39 47 willamette week, september 25, 2013 by Willamette Week Newspaper

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WILLAMETTE WEEK PORTLAND’S NEWSWEEKLY

expel check

Portland Public Schools has spent millions to help stop racial profiling of students in discipline cases. The problem is getting worse.

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by Rachel graham Cody |

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VOL 39/47 09.25.2013

Page 12

b e t h l ay n e h a n s e n

NEWS Big Tobacco’s new Oregon friend. food PORTLAND’S BEST LEBANESE. MOVIES GUIDOS, PORN AND MUSHROOMS.

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KENNETH HUEY

CONTENT

SMOKIN’: Ex-University of Oregon President Dave Frohnmayer turns paid expert witness for Big Tobacco. Page 7.

NEWS

MUSIC

LEAD STORY

PERFORMANCE 42

CULTURE

MOVIES

FOOD & DRINK

CLASSIFIEDS

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 Ravleen Kaur, Paul Kiefer, Benjamin Ricker

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A MIDSUMMER NIGHT’S DREAM Christopher Stowell / Felix Mendelssohn

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INBOX CONVENTION CENTER HOTEL

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. [“Heartbreak Hotel,” WW, Sept. 18, 2013.] Exactly what is this “vibrancy” we keep hearing about? Portland has it, and has enough of it to lure conventioneers away from Los Angeles, Las Vegas, San Francisco, Vancouver, B.C., Phoenix? Sure we do. The $17 million that the Nines stiffed the city for is going to look like chicken feed when the dust finally settles on this boondoggle. I can’t believe Portland voters are such suckers and continue to elect the same irresponsible morons over and over again. Pitiful. I don’t have a problem with hotels and conventions and tourism. I welcome all of that. But I don’t want one thin dime of my taxes going to subsidize it. I think most people in this town agree with me. —“Skepti-Cal”

FRITZ AND HOMELESS CAMP

TICKETS ON SALE AT U.S. OUTDOOR, THE MOUNTAIN SHOP, THE NORTH FACE STORE AND WONDER BALLROOM. Official TGR After Party immediately following the late show, featuring live music from BEAT CONNECTION (21+ only) Huge thanks to our local sponsors.

“I don’t appreciate public involvement when it really doesn’t matter,” [City Commissioner Amanda] Fritz says. “People have been angry and say, ‘Even if we don’t want it, you’re still going to do it.’ Yeah, that’s true.” [“Unhappy Campers,” WW, Sept. 18, 2013.] Funny, I doubt this was her attitude when she was seeking votes for election. What a typical hypocritical politician. —“Jeff Johnson” It’s nice how Fritz decided, pretty much immediately after getting elected, that without the

i was wondering if the city is using the little house on top of the steel Bridge? if it’s for lease, i think a hardwood floor and some iKEA furniture could transform it into a sweet pad. And i promise not to raise the bridge during rush hour to impress the ladies. —Looking to Rent Closer In Looking, you silly little man, your dream of the ultimate river-view studio is touchingly, if hopelessly, naive. Kiss me, you fool. It will probably come as no surprise even to you that the “little houses” (more properly called “operator rooms”) on our city’s drawbridges are not available for by-the-hour rental as your personal mogambo pit. The one on the Steel Bridge, for example, is right out: It’s occupied 24/7 by an actual live bridge operator. Some of the county-operated bridges— think Morrison and Burnside—are vacant, except 4

Willamette Week SEPTEMBER 25, 2013 wweek.com

threat of a re-election, she’ll just do whatever the heck she wants for the next four years. —“David Johnson”

COP WHO TALKED TO JURORS

Two possibilities here: Detective Jason Lobaugh either ignored the absolute prohibition against contact between witnesses and jurors, or didn’t know about it [“Tamper Tantrum,” WW, Sept. 18, 2013]. For a 22-year veteran of the force, both are inexcusable. He should be fired. —“Dean” If any regular citizen were to pull this stuff, they’d be facing jail time and court fines, unquestionably. However, a cop does the same and he gets a stern warning from the judge. —“Damos Abadon”

CONFLICT FOR BLUMENAUER?

Thanks for the public service of the week [“Muddy Waters,” WW, Sept. 18, 2013]. The PDX Superfund cleanup is one of the most important environmental activities in our state, and this article is a real eye-opener for voters to learn that our supposed environmental hero has PCB-laced feet of clay and a major conflict of interest. U.S. Rep. Earl Blumenauer (D-Ore.) needs to know how this appears to his constituents and that it is not ethically acceptable behavior in an elected official. —“SE Smith” 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

when somebody has to raise the span. The difference could be that the Steel Bridge is run by Union Pacific Railroad, a private corporation that ( a) doesn’t have to justify every manhour to tightwad taxpayers and( b) sounds fun to sue if someone got killed on the bridge because nobody was around to keep an eye on things. This latter danger is actually the main reason you can’t roll into that little house with a bearskin rug and a bottle of Jacques Bonet (“The Beer of Champagnes®”) and start booty-calling all your old co-workers from the cattle-rendering plant. The truth is that all the bridges can be operated remotely, costing taxpayers next to nothing. However, given the white-hot stupidity that burns in the heart of every Portland pedestrian, cyclist and motorist, it’s deemed too risky to send 9 million pounds of steel flailing through space unsupervised. Thus, the onsite operator, and no love shack for you. QuEstions? Send them to dr.know@wweek.com

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THE LAW: Dave Frohnmayer, a paid expert witness for Big Tobacco. TRANSPORTATION: Why the state can’t be honest about the CRC. HOTSEAT: Women-in-tech advocate Selena Deckelmann. COVER STORY: Unequal discipline rises for PPS’s black students.

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IT’S 11 AM. DO YOU KNOW WHERE YOUR INSPECTOR IS?

When the Cascade AIDS Project held its annual AIDS walk last weekend, one notable face was missing—CAP executive director Glen Gilbert. Gilbert, a veteran nonprofit executive, was hired to lead CAP in April but was placed on leave Sept. 12 by the group’s board after he returned from the annual U.S. AIDS conference in New Orleans. CAP spokesman Peter Parisot confirms Gilbert is on leave but declined to give details. Gilbert’s salary at the $6-million-a-year nonprofit is around $135,000 a year. Gilbert was last in the news when he spoke up for embattled Multnomah County Chairman Jeff Cogen. Gilbert defended Cogen during a July 24 hearing, where county commissioners passed a resolution calling for Cogen to resign after details of his affair with a county employee became public. CAP gets nearly $1 million a year from the county. Gilbert didn’t respond to WW’s calls. Do you know what Portland’s construction inspectors do on the job? A new city audit says their employer, the Bureau of Development Services, has no idea, either. WW reported earlier this year that the bureau suspended four commercial electrical inspectors and fired one after an investigation found they routinely enjoyed long brunches on city time at a Northwest Industrial District diner (Murmurs, WW, April 10, 2013). City Auditor LaVonne Griffin-Valade says the lack of oversight is widespread. The bureau, her new audit says, “provides little supervision” and has “limited knowledge of how each inspector spent the day.” The audit also dings the bureau for not rotating inspectors through different parts of town and not conducting annual performance reviews. City Commissioner Amanda Fritz, who oversees the bureau, promises changes soon. Read more Murmurs and daily scuttlebutt. 6

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S U L Ly P I x E L / C C

Employees of KOIN-TV Channel 6 are planning to rally at the downtown offices of the local CBS affiliate Sept. 25 to protest what they say is an effort by new corporate owners to bust their union. Representative Kathleen McCarthy says the National Association of Broadcast Employees and Technicians Local 51’s contract expired two months ago, and already Rhode Island-based LIN Media has moved seven union control-room jobs to Indiana, a right-to-work state. (The contract covers 50 photographers, editors, news assignment-desk personnel and directors, among other jobs.) McCarthy says the company is also trying to end paycheck deductions for union dues and require news crews be on-call weekends without pay. “We’d like them to come around, treat their people better, and bargain a decent contract,” McCarthy says. KOIN station manager Tim Perry says management has met with the union multiple times. “LIN Media continues to advance proposals intended to assist KOIN-TV in adapting to the changing media industry and producing market-leading content,” Perry tells WW in an email.

NEWS

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

KENNETH HUEY

REPUTATION FOR RENT

ONCE-SECRET TESTIMONY REVEALS DAVE FROHNMAYER WAS A PAID WITNESS FOR BIG TOBACCO AGAINST THE STATE OF OREGON. BY NIGEL JAQUISS

njaquiss@wweek.com

There may be no résumé in Oregon public life more impressive than the one that belongs to Dave Frohnmayer. Rhodes scholar, state attorney general, University of Oregon president: Frohnmayer is regarded not only as one of the state’s top legal minds but as someone who has fought for the public interest in venues ranging from the Oregon Legislature to the U.S. Supreme Court. But Frohnmayer recently played another role far from the spotlight, as revealed in once-secret testimony in a major legal case against the state. In that case, major tobacco companies challenged the state of Oregon’s right to continue receiving payments under a massive tobacco industry settlement. And the star witness and paid expert for Big Tobacco against the state of Oregon: Dave Frohnmayer. In April, Frohnmayer appeared as an expert witness on behalf of the tobacco companies in front of a closed-door arbitration panel in Chicago. The Oregon Department of Justice released Frohnmayer’s testimony to WW in response to a public records request. In an interview, Frohnmayer tells WW he simply provided what he says was unbiased, objective testimony. And he says he would have provided the same testimony had he instead been hired by the state of Oregon or called by the three-judge panel as an independent witness. But neither of those things happened; instead, Frohnmayer appeared as a paid witness for tobacco firms trying to get out of making payments to the state of Oregon under the tobacco settlement reached more than a decade ago. Frohnmayer’s testimony reinforced the tobacco companies’ claims against the state. Frohnmayer says his testimony for the tobacco companies was squarely in the public’s interest, because his contention was that the state could have enforced the settlement more aggressively against smaller tobacco companies. “I testified that the powers of the Oregon attorney general are expansive,” Frohnmayer says. “That’s totally consistent with my public service from the day I entered the Legislature.” In 1998, seven major tobacco companies— including Philip Morris, R.J. Reynolds, Brown & Williamson, and Lorillard— reached a $206 billion settlement with 46 states that had sued to recover tobacco-related health-care costs borne by taxpayers. Frohnmayer, then UO president, was named to a three-member panel to decide how

some of the money should be divvied up. As its share of the settlement, Oregon would get about $80 million a year for 25 years. But smaller tobacco companies didn’t take part in the settlement. Instead, they agreed to pay into escrow accounts in states where they sold products. Those payments were supposed to level the playing field by reducing the smaller players’ ability to undercut the big companies and create reserves for future settlements. In 2006, Big Tobacco accused all the states, including Oregon, of failing to enforce the smaller companies’ part of the settlement and withheld partial payment. Since then, Oregon officials have been fighting to get the full tobacco settlement payments reinstated. “We could have given up $80 million a year,” says Oregon DOJ spokesman Jeff Manning. “The downside

risk for the state was enormous.” The dispute between states and Big Tobacco went to an arbitration hearing on April 26. And that’s where Frohnmayer took the stand for the tobacco companies. Frohnmayer served as Oregon attorney general from 1981 through 1991 after three terms in the Oregon House. He lost the 1990 governor’s race to Democrat Barbara Roberts and later became dean of the UO School of Law. In 1994, he became president of the university, where he oversaw 15 years of rapid growth. Frohnmayer now works for the Eugene law firm of Harrang Long Gary Rudnick, which has represented Philip Morris in the past. He bills as much as $550 an hour (but declined to say how much tobacco companies paid him to testify). In addition, he gets a $257,000 annual penCONT. on page 8 Willamette Week SEPTEMBER 25, 2013 wweek.com

NEWS

THE LAW

CONT. from page 7

sion from the Public Employees Retirement System and $101,000 a year as a part-time law professor at UO. (Harrang Long is also UO’s law firm, billing $647,000 since March 2012.) His testimony began with highlights of his long legal and political career. The tobacco industry attorney noted that Frohnmayer as AG won six out of seven cases he argued before the U.S. Supreme Court—a record unmatched by his peers. Big Tobacco’s lawyers were keen to prove that the state of Oregon had failed to exercise all of its power to go after payments from the small tobacco companies. The state, meanwhile, said it had indeed gone after smaller companies and had used all its authority under the law to do so. State officials said that in order to do more to regulate tobacco sales, they would need the Legislature to grant them new powers. Frohnmayer’s testimony backed up Big Tobacco’s claim that the state had all the authority it needed. “And what did you conclude, professor, with regard to these specific measures that you identified?” asked Kevin Schwartz of the New York firm Wachtell Lipton, one of the tobacco companies’ attorneys. “I concluded that Oregon did possess the powers that were in question,” Frohnmayer replied. He added that he had not reached a conclusion about the state’s actions under the tobacco settlement. “And are you offering any opinion on whether Oregon was obligated in some way to take these particular measures?” Schwartz asked. “No, I am not.” Frohnmayer replied.

as it had when Frohnmayer was attorney general. Markowitz also attacked Frohnmayer’s claims of neutrality. He noted that Frohnmayer’s law firm represents Philip Morris in two large, long-running lawsuits. In one case, a Multnomah County jury awarded the estate of a deceased janitor $79.5 million. Philip Morris’ appeal ground on for 14 years, finally concluding with a verdict for the plaintiff last year. The state gets 60 percent of such awards. But Frohnmayer’s firm argued Oregon’s share should be covered by money paid under the tobacco industry settlement. Frohnmayer testified that he had helped Harrang Long lawyers prepare appellate arguments on behalf of Philip Morris but had no other involvement in his law firm’s tobacco cases. Markowitz noted another lawsuit against the state of Oregon in which Frohnmayer was intimately involved: the case of Mark Long, the former Energy Department director who was criminally investigated for allegedly steering a public contract to Cylvia Hayes, Gov. John Kitzhaber’s companion. Long was cleared of wrongdoing. The Harrang Long firm—founded in part by Mark Long’s father, Stan Long, a former deputy to Frohnmayer—filed a $7.5 million suit against the state on behalf of Mark Long. (The state has since settled the case for $1 million.) In an interview with WW, Frohnmayer says the points Markowitz raised were “irrelevant” and insists he had no interest in whether the tobacco companies or the state of Oregon prevailed—even though the tobacco companies were paying for his testimony. “I expressed no view on whether the state of Oregon should win or lose,” Frohnmayer says.

On cross-examination, the state’s attorney, David Markowitz, pressed the argument that the state of Oregon had followed the same legal precedents in the tobacco case

On Sept. 10, the trial panel sided with the state of Oregon against the tobacco companies and ordered the companies to reimburse the state $9 million in withheld payments.

Frohnmayer’s decision to work for Big Tobacco in this case is now being questioned by veteran Oregon lawyers who agreed to review his testimony at WW’s request. “I’m a huge fan of Dave Frohnmayer, so this puzzles me,” says Dan Skerritt, a partner at the Tonkon Torp firm. “The range of the tobacco companies’ behavior has been documented as somewhere between fraudulent and disingenuous for decades. I’m interested to hear Mr. Frohnmayer’s explanation why he decided to testify for them.” Bob Stoll, a founder of the Stoll Berne law firm, echoes Skerritt’s concern. “It’s disappointing that somebody with such a stellar reputation would use that reputation for money from such a reprehensible industry,” Stoll says. The state, he adds, is better off for the verdict the panel reached, but Frohnmayer’s reputation is not. “His testimony is something that could have hurt the state for which he’s done so much, and it could have had enormous financial costs to the state for years to come,” Stoll says. Frohnmayer says he thinks his critics lack context. “I’m surprised they would say that,” he says. “It’s odd for lawyers to opine about a case they’re not involved in.”

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TRANSPORTATION

N I C K PAT TO N

THE TOLL TRUTH

NEWS

DRIVERS WOULD FLOCK TO I-205 TO AVOID PAYING TOLLS FOR THE COLUMBIA RIVER CROSSING. BY A N D R E A DA M E WO O D ad amewood @w week .com

Only about half as many cars would use the Columbia River Crossing as Oregon officials have previously claimed, and far more vehicles would choke the Interstate 205 Bridge as drivers dodged tolls on the CRC, according to an analysis by Portland economist Joe Cortright. The news—reported Monday on wweek. com—drills yet another hole in the underlying argument for the $2.8 billion megaproject to bring light rail to Vancouver, rebuild I-5’s spans across the Columbia River, and expand highway interchanges in both Oregon and Washington. Gov. John Kitzhaber and other CRC backers have long claimed that the existing Interstate Bridge can no longer meet the demands of commuters and truckers. Analysis by their own consultants calls into question how the state would cover the costs if too few drivers paid the tolls to cross the bridge. Records released to Cortright in response to a public records request show state officials have known for months about the new tolling numbers and failed to share them with lawmakers and the public. CRC officials have shown a pattern of nondisclosure that’s starting to frustrate even allies of the project, especially since Kitzhaber now claims Oregon can build the bridge without money from Washington state—a stark reversal of his position only a few months ago. Kitzhaber is preparing to ask legislators to extend the deadline for CRC funding in a special session scheduled for Sept. 30. The project’s authorization expires that same day.

“I JUST DON’T SEE HOW THE GOVERNOR HAS MUCH CREDIBILITY ON THIS ISSUE ANYMORE.” —STATE REP. JULIE PARRISH (R-WEST LINN) State Rep. Julie Parrish (R-West Linn) voted in favor of funding a bi-state CRC in February. Now she says she’ll turn down an Oregon-only project should it come up for a vote during the special session. “I just don’t see how the governor has much credibility on this issue anymore,” Parrish says. CRC officials have hidden big problems with the project before, including the fact that the I-5 spans were designed too low for a lot of Columbia River ship traffic. Cortright uncovered projections by CDM Smith—the company the CRC hired to perform an investment-grade analysis on tolling—that show the new Interstate Bridge would see about 78,400 daily trips, far fewer than the more than 160,000 cars projected earlier. The numbers, given as estimated daily vehicle trips, also project I-205’s Glenn Jackson Bridge would have to carry 2½

times as many cars as predicted earlier. Cortright discovered the figures in a March 3, 2013, email from a CDM Smith employee to project officials. Fo r m e r s t a t e R e p . K a t i e E y r e (R-Hillsboro)—who lost her seat in the House after mounting outspoken opposition to the CRC—says that means Kitzhaber probably knew about the numbers when he signed the bill March 12 committing Oregon to $450 million in funding for the project. “If it doesn’t hang with Kitzhaber,” says Eyre, a certified public accountant, “I don’t know where it hangs.” “The governor continues to work with the Legislature and treasurer to conduct a thorough, timely and transparent review of replacing the Interstate 5 Bridge with an Oregon-led project that takes seriously our fiduciary responsibility to Oregon taxpayers,” Kitzhaber spokesman Tim

Raphael tells WW by email. “That work is not yet complete, and no decision has been made about next steps.” But critics say Kitzhaber has long ignored a basic fact: Many drivers will avoid CRC tolls by diverting their vehicles onto I-205. “What the CDM Smith study shows is perfectly in line with what you would expect,” says Clark Williams-Derry, a project manager with the Sightline Institute, an environmental think thank based in Seattle. “But we haven’t heard about this stuff from anywhere inside the CRC; we don’t see it in the public discussion. It’s the elephant in the room that no one is willing to talk about.” Williams-Derry—who correctly predicted tolling and traffic shortfalls for similar Seattle-area projects, including the Highway 520 bridge—says megaprojects “develop their own internal logic.” Their supporters too often ignore or squirrel away inconvenient facts, he adds, in the name of pushing a project forward. “This is billions of dollars they’re gambling with,” Williams-Derry says. “If you have such a great project, why do you have to hide so much?”

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

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SUBSECTION

NEWS

TECH PAU L K I E F E R

NEWS

DECKELMANN: The idea for Flux began as “How do we ﬁnd a place to work that is not our basement?”

SELENA DECKELMANN A FOUNDER OF PORTLAND’S NEW FEMALE HACKER COLLECTIVE SAYS IT’S ALL ABOUT WOMEN CREATING THEIR OWN TECH CULTURE. BY PAUL KIEFER

pkiefer@wweek.com

Selena Deckelmann has spent her career working in tech—usually as the only one in the room with two X chromosomes. As an open-source code writer, she’s experienced condescension from men and seen other women suffer worse. As a blogger, she’s been outspoken about the importance of her work— “people who understand and create software have power,” she wrote last year—and how women are too often excluded from this world. Her experiences have led Deckelmann, a 36-yearold raised in Montana, to help create Flux, Portland’s first feminist hackerspace—a place where women can be creative in a testosterone-free environment. Deckelmann spoke with WW about carving out a new subculture in Portland and why her creative space isn’t just a “no boys allowed” zone. WW: What is a “hackerspace”? Selena Deckelmann: Like a shop class for adults. There is an electronics setup with a soldering iron and a light box. We have members who are artists, and others who write code. Other folks who would like to have a set of larger tools, like a mill and a lathe. Why do we need a feminist hackerspace? If you look at who runs the hacker- and makerspaces, it is mostly men. If you look at who dominates startups, it’s mostly men. If you look at who writes open-source software, it’s about 98 percent men. The creation of these spaces is a reaction to some terrible experiences that women have had in our industry: either threats, or they’re attacked. Are men allowed to join Flux? The goal is to create a community that is very welcoming to non-men. But men are not excluded. About half the organizers are men. Why did technology become your passion? I had an uncle who taught me Morse code. I didn’t really use computers in high school. In college, I met some folks who taught me how to put together my first computer. They were very determined, and they helped me buy a CPU and a motherboard 10

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and all the parts. They were like, “Here, now put it together.” I installed Linux on it. Within six months I had a job in the law school at the University of Oregon as a sysadmin. My boss quit, and I was a sophomore in charge of the law school’s computers. What are the stereotypes you’ve experienced about women in tech? I don’t feel there are very many stereotypes about the women in the tech field, because there are so few women. So hardly any stereotypes have developed. People often assume women are not capable or that they are not interested. What has your experience been working in such a male-dominated industry? I’ve been fired. I think being fired is the worst thing. I had no woman colleagues that I have worked with in open-source. That’s part of the reason why I run the PyLadies meetups. What is that? Women in my PyLadies group come in trying to write their first Python [an open-source programming language] program. Having someone who can be helpful and encouraging while they’re trying something for the first time is a very different experience than being alone, or being taught by someone who is condescending or discouraging. It takes a concerted effort to be helpful. Is it less intimidating for women to have a woman teaching? As a woman who is sort of aggressive, and intimidating, and scares the crap out of my co-workers and colleagues, I’ve had to learn the very hard way. A lot of women are conditioned to be more nurturing. For better or worse, I am not one of them. I have learned how to be better at that. Women involved in technology have a different experience. They have to make that happen for themselves. It’s not like someone is going to do it for you. There is some empathy there from a shared difference. You’re not part of the predominant culture. So you have to make your own culture. GO: The grand-opening party for Flux, 412 NW Couch St., Suite 222, is 6 pm Friday, Sept. 27.

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N ATA L I E B E H R I N G

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EXPEL CHECK PORTLAND PUBLIC SCHOOLS HAS SPENT MILLIONS TO HELP STOP RACIAL PROFILING OF STUDENTS IN DISCIPLINE CASES. THE PROBLEM IS GETTING WORSE. B Y RA C H E L G R A H A M CODY rcody@wweek.com

wame Briggs knows how his son feels. Briggs, 36, says he often spent time in the principal’s office and detention when he attended Portland Public Schools in the 1990s. He admits he was no angel, and deserved some of the discipline he received. But Briggs, a stay-at-home dad, says that white students who also misbehaved didn’t get in trouble nearly as often. “It was always African-American boys in there,” he says. He now has a 12-year-old son who has been to five Portland schools in seven years. His son has had good stretches when the school rarely called Briggs, and bad ones when the boy talked back to teachers and fought with classmates. His son has been suspended more times than Briggs can remember and spent time in behavior rooms for disruptive students. Briggs doesn’t sugarcoat his son’s actions. But he believes his son is seeing the same kind of unequal treatment he experienced. “If he skips school, he gets suspended; if his friends who are white or Hispanic skip, they don’t get in trouble,” says Briggs, who worked as a janitor for Portland Public Schools after graduating from Jefferson High School. “I’ve seen it as a student, as a worker and as a parent.

It’s really hard to see my son go through the same thing I did.” Whatever might have been the reason for his son’s punishments, Briggs has one thing right: Portland Public Schools has demonstrated a historic bias when it comes to punishing black kids. According to data provided to WW by the school district, the overall number of students being disciplined has fallen in the past three years, but the inequities between white and black have grown worse. Today, African-American students in Portland schools are nearly five times more likely to be expelled or suspended than whites. It’s a record that puts Portland’s unequal treatment of black students well above the national average and far worse than districts under federal investigation for civil rights violations. “We have lost generations of young men because of disparities in the education system,” says Urban League of Portland President Michael Alexander. “There is no acceptable level of disparate discipline.” Over the past six years, Portland Public Schools has spent millions of dollars to address a wide range of racial inequities, including graduation rates and reading scores. District officials have overhauled almost every school policy based on the idea that unconscious racial bias in the school system is the biggest driver of unequal treatment of black students. The philosophy has been pushed by the district’s primary consultant on race

issues. The district has spent more than $2.5 million on employee training, called Courageous Conversations, and will spend about $1 million this year to fund its equity office largely based on these ideas. Discipline is perhaps the clearest marker of success in addressing inherent bias— it reflects the daily relationships between school employees and students. Records obtained by WW show that under Superintendent Carole Smith, the unequal rates of discipline have grown dramatically worse for African-American students since Courageous Conversations training started. Despite this trend, district officials say their approach is working. “We are impacting the belief system of an entire group of people, and that has a direct impact in the classroom in how they handle discipline,” Smith tells WW. “We are on a track here.” A number of parents and school activists say Smith and other school leaders lack the honesty to admit their approach to ending disciplinary inequities isn’t working. “Folks are getting tired of having conversations,” says Sheila Warren, founder of the Portland Parent Union, which works with teachers and families affected by school discipline. “The district will stand by Courageous Conversations because they put a lot of money into it and they believe it is working. The district always has great stories to tell about it, no matter what the data show.”

tudents who get kicked out of school often find themselves on a track to failure. Truckloads of studies have shown that suspending or expelling students increases the chance they won’t finish school. A recent Johns Hopkins University study found that booting kids out of school even one time doubles their risk of dropping out. Portland Public Schools—with a graduation rate for African-American students of about 52 percent—can hardly afford to knock more students off the path to a diploma. “Suspension should be the last resort,” says Pedro Noguera, a New York University education professor and national expert on closing the racial achievement gap. “Why would you think kids who aren’t doing well in school will do better with less school time?” Students get what are called “referrals” if school officials believe they have violated the code of conduct. Last year, the district suspended or expelled 2,145 students; fighting, disorderly conduct, threats and intimidation, insubordination and battery are usually among the top reasons. A 2012 report by the Multnomah County Commission on Children, Families and Community found black students were often disciplined for more subjective reasons—disrespect, excessive noise, threat and loitering—than were whites. The unequal discipline of black students matters for another reason as well: The federal government can come in and

Willamette Week SEPTEMBER 25, 2013 wweek.com

CONT.

N ATA L I E B E H R I N G

EXPEL CHECK

ACTIVIST’S VOICE: Portland Parent Union founder Sheila Warren says she is disappointed by the school district’s reliance on Courageous Conversations. “The folks that are most impacted by these conversations should be asked if it is working,” Warren says.

force districts to fix the problem. More than 20 districts, including Minneapolis and Seattle, are under investigation by the U.S. Department of Education for their disparate discipline of black students. Last year, Oakland, Calif., schools reached a settlement intended to end unequal punishment there. Internal memos show Portland school officials are worried they could face a similar investigation. Experts see a wide range of reasons behind disparate discipline rates. Students who come from lower-income homes tend to have more disruptions in their lives; researchers say that can lead to more discipline problems in schools. And a disproportionate number of African-American students come from tougher economic circumstances. The degree to which teachers are trained to handle disruptions in the classroom is also a factor. National experts on disparate discipline, such as Noguera and Dan Losen, director of the Civil Rights Remedies Project at UCLA, point to studies showing unconscious racial bias also contributes. “No one can escape it,” Losen says. “The question is what you do about it.” Portland school officials have put almost all their emphasis on the belief that racial bias is to blame. “What causes those kids to get into trouble? Trigger words, or tone from the teacher,” says Willie Poinsette, formerly chief officer for Student, Family and School Support for the district who retired in 2012 as principal of Humboldt School in North Portland. “People haven’t had experience with black and brown kids; they don’t know where the kids are coming from because whiteness pervades our system.”

ortland schools have paid a consultant, Pacific Educational Group,

Willamette Week SEPTEMBER 25, 2013 wweek.com

$1.2 million to help address racial inequities. The bulk of that went to racial-sensitivity training, for the superintendent, district executives, principals, teachers— even bus drivers. The district has spent another $1.3 million to cover related costs, including travel expenses for teachers to attend conferences in San Antonio and San Francisco. Pacific Educational Group won its contracts without bidding. “Our purpose at Pacific Educational Group,” the company’s website says, “is to transform educational systems into racially conscious and socially just environments that nurture the spirit and infinite potential of all learners, especially black children and their families.” The training, called Courageous Conversations, is intended to raise awareness of what Pacific Educational Group calls the privilege of “whiteness”—and how other groups must adapt to meet the expectations of white society. While sessions differ, most are a mix of intimate conversation and rigid protocol that forces participants to confront their views and discomfort in talking about race. Some exercises involve participants assessing how much race affects their daily life. (Prompts include “I can choose blemish cover or bandages in ‘flesh’ color and have them more or less match my skin,” and “Whether I use checks, credit cards or cash, I can count on my skin color not to work against the appearance of financial reliability.”) Others encourage district employees to state their racial identity whenever talking to their colleagues about school issues. (For example, “As a white woman, I see this issue as…”) Pacific Educational Group has been hired to provide its Courageous Conversations training around the country. One of the things that sets apart the experience

in Portland, though, is the degree to which the district has infused the philosophy into its policies. Every school building, for example, now has Courageous Conversations each month. Teachers have said in surveys they find the training sessions helpful. “It gave me the permission and the space to talk explicitly about race, with students and with other teachers,” Catherine Theriault, an English teacher at Roosevelt High School, tells WW. Other teachers say the district’s approach isn’t working. “Very little has been about how to work with students; it’s been about us,” says Aaron Byer, who teaches freshman and sophomore math at Roosevelt. “That’s been a frustration with a lot of teachers.”

o one believes that the district is uninterested in addressing this problem. The district has succeeded in reducing the overall rate of suspensions and expulsions, from about 7 percent of all students four years ago to 4.7 percent last year. But if racial-sensitivity training was working, the district would expect to see disciplinary numbers for African-American students improve at least as fast as they have for whites. The opposite has happened. In 2009-10, the percentage of AfricanAmerican students suspended or expelled R O B E R T D E L A H A N T Y. N E T

CONT. from page 13

very school received Courageous Conversations training, but faculty at nine schools started earlier and got more training than others. Three years later, records show, seven of those nine schools have shown no improvement in the ratio of black to white students who are disciplined. The schools aren’t alone. The unequal discipline of African-American students has grown worse across the district since the training began. Four years ago, before the Courageous Conversations training started, black students were 3.6 times more likely to be suspended or disciplined than white students—a rate slightly above the national average, according to the U.S. Department of Education. Records for the last school year show the disparity has grown to 4.9 times. The situation is especially bad at middle schools, where black students are 6.7 times more likely to be suspended or expelled than whites. When asked about the worsening numbers, the school district offered no explanation as to why it was happening as the Courageous Conversations training expanded. “Hold our feet to the fire,” says district spokesman Robb Cowie. “But it’s not fair to say the equity office isn’t effective or Courageous Conversations isn’t effective because of this one issue.”

“ON A TRACK”: Superintendent Carole Smith defends the Courageous Conversations training as helping Portland Public Schools face its racial inequities.

CONT.

EXPEL CHECK

OVERALL RATE OF DISCIPLINE IS FALLING...

SOURCE: PORTLAND PUBLIC SCHOOLS

Percentage of all Portland Public Schools students who were suspended or expelled.

8% 6% 4% 2%

2012-13

2011-12

2010-11

2009-10

2008-9

2007-8

BUT BLACKS ARE STILL FAR MORE LIKELY TO BE DISCIPLINED THAN WHITE STUDENTS. Times more likely that a black student will be suspended or expelled than a white student.

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2012-13

2011-12

2010-11

2009-10

2008-9

2007-8

was about 18 percent. The next year, it fell to 14.8 percent and hasn’t improved since. White students, records show, are getting off the hook more often than before. “Rates of exclusion are declining for all racial groups,” according to an internal August 2013 school district document, “but they are declining at a faster rate for white students than for most students of color.” Cowie says the district is “well aware of the irony that discipline rates are down more for whites. Disproportionality is a serious issue.” Smith says her office has been putting increasing pressure on principals to reduce overall discipline. Teachers say they feel pressure from principals to reduce discipline across the board. “They say, ‘ W hy did you w rite so many referrals? ” Roosevelt’s Byer says. “There’s pressure to lower aggregate numbers.” “The message we are getting is, we don’t know how to discipline students of color,” says Emily Toll, a second-grade teacher at Southeast Portland’s Harrison Park School with 29 years’ experience. “When the boundary keeps moving or is not there, it is confusing for all students. They just push and push until we are all in free fall.” In some cases, teachers say, they are being blamed for behavior that is unacceptable—no matter the student’s race. In October 2012, a high-school-age student in an alternative program repeatedly punched his female teacher in the head during class. The teacher, who has worked in the district for more than two decades, had to seek emergency medical treatment. The district immediately suspended the student, who is black. The teacher is white. The teacher decided to press charges against the student. When she returned to her job, according to sources familiar CONT. on page 16 Willamette Week SEPTEMBER 25, 2013 wweek.com

CONT.

N ATA L I E B E H R I N G

EXPEL CHECK

CONCERNED FATHER: Kwame Briggs, 36, says he was singled out for discipline as a Portland Public Schools student because of his race, and he fears his son is experiencing the same. CONT. from page 15

with the incident, the teacher was summoned to a meeting with the vice principal. During the meeting, the vice principal lectured her about how difficult it is for young black men to overcome having a criminal record. The assistant principal also told the teacher that she should examine through a “racial lens” what role she played as a white woman in the attack on her. The teacher reported the conversation and the lack of safety protocols to several people. The administrator has since left the school. WW is not naming the teacher or school to protect the safety and privacy of her and the student. The teacher declined to speak on the record about the incident. Smith confirms the incident took place. She emphasizes the importance of teacher safety and that the student was dealt with immediately. But Smith defends the assistant principal’s comments to the teacher, adding that “asking the question of how and why a situation escalated to violence is appropriate.”

PORTLAND PUBLIC SCHOOLS IS “WELL AWARE OF THE IRONY THAT DISCIPLINE RATES ARE DOWN MORE FOR WHITES. DISPROPORTIONALITY IS A SERIOUS ISSUE.” —ROBB COWIE

chool districts like to point to benchmarks, such as test scores and graduation rates, to show improvement. But UCLA’s Losen says the importance of ending unequal discipline is easily ignored. “It is still a struggle to make discipline a part of districts’ conversation about what it takes to make a successful school,” Losen says. “This should be a top priority.”

Willamette Week SEPTEMBER 25, 2013 wweek.com

UCLA’s Civil Rights Project, which studies disparate discipline, says any school in which 25 percent or more of black students are suspended or expelled in a year should be considered a “hot spot” that deserves immediate and intensive attention. Records show Portland schools include eight such hot spots. “That’s a huge red flag, when discipline is different from one school to the next,” Losen says. “The superintendent has not gotten everyone on the same page. There is a lot you could be doing.” Smith tells WW the district is tracking schools where the numbers are getting worse. But Smith also thinks a school can be considered successful even if it is a hot spot. In an August gathering with district principals, Smith and school officials held up one hot-spot school, Hosford Middle School, for its many successes—even though 36 percent of its black students were suspended or expelled last year. Portland school officials point to other successes they credit to Courageous Conversations: higher graduation rates, more students on track to graduate, and improved reading scores among third-graders. Except for a tiny improvement in graduation rates—less than 1 percent—the racial gaps between white and African-American students have shown no improvement. “I’m not a big fan of Courageous Conversations as a change agent,” says Karin Chenoweth, writer-in-residence at the Education Trust and author of three books about schools that have successfully closed the achievement gap. “It’s really good at raising emotions, but that isn’t the same thing as changing student outcomes.” The district is trying other ways to change the equation on disciplining black students, including programs that emphasize good behavior over punishment, use playground coaches to quell recess battles, and, in a few schools, apply “restorative justice,” which requires students to make amends for their actions. Charlene Williams, principal of Roosevelt High School, says Courageous Conversations contributed to her school’s gains over the last three years, including closing the graduation gap and lowering overall discipline numbers. “This gives us permission to have a conversation about race, to stay in a conversation many of us would rather avoid,” Williams says. Grant High School saw racial gaps in graduation rates shrink under former principal Vivian Orlen. Orlen said she found success by scrapping the district’s equity strategies and establishing no-nonsense discipline standards. Orlen says Courageous Conversations and its underlying philosophy had no role in her school’s success. “There has been too much talk by adults,” she says. “We have too little time with these kids.” WW asked the co-chairs of Portland Public Schools’ board of directors, Greg Belisle and Pam Knowles, to talk about Courageous Conversations, discipline rates and the progress they see the district making. Neither Belisle nor Knowles were available for comment. Kwame Briggs’ son has had a good start to the school year. The boy loves Greek myths, science and Egyptian hieroglyphics. “I’m tr ying to give him opportunity to make the right decisions,” Briggs says. “Yeah, he is going to make mistakes, but if he does his schoolwork and can get through college and can have that work ethic, then hopefully he’ll have a better chance. I just want him to have a good life, not to be trapped.”

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Willamette Week SEPTEMBER 25, 2013 wweek.com

Women’s Health, Naturally NCNM Clinic Open House Saturday, Oct. 5 • 1 – 5 p.m. Your health is the foundation for an active, happier life. Learn about natural medicine for healthy living. FREE Appointments:* Enjoy a FREE 45-minute naturopathic appointment to discuss your health concerns, OR a FREE one-hour Chinese medicine appointment including tongue & pulse diagnosis, and the chance to experience acupuncture.

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Willamette Week SEPTEMBER 25, 2013 wweek.com

WHAT ARE YOU WEARING?

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Willamette Week SEPTEMBER 25, 2013 wweek.com

VANIFEST DESTINY W W S TA F F

CULTURE

I GET BOOTED FROM A BEACH TOWN BY THE COPS AND GIVE DEEP THOUGHT TO THE VAN PLAN. Is this what a tsunami feels like? That’s what I thought as I awoke to find my home violently rocking back and forth. I cursed myself for not paying attention to the tsunami evacuation route signs lining the windy roads along the Pacific. But I wasn’t wet and there were flashlight beams forcing curious slivers of light through the opaque fabric lining of my bedroom. The Cannon Beach police were not happy to find me sleeping in a van on a quiet street in their pleasant beachfront community. I knew this day would come. After 74 hassle-free nights living in a van in Portland, I thought it would be safe to make the 80-mile trek to the coast to clear my head and enjoy what was left of the summer. Back in May, the week before the Sasquatch music festival, I moved here and started living in a van to save money while I tried the Pacific Northwest on for size. I hoped to figure out my life by MusicfestNW, but a week after the festival I was still uncertain about my future. I needed some space to think, so I drove to Cannon Beach and dropped anchor in what appeared to be a legit parking spot in a cul-de-sac adjacent to an oceanfront hotel that charged $280 per night for a room. This is where Oregon’s three most bored cops found me. I knew they couldn’t see the drifter inside through the shades, so I deployed the vandweller solution to unwanted encounters with the fuzz: I played dead. It took them a good 15 minutes to get bored with banging on my windows with flashlights. As soon as they left, I followed the handy evacuation route signs and got the hell out of Cannon Beach. No sooner did I see a sign pointing me 20

Willamette Week SEPTEMBER 25, 2013 wweek.com

back to Highway 101 than a white SUV made a U-turn and turned on its red-andblue lights. The cop had a modest beer gut and the kind of goatee you’d see on a college freshman attempting to buy beer with a fake ID. He was far too young and portly to be an ex-military guy. I liked my chances. “I saw your van a few minutes ago back in town by the Land’s End inn,” he said. “Did you know camping is illegal in Cannon Beach?” After politely telling him I was minding my own business reading a book as my vehicle was apparently being broken into by a clumsy junkie, he took note of my VIN number and let me go. I hung a right and headed south on 101. Unless they radioed ahead and told the next town over that a young guy in a sketchy van was looking for a place to crash for the night, I figured I’d be fine in Manzanita. I turned off the pitch-black highway and drove around Manzanita until stumbling upon a dimly lit road with plenty of parking. I settled between an RV and a Subaru occupied by a young couple splayed out under an unzipped sleeping bag. I woke a few hours later to a faint whooshing sound and wondered if I’d left the 12-volt camper fridge I’d bought on Craigslist the day before plugged into my cigarette lighter. Being marooned at the beach with a dead battery would be worse than going to jail. I opened my window and immediately realized it wasn’t my fridge making the noise—it was the ocean. I flung open my side door and whipped up a pot of French press coffee and an omelet on my butane camping stove. I

bought it two months prior at an Asian supermarket thinking it would save me a ton of money on food, only for it to sit under my bed while I spent at least $20 a day eating out. I wasn’t sure how long I’d be calling the van home at that point—I figured I’d find an apartment or get jettisoned by the neighborhood watch no later than Labor Day. But other than the incident in Cannon Beach, it’d been smooth sailing in my home on wheels. With a layer of gray clouds overhead, I decided to head back to Portland. I stopped by the coffee shop where I recently scored a barista gig and crunched some numbers on my laptop. Barring cataclysm or major home improvements, sticking with the van plan for a year would put my finances almost $1,000 a month in the black. I would even have enough money for a golf-cart battery to power my new fridge! Oh shit—did I leave the fridge turned on? I sprinted back to the van, jammed the key in the ignition and got nothing but clicking. The food was still cold, but my van was dead. “Sounds like you need some help, van man!” I heard as a guy with buzzed gray hair in a sleeveless Vandals T-shirt jumped out of a powder-blue VW bus covered in surfing stickers. If it weren’t for his hair and a decades-old case of sunburn on his face, it’d be safe to assume this guy got carded everywhere he went. “I was trying to take a nap in here, but it’s like 95 degrees, so I thought I’d help you with a jump,” he said. I offered to buy the guy a beer after my home was brought back to life, but he declined. “Sorry man, truth is I’m way too stoned to be drinking in public right now,” he said. “If you wanna hang out some other time,

though, just gimme a shout!” Later that night, I hit up a Safeway to pick up some eggs. As I approached the checkout lane, I encountered an unsavory young lady I knew from my stint working at a well-known doughnut shop. She forced an encounter, then looked confused when I told her I hadn’t been fired like she thought, but was in fact picking up a shift later that week. “I live down Powell a couple miles—are you close by?” she asked. I told her about the van, assuming this was old news. I told her about my new gig and offered to hook her up with a cup of coffee if she ever stopped by. I realized I was done shopping and turned back toward the register. While at the self-checkout, I overheard her talking frantically to a bag boy at the end of the counter. “That guy got fired from my job, and I guess he lives in a van now?” she said. “Seems like a real winner if you ask me.” I stood no more than 10 feet away, but she never noticed me as she demonstrated her hipness to the bag boy. I considered the irony of the situation: Rather than scrape up enough money to rent an apartment surrounded by stripper poles and $1 cheeseburgers, I’m saving close to a grand every month by living in a van in one of Portland’s most livable neighborhoods. I’ve learned to live without water and electricity just fine, and have mastered the art of making an excellent grilled cheese sandwich by flashlight. I’ve only begun to scrape the surface of paying off the loans I naively took out to major in talking, but I won’t let the Keystone Cops or the grubby scene chicks get in my way. Can I do this for another year? Of course I can. And I will. My life has been overrun with dumb decisions, but moving to Portland to live in a van wasn’t one of them.

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Store to Door’s October 8 Dine Out for Seniors ´ Bernie’s Southern Bistro ´ Biwa ´ Boke Bowl ´ Laughing Planet Cafe — Gabriel Park, Ecotrust, and Belmont locations

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FOOD: Portland’s best Lebanese restaurant. MUSIC: Is Nardwuar for real? STAGE: Fiddler me this. MOVIES: AP Film Studies on talking, texting during movies.

25 27 42 49

SCOOP JONI KABANA

A BIG PITA OF GOSSIP COATED IN HUMMUS. BEST BEST BEST: The popular Best American Series by Houghton Mifflin has a Portland twist this time around. The Best American Essays 2013, available in stores Oct. 8, is edited by Portland author Cheryl Strayed, who chose pieces by three other Portland authors for the collection. Taken together, they make Portland seem like a morbid place: Vanessa Veselka writes about her potential brush with serial murderer Robert Ben Rhoades, Kevin Sampsell pens a meditation on suicide, and the University of Portland’s Brian Doyle writes a haunting piece about fleeting beauty. Strayed’s introduction centers on her STRAYED obsession with her dead mother. ’TRON ROAST: The folks behind the three Insomnia Coffee Co. locations in Beaverton, Hillsboro and Cannon Beach have started a new roastery called Dapper & Wise in Beaverton, under the tagline “Bravely roasting coffee in the suburbs of Portland, OR.” According to owner Evan Aldrete, Beaverton is a great place to raise his kids, but “nobody takes you seriously on this side of town as far as coffee. People who live on this side of town drink crappy coffee. I don’t know whether it’s by choice.” Dapper & Wise will offer multiple cups of single-origin and lighter espressos, in a rustic, Portland-style tasting room, projected to open in November. “We try to stay one step behind Portland,” he says. “If we were right on the forefront, it’d be culture shock.”

A ROSE FOR CHARLIE: A littleknown piece of trivia: Charlie Chaplin’s movie career started in Portland 100 years ago today, on Sept. 25, 1913. Chaplin was with the British vaudeville Fred Karno company and signed his first movie contract with Keystone Studios while touring through the Rose City. His salary was appropriate for a deal made in Portland: It was a one-year contract at $150 a week.

@WWEEK.COM: Dispatches from last weekend’s Feast food festival and the Time-Based Art Festival, a review of the National’s concert at Edgefield, a look back at the end of the Portland Radio Authority pirate station and a response to Vice’s critique of Portland’s hip-hop scene. 22

Willamette Week SEPTEMBER 25, 2013 wweek.com

FLICKER ALLEY

GREEN IS THE NEW WHITE: The Oregonian has a new music critic. David Greenwald has been hired to replace Ryan White, who was a victim of the mass layoffs that occurred at the paper in May. A former Web editor for Billboard, the Los Angeles Times’ defunct alt-weekly spinoff Brand X and Access Hollywood, the writer-photographer has contributed to a number of other publications, covering indie rock, craft beer and, for GQ, “The Oral History of Menswear Blogging.” According to the bio on Greenwald’s personal website, his tweets have been re-tweeted and marked favorite by the likes of Ryan Seacrest, Lena Dunham and Ryan Adams.

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Portland, come on dooooowwwwwn! The Price is Right Live, a stage production based on the 40-year-old TV game show, comes to Portland this week. In its honor, we played The Price is Right at the legendary Price is Right tobacco store at Southeast Division Street and 115th Avenue. Pull up behind the gold Kia Rio with the “Road Rage Princess” bumper sticker, or step up directly to the glass display case and ultra-safe, barred-off cash register and get ready to play! Let’s look at six marvelous items available here at the Price is Right. How much would you expect to pay for all six?

If you’re looking for a cutting-edge nicotine fix, the breakthrough EZ Cig brand electronic cigarette has you covered! This product is not a smoking cessation device and is not intended to cure any disease! It contains or produces chemicals known to the state of California to cause birth defects and other reproductive harm—but look at that sharp pinstripe design! Classy! $_____________________

Still prefer classic smoke to modern propylene glycol? Then take a puff of this Spirit of Cuba nonCuban cigar from Florida’s Alec Bradley Cigar Company! Alec Bradley has distinguished itself as a world-class boutique producer and purveyor in the premium cigar industry. The Alec Bradley brand is synonymous with quality and accessibility, garnering top ratings from critics and an expanding clientele! $_____________________

WEDNESDAY SEPT. 25 LISA’S RANDOM TASTINGS: PUMPKIN BEERS [BEER] Lisa “Beer Goddess” Morrison kicks off a new tasting series with pumpkin beers. She pours free samples at Belmont Station. You drink and ask questions. It’s polite to buy a bottle or five of your favorite. Belmont Station, 4500 SE Stark St., 232-8538, belmont-station.com. 5-7 pm. Free.

THURSDAY SEPT. 26 THE GREAT GATSBY [THEATER] Bag & Baggage tackles its most ambitious production to date, an adaptation of F. Scott Fitzgerald’s novel involving a temporary fly system and a 35-foot “boat dock” in the historic Venetian Theatre. The Venetian Theatre, 253 E Main St., Hillsboro, 693-3953. 7:30 pm. $20-$30.

FRIDAY SEPT. 27 NARDWUAR & THE EVAPORATORS [MUSIC] Guerrilla journalist Nardwuar is Internet-famous for his bizarre celebrity interviews, but since the early ’90s he has also performed high-fructose pop-punk that sounds like theme music to an imaginary Saturday-morning cartoon show. After the gig, the lovably weird Canuck presents a reel of his greatest chats, from Gorbachev to Snoop Dogg. The Know, 2026 NE Alberta St., 473-8729. 8 pm. 21+. Call venue for ticket information.

SATURDAY SEPT. 28 Looking to wash down that tobacco with an adult beverage? This terrific tall boy of Sparks premium malt beverage contains natural flavor, certified color and Yellow No. 5. This 16-ounce can is an effective 6 percent alcohol by volume and union-made by the Steel Brewing Company in Wisconsin!

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And because nobody likes Sparks without caffeine, you’ll want to spike it with this delicious grape-flavored E6 6-hr Energy Shot! Sugarfree, fast-acting, long-lasting and no crash! This product contains niacin—some people may experience a flush feeling, hot sensation or redness of the skin, but it only lasts a few minutes!

Lastly, we have this outstanding PayDay peanut caramel bar! Peanuts are a source of “good fats,” naturally cholesterol-free and contain resveratrol, the same nutrient found in red wine and grape skins!

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So, Portland, how much would you expect to pay for each of these fabulous prizes? Good luck and look for the prices on page 39!

AN EVENING WITH BOB AND DAVID (AND POSEHN) [COMEDY] Bob Odenkirk and David Cross, the minds behind ’90s cult favorite Mr. Show, reunite. We know there are thousands of famous lines you want to shout at them. But you saw what happened to Dave Chappelle. This is the comedy event of the season, certainly, but there’s no need to embarrass yourself. Newmark Theatre, 1111 SW Broadway, 800-273-1530. 8 pm. $47. TEMPORARY LESBIAN BAR [POP-UP CLUB] After the closure of Portland’s last lesbian bar, the Egyptian Room, over two years ago, musician (and occasional Gossip member) Katy Davidson created this roaming, women-friendly party featuring guest DJs to help fill the void. Mississippi Pizza, 3552 N Mississippi Ave., 288-3231. 9 pm. Free. 21+.

MONDAY SEPT. 30 GO: The Price is Right Live is at Keller Auditorium, 222 SW Clay St., 274-6560, on Wednesday, Sept. 25. 8:30 pm. $19.99-$39.99. Price is Right Cigarettes is at 11518 SE Division St., 761-8816.

ERIC SCHLOSSER [BOOKS] In what is sure to give you doomsday-themed nightmares, journalist Eric Schlosser explores humankind’s struggle to wield weapons of mass destruction without destroying ourselves. His new book, Command and Control, is a fascinating and terrifying account of near-misses, accidents and technological breakthroughs of the nuclear age. Powell’s at Cedar Hills Crossing, 3415 SW Cedar Hills Blvd., Beaverton, 228-4651, 7 pm. Free. Willamette Week SEPTEMBER 25, 2013 wweek.com

In love with Jesus?

FOOD & DRINK = WW Pick. Highly recommended.

EAT MOBILE B E T H L AY N E H A N S E N

Lavish Buffets of Indian Cuisine

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

Exotic Dishes of Lamb, Chicken, Goat Gluten-Free, Vegetarian, Vegan Options

WEDNESDAY, SEPT. 25 Pumpkin Beer Tasting

Beer goddess and Belmont Station owner Lisa Morrison kicks off a new series called “Lisa’s Random Tastings” with pumpkin beers. She pours free samples, you drink and and ask questions. It’s polite to buy a bottle or two of your favorite. Belmont Station, 4500 SE Stark St., 232-8538. 5-7 pm. Free.

Third Annual Brewfest at OMSI After Dark

Bombshell Vintage

Everyone knows how sexy scientists get when the work day is done and the chemicals are just bubbling away in the background. They get super sexy. But this time, sexy After Dark scientists talk about beer, which kind of makes it more sexy because I like beer, but also makes it less sexy because beer makes me feel bloated. But seriously, what’s better than learning except drinking while learning? OMSI, 1945 SE Water Ave., 797-4000. 6-10 pm. $25, $15 for members.

THURSDAY, SEPT. 26 Breakside’s Fresh Hops Citra Release

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You can have your pumpkin beers and your Oktoberfests. The best part of fall—besides football— is fresh hop beers. A nice dollop of dopamine just went off in my head thinking about it. Anyway, Breakside’s addition to the hop harvest ouvre this year uses the newfangled and magical Citra. The Beer Mongers, 1125 SE Division St., 234-6012. 4 pm. Prices vary.

Breakside’s Double Dragon Takeover

Breakside’s Double Dragon tap takeover is where you’ll feast on foie gras banh mi paired with Breakside taps, including the aforementioned Fresh Hop Citra IPA. Hadouken!. Double Dragon, 1235 SE Division St., 230-8340. 6:30-11 pm. Prices vary.

FRIDAY, SEPT. 27 First to Market Celebration

“Sure,” other cities sneer, “you’ve got your fancy farmers markets. But do you have a real market? One that’s open all the time?” Until now, we’ve had to endure their cruelty, vowing one day to take our vengeance. Well the time for our enemies’ comeuppance is nigh! All of Portland’s fanciest folk will be honoring the occasion of the upcoming market by putting a symbolic stake into the ground, and having festivities and whatnot. This is Portland history, so I’m going down later that night to see if the stake is still there, because I want that stake. 433 SW Naito Parkway, under the big-top tent. 5:30-7:30 pm. Free.

SATURDAY, SEPT. 28 Hood River Hops Fest

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 25, 2013 wweek.com

6/10/12 9:41 AM

Hood River’s blowing up, y’all, and you know why? Because Hood River is sweet. It’s got a nice little downtown, the river’s right there and a bunch of cool companies like Pfriem and Juanita’s and Full Sail call Hood River home. The whole valley is gorgeous. But why take my word for it? Drive out there for Hood River Hops Fest, drink some excellent freshhopped brews and see for yourself. Downtown Hood River, between 5th and 7th streets and Cascade Avenue and Columbia Street. Noon-9 pm. $10 admission.

HEAVEN ON TELERA: The stacked carnitas and Toda Madre tortas.

GUERO Guero basically means “white boy,” and—let’s get this out of the way— that’s one of the people who’ll be making your tortas and huaraches at this pretty little cart on Southeast 28th Avenue. But Alec Morrison and Megan Sanchez are basing their menu on Yucatecan food, which means annoying conversations about authenticity are 99 percent beside the point. The Yucatán peninsula was long isolated Order this: Toda Madre or carnitas from much of Mexico, but eastorta. Period. ily accessible by sea to anybody I’ll pass: The rice bowls are pleasant, but unless they’re topping them with with a boat, leading to a basan egg that day, go for the tortas. tardized Mayan cuisine where seemingly anything goes. Until recently, the cart offered a sterling version of the citric, nutty cochinita pibil pork dish unique to the peninsula; sadly, it is currently absent from the menu, along with the entire taco menu and all traces of tortilla. The cart—an evolution from Taco the Town, the bike-courier taco service we reviewed fondly in March—is now focusing its menu on large, lovely and mostly vegetal tortas ($7.50). It’s a wise decision. The crisped and flavorful bread, imported across the Columbia River from Vancouver’s Veracruz Bay Bakery, is perhaps the best torta base in town. The tortas, far from the customary grease bombs, are filled with fresh cabbage, housemade cilantro aioli and avocado, plus an optional (recommended) dusting of Cotija cheese for 50 cents extra. The vegetarian mushroom torta is hearty, and one wouldn’t miss the meat if the meat weren’t tender carnitas that’s been slow-cooked in lime, oranges, cumin and cinnamon. But it is. And it’s probably what you’re going to order. The third torta option on a recent visit was a Toda Madre, a carb attack of a sandwich stuffed with an entire huarache and a wealth of meaty tamarindand-habanero-soaked tomatoes. The huaraches are available for $5 ($2 extra for tomatoes or carnitas), but seriously, you want it on that fine Vancouver bread. It’s the best Mexican-style, white-boy sandwich experience in town. MATTHEW KORFHAGE. EAT: Guero, 113 SE 28th Ave., 593-8846. 11 am-9 pm Tuesday-Sunday.

DRANK

FRESH PRINCE OF ALES (GILGAMESH BREWING) Now this is a story all about how my tongue got flipped—turned upside down. And I’d like to take a minute to explain some fails, and tell you why not to buy a beer called the Fresh Prince of Ales. In southeast Salem, Ore., born and made, in the hop yards Gilgamesh’s brewers must’ve spent a couple days: pickin’ on vines, grabbin’ up cones and tossin’ some Centennials into the gruel. But a couple of flavors show up that are no good, and make things not taste like they should. I took one big whiff of my glass, got scared and thought, “Eww, this smells like dirty soap would.” Gilgamesh put the beer out at the beginning of September, which is a month earlier than better fresh-hop beers appear. If anything, I could say this fresh-hop beer was kegged while still rare, but thought, “Nah, just calling it skunky is fair.” It tastes thick and old, not freshly bitter but spoiled. I pushed aside my glass long before it ended, and yelled to the barkeep, “Yo homes—not recommended.” MARTIN CIZMAR.

FOOD & DRINK REVIEW JEREK HOLLENDER

EYE OF THE SHAWARM SEARCHING FOR PORTLAND’S BEST LEBANESE MEZZE PLATTER AND SHAWARMA PLATE. BY M A RT I N C I Z M A R

mcizmar@wweek.com

If you want great Lebanese food, you need to go south and east. Not too far—but the best places I found in trips to nine local Lebanese restaurants were both on Southeast Hawthorne Boulevard. The two worst, coincidentally, were both on Southwest Stark Street. It all began because I wanted Portland’s best hummus. I asked a half-dozen people where to go and got a half-dozen different opinions on the city’s best Middle Eastern fare. I decided to start with Lebanese. At each, I ordered a beef (or, when unavailable, lamb) shawarma and a vegetarian (not vegan) mezze platter to split. I allowed servers to suggest their favorite side dish as a wild card. Our cheapest meal was $36, the most expensive $46. Portions ranged from merely ample to ginormous. Quality varied—more than expected. Here are nine local Lebanese restaurants ranked from first to last. 1. TarBoush 3257 SE Hawthorne Blvd., 235-3277, tarboushbistro.com. Tags: best, perfect pita, patio, hookah, foul moudamas, wine list. Lebanese restaurants need to nail their pita. Those puffs are always the first impression, and yet too many locals serve pale and underbaked dough rounds with all the character of decrusted Franz slices. TarBoush does pita—and pretty much everything else—right. The bread at this converted Victorian house is kissed with brown crispiness on the outside while remaining pillowy within. Order mint tea or choose from a long list of Lebanese wines and settle in for the massive vegetarian mezze platter ($14), which includes unusually thick hummus, vinegar-heavy tabbouleh and two falafel balls lightly fried to remain pleasantly chewy. Even though you won’t finish it, you’ll also want the house’s version of foul moudamas ($8.50), plump fava beans served in a tahini sauce. Beef shawarma is unusually lean but still flavorful and goes great with basmati rice laden with pine nuts. 2. Riyadh’s 1318 SE Hawthorne Blvd., 235-1254. Tags: dark horse, falafel, spinach roll. This low-profile Southeast Hawthorne restaurant was a surprise favorite. Walk past a wood-fired oven and into the dining room, where you should expect to spend at least an hour. Start with fattoush salad with croutons of fried pita and a sumac-intensive dressing. Pita is baked long enough to develop the satisfying early stage of crustiness. Falafel balls are extra dark inside and out. Tabbouleh is finely chopped and

loaded with bulgur. The best thing on the table was a fresh-baked spinach roll filled with braised spinach leaves served with two mini stuffed grape leaves and a dollop of creamy, fragrant yogurt sauce. After that, a plate of beef shawarma slices more like gyro meat is almost an afterthought. 3. Ya Hala 8005 SE Stark St., 256-4484, yahalarestaurant.com. Tags: big menu, big portions, kabobs, underdone bread. Ya Hala has been previously acknowledged as WW’s favorite Lebanese joint. The owners of this cavernous Montavilla restaurant also own a very nice world foods store, do catering and teach cooking classes. Maybe they ’re too busy, because it seemed to me that the quality has slipped in the past year. Pita are too often underdone pale puffs, hummus can be light on tahini, and tabbouleh can come out more like a half-chopped parsley salad. The menu is massive even by the standard of the genre, making it difficult to know where to go, but steer away from the greasy lamb sirloin shawarma served atop hummus ($12.75) and toward the grilled kabobs. 4. Nicholas 3223 NE Broadway, 445–4700, nicholasrestaurant.com. Other locations on Southeast Grand Avenue and in Gresham. Tags: churn, ginormous, refills. At Portland’s most popular Middle Eastern restaurant I watched our ruthlessly efficient waiter work three tables without fielding a single special request or getting even one refill. He was friendly enough, but he never paused long enough for anyone to ask him anything. He’s a remarkable talent and deserves the $30 an hour he probably makes at this tilewalled falafel factory. When you have piping-hot, parachute-sized pita served on little stands, super-smooth hummus and a Denali of beef shawarma ($13.50) on an Everest of saffron rice that’s a little gooey yet very flavorful, you can get away with this. So what if the pita is way underdone, the mezze plate’s ($12.75) tzatziki sauce tastes like straight lemon juice and the lamb pizza looks like cat food on a flattened hot pocket? The grape leaves are fresh, there’s killer kafta kabobs loaded with sumac and parsley, and no other restaurant in Portland can serve you this amount of palatable food for this price. 5. Hala’s 1203 NW 23rd Ave., 464-9222, halasgrill.com. Tags: shawarma jerky, rice, Garden Burger. Hala’s is on the upswing. I’ve been to this little basement restaurant on North-

BOUSH AND LAMB: Portland’s best mezze platter and shawarma plate are at Southeast Hawthorne’s TarBoush.

west 23rd Avenue a few times in the last two years without being as impressed as I was this month. Pita rounds are pizza-size and have a nice touch of char. Foul moudamas is very simple here, stewy fava beans left mostly to their own devices. Tabbouleh is a little too salady, in need of more marinading, and chalky falafel balls reminded me of freezer-burnt Garden Burgers. But shavings of beef shawarma ($11.95) were like jerky in a good way: chewy but dense with flavor and pleasantly salty. The rice here is very special—long grains superbly spiced with a Lebanese blend. 6. Habibi 1012 SW Morrison St., 274-0628, habibirestaurantpdx.com. Tags: happy hour, grape leaves, potato bread. There are two Habibi locations within a few blocks downtown. The location on Morrison Street seems to cater to a happyhour crowd—signs advertise “All Day Happy Hour”—with a full bar, long wine list and a nice selection of beers (Chimay, Hair of the Dog). The grape leaves recommended by our server were excellent, not too sour and with a nice, toothsome rice and herbal sauce. Pita is flat and very yeasty, with a consistency like potato bread. The baba ghanoush tasted a bit like smoked pickle juice, and the falafel was terrible—chalky and overly salty. The beef shawarma had lots of onion and garlic, but the very plain rice was a lot like Uncle Ben’s. 7. Yara 3928 N Mississippi Ave., 282-0145, yaralb.com. Tags: fried cauliflower, nice patio, Secret Aardvark. Opening at the start of the year on a strip of Mississippi Avenue that’s dense with very average restaurants, Yara sits in a plaza plucked from a suburban development of “Tuscan” McMansions called Medici Villas or Trebbio. The server suggested an excellent fried cauliflower appetizer ($6.50). Soft, mealy falafel balls were above average and a small cup of tabbouleh was appropriately bright, but pita rounds were

undercooked, the hummus tasted vaguely sour and all the sauces were deeply flawed. The house salad dressing was overly smoky and the beef shawarma plate ($13) came with a plastic cup of hot sauce that tasted like a creamy version of the year-old Secret Aardvark in your break-room refrigerator. 8. Karam 316 SW Stark St., 223-0830, karamrestaurant.com. Tags: problems Only a block away from Al-Amir and in the same building as Huber’s (with which it shares a bathroom), once wellregarded Karam has minor problems with everything from service (the mezze platter came five minutes before pita) to atmosphere (loud club music banging away midweek). The food, too, has a litany of problems. The salad dressing tasted like straight white vinegar, the pita bread was so undercooked it smelled like raw flour, and undercooked rice was hard and grainy. The best things we had were plates of hummus and baba ghanoush that were thin but otherwise unremarkable. 9. Al-Amir 223 SW Stark St., 274-0010, alamirportland.com. Tags: belly dancing, bags, lamb. We showed up to downtown’s Al-Amir on a busy Friday night. It’s an inviting brick-walled room with a full bar and a very personable waitress who hugs the regulars. Unfortunately, there’s a lot missing. This was the only restaurant where we found pita that was not housemade—it’s delivered from a bakery a few times per week. Our tabbouleh tasted mostly like tomatoes, and fluffy hummus was light in flavor. Our drinks came 10 minutes after the appetizers, and it was hard to have a conversation over loud music played for a belly dancer working for tips. The salad was the best thing served, with a dressing that’s creamy but citric. Lamb shawarma was the worst—small, fatty pieces of meat more fitting for stew.

Willamette Week SEPTEMBER 25, 2013 wweek.com

MUSIC

SEPT. 25-OCT. 1 PROFILE

= WW Pick. Highly recommended.

WILLIAM R. JANS

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. 25 Big Black Delta, Adventure Galley

[TECH POP] Since Melodrone’s last full-length record in 2009, frontman Jonathan Bates has spent his time making spacey music under the name Big Black Delta. The new self-titled album is a collection of loud technopop songs that alternate between nuanced synths and insistent beats. First single “Side of the Road” layers electro vocals over cosmic noise and a chugging bass and vocals that are often fragmented and muddled. It all kind of sounds like Julian Casablancas singing over a helicopter. JOE DONOVAN. Bunk Bar, 1028 SE Water Ave., 894-9708. 9 pm. $10. 21+.

Buck 65, Open Mike Eagle

COURTESY OF NARDWUAR

[GOING BACK TO HALIFAX] A favored pet of more wide-ranging cultural tastemakers ever since he began recording decidedly idiosyncratic hip-hop ’round Nova Scotia under the Buck 65 imprimatur a quarter-century ago, the former Richard Terfry has nudged ever closer to widespread recognition, via Trailer Park Boys soundtrack appearances and a critically acclaimed concept album for Warners. But his beats, however eclectic the source material, are too intricate for sheer novelty impact, while his commitment to lyrical absurdities seemingly defy serious regard. Possessed

of an infectious and wholly inimitable flow, rather like a shit-faced master storyteller continuing his yarn while falling down a flight of stairs, he’s never quite been embraced for the more poignant narrative raps. Even his sizable cult remains unsure of the newly stark direction promised from the career provocateur upon his longimminent and still unnamed postdivorce collection. JAY HORTON. Doug Fir Lounge, 830 E Burnside St., 2319663. 9 pm. $14 advance, $16 day of show. 21+.

Ojos Feos, the Ventilators

[KITCHEN-SINK JAMS] Portland quartet Ojos Feos is an ambitious project, mixing everything from African rhythms to Latin balladry, flamenco, Delta blues, Cuban street music, reggae and classic rock into a mostly mellow, sometimes exhilarating, often confusing sound. The group’s five-song EP, Andale!, highlights each member’s skills, from intricate percussion work to wailing guitar laments, blaring harmonica and driving bass. Trouble is, the styles often overlap, creating a strange cacophony of conflicting sounds—like, say, a raging harmonica solo over a chill reggae beat driven by off-key harmonization. There are amazing ideas here, and Andale! shows considerable promise, but until the band overcomes an identity crisis, it remains to be seen

TOP FIVE

CONT. on page 28

BY M ATTH EW SI N GER

NARDWUAR’S FIVE GREATEST INTERVIEWS Nardwuar vs. Mikhail Gorbachev (1993) Proving early on that he can ask the tough questions of political figures as well as musicians, a young Nardwuar finagled his way into a press conference and probed the former Soviet leader about which world leader has the biggest pants. He was quickly ejected. Nardwuar vs. Kurt Cobain (1994) Nardwuar has a few interviews left to scratch off his bucket list, including Neil Young and Bill Clinton, but he did manage to get Cobain just a few months before his death. If it’s not Cobain’s final taped interview ever, it’s probably his last in Canada, Nardwuar says. Nardwuar vs. Blur (2003) In the most infamous Nardwuar clip, drummer Dave Rowntree attempts to intimidate the much smaller Nardwuar, then steals his glasses and signature tam. Rowntree issued a public apology eight years later, blaming his cocaine addiction. Nardwuar vs. N*E*R*D (2008) No artists seemed as genuinely floored by Nardwuar’s encyclopedic knowledge of their own career as Pharrell Williams, who called their first meeting “the most impressive interview” he’s ever done, and hooked him up with Jay-Z (who was less impressed). Nardwuar vs. Snoop Lion (2013) Any of the encounters Nardwuar has had with Snoop over the years are worth watching. Initially, Snoop made a habit of stealing the props Nardwuar would bring to spur conversation (a Whispers record, a Redd Foxx doll), prompting Nardwuar to start presenting the items as gifts to his guests instead. But the two have developed quite a hilarious rapport, to the point that Snoop now refers to Nardwuar as “my Howard Cosell.” SEE IT: Nardwuar and the Evaporators play the Know, 2026 NE Alberta St., with Thee Goblins and Red Shadows, on Friday, Sept. 27. 8 pm. 21+. Call venue for ticket information. The show will be followed by a presentation of Nardwuar’s best interviews.

IT’S NARDWUAR! MEET CANADA’S GREATEST MUSIC JOURNALIST. SERIOUSLY. BY MATTHEW SIN GER

msinger@wweek.com

“Is this dude for real?” That’s the common reaction most people have upon seeing “guerrilla journalist” Nardwuar the Human Serviette for the first time. It’s a fair question. Dressed like a thrift-shop Thurston Howell, in garish ’70s menswear topped with a floppy plaid golf cap, and speaking in an excitable, Canadianaccented squeak, he seems, at first glance, like a prank designed to test the patience of his celebrity subjects, most of whom are musicians. But the further one travels down the Nardwuar rabbit hole—trust me, watch one interview, and bid the next few hours of your life farewell—the more apparent it becomes that this isn’t a joke. Rather, it’s a magic act: Watching his guests react as he pulls out obscure bits of trivia from their pasts, often in the form of rare records, you’d think they’d just witnessed David Blaine levitate off a street corner. “How do you know that?” is the near-universal response. The eccentric, slightly obnoxious demeanor is Nardwuar’s sleight of hand, a distraction to set up the big reveal—that this strange little creature is actually some sort of goofball savant. Still, though: Is he for real? Well, if Nardwuar is a character, then the guy who plays him is a Method actor. Born John Ruskin, he legally changed his name to Nardwuar the Human Serviette—the etymology is basically total nonsense—in the late ’80s, and to hear him tell it, the only separation between the person behind the mike and at, say, the grocery store is a few degrees of angst. “I’m always sort of on edge,” says the 45-yearold from his beloved hometown of Vancouver, B.C., sounding exactly like the overstimulated squirrel he does on YouTube. “But especially when the interviews start, I get excited. I’m always constantly thinking when I’m doing an interview, ‘I better ask this! I better ask that! I may never get another chance again!’ When I’m shopping, I’m nervous trying to figure out stuff, but it isn’t as life-or-death, because I can always go back the next day and figure out which tomato brand to buy.” Anxiety—or, more acutely, the fear of sucking—is pretty much the sole motivation driving Nardwuar’s career. The son of a journalist and historian, he began interviewing bands in college, for the University of

British Columbia campus radio station. Back then, he had a burgeoning interest in punk and garage rock but little ingrained musical knowledge. Like the rest of his shtick, his obsessive research skills developed out of the worry that someone, somewhere, is not being entertained, and is going to call in to let him know. That feeling has never left him. “The minute you’re not nervous is the minute you should probably quit,” he says, “because it means you don’t care.” Over the years, through his appearances on the MuchMusic television channel, Nardwuar has wrangled that nervousness into an effective journalistic device. And make no mistake: Nardwuar is a journalist. His interviews are oddly revealing, less for what the artists say to him than how they act in his presence: There’s something uniquely humanizing about watching hip-hop hardasses like Waka Flocka Flame and A$AP Rocky shift from being confused and dismissive to genuinely humbled when presented with an artifact from their prefame youth. In other cases, run-ins with Nardwuar have brought out some true ugly sides: Sonic Youth, the paragons of alt-culture, turned into art-school bullies around him, pulling his shirt over his head and breaking a rare 7-inch. Even while being physically accosted, Nardwuar hardly wavers, powering through with a deterination to never “leave questions on the table.” That commitment to his craft helped make him a Canadian cult hero in the ’90s. As his profile’s risen in the Internet age, he’s also become something of an ambassador for the Vancouver music scene, playing high-fructose pop punk with his band, the Evaporators, and touring with Andrew W.K. and Franz Ferdinand. But his success hasn’t come without sacrifices. By Nardwuar’s own admission, he doesn’t have what most would call a “normal social life.” After all, researching Flying Lotus’ entire family tree takes time. Whether Nardwuar is “real” or not, it’s all he’s got. And that, he says, is fine with him. He uses a Latin term to describe the path he’s chosen: volenti non fit injuria—“to a willing person, injury is not done.” “A guy told that to me when I was organizing a punk gig,” he says. “If people jump in the pit, that’s their own decision. If they get hurt, it’s their own fault. I believe that’s the thing with journalism, too. The minute you say, ‘I’m going to be a journalist,’ you’re going to get hammered in the pit, aren’t you? You’re going to get beaten up. You’re going to get embarrassed as a journalist. You’re not going to have a life. I’ve made that commitment. If I want to have the other things that other people have, then I don’t jump in the pit. But I’ve done it.” Willamette Week SEPTEMBER 25, 2013 wweek.com

MUSIC

WEDNESDAY-FRIDAY

how accessible all that ambition is. AP KRYZA. White Eagle Saloon, 836 N Russell St., 282-6810. 8:30 pm. Free. 21+.

Savages, Duke Garwood

[SEETHING POST-PUNK] Rare is the band that actually comes across as worthy of all the buzz being stirred up around it. One of those singular acts is a U.K. four-piece called Savages. How this quartet of women has risen above the noise is by finding new nooks to explore in the picked-apart bones of post-punk. The band’s debut full-length, Silence Yourself, released on Matador earlier this year, slashes at the gut with razorlike guitar tones, shoving sharp-edged treatises on gender politics and desperate living in among the entrails. It’s intense, sexy and more than a little goosebumpinducing. ROBERT HAM. Wonder Ballroom, 128 NE Russell St., 2848686. 7:30 pm. $14 advance, $15 day of show. All ages.

THURSDAY, SEPT. 26 Billy Cobham’s Spectrum 40, Dean Brown, Gary Husband, Ric Fierabracci [FUSION FIREBIRD] Billy Cobham is widely considered the greatest drummer in fusion. He toured extensively with Miles Davis before an even more musically fruitful involvement with guitarist John McLaughlin. The two founded Mahavishnu Orchestra, recording the classic albums Birds of Fire and Inner Mountain Flame. If you’re a fan of King Crimson and those albums aren’t in your collection, do yourself a favor and pick them up immediately. In 1973, Cobham released his classic debut album, Spectrum, which now celebrates its 40th anniversary as a masterwork of percussion-led psychedelic guitar exploration. With Cobham now pushing 70, the time is ripe to see this grandmaster while he’s still got it. NATHAN CARSON. Aladdin Theater, 3017 SE Milwaukie Ave., 234-9694. 8 pm. $35. Under 21 permitted with legal guardian.

Gold Panda, Slow Magic, Luke Abbott

[MIDTEMPO ELECTRO] The opening track on Gold Panda’s 2013 release, Half of Where You Live, makes the listener feel trapped in a forest of wind chimes with a disco ball spinning overhead. The second track is also like being in a forest of wind chimes, except joined by a Native American flautist. The third track, again, visits that wind-chime forest, but with a drum machine in tow. And so on. It’s great music to get completely lost in. With clever sampling and rhythmic textures, the British producer has earned all the acclaim directed his way since releasing his first material in 2009. Gold Panda’s last scheduled show in Portland was canceled, so this appearance is doubly anticipated. GRACE STAINBACK. Branx, 320 SE 2nd Ave., 234-5683. 9 pm. $15. All ages.

Phosphorescent, Indians

[MODERN AMERICANA] Matthew Houck’s Phosphorescent has spent the better part of the new millennium turning over the wellworn ground of country and folk music, offering only a few surprises along the way. For his latest album, Muchacho—released earlier this year on Dead Oceans—Houck started exploring new ground, using krautrock-style keyboard textures and other frissons of electronic fun, as well as richer ’60s popinspired arrangements. The resulting songs are some of his most exciting, thrilling with even his most straight-up country ramblers as he laments a “New Anhedonia” and the “Quotidian Beasts” that lie within. ROBERT HAM. Hawthorne Theatre, 1507 SE 39th Ave., 233-7100. 8 pm. $16 advance, $20 day of show. All ages.

Willamette Week SEPTEMBER 25, 2013 wweek.com

Kris Orlowski, Pete Krebs

[FOLKY POP] As if a visit to one of the various McMenamins venues isn’t enough of a déjà vu experience already, they’ve also got the live tunes on repeat all over town. As part of the Great Northwest Music Tour series, McMenamins selects a different regional act each month to play a handful of free concerts at its establishments in and around Portland. This month’s darling is Seattle folk-popper Kris Orlowski, who was just in town for MusicfestNW. His latest release, Pieces We Are, is a collaboration with fellow Seattleite and composer Andrew Joslyn featuring Orlowski’s sweet baritone croon striding across a sweeping 17-piece orchestral landscape. While Orlowski won’t be playing hopscotch across Portland with the whole orchestra in tow (rather, a more manageable five-piece band), this is an opportunity to get personal with this upand-coming musician—and overdose on the McMenamins Rubinator ale and barbecue chicken pizza. GRACE STAINBACK. McMenamins Edgefield, 2126 SW Halsey St., Troutdale, 6698610. 7 pm. Free. All ages.

Jason Aldean, Jake Owen, Thomas Rhett

[HICK-HOP] Backward-leaning in theme and effortlessly au courant, Jason Aldean’s spring single “1994” is the newest country yet—lyrics are rapped, riffs are rawked, the redneck touchstones go down easy—and Aldean is the very model of a modern Nashville superstar. Aside from a perhaps de rigueur duet with virtual Kelly Clarkson, the Georgia native doesn’t pander to stagecraft while unfurling a succession of hits from his five platinum albums with ruthless efficiency. Aldean has a knack for richly textured details of small-town life and wrings emotive wellsprings to make his predecessors proud. If the instrumental undercarriage veers more like pop metal than rawhide, it’s because slow songs and waltzes aren’t selling this year. JAY HORTON. Sleep Country Amphitheater, 17200 NE Delfel Road, Ridgefield, Wash., 360-816-7000. 7:30 pm. $25.50-$55.25. All ages.

Peter Hook and the Light, Slaves of Venus

[NEW & USED ORDER] Oh, they’ve gone green-eyed, the former members of New Order. Given the levels of rancor and evidently neverending lawsuits, fans must choose between the greatest-hits collec-

tion occasionally toured by threefourths of the original lineup or the far more rough and ready venture currently undertaken by iconic bassist Peter Hook. After enlisting his son, who plays the six-string when Dad’s singing, and a few old side-project mates to play the Joy Division oeuvre to some controversy and more success three years back, Hooky’s continuing onward with live renditions of the first two New Order albums, plus singles and B-sides from the era. Truth be told, revisiting Closer absent Ian Curtis seems no less inauthentic than either incarnation pumping forth the delirious dance of unchained youth midst a comfortable dotage. But the bloodyminded devotion to completism and genuine appreciation of clubs a scale or two below the arenas booked by his former troupe at least feels a more proper celebration of the truly grand legacy. JAY HORTON. Wonder Ballroom, 128 NE Russell St., 2848686. 8 pm. $23 advance, $25 day of show. 21+.

FRIDAY, SEPT. 27 Adult, Flaamingos

[DIRTY TECHNO-POP] Ah, the drum machine. Like television, MTV and the Internet, to an extent, robotic beats are a novelty that once scared the music industry shitless. Why would you pay a human when a Roland 808 can do the work for free? Adult presents an obvious answer: ’cause feelings. Imagine the Stones with a rhythm programmer, and then quickly look the other way. The Detroit duo’s bare-bones brand of curiously danceable techno-pop may feel cold and detached, but why resist the human urge to shake it even if that drum machine ain’t got no soul? PETE COTTELL. Doug Fir Lounge, 830 E Burnside St., 2319663. 9 pm. $12. 21+.

The Stolen Sweets, Casey MacGill

[VINTAGE VOCAL JAZZ] The Stolen Sweets could easily be written off as a throwback gimmick, and one wouldn’t be wrong in doing so, what with their calls back to the Boswell Sisters and other vintage greats. But there’s something more at play here: Sure, they’ll record an album on antique equipment and deploy a legion of cigarette girls in the crowd for time-machine theatrics, but this is very much a modern affair, with three leading ladies amping up the dormant come-hither sexuality of the genre’s subdued roots, unleash-

CONT. on page 30

DRANK SPECIAL

MMMHOPS (MUSTANG BREWING AND HANSON) Everyone who’s commented on Mmmhops, the beer from the brotherly band Hanson, has feigned surprise that those sweet little boys with little-girl haircuts now sell beer. Let’s be serious: The youngest Hanson, Zac, is 27 and has two kids. He’s got to feed those kids, and beer is one of the most lucrative products there is after you’ve established desirable branding. Iron Maiden, AC/DC, Motörhead and Kiss also have beers out. (No one knows how to print money like old metalheads.) Mmmhops was made by Oklahoma City’s Mustang Brewing Company. Maybe the brothers should have pushed for Tulsa’s superior Marshall Brewing, because Mmmhops contains very little “Mmm” or hops. I suspect this oldschool pale ale was made in one big batch a few months ago, as the bottles that arrived for us tasted like a skunky Magic Hat #9 with an undeniably tinny finish. “This is the beer that will change the way you look at craft beer,” Taylor Hanson told an interviewer in August. Thankfully, that’s not true for me. Please, don’t let it be true for you. Not recommended. MARTIN CIZMAR. SEE IT: Hanson plays Aladdin Theater, 3017 SE Milwaukie Ave., with Paul McDonald, on Saturday, Sept. 28. 8 pm. Sold out.

MUSIC CHRIS STRONG

VANIFEST DESTINY EXTRA

JOAN OF ARC FRIDAY, SEPT. 27 Imagine being in an emo band in the Midwest circa 1998. This was a time before iTunes, before Myspace, before Napster, even. If you had any aspirations to graduate from the local basement scene to a wider audience, your only real shot at the big leagues was to cram inside a shitty old van and tour relentlessly. For Sam Zurick, that turned out to be a way of life. A few years ago, the sometime guitarist for math-jazz meanderers Joan of Arc left Chicago to live out of a van in New Mexico. Zurick isn’t currently touring with the band, but in an email conversation, he still had plenty to say about his days as a wayward musicianturned-vandweller. PETE COTTELL. A conversation with guitarist, vandweller and temporary Earth person Sam Zurick.

WW: What made you decide to move into the van? Sam Zurick: My entire adult life, I’ve worked as a bike messenger to fuel my life as a music man. In 2006, I randomly answered a Craigslist ad for a temporary gig with The Onion newspaper. Within a year, the temporary position turned into full-time. And so I had my first “real” job with a salary and a desk in an office space. I also met a lovely young lady who wanted to get married to me. Well, none of it felt right. I hadn’t picked up my guitar in a couple years at that point, and my only way to ground myself was to open a pack of baseball cards while stoned on pills. It took my fiancee leaving me for me to wake up to the fact I’d become a dead-eyed slob. So in late 2010, I made the decision to uproot my Chicago life. I obtained a nice little van and headed southwest, my nose pointing toward New Mexico. What was the reaction of your friends and family when you told them you were doing this? They encouraged it. They all saw what I had turned into and thought I was doing the right thing. I didn’t leave my apartment for six months after I got dumped. I kept in touch with [Joan of Arc frontman] Tim [Kinsella]—he took me out for Mexican food before I left. How has living in a van affected your friendship with Tim? Tim understands I’m a creature that isn’t satisfied with humanbased Earth politics; he knows I like to experiment with my opportunity as “Sam Zurick.” How was it adjusting to your new living situation? There are days when it makes absolute sense and you get that false notion of, “Wow, I really figured it out,” and there are days when you wish you were Donald Trump’s granddaughter. It’s most important to not become self-righteous about it. Do you plan to go back to that lifestyle? I’m happy to announce I’ve moved into a transient hotel in downtown Chicago. The trick to this scenario is, I have to work a lot, but honestly it’s great to have my own dresser and mini fridge, etc. My next-door neighbor is addicted to some kinda drug that invites random men to her house to fuck her mercilessly in exchange for her complaints that the drug isn’t “strong enough.” Good luck, everybody! SEE IT: Joan of Arc plays Bunk Bar, 1028 SE Water Ave., with Arrington de Dionyso’s Songs of Psychic Fire, on Friday, Sept. 27. 9 pm. $10. 21+. Read the full Sam Zurick Q&A at wweek.com. Willamette Week SEPTEMBER 25, 2013 wweek.com

JIMMY MAK’S MUSIC “One of the world’s top 100 places to hear jazz” – Downbeat Magazine

The Stolen Sweets

with special guest Casey MacGill Friday, September 27th $12 at the door with generous support from Belvedere Vodka enjoy tastings of Belvedere products

UPCOMING SHOWS: Michael Allen Harrison, Sept. 28th Trio Subtonic CD release, Oct. 4th The Bobby Torres Ensemble, Oct. 5th Bernard Purdie and Friends Wednesday, October 2nd advanced tickets at TicketTomato.com

Mike Clark & George Colligan, Oct. 8th PDX Jazz @ Jimmy Mak’s presents Dave Douglas, Oct. 11th Norman Sylvester, Oct. 12th

JUST ANNOUNCED: LaRhonda Steele Benefi t Concert, Oct 14th The Shanghai Woolies, Oct. 18th Tezeta Band, Oct. 19th Les McCann and Javon Jackson Thursday, October 24th advanced tickets at TicketTomato.com

Mon-Sat. evenings: Dinner from 5 pm, Music from 8 pm 221 NW 10th • 503-295-6542 • jimmymaks.com

Stores & Performances n I � n i m o c p U WOODLANDER

FREE LIVE PERFORMANCE SATURDAY, 9/28 @ 5 PM

Woodlander is a longstanding musical brotherhood, a trio of musicians who have played together since the 1970s in a popular Northwest rock /country/bluegrass band called Wheatfield, which was recently inducted into the Oregon Music Hall of Fame.

HOWARD WADE

FREE LIVE PERFORMANCE SUNDAY, 9/29 @ 5 PM

With the release of his debut album Leave the Blues Behind, country blues and ragtime blues guitarist Howard Wade brings finger style virtuosity to American folk music.

THE LONESOME BILLIES

FREE LIVE PERFORMANCE MONDAY, 9/30 @ 6 PM

It was within the putrid confines of Useless Bay that The Lonesome Billies began to brandish their own dark and dusty style of door swingin’, boot stompin’, whiskey drinkin’, gator hootin’, country and western music.

Willamette Week SEPTEMBER 25, 2013 wweek.com

FRIDAY-SUNDAY

ing a siren song that’s impossible to resist. That’s not to mention local legend Pete Krebs holding down the guitar like a jazz-hall master transplanted to the modern day. So yes, it’s a throwback, but one that does the past the courtesy of introducing it to a modern sensibility. ROBERT HAM. Jimmy Mak’s, 221 NW 10th Ave., 295-6542. 8 pm. $12. 21+.

Jarboe, Helen Money, Lost Lockets

[VOCAL MASTERY] Jarboe is primarily known for the 13 years she spent as a member of Swans, a band that used her flexible vocal range to both beautiful and terrifying ends. Though still friendly with leader Michael Gira (she even sang on the band’s 2012 release, The Seer), she has opted to skip her former group’s reunion and direct her efforts to her rich, ongoing solo career. Jarboe continues to confound expectations by using either downtempo beats or rigid rock to support her voice. On this short run of West Coast dates, she is stripping down to vocals and acoustic guitar, backed up on both by P. Emerson Williams. ROBERT HAM. The Analog, 720 SE Hawthorne Blvd., 432-8079. 8 pm. $12 advance, $16 day of show. 21+.

Jake Bugg, Honeyhoney

[SINGER-SONGWRITER] Nineteenyear-old Brit folkie Jake Bugg seems to be aiming for a vintage-Dylan sound on his self-titled debut, but just ends up evoking other Dylan emulators. His softer songs are closer to Donovan, and the production is more reminiscent of an early Simon&Garfunkel album. Not that these are necessarily bad things. The vocals on the upbeat numbers reflect a more contemporary influence: The sharp, adenoidal tone recalls Liam Gallagher, though with volume and sneer dialed back a bit. He’s got a ways to go, but it’s possible Bugg can build on these roots and develop into a unique and substantive artist. After all, Dylan didn’t release his first truly great album until he was a wizened 22 years old. JEFF ROSENBERG. Wonder Ballroom, 128 NE Russell St., 2848686. 9 pm. $15. All ages.

SUNDAY, SEPT. 29 Mount Kimbie, Jonwayne, D33J

[AMBIENT DANCE] The official lazy writer’s checklist for dubbing something “post-dubstep”: 1. Four-on-

the-floor beat appears sometimes, staggered with breaks and jumps. 2. The use of found or field recordings. 3. The appearance of alt-rappers, their verses often doused with delay and other effects. 4. The presence of a wide range of synths, from musky analogs to tinny digital imitations. 5. Nods to jazz and soul that do not betray the electronic, dance-friendly heart of most of the songs, as on “Made to Stray.” 6. It must sound absolutely nothing like dubstep. Please note: English duo Mount Kimbie is a paragon of this nongenre. While most other artists need only meet a few of those requirements, they hit each one, with style. MITCH LILLIE. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $16 advance, $18 day of show. 21+.

Anathema, Alcest, Mamiffer

[DOOMGAZE] Anathema is one of the pillars of the U.K. gothic-doom movement. While the band began its days as an earnestly heavy band, it moved into more ear-friendly territory over the years, constantly experimenting and reinventing itself, often with catastrophic results. Certainly, American metal audiences would not take kindly to some of the more tepid electronic pop the band has produced, but word on the

SATURDAY, SEPT. 28 Chelsea Wolfe, True Widow

[BIG, BAD GOTH] Chelsea Wolfe’s rapid artistic development has been staggering. She earned major scene points with the metalheads for 2011’s Apokalypsis, with its demonic screams and lo-fi black-metal nods. But it was on the mostly acoustic follow-up, Unknown Rooms, that she truly came into her own as a songwriter. Whether building vocal loops as the basis of “The Way We Used To” or getting all vampiric Mazzy Star on “Flatlands,” she was firing on all cylinders. So it’s exciting to hear her fourth proper album, Pain Is Beauty, taking her into even deeper emotional territory, the sparseness now invaded by tasteful electronics. Her journey is one we can follow for a long time, as she is a young and growing artist who is actually successful. NATHAN CARSON. Doug Fir Lounge, 830 E Burnside St., 2319663. 8 pm. $13 advance, $15 day of show. 21+.

Olafur Arnalds, Nils Frahm

[SCANDINAVIAN SKETCHES] For those of you not lucky enough to visit Iceland, let me introduce to you armchair-travel specialist Olafur Arnalds. The Icelandic composer and multi-instrumentalist captures the stark vastness of his homeland through atmospheric neoclassical sketches that shimmer like the Northern Lights. Arnalds, a onetime metal drummer, has found a new outlet in looped strings and gusty vocals. His latest effort, For Now I Am Winter, is a transcendent flight through the Scandinavian countryside, fit with expansive swaths of violin and synth and unpredictable, volcanic bursts of charging percussion. It is one of the prettiest, most haunting albums of 2013. MARK STOCK. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. $20 advance, $25 day of show. 21+.

Risky Star, Devin Donovan, Lost One

[PORTLAND RHYMER] With the spotlight’s glare sticking on the Seattle hip-hop scene at the moment, there’s some hope in the hearts of Portland’s most ardent rap fans that the vibrant local community will get carried a little further forward in Macklemore’s wake. One local rapper who could serve to gain some further attention is Risky Star, a soulful cat who, on the upcoming Trust No One Records compilation, dives into a crate of vintage ’70s R&B as source material to back his heartfelt rhymes. He’s joined on this bill by two of his equally talented labelmates, Devin Donovan and Lost One. ROBERT HAM. Peter’s Room, 8 NW 6th Ave., 219-9929. 8 pm. $5. All ages.

ALBUM REVIEWS

BLITZEN TRAPPER VII (VAGRANT) [ROVING AMERICANA] One presumes that, 10 years into its career, Blitzen Trapper would’ve found its sense of direction by now. But on its seventh album, the band continues to experiment with its homespun folk sound. The chiming organ on the Dylanish “Thirsty Man” and knockabout “Shine On” ache a la the Band’s “Chest Fever,” while “Oregon Geography” finds frontman Eric Earley rattling off his vocals like a redneck Beck against a taut backdrop of ambient rain and fitful banjo. “Earth (Fever Called Love)” takes another turn, opting for slinky guitar, flute and synths that generate an almost hip-hop vibe, with undercurrents of dark R&B. Despite those deviations, much of VII sounds distinctly like the quirky, crunchy Americana most associate with Blitzen Trapper. The country-creased sashay of “Don’t Be a Stranger” and the swelling harmonies of “Ever Loved Once” remain the best avenues for Earley’s foggy vocals and narrative wanderlust. Even if it doesn’t pave new ground, the latter song, in particular, is arguably some of his finest work. BRANDON WIDDER. HEAR IT: VII comes out Tuesday, Oct. 1, on Vagrant Records.

VICE DEVICE/VOID VISION SPLIT EP (ACCIDENT PRONE) [DARKWAVE] If Vice Device has any musical vice, it’s dissonance. The dark synth-pop group employs it as much as any Neue Deutsche Welle-loving band should. The real energy on “Fractured Desire,” the opening track of the band’s split EP with Philly’s Void Vision, comes from the analog synths, which slightly detune on the off-beat. “Even Blind” is another ace post-punk number, the tension of the bassline building and then breaking as vocalist Andrea K screams through her own reverbed voice. The dark tone carries over well to the Void Vision side. The only thing stopping “A Version” from flying like a bat out of the hell of 1980s French coldwave is the occasional guitar shredding in the background. Void Vision tends to get weirder as the EP progresses, eventually closing with a cover of Queen’s “You Take My Breath Away,” which comes off like a collaboration between Jean Michel Jarre and Grimes. None of Queen’s breathtaking harmonies make it into Void Vision’s version, but as with both sides of this split, few sonic corners are left unexplored. MITCH LILLIE. SEE IT: Vice Device plays Rotture, 315 SE 3rd Ave., with Arctic Flowers, Industrial Park and DJ Luke Buser, on Thursday, Sept. 26. 9 pm. $5. 21+.

SUNDAY-TUESDAY/CLASSICAL, ETC.

MUSIC

street is, the band is delivering on this tour. For most, the real draw tonight is French outfit Alcest. Its shoegazing post-black metal is so gloriously sad and melodic it’s often referred to as “girlfriend metal.” But if attending a metal show where the first three rows are all women intimidates you, then by all means, go to the gym and work out instead. NATHAN CARSON. Hawthorne Theatre, 1507 SE 39th Ave., 233-7100. 8 pm. $18 advance, $20 day of show. All ages.

many members of the genre craft head-slouching, self-reflective licks that tend toward a broken-record quality. Not WL, a band with a bigger pulse that crashes and changes key a little harder than the rest. With local talents Aan and Red Fang on deck, it’s a banner night for Portland music. MARK STOCK. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $3 with redbullsoundselect.com, $12 day of show. 21+.

Shigeto, Phaeleh, Beacon, Nitemoves

CLASSICAL, WORLD & JAZZ

[ONE MAN, ONE DRUM] Fusing jazz and hip-hop is a noble goal, and one that is at the forefront of the mind of Zach Saginaw, aka Shigeto. His latest album, No Better Time Than Now, opens with organ chords and vinyl crackling so loud it sounds like rain. Twinkling arpeggios slowly build. Fuzz washes in. Seconds later, the song climaxes Alice Coltrane-style, and then the beat to “Detroit Part 1” drops. It’s a swaying shuffle a la Flying Lotus and Madlib and their imitators, but Shigeto isn’t just another pretender to that throne. What sets him apart is his performance, where he sits at a drum set, bringing the wonk to life and leaning over to tweak the electronic parts on his laptop. He’s frantically energetic, even when his music isn’t. MITCH LILLIE. Holocene, 1001 SE Morrison St., 239-7639. 8:30 pm. $12 advance, $14 day of show.

The Evens

[POLITICO-FOLK] Emo liferturned-acoustic troubadour is a familiar trope, but Ian MacKaye refuses to go over the hill quietly. His rabble-rousing days in Minor Threat and Fugazi, in which he played the tightly wound agitator waiting to unload, may be over, but don’t expect the mellow aspects of his duo the Evens to be mistaken for “boring.” With ex-Warmers drummer Amy Farina manning the kit and sharing vocal duties, the stripped-down pair functions as evidence that MacKaye still has plenty of fuel left in the tank, and he’s been gracious enough to opt out of diluting it with string arrangements and other dalliances that signify an aging music that’s gotten too tired to rock. PETE COTTELL. Mission Theater and Pub, 1624 NW Glisan St., 223-4527. 7:30 pm. $8 advance, $10 day of show. All ages.

MONDAY, SEPT. 30 Citizen Cope

[CHILL POP] It’s always unnerving to discover a musician’s Wikipedia page is far more concerned with his or her soundtrack contribution to One Tree Hill than their actual full album catalog. Although Clarence Greenwood, aka Citizen Cope, helped marry hip-hop and blues into a commercially digestible concoction with his 2002 debut, his unabashed sentimentality and family-friendly beats have also earned him an induction into the Chill Dude Hall of Fame. Likewise, his latest album, One Lonely Night, shuffles with peachy reggae and string-blanketed folk pop. While the “chill” can be found in the stoned crooning, the lack of his former hip-hop fusion packs the album with more filler than killer. BRANDON WIDDER. Aladdin Theater, 3017 SE Milwaukie Ave., 234-9694. 8 pm. $35. 21+.

TUESDAY, OCT. 1 Red Bull Sound Select: Red Fang, Aan, WL

[SHOEGAZE] Hot off the release of Hold, the band’s impressive debut full-length, WL is riding high. Guitarist Michael Yun, drummer Stevie Sparks and vocalist-bassist Misty Mary are turning out some of the best shoegaze in town. So

DATES HERE

Peter Broderick, Hauschka

[PINGPONG PIANO] The classically trained German pianist Hauschka takes John Cage’s 1940s invention, the prepared piano—in which the strings and hammers are temporarily augmented by screws, paper, rubber erasers, leather, corks, tape, guitar strings and other timbretweaking additions—and occasionally sprinkles in synthesizer, drum machine, electric bass and other acoustic instruments. The resulting unusual textures make a provocative setting for his own modern, rhythmically charged miniatures, influenced by minimalist composers, Indonesian gamelan patterns and electronica. He’s even collaborated with orchestras on a new album of travel-inspired original compositions, including one called “Mount Hood.” But this is a solo show. That was plenty entertaining in his appearance at Doug Fir last year, which climaxed with a flurry of pingpong balls flying out of the instrument and into the audience. BRETT CAMPBELL. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm Friday, Sept. 27. $20 advance, $25 day of show. 21+.

Joe Manis Trio, Jim Templeton

[JAZZ] The name is familiar, but the context is fresh. After a decade exploring the classic, Sonny Rollins-style sax-bass-drums ensemble—and other trio configurations, including piano, guitar and even electric bass—Joe Manis has ventured into another classic jazz assemblage: the organ trio, featuring recent NYC-to-PSU transplant George Colligan at the keyboard. Todd Strait mans the drum kit for this show. The Eugene sax master has also left his gig in the Cherry Poppin’ Daddies and landed a record deal with the venerable SteepleChase jazz label. As his excellent new album, North by Northwest, demonstrates, what hasn’t changed is Manis’ commanding sound and astute improvisations, nor his inventive way with the classics—this time including songbook standards, tunes by jazz legends Monk, Coltrane and Lenny Tristano and a handful of appealing original compositions. BRETT CAMPBELL. Ivories Jazz Lounge and Restaurant, 1435 NW Flanders St., 241-6514. 8 pm Saturday, Sept. 28. $10. 21+.

Rafal Blechacz

[POLISH PIANO] In the wake of his win at the 2005 Chopin International Competition, the multiple-prize-winning 28-yearold Polish pianist soared to wide acclaim, a major record-label deal and gigs at the world’s top concert halls. At these Portland Piano International concerts, he’ll perform a passel of works by his fellow Poles Chopin and the underappreciated Karol Szymanowski, plus Debussy’s lilting Suite Bergamasque, the one with the crowd-pleasing tune about the moon. BRETT CAMPBELL. Lincoln Hall, Portland State University, 1620 SW Park Ave., 725-3307. 7:30 pm Sunday-Monday, Sept. 29-30. $45-$54 general admission, $20 for students. Sunday sold out. All ages.

Willamette Week SEPTEMBER 25, 2013 wweek.com

MUSIC CALENDAR

[SEPT. 25-OCT. 1]

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. For more listings, check out wweek.com.

115 NW 5th Ave. Onward Etc.

Biddy McGraw’s

6000 NE Glisan St. Grateful Buds

Branx

C O U R T E S Y O F T H E B I L L I O N S C O R P O R AT I O N

320 SE 2nd Ave. Gold Panda, Slow Magic, Luke Abbott

Brasserie Montmartre 626 SW Park Ave. Carol Rosso

Camellia Lounge 510 NW 11th Ave. Paula Byrne Trio

Chapel Pub

430 N Killingsworth St. Steve Kerin

Dante’s

350 W Burnside St. Guttermouth, Agent Orange, Pinata Protest, Celebrity Stranglers

Doug Fir Lounge

830 E Burnside St. Little Boots, MNDR

Duff’s Garage

1635 SE 7th Ave. Cee Cee James, Lisa Mann, Tough Lovepyle

Al’s Den at the Crystal Hotel 303 SW 12th Ave. Ed and the Red Reds, Stirling Miles

Alberta Street Public House 1036 NE Alberta St. Songwriter’s Carousel: Alexander’s Real Time Band

Amadeus Manor

2122 SE Sparrow St., Milwaukie Open Mic

Andina

1314 NW Glisan St. Toshi Onizuka

Ash Street Saloon

225 SW Ash St. Mufassa, the Stein Project, Jargon, Bottom Shelf

Backspace

115 NW 5th Ave. Mitch Barrett, Melody Youngblood, Lone Valkyrie, Adam McBride Smith, LEO

Brasserie Montmartre 626 SW Park Ave. John Teply

Bunk Bar

1028 SE Water Ave. Big Black Delta, Adventure Galley

Doug Fir Lounge

830 E Burnside St. Buck 65, Open Mike Eagle

Duff’s Garage

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

Goodfoot Lounge 2845 SE Stark St.

Hawthorne Theatre Lounge

1503 SE Cesar E. Chavez Blvd. Rockstar Karaoke

Hawthorne Theatre

1507 SE 39th Ave. Otep, Stolen Babies, New Year’s Day

Holocene

1001 SE Morrison St. And And And, Sama Dams, Night Mechanic

Ivories Jazz Lounge and Restaurant

1435 NW Flanders St. Rebecca Kilgore, Dave Frishberg

Jade Lounge

2346 SE Ankeny St. Cynthia O’Brien

Jimmy Mak’s

221 NW 10th Ave. The Mel Brown Quartet

LaurelThirst

2958 NE Glisan St. Simon Tucker Blues Band, the Barkers

Lents Commons

9201 SE Foster Road Open Mic

McMenamins Edgefield 2126 SW Halsey St., Troutdale Steve Bradley 7, Scott Akers

McMenamins Rock Creek Tavern

10000 Old Cornelius Pass Road, Hillsboro Billy D

Mississippi Studios

3939 N Mississippi Ave. The My Oh Mys, Swansea, the Breaking

Willamette Week SEPTEMBER 25, 2013 wweek.com

8 NE Killingsworth St. Eternal Tapestry, MV&EE

Secret Society Ballroom

116 NE Russell St. Matt the Electrician, Anna Tivel

THURS. SEPT. 26 Al’s Den at the Crystal Hotel 303 SW 12th Ave. Ed and the Red Reds, Sweet William’s Ghost

Aladdin Theater

2929 SE Powell Blvd. Rivergate

3017 SE Milwaukie Ave. Billy Cobham’s Spectrum 40, Dean Brown, Gary Husband, Ric Fierabracci

Suki’s Bar & Grill

Alberta Rose Theatre

Shaker and Vine

2401 SW 4th Ave. Kent Smith

The Elixir Lab

2738 NE Alberta St. Open Mic Nite

The Old Church

1422 SW 11th Ave. Erik Flaten, Michael Barnes

Thorne Lounge

4260 SE Hawthorne Blvd. Musician’s Open Mic

Tonic Lounge

3100 NE Sandy Blvd. Do You Remember Rock ‘n’ Roll? Radio Show: Pat Kearns

3000 NE Alberta St. Woodburn Rocks, Anchor Chain, DJMutagen, Greyer Wolf, Madrona, Lance Eads

Alberta Street Public House 1036 NE Alberta St. Sasparilla

Alhambra Theatre

4811 SE Hawthorne Blvd. Corina Corina, Jonny October, Raise the Bridges

Analog Cafe

720 SE Hawthorne Blvd. Wandering

Tony Starlight’s

Andina

Valentine’s

Andrea’s Cha Cha Club

3728 NE Sandy Blvd. Bo Ayars 232 SW Ankeny St. Child Children, Andy D

White Eagle Saloon

836 N Russell St. Ojos Feos, the Ventilators

Wilfs Restaurant & Bar

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

Wonder Ballroom

128 NE Russell St. Savages, Duke Garwood

1314 NW Glisan St. Borikuas 832 SE Grand Ave. Pilon D’Azucar Salsa Band

Artichoke Community Music 3130A SE Hawthorne Blvd. Acoustic Village

Ash Street Saloon

225 SW Ash St. Aubrey Debauchery and the Broken Bones, Jeff Cambell, Chainsaw Darwin, Ryan Traster

Sellwood Public House 8132 SE 13th Ave. Open Mic

Slabtown

1033 NW 16th Ave. Rabbits, Dog Shredder, Ghetto Blaster, Sirhan Sirhan

Sleep Country Amphitheater

17200 NE Delfel Road, Ridgefield, Wash. Jason Aldean, Jake Owen, Thomas Rhett

The Analog

720 SE Hawthorne Wandering

The Elixir Lab

Hawthorne Theatre Lounge

The Know

1503 SE Cesar E. Chavez Blvd. Natural Vibrations, the Sindicate

Tiger Bar

Hawthorne Theatre

3728 NE Sandy Blvd. Liz Bacon, John Stuber

1001 SE Morrison St. Light Asylum, Dangerous Boys Club, DJ Gossip Cat, DJ Roy G Biv

Record Room

116 NE Russell St. Soulshake, Redray Frazier, Dean

2026 NE Alberta St. Eye Candy: Reverend Danny Norton

Holocene

Jelly Bread, Excellent Gentlemen

Secret Society Ballroom

Goodfoot Lounge

1507 SE 39th Ave. Phosphorescent, Indians

WED. SEPT. 25

Rotture

315 SE 3rd Ave. Vice Device, Arctic Flowers, Industrial Park, DJ Luke Buser

2738 NE Alberta St. The Infinity Of It All

2845 SE Stark St. Shafty: Phish Tribute

LIVING ROCK: Quasi’s new album, Mole City, is out Tuesday, Oct. 1. Look for a review at week.com.

Tech N9ne, Mayday, Prozak, Stevie Stone, Ces Cru

Ivories Jazz Lounge and Restaurant 1435 NW Flanders St. Tom Grant Vocal Showcase

Jade Lounge

2346 SE Ankeny St. Doug Stepina, Heart Lake Owl

Jimmy Mak’s

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

Kelly’s Olympian

426 SW Washington St. Ah God, A Volcano

Kenton Club

2025 N Kilpatrick St. Dolby Lilack

LaurelThirst

2958 NE Glisan St. The Vulva Underground, Lewi Longmire and the Left Coast Roasters

317 NW Broadway Karaoke From Hell

Tony Starlight’s

Vie de Boheme

Ed and the Red Reds, Jennie Wayne, Kenny Feinstein

Alberta Rose Theatre 3000 NE Alberta St. Ramble On, Brothers of the Baladi

Alhambra Theatre

4811 SE Hawthorne Blvd. No Passengers, Edna Vazquez, Santos Almada, Ill Lucid Onset (theater); Matthew Heller, Jernigan (lounge)

Analog Cafe

720 SE Hawthorne Blvd. Jarboe, Helen Money, Lost Lockets

Andina

1314 NW Glisan St. Danny Romero Trio

Artichoke Community Music 3130A SE Hawthorne Blvd. Friday Coffeehouse

Ash Street Saloon

225 SW Ash St. Drunk Dad, Shut Your Animal Mouth, Diesto, boneworm

Backspace

115 NW 5th Ave. The Queers, Teenage BottleRocket, the Copyrights

Biddy McGraw’s

6000 NE Glisan St. Alder Street All-Stars, the Mountain Ever

Brasserie Montmartre 626 SW Park Ave. Trash Can Joe

Buffalo Gap Eatery and Saloon

1530 SE 7th Ave. Alan Hager/Dave Fleshner Duo

6835 SW Macadam Ave. Zenda Torrey

West Cafe

1028 SE Water Ave. Joan of Arc, Arrington de Dionyso’s Songs of Psychic Fire

1201 SW Jefferson St. Alan Jones Academy Jazz Jam

Bunk Bar

White Eagle Saloon

Camellia Lounge

Wilfs Restaurant & Bar

Clyde’s Prime Rib

836 N Russell St. The Parson Red Heads, Steelhead, Will West

510 NW 11th Ave. Jennifer Lucrezio, Jordan Bumgarner

800 NW 6th Ave. Ellen Whyte, Gene and Jean

5474 NE Sandy Blvd. Ocean

Wonder Ballroom

350 W Burnside St. Juno What, the Best Dancers

128 NE Russell St. Peter Hook and the Light, Slaves of Venus

FRI. SEPT. 27 Al’s Den at the Crystal Hotel 303 SW 12th Ave.

Dante’s

Doug Fir Lounge 830 E Burnside St. Adult, Flaamingos

Duff’s Garage

1635 SE 7th Ave. Big Monti, Henry Cooper, Boyd Small, the Hamdogs

East End

203 SE Grand Ave. The Prids, Deathcharge, Smoke Rings

EastBurn

1800 E Burnside St. Side Street Remy

Ford Food and Drink 2505 SE 11th Ave. Hutson, Lorna Miller

Hawthorne Theatre

1507 SE 39th Ave. Everton Blender, Triniti, the Rising Buffalo Tribe, Roots Train Sound

Ivories Jazz Lounge and Restaurant 1435 NW Flanders St. Mark Simon Quintet

Jade Lounge

2346 SE Ankeny St. The Julians, Jamie Sterling

Jimmy Mak’s

221 NW 10th Ave. The Stolen Sweets, Casey MacGill

Katie O’Briens

2809 NE Sandy Blvd. 48 Thrills, Absent Minds, Knox Harrington, Avenue Victor Hugo

Kells Brewpub

210 NW 21st Ave. Sami Rouisi

Kelly’s Olympian

426 SW Washington St. Lil Ass Boom Box Festival: Father Strangeluv, San Lorenzo, Wild Scenic, Noble Firs

Kenton Club

2025 N Kilpatrick St. Winter in the Blood, Wight, Rohit

Kenton Club

2025 N Kilpatrick St. Winter In the Blood, Wight, Rohit

LaurelThirst

2958 NE Glisan St. Keaton Collective, Rory James & the Majestic, Sam Densmore, Old Flames

McMenamins Edgefield 2126 SW Halsey St., Troutdale Douglas County Daughters

McMenamins Rock Creek Tavern

10000 Old Cornelius Pass Road, Hillsboro Will Kinky Trio

Mississippi Pizza

3552 N Mississippi Ave. Cana Son, Pagan Jug Band

CONT. on page 35 COURTESY OF HAUSCHKA

Backspace

= WW Pick. Highly recommended.

McMenamins Edgefield 2126 SW Halsey St., Troutdale Kris Orlowski, Pete Krebs

McMenamins Rock Creek Tavern

10000 Old Cornelius Pass Road, Hillsboro Pete Kartsounes

McMenamins’ Kennedy School 5736 NE 33rd Ave. The Twangshifters

Mississippi Pizza

3552 N Mississippi Ave. Butterfly Breakdown, Porchcats

Mississippi Studios

3939 N Mississippi Ave. Rose Windows, Midday Veil, Great Wilderness

Muddy Rudder Public House 8105 SE 7th Ave. Gabrielle Macrae & Friends

Roseland Theater 8 NW 6th Ave.

THE PREPARED PIANO MAN: Hauschka plays Mississippi Studios on Friday, Sept. 27.

Grey Reverend

Willamette Week SEPTEMBER 25, 2013 wweek.com

SEPT. 25-OCT. 1 3939 N Mississippi Ave. Peter Broderick, Hauschka

Muddy Rudder Public House 8105 SE 7th Ave. Reverb Brothers

Newmark Theatre 1111 SW Broadway Molly Ringwald

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

Roseland Theater 8 NW 6th Ave. Krewella

Rotture

315 SE 3rd Ave. JWL B, Abyss Infinite, Rap Girl, Boy Funk

Secret Society Ballroom

116 NE Russell St. Paul Basile, Lone Madrone, Months, Pete Krebs and his Portland Playboys

Slabtown

1033 NW 16th Ave. Steel Cranes, the Greencarts

Sleep Country Amphitheater

17200 NE Delfel Road, Ridgefield, Wash. Maroon 5

Star Bar

639 SE Morrison St. Blank Fridays

The Analog

720 SE Hawthorne Jarboe, Helen Money, Lost Lockets

The Know

2026 NE Alberta St. Big Eyes, the Evaporators, Thee Goblins, Red Shadows

Tonic Lounge

3100 NE Sandy Blvd.

NTNT, James London, Fringe Class (KZME benefit)

Tony Starlight’s

3728 NE Sandy Blvd. The Bureau of Standards Big Band

Vie de Boheme

1530 SE 7th Ave. Beacon St. Titans

White Eagle Saloon

836 N Russell St. December Rain, Dustin Ernhardt, Reverb Brothers, the Student Loan

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

SAT. SEPT. 28 Al’s Den at the Crystal Hotel 303 SW 12th Ave. Ed and the Red Reds, Pheasant

Aladdin Theater

3017 SE Milwaukie Ave. Hanson, Paul McDonald

Alberta Rose Theatre 3000 NE Alberta St. Curtis Salgado, Jimmy Be Free, Kristen Hewitt (AUCF benefit)

Alberta Street Public House 1036 NE Alberta St. Sunshine Sound

Analog Cafe

720 SE Hawthorne Blvd. Metalfest, Crazy Like Me

Artichoke Community Music 3130A SE Hawthorne Blvd. Tracy Spring

Ash Street Saloon

225 SW Ash St. Tyrants, Stereo Sons, Slow Screams

Backspace

115 NW 5th Ave. Rare Monk, Kithkin, the Hoot Hoots

Biddy McGraw’s

6000 NE Glisan St. Max’s Midnight Kitchen, Ditchtown

Brasserie Montmartre

626 SW Park Ave. The Grant Slayer Project

Bravo Lounge

8560 SE Division St. Sandy Saunders Band

Buffalo Gap Eatery and Saloon

6835 SW Macadam Ave. Rockin’ Piano Party

Camellia Lounge 510 NW 11th Ave. Toque Libre

Club 21

2035 NE Glisan St. Dinner for Wolves, The Magpies, Advisory

Clyde’s Prime Rib

5474 NE Sandy Blvd. ON-Q Band

Dante’s

350 W Burnside St. Chervona, 3 Leg Torso

Doug Fir Lounge

Andina

830 E Burnside St. Chelsea Wolfe, True Widow

Arlene Schnitzer Concert Hall

Duff’s Garage

1314 NW Glisan St. Toshi Onizuka Trio

1037 SW Broadway Kahane Plays Beethoven

1635 SE 7th Ave. Soul Vaccination

East End

203 SE Grand Ave.

Cement Season, Joseph Demaree and the Square Tires, Moss Mantis, Very Little Daylight

Goodfoot Lounge 2845 SE Stark St. Jujuba

Hawthorne Theatre Lounge

1503 SE Cesar E. Chavez Blvd. Boo Frog

Hawthorne Theatre

1507 SE 39th Ave. Powerman 5000, Toxic Zombie, American Roulette, Separation Of Sanity, Chronological Injustice

Holocene

1001 SE Morrison St. London Grammar, Jaymes Young

Jade Lounge

2346 SE Ankeny St. Lisa Frasier, Kent Parkstreet, Love and Squalors, Alison Wesley, Helen Chaya

Jimmy Mak’s

221 NW 10th Ave. Michael Allen Harrison’s Super Band

Kells Brewpub

210 NW 21st Ave. Sami Rouisi

Kelly’s Olympian

426 SW Washington St. Souvenir Driver, Contact Club

Kenton Club

2025 N Kilpatrick St. Sans, the Huns, Bees

LaurelThirst

Pete Kartsounes

McMenamins Rock Creek Tavern

10000 Old Cornelius Pass Road, Hillsboro The Twangshifters

Mississippi Pizza

3552 N Mississippi Ave. Temporary Lesbian Bar, David E. Lane

Mississippi Studios

3939 N Mississippi Ave. Olafur Arnalds, Nils Frahm

Muddy Rudder Public House 8105 SE 7th Ave. James Clem

Music Millennium

3158 E Burnside St. Woodlander

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

Peter’s Room

8 NW 6th Ave. Risky Star, Devin Donovan, Lost One

Record Room

8 NE Killingsworth St. Moon Debris, Neighbors, Woolen Men

Rotture

315 SE 3rd Ave. Blow Pony

Shaker and Vine

2929 SE Powell Blvd. Matthew Lindley

Slabtown

1033 NW 16th Ave. The Restitution, She Preaches Mayhem, We the Wild

2958 NE Glisan St. Ruby Feathers, Bob Shoemaker & Billy Kennedy, the Yellers

The Analog

McMenamins Edgefield

2738 NE Alberta St. Underskore Orkestrish

2126 SW Halsey St., Troutdale

BAR SPOTLIGHT E VA N J O H N S O N

Mississippi Studios

MUSIC CALENDAR

720 SE Hawthorne Metalfest, Crazy Like Me

The Elixir Lab

DAUPHIN OF DIVISION: A grocery store-style Wine Well bottle chiller seems like a no-brainer for a beer bottle shop. Why refrigerate everything at the same temperature when you can cool down anything on the shelf in five minutes? But the new Imperial Bottle Shop & Taproom (3090 SE Division St., 971302-6899, imperialbottleshop.com) is the first place I’ve seen use such a system. That’s good, because this concrete-roofed bunker on Southeast Division Street needs innovation to stand out in the neighborhood’s very beery blocks. Imperial’s digital beer board, jazz soundtrack, heavy wood seating and tables, and IPA-heavy tap list are all familiar at Portland beer bars. Less familiar, though, are Imperial’s wide windows, ability to fill 16-ounce bottles from tap lines that employ a homebrewer’s narrow, carbonation-saving wands and a bartender who’ll answer questions by researching what he doesn’t already know on the iPad/cash register. I’m not sure how many new beer bars Portland needs, but it always needs new ideas, and Imperial has a few. MARTIN CIZMAR.

Willamette Week JULY 17, 2013 wweek.com

Deaf & Hearing Children

Karaoke 9pm nightly Hydro Pong Saturday night

speaking, learning, and achieving excellence together portland’s first choice for

CONVERSATION, CONFIDENCE, CREATIVITY, COMMUNITY

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

Tuesdstaryy: Fun Indu Night!

Dragon Lounge

Chinese-American Restaurant

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

Read our story: canton-grill.com

bobbleducks.com

Available at UO Duck Stores uoduckstore.com

For 66 years these four principles have driven the educational journey for our students at Tucker-Maxon School. We are a nationally recognized private school close in SE Portland where children with hearing loss and children with typical hearing in grades Pre-K – 5th learn together. to learn more about volunteer opportunities contact

laurie.giftharris@tuckermaxon.org 2860 se holgate blvd. portland, or 97202 503.235.6551 tuckermaxon.org

GET ‘EM ON SALE

PINK PIN K MARTINI

MAZZY STAR

Get Happy!

Seasons Of Your Day

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DRAK DRA KE

Nothing Was The Same

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DOWNTOWN • 1313 W. Burnside • 503.274.0961 EASTSIDE • 1931 NE Sandy Blvd. • 503.239.7610 BEAVERTON • 3290 SW Cedar Hills Blvd. • 503.350.0907 OPEN EVERYDAY AT 9 A.M. | WWW.EVERYDAYMUSIC.COM 36

Willamette Week SEPTEMBER 25, 2013 wweek.com

SEPT. 25-OCT. 1

MUSIC CALENDAR

COURTESY OF FLOWER BOOKING

Youth Code, Night Sins, Light House

Goodfoot Lounge

2845 SE Stark St. Sonic Forum Open Mic

Ground Kontrol

511 NW Couch St. Metal Mondays

Hawthorne Theatre

1507 SE 39th Ave. Twiztid, Blaze, Madchild, Aqualeo, Tragedy

Jade Lounge

2346 SE Ankeny St. Brahnanas and the Brahs

Jimmy Mak’s

221 NW 10th Ave. The Dan Balmer Band

Kells Brewpub

210 NW 21st Ave. Traditional Irish Jam Session

Kells

112 SW 2nd Ave. Danny O’Hanlon

Kelly’s Olympian

NOT VOICED BY JACK BLACK: Gold Panda plays Branx on Thursday, Sept. 26. Tonic Lounge

3100 NE Sandy Blvd. Smile Brigade, Taming Cerebellum, Dedere

Tony Starlight’s

3728 NE Sandy Blvd. The Tony Starlight Show

Vie de Boheme

1530 SE 7th Ave. Chris Baum Project

White Eagle Saloon

McMenamins Edgefield

2126 SW Halsey St., Troutdale Oktoberfest: Ben Union, Billy D. and the HooDoos, Moody Little Sister, the Twangshifters, Sassparilla, Three For Silver, Kafe Metelyk, Whistlin’ Rufus, Julie McCarl and Friends, High Fives Polka Band

McMenamins Rock Creek Tavern

Star Theater

13 NW 6th Ave. Kiwini and Siaosi, Loa Pole’o

The Conga Club

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

The Know

2026 NE Alberta St. Nudes, Life Form, Piss Piss Piss

836 N Russell St. Sundries, Fault Lines, the Student Loan

10000 Old Cornelius Pass Road, Hillsboro Irish Sundays

Vie de Boheme

Wilfs Restaurant & Bar

Mission Theater and Pub

800 NW 6th Ave. Devin Phillips Quartet

1624 NW Glisan St. The Evens

Wonder Ballroom

Mississippi Studios

128 NE Russell St. Jake Bugg, Honeyhoney

SUN. SEPT. 29 Andina

1314 NW Glisan St. Danny Romero

3939 N Mississippi Ave. Young Galaxy, Mister Lies, the Ecstatics

Muddy Rudder Public House 8105 SE 7th Ave. Irish

Music Millennium

Arlene Schnitzer Concert Hall

3158 E Burnside St. Howard Wade

Ash Street Saloon

5403 NE 42nd Ave. Open Mic

1037 SW Broadway Kahane Plays Beethoven

NEPO 42

1530 SE 7th Ave. Padam Padam

128 NE Russell St. Noah and the Whale, LP

MON. SEPT. 30 Aladdin Theater

3017 SE Milwaukie Ave. Citizen Cope

Andina

1314 NW Glisan St. Pete Krebs

Arlene Schnitzer Concert Hall 1037 SW Broadway Kahane Plays Beethoven

Camellia Lounge

225 SW Ash St. Wight, Juicy Karkass, Dodlage, Nostalgia, Wormbag

Rontoms

Clyde’s Prime Rib

116 NE Russell St. Jonah Luke, the Druthers, Ruby Pines

350 W Burnside St. Karaoke From Hell

Slabtown

1635 SE 7th Ave. Keeter Stuart and Allison Rice

Doug Fir Lounge

830 E Burnside St. Mount Kimbie, Jonwayne, D33J

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

Secret Society Ballroom

1033 NW 16th Ave. Year of the Raven

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

Dante’s

Duff’s Garage

LaurelThirst

2958 NE Glisan St. Kung Pao Chickens, Jake Ray & the Cowdogs

McMenamins Edgefield

2126 SW Halsey St., Troutdale Groovy Wallpaper, the Sale

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

Music Millennium

3158 E Burnside St. The Lonesome Billies

Pub at the End of the Universe 4107 SE 28th Ave. Open Mic

Slabtown

1033 NW 16th Ave. Ruptures, Habits, Sloths, Fandeth

Star Bar

639 SE Morrison St. Metal Monday: DJ Blackhawk

The Elixir Lab

2738 NE Alberta St. Moonshine Mondays: Michael the Blind

The Know

2026 NE Alberta St. Spectral Tombs, Steel Bearing Hand, More Hell

Tonic Lounge

3100 NE Sandy Blvd. The Greencarts, Wayward Too, Chelsea Heidenreich

White Eagle Saloon 836 N Russell St. Josh Cole

East End

203 SE Grand Ave. COURTESY OF WINDISH AGENCY

5474 NE Sandy Blvd. Ron Steen Jazz Jam

600 E Burnside St. Paper Brain, Pony Village

426 SW Washington St. Eye Candy VJs

Hawthorne Theatre Lounge

1503 SE Cesar E. Chavez Blvd. 9Road

Hawthorne Theatre

1507 SE 39th Ave. Anathema, Alcest, Mamiffer

Holocene

1001 SE Morrison St. Shigeto, Phaeleh, Beacon, Nitemoves

Ivories Jazz Lounge and Restaurant 1435 NW Flanders St. Marti Mendenhall

Jade Lounge

2346 SE Ankeny St. Keegan Heron

Kells

112 SW 2nd Ave. Danny O’Hanlon

Laughing Horse Books

12 NE 10th Ave. Industrial Priest Overcoats, Asss, Snit

LaurelThirst

2958 NE Glisan St. Jonny Rodgers, Freak Mountain Ramblers

BLURRED LINES: Shigeto plays Holocene on Sunday, Sept. 29. Willamette Week SEPTEMBER 25, 2013 wweek.com

Willamette Week SEPTEMBER 25, 2013 wweek.com

SEPT. 25-OCT. 1 TUES. OCT. 1 Al’s Den at the Crystal Hotel 303 SW 12th Ave. Star Anna, Rob Wynia

Analog Cafe

720 SE Hawthorne Blvd. Eli James, Blue Ember

Ash Street Saloon

MUSIC CALENDAR

Jimmy Mak’s

221 NW 10th Ave. The Mel Brown Septet

Kells

112 SW 2nd Ave. Danny O’Hanlon

Landmark Saloon

4847 SE Division St. Honky Tonk Union

Eli James, Blue Ember

The Elixir Lab

2738 NE Alberta St. Kafana Klub

The Know

2026 NE Alberta St. Chasma, Centuries, Pray for Teeth, The Siege Fire

Tonic Lounge

225 SW Ash St. Burnin’ and Blowin: $teezy, Mikey Clips, Flyx Society, Yung HD, Prince Hyph

LaurelThirst

3100 NE Sandy Blvd. Dawn Of Ashes, Psyclon 9

Tony Starlight’s

Backspace

McMenamins Edgefield

2126 SW Halsey St., Troutdale Sonny Hess

115 NW 5th Ave. Patrimony, Here Come Dots, Mercury Tree, Liquid Light

Camellia Lounge

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

Doug Fir Lounge

830 E Burnside St. Red Bull Sound Select: Red Fang, Aan, WL

Duff’s Garage

1635 SE 7th Ave. Dover Weinberg Quartet

Ivories Jazz Lounge and Restaurant 1435 NW Flanders St. The Wishermen

2958 NE Glisan St. Jackstraw

McMenamins Rock Creek Tavern

10000 Old Cornelius Pass Road, Hillsboro Bluegrass Tuesday

Mississippi Studios

3728 NE Sandy Blvd. Mont Chris Hubbard

Twilight Café and Bar 1420 SE Powell Blvd. Open Mic Night Featuring House Band: The Roaming

Vie de Boheme 1530 SE 7th Ave. Salsa Night

3939 N Mississippi Ave. Glenn Tilbrook, Joe Michelini

White Eagle Saloon

Roseland Theater

White Eagle Saloon

8 NW 6th Ave. Bullet For My Valentine, Black Veil Brides, Stars In Stereo, Throw The Fight

836 N Russell St. Hand of the Hills

836 N Russell St. Hand of the Hills, Grandhorse

Shaker and Vine

2929 SE Powell Blvd. Open Mic

The Analog

KRISTIN COFER

720 SE Hawthorne

WEDNESDAY, SEPTEMBER 25 9pm. 21 & Over

QUEER NIGHT

THURSDAY, SEPTEMBER 26 9pm. 21 & Over

RABBITS • DOG SHREDDER • GHETTO BLASTER • SIRHAN SIRHAN FRIDAY, SEPTEMBER 27 9pm. 21 & Over

STEEL CRANES • THE GREENCARTS $5.00 at the door.

SATURDAY, SEPTEMBER 28 9pm. 21 & Over

THE RESTITUTION • SHE PREACHES MAYHEM • WE THE WILD

kiipr $1.29 ez cig $3.69 sparks .95 alec bradley cigar $2.99 payday $1.08 e6 6-hr energy shot $1.50 THANK YOU FOR PLAYING

$5.00 at the door.

SUNDAY, SEPTEMBER 29 8pm. All Ages

The Church of RocknRoll Presents: YEAR OF THE RAVEN MONDAY, SEPTEMBER 30 8pm. All Ages

The Church of RocknRoll Presents: RUPTURES • HABITS • SLOTHS • FANDETH $3.00 at the door.

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

WOLFE IN FURS: Chelsea Wolfe plays Doug Fir Lounge on Saturday, Sept. 28. Willamette Week SEPTEMBER 25, 2013 wweek.com

SEPT. 25-OCT. 1 C O U R T E S Y O F D AV E O W E N

MUSIC CALENDAR

BOXED IN: Dave Owen spins at the Rose on Friday, Sept. 27. Holocene

1001 SE Morrison St. Club Crooks: DJ Izm, Dev From Above, Mr. Marcus

Star Theater

13 NW 6th Ave. Monsters of Rock PDX IV

WED. SEPT. 25 Analog Cafe

720 SE Hawthorne Blvd. A Mid Summer’s Ass

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

Beech St. Parlor 412 NE Beech St. DJ Ramophone

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: Logical Aggression

Slabtown

1033 NW 16th Ave. Queer Night: DJ Bitch Slap

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

The Lovecraft

421 SE Grand Ave. Psychopomp: Ogo Eion

Tiga

1465 NE Prescott St. Pattern and Shape

THURS. SEPT. 26 Beech St. Parlor 412 NE Beech St. Dorian Duvall

Beech St. Parlor 412 NE Beech St. DJ Magic Beans

Berbati’s

231 SW Ankeny St. Cloud City Collective

CC Slaughters

219 NW Davis St. Sound Glitter with DJ Peter Calandra

Goodfoot Lounge

2845 SE Stark St. DJ Aquaman’s Soul Stew

Ground Kontrol

The Conga Club

4923 NE Martin Luther King Jr. Blvd., Suite 102 Tropical Saturday Salsa

The Lovecraft

421 SE Grand Ave. Disenchanter, DJ Maxamillion

Tiga

1465 NE Prescott St. DJ Copy

SUN. SEPT. 29 Berbati’s

231 SW Ankeny St. DJ Linkus EDM

Lola’s Room at the Crystal Ballroom

511 NW Couch St. DJ Nate C.

1332 W Burnside St. The Pearly Gates: DJ Rhienna

Holocene

Star Theater

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

Jack London Bar

529 SW 4th Ave. Decadent 80s: DJ Non, DJ Jason Wann

Lola’s Room at the Crystal Ballroom

1332 W Burnside St. 80s Video Dance Attack

Star Theater

13 NW 6th Ave. Church of Hive

The Lovecraft

421 SE Grand Ave. Bones: DJ Aurora, DJ Diess, Mother Android

MON. SEPT. 30 Beech St. Parlor 412 NE Beech St. DJ Folklore

13 NW 6th Ave. Andaz: DJ Anjali and the Incredible Kid

Berbati’s

The Lovecraft

CC Slaughters

421 SE Grand Ave. Skullfuck: DJ Horrid

231 SW Ankeny St. DJ Henry Dark

The Rose

219 NW Davis St. Maniac Monday with DJ Robb

Tiga

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

Berbati’s

CC Slaughters

1465 NE Prescott St. Beacon Sound

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

SAT. SEPT. 28

The Lovecraft

TUES. OCT. 1 Berbati’s

Ground Kontrol

Beech St. Parlor

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

Pix Patisserie

Berbati’s

Bossanova Ballroom

The Lovecraft

Branx

CC Slaughters

The Rose

CC Slaughters

Eagle Portland

Fez Ballroom

Kelly’s Olympian

Ground Kontrol

The Lovecraft

511 NW Couch St. \Joystick/: Trim Jones 2225 E Burnside St. DJ Eric Beats 421 SE Grand Ave. Death Trip: DJ Tobias 111 SW Ash St. Holy Thursday: Danyak, Blackbars

Tiga

1465 NE Prescott St. DJ Ghost Tooth

FRI. SEPT. 27 Willamette Week SEPTEMBER 25, 2013 wweek.com

1036 NE Alberta St. ASP Soul Night: The Get Ahead, DJ Drew Groove

111 SW Ash St. Juice: Dave Owen, Calculon

231 SW Ankeny St. Studyhall: DJ Suga Shane

Alberta Street Public House

412 NE Beech St. DJ Shrimp Tempura 231 SW Ankeny St. DJ Mellow Cee 320 SE 2nd Ave. Blow Pony 219 NW Davis St. Revolution with DJ Robb 316 SW 11th Ave. Fez Saturday: DJTJ, DJ Blue Eyed Soul 511 NW Couch St. Roxy’s Ego Hour

722 E Burnside St. Tango Tuesday

219 NW Davis St. Girltopia with DJ Alicious 835 N Lombard St DMTV with DJ Danimal 426 SW Washington St. Hideous Racket: DJ Flight Risk 421 SE Grand Ave. TRNGL: DJ Rhienna

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

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.

Pool. Sports. Beer. Pizza. Pinball. 529 SW 4th Ave., Portland www.rialtopoolroom.com Willamette Week SEPTEMBER 25, 2013 wweek.com

Sept. 25–Oct. 1

= WW Pick. Highly recommended.

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.

THEATER OPENINGS & PREVIEWS The Eternally Present Past

Using movement, sound, poetry and story, Melanya Helene and Marc Otto explore the neurobiology of relationships. Brooklyn Bay, 1825 SE Franklin St., 772-4005. 8 pm Fridays-Saturdays through Oct. 12. $20.

Going On

Performer Kristin Olson-Huddle presents a solo piece about being orphaned, grieving and healing. The Headwaters, 55 NE Farragut St., No. 9. 8 pm Thursdays-Saturdays and 2 pm Sundays through Oct. 6. $10-$12.

The Great Gatsby

Things are about to get real glitzy in Hillsboro, as Bag & Baggage tackles its most ambitious production to date, Simon Levy’s stage adaptation of F. Scott Fitzgerald’s classic Jazz Age novel. It’s the only such adaptation the Gatsby estate has ever approved, and B&B artistic director Scott Palmer pulled out all the stops, including constructing a temporary fly system and a 35-foot “boat dock” in the historic Venetian Theatre. There’s no Jay-Z soundtrack or lurid Baz Luhrmann flourishes, though we remain wary about Palmer’s decision to include colorful video projections, which beam excerpts of the novel’s original text onto the stage. Then again, there is this stroke of good fortune: Instead of Leo as Gatsby, we’ve got golden boy Ty Boice as the mysterious millionaire. The Venetian Theatre, 253 E Main St., Hillsboro, 693-3953. 7:30 pm Thursdays-Saturdays and 2 pm Sundays through Oct. 20. $20-$30.

I Hate Hamlet

The Portland Civic Theatre Guild returns for a new season of Tuesdaymorning staged readings. First up is Paul Rudnick’s comedy about a TV actor haunted by the ghost of John Barrymore. The Old Church, 1422 SW 11th Ave., 222-2031. 10 am Tuesday, Oct. 1. $8.

James and the Giant Peach

Northwest Children’s Theater kicks off its 20th season with Roald Dahl’s whimsical tale of a boy who sails across the ocean in a magical peach. NW Neighborhood Cultural Center, 1819 NW Everett St., 222-4480. Noon and 4 pm Saturdays-Sundays through Oct. 27. $18-$22.

Mistakes Were Made

In the second show of Artists Rep’s season, Michael Mendelson stars in (and directs) Craig Wright’s comedy about a New York City theater huckster in the midst of a meltdown. Artists Repertory Theatre, 1515 SW Morrison St., 241-1278. 7:30 pm WednesdaysSundays and 2 pm Sundays through Oct. 27. $25-$55.

The Revenants

The zombie craze spreads from the screen to the stage (or, rather, to the garage) with the Reformers’ production of Scott T. Barsotti’s play about two couples who hide out in a garage as the zombie apocalypse begins. The show, fittingly, will be performed in an actual garage in Southeast Portland. 1126 SE 15th Ave. 8 pm ThursdaysSundays through Oct. 19 (no show Sunday, Sept. 29). $17.

Sweet and Sad

We met the high-spirited Apple clan last year in Third Rail Rep’s That Hopey Changey Thing. The four-play saga by Richard Nelson continues with Sweet and Sad, in which the family comes together on the 10th anniversary of Sept. 11 for a memorial service.

REVIEW

ALSO PLAYING

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.

The same cast—including the always reliable Maureen Porter and Michael O’Connell—returns. Winningstad Theatre, Portland Center for the Performing Arts, 1111 SW Broadway, 235-1101. 7:30 pm Thursdays-Saturdays and 2 pm Sundays through Oct. 20. $20-$43.

NEW REVIEWS Lucky Stiff

For a campy musical to succeed, its cast must commit to the project with overwhelming sincerity. That, however, isn’t what happens in Broadway Rose’s production of Lucky Stiff. In fairness, Lynn Ahrens’ thin book and lyrics don’t offer much to work with. But the few strings that might have held the show together—bright musical melodies by Stephen Flaherty and a fair attempt at jazz-hand-heavy choreography by director Dan Murphy— are inconsistent and often fumbled. Lucky Stiff tells the story of bumbling shoe salesman Harry Witherspoon (a hollow Robert Winstead) who stands to inherit a good deal of money from his recently murdered Uncle Tony, provided he meets the terms outlined in the will. The corpse of Uncle Tony (a role nailed by David Smidebush) wants one last vacation, dead or not, and Witherspoon must accommodate or the money will literally go to the dogs (or, rather, to a charity for them). The cast members are deft singers, but some numbers are wrecks, such as the black-lit and eerily costumed “Harry’s Nightmare: Welcome Back, Mr. Witherspoon,” which is destroyed by botched choreography, save for a short tap solo. While Harry must battle some stiff competition, including a dog lover (a confused Ecaterina Lynn) and Uncle Tony’s half-blind, slightly psychotic mistress (an absolutely standout Amy Jo Halliday), he certainly is not attempting to solve a murder. So the question remains: Why is this play called a murder mystery when the murderer is revealed within the first 15 minutes? Ultimately, the audience is left as stiff as Uncle Tony’s corpse. JEN LEVINSON. Broadway Rose New Stage Theatre, 12850 SW Grant Ave., Tigard, 620-5262. 7:30 pm ThursdaysSaturdays and 2 pm Sundays and some Saturdays through Oct. 13. $20-$44.

Richard III

We might expect to find Barry Kyle, honorary associate director of the Royal Shakespeare Company, directing a mega-production at one of Portland’s largest theaters. Instead, he’s at Shoebox, one of the smallest, exposing England’s most devilish king in Shakespeare’s Richard III. The details of Richard’s devil aren’t lost on Kyle, the Northwest Classical Theatre Company cast, or the audience in such a tight arena. A chalkboard scrawled with characters’ names and years of birth seems out of place until their years of death are added as the ma sacres progress. Opposite, a projector pitches images, like a map of the U.S. dotted with photos of Richard’s grinning mug, which symbolizes the nobl men he’s recruited to his conspiracy. Given the play’s convoluted web of relationships and vengeance, the fact that half the cast plays more than one role will overwhelm those unfamiliar with the story. The leads shine, though. Grant Turner is a horrifying Richard, one moment inducing us to laugh with him at his deviousness, the next spraying chilling words of hate across the room. Before the final battle, both sides have built up such energy that the finale is as much relief as it is resolution. This production, unlike the Wars of the Roses, was planned, executed and won from the beginning. MITCH LILLIE. Shoe Box Theater, 2110 SE 10th Ave., 971-244-3740. 7:30 pm Thursdays-Saturdays and 2 pm Sundays through Oct. 13. $25.

Willamette Week SEPTEMBER 25, 2013 wweek.com

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

PERFORMANCE

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 Big Meal

How much time do we spend around the dining-room table? Can the entire scope of a life be depicted at the table? With beautiful and deceptive simplicity, Dan LeFranc’s The Big Meal, directed by Dámaso Rodriguez, Artists Rep’s new artistic director, 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. Artists Rep veterans Vana O’Brien and Allen Nause anchor the eight-member cast masterfully. The actors play family members of a range of ages, gliding between roles with expertly adapted mannerisms. 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. 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. Artists Repertory Theatre, 1515 SW Morrison St., 241-1278. 7:30 pm WednesdaysSundays, 2 pm Sundays through Oct. 6. $25-$55.

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. The play has been so truncated that many characters appear only once, meaning those unfamiliar with Shakespeare may wonder just who the hell they were and why they mattered. The actors, however, have energy and passion. 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.”

Spamalot

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. 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

CONT. on page 43

Peasant cHic: susannah Mars (center) and David studwell (right).

FIDDLER ON THE ROOF (PORTLAND CENTER STAGE) “Twenty-eight?!” my friend exclaimed, after I told her the size of the cast for Portland Center Stage’s Fiddler on the Roof, the largest the company has ever corralled. “There aren’t even that many Jews in Portland!” (Give her a break: She’s a Jew from Long Island. And for the record, there are close to 50,000 Jews in Portland.) But I took her point. Despite our recent bagel boom, this isn’t exactly a city teeming with yarmulke-clad, kosher-keeping denizens. How would PCS artistic director Chris Coleman—himself a goy from Atlanta—treat this portrait of life in a Jewish shtetl in pre-revolutionary Russia? Known for bold directorial choices, including casting an all-black Oklahoma! two seasons ago, would Coleman turn the classic musical into an allegory for Syria? For Israel-Palestine? For the embattled Right 2 Dream Too homeless encampment? The answer, mercifully, is no. It’s easy to make contemporary analogies for Fiddler, which centers on Tevye, a tradition-bound milkman facing the forces of modernity and malice. But what makes this production work is its refusal to generalize or to draw sweeping parallels. Coleman has made it idiosyncratic and personal, bringing texture to a broad tale. As Tevye, David Studwell plays a man weary but resilient, buoyed by a dark and idiosyncratically Jewish sense of humor. (“Good news will stay and bad news will refuse to leave,” he says.) His self-searching conversations with God, deftly accompanied by subtle lighting cues, become humorous asides to the audience. Faced with three daughters who each seek to marry men he deems unsuitable—or at least less than ideal—Tevye strains to balance devoutness and dismay, which Studwell sympathetically conveys with slight shifts in his gait and bearing. The other cast members—all speaking in distinctive Russian-Jewish accents, one of the things that gives the production such satisfying specificity—also bring nuance to broadly drawn characters. As the revolutionary student who’s learned racy dances in Kiev, Zachary Prince is lively and impetuous. Merideth Kaye Clark, as Tevye’s oldest daughter, delivers a fantastically screechy impersonation of nosy matchmaker Yenta. And as Yenta herself, the always hilarious Sharonlee McLean (whose accent seems to have taken the subway through Queens) steals scenes with her bowlegged bounce and comic bombast. McLean comes closest to smothering the tone of longing that imbues Fiddler, but for the most part the show walks a fine and careful line: It’s neither weepily mournful nor parodically ridiculous. Tevye may not be a rich man—and Studwell’s rendition of that song is a little snoozy—but there’s no doubt about the budget behind this show (in the dream scene, an ensemble member rolls onstage atop a soaring tower, looking like a Lady Gaga-esque apparition in a long white dress). Yet the choices fit both Fiddler and Portland: The floor-to-ceiling backdrop of reclaimed wood would be at home in any farm-to-cone ice cream parlor serving noodle-kugel sorbet. The wood chips on the floor, which go flying during the peppy dance sequences, are another nice touch. The orchestra, meanwhile, has been pared down to nine musicians, giving the songs a feel more barn than Broadway, in a good way. Fiddler may lack the subversion of a Sondheim musical, the humor of Spamalot or the swooning emotionality of West Side Story. But it’s hard to deny its warm and homespun allure, which tugs on our desire for nostalgia while warning us of the dangers of insularity. L’chaim! REBECCA JACOBSON. Find me a find, catch me a catch.

see it: Fiddler on the Roof is at the Gerding Theater, 128 NW 11th Ave., 445-3700. 7:30 pm Tuesdays-Sundays, 2 pm Saturdays-Sundays and noon Thursdays through Oct. 27. $38-$72.

Sept. 25–Oct. 1

Blunt Force Comedy

Anarchy Radio, a Portland-based Internet radio show, hosts a standup showcase featuring Whitney Streed, Jim Willig and Amanda Arnold. Joe Fontenot hosts. Tonic Lounge, 3100 NE Sandy Blvd., 238-0543. 9 pm Thursday, Sept. 26. $7.

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.

Dane Cook

aspen santa fe ballet 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 Thursdays-Saturdays and some Sundays; 2 pm Sundays through Oct. 13. $36.

Kiss of the Spider Woman

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 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. 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.

The Mountaintop

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. 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, 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.

Three Tragicomedy Playlets

Comedian Starr Ahrens stages three one-acts exploring love, grief and letting go. In one, 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.

COMEDY & VARIETY Big Brother League

Like devotees of bass fishing or stringband 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-culture 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. 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 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 Hulk-as-Louis C.K. that recalls John Belushi’s green-skinned lout. Even if the thoughtfulness of approach and ease of execution argue against strict spontaneity, improv comedy demands the same suspension of disbelief as reality programming or caped crusaders. Stop worrying about just when the jokes

Either you think Dane Cook is funny because he’s a punchline to a douchebag joke, or you think he’s funny because…well, we hesitate to speculate. Either way, somebody keeps paying this man to be the sort of guy who laughs at his own jokes after punching you in the arm really, really hard. Maybe it’s you. Arlene Schnitzer Concert Hall, 1037 NW Broadway, 800-273-1530. 8 pm Thursday, Sept. 26. $48-$65.

An Evening With Bob and David (and Posehn)

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 Aspen Santa Fe Ballet

The contemporary company with two hometowns returns to Portland for White Bird’s opener. The company is small—only 12 dancers—but innovative, and it has an eye for interesting choreography. Its program this year includes Czech choreographer Jiri Kylian’s 1975 work Return to a Strange Land, Cayetano Soto’s serious and asymmetrical Beautiful Mistake and the first professional work by young choreographer Norbert de la Cruz, which the company commissioned. That piece, Square One, has dancers moving like a kaleidoscope, weaving through formations to create complex patterns. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 248-4335. 7:30 pm Wednesday, Sept. 25. $26-$64.

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 Friday, Sept. 27. $10-$15.

New Expressive Works

The second capstone performance for

a new residency program at Studio 2 features four local choreographers performing over the course of two weekends. The first show includes an excerpt from a piece by Keyon Gaskin titled Temporwaryly in which he explores the five senses, including (somehow) smell. In the second piece, Togetherness, Danielle Ross partners with dancer Taka Yamamoto, employing video projection, atmospheric effects, movement and vocalization to explore the various ways we perceive duets. Studio 2, 810 SE Belmont St. 8 pm Friday-Saturday, Sept. 27-28. $10.

Orchestre L’Pow!

This Prohibition-themed burlesque show comes in two parts. The first is a cocktail hour (or two) with a performance by Seattle’s the Bad Things, a six-piece ensemble billed as “junkyard cabaret.” Then at 9:15 pm, Orchestre L’Pow begins its live-band burlesque show with music selections by Benny Goodman, Henry Mancini and others. Two out-of-town performers headline: Jeez Loueez, a vaudeville-style dancer from St. Louis, Mo., whose repertoire includes fairly impressive tap dance, and Russell Bruner, a mustachioed boylesque devil. Bossanova Ballroom, 722 E Burnside St., 206-7630. 7 pm Saturday, Sept. 28. $10-$40. 21+.

For more Performance listings, visit

PREVIEW

Comedy nerds, please try and contain your boners. Yes, this is indeed a reunion of Bob Odenkirk and David Cross, the two minds behind the ’90s cult-favorite sketch series Mr. Show. And yeah, they have since become more widely known as, respectively, Saul Goodman and Tobias Funke. And we know there are thousands of famous lines you want to shout at both of them. But you saw what happened when people did that to Dave Chappelle last month. This is the comedy event of the season, certainly, but there’s no need to embarrass yourself. MATTHEW SINGER. Newmark Theatre, 1111 SW Broadway, 800-273-1530. 8 pm Saturday, Sept. 28. $47.

JAMES DOUGLAS

ROSALIE O’CONNOR

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.

PERFORMANCE

Friday Night Fights

Competitive improv, with two teams battling for stage time. Curious Comedy, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 10 pm every first and third Friday. $5.

Joey Diaz

The host of the Beauty and da Beast podcast returns to Helium for more foul-mouthed standup. Helium Comedy Club, 1510 SE 9th Ave., 888-643-8669. 8 pm Thursday and 7:30 and 10 pm Friday-Saturday, Sept. 26-28. $15-$30.

The Liberators

Improv comedy from some of Portland’s best. Brody Theater, 16 NW Broadway, 224-2227. 7:30 pm Saturday, Sept. 28. $12-$15.

Mixology

Late-night comedy show with improv, sketch and stand-up. Curious Comedy, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 10 pm every second and fourth Saturday. $5.

Molly Ringwald

Once upon a time, Molly Ringwald put on lipstick with her boobs. These days, she sings jazz standards with a four-piece band, which is what she’ll be doing tonight. We shudder to think what John Hughes would have thought. Newmark Theatre, 1111 SW Broadway, 800-273-1530. 7 pm Friday, Sept. 27. $33.50-$54.

Weekly Recurring Humor Night

Whitney Streed hosts a weekly comedy showcase, featuring local comics and out-of-towners. Tonic Lounge, 3100 NE Sandy Blvd., 238-0543. 9:30 pm every Wednesday. “Pay what you want,” $3-$5 suggested.

behind the mask: kate braidwood (left) and andrew phoenix.

GRIM AND FISCHER (THE WONDERHEADS) For Kate Braidwood, masked performance can create true theater magic. The 32-year-old, who makes up half of the Wonderheads (her husband Andrew Phoenix is the other), describes this magic as twofold. First, the cartoonish quality of the masks offers unexpected entry into darker territory, allowing the work to walk a line between the comic and the tragic. And second, despite the fixed nature of the masks—bulbous papier-mâché creations several times the size of a human head—Braidwood says you’d swear they could move. “The most common comment we get is that the masks seem to shift expression, even though they’re these static faces,” she says. “That’s what I mean by magic. They really do come to life in a crazy way.” And now Braidwood and Phoenix, who moved to Portland in 2010 but have spent much of the last three years on the fringe-fest circuit, are bringing that magic home. In Grim and Fischer, Braidwood plays a fragile but feisty woman living out her last days in a retirement home. Phoenix, meanwhile, is the Grim Reaper himself, a dour-faced specter with a downturned mouth and a freakishly long nose. It’s a 50-minute, dialogue-free meditation on mortality and loss, with a death notice that gets flushed down the toilet and a soundtrack that spans from Mozart to “Eye of the Tiger.” That sense of humor is vital to Braidwood. “It’s this cartoonish metaphor to explore death,” she says, “but also to laugh at fart jokes.” REBECCA JACOBSON.

Mortality, Mozart and whoopee cushions.

see it: Grim and Fischer is at Ethos/IFCC, 5340 N Interstate Ave., wonderheads.com. 8 pm Thursdays-Saturdays through Oct. 5. $12-$15. Willamette Week SEPTEMBER 25, 2013 wweek.com

VISUAL ARTS

Sept. 25–Oct. 1

= 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.

Trimpin took home the $10,000 arlene Schnitzer prize. check this space next week for a full review of this splashy, intelligent and thoroughly satisfying show. Through Jan. 12. Portland Art Museum, 1219 SW Park Ave., 226-0973.

D.E. May: Memory of Line: Grids, Templates, Miniatures

d.e. May’s work doesn’t try to look polished or immaculate. in tonedpaper grids and small chunks of graphite, ink, acrylic and plaster of paris, he aims for and achieves an aesthetic of affectless dinginess. Viewers who appreciate intentionally drab and abstruse artwork will enjoy May’s efforts; those who don’t will probably find it the most bloodless, boring show they’ve seen in portland this year. Through Sept. 28. PDX Contemporary Art, 925 NW Flanders St., 222-0063.

Emily Ginsburg: Mixed Feelings

incident energy by Marne Lucas and Jacob Pander

Alfred Harris: Hope and Glory

Hope and Glory is a pretty melodramatic title for a show that’s essentially about stasis. Based in Seattle, alfred harris follows in the historical lineage (and contemporary glut) of abstract painters who feel compelled to counterpose order against chaos. This is one of the trustiest of aesthetic tropes: to create compositions in which an underlying structure is superimposed with snaking organic gestures. in works such as Earplugs, Bug Juice, harris contrasts the regularity of squares, rectangles, and lines with the seemingly arbitrary perambulations of thick gestures, which amble across wood panels like the halfdazed characters in a Kerouac novel. Like portland-based painter G. Lewis clevenger, harris is dedicated to the modernist proposition that by integrating the fundamental polarity of rectilinearity versus curvilinearity, artists can reconcile opposition, liberate the viewer from conflict, and effect a kind of emotional/spiritual equipoise. That’s a tall order. happily, harris’ technique comes as close to achieving these lofty aims as do most of his contemporaries in the Northwest art scene. Through Sept. 28. Froelick Gallery, 714 NW Davis St., 222-1142.

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 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.

Contemporary Northwest Arts Awards

expansive, thoughtful, and dramatically installed, the biannual contemporary Northwest art awards didn’t disappoint this year. curator Bonnie Laing-Malcolmson has created a spectacular survey of artwork across a diverse field of practices, filling— but not overfilling—a generous exhibition space with work by artists from Oregon (Karl Burkheimer), Washington (isaac Layman, Nicholas Nyland, and the single-monikered artist known as Trimpin), Montana (anne appleby) and Wyoming (abbie Miller). as heterogeneous as these artists’ works are, somehow Laing-Malcolmson makes them cohere spatially and thematically. at the show’s opening gala Sept. 21,

Willamette Week SEPTEMBER 25, 2013 wweek.com

artists, writers and composers have long pondered the relationship between the heart and mind. artist emily Ginsburg is particularly interested in what happens when all three of those disciplines come together in search of elusive answers to the eternal conundrum: Where do emotions and thoughts intersect? She has taken song titles from pop music and turned them into graphic elements in mirror image. half the songs are about feelings, the other half about thoughts. She then turns the song titles 90 degrees and lines them up at varying lengths, like lines on an eKG readout. it’s an ingenious visualconceptual conceit, which turns the dialectic between heart and head into a diagram of our very life pulse. These are the critical elements of our psyches, so often at cross purposes, the maddeningly irregular heartbeats of our days and restless nights. Through Sept. 29. Nine Gallery, 122 NW 8th Ave., 227-7114.

Eva Speer: Alone Together

in past shows, eva Speer (no relation to Richard Speer) painted seascapes interrupted by flashes of pure abstraction. in the current exhibition, Alone Together, she tries her hand at minimalism, playing swirly passages of house paint against industrial materials such as cast resin and plexiglas. The tactic sometimes seems mannered, as in the red-and-white Game #4, but can also shine with winning elan, as in More or Less (Proof). The latter work is a rectangular plastic box shot through with a matrix of holes; the interior of the wall sculpture is filled with the round plastic tags left over from the holes being drilled in the first place. in its Op-inspired eye-bogglery, it recalls screen-covered paintings by the late Roy Lichtenstein. While the current body of work lacks the human warmth of Speer’s previous series, it shows her actively engaging with a new vocabulary of materials in an ever-broadening aesthetic exploration. Through Sept. 28. Charles A. Hartman Fine Art, 134 NW 8th Ave., 287-3886.

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.

Incident Energy

in 1995, portland-based artist/filmmakers Marne Lucas and Jacob pander collaborated on the cult-classic art film The Operation. Now, 18 years later, they have followed up that film with a new one, Incident Energy. Like The Operation, Incident Energy is filmed with infrared cameras, which capture the distinction between objects that are hot (skin, warm liquids, the sun) and those that are cold (hair, trees, snow). it’s a nifty effect that Lucas and pander exploit in an archetypal story about the birth, life, romantic travails and death of a man and woman as they traverse a landscape that is first edenic, then blighted and post-apocalyptic. a German expressionist-tinged sense of high romantic melodrama pervades the film, which ultimately leaves the viewer angst-filled and emotionally devastated. it’s not an easy film to watch, but it’s highly worthwhile. Through Oct. 13. Disjecta, 8371 N Interstate Ave., 286-9449.

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 oil-on-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.

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.

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

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BOOKS

Sept. 25–Oct. 1

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

her own desires for love and intimacy. Powell’s City of Books, 1005 W Burnside St., 228-4651. 7:30 pm. Free.

MONDAY, SEPT. 30 Eric Schlosser

THURSDAY, SEPT. 26 Lyanda Lynn Haupt

It’s not often we pause to observe the majestic raccoon feasting on garbage as a representative of the wild. But in her most recent book, nature writer Lyanda Lynn Haupt began looking toward the “everyday wild” within our cities, pondering where our civilization ends and nature begins. The book, The Urban Bestiary: Encountering the Everyday Wild, is a blend of science, myth and memoir about our daily interactions with nature. Powell’s City of Books, 1005 W Burnside St., 2284651. 7:30 pm. Free.

SATURDAY, SEPT. 28 Back Fence PDX

In what is sure to give you nightmares of the most paranoid or doomsday variety, investigative journalist Eric Schlosser explores humankind’s ongoing struggle to wield weapons of mass destruction without destroying ourselves. His new book, Command and Control: Nuclear Weapons, the Damascus Accident and the Illusion of Safety, is an equally fascinating and terrifying account of near-misses, accidents and technological breakthroughs of the nuclear age. Powell’s Books at Cedar Hills Crossing, 3415 SW Cedar Hills Blvd., Beaverton, 228-4651. 7 pm. Free.

Clive Thompson

It’s plausible to believe that in an age in which we now communicate through adorable emoticons that technology is only hampering our intellect. But nay says writer Clive Thompson, whose new book examines our history of technological advances from the written word to the printing press and the fears and doubts spawned by each invention. In Smarter Than You Think: How Technology Is Changing Our Minds for the Better, Thompson looks on the bright side of technology. Powell’s City of Books, 1005 W Burnside St., 2284651. 7:30 pm. Free.

The Hour That Stretches

Bob Odenkirk and David Cross

Ranked among the most famous Arabs of the Power 500 list, Ahmed S. Younis (American Muslims: Voir Dire) has provided an inside perspective on Arab youth culture, particularly during the Egyptian political uprisings. His presentation “Arab Spring Redux: Egypt, Stability and the Future of Islamist Politics” will offer insight into the current upheaval in the Middle East and the lives of Arab youth caught in the struggle. Mercy Corps Action Center, 28 SW 1st Ave, 896-5002. 7 pm. $5-$10.

SUNDAY, SEPT. 29 Nicole Hardy

Raised in the Mormon faith, Nicole Hardy maintained her virginity with conviction through her youth and her 20s. But by the time she was 35, single and still a virgin, she began to question things. Her new memoir, Confessions of a LatterDay Virgin, follows her struggle to reconcile a religious upbringing (with what must have been the self-control of a granite block) with

BLACK PRAIRIE HOLCOMBE WALLER MIRAH With the Oregon Symphony

OrSymphony.org Portland’s Indies

TUESDAY, OCT. 1

Nothing creates fodder for tales of alienation and humiliation quite like religion, which is why Back Fence PDX is hosting a whole roster of new storytellers sharing their personal experiences on the theme “Losing My Religion.” Sharing tales of growing up in a cult, near-death experiences and grappling with virginity at age 30 will be photographer and director Alicia J. Rose, OPB producer Allison Frost, standup comedian Bri Pruett, Seattle-based memoirist Nicole Hardy and Bay Area visual effects artist Corey Rosen. Cue R.E.M! Mission Theater, 1624 NW Glisan St., 223-4527. 8 pm. $12.50$20. 21+.

Judging from the things David Cross has said and done on television, we are both intrigued and frightened by the ideas that were rejected. Teaming again with Mr. Show co-creator Bob Odenkirk to compile a collection of the scripts and sketches that were refused, Cross presents new book Hollywood Said No!: Orphaned Film Scripts, Bastard Scenes and Abandoned Darlings From the Creators of “Mr. Show.” He is joined by Odenkirk and co-author Brian Posehn. Powell’s City of Books, 1005 W Burnside St., 228-4651. 2 pm. Free.

Oct 19 | 7:30 pm

Falling just beyond the realm of classification, “The Hour That Stretches: An Evening of Speculative Fiction” celebrates exactly that, with veteran horror/ sci-fi author Edward R. Morris once again hosting a lineup of writers and artists specializing in the bizarre. The lineup includes poet Nathan Tompkins (Junk Mail of the Heart), graphic novelist and author Justin Henry Montgomery (Angels Rest) and bizarro rocker and writer Mykle Hansen (I, Slutbot). Jade Lounge, 2346 SE Ankeny St., 2364998. 8 pm. Free. 21+.

FRIDAY, OCTOBER 4, 7:30 PM

EDNA VAZQUEZ

AND HER QUARTET IN AN INTIMATE ACOUSTIC PERFORMANCE

Ahmed S. Younis

The Soft Show: Good Humor, Man

This go-around of the bi-monthly short story showcase the Soft Show features confessional essayist Squamata, comedy fiction writer G. Xavier Robillard, novelist Ben Parzybok, longtime zinester a.m. O’Malley and author/ memoirist Scott Nadelson. Artists Becky Hawkins, Emily Randazzo and Eriq Nelson illustrate each story via overhead projector as it’s being told. The Blue Monk, 3341 SE Belmont St., 503-595-0575. 8 pm. Free.

$10 IN ADVANCE, $12 DAY OF SHOW

WWW.EDNAVAZQUEZ.BROWNPAPERTICKETS.COM

COMING SOON

STRUNZ & FARAH 11/8 TOM GRANT 11/15 KATE DAVIS 12/13 OREGON MANDOLIN ORCHESTRA 10/24 + 12/20

Walters Cultural Arts Center

www.hillsboro-oregon.gov/wcac 527 E. Main Street – Hillsboro, OR Box Office: 503-615-3485

CONCERTS – CLASSES – GALLERY

For more Books listings, visit Willamette Week SEPTEMBER 25, 2013 wweek.com

SEPT. 25-OCT. 1

= WW Pick. Highly recommended.

R A D I U S -T W C

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.

a full-tilt tribute to The Exorcist. 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, Kennedy School.

Cutie and the Boxer

A- “Be careful,” he says. “Don’t get

CUTIE AND THE BOXER

20 Feet From Stardom

A- Life is unfair, and the music indus-

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. These are voices and personalities every bit as big as Tina’s and Aretha’s but that, through the vagaries of fate more than anything else, never made what Bruce Springsteen calls “the long walk” from the back of the stage to the front. Most 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.

Baggage Claim

Because there just aren’t enough movies about husband-hungry women, now we have Paula Patton as a flight attendant hunting for a man. PG13. Cedar Hills, Eastport, Clackamas, Bridgeport, Movies on TV.

Band of Sisters

[TWO NIGHTS ONLY] A documentary about Catholic nuns who’ve become more socially and politically involved since the reforms of Vatican II—including some who picked up gigs as podcasters and organic farmers. Clinton Street Theater. 7 pm Tuesday and Wednesday, Oct. 1-2.

Battle of the Year 3D

Chris Brown break dances. PG-13. Cedar Hills, Eastport, Clackamas.

Blue Caprice

B A dramatization of 2002’s Beltway sniper attacks, Blue Caprice is a taut, slow-boiling character study that unfolds deliberately and somewhat impassively. Beginning in Antigua, where the bitter John Allen Muhammad (Isaiah Washington, who’s laid low since being booted from Grey’s Anatomy for homophobic remarks in 2007) becomes a fatherlike figure to impressionable orphan Lee Boyd Malvo (Tequan Richmond, who telegraphs extraordinary emotion with the smallest flicker of his eyes). The two move to Tacoma, Wash., where Lee shoplifts veggie burgers, learns to shoot a rifle and undergoes a brutal initiation at John’s hands—the older man ties the younger to a tree in the forest during a rainstorm, establishing a relationship built on fear and need. Director Alexandre Moors’ pacing stumbles in this central section, with restraint that verges on dullness and a fragmented narrative style that does little for the film, but he also clearly

conveys Lee’s rootlessness in America. It’s an enticing but alienating place for him, which we see as he waits for John on a porch, twitching restlessly and playing reggae on a boombox he’s found. The plot builds, inevitably, to the random homicides the pair committed around Washington, D.C., which Moors depicts in a manner chillingly distant rather than lurid. That the events don’t feel shocking—even in the wake of the recent Navy Yard shooting—may be the most harrowing fact of all. R. REBECCA JACOBSON. Hollywood Theatre.

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. Blanchett can, in the span of seconds, transform her face from well-composed regality into a grim slur. Jasmine adapts to the poor life, needless to say, badly. Blue Jasmine cannot reconcile its broad comedy and pathos into coherence. 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.

Cloudy With a Chance of Meatballs 2

Cheeseburgers, falling from the sky! Again! PG. Cedar Hills, Eastport, Clackamas, Cornelius, Oak Grove, Cinema 99, Bridgeport, City Center, Division, Hilltop, Lloyd Center, Movies on TV, Pioneer Place, Tigard.

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. At points, Wan goes into straight homage, and by the climax, The Conjuring has evolved into

Willamette Week SEPTEMBER 25, 2013 wweek.com

mugged on the way home.” That’s how 80-year-old artist Ushio Shinohara bids goodbye to his wife, Noriko, an artist 22 years his junior, as she leaves the studio. Once she’s gone, he turns to the camera: “She is just an assistant. The average one has to support the genius.” Zachary Heinzerling’s documentary Cutie and the Boxer zeroes in on the often tumultuous, always fascinating relationship between Ushio and Noriko, both Japanese immigrants who’ve lived in Brooklyn for decades (and, by the looks of their cluttered second-floor walkup, haven’t thrown out anything in that time). Ushio had some measure of fame as a ’70s enfant terrible, drinking too much—we see some truly wrenching archival footage—and specializing in a pugilistic form of action painting, punching giant canvases with paint-drenched boxing gloves. (Now a lean octogenarian in neon-yellow swim goggles, he still produces these works, flinging his fists and splattering his bare chest with paint.) Noriko, meanwhile, set aside her own considerable artistic talents to tend to her volatile husband and young son, who as an adult has picked up the alcohol habit his father managed to kick. But now Noriko has rediscovered the brush, and she illustrates whimsical, semiautobiographical cartoons about a pigtailed character named Cutie and her explosive husband, Bullie. Heinzerling, a first-time director, neither takes sides nor reduces the relationship to something quaint or tragic—it’s a deeply affecting yet keeneyed portrait of the struggles of art, love and life. REBECCA JACOBSON. Living Room Theaters.

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 super-spy league for the flimsiest of reasons, arrives packed with exposition and shorn of coherency while allowing precisely no opportunities for expression of the dastardly hubris that named the franchise. PG. JAY HORTON. Cedar Hills, Eastport, Cackamas, Indoor Twin.

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 who’s gone straight after years as a car thief. Blomkamp’s cinematic vision may be stunning, but Elysium’s plot and characters are pure Hollywood camp. But goddamn if it isn’t good, solid, hardworking Hollywood camp—with absolutely brutal, inventive action sequences that include swords, hovercraft, force fields, exploding bullets and acrobatic killer robots. 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. Eastport, Oak Grove.

Enough Said

A- Watching Nicole Holofcener’s

Enough Said is a bit like watching any romantic comedy—provided you’re hung over and bleary-eyed and vulnerable, a little raw from the weight of

life. Which is to say, it’s a bit less like the comedies of film and a bit more like the comedies that occur in life, with laughter a balm for tart failure and for the embarrassment of naked hope. In Enough Said, you’re going to get a huge sitcom-caliber calamity: Julia Louis-Dreyfus’ new best friend (Catherine Keener) turns out to be the embittered ex-wife of her new lover (James Gandolfini). But the ridiculous triangle—though unnecessarily protracted—is drawn with lines so jagged and tentative it feels formed to the shapes of the characters, rather than vice versa. The film is a rare thing: a portrait of middle-aged romance that feels genuine in its baby steps and lurches, the hesitations of people out of practice. Louis-Dreyfus’ comedy is rooted in missed opportunity and sudden regret, Keener’s often in the brittle judgment of the alpha female. Gandolfini’s? Apparently it comes from love. In his final role, he shows a ten-

derness and good-natured humor that imbues the film with an extra layer of pathos: that we will not know him this way again. One of his last lines in the film is “I’ve missed you.” Well, I’ll miss him, too. PG-13. MATTHEW KORFHAGE. Fox Tower.

Évocateur: The Morton Downey Jr. Movie

B- Glenn Beck cried. Jerry Springer turned a stage into the redneck equivalent of a back-alley cockfight. But despite these men’s best efforts, the death of civil televised discourse and the emergence of trash punditry can be traced solely to Morton Downey Jr. The son of a famed Irish tenor, Downey went from silver spoons to forked tongues, a cigarette-chomping, liberal-lambasting force of nature who ascended to superstardom and fizzled into obscurity after two years in the late ’80s. For anyone who witnessed

REVIEW C O U R T E S Y O F R E L AT I V I T Y M E D I A

MOVIES

GUIDO TO MEET YOU: Joseph GordonLevitt is looking down your dress.

DON JON A lout learns to love.

Joseph Gordon-Levitt’s debut as a triple threat—writer, director and star, a la Clint Eastwood—is appropriately festooned with the time-honored totems of macho masculinity. We’ve got cartoonish muscles, unbridled rage, some good old-fashioned misogyny and, of course, sex that’s all about the man. “Condoms are just terrible,” whines Jon (Gordon-Levitt), a Guido beefcake who likes porn better than real sex. “But you gotta wear one because, unlike porn, real pussy will kill you.” Or rather, real pussy—with all its trappings of commitment—will kill your bachelor lifestyle. Jon doesn’t have time for that. He’s too busy clubbing with his sleazy pals, racking up one-night stands, jerking off, and then grunting out obligatory repentance prayers during bench presses and pull-ups at the gym. He is so immersed in Internet porn that it’s hard to tell whether his attitudes about sex and love are the product or the cause of his obsession. When Jon meets super-fox Barbara (Scarlett Johansson) and actually tries to date her, he realizes that his love for porn may not be as normal as he thinks. Barbara, a rich control freak who constantly chews gum with her mouth open and twirls her hair with clawlike fingernails, freaks out after snooping into Jon’s browser history and discovering that he’s visited 42 porn sites in one day. Her abject horror at his obsessive meat-pounding kicks off the slow unraveling of Jon’s belief in porn as the apex of sexual stimulation. The character of Jon is a total departure from Gordon-Levitt’s charming, shy-guy roles, and one that he absolutely nails. Granted, it’s far and away the least attractive he’s ever been, proving that Guido style has the power to reduce even the dreamiest of dudes to a greasy orange shell of their former selves. But Gordon-Levitt brings just enough depth to the character, and to the film overall, to turn a schlocky premise into an honest and approachable exploration of how porn—and really, any other addictive simulation of reality—can cheat us out of the richness of actual experiences. And somehow, putting that high-level concept through the lens of a slimy meathead makes something rather complicated seem very, very simple. The main character may wear skintight deep V’s and jizz in his pants on a regular basis, but the message behind Don Jon remains subtly brilliant. EMILY JENSEN.

A- SEE IT: Don Jon is rated R. It opens Friday at Cedar Hills, Eastport, Clackamas, Living Room, Bridgeport, Lloyd Center, Division.

ENOUGH SAID the chaos that was Downey’s show, enjoyment of Évocateur will depend on whether you found his circus titillating or embarrassing: This is, after all a man who sparred with senators during one segment, then exploited a transsexual quadriplegic pianist the next. For those unfamiliar, Évocateur is a strange curiosity from a forgotten chapter in television history. It’s hard to say whether co-directors Seth Kramer, Daniel A. Miller and Jeremy Newberger are out to condemn or glorify Downey. Instead, through archival footage, talking heads ranging from Chris Elliott to Pat Buchanan, and animated segments, we see a complex picture of a complex man who was perceived at once to be the future of television and the Antichrist. Fox News would not exist without him. Neither would Springer. Your thoughts on that statement will speak volumes about how you’ll react to this film. AP KRYZA. Hollywood. 4:35 pm Saturday-Sunday, Sept. 28-29.

The Family

C Early on in The Family, mafiosoturned-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, Cornelius, Oak Grove.

The Grandmaster

B- “Time seems to pass,” writes Don DeLillo in The Body Artist. Wong Karwai’s The Grandmaster would heartily concur, with the Hong Kong auteur reminding us at several points that kung fu and the passage of time are inextricably linked. Few working filmmakers can imbue mundane events with as much majesty and grace as Wong, so when news broke about his long-awaited story of Ip Man— still best remembered as the martialarts expert who trained Bruce Lee—it appeared as though we were in for a rare treat. And though it might just be this incarnation of the tale (the original Chinese cut is some 20 minutes longer), The Grandmaster takes too little time to cover too many events, not giving them enough weight or

space. 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. But when it does, the effect is mesmerizing. Every frame of this film could be hung on the wall in an art museum, but the awkward editing relies too heavily on expository voice-over and intertitles and not enough on Wong’s magisterial visuals. MICHAEL NORDINE. Hollywood Theatre.

The Heat

C The Heat may be the most tragic

blunder since Pryzbylewski gunned down that plainclothes cop in Season 3 of The Wire. Despite the combined talents of Bridesmaids director Paul Feig, Parks and Recreation writer Katie Dippold and go-for-broke star Melissa McCarthy, the few jokes that hit their mark are severely overshadowed by the film’s lousy rap sheet. After rushing to team up Ashburn (Sandra Bullock), a buttoned-down FBI control freak, with Mullins (McCarthy), a borderline-feral Boston police detective, the action-comedy sets them off in lukewarm pursuit of a shadowy drug lord. With the film barely feigning interest in its own slapdash plot, it quickly devolves into a succession of scenes intended to reinforce that Ashburn is extremely strait-laced while Mullins is incredibly slovenly. You can watch McCarthy and Bullock bounce off each other for only so long before the effect becomes about as amusing as staring at a Newton’s cradle. In terms of meeting its “buddy cop” requirements, The Heat is content to go through the paces, and Feig tends to become overly enamored with his stars, allowing them to riff for far too long. McCarthy is a nimble actor, but—as in the abysmal Identity Thief— she’s reduced here to strictly a bluntforce weapon. Asking her to do little more than hurl f-bombs is just a crime. R. CURTIS WOLOSCHUK. Academy, Avalon, Kennedy School, Milwaukie, Valley.

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 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 who favors overalls and babydoll dresses, 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—a subplot about Carol’s sister’s marital woes feels tacked-on— 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. Living Room Theaters, Cornelius.

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.

MOVIES

PG-13. MATTHEW KORFHAGE. 99W Drive-In, Cedar Hills, Eastport, Forest.

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. Monsters University takes us back to their college years, when Sulley (John Goodman) was the cocky bro who didn’t bring a pencil to class and Mike (Billy Crystal) was the Hermione-esque know-it-all who studied rather than partied. It’s an old formula that follows the story line of pretty much all college-underdog movies. But Monsters University somehow captures the giddy ups and miserable downs of entering your first year of college. Although not the best of Pixar’s lineup, there’s enough

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REVIEW PAT R I C K R E D M O N D

FOX SEARCHLIGHT

SEPT. 25-OCT. 1

Inequality for All

A- There are two types of political

documentarian. One shouts at you until he is red in the face, and then stares, brow furrowed, until you do something, dammit. I’m looking at you, Michael Moore and Dinesh D’Souza. Jacob Kornbluth, director of Inequality for All, falls into the other category of directors who, like Errol Morris, don’t trade the lens for a soapbox. Something of a personal tutoring session with UC Berkeley professor and former Secretary of Labor Robert Reich, Inequality for All lays it all on the table in the first 10 minutes: As inequality rises, the economy suffers. Kornbluth doesn’t break out his dead-horse whip, though. There’s a lot more data to be tastefully presented, and through the personalities of Reich and other interviewees, a sense of story emerges. Pillow tycoon Nick Hanauer explains why the 1 percent don’t really help the economy. “Even the richest people only sleep on one or two pillows,” Hanauer says. “I have the nicest Audi you can buy, but it’s still just one Audi.” We laugh with Hanauer without guilt, because Kornbluth has sailed his documentary between both the Scylla of dead facts and figures and the muckraking Charybdis. MITCH LILLIE. Fox Tower.

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 (red = evil!), it’s an expected downgrade from the lo-fi charms of the surprisingly decent original. James Wan (who’s also responsible for spawning the Saw series and this summer’s The Conjuring) applies the same formula here as he did the first time around: It’s not the house that’s haunted, but the person. The one meaningful difference is that now it’s Josh (Patrick Wilson) rather than his son Dalton (Ty Simpkins) who’s being followed from house to house and world to world. 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. If you want to see Barbara Hershey (who reprises her role as Josh’s mother) in something really unsettling, you’re better off seeking out Peter Tscherkassky’s Outer Space. PG-13. MICHAEL NORDINE. Cedar Hills, Eastport, Clackamas, Cornelius, Oak Grove, St. Johns Twin.

Lee Daniels’ The Butler

MIRROR MIRROR: Gemma Arterton as an undead strumpet.

BYZANTIUM Interview With the Vampire on estrogen.

Clara is all sex and fangs. The 200-year-old strumpet and grifter has just beheaded a man and is on the run again, and she nearly pops out of her cheap corset and snakeskin pants trying to distance herself and her immortal daughter from an old (and undead) boys club. While Clara (Gemma Arterton) prowls for girls to pimp out to businessmen, her daughter Eleanor (Saoirse Ronan) offs sick old ladies in nursing homes. This sad-eyed, conflicted angel of mercy spends most of her days in silence, scribbling down her history and throwing it out open windows; she purses her mouth in a tight line to hold back her desire to scream her tale to passersby. “There’s a story there. You can feel it,” one curious old man says of her…right before she bleeds him. Byzantium is obsessed with silence and secrets—and the price you pay for keeping or breaking both. Director Neil Jordan’s moody vampire story unspools in a clammy English seaside town across two centuries, flashing between forever-teenage Eleanor’s tentative present-day romance and forever-whore Clara’s truly oddball 19th-century origin tale, which revolves around a syphilitic scumbag played with overblown zeal by Jonny Lee Miller. It all feels like a very stylish, noir piece of Anne Rice fan fiction, which makes sense: Jordan directed the still-divisive, Tom Cruisestarring adaptation of Rice’s Interview With the Vampire. Byzantium is a spiritual sequel to the 1994 flick—right down to the undead existential ennui. The genders are switched, but themes of loss, dissatisfaction and codependency are still front and center. Most of the Dracula trappings have been wiped away. The pair traipse around in daylight, and when peckish they dispatch their prey with a spiky thumbnail. Yes, this is annoying. Thankfully, there’s still blood—arterial sprays, sticky pools and even waterfalls of the red stuff—and epic mom-daughter screaming matches. The movie has its eye-rolling moments, especially Arterton’s overwrought outbursts, but Ronan fairly glows with forlorn menace. The fact that Byzantium is a genuinely tense and sexy thriller doesn’t actually matter. For fang fans, vampire movies are a lot like pizza—there’s no such thing as a bad one. Byzantium works because its vamp trappings are wedded to a family crime story that’s truly unsettling. Living with your mother for 200 years—what could be more terrifying than that? KELLY CLARKE. B SEE IT: Byzantium is rated R. It plays at Cinema 21 MondayThursday, Sept. 30-Oct. 3.

Willamette Week SEPTEMBER 25, 2013 wweek.com

DEADRAISER is a captivating documentary exploring modern day resurrection stories. A true supernatural adventure, this film follows a dynamic group of spiritually empowered individuals from wide-ranging theologies, backgrounds, and location, as they team up to raise the dead! One Night Only October 7th 7:00 PM Admission is Free to This Northwest Premier

Washburn Preformance Arts Center 1209 39th St Washougal Wa 98671 Run time: 105 minutes—Not rated Meet the Director: Johnny Clark Studio: Mountain Light Cinema

More info: thecallingchurch.com

MOVIES

SEPT. 25-OCT. 1

slapstick comedy for the kids and fast-paced banter for the adults to make it at least good for a laugh. G. KAITIE TODD. Avalon, Mt. Hood, 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.

Much Ado About Nothing

A Much Ado About Nothing is all

pG 47

pG 27

about trickery. The comedy—one of Shakespeare’s best—centers on two strong-minded singles, Beatrice and Benedick, 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 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. Academy.

Now You See Me

C In an early scene in the magicheist movie Now You See Me, Jesse Eisenberg’s character gives an audience a piece of advice. “The more you think you see,” he says, “the easier it will be to fool you.” That’s apparently a tip director Louis Leterrier (The Incredible Hulk, Clash of the Titans) tried to follow, pulling from his bag of tricks plenty of glitz, a throbbing techno soundtrack and a camera that swirls as if on a merry-go-round and makes viewers just as dizzy. Unfortunately, being fooled by this flashy flick is no fun. PG-13. REBECCA JACOBSON. Valley.

Occupy Love

D+ [ONE NIGHT ONLY] How are

today’s economic and ecological crises a great love story? This is the question the crowd-funded documentary Occupy Love tries to answer, with footage of recent social protests around the globe and with interviews from writers and social activists. Directed by Velcrow Ripper (a Canadian documentarian and activist known for focusing on social and environmental issues), the film centers mainly on the Occupy movement in New York City, weaving that story into others of protest and activism across the planet, from the riots in Cairo, to indigenous movements against the tar pits in Canada, to the 15M demonstrations in Spain. These movements, the film says, show the power of love to create a community and ultimately change how the world works. Unfortunately, the film gets bogged down. The interviews are sometimes juxtaposed with unrelated shots, as when an interviewee’s description of love as “the nervous system of the universe” is layered atop footage of a construction worker at a destroyed field. A discussion about love’s origins from a Hawaiian elder is equally baffling. Amid the blur, it’s hard to be sure what exactly Occupy Love is

Willamette Week SEPTEMBER 25, 2013 wweek.com

R A D I U S -T W C

CAN DEAD PEOPLE COME BACK TO LIFE? IS IT HAPPENING TODAY?

Photo caption tk trying to say. KAITIE TODD. NW Film Center’s Whitsell Auditorium. 7 pm Thursday, Sept. 26.

Pacific Rim

A- Guillermo Del Toro has honed a

skill that few directors—especially in the mainstream studio system—have mustered: He doesn’t make movies so much as build worlds. Whether it’s the bustling troll marketplace in Hellboy II or a dark underground realm of child-eating monsters in Pan’s Labyrinth, Del Toro’s worlds exist on their own phantasmagorical plane, one where the physics and mechanics of every moving piece are thought out. It’s as if the smartest kid on the planet invited you to play in the sandbox in his mind. But what does such meticulous terraforming do for a movie about gigantic robots punching the shit out of gigantic monsters while destroying whole cities? It makes it effing awesome, that’s what, and Pacific Rim is like getting punched in the face with a fist full of bombastic, childish, escapist bliss. PG-13. AP KRYZA. Academy, Avalon, Bagdad, Mt. Hood, Milwaukie.

Planes

B+ The latest, ahem, vehicle from

a Disney factory evidently bereft of ideas yet borne aloft by an inexhaustible supply of good will, Planes doesn’t so much expand the mechanized universe of Pixar’s Cars as streamline the storytelling. This is a straightforward lark about a plucky crop-duster afraid of heights who manages to qualify for a round-theworld 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. Buckle up, it’s gonna be a smooth ride. PG. JAY HORTON. Cedar Hills, Eastport, Clackamas, Forest, Indoor Twin, Oak Grove.

Prisoners

B 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. 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 highprofile awards contender 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, kid-

INEQUALITY FOR ALL napping and torturing a suspect (Paul Dano) in an effort to translate his pain into answers. 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. 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 childabduction thrillers, it’s engaging and gut-wrenching—without diving into an abyss of emotional torture in the name of entertainment. R. AP KRYZA. Cedar Hills, Eastport, Clackamas, Cornelius, Oak Grove, Roseway.

Reel Feminism: The Gleaners and I

[ONE NIGHT ONLY, REVIVAL] Agnès Varda’s 2001 documentary explores gleaners, those on the lowest rungs of French society who scavenge already-harvested fields. Clinton Street Theater. 7 pm Wednesday, Sept. 25.

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 his original comfort zone—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 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, Cornelius, Oak Grove.

Rush

B- Right off the bat, let’s address

the query that’s inevitably posed

CONT. on page 50

AP FILM STUDIES

MOVIES

COURTESY

OF FLORA FILM

AP FILM STUDIES

CAN YOU HEAR ME NOW?

GAME OVER: Wait…this isn’t the audition for Borat?

DO NOT SILENCE YOUR CELLPHONE…JUST THIS ONCE. BY AP K RYZ A

apkryza@wweek.com

Earlier this month, blogger Alex Billington did something that remains a fantasy for most people who spend a lot of time in movie theaters. Fed up with a moviegoer’s constant texting during a screening at the Toronto International Film Festival, he called 911 and accused the fucker of pirating the unreleased film. While Billington opted for a passive-aggressive move, I prefer to go straight-up Falling Down vigilante. If I see a glowing light in the auditorium, I’ll flash my phone’s screen directly in the offender’s eyes. If there’s a loud talker behind me, the kind of person who solves an onscreen mystery aloud, I’ll turn around to face them: “You’re the smartest person in the theater. Can you shut the fuck up so the rest of us don’t seem so dumb?” The Hollywood Theatre and The Portland Mercury take the third approach to the plague of loudmouths and cellphone addicts: Lock them all in a room together. And so was born Hecklevision, a monthly screening of an awful movie where patrons send comments via text message, which then scroll onscreen. It’s like a text-based version of Mystery Science Theater 3000, with emoticons and horrible grammatical errors instead of robots. This month’s offering, Super Mario Bros., is certainly a deserving target. You’re not going to find too many people irritated about the audience snickering while an overalls-wearing Bob Hoskins fights a peroxide-haired Dennis Hopper. But maybe this needs to go a little further. Perhaps we’ll soon have to choose just what kind of cinematic experience we desire: Do you want to watch the brooding kidnapping drama Prisoners in a theater where everyone is typing constant, poorly spelled updates (“daaaaamn, Hugh Jackmons is maaaaad”). Or do you pick the theater where you lose an eye if your phone rings? Until then, if you want to text without retaliation, you’re stuck watching Super Mario Bros. Deal with it (“OMG, no Goombahs?! ROTFL! WTF.”). Hollywood Theatre. 7:30 pm Friday, Sept. 27. Meanwhile, the programming at Cinema 21 caters to a wholly different kind of maligned moviegoer— viewers who can’t help but sing aloud when they recognize a song in a movie (you may have watched Dazed & Confused with this sort of terrible human being). With its Sound of Music sing-along, the

cinema creates an alternate universe to Rocky Horror, with the transvestite Transylvanians replaced by white people in puffy Alpine garb. During these events, costumed masses treat the film like group karaoke as the words flash onscreen. No pitch is perfect. No song shall emerge unscathed. No matter how cheesy, such events help make moviegoing more social, with moviegoers actually engaging with one another over a shared love of slaughtering “Sixteen Going on Seventeen.” Just please don’t spread that love by posting it to Facebook. This is Austria, not goddamn Hecklevision. The Clinton Street Theater has two programs dedicated to putting musicians on film. Sunday’s Les Blank Personalities retrospective explores the works of the late documentarian, whose 50-year career focused mainly on American traditional musicians. Catch two documentaries about singing cowboy Gerry Gaxiola, as well as Gap-Toothed Women, a documentary about gap-toothed women. And on Saturday, the theater will celebrate the 10th anniversary of the infamous short film The Truth About Beef Jerky, about a deranged hunting fanatic and classic-rock guitarist named Count Nugent who goes all “Most Dangerous Game” on a bunch of hippies. Clinton Street Theater. The Truth About Beef Jerky is at 2 pm Saturday, Sept. 28. The Les Blank program begins at 7 pm Sunday, Sept. 29. Also showing: • Revel in the glory of Edgar Wright’s Hot Fuzz while shooting in the air and saying “Aaaaah.” Laurelhurst. Sept. 27-Oct. 3. • Come for the macabre humor, stay for M.C. Hammer’s “Addams Groove” during a screening of The Addams Family. Academy. Sept. 27-Oct. 3. • The film that defined a generation, The Room, returns to be studied. Cinema 21. 10:45 pm Friday, Sept. 27. • Jean Renoir explores comedy and fantasy in The Golden Coach—and then goes back to making stoic and glacial dramas. NW Film Center’s Whitsell Auditorium. 7 pm Saturday-Sunday, Sept. 28-29. • B-Movie Bingo is back with Class of 1999, which features no Prince songs but does have Malcolm McDowell as a principal who replaces his teachers with evil robots… one of whom is Pam Grier. Hollywood Theatre. 7:30 pm Tuesday, Oct. 1. Willamette Week SEPTEMBER 25, 2013 wweek.com

SEPT. 25-OCT. 1

UNIVERSAL PICTURES

Indy 500. As he and his human buddy (Michael Peña) betray their brothers’ trust, Turbo’s morality becomes increasingly dubious. The humor is uncreative, with a reliance on running jokes—snails are picked off midsentence by predatory crows—resulting in only a handful of gags. PG. CURTIS WOLOSCHUK. Academy, Avalon, Bagdad, Edgefield, Kennedy School, Milwaukie, Mt. Hood, St. Johns, Valley.

Unmade Beds

[ONE NIGHT ONLY, REVIVAL] In Amos Poe’s 1976 No Wave film, the protagonist believes himself a character in a Godard movie, imagining New York as Paris and his camera as a gun. Hollywood. 7:30 pm Thursday, Sept. 26.

RUSH of all sports movies: Must one have a vested interest in the sport to enjoy said film? In the case of Rush, the answer is, “Of course not,” because if Ron Howard were banking on audience knowledge of the international Formula One racing scene of the 1970s to sell this biopic, EDtv suddenly wouldn’t seem like his worst misstep. Instead, the movie, based on the sixyear battle for F1 supremacy between stern Austrian Niki Lauda (Daniel Brühl) and walking British hard-on James Hunt (Chris Hemsworth), deals with much more familiar (one might say tired) themes: the nature of professional rivalry, the sociopathy of competition and the definitions of masculinity. Replace the subjects with, say, John McEnroe and Björn Borg, and not much changes, save all the fast driving—though it might have caused Howard to (ahem) slow down a little. Ninety percent of the film takes place on racetracks and in press conferences, and the moments meant to underscore the personal relationships driving (ahem) these two diametrically opposed men feel, ahem, rushed. The screenplay is by Peter Morgan, whose words transformed Howard’s Frost/ Nixon—essentially a two-hour sitdown interview—into a white-knuckle boxing match. Apparently, though, his skill doesn’t work in the other direction: Drowned out by all the vroomvroom, his dialogue can’t turn what’s essentially an intermittently entertaining actioner into the character-driven, ’70s-style talkie Howard envisions it being. R. MATTHEW SINGER. Cedadr Hills, Eastport, Clackamas, Cornelius, Bridgeport, City Center, Division, Hilltop, Lloyd Center, Movies on TV, Tigard.

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 media-averse 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.

Short Term 12

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 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 high-school senior Sutter (Miles Teller). It’s accompanied by a montage of Sutter pounding shots among packs of friends: This hard-drinking bro just wants to have fun, and he’s down about losing his ex, because, he plaintively says, “We were the life of the party.” 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-theradar 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.

Thérèse (Desqueyroux)

C The umpteenth adaptation of 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

Willamette Week SEPTEMBER 25, 2013 wweek.com

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.

This Is the End

B With the underrated and misunder-

stood Pineapple Express, Seth Rogen, James Franco, Danny McBride and coscreenwriter Evan Goldberg made a rock-solid American counterpart to Shaun of the Dead and Hot Fuzz. It was a genre film told from the perspective of the kind of people who consumed such entertainment—in this case, a bunch of dopey stoners caught in the middle of an ’80s action movie. Those who decried it as—or mistook it for—a bad action movie injected with comedy seriously missed the point: What would happen if Lethal Weapon were remade with a pair of seriously high jackasses as the leads? With This Is the End, Rogen and company jump genres to the biblical apocalypse and cast Rogen, Franco, Jonah Hill and almost everyone who’s ever been in a Judd Apatow movie as horrible caricatures of themselves. As the Rapture hits and sends pretty much everybody to heaven—except for those at Franco’s housewarming party—these dudes are perfectly content to sit back, smoke weed and tell dick jokes. Like, a lot of dick jokes. It all sounds juvenile, but for the most part, This Is the End works like gangbusters, particularly in the way the actors lampoon their public personas. These dudes could make any movie fun. That this one happens to have decapitations and a brawl with Satan takes it to another level of stoned-out bliss. R. AP KRYZA. Edgefield, Valley.

Turbo

C- It seems “slow and steady wins the race” doesn’t carry much weight in an era of instant gratification. Furthermore, thanks to reality television, people now feel entitled to a shot at their impossible dream and don’t care who they have to step on—or, in the case of David Soren’s animated flick, slither over—to achieve it. Such is the case with Turbo (Ryan Reynolds), a garden-variety snail who, once doused with nitrous oxide, has speed to burn and the single-mindedness necessary to pursue his fantasy: winning the

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. There are some surprises along the way, like a Danish woman who starts the journey strictly to be alone, but ends up in a romantic relationship with a Canadian man 10 years her junior. 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 Theatre.

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. Admittedly, her performance is tangled up in a very silly premise, in which she essentially plays house with a drug dealer (Jason Sudeikis), a runaway (Emma Roberts) and a freckle-plagued virgin (Will Poulter) as a front for smuggling an RV full of weed across the Mexican border. But the characters are engaging enough, and the situational comedy generally entertaining enough, to make for some decent brain candy. And when it’s less than decent, Aniston’s rather spectacular strip tease in an auto body shop is there to distract you. R. EMILY JENSEN. 99W Drive-In, Cedar Hills, Eastport, Clackamas, Cornelius, Oak Grove.

Wings

[ONE NIGHT ONLY, REVIVAL] Break out your flapper dresses and rhinestone headpieces for this evening presented by author Julia Park Tracey. Park Tracey has been publishing the diaries of her great-aunt Doris, who grew up in Portland in the 1920s. A reading will be followed by a screening of Wings, the 1927 silent film about fighter pilots in World War I, starring Gary Cooper. Hollywood. 6:30 pm Wednesday, Sept. 25.

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 and bent on taking over the universe. Yet, despite its many strengths, The World’s End remains the weakest film of the trilogy, the most straightforward, accessible and morose of the three. 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, Clackamas, CineMagic, Hollywood Theatre, Oak Grove, St. Johns Twin.

World War Z

C It looks like Hollywood executives can sleep a little easier at night, once again content in the knowledge that they can solve a problem by throwing enough money at it. Thanks to $20 million in reshoots, Marc Forster’s World War Z has managed to conceal most of the cosmetic evidence of its clusterfuck production and emerge as an eminently watchable summer blockbuster. That said, it remains fundamentally flawed. Billed as “an oral history of the zombie war,” Max Brooks’ inventive 2006 novel-turned-source material saw dozens of characters sharing their horrific accounts of humanity’s annihilation at the rotting hands of the undead. But Forster’s previous work on Quantum of Solace and Machine Gun Preacher hasn’t instilled much faith in his aptitude for directing action, and he lives down to his reputation here. Ultimately, such a product can only satisfy the most mindless of hordes. PG-13. CURTIS WOLOSCHUK. Academy, Avalon, Mt. Hood.

IFC FILMS

MOVIES

BLUE CAPRICE

MOVIES

SEPT. 27-OCT. 3

CO U R T E SY O F PA R A M O U N T

Sat-Sun-Mon-Tue-Wed 04:20, 09:25 THE HEAT Fri-Sat-Sun-Mon-TueWed 06:45 MUCH ADO ABOUT NOTHING Fri-SatSun-Mon-Tue-Wed 02:40, 07:15 WORLD WAR Z Fri-Sat-Sun-Mon-Tue-Wed 01:55, 07:00 THE ADDAMS FAMILY Fri-Sat-Sun-MonTue-Wed 05:00, 09:35

B OOKS

Living Room Theaters

MILE-HIGH CLUB: Wings plays at the Hollywood Theatre at 6:30 pm Wednesday, Sept. 25.

Regal Lloyd Center 10 & IMAX

1510 NE Multnomah St., 800326-3264 METALLICA: THROUGH THE NEVER -- AN IMAX 3D EXPERIENCE Fri-SatSun-Mon-Tue-Wed 02:25, 04:55, 07:25, 10:20 THE WIZARD OF OZ: AN IMAX 3D EXPERIENCE Fri-SatSun-Mon-Tue-Wed 11:55 CLOUDY WITH A CHANCE OF MEATBALLS 2 Fri-SatSun 02:35, 05:05, 07:35, 10:05 CLOUDY WITH A CHANCE OF MEATBALLS 2 3D Fri-Sat-Sun 12:05 RUSH Fri-Sat-Sun 12:55, 03:55, 06:55, 09:55 DON JON Fri-Sat-Sun 12:25, 02:55, 05:20, 07:45, 10:10 DEF LEPPARD VIVA HYSTERIA CONCERT Wed 08:00

Regal Tigard 11

11626 SW Paciﬁc Highway, 800-326-3264 CLOUDY WITH A CHANCE OF MEATBALLS 2 3D FriSat-Sun 02:00 CLOUDY WITH A CHANCE OF MEATBALLS 2 Fri-Sat-Sun 04:30, 07:00, 09:30 RUSH Fri-Sat-Sun 01:10, 04:50, 06:40, 09:40 DON JON Fri-Sat-Sun 02:20, 04:10, 07:45, 10:10

Avalon Theatre & Wunderland

3451 SE Belmont St., 503-238-1617 TURBO Fri-Sat-Sun-MonTue-Wed 01:15, 07:00 GROWN UPS 2 Fri-SatSun-Mon-Tue-Wed 03:05, 07:15 PACIFIC RIM Fri-SatSun-Mon-Tue-Wed 08:45 THE HEAT Fri-Sat-SunMon-Tue-Wed 04:50, 09:15 MONSTERS UNIVERSITY Fri-Sat-Sun-Mon-Tue-Wed 12:55, 05:00 WORLD WAR Z Fri-Sat-Sun-Mon-TueWed 02:55

Bagdad Theater and Pub

3702 SE Hawthorne Blvd., 503-249-7474 PACIFIC RIM Fri-Sat-SunMon-Tue-Wed 06:00 KICK-ASS 2 Fri-Sat-MonTue-Wed 09:00 TURBO Sat-Sun 02:00 BREAKING BAD FINALE Sun 09:00

Cinema 21

616 NW 21st Ave., 503-223-4515 BYZANTIUM Fri-Sat-SunMon-Tue-Wed 04:30, 07:00, 09:15

Clinton Street Theater

2522 SE Clinton St., 503-238-8899 LES BLANK TRIBUTE PROGRAM Fri-Sat 07:00 THE TRUTH ABOUT BEEF JERKY Sat 02:00 THE ROCKY HORROR PICTURE SHOW Sat 12:00 LES

BLANK TRIBUTE Sun 07:00 THE BROKEN CIRCLE BREAKDOWN Mon 07:00 BAND OF SISTERS TueWed 07:00

Milwaukie Cinema & Wunderland

11011 SE Main St., 503-653-2222 TURBO 3D Fri-Sat-SunMon-Tue-Wed 02:50, 06:45 GROWN UPS 2 Fri-SatSun-Mon-Tue-Wed 01:00, 02:55, 07:00 PACIFIC RIM 3D Fri-Sat-Sun-Mon-TueWed 08:55 THE HEAT Fri-Sat-Sun-Mon-Tue-Wed 04:50, 08:55 MONSTERS UNIVERSITY 3D Fri-SatSun-Mon-Tue-Wed 12:45, 04:40 TURBO Sat 11:15

Moreland Theatre

6712 SE Milwaukie Ave., 503236-5257 BLUE JASMINE Fri-SatSun-Mon-Tue-Wed 05:30, 07:40

Roseway Theatre

7229 NE Sandy Blvd., 503-282-2898 PRISONERS Fri-Sat-SunMon-Tue-Wed 01:00, 04:30, 08:00

St. Johns Twin Cinemas and Pub

8704 N Lombard St., 503-286-1768 THE WORLD’S END FriSat-Sun-Mon-Tue-Wed 05:50, 08:30 INSIDIOUS: CHAPTER 2 Fri-Sat-SunMon-Tue-Wed 05:30, 07:55

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., 800326-3264-952 PLANES Fri-Sat-SunMon-Tue-Wed 04:10, 09:15 PLANES 3D Fri-SatSun-Mon-Tue-Wed 01:35, 06:45 DESPICABLE ME 2 Fri-Sat-Sun-Mon-Tue-Wed 01:55, 04:25, 06:55, 09:40 WE’RE THE MILLERS FriSat-Sun-Mon-Tue-Wed 07:25, 10:10 ELYSIUM Fri-Sat-Sun-Mon-TueWed 02:10, 04:55, 07:50, 10:30 PERCY JACKSON: SEA OF MONSTERS Fri-Sat-Sun-Mon-TueWed 02:05, 04:45 THE MORTAL INSTRUMENTS: CITY OF BONES Fri-SatSun-Mon-Tue-Wed 12:35, 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-Tue-Wed 12:10, 03:20, 06:40, 09:50 RIDDICK Fri-Sat-Sun-MonTue-Wed 01:50, 04:40,

07:30, 10:25 BATTLE OF THE YEAR 3D Fri-Sat-SunMon-Tue-Wed 04:30, 07:10 THE FAMILY Fri-Sat-SunMon-Tue-Wed 01:40, 04:30, 07:15, 10:00 PRISONERS Fri-Sat-Sun-Mon-Tue-Wed 02:55, 06:30, 10:00 RUSH Fri-Sat-Sun-Mon-Tue-Wed 12:30, 03:45, 07:00, 10:15 CLOUDY WITH A CHANCE OF MEATBALLS 2 Fri-SatSun-Mon-Tue-Wed 12:00, 05:00 CLOUDY WITH A CHANCE OF MEATBALLS 2 3D Fri-Sat-Sun-MonTue-Wed 02:30, 07:45, 10:15 DON JON Fri-SatSun-Mon-Tue-Wed 12:15, 02:45, 05:15, 07:45, 10:20 INSIDIOUS: CHAPTER 2 Fri-Sat-Sun-Mon-Tue-Wed 02:05, 04:50, 07:30, 10:15 BAGGAGE CLAIM Fri-SatSun-Mon-Tue-Wed 02:00, 04:30, 07:15, 10:00

99 West Drive-In

Highway 99W, 503-538-2738 LEE DANIELS’ THE BUTLER Fri-Sat-Sun 07:15 WE’RE THE MILLERS Fri-Sat-Sun 09:45

Kennedy School Theater

5736 NE 33rd Ave., 503-249-7474-4 TURBO Fri-Sat-Sun-MonTue-Wed 02:30, 05:30 THE CONJURING Fri-SatSun-Wed 07:35 THE HEAT Fri-Sat 10:00

Hollywood Theatre

4122 NE Sandy Blvd., 503-281-4215 BLUE CAPRICE FriSat-Sun-Mon-Tue-Wed 06:45, 08:45 THE GRANDMASTER FriSat-Sun-Mon-Tue-Wed 09:00 THE WORLD’S END Fri-Sat-Sun-MonTue-Wed 07:10, 09:15 WALKING THE CAMINO: SIX WAYS TO SANTIAGO Fri-Sat-Sun-Mon-Tue-Wed 07:00 SUPER MARIO BROS. IN HECKLEVISION Fri 07:30 ÉVOCATEUR: THE MORTON DOWNEY JR. MOVIE Sat-Sun 04:35 CLASS OF 1999 Tue 07:30 AMERICAN WINTER Wed 07:30

Regal Pioneer Place Stadium 6

340 SW Morrison St., 800-326-3264 CLOUDY WITH A CHANCE OF MEATBALLS 2 3D FriSat-Sun-Mon-Tue-Wed 01:30 CLOUDY WITH A CHANCE OF MEATBALLS 2 Fri-Sat-Sun-Mon-Tue-Wed 04:15, 07:00, 09:40

St. Johns Theatre

8203 N Ivanhoe St., 503-249-7474-6 TURBO Fri-Tue-Wed 06:30 GROWN UPS 2 Fri-Tue-Wed 01:00, 09:00

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 Fri-

341 SW 10th Ave., 971-222-2010 20 FEET FROM STARDOM Fri-Sat-Sun-Mon-TueWed 11:45, 04:10, 06:10 CUTIE AND THE BOXER Fri-Sat-Sun-Mon-Tue-Wed 11:40, 01:40, 03:30, 05:30, 08:10, 09:30 DON JON Fri-Sat-Sun-Mon-TueWed 11:50, 12:45, 01:45, 02:50, 05:00, 05:45, 07:00, 07:45, 07:45, 09:00 IN A WORLD... Fri-Sat-Sun-Mon-TueWed 11:55, 02:00, 03:45, 07:30, 09:50 SALINGER Fri-Sat-Sun-Mon-Tue-Wed 01:30, 04:10, 06:50, 09:20 THÉRÈSE DESQUEYROUX Fri-Sat-Sun-Mon-TueWed 04:20, 08:50 THE SPECTACULAR NOW Fri-Sat-Sun-Mon-TueWed 12:00, 02:10, 06:40 FALSTAFF - OPERA DE PARIS Sun 12:00

pG 45

Century Clackamas Town Center and XD

12000 SE 82nd Ave., 800-326-3264-996 PLANES Fri-Sat-SunMon-Tue-Wed 11:45, 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, 10:25 PERCY JACKSON: SEA OF MONSTERS Fri-SatSun-Mon-Tue-Wed 11:15, 01:55, 10:10 THE WORLD’S END Fri-Sat-Sun-Mon-TueWed 11:40, 02:25, 05:10, 07:50, 10:35 RIDDICK Fri-Sat-Sun-Mon-Tue-Wed 11:10, 10:35 BATTLE OF THE YEAR 3D Fri-SatSun-Mon-Tue-Wed 11:05, 04:35, 10:05 THE FAMILY Fri-Sat-Sun-Mon-Tue-Wed 11:00, 01:50, 04:40, 07:30, 10:20 PRISONERS Fri-SatSun-Mon-Tue-Wed 11:00, 02:30, 06:05, 09:35 RUSH Fri-Sat-Sun-Mon-Tue-Wed 01:00, 04:05, 07:10, 10:15 CLOUDY WITH A CHANCE OF MEATBALLS 2 Fri-SatSun-Mon-Tue-Wed 11:30, 02:00, 04:30, 07:00, 09:30 CLOUDY WITH A CHANCE OF MEATBALLS 2 3D FriSat-Sun-Mon-Tue-Wed 12:20, 02:50, 05:20, 07:50, 10:20 DON JON Fri-SatSun-Mon-Tue-Wed 12:45, 03:10, 05:35, 08:00, 10:30 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 BAGGAGE CLAIM Fri-SatSun-Mon-Tue-Wed 11:35, 02:10, 04:45, 07:20, 09:55 GENERATION IRON Fri-SatSun-Mon-Tue-Wed 11:05, 01:45, 04:30, 07:10, 10:00 ONE DIRECTION: THIS IS US 3D - EXTENDED FAN CUT Fri-Sat-Sun-Mon-TueWed 11:20, 02:05, 04:50 VERTIGO Sun-Wed 02:00, 07:00 DEF LEPPARD VIVA HYSTERIA CONCERT Wed 08:00

SUBJECT TO CHANGE. CALL THEATERS OR VISIT WWEEK.COM/MOVIETIMES FOR THE MOST UP-TODATE INFORMATION FRIDAY-THURSDAY, SEPT. 27-OCT. 3, UNLESS OTHERWISE INDICATED

Willamette Week SEPTEMBER 25, 2013 wweek.com

CLASSIFIEDS DIRECTORY 52

WELLNESS

SERVICES

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REAL ESTATE

TO PLACE AN AD CONTACT:

ASHLEE HORTON

MUSICIANS’ MARKET JOBS

SEPTEMBER 25, 2013

STUFF

MOTOR

JONESIN’

54 MATCHMAKER

FREE WILL ASTROLOGY

PETS

SERVICES

MUSICIANS MARKET

503-445-3647 • ahorton@wweek.com

WELLNESS COUNSELING

HEALTHCARE CASH for DIABETIC TEST STRIPS Help those in need. Paying up to $30/box. Free pick up. Sharon 503-679-3605

BUILDING/REMODELING

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.

Buying, selling, instruments of every shape and size. Open 11am-7pm every day. 4701 SE Division & 1834 NE Alberta.

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

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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)

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Bernhard’s

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Residential, Commercial and Rentals. Complete yard care, 20 years. 503-515-9803. Licensed and Insured.

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

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MOTOR

LAWN SERVICES

Steve Greenberg Tree Service

Custom Sizes » Made To Order Financing Available

TREE SERVICES

ALTERNATIVE MEDICINE

Inner Sound

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

Charles

COMPANY

7353 SE 92nd Ave Mon-Fri 9-5, Sat 10-2

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

REL A X!

HOME IMPROVEMENT SW Jill Of All Trades

TREE SERVICE NE Steve Greenberg Tree Service

MUSIC LESSONS

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

TWINS

MATTRESS

TRADEUPMUSIC.COM

SERVICE DIRECTORY

FURNITURE

BEDTIME

INSTRUMENTS FOR SALE

MASSAGE (LICENSED)

STUFF

Indian Music Classes with Josh Feinberg

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

Learn Piano All styles, levels

“Atomic Auto New School Technology, Old School Service” www.atomicauto.biz mention you saw this ad in WW and receive 10% off for your 1st visit!

AUTOS WANTED 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)

With 2 time Grammy winner Peter Boe. 503-274-8727.

OMMP Resource Center Providing Safe Access to Medicine Valid MMJ Card Holders Only No Membership Dues or Door Fees

“Simply the Best Meds” www.rosecitywellnesscenter.com

M E T TE WE EK

GIVE! GUIDE 2013

AUTO

Kick-Off Party

COLLISION REPAIR NE Atomic Auto 2510 NE Sandy Blvd Portland, Or 97232 503-969-3134 www.atomicauto.biz

PETS P. 55 52

Nov. 5, 6–10pm

Left Bank Annex

PSYCHICS Ellen Singleton, God-Gifted Psychic. Helps relationships, stops divorce, cheating, solves severe problems. Free 15-minute reading. (832) 884-9714 (AAN CAN)

Week Classifieds SEPTEMBER 25, 2013 wweek.com

FOLLOW @WWE E K ON T WIT TER

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

503-445-3647 • ahorton@wweek.com

JONESIN’ by Matt Jones Thinking of View–so listen carefully.

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

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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. 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.

EVENTS R. Gregory Nokes Author of Breaking Chains, speaks about writing non-fiction, Willamette Writers SW 11th & Clay 7:00pm Tue 10/1 $10 503-305-6729 www.willamettewriters.com

48 Sinn ___ 49 “But ___ Cheerleader” (Natasha Lyonne movie) 52 “The Georgia Peach” 55 “Primal Fear” actor Edward 57 Roo, for one 60 Disaster relief org. 63 Better Than ___ 64 Major miner concern? 65 Technical genius at filmmaking? 68 Animation studio drawing 69 D, E and F, but not F#, on a piano 70 Quit fasting 71 Daily ___ (political blog) 72 Instant coffee brand 73 Common omelet ingredient Down 1 Total one’s totals? 2 Mexico’s national flower 3 Reason for insoles, maybe 4 “Was ___ das?” 5 Pursue with passion 6 Deep-sixes, to a thug

7 Language spoken in “Avatar” 8 Government IOU of sorts 9 Lizard that pitches insurance 10 Kind of poem 11 Easy win 12 A psychic may claim to see it 13 Barber’s quick job 18 Adult ed. course 22 “Jackass” crewmate once on “Dancing with the Stars” 24 Pitching stat 25 Rough game on a pitch 27 Abbr. in personal ads 30 Toby Keith’s “Red ___ Cup” 31 Tobacco type 33 Event where 13 is a good number 34 1051, to Caesar 35 Opium lounge 37 Utter madness 38 Late golfer Ballesteros 39 Senator Hatch 40 Jazzophile’s collection, often 41 Detroit suburb Grosse ___

45 General ___’s chicken 46 “Bed-In” participant 50 Pat of “The Karate Kid” 51 Headwear of yore 53 Bingo call 54 Jeff who bought the Washington Post in 2013 56 Court judge 57 Sporty stereotype 58 Brand with a “Triple Double” variety 59 Slippery critters 61 “Walking in Memphis” singer Cohn 62 Coloratura’s offering 65 Earn a title 66 Cool, to the Fresh Prince 67 Suffix for sugars

last week’s answers

Across 1 AMA members 4 Defiant stayer’s stance 11 Race participant? 14 Black Eyed Peas singer will.___ 15 Place for a friend to crash 16 SOS part 17 Bed linen where bad stuff goes on? 19 Hosp. diagnostic 20 “___ fair in love and war” 21 Smooth fabric 22 Random link from some stranger, say 23 Late comedian Phyllis 26 Island show 28 Planner square 29 “West Side Story” actor Tamblyn 32 Site to search for stomach remedies 36 Drinkware crafted between the mountains? 40 “In ___ of flowers...” 42 Clearer, as the sky 43 “Silver Spoons” actress Gray 44 What sports car engines have? 47 Put at, as a price

©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 #JONZ642.

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EMPLOYMENT OPPORTUNITIES 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.

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Willamette Week Classifieds SEPTEMBER 25, 2013 wweek.com

TO PLACE AN AD CONTACT:

ASHLEE HORTON

Week of September 26

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ARIES (March 21-April 19): I’ve got a good feeling about your relationship with intimacy in the coming weeks. Judging from the astrological omens, I think you will have a good instinct about how to drum up interesting fun with your most important allies. You’ll just naturally know what to do to make your collaborative efforts synergistic. So by all means cash in on this potential. Don’t just sit back and hope for the best; rather, call on your imagination to provide you with original ideas about how to make it all happen.

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TAURUS (April 20-May 20): Would you be willing to go to extraordinary lengths to transform aspects of your life that you have felt are hard to transform? Now would be a good time to do that. Luck will flow your way if you work on healing your number one wound. Unexpected help and inspiration will appear if you administer tough love to any part of you that’s addicted, immature, or unconscious. Barriers will crumple if you brainstorm about new ways to satisfy your frustrated yearnings.

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GEMINI (May 21-June 20): I bet your normal paranoia levels will decline in the coming weeks. Fears you take for granted won’t make nearly as much sense as they usually seem to. As a result, you’ll be tempted to wriggle free from your defense mechanisms. Useful ideas that your mind has been closed to may suddenly tantalize your curiosity. I won’t be surprised if you start tuning into catalysts that had previously been invisible to you. But here are my questions: Can you deal with losing the motivational force that fear gives you? Will you be able to get inspired by grace and pleasure rather than anxiety and agitation? I advise you to work hard on raising your trust levels.

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THE POWER OF

CLASSIFIEDS

CANCER (June 21-July 22): “Sometimes people have nothing to say because they’re too empty,” writes author Yasmin Mogahed, “and sometimes people have nothing to say because they’re too full.” By my reckoning, Cancerian, you will soon be in the latter category. A big silence is settling over you as new amusements and amazements rise up within you. It will be understandable if you feel reluctant to blab about them. They need more time to ripen. You should trust your impulse to remain a secret and a mystery for a while. LEO (July 23-Aug. 22): “Insight is not a light bulb that goes off inside our heads,” says author Malcolm Gladwell. “It is a flickering candle that can easily be snuffed out.” Take that as a constructive warning, Leo. On the one hand, I believe you will soon glimpse quite a few new understandings of how the world works and what you could do to make it serve you better. On the other hand, you’ve got to be extra alert for these new understandings and committed to capturing them the moment they pop up. Articulate them immediately. If you’re alone, talk to yourself about them. Maybe even write them down. Don’t just assume you will be able to remember them perfectly later when it’s more convenient. VIRGO (Aug. 23-Sept. 22): After a storm, British wildlife lover Gary Zammit found a baby heron cowering in a broken nest. Its parents were dead. Zammit took the orphan under his wing. He named it Dude, and cared for it as it grew. Eventually he realized that Dude was never going to learn to fly unless he intervened. Filling his pockets full of the food that Dude loved, Zammit launched a series of flying lessons -waving his arms and squawking as he ran along a flat meadow that served as a runway. Dude imitated his human dad, and soon mastered the art of flight. Can you see ways in which this story might have metaphorical resemblances to your own life, Virgo? I think it does. It’s time for your mind to teach your body an instinctual skill or self-care habit that it has never quite gotten right. LIBRA (Sept. 23-Oct. 22): For four days twice a year, the East China Sea recedes to create a narrow strip of land between two Korean islands, Jindo and Modo. People celebrate the “Sea-Parting Festival” by strolling back and forth along the temporary path. The phenomenon has been called the “Korean version of Moses’ miracle,” although it’s more reasonably explained

by the action of the tides. I foresee some sweet marvel akin to this one occurring in your life very soon, Libra. Be ready to take advantage of a special dispensation. SCORPIO (Oct. 23-Nov. 21): The desire for revenge is a favorite theme of the entertainment industry. It’s presented as being glamorous and stirring and even noble. How many action films build their plots around the hero seeking payback against his enemies? Personally, I see revenge as one of the top three worst emotions. In real life, it rarely has redeeming value. People who actively express it often wreak pain and ruin on both others and themselves. Even those who merely stew in it may wound themselves by doing so. I bring this up, Scorpio, because now is an excellent time for you to shed desires for revenge. Dissolve them, get rid of them, talk yourself out of indulging in them. The reward for doing so will be a great liberation. SAGITTARIUS (Nov. 22-Dec. 21): Just for a few days, would you be willing to put your attention on the needs of others more than on your own? The weird thing is, your selfish interests will be best served by being as unselfish and empathetic and compassionate as you can stand to be. I don’t mean that you should allow yourself to be abused or taken advantage of. Your task is to express an abundance of creative generosity as you bestow your unique blessings in ways that make you feel powerful. In the words of theologian Frederick Buechner, you should go “to the place where your deep gladness and the world’s deep hunger meet.” CAPRICORN (Dec. 22-Jan. 19): Imagine a scenario like this: The CEOs of five crazily rich U.S. corporations, including a major defense contractor, stage a press conference to announce that in the future they will turn down the massive welfare benefits and tax breaks the federal government has been doling out to them all these years. Now picture this: The Pope issues a statement declaring that since Jesus Christ never had a single bad word to say about homosexuals, the Catholic Church is withdrawing its resistance to gay rights. I am envisioning a comparable reversal in your life, Capricorn -- a flip-flop that seems equally improbable. But unlike the two I named, yours will actually unfold in the course of the next eight months. If it hasn’t already started yet, it will soon. AQUARIUS (Jan. 20-Feb. 18): Matteo Ricci was an Italian Jesuit priest who lived from 1552 to 1610. For his last 28 years, he worked as a missionary in China. Corresponding with his friends and family back home required a lot of patience. News traveled very slowly. Whenever he sent out a letter, he was aware that there’d be no response for seven years. What would you express about your life right now if you knew your dear ones wouldn’t learn of it until 2017? Imagine describing to them in an old-fashioned letter what your plans will be between now and then . . . what you hope to accomplish and how you will transform yourself. Right now is an excellent time to take inventory of your long-term future. PISCES (Feb. 19-March 20): The cosmos is granting you a poetic license to practice the art of apodyopsis with great relish. You know what apodyopsis is, right? It refers to the act of envisioning people naked -- mentally undressing them so as to picture them in their raw state. So, yes, by all means, Pisces, enjoy this creative use of your imagination without apology. It should generate many fine ramifications. For instance, it will prime you to penetrate beneath the surface of things. It will encourage you to see through everyone’s social masks and tune in to what’s really going on in their depths. You need to do that right now.

Homework What pose would it be a relief for you to drop? How are you faking, and what could you do to stop? Freewillastrology.com.

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

freewillastrology.com

The audio horoscopes are also available by phone at

1-877-873-4888 or 1-900-950-7700 54

Week Classifieds SEPTEMBER 25, 2013 wweek.com

TO PLACE AN AD CONTACT:

ASHLEE HORTON

503-445-3647 • ahorton@wweek.com

ww presents

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