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MS. steinem reflects on 40 Years fighting for feminism and freedom—and against fear. PAGE 10

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CITY HALL: How Jefferson Smith punched out his campaign. COVER STORY: Gloria Steinem: the WW interview. ELECTIONS: One Question, and the city that walks the talk. MEDIA: Project Censored: What big media won’t tell you.

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As if that’s not enough scratch for Hales, he and other politicians are getting donations from Oregon Dog PAC, founded by animal activist Ron Murray to promote animal-control issues and stop the Multnomah County shelter from euthanizing animals. INFLUENCE PEDDLER “It may be a county issue,” says Murray, “but they’re Portland’s dogs.” Dog PAC gave Hales $500 and another $250 to Rep. Mary Nolan (D-Portland), who’s running for City Council against incumbent Commissioner Amanda Fritz. Murray says his PAC is ecumenical. “Can you tell me why 64 percent of treatable cats that come into Multnomah County Animal [Services] are put to death?” he says. “Sixty-four percent! That’s not a progressive city.”

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Mayoral candidate Charlie Hales was awash in money from developers during the May primary race—almost one-quarter of his cash came from development- and real estate-related donors. After he won, Hales voluntarily limited his campaign contributions to $600 per person—as if that would dampen special-interest money. But WW’s analysis of Hales’ campaign report shows 41 percent of the 221 donors who gave the max are tied to construction, real estate or other development interests.

The GOP-allied Oregon Transformation Project is having fun with political billboards, using a parody of the Truth-O-Meter “Pants On Fire” graphic made famous by PolitiFact to call bull on the Portland Public Schools’ bond request on the Nov. 6 ballot. Turns out the folks at PolitiFact, owned by the Times Publishing Co. of Tampa, Fla., don’t seem to think it’s funny. The company last week sent a cease-and-desist letter to Oregon Transformation Project officials, demanding the conservative activists take the billboards down. PolitiFact, otherwise a champion of free speech, says the ads infringe on its copyright and make it appear as if PolitiFact had rated the truthfulness of the billboard’s claims—which it hasn’t. “We didn’t think we’d ruffle feathers that much,” says Rob Kremer, the treasurer of Oregon Transformation Project, largely funded by Stimson Lumber. The Oregonian, which runs material from PolitiFact and writes its own Truth-O-Meter items, isn’t party to the demand letter. Sick of this election news? You can take the first step toward ending this madness by registering to vote. The deadline for registering is Oct. 16. The Multnomah County DISPUTED BILLBOARD Elections office says you can register at elections headquarters at 1040 SE Morrison St., or at DMV offices, post offices and libraries. You can also mail in your registration (must be postmarked by the deadline day) or register online at oregonvotes.org. Ballots will be mailed to voters on Oct. 19. And if you’re still not sure how to vote, we’re here to help: WW’s elections endorsement issue comes out next week. Read more Murmurs and daily scuttlebutt.

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NEWS

KNOCKING HIMSELF OUT DESPITE HIS BACKGROUND IN POLITICS, JEFFERSON SMITH HAS IGNORED A BASIC RULE. By NIG E L JAQ UI SS

njaquiss@wweek.com

The 37-year-old woman opened the front door of her Portland home at 8 am on Oct. 1 to see Jefferson Smith standing in front of her. She knew immediately who he was—not just from news coverage of Smith’s campaign for mayor, but from the night 19 years ago when he had punched her in the face, sending her to the hospital in need of stitches. Smith was there on a damage-control mission. Reporters were chasing rumors he had assaulted a woman in college, and Smith wanted to talk to her before the story broke. She told him to leave. Later, he stuck an apologetic note on her door. “I know it’s been a long time and that you’re busy,” Smith wrote, “but I would be more than happy to talk… and listen.” “I had been wanting to get her permission to talk about this issue unilaterally,” Smith says now of his surprise visit. “If I had known she didn’t want me to contact her, I wouldn’t have contacted her.” Of the hundreds of doors Smith has knocked on since entering the mayor’s race 13 months ago, none better symbolizes the implosion of his campaign. Smith’s visit backfired. In an interview six days later,

the woman told WW that Smith lied about what happened between them that led to a 1993 misdemeanor assault charge against Smith. She says his statements—and his decision to come to her home—motivated her to speak to WW and release a copy of a police report that no longer existed in official files. “It was a painful experience and now I have to deal with it again,” the woman told WW. “I want it to be over.” For years, Smith, a two-term state representative from East Portland, has been a rising star in Oregon politics, known for his speaking skills and admired for his ability to inspire others. In 2010, Smith warmed up the crowd when President Obama came to stump for Gov. John Kitzhaber. As a founder of the Oregon Bus Project, a voter engagement group, Smith, 39, entered the race for mayor with formidable organizing skills and a potent volunteer base. Political experts who’ve run major races in Oregon— but are not involved in the mayoral contest—say Smith has demonstrated a shortcoming that could cost him the race: an inability to come clean about past troubles. The decision to drop in on his victim unannounced was only the latest of Smith’s tactical mistakes. “It was really stupid,” says Rachel Gorlin, a Washington, D.C., political consultant who has worked for Kitzhaber, U.S. Rep. Les AuCoin (D-Ore.) and U.S. Sen. Ron Wyden (D-Ore.). “It was clearly something he was doing out of desperation.” Earlier in the campaign, voters learned from news reports—not from Smith, who’d made transparency a hallmark of his political career—that he’d had his driver’s

license suspended seven times, failed to pay dues to the Oregon State Bar, punched another player in a pick-up basketball game and been tossed out of a coed soccer league for roughness. Political consultants often insist candidates disclose potential problems early. “The best time to have this discussion is when somebody is considering running,” Gorlin says. But Smith never got out in front of embarrassing news; he’s been simply reacting to it. Josh Kardon, Wyden’s former chief of staff, says Smith’s failure to voluntarily and fully disclose information about his past was a major error. “The story is he isn’t trustworthy on sharing information with the public when it obviously needs to be addressed,” Kardon says. “The inescapable conclusion for voters is that this person hasn’t been straight with me and isn’t going to be straight with me if elected.” On Oct. 1, WW broke the news about Smith’s 1993 assault citation. Eugene police said last week its copy of the report no longer existed, so Smith’s version of events became the narrative. He told WW a woman he had never met before attacked him without provocation, and that he had to defend himself. “She was injured,” Smith said. He merely pushed the woman away, Smith said, and couldn’t recall how seriously the woman was hurt. Police cited him for assault. Smith, then 20, signed a criminal diversion agreement in 1994 that allowed him to avoid prosecution. In the document, which he later released to WW, Smith admitted his conduct was “wrongful,” and agreed to pay the woman’s medical bills and “refrain from having any contact” with her. The no-contact provision did not specify an end date. cont. on page 8 Willamette Week OCTOBER 10, 2012 wweek.com

NEWS

CITY HALL

Smith was asked last week if he had spoken to the woman since the incident. He replied he’d had “no meaningful contact” with her. (He had actually been on her doorstep only hours earlier.) Smith’s story held up until WW contacted his victim last weekend, and she agreed to release the police report. WW decided not to name her because she says she fears retribution. She says she believes Smith violated the diversion agreement by showing up unannounced at her home. (Smith says his interpretation of the report is that the “no contact” stipulation applied for only six months.) The Oct. 17, 1993, police report and the woman’s statement differ from Smith’s account in important ways. Smith says he didn’t know the woman before she attacked him. In her 1993 statement, the woman said she had rejected Smith’s sexual advances at a fraternity party earlier that evening. She says Smith told her to drink a 40-ounce beer and reconsider his offer, and then called her a “snobby bitch.” The woman says at a subsequent off-campus party she got angry at Smith, who she believed was bothering her. She says she did nothing more than touch his chest. (Smith claimed last week the woman, who is a foot shorter than he is, had him pinned against a wall.) Rather than the push Smith recalled to reporters, he told police in 1993 he “tagged her, striking her with his fist.” The police report says it took five or six stitches to close the wound. WW interviewed six other partygoers from that evening. Some characterized the woman as out of control, and said Smith

“YOU HAVE TO DISCUSS YOUR VULNERABILITIES WITH YOUR SENIOR STAFF. BASED ON WHAT I’M HEARING, I DON’T BELIEVE JEFFERSON DID THAT.” —JOSH KARDON

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did nothing wrong. Others contradicted Smith’s account—one saying the woman was seated when Smith hit her. After the police report became public, Smith told WW he has no recollection of encountering the woman earlier in the evening. “My memory is my memory, and it’s backed up by other people,” he says. “But I am happy to apologize for the worst version of events that anybody offers.” Both Gorlin and Kardon say the incident would have been damaging to Smith at any time during the campaign. But both think he erred in not disclosing it fully earlier—especially when an official document, such as a police report, existed. “You have to discuss your vulnerabilities with your senior staff,” Kardon says. “Based on what I’m hearing, I don’t believe Jefferson did that.” Smith acknowledges he did not tell his staff about the incident. “I wrestled pretty hard with saying, ‘Here’s everything, every mistake I’ve ever made,” Smith says. “The sticking point on that was partly that that’s scary, and partly that it involved other folks.” In retrospect, Smith says, he wishes he had laid everything on the table. Gorlin notes that in 2004, when Mayor Sam Adams first ran for Portland City Council, he pre-emptively revealed a history of financial problems, including a bankruptcy. “Sam got out in front and characterized his financial problems in a way that made sense to people, and gave his opponent no chance to characterize them in any other way,” Gorlin says. (Adams, however, lied during the campaign about his relationship with a legislative intern.) Kardon says voters are often willing to forgive a lot, but not when it appears the candidate is being evasive. “People understand there are youthful indiscretions, and they have the intelligence and context to reach their own conclusions,” says Kardon, who last month gave Smith a $1,000 contribution but now says he will vote for a write-in candidate. “But when you withhold information and it’s divulged at the end of the race, voters aren’t going to go out their way to put things in perspective.” Staff writer Aaron Mesh contributed to this story.

Willamette Week OCTOBER 10, 2012 wweek.com

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intERviEw

THE POWER AND THE GLORIA MS. STEINEM REFLECTS ON 40 YEARS FIGHTING FOR FEMINISM AND FREEDOM—AND AGAINST FEAR. By R AC H E L G R A H A M CO Dy

rcody@wweek.com

Like most icons, Gloria Steinem is smaller than you would expect, fine boned and angular. She still parts her hair down the center, but her trademark tinted glasses are gone. She does not work to make you comfortable, nor indulge clichéd questions. But once she gets talking, she is a fount of ideas: books you should read, people to Google, a deep sense of history, and sharp commentary on current events. It doesn’t take long before she shows you why she has become a giant. Steinem has been the public face of American feminism since its heyday in the 1970s, and many of the movement’s landmarks owe their origins to her. Steinem coined the term “reproductive freedom,” created “Take Our Daughters to Work Day” and, in 1972, cofounded Ms. magazine. At a time when American women were still classed as “good girls” or “bad,” Steinem offered herself as an example of the independent woman—and her magazine as the only one for those who wanted to be like her. Steinem wasn’t the only feminist around writing, leading marches and testifying before Congress, but she was the one America knew best. A native of Ohio, she began her career as a freelance writer (her mother was a journalist before suffering a nervous breakdown), working for New York magazine, the satirical TV show That Was the Week That Was, Esquire and Show magazine, for which she went undercover as a Playboy bunny. Editors’ reluctance to publish the stories Steinem wanted to write—those not based on cleavage and fluffy tails—led her to co-found Ms. The first issue of Ms. featured a list of prominent women who’d had abortions (Steinem included), almost a year before Roe v. Wade. It sold out within eight days. Ms.— where Steinem remains a consulting editor—went on to be the first national magazine to feature a battered woman on its cover, and to talk about sexual harassment in the workplace, equal pay, lesbianism as anything other than obscene, unfair divorce laws, sexism in child-rearing, and gender inequity in marriage. Steinem became the public face and the candid, relentless voice on these and many other issues. She is now 78, and as the status of women steadily rises, Steinem’s prominence has waned. Another generation of feminists (and young women who reject the term) has grown up with legal abortion, birth control, Title IX, and public awareness of and legal recourse against sexual harassment, date rape and domestic violence. In other words, a world very different from the one Steinem grew up in and helped transform. This new generation has criticized Steinem for focusing on gender, assuming a singular female point of view, and overlooking the varieties of women’s racial, class and sexual identities. Steinem has rolled with the changes, remaining outspoken and busy as a writer and activist. She’s currently working on a memoir of her 40-plus years of feminist organizing, Road to the Heart: America As if Everyone Mattered. She visited Portland last weekend for NARAL ProChoice Oregon’s annual gala. Steinem sat down for an extended interview with WW. In addition to talking about her life and the current state of women’s issues, Steinem revealed her early fear of public speaking, laughed about funny feminists (and one humorless one), and discussed the late Helen Gurley Brown’s focus on sex as the primary source of female power. 10

Willamette Week OCTOBER 10, 2012 wweek.com

WW: What is your definition of feminism now? Gloria Steinem: The dictionary’s. Hasn’t it changed? No, not at all. It is the belief in the social, economic, political equality of males and females. A feminist is the person, male or female, who believes in that. I would like to add acts on it. There are other words that mean the same thing: womanism, women’s liberation, girrls—with two r’s, which I love—and mujerista. Do you think the mainstream media uses the label too much? They put us in a silo. Reporters for 40 years off and on have said, “Aren’t you interested in anything other than the women’s movement?” And for 40 years I have been saying, “Name me one thing that is separate.” They’ve never been able to come up with anything that would not be transformed by looking at it as if everyone mattered. What’s the issue most important to American women that’s least understood? The deep anthropological, political reason for controlling women is to control reproduction. Reproductive freedom, gaining reproductive freedom, is the key to unraveling this structure that has falsely created feminine and masculine, subject/object kind of roles. And reproductive freedom, the right to decide for yourself when and whether to have children, is the single greatest determinant of whether you are healthy or not, whether you are poor or not, how long you live, whether you are educated, are you able to be active outside the home.

Real life. But the virtue of those issues is that they divide women. They are always trying to divide us. I mean, many fewer women are thinking about, “Can I have it all?” than are thinking about, “Will I lose it all?” I’m thinking of The Atlantic cover story from this summer, “Why Women Still Can’t Have It All.” That’s ridiculous. It is not relevant for most women. And also it puts the burden on the woman: Can she have it all? My question is, can we have a country and a culture in which it is possible for people to make a living and to have a family life? We work longer hours than any other modern democracy in the world, we have less child care than any modern democracy in the world, less flexible time, shorter vacations. If I had a dollar for every time Ms. magazine tried to declare “superwoman” dead, I would have enough to go out and have a vacation. Nobody can be superwoman, nobody can do it all. And no man can do it, either. The point is to change the structure so we can all have a life. Whom do you see now carrying this message of awareness to younger women? Everybody. Younger women are much more willing to support feminist issues than older women. The word feminism has been demonized. But if you look at the polls, young women are much more supportive than older women. But we hear it is the reverse. The same people who used to say to me, “Oh, this is against biology, nature, Freud, God, something,” now are saying, “Well, it used to be necessary, but it is not anymore.” It is a new form of obstructionism.

“ To see women in possession of noT only our own laughTer buT also The abiliTy To make oTher people laugh is a big power.” —Gloria Steinem You think that’s not well understood? Yes. The impulse to think of women in reproductive terms makes it hard to imagine a world in which the center of authority is within each woman. Even our legal structure, in general, penalizes the invasion of private property more than the invasion of bodies. Our legal world was built on a law that saw women as possessions, as objects. We’ve come up with a legal system that now penalizes men, too, because men should be protected from bodily invasion. So what are the issues that people remain unaware of? We talk about economic stimulus all the time. I have never seen in any print, other than us, that the most effective economic stimulus would be equal pay. It would put about $200 billion more a year into the economy. It would be a stimulus exactly where that money is most likely to be spent. Those women are not going to put their money into Swiss bank accounts. They are going to spend it and create jobs. I have yet to see equal pay for equal work spoken of as an economic stimulus. And, of course, Romney won’t even say he is for equal pay. It seems what the mainstream media present as debate about feminism has to do with privileged women who already have choices, rather than…

We’re seeing a lot about funny, no-BS feminism—Tina Fey and Caitlin Moran. Which is great. I used to write for That Was the Week That Was. I was their only girl writer. It turns out laughter is the only free emotion. You can compel fear. You can also compel love, because if people are kept isolated and dependent in order to survive—like the Stockholm syndrome—they will attach to their captor and even believe they love their captor. You can’t compel laughter. You laugh when you understand something—aha!—when two things come together and form a third unexpectedly. There used to be this idea, I think it is past, that feminists have no sense of humor. We once did a Ms. cover with a cartoon and this guy is saying to this woman, “Do you know feminists have no sense of humor?” And she says, “No, but hum a few bars and I’ll fake it.” We were not so enthusiastic anymore about laughing at dumb-blonde jokes, mother-in-law jokes, farmer’s daughter jokes—because they were really insulting. But to see women in possession of not only our own laughter but also the ability to make other people laugh is a big power, actually. There was a Katie Roiphe article in Slate that talked about it as mockery taking the place of anger. Katie Roiphe has no sense of humor. That is not a legitimate source. We need somebody who laughs.

cameronbrowne.com

interview

NEWS

fucked up, they were there next to me and could help me. So that helped a lot. I had the idea that writing was a superior form of communication, more than speaking. Out of experience I came to realize that something happens in a room, when you are physically present, that cannot happen on the printed page and can’t happen on a computer screen. The oxytocin, or whatever it is called, the chemical that allows us empathy, is only possible when we are together. There isn’t a hierarchy of expression. It made me realize they can fuel each other. If I am by myself writing for a long time, I overwrite and I lose faith. If you are speaking, you understand people’s brains do work on narrative. Simple things are helpful. It doesn’t have to be all that complicated. What is your biggest personal challenge now? I am trying very hard to understand I am not immortal. It is hard to realize one’s own age, and especially if you are doing what you love, because you forget what time it is. And if you don’t have children, you don’t have a marker of age, exactly. If you really think you are immortal, you don’t plan very well. I keep saying to myself, “You have to finish this book.” I don’t want to die saying, “But, but…” Speaking of mortality: Longtime Cosmopolitan editor Helen Gurley Brown died this year. Often, you were placed at one pole of women’s empowerment and she was the other. What is your take on her legacy and the two of you being set against each other? She was a great girlfriend. She was a very generous, good person. At the same time, she really saw sex as the only way a woman could get ahead. She called me up once and said, “You have to help me. Your people are demonstrating in my lobby.” I said, “What do you mean, ‘your people’?” She said, “Women. They are demonstrating against Cosmo.” It turns out the guy who wrote the regular sex column had been convicted of sexually assaulting his patients. She didn’t fire him, he was still writing the column. I said, “But, Helen, no wonder they are demonstrating against you.” And she said, “Oh, but he’s such a nice man.” She certainly stood for a woman’s right to determine her own personal and sexual life, which was a big step forward for women’s magazines, because they had a formula that said if you had sex before marriage, even in a fiction story, you had to be punished. But she didn’t see the rest of it. She was the one who helped her girlfriends find an abortion, but she didn’t campaign to change the laws against abortion. Maybe she did, but I wasn’t aware of it.

Steinem

When you were younger, what was your biggest personal challenge? Speaking in public. I was terrified. It was only the women’s movement that got me to do it, and then only because I couldn’t get articles published about the women’s movement. I was always a freelance writer and my editors were, to put it mildly, not interested. I was so frustrated by that. Because I was a journalist, people had occasionally asked me from time to time to speak. So I got myself to

do it but only with another woman. For years, I went with Dorothy Pitman Hughes and then Flo Kennedy. It was good, because it was one white woman and one black woman together. We had a much more inclusive audience. When did you overcome your fear? It’s like malaria—it still comes back. I think it helped a lot to spend a decade or so speaking with another woman. I realized I didn’t die. They were standing there, so if I really

What public figures do you see energizing a new generation? Ai-jen Poo. She is the head of the [National Domestic Workers Alliance], the organization that has been working about a decade so that household workers are included under minimum wage in New York—and almost in California, but Gov. [Jerry] Brown vetoed it. She is a genius organizer. She is amazing. She does it in a way that is a whole human way unlike Saul Alinsky. Saul Alinsky was very good at it, but he did it in a hostile way. She does it in an inclusive way. You are an icon. What makes you yell at the TV or newspaper when you see yourself discussed? First of all, it’s an accident who gets to be known and who doesn’t. If I were an engineer instead of a media worker…. It just came with the territory because I was always already working in media when the movement came along. I think the most frustrating single article, though it was meant in a positive way, so I’m not complaining, was the recent New York Times article [“Gloria Steinem, a Woman Like No Other,” March 16, 2012] saying, who is the next Gloria Steinem? As if it were not a movement. As if there was only one person. Willamette Week OCTOBER 10, 2012 wweek.com

NEWS THE PORTLAND INDEX amy martin

WALK THIS WAY With TriMet’s computer system for tracking arrival times knocked out by a car wreck this week, parking-free apartments piling up on the east side, and the price of gas hovering near $4, it’s important to know you can get where you need to go on foot. How does Portland rank among major U.S. cities for walking? The website Walkscore.com annually calculates how close a city’s homes are to frequent destinations— schools, grocery stores, parks, restaurants and banks—then aggregates those numbers to give each city a walkability rating of 1 to 100. Portland may need more sidewalks, but its urban density puts it in the nation’s top quadrant, squeezed between Minneapolis and Los Angeles (!). But we’re nowhere near New York—that town was made for walkin’. AARON MESH.

ONE QUESTION

Willamette Week OCTOBER 10, 2012 wweek.com

51. JaCkSoNville, Fl. 32.6

37. auStiN, tX

25. New orleaNS

46.7

55.6

65.9

No. “There are several problems that need to be solved, which is why these engineers have been spending a gazillion dollars in the last 10 years working on this. We want to get light rail to Clark County. We want to have a bridge that doesn’t have to open when the barges go under it. So I do believe there are some elements of this project that make sense—a better pedestrian and bicycle crossing. Do we have to do it the way the two state DOTs have designed this project? No, and I don’t think we will.... Not this CRC, not the one they’ve spent all this money designing.”

13. loS aNgeleS

No. “Not only will I not vote for permitting the current project, I will ask for a significantly different project that is not focused nearly as much on local commuting to Clark County but is focused on seismic safety and on freight mobility. That recognizes that this is one of the biggest regional planning mistakes that we have made. That has defined a huge portion of political power in the region. The legislative delegation from Portland needs to have some political backing to do what is very, very hard, which is to say to construction trades [unions and] a meaningful set of the business lobby who have named this the No. 1 priority, ‘This has been a mistake for years.’”

6. Seattle

CHARLIE HALES:

1. New York CitY

STATE REP. JEFFERSON SMITH (D-EAST PORTLAND):

66.3

The City of Portland has been a minor player in the proposed $3.5 billion Columbia River Crossing— with its wide freeway bridges and light rail to Vancouver, Wash. But the mega-project will probably need city approval for permits and final planning (due in part to snafus by Metro). Three City Council votes could freeze the project—if the mayor were willing to fight a bridge many see as ill-conceived. We asked the mayoral candidates: Would you vote to allow the CRC to go forward? TROY BRYNELSON.

12. PortlaNd

73.7

85.3

WOULD YOU VOTE TO PERMIT CONSTRUCTION OF THE CRC IN ITS CURRENT FORM?

walkiNg SCore

S o u r c e : c i t y v i ta l S 2 . 0

MEDIA

AMY MARTIN

NEWS

COVERT COVERAGE OBAMA’S POLICE STATE, TROUBLED OCEANS AND JAPAN’S RADIATION TOP PROJECT CENSORED’S LATEST REPORT OF NEWS STORIES IGNORED BY BIG MEDIA.

BY YA E L C H A N O FF

243-2122

eople who get their information exclusively from mainstream media sources may be surprised at the lack of enthusiasm on the left for President Barack Obama in this crucial election. But that’s probably because they weren’t exposed to the full online furor sparked by Obama’s continuation of the overreaching approach to national security by his predecessor, President George W. Bush. That includes Obama’s signing of the 2012

National Defense Authorization Act, which allows the indefinite detention of those accused of supporting terrorism—even U.S. citizens. We’ll never know how this year’s election would’ve been different if the corporate media adequately covered the National Defense Authorization Act’s indefinite detention clause and other recent attacks on civil liberties. What we can do is spread the word and support independent media sources that do cover these stories. CONT. on page 14

Willamette Week OCTOBER 10, 2012 wweek.com

NEWS

MEDIA

That’s where Project Censored comes in. Project Censored has been documenting inadequate media coverage of crucial stories since it began in 1976 at Sonoma State University. Each year, the group considers hundreds of news stories submitted by readers, evaluating their merits. Students search LexisNexis and other databases to see if the stories were under-reported, and if so, the stories are fact-checked by professors and experts in relevant fields. A panel of academics and journalists chooses the top 25 stories and rates their significance. The project maintains a vast online database of under-reported news stories that it has “validated” and publishes them in an annual book. Censored 2013: Dispatches from the Media Revolution will be released Oct. 30. We’ve seen revolutionary unrest around the world, and the rise of a mass movement that connects disparate issues into a simple, powerful class analysis—the 99 percent versus 1 percent paradigm popularized by Occupy Wall Street. In this context, this year’s Project Censored offers an element of hope. For example, No. 7 on the top-25 list is the story of how the United Nations designated 2012 the International Year of Cooperatives, recognizing the rapid growth of co-op businesses: organizations that are part-owned by all members and whose revenue is shared equitably among members. One billion people worldwide now work in co-ops. Here’s Project Censored’s top-10 list for 2013:

1. SIGNS OF AN EMERGING POLICE STATE President George W. Bush is remembered largely for his role in curbing civil liberties in the name of his “war on terror.” But it’s President Obama who signed the 2012 National Defense Authorization Act, including its clause allowing for indefinite detention without trial for terrorism suspects. Obama promised that “my administration will interpret them to avoid the constitutional conflict”—leaving us adrift if and when the next administration chooses to interpret them otherwise. Another law of concern is the National Defense Resources Preparedness Executive Order that Obama issued in March 2012. That order authorizes the president, “in the event of a potential threat to the security of the United States, to take actions necessary to ensure the availability of adequate resources and production capabil-

ity, including services and critical technology, for national defense requirements.” Journalist Chris Hedges, along with co-plaintiffs including Noam Chomsky and Daniel Ellsberg, won a case challenging the National Defense Authorization Act’s indefinite detention clause on Sept. 1, when a federal judge blocked its enforcement. Her ruling was overturned on Oct. 3, so the clause is back.

2. OCEANS IN PERIL Big banks aren’t the only entities our country has deemed “too big to fail.” But our oceans won’t be getting a bailout anytime soon, and their collapse could compromise life itself. In a haunting article highlighted by Project Censored, Mother Jones reporter Julia Whitty paints a tenuous seascape—overfished, acidified, warming—and describes how the destruction of the ocean’s complex ecosystems jeopardizes the entire planet, not just the 70 percent that is water. Whitty compares ocean acidification, caused by global warming, to acidification that was one of the causes of the “Great Dying,” a mass extinction 252 million years ago. Life on Earth took 30 million years to recover. In a more hopeful story, a study of 14 protected and 18 non-protected ecosystems in the Mediterranean Sea showed dangerous levels of biomass depletion. But it also showed that marine reserves were well-enforced, with five to 10 times larger fish populations than in unprotected areas. This encourages establishment and maintenance of more reserves.

3. FUKUSHIMA FALLOUT OVER THE U.S.

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FB I

4. FBI AGENTS RESPONSIBLE FOR TERRORIST PLOTS We know FBI agents go into communities such as mosques, both undercover and in the guise of building relationships, quietly gathering information about individuals. This is part of an approach to finding what the FBI now considers the most likely kind of terrorists, “lone wolves.” Its strategy: “seeking to identify those disgruntled few who might participate in a plot given the means and the opportunity. And then, in case after case, the government provides the plot, the means, and the opportunity,” writes Mother Jones journalist Trevor Aaronson. The publication, along with the Investigative Reporting Program at the University of California at Berkeley, examined the results of this strategy. They found that 508 cases classified as terrorismrelated have come before the U.S. Department of Justice since the 9/11 terrorist attacks of 2001. In 243 of these cases, an informant was involved. In 49 cases, an informant actually led the plot. And “with three exceptions, all of the high-profile domestic terror plots of the last decade were actually FBI stings.”

A plume of toxic fallout floated to the U.S. after Japan’s tragic Fukushima nuclear disaster on March 11, 2011. The

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U.S. Environmental Protection Agency found radiation levels in air, water and milk that were hundreds of times higher than normal across the United States. One month later, the EPA announced that radiation levels had declined, and it would cease testing. But after making a Freedom of Information Act request, journalist Lucas Hixson published emails revealing that on March 24, 2011, the task of collecting nuclear data had been handed off from the U.S. Nuclear Regulatory Commission to the Nuclear Energy Institute, a nuclear industry lobbying group. And in one study that got little attention, scientists Joseph Mangano and Janette Sherman found that in the period following the Fukushima meltdowns, 14,000 more deaths than average were reported in the U.S., mostly among infants. The researchers suggest—but don’t establish—a possible link between the increased deaths and radiation.

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$ 5. FEDERAL RESERVE LOANED TRILLIONS TO MAJOR BANKS The Federal Reserve, the United States’ quasiprivate central bank, was audited for the first time in its history this year. The audit report states, “From late 2007 through mid-2010, Reserve banks provided more than a trillion dollars...in emergency loans to the financial sector to address strains in credit markets and to avert failures of individual institutions believed to be a threat to the stability of the financial system.” These loans had significantly less interest and fewer conditions than the high-profile TARP bailouts, and were rife with conflicts of interest. Some examples: the CEO of JPMorgan Chase & Co. served as a board member of the Federal Reserve Bank of New York at the same time his bank received more than $390 billion in financial assistance from the Fed. William Dudley, now the New York Federal Reserve president, was granted a conflict of interest waiver to let him keep investments in AIG and General Electric while the companies got bailout funds. The audit was restricted to Federal Reserve lending during the financial crisis. On July 25, 2012, a bill to audit the Fed again, with fewer limitations, authored by Rep. Ron Paul (R-Texas), passed the House of Representatives. HR 459 is expected to die in the Senate, but the movement to hold the Fed accountable seems to be growing.

6. SMALL NETWORK OF CORPORATIONS RUN THE GLOBAL ECONOMY

Reporting on a study by researchers from the Swiss Federal Institute in Zurich didn’t make the rounds nearly enough, according to Censored 2013. They found that, of 43,060 transnational companies, 147 control 40 percent of total global wealth. The researchers also built a model visually demonstrating how the connections between companies—what it calls the “super entity”—works. Some have criticized the study, saying control of assets doesn’t equate to ownership. True, but as we clearly saw in the 2008 financial collapse, corporations are capable of mismanaging assets in their control to the detriment of their actual owners. And a largely unregulated super entity like this is vulnerable to global collapse.

7. THE INTERNATIONAL YEAR OF COOPERATIVES Can something really be censored when it’s straight from the United Nations? According to Project Censored evaluators, the corporate media under-reported the U.N. declaring 2012 to be the International Year of Cooperatives, based on the co-op business model’s stunning growth. The U.N. found that, in 2012, 1 billion people worldwide are co-op member-owners—one in five adults over the age of 15. The largest is Spain’s Mondragon Corporation, with more than 80,000 member-owners. The U.N. predicts that by 2025, worker-owned co-ops will be the world’s fastest-growing business model, providing equitable distribution of wealth, genuine connection to the workplace, and, just maybe, a brighter future for our planet.

8. NATO WAR CRIMES IN LIBYA

In January 2012, the BBC “revealed” how British Special Forces agents “blended in” with rebels in Libya to help topple dictator Muammar Gaddafi, a story that alternative media sources had reported a year earlier. NATO admits to bombing a pipe factory in the Libyan city of Brega that was key to a system bringing tap water to 70 percent of Libyans, saying that Gaddafi was storing weapons in the factory. In Censored 2013, writer James F. Tracy makes the point that historical relations between the U.S. and Libya were left out of mainstream news coverage of the NATO campaign: “background knowledge and historical context confirming Al-Qaeda and Western involvement in the destabilization of the Gaddafi regime are also essential for making sense of corporate news narratives depicting the Libyan operation as a popular ‘uprising.’” CONT. on page 16

Willamette Week OCTOBER 10, 2012 wweek.com

NEWS

MEDIA

9. PRISON SLAVERY IN THE U.S. On its website, the UNICOR manufacturing corporation proudly proclaims its products are “made in America.” That’s true, but they’re made in places in the U.S. where labor laws don’t apply, with workers often paid just 23 cents an hour to be exposed to toxic materials with no legal recourse. These places are U.S. prisons. Slavery conditions in prisons aren’t exactly news. It’s literally written into the Constitution; the 13th Amendment, which abolished slavery, outlaws “slavery nor involuntary servitude, except as a punishment for crime whereof the party shall have been duly convicted.” Prison industries are now closely tied to war and Department of Defense contracts. Inmates make complex parts for missile systems, battleship anti-aircraft guns and land-mine sweepers, as well as night-vision goggles, body armor and camouflage uniforms. This is happening in the U.S., where grossly disproportionate numbers of African-Americans and Latinos are imprisoned. As psychologist Elliot D. Cohen puts it in this year’s book: “This system of slavery, like that which existed in this country before the Civil War, is also racist, as more than 60 percent of U.S. prisoners are people of color.”

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Aloysius Gigl and Gretchen Rumbaugh in Sweeney Todd. Photo by Patrick Weishampel.

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NOW– OCTOBER 21

Tasca & Paul Gulick Helen & Jerry Stern

Willamette Week OCTOBER 10, 2012 wweek.com

Lawyers and other concerned citizens worry HR 347—also called the “anti-Occupy” bill—could have disastrous effects for the First Amendment right to protest. Officially called the Federal Restricted Buildings and Grounds Improvement Act, it would make it a felony to “knowingly” enter a zone restricted under the law, or engage in “disorderly or disruptive” conduct in or near the zones. The restricted zones include anywhere the Secret Service may be—the White House, areas hosting events deemed “National Special Security Events” or anywhere visited by the president, vice president and their immediate families; former presidents, vice presidents and certain family members; certain foreign dignitaries; major presidential and vice presidential candidates (within 120 days of an election); and other individuals as designated by a presidential executive order. These people could be anywhere, and the zones have notoriously included the Democratic and Republican national conventions, the Super Bowl, and the Academy Awards. Yael Chanoff is a staff writer with the San Francisco Bay Guardian.

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The NCNM Clinic is located at the west end of the Ross Island Bridge. For directions, visit www.ncnm.edu and click on “Quick Links.” 3025 SW Corbett Avenue, Portland, OR 97201 • 503.552.1551 Willamette Week OCTOBER 10, 2012 wweek.com

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October 24 The Future of Robotic Warfare General Merrill McPeak, retired U.S. Air Force chief of staff, and Tung Yin, Lewis & Clark Law School Moderated by Richard Read of The Oregonian

Mission Theater 1624 NW Glisan St., Portland Doors at 5:00 p.m. Event 6:30–8:00 p.m. Minors allowed if accompanied by an adult

Willamette Week OCTOBER 10, 2012 wweek.com

2012

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FOOD: Xico is best at its cheesiest. CULTURE: Wordstock authors in their own words. MUSIC: Rodriguez shakes the dust off. MOVIES: Crazy fun with Seven Psychopaths.

23 24 31 45

SCOOP DE-FRIEND THIS GOSSIP IF YOU DON’T LIKE ITS POLITICS. beeridation: Eyebrows raised as two well-known Oregon breweries appeared to be taking opposing sides of Portland’s heated fluoridation debate. Alex Ganum, owner of Portland’s Upright Brewing Co., has been a vocal supporter of adding fluoride to our municipal water supply, while Eugene’s Ninkasi Brewing gave an in-kind donation of $148 to a group opposing the additive. Contacted, Ganum stood his ground, stating that adding fluoride wouldn’t harm residents in any way. “I know for a fact that it would not negatively impact the quality of beer,” he said. “We have some of the best water in the country, but it’s not because it’s not fluoridated.” Ninkasi’s donations manager, Nicole Nelson, said the brewery has “no stance on the issue” but made the donation because the company likes to encourage local activism. future drinking: The former funeral parlor that previously housed beloved Sellwood music venue the Woods will soon be Relish Gastropub. >> Junior’s Cafe has been sold to Amy Christin Squier, a longtime employee of Dots Cafe. Squier did not return calls, but a Portlander of the same name figured prominently in the 1998 documentary Kurt & Courtney, which tracked conspiracy theories about the Nirvana frontman’s death through Portland’s seedy underbelly. >> Japanese chain Shigezo is opening a second Portland outlet on the criminally under-serviced Southeast Division Street. >> Linnton’s nautical-themed Lighthouse Inn at 10808 NW St. Helens Road has been sold—Matthew D. Sayler has applied to take over the liquor license. >> Another winery looks to be joining the ClintonDivision Southeast Wine Collective: GMB Inc., which is registered to Gerald M. Bieze of Lake Oswego, has applied for a winery license. Who is the Collective’s eager new oenophile? A probable Republican. According to public records, Bieze donated $500 to Rick Santorum’s failed presidential bid. Pass us the Mad Dog. from justin to maggots: Last week, Bieber Fever swept through Portland like the plague, as the Canadian wunderkind successfully got through a sold-out gig at the Rose Garden without vomiting, but the ravages of this as-yet-incurable disease continue to infect one local blog. Actually, “12 Degrees of Justin Bieber” launched three months ago with the intent of seeing if it’s possible for a Pandora station to get from Slipknot to the Biebz in 160 hours through only the “like” and “dislike” functions. Why, exactly? To test the flexibility of the popular Internet radio station, says the owner of the Tumblr site, a guy named Alex. “How much does each like/dislike influence your station?” he poses in a section of the blog labeled “What the Hell Is This?” “To what extent can you manipulate it?” Only in Portland would folks have the time to find out. You can monitor his progress at 12degreesofjustinbieber.tumblr.com. 20

Willamette Week OCTOBER 10, 2012 wweek.com

HEADOUT

WILLAMETTE WEEK

WHAT TO DO THIS WEEK IN ARTS & CULTURE

THURSDAY OCT. 11

WORDSTOCK [BOOKS] Like Comic-Con for the lit crowd, the annual literary celebration Wordstock has returned for four days packed with author appearances, panel discussions, writing workshops and probably a Fifty Shades of Grey drinking game at the after-party. Catch your favorite authors, learn to self-edit like a pro and ﬁnally break out that Jonathan Franzen costume. Oregon Convention Center, 777 NE Martin Luther King Jr. Blvd., 235-7575. Various times, see page 24. $7.

COURTESY OF ERIC HILLERNS

COURTESY OF SECOND STORY

BLOODY BLOODY ANDREW JACKSON [THEATER] In this election year, Portland Playhouse looks back on American political history—waaay back. The company stages its ﬁrst musical, an emo-rock tale about the man behind the Trail of Tears. Portland Playhouse, 602 NE Prescott St., 205-0715. 7:30 pm ThursdaysSaturdays, 2 pm Sundays. $15-$38.

DESIGN WITHOUT SPEECH

VICE-PRESIDENTIAL DEBATE [POLITICS] Republican Paul Ryan does dramatic readings from Atlas Shrugged and the Bible. 5 pm. Broadcasting live at Laurelhurst Theater, 2735 E Burnside St., and Back Stage Bar, 3702 SE Hawthorne Blvd. Both free.

A VISUAL GUIDE TO DESIGN WEEK PORTLAND. This week marks the first Design Week Portland, a multi-venue, multidisciplinary celebration of design in its myriad forms, with talks, films, exhibitions and workshops—many of them free, almost all cheap—around the city. Instead of writing about it (dancing about architecture, and all that), we thought we’d show you some of the actual designs created by the people who will be speaking and exhibiting.

FRIDAY OCT. 12 DEFTONES [MUSIC] Infatuated with the gloomy melodicism of ’80s Britpop as much as the pulverizing crunch of metal, Deftones were—despite coming to prominence in the age of Limp Bizkit—the last of the big, bulldozing acts of the alternative era. As natural selection kills oﬀ lessevolved peers, the band maintains a fervent cult through its aggressively cathartic live shows and a sound that continues to mature. Roseland Theater, 8 NW 6th Ave., 221-0288. 8 pm. $32.50-$44.50. All ages.

GO: Design Week Portland runs through Oct. 13 at various venues around Portland. See designweekportland.com for more info. 1 2 3

Bank of America market data mirrors by Second Story Planned Parenthood poster by JDK Design Skyline Residence by Skylab Architecture

4 5 6

Virgin of Guadalupe by Alma Chocolate Hopworks Belgian Ale bottle by Jolby Las Lunas Llenas Azules by Remedios Rapoport

PHOTO: IAN WHITMORE

TUESDAY OCT. 16 6

PHOTO: BOONE SPEED

SEVEN PSYCHOPATHS [MOVIES] From the director of 2008’s hilariously poignant In Bruges comes this heavy-meta crime comedy, which is pretty much just hilarious. When you’ve got a sympathetic Colin Farrell playing a blockedup screenwriter and Christopher Walken at his most Christopher Walken-y, who needs emotional complexity? Multiple theaters.

BOSTICH+FUSSIBLE [MUSIC] Mexico’s answer to Daft Punk, these members of Tijuana’s Nortec Collective fuse electronic dance music with the traditional sounds of banda and norteño, envisioning a future—much like their cyborg French cousins—where robots and humans can party together in harmony. The pair makes a rare appearance in the Paciﬁc Northwest as part of the Portland Latin American Film Festival. Hollywood Theatre, 4122 NE Sandy Blvd., 281-4215. 8:30 pm. $25.

Willamette Week OCTOBER 10, 2012 wweek.com

Never a cover!

FOOD & DRINK = WW Pick. Highly recommended.

EAT MOBILE N ATA L I E B E H R I N G . C O M

Since 1974

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

Wednesday, October 10, 9pm.

Pink-HOUS , Wild Arms Ninjas with Syringes $5.00 at the door.

Friday, October 12, 9pm.

Pinkzilla, TBA

Saturday, October 13, 9pm. Johnny Cat Records Presents...

Bi-Marks, Chemicals Defect Defect, Piss Test

BUFFALO GAP Wednesday October 10th

$5.00 at the door. Johnny Cat Records is hosting this benefit show to bring the 1977 original Belgian punk band The Kids to the West Coast in 2013. Sunday, October 14, 9pm.

Bone Sickness/Night Nurse/Disavow and TBA $5.00 at the door.

Tuesday, October 16 9pm (doors open at 8pm).

Isotopes Punkrock Baseball Club Jabronis, Destroy Nate Allen, TBA $5.00 at the door.

Within Spitting Distance of The Pearl

1033 NW 16th Ave. 971.229.1455 Mon - Fri 2pm - 2:30am Sat - Sun Noon - 2:30am

Andy Stokes Thursday October 11th

Ken Hanson & The Love Loungers Friday October 12th

The Sale & Acoustic Minds Saturday October 13th

Jordan Harris, Lost and Found & Syrius Jones Sunday, October 14th

To Be Announced!

Happy Hour Mon - Fri 2-7pm • Sat - Sun 3-7pm

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Pop-A-Shot • Pinball Skee-ball • Air Hockey • Free Wi-Fi

WEDNESDAY, OCT. 10 Get Out the Vote Soul-cial

Random Order pie shop wants you to vote. And eat pie. It will be serving up pies and drinks, while a DJ spins tunes, and signing up people to vote. Random Order Coﬀeehouse, 1800 NE Alberta St., 971-340-6995. 6 pm-midnight. Prices vary.

THURSDAY, OCT. 11 Tim Parsons Day at Toast

Although food publicists are the sworn enemies of food writers, local food PR consultant and photographer Tim Parsons, of Silent Partner PDX, fell and fractured his skull last month, and that is not something we’d wish on anyone—especially someone who is self-employed and has no income while he’s recovering for the foreseeable future. Woodstock neighborhood eatery Toast will be donating 20 percent of every bill on Oct. 11 to Parsons’ recovery fund. So go and eat some eggs. Toast, 5222 SE 52nd Ave., 7741020, toastpdx.com.

Flavor Tripping Party

If you’ve never tried miracle fruit, you’re missing out. It screws with your palate, making sour and bitter foods taste super-sweet. For reals, it’s awesome. Bamboo Grove is holding a “ﬂavor-tripping” party. For $9, you get miracle fruit and other foods to sample. Bamboo Grove Salon, 134 SE Taylor St., 236-0386. 7 pm-2 am. $9.

Krogstad Aquavit Dinner

presents the documentary

TIJUANA’S NORTEC SOUNDS

(director in attendance)

a special DJ set by

Bostich & Fussible, of Nortec Collective

Tuesday, October 16th, 8:30pm

@ The Hollywood Theatre

The Bent Brick and House Spirits Distillery are joining forces for a four-course dinner, pairing cocktails made with House’s Krogstad Aquavit with food from chef William Preisch. Dishes include mussels with chilled cucumbers and unripe-strawberry and frozen-dill cream, as well as baked oysters with horseradish cream, parsley oil and sauerkraut bread crumbs. There are only 20 seats; reservations at 688-1655. The Bent Brick, 1639 NW Marshall St., 688-1655. 6:30 pm. $75. 21+.

FRIDAY, OCT. 12 Zupan’s Markets’ Lobster Dinner

A $60 lobster dinner in a supermarket. Ah, Lake Oswego. The meal will feature three courses, including Maine lobster tails with clams, prawns and kielbasa, plus wine pairings. Cleanup in aisle three! Reservations at zupans.com/bigdinners. Zupan’s Market-Lake Grove, 16380 Boones Ferry Road. 7 pm. $60, includes gratuity.

SATURDAY, OCT. 13 Brews for New Avenues

PDXLAFF runs October 12–18 Tickets & info at www.pdxlaff.org or 503.245.8020 22

Willamette Week OCTOBER 10, 2012 wweek.com

Local nonproﬁt New Avenues for Youth, which runs programs for homeless and at-risk young people in Portland, is holding a rare-beer auction. Guests can make bids on rare local beers, like a 1997 Rogue Old Crustacean barley wine, a vertical set of Deschutes’ 20062011 Abyss and Bridgeport’s Old Knucklehead from 1989-1993. There also will be chocolate-stout-beer and root-beer ﬂoats, food carts and live music. Tickets at brews.newavenues.org. Green Dragon, 928 SE 9th Ave., 517-0660. 5-10 pm. $10.

THE FRIES HAVE IT: Sideshow’s pommes frites.

SIDESHOW The food at Sideshow has a very limited lifespan. The new downtown food cart specializes in Belgian-style pommes frites, poutine and beignets—all best devoured immediately after ordering before they rapidly turn from hot and crispy to soggy and greasy. As the name suggests, the cart was originally intended to provide side dishes to other meals in the Southwest 9th Avenue and Alder Street pod, though owner and cook Jason Myers added a small sandwich menu after realizing he’d Order this: Beignets ($3) profit from offering something more or small poutine ($5). substantial. Still, the cart’s biggest Best deal: Small pommes draw is its deep-fried fare, and Myers frites ($4). says the poutine is still his top seller. I’ll pass: The curry ketchup was like something my Sideshow’s Yukon gold fries ($4 for health-conscious mom would a small cone, $6 large) are cooked have made me eat. twice to a deep golden brown while retaining a soft, buttery interior. They come with a choice of five sauces (Myers recommends spicy Sriracha mayo; I can’t disagree) or thick vegetarian gravy and squeaky cheese curds. Unless you’re sharing, opt for the smaller $5 serving (forget “side dish”; the mammoth $7 box can easily provide lunch for two), or you’ll never get through the whole thing before it devolves into a sloppy brown mess. Likewise, the beignets ($3 for five), which are wonderfully soft little pillows of dough, lightly sweetened with powdered sugar and as good as any I’ve had in New Orleans, should be shared and consumed quickly, before the sugar turns to paste and the insides go cold. Fortunately, this is the kind of food you’ll be happy to shovel down your gullet without pausing for breath. RUTH BROWN. EAT: Sideshow, Southwest 9th Avenue and Washington Street, 208-6681, sideshoweatery.com. 11 am-6 pm Monday-Saturday, 11 am-4 pm Sunday. $.

DRANK

DARK O’ THE MOON PUMPKIN STOUT (ELYSIAN BREWING COMPANY) Seattle’s Elysian Brewing is the pumpkin king of the Northwest, brewing 13 different pumpkin beers and hosting a massive pumpkin brew festival that draws entrants from as far away as Norway. Elysian’s nutmeggy Night Owl Pumpkin Ale is a grocery store staple, though I’ve always been disappointed in the weak glow of its jack o’ lantern. Dark o’ the Moon, the brewery’s bottled pumpkin stout, is carved with an even duller knife. Malty porters are my preferred base for a seriously squashy brew, so this beer’s hearty stout base seemed promising. But Elysian’s stout is far too thick and meaty for whatever little decorative baby gourds found their way into the mash. Deeply roasty with chocolate notes and a little bitterness, it’s a great beer for a chilly night. But three tasters agreed the pumpkin flesh and seeds don’t come through at all. A decent stout, but a rotten pumpkin beer. Not recommended. MARTIN CIZMAR.

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MUY MASA: Xico is proud of its housemade corn tortillas.

MELT WITH YOU Oaxaca is famous for inventing one of the world’s great cheeses. If you know how to pronounce the name of the southern Mexican state (wah-hah-ka) but not Xochitl or Tlaxcala, you probably owe it to the milky white cheese, which has the pliability and saltiness of string cheese with a little tang and a hint of farm. Southeast Division Street’s new modern Mexican joint, Xico—the waiters say “chee-ko”; Mexicans pronounce the two cities by that name “hee-ko”—was informed partly by a pilgrimage to Oaxaca. So maybe it makes sense that the best dish I’ve had at the restaurant run by Nostrana alumnae Kelly Myers and Elizabeth Davis is a vegetarian torta ($7) from the sliding window that services the shaded rear patio at lunchtime. A fat stack of marinated red onions, black beans, avocado and cheese inside a toasted roll, the sandwich exploits the meltability of queso Oaxaca, which can seemingly be willed into a flow of white magma with nothing more than warm thoughts. At Xico, it’s tossed Order this: Salad, queso fundido, enchiladas. directly onto the flat-top to give each Best deal: Vegetarian torta gooey slice a saganaki-style char. The ($7). simple torta bests not only its porkI’ll pass: Tortillas and salsa, filled sibling and the “Sonoran” hot sopapillas, bavette steak. dog—a grilled kosher wiener topped with strips of bacon, beans and salsa that is tasty, if not authentic (see Papa-Pau review, WW, Sept. 5, 2012)—but most of the dinner menu. Positioning itself between the refined Nuestra Cocina and street-savvy Mi Mero Mole, Xico is the kind of place where tortillas arrive wrapped like party poppers and an order of chips and salsa requires paying for tomatillo ($3) and going off-menu to get a little bowl of chips ($2). Instead, dip into queso fundido ($10), a shallow cassolette of broiled Muenster topped with oily red crumbles of chorizo, big slivers of radish, cabbage and salsa. Or go for Xico’s version of the Mexican breakfast staple chilaquiles, which they call totopos con chile—sauce-drenched tortilla triangles, fried and then topped with generous portions of sour cream and salty Cotija. To the lighter side, there’s a serviceable “sweet hot fall salad.” Ours was made with romaine chopped from the pale stalks, along with two kinds of roasted squash, toasted pumpkin seeds and more cheese. Rainbow chard is made in the style of wild, leafy Mexican greens known as quelites, with peppers, onion, egg and a bath of cream. It was excellent, though off the menu on my second visit. Entrees include a mix of Mexican standards (cheese enchiladas, pork quesadillas) and less familiar fare, like a roasted goat leg. Everything we tried was solid, if slightly flawed. The flank steak ($22) was cut into large, rare slices that looked beautiful but were far too chewy—a better cut or more heat would help. Roasted chicken and mole sauce ($20) did not come together as they should, with the rich, chocolatey sauce and moist meat remaining independently pleasant but refusing to coalesce. A long list of rich, pricey desserts tempts—we tried a coconut flan melded to peanut butter mousse and rum-soaked brioche atop a light custard—but you’re better off saving the $7 for one of those magnificent grilled-cheese tortas. MARTIN CIZMAR.

811 E. Burnside

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WW presents

I M A D E T HIS WW’s free marketplace for locally produced art. this Week: NathaN DiNihaNiaN’s Pillbox. p. 55.

EAT: Xico, 3715 SE Division St., 548-6343, xicopdx.com. Lunch window 11:30 am-2 pm Wednesday-Sunday; dinner 5-10pm Sunday-Thursday, Friday-Saturday, 5-11 pm. $$. Willamette Week OCTOBER 10, 2012 wweek.com

CULTURE

Books

courtesy of daniel H wilson

WEEKEND READING WORDSTOCK AUTHORS ON SEX, DYSTOPIA AND FIFTY SHADES OF GREY. Portland’s annual literary festival, Wordstock, is back and it’s…roughly the same size as ever. For two days, the hallowed halls of the Oregon Convention Center will play host to some 200 visiting and local writers and exhibitors that run the gamut from The New York Times to something called “12 Degrees of Justin Bieber.” And, once again, you can see it all for the bargain-basement price of $10. This year’s themes are dystopia, sex and journalism—a rather disparate group, if you ask us (especially the latter two). Speaking of journalism, we’re covering this year’s festival the same as we have for the past three years: by subjecting guest authors to a Q&A.

DANIEL H. WILSON

Portland-based writer Daniel H. Wilson has a Ph.D. in robotics, and has made a career out of penning robot-based books, including the nonfiction How to Survive a Robot Uprising, Where’s My Jetpack? and How to Build a Robot Army. His 2011 novel, Robopocalypse, was a New York Times bestseller and is being made into a film directed by Steven Spielberg. WW: If you weren’t a writer, what would you be doing today? Daniel H. Wilson: I went to school to be a roboticist, interviewed for jobs to be a roboticist, but then I forgot to be a roboticist. What’s the nicest thing anyone has ever said about your writing? One reviewer on Amazon said that my book How to Survive a Robot Uprising literally saved his life. Literally. One of this year’s Wordstock themes is sex. What is the sexiest word in the English language? “Tittylate.” I understand that this is not a real word. I’m a rule-breaker. Another of this year’s themes is dystopia. If you had to pick one future to live in: Brave New World, The Road, Neuromancer or The Hunger Games? I would live in Huxley’s Brave New World, because I am a fan of sex and drugs. I hear even the Gammas get mad laid. 24

Willamette Week OCTOBER 10, 2012 wweek.com

The top three books on the NYT’s bestseller list (as I’m writing this) are Fifty Shades of Grey, Fifty Shades Darker and Fifty Shades Freed. How do you feel about that? Ambivalent, unless there are robots in those books. There aren’t, right? That’s my territory.

daniel H. wilson m i c H a e l l i o n s ta r

rbrown@wweek.com

k e l ly d av i d s o n

By r u t h Br ow n

ERIN MORGENSTERN

In the past year, Erin Morgenstern has been propelled from relatively unknown visual artist to literary it girl with her 2011 debut novel, The Night Circus, which hit No. 2 on the New York Times bestseller list. Morgenstern has since sold the film rights to Summit Entertainment, which also brought you a little series called Twilight. WW: What was the last thing you read? Erin Morgenstern: State of Wonder by Ann Patchett. Was it any good? Absurdly so. Though it made me sad, in that heavy-heart sort of way, I adore her writing style; it feels like music. Describe your workspace. My current office is a tiny, windowless room stuffed with art and shiny objects and too many books to fit on the single bookshelf. My desk currently holds my computer, my printer, a small statue of Thoth, a larger statue of a bunny wearing a raven mask, and a pile of lopsided origami stars. What’s the meanest thing anyone has ever said about your writing? I have blocked out the specifics, but I’m aware the mean things are out there. Usually on the Internet. Mean people love the Internet. What is the sexiest word in the English language? “Tantalize.” Brave New World, The Road, Neuromancer or The Hunger Games? Wait, dystopia and sex? I hope there’s no theme overlap, because that could get complicated. Also, I only want to live in The Hunger Games future if I can live in

erin morgenstern

the Capitol and be insipid and have pink hair. I’ve always wanted pink hair.

PETER HELLER

Denver-based journalist and author Peter Heller has made a career out of nonfiction, contributing to NPR, Outside, Men’s Journal and National Geographic Adventure, as well as writing three books—Hell or High Water, The Whale Warriors, and surfing memoir Kook. But this year, Heller released his first work of fiction, a post-apocalyptic novel called The Dog Stars. WW: What was the last thing you read? Peter Heller: How I Became a Nun by César Aira. Was it any good? Oh, yes. Good and weird. He keeps changing the sex of the first-person narrator, which keeps you on your toes. Describe your workspace. A lively coffee shop in Northwest Denver.

Peter Heller

I have a favorite table—it’s the best real estate in the place, facing the door but tucked back against a battered piano. When someone leaves it, all the writers dive for it. I met my wife here, too. I was too shy to talk to her so I wrote her a poem on a napkin. If you weren’t a writer, what would you be doing today? Lobster fishing offshore. It was my favorite job as a young man. What’s the nicest thing anyone has ever said about your writing? I just got an email from a 26-year-old kid about The Dog Stars. Indulge me while I quote it. It’s so touching: “I will write a book like this one day. Not like this, of course. But a book so beautiful that a 26-year-old boy will rush home from reading at Starbucks to email people he cares about that he has found a book that enriches and emboldens him.” Damn. A short paragraph from whatever you’re currently working on: This is my new home. It’s kind of over-

L E Ta Wa r N E r

J a K E h a M i LT O N

books virtue of the magnifying power of nostalgia and novelty. Brave New World, The Road, Neuromancer or The Hunger Games? Haven’t read The Hunger Games, and suspect I might choose it if survival by wits and hunting in a rural setting are involved, but otherwise Brave New World, because it seems escapable. Keep in mind I live 40 miles from the nearest store and generally see as many goats as people on a given day.

DAVID LEVITHAN

david levithan

TOMaS BaLOgh

maria semple

New Yorker David Levithan has written a large number of books for young adults, including his 2003 debut, Boy Meets Boy, about gay teenagers in a queer-friendly small town, and Nick & Norah’s Infinite Playlist, which was made into a film in 2008. His latest book is Every Day. WW: What was the last thing you read? David Levithan: A.S. King’s Ask the Passengers, which is out in a couple of weeks. Was it any good? It’s extraordinary —one of the best YA novels I’ve read about finding identity and fighting to define yourself instead of being defined by others. What’s the worst thing you’ve ever written? I’m sure some of the poems I wrote in high school. I liked shattered-glass imagery. A lot. What was your favorite book as a kid? Judith Viorst’s Alexander and the Terrible, Horrible, No Good, Very Bad Day.

dOuG fine

whelming how beautiful. And little Peony, funny name for a village out here. Nestled down in all this high, rough country like a train set. The North Fork of the Gunnison runs through it, a winding of giant leafy cottonwoods and orchards, farms, vineyards. A good place I guess to make a field of peace. To gather and breathe. Thing is I don’t really feel like just breathing.

DOUG FINE

Doug Fine is a goatherd in southern New Mexico. He started his career as an investigative journalist, and published his first book, Not Really an Alaskan Mountain Man, in 2004, in which he lived in a oneroom cabin in rural Alaska for an entire winter. His latest book, Too High to Fail: Cannabis and the New Green Economic Revolution, tackles America’s war on drugs. WW: What was the last thing you read? Doug Fine: I just reread The River Why (an Oregon book!) by David James Duncan.

Was it any good? One of my favorites. Lyrical and about true love in a beautiful Cascades setting, set in the time just before cellphones. Describe your workspace. The key feature of my workspace is the (Oregon-made, Oregon Country Fair-purchased!) violet blown-glass hummingbird feeder hanging outside my window. Ultimate horizon change when I hear those buzzes, which are nearly continuous this time of year. Sometimes the hummingbird will meet my eye and appear to say something like, “Thanks for the travel juice—off to Costa Rica.” I know the feeling. What is the sexiest word in the English language? “Yes.” But it matters when it is uttered. I’m referring to the moment when the shyness is overcome, the fear is transformed into shocked exhilaration that both are really on board, and the word is uttered, almost by definition, breathlessly. We don’t get too many of those “very first times” in life, and so they remain sexy by

What’s the meanest thing anyone has ever said about your writing? Well, some conservative websites had some not-nice things to say about Boy Meets Boy. But they also admitted they hadn’t read it, so it was hard to take the criticism seriously. What is the sexiest word in the English language? Really? That counts as a theme? I happen to find the word “caramel” sexy, but pretty much entirely because of the Suzanne Vega song of the same name.

KURT ANDERSEN

Known to many as the host of public radio show Studio 360, Kurt Andersen is also the co-creator of Spy magazine, the former editor of New York magazine and a former columnist for the New Yorker and Time. His 1999 bestselling novel, Turn of the Century, was a social satire set in a futuristic year 2000, while 2007’s Heyday was set in 1848. Andersen’s latest novel is True Believers. WW: What was the last thing you read? Kurt Andersen: The New York Times this morning, but I guess that doesn’t count. The last book I finished was a new collection of Kurt Vonnegut’s letters, edited by Dan Wakefield. Describe your workspace.

CULTURE

The desktop is a 25-year-old blond birchwood veneer, about 3 feet by 5 feet, with a slightly curved front edge and a single drawer. It’s the only piece of furniture I’ve ever had made. The office—on the third floor of my house in Brooklyn, overlooking the street—is painted dark green and very cluttered. What was your favorite book as a kid? Excluding children’s books, it’d be Vonnegut’s Cat’s Cradle, which I read when I was 13. What’s the nicest thing anyone has ever said about your writing? Lots of people have said extremely nice things. But Pico Iyer telling me my novel Turn of the Century reminded him of Don DeLillo was probably the purest jolt of pleasure—because it was my first novel, because Pico is a friend and a great writer himself, and because I’d been a DeLillo fan for 20 years. What is the sexiest word in the English language? It all depends on the context, doesn’t it? The word “yes” in Molly Bloom’s soliloquy at the end of Ulysses is for me about as sexy as language gets.

MARIA SEMPLE

Maria Semple is a Seattle-based novelist and former screenwriter who has written for Ellen, Mad About You and Arrested Development, for which she was twice nominated for a Writers Guild of America award. Her latest book is Where’d You Go, Bernadette. WW: Describe your workspace. Maria Semple: I work in a sterile studio apartment that looks like an IKEA showroom. I like to keep it free from any indicators of my real life. It makes it easier to slip into the writing bubble. What’s the worst thing you’ve ever written? This Q&A is getting up there. I mean, how can you even slip into a writing bubble? What was your favorite book as a kid? Harriet the Spy by Louise Fitzhugh. If you weren’t a writer, what would you be doing today? Not trying to resist the impulse to bingewatch every episode of Breaking Bad. I’d just be watching it. Fifty Shades of Grey, Fifty Shades Darker and Fifty Shades Freed on the NYT bestseller list: How do you feel about that? They’re not my kind of books. But any book that is good for books is good in my book. OK, now it’s official: This Q&A is the worst thing I’ve ever written. For more author Q&As, go to wweek.com. GO: The Wordstock Book Fair is at the Oregon Convention Center, 777 NE Martin Luther King Jr Blvd., 10 am-6 pm SaturdaySunday, Oct. 13-14. $7 one day, $10 both days, $5 for groups of 10 or more, free for kids under 13. See wordstockfestival.com for more info. Willamette Week OCTOBER 10, 2012 wweek.com

CULTURE

Nov 9 7:30 pm Folk-rock duo Amy Ray and Emily Saliers join the Symphony to deliver a beautifully crafted selection of songs from their new CD Beauty Queen Sister.

Indigo Girls

ONE NIGHT ONLY WITH THE SYMPHONY!

Call: 503-228-1353 Click: OrSymphony.org

HOTSEAT

HOTSEAT: JULIA SWEENEY THE ACTRESS BEST KNOWN AS SNL’ S PAT ON WHY ATHEISTS SHOULD STILL PRAY WITH THEIR PARENTS. BY AA RON SPEN CER

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Portland is officially the least religious city in the country, according to a recent study. So it’s fitting that the largest atheist organization in the country, the Freedom From Religion Foundation, holds its annual conference here this weekend. Among the speakers are star atheists Richard Dawkins and Jessica Ahlquist, along with Spokane, Wash., native Julia Sweeney. Sweeney is a comedian best known for playing the character Pat on Saturday Night Live, but she’s also performed a handful of autobiographical stage shows documenting the loss of her faith, including God Said Ha! and Letting Go of God. She told WW why Portland’s godless residents should be more proactive. WW: You live in Chicago, but you grew up in Washington. How are atheists in the Pacific Northwest different? Julia Sweeney: The thing about Seattle is it’s so frickin’ PC that people can’t even say they’re atheist. They just have to say that, you know, they appreciate everyone’s view of reality and no one knows what’s right, but they are not religious. Portland is sort of the same way. People here are apprehensive to offend. What do you think about that? In one way, I feel really lucky that I became an atheist before atheism was in the popular culture.... I might not have wanted to be in that group because I would think, “Well, that seems like kind of an angry group. I’m not angry. I’m not against things. I see what’s valuable in religion, so I don’t want to be like that.” On the other hand, I think that’s the exact attitude that allows the crazy religious people to take over. Why do atheists seem like assholes? They’re saying unpopular and different things that aren’t what we’ve all be inculcated to hear as part of our general culture... they see how much religion—but particularly the Christian religious right—has used our government and taxes and our common will for their own ends. So, what should I tell my mom when she tells me to hold hands and pray before dinner? I would totally do it, because to me, I become Margaret Mead. I become an anthropologist and go, “Oh, the customs of these people! They hold hands and pray to their god!” Humans are social animals, and part of our cohesion is based in ritual. So, an atheist should support atheist organizations? I think they should support organizations because, this is the thing—Christians have such a fantastic business model for their churches. They promise something that they don’t even have to deliver—eternal life. They have a huge amount of influence and money, and they use it in our political system. Atheist organizations are fighting off all of that. GO: Julia Sweeney speaks at the Freedom From Religion Foundation Convention, Friday-Saturday, Oct. 12-13. Registration has closed. See ﬀrf.org for more info.

Willamette Week OCTOBER 10, 2012 wweek.com

THE NORTHWEST FILM CENTER PRESENTS

OCTOBER 12-27, 2012 SPONSORED BY:

Willamette Week OCTOBER 10, 2012 wweek.com

REEL MUSIC FILM FESTIVAL OCT 12—FRI 7 PM

A.K.A. DOC POMUS SONGWRITING LEGEND

OCT 12—FRI 9:15 PM

SOMETHING FROM NOTHING: THE ART OF RAP

OCT 13—SAT 6:30 PM

UNDER AFRICAN SKIES FEATURING PAUL SIMON

OCT 17—WED 7 PM @ THE MISSION THEATER OCT 15—MON 8:30 PM

FOLLOWED BY 8:15 PM

OCT 17—WED 10 PM @ THE MISSION THEATER

OCT 18—THURS 6:30 PM

OCT 18—THURS 8:45 PM

OCT 19—FRI 8:45 PM

OCT 20—SAT 9 PM

OCT 22—MON 7:30 PM

RHINO RESURRECTED

SOUNDBREAKER

STAX REVUE: LIVE IN NORWAY 1967

SONNY ROLLINS: BEYOND THE NOTES

Willamette Week OCTOBER 10, 2012 wweek.com

ORNETTE: MADE IN AMERICA

GIVE ME THE BANJO

AMY WINEHOUSE

BAD BRAINS: A BAND IN DC

CHARLIE CHAPLIN’S

MARC RIBOT LIVE WITH THE KID

OCT 23—TUES 9:30 PM @ THE MISSION THEATER

SISTER ROSETTA THARP

36 FILMS, 16 DAYS, 2 VENUES OCT 25—THURS 6:30 PM @ THE MISSION THEATER

EARLY NORTHWEST ROCK: THE DAYS OF EJD

OCT 25—THURS 8:45 PM

OCT 27— SAT 4:30 PM

THEREMIN

WAGNER AND ME

FULL REEL MUSIC SCHEDULE SUNDAY

MONDAY

TUESDAY

WEDNESDAY

THURSDAY

FRIDAY

SATURDAY

7 PM A.K.A. DOC POMUS 9:15 PM SOMETHING FROM NOTHING: THE ART OF RAP

1 PM GUSTAV MAHLER

6:30 PM UNDER AFRICAN SKIES—FEATURING PAUL SIMON 8:45 PM SUNSET STRIP

4:30 PM WAGNER’S DREAM

7:30 PM THE GIRLS IN THE BAND

7 PM THE MINERS’ HYMNS

8:30 PM RHINO RESURRECTED

7 PM THIS MACHINE KILLS FASCISTS—FEATURING WOODIE GUTHRIE

7 PM LOU HARRISON

7 PM SONNY ROLLINS @ MISSION THEATER

7:30 PM THE PORTRAIT OF BILLY JOE @ MISSION THEATER

6:30 PM SOUNDBREAKER

8:45 PM GIVE ME THE BANJO

7 PM DOWNTOWN 81

8:45 PM BAD BRAINS: A BAND IN DC

2:30 PM RAFAEL FRÜHBECK DE BURGOS

4:45 PM MORTEN LAURIDSEN

FOLLOWED BY

7 PM WILD STYLE

8:15 PM ORNETTE @ MISSION THEATER

9 PM STAX REVUE

9 PM DOWNTOWN EXPRESS 10 PM AMY WINEHOUSE @ MISSION THEATER 4:30 PM DEFIANT REQUIEM 7:30 PM BIG EASY EXPRESS

7:30 PM MARC RIBOT LIVE WITH THE KID

7 PM TALES OF ROCK & ROLL @ MISSION THEATER

9:30 PM SISTER ROSETTA THARP @ MISSION THEATER

6:30 PM THE DAYS OF EJD @ MISSION THEATER 6:30 PM DAVID AMRAM

7 PM THE BLASHFIELD STUDIO’S CLASSIC MUSIC VIDEOS

2 PM LOUISIANA PRISON SONGS

4:30 PM WAGNER AND ME

8:45 PM THEREMIN 9 PM HYPE! @ MISSION THEATER

TICKETS AND MORE—NWFILM.ORG/FESTIVALS/REELMUSIC

VENUES:

Northwest Film Center Whitsell Auditorium/Portland Art Museum, 1219 SW Park Ave. McMenamin’s Mission Theater, 1624 NW Glisan St.

NWFilmCenter Willamette Week OCTOBER 10, 2012 wweek.com

Willamette Week OCTOBER 10, 2012 wweek.com

MUSIC

oct. 10-16 PROFILE

= WW Pick. Highly recommended.

THEO JEMISON

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

WEDNESDAY, OCT. 10 The Flatlanders

[AMERICANA SUPERGROUP] More a Legend Than a Band—that was the title given the reissue of the then-Lubbock, Texas-based trio’s only album, after all three had separately become rootsmusic legends: Butch Hancock, the witty, poignant Dylanesque songwriter (“If You Were a Bluebird,” “One Road More”); Jimmie Gilmore, possessor of the most evocative country-music voice since Hank I; and Joe Ely, one of the greatest live rockers of the ’80s and ’90s and a favorite of the Clash, Springsteen and more. In the decade since the old friends began occasional reunion tours, they’ve won legions of new fans for their complementary voices and styles, which merge seamlessly into a smart blend of honkytonk, Americana, folk and Tex-Mex music. Their first demos, from 1972, have just been released as The Odessa Tapes. BRETT CAMPBELL. Aladdin Theater, 3017 SE Milwaukie Ave., 2349694. 8 pm. $27.50 advance, $30 day of show. Under 21 permitted with legal guardian.

Gossip, Magic Mouth, Bonnie Montgomery

SA N DY C A R S O N

[GLAM DANCE] Ever since Standing in the Way of Control cemented Gossip as international icons, the Portlandbased trio has continued to gallivant across the world, performing for the fashion elite and perfecting its highly danceable hits. For latest album A Joyful Noise—which comes hot on the heels of frontwoman Beth Ditto’s solo foray—the trio took to local studio KBC and Xenomania in England to make

PRIMER

the disco-infused record. As always, expect the band to put on an electric live show and for the crowd to hang onto every one of Ditto’s powerful notes and amusing, TMI stage banter. NILINA MASON-CAMPBELL. Crystal Ballroom, 1332 W Burnside St., 2250047. 9 pm. $15 advance, $20 day of show. All ages.

THEEsatisfaction, Kingdom Crumbs

[HIP-HOP QUEENS] While publications like our own have been losing their respective shit over a young white dude from Seattle who makes sanguine, inspirational hip-hop, they’ve been sadly glossing over some of the deepest, most empowered jams emanating from the Emerald City. The debut full-length by THEESatisfaction, awE naturalE, bounces with P-Funkstyle daring and bristles with politically minded lyrics courtesy of Stasia Irons and Catherine Harris-White. The fire in their bellies is tempered only through the pair’s delicious harmonies and a Space Age strain of R&B that calls to mind some of Labelle’s weirder moments. ROBERT HAM. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $12. 21+.

Xavier Rudd

[MUSICAL ACTIVIST] There’s no denying Xavier Rudd’s passion. The Australian singer-songwriter and multiinstrumentalist writes songs deeply rooted in environmentalism and human rights. This spring he released his seventh full-length album, Spirit Bird, a mix of driving didgeridoo, earthy vocals, sprawling guitar and bird sounds. What’s with the birds, you

CONT. on page 33

BY M ATTH EW S IN GER

BILLY JOE SHAVER Born: 1939 in Corsicana, Texas. Sounds like: Everything that’s grizzled and red-blooded—and, conversely, good and Christian—about country music, condensed into the body and voice of a man who looks like Hank’s dad from King of the Hill. For fans of: Johnny Cash, Hank Williams, Waylon Jennings, Kris Kristofferson, Bob Dylan, the U.S. of fuckin’ A. Latest release: Live at Billy Bob’s Texas, a set of recordings from “the world’s largest honky-tonk” in Fort Worth, proving that, at age 73, Shaver can still command a band and an audience. Why you care: Other than the fact he got away with shooting a dude in the face five years ago? Or that he lost two fingers in an accident at a sawmill and learned to play guitar without them? How about because he’s been name-checked in a song by Bob Dylan; covered by Elvis Presley, the Allman Brothers and Johnny Cash; and basically invented outlaw country by penning nearly all of Waylon Jennings’ epochal Honky Tonk Heroes? Or perhaps because his story—abandoned by his parents, stopped school after eighth grade, got hooked on drugs, found God, cycled through a series of odd jobs before being discovered by Bobby Bare and becoming one of Nashville’s most respected songwriters—is the kind of real-life tale of hard-won redemption country artists mythologize? Or maybe it’s just because the guy is so goddamned American it’s like he was cobbled together in a lab from bits of Woody Guthrie’s guitar, Louis Armstrong’s trumpet and Clint Eastwood’s stubble. Whatever the reason, you should care about Billy Joe Shaver, because if you don’t, it’s entirely possible that, even at his advanced age, he’ll come to your house and make you care. Remember, he shot a guy in the face once. SEE IT: Billy Joe Shaver plays Mission Theater, 1624 NW Glisan St., on Tuesday, Oct. 16. 8 pm. $20. 21+.

FROM OBSCURO TO HERO SIXTO RODRIGUEZ RISES FROM THE RECORD BIN OF HISTORY. BY R o B ERt HA M

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Sixto Rodriguez is having his moment in the limelight. Finally. The 70-year-old singer-songwriter from Detroit has been touring regularly since the beginning of the year, playing festivals in North America and Europe. He recently took the stage as the opening act for Animal Collective. He also just appeared on The Late Show With David Letterman, performing with a 10-piece orchestra. And he will soon be the subject of a lengthy feature on 60 Minutes. It’s a remarkable run for any musician. But when you consider Rodriguez hasn’t released any new music in more than four decades, the attention he’s now receiving feels downright miraculous. “This is beyond anything I would have imagined,” says Rodriguez, speaking from his home in Michigan. “It’s almost grotesque, a huge leap from here to way over there. Top o’ the world, Ma!” To be fair, that huge leap didn’t happen out of thin air. All of this chatter was stirred up by the release of Searching for Sugar Man, Swedish filmmaker Malik Bendjelloul’s documentary about the unusual trajectory of the septuagenarian musician’s career. A quick rundown: In the early 1970s, Rodriguez released two albums of Dylan/Donovan-influenced psych folk, Cold Fact and Coming From Reality. Both were commercial flops in the U.S. Soured from the experience, Rodriguez stopped making music completely. Yet, unbeknownst to the man who created them, both LPs found a huge audience in South Africa, where his songs of personal and class struggle became anthems for the anti-apartheid movement. In the late ’90s, a record-store owner and a reporter managed to track down the enigmatic songwriter, bring him the news of his success overseas, and eventually coax him out of retirement to play some well-received concerts. A great story, to be sure, but one that did have some missing pieces that didn’t fit Bendjelloul’s tidy narrative. Rodriguez did do some touring in

Australia—another country where his albums were beloved—in 1979 and 1981. And there’s no mention that he’s a cult favorite here in the U.S., especially after both albums were reissued recently by Seattle label Light in the Attic. Of course, none of that should diminish the fact that such a career resurrection is encouraging and exciting. In that respect, though, you’d expect the man himself to sound a little more cocksure about finally getting his due. While he is happy for the attention, Rodriguez is entirely pragmatic about it. “The success of this is out of our hands,” he says. “The success is really due to a powerful group of people. Sony Pictures Classics has done a lot. They picked up the tab for the orchestra, and they’ve spent $80,000 in advertising for the film.” From anyone else, that would come across as false humility. But having been burned by the

“IT’S ALMOST GROTESQUE, A HUGE LEAP FROM HERE TO WAY OVER THERE. TOP O’ THE WORLD, MA!” —RODRigUEz music industry before, Rodriguez understands how fleeting success can be—even on this small scale. “I never left music. It was the music scene I left,” he says of his decision to end his recording career in the early ’70s. “Trying to be noticed, to be at the right place, and get the right shot—I didn’t miss that as much.” As thrilling as the next year is looking for Rodriguez—sold-out dates in London, a showcase at the 2013 Coachella festival, and a gig at Carnegie Hall in April—there’s a tone to his weathered voice suggesting he hasn’t forgotten that as recently as a decade ago, he was working in demolition and construction around Detroit, trudging on foot between various job sites. “So much of this is out of my hands,” he says. “But, you know, I’m happy to be a part of it, even at this late date.” SEE IT: Rodriguez plays Wonder Ballroom, 128 NE Russell St., on Saturday, Oct. 13. 9 pm. $13 advance, $15 day of show. 21+. Willamette Week OCTOBER 10, 2012 wweek.com

Willamette Week OCTOBER 10, 2012 wweek.com

wednesday-saturday

THURSDAY, OCT. 11 Nellie McKay

[MoDERn PoP] nellie McKay is really going places—but she doesn’t mind coming back. the forward-thinking pop classicist signed with columbia in her teens, had Beatles engineer Geoff Emerick produce her debut double album, then walked away when the label asked her to shorten its follow-up. Her Broadway turn alongside Alan cumming in A Threepenny Opera earned a theatre World Award, but she’s just as comfy in the off-offBroadway context of her last Alberta Rose appearance, a bare-bones, onewoman (plus band) “musical,” I Want to Live!, that she based on a campy film noir. tonight, McKay performs solo—with piano, ukulele, mellifluous voice and razor wit—and there’s no telling where she’ll go. JEFF RoSEnBERG. Alberta Rose Theatre, 3000 NE Alberta St., 719-6055. 8 pm. $20 advance, $25 day of show. Under 21 permitted with legal guardian.

Mount Eerie, Bouquet, Marisa Anderson

[AtMoSPHERIc PSYcH] I’m a sucker for concept albums, especially in tandem form. Last spring, Phil Elverum, aka Mount Eerie, released Clear Moon, the dreamy, vaporous first half of a twin album recorded in Anacortes, Wash. the second installment, Ocean Roar, is its adversarial cousin: bipolar, sweeping and full of stormy noise rock. Elverum’s meticulousness is worth noting: His every move, whether a synthetic sample or a raw instrumental riff, adds an important line to his excellent psychedelic sonic poetry. not many in contemporary indie music paint such an elaborately impressionistic picture with such relatively simple tools. MARK StocK. Backspace, 115 NW 5th Ave., 248-2900. 9 pm. $10. All ages.

Exitmusic

[DEEP FocUS] It’s a showily cinematic name for an act whose meet-cute would test the bounds of theatricality—rural instrumentalist Devon church runs across successful actress Aleksa Palladino aboard a train en route to a cross-country love affair— and on this spring’s third release (and full-length debut), Passage, the nowmarried couple behind Exitmusic clearly relish shimmering, widescreen moments. track after track unfurls languid, slow-building swoons that devour themselves ’midst Palladino’s gorgeous vocals and tidal crashes of doomed ardor, though the dully repetitive dynamics bode ill for presumable sequels. JAY HoRton. Bunk Bar, 1028 SE Water Ave., 894-9708. 10 pm. $10. 21+.

Macklemore and Ryan Lewis

[nW HIP-HoP] Seattle Mc Macklemore and producing partner Ryan Lewis owe their rapid ascendance to a perfect storm of talent, determination and the preternatural ability to gauge the cultural winds. “thrift Shop,” the video they dropped late this summer, offers a riff on its titular subject that might form the first truly representative example of northwest hip-hop. “Same Love,” released around the same time, is a disarmingly heartfelt defense of same-sex marriage. It’s hard to tell how much calculation goes into Mack’s viral coups, but the fact that The Heist, his upcoming self-released debut LP, will probably outsell many of its major-label competitors, is worth respect in its own right. SHAnE DAnAHER. Crystal Ballroom, 1332 W Burnside St., 225-0047. 8 pm. $18 advance, $20 day of show. All ages.

Hospitality, TEEN, Minden

[InDIE PoP] Hospitality frontwoman Amber Papini tells the stories and plights of modern twentysomething women through an imperfect and idiosyncratic voice. A product by selftaught design, the softness of her crooning feels playful and sweet. But there’s a sourness to the lyrics, tiptoeing around ideas such as the soulsucking persuasion of money, the post-grad dilemma of finding life’s meaning, and the coming and going of lovers. After signing to Merge Records last year, the Brooklyn trio released its self-titled debut album at the start of 2012. the instrumentation—punchy electric-guitar melodies, syncopated drum rhythms and subtle synth layers—matches Papini’s quirkiness with catchy and kitschy arrangements filled with enough purpose to strike a sense of irony and intrigue. EMILEE BooHER. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $12. 21+.

Morbid Angel, Dark Funeral, Grave, On Enemy Soil

[DEAtH MEtAL] once upon a time, Morbid Angel was considered the absolute pinnacle of death metal in the United States, if not the world. Despite singer David Vincent’s absence from 1996 to 2004, the band retained its dignity and brutality. then 2011 brought the band’s least most unapologetically experimental work, Illud Divinum Insanus, which divided no one—nobody liked it. But I am here to tell you people that I saw Morbid Angel at Maryland Death Fest earlier this year, and not only did it completely restore my faith, it obliterated any doubts I once harbored. In fact, the whole set comprised material from Altars of Madness through Covenant. nAtHAn cARSon. Hawthorne Theatre, 3862 SE Hawthorne Blvd., 233-7100. 8 pm. $25 advance, $30 day of show. All ages.

Witch Mountain, Castle, Rabbits, Holy Grove

[DooMSAYERS] Frequent Willamette Week contributor nathan carson is too humble to say it himself, but Witch Mountain, the doom-metal monster for which he drums, ascended to the top of Portland’s heavy music heap with this year’s Cauldron of the Wild. And it only took 15 years! Although it’s been kicking around since 1997, the band really became a behemoth in 2009 with the addition of singer Uta Plotkin, whose beguilingly massive vocals— think Heart’s Ann Wilson auditioning for Iron Maiden—brought the group to the attention of the national media. no less an authority than critic chuck Eddy, who literally wrote the book on metal (Stairway to Hell: The 500 Best Heavy Metal Books in the World), gave the band his stamp of approval in a recent issue of Spin. now, Witch Mountain is heading out to take over the rest of the country, hitting the road for the next month and a half with San Francisco crushers castle. MAttHEW SInGER. Plan B, 1305 SE 8th Ave., 2309020. 8 pm. $8. 21+.

FRIDAY, OCT. 12 Lydia Loveless, Kasey Anderson and Star Anna

[VELVEt UnDERGRoUnD AnD nEKo] Born 21 years ago to a musical family from a decidedly unpunk outpost of the Midwest, Lydia Loveless specializes in full-throated, hard-living, hell-for-leather ditties equal parts altcountry craft and unhinged honkytonk abandon. on second release Indestructible Machine, Loveless’ troupe—including bassist husband Ben Lamb—powers through tragicomic narratives with wit, balls and a distinct note of grace. JAY HoRton. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $10-$12. 21+.

Woods, Eat Skull, The Woolen Men

[PSYcH FoLK] Like the Shins coming down from way better drugs, new York’s Woods—and that’s upstate new York, by the way, thanks to frontman and Woodsist label founder Jeremy Earl’s recent Brooklyn exodus—write hungover folk songs blinded by early

morning california sunlight. In the past, the group’s commitment to lo-fi aesthetics often overshadowed its actual music: Its first few albums sounded like demos made by the poorest band in topanga canyon circa the early 1970s. Starting with 2009’s Songs of Shame, however, the band’s sound has gradually emerged out from the fog of tape hiss, the fidelity of its recordings improving along with its songwriting. Latest album Bend Beyond pares down the freakier elements even more, which might bum out the reverse audiophiles who prefer their records barely listenable, but it only makes the quartet’s ramshackle jamming and Earl’s bruised melodies glow brighter. MAttHEW SInGER. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. $12. 21+.

PROFILE JoE RoSSI

ask? the record, as Rudd describes, draws inspiration from his visit to the Kaarakin Black cockatoo Rehabilitation centre near Perth, where he met a group of people fighting the good fight of protecting Australia’s endangered birds. While seeing Rudd perform within the confines of an indoor venue might not feel the ideal fit, at least you’ll be one more for the cause. EMILEE BooHER. Wonder Ballroom, 128 NE Russell St., 284-8686. 8:30 pm. $22.50 advance, $25 day of show. 21+.

MUSIC

Deftones, Scars on Broadway

[ALt-MEtAL] Like recent tourmates System of a Down, Sacramento’s Deftones were cursed with great timing. the band emerged nationally in the mid-’90s, right as the alt-rock zeitgeist was getting over its post-grunge hangover and needed to release some aggression, opening up a fertile marketplace for the group’s smash-mouth bloodletting. Bully for its record sales, but coming up when it did meant lazier critics herded the band under the nu-metal umbrella, a fraternity it never truly belonged to (its suggestively rap-rockish name certainly didn’t help, either). Infatuated with the gloomy melodicism and grayscale textures of ’80s Brit-pop as much as metal’s pulverizing crunch, Deftones were, in truth, the last of the big, bulldozing acts of the Alternative Era, having more in common with tool and Jane’s Addiction than, say, Powerman 5000. As natural selection has killed off its less-evolved peers, the band’s kept going, maintaining a fervent cult through its brutally cathartic live shows and a sound that continues to mature with each record. clips from Koi No Yokan, its upcoming seventh album, suggest it has not yet stopped growing. MAttHEW SInGER. Roseland Theater, 8 NW 6th Ave., 224-2038. 8 pm. $31.50 advance, $36 day of show. All ages.

Circa Survive, Touche Amore, Balance and Composure, O’Brother

[PRoG-coRE] Founded in the midaughts by the formally ambitious deserters from several middling emo bands, circa Survive combined mindscrambling technical proficiency with lead singer Anthony Green’s enchanting falsetto to create a robust popprog admixture. the group’s staying power has proven every bit as impressive as its maniacal time signatures. now four albums into its career, the band has managed to break into the majors and chart on the Billboard 200, while still retaining its creative momentum. this year’s Violent Waves finds the quintet affecting an even more perfect marriage between its ferocious technicality and pop-rock gloss. SHAnE DAnAHER. Wonder Ballroom, 128 NE Russell St., 284-8686. 8 pm. $18 advance, $20 day of show. All ages.

SATURDAY, OCT. 13 Wreckless Eric and Amy Rigby

[tHE DonoVAn oF tRASH] For proof of the improbable career opportunities punk offered a generation of British youth, look no further than Eric Goulden. In the first part of the ’70s, Goulden was just some goofy kid with limited musical abilities dabbling in the Sussex pub-rock scene. then the Sex Pistols arrived, showing how much of a stir goofy kids with limited musical abilities could create with the right amount of shambolic energy, and within a few months, Wreckless Eric was born. He never had a pop hit—though his disarmingly innocent 1977 single, “Whole Wide World,” is a cult classic—but 30-plus years later, Goulden is still touring and recording. only now, he does so with his wife, singer-songwriter Amy Rigby. A Working Museum, the couple’s second collection of ’60s-ish

BROWNISH BLACK FRIDAY, OCT. 12 [GARAGE SOUL] Soul doesn’t come naturally to the lily-white Northwest. In the case of Brownish Black’s M.D. Sharbatz, though, it wasn’t until he moved to Portland, oddly enough, that the singer-guitarist discovered his inner James Brown. Even stranger, the guy came here from Detroit. Growing up in the cradle of Motown, Sharbatz played in all kinds of bands—raging hardcore, moody postpunk, plaintive alt-country—but he never thought to try his hand at R&B, arguably his hometown’s greatest cultural export. Then, not long after relocating to the Rose City four years ago, he sat down to play guitar, and the funk just began to flow out of him. It’s as if the ghosts of Hitsville USA planted a seed in his subconscious that took decades to blossom. “It could’ve just been waiting until I got to the age of 30 to come out,” says Sharbatz, sitting in his spacious Northwest Portland apartment, next to a cabinet now stuffed with old soul records. Within months of that revelation, Sharbatz began to assemble Brownish Black, a band rooted in the horn blasts and hotfoot rhythms of vintage ’70s soul. But even as he dove into his new obsession, Sharbatz made sure not to clip his punk roots completely. “I think that’s where a lot of the grittiness of our band comes from,” he says. “I need hard music, one way or another.” Brownish Black came together in bits and pieces. After fixing his new musical path, Sharbatz recruited drummer Ethan Boardman, then brought in bassist Mub Fractal. Eventually, the band added a three-piece brass section. But the group didn’t really come to full flower until the addition of singer Vicki Porter. Unlike Sharbatz, Porter, a Portland native, was raised on soul music. A belter in the Aretha Franklin mold, she grew up mimicking the vocal histrionics of her mother’s favorite male balladeers, like the Stylistics and Isaac Hayes. Outside of a few one-off recording sessions, though, she hadn’t sung much in public until Fractal, whom she met in a class at Portland Community College, invited her to band practice. “I was a little nervous, because I hadn’t done that in a long time,” Porter says. Once she took the mic, though, it became clear who needed to impress whom. “We knew we had to step it up after that,” Sharbatz says. In the years since, Brownish Black has worked on perfecting— though not refining—a sound that eschews the pop elegance of Motown in favor of the rusty-strings guitar stabs and gutbucket hollering associated with Berry Gordy’s Southern rival, Stax. The band released an EP in 2011 and, this week, a vinyl 45, and has developed a live show far wilder than the stale, faux-soul revues of other revivalists. Playing in Portland has been an uphill climb, however. In a city notorious for its stationary crowds, the band says it’s often walked onstage at local clubs to confront a sea of confused, unmoving faces. Little by little, though, audiences are becoming more willing to match the group’s energy. “Even if just a few people get up and dance,” Porter says, “that means somebody’s getting it.” MATTHEW SINGER. A Detroit native finds his soul in the heart of the Rose City.

SEE IT: Brownish Black plays White Eagle Saloon, 836 n Russell St., on Friday, oct. 12. 9:30 pm. $8. 21+.

cont. on page 34 Willamette Week OCTOBER 10, 2012 wweek.com

saturday-monday PA U L A M A S T E R S T R AV I S

MUSIC

lonely troubadour: lydia loveless plays doug Fir lounge on Friday, oct. 12. pop songs, finds Eric less wreckless as he approaches 60, but no less charmingly daft. MATTHEW SINGER. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 7 pm. $12. 21+.

Kendrick Lamar

[WEST COAST] For years, people have said the West Coast hip-hop scene is outdated. In actuality, it’s generated a number of talented and inventive MCs over the past decade, though none has garnered much mainstream success. This will soon change with the release of Compton MC Kendrick Lamar’s highly anticipated debut, Good Kid M.a.a.d. City. The album’s hype is partially due to its shiny packaging—beats by Dr. Dre, even a few rumored appearances by Lady Gaga—but the croaky-voiced Lamar is a talented rapper with a pop sensibility. This is evident not only by the album’s singles but also by his Section.80 project, which mixed clever, introspective lyrics with catchy choruses and hard-hitting beats. REED JACKSON. Roseland Theater, 8 NW 6th Ave., 224-2038. 8 pm. Sold out. All ages.

Com Truise, Poolside, Bonde Do Role, Stepkid, DJ Rap Class

[SYNTH WAVE] Com Truise is Seth Haley of New York, a progressive digital sampling savant who seamlessly merges synth-pop with chillwave. Newest release In Decay is more a collection of B-sides than anything else, but 2011 debut LP Galactic Melt impresses with its rascally, Atari-like effects and infectious beats. Song titles like “Cathode Girls” and “Futureworld” sum up an artist who defers to the timeless catchiness of synthesized pop. Los Angeles duo Poolside opens, turning out laid-back electronica of a caliber destined for bigger venues. MARK STOCK. Rotture, 315 SE 3rd Ave., 234-5683. 9 pm. $13. 21+.

SUNDAY, OCT. 14 Strategy, Ethernet, Daniel Menche, Gulls, Invisible Ziggurat

[SPACE IS THE PLACE] The subtitle for this incredible lineup of electronic and experimental performers is “Deep Listening,” which speaks volumes about how far down a sonic wormhole you can go with everyone involved. To help you not get lost along the way, we encourage you to hold on tightly to the reggae-speckled house grooves of Strategy, Paul Dickow’s longtime musical project that just released an electrifying self-titled album on Peak Oil Records, and Tim Gray’s solo synth-drone experience known as Ethernet, also on board to celebrate Temples, a collection of songs created in a state of trance meditation. ROBERT HAM. Holocene, 1001 SE Morrison St., 239-7639. 9 pm. $5. 21+.

Willamette Week OCTOBER 10, 2012 wweek.com

MONDAY, OCT. 15 Grimes, Elite Gymnastics, Myths

[ELECTRONIC SONGSTRESS] Since breaking through last year, Canadian nymph Claire Boucher— aka Grimes—quickly began captivating audiences, the fashion world and music critics with her avantgarde electronic pop songs, not to mention her quirky haircuts and Björk-like fashion sense. At times, her voice is reminiscent of ’50s and ’60s girl groups, except pitched much higher and floating over electronic beats she crafts herself on synths and piano. Over the past few years of touring—and especially since the release of her third album and 4AD debut, Visions— Boucher has come into her own, emerging from insecure songstress to confident frontwoman with command of the stage. Her live shows have grown immensely, too, now featuring live percussion, backups dancers and a light show. NILINA MASON-CAMPBELL. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $16 advance, $18 day of show. 21+.

Matthew Shipp, Michael Bisio, Whit Dickey

[JAZZ LEGEND] Over the course of his 20-plus year career, Matthew Shipp has proven himself to be one of the most versatile jazz pianists around. The 51-yearold musician has collaborated with everyone from sax legend Roscoe Mitchell to Sun Ra sideman Marshall Allen to hip-hop producer El-P and members of the Antipop Consortium. Shipp comes to town with his newest trio, rounded out by bassist Michael Bisio and drummer Whit Dickey, responsible for one of 2012’s finest jazz releases, the crackling Elastic Aspects. The album finds this three-piece swinging with a postbop swagger, while also diving headfirst into the deep end of free jazz. ROBERT HAM. Jimmy Mak’s, 221 NW 10th Ave., 295-6542. 8 pm. $18 general admission, $22 reserved. 21+.

Tift Merritt, Amy Cook

[LEONARD COHEN GONE COUNTRY] The host of NPR’s The Spark is also a gifted songwriter with a knack for glimmering Americana. Tift Merritt has been at it for some time, too: The recently released Traveling Alone is her fifth album. Recorded in Brooklyn, one might expect a more urbane sound, yet this gem boasts all the openrange traits befitting like-minded, city-by-way-of-country folk dwellers Justin Townes Earle and Bob Dylan. Merritt’s cast of collaborators, which includes members of Son Volt and the Jayhawks, is impressive, but her wonderfully warbling vocals can also hold a room all on their own. MARK STOCK. Mississippi Studios, 3939

monday-tuesday N Mississippi Ave., 288-3895. 8 pm. $18. 21+.

Bob Dylan, Mark Knopfler

[TROUBADOUR WONDER TWINS] In a rare coincidence bringing together two titans of marble-mouthed lyrical poetry, both Bob Dylan and Dire Straits alum Mark Knopfler have released critical-smash records in the past month: the former with the wily, possibly Civil War-aping Tempest and the latter with the folkier double disc Privateering. Individually, the two represent the staying power of rock iconography and its ability to evolve with age rather than succumb to the burnout stereotype. The prospect of seeing them together, with 134 years between them, is a troubadour lover’s wet dream—even if you can’t understand a goddamn word they’re saying. AP KRYZA. Rose Garden, 1401 N Wheeler Ave., 235-8771. 7:30 pm. $50-$89.50. All ages.

Nouvelle Vague

[VIVE LE ROCK] Coming to life eight years back as something of an elongated musical pun, producers Marc Collin and Olivier Libaux set the bleakest New Wave tunes to bossa nova rhythms—both terms roughly translate as “nouvelle vague”—with a rotating roster of kohl-powered chanteuses indulging the chic Gallic insouciance of the famed cinema movement. Even after broadening the template to include early British punk and late-’80s Francophile pop during subsequent releases, the Nouvelle Vague auteurs have seemingly started to chafe at their niche’s looming constraints. Lately, they’ve begun experimenting with acoustic performances and, this evening, a play format in which actors deliver monologues from The Dawn of Innocence interspersed with a lengthy selection of covers. JAY HORTON. Wonder Ballroom, 128 NE Russell St., 284-8686. 8:30 pm. $20 advance, $22 day of show. 21+.

TUESDAY, OCT. 16

MUSIC

ALBUM REVIEWS

CORIN TUCKER BAND KILL MY BLUES (KILL ROCK STARS) [PARENTAL PUNK] Collaboration cures what ails you. Corin Tucker took this for granted in the immediate wake of Sleater-Kinney’s breakup, evidenced by the Portlander’s introverted approach on the first Corin Tucker Band album, 1,000 Years. Newest record Kill My Blues feels like group therapy: An album about aging set to polished punk that emphasizes the band as much as its namesake. Known for her clamorous guitar work and beautifully blownout vocals, Tucker remains a symbol of fearsome rebellion. Yet, at age 39, she has also grown up. And her new band—made up of a who’s who of Rose City rockers, including Seth Lorinczi (Golden Bears), Sara Lund (Unwound, Hungry Ghost) and Mike Clark (Stephen Malkmus and the Jicks)—has settled into its own. Opener “Groundhog Day” is a microcosm of the record itself: subtly playful, like a shy child, while also being opinionated, political, even defeated. Maturity comes in Tucker’s blending of pop and punk, such as on the spritzy “Neskowin” and the reflective, relatively sparse “Joey,” dedicated to Joey Ramone. Sometimes her voice carries too much of the load, but for the most part, Tucker’s emphatic nature is matched by equal instrumental drama. Lund’s ever-accelerating drumming and Lorinczi’s crafty picking are ever-ready, able to match Tucker’s mighty, Pat Benatar-meets-PJ Harvey presence. Studio tidiness runs rampant on Kill My Blues, wiping down the fuzz and reverb for a cleaner sheen, but the album is pretty only on the surface. Punk rock at heart but parents in truth, the Corin Tucker Band still possesses the stuff to make you—and/or your inner rebel—stage-dive. MARK STOCK.

Aaron Freeman

THE HARVEY GIRLS SIDEREAL TIME (CIRCLE INTO SQUARE)

Battleme, XDS, Monoplane (9 pm); Jeremy Messersmith (Bar Bar Apartment, 7 pm)

[PSYCH FOLK] At its best, Sidereal Time, the fourth album from Portland duo the Harvey Girls, recalls Wilco’s Yankee Hotel Foxtrot in its disheveled folk experimentalism. “Picher, Nowata” and “Superman Keeps Slipping,” two of the album’s highlights, create a trail of tambourines, trumpets and reverb-drenched samples like brightly colored streamers. During the record’s duller moments—of which there are plenty—this playful inclination fades, making it difficult for the LP to live up to its own promise. The brainchild of husband-and-wife duo Melissa Rodenbeek and Hiram Lucke, the Harvey Girls offer a prime example of both the benefits and pitfalls inherent to self-production. When Sidereal Time enters such lushly overdubbed territory as “Sun Dogs,” it sounds like an album living in its own aesthetic world. When this momentum fails, the results are, without exception, soporific. “Between the Stars,” for instance, opens with the theoretically interesting conceit of a pop song recorded in the half-flat affect of a religious congregation going through the Sunday hymnal. The idea, however, scuppers its curious promise thanks to a clunky chorus that insistently repeats, “There is a darkness between the light/ Holding your absence.” Such “sounds good on paper” experiments—both lyrical and compositional—trouble the album in its less emphatic moods. It sounds as if Rodenbeek and Lucke occasionally became more interested in the tricks afforded them by their recording gear than in the songs the gear was supposed to record. Sidereal Time bears the marks of an album recorded without the motivating pressure of deadlines, something that, in this case, would have provided a much-needed creative counterweight. SHANE DANAHER.

[WEENLESS] Having shed his Gene Ween persona—not to mention a chemical dependency that resulted in an onstage meltdown in Vancouver last year—Aaron Freeman is back with a solo record, Marvelous Clouds. Consisting of re-orchestrations of old songs by poet, songwriter and Sinatra scribe Rod McKuen, Clouds eschews the modular effects for Freeman’s natural, laid-back crooning, with songs ranging from jazzy balladry to Bacharachian pop, porchswingin’ lullabies and lovey-dovey pop of the Polyphonic order. While masterfully produced, it plays a lot like a more serious Ween record—one comprising all the saccharine tracks you’d have skipped in order to get to “Buckingham Green.” AP KRYZA. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $23. 21+.

[ELECTRO-ROCK] On his selftitled debut LP under the moniker Battleme, Portland’s Matt Drenik sings of making mistakes, losing love, replacing it with cocaine and grappling with his vision (literally— he was diagnosed with uveitis in 2009, which can lead to blindness). Sonically, the album ranges between heavy beats, distorted guitar riffs, dancey synthesizer, gristly laments, smooth falsettos and folky acoustics. In this sense, cohesiveness isn’t the goal, but what ties the record together is its name. Drenik’s songs emphasize hardship, resolution and emotional purging both lyrically and instrumentally. They abruptly throw you to the ground and pick you up again, a continuous string of battles and triumphs. And they’re pretty damn good. EMILEE BOOHER. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. Free. 21+.

SEE IT: Corin Tucker Band plays Bunk Bar, 1028 SE Water Ave., on Saturday, Oct. 13. 9 pm. $12 advance, $14 day of show. 21+. The Harvey Girls play Record Room, 8 NW Killingsworth St., on Saturday, Oct. 13. 8 pm. $3-$5 sliding scale. 21+.

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MUSIC CALENDAR

[OCT. 10-16] Brasserie Montmartre

= 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. For more listings, check out wweek.com.

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

Buffalo Gap Saloon

6835 SW Macadam Ave. The Ken Hanson Band, The Love Loungers

Bunk Bar

JOHN LONDONO

1028 SE Water Ave. Exitmusic, Grapefruit

Doug Fir lounge

830 E Burnside St. Hospitality, TEEN, Minden

Duff’s Garage

1635 SE 7th Ave. Country Trash (late show); Tough Lovepyle (early show)

303 SW 12th Ave. Bright Archer

aladdin theater

3017 SE Milwaukie Ave. The Flatlanders

alberta rose theatre 3000 NE Alberta St. Jerry Joseph, Walter Salas-Humara

andina

1314 NW Glisan St. Jason Okamoto

ash Street Saloon

225 SW Ash St. The Keplers, Melissa Ivey, Ramune Rocket 3

Buffalo Gap Saloon

6835 SW Macadam Ave. Andy Stokes

Burgerville (Montavilla)

8218 NE Glisan St. Crown Point

camellia lounge

510 NW 11th Ave. Jazz Jam with Errick Lewis & the Regiment House Band

crystal Ballroom

1332 W Burnside St. Gossip, Magic Mouth, Bonnie Montgomery

Doug Fir lounge

830 E Burnside St. THEEsatisfaction, Kingdom Crumbs

Duff’s Garage

ella Street Social club

714 SW 20th Place Ed and the Red Reds, Rin Tin Tiger, Bazillionaire

Palace of Industry

Goodfoot lounge

Portland Police athletic association

2845 SE Stark St. Klozd Sirkut

Holocene

1001 SE Morrison St. Golden Retriever, CLOAKS, New Dadz DJs, DJ Michael Hughes (music show and Tin House reading)

Ivories jazz lounge and restaurant

2530 NE 82nd Ave. Separatrix, Feral Drollery, Crime Machine

rotture

jade lounge

Secret Society lounge

2346 SE Ankeny St. Matthew Zeltzer (9:30 pm); Adam Brock (7 pm); Caroline Hecht (6 pm)

jimmy Mak’s

221 NW 10th Ave. The Mel Brown Quartet

ladd’s Inn

116 NE Russell St. Beso Negro

Slabtown

1033 NW 16th Ave. Pink-House, Wild Arms, Ninjas with Syringes

Someday lounge

1204 SE Clay St. Lynn Conover

125 NW 5th Ave. Hellblinki, Professor Gall, Mono Operandi

landmark Saloon

Star theater

4847 SE Division St. Jake Ray and the Cowdogs (9:30 pm); Bob Shoemaker (6 pm)

laurelthirst

2958 NE Glisan St. Taarka Duo, Matt & Kina (9 pm); Dolorean (6 pm)

east Burn

3552 N Mississippi Ave. Stellar’s Jay, L.T. Page (9:30 pm); Mr. Hoo (12 pm)

203 SE Grand Ave. Waffle Taco, Lithopedian, Rick Klaras

red room

1435 NW Flanders St. Heartmony 3

lents commons

east end

618 SE Alder St. Jo Jo Reed & the Happy Hill Zydeco Band

315 SE 3rd Ave. Weregoat, Fornicator, Panzergod, Cemetery Lust

1635 SE 7th Ave. Suburban Slim’s Blues Jam (9 pm); High Flyer Trio (6 pm) 1800 E Burnside St. Irish Music Jam

5426 N Gay Ave. Flat Rock String Band

9201 SE Foster Road Open Mic

Mississippi Pizza

Mississippi Studios

3939 N Mississippi Ave. The Milk Carton Kids, Leslie Stevens

13 NW 6th Ave. Aficionado, Mixtapes, Citizen

the Blue Diamond

2016 NE Sandy Blvd. The Fenix Project

the know

2026 NE Alberta St. Grave Babies, The Silent Numbers, Vice Device

the Press club

2621 SE Clinton St. The Barron Robber, Moniker

thorne lounge

4260 SE Hawthorne Blvd. Open Mic

tillicum club

8585 SW BeavertonHillsdale Highway

Chad Rupp

tony Starlight’s

3728 NE Sandy Blvd. Malea & the Tourists

White eagle Saloon 836 N Russell St. World’s Finest

Wilfs restaurant and Bar

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

Wonder Ballroom 128 NE Russell St. Xavier Rudd, Yeshe

tHurS. Oct. 11 al’s Den at the crystal Hotel 303 SW 12th Ave. Bright Archer

alberta rose theatre 3000 NE Alberta St. Nellie McKay

andina

1314 NW Glisan St. Greg Wolfe Trio

andrea’s cha cha club 832 SE Grand Ave. Pilon D’Azucar Salsa Band

artichoke community Music 3130A SE Hawthorne Blvd. Open Mic

ash Street Saloon

225 SW Ash St. Dodgy Mountain Men, Closely Watched Trains

Backspace

115 NW 5th Ave. Mount Eerie, Bouquet, Marisa Anderson, I am the Lake of Fire

Bossanova Ballroom 722 E Burnside St. Hed PE, Amerakin Overdose, Kingdom Under Fire, 30 Pound Test, Knothead

116 NE Russell St. Marv & Rindy Ross (of Quarterflash), Lincoln Crockett

Sellwood Public House 8132 SE 13th Ave. Open Mic

Slim’s cocktail Bar 8635 N Lombard St. Sloe Loris

Someday lounge

125 NW 5th Ave. The Robinsons, Northeast Northwest, Max’s Midnight Kitchen

Spare room

east Burn

east end

13 NW 6th Ave. IO Echo, Space Waves, We Are Like the Spider

Star theater

203 SE Grand Ave. Gay Ghost, Grrrl Friend, Lunge, Havania Whaal

tapalaya

ella Street Social club

ted’s Berbati’s Pan

714 SW 20th Place Yourself and the Air, Inkblot, Tender Age, Meta-Pinnacle

Goodfoot lounge

8105 SE 7th Ave. Stumbleweed

Plan B

4830 NE 42nd Ave. Afro Knot, Becky Alter

1800 E Burnside St. Eat Off Your Banjo Bluegrass

Muddy rudder Public House

2527 NE Alberta St. Terry Robb

Secret Society lounge

1332 W Burnside St. Macklemore and Ryan Lewis

821 SW 11th Ave. Josh Feinberg

Original Halibut’s II

chapel Pub

crystal Ballroom

east India co.

3158 E Burnside St. Brownish Black

510 NW 11th Ave. Blake Lyman Quartet

1669 SE Bybee Blvd. Adlai Alexander

WeD. Oct. 10

Music Millennium

1305 SE 8th Ave. Witch Mountain, Castle, Rabbits, Holy Grove

corkscrew Wine Bar

al’s Den at the crystal Hotel

8105 SE 7th Ave. JD Dawson

camellia lounge

430 N Killingsworth St. Steve Kerin

BjörkaBle: Grimes plays Doug Fir lounge on Monday, Oct. 15.

Muddy rudder Public House

2845 SE Stark St. The Hackensaw Boys, Mimi Naja and Jay Cobb Anderson (of Fruition)

Hawthorne theatre

3862 SE Hawthorne Blvd. Morbid Angel, Dark Funeral, Grave, On Enemy Soil

Ivories jazz lounge and restaurant 1435 NW Flanders St. Belinda Underwood Quartet

28 NE 28th Ave. Milneburg Jazz Band 231 SW Ankeny St. Funktastik, the Doc Brown Experiment, Flowmentum

the Blue Diamond

2016 NE Sandy Blvd. Ben Jones

the Blue Monk

3341 SE Belmont St. Alan Jones Jam

the lovecraft

421 SE Grand Ave. Nightmoves

the Press club

2621 SE Clinton St. PSU3

thorne lounge

jade lounge

4260 SE Hawthorne Blvd. Ryan Johnson

jimmy Mak’s

317 NW Broadway Karaoke from Hell

katie O’Briens

3100 NE Sandy Blvd. The Vandies, Kings and Vagabonds

2346 SE Ankeny St. Brian McGinty 221 NW 10th Ave. The Mel Brown B3 Organ Group 2809 NE Sandy Blvd. Moral Crux, Dead Ones USA, Muddy River Nightmare Band, 48 Thrills

kelly’s Olympian

426 SW Washington St. Glass Knees, Ix, Neglect

kenton club

2025 N Kilpatrick St. Lady Elaine, the Floorboards, Lavaruna

laurelthirst

2958 NE Glisan St. Garett Brennan & the Great Salt Licks, Tumbledown House (9:30 pm); Lewi Longmire Band (6 pm)

Mississippi Pizza

3552 N Mississippi Ave. Lucky Lincoln, Will Coca (9 pm); Mo Phillips with Johnny and Jason (6 pm)

Mississippi Studios

3939 N Mississippi Ave. Stew and the Negro Problem, Suzanne Tufan

Mount tabor theater

4811 SE Hawthorne Blvd. Scorpion Child, Black Pussy, A Happy Death

tiger Bar

tonic lounge

tony Starlight’s

3728 NE Sandy Blvd. Cabaret Chanteuse

White eagle Saloon

836 N Russell St. Hivemind (8:30 pm); Brothers of the Hound (5:30 pm)

artichoke community Music

laurelthirst

3130A SE Hawthorne Blvd. Friday Night Coffeehouse

2958 NE Glisan St. Garcia Birthday Band (9:30 pm); Woodbrain (6 pm)

ash Street Saloon

Mississippi Pizza

Backspace

Mississippi Studios

Brasserie Montmartre

Muddy rudder Public House

Buffalo Gap Saloon

Music Millennium

225 SW Ash St. Violet Isle, Symmetry/ Symmetry, Loquat 115 NW 5th Ave. Depopulator, Fist Fite, Wicked Bitch, Whoremoans 626 SW Park Ave. Trashcan Joe

6835 SW Macadam Ave. Keegan Smith, Sneakin’ Out, The Sale, Acoustic Minds

camellia lounge 510 NW 11th Ave. Circle 3 Trio

club 21

2035 NE Glisan St. Old Junior, Havania Whaal, Tender Age

clyde’s Prime rib

5474 NE Sandy Blvd. Andy Stokes

Dante’s

350 W Burnside St. Ritim Egzotik (music show and bellydance performance)

Doug Fir lounge

830 E Burnside St. Lydia Loveless, Kasey Anderson & Star Anna

Dublin Pub

6821 SW BeavertonHillsdale Highway Nu Wave Machine

Duff’s Garage

1635 SE 7th Ave. Rae Gordon Band, Boogie Bone (9 pm); The Hamdogs (6 pm)

east Burn

1800 E Burnside St. Closely Watched Trains

east end

203 SE Grand Ave. Mother Android, Coronation, Futility

ella Street Social club

714 SW 20th Place Lesser Known Characters, The Harm, The Charlie Darwins, Set West

Hawthorne theatre

3862 SE Hawthorne Blvd. D.R.I., Wehrmacht, Rendered Useless, Guillotine

Horning’s Hideout

Ivories jazz lounge and restaurant

jade lounge

2346 SE Ankeny St. Eric Stern (8 pm); Ryan Short (6 pm)

al’s Den at the crystal Hotel

jimmy Mak’s

303 SW 12th Ave. Bright Archer

221 NW 10th Ave. Farnell Newton, DJ O.G. One, Ajane’a

aladdin theater

katie O’Briens

andina

1314 NW Glisan St. Sambafeat Quartet

Noho’s Hawaiian cafe 4627 NE Fremont St. Hawaiian Music

Original Halibut’s II 2527 NE Alberta St. Lloyd Allen

record room

8 NE Killingsworth St. Mollusk, Tte Fruiting Bodies

red room

2530 NE 82nd Ave. Taiterd Oats, Wintermute, Sleepy Creek

roseland theater

8 NW 6th Ave. Deftones, Scars on Broadway

Secret Society lounge

116 NE Russell St. Redray Frazier, the Quadraphonnes (9 pm); Pete Krebs and His Portland Playboys (6 pm)

Slabtown

1033 NW 16th Ave. Pinkzilla

Slim’s cocktail Bar 8635 N Lombard St. Oreganic, Zindu

Sloan’s tavern 36 N Russell St. Voices

Someday lounge

125 NW 5th Ave. Pigeons, Dancing Hats, Tianamen Bear, DJ Arya Imig, DJ Brad Religion

Spare room

4830 NE 42nd Ave. James Low Western Front, W.C. Beck

Star theater

13 NW 6th Ave. Richie Spice, Bambu Station, Inna Vision

ted’s Berbati’s Pan

3341 SE Belmont St. Devin Phillips

1435 NW Flanders St. Art Resnick Quartet

3017 SE Milwaukie Ave. Stone in Love (Journey tribute), Throwback Suburbia

3158 E Burnside St. Radio Raheem

Island Mana Wines

Wonder Ballroom

FrI. Oct. 12

8105 SE 7th Ave. The Sportin’ Lifers Trio

231 SW Ankeny St. Gangstagrass, Power of County, Swiggle Mandela, DJ Rappalachia

526 SW Yamhill St. Joe Marquand

128 NE Russell St. Falling in Reverse

3939 N Mississippi Ave. Woods, Eat Skull, the Woolen Men

21277 NW Brunswick Road, North Plains Rain Dance: Quick ‘n’ Easy Boyz, Lewi Longmire, Oreganic (Main Stage); Pete Kartsounes, World’s Finest, Sunrise Review (Dome Stage)

Wilfs restaurant and Bar 800 NW 6th Ave. Randy Porter Trio

3552 N Mississippi Ave. The Jim-Jams (9 pm); Cedro Willie (6 pm)

2809 NE Sandy Blvd. Bonneville Power, Race of Strangers, 42 Ford Prefect, Kayla Shauvin

kelly’s Olympian

426 SW Washington St. LPS, The Rotties, Needles and Pizza

the Blue Diamond

2016 NE Sandy Blvd. Arthur “Fresh Air” Moore

the Blue Monk

the know

2026 NE Alberta St. Men As Witches

the Press club

2621 SE Clinton St. Slater Smith, Jenna Ellefson

the tarDIS room

1218 N Killingsworth St. Dusty Grimm, Jeff Smith

thorne lounge

4260 SE Hawthorne Blvd. Samsel and the Skirt

tonic lounge

3100 NE Sandy Blvd. Truth Vibration, Tweakin’ Like Matty

tony Starlight’s

3728 NE Sandy Blvd. Neil Diamond Tribute

CONT. on page 38

Willamette Week OCTOBER 10, 2012 wweek.com

MUSIC

Calendar Pony Village, Rubedo, The Hoot Hoots, The Palisades

rosnAPs.coM

BAR SPOTLIGHT

LaurelThirst

2958 NE Glisan St. Alexa Wiley & the Wilderness, Sloe Loris (9:30 pm); Tree Frogs (6 pm)

Mission Theater

1624 NW Glisan St. Brazillionaires, the Quiet American, Brassroots Movement

Mississippi Pizza

3552 N Mississippi Ave. Z’Bumba (9 pm); Level 2 Music (6 pm); Lorna Miller Little Kid’s Jamboree (4 pm)

Mississippi Studios

3939 N Mississippi Ave. Wreckless Eric and Amy Rigby

Muddy Rudder Public House 8105 SE 7th Ave. Alan Hagar

FRICKIN’ LASER BEAMS: What, exactly, is the Rose? The impressively generic name, covered windows and website that promises only “Portland’s newest nightlife destination” give away very little about the business that took over the former Beauty Bar space. As best I can describe it, The Rose (111 SW Ash St., 544-7330, therosepdx.com) is “Portland does a nightclub.” The repurposed wood bar, exposed bulbs and brick walls say “Hey, we’re south of West Burnside,” but the thumping dance music, plastic cups and audio-synced lasers say “Woo, Old Town!” On Wednesdays, Baby Ketten Karaoke collides worlds, as guys with neck beards belt rock songs below swirling disco lights while a promoter suggests this year’s Halloween night theme be “villains and super-hos” because, a female patron agrees, women love dressing slutty for Halloween. RUTH BROWN.

1530 SE 7th Ave. Ty Curtis Band

White Eagle Saloon

836 N Russell St. Brownish Black, Radio Raheem (9:30 pm); Reverb Brothers (5:30 pm)

Wilfs Restaurant and Bar 800 NW 6th Ave. Ed Bennett Quintet

Wonder Ballroom

128 NE Russell St. Circa Survive, Touche Amore, Balance and Composure, O’Brother

SAT. OCT. 13 Al’s Den at the Crystal Hotel 303 SW 12th Ave. Bright Archer

Aladdin Theater

3017 SE Milwaukie Ave. THEESatisfaction, David Bazan (Live Wire! variety show)

Alberta Rose Theatre 3000 NE Alberta St. Kelly Joe Phelps

Andina

1314 NW Glisan St. Toshi Onizuka Trio

Artichoke Community Music

3130A SE Hawthorne Blvd. Leslie Tift and Tom Scott with Richard Colombo

Ash Street Saloon

225 SW Ash St. The Flu, Joint Venture, Big Shell

Backspace

115 NW 5th Ave. James Dean Kindle & the Eastern Oregon Playboys

Barracks

1235 SW 16th Ave. Portland Reggae Revolution: Capleton and the Prophecy Band, Kulcha Knox, Jah Thunder, Iyahson with Chalice Row Records, DJ Ital Vibes, DJ Be-1

Brasserie Montmartre 626 SW Park Ave. Gravy

Buffalo Gap Saloon

6835 SW Macadam Ave. Jordan Harris, Lost and Found, Syrius Jones

Bunk Bar

Camellia Lounge

Hawthorne Hophouse

2035 NE Glisan St. Land Between the Lakes, the Back Alley Barbers

Clyde’s Prime Rib

5474 NE Sandy Blvd. Norman Sylvester

Dante’s

350 W Burnside St. Jeff the Brotherhood, Diarrhea Planet, Moldy Castle

Doug Fir Lounge

830 E Burnside St. The Sheepdogs, Black Box Revelation

Duff’s Garage

1635 SE 7th Ave. Atomic Gumbo, Too Loose

Eagles Lodge, Southeast

4904 SE Hawthorne Blvd. The Aszemar Glenn Band

East Burn

1800 E Burnside St. Boy and Bean

Ella Street Social Club

8 NW 6th Ave. Kendrick Lamar, Ab-Soul, Jay Rock, Stalley, Fly Union

Rotture

315 SE 3rd Ave. Com Truise, Poolside, Bonde Do Role, Stepkid, DJ Rap Class

Slabtown

1033 NW 16th Ave. Bi-Marks, Chemicals, Defect Defect, Piss Test

Slim’s Cocktail Bar

8635 N Lombard St. Otis Heat, No Hawk Yet

Hawthorne Theatre

3862 SE Hawthorne Blvd. Abandon All Ships, For All Those Sleeping, Skip the Foreplay, Upon This Dawning, Palisades

The Press Club

2621 SE Clinton St. Stumbleweed

The Blue Diamond

2016 NE Sandy Blvd.

1669 SE Bybee Blvd. Catarina New

Doug Fir Lounge

The Spot

2041 N Harding St. YACHT, White Rainbow, DJ Tah Rei (music and fashion show)

830 E Burnside St. Radney Foster

Duff’s Garage

Thorne Lounge

4260 SE Hawthorne Blvd. Lydian Conviction

1635 SE 7th Ave. Franco & the Stingers, Billy D, Lisa Mann, Troublemakers, Robbie Laws, Rae Gordon, Kevin Selfe, Hot Tea Cold

Tonic Lounge

Ella Street Social Club

3100 NE Sandy Blvd. Doomsower, Lamprey, Fellwoods

Tony Starlight’s

3728 NE Sandy Blvd. 3 Leg Torso

714 SW 20th Place Battwat, Urges, Jon Benét’s Lip Gloss, Party Foul, Young Dad

Holocene

Unity of Beaverton

1530 SE 7th Ave. Rhythm Method (9 pm); Crooners Corner (6 pm)

White Eagle Saloon

836 N Russell St. Radio Giants (9:30 pm); The Student Loan (4:30 pm)

Wilfs Restaurant and Bar 800 NW 6th Ave. Mia Nicholson Trio

1001 SE Morrison St. Strategy, Ethernet, Daniel Menche, Gulls (DJ set), Invisible Ziggurat (DJ set)

Horning’s Hideout

21277 NW Brunswick Road, North Plains Rain Dance: Pete Kartsounes & the Rain Dance Family Jam, Outpost, Bitterroot, Left Coast Country, Twisted Whistle, Renegade Stringband (Main Stage); Twisted Whistle, Mark Ransom and the Mostest, Laura Ivancie, Belinda Underwood, The Hill Dogs (Dome Stage)

Ivories Jazz Lounge and Restaurant

Winona Grange No. 271

8340 SW Seneca St., Tualatin Gráinne Murphy, Kathleen Boyle

Wonder Ballroom 128 NE Russell St. Rodriguez

1435 NW Flanders St. The Gus Pappelis Happening

Jade Lounge

2346 SE Ankeny St. Vanessa Rogers

LaSalle High School 11999 SE Fuller Road, Milwaukie Michael Allen Harrison

SUN. OCT. 14 3 Doors Down

Landmark Saloon

Al’s Den at the Crystal Hotel

LaurelThirst

4847 SE Division St. Jake Ray

1429 SE 37th Ave. Dennis Hitchcox

Alberta Rose Theatre

Horning’s Hideout

Ivories Jazz Lounge and Restaurant

421 SE Grand Ave. Leviticus Rex

Ted’s Berbati’s Pan

231 SW Ankeny St. IS, Gaytheist, The Gnash, Ninja, Child Children, Kaleidoskull

21277 NW Brunswick Road, North Plains Rain Dance: Fruition, TapWater, Simon Tucker Group, World’s Finest, Taarka, The Student Loan, Wayward Vessel (Main Stage); Simon & Homies, Bitterroot, Pete Kartsounes, Laura Ivancie, Renegade Stringband, the Quick ‘n’ Easy Boys, Krista Herring, Greg Botsford & the Journeyman (Dome Stage)

The Lovecraft

13 NW 6th Ave. Bergerette, Mbrascatu

1001 SE Morrison St. Big Plans (Hales campaign show)

Corkscrew Wine Bar

1332 W Burnside St. MarchFourth Marching Band, Storm Large, Tango Alpha Tango, PHAME Combo, Speaker Minds, Will Koehnke

303 SW 12th Ave. Nathan Baumgartner (of And And And)

Star Theater

Holocene

3000 NE Alberta St. John McCutcheon

Andina

1314 NW Glisan St. Danny Romero

2958 NE Glisan St. Dan Haley & Tim Acott (9 pm); Freak Mountain Ramblers (6 pm)

Tiger House, Paper Brain

Muddy Rudder Public House

Music Millennium

Duff’s Garage

NEPO 42

Goodfoot Lounge

Rontoms

Jade Lounge

3158 E Burnside St. Bergerette 5403 NE 42nd Ave. Open Mic 600 E Burnside St. Hookers, Little Owl

Rotture

Fifteenth Avenue Hophouse

2809 NE Sandy Blvd. Drugstore Cowboy, Toy, Ghostwriter

2845 SE Stark St. Open Mic

2346 SE Ankeny St. Scott Dreams

Jimmy Mak’s

221 NW 10th Ave. Matthew Shipp, Michael Bisio, Whit Dickey

Slabtown

1033 NW 16th Ave. Bone Sickness, Night Nurse, Disavow

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

Slim’s Cocktail Bar

Mississippi Pizza

8635 N Lombard St. Stephanie Niles, Jack Klatt

Someday Lounge

125 NW 5th Ave. No Kind of Rider, Rubedo, The Caste

Spare Room

4830 NE 42nd Ave. Angel Bouchet Band Jam

The Blue Monk

LaurelThirst

3552 N Mississippi Ave. Mr. Ben

Mississippi Studios

3939 N Mississippi Ave. Tift Merritt, Amy Cook

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

Plan B

3341 SE Belmont St. Ab Bars

1305 SE 8th Ave. Generators, Faithless Saints, Secnd Best

The Waypost

Record Room

3120 N Williams Ave. Progress Band, Clint Weaner

Tupai at Andina

8 NE Killingsworth St. Brother, ManX, the Mormon Trannys

Rose Garden

1314 NW Glisan St. Padam Padam

1401 N Wheeler Ave. Bob Dylan, Mark Knopfler

Vie de Boheme

Roseland Theater

White Eagle Saloon

The Blue Diamond

1530 SE 7th Ave. Arc Trio (6:45 pm); Bergerette (4:30 pm) 836 N Russell St. The Sale

8 NW 6th Ave. Less Than Jake, Reel Big Fish 2016 NE Sandy Blvd. Tom Grant Trio

Tiger Bar

MON. OCT. 15 Al’s Den at the Crystal Hotel 303 SW 12th Ave. Nathan Baumgartner (of And And And)

Andina

1314 NW Glisan St. Pete Krebs

Ash Street Saloon 225 SW Ash St. Open Mic

Mississippi Studios

Dante’s

640 SE Stark St. Curse, Hot Victory, JonnyX and the Groadies, Sei Hexe 350 W Burnside St.

317 NW Broadway AC Lov Ring

Unico Plaza

Southwest Sixth Avenue and Southwest Oak Street MarchFourth Marching Band

White Eagle Saloon 836 N Russell St. Leo

Wonder Ballroom

128 NE Russell St. Nouvelle Vague, Yasmine Hamdan

TUES. OCT. 16 Al’s Den at the Crystal Hotel 303 SW 12th Ave. Nathan Baumgartner (of And And And)

Aladdin Theater

3017 SE Milwaukie Ave. In the Footsteps of Django

Andina

1314 NW Glisan St. Neftali Rivera

Ash Street Saloon

225 SW Ash St. Set West, the Goddamn Band

Backspace

115 NW 5th Ave. Honduran, Worthless Eaters, Aberrant

Bunk Bar

2346 SE Ankeny St. Adlai Alexander Trio (8 pm); Carinne Carpenter (6 pm)

1028 SE Water Ave. The Ocean Floor

Camellia Lounge

510 NW 11th Ave. Tom Wakeling, Steve Christofferson, David Evans and Todd Strait

Jimmy Mak’s

221 NW 10th Ave. Bill Champlin (9:30 pm and 7 pm)

Crystal Ballroom

Katie O’Briens

1332 W Burnside St. Joshua Radin, A Fine Frenzy, Lucy Schwartz

Doug Fir Lounge

Kelly’s Olympian

426 SW Washington St.

1635 SE 7th Ave. The 44s

315 SE 3rd Ave. Molly Nilsson, Lost Lockets, IBQT, DJ Citymouth

Boom Bap!

3939 N Mississippi Ave.

Doug Fir Lounge

830 E Burnside St. Grimes, Elite Gymnastics, Myths

Mississippi Pizza

3552 N Mississippi Ave. Butterfly Breakdown (9 pm); Pagan Jug Band (6 pm)

Karaoke from Hell

8105 SE 7th Ave. Irish Music

1435 NW Flanders St. Felix Martin Trio

Jade Lounge

Willamette Week OCTOBER 10, 2012 wweek.com

Roseland Theater

4111 SE Hawthorne Blvd. Spodee-O’s

714 SW 20th Place NorthWestClicka, BMP503, Cali Cash, Bigg B, Starlife Music Group, Nucefer McDucc, Liqwid, Michael Cole, SamuelThe1st, G Wyte and Copper Loc, B.D.P., Mickey Clips, Luckkey, Drew Locs, $hake$, King, A Banditz Life

1517 NE Brazee St. Switchgrass

2530 NE 82nd Ave. Random Axe, The Warshers, Zombies Love Gizzards, Old Hand, the Kilowatt Hour

5474 NE Sandy Blvd. Ron Steen Jazz Jam

Crystal Ballroom

Vie de Boheme

Red Room

2845 SE Stark St. Scott Law Electric Band

2026 NE Alberta St. Bad Luck Blackouts

Original Halibut’s II

8 NE Killingsworth St. The Harvey Girls, Rollerball, Wow & Flutter

6526 SE Foster Road Mother Shrew

The Know

4627 NE Fremont St. Hawaiian Music

Record Room

Gemini Lounge

3341 SE Belmont St. BTSR Band, the Working Stiffs, Munro/Nichols

12650 SW 5th Ave., Beaverton Michael Allen Harrison

2527 NE Alberta St. Sonny Hess

3416 N Lombard St. System and Station, When the Broken Bow, Northern

Goodfoot Lounge

Club 21

Noho’s Hawaiian Cafe

Foggy Notion

1028 SE Water Ave. Corin Tucker Band, Houndstooth 510 NW 11th Ave. Christine Havrilla and Gypsy Fuzz

3158 E Burnside St. Rodriguez

The Blue Monk

courtesy of new west records

Vie de Boheme

Music Millennium

Clyde’s Prime Rib

Bolt Upright

COWBOyS AND PUPPIES: The Flatlanders play the Aladdin Theater on Wednesday, Oct. 10.

830 E Burnside St. Aaron Freeman

CALENDAR Duff’s Garage

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

Jimmy Mak’s

Goodfoot Lounge

221 NW 10th Ave. The Mel Brown Septet (8 pm); UBUNTU Project (6:30 pm)

Holocene

2958 NE Glisan St. Jackstraw

2845 SE Stark St. Kory Quinn

LaurelThirst

1001 SE Morrison St. Chris Cohen, Lake, Zac Pennington

Mission Theater

Ivories Jazz Lounge and Restaurant

Mississippi Pizza

1435 NW Flanders St. Jazz Jam with Carey Campbell and Hank Hirsh Trio

Jade Lounge

2346 SE Ankeny St. Margeret Wehr

1624 NW Glisan St. Billy Joe Shaver, Jake Ray 3552 N Mississippi Ave. Stephanie Nilles, Jack Klatt

Mississippi Studios

3939 N Mississippi Ave. Battleme, XDS, Monoplane (9 pm); Jeremy Messersmith (Bar Bar Apartment, 7 pm)

Slabtown

Thirsty Lion

Ted’s Berbati’s Pan

Tony Starlight’s

The Blue Diamond

2016 NE Sandy Blvd. Sportin’ Lifers

The Blue Monk

3341 SE Belmont St. Pagan Jug Band

The Know

2026 NE Alberta St. Dream Salon, Big Black Cloud, Loose Values

Tiga

1465 NE Prescott St. DJ Survival Sklz

412 NE Beech St. Sweet Jimmy T

CC Slaughters

219 NW Davis St. Trick with DJ Robb

Ground Kontrol

511 NW Couch St. Tronix with DJ-808

Matador

1967 W Burnside St. DJ Whisker Friction

Red Cap Garage

1035 SW Stark St Riot Wednesdays with Amy Kasio

Star Bar

639 SE Morrison St. DJ Danny Dodge

The Crown Room

205 NW 4th Ave. Proper Movement: Sense One, the Dirtmerchant

The Whiskey Bar 31 NW 1st Ave. American Girls

Tiga

1465 NE Prescott St. DJ Maxamillion

Yes and No

20 NW 3rd Ave. Death Club with DJ Entropy

THURS. OCT. 11 Beech Street Parlor 412 NE Beech St. Dood A La Mood

CC Slaughters

219 NW Davis St. Hip Hop Heaven with DJ Detroit Diezel

Fez Ballroom

316 SW 11th Ave. Shadowplay: DJs Ghoulunatic, Paradox, Horrid

Holocene

1001 SE Morrison St. PDneXt: Natasha Kmeto, Graintable, Plumblyne, Danny Corn, Krueger, Ben Tactic

Lola’s Room at the Crystal Ballroom 1332 W Burnside St. ‘80s Video Dance Attack with VJ Kittyrox

Rotture

315 SE 3rd Ave. I’ve Got a Hole in My Soul with DJ Beyondadoubt

Someday Lounge

Counter Culture with DJ Coulter

The Know

412 NE Beech St. Lord Smithingham

The Whiskey Bar

219 NW Davis St. Revolution with DJ Robb

31 NW 1st Ave. Shogun, DJ Eddie, DJ Zoxy, Jamie Meushaw

Tiga

1465 NE Prescott St. DJ Grapefruit

FRI. OCT. 12 Beech Street Parlor 412 NE Beech St. Alex Smith

CC Slaughters

219 NW Davis St. Flamin’ Fridays with DJ Doughalicious

Element Restaurant & Lounge 1135 SW Morrison St. Chris Alice

Fez Ballroom

316 SW 11th Ave. Decadent ‘80s: DJ Non, Jason Wann; Rewind with Phonographix DJs

Foggy Notion

3416 N Lombard St. Bent

Goodfoot Lounge

2845 SE Stark St. Soul Stew with DJ Aquaman

Groove Suite

440 NW Glisan St. Cock Block: DRC, Zita, Heatesca, Sappho

East End

203 SE Grand Ave. Loose Fit

White Eagle Saloon

836 N Russell St. Joaquin Lopez, Amaya Villazan, Ben and Lexy, Craig Stewart

YU Contemporary

800 SE 10th Ave., Portland Mark Fell

1035 SW Stark St Mantrap with DJ Lunchlady

Refuge

116 SE Yamhill St. Adham Shaikh, Nominus, the Rage Commander, Plantrae, Elcapitan, Eric Pipedream

Rotture

315 SE 3rd Ave. Live and Direct: Rev Shines, DJ Nature, Slimkid3

The Conquistador

639 SE Morrison St. Blank Friday with DJ Ikon 2045 SE Belmont St. DJ Drew Groove

The Crown Room

205 NW 4th Ave. Noise Friday with Doc Adam

639 SE Morrison St. DJ Matt-O

The Lovecraft

421 SE Grand Ave. DJ Hellian

MON. OCT. 15 Beech Street Parlor 412 NE Beech St. La Jefa

CC Slaughters

219 NW Davis St. Maniac Monday with DJ Doughalicious

Ground Kontrol

Kelly’s Olympian

Holocene

Star Bar

Lola’s Room at the Crystal Ballroom

Tiga

511 NW Couch St. DJs Destructo, Chip 1001 SE Morrison St. Atlas: DJ Anjali, E3, the Incredible Kid, Joro Boro

1332 W Burnside St. Come As You Are

Mississippi Studios

426 SW Washington St. Eye Candy VJs 639 SE Morrison St. Metal Monday with DJ Blackhawk 1465 NE Prescott St. DJ Pickle Barrel

TUES. OCT. 16

3939 N Mississippi Ave. Mrs.: DJs Automaton, Beyondadoubt, Ill Camino

Beech Street Parlor

Oregon Convention Center

CC Slaughters

412 NE Beech St. DJ Party Aminal

777 NE Martin Luther King Jr. Blvd. Moonlight Masquerade: Porter Robinson, Zedd, Morgan Page, Beltek, Nick Thayer, Hyperfunk, James Renegade, DJ Offline, Adventure Club, Krewella, Marty Party, Break Science, Curtis B, Most Custom, Jaden

219 NW Davis St. Girltopia with DJ Robb

Someday Lounge

Star Bar

Red Cap Garage

Star Bar

511 NW Couch St. Service Industrial with DJ Tibin

316 SW 11th Ave. Popvideo with DJ Gigahurtz

Holocene

1001 SE Morrison St. Snap!: Dr. Adam, Colin Jones, Freaky Outty, Maxx Bass (9 pm); Aperitivo Happy Hour with DJ Maxamillion (5 pm)

Hive: DJs Owen, Brian Backlash

Fez Ballroom

511 NW Couch St. Super Cardigan Bros.

Star Bar

205 NW 4th Ave.

CC Slaughters

125 NW 5th Ave. The Prince & Michael Experience: Erotic City, DJ Dave Paul

Ground Kontrol

Star Bar

The Crown Room

SAT. OCT. 13 Beech Street Parlor

2026 NE Alberta St. Eye Candy with VJ Reverend Danny Norton

125 NW 5th Ave. DJs Mr. Romo, Michael Grimes 639 SE Morrison St. DJ Jake Cheeto

3728 NE Sandy Blvd. Sinatra Fest: Dan Murphy

421 SE Grand Ave.

31 NW 1st Ave. Recess: Russ Liquid, Thrift Works, Mr. Wu, C. Markle

WED. OCT. 10

71 SW 2nd Ave. PX Singer-Songwriter Showcase

The Lovecraft

The Whiskey Bar

Beech Street Parlor

Altered Beats

1033 NW 16th Ave. Isotopes Punkrock Baseball Club, Jabronis, Destroy Nate Allen 231 SW Ankeny St. Jeremiah Birnbaum

MUSIC

Eagle Portland

835 N Lombard St DMTV with DJ Animal

Hollywood Theatre

4122 NE Sandy Blvd. Bostich & Fussible (Portland Latin American Film Festival) 639 SE Morrison St. DJ Bradly

The Crown Room

639 SE Morrison St. DJ Trimmy Trim

205 NW 4th Ave. See You Next Tuesday: J:Kenzo, C. Markle, DJ Mafia, Kellan

The Crown Room

Tiga

The Lovecraft

Trader Vic’s

The Whiskey Bar

Yes and No

205 NW 4th Ave. Up & Up with DJ Nature 421 SE Grand Ave. Musick for Mannequins: Tom Jones, Erica Jones 31 NW 1st Ave. BPM: Chase Manhattan, Uncommon Sense, Albino Gorilla, the Best Dancers

1465 NE Prescott St. DJ Flip Forage 1203 NW Glisan St. Sneaky Tiki and the Lava Lounge Orchestra 20 NW 3rd Ave. Idiot Tuesdays with DJ Black Dog

Tiga

1465 NE Prescott St. DJ Dirty Hands

SUN. OCT. 14 Matador

1967 W Burnside St. Next Big Thing with Donny Don’t

Plan B

1305 SE 8th Ave.

Willamette Week OCTOBER 10, 2012 wweek.com

Food & drink

Page 22

Connective Conversations: Inside Oregon Art

Curator and Critic Tours and Lectures

WAKE UP CALL:

THE CRITIC AS CULTURAL CAFFEINE Sunday, October 14 at 2:00 p.m. University of Oregon in Portland School of Architecture and Allied Arts Event Room | White Stag Block | 70 NW Couch Street

Lecture is free and open to the public For more information, 503-412-3718 or visit aaa.uoregon.edu/conversations facebook.com/ConnectiveConversations EO/AA/ADA institution committed to cultural diversity

SUZANNE RAMLJAK 40

Willamette Week OCTOBER 10, 2012 wweek.com

oct. 10-16

= WW Pick. Highly recommended. Most prices listed are for advance ticket sales. At-the-door increases and so-called convenience charges may apply, so it’s best to call ahead. Editor: REBECCA JACOBSON. Theater: REBECCA JACOBSON (rjacobson@ wweek.com). 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: msinger@wweek.com.

THEATER Art

In 1934, an interviewer asked Gertrude Stein to explain a piece of her writing. Stein chided him. “If you enjoy it, you understand it,” she said. “If you do not enjoy it, why do you make a fuss about it?” Stein could just as easily have asked this question of Marc, a character in Yasmina Reza’s Art. Marc definitely does not enjoy the piece of art recently purchased by his friend Serge, a large, white-on-white canvas for which Serge paid $200,000. Marc declares it “shit,” making a fuss that spirals into a vicious reassessment of the men’s friendship. This casual and stark production by new company Theatre Now—cleverly staged at various Pearl District galleries—benefits from a skilled trio of actors, particularly Golden Globe nominee Daniel Benzali. Art is breezy and crisp and easy to like, with plenty of well-crafted zingers and pithy one-liners. Engaging yet somewhat detached, it’s unlikely to cause a fuss—for better or worse. REBECCA JACOBSON. Multiple venues. 7:30 pm Fridays-Saturdays, 4 pm Sundays. Closes Oct. 21. $12-$20.

The BFG

Northwest Children’s Theater opens its 20th season with this Roald Dahl favorite about a young girl and a “Big Friendly Giant” who must save England from the BFG’s evil, child-eating counterparts. NW Neighborhood Cultural Center, 1819 NW Everett St., 222-4480. Noon and 4 pm Saturdays and Sundays. Closes Oct. 28. $18-$22.

The Black Lizard

Imago Theatre presents an encore performance of last season’s popular genre-bending production, directed by Jerry Mouawad. Yukio Mishima’s play is about murder, diamond heists, seduction and deception. This paper called it “a thing of wit and intelligence and fun.” Imago Theatre, 17 SE 8th Ave., 231-3959. 7:30 pm Thursdays, 8 pm Fridays-Saturdays, 2 pm Sundays. Closes Nov. 4. $15-$30.

Bloody Bloody Andrew Jackson

In this election year, Portland Playhouse looks back on American political history—way back. The company stages its first musical, an emo-rock tale about our seventh president, the man behind the Trail of Tears. Heavy on narcissistic numbers and oversexed characters, this is populist politics squeezed into a pair of skinny jeans. Expect brassy (but not irrelevant) relief from contemporary political muck—The New York Times said Bloody Bloody “presents a wild and wooly chapter in American history that feels anything but distant.” Portland Playhouse, 602 NE Prescott St., 205-0715. 7:30 pm ThursdaysSaturdays, 2 pm Sundays through Sunday, Nov. 11. $15-$38.

The Clean House

Lunacy Stageworks presents Sarah Ruhl’s poignant, somewhat nutty comedy, in which a Brazilian cleaning woman dreams of being a comedian. Sellwood Masonic Lodge, 7126 SE Milwaukie Ave., 971-275-3568. 8 pm Thursdays-Saturdays. Closes Oct. 13. $10-$15, Thursdays are “pay what you will.”

The Homecoming

No a company to shy away from challenge, Defunkt Theatre opens its 13th season with Harold Pinter’s enigmatic play about a son who brings his American wife to meet his working-class family in North London. The Tony-winning drama exposes thorny issues of morality, sex and violence. The Back Door Theater, 4319

SE Hawthorne Blvd., 418-2960. 8 pm Thursdays-Sundays through Saturday, Nov. 17. $15-$20, Thursdays are “pay what you will.”

Little Shop of Horrors

Broadway Rose presents the doo-wop horror spoof about a loser florist who acquires a reckless carnivorous plant. Broadway Rose New Stage Theatre, 12850 SW Grant Ave., Tigard, 620-5262. 7:30 pm ThursdaysSaturdays; 2 pm Sundays; 2 pm Saturday, Oct. 13. Closes Oct. 21. $20-$40.

The Lost Boys Live!

What’s the deal with today’s vampires, huh? In my day, creatures of the night didn’t sparkle, and they certainly weren’t conduits for the virginal desires of hormonal teenage girls. No, the vampires I grew up with hung out in caves, eating Chinese takeout and listening to the Doors. The Lost Boys—Joel Schumacher’s 1987 horror flick about a gang of stylishly mulleted bloodsuckers tormenting Jason Patric and the two Coreys—was a generational touchstone for kids like myself, and I’ll be damned if I’m going to let a bunch of Portland sketch comedians snark all over my childhood. But the folks at Bad Reputation Productions must’ve also spent their formative years obsessing over the movie, because their live stage adaptation is as much a riotously fun homage as it is a gentle mockery. Injecting self-conscious meta-humor into the original screenplay, writers Shelley McLendon and Courtenay Hameister mostly take jabs at the film’s overwhelming ’80s-ness, but the real laughs come from the cast biting down hard on the movie’s hammiest lines. In particular, Tynan DeLong captures the slack-jawed innocence—and vomitous Technicolor wardrobe—of young Corey Haim, and Michael Fetters slips comfortably into Kiefer Sutherland’s great, douchey sneer. The production is remarkably resourceful, utilizing projected comic-book panels, Razor scooters and roller skates to bring the film to life, and never feels limited by the tiny theater at the Ethos Music Center. If you’ve never seen the movie, the play is probably a bit insider-y at times. But, hey, if you didn’t watch The Lost Boys every weekend from the ages of eight to 13 like some of us, that’s your problem. MATTHEW SINGER. Ethos/IFCC, 5340 N Interstate Ave. 8 pm Fridays-Saturdays through Nov. 3. $18-$22.

“Master Harold”…and the Boys

Profile Theatre, which each year produces a full slate of plays by a different playwright, devotes this season to Athol Fugard, a South African dramatist known for persuasive plays about apartheid. The season opener is a semi-autobiographical work about three friends—one white, two black— grappling with bigotry and institutionalized racism in 1950s South Africa. Theater! Theatre!, 3430 SE Belmont St., 242-0080. 7:30 pm WednesdaysSaturdays, 2 pm Sundays. Closes Oct. 28. $16-$30.

Othello

Bill Alexander is kind of a big deal: He’s won a little thing called the Olivier Award, and he’s a former associate director of the Royal Shakespeare Company. Now, he’s directing the season opener at Northwest Classical Theatre Company, which also stars Portland favorite Michael Mendelson as the villainous Iago. Not too shabby. Shoe Box Theater, 2110 SE 10th Ave., 971-244-3740. 7:30 pm ThursdaysSaturdays, 2 pm Sundays through Nov. 4. $20.

Seven Guitars

August Wilson’s 10-play The Pittsburgh

Cycle, which explores AfricanAmerican life over the decades, has been mighty popular on Portland stages recently. Now, Artists Rep presents the Portland premiere of this installment, set in 1948 and directed by Kevin Jones. Artists Repertory Theatre, 1515 SW Morrison St., 241-1278. 7:30 pm Tuesdays-Sundays, 2 pm Sundays. Closes Nov. 11. $20-$50.

Sweeney Todd: The Demon Barber of Fleet Street

House lights still on, a rags-clad crowd shuffles about the stage, looking forlorn and doing little. Suddenly, two actors dressed as riot police storm the stage and haul off one of the men, exiting without explanation. Has director Chris Coleman converted Stephen Sondheim’s macabre musical into contemporary political commentary? Not really. Though Coleman places some emphasis on Sweeney Todd’s class struggles, those riot police are the only transparent contemporary reference. Otherwise, this Portland Center Stage production serves the play straight, dishing up plenty of grisly mayhem and a fair bit of gore but stopping short of wild melodrama. REBECCA JACOBSON. Gerding Theater, 128 NW 11th Ave., 445-3700. 7:30 pm Tuesdays-Saturdays, 2 pm and 7:30 pm Sundays with alternating Saturday matinee and Sunday evening performances. Noon select Thursdays. Closes Oct. 21. $30-$70.

In the Footsteps of Django

Though one of the immortal Gypsy guitarist’s descendants, Lulo Reinhardt, will be performing with his Latin Swing Project, all three bands on this French jazz triple bill, which also includes energetic guitar quartet Les Doigts de L’Homme (the Fingers of Man) and chanteuse Norig Gadji with guitarist Sébastien Giniaux, lean more toward contemporary sounds than Django imitations. Aladdin Theater, 3017 SE Milwaukie Ave., 234-9694. 8 pm Tuesday, Oct. 16. $27.50-$30.

Opera Theater Oregon

The inventive classical institution continues to explore new territory by creating its first radio opera: composer Gian Carlo Menotti’s sly, funny and ultimately poignant one-act 1939 opera buffa about small-town gossip, The

Old Maid and the Thief. With help from sound-effects artists from Willamette Radio Workshop and voice actors, the company transforms the Mission into a 1930s radio studio, with the audience there to witness the story and participate in the frame narrative: a live recording of the performance for chamber quintet and a cast of singers led by PSU professor and superb soprano Christine Meadows. Mission Theater, 1624 NW Glisan St., 314.0256. 7:30 pm Thursday-Friday, Oct. 11-12. $14-$20.

Oregon Symphony

Guest conductor Aziz Shokhakimov leads the orchestra in RimskyKorsakov’s exhilarating Capriccio Espagnol, Tchaikovsky’s poignant

CONT. on page 42

REVIEW PAT R I C K W E I S H A M P E L

PERFORMANCE

COMEDY Joey Diaz

The Cuban-American comedian, known for his role in The Longest Yard and his Beauty and da Beast podcast, takes the Helium stage. Helium Comedy Club, 1510 SE 9th Ave., 888-643-8669. 8 pm Thursday, Oct. 11. $18-$23.

Margaret Cho

Does this woman even need an introduction? The Grammy-nominated comedian sells out world tours and tackles serious topics with whipsmart wit and blistering humor. Helium Comedy Club, 1510 SE 9th Ave., 888-643-8669. 7:30 and 10:30 pm Friday-Saturday, Oct. 12-13. $27.50-$32.50.

Spectravagasm

Post5 Theatre presents Halloweenthemed sketch comedy, featuring macabre sex, vulgar scenarios and multimedia clips. Milepost 5, 850 NE 81st Ave., 729-3223. 10:30 pm Fridays-Saturdays through Oct. 27. $10 suggested.

The Neutrino Project

Improvisers race against the clock to whip up a movie, relying on audience participation for title suggestions, donated props and cameo performances. Curious Comedy, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 8 pm Fridays-Saturdays through Oct. 13. $12-$15.

CLASSICAL Al-Andalus Ensemble

The venerable Portland world-music ensemble performs songs about love from many musical traditions and in various languages (Arabic, Spanish, Ladino, English). The core lineup of flamenco guitarist Julia Banzi and oud/percussion/ney-flute player Tarik Banzi is supplemented by deep-voiced singer Emily Miles, Portland Baroque Orchestra cellist Lori Presthus and visiting Spanish dancer Laura Dubroca. Reed College, Eliot Hall , 3203 SE Woodstock Blvd., 800-838-3006. 7:30 pm Friday-Saturday, Oct. 12-13. $10-$20.

Duo Baars-Henneman

The renowned Dutch composers/ improvisers play spacey, jazzy, sometimes-wailing music inspired by poems about autumn on viola, reed instruments and shakuhachi. But even the pieces that don’t use that traditional bamboo flute radiate a Japanese feel. The Blue Monk, 3341 SE Belmont St., 503-595-0575. 9 pm Sunday, Oct. 14. $3-$7.

Haunted by tHe Past: danny Wolohan (left) and William salyers.

THE BODY OF AN AMERICAN (PORTLAND CENTER STAGE) the wars abroad and the battles within.

At the beginning of Dan O’Brien’s play, two actors introduce themselves as Paul Watson. One then speaks as Terry Gross, the familiar voice of NPR’s Fresh Air. Soon after, the other also adopts the radio host’s serene voice. A few lines later, the conversation draws in the playwright. Suddenly, it’s a rapid-fire exchange between three characters performed by only two men. Confounding yet not confusing, it’s a fitting opening to this intricate production. Watson—the man doubly introduced in the play’s first lines—is a war journalist who won the 1994 Pulitzer Prize for a photo of an American soldier being dragged through the streets of Mogadishu. The image haunted Watson. He claims that as he snapped the shutter, the soldier spoke to him: “If you do this, I will own you forever.” O’Brien, the playwright, heard Watson interviewed on NPR in 2007 and sent him an email. The ensuing exchange led to The Body of an American, premiering at Portland Center Stage. Body is an unconventional exploration of trauma, vulnerability and trust, set on a stark stage as photos and maps slide behind. Though each actor has a primary role—William Salyers is both hardened and wounded as Paul, and the superb Danny Wolohan plays Dan with energy, humor and sorrow—they also take on smaller roles, and occasionally speak as the opposite character. Director Bill Rauch deftly harnesses the play’s fluidity, and it’s a treat to watch these skilled actors flit in and out of roles, altering their gaits and voices with ease. The email exchange makes up much of the first act: Paul recounts terrifying stories from war zones, Dan diminishes his own suffering in relation to Paul’s, and each accuses the other of half-truths. Dan to Paul: “Everything has this kind of Hemingway patina to it.” Paul to Dan: “You only speak in these mock-whimsical, ironic asides.” O’Brien’s language is vivid and grisly—a baby’s head is “cracked open like a coconut.” In the second act, the men meet in the Canadian Arctic, the contours of the icy mountains carved with light on the backdrop. Though this too-long act loses some of the early urgency, it’s a fascinating study of how these two men learn to relate. Body begins with matters of global significance but personal questions—about healing, forgiveness and human connection—most resonate. REBECCA JACOBSON.

see it: The Body of an American plays at the Gerding Theater, 128 NW 11th Ave., 445-3700. 7:30 pm Tuesdays-Sundays, 2 pm SaturdaySundays, noon Thursdays. Through Nov. 11. $25-$54. Willamette Week OCTOBER 10, 2012 wweek.com

OCT. 10-16

sixth and ﬁnal symphony and contemporary French composer Henri Dutilleux’s dramatic 1985 evocation of Van Gogh paintings, “The Tree of Dreams,” with violinist Yossif Ivanov. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 228-1353. 7:30 pm Saturday-Sunday, 8 pm Monday, Oct. 13-15. $21-$100.

PDX Jazz @ Jimmy Mak’s Presents: Fall 2012 Lineup Monday, Oct. 15 — Sets @ 8 PM & 9:30 PM Matthew Shipp trio “...Mr. Shipp is finding success on his own terms” - New York Times

$22 Reserved, $18 General Admission Tuesday, Oct. 23 — Sets @ 8 PM & 9:30 PM Gregoire Maret trio “...an accessible but ambitious jazz cosmopolitanism...” - New York Times $22 Reserved, $18 General Admission Thursday, Oct. 25th — Shows @ 7 PM & 9:30 PM Delfeayo Marsalis quintet “A resoundingly skillful trombonist and composer” - New York Times

$25 Reserved, $20 General Admission Coming Soon: Thursday, November 8th The Clayton Brothers Album Release/Performance

2013 U.S. Bank Portland Jazz Festival presented by Alaska Airlines Feb. 15-24 Lineup Announcement Oct 15 Membership pre-sale Oct 15-26

Are You A Citizen of

JAZZLANDIA?

www.pdxjazz.com : (503) 228.5299 BUY TICKETS: tickettomato.com • PDX Jazz members receive 10% off reserved tickets

Pacifica Quartet

Friends of Chamber Music brings back the misnamed but masterful foursome (now based in Bloomington, Ind., after years in Chicago and New York) to perform two splendid programs. Monday’s concert features selections from Dvorák’s lovely “Cypresses”; the fervent, rarely heard, World War II sixth quartet by the 20th-century Polish-Russian composer Mieczysław Weinberg (whose music sometimes resembles Bartók’s); and that summit of the string quartet with its mighty original ending, Beethoven’s so-called “Great Fugue.” Tuesday’s concert includes an earlier Beethoven quartet; Prokofiev’s striking, folk-influenced (complete with evocations of Caucasian percussion and plucked instruments) String Quartet No. 2; and Smetana’s first quartet. Lincoln Hall, Portland State University, 1620 SW Park Ave., 224.9842. 7:30 pm MondayTuesday, Oct. 15-16. $15-$45.

Pioneering postmodern choreographer Trisha Brown, a seminal ﬁgure in New York’s experimental Judson Church Theater, brings her company back to White Bird after a 10-year absence to dance three decades’ worth of work, including a U.S. premiere. The program opens with 1978’s Watermotor, a speedy solo originally performed by Brown

For more Performance listings, visit

REVIEW

Chamber Music Northwest brings two of its most popular summer festival performers: the engaging, young pianist along with the veteran Guarneri Quartet cellist to play all ﬁve of Beethoven’s gorgeous cello sonatas, which span the composer’s career. Lincoln Hall, Portland State University, 1620 SW Park Ave., 725-3307. 3 pm Sunday, Oct. 14. $15-$45.

Portland Baroque Orchestra, Cappella Romana

The Northwest’s two early music ensembles team up again in choral works by the big three of Baroque music: Handel, Vivaldi and J.S. Bach. First Baptist Church, 909 SW 11th Ave., 715-1114. 7:30 pm FridaySaturday, 3 pm Sunday, Oct. 12-14. $18-$49.

Agnieszka Laska Dancers

Teen sex slavery and human traﬃcking are the impetus for the dancetheater premiere Broken Flowers, performed by the Agnieszka Laska Dancers to music from the company’s resident composer, Jack Gabel, as well as selections from Hendrix Uncovered. Zoomtopia, 810 SE Belmont St., zoomtopia.com. 8 pm Friday-Saturday, Oct. 12-13, 3 pm Sunday, Oct. 14. $12-$100.

Miz Kitty’s Parlour Vaudeville Novelty Show and Revusical

Something seems missing from this show—burlesque, maybe. Nothing to worry about, though. The solid lineup includes Brazilian jazz and swing from the Brazillionaires, contortion and feats of strength from Keph Sherin, ballads from the Quiet American, marching mayhem from the unquiet Brassroots Movement brass band and comedy from Henrik Bothe. Mission Theater, 1624 NW Glisan St., 223-4527. 7 pm Saturday, Oct. 13. $12-$15. 21+.

Oregon Ballet Theatre

Oregon Ballet Theatre’s season opener, Body Beautiful, is a collaboration with the Portland Art Museum: While the museum boasts the U.S. premiere of the Body Beautiful in Ancient Greece exhibition (on loan from the British Museum), OBT oﬀers a program celebrating the beauty of the human form in motion. Greek myth informs the choices: Apollo, Balanchine’s ﬁrst collaboration with Stravinsky, celebrates the god and his muses with sculptural neoclassical movement; Kent Stowell takes on the tragic love story of Orpheus and Eurydice with the pas de deux Orpheus Portrait;

Willamette Week OCTOBER 10, 2012 wweek.com

Trisha Brown Dance Company

and committed to ﬁlm by Babette Mangolte. Longtime collaborator Robert Rauschenberg designed the lighting and costumes for Brown’s Foray Forêt, which will be accompanied live by members of the Oregon Crusaders drum and bugle corps. The 2011 work Les Yeux et l’âme (“the eyes and the soul”) is part of Brown’s rendition of Rameau’s opera Pygmalion. Then there’s the U.S. premiere of I’m Going to Toss My Arms—If You Catch Them They’re Yours, which refers to directions Brown gave her dancers in rehearsal. Newmark Theater, 1111 SW Broadway, 248-4335. 8 pm Thursday-Saturday, Oct. 11-13. $20-$30.

Peter Wiley and Anna Polonsky

DANCE

and William Forsythe’s lean and rhythmic ensemble piece shows oﬀ dancers as the physically gifted beings they are. Artistic director Christopher Stowell and artist John Grade collaborate on the ﬁnal work, a world premiere called Ekho. Keller Auditorium, 222 SW Clay St., 800745-3000. 7:30 pm Saturdays Oct. 13 and 20 and Friday, Oct. 19; 2 pm Sunday, Oct. 14. $23-$147.95.

OWEN CAREY

PERFORMANCE

FAMILY AFFAIR: Jacklyn Maddux (from front left) Michael O’Connell and Bruce Burkhartsmeier.

THAT HOPEY CHANGEY THING (THIRD RAIL REPERTORY THEATRE) Going rogue in Rhinebeck, N.Y.

That Hopey Changey Thing is like reverse dinner theater: Rather than audience members munching on their meal, it’s the actors sipping wine and gobbling pie. Some even take second helpings. But unlike most dinner theater, where the show is fluff, Richard Nelson’s play—set on the night of midterm elections two years ago, and cribbing its title from a Palinism—plumbs knotty family dynamics and the ragged state of liberal politics. Hopey Changey is also the first in a planned four-play cycle, which will follow a single family, the high-spirited Apple clan, over four years (director Scott Yarbrough and his cast and crew have all committed to the project). The dinner here takes place at the upstate New York home of schoolteacher Barbara Apple, who lives with her uncle Benjamin, a former actor who’s developed amnesia since his heart attack. Barbara’s three siblings join them: a lawyer, a secondgrade teacher and a writer, who totes along her actor boyfriend. For much of the production, it’s as if we’re eavesdropping on so many conversations between disaffected liberals. Campaign finance, shovel-ready stimulus packages and the Middle East are weary topics, and the conversation is articulate but rarely fresh. “We don’t have elections anymore,” one sister says. “We just have money contests.” Later, after the brother drops Sarah Palin’s name, Barbara needles him. “So what’s your point?” she asks. “Our elections are a mess,” he says. Zzzz. The characters’ personal conversations are more engaging. Talk flows easily from the playful to the weighty, from recollections of embarrassing childhood memories to conversations about Ben’s amnesia (Bruce Burkhartsmeier is rambunctious and affecting). Though arrows never fly—this is a family that tortures by tickling— the skilled cast rouses both quiet empathy and genuine laughter. As an isolated production, Hopey Changey is perhaps too muted. But as a prelude to a four-play cycle, it’s a compelling introduction to a family worth knowing. When the next dinner invitation arrives, I’ll accept. REBECCA JACOBSON. SEE IT: That Hopey Changey Thing plays at the Winningstad Theatre, Portland Center for the Performing Arts, 1111 SW Broadway, 235-1101. 7:30 pm Thursdays-Saturdays, 2 pm Sundays. Through Oct. 28. $22.25-$41.25.

VISUAL ARTS

oct. 10-16 REVIEW

= 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.

THE GEMINI SERIES Groovy colors, baby, yeah!

landscape that seems vaguely haunted. The sky emanates eerie light, thanks to the sun’s extreme angle in arctic climes, coating boats, buildings and human faces with an ashen pallor. arnold’s dynamic compositions capture bald eagles, deserted fish canneries and fishermen hanging out in their off hours. The most disturbing pictures show a seaside cemetery where the ground is gradually eroding into the water, exposing caskets and washing them out to sea. Through Oct. 27. Charles A. Hartman Fine Art, 134 NW 8th Ave., 287-3886.

Francis Celentano: The Gemini Series blankET STaTEmEnT: marie Watt’s Skywalker/Skyscraper.

Andrea Schwartz-Feit: Full Circle

Leaving behind the fastidious order of her grid-based works, andrea Schwartz-Feit employs a versatile curlicue motif in her new series. Variously resembling trees, fish, fences and Slinkies, this motif allows the artist a gestural freedom and allusiveness that she is obviously relishing. The show’s most compelling works, Amnesia and Innards, isolate the coil motif in a window of illumination, cordoned off from an otherwise waxy, black night. The artist complements the paintings with encaustic sculptures that are by turns whimsical and stoic. Liberated from the grid, Schwartz-Feit has found a new lyricism. Through Oct. 27. Butters Gallery, 520 NW Davis St., 2nd floor, 248-9378.

Angelina Woolley: Inscapes and Landscapes

angelina Woolley’s paintings of ballet dancers are reveries that blur the boundaries between figuration, landscape, and decorative motifs. in works such as Emerald, long-legged ballerinas stand in an aspen grove whose leaves and vines curl and twine from foreground to background. it is a half-natural, half-illusionistic space in which vegetal motifs function dually as landscape and graphic elements. Woolley carries off this tricky feat with elan. She renders the dancers with a neo-impressionist technique, flecking a tulle skirt with elegant jots of orange, periwinkle, lemon, and chartreuse. as always, Woolley’s brushstrokes are luscious and assured. Through Nov. 11. Mark Woolley Gallery @ Pioneer, 700 SW 5th Ave., 3rd floor, Pioneer Place Mall, 998-4152.

Corey Arnold: Graveyard Point

The Bristol Bay, alaska, of corey arnold’s photographs is a flat, misty

The groovy-baby Op art movement of the 1960s and 1970s lives on in the work of Seattle-based painter Francis celentano. his works are boldly patterned, often boldly colored, and always hyper-busy, with vertigoinducing effects that boggle the eye. in his latest series, he paints on many different shapes of canvases, including lozenges, which are diamondshaped. Many of the show’s standout pieces make use of patterns that are reminiscent of Native american decorative motifs. Through Oct. 27. Laura Russo Gallery, 805 NW 21st Ave., 226-2754.

MK Guth: Best Wishes

internationally known since her wellpublicized exhibition at the Whitney Biennial in New York city, MK Guth often incorporates mythology and fantasy into her installations. Best Wishes came out of her fall 2011 residency in Las Vegas, a citywide monument to fantasy if ever there was one. it includes photographs and an installation loosely themed around longlocked fairytale heroine Rapunzel. Through Nov. 24. Elizabeth Leach Gallery, 417 NW 9th Ave., 224-0521.

Marie Watt: Skywalker/Skyscraper

Fabric and blankets have long been Marie Watt’s calling card, and in the installations of her current show, she deploys them in rainbow arcs across the gallery walls. But the show’s most conceptually sophisticated works, Axis Mundi and Babel, consist of stacked blankets impaled by steel beams. These works reference her recent move to New York city. She may have left Oregon behind for the steel-girdered metropolis, but the Native american-influenced blanket motif so endemic to her work and her Northwest roots has remained. These sculptures elegantly repurpose and recontextualize the artist’s past, adapting her signature materials to her new cosmopolitan environment. Through Oct. 27. PDX Contemporary Art, 925 NW Flanders St., 222-0063.

There is a delicious solipsism in art whose only purpose is to boggle the eye, and nowhere is this self-pleasuring more flagrant than in op art. The movement came of age in the 1960s and remains associated with that era’s Carnaby Street patterns and psychedelic imagery. Its defining moment was the 1965 exhibition The Responsive Eye at the Museum of Modern Art. One of the artists who exhibited at that landmark show was Seattle-based painter Francis Celentano, whose new body of work, The Gemini Series, is showing at Laura Russo Gallery. Now in his mid-80s, Celentano is going strong, with a gorgeous suite of paintings on geometric canvases. This work is so confident, so virtuosic, so defiantly superficial, it shows that Op is more relevant than ever in this time of bold colors and visual illusionism in video games, advertising and design. On the gallery’s south wall, a trio of Celentano’s diamond-shaped canvases holds court: Gemini 17, 18 and 19. Wisely, the gallery’s installers have given these pieces plenty of breathing room, and they resplend in hues of blue, lilac and black, their lines suggesting sheets of undulating mesh wire. Each piece has the same pattern, rendered with a machinelike perfectionism that is all the more impressive given the paintings’ scale, each of them a whopping 5½ feet wide. Another stunner is Gemini 10, an etude on kelly green, lilac and tomato red. Any way you look at it, it’s a stunner. With its bold colors and intricately repeating shapes, it bears more than a passing resemblance to traditional Navajo fabrics. Celentano’s paint application is extremely flat. If

Reynier Leyva Novo: The Novo Anniversary Collection

Reynier Leyva Novo, a cuban artist who has exhibited in the prestigious Venice Biennale, shows his work here in portland for a limited engagement. Novo’s politically influenced silk-screens, posters and T-shirts are themed around the 50th anniversary of the cuban Revolution and its lingering influence over cuban culture. Through Oct. 29. The Best Art Gallery in Portland, 1468 NE Alberta St.

Suzy Poling: Elemental Forces

Suzy poling’s varied and immersive show, Elemental Forces, marks a strong debut for disjecta’s new curator-in-residence, Josephine Zarkovich. The show incorporates digital video, photographs, prints, sculpture and music for an engaging aggregate effect. in the nonprofit’s smaller exhibition space, the Vestibule, Brittany

ON SALE $13.99 CD/DVD (featuring ‘Under African Skies’ DVD)

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SEE IT: Francis celentano: The Gemini Series at Laura Russo Gallery, 805 NW 21st ave., 226-2754. ends Oct. 27.

Wid Chambers: Arc Volant

in Arc Volant, Wid chambers turns his eponymous gallery into an abstracted forest of white arches. he based the installation on the flying buttresses of Gothic architecture, but the arching shapes also evoke elephant tusks or tree trunks. Made of Masonite and Styrofoam, the sculptural curves seem to grow out of the floor and into the walls, the pristine white palette imparting a clinical hermeticism that nicely offsets the arches’ organicism. Once known primarily for computer-based abstract prints, chambers has in recent years become a gifted installation artist with a knack for transforming space into the stuff of fantasy. Through

Oct. 27. Chambers @ 916, 916 NW Flanders St., 227-9398.

William Chad Willsie: Folklore

a little girl playing with a dead blackbird. a bikini-clad woman spreading her legs behind a children’s sand bucket at the beach. a little boy with neck tattoos and another boy in clown makeup, smoking a cigarette. These are some of the provocative and often disturbing images conjured by painter William chad Willsie. With a solid realist technique and a proclivity for off-kilter humor, the artist shows us the dark underbelly of popculture imagery. Through Oct. 27. Graeter Art Gallery, 131 NW 2nd Ave., 477-6041.

For more Visual arts listings, visit

SOMETHING FROM NOTHING: THE ART OF RAP ORIGINAL MOTION PICTURE SOUNDTRACK

‘Under African Skies’ showing Saturday, 10/13 at 6:30pm at Whitsell Auditorium

With ‘Graceland’, Paul Simon combines his perceptive songwriting with the little-heard mbaqanga music of South Africa, creating a fascinating hybrid that re-enchanted his old audience and earned him a new one. ‘Under African Skies’ travels with Paul Simon back to South Africa 25 years after his first visit. Simon revisits the making of the record, surveying from the vantage of history the turbulence and controversy surrounding the album’s genesis.

he were to build up layers of surface a la bas-relief, the result might heighten visual interest even more, but this is speculative quibbling. This is one of the most satisfying painting shows to hang in Portland in years. With exuberance and sophistication, it demonstrates the enduring value of fastidiously executed eye candy. RICHARD SPEER.

powell covers the walls with blackand-white paintings that parody the soft-core porn aesthetic of american apparel ads. Through Oct. 28. Disjecta, 8371 N Interstate Ave., 286-9449.

PAUL SIMON—GRACELAND 25th ANNIVERSARY EDITION

Presents

Gemini 8 by francIS cElEnTano

Showing Friday, 10/12 at 9:15pm at Whitsell Auditorium

ON SALE $8.99 CD

“In its revelation of the artistry and humanity that hip hop is at its best, this film places rap music in its rightful place: as one of the most powerful art forms in the history of cultural production. It’s not a game. It’s ‘The Art of Rap’.” – Huffington Post Ice-T takes us on an intimate journey into the heart and soul of hip-hop with the legends of rap music. ‘Something From Nothing: The Art of Rap’ edifies and celebrates an original American art form that dances alongside rock & roll as the music of a generation and the authentic sound of the zeitgeist.

For a Complete List of Movies & Show Times Visit: WWW.NWFILM.ORG/FESTIVALS/REELMUSIC OFFER GOOD THRU: 11/6/12

Willamette Week OCTOBER 10, 2012 wweek.com

BOOKS

OCT. 10-16

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

Conversations at Warp Speed Release Party

Short of piloting the Enterprise, Portland author Anthony Wynn has lived every Trekkie’s dream by sitting down for conversations with the characters of Star Trek’s many incarnations, including George Takei (Sulu), James Doohan (Scotty), Grace Lee Whitney (Yeoman Janice Rand) and Star Trek creator Gene Roddenberry. The result is Wynn’s new book, Conversations at Warp Speed. Q Center, 4115 N Mississippi Ave., 234-7837. 2 pm. Free.

MONDAY, OCT. 15 Unchaste Readers

WEDNESDAY, OCT. 10 Tin House: A Slice of Our City

Much like a younger sibling who desperately wants to be as cool as the elder, Portland might not be far off from stealing the clothes from Brooklyn’s closet. Examining the cultural connections between the two cities, Tin House is releasing the new edition of their literary magazine with a celebration featuring readings by Pauls Toutonghi and Jon Raymond, along with live music by Golden Retriever and Cloaks. Holocene, 1001 SE Morrison St., 239-7639. 8 pm. $5.

THURSDAY, OCT. 11 In Other Words Anniversary

Providing a voice for Portland’s feminist community for nearly two decades, In Other Words will celebrate its 19th birthday as an independent bookstore and community space. The party will feature a performance by soul singer Toni Hill, along with food, drinks and all-around feminist fun. In Other Words, 14 NE Killingsworth St., 2326003. 6:30 pm. $25.

Wordstock 2012

Like Comic-Con for the lit crowd, the annual literary celebration Wordstock has returned for four days packed with author appearances, panel discussions, writing workshops and probably a Fifty Shades of Grey drinking game at the after party. Catch your favorite authors, learn to self-edit like a pro and finally break out that Jonathan Franzen costume. Oregon Convention Center , 777 NE Martin Luther King Jr. Blvd., 2357575. Various times. $7, free for ages 13 and younger.

Gregory Martin

Discovering your father, after having been married 39 years, is actually gay isn’t always a humorous affair involving midgets. Gregory Martin’s new memoir, Stories for Boys, explores his struggle to understand the father he knew, as well as his own role as a husband and father. Powell’s City of Books, 1005 W Burnside St., 228-4651. 7:30 pm. Free.

SUNDAY, OCT. 14 Fault Lines Reading

Perhaps referencing the cracks in our lives that lead to introspection rather than the plate tectonics that could potentially devastate our city, the new Portland-based poetry journal Fault Lines aims to gather the finest in West Coast poetry. Sixteen contributing poets will read a selection of their works to tantalize your own fault lines. Central Library, 801 SW 10th Ave., 988-5123. 2-4 pm. Free.

Willamette Week OCTOBER 10, 2012 wweek.com

A quarterly reading series aimed at highlighting the work of Portland’s women writers, Unchaste Readers will feature Shannon Barber, Anna March, George Marie, Carrie Seitzinger, Evelyn Sharenov and Alexis Smith. Read on, ladies. Jack London Bar, 529 SW 4th Ave., 2287605. 7:30 pm. $5 suggested donation. 21+.

Science Fiction Reading Series

For those who prefer galaxies in faraway places to the doldrums here on Earth, the Science Fiction Reading Series brings together leading local authors with two other writers of their choice to read from their most current work. This time will feature New York Times bestselling author Seanan McGuire with Jay Lake and M.K. Hobson. Kennedy School, 5736 NE 33rd Ave., 249-3983. 7 pm. Free.

Marvel Comics: The Untold Story

Arguably the most elaborate and populated fictional realm in history, the Marvel universe has legions of die-hard fans and has spawned a multibillion-dollar industry. In his new book, Marvel Comics: The Untold Story, Sean Howe goes behind the scenes to talk about the true masters of the universe: Stan Lee, Martin Goodman and Jack Kirby. Powell’s on Hawthorne, 3723 SE Hawthorne Blvd., 228-4651. 7:30 pm. Free.

TUESDAY, OCT. 16 Julia Park Tracey

Doris Bailey Murphy was a sassy, rebellious teen growing up in Portland in the 1920s. Now, thanks to her detailed diaries, Murphy’s grandniece, Julia Park Tracey, has released a new book documenting her adventures, from dates and dances to speakeasies in I’ve Got Some Lovin’ to Do: The Diaries of a Roaring Twenties Teen (1925-1926). The reading will include a signature cocktail, the Rebel Girl. Period attire is encouraged. Jack London Bar, 529 SW 4th Ave., 228-7605. 7 pm Tuesday, Oct. 16. Free. 21+.

Timothy Egan

Edward Curtis was considered a masterful photographer at the turn of the 20th century, called the Annie Leibovitz of his day. In 1900, he turned his attention toward the American West and documenting the Native Americans who inhabited it. The resulting photos have become iconic, and writer Timothy Egan tells the story behind the photos in his new book, Short Nights of the Shadow Catcher. Powell’s City of Books, 1005 W Burnside St., 228-4651. 7:30 pm. Free.

For more Books listings, visit

oct. 10-16 REVIEW

= WW Pick. Highly recommended.

CBS FILMS

MOVIES

Editor: REBECCA JACOBSON. TO BE CONSIDERED FOR LISTINGS, send screening information at least two weeks in advance to Screen, WW, 2220 NW Quimby St., Portland, OR 97210. Email: msinger@wweek.com. Fax: 243-1115.

2016: Obama’s America

Not screened for critics, probably due to our involvement in the great Democrat-socialist-Muslimterrorist conspiracy. PG. Tualatin Valley Highway.

D-

3, 2, 1...Frankie Go Boom

Siblings don’t always get along. Maybe your little brother kicked over your Lego castle, or your little sister gave your Barbie a haircut. Or maybe your little brother is a convicted felon trying to get into the porn industry by filming you when you can’t get it up. That’s the gist of Jordan Roberts’ attempted comedy 3, 2, 1…Frankie Go Boom. Frankie (Charlie Hunnam) is an uptight, whiny bitch of a character who’s been hiding out in a trailer in Death Valley trying to write the Great American Novel or at least get away from his brother, Bruce (Chris O’Dowd). Frankie comes back to spend time with his family and hooks up with Lassie (Lizzy Caplan) along the way. Well, sort of: Erectile dysfunction rears its ugly head. Naturally, Bruce gets this on film and shares the wealth. The next excruciatingly long 80 minutes center on the siblings’ moronic attempts to get the film back, while the humor is stuck at the “sex, drugs and LOL” level. But, hey, you get to see Ron Perlman in drag (what is he doing in this turd, anyway?), and Lizzy Caplan in edible underwear. So there are always those two things. JOHN LOCANTHI. Hollywood Theatre.

5 Broken Cameras

A [ONE NIGHT ONLY] Emad Burnat

lives in Bil’in, a Palestinian village in the West Bank, flanked by the Green Line and an Israeli settlement creeping ever closer. In 2005, on the occasion of the birth of his fourth son, he acquires a video camera and begins filming his community’s efforts to fight the fence being erected between the settlement and their village, and their clashes with Israeli soldiers. In doing so, he unwittingly sets about making this documentary, capturing five years of struggle and triumph in the village, alongside the growth of his son. It is, of course, the very definition of one-sided, but it is a brave, raw, honest portrayal of one man’s experience, existing somewhere between citizen journalism, activism and video memoir. 5 Broken Cameras is grisly viewing at times, but it is also deeply engaging, and a valuable contribution to the ongoing coverage of the IsraeliPalestinian conflict. RUTH BROWN. NW Film Center’s Whitsell Auditorium. 8:30 pm Wednesday, Oct. 10.

A Bucket of Blood

[ONE NIGHT ONLY, REVIVAL] Roger Corman’s ultra-cheap 1959 horrorcomedy satirizing the very shaky line dividing art and commerce. Hollywood Theatre. 7:30 pm Wednesday, Oct. 10.

Alexis Gideon presents Video Musics III: Floating Oceans

[ONE NIGHT ONLY] The premiere of Portland electro-hip-hop artist Alexis Gideon’s third “video opera,” a stopmotion animated short film inspired by the dream experiments of Irish physicist John William Dunne. Hollywood Theatre. 7:30 pm Thursday, Oct. 11.

Altered States

[ONE NIGHT ONLY, REVIVAL] Ken Russell’s trippy 1980 adaptation of the trippy Paddy Chayefsky novel, about a college professor pushing himself to the brink of human consciousness. R. Clinton Street Theater. 7:30 pm Wednesday, Oct. 10.

Archangel

[THREE NIGHTS ONLY, REVIVAL] Guy Maddin’s intriguing 1991 experiment, using silent film techniques to tell the story of a one-legged Canadian officer laid up in a Russian town during World War I. Fifth Avenue Cinema. 7 and 9:30 pm Friday-Saturday, 3 pm Sunday, Oct. 12-14.

Beasts of the Southern Wild

A Although showered with festi-

val accolades, some have labeled the movie’s director and co-writer, a white Wesleyan graduate named Benh Zeitlin, a “cultural tourist.” It’s a dubious criticism, considering that where Beasts really takes us is on a tour of a child’s imagination. MATTHEW SINGER. Cinema 21.

Decoding Deepak

C- Deepak Chopra is one of many

self-help gurus foisted upon the American public through the irresistible force that is Oprah Winfrey, who discovered him after Chopra helped Michael Jackson overcome his personal issues. I’m being serious here. Chopra’s shtick is pretty popular, too. He’s written more than 65 books, including 19 New York Times bestsellers. And, like any good bullshit artist, he can talk ad nauseam without saying a single thing. Decoding Deepak is a gonzo documentary filmed by his son, Gotham Chopra, who’s trying to understand his pedantic father and their relationship. We follow Deepak as he goes to Thailand to try out the ascetic lifestyle of a monk, only to see him return to his hectic life of self-promotion. Gotham’s narration and film footage calls Deepak on his hypocritical behavior but maintains a sense of familial adoration throughout. There is Deepak Chopra the Attention Whore, surrounded by vacuous sycophants, and then there is Deepak Chopra the Distant Father. I was sick of both by the end. JOHN LOCANTHI. Living Room Theaters.

Dredd 3D

A remake of the 1995 Sly Stallone vehicle, with less incomprehensible mumbling and more POKING YOU IN THE EYE. Not screened for critics. R. Lloyd Mall, Tualatin Valley Highway.

End of Watch

C- Are we sick of the found-footage conceit yet? Apparently it doesn’t matter, because the movies keep on coming. The latest attempt to add grit and realism to a well-worn genre is this shaky-cam, faux-documentary version of the buddy-cop movie. Jake Gyllenhaal and the great Michael Peña are two cops in South Central L.A. who say “dude” and “bro” a lot, kill bad guys, and run afoul of a nasty cartel. The camera shakes, the editing sucks, and half the time when writerdirector David Ayer—who loves his L.A. crime movies—drops the foundfootage shtick, he still can’t compose a damn shot. The performances feel real, but the filmmaking—and the copout (sorry) of an ending—feel false. R. ERIK MCCLANAHAN. Cedar Hills, Clackamas, City Center, Evergreen Parkway, Fox Tower, Lloyd Center.

Frankenstein

[TWO DAYS ONLY, REVIVAL] A documentary chronicling John Kerry’s failed 2004 presidential bid. Just kidding. Hollywood Theatre. 2 pm SaturdaySunday, Oct. 13-14.

Frankenweenie

B “Based on an original idea by

Tim Burton,” it says in the credits. It’s hard to read that phrase and not snicker a little. In recent years, the popular knock on Burton has been that he doesn’t have any original ideas left—that all he’s capable of is taking someone else’s idea and turning it into gothic cotton candy. But Frankenweenie is, indeed, a Tim Burton original. Only, it’s an original idea that’s close to 30 years old. In 1984, a few years out of art college and working for Disney, Burton made his first liveaction short film, about a young boy who screws bolts into his dead dog’s neck and brings the pooch back to life à la Frankenstein’s monster. So, yes, Tim Burton is now remaking himself. But maybe that’s what he should

CONT. on page 46

HaT CRImE: The Shih Tzu hits the fan.

CRAZY FROM THE HEAT SEVEN PSYCHOPATHS IS AN INSANE BLAST. BY matthew sin Ge R

msinger@wweek.com

In 2008, playwright-turned-filmmaker Martin McDonagh pulled off a nifty directorial trick: He made a crime comedy with soul. There aren’t too many of those around—not in the post-Pulp Fiction era, anyway. Most are content to just jerk themselves off with their own genre, self-pleasuring in a froth of gratuitous blood and heavy-meta humor. But In Bruges, McDonagh’s debut feature, distinguished itself not only with a unique European setting but by managing to pull moments of both stark poignancy and pants-pissing hilarity from the same deep, dark well of humanity. Starring Colin Farrell and Brendan Gleeson as hitmen hiding out in “the best-preserved medieval city in Belgium,” after a botched job that left a child dead, it’s a film about remorse among murderers, which also involves a coke-addled dwarf, a temperamental mob boss, and such turns of phrase as, “Stop whining, you big gay baby.” It’s one of the most distinctive movies of the last few years. Seven Psychopaths, McDonagh’s follow-up, is also a crime comedy, but it’s not at all the same film. It is, in a lot of ways, the exact movie In Bruges wasn’t. It is highly aware of its own existence: Farrell’s character here is a creatively blocked, alcoholic Hollywood screenwriter, not coincidentally named Martin, wrestling with how to turn an unwritten script prematurely titled Seven Psychopaths into a “life-affirming” work of art. It’s also grisly—death comes via chainsaw, hacksaw, self-immolation and straight razor—and not particularly concerned with emotional complexity. In short, it’s a lot like all those other post-Pulp Fiction crime comedies where the criminals talk incessantly about movies while the movie talks incessantly about itself. And yet, it works. Maybe not to the degree of In Bruges, which truly seemed new and special. But McDonagh would have to fail pretty terribly to screw up a picture starring Christopher Walken and Sam Rockwell as high-profile dognappers, Woody Harrelson as a Shih Tzu-loving gangster,

and Tom Waits as a vigilante serial killer with a thing for white rabbits. Intrigued? You should be. McDonagh has succeeded in another cinematic sleight of hand: He’s made a movie about the movie you’re watching that doesn’t get in the way of the actual movie. To put it another way, McDonagh doesn’t allow his cleverness to trip up the story, or his actors. Through two films now, McDonagh has displayed a rare skill as a writer-director, producing movies that bear the clear stamp of their creator but aren’t overwhelmed by his personality. His dialogue snaps as much as Quentin Tarantino’s, except it doesn’t sound like it’s all coming from the same overcaffeinated video store clerk. As such, Seven Psychopaths gets by on its scenery-masticating performances. In particular, Rockwell chomps down on the role of Martin’s best friend, Billy, a delightfully deluded wannabe screenwriter making a living by abducting rich people’s dogs and then returning them for the reward

MCDONAGH DOESN’T ALLOW HIS CLEVERNESS TO TRIP UP THE STORY, OR HIS ACTORS. money. It’s a charmingly deranged performance that benefits from the script’s digressive nature: Billy’s pitch for Martin’s screenplay—ending with an over-the-top shootout at a cemetery—is the film’s most gorily hilarious moment. As a straight man among nutcases, Farrell, much as in In Bruges, uses his big, brown Irish eyes to convey reservoirs of vulnerable sympathy. Harrelson and Waits make the most of limited screen time. And Walken is extra Walken-y. Playing a deeply religious pacifist with a cancer-stricken wife and shadowy past, he’s the heart of Seven Psychopaths—despite the fact McDonagh seemingly went with his most selfparodic line readings. No, Seven Psychopaths—the movie, not the movie within the movie—is not a “life-affirming” work of art. It’s simply crazy fun. A- SEE IT: Seven Psychopaths is rated R. It opens Friday at Lloyd Center, Cedar Hills, Clackamas, City Center, Evergreen Parkway and Fox Tower.

Willamette Week OCTOBER 10, 2012 wweek.com

MOVIES 8th Annual

but it is breathlessly in love with movies past. Early buzz is praising the originality, but Johnson has in fact succeeded at repurposing familiar elements in unusually satisfying ways. At various junctures, Looper reminded me vividly of the following antecedents: Point Blank, Donnie Darko, Once Upon a Time in the West, Blade Runner,Chinatown, D.O.A., The Omen, Witness and the anime Akira. Forget neo-noir: This is retro-neofuturist noir. In resurrecting sights and faces we never thought we’d see afresh, Looper knows what movie lovers always feel: The past is never dead. It’s not even past. And it’s got a gun. R. AARON MESH. Lloyd Center, Cedar Hills, Clackamas, Oak Grove, City Center, Evergreen Parkway, Fox Tower, Hilltop, Sherwood, Tigard.

ANNE MARIE FOX

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Madagascar 3: Europe’s Most Wanted THE PAPERBOY have been doing all along, because Frankenweenie is easily the best thing Burton has done in many years. It is, by no means, a true sign of revitalization—how could it be, really?— but it is a reminder that the world wasn’t wrong for embracing Burton’s darkly cartoonish vision in the late ’80s. It’s not like he went and just made the same movie over again, either: Animated in gorgeous blackand-white stop motion (and shot in thankfully unobtrusive 3-D), the ﬁlm goes places the original couldn’t, particularly with its creature-feature climax. And at 87 minutes, it hardly feels like a short story stretched too long. There are lessons to be learned here—for Burton especially. Hopefully, it won’t be 30 years before he tackles his next original idea. PG. MATTHEW SINGER. Lloyd Center, Cedar Hills, Clackamas, Oak Grove, Pioneer Place, City Center, Evergreen Parkway, Hilltop, Tigard.

Here Comes the Boom

C This is a movie about Kevin

UPCOMING IN-STORE PERFORMANCES

BROWNISH BLACK THURSDAY 10/11 @ 6 PM

Reminiscent of the family-based soul acts of the ‘60s and ‘70s, Brownish Black has grown into a formidable eight piece, accented by grooving horns and a rhythm section that locks in and won’t let go. Deciding the vinyl medium would most accurately convey the emotion in their music, Brownish Black released ‘Dancefloor’ on 45s manufactured by Archer Record Pressing, Detroit’s last vinyl pressing plant.

RADIO RAHEEM FRIDAY 10/12 @ 6 PM

Radio Raheem’s ‘Down For The Get Down’ sounds like the band went back to 1983 and harnessed the energy of fifty 13-year-olds dancing to The Time played through a tape deck and then traveled back to the present, adding old school hip hop, toy pianos, fuzzed out guitars, synths run through guitar effects with lyrics about getting busy, atomic bombs, summers, zombies, robots, dancing and being a bad ass.

RODRIGUEZ

SATURDAY 10/13 @ 3 PM

The story remains one of the music world’s most unusual tales of the 1970s: an obscure LP by a Detroit singer-songwriter becomes a source of hope and inspiration to the anti-Apartheid movement in South Africa. Now, the story of Rodriguez is the basis for a riveting documentary, ‘Searching For Sugar Man’, which acts as a primer to this long-overlooked musician’s fusion of gritty funk, political poetry and blissful psych-folk.

BERGERETTE

SUNDAY 10/14 @ 3 PM

Bergerette (author/actor/exotic dancer Viva Las Vegas, Pat Janowski, and Stella Pentimenti) favors 13th century motets and 16th century chansons, with meanderings into early French folk. “The ethereal beauty of the cascading harmonies drew us in, and the heartsick eroticism of the lyrics holds us,” muses Viva. Bergerette invites you into the dream too.

DAN WEBER — THURSDAY 10/18 @ 6 PM 46

Willamette Week OCTOBER 10, 2012 wweek.com

James getting his ass kicked, which is sadly not as enjoyable as it sounds. In this family-oriented sports comedy, he plays Scott Voss, a dopey, downtrodden biology teacher at a crumbling public high school on the verge of cutting all its extracurricular programming. Upon discovering UFC fighters can earn big bucks simply by competing, Voss, determined to rescue the school’s music program and the lovable old fart (Henry Winkler) who runs it, throws himself in the ring with men who have built entire careers on bashing skulls betwixt their sinewy thighs. Flopping into the Octagon like a roasted Cornish game hen wearing boxing gloves, James flounders from one brutal beating to the next with his signature ham-handed slapstick. Although the ever-hovering annoyance of dialogue generated by writers who have clearly run out of things to say, and the obvious fact that movies such as these are cinematic EasyMac—bland, formulaic and, yes, cheesy—detract from its overall likability, it finishes much stronger than expected. Because no matter how hokey the characters and plot, watching a high-school teacher throw down against professional mixed martial arts fighters is just pure badass. PG. EMILY JENSEN. Cedar Hills, Clackamas, Pioneer Place, City Center, Evergreen Parkway, Lloyd Mall.

Hotel Transylvania

C- Hotel Transylvania is yet another example of a studio-made animated picture cast as if the audience were expected to play Spot the Celebrity—only this one plays like the bastard love child of Grown Ups and several, much better Pixar ﬁlms. The plot, in which Dracula hosts a birthday party for his daughter at his monsters-only hotel, is wafer thin and annoyingly stretched to feature length. It’s all very ﬂashy and dull, and so, so forgettable. PG. ERIK MCCLANAHAN. Cedar Hills, Clackamas, Pioneer Place, City Center, Evergreen Parkway, Lloyd Center.

House at the End of the Street

We preferred its working title, Jennifer Lawrence Wears a Tank Top and Screams a Lot. Not screened for critics. PG-13. Clackamas, Lloyd Center.

Steidl

How to Make a Book With

[ONE NIGHT ONLY] A look at publisher Gerhard Steidl. Screening as part of Portland Design Week. Clinton Street Theater. 8 pm Thursday, Oct. 11.

I Heart Monster Movies

[ONE NIGHT ONLY] A documentary about horror-movie fandom. Clinton Street Theater. 9 pm Friday, Oct. 12.

Iron Sky

Moon Nazis! Why the hell wasn’t this screened for critics? Living Room Theaters.

Liberal Arts

D This needs to stop. I’m talking about this whole film subgenre of sensitive dudes played by sitcom stars who get new leases on life by returning to their hometowns to reconnect with a father figure, then meet a collection of colorful locals— including a precocious, possibly special-needs hot chick—that show them the world is beautiful because, “Hey, we’re all wacky and depressed, but mostly wacky.” Here, How I Met Your Mother’s Josh Radnor is a thirtysomething bookworm who returns to his Ohio alma mater to attend the retirement party of a professor, only to meet a saucy 19-year-old played by Elizabeth Olsen, an irritating manic pixie nightmare with whom he becomes infatuated when she tells him she totally likes improv, books, classical music and frolicking in the grass. Radnor’s sloppy flick is a minefield of clichés (enlightened stoner, sagelike pixie, suicidal genius). If this doesn’t sound obnoxious enough, consider this: Olsen’s character is named Zibby. AP KRYZA. Living Room Theaters.

Looper

A Brain-bending sci-ﬁ loses its snap

when treated like homework, but you won’t really understand Looper unless you prepare by watching a few episodes of Moonlighting. They will prime you to better appreciate the lead Looper performance of Joseph Gordon-Levitt, who delivers a precise, slyly parodic mimicry of Bruce Willis circa 1987. The ubiquitous trailers have revealed that Gordon-Levitt plays the same character as Willis, and that he’s been given a makeup job to recall a skinnier baby Bruce, but the previews barely scrape the forgery of mannerisms. Gordon-Levitt has been a regularly mesmeric actor for the last decade, so it’s peculiar that his breakthrough comes from impersonating an icon. But that paradox ﬁts the aims of director Rian Johnson, who used GordonLevitt as a teenage Sam Spade in Brick, and with Looper throws 100 years of ﬁlm noir into a blender. The picture is set in the future—2040, with a brief discursion to 2070—

The third installment in the inexplicably popular, exceptionally loud animated animal franchise. Sorry, parents, but WW was way too hungover to make the Saturday morning press screening. PG. Vancouver.

The Master

A As you might have heard, Paul

Thomas Anderson’s The Master is the film Scientology maybe, sort of doesn’t want you to see. While it makes deliberate allusions to L. Ron Hubbard’s sci-fi pseudo-religion, that’s not what it’s actually about. It’s a picture that’s nearly impenetrable on first viewing, but few directors’ films are as worthy of their challenges as Anderson’s. It’s a film you’ll feel the need to watch again immediately out of sheer obligation. For the movie’s first 30 minutes or so, we’re alone with Joaquin Phoenix’s Freddie Quell. In that time, he mimes intercourse with a female-shaped sand sculpture, then masturbates into the ocean; undergoes a Rorschach test in which he reports seeing only genitalia; and attempts to choke a customer at his postwar job as a mall photographer. Although claustrophobic in their intimacy, these early scenes don’t help us understand Quell any better, but then, we’re dealing with a character who doesn’t understand himself. Stowing away on a boat, Quell eventually encounters Lancaster Dodd (Philip Seymour Hoffman), a pink-hued huckster selling salvation through “the Cause,” a self-help movement based on a variation of repressed-memory therapy. It’s here that Anderson drops in bits of Hubbard’s biography. But as Quell and Dodd become increasingly intertwined, the Scientology allegories fade into the background. The Master is an ambitious enigma that never figures itself out, and that’s precisely what makes it one of the year’s best films. R. MATTHEW SINGER. CineMagic, Fox Tower, Lloyd Mall, Tigard, St. Johns.

The Paperboy

C- How can one director get handed

so many perfectly formed building blocks and blueprints yet still manage to bungle the construction? Just as he did with the hot mess that was Precious, Lee Daniels mangles fine source material and sharp acting work in his third directorial effort. The title refers to both Matthew McConaughey and Zac Efron, sons of a newspaper editor in rural Florida, investigating a possible miscarriage of justice in the conviction of a death row inmate (played with unnerving unctuousness by John Cusack). Joined by Cusack’s pen pal on the outside, Charlotte Bless (a brilliant Nicole Kidman in full, oversexed vamp mode), and McConaughey’s writing partner, the four circle around the truth and each other like drooling wolves. Sadly, Daniels abuses this fairly interesting tale and the spotless performances by all his leads. He and co-screenwriter Pete Dexter (author of the novel the film is based on) shoehorn in racist and homophobic commentary, slapping on a voiceover from Macy Gray’s supporting character to tell us everything we really didn’t need to know. There’s a great movie in this swamp of material, but Daniels is not the director to find it. R. ROBERT HAM. Fox Tower.

oct. 10-16

The Perks of Being a Wallflower

A The truest essence of this film

can be stirred up from the angsty sediment in the YouTube comments section for its trailer, most pointedly: “HOLY FUCK I CAN’T HOLD BACKK MY EMOTIONS AHHHHHH FUCKING YES.” Precisely. This teen movie, like most teen movies, harvests the raw power of adolescent passion in all its sloppy, horny glory to craft a cinematic confection that reflects, interprets and glorifies the universally shared experience of being a teenager. In this rendition, Charlie, a lonely, gazellelike highschool freshman (Logan Lerman), fumbles his way into that rare circle of upperclassmen mature enough to be kind to him but reckless enough to get him wasted. Among his newfound crew of misfit seniors is Sam (Emma Watson), an outcast

MOVIES

indie goddess, and Patrick (Ezra Miller), Sam’s histrionic yet lovable half-brother. The trio proceeds to engage in a series of typical adolescent shenanigans and, of course, comes to life-altering realizations like, “We accept the love we think we deserve.” Wallflower finds a way to come across as deeply, disarmingly sincere. It is wild, hormonal and hyperbolically emotional, a well-calibrated film incarnation of an actual teenage life. It’s kind of perfect, actually. PG-13. EMILY JENSEN. Cedar Hills, Clackamas, City Center, Fox Tower, Lloyd Center.

Music

Listings

Pitch Perfect

B Pitch Perfect isn’t pitch perfect. An underdog comedy about

CONT. on page 48

REVIEW CLAIrE FOLGEr

WHEN THE GOING

GETS TOUGH, THE TOUGH GET CLASSIFIEDS

Canada dry: affleck slipping by the shah.

ARGO Halfway through Ben Affleck’s Argo, the main characters stage a script reading for a Flash Gordon rip-off they claim to be prepping for the screen. It’s 1980, and there are green Wookies, gold-chained slave babes and even a Fu-Manchu-sporting Emperor Ming-type gathered at a table. They hilariously start reading—with terrible delivery—perhaps the most hackneyed post-Star Wars script since, well, Flash Gordon. The result is hilarious. Then something harsh happens. The dialogue fades, replaced by violent political speak from the Iranian Revolution, where 52 Americans are being held hostage. This stark juxtaposition perfectly captures the tone of this thriller, a bizarre story of a joint mission between the Canadian government, the CIA and Hollywood to extract six Americans hiding in Tehran by posing as a Canuck film crew on a location shoot. The insanity of the plan sounds like a recipe for a comic romp, but Affleck is too smart for that. A decade ago, that sentence would have drawn laughs. Over the course of the three films he’s directed, however, Affleck has managed to position himself as something of an auteur in the Michael Mann mold: slick, concise and able to tell complex stories in a straightforward manner, with subtly kinetic camera flourishes punctuating brilliant performances. If The Town was Affleck’s Heat, then Argo is his The Insider. From its opening sequence of rioters storming the U.S. Embassy in Tehran to its white-knuckle finale, this is a film where suspense is rendered not through violence but emotional gravity. Affleck never resorts to cheap tricks, instead allowing human interaction and paranoia to do the work. The results are staggering. It’s not all heavy-handed. John Goodman and Alan Arkin are fantastically funny as Planet of the Apes makeup artist John Chambers and producer Lester Siegel, respectively, who insist if they’re going to film the fake movie Argo, it’s going to be a fake hit. Bryan Cranston also injects his trademark charm as Affleck’s boss. Comedic moments and charismatic performances balance out what could have been a rather dour affair. By not pandering sentimentality, Affleck has managed a task that, like its subject, seems impossible: He’s taken what others would have turned into farce and emerged with one of the year’s best pictures. R. AP KRYZA.

WWeek Classifieds starting on page 51

Flash Gordon travels to Iran.

A- SEE it: Argo opens Friday at Lloyd Center, Cedar Hills, Clackamas, Oak Grove, City Center, Evergreen, Hilltop, Tigard and Wilsonville.

page 31 Willamette Week OCTOBER 10, 2012 wweek.com

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oct. 10-16 though it wasn’t screened before WW press deadlines. Look for a review at wweek.com. R. Lloyd Center, Cedar Hills, Clackamas, Oak Grove, Pioneer Place, City Center, Evergreen Parkway, Hilltop, Sherwood, Tigard.

OSCILLOSCOPE PICTURES

Taken 2

WUTHERING HEIGHTS competitive collegiate a cappella groups—based, remarkably, on the nonfiction novel of the same name, which focused in part on UO’s all-female group, Divisi—and the cinematic debut from Avenue Q director Jason Moore, the film takes some obvious cues from Bring It On and Glee, but struggles with exactly what it wants to be. More’s the pity, because the source material is such a rich pool of comedic potential, and with some sharper focus and a pointier pitchfork, this could have been one of the best comedies of 2012 (admittedly, it’s a pretty shallow pool this year). As it is, Pitch Perfect is just a very likable little musical comedy, which will nevertheless be disproportionately enjoyable to adults who love the campy, fresh-faced harmonizing of High School Musical and those plucky McKinley kids. PG-13. RUTH BROWN. Lloyd Center, Cedar Hills, Clackamas, Oak Grove, Pioneer Place, City Center, Evergreen Parkway, Hilltop, Sherwood, Tigard.

Portland Latin American Film Festival: Chico & Rita

B We’ve all been taken by a pretty smile once or twice. Chico & Rita, the animated Spanish-language romance/jazz flick that lost out to Rango at this year’s Oscars, isn’t the deepest movie around—but it sure is damned seductive. Set primarily in a gorgeously illustrated Havana, Cuba (think of the Beatles’ Yellow Submarine crossed with comic artist Ben Katchtor’s scrawled New York cityscapes), the movie tells a pretty archetypal boy-meets/ loses/stalks-girl storyline via flashbacks and chase scenes. And while there’s an ambiguity to the relationship between the titular musicians that’s refreshing for cartoons—it’s also one of the few non-Bashki animated features to feature tits, weed, jazz, giant cars and lots of cursing—Chico & Rita hurries audiences through what could be great teaching moments in bullet-point fashion. Thin on dialogue but rich with great Cuban and American jazz, Chico & Rita is largely spectacle. But where its characters seem a little flat and incomplete (Chico’s trusted friend and manager Ramón being an exception), the cities around them are alive and breathtaking. I’ll take that over Rango (or Avatar, for that matter) any day. CASEY JARMAN. Hollywood Theatre. 5 pm Saturday, Oct. 13; 6:45 pm Tuesday, Oct. 16. See pdxlaff.org for a complete Portland Latin American Film Festival schedule.

Raising Resistance

[ONE NIGHT ONLY] A documentary on the effects of genetic food modification on South American farmers. NW Film Center’s Whitsell Auditorium. 7 pm Thursday, Oct. 11.

Reel Eats: What’s on Your Plate?

[ONE NIGHT ONLY] The People’s Coop’s monthly film series kicks off with a documentary featuring two 11-year-old girls learning about “their place in the food

Willamette Week OCTOBER 10, 2012 wweek.com

chain.” Clinton Street Theater. 7 pm Monday, Oct. 15.

Reel Music Festival: Something From Nothing: The Art of Rap

A [ONGOING SERIES] Early in Something From Nothing—Ice T’s documentary deconstructing the craft of the music that thoroughly reinvented American culture in the late 20th century, and one of two films opening the NW Film Center’s Reel Music Festival—the director ponders why hip-hop, for all its world-changing impact, does not get the respect as an art form enjoyed by other African-American idioms. In response, trailblazing producer Marley Marl hypothesizes that, unlike jazz and blues, rap is seen as a culture that doesn’t respect itself, with artists quicker to dis their peers and elders rather than prop them up. It’s a spurious theory—read some interviews with Miles Davis to see how much “respect” he showed his peers—but supposing it’s true, then Something From Nothing goes a long way toward disproving that image. Traveling across the country, from east to west, and speaking with practically every major figure in the music’s 30-year history (only Jay-Z is conspicuously absent), the film weaves together not just an impassioned defense of hip-hop’s artistry but a portrait of its towering historical lineage. A pioneer himself, T is able to draw loose, unguarded moments from his subjects, getting everyone from Rakim to Eminem to discuss how they work and think as artists. But his most revealing accomplishment is getting them to talk about each other, displaying how the exchange of influence transcends boundaries of race and region. It’s tempting to label the movie essential viewing for true heads only—and it is essential— but this is the one hip-hop doc that could change the opinions of the music’s most staunch detractors. MATTHEW SINGER. NW Film Center’s Whitsell Auditorium. 9:15 pm Friday, Oct. 12. See nwfilm.org for a complete Reel Music schedule.

Samsara

A Samsara, the title of the new

wordless, non-narrative documentary from the creators of 1992’s similarly structured Baraka, is a Sanskrit word referencing, more or less, the circle of life. Anyone allergic to New Age-isms will break out in hives. Put aside those aversions, however, and Samsara is, without question, the most visually intoxicating film of the year. Shot in gleaming 70 mm by Ron Fricke and Mark Magidson, the movie travels to 25 countries—from hurricane-ravaged New Orleans to East Africa, from Egyptian apartment complexes built in view of the pyramids to a Bangkok strip club full of undulating “lady-boys”—and paints an astounding portrait of human existence. PG-13. MATTHEW SINGER. Fox Tower.

Sinister

Ethan Hawke versus a demon. It’s actually getting good reviews,

D- Taken 2: The Takening (our title, not the movie’s, though it should be) is an extremely stupid piece of shit. Typically, with this kind of movie, that should be an overwhelmingly positive assessment. When we go to a movie theater to watch a sexagenarian (Liam Neeson) hammerpunching an endless sea of faceless henchmen in their necks, we expect certain things—brainlessness, oneliners and explosions chief among them. But director Olivier Megaton— whose name alone implies he should know better—sucks all the joy out of the affair in a way that makes Pierre Morel’s joylessly crude original seem like a whiz-bang actioner of the Commando variety. Neeson punches just fine, but the presentation here is almost unwatchable. The film’s so full of hyperactive jump cuts and herky-jerky camera work it’s impossible to tell who even won a fight until the next scene, when Neeson invariably walks away from a sea of lifeless Albanians in track suits and makes an intense cellphone call. Let’s hope that when the inevitable Taken It to the Streets hits theaters, we’ll finally get the kind of tonguein-cheek mix of hilarity, explosions, and bloodied track suits this series deserves, rather than some bullshit that thinks it’s making a bigger statement than the word “pow.” PG13. AP KRYZA. Lloyd Center, Cedar Hills, Clackamas, Oak Grove, Pioneer Place, City Center, Hilltop, Lloyd Mall, Sherwood, Tigard, St. Johns.

Trouble With the Curve

C If you wanted to know whether Clint Eastwood yells at chairs in his new movie, the answer is a resounding yes. But in a strange turn, the film slowly morphs from a tale about a hard-bitten old-timer facing the end of his relevance to the story of a bright, young career woman (Amy =Adams) who finally comes to know herself and find love with a boy-band singer (Justin Timberlake) while on the road with her dad (Eastwood). It is a funny world in which everyone always witlessly says what they mean, every life episode is dubiously calculated for your favorite character’s benefit, and every incompetent person is also morally repellent and physically grotesque. Great world, I guess. But as a movie, it’s peanuts. PG-13. MATTHEW KORFHAGE. Cedar Hills, Clackamas, Oak Grove, Evergreen Parkway, Sherwood, Tigard.

Won’t Back Down

C- I’m often puzzled by movies like Won’t Back Down. Here’s a story “inspired by actual events” that plays like a two-hour, live-action equivalent of Rev. Lovejoy’s wife screaming, “Won’t somebody please think of the children?!” Or, to make another Simpsons comparison, this movie is basically Martin Prince. It means well, is full of energy, thinks it should be more popular than it is, and loves going to school, but in the end, it will never be cool. PG. ERIK MCCLANAHAN. City Center, Evergreen Parkway, Fox Tower, Hilltop, Lloyd Mall, Tigard.

Wuthering Heights

B+ Despite being based on a

Victorian novel by Emily Brontë, director Andrea Arnold’s Wuthering Heights is no musty BBC costume drama fraught with full-lipped, forelocked men and bosoms heaving out of corsets. The film is instead a thing of abject brutality. The Yorkshire landscape in which it exists is a fullfledged character in its own right, savage and sublime but never quite beautiful. The wind smothers the camera’s microphone with static, the mud sticks to the characters’ clothing, and the mist is less romantic than it is a sign of chill. The film is also often anachronistic in its dia-

OCT. 10-16 logue and setting: The orphaned Heathcliff is recast as an escaped African slave who calls the hoitytoity Lintons up the hill a bunch of “fucking cunts.” As a result, the class tensions are felt, not just seen as a quaint anachronism. Known best for her working-class coming-of-age Fish Tank, Arnold has made a starkly modern, terribly imperfect film from that most modern of old-fashioned love stories. No one is particularly likable, each character remains frustratingly opaque, and their relationships and emotions feel oddly flattened and flatlined. But Arnold remembers that the Latin root of passion is always pain, and so highlights not roseate love but resentment and betrayal. Violence begets violence, and the world is hateful violence. Aesthetically, the film is a stark wonder. It is not a Wuthering Heights for teenaged heavy-breath-

MOVIES

ers. It is, rather, a ﬁlm for those who enjoy being hit across the face just to feel the sting and know they’re alive. PG. MATTHEW KORFHAGE. Cinema 21.

Zompire: The Undead Film Festival

[TWO NIGHTS ONLY] A seasonally appropriate celebration of the undead from the creators of the H.P. Lovecraft Film Festival, with blocks of shorts, costume contests, and screenings of ﬁlm adaptations of Lovecraft’s The Thing on the Doorstep and The Evil Clergyman, and the 1987 horror-comedy classic The Lost Boys. Clinton Street Theater. 6 pm Saturday and Sunday, Oct. 13-14. See zompire. com for a complete schedule.

SUNDANCE SELECTS

REVIEW

WWEEKDOTCOM

ACTING UP: Activists demand attention.

HOW TO SURVIVE A PLAGUE Battling AIDS beyond the ribbon.

“Ninety-three through ’95 were the worst years,” says longtime AIDS activist David Barr near the close of How to Survive a Plague. “And then we got lucky.” The sentiment captures the general feel of the nine-year battle that began with communal outrage and advocacy and then grew to inevitable in-fighting between splintered groups mutually outraged at the lack of institutional response to the disease but equally conflicted about how to battle it. What the members of the AIDS Coalition to Unleash Power (ACT UP) shared was an understanding of urgency and the political, ideological and bureaucratic bullshit delaying effective treatment, let alone a cure. Director David France is a reporter by trade, and he produces a near-seamless piece of long-form journalism by weaving together home video and broadcast footage to show the victories and inevitable missteps of ACT UP. What France presents is less a call to arms than a retrospective of the resourcefulness of a group that did far more than heckle politicians, even producing a medical glossary and comprehensive treatment plan at a time when neither was provided by a government institution. In addition to staging dramatic protests at Catholic churches and New York-area hospitals known for discriminating against AIDS patients, the group pressured the FDA to step up research into proposed drug regimens making their way through the system. France profiles major ACT UP players. Some are afflicted with an HIV diagnosis and some won’t live to see 1996, a turning point in the AIDS battle. But France maintains suspense while assembling a chronologically cohesive history of the movement. Few AIDS documentaries manage to balance both the pragmatism and personal cost of the uphill battle for effective AIDS research and treatment, and France does it with the right amount of sentiment and cold, hard statistics. A yearly AIDS death toll grounds more upsetting footage of hateful public figures like former senator Jesse Helms or a bumbling, ineffective George H.W. Bush. In the end, How to Survive effectively proves that, in the face of any profound loss, knowledge is power. SAUNDRA SORENSON. A- SEE IT: How to Survive a Plague opens Friday at Living Room Theaters.

Join Willamette Week as we celebrate the season in Southeast. We’re heading out to four great bars for fun, games, bar specials and to view and vote on some great local art. Dingo’s Restaurant & Tequila Bar 4612 SE Hawthorne Blvd.

Belmont Belmont Inn Inn 3357 SE Belmont St. ...a neighborhood place.

Nick’s Famous Coney Island 3746 SE Hawthorne Blvd. Triple Nickel 3646 SE Belmont St.

Transportation provided by the new and improved Cascadia Cruiser.

RSVP at Promotions@wweek.com Willamette Week OCTOBER 10, 2012 wweek.com

MOVIES

OCT. 12-18

BREWVIEWS MIRAMAX FILMS

HOTEL TRANSYLVANIA Fri-Sat-Sun-Mon-Tue-Wed 01:05, 04:05, 07:05 HERE COMES THE BOOM FriSat-Sun-Mon-Tue-Wed 01:15, 04:15, 07:15, 09:55 SKYFALL Fri-Sat-Sun-MonTue-Wed THE TWILIGHT SAGA: BREAKING DAWN PART 2 Fri-Sat-Sun-MonTue-Wed SINISTER FriSat-Sun-Mon-Tue-Wed 01:30, 04:30, 07:30, 10:10 PITCH PERFECT Fri-SatSun-Mon-Tue-Wed 01:00, 04:00, 07:00, 09:45 HOTEL TRANSYLVANIA 3D Fri-Sat-Sun-Mon-Tue-Wed 10:00 FRANKENWEENIE 3D Fri-Sat-Sun-MonTue-Wed 04:20, 07:20 PARANORMAL ACTIVITY 4 Fri-Sat-Sun-Mon-Tue-Wed

Academy Theater

Willamette Week’s Annual

Holiday Gift Guides 2012 Gift Guide #1

Publishes November 28 Space reservation deadline: November 20 @ 4pm Artwork due: November 21

KOOL THING: Reservoir Dogs is a shut-in child’s mescaline dream of criminal cool. It is also the film that launched Quentin Tarantino’s brilliantly infantile oeuvre. The 20-year-old Reservoir is, on one hand, a simple claustrophobic tale about a bunch of lowlifes and a caper gone south. But the plot’s not the point. Reservoir is an ebulliently talky exercise in style by a permanent teenager whose mother does not understand him, a stew of ’70s exploitation, French New Wave nonlinear narration, épater-le-bourgeois racism and David Lynchian mixes of the brightly banal and grimly violent. It is a movie desperate to be cool, and it is. MATTHEW KORFHAGE. Showing at: Hollywood Theatre. Best paired with: Miller High Life. Also screening: Night of the Creeps (Laurelhurst), Jurassic Park (Academy). Hollywood Theatre

Gift Guide #2

Publishes December 12 Space reservation deadline: December 4 @ 4pm Artwork due: December 5

807 Lloyd Center 10 and IMAX

1510 NE Multnomah Blvd., 800-326-3264 FRANKENWEENIE FriSat-Sun-Mon-Tue-Wed 12:30, 02:50, 05:10, 07:35, 09:55 TAKEN 2 Fri-SatSun-Mon-Tue-Wed 11:45, 12:15, 02:10, 02:40, 04:50, 05:20, 07:25, 07:55, 09:50, 10:25 LOOPER Fri-SatSun-Mon-Tue-Wed 01:15, 04:25, 07:20, 10:15 ARGO Fri-Sat-Sun-Mon-Tue-Wed 12:50, 01:30, 03:55, 04:30, 06:50, 07:30, 09:45, 10:30 SKYFALL Fri-Sat-Sun-MonTue-Wed THE TWILIGHT SAGA: BREAKING DAWN PART 2 Fri-Sat-Sun-MonTue-Wed SINISTER Fri-SatSun-Mon-Tue-Wed 01:00, 03:45, 06:30, 09:15 PITCH PERFECT Fri-Sat-Sun-MonWed 12:40, 03:50, 07:10, 10:00 FRANKENWEENIE: AN IMAX 3D EXPERIENCE Fri-Sat-Sun-Mon-TueWed 12:00, 02:20, 04:40, 06:55, 09:25 SEVEN PSYCHOPATHS Fri-SatSun-Mon-Tue-Wed 12:20, 03:35, 06:40, 09:35 PARANORMAL ACTIVITY 4 Fri-Sat-Sun-Mon-TueWed THE METROPOLITAN OPERA: L’ELISIR D’AMORE LIVE Sat 09:55

Regal Lloyd Mall 8 Cinema

call: 503.243.2122 email: advertising@wweek.com

Willamette Week OCTOBER 10, 2012 wweek.com

2320 Lloyd Center Mall, 800-326-3264 THE TWILIGHT SAGA: BREAKING DAWN PART 2 Fri-Sat-Sun-Mon-Tue-Wed THE PERKS OF BEING A WALLFLOWER Fri-Sat-SunMon-Tue-Wed 12:10, 03:05, 06:05, 08:30 HOUSE AT THE END OF THE STREET Fri-Sat-Sun-Mon-Tue-Wed 03:10, 08:55 WON’T BACK DOWN Fri-Sat-Sun-MonTue-Wed 12:15 END OF WATCH Fri-Sat-Sun-MonTue-Wed 12:20, 06:20 HOTEL TRANSYLVANIA Fri-Sat-Sun-Mon-TueWed 12:35, 03:20, 06:35 HOTEL TRANSYLVANIA 3D Fri-Sat-Sun-Mon-TueWed 09:00 DREDD 3D Fri-Sat-Sun-Mon-Tue-Wed

03:15, 06:15, 08:50 TAKEN 2 Fri-Sat-Sun-Mon-TueWed 12:05, 03:35, 06:25, 08:40 HERE COMES THE BOOM Fri-Sat-Sun-MonTue-Wed 12:25, 03:25, 06:10, 08:35 THE MASTER Fri-Sat-Sun-Mon-Tue-Wed 12:00, 03:00, 06:00, 09:00 ATLAS SHRUGGED: PART 2 Fri-Sat-Sun-Mon-Tue-Wed 12:00, 03:00, 06:00, 08:45

Clinton Street Theater

2522 SE Clinton St., 503-238-8899 ZOMPIRE: THE UNDEAD FILM FESTIVAL SatSun SHORTS 1 Sat-Sun 06:30 SHORTS 2 Sat-Sun 09:30 THE LOST BOYS Sat 09:30 THE ROCKY HORROR PICTURE SHOW Sat 11:30 THE THING ON THE DOORSTEP Sun 08:00 THE EVIL CLERGYMAN Sun 10:30 WHAT’S ON YOUR PLATE? Mon 07:00 NO FILMS SHOWING TODAY Tue THIS TIME TOMORROW Wed 07:00, 08:30 AUSTIN UNBOUND

Laurelhurst Theater

2735 E Burnside St., 503-232-5511 PARANORMAN Fri-Sat-Sun 02:00, 04:00 LAWLESS Fri-Sat-Sun-Mon-Tue-Wed 06:45 NIGHT OF THE CREEPS Fri-Sat-Sun-MonTue-Wed 09:15 MOONRISE KINGDOM Fri-Sat-SunMon-Tue-Wed 07:30, 09:40 THE DARK KNIGHT RISES Fri-Sat-Sun-MonTue-Wed 09:00 SAFETY NOT GUARANTEED Fri-SatSun-Mon-Tue-Wed 07:00 PREMIUM RUSH Fri-SatSun-Mon-Tue-Wed 09:30 CELESTE AND JESSE FOREVER Fri-Sat-Sun-MonTue-Wed 07:15 BRAVE Sat-Sun 01:15

Fifth Avenue Cinemas

510 SW Hall St., 503-725-3551 ARCHANGEL Fri-Sat-Sun 03:00

4122 NE Sandy Blvd., 503-281-4215 PORTLAND LATIN AMERICAN FILM FESTIVAL Fri-Sat-Sun-Mon-TueWed CALL THEATRE FOR SHOWTIMES FriSat-Sun-Mon-Tue-Wed RESERVOIR DOGS FriSat-Sun-Mon 07:20 EL MARIACHI Fri-Sat-SunMon-Tue-Wed 09:40 3, 2, 1... FRANKIE GO BOOM Fri-Sat-Sun-Mon-Tue-Wed 09:30 BEASTS OF THE SOUTHERN WILD FriSat-Sun-Mon-Tue-Wed 07:10 FRANKENSTEIN Sat-Sun 02:00 THE WALKING DEAD Sun 07:00 PRESIDENTIAL DEBATE IN HECKLEVISION Tue 06:00 THE GREAT SILENCE Wed 07:30 REBEL CRAFT RUMBLE

Regal Fox Tower Stadium 10

846 SW Park Ave., 800-326-3264 SEARCHING FOR SUGAR MAN Fri-Sat-Sun-Mon-TueWed 12:25, 02:45, 05:10, 07:10, 09:55 THE PERKS OF BEING A WALLFLOWER Fri-Sat-Sun-Mon-TueWed 12:05, 02:30, 04:55, 07:15, 09:40 WON’T BACK DOWN Fri-Sat-Sun-MonTue-Wed 12:20 END OF WATCH Fri-Sat-Sun-MonTue-Wed 12:30, 09:50 LOOPER Fri-Sat-Sun-MonTue-Wed 12:15, 02:50, 04:25, 05:25, 07:20, 08:55 SAMSARA Fri-Sat-SunMon-Tue-Wed 02:55, 05:15, 07:25, 09:50 THE MASTER Fri-Sat-Sun-Mon-Tue-Wed 12:40, 04:10, 07:05, 09:35 ATLAS SHRUGGED: PART 2 Fri-Sat-Sun-Mon-TueWed 12:10, 02:40, 05:05, 07:30, 09:20 SEVEN PSYCHOPATHS Fri-Sat-SunMon-Tue-Wed 12:00, 12:45, 02:35, 04:15, 05:00, 07:00, 07:35, 09:30, 09:55 THE PAPERBOY Fri-Sat-SunMon-Tue-Wed 12:35, 03:00, 05:20, 07:40, 10:00

Pioneer Place Stadium 6

340 SW Morrison St., 800-326-3264 FRANKENWEENIE FriSat-Sun-Mon-Tue-Wed 01:20, 09:45 TAKEN 2 Fri-Sat-Sun-Mon-Tue-Wed 01:10, 04:10, 07:10, 09:50

7818 SE Stark St., 503-252-0500 MOONRISE KINGDOM Fri-Sat-Sun-Mon-TueWed 06:00, 08:00, 10:00 PARANORMAN Fri-SatSun-Mon-Tue-Wed 02:00, 04:00 THE DARK KNIGHT RISES Fri-Sat-Sun-MonTue-Wed 01:05, 06:25, 09:35 BRAVE Fri-SatSun-Mon-Tue-Wed 04:15 JURASSIC PARK Fri-SatSun-Mon-Tue-Wed 04:30, 07:05 LAWLESS Fri-SatSun-Mon-Tue-Wed 02:10, 09:45 THE WALKING DEAD Sun 09:00

Century at Clackamas Town Center

12000 SE 82nd Ave., 800-326-3264 HOUSE AT THE END OF THE STREET Fri-Sat-SunMon-Tue-Wed 11:30 HOTEL TRANSYLVANIA Fri-SatSun-Mon-Tue-Wed 11:30, 02:00, 04:30, 07:00, 09:30 HOTEL TRANSYLVANIA 3D Fri-Sat-Sun-Mon-TueWed 12:25, 02:55, 05:25, 08:00, 10:30 TROUBLE WITH THE CURVE Fri-SatSun-Mon-Tue-Wed 11:15, 01:55, 04:40, 07:20, 10:05 FRANKENWEENIE Fri-SatSun-Mon-Tue-Wed 11:00, 01:20, 03:40, 06:00, 08:20, 10:40 FRANKENWEENIE 3D Fri-Sat-Sun-Mon-TueWed 12:10, 02:30, 04:50, 07:10, 09:35 TAKEN 2 Fri-Sat-Sun-Mon-TueWed 11:00, 11:50, 12:35, 01:30, 02:20, 03:10, 04:00, 04:45, 05:40, 06:30, 07:15, 08:10, 09:00, 09:45, 10:40 PITCH PERFECT Fri-SatSun-Mon-Tue-Wed 11:05, 01:50, 03:15, 04:35, 07:25, 10:10 SINISTER Fri-SatSun-Mon-Tue-Wed 11:25, 02:05, 04:55, 07:40, 10:25 HERE COMES THE BOOM Fri-Sat-Sun-Mon-Tue-Wed 11:40, 01:05, 02:25, 03:45, 05:05, 06:25, 07:45, 09:05, 10:25 ARGO Fri-Sat-SunMon-Tue-Wed 12:30, 02:00, 03:25, 04:50, 06:15, 07:40, 09:10 END OF WATCH Fri-Sat-Sun-Mon-Tue-Wed 10:35 LOOPER Fri-SatSun-Mon-Tue-Wed 11:00, 12:20, 01:50, 04:40, 07:30, 10:20 THE PERKS OF BEING A WALLFLOWER Fri-Sat-Sun-Mon-TueWed 11:55, 02:35, 05:15, 07:55, 10:35 SEVEN PSYCHOPATHS Fri-SatSun-Mon-Tue-Wed 11:45, 02:30, 05:10, 07:50, 10:30 ATLAS SHRUGGED: PART 2 Fri-Sat-Sun-Mon-Tue-Wed 11:20, 02:05, 04:45, 07:30, 10:15 THE METROPOLITAN OPERA: L’ELISIR D’AMORE LIVE Sat 09:55 MARY POPPINS Wed 02:00, 07:00 LED ZEPPELIN: CELEBRATION DAY Wed 07:30 PARANORMAL ACTIVITY 4 SUBJECT TO CHANGE. CALL THEATERS OR VISIT WWEEK.COM/MOVIETIMES FOR THE MOST UP-TODATE INFORMATION FRIDAY-THURSDAY, OCT. 12-18, UNLESS OTHERWISE INDICATED

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WELLNESS SERVICE DIRECTORY

MUSICIANS MARKET FOR FREE ADS in 'Musicians Wanted,' 'Musicians Available' & 'Instruments for Sale' go to portland.backpage.com and submit ads online. Ads taken over the phone in these categories cost $5.

BODYWORK

INSTRUMENTS FOR SALE

MANSCAPING

Bodyhair grooming M4M. Discrete quality service. 503-841-0385 by appointment.

HOME CARPET CLEANING SW Steampro 503-268-2821

www.steamprocarpetcleaners.com

COMPUTER REPAIR NE Portland Mac Tech 25 SE 62nd Ave. Portland, Oregon 97213 503-998-9662

STYLE

HOME IMPROVEMENT SW Jill Of All Trades 6905 SW 35th Ave. Portland, Oregon 97219 503-244-0753

PROPERTY MANAGEMENT SW JMPDX LLC 1505 SW 6th #8155 Portland, Oregon 97207 503-730-5464

TREE SERVICE NE Steve Greenberg Tree Service 1925 NE 61st Ave. Portland, Oregon 97213 503-774-4103

AUDIO SE

Inner Sound

1416 SE Morrison Street Portland, Oregon 97214 503-238-1955 www.inner-sound.com

CELL PHONE REPAIR N Revived Cellular & Technology 7816 N. Interstate Ave. Portland, Oregon 97217 503-286-1527 www.revivedcellular.com

MASSAGE (LICENSED)

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call

Charles

503-740-5120

PAINTING

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Massage openings in the Mt. Tabor area. Call Jerry for info. 503-757-7295. LMT6111.

Interior & Exterior 503-646-8359 CCB #100360

SPECIAL:

EXPRESS FACIAL OR 30 MINUTE MASSAGE

AUTO REPAIR SE Family Auto Network

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Counseling Individuals, Couples and Groups Stephen Shostek, CET

MOVING Alienbox LLC 503-919-1022 alienbox.com

HAULING N LJ Hauling

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Specializing in sitar, but serving all instruments and levels! 917-776-2801 www.joshfeinbergmusic.com

• Strength Training • Body Shaping • Nutrition Counseling

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Relationships, Life Transitions, Personal Growth

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503-963-8600

ELIXIA WELLNESS 503.232.5653

Sundays: COMMON GROUND WELLNESS 503.238.1065

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MUSIC LESSONS

Equitable Solutions

Personal Trainer & Independent Contractor

COLLISION REPAIR NE Atomic Auto

TRADE UP MUSIC - Buying, selling, instruments of every shape and size. Call 503-236-8800. Open 11am-7pm every day. 4701 SE Division & 1834 NE Alberta. www.tradeupmusic.com

GUITAR LESSONS Personalized instruction for over 15yrs. Adults & children. Beginner through advanced. www.danielnoland.com 503-546-3137

BILL PEC

AUTO

1348 SE 82nd Ave. Portland, Oregon 97216 503-254-2886 www.FamilyAutoNetwork.com

Featuring Swedish, deep tissue and sports techniques by a male therapist. Conveniently located, affordable, and preferring male clientele at this time. #5968 By appointment Tim 503.575.0356

MEDIATION

503-750-6586 spiderwebsewingstudio@gmail.com 7204 N. Leonard St Portland, Or 97203

GADGET SE Gadget Fix 1012 SE 96th Ave. Portland, Oregon 97216 503-255-2988 Next to Target (Mall 205)

Totally Relaxing Massage

COUNSELING

SEWING & ALTERATIONS N Spiderweb Sewing Studio

SERVICES

Learn Jazz & Blues Piano with local Grammy winner Peter Boe. 503-274-8727.

AT THE GYM, OR IN YOUR HOME

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STUFF FURNITURE

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AIRLINE TRAINING

Become an Aviation Maintenance Tech. FAA approved training. Financial aid if qualified - Housing available. Job placement assistance. CALL Aviation Institute of Maintenance 877-492-3059 (AAN CAN)

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from home. *Medical, *Business, *Criminal Justice, *Hospitality. Job placement assistance. Computer available. Financial Aid if qualified. SCHEV authorized. Call 800-481-9472 www.CenturaOnline.com (AAN CAN)

GENERAL

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ASHLEE HORTON

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EMPLOYMENT OPPORTUNITIES ACTORS/MOVIE EXTRAS Needed immediately for upcoming roles $150-$300/ day depending on job requirements. No experience, all looks needed. 1-800-560-8672 for casting times/locations. (AAN CAN)

TRACY BETTS

BULLETIN BOARD WILLAMETTE WEEK’S GATHERING PLACE NON-PROFIT DISCOUNTS AVAILABLE.

ADOPTION ADOPTION:

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CLASSES

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MCMENAMINS JOHN BARLEYCORN In Tigard is now hiring LINE COOKS! Qualified apps must have an open & flex sched including, days, eves, wknds and holidays. We are looking for LINE COOKS who have prev exp and enjoy working in a busy customer service-oriented enviro. Please apply online 24/7 at www.mcmenamins.com or pick up a paper app at any McMenamins location. Mail to 430 N. Killingsworth, Portland OR, 97217 or fax: 503-221-8749. Call 503-952-0598 for info on other ways to apply. Please no phone calls or emails to individ locs! E.O.E.

MCMENAMINS ROCK CREEK TAVERN AND ROADHOUSE/IMBRIE HALL Are hiring LINE COOKS! Qualified apps must have an open & flex sched including, days, eves, wknds and holidays. We are looking for LINE COOKS who have prev exp and enjoy working in a busy customer service-oriented enviro. Please apply online 24/7 at www.mcmenamins.com or pick up a paper app at any McMenamins location. Mail to 430 N. Killingsworth, Portland OR, 97217 or fax: 503-221-8749. Call 503-952-0598 for info on other ways to apply. Please no phone calls or emails to individ locs! E.O.E.

Movie Extras

Actors, Models Make up to $300/day. No Experience required. All looks and ages. Call (866) 339-0331 (AAN CAN)

ACTIVISM

CAMPAIGN JOBS

Fight Hate Groups. Teach Tolerance. Seek Justice. Work with Grassroots Campaigns on behalf of the nation’s leading organization on monitoring and fighting hate groups.

Earn $350 - $550/week • Full-time/ part-time/ Career.

Call Alex at 503 232 5326 or Apply online at

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What is Montessori Education? Free Information Session Thursday, October 18, 2012 6:30 - 8:30PM Visit our model classrooms and chat with Montessori professionals from around Portland at the Assistants to Infancy (0-3), Primary (3-6) and Elementary (6-12) levels.

SUPPORT GROUPS

COMMANDMENT #9

You shall NOT bear false-witness [perjury] (Ex 20:16 + Deu 5:20)! You shall not steal [cheat], neither deal Falsely, nor lie [defraud] one another (Lev 19:11)! And you shall NOT go up and down [round about] as a Talebearer [Gossip] among Our People! (Leu 19:16) Also Pr 26:20! chapel@gorge.net

PERJURY #9

One witness shall NOT rise up against a man... At the mouth of two or three witnesses shall the matter be established! And if a False Witness rise up against any man... the Judge shall make diligent inquiry - and, behold if the witness be a False witness... Then you shall do unto him, as he sought to do unto his brother! (Deu 19:15-20) BEWARE THE CURSE THAT COMES FORTH OVER PERJURY (Zechariah 5:1-4) chapel@gorge.net

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ALANON Sunday Rainbow

5:15 PM meeting. G/L/B/T/Q and friends. Downtown Unitarian Universalist Church on 12th above Taylor. 503-309-2739.

SERVICES BUILDING/REMODELING

Got Meth Problems? Need Help?

Oregon CMA 24 hour Hot-line Number: 503-895-1311. We are here to help you! Information, support, safe & confidential!

EVENTS

Mushroom Forays Oakridge, OR

Oct 19-21 & Nov 2-4 Expert Guided Forays Gourmet Dinner, Culinary Demo & Wine Pairings, $375! Hurry and be among the 1st 10 to Sign up for our Early Bird Special & Receive – 20% off

CLEANING

Offer Good for a Limited Time

541.782.4000

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HEALTH Get tested for 7 STDs, $168. Order and test the same day. Results usually within 72 hours. FDA approved labs. ItsDiscreet.com

Presents Sammilan

- Spirit of Krishna

LEGAL NOTICES

Featuring: Shashank Subramanyam - Flute/Vocals, Anwar Khan Manganiar - Vocal, Firoze Khan Manganiar - Dholak, Satishkumar Patri - Mridangam, Khanjira and Konnakol

CHILD FIND

First Congregational Church n • 1126 SW Park Avenue • Portland, OR 97205 7:30pm, Saturday, Oct 13, 2012

Public schools will ensure that all students with disabilities who are eligible for kindergarten through 21 years of age, residing within their attendance area, have available to them a free and appropriate public education in the least restrictive environment. The rights of children with disabilities and their parents will be protected in accordance with state and federal laws. School districts must locate and identify individuals who have disabilities from birth to age 21. If you, or someone you know, have a child with a disability who may be in need of special education and related services, you can initiate a referral through your local schools. The following is a list of Multnomah County School Districts: Centennial School District 503-760-7990 Corbett School District 503-261-4200 David Douglas School District 503-252-2900 Gresham-Barlow School District 503-261-4650 Parkrose School District 503-408-2100 Portland School District 503-916-2000 Reynolds School District 503-661-7200 Riverdale School District 503-636-8611 Multnomah Early Childhood Program 503-262-4100

CLASSICAL PIANO/KEYBOARD $15/Hour Theory Performance. All levels. Portland 503-989-5925 and 503-735-5953.

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MISCELLANEOUS

Montessori Institute Northwest 622 SE Grand Avenue Portland, OR 97214 www.montessori-nw.org 503.963.8992

LESSONS

503-445-2757 • tbetts@wweek.com

Tickets are $20 in advance and available through www.kalakendra.org or may be purchased at the door for $25. Students and children $15.

SELL YOUR STUFF

GET WELL GO TO THE BEACH

RENT YOUR HOUSE

S E RV I C E THE MASSES

FILL A JOB

GET S O ME

CLASSIFIEDS

503.445.2757 • 503.445.3647

HANDYPERSON MILLS HANDYMAN AND REMODELING 503-245-4397. Free Estimate. Affordable, Reliable. Insured/Bonded. CCB#121381

HAULING/MOVING

Haulers with a Conscience

503-477-4941 www.anniehaul.com All unwanted items removed (residential/commercial) One item to complete clear outs

Free Estimates • Same Day Service • Licensed/Insured • Locally Owned by Women We Care

We Recycle

We Donate

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LANDSCAPING Bernhard’s Professional MaintenanceComplete yard care, 20 years. 503-515-9803. Licensed and Insured.

TREE SERVICES Steve Greenberg Tree Service

Pruning and removals, stump grinding. 24-hour emergency service. Licensed/ Insured. CCB#67024. Free estimates. 503-284-2077

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TRACY BETTS

CHATLINES

Week of October 11

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ARIES (March 21-April 19): Ten percent of all sexually suggestive text messages are delivered to the wrong number. Take precautions to make sure you’re not among that ten percent in the coming weeks. It will be extra important for you to be scrupulous in communicating about eros and intimacy. The stakes will be higher than usual. Togetherness is likely to either become more intensely interesting or else more intensely confusing -- and it’s largely up to you which direction it goes. For best results, express yourself clearly and with maximum integrity.

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TAURUS (April 20-May 20): If it were within my power, I’d help you identify the new feelings you have not yet been able to understand. I would infuse you with the strength you would need to shed the wornout delusions that are obstructing your connection to far more interesting truths. And I would free you from any compulsion you have to live up to expectations that are not in alignment with your highest ideals. Alas, I can’t make any of these things happen all by myself. So I hope you will rise to the occasion and perform these heroic feats under your own power. GEMINI (May 21-June 20): Dutch graphic artist M.C. Escher (1898-1972) was a Gemini. He liked to depict seemingly impossible structures, like stairways in which people who climbed to the top arrived at the bottom. I nominate him to be your patron saint in the coming week. You should have his talent for playing with tricks and riddles in ways that mess with everyone’s boring certainties. Here are four Escher quotes you can feel free to use as your own. 1. “Are you really sure that a floor can’t also be a ceiling?” 2. “My work is a game, a very serious game.” 3. “I think it’s in my basement; let me go upstairs and check.” 4. “Only those who attempt the absurd will achieve the impossible.” CANCER (June 21-July 22): The Venus flytrap is a remarkable plant that gobbles up insects and spiders. Its leaves do the dirty work, snapping shut around its unsuspecting prey. Evolution has made sure that the flowers of the Venus flytrap sit atop a high stalk at a safe distance from where all the eating takes place. This guarantees that pollinators visiting the flowers don’t get snagged by the carnivorous leaves below. So the plant gets both of its main needs met: a regular supply of food and the power to disseminate its seeds. I’ll ask you to derive a lesson from all this, Cancerian. Be sure that in your eagerness to get the energy you need, you don’t interfere with your ability to spread your influence and connect with your allies.

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LEO (July 23-Aug. 22): A sinuous and shimmering archetype that begins with the letter “s” has been trying to catch your attention, Leo -- sometimes in subliminal and serpentine ways. Why haven’t you fully tuned in yet? Could it be because you’re getting distracted by mildly entertaining but ultimately irrelevant trivia? I’m hoping to shock you out of your erroneous focus. Here’s the magic trigger code that should do the trick: Psssssssssst! Now please do what you can to make yourself very receptive to the slippery, spidery signals of the simmeringly sublime surge. VIRGO (Aug. 23-Sept. 22): Don’t burn down a bridge you haven’t finished building yet. OK, Virgo? Don’t try to “steal” things that already belong to you, either. And resist the urge to flee from creatures that are not even pursuing you. Catch my drift? Stop yourself anytime you’re about to say nasty things about yourself behind your own back, and avoid criticizing people for expressing flaws that you yourself have, and don’t go to extraordinary lengths to impress people you don’t even like or respect. Pretty please? This is a phase of your astrological cycle when you should put an emphasis on keeping things simple and solid and stable. LIBRA (Sept. 23-Oct. 22): “Hello Dear Sir: I would like to place a large order for yellow chicken curry, cherry cream cheese cupcakes, and sour, malty Belgian golden ale. It’s for my birthday party this Saturday, and will need to serve exactly 152 people. My agent will pick it up at 11 a.m. Please have it ready on time. - Ms. Lori Chandra.” Dear Ms. Chandra: I am an astrologer, not a caterer, so I’m afraid I can’t fulfill your order. It’s admirable that you know so precisely

what you want and are so authoritative about trying to get it; but please remember how crucial it is to seek the fulfillment of your desires from a source that can actually fulfill them. You’re a Libra, right? Your birthday is this week? Thanks for giving me an excuse to send this timely message to all of your fellow Libras. SCORPIO (Oct. 23-Nov. 21): Here comes the big reveal of the month; the trick ending of the year; and maybe the most unusual happiness of the decade. Any day now you will get the chance to decipher the inside story that’s beneath the untold story that’s hidden within the secret story. I won’t be surprised if one of your most sophisticated theories about the nature of reality gets cracked, allowing you to at recover at least a measure of primal innocence. I suggest you start practicing the arts of laughing while you cry and crying while you laugh right now. That way you’ll be all warmed up when an old style of give-and-take comes to an end, ultimately making way for a more profound new give-and-take. SAGITTARIUS (Nov. 22-Dec. 21): There’s almost nothing about the dandelion that humans can’t make use of. People of many different countries have eaten its buds, leaves, and greens. Besides being tasty, it contains high levels of several vitamins and minerals. Its flowers are the prime ingredient in dandelion wine, and its roots have been turned into a coffee substitute. Herbalists from a variety of traditions have found medicinal potency in various parts of the plant. Last but not least, dandelions are pretty and fun to play with! In the coming weeks, Sagittarius, I invite you to approach the whole world as if it were a dandelion. In other words, get maximum use and value out of every single thing with which you interact. CAPRICORN (Dec. 22-Jan. 19): “Intellect confuses intuition,” asserted painter Piet Mondrian. I don’t think that’s always true, even for creative artists. But in the coming week I suspect it’ll be important for you to take into consideration. So make sure you know the difference between your analytical thinking and your gut-level hunches, and don’t let your thinking just automatically override your hunches. Here’s more helpful advice from painter Robert Genn: “The job of the intellect is to give permission to the intuition, and it’s the job of intuition to know when intellect is once again appropriate.” AQUARIUS (Jan. 20-Feb. 18): It’s time to seek help from outside the magic circle you usually stay inside. You need to call on extracurricular resources -- people and animals and deities who can offer useful interventions and delightful serendipity and unexpected deliverance. The remedies that work for you most of the time just won’t be applicable in the coming days. The usual spiritual appeals will be irrelevant. I’m not saying that you are facing a dire predicament; not at all. What I’m suggesting is that the riddles you will be asked to solve are outside the purview of your customary guides and guidelines. PISCES (Feb. 19-March 20): These days lobsters are regarded as a luxury food, but that wasn’t the case among early Americans. In the 17th and 18th centuries, the large crustaceans were meals that were thought to be suitable only for poor people and prisoners. Wealthy folks wouldn’t touch the stuff. After examining your astrological omens, Pisces, I’m wondering if your future holds a similar transformation. I think there could very well be a rags-toriches story in which an ignored or denigrated thing ascends to a more important role.

Homework Send your secrets for how to increase your capacity for love to: uaregod@comcast.net.

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

freewillastrology.com

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MOTOR

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MERCEDES

GETAWAYS MOUNT ADAMS

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on the couch or join you on any of life’s adventures. I’m ready to hit the trails (seriously don’t underestimate me because of my size I can run you under the table and that’s a promise!) or go to the beach to enjoy the last few weeks of this nice weather. Don’t worry though because when the rain comes back I am happy to stay indoors and greet you with some hot coco (maybe with a tinge of brandy) and a big hug when you come home! I would do well in a quieter, easy going

adult only home with a confident dog – or being an only pup works for me too. No kitties please. I will be your most loyal and loving companion if you show me kindness, consistency and affection. What do you say? Do I sound like just the partner you are looking for? Well then fill out an application at pixieproject.org so we can schedule a meet and greet! I am fixed, vaccinated and microchipped. My adoption fee is $180

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

Across 1 1972 Bill Withers hit 6 “Hair” co-author James 10 “The Naked ___” (Goya painting) 14 Their fight song says “There goes old Georgetown” 15 Dedicated poems 16 Fits of anger 17 Fancy sleeve adornment 19 “___ not good, I’ll call you back” 20 In an aerodynamic way 21 Home of a Herculean lion 22 “I ___ the fool who...” 24 Badminton divider 25 He preceded Jimmy 26 Like factory second clothing: abbr. 27 Table scrap (hidden in PORTABLE) 28 Elevated flat top 29 When doubled, a Teletubby 30 Financial coinage in 2012 headlines 35 Grammy-winner Baker 37 Make eggs 38 Ed of “Up” 39 Ate the rest of 42 Forbes 400 member, often 43 What some rings read 44 Inc., in Paris

45 “Deep Space Nine” shapeshifter 46 Humanoid creature 49 Three-letter diner order 50 “Hey, over here!” 51 “Barracuda” band 52 Send the family newsletter, say 54 Prefix meaning “within” 55 “And don’t try any ___!” 58 Query to Brutus 59 “___ Love Her” 60 Pole dance? 61 Picks up the tab 62 Anjou alternative 63 ___ a million Down 1 “Weird Al” Yankovic movie 2 Group of Greeks: abbr. 3 It may be caused by too much screen time 4 Macho 5 Ending for coal or opal 6 Device used in speed tests 7 “[___ swim]” 8 Go against 9 Annual Ashland event, for short 10 They make hard water hard 11 Bakery draw 12 Amethyst or turquoise 13 Syria’s president 18 Painter Matisse

21 Brand near the Sanka 22 Rice side 23 Tabriz resident 25 Toothpaste variety 27 Categorized similarly 28 Minnesota medical group 31 Heel 32 All dressed up, perhaps 33 News sources 34 ___ Loops 36 Fearful 40 Blanket stealer 41 How marathon runners walk around 46 Baby bird sound 47 Gossipmonger 48 Totally bonkers 49 Battle groups? 50 Vladimir of Russia 52 Monocular character on “Yo Gabba Gabba!” 53 Capitol on a fjord 55 Awesome 56 J. Edgar Hoover ran it 57 Sprint calling card from the 1980s

last week’s answers

Hi friends! My name is Carly and I am a super sweet 3 1/2 year old terrier mix with a heart full of love! At about 15 lbs I am a great size to cuddle with you

Jonesin’

GENERAL

CALL TO LIST YOUR PROPRTY 503-445-3647 or 503-445-2757

Carly

503-445-2757 • tbetts@wweek.com

©2012 Jonesin’ Crosswords (editor@jonesincrosswords.com) For answers to this puzzle, call: 1-900-226-2800, 99 cents per minute. Must be 18+. Or to bill to your credit card, call: 1-800-655-6548. Reference puzzle #JONZ593.

WillametteWeek Classifieds OCTOBER 10, 2012 wweek.com

TO PLACE AN AD CONTACT:

ASHLEE HORTON

503-445-3647 • ahorton@wweek.com

TRACY BETTS

503-445-2757 • tbetts@wweek.com

BACK COVER CONTINUED TO PLACE AN AD ON BACK COVER CONTINUED call 503-445-3647 or 503-445-2757

Open Sundays till 5pm!

• Your Safe Access Resource Center • Premium source for resource • No membership fee

Mon-Sat 10:30am to 7pm Sunday 11:30am to 5pm

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Fresh, local produce, from area farms Get delivery or visit our Market Day, Tuesdays from 3 to 7p. 503-236-6496 • 2030 N. Williams

organicstoyou.org

ww presents

I M A D E T HIS

“pillbox” by Nathan Dinihanian $40.00 www.nathandinihanian.com space sponsored by

Submit your art to be featured in Willamette Week’s I Made This. For submission guidelines go to wweek.com/imadethis

WillametteWeek Classiﬁeds OCTOBER 10, 2012 wweek.com

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CAMPAIGN

TO ADVERTISE ON WILLAMETTE WEEK’S BACK COVER CALL 243-1170 Bankruptcy Attorney POLYAMOROUS? MAMA’S MEDICAL It’s not too late to eliminate debt, protect Or Just POLY-CURIOUS? Marijuana Clinic assets, start over. Experienced, Come Gather With Us! compassionate, top-quality service. Christopher Kane, 503-380-7822 www.ckanelaw.com

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MEDICAL MARIJUANA

Card Services Clinic

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