39 49 willamette week, october 9, 2013 by Willamette Week Newspaper

lukas ketner

NEWS An NFL star’s business fumble. headout SHERLOCK HOLMES MYSTERY GAME. bikes OUR WINTER GEAR GUIDE. P. 8

P. 26

WILLAMETTE WEEK PORTLAND’S NEWSWEEKLY

“TASTES LIKE GINGER-FLAVORED HAIR SPRAY.” P. 25 wweek.com

VOL 39/49 10.09.2013

RIP CITY VS. NO PITY

Blazers or timbers: who owns portland? p. 12

P. 23

Willamette Week OCTOBER 9, 2013 wweek.com

MARY CONTRARY

CONTENT

CLUES FOR BOOZE: Can you ďŹ nd the purloined pearls? Page 23.

NEWS

MUSIC

LEAD STORY

PERFORMANCE 42

CULTURE

MOVIES

FOOD & DRINK

CLASSIFIEDS

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

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

Our mission: Provide Portlanders with an independent and irreverent understanding of how their worlds work so they can make a difference. Though Willamette Week is free, please take just one copy. Anyone removing papers in bulk from our distribution points will be prosecuted, as they say, to the full extent of the law. Willamette Week is published weekly by City of Roses Newspaper Company 2220 NW Quimby St., Portland, OR 97210. Main line phone: (503) 243-2122 fax: (503) 243-1115 Classifieds phone: (503) 223-1500 fax: (503) 223-0388

DISTRIBUTION Circulation Director Mark Kirchmeier WWEEK.COM Web Production Brian Panganiban Web Editor Matthew Korfhage MUSICFESTNW Executive Director Trevor Solomon Associate Director Matt Manza OPERATIONS Accounting Manager Chris Petryszak Credit & Collections Shawn Wolf Office Manager Ginger Craft A/P Clerk Andrea Iannone Manager of Information Systems Brian Panganiban Associate Publisher Jane Smith Publisher Richard H. Meeker

Willamette Week welcomes freelance submissions. Send material to either News Editor or Arts Editor. Manuscripts will be returned if you include a self-addressed, stamped envelope. To be considered for calendar listings, notice of events must be received in writing by noon Wednesday, two weeks before publication. Send to Calendar Editor. Photographs should be clearly labeled and will be returned if accompanied by a selfaddressed, stamped envelope. Questions concerning circulation or subscription inquiries should be directed to Mark Kirchmeier at Willamette Week. Postmaster: Send all address changes to Willamette Week, 2220 NW Quimby St., Portland, OR 97210. Subscription rates: One year $100, six months $50. Back issues $5 for walk-ins, $8 for mailed requests when available. Willamette Week is mailed at third-class rates. A.A.N. Association of ALTERNATIVE NEWSWEEKLIES This newspaper is published on recycled newsprint using soy-based ink.

Willamette Week OCTOBER 9, 2013 wweek.com

INBOX HARRY MERLO AND OUR WATER

PORTLAND’S BRIDGES

I don’t see any problem with Harry Merlo contributing to efforts to make the Water Bureau into a public utility district [“Mystery Man Revealed,” WW, Oct. 2, 2013]. I do have reservations about who controls Bull Run. Surrounding municipalities have their eye on that water (beats the cost of cleaning up Willamette water). Also, the devil is in the details. How would a PUD be controlled, and effectively, who would end up controlling the board? —“Firegod”

Congrats to Sara Sneath and Evan Johnson on a terrific essay [“City of Bridges,” WW, Oct. 2, 2013]; kudos to W W for some nice multimedia work. I liked the surprise of the “centerfold” shot of the St. Johns later in the issue, and the quiz was a nice—and informative—touch. —“Brian Burk”

I know Harry Merlo personally, and this attack piece goes to show how low and misguided WW has become as any legitimate source of news. Nice way to put a character assassination on a kind, old man who only wants good and does great things for our community. You should be ashamed of yourselves. —“Jeremiah William Johnson” The reality is that this is how two seemingly opposite-sided interests can find common ground. It is no different than the fluoride debacle. It is exactly what we as voters want Washington, D.C., to do as well. So thanks for letting us know the money, but you could have couched this in more informative ways and not as a left-wing attack on a conservative. —“Troy Haliwell” This article reads like something Rash Limbo might have put together: jive. If you can’t make your case with relevant facts, then just assassinate your opponent’s character. —“Ken”

Portland-Milwaukie Light Rail cost $1.5 billion for 7.3 miles, or $205 million per mile. I’m a mass-transit fan, but yikes! I don’t see gold leaf on any of the new tracks, so I’m stumped. How on earth does such a project cost so much? —Alan C. “Compared to Alan C.’s mom, everything sounds expensive,” TriMet responded in a prepared statement. OK, not really—they responded with a bunch of facts and figures and no your-mom jokes at all, unless “easement” is an archaic term for “lube.” For starters, you get a bridge with this deal. I don’t know if you’ve priced bridges lately, but I was just looking at one that was gonna run me about $4.2 billion, which makes the $134 million we’re blowing on this span seem like an IKEA closeout. There are also some costs that you probably wouldn’t think about. For example, the land that 4

Willamette Week OCTOBER 9, 2013 wweek.com

You left out a bridge. What about the Burlington Northern Railroad Bridge between the St. Johns and Fremont bridges? It has one of the highest lift spans in the U.S. —“Mike”

SHERIFF’S HOLD ON IMMIGRANTS

“He’s rejected fewer than one in 10 hold requests by [U.S. Immigration and Customs Enforcement] since last spring.” [“No Thaw in Jail’s Chill,” WW, Oct. 2, 2013.] If the feds pay, why reject any hold? Aren’t law-enforcement bodies supposed to cooperate? —“disqus” Maybe the sheriff wouldn’t have overspent his budget if he’d charged the feds what these holds actually cost the county. —“Guest” 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.

the thing runs through had to be bought from all the people it belonged to ($244 million). The project also had to be planned, designed, engineered, insured and generally lawyered up—all professional services that tend to bill at a high hourly rate. That’s another $200 million. The trains are $90 million, and finance charges will eat up another $229 million. All together, that’s close to a billion spent without laying a foot of track. In truth, only $546 million—about $14,000 a foot—went toward the actual jackhammers, plumber’s cracks and interminable traffic disruptions that constitute what you would think of as actually building a light-rail line. That’s still not cheap, but when you consider that construction costs for one urban parking space run about $15,000, it doesn’t seem crazily out of line. Plus, the MAX Orange Line throws in 17 transit stations at no additional charge—you can’t afford not to buy one! QUESTIONS? Send them to dr.know@wweek.com

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METRO: A $1.4 million committee calls for another committee. 7 BUSINESS: An ex-NFL star’s troubled health clubs. 8 MEDIA: Progressive radio—with Jefferson Smith—returns to the air. 10 TRANSPORTATION: Why the CRC already promises to gouge drivers. 10 COVER STORY: Blazers vs. Timbers: the fight for your love and money. 12

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The biggest financial backer of a ballot initiative to take away control of Portland’s water and sewer bureaus from City Hall says it will back off if Mayor Charlie Hales meets its demands for reforms. Portland Bottling Co. president Tom Keenan told Hales and City Commissioner Nick Fish in a Sept. 30 email (obtained by WW with a public records request) his firm wants city leaders to replace the Water Bureau’s top managers, cut water rates next year and seek a deferral from federal requirements to cover the city’s open-air reservoirs. Keenan says he didn’t want to make the conversation public but stands by his offer. “I’m trying to get these unconscionable rates rolled back,” he tells WW. “It doesn’t matter who does it, by referendum or by the city.” Fish says the demands are extreme: “I now have renewed sympathy for the president as he negotiates with House Republicans.”

A Portland police detective caught talking to potential jurors outside a Multnomah County courtroom is under internal investigation. Sources conﬁrm that internal aﬀairs investigators are looking into the actions of Detective Jason Lobaugh at a Sept. 4 criminal trial. A judge dressed down Lobaugh for telling jurors in the hallway “the detective in this case is outstanding.” Lobaugh was talking about himself, and jurors reported feeling coerced by his comments (“Tamper Tantrum,” WW, Sept. 18, 2013). Police considered the matter closed before our story about Lobaugh’s actions. “The bureau is looking into this incident,” Lt. Michael Marshman told WW in an Oct. 7 email. “So at this time the bureau is not able to comment.”

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Next year’s campaign to legalize marijuana in Oregon will feature big national money active in successful Washington and Colorado efforts last year. The first in: Progressive Insurance founder Peter Lewis, who contributed $32,000 this week to New Approach Oregon, which is looking at a petition drive for 2014. Lewis, whose net worth Forbes magazine pegged at $1.25 billion, and hedge-fund titan George Soros (net worth: $20 billion) typically work in concert on marijuana legalization efforts. Read more Murmurs and daily scuttlebutt.

LEO ZAROSINKSKI

The ﬁnancially troubled Oregon Ballet Theatre has put its headquarters building on the market. WW reported earlier this year that OBT is $300,000 in arrears for use of the Portland’s Centers for the Arts. Records also show a $300,000 loan to OBT came due Aug. 15. OBT bought its headquarters at Southeast 6th Avenue and Morrison Street in 2000 for $1.45 million. The ballet’s real-estate broker last week didn’t list a sales price. Spokesman Ben Wood says OBT is just “gauging interest.”

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

sheri smith

NEWS

PHOTO: Caption tktktk

CIRCULAR LOGIC METRO’S $1.4 MILLION STUDY YIELDS ANOTHER COMMITTEE. By B E N JA M I N R I C K E R

bricker@w week .com

When Tom Hughes took over as Metro president three years ago, he promised to put the regional government to work creating jobs for the Portland area. To be sure, Hughes has pushed major construction projects, for an anchor hotel at the Oregon Convention Center (which Metro manages) and for the Columbia River Crossing. Hughes also wants Metro to help focus the rebuilding of the region’s road, bridges and sewers—a role Hughes himself calls a “stretch” for his agency. Metro has pursued a four-year project, called the Community Investment Initiative, to figure out how the region can cover a $10 billion gap needed to repair its infrastructure in the next three decades. To answer that question, Metro has organized a 40-member committee, held 16 public meetings and published five reports—at a cost of $1.45 million over the past three years to pay for staff and consultants. Its proposal: The region needs yet another committee. Metro wants to create a panel of business leaders that will give its blessing—and

lend political weight—to public works projects seeking tax money and private investment. In the long, expensive effort to reach this conclusion, Metro still hasn’t met its goals for getting local mayors on board for a new “super-committee” to review public works projects. Noah Siegel, a policy adviser Metro hired last month to focus the project, says the process has taken longer than many expected. “It’s been a little bit of a roundabout route to get here,” Siegel says. As Hughes prepares to run for a second term in 2014, the output of his agency’s Community Investment Initiative shows both the promise and the pitfalls of crossjurisdictional, regional government. Hughes argues Metro is uniquely positioned to tackle the region’s infrastructure problems because it can cross political boundaries. “There is virtually no major project in this region that’s accomplished single-handedly,” he says. Critics say such endeavors demonstrate the agency’s lack of focus and practicality. “This is the kind of self-referential, inbred, money- and time-wasting we’ve come to expect from this Metro Council,”

says Tom Cox, a Republican business consultant who has run—and lost—for Metro Council and state treasurer. “They’re masters of doing nothing to address problems.” Metro covers the Portland area’s three counties. The agency runs the Oregon Zoo, the Expo Center and Portland’s Center for the Arts, oversees solid-waste disposal and draws the region’s urban-growth boundary. Metro is overseen by a seven-member council—six elected from districts, and Hughes, the president, who is elected at large. Metro’s functions also include transportation planning and distributing federal transportation dollars. Former Metro Chief Operating Officer Michael Jordan initiated a 2008 study of infrastructure needs that called the region’s decaying roads, bridges and sewers a “crisis.” In the past, cities and counties have disagreed about which transportation projects should get funded first. At the same time, larger projects that involve a number of jurisdictions have stumbled, such as plans for a westside bypass freeway corridor, because no one seemed to lead the charge. In 2010, Metro steered money from an affordable housing program to launch the Community Investment Initiative and named a 40-member “leadership council,” including Por t of Por tla nd director of public affairs Tom Imeson, Portland State University President Wim Wiewel and Mayor Charlie Hales, then a vice president at HDR Inc., a light-rail consulting firm. The group’s answer? Create something called the Regional Infrastructure Enter-

prise, run primarily by business leaders who would decide which infrastructure projects should get the region’s political blessing. This new committee, which would operate under the Port of Portland, is intended to add clout to projects that win its approval. Siegel, who recently moved from Hales’ office, says the new regional approach mig ht have helped smooth conf licts between Multnomah and Clackamas counties over financing the Sellwood Bridge replacement. “Do we wish we had a better process to do that?” Siegel says. “Is there a way we can look at infrastructure from a regional perspective instead of a competitive perspective?” Tualatin Mayor Lou Ogden says he fears the proposal being pushed by Metro—with its mission to regulate grow th—won’t include enough public oversight. “Metro is not the agency to be making these decisions; their focus is too narrow,” Ogden says. “I have the same concerns about Metro’s appointments to its board of private-sector people.” The Metro Council, which approved spending another $323,000 for the Community Investment Initiative this year, has yet to sign off on the idea. Hughes acknowledges that when he ran for Metro president in 2010, he touted the need for such a project but didn’t anticipate how long it would take. “I expected speedier results,” he says. “But these problems are incredibly complex and take a long time to figure out.” Willamette Week OCTOBER 9, 2013 wweek.com

business w w s ta f f

NEWS

on the clock: ex-nFl star Sam Adams faces pressure to fix the RiverPlace (pictured here) and Duniway athletic clubs.

UNNECESSARY ROUGHNESS MEMBERS TAKE A HIT AT A FORMER NFL STAR’S TROUBLED ATHLETIC CLUBS. by n i G e L JAQ u i s s

njaquiss@wweek .com

For 14 seasons in the National Football League, Sam Adams ran roughshod over opposing blockers. The onetime Seattle Seahawks defensive tackle went to the Pro Bowl three times, thanks to his skill hunting down quarterbacks. But as a businessman running two prominent Portland athletic clubs, it’s Adams who is getting sacked. For the past year, Adams, 40, ran the Duniway Park Athletic Club on Southwest Barbur Boulevard and, last fall, assumed control of RiverPlace Athletic Club on the South Waterfront. As The Oregonian reported in August, owners of the Duniway Park building (formerly the YMCA) began eviction proceedings against Adams’ company for failing to pay rent. Adams directed members to RiverPlace, a higher-priced club two miles away. But public records and court documents show Adams faces much bigger financial problems affecting thousands of club members. Adams’ company, even after recently paying $137,500 in back rent, remains in a legal dispute with his landlord at Duniway over property taxes, insurance and unpaid contractors. He’s also been embroiled in numerous disputes at Riverplace, alienating employees and members. “You can’t treat members the way he has treated them,” says Dennis Sivers, Adams’ landlord at RiverPlace. “We are in a mode of trying to figure out how to deal with Mr. Adams without making things worse for members.” Adams tells WW the problems at both clubs are the legacy of neglect and deferred maintenance—and are not his fault. “Duniway was a dump when I took it over,” Adams says. “You needed a tetanus shot to go in the locker room.” RiverPlace was also poorly maintained, he says. “What they’ve done for years is put BandAids on bigger problems.” But records show Adams isn’t feuding with just his landlords. In the past year, several vendors and contractors, including a telephone company, a landscaper, an electrical company and the RiverPlace condo association, have filed 8

Willamette Week OCTOBER 9, 2013 wweek.com

legal actions against Adams or his companies. On Sept. 27, court records show, the owner of the RiverPlace Apartments won a $127,000 judgment against Adams for unpaid parking charges. In the Duniway eviction court file, invoices from A merican Heating Inc. show Adams $40,000 past due for work the company performed. The file also includes an email from the architect Adams hired. “Due to the check from Oregon Athletic Club [Adams] not clearing my bank,” wrote architect David Vonada on Sept. 10, “I will be unable to proceed with the completion of construction documents as scheduled.” Adams runs six clubs in all, including four in the Portland area and two in Washington. Last month, the Seattle Athletic Club sued him for trademark infringement in federal court after he changed the name of Seattle’s Allstar Fitness to West Seattle Athletic Club. The Internal Revenue Service also filed a $34,000 tax lien against one of his companies last year. Adams says the tax lien is left over from a poor investment he made, and despite all the litigation, he insists he’s thriving. “There’s nothing wrong with my business,” Adams says. Membership at RiverPlace has actually grown under his management, he adds. “Sam has been fixing things,” Adams says. “They are not going to put all these problems on Sam.” When Adams directed Duniway members to the more-expensive RiverPlace after Duniway closed, the refugees arrived to find sweltering conditions because the air conditioning didn’t work. Members also grew cranky about the loss of free parking after Adams refused to pay the operator of the RiverPlace parking garage. Nikolas Ackerman of Southwest Portland says he’s throwing in the towel after belonging to RiverPlace for seven years. “I really didn’t want to leave,” he says. “I’d gladly come back under a different owner.” The struggle of Adams’ clubs mystifies Sivers, whose company also owns two suburban athletic clubs. As baby boomers age and the economy rebounds, he says, many health clubs are thriving. “It’s counterintuitive,” Sivers says of Adams’ problems at Duniway and RiverPlace. “There’s no reason these problems should be happening.”

Willamette Week OCTOBER 9, 2013 wweek.com

JEFFERSON SMITH RETURNS PROGRESSIVE TALK RADIO TO PORTLAND’S AIRWAVES.

TRANSPORTATION

TOLL ON, COLUMBIA THE CRC WILL GOUGE OREGON DRIVERS MORE THAN PREVIOUSLY DISCLOSED.

amesh@wweek.com

Jefferson Smith wants to make news again—not as the focus of the media machine but as part of it. Smith, the former candidate for Portland mayor, has engineered a broadcast-radio deal to bring back two progressive voices who lost their local station, Carl Wolfson and Thom Hartmann. Nonprofit radio startup Cascade Educational Broadcasting Service announced last week that its first station, KXRY-FM 91.1, would feature Wolfson and Hartmann. Smith’s own show, Thank You Democracy, will soon follow. PUMP UP THE VOLUME: Jeﬀerson Smith says he’s enjoying his Internet radio show, which he’s taking Wolfson and Hartmann were both cut out of the to the airwaves on KXRY-FM 91.1. “I’m learning a Portland market last November, when KPOJ-AM 620 lot,” he says. “I have dozens of listeners that I think switched formats to Fox Sports Radio (“Who Killed are learning something, too.” KPOJ?,” WW, Nov. 28, 2012). Wolfson launched a show on the Internet, while Hartmann continues to be syndi- Wolfson says. “My hope is that we can knit enough of cated nationally. these low-power FMs together that we create a national KXRY organizers say Smith, a former Democratic state progressive network—what Air America wanted to do rep from Portland, and local radio producer Zak Burns but never really did because they had a bad business approached them last spring about adding progressive talk model. If that happens, it will start in Portland.” to a lineup of Portland-based indie-rock shows. Phil Busse, who himself ran for mayor in 2004 while “They actually came to managing editor of The Portland my living room and pitched “ARE WE SORT OF IN AN Mercury, has raised money for the the idea,” says Cascade Eduthrough his own journalism OCEAN OF NEWS WITH- station cational Broadcast Service nonprofit, the Media Institute for board president Jenny Logan. OUT A DROP TO DRINK?” Social Change. “It seemed like a no-brainer.” His group landed a $10,000 grant Smith secured agreements —JEFFERSON SMITH last year from the Regional Arts & with Wolfson and Hartmann. Culture Council for an FCC license. He’s also playing matchmaker for shows produced by “My role—and that of the Media Institute—has largely progressive political website BlueOregon and pop- been the equivalent of a water boy,” Busse says. “I helped culture podcasters Cort Webber and Bobby “Fatboy” make introductions and draw in some talent.” Roberts. Burns recruited Smith to advise XRAY.FM in the spring. “How do you get music and talk radio to work He says the former politician has become a “cornerstone” together?” Smith asks. “We adopted the mullet model— of the radio project. business in the front, party in the back.” “He’s a natural talk-show host,” Burns says. “Usually XRAY.FM, as KXRY styles itself, inherited a Federal you have to worry about people filling time. I have to cut Communications Commission license from Reed College, him off.” and talent from former pirate station Portland Radio Since losing the mayor’s race last fall, Smith, a coAuthority. Burns says the talk programs will broadcast founder of the Oregon Bus Project, has appeared as a from Falcon Art Community, developer Brian Wanna- guest host on Wolfson’s Internet talk show. He later maker’s North Portland basement art-studio space. developed his own one-hour weekly interview show. The station needs to find a location for its transmit“I think we are pretty well blessed in the Portland ter and file paperwork with the FCC. Even if it’s not on region,” Smith said on his show in July. “We have a lot the air, the station plans to start broadcasting on the of news media. The question is: Do we have all we need, Web on Halloween. or are we sort of in an ocean of news without a drop to “These low-power FMs are all around the country,” drink?”

WW news intern Ravleen Kaur contributed to this story.

Willamette Week OCTOBER 9, 2013 wweek.com

The amount Oregon thinks drivers will have to pay to use the Columbia River Crossing keeps climbing. $6

$5.39 Pay by mail

$5 $4 $3

$2.69

$3.62

Base toll

Electronic pay

$2 $1 0

2011

2013

Note: The 2011 toll estimate assumes the price for a 2018 CRC opening. The current estimates assume a 2022 opening.

S O U R C E S : C R C F I N A L E N V I R O N M E N TA L I M PA C T S TAT E M E N T ; O R E G O N D E PA R T M E N T O F T R A N S P O R TAT I O N

BY AA R O N M E S H

HOPKINS

AIR APPARENT

NEWS

MEDIA

MORGAN GREEN

NEWS

Gov. John Kitzhaber is fresh from a successful special legislative session, where he pushed through reforms to the state’s public pension system and raised taxes to add $200 million in school funding to the state’s budget. The big item still on his to-do list, however, is the $2.8 billion Columbia River Crossing. Kitzhaber has been desperately trying to convince lawmakers that Oregon can build the bridge by itself. This Oregon-only approach is at odds with statements he made earlier this year that Oregon needed the state of Washington as a partner for the Interstate 5 project. Authority to spend $450 million on the project, which lawmakers approved during the regular session, expired Sept. 30, and some lawmakers are now reluctant to support Kitzhaber’s pet project again. One reason might be the hidden cost to Oregon drivers: Proposed tolls for the bridge for many drivers have more than doubled since estimates in 2011. As first reported on wweek.com, the state’s own consultant, CDM Smith, projects the number of cars that would use the bridge per day has fallen, pushing up the price of estimated tolls. The tolls are supposed to cover the $1.9 billion Oregon would have to borrow to build the project—a risk the state, under Kitzhaber’s latest scheme, would have to bear alone. NIGEL JAQUISS.

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lukas keTner

RIP CITY VS. NO PITY Blazers or timBers: who owns portland? BY aa R ON M ES H

amesh@wweek.com

Kristin Leichner is driving toward the unthinkable. She’s been attending Trail Blazers basketball games since 1996, when her family used earnings from its trash-hauling company to buy season tickets at the Rose Garden. She added her own seat five years ago. But last weekend, Leichner found herself driving up Interstate 5, all the way into Canada, to watch a game—not her beloved basketball, but soccer. Last year, Leichner purchased season tickets to the Portland Timbers, the city’s ascending Major League Soccer franchise. Those tickets don’t include games out of town, of course, but her growing passion for the Timbers inspired the five-hour drive to British Columbia to watch her new team’s Oct. 6 match against the Vancouver Whitecaps. “I used to look at Timbers games as a social event to fill the months where there were no Blazer games,” Leichner says. “Now I’m going to root on my team.” For more than four decades, there was no question which professional team owned Portland. The Blazers were the core of any local sports fan’s identity. Bill Walton, Bill Schonely, Clyde the Glide: These legends gave the city a rallying point, and 12

Willamette Week OCTOBER 9, 2013 wweek.com

offered a place on the national stage. (They were often the only thing outsiders knew about Portland.) Even the low points—the Jail Blazer arrests, the bad draft picks, the calamitous injuries—were misery shared with company. The Timbers? The soccer team was an eccentric interest that crested now and again, in a series of leagues too obscure to take seriously. Sure, the rambunctious Timbers Army made things interesting—if you liked circuses and sing-alongs where the sporadic game might break out. But this fall, as the basketball and soccer seasons overlap, a funny thing has happened: The Timbers have overtaken the Blazers as Portland’s hot ticket, and are poised to usurp the title of Stumptown’s signature sport. Soccer just seems hipper. The oddities of the game—its Eurocentric flavor, its reliance on crowd participation, its appeal to mustachioed baristas— dovetail with the rise of a young downtown culture. And most importantly, the team is really good. Coach Caleb Porter has taken the players’ strengths—the acrobatics of Darlington Nagbe, the scrappiness of Will Johnson, and the reliability of Donovan Ricketts, to name only three—and forged a high-octane powerhouse. Meanwhile, the Blazers are entering another rebuilding season, still trying to rebound from the double whammy of Brandon Roy and Greg Oden’s

wrecked knees. (Top draft pick CJ McCollum has already broken his foot.) The basketball arena may have a new name—the much-derided Moda Center—but everything else, from the uncertain quality of the team to the suburban cheesiness of the McMuffin giveaway, feels deflatingly familiar. Portland now has two major-league teams. We have other sports—the Winterhawks can point to their junior-league hockey championships, and the minor-league-baseball Hillsboro Hops are adorable. But for sports that bring national networks to town, the choice boils down to basketball or soccer. The fight for the hearts—and dollars—of Portland fans is now a legitimate contest. In the following pages, we look at the teams represented by Blaze the Trail Cat and Timber Joey. WW has asked some of the city’s most passionate fans to make the case for their sport’s supremacy. We’ve analyzed the contest by the numbers. We’ve compared the fat-cat owners. And we concluded…well, we’re not going to give away the final score. As for Leichner, she’ll still pick the Blazers over the Timbers every time. Unless the Timbers are in a playoff match. Then it’s a whole new ball game. Watch video of Blazers and Timbers fans explaining why their teams play “the most important game.”

D AV I D B L A I R

TIMBERS

RIP CITY VS. NO PITY

DON’T STOP BELIEVING. BY AA R O N B R OW N

243-2122

I went to my first Timbers game in 2002. I recall little except they lost and it rained. My father took me when I was 13, riding MAX from the Sunset Transit Center. I loved the game but knew little more about it than my experience playing kick-and-chase matches—with orange slices, minivans and muddy Tualatin Hills Park & Recreation fields. I soon became a regular at Timbers games in 2005, in the days when you could show up five minutes before kickoff and stand somewhere in Section 107, home of the nascent Timbers Army. My nerdy friends and I relished the opportunity to unleash profanity in public, and light smoke bombs left over from the Fourth of July. Soccer, the sport we loved, had repositioned itself in our lives from our suburban experience to a gritty, raucous, urban expression of the hip lives in bigger cities to which we aspired. We lived through the Timbers’ sordid history of embarrassing losses to amateur clubs (no really, this happened last year; we lost a competitive match to a team of dudes who park cars for a living), devastating injuries to key players during promising seasons (Cameron Knowles, the original Greg Oden), and annual fear that whatever minor league we were playing in pre-Major League Soccer days would fold. You can imagine my guarded caution about getting too excited for the results of a team I love. To an unprecedented degree—including our promotion to MLS in 2011—this year is different. Coach Caleb Porter’s fluid system has breathed life into a young roster. After a 15-game unbeaten streak that included late-game heroics to steal a point from Seattle, our once-lowly Timbers are suddenly within striking distance of trophies, shields and opportunities to win berths to continental tournaments. Look, I love the Trail Blazers. I still have my autographed 1999 Jermaine O’Neal poster. Yet attending Blazers games increasingly feels like an act of conspicuous consumption. Stand up and shout when some disturbingly peppy cheersquad goon blasts a corporate-branded T-shirt into your section. But don’t cheer too loudly, lest you interrupt the daughter of a Lake Oswego dentist as she plays Candy Crush. The stands of Jeld-Wen Field still show the difference between being a consumer and a supporter. Comparatively, standing in the Timbers Army is increasingly an act of performance, in which your presence, vocal contributions, flag-waving and participation in the spectacle of coordinated, choreographed chaos actively contribute to the result and atmosphere of the game. Two dozen volunteers in February spent an entire weekend in a North Portland warehouse to paint an acre-sized banner to be unfurled for a total of 2½ minutes at the March 3 home opener against the New York Red Bulls. The banner read “Rain or Shine Since 1975,” and featured umbrellas, blue streamers and a painting of the Morton Salt girl wearing a No Pity scarf—an implicit nod to our history of atrocious weather on opening days. What Blazers fan would spend five minutes on such an effort? The Timbers aren’t in the basement of the standings or culturally inconsequential anymore, and, honestly, that annoys some soccer fans.

Gone are the days of cheap tickets and matches against clubs like the Rochester Rhinos, who used a piece of Microsoft clip art for a logo. Stadium beers nearly cost what I make in an hour, insufferable drunken tourists (alas, often from Beaverton) crowd the Army hoping to be on television, and the growth of Timbers fandom from a niche, Keep Portland Weird activity to a mainstream entertainment has prompted numerous accusations of “selling out.” And therein lies the cultural moment of the Timbers Army, circa 2013. While every city in America seems to be fighting for bigger, more global, more shiny, Portland indifferently shrugs and asks for better, preferably local and handcrafted. If you want to sit out rainy winters penning songs that you and your friends can unveil at a minor-league match against the Utah Blitzz, well, go for it. There’s been plenty of existential soul-searching among Timbers fans about our identity as we grow up, a crisis intimately familiar to Portlanders skeptical about The New York Times’ preening attention. “I miss the USL-league Timbers” is the new “I liked the original Tarkio album but can’t get into the Decemberists.” But some things have remained mercifully consistent over the last 10 years. As I did in 2002, I attend matches with my parents, although I hang out with them by choice, having matured enough to enjoy their presence for reasons beyond the occasional free beer. I also attend with friends, many standing beside me and many more across the country, watching on illegal Belarusian websites. I help out, joining the Timbers Army in Oregon Food Bank drives, soccer-field maintenance sessions and marching in Pride parades, No Pity scarves and all. And I sing, blistering my tonsils and larynx with sharp invective and appropriated 1940s Italian anti-fascist songs. We believe—believe beyond reason, as a Timbers Army tradition tells us—that what we have going here is not just this funny little soccer club but our funny little town and the funny little people who open food carts and ride bikes and live here. We believe all of it might culminate in the very best place on Earth, or at least, our place on Earth. That’s worth singing for—rain or shine. Aaron Brown is a transportation and social justice advocate based in North Portland. Willamette Week OCTOBER 9, 2013 wweek.com

cont.

BLAZERS BASKETBALL IS THE REAL BEAUTIFUL GAME. BY c as e Y ja r m a n

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You have to start with the pinwheel. When I first started attending Trail Blazers games in 2003, the team’s brand was suffering. This was not because the Blazers were bad: The squad had finished the previous regular season with a very respectable 50-32 record. But in the first round of that year’s playoffs, one could (and I did) saunter up to the ticket office 20 minutes before a playoff game and buy a nosebleed-seat ticket for $15. That’s because most Blazers fans just weren’t crazy about the guys in uniform. It’s not just that a handful of the players had been through drug charges, sexual assault allegations and ugly interactions with fans—troubles extreme enough that management would break up the squad that summer and sign a 25-point pledge with fans centered largely on player character. It was that the 2003 Blazers were cocky without playing particularly stylish basketball. Portland basketball fans don’t expect their team to be a reflection of the city (that would require nine members of the 12-man roster to be white, after all), but they do expect beauty and grit on the court every night. That’s because Blazers fans don’t watch the game like anyone else. They watch for beauty. And it really begins with the pinwheel. In 1970, when the Blazers entered the NBA, there were 17 teams. Most of them had pretty straightforward logos. The Milwaukee Bucks’ insignia featured a chilled-out deer in 14

Willamette Week OCTOBER 9, 2013 wweek.com

a sweater, spinning a basketball on its finger. The Boston Celtics had a mischievous, pipesmoking leprechaun, also spinning a basketball on his finger. Portland went in a radically different direction that dared to elevate the sports team logo to high art. The pinwheel, which has befuddled generations of nonPortlanders, is meant to symbolize players’ movements up and down the court and the beautiful symmetry of basketball. Those five red stripes set yin-yang style against five white ones may not have been intended as avant-garde—it was designed by Blazers co-founder Harry Glickman’s cousin, and could a guy named Frank Glickman really have been too highbrow?—but the image seemed to predict Portland’s future creative class and, more importantly, seeded the intensely personal fashion in which this city’s fans would watch basketball. The Blazers’ logo doesn’t say, “We’re going to crush you.” It says, “My God, isn’t this a beautiful game?” That is profoundly subversive. It is very Portland. It is also not an ax. The pinwheel persists in part because of the team’s extraordinary early history and lore, which is also why the Blazers will never be displaced as this city’s most beloved sports franchise. Imagine, if you will, Portland in 1969: a one-horse town considerably whiter and sleepier than the sleepy white town you call home today. Thanks to the Oregon Liquor Control Commission, live music still could not be played in bars (not that many notable bands would want to come through town anyway), and if you wanted competitive sports, you watched minor-league baseball or maybe drove south for a college football game. Fun in Portland in 1969 was getting drunk and driving around, or smoking weed and sitting at a park. Then blam, it’s 1970, and the National

Basketball Association opens a franchise in the middle of town. Now, we’ve all seen how excited Portland can get over an IKEA, a Krispy Kreme or an H&M. So it’s easy to understand how the arrival of a pro basketball team changed the very psyche of the city in 1970, and how that team’s NBA championship run in 1977 would become the city’s proudest collective moment. The Blazers’ only major-league championship has everything to do with the startling popularity of its second major professional club. Few among us can delude ourselves into thinking that the level of competition in Major League Soccer approaches that of the greatest basketball league on the planet, and none of us should expect that the Timbers will bring a national focus to this city the way the Blazers do in a good season. I’m not a soccer-hating American. I actually think the game, at its highest level, is totally thrilling. But the Timbers are a midlevel team in a low-quality league. On a recent visit from England, my soccer-obsessed cousin and her boyfriend attended a Timbers game. “The crowd was great,” she told me, “but the game—so boring, mate.” Fans swarm to the Timbers because they want to get in on the ground floor of something. Timbers fandom to many also seems like an opportunity to piss on the embers of a bygone Blazers legacy. Should the team bring home a golden cup or silver ball or whatever the hell MLS awards its champions, the ensuing riotous street party will be theirs alone. There will be no Bill Walton-looking creepers lurking in the shadows and saying “Yeah, but ’77 was better.” I understand this. I’m even a little jealous about it. But there’s no room in my life for a second marriage. I choose to watch the Blazers—despite

tony WeckeR, PoRtland tRail BlazeRs

R ya n P R o u t y, P o R t l a n d t R a i l B l a z e R s

RIP CITY VS. NO PITY

my many misgivings about corporate sports franchises in general and the team’s current bottom-line-oriented president in particular—because even when they suck, the competition is the best in the world. I watch them because basketball appeals to my ADD side more than soccer ever could. And I watch the Blazers because the team’s history gives me a better understanding of the city I love best. That last bit has come into sharp focus recently. Early this summer, I took a job in San Francisco. I miss Portland desperately, even as it changes into something less familiar and more weirdly cosmopolitan every time I visit. Even the Blazers are changing, but at least I can keep up. I’ve got NBA League Pass. I’ve got something to talk about with the folks back home. I watch for connections. I watch for beauty. I have never been so eager for basketball season in my life, and I have never been a bigger Blazers fan. Casey Jarman is a former WW music editor and sports writer who now serves as managing editor for The Believer magazine in San Francisco.

RIP CITY VS. NO PITY

CONT.

THE OWNERS A MAD LIB FOR KNOWING YOUR MOGULS. BY AA R O N M E S H

amesh@week.com

All fans feel a symbolic ownership of their team. In Portland, this tribal pride has manifested itself in touching and bizarre displays: gathering in Pioneer Courthouse Square to honor the arrival of Greg Oden, or howling obscenities at a new logo unveiled in Director Park to demand design changes on the ax. But don’t kid yourselves: The actual ownership of the Trail Blazers and Timbers belongs to very rich men. These tycoons are Paul Allen and Merritt Paulson. Use this mad lib to see how well you know them. Born in

and hailing from Allen: 1953. Paulson: 1973.

Allen: Seattle. Paul-

, he gained a fortune from son: Chicago.

Allen: Co-founding Microsoft.

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. He

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Paulson: His dad, banker and former U.S. Treasury Secretary Hank Paulson.

was most recently valued at Allen: $15.8 billion. Paulson: $700 million (the

. He bought the team for family fortune).

Allen: $70 million. Paulson: $16

and owns it through the intimidatingly named holding million.

page 19

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Not that he paid for the team’s stadium all by himself. The of the price tag,

city subsidized Allen: $34.5 million. Paulson: $31 million.

. He threat-

while he contributed

Allen: $46 million. Paulson: $8 million.

ened to walk away from Portland if the locals didn’t Allen: Give the

Blazers a bigger chunk of ticket revenues. Paulson: Build a baseball stadium in

. When criticized by Lents.

Allen: Oregonian columnist John Canzano. Paul-

for not son: The Timbers Army.

Allen: Spending enough money to win a cham-

, he vented online pionship. Paulson: Firing general manager Gavin Wilkinson.

by Allen: Posting pictures of an octopus he took while scuba diving. Paulson:

. Calling fans “idiotic” and “moronic” on Twitter.

To be fair, owning a team isn’t easy. He’s had to deal with because

fans Allen: Booing. Paulson: Spray-painting a huge sign.

Allen: Much of

the team had been arrested. Paulson: A rival player joined the team for a friendly

. It must have been especially painful for him when match.

Allen: He

had to sell his private island. Paulson: People in Lents jeered him at a public hear-

. But he copes. He tools around ing.

Allen: On his 414-foot yacht, Octopus.

. He spends time with his close Paulson: At the Waverly Country Club.

. And you

friend Allen: Bono. Paulson: Seattle Sounders owner Adrian Hanaue.

know deep down he’s a good guy, because he donates money to . Allen: Space exploration. Paulson: The Nature Conservancy of Oregon.

Willamette Week OCTOBER 9, 2013 wweek.com

RIP CITY VS. NO PITY

cont.

HEY, WHAT ABOUT THE…

THORNS? By Jonanna Widner

243-2122

Last November, we learned of the creation and the birth of a local franchise, Portland Thorns FC. Local media gathered up their Alex Morgan B-roll and then settled into a regular-season holding pattern that drifted between indifference (a certain journalist slumped in the Jeld-Wen Field press box at every home match as if waiting to get his teeth cleaned) or total absence (ahem). An email from Willamette Week lit up my inbox at 8:07 pm a week ago, evoking memories of that tepid stew. The gist: Hey, we’re writing about which team rules Portland, the Timbers or the Blazers? But then we thought, oh yeah, there’s also the Thorns. Wanna write about them? Oh, we need it in

two days. Oh, and you have 200 words. Typical. But so be it. I asked for 300 words, and they were granted, but then I realized I only needed one: “Trophy.” The Thorns are the first pro sports franchise to bring a major-league championship to the Rose City since 1977. They did it via a remarkable playoff run, culminating in a 2-0 victory over the Western New York Flash on Aug. 31 for the inaugural National Women’s Soccer League title. It was a dazzling season, and this team’s parts sparkle with individual brilliance. There is spunky midfielder Mana Shim, the self-proclaimed “lezziest lez in the league,” who scored her first professional goal in front of 13,802 spectators on Portland Pride day. There is defender Kat Williamson, who sees the town through the wide eyes of a Texas rookie, but who shuts down superstars like a steely-eyed vet. There is the rock, Becky Edwards, whose midseason knee-ligament tear crushed our spirits but not hers, as she toted teammates’ water bottles all season

THE MATCHUPS

while limping in a leg brace. There is the trickster, Tobin Heath, who cracked a 30-yard, bending, blistering, miracle of a shot that ended up being the championship game-winner…with an injured foot. There is red-Mohawked Karina LeBlanc, who guards her goal like a pit bull; the dreadlocked Courtney Wetzel; the laconically loping Allie Long; the wispy Angie Kerr. And there is, of course, Canadian legend and University of Portland product Christine Sinclair, as kind a soul as you will ever meet. Unless you happen to be between her and the goal—then she’ll happily rip out your heart, place it on the penalty spot, and strike it into the back of the net with a clinical finish. There are more players, but, you know, word count. Let’s just say you know you’ve got a hell of a team when you don’t even need to mention Morgan. Can you really argue with that? You certainly can’t argue with hardware. But most importantly, you can’t argue with the average of 13,320 red-clad, raging

By aaron mesh

east side! in the rose Quarter, a non-neighborhood best known for bus stops. Moda health, a Portland-based dental and medical insurer. (Fitting because many Blazers stars get horrifically injured.)

timbers Where they play Stadium named after:

West side! in goose hollow, a historic neighborhood best known for pubs. Jeld-Wen, a Klamath Falls-based window and door manufacturer. (Fitting because Jeld-Wen makes things out of wood.)

Maximum crowd

22,000.

$11.

Cheapest ticket

$15.

Most expensive (not counting sky boxes):

$125.

$398. Free buffet and popcorn. damian lillard looks the size of an ant; fights among fans. Bunk Sandwiches, Fire on the Mountain, Killer Burger and Sizzle Pie. the Blazer dancers gyrate on the court; the dancing lady and Blazer Bruce shake it in the stands. “Cha-lu-pa!” “these refs suck.” appearing in goofy jumbotron videos during timeouts. los angeles lakers. teams from texas. games against the houston rockets and dallas Mavericks destroyed the postseason ambitions of recent Blazers teams—along with the knees of greg Oden and Brandon roy. June 5, 1977. a 109-107 win over the Philadelphia 76ers to secure the 1977 NBa championship—their only title. June 4, 2000. they blow a 15-point lead to the lakers in the deciding game of the Western Conference finals, losing 89-84. anything involving centers. Medical treatment of Bill Walton’s fractured left foot. drafting Sam Bowie over Michael Jordan. drafting greg Oden over Kevin durant. guard Qyntel Woods is stopped on Sept. 30, 2003, for a turnsignal violation in his Cadillac escalade—and shows the cop his rookie trading card as identification.

Willamette Week OCTOBER 9, 2013 wweek.com

Jonanna Widner is, among other things, the Portland Thorns beat writer for StumptownFooty.com.

amesh@ wweek.com

19,980.

The Breaks of the Game by david halberstam.

fans that rattle the Jeld-Wen bleachers at every home match. Because they ’ve always been in on the secret: The Portland Thorns run this town, y ’all. Some of us already knew. Everybody else just needs to catch up.

WHICH TEAM HAS EARNED FAN LOYALTY? CHECK THE STATS.

blazers

gray V-neck dog t-shirt, $16.95.

C r a i g M i tC h e l l dy e r

…

Best perk in the most expensive seats Worst thing about the cheaper seats

Free hot dogs and ice cream. Support beams block views; getting wet when it rains.

Best stadium food

a rotating cast of food carts, including Big ass Sandwiches, Stumptown dumplings and 808 grinds.

Entertainment aside from the game

timber Joey saws logs and the army sets off smoke bombs after every timbers goal.

Signature late-game chant How fans attack the refs How players acknowledge fans Archrival True nemesis Greatest victory Most wrenching loss Worst decisions

Most embarrassing moment Strangest thing you can buy in the gift shop Required reading

“you are my sunshine.” “Oh referee, oh referee, take another bong hit.” Win or lose, strolling along the sidelines to applaud the crowd after every match. Seattle Sounders. real Salt lake. the timbers have a 1-4-2 record against the Utah team, which currently leads the Western division. aug. 12, 1975. a 2-1 sudden-death defeat of Seattle in the North american Soccer league quarterfinals, leading to a trip to the 1975 Soccer Bowl. Sept. 23, 2007. they lose 3-1 on penalty kicks to the atlanta Silverbacks in the USl First division semifinals, squandering a chance to face Seattle in the final. Choices involving Scots. Brogue-spouting coach John Spencer, who spent $1.25 million a year for listless Scot star striker Kris Boyd. they lose to Cal FC—an amateur squad—on May 30, 2012, when Boyd skies a penalty kick. green ax-emblazoned hockey mask, $22. The 1975 Portland Timbers: The Birth of Soccer City, USA by Michael Orr.

! G N WROIT’S THE DUCKS RIP CITY VS. NO PITY

CONT.

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J O H N M A R T I N E Z PAV L I G A

UNCLE PHIL HAS THE KILLER QUACK.

BY JO H N LO C A N T H I

243-2122

With all due respect to the Fail Blazers and the Fightin’ Alaska Airlines, the contest isn’t even close. There’s only one sports team that provides a distinctively Portland experience. It’s a team that plays its sport in an unconventional way that’s been copied and mimicked across the country in a vain attempt to be hip. It wears outlandish, artisanal uniforms designed by a hometown business. It puts professional-grade cash into an amateur enthusiasm. So what if it plays in Eugene? Portland’s top team is the Oregon Ducks football squad. The Ducks own the entire state. Drive around this city and you’ll see three times as many window decals, magnetic signs and pennants featuring the school’s “O” logo than any RCTID sticker or red-and-black NBA team logo that looks like water going down a toilet. The high-flying, nationally second-ranked Ducks (5-0) are averaging a phenomenal 59.2 points per game this season (while allowing a paltry 11.8 points by opponents) and a mere 20-odd seconds between plays. (The Timbers boast about their effective possession of the ball—a euphemism for playing keepaway for an hour and a half. Yawn.) The Ducks have gone 51-7 over the past five seasons. Meanwhile, the Blazers have a 159-153 record in that time and continue hyping their hopes for that elusive No. 8 playoff seed. If you like ties, the Timbers are good at those: With 14 draws this season, they lead Major League Soccer in sister-kissing. The fans at the Rose Garden (sorry, Moda—whatever) too often sit on their hands. Timbers fans are certainly enthusiastic and can pride themselves on being one of the two MLS fan bases that bother to show up to games. But it’s Autzen Stadium that has earned a well-deserved national reputation in a sport Americans actually care about. From the opening moments, when the Duck rips out onto the field on the back of a Harley, to the end of the game, when the Duck is exhausted from doing a pushup for every Oregon point, a cacophonous tide of chants roars throughout the stadium. The color-coordinated crowd (green, yellow, black, white, chrome, grellow, etc., to match the team’s uniform combo) pounds opponents with a blast of noise that’s like thunder hitting simultaneously with lightning. You can feel it as the entire crowd gasps whenever De’Anthony Thomas touches the ball. You can see it when quarterback Marcus Mariota decides to run instead of pass, or when freshman Torrodney Prevot breaks into an overenthusiastic celebration following a deflected pass in a monsoon. Haters can disparage the lavish gifts of Uncle Phil Knight, including the $68 million football performance center, and purists can bemoan the days when college athletes and coaches didn’t get the royal treatment, complete with their own castle. But you know what money buys? Thrills. Victory. Fun.

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BOOKS read ‘em!

Page 47

MUSIC MILLENNIUM’S UPCOMING IN-STORES CHRIS JERICHO (FOZZY) SPECIAL AUTOGRAPH SESSION WEDNESDAY, 10/9 @ 5 PM Frontmen don’t come more dynamic than Chris Jericho, one of professional wrestling’s superstars and the byproduct of a lifetime spent immersed in heavy metal.

Saxon cancelled for Wed.10/09 @ 6 PM CODY SIMPSON FREE ACOUSTIC PERFORMANCE THURSDAY, OCTOBER 10TH @ 6 PM Cody Simpson's new album, Surfers Paradise, shows how he has matured as an artist with reflective, acoustic guitar-driven tunes, and even a reggae track with Ziggly Marley. Don't miss this teen sensation's charismatic performance. LUCY ROSE FREE LIVE PERFORMANCE SUNDAY, 10/13 @ 3 PM With a mixture of true grit and sheer dedication, Lucy Rose’s poignant songs and cracked porcelain voice entrances like no one else. MELVILLE FREE LIVE PERFORMANCE MONDAY, 10/14 @ 6 PM Melville’s melodic indie rock is somewhat nebulously in an aural area between Radiohead and Americana.

Willamette Week OCTOBER 9, 2013 wweek.com

WHAT ARE YOU WEARING?

STREET

FATIGUES AN ARMY OF TIMBERS FANS MOBILIZES FOR THIS SUNDAY’S MATCH WITH SEATTLE. P H OTOS BY KAYLA N GU YEN A N D BE TH LAYNE HA N SEN wweek.com/street

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CULTURE

comedy W W S tA F F

CHAPPELLE’S NON-SHOW

REMEMBERING THE NIGHT DAVE CHAPPELLE TOOK OVER PORTLAND—AND DIDN’T EVEN PERFORM. By m at t h e w si n g e r

msinger@wweek.com

Forget the Arab Spring: For me, the true power of social media emerged on July 14, 2009, the day Dave Chappelle shut down Portland. A rumor, spread via Twitter, that the elusive comic was planning to perform a surprise midnight set at Pioneer Courthouse Square on a random Tuesday drew one of the largest crowds ever to Portland’s living room. It seemed like the makings of a very successful hoax. Turns out, it was just poor event planning. This week, Chappelle returns to Portland to perform a legitimate gig at the Schnitz. Even if he ends up raging against the audience, as he did in Hartford, Conn., in September, it’ll hardly match the bizarre scene that unfolded that evening in 2009. Here’s what I remember of that night, drawn from my own tweets. 6:55 pm I get home from however I filled my days as an unemployed freelancer and see this on Twitter, from Willamette Week’s then-assistant music editor, Michael Mannheimer: “Is this Chappelle thing for real? Or is he just trying to punk the whitest city in America?” Uh, what? Dave Chappelle is in town? A Google search brings me to pdxpipeline.com, which has compiled a series of tweets reporting Chappelle sightings at Masu Sushi, Zach’s Shack, 24 Hour Fitness, the Heathman Hotel and the now-defunct Hawthorne menswear store Local35, which announced from its own account earlier that day, “Free Dave Chappelle standup at midnight tonight at Pioneer Square!!” In an attempt to find out exactly what is going on, I tweet Chappelle’s good friend Questlove. He does not respond.

sound system strapped to his back, I start to doubt anything is going to happen. 11:41 pm Gradually, the crowd swells to over 1,000. It’s getting increasingly packed toward the front, and the lack of actual security—coupled with the eerily quiet, obviously intoxicated dude next to me who looks ready to start swinging on the next person who grazes him—is making me nervous. I try to thin the throng by starting another Twitter rumor about Gallagher performing a surprise gig at Mt. Tabor Theater. It doesn’t catch on. 12:04 am Agoraphobia setting in, I leave my spot near the stage. There are now more than 3,000 people packed into the Square. “It is difficult to think of a more impressive spontaneous downtown gathering in this city’s history since the Trail Blazers won the NBA title in 1977,” Willamette Week would later report. Cops have blocked off nearby streets. No sign of Chappelle, though there is a wave starting. 12:27 am No one is leaving. Two men and a woman crawl atop the Pioneer Square Starbucks and strip. There are hippies

W W S tA F F

11 pm After monitoring KGW’s live Pioneer Square webcam for a while, I head down to see what’s up. There are about 100 people hanging around. And there is a stage set up, though it’s for the Noon Tunes summer concert series, and there’s no PA. Unless Chappelle plans on parachuting in with a

Half-bakEd audIo: dave Chappelle shows, finally, at Pioneer Courthouse Square.

thumping djembes. “It’s like Woodstock,” someone tells The Oregonian. Yeah, but with no actual performers, which makes it more like Burning Man. 12:39 am I head to the Heathman, where Chappelle is rumored to be staying. A few local celebrity-stalkers, including Byron Beck, are milling about outside. Beck shows me photos he took of Chappelle from earlier in the day, confirming he’s in town. After waiting about 15 more minutes, I decide that, even if Chappelle is here, he’s staying in his room. I head home. 1:10 am The second I get out of my car at home, I start getting texts from WW music editor Casey Jarman, asking me if the reports that Chappelle finally showed up are true. I check Twitter and the KGW webcam and, by God, Chappelle is there, with a tiny portable amp and microphone, looking notably beefier than his Chappelle’s Show days. “Don’t tell a secret in Portland,” he says, though it’s barely audible. “I told four people at the gym, and look what happened.” Someone leaves to get better equipment. Chappelle fills time by screwing around with an OPB reporter, ogling the naked folks on the Starbucks roof, and continuing to express surprise at the turnout. “This has never happened in my entire career,” he says. The guy running to get a legit PA returns, but can’t get it hooked up. By 2 am, Chappelle concedes that no actual show is going to happen. “I didn’t know that I was still famous,” he says, as the tiny stage fills with people taking photos next to him. “Now I know, and I’ll be more careful.” He’s driven back to the Heathman, where he shoots shit with fans on the sidewalk for a few minutes before retreating inside. Miraculously, there are no reports of injuries or even arrests. 2:03 am Jarman texts me that he’s heard something about Chappelle doing a gig in Thermals drummer Westin Glass’ backyard. “It almost seems too weird to be untrue,” he writes. Deeply regretting my earlier decision to leave the scene, I roll out to Northeast Portland to investigate. That, it turns out, was a hoax. But crazier things have happened.

all EyES on davE: The crowd at Pioneer Courthouse Square greets Chappelle. 20

Willamette Week OCTOBER 9, 2013 wweek.com

SEE IT: Dave Chappelle is at Arlene Schnitzer Concert Hall, 1037 SW Broadway, on Friday, Oct. 11. 7:30 pm. Sold out.

Willamette Week OCTOBER 9, 2013 wweek.com

DRANK: Best pumpkin beers and ciders. MUSIC: RP Boo invented a genre in 1997. People just noticed. DANCE: Portland ballet dancer and punk-rock drummer. MOVIES: AP Kryza on Hitchcock’s silent years.

The practice of Sant Mat s based on meditation on inner Light & Sound, ethical values, service to others and love for all creation.

3:30 pm - Sun., Oct 13th

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Center for Natural Medicine 1330 SE César E. Chávez Blvd (SE 39th Ave.), Portland

SPIRITUALITY SCOOP Sant Mat

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The path of inner Light and Sound

(Talk given by authorized speaker) The goal of Sant Mat is to enable the soul to return and merge into its source; the purpose of human life described by mystics of all traditions. 877-633-4828 Admission Free

Shut and open: Chef Kevin Gibson of Evoe (and formerly of Castagna), along with Kurt Heilemann of Vinopolis, intends to open a small restaurant in the former June space at 2215 E Burnside St., next to Heart coffee. According to Heilemann, the space will “focus on Kevin’s food, the next step of what he’s doing.” Heilemann adds, however, they have yet to fully work out details for the new restaurant. >> North Williams Avenue pizza spot Oro di Napoli has closed for good. The restaurant opened this year and closed its doors in August, saying it would reopen. It never did. Instead, former Paccini owner Jason Kallingal will be taking over the place’s imported wood-fired oven and serving up fresh-fired pizza by the slice, after a remodel. >> John Esbeck of farmers market staple C’est Si Bon! has applied to revive the Kir space at 22 SE 7th Ave. as a wine bar and creperie.

www.santmat.net

JArEED

ndlightandsound@msn.com

OF COURSE GOSSIP HAS GUEST VOCALS FROM NELLY.

aS teaRS Go BY: Singer Fiona Apple ended a show in tears at Portland’s Newmark Theatre on Oct. 3 after a fan in the balcony yelled, “Get healthy, we want to see you in 10 years!” and “I saw you 20 years ago, and you were beautiful,” presumably in reference to Apple’s thin figure. Apple spoke about the incident to Pitchfork, saying, “That’s just rude, and I don’t want her there anymore because it’s my stage, you know? I got very angry.... I need to be able to do my job.” She added, “What makes me unhealthy and puts me in danger is that kind of scrutiny itself. It’s the same as being bullied at school, and just because you’re getting older, it doesn’t mean that you aren’t hurt by it. You could make anybody cry if you told them that they’re ugly.”

on the WeB: We’ve got a post about an Estacada man making kopi luwak coffee using the human digestive tract instead of a civet cat’s, and a live review of last Friday’s Gary Clark Jr. show. Also look for John Locanthi’s preview of the Oregon Ducks’ football game against the Washington Huskies and, later, his taunts about yet another Ducks blowout. 22

Willamette Week OCTOBER 9, 2013 wweek.com

W W S TA F F

Red hot fRank’S: Local favorite Frank’s Noodle House got a visit from the Man in the Douchey Flame Shirt last May, and will be featured on the Food Network program Diners, Drive-Ins and Dives on Oct. 21. Noodle House chef-owner Frank Fong has been slinging noodles at Frank’s since 2009, when he left Beaverton’s Du Kuh Bee restaurant. On the restaurant’s Facebook page, Frank’s asked diners to “join us in celebrating this great event.” Portland has been an extremely popular destination for Guy Fieri’s show: Thirteen other Portland restaurants have been featured, including Bunk Sandwiches, Pok Pok (considered a dive, apparently), Pine State Biscuits, Otto’s Sausage, Podnah’s Pit and the PDX 671 food cart. As a side note, a criminal trial began Oct. 4 for a California teen accused of stealing Fieri’s Lamborghini.

HEADOUT PURLOINED NECKLACE by Jay Horton

MaRY ContRaRY

THE CASE OF THE

WILLAMETTE WEEK

What to do this Week in arts & culture

WEDNESDAY OCT. 9 portland fashionxt [fashion] You probably shouldn’t take fashion advice from us, so instead see what former Project Runway hotshots and the jacquard-loving folks at Pendleton are telling you to wear. Runway shows continue through saturday. Vigor Industrial Shipyard, 5555 N Channel Ave., Building 10, Swan Island. See fashionxt.net for schedule. $25-$175. Elliott sMith: portland YEars [Photos] Elliott smith was born in omaha and died in L.a., but Portland is where he became one of the great songwriters of his generation. William todd schultz, author of the new biography Torment Saint, and photographer JJ Gonson present rarely seen pictures of smith in stumptown. Union/Pine, 525 SE Pine St. 6 pm. Free.

THURSDAY OCT. 10

ours too late, amid houses of disturbingly accurate repute, “Oh, it’s nonsense, really,” I told him. “This trinket I’d kept I searched for the Great Critic. Or, at least, I searched for around the house—ever since my great aunt passed on. A motherwhere the Great Critic always was, at a bar near the bridge, of-pearl necklace of no real worth, but enormous sentimental value. precipitously close to new money, and drunk. You understand, of course. I placed it around her neck as a gesture The Great Critic lay slouched at his regular booth, farthest from of affection, as any fool in love will do. But she lost it, as any foolish the barroom door. I purchased a tipple to quiet my nerves, hoping girl will do—forgive me my anachronistic misogyny—which led to a against hope he’d yet to be enveloped ’neath the shroud of Morterrible row. But I don’t know where she lost it.” pheus. I edged closer when at once he awoke with a hearty “Hi!” The great freelancer—who, as so often happened during He barely looked up. “You’ve a problem?” he said. times such as these, had closed his eyes and cocked his head “Obviously,” I said. Hardly took a consulting critic to work out upon his shoulder, lolled gently toward the lip of his glass. that conundrum. “You’ve recovered the necklace?” “But, if I may specify,” said the Great Critic, “Goodness,” I said, “my memory is dim as a “you’ve a problem of your own. An affaire de A reward awaits the $20 brothel. She kept repeating that it was at the coeur, I should say—one all too common in these me, she even stuttered—before issuing a first person who bar—dear parts. You’ve fallen in love with a dancer, mmm?” stream of geographical vagaries. Across the river Before I could even thrust forward prosolves this mystery from the blue sky? North of land? Have you heard of testations to the contrary, he continued: “An a place?” before the Sherlock such educated girl, more inclined to stay within “Good gravy,” he said. “Your faculties must be failthe bounds of the law than many of her ilk. Holmes exhibit ing.” His disdain was obvious. “I’m off to the studio for She favors a goth aesthetic and lives in North a clean shave and a bracing spot of morphine. Perhaps, opens at OMSI. cocaine. Dealer’s choice, I suppose.” He laughed bitPortland—where you went last night, after picking her up from work and stopping briefly terly, staggering onward into the night. at a club of her choosing—and a neighborhood locale for beer But what to do? I’m writing from Hooper’s—long story, don’t and a burger around a fireplace, at which point the conversation ask—and simply must retrieve the necklace. I am communicatbecame sharply more heated, though you decided to stay over ing to you from the other side of a terrible state. Dear reader, nonetheless.” can you help me find the pendant? If you ask the kind service With characteristic smugness, he then proceeded to walk staff at the appropriate venue for the purloined necklace, and me through his mental processes—the crimson $2 bill from my you are the first to do so, I assure you: My friend Dr. Franklin wallet indicating Casa Diablo patronage, the smudged hand has assured me he’ll reward you appropriately. stamp from the Lovecraft, a lingering whiff of wood smoke and Reader, I beseech you: Where did I go? Can you solve the a marijuana varietal found only in the medicinal gardens of Paul Case of the Purloined Necklace? Stanford, the faint traces of a hand slap, the stains from beef and barbecue sauce on my pants, the tag still poking out the neck of GO: Sherlock Holmes at OMSI, 1945 SE Water Ave., 797-4000, a shirt I’d purchased this morning. omsi.edu, opens Thursday, Oct. 10. Through Jan. 5. $13-$18.

CoMpagniE MaguY Marin [DanCE] Portland audiences walked out of this french company’s last show here in 2002. Salves should be more palatable. it’s a haunting mix of dance and abstract theater that depicts a world in chaos. Religious and historic imagery punctuate the progression. first audiences are asked not to spoil the ending. Newmark Theatre, 1111 SW Broadway, 245-1600. 7:30 pm. $26-$67. ChoCtobErfEst [fooD] Get an inside track on the next four months of weight gain by attending Choktoberfest, “an evening of chocolate, beer and German fare.” Mainly, though, it’s cups from some of Portland’s best brewers (Breakside, hair of the Dog, Base Camp) paired with local chocolates. then it’s off to Chocoholics anonymous. Alma Chocolates, 140 NE 28th Ave., portlandchocolatemob.com. 6-9 pm. $25.

FRIDAY OCT. 11 slEigh bElls [MUsiC] this duo’s ingenious mix of arena-quaking butt-metal guitars and gum-snapping girl-pop ’tude seemed built to collapse beneath the weight of its own concussive crunch. But the just-released Bitter Rivals finds the band cranking the volume up even more, even as it increasingly sounds like it belongs on a Jock Jams compilation. Roseland Theater, 8 NW 6th Ave., 971-230-0033. 9 pm. $22.50-$32.50. All ages.

SUNDAY OCT. 13 alExis ohanian [Books] Whatever your opinion of his horde, there’s no denying the tremendous influence of alexis ohanian, co-founder of reddit. com. his new book, Without Their Permission, includes his philosophy and suggestions for how to use the power of the internet for good. Powell’s Books at Cedar Hills Crossing, 3415 SW Cedar Hills Blvd., Beaverton, 228-4651. 4 pm. Free.

Willamette Week OCTOBER 9, 2013 wweek.com

FOOD & DRINK REVIEW V. K A P O O R

= WW Pick. Highly recommended. By JORDAN GReeN. editor: MARTIN CIZMAR. email: dish@wweek.com. See page 3 for submission instructions.

WEDNESDAY, OCT. 9 Bees on the Brink

As children, they were our greatest enemy, but now they are our best friends (besides dogs), and as everyone knows, they’re on the brink. If you didn’t know that, then you should be reading the news about bees instead of these listings. (Actually, just hang around a bit. This won’t take long.) Ramesh Sagili, who runs OSU’s Honey Bee Labs, addresses questions about colony collapse, and what’s being done to save the bees. World Affairs Council of Oregon, 1200 SW Park Ave., third floor. Noon. $5 Slow Food and WAC members, $10 non-members.

THURSDAY, OCT. 10 Choktoberfest

Get an inside track on the next four months of incessant weight gain by attending Choktoberfest, “an evening of chocolate, beer and German fare.” Mainly, though, it’s cups from some of Portland’s best brewers (Breakside, Hair of the Dog, Base Camp, etc.) paired with local chocolates. Then it’s off to Chocoholics Anonymous, am I right, girls? Alma Chocolate, 140 NE 28th Ave., 517-0262. 6-9 pm. $25.

SATURDAY, OCT. 12 Bees and Seeds

Between Bees on the Brink, Bees and Seeds and the picture of those giant Chinese wasps that are the width of a man’s hand and attack people, why don’t we just pitch this whole week to Discovery Channel as Bee Week? Celebrate the bees and the seeds at Holladay Park, a park named after a con man. Holladay Park, Northeast 11th Avenue and Holladay Street. 10 am- 2 pm. Free; dried- and canned-food donations encouraged.

TUESDAY, OCT. 15 Inside the Barrel: An Exploration Into McMenamins’ Barrel-Aged Beer Program

McMenamins offers a rare inside look at its barrel-aged beer program. A few aged seasonals will be sampled, and brewers and distillers will be on hand to discuss how their forays into differing booze types means sharing knowledge between the mediums. Crystal Ballroom, 1332 W Burnside St., 225-0047. 1-3 pm. Free.

Toro Bravo Cookbook Release Party

If you’re going to attend a cookbook event this week, it should definitely be this one. The Toro Bravo Cookbook, co-authored by chef John Gorham and writer Liz Crain and subtitled Stories. Recipes. No Bull., is published by McSweeney’s Insatiables, a new food-based imprint, which means it’s beautiful and probably well-designed. From what I saw during the online order I made just moments ago, it’ll braise up real nice and tender. Toro Bravo, 120 NE Russell St., 281-4464. 5-10 pm. Free.

Sugar Skull Decorating Class

Pastry chef Mindy Keith leads a course in skull decorating in celebration of Dia de Los Muertos (or “Day of the Muertos” en espanol). No word yet if these “sugar skulls” are made from real humans or simply hardened sugar, but doesn’t the former sound illegal? Xico, 3715 SE Division St., 548-6343. 6-8 pm. $35.

Willamette Week OCTOBER 9, 2013 wweek.com

cuBO de agrIOs: Mojo pork with rice and beans.

EL CUBO DE CUBA Little Havana’s Cuban restaurants feel strangely uptight, like they’re run by Republicans. One of the best lunches I’ve had all year, at the Versailles Bakery in Miami, was marred by the unshakable sense that Marco Rubio and Ted Cruz were somewhere in the building playing dominos, smoking cigars and plotting the privatization of Yosemite. Sure, you find sun-bleached scenes of purple Chryslers and bongo drums hanging Order this: Cuban sandwich with from the walls, but the overmaduros ($9.50). all vibe is more in line with Best deal: Cafe Cubano ($2). that hairy-chest, gold-chain I’ll pass: Underseasoned black beans. thing insurance salesmen do at Jimmy Buffett shows. I’m not sure about the personal politics of El Cubo de Cuba’s ownership, but the Southeast Hawthorne Boulevard restaurant feels very different from the rabidly anti-comandante crowd in Florida, where the focus is on the problems of that part of the island not housing our country’s political prisoners without charges for more than a decade. As good as the food at Versailles was—and several of the pastelitos were extraordinary—I was ready to eat and get the hell out. El Cubo, on the other hand, is the sort of place where you relish the chance to sip wee cups of milky coffee and listen to Cuban jazz while waiting for your to-go order as torrential rains pound the poor little potted palms on the sidewalk. And while the food at this former food cart isn’t perfect, it’s got a lot going for it. El Cubo makes faithful versions of Cuban standbys—pork, chicken, rice, beans, Cubano sandwiches—most from rich ingredients buoyed by a heavy spritz of citrus. The best entree I’ve had is the mojo pork ($9.75), which comes on a plate with rice, black beans and one starchy side from a list that includes two types of fried plantains, yuca fries, sweet potato fries and avocado salad. The pork is juicy, shredded shoulder meat, brightened with citrus. It’s especially good with chewy brown rice. It’s hard to go wrong with the sides. Either of the plantain options—salty, crunchy tostones or sweet, gooey maduros—are very nice. The sweet potato fries with a hard sprinkle of coarse salt are better than what you’ll find at most Portland restaurants, and the fleshy yuca fries recall top-flight tempura. The Cubano sandwich ($9.50) also uses the shredded mojo pork, on a feathery toasted baguette-style bun with ham, pickles and Swiss cheese. Only in a town that’s home to Bunk’s obscene pork-belly version of a Cubano, would this sandwich seem balanced and restrained. Not everything is quite so good. El Cubo’s black beans are chalky and underseasoned, and the guava chicken ($8.50) has a moist and smoky thigh and leg, but offers more lime than guava. I’m happy to look past all that. El Cubo de Cuba succeeds by being a warm and inviting room with dark roast coffee, a damn fine working man’s sandwich and beautiful plantain dishes. It’s very much a restaurant of the people. I can’t picture Marco Rubio here—that alone is enough to get a “Vive Cubo!” out of me. MARTIN CIZMAR. eat: el Cubo de Cuba, 3106 Se Hawthorne Blvd., 971-544-7801, facebook.com/elcubo.decuba. 11:30 am-10 pm Tuesday-Sunday.

FOOD & DRINK DRANK EXTRA

MARY CONTRARY

THE GREATEST PUMPKIN A BLIND TASTE-OFF OF 23 PUMPKIN BEERS AND CIDERS. BY M A RT I N C I Z M A R

mcizmar@wweek.com

When it comes to pumpkiny booze, no one touches New York. That’s what nine Willamette Week tasters found from a blind taste-off of pumpkin beer and cider. The Oregon debut of Pumking, the vaunted imperial pumpkin ale from western New York’s Southern Tier Brewing, was delayed by a distribution shakeup, so we thought we’d try some other pumpkin beers and ciders. We emptied the shelves at Belmont Station and Fred Meyer, and the Empire State still lit our lantern. Below, the results of a blind taste-off in which tasters ranked 23 squashy suds on a 100-point scale. Fort George’s Rumpkin, in the middle of the pack, was the highestrated local offering. Hard Apple Pumpkin Cider, 81.2 points Doc’s Draft Hard Ciders, wvwinery.com. The hard truth is that pumpkin alone doesn’t taste like much when fermented into beer. Rather, the flavors we think of as “pumpkin” in beer or cider come from the spices. At only 5 percent alcohol, this Warwick, N.Y., product was packed with a whole pie’s worth of cinnamon, allspice and nutmeg. Tasting notes: “This kicks ass. A little nutmeg, a lot of pumpkin and not too sweet.” >> “It really balances the apple and pumpkin—it’s like a hug from autumn.” >> “A light, crisp cider that brings back memories of my mother’s sugar-free pumpkin pie.” The Great Pumpkin, 77.1 Elysian Brewing, elysianbrewing.com. Seattle’s Elysian is the pumpkin king of the West Coast, making a dozen of its own pumpkin beers and throwing the region’s largest pumpkin beer festival (that was last weekend, sorry). Their 8.1 percent alcohol standby was the highest-rated beer in the bunch—mostly on the strength of its nose. Tasting notes: “Smells like canned pumpkin pie mix.” >> “Tasty, but I’d rather sniff it than drink it.” >> “The color is amazing, too. So orange!” Dark o’ the Moon, 76.5 Elysian Brewing, elysianbrewing.com. Careful readers may recall that I trashed this beer in a review last year. (“Elysian’s stout is far too thick and meaty for whatever little decorative baby gourds found their way into the mash,” I wrote.) I’m still unimpressed, but our panel disagreed. Tasting notes: “Creamy stout with nice spices. Well-balanced and easy-drinking.” >> “I want to make muffins out of this.” >> “It smells like molasses but the flavor is not as powerful as I’d expect, which is a nice surprise.” Fermentation Without Representation, 73.1 Epic Brewing, epicbrewing.com. This hefty porter from Salt Lake City uses five malts and makes good use of vanilla beans, cinnamon, ginger and cloves. This was my personal favorite, though many tasters found it too light on

pumpkin and too heavy on other spices. Tasting notes: “Hearty with a candy-corn aftertaste.” >> “Chicory and malted milk.” >> “All I get is vanilla. Where is my pumpkin?” Elysian Night Owl, 71.5 Elysian Brewing, elysianbrewing.com. Little brother to Elysian’s Great Pumpkin, this very drinkable pumpkin ale uses lots of squash to get a rounder, more melony flavor than many others. Tasting notes: “Does a gourd proud.” >> “Smooth, subtly pumpkin-flavored with lots of cinnamon.” >> “Slow-building flavor with warm aftertaste.” Pumpkin Cider, 68 Ace Hard Cider, acecider.com. This Sonoma County company makes ciders of all varieties. Pumpkin was added back in 2010, and was then the first of its kind on the west coast. Tasting notes: “It tastes like pumpkin white wine.” “Like a Granny Smith with nutmeg.” >> “Chunky applesauce minus the chunks.” Autumn Maple, 64.6 The Bruery, thebruery.com. Technically, this seasonal from Orange County’s Bruery is a yam beer, made with yams, maple syrup and molasses. This brew’s Belgian yeast proved divisive. Tasting notes: “Nutty sour flavor with a smoky finish.” >> “Nutty, rich—so yeasty!” >> “Tart with a finish that overstays its welcome.” Rumpkin, 62.2 Fort George Brewing, fortgeorgebrewery.com. From a growler filled at Belmont Station, this barrel-aged stout was big, bold and not nearly pumpkiny enough to win over gourdheads. Tasting notes: “Pumpkin spice latte-flavored mocha stout.” >> “Not much pumpkin, but it’s a great Christmas beer!” >> “Bittersweet chocolate with a light body. Refreshingly devoid of spices.” La Parcela No. 1 Pumpkin Ale, 56.4 Jolly Pumpkin, jollypumpkin.com. Don’t be fooled: Despite the name, most beers from this Michigan brewery specializing in French and Belgian brews are not made with pumpkin. And the one that was? Meh. Tasting notes: “It’s a pumpkin-colored sour beer.” >> “Tastes like pumpkin kombucha.” >> “Too sweet and tart for the gathering darkness of autumn.” Harvest Moon Pumpkin Ale, 54 Blue Moon, bluemoonbrewingcompany.com. In the past two years, this MillerCoors imprint has made peanut butter, caramel apple and agave nectar-flavored ales. This pumpkin ale has become a standby—you can do a lot worse at this price. Tasting notes: “Mild, simple, quaffable.” >> “Less is more. Nice pumpkiny finish.” Pumpkick, 56.1 New Belgium, newbelgium.com. It’d be cool to see what this Colorado craft brewer could do with the pumpkin ale in its premium Lips of Faith series. This bottle just came in a cheap six-pack, though—a dash of cranberry juice didn’t take it to the top. Tasting notes: “Like water for pumpkin.” >> “Very tinny.” >> “Fizzy and light.” Pumpkin Ale, 50.4 Laurelwood Brewing, laurelwoodbrewpub.com.

Karaoke 9pm nightly Hydro Pong Saturday night

SMASHING DRUNKINS: After 23 pumpkin beers and ciders, Doc’s Draft was the victor. Formerly known as Stingy Jack—the same name another brewer was using—this classic pumpkin ale starts with a mild amber base. Despite only 12 IBUs, far lower than many other beers on this list, it struck tasters as too bitter. Tasting notes: “Too much fucking clove.” >> “Rusty pumpkin.” >> “IPA: India Pumpkin Ale.” Pumpkin Ale, 48.9 Buffalo Bill’s, buffalobillsbrewery.com. This first-fave craft brewery in California concentrates on weird, fruity brews (strawberry, orange blossom, blueberry) and markets this as America’s original pumpkin ale. Tasting notes: “Hints of canned soup.” Oak Jacked Imperial Pumpkin, 49.4 Uinta, uintabrewing.com. This Utah brewery’s premium pumpkin brew, which is aged in oak barrels, fares better than its modestly priced sibling but is still in the bottom half of the patch. Tasting notes: “Very yeasty and pungent.” >> “It will never leave my mouth. Life tastes like this now.” >> “I almost have to sneeze.” Smashed Pumpkin, 48.4 Shipyard, shipyard.com. From the other Portland, this East Coast favorite is what fall in New England tastes like. Apparently, it’s not as good as fall in New York or Seattle. Tasting notes: “Dank, woolly aftertaste.” >> “Tastes like a bay leaf.” Harvest Pumpkin Ale, 45.6 Samuel Adams, samueladams.com. Sick of seeing those Mainies get filthy rich on friggin’ pumpkin beer, the Bawston lawgar maker finally does a friggin’ pumpkin beer of its own. Tasting notes: “This is boring and unremarkable.” >> “This is the ghost of a pumpkin beer.” Pumpkin Wheat, 44.6 Shock Top, shocktopbeer.com. Anheuser-Busch’s answer to Coors’ Blue Moon pumpkin beer was inoffensive but unmemorable. Tasting notes: “Doesn’t really announce itself in any way.” >> “Grass—butter and grass.”

Resent God?

Fall Hornin’, 44.2 Anderson Valley Brewing, avbc.com. Anderson Valley’s summer seasonal, Solstice, is one of the best in the game. Fall Hornin’ is a disappointing follow-up. Tasting notes: “Burnt malt on the aftertaste.” >> “Tastes likes allspice that’s been on the shelf for a couple years.” Pumpkin Porter, 48 Alaskan, alaskanbeer.com. Fun fact: Coastal Alaska, like Oregon and Nova Scotia, is an ideal place to grow car-sized pumpkins. None went into Juneau brewery’s mash. Tasting notes: “Pumpkin Amber Bock?” Brewing Punk’n, 43.1 Uinta, uintabrewing.com. On the plus side, it’s organic. Tasting notes: “Smells like Sara Lee pie filling but no flavor.” >> “Gingerbread cookies left out overnight.” Private Reserve Pumpkin, 36.9 Woodchuck, woodchuck.com. Question: How much Woodchuck would a woodchuck chug if a woodchuck could chug? Answer: very little. Tasting notes: “Pumpkin-flavored spritzer. Way too sweet.” >> “A cloyingly sweet grilled peach with a cup of sugar poured on top.” Smoked Pumpkin Cider, 22.9 Tieton Cider Works, tietonciderworks.com. A startlingly bad offering from this normally solid Washington cidery. Tasting notes: “Pumpkin shandy?” >> “Del Monte fruit cocktail?” >> “The aroma of rotting apples.” Hansel and Gretel, 15.1 Elysian Brewing, elysianbrewing.com. Most of the dozen ciders made by Seattle’s Elysian are pretty good. This one is very, very, very bad. Tasting notes: “Tastes like ginger-flavored hair spray.” >> “Liquid stone-top cleaner?”

GO: The Killer Pumpkin Festival is at the Green Dragon, 928 SE 9th Ave., on Saturday and Sunday, Oct. 19-20. 11 am. Samples and pints available for purchase.

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 Willamette Week OCTOBER 9, 2013 wweek.com

BIKES

Bombshell Vintage 811 E. Burnside

Bicycle Fittings Bicycle Buying Classes Bicycle Repair Classes

119 NE 6TH

info@europavelo.org

SLICK GEAR STUFF TO HELP YOU ENJOY RIDING YOUR BIKE FOR THE SIX WET MONTHS TO COME. There’s a lot to be said for biking in the rain. Sure, Portland’s winter skies are gray and leaky and the sun falls behind the West Hills so, so fast. On the other hand, there’s not much snow or ice to worry about. Much thinner herds clog the path along the west bank of the Willamette. Winter cycling in Portland is a chance to prove yourself a serious cyclist and outsmart nature. It’s possible to get by wearing yellow, rubber kitchen gloves and lining your old leather-bottomed JanSport with a garbage bag. But, trust us, the right stuff really helps. We’ve scoured local bike shops and blogs for winterready clothing, bags and bikes that get us in the right gear for the impending wet months. Much of this was designed or made by Portland companies, who understand better than anyone what riding here in the winter is all about. The other items are just plain awesome. Try to have fun out there. MARTIN CIZMAR, REBECCA JACOBSON and MATTHEW KORFHAGE.

ACCESSORIES Camper Satchel Sketchbook, sketchbookcrafts.com. Available at Clever Cycles. Eugene’s Amber Jensen makes this gorgeous yet rugged waterproof backpack ($249). Made of heavyduty waxed canvas, the rolltop design means you can carry a little or a lot. It reminds us of something the Von Trapp children would carry through the Alps, but it’ll also keep your laptop dry as you pedal across town.

Aether Demon and Spaceship 3 lights Portland Design Works, ridepdw.com. Portland Design Works’ Aether Demon ($49) tail lamp has a lithium battery that charges by USB, so you can pop it onto an iPhone charger at your friend’s house if you grow dim. The Spaceship 3 front lamp ($29), meanwhile, has a run time of 100 hours, meaning you can use it all winter without worrying about changing the batteries.

Woodward Convertible North St., 2716 SE 23rd Ave., northstbags.com. It’s a backpack! It’s a pannier! It’s a backkier! This $250 combo bag from Portland’s North St. is waterproof, neither too big nor too small and has a side pocket for your lock, lamps and keys. Its ability to pop oﬀ the rack and onto your back for a hike around town is the best trait, though.

CloudCover iPhone 5 case Showers Pass, showerspass.com. That iPhone warranty of yours? It doesn’t cover water damage. Keep your device dry in this case ($24.99), which has a double ziplock and welded edges. And you can still use your touchscreen— and camera—through the clear plastic, which means you can Instagram that moody, misty photo of the Steel Bridge as you’re en route to work.

Willamette Week OCTOBER 9, 2013 wweek.com

PHOTOS BY MISHA ASHTON MOORE

WOMEN’S GEAR

BIKES

Luminite gloves Endura, endurasport.com. Available at Bike Gallery, Universal Cycles, Bike N Hike and many other retailers. Waterproof membrane? Gel padding? High-visibility accents? Terry-cloth panel on the index ﬁnger designed for wiping away sweat, tears, blood or rain? Check, check, check and check. With a soft lining and perfectly placed stretchy panels, these gloves will keep you warm and dry in the grossest conditions.

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

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Club Pro jacket Showers Pass, showerspass.com. This jacket ($110) should be No. 1 on your winter wish list. It’s waterproof, with well-positioned pit zips and vents that keep you from getting clammy, and it’s roomy enough that you can wear a cozy sweater underneath on those unusually frigid days. It comes in powder blue as well, but you’re less likely to be sideswiped on Barbur while wearing neon yellow.

Express Long Sleeve Half Zip Icebreaker, 1109 W Burnside, icebreaker.com. It’s tough to beat wool for fast-wicking warmth, and this midweight baselayer ($119.99) from Icebreaker, which has its design headquarters in Portland, keeps you toasty without creating bulk. “Doesn’t stink,” boasts the packaging, which means you can head to the bar after your commute without sending your friends ﬂeeing.

Reversible rain hat Gobha Clothing, gobha-clothing.com. The husband-wife team at Gobha make these hats ($55) in San Francisco, but they seem custom made for Portland winters (and not just because they’re emblazoned with a bird on the back). One side boasts a tightly woven softshell that’s windproof and water repellent, while the other has snazzily striped, cozy New Zealand merino wool. The earﬂap helps keep you warm, too.

Rain chaps Rainlegs, rainlegs.com, Available at Clever Cycles. It’s more often drizzling than dumping in Portland, which means a full pair of rain pants can be overkill. That’s where these Netherlands-designed rain chaps ($44) come in handy. Compact and waterproof, they’ll protect your upper thighs, which get the greatest hammering on a rainy ride. And there’s no awkward tugging over bulky shoes—once you arrive, just unbuckle and stride on in, cowgirl.

Knitted winter hat Rapha, rapha.cc. Available at River City Bicycles. This Belgian-style hat ($55) from Rapha—a Londonbased company that has its U.S. headquarters in Portland—is about as luxurious as it gets. The supersoft outer layer is 100 percent merino wool, the fold-up earband has a pretty purple stripe and the brim is big enough to stop the fattest raindrops.

Willamette Week OCTOBER 9, 2013 wweek.com

BIKES Cascade Flyer Kinn Bikes, kinnbikes.com. $2,350. You know those tow-hitch baby carriages that swing your below-line-of-sight child into opposite lanes of traffic as you talk on your cell phone while riding your bike? Well, stop that. It’s really scary. Seriously. Anyway, aside from being a solid cargo bike that can fit on the front of a bus, designer Alistair Williamson’s Portland-made bike is a wonky engineering-obsessed vision of a kid taxi, with a mega kickstand, a seat over the wheels, mini handlebars and a little bell in the back so the kid can communicate with you using (slightly muted) Morse code. The back is made to mesh up perfectly with an equally wonky Dutch child-seat called Yepp ($230). The Cascade Flyer ain’t cheap at $2,350, but it also isn’t the $5,000-7,000 you pay for other bikes made here in town. And it’s way prettier than a station wagon.

Willamette Week OCTOBER 9, 2013 wweek.com

PHOTOS BY MISHA ASHTON MOORE

BIKES Sirrus Sport Disc Specialized, specialized.com. $750 at 21st Avenue Bicycles. Don’t be lulled into false complacency by the Native American Summer (in Lithuania, they call it the “summer of old ladies.”) At the end of October it’s going to start raining, mostly gently but pretty much incessantly, for six endless months. So we asked our friendly local bike shop, 21st Avenue Bicycles, to put together an aﬀordable version of the ultimate rain bike, to get you through the nearly half-year of dark mornings, dark afternoons and dark evenings. The Sirrus from Specialized has hydraulic disc brakes for low maintenance and predictable braking—seriously, they’re the same type of brakes used on motorcycles and passenger cars. To avoid that constant spidering spray of dirty water dampening you from underneath (in the bad way), they’ve installed a longboard fender set from SKS ($50). For shopping trips, there’s a market rack from Civia ($70) outﬁtted with a locally made North St. pannier (see page 26). Your dry butt, skin-intact knees and dry root vegetables from the local all-weather farm stand will thank you.

Willamette Week OCTOBER 9, 2013 wweek.com

BIKES

PHOTOS BY MISHA ASHTON MOORE

MEN’S GEAR

Legno helmet Coyle Designs, coyledesignandbuild.com. Corvallis’ Dan Coyle has been experimenting with wooden helmets since the 1990s before going commercial in 2010. His line of helmets isn’t cheap—this model is $405—but it’s very stylish, with a hardwood shell and honeycomb lining of natural cork proven crash-safe through laboratory testing.

Softshell trouser Swrve, swrve.myshopify.com. Available at 21st Avenue Bicycles and Joe Bike. Swrve’s softshell pants ($150) come from sunny Los Angeles but are perfect for Portland thanks to their casual jeans-style pockets, soft ﬂeece lining and waterrepellent shell. Maybe that’s because Swrve GM Muriel Bartol was a Reedie, and knows what we need up here.

Crosspoint hardshell glove Showers Pass, showerspass.com. This merino-lined hardshell glove from Portland’s Showers Pass ($95) is much warmer and drier than thin softshell gloves and nearly as breathable. The best feature of these mitts? Perfectly articulated ﬁngers, which curl nicely around your handlebars. It’s a serious glove—you’d be comfortable skiing in it. Last Belt Blaq Designs, 1100 SE Division St., blaqdesign.com. Portland’s Blaq Designs makes a large range of bike accessories, including panniers, messenger bags and pouches. The $72 Last Belt is made with ultra tough seatbelt webbing that should last, well, forever.

Zoobomb jersey Portland/Oregon Cyclewear, oregoncyclewear.com. Icebreaker brieﬂy made very nice wool cycling jerseys, but no more. This Portland company has been custom-making them for almost a decade. The long sleeve version ($85) is a supple, sweater-y shirt with a zippered pouch. You can ride all day in it and still feel at home in a coﬀee shop or bar.

Willamette Week OCTOBER 9, 2013 wweek.com

Shoe covers Neon Frontier, neonfrontier.etsy.com. Available at the City Bikes annex. Waxed cotton jackets kept the cowboys dry in frontier days. Now, these covers ($45) from local craftsman Ben Houston use the material to keep your Pumas dry while biking to the record store. Plenty of covers ﬁt over riding shoes, but these work well with normal shoes.

Willamette Week OCTOBER 9, 2013 wweek.com

MUSIC

oct. 9-15 PROFILE

= WW Pick. Highly recommended.

WILLS GLASSPIEGEL

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, OCT. 9 Tal National

[AFRICAN GUITAR POP] “Tal National is not just another band from Niger,” reads the press release for this 13-piece Afropop ensemble, as if bands from that troubled African nation are just flooding the marketplace here in the States. But Kaani, the group’s fourth album, does stand out from the albums by other artists in neighboring countries that have recently managed to cross over internationally. Drawing upon several different Saharan musical cultures, the band doesn’t feel tied to any particular tradition, instead weaving together sounds from across the region to form a rich, lush tapestry. Those spindly, hypnotic desert-blues guitars, made familiar to American ears by Mali’s Tinariwen and Bombino, are underpinned by jumpy, frenetic rhythms less trancelike than twitchinducing. The outfit is known to play for up to five hours at a time back home in Niamey, the Niger capital, so rest up now. MATTHEW SINGER. Goodfoot Lounge, 2845 SE Stark St., 503-239-9292. 8:30 pm. $8 advance, $10 day of show. 21+.

Buster Blue, McDougall, White Tundra

GUY EPPEL

[GRAY AREA] While we’ve as little an idea as anyone else what to expect from White Tundra, the very notion of acoustic savants nonpareil Black Prairie going electric should charge no end of speculation. En route to an imminent appearance with the Oregon Symphony and a date with Vance Powell (White Stripes, Kings of Leon) to record a third album, the troupe—claimed for an all-inclusive stew of divergent string-band strains that imagines gypsy jazz as just an Eastern branch of Americana—will trade the accordion for a Hammond B3 during one special plugged-in appearance to celebrate the monthlong 25th anniversary of roots cathedral the LaurelThirst Public House. JAY HORTON. LaurelThirst, 2958 NE Glisan St., 232-1504. 6 pm. Free. 21+.

Laidback Luke

[EDM ROYALTY] “Laid-back” isn’t exactly the best descriptor for this guy. Yes, he is already acknowledged as a fixture in the EDM scene, but a lesser-known fact about Lucas Cornelis van Scheppingen is that he is a gold medal-touting kung fu champion. Laidback? Considering how he devotes his downtime and the twerk-happy beats he brings to the Roseland this week, not quite. GRACE STAINBACK. Roseland Theater, 8 NW 6th Ave., 2242038. 8 pm. $18. 18+.

Terror, Fucked Up, Power Trip, Code Orange Kids

[EPIC HARDCORE] Hardcore is an inherently conservative genre. Birthed, in part, as a reaction to the artier digressions of the post-punk years, it’s a culture that doesn’t take kindly to derivations from its bludgeoning formula. So when a band like Canada’s Fucked Up comes along, using the music’s violent assault as a jumpingoff point rather than a means to an end, it’s a true rush. David Comes to Life, the band’s 2011 magnum opus, is maybe the world’s first punk-rock opera, a 77-minute epic of doublehelixing guitars and shoegaze textures with battering-ram momentum and frontman Damian Abraham employing his grizzly man roar to bark out a multipart narrative about a doomed romance. L.A.’s Terror, on the other hand, is a lot less ambitious, staying within hardcore’s loud-fast-crushing parameters. Appropriately, its newest album is Live by the Code. MATTHEW SINGER. Star Theater, 13 NW 6th Ave. 7:30 pm. $15. All ages.

THURSDAY, OCT. 10 The Waterboys, Freddie Stevenson

[CELTIC ROCK] The Waterboys first appeared as would-be U2 clones, then incorporated overt Celtic folk influences. But today you won’t find a better ’70s road warrior-style rock band. Leader Mike Scott is such a true believer, he remains the only artist I’ve ever seen who counted himself in— ”1-2-3-4!”—at a solo show. With long-

TOP FIVE

BY H AR M AR SUPER STA R

HAR MAR SUPERSTAR’S TOP FIVE SEX TIPS Always offer me sex. I’m pretty sure most people would love to have sex with me, but I’m not a mind reader. Also, it’s the polite thing to do. Always get consent. Nobody likes surprises. The lovemaking process will move along nicely once all the talking points are covered. Fingers. Crucial. Use them. Be in love. Only have sex with your one true love. This will help keep things awkward between the two of you forever. Never break eye contact. During the act of sex (missionary style, of course) always keep your eyes intensely locked with your partner. It’d be creepy if you didn’t. SEE IT: Har Mar Superstar plays Dante’s, 350 W Burnside St., with Fireballs of Freedom, on Wednesday, Oct. 9. 9 pm. $8. 21+. 32

Willamette Week OCTOBER 9, 2013 wweek.com

GHOST IN THE DRUM MACHINE FAME SNEAKED UP ON EDM PIONEER RP BOO, BUT SUCCESS DOESN’T SCARE HIM. BY MItcH LILLIE

243-2122

The next time you’re at Lowe’s, take a look at the person in the back unloading drywall. That guy could spend his off-hours as a musical pioneer. It’s true of RP Boo. He is the founder of footwork, the polyrhythmic electronic dance music style that’s allowed DJs like Rashad and Slugo to build successful, internationally recognized careers. Until this year, though, the 41-year-old was unknown outside his hometown of Chicago, and working in receiving at the home-improvement retailer. With the May release of his album, Legacy, Boo is finally being recognized. It took almost two decades to happen, but he isn’t bitter. “Rashad is very versatile, very good,” Boo says of footwork’s most well-known practioner. He laughs. “If the people like Rashad, wait ’til RP comes over. He’s gonna show you where it comes from.” Boo introduced Chicago to footwork back in 1997, via the Ol’ Dirty Bastard-sampling “Baby Come On.” Though it shares some traits with the style known as juke—a boiling tempo around 160 beats per minute and the use of drum machines instead of drum samples, namely—footwork takes everything else to the next level. Juke’s slightly offkilter house beats become a stammering collection of drums barely qualifying as a rhythm, and where juke also uses repetitive hip-hop samples, footwork pitch-shifts and filters them. In short, it sounds like house music having a seizure. As with many musical phenomenons, Boo created footwork largely by accident. He’d been moving feet in the Windy City underground since 1991, with just a pair of turntables. “I was playing what the radio would play, so hip-hop and R&B,” he says. “It was hard for me to get house music. I didn’t know the history of it.” As he was exposed to more of Chicago’s vaunted music scene, including house, Boo became interested in not just playing songs but producing them. He saved money and bought a display copy of a Roland R-70 drum machine— one that came without an instruction manual. He improvised a cumbersome, imperfect method for copying drum patterns, and began making beats

based around hectic, stuttering rhythms only the best dancers could detect. Footwork was born. The title of Boo’s new album is ironic: Other than Legacy, a few compilation appearances and double-copied cassettes passed around Chicago, Boo doesn’t have any official releases to his name. He claims to have upward of 800 unreleased tracks, showcasing both his versatility and just how far ahead of the game he’s been. “I can take two years off and come back and play a track that’s 10 years old and people will think it’s two days old, or they swear someone else made it,” he says. In 2010, the English label Planet Mu—which also issued Legacy—put out a compilation titled Bangs & Works Vol. 1, featuring two Boo songs, “Total Darkness” and “Eraser,” which proved instrumental in opening ears outside Chicago to footwork in general and Boo specifically. Since then, footwork has taken off, especially in conti-

“I DON’T CARE IF PEOPLE KNOW HOW TO FOOTWORK. I’M GONNA TELL YOU WHAT YOU DO: BE YOURSELF.” nental Europe. Boo, however, has never toured there—or at all, for that matter. His upcoming show in Portland will be his first on the West Coast. He’s not reveling in his newfound worldwide stardom, though, even after going for two decades with his talent unnoticed. Nor does he seem overly concerned with being underappreciated in the past. He just seems grateful for the opportunity to bring his creation to a larger audience. “The mentors that I had are the ones I have today—that’s the crowd of people that’s enjoying the music,” Boo says. “I feed off what they do.” The Portland show probably won’t have many warpspeed dancers footworking to his music, but Boo doesn’t mind. “I don’t care if people know how to footwork,” he says. “I’m gonna tell you what you do: Be yourself. That’s the most beautiful thing. If you movin’, I got you.” SEE IT: RP Boo plays Yale Union, 800 SE 10th Ave., with DJ Manny and Massacooramaan, on Friday, Oct. 11. 10 pm. $12. All ages.

thursday-saturday

Delorean, Superhumanoids

[WIntERIZED PoP] If Delorean were still touring in support of 2010’s blissfully sunny Subiza, I might have to puke right about now. not because the catchiness and cute accents finally got to me, but because the Basque dance rockers are about a month too late to catch Portland’s summer. But Delorean has revolved a little further around the sun. Using the Basque word for “foam” as its title, last month’s Apar sounds very much like autumn: optimistic, contemplative and resolute, but with glimmers of sunshine. turns out, Delorean is arriving here just in time. MItcH LILLIE. Branx, 320 SE 2nd Ave., 234-5683. 7:30 pm. $12. All ages.

Guitar Wolf, the Coathangers, Coward, the No Tomorrow Boys

[RAMonE-A-BES] In Japanese music culture, imitation truly is the sincerest form of flattery. over there, bands are judged less by artistic innovation than by how accurately they mimic their chosen Western source material. In the case of nagasaki’s Guitar Wolf, the band has been pulling off a pretty great Ramones impression going on 25 years now. Wrapped in leather jackets that never seem to come off, the group basically put its collective head down in 1987 and charged through the next two decades, releasing a dozen albums of dirtsimple, white-knuckle punk rock. Even the death of its original bassist in 2005 barely slowed the band down. Its shows play out the same way its career has: loud and fast, with hardly any pauses in the action. MAttHEW SInGER. Dante’s, 350 W Burnside St., 226-6630. 8 pm. $13.50 advance, $16 day of show. 21+.

3939 N Mississippi Ave., 288-3895. 9 pm. All shows $12 except Orange Goblin on Oct. 12, which is $13 advance, $15 day of show. 9 pm. Through Sunday, Oct. 13. See listing on page 34 for information on the Star Theater show. 21+.

FRIDAY, OCT. 11 Hurray for the Riff Raff, Spirit Family Reunion, the Deslondes

[SoUL FoLK] A sense of home is all one could ask for when you’ve hopped as many wandering freight trains as Hurray for the Riff Raff’s Alynda Lee Segarra. For her, that grounding is carried in My Deepest Darkest Neighbor, a collection of reimagined classics ranging from George Harrison to Gillian Welch. they resonate the same as the few originals on the album, rooted in Segarra’s long-drawn croon and gentle guitar-fiddle combo. cuts like John Lennon’s “Jealous Guy” and Joni Mitchell’s “River” seem honest to the bone, even if the words aren’t her own. BRAnDon WIDDER. Doug Fir Lounge, 830 E Burnside St., 2319663. 8 pm. $15. 21+.

Sleigh Bells, Doldrums

[cLAnG AnD PoP] Sleigh Bells should’ve run out of steam by now: Its rather ingenious wrecking-ball mix of overdriven, arena-quaking butt-metal guitars and gumsnapping girl-pop ’tude seemed designed to collapse beneath the weight of its own concussive crunch long before the duo reached album no. 3. And yet, on the newly released Bitter Rivals, guitarist Derek Miller cranks his amp further into the red, while singer Alexis Krauss digs even deeper into her cheerleadergone-bad persona. Apparently, the band won’t actually quit until it gets on a Jock Jams compilation. It’s getting there. MAttHEW SInGER.

Roseland Theater, 8 NW 6th Ave., 224-2038. 9 pm. $22.50-$32.50. All ages.

Langhorne Slim

[FoLKED-UP BREAKUP] Songs evoking the sinking, uneasy and downright brutal feeling of heartbreak don’t tend to be as sunny as those found on Langhorne Slim’s fourth full-length, The Way We Move. the 14 tracks find Slim’s raspy voice as raucous as ever. the rest of his band, the Law, chime in with raggedy piano, brass and bass when appropriate, but it’s Slim’s charisma that anchors these songs with emotion. His soulful barn burners are uplifting, even when the lyrics are not. BRAnDon WIDDER. Wonder Ballroom, 128 NE Russell St., 284-8686. 9 pm. $15. 21+.

SATURDAY, OCT. 12 Bonnie Raitt, Marc Cohn

[RootSY HERoInE] Sixteen studio albums to her name and still sending shivers down spines with her trademark whiskey-tinged twang, Bonnie Raitt is a living legend. Latest effort Slipstream shows Raitt comfortable in her blues-meets-country comfort zone, but also reinventing herself once more, per the stellar reggaeesque Gerry Rafferty cover, “Right Down the Line.” Raitt ranks within a choice group of aging musicians (neil Young, David Byrne) who are not only still relevant but continue to pave musical trails. If her voice doesn’t gently break your heart, her slide guitar will. Soft-rock crooner Marc cohn opens. MARK StocK. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 248-4335. 8 pm. $55$112.50. . All ages.

Overseas, Radar Bros, Chris Brokaw [EXtRAtERREStRIAL RocK]

cont. on page 34

PREVIEW coURtESY oF RAP-A-Lot REcoRDS

time compatriot Steve Wickham on psychedelic fiddle, plus guitars and keys, they tear it up onstage. Recent release An Appointment With Mr. Yeats isn’t their best, but issued overseas next week is Fisherman’s Box, an exhaustive sixdisc revisit to classic 1988 album Fisherman’s Blues, with liner notes by Decemberist colin Meloy. JEFF RoSEnBERG. Aladdin Theater, 3017 SE Milwaukie Ave., 234-9694. 8 pm. $35. Under 21 permitted with legal guardian.

MUSIC

Tim Kasher, Laura Stevenson, You Are Plural

[PoSt-EMo] For a scene as replete with navel-gazing and introspection as the early aughts’ emo boom, choosing a poet laureate among the plaid-shirted pariahs of the Midwest is a tough call. Despite his efforts to sabotage my favorite cursive songs every time he takes his day job on the road, tim Kasher’s erratic brand of self-deprecating meta-fiction may take the crown purely by default. Promise Ring and Braid had important things to say about cherry coke and Romeos in Joliet, but writing songs about writing songs is an industry in which Kasher maintains a monopoly—at least until Dave Eggers starts rapping over creaking organs and cryptic guitar shrapnel. PEtE cottELL. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $12. 21+.

Fall Into Darkness 2013

[FEStIVAL oF HEAVYoSItY] For all the attention Witch Mountain drummer and WW contributor nathan carson’s Fall Into Darkness fest has attracted over the past eight years, it still somehow manages to fly under the local music scene radar. It’s a shame, too, as folks are missing out on the best celebrations of heavy rock on offer. this year’s installment brings to town a jaw-dropping lineup of international talent to Mississippi Studios, including prog guru nik turner of Hawkwind (thursday, oct. 10), the vintage ’80s metal attack of Holy Grail (Friday, oct. 11) and the Skull (Sunday, oct. 13) and a well-chosen cadre of local artists, like Eight Bells and Agalloch, who’ll perform at Star theater on Saturday, oct. 12. RoBERt HAM. Mississippi Studios,

Geto Boys, Gray Matters, Rap Class, Cassow [DIRTY SOUTH LEGENDS] If you know Jay-Z, Lil Wayne and Wiz Khalifa, then you know Houston’s Geto Boys. Originators of the soulful Dirty South sound, the trio’s influence on hip-hop spans generations, with samples of the group’s classic records popping up on tracks by some of today’s most popular rappers. But if your only exposure to Scarface, Bushwick Bill and Willie D is secondhand, then you’re barely scratching the surface of the Geto Boys’ bizarre legacy. After all, this is a group that rose to infamy in the early ’90s by plastering an album cover with a photo that showed Bushwick Bill—its Jamaica-born, dwarf-sized frontman—posing on a hospital gurney only hours after an argument with his girlfriend left him minus a right eye. While such shock tactics were a significant part of the Boys’ appeal, there was much more going on beneath the gory surface: Legendary singles like “Mind Playing Tricks on Me” are prime examples of the threesome’s grim storytelling, still captivating after all these years. EMILY BERKEY. Hawthorne Theatre, 1507 SE Cesar Chavez Blvd., 233-7100. 7 pm Wednesday, Oct. 9. $25 advance, $30 day of show. 21+. Willamette Week OCTOBER 9, 2013 wweek.com

MUSIC

saturday-tuesday/classical, etc.

Being the son of the founder of Universal Audio, Jim Putnam was always destined for some kind of musical career. How he and two other core members settled on Radar Brothers—an artsy, folk-rock act that’s technically from L.A. but sounds otherworldly—is more mysterious. The band’s eerie, extraterrestrial whistling and droning vocals, set to ’90s-reminiscing altrock, make for a memorable, sometimes-foreign sound. Headliner Overseas is an all-star act of sorts, consisting of David Bazan and members of Centro-Matic and Bedhead. Predictably, the new band has a Pedro the Lion feel about it, downtempo but expertly executed. MARK STOCK. Doug Fir Lounge, 830 E Burnside St., 2319663. 9 pm. $15. 21+.

Dead Prez, Wise Intelligent, Speaker Minds, Mic Crenshaw

[POLITICAL GANGSTERS] Dead Prez’s Stic Man and M-1 are the kind of cats who would storm the postmaster general’s house for raising the price of stamps, so they’re probably not exactly calmly writing to their congressmen over all the bullshit going on in Washington right now. For nearly two decades, the duo has been one of the most prolifically angry groups in hip-hop, directing their ire not at fellow MCs but at the system itself. Keeping their gangster lean fully intact, the group is more Black Panther than Black Star in its militant politics. The tiny setting of Mississippi Studios offers the perfect spot for the group to assault your eardrums while laying waste to ideology. And as a bonus, you can hear tracks from the upcoming Information Age album, while also benefitting the Journey to Freedom Project Foundation, which focuses on black history. Education: Keep it gangster. AP KRYZA. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 5 pm. $15 advance, $20 day of show. 21+.

Fall Into Darkness VII: Agalloch, Behold..the Arctopus, Botanist, Eight Bells

[FESTIVAL OF HEAVYOSITY] See listing on page 33 for more information on Fall Into Darkness. Star Theater, 13 NW 6th Ave. 8 pm. $12. 21+.

SUNDAY, OCT. 13 Spyro Gyra

[JAZZ FUSION] Spyro Gyra has been a presence in the world of smooth jazz for almost 40 years now, and has been one of the most remarkably consistent bands of that ilk. The funk-inflected ramble of the group’s breakthrough 1979 album, Morning Dance, could be interchanged with the work on its most recent LP, the world-fusion hybrid A Foreign Affair, with no confusion. That may sound like a boring prospect, but it hasn’t hurt the band’s reputation or worldwide fan base one iota. ROBERT HAM. Alberta Rose Theatre, 3000 NE Alberta St., 719-6055. 8 pm. $30 advance, $35 day of show. All ages.

MONDAY, OCT. 14 King Khan and the Shrines, Hell Shovel, the Satin Chaps

[FLOWER-POWERED GARAGE FUNK] The Atlanta music scene presented in the 2009 doc We Fun is a lot like the city itself: sprawling, disjointed, but a damn good time if you know where to look. While Black Lips took center stage for the overdriven mash-up of ’60s garage pop—which the group dubbed “flower punk”—it was King Khan’s take on paisley-colored soul and funk that felt more like the future. Revved-up retro pop has gone bicoastal, but no one is harnessing the mojo of James Brown and Mick Jagger at their nastiest better than Khan and his rebirthed

Willamette Week OCTOBER 9, 2013 wweek.com

Shrines outfit. Speaking of outfits, prepare to get doused in sweat from Khan’s shirtless belly. PETE COTTELL. Dante’s, 350 W Burnside St., 226-6630. 9 pm. $13. 21+.

The Pretty Reckless, Heaven’s Basement, Louna

[HAIR METAL] Considering the critical gauntlet braved by any CW nymphets who dare to play rock star, former Gossip Girl icon Taylor Momsen has emerged altogether triumphant from her first stint fronting the Pretty Reckless. After the band’s riff-strewn 2010 debut, Light Me Up, limned the seamier side of grunge pop with trashy aplomb, Momsen herself— all caked-Kohl and cascading blond mop—blossomed from alt-cover girl to downtuned lioness during endless touring. “Going to Hell,” the orgiastic faux-confessional first single off the group’s sophomore album (delayed until next year after Hurricane Sandy ravaged the band’s recordings), shows the sometime actress delving even deeper into glam-metal character. JAY HORTON. Hawthorne Theatre, 1507 SE 39th Ave., 233-7100. 8 pm. $15 advance, $18 day of show. All ages.

TUESDAY, OCT. 15 Thee Oh Sees, OBN III’s, The Blind Shake

[GARAGE ROCK] John Dwyer is impossible to keep up with. The leader of Thee Oh Sees basically hasn’t put his guitar down since forming the primordial version of the band in San Francisco in the late ’90s, releasing a steady, unending stream of albums, EPs and singles in between delivering the grooviest live shows of the current garage-rock crop. For all that, he’s become a beacon for that particular scene, lighting a fire beneath fellow restless creatives like Ty Segall. New album Floating Coffin is Thee Oh Sees at their best: loud, trippy and wild. Should be awesome live. MATTHEW SINGER. Hawthorne Theatre, 1507 SE 39th Ave., 233-7100. 8 pm. $15 advance, $17 day of show. All ages.

Gwar, Whitechapel, Iron Reagan, Band of Orcs

[MONSTERS OF ROCK] When Gwar burst onto the national scene 25 years ago, it was easy to dismiss the act as pure shtick. These are, after all, metal musicians who dress as gigantic space monsters bent on enslaving humanity. To the uninitiated, the depravity of the show alone could put the band in the Juggalo arena. But a quarter century and 13 albums (including last month’s Battle Maximus) later, Gwar is still at the top of its niche mountain, trumping the clown rappers by maintaining shock onstage while nailing biting satire. Any clown can spray Faygo while talking about fucking corpses. It takes masters to spray urine, blood and semen on a crowd while simultaneously shredding their instruments and taking sneakily intelligent jabs at the system. AP KRYZA. Roseland Theater, 8 NW 6th Ave., 224-2038. 7:30 pm. $18 advance, $21 day of show. 21+.

CLASSICAL, JAZZ & WORLD Kronos Quartet

[TOMORROW’S CLASSICS] Rebels turned role models, Kronos Quartet has, over the past four decades, become a beacon for classically trained musicians who cultivate and perform new music. Shedding the tuxedos and other anachronisms, Kronos merely does what would be unremarkable in the popmusic world but is somehow still novel in classical music: seek and perform fascinating music of our own time, via collaborations with everyone from Tom Waits to David Bowie and Obo Addy. This time, the characteristically diverse lineup

classical, etc. includes music by the Vietnamese composer Kim Sinh, Serbia’s Aleksandra Vrebalov (a frequent collaborator), venerable Ukrainian composer Valentin Silvestrov and even (for them) an oldie: Ken Benshoof’s Traveling Music, which sounds as fresh as it did when Kronos commissioned it 30 years ago. BRETT CAMPBELL. Kaul Auditorium at Reed College, 3203 SE Woodstock Blvd. 7:30 pm Wednesday, Oct. 9. $5-$47. All ages.

Brazilian Piano Summit: Marvio Ciribelli, Cassio Vianna, Brasil Band

[BRAZILIAN JAZZ] Oregon saxophone master Tom Bergeron—who’s worked with artists as varied as Ella Fitzgerald, the Temptations and Anthony Braxton—is one of the latest in a decades-long line of American jazzers who’ve been seduced by Brazilian rhythms. He returns to Brazil often to study the music, and teaches it at Western Oregon University. For this Brazilian piano summit, his regular pianist, Cassio Vianna, joins keyboardist and Rio native Marvio Ciribelli, who’s recorded 15 albums with some of Brazil’s top jazzers. BRETT CAMPBELL. Secret Society Ballroom, 116 NE Russell St. 7 pm Wednesday, Oct. 9. $6 advance, $8 day of show. 21+.

Ken Vandermark, Nate Wooley

[INTREPID IMPROV] Chicago’s Ken Vandermark, who became one of the youngest recipients of a coveted MacArthur Fellowship (the so-called “genius grant”) in 1999, has explored the outer reaches of improvisation with some of the most out-there free-jazzers and noise musicians of the era. He’s also capable of covering more “conventional” composers, from Sonny Rollins to George Clinton to Sun Ra. He should make an incendiary combination with trumpeter Nate Wooley, the Oregon native who moved to Brooklyn a dozen years ago and became a first-call collaborator with vanguard musicians like John Zorn, Anthony Braxton, Fred Frith and Mary Halvorson. BRETT CAMPBELL. The Piano Fort, 1715 SE Spokane St., 3146474. 8 pm Wednesday, Oct. 9. $10 advance, $15 day of show. All ages.

Dave Douglas Quintet

[JAZZ GENIUS] Having just turned 50, the peerless New York-based trumpeter-composer-bandleaderteacher-impresario Dave Douglas belongs in the first sentence of any discussion regarding the greatest jazzmen of his generation. From his work with John Zorn, Joe Lovano, his brass quintet that scorched the 2010 Portland Jazz Festival or his many other varied projects documented on 40 albums to his collaborations with dancers, filmmakers, poets and singers or his classical covers, Douglas has expanded the possibilities of music in a way that invites more listeners in rather than excluding them. His current quintet—with bassist Linda Oh, drummer Rudy Royston, saxophonist Jon Irabagon and pianist Bobby Avey—is one of his jazziest, and this is its first Portland visit. BRETT CAMPBELL. Jimmy Mak’s, 221 NW 10th Ave., 2956542. 7 and 9:30 pm Friday, Oct. 11. $20 general admission, $25 reserved seating. Under 21 permitted with legal guardian until 9 pm.

Making Waves 2013: Portland Taiko

[TAIKO MEETS TODAY] L.A.-based quartet On Ensemble blends traditional Japanese percussion with contemporary electronica, hiphop, rock and other modern influences. Portland’s own taiko masters, meanwhile, combine the massive drums and other percussion instruments with contemporary dance and theater. Together, they’ll demonstrate some of the many ways traditional sounds can fruitfully inform contemporary music and movement. BRETT CAMPBELL. Aladdin Theater, 3017 SE Milwaukie Ave., 234-9694. 8 pm Saturday, Oct. 12, 2 pm Sunday, Oct. 13. $18 general admission, $13 students and seniors. Under 21 permitted with legal guardian.

MUSIC

ALBUM REVIEWS

RED FANG WHALES AND LEECHES (RELAPSE) [MONSTROUS ROCK] In the clash of stonermetal titans, Red Fang isn’t going to out-sexy Queens of the Stone Age or out-melody Torche or out-conceptualize its labelmate Baroness, but it will bully those bands—and, really, the majority of others working in the heavy-rock arena—with sheer, mountainous force. Whales and Leeches, the group’s third album, isn’t markedly different from the previous two, but it does double down on what has made Red Fang Portland’s favorite monsters of rock: The road-rash riffage of “1516” and “DOEN” are among the band’s most lacerating; “Every Little Twist” locks into a swirling, transfixing hard-psych groove; the martial stomp of “Failure” lurches like Viking mammoths marching to war. The seven-minute sludgefeast “Dawn Rising” contains a bit of everything in the group’s arsenal, stretching its tentacles like the pseudo-Cthulhu adorning the cover. And “Blood Like Cream,” the album’s sharpened meat hook of a lead single, should make for another classic Whitey McConnaughy-directed video. I’m imagining an army of tattooed milkmaids doing a choreographed routine to the “Churn it up!” chorus, but that’s just me. MATTHEW SINGER.

NEO BOYS SOONER OR LATER (K) [REDISCOVERED PUNK] Ninety seconds into this excavation of the deceptively named late’70s proto-riot grrrls the Neo Boys, the band flubs a part, stops, and starts the song over, as a live crowd hoots encouragement. That’s punk rock for you, and the first part of Sooner or Later gets its charge from the anythinggoes freedom punk afforded five teenagers from Portland with little musical experience. Why not try out a halting, out-of-tune, mangled blues number? A talent show-level cover of the Stones’ “I’m Free”? Go for it! But the greatest thing about this overview, compiled by Calvin Johnson and containing the totality of the band’s five-year recorded history, is tracking the group as it comes into its own: The bracing “Give Me the Message” and “Time May Tell” aren’t just interesting artifacts but genuine lost classics of the era. By disc two, the Neo Boys have evolved into a sort of revved-up Young Marble Giants, spinning spatial minimalism into a buoyant attack, and singer Kim Kincaid leveling feminist screeds combining Patti Smith’s literacy with the force of the Avengers’ Penelope Houston. An essential collection. MATTHEW SINGER.

GRAILS BLACK TAR PROPHECIES VOLS. 4, 5 & 6 (TEMPORARY RESIDENCE)

[AVANT- GARDE EPHEMERA] For those unfamiliar with the mythology of Portland experimental rock troupe Grails, Black Tar is the catchall name for the various limitededition releases that the band cooks up between albums. This compilation grabs the most recent of those—a picture disc EP issued by Important Records and a split LP with Finnish psych freaks Pharaoh Overlord—appending three new songs. The beauty of a collection like this is that it isn’t a cobbled-together, odds-’n’-sods grouping of old, random recordings. These 12 tracks feel like an extension of the world that Grails was exploring on its most recent LP, 2011’s Deep Politics. The same sinking feeling carries over here, cut through with some wicked strands of light (the Morriconeesque “A Mansion Has Many Rooms,” the sly jabs at organized religion on the two “New Drug ” tracks). Being a compilation, though, Black Tar doesn’t cohere like a bona fide album would. The transitions from track to track don’t feel as smooth. The introspective “Invitation to Ruin” doesn’t fit so comfortably between the brasher, harder-edged “Self-Hypnosis” and “Wake Up Drill II.” The pieces work well individually, but strung together as they are here, they make for a misshapen picture. ROBERT HAM. HEAR IT: All three albums are out Tuesday, Oct. 15.

Willamette Week OCTOBER 9, 2013 wweek.com

MUSIC CALENDAR = WW Pick. Highly recommended. 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.

[OCT. 9-15] McMenamins’ Kennedy School 5736 NE 33rd Ave. Super Water Sympathy

Mississippi Pizza

3552 N Mississippi Ave. Thomas Jefferson, Mo Phillips, Johnny Keener and Jason

MIRON ZOWNIR

Mississippi Studios

3939 N Mississippi Ave. Fall Into Darkness: Nik Turner’s Space Ritual, White Manna, Billions And Billions, Hedersleben

Mississippi Studios

3939 N Mississippi Ave. Fall Into Darkness 2013

Slabtown

1033 NW 16th Ave. The Darkest Moons, Adam McBride Smith, Jesse S.

Star theater

13 NW 6th Ave. The Winery Dogs

Al’s den at the crystal Hotel

303 SW 12th Ave. Redwoon Son and Calico

Alberta Street Public House

1036 NE Alberta St. Fluff and Gravy Records Showcase: The Horse’s Ha, Nick Jaina, Kenny Feinstein, John Shepski

Alhambra theatre

4811 SE Hawthorne Blvd. Saxon, Fozzy

Ash Street Saloon

Ivories Jazz Lounge and Restaurant 1435 NW Flanders St. Dave Frishberg, David Evans

Jimmy Mak’s

221 NW 10th Ave. The Mel Brown Quartet

Kaul Auditorium at Reed college

3203 SE Woodstock Blvd. Kronos Quartet

225 SW Ash St. Les Jupes, Noble Firs, Homunculust

Kells

Brasserie Montmartre

Laurelthirst

626 SW Park Ave. John Teply

Bunk Bar

1028 SE Water Ave. Lucius, Great Wilderness

dante’s

350 W Burnside St. Har Mar Superstar, Fireballs of Freedom

doug Fir Lounge

112 SW 2nd Ave. Pat Buckley 2958 NE Glisan St. Buster Blue, McDougall, White Tundra

McMenamins edgefield 2126 SW Halsey St., Troutdale Rob Larkin

Mississippi Studios

3939 N Mississippi Ave. Golden Suits, Rio Grands

830 E Burnside St. Little Green Cars, Kris Orlowski

Roseland theater

duff’s Garage

Shaker and Vine

8 NW 6th Ave. Laidback Luke

1635 SE 7th Ave. Suburban Slim’s Blues Jam, Arthur Moore’s Harmonica Party

2929 SE Powell Blvd. Robbie Laws Guitar Ensemble

east end

13 NW 6th Ave. Terror, Fucked Up, Power Trip, Code Orange Kids

203 SE Grand Ave. Needles and Pizza

Fire on the Mountain Buffalo Wings east 1706 E Burnside St. Brad Parsons

Goodfoot Lounge

2845 SE Stark St. Tal National

Ground Kontrol

511 NW Couch St. TRONix: Popcorn, Mixed Signals

Hawthorne theatre

1507 SE 39th Ave. Geto Boys, Gray Matters, Rap Class, Cassow

Star theater

the elixir Lab

2738 NE Alberta St. Open Mic Nite

the Old church

tony Starlight’s

3728 NE Sandy Blvd. The Basics of Bacharach: Ayars Times Two

Valentine’s

232 SW Ankeny St. Nick Delffs

White eagle Saloon

Hawthorne theatre Lounge

800 NW 6th Ave. Ron Steen Band, Tony Lincoln

tHuRS. Oct. 10 Al’s den at the crystal Hotel

303 SW 12th Ave. Redwoon Son and Calico

Aladdin theater

3017 SE Milwaukie Ave. The Waterboys, Freddie Stevenson

Alberta Street Public House

1036 NE Alberta St. Power of Country, Trask River Redemption

Ash Street Saloon

225 SW Ash St. Widower, Destroyer of Light, Shroud of the Heretic

Biddy McGraw’s

6000 NE Glisan St. Sockeye Sawtooth

Branx

320 SE 2nd Ave. Delorean, Superhumanoids

Buffalo Gap eatery and Saloon

tonic Lounge

Willamette Week Date, 2012 wweek.com

1635 SE 7th Ave. Lloyd Jones, Tough Lovepyle

Wilfs Restaurant & Bar

1028 SE Water Ave. Lumerians, Tjutjuna, Swahili

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

duff’s Garage

Goodfoot Lounge

thirsty Lion

71 SW 2nd Ave. Guy Dilly and the Twin Powers

830 E Burnside St. Tim Kasher, Laura Stevenson, You Are Plural

836 N Russell St. Dark Matter Transfer, Brahnana

6835 SW Macadam Ave. Wes Urbaniak, Lukeus Adams, Crystin Byrd Band

1422 SW 11th Ave. Dr. Cole Burger

doug Fir Lounge

Bunk Bar

dante’s

350 W Burnside St. Guitar Wolf, the Coathangers, Coward, the No Tomorrow Boys

2845 SE Stark St. Fox Street All-Stars

1503 SE Cesar E. Chavez Blvd. Chris Baron, Commonly Courteous

Hawthorne theatre 1507 SE 39th Ave. Icon For Hire

Ivories Jazz Lounge and Restaurant

1435 NW Flanders St. Tom Grant Vocal Showcase: Tom Grant, Cheryl Hodge, Melanie Roy

Jimmy Mak’s

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

Kells

112 SW 2nd Ave. Pat Buckley

Kelly’s Olympian

426 SW Washington St. Royston Vasie

Kenton club

2025 N Kilpatrick St. No Red Flags, Sean Jordan, Eric Cash, Jimmy Newstetter

Laurelthirst

2958 NE Glisan St. Jimmy Boyer Band, Lewi and the Left Coast Roasters

McMenamins edgefield 2126 SW Halsey St., Troutdale Junebugs

McMenamins Rock creek tavern

10000 Old Cornelius Pass Road, Hillsboro Chihuahua Desert

clyde’s Prime Rib

Record Room

Beaterville cafe

dante’s

Rock Bottom Restaurant & Brewery

Biddy McGraw’s

camellia Lounge 510 NW 11th Ave. Brooks Robertson

5474 NE Sandy Blvd. Muthaship 350 W Burnside St. Dirt Nasty

doug Fir Lounge

duff’s Garage

116 NE Russell St. Soulshake, Tezeta Band, the Keplers

1001 SE Morrison St. Bear and Moose, Souvenir Driver, Talkative

Backspace

1028 SE Water Ave. Horse Feathers, Tiburon

Savoy tavern & Lounge

Secret Society Ballroom

Holocene

Mississippi Studios

Bunk Bar

Music Millennium

2500 SE Clinton St. The Christopher Brown Quartet

Wed. Oct. 9

Ash Street Saloon

412 NE Beech St. Bennet Strauss

830 E Burnside St. Hurray for the Riff Raff, Spirit Family Reunion, the Deslondes

3158 E Burnside St. Cody Simpson

StOP! IN tHe NAMe OF FuNK: King Khan and the Shrines play dante’s on Monday, Oct. 13.

Mississippi Pizza

Beech St. Parlor

the Blue Monk

3341 SE Belmont St. Future Historians, Maxwell Hughes

1635 SE 7th Ave. Throwback Suburbia, the Hamdogs

eastBurn

1800 E Burnside St. Saucytown

Foggy Notion

3416 N Lombard St. Bison Bison, Mammoth Salmon, Rollerball

Ford Food and drink

2505 SE 11th Ave. The Rainbow Sign, Daniel Mateo

Habesha

801 NE Broadway Governess, Psychomagic, Lubec

Hawthorne theatre Lounge

3552 N Mississippi Ave. Like A Circus Fire, the Little Atoms, Jenny Sizzler 3939 N Mississippi Ave. Fall Into Darkness: Orange Goblin, Holy Grail, Lord Dying, Lazer Wulf 8 NE Killingsworth St. Born Loser, Stab Kill Me

206 SW Morrison St. Jessie Goergen

Roseland theater

8 NW 6th Ave. Sleigh Bells, Doldrums

Secret Society Ballroom

116 NE Russell St. Pete Krebs and his Portland Playboys

Slabtown

225 SW Ash St. Ancient Warlocks, Mars Red Sky, Mos Generator, Boneworm 115 NW 5th Ave. Justin Klump, Nick Drummond, Chris Marshall 2201 N Killingsworth St. Jonathan Trawick, Aarun Carter, Mari Gisele 6000 NE Glisan St. Argyle, Nicodemus Snow

Bravo Lounge

8560 SE Division St. The Kivett Bednar Band, The Lesser Three

Buffalo Gap eatery and Saloon 6835 SW Macadam Ave. Rockin’ Piano Party: Jorge Ramirez

1033 NW 16th Ave. Living Rheum, Thee Hobo Gobbelins, Ghost Town Gospel

Bunk Bar

Slim’s cocktail Bar

camellia Lounge

8635 N Lombard St. M.A.R.C, Baby J, Tyler King

the Blue diamond

1028 SE Water Ave. Houndmouth, Andrew Combs 510 NW 11th Ave. Blueprints Trio

crystal Ballroom

2016 NE Sandy Blvd. Franco Paletta and The Stingers

1332 W Burnside St. Pepper, RDGLDGRN, Makua Rothman, Rootdown

the Firkin tavern

dante’s

1937 SE 11th Ave. NY Rifles, Snarl, Lily, Saul Conrad

350 W Burnside St. Quintron & Miss Pussycat, ZZZ, Cave

the Know

1503 SE Cesar E. Chavez Blvd. Rising Buffalo Tribe, Fishbowl

the Know

doug Fir Lounge

thirsty Lion

Hawthorne theatre

the Lovecraft

east end

thirsty Lion

eastBurn

2026 NE Alberta St. Hausu, Earring, Industrial Park 71 SW 2nd Ave. Eric John Kaiser Band

tiger Bar

317 NW Broadway Karaoke From Hell

tonic Lounge

3100 NE Sandy Blvd. Hawks Do Not Share, A Collective Subconscious, Little Yosemite

Valentine’s

232 SW Ankeny St. Plankton Wat, Planets Around the Sun, Grapefruit

West cafe

1201 SW Jefferson St. Alan Jones Academy Jazz Jam

White eagle Saloon

836 N Russell St. Foxy Lemon, Shores of Oblivion, Psychomagic

Wilfs Restaurant & Bar 800 NW 6th Ave. Dave Fleschner

FRI. Oct. 11 Al’s den at the crystal Hotel

1507 SE 39th Ave. Diamond Head, Raven, Nether Regions, Black Snake

421 SE Grand Ave. Die Robot, Regal Nonchalant

Ivories Jazz Lounge and Restaurant

71 SW 2nd Ave. Ants in the Kitchen

1435 NW Flanders St. Thomas Barber, David Valdez

Jade Lounge

2346 SE Ankeny St. Puddletown Ramblers, Chris Juhlin

Jimmy Mak’s

221 NW 10th Ave. Dave Douglas Quintet

Katie O’Briens

2809 NE Sandy Blvd. The Hot LZs, The Flesh Hammers, thebrotheregg

Kells Brewpub

210 NW 21st Ave. Sami Rouisi

Kells

112 SW 2nd Ave. Grafton Street

Kelly’s Olympian

426 SW Washington St. Springsteen Tribute

Kenton club

303 SW 12th Ave. Redwoon Son and Calico

2025 N Kilpatrick St. Lord Master, The Of, After Dark

Alberta Abbey

Laurelthirst

126 NE Alberta St. Loscil, Minamo, Marcus Fisher

Alberta Street Public House

1036 NE Alberta St. Trashcan Joe, Maria in the Shower

Ash Street Saloon

225 SW Ash St. The Independents, the Spittin’ Cobras, 800 Octane, My New Vice

Backspace

115 NW 5th Ave. C-BO

Beaterville cafe

2201 N Killingsworth St. Brad Creel, Midwestern

2026 NE Alberta St. Dead Cult, Crooked Bangs, Shadowhouse

2958 NE Glisan St. Baby Gramps, Joe McMurrian & Woodbrain

Lola’s Room at the crystal Ballroom 1332 W Burnside St. Cooper & the Jam

Marylhurst university

tonic Lounge

tony Starlight’s

711 NE 100th Ave. The Mike Curtis Jazz Project, Chuck Par-Due, Cheryl Morris (Harry James tribute)

3100 NE Sandy Blvd. Buck Biloxi and the Fucks, Therapists, Chemicals, The Manatees, Sex Crime 3728 NE Sandy Blvd. Maryann Nicholas

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

Wonder Ballroom 128 NE Russell St. Langhorne Slim

SAt. Oct. 12 Al’s den at the crystal Hotel

303 SW 12th Ave. Redwoon Son and Calico

Alberta Street Public House 1036 NE Alberta St. Bradley Wik and the Charlatans

Alhambra theatre

4811 SE Hawthorne Blvd. Stumptown Music Fest: Dresses, Minden, Bike Thief, Sara JacksonHolman, Alameda, The Lower 48, Like a Villain, Billy Goat

Arlene Schnitzer concert Hall

1037 SW Broadway Bonnie Raitt, Marc Cohn

McMenamins edgefield

Artichoke community Music

McMenamins Rock creek tavern

10000 Old Cornelius Pass Road, Hillsboro Doogan Holler

203 SE Grand Ave. Whiskey Dickers, Thorntown Tallboys, SKIO 1800 E Burnside St. Kings on Fire, DJ John Henry

17600 Highway 43 Ana Vidovic

2126 SW Halsey St., Troutdale Everything’s Jake

830 E Burnside St. Overseas, Radar Bros, Chris Brokaw

3130A SE Hawthorne Blvd. Howard Wade

Gateway elks

Goodfoot Lounge 2845 SE Stark St. Machete Men, 1000 Fuegos

Hawthorne theatre Lounge

1503 SE Cesar E. Chavez Blvd. Father’s Pocket Watch, Ancient Eden

Hawthorne theatre

1507 SE 39th Ave. Anberlin, the Maine, Lydia, From Indian Lakes

Holocene

1001 SE Morrison St. Sir Sly, the Chain Gang of 1974, Bel Heir

Jade Lounge

2346 SE Ankeny St. Amanda Richards & the Good Long Whiles

Jimmy Mak’s

221 NW 10th Ave. Norman Sylvester

Kells Brewpub

210 NW 21st Ave. Sami Rouisi

Kells

112 SW 2nd Ave. Grafton Street

Kelly’s Olympian

426 SW Washington St. And And And, Animal Eyes, Bleach Blonde Dudes

CONT. on page 38 Willamette Week OCTOBER 9, 2013 wweek.com

Willamette Week OCTOBER 9, 2013 wweek.com

MUSIC CALENDAR

dates OCt. 9-15

Ousseini MOustik

Kenton Club

2025 N Kilpatrick St. Red Shadows, Sex Crime, the Manatees, Buck Biloxi and the Fucks

LaurelThirst

Vie de Boheme

McMenamins Edgefield

The Analog

3552 N Mississippi Ave. Black Carl, Amorous, Jack Littman, Wendy and the Lost Boys

Mississippi Studios

3939 N Mississippi Ave. Dead Prez, Wise Intelligent, Speaker Minds, Mic Crenshaw

Mock Crest Tavern 3435 N Lombard St. The Adequates

Record Room

720 SE Hawthorne NW Loopfest: Noah Peterson, Karma Bomb, Lucid Brain Integrative Project, Consumer, Waffle Taco, Polemic Contriver, Eastside Industrial, Tukso Okey, Rejyna DouglassWhitman, Ani, Stephen Briggs, Forrest Roush, Aryan Sani, William Walker, Forever Growing, Moongriffin, Gideon Freudmann, Cellotronik

The Blue Monk

3341 SE Belmont St. Grayskul

The Know

8 NE Killingsworth St. Cambrian Explosion, Evyn Oliver, Two Crows Fighting

2026 NE Alberta St. Death Songs, Woolen Men, Eyelids

Red and Black Cafe

421 SE Grand Ave. Volt Divers

400 SE 12th Ave. Leviticus Rex, Grape Juice Scott

Rotture

315 SE 3rd Ave. BurnOut: Portland’s Decompression

Secret Society Ballroom

116 NE Russell St. Leaves Russell, Symmetry/Symmetry, Trashcan Joe

Slabtown

Willamette Week OCTOBER 9, 2013 wweek.com

Star Theater

2958 NE Glisan St. Miss Becky Kapell, the Rainworms, Psych Country Revue

Mississippi Pizza

Trail’s End Saloon

8635 N Lombard St. Shores of Oblivion, Din Star Wheelchair 13 NW 6th Ave. Fall Into Darkness VII: Agalloch, Behold...the Arctopus, Botanist, Eight Bells

2126 SW Halsey St., Troutdale John Bunzow

POSTIng uP: Tal national plays goodfoot Lounge on Wednesday, Oct. 9.

Slim’s Cocktail Bar

1033 NW 16th Ave. Boudica, Echoic, Ritual Healing, Blood Magic

The Lovecraft

The Old Church

1422 SW 11th Ave. 45 for 45 Gala & Fundraiser: The 45th Parallel String Quartet

Thirsty Lion

71 SW 2nd Ave. Audio Syndicate

Tonic Lounge

3100 NE Sandy Blvd. Separation Of Sanity, Hemlock, Damage Overdose

Torta Landia

4144 SE 60th Ave. Eric Vanderwall

1320 Main St., Oregon City Bruce Thomas Smith 1530 SE 7th Ave. Soul Vaccination

White Eagle Saloon

836 N Russell St. Adam Arcuragi, Cheyenne Marie Mize, Ian James

Wilfs Restaurant & Bar 800 NW 6th Ave. Chris Brown Trio

Wonder Ballroom

128 NE Russell St. All-Star Tribute to The Wall and Sgt. Pepper’s Lonely Hearts Club Band: Rob Wynia, Water Tower, Sneakin’ Out, Twisted Whistle

Sun. OCT. 13 Aladdin Theater

3017 SE Milwaukie Ave. Making Waves 2013: Portland Taiko

Alberta Rose Theatre

Foggy notion

Slabtown

Hawthorne Theatre

The Analog

3416 N Lombard St. Shivering Denizens, Jack Rainwater, Dog Bite Harris 1507 SE 39th Ave. Radical Something, Down With Webster, Ask You In Gray, Redcast

Ivories Jazz Lounge and Restaurant 1435 NW Flanders St. Malea & the Tourists

Jade Lounge

2346 SE Ankeny St.

Ama Bently Kenton Club

2025 N Kilpatrick St. Akkadia, Green River Thriller, Disenchanter

Linfield College

2215 NW Northrup St. Pacifica Quartet

McMenamins Edgefield 2126 SW Halsey St., Troutdale Michele Van Kleef

Mississippi Pizza

3000 NE Alberta St. Spyro Gyra

3552 N Mississippi Ave. Mouthbreaker, Rob Larkin, Annie Corbett

Alberta Street Public House

Mississippi Studios

1036 NE Alberta St. Hoot Family Showcase

Andina

1314 NW Glisan St. Ryan Walsh, Luciana Proaño

Ash Street Saloon

3939 N Mississippi Ave. Fall Into Darkness 2013: The Skull, Hammers Of Misfortune, Uzala, Mike Scheidt (of YOB)

Music Millennium

3158 E Burnside St. Lucy Rose

1033 NW 16th Ave. Lady Problems, Dumpster Burger, Normal Babies, Grand Style Orchestra 720 SE Hawthorne Forever Growing

The Conga Club

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

The Know

2026 NE Alberta St. Rabbits, Monogamy Party, Fist Fite

Tony Starlight’s

3728 NE Sandy Blvd. Tony Starlight (St. Charles Catholic Church benefit)

Valentine’s

232 SW Ankeny St. Soft Skills, Moonshine, Mo Troper

White Eagle Saloon

836 N Russell St. Jerry Rig, Rocket 3, Pete Kronowitt

MOn. OCT. 14 Arlene Schnitzer Concert Hall

1037 SW Broadway Schubert’s Symphony No. 9: Oregon Symphony

Backspace

115 NW 5th Ave. Lions Lions, A Lot Like Birds, Indirections

Dante’s

225 SW Ash St. Koffin Kats, Symptoms, the Double Deuce, Angry Lions

Rontoms

350 W Burnside St. King Khan and the Shrines, Hell Shovel, the Satin Chaps

DAYA Foundation

Secret Society Ballroom

Hawthorne Theatre

0110 SW Bancroft St. Jami Sieber

Doug Fir Lounge

830 E Burnside St. Lucy Rose, Dresses

600 E Burnside St. The Woolen Men, Pony Time

116 NE Russell St. Kelly Brightwell, Rob Stroup and the Blame, Alexa Wiley

1507 SE 39th Ave. The Pretty Reckless, Heaven’s Basement, Louna

OCT. 9-15 Holocene

1001 SE Morrison St. Helado Negro, Soul Ipsum, Rap Class

MUSIC CALENDAR

Valentine’s

232 SW Ankeny St. Silent Numbers, Shadowhouse

Jimmy Mak’s

221 NW 10th Ave. Curtis Salgado, Soul Vaccination, Linda Hornbuckle, Norman Sylvester, Janice Scroggins (LaRhonda Steele benefit)

Kenton Club

2025 N Kilpatrick St. Horse Lords, Regular Music, Leisure LLC

LaurelThirst

2958 NE Glisan St. Kung Pao Chickens, Portland Country Underground

Lola’s Room at the Crystal Ballroom

1332 W Burnside St. D-Pryde, Mosley Wotta

McMenamins Edgefield

2126 SW Halsey St., Troutdale Skip vonKuske and Cellotronik

Music Millennium

3158 E Burnside St. Melville

Peter’s Room

8 NW 6th Ave. Kid Ink, Easy McCoy

Red and Black Cafe

400 SE 12th Ave. Annah, Anti-Palindrome

The Know

2026 NE Alberta St. Gag, Mongoloid

Tiga

1465 NE Prescott St. Jed Bindeman

TuEs. OCT. 15 Aladdin Theater

3017 SE Milwaukie Ave. KT Tunstall, Brian Lopez

Alhambra Theatre

4811 SE Hawthorne Blvd. Stepdad

Ash street saloon

225 SW Ash St. Experimental Portland Presents: Doug Theriault, Obsolete Sythesis, Daniel O’Brian-Bravi

Brasserie Montmartre 626 SW Park Ave. Larry Calame

Camellia Lounge

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

Dante’s

350 W Burnside St. Austin Lucas, Lee Bains and the Glory Fires, Eric Schwieterman, Jeremy Wilson

Doug Fir Lounge

830 E Burnside St. Tony Lucca, Jenn Grinels

Duff’s Garage

1635 SE 7th Ave. Dover Weinberg Quartet

East End

203 SE Grand Ave. Vice Device, Warm Hands, VUM

Hawthorne Theatre Lounge

1503 SE Cesar E. Chavez Blvd. The Mormon Trannys Stripped, Ninjas with Syringes, Buttercup

Hawthorne Theatre

1507 SE 39th Ave. Thee Oh Sees, OBN III’s, The Blind Shake

Laughing Horse Books 12 NE 10th Ave. Consumer, Linux Sknrd, Sea Charms, James Curry IV

Lola’s Room at the Crystal Ballroom

1332 W Burnside St. Super Water Sympathy

McMenamins Edgefield

2126 SW Halsey St., Troutdale Hanz Araki and Kathryn Claire

MUSIC PAGE 32

Roseland Theater

8 NW 6th Ave. Gwar, Whitechapel, Iron Reagan, Band of Orcs

The Firkin Tavern

1937 SE 11th Ave. Underwater Dream Machine, Rasmussen

The Know

2026 NE Alberta St. Dream Salon, Ad Personalities, Threads

Valentine’s

232 SW Ankeny St. Casey Chisolm, Noble Firs, Tabor Mtn

White Eagle saloon

836 N Russell St. The Shed Shakers, A Mile to Go

cont. on page 41

cameron browne

BAR SPOTLIGHT

NEW NEST: Alberta Street party dive The Nest, which was destroyed in a fire last year (the sole evacuee was a cat, which firefighters treated with oxygen), inspired virulent loyalty among its regulars—enough so that they followed the bar south to its brandnew location at the old Duke’s Landing space (2715 SE Belmont St., 764-9023). After a few city hiccups, the bar reopened this September in a multistory Buckman house with most of its DNA intact, if rearranged: the same boudoir paintings in the bar, the same sun-and-moon mural on the patio. A pingpong table stands in a garagelike rec-room space, while a pool table is tucked into an upstairs bachelor-pad den that seems made for hanky-panky. Man in Black cover band Counterfeit Cash once again plays the first Friday of each month. The food menu now includes the occasional meat item, with panini and quesadillas for $3 to $6, cooked on a little folding toaster. But the drinks are still cheap and stiff and basic, and even the cigarettes are the same: The owner is staging a $3 “fire sale” on stale smokes that survived the blaze. Many Northeast Portland regulars have moved or branched out to Southeast, and they trickle two-by-two through the door. Consider it a punk-rock family reunion in a little cabin in the wilds of Belmont. MATTHEW KORFHAGE. Willamette Week OCTOBER 9, 2013 wweek.com

win tickets tO see NEW

MOBILE SITE

friday, Oct. 11th @ the aladdin theater Go to wweek.com/promotions

Willamette Week OCTOBER 9, 2013 wweek.com

BREAKING NEWS GEO-LOCATING BAR AND RESTAURANT REVIEWS CITY GUIDES

MUSIC CALENDAR

COURTESY OF ARMADA

OCT. 9-15

THURSDAY, OCTOBER 10 8pm. 21 & Over

THE DARKEST MOONS ADAM MCBRIDE SMITH JESSE S. Free!

FRIDAY, OCTOBER 11 9pm. All Ages

LIVING RHEUM GHOST TOWN GOSPEL THEE HOBO GOBBELINS $7.00 at the door.

TWO-FACED: Emma Hewitt spins at the Whiskey Bar on Saturday, Oct. 12. Valentine’s

232 SW Ankeny St. Laze Thru Life: Michel St Michel, Marco Absolutno

SUN. OCT. 13 WED. OCT. 9 Andrea’s Cha Cha Club 832 SE Grand Ave. Salsa: DJ Alberton

Beech St. Parlor 412 NE Beech St. Housecoat

Berbati’s

231 SW Ankeny St. DJ Seleckta YT

Dig a Pony

736 SE Grand Ave. Pretty Ugly

Slabtown

1033 NW 16th Ave. Queer Night: DJ Pippi Bongstocking

Star Bar

639 SE Morrison St. DJ Mean Jean

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

The Lovecraft

421 SE Grand Ave. Exhume

Tiga

1465 NE Prescott St. Syd Rock

THURS. OCT. 10

Ground Kontrol

511 NW Couch St. DJ Featurekreep

Holocene

1001 SE Morrison St. Ecstasy: Christy Love, Nark, Beyondadoubt, Miracles Club DJs

Jack London Bar

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

Rotture

315 SE 3rd Ave. Live and Direct

The Lovecraft

421 SE Grand Ave. Skullfuck: DJ Horrid

Berbati’s

231 SW Ankeny St. DJ Linkus EDM

Dig a Pony

736 SE Grand Ave. The Man in Black Pajamas

Grand Central Bowl 808 SE Morrison St. DJ North

Lola’s Room at the Crystal Ballroom 1332 W Burnside St. The Pearly Gates: DJ Action Slacks

Savoy Tavern & Lounge

Tiga

2500 SE Clinton St. Expensive Sh$t Night: DJ Morning Remorse

Valentine’s

639 SE Morrison St. The Bobcat

1465 NE Prescott St. DJ Kevin Lee 232 SW Ankeny St. Queer Dance Party: DJ Rxch Wxtch

Yale Union (YU)

800 SE 10th Avenue RP Boo, DJ Manny, Massacooramaan

SAT. OCT. 12 Beech St. Parlor

Star Bar

Harlem

219 NW Davis St. Maniac Monday with DJ Robb

Holocene

Dig a Pony

Holocene

1001 SE Morrison St. Cock Block: Chloe Harris, Mercedes, Laura Lynn

1001 SE Morrison St. I’ve Got A Hole In My Soul: DJ Beyondadoubt

Rotture

315 SE 3rd Ave. Soul Nite

Star Bar

639 SE Morrison St. DJ Jake Cheeto

The Lovecraft

421 SE Grand Ave. DJ Sharpie

Tiga

1465 NE Prescott St. DJ Pickle Barrel

FRI. OCT. 11 Berbati’s

231 SW Ankeny St. Cloud City Collective

Dig a Pony

736 SE Grand Ave. Maxx Bass, Survival Skills

Goodfoot Lounge

2845 SE Stark St. DJ Aquaman’s Soul Stew

Lola’s Room at the Crystal Ballroom 1332 W Burnside St. 70s Night Fever

Mississippi Studios

3939 N Mississippi Ave. MRS: DJ Beyonda

Rotture

315 SE 3rd Ave. Burn Out: Portland’s Decompression

Star Bar

639 SE Morrison St. DJ OverCol

The Conga Club

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

The Lovecraft

421 SE Grand Ave. Musick for Mannequins: DDDJJJ666, Magnolia Bouvier

The Whiskey Bar

31 NW 1st Ave. Emma Hewitt, Eddie Pitzul, Rubin Sarafinchan

Falafel House: 3 to Late–Night All Ages Shows: Every Sunday 8–11pm Free Pinball Feeding Frenzy: Saturday @ 3pm WITHIN SPITTING DI DISTANCE OF THE T PEARL P

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

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

225 SW Ash St. DJ Just Dave

511 NW Couch St. DJ Destructo, DJ Chip

220 SW Ankeny St. Bounce: Tourmaline, Valen

The church of rocknroll Presents... LADY PROBLEMS DUMPSTER BURGER NORMAL BABIES

MON. OCT. 14

Dig a Pony

Ground Kontrol

Free!

8pm. All Ages

Ash Street Saloon

736 SE Grand Ave. Montel Spinoza

736 SE Grand Ave. Marti

6pm. 21 & Over

live from Slabtown West... GRAND STYLE ORCHESTRA

421 SE Grand Ave. DJ Ol’ Sippy

Berbati’s

Dig a Pony

$5.00 at the door.

SUNDAY, OCTOBER 13

The Lovecraft

231 SW Ankeny St. DJ Mellow Cee

231 SW Ankeny St. Studyhall: DJ Suga Shane

BOUDICA ECHOIC RITUAL HEALING BLOOD MAGIC

13 NW 6th Ave. Church of Hive

Beech St. Parlor

Berbati’s

9pm. 21 & Over

Star Theater

412 NE Beech St. DJ Both Josh

412 NE Beech St. DJ Morning Remorse

SAT A URDAY, OCTOBER 12 AT

Beech St. Parlor 412 NE Beech St. DJ Sassy CEO

Berbati’s

231 SW Ankeny St. DJ Henry Dark

CC Slaughters

736 SE Grand Ave. Oliver

The Lovecraft

421 SE Grand Ave. Departures: DJ Waisted, DJ Anais Ninja Tues. Oct. 15

Beech St. Parlor 412 NE Beech St. Tyler Little

Berbati’s

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

Dig a Pony

736 SE Grand Ave. Last Call

Eagle Portland

835 N Lombard St DMTV with DJ Danimal

Star Bar

639 SE Morrison St. DJ Smooth Hopperator

The Lovecraft

421 SE Grand Ave. TRNGL: DJ Rhienna

Tiga

1465 NE Prescott St. DJ Lieutenant Drew, Dr. Ew

Willamette Week OCTOBER 9, 2013 wweek.com

PERFORMANCE

dance

HOW BALLET AND PUNK ROCK KEEP A WISCONSIN FARM BOY FROM FLYING OFF THE RAILS. By aa r o n sp e n c e r

aspencer@wweek.com

Growing up, Michael Linsmeier milked cows in rural Wisconsin. His family lived in a town of 1,600 people along the shores of Lake Michigan and grew half the food they ate. Linsmeier spent most of his time tending to calves, driving tractors and throwing bales of hay. Today, Linsmeier spends his days doing saut de basques at Oregon Ballet Theatre and his nights playing drums with Taint Misbehavin’, a punk-rock band whose members are known for lifting their legs during gigs to reveal their perineums. He can whale on the drums for hours one night and come to tears watching a ballet solo the next. The disciplines are divergent, but both help him deal with a world that often feels chaotic and bleak, especially compared to the quiet life he knew growing up. In both ballet and punk rock, Linsmeier stands out. In a studio where the other male dancers are clean-cut and stern-looking, the 27-year-old’s five piercings and 14 tattoos set him apart. With his band, he brings a thoughtful sensitivity to a genre typified by unhinged rebelliousness. Two years ago, when he showed up in Portland from Milwaukee, ballet rehearsal director Lisa Kipp wasn’t sure what to make of him. “The first time I saw him in the lobby,” she says, “I didn’t think he was one of the dancers. I thought he was just somebody’s boyfriend.” But to Linsmeier, “First-impression opinions are kind of bullshit.” He lives in two extreme worlds, but he doesn’t see them as antagonistic. Ballet requires a controlled finesse, while punk rock lets him release a primal energy. “It’s an adrenaline rush,” Linsmeier says of both art forms. “In punk music, just like with live theater, there is a real risk. It’s always how far you can really push it.” Linsmeier credits much of his drive to growing up on a dairy farm with four siblings, an unglamorous upbringing but one he recalls fondly. Money was sometimes tight—his family occasionally accepted food donations from others at church. But he’s proud of the work ethic and sense of personal responsibility he acquired as a kid, even if things could be tough. Case in point: the time he accidentally killed a calf. “It was a pain in the ass to feed,” Linsmeier says. It was always knocking over its pail, so he neglected it out of spite and the calf got sick and died. “For some reason, that really got to me,” he says. “I don’t know if it was because it was a baby or because I knew it was literally my fault, but it really affected me as to how sensitive life is.” 42

Willamette Week OCTOBER 9, 2013 wweek.com

Dance became his ticket off the farm. When he was 13, a professor from the Virginia School of the Arts in Lynchburg came to his Manitowoc, Wis., dance studio, where his mom had enrolled him, somewhat unwillingly, in ballet classes. “He said it was ‘gay,’” says his mom, Linda, whom Linsmeier calls “Ma.” The professor helped him get a scholarship, and he left for boarding school. There, the culture shock of “being able to walk to a 7-Eleven and get a Slurpee” was overwhelming. And for the first time, he saw how people lived outside his bucolic world, which took standard-issue teenage angst to dramatic heights. “Discovering how people work and manipulate each other to feed the idea of success, I used to get depressed about it all the time,” he says. “Like, the world’s going to shit. We’re literally destroying everything we touch.” At the same time, Linsmeier felt powerless to make anything better, an alien feeling for an attentive farmhand. These emotions came to a head when a dance teacher asked him to perform an improvisational piece. “I didn’t know what else to do but just throw myself around and slam to the ground and jump high and fall on my face,” he says. “It was just an expression of aggression, just pure frustration. And it scared the crap out of my teacher, but it was also exciting. I finally got it. It clicked for me, what dancing is really about.” After graduating, Linsmeier joined the Milwaukee Ballet, and there he began playing punk music. He and several other dancers formed the Quon Poppers, named after a Milwaukee suburb (they briefly considered christening themselves the Dance Belts). While ballet helped fulfill Linsmeier creatively, punk allowed him to release his aggression. He stayed up late swigging malt liquor—he has a tattoo on his hip of the Mickey’s bee. Once, he ran drunkenly into the glass window of a door, slicing off the front half of his nose (you can still see the scar). His friend Justin Genna, who played in the band, said sometimes when out drinking Linsmeier would “hulk out and run off into the night because he was so sick of being around people and the city.” These days, in Oregon Ballet Theatre’s Southeast Portland studio, Linsmeier seems to have gotten a handle on his distress. On a Thursday in late September, he partners with Ansa Deguchi, who’s struggling with Nacho Duato’s Por Vos Muero. Linsmeier doesn’t have it down either, but his goofy grin hides that well. He and Deguchi are working on a counterbalance position, in which Deguchi does a crane-style pose on Linsmeier’s knees. They switch places to give Deguchi a sense of the weight, and Linsmeier starts giggling as he takes on a playful girlishness, acting the part.

B e T h l Ay n e h A n S e n

PUNK DE BOURRÉE

anarchy in the ballet: Michael linsmeier “hulks out.”

“He’s my favorite partner,” Deguchi says. “We can talk about so many kinds of stuff outside of the company.” When asked what she and Linsmeier have in common, Deguchi pauses for a second, blinks and replies, “We drink.” But Linsmeier ’s breezy attitude shouldn’t be misinterpreted as flippant. He takes his ballet seriously, trying to imagine his lines are longer than his body—like he’s “leaving trails of light,” he says. He’s an expressive performer and skilled at playing characters, and he’ll dance the role of hopeless romantic Lysander in A Midsummer Night’s Dream this weekend. Kipp, the rehearsal director, says the company once got a complaint about one of Linsmeier’s tattoos—a fedora-clad skull on his back—that was visible in a production. An audience member complained the tattoo was “disrespectful,” which upset Linsmeier, Kipp says. Linsmeier, for his part, says he “didn’t give a shit about the complaint,” yet felt bad for the company being reprimanded. “He has this appearance of being very rebellious,” Kipp says, “but he also is very thoughtful and caring because he really gave some thought to that, whereas I was like, ‘Oh my God, who cares?’” You might expect Linsmeier’s personality to shift dramatically when he moves from the ballet studio to band practice, but it doesn’t. In his bassist’s Sellwood basement, after a beer run, Linsmeier sits shirtless behind his drum kit. His arms hammer in fervent, mechanical strokes. The glee he shows when dancing still beams from his face.

“He’s just, like, shredding,” says the band’s frontman, Eddie Regan. His bandmates agree Linsmeier’s stamina helps make him a good drummer. He can play longer and harder than any of them. “And he’s just so fucking nice,” Regan adds. Not that his bandmates are hard-edge rocker types. One’s a nursing student, and one played lute and classical guitar for the Oregon Shakespeare Festival. They ’ve been to quite a few of Linsmeier’s ballet shows, too, but they don’t necessarily like them. “I wouldn’t pay for it,” says guitarist Krishan Nattar, a preschool teacher, who describes the majority of what he’s seen as “airy fairy, overly dramatic stuff.” If that disappoints Linsmeier, he does a good job hiding it, passing it off with a shrug and just the slightest tinge of sadness. “I think they’re missing out,” he says. “I would love for everyone to love it. It’s a little bit sad when people don’t love it, but I’m not going to think about it too much.” For a long time, Linsmeier thought he was wasting his life as a ballet dancer, just “twinkling his toes.” But he’s come to realize that ballet, and even punk rock, are his ways of brightening a world that he often still sees as grim. “I’m not saving the world or anything,” he says, “but it’s fulfilling to be able to influence people, to actually be able to make somebody’s day better.” “It’s like I’m forgiving myself for living.” GO: Oregon Ballet Theatre performs Dream at the Keller Auditorium, 222 SW Clay St., 222-5538. 7:30 pm Saturday Oct. 12; 2 pm Sunday Oct. 13; and 7:30 pm Thursday-Saturday Oct. 17-19. $25-$142.

P. 6

Fill FEAT.

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NOVEMBER 3RD • ROSELAND • 8PM • 21+ DOUBLE TEE & SOUL’D OUT PRESENT

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NOVEMBER 21ST • STAR THEATER • 9PM • 21+ Willamette Week OCTOBER 9, 2013 wweek.com

PERFORMANCE

OCT. 9–15

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

CASEY CAMPBELL

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.

cially in light of Baz Luhrmann’s recent critical flop, the B&B team manages to add a welcome gaudiness of its own. Colin Wood plays a little too soft and kind for the role of the violent, racist Tom Buchanan, but Ty Boice has perfected his slow, drawling “old sport” as Jay Gatsby. Upon meeting Gatsby, Cassie Greer’s eyes gleam robust joy and excitement, and though she shows little of Daisy’s impressionability, she owns the role and pulls it off. The company even imparts glitziness to the stagecraft: A fly system whisks Gatsby’s fine shirt collection on and then off the stage, projected quotes from the novel add a sense of poetry and a huge wooden dock protrudes from stage left. The only thing missing is the green light at the end of the dock—and an instructional DVD for flapper tai chi. MITCH LILLIE. The Venetian Theatre, 253 E Main St., Hillsboro, 693-3953. 7:30 pm Thursdays-Saturdays and 2 pm Sundays through Oct. 20. $20-$30.

Lucky Stiff

The GreaT GaTsby

THEATER

OPENINGS & PREVIEWS Hot Flashes

With rap songs by menopausal women, Kate Finn and Rick Weiss’ musical is tailor-made for your mom’s book club. Portland Metro Performing Arts, 9003 SE Stark St., 408-0604. 8 pm Saturdays and 2 pm Sundays through Oct. 27. $20-$24.

Martin Dockery and Chase Padgett

Two storytellers fresh off the fringefest circuit recount some raucous tales. On Friday, Martin Dockery tells The Bike Trip, which is not about a two-wheeled trek but rather a trippy story about the invention of LSD. Then, on Saturday, Chase Padgett performs6 Guitars, in which he plays six different guitar players. Curious Comedy, 5225 NE Martin Luther King Jr. Blvd., 4779477. 8 pm Friday-Saturday, Oct. 11-12. $12-$15 per show; $20 for both.

The Submission

Defunkt Theatre opens its season with Jeff Talbott’s 2011 dark comedy about every -ism in modern America. It centers on a floundering white, gay playwright who penned a play about a poor black family and, hoping to increase its chances of production, decides to submit it under the pseudonym Shaleeha G’ntamobi. F-bombs and worse (you can certainly guess) follow. The Back Door Theater, 4319 SE Hawthorne Blvd. 7:30 pm ThursdaysSundays through Nov. 16 (no shows Oct. 10, 13 or 31). $15-$25 sliding scale, Thursdays and Sundays are “pay what you can.”

Urban Tellers

Portland Story Theater presents an evening of original tales, told live by Penny Walter, Michael Griggs, Kim Breas, Kitty Kaping, Amanda Starr and Mary E. Kleffner. Hipbone Studio, 1847 E Burnside St., 358-0898. 8 pm Saturday, Oct. 12. $15-$20.

Wilde Tales

In addition to his plays and poems, Oscar Wilde wrote fairy tales, which playwright Karin Magaldi adapts for this production filled with dance, song and puppets. Wilde said his stories were “for childlike people from 18 to 80,” but this Shaking the Tree production is geared toward ages 9 and up. Shaking the Tree Studio, 1407 SE Stark St., 235-0635. 7:30 pm FridaysSaturdays, 2 pm Saturdays and 5 pm Sundays through Nov. 9. $22.

ALSO PLAYING 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.

Fiddler on the Roof

“Twenty-eight?!” my friend exclaimed, after I told her the size of the cast for Portland Center Stage’s Fiddler on the Roof. “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? Would he turn it 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 the classic musical, 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: It’s neither weepily mournful nor parodically ridiculous. As Tevye, David Studwell plays a man weary but resilient, buoyed by a dark and idiosyncratically Jewish sense of humor. The other cast members, all speaking in distinctive Russian-Jewish accents, also bring nuance to broadly drawn characters. The design choices, too, fit both Fiddler and Portland: The floor-to-ceiling backdrop of reclaimed wood would be at home in any farmto-cone ice cream parlor serving noodle-kugel sorbet. The wood chips on the floor, which go flying during peppy dance sequences, are another nice touch. 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 tradition while warning us of the dangers of insularity. L’chaim! REBECCA JACOBSON. Gerding Theater, 128 NW 11th Ave., 445-3700. 7:30 pm TuesdaysSundays, 2 pm Saturdays-Sundays, noon Thursdays through Nov. 3. $38$72.

The Great Gatsby

Eight figures contort their bodies slowly in some kind of Prohibitionera tai chi. Their limbs don’t spell out “Gatsby,” but their flapper dresses, three-piece suits and the crackling blues music fairly scream it. Such is the opening scene of Bag&Baggage’s The Great Gatsby, adapted by Simon Levy and directed by Scott Palmer. Most have plodded through F. Scott Fitzgerald’s story again and again since seventh-grade English, but, espe-

Willamette Week OCTOBER 9, 2013 wweek.com

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 stand-out Amy Jo Halliday), ultimately, the audience is left as stiff as Uncle Tony’s corpse. JEN LEVINSON. Broadway Rose New Stage Theatre, 12850 SW Grant Ave., Tigard, 6205262. 7:30 pm Thursdays-Saturdays and 2 pm Sundays and some Saturdays through Oct. 13. $20-$44.

Mistakes Were Made

Sometimes, a title speaks for itself, and that’s unfortunately the case with Craig Wright’s Mistakes Were Made. The play centers on a theater producer named Felix Artifex (the name in Latin means “lucky actor,” though luck is the last thing this crass huckster has) attempting to mount an epic Broadway show about the French Revolution called…well, Mistakes Were Made. And just as that clusterfuck production crumbles—there’s some issue regarding sheep trafficking in the Middle East, a subplot best ignored— so too does this Artists Rep production fail to ignite. That’s in large part due to Wright’s script, essentially a one-sided phone conversation. Felix (Michael Mendelson, who also directs) storms about his office, gesticulating rabidly as he switches between a dozen phone extensions. The jokes flop, particularly one about Miley Cyrus playing Scout in a musical adaptation of To Kill a Mockingbird that left me with horrible images of the foam finger-clutching pop star teaching Boo Radley how to twerk. It’s perhaps churlish to say Mendelson is miscast as Felix—original star Todd Van Voris had to bow out because of a family emergency—but the actor lacks the necessary erratic presence to make the role work. Instead, Mendelson gasps and whines and moans with strange and inconsistent affect, and that’s not to mention his peripatetic accent, some confused blend of Boston and Britain. Spending most of the play

with his eyes cast down, he leaves the audience feeling as distant and lost as those stranded sheep. REBECCA JACOBSON. Artists Repertory Theatre, 1515 SW Morrison St., 241-1278. 7:30 pm Wednesdays-Sundays and 2 pm Sundays through Oct. 27. $25-$55.

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) spitballs phrases for a new speech as he paces before the mirror. Into this bare-bones 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—Camae deems God “a funny-ass 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. 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.

The Revenants

Whatever the reasons for our current cultural embrace of the zombie apocalypse, live theater has largely been spared the plague. It is, after all, rather more difficult to convey the specter of undead, swarming hordes through stagecraft. Instead, The Revenants, a play by Scott T. Barsotti given its Northwest premiere by local troupe the Reformers, focuses upon the harrowing toll wrung from survivors witnessing their nearest and dearest transform into nearly unrecognizable monsters. Presented in an actual residential garage in the Buckman neighborhood (and held during torrential downpours on opening weekend), there’s no shortage of verisimilitude to the production. Tricks of lighting, eerily convincing makeup and bravura soundwork all combine to manufacture a remarkably macabre mise en scène that, nevertheless, must live and die on the abilities of the actors portraying those who have passed this mortal coil. Zombified Molly (Jennifer Elkington) and Joe (company founder Sean Doran) have been chained to the walls by their respective spouses (Chris Murray and Christy Bigelow), who hope that some shred of their paramours’ former selves remains. Murray and Bigelow accomplish yeoman’s work as our putative heroes, struggling with a script long on forced humor and dimly revelatory monologues. Grimm vet Murray, in particular, boasts the sort of scruffy sparkle that makes genre vehicles sing. But it’s the performances of Elkington and Doran—forearm-chewing figures of devolved menace who spend the near 90 minutes as grunting, slobbering scenery—that wrap even the more lurid emotional flashpoints within the skin of fresh horror. JAY HORTON. 1126 SE 15th Ave. 8 pm Thursdays-Sundays through Oct. 19 (no show Sunday, Sept. 29). $17.

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 mas-

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 noblemen 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.

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. Some additions fit well within the Monty Python brand of humor, such as Sir Robin (Norman Wilson) performing the catchy number “You Won’t Succeed on Broadway (Without Any Jews).” While most of the gags are meant to slap you in the face, what really sells the humor are the facial expressions of this Lakewood Theatre Company cast, able to elicit laughs with a well-timed lip curl or raised eyebrow. Humor, after all, is all about subtlety—even when you’re farting into a trumpet. PENELOPE BASS. Lakewood Center for the Arts, 368 S State St., Lake Oswego, 635-3901. 7:30 pm Thursdays-Saturdays and some Sundays; 2 pm Sundays through Oct. 13. $36.

Sweet and Sad

Between each scene in Sweet and Sad, there’s a simple sound effect: a breath. It’s a gesture that, just like the play, sneaks up on you in a quiet and astounding way. That breath is the least of reasons to see this affecting Third Rail production, directed by Scott Yarbrough. Following last season’s That Hopey Changey Thing, Sweet and Sad is the second in Richard Nelson’s four-play series about the Apple family. This installment, which is richer and wiser than the first, finds the family on Sept. 11, 2011. They’ve gathered in upstate New York at the home of schoolteacher Barbara, who lives with her sister Marian (Maureen Porter, whose naturalistic and assured performance is so good it hurts) and their uncle, a retired actor with amnesia. Up from Manhattan are Barbara and Marian’s two siblings, a fat-cat lawyer (a very funny and playfully prickly Michael O’Connell) and a writer, who’s brought along her actor boyfriend. The 10th anniversary of the Sept. 11 attacks suffuses conversation, but this is at heart a family drama, and the play beautifully weaves together the political and the personal. Nelson, the playwright, is a master at raising provocative questions without giving any easy answers. But far from these inconclusive exchanges feeling evasive, the very difficulty of such conversations becomes the play’s subject. Next year’s Apple family gathering can’t come soon enough. REBECCA JACOBSON. Winningstad Theatre, Portland Center for the Performing Arts, 1111 SW Broadway, 235-1101. 7:30 pm ThursdaysSaturdays and 2 pm Sundays through Oct. 20. $20-$43.

OCT. 9–15

PERFORMANCE

JEAN-PIERRE MAURIN

DANCE BodyVox

SALVES BY COMPAGNIE MAGUY MARIN

Varsity Cheerleader Werewolves Live From Outer Space

Varsity Cheerleader Werewolves Live From Outer Space started out as a movie, with a passably professional trailer starring Daniel Baldwin. That surviving video holds almost no trace of the rollicking charms or improvisatory swagger currently being reprised at Milepost 5. By shoehorning a feature-length screenplay into little more than an hour and making the most of an effects budget likely below two digits—laser pointer, Silly String and a moth-eaten cat puppet inventively serving as our cabaret CGI—Steve Coker sidesteps both the deadening rhythms of dated sci-fi pastiche and the high-camp artifice ordinarily infecting modern musical comedy. With successive blink-and-you’llmiss-them scenes, the continually engaging and mobile performers stick each wry aside and own every cornball bit of exposition. There’s a two-fisted physicality empowering slapstick set pieces and heightening the violent flourish or eroticized assault. Punches connect, stripteases arouse and Bananarama synth riffs impart a genuinely disturbing malevolence. The project couldn’t possibly have achieved such heights as a motion picture, but that doesn’t mean a sequel’s not deserved. JAY HORTON. Milepost 5, 850 NE 81st Ave., 7293223. 7 pm Thursdays-Saturdays through Oct. 12 and 2 pm Sunday, Oct. 6. $10-$12.

COMEDY Alex Koll

Koll, a San Francisco-based comedian who’s twice won that city’s regional air guitar championship, takes a two-night spin through Helium. Helium Comedy Club, 1510 SE 9th Ave., 888-643-8669. 8 pm Wednesday-Thursday, Oct. 9-10. $10-$15.

Am I Right, Ladies?

Jen Tam and Barbara Holm host an evening of feminist standup from a long slate of local comics. Backspace, 115 NW 5th Ave., 248-2900. 8 pm Wednesday, Oct. 9. Free.

ComedySportz

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

Curious Comedy Cover Show

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

Diabolical Experiments

Improv jam show featuring Brody performers and other local improvisers. Brody Theater, 16 NW Broadway, 224-2227. 7 pm every Sunday. $5.

Dom-Prov

If your idea of fun is playing improv games with a leather-clad dominatrix as an audience hurls marshmallows at you, this Unscriptables show is for you. Funhouse Lounge, 2432 SE 11th Ave., 309-3723. 10 pm every Saturday. $10.

Erin Foley

Known for her frank style— her standup act covers birth control, vegan cookbooks and breast implants (which she calls “giant awkward bags of low selfesteem”)—the lesbian comic makes her ﬁrst-ever stop in Portland. Funhouse Lounge, 2432 SE 11th Ave., 841-6734. 7:30 pm Saturday, Oct. 12. $19-$25. 21+.

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.

Half-Life

Performers from two local groups— Katie Nguyen and Tom Johnson from the Brody and Daryl Olson and Shelley Darcy from Brainwaves— team up for a night of improv. In the ﬁrst act, the performers collect personal info from audience members to create a Frankenstein character, who then goes on great comedic adventures. A freeform second half follows. Brody Theater, 16 NW Broadway, 224-2227. 7:30 pm Saturdays through Oct. 19. $9-$12.

Micetro

Brody Theater’s popular elimination-style improv competition. Brody Theater, 16 NW Broadway, 224-2227. 8 pm every Friday. $9-$12.

Michael Blackson

The so-called “African King of Comedy”—he’s Ghanaian-American and adopts a slight accent when performing—brings his punch lines and dashikis to Helium. Helium Comedy Club, 1510 SE 9th Ave., 888-643-8669. 7:30 and 10 pm Friday-Saturday, Oct. 11-12. $20-$30.

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.

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.

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.

Foot Opera Fileswas the ﬁrst piece performed in BodyVox’s current Northwest Portland studio in 2009, but the revival of that show, renamed Body Opera Files, is moving out. This time, the ﬁlmnoir-inspired show is performed in a Northwest Portland industrial warehouse. The pieces in this show tell stories of a drifter, a vixen, a rocker and a boxer. If the show is anything like the original, it will be heavy on BodyVox’s trademark corniness and physical humor. Also like 2009’s show, Body Opera Files is part concert, with a live indie-rock band led by bassist Michael Papillo and a group of operatic singers. Music selections include songs by Tom Waits and Elvis Costello, as well as gospel and other various Americana. NW Industrial Warehouse, 2448 NW 28th Ave., 229-0627. 7:30 pm Thursdays-Saturdays, Oct. 10-26; 2 pm Saturdays, Oct. 19 and 26. $25$59.

Compagnie Maguy Marin

Of White Bird’s lineup this fall, this French company is perhaps the most well-known and the most controversial: Portland audiences walked out when it last appeared here in 2002. This show, Salves, should be more palatable, but still challenging. It’s a haunting mix of dance and abstract theater that depicts a world in chaos. In it, tableaus pulse by, one after another. Religious and historic imagery, as well as cameos by works of renowned painters, punctuate the progression. It’s an act of resistance, an effort to save from destruction whatever has been left. White Bird co-founders Walter Jaffe and Paul King keep asking that first audiences don’t spoil the surprise ending. Newmark Theatre, 1111 SW Broadway, 245-1600. 7:30 pm ThursdaySaturday, Oct. 10-12. $26-$67.

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Oregon Ballet Theatre

The introductory show under new artistic director Kevin Irving is a mix of familiar and new. In Dream, the company revives former artistic director Christopher Stowell’s A Midsummer Night’s Dream, one of his best works, and pairs it with Nacho Duato’s Por Vos Muero. Both pieces are contemporary in style and have a fanciful air about them: Stowell’s features elaborate fairy costumes, while Duato’s paints a dark, romantic picture of 15th- and 16th-century Spain. The selection of Duato, a world-renowned choreographer, has Irving’s ﬁngerprints all over it—the two have close ties, so the piece should oﬀer a taste of what’s to come. Keller Auditorium, 222 SW Clay St., 800-745-3000. 7:30 pm Saturday, Oct. 12 and FridaySaturday, Oct. 18-19; 2 pm Sunday, Oct. 13. $25-$142.

Phoenix Variety Revue

Burlesque madame and drag performer Zora Phoenix hosts her monthly variety show. Kelly’s Olympian, 426 SW Washington St., 228-3669. 8 pm Sunday, Oct. 13. $10. 21+.

Rocky Horror Pastie Show

A burlesque remake of the popular midnight movie, this show cuts out most of the dialogue but leaves all of the T&A. Whoever did the casting should be commended for the choices of Zora Phoenix as Frank-NFurter and Isaiah Esquire as Rocky. Star Theater, 13 NW 6th Ave. 8 pm Friday, Oct. 11. $15-$20.

Totally 90’s Burly Drag Show

A ’90s-themed burlesque and drag show with performances by Tana the Tattooed Lady, Ecstacy Inferno, Drewy King, Dee Dee Pepper, Holly Dai and more. Jones, 107 NW Couch St., 971-271-7178. 9 pm Thursday, Oct. 10. $5. 21+.

Tickets start at $22. While they last.

For more Performance listings, visit Willamette Week OCTOBER 9, 2013 wweek.com

VISUAL ARTS

Oct. 9–15

= 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.

Through Nov. 2. Bullseye Gallery, 300 NW 13th Ave., 227-0222.

Contemporary Northwest Art Awards

expansive, thoughtful and dramatically installed, the biannual contemporary Northwest art awards didn’t disappoint this year. curator Bonnie LaingMalcolmson 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 Trimpin), Montana (anne appleby) and Wyoming (abbie Miller). as heterogeneous as these artists’ works are, somehow LaingMalcolmson makes them cohere spatially and thematically. at the show’s opening gala, Trimpin took home the $10,000 arlene Schnitzer prize. Through Jan. 12. Portland Art Museum, 1219 SW Park Ave., 226-0973.

Dinh Q. Lê: Fixing the Impermanent

Vietnamese artist dinh Q. Lê revisits the Vietnam War in a suite of stunning photographic tapestries. Lê uses photographic prints like strips of fabric or twine in tapestries or baskets, weaving them in and out of compositions that also integrate boldly colored linen tape. The images are often harrowing, as in Immolation in Additive and the Subtractive Colors, which appropriates an iconic photograph of Buddhist monk Thich Quang duc committing suicide in 1963 by setting himself afire. That Lê makes this disturbing image so beautiful, via its palette of jewel tones and bubblegum hues, is a credit to his knack for conflating and confusing visual beauty and political awareness. Through Oct. 26. Elizabeth Leach Gallery, 417 NW 9th Ave., 224-0521.

Incident Energy

Don Quixote Fights CanCer by Jim Riswold

Brad Adkins: Business

With his self-effacing personality, trademark hoodies and whimsical, often-inscrutable artworks, Brad adkins has been one of the most recognizable Northwest artists of the past decade. in Business, he fills a pop-up space with five new sculptures made out of canvas, neon, plastic and wood. among his influences are early 1960s pop art, roadside attractions along interstate highways and a recent filmwatching project during which he watched a whopping 3,500 movies across nearly all genres. it will be a treat to see what this iconic local artist has come up with this outing. Through Oct. 12. Brad Adkins Pop-up Space, 209 SW 9th Ave.

Clifford Rainey: In the Beginning Was Black

politically aware wit and a long sociocultural viewfinder have always dis-

L IL

AME

tinguished 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.

TTE W EE K

GIVE! GUIDE 2013

Willamette Week OCTOBER 9, 2013 wweek.com

in 1995, portland-based artist/filmmakers Marne Lucas and Jacob pander collaborated on cult-classic art film The Operation. Now, 18 years later, they have followed up that film with a new one, entitled Incident Energy. Like the earlier film, 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 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.

Jeffrey Butters: Passages

in a triptych of ravishing oil paintings, Jeffrey Butters perfects a style he has been reaching toward in recent series. Cadmium Reaction I and VI, as well as

Manganese Reaction I, overlay luscious impasto atop gold dust and powder pigment. Butters begins this process by rubbing the powders over wet gesso. This creates the basis for compositions that combine the extreme surfaces of van Gogh with the delicate, washy optical nature of Monet. The works’ most surprising achievement is to function as heavily layered objects while depicting wispy clouds and mists that threaten to float out of their very frames. Through Nov. 2. Butters Gallery, 520 NW Davis St., second floor, 248-9378.

Jim Riswold: Art for Oncologists

at least three people and some bubble-bath-infused hot water could fit inside the oversize “candy dish” at the heart of Jim Riswold’s Art for Oncologists. The “candies” the dish contains are giant heart-shaped sculptures, each inscribed with the name of a chemotherapy drug. This is a very personal piece and exhibition for Riswold, a longtime leukemia and prostate cancer survivor. he hints at the tenacity required for this 13-year battle royale in the piece Don Quixote Fights Cancer. in the photograph, a figurine of cervantes’ oblivious hero sits astride a brightly colored chemo drip. Fighting cancer, Riswold implies, may be a bit like tilting at windmills; it requires a steadfast belief that eventually, against all odds, one will succeed. Through Nov. 2. Augen DeSoto, 716 NW Davis St., 224-8182.

Mark Morrisroe: Mark Dirt Book Release

Mixed-media artist Mark Morrisroe (1959-1989) chronicled the lives and bodies of his friends and colleagues in the cultural milieu of the 1970s and 1980s punk-rock scene. his works, often erotically suggestive and psychologically complex, recall the intimate portraits of his contemporary, the photographer Nan Goldin. Morrisroe’s collages, drawings and punk zine, Dirt, put him on the map as one of his generation’s preeminent documentarians. Work from these projects, along with previously unpublished artworks and correspondence, are collected in a new book, Mark Morrisroe: Mark Dirt, edited by his onetime partner, Ramsey Mcphillips. Mcphillips will sign books as part of a book launch and one-night-only display of Morrisroe’s original artworks and ephemera. 6-9 pm Thursday, Oct. 10. Monograph Bookwerks, 5005 NE 27th Ave., 2845005. Free.

Michael Schultheis: Universal Couplings of Archimedes

Like portland-based encaustic artist elise Wagner, painter Michael Schultheis is intrigued by the meeting place of science and art. Schultheis’ point of departure for his current batch of pieces were the mathematical and geometric formulas of ancient Greek mathematician and inventor archimedes of Syracuse (287 B.c.212 B.c.). in Schultheis’ creamily textural paintings, scientific symbols drift across a picture plane, suffused in earth tones, blues, and bracing tomato reds. Through Nov. 2. Froelick Gallery, 714 NW Davis St., 222-1142.

Michael T. Hensley: New Works

exuberant, fanciful and just a little wack, Michael T. hensley’s mixedmedia works blend painting and drawing. in the imagery in the show’s 40-odd pieces, there’s something for everyone: faces, landscapes, seascapes, cityscapes, airplanes, wine bottles, chemistry beakers, fried eggs, salt shakers, cacti, ice cream cones, cherries. Through Nov. 10. Mark Woolley Gallery @ Pioneer, 700 SW 5th Ave., third floor, Pioneer Place Mall, 998-4152.

Paul Soriano: Oblivion

paul Soriano departs from his serene portraiture in a new suite of oil paintings entitled Oblivion. There’s nothing serene about these works, with their hyperkinetic undergirding of gestures, swarming underneath the paintings’ surfaces like hornets. The works’ subject matter also has a vespine sense of danger and agitation. in the imagery, Soriano confronts psychosexual demons he has never before explored in his exhibited work. The wild-haired figure in Shaman in the Twilight of his Days, the erect male nude in Lost (in the Valley of Pleasure) and the bare-assed youth confronted by clothed boys in At the Crossroad (Kill the Pig) all illuminate dark corners of the sexual psyche in a manner recalling the feverish erotic fantasias of painter eric Fischl. Through Nov. 7. Cock Gallery, 625 NW Everett St., No. 106, 552-8686.

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.

Tom Cramer and Sherrie Wolf

Two of the Northwest’s most beloved artists join forces in this powerful double bill. Tom cramer’s Continuum brings together his luxurious goldand silver-leafed paintings and his elegantly phantasmagorical drawings, while Sherrie Wolf’s exhibition, Stills, showcases her gift for jaw-dropping photorealism. in wildly divergent styles, the artists capture the lavish gifts of nature’s bounty. it will be fascinating to see how their works play together in dialogue within Russo’s expansive front and back galleries. Through Nov. 2. Laura Russo Gallery, 805 NW 21st Ave., 226-2754.

For more Visual arts listings, visit

GET READY TO GIVE, PORTLAND! Nov. 6, 2013 giveguide.org facebook.com/giveguide

BOOKS

Oct. 9–15

= 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.

THURSDAY, OCT. 10 Malcolm Gladwell

Malcolm Gladwell, a staff writer for The New Yorker since 1996, seems to have nestled himself in the notso-easy-to-accomplish niche of getting his readers to really think about the world around them. His four books, The Tipping Point, Blink, Outliers and What the Dog Saw, each began simply with an interesting story—such as the drop in New York City’s crime rate. From there, Gladwell delves into academic research in sociology or social psychology and connects some very interesting dots. His new book, David and Goliath: Underdogs, Misfits and the Art of Battling Giants, will be released this month. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 248-4335. 7:30 pm. $15-$72.50.

of Reddit.com. His new book, Without Their Permission, includes his philosophy and suggestions for how to use the power of the Internet for good. Powell’s Books at Cedar Hills Crossing, 3415 SW Cedar Hills Blvd., Beaverton, 228-4651. 4 pm. Free.

Paul Harding

When your debut novel wins the Pulitzer Prize for fiction and spends 32 weeks on the bestseller list, you’ve set a rather high bar for yourself. Author Paul Harding follows his highly acclaimed novel, Tinkers, with a related tale about Charlie Crosby, grandson of George Crosby, the protagonist of Tinkers. His new novel, Enon, already has the reviewers drunk on superlatives. Powell’s City of Books, 1005 W Burnside St., 2284651. 7:30 pm. Free.

MONDAY, OCT. 14 Joel Magnuson

Portland-based economist and author Joel Magnuson (Mindful Economics) speaks about how to think and act economically in a world where cheap oil comes to end, focusing on the energy pioneers and communities already working on the transition highlighted in his new book, The Approaching Great Transformation. Parkrose Community United Church of Christ, 12505 NE Halsey St, 253-5457. 7-8:30 pm. Free.

For more Books listings, visit

REVIEW

JESMYN WARD, MEN WE REAPED

Richard Dawkins

Evolutionary biologist, author and adamant atheist Richard Dawkins (The Selfish Gene, The God Delusion) has spent his career not only exploring the complexities of evolution and genetic sciences but also using science to argue against the existence of a god and the belief in religion. His new memoir, An Appetite for Wonder: The Making of a Scientist, explores just how he came to embrace his own beliefs. Powell’s Books at Cedar Hills Crossing, 3415 SW Cedar Hills Blvd., Beaverton, 228-4651. 7 pm. Free.

David Biespiel

Portlander David Biespiel, a poet and president of the Attic Institute, spent four years on more than 100 flights traversing the country and gathered with him stories of camaraderie, love and the vulnerability of America. The result is his fifth book of poetry, Charming Gardens. Powell’s on Hawthorne, 3723 SE Hawthorne Blvd., 228-4651. 7:30 pm. Free.

FRIDAY, OCT. 11 Publication Party

In the age of tablets and smartphones, publications printed on real paper have become almost quaint— something read by hipsters and your grandpa. But celebrating the lasting, tactile joy of the printed object, the IPRC’s Publication Party hosts 20 tables of local, independent publishers and writers like Bitch Media, Tavern Books, Sparkplug comics and many others. Revel in the tangible. Independent Publishing Resource Center, 1001 SE Division St., Suite 2, 827-0249. 4 pm. Free.

Daniel Skach-Mills

Oregon poet, author and former Trappist monk Daniel Skach-Mills (In This Forest of Monks) reads from his book The Hut Beneath the Pine: Tea Poems, which was a finalist for the 2012 Oregon Book Award, and other selected works. Townshend’s Tea, 3531 SE Division St., 236-7772. 7:30 pm. Free.

SUNDAY, OCT. 13 Alexis Ohanian

Whether you see him as a revolutionary of the information age or a harbinger of doom responsible for the downfall of legitimate journalism, there is no denying the influence of Alexis Ohanian, co-founder

From the beginning of Men We Reaped (Bloomsbury, 272 pages, $26), Jesmyn Ward makes clear her memoir isn’t going to be an easy ride. By telling her story, she hopes, “ I ’ l l u n d e r st a n d w hy my brother died while I live, and why I’ve been saddled with A rotten story, told brilliantly. this rotten fucking story.” It is indeed a rotten fucking story. Ward grew up poor and black in rural Mississippi, and she lost, over the course of four years, five young men she knew well. The good news, at least for readers, is that Ward tells a rotten fucking story fucking brilliantly. Her prose is conversational and unadorned. It’s deceptively simple, until a moment of wrenching tragedy—or, surprisingly often, one of astounding beauty—arrives with dangerous propulsion, knocking you off the footing that had seemed so secure. “Men’s bodies litter my family history,” writes Ward, who won the 2011 National Book Award for her novel Salvage the Bones. Over the course of Men We Reaped, we meet five such young men. Felled by suicide, drugs or accidents, they tell in microcosm a larger tale of racism, economic hardship, violence and addiction. But Ward’s story is primarily a personal one, and she keeps her account focused on immediate details and intimate memories— we can feel the sticky, thick heat of her southern Mississippi hometown, where she returned from Stanford during summers to swig Everclear, smoke weed and pass out on cousins’ couches. (Ward was lucky: Her mother, a housekeeper, had a client who helped enroll her in private school.) Ward recounts the deaths in reverse chronological order, which means her younger brother Joshua is the last in the book to die. Each of these five vignettes is cut with an autobiographical chapter that moves forward in time. “My ghosts were once people,” she writes, but for the reader, things seem to travel in the reverse direction—those we’ve gotten to know will soon disappear. There’s a vicious sense of anticipation and constant tension between the brevity of life and the permanence of death. Throughout, Ward grounds her story with sparse poetry about each of the men who died—her brother Joshua was “scrappy with brawn and foolish hope,” her cousin C.J. had cheekbones like peach pits—and a clear affection for the troubled place where she grew up. Ward is “perpetually called back to home by a love so thick it choked me,” and by the end of Men We Reaped, we’ve been choked as well. REBECCA JACOBSON. go: Jesmyn Ward appears at Powell’s City of Books, 1005 W Burnside St., 228-4651, on Friday, Oct. 11. 7:30 pm. Free.

Willamette Week OCTOBER 9, 2013 wweek.com

oct. 9-15

The Family

= WW Pick. Highly recommended. 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.

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. Only Sheryl Crow, it seems, fully shed the stigma of being a supporting player. Others have come frustratingly close: Lisa Fischer won a Grammy in 1992 but still has to wait in line at the post office. Merry Clayton helped make “Gimme Shelter” into the Stones’ finest moment but never had a major hit herself. Darlene Love, a protégée and plaything of Phil Spector, is the most recognizable, though that’s mostly because she played Danny Glover’s wife in the Lethal Weapon movies. She was inducted into the Rock and Roll Hall of Fame in 2011, but only after the surreal experience of hearing her voice wafting from the radio in a house she’d been hired to clean. 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.

After Tiller

B+ Third-trimester abortions make up less than 1 percent of the total number of abortions in the United States, yet they represent a vastly larger proportion of the fierce debate over reproductive rights. Since the fatal 2009 shooting of abortion provider George Tiller, only four known physicians in the country—all protégés of Tiller’s— openly offer the procedure. After Tiller walks straight past the cross-clutching activists outside these clinics and into this very private world. The documentary paints a fascinating portrait of four incredibly resilient doctors who actually face the prospect of being assassinated for doing their jobs. Whether you agree with them or not, their stories are undoubtedly worth documenting. Still, there’s no getting around the fact that this is a work of advocacy. We see everything through the doctors’ eyes, with no alternative views save for a few snatches of dialogue from protesters or angry attendees of town-hall meetings. The first couples we meet have decided to abort late in their pregnancies due to fetal abnormalities that would cause their children incredible suffering. It’s only later that the film introduces ethically murkier cases—like a mother of two who mumbles her way through an explanation for why she put off the abortion, and says she doesn’t want to bring her pregnancy to term and adopt out because she’s “been drinking.” It’s evident that doctors don’t take these cases lightly, and everyone but the most vehement pro-lifers will find their preconceptions and beliefs challenged at some point. But the narrow focus of the film will remain a sticking point for some. RUTH BROWN. 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. PG-13. Cedar Hills

Blue Jasmine

B Woody Allen’s Blue Jasmine isn’t

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. Blanchett’s often-harrowing portrait bumps heads with a loose screwball comedy of nomanners. She is groped by a bumbling dentist and trades insults with Ginger’s goombah fiance Chili (Bobby Canavale). In an effective side plot, Louis C.K. plays a seemingly self-effacing stereo technician who briefly steals Ginger away from Chili. C.K., it should be noticed, also picked up Allen’s old film editor, the incomparable Susan E. Morse, for his TV show, Louie. Maybe Allen should steal her back. Because while Louie drifts beautifully between absurdity and sentimentality, 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. Hollywood Theatre.

Cloudy With a Chance of Meatballs 2

Cheeseburgers, falling from the sky! Again! PG. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Oak Grove, Sandy.

Don Jon

A- 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, 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, 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. He 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. 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. R. EMILY JENSEN. Cedar Hills, Eastport, Clackamas, Mill Plain, Forest Theatre, Living Room Theaters, Oak Grove, Sandy.

so much a fish-out-of-water movie; it’s a horse-with-a-broken-leg-in-water

Willamette Week OCTOBER 9, 2013 wweek.com

C Early on in The Family, mafioso-

turned-informant Giovanni Manzoni (Robert De Niro) claims to have “no regrets” about his former life or about his decision to turn state’s evidence. It’s a declaration that immediately saps the film of its potential to say anything meaningful about the nature of loyalty within the Mafia. Years before Luc Besson’s film came around, the “College” episode of The Sopranos took the idea of being on the run to explore the moral reckoning that accompanies post-Mafia life. This, however, doesn’t seem to have occurred to Besson, who’s perfectly content to define his characters in all too broad strokes—never mind that his protagonist just sold his friends down the river. The raw materials should allow The Family to act at least as a humorous sendup of the gangster genre, but Besson spends so much time pingponging between comedy and drama that, by the film’s climax, you don’t know how seriously to take it. It doesn’t help that De Niro once again plays a caricature of the mobster archetype he helped make famous in The Godfather Part II and Goodfellas (his character even watches the latter film at one point), making this quite literally self-parody—only without the self-awareness of Analyze This. R. MICHAEL NORDINE. Cedar Hills, Eastport, Clackamas.

Sandra Bullock and George Clooney. Their simple space-station repair mission turns into a nightmare as debris from a destroyed satellite tears their shuttle to shreds and they’re left hopelessly adrift with a dwindling supply of oxygen. We, like the characters, are stuck, watching the events as they unfold, mostly in real time, and gasping for our collective breath as the oxygen meter slowly runs out. It is perhaps the most stressful experience to be had in a movie theater this year, and as such it’s nearly perfect. Bullock exudes terror and strength in her difficult role. Clooney, here playing a supporting piece of space debris, becomes the film’s sense of calm and functions as much-needed comic relief. It’s impossible to even consider relax-

ing as the characters drift from one scrape with death to the next over the course of 90 unrelenting minutes. But it’s in the brief lulls that Cuarón manages his most amazing feats, allowing us to stop and stare in awe at the beauty of the images onscreen. The film is as haunting and beautiful as it is brilliant. PG-13. AP KRYZA. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Roseway, Sandy.

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 incor-

REVIEW COURTESY OF COLUMBIA PICTURES

MOVIES

A Fierce Green Fire

C+ [ONE NIGHT ONLY] Like two

lugubrious semesters of earth science, Mark Kitchell’s A Fierce Green Fire will leave you feeling hopeless, enraged, skeptical and bored in roughly equal measure. Subtitled The Battle for a Living Planet, Fire details the rise of the environmental movement from the 1950s to the present. The film, which clocks in at just a shade under two hours, describes a parabolic arc of panic: We’re killing the planet; we’re really killing the planet; OK, we’ve killed the planet, happy now?! Buried within this sprawling classroom-ready doc is a fiercer, more focused film about the creation of Earth Day and the violent, revolutionary politics of Greenpeace co-founder Paul Watson, but those tasty morsels are ultimately lost in Fire’s flavorless vegetal broth. MARSHALL WALKER LEE. Cinema 21. 4:30 and 7 pm Tuesday, Oct. 15.

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. Laurelhurst.

Gravity

A- Alfonso Cuarón’s Gravity begins

with a staggeringly brilliant and mesmerizingly staged 17-minute single take, which manages to encapsulate every single feeling the rest of the film will instill in its viewers: tranquility, warmth, peace, trepidation, nervousness, endearment, wonder and, most of all, fear. With Gravity, Cuarón and his screenwriter son, Jonas, take on the most primal fear possible, that of being lost in an abyss of nothingness. The film features only two actors,

BOaTjaCkED: Not so Big now, are you, Tom?

CAPTAIN PHILLIPS tom Hanks is America’s troubled conscience.

It’s easy to forget this while hanging at an average Portland cafe, but America is scary as hell. Especially if you’re a Somali pirate. You probably already know the story behind the new Tom Hanks movie, Captain Phillips, because you heard it first from the helmethaired hagiographers of cable news. Back in 2009, four Somali pirates boarded a freighter called the Maersk Alabama and kidnapped its captain, Richard Phillips (played by Hanks). They kept him for five days on a lifeboat, demanding a ransom of $10 million, then got their brains blown out of their skulls by Navy SEALs. In outline form, the politics of the plot are problematic for a film: It is the heroic triumph of superior, mostly white American forces against amateurish, violent African criminals. But Paul Greengrass’ film is no Black Hawk Down. Whenever the Navy SEALs emerge, they are seen in blank silhouette, accompanied by the ominous music of alien assault. They look like a machine built only for death—the dispassionate, unstoppable gun-arm of American bureaucracy. The distressingly named battleship USS Halyburton, when it arrives, might as well be an Imperial star destroyer. The officers onboard are given only as much personality as their uniforms require. It’s an interesting choice by Greengrass: Why won’t he let you just root for Tom Hanks and the Navy and then cheer at the end? The movie seems interested in something much more complicated than classic tension and release. Almost no suspense is built during the film’s first half. The initial setup and hijacking are notable for their plodding tedium: It’s like watching a 4-year-old climb stairs, left leg and then right leg on each step, each motion telegraphed long before its payoff. Hanks’ character is sympathetic because he’s Tom Hanks, but in terms of the film, he’s primarily a functionary. He’s first a creature of duty, then terribly afraid, and then—most interestingly—the film’s conscience. What he and we are observing is the inevitable violent death of the only real characters in the film: the pirates themselves. They are desperate, abandoned, confused, violent, cornered and not remotely sympathetic. It is an excruciating waiting game, and what drives our interest is simple human compassion. Though shot with an eerie, disciplined neutrality, this is perhaps the most compassionate piece of filmmaking I’ve seen this year. Why can’t we have heroes in this film? Because the world is too weary for them. What we have instead is a situation, and it is grim, and every part of it is sad. Watch the film, and live with that. MATTHEW KORFHAGE. A- SEE IT: Captain Phillips is rated PG-13. It opens Friday at Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Oak Grove, Stadium 11, Bridgeport, City Center, Division Street, Hilltop, Lloyd Center, Movies on TV, Pioneer Place, Sherwood, Tigard, Wilsonville, Sandy.

OCT. 9-15 porated 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. REBECCA JACOBSON. Living Room Theaters.

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

MOVIES

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, Sandy.

WILLAMETTE WEEK’s PRESENTED with F.H. STEINBART Co. Professional and amateur brewers team up to create a special beer only available at this event! 13 teams compete for the best beer

Saturday, November 2 2-6 pm @ The Con-Way Warehouse NW 22nd and Quimby $25/ticket Includes a sample of every beer Tickets available at wweek.com/promotions AGES 21 +

Lee Daniels’ The Butler

D Every time a character in The Butler goes on a trip, somebody oﬀers him a ham sandwich. Director Lee Daniels does much the same for the viewer—in every single scene. It isn’t hard to see why Daniels wanted to tell this story, which is based (very) loosely on truth. It’s kind of irresistible: A black White House butler, Cecil Gaines (Forest Whitaker, having lost so much weight he looks a

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C O U R T E S Y O F A L I YA N A U M O F F

REVIEW

REBEL GIRL: Kathleen Hanna’s life story is filled with enough incident and drama to fill a week’s worth of feature-length documentaries. She survived a strange and sometimes abusive upbringing, turned to feminist art and music as a means of selfexpression and fomented what she deemed “Revolution Grrl Style Now” through her bands Bikini Kill and Le Tigre. And for the past eight years, Hanna has dealt with the effects of Lyme disease. Narrowing all of it down to a 90-minute documentary was no mean feat. Yet director Sini Anderson’s pin-sharp vision hones this epic life journey into a film that is as empowered, energetic and fierce as its subject. The Punk Singer (showing as part of the NW Film Center’s 31st annual Reel Music Festival) holds true to the core principles that Hanna wrote about in her fanzines and lyrics. Anderson doesn’t define Hanna by the struggles of the past and present, but by the impact she has had and continues to have on women of all ages. And the key voices in this film (outside of Hanna’s husband, Adam Horowitz of the Beastie Boys) are all female, an especially rare feat in a music documentary. Seeing Hanna at her most fragile moments is heartbreaking, but that only serves to amp up the excitement of seeing her back in control. ROBERT HAM. A SEE IT: The Punk Singer plays at NW Film Center’s Whitsell Auditorium at 9 pm Friday, Oct. 11. For a full Reel Music Festival schedule, see nwﬁlm.org.

FEATURED BREWERIES:

MOVIES

oct. 9-15

COURTESY OF HBO

the Russian feminist collective Pussy Riot, whose anti-Putin protests resulted in their conviction for hooliganism. NW Film Center’s Whitsell Auditorium. 7 pm Thursday, Oct. 10.

Riddick

B+ “Maybe I went and did the worst

STUFF TO HELp YOU ENJOY RIDINg YOUR BIKE.

bit like Mr. Toad), 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. The black man in the White House proceeds from invisibly serving power to sitting in it. 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. As a movie, The Butler is a blundering oaf with good intentions, effusively sentimental but cursed with hands made of mutton. A lot of the real fun is in the casting, which ranges from expected—Oprah Winfrey as Cecil’s earthy and soulful wife—to entirely ludicrous: a sniveling Robin Williams as Eisenhower, an outmatched Minka Kelly as Jackie Kennedy. The best joke in the movie is the casting of “Hanoi Jane” Fonda as Nancy Reagan. 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. PG-13. MATTHEW KORFHAGE. Cedar Hills, Eastport, Indoor Twin.

Machete Kills

Danny Trejo is back as a bounty hunter-dodging secret agent who must take down an evil arms manufacturer who wants to send a weapon into space. Woof. Not screened for Portland critics. R. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Oak Grove, Stadium 11, Bridgeport, City Center, Division Street, Hilltop, Lloyd Center, Movies On TV, Pioneer Place, Sherwood, Tigard, Wilsonville, Sandy, St. Johns.

Parkland

Zac Efron (c’mon, why?) plays a doctor who tries to resuscitate John F. Kennedy in this dramatization of the president’s assassination. PG-13. Living Room Theaters.

Portland Lesbian & Gay Film Festival: Reaching for the Moon

pg 26 50

Willamette Week OCTOBER 9, 2013 wweek.com

B+ [ONE NIGHT ONLY] Based on the Brazilian novel Rare and Commonplace Flowers, this is Bruno Barreto’s intimate and lavishly drawn portrait of the 15-year love affair between renowned American poet Elizabeth Bishop and highsociety architect Lota de Macedo Soares. Backdropped mostly by 1950’s Rio de Janeiro, Miranda Otto gives a complex performance as the sullen and somewhat dry Bishop, who flees to Rio to visit a friend and end a creative dry spell. There she encounters Gloria Pires’ feisty Soares and the two are instantly drawn toward one another. While the film fails to capture the intensity of the initial spark, making the onset of the romance a bit confusing, this lack of clarity is quickly forgotton as Bishop becomes ensconced in Soares’ bohemian world. Barreto focuses on the chemistry of romance between artists, rather than tiresomely leaning on the novelty of a homosexual love affair. This attention to the relationship itself extends to the surrounding dif-

ficulties and emotions, not avoiding cliché but embracing it fully and successfully. JEN LEVINSON. Cinema 21. 8 pm Saturday, Oct. 12.

Prisoners

B Like Clint Eastwood’s sadis-

tically 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-yearolds, 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 high-profile 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, kidnapping 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, Sandy.

Pussy Riot: A Punk Prayer

[ONE NIGHT ONLY] A documentary celebrating the three women behind

Romeo & Juliet

D+ Downton Abbey creator Julian

Fellowes apparently got tired of annihilating pretty young things in the post-Edwardian era, so now he’s offing them in the Elizabethan. Don’t bother with this butchered adaptation of Shakespeare’s tragedy, which can’t even be redeemed by Paul Giamatti’s nonsensical cameo as Friar Laurence. REBECCA JACOBSON. Clackamas.

Runner Runner

D+ Runner Runner exists in an alter-

nate reality where everybody speaks in gambling metaphors (“you’ve always got one more card to play”), hot college students stop midparty to gather excitedly around a computer to watch a dude play online poker for a few hours, and it’s possible for a kid with zero dollars in his bank account to hop instantly on a flight to Costa Rica. In this alternate universe, Ben Affleck never matured past his meatheaded douchebag persona—here, he plays a corrupt video-poker tycoon who smirks and lumbers around like the cocky highschool bully he played in Dazed and Confused, but who somehow never learned anything about acting in the past 20 years. It is a world where Justin Timberlake loses all his considerable charisma despite playing COURTESY OF TROUBLEMAKER STUDIOS

pussy riot: a punk prayer

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, Forest Theatre.

machete kills

Affleck’s protégé, who is seduced by the glitz and glamor of the apparently super-sexy and enticing world of shady online poker. It’s a place where the great Anthony Mackie is suddenly the most cookie-cutter FBI agent ever committed to film, despite an excellent résumé that includes a stellar turn in The Hurt Locker. In this alternate reality, mouse clicks and Web searches are supposed to constitute whiteknuckle action, and street chases are glossed over as boring. It is not a world worth visiting. Or, to use words its characters might more easily understand: Don’t buy into this game. Or play your cards elsewhere. Or...whatever. This movie sucks. R. AP KRYZA. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Oak Grove, Sandy.

Rush

B- Right off the bat, let’s address the query that’s inevitably posed 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 six-year 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. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Oak Grove, Sandy.

The Summit

D+ For every four climbers of Pakistan’s K2, the world’s secondtallest mountain, one dies. On Aug. 1, 2008, nearly one in two perished, and The Summit chronicles that deadly day. For 11 of the 25 climbers, a combination of inexperience, miscommunication and bad luck contributed to their demise. The same, unfortunately, can also be said of Nick Ryan, who directed this heartfelt but confusing documentary. The Summit opens with gorgeous aerial shots of the Himalayas and interviews of some of the climbers, like Fredrik Sträng, who warns, “This is for real, and if you make one wrong step, that’s it.” It’s not World’s Deadliest Mountains being rerun on the National Geographic channel at 3 am but rather a Sundance-selected documentary, though you wouldn’t know it from the digitally boosted reenactments and the contrived soundtrack of deep rumbling and minor chords. The story of what actually happened—something about oversleeping, a shortage of ropes and an ice fall—gets tangled by Ryan’s inability to parse the story lines. With plenty of interviews with family and friends of the deceased, and plenty of waterworks, the emotional tenor is lost on no one. In the closing minutes, as the film abruptly focuses on rewriting the history of what happened to one climber and who the real heroes were, one answer becomes clear. Ryan is no one’s hero. MITCH LILLIE. Fox Tower.

The Trials of Muhammad Ali

B+ [ONE NIGHT ONLY] The contro-

versy surrounding Muhammad Ali as a public figure is well summarized in the first two minutes of the latest

tribute to the legendary boxer, Bill Siegel’s The Trials of Muhammad Ali. First, we see a 1968 TV broadcast in which host David Susskind tells Ali he is a “disgrace to his country, his race and what he laughably describes as his profession.” An abrupt cut to 2005 depicts George W. Bush awarding Ali the Presidential Medal of Freedom, remarking, “The American people are proud to call Muhammad Ali one of their own.” The rest of Siegel’s documentary is spent fleshing out the polarizing opinions of one of America’s most vivid personalities, from a radio announcer calling Ali a “bag of air” to an adoring legion of fans greeting him in Egypt as a legend and an inspiration. For those younger viewers who weren’t around during the often-racist social fervor of the Vietnam era, the film provides an honest glimpse of a time when Ali was more condemned than cherished. Trials is thorough and balanced in its presentation, ultimately an entertaining reminder that, bombastic or not, Ali was a fascinating cultural icon and a damn great fighter. GRACE STAINBACK. NW Film Center’s Whitsell Auditorium. 7 pm Wednesday, Oct. 9.

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. EMILY JENSEN. Clackamas, Sandy.

We Are What We Are

B An ink-black slice of American

gothic, We Are What We Are is definitely only for certain tastes. Director Jim Mickle spends the majority of the slow-burning film creating a sense of increasing dread, and when the shit hits the fan, you’ll either accept the insanity or, like the mouth-breathers who populated an advance screening of the film, chortle loudly in discomfort. Yet for those who can stomach (and endure) it, there is an impressively atmospheric edge to Mickle’s remake of the 2010 Mexican film of the same name. Transplanted from the streets of Mexico to a small Appalachian town, the story focuses on a family in the days preceding Lamb’s Day, an important religious feast found only in the hand-scrawled Bible of grizzled father Frank (Bill Sage). Tradition and tragedy force responsibilities for the ritual’s preparation into the hands of eldest daughter Iris (Ambyr Childers), who must care for two younger siblings while struggling with deeply disturbing moral conflicts. Meanwhile, a disastrous storm rages, stirring up secrets that could collapse the family. We Are What We Are is the rare horror film that concentrates on drama over splatter, though when the blood doth flow, it flows deep. Yet for all its gruesomeness, the film manages a strange balancing act between dread and comfort, sympathy and condemnation. Until it spins off the rails in the final act, it’s a gorgeous feat of controlled filmmaking that, to those willing to be seduced by its atmosphere, casts a deeply troubling spell. R. AP KRYZA. Fox Tower.

Zaytoun

A sentimental fable about an Israeli pilot, downed in Beirut in 1982, who forms an unlikely friendship with a Palestinian boy. Living Room Theaters.

MOVIES C O U R T E S Y O F B AVA R I A F I L M

oct. 9-15

don’t say it!: Hitchcock’s first film, The Pleasure Garden.

SOUNDS OF SILENCE SHUT UP, HITCHCOCK! BY A P kRYz A

apkryza@wweek.com

Alfred Hitchcock had a fondness for chatterboxes: In North by Northwest, Cary Grant barely stops quipping long enough to dodge machine-gun fire from a passing crop-duster. Psycho’s Norman Bates, in his fateful first encounter with Marion Crane, rambles incessantly about taxidermy and his family life with such blank-faced solipsism, you wonder if he’s been having the same conversation alone among his stuffed birds for years. Strangers on a Train, The Lady Vanishes, Rear Window, Shadow of a Doubt, Frenzy…they’re all filled with loquacious oddballs who can’t seem to keep their mouths shut. Yet Hitch, apparently, preferred his films to be silent. “The silent pictures were the purest form of cinema,” the master said of his cinematic roots, which stretch all the way back to 1925’s The Pleasure Garden (showing as part of the NW Film Center’s Hitchcock 9 series). Hitch’s career spanned 50 years and encompassed some of cinema’s most important and entertaining films—and he dabbled in plenty of “impure” gimmickry such as stationing doctors at Psycho screenings and presenting Dial M for Murder in 3-D. Yet, it’s in his silent films that Hitch continues to surprise his true fans. Nearly 90 years after The Pleasure Garden was released, we’re still finding ways to rediscover his brilliance as more early works find their way into cinemas fully restored, many for the first time. This makes the NW Film Center’s Hitchcock 9 series (Oct. 12-27) perhaps the most exciting cinematic event of the year for old-school film nerds. (Yes, this is where I start imploring you to go watch some silent films. If you didn’t know this, you stopped reading at “Hitchcock” and you’re probably more interested in watching a LaBeoufed version like Disturbia.) Not only do we get to marvel at early glimpses of Hitch’s wonders to come—the upside-down POV shots in 1927’s Downhill that would eventually become the terrifying POV shots of Vertigo, the introduction of the “wrong man” theme that surfaced in 1929’s Blackmail and became trademarks in films from The Man Who Knew Too Much to Frenzy—but we also get to experience live, original music written for and performed live during each screening by groups as diverse as 3 Leg Torso and the 1939 Ensemble. For any artist with interests in both music and film, it’s a fantasy come true: The musicians in the

lineup get to play Bernard Herrmann to a young Hitch, placing their own interpretations on these not-quite classics that predated the crowning of the master of suspense. It’s a pure experience forged from what Hitch called the purest of cinema—music inspired by silence. It will leave people jabbering for quite some time. NW Film Center’s Whitsell Auditorium. Oct. 12-27. See nwfilm.org for a full schedule. Also showing: Super-hot goth chicks Fairuza Balk and Neve Campbell get all witchy in The Craft, and you get all freaked out by tarot readings in the lobby beforehand. Double win! Hollywood Theatre. 7:30 pm Thursday, Oct. 10. saul Bass—the man behind some of cinema’s most inventive title sequences—gets some love during a screening of shorts, commercials and opening credits. Hollywood Theatre. 9:30 pm Thursday, Oct. 10. Before MTV tarnishes its legacy with an ill-advised upcoming TV series, revisit the original Scream. Laurelhurst Theater. Oct. 11-17. Tired of 3-D dominating the multiplexes? Blame 1954’s Creature From the Black Lagoon, an early adopter shown here in its original, red-and-blue-spectacled 3-D. Academy Theater. Oct. 11-17. Warwick Davis raps about his gold in Leprechaun in the Hood, and Ice-T loses street cred in a Hecklevision throwdown. Hollywood Theatre. 9:30 pm Saturday, Oct. 12. Abbott and Costello Meet Frankenstein in the least-cleverly titled comedy classic of all time. Hollywood Theatre. 2 pm Saturday-Sunday, Oct. 12-13. Ran, Akira Kurosawa’s late masterpiece, takes King Lear to feudal Japan…and it’s incredible. NW Film Center’s Whitsell Auditorium. 2 pm Sunday, Oct 13. Author Robert K. Elder presents his book The Best Film You’ve Never Seen—a collection of cult-film recommendations from cult-film directors—during a screening of Dario Argento’s trippy, jazzy Deep Red. Hollywood Theatre 7:30 pm Thursday, Oct 15. Check out a series of shorts by activist filmmaker ken Paul Rosenthal. Clinton Street Theater. 7 pm Sunday, Oct. 13. What the hell is Kolchak: The Nightstalker? It’s the granddaddy of paranormal TV mysteries, and Re-Run Theater shows two episodes of it. Hollywood Theatre, 7:30 pm Monday, Oct 14.

Willamette Week OCTOBER 9, 2013 wweek.com

MOVIES

OCT. 11-17 09:00 PLANES Fri-SatSun-Mon-Tue-Wed 02:20, 04:30 THE SMURFS 2 Fri-Sat-Sun-Mon-Tue-Wed 04:45 THE WOLVERINE Fri-Sat-Sun-Mon-Tue-Wed 02:05, 07:00, 09:40 THE WAY WAY BACK Fri-SatSun-Mon-Tue-Wed 02:35, 07:15 CREATURE FROM THE BLACK LAGOON 3D Fri-Sat-Sun-Mon-Tue-Wed 05:00, 09:30

Living Room Theaters

07:00 LEPRECHAUN IN THE HOOD Sat 09:30 BROADWAY IDIOT Sun 07:00 GRINDHOUSE FILM FESTIVAL Tue 07:30 REBEL CRAFT RUMBLE Wed 07:00

341 SW 10th Ave., 971-222-2010 20 FEET FROM STARDOM Fri-Sat-Sun-Mon-Tue-Wed 01:35, 05:30, 08:55 AFTER TILLER Fri-Sat-Sun-MonTue-Wed 11:40, 03:30, 04:40, 06:50, 09:10 DON JON Fri-Sat-Sun-Mon-TueWed 11:55, 12:45, 01:45, 02:50, 03:45, 05:00, 05:45, 07:45, 09:00, 09:45 IN A WORLD... FriSat-Sun-Mon-Tue-Wed 12:30, 02:30, 04:30, 07:30, 09:30 PARKLAND Fri-SatSun-Mon-Tue-Wed 12:20, 02:40 ZAYTOUN Fri-SatSun-Mon-Tue-Wed 12:00, 02:20, 04:40, 06:40, 09:20 SWAN LAKE MARIINSKY LIVE 3D

Regal Fox Tower Stadium 10

Century Clackamas Town Center and XD

SLEEPING BEAUTY: Abbott and Costello Meet Frankenstein...and fall in love at Hollywood Theatre on Oct. 12-13.

Regal Lloyd Center 10 & IMAX

1510 NE Multnomah St., 800326-3264 MACHETE KILLS Fri-SatSun 01:00, 03:55, 07:30, 10:15 CAPTAIN PHILLIPS Fri-Sat-Sun 12:10, 03:25, 06:40, 09:50 ROYAL BALLET: DON QUIXOTE Wed 07:00

Regal Division Street Stadium 13 16603 SE Division St., 800-326-3264 CAPTAIN PHILLIPS Fri 12:15, 03:30, 07:00, 10:00 MACHETE KILLS Fri 11:50, 02:20, 04:50, 07:15, 09:45

Regal Movies On TV Stadium 16

2929 SW 234th Ave., 800-326-3264 CAPTAIN PHILLIPS Fri-SatSun 12:30, 04:00, 07:10, 10:15 MACHETE KILLS Fri-Sat-Sun 11:40, 02:20, 05:00, 07:40, 10:20

Cinema 21

616 NW 21st Ave., 503-223-4515 17TH PORTLAND LESBIAN & GAY FILM FESTIVAL Fri-Sat

Clinton Street Theater

2522 SE Clinton St., 503-238-8899 AWAY WE GO Fri 08:00 I WILL FOLLOW YOU INTO THE DARK FriSat-Sun 09:00 KONY MONTANA Sat 02:00 PAY IT NO MIND: THE LIFE OF MARSHA P. JOHNSON Sat 07:00 THE ROCKY HORROR PICTURE SHOW Sat 12:00 A DANCER’S DREAM Sun 02:00 MADNESS & MINDFULNESS: FOUR FILMS BY KEN PAUL ROSENTHAL Sun 07:00 BIG SUR Mon 07:00 K2UESDAYS Tue 07:00 PORTLAND STEW Wed 06:00 BICYCLE TRANSPORTATION ALLIANCE PRESENTS: LIVE THE REVOLUTION

Laurelhurst Theatre & Pub

2735 E Burnside St., 503-232-5511 FRUITVALE STATION FriSat-Sun-Mon-Tue-Wed 07:10 SCREAM Fri-SatSun-Mon-Tue-Wed 09:05 THE SPECTACULAR NOW Fri-Sat-Sun-Mon-Tue-Wed 07:30 THIS IS THE END Fri-Sat-Sun-Mon-Tue-Wed 09:45 THE WAY WAY BACK Fri-Sat-Sun-MonTue-Wed 07:00 THE WOLVERINE Fri-SatSun-Mon-Tue-Wed 09:15 PACIFIC RIM Fri-Sat-SunMon-Tue-Wed 06:45 THE

Willamette Week OCTOBER 9, 2013 wweek.com

GRANDMASTER Fri-SatSun-Mon-Tue-Wed 09:30 PLANES Sat-Sun 01:40 LABYRINTH Sat 01:00

Mission Theater and Pub

1624 NW Glisan St., 503-249-7474-5 OREGON EXPERIENCE: PORTLAND NOIR Fri 07:00 KONY MONTANA Sat 02:00 MIZ. KITTY’S PARLOUR Sat 07:00 THIS AIN’T NO MOUSE MUSIC! Sun 07:00 CHARLES LLOYD: ARROWS INTO INFINITY Mon 07:00 NO FILMS SHOWING TODAY Tue MAGICAL MYSTERY TOUR REVISITED Wed 07:00 THE MODERN JAZZ QUARTET

Roseway Theatre

7229 NE Sandy Blvd., 503-282-2898 GRAVITY 3D Fri-Sat-SunMon-Tue-Wed 12:30, 03:00, 08:00 GRAVITY Fri-SatSun-Mon-Tue-Wed 05:30

CineMagic Theatre

2021 SE Hawthorne Blvd., 503-231-7919 GRAVITY Fri-Sat-Sun-MonTue-Wed 05:30, 07:30, 09:30

Kennedy School Theater

5736 NE 33rd Ave., 503-249-7474-4 THE SMURFS 2 Fri-Sat-SunMon 02:30 THIS IS THE END Fri-Sat 10:00 PLANES Fri-Sat-Sun-Mon-Wed 05:30 THE WOLVERINE Fri-Sat-Sun-Mon-Wed 07:35 2 GUNS Tue-Wed 02:30

Fifth Avenue Cinemas

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

Forest Theatre

1911 Paciﬁc Ave., 503-844-8732 DON JON Fri-Sat-Sun-MonTue-Wed 07:00 RIDDICK Fri-Sat-Mon-Tue-Wed 09:00

Hollywood Theatre

4122 NE Sandy Blvd., 503-281-4215 INEQUALITY FOR ALL Fri-Sat-Sun-Mon-TueWed 06:45, 08:45 BLUE JASMINE Fri-Sat-SunMon-Tue-Wed 07:15, 09:15 ABBOTT AND COSTELLO MEET FRANKENSTEIN Sat-Sun 02:00 SIGN PAINTERS Sat 02:30 C.O.G. Sat-Sun 04:30 FAR OUT ISN’T FAR ENOUGH: THE TOMI UNGERER STORY Sat 05:00 DESIGN IS ONE: LELLA & MASSIMO VIGNELLI Sat

846 SW Park Ave., 800-326-3264 BONNIE AND CLYDE SunWed 02:00, 07:00

NW Film Center’s Whitsell Auditorium

1219 SW Park Ave., 503-221-1156 MUSCLE SHOALS Fri 06:45 THE PUNK SINGER Fri 09:00 THE SAVOY KING: CHICK WEBB & THE MUSIC THAT CHANGED AMERICA Sat 02:00 BLACKMAIL Sat 08:00 RAN Sun 02:00 THE LODGER Sun 07:00 THIS AIN’T NO MOUSE MUSIC! Sun 07:00

Regal Pioneer Place Stadium 6

340 SW Morrison St., 800-326-3264 CAPTAIN PHILLIPS FriSat-Sun-Mon-Tue-Wed 01:00, 04:00, 06:50, 09:45 MACHETE KILLS Fri-SatSun-Mon-Tue-Wed 01:30, 04:10, 07:10, 10:15

Regal Cinemas Bridgeport Village Stadium 18 & IMAX

7329 SW Bridgeport Road, 800-326-3264 MACHETE KILLS Fri-SatSun-Mon-Tue-Wed 11:45, 02:20, 05:00, 07:45, 10:30 CAPTAIN PHILLIPS Fri-SatSun-Mon-Tue-Wed 11:30, 03:00, 07:00, 10:15

Cinetopia Mill Plain 8 11700 SE 7th St., 877-608-2800 GRAVITY 3D Fri-SatSun-Mon-Tue-Wed 12:30, 03:00, 05:35, 08:00, 10:30 CLOUDY WITH A CHANCE OF MEATBALLS 2 3D Fri-Sat-Sun-MonTue-Wed 12:00, 04:50, 09:45 CLOUDY WITH A CHANCE OF MEATBALLS 2 Fri-Sat-Sun-Mon-TueWed 02:25, 07:10 RUSH Fri-Sat-Sun-Mon-Tue-Wed 12:00, 04:10, 07:15, 10:40 RUNNER RUNNER Fri-SatSun-Mon-Tue-Wed 01:30, 03:50, 06:30, 09:00 DON JON Fri-Sat-Sun-Mon-TueWed 12:10, 02:55, 05:15, 07:30, 10:20 GRAVITY Fri-Sat-Sun-Mon-Tue-Wed 12:00, 02:25, 04:50, 07:15, 09:40 CAPTAIN PHILLIPS Fri-Sat-Sun-Mon-TueWed 12:30, 03:40, 06:45, 10:10 MACHETE KILLS Fri-Sat-Sun-Mon-Tue-Wed 01:15, 04:20, 07:45, 10:40 ESCAPE PLAN CARRIE

Academy Theater

7818 SE Stark St., 503-252-0500 THIS IS THE END Fri-SatSun-Mon-Tue-Wed 06:40,

12000 SE 82nd Ave., 800-326-3264-996 DESPICABLE ME 2 Fri-SatSun-Mon-Tue-Wed 11:15, 01:40 WE’RE THE MILLERS Fri-Sat-Sun-Mon-Tue-Wed 11:30, 02:10, 04:55, 07:40, 10:25 PERCY JACKSON: SEA OF MONSTERS Fri-Sat-Sun-Mon-TueWed 11:15 RIDDICK FriSat-Sun-Mon-Tue-Wed 04:10 THE FAMILY FriSat-Sun-Mon-Tue-Wed 10:05 PRISONERS Fri-SatSun-Mon-Tue-Wed 12:00, 03:30, 07:00, 10:25 RUSH Fri-Sat-Sun-Mon-TueWed 12:55, 04:00, 07:10, 10:15 CLOUDY WITH A CHANCE OF MEATBALLS 2 Fri-Sat-Sun-Mon-TueWed 11:25, 02:00, 04:30, 07:00, 09:30 CLOUDY WITH A CHANCE OF MEATBALLS 2 3D Fri-SatSun-Mon-Tue-Wed 12:05, 02:35, 05:05, 07:35, 10:10 RUNNER RUNNER Fri-SatSun-Mon-Tue-Wed 11:05, 12:15, 01:35, 02:45, 04:05, 05:15, 06:40, 07:50, 09:10, 10:15 DON JON Fri-SatSun-Mon-Tue-Wed 12:45, 03:10, 05:35, 08:05, 10:30 INSIDIOUS: CHAPTER 2 Fri-Sat-Sun-Mon-Tue-Wed 11:25, 02:15, 05:00, 07:55, 10:40 INSTRUCTIONS NOT INCLUDED Fri-SatSun-Mon-Tue-Wed 11:00, 01:55, 04:50, 07:45, 10:40 GRACE UNPLUGGED Fri-Sat-Sun-Mon-TueWed 11:35, 02:10, 04:45, 07:20, 09:55 GRAVITY Fri-Sat-Sun-Mon-Tue-Wed 11:10, 09:15 GRAVITY 3D Fri-Sat-Sun-Mon-TueWed 01:40, 04:15, 06:45 CAPTAIN PHILLIPS FriSat-Sun-Mon-Tue-Wed 11:20, 01:00, 02:40, 04:10, 06:10, 07:25, 09:30, 10:35 MACHETE KILLS Fri-SatSun-Mon-Tue-Wed 11:20, 02:05, 04:50, 07:35, 10:20 ROMEO & JULIET Fri-SatSun-Mon-Tue-Wed 11:00, 01:50, 04:45, 07:40, 10:35 PULLING STRINGS Fri-SatSun-Mon-Tue-Wed 11:00, 01:50, 04:40, 07:30, 10:20 BONNIE AND CLYDE SunWed 02:00, 07:00 ROYAL BALLET: DON QUIXOTE Wed 07:00 ESCAPE PLAN CARRIE I’M IN LOVE WITH A CHURCH GIRL SUBJECT TO CHANGE. CALL THEATERS OR VISIT WWEEK.COM/MOVIETIMES FOR THE MOST UP-TODATE INFORMATION FRIDAY-THURSDAY, OCT. 11-17, UNLESS OTHERWISE INDICATED

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

Bernhard’s

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

TREE SERVICES Totally Relaxing Massage

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

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

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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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AUTO

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

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

Presents

Sitar & Indian Cello Duet Concert Shubhendra Rao on Sitar, Saskia Rao-de Haas on Cello, Harshad Kanetkar on Tabla

Devoted, nurturing, loving gay couple looking to adopt first baby into a family offering education, fun, travel, laughter, and unconditional love and support. Call, TEXT, or email anytime about Kyle & Adrian; 971-238-9651 or kyleandadrianfamily@gmail.com or visit kyleandadrianadoption.com PREGNANT? THINKING OF ADOPTION? Talk with caring agency specializing in matching Birthmothers with Families Nationwide. LIVING EXPENSES PAID. Call 24/7 Abby’s One True Gift Adoptions. 866-413-6293. (AAN CAN)

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

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$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.

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

Saturday, Oct. 12, 2013, 7:30pm

Tickets are $20 in advance and available through www.kalakendra.org or may be purchased at the door for $25. Students $15. tickets for children (3-12) in advance is $10 & 12.50 at the door

www.kalakendra.org

DADS: Are you separated or divorced w/ children 4 and older? We need your input on “Fathering through Change” a research study focusing on dads stress during divorce. Qualified dads receive $100 for participating. Learn more. Contact Ramon at IRIS Educational Media: Phone: 877-343-4747 x 117 Email: rconcepcion@irised.com. To register go to http://bit.ly/iris-FTCscreen Sign up for Portland sessions by October 18, 2013. Project funded by the National Institutes of Health, and developed by IRIS Educational Media.

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

With 2 time Grammy winner Peter Boe. 503-274-8727. VOICE INSTRUCTION Anthony Plumer, Concert Artist/Voice Teacher. www.naturalvocalarts.com 503-299-4089.

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ARIES (March 21-April 19): Sometimes you quit games too early, Aries. You run away and dive into a new amusement before you have gotten all the benefits you can out of the old amusement. But I don’t think that will be your problem in the coming days. You seem more committed than usual to the ongoing process. You’re not going to bolt. That’s a good thing. This process is worth your devotion. But I also believe that right now you may need to say no to a small part of it. You’ve got to be clear that there’s something about it you don’t like and want to change. If you fail to deal with this doubt now, you might suddenly quit and run away somewhere down the line. Be proactive now and you won’t be rash later.

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TAURUS (April 20-May 20): Jugaad is a Hindi-Urdu word that can be translated as “frugal innovation.” People in India and Pakistan use it a lot. It’s the art of coming up with a creative workaround to a problem despite having to deal with logistical and financial barriers. Masters of jugaad call on ingenuity and improvisation to make up for sparse resources. I see this as your specialty right now, Taurus. Although you may not have abundant access to VIPs and filthy riches, you’ve nevertheless got the resourcefulness necessary to come up with novel solutions. What you produce may even turn out better than if you’d had more assets to draw on.

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GEMINI (May 21-June 20): In accordance with your current astrological omens, I authorize you to be like a bird in the coming week -- specifically, like a bird as described by the zoologist Norman J. Berrill: “To be a bird is to be more intensely alive than any other living creature. Birds have hotter blood, brighter colors, stronger emotions. They live in a world that is always present, mostly full of joy.” Take total advantage of the soaring grace period ahead of you, Gemini. Sing, chirp, hop around, swoop, glide, love the wind, see great vistas, travel everywhere, be attracted to hundreds of beautiful things, and do everything. CANCER (June 21-July 22): “The nonexistent is whatever we have not sufficiently desired,” wrote Nikos Kazantzakis in his book Report to Greco. I’m hoping that when you read that statement, Cancerian, you will feel a jolt of melancholy. I’m hoping you will get a vision of an exciting experience that you have always wanted but have not yet managed to bring into your life. Maybe this provocation will goad you into finally conjuring up the more intense desire you would need to actually make your dream come true. LEO (July 23-Aug. 22): “It is truly strange how long it takes to get to know oneself,” wrote the prominent 20th-century philosopher Ludwig Wittgenstein. “I am now 62 years old, yet just one moment ago I realized that I love lightly toasted bread and loath bread when it is heavily toasted. For over 60 years, and quite unconsciously, I have been experiencing inner joy or total despair at my relationship with grilled bread.” Your assignment, Leo, is to engage in an intense phase of self-discovery like Wittgenstein’s. It’s time for you to become fully conscious of all the small likes and dislikes that together shape your identity. VIRGO (Aug. 23-Sept. 22): “I’d rather be in the mountains thinking of God than in church thinking about the mountains,” said the naturalist John Muir. Let that serve as your inspiration, Virgo. These days, you need to be at the heart of the hot action, not floating in a cloud of abstract thoughts. The dream has to be fully embodied and vividly unfolding all around you, not exiled to wistful fantasies that flit through your mind’s eye when you’re lonely or tired or trying too hard. The only version of God that’s meaningful to you right now is the one that feeds your lust for life in the here and now. LIBRA (Sept. 23-Oct. 22): The advice I’m about to dispense may have never before been given to Libras in the history of horoscopes. It might also be at odds with the elegance and decorum you like to express. Nevertheless, I am convinced that it is the proper coun-

sel. I believe it will help you make the most out of the highly original impulses that are erupting and flowing through you right now. It will inspire you to generate a mess of fertile chaos that will lead to invigorating longterm innovations. Ready? The message comes from Do the Work, a book by Steven Pressfield: “Stay primitive. The creative act is primitive. Its principles are of birth and genesis.” SCORPIO (Oct. 23-Nov. 21): Two years ago a British man named Sean Murphy decided he had suffered enough from the painful wart on his middle finger. So he drank a few beers to steel his nerves, and tried to blast the offending blemish off with a gun. The operation was a success in the sense that he got rid of the wart. It was less than a total victory, though, because he also annihilated most of his finger. May I suggest that you not follow Murphy’s lead, Scorpio? Now is a good time to part ways with a hurtful burden, but I’m sure you can do it without causing a lot of collateral damage. SAGITTARIUS (Nov. 22-Dec. 21): Grace has been trickling into your life lately, but I suspect that it may soon start to flood. A spate of interesting coincidences seems imminent. There’s a good chance that an abundance of tricky luck will provide you with the leverage and audacity you need to pull off minor miracles. How much slack is available to you? Probably as much as you want. So ask for it! Given all these blessings, you are in an excellent position to expunge any cynical attitudes or jaded theories you may have been harboring. For now at least, it’s realistic to be optimistic. CAPRICORN (Dec. 22-Jan. 19): Capricorn innovator Jeff Bezos built Amazon.com from the ground up. He now owns The Washington Post, one of America’s leading newspapers. It’s safe to say he might have something to teach us about translating big dreams into practical realities. “We are stubborn on vision,” he says about his team. “We are flexible in details.” In other words, he knows exactly what he wants to create, but is willing to change his mind and be adaptable as he carries out the specific work that fulfills his goals. That’s excellent advice for you, Capricorn, as you enter the next phase of implementing your master plan. AQUARIUS (Jan. 20-Feb. 18): Here’s the horoscope I would like to be able to write for you by the first week of December: “Congratulations, Aquarius! Your quest for freedom has begun to bear tangible results. You have escaped a habit that had subtly undermined you for a long time. You are less enslaved to the limiting expectations that people push on you. Even your monkey mind has eased up on its chatter and your inner critic has at least partially stopped berating you. And the result of all this good work? You are as close as you have ever come to living your own life -- as opposed to the life that other people think you should live.” PISCES (Feb. 19-March 20): “It’s an unbearable thought that roses were not invented by me,” wrote Russian poet Vladimir Mayakovsky. You’re not as egotistical as Mayakovsky, Pisces, so I doubt you’ve ever had a similar “unbearable thought.” And it is due in part to your lack of rampaging egotism that I predict you will invent something almost as good as roses in the coming weeks. It may also be almost as good as salt and amber and mist and moss; almost as good as kisses and dusk and honey and singing. Your ability to conjure up long-lasting beauty will be at a peak. Your creative powers will synergize with your aptitude for love to bring a new marvel into the world.

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STUFF

58 “___ y Plata” (Montana’s motto) 59 Andy Warhol portrait subject 60 German word in a U2 album title 63 RSVP part 64 “Where did ___ wrong?” 65 Hunter’s gatherer 66 Show with a FiveTimers Club, for short 67 Manual alphabet, briefly 68 Chips away at Down 1 American Red Cross founder Barton 2 Happy as ___ 3 Athens, Ohio and Athens, Georgia, for two 4 Police dispatch, for short 5 Tic-tac-toe win 6 Genre for James Bond or Austin Powers 7 Beef-grading govt. agency 8 Actor-turnedFacebook humormonger 9 Deride 10 Like some themes 11 Do a laundry job 12 Hound’s hands 13 Scheme for a quatrain 21 Like some crossword books 22 Jump online, or a hint to the long theme answers 24 1960s drug

25 They say where your plane will land 29 Fill up on 30 Modern day “carpe diem” 31 Light beam 32 “Author unknown” byline 33 Do major damage 36 Roget’s wd. 39 Highway: abbr. 44 Commit a mistake 46 Red blood cell deficiency 50 “___ in Harlem” 51 French stew with beef, wine and garlic 52 Arm bones 53 “Falling in Love at a Coffee Shop” singer Landon ___ 54 Whedon who created the Buffyverse 55 “Happy Days” actress Moran 56 Maynard James Keenan band 61 “The Price Is Right” prize 62 Org. for docs last week’s answers

Across 1 Chocolate sources 7 “Dude! Gross!” 10 Confetti-throwing Taylor 13 Mike’s Hard Lemonade or Bacardi Breezers 14 Place for SpongeBob’s pineapple 15 Classical ___ 16 Diamond attendant 17 I piece? 18 Holstein or Guernsey 19 Shrinking sea of Asia 20 Emergency signals 23 Rose-like flower 26 Ending for theater or party 27 Atlanta sch. 28 What a hand stamp permits at a concert 31 Clean, on-screen 34 Mobster’s weapon 35 Fortune-ate folks? 37 Pre-med subj. 38 Van Susteren of TV news 40 Members ___ jacket 41 Band-wrecking first name 42 Sprint rival 43 Jazz bandleader Stan 45 Like healing crystals and biorhythms 47 Suffix for south or west 48 Hathaway of “Get Smart” 49 Formed teams of two 54 Wealthy socialite 57 “Going Back to ___” (LL Cool J single)

©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 #JONZ644.

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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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PETS Lenny What is sweet, squishy, wrinkly and goofy? A lab shar-pei mix of course! That’s right folks I got the body of a small lab but I also have these fabulous wrinkles on my face and the most smoochable mug you have ever seen! My name is Lenny and I am as fun as I am cute and all the volunteers and staff at the pixie project just LOVE me to pieces! I am an energetic guy and absolutely will want an active family. I am also a total love bug and love to lean into you and get my snuggle on so be prepared for some cozy winter nights with cider and Saturday Night Live (I just love those goof balls!). I came all the way here from Hawaii to find my forever home - sorry I had packed some macadamia nuts for my new family as a present but...the plane ride was kinda long and I got a bit hungry so..... But not to worry I will offer gifts in the form of lifetime companionship and loyalty - and I always give my friends back home a buzz and have them send us a care package! What do you say? Do you have room for some wrinkles in your life? I am a fabulous boy and I love all people I meet and I also do great with other pooches. Kitties on the other hand are just a bit too exciting so no felines please. I am living at the pixie project so please fill out an application at pixieproject.org to come visit me today!

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