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WILLAMETTE WEEK PORTLAND’S NEWSWEEKLY

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NEWS Smoke ’em while you got ’em.

HEADOUT A GREAT ALTERNATIVE TO THE CRC. FOOD MAURITIAN CUISINE FROM A CART.

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CONTENT

21st Annual Spring Paddle Festival Demos, classes & clinics • April 27th & 28th • 9 am to 4 pm Vancouver Lake

Reel Paddling Film Festival Doors at 5:30 pm films at 7 pm • April 25th • Mission Theatre

Jantzen Beach Jamboree Sales specials, live music & BBQ • April 27th • 4 pm to 7 pm

SPRING SALE April 26th - May 6th • Jantzen Beach and the Boathouse

ROE KNOWS SEAFOOD: Scallops in Wafu’s back room. Page 19.

NEWS

4

MUSIC

23

CULTURE

15

PERFORMANCE 32

HEADOUT

17

MOVIES

37

FOOD & DRINK

18

CLASSIFIEDS

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NEWSPAPER

INBOX

A l l T h i n g s R e a l E st a t e i n s e r t b ro u g h t t o yo u by :

TIMBERS FANS VS. SCALPERS

Conven ien tly L o cated I n D ow n tow n B eave rton at th e cor ner of 1st St reet & T u cker Avenue

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COMING AROUND TO COMEDY

Scalping is the free market at work [“Ticket Masters,” WW, April 17, 2013]. If you have something of value and someone is willing to pay for it, there’s nothing wrong with that.

The problem is people like [Timbers fan Matt] Braddock, who are high and mighty and think the world revolves around them. If you don’t like it, call the police.

—“Bob”

It’s about time we saw some comedy coverage in Willy Week! [“The Funny Glut,” WW, April 17, 2013.] Portland’s on the map when it comes to standup, and it’s a shame to leave people in the dark about it.

I like that you went for the open-mic angle (do we really need yet another profile of this town’s established comics?), but it might have been more objective to follow a regular mic-er. These sweaty-palmed, first-time narratives already clog the Internet like bacon grease.

—“Nelson”

Regardless if scalping is right or wrong, assault and jumping someone from behind is wrong altogether. The scalpers are getting to be more aggressive and harassing fans who are just walking by.

—“DA”

RABBIS PICK THE BEST BAGEL

What you guys are doing is great, and I hope to see many more bagel tastings in the future [“Keeping It Kosher,” WW, April 17, 2013], but....

I work as a professional baker in one of the tested bagel bakeries and have friends in the others. I was scratching my head after reading that rabbis tested the bagels. They are not bakers, they are our beloved spiritual leaders.

So next time let bakers test [the bagels] under the supervision of a rabbi.

Mazel tov.

—“Guys”

The scalpers have been getting in the way of attendees, screaming at the top of their lungs and making the entire area seem like it’s filled with street preachers with something for sale.

(Of course, they pretend they’re buying.)

Please get the full story, Willamette Week.

This is about a culture of a few turning ugly. The Timbers Army has simply grown weary of the lack of assistance from the city.

—“Frustrated Supporter”

You neglected the best! Henry Higgins Boiled Bagels. While I love Bowery Bagels, they are a tad too gourmet/artisan for this girl from Brooklyn.

—“Karen”

I have no problem with scalpers. They are exploiting the free market like just about everyone else. If there is a buyer at $80 for a $25 ticket, then obviously the Timbers mispriced that ticket. Soccer isn’t a community resource.

It’s a business.

—“laduran”

Blackheart Bagels are better than Henry Higgins or Kettleman. People are remembering Kettleman a little too fondly.

—“My Names”

THE ETHICS OF DEBT COLLECTION

I pay my credit-card bills every month in full CORRECTION [“The Enforcer,” WW, April 17, 2013]. The bank Last week’s cover story, “The Enforcer,” incormakes very little money off of me. I am lucky to rectly stated the Oregon State Bar has disciplined have a steady income stream and try and live Eugene lawyer BACKDaniel COVER N. Gordon within my means.

Angela Coe As much as I find [lawyer Daniel N.] Gordon three times. The repulsive, in a sense, I think the service he makes state bar has repmoney from is a good counterbalance to those rimanded Gordon THE who are financially irresponsible. once and admon—“Jurgen Procklater” ished him twice.

Bar officials no These debt collectors are not performing a public longer consider Music froM your backyard. service. They prey on the least-sophisticated con- letters of admosumers, and take more than they are entitled to. nition disciplinThese consumers have no advocates except ary actions. WW for a handful of attorneys like myself. Often their regrets the error. only recourse is bankruptcy. Don’t feel sorry for these banks. They are making trillions and feed- LETTERS TO THE EDITOR must include the author’s street address and phone number for verification. ing off the scraps of the poorest consumers.

Letters must be 250 or fewer words.

—“Lara Gardner” Submit to: 2220 NW Quimby St., Portland, OR 97210.

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BANKS SEND LAWYER DANIEL GORDON AFTER PEOPLE WHO DON’T PAY THEIR CREDIT-CARD BILLS. WHO IS WATCHING HOW HE OPERATES? PAGE 11

VOL 39/24 04.17.2013

Major League Ultimate (MLU) is establishing one of its eight professional ultimate frisbee teams in Portland! The Portland Stags join the MLU’s Western Conference, and the team is currently preparing for the league’s inaugural season. Visit portland.stags.mlultimate.com to buy tickets. The first home game is April 28 at Roosevelt High School.

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

Home schedule:

4

• Portland Stags vs Vancouver Nighthawks

4/28

6:00 pm

• Portland Stags vs San Francisco Dogfish

5/11

7:00 pm

• Portland Stags vs Seattle Rainmakers

5/18

7:00 pm

• Portland Stags vs Vancouver Nighthawks

6/15

7:00 pm

• Portland Stags vs San Francisco Dogfish

6/22

7:00 pm

Willamette Week APRIL 24, 2013 wweek.com

Marty Smith is on assignment. Dr. Know’s column will return next week.

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

WWhoriz_0009_12_pdot.pdf

1

3/15/12

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Qualifying participants will receive compensation for time and travel.

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Please contact this office.

Columbia Research Group, Inc. 5331 SW Macadam Ave, Ste. 322 Portland, OR 97239 503-222-1261 www.crgpdx.com

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Jesus detests religion?

Willamette Week APRIL 24, 2013 wweek.com

5

CITY HALL: New political equation: Support fluoride, get a check. 7 ELECTIONS: Out-of-staters fund the anti-fluoride campaign.

10 DRUGS: A DEA investigation highlights Adderall abuse.

11 PUBLIC HEALTH: Oregon goes very easy on your cigarettes.

13

DON’T LOOK NOW, BUT THEY’RE DRINKING IN OLD TOWN.

k E N T O N WA LT Z

At least 315 cars have been towed from the Old Town Entertainment District since December, when the city started closing down six blocks in Northwest on weekends (and certain drinking holidays) after 10 pm. And the cash it’s bringing in—at least $46,620 in towing fees and up to $25,200 in citations—is enough to buy several thousand shots. The towing fees are split between the 11 private towing companies that contract with the city. The city has imposed the rules to make the streets safer for Old Town revelers. Statistics show the tow numbers are declining as drivers learn the rules, and the city and clubs put up warning signs. “Even with the best efforts,” Portland Police Bureau spokesman Sgt. Pete Simpson tells WW, “people sometimes don’t pay attention or think the sign doesn’t mean anything.”

Here’s another impound: City Commissioner Amanda Fritz’s hopes to establish alcoholimpact areas in Portland— primarily aimed at chronic Old Town drunks—died a quiet death last week in the House Business and Labor Committee. Under the plan, the city could ban the sale of fortified wines or beverages with more than 14 percent alcohol. But proponents of House Bill 2702 fritz failed to satisfy objections from the state’s wine industry, which asserted the bill was overly broad when the real problem is fortified wines like Mad Dog 20/20. Fritz vows to keep searching for solutions. “The death of the bill is not the result of a bad policy,” Fritz says. “It’s the result of bad politics.”

Portlanders who can’t get a credit card can stop fretting: The city is now accepting debit-card payments on the new arts tax, the $35-a-head tax passed by voters in November. If you use your debit card or credit card, expect to pay a “convenience” fee of 99 cents. Meanwhile, the city has mailed out more bills to Portland homes, reminding citizens there’s a $15 penalty for late plastic payments. The letters contain this puzzling reminder: “Like federal and state taxes, the due date for the 2012 tax year is May 15, 2013.”

Read more Murmurs and daily scuttlebutt.

6

Willamette Week APRIL 24, 2013 wweek.com

MONEyBLOGNEWZ/CC

Last July, Murmurs reported some companies on the hook for cleaning up the Portland Harbor Superfund site were racking up fines from the U.S. Environmental Protection Agency at a rate of $5,000 a day for providing “incorrect or misleading information” about contaminated Willamette River fish. The EPA has since levied a $125,500 fine against the Lower Willamette Group, a coalition of harbor businesses. Others are now making nice on environmental issues, contributing to a ballot-measure campaign backing a $50 million Metro levy for restoring wetlands and improving water quality in Willamette tributaries. The Greenbrier Cos. (owner of railcar- and bargemaker Gunderson) and the Zidell Cos. each gave $2,500; Pacific Power, $2,000; and Siltronic Corp., $1,000.

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

NEWS

VISITS FROM THE TOOTH FAIRY MINORITY GROUPS BACKING PORTLAND’S PRO-FLUORIDE MEASURE HAVE RECEIVED $143,000 IN PAYMENTS FROM THE CAMPAIGN.

BY NIG E L JAQ UI SS

njaquiss@wweek.com

The campaign advocating fluoridation of Portland’s drinking water has trumpeted the support it’s received from minority organizations, ranging from the Urban League of Portland to the Latino Network.

This widespread support, backers say, shows just how important fluoridation is to the constituents of these groups.

And the support flows the other way, too: in the form of big cash paid to groups who have endorsed the profluoride campaign, Healthy Kids, Healthy Portland.

As first reported at wweek.com, Healthy Kids, Healthy Portland has doled out at least $143,000—about a third of what it has spent so far—to seven organizations that favor the May 21 referendum to fluoridate the city’s drinking water, Measure 26-151.

The move is highly unorthodox for a political campaign: Typically, groups that endorse a measure contribute money, not receive it.

Oregon’s free-wheeling campaign-finance laws place virtually no limits on how campaigns spend their money.

But the state’s undue-influence law prohibits campaigns from paying individuals or organizations in exchange for their political support.

Dan Meek, a public-interest lawyer active in campaignfinance reform, says it is unusual for groups to endorse a campaign and then receive money from that campaign.

“This is a new approach,” he says.

Healthy Kids, Healthy Portland says the payments were intended to help the organizations promote Measure 26-151, and were not given in exchange for the groups’ support of the pro-fluoride effort.

“Fluoride and dental health are really important to low-income communities and communities of color,” says Healthy Kids, Health Portland campaign manager Evyn Mitchell. “We are trying to provide capacity to the groups that will do the outreach.”

Mitchell says the groups that got money were active supporters of fluoridation for more than a year before the campaign began.

Nonetheless, the payments have raised eyebrows, including at the National Association for the Advancement of Colored People, which endorsed a “no” vote on fluoridation and did not receive a check from the Healthy Kids campaign.

“We were scratching our heads about these so-called minority groups,” says Cliff Walker of the NAACP’s Portland chapter. “It was suggested that people were getting paid.”

Measure 26-151 requires the city of Portland to begin fluoridating its drinking water by March 2014. Currently, Portland is one of the nation’s largest cities not to add fluoride to its water supply. Health experts say fluoridated water cuts down on tooth decay, especially among children.

The City Council approved fluoridating the water supply last fall, including plans to build a $5 million fluoridation plant.

But opponents—who argue fluoridating the water is costly and unhealthy—gathered enough signatures to force a 2014 public vote on the idea. The council responded by moving up the vote to the May 21 election.

Healthy Kids, Healthy Portland has so far received about $587,000 in campaign contributions.

The biggest source of donations to the campaign is the Northwest Health Foundation, which has given $215,000.

The foundation’s president and CEO, Nichole Maher, is closely involved with the pro-fluoridation campaign.

Healthy Kids, Healthy Portland turned around and paid $20,000 each to the Urban League of Portland, the Latino Network, the Asian Pacific American Network of Oregon, Center for Intercultural Organizing, and the Immigrant

& Refugee Community Organization. The Oregon Latino Health Coalition got $5,000. Another group, the Native American Youth and Family Center, has been paid $37,810.

Maher says the groups getting money from the Healthy Kids campaign lack the resources to educate voters and improve turnout. Providing them modest financial support, she says, is appropriate.

“We are really proud of the strategy for fluoride and for building a better electorate in Portland,” Maher says.

“Let’s give these communities some credit for being part of the conversation from the beginning.”

Before Maher took the top job at the Northwest Health CONT. on page 8 Willamette Week APRIL 24, 2013 wweek.com

7

ElEctions

Foundation last year, she served as executive director of NAYA Family Center, the biggest recipient of Healthy Kids’ contributions to nonprofits.

She says the NAYA Family Center is coordinating communications to a larger coalition of groups, and that’s why it got nearly $18,000 more than the other groups. “[The center] had a strong relationship with the Northwest Health Foundation long before I got here,” Maher adds.

Matt Morton, NAYA’s executive director, says any implication that the payments his group received are a quid pro quo is “offensive.”

Morton says NAYA’s support for fluoride and better dental health long precedes payments from the campaign.

He says NAYA is using the money for voter activation, engagement and education on dental health.

“Campaigns don’t often engage communities of color because we are not high-frequency voters,” Morton says.

“But the strength of this campaign is that it was built from the ground up.”

The Rev. Joseph Santos-Lyons, executive director of APANO, echoes Morton. He says his group was involved in fluoridation efforts long before the campaign began.

Santos-Lyons says APANO has not received a contribution from a political-action committee before, although it has been active in a number of ballot measures. He says APANO is using the contribution to hold four fluoride forums and hire an organizer.

“I hope this sets a precedent that to win, you need to actually work with organizations like ours,” Santos-Lyons says.

Maher says spending campaign money on the various groups makes sense and is a tactic long overdue in Portland political campaigns. She says low-income and minority Portlanders would benefit most from fluoridation because they suffer more cavities and other dental problems.

But the arrangement could run into trouble with the state’s campaign-disclosure laws for a couple of reasons.

SourCe: oreGon eleCTionS diviSion

NEWS

Money With Teeth Supporters of Measure 26-151, which would require fluoridation of Portland’s drinking water, have far outraised opponents. The other side, Clean Water Portland, has seen nearly half its money come from out-of-state donors. (See related story on page 10.)

PRO: HealTHy KidS, HealTHy PorTland raised to date . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $587,000 Cash on hand . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $192,000

ToP five donorS: northwest Health foundation . . . . . . . . . . . . . . . . . . . $215,000 oregon dental association . . . . . . . . . . . . . . . . . . . . . . $67,500 Careoregon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $50,000 familyCare . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $50,000 Washington dental Service foundation . . . . . . . . . . . $50,000

CON: Clean WaTer PorTland raised to date . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $190,000 Cash on hand . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $83,000

ToP five donorS James Garvey . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $43,000 roger Burt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $11,000 Carl and roberta deutsch family Trust . . . . . . . . . . . $10,000 daniel deutsch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $10,000 abundant living information Services . . . . . . . . . . . . . $9,000

First, the law requires campaigns such as Healthy Kids, Healthy Portland to disclose what services are being provided in exchange for the money.

“If [Healthy Kids] has no contract with the organizations and the organizations aren’t required to do anything,

you could construe that as a problem,” Meek says.

Filings with the State Elections Division say only that the $143,000 paid to groups will be spent on “yard signs, buttons, etc.”

But there’s a problem with that disclosure: Mitchell, manager of the Healthy Kids, Healthy Portland campaign, acknowledges to WW there is no requirement for the groups to produce such materials.

“We have partnership agreements in writing,” Mitchell says. “It’s a basic agreement that they will provide organizing support for the fluoridation issue and attend weekly check-ins.”

Mitchell declined, however, to provide copies of any of the written agreements she says Healthy Kids has with the various groups.

If the groups spend the money to campaign independently for Measure 26-151, state law could require them to disclose how they spent the money. “If the recipient groups are indeed doing ‘outreach services’ for the measure, they should each be registered as a political committee,” Meek says. None of the groups has done so yet.

Morton and Lyons say there’s no need for such filings.

Both say that their organizations, which are non-profits, are allowed to engage in limited political activities, and their work on fluoride is well within such bounds.

Meek, who has filed ballot measures aimed at reforming Oregon’s campaign-finance laws, says the big checks to fluoridation supporters are a sign the system is broken.

“This illustrates another big loophole in Oregon campaign-finance laws: pushing money into the hands of agents, who are then not required to report how they spent the money,” Meek says.

Maher disagrees. She says the fluoride issue represents in part a long-overdue recognition that political campaigns need to reach out to minority voters. “Portland is changing,” Maher says, “and the electorate is changing.”

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The latest YouTube video in Portland’s fluoridation war has the bright cutout-style animation of South Park and the ominous string-and-synth score of Unsolved Mysteries.

The four-minute clip, featured on anti-fluoride campaign Clean Water Portland’s Facebook page, urges Portlanders to vote in the May 21 election against “risky fluoridation chemicals.”

“It’s time once again to fight the good fight for clear water, health and individual freedom,” says the video, produced by an Illinois opponent of fluoridation.

Almost half the $190,000 in contributions to Clean Water Portland have come from out of state. (The pro-fluoride campaign, Healthy Kids, Healthy Portland, has received 13 percent of its contributions from out of state.)

Clean Water Portland executive director Kimberly Kaminski says most of the campaign’s donations are small and local.

Still, she says, “We’re happy to get contributions from people who value protecting the largest unfluoridated water supply in the U.S. no matter where they live.”

The contributions have come in part from a loosely affiliated national movement that works to defeat fluoridation efforts city by city. They include $43,000 from Wichita, Kan., real-estate developer James Garvey, the largest contributor to the defeat of a fluoride measure in Wichita MERCOLA last year.

Another $5,000 comes from Ken Howard, who runs Abundant Living Information Services, a Christian health-food store in Orem, Utah, and calls fluoridation “a modern David-versus-Goliath story.”

The video was produced by Joseph Mercola, an Illinois-based alternative physician, whose clinic has donated $5,000 in cash and polling worth $6,375 to Clean Water Portland. He reported the donation of the video was worth $600.

He runs Dr. Mercola’s Natural Health Center in Hoffman Estates, Ill. Mercola has questioned whether HIV causes AIDS, suggests that many cancers are caused by yeast infections, and warns parents not to vaccinate their children.

In 2011, the U.S. Food and Drug Administration warned Mercola to stop claiming that his “Meditherm Med2000 Telethermographic camera” could serve as an alternative to mammograms. In 2006, the FDA told him claims about the disease-curing properties of coconut oil violated federal laws.

But Mercola’s favorite cure may be baking soda. He has written it might cure colds, fight swine flu, heal sunburn and cure cancer in six days.

“Like any group receiving contributions, we may not agree with all views of all of our supporters,” Kaminski says, “but we appreciate their support.”

AMMICHAELS/CC

BY AA RON MESH

drugs

NEWS

A DEA INVESTIGATION OF A LOCAL TEACHER HIGHLIGHTS ABUSE OF THE ATTENTION-DEFICIT DRUG ADDERALL.

By An d r e A dA m e woo d adamewood@wweek.com

Before dawn on Jan. 29, federal drug enforcement agents swept into a wooded West Linn neighborhood and raided the gray, two-story house of a substitute teacher named John J. Loomis.

Agents carried out jars of white powder, a laptop, USB drives, documents and an unknown number of pills.

The feds believe Loomis was peddling pills to his Portland-area students. But Loomis wasn’t believed to be pushing a party drug.

The pills investigators were looking for were Adderall, a prescription amphetamine commonly given to people with attention-deficit problems.

But Adderall is also the pill of choice for studyaholics—and its use is growing among teens as a performance enhancer, says Selby Smith, assistant special agent in charge of the U.S. Drug Enforcement Administration’s Seattle division.

“If you don’t have ADHD, you get the high out of it—euphoric, alertness, excitability,” Smith tells WW. “Kids can stay up all night and cram for a test, because basically they’re high.”

Loomis, 51, allegedly conned 21 different doctors in the Portland area into writing him Adderall prescriptions, according to a DEA affidavit and search warrant obtained by WW. Over 15 months, the agency says, Loomis acquired 7,027 Adderall pills—an amount the DEA says is far more than any person could consume.

The tally “amazed” one doctor interviewed by the DEA, the affidavit says.

Adderall abuse is expanding into the national psyche: Dr. Oz ran a special on it in February, and Fox News picked up the story in March.

The National Institute on Drug Abuse reports 7.6 percent of high-school seniors say they abused the drug in 2012, compared to 5.4 percent in 2009. About 9 percent of college students reported abusing Adderall last year.

According to the affidavit filed by the DEA, students are willing to pay $8 to $10 a pill on the street.

Loomis has not been arrested or charged with any crime. Special agent Jodie Underwood, a DEA spokeswoman, says she can’t comment on the case except to say “our investigations can be lengthy.”

Loomis didn’t return WW ’s calls for comment or respond to notes left at his West Linn home. He bought the 2,600-square-foot house in 2004 for $304,000, property records show. When WW visited, no one answered the door of the blue-trimmed home with two decks and a hot tub. A Groupon box addressed to Loomis sat out front.

Loomis moved to West Linn from Contra Costa County, Calif., where he owned a business called Trade Winds Overseas Exports that records show is now dissolved.

Neither Loomis nor his wife, Jereza Valdez Mendoza-Loomis, has a criminal record. In May 2003, he passed a background check and was granted an Oregon teaching license, according to the state Teacher Standards and Practices Commission.

The 16-page DEA affidavit outlines Loomis’ alleged system for getting his hands on Adderall.

Loomis approached doctors—half of them naturopaths—to request prescriptions for the drug, filling them at multiple pharmacies to avoid suspicion, according to the affidavit, written by DEA Special Agent Robert J. Allen.

The numerous prescriptions drew the attention of doctors, who began refusing Loomis’ requests. When he was turned down, multiple doctors told the DEA, Loomis grew angry and aggressive.

“Loomis had sent threatening emails, phone calls and letters to practitioners

hipsxxhearts / CC

TAKE WITH HOMEWORK

WHAT A PILL: Adderall, a prescription amphetamine used to treat attention-deficit problems, can create a euphoric high that many teens think helps them study. It’s third on the list of drugs most abused by U.S. 12th-graders, behind marijuana and synthetic marijuana, according to the National Institute on Drug Abuse.

that failed to write Loomis prescriptions,” Allen wrote.

A confidential source tipped the DEA to Loomis’ alleged doctor shopping. Loomis was also flagged by the Oregon Prescription Drug Monitoring Program. When another doctor learned Loomis was a teacher, the affidavit says, he “became concerned that Loomis could be selling to students.”

The affidavit does not say how the DEA thinks Loomis may have been dealing to students.

Loomis worked as a substitute teacher through a pool managed by the Multnomah Education Service District, which provides subs to every school district in the county, except Portland Public Schools. (PPS says Loomis has not worked there since 2006.)

MESD spokesman Mark Skolnick says Loomis has been a substitute teacher at several Portland-area schools. The DEA affidavit says between September and November 2012, Loomis taught 15 times at 10 elementary, middle and high schools in the Gresham-Barlow, David Douglas and

Reynolds districts, including David Douglas and Reynolds high schools. Skolnick says the service district hadn’t heard of the drug investigation until WW called.

Loomis is still an active teacher on the sub list. However, at least two districts have stopped using his services. Spokeswomen for the Gresham and Reynolds school districts say Loomis was cut months ago for issues unrelated to the DEA investigation.

The affidavit says Loomis and his wife may also be facing financial problems.

It wouldn’t be the first time. In 1998, court records show, Loomis filed for bankruptcy in Northern California, citing nearly $450,000 in debts owed to the Internal Revenue Service, Macy’s, Sears, other credit cards and Wells Fargo Bank, among others.

Smith, from the DEA’s Seattle office, says cases like Loomis’ are uncommon.

The sheer amount of drugs is what brings the case to the feds’ attention.

“You have to be selling a lot to get on our radar,” Smith says.

Willamette Week APRIL 24, 2013 wweek.com

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Willamette Week APRIL 24, 2013 wweek.com

PUBLIC HEALTH

C H A R T S O U R C E S : O R E G O N D E PA R T M E N T O F R E V E N U E , F E D E R AT I O N O F TA X A D M I N I S T R ATO R S , T H E TA X F O U N D AT I O N , T O B A C C O F R E E K I D S , S A N F R A N C I S C O D E PA R T M E N T O F P U B L I C H E A LT H , K I N G C O U N T Y D E PA R T M E N T O F P U B L I C H E A LT H , H E N N E P I N C O U N T Y D E PA R T M E N T O F P U B L I C H E A LT H , D E N V E R D E PA R T M E N T O F R E V E N U E , N O R T H C A R O I N A P U B L I C H E A LT H

SMOKE BRAKES

Cough It Up

BY M AT T KAUF F M A N

and

AARO N M E S H

Writers...

LOCAL TAX

$1.18

PORTLAND (NOW) PORTLAND (PROPOSED)

$1.68 $5.85 $5.66

NEW YORK CITY CHICAGO ANCHORAGE SEATTLE MINNEAPOLIS SAN FRANCISCO DENVER RALEIGH, N.C.

243-2122

Portland smokers, hold on to your butts: Multnomah County wants the right to tax your cigarettes, and now the state of Oregon might be looking to increase the price of a pack as well.

Thanks to relatively low state tobacco taxes, cigarettes in Portland stores are inexpensive compared to those in other major cities—as low as $4 a pack, in contrast to New York City’s standard $10.

The difference you pay is in the tax. Oregon levies a tax of $1.18 a pack, but makes it illegal for local governments to add their own.

Not so elsewhere: New York City tacks on $1.50 (more than Oregon as a whole) to the $4.35 state tax.

A bill to grant counties taxing authority on cigarettes was narrowly passed by the Oregon House on April 4. But the bill is now in the state Senate, where tobacco taxes traditionally die.

The Senate rejected proposed tobacco-tax hikes in 2007 and 2011, after voters in 2003 actually reduced the tax by 10 cents a pack.

Cigarette taxes are routinely opposed by the tobacco lobby and by Plaid Pantry convenience stores, which

STATE TAX

Tobacco lobbyists in Salem (and voters, too) have kept cigarette taxes relatively low in Oregon. Even if lawmakers give counties the authority to tax tobacco, the price of a pack here won’t rival other cities’.

CIGARETTES WILL STAY CHEAP IN OREGON— WHETHER OR NOT MULTNOMAH COUNTY GETS TO LEVY ITS OWN TOBACCO TAX.

NEWS

$4.21 $3.03 $1.23 $1.07 $0.84 $0.45 $0

$1

$2

get business from Washington smokers driving across the Columbia River to buy cigarettes. (Cigarette taxes in Washington state, at $3.03 a pack, are more than twice as high as Oregon’s.)

The bill would allow counties to match the state’s cigarette tax.

But Multnomah County Commissioner Deborah Kafoury says county officials aren’t looking to bump up the price by nearly that much—they want to discourage young people from taking up smoking without sacrificing local retail business from customers who aren’t quitting.

“We’ve talked about 50 cents, we’ve talked about 25,”

$3

$4

$5

$6

Kafoury says. “You don’t want it to be so high that people are driving across town, driving to Clackamas.”

Some Salem Democrats tell WW that senators are mulling the idea of using the measure, House Bill 2870, to leverage an increase in the state cigarette tax.

“It’s one of the many moving pieces in play,” says Sen. Elizabeth Steiner Hayward (D-Portland/Beaverton). “You know much horse-trading goes on late in session.”

But no matter what happens, Oregon will remain a state with very low cigarettes taxes.

“I find it hard to believe how strong the tobacco lobby still is,” Kafoury says. “It’s like dealing with the NRA.”

START YOUR ENGINES!!!

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TO PLACE AN AD CONTACT: Ashlee Horton 503-445-3647 • ahorton@wweek.com Tracy Betts 503-445-2757 • tbetts@wweek.com Willamette Week APRIL 24, 2013 wweek.com

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15

FOOD: Roe, with the current.

MUSIC: Electrocuting Marnie Stern.

BOOKS: Augusten Burroughs’ self-help book.

CULTURE: Before there was Grimm, there was Bill Willingham.

19 21 34 35

SCOOP bustin’ caps: Local farmers markets may be a lot quieter this season: Market organizers have been told they can’t have live music unless they pay licensing fees. The American Society of Composers, Authors and Publishers, which collects licensing fees on copyrighted music and has previously cracked down on Portland restaurants and bars, LitiGatiOn Risk: Farmers told markets to pay up, cut off market musicians. the music or risk being sued.

This applies even if performers plan to play only original music, because they might play a cover. ASCAP charges venues “something like $40 a day,” according to Portland Farmers Market executive director Trudy Toliver. “In 2010, they started sending threatening letters. If you don’t pay, they’ll sue you.” The other licensing organization, Broadcast Music Inc., hasn’t contacted Portland markets yet. “I don’t have anything against protecting musical copyright,” Toliver says, “but ASCAP’s system is taking away that beautiful place where music and food come together.”

ASCAP didn’t respond to WW’s inquiries. spyinG spiEs: The next two actors planning to pull a Fred Armisen by pretending to be Oregonians: Robert De Niro and Shia LaBeouf.

The actors are in talks with Paramount to star in Spy’s Kid, based on a newspaper series by Oregonian reporter Bryan Denson.

Denson’s 2011 articles detailed how Jim Nicholson—the highestranking CIA officer convicted of espionage—roped his son LabEOuF Nathan into selling secrets to the Russians. D.J. Caruso has been tapped to direct, but no screenwriter is in place. “It feels a lot like an updated version of Catch Me If You Can,” producer Scott Glassgold tells Scoop.

Denson says Nathan Nicholson “didn’t understand fully what he was doing,” adding that “he is the most likable, lovable protagonist you will ever meet.” pOWER up: KPSU, the radio station at Portland State University, is looking to expand its reach. The station is raising money to purchase a low-power FM signal via the federal Local Community Radio Act of 2010, which made it possible for nonprofit, community-based radio stations to grab the slivers of airspace left between all those Clear Channel stations. The 100-watt signal would take the station’s programming off campus and make it available to greater Portland, up to a fivemile radius. To raise the money needed to purchase the signal and proper equipment, KPSU is holding a series of fundraising events through May, including a late-night cruise-slash-concert on the Portland Spirit featuring performances by Onuinu and Grandparents, and a “car smash” at Slabtown in which donors can pay up to $5 to bash a vehicle with a sledgehammer. at WWEEk.cOm: Jokes from the Bridgetown Comedy Festival, a review of the Prince concert and scoops on the closing of Hamburger Mary’s and why Logsdon Farmhouse Ales boycotted the Cheers to Belgian Beers festival.

16

Willamette Week APRIL 24, 2013 wweek.com

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

C O N G A M A N ( D Av e ) / C C

DUDE, SHORTY JIZZLE & THE PLUMBER CRACKS ROCK.

I L L U S t r At I o N b Y J o N At h A N h I L L , W o r D S b Y M A r t I N C I z M A r

What to do this Week in arts & culture

WILLAMETTE WEEK

HEADOUT

WEDNESDAY APRIL 24 Kiran ahluwalia [MUSIC] Fusing the classic Punjabi poems of her heritage into modern world music, the New York-based singer’s multiculti potpourri is at its best when it swells within softer, more traditional styles. Alberta Rose Theatre, 3000 NE Alberta St., 7196055. 8 pm. $18 advance, $20 day of show. Minors permitted with guardian.

Christian aCKer [bookS] Graffiti is way more than petty vandalism, argues author Christian Acker, who spent years distilling interviews with graffiti artists from across the country and systematically analyzing historic hand styles for Flip the Script.

Upper Playground, 23 NW 5th Ave., 548-4835. 6 pm. Free.

THURSDAY APRIL 25 the people’s republic of portland [theAter] Portland loves hilarious motormouth Lauren Weedman, a former cast member on The Daily Show, and now she returns to the rose City with a solo show developed for us and about us. Gerding Theater, 128 NW 11th Ave., 445-3700.

Noon and 7:30 pm. $34-$54.

FRIDAY APRIL 26 ten chimneys [theAter] Dámaso rodriguez makes his Portland directorial debut with a comedy about broadway power couple Alfred Lunt and Lynne Fontanne. the play is set at the couple’s rural Wisconsin estate in the late ’30s, during rehearsals for Chekhov’s The Seagull. Artists Repertory Theatre, 1515 SW Morrison St., 241-1278. 7:30 pm. $25-$50. one man star wars trilogy [CoMeDY] Canadian actor Charles ross interprets the original Star Wars trilogy, playing all the roles himself. Aladdin Theater, 3017 SE Milwaukie Ave., 234-9694. 7 pm (all ages) and 10 pm (21+). $20 advance, $25 day of show.

SUNDAY APRIL 28 Dawes [MUSIC] the Los Angeles quartet channels the vintage sound of 1970s Laurel Canyon folk-rock so well that the Google reference on the band’s most recent release, Stories Don’t End, might have you second-guessing your ears. Crystal Ballroom, 1332 W Burnside St., 225-0047. 9 pm. $22 advance, $24 day of show. All ages.

TUESDAY APRIL 30 renny wilson [MUSIC] Sugarglider, the edmonton native’s debut album, plays like a well-curated mixtape, with one supple track melting into another and touching on everything from early ’80s New Wave, ’70s synth ambience and the wistful sway of our current hypnagogic overload.

Bunk Bar, 1028 SE Water Ave., 8949708. 9pm. $3. 21+.

Go: Artist Jonathan hill will appear at the Stumptown Comics Festival, oregon Convention Center, 777 Ne Martin Luther king Jr. blvd.

10 am-6 pm Saturday and noon-6 pm Sunday, April 27-28. $10. stumptowncomics.com.

Willamette Week APRIL 24, 2013 wweek.com

17

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WEDNESDAY, APRIL 24 Wine 101

3805 SE 52nd Ave. • 503-777-6009 • Open all week 7am-2:30am

Cork bottle shop teaches the basics of wine snobbery in 90 minutes of tannin talk, a tea-tasting warm-up, and sips of must-know wines from around the world. An “aroma-sensory experience” and explanations of the sugar and acids behind your favorite pinot are intended to increase your palate and vocabulary. Elitism isn’t a prerequisite, but reservations are required. Cork, 2901 NE Alberta St., 281-2675. 6:30 pm. $35. 21+.

THURSDAY, APRIL 25 Baking Class: Tassies

Jobs for the Food and Drink Industry Staffing solutions for owners and managers

A mini pie-making class led by the “Queen of Tarts,” known for baking tiny treats. Participants will bake three types (rhubarb, coconut and pecan) of tassies, two-bite pies with a cream-cheese pastry crust. Two Tarts’ founder teaches baking techniques along the way, and tassies are yours to eat or take away. Two Tarts Bakery, 2309 NW Kearney St., 910-6694. 6 pm. $30.

FRIDAY, APRIL 26

NYC/ CHI/ SFO/ SEA /PDX/ AUS

Oregon Garden Brewfest

PDX JAZZ PRESENTS

Untitled-2 1

6/10/12 9:41 AM

– Mission Theatre 1624 NW Glisan –

For three days, 125 beverages from 62 breweries will be available at the Willamette Valley’s biggest beer festival, held in the lush Oregon Garden. Local bands will play two stages, homebrewers will compete, and Women Enjoying Beer will lead tasting lessons. If for some reason you’re not a beer drinker, you can taste ciders, meads or Vitis Ridge wines. Pizza, bratwurst and chicken satay are on the food menu. Oregon Garden, 879 W Main St., Silverton, 874-8100. Friday and Saturday noon-11 pm, Sunday noon-6 pm, April 26-28. $15 one-day pass, $30 threeday pass, $5 designated drivers. 21+.

SATURDAY, APRIL 27 Firebrand Fitness Launch

The Bad Plus

Reid Anderson, Ethan Iverson, and David King

Sunday, April 28 2 shows! 3PM and 7PM • All Ages

Fitness and cupcakes come together at the Firebrand Fitness and WeVillage Drop-In Playcare launch. Portland Juice Press, Farm to Fit and Saint Cupcake will cater the party, where aspiring gym rats can drop their kids to try a 20-minute cycling class, sip wine and eat ice cream from Saint Cupcake’s Mobile Malty cart.

Firebrand Sports, 500 NW 14th Ave., 715-5573. 1-4 pm. Free.

SUNDAY, APRIL 28 Decidedly Dutch

The Refuge Trio

Tineke Postma Quartet

Thursday, May 16 7:30 PM

Friday, May 10 7:30 PM

– Jimmy Mak’s 221 NW 10th –

Pigs in a Blanket Cookoff

Professional and aspiring chefs put their best pork forward for the Beer Mongers’ interpretive pigs-in-a-blanket contest. The rules only specify something pork swaddled in an edible wrapper. Anyone can show up to taste entries and pig-themed beers like Russian River Blind Pig, Beer Valley Pigskin Pale Ale and Rince Cochon on tap. The Beer Mongers, 1125 SE Division St., 2346012. 2-5 pm. Free.

Breakside Backyard Barbecue

Andrew Oliver’s

Classic Coltrane: 1964-65

The Azar Lawrence Quintet featuring Devin Phillips

Composers’ Ensemble

Thursday, June 20 7:30 PM

Thurs, May 30 & Fri, May 31 7 PM

TICKETS & MORE INFO @ PDXJAZZ.COM 18

Willamette Week APRIL 24, 2013 wweek.com

Breakside Brewery is launching two new releases: the Munich-style lager Helles and an experimental wheat and rye hybrid brew. Interurban hosts the celebration with a summertime barbecue of ribs, pulled pork, potato salad and Jell-O shots.

Interurban, 4057 N Mississippi Ave., 284-6669. 3-8 pm. 21+.

DELICIOUS MAURITIUS: Tropical happiness in noodle form.

CHEZ DODO You don’t have to know where Mauritius (moh-RISH-us) is to delight in cilantro chutney-embellished vegetarian samosas ($5) at Chez Dodo. Once you pinpoint the tiny island nation in the Indian Ocean, the ethnic rendezvous captivating your taste buds makes more sense. Colonization of the island, originally populated by dodo birds, injected French, African, Indian, Creole and Chinese influences into its cuisine.

This culinary kitchen sink somehow hits a sweet spot with eclectic concoctions of rice noodles fried in turmeric and cumin, topped with chicken or potatoes. Shyam Dausoa, the owner of Chez Dodo, has sold boxed island specialties at Whole Foods Market and Food Fight Order this: Portobello burry ($5.99). grocery for years. Now he leans out the Best deal: Two big window of his beachy cart with a steamsamosas ($5). ing wok of noodles, asking customers I’ll pass: Taro fritters ($5). through a thick French accent to assess the spice factor of their portobello burry, a gluten-free lentil and mushroom mound ($5.99). “Mound” really is the word for the heaping portions of noodle curries Dausoa squeezes into to-go boxes. Ask him for true Mauritian spice in the island fever curry sauce and its onion, pepper, ginger and vinegar will clear your nasal passages for a month.

From the office chairs flanked by Christmas lights in Chez Dodo’s seating area, its choose-your-own-adventure menu looks deceptively simple. Pick a base of dholl puri flat bread, curried noodles or brown rice.

Next adventure: healthy vegan, tropical happiness or island fever curry sauces. And for the final twist, pick from proteins like curried chicken and lentil fritters. The spicy lamb and portobello burry pack more flavors than the island has culinary influences.

In a world where veggie samosas can be a disappointing mush wrapped in phyllo dough, Chez Dodo proves its vegetarian worth, heaped with chutney we’d make a meal of a la carte. ENID SPITZ. EAT: Chez Dodo, North Vancouver Avenue and Fremont Street, 284-4575. 11 am-11 pm Monday-Friday, 11 am-9 pm Saturday. $.

DRANK

ESPELETTE (AGRARIAN ALES) Chili peppers—25 varieties of them—were once the top crop at the Tilley family’s 25-acre farm in Eugene. Hops now get more attention from Ben and Nate Tilley, but they haven’t plowed the peppers under. The Tilleys’ new project, Agrarian Ales, involves plans for a steady stream of seasonal chili beers. Currently, they’re pouring Espelette, a full-flavored brew that stays low on the Scoville scale. Brilliant red Espelette peppers were dried in the traditional Basque style that spices everything from soups to chocolates in the region straddling Spain and France. Used in this reddish-brown beer, it awakens taste buds with a tingle and is an ideal complement to stews, meats and dark chocolate. Recommended. BRIAN YAEGER.

FOOD & DRINK AMAREN COLOSI

IN A NEAT LITTLE ROE FORMER FIN CHEF TRENT PIERCE WORKS WONDERS IN WAFU’S BACK ROOM.

BY M AT T H E W KO R F H AGE

mkorfhage@wweek.com

Going to Roe is a bit like passing into the Egyptian afterlife. Before you reach its peaceful space, you must first pass through the land of wish fulfillment—in this case, the lively food tunnel that is Southeast Division Street eatery Wafu, where terribly attractive people pack the long tables slurping vegan ramen and shiso gin rickeys. Do not pause here, though it is tempting.

And reservations only, please, for those who wish to pass beyond the black curtains and through the thick door into Roe’s quiet sanctum, where jazz plays softly enough you might mistake it for a memory. The room, indeed, swallows sound as if closed on by a mouth.

Everything about the wall-hung spartan space is contemplative, from molded Taoist fish on the wall to a childlike delight at the simple, sweet crunch of a breakwabi-sabi paneled painting hung behind the open kitchen, fast cereal. In the most elegant way possible, it’s a bit like where chef Trent Pierce and sous chef Patrick Schultz cre- potato chips shoved in a sandwich. ate their plates with the seriousness, silence and formality Pierce mixes food much like a cocktail, with bitter, of Hoover’s original G-men. salty, sweet and smoky notes that blend to create an unexWith Schultz’s tiny ascetic frame next to Pierce’s war- pected depth of flavor. His recipes, as well as his plating, rior-priest physicality, they also look a bit like the before often have the theater of old-school nouveau cuisine, with and after in a Charles Atlas ad. its characteristic mix of Jackson Pollock There’s no need for a soundtrack or Order this: If two people each expressionist solemnity and Jackson Polvisual distraction. The party’s on the plate. order the $65 four-course meal lock piss-in-a-fireplace whimsy.

Though you can order a la carte, the three- plus two additional appetizers— A dish called kajiki toro was a nearly taking care not to duplicate—and nights-a-week restaurant exists best as a then share, you’re each having laugh-out-loud bait-and-switch, from tasting room and three-hour experience, the full $100 tasting menu for a the first bite of a dime-sized potato that total of $160. Just sayin’. whether for the 10-course, $100 tasting seemed to contain the essence of 300 years menu at the four-seat counter or the of clam chowder. Though the entree’s $65 four-course meal. If you try to spend less, you’ll sit in centerpiece was a neatly sliced fillet of costly cold-smoked seething jealousy. Don’t. marlin belly, the plate was at heart a chowder torn to its For one meal, the tone was set immediately by an appe- atoms and remade, right down to little granulated carrot tizer of tender Alaskan spot prawns peeled into delicate and celery as scattered punctuation. sheets of carpaccio, set off by the citrus tang of a light Another wild success was the roe “salad,” a mix of roes ponzu sauce and integrated by a creamy shrimp “aioli” atop the viscous core of a five-minute egg resting on a bed of made from the stuff inside a shrimp’s head. The charac- creme fraiche and olio nuovo. As the egg’s soft wall crumbles, teristic structure of the prawn had been unpacked and the dish crumbles into itself, revealing also a sharp and strong recontextualized: It no longer felt like prawn in the mouth, citrus note from ponzu and a bitter-spicy flank attack from though the flavor spoke otherwise. shavings of charred wild leeks. It was, perhaps, the highest Meanwhile, the dish’s rich intensity was set off by the note hit in two trips to Roe. snap of lowbrow crisped rice, placing the diner’s experiAlmost everything in the first two courses was an ence somewhere between Frenchified cream coma and impressive exercise in tightly controlled pyrotechnics—

BIVALVE TWO WAYS: Scallop in XO vierge.

that is to say, surprise without confusion—from a kampachi sashimi popping with grapefruit and wasabi tobiko to a marlin tartare remade into the anatomized core of a fish taco, using steelhead roe to create the smoky undercurrent of chipotle. The only appetizer to miss its target was matcha noodles, whose distinctive flavor and texture seemed to draw away from rather than interact with the rich sea urchin and fresh, salty crab.

The third-course entrees—of which the kajiki toro was one—suffered in comparison to the bright intensity of the starters. A porcini-dusted butterfish revealed its secrets swiftly, but lingered longer on my now-entitled palate.

The menu changes regularly, with spring ocean plants overtaking it soon. A mere two weeks between visits showed half the meals and a third of the cocktails out of rotation, though the Lost in Translation, a citrus-tinged Monopolowa and sake drink ($12) best captures the unlikely harmony of sweet, rich, bitter and tart that characterizes the menu.

A note, however: After your indubitably hours-long meal, when you leave you will re-emerge in Wafu’s noisy space, and it’ll be as if you left a movie theater into bright noon sun.

Bleary-eyed and surprised to find yourself once more in the familiar world of too-loud laughter and party fouls, you will briefly mourn the passing of the one you just left.

EAT: Roe, 3113 SE Division St. (in back of Wafu), 232-1566, roe-pdx.com. 5-10 pm Thursday, 5-11 pm Friday-Saturday. $$$$.

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= WW Pick. Highly recommended.

RON HARRELL

MUSIC

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

Editor: MATTHEW SINGER. TO BE CONSIDERED FOR LISTINGS, go to wweek.com/ submitevents and follow submission directions. All shows should be submitted two weeks or more in advance of event. Press kits, CDs and especially vinyl can be sent to Music Desk, WW, 2220 NW Quimby St., Portland, OR 97210. Please include show or release date information with all physical mailings. Email: msinger@wweek.com.

Fax: 243-1115.

WEDNESDAY, APRIL 24 Kiran Ahluwalia, DJ Anjali

[WORLD FUSION] Where in the world is Kiran Ahluwalia? She’s currently in New York, the great implosion of global confluence, and that probably suits her. Revamping the classic Punjabi poems of her heritage into modern world-fusion compilations is her game. You, as a listener, play the game by raising one eyebrow anytime a strange influence appears. Is that Irish fiddle? Plain old chord progressions on acoustic guitar, backed by a cello? Check and check. If the clapping and guitar noodling that introduce her latest album, Aam Zameen: Common Ground, sound a lot like the Saharan vibes of Grammy-winning Tinariwen, that’s because it is Tinariwen, in full whooping support of Ahluwalia on a few tracks. Her music is at its best when it swells within softer, traditional Punjabi styles, no matter what other instruments—accordion, harp or the traditional tumbi—accompany her.

MITCH LILLIE. Alberta Rose Theatre, 3000 NE Alberta St., 719-6055. 8 pm. $18 advance, $20 day of show. Under 21 permitted with guardian.

The Proclaimers, JP Jones

[SCOT ROCK] They may be best— only?—known in America as the bespectacled crew-cut blonds responsible for “I’m Gonna Be (500 Miles),” but identical twins Craig and Charlie Reid have charted consistently in their native U.K. since hitting No. 3 stateside in 1993 with the then-ubiquitous theme song to Johnny Depp rom-com Benny & Joon. Their ninth full-length release, last year’s Like Comedy, is another affable, well-crafted outing, a mix of singsong ballads, show-tune melodies and shanty folk-pop musings delivered in their signature brogue.

The brothers Reid, now 51, haven’t strayed from the silver-lining pep talks of “Sunshine on Leith” and “I’m on My Way.” Take the simple, earnest advice of the title track: “When you lose your appetite for self-destruction/ You can stop viewing life as tragedy/ Give it a few more years and look from this angle/ Where it looks more and more and more like comedy.” Simpler still, the fellas are going it acoustic this tour. AMANDA SCHURR. Mississippi Studios, 3939 N Mississippi Ave., 2883895. 9 pm. $18 advance, $20 day of show. 21+.

Aesop Rock, Rob Sonic, Grayskul, DJ Big Wiz

[HIP-HOP] Ian Bavitz doesn’t sound like it’d be the name of a revered cult rapper, but then, Bazooka Tooth and Skelethon don’t sound like typical hip-hop album titles, either. Come to think of it, Aesop Rock—the nom de rap of the Long Island-born Bavitz—is kind of a strange name for an MC to adopt, too. At least, it was back in the late ‘90s, when he first started busting complex, heady rhymes as a member of the vaunted Def Jux stable. Along with his labelmates, Aesop Rock has, over the last decade, helped make the hip-hop underground a much more confounding place, and for that he’s earned a devoted following. This show is a make-up gig from earlier in the year, when Bavitz broke a rib and was forced to cancel a number of shows. Expect the release of four months’ worth of pent-up energy here.

MATTHEW SINGER. Roseland Theater, 8 NW 6th Ave., 224-2038. 8 pm. $18.

All ages.

James Blake, Falty DL

[EVOLVED TRIP-HOP] After his early EPs acquired stamps of approval from

a handful of tastemaking British beat junkies ever eager for new sounds, James Blake proceeded to stun them all with his 2011 self-titled full-length.

Blake’s impressionistic electro-funk, spliced with suburban soul and a dash of Aphex Twin weirdness, was also in dire need of antidepressants—an aesthetic that made Blake a perfect collaborator for Bon Iver later that year.

It was his production that cut deep on the first album—Blake’s beats stagger and lurch, with submarine pings and oozing synths drifting more freely atop the percussive elements—but his bleak, minimal vocals only twisted the knife.

On this year’s follow-up, Overgrown, Blake expands his sonic palette with a few brighter sounds (and a weird guest appearance from RZA), but his gorgeous and understated vocals still sound like half-finished songs recorded into a cellphone during a lonely 2 am walk home from the pub. CASEY JARMAN. Wonder Ballroom, 128 NE Russell St., 284-8686. 7:30 pm. Sold out. All ages.

THURSDAY, APRIL 25 Beach Fossils

[UNDERWATER PUNK] Of course Hurricane Sandy would temporarily ruin a band called Beach Fossils.

The merciless super storm halted the Brooklyn band’s sophomore recording effort, Clash the Truth, flooding the studio and sending the quartet elsewhere. The record captures the frustration of relocation through dizzying post-punk ambles that are at once controlled and caustic. Rippling reverb and measured percussion take the sting out of Beach Fossils’ punky clamor, giving the group a specific fluidity, like it’s playing underwater. It’s downer music done so well it reacts like an upper. MARK STOCK. Bunk Bar, 1028 SE Water Ave., 894-9708. 9 pm. $12. 21+.

Local Natives, Superhumanoids

[LESS RESTLESS NATIVES] With 2010’s Gorilla Manor, an impressively full-formed debut of Afropopinfluenced, youthfully urgent rock, L.A. quartet Local Natives became one of a few standard-bearers for its genre in a city better-known lately for R&B, rap and electronic music. The warm critical reception of the band’s hotly anticipated follow-up, Hummingbird, has Local Natives carrying that banner yet higher, even as the record, shaped by the departure of bassist Andy Hamm and the death of singer Kelcey Ayer’s mother, finds the band substantially more subdued. JONATHAN FROCHTZWAJG. Crystal Ballroom, 1332 W Burnside St., 225-0047. 9 pm.

Sold out. All ages.

Palma Violets, Guards, Eidolons

[THE LI’LERTINES] After some especially fallow years within those vast underground hothouses beneath Britain, where adorably dissipated poet-warrior-frontmen are grown from piss, vinegar and Replacements B-sides, U.K. headlines finally trumpeted a bumper crop. From nearly its first proper gig, London quartet Palma Violets—less an evolutionary step forward from Arctic Monkeys than feral pub-rock kids scavenging Clash and Velvet Underground records for the catchiest parts—had the broadsheets all aflutter. Stateside critics joined the choir after raucous Coachella and SXSW sets tore through anthemic singles-to-be like so many cans of cheap lager. The terrace-shaking brio and ragamuffin heart of recently released Rough Trade debut 180 may not quite

CONT. on page 24

SHRED THE LIGHT FANTASTIC THE ADORABLE ELECTROCUTION OF MARNIE STERN.

BY Ma r K STOCK

243-2122

In 2006, Ben Parrish of the Portland- and Olympiabased record label Kill Rock Stars received a demo from a 31-year-old New York singer-guitarist named Marnie Stern. At the time, the label was being inundated by, in Parrish’s words, “sensitive beardo music and bad dance-punk.” Stern’s demo, however, was something different—a hyperactive storm of zigzagging rhythms and jaw-dropping guitar pyrotechnics. He listened to it at least three times a day for months. Label founder Slim Moon liked the demo enough to rip it to his iTunes, but it soon slipped his mind. Stern emailed a few months later as the “DIY lady shredder,” jogging Moon’s memory. He listened again and touted the work’s brain-melting goodness to the staff. Shortly thereafter, Moon met Stern in New York and a deal was forged.

Seven years later, Stern has just released her fourth album for Kill Rock Stars. Building off the template set by her 2007 debut, In Advance of the Broken Arm—dubbed “the year’s most exciting rock ’n’ roll album” by The New York Times—with the whimsically named The Chronicles of Marnia, the “lady shredder” has crafted an adorable electrocution. Equal parts playful and complex, the album’s 10 tracks are perhaps Stern’s best and most complete to date, an appropriate calling card for someone who’s just as recognized for her dexterous guitar work as her flirtatious nature.

In a brief email interview, Stern—now nationally lauded for her toothy, tense style of guitar playing—cites the Who and Bruce Springsteen as Chronicles’ most towering influences. Indeed, you can almost see Pete Townshend windmilling his guitar on songs like “Immortals,” Stern’s pulsating notes hanging in the balance between the organized chaos.

While Stern says her recording process didn’t really change for this album, her personnel did— namely in the form of drummer Kid Millions.

“It was awesome,” Stern writes from her tour

somewhere in Middle America. “He accented the percussive guitar style.” Millions, known for his work with Brooklyn krautrockers Oneida and currently on tour with Spiritualized, effectively holds a mirror to Stern. Her kinetic musings are matched at every measure, creating a lightning-quick calland-response element.

As speedy a player as Stern is, it’s easy to be mystified by her hallucinatory string-tapping and overlook her songwriting. The new record demonstrates more sophisticated lyrical narratives than the previous three albums. “Bittersweet you’ve got to go/ Got to get my handle on/ Bitter like the animals/ Crawling through the winter snow,” she sings on the title track, clearing her conscience more than lamenting. “It’s a mix of fact and fiction,” Stern says of the song. “At the time, I had someone in mind who I was writing to.” Having run kissing booths at past shows and offered dates with fans during record releases, it’s no wonder Stern has plenty to muse about. It’s impossible not to be drawn to someone so musically self-assured, playing the neck of her guitar as though it was a drum machine, and vocalizing just as deftly.

But it’s the playfulness of her latest work that makes droll themes like work, aging and starting over from scratch seem light and luminous. As a listener, you just have to keep up. There’s a moment in “East Side Glory” that testifies to this perfectly.

After a few minutes of layered guitarscapes—the foundation being a bubbly, high-register repetition befitting a big hair-band solo, topped with a series of charging, scratchy hooks—the song unwinds itself. Stern slows her riff and fills the empty space with reverb. It’s like a single connecting thread is being pulled, sending the entire garment to the floor, neat coil after neat coil.

With such a high music IQ and ambitious sound, Stern’s astounding guitar work might yet allow her to reach some of her bigger goals. “I’d love to work with Yoko Ono, Merrill Garbus, Bruce Springsteen,” she writes. At her blistering speed, those collaborations might not be far off.

SEE IT: Marnie Stern plays Mississippi Studios, 3939 N Mississippi Ave., with Sisu, on Friday, April 26. 9 pm. $12. 21+.

Willamette Week APRIL 24, 2013 wweek.com

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PROFILE

KENJI BUNCH, SUNDAY, APRIL 28 One of Portland’s brightest composers escapes from New York.

[CLASSICAL] Like it is in everything else these days, Brooklyn is all the rage in classical music. It’s an old story, really: For a century at least, if you wanted to be at the forefront of contemporary classical music, you moved to New York.

And yet, one of Brooklyn’s best musicians is reversing the brain drain and moving back to his hometown of Portland. To welcome back Kenji Bunch, the Portland Youth Philharmonic’s chamber orchestra, Camerata PYP, will perform his 2011 work, Supermaximum, at its April 28 concert. And next month, the Corvallis Youth Symphony will premiere his new piano concerto, performed by Bunch’s wife, Monica Ohuchi.

It’s an appropriate homecoming for Bunch, 39. He played viola in PYP—the nation’s oldest youth orchestra—for five years before heading off to Juilliard in New York 22 years ago and becoming one of the country’s best-known young composers and arrangers. The Wilson High School alum’s energetic, original music—increasingly influenced by pop, world and other nonclassical styles—has been performed by important ensembles like the Eroica Trio and more than 40 orchestras, and he plays often with experimental, rock, jazz and other nonclassical musicians, even in Broadway shows. He’s that rare composer who can make a living in music while living at the epicenter of American classical music.

So why leave?

“You realize that certain things the rest of the country takes for granted are luxuries here,” Bunch says, “like a backyard and having space to be able to go out and play.” He also realized he doesn’t have to live in New York to maintain a career. “You get conditioned to thinking that you need this New York presence to be legitimate or something,” he says. “That may have been true 20 years ago, but with the Internet, it’s now less the case.

And other parts of the country have really emerged as compelling centers for the arts, and I really believe that Portland is one of them.”

Bunch has returned to Portland at least twice a year for performances and family visits. “What excites me about what I’m finding out about the music world there now is that it’s not, ‘Oh, look at little Portland doing what N.Y. is doing.’ It’s the opposite,” he says. “Portland seems to be setting the trends, inventing new ways of presenting classical and classically based music, and new ways of finding audiences and presenting this music to the public.

And there’s no denying that it’s working—there’s a real buzz. I think it’s something really special, and I’d like to be a part of that.”

Bunch increasingly performs his own music and plans to do more of that here, and the veteran music teacher also hopes to work with young musicians via the Youth Philharmonic. “I want to do what I can to help nurture young musicians,” he says. “I feel lucky that I’ve had the career I’ve had so far, and it’s been due in large part to a lot of fortunate circumstances that began when I was a kid in Portland. I want to give back to that community that helped me get where I am.” BRETT CAMPBELL. SEE IT: The Camerata PYP concert, featuring a performance of Kenji Bunch’s Supermaximum, is at the Wieden+Kennedy Building, 224 NW 13th Ave., portlandyouthphil.org, on Sunday, April 28. 4 pm. $15-$223.

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Willamette Week APRIL 24, 2013 wweek.com

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4/15/13 11:01 AM

MUSIC

thursday–saturday EStER SEGARRA

equal the slavering press adoration, but, with tuneful frenzy like this, who needs the NME? JAY HoRton.

Holocene, 1001 SE Morrison St., 2397639. 8:30 pm. $10 advance, $12 day of show. 21+.

Alex Clare, Rags & Ribbons

[DUB BRoWSER] It’s been a little more than a year since Alex clare left the music business to work as a real-estate agent. Dropped by his label after sales of his 2011 debut, The Lateness of the Hour, barely cracked four digits, he hadn’t much choice before the Internet Explorer 9 marketing team wed the potential of clare’s slow-loading electro-soul anthem “too close” to its passion for hypersaturated television advertising. Worse careers have been born by impeccable timing, and clare, who landed Amy Winehouse/ Major Lazer as girlfriend/producers just prior to their star turns, has exploited his serendipitous talents long enough to realize whatever platinum Microsoft spun had less to do with any singer-songwriter powers than a burgeoning public appetite for dubstep rendered comfortable and fundamentally nonthreatening. Still, rather than hiring a domesticized Diplo dupe to bridge MoR and EDM on these haymaking tours, clare’s been power-emoting above instrumental funk to crowds unsure why they’re unsatisfied and upset that he’s ignored the most important parts of selling vocals to the instafan base won from sheer familiarity: placation. JAY HoRton. Wonder Ballroom, 128 NE Russell St., 2848686. 8:30 pm. Sold out. All ages.

FRIDAY, APRIL 26 NoMeansNo, Ford Pier, Dirtclodfight, Bison Bison

[PUnK MAInStAYS] For almost 35 years, noMeansno has been part of the punk-rock universe, and in all that time, the canadian trio has not lost one iota of power or energy. nor has its keen eye for the absurdity of life been dulled—this is, after all, the band that named its 2006 album All Roads Lead to Ausfahrt.

As powerful as noMeansno’s work can be in its recorded form, seeing the band live and taking the full force of the group’s jazz-influenced, sociopolitical skewering right in the gut is the only way to fly. RoBERt HAM. Hawthorne Theatre, 3862 SE Hawthorne Blvd., 233-7100. 8 pm. $15 advance, $18 day of show. 21+.

Infected Mushroom, Randy Seidman, Sidestep

[PSYtRAncE PLUS] Infected Mushroom’s first three albums—The Gathering, Classical Mushroom and B.P. Empire—are classic examples of the bass-heavy, fast and freaky dance music known as “psytrance.” the tirelessly touring Israeli duo made a name for themselves as DJs across the world in just a few years after dropping their 1999 debut. But in 2003, something changed, and it’s not hard to see by the name of the album released that year. Converting Vegetarians is a two-disc set, the first of which is filled with the rapidly throbbing trance fans expected. the second disc is full of odd, ambient, poppy music, putting it in the tradition of Lil Wayne’s Rebirth in terms of an established artist attempting to quickly switch genres while keeping the same musical tools. But unlike Weezy, they didn’t back down. IM the Supervisor, released a year later, explores electronica, live instrumentation and rock-style vocals, and does it well. Since then, Infected Mushroom has continued to alternately explore new genres and stick to what it knows. In the end, the only thing worse than trance DJs experimenting is trance DJs repeating the same lazy formula ad nauseam. MItcH LILLIE. Roseland Theater, 8 NW 6th Ave., 224-2038.

9 pm. $22.50.

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Willamette Week APRIL 24, 2013 wweek.com

smell the glove: ghost B.C. plays Wonder Ballroom on saturday, April 27.

SATURDAY, APRIL 27 Crystal Bowersox

[AMERIcAnA IDoL] All That for This, crystal Bowersox’s sophomore effort, isn’t what we’d ordinarily call a “Portland” album—roots are only teased while inviting local vets for session work, barely making up for the Jakob Dylan duet—but any folk-pop collection so perfectly tailored to a songstress’s considerable charms of delivery seems a significant step forward from her contractually obligated assemblyline debut—admirable enough that she switched from Jive to worldmusic label Shanachie. American Idol contestants—especially the rare female finalist who had an original song played mid-season—aren’t supposed to choose indieville after finding fame. that’s generally when the star-search bait moves away.

A belated but hearty welcome to the new Portlander, congratulations for embracing her own distinct approach and, er, the best of luck with the imminent stint as Patsy cline on Broadway. JAY HoRton.

Aladdin Theater, 3017 SE Milwaukie Ave., 234-9694. 8 pm. Sold out.

Chad Valley, Ski Lodge, Renny Wilson

[DAncE PoP] the United Kingdom’s Hugo Manuel is a handshaker. the proof’s in the 26-yearold’s latest effort, Young Hunger, which offers heavy collaboration with the likes of twin Shadow, Active child and more. As such, the record plays like a producer’s project, with catchy, bare-bones beats that sound stripped straight from a casio. Undoubtedly, Manuel can write a hit. His one-two punch of ’80s-era synthetics and swelling pop crescendos is by no means new, but damned if it’s not going to get the entire crowd dancing. Brooklyn band and Smiths obsessives Ski Lodge share the bill. MARK StocK. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $8 advance, $10 day of show. 21+.

E.D. Sedgwick, Sad Horse, Japanese Guy, Neal Morgan

[cELEBU-cLASH] Justin Moyer likes to push buttons. As a member of Dischord Records footnotes Antelope, El Guapo and Supersystem—the latter being rather criminally underrated, by the way—the D.c.-based musician and songwriter needled listeners with worldly avant-rock at once oddly funky and a bit obnoxious. In the early 2000s, Moyer kicked things up a notch with (originally named) Edie Sedgwick, a two-man performance art project in which he “impersonated” the late Warhol starlet by dressing in drag and singing abrasive electroclash songs about various celebrities. It was annoying and, like much of Moyer’s output, simultaneously fascinating. In the last few years, Moyer has gotten more serious. He no longer dresses in drag, and now performs with an actual band. the songs on We Wear White, the first released under the tweaked name E.D. Sedgwick, are hookier and propelled by more organic instrumentation, but it remains

raw, twitchy and, yes, a bit grating.

But that’s all part of the charm.

MAttHEW SInGER. The Know, 2026 NE Alberta St., 473-8729. 8 pm. Call venue for ticket information. 21+.

RAC, Goldroom

[DAncE] Remix Artist collective, also known as RAc, labels itself as a group of “international members” who reinterpret songs, mainly of the rock and electronic nature. In reality, it’s a couple of talented guys based in Portland and Brooklyn who have distinguished themselves from the multitude of remix artists on the Internet by crafting reworks that are more accessible and intricate than their originals. Los Angeles’ Goldroom, also known as Josh Legg, also creates music that’s built for the dance floor. Rather than crafting remixes, however, Legg works with vocalists to create original sunsoaked compositions, channeling the momentum of the nu-disco scene. the combination of the two artists will undoubtedly create a partylike atmosphere, which could be enough to make you forget the damp hell that has been spring in Portland.

REED JAcKSon. Mississippi Studios, 3939 N Mississippi Ave., 288-3895.

10 pm. $12. 21+.

Rodriguez, Jenny O.

[FoLK PHoEnIX] the story of Sixto Rodriguez is one of the stranger tales in pop music history. As chronicled in last year’s oscar-winning Searching for Sugar Man, Rodriguez, whose limited number of fans dubbed him the Latino Bob Dylan for his socially conscious ballads, had his career fizzle out after his records bombed. He dropped out of the scene, but somehow his music went multiplatinum in South Africa, becoming the soundtrack of the anti-apartheid movement.

Resurrected half a decade later— everyone thought he was dead; he was just in Detroit, which is kind of the same—Rodriguez is finally taking his place in the spotlight. It took a while, but some things are worth the wait. AP KRYZA. Roseland Theater, 8 NW 6th Ave., 224-2038. 9 pm.

Sold out. 21+.

Ghost B.C., Ides of Gemini

[PoP MEtAL FoR tHE DEVIL] FauxSatanism isn’t a new concept in metal. As far back as Black Sabbath, bands have pretended to run with the devil. At least Sweden’s Ghost B.c. is pretty up-front about the fact that they’re just fucking around.

With a singer who dresses like a demonic pope and “honors” Satan with melodies more sugar-sweet than a lot of power-pop groups, the band is too silly to be genuinely frightening. But faking it is pretty much the entire point. Its whole schtick—including its sound, a throwback to ‘80s British metal, with psychedelic accents, established on 2010’s Opus Eponymous and continued on recent followup Infestissumam—seems like a commentary on the extremism of modern metal. It’s easy to see where a generation of fans raised on black metal’s flayed-alive

cont. on page 27

Willamette Week APRIL 24, 2013 wweek.com

25

3341 SE Belmont 503-595-0575

BASEMENT BAR @THE BLUE MONK For the full calendar, visit www.thebluemonk.com

Thurs 4/25

9:00 FUNK at the MONK presents:

Excellent Gentlemen

Fri 4/26

9:00 Philly’s Phunkestra

Sat 4/27

9:00 Anomalous Quintet

Sun 4/28

8:00 Sunday Jazz Series: The Dover Peterson Electric Fusion Project

Tues 4/30

6:30 Pagan Jug Band

Weds 5/1

8:00 Arabesque Belly Dance

UPCOMING IN-STORE PERFORMANCES CRYSTAL BOWERSOX Short Live Set/ Autograph Session SATURDAY 4/27 @ 1 PM “I believe if you stand for something, stand your ground; stand it strong and stand it proud.”

-Crystal Bowersox Crystal Bowersox has made it her mission to live life, and her music, to the fullest. With a gentle warmth and wisdom well beyond her years, the consummate artist has an uncompromising vision of herself and music that is refreshing and rare.

Her fortitude and courageous spirit resonated with millions, night after night, when the 2010 American Idol runner-up took the stage. Her sincerity and authenticity just can’t be manufactured.

ANNE-MARIE SANDERSON THURSDAY 5/2 @ 6 PM

Anne-Marie Sanderson is a British singer-songwriter, now based in Portland. Her music is known as “facemelting” and “mind-blowing.” Employing many alternate tunings, and a self-taught finger picking style, Anne-Marie’s guitar playing is refreshingly unconventional. Anne-Marie has been playing venues around town to promote her growing collection of songs, some of which will be featured on her new EP, ‘Eloquence.’

John Densmore’s book signing for ‘Unhinged’ on Tues., May 21 at 7 PM! Pick up the book now for guaranteed admission!

Don’t miss

26

Willamette Week APRIL 24, 2013 wweek.com

NEWS

PAGE 7

saturday–tuesday screams and bludgeoning attack would find the band weak. At its core, though, Ghost resurrects an idea lost in the stern-faced, evilerthan-thou attitude of today’s heavy music: Being wicked is meant to be fun. MATTHEW SINGER. Wonder Ballroom, 128 NE Russell St., 2848686. 9 pm. $18 advance, $20 day of show. All ages.

two members aren’t new to bands.

Aside from writing music together on and off since high school, Ryan Neighbors played in Portugal. the Man for nearly four years, while Kirk Ohnstad fronted his own group, Hello Electric. Naturally, after the two met over chicken wings last year to discuss starting a new group, the evolution into Hustle and Drone was pretty seamless. Taking notes from duos like Air, Neighbors and Ohnstad blend intriguing electronic beats with ambient keys and smooth falsettos to create an immersive listening experience. Since releasing its selftitled EP last summer, the pair has already completed a European tour and gained a strong following within the local music scene. Keep an ear out—these guys know what they’re doing. EMILEE BOOHER. Rontoms, 600 E Burnside St., 236-4536. 9 pm.

Free. 21+.

SUNDAY, APRIL 28 Dawes, Dr. Dog

[STRAIGHT OUTTA LAUREL CANYON] I’m an absolute sucker for a good vocal harmony, and Dawes’ three-part vocal prowess is no exception. The Los Angeles-based quartet has been channeling the Laurel Canyon vibe—think Jackson Browne or Buffalo Springfield—since its 2009 debut, The North Hills, yet with modern draw. The band’s vintage sound—gleaming guitar, fine-drawn keys, steady rhythm section—exudes ’70s California rock to such a degree that the Google reference on the band’s most recent release, Stories Don’t End, might have you second-guessing your ears.

Still, the album is the band’s most polished to date, ebbing with psychedelic guitar and plucky call-andresponse, and rooted in frontman Taylor Goldsmith’s distinctive gift for making the mundane sound meaningful. Dawes shares a co-headlining bill with similarly backward-gazing rock-’n’-rollers Dr. Dog. BRANDON WIDDER. Crystal Ballroom, 1332 W Burnside St., 225-0047. 9 pm. $22 advance, $24 day of show. All ages.

MONDAY, APRIL 29 Nataly Dawn, Ryan Lerman

[SERIOUS FOLK POP] Nataly Dawn used to be known as one half of the quirky folk-pop duo Pomplamoose, but with the release of solo album How I Knew Her, people are seeing her in a whole different light. If you like your folk heavy on the introspection and light on wit and airiness, then this one is for you. Loaded with questioning, and filled to the brim with gravitas and razor-sharp insight, the album is a feast for those who love to be floored by increasingly difficult situations that have no easy explanations or answers, if they have any at all. BRIAN PALMER. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 8 pm. $13 advance, $15 day of show. 21+.

Wires for Salu, Ghost Feet, Djao, Citymouth and Bone Mouth, Philip Grass

Chappo, Yours, the Lower 48, Slim Fortune

[DANCE ROCK] In 2010, Apple essentially launched Chappo’s career with an iPod commercial. At the time, the Brooklyn-based band only had an EP to its name, with no label or management backing it. The song, “Come Home,” combines foottapping acoustic and electric guitars with infectious falsettos perfect for grabbing a listener’s attention.

The good thing is, Chappo has the talent and versatility to outlast the instant commercial success of one track. On last year’s Moonwater—the band’s first full-length album—the quartet parades a quirky melting pot of sounds, from tribal chants to ’80s synths to psychedelic rock signifiers. With the addition of Portland’s Yours, the Lower 48 and Slim Fortune, this show’s lineup will be a fantastic mix of energy and oddity. EMILEE BOOHER. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. Free. 21+.

Hustle and Drone, Adventure Galley

[SMOOTH BEATS] Hustle and Drone might only be a year old, but its

Crystal Castles, Pictureplane

[DOOMSDAY ELECTRO] The age-old tradition of releasing multiple self-titled albums in a row may hark back to the days of Led Zeppelin, but it’s not something many modern bands seem to follow.

Crystal Castles, Toronto’s flagship experimental electro-pop duo, may have missed the memo—it has three eponymous albums to date—but that hasn’t stopped it from churning out a new mix of dark, dystopian

CAMERON WITTIG

[ELECTRO-CRYSTAL] Dropping Gems, Portland’s ambient-electronic label, is branching out with the third Gem Drops, an annual compilation and artist showcase. According to the label, this year’s comp will cover stylistic territory, including “gritty forest beat, maximalist shuttle launch, underground-lake narrative, late-night loner keyboard, futuristic hip-hop and emo-juke.” For a bunch of artists who have no problem switching between ethereal synths and hard-hitting hip-hop beats, that’s as good a descriptor as any. The show and album include Gems labelmates DJAO, Citymouth and Ghost Feet. Supporting them are three offlabel but stylistically similar acts: Portland-based Philip Grass, Boston’s M. Constant, and Wires for Salu, a side project of San Francisco-based producer Devonwho, in its first performance. There are only six tracks on this year’s comp, but it is the first to be released on 12-inch vinyl. As we’ve come to expect from Dropping Gems, though few in number, these gems are golden. MITCH LILLIE. Doug Fir Lounge, 830 E Burnside St., 231-9663.

9 pm. $5. 21+.

MUSIC

tunes every two years. Producer Ethan Kath and vocalist Alice Glass’ newest release under the moniker, III, features the same notoriously aggressive blend of shrill vocals and vicious synths that continually draw the hooded youth of our fair city out of the shadows and onto the dance floor. BRANDON WIDDER. Roseland Theater, 8 NW 6th Ave., 224-2038. 8 pm. $32. All ages.

TUESDAY, APRIL 30 Renny Wilson, Minden

[GLITTER POP] Renny Wilson’s 2013 debut, Sugarglider, doesn’t give the listener any time to catch his or her breath. One supple track from this Edmonton native melts into another like a well-curated mixtape or the club DJ set you wish you could recreate at home. Wilson runs the proverbial gauntlet on this album, touching on early ’80s New Wave, ’70s synth pioneers like Tangerine Dream and the wistful sway of our current hypnagogic overload. Just don’t let his downtrodden outlook on life and the empty space in his bed disturb your groove. ROBERT HAM. Bunk Bar, 1028 SE Water Ave., 894-9708. 9 pm. $3. 21+.

John Fullbright, Parker Millsap

[FIRE-AND-BRIMSTONE FOLK] Oklahoman John Fullbright has quite a bit to be proud of at age 25. His full-length debut may not have won the Grammy for best Americana album—he, along with the Lumineers, the Avett Brothers and Mumford & Sons, lost to Bonnie Raitt—but the nomination is telling enough. The album, fittingly titled From the Ground Up, seamlessly combines Midwestern folk, Bible Belt gospel and rootsy blues into a ragbag concoction that neither sputters nor slips but billows through the album’s 12 wisdom-rich cuts. Fullbright doesn’t so much sing as speak in a soft baritone, but when his voice does break, it launches into a raw, godforsaken yowl that contrasts with the album’s familiar backdrop of wispy piano, acoustic guitar and sparse accordion. BRANDON WIDDER. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 8 pm. $13 advance, $15 day of show. 21+.

PRIMER

BY B R ETT CA MPB ELL

THE BAD PLUS Formed: In 2000 in Minneapolis.

Sounds like: Classically trained piano meets indie-rock drums meets jazz bass.

For fans of: Blondie, Igor Stravinsky, Paul Motian, Flaming Lips, Abba, Joshua Redman, Nirvana, Neil Young, Ornette Coleman, the Pixies, Bill Frisell, David Bowie, Herb Alpert, Pink Floyd, Black Sabbath, Heart—the Plus have covered or worked with all of them.

Latest release: Made Possible, the band’s eighth studio album, continues its recent emphasis on original music, adding for the first time occasional tasteful touches of electronic instrumentation.

Why you care: By using contemporary and classic rock and pop tunes and ideas as vehicles for imaginative improvisation, pianist Ethan Iverson, bassist Reid Anderson and drummer Dave King are helping to save jazz from its self-inflicted cultural marginalization.

In truth, they’re not doing anything different from what the great jazz originals of the 1920s through the ’50s did—embracing the popular music of their time, spiced with classical and avant-jazz influences. But after decades of the genre’s most strident adherents either endlessly repeating the same old pre-rock standards or dabbling in often-abrasive experimentation that seemingly ignores everything that’s happened in popular culture, it’s refreshing to hear ear-friendly yet venturesome jazz that connects to the rest of America’s rich musical culture.

SEE IT: The Bad Plus plays Mission Theater, 1624 NW Glisan St., on Sunday, April 28. 3 and 7 pm. $20 advance, $25 day of show.

Under 21 permitted with guardian.

Willamette Week APRIL 24, 2013 wweek.com

27

MUSIC ALBUM REVIEWS

SERGE SEVERE, BOOM BAP & BARS VOL. 1 (FOCUSED NOISE) [HIP-HOP] Portland MC Serge Severe has always had an appreciation for the “golden age” of hip-hop. He released a tape of himself rapping over DJ Premier beats. He refers to himself as a “lyricist” rather than a rapper.

His songs have titles like “Classic So New,” “Back on My Rhymes” and “Spit Rounds.”

For many MCs, this comes off as a playing it safe, but Severe has so far managed to channel the mindset of mid-1990s East Coast hip-hop without sounding clichéd.

His newest project, Boom Bap & Bars Vol. 1, a collaboration with local crate digger 5th Sequence, is no different, sporting a raw, vintage sound. But unlike Serge’s past projects, which were laced with hard-hitting backdrops, 5th Sequence develops a warmer, jazzier sound here—more Gang Starr-era Premier than, say, his work with M.O.P. The soft horn and subtle piano suit Severe well.

In the past, the combination of Severe’s vicious lyricism and his ear for grimy beats could become tiring at times. Here, his vocal dexterity has room to maneuver, making it one of his most accessible projects yet. That’s not to say his fiery passion or skills on the mic have diminished—Severe is still out for the heads of weak MCs. But on Boom Bap he sounds more relaxed than ever, which helps make his messages of authenticity and lyrical supremacy easier to digest. REED JACKSON. SEE IT: Serge Severe plays Rotture, 315 SE 3rd Ave., with Goldini Bagwell, Illmaculate, DJ Sparks, Halfmanhalf & DJ Ozroc, Chill Crew, and DJ Wels, on Thursday, April 25. 9 pm.

Free. 21+.

AINA HAINA, AINA HAINA (BADMAN RECORDING CO.) [REHEATED ROCK] Every review of the eponymous EP recently released by Aina Haina seems obligated to first mention the day job of Dylan Magierek—producer, engineer and co-founder of globally renowned tastemaker label Badman Recording Co. But while his reputation doubtlessly elevated the act’s profile above the average collegiate combo reunited after decades apart, don’t think this a mere side project.

If anything, there’s reason to suspect that all intervening career accomplishments were means to this end: With singerguitarist Mike Ailes in town and back in the fold, the University of Hawaii classmates are finally getting the band back together.

Coyly vague about specificities of timeline, it nevertheless seems safe to assume that the self-styled “power duo” shares at least a passing familiarity with the late ’80s, and for a 24-minute collection that may have gestated for as many years, the results arrive absent appreciable nostalgia. Instead, they mix and match certain touchstones of the era—cheekily tumescent hair-metal riffs swaggering alongside Smithereens-styled artisanal powerpop craft—with a palpable assurance that the ideas are fresh or at least sound fresh.

However laudable the duo’s refusal to pander to the times or indulge in overdone dad-rock enthusiasms, avoidance of embarrassment often seems the height of their ambitions. With Ailes portraying a missionary on the first track’s vocals and a hippie on the last, the limited personal investment wearies. “Got no conscience/ Got no shame,” he warbles even while trying his damnedest to tunefully manage a tricky leap of pitch, but burdensome levels of both conscience and shame impose a numbing remove. They made no vanity project, but I wish I thought one song was about them. JAY HORTON. SEE IT: Aina Haina plays Analog Cafe, 720 SE Hawthorne Blvd., with Wolf Pussy, on Saturday, April 27. 9 pm. $5. 21+.

28

Willamette Week APRIL 24, 2013 wweek.com

FINDER Willamette Week’s Guide to Portland

Space reservation deadline: June 21 • Call: 503.243.2122 • Email: advertising@wweek.com

COME CELEBRATE

CINCO DE MAYO

BEER TENT AND MUSIC MAY 5TH EAST PORTLAND LOCATION

2424 EAST BURNSIDE & SE 24TH

1438 23RD AVE NW & QUIMBY

HAPPY HOUR TWICE DAILY

Over 115 Tequila Selections

Willamette Week APRIL 24, 2013 wweek.com

29

MUSIC CALENDAR

april 24–30 Mikie Lixx

= WW pick. Highly recommended.

Tiger Bar

317 NW Broadway Karaoke from Hell

For more listings, check out wweek.com.

Vie de Boheme

kIRANMUSIC.COM

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

Palma Violets, Guards, Eidolons

ivories Jazz lounge and restaurant

Triple Nickel

3646 SE Belmont St. Big City Wind Down 1530 SE 7th Ave. Catahoula Soul Stew, Mitch Kahmar

White eagle Saloon

1435 NW Flanders St. Tom Grant, Sweet Baby James, Mary Kadderly

836 N Russell St. Pheasant, Sweeping Exits, Comaserfs (8:30 pm); Brothers of the Hound (5:30) pm

Jack london Bar

White eagle Saloon

529 SW 4th Ave. Kim and Kya’s Fantastical Birthday Talent Show!

Jade lounge

2346 SE Ankeny St. Scott Dean

Jimmy Mak’s

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

836 N Russell St. Pheasant, Sweeping Exits, Comaserfs

White Owl Social Club 1305 SE 8th Ave. Cockabilly

Wonder Ballroom 128 NE Russell St. Alex Clare, Rags & Ribbons

Kelly’s Olympian

i’ll TuMBi FOr yOu: Kiran Ahluwalia plays the Alberta rose Theatre on Wednesday, April 24.

Wed. April 24 Al’s den at the Crystal Hotel 303 SW 12th Ave. Asher Fulero

Alberta rose Theatre

3000 NE Alberta St. Kiran Ahluwalia, DJ Anjali

Andina

1314 NW Glisan St. Toshi Onizuka

Ash Street Saloon 225 SW Ash St. Druden, Wild Hunt, burials

Backspace

landmark Saloon

4847 SE Division St. Jake Ray, Bob Shoemaker 2958 NE Glisan St. A Cat Named Grandpa, Urban Wildlife, Small Souls, Copper & Coal, John Brown Project

lents Commons

Andina

laurelThirst

9201 SE Foster Road Open Mic

Melody Ballroom

615 SE Alder St. Comanche Joey, Trask River Redemption, Fanno Creek, Kirk Larson, P.S. Smith

Mississippi Studios

Club 21

8 NW 6th Ave. Aesop Rock, Rob Sonic, Grayskul, DJ Big Wiz

dig a pony

3939 N Mississippi Ave. The Proclaimers, JP Jones

roseland Theater

Slabtown

doug Fir lounge

1033 NW 16th Ave. Bobby Joe Ebola and the Children MacNuggits, I Am Nate Allen

duff’s Garage

333 NE Hancock St. Latin Music and Dance Jam

736 SE Grand Ave. DJ Drew Groove 830 E Burnside St. Glassbones, Vellarest, The Bloodtypes 1635 SE 7th Ave. Suburban Slim’s Blues Jam

eastBurn

1800 E Burnside St. Na Rosai Irish Jam

Funhouse lounge 2432 SE 11th Ave. The Doubleclicks

Goodfoot lounge

2845 SE Stark St. Shafty (Phish tribute)

Hawthorne Theatre

3862 SE Hawthorne Blvd.

Senses Fail, Such Gold, Real Friends, Major League

Holocene

1001 SE Morrison St. 13 Months of Sunshine: Tezeta Band, Sengatera DJs, DJ Peace Pipe, DJ Jason Urick

ivories Jazz lounge and restaurant 1435 NW Flanders St. Circle 3 Trio

Jack london Bar 529 SW 4th Ave. Tap Dance Class

Jade lounge

2346 SE Ankeny St. Karyn Ann

Jimmy Mak’s

Studio 14

Suki’s Bar & Grill 2401 SW 4th Ave. Nick Clearwater

The lodge Bar & Grill 6605 SE Powell Blvd Tommy Hogan

The lovecraft

421 SE Grand Ave. Psychopomp: Ogo Eion

The press Club

2621 SE Clinton St. Josh Rivera, Hunter Paye

Thirsty lion

71 SW 2nd Ave. Jordan Harris

Tony Starlight’s

3728 NE Sandy Blvd.

John Gilmore

Valentine’s

232 SW Ankeny St. Du Champ, Ensemble Economique

White eagle Saloon

836 N Russell St. Welfare, The Mark Sexton Band

Wilfs restaurant & Bar

800 NW 6th Ave. Ron Steen Band, Heather Keizur

Wonder Ballroom

128 NE Russell St. James Blake, Falty DL

221 NW 10th Ave. The Mel Brown Quartet

30

Alberta rose Theatre

3000 NE Alberta St. Storm Large, Sneakin’ Out, Asleigh Flynn, Chris Funk, Lovebomb Go-Go, FearNoMusic, Love Gigantic (Basic Rights Oregon benefit)

115 NW 5th Ave. The Epilogues, Mosby, The Crash Engine, We The Wild, Grizzly 2035 NE Glisan St. Guantanamo Baywatch, the Bugs, Massenger

THurS. April 25

Willamette Week APRIL 24, 2013 wweek.com

1314 NW Glisan St. Borikuas

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

Ash Street Saloon

225 SW Ash St. Jay Hornay, Snakey Mcvay, Skywriter and Menione, Cultivate Creative Sound

Backspace

426 SW Washington St. Holy Children, Machine, Hearts and Tigers

landmark Saloon

4847 SE Division St. The Pickups

laurelThirst

2958 NE Glisan St. Coldwater, Alexa Wiley, Left Coast Roasters

Mississippi pizza

3552 N Mississippi Ave. Jeff Donovan

Mock Crest Tavern 3435 N Lombard St. Eric Vanderwall

Muddy rudder public House 8105 SE 7th Ave. Jack Dwyer

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

record room

8 NE Killingsworth St. Bike Thief, Denim Wedding, Muscle and Marrow

115 NW 5th Ave. For The Life Of Me, A Midnight Drive, My Mantle, The Toy Gun Conspiracy, Walter The Conqueror

refuge

Buffalo Gap Saloon

8 NW 6th Ave. Flosstradamus

6835 SW Macadam Ave. Bethany Randall, Becoming Dirt

Bunk Bar

1028 SE Water Ave. Beach Fossils

Camellia lounge 510 NW 11th Ave. Joe Manis Trio

Chapel pub

430 N Killingsworth St. Steve Kerin

Corkscrew Wine Bar 1669 SE Bybee Blvd.

Catarina New

Crystal Ballroom

1332 W Burnside St. Local Natives, Superhumanoids

dante’s

350 W Burnside St. Roseland Hunters, Jelly Bread

doug Fir lounge

830 E Burnside St. Heart Full of Snakes, Michael Dean Damron, Ike Fonseca

duff’s Garage

1635 SE 7th Ave. The Planet Crashers, The Protons

Funhouse lounge 2432 SE 11th Ave. The Doubleclicks

Hawthorne Theatre

3862 SE Hawthorne Blvd.

Deap Vally

Holocene

1001 SE Morrison St.

116 SE Yamhill St. Lowriderz, Barisone, TigerFresh, N.O.X., Beli3ver

roseland Theater

rotture

315 SE 3rd Ave. Serge Severe, Goldini Bagwell, Illmaculate, DJ Sparks, Halfmanhalf, DJ Ozroc, Chill Crew, DJ Wels

Shaker and Vine

2929 SE Powell Blvd.

David Wakeling

Slabtown

1033 NW 16th Ave. Yevtushenko, Roselit Bone, Violent Psalms

Star Bar

639 SE Morrison St. Night Nurse, Dead Conspiracy

The Blue Monk

3341 SE Belmont St. Excellent Gentlemen, DJ Weather

The elixir lab at Al Forno Ferruzza 2738 NE Alberta St. Conjugal Visitors

The lodge Bar & Grill 6605 SE Powell Blvd Ben Rice

The lovecraft

421 SE Grand Ave. Project #9

The press Club

2621 SE Clinton St. Coconino Trio

Thirsty lion

71 SW 2nd Ave. Sam Rouissi

Tiga

1465 NE Prescott St.

Fri. April 26 Andina

1314 NW Glisan St. Sambafeat Quartet

Ash Street Saloon

225 SW Ash St. Absu, Ritual Necromancy, L’Acephale, Pleasure Cross

Backspace

115 NW 5th Ave. Transit, Seahaven, Young Statues, All Get Out

Biddy McGraw’s

6000 NE Glisan St. Funk Shui

Buffalo Gap Saloon

6835 SW Macadam Ave. Kool Stuff Katie, Rocket 3

Bunk Bar

Souvenir Driver, The Autonomics, The Century, Outer Space Heaters

Kenton Club

2025 N Kilpatrick St. The Pynnacles, Throwback, Suburbia

landmark Saloon

4847 SE Division St. Countryside Ride, W.C. Beck

laurelThirst

2958 NE Glisan St. Renegade Stringband, Melody Walker and Jacob Groopman, Alice Stuart

Mississippi pizza

3552 N Mississippi Ave. The Ukeladies (9 pm); The Hill Dogs (6 pm)

Mississippi Studios

3939 N Mississippi Ave. Marnie Stern, Sisu

Mock Crest Tavern 3435 N Lombard St. Josiah Payne

Muddy rudder public House 8105 SE 7th Ave. Sweeter Than Later

O’Connor’s Vault 7850 SW Capitol Highway DK Stewart

Original Halibut’s ii 2527 NE Alberta St. Lisa Mann

record room

8 NE Killingsworth St. Barnaby Woods, Charts, Summer Cannibals

red and Black Cafe

400 SE 12th Ave. Dirty Kid Discount, Days & Daze

ringside Fish House 838 SW Park Ave. The Djangophiles

rock Bottom restaurant & Brewery

1028 SE Water Ave. Atole, Palmbomben, PDX Funkaholics

206 SW Morrison St. Zenda Torrey

Camellia lounge

510 NW 11th Ave. Rich Halley Quartet

8 NW 6th Ave. Infected Mushroom, Randy Seidman, Sidestep

Clinton Street Theater

Secret Society lounge

2522 SE Clinton St. Claudia Schmidt

Clyde’s prime rib

5474 NE Sandy Blvd.

ON-Q Band

doug Fir lounge 830 E Burnside St. Lovebomb Go-Go Marching Band

duff’s Garage

1635 SE 7th Ave. Boogie Bone

east end

203 SE Grand Ave. Kingston Club, Rising Buffalo Tribe, the Isrealites

eastBurn

1800 E Burnside St. Andrews Ave

Ford Food and drink 2505 SE 11th Ave. The Rainbow Sign, the Darlin’ Blackbirds

Hawthorne Theatre

3862 SE Hawthorne Blvd.

NoMeansNo, Ford Pier, Dirtclodfight, Bison Bison

Holocene

1001 SE Morrison St. Kishi Bashi, DJ Zack

Jack london Bar 529 SW 4th Ave. Jawbone Flats

Jade lounge

2346 SE Ankeny St. K’lyn Bain, Matt Lande

Katie O’Briens

2809 NE Sandy Blvd.

City Mouse, 48 Thrills, Pageripper, Tuck and Roll

Kells Brewpub

210 NW 21st Ave. Sami Rouisi

Kelly’s Olympian

426 SW Washington St.

roseland Theater

116 NE Russell St. Johnny Boyd, the Jenny Finn Orchestra, Pete Krebs and his Portland Playboys

Tonic lounge

3100 NE Sandy Blvd.

Pierced Arrows, Don’t, Special Guests

Tony Starlight’s

3728 NE Sandy Blvd.

The Bureau of Standards Big Band

Hawthorne Theatre lounge

1503 SE Cesar E. Chavez Blvd.

Daydream Machine, 1776, Faerabella

Holocene

Vie de Boheme

1001 SE Morrison St. Fin de Cinema: Spectre of the Gun, Federale, Trek in the Park

White eagle Saloon

ivories Jazz lounge and restaurant

1530 SE 7th Ave. Tommy Hogan

836 N Russell St. Jackstraw

Wilfs restaurant & Bar 800 NW 6th Ave. Tony Pacini Trio

Wonder Ballroom 128 NE Russell St. Ghost B.C., Ides Of Gemini

SAT. Apr. 27 Aladdin Theater

3017 SE Milwaukie Ave. Crystal Bowersox

Alberta rose Theatre 3000 NE Alberta St. Live Wire Radio Show: Radiation City

Andina

1314 NW Glisan St. Toshi Onizuka Trio

Arlene Schnitzer Concert Hall

1037 SW Broadway Blind Pilot

Artichoke Community Music

3130A SE Hawthorne Blvd.

Jimmy Lott

Ash Street Saloon

225 SW Ash St. Earth To Ashes, Nemesis, The Adarna, Revolution Overdue

Backspace

115 NW 5th Ave. Bel Mizik, Madgestiq

Biddy McGraw’s

6000 NE Glisan St. Muriel Stanton Band

Buffalo Gap Saloon

6835 SW Macadam Ave. Rockin’ Piano Party

Camellia lounge 510 NW 11th Ave. Circle 3 Trio

1435 NW Flanders St. Cheryl Hodge, John Stowell

Jade lounge

2346 SE Ankeny St. Colin Johnson, Alison Wesley, Mari Gisele, Kristin Gordon George

Katie O’Briens

2809 NE Sandy Blvd.

Boneworm, Lamprey, Heavy Baang Staang

Kells Brewpub

210 NW 21st Ave. Sami Rouisi

Kelly’s Olympian

426 SW Washington St. A Happy Death, The We Shared, Boing

Kenton Club

2025 N Kilpatrick St. The Contestants, Hawthorne, Metropolitan Farms, Magnetic Health Factory, Honus Huffhines

landmark Saloon

4847 SE Division St. Papa Dynamite, Redeemed Trio

laughing Horse Books 12 NE 10th Ave. Special Explosion, Seacats, Your Rival, Our First Brains

laurelThirst

2958 NE Glisan St. Adam East and Kris Deelane, James Low Western Front

Mississippi pizza

3552 N Mississippi Ave. Patina (9 pm); Whiskey Puppy (6 pm)

Mississippi Studios

3939 N Mississippi Ave. RAC, Goldroom

Mt. Tabor Theater

2035 NE Glisan St. The Rocketz, TBA

4811 SE Hawthorne Blvd.

The Second Annual Dark Faerie and Fantasy Ball: DJ Non

1033 NW 16th Ave. Gaytheist, Big Black Cloud, Hot Victory, Norska, IX, Acre

Clyde’s prime rib

Music Millennium

The Blue diamond

dante’s

350 W Burnside St. Pigs On The Wing

Nel Centro

Slabtown

2016 NE Sandy Blvd.

LaRhonda Steele

The Blue Monk

Club 21

5474 NE Sandy Blvd.

Norman Sylvester

doug Fir lounge

3158 E Burnside St. Crystal Bowersox 1408 SW 6th Ave. Mike Pardew, Dave Captein, Randy Rollofson

3341 SE Belmont St. Philly’s Phunkestra

830 E Burnside St. Chad Valley, Ski Lodge, Renny Wilson

Original Halibut’s ii

The elixir lab at Al Forno Ferruzza

duff’s Garage

papa G’s Vegan Organic deli

2738 NE Alberta St. Mostly Hank

The Know

2026 NE Alberta St. E.D. Sedgwick, Sad Horse, Japanese Guy, Neal Morgan

The lodge Bar & Grill 6605 SE Powell Blvd Norman Sylvester

The lovecraft

421 SE Grand Ave. Skullfuck: DJ Horrid

The Old Church

1422 SW 11th Ave. Grant Edwards

The press Club

2621 SE Clinton St. The Low Bones

The TArdiS room

1218 N Killingsworth St. Indigo Art Tribe

The Whiskey Bar

31 NW 1st Ave. Norin & Rad, DJ Zoxy, Evan Alexander

Tiger Bar

317 NW Broadway Proven, Black Hare

1635 SE 7th Ave. The Strange Tones

east end

203 SE Grand Ave. Hong Kong Banana, NighTrain, The Dregs

eastBurn

2527 NE Alberta St. Robbie Laws

2314 SE Division St. Jake Ray & the Cowdogs, Michael Hurley

red and Black Cafe 400 SE 12th Ave. Marisa Anderson

1800 E Burnside St. Pony Homie, Jake Nannery & the Wooden Nickel Band, DJ Zimmie

ringside Fish House

Fifteenth Avenue Hophouse

rock Bottom restaurant & Brewery

1517 NE Brazee St. Karyn Patridge

Foggy Notion

838 SW Park Ave. Brent Martens Combination

206 SW Morrison St. Kivett Bednar Band

roseland Theater

3416 N Lombard St. No More Parachutes, Crazy Eyes

8 NW 6th Ave. Rodriguez, Jenny O

Goodfoot lounge 2845 SE Stark St. Sugarcane, Lewi Longmire Band

116 NE Russell St. Portland Funk and Soul Revue, the Libertine Belles

Ground Kontrol

Shaker and Vine

Hawthorne Hophouse

Slabtown

511 NW Couch St. Roxy’s Ego Hour 4111 SE Hawthorne Blvd.

Steve Cheseborough, Karyn Patridge

Secret Society lounge

2929 SE Powell Blvd.

Nick Sweet Trio 1033 NW 16th Ave. Rabbits, Honduran, Towers, Palo Verde, Sioux, Redneck

april 24–30 Star Theater

13 NW 6th Ave. Will Kinky, Tony Smiley, Jordan Harris, Jenni Wren

TaborSpace

5441 SE Belmont St. Kathy Boys and Phoenix Rising, Fadin’ By 9

The Analog Cafe

720 SE Hawthorne Wolf Pussy, Aina Haina

The Blue Diamond

2016 NE Sandy Blvd.

Melanie Roy Band

The Blue Monk

3341 SE Belmont St. Anomalous Quintet

The Know

2026 NE Alberta St. Angora Debs, Swiftumz

The Lodge Bar & Grill 6605 SE Powell Blvd Kenny Lee and the Sundowners

The Lovecraft

421 SE Grand Ave. Town and the Writ, DJ Maxamillion

The Press Club

2621 SE Clinton St. Meester & Meester

Thirsty Lion

71 SW 2nd Ave. Boys Next Door

Tiger Bar

317 NW Broadway Jim Strange, The Proud & The Damned

Tonic Lounge

3100 NE Sandy Blvd.

Shadow House, Dead Cult, Silent Numbers, D.J. Unruley

Tony Starlight’s

3728 NE Sandy Blvd.

Tony Starlight, Nick O’Donnell

Trail’s End Saloon

1320 Main St., Oregon City Alice Stewart

Vie de Boheme 1530 SE 7th Ave. Soul Vaccination, Cameron Quick

White Eagle Saloon 836 N Russell St. Chervona

Sun. APriL 28 Al’s Den at the Crystal Hotel 303 SW 12th Ave. Bombadil

Aladdin Theater

3017 SE Milwaukie Ave. Drumlandia: Niel DePonte, Susan Smith, Susannah Mars, Rebecca Fromherz

Andina

1314 NW Glisan St. Duo Con Brio

Ash Street Saloon

225 SW Ash St. Lich King, Headless Pez, Raptor, Gladius

Clyde’s Prime rib

5474 NE Sandy Blvd.

Ron Steen Jazz Jam

Crystal Ballroom

1332 W Burnside St. Dawes, Dr. Dog

Doug Fir Lounge

830 E Burnside St. Wires For Salu, Ghost Feet, Djao, Citymouth and Bone Mouth, Philip Grass

Ford Food and Drink 2505 SE 11th Ave. Tim Roth

Hawthorne Theatre

3862 SE Hawthorne Blvd.

Wintermute, Lydian Gray, Swim Atlantic, Akkadia, The ‘Leles, The Big Bad Wolf, 9th Step

ivories Jazz Lounge and restaurant 1435 NW Flanders St. Mousai Remix

Jade Lounge

Kelly’s Olympian

8 1/2 DJs: Soul and R&B Edition: DJ Nathan Detroit, DJ Hannakah Miracle, DJ Zack, New Dadz DJs, Sex Life DJs

Lola’s room at the Crystal Ballroom

Tonic Lounge

836 N Russell St. The Weather Machine, Josh and Mer, Jesse Layne

Landmark Saloon

Valentine’s

White Eagle Saloon

4847 SE Division St. Ian Miller

LaurelThirst

2958 NE Glisan St. Kris Deelane Band, Freak Mountain Ramblers

Mission Theater

1624 NW Glisan St. The Bad Plus (3 and 7 pm)

Mississippi Pizza

3552 N Mississippi Ave. Barlow Pass

Mississippi Studios

3939 N Mississippi Ave. Chappo, Yours, the Lower 48, Slim Fortune

Peter’s room

8 NW 6th Ave. Soul Vaccination, the Knuckleheads, the Lloyd Jones Struggle, the Linda Hornbuckle Band, Any Stokes and LaRhonda Steele, Ty Curtis Band

red and Black Cafe 400 SE 12th Ave. Shitty Weekend

rontoms

600 E Burnside St. Hustle and Drone, Adventure Galley

Slabtown

1033 NW 16th Ave. Slutty Hearts, Sabrina Chap and the Happening, Delaney and Paris

The Blue Monk

3341 SE Belmont St. Electric Fusion

The Elixir Lab at Al Forno Ferruzza

2738 NE Alberta St. Closely Watched Trains

Katie O’Briens

421 SE Grand Ave. Bellicose Minds, Moral Hex

The Lovecraft

The TArDiS room

1218 N Killingsworth St.

n ata l i e b e h r i n g . c o m

BAR SPOTLIGHT

3100 NE Sandy Blvd.

Dapper Squad Mystery Theatre 232 SW Ankeny St. Ce Searle, Woolen Men, Golden Retriever

Vie de Boheme 1530 SE 7th Ave. Sky in the Road

MOn. APriL 29 Al’s Den at the Crystal Hotel

303 SW 12th Ave. Bombadil

Andina

1314 NW Glisan St. Pete Krebs

Camellia Lounge 510 NW 11th Ave. Joe Millward

Dante’s

350 W Burnside St. Karaoke From Hell

Dig a Pony

736 SE Grand Ave. Lilacs & Champagne

Duff’s Garage

1635 SE 7th Ave. Keeter Stuart and Alison Rice’s Songwriters Review

Goodfoot Lounge

2845 SE Stark St. Sonic Forum Open Mic Night

Hawthorne Theatre

3862 SE Hawthorne Blvd.

He Is We, Jon Davidson, Amanda Jones, Redcast

Jade Lounge

2346 SE Ankeny St. Marc Macminn, Eric John Kaiser

Jimmy Mak’s

221 NW 10th Ave. The Dan Balmer Band, Walt Morey Middle School Jazz Group

Kells Brewpub

210 NW 21st Ave. Traditional Irish Jam Session

Kelly’s Olympian

426 SW Washington St. Eye Candy VJs

Landmark Saloon

4847 SE Division St. High Flyer Trio, Saturday Night Drive

LaurelThirst

2958 NE Glisan St. Portland Country Underground

Mississippi Studios

3939 N Mississippi Ave. Nataly Dawn, Ryan Lerman

Mt. Tabor Theater

CASTLE KEEPER: It’s pouring rain early on Saturday evening, and most vassals operating at the Green Castle food-cart pod have decided to flee the fields early. But Ian Griffonwyd of Nargila Garden hookah cart (1930 NE Everett St., facebook.com/NargilaGarden) stands his ground. Under a towering green canopy that gives the quiet side-street pod its name, Griffonwyd carefully sets four small blocks of charcoal on top of an ornate Syrian water pipe and lights up a blend of tobacco and fruit for his only customers. As the clouds empty, Griffonwyd, sternly dressed for a cart operator in a black dress shirt and maroon necktie, sets down his own rig and proceeds to tell the legend of Portland’s first hookah cart, which he opened on Northeast Alberta Street last year and recently reopened here after taking the winter off. He says his customers like to linger and will often puff lackadaisically on the same $14 bowl for an hour or more. Unlike most busy food-cart owners, Griffonwyd likes to chat. And so you do, enjoying nicotine-fueled conversation as rain falls in the otherwise unoccupied parking lot. MARTIN CIZMAR.

836 N Russell St. The Weather Machine, Josh & Mer, Jesse Layne

Aladdin Theater

3017 SE Milwaukie Ave. Bob Schneider, Max Gomez

Alberta rose Theatre 3000 NE Alberta St. Paul Kelly

Andina

1314 NW Glisan St. Neftali Rivera

Backspace

115 NW 5th Ave. A Volcano, Ah God, Young Dad, Mister Tang

Bunk Bar

1028 SE Water Ave. Renny Wilson, Minden

Dig a Pony

736 SE Grand Ave. Team Atkins

Doug Fir Lounge 830 E Burnside St. New Build

Duff’s Garage

1635 SE 7th Ave. Dover Weinberg Quartet

Goodfoot Lounge 2845 SE Stark St. Radula

Hawthorne Theatre 3862 SE Hawthorne Blvd.

Kottonmouth Kings, Deuce, Dizzy Wright, Snow Tha Product, Eskimo Callboy

ivories Jazz Lounge and restaurant 1435 NW Flanders St. Jim Templeton

Jade Lounge

2346 SE Ankeny St. Cynthia O’Brian

Jimmy Mak’s

221 NW 10th Ave. The Mel Brown Septet, Reed College Jazz Group

Laughing Horse Books

3939 N Mississippi Ave. John Fullbright, Parker Millsap

Shaker and Vine

2929 SE Powell Blvd.

Superjazzers

Star Bar

Pub at the End of the universe

The Blue Monk

2026 NE Alberta St. Crōn, Down on Knees I’m Weak, Blighter

The Lodge Bar and Grill 6605 SE Powell Blvd Ty Curtis

Tiga

8 NW 6th Ave. Crystal Castles, Pictureplane

1465 NE Prescott St. Turk Mali

Slabtown

1420 SE Powell Blvd.

Open Mic Night, The Roaming

1033 NW 16th Ave. The Bad Machine, The Darkest Moons, Governess

The Blue Monk

3341 SE Belmont St. Jenny Don’t and the Spurs, Simply Luscious

The Know

2026 NE Alberta St. Fools Rush, Floor Notes, Beach Party

Berbati’s

231 SW Ankeny St. DJ Seleckta YT

Bossanova Ballroom 722 E Burnside St. Wednesday Swing

CC Slaughters

219 NW Davis St. Trick with DJ Robb

Star Bar

639 SE Morrison St. DJ OverCol

Suki’s Bar & Grill

Twilight Café and Bar

Valentine’s

CC Slaughters

219 NW Davis St. Sound Glitter with DJ Peter Calandra

Dig a Pony

736 SE Grand Ave. Cooky Parker, Icarus

Dig a Pony

736 SE Grand Ave. DJ Icarus

Fez Ballroom

316 SW 11th Ave. DJ Lusciouz

Ground Kontrol

511 NW Couch St. DJ Ghostdad

Hawthorne Theatre Lounge

1503 SE Cesar E. Chavez Blvd.

DJ Lorax, DJ Bob Ham

The Firkin Tavern

Holocene

1937 SE 11th Ave. Eye Candy VJs

The Know

2026 NE Alberta St. Oye Como Bob: DJ Klavical, DJ Alonzo Mourning Sickness

Tiga

1465 NE Prescott St. DJ Womb Service

1001 SE Morrison St. Snap!: Dr. Adam, Colin Jones, Freaky Outty

Jones

107 NW Couch St. DJ Zimmie

Lola’s room at the Crystal Ballroom

1332 W Burnside St. ‘80s Video Dance Attack

rotture

THurS. APriL 25 Beech Street Parlor 412 NE Beech St. DJ Cuica

Berbati’s

231 SW Ankeny St. DJs Def Ro and Suga Shane

CC Slaughters

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

Club 21

2035 NE Glisan St. DJ AM Gold

Dig a Pony

736 SE Grand Ave. Newrotics 6526 SE Foster Road Dj King Fader

Jones

Pix Patisserie

2225 E Burnside St. DJ Eric Beats

Swift Lounge

1932 NE Broadway DJ Drew Groove

The rose

111 SW Ash St. Club Chemtrail #5: Natasha Kmeto, Rap Class, Massacooramaan, SPF666, Commune

The Whiskey Bar

31 NW 1st Ave. Bass Cube: Reid Speed, Gutta & Subdrive, Ekim

Tiga

1465 NE Prescott St. Mikie Lixx

Valentine’s

232 SW Ankeny St. DJ Morning Remorse, Lil Tryst

Fri. APriL 26 Beech Street Parlor 412 NE Beech St. DJ Magic Beans

232 SW Ankeny St. Ixe Ixe, Donnie Blossoms, Weather Exposed, Kites At Night

Berbati’s

White Eagle Saloon

118 NE 28th Ave DJ Damien

836 N Russell St. Will West, the Druthers, the Sale

Decadent 80’s: DJ Non, DJ Jason Wann

2401 SW 4th Ave. DJ Nick Clearwater

107 NW Couch St. Doc Adam

The Know

roseland Theater

412 NE Beech St. Bill Portland

Mississippi Studios

3341 SE Belmont St. Hidden Rebel Bass: Flowerpulse, Five Lights, TrickAssedMarxist

roseland Theater

Beech Street Parlor

Gemini Lounge

Muddy rudder Public House

8 NW 6th Ave. Crystal Castles, Pictureplane

832 SE Grand Ave. Salsa: DJ Alberton

12 NE 10th Ave. Lord Snow, La Luna, Carrion Spring, the Sky Above And Earth Below

639 SE Morrison St. Austin Johnson

4107 SE 28th Ave. Open Mic, Damien Rice

WED. APriL 24 Andrea’s Cha Cha Club

TuES. APriL 30

4811 SE Hawthorne Blvd.

Rich Landars Sonic Jelly & Jam

8105 SE 7th Ave. Lloyd Jones

MUSIC CALENDAR

White Eagle Saloon

426 SW Washington St. Tiananmen Bear, Bubble Cats, Father Figure, Bevelers

2346 SE Ankeny St. Sparkle Pony, Paul Young, Seth Krause 2809 NE Sandy Blvd.

Neutralboy, Love Songs From the Hated

Whim Grace

231 SW Ankeny St. Cloud City Collective

Beulahland

Boxxes

1035 SW Stark St.

315 SE 3rd Ave. Blown: Chase Manhattan, Kellan, Dan Cin, D Poetica, Rosbarsky

Star Bar

639 SE Morrison St. DJ Uriah Creep

The rose

111 SW Ash St. The Rhythm: DJ Nature

The Whiskey Bar

31 NW 1st Ave. Norin and Rad, DJ Zoxy, Evan Alexander

Tiga

1465 NE Prescott St. Beacon Sound

Timeshare Gallery

328 NW Broadway, Unit 114 Beatogether: Taylor M., Gloom, Dvst, Philip Grass

Valentine’s

232 SW Ankeny St. Ausland DJs

SAT. APriL 27 Beech Street Parlor

412 NE Beech St. Shrimp Tempura, Booty Futures

Berbati’s restaurant 19 SW 2nd Ave. Mezzi Mez

Berbati’s

231 SW Ankeny St. DJ Mellow Cee

Beulahland

118 NE 28th Ave FILTH: Bruce LaBruiser, Bmore Free, DJ Res

Branx

320 SE 2nd Ave. Blow Pony: DJ Airick X, DJ Stormy Roxx, Kasio Smashio, Fingerbang, MFG Disco

CC Slaughters

219 NW Davis St. Revolution with DJ Robb

Dig a Pony

736 SE Grand Ave. Freaky Outy

EastBurn

1800 E Burnside St. Pony Homie, Jake Nannery and the Wooden Nickel Band, DJ Zimmie

Fez Ballroom

316 SW 11th Ave. Doc Adam

1332 W Burnside St. Come As You Are: 90’s Dance Flashback

Matador

1967 W Burnside St. DJ Drew Groove

rotture

315 SE 3rd Ave. Blow Pony

The Lovecraft

421 SE Grand Ave. DJ Maxamillion

The rose

111 SW Ash St. Casual Encounters: Chloe Harris, Apolinario Ancheta

Tiga

1465 NE Prescott St. DJ Dad Jeans

Valentine’s

232 SW Ankeny St. DJ Ayra

Sun. APriL 28 Berbati’s

231 SW Ankeny St. DJ Linkus EDM

Dig a Pony

736 SE Grand Ave. New Jack City

Star Bar

639 SE Morrison St. DJ Joey Prude

MOn. APriL 29 Beech Street Parlor 412 NE Beech St. DJ Spencer D.

CC Slaughters

219 NW Davis St. Maniac Monday with DJ Robb

Dig a Pony

736 SE Grand Ave. Lilacs and Champagne

Ground Kontrol

511 NW Couch St. Service INDUSTRIAL: DJ Tibin

The Analog Cafe

720 SE Hawthorne DJ Gothique Smooch

Tiga

1465 NE Prescott St. KM Fizzy

TuES. APriL 30 Ash Street Saloon 225 SW Ash St. Phreak: Electronic Mutations

Beech Street Parlor

412 NE Beech St. Hall of Records, DJ Nealie Neal

Berbati’s

231 SW Ankeny St. DJ Aurora

CC Slaughters

219 NW Davis St. Girltopia with DJ Alicious

Dig a Pony

736 SE Grand Ave. Team Atkins

Eagle Portland

835 N Lombard St DMTV with DJ Danimal

Star Bar

639 SE Morrison St. DJ Austin Johnson

Tiga

1465 NE Prescott St. Türk Mali

Tonic Lounge

3100 NE Sandy Blvd.

D.J. Andrew Loomis, DJ Desecrator Fireside Lounge

White Owl Social Club

1305 SE 8th Ave. Totaled Tuesdays: DJ Mike V. & Manee Friday

Holocene

1001 SE Morrison St.

Willamette Week APRIL 24, 2013 wweek.com

31

PERFORMANCE

april 24–30

= 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.

C R A I G M I TC H E L L Dy E R

Editor: REBECCA JACOBSON. Theater: REBECCA JACOBSON (rjacobson@ wweek.com). Classical: BRETT CAMPBELL (bcampbell@wweek.com). Dance: AARON SPENCER (dance@wweek.com). TO BE CONSIDERED FOR LISTINGS, submit information at least two weeks in advance to: rjacobson@wweek.com.

ALwAys...pAtsy cLine

THEATER Ablaze

From the opening panicked notes of the a cappella musical thriller Ablaze, it’s clear the audience is in for a dark and gripping ride. The musical centers on eight students trapped in the basement of a high school as it burns down, and the aftermath once they’re found. A sparse and confined set conveys the claustrophobia and despair the characters feel as they tackle the show’s weighty subjects: young love, friendship, suicide, abortion, rape. This is the first time Ablaze has been professionally staged: Local playwright Matthew Zrebski first developed the play for Lincoln High students in 2004, and in 2011 transformed it into a musical at Wilson High. He again directs, and his young cast of 23 is sincere and impressive. One of the highlights is the fire, portrayed by 11 cast members dressed in black, faces painted red and orange. Their unrelenting presence reminds one character of being bullied and another of a ticking clock and the demands of perfectionism. Throughout, the fire lurks, biding its time until it can engulf both characters and audience. KAITIE TODD. Brunish Theatre, 1111 SW Broadway, 800-273-1530. 7:30 pm Fridays-Saturdays, 2 pm Sundays through May 5. $30.50, students $20.

The Aliens

Since her first play stunned audiences four years ago, Annie Baker, 31, has gone from obscurity to acclaim. In that time, critics have scraped away at her plays, trying to unearth what makes them so rich, so unsettling and, most of all, so real. Never mind that there’s much in her plays that’s more surrealistic than anything else. Take, for example, a moment in Third Rail’s deeply humane and quietly unnerving production of The Aliens. KJ (Isaac Lamb), a bearlike 30-year-old, tells a story. At age 5, he was obsessed with the word “ladder” and repeated it incessantly, until his mother let him shout the word as often and as deafeningly as he needed. Lamb delivers a monologue—if it can be called that—composed of that single word.

I began counting the number of repetitions and then lost track, finding myself hypnotized and horrified and heartbroken. The Aliens, as with much of Baker’s work, is constrained but not contrived. It’s set in the scruffy backyard of a cafe, where KJ and Jasper (Chris Murray) gather. After Jasper, a Bukowski-reading chain-smoker, kicks over a chair, teenage employee Evan (Bryce Earhart) tries to shoo them away. It would be easy to say this irreverent yet warm duo teaches Evan about life and identity, but what unfurls is far more intricate, and far more tragic, than that. Under Tim True’s confident direction, the actors

32

create intensely empathetic characters. Lamb nails the gentle comedy as well as his character’s twitchy discomfort. The tightly wound Murray will twist your insides into knots, and 16-year-old Earhart more than holds his own, his character carefully testing his words to best impress his older friends. Aside from occasional surges of language, the dialogue is elliptical and sparse. While some playwrights force characters to plow ahead with dialogue, Baker makes her characters wait. These empty spaces are remarkable—and also uncomfortable or tense or weird. Are they real? By play’s end, that question no longer matters.

REBECCA JACOBSON. The CoHo Theater, 2257 NW Raleigh St., 235-1101.

7:30 pm Thursdays-Saturdays, 2 pm Sundays through May 4. $25.

Always...Patsy Cline

[NEW REVIEW] It’s every music fan’s dream: to go to the concert of your favorite singer, introduce yourself and have the artist join you at your table before the show. This is exactly the story in Always...Patsy Cline, as the famous country singer meets one of her biggest fans, Louise. After introducing themselves, the two spend the evening together and form a bond that continues until Cline’s death years later.

Based on a true story, the musical is carried just as much by Sara Catherine Wheatley’s flawless, crooning vocals as Patsy Cline as it is by Sharon Maroney’s entertaining and comedic narration as Louise, with the events broken up by classic Cline songs such as “I Fall to Pieces” and “Walkin’ After Midnight.”

A projector illuminates new settings on the surrounding walls, transforming Louise’s living room into a bar or radio station. Though backed by a strong cast and set, Always...Patsy Cline often narrates events rather than enacting them (for example, telling the audience that the characters talked all night rather than having them talk to each other), and it may not resonate with those born before Cline’s musical prime. As ballad after ballad begins to blur together, non-Cline buffs may grow numb—though they’re sure to be jolted by an impromptu country line dance performed by a middle-aged gent in the front row, as happened at a recent Sunday matinee. KAITIE TODD. Broadway Rose New Stage Theatre, 12850 SW Grant Ave., Tigard, 620-5262.

7:30 pm Thursdays-Saturdays, 2 pm Sundays and select Saturdays through May 19. $30-$40.

Arabian Nights

Before Arabian Nights begins, performers move about the theater. Clad in harem pants and embroidered vests, they squeeze into black vinyl pews, wrapping an arm around an audience member or exchanging pleasantries. That beginning sets a fittingly informal tone for Mary Zimmerman’s 1994 adaptation of The 1001 Nights,

Willamette Week APRIL 24, 2013 wweek.com

which draws on Arab traditions of oral storytelling that encourage audience participation. Stories of sacrifice, endurance and generosity spiral into ribald tales of sex, greed and flatulence, and under director Philip Cuomo the play becomes a lively and often bawdy ode to the immersive power of storytelling, even if the inconsistent cast stumbles in the more reflective or cerebral moments. With the low-ceilinged black box looking something like a bargain-basement harem, Arabian Nights begins with the cuckolded king Shahryar (Gilberto Martin Del Campo) wedding, bedding and slaying a fresh virgin each night. But the clever Scheherezade (Nicole Accuardi) staves off his wrath by telling story after story. As she tells each tale, the large ensemble adopts a string of guises, becoming lovesick merchants, hipswiveling temptresses, bulgy-eyed kings and, charmingly, an elephant.

In the first act, the cast’s exuberance distracts from problematic Orientalist elements—why must all the women be dressed like Jasmine from Aladdin?— but they begin to grind as the play winds on. Still, this is the young company’s first non-Shakespearean foray, and while uneven, it establishes the troupe as a spunky force in Portland’s theater scene. REBECCA JACOBSON. Milepost 5, 850 NE 81st Ave., 729-3223.

7 pm Fridays-Sundays through April 28. $10 Fridays-Saturdays, “pay what you can” Sundays.

Cinderella

Cinderella trades in glass slippers for tap shoes in this Northwest Children’s Theater musical adaptation. Best for ages 5 and up. NW Neighborhood Cultural Center, 1819 NW Everett St., 222-4480. Noon and 4 pm SaturdaysSundays through May 26. 7 pm Fridays, May 10, 17 and 24. $13-$22.

Clybourne Park

Bruce Norris’ Clybourne Park—the first work to win the triple crown of the Pulitzer, Tony and Britain’s Olivier—is one of the most produced plays among regional companies. I haven’t seen the play elsewhere, but I’m sure Portland Center Stage’s bracing production could contend with the best of them: Norris’ script is acerbic, smart and frequently uproarious, and the cast, under director Chris Coleman, is superb. All told, makes for a full-throttle experience that claws at our conceptions about race, prejudice and social propriety. The play’s title comes from Lorraine Hansberry’s 1959 work A Raisin in the Sun, in which a black family prepares to move into a fictional, predominantly white Chicago neighborhood called Clybourne Park.

Norris’ play also begins in 1959, but it centers instead on the white couple that have just sold their house. But ditzy Bev (the sparkling Sharonlee McLean) and brooding Russ (a tense and reactive Sal Viscuso) don’t know the new family is black, so community representative Karl (Gavin Hoffman, balancing dweebiness with impertinence) attempts to halt the sale. The second act skips forward 50 years.

In those intervening years, white flight has transformed the neighborhood’s demographics, and now a white couple hopes to move into the gentrifying area. This parallel structure is more than clever conceit. It’s a riveting dramatic framework that highlights the stubborn intractability of race issues in America, as well as our desperate fumbles to discuss them in a meaningful—or even intelligible—way. In the first act, we see the barefaced racism of Karl contrasted with the well-meaning condescension of Bev. A half century later, the characters are no more articulate, no less hamstrung by euphemisms and equivocations. “Half my friends are black!” yelps one character. It’s as corrosive as it is cathartic. REBECCA JACOBSON. Gerding Theater, 128 NW 11th Ave., 445-3700.

7:30 pm Tuesdays-Sundays, 2 pm Sundays and select Saturdays, noon Thursdays through May 5. $39-$65.

Flashdance: The Musical

Broadway Across America presents a stage adaptation of the 1983 blockbuster about a steel-worker-turnedexotic-dancer. Keller Auditorium, 222 SW Clay St., 800-745-3000. 7:30 pm Tuesday-Friday, 2 pm and 7:30 pm

Saturday, 1 pm and 6 pm Sunday, April 23-28. $25-$65.

Gathering Blue

In its third collaboration with beloved author Lois Lowry, Oregon Children’s Theatre presents a new play set in a futuristic world where children are kept like animals and barbarism rules. Recommended for ages 9 and up. Winningstad Theatre, Portland Center for the Performing Arts, 1111 SW Broadway, 228-9571. 2 pm and 5 pm Saturdays and 2 pm Sundays through May 19. No 5 pm shows Saturdays, May 11 and 18. $15-$28.

The Gin Game

From a distance, the excitement level of The Gin Game looks to be a notch below Monday-night bingo.

Two seniors, Weller (Allen Nause) and Fonsia (Vana O’Brien), bitch and bicker over an unending series of gin rummy games on the back porch of a cheap retirement home. They first meet at the opening of D.L. Coburn’s 1976 play, Weller supposedly a card shark while Fonsia is just learning the rules of the game. Their lives appear increasingly desperate over the weeks-long series of games, which Fonsia continually and demurely wins. Weller, crotchety and foulmouthed, endures the repeated defeats in hilarious outbursts of “Goddamnit!” Director JoAnn Johnson does not allow her actors to ham up their quirks and faults, so The Gin Game is tragicomic in a Chekhovian way: We cry when they cry, but we laugh when they fall.

When Fonsia asks if Weller has any ailments, he bitterly snaps, “I have one of the most advanced cases of old age in the history of medical science.”

Throughout, Weller and Fonsia’s love/ hate relationship plays out unexpectedly, and though the ending is downright lugubrious, we laugh all the way there. MITCH LILLIE. Artists Repertory Theatre, 1515 SW Morrison St., 2411278. 7:30 pm Tuesdays-Sundays, 2 pm Sundays through April 28. $25-$50.

Inspired By

In this Action/Adventure Theatre fundraiser, inspiration travels down a long chain. The scrappy company first asked a few Portlanders—such as thriller writer Chelsea Cain and performance artist/life coach Andrew Dickson—to write short pieces based on unique prompts. Next, the company passed on those writing pieces to performers, including Portland Experimental Theatre Ensemble and Atomic Arts (the folks behind Trek in the Park), to spin into brief theatrical works. Tonight, everyone reads, performs and parties. The Secret Society Ballroom, 116 NE Russell St. 7:30 pm Monday, April 29. $12-$15.

The Mystery Box Show

The sex-themed storytelling series celebrates its first anniversary with more tales of kink, fantasy and embarrassment. Brody Theater, 16 NW Broadway, 224-2227. 7:30 pm Thursday, April 25. $10-$12. 18+.

NT Live: People

The series, which presents broadcasts of National Theatre productions, returns with Alan Bennett’s newest play. The mischievous farce finds an aging aristocrat seeking a way to save her crumbling mansion. World Trade Center Theater, 121 SW Salmon St., 2351101. 1 pm and 5 pm Sunday, April 14 and 2 pm and 7 pm Saturday, April 27. $15-$20.

The People’s Republic of Portland

Portland loves hilarious motormouth Lauren Weedman, a former cast member on The Daily Show, and now she returns to the Rose City with a solo show developed for us and about us. Directed by Rose Riordan, it’s guaranteed to be more insightful— and way funnier—than every episode of Portlandia, ever. Gerding Theater, 128 NW 11th Ave., 445-3700. 7:30 pm Tuesdays-Sundays, 2 pm Sundays and select Saturdays, noon Thursdays through June 16. $34-$54.

Puppet Slam

The puppet craze barrels onward with this smattering of R-rated live puppet

acts, presented by event company Beady Little Eyes. Disjecta, 8371 N Interstate Ave., 286-9449. 7:30 pm and 9:30 pm Saturday, April 27. $8. 21+.

Singlehandedly

Each night of Portland Story Theater’s annual solo festival features two different storytellers, each with a worldpremiere tale. Hipbone Studio, 1847 E Burnside St., 358-0898. 8 pm FridaysSaturdays through April 27. $15-$20; festival pass $50.

SubUrbia

In the fictional Texas suburb of Burnfield, the most exciting thing to do is to get hammered outside a convenience store. At least it looks that way to these five slackers, who all want to move up and away but keep coming back to the same parking lot.

They drink, talk and argue, but the true meaninglessness of these wastoids’ lives only comes into focus when Pony (Samson Syharath), a friend and recent rock star, comes home to visit.

(Performing two songs live on acoustic guitar, Syharath’s twangy vocals are mesmerizing.) Other than a Da Vinci Code reference, little has changed in Eric Bogosian’s 2006 revamp of the 1996 original, but the relevance still rings true and dark. “Honorably” discharged vet Tim (Adam Stockman) spits racist venom at immigrant shopkeeper Nazeer (Raj Patel), his rage perfectly skirting the line between disturbing and moving. Breaking the gloom is Sooze (Tiffany Groben), a performance artist who delivers radical feminist monologues to the crowd in the parking lot. Pony’s visit stokes the crew’s jealousy and shame, and, ultimately, each of these losers must face the real reason they’re trapped in the suburbs: themselves. MITCH LILLIE. Portland Actors Conservatory, 1436 SW Montgomery St., 274-1717. 7:30 pm Thursdays-Saturdays; 2 pm Sundays through April 28. $10-$25.

Ten Chimneys

Incoming Artists Rep artistic director Dámaso Rodriguez makes his Portland directorial debut with Jeffrey Hatcher’s comedy about Broadway power couple Alfred Lunt and Lynne Fontane. The play is set at the couple’s rural Wisconsin estate in the late ’30s, as Lunt, Fontane and others rehearse Chekhov’s The Seagull. To little surprise, the drama and dysfunction of that play infect the daily proceedings. Artists Repertory Theatre, 1515 SW Morrison St., 241-1278. 7:30 pm Wednesdays-Sundays, 2 pm Sundays through May 26. $25-$50.

Tomorrow!

“Do you remember oranges?” asks a performer, in a postapocalyptic moment in Tomorrow! Action/ Adventure’s cyclical performance of dance, theater and song asks the timeless question: What will the future bring? Narrated from inside the action by unnamed characters, dressed in ‘40s-era clothes that also resemble modern hipster fashion, we begin with “once upon a time.” The 70-minute play continues with visions of the future from various decades, questioning our current screen addiction and economic crisis. Monologues, which channel beat poetry with lines like “snowlight blizzards of time,” occasionally sound like lectures (one performer instructs the audience to detach from their devices or risk WALL-E in real life). But Tomorrow! remains optimistic, with one character chasing away a chorus chanting “global warming” and “child sex trafficking” by yelling the names of Mahatma Gandhi and Mother Teresa. The point here is reflection, and with only a slight whiff of self-absorption the show succeeds, thanks to its well-balanced blend of dramedy and lyrical storytelling. ENID SPITZ. Action/ Adventure Theatre, 1050 SE Clinton St. 8 pm Thursdays-Saturdays through April 27. $12-$15.

The Winter’s Tale

The Winter’s Tale feels as if the Bard had an unfinished tragedy, half a comedy and a longing for a bouncy musical number. The first half features the jealous and paranoid King Leontes (Grant Turner), whose rush to judgment leaves a good portion of

april 24–30

COMEDY The Aces

However oblique the overriding concept or abstract the punch lines, Going Places, the sophomore collaboration of Shelley McClendon and Michael Fetters, was always going to make people laugh. The stage vets comprising the Aces (both appeared in recent live productions of The Lost Boys and Road House) are old hands at the funny business, and nothing sells theatrical minimalism like broad comic timing. Over a series of loosely etched vignettes that often seem as drawn from modern dance as traditional sketch comedy, the duo engages their human-and-otherwise characters with an all-in physicality that takes full advantage of the performers’ appeal while edging the seemingly unconnected scenes ever closer to an underlying vision. Imaginations run wild, but they’re far more than jokers. JAY HORTON. Theater! Theatre!, 3430 SE Belmont St. 8 pm Fridays-Saturdays through April 27. $15-$18.

Back to the Table

A new improv show that spins off audience suggestions about family stories and tales of entrapment. Brody Theater, 16 NW Broadway, 224-2227.

8 pm Saturdays through May 4. $8-$10.

Firkin Funny Night

The monthly stand-up showcase features Russell Parker, author of the Book of Russell, and finalist from the Shades of Laughs comedy competition. The Firkin Tavern, 1937 SE 11th Ave., 206-7552. 9:30 pm Tuesday, April 30. Free. 21+.

Jon Dore

Stand-up from the comic known for his eponymous television show and his affability. Helium Comedy Club, 1510 SE 9th Ave., 888-643-8669. 8 pm Thursday, 7:30 pm and 10 pm FridaySaturday, April 25-27. $15-$25.

Manos: The Hands of Fate

To call 1966’s Manos: The Hands of Fate its decade’s Plan 9 From Outer Space is a disservice to Ed Wood. Not a single frame of the picture could even be called mediocre—every scene is execrable. So of course it’s gained a huge cult following. Now, as is the case with many cult flicks, it’s a live stage show, and it marks the debut of Capital I Productions (though director/star Brian Koch produced another version back in 2006). Onstage, the story of a deranged polygamist cult in the desert becomes a goofy stew of intentionally bad acting, cardboard sets and spooky live music (by members of Blitzen Trapper, Parson Red Heads and Viva Voce) that captures the delightfully stupid source material and injects a lovingly irreverent spirit. Though the production takes pleasure in presenting everything bad about the movie— from the repeated lines to lapses in logic and terrible special effects— it manages to become a beast all its own, thanks to surrealist elements like a boozy lounge singer who shows up to warble inexplicably. For “fans” of the original film, the performance will prove a massive hit, but for the 95 percent of people unfamiliar with the Manos mythos, there’s still enough rowdy energy and absurdism to keep them intrigued. AP KRYZA. Interstate Firehouse Cultural Center, 5340 N Interstate Ave., 3065217. 8 pm Thursdays-Saturdays; 8 pm Sundays, April 28 and May 5. Through May 5. $20.

#NerdNightOut

A fresh round of geek-themed music and comedy, including appearances by sister duo the Doubleclicks on ukulele, cello and guitar; the Broadsides, a group of geeky shanty singers; and Minneapolis-based comedian Joseph Scrimshaw. Funhouse Lounge, 2432 SE 11th Ave. 7 pm Wednesday and 7:30 pm Thursday, April 24-25. $8.

One Man Star Wars Trilogy

Exhibiting a skill unique to our northern neighbors, Canadian actor Charles Ross interprets the originalStar Wars trilogy, playing all the roles himself.

Aladdin Theater, 3017 SE Milwaukie Ave., 234-9694. 7 pm and 10 pm Friday, April 26. $20-$25.

Ruby Rocket, Private Eye

Curious Comedy founder Stacey Hallal presents a solo show about a bachelor-loving, whiskey-drinking detective. Curious Comedy, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 8 pm Fridays-Saturdays through April 26. $12-$15.

CLASSICAL Al Andalus Ensemble

The veteran Portland world-music ensemble, led by flamenco guitarist Julia Banzi and multi-percussionist, oud master and ney flutist Tarik Banzi, augmented by Barcelonabased flamenco dancer Cristina Chacón, plays Mediterranean music from Spain, Morocco and beyond.

Saturday’s concert is at the Chapel at Reed College’s Eliot Hall (3203 SE Woodstock Blvd.). Agnes Flanagan Chapel at Lewis &Clark College, 0615 SW Palatine Hill Road, 230-2379. 7:30 pm Wednesday, April 24; and Saturday, April 27. $10-$25.

Bells of the Cascades, David York Ensemble

It’s good to see the veteran Portland choral conductor and composer back on the scene after the landslide that claimed his house a while back.

Recently named music director of the city’s community bell ensemble, he’ll lead both groups in his own choral setting of Edgar Allan Poe’s poem “The Bells,” along with other works for bells, voices and violin by Arvo Pärt, Dave Brubeck, J.S. Bach and more.

First Christian Church, 1314 SW Park Ave., 228-9211. 5 pm Sunday, April 28. $10-$20 suggested donation.

Camerata PYP

Why can’t every Oregon—or American—orchestral program be as cool and relevant to contemporary culture as this one? While the city’s other orchestras gnaw almost exclusively on the bones of dead Europeans, and play to audiences almost as ancient as the dusty museum pieces which they perform, Portland Youth Philharmonic music director David Hattner instead concocts an almost ideal program for PYP’s chamber orchestra. The performance includes a Euro classic (Beethoven’s Symphony No. 8); a 20th-century American classic (David Diamond’s popular 1944 Rounds for String Orchestra); a recent 2011 Motown- and minimalist-influenced work by a local composer, Portland native and soon-to-be resident Kenji Bunch, called Supermaxium, inspired by the abusive and racist Southern prison practices; and an American premiere by an American composer, Stephen Dankner’s Meditation for Viola and String Orchestra. And it’s all performed by the unbelievably accomplished musicians of the nation’s oldest youth orchestra. Why, it’s almost like in Beethoven’s day when orchestras actually played music written in their own time and place. Children, teach your parents well. Wieden & Kennedy Atrium, 224 NW 13th Ave., 223-5939. 4 pm Sunday, April 28. $15-$20.

FearNoMusic

The Portland new-music ensemble’s pioneering Young Composers Project, which gives teenage composers a year of workshops with FNM’s superb players, is one of the city’s most admirable and artistically valuable invest-

ments in the future of music. This concert includes works by this year’s crop of up-and-composing music creators. Reed College, Eliot Hall chapel, 3203 SE Woodstock Blvd, 335-3386.

2:30 pm Sunday, April 28. $15.

Oregon Repertory Singers

The excellent choir closes its season with help from string players from Classical Revolution PDX and guest soloist Vakaré Petroliûnaité. This performance is of the recent oratorio Passion and Resurrection by one of today’s most acclaimed young choral composers, Latvia’s Eriks Esenvalds. The concert also includes J.S. Bach’s masterful motet “Jesus, My Joy.” First United Methodist Church, 1838 SW Jefferson St., 2300652. 7:30 pm Friday, April 26; 4 pm Sunday, April 28. $15-$35.

Conduit studio will be set for spontaneous construction. Visual artists will be given raw materials to build an environment for dancers who will perform in the space. The construction will transform the space in installments throughout the evening. Conduit Dance, 918 SW Yamhill St., Suite 401, 221-5857. 7:30 pm Saturday, April 27. $25-$30.

School of Oregon Ballet Theatre’s Annual Performance

Despite the budget tumult at Oregon Ballet Theatre, the School of OBT has remained fully enrolled and director

Damara Bennett has remained on board.

The school’s best aspiring dancers will perform a range of pieces from George Balanchine’s Serenade to now-departed director Christopher Stowell’s Rose City Waltz. This performance will be a critical one for the school, which lacks the funds for expansion as competitor schools encroach on its territory.

Newmark Theatre, 1111 SW Broadway, 248-4335. 7:30 pm Thursday, April 25; 2 pm Saturday, April 27. $30-$46.

For more Performance listings, visit

REVIEW

Pepe Romero

BLAINE TRUITT COVERT

the cast dead by the end of the act, including one poor fellow who gets devoured by a bear. The second act goes for laughs with the lighthearted buffoonery of peasant shepherds and a less-than-honest peddler. True love prevails and a miracle is thrown in for good measure. But the cast handles this grab bag of Shakespearean devices admirably, delivering polished and entertaining performances.

PENELOPE BASS. Shoe Box Theater, 2110 SE 10th Ave., 971-244-3740.

7:30 pm Thursdays-Saturdays, 2 pm Sundays through April 28. $18-$20.

PERFORMANCE

Born into guitar royalty—he’s the son of the pioneering Spanish master Celedonio Romero and a longtime member of the famed Romeros’ family guitar quartet—the 70-year-old scholar (at USC) and player earned his own matchless reputation as one of the 20th century’s finest classical guitarists in more than 80 recordings and thousands of recitals and performances as soloist with many of the world’s greatest orchestras, conductors and fellow classical music stars. And how often do you get to hear a knight (as certified by the king of Spain) play a solo recital? First Congregational Church, 1126 SW Park Ave., 654-0082. 8 pm Friday, April 26. $30-$49.

Portland Baroque Orchestra

In spite of its name, PBO has recently been exploring post-Baroque music, while retaining its admirable devotion to performing it on the instruments and in the styles and tunings the composers intended. This time, Monica Huggett leads the band in performances of three of Haydn’s early symphonies (numbers 6-8), nicknamed “Morning,” “Noon” and “Night.” In these concerts, the spotlight’s on perhaps the world’s finest Baroque oboist and flutist—PBO’s Gonzalo Ruiz and Janet See. Sunday’s performance is at Reed College’s Kaul Auditorium (3203 SE Woodstock Blvd.). First Baptist Church, 909 SW 11th Ave., 222-6000. 7:30 pm FridaySunday, April 26-28. $25-$59.

Portland State University Opera

Ken Selden conducts the PSU Orchestra and veteran Artists Repertory Theatre director Jon Kretzu leads the student cast and young star tenor Zachary Borichevsky (already singing internationally) in Puccini’s rarely performed operetta La Rondine.

In this performance, the action is moved from 19th-century Paris and the Riviera to 1940s-’50s Douglas Sirk-era Hollywood. Lincoln Hall, Portland State University, 1620 SW Park Ave., 725-3307. 7:30 pm Fridays, April 26 and May 3, Tuesday, April 30 and Saturday, May 4; 3 pm Sunday, April 28. $15-$26.

TVI Singers

The 20-voice choir sings madrigals and modern works celebrating spring season by composers as ancient as Renaissance man Thomas Morley and contemporary composer Alvin Curran, plus the world premiere of a set of choral songs by local composer Joel Ford. Michelle’s Piano Company, 600 SE Stark St., 679-7976. 7:30 pm Sunday, April 28. $10.

Wildwood Consort

In this concert devoted to the works of influential 18th-century German organist and composer Dieterich Buxtehude, the Baroque chamber ensemble and singer Melanie Downie Robinson demonstrate why the young J.S. Bach was willing to walk nearly 300 miles to hear the elder composer’s music. St. Aidan’s Episcopal Church, 17405 NE Glisan St., 866-5572. 3 pm Sunday, April 28. $12-$15.

DANCE Conduit Dance Re:Construction

A benefit for Portland’s most popular community rehearsal space, the

out of the blue: Pontus lidberg’s Stream.

AMERICAN MUSIC FESTIVAL (OREGON BALLET THEATRE) Little about ballet is American. Poised, practiced and, to many, pretentious, it’s antithetical to the unbridled passion of a country built on freedom, manifest destiny and tea parties.

But it’s not entirely uncommon for ballet companies to expand their relationship with whatever makes America unique, like Oregon Ballet Theatre does with its American Music Festival. With three impressive works, two of them world premieres, the show is exciting not only for the skill involved, but for its originality.

The scores are by Americans: Portland-born experimental composer Ryan Francis, opera minimalist John Adams and Seattle indie-folk band Fleet Foxes. But the choreography isn’t all homegrown. One piece is by a Swede, Pontus Lidberg—and it definitely feels Swedish.

Set to Francis’ score, essentially a blend of strings and electronics, Lidberg’s Stream is metaphysical stimulation. Dancers move fluidly, sheer aqua fabric billowing behind them. They weave in and out of partnerships, then break away in counterbalance. They never stop moving, yet they never go anywhere. As Lidberg wrote on OBT’s blog, “Dance is more intelligent than us having to have a narrative,” which he demonstrates in a piece that is nothing more than dance. Even the dancers’ faces are emotionless, as if they’re human-form jellyfish.

Trey McIntyre, a former OBT choreographer-in-residence, sets Robust American Love to Fleet Foxes tracks. Named after a Walt Whitman poem, McIntyre’s piece explores the excitement of the American pioneer. The dancers wear colonial-style denim jackets, which they twist and pull to create new shapes and characters. Noteworthy is soloist Javier Ubell, who also partners with principal dancer Alison Roper for a gender-bending duet in which Roper does the lifting.

At the Border, by Matthew Neenan, premiered in 2009. Chaotic in comparison to the other pieces, dancers run across the stage and leap into lifts to Adams’ piano-driven Hallelujah Junction. The energy is right for a finale, but the movement can be disorderly and prone to mistakes.

Still, the dancers shine, particularly principal Xuan Cheng, who’s tossed about as if she weighs nothing and stands one-legged on someone’s back with the grace of a queen on a throne.

Such displays of majesty are what the scrappy American spirit aims to achieve, and the show beams with a palpable sense of accomplishment.

It’s a pride not jingoistic but homespun. AARON SPENCER.

Scrappy pride, en pointe.

see it: American Music Festival is at the Newmark Theatre, 1111 SW Broadway, 222-5538. 7:30 pm Wednesday, Friday and Saturday, April 24 & 26-27. $27-$148.

Willamette Week APRIL 24, 2013 wweek.com

33

BOOKS

APRIL 24–30

= WW Pick. Highly recommended.

Win a pair of tickets to see

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

WEDNESDAY, APRIL 24

@ the Wonder Ballroom thursday, april 25 t h Go to wweek.com/promotions WWeek ad 6V BW Spec15 / Prem Runs: 4-24 & 5-1

Christian Acker

Few people think of graffiti as anything more than petty vandalism.

But author Christian Acker spent years distilling interviews with graffiti artists from across the country and systematically analyzing historic hand styles for his book Flip the Script: A Guidebook for Aspiring Vandals and Typographers. Acker argues that graffiti is “one of the last strongholds of highly refined, well-practiced penmanship in our contemporary culture.” Acker will share his findings and present some of the featured art work at the book-release party. Upper Playground, 23 NW 5th Ave., 5484835. 6-8 pm. Free.

assassination full of snipers, celebrities and conspiracy theories, and his presentation will include a look at the research behind the book. If that’s not enough to lure you in, he’s willing to bribe you. Johnston will buy a drink for every person who buys a book. Cheers. Rogue Public House, 1339 NW Flanders St, 2225910. 4 pm. Free.

SUNDAY, APRIL 28 Andrew Zawacki and Mary Szybist

Hosting readings and events that focus on what they’ve dubbed “experimental poetry,” the Spare Room series will present poets Andrew Zawacki (Videotape) and Mary Szybist (Incarnadine), who will each read from new and past work.

Get ready to experiment like you’re in college. Milepost 5, 850 NE 81st Ave., 729-3223. 7:30 pm.

TUESDAY, APRIL 30 Susan Tive and Cami Ostman

What causes a person to walk away from his or her faith? In a new collection of stories, Beyond Belief: The Secret Lives of Women in Extreme Religions, editors Susan Tive and Cami Ostman present personal tales written by women of varying age, race and cultural background who have all experienced and rejected extreme religion, shedding light on both the allure and inherent misogyny present in many religious faiths. Contributing writer Grace Peterson will join the editors in conversation. Powell’s City of Books, 1005 W Burnside St., 2284651. 7:30 pm. Free.

For more Books listings, visit

THURSDAY, APRIL 25 Kat Von D

Tattoo artist, reality TV star and renowned home wrecker Kat Von D will read from her newest book, appropriately titled Go Big or Go Home: Taking Risks in Life, Love and Tattooing. Just remember kids: Some risks, much like tattoos, will only leave you with regret. Powell’s Books at Cedar Hills Crossing, 3415 SW Cedar Hills Blvd., Beaverton, 228-4651. 7 pm. Free.

29th Street Writers

BUY TODAY FOR BEST SEATS!

FRIDAY, APRIL 26

STO R M L A R G E I N

PREMONITIONS Sat, May 4 | 7:30 pm

& Sun, May 5 | 2 pm

Carlos Kalmar, conductor

Meeting almost every Saturday morning for more than two decades, the 29th Street Writers is a local collective of women writers dedicated to creating and sharing authentic work to advance the craft and offer enlightenment. Several members of the group, including Amy Schutzer, Kathleen Saadat, Ila Suzanne Gray, Kathleen Haley, Vanessa Timmons, Shirley Kishiyama, Ellen Goldberg and Rudy Hansen Murray will share their work in a public reading. The event is free, but hooded robes are mandatory. TaborSpace, 5441 SE Belmont St. 7 pm. Free.

• Storm Large, vocals

A brilliant celebration of ten years with Music Director Carlos Kalmar – come hear the transformation! Schubert’s “Unfinished,” Ravel’s “Waltz,” and Storm Large makes her classical debut with the perfect vehicle – Kurt Weill’s Seven Deadly Sins!

Thom Hartmann

Internationally syndicated talk-show host and best-selling author of 24 books, Thom Hartmann (Unequal Protection) will speak about the Supreme Court sanctioning of “corporate personhood” and the movement to repeal it through the passage of the 28th Amendment—a move obviously opposed by the Scrooge McDucks of the world.

Catch Hartmann’s presentation “Passing the 28th Amendment: Creating a People’s Democracy, Ending Corporate Dominance” followed by a gathering of community-based organizations working for economic and social justice in Portland. First Unitarian Church, 1011 SW 13th Ave., 228-6389. 7 pm. $5-$20.

Charles Dubow

Garnering comparisons to The Great Gatsby, Charles Dubow’s debut novel, Indiscretion, is set among the wealthy residents of a Hamptons estate, with an outsider narrating the sneaky, sexual shenanigans.

Visiting from New York, Dubow will read from his book and answer questions as part of the Ristretto Reading Series. Be sure to ask probing questions about symbolism.

Ristretto Williams, 3808 N Williams Ave., 288-8667. 7:30 pm. Free.

• Weill: Seven Deadly Sins (sung in English) Schubert: Symphony No. 8, “Unfinished” Ravel: La valse Prangcharoen: Phenomenon Schoenberg: Accompaniment to a Cinematographic Scene

503-228-1353 | OrSymphony.org

Tickets start at $35

Ticket Office: 923 SW Washington | 10 am – 6 pm Mon – Fri

SATURDAY, APRIL 27 Bryan Johnston

ARLENE 34

SCHNITZER

CONCERT

Willamette Week APRIL 24, 2013 wweek.com

HALL

Seattle-based Bryan Johnston’s new novel, Man With a Gun, is an intriguing look at the John F. Kennedy

REVIEW

AUGUSTEN BURROUGHS, THIS IS HOW “Wipe that fucking smile off your face.”

So begins the new book by Augusten Burroughs, a darkly comedic and sincere self-help book titled This Is How: Surviving What You Think You Can’t (Picador, 230 pages, $15).

In it, Burroughs, best known for his confessional memoirs He ran with scissors and Running With Scissors and Dry, lived to tell the tale. offers readers advice on dealing with diets, relationships, suicidal thoughts and letting go of loved ones.

Burroughs’ short, often-fragmentary sentences make this guide to personal crises a fast read, as his advice is backed by a relatable and often funny narrative. He talks about meeting a parrot with depression and blowing up at a person who reaches for the same avocado at the farmers market.

But the sheer amount of advice offered to readers gets a little wearisome. The sentences are often made up of bits of wisdom and advice that we’ve heard before in other self-help books (“be yourself,” “live in the moment,” “find out what you need and go after it,” etc.) and gets repetitive.

Occasionally, contradictory advice also is frustrating: Burroughs tells readers to give up their dreams if they suck at them, but later adds: “If you can’t let go of the dream, don’t.” This might be less frustrating if you were actually considering whether to throw in the towel on the marine veterinary science program instead of just trying to read a book.

Burroughs’ best chapter is a thought-provoking look at the time he spent contemplating suicide. “I realized something. It wasn’t that I wanted to kill myself,” he writes. “What I really wanted was to end my life.” He goes on to recount how he made the distinction between killing yourself and giving up the life you’ve created to start over in a new city with a new name and lifestyle. This is exactly what Burroughs of New York—formerly Chris Robison of Massachusetts—says he did, adding gravity by demonstrating how he followed his own advice.

This is how to read This Is How: Try picking the crisis you’re the most interested in and flip to it. You won’t find a lot that’s new here, but Burroughs has enough interesting imagery and humor to survive that. KAITIE TODD. GO: Augusten Burroughs will be at Powell’s City of Books, 1005 W Burnside St., on Sunday, April 28. 2 pm. Free.

hotseat

CULTURE

FABLE MASTER BILL WILLINGHAM MODERNIZED FAIRY TALES BEFORE MODERNIZING FAIRY TALES WAS COOL. ktodd@wweek.com

What if the Big Bad Wolf gave up chasing Little Red Riding Hood to take up yoga and become a clocksmith? He has, of course, on NBC’s Portland-filmed TV series, Grimm.

Meanwhile, on ABC’s Once Upon a Time, Grumpy the dwarf sweeps hospital floors.

These prime-time modernized fairy tales owe a great debt to Bill Willingham’s lauded Fables comics. The series, with more than 120 issues published in the past decade, examines what life would be like for some of our most well-known fairy-tale characters if they lived in modern times.

Before Willingham appears at Stumptown Comic Fest this weekend, we were able to speak with him to discuss why he doesn’t mind TV producers making very similar versions of his stories, the challenges of writing for a likeable character who eats flies, and what obscure fables are too weird even for him to wrap his head around.

WW: In the past couple of years, it seems like there’s been a resurgence of fairy tales in popular culture, with shows like Grimm and Once Upon a Time and movies like Snow White and the Huntsman. Why do you think that is?

Bill Willingham: I have a few theories, but I am fully prepared to think that my theories just don’t hold water. The thing that moved me toward fairy-tale stories: One, it’s a group of characters and stories that we all own. Every single person in the world owns all of these characters and stories outright. We’re all born with an inheritance that we can take advantage of. I think those of us who are doing fairy-tale-based stories are the ones who are sort of cashing in on our inheritance. But that’s the idea, is that they’re easy stories to be allowed to tell. You do not have to get anyone’s permission to do a new version of Snow White, for example. And we’re social people. We get ideas from each other. Lately, some things have come out based on fairy tales, and other people say, “That’s a thing now, let’s go with that.”

Two shows in particular—Grimm, which is filmed in Portland, and Once Upon a Time—have been compared to Fables. You’ve mentioned in multiple interviews that you don’t think either show is overly similar to Fables or that they stole any ideas. Has there ever been a time when you’ve been like, “Well, I might have done that a little bit differently” or “Why didn’t I think of that?”

First of all, I don’t know whether or not that I’ve stated substantially that they’re not similar. Obviously, they’re going to be similar when you grow up on the same characters and the same situations. Even if you do other stories, there’s going to be points of similarity. But were they stolen? No, of course not. You can’t steal what you already own. I can’t keep anyone from using Prince Charming and Snow White and the Big Bad Wolf, etc. And nor would I. I wouldn’t want to. The other part of the question.... I make my living telling stories. It’s impossible to forget any other story and turn that part of your mind off, kind of evaluating and weighing what you’re looking at and wishing from time to time, “I wish I’d thought of that.” That happens to me constantly. Obviously, there are times when I would look at something and say, “I would have done that differently.” So, yes, Grimm and Once Upon a Time are both fine TV series, and I’m just arrogant enough to watch them from time to time and think, “Yeah, I could do better.” That is not to say that I could have, but just like every other writer, I think I can.

fanG-friendly: artist mark buckingham’s image of bigby wolf and Prince brandis.

SAm FOx

By ka i t i e to d d

bill willinGham

For people who haven’t gotten into Fables but are thinking about it, what should they know before starting the series?

I don’t know that you need to know a lot. These are characters you already know. The premise of Fables is that every one of their old stories is true—in some cases, they’re various versions of any individual character-developed story, and in those cases I’ve taken the version that I like best. But with all of those old stories being true, you know these characters already, but you haven’t seen them for a long time and now you see them in modern times and see what they’ve been up to since the last time you looked in on them.

Fables has been going for 10 years, and it weaves a lot of character arcs together throughout the series. Is there any arc in particular that has been especially interesting or difficult to write?

There’s the Fly Catcher story, which is called the Good Prince. Fly Catcher is the Frog Prince who is called Fly Catcher because even though he’s human, now he still has that taste for flies and samples them from time to time, which people find a little odd and disgusting. So as a background comic character, we decided to just make it an important story and delve into Arthurian mythos that revolved around him. And that was a large, epic, sweeping story. And it has the good grace to turn out, in fact, very close to how I imagined it in fancy.

A more recent one was called Cubs in Toyland. It takes the sons and daughters of Bigby Wolf and Snow

White—yes, they get together in the story, and I’m sorry for spoiling it for you folks—and it takes some of their sons and daughters off to the magical world of Toyland, which turns out to be a pretty grim place. I wanted to do that story, in addition to doing a kid-adventure story that turns out pretty mature and sophisticated, at least on one level. I also wanted to explore the Fisher King legend, which has been around; it also appeared in Arthurian stuff, but not originally. It was this very obscure set of legends that I’m not entirely sure I understand. And that ability to allude my understanding has always been intriguing to me. It’s always the treasure you can’t quite get that you need most.

For Fables, you’ve sort of reimagined the lives of a lot of these fairy-tale characters that we all know. What is that process usually like for you?

The sinker of this process of reimagining characters is not to, [but] to instead take the characters exactly as you found them. Start with the original story. And let’s say the villainous Big Bad Wolf you want to be a hero because then you can have him around longer—what are the incidents along the way of his life that could have legitimately led to that turnaround? Because we’re imagining people who could literally be thousands of years old, we would assume that there’s all sorts of changes that could come in their lives. I mean, look at the amount of changes in any person’s life over a much smaller period of time.

What’s next for you and Fables?

For me, what’s coming up next is a long period—one hopes—of getting a lot of writing done. The previous year, since I did a thing called FableCon, took a giant bite out of my work life. It had its costs. I’m happiest when I’m writing stories, so my personal plan is to do much more of that in the year to come. In Fables, we’re finishing up the Snow White arc in which a bunch of things happen to her and her family that flows out of Cubs and Toyland, where a bunch of things happen with her and her family.

Things were pretty dark and dire. So I have been promising readers that the next story arc beyond that is going to be a little more hopeful, and I intend to do what I can to keep that promise.

GO: Bill Willingham will sign at Things From Another World, 2916 NE Broadway, on Friday, April 26. 5 pm. Free. He will also appear on a panel at Stumptown Comics Fest at the Oregon Convention Center on April 27 or 28. Panel time is to be determined.

Willamette Week APRIL 24, 2013 wweek.com

35

VISUAL ARTS

april 24–30

= 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.

DUNTHORPE GARDEN TOUR M A Y 4, 2 0 1 3 10 am - 4 pm

2,500 Nights

This poster-art show is a mixed bag.

On one hand, there are plenty of individual posters that prove just how valuable and sophisticated this utilitarian art form can be. On the other hand, when viewed en masse, the posters blend into a heterogeneous blur. instances of witty graphic design get lost on the salon-style wall, their impact diluted by too many other examples of insipid graphic tropes that make the posters seem disposable. Through April 30. Backspace, 115 NW 5th Ave., 248-2900.

www.dunthorpegardentour.com

Joan Waltemath: Latencies

Walking into Joan Waltemath’s show, Latencies, is like walking into an architectural blueprint. With their rigorous perpendicular lines, these abstractions combine rectilinear composition with subtle chromatic juxtapositions: beige against navy, sparkly zinc-black against gray; red against fluorescent lime green. although the works are of uniform size (all 33.75 inches by 14.5 inches) and similar compositional method, somehow the show as a whole winds up feeling invigorating.

Through April 27. Elizabeth Leach Gallery, 417 NW 9th Ave., 224-0521.

Kenneth Johnson: In Retrospect ONE NIGHT ONLY!

Tiempo Libre

Thursday, May 9 | 7:30 pm

A night of high-voltage Latin jazz! At home in concert halls, jazz clubs and dance venues, Tiempo Libre’s Miami-based members are true heirs to the music of their native Cuba. A hit in the U.S. and abroad, they’re celebrated for their seductive rhythms and sophisticated performances.

Tickets start at $21 while they last!

Groups of 10 or more save: 503-416-6380

Call: 503-228-1353 Click: OrSymphony.org Come in: 923 SW Washington | 10 am – 6 pm Mon – Fri

Now in his 80s, photographer Kenneth Johnson was a postmodernist before postmodernism was postmodern. his meta-photography studies exude all of that movement’s heady pastiche. This is particularly evident in a series in which Johnson places photographs within photographs: a picture of the acropolis held up in front of the actual acropolis; a photo of a vagina placed atop a woman’s skirt directly over that same part. These are visual puns, critiquing not only their own subject matter, but the medium of photography itself. Through April 27.

Charles A. Hartman Fine Art, 134 NW 8th Ave., 287-3886.

Laurel Bustamante: Lost Gardens

diminutive, inventive, and just plain darling, Laurel Bustamante’s acrylic-and-gouache paintings on paper lift the viewer into a skyscape of floating islands and multicolored skies. Trees are growing on the islands, and often they reach toward one another with anthropomorphic branches. The ashland-based artist’s Lost Gardens series looks like the cloud city in The Empire Strikes Back, as it might be rendered in a children’s book. Somehow Bustamante manages to pull this off in a way that charms, rather than cloys. Through April 27. Augen DeSoto, 716 NW Davis St., 224-8182.

Paul Sutinen: Captiva Suite ARLENE 36

SCHNITZER

CONCERT

Willamette Week APRIL 24, 2013 wweek.com

HALL

Sculpture Garden

in this all-sculpture show, the pieces that stand out most are not by an artist we associate with sculpture, but with painting. Veteran painter david Geiser’s suite of seven pieces, all titled Helmet, climb the wall in an invigoratingly asymmetrical installation. Fashioned out of parchment paper, acrylic paint and other media, they do indeed resemble helmets, but also mushroom caps and oversize baseballs. Geiser coats them in his signature color, a chalky, Yves Klein-like blue, to gorgeous effect.

Through April 27. Butters Gallery, 520 NW Davis St., second floor, 248-9378.

Space

Untitled by Ron van dongen

4S WWeek BW Ad: CL17/Tiempo Libre Runs: 4/10, 4/24 & 5/1

stamens. Through April 27. Froelick Gallery, 714 NW Davis St., 222-1142.

paul Sutinen created his Captiva Suite last december as part of a

Rauschenberg Foundation residency in captiva, Fla. in the paintings, geometric shapes float in irregular compositions atop creamy backgrounds.

The style is ironically amateur, and while the works project a certain clunky charm, their collective impact underwhelms. Through April 28. Nine Gallery, 122 NW 8th Ave., 227-7114.

Color

Ron Rezek: Learning About

Ron Rezek’s Learning About Color is the best Window project that pdX has put up in months. its very simplicity is the ace in its hole. Rezek’s painting shows multicolored ovular shapes on a flat blue background. although the work is essentially abstract, the shapes look like pills floating in a swimming pool. The image is both sexy and disturbing, like a sun-soaked, drug-addled hollywood pool party, with Marilyn Monroe at the bottom of the pool. Through April 27. PDX Window Project, 925 NW Flanders St., 222-0063.

Retratos Pintados

Before color photography became widespread, people in parts of Brazil used to hand-tint black-and-white photos with different formulations of colored paint. The resulting images—primarily family portraits— eerily blended photography and painting. images of these historic works, titled Retratos Pintados, are part of the Titus Riedl collection on display in Blue Sky’s back gallery.

They’re easily the most intriguing artworks on display this month in the pearl district: poignant, otherworldly and endearingly creepy. Through April 28. Blue Sky Gallery, 122 NW 8th Ave., 225-0210.

Photography group show

The back-gallery photography show at Blackfish is head and shoulders more interesting than the front gallery’s mixed-media paintings. among the photo exhibition’s highlights are Tori Bryer’s moody suite of antarctic glaciers and icebergs and Michael Knutson’s abstract Fiesta series, with its overlapping ovals in green, orange and blue. Less compelling are Rita alves’ 3-d landscapes.

When you put on the 3-d glasses, the prints don’t really even look 3-d—they just look fuzzy, and you take the glasses off quick, sensing a headache coming on. Through April 30. Blackfish Gallery, 420 NW 9th Ave., 234-2634.

Ron van Dongen

Ron van dongen breathes fresh life into the musty genre of the floral still life with an untitled trio of photographs. Taken in holland, the prints show close-up details of tulips, dramatically selective in their focus and saturated to the point of near-vulgar sensuality. another piece—Helleborus x hybridus “Odile”—is a study in sinister black petals, punctuated by vanilla-colored

Yet another space-themed group show (the others are at pcc and disjecta) makes april the most far-out month in recent memory. The 11 artist/designers in compound’s show generally take the theme literally. ethan allen Smith’s prints on canvas superimpose white geometric forms atop a background of stars and nebulae, while alex de Spain’s graphite diptych, Ground Control to Major Tom, uses asterisks as stand-ins for stars, with the aforementioned david Bowie character staring out at the firmament.

This literality of approach gives the artists a cheap out. One wishes they had dug more deeply into their own inner space to find more sophisticated and metaphorical takes on the exhibition’s theme. Through April 30.

Compound Gallery, 107 NW 5th Ave., 796-2733.

Space Is the Place

architectural space meets space of the “final frontier” kind in disjecta’s lively group exhibition, Space Is the Place. artists Guillermo Gómez-peña, david huffman, Wendy Red Star and Saya Woolfalk offer up cheeky paintings, sculptures, costumes and a video installation in the style known as “afro-futurism.” Basketballs are a recurring motif, stacked in a pyramidal sculpture and used in a geometric abstract painting that’s not quite abstract after all; each of the tiny circles in the composition, upon close inspection, reveals itself as a miniature depiction of a basketball.

The show is wittily co-curated by Josephine Zarkovich and elizabeth Spavento. Through April 28. Disjecta, 8371 N Interstate Ave., 286-9449.

The Space Between

Julia Stoops and Meg peterson mount a two-artist show called The Space Between at pcc. Stoops’ mixed-media works portray quasiarchitectural structures and surreal landscapes in which gravity has gone haywire and objects float in midair. peterson’s paintings of semiabstract stars and nebulae have a gorgeous texturality and subtle chromaticism. Through April 27.

North View Gallery at PCC Sylvania, 12000 SW 49th Ave.

Ty Ennis: JKJKJK

anyone who saw Ty ennis’ You’ll Love It Here in 2009 at the nowdefunct New american art Union isn’t likely to forget that show’s creepy documentation of Spokane serial killer Robert Lee Yates. ennis’ new show at Nationale takes a major stylistic turn, with paintings in a lowbrow style depicting still lifes of incongruous objects. Still Life With Weapons, for example, incorporates a zebra-striped cowboy hat, a honeycomb-patterned minimalist painting, a bouquet of flowers, and a porn dVd titled Weapons of Ass Destruction. The self-conscious awkwardness of the rendering gives the show an endearing snarkiness.

Through April 28. Nationale, 811 E Burnside St., Suite 112.

For more Visual arts listings, visit

aPRil 24–30 REVIEW

= WW Pick. Highly recommended.

STuDIOCANAL

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: rjacobson@wweek.com. Fax: 243-1115.

42

D+ Jackie Robinson is an American

legend: The first black player to break Major League Baseball’s color barrier, he shouldered the hopes of a generation, weathering a flurry of abuse to open the gates for future players to partake in America’s pastime. Brian Helgeland’s Robinson biopic, 42, will also secure a spot in history: history class. This is the kind of shoddy biopic that teachers will keep in the bullpen for sick days, so some hung-over substitute can put it on for a “lesson.” Yet this is neither a good sports movie nor a worthwhile historical film. If one were to piece together Robinson’s story based solely on 42, it would read as follows: Jackie Robinson (Chadwick Boseman) was a nice, college-educated man who loved his wife.

One day, Brooklyn Dodgers general manager Branch Rickey (Harrison Ford) called him up to the bigs. Most white players didn’t like him, spending so much time snarling racial slurs they didn’t realize he was both nice and good at baseball. Then everyone realized he was good at baseball. Then they were friends. Despite Boseman’s best efforts, Robinson’s character is criminally underdeveloped, and Ford is reduced to the kind of white-person-solves-racism role that scored Sandra Bullock an Oscar. Even the baseball sequences are lazily constructed. Hell, Remember the Titans is a more complex, moving portrait of racial tensions in sports. 42 is a hackneyed, cookie-cutter film that manages to tell us absolutely nothing about a turning point in American history. But on the bright side, at least it’ll provide endless naps for future history students when their teachers are sick. PG13. AP KRYZA. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Lloyd Center, Oak Grove, Division, Evergreen Parkway, Fox Tower, Lloyd Mall, Movies on TV, Sherwood, Tigard, Wilsonville, St. Johns Twin.

Admission

C In one of the funnier moments in Admission, several Princeton admissions officers make notes on a giant chart. On one side are fawning remarks they’ve received from parents whose offspring have just been accepted to the Ivy League. “You’re an angel on earth,” reads one. On the other side are insults from parents of rejected applicants. Admissions officer Portia (Tina Fey) approaches the board with a comment she’s just received. “I hope you get rectal cancer,” she scrawls. Paul Weitz’s lukewarm dramedy, though, prompts neither rapture nor wrath. It takes a subject, the neurotic frenzy of college admissions, that could be played seriously or for laughs, and lands in an erratic middle. Fey is an uptight admissions officer who receives a phone call from a former classmate named John (Paul Rudd), who runs an alternative school where students learn to build sustainable irrigation systems, assist cows in labor and generally fight the man. There she meets Jeremiah (Nat Wolff, in the film’s most sincere performance), a genius autodidact with ghastly grades. When John tells Portia that Jeremiah might be the son she gave up for adoption during college, her life goes into a tailspin.

Fey plays Portia as a neat-freak Liz Lemon, a screwball with an office she keeps scrupulously clean and a bonsai she obsessively trims. Rudd, while not as endearing as Fey, does his usual deadpan act, but the screenplay is too tepid to generate any real laughs. The most charming performance comes from Lily Tomlin as Portia’s freewheeling feminist mother, and when she’s onscreen Admission begins to stoke an anti-conformist fire. Yet even as the film pokes elitist Ivies in the eye, it asks viewers to root for an underdog who seeks acceptance to one such institution. Sorry, Admission: After review of your application, we have voted to place your name on our waitlist. PG-13.

REBECCA JACOBSON. Eastport.

The Angels’ Share

B- Although the Scottish slang

spoken in The Angels’ Share is slightly more comprehensible than that in Trainspotting, this heartwarming yarn of a thug turned good might still make viewers yearn for subtitles. Fortunately, though, the goofy heist plot is simple enough you should be fine with only a 30 percent grasp of the dialogue: Four young Glaswegians sentenced to community service after minor offenses hatch a scheme to pilfer some very pricey Scotch whisky. Headed up by new father Robbie (real-life ex-con Paul Brannigan, a wiry and endearing presence with a short fuse), the clumsy quartet dons some tartan and tromps to the misty Scottish Highlands, along the way hitchhiking with nuns, developing their whisky noses and unleashing plenty of potty humor. The film is genial enough, with its lighthearted jokes and sugary soundtrack tempered by director Ken Loach’s periodic injections of leftist social commentary.

REBECCA JACOBSON. Living Room Theaters.

GOLDEN WHIRL: Ben Affleck plays an unspeaking lug, and Olga Kurylenko is an ethereal whirligig.

Antiviral

B- If writer-director Brandon

Cronenberg wanted to avoid being compared to his famous father and have his work stand on its own merits, he couldn’t have chosen a worse vehicle than Antiviral, a film that can only be described as “Cronenbergian,” and not “Brandon Cronenbergian,” either. His father’s influence looms large, from the film’s grotesque body horror to its constant feeling of terrified claustrophobia to its surrealist sets. Antiviral centers on Syd (Caleb Landry Jones), a technician in a celebrity-obsessed dystopia who specializes in infecting fans with their idols’ diseases. Want the same strand of herpes your favorite actress carried?

He’ll inject it in you, for a price. He also traffics in synthetic muscle cells of the rich and famous, which are processed into meats and served up for nominal fees. Naturally, this doesn’t end well for anyone involved in the infectionfor-fun world. But even as the film devolves into a dizzying and ultimately blasé affair, Cronenberg executes his deranged story with an intense visual panache that’s all his own (though not for the squeamish). Obviously indebted to his father, it’s still an insanely promising start for a director with a huge shadow to escape, and a compelling look at the potential of a future auteur in his infancy. AP KRYZA. Hollywood Theatre.

Argo

A- Ben Affleck’s thriller tells the

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. By not pandering to sentimentality, Affleck has taken what others would have turned into farce and emerged with one of 2012’s best pictures. R. AP KRYZA. Academy, Laurelhurst, Valley.

Arthur Newman

B Aspiring golf pro and forlorn busi-

nessman Wallace Avery (Colin Firth) has a few problems: He chokes under pressure on the golf course, he’s disenchanted with his love life, and his teenage son isn’t interested in him.

So, in Dante Ariola’s dark comedy about lost souls, Wallace flees that life by taking on a new identity. Dubbing himself Arthur Newman, he sets off for the utopia of Terre Haute, Ind., with an orange duffel full of cash and a perpetually worried expression. His ex-wife’s infuriatingly perfect home is hardly out of Newman’s rearview mirror when he stumbles upon “Mike” (Emily Blunt). If anyone seems more pathetic than Colin Firth in a pink polo shirt and frown, it’s Blunt’s

CONT. on page 38

GIRL TWIRLING

TERRENCE MALICK’S TO THE WONDER IS MORE MYSTIFYING THAN MIND-BLOWING.

BY ReB ecca jacoB son

rjacobson@wweek.com

Terrence Malick’s The Tree of Life overflowed with voice-over narration. His new film is practically an audiobook. Actually, “audiobook” is misleading: That would suggest To the Wonder’s voice-over helps establish plot, character or scene. No, the whispered flutters are more existential poetry than anything else, opaque and fragmented thoughts about love, spirituality and truth. We hear about “an avalanche of tenderness.” At another point, we learn that “love makes us one.” Other musings are even foggier: “Where are we when we’re there?” one character asks—in French to boot.

Viewers may feel a similar sense of mystification during To the Wonder. Malick’s metaphysical themes and radiant imagery have earned him cultish disciples, but his films arrive slowly. This is only his sixth feature in almost 40 years, yet it comes a mere two years after the unabashedly grand Tree of Life. Like that film, To the Wonder brims with exquisitely composed shots of nature: ocean waves, golden prairies, sparkling sun. For better or worse, the new film features neither dinosaurs nor the Big Bang—but there are some large sea turtles as well as a giant herd of bison. But unlike Tree of Life, in which the characters’ personal struggles matched the film’s towering philosophical ambitions, the human center at To the Wonder lacks urgency.

Malick’s subject here is love, both within a couple and between people and God. The film opens with sturdy American Neil (Ben Affleck) and spirited Ukrainian Marina (Quantum of Solace Bond girl Olga Kurylenko), who meet and fall in love in France. Malick captures the swoony beginnings of their romance amid the Gothic architecture and tidal flats of Mont-Saint-Michel (that island’s abbey, known as the wonder of the West, lends the film its title). The two leap across the sand, dialogue supplanted by Marina’s French-language voiceover. “I’ll go wherever you go,” she murmurs.

Where Neil goes—and where Marina follows, with her 10-year-old daughter—is a subdivision in

Oklahoma. There, Neil collects samples of soil, water and hair to investigate some sort of toxic seepage, and Marina twirls and twirls and twirls. She twirls through wheat fields and parking lots and grassy lawns. She twirls down supermarket aisles, grabbing a broom and tossing toilet paper in the air. She twirls inside their sterile prefab home. Kurylenko—who must have grown awfully dizzy during filming— is gorgeous and lissome, and at times her beauty threatens to overwhelm the screen. Affleck’s stolid face, meanwhile, is mostly absent. The only thing more absent than his visage is his voice, because Marina and Neil don’t have conversations, or at least not any to which viewers are privy. For a film about love, Malick provides few clues about what draws his characters together and drives them apart.

Marina goes back to France at some point, during which Neil reunites with Jane, a childhood friend (Rachel McAdams). Jane says Neil makes her laugh, even though it’s implausible that such

MALICK PROvIDES FEW CLuES ABOuT WHAT DRAWS HIS CHARACTERS TOGETHER AND DRIvES THEM APART. an unspeaking lug could do anything of the sort.

Marina returns to Oklahoma, where she twirls and frolics some more.

Amid the romantic turbulence, Malick intersperses the story of a priest (Javier Bardem) experiencing a crisis of faith. The priest’s loneliness and confusion are palpable as Bardem sermonizes and ministers to the unfortunate. But these scenes feel like incongruous bursts of advocacy docudrama, with nonactors playing the prisoners and hospital patients Bardem visits. The narrative strands don’t knit together, and the parallel between the priest’s doubt and Marina’s melancholy is forced.

Despite To the Wonder’s soundtrack, which includes rapturous Wagner and Bach, I found the film more akin to a lullaby. Gauzy images, elusive narrative, fluid timeline, lots of whispering—it’s all quite pretty but also pretty sleepy. “Where are you leading me?” Bardem says in voice-over. His sentiment is clearly aimed at God, but I would have liked to direct it at Malick.

C+ To the Wonder is rated R. It opens Friday at Cinema 21.

Willamette Week APRIL 24, 2013 wweek.com

37

MOVIES

aPRil 24–30 RHOMBUS MEDIA

kleptomaniacal lock-picker, who has stolen her insane twin’s identity to assume a life of cough-syrup abuse and car theft. Naturally, the two are a match made in false-identity heaven, and they build an exciting sex life by breaking into strangers’ homes and impersonating the absent residents.

Grandparents walking in on Firth and Blunt, cardigan-clad and mid-coitus, is a high point. But ultimately, Arthur Newman is more a therapy session than a game of dress-up, a bittersweet reflection on how the past never dies.

ENID SPITZ. Fox Tower.

Beer and Movie Fest: The Duellists

[ONE WEEK ONLY, REVIVAL] Ridley Scott’s directorial debut, based on a short story by Joseph Conrad, centers on a long-simmering feud between two officers in Napoleon’s army. PG. Laurelhurst Theater.

Best of the 29th NW Filmmakers Festival

[TWO NIGHTS ONLY] Some of the top shorts from the November 2012 fest.

NW Film Center’s Whitsell Auditorium.

7 pm Thursday and Sunday, April 25 and 28.

Blancanieves

B- All filmmakers who tackle fairy tales give the stories their own spin.

Take two other recent Snow White adaptations: In Mirror Mirror, the evil queen wears a facial mask of parrot poop, and in Snow White and the Huntsman, she bathes in milky goop while Snow promenades through an enchanted forest filled with happy bunnies. Even so, when the dwarves in this Spanish adaptation of Snow White turn out to be bullfighters, it’s a twist that raises eyebrows. That’s not the only winking surprise in Pablo Berger’s silent black-and-white film, which livens up the Teutonic original with bullfighting, a rhythmic flamenco score and even a BDSM-practicing stepmother (a thoroughly campy Maribel Verdú) who outfits her lover in a collar and leash. Here, Snow White is the daughter of a famous toreador who is gored and paralyzed on the same day his wife dies. There’s an obligatory period of mistreatment and loneliness at the hands of her stepmother, after which Snow escapes with the friendly gang of dwarves on the bullfighting circuit. As with its cinematic cousin The Artist, Blancanieves uses intertitles sparingly, relying instead on exaggerated light and shadow, overwrought gesture and close-ups so extreme they might make you recoil. It’s visually and sonically stimulating, but the characters end up as flat or grotesque caricatures, and Berger seems more interested in surges of melodrama than in engaging storytelling. BDSM and bullfighting aside, there’s no heat.

REBECCA JACOBSON.

Coming Off Psych Drugs

B- [ONE DAY ONLY] Debate has been

simmering for years about the effectiveness of antidepressants and antipsychotic medications, with doctors and patients appraising whether the benefits of these drugs outweigh the side effects. Daniel Mackler’s humble documentary takes viewers right into the center of this discussion, albeit with (as the title reveals) a bias toward keeping people off such meds. The film follows nearly two dozen people who attended a summit to discuss their experiences weaning themselves off various medications, finding alternative treatments, and opening up about some pretty harrowing moments in their lives. As with most documentaries of this kind, Coming Off Psych Drugs often works in spite of itself. It is a bare-bones production, with dozens of hours of camcorder footage roughly stitched into a 75-minute film. But free of any aesthetic frills, the voices and stories of the summit’s participants can take center stage. There isn’t much room for the other side of the discussion— folks whose lives have changed for the better thanks to these medications— but that’s largely the point. For those people looking for answers beyond pills, they very well might find them within. ROBERT HAM. Clinton Street Theater. 4 pm Sunday, April 28.

38

Cedar Hills, Eastport, Clackamas, Lloyd Center, Division, Evergreen Parkway, Movies on TV, Pioneer Place, Tigard.

French Film Festival

[THREE DAYS ONLY] The second and final weekend of the festival features Séraphine (7 pm Friday, April 26), a biopic about an eccentric French painter in the early 20th century, and Free Men (7 pm Saturday, April 27), a thriller set in Nazi-occupied Paris about North African Muslims sheltering Jews. The festival closes with Summer Hours (2 pm Sunday, April 28), a family drama from Olivier Assayas starring Juliette Binoche. Fifth Avenue Cinema.

G.I. Joe: Retaliation

ANTIVIRAL

The Company You Keep

C+ Never mind that in real life,

Weather Underground activists did not murder anyone in their anti-war radicalism of the early 1970s. In Robert Redford’s The Company You Keep, they did. As the film tells it, during a Weather Underground bank robbery, a security guard was killed, and the young revolutionaries escaped.

The fugitives, still on the FBI’s short list of most wanted decades later, have melted into the suburbs under assumed identities. Sharon Solarz (a shining Susan Sarandon) plans to turn herself in when the FBI gets the jump on her. This is the spark that ignites the thriller’s slow fuse, which smolders thanks to the acting but is ultimately smothered by sap. Shia LaBeouf plays Ben Shepard, an arrogant sophomore reporter whose main goal in life is to break a major story, ethically or not. He gets his chance when he finds that a local lawyer is actually Nick Sloan (Redford), one of the wanted fugitives. Thrills are in short supply as Ben tracks Nick across the country, piecing together clues from a public library. Other than LaBeouf and a few bit parts, the cast could be the red-carpet parade at the 1986 Oscars. Redford, Sarandon and Nolte are joined by Julie Christie, Sam Elliott and Richard Jenkins (a dour professor of Marxism who barks objections to Nick’s violent tactics). Youth be damned: Dispassionate Redford aside, the top-notch cast delivers. But Hollywood’s moralizing foot stomps out any of the story’s flames, glossing over any discussion of morality, journalism or activism to ensure our young reporter can reflect on some gee-whiz life lessons. If we’re to judge based solely on the company kept in this film, The Company You Keep wins.

As the film reminds us, “Terrorists justify terrorism,” but impressive performances do not justify a snoozy plot.

R. MITCH LILLIE. Cedar Hills, Eastport, Clackamas, Hollywood, Fox Tower, Movies on TV.

The Croods

B So here’s the thing: The Croods fails to conjure a complex or logically consistent world. It fails to populate that world with credible characters, or to usher those characters through a series of dramatically satisfying trials. But so what? This is primitive, pre-Pixarian family entertainment at its most rambunctious. Psychedelic, exuberant and dumb, The Croods, written and directed by Chris Sanders and Kirk DeMicco, harks back to a simpler time when so-called “family films,” including animated features from major studios like Warner Bros. and DreamWorks, were permitted— nay, expected—to be willfully incoherent, so long as they served up thrills, spills, zingers, romance and a healthy dose of innocuous schmaltz. Now, for better or for worse, filmgoers weaned on Pixar and Studio Ghibli have come to expect—nay, demand—sophistication and subtlety, not to mention visual pyrotechnics, from second-tier animated films (Ice Age, Madagascar) that are, at their core, frivolous entertainment created to engage the imaginations of young children. Of course, not every animated feature can be WALL-E; some of them have to be The Croods. In a nutshell: Nic Cage, voicing

Willamette Week APRIL 24, 2013 wweek.com

a knuckle-dragging caveman, cracks wise, pulls faces and delivers zany, half-cooked monologues on death and love and family amid stunning, oversaturated landscapes that evoke both Dr. Seuss and early Tex Avery-era Looney Tunes. Allow me to reiterate: Nic Cage, cavemen, zaniness. That’s all you need to know, that’s pretty much all you’ll get, and that ain’t necessarily a bad thing. PG. MARSHALL WALKER LEE. Cedar Hills, Eastport, Clackamas, Mill Plain Cornelius, Indoor Twin, Lloyd Center, Oak Grove, Division, Evergreen Parkway, Lloyd Mall, Movies on TV, Sherwood, Tigard, Wilsonville.

Django Unchained

B- Give Quentin Tarantino this much: He’s got balls. Imagine entering a meeting with a major studio and pitching a relentlessly violent, big-budget revenge fantasy about an escaped slave in the pre-Civil War South who slaughters his way through Confederate plantation owners in search of his wife. If nothing else, Django Unchained has audacity going for it. But it raises a question that, ultimately, makes it tough to enjoy: When dredging up the ugliest period of American history for the sake of entertainment, is being cool enough?

Because Django Unchained is exceptionally cool. A mashed-up spaghetti Western and blaxploitation flick, it is the kind of kinetic pastiche job that’s made Tarantino a genre unto himself. But Django Unchained trivializes an atrocity, and that makes it hard to digest as fun, frivolous popcorn.

R. MATTHEW SINGER. Academy, Laurelhurst, Valley.

Evil Dead

C Should there be any doubt, we’re not speaking about The Evil Dead from 1981. The new movie—on which series godhead Sam Raimi served as producer—is undeniably effective.

But the response it provokes has less to do with traditional notions of fear than with autonomic revulsion from the cavalcade of brutality. Though the central construct is unaltered—twentysomethings travel deep into the woods to spend an evening in a despoiled cabin—the motivating impulse differs.

Rather than indulge in a far-flung debauch, these kids want only to help a junkie kick her habit. There’s a delicious sliver of horror to be explored by conflating demonic possession and the throes of heroin addiction. End of the day, Evil Dead smacks of a film made to satisfy a bet, albeit one forced upon the creators by a fan base seemingly unwilling to acknowledge that the diabolical allure wielded by the original incarnation has everything to do with the serendipitous grouping of rarefied talent, and nothing whatsoever to do with the Naturom Demonto or the mythology that would grow up and around the film. Faced with the patently impossible task of assuaging a marketplace sure to revolt against too similar an approach or too great a break, it’s more than a little impressive that Raimi and Uruguayan director Fede Alvarez have manufactured a cinematic creature that’s both the clear descendant of their dearly departed creation and unaware of its lineage.

It’s impressive, engineering this leviathan, but unbeing The Evil Dead isn’t being alive. Or good. R. JAY HORTON.

D As “How You Like Me Now?” blares presumptuously over G.I. Joe: Retaliation’s end credits, dejected viewers will be excused for muttering, “I actually liked you a lot better before.” While this sequel/reboot boasts the same slapdash storytelling and risible dialogue as its predecessor, John M. Chu (Step Up 3D) can’t infuse the material with the same cartoonish energy Stephen Sommers lent 2009’s The Rise of Cobra. Displaying an aversion to outrageousness, this action flick instead traffics in garden-variety ridiculousness. Consequently, minor pleasures are the best it can muster, such as Jonathan Pryce’s mischievous turn as the Cobra terrorist who’s assumed the president’s identity. When he orders an airstrike that reduces the G.I. Joe ranks to Roadblock (Dwayne Johnson) and three others (who share a dozen lines between them), the supposedly international strike force holes up in an abandoned gym and calls on a retiree (Bruce Willis) and his NRA buddies for backup. Given such dreary alternatives, Snake Eyes (Ray Park) understandably defects for a vastly superior subplot featuring ninjas, RZA and cliffhanging melees. Ultimately, this over-thetop tangent only serves to illustrate just what a joyless slog the actual climax is. A surplus of explosions is no substitute for a few narrative fireworks. PG13. CURTIS WOLOSCHUK. Cedar Hills, Eastport, Clackamas, Cornelius, Oak Grove, Division, Evergreen Parkway, Lloyd Mall, Movies on TV, Sherwood, Tigard, Wilsonville.

Grindhouse Film Festival: Creepers

[ONE NIGHT ONLY, REVIVAL] Italian horror director Dario Argento’s 1985 film stars Jennifer Connelly as a girl able to communicate telepathically with insects who joins forces with a professor to track a serial killer. R. Hollywood Theatre. 7:30 pm Tuesday, April 30.

Happy People: A Year in the Taiga

B Werner Herzog’s 2010 documentary takes us to a remote fur-trapping village in central Russia, where 300 people live a long helicopter ride from civilization. Divided into segments for each of the four seasons, the film is a pastoral portrait of the villagers working wood into traps with the same tools used for generations.

They seem no more or less happy than the subjects of any of Herzog’s earlier documentaries, which are better paced and far better scored than Happy People. Nevertheless, Herzog’s hilariously poignant monotone, laid over scenes of expansive and desolate beauty, helps redeem the documentary. MITCH LILLIE. Living Room Theaters.

The Host

Given the supernatural train wreck the Twilight series was, Stephenie Meyer’s next novel-to-film adaptation inspires little confidence. In this fantasyromance mash-up, an invisible enemy takes over people’s bodies and erases their memories, and it’s up to a young woman to save mankind. Not screened for critics. PG-13. Bagdad, Clackamas, Evergreen Parkway, Lloyd Mall, Movies on TV, Sherwood.

Identity Thief

C- If an awareness of dimming economic realities were to occupy any Hollywood genre, you’d figure the gross-out comedy would be a natural fit. Shouldn’t lowest-common-denominator humor cater to the 99 percent?

For the briefest of moments, as an

ebullient Melissa McCarthy blithely swindles Jason Bateman’s buttoneddown Denver accounts manager by pretending to be a bank employee offering a credit protection service, there’s a hint of the anarchic zeal that could have lent Identity Thief a distinct personality. McCarthy’s effervescent crassness and Bateman’s mastery of the long-suffering slow burn are as richly combustible as you’d expect, but while the sudden eruptions of frankly brutal slapstick work a treat, it’s a long slog in reclaimed-hobo trousers to get there. If we’ve learned anything in the past few years, it’s that there’s no such thing as a comedy too big to fail. R. JAY HORTON. Eastport.

The Incredible Burt Wonderstone

D+ Goofy wigs are always a bad omen, especially when they’re the centerpiece of a film. The Incredible Burt Wonderstone seems pitched by a really good wig-maker who thought it would be hysterical to plop ridiculous feathery rugs on Steve Carell and Steve Buscemi, a post-grunge one on Jim Carrey, a scraggly old-man one on Alan Arkin, and an intentionally fakelooking one on Olivia Wilde. Those wigs sure look funny. Too bad nothing else is. Which is a bloody shame, given the premise of Carell and Buscemi as ultra-corny, velvet-leotarded Vegas magicians who engage in a war of one-upmanship with Carrey’s Chris Angel-esque street magician. Alas, the film makes the fatal mistake of insisting on audience investment in an unlikable character’s redemption. Carell’s Wonderstone is just a horrible human being: sexist, racist, rapey, cruel, egomaniacal, crude, selfish and destructive. Yet when his life hits the skids, we’re asked to forget nearly all that came before. Leaps in goodwill could be forgiven if Wonderstone contained some real chuckles. Alas, pretty much everything falls flat after 20 minutes.

This is a film about magicians without a single trick up its sleeve, a flick that never pulls back the curtain or aspires to be anything more than a lazy-ass comedy in which the wigs and sequins do the talking. But they sure are funny wigs. PG-13. AP KRYZA. Kennedy School, St. Johns.

Jack the Giant Slayer

B Jack and the Beanstalk is one of

the few English folktales Americans know by heart. A peasant boy sells his abusive guardian’s livestock for some beans, the beans get wet, a beanstalk grows, and off he goes to rescue a princess from a bread-crazed giant in the sky. Combining that G-rated Beanstalk yarn with all the decapitations and anus-stabbing of the true Arthurian legend, Jack the Giant Slayer is a grimy retelling of the children’s tale…in 3-D. The titular Jack, played by Nicholas Hoult (About a Boy, Warm Bodies), is an awkward farm boy who has grown up obsessed with this children’s tale, as has Princess Isabelle (Eleanor Tomlinson). Alas, the princess is unhappily betrothed to an ambitious nobleman (Stanley Tucci, in the thankless role of a cartoonish bad guy who does evil things to advance the plot).

Given the history of this tale, it’s surprising it took until 2013 for a major studio to tackle the rapidly growing beanstalk with CGI. It’s a spectacle unto itself as the sinewy tendrils rip through the ground, out of the cabin and into the sky. In an equally impressive CGI feat, a giant picks his nose while wrapping Ewan McGregor in a pancake. The story isn’t particularly important, and the film can’t decide whether it wants to be serious or tongue-in-cheek. No, Jack the Giant Slayer is focused on moving from one epic fantasy scene to another, whether it’s McGregor shouting, “Tally ho!” as he zip-lines across the beanstalk or a two-headed giant (Bill Nighy) bursting through a tiled floor. And to that end, it’s a great deal of fun. PG-13.

JOHN LOCANTHI. Bagdad, Eastport, Kennedy School, Movies on TV, St. Johns.

Jurassic Park 3D

That velociraptor is reaching out to get you…and your wallet. PG-13. Cedar Hills, Eastport, Clackamas, Cornelius, Lloyd Center, Division, Evergreen Parkway, Movies on TV, Pioneer Place, Sherwood, Wilsonville.

apRil 24–30

[ONE NIGHT ONLY, REVIVAL] Philip Marlowe—the detective created

by Raymond Chandler and here played by Robert Montgomery— gets tangled up in murder when he’s hired to find a publisher’s wife. NW Film Center’s Whitsell Auditorium. 7 pm Tuesday, April 30.

Leonie

D While many American women

were living as housewives, wanting for nothing and stuck in routine, Leonie Gilmour was leading an unconventional life as an editor, teacher, lover and mother—in Japan.

Hisako Matsui’s 2010 biopic takes us through the life of the titular character, best known for being the mother of artist and architect Isamu Noguchi. Beginning in New York in 1901, we’re introduced to Leonie (Emily Mortimer) as she accepts a job as editor for a Japanese poet, Yone Noguchi. Leonie soon becomes pregnant by Yone and later moves to Japan, where she becomes pregnant with another man’s child, whom she raises on her own. Mortimer turns in a strong and resolute performance, and the film features lush shots of leafy trees and snowcapped mountains, but it suffers from a plodding plot and a nearcomplete lack of relationship development. In one scene, Leonie says she loves a friend’s children as her own, even though we’ve seen no interaction between her and the kids. In another, she pronounces a woman her best friend—never mind that they’ve hardly conversed.

These sentiments are unearned and slightly baffling, which detracts from the film’s relatability. pG-13. KAITIE TODD. Living Room Theaters.

some humiliation just damaging enough to get them to pipe down until they enter some soundproofed university far away from my middling day to day. So the fact that I did not loathe Louder Than a Bomb is damn remarkable, as it combines these two deadly poisons—adolescent promise and poetry—and adds them to a syrupy documentary formula that is steadily gaining on Zooey Deschanel on my list of Things That Were Cute 10 Years Ago That I Can Hardly Stomach Anymore. The competition-doc blueprint perfected by Spellbound and expertly cribbed here could make even my dog’s slow death seem engaging and exhilarating, so I found myself rooting for these baby Baudelaires as they prepared for the titular slam tournament. This is cinematic comfort food smoth-

The Lords of Salem

B Subtlety and beauty aren’t exactly two words associated with the works of musician-director Rob Zombie, whose films are often soaked in so much ugliness and brutal violence that they’re hard to stomach, even in their most insanely surreal moments. The Lords of Salem, though, is a different direction for the auteur, and a more assured one. Taking a cue from Ti West (House of the Devil) and Roman Polanski, Zombie opts for a slow-burner in telling the tale of Heidi (wife and muse Sheri Moon), a DJ in the titular Massachusetts town. Heidi receives a trance-inducing record in the mail that sets off an increasingly surrealist nightmare in which the ancestors of a witch massacre manifest themselves in the present day. Zombie’s film largely ditches his trademark shaky-cam chaos in favor of gorgeous, symmetrically composed shots to create a genuine sense of unease, but lest you forget that you’re watching a film by the dude who perpetrated House of 1,000 Corpses, Lords of Salem steadily climbs into a psychedelic nightmare. For once, though, the payoff is an earned nosedive into insanity after an hour of steady buildup. R. AP KRYZA. Lloyd Mall.

Louder Than a Bomb

B Not to get all Andy Rooney on

you, but I believe the world would be slightly less irritating had slam poetry not survived the ’90s and if every precocious teenager with seemingly limitless potential were forced to undergo something sufficiently humbling in middle school,

The Manson Family

[TWO NIGHTS ONLY, REVIVAL] Jim Van Bebber’s documentary may be 10 years old, but the Manson murders are forever horrifying. R. Clinton Street Theater. 7:30 pm Saturday-Sunday, April 27-28.

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No

A During the 1988 election in Chile

that led to the ouster of Augusto

CONT. on page 40

REVIEW

Life of Pi

C Ignore the tiger for a moment.

Ang Lee’s Life of Pi is a very simple story with a grandiose backdrop.

For much of the film, we’re alone on a lifeboat, in the middle of the Pacific, with a boy and a Bengal.

Rendered in sumptuous 3-D, the swoony special effects and churning waves create a palpable sense of motion. But the story lacks such pull. Based on Yann Martel’s Booker Prize-winning novel, the film surrenders the book’s more subtle messages for ham-handed schlock and slack-jawed awe. pG. REBECCA JACOBSON. Academy, Edgefield, Laurelhurst, Mt. Hood, Valley.

ered in cheese, and while it’s terribly familiar stuff, it is also frequently inspiring and heartening, and if you wouldn’t mind, I’d like to forget I ever felt such things about teenagers expressing themselves. CHRIS STAMM. NW Film Center’s Whitsell Auditorium. 7 pm Monday, April 29.

JIM BRIDGES

Lady in the Lake

MOVIES

get a grip: (From left) tye sheridan, Jacob Lofland and Matthew McConaughey.

MUD As with many stories about coming of age under harsh circumstances, a mighty river runs through the center of Jeff Nichols’ Mud, a Southern-fried fable about two adolescent Arkansas boys whose childhoods are wrested from them. Yet unlike last year’s excellent Beasts of the Southern Wild, this is a fable more grounded in reality. Rampaging prehistoric monsters are replaced by unfaithful women and gangsters. But, much like Beasts, Mud is at heart the story of mighty forces encroaching on children’s innocence.

The film centers on Ellis (Tye Sheridan) and Neckbone (Jacob Lofland), buddies who spend their days aimlessly cruising the river until they discover a boat lodged in a tree. They soon encounter Mud (Matthew McConaughey), a disheveled fugitive hiding out on an isolated island, waiting for his love to join him so they can flee.

Drawn to his charisma, Ellis plays Pip to Mud’s Magwitch, delivering food and supplies in hopes of proving that true love conquers all. Meanwhile, vigilantes and crooked cops home in on the island.

It’s a remarkably simple setup, but anyone who has seen Nichols’ brilliant Take Shelter knows nothing is ever black and white with his films. What seems like a cut-and-dry tale of a mythical bum is instead a rich story of adolescent confusion. Each choice the boys make to help Mud reunite with Juniper (Reese Witherspoon) comes steeped in consequence, whether it’s the guilt that comes with stealing or the secrecy that isolates them from friends and family. Add to that the divorce of Ellis’ parents and Neckbone’s feelings of abandonment, and the emotional heft is staggering.

It’s also a lot for young actors to handle, but Sheridan and Lofland shoulder it beautifully, matching the experienced ensemble step by step. McConaughey meshes Mud’s conflicted morals and his mysticism. He’s at once larger than life and completely rudderless, depending on the boys’ moods during each meeting.

Central to the entire narrative, though, is the river. As in The Adventures of Huckleberry Finn—another tale of a child and fugitive—it functions almost as a character, rising and falling with the narrative, hiding secrets in its murky depths and moving everything forward with its current. Mud is far from perfect, but it’s almost impossible not to get swept away by it. AP KRYZA.

Growing up in a swift current.

B

see it: Mud is rated PG-13. It opens Friday at Clackamas, Fox Tower.

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MOVIES

aPRil 24–30 CINEDIGM

Pinochet, TV advertising played as major a role in the political process as traditional campaigning: For 27 days, each side had 15 minutes each night to state its case. No puts this into sharp historical perspective via Rene, a quietly intense ad exec (Gael García Bernal) who brought a soda-commercial flair to the anti-Pinochet TV spots.

Director Pablo Larrain amplifies the tense yet hopeful mood by shooting the movie on era-appropriate video cameras, meshing new footage with original ads and news footage of protests and police actions. R. ROBERT HAM. Living Room Theaters.

Polyester Pulp: The Outfit

[ONE NIGHT ONLY, REVIVAL] The Hollywood Theatre’s celebration of ’70s crime movies continues with this unofficial Point Blank spinoff, which stars Robert Duvall as a two-bit criminal who gets mixed up with the mob.

PG. Hollywood Theatre. 7:30 pm Wednesday, April 24.

Quartet

No Return Midnight Movie: Jesus Christ Vampire Hunter

[ONE NIGHT ONLY, REVIVAL] This slayer of the undead wears hemp sandals. He also has a Mexican wrestler as a sidekick. R. Clinton Street Theater. Midnight Friday, April 26.

Oblivion

C- In terms of blockbuster source

material, “based on an unpublished graphic novel” may not send pulses racing, but it at least offers the allure of the unknown. After all, how many directors other than Christopher Nolan have recently convinced a studio to pony up nine figures on a sci-fi epic that wasn’t already a proven commodity? Joseph Kosinski—whose TRON: Legacy failed to make much of a commercial or critical impression—somehow convinced Universal execs to loosen their purse strings and make his unpublished comic a renderedin-IMAX reality. And while his sophomore feature capably demonstrates his knack for envisioning and realizing alternate realms, it also confirms that he remains incapable of cobbling together a compelling story. Oblivion kicks off in much the same fashion as Legacy: with onerous exposition. Jack Harper (Tom Cruise) informs us it’s 2077, some 60 years after Earth was decimated during an alien invasion.

Jack now resides with his “assigned” wife, Victoria (Andrea Riseborough), in a gleaming penthouse towering over an expansive wasteland. His initial objective is simply to do his job: harvest Earth’s remaining water for an off-planet colony. However, a throwaway line about “mandatory memory wipes” is destined to boomerang back and complicate matters.

Alas, we practically have to wait until the 22nd century for the other shoe to drop and Julia (Olga Kurylenko) to crash from the heavens, claiming to be Jack’s real wife. In the interim, we’re left to marvel at the immaculate post-apocalyptic vistas and to lament Cruise’s continued devolution into an action-movie automaton. Forsaking its languid pace in its second hour, Oblivion piles on dodgy plot developments and largely unsurprising “revelations.” The film is too somber to cater in escapist thrills and too vacuous to offer emotional or intellectual engagement. While an impressive showcase of post-apocalyptic aesthetics, it proves utterly lifeless. PG-13. CURTIS WOLOSCHUK. Cedar Hills, Eastport, Clackamas, CineMagic, Mill Plain, Cornelius, Lloyd Center, Oak Grove, Division, Evergreen Parkway, Movies on TV, Pioneer Place, Sherwood, Tigard, Wilsonville, Roseway, St. Johns Twin.

Olympus Has Fallen

C+ Olympus Has Fallen harks back to the late-’80s, early-’90s subgenre known as the “Die Hard on an X” flick, that special brand of knockoff adrenaline rush that includes such escapism as Speed, Passenger 57 and Sudden Death, which all saw one man in the wrong place at the wrong time facing a whole army of terrorists. With Olympus, it’s a literal army that storms the White House, taking the president (Aaron Eckhart) and his cabinet hostage. Luckily, his disgraced former head of security (Gerard Butler) survives the initial onslaught and proceeds to stab, shoot, blow up and maim his way to saving the boss.

Director Antoine Fuqua could be called insensitive for depicting iconic American landmarks being torn to shreds by advanced weaponry as a staggering number of civilians are felled on camera. But Olympus Has Fallen doesn’t seem to exist in a post-

40

director loses focus on the big picture.

R. AP KRYZA. Cedar Hills, Clackamas, Lloyd Center, Moreland, Evergreen Parkway, Fox Tower.

ARTHUR NEWMAN 9/11 world. It’s firmly grounded in the early ’90s, when all we wanted to do was watch sinewy men spit one-liners at menaces from foreign lands before going on killing sprees. In that sense, it delivers the goods, but it never rises above the level of a big-budget B-movie. It’s Passenger 57 in the White House. Luckily, Passenger 57 is pretty entertaining for a horrible film. R. AP KRYZA. 99 West, Cedar Hills, Eastport, Clackamas, Mill Plain, Oak Grove, Division, Evergreen Parkway, Lloyd Mall, Movies on TV, Sherwood, Tigard.

On the Road

B+ The journey to create a film version

of Jack Kerouac’s 1957 ode to the Beat Generation has been a treacherous one.

Over the years, Francis Ford Coppola, Gus Van Sant and Joel Schumacher have all tried and failed to bring the frantic, chatter-filled travels of Dean Moriarty and Sal Paradise to the silver screen. How, then, did director Walter Salles and screenwriter Jose Rivera succeed? The two accepted the challenge by embracing the challenges that lay within the text. Rivera hacked away at the sprawling and jagged story, emerging with a streamlined narrative that focuses on the strange, almost erotic attraction between Dean (Garrett Hedlund) and Sal (Sam Riley). The two leads don’t shy away from this, looking at each other with slight twinges of hunger on which they never dare act.

With some notable exceptions, Dean focuses his lust on women, whom he repeatedly embraces and discards.

The two most locked in his orbit are the young Marylou (Kristen Stewart in full sex-and-sass mode) and Camille (Kirsten Dunst), a put-upon beauty who bears Dean’s kids. Salles and cinematographer wrap every frame in rich, warm colors, so that even when Sal is huffing his way along a snowy stretch of road, you yearn to be walking alongside him. More than that, the feeling the cast and crew bring forth is a rare one in movies about young people: a sense of inclusion and possibility. In one scene, Dean, Sal, Marylou and a few dozen friends spend New Year’s Eve dancing to Dizzy Gillespie in a small apartment. It’s so far removed from, and so much more inspiring than, the rager of 21 & Over. With On the Road, you don’t need an invitation, just a desire and madness to live. R. ROBERT HAM. Laurelhurst.

Orlando

[ONE NIGHT ONLY, REVIVAL] This 1992 adaptation of Virginia Woolf’s novel stars Tilda Swinton as a gender-bending nobleman who traipses through several centuries of English history. PG-13. Hollywood Theatre. 7:30 pm Sunday, April 28.

Oz the Great and Powerful

B Watching the spectacle that is

James Franco feels like watching a great con man. Here’s a proven movie star who made an art film re-enacting the Al Pacino leather-daddy sex thriller Cruising. As a tribute to the president, he wrote a rambling poem and performed it in bed. Let’s not even discuss the 2011 Oscars. But damned if the handsome bastard isn’t a charmer.

So it only makes sense to cast Franco as moviedom’s original master con man in Oz the Great and Powerful. In The Wizard of Oz, the “man behind

Willamette Week APRIL 24, 2013 wweek.com

the curtain” was nothing but a carnival magician using smoke and mirrors to maintain the illusion of power. Here, the curtain’s pulled back further to reveal the wizard’s origins as a hack transported from Kansas to Oz, where he must take on an evil witch to save the Munchkins and talking monkeys.

It’s a risky endeavor that sounds suspiciously similar to Tim Burton’s horrid Alice in Wonderland reboot. But in the hands of director Sam Raimi, L. Frank Baum’s world comes fantastically to life. From the black-and-white circus scenes in Kansas to the kaleidoscopic world of Oz, each realm takes on a different aesthetic. One moment, Franco is in a wetland swarmed by cartoonish butterflies. Next, he’s in China Town, made completely of porcelain. But lest this sound too kiddie for the man who directed The Evil Dead, there’s also the matter of the witches (Rachel Weisz, Mila Kunis and Michelle Williams), who muster a few scares worthy of any Deadite. Oz is overlong and often cheesy, but those flaws are also part of the charm of a film that doesn’t try to surpass its predecessor so much as supplement it. It’s a carnival magician of a film overflowing with imagination, and to those who come ready to believe, its magic is undeniable.

PG. AP KRYZA. Eastport, Clackamas, Cornelius, Indoor Twin, Lloyd Center, Oak Grove, Division, Evergreen Parkway, Movies on TV, Sherwood, Tigard.

Pain & Gain

Bodybuilders, extortion and kidnapping, with Mark Wahlberg and Dwayne Johnson. Woof. Screened after WW press deadlines, but look for Michael Nordine’s review at wweek.com. R. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Lloyd Center, Oak Grove, Bridgeport, City Center, Division, Evergreen Parkway, Movies on TV, Pioneer Place, Sherwood, Tigard, Wilsonville.

The Place Beyond the Pines

C+ Among the things that made director Derek Cianfrance’s breakout feature, Blue Valentine, so powerful was its extremely limited scope. With The Place Beyond the Pines, Cianfrance expands this scope, enveloping two families across more than a decade of distress, triumph and tragedy. Yet somewhere along the way, the director loses the heart that marked his previous triumph. The Place Beyond the Pines packs bravura performances across a sprawling narrative. But it’s also about 60 minutes longer than it needs to be, and runs out of gas after its remarkable first act. It’s a film that’s completely overstuffed, and oftentimes overcooked. In the film’s most captivating section, we’re introduced to Luke (Ryan Gosling), a carnival stuntman who discovers he’s sired a son. As he turns to robbing banks, he crosses paths with a rookie cop (Bradley Cooper), who himself comes across massive corruption. Were that not enough, the film then fast-forwards 15 years to peer into the clichéd lives of the pair’s sons. Each segment has a rushed quality, and too little time devoted to developing motivations.

Had Cianfrance given his characters more room to breathe, the film might transcend the genre trappings it falls into so easily. In widening his lens, the

B You’ve seen this film before: A pack of love-drunk song-and-dancers needs a ton of money to save their home, so they band together to put on a big music show. Can they pull it off? Will the big star agree to take part? Heck, it’s the plot of at least two Muppets movies. But in Quartet, Dustin Hoffman’s twilight directorial debut, the stars are neither Muppets nor moppets, but septuagenarians. The film, which takes place in a ridiculously wellappointed retirement home for former classical musicians, acts as both valedictory and wake for an entire passing generation of British actors and musicians—notably Maggie Smith, Michael Gambon, Billy Connolly and Tom Courtenay, alongside a host of former opera stars. While Hoffman seems very aware he’s gently closing the book on an entire generation of entertainers, he nonetheless allows them to do what they’ve always done best: be entertaining. PG-13. MATTHEW KORFHAGE. Laurelhurst, Tigard.

Reel Feminism: Miss Representation

[ONE NIGHT ONLY] The monthly series, co-presented by In Other Words, features the 2011 documentary about the media’s skewed portrayal of women. Clinton Street Theater. 7 pm Wednesday, April 24.

Reel Relics: Wonderland

[TWO NIGHTS ONLY] A Danish TV documentary, made in 1977, with footage of Warren Zevon, Jackson Browne, Bonnie Raitt and Linda Ronstadt. Clinton Street Theater. 9:30 pm Friday-Saturday, April 26-27.

Room 237

A- We tend to project ourselves onto

art. Movie nerds aren’t immune, and Rodney Ascher’s Room 237 stands as a monument to overthinking an artist’s work. For whatever reason, the theorists in this documentary were deeply affected by Stanley Kubrick’s The Shining. Some view it as a masterpiece full of historic metaphors. Others see it as an intentionally flawed work by a master of detail seeking to use even his “mistakes” to toy with minds. No one involved, though, sees it as simply a mammoth horror film by a true master.

This isn’t cinema. It’s obsession. At no point do we see the five interviewees whose theories deconstruct what The Shining means. Instead, the film comprises voice-over interviews atop footage from The Shining and other Kubrick films. There’s a trancelike effect to listening to these theories, which range from basic interpretations about the film’s use of ancient Greek imagery to wild conspiracy theories about the film functioning as a confessional for Kubrick to atone for faking the Apollo 11 moon landing. That may seem like listening to a bunch of particularly wellinformed drunks pontificating at a bar, but the film amps up the intensity of the arguments by allowing the speakers to lay out, uninterrupted, every facet of their theories in exhaustive detail. Of course, much of it comes off as either total bullshit, a regurgitation of the obvious, or both. But in allowing its subjects to talk, Room 237 emerges as a triumphantly objective examination not only of The Shining but of the human need to identify with art, even if it evolves into obsession. AP KRYZA. Living Room Theaters.

Rosemary’s Baby

[THREE DAYS ONLY, REVIVAL] Pray for her satanic baby. R. Fifth Avenue Cinema. 7 and 9:30 pm FridaySaturday, 3 pm Sunday, April 26-28.

Scary Movie 5

The franchise rehashes itself, again.

Not screened for critics. PG-13. 99 West, Cedar Hills, Eastport, Clackamas, Forest, Oak Grove, Division, Lloyd Mall, Movies on TV, Wilsonville.

The Shining

[TWO NIGHTS ONLY, REVIVAL] With the documentary Room 237 mining every conspiracy theory and tiny symbol related to Stanley Kubrick’s masterpiece, perhaps it’s time to pay another visit to the Overlook Hotel. R. NW Film Center’s Whitsell Auditorium.

7 pm Friday-Saturday, April 26-27.

Side Effects

B- Warning: Steven Soderbergh’s new film may cause anxiety, frustration, terror, temporary memory loss, episodes of euphoria, Hitchcockian feelings of nostalgia, numbing, exhilaration, dread and apathy. Side effects of Side Effects may also include jaw clenching and eye rolling.

Consumption of Side Effects is recommended with a grain of salt.

Soderbergh is a master of genre jumping, and with Side Effects, he combines the medical horrors of 2011’s middling Contagion with a noirstyle narrative about a young woman (Rooney Mara) who commits a horrendous crime while under the influence of a radical new antidepressant.

What emerges is a nail biter that eventually sacrifices a gorgeous concept for standard mystery beats. Mara puts in a performance that’s completely counter to the feel-good depression of Silver Linings Playbook. Suicidal and prone to sleepwalking, she reaches out to an overworked psychiatrist (Jude Law), who puts her on the experimental antidepressant. It doesn’t go so well. The first hour plays like a nightmare in which you occupy the head of a severely disturbed mental patient, an effect augmented by jittery sound design that gives the illusion of constant whispers following Mara. Alas, just as the film ratchets up the jitters and paranoia, it takes a turn for the conventional in the second half, which focuses on Law doing an awful lot of Googling and stoic staring before the film hits the safety net of ho-hum conspiracy theory and conventional thriller tropes. For all its emotional buildup and unease, Side Effects eventually suffers from multiple personalities. R. AP KRYZA. Academy, Laurelhurst.

Silver Linings Playbook

A- With his first two pictures—1994’s

Spanking the Monkey and 1996’s Flirting With Disaster—director David O. Russell showed a mastery of familial discomfort, bringing to life the hilarity of tense situational extremes. In his mainstream work—the excellent boxing drama The Fighter and war-film deconstruction Three Kings—he demonstrated a keen eye for the comic potential of the self-destruction of the family unit. With Silver Linings Playbook, Russell revisits these themes and emerges with one of filmdom’s funniest stories of crippling manic depression. If Frank Capra had made an R-rated flick for the Prozac generation, it would look like this. The film follows the social reacclimation of Philly schoolteacher Pat (Bradley Cooper), who is institutionalized after beating his wife’s lover half to death.

Pat forms an unlikely relationship with widow Tiffany (Jennifer Lawrence), who doggedly tries to win his affections despite the fact that he’s set on winning back the unwilling wife. As a family drama, Silver Linings is top tier.

As a romance, it’s blissfully unconventional. And as a foulmouthed ode to classic Hollywood, well, Capra would have fucking approved. R. AP KRYZA. Bagdad, Edgefield, Kennedy School, Mission.

Spring Breakers

B- The words “spring break” are repeated so often in Spring Breakers that they eventually begin to lose their meaning. That may seem obvious, given the title, but it’s worth pointing out: The phrase takes on a mantralike quality in Harmony Korine’s most outwardly conventional outing to date. Still best known for writing Kids and directing Gummo, the backwater auteur teams up with a Disney-

APRIL 24–30 While forcing her to copy Walden by hand, Thief cons Kris out of her money and her sense of identity. Oh, and there’s also that operation with the pig. When Kris wakes up, she becomes entwined with disgraced stockbroker Jeff (Carruth), who may or may not have had the same experience, but who definitely understands her need to dive for rocks at swimming pools and to hide in bathtubs after finding curious brass objects. Though ultimately secondary to the mesmerizing visuals and ambient score, the plot is surprisingly engaging, which prevents Upstream Color from becoming a formal obscurity too arch for its own good. You’re free to debate what it all means; I’m happy to lose myself in its messy mystery. REBECCA JACOBSON. Hollywood Theatre.

Trance

REVIEW

Vanessa Renwick Retrospective

[TWO NIGHTS ONLY, DIRECTOR ATTENDING] A wide-ranging survey of more than 30 years of the Portland artist and filmmaker’s work. Renwick, known for her experimental films and installations about the Pacific Northwest, will present a different program each night. Hollywood Theatre. 7:30 pm Thursday-Friday, April 25-26.

Warm Bodies

B+ Director Jonathan Levine’s

goofy wisp of a film, based on Seattle author Isaac Marion’s 2011 novel, is a charming lurch through zombieland that bypasses the usual headshots to aim at the heart—and scores a surprisingly direct hit.PG-13.

KELLY CLARKE. Academy, Valley.

OSCILLOSCOPE PICTURES

centric cast led by Selena Gomez and Vanessa Hudgens to turn up the decadence and sleaze to 11 in a candy-coated vision of the American Nightmare. Neon lights, blingedout cribs and James Franco’s whitetrash gangsta rapper Alien make this akin to an art-house installment of Girls Gone Wild crossed with Scarface—with all the surface allure and occasional vapidity that licentious description implies. The many Skrillex-scored party sequences, though gorgeously filmed, never quite transcend their own vacuousness or offer any insight into the culture they’re at once glamorizing and lampooning. That said, an utterly sincere rendition of Britney Spears’ “Everytime,” performed by Alien and set to a violent montage, is an early contender for sequence of the year, and nearly enough to forgive the film’s shortcomings. R. MICHAEL NORDINE. Lloyd Mall.

MOVIES

B- As best I can tell, Trance is the

first film—outside porn, maybe— to have a plot that hinges on a woman’s pubic hair. Though the Goya painting that goes missing in this art-heist thriller is an image of cannibalistic male witches, the work that actually holds the secrets is a life-size female nude. That painting, also by Goya, is widely regarded as one of the first clear depictions of pubic hair, and it becomes a dippy device in Trance’s plot of obsession, hypnosis and abuse. Danny Boyle’s brashly maximalist film begins with narration from auction-house employee Simon (James McAvoy) on how to prevent an art heist. When smooth crook Franck (Vincent Cassel) busts in, we learn Simon is actually in on the crime.

Then Simon is bonked on the head, leading him to forget where he’s stashed the valuable painting and getting him into deep shit with Franck and his thuggish comrades.

From there, Simon enlists the assistance of bombshell hypnotherapist Elizabeth (Rosario Dawson) to recover his memories. A great deal of hypnosis ensues, dreamlike or fractured sequences that twist in on themselves and spiral outward with varying degrees of logic.

With Trainspotting and Slumdog Millionaire, Boyle balanced hallucinatory submersion and frenetic pacing with meaningful character development, but Trance gives viewers less of a reason to care about the inhabitants of its DayGlo world. With its tilted camera work, off-kilter reflections and thunderous electronica score, Trance can feel like a densely plotted music video. But as slick as the film can feel, it’s also at times a great deal of fun, thanks largely to the plucky cast: McAvoy like one of Raphael’s adorable yet impish angels; Cassel tapping into a vein of Gallic moral ambiguity; and Dawson imbuing Elizabeth with a feline eroticism. But even they can’t stop Trance from whooshing by, leaving viewers with throbbing ears and mildly dizzy heads, yet little sense of impact. R. REBECCA JACOBSON. Living Room Theaters.

Upstream Color

B Pigs figure heavily in Upstream

Color, the sophomore feature from writer-director Shane Carruth.

Though Carruth allows us one scene of a woman cuddling with a piglet, the experimental film also includes swine being bagged for an unpleasant fate, a weird surgery in which a human and hog are psychically joined and time-lapse footage of a drowned and decomposing pig. In addition to the swine, this disorienting and non-narrative film also includes a kidnapping, a romance and some squirmy, mind-altering grubs. Make sense? It probably shouldn’t. With its elliptical narrative, swooning visual aesthetic and hushed dialogue and narration, the film feels like Terrence Malick tackling dystopian sci-fi. It centers, mostly, on a woman named Kris (Amy Seimetz) who is drugged, with those mind-altering grubs, by a character identified only as Thief.

APOCALYPSE NOW: Staring into catastrophe.

IT’S A DISASTER When writer-director Todd Berger was developing the characters for this apocalypse-themed dramedy, in which eight attendees at a couples’ brunch discover they’re about to die in a biochemical disaster, he decided to base each of them on one of the eight stages of grief. It’s a clever concept for an end-of-world flick. Unfortunately, once the cast of grief-inspired personalities hits the screen, it’s obvious Berger’s attempt at patching together a deeper thematic meaning was only feasible in theory. In practice, the characters come off as one-dimensional and strained.

David Cross (otherwise known as Tobias on Arrested Development) is unsurprisingly the best at transcending odd characterization and bad writing. Cross plays Glen, an ingenuous fourth-grade teacher and one half of a new couple. When he and his date, highstrung doctor Tracy (Julia Stiles), arrive at her friends’ home for a tense midmorning feast, he quickly proves to be the savior of many a floundering joke. But, alas, Cross can’t possibly rescue every halfbaked non sequitur or stream of unnatural dialogue.

Within the first half-hour, Glen discovers that Tracy’s friends are a grab bag of narcissists and crazies, from a sci-fi dweeb who ignores his fiancee while he bids online for Batman memorabilia, to a polyamorous couple who consummated their marriage in a T.G.I. Friday’s restroom stall. And Glen is grazing only the tip of the iceberg. News that dirty bombs have been detonated in nearby downtown Los Angeles swiftly dissolves the flimsy veneer of domestic stability, and fights break out among the lovebirds.

Though a handful of scenes feel genuine—including an impromptu living-room dance party where one character pounds out an acoustic version of “Blister in the Sun” while the rest of the ragtag crew sways about, drunk on whiskey, wine and sorrow—too many similarly quirky moments fall flat. Berger takes a stab at exploring the emotional purging and healing the characters experience as they await their eventual demise, but neither the plot nor the characters possess the conviction to deliver even basic warm and fuzzy moments. As the couples slog through their final hours, it feels as though the apocalypse can’t come soon enough. EMILY JENSEN. In which the movie’s title speaks for itself.

gh the eyes See Portland throu ggest fan. of local music’s bi

Every Friday on

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C SEE IT: It’s a Disaster is rated R. It opens Friday at the Hollywood Theatre.

Willamette Week APRIL 24, 2013 wweek.com

41

april 26–may 2

BREWVIEWS

07:20 aNTiViral FriSat-Sun-Mon-Tue-Wed 09:45 UpSTrEam COlOr Fri-Sat-Sun-Mon-Tue-Wed 09:15 VaNESSa rENWiCK rETrOSpECTiVE Fri 07:30 THE CirClE Sat 07:00 OrlaNDO Sun 07:00 THE WiZ SiNG-a-lONG Sun 01:00 CrEEpErS Tue 07:30 THE TaKiNG OF pElHam ONE TWO THrEE Wed 07:30

pa r a M o u n T T e l e V i S i o n

WWEEKdotCOM WWEEKdotCOM

MOVIES

Regal Fox Tower Stadium 10

WYATT WARP AND THE YELLOW-BELLIED SPANDEX: In the JJ-fied Star Trek of today, it’s easy to look upon the pitifully low-budgeted original series and giggle. The episode “Spectre of the Gun,” Gene Roddenberry’s 1968 nod to the cowboy Western, is different. Yes, the xenophobic Melkotians, whom Captain Kirk and crew have been sent to meet, truly look like rainbow shit. But when the Enterprise ignores warnings and proceeds to the planet Melkot, they are charged with re-enacting the roles of the losing Clantons in the gunfight at the O.K. Corral. The Tombstone, Ariz., setting is really just a bunch of façades, which the Trek writers explain away as something the Melkotians created from Kirk’s mind. Loophole closed! Trek, as usual, lays on the camp. “What can I do, Captain? You know we’re always supposed to maintain good relations with the natives,” Chekov says as he tongues a dame.

An odd, Buddhism-inspired finish will give plenty of material to the committed actors from Trek in the Park, who will voice the dialogue live. Fulfilling its years-old fantasy, the Ennio Morricone-obsessed Federale will score the episode live as part of Holocene’s quarterly Fin de Cinema series. This is as good a chance as any to inoculate non-Trekkie friends. Like Scotty, they’ll be downing Scotch to kill the pain, until they learn that Trek is all too painless. “Well, you should have warned me sooner,” Scotty says. “Fire away!” MITCH LILLIE. Showing at: Holocene, 1001 SE Morrison St., on Saturday, April 27. 7:30 pm.

Best paired with: Corona. Also showing: Upstream Color (Hollywood).

Moreland Theatre

6712 SE Milwaukie Ave., 503-236-5257 THE plaCE BEyOND THE piNES Fri-Sat-Sun-MonTue-Wed 05:30, 08:20

Lloyd Center 10 and IMAX

1510 NE Multnomah St., 800-326-3264 OBliViON: THE imaX EXpEriENCE Fri-Sat-SunMon-Tue-Wed 01:30, 04:30, 07:30, 10:30 paiN & GaiN Fri-Sat-Sun-Mon-Tue-Wed 01:15, 04:25, 07:35, 10:35 THE BiG WEDDiNG Fri-SatSun-Mon-Tue-Wed 11:50, 02:15, 04:40, 07:05, 09:30 OBliViON Fri-Sat-SunMon-Tue-Wed 12:50, 03:50, 06:50, 09:50 42 Fri-SatSun-Mon-Tue-Wed 12:40, 03:55, 07:15, 10:20 THE plaCE BEyOND THE piNES Fri-Sat-Sun-Mon-Tue-Wed 12:05, 03:20, 06:45, 10:10 JUraSSiC parK 3D Fri-SatSun-Mon-Tue-Wed 12:35, 03:40, 07:00, 10:05 THE CrOODS Fri-Sat-Sun-MonTue-Wed 02:25, 04:55, 10:00 THE CrOODS 3D Fri-Sat-Sun-Mon-TueWed 11:55, 07:20 OZ THE GrEaT aND pOWErFUl Fri-Sat-Sun-Mon-Tue-Wed 03:30, 09:55 OZ THE GrEaT aND pOWErFUl 3D Fri-Sat-Sun-Mon-Tue-Wed 12:20, 06:35 EVil DEaD Fri-Sat-Sun-Mon-Tue-Wed 12:00, 02:35, 05:10, 07:45, 10:15 THE mETrOpOliTaN OpEra: GiUliO CESarE liVE Sat 09:00

Bagdad Theater and Pub

3702 SE Hawthorne Blvd., 503-249-7474 THE HOST Fri-Sat-MonTue-Wed 06:00 SilVEr liNiNGS playBOOK FriSat-Sun-Mon-Tue-Wed 08:50 JaCK THE GiaNT SlayEr Sat-Sun 01:55

42

Willamette Week APRIL 24, 2013 wweek.com

Clinton Street Theater

2522 SE Clinton St., 503-238-8899 JESUS CHriST VampirE HUNTEr Fri 12:00 THE maNSON Family SatSun 07:00 THE rOCKy HOrrOr piCTUrE SHOW Sat 12:00 BirTH STOry: iNa may GaSKiN aND THE Farm miDWiVES Sun 02:00 THE iCEmaN Wed 07:00 Girl riSiNG

Laurelhurst Theatre & Pub

2735 E Burnside St., 503-232-5511 SEarCHiNG FOr SUGar maN Fri-Sat-Sun 01:45, 04:30 THE DUEliST FriSat-Sun-Mon-Tue-Wed 07:15 ON THE rOaD Fri-Sat-Sun-Mon-TueWed 09:30 liFE OF pi Fri-Sat-Sun-Mon-TueWed 07:00 HaNSEl & GrETEl: WiTCH HUNTErS Fri-Sat-Sun-Mon-Tue-Wed 09:45 QUarTET Fri-SatSun-Mon-Tue-Wed 06:30 DJaNGO UNCHaiNED Fri-Sat-Sun-Mon-Tue-Wed 09:00 arGO Fri-Sat-SunMon-Tue-Wed 06:45 SiDE EFFECTS Fri-Sat-Sun-MonTue-Wed 09:15

Mission Theater and Pub

1624 NW Glisan St., 503-249-7474-5 NO FilmS SHOWiNG TODay Fri-Sat-Sun SilVEr liNiNGS playBOOK MonTue-Wed 05:30 THE impOSSiBlE Mon-Tue-Wed 08:00

Roseway Theatre

7229 NE Sandy Blvd., 503-282-2898 OBliViON Fri-Sat-SunMon-Tue-Wed 01:30, 04:45, 08:00 irON maN 3 3D

St. Johns Twin Cinemas and Pub

8704 N Lombard St., 503-286-1768 OBliViON Fri-Sat-SunMon-Tue-Wed 05:45, 08:20 42 Fri-Sat-Sun-Mon-TueWed 05:15, 07:55

CineMagic Theatre

2021 SE Hawthorne Blvd., 503-231-7919 OBliViON Fri-Sat-SunMon-Tue-Wed 05:30, 08:05

Kennedy School Theater

5736 NE 33rd Ave., 503-249-7474-4 ESCapE FrOm plaNET EarTH Fri-Sat-Sun-Mon 03:00 THE iNCrEDiBlE BUrT WONDErSTONE FriSat 10:20 JaCK THE GiaNT SlayEr Fri-Sat-Sun-Wed 05:30 SilVEr liNiNGS playBOOK Fri-Sat-SunTue-Wed 02:30, 07:55

Fifth Avenue Cinemas

510 SW Hall St., 503-725-3551 rOSEmary’S BaBy FriSat-Sun 03:00

Hollywood Theatre 4122 NE Sandy Blvd., 503-281-4215 THE COmpaNy yOU KEEp Fri-Sat-Sun-MonTue-Wed 07:10, 09:30 iT’S a DiSaSTEr FriSat-Sun-Mon-Tue-Wed

846 SW Park Ave., 800-326-3264 arTHUr NEWmaN Fri-SatSun-Mon-Tue-Wed 11:50, 02:20, 04:55, 07:35, 09:40 mUD Fri-Sat-Sun-Mon-TueWed 11:30, 02:05, 04:30, 07:05, 09:30 Girl riSiNG Fri-Sat-Sun-Mon-Tue-Wed 11:40, 02:35, 05:00, 07:15, 10:00 DiSCONNECT FriSat-Sun-Mon-Tue-Wed 11:55, 02:30, 05:05, 07:40, 09:40 42 Fri-Sat-SunMon-Tue-Wed 11:35, 02:00, 04:45, 07:20, 09:35 THE COmpaNy yOU KEEp Fri-Sat-Sun-Mon-TueWed 11:30, 02:10, 04:45, 07:00, 09:50 THE plaCE BEyOND THE piNES FriSat-Sun-Mon-Tue-Wed 11:40, 01:45, 04:25, 07:00, 09:30 BlaNCaNiEVES Fri-Sat-Sun-Mon-Tue-Wed 02:15, 04:35, 07:10, 10:05 THE SappHirES Fri-SatSun-Mon-Tue-Wed 11:35, 02:10, 04:40, 07:30, 09:45 FrOm Up ON pOppy Hill Fri-Sat-Sun-Mon-Tue-Wed 12:00, 02:40, 04:50, 07:25, 09:25

NW Film Center’s Whitsell Auditorium

1219 SW Park Ave., 503-221-1156 THE SHiNiNG Fri-Sat 07:00 BEST OF THE 39TH NOrTHWEST FilmmaKErS’ FESTiVal Sun 07:00

Regal Pioneer Place Stadium 6

340 SW Morrison St., 800-326-3264 paiN & GaiN Fri-SatSun-Mon-Tue-Wed 01:00, 04:00, 07:00, 10:10 THE BiG WEDDiNG Fri-Sat-SunMon-Tue-Wed 01:30, 04:30, 07:20, 10:30 OBliViON Fri-Sat-Sun-Mon-Tue-Wed 12:45, 01:40, 04:10, 04:50, 07:10, 07:50, 09:45, 10:20 EVil DEaD Fri-Sat-SunMon-Tue-Wed 01:15, 03:40, 10:45 JUraSSiC parK 3D Fri-Sat-Sun-Mon-Tue-Wed 12:50, 03:50, 06:50, 10:00

St. Johns Theatre

8203 N Ivanhoe St., 503-249-7474-6 JaCK THE GiaNT SlayEr Fri-Sat-Sun-Mon-Tue-Wed 06:30 THE iNCrEDiBlE BUrT WONDErSTONE Fri-Sat-Sun-Mon-Tue-Wed 01:00, 09:10

Academy Theater

7818 SE Stark St., 503-252-0500 liFE OF pi Fri-Sat-SunMon-Tue-Wed 01:50, 04:25, 07:00, 09:35 Warm BODiES Fri-Sat-Sun-MonTue-Wed 04:40, 09:15 arGO Fri-Sat-Sun-MonTue-Wed 02:10, 06:45 SiDE EFFECTS Fri-SatSun-Mon-Tue-Wed 01:40, 07:15 THE HOBBiT: aN UNEXpECTED JOUrNEy Fri-Sat-Sun-Mon-TueWed 03:55 DJaNGO UNCHaiNED Fri-SatSun-Mon-Tue-Wed 09:25 ESCapE FrOm plaNET EarTH Sat-Sun 11:40

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LEGAL NOTICES NOTICE OF TERMINATION OF PARENTAL RIGHTS ACTION TO: Eric Tolbert DOB: 03/01/69, Respondent

A Loving Family longs to provide Everything for 1st baby. Beaches, Laughter, Financial Security.

Tina *1-800-933-1975* Expenses paid

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FROM: Confidential Clerk of Family Court The Department of Services for Children, Youth and Their Families, Petitioner, has brought a civil action (Petition #12-40320) against you to terminate your parental rights of your child(ren): *Minor Male, DOB: 09/02/98 A hearing has been scheduled at the Family Court, 400 Court Street, Dover, Delaware, on 06/19/13 at 1:30pm.

If you do not appear at the hearing, the Court may terminate your parental rights without your appearance.

IF YOU WISH TO BE REPRESENTED BY AN ATTORNEY IN THIS MATTER BUT CANNOT AFFORD ONE, YOU MAY BE ENTITLED TO HAVE THE COURT APPOINT AN ATTORNEY TO REPRESENT YOU FOR FREE. FOR MORE INFORMATION PLEASE CONTACT THE CONFIDENTIAL CLERK AT FAMILY COURT, (302) 672-1001

LESSONS

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McMenamins Edgefield

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4TH PSALMS

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Qualified apps must have an open & flex sched including, days, eves, wknds and holidays. We are looking for servers who have high vol. serve exp and enjoy 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 2126 SW Halsey, Troutdale, OR 97060 or fax: 503-667-3612. Call 503-952-0598 for info on other ways to apply. Please no phone calls or emails to individ locs! E.O.E.

SHOUT

CLASSICAL PIANO/ KEYBOARD

Hear me when I call [Pray], Oh GOD of My Righteousness; For You have enlarged [expanded] me when I was in distress [straights] - Have mercy upon me and hear my Prayers [Please]!

Oh, you sons of me, how long will you try to turn God’s Glory into shame? How long will yo love vanities? And seek after CHEATING? But know [assuredly] that the LORD has set apart him that is Godly [doerof-good] for HIMSELF; The LORD will hear when I call unto HIM. Stand in awe [of GOD] and sin not!

Commune [meditate] with your own heart upon your bed, and be still [at Peace].

Offer the sacrifices [deeds] of Righteousness, and put your trust in The LORD! For there be many that say: Who will [ever] show us any good? Rather, LORD lift up the Light of YOUR Countenance [Smile] upon us.

Because YOU have put gladness in my heart - And even more so for me than in their time [of harves], when their grain and wine have increased!

Therefore, I will lay me down in PEACE, and sleep [well] - For you LORD, only make me to dwell in SAFETY.

McMenamins Edgefield

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ASHLEE HORTON

CORIN KUPPLER

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55 Grandma, in Granada 57 Bond villain played

by Christopher Walken 59 Miss Montana?

60 Native Canadian 61 “Was ___ das?”

62 Ire 63 Comcast, e.g.

64 47-down successor Down 1 Head of a monastery 2 Blender setting 3 Home to the Huskies 4 “The Audience Is Listening” system 5 George who played Bond only once 6 Get to the other side 7 Fable ending 8 State, to the French 9 Optimist’s worldview 10 Eggs 11 Paycheck line 14 Bashful companion 15 Notorious Exxon tanker 17 They confirm you signed 21 Kovalev of hockey 23 More ___ than not 26 “Fame” actress Cara 27 Stubborn critters 29 Like, totally unfocused 30 1983 song where the title character gets thanked a lot 31 Baseball card brand 32 Hostess selection, once 33 “Ow, a bee!”

34 Poet Anne 35 Center of Florida?

40 Washington dropped from “Grey’s Anatomy” 41 Purple perennials 46 Silvery balloon material 47 Pitfall platform 48 Senator Hatch 49 Bump in the night 50 Mom’s sisters

52 Philosopher Descartes 53 Yukon XL manufacturer 55 “Now I see!”

56 Outlaw 58 ‘Houses of the Holy’ band, to some fans

last week’s answers

Across 1 “The Simpsons” small businessman 4 “No Scrubs” group 7 Midori liqueur flavor 12 Tampa Bay player, for short 13 Vexing 15 Candle type 16 Place to find zebras in New York 18 Former PLO leader 19 Wine prefix 20 Get out of control 22 20,000 pounds 24 Bad variety of cholesterol 25 “Breathe Me” singer 28 Wright-Patterson, e.g.

29 “It’s Always Sunny in Philadelphia” role 30 Store runners, for short 31 What one undecillion contains 36 Last word in a 1978 #1 song title 37 Hot time in Paris?

38 Accident-___ 39 85003, 85004 and 85007, for example 42 Kitchen items 43 Porker’s pad 44 Start for nob or goblin 45 Deflating beach ball sound 46 Leader once known as “The Four Greats” 47 City in the Allegheny Mountains 51 Making attempts at 54 Pants, as it were

“Xzibit A”–24, meet 26.

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TO PLACE AN AD CONTACT:

ASHLEE HORTON

503-445-3647 • ahorton@wweek.com

CORIN KUPPLER

© 2013 Rob Brezsny

Week of April 25

503-445-2757 • ckuppler@wweek.com

GETAWAYS MOUNT ADAMS

ARIES (March 21-April 19): How we react to the sound of the wind gives clues to our temperament, said philosopher Theodor W. Adorno. The unhappy person thinks of “the fragility of his house and suffers from shallow sleep and violent dreams.” But for the happy person, the wind sings “the song of protectedness: its furious howling concedes that it has power over him no longer.” I bring this up to illustrate a point about your life. There will be a strong and vivid influence coming your way that is like the wind as described by Adorno.

It’s neither bad nor good in itself, but may seem like one or the other depending on the state of mind you choose to cultivate.

TAURUS (April 20-May 20): In 1921, Russian composer Sergei Prokofiev -- born under the sign of the Bull -- premiered his opera The Love for Three Oranges in the United States. Here’s how The New York Times felt about it: “There are a few, but only a very few, passages that bear recognizable kinship with what has hitherto been considered music.” It’s possible, Taurus, that you will get a similar reaction when you debut your new approach or endeavor. And that may disturb you. But I think it would be a good omen -- a sign that you’re taking a brave risk as you try something innovative and unfamiliar.

GEMINI (May 21-June 20): I’m passionate about doing whatever I can to make the world a better place.

How boring and sad it would be if I only thought of satisfying my personal needs. But I also remember what Aldous Huxley said: “There is only one corner of the universe you can be certain of improving, and that’s your own self.” Even if you have mad skills at healing and fixing everyone whose life you touch, Gemini, Huxley’s reminder is good for you to honor right now.

The place that’s in most pressing need of transmutation -- and where you’re most likely to be successful -- is within you. Now here’s the trick ending: To the degree that you regenerate yourself, you will improve everyone around you. Your inner work will be contagious.

CANCER (June 21-July 22): Thomas Jefferson almost pulled off a miracle in 1784. America was a young country. There were only 13 states and a few unorganized territories. As a representative to the Continental Congress, Jefferson proposed an ordinance that would have prohibited slavery in those territories, including what would later become Tennessee, Mississippi, and Alabama. By just one vote, alas, the provision failed to pass. Can you imagine what the United States would have been like if slavery had been partly extinguished decades before the Civil War? The moral of the story, Cancerian, is that at certain pregnant moments, small shifts can have big consequences. The astrological omens suggest your life will be proof of that in the coming weeks.

LEO (July 23-Aug. 22): I believe you will crawl or scramble or glide to the top of some mountain in the next four weeks. What mountain do you want it to be?

A crumbly molehill? A pile of cheap but useful gravel?

A lofty peak where you can see for miles and miles? I urge you to decide soon on which of the possibilities you will choose. Then affirm your intention to call on all your resources, allies, and powers to help you make the ascent. This is a chance for serious expansion, Leo. Unleash your soulful ambitions.

VIRGO (Aug. 23-Sept. 22): Have you ever seen a moonbow? It’s like a rainbow but is created by the reflected light of the moon instead of the sun. For this phenomenon to occur, the sky must be dark. The moon has to be full and setting in the west, near the horizon, and rain must be falling. So it’s a rare event. All the conditions have to be just right. According to my analysis of the astrological omens, it’s more likely than usual that you’ll spot one of these exceptional beauties in the coming days. Your affinity for curious wonders and mysterious marvels of all kinds will be at a peak. I suspect you will have a knack for being exactly where you need to be in order to experience them.

LIBRA (Sept. 23-Oct. 22): Lonesome George was about a hundred years old when he died last year. He was the last remaining member of a giant tortoise species that had lived on Ecuador’s Pinta Island for

thousands of years. But scientists say his kind is not necessarily extinct forever. They believe that by crossbreeding tortoises of other related species, they could recreate a 100-percent-pure version of Lonesome George’s species. I suspect, Libra, that you may be able to pull off a metaphorically comparable resurrection -- especially if you initiate the effort in the coming weeks.

SCORPIO (Oct. 23-Nov. 21): Let’s imagine ourselves near the snowy summit of Washington’s Mount Rainier. We’re in an unusual kind of cave. Volcanic steam rises from cracks in the rocky floor. Above us is a roof made of ice. As we stand between the heat and the chill, we find the temperature quite cozy. The extremes collaborate to produce a happy medium. Can you accomplish something in your life that’s similar to what’s going on in this cave? Metaphorically, I mean? I think you can.

SAGITTARIUS (Nov. 22-Dec. 21): “We cannot accept the world as it is,” remarked Belgian author Hugo Claus. “Each day we should wake up foaming at the mouth from the injustice of things.” I don’t subscribe to the idea that each day should begin like this. On some mornings we should rise and greet the world singing songs of praise for the great fortune of being alive. But I do think Claus’s approach is precisely right on certain occasions -- like now, for you Sagittarians.

The time is ripe to tap into your reservoir of righteous anger. Fight to right the wrongs that disturb you the most.

CAPRICORN (Dec. 22-Jan. 19): “Your story begins the moment Eros enters you,” says Anne Carson in her book Eros the Bittersweet. “That incursion is the biggest risk of your life. How you handle it is an index of the quality, wisdom and decorum of the things inside of you. As you handle it you come into contact with what is inside of you, in a sudden and startling way. You perceive what you are, what you lack, what you could be.” I want to extend Carson’s dramatic hypothesis. I’d like to propose that eros enters you again and again in the course of your life, and your story resets each time.

How will you handle it when it makes its next incursion? Get ready, because here it comes.

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PETS

AQUARIUS (Jan. 20-Feb. 18): “I prefer by far warmth and softness to mere brilliancy and coldness,” wrote Anais Nin in one of her early diaries. “Some people remind me of sharp dazzling diamonds. Valuable but lifeless and loveless. Others, of the simplest field flowers, with hearts full of dew and with all the tints of celestial beauty reflected in their modest petals.” I suspect that even if you normally love cold brilliancy, Aquarius, you will need an abundance of warmth and softness in the coming days. To attract the best possible embodiments of this influence, get clear about your favorite forms of it. Be picky! Don’t accept sloppy sentimentality.

PISCES (Feb. 19-March 20): Ludwig Wittgenstein was a genius. His last book, which influenced many different fields of thought, is regarded as one of the most important philosophy tomes of the 20th century.

And yet he was a big fan of foolishness. “If people did not sometimes do silly things,” he observed, “nothing intelligent would ever get done.” Another time he said, “Never stay up on the barren heights of cleverness, but come down into the green valleys of silliness.”

Here’s one more of his opinions: “Don’t be afraid of talking nonsense! But you must pay attention to your nonsense.” I hope that’s enough evidence to support my advice, Pisces, which is: Now is a good time for you to get both smarter and wiser. And a good way to do that is to play and play and play some more.

Homework Buy or make yourself a present that encourages you to be more generous. Report results at Freewillastrology.com.

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

Fizzy

Casey Jr.

Isn’t there something reminiscent about those oldfashioned fizzy soda pops? Bubbles and fun and a whole lot of sweetness? Well that is me in a nutshell! I am Fizzy a 1 year old terrier mix, about 10 lbs, with a heart as gold as my luscious fur. I am goofy and loving and smart as a whip! I am house and crate trained and I am fabulous with other doggies and kitties. I am just a lover what can I say!!?? I am also an athletic little girl so don’t underestimate me just because of my small stature - I am can romp and play and fetch with the best of ‘em! I am a great girl with a loving heart and to be perfectly honest it has been waaaaay too long that I have been looking for my new home!

So ;et’s get out and enjoy the spring! I’ll bring you home tulips every single day if you will make me your lady! Still not convinced?? Well....then check me out my video!! That’s right i’m a movie start too! Now let’s get this party started people!! www.youtube.com/watch?v=rl1sDXOHgl0

‘Sup guys? My foster dad thinks I’m so rad he named me after himself – Casey Jr. All my friends call me CJ for short. I am a Chihuahua and if there is one thing I have learned in my 1 year of life it’s that it takes a lot to be this cool. You have to watch a lot of YouTube and stay in the know. You won’t catch me doing Gangnam Style, no way, everyone is about Harlem Shake now, which is alright with me because it’s a lot easier to do with just three legs. I haven’t told you about that yet? That’s a too-cool-forschool technique, by the way, I don’t say anything about missing a leg and just drop it into conversation like it’s no big thing. Whatever, my leg is missing. So what? It just means I get around with swagger! I do well with other dogs and most cats (ones that run away are too tempting not to chase). I would be best in a home without kids.

I am completely housebroken (another cool factor). Are you ready to introduce some awesome into your house?

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 $200.

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pixieproject.org

The audio horoscopes are also available by phone at

46

Mt Adams Lodge

REAL ESTATE

RENTALS

WillametteWeek Classifieds APRIL 24, 2013 wweek.com

TO PLACE AN AD CONTACT:

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503-445-3647 • ahorton@wweek.com

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BACK COVER CONTINUED

ww presents

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Niel DePonte, Oregon Symphony Principal percussionist, joins OSO percussionists Jonathan Greeney, Sergio Carreno, and Michael Roberts in a percussion spectacular! Guests include Susannah Mars, voice, and Susan Smith, piano. Come hear marimba solos, percussion ensembles, Ragtime music, and jazz! See every drum and drummer in town!

photo: Eric Griswold

I M A D E T HIS

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