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WILLAMETTE WEEK PORTLAND’S NEWSWEEKLY

“SHE WAS THE MOB’S GIRL FROM THE TIME SHE WAS 20.”

P. 12 wweek.com

VOL 39/46 09.18.2013

HEARTBREAK HOTEL despite fierce opposition, officials are set to approve $80 million in subsidies for a 600-room hotel at the convention center.

By NIGEL JAQUISS |

page 14

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NEWS Blumenauer’s muddy conflict. music KIM GORDoN’S NEW BAND. BOOKS FEAST’S BEST EVENT IS ONLY $5.

SATURDAY NIGHT!

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Willamette Week SEPTEMBER 18, 2013 wweek.com

ZAK EIDSVOOG

CONTENT

MOO, BUZZ: Portland’s best local milk and honey. Page 27.

NEWS

4

MUSIC

29

LEAD STORY

14

PERFORMANCE 40

CULTURE

21

MOVIES

47

FOOD & DRINK

26

CLASSIFIEDS

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STAFF Editor-in-Chief Mark Zusman EDITORIAL Managing Editor for News Brent Walth Arts & Culture Editor Martin Cizmar Staff Writers Andrea Damewood, Nigel Jaquiss, Aaron Mesh Copy Chief Rob Fernas Copy Editors Matt Buckingham, Jessica Pedrosa Stage & Screen Editor Rebecca Jacobson Music Editor Matthew Singer Projects Editor Matthew Korfhage Books Penelope Bass Classical Brett Campbell Dance Aaron Spencer Theater Rebecca Jacobson Visual Arts Richard Speer Editorial Interns Richard Grunert, Haley Martin, Emily Schiola

CONTRIBUTORS Emilee Booher, Ruth Brown, Peggy Capps, Nathan Carson, Robert Ham, Jay Horton, Reed Jackson, Emily Jensen, AP Kryza, Nina Lary, Mitch Lillie, John Locanthi, Michael Lopez, Sara Sneath, Enid Spitz, Mark Stock, Brian Yaeger, Michael C. Zusman PRODUCTION Production Manager Ben Kubany Art Director Kathleen Marie Graphic Designers Andrew Farris, Mitch Lillie, Amy Martin, Xel Moore, Dylan Serkin Production Interns Zak Eidsvoog, Jerek Hollender, Kayla Nguyen ADVERTISING Director of Advertising Scott Wagner Display Account Executives Maria Boyer, Michael Donhowe, Ryan Kingrey, Janet Norman, Kyle Owens, Sharri Miller Regan, Andrew Shenker Classifieds Account Executive Ashlee Horton Advertising Assistant Ashley Grether Marketing & Events Manager Carrie Henderson Give!Guide Director Nick Johnson

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Willamette Week SEPTEMBER 18, 2013 wweek.com

3

INBOX PET-LEASING COMPANY’S ISSUES

I am a relatively new Hannah the Pet Society member [“One Sick Puppy,” WW, Sept. 11, 2013].

The reason I joined is for the awesome veterinary care. I was apprehensive at first, but wanted assurance that if my pet ever needed care, I would be able to provide it without stressing out about huge, unexpected veterinary bills.

Sorry if I am a bit of a cynic, but the reason the vet in the article stated he stopped working with Hannah was he felt he was not being paid enough, and the claim that Hannah is the one overly concerned with profit is kind of laughable at that point. Let’s face it, businesses go into business to make a profit.

I have never had better pet and veterinary care than with Hannah veterinarians. They respond immediately to my concerns, and if my pet needs something, it is given. No stress for me.

And my puppy has thrived on the food provided.

I think this article is a bunch of hogwash.

—“Chanel Forbes Silvis” I don’t understand the advantage of Hannah.

How is this better then using a pet insurance company? Buying food is not really that confusing or a hassle, and you can get wellness packages that cover nonmedical costs. There is something nice about actually owning my pet.

—“Guest” I have been a client of Hannah for some time. I started out with one dog three years ago, and recently got a second. I have found the membership fees to be more than reasonable considering the food, medical and training services we have received.

—“Gareth”

Recently, restaurants have begun expanding their dining areas by annexing public, on-street parking spaces to build little outdoor decks for tables and seats. Will you please comment on the legality (and temerity) of this practice? —Sigrid C. Your letter, Sigrid, presents a dilemma for cardcarrying public-policy intellectuals like me.

(Technically, the card I’m holding right now says “Official Boobie Inspector,” but whatever.) On the one hand, I’m well aware that of all the ersatz rights claimed by the bourgeoisie, the right to parking is probably the ersatzest. On the other, I believe I deserve to park wherever I want.

Thus, my opinion of the Bureau of Transportation’s 100 percent-legal Street Seats program is probably the same as every other Portlander’s: It’s a fine and forward-thinking initiative that will help pry lazy folks out of their nature-despoiling cars—until they take a space that I want to park 4

Willamette Week SEPTEMBER 18, 2013 wweek.com

COMEDY COVERAGE LACKING

What a fundamental misunderstanding of comedy and the comedy community to continue reviewing open mics—nights set aside for comedians to workshop and try new material with very little stage time [“24-Hour Arty People,” WW, Sept. 11, 2013].

It sounds quite petty, especially when there are well-produced or painstakingly put-together comedy shows in Portland almost every night of the week that could use exposure or support.

—“Lucia Fasano”

REACTION TO A KILLER REVIEW

I understand Ruth Brown’s point that going to see The Act of Killing and taking on the burden of knowing about these horrible acts and horrible people is the least we can do, but I still can’t bring myself to go [“Movie review: The Victor’s History,” WW, Sept. 11, 2013].

However, if someone is starting a PayPal fund to hire some pros to assassinate these monsters, I’m good for a C-note. Jeez, where’s Dexter when you need him?

Rhonda Reedy Southeast Portland

END OF THE CHALUPA ERA

I wonder how [Blazers public-address announcer] Mark Mason feels about this [“Adios, Las Chalupas,” WW, Sept. 11, 2013]. He no longer gets to say, “CHHAAAA-LUUU-PPPPPAAAA!” —“radiolady” LETTERS TO THE EDITOR must include the author’s street address and phone number for verification.

Letters must be 250 or fewer words.

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

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

in, at which point it will become an assault on human dignity rivaling the Srebrenica massacre.

We consider on-street parking to be a Godgiven entitlement, like free speech or unlimited refills at Sizzler, but it’s actually a massive public subsidy to motorists. A “free” on-street parking space costs a U.S. city around $1,350 annually.

Depending on where you live and work, you’ll pay anywhere from very little to none of that sum.

“But I need a place to park my car!” you say, in your whiny, Bruised-Credit Steve voice. Well, you need a place to park your fat ass, too, but you don’t expect the city to strew the roadside with free cabanas for you to watch Honey Boo Boo in.

Having the government provide free automobile storage makes no more sense than having them provide free housing. (Considerably less, actually.) The whole system should be scrapped in favor of market pricing, congestion fees and free lifetime passes for newspaper columnists.

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ENVIRONMENT: Blumenauer’s Superfund conflict of interest.

COURTS: A cop gets caught messing with jurors.

HOUSING: Fritz’s new bag when it comes to homelessness.

HOTSEAT: Conspiracy impresario Phil Stanford.

COVER STORY: The rush for an $80 million hotel subsidy.

7 9 11 12 14

NO JOKES ABOUT THE BRIDGE THEY WANT TO SELL YOU.

Science is BREWING. 3RD ANNUAL BREWFEST AT OMSI.edu/afterdark

Wednesday, September 25 7–11pm Don’t just drink beer, learn beer!

At our 3rd annual brewfest, sample beers from local breweries while learning how beer is made, why yeast is important and how to grow hops.

The current bait and switch to sell the Columbia River Crossing would make an 82nd Avenue car dealer blush. Gov. John Kitzhaber and House Speaker Tina Kotek (D-Portland) are telling lawmakers to forget claims they made earlier this year when the Legislature backed the $2.7 billion project: that the participation of Washington state in the interstate project was absolutely, posiKOTEK tively necessary. They’re telling a different story since the Washington Legislature rejected the CRC. One new argument: Not having a pesky second state involved makes building the CRC much simpler. Go to wweek.com to see Kotek’s memo. The state’s authority for its $450 million share of the CRC expires Sept. 30. A Kitzhaber spokesman says the governor hasn’t decided whether to have a CRC special session.

Members of the Multnomah Neighborhood Association want the city to cancel the sale of three-quarters of an acre around a decommissioned water tank in the 8700 block of Southwest 42nd Avenue.

The City Council in 2010 voted to sell the land, along with seven other properties, to help reduce ballooning water bills.

Renaissance Homes, the city’s top infill developer, agreed to buy the land for $140,000 and pay for demolishing the old PILEATED WOODPECKER tank. Neighbors claim they didn’t get any say in the matter, and that the land is valuable green space. “There’s a big family of pileated woodpeckers,” says neighborhood resident Jeremy Solomon. “The city should cancel this backroom deal.” Commissioner Nick Fish’s office, which oversees the Portland Water Bureau, says the city can’t renege on the contract. “We have to follow the rules,” says Fish staffer Sonia Schmanski.

Argh! It’s over for the Portland Radio Authority, once the city’s most notorious pirate radio station. The Federal Communications Commission chased the PRA’s illegal, 100-watt signal for three years before busting its downtown studio in 2006 (“Shipwrecked,” WW, March 8, 2006). PRA went online and legit but announced this week that it’s ending a decade of anarchic broadcasts Sept. 30 to merge with music station XRAY 91.1 FM. Read more Murmurs and daily scuttlebutt.

6

Willamette Week SEPTEMBER 18, 2013 wweek.com

J E F F. F I N N / C C

N A T A LY E A N N E S T. L U C I A

The Northwest Grocery Association is pushing hard to privatize liquor sales in Oregon and is seeking political support with the promise of steering $10 million in tax revenues directly to law-enforcement groups that might back the plan. A confidential memo written by NGA president Joe Gilliam specifically seeks support of the Oregon District Attorneys Association—pledging $2.7 million a year to DAs, plus additional grants, if the measure passes. Gilliam says the Washington state Legislature raided public-safety money added when that state privatized liquor sales, and he wants to protect such money in Oregon. The DAs are neutral. See Gilliam’s memo at wweek.com.

NEWS

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

THOMAS COBB

MUDDY WATERS REP. EARL BLUMENAUER WANTS TO CUT WILLAMETTE SUPERFUND COSTS. HIS WIFE WORKS FOR A COMPANY PAYING THE BILLS.

BY AARON MESH

amesh@wweek.com

For more than a decade, the federal government has been demanding that companies along the Willamette River clean up their mess in the Portland Harbor.

And no one has been more adamant about getting the feds to speed up the process than U.S. Rep. Earl Blumenauer (D-Ore.).

Blumenauer has stepped up pressure on the U.S. Environmental Protection Agency, and he’s demanded the Pentagon spend millions to clean up what he says is the military’s share of pollution on the river bottom.

He’s advocating steps that could not only bring the Superfund cleanup to an earlier end, but save the polluting companies millions.

“I’ve been on this notion of doing it in a cost-effective fashion for years,” Blumenauer says. “We can’t spend a quarter-billion and not start cleaning something up.”

But Blumenauer rarely—if ever—publicly acknowledges the conflict of interest he has on the Portland Harbor debate: His wife, Margaret D. Kirkpatrick, is senior vice president and general counsel for NW Natural. The utility last year awarded her $769,080 in total compensation—including salary, bonuses and other benefits—and her NW Natural stock holdings are valued at $347,000.

NW Natural owns two polluted industrial properties along the Willamette River where it buried tar left over from gas plants that stopped operating in 1956.

The company’s most recent filing with the U.S. Securities and Exchange Commission shows its liability for the Superfund cleanup is at least $43 million.

NW Natural, its ratepayers and shareholders—including Kirkpatrick—would benefit from a faster, cheaper cleanup.

Blumenauer says his wife’s financial stake in NW Natural has not affected his position.

“This is something that benefits everybody,” Blumenauer says. “People can say what they want. I’m not going to apologize for making sure it’s done in a cost-effective fashion. What I do on this river has no effect on Margaret’s job.”

Some observers say Blumenauer’s con-

UNSAFE HARBOR: Rep. Earl Blumenauer (above) says his goal is to see the 11-mile Superfund cleanup begin in Portland Harbor (below). “Nobody benefits by having this linger,” he says.

flict is serious.

“It looks like he’s carrying water for special interests benefiting his wife,” says Ken Boehm, chairman of the National Legal and Policy Center, a right-leaning ethics watchdog organization based near Washington, D.C. “That ought to be used as a club to beat him over the head.”

Craig Holman, government affairs lobbyist for left-wing watchdog Public Citizen, agrees: “He cannot be expected to recuse himself from the issue, but he should make every effort to disclose the conflict.”

For decades, the riverbed of the Portland Harbor—a nearly 11-mile stretch of the Willamette bordered by heavy industry—has been polluted with chemicals that include arsenic and mercury. These toxins harm wildlife and can make local fish poi-

sonous to eat.

In 2000, the federal government named the Portland Harbor a Superfund site, mandating that the sediments at the bottom of the river be cleaned out.

NW Natural has already spent $27 million studying and cleaning up pollution leaked into the river from ponds where it once buried tar—including $6 million to remove a 15,000-cubic-yard tar ball from the riverbed.

NW Natural is among the biggest of 100 Portland Harbor companies that have a huge amount of money at stake. Depending on what level of cleanup the EPA selects, the costs of the full harbor cleanup could range from $169 million to $1.7 billion.

Blumenauer has pushed for faster action and for shifting costs away from the companies liable for cleanup. He’s also sought to renew an oil and gas tax to pay for Superfund cleanups.

In 2009, Blumenauer gave a speech on the House floor in which he lauded NW Natural as a company that had “stepped forward” to clean up the Portland Harbor.

He did not mention any other company nor did he tell colleagues his wife was one of the utility’s top executives.

Blumenauer has also pressed the Pentagon to pick up more of the costs in the harbor cleanup.

“The Department of Defense is the largest generator of Superfund sites,” Blumenauer told Defense Secretary Chuck Hagel during a June budget hearing. “I’m dealing with one in the Willamette River…a staging area for the Navy for three wars, and there’s serious pollution that is in part the responsibility of the federal government.”

Blumenauer and other members of the Oregon delegation pressured the incoming EPA administrator, Gina McCarthy, to shift oversight of the project to the nation’s capital.

Most Superfund sites are overseen by regional EPA offices, but Blumenauer sought the change after local EPA officials fined several Portland Harbor companies (including NW Natural) $125,500 in April for dragging their feet in studies of the river’s pollution.

“Some of this doesn’t look great,” says Melanie Sloan, executive director of Citizens for Responsibility and Ethics in Washington. “He should be disclosing his wife’s financial interest in NW Natural when pushing for a settlement that involves NW Natural paying less money. But I don’t think he’s violated any ethics rules.”

The U.S. House ethics rules allow members to vote on matters where they have disclosed a financial interest, but prohibit their spouses from lobbying them. (Blumenauer lists Kirkpatrick’s job in his annual congressional financial disclosure form.)

NW Natural spokeswoman Kim Heiting says Kirkpatrick carefully adheres to ethics rules.

“Margaret is of the highest integrity,” Heiting says. “She simply does not talk to the congressman about this project.”

Blumenauer says Kirkpatrick has never lobbied his office on Superfund costs. He says he is trying to make sure the costs of Superfund cleanups are spread equally.

“I’m sorry, I think that’s what I’m supposed to do,” he tells WW. “And if I didn’t do that, then you should go ballistic and roast me.”

Willamette Week SEPTEMBER 18, 2013 wweek.com

7

GET READY TO STRUT YOUR MUTT! SEPTEMBER 28 | 9:00 A.M. | SELLWOOD RIVERFRONT PARK

Join us for Strut Your Mutt — a fundraising dog walk and festival for pets and their people to help save the lives of shelter pets in Portland. Help the cause and enjoy a great day out with your dog. The festival includes: Contests for Dogs and Their People

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NEWS

LEO ZAROSINKSKI

COURTS

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TAMPER TANTRUM A TROUBLED PORTLAND COP IS CAUGHT TALKING TO JURORS BEFORE A TRIAL IN WHICH HE WAS A WITNESS.

BY ANDREA DAMEWOOD

adamewood@wweek.com

A Portland police detective once investigated for illegal drug use and the subject of numerous complaints, including excessive force, is back in hot water after being accused of tampering with jurors.

An audio recording of a Sept. 4 criminal trial describes how Detective Jason Lobaugh, a 22-year veteran of the Police Bureau, approached potential jurors outside a Multnomah County courtroom and talked himself up as “outstanding.” Lobaugh was to be a witness in the case.

One potential juror said he felt “coerced” by Lobaugh, while several others questioned his integrity.

Lobaugh’s move nearly caused Multnomah County Circuit Judge Jerry Hodson to declare a mistrial.

Meanwhile, Portland police officials haven’t disciplined the detective for his actions.

The state ultimately lost its case against the defendant, a woman accused of five counts of first-degree theft for allegedly buying and selling stolen goods at her Portland minimart.

For law enforcement officers to speak to jurors prior to giving testimony is strictly forbidden and nearly unheard of, legal insiders say.

“It was super weird,” says Amanda Alvarez, a certified law student with Metropolitan Public Defender, who represented the defendant. “I don’t think it will happen to me again in my career.”

Lobaugh didn’t respond to WW’s questions.

Portland Police Bureau spokesman Sgt. Pete Simpson says the bureau considers the matter closed. “He just made a joke,” says Daryl Turner, president of the Portland Police Association.

“People want us to engage the community, want us to be real people like everybody else.”

The detective’s actions came to light only because potential jurors mentioned it during jury selection, identifying Lobaugh.

bikes, bands, beer.

“Some guy out there says, ‘I wanna let you know the detective on this case is outstanding,’” a potential juror says, in a recording of the hearing obtained by WW. One woman says she felt like Lobaugh was attempting to create bias with the jury. One man adds that he felt coerced by Lobaugh.

“It’s inappropriate,” another says on the tape.

“I think he should have known better. I would question his motives…. I would question his testimony. He can’t be trusted.”

Judge Hodson dismissed the jurors, hauled Lobaugh before him, and put him under oath to answer questions about his actions.

Lobaugh told the judge his comments praising himself to jurors were intended as a joke.

“They were standing in the hallway for a good amount of time,” Lobaugh said. “There was a lot of awkward silence.”

“It was bad judgment,” Hodson told him.

The judge decided against ruling for a mistrial after consulting with Alvarez and Assistant District Attorney Nicole Hermann.

“I’ve never had this happen before,” Hermann told Hodson. “I’ve never seen it happen before.”

Lobaugh apologized to the judge for his actions, but his behavior outside the courtroom has also drawn controversy (“Officers, Not Gentlemen,” WW, June 24, 2005).

By 2005, he had racked up 14 tort claims against his policing, including allegations he used excessive force.

In September 2000, WW reported, Lobaugh was taken to an emergency room for what he told a hospital orderly was an overdose of GHB, an illegal narcotic.

Investigators tried to bust Lobaugh’s suspected supplier by sending Turner undercover into a Max Muscle store in Beaverton.

As Turner readied to buy suspected GHB, Lobaugh walked in, recognized Turner and left.

Police believe Lobaugh then called the Max Muscle clerk on his cellphone to warn him Turner was a cop.

Prosecutors found insufficient evidence to charge Lobaugh.

More recently, The Portland Mercury reported that the city was forced to pay more than $50,000 to a motorcyclist Lobaugh hit in 2011 after running a red light without flashing his warning lights or activating his siren.

Alvarez says she can’t say whether Lobaugh helped her defense. But she agrees with jurors that Lobaugh should have known better than to speak to them.

“If it were me,” she says, “it would have affected the way I view the system.”

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BOOKS 10

Willamette Week SEPTEMBER 18, 2013 wweek.com

PG 45

HOUSING

NEWS

A STICKLER FOR CITY HALL PROCESS, AMANDA FRITZ TAKES A NEW TACK WITH RIGHT 2 DREAM TOO.

BY E M I LY S C H I O L A

eschiola@wweek .com

City Commissioner Amanda Fritz has always demanded that City Hall follow its own rules. She often railed against exCommissioner Randy Leonard’s backroom maneuvers and held up the City Council over the tiniest of procedural details.

But now in her second term, Portland is seeing a new, different approach in her decision to move the Right 2 Dream Too homeless camp from an Old Town block to city property under the Broadway Bridge.

The move may violate city code that prohibits camping on city property, provides no long-term plans for the estimated 100 people who will camp under the west end of the bridge, and f louts the city’s strategy to combat homelessness.

Fritz says she cut the deal to settle a lawsuit against the city brought by the Old Town landowner. Confidentiality was needed to reach the settlement, she adds.

“I don’t appreciate public involvement when it really doesn’t matter,” Fritz says.

W W S TA F F

UNHAPPY CAMPERS “People have been angry and say, ‘Even if we don’t want it, you’re still going to do it.’

Yeah, that’s true.”

But her decision promises only to create a new homeless camp on city property (Dignity Village still operates on city land in Northeast Portland), inviting a new lawsuit.

As reported on wweek.com, the Pearl District Neighborhood Association plans to sue the city, citing code that prohibits using city property for camping.

Land-use lawyer Christe White sent Fritz and Mayor Charlie Hales a letter dated Aug. 28 describing the objections of the neighborhood association; Williams & Dame, the development firm run by Homer Williams and Dike Dame; design company Ziba; and condo developer Hoyt Street Properties.

“It’s just unconscionable,” White says.

“It is a direct hit on the regulatory structure that every other property owner has been forced to go through by the very city who is exempting itself.”

Fritz says she doesn’t yet know what the city needs to do to make the camp legal.

“We will be announcing everything every step of the way,” she says. “It was very unfortunate the owner decided to go to the press before the settlement was fin-

UNDER THE BRIDGE: The proposed new home for the Right 2 Dream Too camp, located off Northwest Lovejoy Street under the Broadway Bridge next to Union Station, will have room for up to 100 people.

ished because that raised a lot of questions I don’t yet have answers to.”

The settlement waives $25,000 in city fines levied against Michael Wright for the current Right 2 Dream Too camp on his property at Northwest 4th Avenue and West Burnside Street, the former site of Cindy’s, an adult bookstore.

Fritz acknowledges her strategy deviates from the city’s long-term plan to address homelessness. (She also concedes she did not engage Commissioner Dan Saltzman, who oversees the city’s Housing Bureau, in the discussions about Right 2 Dream Too.) And she says it’s not yet clear what will happen to the camp when a one-year stay

granted by the city runs out.

“We have all been very clear that we want most funds to go toward permanent housing,” Fritz says. “Everyone on the council is committed to that. There are a finite amount of resources.”

Steve Rudman, executive director of Home Forward, Portland’s housing authority, says Fritz’s deal with Right 2 Dream Too is a temporary fix.

“I’m not suggesting it’s the right answer, but you can probably think of worse options,” Rudman says. “We’ll see what happens next. That’s the fundamental problem: There’s really no end game until we figure out how to help people.”

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Phil Stanford isn’t paranoid if John Dean really is out to get him.

Portland’s most notorious muckraker has always seen conspiracy where others have not as he’s plumbed Rose City corruption and vice in three previous books.

Now the 71-year-old Stanford has turned to one of the biggest conspiracies of all time: the Watergate scandal.

In his jaunty, jaded prose, Stanford revives the theory that Dean—White House counsel during the scandal—was the real mastermind of the break-in at the Watergate Hotel. Stanford conjectures Dean’s true objective was to gain information to blackmail top Democrats partaking in a Washington, D.C., prostitution ring.

What Stanford says he has that one else does is the little black book of the ring’s hooker in chief, Heidi Rikan.

Feral House released White House Call Girl as an e-book this month, though not before Dean threatened to sue Stanford and his publisher.

Stanford had coffee with WW last week to talk about why he thinks sex was at the heart of last century’s biggest political scandal.

WW: If All the President’s Men is the canonical version of what happened at Watergate, what’s your version?

Phil Stanford: All the President’s Men is about uncovering the cover-up. What they leave out is why was there a break-in in the first place. The convenient explanation—the explanation that the Watergate investigating committee came up with—was that the burglars broke into the Democratic National Committee because they wanted political information.

They didn’t. They were there to get sexual blackmail information from a phone being used to make connections with the call-girl operation that was about two blocks down the street.

Who was the White House call girl of your book’s title?

Heidi Rikan was the mob’s girl from the time she was 20. She’s running this [call-girl] operation for the mob—which makes a habit of trading favors with the CIA. And in this case, they’re running a sexual blackmail operation. And she’s running it for them.

You raise questions whether Deep Throat was even real. That’s like telling a child there’s no Santa Claus.

There always has been a question of whether Deep Throat was one person. When [Bob] Woodward and [Carl] Bernstein sat down to write All the President’s Men, they didn’t have a Deep Throat in the first draft of the book. Their literary agent says that. So, no, there wasn’t a Deep Throat.

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Willamette Week SEPTEMBER 18, 2013 wweek.com

STANFORD: He says a call girl’s little black book from the Watergate era contains the names of Democratic National Committee guests. “Firemen. Small-town dignitaries. That sort of thing.”

Why does the influence of organized crime into American politics keep coming up for you?

People don’t want to see it. It’s there. Once I started looking back again at the Watergate story, I was able to understand that in terms of organized crime.

Here in Portland, in the ’60s and ’70s, which I know most about, intelligence cops were close to the call-girl matters. Same thing happens back in Washington, D.C., but the stakes are much higher.

Are you seeing these things because you want to see them?

I’m not making them up, if that’s what your question is.

You’d like to believe that your leaders are acting in your best interest, that they’re not trying to make money under the table, that they’re not allied with the underworld. History shows—certainly at the national level—the major political parties have ties to the underworld. They can’t exist without that money.

Watergate is a 40-year-old story. What does it tell us now?

You should not accept the first wave of news stories that come out about a scandal. You should always look beneath the surface.

You can’t say that! We write the “first wave of news stories” about scandal.

I know—and that’s the position The Washington Post is in. They want to preserve their legacy and dismiss what I’m doing as revisionist history.

But what is history but an attempt to revise and extend our understanding of historical events?

It’s absolutely ridiculous to suppose that the first or second or third take on a story is it. There’s always more.

Willamette Week SEPTEMBER 18, 2013 wweek.com

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ANKROM MOISAN ARCHITECTS/MORTENSON DEVELOPMENT

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HEARTBREAK

HOTEL DESPITE FIERCE OPPOSITION, OFFICIALS ARE SET TO APPROVE $80 MILLION IN SUBSIDIES FOR A 600-ROOM HOTEL AT THE CONVENTION CENTER.

BY N I G E L J AQ U I S S

T

njaquiss@wweek .com

h e lot lo c ate d at N o r t h ea st 3 rd Av e n u e a n d M u l t n o m a h S t r e e t doesn’t look like much.

There’s a debris-filled hole, where a former Teamsters union hall was demolished last week; a ramshackle office building with a couple of tenants; and a parking lot dotted with wrappers from an adjacent Burgerville.

It is here that Barry Schlesinger, the struggling developer who owns the 3-acre property, envisions a gleaming hotel tower crawling with conventioneers.

Metro Council President Tom Hughes, whose agency operates the nearby money-losing Oregon Convention Center, sees the property as a route to respectability for his agency—and a second term for himself.

And the secretive financier Gordon Sondland sees a heavily subsidized threat to his downtown hotel empire.

Those visions will collide this week at City Hall.

Schlesinger’s land is at the center of a heated battle over whether to build a hotel adjacent to the convention center. For more than a quarter of a century, politicians, developers and tourism promoters have wrestled with that question.

It is finally decision time, as the rising clamor of the rhetoric surrounding the issue shows. At a Labor Day speech, for example, Hughes accused opponents of the proposed 600-room Hyatt hotel of engaging in “class warfare.”

CONT. on page 16

IF WE BUILD IT: Metro says a new Hyatt hotel will enliven the Oregon Convention Center.

Willamette Week SEPTEMBER 18, 2013 wweek.com

15

HEARTBREAK HOTEL T

CONT.

he City Council will consider a mea su re Met ro ha s a l ready approved: pumping $80 million of taxpayer money into a proposed $198 million hotel. The transaction would give the multibillion-dollar Hyatt Hotels Corp. ow nership of the hotel and all potential profits, while counting on public funding to repay the project’s debt.

On Thursday, Multnoma h County commissioners will hold their first hearing on the issue. Metro, the city and the county all need to approve any convention center hotel.

The hotel question underscores the challenge facing Hughes, Portland Mayor Charlie Hales and other elected officials tackling economic development.

On one hand, taxpayers have already spent $200 million building the convention center, which operates at a large and growing loss. Tourism boosters say a new hotel is necessary for the convention center’s success and for the continued development of the city’s convention trade.

On the other hand, local government’s recent results in subsidizing businesses in Portland—such as wind turbine-maker Vestas, solar panel-maker SoloPower and bankrupt battery-maker ReVolt—have been failures.

Sondland, who has invested heavily in downtown hotels, is deploying his wealth and connections in an attempt to make sure the hotel subsidy never happens.

Elected officials fear being labeled

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Willamette Week SEPTEMBER 18, 2013 wweek.com

anti-business, but citizens are notoriously reluctant to hand cash to large, profitable companies such as Hyatt.

Pollster Adam Davis recently conducted a survey of more than 3,000 Oregonians.

“When you get to public subsidies,” Davis says, “Oregonians don’t like them.

People just feel that the best thing you can do for economic development is to keep government out of it.”

Mark Williams, who ran the convention center for eight years, says the 1 million-square-foot facility will never flourish without a hotel.

“If you want a convention center to succeed, you have to have a convention center hotel,” Williams says. “But people are ready to believe the worst about government, and unfortunately they are often right.”

“THERE’S NO PUBLIC BENEFIT THERE. IT’S NOT A USEFUL EXPENDITURE OF PUBLIC DOLLARS.” —TIM DUY, DIRECTOR OF OREGON ECONOMIC FORUM

T

he Oregon Convention Center’s twin glass spires may not be Portland’s proudest architectural monument, but they are a landmark in a section of Northeast Portland characterized by empty lots and fast-food joints.

Then-Mayor Bud Clark oversaw the building of the convention center, which opened in 1990. In 2003, then-Mayor Vera Katz used $116 million of tourism taxes to expand it. But the center has never had an adjacent first-class hotel.

Today, the Metro-operated facility loses $10 million a year. Debt service costs another $6 million annually. Metro’s consultant, the Strategic Advisory Group, says the convention center generates tax revenues equal to those costs and hundreds of millions in spending that would not otherwise occur.

The number of annual events at the convention center is declining, however, and the center is increasingly oriented toward low-budget trade shows. Boosters say a hotel would reverse the slide.

“A new hotel will change the game,” says Jeff Miller, executive director of Travel Portland, whose mission is to generate tourism.

Conventioneers want to lodge within a short walk of convention facilities, Miller says.

Despite their reputed benefits, convention center hotels typically cannot be built without significant subsidy.

“The last large convention hotel to be

built, outside of Las Vegas or Orlando, without public participation was the Chicago Sheraton that opened in the early 1990s,” according to a 2012 Metro consultant’s study. “Today, on average, private investors can achieve their return on investment in a convention center hotel only if their basis is approximately twothirds of the cost to develop.”

That’s because convention business is sporadic. The hotel must block out at least 500 rooms and include more meeting rooms and expensive amenities than the market would otherwise support.

And Hyatt promises union wages for hotel workers.

Opinions on the issue are mixed. The Portland Business Alliance wants the hotel.

A nd Greg Goodma n, whose fa mily owns 25 blocks of Portland real estate, says a new hotel would spur activity in the underdeveloped area between the Burnside and Broadway bridges.

“It will be a catalytic investment like light rail,” Goodman says.

But Tim Duy, director of the Oregon Economic Forum at the University of Oregon, disagrees. He says the economic benefits that tourism boosters claim are notoriously unreliable, and the jobs a hotel would create are marginal.

“If there were a real shortage of hotel space in the community,” Duy says, “the private market would fill that need.

There’s no public benefit there. It’s not a useful expenditure of public dollars.”

HEARTBREAK HOTEL MISHA ASHTON MOORE

CONT.

BETTER DAYS AHEAD: Barry Schlesinger demolished a former Teamsters hall for a condo project next to where he hopes the Hyatt will be built.

B

arry Schlesinger, 64, is more rumpled than many Portland developers. He’s got the meaty hands and bad back of a commercial fisherman, the job he had before joining his family’s real-estate business.

Most days, Schlesinger would still prefer chasing salmon than sitting through another meeting on the proposed convention center hotel.

But along with his brothers, Paul and Mark, Schlesinger owns or manages 1 million square feet of commercial real estate.

In 2009, records show Schlesinger bought land next to the convention center for $10.75 million. The purchase was highly leveraged—he borrowed $9.7 million and agreed to pay it back in 18 months.

Then-Mayor Sam Adams was pursuing a hotel project in which the city, rather than Metro, would issue bonds and the hotel would be publicly owned.

That deal collapsed amid the recession.

Meanwhile, Schlesinger came under pressure. In December 2010, his company

lost a high-profile contract to run the city’s parking garages.

Then last year, court documents in a family dispute showed the family’s parking company had lost millions of dollars.

With interest costs mounting on the short-term loan he used to finance the hotel property—and has had to extend three times—Schlesinger worked behind the scenes to help Metro resuscitate the project and aligned himself with Mortenson Development of Minneapolis and Chicago-based Hyatt Hotels. The development team hired Gallatin Public Affairs, an influential Portland lobbying firm.

“It’s very important to our family to get this deal done,” Schlesinger says. “It’s a fair deal that minimizes public risk.”

The person who really got the deal moving, however, was Hughes.

“In Tom Hughes, we found a champion who understands the job and economic impact we create,” says Travel Portland’s Miller.

As mayor of Hillsboro from 2001 to 2009, Hughes, 70, helped Intel expand and

was key in luring SolarWorld and Amgen to Washington County.

Hughes then made job grow th the center of his 2010 campaign for Metro president. That was a shift—Metro’s core functions are land-use and transportation planning and disposing of the region’s solid waste.

As Metro president, Hughes’ penchant for globe-trotting economic-development missions is as incongruous as his Waylon Jennings-like appearance is out of step with the typical undernourished, bikeriding Metro planner. Despite his foreign travel (“Metro-À-Go-Go,” WW, Aug. 15, 2012), Hughes found his biggest target a block from Metro headquarters—the convention center.

“It’s a tremendous opportunity for Portland and the whole region,” Hughes says.

He put Metro’s staff to work figuring out an approach that could win political support (see sidebar, page 18).

Schlesinger says Hughes’ deal will bring some balance to economic-develop-

ment spending. For decades, City Hall has used urban-renewal subsidies to develop downtown, the Pearl District and South Waterfront.

“At some point,” Schlesinger says, “the east side ought to get something, too.”

T

ravel Portland’s board endorsed the Hyatt deal despite a deep split in the group’s membership.

Travel Por tland’s board members include the manager of the city’s largest hotel, the 800-room Hilton, which opposes the new Hyatt project.

But no critic possesses the clout of downtown hotelier Sondland (see sidebar, page 18), who declined to be interviewed for this story.

His spokesman, lobbyist Len Bergstein, has been beating back headquarters hotel concepts on Sondland’s behalf for a decade.

“It does not make sense on any level,” Bergstein says. “The public provides a giant subsidy but gets all the downside, CONT. on page 18

Willamette Week SEPTEMBER 18, 2013 wweek.com

17

HEARTBREAK HOTEL

CONT.

THE PLAYER

GORDON SONDLAND

COURTESY OF GORDON SONDLAND

his wife, Katherine Durant, at the Portland Art Museum. the Oregon Division of Finance and Corporate Securi(Durant is a member of the Oregon Investment Council, ties, called Sondland’s mortgage company “an enterwhich oversees the management of $70 billion in pen- prise that has chosen to engage in an activity that [the sion and public funds.) state’s lead investigator] describes as ‘unsavory’ and I Sondland subsequently became chairman of the art would characterize as bottom feeding, that serves to museum’s board and chairman of the Oregon Gover- take advantage of people’s misery and take even more nor’s Office of Film & Television. money from those that are financially distressed.”

A Seattle native, he irked Portland’s establishment In December 2012, the state fined Gregory Funding in 2008 when he built a house on Ocean Avenue in the $50,000, the largest fi ne it levied that year against a coastal town of Gearhart. mortgage lender.

Homes there typically do not obstruct the views of Although Sondland’s lobbyists complain about the others. Sondland ignored that practice when he built proposed Hyatt subsidy, Greg Peden, a spokesman his $1.2 million beach house. working for the Hyatt hotel team, says Sondland’s “There’s an unwritten rule that you don’t punch your downtown hotels benefit from historic-property tax house out and block views,” says another homeowner. reductions. Such tax breaks, which are good for up to “He punched out and pissed off the neighbors.”

15 years, have already saved Sondland and his partners In Portland, Sondland funded parks bureau concerts nearly $3 million, according to a Multnomah County and contributed to school-bond campaigns. But a assessor’s estimate, and will eventually save at least Jantzen Beach building he owns attracted the scrutiny twice that amount. of police and state officials in recent years for its high And if Sondland really cared about taxpayers, concentration of lottery delis.

Peden says, he’d stop claiming to be a Washington Tall, tanned and well-tailored, Gordon Sondland, 56, is a In 2010, The Oregonian put a story about Sondland’s resident. Sondland chairs two Oregon boards, his chilcontroversial figure. His investment group owns stakes sharp-elbowed lending practices on the front page. dren attend school in Portland and his wife lives here, in fi ve downtown Portland hotels—the Lucia, deLuxe, Borrowers said Sondland’s Gregory Funding know- but records show his legal address is a Seattle hotel.

Governor, Benson and Westin—making him an oppo- ingly extended rescue loans to people who could not Washington, of course, charges no personal income nent of a subsidized Oregon Convention Center hotel. afford them. An unusually high percentage resulted in tax. In Oregon, the top rate is 11.5 percent.

Sondland is both media-shy (he declined to be inter- Sondland’s group taking over the properties.

“Where he chooses to claim he resides,” Peden says, viewed for this story) and eager for recognition. He The state investigated Gregory and a subsidiary. In “speaks for itself.” —NIGEL JAQUISS. negotiated hard to get a staircase named after him and a 2011 internal memo, David Tatman, administrator of

THE NUMBERS

$197.5 MILLION

Here’s where Metro says the money is coming from for the proposed $197.5 million Oregon Convention Center hotel:

2%

2%

30%

60%

18

Metro revenue bonds

$60 million

Mortenson Development

$119.5 million

Willamette Week SEPTEMBER 18, 2013 wweek.com

5%

$4 million Metro

$4 million

Portland Development Commission

$10 million

Oregon Lottery

The way the deal is structured, Hyatt will pay about $120 million for a hotel that will cost nearly $200 million.

“They’re buying a brand-new asset for 60 cents on the dollar,” says Bob Scanlan of Portland real-estate investment firm SKB. “That’s an attractive proposition.”

But the most controversial part of the deal is the $60 million Metro Council President Tom Hughes wants to borrow to help fund construction.

Currently, local hotel taxes go into a pot that pays interest on previous public borrowing, including bonds for the convention center, Portland Center for the Performing Arts and Jeld-Wen Field. But the taxes generated at the new Hyatt would be used only to repay Metro’s debt.

This method is called “but for” fi nancing, because the taxes would not exist “but for” the new hotel.

Portland economist Joe Cortright says there are two problems with that approach.

The first is fairness.

“There are a lot of people and a lot of companies who’d come to Oregon tomorrow if we let them keep the taxes they’d otherwise pay to use for investment,” Cortright says. “That would be unfair to all other taxpayers.”

The second is the idea that the hotel taxes would not otherwise exist. In a market with occupancy rates as high as Portland’s, private developers will continue to build hotels.

“That’s tax money that could go to other uses,” Cortright says. “Not to debt service on a hotel we probably don’t need.” —NIGEL JAQUISS.

CONT. while Hyatt gets a brand-new hotel very cheaply and gets all the upside.”

Industry figures show the hotel occupancy rate downtown, where Sondland operates, is about 78 percent, 15 points higher than the national average.

The risk to Sondland is that a subsidized hotel on the east side, next to the convention center, could undercut dow ntow n’s highoccupancy rate. In other cities such as Phoenix, convention center hotels have offered bargainbasement rates of $60 a night when there are no conventions in town.

Portland already has one publicly subsidized hotel—the Nines, in the downtown Macy ’s building. For a time after it opened in 2008, the Nines discounted its $260 rooms to $99 a night.

The Nines is thriving now, but city records show it has failed to make any payments since 2009 on $17 million in city loans.

Bergstein says it’s unfair to subsidize a convention center hotel at the expense of privately financed westside hotels.

“It’s not a level playing field,” he says.

“I THINK IT WILL BRING IN A WHOLE HOST OF TAXES AND REVENUES BEYOND WHAT’S NEEDED FOR DEBT SERVICE.” —AMANDA FRITZ

F

or a hotel to be built, the City Council and county commission must approve the deal.

Their approval is necessary because all three governments—Metro, the city and the county— share in the hotel taxes that would be used to help finance the hotel’s construction.

So far, the deal hasn’t generated much excitement at City Hall or Multnomah County headquarters. But no elected official is out to kill it.

Hales regards the convention center hotel as an Adams leftover.

“I have been fairly ambivalent about this one,” Hales says. “But I’m leaning toward supporting it.”

City Commissioner Amanda Fritz, who provided the only “no” vote when the city decided to subsidize Jeld-Wen Field, is more positive.

“I think it will bring in a whole host of taxes and revenues beyond what’s needed for debt service,” Fritz says. Commissioner Dan Saltzman agrees. “I’ve still got some questions, but I’m pretty comfortable with the deal,” he says.

Commissioner Nick Fish says he wants assurances if the projected hotel taxes don’t materialize, Metro bears primary responsibility.

“I’m concerned about protecting taxpayers in the event that Metro’s rosy projections don’t pan out,” Fish says.

Commissioner Steve Novick is the most

HEARTBREAK HOTEL

probable “no” vote.

“I cannot support taking all the revenue from the hotel to subsidize Hyatt,” Novick says.

At Multnomah County, Commissioners Judy Shiprack and Diane McKeel have expressed enthusiasm for a project that promises to create 2,000 construction jobs and 900 permanent jobs. Commissioners Loretta Smith and Deborah Kafoury and acting Chairwoman Marissa Madrigal are less enthusiastic but are probable “yes” votes if they get assurances that no public money will go into a proposed private parking garage and the price paid for Schlesinger’s land is not above appraised value. (The projected purchase price is very close to Schlesinger’s cost.)

Although both sides are lobbying officials hard, neither side is spending much on contributions. Schlesinger gave Hales $1,700 in 2012 and one of Sondland’s companies contributed $5,000 to Saltzman’s Portland Children’s Levy last year, but otherwise, their contributions are small.

The transaction Hughes drew up makes it easy for others to vote yes.

First, he’s got fi nancial projections that suggest the city and county would have little risk even if the hotel flopped. Second, the deal provides new cash to both governments.

The incentives start at $250,000 each for the city and country in the first year, and escalate to $1 million for the county and $650,000 for the city by the 10th year.

Bergstein says that new money amounts to institutional bribes.

“It’s just there to get elected officials to vote yes,” he says.

Metro’s projections show the hotel will have to attain about a 75 percent occupancy rate at $125 per night to repay the $60 million.

A leading critic of convention subsidies, professor Heywood Sanders of the University of Texas at San Antonio, thinks that’s unlikely.

Sanders says many cities, including Baltimore, St. Louis and Phoenix, have invested far more than Metro wants, only to end up attracting far fewer conventioneers than projected.

“It’s an arms race that never ends,” Sanders says.

However, Metro consultant Tom Hazinski told a City Club audience during a debate Sept. 6 that Portland is different from other cities.

“There’s a sense of vibrancy and place other cities have a hard time manufacturing,” Hazinski said.

Metro ordered an independent financial evaluation that simulated declines in travel like those that followed 9/11 and the 2008 recession, concluding even in such downturns there would be sufficient hotel taxes to repay hotel debt.

Dan Anderson, a retired Portland banker who has tracked the hotel deal closely, is skeptical of Metro’s due diligence.

“They’ve gone out and hired multiple certified smart people,” Anderson says of Metro. “But how good are the forecasts? We’re not going to know until it’s too late.”

Even if city and county officials green-light the hotel, the decades-long dance probably will not end there.

That’s because opponents, led by Sondland, are prepared to refer the issue on the election ballot next year.

“Do the voters of this region want to give a multibillion corporation tens of millions in subsidies?” Bergstein asks. “Probably not.”

Bombshell Vintage 811 E. Burnside

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CULTURE

COMICS

THE POWER OF GRAYSKULL TOM COOK DREW YOUR FAVORITE SATURDAYMORNING CARTOONS.

BY R IC H A R D G R UN E RT

rgrunert@wweek.com

You’ve seen Tom Cook’s work. You don’t know the name, but if you’ve seen He-Man, The Smurfs, later Scooby-Doo or Flintstones, or a host of other Reagan-era cartoons, you’ve seen a panel or two by Cook, who began as an animator in 1979 at the legendary Hanna-Barbera studio in Los Angeles. Cook, 61, comes to Portland as part of Rose City Comic Con, so we called to ask what went on behind the scenes of our childhood entertainment.

WW: What are you doing now?

Tom Cook: I live in Idaho. I’m mostly going to conventions, and I’ve got a side business drawing comic-book covers or doing commissions for fans. I’m planning on retiring officially next year but will still get to as many conventions as I can.

How did you get hired at Hanna-Barbera?

I was working as a transit bus driver in L.A. and I saw an ad in the paper for a comic-book course at a local college taught by the artist Don Rico, one of the legendary artists from the golden age of comics. He saw my work, mostly superheroes at that point, and suggested I send it to Hanna-Barbera, where he worked, which held an animation course you could take for free if someone at the studio recommended you. Don said they had a bunch of artists who could draw Fred Flintstone but needed artists who could draw realistic people for Challenge of the SuperFriends. After three weeks, they hired four of us out of the 33 who were in the class. I was amazed.

I had no idea what I was doing at the time when it came to animation, but we started out as assistants and learned the ropes from there. It sure beat working as a bus driver.

What did you start out doing at Hanna-Barbera?

Strangely enough, after all of the talk about me working on human figures, the first thing they ever had me animate was actually an episode of The Flintstones. Fred was jumping up and down around Dino because he had just inherited some money. I still have my first drawing I ever did hung up in my art studio at home.

What was the environment like at Hanna-Barbera?

How was it compared to a studio like Disney?

I never worked at Disney, but back then they didn’t pay their animators as well as we got paid doing animation for TV. When I started at Hanna-Barbera, they had so many artists that they had to put us in a rented airplane hangar at Burbank airport [now Bob Hope Airport] that was built in the ’40s. They were building a new addition to the studio at the time, that was originally going to be a warehouse, but they ended up having to turn half of it into an animation area for us.

What was the grind like?

Each of us animators had our own scenes to work on for the week. It really wasn’t so bad—we worked hard and there were strict deadlines, but we still had the chance to fool around and play pranks on each other. As long as all our work was done by Friday, they didn’t really care. But if you started to fall behind, they would crack down.

How much creative control did animators have?

Not all that much, really. By the time things came to me, everything was pretty much set in stone. All the things like the storyboarding, writing and voice-overs were already done when we got them. We looked at what the guy before us did, did our section and passed it to the assistant animation department.

You were a timing director on King of the Hill. What exactly does a timing director do?

A timing director makes sure the animation matches the voice-overs. I’d go through each frame and do things like mark down when the character’s mouth would need to make the “O” sound and mark exactly where certain things needed to happen in the animation sequence as far as gestures and the like.

What’s your favorite show that you worked on?

Thundarr the Barbarian, easily. Jack Kirby was a designer on the show and he was my personal hero, so getting to meet him and work on his designs was the best. There were a lot of shows I worked on that were more oriented toward very young children, and this was meant for teenaged kids. Thundarr felt like it had a lot more going for it, the writing just seemed so much better, and it had

FORTUNATE SON: Tom Cook in the salad days of American animation.

a bit more of a sci-fi feel than a lot of shows being made at the time.

How often could you get away with sneaking strange things into shows?

Sometimes people tried to do things they thought were really funny, but ended up getting them in a lot of trouble.

Sneak something inappropriate in like the artist did in that cover scene painted for the box of The Little Mermaid VHS tape? Enjoy getting fired. There were a few things we could get away with, though. When we had to draw groups of nameless people, what they looked like didn’t really matter since they were only in a few scenes, and a lot of times we’d draw ourselves into the crowd.

“SNEAK SOMETHING INAPPROPRIATE IN LIKE THE ARTIST DID IN THAT COVER SCENE PAINTED FOR THE BOX OF THE LITTLE MERMAID VHS TAPE? ENJOY GETTING FIRED.” —TOM COOK What do you think of today’s animation industry?

There really aren’t any animation studios left in the U.S.—our union back in the day ruined that. They wanted too much, and I didn’t need to make $100 an hour. Now most of the animation work is in Korea, where they’ll work for nothing compared to here.

What would you say to an artist who wants to break into the animation industry?

I always love giving advice to young artists who ask me to look at their portfolios, but there really isn’t any work in animation anymore unless you go into storyboarding.

Storyboarding is still done in the U.S., and if they get good at that, there’s still jobs out there. But sadly there’s really just nothing left in this country for an aspiring animator except for a few very small shops trying to stay alive.

Does it surprise you that people still remember these shows?

I used to be shocked when people would come up to me at conventions and say that He-Man or some other cartoon was their childhood. I had one guy stand up during one of my panels at a convention who said he grew up in Chile and the only thing that kept him from joining the violence around him was his desire to be like He-Man. When you hear stories like that, and it’s because of something you did, it’s really touching.

BEATS BUS DRIVING: Tom Cook works the convention circuit today.

GO: Tom Cook will appear at Rose City Comic Con at the Oregon Convention Center, 777 NE Martin Luther King Jr. Blvd., on Saturday (10 am-7 pm) and Sunday (10 am-5 pm), Sept. 21-22. $5-$30. rosecitycomiccon.com.

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Mon - Sat: 11:30AM - 9PM • Closed Sundays Daily Happy Hour 3-6PM 8000 SE 13th Ave, Portland, OR • 503-238-7255 opapizzariaportland.com

October 5 & 6

2013

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Thursday, October 10, 2013

Malcolm Gladwell Arlene Schnitzer Concert Hall

Tickets start at $15, available at PCPA.com For more information visit literary-arts.org Sponsored in part by:

Willamette Week SEPTEMBER 18, 2013 wweek.com

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FOOD: Portland’s best milk and honey.

MUSIC: Kim Gordon’s new project, Body/Head.

TBA: Picks for week two of the Time-Based Art Festival.

FILM: New column! AP Film.

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Willamette Week SEPTEMBER 18, 2013 wweek.com

13-11050_CON_ad_ORPDX-WW_PN_TAKES-LG_5x6_K_[01].indd 1

8/6/2013 1:54:53 PM

F L I C K R .CO M / PAG E N T

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

1708 E. Burnside 503.230.WING (9464)

NEW ’SPACE AGE: Backspace, Portland’s longest-running all-ages music venue, is looking to move from its 10-year Old Town location. Owner Eric Robison says “if all the stars align right,” the club will move into the building currently occupied by the Conga Club, at 4923 NE Martin Luther King Jr. Blvd., beginning Nov. 1.

Robison says the move is being spurred in part by a recent City Council decision requiring nightclubs in pre-code buildings to add sprinkler systems. In addition to already having sprinklers, the Northeast building has a 400-person capacity—roughly double Backspace’s size—and a full bar. The club will be “like a mini Crystal Ballroom” and remain all-ages, Robison says. “It’s a better, safer location for what we’re trying to do,” he adds.

Backspace will remain open as a coffee shop in its current location at a reduced size, and there have been preliminary talks to expand Ground Kontrol into the Backspace building, Robison says.

SUSHI SHAKEUP: It looks like executive chef Kaoru Ishii quietly left Hokusei Sushi on Southeast Belmont Street over the summer. The veteran, who’s worked in Japan sushi houses and at Los Angeles’ Matsuhisa, moved over to the Pearl District’s Yama Sushi at the end of July. Heemoon Chae—known to regulars as Chef Scott—remains head chef at Yama. The sushi chefs at Hokusei are currently owner Cody Auger and chef Lance Dillard, formerly of Masu and Boxer Sushi.

GOING DIGITAL: Newberg’s 99W Drive-In has a new lease on life, thanks to a Honda promotion that will donate digital projectors to a handful of drive-in theaters across the country.

The 60-year-old movie house learned Sept.

15 that it had been selected from about 100 theaters to receive the expensive upgrade.

Hollywood studios are expected to shift fully to digital distribution by the end of 2013, and without the projector, 99W may have closed. Go catch the last whiff of 35 mm before it disappears—Gremlins is playing this weekend.

OPEN BARS: Two once-pending bars are now open to the public. The new Southeast incarnation of The Nest Lounge (2715 SE Belmont St.), which held a premature opening party Aug. 2 before things were held up by city red tape, can now celebrate in earnest: The bar’s grand opening was Sept. 13. >> Meanwhile, a few blocks from the Nest’s old Alberta Street location, music venue and bar the Knock Back is expected to open this week in the former Del Inti space (2315 NE Alberta St.). The official grand opening is planned for the end of September, and concert bookings begin Oct. 3.

HEADOUT AUGUST LIPP

WILLAMETTE WEEK

WHAT TO DO THIS WEEK IN ARTS & CULTURE

THURSDAY SEPT. 19 TBA: BODY/HEAD [MUSIC] The swift, sudden implosion of Sonic Youth left a nation of indie-rock die-hards disillusioned, but the once coolly aloof Kim Gordon has finally emerged from the scarecrow-shaped shadow of her ex-husband. Coming Apart, her double album of “scripted improv” with noise guitarist Bill Nace, is challenging, harrowing and ultimately rewarding. The Works at Con-Way, 2170 NW Raleigh St. 10:30 pm. $15-$20. 21+.

FRIDAY SEPT. 20 FEAST COOKBOOK SOCIAL [BOOKS] Events for the Feast food festival are both very expensive and mostly sold out. Your best option is the Cookbook Social, which brings many of the fest’s brightest minds (Gabe Rucker, John Holl, Karen Brooks, Allen Salkin) together to hobnob and sign books. See story on page 45. Heathman Hotel, 1001 SW Broadway, feastportland.com.

2-4 pm. $5 suggested donation.

FIDDLER ON THE ROOF [THEATER] Once again, Portland Center Stage opens its season with a big musical. Does director Chris Coleman have another political allegory up his sleeve for this tale of a poor Jewish milkman in pre-revolutionary Russia? Gerding Theater, 128 NW 11th Ave., 445-3700. 7:30 pm. $38-$72.

What’s Happening Inside: A crowd of people you’ve never seen, talked to or otherwise interacted with, laughing uproariously at jokes about farts, gays, gay farts and probably something about “this fancy-lookin’ thee-ater,” which is also gay.

What You’re Doing: Shotgunning Monster while blasting a Jerky Boys CD. Essential Items: A stockpile of Whip-Its (to come down from all the energy drinks); a promotional Delta Farce bandana dug out of Goodwill bins, ideally with pudding stains on it.

What’s Happening Inside: A depraved orgy of wine, the first lady of Oregon lecturing on childhood hunger and a $95 sandwich eat-off—all under the order of a confederacy of celebuchef Caligulas.

What You’re Doing: Grilling your own foie gras panini next to your Prius and pecking out furious tweets about the guy next to you not putting hazelnut aioli on his Olympic Provisions wiener.

Essential Items: A feather and the finest vomit box that Bed, Bath & Beyond has in stock.

Multiple locations. Thursday-Sunday, Sept. 19-22.

Arlene Schnitzer Concert Hall, 1037 SW Broadway. 7 pm Wednesday, Sept. 18.

What’s Happening Inside: West Hills folks with aged Gruyere in their Think Out Loud tote bags paying $35 to look at the fucking moon.

What’s Happening Inside: A few hundred Portland State students (and thousands more 35-year-olds who somehow know where all the PSU keggers are) pretending to enjoy futbol as an excuse to get hammered, scream nursery rhymes and wear matching scarves.

What You’re Doing: Lying on your car hood, taking in the vastness of God’s majesty for free, like a total cheap-ass.

What You’re Doing: Obnoxiously honking the horn of your SUV and screaming at passersby after the Timbers pull off a 0-0 tie, all while secretly calculating whether you can afford Seahawks season tickets.

Essential Items: A box of wine; illegally downloaded wind-chime music.

Essential Items: A vuvuzela; a smartphone to Wikipedia “rules of Major League Soccer.”

Portland Japanese Garden, 611 SW Kingston Ave. 7-9 pm Wednesday-Friday, Sept. 18-20.

Jeld-Wen Field, 1844 SW Morrison St. 7 pm Friday, Sept. 20.

MATTHEW SINGER.

TODD BARRY [COMEDY] Barry, a veteran standup with a soft delivery, can read loan documents and make them sound hilarious. For this tour, he doesn’t even have an act: He’s working off crowd interaction alone. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 8 pm. $20. 21+.

SUNDAY SEPT. 22 TBA: ONE WITH OTHERS [DANCE] Karen Sherman uses pieces of scrap lumber as props to create a makeshift language, attempting to examine who we are as a result of our consequences.

Despite that dubious intention, the piece is essentially a mockery of art pieces that claim transformative powers. Sherman even announces as much in the beginning via a voice recording: “If you are expecting me to change your life, forget about it.” BodyVox Dance Center, 1201 NW 17th Ave., 229-0627. 4:30 pm. $15-$20.

MONDAY SEPT. 23 BEN GOLDBERG QUINTET FEATURING NELS CLINE [POLYPHONIC JAZZ] The Bay Areabased clarinet master teams with the ever-adventurous Wilco guitar wizard for a project ingeniously intertwining Ornette Colemanstyle polyphonic lines with plaintive, songlike melodies. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 8 pm. $12 advance, $15 day of show. 21+.

Willamette Week SEPTEMBER 18, 2013 wweek.com

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FOOD & DRINK = WW Pick.

Highly recommended.

By JORDAN GREEN. Editor: MARTIN CIZMAR. Email: dish@wweek.com. See page 3 for submission instructions.

I get HAPPY 4-6pm Tues-Fri $3 menu

Tuesdstaryy: Fun Indu Night!

THURSDAY, SEPT. 19 Feast Portland

Dragon Lounge

Chinese-American Restaurant

2610 SE 82nd at Division 503-774-1135 Ho Ti

Read our story: canton-grill.com

Experience Lebanese cuisine at its best

Ingredient

Belly dancing Friday and Saturday evenings 223 SW STARK STREET PORTLAND, OR 503-274-0010 ALAMIRPORTLAND.COM

*certificate has no cash value nor can be exchanged. Not valid with any other offer, promotion or discount.

Namaste

Parkrose since 2009 8303 NE Sandy Blvd 503-257-5059 Vancouver since 2001 6300 NE 117th Ave 360-891-5857

NamasteIndianCuisine.com 26

MEYER-BAY SAISON • CRANBERRY WHEAT • THE OTHER HALF IMPERIAL PORTER • FKB ESB • PADDLE BOARD PALE • BIG BITTER • BROWN DN’UNDA

Gluten-Free, Vegetarian, Vegan Options

• Broad Variety With Over 12 Beers Brewed On Site • 10 Minutes From Downtown Portland • Massive Sunny Lakeside Patio Located on Hwy 43 in downtown Lake Oswego, featuring an Asian-influenced menu and traditional Japanese yakitori.

Are you drinking well?

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REDHEAD • F-BOMB IPA • SOURPÜSS

Exotic Dishes of Lamb, Chicken, Goat

40 N State Street | Lake Oswego, OR 503.344.4449 | www.stickmenbeer.com M–TH 11:30–10 | F–S 11–12 | SU 11–10

Willamette Week SEPTEMBER 18, 2013 wweek.com

If you’ve got deep pockets and an insatiable curiosity about food, you probably should’ve bought tickets for Feast Portland a while ago.

The Bon Appétit-sponsored festival includes presentations on food culture, a butcher/fishmonger faceoff, butchery lessons from Camas Davis and a wine night with David Lynch (the wine writer—I was disappointed, too). There’s much more, but maybe you should’ve done what responsible adults do: save and plan ahead. Now a bunch of good stuff is sold out. Maybe it’s time you took a long look in the mirror, friend.

Multiple locations. 6 pm Thursday, 9 am Friday, 10 am Saturday, 9 am Sunday, Sept. 19-22. Individual tickets for some events available. feastportland.com.

FRIDAY, SEPT. 20

Bring this ad in for $10 off with a purchase of two entrees

Lavish Buffets of Indian Cuisine

EAT MOBILE V. K A P O O R

Karaoke 9pm nightly Hydro Pong Saturday night

The restaurant above Cellar Door coffee roaster, 2nd Story, closed in July but lives on as a dinner series focusing on individual ingredients.

The debut will showcase tomatoes, those red orbs Italians co-opted from Mesoamerica. 2nd Story, 2005 SE 11th Ave., 741-9693. 6:30 pm. $36, $54 with wine pairing.

SATURDAY, SEPT. 21 Pickles, Beers and Queers

This “pickle-centric, collaborative farm celebration” from a collective of LGBTQ farmers is spectacularly titled and features three things nearly everyone in Portland appreciates. (The stragglers will at least enjoy the potato-sack race.) Money raised will fund services for transgender children and their families.

Able Farms, 14700 N Gillihan Road.

5:30-8:30 pm. $10-$30.

SUNDAY, SEPT. 22 Pop-Up Aussie Hangover Brunch

Even if you were responsible and rich enough to get tickets to Feast Portland, you’ll still probably be hung-over Sunday morning, puddled on the bathroom floor as a high tide of nausea washes over you, while all the rest of us are headed off to church. Fortunately, Pacific Pie Company has the cure with the oldtime Australian remedy of pie floating in pea soup. Bloody marys and coffee will be on hand, along with Berocca, an Australian hangover cure. Pacific Pie Company, 1520 SE 7th Ave., 381-6157. 9 am. $25.

MONDAY, SEPT. 23 Experience Mezcal

You like movies and alcohol, right?

Let’s say the movie is a documentary about mezcal and the alcohol is mezcal. If you’re confused, why not try some mezcal at Experience Mezcal. Mezcal is a drink, and I’m drinking it right now, which is why this sounds like it does. Anyway, it all sounds like marketing from Big Mezcal, but there’s “zero brand sponsorship” of the documentary, and the trailer looks terrific.

Remember how I said I’m drinking mezcal right now? It’s smoky and rich, and way more interesting than tequila. Red Star Tavern, 503 SW Alder St., 222-0005. 7 pm. $50 includes screening, Q&A with director and tasting flight of mezcals.

CHICK FOOD: Tiffin Asha’s best dosa.

TIFFIN ASHA Dosas are rare in Portland proper. The crepelike Southern Indian staple is mostly known locally through places like Southeast Hawthorne’s Dwaraka and Hillsboro’s Chennai Masala, which serves nearly 30 different varieties. So the 4-month-old Tiffin Asha cart’s dosas are quite welcome on Alberta Street—offerings are comparatively limited, but are available closer to much of the city.

Elizabeth Golay’s cart was inspired by her partner, who is from the southeastern Indian state of Andhra Pradesh, deep in the dosa heartland. Tiffin Asha takes old family recipes and Order this: Hot Chick ($7). employs modern interpretations.

I’ll pass: Idli ($5).

The cart is fittingly situated next to a yoga studio, the mellow music and bohemian décor from each almost blending together as one establishment. Besides some traffic noise, the makeshift patio seating is peaceful.

Thin pancakes made of fermented lentil and rice, dosas are fluffy and crispy with a subtle tart tang. Tiffin Asha serves them plain, finished with a brush of clarified Indian butter and a side of sambar (spicy dal soup) for dipping ($3); stuffed with fried egg and bacon for brunch ($7); or my favorite, stuffed with pakora fried chicken drizzled with black cardamom-infused honey, pickled greens and creamy yogurt cheese (Hot Chick, $7).

Others fall short. The Studly Spud’s ($6) spicy green chilies mixed with a sharp tomato chutney proved overpowering, and since the dosa has an already potatolike texture, it suffered from a lack of contrast. Idli ($5) was also uninspiring—imagine a sour sponge cake. More satisfying were the vada holes: savory dal doughnut holes sprinkled with coconut-chili fleur de sel ($5).

They’re doughnuts that taste more like a side dish than a dessert.

Most dishes come with two-part “Gun Powders”: plastic bags filled with spice blends alongside small cups of sesame oil, to which the spices can be added. There is also a chutney bar with four housemade flavors—coconut, cilantro mint, peanut and an Indian-style ketchup. They are strongly spicy and, for me, unnecessary. I’ll take that pancake with fried chicken. HALEY MARTIN. EAT: Tiffin Asha, 1313 NE Alberta St., 936-7663, tiffinasha.com. 11 am-6 pm Tuesday-Thursday, 11 am-8 pm Friday-Saturday.

DRANK

MULLIGAN IMPERIAL IPA (DE GARDE BREWING) It’s dangerous to mix your vices: drinking and gambling, drinking and sex, drinking and bungee jumping…drinking and anything, really. So I approached Mulligan, from Tillamook’s new De Garde Brewing, a little warily. It is, after all, fermented in barrels used for demon gin, my light spirit of choice. “It tastes like Tillamook smells,” a drinking buddy said, referring to the wild yeast. But no: it tastes like the forest, from the pine of Polaris hops to the juniper-soaked wood of its barrels. The beer is interestingly aromatic, filling out often-needling hops with gin’s on-and-off notes, from liquor heat to hints of cardamom. The bottle feels undercarbonated compared to the keg pulls, but the beer is much less a mulligan than a long drive that bounced off a tree and onto the green. Recommended. MATTHEW KORFHAGE.

ZAK EIDSVOOG

FOOD & DRINK

THE PORTLAND OF MILK AND HONEY Honey is bee vomit. The little buzzers suck up nectar from various plants and spit it into honeycomb to ripen. And, like vomit, the look and taste of a batch depends entirely on what the bees eat.

The flavor of syrupy golden honey depends on where a particular hive’s bees harvested their nectar. Getting the most distinctive flavor of an area is the concept behind Bee Local, a Portland company that harvests from beehives in 11 Portland neighborhoods.

It’s a unique offering, says founder Damian Magista. “Most people just mix all their honey together,” he says. “Anyone else, they’re just hobbyists or only have one [hive] location.”

Bee Local’s honey is not cheap—an 8.6-ounce jar costs $15—but, as we found from a blind tasting of six Oregon honeys, it is damned good. And also bad. Bee Local’s first- and last-place showings in our taste-off proved the company’s point: location matters.

Bee Local Portland Farmland 83.5 points ($15)

The clear winner, Bee Local’s Portland Farmland fl avor is exactly what honey should be. It’s the color of grade-A maple syrup and has a nice, strong blueberry fl avor.

“Portland Farmland,” according to Magista, lies somewhere in Pleasant Valley (on the restive Portland-Clackistani border), and the fl avor is the product of the entire neighborhood. The bees’ nectar comes from “the fl owers in everybody’s garden and the natural trees in the area,” Magista says. “We harvest early in the season, before blackberries bloom.

Most other honeys have blackberry nectar in them—blackberry’s fl avor is overpowering.”

Tasting notes: “Nice consistency with a mild taste.

Would be great for tea.”

“Very fl oral. Kind of smells like the fl ower section of Fred Meyer, which is right by the bakery. It has a lot going on.”

My Local Honey 64.25 ($7.99)

This murky, very neutral honey is collected from both Oregon and Washington. It had a less distinctive fl avor than others, and managed to buzz its way into our No. 2 spot with middling scores across the board. Best used in cooking or on a sandwich.

Tasting notes: “Thick, uncomplicated, light fl avor.”

“Much thicker than normal honey, more like a honey spread. Gritty.”

Wessels Family Honey 63.75 ($5.49)

By far the sweetest honey in our taste-off, this Forest Grove product is deep amber and has pollen stuck to the sides of the jar. Thick and viscous, it has an extremely sweet, hazelnut-infl ected fl avor.

Tasting notes: “Hazelnutty, almost sweet, like a fancy, sophisticated marshmallow jelly.”

“Has a foamy head; would knock a bee dead with how sweet this is.”

Oregon Growers & Shippers Wildflower Honey 55.5 ($11.99)

Murky, but light, this “raw and unfi ltered” honey from Hood River proves that just because your fl owers are wild, your fl avor isn’t.

Many of our tasters reported that they couldn’t detect any discernible fl avor.

Tasting notes: “Tastes like it was made by fl ies, not bees.”

“Thick and ugly, plastic-y yellow color. Not very tasty at all; sort of a slushy lavender fl avor.”

GloryBee Raspberry 55.5 ($6.49)

It’s cute because it comes in a bottle the shape of a bear, right?

The back of this Eugene company’s bottle says it’s made of nectar from “the raspberry patches of the Pacifi c Northwest.” But raspberry nectar, as it turns out, tastes nothing like raspberries.

Tasting notes: “Utterly generic.”

“It’s like riding home on the bus after eating a honey sandwich.”

Bee Local Mt. Hood 49.37 ($15)

This off ering from Bee Local proves the company’s point—location matters. At $15 for 8.6 ounces, this honey is pricey and unpleasantly sugary. Much darker than the Portland Farmland fl avor and much less tasty—apparently Mount Hood’s pine trees don’t do much for honey.

Tasting notes: “Like Fun Dip synthetic grape fl avor.”

“Too sugary, like the candy I ate when I was 6. Overpowering.”

AS FEAST PRESENTS THE ROSE CITY AS FOODIE PARADISE, WE TASTE-TEST THE APPROPRIATE FOODSTUFFS.

BY R ICHA R D G RU N ERT

rgrunert@wweek.com

It can be surprisingly hard to find local milk. Supermarket shelves are lined with dairy from megafarms in Wisconsin and Ohio, but what if you want something from a local megafarm? We wanted to find the best Oregon milk in a blind taste-off. We grabbed six brands of 2 percent milk—keeping a hint of that good, fatty flavor—and scored them on a 100-point scale.

Organic Valley 65.25 ($3.89, available at Fred Meyer)

Garry’s Meadow Fresh 83 points ($4, available at City Market)

Sunshine Dairy Foods 61.25 ($1.19, available at Food Front)

Garry’s is sold in glass bottles with little globs of white fat stuck to the cap.

So shake it. Pasteurized but not homogenized, this white gold comes from Jersey cows, whose milk naturally contains more protein and calcium than milk from other cows. Even in a blind tasting, this milk stands out for it’s thickness and freshness. It’s produced by Lady-Lane Farm in Mulino, just south of Oregon City, and is also sold at Portland farmers markets.

Tasting notes: “It’s the milkiest! Straight-up milk fat, which is basically awesome.”

“Really farmy, but great.”

Horizon Organic 74.25 ($3.79, available at Fred Meyer)

It’s odorless and has a perfect aftertaste that reminds you of string cheese—in a good way. Horizon is a nationwide group of dairy farmers, but the milk we get in Oregon comes from Oregon farms.

Tasting notes: “Nice, creamy and comforting. No off ensive initial shock to the palate or aftertaste.”

“This one tastes more farmy, fatty, grassy—like an Iowa football player.”

It has a cheesy smell and taste that makes it seem like the dairy got only halfway in the cheesemaking process and stuck the result in a milk carton.

The Organic Valley milk we get in Portland comes from farms in Boring and Aurora.

Tasting notes: “Tastes like the cardboard box that a block of Philadelphia Cream Cheese came in.”

“Tastes like paper. By the third sip, it tastes like spitballs.”

Sunshine, which uses milk from cows in the Willamette Valley and Washington’s Yakima Valley, has a sour smell and aftertaste.

Tasting notes: “There’s an unpleasant buttery popcorn fl avor.”

“Watery, tasteless until the aftertaste hits you.”

Alpenrose Dairy 61 ($1.50, available at City Market)

This family-owned, Portland-based dairy sells milk with a mild aroma and a plain, grassy aftertaste. It’s sweet enough to substitute for a spoonful of sugar on your cereal.

Tasting notes: “Way too sweet. It tastes like I already ate the Froot Loops, and this is what’s left.”

“Extremely sweet, extremely bland.”

Darigold 56 ($2.49, available at Safeway)

It has an extremely sweet smell and taste, but no discernible aftertaste.

Darigold is one of the largest dairy farmer co-ops in the nation, and is based in Seattle.

Tasting notes: “If happy cows come from California, sad cows come from Oregon.”

“Sucks all the moisture out of my mouth.”

Willamette Week SEPTEMBER 18, 2013 wweek.com

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Willamette Week SEPTEMBER 18, 2013 wweek.com

MUSIC

SEPT. 18-24 TBA

= WW Pick. Highly recommended.

ANNABEL MEHRAN

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, SEPT. 18 .

Curren$y, AHS, Gutter Family, E Roc and the Roc-It Man

[PILOT TALK] Way back in 2010, when “cloud rap” was the buzz term du jour of the hip-hop blogosphere, Louisiana’s Curren$y was a frequent trending topic. With his limber, permastoned flow, he was the ideal MC for a time when beats were nearly as lifted as the dudes rapping over them. Since then, the former No Limit Soldier has released a zillion mixtapes while sounding like he’s never bothered to leave his Barcalounger. After a while, though, laid-back starts to come across as lazy. And as artists from Killer Mike to Kanye have moved to put the “boom” back in boom-bap, his style now seems less high-as-fuck than just really sleepy. MATTHEW SINGER. Alhambra Theatre, 4811 SE Hawthorne Blvd. 8 pm. $21-$40. All ages.

Bosnian Rainbows, Aan

[ART ROCK] Omar Rodriguez-Lopez is a rare musician who refuses to sit still, and the music world is a better place for it. After the short-lived At the Drive-In reunion and the dissolution of the Mars Volta, the multi-instrumentalist has much more time to devote to his various projects, including this new combo that writes around the veiled vocals of Teri Gender Bender. Around the edges of her singing, the rest of the band builds complex superstructures of desperate pop that crackles with electronic delights and leaves plenty of open space for RodriguezLopez’s guitar to provide the power

and heat. ROBERT HAM. Dante’s, 350 W Burnside St., 226-6630. 9 pm. $16 advance, $18 day of show. 21+.

Kate Boy, the Tempers, Daniel Rafn

[SYNTH POP] So many people born in the ’80s are fascinated with the music and culture they were too young to fully appreciate at the time. Some of them even seem to be inventing an alternate timeline, wherein that era’s style of pop music continues to thrive. Case in point: Swedish synth-pop wonder Kate Boy and local opener Daniel Rafn. For these artists, Tron and Devo and Patrick Nagel are all alive and well. Kate Boy (hint, she’s not a boy) keeps things cool and Euro-stylish. Rafn’s bizarre new video, meanwhile, does include some boyish sex appeal, but it also recalls the Cars’ “You Might Think” and Honey I Shrunk the Kids with its cheap CGI and general, dada-esque visual vibe.

NATHAN CARSON. Holocene, 1001 SE Morrison St., 239-7639. 8:30 pm. $10 advance, $12 day of show. 21+.

Woods, the Fresh and Onlys, Jessica Pratt

[INDIE FOLK] Brooklyn folk-rock outfit Woods is as much a niche musical force as an underground brand.

Jeremy Earl’s project started in New York back in 2005 with a few personal songs. He fleshed out a sturdy band over time and made one of the best indie albums in recent history in Bend Beyond. Over eight years Woods built a tender little empire, which includes its own music festival and stand-

TOP FIVE

CONT. on page 30

BY M ATTH EW SI N GER

WEIRDEST GUESTS ON PINK MARTINI’S NEW ALBUM Ari Shapiro NPR’s faux-hawked White House correspondent croons the Spanish ballad “Yo te Quiero Siempre,” which is basically the West Hills yogamom equivalent of a 50 Shades of Grey audiobook.

Philippe Katerine Katerine is a French pop singer with a ’70s porn ’stache who dresses like Capt. Stubing. Apparently, his own songs are quite subversive, so perhaps it’s just my own lack of culture talking, but all I imagine when listening to his duet with China Forbes is a bunch of mimes eating baguettes.

Meow Meow The “post-post-modern” cabaret singer, who performed with Thomas Lauderdale at the Schnitz as part of this year’s TBA Festival, purrs “I’m Waiting for You,” which is sure to become for the burlesque scene whatever the last Buckcherry single was for strippers.

The Von Trapps The descendents of the Sound of Music clan join Rufus Wainwright for a version of “Kitty Come Home,” originally performed by Kate and Anna McGarrigle, Wainwright’s mother and aunt, respectively. It is disarmingly pretty, but then, Rufus could make the Gwar songbook sound bequeathed by angels.

Phyllis Diller The late comedienne opens Get Happy with what’s touted as “her last recording,” singing a creaky version of “Smile,” a song written by “a friend of hers,” Charlie Chaplin. Quick, someone get Lauderdale on the phone with Larry King, before it’s too late!

HEAR IT: Get Happy is out Tuesday, Sept. 24, on Heinz Records.

HERE, MY DEAR WITH BODY/HEAD, KIM GORDON PICKS UP THE PIECES—THEN STABS HER GUITAR.

BY MATTH EW SIN GER

msinger@wweek.com

Kim Gordon doesn’t fit the mold of “celebrity divorcee.” That’s a role better suited for a much younger, more famous type of pop starlet, the kind who enters into a shotgun marriage for the sole purpose of writing a hit single about the inevitable breakup two months later. When Gordon left Thurston Moore, her husband of 27 years and Sonic Youth bandmate for even longer, in 2011, that was some real-life, grown-up shit, even if the details—a suspicious text message, another woman, an ongoing affair—seemed ripped from a Lifetime movie.

In proportion to how much Gordon ever made her private life public, the reasons for the separation were no one’s business but her own.

But when your marriage is propped up for decades as a model of wedded hipster bliss, fans can be forgiven for taking the split personally.

They’re going to want to know how it could’ve possibly fallen apart. They’re going to want answers.

That has put Gordon, in particular, in an unfamiliar position. Answering questions has never exactly been her thing. Although the prevailing image of her in popular consciousness is with a bass guitar slung over her shoulder, Gordon has an ambivalent relationship to terms like “musician” and “songwriter.” She identifies more as a “visual artist,” one with a strong conceptual streak, and isn’t apt to pour her life into a song, at least not in explicit, easily readable form. She acknowledges that recording Coming Apart, the new double album from Body/Head, her collaboration with noise guitarist Bill Nace, was a cathartic experience. But anyone expecting this to be her Rumours or Blood on the Tracks—her “divorce album,” in other words—is just going to end up more confused.

“I like lyrics to always be ambiguous, but they were as much influenced by [French filmmaker] Catherine Breillat’s movies as they were things happening in my life,” says Gordon, 60. “I think anytime someone writes a song, you bring something from your life, whether it’s emotion or something authentic you’ve experienced,

into it. Then you add other things to it, or try to.”

That said, Coming Apart certainly plays like someone processing a personal crisis. Atonal guitars clang and scrape as Gordon, her voice shakier and more fragile than usual, recites snippets of dialogue like “I can only think of you in the abstract” and “I feel so weak, so stupid”; on the tantalizingly titled “Last Mistress,” she even woofs like a subservient puppy. She and Nace have taken to describing the music as “scripted improvisation,” meaning there’s at least some adherence to form, and the effect is to constrict what would otherwise be a free-flowing exploration of noise to a level of intimacy that is almost frightening. It’s a challenging, harrowing and, if you stick with it, ultimately rewarding listen.

Obviously, the commercial aspirations for such a project are low, to put it generously, and initially, they were even less than that. Gordon originally recruited Nace, a longtime acquaintance from the music scene in her hometown of Northampton, Mass., to record a cover of “Fever” for a friend’s compilation. They came across the phrase “Body/Head” in a book about the films of the aforementioned Breillat. “We thought it was a good name, so we needed to start a band,” Gordon says. After putting out a few limited-run EPs on tiny labels, Coming Apart is being released through indie giant Matador, primarily to give live audiences a heads-up: Daydream Nation this ain’t.

“Originally, I was just happy to play music and do something I didn’t think I’d have to promote at all,” Gordon says. “Then we did a bunch of touring in Europe, and it seems like people’s expectations were for more Sonic Youth-type songwriting. It’s almost like the record is a calling card for playing live or something.”

For Gordon’s part, her days of “Sonic Youth-type songwriting,” it’s safe to say, are over. She might not have put the past behind her completely— she’s got a lot of past to process, after all, enough that an hour of tortured guitar noise alone isn’t going to cut it—but she’s getting there. Asked if she aspires to play in a traditional rock band again, Gordon is uncharacteristically straightforward.

“Not really, I don’t,” she says. “That isn’t to say Bill and I wouldn’t do an album of more conventional songs. But I feel like I did that for so long.

Now I want to do something else.”

SEE IT: Body/Head plays the Time Based Art Festival at the Works at Con-Way, 2170 NW Raleigh St., on Thursday, Sept. 19. 10:30 pm. $15$20. 21+.

Willamette Week SEPTEMBER 18, 2013 wweek.com

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MUSIC

WEDNESDAY-SATURDAY

out record label Woodsist. Better still, the two newest singles from the Woods camp show a band in excellent form, drawing on influences from Neil Young and the Byrds, while offering the band’s own special touch of textured neo-folk.

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

9 pm. $13 advance, $15 day of show.

21+.

THURSDAY, SEPT. 19 Star Slinger

[CHILLWAVE] I doubt covering 2 Unlimited’s 1993 hit “No Limits” on a church organ at age 5 is how most U.K. producers and DJs began their careers, but Darren Williams, aka Star Slinger, isn’t your standard DJ. Sure, he may often find himself alone, hunched over his laptop, crafting spacey, R&B-seared originals to the tune of J Dilla, but he’s also just as likely to be found remixing Deerhunter as he is English indie-pop sensations like London Grammer. The 27-year-old’s music is loaded with post-disco chic and groovy electro-funk samples, while layering fragmented house and shimmering psychedelia somewhere in between. BRANDON WIDDER. Rotture, 315 SE 3rd Ave., 234-5683.

9 pm. $10. 21+.

ages.

Cyril Hahn, Ryan Hemsworth, Henry Krinkle

[LUSH R&B] For someone who thus far has only a bunch of remixes under his belt, Cyril Hahn’s name is pretty damn high on every bill he plays. Bootleg remixes—the kind in which you have neither the original artist’s consent nor the multitrack masters—are pretty difficult to pull off. That’s just what Hahn’s done, though, starting with Destiny’s Child’s “Say My Name” and eventually revamping Jeremih, Solange and Mariah. His style takes highproduction R&B, wraps it in opaque gauze and turns up the attack on the drums. It must be the music of Portland’s dreams: Hahn’s first original single, due out Oct. 7, features Shy Girls’ Dan Vidmar. MITCH LILLIE. Rotture, 315 SE 3rd Ave., 234-5683.

9 pm. $10. 21+.

Burgerama Caravan of Stars: The Growlers, Cosmonauts, Gap Dream, Together Pangea, La Luz, White Fang, Colleen Green

[LABEL SHOWCASE] Fullerton, Calif.’s Burger Records has been getting a whole lot of love lately for supplying fans with an endless stream of blurry garage rock, most of it on the resurrected medium of cassette tape. Along with Portland’s Gnar Tapes and plenty others, the movement’s grown enough to have had its own national holiday earlier this month. Were you too baked to get off the couch and celebrate?

No worries: The Burgerama Caravan of Stars Tour approaches! By way of used Ford Econoline, Burger will import a cavalcade of fledgling upstarts and fuzzed-out bona fides alike. Whether the high ceilings and

CONT. on page 32

FLASHBACK

FRIDAY, SEPT. 20 Hanni El Khatib, Bass Drum of Death, Summer Cannibals

[GARAGE-ROCK BLUES] Skateboarder-turned-musician Hanni El Khatib is punk-rock at heart, the product of being raised on halfpipes and self-made skate ramps in San Francisco. The now L.A.-based artist has two records to his name, the latest getting the blues-rock touch from producer Dan Auerbach of the Black Keys. The record, Head in the Dirt, is a high-energy effort of torching garage rock set in simple, accessible, blues-based song structures.

MARK STOCK. Hawthorne Theatre, 1507 SE 39th Ave., 233-7100. 8 pm. $13.50 advance, $15 day of show.

All ages.

Halestorm, Girl on Fire

[QUESTIONABLE METAL] For decades, metal was a boys’ club filled with regressive attitudes and testosterone. So it almost seemed like progress when Halestorm won the Grammy for Best Hard Rock/ Metal Performance earlier this year. Then I watched the video for “Love Bites (So Do I),” and found lead singer Lizzy Hale spruced up into a trashy pinup, singing about the “other woman” as alternately a “chick” or a “bitch.” The Grammys have sucked ever since Jethro Tull won Metallica’s award, of course, but this really is a case of one step forward, two steps back. NATHAN CARSON. Wonder Ballroom, 128 NE Russell St., 284-8686. 7:30 pm. $20 advance, $23 day of show. All ages.

SATURDAY, SEPT. 21 The National, Frightened Rabbit

[TROUBLED BARITONE] Finding comfort in one’s own insecurities is easier said than done, but it doesn’t often take a band five albums to achieve. Brooklyn-viaCincinatti quintet the National has been working toward it for more than 14 years, leaving behind a buzzing wake of anguished, morose “indie rock” in the process. The band’s most recent release, Trouble Will Find Me, is not so much a new venture as an acceptance speech.

Frontman Matt Berninger’s abraded baritone still treads in dark subject matter, his voice framed by balmy rhythms and expansive reverb, but where he used to sound like a depressive wino, he now does so with greater melodies and a rich moan of self-assurance. BRANDON WIDDER. McMenamins Edgefield, 2126 SW Halsey St., Troutdale, 669-8610. 6:30 pm. Sold out. All

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Willamette Week SEPTEMBER 18, 2013 wweek.com

As widely respected Portland-via-Seattle punk label Dirtnap Records prepares to celebrate its 14th year, we asked founder Ken Cheppaikode to reminisce about its first release, a 7-inch record from Swedish ragers the Don’t Cares.

“This is our first-ever print ad, for our first-ever release, made when the label was only a few weeks old. In some ways, the label has come a long way since then. But in some ways, it hasn’t. I designed this ad myself, and 14 years later, if I were to make the ad again, it would probably look much the same. I’m afraid my graphic-design skills haven’t developed much, or at all, in the interim. Luckily for the label, it’s been a long time since I’ve designed my own ads. I would probably still have copies of this release lying around today, but the last 250 or so were destroyed (along with the rest of my apartment) in a raw-sewage flood circa late 2001.” —Ken Cheppaikode, Dirtnap Records founder.

SEE IT: Dirtnap Records’ 14th anniversary show, featuring Marked Men, Mean Jeans, Guantanamo Baywatch, Youthbitch and more, is at Slabtown, 1033 NW 16th Ave., on Friday, Sept. 20. 8 pm.

Advance tickets sold out, but select tickets will be available day of show for $15. 21+.

MUSIC

DATES HERE

AKILA FIELDS

PROFILE WEDNESDAY, SEPTEMBER 18 9pm. 21 & Over

$5 Burger 4-7 pm / 7 days a week

QUEER NIGHT STEPSISTER Free!

THURSDAY, SEPTEMBER 19 9pm. All Ages

10 YEARS CLEAN AND SOBER CELEBRATION

STEELHYMEN SAD HORSE RED SHADOWS Free!

FRIDAY, SEPTEMBER 20 8pm (doors at 7). 21 & Over

MARKED MEN BAD SPORTS MEAN JEANS WHITE WIRES SONIC AVENUES MIND SPIDERS LOW CULTURE GUANTANAMO BAYWATCH YOUTHBITCH AUTISTIC YOUTH

JENI WREN THURSDAY, SEPT. 19 [JAZZY SOUL] “Community” is Jeni Wren’s favorite buzzword.

Through the years of soaking up inspiration in Seattle’s jazz scene, the collaborations with Portland-area musicians that first brought her original work to fruition and launching a Kickstarter campaign to pool funds for her debut EP, Wren understands the power of getting together.

“I can’t think of one step that has brought me to where I am now that hasn’t involved community,” Wren says. “It’s overwhelming, inspiring and beautiful.”

Wren experienced a recent spike in local recognition with a stint as backup singer in Portland R&B baby-making outfit Shy Girls. She isn’t performing with the group for now, which is fine, because although she’s a great team player, Wren has her own career to attend to. The sultry singer’s first solo release, North Star, comes out this week, and it’s a solid collection of martinisipping, jazz lounge-ready, soul-influenced tracks. She also has a residency at the Secret Society Ballroom, starting with the release show.

Despite Wren’s affinity for collective creation, a bender of solitude and uncertainty inspired the bulk of the material for North Star. In 2012, after having supported herself as a Montessori teacher for two years in Portland, internal reorganization left Wren without a job. At the same time, she was going through personal relationship struggles and “just was not in a good place.”

“I had put my music career somewhat on hold when I moved to Portland and started teaching, but when I lost my job and life became uncertain, the inspiration just hit me,” she says.

Indeed, yearning, reflection and the desire for a sense of place speak strongly in the songs on North Star. “Patience is not my best virtue/ I wanna let go of the past,” Wren croons amongst a purring guitar lick and meandering saxophone on her first single, “Release.” “But despite my best intention/ I still shatter like glass.”

Wren took her ideas to bassist Michael Dougherty, who helped put the full songs into place. Next came a benefit for the Jeremy Wilson Foundation in July of last year, when she performed her songs for the first time. Then producer Matthew Flowers (Feist, the Visitors) came on board. By the time North Star came to fruition, a host of local musicians had contributed their talent, including Bill Marsh, Tim Snider, Farnell Newton, Noah Bernstein and Ben Darwish. The album-release show will feature an 11-piece band, Wren’s biggest lineup yet.

“I have so much appreciation for the people at every step: fellow musicians, publicists, studio managers, radio personalities,” she says. “We’re all just doing this because we love it, and I’m so happy to be a part of it.” GRACE STAINBACK. It took a village to create this ex-Shy Girl’s debut EP.

AdvAnce tix From StrAnger ticketS. $15.00 At the door.

Small Plate Menu features: Burgers.

Pulled Pork Sliders with Homemade Slaw, Chicken Strips & Fries, Caesar Salad, Soup, and Fresh Cut Garlic Fries all for under 5 bucks.

SATURDAY, SEPTEMBER 21 9pm. 21 & Over

KEPI GHOULIE MISS CHAIN & THE BROKEN HEELS Falafel House: 3 to Late–Night All Ages Shows: Every Sunday 8–11pm Free Pinball Feeding Frenzy: Saturday @ 3pm WITHIN SPITTING DISTANCE OF THE PEARL

1033 NW 16TH AVE. (971) 229-1455 OPEN: 3–2:30AM EVERY DAY

HAPPY HOUR: MON–FRI NOON–7PM PoP-A-Shot • PinbAll • Skee-bAll Air hockey • Free Wi-Fi

Pool. Sports. Beer. Pizza. Pinball.

529 SW 4th Ave., Portland www.rialtopoolroom.com

SEE IT: Jeni Wren plays the Secret Society, 116 NE Russell St., with Ancient Heat and Chance Hayden with Ian James, on Thursday, Sept. 19. 9 pm. $10 advance, $15 day of show. 21+.

Willamette Week SEPTEMBER 18, 2013 wweek.com

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MUSIC NEWS PG 7

SATURDAY-SUNDAY

unbasementlike atmosphere at the Wonder Ballroom will sterilize things or allow the melodies of bands like the Growlers and Cosmonauts to leap out from under the groovy busted-speaker vibes remains to be seen, but you’d be foolish not to roll a spliff and come along for the ride.

PETE COTTELL. Wonder Ballroom, 128 NE Russell St., 284-8686. 6 pm. $15 advance, $18 day of show. All ages.

SUNDAY, SEPT. 22 India.Arie

Vinyl Room

Anniversar� Sale �������������������� ������������������� ���������� WEDNESDAY, SEPT. 18TH through SUNDAY, SEPT. 22ND

����ALL NEW AND ��� USED VINYL

PAIR OF DR. DRE ����� AHEADPHONES &A ���� ��� $100 GIFT CERTIFICATE

Upcomin� In-Stores & Performances BASTILLE SPECIAL AUTOGRAPH SIGNING FRIDAY, 9/20 @ 6 PM

Meet Britain’s biggest new band! Bad Blood has sold a quarter of a million in the UK alone.

BRADLEY WIK AND THE CHARLATANS FREE LIVE PERFORMANCE

SATURDAY, 9/21 @ 5 PM

Picked as a top album of 2012 by several reviewers, with featured radio play and in studio performances on KINK, KPAM, KZME, KXTG, WUWM with This Old House, Friday Night is for the Drinkers, and Midwest Winters, Bradley Wik and the Charlatans have an album that’s worthwhile.

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Willamette Week SEPTEMBER 18, 2013 wweek.com

[SOULFUL SONGBIRD] During what seemed like a four-year hiatus away from music, India.Arie was actually hard at work on an album with Israeli artist Idan Raichel, featuring songs in both English and Hebrew.

But the project got shelved, and she instead re-emerged this summer with SongVersation, an album influenced by traditional Turkish music made in collaboration with singermusician Sezen Asku. It’s a deeply spiritual series of tracks covering not just the past four years but a lifetime of meditation and exploration. GRACE STAINBACK. Aladdin Theater, 3017 SE Milwaukie Ave., 234-9694. 8 pm. $49.50 advance, $52 day of show. Under 21 permitted with legal guardian.

Islands, Bear Mountain

[INDIE POP] As far as output is concerned, Islands was quick to get out from under the shadow of the one-and-done Unicorns. The ebullient twee pop of Nicholas Thorburn’s previous project still lurks in the margins, but it’s hard to imagine any of the tracks from the group’s latest album, Ski Mask, popping up in a Crayola commercial any time soon. Creating proper pop albums is now Thornburn’s main concern, which explains why latter-day efforts manage to feel twice as long and half as fun as the group’s debut, Return to the Sea. Worry not, though: In a live setting, this is nothing a few cocktails can’t remedy. PETE COTTELL. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $14 advance, $15 day of show. 21+.

Scorpion Child, Kadavar, Gypsyhawk, Wilson, Mothership

[STONER ROCK] The biggest annual event in stoner rock is the Roadburn festival in Tilburg, Netherlands.

It tends to sell out in about five minutes, and provides unbelievable entertainment minus the dirty masses of bigger outdoor summer fests. One of the big buzzes coming out of Roadburn this year belongs to German retro-rock outfit Kadavar.

Watching that set side-stage, I concur this group brings a level of punishing excellence that will please fans of Danava, Led Zeppelin, Blue Cheer and, well, just go see for yourself. Not convinced? Give one listen to the band’s 2013 album, Abra Kadavar. Then smoke me out in the alley behind the Hawthorne.

NATHAN CARSON. Hawthorne Theatre, 1507 SE 39th Ave., 233-7100. 7:30 pm. $12 advance, $15 day of show. All ages.

The Lumineers, Dr. Dog, Nathaniel Rateliff

[FOLK POP] Here’s what I wrote about the Lumineers in March 2012, a month before the release of the band’s self-titled debut album: “First single ‘Ho Hey,’ with its ‘Chain Gang’-like vocal push and pull, is a brokenhearted love song catchy enough to become this year’s ‘Home,’ the inescapable 2009 indie hit from fellow new-folk revelers Edward Sharpe and the Magnetic Zeroes.” Just call me Nostradamus!

Actually, it didn’t take preternatural foresight to know that song would break huge: Anyone with half a working ear could’ve predicted its success. Love it or hate it, you couldn’t stop humming it, and eventually it drove you totally fucking insane—the surefire sign of a can’tmiss hit. Of course, much like with

ALBUM REVIEWS

LOVERS A FRIEND IN THE WORLD (BADMAN) [SYNTH-POP CONFESSIONALS] By the time Portland discovered Lovers, singer-songwriter Carolyn Berk had already begun shedding the “female Conor Oberst” tag that dogged her early days as a teenage folkie in Athens, Ga., transposing her densely poetic, wounded-heart lyrics to catchy electro-pop anthems that registered within the LGBT community and beyond. A Friend in the World, Lovers’ seventh album and their second with instrumentalists Emily Kingan and Kerby Ferris, isn’t precisely a return to Berk’s roots, but it’s easy to imagine these songs being performed at an open mic, stripped of their synthetic embellishments. Not that there’s much to begin with: Tracks like “Tiger Square” and “Girl in the Grass” are built on simple chord progressions, lilting melodies and pitter-pat percussion, and garnished with sonic ephemera like the xx playing in a feminist bookstore. Berk remains a compelling lyricist—delivered in her pleading, midnight-confessional hush, even “guh?” lines like “the goose with the truth is loose” cut deep— but after introducing a richer palette on previous albums I Am the West and Darklight, the unwavering minimalism here feels like a slight step backward. MATTHEW SINGER. SEE IT: Lovers play Mississippi Studios, 3939 N Mississippi Ave., with Tender Forever and Night Cadet, on Saturday, Sept. 21. 9 pm. $10 advance, $12 day of show. 21+.

BLOUSE IMPERIUM (CAPTURED TRACKS) [EMBER POP] Despite trading in its synthesizers for guitars, on new record Imperium, Blouse still sounds like an ’80s-adoring pop outfit, albeit one from the tail end of the New Wave era, whose casual dream-pop guitars are occasionally interrupted by light doses of punk. Charlie Hilton’s tinny, whispered vocals blanket most of the record, offering a nice counterpoint to the zigzagging guitars on the excellent “Happy Days,” while weighing too heavily on slumberous tracks like the Nico-inspired “1000 Years.”

There’s a dull, emberlike glow to Imperium that is easy to get lost in, but the flicker eventually grows monotonous: While “Arrested” approaches Sonic Youth in its noisy, experimental clangor, other songs, such as “Eyesite,” feel coldly mechanized. With this album, Blouse shows fits of brilliance within a decidedly overcast mold, but there’s a small fire burning within Imperium that, with a little more invention, could be stoked to life. MARK STOCK. SEE IT: Blouse plays Star Theater, 13 NW 6th Ave., with Feathers and Litanic Mask, on Friday, Sept. 20. 9 pm. $8. 21+.

MAGIC MOUTH DEVIL MAY CARE (FAST WEAPONS) [SOUL PUNK] Magic Mouth frontman Stephfon Bartee blasts off this four-song EP with a shout of, “Ain’t you got no shame?!” and the answer to that is embedded in the quaking, rockabilly-ish rave-up that follows: Nope, not even a little bit. If shame were much of a concern for these four, Magic Mouth wouldn’t have evolved into one of the most bracingly ecstatic live acts in Portland. Following last year’s introductory Believer EP, Devil May Care seamlessly translates that onstage revelry into the studio.

The quartet attacks its soulful, multihyphenate funk-punk with gospelish fervor. “Swampy Seconds” finds Bartee testifying against handclaps and Pete Condra’s echoing guitar stabs a la the Clash’s “Know Your Rights,” while “Speak Softly After Dark (For Nina)” and the aptly titled “Disco Song” shake life back into mid-’00s dance punk by investing it with actual groove. Amid all the exhilaration, though, the record’s most stunning moment is also its calmest: “Mother Lode” is a sparkling, vibes-abetted ballad, hung on a graceful R&B bassline and Bartee’s gleaming falsetto, showcasing a dynamism that should bode well for the band’s eventual fulllength—which can’t come soon enough. MATTHEW SINGER. SEE IT: Magic Mouth plays Tonic Lounge, 3100 NE Sandy Blvd., with Double Duchess, Glitterbang, Seth Myzel and DJ Beyonda, on Friday, Sept. 20. 9:30 pm. $7. 21+.

SUNDAY-TUESDAY/CLASSICAL, ETC. Edward Sharpe and “Home,” I couldn’t name another Lumineers song if you held an 18th-century musket to my head. But from now until the end of our lifetimes, we’ll always have “Ho Hey” to bring us back to 2012-2013, the era when emo-folk musicians dressed like Appalachian moonshiners ruled the airwaves, and for time-capsule purposes, we should be forever grateful. MATTHEW SINGER. Memorial Coliseum, 1401 N Wheeler Ave., 235-8771. 7:30 pm. $25-$35. All ages.

TUESDAY, SEPT. 24 Ural Thomas and the Pain, Pwrhaus

[SOUL] Ural Thomas is proof that, at one time, the whitest city in America not only had soul but bred it, too. Starting out in the late 1950s singing doo-wop on Portland street corners, Thomas cut a series of hot-shit R&B 45s on his own label in the ’60s, showcasing his roughed-up, been-throughsome-stuff voice. He appeared at the Apollo Theater in Harlem dozens of times, opening for the likes of Stevie Wonder and Otis Redding, and seemed poised for a national breakthrough. Then, as often happens, things derailed. In the mid-’70s, he moved back to his old North Portland neighborhood, where he’s lived ever since, hosting weekly public jam sessions in his garage. But Thomas isn’t content just being an artifact. He’s got a new band, the Pain, and is performing regularly again. Thomas is a vital link to Portland’s past, but he’s playing in the present and gazing toward the future. MATTHEW SINGER. Bunk Bar, 1028 SE Water Ave., 894-9708.

9 pm. $7. 21+.

Wild Belle, Saint Rich

[REGGAE PSYCH POP] Goddamnit, somebody’s got to make reggae hip again, and if it takes a brothersister combo from Chicago, then so be it! As Wild Belle, Elliot and Natalie Bergman embellish the patented Jamaican upstroke with chilled-out indie-pop flourishes, bits of pale-faced soul and plenty of burly sax riffs. Isles, the group’s 2012 debut, is probably too chilled out for its own good, and maybe a tad too twee, also, but its embrace of tropical rhythms is pure and well-studied enough to differentiate the album from other bands that aim for the same sound but end up at the door of Jack Johnson beach-fire territory. MATTHEW SINGER. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $12 advance, $14 day of show. 21+.

Jackson Scott, The We Shared Milk, A Happy Death

[ROUGH CUT LO-FI] Sometimes a record’s art describes the band perfectly. Jackson Scott’s album Melbourne features a blown-out, sepia-toned photo of children around a table at what appears to be a birthday party. The kids are fascinated by the attention of the lens—uncomfortable even. Such is the North Carolinian’s music: offkilter, squirmish and under-developed. Scott sings about loneliness in his childlike, sometimes androgynous voice. The guitar work is abstract and gently radiating.

Overall, Scott’s music is fascinating, in that it makes you feel nostalgic for childhood, when it was acceptable to be openly strange. MARK STOCK. Holocene, 1001 SE Morrison St., 239-7639. 8:30 pm. $10. 21+.

Dirty Beaches, SISU, Chasms

[ONE-MAN NOIR] A few fun ways of describing the sound of Alex Zhang Hungtai, aka Dirty Beaches: Suicide scoring Blue Velvet; Chris Isaak if he grew up in downtown New York’s art scene in the 1970s; Roy Orbison with a drum machine and an Ambien cocktail.

I could go on. Let it suffice to say,

MUSIC

the Taiwanese-born, Canadianraised sonic architect makes darkly evocative music, shrouded in lo-fi mystery and infused with the danger of a ’50s biker flick. Latest album Drifters/Love Is the Devil has two sides—one featuring eerie, analog-electro-pop songs, the other ambient instrumentals that unfurl like fog through the darkness on the edge of town. It all plays out like a stroll through David Lynch’s subconscious, and it’s as simultaneously unsettling and irresistible as that sounds. MATTHEW SINGER. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. $12. 21+.

CLASSICAL, WORLD & JAZZ Roomful of Teeth

[VANGUARD VOCAL ENSEMBLE] Two of Portland’s most forward-thinking music institutions, Resonance Ensemble and FearNoMusic, team up to bring in one of the country’s hottest new music vocal ensembles: a Kronos Quartet for chorus. Roomful of Teeth is propelled by the surprise success of one of its members, 30-year-old New York-based composer Caroline Shaw, who this year became the youngest recipient of the Pulitzer Prize for Music for her ecstatic, otherworldly Partita for 8 Voices. The group is touring the nation with music from that award-winning a capella work and other works by some of today’s most accessibly adventurous young composers. BRETT CAMPBELL. Agnes Flanagan Chapel at Lewis &Clark College, 0615 SW Palatine Hill Road, 768-7461. 7:30 pm Friday, Sept. 20. $11-$35. All ages.

Indrajit Banerjee, Snehashish Mazumdar, Subrata Bhattacharya

[HINDUSTANI CLASSICAL] Sitarist Indrajit Banerjee is literally a born musician: His mother and maternal grandfather were both acclaimed sitar masters, and he is a disciple of Kartick Kumar, whose guru was Ravi Shankar. The award-winning Snehashish Mazumdar, known for his film music, has mastered the mandolin, and adapted it to Indian music. And Subrata Bhattacharya is simply one of the finest tabla masters in India today, and a familiar figure in Indian concerts.

In this kickoff to the venerable Portland-presenting organization Kalakendra’s season, they’ll play traditional music of northern India.

BRETT CAMPBELL. First Baptist Church, 909 SW 11th Ave. 7:30 pm Saturday, Sept. 21. $10-$25. All ages.

Ben Goldberg Featuring Nels Cline, Blue Cranes

[POLYPHONIC JAZZ] The Bay Area-based clarinet master Ben Goldberg first gained national attention in the 1980s by combining traditional klezmer melodies with daring improvisation in the pioneering New Klezmer Trio. He’s since collaborated with contemporary jazz greats Joshua Redman, drummer Scott Amendola, pianist Myra Melford, guitar groover Charlie Hunter and trumpeter Ron Miles. This quintet includes everadventurous Wilco guitar wizard Nels Cline, highly regarded tenor saxophonists Ellery Eskelin and Rob Sudduth, and drummer Ches Smith, who plays with Xiu Xiu and many others. Goldberg usually contributes subterranean basslines on the rare, colossal contra alto clarinet. While capable of ingeniously intertwining Ornette Coleman-style polyphonic lines, the ensemble focuses more lately on plaintive, songlike melodies. BRETT CAMPBELL. Mississippi Studios, 3939 N Mississippi Ave., 2883895. 8 pm Monday, Sept. 23. $12 advance, $15 day of show.

Willamette Week SEPTEMBER 18, 2013 wweek.com

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Willamette Week SEPTEMBER 18, 2013 wweek.com

Music Calendar = WW Pick. Highly recommended.

[sept. 18-24] Secret Society Ballroom

Hawthorne Theatre

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.

116 NE Russell St. Jeni Wren, Ancient Heat, Chance Hayden and Ian James (North Star EP release)

1507 SE 39th Ave. Hanni El Khatib, Bass Drum of Death, Summer Cannibals

For more listings, check out wweek.com.

Slabtown

2346 SE Ankeny St. Drew Tucker, Chris Juhlin

D aniel B oud

1033 NW 16th Ave. Steelhymen, Sad Horse, Red Shadows

The Blue Monk

3341 SE Belmont St. Hidden Rebel Bass

The Know

Kells Brewpub

Tonic Lounge

Kells

1201 SW Jefferson St. Alan Jones Academy Jazz Jam

White Eagle Saloon 836 N Russell St. Phavian, the Mercury Tree, ARZ, Elora, Will West

Fri. Sept. 20 Al’s Den at the Crystal Hotel

Wed. Sept. 18 Al’s Den at the Crystal Hotel 303 SW 12th Ave. Run On Sentence, Nick Jaina

Aladdin Theater

3017 SE Milwaukie Ave. Jars of Clay, Brooke Waggoner, Kye Kye

Alberta Rose Theatre

3000 NE Alberta St. Josh Garrels, Loud Harp, A Boy and His Kite

Alberta Street Public House

1036 NE Alberta St. Matt Zeltzer, Hunter Paye, Krista Herring

Alhambra Theatre

1001 SE Morrison St. Kate Boy, the Tempers, Daniel Rafn

Ivories Jazz Lounge and Restaurant

1435 NW Flanders St. Rebecca Kilgore, Dave Frishberg

Jimmy Mak’s

221 NW 10th Ave. The Mel Brown Quartet

Kells

112 SW 2nd Ave. Bill Tollner

Kelly’s Olympian

426 SW Washington St. Bevelers, Brett and Blake, Terrible Buttons, An American Forest

4811 SE Hawthorne Blvd.

Curren$y, AHS, Gutter Family, E Roc and the Roc-It Man

Kenton Club

Ash Street Saloon

4847 SE Division St. Miller and Sasser’s Twelve Dollar Band, Jake Ray

225 SW Ash St. Wind Hand, Bell Witch, Ionophore, Stoneburner

Backspace

115 NW 5th Ave. Erotic City (Prince tribute)

Brasserie Montmartre 626 SW Park Ave. Eric Vanderwall

Dante’s

350 W Burnside St. Bosnian Rainbows, Aan

Doug Fir Lounge

830 E Burnside St. Sean Hayes, the Blank Tapes

Duff’s Garage

2025 N Kilpatrick St. The Tumblers

Landmark Saloon

LaurelThirst

2958 NE Glisan St. Conjugal Visitors, the Barkers

McMenamins Edgefield 2126 SW Halsey St., Troutdale Henry Kammerer

Mississippi Studios

3939 N Mississippi Ave. Woods, the Fresh and Onlys, Jessica Pratt

Slabtown

1033 NW 16th Ave. Queer Night: Stepsister

Suki’s Bar & Grill

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

2401 SW 4th Ave. Her Ghost

East End

2026 NE Alberta St. Hard Skin, Criminal Damage, Bi-Marks, Adelitas

203 SE Grand Ave. Human Eye, SEX, Little Pilgrims

Goodfoot Lounge

2845 SE Stark St. Manimal House, Papa Coyote

Hawthorne Theatre

1507 SE 39th Ave. Kamelot, Delain, Eklipse

The Know

The Old Church

1422 SW 11th Ave. Die Fledermaus: Cascadia Concert Opera

Thorne Lounge

4260 SE Hawthorne Blvd.

Musician’s Open Mic

3100 NE Sandy Blvd.

Do You Remember Rock ‘n’ Roll? Radio Show: Pat Kearns

Tube

18 NW 3rd Ave. Havania Whaal, Mister Tang, the Mishaps

White Eagle Saloon 836 N Russell St. Brad Parsons

Wilfs Restaurant & Bar 800 NW 6th Ave. Ron Steen Band, Paula Byrne, Joe Millward

Thurs. Sept. 19 Al’s Den at the Crystal Hotel 303 SW 12th Ave. Run On Sentence, Ryan Sollee

Aladdin Theater

3017 SE Milwaukie Ave. Ben Rector, Tyrone Wells

Alberta Street Public House 1036 NE Alberta St. Los Es Stupido

Ash Street Saloon

225 SW Ash St. Spatia, Laser Me Moses, One For the Wolves

Backspace

115 NW 5th Ave. Hunter Valentine, Girl in a Coma, Krissy Krissy

Buffalo Gap Eatery and Saloon 6835 SW Macadam Ave. Cosmic Rose, Chris Carpenter Band, June Bugs, Cascade Rye

Dante’s

East End

203 SE Grand Ave. Phone Call, Prescription Pills, IBQT, DJ Freaky Outty

Hawthorne Theatre Lounge

1503 SE Cesar E. Chavez Blvd.

Ryan Traster, John Shepski, Luke McCain

Katie O’Briens

2809 NE Sandy Blvd.

Calabrese, Dartgun and the Vignettes

Kells

112 SW 2nd Ave. Bill Tollner

Kelly’s Olympian

426 SW Washington St. Divers, Damn Family, Lady Problems

Kenton Club

2025 N Kilpatrick St. Upstairs Downstairs, Moon Debris, Pelican Ossman

Landmark Saloon

4847 SE Division St. The Pickups

LaurelThirst

2958 NE Glisan St. Wild & Scenic, Lewi Longmire and the Left Coast Roasters, Doug Stepina, Amanda Richards

McMenamins’ Kennedy School 5736 NE 33rd Ave. Kris Orlowski

Mission Theater and Pub 1624 NW Glisan St. Dave Valdez and the Latin Side

350 W Burnside St. Reverend Deadeye, Ghostwriter, Right On John

Mississippi Pizza

Doug Fir Lounge

3939 N Mississippi Ave. Lake, Morning Ritual, Port St Willow

830 E Burnside St. New Mastersounds, Tracorum

Duff’s Garage

1635 SE 7th Ave. Mac Potts, Tough Lovepyle

3552 N Mississippi Ave. Mark Ettinger

Mississippi Studios

Rotture

315 SE 3rd Ave. Star Slinger

Katie O’Briens

Tiger Bar

West Cafe

Tonic Lounge

221 NW 10th Ave. Bart Ferguson and the Edward Stanley BAnd

2026 NE Alberta St. Babysitter, Lunch

3100 NE Sandy Blvd.

Kelly Moneymaker, Shell

Holocene

Jimmy Mak’s

2809 NE Sandy Blvd.

Endless Loop, Bubble Cats, the Meat Sweats

317 NW Broadway Karaoke From Hell

neon noir: Dirty Beaches plays Mississippi Studios on Tuesday, Sept. 24.

Jade Lounge

303 SW 12th Ave. Run On Sentence, Pancake Breakfast

Alberta Rose Theatre

3000 NE Alberta St. The Quick and Easy Boys, Musketeer Gripweed

Alberta Street Public House

1036 NE Alberta St. Brad Creel and the Reel Deel

Alhambra Theatre

4811 SE Hawthorne Blvd.

Melvin Seals, Cats Under the Stars

Ash Street Saloon

225 SW Ash St. The Vibrators, Hammered Grunts, Chartbusters, PDX Punk Rock Collective

Backspace

115 NW 5th Ave. Comic Con Afterparty: Kirby Krackle, Death Star, Molly Lewis

Biddy McGraw’s

6000 NE Glisan St. Counterfeit Cash, Cascadia Crescendo

Bossanova Ballroom 722 E Burnside St. The Strange Tones, WaveSauce

Branx

320 SE 2nd Ave. An Effortless Approach, Ghost Town Grey, Above the Broken, Colliding Fates, Path to Ruin

Bunk Bar

1028 SE Water Ave. Battleme, the Grizzled Mighty, Miracle Falls

Crystal Ballroom

1332 W Burnside St. Matt Nathanson, Joshua Radin

Dante’s

350 W Burnside St. The Slants

Doug Fir Lounge

830 E Burnside St. Bastille, Little Daylight, Nightmare and the Cat

Hawthorne Theatre Lounge

1503 SE Cesar E. Chavez Blvd.

The Get Ahead, White Chocolate and the Cigarettes, Big Haunt, Annie Dang

210 NW 21st Ave. Sami Rouisi 112 SW 2nd Ave. Coming Up Threes

Kelly’s Olympian

426 SW Washington St. Samsel and the Skirt, Joy Pearson, Lexi Tucker

The Know

2026 NE Alberta St. Dorcas Hoar, Inophore, Dispiria

Tiger Bar

317 NW Broadway Shrike

Tonic Lounge

3100 NE Sandy Blvd.

Magic Mouth, Double Duchess, Glitterbang, DJ Beyonda, Seth Myzel

White Eagle Saloon 836 N Russell St. Bad Assets, Reverb Brothers

Wilfs Restaurant & Bar 800 NW 6th Ave. T Jones, Anthony Jones, Chris Turner, Patrick Cooper

Wonder Ballroom

128 NE Russell St. Halestorm, Girl on Fire

Sat. Sept. 21

Kenton Club

Al’s Den at the Crystal Hotel

2025 N Kilpatrick St. Dramady, the Gutters

303 SW 12th Ave. Run On Sentence, Paleo

Landmark Saloon

Aladdin Theater

4847 SE Division St. Pete Krebs and the Portland Playboys, Hank Sinatra and His Atomic Cowboys

LaurelThirst

2958 NE Glisan St. Lynn Conover & Gravel, Lone Madrone

3017 SE Milwaukie Ave. Riders In the Sky

Alberta Rose Theatre

3000 NE Alberta St. Live Wire! Radio: Ramona Falls

Alberta Street Public House

East End

203 SE Grand Ave. Goddamned Animals, Future Historians, Poe and Monroe, Altadore, Siren & the Sea

Hawthorne Theatre Lounge

1503 SE Cesar E. Chavez Blvd.

David E. Lane and the Tipsy Ramblers, Quenby, the West Of Wayland

Hawthorne Theatre

1507 SE 39th Ave. Jonny Craig, William Beckett, Kyle Lucas, Heart And Hands, Bleach Blonde

Ivories Jazz Lounge and Restaurant 1435 NW Flanders St. Ezra Weiss Sextet

Jimmy Mak’s

221 NW 10th Ave. Thara Memory

Katie O’Briens

2809 NE Sandy Blvd.

The Good Sons, Last Prick Standing, the Ed Mike and Ryan Show

Keller Auditorium

222 SW Clay St. Big Night Gala Concert

Kells Brewpub

210 NW 21st Ave. Sami Rouisi

Kells

112 SW 2nd Ave. Coming Up Threes

Kelly’s Olympian

2126 SW Halsey St., Troutdale Matt Zeltzer

1036 NE Alberta St. Three For Silver, Neighborhood Superstars, James Faretheewell

McMenamins Rock Creek Tavern

Arlene Schnitzer Concert Hall

2025 N Kilpatrick St. Coolzey Isalive, Sistafist

McMenamins Edgefield

10000 Old Cornelius Pass Road, Hillsboro 23window

Mississippi Pizza

3552 N Mississippi Ave. Melao de Cuba, Level 2

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

Music Millennium

3158 E Burnside St. Bastille

Record Room

8 NE Killingsworth St. Fasters, q un Q, Tapedeck Mountain, Toyboat Toyboat Toyboat

Replicant

1037 SW Broadway Scheherazade

Artichoke Community Music 3130A SE Hawthorne Blvd.

Cindy Lyndin

Ash Street Saloon

225 SW Ash St. The Suppressors, Irie Idea

Backspace

115 NW 5th Ave. The Last Department, Foreign Talks, Demure, Walter & The Conquerer, Medium Sized Kids, Death Star Radius

Bossanova Ballroom

722 E Burnside St. March 4th Marching Band

1212 SE Powell Blvd No Parades, Could City Cars, Troubled By Insects, Weather Exposed

Brasserie Montmartre

Roseland Theater

8560 SE Division St. The Higgs, Ian and the Crushers

8 NW 6th Ave. Bingo Players, Jamie Meushaw, Eddie Pitzul

Secret Society Ballroom

116 NE Russell St. The Bellfuries, Pete Krebs and his Portland Playboys, Jeremy Wakefield

Slabtown

1033 NW 16th Ave. Marked Men, Bad Sports, Mean Jeans, White Wires, Sonic Avenues, Mind Spiders, Low Culture, Guantanamo Baywatch, Youthbitch, Autistic Youth

Star Theater

626 SW Park Ave. Sidestreet Reny

Bravo Lounge

Bunk Bar

1028 SE Water Ave. Porcelain Raft

Camellia Lounge 510 NW 11th Ave. George Colligan

Club 21

2035 NE Glisan St. The Hot LZs, The Decliners, Sharks from Mars

Clyde’s Prime Rib

5474 NE Sandy Blvd.

Andy Stokes

Dante’s

13 NW 6th Ave. Blouse, Feathers, Litanic Mask

350 W Burnside St. Wednesday 13, Cold Blue Rebels, Mortified Mortician

The Analog

Doug Fir Lounge

720 SE Hawthorne Otis Heat, the Bottlecap Boys, the Fontaine Classic

830 E Burnside St. The Features, Daydream Machine

426 SW Washington St. Spirit House, Railer, Black Market Sunday

Kenton Club

LaurelThirst

2958 NE Glisan St. Michelle McAfee, Kris Deelane & the Sharp Little Things, the Yellers

Lola’s Room at the Crystal Ballroom 1332 W Burnside St. Moshe Kasher

McMenamins Edgefield 2126 SW Halsey St., Troutdale Steelhead

McMenamins Edgefield (outdoors) 2126 SW Halsey St., Troutdale The National, Frightened Rabbit

McMenamins Rock Creek Tavern

10000 Old Cornelius Pass Road, Hillsboro The Brothers Jam

Mission Theater and Pub 1624 NW Glisan St. Wooden Indian Burial Ground

Mississippi Pizza

3552 N Mississippi Ave. Pura Vida Band, Midwestern

Mississippi Studios

3939 N Mississippi Ave. Lovers, Tender Forever, Night Cadet

Music Millennium

3158 E Burnside St. Bradley Wik and the Charlatans

Peter’s Room

8 NW 6th Ave. Sol, Sam Lachow, BFA

Record Room

8 NE Killingsworth St. Mascaras, Dead River, Nudity, Valkyrie Rodeo

The Firkin Tavern

1937 SE 11th Ave. Mister Tang, Glassbones, Manx, Psychomagic

cont. on page 37 Willamette Week SEPTEMBER 18, 2013 wweek.com

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Willamette Week SEPTEMBER 18, 2013 wweek.com

SEPT. 18-24 BAR SPOTLIGHT

MUSIC CALENDAR

ROSNAPS.COM

Alberta Street Public House 1036 NE Alberta St. Ando Ehlers

Andina

1314 NW Glisan St. Pete Krebs

Arlene Schnitzer Concert Hall 1037 SW Broadway Scheherazade

Ash Street Saloon

225 SW Ash St. Esoteric, Velnias, Saturnalia Temple

Camellia Lounge

510 NW 11th Ave. Vocalists’ Jazz and Blues Jam: Joe Millward

Dante’s

350 W Burnside St. Karaoke From Hell

Doug Fir Lounge

VIVA LAS OLD TOWN: The recently opened Fifth Avenue Night Lounge (125 NW 5th Ave., 477-8626, fifthavenuelounge.com) wants to bring a little of the Vegas Strip to Old Town. The self-proclaimed “best nightclub in Portland,” this venue employs velvet ropes and a mob of dress codeenforcement bouncers to keep the riffraff from Backspace and Theo’s diner at bay. After a week of Vegas clubbing, I dropped by Fifth Avenue to find a glass container filled with free condoms branded for a book called Arousing the Buy Curious: Real Estate Pillow Talk for Patrons and Professionals.

Shortly after, a flat screen behind the bar was flipped from graphic news footage of burn victims to SportsCenter. The bar features liquor-infused ice cubes ($1) and popsicles ($3) along with a selection of cocktails such as the Portlandia ($9), a mix of local spirits, citrus, seasonal berries and light beer that tasted like limeade with pieces of citrus lodged in the straw. The crowd was a mix of middle-aged men and younger women teetering on rhinestone stilettos. There are four neon-glowing “VIP” areas, one of which is identical to the rest of the club, but on an elevated platform. Later in the night, fog machines were going, lights were flashing, bass was bumping and people were twerkin’. A valiant effort, but what happens in Vegas should probably stay in Vegas. HALEY MARTIN. Replicant

1212 SE Powell Blvd Montgomery Word, Automatic Thoughts, Loco Potion, Raspy Meow, DJ Hunter Thompson

Rotture

SUN. SEPT. 22 Al’s Den at the Crystal Hotel 303 SW 12th Ave. Ed and the Red Reds

Aladdin Theater

315 SE 3rd Ave. Cyril Hahn, Ryan Hemsworth, Henry Krinkle

3017 SE Milwaukie Ave. India.Arie

Slabtown

1314 NW Glisan St. Ryan Walsh

1033 NW 16th Ave. Kepi Ghoulie, Miss Chain & The Broken Heels

The Analog

720 SE Hawthorne Jimmy Amputate’s Punk Rock Wake

The Blue Monk

3341 SE Belmont St. King Ghidora

The Elixir Lab

2738 NE Alberta St. Basement Jazz

Andina

Arlene Schnitzer Concert Hall 1037 SW Broadway Scheherazade

Ash Street Saloon

225 SW Ash St. Yidhra, Holy Grove, Lamprey, Mothers Whiskey

Clyde’s Prime Rib

5474 NE Sandy Blvd.

Ron Steen Jazz Jam

Doug Fir Lounge

The Know

830 E Burnside St. Islands, Bear Mountain

Tonic Lounge

1507 SE 39th Ave. Scorpion Child, Kadavar, Gypsyhawk, Wilson, Mothership

2026 NE Alberta St. Sioux, Czar, Beringia, Mursa 3100 NE Sandy Blvd.

A Crab’s Life, The Vermen, Kyleen Austin, Higgins, Zack Blei

Hawthorne Theatre

Lola’s Room at the Crystal Ballroom 1332 W Burnside St. Kris Orlowski

McMenamins Edgefield 2126 SW Halsey St., Troutdale Jon Koonce

Memorial Coliseum

1401 N Wheeler Ave. The Lumineers, Dr. Dog, Nathaniel Rateliff

Mississippi Pizza

3552 N Mississippi Ave. Smut City Jellyroll Society, Ed Haynes

Mississippi Studios

3939 N Mississippi Ave. Ray Wylie Hubbard, Sioux City Kid

Rontoms

600 E Burnside St. Sunday Sesh Fest: Minden, Houndstooth, Grapefruit, No Kind Of Rider

Roseland Theater

8 NW 6th Ave. Soul Vaccination, Crazy 8’s, Monti, Blubino, Knuckleheads, Lenny Rancher

830 E Burnside St. Denison Witmer, Amy Stroup

East End

203 SE Grand Ave. Old Age, Warships, Bombs Into You

Jade Lounge

2346 SE Ankeny St. Jaime Leopold

Jimmy Mak’s

221 NW 10th Ave. Dr. Lonnie Smith

Kells Brewpub

210 NW 21st Ave. Traditional Irish Jam Session

Kelly’s Olympian

426 SW Washington St. Eye Candy VJs

LaurelThirst

2958 NE Glisan St. Kung Pao Chickens, Douglas T. Cremmons and the Win-Win

The Analog

720 SE Hawthorne Gothique Blend

The Elixir Lab

2738 NE Alberta St. Moonshine Monday: Michael the Blind

The Know

2026 NE Alberta St. Montgomery Word, Automatic Thoughts, Tough Fuzz, NorthernDraw, Rap Class, Frankeee B, 60/40

White Eagle Saloon 836 N Russell St. Josh Cole

TUES. SEPT. 24 Al’s Den at the Crystal Hotel 303 SW 12th Ave. Ed and the Red Reds

Alberta Street Public House

1036 NE Alberta St. The Bylines, Matthew Gailey

Brasserie Montmartre 626 SW Park Ave. Larry Calame

Bunk Bar

1028 SE Water Ave. Ural Thomas and the Pain, Pwrhaus

Doug Fir Lounge

830 E Burnside St. Wild Belle, Saint Rich

Ivories Jazz Lounge and Restaurant

The Conga Club

Tony Starlight’s

3728 NE Sandy Blvd.

Midnight Serenaders

1435 NW Flanders St. Ted Brancato Quartet

4923 NE Martin Luther King Jr. Blvd., Suite 102 VYBZ Reggae Night

1001 SE Morrison St. Jackson Scott, The We Shared Milk, A Happy Death

Vie de Boheme

Jade Lounge

The Know

Mississippi Pizza

Vie de Boheme

3939 N Mississippi Ave. Dirty Beaches, SISU, Chasms

1530 SE 7th Ave. Toque Libre, Richard Sokpor, Ojos Feos, Annie Corbet

2346 SE Ankeny St. Blue Flags and Black Grass

White Eagle Saloon

112 SW 2nd Ave. Irish Sessions

836 N Russell St. The Billy Novas, Troy Richmond Dixon, Bethany Randall, Michael Henchman, Jan Hutchinson, the Student Loan

Wonder Ballroom

128 NE Russell St. Burgerama Caravan of Stars: The Growlers, Cosmonauts, Gap Dream, Together Pangea, La Luz, White Fang, Colleen Green

Kells

Kelly’s Olympian

426 SW Washington St. ManX, Owl Paws, Brother Elf

Laughing Horse Books 12 NE 10th Ave. They As In Them

LaurelThirst

2958 NE Glisan St. Amy Ganter, Freak Mountain Ramblers

2026 NE Alberta St. Charts, the Rich Hands, This Versus That 1530 SE 7th Ave. Chuck Israel’s Jazz Cafe

White Eagle Saloon 836 N Russell St. The Marvins

Holocene

3552 N Mississippi Ave. Heartland Defiant

Mississippi Studios

Refuge

116 SE Yamhill St. Pink Dress Gala: Plain White T’s

The Analog

MON. SEPT. 23 Al’s Den at the Crystal Hotel 303 SW 12th Ave. Ed and the Red Reds

720 SE Hawthorne Vanessa Rogers

White Eagle Saloon

836 N Russell St. ADD Love: Hunter Paye, Paleo, Will West, the Druthers

Willamette Week SEPTEMBER 18, 2013 wweek.com

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SEPT. 18-24 DANIEL PETERSON

MUSIC CALENDAR

HEY GIRL…: E*Rock spins at the Rose on Thursday, Sept. 19.

The Whiskey Bar

31 NW 1st Ave. Loudpvck, Token, Hal-V and Spacecase

Tiga

WED. SEPT. 18 Andrea’s Cha Cha Club 832 SE Grand Ave. Salsa: DJ Alberton

Beech St. Parlor 412 NE Beech St. Tony Remple

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

Ground Kontrol

511 NW Couch St. TRONix: Mike Gong, Bliphop Junkie

Star Bar

639 SE Morrison St. DJ Wess Texas

The Firkin Tavern 1937 SE 11th Ave. Eye Candy VJs

The Lovecraft

421 SE Grand Ave. Event Horizon: DJ Straylight, DJ Backlash

Tiga

1465 NE Prescott St. DJ Weird Cactus

THURS. SEPT. 19 Beech St. Parlor 412 NE Beech St. Alex Carney

1465 NE Prescott St. DJ Cat Lady

FRI. SEPT. 20 BC’s Restaurant

2433 SE Powell Blvd.

Activate: DJ Dot, Trevor Vichas

Beech St. Parlor 412 NE Beech St. DJ Kevin Lee

Berbati’s

231 SW Ankeny St. Cloud City Collective

CC Slaughters

219 NW Davis St. Fetish Friday with DJ Jakob Jay

Club 21

2035 NE Glisan St. DJ AM Gold

Goodfoot Lounge

2845 SE Stark St. DJ Aquaman’s Soul Stew

Ground Kontrol

511 NW Couch St. DJ Simon Galaga’s 88 MPH Arcade

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

Moloko Plus

3967 N Mississippi Ave DJ Maxamillion

Rotture

CC Slaughters

Star Bar

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

Star Bar

639 SE Morrison St. DJ Jonny Cakes

The Lovecraft

421 SE Grand Ave. Synthicide: Tom Jones, Erica Jones, Jared White, Luke Buser

The Rose

111 SW Ash St.

Willamette Week SEPTEMBER 18, 2013 wweek.com

Tiga

Berbati’s

231 SW Ankeny St. Studyhall: DJ Suga Shane

38

Club Chemtrail: E*Rock, Massacooramaan SPF666, Commune

315 SE 3rd Ave. ShutUp&Dance 639 SE Morrison St. Uncontrollable Urge: DJ Paultimore

The Lovecraft

1465 NE Prescott St. Colin Anderson

SAT. SEPT. 21 Beech St. Parlor 412 NE Beech St. DJ Bikini Briefs

639 SE Morrison St. DJ Andrew Loomis

Star Theater

13 NW 6th Ave. Church of Hive

The Lovecraft

421 SE Grand Ave. Danger Zone: Acid Rick, Alan Park

MON. SEPT. 23

Berbati’s

Beech St. Parlor

Branx

Berbati’s

231 SW Ankeny St. DJ Mellow Cee 320 SE 2nd Ave. Bearracuda, Hifi Sean, Matt Stands

CC Slaughters

412 NE Beech St. DJ Big Baby Experience 231 SW Ankeny St. DJ Henry Dark

CC Slaughters

219 NW Davis St. Revolution with DJ Robb

219 NW Davis St. Maniac Monday with DJ Robb

Ground Kontrol

The Lovecraft

511 NW Couch St. DJ I

Holocene

421 SE Grand Ave. Departures: DJ Waisted, DJ Anais Ninja

Star Bar

1465 NE Prescott St. Ra’Sean

The Conga Club

Beech St. Parlor

1001 SE Morrison St. Gaycation: Mr. Charming 639 SE Morrison St. Go French Yourself: DJ Cecilia 4923 NE Martin Luther King Jr. Blvd., Suite 102 Tropical Saturday Salsa

The Lovecraft

421 SE Grand Ave. DJ Bar Hopper

The Rose

111 SW Ash St. Synthesis: J.Alvarez/214, Audioelectronic, JAK, Moonmotel

The Whiskey Bar

Tiga

TUES. SEPT. 24 412 NE Beech St. DJ Mattressland

Berbati’s

231 SW Ankeny St. Soundstation Tuesdays: DJ Instigatah, Snackmaster DJ

Bossanova Ballroom 722 E Burnside St. Tango Tuesday

CC Slaughters

219 NW Davis St. Girltopia with DJ Alicious

31 NW 1st Ave. Play: 7Skies, WEB, Eddie Pitzul, Lone Wolf and Cub

Eagle Portland

Tiga

Star Bar

1465 NE Prescott St. Hostile Tapeover

SUN. SEPT. 22

421 SE Grand Ave. Perforce: DJ Musique Plastique, DJ Sharpie

Berbati’s

The Rose

Lola’s Room at the Crystal Ballroom

111 SW Ash St. Bang the Drum: Steve Loria, Ryan Walz, Mario Maroto, Tony Stewart

Star Bar

231 SW Ankeny St. DJ Linkus EDM

1332 W Burnside St. The Pearly Gates: DJ Tigerstripes

835 N Lombard St DMTV with DJ Danimal 639 SE Morrison St. DJ Plucky

The Lovecraft

421 SE Grand Ave. Lord Ill, Tokyo Death Stare, Rebel Scum, Electric Eye, Riddster, DJ Worm

Tiga

1465 NE Prescott St. Sweet Jimmy T

Jobs for the Food and Drink Industry Staffing solutions for owners and managers NYC/ CHI/ SFO/ SEA /PDX/ AUS

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Willamette Week SEPTEMBER 18, 2013 wweek.com

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PERFORMANCE A G AT H E P O U P E N E Y

TBA PREVIEW

TIME GOES ON After a first week of personal accounts of torture, fierce runway queens, a voguing Antigone, confessional pop music, giant whisklike sculptures, penis manipulation and attempts at twerking both successful and unsuccessful (read our ongoing coverage at wweek.com), the Portland Institute for Contemporary Art heads into the second and final weekend of its Time-Based Art Festival.

Fight that fatigue: There’s still good stuff—or at least stuff worth debating—to come.

Our top picks for the final week of PICA’s Time-Based Art Festival.

COURTESY OF THE ARTIST

Mariano Pensotti, Sometimes I Think, I Can See You We all spin narratives about those around us. What’s the story behind the bickering young couple on the bus? How about the gray-haired man smiling to himself on the park bench? Or the middle-aged woman sitting alone at the bar? Argentine theater director Mariano Pensotti wants to air these stories. In his theatrical installation Sometimes I Think, I Can See You, two writers sit in a public space, partially hidden, and make notes about the people around them. These thoughts—direct observations, questions, hypotheses, imaginings—are then projected from the writers’ laptops onto large screens, for everyone to read.

Pensotti has described these writers as “literary surveillance cameras,” but what’s canniest is how the installation upends our expectations about surveillance: Rather than eliciting suspicion or fear or outrage, it’s a source of inspiration and creativity and connection. At least, that is, when things go well. When Pensotti premiered the work in 2010 at a Berlin subway stop, Germans were eager to be included.

A writer described a girl as a dancer, which she took as a cue and began to gambol about. Groups of teenagers sang songs in a bid to be noticed.

NACERA BELAZA

Not all cities have been so enthusiastic. “In Helsinki it was just the opposite of Berlin,” says Pensotti, speaking from Buenos Aires via Skype. “People tended to ignore the writers. They felt uncomfortable being watched.”

This presentation, which is free, will be the work’s U.S. premiere. It’s a marathon one: Writers will be stationed at Portland State University for 7½ hours straight, for five days. In previous locations (Pensotti has taken the work to about 15 cities), it’s never lasted more than four hours.

PICA is staying mum on the identities of the writers, who will work hourlong shifts, but that’s ultimately secondary to the reactions of those they’re observing, the people who will become the characters in their stories. “What happens when you place fiction in a public place?” Pensotti asks.

“We’re putting subtitles on reality.” REBECCA JACOBSON. PSU Urban Center Plaza, Southwest Montgomery Street between 5th and 6th avenues. 11 am-6:30 pm WednesdaySunday, Sept. 18-22. Free. All ages.

The Chop Theatre/Itai Erdal, How to Disappear Completely When we refer to the ebbing of life, we often think— perhaps reflexively, in reference to each day—of the dying of the light. Itai Erdal makes this metaphor explicit in his performance How to Disappear Completely. Erdal is not an actor; he is an expert lighting designer. And when he received word that his mother was dying in Jerusalem, the Vancouver, B.C.-based artist returned to his homeland and filmed her from every angle and in every light as her own light slowly faded. In the work, Erdal manages the lighting with a hand controller while narrating his story, mixing his amateur storytelling with intimate footage of his mother and sister. Critics have found the experience so candid and disarming that they struggled to call it a performance—though after an intermittent two years on the stage, it very much must be. MATTHEW KORFHAGE. Imago Theatre, 17 SE 8th Ave. 6:30 pm Thursday-Saturday, Sept. 19-21. All ages.

MARIANO PENSOTTI 40

Willamette Week SEPTEMBER 18, 2013 wweek.com

Bouchra Ouizguen, Ha! The full-figured quartet of headscarf-wearing performers in Ha! certainly don’t resemble the stereotypical stick-figured dancer—and that’s exactly how Bouchra Ouizguen wants it. For her performances, the Moroccan-born, Frencheducated choreographer recruits women she meets on the street, assigning them to observe how real people move, walk, eat and drink, the better to portray the reality of her

homeland. These performers do more than just dance: They cackle, sing and transform from crones to warriors. As in her previous work, Madame Plaza, the three other dancers belong to a Moroccan caste called aïtas whose singing tradition is simultaneously respected and scorned for its erotic associations. In Ha!, inspired by texts by the great Persian mystic Rumi, these three women, joined onstage

by Ouizguen, dramatically explore themes of obsession and madness. BRETT CAMPBELL. Imago Theatre, 17 SE 8th Ave. 8:30 pm Thursday-Saturday, Sept. 19-21. $20-$25.

All ages.

Nacera Belaza, Le Trait solos and Le Temps Scellé; Le Cri Nacera Belaza, an Algerian-born choreographer who’s lived in Paris since childhood, makes deeply conceptual dances characterized by repetitive movement, minimalist lighting and costumes that look like monochromatic pajamas. In Le Trait, she is sometimes still, sometimes jerking around with neurotic tics. Similarly, in companion piece Le Temps Scellé (the two will be performed together this Thursday and Friday), performers wander about, endlessly twisting and squirming, backed by a racket of vocals and drums. In Le Cri, showing on Saturday, Belaza and her sister twist back and forth, over and over, swinging their arms for nearly the entire duration. You can probably think about a lot of things while watching someone spin in place for half an hour, but Belaza keeps her work purposefully abstract, inviting the audience to ponder solitude, autonomy and infiniteness. AARON SPENCER. Con-Way Blackbox, 2170 NW Raleigh St. Le Trait solos and Le Temps Scellé at 8:30 pm Thursday-Friday, Sept. 19-20. $20-$25. Le Cri at 8:30 pm Saturday, Sept. 21. $15-$20. All ages.

Daniel Barrow, The Thief of Mirrors/Looking for Love in the Hall of Mirrors Barrow is a much-belaureled artist nearly alone in his medium—he’s an animator who creates original narratives by overlaying multiple video projections with live and recorded voice. Think of it as an adult, emoVictorian version of Reading Rainbow, performed live and startling in its proficiency, with themes centering on the sadness of the isolated artist. He was part of the 2009 TBA fest with his piece Every Time I See Your Picture I Cry, an affecting (if a bit precious) piece that was sheer pornography for crafties, graphic-novel fans

PERFORMANCE TBA PREVIEW

COURTESY OF THE ARTIST

and lonely devotees of McSweeney’s, an allegory of the artist in which a trash collector spies on strangers to create an alternate phone book filled not just with names but lives, as each subject is then murdered. He’ll incorporate prerecorded vignettes into his new work, The Thief of Mirrors, about a robber who wears a sad-clown mask that etches itself onto the surface of any mirror that reflects it. Looking for Love in the Hall of Mirrors, meanwhile, centers on a gay sex park and dreams of success in love and art. Position yourself behind Barrow at the projectors for a voyeuristic peek into his process. It’s an oddly intimate experience. MATTHEW KORFHAGE. NW Film Center’s Whitsell Auditorium at the Portland Art Museum, 1219 SW Park Ave. 6:30 pm Friday and 8:30 pm Saturday, Sept. 20-21. $15-$20. All ages.

PreseNts DANIEL BARROW

Andrew Ritchey, The Secret Society TBA’s theme for visual-arts programming this year is “…community declared itself a medium….” That seems appropriate for a festival that features artists from around the world working in diverse media. Yet the touchy-feely “community” reference belies undercurrents of snark lurking beneath the surface of events such as Andrew Ritchey’s The Secret Society.

Ritchey, a Portland-based artist, composer and film historian, has put together a series of screenings of 16 mm films. They’re grouped together under the premise that cinema is obsolete today, lingering only in memories of a bygone “secret society.”

The screenings are divided into four parts, obliquely titled “Rebus,” “Number,” “Chronicles” and “Erotic Miscellany.” The component films were created over a three-decade span, from the 1960s to the 1990s, and directed by well-known auteurs such as George Kuchar and Hollis Frampton.

In preview materials, Ritchey doesn’t have much to say about what presumably unites the films. Instead, he offers snide asides that obscure rather than clarify. “The programs of the Secret Society are for educational and informational purposes only,” he writes. “All patrons driven by other motives will be barred from the screening room at the start of each program.” Ritchey is so hip it hurts. In lieu of supplying a bio for the PICA website as all the other artists did, he opted instead to write a statement about the need to supply a bio. Ah well, one day artists such as he will learn that communicating with viewers is more effective than thumbing one’s nose at them. RICHARD SPEER. Con-Way, 2170 NW Raleigh St. Sept.

25-29. For screening program and times, visit pica.org. Another video, by Rebecca Carlisle-Healy and commissioned by Ritchey, plays on continuous loop at Con-Way through Sept. 22. All ages.

SEE IT: Tickets may be purchased at PICA’s box office at 415 SW 10th Ave., by phone at 224-7422 or online at pica.org.

Festival passes $48-$500.

icona pop With k. Flay

ALL AgEs! ON sALE sAtuRDAy 10Am

Friday december 20th, 2013

WONDER BALLROOm 128 N RussELL st

tickets at mUsicFestNW.cOm/tickets & ticketFly.cOm Willamette Week SEPTEMBER 18, 2013 wweek.com

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SEPT. 18–24

= WW Pick. Highly recommended.

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

Editor: REBECCA JACOBSON. Theater: REBECCA JACOBSON (rjacobson@wweek.com). Dance: AARON SPENCER (dance@wweek.com).

TO BE CONSIDERED FOR LISTINGS, submit information at least two weeks in advance to: rjacobson@wweek.com.

TIME-BASED ART FESTIVAL The 11-day festival, presented by the

Portland Institute for Contemporary Art, returns for its 11th year, with performances taking place across the city through Sept. 22. See full preview on page 40. TBA productions are marked . Full schedule at pica.org. with

THEATER The 39 Steps

Clackamas Rep closes its season with an adaptation of the Hitchcock spy movie, which requires a cast of four to play more than 150 characters. Clackamas Community College, Osterman Theatre, 19600 S Molalla Ave., 594-6047. 7:30 pm ThursdaysSaturdays and 2:30 pm Sundays through Oct. 6. $15-$30.

The Fantasticks

Hillsboro’s HART Theatre opens its season with one of Broadway’s longest-running musicals, about two fathers who pretend to feud in order to convince their kids to fall in love.

HART Theatre, 185 SE Washington St., 693-7815. 7:30 pm Fridays-Saturdays, 2 pm Sundays through Sept. 22. $17.

Fiddler on the Roof

Once again, Portland Center Stage begins the season with a big musical.

And this one is exceptionally big—PCS has corralled a cast of 28, including a handful of favorite locals, most notably certified star Susannah Mars.

Last year’s Sweeney Toddincorporated some curious Occupy references, and the previous season’s Oklahoma! had an all black cast, which leaves us wondering: Has director Chris Coleman got some political allegory up his sleeve for this tale of a poor Jewish milkman in pre-revolutionary Russia? Gerding Theater, 128 NW 11th Ave., 445-3700.

7:30 pm Tuesdays-Sundays, 2 pm Saturdays-Sundays, noon Thursdays through Oct. 27. $38-$72.

Julius Caesar

Post Five Theatre’s production of Julius Caesar ditches the togas for hoodies and spray paint, and the heavily graffitied setting feels more like Bosnia circa 1993 than it does ancient Rome. Slimmed down to about 90 minutes, director Ty Boice has taken heavy liberties with the original material. While everyone still speaks in Elizabethan English, Portia (Veronika Nunez) spends the entirety of a scene—the only one in which she appears—yelling at Brutus (Paul Angelo) in Spanish. The military fatigues worn by the cast in later scenes make everything feel even more surreal. The actors have energy and passion, and they invite the audience to crowd around Caesar’s body as they chant and demand justice. As fake blood flies, the kids in the audience seem to enjoy learning that it’s all right to murder politicians you don’t agree with, just as long as you say it’s for the good of the country. RICHARD GRUNERT. Milepost 5, 850 NE 81st Ave., 971-258-8584. 7:30 pm FridaysSundays through Sept. 29. “Pay what you can.”

Kiss of the Spider Woman

Fundamentally a meditation on how we perceive reality, Kiss of the Spider Woman is a baffling juxtaposition of humor and horror. It’s campy comedy mixed with violent drama. There are Odd Couple antics interrupted by lengthy tangents on political ideals.

High-stepping musical numbers punctuate brutal prison beatings. Luis Molina (played with just enough comic effect by Bobby Ryan) is a flamboyantly gay window dresser incarcerated in a South American prison for corrupting a minor. He escapes into his mind by reliving the films of his favorite childhood actress, Aurora. His new

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cellmate, Valentin (Nicholas Rodriguez, the best voice in the production), is a Marxist political revolutionary being tortured for information. Molina helps Valentin survive by drawing him into his fantasies of Aurora’s dazzling musical numbers and dramatic roles.

Though the eight-person Triangle Productions cast brings some impressive talent, it is limited by a show that is undeniably bizarre and unsettling— it’s surprising that it won the 1993 Tony Award for Best Musical. Is it a splashy and surreal musical comedy with something deeper to say? Or is it a heartbreaking drama that illuminates the way we mask suffering with fantasy and denial? Maybe it’s just a matter of perception. PENELOPE BASS. Sanctuary at Sandy Plaza, 1785 NE Sandy Blvd., 239-5919. 7:30 pm Thursdays-Saturdays, 2 pm Sundays through Sept. 29. $15-$35.

Lucky Stiff

nal production loosely draws inspiration from the famous work, combining theater and dance to imagine the daily lives of the employees and customers of a small-town diner. From JoAnn (Catherine Egan), the sassy owner who dreams of expanding her pie business, to Harvey (Darren McCarthy) and Crystalene (Anne Sorce), the servers who make fun of annoying customers during the lull between lunch and dinner, to the patrons who frequent the restaurant, what we get is a series of real-life moments that highlight the humor of the workplace. Although awkward transitions and a few oddly placed dance numbers occasionally hinder the story’s flow, sometimes these offbeat elements work remarkably well, and unanswered questions become the show’s funniest parts.

Why is the phone placed so high on the wall, requiring the diminutive JoAnn to jump, parkour-style, to reach it? Why does Crystalene suddenly break into a clumsy dance resembling a mix between the robot and the funky chicken? If you enter with an open mind and faith in the small but wellpracticed cast, you’ll enjoy Nighthawks for what it is—a smile-inducing look at real life. KAITIE TODD. Portland Actors Conservatory, 1436 SW Montgomery St., 274-1717. 7:30 pm ThursdaysFridays and 2 pm Sunday, Sept. 15.

Through Sept. 21. $15-$18.

Tigard’s Broadway Rose Theatre presents the whodunit musical farce, replete with confused identities and missing diamonds. Broadway Rose New Stage Theatre, 12850 SW Grant Ave., Tigard, 620-5262. 7:30 pm Thursdays-Saturdays and 2 pm Sundays and some Saturdays through Oct. 13. $20-$44.

Pocket Pulp: CRIMEdy Night

The Mountaintop

Richard III

There are undoubtedly new things to be said about Martin Luther King Jr. That’s not the trouble with Katori Hall’s The Mountaintop. No, the problem is that Hall condescends to her subject and audience in a manner worse than didacticism. Her play hinges on a gimmick, and one that is tired, tonally jarring and toe-curlingly cutesy. Set at Memphis’ Lorraine Motel on April 3, 1968—the night before King’s assassination—Hall’s Olivier Award-winning play introduces us to a man who’s weary, hoarse-throated and plagued by a bad case of stinky feet. King (Rodney Hicks, who strikes an impressive balance of the ordinary and the extraordinary) spitballs phrases for a new speech as he paces before the mirror, loosening his tie. Into this barebones motel room flies Camae (Natalie Paul), an ebullient, potty-mouthed maid. And for roughly the first half of this 90-minute play, the two banter and flirt and engage in various forms of high-flung oratory—in Camae’s case, it involves her deeming God “a funnyass motherfucker.” But then Hall produces a cheap twist, which I won’t reveal here. Trust me, though: You’ve seen this one before. Let it suffice to say that Camae isn’t what she seems, and this revelation torques The Mountaintop from a moderately compelling drama to a Lifetime Christmas special. There are phone calls to God, redundant arguments about inevitable things and a boob joke that reminded me of Mean Girls. It’s a shame, really— Hicks and Paul have an engaging chemistry, one that’s alternately flirtatious and politically charged, which continues all the way to a frenzied pillow fight (it’s a lovely image, with tiny white feathers flying about the stage like snow). And director Rose Riordan keeps things tight and energetic, even as the proceedings spiral into patronizing looniness. Sometimes, a surrealistic flight of fancy allows a play to spread its wings. Other times, we just get flimsy clichés and a mess of feathers on the floor. REBECCA JACOBSON. Gerding Theater, 128 NW 11th Ave., 445-3700. 7:30 pm TuesdaysSundays, 2 pm alternating Saturdays and Sundays, and noon Thursdays through Oct. 27. $40-$55.

Nighthawks

Even if you’re not much of an art buff, chances are you’ve seen Edward Hopper’s Nighthawks, that snapshotlike painting of a 1940’s American diner. Push Leg theater’s latest origi-

Willamette Week SEPTEMBER 18, 2013 wweek.com

Three Tragicomedy Playlets

Comedian Starr Ahrens stages three one-acts exploring love, grief and letting go. In perhaps the most promising play, Jesus and Superman assist their daughter with her online dating profile. ComedySportz, 1963 NW Kearney St., 236-8888. 8 pm Thursdays through Oct. 3. $10.

We Are Still Watching

Not recommended for uncooperative individuals or anyone with an aversion to audience participation, Ivana Müller’s project requires attendees to create the show themselves. They’ll pick up scripts and work together to find their way through the text, a task that could be hilarious and wonderful, unexpectedly moving, or just downright awful. Part of PICA’s Time-Based Art Festival. Reservations required.

The CoHo Theater, 2257 NW Raleigh

St., 224-7422. 12:30, 2:30 and 4:30 pm Saturday-Sunday, Sept. 21-22. $10-$15.

COMEDY Administration

The improv troupe—which has been coached by sketch maestros the Liberators—returns from summer vacation for an evening of freewheeling comedy. Brody Theater, 16 NW Broadway, 224-2227. 7:30 pm Saturday, Sept. 21. $10-$12.

Big Brother League

Like devotees of bass fishing or string-band music, improv aficionados apply their own peculiar set of standards rather counterintuitive to traditional theatrical criticism, and the sheer professionalism of the Unscriptables’ newest pop-cul-

REVIEW OWEN CAREY

PERFORMANCE

The Pulp Stage Theatre Company returns with an encore showing of stripped-down staged readings about prison, scandal and shady strangers.

Jack London Bar, 529 SW 4th Ave., 228-7605. 7:30 pm Thursday, Sept.

19. $5.

Northwest Classical Theatre Company opens its season with Shakespeare’s history play about the Machiavellian and sadistic king. Shoe Box Theater, 2110 SE 10th Ave., 971-244-3740. 7:30 pm Thursdays-Saturdays and 2 pm Sundays through Oct. 13. $25.

Ruckus in the Lobby

Traveling Lantern Theatre Company, a touring troupe that presents interactive children’s theater, brings a series of Saturday-morning performances to the Artists Rep lobby. The company will rotate three shows in the fall before a six-week run of A Christmas Carol in the winter. Performances last about 45 minutes and are recommended for kids in kindergarten through sixth grade. See travelinglantern.com for full schedule. Artists Repertory Theatre, 1515 SW Morrison St., 241-1278. 10:30 am Saturdays through Dec. 28. $5.

Spamalot

[NEW REVIEW] Not everyone enjoys going to the theater. Some find it slow, overly cerebral, pretentious. That’s why Spamalot is a great starter show. It’s the Kraft macaroni of musical theater— a guilty pleasure but impossible to hate. Since premiering on Broadway in 2005, the show has been produced in 20 countries and continues to tour the globe, which speaks strongly to the universal appeal of fart jokes and men in drag. If you’ve seen Monty Python and the Holy Grail, you already know the story. (And if you haven’t seen it, what’s wrong with you?) The first act more or less mirrors the film, with some added songs and dance routines.

The second act is a jumbled mess of plot twists intended to wrap things up within the running time. Some additions fit well within the Monty Python brand of humor, such as Sir Robin (Norman Wilson) performing the catchy number “You Won’t Succeed on Broadway (Without Any Jews).”

While most of the gags are meant to slap you in the face, what really sells the humor are the facial expressions of this Lakewood Theatre Company cast, able to elicit laughs with a well-timed lip curl or raised eyebrow. Humor, after all, is all about subtlety—even when you’re farting into a trumpet.

PENELOPE BASS. Lakewood Center for the Arts, 368 S State St., Lake Oswego, 635-3901. 7:30 pm ThursdaysSaturdays and some Sundays; 2 pm Sundays through Oct. 13. $36.

NO, YOU’RE CUTER!: Britt Harris and Andy Lee-Hillstrom.

THE BIG MEAL (ARTISTS REPERTORY THEATRE) How much time do we spend around the dining-room table? What portion of our lives is measured in meals? Can the entire scope of a life—from first dates and holiday gatherings to engagements and pregnancies and grief—be depicted at the table? With beautiful and deceptive simplicity, Dan LeFranc’s The Big Meal proves it can.

As the play begins, the young Sam and Nicole (played at first by Andy Lee-Hillstrom and Britt Harris) meet at the restaurant where she works.

From there, five generations of a family navigate life’s joys and dramas as if in a time-lapse photograph, launching ahead weeks or years but always coming back together at the table. The details of their lives don’t need to be recounted here: We’ve all lived them. The gatherings are joyful and grating and awkward and hilarious, just like family.

Artists Rep veterans Vana O’Brien and Allen Nause (who served as the company’s artistic director for more than 20 years) anchor the eight-member cast masterfully. The actors play family members of a range of ages, gliding between roles with expertly adapted mannerisms.

What could be confusing becomes fluid and fascinating to watch. As a young Nicole, Harris is neurotic and angry, while middle-aged Nicole (played by a delightful Val Landrum) develops a sharp-tongued wit and perpetually clutches a glass of wine. The character of Sam remains naive and good-humored but gains a noticeable weariness. The transitions are aided with deft effects—a shift of light or clatter of dishes signifying that months or years have passed.

And just like life, it all happens so fast. In 80 minutes, a collection of moments paints an entire family history—a feat both impressively ambitious and wonderfully simple. This is part of the reason that new artistic director Dámaso Rodriguez selected the play to open his first season at Artists Rep. In the play’s program, he describes being moved by how The Big Meal expresses the very purpose of the theater—to encompass the human experience on the stage.

When O’Brien, playing a now-elderly Nicole, wonders aloud and mostly to herself “Where does the time go?” it is with a heartbreaking poignancy. Everyone we know and love will pass through our lives, often too quickly, and we ourselves will one day finish our last meal and leave the table. PENELOPE BASS.

A deeply satisfying onstage feast.

SEE IT: The Big Meal is at Artists Repertory Theatre, 1515 SW Morrison St., 241-1278. 7:30 pm Wednesdays-Sundays, 2 pm Sundays through Oct. 6. $20-$45.

ture pastiche, Big Brother League, arouses more than a few murmured grumblings from the faithful.

Performances begin with costumed cast members explaining the central conceit (an odd assemblage of comic-book icons picked to live in a house and have their lives fauxtaped for TV), re-enacting previous moments, and begging the crowds to yell out types of awful roommates (the pothead, the clean freak, the compulsive masturbator). Yet, even as the troupe takes audience suggestions to flesh out a vaguely episodic structure, the production hardly feels like proper improv.

Jokes crackle with brevity and precision. The staging, particularly the Real World-style “confessional” monologues, preserves a delicate illusion of scattershot editing with measured grace. The nuanced characterizations relish subtlety. Not all dramatic choices are wholly successful—interpreting Supergirl as a semi-retarded Minnesotan, say—but there is a bravura rendition of Hulkas-Louis C.K. that recalls John Belushi’s green-skinned lout. Stop worrying about just when the jokes were first conceived, and for a blissful hour, you’ll believe that dialogue can fly. JAY HORTON. Funhouse Lounge, 2432 SE 11th Ave., 841-6734.

7:30 pm Saturdays through Sept.

28. $10.

ComedySportz

Family-friendly competitive improv comedy. ComedySportz, 1963 NW Kearney St., 236-8888. 8 pm Fridays-Saturdays. $15.

Curious Comedy Cover Show

Curious Comedy sets out to challenge Christopher Hitchens’ claim that women aren’t funny with this revue of sketches paying tribute to great female comics of the past and present. Curious Comedy, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 8 pm Fridays-Saturdays through Oct. 12. $12-$15.

Funemployment Radio Comedy Showcase

Portlanders Greg Nibler and Sarah X. Dylan, hosts of the popular and often very funny podcast Funemployment Radio, host a night of standup featuring Sean Jordan, Barbara Holm, Todd Armstrong and Randy Mendez. Secret Society Lounge, 116 NE Russell St., 4933600. 8 pm Wednesday, Sept. 18. $8-$10.

Heather McDonald

Known best for appearing on Chelsea Lately, the comic brings her standup act—packed with jokes about pop culture and motherhood—to Helium. Helium Comedy Club, 1510 SE 9th Ave., 888-6438669. 7:30 and 10 pm FridaySaturday, Sept. 20-21. $22-$30.

MIGUEL GUTIERREZ AND THE POWERFUL PEOPLE them sound hilarious. He’s so good, he can even come to a gig without any actual jokes. For this tour, Barry doesn’t have an act: He’ll work off crowd interaction alone. So if you’re one of those people who gets nervous about getting picked on at live comedy shows, it’s a good idea to hide in the balcony. MATTHEW SINGER. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 8 pm Friday, Sept. 20. $20.

Weekly Recurring Humor Night

Whitney Streed hosts a weekly comedy showcase, featuring local comics and out-of-towners. Tonic Lounge, 3100 NE Sandy Blvd., 2380543. 9:30 pm every Wednesday.

“Pay what you want,” $3-$5 suggested.

You Are Here

The Brody folks present a new weekly improv showcase. Brody Theater, 16 NW Broadway, 224-2227.

7:30 pm every Friday. $12.

DANCE Alexandro Segade

Under the guise of an audition for a boy band that will somehow save the future, Segade leads the audience through interactive challenges to show off their skills. In the “choreo” round, everyone basically plays the video game Just Dance for a while, attempting to imitate the choreography of a figure on a screen. Volunteer singers are given topics in the “vocalization” round— pepper spray, self-realization—to which they have to improvise songs.

It’s essentially a party game for a bunch of strangers. Con-Way, 2170 NW Raleigh St. 10:30 pm Friday, Sept. 20. $8-$10. 21+.

Bearlescape

As part of the Works, the late-night program at PICA’s Time-Based Art Festival, Lithuanian-born performer Ieva Misevičiūtė presents some sort of sketch-comedy deconstruction.

No punch line, apparently, but there will be abstract dance (we think).

Con-Way, 2170 NW Raleigh St., 2247422. 10:30 pm Wednesday, Sept. 18. $8-$10.

This edition of drag queen Zora Phoenix’s Burlescape is jointly produced with the Oregon Bears. Acts include the usual Esequiel and Isaiah of Burlesquire and dancer Tod Alan, but considering the Bears’ tastes, probably also some guys who are less svelte and hairless. The show is a fundraiser for AIDS Walk Portland.

Crush, 1400 SE Morrison St, 2358150. 8:30 pm Saturday, Sept. 21. $10. 21+.

Jake Johannsen

Cloud City Circus

I Will Rip Your Arms Off

Standup from one of David Letterman’s favorite comics. Helium Comedy Club, 1510 SE 9th Ave., 888643-8669. 7:30 pm Sunday, Sept. 22. $17-$22.

Open Court

Team-based long-form improv open to audience members and performers of all stripes. Curious Comedy, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 8 pm every first and third Thursday. $5.

Todd Barry

Though more recognizable to the casual fan as “the third Conchord,” Barry is a comic’s comic, a veteran standup with a soft delivery, who can read loan documents and make

PERFORMANCE DY L A N D O U G L AS

SEPT. 18–24

A benefit performance for one of its members, this Cloud City Circus show is themed “Around the World,” featuring acts inspired by other countries. Fire dancer and pharmacy student Rachel Novak is heading to the Dominican Republic to provide care to prisoners in Santo Domingo (the main need is anesthetic to remove bullets). Cloud City Circus combines aerialists, acrobatics, belly dancing and various forms of spinning objects (fire, LEDs, hula hoops) in its shows. Analog Cafe, 720 SE Hawthorne Blvd. 7 pm Sunday, Sept.

22. $8-$10.

attempt to examine who we are as a result of our consequences. Despite that dubious intention, this piece is probably more down-to-earth than others at the Time-Based Art Festival. It’s essentially a mockery of art pieces that claim transformative powers. Karen Sherman, whose movement in this piece has been described by critics as “galumphy,” even announces as much in the beginning via a voice recording: “If you are expecting me to change your life, forget about it.” BodyVox Dance Center, 1201 NW 17th Ave., 229-0627. 8:30 pm Friday-Saturday, Sept. 20-21; 4:30 pm Sunday, Sept.

22. $15-$20.

Linda Austin and David Eckard

In Three Trick Pony, Portland performance art doyenne Linda Austin does a sort of duet with a handful of sculptures made by David Eckard.

The sculptures are somewhat hard to describe, and Austin would rather they remain a secret anyway. But let’s just say they involve a giant wire turkey leg and sliced-up pool noodles. Austin is trying to show the similarities between her body, a living thing, and the sculptures, inanimate objects. Sure, the differences are obvious, but the way she and the pieces interact with each other can be intriguing. ConWay, 2170 NW Raleigh St. 4:30 pm Sunday, Sept. 15; 6:30 pm Monday, Sept. 16 and Wednesday, Sept. 18. $15-$20.

Luciana Proano

Peruvian dancer Luciana Proaño’s Jazz Path series features guitarist John “JB” Butler and rotating bassists Studio 14, 333 NE Hancock St. 8 pm Fridays, Sept. 13, 20, 27. $10-$15.

Miguel Gutierrez and the Powerful People

This piece And Lose the Name of Action was inspired byGutierrez’s father’s bouts with neurological problems. The piece investigates things that are not known or understood—neuroscience, ghosts and perhaps for many, the piece itself.

Gutierrez calls it a “séance for the 21st century.” Somewhere in there the piece is meant to be a laboratory for life’s big philosophical questions, but it’s a laboratory more likely to produce madness than answers. Hampton Opera Center, 211 SE Caruthers St. 6:30 pm TuesdayWednesday, Sept. 17-18 and FridaySaturday, Sept. 20-21. $20-$25.

Sky Club Burlesquers

A show featuring burlesque and comedy in a vaudevillian style includes performances by Ziegfeld Follies knockoffs the Charleens, jazz aerialist Surreal De Sade, fire belly dancer Theadra Taylor and others.

Analog Cafe, 720 SE Hawthorne Blvd. 9:30 pm Friday, Sept. 20.

Free. 21+.

Karen Sherman

In One With Others, performers use pieces of scrap lumber as props to create a makeshift language in an

For more Performance listings, visit Willamette Week SEPTEMBER 18, 2013 wweek.com

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VISUAL ARTS

SEPT. 18–24

= 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.

Clifford Rainey: In the Beginning Was Black

Politically aware wit and a long sociocultural viewfinder have always distinguished the work of Northern Ireland-born artist Clifford Rainey.

That’s still very much the case, as is clear from the trenchant works in his current show at Bullseye. You can infer a lot about the artist simply from the titles he gives his works. A wood, glass and resin sculpture of a pistol case is entitled Amend the Second Amendment, while two oversized sculptures of Coca-Cola bottles are called War and Peace. But Rainey does something in this show that he doesn’t do that often: He lets down his guard and shows his humanity. Rainey has lost several friends and family members over the past couple of years, and a palpable sense of loss pervades this exhibition. It’s most potent in the haunting sculpture Mourner, a fearsome, 2-foot-high stylization of the Grim Reaper. Rather than limit himself to specific sociopolitical themes, Rainey is beginning to tackle more universal issues, such as the fear of death. His work, stronger than ever, benefits. This is one of the sad truisms of art: The more harrowing the artist’s life, the richer the work. Through Nov. 2. Bullseye Gallery, 300 NW 13th Ave., 227-0222.

Frances Stark: My Best Thing

Six white chairs are lined up in front of a big screen in Upfor’s pristine exhibition space. They’re there for viewers to sit in while watching Los Angelesbased artist Frances Stark’s quirky digital film, My Best Thing. The film chronicles a flirtation between a digitally animated man and woman, both clad only in fig leaves. They exchange daftly banal dialogue while attempting to seduce one another. The narrative breaks occasionally for storyboard titles and segments in which the characters dance. The simplistic rendering, garish lime-green background, and agreeably dorky setup give the film a charming vapidity. This is Upfor’s gallery-opening show, and My Best Thing makes for a strong, idiosyncratic debut. Through Sept. 28. Upfor Gallery, 929 NW Flanders St., 227-5111.

Gregg Segal: None of the Above

Based on how someone looks, can you guess whether they’re Democrat, Republican, independent or none of the above? Artist Gregg Segal asks us to do exactly that in his photographic series None of the Above. He’s taken dozens of cheesy, Olan Millsstyle portraits, each with a neutral beige background. A plethora of “types” populates the imagery: young, middle-aged, shaved-headed, turtleneck-wearing, sunglasses-guarded, goatee-sporting, hoodie-clad avatars,

each presumably telegraphing his or her sociopolitical persuasions. A fill-inthe-blank questionnaire beneath each portrait asks the viewer to surmise the subject’s station along the continuum from liberal to conservative.

Like last month’s show at Blue Sky, which questioned viewers’ prejudices based on facial symmetry, the current show demands we second-guess our preconceptions based on physiognomy and attire. It’s a tricky, delicious mindfuck of a show. Through Sept.

29. Blue Sky Gallery, 122 NW 8th Ave., 225-0210.

Isaac Layman: Funeral

Large in scale, fastidious in execution, Isaac Layman’s photographic prints glorify the banal. In the past, his images of ice trays, clothes dryers, ovens and hot-dog wrappers have made mountains out of molehills, elevating quotidian objects to objects of veneration. Although a cool minimalism suffuses his work, it is more Pop Art than minimalist. Like Warhol with his soup cans, Layman believes that anything, no matter how humble its station, can become the stuff of glamor and import, if only it is presented as such. Through Sept. 21.

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

Lynda Ater: Rickrack

It’s hard to go wrong with simple shapes and bright colors. From Mondrian to Ellsworthy Kelly to Damien Hirst’s spot paintings, color blocks and dots have a long and distinguished lineage. Lynda Ater is not in those artists’ league, but then, who is? Ater’s Rickrack series turns squares on their sides, then lines the diamonds up in short or long rows. The color palette is a Crayola fantasia, and the shapes’ surfaces are childlike, too.

They’re adorned with paper collage in snaking shapes that seem lifted from Henri Matisse’s late gouache cutouts. The collage element is superfluous, however, and gives the components a cheesy, amateur look. The series is strongest when Ater lines up dozens of small diamonds across the wall, although she also achieves nifty effects in smaller configurations, one of which sports the sawtooth contours of a Stealth bomber. Through Sept. 28.

Blackfish Gallery, 420 NW 9th Ave., 234-2634.

Matt Cosby: Immaculate Confection

You look at Matt Cosby’s artworks and wonder: Are they photorealistic paintings or painterly photographs? His technique is so formidable, it’s hard to tell. As it turns out, the works in his current exhibition, Immaculate Confection, are paintings after all. They’re alternately oilon-canvas and acrylic-on-aluminum,

an intriguing combination of media.

He has themed his imagery on the motif of candy, depicting looping ribbons of bubblegum and circus peanuts arranged in chintzy tableaux, which recall the sparkling jewels in the opening credits of the classic TV show Family Affair (youtube.com/ watch?v=Uc6lSUuZEOM). In works such as Ribbon Confection Grande, Cosby deploys subtle shading to keep his composition painterly, just missing the solipsistic virtuosity of photorealism. In a smaller variation on the same imagery, Ribbon Confection, and in the piece Snakes in the Ivy, he allows metal backgrounds to add a shiny “ping” to the imagery, contributing to an overall mood of defiant superficiality. Through Sept. 28. Augen DeSoto, 716 NW Davis St., 224-8182.

Michael Lazarus: Recent Works

Electric-socket plates, office signs, coat hangers and stray planks of wood and wood paneling—these are the everyday objects that Michael Lazarus cobbles into the stuff of invention and whimsy. He arranges the objects into anthropomorphic configurations that suggest heads, eyes, mouths and torsos. Between their simple iconography and bright colors, the works are sly and insouciant. In fact, it’s damn near impossible to look at them without smiling. Through Sept. 21.

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

PDX Rocks

For the group show PDX Rocks, 30 local artists created artworks the size of a vinyl LP. Each piece references some aspect of Portland life.

The connection in some paintings is tenuous, others more obvious: goats, indie bands, ironic 1970s haircuts and such. On the whole it’s an invigorating exhibition at this Northeast Alberta Street gallery and gift shop, which features work by self-taught, Outsider and lowbrow artists. Through Sept.

22. Screaming Sky Gallery, 2025 NE Alberta St., 922-1500.

Sherrie Levine

Art superstar Sherrie Levine made a name for herself in the 1970s and ’80s as part of the “Pictures Generation” and appropriationist movements.

Essentially, she has based her career on reproducing and recontextualizing the work of other artists, and the Portland Art Museum’s exhibition of her work illustrates this tactic well. On display are two vintage Levine pieces and three that were made during the past two years. But the pièce de résistance is a series of 16 paintings riffing on Claude Monet’s famous and ubiquitous Water Lilies. Viewers unfamiliar with Levine will benefit from this thoughtfully conceived introduction.

Through Oct. 13. Portland Art Museum, 1219 SW Park Ave., 226-0973.

For more Visual Arts listings, visit

REVIEW

EVA SPEER, ALONE TOGETHER Eva Speer (no relation to Richard Speer) is a virtuoso with materials. That’s her streng th and wea kness.

She can paint up a storm in realism or abstraction, ma kes rav ishing screen prints and is a gifted sculpMORE OR LESS (PULSE) tor. Stylistically, she’s all

BY EVA SPEER over the place. You leave her shows wondering who A virtuoso with too much to say. she really is.

The Speer who stands up in her latest exhibition, Alone Together, is a minimalist whiz kid. In her mixed-media wall sculptures, Triangulation and Game #4, she layers swirly latex paint atop nubby-textured boxes made from cast resin. Sometimes, as in the cobalt-blue Echo Box #3, the transparent boxes contain blocks of wood, creating nested shadowboxes of rectilinear forms. In other works such as More or Less (Pulse), the boxes are pierced by a grille of circular holes. In More or Less (Proof), Speer fi lls the bottom of the box with the plastic wedges left over from the drilled holes, slyly transliterating Robert Morris’ iconic 1961 sculpture, Box With the Sound of Its Own Making.

It’s all very clever and technically fl awless, which is no surprise given Speer’s versatility. After all, this is the artist who introduced herself to the Portland art-going public in 2008 with the quietly spectacular wall sculpture Award, which looked like a soft, tufted pillow but was actually made out of hard wood. And who can forget the paintings she made last year of rolling waves interrupted by incongruous abstract brushstrokes? In those latter works, the artist found a way to successfully exploit the disconnect between the illusion of realism and the artifice of painting. The wave paintings seemed to peel back the veils of perception and let viewers in on a terrible secret: that the great and powerful Wizard of Art is, in fact, a little man behind a curtain with a fistful of paintbrushes and a bag of tricks.

By comparison to those works, the current pieces seem gimmicky: “minimalism redux” as the next stop on an art-history tour led by a professor intent on putting her spin on as many techniques as possible. It will be a good day when Speer pauses from her restless forward motion long enough to marinate in a single idiomatic style.

Sometimes a virtuoso needs to stop worrying about hitting all the right notes before a song can really sing. RICHARD SPEER. SEE IT: Alone Together is at Charles A. Hartman Fine Art, 134 NW 8th Ave., 287-3886. Through Sept. 28.

Not SigNed up for SigN up for a chaNce to wiN ticketS to

paSSioN pit

Saturday, oct. 19 th @ theater of the cloudS! Go to wweek.com/promotions

newsLetter 44

Willamette Week SEPTEMBER 18, 2013 wweek.com

SEPT. 18–24

= WW Pick.

Highly recommended.

PREVIEW MICHAEL C. ZUSMAN

BOOKS

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, SEPT. 18 Katy Butler

Through personal experience and reporter’s research, Katy Butler explores our broken medical system when it comes to end-of-life care.

Her new book, Knocking on Heaven’s Door: The Path to a Better Way of Death, examines how medical imperatives often conflict with methods for offering a more humane passageway to death. Powell’s City of Books, 1005 W Burnside St., 2284651. 7:30 pm. Free.

Richard Tillinghast

Richard Tillinghast has released not only 11 acclaimed books of poetry but also four nonfiction books of poetry critique, including Damaged Grandeur, a critical memoir of Robert Lowell with whom he studied at Harvard. His work has been strongly influenced by his travels through Ireland and Turkey. His most recent book of poetry is Wayfaring Stranger, and he will read a selection of his work for the Mountain Writers Series. TaborSpace, 5441 SE Belmont St. 7 pm. $5-$10.

THURSDAY, SEPT. 19 Aria Minu-Sepehr

Growing up the son of the major general in the Shah’s Imperial Iranian Air Force, Aria Minu-Sepehr lived a privileged life—until the Shah was overthrown in 1979. His book, We Heard the Heavens Then: A Memoir of Iran, was selected as the Oregon Writers Colony book of the month.

Minu-Sepehr will speak about his experiences in a conversation with local writer Susan LeGrand.

Broadway Books, 1714 NE Broadway, 284-1726. 7 pm. Free.

Keesha and Joanie and Jane Zine Release

Poet, writer and longtime activist Judith Arcana has been fighting for women’s reproductive rights for decades—including working with Chicago’s pre-Roe underground abortion service Jane, which led to her arrest in 1972. Her mugshot now adorns the cover of her newly released zine, Keesha and Joanie and Jane, about women struggling against the ever-increasing elimination of abortion services. Arcana and publisher Charles Overbeck read and speak for the zine-release party, along with special guests Marisa Anderson, Kristy Athens and Jodi Darby. Independent Publishing Resource Center, 1001 SE Division St., Suite 2, 827-0249. 7 pm. Free.

TUESDAY, SEPT. 24 Oregon Encyclopedia History Night

It can be hard to believe in a region that feels as perpetually damp as the Pacific Northwest that fires are much of a concern. But through Oregon Trail journal entries, state forest policy and photos, historian William G. Robbins illuminates how fires have been an integral part of our landscape’s history in his presentation “Seasons of Smoke and Fire: An Oregon Narrative.”

McMenamins Edgefield, 2126 SW Halsey St., Troutdale, 669-8610. 6:30 pm. Free.

For more Books listings, visit

SWAGWICHES: Free grub at the 2012 Feast media lounge.

LEAVE THE FORK, TAKE THE PEN Nobody goes to a food festival to eat. Anyone who can afford a $465 ticket to Feast, which will occupy visiting food nerds and local Twitterazzi for the next four days, knows this. In the best moments, you’re standing under a tent with a plastic fork, balancing a glass of boxed wine, eating mass-produced grub made with sponsor-donated ingredients. Otherwise, you’re waiting in line.

Even food that travels well, like barbecue, is a disappointment.

Take it from someone who’s had Aaron Franklin’s brisket at his Austin eatery and at last year’s version of Feast’s $95 Sandwich Invitational: Hors d’oeuvres off a Sterno-heated catering rig are a poor substitute for the real deal. The chef collaborations remain interesting, but they’re pricey and all sold out.

So the real reason to go is to hobnob. And at this year’s Feast, there’s a way to do that for a mere $5. At Friday afternoon’s Cookbook Social, you can meet some of the best and brightest at the entire festival. Then as well-heeled foodies head off to the $125 Asian night market—which is sold out anyway—go to Tanuki, Hokusei or Mirakutei and go crazy with a $50 omakase.

Here’s who you want to meet and what to ask them.

MARTIN CIZMAR and MATTHEW KORFHAGE. Gabriel Rucker of Le Pigeon, who made the best meal we’ve eaten all year. Ask him about the time he charged some willing bro $36 for his famous burger, more than double the price. Or about the sketch in his restroom: an unflattering portrait of a food critic felled by gluttony.

Lucy Burningham, co-author of the bikey beer guide Hop in the Saddle. Ask this well-traveled local writer about beer in the Galápagos Islands, Croatian distillers and fluoridation.

John Holl, author of The American Craft Beer Cookbook. Cooking with beer is the most boring thing you can bring up with this former New York Times reporter. Instead, ask about beer in Antarctica and how craft beer has influenced music in the last 30 years.

Mark Bitterman, co-owner of the Meadow food boutique and author of the Beard Award-winning cookbook Salted. Ask him how to tell the difference between savory and dessert salts.

WW contributor Michael Zusman and restaurateur Nick Zukin, co-authors of The Artisan Jewish Deli at Home. Ask them about Mexico City, Oregon Ducks football and Ken Gordon.

Allen Salkin, who has a book coming out Oct. 1 about the drama inside the nascent Food Network. Ask him if he was at all surprised

by Paula Deen’s racism or Guy Fieri’s douchebaggery.

Ken Forkish of Ken’s Artisan Bakery and the book Flour, Water, Salt, Yeast. Tell him you’re a big fan but you’re pretty sure you’re allergic to gluten. Does he make a gluten-free levain?

Portland Monthly food writer Karen Brooks, the festival’s spirit guide and author of The Mighty Gastropolis. Tell her you’re a writer for a national magazine and need a grand tour of Portland food.

GO: Feast Portland’s Cookbook Social is at the Heathman Hotel, 1001 SW Broadway, on Friday, Sept. 20. 2-4 pm. $5 suggested donation. feastportland.com.

Willamette Week SEPTEMBER 18, 2013 wweek.com

45

2013 /2014

PORT L AN D A R T S & L EC T U R E S

October 08, 2013

SALMAN

January 14, 2014

LAWRENCE

November 20, 2013

Rushdie

Wright

ANN

February 18, 2014

CHRIS Ware

SEE YOU YOU IN IN 2014 2014 SEE SEE YOU IN 2014

Patchett

CD Baby Baby brand brand guidelines guidelines CD CD Baby brand guidelines

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All events at the Arlene Schnitzer Concert Hall literary-arts.org

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April 03, 2014

46

JULIA Alvarez

Willamette Week SEPTEMBER 18, 2013 wweek.com

HANNAH TURNER HARTS

THANK YOU YOU THANK THANK YOU PORTLAND PORTLAND

SEPT. 18-24 AP FILM STUDIES

= WW Pick. Highly recommended.

OF FLORA FILM

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.

try is worse. If there were a rubric to figure out what makes one performer a household name and the other just another name in the liner notes, the history of pop would read much differently. Turning the spotlight on several career backup singers, Morgan Neville’s 20 Feet From Stardom shows, with great warmth and color, what it might sound like. Most of these singers are resigned to their roles in the musical ecosystem, content to have sacrificed their own aspirations for the sake of elevating the art itself.

Whether that’s noble or a con, Neville never judges. He just lets them sing.

And, in a more perfect universe, that would be enough. MATTHEW SINGER. Living Room Theaters.

Austenland

D For the briefest of moments near the end of Austenland, it seems the rom-com might buck the trappings of its genre. But don’t hold your breath—the film, directed by Napoleon Dynamite screenwriter Jerusha Hess and produced by Twilight author Stephenie Meyer, has no interest in resisting convention. Unfunny and unimaginative, it centers on a plain Jane named Jane who’s obsessed with Jane Austen. Perpetually unlucky in love, this Anglophile (played by an eager but ineffective Keri Russell) decides to blow her savings on a trip to an Austen-inspired paradise. It’s a predictably garish place, the snooty proprietor married to a lecherous, burping old man who has inexplicably evaded charges of sexual harassment.

The other guests are reduced to irritating stereotypes: There’s a lusty piece of trailer trash (Jennifer Coolidge) and a lusty British rose (Georgia King), but neither character amuses.

Austen’s material has inspired heaps of adaptation—like, hello, Clueless?— but this one deserves to go straight into the rubbish bin. PG-13. REBECCA JACOBSON. Cedar Hills.

Blue Jasmine

B Woody Allen’s Blue Jasmine isn’t

so much a fish-out-of-water movie; it’s a horse-with-a-broken-leg-in-water movie. You know how this thing’s going to end. Cate Blanchett’s Jasmine is a rarefied, half-delusional socialite tossed roughly down the slopes of her husband’s financial pyramid scheme after he is arrested. She lands in a strangely Bronx Guido version of San Francisco inhabited by her lowrent sister Ginger (played with wonderful sympathy by Sally Hawkins).

Blanchett’s performance is fascinating. She’s an Ingmar Bergman figure yanked straight out of Tennessee Williams: brittle, high-bred, wellguarded against reality but wretchedly vulnerable, snapping back and forth between high-class snob and raving drunk. Blue Jasmine cannot reconcile its broad comedy and pathos into coherence, but all the more impressive, then, that Hawkins’ and Blanchett’s twinned performances still manage to pick up most of the pieces. PG-13.

MATTHEW KORFHAGE. Cedar Hills, Eastport, Moreland, St. Johns Twin.

The Conjuring

B- Few people, I’m guessing, have been to Harrisville, R.I., site of the alleged true-life incident that inspired The Conjuring. But everyone will find it familiar: an isolated nowhere town where movie families go to get tormented by malevolent spirits. What else could the Perrons have expected when they bought that rotting lakeside farmhouse at an auction in 1971?

Haven’t they seen, oh, every horror flick ever made? Director James Wan sure has. Though The Conjuring wears its “based on a true story” tag proudly, the universe it inhabits is purely, unabashedly cinematic. By the climax, The Conjuring has evolved into a full-tilt tribute to The Exorcist, and through the performances of its

three leads achieves visceral, armrest-clutching fright nirvana. But then it just sort of ends, and you walk out thinking not about Catholic guilt or the power of Christ but about how you should probably go to the beach soon. R. MATTHEW SINGER. Academy, Eastport, Kennedy School, Laurelhurst, Valley.

COURTESY

20 Feet From Stardom

A- Life is unfair, and the music indus-

Despicable Me 2

C This sequel to 2010’s blockbuster adds Kristen Wiig as high-spirited love interest and expands the animated repertoire to encompass 3-D thrills, but the story itself, which shoehorns Gru into the service of a global superspy league for the flimsiest of reasons, arrives packed with exposition and shorn of coherency. PG. JAY HORTON. Cedadr Hills, Eastport, Clackamas, Indoor Twin, Division, Movies on TV.

Elysium

B+ In the year 2154, we’re told, the

rich don’t care about the poor. Neill Blomkamp, whose debut film was the alien-apartheid fantasy District 9, pretty much takes this for granted.

His sophomore film, Elysium, is essentially a political metaphor gone fiercely rogue in the physical world. Not only do the rich not give two flying figs about the poor, but they live in a utopian space station in the sky, constantly bathed in heavenly light. Below, on Earth, the abandoned residents of Los Angeles languish in a dreamily intricate slum that has fallen into apocalyptic steampunk, a world of shit and piss and dirt. Somewhere in the middle of this dung heap is Matt Damon as a blond-haired, blue-eyed chulo. The film is what a sci-fi epic should be: a fantastical machine fueled by our own dreams and fears, made believable by its absolute devotion to these dreams. R. MATTHEW KORFHAGE. Cedar Hills, Eastport, Clackamas, Mill Plain, Oak Grove, Division, Movies on TV, Sherwood, Sandy.

An Evening With Charlie Ahearn

[ONE NIGHT ONLY, DIRECTOR ATTENDING] For this evening with Wild Style director Charlie Ahearn, the Hollywood will screen his seminal 1983 film about graffiti, break dancing and hip-hop, as well as Ahearn’s new documentary, Jamel Shabazz: Street Photographer. Vursatyle, of Portland hip-hop trio the Lifesavas, will host the Q-and-A. Hollywood. 7 pm Wednesday, Sept. 18.

The Family

C Early on in The Family, mafioso-

turned-informant Giovanni Manzoni (Robert De Niro) claims to have “no regrets” about his former life or about his decision to turn state’s evidence. It’s a declaration that immediately saps the film of its potential to say anything meaningful about the nature of loyalty within the Mafia.

Years before Luc Besson’s film came around, the “College” episode of The Sopranos took the idea of being on the run to explore the moral reckoning that accompanies post-Mafia life. This, however, doesn’t seem to have occurred to Besson, who’s perfectly content to define his characters in all too broad strokes—never mind that his protagonist just sold his friends down the river. The raw materials should allow The Family to act at least as a humorous sendup of the gangster genre, but Besson spends so much time pingponging between comedy and drama that, by the film’s climax, you don’t know how seriously to take it. It doesn’t help that De Niro once again plays a caricature of the mobster archetype he helped make famous in The Godfather Part II and Goodfellas (his character even watches the latter film at one point), making this quite literally self-parody—only without the self-awareness of Analyze This. R. MICHAEL NORDINE. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Oak Grove, Division, Movies

CONT. on page 48

SCALPEL-READY: Dr. Butcher, M.D. (Medical Deviate).

DECADENT AND DEPRAVED THE GRINDHOUSE TRAILER SPECTACULAR IS BACK, AND IT’S GLORIOUS.

BY A P KRYZ A

apkryza@wweek.com

Welcome to AP Film Studies. Each week, longtime WW contributor and human movie database Kryza dives deep into Portland’s showcases of revival, cult, retrospective and bizarro cinema to highlight the wonders of the city’s moviehouses.

The Hollywood Theatre wants you to pay $8 to watch 70 minutes of commercials. And you definitely should. But these aren’t the kinds of ads that scold you for squeezing the Charmin. They’re ads for movies that feature pimps in a roller disco, chainsaws, meat hooks, sexy women seeking erotic fulfillment among cannibals, blood, guts, ninjas, samurai and everything in between.

Before Quentin Tarantino and Robert Rodriguez took their love of trash cinema to the masses with Grindhouse, supergeek-turned-Hollywood head programmer Dan Halsted was collecting the real deal. Since launching the Grindhouse Trailer Spectacular in 2008, Halsted has transformed a one-off showcase of grindhouse, exploitation, horror and kung fu trailers from the ’70s and ’80s into perhaps the rowdiest, booziest, most batshit night of cinematic chaos of the year. When this man lets loose his reels, it’s cause for celebration— a raucous love letter to the most morally depraved, violent, psychosexual and downright bizarre offerings from a time before Sharknado, when shitty theaters were dominated by the likes of Dr. Butcher and Truck Turner.

The showcase allows us to peer into the history of trash cinema without diving headlong into hours of disappointing curiosity. The movies on display may look glorious, but in reality, they’re not just trash because they’re trashy. They’re trash because they suck.

At my Trailer Spectacular deflowering five years ago, my favorite film was Dr. Butcher, M.D. (Medical Deviate) (sic). Over footage of the titular “deviate” hacking and slashing through bodies, the voice-over promised, “See him mutilate patients with his murderous scapple [sic]…

Dr. Butcher loves New York; there are so many attractive patients to operate on.” Sold! I rushed immediately to Movie Madness. But enduring the entire film proved a slog, a fairly boring and kitschy combo of medical horror, cannibal flicks and Lucio Fulci zombie pictures. You’d be better off watching the trailer on repeat for 90 minutes.

That’s the beauty of the insanity Halsted brings to the fore. Since most of the trailers give away the whole film, you walk away from each two-

minute clip feeling like you’ve seen the movie, yet you don’t have to endure the boring exposition and hackneyed acting. It cuts to the chainsaws, boobs, monsters, roundhouses, explosions and ridiculously self-serious speeches. And Halsted doesn’t need to polish these turds to make them appealing. Presented in their original glory (missing reels, scratches and all), he transports you to a seedy ’70s theater, where the only sounds louder than the screams of Dr. Butcher’s victims are the stereophonic sounds of hands connecting endlessly above head. And the occasionally loosed beer burp. Hollywood Theatre. 7:30 pm Tuesday, Sept. 24.

Meanwhile, at the Clinton Street Theater, the second mysterious, low-profile film fest in a month hits Portland in the form of the Oregon Independent Film Festival. It sounds deceptively like a festival featuring nothing but local filmmakers but instead is like a miniature version of the Portland International Film Festival, minus the old people in berets.

Most exciting on the bill is A Beautiful Fucking Experience, a doc about the Flaming Lips’ epic 23-hour multicity rampage that landed them in Guinness World Records. Along with Wayne Coyne being a freak, there are docs about Peruvian landfill-pickers, a fantasy by the dude who made the Myst computer game, horror shorts, animated films and other works from around the globe. Clinton Street Theater. Friday-Sunday, Sept. 20-22. See oregonindependentfilmfest.com for schedule.

Also showing: • Book out to Camas, Wash., for a rare screening of Beer Hunter: The Movie, a new documentary about legendary beer writer Michael Jackson.

Liberty Theater. Through Sept. 29.

• Catch Morrissey 25 Live, a film that allows you to witness last spring’s Staples Center concert without being scolded for eating meat. Clinton Street Theater. 7 pm Thursday, Sept. 19.

• In Barbarella, Jane Fonda fucks and fights across the galaxy in a skimpy bikini, perhaps as a protest against the Vietnam War…but probably not. Hollywood Theatre. 7:30 pm Thursday, Sept. 19.

• The Academy’s Back to School series ends with Clueless, starring hot up-and-comer Alicia Silverstone. That girl’s gonna be HUGE! Academy.

Sept. 20-26.

• It’s not Grindhouse, but Tarantino’s Jackie Brown stars Samuel L. Jackson as the Crypt Keeper. Laurelhurst. Sept 20-26.

Willamette Week SEPTEMBER 18, 2013 wweek.com

47

SEPT. 18-24

on TV, Sherwood, Sandy, St. Johns Twin.

Finding Truelove

[ONE NIGHT ONLY] A documentary from Sam Kuhn, a filmmaker from Washington, about three friends who unearth a high-school yearbook at a Value Village and decide to crash the class of 1990’s upcoming reunion. NW Film Center’s Whitsell Auditorium. 7 pm Thursday, Sept. 19.

REVIEW ANDREW CHISHOLM

MOVIES

Fruitvale Station

B+ At 2:15 am on New Year’s Day

2009, Oscar Grant III, a 22-yearold African-American man from Hayward, Calif., was pulled off a BART train by transit police, handcuffed and forced to the ground, then shot in the back. He died in a hospital hours later. That’s the reality of Fruitvale Station, a dramatization of Grant’s last day alive, and freshman writer-director Ryan Coogler doesn’t want his film detached from it: He replays the grainy cellphone footage of the actual murder right up front. It’s a powerful framing device, lending the weight of the inevitable to a movie that moves through its scenes with restrained poignancy, but there’s a tradeoff: In flirting with the language of documentary, Coogler submits his creative license for extra scrutiny.

Some critics have accused Fruitvale of “sanctifying” Grant, picking at the details of his final hours. Those questions, though, are smoke screens that detract from the conversation the film should be spurring. Michael B. Jordan plays Grant as a man quietly fighting against himself. True to life or not, he never feels less than real. But the ultimate question isn’t about the film’s accuracy. It’s about whether an unarmed black man, saint or sinner or otherwise, deserved to die facedown on a subway platform. Coogler starts the discussion with understated eloquence, but 87 minutes isn’t nearly enough to finish it. R. MATTHEW SINGER. Laurelhurst.

Gender Reel Festival

[TWO DAYS ONLY] In its third year, the film festival expands from Philadelphia to three other cities, including Portland. The two-day fest features heaps of short films made by or featuring people of all gender identities—trans, queer and otherwise nonconforming. For the full schedule, see genderreelfest.com. In Other Words, 14 NE Killingsworth St. Saturday-Sunday, Sept. 21-22.

The Grandmaster

B- Few working filmmakers can imbue mundane events with as much majesty and grace as Wong Kar-wai, so when news broke about his long-awaited story of Ip Man— still best remembered as the martial-arts expert who trained Bruce Lee—it appeared as though we were in for a rare treat. But The Grandmaster takes too little time to cover too many events. Wong is a master of small, melancholy moments that appear to contain all the beauty and sadness of the world, a strength The Grandmaster plays to only rarely. MICHAEL NORDINE. Eastport.

Herb & Dorothy 50X50

[THREE DAYS ONLY] In this follow-up to her 2009 film about two unlikely art collectors—a postal clerk and school librarian—Megumi Sasaki follows the project to donate 50 works from the couple’s collection to each of the 50 states. NW Film Center’s Whitsell Auditorium. 8:30 pm Friday, 4 pm Saturday and 4:30 and 7 pm Sunday, Sept. 20-22.

In a World...

B+ Lake Bell is on a crusade against

“sexy baby voice.” She’s lamented this “pandemic” with Conan O’Brien and Terry Gross and even on BuzzFeed. For those unfamiliar with this obnoxious tic, imagine if Betty Boop incorporated some of Ke$ha’s vocal fry—that low, guttural vibration—and ended every sentence as if it were a question. That’s Bell’s pet peeve, and she lampoons it to

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Willamette Week SEPTEMBER 18, 2013 wweek.com

HANG TEN: At its heart, surfing is an intensely cinematic sport— the dozens of films, from Step Into Liquid to Point Break, must outnumber all golf and hockey movies put together—but it’s not an inherently dramatic one. Landlubbers shan’t ever fully understand just how competitions are judged, and shots of idyllic settings aren’t all that far removed from home movies, however arresting the footage. New documentary Storm Surfers 3D ups the ante in regard to visual appeal. Technological advantages put the observer literally in the wake of towering surf, and because the film focuses solely upon those wave riders seeking the very biggest crests, we get an inkling of the dangers that threaten professional surfers.

The film follows graying foxes Ross Clarke-Jones and Tom Carroll, whose daft vision and track record of success carry an innate narrative, to be sure. For fellow travelers, Storm Surfers 3D is a wet dream upon the biggest stage. But newcomers might well question the expense of helicoptering out to uncharted surf with a small crew of assistants. Our heroes have no doubt earned the right to such devoted support staffs, but there’s little sense of the bohemian romanticism that once marked sun-worshipping libertines and propelled pioneering surfing doc Endless Summer into the mainstream. Technically, this film—concentrating solely upon the squalls of the Southern Hemisphere—could’ve been titled Endless Winter, which perhaps seemed too sadly apropos. JAY HORTON. C

SEE IT: Storm Surfers 3D opens Friday at Cinema 21.

pitch-perfect effect in In a World…, which she wrote, directed, produced and stars in. But as funny as that sendup is, it’s still far from the best thing in the film, which takes us into the idiosyncratic and competitive realm of voice-over artists. Bell plays Carol, an aspiring voice-over artist with a bear of a father (Frank Melamed) who’s big in the biz. But rather than help Carol get her foot in the door, he’s as vain and sexist as the rest of his industry. “Women are flying planes now!” he gasps, lounging poolside in a velvet leisure suit. But Carol, a graceless but tenacious 30-year-old, ends up vying for voice-over work on the trailers for an action “quadrilogy,” a hilarious Hunger Games-style spoof starring Cameron Diaz. The movie is overstuffed, but its unassuming tone, its generosity of spirit, and Bell’s skillful performance redeem the uneven pacing and bumpy storytelling.

But most of all, In a World… succeeds for the way it calls bullshit on Hollywood’s gender dynamics and the dreck that passes for feminist cinema. R. REBECCA JACOBSON. Cornelius, Living Room.

Insidious: Chapter 2

C- The scariest thing about Insidious: Chapter 2 is that there will probably be a Chapter 3. Full of cheap scares, loud noises that are more obnoxious than jarring, and obvious visual cues, it’s an expected downgrade from the lo-fi charms of the surprisingly decent original. James Wan applies the same formula here as he did the first time around: It’s not the house that’s haunted, but the person. As in the original, Chapter 2’s sequences involving the Further—its vision of the netherworld—are far and away

the most engaging; there’s something charming about the austerity of the place, which consists of little more than LED lamps and smoke machines. But for every good scene, there are two or three bad ones, with ludicrous plot developments hampering what little momentum Wan has established.

PG-13. MICHAEL NORDINE. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Oak Grove, Division, Movies on TV, Sherwood, Sandy.

Ip Man: The Final Fight

B- [ONE WEEK ONLY] If the title

of this film sounds awfully familiar, it should. The life and times of Ip Man—a kung fu master probably best known as the teacher of Bruce Lee—have proven particularly fertile subject matter for Hong Kong filmmakers in recent years. There was Ip Man in 2008, and its sequel, Ip Man 2, in 2010. Earlier this year, we had The Grandmaster. And now director Herman Yau brings us Ip Man: The Final Fight—his second Ip Man film after 2010’s The Legend Is Born: Ip Man. An Ip Man 3—in 3-D!—is anticipated soon. (And for good measure, a TV show about Ip Man, called Ip Man, premiered on Chinese screens this year.) Too much Ip Man? Perhaps, but at least we have a reliable measuring stick against which to rate this latest addition. The Final Fight is outright better than Yau’s first effort and cinematically superior to Ip Man. But it falls short against the other two. Ip Man 2 tackled the same period of Ip Man’s life—the 1950s onwards—but did so with a faster pace, better fights and fewer characters. The Grandmaster was simply a stunningly shot film with action sequences that leave all other Ip Man films in their wake.

SEPT. 18-24

The Kings of Summer

B+ Director Jordan Vogt-Roberts’ playful debut feature follows three boys who ditch their parents, unannounced, to build a house in that enchanted clearing. The premise may be absurd, but everything else in The Kings of Summer is unapologetically genuine. R. REBECCA JACOBSON. Laurelhurst.

with a handheld camera, but it’s set in the present day. Yet the text is still Shakespeare’s, even if the actors’ cadence and mannerisms feel modern. It’s a dizzying, and initially jarring, mix of styles. But don’t doubt puppeteer Whedon: Just like the film’s characters, he knows when to loosen hold of the strings and let his capable players take over. PG-13.

REBECCA JACOBSON. Laurelhurst, Academy.

One Direction: This Is Us

B+ Victory laps in big-screen form

are becoming the norm for the pop-music world, with superstars like Katy Perry and Justin Bieber blazing multimillion-dollar trails.

So, it should come as little surprise that U.K. sensation One Direction was next in line for a glitzy combination of concert film and tour documentary. Instead, the sur-

prise is how ridiculously enjoyable this whole publicity stunt manages to be. As with any documentary like this, it’s the human moments that keep things truly interesting: the five boys catching what sleep they can muster in an airport lounge, the brooding Zayn Malik looking close to tears as he talks to his mother on the phone. The rest of the picture is taken up with plenty of onstage footage during which One Direction strives to avoid every boy-band cliché in the book.

There are no choreographed dance moves or matching outfits. Just five skinny lads trying to maintain their sanity and enjoy the spotlight while it lasts. ROBERT HAM. Cedar Hills, Clackamas, Cornelius.

CONT. on page 50

REVIEW

Lee Daniels’ The Butler

D Every time a character in The Butler goes on a trip, somebody offers him a ham sandwich. Director Lee Daniels does much the same for the viewer—in every single scene.

It isn’t hard to see why Daniels wanted to tell this story, which is based (very) loosely on truth. It’s kind of irresistible: A black White House butler, Cecil Gaines (Forest Whitaker), serves closely with every U.S. president during the civil rights era and lives to be invited back to the White House by Barack Obama.

But the writer of The Paperboy isn’t known for subtlety, and he treats 50 years of U.S. history with as much depth as a Forrest Gump montage, although the politics here are triumphally progressive. The film’s full title is Lee Daniels’ The Butler, and the subject of the movie doesn’t matter, because Lee Daniels has decided that Lee Daniels is going to make you cry, and he’s going to hit you over the head until you do. PG13. MATTHEW KORFHAGE. Cedar Hills, Eastport, Clackamas, Cornelius, Oak Grove, Division, Movies on TV, Sherwood, Sandy.

Monsters University

B Mike and Sulley may have been inseparable pals in 2001’s Monsters, Inc., but that’s not how it started for these BFFs. It’s an old formula, but Monsters University somehow captures the giddy ups and miserable downs of entering your first year of college. G. KAITIE TODD. Avalon, Milwaukie, Sherwood, Sandy, Valley.

The Mortal Instruments: City of Bones

D+ Cassandra Clare’s bestselling series of young-adult novels, The Mortal Instruments, cribs liberally from Harry Potter in telling the story of a nonmagical girl who discovers she really is magical when forced into a world of demon-slayers, vampires, werewolves, curses and parental-abandonment issues.

But the books are decidedly original compared to Harald Zwart’s adaptation of the first novel, City of Bones, which steals elements of Potter and throws in some Buffy, Blade II and Twilight for the hell of it. Yet fun is one thing Zwart forgot to steal from all of those superior works. Say what you will about 50 Shades of Grey, perhaps the most famous fan-fic of all. At least it knew how to titillate, and its whips weren’t even electric. PG-13. AP KRYZA. Eastport, Sherwood, Sandy.

Much Ado About Nothing

A Much Ado About Nothing is all

about trickery. The comedy centers on two strong-minded singles, each determined never to love and never to marry. Until, of course, their friends decide to play matchmaker.

Like those sly friends holding the strings, Joss Whedon is a masterful puppeteer himself. After wrapping The Avengers, the director retreated to his airy Santa Monica home, corralled some friends and, over the course of 12 days, secretly filmed his adaptation of Much Ado. It’s shot in black-and-white, often

PG HEADOUT 25

WILSON WEBB

The Final Fight’s greatest strength is as a biopic, rather than as a martial arts flick. It’s set against a vivid, gorgeously rendered 1950s Hong Kong, and gives a more grounded account of this period of Ip Man’s life—portraying him as a nice but fallible old man teaching some young folks martial arts, rather than as a mystical superhero. It’s a perfectly pleasant watch (if you find people getting kicked in the face pleasant; I do), but far from thrilling, and far from the most essential installment in the Ip Man cinematic collection. PG-13.

Hollywood.

MOVIES

I COULD USE THOSE CLAWS RIGHT ABOUT NOW: Hugh Jackman (left) and Paul Dano.

PRISONERS Like Clint Eastwood’s sadistically bleak Mystic River, Denis Villeneuve’s Prisoners presents its protagonists with an unimaginable horror: the abduction of their young daughters. As Pennsylvania patriarchs driven to the edge by the disappearance of their 7-year-olds, Hugh Jackman’s and Terrance Howard’s faces are mapped with anguish as their characters go to extreme measures to bring home their daughters. As their wives, Maria Bello and Viola Davis exude sympathy and catatonia in equal measure. Gloom lurks around every corner of the rain-drenched world. Nary a ray of light gets in.

But unlike Mystic River, this year’s first high-profile awards contender takes a story of families trapped in a cycle of horror and gives it the paperback treatment. It’s a yarn that wrings pulp out of the proceedings, something Eastwood was too busy torturing his characters to try. That’s not to say Prisoners is better than the overrated Mystic River, but it is far more watchable.

After all, we want to watch our villains suffer, so most audiences will thrill at the idea of Jackman, shedding his Wolverine costume but not the menace, kidnapping and torturing a suspect (Paul Dano) in an effort to translate his pain into answers. But Ransom this isn’t, and Villeneuve juggles morality with a deft hand: Dano’s character has the mind of a 10-year-old, and there is no physical evidence against him. Just Jackman’s hunch. That leaves the audience in a lurch. “Pray for the best, prepare for the worst,” Jackman repeatedly says, even as he devolves into a beast.

Scenes between Jackman, Howard and the impressive Dano are wonderfully tense, but the film loses traction whenever Jake Gyllenhaal enters. As a hotshot detective, Gyllenhaal is perfectly effective, but it’s during his investigation that the mystery derails into total pulp, injecting the otherwise bleak and realistic story with endless red herrings and mythological mumbo jumbo that would be more at home in an Alex Cross movie.

Still, Villeneuve, who exploded onto the scene with 2010’s devastating Incendies, shows endless potential in his U.S. debut. It may not have the endlessly pummeling effect of Mystic River or Ben Affleck’s Gone Baby Gone, but in terms of child-abduction thrillers, it’s engaging and gut-wrenching—without diving into an abyss of emotional torture in the name of entertainment. AP KRYZA. Suffer the little children.

B SEE IT: Prisoners is rated R. It opens Friday at Lloyd Center, Bridgeport, Cedar Hills, Eastport, Clackamas, Oak Grove, Division.

Willamette Week SEPTEMBER 18, 2013 wweek.com

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SEPT. 18-24

COURTESY OF EMPEROR MOTION PICTURES

Sharing ultimately focuses on a trio of men—Adam, his 12-step sponsor (Tim Robbins) and sponsee (Josh Gad)—as each strives toward sexual sobriety on the road to personhood rather than just penile fulfillment. It hits the expected life-lesson beats, so you know the (ahem) climax will inevitably result in a sexual bender followed by a reckoning. But it’s hard to take Ruffalo seriously as he darts surreptitiously through a store, against the beat of an ominous score, preparing to buy a laptop (such potential porn purveyors are off-limits). And Blumberg overlooks musings that might’ve elevated his film, leaving this a thoroughly unsatisfying affair. R. KRISTI MITSUDA. City Center, Fox Tower, Bridgeport, Clackamas.

Thérèse (Desqueyroux)

C The umpteenth adaptation of

IP MAN: THE FINAL FIGHT

Pacific Rim

A- Pacific Rim is like getting punched in the face with a fist full of bombastic, childish, escapist bliss. PG-13. AP KRYZA. Academy, Avalon, Laurelhurst, Movies on TV.

The Paw Project

[ONE DAY ONLY] A documentary about the movement to protect cats— both wild and domestic—from declawing. Clinton Street Theater. 7 pm Tuesday, Sept. 24.

Percy Jackson: Sea of Monsters

C- Percy Jackson’s opening install-

ment strolled onscreen in 2010, presuming itself the rightful heir to Harry Potter’s throne. Instead, it learned that it takes more than a serviceable premise to capture the public’s imagination. This second chapter boasts a mechanical bull seemingly ripped from Guillermo del Toro’s sketchbook and a cheeky Nathan Fillion cameo, but such glimmers of life are snuffed out by leaden storytelling and insipid humor.

PG. CURTIS WOLOSCHUK. Eastport.

Planes

B+ Planes is a straightforward lark

about a plucky crop-duster afraid of heights who manages to qualify for a round-the-world race. The global stereotypes lend themselves to humor at turns racist (the Mexican plane wears a wrestling mask), anti-racist (the gleaming, unaccented Mexican air force saves the American champ), and meta-racist (the Mexican plane harbors romantic stirrings for a sleek French-Canadian craft) while also enabling the studio’s trademark nuggets of scattershot whimsy. PG. JAY HORTON. Cedar Hills, Eastport, Clackamas, Forest, Indoor Twin, Oak Grove, Division, Movies on TV, Sherwood, Sandy.

Riddick

B+ “Maybe I went and did the worst

thing of all: I got civilized.” So muses Richard B. Riddick early in the new film bearing his name. He’s ostensibly explaining how he’s come to find himself stranded on a desolate planet with a figurative knife in his back.

Really, though, his words read as a self-aware statement on the downward trajectory of the first two entries in writer-director David Twohy and star Vin Diesel’s sci-fi franchise. Where Pitch Black was a simple story told well, The Chronicles of Riddick made a sincere but uneven attempt to expand said tale into a fully realized universe full of warring planets and nuanced mythos. Riddick’s first 20 minutes or so immediately signal that this a welcome return to bare-bones form. Our nocturnal antihero re-establishes himself as a primitive survivalist via a series of revitalizing acts: braving the elements, evading (and even taming) the wildlife, living off the land. Once a group of bounty hunters touch down on the planet in hopes of claiming him as their prize, he slinks off into the shadows, and Riddick begins to feel like a Nightmare on Elm Street movie in which we’re meant to root for Freddy Krueger. Storm clouds loom, venomous creatures spawn, and Riddick’s

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dog lures the would-be hunters into the open. This is all as awesome as it sounds, if not more so. Riddick is the best of the series thus far—not to mention the best action film of the year. R. MICHAEL NORDINE. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Oak Grove, Division, Movies on TV, Sherwood, Sandy.

Rising From Ashes

A documentary about survivors of the Rwandan genocide who become competitive cyclists. Living Room Theaters.

Salinger

C- It probably goes without saying

that J.D. Salinger, who spent the last four decades of his life avoiding the public eye, would be appalled at the very idea of Shane Salerno’s new documentary about him. Fans of the mediaaverse author of The Catcher in the Rye will be even more conflicted: The film is exhaustively researched in a way that’s not only revealing but invasive, as Salerno is often more interested in digging up dirt—and gaining credit for being the one holding the shovel— than in providing any genuine insight.

Instead of investigating the disparity between our deified image of Salinger and the reality presented by the unearthed material, Salinger is a voyeuristic assemblage of anecdotes and previously unseen photos. The fact that Salinger fervently rejected the claim that he was a “seer” who could solve his readers’ problems, for instance, is relegated to an afterthought. Had Salerno wrestled with this idea directly, it might have helped make sense of his years-long endeavor. The prospect of being made privy to all this is tantalizing—and the reveal that five new books are on the way is certainly a dramatic one—but absorbing it proves disenchanting. PG-13. MICHAEL NORDINE. Living Room Theaters.

Shiver

A thriller about a Portland secretary with low self-esteem who tries to escape the clutches of a vicious killer.

Living Room Theaters.

in a similar facility after college, is less interested in drawing broad thematic strokes than he is in capturing the quiet interactions and the unexpected explosions, the menial drone of this sort of work and its often invasive nature. Grace’s boyfriend describes her mind as both peculiar and gorgeous.

The same could be said of Short Term 12. R. REBECCA JACOBSON. Fox Tower.

The Spectacular Now

B The Spectacular Now opens with

a male voice-over lamenting a recent breakup. That’s the same way (500) Days of Summer—the previous film from screenwriters Scott Neustadter and Michael H. Weber—began, but here the narration comes courtesy of highschool senior Sutter (Miles Teller). It’s accompanied by a montage of Sutter pounding shots among packs of friend.

Given the film’s pedigree and setup, you half expect a manic pixie dream girl to come along and school Sutter on being real. So that Sutter befriends and then falls for off-the-radar Aimee (Shailene Woodley) feels all the more refreshing. If the film’s lesson—that Sutter must make peace with his past in order to confront his future—seems a bit pat, well, arriving at a personal understanding of such clichés is part of coming of age. R. KRISTI MITSUDA. Living Room Theaters.

Thanks for Sharing

D “Isn’t that something that guys

just say when they get caught cheating?” says Phoebe (Gwyneth Paltrow) to beau Adam (Mark Ruffalo) upon learning he’s a sex addict. Though cinematic attention has been paid in Choke and Shame, sex addiction— culturally regarded more as punch line than disease—has a PR problem that Thanks for Sharing can’t cure.

Writer-director Stuart Blumberg’s film charts the developing relationship between Adam and Phoebe following a cringeworthy meet-cute: She picks him up at a “bug party” by imitating Jiminy Cricket’s voice as he skewers the sauteed insects. But Thanks for

François Mauriac’s 1927 novel, Thérèse Desqueyroux, is exactly the kind of film the French New Wave was rebelling against—mannered, handsomely mounted and utterly lifeless. Our eponymous heroine, played

by Audrey Tautou, is repeatedly told she thinks too much and never gets worked up; her impending marriage is meant to correct both problems but only makes them worse. Just as Thérèse is made deeply unhappy by her constricting marital vows, so too does Claude Miller’s final film inspire a certain apathy that too closely mirrors the anomie of its forlorn protagonist.

We expect this ennui from Thérèse, a free spirit held down by the societal mores of 1920s France in general and the patriarchal institution of marriage in particular. All well and good, but there’s never any urgency despite Thérèse’s obvious unhappiness. That this specific story (and countless others like it) has been told so many times already isn’t damning in and of itself, but Miller’s impassive film proves unable to distinguish itself from the herd. MICHAEL NORDINE. Living Room Theaters.

Walking the Camino: Six Ways to Santiago

C+ Watching Walking the Camino, I was reminded of George Carlin expressing his frustration about the existence of a magazine called Walking: “What are the articles about?

Putting one foot in front of the other?”

Now we get a documentary about walking, covering the journeys of six strangers from around the world embarking on a 500-mile pilgrimage across northern Spain. Local director Lydia Smith objectively examines their treks with a tone that’s intensely spiritual but not preachy, and the countryside backdrop is gorgeous. But Smith has selected subjects whose motivations are mostly mystical, and their New Age lingo—“finding oneself” and “bringing God along for the ride”— becomes wearisome. Some viewers might find that appealing. Others, meanwhile, will be counting down how many kilometers are left to Santiago whenever the Indiana Jones-style maps show up. OKTAY EGE KOZAK. Hollywood.

We’re the Millers

B- Up until now, I only tolerated Jennifer Aniston. She’s the vanilla ice cream of the cinematic world. But her performance as a caustic stripper in We’re the Millers is a sort of remedy for all those years of goodgirl typecasting (save her role as a rapey dentist in Horrible Bosses). Is the novelty of a squeaky-clean Aniston working the pole yet another cheap Hollywood ploy to sell movie tickets?

Absolutely. But it turns out she has the range to pull it off with surprising depth and feeling. R. EMILY JENSEN. 99W Drive-In, Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Oak Grove, Division, Movies on TV, Sherwood, Sandy.

The Wolverine

B Wolverine’s story is seemingly the

most cinematic and easily translatable of all the mutants in his universe.

The dude has been alive for hundreds of years. He’s pissed. He has gigantic metal talons that, when experiencing the aforementioned pissed-offedness, he plunges into people. Or into robots. Or into people operating robots. Sometimes into himself.

Yet the poor guy has been stuck in a cycle of increasingly crappy movies.

But The Wolverine is a completely different beast. It’s basically a high-budget take on an old-school samurai flick, with Wolverine as the ronin. And it’s as awesome as it sounds. PG-13. AP KRYZA. Cedar Hills, Clackamas, Movies on TV, Sherwood.

The World’s End

B+ Hyperkinetic director Edgar

Wright’s previous collaborations with Simon Pegg and Nick Frost—Shaun of the Dead and Hot Fuzz—share the same DNA, and not just in the surface-value genre-mashing that makes the films both disarmingly hysterical and unexpectedly touching. The team explores the fears of men who were once the boys weaned on these very genres: abandonment, uncertainty of the future, the inability to grow up, and, chiefly, the increasing inability to deal with hangovers. It’s no surprise, then, that Wright, Pegg and Frost have rounded out what is unofficially named the Three Flavours Cornetto trilogy with The World’s End, a film that dives deep into the fractured friendship of a group of small-town pals drawn back home to re-attempt the Golden Mile, a 12-stop pub crawl that bested them two decades before. Tempers flare, painful memories resurface, regrets are aired and friendships are laid bare. It’s kind of like The Big Chill, but without the heavy-handedness. And with a legion of murderous, body-snatching robots disguised as the townfolk. Yet, despite its many strengths, The World’s End remains the weakest film of the trilogy—the most straightforward, accessible and morose. It’s a strange approach for a movie about a robot invasion, but a perfect way to cap such a wonderful series: As soon as the credits roll, fans have to face the fact that this tremendous series is over.

R. AP KRYZA. Cedar Hills, Eastport, Clackamas, CineMagic, Forest, Hollywood, Division.

Short Term 12

C O U R T E S Y O F L I O N S G AT E

MOVIES

A- “De-escalate my asshole, you

dumb fuckers!” yells the writhing boy as his youthful captors wrap him in their arms, attempting to console him.

It’s a moment that’s brutal, strangely beautiful and indelible—this wiry redhead has attempted to escape from the foster-care facility where he lives, and in his piercing defiance of the staff, he’s also appropriated and twisted their language. In its own way, Short Term 12 likewise twists the language and expectations of its genre.

Centering on a young woman named Grace (played with remarkable sympathy by Brie Larson) who works with troubled teens, Destin Daniel Cretton’s film could easily become an issue drama about the myriad injustices wrought upon children. And while it does hit some of the expected beats in its gradual reveal of Grace’s backstory, Short Term 12 is more of a mood piece—and an exquisitely, tenderly crafted one at that—than a Lifetime drama. Cretton, who worked

Willamette Week SEPTEMBER 18, 2013 wweek.com

THANKS FOR SHARING

MOVIES

SEPT. 20-26

COURTESY OF WILD STYLE PICTURES

06:45 MUCH ADO ABOUT NOTHING Fri-Sat-SunMon-Tue-Wed 02:40, 07:15 WORLD WAR Z Fri-SatSun-Mon-Tue-Wed 01:55, 07:00 CLUELESS Fri-SatSun-Mon-Tue-Wed 05:00, 09:35

Living Room Theaters

BREAK IT DOWN: Wild Style plays at the Hollywood Theatre at 7 pm Wednesday, Sept. 18, with director Charlie Ahearn in attendance.

Regal Lloyd Center 10 & IMAX

1510 NE Multnomah St., 800326-3264 THE WIZARD OF OZ: AN IMAX 3D EXPERIENCE Fri-Sat-Sun-Mon-TueWed 11:50, 02:25, 05:00, 07:35, 10:10 PRISONERS Fri-Sat-Sun 12:00, 03:25, 06:50, 10:15 BATTLE OF THE YEAR 3D Fri-SatSun 01:00, 03:55, 07:10, 09:55 UNSTOPPABLE: A LIVE EVENT WITH KIRK CAMERON Tue 08:00 POMPEII FROM THE BRITISH MUSEUM Wed 07:30

Avalon Theatre & Wunderland

3451 SE Belmont St., 503-238-1617 TURBO Fri-Sat-Sun-MonTue-Wed 01:15, 03:10 PACIFIC RIM Fri-Sat-SunMon-Tue-Wed 07:00, 09:15 THE HEAT Fri-Sat-SunMon-Tue-Wed 04:55, 09:20 MONSTERS UNIVERSITY Fri-Sat-Sun-Mon-Tue-Wed 01:00, 05:05 WORLD WAR Z Fri-Sat-Sun-Mon-TueWed 03:00, 07:10

Bagdad Theater and Pub

3702 SE Hawthorne Blvd., 503-249-7474 REEL ROCK FILM TOUR Fri 07:00 TURBO Sat-Sun 02:00 THE HEAT SatSun-Mon-Tue-Wed 08:45 WORLD WAR Z Sat-SunMon-Tue-Wed 06:00

Cinema 21

616 NW 21st Ave., 503-223-4515 STORM SURFERS 3D FriSat-Sun-Mon-Tue-Wed 04:45, 07:00, 09:00

Clinton Street Theater

2522 SE Clinton St., 503-238-8899 OREGON INDEPENDENT FILM FESTIVAL Fri-Sat-Sun 05:00, 06:15, 07:00, 08:30, 09:00 BAD MOVIE NITE Fri 11:00 OPERACIóN E Mon 07:00 THE PAW PROJECT AWARENESS CAMPAIGN Tue 07:00 THE GLEANERS AND I Wed 07:00

Laurelhurst Theatre & Pub

2735 E Burnside St., 503-232-5511 MUCH ADO ABOUT NOTHING Fri-Sat-SunMon-Tue-Wed 06:40 JACKIE BROWN Fri-SatSun-Mon-Tue-Wed 09:00 FRUITVALE STATION FriSat-Sun-Mon-Tue-Wed 07:15 WORLD WAR Z Fri-Sat-Sun-Mon-Tue-Wed 09:10 PACIFIC RIM Fri-SatSun-Mon-Tue-Wed 09:30

THE HEAT Fri-Sat-SunMon-Tue-Wed 07:00 THE KINGS OF SUMMER Fri-SatSun-Mon-Tue-Wed 07:30 THE CONJURING Fri-SatSun-Mon-Tue-Wed 09:40 TURBO Sat-Sun 01:45

Mission Theater and Pub

1624 NW Glisan St., 503-249-7474-5 CASABLANCA Sun 04:00, 07:30 THE ANGELS’ SHARE Mon 07:00 DRINKING BUDDIES Tue 07:00

Moreland Theatre

01:50, 04:40, 07:30, 10:25 BATTLE OF THE YEAR 3D Fri-Sat-Sun-Mon-TueWed 04:30, 07:15 THE FAMILY Fri-Sat-Sun-MonTue-Wed 01:40, 04:30, 07:15, 10:00 PRISONERS Fri-Sat-Sun-Mon-Tue-Wed 12:00, 03:30, 07:00, 10:30 THE GRANDMASTER FriSat-Sun-Mon-Tue-Wed 01:35, 04:20, 07:05, 09:45 INSIDIOUS: CHAPTER 2 Fri-Sat-Sun-Mon-Tue-Wed 02:05, 04:50, 07:30, 10:15

99 West Drive-In

Highway 99W, 503-538-2738 GREMLINS Fri-Sat-Sun 07:30 WE’RE THE MILLERS Fri-Sat-Sun 10:00

Edgefield Powerstation Theater

6712 SE Milwaukie Ave., 503236-5257 BLUE JASMINE Fri-SatSun-Mon-Tue-Wed 05:30, 07:40

2126 SW Halsey St., 503-249-7474-2 TURBO Fri-Sat-Sun-MonWed 06:00 WORLD WAR Z Fri-Sat-Sun-Mon-TueWed 09:00

St. Johns Twin Cinemas and Pub

Kennedy School Theater

8704 N Lombard St., 503-286-1768 BLUE JASMINE Fri-SatSun-Mon-Tue-Wed 05:30, 07:55 THE FAMILY Fri-SatSun-Mon-Tue-Wed 05:50, 08:20

CineMagic Theatre

2021 SE Hawthorne Blvd., 503-231-7919 THE WORLD’S END Fri-SatSun-Mon-Tue-Wed 05:30, 08:00

Century 16 Eastport Plaza

4040 SE 82nd Ave., 800-326-3264-952 PLANES Fri-Sat-Sun-MonTue-Wed 04:10, 09:15 PLANES 3D Fri-Sat-SunMon-Tue-Wed 01:40, 06:45 DESPICABLE ME 2 Fri-Sat-Sun-Mon-TueWed 01:50, 04:25, 07:05, 09:55 WE’RE THE MILLERS Fri-Sat-Sun-Mon-Tue-Wed 01:55, 04:35, 07:25, 10:10 2 GUNS Fri-Sat-Sun-MonTue-Wed 05:00, 10:30 THE CONJURING Fri-Sat-SunMon-Tue-Wed 02:10, 04:55, 07:40, 10:20 ELYSIUM Fri-Sat-Sun-Mon-Tue-Wed 12:00, 02:35, 05:15, 07:50, 10:25 PERCY JACKSON: SEA OF MONSTERS FriSat-Sun-Mon-Tue-Wed 02:00, 04:45, 10:10 PERCY JACKSON: SEA OF MONSTERS 3D Fri-Sat-SunMon-Tue-Wed 07:20 THE MORTAL INSTRUMENTS: CITY OF BONES Fri-SatSun-Mon-Tue-Wed 12:30, 03:40, 06:50, 09:55 BLUE JASMINE Fri-Sat-Sun-MonTue-Wed 12:05, 02:35, 05:05, 07:35, 10:05 LEE DANIELS’ THE BUTLER Fri-Sat-Sun-Mon-TueWed 12:10, 03:20, 06:40, 09:50 THE WORLD’S END Fri-Sat-Sun-Mon-Tue-Wed 02:15, 07:45 RIDDICK Fri-Sat-Sun-Mon-Tue-Wed

5736 NE 33rd Ave., 503-249-7474-4 TURBO Fri-Sat-Sun-MonTue-Wed 05:30 THE CONJURING Fri-Sat 10:00 THE HEAT Fri-Sat-SunMon-Tue-Wed 02:30, 07:35

Hollywood Theatre

4122 NE Sandy Blvd., 503-281-4215 NOIR Fri-Sat-Sun 03:30, 07:00, 08:45 THE WORLD’S END Fri-SatSun-Mon-Tue-Wed 07:00, 09:15 WALKING THE CAMINO: SIX WAYS TO SANTIAGO Fri-Sat-SunMon-Tue-Wed 07:15 IP MAN: THE FINAL FIGHT Fri-Sat-Sun-Mon-Tue-Wed 09:00 JEWTOPIA Sat-Sun 05:00 RE-RUN THEATER: PUNK CITY Mon 07:30 GRINDHOUSE TRAILER SPECTACULAR: GREATEST HITS Tue 07:30 WINGS Wed 06:30

NW Film Center’s Whitsell Auditorium 1219 SW Park Ave., 503-221-1156 THE THIEF OF MIRRORS Fri-Sat 08:30 HERB & DOROTHY 50X50 Fri-SatSun 04:30, 07:00

St. Johns Theatre

8203 N Ivanhoe St., 503-249-7474-6 WORLD WAR Z Fri-SatSun-Mon-Tue-Wed 01:00, 09:00 TURBO Sat-SunTue-Wed 06:30

Academy Theater

7818 SE Stark St., 503-252-0500 THE CONJURING FriSat-Sun-Mon-Tue-Wed 09:15 TURBO Fri-SatSun-Mon-Tue-Wed 02:25, 04:35 PACIFIC RIM FriSat-Sun-Mon-Tue-Wed 04:20, 09:35 THE HEAT Fri-Sat-Sun-Mon-Tue-Wed

341 SW 10th Ave., 971-222-2010 20 FEET FROM STARDOM Fri-Sat-Sun-Mon-Tue-Wed 12:00, 01:50, 05:40, 08:30 IN A WORLD... Fri-SatSun-Mon-Tue-Wed 12:20, 02:40, 04:40, 05:10, 07:15, 09:15 RISING FROM ASHES Fri-Sat-Sun-Mon-TueWed 12:05, 02:50, 03:50, 06:40 SALINGER Fri-SatSun-Mon-Tue-Wed 11:55, 02:30, 05:00, 07:30, 09:00 SHIVER Fri-Sat-Sun-MonTue-Wed 07:45, 10:00 THéRèSE DESQUEYROUX Fri-Sat-Sun-Mon-Tue-Wed 12:30, 02:00, 04:20, 07:00, 09:20 THE SPECTACULAR NOW Fri-Sat-Sun-Mon-TueWed 12:10, 02:20, 04:30, 06:50, 09:40

Century Clackamas Town Center and XD

12000 SE 82nd Ave., 800-326-3264-996 PLANES Fri-Sat-SunMon-Tue-Wed 11:40, 02:15, 04:40, 07:15, 09:45 DESPICABLE ME 2 Fri-SatSun-Mon-Tue-Wed 11:15, 01:45, 04:20, 07:05, 09:40 WE’RE THE MILLERS FriSat-Sun-Mon-Tue-Wed 11:30, 02:10, 04:55, 07:40, 10:20 THE WOLVERINE Fri-Sat-Sun-Mon-Tue-Wed 11:00, 10:10 ELYSIUM FriSat-Sun-Mon-Tue-Wed 11:20, 02:05, 05:00, 07:40, 10:30 PERCY JACKSON: SEA OF MONSTERS Fri-SatSun-Mon-Tue-Wed 11:15, 02:00, 04:35, 07:25, 10:10 LEE DANIELS’ THE BUTLER Fri-Sat-Sun-Mon-TueWed 12:40, 03:50, 07:00, 10:05 THE WORLD’S END Fri-Sat-Sun-Mon-Tue-Wed 11:35, 02:20, 05:10, 07:50, 10:35 RIDDICK Fri-SatSun-Mon-Tue-Wed 11:10, 02:00, 04:45, 07:35, 10:35 BATTLE OF THE YEAR 3D Fri-Sat-Sun-Mon-Tue-Wed 11:05, 04:35, 10:05 THE FAMILY Fri-Sat-Sun-MonTue-Wed 11:00, 12:25, 01:50, 03:15, 04:40, 06:10, 07:30, 09:05, 10:20 PRISONERS Fri-Sat-Sun-Mon-Tue-Wed 11:00, 02:30, 06:05, 09:35 THE ULTIMATE LIFE FriSat-Sun-Mon-Tue-Wed 11:20, 02:05, 04:50, 10:15 INSIDIOUS: CHAPTER 2 Fri-Sat-Sun-Mon-Tue-Wed 11:25, 12:50, 02:15, 03:40, 05:05, 06:30, 07:55, 09:20, 10:40 INSTRUCTIONS NOT INCLUDED Fri-SatSun-Mon-Tue-Wed 11:00, 01:55, 04:50, 07:45, 10:40 THANKS FOR SHARING Fri-Sat-Sun-Mon-Tue-Wed 11:05, 01:55, 04:45, 07:35, 10:25 ONE DIRECTION: THIS IS US - EXTENDED FAN CUT Fri-Sat-SunMon-Tue-Wed 11:45 ONE DIRECTION: THIS IS US 3D - EXTENDED FAN CUT Fri-Sat-Sun-MonTue-Wed 02:25, 05:10, 07:50, 10:30 FIGHT CLUB Sun-Wed 02:00, 07:00 UNSTOPPABLE: A LIVE EVENT WITH KIRK CAMERON Tue 08:00 POMPEII FROM THE BRITISH MUSEUM Wed 07:30

RESTAURANT GUIDE

SUBJECT TO CHANGE. CALL THEATERS OR VISIT WWEEK.COM/MOVIETIMES FOR THE MOST UP-TODATE INFORMATION FRIDAY-THURSDAY, SEPT. 20-26, UNLESS OTHERWISE INDICATED

2013 Restaurant Guide publishes Oct 16 Willamette Week SEPTEMBER 18, 2013 wweek.com

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CLASSIFIEDS DIRECTORY 52

WELLNESS

52

SERVICES

52

53

BULLETIN BOARD

53

JOBS

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MUSICIANS’ MARKET MATCHMAKER

52

STUFF

52

MOTOR

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JONESIN’

55

FREE WILL ASTROLOGY

55

PETS

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REAL ESTATE

503-445-3647 • ahorton@wweek.com

WELLNESS

MEN’S HEALTH MANSCAPING

Bodyhair grooming M4M. Discrete quality service.

503-841-0385 by appointment.

VIAGRA 100MG, 40 pills+/4 free, only $99.00. Save Big Now, Discreet shipping.

Call 1-800-374-2619 Today! (AAN CAN)

COUNSELING

HEALTHCARE CASH for DIABETIC TEST STRIPS

SERVICE DIRECTORY MASSAGE (LICENSED)

HOME

Enjoy the Benefits of Massage

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

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

SEPTEMBER 18, 2013

Massage openings in the Mt. Tabor area.

Call Jerry for info. 503-757-7295.

LMT6111.

Help those in need.

Paying up to $30/box.

Free pick up.

Sharon 503-679-3605

SERVICES BUILDING/REMODELING

Weight Mastery Stress Relief Spiritual Insight Smoking Cessation Procrastination Self Esteem Past Life

STUFF

TREE SERVICES Steve Greenberg Tree Service

Pruning and removals, stump grinding.

24-hour emergency service. Licensed/ Insured. CCB#67024. Free estimates.

503-284-2077

FURNITURE

MUSICIANS MARKET INSTRUMENTS FOR SALE

TWINS $

COMPANY

FOR FREE ADS in 'Musicians Wanted,' 'Musicians Available' & 'Instruments for Sale' go to portland.backpage.com and submit ads online.

Ads taken over the phone in these categories cost $5.

79

FULL $ 89

QUEEN

(503)

760-1598

109

$

7353 SE 92nd Ave Mon-Fri 9-5, Sat 10-2

Custom Sizes » Made To Order Financing Available

TRADEUPMUSIC.COM

Buying, selling, instruments of every shape and size. Open 11am-7pm every day. 4701 SE Division & 1834 NE Alberta.

MUSIC LESSONS

MOTOR

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

GENERAL

REL A X!

INDULGE YOURSELF in an - AWESOME FULL BODY MASSAGE

call

BEDTIME

MATTRESS

“Atomic Auto New School Technology, Old School Service” www.atomicauto.biz

Charles

503-740-5120

mention you saw this ad in WW and receive 10% off for your 1st visit!

lmt#6250

AUTOS WANTED Indian Music Classes with Josh Feinberg

AUDIO SE

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

Inner Sound

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

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

AUTO COLLISION REPAIR NE Atomic Auto 2510 NE Sandy Blvd Portland, Or 97232 503-969-3134 www.atomicauto.biz

CLEANING Counseling Individuals, Couples and Groups

Affordable Rates • No-cost Initial Consult www.stephenshostek.com

503-963-8600

Dating Savvy: emotional skills building group dating the second time around.

Starts Sept 23, 5:30 – 7pm 15171 SW Bangy Road, Lake Oswego 97035 (503) 690-0790 Call to reserve limited space Mary E Joyce, LPC, CADC I

Totally Relaxing Massage

With 2 time Grammy winner Peter Boe. 503-274-8727.

W

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

LAWN SERVICES Bernhard’s

Residential, Commercial and Rentals.

Complete yard care, 20 years.

503-515-9803. Licensed and Insured.

ALTERNATIVE MEDICINE

OMMP Resource Center Providing Safe Access to Medicine

FOLLOW @WWE E K ON T WIT TER 52

Learn Piano All styles, levels

Stephen Shostek, CET Relationships, Life Transitions, Personal Growth

Week Classifieds SEPTEMBER 18, 2013 wweek.com

Valid MMJ Card Holders Only No Membership Dues or Door Fees

“Simply the Best Meds” www.rosecitywellnesscenter.com

CASH FOR CARS: Any Car/Truck. Running or Not! Top Dollar Paid. We Come To You! Call For Instant Offer: 1-888-420-3808 www.cash4car.com (AAN CAN)

IL

LA

M E T TE WE E

K

GIVE! GUIDE 2013

Kick-Off Party Nov. 5, 6–10pm

Left Bank Annex 101 NE Weidler

Free | Open to the Public Cocktails & Light Hors d’Oeuvres

This is your chance to meet 130 fabulous local nonprofits—and to learn about great incentives for giving.

TO PLACE AN AD CONTACT:

ASHLEE HORTON

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JONESIN’ by Matt Jones Freestyle for All–no theme, so what?

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

ADOPTION ADOPTION -

Loving, well educated, financially secure couple seeks to adopt an infant. Give yourself, your baby, and us a happier future. Expenses paid.

Call 1-800-517-7840

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Beth *1-800-990-7667* PREGNANT? THINKING OF ADOPTION? Talk with caring agency specializing in matching Birthmothers with Families Nationwide. LIVING EXPENSES PAID. Call 24/7 Abby’s One True Gift Adoptions. 866-413-6293.

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ANNOUNCEMENTS $10,000 REWARD. If you know right situation of criminal harassment against an old lady in Portland neighborhood MonteVilla, you can correct by giving police information that leads to arrest for illegal use of privacy invasive equipment. Privacy invasive equipment must have been used for 1 year. Only one reward for privacy invasion. Reward may be split. Information must be given to police only.

$5,000 REWARD.

58 Neo’s realization that prompts the line “Show me” 60 Concert shirt 61 They come before deliveries 62 “Green Acres” star Gabor 63 Showing some cheek 64 Last name in tractors 65 Hunky-dory Down 1 Bialik of “The Big Bang Theory” 2 Hardly a happy camper 3 Unnamed source of a secret, playfully 4 Grateful Dead bass guitarist Phil 5 Glorify 6 Park Avenue hotel, casually 7 Blink-and-you’ll-miss-it sighting 8 Engine noise 9 Former Army base in N.J. 10 Norwegian phrase heard in the Upper Midwest 11 Ending for Scotch (anagram of DRAG) 12 Organic compound 13 J.D. Salinger heroine 16 Drought-damaged (hidden in SERENA WILLIAMS) 23 ___ Canyon (Utah attraction) 27 Some abstract paintings 29 It’s said with a pat 30 Brew from South

Africa 31 Paradoxical philosopher 32 Part of NCAA 33 Eleanor’s White House successor 34 Bldg. units 35 Hosp. facilities 36 1989 play about Capote 37 Label for Sonny & Cher 38 Solution strength, in Southampton (anagram of TRITE) 44 Makes out, to Brits 45 Light golden brown 46 He wrote “She’s a Lady” 48 Put off 50 New, in Nicaragua 51 Say something 52 Slight bites 53 Cajun vegetable 54 They get swapped for quarters 56 Bit of subterfuge 59 “Hansel ___ Gretel” (German opera)

EVENTS

STATE OF SOUTH CAROLINA IN THE FAMILY COURT OF THE THIRTEENTH JUDICIAL CIRCUIT COUNTY OF GREENVILLE DOCKET NO.: 2013-DR-23-3237 NOTICE OF ADOPTION PROCEEDINGS TO THE DEFENDANT: “JOHN DOE” BIRTH FATHER YOU ARE HEREBY GIVEN THE FOLLOWING NOTICE: 1. That an adoption proceeding was filed in the Family Court of Greenville County on July 22, 2013, and in this Complaint you are alleged to be the father of a Caucasian/Hispanic, male child born in Oceanside, California, on July 17, 2013.

2. That the Plaintiffs in the above captioned Notice are not named for the purpose of confidentiality; however, the Court knows the true identity of the Plaintiffs and in responding to this notice, you are required to use the caption and the number 2013-DR-23-3237.

3. That if Notice to Contest, Intervene or otherwise Respond is filed by you with the Court within thirty (30) days of the receipt of this Notice of Adoption Proceedings, you will be given an opportunity to appear and be heard on the merits of the adoption. To file notice to Contest, Intervene or otherwise Respond in this action, you must notify the above named Court at Greenville County Courthouse, Clerk of Court at 301 University Ridge, Greenville, South Carolina, 29601, in writing of your intention to Contest, Intervene or otherwise Respond. The above named Court must be informed of your current address and any changes of your address during the adoption proceedings.

4. That your failure to respond within thirty (30) days of receipt of this Notice of Adoption Proceedings constitutes your consent to the adoption and forfeiture of all of your rights and obligations to the above identified child. It is further alleged that your consent to this adoption is not required under S.C. Code Ann. Section 63-9-310 and that your parental rights should be terminated pursuant to S.C. Code Ann. Section 63-7-2570 (7).

This notice is given pursuant to S.C. Code Ann. Section 63-9-730 (E).

Raymond W. Godwin, Esq. (SC Bar #2162) Julie M. Rau (SC Bar #69650) 1527 Wade Hampton Blvd.

Greenville, SC 29609 PH (864) 241-2883 FAX: (864) 255-4342 ATTORNEYS FOR PLAINTIFFS Date: August 8, 2013

SUPPORT GROUPS Presents

Sitar, Mandolin and Tabla

Instrumental Concert

Indrajit Banerjee on Sitar, Snehashish Mozumder on Mandolin, Subrata Bhattacharya on Tabla

Got Meth Problems?

Need Help?

Oregon CMA 24 hour Hot-line Number: 503-895-1311.

We are here to help you!

Information, support, safe & confidential!

JOBS CAREER TRAINING

First Baptist Church 909 SW 11th Avenue Portland, OR 97205 Saturday, Sept. 21 2013, 7:30pm

Tickets are $20 in advance and available through www.kalakendra.org or may be purchased at the door for $25. Students $15. tickets for children (3-12) in advance is $10 & 12.50 at the door

www.kalakendra.org

last week’s answers

Across 1 “Cool” amount of money 4 Lewd dude 9 Wyclef Jean or Lauryn Hill, once 14 “Entourage” agent Gold 15 They blow off steam 17 Chinese revolutionary Sun ___-sen 18 Was preceded by 19 “Addams Family” cousin 20 Gordie who played 26 seasons 21 Sphinx’s offering 22 Scary Spice’s alter ego 24 “7 Faces of Dr. ___” 25 Prefix past tera- and peta26 Historical time 28 Get (behind) 30 Wu-Tang Clan producer 33 Side dish often ovenroasted 39 Dimensions beyond description 40 What yoga and meditation help with 41 Data storage device, for short (hidden in PRESS DOWN) 42 Latest craze 43 Poetic planet 44 Amtrak listing, briefly 47 Angler’s need 49 A kazillion years, it seems 52 Reagan biographer Peggy 55 Teen follower 57 Eat daintily

If you know right situation of criminal harassment against an old lady in Portland neighborhood MonteVilla, you can correct by giving police information that leads to arrest for stalking. Only one reward for one stalking arrest. Reward may be split. Information must be given to police only.

PUBLIC NOTICES

Join the Willamette Writers Email List

To learn about writing workshops, readings, grants, poetry events in PDX and beyond; free; sign up at www.willamettewriters.com

LESSONS CLASSICAL PIANO/ KEYBOARD Theory Performance. All ages.

Tutoring. Portland

503-227-6557

AIRLINE CAREERS

begin here – Get trained as FAA certified Aviation Technician. Housing and Financial aid for qualified students. Job placement assistance. Call Aviation Institute of Maintenance 877-492-3059 (AAN CAN)

OLCC’S NEWEST ONLINE SERVER PERMIT CLASS

is NOW Just $12 for the Renewal Server Class. (Seasoned Pro’s) and STILL only $15 for the Initial Server Class. (First Timers) Take Your Class @ www.happyhourtraining.com where we are always ‘Bartender Tested & OLCC Approved!’

541-447-6384.

SALES/MARKETING Sales Empire Today, LLC, a leading home improvement and home furnishing shop-at-home company featuring quality name-brand Carpet, Flooring and Window Treatments with next day installation, is currently hiring: IN-HOME SALES PROFESSIONALS Realistic $70K earning opportunity. NO cold calling; Appointments are set for you from our call-in television and online leads. Local territories. Commissions paid weekly. Must have reliable transportation.

JOIN OUR SALES TEAM TODAY! Email resumes to Dene Jolly at djolly@empiretoday.com or call 877-588-5219 X 2239 or fax 562-868-6416.

EOE m/f/d/v

EMPLOYMENT OPPORTUNITIES $$$HELP WANTED$$$ Extra Income! Assembling CD cases from Home! No Experience Necessary! Call our Live Operators Now! 1-800-405-7619 EXT 2450 http://www.easywork-greatpay.com (AAN CAN)

MCMENAMINS Rock Creek, Grand Lodge, and Cedar Hills Are now hiring LINE COOKS! Qualified apps must have an open & flex sched including, days, eves, wknds and holidays.

We are looking for applicants who have prev exp related exp and enjoy working in a busy customer service-oriented enviro.

We are also willing to train! We offer opps for advancement and excellent benefits for eligible employees, including vision, med, chiro, dental and so much more!

Please apply online 24/7 at www.mcmenamins.com or pick up a paper app at any McMenamins location.

Mail to 430 N. Killingsworth, Portland OR, 97217 or fax: 503-221-8749. Call 503-952-0598 for info on other ways to apply. Please no phone calls or emails to individ locs!

E.O.E.

MCMENAMINS RUBY SPA at the Grand Lodge in Forest Grove Is now hiring NAIL TECHs and LMTs! Qualified apps must have an open & flex sched including, days, eves, wknds and holidays. We are looking for applicants who have prev exp related exp and enjoy working in a busy customer service-oriented enviro. We are also willing to train! We offer opps for advancement and excellent benefits for eligible employees, including vision, med, chiro, dental and so much more! Please apply online 24/7 at www.mcmenamins.com or pick up a paper app at any McMenamins location.

Mail to 430 N. Killingsworth, Portland OR, 97217 or fax: 503-221-8749. Call 503-952-0598 for info on other ways to apply. Please no phone calls or emails to individ locs!

E.O.E.

Stars Cabaret in TUALATINHiring (Tualatin-TigardLake Oswego)

Stars Cabaret in TUALATIN is now accepting applications for Servers, Bartenders, Hostess, Valet. Part and Full-time positions available. Experience preferred but not required. Earn top pay + tips in a fast-paced and positive environment.

Stars Cabaret is also conducting ENTERTAINERS auditions and schedule additions Mon-Sun 11am-10pm.

ENTERTAINERS: Training provided to those new to the business.

Located @ 17937 SW McEwan Rd. in Tualatin...across from “24 Hours Fitness” Please apply at location.

©2013 Jonesin’ Crosswords (editor@jonesincrosswords.com) For answers to this puzzle, call: 1-900-226-2800, 99 cents per minute. Must be 18+.

Or to bill to your credit card, call: 1-800-655-6548. Reference puzzle #JONZ641.

Willamette Week Classifieds SEPTEMBER 18, 2013 wweek.com

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Week of September 19

ARIES (March 21-April 19): “If Taylor Swift is going to have six breakups a year,” observed comedian Bill Maher, “she needs to write a new song entitled ‘Maybe It’s Me.’” He was referring to Swift’s habit of using her romantic misadventures to stimulate her lyric-writing creativity. With that as your prompt, Aries, I’ll ask you to do some soul-searching about your own intimacy issues. How have you contributed to the problems you’ve had in getting the love and care you want? What unconscious behavior or conditioned responses have undermined your romantic satisfaction, and what could you do to transform them? The next eight weeks will be prime time to revolutionize your approach to relationships.

TAURUS (April 20-May 20): Philosopher Alan Watts used to talk about how the whole world is wiggling all the time. Clouds, trees, sky, water, human beings: Everything’s constantly shimmying and jiggling and waggling. One of our problems, Watts said, is that we’re “always trying to straighten things out.” We feel nagging urges to deny or cover up or eliminate the wiggling. “Be orderly,” we command reality. “Be neat and composed and predictable.” But reality never obeys.

It’s forever doing what it does best: flickering and fluctuating and flowing. In accordance with astrological omens, Taurus, I encourage you to rebel against any natural tendencies you might have to fight the eternal wiggle. Instead, celebrate it. Rejoice in it. Align yourself with it.

GEMINI (May 21-June 20): Author Elaine Scarry defines “the basic impulse underlying education” as follows: the “willingness to continually revise one’s own location in order to place oneself in the path of beauty.” Consider making this your modus operandi in the coming weeks, Gemini. Always be on the lookout for signs that beauty is near. Do research to find out where beauty might be hiding and where beauty is ripening. Learn all you can about what kinds of conditions attract beauty, and then create those conditions.

Finally, hang around people who are often surrounded by beauty. This approach will be an excellent way to further your education.

CANCER (June 21-July 22): “Life is either always a tight-rope or a feather bed. Give me the tight-rope.”

So declared writer Edith Wharton. But she was an Aquarius, and more temperamentally suited to the tight-rope. Many of you Cancerians, on the other hand, prefer to emphasize the feather-bed mode. I suspect that in the next nine months, however, you will be willing and even eager to spend more time on the tight-rope than is customary for you. To get primed for the excitement, I suggest you revel in some intense feather-bed action in the coming weeks. Charge up your internal batteries with an extra-special deluxe regimen of sweet self-care.

LEO (July 23-Aug. 22): Half of a truth is better than no truth at all, right? Wrong! If you latch on to the partially accurate story, you may stop looking for the rest of the story. And then you’re liable to make a premature decision based on insufficient data. The better alternative is to reject the partially accurate story and be willing to wait around in the dark until the complete revelation comes. That may be uncomfortable for a while. But when the full truth finally straggles in, you will be very glad you didn’t jump to unripe conclusions.

VIRGO (Aug. 23-Sept. 22): A Chinese entrepreneur named Nin Nan dreamed up a unique way to generate capital: He sold dead mosquitoes online for a dollar apiece, advertising them as useful for scientific research and decoration. Within two days, he received 10,000 orders. Let’s make him your patron saint and role model for the next few weeks, Virgo. May he inspire you to come up with novel ways to stimulate your cash flow. The planetary omens suggest that your originality is more likely than usual to generate concrete rewards.

LIBRA (Sept. 23-Oct. 22): “The most important thing is to find out what the most important thing is,” wrote Shunryu Suzuki in his book Zen Mind, Beginner’s Mind. That’s your assignment for the next three

weeks. Do whatever it takes to find out beyond any doubt what the most important thing is. Meditate naked an hour a day. Go on long walks in the wildest places you know. Convene intense conversations about yourself with the people who know you best. Create and sign a contract with yourself in which you vow to identify the experience you want more than any other experience on earth. No waffling allowed, Libra. What is the single most important thing?

SCORPIO (Oct. 23-Nov. 21): Sometime in the next nine months you may feel moved to embark on an adventure that will transform the way you understand reality. Maybe you will choose to make a pilgrimage to a sacred sanctuary or wander further away from your familiar comforts than you ever have before. Right now is an excellent time to brainstorm about the possibilities. If you don’t feel ready to actually begin your quest, at least formulate a master plan for the magic moment when you will be ripe.

SAGITTARIUS (Nov. 22-Dec. 21): In the indigenous culture of Hawaii, “mana” refers to a spiritual power that may abide in people, objects, and natural locations. You can acquire more of it by acting with integrity and excellence, but you might lose some of it if your actions are careless or unfocused. For instance, a healer who does a mediocre job of curing her patients could lose the mana that made her a healer in the first place. I believe that similar principles hold true for non-Hawaiians. All of us have an ever-shifting relationship with the primal life force. What’s the current state of your own personal supply, Sagittarius? It’s time to make sure you’re taking full advantage of the mana you have been blessed with. Your motto: “Use it or lose it.”

CAPRICORN (Dec. 22-Jan. 19): Have you been getting enough? I doubt it. I think you should sneak a peek into the hiding place where your insatiable cravings are stored. If you’re brave enough, also take a look at your impossible demands and your unruly obsessions and your suppressed miracles. Please note: I’m not suggesting that you immediately unleash them all; I don’t mean you should impulsively instigate an adventure that could possibly quench your ravenous yearnings. But I do believe you will benefit from becoming better acquainted with them. You could develop a more honest relationship, which would ultimately make them more trustworthy.

PETS

RENTALS

CHANDLER

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REAL ESTATE FOR SALE BY OWNER Hi there! My name is Chandler and you know I am here to be one of your FRIENDS! Ha ha get it!? I know it’s a bit of a 90s reference but come on you know you loved that show! Ok while I might not be a classically handsome guy like Matthew Perry I am certainly just as goofy and my punch lines and silly gestures will have you rolling on the floor! I am a 7 year old Lab mix that is ready for some lovin’! I am affectionate, friendly and great with other dogs. In fact, I would love one for a roommate! We would be sure to get into all sorts of hilarious antics - I really am a joyful boy! I am a smart guy who knows all of my basic commands and am very well mannered. You know I will always be there for you! What do you think? Want to give this nice boy a try? 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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I M A D E T HIS

AQUARIUS (Jan. 20-Feb. 18): Don’t tape your thumbs to your hands and stalk around pretending to be a dinosaur. Don’t poke three holes in a large plastic garbage bag and wear it as a tunic while imagining that you are a feudal serf in a post-apocalyptic, sci-fi dystopia. Don’t use a felt-tip marker to draw corporate logos on your face to show everyone what brands of consumer goods you love. To be clear: I would love you to be extravagantly creative. I hope you will use your imagination in novel ways as you have fun playing with experimental scenarios. But please exercise a modicum of discernment as you wander way outside the box. Be at least 20 percent practical.

PISCES (Feb. 19-March 20): “Take a lover who looks at you like maybe you are magic,” says the poet Marty McConnell. That’s good advice, Pisces -- not just in regards to your intimate relationships, but about all your other alliances, too. If you’re seeking a friend or consultant or business partner or jogging companion or new pet, show a preference for those creatures who look at you like maybe you are magic. You always need to be appreciated for the sweet mystery and catalytic mojo you bring to your partnerships, but you especially need that acknowledgment now.

“Crackle Bowl”

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