, Evergreen, Hilltop, Lloyd Center, Sherwood, Tigard, Wilsonville, Sandy.

Abduction

Taylor Lautner discovers intrigue about his real parents, who are probably not wolves, but maybe. Not screened for critics. PG-13. Cedar Hills, Clackamas, Eastport, Forest, Oak Grove, Cinema 99, City Center, Evergreen, Lloyd Mall, Tigard, Wilsonville, Sandy.

NEW

B-Movie Bingo: American Hunter

[ONE NIGHT ONLY, REVIVAL] Wolf Choir’s games of spot-the-badness continue with an inert actioner about a secret agent trying to stop the sabotage of Wall Street. So it’s timely, even!

Hollywood Theatre. 7:30 pm Tuesday, Oct. 11.

NEW

Battle for Brooklyn

[ONE NIGHT ONLY] A documentary about Prospect Heights residents fighting the construction of a new Nets arena. Hollywood Theatre. 7:30 pm Saturday, Oct. 8.

WHEN A BODY MEETS A BODY: Mia Wasikowska and Henry Hopper.

Bobby Fischer Against the World

88 A riveting documentary about an

impossible man. Chess master Bobby Fischer’s long, gangrenous decline into anti-Semitic bile hopelessly sullied his memory, but it is the feat of director Liz Garbus’ work for the sports wing of HBO Films to resuscitate the man’s initial power and grace. This is no easy task—even the suspense of Fischer’s 1972 championship matches with Boris Spassky emerged chiefly from his bizarre refusal to show up for matches—but Bobby Fischer Against the World paints the man with great sympathy, carefully revealing how his self-loathing and psychosis was rooted in a childhood that deserves to be called tragic. The movie is also a lot of fun, featuring as it does a Russian folk ditty about Soviet chess superiority (“Steely are my muscles/ Oh, my fingers they’re so long!”) and a celebrity sketch artist with a mustache to rival Anchorman character Brian Fantana’s, but it is mostly a tense study of loneliness. Fischer, who in ’72 looked like Ryan Gosling in the role of Dirk Nowitzki, is shown reading the New York Post headlines trumpeting his victory—but he’s sitting on a rock in the desolate Icelandic terrain, and this is as happy as his life will get. Working with the late Portland-native film editor Karen Schmeer, Garbus melds the testimony of chess experts and Fischer’s former friends to create comprehensible explanations of complex chessboard strategies; their greater accomplishment is making the man himself reachable through images— none sadder than the shot of him alone at some European amusement park, flying in a little tin airplane. As Fischer is driven to abstraction, the film remains stubbornly humane. AARON MESH. Living Room Theaters.

Contagion

64 Examining what would happen if the grim prophecies of a global swine flu-like epidemic had come true, Steven Soderbergh’s Contagion takes great pains to show the excruciatingly complicated and frustrating lengths the global scientific community would go to in an effort to vaccinate a crumbling world. It’s a fascinating concept, and in the hands of such a meticulous director as Soderbergh, whose gift for juggling dozens of characters and plotlines can explode off the screen, Contagion could have been among the best medical freakouts in ages. That diagnosis, sadly, is far from accurate. Soderbergh trains his lens on a global group of scientists/A-listers (among them Laurence Fishburne, Kate Winslet, Marion Cotillard, Jude Law and Elliott Gould) who work endlessly in labs as the disease escalates, leaving a pile of dead Oscar winners and lab monkeys in its path (because you can’t

EXQUISITE CORPSE GUS VAN SANT’S RESTLESS IS A LOVE STORY WITH CARRION BEETLES.

BY AARO N ME S H amesh@wweek.com

It is not uncommon for a great artist to show questionable taste in source material. Bob Dylan recorded a Christmas album in which he gurgled “Here Comes Santa Claus.” T.S. Eliot developed a poetic fixation on house cats that ultimately resulted in the musical Cats. Jimmy Stewart’s last cinematic role was in Fievel Goes West, as the voice of Sheriff Wylie Burp. But there is no more perplexing case of talent deployed to dubious ends than that of Gus Van Sant.

I don’t need to reel off Van Sant’s achievements, though it might be worth mentioning how many of them emerged from unlikely provenances: a memoir from a gay street poet in love with a Mexican boy; improvised desert conversations between Matt Damon and Casey Affleck; a YA novel about skateboarding. But such risk-taking is a double-edged sword. Van Sant’s flops almost never lack ambition, but they suggest some bizarre foible in discernment. He remade Psycho shot-for-shot. He adapted Tom Robbins. He filmed the Robin Williams “It’s not your fault” scene in Good Will Hunting.

This history shoulders its way into the mind while watching Restless. Van Sant’s new movie is not nearly the debacle promised by the cruel buzz out of Cannes; instead, it is a graceful, scrupulously crafted film. But it is also a film that did not need to be made. It is about a boy who likes to attend funerals falling in love with a girl with a brain tumor, and how they are aided in their acceptance of her fate by the ghost of a kamikaze pilot. This synopsis should have been enough to end the pitch meeting.

The script, by Jason Lew, does not deviate from this premise, or advance it, really: It is a thicket of adolescent bathos about dying young, seasoned with its own distinctive, ghoulish morbidity. It resurrects all the tropes of the Beatific Doomed Girl from Ali McGraw in Love Story through Mandy Moore in A Walk to Remember. But none of these terminally

ill women had to recite a romantic speech about carrion beetles. In Restless, Mia Wasikowska goes on about how the beetles meet in a corpse, and how they don’t just eat the corpse, but build a little home together inside the decaying flesh, and how that story has a lesson to teach us about finding love within death. This speech is a bad idea. The entire script is a bad idea.

Yet the movie is not exactly a bad movie—and I’m not just saying that in some fit of memorialservice etiquette. Van Sant and cinematographer Harris Savides shot in Portland during the brief autumn window—we’re entering it now—when the remaining direct sunlight nearly stings. This is not incidental to Restless’ effect: To the degree that it works, it is because first love almost always has a fleeting life, and feels more precious for its brevity. The restrained performances also help: Wasikowska and Henry Hopper (a chip off dad Dennis’ block) are both touching because they are so matter-of-fact, while Ryo Kase turns the ghostpilot conceit into a tangible character.

Still, there is not much about Restless that’s surprising—other than it being the first teenage romance to feature a Nagasaki atom-bomb montage. It features several Sufjan Stevens songs

VAN SANT SHOT IN PORTLAND DURING THE BRIEF AUTUMN WINDOW WHEN SUNLIGHT NEARLY STINGS. (though, oddly, not “Casimir Pulaski Day,” the one about a girlfriend who died), it includes the obligatory fights and reconciliations, and it avoids being an embarrassment while never managing to become anything else. Any indignation about Restless feels drummed-up, but the movie does suggest a flip side to Van Sant’s skill: It is done well, but one is disappointed to see it done at all.

56 SEE IT: Restless opens Friday at Fox Tower and City Center.

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FLYING MONSTERS 3D

WW presents

I M A D E T HIS WW’s free marketplace for locally produced art. this Week: laWrence neWman’s coffee table. page 62.

make an outbreak flick without at least a few monkeys, apparently). Trouble is, Soderbergh is so concerned with offering a slick portrait of jargony scientific methodology and bureaucratic squabbling that he all but forgets the human element, even as citizens the world over succumb to scavenging and paranoia. Matt Damon adds some much-needed human heft as the widower of Gwyneth Paltrow’s patient zero, and Winslet is reliably good as a committed Centers for Disease Control worker. But scratch Soderbergh’s name off the credits and sub in actors like Powers Boothe, Corbin Bernsen, Anne Heche and Bronson Pinchot, and Contagion would simply be a standard-issue TV movie of the week. PG-13. AP KRYZA. Cedar Hills, Clackamas, Eastport, Cornelius, Moreland, Oak Grove, Pioneer Place, Cinema 99, City Center, Evergreen, Hilltop, Lloyd Center, Sherwood, Tigard, Wilsonville.

Crazy, Stupid, Love

70 Where Friends With Benefits

Willamette Week’s 2011

RESTAURANT GUIDE Our favorite places to brunch, lunch and dine.

Publishes: OCTOBER 19TH

employed Justin Timberlake as an art director at GQ, this picture features Ryan Gosling as a walking issue of Esquire—the one with the “Am I a Man?” quiz on page 170. You can practically smell his cologne ads. His performance is the Situation with a better wardrobe and a bigger vocabulary, and his situation is that he’s being a show pony: the real actor who returns to light entertainment again in an unlikely role.

Still, he’s fun (my single favorite shot in Crazy, Stupid, Love is Jacob doing the crossword on the back of a cereal box during the requisite “everybody’s thinking” montage), and he has great chemistry with eventual bravadomelting love interest Emma Stone, just as Steve Carell develops an easy rhythm with Julianne Moore.

PG-13. AARON MESH. Clackamas, Fox Tower.

The Debt

60 John Madden’s The Debt feels like a talented but glib college student trying to pass a modern European history exam with an essay on the repercussions of the Holocaust and the founding of Israel—it volunteers answers, but has no feeling for the questions it raises. The film’s confusion is not merely thematic; it also bungles at the most basic levels. Remaking an Israeli film, Ha-Hov, Madden positions Helen Mirren, Tom Wilkinson and Ciarán Hinds as aging former Mossad agents, then rewinds to their fateful 1966 mission in East Berlin—but he casts two young men (Sam Worthington and Marton Csokas) who could each be young versions of either Wilkinson or Hinds. Jessica Chastain, however, is unmistakable: She was the ethereal mother in The Tree of Life and the kind soul in The Help, and now, as mini-Mirren, plays a woman whose first instinct is to try and make the best of bad situations. This disposition is not all that helpful when you’re locked in an apartment with three men, two of them rivals for your romantic attentions and the other a Nazi doctor.

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By its final act, The Debt bears an unfortunate resemblance to another Mirren vehicle, the AARP assassin flick Red. R. AARON MESH. Clackamas, Lake Twin, Fox Tower, St. Johns Twin Cinema-Pub.

Dolphin Tale 3D

58 Dolphin Tale is like Free Willy set in the age of the Internet. The cetacean sensation here is Winter, an injured dolphin who loses her tail in an accident and is lucky enough to garner a ragtag team of marine something-or-others (Morgan Freeman, Harry Connick Jr.) who make it their mission to fix her by attaching a prosthetic fin. But unlike the mostly unfettered Free Willy, many major themes of our complicated age are involved in Dolphin Tale: war, hurricanes, debt, disability, corporate buyouts, major loss. The kids are younger than our hero in Free Willy (and they look like siblings, making the mild flirtation I sensed between them throughout kind of creepy) but they act like teenagers. Perhaps this is an unintentional nod to how the Internet is changing what it’s like to be a kid (Wikipedia makes a cameo) or maybe I’m just being nostalgic for a time when 11-year-olds didn’t carry cell phones, organize massive charity events, say oddly witty things to their parents or have extremely adult-sized conversations with their pint-sized friends. Despite its cheesiness (and there’s no shortage of that, musical montages and all) Dolphin Tale has a great message at its core, and really, isn’t that what all those overactive, over-stimulated kids need? PG. MAGGIE SUMMERS. Cedar Hills, Clackamas, Eastport, Cinetopia, Cornelius, Moreland, Oak Grove, Cinema 99, City Center, Evergreen, Hilltop, Lloyd Mall, Sherwood, Tigard, Wilsonville, Sandy.

Dream House

Daniel Craig and Rachel Weisz move into a house that once sipped a little red rum, if you know what we mean. Not screened for critics. PG-13. Cedar Hills, Clackamas, Eastport, Cornelius, Living Room Theaters, Oak Grove, Cinema 99, City Center, Evergreen, Hilltop, Lloyd Center, Tigard, Wilsonville, Sandy.

Drive

95 Drive, the luxurious new L.A.

noir from Danish director Nicolas Winding Refn, is the most brutally antisocial movie of the year.

It is also the most romantic—but it is primarily spellbound by the romance of isolation. It is also exhilarating filmmaking, from soup to swollen nuts. It contains half a dozen white-knuckle action sequences—starting with a Ryan Gosling robbery getaway timed to the final buzzer of an L.A. Clippers game—yet its closest relative is the lightheaded, restrained eroticism of Wong Kar-Wai’s In the Mood for Love. In this context, the relentless carnage of Drive’s second half makes a sick kind of sense: It is a movie about men who only know how to show loyalty and care by staving in the skulls of other men.

OCT. 5 - 11 racist police officer who reluctantly teams with a strait-laced FBI agent (Don Cheadle, very nearly comatose) to foil a trio of drug traffickers who discuss Nietzsche when they’re not killing people, because like much of the rest of The Guard, these bad guys seem to have escaped through a hole in the bottom of Tarantino’s barrel. At least the demon who writes the next Lethal Weapon movie (it’s bound to happen) can cross “Riggs goes to Ireland” off his list of bright ideas. R. CHRIS STAMM. Hollywood Theatre, Fox Tower.

NEW 43

Guilty Except for Insanity

[THREE NIGHTS ONLY, DIRECTOR AND SUBJECTS

ATTENDING] Among the endless metaphorical comparisons deployed in reference to mental illness, the most common likens cognitive instability to drowning. In watching Guilty Except for Insanity: Maddening Journeys Through an American Asylum, one might diagnose PSU psych prof Jan Haaken with acute obsession with aquatic metaphors.

Throughout her documentary examining the legal system’s treatment of the mentally ill, Haaken uses enough rip-tide allegory to fill a pool, and flogs the seahorse with shots of babbling brooks and cartoons of patients drifting out to sea. With intimate access to the

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REVIEW S A E E D A D YA N I

Winding Refn’s last film, Valhalla Rising, featured vikings disemboweling each other by hand, and the characters here are not much more civilized, though they do have more cosmopolitan surroundings, smearing each other across some handsomely paneled elevator interiors.

It is some kind of advancement, I suppose, that while the characters speak after very long pauses, they have moved past grunts. It is macho, self-pitying poppycock, and it engrossed and moved me like no other picture I’ve seen this year.

And I have a sliver of justification: The entire history of noir, stretching back to The Maltese Falcon through Drive’s obvious influences like Walter Hill’s The Driver and Michael Mann’s Thief, is a lot of macho, self-pitying poppycock. That does not diminish the power of those movies. If Drive, a deliberate throwback, belongs in their company, it is because it is unreservedly committed to the decadent masochism of its fantasy.

R. AARON MESH. Cedar Hills, Clackamas, Eastport, Pioneer Place, Cinema 99, City Center, Evergreen, Lloyd Center, Tigard.

MOVIES

El Bulli: Cooking in Progress

A documentary about Ferran Adrià and his extraordinary restaurant in Spain. Living Room Theaters.

NEW

Flying Monsters 3D

55 “There are two things you have

to get right,” intones Sir Richard Attenborough, “if an animal the size of a giraffe is to get into the air: weight and power.” Fair enough.

There are also two things a dinosaur documentary has to get right if it’s going to hold any interest: science and spectacle. Flying Monsters 3-D, which displays the bones and computer simulations of pterosaurs, contains enough of each to keep it aloft for its barely half an hour of gliding.

Flying Monsters 3-D is an IMAX dome movie, and I saw it neither in an IMAX dome nor in 3-D, so take my opinion with a huge grain of salt flying at your face. But I found it contained more than the usual academic rigor for these sorts of things, if not much increase in general entertainment value. Attenborough, who wrote and narrates, is probably attached for Jurassic Park reasons, but the movie’s obvious genesis is as a paleontological companion to Avatar and its airborne dragons.

So the winged lizards are brightly colored and soar through vertiginous tropical canyons; there’s even a speculative mating dance. But there’s also some interesting background on how the beasts evolved, a close look at their mechanics, and the story of where their fossils were first discovered—in Attenborough’s own Britain. And did those wings, in ancient time, fly along England’s mountains green? Yep. AARON MESH. OMNIMAX Theatre at OMSI. NEW

Granito: How to Nail a Dictator

[ONE NIGHT ONLY, DIRECTOR ATTENDING] Pamela Yates, who filmed the 1982 genocide of Mayans in Guatemala, returns to confront an army commander with her footage at his war-crimes trial. The film opens the NW Film Center’s series Voices in Action: Human Rights on Film. 7 pm Thursday, Oct. 6. Pamela Yates will introduce the film.

The Guard

42 Brendan Gleeson has impossible features. He appears to have been born in the wrong aspect ratio, with a visage formatted to fit old televisions, a noggin incompatible with our wide screens. His face, or so it seems, must be stretched and pummeled like pink taffy to conform to the 16:9 standard, and it’s almost sadistically compelling to watch Gleeson work with his own strange packaging. Writer-director John Michael McDonagh (whose brother Martin used Gleeson in In Bruges, a film John should have studied more carefully) is lucky to have him in The Guard, for absent the big man’s wadded physicality, there would be little worth looking at here. Gleeson stars as an adorably

SMOOTH ORATORS: Ryan Gosling and a George Clooney poster.

THE IDES OF MARCH If politics is the art of the possible, art about politics is an inventory of the most appalling possibilities. The taint of compromise—the incremental moral-compass adjustments that have despoiled all the king’s men and the president’s men and the candidates, Manchurian or otherwise—accrues in The Ides of March until it is impossible to pinpoint the moment when the hero’s soul became a bargaining chip. This is a movie about the place where campaigning loses its idealistic purity, and consequently leaks all pleasure. It is probably a bit hysterical in its bleakness—maybe that’s a predictable outcome of a proudly liberal filmmaker like George Clooney dealing with the concessions of a Democratic POTUS. But the disillusionment in Ides has an evangelical fervor: This movie is going to find your Shepard Fairey poster and set it on fire. It’s like an anti-Bus Project.

That it corrodes so effectively is thanks to Clooney communicating the romance of the campaign trail, which is basically summer camp for drizzle-loving workaholic wonks. Ryan Gosling, continuing his prolific year of playing hyper-aggressive grinners, is the media-strategy guru for Democratic presidential front-runner Mike Morris (Clooney). Ides is based on Farragut North, a play written by Beau Willimon, which means Morris is based on Willimon’s former boss, Howard Dean, who was in turn based on The West Wing’s Josiah Bartlett (or sure seemed that way, for a while). The early stretches of the movie have the wish-fulfillment and intellectual energy of Aaron Sorkin’s series: The banter between Gosling and intern Evan Rachel Wood (for once, not preternaturally jaded) has the particular energy of two people aroused by their own smarts.

This makes it all the more flooring when players reveal their primary colors—when Philip Seymour Hoffman’s campaign manager, to use a milder example, turns out to be a morally preening prick.

But human fallibility is not the point. The point of The Ides of March—a very “The Ones Who Walk Away From Omelas” kind of moral—is that every social advancement is built on the back of an unknown, innocent victim. It’s an observation difficult for an Oregon progressive to deny, and Clooney’s direction moves the chamber piece at such a ruthless pace that objection is impossible.

But the pessimism makes this more of a horror movie than a social analysis. It is a very good horror movie, and its savage iconoclasm is bracing. But it does make you wonder why art about politics keeps its possibilities so limited. R. AARON MESH.

Ryan Gosling is an honorable man.

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83 SEE IT: The Ides of March opens Friday at Cedar Hills, Clackamas, Eastport, Cinetopia, Cornelius, City Center, Evergreen, Fox Tower, Lloyd Center, Sherwood, Tigard and Wilsonville.

Willamette Week OCTOBER 5, 2011 wweek.com

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OCT. 5 - 11 ICON PRODUCTIONS

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occupants of the Oregon State Hospital, Haaken’s doc could have been a compelling dissection of a flawed system struggling to differentiate between criminal behavior and illness. Instead, we learn what we already know: The system’s busted, medications fuck people up, hope prevails. It doesn’t help, either, that the film is littered with scenes from One Flew Over the Cuckoo’s Nest, if only because it was filmed at the same hospital. Each time Guilty captivates, out comes another distraction, whether it’s an elementary metaphor or a scene from a much better meditation on illness. When focused on its subjects, Guilty is a jarringly simplistic snapshot of psychological and institutional madness. When it goes for the bigger vision, it becomes maddeningly saturated in the obvious. AP KRYZA. Cinema 21.

4:30 and 7 pm Sunday, and 7 and 9 pm Monday-Tuesday, Oct. 9-11. Jan Haaken and her subjects will attend opening night.

The Hedgehog

80 The morbid yet sentimental

cult classic Harold and Maude lives on in the tangled blond hair of an 11-year-old Parisian girl named Paloma. The Hedgehog, a French coming-of-age drama, opens with the clichéd (and videotaped) monologue of this young, wealthy and intelligent child who says she’d rather die than succumb to the adult conformity that surrounds her. Paloma (Garance le Guillermic) plans to kill herself on her 12th birthday to avoid the fate of “the fishbowl, where adults beat against the glass like flies.” But as the 165 days leading up to her birthday begin to dwindle, Paloma becomes an observer to more than the superficiality of her Champagneguzzling mother and self-absorbed sister. Her self-made documentary travels out of the apartment, down the stairs, and into the beautifully complex inner lives of her janitor (Josiane Balasko) and new neighbor (Kakuro Ozu). Through short yet powerful conversations, the unlikely trio learn to give up their hiding places and join a world that is full of humor and hope. As the film progresses, The Hedgehog transitions from a trite account of the weight of privilege to an unexpectedly thoughtful and gently provocative narrative of the process of learning how to love.

SHAE HEALEY. Fox Tower.

The Help

86 Give a white male director a

script about Southern racism and nine times out of 10 he’ll hand you back the story of an enlightened sports team wrapped in a flashy soundtrack. Director Tate Taylor manages to break this mold in his adaptation of Kathryn Stockett’s 2009 novel, The Help. Set in the early 1960s in Jackson, Miss., the film focuses on young, wealthy white mothers and their maltreatment of the black maids who serve them. Emma Stone plays Eugenia “Skeeter” Phelan, an aspiring writer whose childhood friends have grown up to resemble rabidly racist

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hybrids of the Plastics and the Stepford Wives. The Help doesn’t reward its viewers with a championship trophy. Instead, the film presents the reality of Southern life in the 1960s as something that takes much more than a highschool squad to overcome. PG-13.

SHAE HEALEY. 99 West Drive-In, Cedar Hills, Clackamas, Eastport, CineMagic, Forest, Lake Twin, Cinema 99, City Center, Evergreen, Fox Tower, Lloyd Center, Sherwood, St. Johns Twin Cinema-Pub.

Killer Elite

33 A flat tire of an action movie, flopping and scraping across the wide screen, Killer Elite is, contrary to its title, astonishingly mediocre. It is supposedly based on the real-life covert operations of mercenaries against the far-right British paramilitary, but its slew of tough-guy proverbs feels like the publishers of Soldier of Fortune printing an issue of Poor Richard’s Almanack. Poor Jason Statham mumbles a lot of these, poor Clive Owen looks nearly aghast at his own contribution, and poor Robert De Niro finds a more efficient way to accomplish his usual AWOL routine, getting held hostage by a sheik and disappearing from most of the picture. R. AARON MESH. Cedar Hills, Clackamas, Eastport, Cinetopia, Cornelius, Oak Grove, Cinema 99, City Center, Evergreen, Fox Tower, Hilltop, Lloyd Mall, Sherwood, Tigard, Sandy.

The Lion King 3D

It means “no worries,” except for that thing about to POKE YOU IN THE EYE. G. Cedar Hills, Clackamas, Eastport, Cinetopia, Cornelius, Pioneer Place, Cinema 99, City Center, Evergreen, Hilltop, Lloyd Center, Lloyd Mall, Sherwood, Tigard, Wilsonville, Sandy.

NEW

Love Crime

Kristin Scott Thomas and Ludivine Sagnier fight for corporate power.

Living Room Theaters.

Machine Gun Preacher

Gerard Butler plays the heatpackin’ pastor, presumably no relation to the hobo with a shotgun.

WW did not attend the screening.

R. Fox Tower.

Midnight in Paris

77 Sorry to break it to you, New

York, but Woody Allen is cheating on you. He’s had trysts in the past, but in Midnight in Paris his flirtation with the City of Light blossoms into a full-blown affair. If it’s any consolation, Paris isn’t about Paris in the way Allen’s classic New York films were about the experience of actually being in New York.

It’s more about the idea of Paris, and really the idea of any time and place that aren’t our own. It’s a fairy tale for lit majors, and Allen’s best work in years. That said, calling Paris a true return to form for Allen after the past decade’s mixed bag is an exaggeration. It’s more of a charming trifle. PG-13.

MATTHEW SINGER. Fox Tower.

OCT. 5 - 11

sports-page chatter fails to tickle you even a little bit, I can almost guarantee Moneyball will leave you cold. For although director Bennett Miller (Capote) and his elite writing team (Aaron Sorkin and Steven Zaillian) pad Oakland A’s GM Billy Beane (Brad Pitt) with paternal longings and past defeats, there’s not a whole lot of squishy human interest to dig into here. This is a movie about baseball and the obsessed men who devote their lives to it. Make no mistake: There is heart in Moneyball, but it’s the part of the heart that swells at the sight of numbers on the back of a Topps card and breaks beneath tacky banners commemorating past championships. Mercifully short on baroque re-enactments of pivotal match-ups and pandering lockerroom banter, Miller’s uptown update of Major League is almost wholly devoted to the front offices and underground clubhouses in which the game behind the game is played.

The swift, captivating first half of Moneyball finds Beane, the sort of jocular ex-jock who fears stillness, failing at his thankless mission before teaming up with math geek Peter Brand (Jonah Hill), whose righteous faith in certain overlooked statistics convinces Beane to field a team of ostensibly mediocre has-beens and never-weres.

The subsequent ups and downs of the 162-game season register as last-minute trades, squabbles with scouts, klatches with coaches and various other verbal maneuvers conducted in windowless rooms filled with cheap furniture. Pitt, perhaps the most orally fixated actor not employed by Vivid Video, chews his way through these assignations. Maybe we need the reminder: Sometimes it’s the stuff we don’t see that counts. And so: Let’s go, Oakland! CHRIS STAMM. Cedar Hills, Clackamas, Eastport, Cinetopia, Cornelius, Oak Grove, Pioneer Place, Cinema 99, City Center, Evergreen, Hilltop, Lloyd Center, Sherwood, Tigard, Wilsonville, Sandy.

NEW

Monster Squad

[TWO DAYS ONLY, REVIVAL] The 1987 scream team of Frankenstein’s monster, the Mummy, the Wolfman and the Gillman. Hollywood Theatre.

2 and 9:30 pm Saturday and 2 pm Sunday, Oct. 8-9.

NEW

My Own Private River

[ONE NIGHT ONLY, ENCORE SCREENING] James Franco has edited together River Phoenix outtakes from Gus Van Sant’s My Own Private Idaho. Hollywood Theatre.

7:30 pm Wednesday, Oct. 5.

NEW Portland Lesbian & Gay Film Festival

[FOUR NIGHTS LEFT] The second half of the LGBT fest includes Codependent Lesbian Space Alien Seeks Same (7 pm Friday, Oct. 7), which sets out to prove that Earth girls are easy...for girls. Look for a review on wweek.com. Cinema 21.

Wednesday-Saturday, Oct. 5-8. See Movie Times and visit plgff.org for a full schedule.

Rise of the Planet of the Apes

17 In quick cuts of bright green and earthy brown and pure white flashing teeth, the opening scene makes a false promise: These motherfucking apes are going to get their revenge and it’s going to be awesome. OK, so the apes—or the Children of the Apes, anyway—do get a bit of revenge. But 105 minutes later, very little awesomeness has come to pass: just a lot of stiff, hammy lines from central beefcake James Franco and 90 million dollars’ worth of underwhelming action scenes you’ve already seen (assuming you’ve been to one of these overblown summer blockbusters before). I’ve seen episodes of Lassie that made me ponder the humananimal relationship more than Rise did, and in fact this whole shit show reminded me more of Homeward

Bound than it did of the 1968 Apes film that started it all. PG-13. CASEY JARMAN. 99 Indoor Twin, Lloyd Mall.

Senna

65 Like the Formula One racecar driver it profiles, this documentary tests the limits: Ayrton Senna pushed how fast his car could go, and Senna lives on the edge of alienating those unfamiliar with his sport. Anybody more fascinated than I with F1 car racing—anybody who has watched an entire race, say—is likely to take a good deal more pleasure from the movie than I did, though by the end of the thing I was no longer actively annoyed by the engines whining like mechanical mosquitoes. Director

Asif Kapadia’s work is on par with other ESPN Films releases (which is to say it’s very good), and there’s a lot of tense footage from inside drivers’ meetings before controversial Japanese Grand Prix races.

PG-13. AARON MESH. Living Room Theaters.

Tucker & Dale vs. Evil

65 Even the best horror comedies are essentially one-joke ponies.

What separates the Shaun of the Deads from the Stan Helsings is how they use those jokes as a springboard into the unconventional.

While the latest slapstick-and-squibs offering, Tucker & Dale vs. Evil, is no

CONT. on page 56

REVIEW DREAMWORKS PICTURES

Moneyball

90 If the dehydrated poetry of

MOVIES

HE WENT THAT-A WAY: Hugh Jackman coaches a robot.

REAL STEEL Real Steel is fundamentally a bad movie— obnoxious, incoherent and sloppy—resembling nothing so much as some ’90s summer familyfilm commodity fabricated to sell toys: Rock ’Em Sock ’Em Robots, specifically. Somehow this also makes it seem like a more innocent movie, or at least reminds me of a time when I was more innocent about movies. Most kiddie blockbusters have become cripplingly wised up and knowing. Real Steel knows nothing.

We open in the backwaters of the unsanctioned robot-boxing circuit, where Hugh Jackman’s joystick cornerman, Charlie, has been reduced to pitting his last tin palooka against a rodeo steer.

I cherished a fleeting hope that Real Steel would continue in this Hemingwayesque bullfighting vein and become a Robot Death in the Afternoon, but nah. Still, the movie is savvy enough in its run-down county-fair settings to recognize that the flyovercountry America of 2027 will look exactly like the flyover-country America of 2011, but with bigger stadiums. Real Steel is refreshingly uncomplicated in other ways, as well: Its matches are cleanly choreographed parry-and-jab bouts—every combatant has a glass jaw—and it is the first android picture I can recall that mercifully ignores ontological questions, even if the protagonist ’bot, Atom, has kindly blue eye-bulbs that recall the Iron Giant.

But since Real Steel is directed by the Other Shawn Levy (the one who isn’t an Oregonian critic), it is bound to have severe bugs.

The malfunction this time is the arrival of Charlie’s son Max, a mouthy moppet played by Dakota Goyo, who bears several regrettable similarities to Jake Lloyd in Star Wars Episode I: The Phantom Menace. The kid’s mother has died in circumstances the movie takes pains never to explain (though Real Steel is 20 times funnier if you imagine she was killed by robots), and thus begins a tedious father-son bonding plot. This aspect is far more central to the picture than any of the marketing suggests, and it is only bearable because of Jackman. The grinning Aussie is too obviously a songand-dance man to persuasively portray Charlie as an irresponsible cad—the early scenes call for a young Jack Nicholson, just as Five Easy Pieces could have been improved by more robots—but by the movie’s end, controlling Atom like a lumberjack playing a Wii, Jackman finds a groove where violence becomes a joyful two-step.

In a movie without a brain in its head, he goes to the body. PG-13.

AARON MESH.

The prizefighter and the robot.

63 SEE IT: Real Steel opens Friday at Cedar Hills, Clackamas, Eastport, Cinetopia, Cornelius, Oak Grove, Pioneer Place, Cinema 99, City Center, Evergreen, Hilltop, Lloyd Center, Lloyd Mall, Sherwood, Tigard, Wilsonville and Sandy.

Willamette Week OCTOBER 5, 2011 wweek.com

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OCT. 5 - 11

Shaun, it manages to amuse with a clever, though redundant, revision of hicksploitation/slasher fare.

The joke is that a group of dopey college archetypes encounters rednecks Tucker (Serenity’s Alan Tudyk) and Dale (Jack Black clone Tyler Labine) while camping and immediately suspects them of being backwoods cannibals. They’re actually beer-swilling pacifists renovating Dale’s cabin. But when the ’billies rescue a coed (Katrina Bowden) from drowning and take her back to the cabin, the kids launch an increasingly violent rescue mission and systematically kill themselves in gruesome accidents (like falling into wood chippers). It’s a funny idea— particularly when the heroes begin to hypothesize about the property’s mortality rate—but the movie, as these things often do, begins to take itself too seriously in the final act. Still, Tudyk and Labine are great company, and long after the premise has become stale, the easy likability of the titular characters, paired with ample gore, lends Tucker & Dale instant cult-movie cred.

AP KRYZA. Hollywood Theatre.

NEW

The Way

43 The phrase “written and directed

by Emilio Estevez” should rightfully strike fear into the ardent cinephile’s heart, as you’re sure to witness a filmmaker overreaching his abilities to an embarrassing degree.

This latest effort by the former Brat Packer is no exception. The Way refers to the Camino de Santiago, a popular backpacking trail through northwestern Spain that leads to a cathedral where the apostle James is supposedly buried. It is on this path that Estevez’s character Daniel Avery is accidentally killed, and where his estranged father (Martin Sheen, in a role written for him) lands to collect his remains.

Compelled to learn something more about his on-screen son, Sheen decides to walk the path and scatter the ashes along the way. From there, we ride the road-movie cliché train: Sheen at first rejects and then bonds with a ragtag group of fellow hikers (played to the hammy hilt by Deborah Kara Unger, James Nesbitt and Yorick van Wageningen), has a moment of darkness, warms up to the world around him, and walks away from it all a new man.

Enlivened only by cinematography that ably captures the beauty of the Spanish countryside, this Way leads to disappointment. PG-13. ROBERT HAM. Fox Tower.

What’s Your Number?

21 Near the end of What’s Your

Number?, in what’s supposed to be the standard rom-com moment of self-realization for her character, Anna Faris proudly declares herself a whore. After fretting the entire movie about the number of men she’s slept with—twice the national average, according to a study in a magazine—she finally learns to embrace who she really is, which is Marie Claire’s definition of a raging slut. Apparently, there is no such thing as a healthy sex life for a single, 30-ish female. A woman is allowed to feel comfortable with her sexuality only if she accepts one of two roles: wife or harlot. Somehow, the audience is expected to cheer this lesson. It’s the most odious aspect of a film that offers plenty of other things to complain about, from the way it wastes comedic talent—Joel McHale, Andy Samberg, Aziz Ansari, not to mention Faris—to how it attempts to disguise a rote, by-the-numbers script with empty raunch. And lest anyone think this review is just an attempt at armchair feminist criticism, let me say this: My score would’ve been much lower if Faris weren’t in her underwear so often. R. MATTHEW SINGER. Cedar Hills, Clackamas, Eastport, Cinetopia, Cornelius, Living Room Theaters, Oak Grove, Cinema 99, City Center, Evergreen, Hilltop, Lloyd Center, Sherwood, Tigard, Wilsonville, Sandy.

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Willamette Week OCTOBER 5, 2011 wweek.com

REVIEW JASON HAMMOND

MOVIES

FIDDLE-DEE-DEE: The Devil’s Box.

REEL MUSIC 26 Cab Calloway: Sketches 60 Few musicians whom I grew up worshipping stand taller and prouder in my memory than Cab Calloway. With his big band swing-blues, his unconventional dance moves and his reefer-madness smile, he’s a character so singular in American history that he seems sent from another dimension. So the prospect of a definitive documentary, one that digs at the roots of his sound, was an exciting one. Unfortunately, this is not that documentary. Instead, the aptly titled doc— which first appeared on French TV and includes some random but enjoyable animated sequences—treats it’s titular bandleader as a bit of a cartoon character himself. Huge contextual puzzle pieces (where and when Cab was born, when and how he died, whether he made any money) are ignored in favor of tangents. Like any sketchbook, some pages here seem more focused than others: Calloway’s grandson, who went into the family business and wears a zoot suit to his interview, gives an excited and detailed explanation of his grandpa’s musical habits from drum beats to horn charts; the portion on Calloway’s sister, Blanche, is fascinating; the portrait of the Harlem Renaissance pops with excitement. But by leaving out so many key details about the man’s life, it feels as if the filmmakers’ primary goal was myth-making. And maybe that’s just more appealing than the truth. Cab Calloway was never born and he will never die. He’s smoking reefers in a forgotten alley somewhere with Screamin’ Jay Hawkins and Charles Mingus. CASEY JARMAN. Screens at the Whitsell Auditorium with The Last of the Blue Devils at 1 pm Saturday, Oct. 8.

Texans fiddle while Cab burns.

The Devil’s Box 78 The Devil’s Box would be worth watching with the sound muted: As a collection of compelling faces, it is a wild success. From the old men with milky eyes and fleshy, pock-marked noses to the teenage girls with awkwardly inherited soft features who make befuddling denim-based fashion decisions, there’s just so much to see here, so many subtle variations on a white (total minority count: one Asian girl) hillbilly theme. The Devil’s Box is such a tender and well-made portrait of the low-key world of competitive fiddling—excuse me, competitive Texas fiddling—that one need not be enthused about fiddle music to soak in its charms. It’s impossible not to get sucked in as the sweet, sheltered farm folk (actual quote: “It’s real clannish, I guess you’d call it”) let viewers into their barns, trucks and living rooms while they gear up for some friendly competition. After 90 minutes of merciless devil’s box, though, anyone but the honkiest of honkies would feel like smashing a few of these red-state musicians’ precious instruments. Director Jason Hammond has made a beautiful, lyrical film, but he’s done so by avoiding issues of class, race and the outside world, and the resulting documentary can feel a little Forrest Gumpish for it. Of course, he has no shortage of slow-talking old-timers to set the mood for him. “It’s the finest family pastime,” one codger says, “and the kids are not out wandering the streets.” Wait, Texas has streets? I must have missed that. CASEY JARMAN. Screens at the Whitsell Auditorium with Live at Preservation Hall: Louisiana Fairytale at 7 pm Tuesday, Oct. 11.

SEE IT: Reel Music 26 screens at the NW Film Center’s Whitsell Auditorium and the Mission Theater on Friday-Sunday, Oct. 7-23.

See full listings at nwfilm.org.

MOVIES

DATES

FREESTYLE RELEASING

BREWVIEWS

PIT BULL LIPSTICK SMEARS: The knee-jerk response to Sarah Palin: You Betcha! is that the Barracuda from Wasilla has gotten a documentary she richly deserves, though it might be just as true that wanting to make a Sarah Palin documentary disqualifies you from doing so. Anyway, this petty work from Nick Broomfield—a repulsively ingratiating Brit guttersnipe slipping across Alaskan ice—feels a lot like hunting a wolf from a helicopter. With its cheap shots, recycled gaffes and old scandals, it is fitting in another way: It’s a movie for people who don’t read magazines. AARON MESH. Clinton Street Theater. 7 and 9 pm Friday-Thursday, Oct. 7-13. Best paired with: MacTarnahan’s Amber. Also showing: The Thing (Bagdad, 11 pm Friday, Oct. 7), Friday the 13th (Laurelhurst).

BENEFITS Fri-Sun-MonTue-Wed 10:00

Fifth Avenue Cinemas Regal Lloyd Center Stadium 10 Cinema

1510 NE Multnomah Blvd., 800-326-3264 DREAM HOUSE Fri-SatSun-Mon-Tue-Wed 12:20, 02:40, 05:00, 07:20, 09:45 WHAT’S YOUR NUMBER? Fri-Sat-Sun-Mon-Tue-Wed 12:45, 03:50, 07:00, 09:50 THE HELP Fri-Sat-SunMon-Tue-Wed 12:15, 03:30, 06:45, 09:55 CONTAGION Fri-Sat-Sun-Mon-Tue-Wed 12:55, 03:45, 07:30, 10:25 DRIVE Fri-Sat-Sun-MonTue-Wed 12:25, 02:45, 05:15, 07:50, 10:15 THE LION KING 3D Fri-SatSun-Mon-Tue-Wed 12:10, 02:25, 04:50, 07:15, 09:40 MONEYBALL Fri-SatSun-Mon-Tue-Wed 12:30, 03:40, 06:50, 10:00 50/50 Fri-Sat-Sun-Mon-Tue-Wed 12:00, 02:30, 05:10, 07:45, 10:20 REAL STEEL FriSat-Sun-Mon-Tue-Wed 12:50, 03:55, 07:05, 10:10 THE IDES OF MARCH FriSat-Sun-Mon-Tue-Wed 12:05, 02:35, 05:05, 07:35, 10:05 FOOTLOOSE FriSat-Sun-Mon-Tue-Wed LA PHIL LIVE: DUDAMEL CONDUCTS MENDELSSOHN Sun 02:00 PHANTOM OF THE OPERA AT THE ALBERT HALL - LIVE Tue 07:30 GHOSTBUSTERS JACK THE RIPPER AND BUTTERFINGER THE 13TH

Regal Lloyd Mall 8 Cinema

2320 Lloyd Center Mall, 800-326-3264 HARRY POTTER AND THE DEATHLY HALLOWS: PART 2 Fri-Sat-Sun-MonTue-Wed 12:20, 03:35, 06:15, 09:00 RISE OF THE PLANET OF THE APES Fri-Sat-Sun-Mon-TueWed 12:25, 03:30, 06:30, 09:30 THE LION KING 3D Fri-Sat-Sun-Mon-TueWed 12:00, 03:05, 06:05, 08:55 ABDUCTION FriSat-Sun-Mon-Tue-Wed 12:35, 03:20, 06:20, 09:10 DOLPHIN TALE Fri-SatSun-Mon-Tue-Wed 12:05, 06:25 DOLPHIN TALE 3D Fri-Sat-Sun-Mon-Tue-Wed 03:10, 09:25 KILLER ELITE Fri-Sat-Sun-Mon-Tue-Wed 12:15, 03:15, 06:00, 09:15 REAL STEEL Fri-Sat-Sun-

Mon-Tue-Wed 12:10, 03:00, 06:10, 09:05 KEVIN HART: LAUGH AT MY PAIN FriSat-Sun-Mon-Tue-Wed 12:30, 03:25, 06:35, 09:20

Laurelhurst Theater

2735 E Burnside St., 232-5511 FRIDAY THE 13TH Fri-Thurs 9:45 THE TREE OF LIFE Fri 3:40, 6:30 Sat-Sun 12:45, 3:40, 6:30 Mon-Thurs 6:30 HARRY POTTER AND THE DEATHLY HALLOWS PT 2 Fri 4, 9 Sat-Sun 1, 4, 9 Mon-Thurs 9 THE FUTURE Fri-Thurs 7 CARS 2 Sat-Sun 1:30 HORRIBLE BOSSES FriThurs 7:15 BRIDESMAIDS Fri-Sun 4:15, 9:30 MonThurs 9:30 CAPTAIN AMERICA Fri 6:40 Sat-Sun 1:15, 6:40 Mon-Thurs 6:40 OUR IDIOT BROTHER FriSun 4:30, 9:20 Mon-Thurs 9:20

Cinema 21

616 NW 21st Ave., 503-223-4515 PORTLAND LESBIAN & GAY FILM FESTIVAL FriSat GUILTY EXCEPT FOR INSANITY Sun-Mon-Tue 07:00, 09:00 CRIME AFTER CRIME Wed 07:00

Clinton Street Theater

2522 SE Clinton St., 503-238-8899 SARAH PALIN: YOU BETCHA! Fri-Sat-Sun-MonTue-Wed 07:00, 09:00 THE ROCKY HORROR PICTURE SHOW Sat 12:00

Mission Theater and Pub

1624 NW Glisan St., 503-249-7474 HARRY POTTER AND THE DEATHLY HALLOWS: PART 2 Fri-Sat 02:30 OUR IDIOT BROTHER Fri 08:10 FRIGHT NIGHT Fri 10:00 NO FILMS SHOWING TODAY Sun-Mon-Tue-Wed

Kennedy School Theater

5736 NE 33rd Ave., 503-249-7474 OUR IDIOT BROTHER FriSun-Mon-Tue-Wed 02:30, 07:45 CARS 2 Fri-SunMon-Tue-Wed 05:30 THE SMURFS Fri-Sat-Sun-Mon 02:30 FRIENDS WITH

510 SW Hall St., 503-7253551 4 MONTHS, 3 WEEKS AND 2 DAYS Fri-Sat-Sun 03:00

Hollywood Theatre

4122 NE Sandy Blvd., 503281-4215 1911 Fri-Sat-Sun-Mon-TueWed 07:15, 09:30 TUCKER & DALE VS EVIL Fri-SatSun-Mon-Tue-Wed 07:30, 09:45 THE GUARD Fri-SatSun-Mon-Tue-Wed 07:00, 09:00 THE MONSTER SQUAD Sat-Sun 02:00 BATTLE FOR BROOKLYN Sat 02:00 AMERICAN HUNTER Tue 07:30 BANG BANG

Regal Fox Tower Stadium 10

846 SW Park Ave., 800-326-3264 THE DEBT Fri-Sat-SunMon-Tue-Wed 11:55, 02:20, 04:50, 07:20, 09:45 CRAZY, STUPID, LOVE. Fri-Sat-Sun-Mon-Tue-Wed 12:05, 02:35, 05:05, 07:35, 10:05 MIDNIGHT IN PARIS Fri-Sat-Sun-Mon-Tue-Wed 02:40, 07:25 THE HELP Fri-Sat-Sun-Mon-Tue-Wed 12:40, 04:05, 07:05, 09:55 THE GUARD Fri-Sat-SunMon-Tue-Wed 12:20, 02:55, 05:00, 07:15, 09:30 THE HEDGEHOG Fri-Sat-SunMon-Tue-Wed 12:25, 05:10, 09:40 KILLER ELITE FriSat-Sun-Mon-Tue-Wed 04:10, 10:10 MACHINE GUN PREACHER Fri-SatSun-Mon-Tue-Wed 12:45, 07:10 THE IDES OF MARCH Fri-Sat-Sun-Mon-Tue-Wed 11:50, 12:35, 02:10, 02:50, 04:30, 05:15, 07:00, 07:40, 09:25, 09:55 RESTLESS Fri-Sat-Sun-Mon-Tue-Wed 12:10, 02:30, 04:45, 07:45, 09:50 THE WAY Fri-SatSun-Mon-Tue-Wed 12:00, 02:25, 04:55, 07:30, 10:00

NW Film Center’s Whitsell Auditorium 1219 SW Park Ave., 503-221-1156 GEORGE HARRISON: LIVING IN THE MATERIAL WORLD Fri 07:00 THE LAST OF THE BLUE DEVILS Sat 01:00 HALF OF OSCAR Sat 04:15 THE SWELL SEASON Sat 06:30 THIS IS NOISE POP Sat 08:45 THE SOUND OF MUMBAI: A MUSICAL

Sun 01:30 STRAVINSKY: ONCE AT A BORDER... Sun 03:30 FRANK ZAPPA: PHASE II - THE BIG NOTE Sun 06:30, 08:30 THE LIFE AND TIMES OF ALLEN GINSBERG Sun 07:00

Pioneer Place Stadium 6

340 SW Morrison St., 800-326-3264 CONTAGION Fri-SatSun-Mon-Tue-Wed 01:40, 04:40, 07:40, 10:15 DRIVE Fri-Sat-Sun-Mon-Tue-Wed 01:50, 04:50, 07:50 THE LION KING 3D Fri-Sat-SunMon-Tue-Wed 01:10, 04:10, 07:20, 10:00 MONEYBALL Fri-Sat-Sun-Mon-Tue-Wed 01:30, 04:30, 07:30, 10:30 50/50 Fri-Sat-Sun-MonTue-Wed 01:20, 04:20, 07:10, 09:50 REAL STEEL Fri-Sat-Sun-Mon-Tue-Wed 01:00, 04:00, 07:00, 09:55 FOOTLOOSE Fri-Sat-SunMon-Tue-Wed

Cinetopia Mill Plain 8

11700 SE 7th St., 877-608-2800 REAL STEEL Fri-SatSun-Mon-Tue-Wed 12:45, 03:50, 07:15, 10:15 THE LION KING 3D Fri-SatSun-Mon-Tue-Wed 12:00, 02:15, 04:30, 06:45, 09:00 WHAT’S YOUR NUMBER? Fri-Sat-Sun-Mon-Tue-Wed 01:45, 04:30, 07:20, 10:00 KILLER ELITE Fri-Sat-SunMon-Tue-Wed 12:20, 03:15, 09:45 DOLPHIN TALE 3D Fri-Sat-Sun-Mon-Tue-Wed 12:10, 03:00, 06:00, 08:45 THE IDES OF MARCH FriSat-Sun-Mon-Tue-Wed 12:30, 04:00, 07:00, 07:00, 10:00 50/50 Fri-Sat-SunMon-Tue-Wed 01:00, 04:30, 07:45, 10:30 MONEYBALL Fri-Sat-Sun-Mon-Tue-Wed 12:00, 03:10, 06:15, 09:30 THE TWILIGHT SAGA: BREAKING DAWN PART 1 Fri-Sat-Sun-Mon-Tue-Wed

Academy Theater

7818 SE Stark St., 503-252-0500 HARRY POTTER AND THE DEATHLY HALLOWS: PART 2 Fri-Sat-Sun-Mon-TueWed 04:20, 07:00, 09:45 CARS 2 Fri-Sat-Sun-MonTue-Wed 04:50 CAPTAIN AMERICA: THE FIRST AVENGER Fri-Sat-Sun-MonTue-Wed 07:15 BUFFY THE VAMPIRE SLAYER Fri-Sat-Sun-Mon-Tue-Wed 10:00 THE SMURFS FriSat-Sun-Mon-Tue-Wed 04:30 THE TREE OF LIFE Fri-Sat-Sun-Mon-Tue-Wed 06:45 HORRIBLE BOSSES Fri-Sat-Sun-Mon-Tue-Wed 09:35

Living Room Theaters

341 SW 10th Ave., 971-222-2010 LOVE CRIME Fri-SatSun-Mon-Tue-Wed 11:50, 03:00, 05:20, 07:40, 09:50 DREAM HOUSE Fri-SatSun-Mon-Tue-Wed 12:30, 02:50, 05:00, 07:15, 09:20 WHAT’S YOUR NUMBER? Fri-Sat-Sun-Mon-TueWed 12:00, 02:20, 04:40, 07:00, 09:15 EL BULLI: COOKING IN PROGRESS Fri-Sat-Sun-Mon-Tue-Wed 12:20, 02:40, 05:10, 07:30, 09:45 SENNA Fri-Sat-SunMon-Tue-Wed 04:15, 08:50 BOBBY FISCHER AGAINST THE WORLD Fri-Sat-SunMon-Tue-Wed 02:00, 06:35 CAVE OF FORGOTTEN DREAMS 3D Fri-Sat-SunMon-Tue-Wed 12:10, 02:30, 04:30, 06:45, 09:00

SUBJECT TO CHANGE. CALL THEATERS OR VISIT WWEEK.COM/MOVIETIMES FOR THE MOST UP-TODATE INFORMATION FRIDAY-THURSDAY, OCT. 7-13, UNLESS OTHERWISE INDICATED

Willamette Week OCTOBER 5, 2011 wweek.com

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