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portlander katherine dunn’s oddball masterpiece still resonates 25 years after its publication.

VOL 40/22 04.02.2014

by Caitlin roper | page 10

leo zarosinski



Willamette Week APRIL 2, 2014



THINK ABOUT IT: Comedy gets critical. Page 41.
















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Thanks, WW, for the great coverage of the exciting Multnomah County chair race featuring Deborah Kafoury and Jim Francesconi [“The Great Race,” WW, March 26, 2014]. While they both have formidable experience, I nearly choke on the idea that Francesconi will be a champion of the disenfranchised. Many a Portlander will not forget the day he cast the lone City Council vote against Dignity Village. On the matter of his indecisiveness, I would certainly agree about that, unless it concerned a citizen initiative. In that case, he often knew his mind well enough to close the lid right away. Mark Lakeman Southeast Portland

Considering WW was not able to get any of these church leaders to endorse marriage equality or oppose the anti-gay discrimination initiative, it doesn’t appear much has changed in 10 years [“Onward Christian Voters,” WW, March 26, 2014]. Not wanting to be known for being antigay isn’t the same as actually not being anti-gay. It’s great that some Oregon conservative church leaders are not politically hostile to LGBTs. However, I suspect their position is more nuanced in wanting to sound progressive and modern, but maintaining the same old religious fundamentalism. —“nojam75”

Francesconi ran as the business-friendly candidate for mayor and flopped. Now he’s running to the left. Kafoury represented my district, and every email from her touted what she had done for the homeless. Yet in my 11 years in Portland, homelessness has gotten worse. It doesn’t look like anyone in government here has a clue what to do, except throw money at the problem. I don’t think either candidate is a friend of Multnomah County’s taxpayers. —“Stuart” It’s a shame that the author of this article doesn’t seem to be able to look further than the past. The cynical, below-the-belt comments do not serve any purpose but to increase political apathy. If we let the past be the past, and look at what is happening right now, we can see that Francesconi is the only one equipped and truly fired up to make positive change in Multnomah County. —“Mirabai Peart”

i drove to seattle over the weekend and passed that wacky religious billboard just outside of Kalama. What’s the deal? —Joseph Ah, the legendary Uncle Sam billboard of Chehalis. For half a century, this conservative beacon— featuring messages like “PUBLIC LIBRARY: A GREAT PLACE FOR YOUR KIDS TO MEET SEXUAL DEVIANTS” and “DO YOU FEEL SAFER WHEN OBAMA IS LISTENING?”—has shone down on the liberals shuttling between Portland and Seattle like a Statue of Liberty that raises her middle finger instead of a torch. The story is as old as the freeway: The first anti-government billboard here was erected in the ’60s by turkey farmer Alfred Hamilton to protest the building of I-5 through his property. Alfred was temporarily mollified by the realization that he could make a buck or two by selling billboard space along the highway—until that Stalinist troll, Lady Bird Johnson, and her High4

Willamette Week APRIL 2, 2014

That sound you hear is the dying gasps of the modern evangelical church. Currently, all the church stands for is money and the right to discriminate against gays. —“Justin Morton” I have no patience for people who discriminate against other human beings because “God told them to do it,” then claim to harbor no ill will toward gay people. Discrimination is discrimination. Hate is hate. Just because you pick and choose parts of the Bible to follow doesn’t make your belief system any less childish, or cowardly. —“Melissa” 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:

way Beautification Act derailed that gravy train. Couple these two governmental slights with a native disdain for liberal principles, and you pretty much have Alfred Hamilton’s supervillain origin story. Alfred died in 2004 at 84. The relief of the liberal elites was short-lived, however, as his son soon picked up the torch/finger. That son actually lives just a stone’s throw from Portland—he’s Mike Hamilton, of Camas. (I considered not revealing his name, but then I figured that someone who posts his opinions in 5-foot-high letters next to a major highway is not exactly shunning the glare of publicity.) Passionate and sincere, Hamilton says his conservative bombast is all about “looking out for the little guy.” Since this is also the stated goal of liberal bombast, it’s theoretically possible that Hamilton and his enemies might someday find common ground. Still, I doubt he and Bill Maher are going to be hugging it out anytime soon. QuEstions? Send them to

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ENVIRONMENT: The $100 million problem with Portland’s levees. CITY HALL: Right 2 Dream Too goes begging again for a new home. ELECTIONS: Would county chair candidates cut business taxes? COVER STORY: 25 years later, the world still loves Geek Love.

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Would you be willing to pay a new $12-a-month city “street maintenance” fee? That’s the question being put to voters in a Portland Bureau of Transportation poll. City Commissioner Steve Novick wants to raise money for the bureau, and the new fee ($144 a year) on Portland’s roughly 250,000 households would bring in $36 million annually. The poll—first NOVICK reported by BikePortland. org and obtained by wweek. com—also tests an $8-a-home option. One question not asked: What if the City Council passes the new fee without a public vote? Circumventing voters is one option being looked at by Novick and Mayor Charlie Hales. “There’s a process to go through,” says Novick chief of staff Chris Warner, “before council makes that decision.” That bugs Jason Williams of the Taxpayer Association of Oregon, which regularly challenges tax increases. “It just seems like whenever the politicians have a dumb idea or a dangerous idea,” Williams says, “that’s when they don’t ask the voters.” The Multnomah County Sheriff’s Office is failing to offer preferences to disabled veterans in hirings and promotions, as required by law, and may have to pay for it. The Oregon Bureau of Labor and Industries issued a preliminary opinion April 1 ordering the sheriff to pay Sgt. Rod Edwards $25,000 in damages. Edwards, who served in the Navy for four years in the 1980s, claimed the sheriff’s office failed to credit him with a preference for his disability when a lieutenant’s position came open in 2012. BOLI ruled an agency isn’t required to promote an unqualified applicant but must clearly show how it gives special consideration to veterans. Instead, BOLI wrote, the sheriff’s office policy was “confusing and inconsistent.” Edwards has followed the BOLI opinion with a $1 million federal lawsuit against the sheriff’s office. Sheriff Dan Staton—himself a veteran—declined to comment. Opponents of the proposed $200 million Hyatt Hotel at the Oregon Convention Center have missed the window to plan a measure on the May ballot and are now pleading their case in the Oregon Court of Appeals. But anyone who thinks the new hotel’s foes, led by downtown hotelier Gordon Sondland, will fade quietly away, should consider the situation in Tacoma. The News Tribune reports a Sondlandled group there has tied up another hotelier for nearly five years with lawsuits and appeals. The Tacoma City Council will vote this week on a settlement that gives Sondland’s group two parcels of waterfront real estate for about one-third of their $4 million appraised value. Paige Richardson, a spokeswoman for the Coalition for Fair Budget Priorities, which objects to the $80 million in taxpayer funding earmarked for the hotel, says, “We’re going to continue to fight for a public vote on this large public subsidy.” Read more Murmurs and daily scuttlebutt.


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flood buster: the levee under Northeast Marine drive at the Columbia river helps protect Portland from flooding.


Water is Portland’s secret problem. Not the Bull Run Reservoir water that runs out of your tap nor the contentious May ballot measure that will determine who controls it. No, the next big whack to taxpayers will, in fact, come in the fight against floodwaters, the kind that have inundated the city every few decades and will do so again. Portland along the Columbia River was once swamps and wetlands that drained behind a web of levees—28 miles of dikes and berms that act as a bulwark against flooding but often go unnoticed even when underfoot. Northeast Marine Drive, for example, runs on top of one. The levees protect some of the city’s most valuable real estate—Portland International Airport, the Expo Center, and Portland International Raceway, to name a few key parcels—but are maintained by four tiny, obscure public agencies that can barely afford their basic upkeep. And the feds now want more than basic maintenance. After 2005’s Hurricane Katrina, the Federal Emergency Management Agency is pushing to upgrade levees in the nation’s 1,000-plus levee districts. FEMA wants all levees to be able to withstand what it calls a “1 percent flood” event—a deluge so severe there’s only a 1 percent chance of it happening in any given year. The agency wants action by 2017. The cost to Portland: an estimated $100 million, money that local drainage dis-

tricts charged with maintaining the levees do not have, and money the city of Portland may have to raise from ratepayers, probably through higher water and sewer rates. Right now, everyone involved is tiptoeing around the potentially explosive issue of who will have to pay. In October, Gov. John Kitzhaber convened a group that includes Mayor Charlie Hales and Multnomah County Chairwoman Marissa Madrigal to find a financial solution. The Multnomah County Drainage District is the largest of the four levee districts; the others are Peninsula Drainage Districts Nos. 1 and 2 (both in the city of Portland) and the Sandy Drainage Improvement Company. The districts have independent boards and assess property owners based on the amount of land they own. Budgets at the districts range from $3 million at Multnomah to $200,000 for Peninsula No. 1—nowhere near enough to take on the new federal requirements. City officials promised business owners in the affected areas—including the Columbia Corridor, the business district east of the airport and home to 43,000 jobs—they’d help pay for the work. That hasn’t happened yet. Executive director Corky Collier of the Columbia Corridor Association sent Hales a letter March 21 to prod the city into taking action. “The discussions we’ve had with the city have been about equity, and I think they’ve been receptive,” says Tim Warren, a real-estate developer and chairman of the Multnomah district. “It’s not that they are not stepping up, it’s a question of [Hales’] administration getting educated about the issue.” Hales policy director Jackie Dingfelder says City Hall is committed to fixing the levees. She says it’s likely that the state of Oregon will provide a low-interest loan to com-

plete current investigation of their conditions. As for long-term costs, Dingfelder says, the decision of who pays will come after initial studies are complete. “We won’t know what we need to fix until the engineering work is done,” she says. The Columbia rarely inundates Portland as it once did; the river’s federal dams play a big flood-control role, and so have the levees—except when they’ve failed. They did so catastrophically in 1948, when Columbia River flooding wiped out the city of Vanport, killing 15 people. And the threat of major flooding has not gone away. The January 1996 flood put so much stress on the system that people feared city-owned Portland International Raceway would be flooded before crews performed an emergency fix to one levee. “We almost lost the dike in 1996 at PIR,” says Mark Wigginton, manager at the raceway and chairman of the Peninsula No. 1 board. “That dike was sloughing and moving every day.” A failure to comply with new federal standards meant that the Corps of Engineers last year pulled certification of two of the drainage districts—Peninsula Nos. 1 and 2. Without certification, landowners in the districts can’t get subsidized flood insurance. Without insurance, they can’t get bank financing. “You might as well turn out the lights,” Warren says. In other cities, such as Sacramento and Coeur D’Alene, requirements have included stripping levees of intrusions ranging from trees to buildings to major reconstruction. Reed Wagner, executive director of the Multnomah district, says the feds have not given him hard deadlines for levee recertification—saying only that the two delinquent districts must immediately work toward meeting federal standards. They need $1.5 million just to finish investigating the levees’ condition—money the districts simply do not have. “We as districts don’t have a lot of authority,” Wagner says. “Nor do we have the financial ability to carry out recertification.” Willamette Week APRIL 2, 2014


city hall


will corwin




By a a R o n M E s h

amesh@wweek .com

Six weeks ago, the Portland City Council seemed ready to buy its way out of its most prominent homelessness problem. The city agreed Feb. 17 to give $846,000 to the leaders of homeless camp Right 2 Dream Too for the purchase of a new location and an agreement the camp would move out of its Old Town/Chinatown site at West Burnside Street and Southwest 4th Avenue. To help things along, commercial real-estate broker Cushman & Wakefield created a list of 21 possible sites the city could purchase for the camp (“Camping Trip,” WW, March 5, 2014). Two months later, those options have all but vanished.

“The search is Taking place where properTy values are among The highesT. we never ThoughT iT would be easy.” —hales spokesman dana haynes “The last potential sites, none of them were working out,” says Mark Kramer, Right 2 Dream Too’s attorney. “We are no closer to finding a new home.” As few as three sites were under serious consideration. Two of the leading contenders—vacant lots at 2310 N Albina Ave. and 686 N Russell St.—are next to or near an industrial site contaminated by solvents. Kramer confirms the North Portland locations have been eliminated because of pollution concerns. 8

Willamette Week APRIL 2, 2014

JIM FRANCESCONI: NO. “ W hen I was a city commissioner, I did propose phasing the owner’s compensation deduction over time to the $125,000 limit. It was actually my idea. I applaud the city of Portland’s efforts in this regard. However, as count y chair, I would not agree to this for the following reasons. The county government shares a percentage of the business income tax with the cities in east county, specifically Gresham, Fairview, Troutdale and Wood Village. In fact, I would specifically agree to a written agreement guaranteeing these cities an ongoing share of this business income tax rather than holding it over them to be negotiated. The reason is simple: Their tax bases are approximately 30 percent of the tax base of the city of Portland. This business income tax is a critical source of revenue for them. The county also is the social safety net that protects our most vulnerable residents, yet poverty has nearly doubled in Multnomah County in the last 11 years. There are already more people in need than we can serve.”

DEBORAH KAFOURY: YES. “I believe that the city of Portland and Multnomah County should have the same rate for t he ow ner ’s c omp en sat ion deduction. As the city of Portland has raised theirs to $100,000, I support adjusting the county BIT to the same level. I will enter into conversation with the city of Portland and with our partners in the smaller east county cities about a further adjustment. I am particularly interested in the possibility of the Multnomah County Department of Assessment and Taxation taking over collection of the BIT and the BLT as this may save money in the long run.” NIGEL JAQUISS.

adam wickham


adam wickham


The third site seemed like an easier sell— because the city already owns it. But its sale was quietly vetoed by City Commissioner Nick Fish. The parcel, at 2439 NW 22nd Ave., is a pipe and equipment storage yard for the Bureau of Environmental Services. City emails show Fish, the commissioner in charge of the bureau, received complaints from several neighbors near the site. But Fish says that even before the list was released, he had warned City Commissioner Amanda Fritz not to include the .46-acre parcel for consideration. Fish tells WW that selling to Right 2 Dream Too could mean the city wouldn’t get the best possible price. He said he has a policy for selling off city property that requires open bids. The policy follows an embarrassment involving the city’s Water Bureau, which Fish also oversees. Last fall, the bureau sold a .75-acre parcel in Multnomah Village that included an old water tank to a housing developer—and ignited the anger of neighbors who didn’t like the loss of nearby greenspace. “My responsibility is to make sure that we learn from past mistakes, and that when we dispose of surplus properties, we do it by the book,” Fish says. Fritz could not be reached for comment. Mayor Charlie Hales’ spokesman, Dana Haynes, says the city remains committed to finding a campsite. “The search is taking place where property values are among the highest,” Haynes says. “The mayor is committed to the search and so is Commissioner Fritz. We never thought it would be easy.” Right 2 Dream Too has presented a dilemma for Portland officials since 2011, when property owner Michael Wright invited the camp to reside on the former site of Cindy’s Adult Bookstore. The camp has become an intractable icon at the Chinatown gate. The City Council first sought to dislodge it through fines. Fritz struck a deal with camp leaders last fall to move Right 2 Dream Too under the west end of the Broadway Bridge. When Pearl District developers objected, Hales canceled the sale and in December found a warehouse in Old Town. But that plan fell apart over the cost of making the building safe to inhabit. Kramer, the camp’s lawyer, says the search for a new location continues. “It’s a big city,” he says. “I’m still long-term optimistic. If Right 2 Dream finds a new place, they’d be happy to move.”

It’s a perennial query that politicians running for office face, and we tracked down the answers from the leading candidates for Multnomah County chair, Jim Francesconi and Deborah Kafoury. The county charges a business income tax of 1.45 percent a year on net income after the first $50,000 a business brings in. The $58 million the tax raises makes it the county’s secondlargest source of general fund revenue. The Portland Business Alliance recently succeeded in lobbying to raise the city of Portland’s owner’s compensation deduction from $90,500 to $100,000, effectively lowering the tax, and wants the county to do the same. Here’s the how the PBA put it to Francesconi and Kafoury on its endorsement questionnaire: “We believe that the county Business Income Tax (BIT) and the City Business License Tax (BLT) represent significant disincentive to business investment. Portland City Council recently adjusted the City tax and increased the owner’s compensation deduction to $100,000. Would you match the City’s increase by adjusting the County [deduction] to the $100,000 level?”

Willamette Week APRIL 2, 2014





urt Cobain and Courtney Love were fans. Terry Gilliam— former Monty Pythonite and the director of Time Bandits, Brazil and Fear and Loathing in Las Vegas—calls it “the most romantic novel about love and family I have read. It made me ashamed to be so utterly normal.” In the ’90s, Harry Anderson, the magician and actor (he played the judge on Night Court), optioned the film rights and wrote a movie script himself. Flea, the Red Hot Chili Peppers’ bassist, adores it. “Certain books,” he says, “are so imaginative that they suck you into a world that you’d never known existed. They make you feel like you’re being let in on this secret. It’s life-changing.” The book is Katherine Dunn’s Geek Love, a dazzling oddball masterpiece published 25 years ago. It’s the tale of a circus sideshow called the Binewski Carnival Fabulon that hits hard times. (The titular “geek” refers to a sideshow performer who bites the heads off chickens.) When some of the show’s performers defect, its proprietors— Aloysius and Crystal Lil Binewski—decide to breed their own stable of freaks. Their methods are experimental and more than a little disturbing: They mess with their own DNA and biochemistry using various drugs, insecticides and radioactive materials. It works: Lil gives birth to a boy with flippers for hands and feet, a set of Siamese twins joined at the waist, a hunchback albino dwarf, and a regular-looking baby with telekinetic powers. The Binewskis become freak

superheroes, a team of way-weirdos, each with his own skills and powers. It hardly sounds like mass-market material. But Geek Love has been a perennial best-seller, and its cultural influence has been prodigious. The book has inspired and moved writers, artists and performers to tell their own wild stories. Novelist Karen Russell read Geek Love for the first time when she was 15. She picked it up expecting a story of nerds in love, but found something else: “I felt electrocuted when I read that first page with Crystal Lil and her freak brood. I stood there in the bookstore and my jaw came unhinged. No book I’ve read, before or since, has given me that specific jolt.” Harlan Ellison describes Geek Love as “transformative” and adds: “Not only for its time and CONT. on page 13

Willamette Week APRIL 2, 2014



Willamette Week APRIL 2, 2014

its subject matter, but for Katherine Dunn’s attack on the material. She had a stout voice and a clear insight.” Then there’s Jim Rose, who read Geek Love when he was a 30-year-old American touring Europe as a stunt performer with his wife’s family circus. The novel inspired him to launch his own sideshow in the U.S., the Jim Rose Circus, which toured with Lollapalooza and Nine Inch Nails and then on its own through the ’90s. “Geek Love forces a movie into your head while you read it,” Rose says. “You barely even realize you’re reading words.” The only other book he could think of that had the same effect on him? Dostoyevsky’s Crime and Punishment. (It must be the scene where the lady gets a hatchet in her head.) Geek Love knocked me out, too. Reading it for the first time at 16, I couldn’t shake it from my brain—I didn’t want to—even as I tore through other novels. It was that glorious age when reading isn’t an escape, it’s your actual life; when everything outside of books becomes suffused with the stories you’re soaking in. I recognized something in Geek Love that I’d always loved in comic books, the idea of a character’s strangeness as the source of her strength. Like the members of the Justice League or the Fantastic Four, the Fabulon freaks are all misfits, each with a singular skill. As a kid, I wanted to have some special power—invisibility, especially; I wanted to be like everyone else, but also, somehow, secretly special and indomitable. In Dungeon Master, an early role-playing video game I’d played on the Atari computers in middle school, you began the game by choosing your characters and their special talents. I loved the idea of selecting magical powers, of building a unique

“i tHouGHt it WaS one of tHe moSt briLLiant tHinGS i’d eVer read, and aLSo one of tHe HardeSt booKS to SeLL tHat i’d eVer taKe on.” —RiChaRd pine, liteRaRy aGent persona from a menu of skills and capabilities. The Binewskis, these incredible freaks, and their demented familial struggles helped me feel better about my own family problems, my own powerlessness. The book inverted the cold adolescent truth that what makes you different curses you. Then there was Geek Love’s language, which was unlike anything I’d ever encountered— confident, twisted, outrageous. Russell (whose Pulitzer-nominated Swamplandia! owes an obvious debt to Geek Love, and who thanks Dunn in the acknowledgments) describes Dunn’s prose as a “pyrotechnic medium so far removed from our workaday speech that it feels unfair and inaccurate to call that firelanguage ‘English.’” An example from Chapter 8: “A carnival in daylight is an unfinished beast, anyway. Rain makes it a ghost. The wheezing music from the empty, motionless rides in a soft, rained-out afternoon midway always hits my chest with a sweet ache. The colored dance of the lights in the seeping air flashed the puddles in the sawdust with an oily glamour.” Or this reflection from Arty, the boy with flippers, in Chapter 9: “We have this advantage, that the norms expect us to be wise. Even a rat’s-ass dwarf got credit for terrible canniness

brandon zimmerman


disguised in his foolery. Freaks are like owls, mythed into blinking, bloodless objectivity.” As a teenager in Berkeley, I thought I was the only person who revered Geek Love. But then I started to meet others who were in on the secret. Years later, when I was an editor at The Paris Review, I wrote to Dunn, and we became occasional pen pals. It wasn’t one of those encounters where you finally meet an idol only to have your admiration dashed. Dunn was as brilliant and warmly hilarious being herself as in print. (Eventually, she let me read a part of the manuscript of her next novel, The Cut Man, which she’s been working on since Geek Love. We ran a selection from the book, in the Review.) Last year, I saw a paperback copy of Geek Love on the newsstand at an airport. How, I wondered, did travelers feel about this strange, demented masterpiece when they cracked it open on their flights to Waikiki or Warsaw? How does a book as wild and dark as Geek Love endure for decades? And who, really, is this wonder-writer, this magician of worlds? atherine Dunn was born in 1945 in Garden City, Kan. Her father left before she was 2, and her mother married “a kind man, a good mechanic from a commercial-fishing family, who’d grown up working on trawlers fishing out of Puget Sound,” she says. Her mother, an artist, was from a farming clan in North Dakota. “She painted and sculpted, designed and built furniture, toys, clothes, etc. She was happy as long as she was making something. When she was happy, the world was a gorgeous place. When she wasn’t making stuff, she wasn’t happy, and she made sure nobody in her vicinity was, either.” Like Oly—the hunchback albino dwarf who serves as Geek Love’s narrator—Dunn was the second-youngest of five siblings. They were a family of storytellers, her mother and her

older brother Spike being especially good at making the family laugh. (“I was worst of all,” Dunn says. “I always came away thinking about how my story could work better.”) In the 1950s, the family moved a lot, chasing work. “Sometimes we followed the crops, doing migrant labor. We did several years of tenant farming in Western Oregon starting in the early ’50s. Later my stepdad managed gas stations in Tigard.” That’s where Dunn went to junior high and high school. At Reed College, she started out as a philosophy major. “I enjoyed it until I ran aground in an aesthetics class. I went in thinking, yeah, art, beauty— my meat, drink and air. But on the first day, I didn’t understand a word that was said in class, so I marched out and changed my major to psychology.” She began writing her first novel, Attic, while she was still at Reed. During a Christmasbreak trip to San Francisco in 1967, Dunn met a guy in the Haight-Ashbury neighborhood and together they set off traveling far and wide, making stops in Mexico, Boston (where one of her jobs was on the night shift at the Welch’s candy factory in Cambridge, on the Sugar Daddy wrapping line), and Newfoundland. Finishing college now seemed beside the point. The couple headed for Seville, Spain, where she completed Attic. By the time she finished her second novel, Truck, they were living on the Greek island of Karpathos, and Dunn was pregnant. (Attic was published in 1970, Truck in 1971.) Worried about the Vietnam War, they decided not to head home but instead set out for Dublin. “I wanted the child to have an option—an escape clause—in case of some future war where he might be drafted in the U.S.,” Dunn says. “Plus, Irish medicine is good, totally free, and the doctors speak English.” The couple bounced around until Dunn’s son was 7, when they came back to Portland to stay. “We came to Portland because there was a good alternative public school [Metropolitan Learning Center]. Friends who lived there told cont. on page 15


DUNN’S GREATEST HITS IN WILLAMETTE WEEK Some of you may have forgotten. Some of you never knew. but Katherine dunn wrote for Willamette Week for nearly a decade starting in 1981. “all during the time i was working on the Geek,” dunn tells WW, “i was supported by my work at WW, and i learned a lot about writing by working there.“ it was her first newspaper work. “i’d never written anything but fiction before,” she says, “but i decided the local boxing scene wasn’t getting decent coverage from the daily papers. i walked into the WW office downtown and talked to then-managing editor Peter Sistrom and proposed to write fight stuff for him.” “ th e ro a d run n e r G et s read y. beep! beep!,” which covered the excitement surrounding local middleweight contender mike colbert, was published Jan. 19, 1981. it was the first of hundreds of pieces dunn wrote for WW, on everything from Sugar ray Leonard to those “ do not remove” tags on pillows. Here, we describe some of her most memorable moments in our pages. Look online for the full pieces. “Keeping the ’Gators Fed,” Nov. 24, 1981 this was dunn’s first article about literature—and it’s a rousing appreciation of Stephen King and his then-new book, Cujo. “Love, as King perceives it, is the most destructive force in the universe,” dunn wrote. She also described King’s gift for identifying the evil “lurking everywhere, waiting for a crack that allows it to break into reality.” She was a very early voice regarding King as more than a pulp figure.

“The Unhappy Warrior,” June 22, 1982 covering the world heavyweight title bout between Gerry cooney and Larry Holmes in Las Vegas, dunn addressed this piece to “dear fat-headed america, the dreamer,” stumping forever for boxing’s Great White Hope—in this case cooney. “it seemed to me that most coverage was skirting the central issue of race,” dunn says now. in the piece, she gently ribbed the fans hoping for a miracle—the “depressed and deflated white america” hoping for a sign that they still mattered. “but the gods must love america,” she wrote of cooney’s defeat, and Holmes’ tear-stained triumph over the white fans who bet against him. “they didn’t give us what we wanted, they gave us what we needed.”

“Behind Bars,” Jan. 25, 1983 dunn wasn’t the writer on this one. She was a subject—a bartender interviewed about her experience at the earth, a onetime rough-and-tumble bar on northwest 21st avenue. “men are cowed by female authority in a barroom environment,” dunn said at the time. this authority apparently didn’t extend to women. “i was once cold-cocked by this little vixen,” said dunn, “just because i informed her it was closing time.” dunn also mentioned, in passing, that she almost had her throat slit by a biker, but that apparently wasn’t the point of the story.

cont. on page 15

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Willamette Week APRIL 2, 2014




me about it, and my son loved it. I left his dad Dunn worked on the book for more than and went to work slinging hash in a breakfast a decade. She also worked as a waitress, a diner and working nights tending bar in a bartender and a house painter. In 1981, she biker tavern.” started writing about boxing for Willamette Dunn recalls the moment when she began Week. (A collection of her boxing essays, One writing Geek Love. It was the late ’70s. “My Ring Circus, was published in 2009.) Dunn son was about 7 or 8 years old. I’m a big walker. also wrote an advice column, called “The I like to take long walks and I like to have Slice,” for WW and did some radio and local company. And one summer day, I said to my TV commercial voice-over work. (Her voice son, ‘C’mon, let’s take a walk. I’m going to go to is a scotch-and-cigarette alto that resonates the Rose Garden.’ He didn’t want to, he wanted warmly.) Occasionally she’d tell friends about to stay and play with his friends. So I went her work in progress, Geek Love. “They would out on my walk and was feeling a little miffed groan and say, ‘For Christ sake, Dunn, no one’s at him. I came to the big experimental Rose going to publish that, no one’s going to want Garden in Washington Park in Portland, way to read that kind of crap.’ I figured, well, that’s on the top of the hill. I sat on the brick steps probably true.” there and looked out at all these hundreds of varieties of roses. Each of which had been bred very carefully for particular qualities: unn cried when she finished the Different colors, shapes and scents, one color book. “It was sad and terrible,” she on the inside of the petal, another color on says. “I mourned for a long time. I the outside. I started thinking about a topic loved those people and their world. that had engaged me for a long time, nature I lived there with them for a long vs. nurture, and about the manipulation of time. But the end of the book destroyed any genetic heritage. It occurred to me that I could possibility of returning.” have designed a more obedient son. Literary agent Richard Pine had heard of “There’s nothing new about that. People Dunn from other writers he represented in have been trying for centuries to manipulate the Pacific Northwest. When he finally got the genes, enhance certain traits, and achieve manuscript, he was dazzled: “I thought it was racial purity, even in humans. And of course one of the most brilliant things I’d ever read, and I thought of the Nazis also one of the hardest books to and their efforts toward sell that I’d ever take on.” But Aryan magnificence. And after a few months of rejection, I thought that was actuPine had a handful of publishally kind of boring, that ers vying for the rights. search for perfection. It Everyone who worked on would be more interestGeek Love became a titan of ing to go in another directhe book industry. Its publishtion entirely, to search er, Sonny Mehta, had recently for something other than moved from London to head the perceived symmetriKnopf in New York. Pine sent cal, common notion of him the manuscript. “I was perfection. Which got watched with great curiosme thinking about freaks ity in the house, I suspect, and mutations that were because everybody was kind not considered desirable. of curious about my taste,” That’s basically how it KATherine DUnn in 1989 says Mehta, who eventually began. I went home feelbecame chairman and editoring quite chipper and in-chief at Knopf Doubleday. wrote a section of the book, which persists On a Friday he asked a young editor, Terry pretty much intact.” (Al Binewski tells his Adams, to read the manuscript over the weekbrood a similar story of inspiration at the Rose end. “I came in Monday morning and went Garden, when asked by his children, “Tell us straight to Sonny’s office,” says Adams, now how you thought of us.”) publisher of paperback and digital at Little,

Brown and Company. “I was just overwhelmed by the manuscript. I said, ‘You have to buy this. You have to buy this.’” Geek Love was Mehta’s first acquisition for Knopf. “I thought it was a hugely ambitious, very daring book,” Mehta says. “I found it chilling, I found it moving, sometimes very funny, but I was taken by the sheer in-your-faceness of the whole thing. I thought it was brilliant.” Geek Love was published on March 11, 1989. The print run was 20,000 copies, a standard run for a book of literary fiction written by an author who hadn’t published in more than 15 years. The cover, sporting an angular, handmade font against show-stopping neon orange, was designed by a relatively unknown junior designer, Chip Kidd. “Designing that cover was a personal breakthrough for me,” says Kidd, now arguably the most prolific, best-known book-cover designer of all time. “It was the first book jacket I did that had an original visual language. That was wholly inspired by Dunn’s own original language and her brilliant storytelling. I drew the mutant E’s to represent the development of the various freaks in the story.” (The E’s weren’t the only freaks on the book jacket. The Knopf logo of a Russian wolfhound had been around since 1915. In homage to the Binewskis, Kidd gave the dog a fifth leg.) “I was a young, smart-assed design-brat,” Kidd says. “What made it fun was that nobody caught the extra leg until the book was out and on the shelves.” Geek Love was reviewed widely, and most of the notices were raves. It was a finalist for the National Book Award for fiction in 1989, up against E.L. Doctorow’s Billy Bathgate, Oscar Hijuelos’ The Mambo Kings Play Songs of Love, Amy Tan’s The Joy Luck Club, and John Casey’s Spartina. (Spartina won.) Dunn was surprised by the book’s reception. She’d spent nearly 10 years working on the story, far from the publishing world. “All the time I was working on Geek Love, it was like my own private autism,” she says. Dunn traveled from Portland to New York for the awards dinner and stayed with Mehta. “I hate to tell you this,” she says, “but I did not know what the National Book Award was when I got the call.” (Adams remembers Dunn bringing a copy of each nominee’s novel to the awards dinner to be autographed.) cont. on page 17


“The Vices and Virtues of Boxing,” April 5, 1983 on nov. 17, 1982, a little-known South Korean boxer named Duk Koo Kim died following a lightweight bout against Ray “Boom Boom” Mancini, stirring a national debate about the safety of the sport. WW asked a doctor to write about the damage boxing inflicts on fighters. Dunn wrote a counterpoint about the sport’s virtues—arguing, in part, that rough sports help maintain the delicate balance between softness and aggression that are essential to our survival as a species. “It’s a piece and a topic that took me through some heavy thinking and some serious research,” Dunn says. “the conclusions I reached are still useful to me today.” the piece is reprinted in Dunn’s 2009 collection of boxing journalism, One Ring Circus.

“The Slice” column, Aug. 27, 1984-May 31, 1990 For almost six years, Dunn wrote a weekly column answering reader questions half seriously, half digressively. these were collected in a book in 1990. one particular favorite? A piece that reminds us that even in its darker days in the ’80s, Portland was always Portland, the sort of place to be plagued by a religious graffitist. “Portland is such a lovable burg,” she wrote in June 1985. “tacoma has the Green River guy, Boston has its strangler, chicago has politicians, San Diego has the McMassacre, and Portland has the ‘trust Jesus’ Graffitist.” May it ever be so. Dunn kept writing the column following the publication of Geek Love, but on May 31, 1990, she announced a one-year sabbatical. She did not end up returning to the column, but for two years WW kept her name in the masthead, finally cutting it on May 14, 1992. Dunn currently lives in Portland and new York, and is newly married. She is at work on a boxing novel entitled The Cut Man, which for 25 years has been one of the most feverishly anticipated novels in literature. She will not talk about its contents to a newspaper, including WW.

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Willamette Week APRIL 2, 2014

cont. Pine recalls how Geek Love stood out against popular literary fiction of the time: “Fiction was dominated by realism. Saul Bellow, Philip Roth in the middle of his career, Bernard Malamud, John Updike. You didn’t have people removing digits, people with magical powers or extra limbs. Knopf was the bastion of this realistic fiction, so for Geek Love to be Sonny’s first book—it’s not what was deemed appropriate or commercial. It was a big deal.” Geek Love touched a nerve at the beginning of the ’90s, as grunge rock poured from the Pacific Northwest and independent movies like Reservoir Dogs (1992), Clerks (1994), Kids (1995) and Welcome to the Dollhouse (1995) flourished. In the same way that punk and grunge felt real— not like slick stadium rock, big-budget studio movies, hokey scripted TV—Geek Love achieved a fresh kind of authenticity. The Binewskis felt real, even as their lives and their story were fantastical. There was something about the idea of a freak show, an entertainment that hadn’t thrived in American culture for generations, which felt just right in the early ’90s. Jim Rose (of the Jim Rose Circus) remembers his first show: “It sold out. Kurt Cobain was in the audience. Pearl Jam was in the audience. Katherine Dunn set the table for this whole modern freak-show vibe. Freak shows used to exclusively be cons that were perpetrated on the midway of state fairs or carnivals, and they always let you down, they always cheated you. After Geek Love inspired me to put together a show that didn’t have the con as the focus but, rather, art as the focus, it took off. All of a sudden, I was allowed to play in theaters. I didn’t have to be on some midway. All of a sudden, I was playing to thousands of people a night. Katherine Dunn turned that dusty con on a midway into art. And I just basically did a live version inspired by that book.” wenty-five years after its publication, Geek Love’s popularity is still growing. It made more money in royalties for Dunn last year than in any previous year. All told, the book has sold more than 400,000 copies, 10,000 of them ebooks. Pine says that two weeks don’t go by without an inquiry about the film rights. Harry Anderson’s option eventually lapsed. (Anderson was a spokesperson for Apple Computer at the time; he showed up one day on Dunn’s doorstep in Portland and gave her a gift, her first Mac, then showed her how to use it.) Henry Selick, director of the animated films The Nightmare Before Christmas, James and the Giant Peach, and Coraline, asked Dunn about making an animated version of Geek Love. “When you’re doing films, you think everything is possible. I talked to Tim Burton about producing it as an animated film,” Selick says, “but honoring the book, hardcore.” Warner Bros. acquired an option for Burton but never developed the film. Selick feels he let Dunn down, but he’s also certain that a movie version true to Dunn’s book would have been impossible in the last 20 years. He thinks it might be possible now, thanks to technology and more diverse content on screens, and as we talk, he says our conversation is getting his mind racing again about the possibility of realizing Geek Love as a film. “It remains one of my favorite books of all time, with the most powerful, amazing characters, and a topsy-turvy view of what’s normal, and what’s not, which is something that interests me.” In the late ’90s, Warner Bros. executives had a meeting with Lana and Andy Wachowski (The


Matrix, Cloud Atlas) about future projects, and somehow Geek Love came up. The siblings were interested in developing the property, so Warner Bros. bought the film rights indefinitely. Lana remembers her first time reading the book: She stayed up all night and then woke up early to get back to it, “pausing only to put on a pot of coffee, which I promptly forgot until I smelled it burned to a crisp,” she says. “It is a diabolically insightful and exquisitely rendered examination of the transformational power and pathology of familial love.” Will they turn Geek Love into a movie any time soon? “We do have a dream of adapting it; we would love to work with Tim Burton. Our fantasy is to write and produce the script and have him direct it.” atherine Dunn is not like regular people. In 2009, she was carrying a bag of groceries near Northwest 21st Avenue and Glisan Street when a woman tried to yank her purse off her shoulder. The force spun the then-64-yearold writer around, and the attacker, a strung-out 25-year-old with a record, kicked her shin and smacked her face. Dunn, who had trained for a decade at a Portland boxing club, punched the woman and held on to her until the police showed up. Dunn was disappointed not to have bloodied her attacker’s nose, but she didn’t have use of her left, as it was tied up with the purse. When I asked her what it had been like to be known as the author of Geek Love for these 25 years, Dunn said: “In some ways it’s like being the mom of someone who’s notorious in an odd but humorous way. Say, a modern Le Pétomane, the French flatulist. Every time your kid tweets cranky or slips through security to snatch a microphone and demonstrate the fine art of flatulence, somebody will phone to ask what he was like as a child, did you neglect, abuse, or spoil him, and isn’t it true that his great talent is just acute lactose intolerance?” There was no way Dunn could have anticipated the 25 years of attention Geek Love has attracted, nor the pressure on her to finish her next book. (“I can’t tell you how patiently I’m waiting for the next one,” Sonny Mehta says. “I’m just a great fan.”) Geek Love took more than 10 years to write, and its creation was passionate and intense. Writing a cult classic, like making a viral video, is not something you set out to do. She poured herself into the book. “When you become immersed in a project like this, you really lose all perspective,” Dunn says. “By the time I finished the book, I was blood-bound to these people. They were my family. I could no more imagine someone disliking them or being offended by them than I could fly.” With that, I realized, Dunn had captured exactly how I’d felt—and still feel—about the Binewskis. They weren’t just characters I read about; they were the most indelible people I’d ever met. “Oh good,” she replied. “But you are a weirdo, kid.” This story first appeared on and is reprinted with its permission. Caitlin Roper is a senior editor at Wired magazine. She edits stories on all kinds of subjects, from the history of the movie trailer to the healing powers of horseshoe-crab blood. She’s especially interested in animation, crime, psychology and people obsessed by their pursuits—the weirder, the better. Roper has worked in film and has contributed stories to New York magazine, The Moth and the Los Angeles Times. Before joining Wired, she was managing editor of The Paris Review. She lives in San Francisco.

All events are free unless otherwise noted. Parking is free after 7 p.m. and all day on weekends. Sign up for our monthly events email at April 4-May 11 Tuesday-Sunday, 11 a.m.-4 p.m. Hoffman Gallery

April 5 5 p.m. Pamplin Sports Center

April 7-9 Templeton Campus Center


Senior Art Exhibit This capstone experience for graduating art majors is the culmination of diverse undergraduate careers. Opening reception Friday, April 4, 5 to 7 p.m. LU‘AU

Annual Hawai‘i Club Lu‘au Enjoy a celebration of Hawaiian culture with food, dance, music, and arts and crafts. Tickets cost $7.50-$11.50. 52ND ANNUAL INTERNATIONAL AFFAIRS SYMPOSIUM

Gambling With Security: New Frontiers in Global Intervention Journalists, intelligence gathering experts, and military veterans will debate how new forms of intervention affect the security of world affairs. For a full schedule, visit go.lclark. edu/international/affairs/symposium.

April 9 5-7 p.m. Graduate Campus, South Chapel

April 10 7:30-9 p.m. Agnes Flanagan Chapel

April 11 8 a.m.-6:30 p.m. Law Campus, Wood Hall

April 16-17 Times and Locations Vary


Parenting With Nature in Mind Join this public dialogue on the importance of nature in child development and ways families can cope with environmental issues. Registration can be completed for $10 in advance at PANEL

Humanities 2025 Lewis & Clark College Professor of Philosophy Rebecca Copenhaver and Gary Saul Morson, the Frances Hooper Professor of Arts and Humanities at Northwestern University, will discuss the future of humanities in higher education in a conversation moderated by Carol Christ, president emeritus of Smith College. SYMPOSIUM

The Wilderness Act at 50 Join legal scholars, federal employees, and students for a one-day symposium on the impact and meaning of the Wilderness Act. Advance registration ($25-$50) required with a form at COMMEMORATIVE EVENTS

Rwandan Genocide 20th Anniversary Commemoration Two days of events will include film screenings and a discussion, an artistic expression workshop, and a memorial service. For a full schedule, visit

Lewis & Clark 0615 S.W. Palatine Hill Road Portland, Oregon 97219

Willamette Week APRIL 2, 2014



Willamette Week APRIL 2, 2014



Willamette Week APRIL 2, 2014


DRANK: Tasting new seasonal beers. MUSIC: Future Islands aims for 10 bangers. COMEDY: Kristine Levine critiques open mics. MOVIES: Portlandia at Cartlandia.

23 31 41 45



FOUR ON THE FLOOR: As first reported on, Quartet, the South Waterfront’s famously troubled finedining restaurant, shuttered March 26. “We have decided to close the restaurant after a year and two months,” co-owner Frank Taylor told WW. “We put our best foot forward, and we decided it’s the best decision to close it.” The opulently decorated but meat-and-potatoes eatery opened in February 2013 in the space previously occupied by Lucier, which WW called “the most colossal faceplant in Portland dining history.” Quartet was troubled from the start, with its first bad review arriving from The Portland Mercury before the restaurant had even officially opened. Other middling reviews followed. In August 2013, former part-owner Roy Jay sued two other owners for mismanagement. In the same month, the restaurant was the target of two small-claims lawsuits for back bills totaling almost $15,000. GIRLS ON TOUR: Shy Girls, last year’s winner of WW’s annual Best New Band poll, are going to spend early spring on tour with the group Americans unofficially voted their favorite new band of 2013, Haim. The sisterly pop-rock trio handpicked the Portland R&B act to open 14 dates in April and May, according to singer-producer Dan Vidmar. It’s the culmination of a few big months for Shy Girls, which saw the release of its TimeSHY GIRLS share EP in October and subsequent online endorsements from Maxwell and Brandy, ’90s singers whose heyday the group’s softly funky sound harks back to. “We are upgrading some gear and adjusting our set list for the tour along with a few other modifications, but for the most part we are gonna be playing the same way we would to a crowd of 100,” Vidmar tells Scoop. BIG BEER: On March 31, the Coloradobased Brewers Association released its annual list of the 50 largest craft breweries in the country by volume. Deschutes remains the largest craft brewery in Oregon, falling one place to No. 6 overall. Full Sail fell one place to No. 25 and is now larger than Rogue, which fell five places to No. 27. Eugene’s Ninkasi came in at No. 30. Craft Brew Alliance, the Portland-based business that includes Widmer Brothers, Redhook and Kona, remained one of the 10 largest American beer companies. ROYALE WITH CHEESECAKE: A new gay bar and dragshow venue called The Royale is planned for the Northwest Broadway space previously occupied by Tiger Bar, according to owner Shawn Carey, who was formerly part-owner of downtown’s Club Rouge strip club. The Royale will resurrect Tiger Bar’s elevated DJ box, and will feature drag shows three nights a week promoted by local talent agent Justin Buckles, who was events manager at gay clubs Boxxxes and Red Cap Garage after working four seasons on American Idol. Buckles co-wrote an e-book, American Idol Exposed, for which his promotional copy promises: “The whole truth and nothing but. This is my Idol life.” >> Nearby, at 817 NW Couch St., a former branding and advertising expert named Brendan Jones is planning a 20-seat growler bar called the Big Legrowlski. 20

Willamette Week APRIL 2, 2014



What to do this Week in arts & culture

WEDNESDAY APRIL 2 batman ’66 Release [comic books] batman, most recently a (PoW!) dark and troubled knight, is now again being portrayed (biFF!) as the go-go-era caped crusader (boom!) made famous by Adam West. Batman ’66 Vol. 1 reimagines the classic TV series in comic-book form. (WiZZ!) Writer Jeff Parker and artist Jonathan case will be signing copies. (ZoW!). Cosmic Monkey Comics, 5335 NE Sandy Blvd, 517-9050. 5-7 pm. Free. lYDIa lOVeless [music] if oversharing is wrong, let’s hope this 23-year-old countrypunk singer-songwriter never gets right. Somewhere Else, Loveless’ third album, is a stunner, in both its songwriting and what she is willing to own up to, from doing blow and trying to break up an ex’s marriage to her cravings for both oral sex and a lover so passionate he’d shoot her out of sheer jealousy. Doug Fir Lounge, 830 E Burnside St., 2319663. 9 pm. $10 advance, $12 day of show. 21+.

THURSDAY APRIL 3 nORthwest Dance pROject [dAnce] For one night only, the contemporary company will simulcast its Director’s Choice show via a 50-foot projection on the wall of a downtown office building (you can also pay $36 to $49 to see it live through saturday at the newmark Theatre). The show includes a premiere work by artistic director sarah slipper. Jive Building, 915 SW Stark St., 421-7434. 7:30 and 10:30 pm. Free.


elting into the thick cushion of my light-blue butterfly chair, I pick up a copy of The New Yorker from my mahogany TV tray. The dense, dry articles are a welcome companion on this lazy afternoon. About midway through “The Talk of the Town,” something becomes painfully clear: I’m hungry. Famished, even. I phone Lonesome’s Pizza. “And where do you want this delivered?” the pizza dude asks. “Pioneer Courthouse Square,” I reply. “I’m sitting in a big blue chair in the center of it.” The square across from historic Pioneer Courthouse has long been known as “Portland’s living room.” This weekend, it celebrates 30 years of service to pigeons, professionals, musicians and the odd transient (or seven) who flock there. On a recent Monday afternoon, I decided to

as pORtlanD’s lIVIng ROOm celebRates 30 YeaRs, an UnDeRemplOYeD wRIteR tests Its lIVabIlItY. see how Portland’s living room measures up to my own. A man in khaki pants and a Hawaiian shirt patrols the area with a rainbow “FREE HUGS” sign while a group of bros toss a red Frisbee. I return to The New Yorker column, hoping to enjoy droll exreporters writing lowbrow satire about New York politicians, but elderly doomsday hecklers on the northeast corner of the square prove too much of a distraction. I opt to accept the proffered free hug. My pizza arrives—salami, banana peppers, shallots—drawing passersby like moths to a flame. Ever a polite host,

I’m happy to share. A gentleman in a well-cut, pinstriped navy suit asks if free-hugs guy and I have colluded to offer free hugs and pizza. A man with a daffodil wrapped around his yellow-rimmed shades stops to explain why Portland is better than Seattle. A woman in a long hemp skirt sits on the off-white rug I laid out, and we watch a guided Segway tour roll through. I can hear a cop politely asking the 20-something man who’d been sleeping peacefully 10 feet behind me to move. (Living in Portland’s living room is apparently illegal.) I reopen my magazine only to be interrupted by a hobo wearing a khaki jacket and corduroy pants. He hits my wristwatch with a small placard, yelling something about hugs in gibberish. It’s time for me to move to another room. JOHN LOCANTHI.

gO: Pioneer courthouse square celebrates its 30th birthday with “singin’ in the square,” a community sing-along led by Thomas Lauderdale and featuring storm Large, china Forbes and Pink martini. sunday, April 6. 3-5 pm. Free.

MONDAY APRIL 7 sOngs InspIReD bY the ORegOn tRaIl [hisTory/music] bringing to life the experiences of oregon Trail pioneers, bend folk-revival duo the Quons will perform original music— just wait until you hear the ballad “ode to dysentery.” excerpts from literature and journal entries will put it all in context. Mission Theater, 1624 NW Glisan St., 223-4527. 7 pm. Free. walteR kIRn [books] in Blood Will Out, a new book that’s part memoir and part true-crime reporting, kirn recounts his 15-year friendship with the eccentric new york art dealer clark rockefeller, a man who was ultimately revealed to be a German con man, serial impostor and murderer. Powell’s City of Books, 1005 W Burnside St., 228-4651. 7 pm. Free. VeRtIcal scRatcheRs [music] The kinks were pretty punk, but what if they were an actual punk band? That’s the apparent conceit behind Daughter of Everything, the debut album by L.A. band Vertical scratchers that zips through jangly briticisms at a bracing, minutemen-like pace. call it Double Nickels on the Village Green. Bunk Bar, 1028 SE Water Ave., 3282865. 9 pm. $8. 21+.

Willamette Week APRIL 2, 2014




IRON MAN STRONG ALE FESTIVAL Saturday, April 5, 2014 • 2:00 pm - 8:00 pm Skamania County Fairgrounds Exhibit Hall Stevenson, Washington BEER GEEK Session 2:00

all the beers, none of the distractions

Entertainment 3:00

String Beats, Funk Shui, Funkship Columbia


Gourmet smoked BBQ by F.O.E #1744

Strong beers by:

Walking Man, Thunder Island, Everybody’s, Pfriem, Backwoods, Loowit, Coalition, Ghost Runners, Firestone Walker, Green Flash and many more! $15/person at the door includes entry, souvenir glass and 3 drink tickets

21+ with valid state-issued ID only Made possible by Stevenson Business Association—Skamania Lodge


Willamette Week APRIL 2, 2014

BRODER IN ARMS: (Clockwise from upper left) Sole fillet, curried cauliflower, beef a la Lindström and Brussels sprouts.


gravlax, raw sushi-grade salmon cured in salt, sugar and aquavit, which is served chilled on top of braised and cooled baby bok choy with a slice of lemon and a sprinkle of dill. Its charms are BY MA RTIN CIZMA R subtle, but substantial. The subtleness doesn’t work out for Janssen’s Temptation ($6), a gratin There’s an instinctual pause before reaching of flaky potatoes in a cream bath spiked with a for the door handle. There’s scant proof of life little anchovy to provide a hint of salty fishiness, behind the window. But back at the curb, a sand- and topped with tangy pecorino. I found the very wich board advertises openness. The door gives. mild anchovy flavor more of a distraction than anything. Swedes apparently make the dish with Apparently, Broder Nord is serving dinner. If you’ve ever inched around the mass of sweeter pickled sprats, which sounds preferable brunchers sipping coffee while waiting for a to me. A trio of little cabbage rolls ($9) stuffed table at the original location of this Scandina- with tender braised lamb and served with a vian diner on Southeast Clinton Street, this gravy of pureed turnips below and a sweet-tart empty room has the eeriness of the offseason lingonberry jam on top fell into the same chasm; at an amusement park. At brunch, the northern unfamiliar flavor combinations that don’t win immediate allegiance. brother’s front lobby is snug with On the other hand, a sole fildiners waiting to order from an Order this: Curried cauliflower let ($14) served in parchment identical menu of spongy lefse ($6), roasted Brussels sprouts sole fillet ($14) and beef a paper with a bright chutneytopped with runny eggs and ($6), la Lindström ($11). like lemon-dill pesto sauce arugula, puffy sugar-powdered Best deal: The “garden” course and a little starchy celery root ebelskivers with lemon curd and offerings are very large for $6. was flawless. If the room were lingonberry, and egg scrambles I’ll pass: Cocktails, Janssen’s brighter, I might have spent with smoked trout and fennel. Temptation ($6). some time picking the last bits Chef Mike Murray ’s dinner menu has roasted sunchoke soup ($5), prune- of sweet and buttery fish off the brown paper. stuffed pork loin ($12), baked oysters ($10), raw Also excellent was the beef a la Lindström oysters ($2 each) and a tin of sardines ($10) ($11), another Swedish classic comfort: A sort of open-faced burger, it’s a beef-and-beet patty served with housemade sea-salt crackers. On a recent Thursday night, we had the place topped with a smoky red tomato aioli, a second entirely to ourselves as the orange sun sank vinegary tomato sauce the house calls “catsup” under the soaring Fremont Bridge and behind and pieces of rutabaga, parsnips and carrots. Desserts are wonderful, especially the tosthe green hills. There were two cooks and one waiter, plus my wife and I, seated in the front cakaka, a rich buttermilk spongecake topped window and looking into a dim cave decorated with almond praline and soaked in ultra-smoky with interlocking honey-colored wood beams, a caramel sauce. The aquavit- and juniper-heavy cocktail list, gray-painted floor and the thin flicker of dozens of candles without anyone to light. It turned out a holdover from brunch, could use an update for to be the best of many meals I’ve had from the dinner, when such drinks read more as apéritifs. I found myself preferring to sip a Stiegl Radler— Broder twins. Broder Nord opened in November and rolled the Zima of Europe—as I looked out at the red out dinner last month. I suspect newness was and white lights blinking across the bridge, and responsible for the near-empty room on my then back to the bizarrely empty room. visits, though Swedish dinner foods do get less approachable when you go beyond the meatballs EAT: Broder Nord, 2240 N Interstate Ave., 2825555, 9 am-3 pm for breakfast in a rich cream sauce, familiar from the brunch and lunch daily. 4-6 pm for happy hour and 5 menu and still $11. Take the plate of thick-sliced pm-late for dinner Tuesday-Saturday.

FOOD & DRINK = WW Pick. Highly recommended. By MATTHEW KORFHAGE. Editor: MARTIN CIZMAR. Email: See page 3 for submission instructions.

SATURDAY, APRIL 5 Red Lips and Tulips

Who knew Canby had one of the first wineries in the state? Probably just people from Canby. But the founders of St. Josef’s are celebrating the starting of their winery 36 years ago with gypsy jazz and Hungarian goulash, in honor of the European traditions they brought to Canby. Plus, there’s a tulip farm up the street. And tulip farms are pretty. St. Josef’s Estate Vineyards and Winery, 28836 S Barlow Road, Canby, 651-3190. Noon-5 pm Saturday and Sunday, April 5-6. $5 includes tasting glass, tasting and tour.

Shades of Shea Wine Tasting

Penner-Ash’s wildly popular $75 10 Shades of Shea wine tasting—featuring 10 Shea single-vineyard wines—sold out in like 15 seconds. So Boedecker Cellars is holding its own vertical tasting of Shea Vineyard wine. At way less cost. Just be sure to RSVP. Boedecker Cellars, 2621 NW 30th Ave., 224-5778. 11 am-5 pm. $25.

Wine and Cheese Pairing

This seems like a wine-heavy weekend in Portland. In this case, the wine is local and comes with fine local cheese. And it doesn’t cost very much. So that’s something. Hip Chicks Do Wine, 4510 SE 23rd Ave., 234-3790. Noon-6 pm Saturday and Sunday, April 5-6. $15. 21+.

SUNDAY, APRIL 6 Gluten-Free Cookbook

Jack Bishop, editorial director at America’s Test Kitchen, made a bunch of food without gluten, and he wrote a book full of the recipes. So he’ll talk about that, and then sell you his cookbook. If that’s not enough, he’ll also be at Bob’s Red Mill at 4 pm Monday, doing the same thing. Except at Bob’s Red Mill, he’ll also give you cookies. Which is better. Powell’s City of Books, 1005 W Burnside St., 228-4651. 7:30 pm. Free.

MONDAY, APRIL 7 No Holds Bar’d

Bar fight! No, seriously: bar fight. Two bars—Dig a Pony and Interurban—will be taking over Hale Pele on a Monday night, when it’s usually closed, to duke it out among cocktail makers to determine a champion. It’s like Cocktail, except not all of the bartenders are contractually obligated to be as short as Tom Cruise. Hale Pele, 2733 NE Broadway, 662-8454. 5 pm. Free.


GET SPRUNG TASTE-TESTING THE CROP OF NEW AND UNFAMILIAR SEASONAL BEERS. Spring is here—well, sort of—and with it a new crop of local brews. So far, 2014 looks to be the year of the citrus IPA, with a host of new fruit-forward pale ales landing on local taps and shelves. We found a few good ones in our tasting of 10 new or unfamiliar seasonal beers now in bottles. But, as we learned, it’s not yet time to set aside coffee or good old Crystal hops. KATHRYN PEIFER.

7. 10 Barrel’s Project: F ailed Red Ale

3. Coalition’s Space Fruit Southeast Portland Rating: 84


Radlers are already big this year, with many breweries rolling out their fruity shandies long before Memorial Day. If citrus IPA is the new IPA, Coalition has a head start on the competition with this sweet, fruit-forward brew that uses a heavy dose of juice and zest from fi ve mysterious citrus fruits.

Rating: 70 Bend’s 10 Barrel tried to bottle a nitro red ale. It didn’t work, since the bottles kept exploding. Released in January, this “spring seasonal” was pretty tasty this time in February, but it hasn’t matured well. Tasting notes: “Lives up to its name: failed.” “Brassy, ruddy taste.” “Sweet pennies.”

Tasting notes: “It’s citrusy without the bite of the Citrus Mistress.” “Very fruit-forward.”

8. Gigantic’s Bang On!

4. Ninkasi’s Dawn of the Red

Southeast Portland


Rating: 68

Rating: 78

Gigantic’s only regular beer is its IPA, with the brewery rolling out a new one-off seasonal every few months. This one was sandwiched between Most Premium Imperial Russian Stout (our No. 10 beer of 2013) and Too Much Coff ee Man (which won this tasting) but didn’t impress us.

Considering it’s an India Red Ale with a relatively complex bill of three malts and fi ve hops, Ninkasi’s Dawn of the Red sure has a lot of fruity fl avor. The label tells you to expect mango, papaya and pineapple, and we got all three.

Tasting notes: “Smells like a musty laundry room.” “Mostly just tepid.”

Tasting notes: “Hello, tropical fruit!” “Smoothly transitions into fruity nose and bitter fi nish.” “Mango madness!”

1. Gigantic’s Too Much Coffee Man Southeast Portland

Rating: 87 points (out of 100) Gigantic starts spring with a big, Belgian-style coff ee beer. The style is listed as an Imperial Black Saison—a double oxymoron—and has a light body that smells of cold-pressed Coava coff ee. It’s 8.2-percent ABV but smells and sips like a cup of roasty joe. The only complaints our tasters had were that it didn’t taste enough like beer. And, yes, the label was drawn by local man-made-good Shannon Wheeler. Tasting notes: “I’ve had six cups of coff ee today, and this feels right.” “The coff ee just clobbers the saison base beer, like the buzz just missed the beer.

9. Burnside’s Spring Rye

5. Hop Valley’s Citrus Mistress

Northeast Portland

Springfi eld

Rating: 67

Rating: 76

This seasonal beer is a blend of German rye, coriander and super-bitter Bullion hops. The coriander was nice on the nose but not in the mouth, and the bitterness of the high-alpha Bullion wasn’t the right counterpoint.

Just like Coalition’s Space Fruit, Citrus Mistress is an attempt to spotlight the citrus fl avors in an IPA by adding a little fruit peel. This beer is a real IPA, too, with 80 IBUs from fi ve hops. It smells great, but there’s not enough fresh fruitiness from the added grapefruit to overcome a slight ammonia fl avor.

Tasting notes: “Smells like a Bath & Body Works. Tastes like it too.” “Breakside threatened to make a beer that tasted like freshly cut grass—but Burnside did it.” “Soapy salsa and sandwich bread.”

Tasting notes: “#Grapefruit4Life.” “Ammoniac.” “Love the smell— but tastes a little cat-pissy.”

6. The Commons’ Bière de Garde

10. Ecliptic’s Coalsack

Southeast Portland

2. BridgePort’s Trilogy 1

North Portland

Rating: 73

Northwest Portland Rating: 86

Oregon’s oldest craft brewery, celebrating its 30th year, scores a direct hit with this pale ale, which comes in both bombers and sixers. The Crystal hops give a pleasant, fruity tang and smell to this sweet brew. Tasting notes: “I could drink it all spring, summer and fall.” “It’s like one of those hop candies you get at a homebrew shop.”

Rating: 48

The second bottling of the Commons Bière de Garde, which previously appeared in the spring of 2012, fi nds one of our favorite Portland breweries dry-hopping with French Strisselspalt hops. It still seemed overly sweet and malty to us.

This beer by John Harris’ newish Ecliptic Brewing is a Cascadian Dark Ale that’s named for the darkest nebula in the Milky Way. The beer doesn’t match. This brew is far lighter in color than expected, and less balanced than a drunk cosmonaut floating in his sleep.

Tasting notes: “Great to pair with cheese.” “Sweet with a yeasty, greasy note to counteract.” “Finish disappears quickly.”

Tasting notes: “So smoky it makes you cough.” “Hint of wood pulp.” “Burned hop fi eld.”

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Afternoon Session, 12:30–4 pm: Scenes & Viewpoints

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Incoming Freshmen–Seniors

Foster your child’s creativity through art, music, theater and dance! This summer, send them to MetroArts Kids Camp, July 14-18 and 21-25, at the Portland Center for Performing Arts. A bargain at the 22nd Anniversary discount of only $200 a week or $310 for two weeks if you register by May 16, 2014! Sign up now! Contact MetroArts at 503.245.4885 or visit our website at

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Willamette Week APRIL 2, 2014

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Willamette Week APRIL 2, 2014

Willamette Week APRIL 2, 2014



Willamette Week APRIL 2, 2014


april 2–8 PROFILE

= WW Pick. Highly recommended.


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 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: Fax: 243-1115.

WEDNESDAY, APRIL 2 Lydia Loveless, the Stubborn Lovers

[SONGS OF SHAMELESS DEVOTION] Whoever coined the axiom “sing like no one is listening” probably didn’t figure on Lydia Loveless singing in public about snorting coke and then trying to break up her ex’s marriage. That’s how the 23-year-old Midwesterner opens her third record, Somewhere Else, and the rest of album ain’t exactly full of proper dinner conversation, either. Instead, it’s a one-woman game of Truth or Dare?, played over power-pop guitars and a twangy alto reminiscent of prime Neko Case. But brash honesty is Loveless’ best songwriting tool, and she wields it with the fearlessness of youth. She pines for the sort of love affair that’ll leave her murdered in a jealous rage on “Verlaine Shot Rimbaud.” On “Chris Isaak,” she admits that in her younger years she followed men around “with my head jammed way in their ass,” while poking fun at a former boyfriend who wooed her by playing “Wicked Game” on acoustic guitar. And then there’s “Head,” which isn’t a cover of the early Prince jam but contains the same subject matter, except the sexual longing is shot through with a melancholy that’d make Lars von Trier weep into his pickled herring. Far from being purely voyeuristic, Somewhere Else is where Loveless emerges as a significant artistic force, ditching the contrived honky-tonkin’ of her previous albums for engaging, country-style narratives delivered with punk-rock directness. If oversharing is wrong, don’t let her ever get right. MATTHEW SINGER. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $10 advance, $12 day of show. 21+.

Fanno Creek, Tomten, Animal Eyes

[INDIE FOLK POP] Just a few months after the release of its debut fulllength album, Monuments, Fanno Creek announced it would be taking a sixmonth hiatus while some members went traveling. This show marks the trio’s last in Portland for a while, meaning it’s your last chance to take in the dreamy indie folk the group has been building on for years, full of tightly melding harmonies, handclaps galore, and touches of synth, piano and horns. KAITIE TODD. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. $5. 21+.

ZZ Ward, Griz Folk, the O My’s

[COUNTRY-HOP] As a kid, ZZ Ward played the bars of Roseburg, Ore., in her father’s blues band. She’s all grown up now, based in L.A. and featured on TV shows and the late-night talk-show circuit. The soulful 20-something frontwoman belts atop country and blues melodies and big hip-hop beats. In 2012, Ward released Til the Casket Drops, a record that sounds something like Christina Aguilera taking requests at a small-town bar. MARK STOCK. Wonder Ballroom, 128 NE Russell St., 284-8686. 7 pm. $18.50 general admission, $55 VIP, $100 meet and greet. All ages.

THURSDAY, APRIL 3 Bear Hands, the Ecstatics

[ELECTRO-POP] With their shuffling percussion, scratchy guitars and a Brooklyn area code, the blog-house ghetto looked like the end of the line for Bear Hands. Putting Jake Aron (Grizzly Bear, Yeasayer) at the helm of this year’s Distraction was a maximalist approach—heavy on layered yowling and buzzing synths—designed to elevate the group beyond its early post-punk tendencies and into the electro-pop echelon of Merriweather Post Pavilion or whatever you’d call Reflektor.

Spiky guitars and disco swagger remain, but the arena-sized sounds of Distraction have ambitions that are above and beyond an indie-club dance floor. PETE COTTELL. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $10 advance, $12 day of show. 21+.

FRIDAY, APRIL 4 Wesley Stace’s Cabinet of Wonders featuring Jim James, Colin Meloy, Wesley Stace, Ural Thomas & the Pain, China Forbes, Laura Veirs, Willy Vlautin, John Moderick, Black Prairie, Amy Miller

[VAUDEVILLE] Before you gasp at the cost of admission, consider this: Wesley Stace’s Cabinet of Wonders is a variety show benefiting MyMusicRx, an organization that utilizes the healing power of music on seriously ill kids. Also, there is an embarrassment of talent to share the stage, including Jim James, China Forbes, Colin Meloy, Ural Thomas and more. Stace, a novelist and folk musician who often plays under the stage name John Wesley Harding, curates the evening. Expect old-time tunes by all-star musicians woven around literature readings and comedy, all for a good cause. MARK STOCK. Aladdin Theater, 3017 SE Milwaukie Ave., 234-9694. 8 pm. $50-$150.

Weed, Modern Marriage

[CANADIAN SCUZZ] Weed is, unsurprisingly, a noise garage band from Vancouver, British Columbia, with a lo-fi buzz built for cassette tapes and a knack for writing heavy slacker anthems. We can linger on the group’s apparent love for the greener things in life, but truth is, Weed is diligent. The four-piece writes driven, layered tracks that, despite their murkiness, still allow melodies to escape the haze. That’s not to mention the relatively young band has just released its first full-length record, Deserve, which showcases its musical ability via sludgy guitars, dueling riffs and precise drumming. ASHLEY JOCZ. Discourage Records, 1737 SE Morrison St. 7 pm. $5. All ages.

J. Phlip, Christian Martin, the Perfect Cyn

[TECH HOUSE] Berlin is already showing on the sleeves of Dirtybird’s J. Phlip. “Say My Name,” the formerly San Francisco-based producer’s first single of 2014, wastes no time getting into a hard techno groove, the repeated sample demanding, “Bitch, say my name” harking to her Midwestern ghetto-house roots. But she’s a Dirtybird woman through and through, and that necessitates a dose of weird wonk. Though “Wurk,” the single’s B-side, gets even bouncier, the label’s trademarks come through in helpings of tinny, spacey synth and dubby echoes that confirm “Say My Name” as a product made in the U.S.A. and in Deutschland gemacht. MITCH LILLIE. Branx, 320 SE 2nd Ave., 234-5683. 9 pm. $15. 21+.

Marco Benevento, Old Light

[JAZZY PIANO POP] “Limbs of the Pine” and “This Is How it Goes” might be the only two songs Brooklyn-based Marco Benevento has ever recorded with vocals, and they come courtesy of Rubblebucket’s Kal Traver. Those tracks open TigerFace, the musician’s latest work, a vaporous foray into the realm of experimental pop. The sparse vocal arrangements are outliers, though, given Benevento’s synthy, bleep-infused instrumental canon and jam-laden leanings. Cuts like “Eagle Rock” and “Going West” scuffle with breakbeats and beaming strings, but it’s his stabs at the unconventional that make him

CONT. on page 32

BOOGIE LaTE NIGHT: Future Islands’ Samuel Herring on Letterman.



On a Monday night in early March, everything changed for Future Islands. The Baltimore synthpop trio was in New York to make its national television debut on the Late Show With David Letterman, performing “Seasons (Waiting on You),” the first single from its new record, Singles, when singer Samuel Herring lowered his hips, held one hand in the air like a beacon and unleashed a series of dance moves that set the Internet ablaze. “I think our shows have always elicited a certain type of emotional reaction,” Herring says, laughing at the idea of his recent meme-ification. “We came up playing crappy dive bars and trying to connect with people, to really move them. You have to do something to distinguish yourself in the early going, and for me that meant just letting go and losing myself in the music.” Though the Letterman appearance made Future Islands more of a household name—the YouTube video of the performance is nearing 650,000 views, GIFs are all over the Web, and the next night, during his monologue, Letterman interrupted jokes about Vladimir Putin with clips of Herring dancing—the reality is that the band, rounded out by keyboardist-programmer Gerrit Welmers and bassist-guitarist William Cashion, has been one of the most reliable live acts in indie rock for years, working its way from tiny Maryland DIY warehouses to midsize venues across the country. But with the release of Singles, Future Island’s fourth and best record, the band is set to enter a whole new stratosphere—one where festival audiences, just like the thousands of people tuned in to late-night TV, are about to fall for a weird, theatrical little pop outfit fronted by a crazed dancing man with a black T-shirt tucked into his slacks. Herring looks like a young Marlon Brando, prowling the stage with a swaggering strut, swinging to the beat between pounding his chest so hard you can hear the thud in the microphone. As a frontman, he’s part Morrissey, part Meat Loaf, only raised on hip-hop instead of classic rock. One

of his best tricks is his lurching, growling, Cookie Monster-metal voice, which goes from a high rasp to a deep, guttural howl. It’s not a tool he busts out often on record, but when he does, it’s staggering— just hear how the music goes from chiming to manic as Herring throat-shouts something unintelligible at the end of Singles’ penultimate ballad, “Fall From Grace.” Singles isn’t so much a new direction as it is a refinement. Future Islands have stripped away some of their past synth-pomp, amped up the rhythms and placed Herring’s voice front and center. After years of torching smaller venues, the band figured it was time to aim for the rafters. “With Singles, we really wanted to just write the best songs possible and then pick our favorites,” Herring says. “It’s like, what if we just put out 10 bangers that could stand on their own, removed from the context of the record? The title was a reflection of what we wanted to do.” “Seasons” is the obvious hit, riding one of Cashion’s most spirited New Order-esque basslines before cresting into an insistent, four-on-the-floor beat to pop perfection, yet it’s far from the only track that might convert naysayers. The album sways from uptempo jams like “Spirit” and rousing closer “A Dream of You and Me” to more tender moments like “A Song for Our Grandfathers” and “Back in the Tall Grass,” an ode to growing up in North Carolina. In a time when many lyricists rely on overreaching metaphor and trite sentiments, Herring’s conversational, straightforward songs are refreshing. He sings about love, loss and heartbreak in a way that is plainspoken but never sappy. Previous records In Evening Air and On the Water are both breakup records—“You couldn’t possibly know how much you meant to me,” is just the first line Herring barks on In Evening Air’s “Tin Man”—but Herring sells every word, avoiding the saccharine with a simple tap to the chest. “We want to try and get as rowdy and wild and weird as possible at every show,” Herring says. “That’s always the atmosphere we’re going for.” SEE IT: Future Islands play Doug Fir Lounge, 830 E Burnside St., with Ed Schrader’s Music Beat and Jason Urick, on Saturday, April 5. 9 pm. $17. Advance tickets sold out, limited tickets may be available at the door. 21+. Willamette Week APRIL 2, 2014



friday–monday and John Moen have been in a lot of bands. Like, a lot. But both agree that Eyelids, the longtime Portlanders’ current group, is the kind of band they’ve always wanted to be in. Its sound is drawn from the music they listened to as teenagers: L.A.’s retropsychedelic scene of the ’80s and the iconic New Zealand label Flying Nun. Last month, Eyelids issued its first official release, a 7-inch showcasing sparkling guitars and aching harmonies that have already earned the band comparisons to powerpop touchstones like Big Star and Teenage Fanclub. Tonight, they release another record, this one a split with Portland garage-pop favorites the Woolen Men. Hopefully, a full-length isn’t far behind. MATTHEW SINGER. Bunk Bar, 1028 SE Water Ave., 894-9708. 10 pm. $5. 21+.

so appealing. BRANDON WIDDER. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $13 advance, $15 day of show. 21+.

Ecstasy: Traxman, Jammin Gerald, Modern Melodies (DJ Rafael and Massacooramaan), Ben Tactic, Lincolnup

[FOOTWORK] Though footwork, the quick, staccato descendant of juke music, was seeded in Chicago nearly two decades ago, it’s only sprouted into national consciousness in the last four years or so. Fully riding that 160 bpm wave is Traxman, a footwork and ghetto-house O.G. He stands apart in a scene dominated by fluttering 808 rhythms because he’s as focused on jazzy melody as on rhythm. He sees footwork as a housemusic purebred: On “Slash Time,” digital and analog synths oscillate in the foreground, balancing out the jackhammer beat where other producers would have rammed it down the ears. MITCH LILLIE. Holocene, 1001 SE Morrison St., 239-7639. 9 pm. $5 before 10 pm, $10 after. 21+.

Charlie Parr, Betse Ellis

[BARNYARD BLUES] Charlie Parr first blew me away in a small bar near Yellowstone National Park. The Minnesota-born musician was as Americana as they come, packing little more than a worn 12-string guitar, a graying beard and his rich, sooty voice. He stomped and strummed like mountain musicians do, throwing a banjo and resonator guitar in the mix now and again. Parr’s latest effort, Hollandale, spotlights his technical side. It’s an all-instrumental affair based on songs from a previous standout record, Barnswallow. For those who think authentic country and Piedmont blues are now extinct, prepare to be proven wrong. MARK STOCK. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. $12. 21+.

We the Wild, Defeat the Low, Alive Like Me, Olympic Gold, the Toy Gun Theory

[ROCK] The word “junk” doesn’t usually have a positive connotation, but We the Wild uses it differently. Deeming its music “junk rock,” the group promises a mixture of punk rock and jazz. Formed in 2011, the quartet has released one fulllength album, a rowdy, aggressive record blitzed with fast, fiery guitar riffs, raspy screams, and occasionally dynamic, intricate interplay. The quartet releases its new EP, Of All Things, here, and if the album teaser is any indication, We the Wild isn’t abandoning its mixed-genre sound behind anytime soon. KAITIE TODD. Slabtown, 1033 NW 16th Ave., 2230099. 7 pm. $8. 21+.

SUNDAY, APRIL 6 Dum Dum Girls, Blouse, Strange Babez (DJ Set)

[BRASS IN POCKET] Dum Dum Girls leader Dee Dee Penny would prob-

[TEXAS TROUBADOR] If Bruce Springsteen had been born in West Texas instead of East New Jersey, he might have been Joe Ely, the only singer I’ve ever seen who could rival the Boss’ joyous live shows. The 67-year-old, who once opened for and upstaged the Clash, the Stones and Tom Petty, hasn’t recorded a new solo album since 2011, but he’s hardly slowed down, having published a road journal, written a novel, released a live album, cut a couple CDs and toured with his longtime buddies the Flatlanders. His current acoustic duo with guitarist Jeff Plankenhorn will lower the voltage a bit, but as the title of a recent cut, “Not Much Has Changed,” suggests, the fierce blend of country, rock, Tex-Mex and folk that fueled classics like “Musta Notta Gotta Lotta,” “Honky-Tonk Masquerade” and “Me and Billy the Kid” also pervades his recent songs about grown-up subjects like facing mortality. BRETT CAMPBELL. Star Theater, 13 NW 6th Ave. 8 pm. $25. 21+.

Bad Sports, Youthbitch, Piss Test

[GARAGE PUNK] The cyclical nature of music is constantly unearthing past genres and pushing them into the current spotlight. The fuzzed-out garage rock of the ’70s has enjoyed a recent resurgence, and a band like Bad Sports fits right in. The threepiece from Texas—currently signed to Portland’s Dirtnap Records—sports a lighthearted yet distinctly punk attitude that propels its catchy riffs and shout-along choruses. Bathed in lo-fi production, 2013 record Bras has an undeniably classic punk sound, paying homage to the Ramones, the Buzzcocks and others from the era. SAM CUSUMANO. The Know, 2026 NE Alberta St., 473-8729. 8 pm. Contact venue for ticket information. 21+.

SATURDAY, APRIL 5 The Woolen Men, Eyelids, the Verner Pantons

[PAISLEY POP] Chris Slusarenko


Willamette Week APRIL 2, 2014


Joe Ely, David Ramirez

ably be an incredible actress. It’s uncanny how she not only mimics the style but also the indelible songwriting of so many classic singers from decades past. On Dum Dum Girls’ latest record, Too True, Dee Dee is stuck in the ’80s, and her alternately rousing and hazy tunes sound like Chrissie Hynde fronting the Cocteau Twins. It’s her most confident and assured work, heavy on slow-burning ballads and torch songs that move away from the garage-rock scene the band came up through. Someone get this girl a role in the next Paul Thomas Anderson film. MICHAEL MANNHEIMER. Doug Fir Lounge, 830 E Burnside St., 2319663. 9 pm. $15. 21+.

RAC, Ghost Beach, Joywave

[SO YOU THINK YOU CAN REMIX?] Andre Allen Anjos, aka RAC, is no longer Portland’s best-kept secret. After a number of well-played remixes and a new LP, Strangers Part 1, he’s making the rounds as an in-demand touring DJ. While he’s stayed true to easygoing summertime dance numbers, he’s begun working with increasingly bigger names. Kele Okereke from Bloc Party and Tegan and Sara both top his latest release, signaling the arrival of this first-class remixer on the international stage. GEOFF NUDELMAN. Wonder Ballroom, 128 NE Russell St., 284-8686. 8:30 pm. $16 advance, $18 day of show. All ages.

MONDAY, APRIL 7 Dan Croll, Panama Wedding

[SMOOV POP] Dan Croll lives at the intersection of three genres: pop, folk and electronic. While songs like “Home” are clean, cheerful tracks featuring folky guitars and campfire vocals, much of the rest of his debut, Sweet Disarray, is chock-full of blippy synths. He’s a prime example

CONT. on page 34



Who: Ryan Joseph Lella (vocals, guitar), Mathieu Lewis Rolland (drums), Jaclyn Hardin (organ) and Michael McInerney (bass). Sounds like: A beach party hosted by surfers with a studdedleather jewelry fetish. For fans of: The White Stripes, Wolfmother, Radio Moscow, the Seth Rogen movie This Is the End. Why you care: Why worry about mortality when there’s still plenty of beer to drink before the end times? This “Animal House meets the macabre” sensibility defines Portland psychedelic warriors A Happy Death. For every electroshock scream that leaps from Ryan Joseph Lella’s throat, there’s a shimmering guitar lick to simmer down the fire drill. The reverb is so raw it’s bloody, making for a darkly playful take on vintage rock. If only the world didn’t think the quartet, with roots in Brooklyn, is a bunch of cultists. Even if the music couldn’t be farther from hell’s depths, the group still messes with people’s expectations, employing satanic imagery and giving songs titles like “Nazi Zombies.” “It’s sort of a satire, but I don’t think people got that,” says group founder Matthew Lewis Rolland. Case in point: New album Introducing: A Happy Death begins with voicemails Rolland received from a stranger asking him to join the Illuminati. Candid moments such as those are Introducing’s calling cards. The live-concert enthusiasts recorded each song in real time to replicate the unpredictable zaniness of their stage shows, which often include sporadic guitar improvisations, smoke machines and T-shirt cannons. “There are a lot of dramatic, emotional changes,” Lella says. “When it’s over, it’s like you got smacked in the face with a door.” But with the neck-snapping tempos, getting punched in the face by Satan may be a more apt analogy—even if at the end of the day, A Happy Death is really “just kind of laid-back dudes playing music and broing out,” Rolland says. “We’re not a cult.” SEE IT: A Happy Death plays Firkin Tavern, 1937 SE 11th Ave., with Mister Tang and Cambrian Explosion, on Friday, April 4. 9 pm. Free. 21+.

Will Westbrook


Neutral Milk Hotel, Elf Power, the Minders

[FUZZY FREAK FOLK] Time has left few stones unturned in the wake of In the Aeroplane Over the Sea, Neutral Milk Hotel’s 1998 psych-folk masterpiece. The blown-out, kitchen-sink orchestration and mind-fuck lyrical content (Lust! Vegetables! The Holocaust!) made the record an obvious collegerock classic, but the coffers of Aeroplane’s legend have mostly been cleared in the 16 years since it originally bloomed in the consciousness of America’s then-unborn “freak-folk” scene. Singer and mastermind Jeff Mangum became a hermit, residual members carried on with other Athens, Ga., Elephant 6 projects, and the vault was sealed on one of the most inimitable standouts in underground music since Trout Mask Replica. Then Mangum started playing solo again a few years ago, eventually resurrecting the whole band, and now the album is once again a topic of discussion. A lessexplored thread worth following in the folklore of Aeroplane is its relationship with Merge Records, the venerable indie label that put the record out at the zenith of the pre-Internet CMJ era. Stylistic cues aside, your favorites from indie heavy-hitters like Spoon, Arcade Fire and She & Him may not have existed without Aeroplane. “Every fall, kids head off to college and decide it’s their job to own a copy of Aeroplane on vinyl,” a friend who works at Merge once told me. “It’s not Arcade Fire money, but it’s kept the lights on long enough for us to be there when Arcade Fire decided to shop for a label.” If nothing else, consider zoning out to “The King of Carrot Flowers, Pts. 2-3” your due diligence to the livelihood of indie rock. PETE COTTELL.

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


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Bryan Ferry, Dawn Landes [LUXURY ROCK] At age 68, Bryan Ferry remains a study in contrasts. He made his name as the coke-addled, spacealien frontman of English glam titans Roxy Music, but outside of that towering, monumentally influential act, he’s built a solo career as a smoothrock sophisticate, always dressed in dapper suits, with a perpetually cool demeanor. Like David Bowie and Peter Gabriel, Ferry weathered the ’80s well, selling albums by the ton, and though his commercial status has flagged in the 21st century, his artistic output has been nearly unassailable. In 2010, he signed to Astralwerks and released a gorgeous, understated collection of pop tunes called Olympia. His next venture, the 2012 album The Jazz Age, featured New Orleans-style, big-band reworkings of his hit songs, minus Ferry’s sexily detached croon. That led, in turn, to a collaboration with Baz Luhrmann on a set of jazz numbers for the soundtrack to The Great Gatsby. Now Ferry is trekking down the West Coast, anchored by an appearance at Coachella. By now, this elder statesman of English rock has created an elegant brand that is no longer interested in forward momentum. His eye is turned firmly toward his own legacy at this point, so a retrospective set visiting the Avalons and Olympias of yesteryear should be a comfort to Ferry and his fans. NATHAN CARSON.

courtesy of press here

Crystal Ballroom, 1332 W Burnside St., 225-0047. 8:30 pm Sunday-Monday, April 6-7. Sold out. All ages.

Arlene Schnitzer Concert Hall, 1037 SW Broadway, 248-4335. 7 pm Tuesday, April 8. $47.50-$101. All ages.

Willamette Week APRIL 2, 2014


Thursday, April 3rd thru Sunday, April 6th 20% Off skirts, sweaters, scarves & earrings Sale Hours: Thursday 10-8 Friday-Saturday 10-6 Sunday 10-5 Hillsdale Town Center 503-246-3417



of how silky smoothness can live outside R&B and how, when done right, blending many different styles in the span of a single song doesn’t always come out as a mess. GEOFF NUDELMAN. Aladdin Theater, 3017 SE Milwaukie Ave., 234-9694. 9 pm. $15. All ages.

Vertical Scratchers, Bear & Moose

[TRANSMISSIONS AFTER ZERO] Few musicians balance the melodic with the schizophrenic as well as John Schmersal. The dude’s résumé is nearly impeccable: guitarist for Dayton synth-punk heroes Brainiac; founder of the equally quirky (but less neurotic) Brooklyn band Enon; touring guitarist for Caribou; and now, leader of two diametrically opposed new bands, Crooks on Tape and the pop-heavy Vertical Scratchers. While Crooks on Tape explores the zanier side of his earlier material, Vertical Scratchers’ debut record, Daughter of Everything, is unabashed power pop—short nuggets of adrenaline that channel the Beatles through classic Guided by Voices—with the short track lengths to boot. The 15 songs whiz by in under 30 minutes, but when things are this catchy, it’s best just to grab another pint and get lost in the noise. MICHAEL MANNHEIMER. Bunk Bar, 1028 SE Water Ave., 894-9708. 9 pm. $8. 21+.

La Femme, the Suicide Notes, Sex Crime

[EURO SURF POP] Futuristic psychpop act La Femme has reached the top of the French digital charts with it most recent double disc, Psycho Tropical Berlin. Written partly in a Parisian basement and partly in the French countryside, the record sounds like the Surfaris via Kraftwerk—it’s a hypnotic, spellcasting kind of music that life forms on some distant planet must surf to. Big, lingering guitar chords and bewitching keys make up La Femme’s skeleton, fleshed out by frenetic dial-turning and sampling. It’s dizzying, so fix your senses on a stationary object and hold on for dear life. MARK STOCK. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $10 advance, $12 day of show. 21+.

TUESDAY, APRIL 8 Cyne, Bop Alloy, Maze Koroma, DJ Northern Draw, DJ Alonzo Mourning Sickness

[BLIP-HOP] There’s a radically different Cyne at work on each of its releases dating back more than a decade. Hip-hop’s Golden Age is clearly in play here, but the idolatry restricts this Florida-based collective. All My Angels Are Right, recently issued through Home Tapes, just sounds like the trio’s been bound by history. A compilation from last year, Wasteland (Vol. 1), though, effortlessly showcases abstract gestures over the course of its six extended tracks. Even if “An Introspective” loses folks a few minutes in when the whole thing gets vague and ambient, there’s enough b-boy stank on it to get over. DAVE CANTOR. The Know, 2026 NE Alberta St., 473-8729. 8:45 pm. $5. 21+.

Chuck Ragan and the White Buffalo, Jonny Two Bags

[GUTTER FOLK] There comes a time in every Warped Tour lifer’s career when the Gibson SG is cased up in favor of a beat-up old acoustic. So it goes for Hot Water Music’s Chuck Ragan, a songsmith beloved among the post-hardcore punk scene for lifeaffirming themes propelled by a voice he must’ve developed by gargling razor blades for breakfast. Thank Epitaph Records for forcing Ragan to take vocal lessons before making the jump from tiny DIY label No Idea: Turns out this guy can belt out tradrock anthems with the best of them. But don’t you dare call him “old.” PETE COTTELL. Wonder Ballroom, 128 NE Russell St., 284-8686. 8 pm. $20 advance, $23 day of show. 21+.


Willamette Week APRIL 2, 2014


Spring Sale!

A TRIBE CALLED RED: (From left) DJ NDN, DJ Shub and Bear Witness.

A TRIBE CALLED RED THURSDAY, APRIL 3 Like a lot of native North Americans, Bear Thomas didn’t grow up with many heroes who looked like him. Searching for a reflection of himself in popular media, all he’d find were the same red-faced, tomahawk-chopping stereotypes that confronted his parents and grandparents. A Tribe Called Red, the DJ group Thomas and two other First Nations members started in Ottawa, Canada, with the idea of integrating traditional aboriginal music into modern electronic dance styles, wasn’t necessarily intended to give the younger generation something to look up to: They just wanted to make party music. But as they’ve found out, an indigenous person can’t enter the public sphere without shouldering certain burdens. It means too much—and not just to the kids. “We hear stories of whole families listening to us, and sometimes it’s Grandpa who discovered it first,” says Thomas, who records under the name Bear Witness. “We haven’t had something that reflected indigenous people, made by indigenous people, that was out there in popular culture before. So even for people of an older generation, even if they don’t necessarily understand the music, the concept is exciting.” Growing out of Electric Powwow, the monthly party Thomas, along with Ian “DJ NDN” Campeau and Dan “DJ Shub” General, has hosted in Ottawa since 2008, the music of A Tribe Called Red is made with a mind toward communal celebration. Dubbed “powwow-step,” it isn’t some staid brand of “world fusion” but true, speaker-rattling club music, featuring ululating vocal samples and tribal drums manipulated to fit the rhythms of dubstep, dancehall and moombahton. It’s a novel creation, and one that sounds surprisingly natural. But as Thomas points out, the traditions they’re connecting aren’t actually that far apart. “We really see what we’re doing as a cultural continuum,” Thomas says, “taking some of the ideas of powwow as being a gathering place into the club, where we, as urban indigenous people, go to gather.” Despite the party-forward ideology, A Tribe Called Red hasn’t skirted the political obligations foisted upon them. They’ve openly supported Idle No More, a movement to expand the rights of indigenous people in Canada, and helped pressure the Nepean Redskins, an Ottawa-area amateur football team, into changing their name. More personally, the group has issued statements urging fans not of First Nation descent to refrain from showing up at its gigs in headdresses and warpaint—a common scourge on the festival circuit. And while its music is inherently apolitical, the group has come to realize that its sheer existence is a statement in itself. Initially apprehensive of performing outside the continent, A Tribe Called Red eventually embraced its ambassador status, touring Europe with the intent of giving a face to North America’s modern indigenous people for an audience whose perceptions are still informed by John Wayne movies. But as its profile grows—getting co-signed by Diplo and long-listed for Canada’s prestigious Polaris Music Prize—the trio now fi nds itself assuming a position it’s less prepared for: that of role models. “That one’s got me a little more shook,” Thomas says, “but like everything else, I’m willing to meet it and man up to the responsibility of it all.” MATTHEW SINGER. For the innovators of “powwow-step,” the party is always political.

SEE IT: A Tribe Called Red plays Holocene, 1001 SE Morrison St., with World Hood and Global Ruckus, on Thursday, April 3. 8 pm. $12 advance, $15 day of show. 21+.


CLASSICAL, JAZZ & WORLD Doug Wieselman, Battle Hymns and Gardens, Michael Hurley

[CONTEMPLATIVE CLARINET] Doug Wieselman is a veteran of the downtown New York avantgarde music scene who’s performed with everyone from Antony and the Johnsons and Iron and Wine to Laurie Anderson and Bill Frisell. His placid first solo album, From Water, features Wieselman, who also leads Kamikaze Ground Crew, soloing over multiple digital loops a la Frisell to create entrancing sonic aquascapes inspired by bodies of water, none of which apparently included Oregon’s stormy winter coast. This unusual triple bill also features veteran folk songwriter Michael Hurley, whose recently revived career includes tours with Son Volt, and Portland’s own all-star improvisational jazz quartet, Battle Hymns and Gardens, featuring Blue Cranes hornmen Joe Cunningham and Reed Wallsmith, drummer Tim DuRoche and bassist Jon Shaw. BRETT CAMPBELL. Information Warehouse, 411 SE 6th Ave. 8:30 pm Saturday, April 5. $8 advance, $12 day of show. 21+.

Dvořák’s Symphony No. 5

[20TH-CENTURY CLASSICAL] For this program, the Oregon Symphony banishes the baroque and makes things modern. The show begins with a lush tribute to Benjamin Britten by living Estonian composer Arvo Pärt. Then, artistin-residence Alban Gerhardt takes the stage for a surely commanding performance of the complex and moody Shostakovich Cello Concerto No. 2. The night finishes with Antonin Leopold Dvořák’s pastoral Symphony No 5. For those who look forward to All Classical’s program Club Mod every Saturday night, this is the show we’ve been waiting for. NATHAN CARSON. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 248-4335. 7 pm Saturday, 2 pm Sunday and 8 pm Monday, April 5-7. $27-$110. All ages.


The City of Tomorrow, Space Weather Listening Booth

[CONTEMPORARY CLASSICAL] Winners of America’s top chamber music competition, the young quintet City of Tomorrow continues exploring the frontiers of today’s wind music with this program, featuring Music for Breathing, an evocative new piece written for them by Seattle composer Nat Evans; Montreal composer Denys Bouliane’s bebop-influenced, Borges-inspired A Certain Chinese Cyclopaedia..; and a spoken-word piece by legendary performance artist Marina Abramovic. They’ll also play a pair of very different 20th-century wind classics: Samuel Barber’s breezy Summer Music and Luciano Berio’s piquant Riccorenze. Nat Evans is also in the opening act, an “immersive acoustic and electronic performance piece based on the aurora borealis.” BRETT CAMPBELL. Hipbone Studio, 1847 E Burnside St., 358-0898. 8 pm Saturday, April 5. Donation suggested.

The Mousai

[CONTEMPORARY CLASSICAL] One of Portland’s most astute musical scouts, Mousai oboist Ann van Bever regularly disproves the outdated lie that contemporary classical music must be cold, dissonant and forbidding. She frequently finds 20th- and 21st-century sounds that are as ear-friendly— even to nonclassical audiences—as they are new and adventurous. For this Celebration Works concert, she and her colleagues perform delightful chamber works by the Dutch composer Hendrik Andriessen (father of Louis), Minnesota composer Stephen Paulus, Swiss composer Frank Martin, Washington, D.C.’s Haskell Small, and two locals, Portland’s Tomas Svoboda and Vancouver’s Matt Doran. BRETT CAMPBELL. First Presbyterian Church, 1200 SW Alder St., 2287331. 2 pm Sunday, April 6. Donation suggested.


GOLDEN RETRIEVER SEER (THRILL JOCKEY) [PLATINUM IMPROV] It’s not whether these sounds are fitted together right, it’s just that they’re fitted together. Golden Retriever, comprising locals Jonathan Sielaff on bass clarinet and Matt Carlson on synthesizer, isn’t investigating the possibility of some new musical landscape. This is well-trodden experimental territory. Don Cherry and Terry Riley jamming together won’t necessarily come to mind after taking a listen to Seer, Golden Retriever’s second effort for Chicago’s Thrill Jockey Records, but the approach is just about the same, with Sielaff’s horn accents underscoring Carlson’s contemplative key plunking. Despite the band’s approach being just about the same from release to release, Seer sounds spacey in a way different from 2012’s pulsing Occupied With the Unspoken or the occasionally heroic Light Cones from 2011. An unseemly undercurrent pushes at what otherwise would be New Age-y tactics on “Archipelago,” all slight and summery at the outset, then picking up speed and tension along the way before decaying to a conclusion. Nothing here approaches Carlson’s solo endeavors—either the pop-affiliated works or those more anarchic compositions— but when a mass of sound emerges from all the duo’s noodling, Golden Retriever is capable of music that’s substantial and heavy, like a portent-filled, humid morning. At its best, it’s all an extension of Mills College experimentalism. At its worst, Golden Retriever’s collection of ideas is teeming with possibility that has yet to be pristinely arranged. DAVE CANTOR. SEE IT: Golden Retriever plays Holocene, 1001 SW Morrison St., with Litanic Mask, Valet and Pinhead In Fantasia, on Sunday, April 6. 8:30 pm. $6. 21+. Willamette Week APRIL 2, 2014



Willamette Week APRIL 2, 2014


[APRIL 2–8] Secret Society Ballroom

The Firkin Tavern

= 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 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:

1937 SE 11th Ave. A Happy Death, Mister Tang, Cambrian Explosion

116 NE Russell St. Those Willows, Sean Wagner, Scott Mickelson, Dan Coyle, the Libertine Belles

The Know

2026 NE Alberta St. Bad Sports, Youthbitch, Piss Test


For more listings, check out


1033 NW 16th Ave. Ancient Sol, Cunning Wolves, No Small Children, Magnetic Health Factory, Treva Drake and the Bastard (8 pm); Dumpster Burger, With the Shades Drawn, Moi$t Money, Wormbag (3 pm)

White Eagle Saloon 836 N Russell St. Garcia Birthday Band, Reverb Brothers

SAT. APRIL 5 Al’s Den

Star Theater

303 SW 12th Ave. James Dean Kindle, The Eastern Oregon Playboys, DJ Cooky Parker

13 NW 6th Ave. World’s Finest, Giraffe Dodgers, the Student Loan

The Know

Aladdin Theater

3017 SE Milwaukie Ave. Abba Mania

2026 NE Alberta St. Usnea, Drunk Dad, Honduran

Alhambra Theatre

The Old Church

4811 SE Hawthorne Blvd. Mix Tape 2014: Solovox, Tope, Original Middle Age Ska Enjoy Club, Father’s Pocket Watch

1422 SW 11th Ave. Dub & Anne Debrie Alison Rice and Becky Bishop

White Eagle Saloon

Arlene Schnitzer Concert Hall

836 N Russell St. The Resistance

1037 SW Broadway Dvorak’s Symphony No. 5

Wonder Ballroom

128 NE Russell St. G. Love & Special Sauce

Ash Street Saloon

225 SW Ash St. Opie, Members Only

WED. APRIL 2 Al’s Den

303 SW 12th Ave. James Dean Kindle, Day Moanstar

Alberta Rose Theatre

3000 NE Alberta St. Tyrone Wells: Closer Than Ever Tour

Alhambra Theatre

4811 SE Hawthorne Blvd. Strap on Halo, The Hiram Key, Murderbait

Ash Street Saloon

225 SW Ash St. Boys, Nails Hide Metal

Doug Fir Lounge

830 E Burnside St. Lydia Loveless, The Stubborn Lovers

Hawthorne Theatre

1507 SE 39th Ave. Battle for Warped Tour: Ghost Town Grey, Raines To Ruin, Against The Raging Tide, To Die Elsewhere


1001 SE Morrison St. Grandparents, Turner Capehart, Rio Grands, Thomas Mudrick, Boing

Hotel Oregon

310 NE Evans St. Wheeler Brothers, Graham Wilkinson

Jade Lounge

2342 SE Ankeny St. Fez Fatale

Jimmy Mak’s

221 NW 10th Ave. Mel Brown Quartet, The Christopher Brown Quartet

LaurelThirst Public House

2958 NE Glisan St. Max’s Midnight Kitchen (9 pm); Feathers and Friends (6 pm)

Mission Theater

1624 NW Glisan St. Battlefield Band

Mississippi Studios

3939 N Mississippi Ave. Fanno Creek, Tomten, Animal Eyes

Star Theater

Lincoln Performance Hall


The Lehrer

1620 SW Park Ave. Percussion Area

350 W Burnside St. Spellcaster, Blood of Kings, Tanagra

Old Church & Pub

Tillicum Restaurant & Bar

30340 SW Boones Ferry Rd. Anita Lee Eliott, Lewi Longmire

Discourage Records

White Eagle Saloon

8 NW 6th Ave. The Neighbourhood, Kitten, Born Casual

13 NW 6th Ave. Love Gigantic 8775 SW Canyon Ln. Acoustic Jam with Chuck Gilman

8585 SW BeavertonHillsdale Hwy. High Boltage

Roseland Theater

836 N Russell St. Emily Otteson, Perry Gerber, Celeste Amadee

Savoy Tavern

Wonder Ballroom

Secret Society Ballroom

128 NE Russell St. ZZ Ward, Griz Folk, the O Mys


303 SW 12th Ave. James Dean Kindle, Chris Ward

Ash Street Saloon

225 SW Ash St. B Fifty-thousand, Cement Season

Doug Fir Lounge

830 E Burnside St. Bear Hands, the Ecstatics

2500 SE Clinton St. A Year Afar

116 NE Russell St. Egg Plant, When the Broken Bow, Kelly Anne Masigat


1033 NW 16th Ave. From Indian Lakes, Naive Thieves, Icarus the Owl, Grizzly

White Eagle Saloon

836 N Russell St. Chris Baron and Friends, Kokabola, Train River


1737 SE Morrison St. Weed, Modern Marriage

1925 SE Morrison St. Spectres, The Estranged, Bellicose Minds 1028 SE Water Ave. The Woolen Men, Eyelids, the Verner Pantons


350 W Burnside St. EuroFest PDX

Hawthorne Theatre

830 E Burnside St. Future Islands, Ed Schraders Music Beat, Jason Urick

1507 SE 39th Ave. Black ‘N Blue, American Bastard, Bleeding Cowboy, Madame Torment

Jimmy Mak’s

221 NW 10th Ave. Patrick Lamb

Kelly’s Olympian

426 SW Washington St. Down Gown and Gallow Swings, RLLRBLL

Kenton Club

2025 N Kilpatrick St. Shaowlands, Tiburones, Machine

LaurelThirst Public House

2958 NE Glisan St. Baby Gramps (9:30 pm); Tree Frogs (6 pm)

Doug Fir Lounge

Information Warehouse

411 SE 6th Ave. Doug Wieselman, Battle Hymns and Gardens, Michael Hurley

Jimmy Mak’s

221 NW 10th Ave. The Linda Hornbuckle Band

Hawthorne Theatre

Aladdin Theater


315 SE 3rd Ave. The H.B.I.C. Ball, New York from Flavor of Love

2025 N Kilpatrick St. Mammoth Salmon, Die Like Gentlemen, Old Hand

Alhambra Theatre

Secret Society Ballroom

LaurelThirst Public House


Lincoln Performance Hall

Jimmy Mak’s

221 NW 10th Ave. Mel Brown B3 Organ Group

Kenton Club

2025 N Kilpatrick St. Gaytheist, Tartufi, Humors

LaurelThirst Public House

2958 NE Glisan St. Ian McFerron, Alisa Milner (9:30 pm); BBQ Orchestra (6 pm)

4811 SE Hawthorne Blvd. Della Ferns

Ash Street Saloon

225 SW Ash St. Earth to Ashes, Splintered Throne, 30 Pound Test

Bunk Bar

1028 SE Water Ave. Betty Who and Zak Waters, Cardiknox

Crystal Ballroom

1332 W Burnside Street Rebelution

116 NE Russell St. Liz Vice, Common, Dear & Stubborn Son, Dominic Castillo 1033 NW 16th Ave. We the Wild, Defeat the Low, Alive Like Me, Olympic Gold, the Toy Gun Theory

Star Theater

13 NW 6th Ave. Joe Ely, David Ramirez

225 SW Ash St. Nagas, Warkrank, Condor

Crystal Ballroom

1332 W Burnside Street Neutral Milk Hotel, Elf Power

Doug Fir Lounge

830 E Burnside St. Dum Dum Girls, Blouse, Strange Babez (DJ Set)

First Presbyterian Church 1200 SW Alder St. The Mousai


1001 SE Morrison St. Golden Retriever, Litanic Mask, Valet, Pinhead in Fantasia

Kenton Club

2025 N Kilpatrick St. Joy Subtraction, Glass Hits, The Plastards

Mississippi Studios

3939 N Mississippi Ave. No, Reuben and the Dark, the Darcys


600 E. Burnside St. Death Songs, Be Calm Honcho

Scandals Portland

1125 SW Stark St. Sunday Blues & Jazz

The Firkin Tavern 1937 SE 11th Ave. Open Mic

The Know

2026 NE Alberta St. Damn Family

Trinity Episcopal Cathedral 147 NW 19th Ave Lenten Evensong

White Eagle Saloon

836 N Russell St. John Nilsen and Swimfish, Charlie Shaw

Wonder Ballroom 128 NE Russell St. RAC, Ghost Beach, Joywave

MON. APRIL 7 Al’s Den

303 SW 12th Ave. Wil Kinky

Aladdin Theater

3017 SE Milwaukie Ave. Dan Croll

Arlene Schnitzer Concert Hall

1037 SW Broadway Dvorak’s Symphony No. 5

Blue Diamond

2016 NE Sandy Blvd. Hot Tea Cold

CONT. on page 39


1847 E. Burnside The City of Tomorrow, Space Weather Listening Booth

Mississippi Studios

3017 SE Milwaukie Ave. Wesley Stace’s Cabinet of Wonders

Ash Street Saloon

3341 SE Belmont St. Sunday Jazz Series

Hipbone Studio

303 SW 12th Ave. James Dean Kindle, Dusty Santamaria

1507 SE 39th Ave. 9 Gauge, Give It FM, Walter & The Conqueror, Non The Yes Man, Hollywise

1037 SW Broadway Dvorak’s Symphony No. 5

1507 SE 39th Ave. 13 - A Salute to Black Sabbath, Thunderstruck (AC-DC Tribute), $intax


2126 SW Halsey St. Paul Basile

The Blue Monk

Hawthorne Theatre

Al’s Den

3939 N Mississippi Ave. The Mother Hips, the Parson Red Heads

303 SW 12th Ave. Wil Kinky

Arlene Schnitzer Concert Hall

1033 NW 16th Ave. Grand Style Orchestra

Bunk Bar

Doug Fir Lounge

830 E Burnside St. Marco Benevento, Old Light

Al’s Den


3017 SE Milwaukie Ave. Bruce Cockburn


ALONE IN THE DARK: Lydia Loveless plays Doug Fir Lounge on Wednesday, April 2.


Blackwater Records

Aladdin Theater

Kelly’s Olympian

426 SW Washington St. Muriel Stanton Band

Kenton Club

2958 NE Glisan St. Lynn Conover and Gravel (9:30 pm); The Yellers (6 pm)

1620 SW Park Ave. Crossing Over, A Musical Haggadah

Mississippi Studios

3939 N Mississippi Ave. Charlie Parr, Betse Ellis

Portland Art Museum 1219 SW Park Ave. The Third Symphony, Benjamin Britten

QUICK SLOSH: Most proper college towns have at least one musty, old basement dive that swapped its pool tables for a handful of rickety Maytags that “fell off the back of a truck.” Portland deserves something similar but a little more upscale, and we have it with Spin Laundry Lounge (750 N Fremont St., 477-5382, Spin offers a sleek, sun-bathed room where young and hip NoPo can sip Upright Engelberg Pilsner ($4.50) and espresso while washing the sex off their Company Store duvet covers. With its proximity to Mississippi Avenue, it’s a minor miracle the airy, aquamarine-hued warehouse that Spin calls home wasn’t snatched up by EDM bros with grandiose plans to flip it into the next Holocene. Here, understated electropop by Röyksopp and Four Tet commingles with the hypnotic din of Space Age Electrolux machines (all accept credit cards) for a soothing ambience. A DJ would be right at home on the mezzanine, but a midcentury modern sectional fills the space comfortably for now. The spartan cafe/bar setup has a purposeful mix of uppers courtesy of a Rancilio coffeemaker outfitted with beans from Fog Valley Roasters and downers by way of cans, taps and wine bottles. Throw in some small plates and panini, keep the doors open until midnight, and you have a utilitarian neighborhood cafe that brings in folks who don’t even have clothes to wash. For those who do, Spin is a classy alternative to eating takeout from Horse Brass and drinking Old German from a paper bag while waiting for one of the few washing machines that takes cards to become available at Belmont Eco Laundry. PETE COTTELL. Willamette Week APRIL 2, 2014





(doors open at 7pm). All Ages TAKE WARNING PRESENTS...


$10.00 advance tix from Ticketfly. $12.00 at the door.


7pm (doors open at 7pm). 21 & Over KINGBANANA.NET PRESENTS!


$8.00 advance tickets. $8.00 at the door.

SATURDAY, APRIL 5 3pm. 21 & Over


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Falafel House: 3 to Late–Night All Ages Shows: Every Sunday 8–11pm Free Pinball Feeding Frenzy: Saturday @ 3pm


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

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


Willamette Week APRIL 2, 2014

april 2–8 The Know

Bunk Bar

2026 NE Alberta St. The Silent Numbers, Soft Shadows, Firebats

1028 SE Water Ave. Vertical Scratchers

Crystal Ballroom

The Muddy rudder public House

1332 W Burnside Street Neutral Milk Hotel, Elf Power


350 W Burnside St. Karaoke From Hell 830 E Burnside St. La Femme, The Suicide Notes, Sex Crime, the Creepshow, The Phenomenauts

white eagle Saloon

Jimmy Mak’s

303 SW 12th Ave. Wil Kinky

2126 SW Halsey St. Skip vonKuske’s Cellotronik

Alberta rose Theatre

3000 NE Alberta St. Joanne Rand & Jim Page

Hawthorne Theatre 1507 SE 39th Ave. VNV Nation

Jade lounge

2342 SE Ankeny St. Cover Songs Spectacular with Elie Charpentier

Jimmy Mak’s

Analog Cafe & Theater 720 SE Hawthorne Blvd. People’s Ink Weekly

Ash Street Saloon

lincoln performance Hall

2201 N Killingsworth St. Chez Stadium

Beaterville Cafe

Blue diamond

10000 NW Old Cornelius Pass Rd. Bob Shoemaker


1033 NW 16th Ave. The Virus, Evacuate, Bad Engrish, Hammered Grunts, Fire at Will

7600 N. Hereford Avenue The Round

2016 NE Sandy Blvd. The Gretchen Mitchell Band

Bunk Bar

1033 NW 16th Ave. LiquidLight, Here Come Dots

1332 W Burnside Street Yonder Mountain String Band, The Brothers Comatose

Ground Kontrol Classic Arcade 511 NW Couch St. TRONix, Bryan Zentz

Harlem portland

The GoodFoot

2845 SE Stark St. Shafty: A Phish Tribute

The lovecraft

421 SE Grand Ave. Event Horizon, Industrial Dance Night

8775 SW Canyon Ln. Hot Jam Night, With Tracey Fordice and The 8-Balls

THuS. April 3

white eagle Saloon

wonder Ballroom

NS 3rd & Couch St. Hump Night

639 SE Morrison St. DJ Boom

The lehrer

Crystal Ballroom

dixie Tavern

Star Bar

2026 NE Alberta St. Cyne, Bop Alloy, Maze Koroma

Analog Cafe & Theater 720 SE Hawthorne Blvd. Bubble Up

128 NE Russell St. Chuck Ragan and The White Buffalo, Jonny Two Bags


19 SW 2nd Ave. Study Hall With DJ Suga Shane

CC Slaughters Nightclub & lounge

219 NW Davis St. Hip Hop Heaven, With DJ George

Harlem portland

3967 N Mississippi Ave. King Tim 33 1/3

3341 SE Belmont St. The Pagan Jug Band, With Special Guests

836 N Russell St. Wildish, The Colin Trio, Avery Hill

219 NW Davis St. DJ Robb, Trick

Moloko plus

The Blue Monk

1028 SE Water Ave. Psychomagic, Mr. Tang

CC Slaughters Nightclub & lounge

220 SW Ankeny St. DJ Jack

The Know

225 SW Ash St. Stepper

rock Creek Tavern

3939 N Mississippi Ave. The Ghost Ease, Marriage and Cancer


4811 SE Hawthorne Blvd. Snowapple

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

1620 SW Park Ave. Stephen Hough

Mississippi Studios

portland Abbey Arts

1037 SW Broadway Bryan Ferry

laurelThirst public House

2958 NE Glisan St. Amanda Richards and the Good Long Whiles (9 pm); Jackstraw (6 pm)

Alhambra Theatre

Arlene Schnitzer Concert Hall

221 NW 10th Ave. Donny McCaslin

19 SW 2nd Ave. DJ Seleckta YT, Riddim Up Wednesday

laurelThirst public House

Al’s den


wed. April 2 Berbati

B.C.’s Bar & Grill 2433 SE Powell Tetsuo

220 SW Ankeny St. DJ Tourmaline, DJ Valen


1001 SE Morrison St. A Tribe Called Red, World Hood, GlobalRuckus

Moloko plus

3967 N Mississippi Ave. DJ Sahelsounds

Star Bar

639 SE Morrison St. DJ Barrett

The Know

2026 NE Alberta St. Dirtbag’ Dance Night, DJ Bruce LaBruiser and Guests

The lovecraft

421 SE Grand Ave. Vortex, DJ Kenny, John and Skip

Fri. April 4

220 SW Ankeny St. Lionsden


320 SE 2nd Ave. J. Phlip, Christian Martin & The Perfect Cyn

The GoodFoot

The lovecraft



1001 SE Morrison St. Ecstasy: Traxman, Jammin Gerald, Modern Melodies, Ben Tactic, Lincolnup

Moloko plus

3967 N Mississippi Ave. Hans Fricking Lindauer Rhythm and Soul Review

Moloko plus

3967 N Mississippi Ave. Weiss Cube

Star Bar

639 SE Morrison St. Uncontrollable Urge with DJ Paultimore

Star Bar

639 SE Morrison St. DJ Drew Groove

1001 SE Morrison St. Booty Bassment: Maxx Bass, Nathan Detroit, Ryan & Dimitri

Moloko plus 3967 N Mississippi Ave. DJ Roane


315 SE 3rd Ave. Blockhead, Yppah

Splash Bar Hawaiian Grill 904 NW Couch Pre-Funk Jam Session Saturdays

The lovecraft

421 SE Grand Ave. Miss Prid

SuN. April 6

2845 SE Stark St. DJ Magento

Analog Cafe

The GoodFoot

2845 SE Stark St. Soul Stew, DJ Aquaman

The Jack london Bar 529 SW 4th Ave. Decadent 80s

The lovecraft

720 SE Hawthorne Blvd. sensory

MoN. April 7 CC Slaughters Nightclub & lounge

219 NW Davis St. Maniac Monday, With DJ Robb

Ground Kontrol Classic Arcade 511 NW Couch St. Metal Mondays, with Metal Kyle and DJ Shreddy Krueger

The lovecraft

421 SE Grand Ave. Departures, DJ Waisted and Friends

TueS. April 8

SAT. April 5 CC Slaughters Nightclub & lounge

720 SE Hawthorne Blvd. S.Y.N.T. Weekly Dubstep Night

CC Slaughters Nightclub & lounge

219 NW Davis St. TNA Tuesdays, DJ Jakob Jay

CC Slaughters Nightclub & lounge

Star Bar

19 SW 2nd Ave. Sunday Syndrome

Fez Ballroom

Crush Bar

421 SE Grand Ave. NecroNancy


219 NW Davis St. The Superstar Divas, DJ Robb

421 SE Grand Ave. Brickbat Mansion

219 NW Davis St. Revolution, DJ Robb

639 SE Morrison St. DJ Baby Lemonade

Analog Cafe & Theater

The GoodFoot

Analog Cafe & Theater 720 SE Hawthorne Blvd. Bass Invasion!

Star Bar

2845 SE Stark St. Tropitaal: DJ Anjali and The Incredible Kid

Harlem portland

221 NW 10th Ave. Rene Marie, Mel Brown Septet


1800 E Burnside St. DJ Jesse Espinoza

219 NW Davis St. DJ Jakob Jay, Sweat Fridays

Hawthorne Theatre

8105 SE 7th Ave. Lloyd Jones

TueS. April 8

CC Slaughters Nightclub & lounge

2126 SW Halsey St. Michael Berly and Friends 1507 SE 39th Ave. Dead Meadow, Grandparents, Billions & Billions, Still Caves

836 N Russell St. Singer Songwriter Showcase, Eric John Kaiser

doug Fir lounge



1035 SW Stark St. Super Soul Sunday Nights

639 SE Morrison St. DJ Scary Jerry

The lodge Bar & Grill 6605 SE Powell Blvd. DJ Easy Finger

Savoy Tavern

2500 SE Clinton St. Live DJs

1400 SE Morrison St. Maricon

Stop Greed—Return Compassion We believe that the large, steadily increasing income gap between TriMet’s top-level managers and w front line workers is toxic. It has killed these managers’ compassion and empathy for employees, passengers and the community. It has created a pattern of self-serving behavior in which executives and a handful of top technical people continue to receive over-budget salary increases while the majority of workers – union and non-union alike – sees no raises at all.


over 70 Managers

in May 2013, KoiN News reported that more than 70 managers at TriMet were receiving over $100,000 each in annual wages for a 40-hour work week. The number of such managers has grown.

The General Manager receives $222,309 in annual wages for a 40-hour work week.

$100,000+ The average TriMet front line worker retiree receives $1550/ month in pension after years of


The lowest paid worker at TriMet receives $28,063 in annual wages for a 40-hour work week.


heAlThdeSTRoyiNG lAboR.

TriMet’s General Manager’s wages are:

paid full time worker.

1195% more than the annual pension of the average retired bus operator.

you CAN helP Revive iT.

@ TriMet A Citizens’ Petition to the TriMet Board, Governor Kitzhaber and Our State Legislators. This petition calls on these leaders to: Amend the TriMet Charter and State Statutes to reduce the total compensation income gap between the highest and lowest paid TriMet employees to no more than 400%

Revive th

To sign the petition go to

Tr i M e t


ThiS ToxiC SiTuATioN hAS PARAlyZed The heART of TRiMeT.

Revive the


792% more than the annual wages of TriMet’s lowest


TRANSiTvoiCe.oRG Ce.oRG Willamette Week APRIL 2, 2014


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

Jimmy Mak’s Presents

First Friday Great American Music Series

The Patrick Lamb Band With Special Guest, Darren Rahn

Friday, April 4th Two Shows: 7:30pm & 10pm tickets available at

UPCOMING SHOWS: Linda Hornbuckle, April 5th

Joe Louis Walker, April 17th

Donny McCaslin, April 7th

The Stolen Sweets, April 18th

Rene Marie, April 8th

Etta James Tribute, April 19th

Karen Lovely CD release, April 11th

The Shanghai Woolies, April 25th

Soulmates, April 12th

Andy Stokes, April 26th

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

FUTURE ISLANDS SAT 4/5 @ 3 PM “Singles [their latest album] is a great balance of pop and melodrama. It’s built around the sturdy new wave beat, almost always four on the floor, giving Herring a comfortable frame in which to sing.” - Pitchfork


SAT 4/5 @ 5 PM Acústica offers a vintage, global sound featuring diverse musical rhythms such as samba, cha cha, bolero, bossa nova, salsa, rumba, lambada and tango. Songs are performed in Spanish, Portuguese, Italian, French, Cape Verde Creole, Finnish and English.


MON 4/6 @ 2 PM “Unhurried but not a beat too long, End of Daze is a confident and comprehensive showcase for everything Dum Dum Girls do well, from luxuriant, moody ballads to driving, melodic guitar pop …” Pitchfork


MON 4/6 @ 4 PM

Newly signed to tastemaker record label Arts & Crafts, NO finished their selfproduced debut album El Prado in 2013. Mixed by Billy Bush (Tegan & Sara, Foster The People, Jake Bugg) and mastered by Joe LaPorta (Beach House, Foo Fighters, Vampire Weekend)


MON 4/7 @ 7 PM Sponsored by

3158 E. Burnside / 503-231-8926 / 40

Willamette Week APRIL 2, 2014

Willamette Week Presents


April 2–8 FEATURE

= WW Pick. Highly recommended.


Most prices listed are for advance ticket sales. At-the-door increases and so-called convenience charges may apply, so it’s best to call ahead. Editor: REBECCA JACOBSON. Theater: REBECCA JACOBSON ( Dance: AARON SPENCER ( TO BE CONSIDERED FOR LISTINGS, submit information at least two weeks in advance to:


A hi-def broadcast from London’s West End of the hit play about France during World War I, featuring some of the most epic puppets ever to gallop across a stage. World Trade Center Theater, 121 SW Salmon St., 235-1101. 2 and 7 pm Saturday, April 5. $15-$20.


Portland Center Stage artistic director Chris Coleman takes on Shakespeare’s tragedy of love and jealousy. PCS is billing it as a classic staging, complete with a two-story revolving castle onstage (because all theaters during the Bard’s days had that). Does this mean we’re allowed to throw peanuts at Iago? Gerding Theater, 128 NW 11th Ave., 4453700. 7:30 pm Tuesdays-Sundays; 2 pm Saturdays-Sundays; noon Thursdays through May 11. $29-$67.

Pilot Season: Mars One

To determine its next semi-scripted, serialized comedy, Action/Adventure presents four weekends of so-called “pilot episodes”: first installments of potential full productions for the 20142015 season. Each of these episodes follow Sidekicks, a fully mounted, semiimprovised comedy (discounted tickets are available for those who stick around), and audience members will get to vote which pilot moves forward. Up first is Mars One, about a group of intrepid space travelers leaving Earth forever and venturing to Mars to start a new life. Action/Adventure Theatre, 1050 SE Clinton St. 10 pm ThursdaySaturday, April 3-5. $6-$10; $15 for four-week pass.


Action/Adventure Theatre has made its name on semi-scripted serial comedies, inventive and funny shows that build over several weeks. This time, moving on from aliens or musicians, it’s a workplace comedy about low-level superheroes, the ones who fetch the coffee while the big guys are getting all the glory. Show up for the first few shows so you’re in on the jokes later during the run. Action/Adventure Theatre, 1050 SE Clinton St. 8 pm Thursdays-Sundays through March 27. $10-$15; Thursdays “pay what you will.”

Story Swap and Potluck

An evening of free-form storytelling hosted by the Portland Storytellers Guild, with a potluck provided. McMenamins Kennedy School, 5736 NE 33rd Ave., 249-3983. 6:30 pm Friday, April 4. Free.

Theatre in Uganda and Rwanda: Commemoration, Complexity and Collaboration

Since its founding in 2011, Boom Arts has quickly become a vital presenter of unique programming, and this lecture should be no exception. Tonight’s event, part of a series on international theater and social change, features a conversation between Ugandan playwright Deborah Asiimwe and American director and Emily Mendelsohn about artistic collaboration between their respective continents. The two longtime collaborators will discuss Cooking Oil, a play about foreign aid that was five years in the making, and a new project exploring the Rwandan genocide. Lewis & Clark College, Fir Acres Theatre, 0615 SW Palatine Hill Road, 567-1644. 7 pm Monday, April 7. Free.


From the opening moments of Post5 Theatre’s abridged Hamlet, it’s evident

this isn’t the version you saw in high school. King Claudius and Queen Gertrude resemble the picture-perfect parents from a ’50s sitcom, servants snap photos with smartphones, the guards carry guns, and Ty Boice as Hamlet swaggers into the room wearing sunglasses and a fancy suit, every bit as bitter and melancholy as you expect him to be—until he isn’t. With consistently swift line delivery, Boice’s Danish prince drips with sarcasm one second and flightiness the next, making Shakespeare’s tragedy come alive with unexpected comedy. From the exasperated “ugh” right before a sword fight to the singsong “goodnight, mother” as he drags a dead body out of the room, Boice brings a compelling duality to his character: His madness is razor-sharp, but also frightening in its unpredictability. Aided by an intimate set and a cast that plays up the humor—notably Jessica Tidd, who near matches Boice’s charisma as Ophelia—the production, under Paul Angelo’s direction, slowly regains its gravity as the tragedy unfolds. Yet it’s a heft lightened by laughter from a Hamlet who’s both fun and scary to watch. But mostly fun. KAITIE TODD. Milepost 5, 850 NE 81st Ave., 729-3223. 7:30 pm ThursdaysSundays through May 4. $15; Thursdays “pay what you will.”

ALSO PLAYING Crimes of the Heart

What happens when three sisters with infamous pasts reunite in their small Mississippi hometown—all because the youngest sister has just shot her husband in the stomach? Well, surprisingly and unfortunately, nothing very debauched. Indeed, the raciest scene in Beth Henley’s 1980 Pulitzerwinning play, directed by Diane Englert at Lakewood, finds a nosy neighbor changing her pantyhose on stage. Even so, the three Magrath sisters could be called the sisterhood of the traveling madness—their bouts of depression take violent turns to hysteria and attempted suicide. One minute, Lenny, the eldest and most responsible sister, is tidying up the butter-yellow kitchen. The next, she’s blubbering about a shrunken ovary. Meanwhile, the youngest and flightiest sister, Babe, is practicing “Mary Had a Little Lamb” on her new trumpet and, two minutes later, is in the kitchen, pulling a Sylvia Plath. As the three sisters, Shandi Muff, Tricia Castañeda-Gonzales and Eleanor Johnson believably portray their characters’ emotional instability while remaining likeable. KATHRYN PEIFER. Lakewood Center for the Arts, 368 S State St., Lake Oswego, 635-3901. 7:30 pm Thursdays-Saturdays and 2 pm Sundays through April 13. $30-$32.

Is He Dead?

Hillsboro’s HART Theatre stages Mark Twain’s comedy—as adapted by contemporary American playwright David Ives, the scribe behind Venus in Fur— about a painter in mid-19th-century Paris who, among other things, dresses himself in drag. HART Theatre, 185 SE Washington St., 693-7815. 7:30 pm Fridays-Saturdays and 2 pm Sundays through April 6. $11-$15.

Menopause the Musical

The long-running musical about hot flashes and night sweats returns to Portland. Winningstad Theatre, 1111 SW Broadway, 248-4335. 7 pm TuesdaysFridays, 2 and 7 pm Saturdays and 2 pm Sundays through April 13. $49-$60.

Next Fall

As Next Fall begins, the cast stands on the edge of the dimly lit stage. Suddenly, the discordant sounds of a car crash ring out, and James

CONT. on page 42

joke lab: Patrick thomas Perkins tests some new material.


The diplomatic version is that Kristine Levine is not a huge fan of comedy open-mic nights. But anyone who knows Levine, a blue-collar East Portland comedienne whose last appearance in these pages included a story about the time she took $35 off a dead man who died in the jack shack at an adult-video store where she clerked, knows she is rarely diplomatic. “They’re the worst,” she says. “I honestly fucking hate them. If somebody says they love an open mic, I think they’re lying. They are the bottom rung of the entertainment totem pole. But, as a comic, we have to have them.” And so Levine is doing her part to better the local open-mic scene with the Critical Comedy night she hosts every Monday at the Eagle Eye Tavern. The show begins around 7:30 pm (way too early by comedy standards) at the corner of Southeast Foster Road and 92nd Avenue (way too far east by anyone’s standards). It’s terribly inconvenient, partially by design. Unlike, say, Suki’s, Funhouse Lounge or the Boiler Room, the Eagle Eye is not a place where anyone just wanders in after having a few drinks and decides to talk about their day. “I want it there because I want people to make the effort,” Levine says. “I want to make it a little difficult.” On a recent Monday, seven of the eight audience members are also performers. They listen intently, then offer advice. Sometimes it’s as simple as how to hold the microphone (above your sternum and reasonably still); other times it’s steadfast insistence that a white man in his 20s should absolutely kill a joke that involves a word that starts with “n.” About half the audience takes notes and hands their written critique to the performer. More than anything, performers want to know “if that part was funny.” “Almost every two years we get an influx of new comedians,” Levine says. “We call them an incoming class of freshmen. A lot of them are hobbyists, and some of them are truly talented and want to

make it. Some of them just suck but have an earnestness about them, and you want to help.” For previous freshman classes, by all accounts far smaller than the current boom, there was an informal coaching system. That’s broken down, Levine says. “We used to have a real strong mentorship system here in Portland where the more seasoned comedians would take them on the road and sort of groom them,” she says. “But now the older comedians have gone about their own thing or moved to L.A. or whatever, and the young comedians still need some help.” There’s also a need to enforce some standards on the community, Levine says. “When there’s no rules or structure, they’ll kind of make garbage, even if they sometimes stumble on brilliance,” she says. “A lot of times younger comedians will think they’re being clever because they bring their notebook onstage and say, ‘I thought of these things when I was high and now I don’t know what they mean.’ They think that’s funny. That’s very hard for an audience to sit through. It’s very important for the comedians to come prepared and still make a strong effort to be funny.” Not to mention the cranks. Levine says there’s a convicted rapist who’s been traveling to various open-mic nights telling misogynistic jokes. “There hasn’t been one host that has said he’s not welcome,” she says. “Well, my open mic is not open. I would never let him on my stage. It’s not that I want to censor him—he did his time, I’m not a judge or a jury. But he’s saying stuff like, ‘Hey, do you know what you can tag that joke with? Shut up, bitch.’ I just don’t need that shit on my stage.” Levine is friendly and encouraging with the handful of comedians who show up, but says she won’t hesitate to tell people to give up when appropriate. “Hobbyists are fine, but people who are so obviously never going to be a comic or do a show and are causing trouble on top of it, I just don’t see any point,” she says. “Last weekend I had to ask somebody, ‘Where do you think those punch lines are? Where do you expect us to laugh? Because I just don’t get it.’ There are some comedians I see that I have to say, ‘What you’re doing is performance art because what you’re doing is not funny. It might be provocative, it might be clever, it might be interesting—but it’s not funny.’ And comedy has to be funny, that’s the definition of it.” see it: Critical Comedy is at the Eagle Eye Tavern, 5836 SE 92nd Ave., 774-2141, at 7:30 pm every Monday. Free. 21+. Willamette Week APRIL 2, 2014


April 2–8

Sharinghousen reels backward, arms flailing. We learn that Sharinghousen’s character, the starry-eyed Luke, has been hit by a taxi and plunged into a coma. It’s subject matter familiar to Triangle Productions artistic director Don Horn, whose son spent 46 days in a coma after a near-fatal accident eight years ago. Harnessing that personal connection, Horn achieves gripping emotional resonance rather than maudlin excess. It helps that Geoffrey Nauffts’ 2009 play alternates between scenes in the hospital waiting room, where Luke’s family and his partner, Adam (Jason Glick), have gathered, and flashbacks to memories before the accident. That split structure keeps the characters surprising and frequently funny, as when it’s revealed that Luke’s proper Southern mother (played by Helen Raptis with a delightful mix of Reba McEntire and Paula Deen) once “got busted selling weed with a one-armed beautician from Shreveport.” The script also has fun with the age difference between the 40ish Adam and the 20-something Luke, even if Glick underplays his “aging queen” jokes and Sharinghousen wears needlessly skinny jeans. Ultimately, Nauffts asks big questions with tongue-in-cheek tact. How can two very different people—Luke is a devout Christian and Adam an atheist—make things work? Can their complicated love endure stigma? And what happens when an atheist sees his partner pray for repentance after great sex? LAUREN TERRY. Sanctuary at Sandy Plaza, 1785 NE Sandy Blvd., 239-5919. 7:30 pm Thursdays-Saturdays and 2 pm Sundays through April 6. $15-$35.

A Pigeon and a Boy

Nobody really likes pigeons—they poo on your car windows and peck annoyingly for crumbs at the park. But the homing pigeons in Jewish Theatre Collaborative’s adaption of Israeli author Meir Shalev’s novel A Pigeon and a Boy are sentimental reminders of the past, of loved ones and, most importantly, of home. The characters speak about themselves in the third person, and the play’s structure is unusual as well. It’s performed more like an extended poem, with the 10-member cast oscillating between Tel Aviv in 1948 and Jerusalem in 2002. Yair Mendelsohn (Darius Pierce) is a tour guide in Jerusalem, unhappily married and a bit out of place in the family—he doesn’t resemble his father or brother, and no place has ever truly felt like home. Yair’s mother (Lorraine Bahr) suggests he find a new life for himself, dispatching him like a homing pigeon. The other story, set during Israel’s War of Independence a half-century earlier, centers on a young pigeon handler (Sam Dinkowitz) and the girl (Crystal Ann Muñoz) he loves. It’s one of the pigeons this boy dispatches that will unite the two narratives. The actors tell the story with elegant and expressive movements— Muñoz is so convincing that when she envisions a pigeon in her curled palms and launches it into the air, you’re sure to see wings flapping. Sasha Reich (who also directs) and Doren Elias put their adaptation through 11 drafts, and the work has paid off. The actors, like the pigeons in their characters’ lives, could not feel more at home. KATHRYN PEIFER. Miracle Theatre, 525 SE Stark St., 512-0582. 7:30 pm Thursdays-Saturdays and 2 pm Sundays through April 12. $25.

Sister Act

The Broadway tour of the musical about a diva-turned-nun—based on the Whoopi Goldberg movie—boogies its way through Portland. Keller Auditorium, 222 SW Clay St., 800745-3000. 7:30 pm Tuesday-Friday; 2 and 7:30 pm Saturday; 1 and 6:30 pm Sunday, April 1-6. $25-$75.

COMEDY & VARIETY Broadway Bears

The sextet, who proudly call themselves “Portland’s furriest singers,” perform songs from a giant heap of musicals, ranging from Dreamgirlsto Spamalot to Les Miserables. The April 6 concert benefits to LGBT scholar-


ships, while proceeds from the April 13 event go to two agencies serving people with HIV or AIDS. Darcelle XV, 208 NW 3rd Ave, 222-5338. 7 pm Sundays, April 6 and 13. $10-$25.

Christopher Titus

Plenty of comedians had wacky or turbulent childhoods, but few can match Titus’: His father was a hard-drinking womanizer who once tried to kidnap Titus after he’d been taken to live with his grandparents, and his mother was a schizophrenic alcoholic who committed suicide after throwing a Duraflame log through a sheriff’s window. Titus, unsurprisingly, draws heavily on his autobiography in his confrontational standup. Helium Comedy Club, 1510 SE 9th Ave., 888-643-8669. 8 pm Thursday and 7:30 and 10 pm FridaySaturday, April 3-5. $18-$32. 21+.

The Dirty Dozen

A long slate of mostly local comics— including Whitney Streed, Andie Main, Sean Jordan, Jason Traeger and Adam Pasi, among others—perform their smuttiest standup. Helium Comedy Club, 1510 SE 9th Ave., 888-643-8669. 8 pm Wednesdays, April 2 and 16. $12. 21+.

Empire High

In what sounds to us like Star Wars meets Degrassi, the folks at Funhouse Lounge present an unscripted, episodic show that imagines Han Solo, Leia and Luke as hormonal teenagers trying to navigate the challenges of high school. With Vice Principal Vader and Obi-Wan Custodian. Funhouse Lounge, 2432 SE 11th Ave., 841-6734. 7 pm Fridays-Saturdays through April 26. $10.

Fly-Ass Jokes

Jen Allen and Anatoli Brant produce this twice-monthly standup showcase, one of the more consistent comedy nights in town. Brody Theater, 16 NW Broadway, 224-2227. 9:30 pm every first and third Friday. $8.

Hell Hath No Funny: Siren Nation’s Spring Comedy Showcase

Siren Nation, an organization that puts the spotlight on women in the arts, puts on a comedy showcase featuring Stacey Hallal, JoAnn Schinderle, Elicia Sanchez, Caitlin Gill and Lydia Popovich. Amy Miller hosts. Funhouse Lounge, 2432 SE 11th Ave., 841-6734. 9:30 pm Saturday, April 5. $10. 21+.

The Liberators

Long-form improv foursome the Liberators like to brag that they have a joint 60 years of experience, but what’s really impressive is they’ve been performing together for eight years. The results tend to be very funny. Brody Theater, 16 NW Broadway, 2242227. 7:30 pm Friday, April 4. $13-$16.

Show Us Your Wits

Andie Main hosts an evening of standup, featuring headliner Caitlin Gill and sets from Lydia Popovich, Dylan Reiff, Barbara Holm and Caitlin Weierhauser. Jack London Bar, 529 SW 4th Ave., 228-7605. 7:30 pm Saturday, April 5. $5. 21+.

Two for the Show

Each night of this improv show features two different pairs of improvisers, who’ll create fresh sets of characters and scenes. Brody Theater, 16 NW Broadway, 224-2227. 7:30 pm Saturdays through April 12. $12.

DANCE Boyeurism

This male cabaret took it up a notch in February, with well-produced and talented performances from pole dancers, boylesque performers and drag queens. This month’s show promises much of the same from Isaiah Esquire, who’s assembled a lineup including pole dancer MoNika Ell, bicycle acrobat Blake Hicks and performer Johnny Nuriel, who does things you wish you could unsee. Star Theater, 13 NW 6th Ave. 10 pm Thursday, April 3. $10-$15. 21+.

Willamette Week APRIL 2, 2014

Burlesque S’il Vous Plait

Playful and creative burlesque numbers from established locals, and a fun crowd. This month featuresKit Katastrophic,Miss Alex Kennedy,Edith PeeloffandMamie Demure. Crush, 1400 SE Morrison St, 235-8150. 9 pm Friday, April 4. $10. 21+.


Striptease with a dark side, this monthly burlesque show from the producers of Geeklesque has a gruesome and sinister twist. This month, locals Orchid Souris Rouge, Vanity Thorn and Luna LaBelle perform. Visiting performers are Whisper DeCorvo from Seattle and Mistress Pon-Farr from San Francisco. The Lovecraft, 421 SE Grand Ave., 971-270-7760. 9:30 pm Tuesday, April 8. $8. 21+.

Cloud City Circus

When Cloud City Circus performs at the Analog, the aerial performers who hang from lycra are basically at table level, in the center of the audience. That’s a closeup perspective you can’t get anywhere, and it challenges the performers to twist and spin without spilling your drink. This show includes performances by aerialists Ruthie Showdesigns and Aaron Schallock, pole acrobat Karlie Lever du Soleil, belly dancers Jasmine Rain and Gretchen Dances, and trapezists Kyla Dammann and Lauren Elizabeth, among others. Analog Cafe, 720 SE Hawthorne Blvd. 9:30 pm Thursday, April 3. $5. 21+.

tions of water and dust.” Finally, in Patrick Delcroix’s 2011 work Harmonie Défigurée, a group of what Delcroix calls “nasty girls” bursts on the scene to tempt men away from their happy romances. Newmark Theatre, 1111 SW Broadway, 421-7434. 7:30 pm Thursday-Saturday, April 3-5. $5-$49.

The Soul

All-woman hip-hop group the Soul makes its debut performance at CC Slaughters’ HYPE showcase. CC Slaughters, 219 NW Davis St., 248-9135. 9 pm Thursday, April 3. Free. 21+.

Wanderlust Circus

Seemingly every act in Portland is performing at some point during the third annual, weekend-long Umbrella

Festival put on by Wanderlust Circus. Sharp-tongued ringmaster Noah Mickens and juggler David “Leapin’ Louie” Lichtenstein have booked a who’s who of Portland performers in the lineup, including acrobats the Acro Devils, aerialists from AWOL Dance Collective, burlesque performers Tana the Tattooed Lady and Miss Alex Kennedy, gender-defying diva Isaiah Esquire and clown drag queen Carla Rossi. Performances vary by night. Alberta Rose Theatre, 3000 NE Alberta St., 719-6055. 8 pm Thursday-Sunday, April 3-6; 2 pm Saturday, April 5. $17 advance, $20 door, $40 weekend pass, $100 preferred seating. 21+.

For more Performance listings, visit



Irish Ceili

Dance master Sam Keator hosts the monthly community Irish dance party, this month with musicians Dale Russ on fiddle, Johnny B. Connolly on accordion and Cary Novotny on guitar. Winona Grange No. 271, 8340 SW Seneca St., Tualatin, 691-2078. 7:30 pm Friday, April 4. $10.

Les Ballets Trockadero de Monte Carlo

Seven years have passed since the pointe shoe-wearing men of the Trocks were last on a Portland stage. The 16 dancers perform faithful renditions of classical works, but they camp it up a bit with little accidents, exaggerated personalities and, of course, hairy chests. It’s not all mockery, though: They’re showing they can do whatever the ladies can—jumps, spins, bourrées—and they play all parts, from the noble princes to the (not so) dainty nymphs. The Trocks open this program with their version of Le Lac des Cygnes, Act Two of Swan Lake, followed by a to-be-announced pas de deux and their Le Grand Pas de Quatre, a sendup of 1840s romantic ballet. They close the program with a version of Raymonda’s Wedding called A Traditionally Confusing Divertissement in Two Scenes. If the audience isn’t quick with a standing ovation after that, these drag ballerinas are known to serve up some Riverdance. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 245-1600. 7:30 Wednesday, April 2. $26-$72.

Northwest Dance Project

The chamber company that could has outdone itself this time. On Thursday, April 3, Northwest Dance Project is simulcasting its Director’s Choice show via a 50-foot projection on the wall of downtown’s Jive building at 915 SW Stark St. With sound coming from small speakers, you could technically watch the entire show, going on live at the Newmark, for free—but only on First Thursday (it’ll screen again that night at 10:30 pm). The show includes a premiere work from artistic director Sarah Slipper, as well as three of her picks from the company’s past 10 years. The premiere, a piece for six dancers, is a Shaker-inspired piece that uses authentic Shaker brooms— they even stand up on their own, just like on Instagram. In another piece from Slipper, 2004’s A Fine Balance, a couple uses a table and chair to navigate the stages of romance. In State of Matter, a 2010 work by Ihsan Rustem, dancer Andrea Parson performs a whirling solo while her recorded voice recites a poem by Benjamin Wardell: “We are ephemeral collec-

tickle me: isaac lamb and cristi miles.

MIDSUMMER (THIRD RAIL REPERTORY) Spring is often referred to as the season of love. But for Bob and Helena, two unlikely lovers on the streets of Edinburgh, the solstice is when the magic happens. Midsummer is modestly subtitled “a play with songs,” and strictly speaking, that description holds up. This romantic romp from playwright David Greig and songwriter Gordon McIntyre is a straight play peppered with duets, meaning it’s not a musical per se. What it is, though, is an almost ridiculously charming piece of theater guaranteed to make you laugh, cry and wish that, like Bob, you had 15,000 pounds in a plastic shopping bag to squander on a pretty girl and a gang of street goths. Much of the charm in this Third Rail Repertory Theatre production comes courtesy of the leads. Local favorite Isaac Lamb makes Bob much more than simply a lovable loser. Sure, he’s a “piss artist” who sells pink convertibles to shady characters and has lengthy conversations with his penis. And, yes, it’s true that among his fellow petty criminals he’s referred to as “Medium Bob” because he has no defining features. But in Lamb’s expert hands, Bob is a hero of romance. Or of romantic comedy, anyway. And Cristi Miles is perfect as the hard-working, hard-drinking yet vulnerable Helena, who, when not in the courtroom defending downand-out moms, is busy ruining her sister’s wedding by (a) puking in front of the church and (b) accidentally knocking her nephew into the sick. She and Lamb have palpable chemistry, both when they’re in bed, having drunken sex with a stuffed Elmo watching, and in quieter moments, many of which are set to song. While the lyrics aren’t always strong, Philip Cuomo’s direction makes the most of every moment. Interestingly, the whip-smart script—it delves into everything from Japanese rope bondage to Kim Wilde’s current career (she’s apparently the gardening correspondent for The Observer)—doesn’t dictate which actor delivers which line. That creative freedom could make Midsummer either a director’s dearest dream or worst nightmare. Cuomo is obviously in his element, and the pacing, particularly during Bob and Helena’s debauchery-filled weekend, is exceptionally fluid. Midsummer is, without a doubt, a love story. But it’s also a rumination on aging, death and how the choices we make shape our fate, for good or ill. So go ahead—make the right choice. Go to this show. DEBORAH KENNEDY.

love, Elmo and Japanese rope bondage, set to song.

see it: Midsummer is at CoHo Theater, 2257 NW Raleigh St., 235-1101. 7:30 pm Thursdays-Saturdays and 2 pm Sundays through April 19. $20-$27.



= 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:

tures, he deploys a mixture of gently curving shapes with hardedged forms, such that each work becomes a kind of visual sonata, exquisitely balanced. This show proves—if there were ever any doubt—why Kelly has become such a regional treasure. Through April 26. Elizabeth Leach Gallery, 417 NW 9th Ave., 224-0521.

Mary Josephson: Character

Viewers familiar with Mary Josephson’s oil paintings in the style of eccentric fi guration will be surprised at the new medium she’s debuting in her April show, Character. She’s combining watercolors, recycled printer’s felt and embroidery, and the results are weirdly beautiful. These works are much less pictorially dense than her oil paintings, making inventive use of negative space. There’s a connect-the-dots feel as the embroidery thread weaves above and below the picture plane. This is a novel eff ect, but more importantly, it’s an eff ect that works graphically. Kudos to this established Northwest artist for adding a new arrow to her stylistic quiver. April 3-26. Laura Russo Gallery, 805 NW 21st Ave., 226-2754.

Tilt Export: Fanatic


Eva Lake: Anonymous Women

Eva Lake is a gifted abstract artist whose pattern-based oil paintings follow in the lineage of Op Art. But she’s also accomplished in collage work. Viewers may remember her Targets series, which paid homage to Greta Garbo, Carole Lombard, Ann-Margret and other Hollywood femmes fatales. For her new body of work, Anonymous Women, she incorporates imagery of not-sofamous women, culled from fashion magazines and other sources. The show promises to offer a thoughtprovoking look at the idea of anonymity and the beauty industry. April 3-26. Augen DeSoto, 716 NW Davis St., 224-8182.

Group show: Artistic License

The theme of this group show is the monoprint, a type of print that incorporates both mechanical reproduction and personalized elements from the artist’s hand. Unlike other types of prints, such as lithographs, each monoprint is one of a kind. It’s a highly adaptable form, as this exhibition bears out. Elise Wagner incorporates encastic (wax) medium into her monoprints, while other artists, such as Eva Issaksen, Melinda Stickney-Gibson and Jeff Hirst, variously incorporate oil paints, inks and gold leaf. One of the show’s most astonishing images is an abstraction by German-born Boston artist Bernd Haussmann from his ongoing Fugue series. With its deep-purple and chartreuse hues, the artwork is an etude on wavy, looping lines and calligraphic curlicues. It’s a small masterpiece and a thrilling example of what a monoprint can be. April 3-26. Butters Gallery, 520 NW Davis St., second fl oor, 248-9378.

Jeffrey Sarmiento: Constructions

Jeff rey Sarmiento’s virtuosic Constructions fi lls Bullseye’s front exhibition space with an ambitious

array of pieces spanning a gamut of media. The most jaw-dropping of these is Beautiful Flaws , a 9-foot-tall sculpture made of steel, aluminum and glass. Each pane of glass is fl awed in some way and would ordinarily have been discarded, but Sarmiento turns trash into the proverbial treasure, essentially elevating the panes on pedestals, hoisting aloft what others would have cast away. It’s an artistic statement that verges on the ethical and metaphysical. And it makes you say, “Wow.” Through May 3. Bullseye Gallery, 300 NW 13th Ave., 227-0222.

Jennifer Mercede: Complete Freedom

If you walk around Portland and pay attention, you’ll encounter Jennifer Mercede’s paintings. Like fellow artists Chris Haberman and Tom Cramer, she is a ubiquitous presence on murals and storefronts and inside gallery windows. But now, in her fi rst show at what she calls “the infamous Mark Woolley Gallery,” she brings such a highly individual approach to each painting, it feels like you’re seeing her work for the fi rst time. This is why she titled the show Complete Freedom. “I decided I didn’t want to have any limits or worries about making this a ‘cohesive body of work,’” she says. “I trusted what came out of me.” The strategy worked. The paintings are the opposite of formulaic; in fact, some of them are nearly unrecognizable as Mercede’s work. For an artist who’s still growing, that’s a really good thing. Through April 12. Mark Woolley Gallery, 700 SW 5th Ave., Suite 4110, 998-4152.

Lee Kelly: Pavilion

Octogenarian sculptor, painter and Northwest institution Lee Kelly debuts a new body of work in Pavilion. The show is inspired by his travels to Nepal and his fascination with the pan-cultural ideal and iconography of “the goddess.” In his paintings and steel sculp-

Anyone active in the Portland art scene between 2006 and 2008 remembers Tilt Gallery, a plucky, thoughtfully curated art space at the Everett Station Lofts. After the gallery closed, its directors, Jenene Nagy and Josh Smith, began a program called Tilt Export, through which they curate exhibitions across the country. For this show, Tim Flowers has created paintings based on aluminumfoil face masks, while Rebecca Ripple has made highly sophisticated sculptures related to her Catholic-school upbringing. These artists should make for an invigorating double bill. Through April 26. Upfor Gallery, 929 NW Flanders St., 227-5111.

Tamara English: The Worlds Are Glorious

Over the past decade, painter Tamara English has charted a course from sumptuous landscapes, rife with tangled vines and fl owers, to mystical semi-abstract iconography to an inspired commingling of the two. In her fi rst showing with Nisus Gallery, she displays her gift for naturalistic color and intuitive composition. Works such as Fortitude feature a mysterious symmetrical motif rising like a fountain above a forest fl oor. In Shimmering, English exploits the rhythm of vertical drips that pour down like streaking rain. These elements—the symbolic and the painterly—combine in the vibrant work titled Praising, which manages somehow to seem playful and profound at the same time. Through April 27. Nisus Gallery, 8371 N Interstate Ave., No. 1, 806-1427.

Wes Mills: Hamilton Drawings

Montana-based artist Wes Mills fi lls PDX Contemporary with a suite of ravishingly elegant mixed-media works on paper, which he calls Hamilton Drawings. They’re intricately folded, fastidiously complex groupings of circles in a wide array of compositions. In some, the circles fl oat free atop a light-colored background; in others, they coalesce around a central vertical axis, evoking blueprints for Frank Lloyd Wright’s decorative designs. The papers have a delicate, marbled surface, imparting an archival feel that befi ts the timeless shapes. Through April 12. PDX Contemporary Art, 925 NW Flanders St., 222-0063.

For more Visual Arts listings, visit Willamette Week APRIL 2, 2014



April 2–8

= 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: Fax: 243-1115.

WEDNESDAY, APRIL 2 Batman ’66 Release Party

If the one true Batman for you is still Adam West, get ready for some madcap adventures and zany antics with the release of Batman ’66 Vol. 1 HC. A reimagining of the classic TV series, Batman ’66 sees the caped crusader and boy wonder Robin face down theatrical villains the Joker, the Riddler, the Penguin and more. Writer Jeff Parker and artist Jonathan Case will be signing copies. Zow! Cosmic Monkey Comics, 5335 NE Sandy Blvd., 517-9050. 5-7 pm. Free.

THURSDAY, APRIL 3 Emily Chenoweth

A new app from Willamette Week. Download now or share the app for a chance to win tickets to four shows at the Soul’d Out Music Festival, April 10-20.

Emily Chenoweth’s debut novel, Hello Goodbye, based on her own experience with her mother’s fatal brain cancer, was widely hailed for its tenderness and wrenching beauty. A former Publishers Weekly editor, Chenoweth now makes her home in Portland and will share a reading of her fiction at Lewis & Clark’s Frank Manor House. Lewis & Clark College, 0615 SW Palatine Road, 768-7000. 7 pm. Free.

SATURDAY, APRIL 5 Coming to fruition after a wildly successful Kickstarter campaign, hard copies of the comic Lady Sabre & the Pirates of the Ineffable Aether will be released with creators Greg Rucka, Rick Burchett and Eric Newsom on hand to sign copies. Chock full of sword fights, airships, pirates, buxom heroines and steampunk fashions, the concept behind Lady Sabre was a modest belief: that comics should be fun. Bridge City Comics, 3725 N Mississippi Ave., 282-5484. 5-8 pm. Free.

Back Fence PDX

SUNDAY, APRIL 6 Portland at Heart

Maybe you moved here from Michigan, Arizona or California. Or maybe you were born here, left and inevitably returned because Portland calls to us like a beacon, becoming our true home. Portland at Heart is a literary event that brings together a diverse collection of writers—some native, some transplants—to share their eclectic work. Reading this go-round will be Kathleen Lane, Margaret Malone, Colin Farstad, Charles Dye, Liz Fischer Greenhill, Michael Sage Ricci, Kevin Meyer, Bradley K. Rosen, Matthew Robinson and Edie Rylander. The Blue Monk, 3341 SE Belmont St., 595-0575. 5 pm. Free.

MONDAY, APRIL 7 Oregon Encyclopedia History Night


Willamette Week APRIL 2, 2014

Walter Kirn

In a new book that’s part memoir, part true-crime reporting, Walter Kirn recounts his chance meeting and subsequent 15-year friendship with the eccentric New York art dealer Clark Rockefeller, the man who was ultimately revealed to be German conman Christian Gerhartsreiter, a serial impostor and murderer. Blood Will Out unravels the dubious yet impressive tale of the man now serving a life prison sentence. Powell’s City of Books, 1005 W Burnside St., 228-4651. 7 pm. Free.

Amy Schutzer

Envisioning what happens to us at the end, Amy Schutzer’s new novel, Spheres of Disturbance, unfolds over the course of one day in 1985—the day Helen dies. Surrounding her are nine people from her life, including her daughter, an art thief and a lesbian poet, as they each accept or resist her death. Broadway Books, 1714 NE Broadway, 284-1726. 7 pm. Free.

Brian Doyle

Following his acclaimed novel Mink River, Portland author Brian Doyle will read from his new book, The Plover. What begins as a quest for solitude at sea becomes an intersection of lives and the surprising paths we take as Doyle once again demonstrates his ability to craft beautifully complex characters. Powell’s City of Books, 1005 W Burnside St., 2284651. 7:30 pm. Free.

For more Books listings, visit



Lady Sabre Release Party

Stories about breaking in, breaking out or even breaking stereotypes will be the unifying theme for this round of storytelling showcase Back Fence PDX. Joining the talented and diverse lineup will be actor and writer Joy Bryant, singersongwirter Rebecca Gates, WW ’s own Aaron Spencer and Arrested Development co-producer Joey Slamon. Mission Theater, 1624 NW Glisan St., 223-4527. 8 pm. $13 advance, $16 door. 21+.

The city’s most comprehensive calendar, now in the palm of your hand.

Elephant: Songs Inspired by the Oregon Trail. You’ll be moved by the ballad “Ode to Dysentery.” Mission Theater, 1624 NW Glisan St., 223-4527. 7 pm. Free.


Bringing to life the experiences of Oregon Trail pioneers, Bend duo the Quons will perform original music at the Oregon Encyclopedia History Night’s Seeing the

Mink River, the 2010 novel by Un iversit y of Por tla nd professor Brian Doyle, ends w it h pr ot a g on i s t D e c l a n O’Donnell sailing away into vast sea. Four yea rs later, O’Donnell is back in Doyle’s new novel, The Plover (Thomas Dunne Books, 320 pages, At sea. $24.99), and still aimlessly drifting about that vast sea. Declan is a middle-aged sailor with a curious swearing habit of “fecking fecked feck” and a disposition for solitude. He’s in search of nothing and requires no motivation to leave the mainland abruptly and in silence. Doyle is clearly infatuated with the gruff Declan, and more interested in giving his salty protagonist opportunities to dispense his chestnuts of wisdom than pushing him through a plot. The Plover’s storyline is directionless—even Declan’s “west by west” route (emphasis on the west) feels pointless. The prose, however, is beautifully crafted and peppered w ith references to Herman Melv ille, Edmund Burke and Shakespeare’s The Tempest and Macbeth. Doyle’s wistful and profound use of English is impressive, though not an apt substitute for a proper plot. The arbitrary story mainly involves the ways Declan collects a boat full of other rejects. Along the way we meet his friend Piko and Piko’s mute daughter, Pipa; an androgynous female sailor named Taromauri; a bootlegger named Enrique; and a minister and a forest child searching for world peace in the mythical oceanic country of Pacifica. After landing on a dangerous island and then returning to a safer island, Declan sails away yet again, but turns around a mile out to sea, raising hopes that his sailing days are finally over. Given how much Doyle loves Declan, though, that seems unlikely. This philosophical book is rife with a sailor’s anecdotes and word porn. “If an ocean…is the sum of all the rivers pouring into it, then we are on various braided rivers, really, rather than the sea,” Doyle writes. The Plover’s audacious language and blend of nautical realism and fantasy color an ideal sea adventure that sinks without much of a plot to steer it. KATHRYN PEIFER. GO: Brian Doyle appears at Powell’s City of Books, 1005 W Burnside St., 228-4651, on Tuesday, April 8. 7:30 pm. Free.


= 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: Fax: 243-1115.

3 Days to Kill

Kevin Costner tries to pull a Liam Neeson. PG-13. Clackamas.

12 Years a Slave

A Twelve Years a Slave was part of

a literary tide. When the memoir was published in 1853, Uncle Tom’s Cabin and Frederick Douglass’ autobiography were bestsellers, helping to fuel the abolitionist movement. But Solomon Northup’s story was different. Born a free man, he led a comfortable life as a carpenter and violinist with his wife and children in upstate New York in 1841, when he was kidnapped and sold into slavery. Northup managed to regain his freedom 12 years later and soon published Twelve Years a Slave, which became a bestseller of its own. But at some point, Northup disappeared and his book fell out of print. Now, it’s little-known outside the halls of academia. All of which makes British director Steve McQueen’s 12 Years a Slave an even more staggering revelation. The film is agonizing but not lurid, compassionate but not melodramatic, patient but still thrilling. McQueen exposes the full extent of slavery’s physical cruelty, from the endless hours of cotton-picking to the capricious acts of violence, as well as the system’s psychological toll. Chiwetel Ejiofor, with stoicism and crushing reserve, plays a man forced to keep his head down and feign illiteracy. Despite its handful of vicious instances of violence, 12 Years has none of the garish extravagance of last year’s Django Unchained, in which Quentin Tarantino perverted a historical atrocity into a hip-hopscored spaghetti Western. Alongside the film’s occasional brutality, McQueen stages takes of astounding beauty and surprising tranquility. He’s a patient filmmaker, favoring long shots and wide angles over the quick cuts and close-ups that can sap scenes of their impact. Most impressive is that 12 Years a Slave does not feel like an ethical or educational obligation. While its instructive value is undeniable, this is also a rousing portrait, a morally complicated tale and a masterful work of art. R. REBECCA JACOBSON. Laurelhurst Theater.

300: Rise of an Empire

D+ Say what you will about Zack Snyder’s ultraviolent, exceedingly homoerotic 2006 film 300, but the comic-book adaptation delivered exactly what it promised: It was big and dumb, with visual verve of unprecedented elegance (plus a lot of shouting). Eight years later, nobody was exactly clamoring for a sequel to a film that saw its main characters beheaded, yet here we have Noam Murro’s 300: Rise of an Empire, a film that expands the battlefield to the ocean but comes off as a dull, lifeless Xerox of the original. Eschewing most of the story in favor of non-stop carnage (which is probably the right call), Rise of an Empire pits Greek general Themistokles (Sullivan Stapleton) against the Persian navy, led by the bloodthirsty and libidinous Artemisia (Eva Green). What unfolds is a cacophony of severed limbs, exploding bodies and CGI boats that look like they were pulled from an outdated 300 video game. The special effects are the biggest stars of the series, and yet nothing here manages to transport the viewer into the brutal wonderland Snyder concocted. Computeranimated blood spurts look like Play-Doh, the crashing waves of the ocean like something rendered for the GameCube. Eva Green, snarling and heaving, lends life to her scenes, but it’s like she’s in a different movie. For a film about half-naked dudes butchering each other for 100 minutes, Rise of an Empire is torturously lifeless. R. AP KRYZA. Cedar Hills, Eastport, Clackamas.

American Hustle

A Director David O. Russell’s

vision of America has always been Winesburg, Ohio, hopped up on trucker speed: a place of frantic grotesques distorted by their own need. In his new film, American Hustle— loosely based on the Abscam federal bribery scandal of the 1970s—everyone from New Jersey’s mayor to federal agents to small-time con artists are so warped by ambition that integrity and even identity become expensive luxury items. The film is a balls-to-the-wall, unbridled love affair with homegrown bullshit and piss-taking. American Bullshit was, in fact, the working title of the film, and in bullshit, it would seem Russell has finally found his true subject matter. From the sincerely insincere, American Hustle builds genuine characters. The film’s establishing shot is brilliant in this regard: a humorously long sequence of Christian Bale’s potbellied con man, Irving Rosenfeld, gluing a toupee to his head. When meticulously permed federal agent Richie DiMaso (Bradley Cooper) makes a move on Rosenfeld’s girl almost immediately thereafter, it’s an insult. When he musses his rug, it’s an unforgivable violation. It’s a wild pretzel of a plot: Rosenfeld and mistress Sydney Prosser (Amy Adams) have been caught by DiMaso in an undercover sting and are forced to run confidence rackets for the feds in order to nab other grifters. Halfway through the film, it’s unclear who’s conning whom, but it’s clear everybody’s conning themselves. This is the high wire that makes American Hustle so exhilarating, with the quick turns of a David Mamet or Howard Hawks fasttalkie. Despite its ’70s high-criminal subject matter, it is far closer to His Girl Friday than to Goodfellas. Really, it’s the sort of flick we’ve rarely seen since the ’40s: a farce with a heart. R. MATTHEW KORFHAGE. Hollywood Theatre, Laurelhurst Theater, Valley.

Bad Words

B- Remember that scene in Billy Madison where Adam Sandler makes fun of a second-grader because she can’t spell “couch”? Bad Words is kind of like that, only 90 minutes longer. Jason Bateman plays a 40-year-old named Guy exploiting a loophole in the rules that allows him to enter the prestigious Golden Quill Spelling Bee, much to the chagrin of the organizers and the other contestants’ parents. Not only a preternaturally good speller but also an unabashed prick, Guy spends his downtime ducking the questions of a reporter (Kathryn Hahn) who follows him around and begrudgingly befriending (or, depending on one’s view of it, corrupting) a precocious boy whose hotel room is just a few doors down from his. The interactions between the two are the film’s highlight: Guy’s vulgar cynicism colliding with the kid’s bright-eyed innocence may be low-hanging fruit, but Bateman still does a fine job of picking every ripe piece. The Arrested Development star, who’s also making his debut as a director, gets a lot of laughs out of the film’s premise but little emotional resonance. We know there’s more to Guy, especially once he starts vaguely alluding to his absentee father, but Bad Words struggles whenever it strays out of its profane comfort zone. R. MICHAEL NORDINE. Eastport, Clackamas, Oak Grove.

Big Men

[TWO DAYS ONLY] A new documentary from Rachel Boynton about the lucrative deals and complicated machinations of the oil business in West Africa. Hollywood Theatre. 4:45 pm Saturday-Sunday, April 5-6.

CONT. on page 46

IS THaT LOBSTER ROLL GLuTEN-FREE?: Watching Portlandia in East Portland.



Only the most devious real-estate agent would classify the tract of land occupied by Cartlandia as “prime Portland.” Splayed across a parking lot on Southeast 82nd Avenue, just a few hundred feet north of the Clackamas County line, the food-cart pod exists in a margin that it’s hard to imagine Portlandia would want to exploit—unless a skit about porn huts, used-car dealerships or chain sawwielding outlanders seemed relevant to the show’s weekly attempts at capturing the zeitgeist. Instead, Portlandia—currently halfway through its fourth season—recently featured bicycle activist Spyke being forced to buy a car because his T-shirt delivery job has grown so busy (it’s not long before he’s staging a Critical Mass ride for motor vehicles). There were tailgates for Prairie Home Companion. Steve Buscemi tried to bring down “Big Bacon.” Such types are hard to spot out here on 82nd, where RV shop Mt. Scott Motors feeds on the abundance of nearby mobile homes like a remora. Mount Scott itself looms on the horizon, casting a baleful glare at the yuppies using said RV lot as a turnaround for their hybrids when they overshoot the entrance to the pod that houses the lobster cart they keep hearing about. This is (technically) Portland, but is it Portlandia? After a couple of visits to Cartlandia for the pod’s weekly screenings of the IFC series, I’m still not entirely sure. “Who’s here to watch Portlandia?” barks a husky bearded guy in his 40s from behind a plastic beer trough covered in Solo cups. The tent—er, “beer garden”—houses a diverse crowd. There’s an elderly couple kvetching about Square terminals, a sizable Latino family with a few youngsters running amok, and a flanneled 20-something couple devouring a mountain of pad thai with stoned ebullience. The bearded guy adjusts a 60-inch flat-screen TV that’s probably on loan from his own home-entertainment system. “Well, if you’re here to watch the show we have a special treat!” he says, gesturing to a pair of familiar pink boxes. Aside from the Springwater Corridor Trail, the Voodoo Doughnut minivan outside may be the only tangible connection between

Cartlandia and the dystopian hipster playland in which Fred Armisen and Carrie Brownstein exist. “Free doughnuts! Fuck yeah!” exclaims a guy with spiky black hair as he rushes to join a girl in a patterned velour tracksuit. I ask if he’s here to watch Portlandia. “Hell yeah!” says Kelly, a 27-year-old who just moved to Portland (well, Milwaukie) from Tucson with his 21-year-old girlfriend, Melina. “This show makes fun of yuppies and hipsters, which is hilarious. Not a lot of that back in Arizona.” “Did you move here because of Portlandia?” I ask. “Nah, but it’s cool that everyone here is really free,” he says. “You can be the person you truly are and be accepted for it. That’s what’s beautiful.” The other couple finish their pad thai and slink out. I follow. “Do you guys think this is an accurate portrayal of the Portland you live in?” I ask. “Ha, I dunno, man,” the guy replies. “Maybe we thought it would be when we moved here from Idaho last year, but we can’t even afford to live in that part of Portland. So now we live off Flavel between a meth dealer and some old people.” “Yeah,” the girl chimes in. “We couch-surfed around Alberta for a minute, but it was too cool and too expensive. The place we’re at now is chill, but you don’t see vegan bike messengers anywhere. It’s mostly families and schizos.” Back inside, a skit featuring Nina and Lance, a couple played by Armisen and Brownstein both in drag, starts to roll. According to the text on the screen, the scene takes place on Northwest Kearney Street, an unlikely place for a neo-retro rockabilly couple that’s into motorcycles and “cacao.” In this sketch, Nina thinks she might be pregnant. “Shut the fuck up!” Kelly yells at the Latino family. The dad looks up for a moment but does nothing to wrangle his screaming children. The guy at the plastic trough angles the speakers toward the two people actually interested in the show. While Nina and Lance clumsily prepare for parenthood, I wonder where they would end up once a child entered the picture. Certainly not a flat in the Alphabet District, that’s for sure. They should give the outer east side a look. Until Portlandia rears its head, at least the rent is still cheap. SEE IT: Watch Portlandia at Cartlandia, 8145 SE 82nd Ave., at 7 pm every Thursday. Willamette Week APRIL 2, 2014


april 2–8


refreshing example for a young target audience. Conceptually, Divergent employs elements from Harry Potter, G.I. Jane and Gattaca, and visually, it offers a memorable take on the post-apocalyptic landscape without overdosing on CGI. And there’s just enough here to excite the mothers or older cousins who end up at the movie with their young charges, as in one scene atop a decommissioned Ferris wheel. As Four and Tris look out over a dilapidated carnival, the camera glances to his hand on her hip for an appreciated, steamy millisecond. pG-13. LAUREN TERRY. Cedar Hills, Eastport, Clackamas, Cornelius, Oak Grove, St. Johns.


breathe in

A Birder’s Guide to Everything

B In Rob Meyer’s A Birder’s Guide to Everything, we meet David Portnoy (Kodi Smit-McPhee), a lanky, awkward 15-year-old. He’s also crazy about birds. That’s why he and two of his equally awkward, avian-obsessed friends head out in a stolen car on the eve of David ’s dad ’s wedding in search of an extinct duck. It’s a classic coming-of-age quest in the style of Stand by Me, just without a dead boy, far less cussing and a lot more skyward gazes. David’s bird hunt is more than just an act of rebellion against his father, with whom he has a strained relationship—it’s a search for meaning after the recent death of his mother, who was also an avid birder. During their quest, the boys take risks, test friendships (at one point, they nearly kill their asthmatic buddy) and stumble through pubescent hormones and teenybopper crushes. Ben Kingsley’s performance as Lawrence Konrad, an ornithologist who joins the boys in their quest, is honest and convincing, while the three young actors who play the birders have enough natural klutziness, angst and teen-boy wit to make this a charming and easy-towatch film. pG-13. KATHRYN PEIFER. Clinton Street Theater.

Breathe In

C- Because we can never have too

many films that address the pressing issue of privileged, middle-aged, married male unhappiness, we have Breathe In, in which a bearded and forever gaunt Guy Pearce is Keith Reynolds, a high school music teacher who whiles away his time playing the cello, adjusting his glasses and pining for his youth. He’s also pining for Sophie (Felicity Jones), a beautiful foreign exchange student staying in his tastefully appointed home in upstate New York. From the moment Sophie first arrives in the Reynolds household—peopled also by Keith’s lovely but dismissive wife (Amy Ryan) and gorgeous but inartistic daughter (Mackenzie Davis)—she seems to second-sense the source of Keith’s ennui. Perhaps because she is an accomplished pianist. Or maybe just because she’s dewy and British and deep. (In accordance with movie code, evidence of said depth comes courtesy of her copies of Jane Eyre and Raymond Carver’s collected stories). Either way, you know where this is going. Keith and Sophie find themselves alone on a rainy afternoon, soaked to the bone and ready to share. The resulting fallout is midlife melodrama at its most predictable and self-indulgent. With Kyle MacLachlan as the most lecherous grill master ever. r. DEBORAH KENNEDY. Fox Tower.

Cesar Chavez

Michael Peña stars in Diego Luna’s biopic about the legendary civilrights activist and labor leader. Consider it a chance to learn why Portland renamed Southeast 39th Avenue. pG-13. Clackamas, Cornelius.

Dallas Buyers Club

A The first time Matthew

McConaughey appears onscreen in Dallas Buyers Club, the reflex is to


gasp. That carved-from-amber beach bod has been whittled down to a toothpick. He’s gaunt, almost insectoid, with a head too big for his neck and skin stretched like plastic wrap around his eyes and Adam’s apple. It’s a transformation mirroring that of McConaughey’s career over the past year, ever since the day he woke up, put on a shirt and decided to become the best actor of his generation: The rom-com lothario has withered away. In his place arrives a performer at his peak, in a role that better damn well win him an Oscar, as an AIDS activist the movies have never seen before: a shit-kicking, homophobic redneck. That redneck actually existed, too. In 1985, Ron Woodroof, a Dallas electrician, bull rider and pussy-chasing, coke-snorting degenerate, became one of the rare straight men in the early years of the AIDS epidemic to contract HIV. Left out of the trials of an experimental new drug, and frustrated by the grinding inertia of Big Pharma, Woodroof went to Mexico, where, with a cocktail of natural supplements and non-FDA-approved meds, he was nursed back to health. Figuring there was a great racket in AIDS drugs that actually worked, he returned to Texas and opened a “buyers club.” Operating out of a fleabag motel, he skirted federal regulations by selling “memberships” at a rate of $400 per month and doling out the banned substances for “free.” To the credit of writers Craig Borten and Melisa Wallack and director Jean-Marc Vallée, Dallas Buyers Club has no weepy epiphanies, no soliloquies about newfound understanding. Woodroof may have been an asshole, but he was an asshole whose instinct for self-preservation eventually helped extend the lives of millions of better people. And, in the face of a plague, that’s worth more than one jerk’s enlightenment. r. MATTHEW SINGER. Laurelhurst Theater.


B At first glance, Divergent would seem to be riding on the coattails of The Hunger Games. Here’s another dystopian YA novel-turnedwannabe blockbuster, with another rising star—Shailene Woodley, in for Jennifer Lawrence—at the center. But with Divergent, director Neil Burger proves there’s more than one way to ride this wave. Veronica Roth wrote Divergent while still in college—and probably right after reading Ender’s Game—and she brings together the overthrow of an oppressive government and a freshman-year identity crisis. The movie’s opening shots show a dystopian Chicago divided into “factions” of like-minded citizens. Woodley plays Beatrice from “Abnegation”—the plainly clothed nurturers responsible for elderly citizens and factionless hobos. But “Dauntless,” the leather-fitted warriors who protect the city, catch Beatrice’s eye as they sprint through the city like steampunk parkour runners, and the 16-year-old opts to leave her faction to join them. Despite Roth’s thinly developed characters, Woodley is enchanting, and while her relationship with Four (Theo James, who looks like some in-vitro love child of James Franco and Paul Walker) isn’t any remarkable surprise, it sets a

Willamette Week APRIL 2, 2014

B Enemy, the latest film from Prisoners director Denis Villeneuve, begins with a koanlike epigraph: “Chaos is order yet undeciphered.” As self-serious as that line may be, Villeneuve quickly redeems himself with a series of hypnotically weird scenes—including one involving tarantulas and masked women at a sex club that’s right out of Eyes Wide Shut—that prove this isn’t entirely an indulgent exercise in pseudo-intellectualism. Based on a novel by Pulitzer Prize-winning Portuguese fabulist José Saramago, Enemy centers on an affectless history professor named Adam (Jake Gyllenhaal). When one particularly tenacious co-worker suggests Adam rent a silly rom-com, he gives in—and discovers that one of the actors looks exactly like him. Thus begins a Jekyll and Hyde-meetTwilight Zone scenario, in which Adam disguises himself in girly sunglasses and sets out in search of his doppelgänger. As the look-alikes, Gyllenhaal turns in two sly and playful performances, sweating and stuttering as Adam, crowing and strutting as Anthony. Set in an unnamed Canadian city, the entire film looks stained by nicotine, all sickly taupes and jaundiced yellows. The score, a fitful mix of strings and metallic clangs, amplifies the sense of menace. And then there’s all the spider imagery, including a dreamlike sequence in which a tarantula-headed woman walks on the ceiling. Villeneuve, mostly to his credit, doesn’t bother to decipher the aforementioned chaos. What it all means—and whether it’s more than a creepy mood piece—is debatable. Is Villeneuve commenting on male insecurity? On isolation and desire? Or perhaps he’s just spinning us into an intricate, inescapable web. r. REBECCA JACOBSON. Living Room Theaters.


Ernest & Celestine

A- This charming French children’s

film didn’t win the Oscar for Best Animated Feature. But with its storybook illustrations and wholesome, heartwarming story line, it’s a refreshing inclusion in a category stacked with slick DreamWorks and Pixar offerings. No oh-so-clever pop-culture references, no 3-D, no Happy Meal tie-ins, just a sweet story about an orphaned little mouse who befriends a bear. Hollywood has done its best to change that, of course— this broader U.S. release is dubbed in English with the voices of Nick Offerman and Forest Whitaker. pG. RUTH BROWN. Fox Tower.

The Face of Love

C- Five years after finding her hus-

band’s body washed up on a beach in Mexico—where they’d been celebrating 30 years of marriage—Nikki (Annette Bening) goes aimlessly about life in Los Angeles: sunlit days spent in elaborate houses and cars, nights illuminated by red wine hues and the cool blues of swimming pools. But then she spots the late Garrett’s doppelgänger in Tom (Ed Harris), and begins haunting the grounds of an art museum in hopes of seeing him again. Although notable for its focus on a middle-aged woman, The Face of Love moves forward in a straight, surprise-free line as Nikki and Tom inevitably enter into a relationship that leads to a confrontation with the past. In doing so, director Arie Posin skirts more entrancing matters: mystical (both felt called to return to the museum after a long absence), creepy

(Nikki includes Tom when speaking about experiences with Garrett), duplicitous (the Vertigo overtones) and narcissistic (Tom seems more in love with the way Nikki looks at him than with the woman herself). Further exploration of any of which might have improved this maudlin, vanilla film. pG-13. KRISTI MITSUDA. Living Room Theaters.


B Widely hailed as a return to the classic animated features of yore, Frozen arrives as an uncomplicated triumph of traditionalism, for better or worse. A musical-theater retelling of classic Hans Christian Andersen tale The Snow Queen, hidebound Disney preservationists were worried the decidedly modern title foretold the goofy revisionism of 2010’s

Rapunzel fan-fic Tangled. But there’s a far easier explanation for the name change: Once again, it’s all about the princesses. Kristen Bell’s Anna takes center stage as a rambunctious royal eagerly awaiting the social possibilities accompanying her older sister’s imminent coronation. Orphaned at a young age and isolated by a sibling whose flourishes of wintry magic are only restrained through staunch emotional unavailability, Anna thrills at the prospect of first love: One lyric snickers, “Why have a ballroom without any balls?” Compared to the pandering messiness of most kids’ movies, there’s plenty to excite the family-friendly faithful. Widescreen 3-D visuals sculpt an endlessly inventive setting of ice palaces and snowcapped peaks, the original songs written by veterans of Avenue Q and



up a creek: row, row, row your boat.

THE GREAT FLOOD There’s a moment in The Great Flood, a documentary about the Great Mississippi Flood of 1927, when a woman being evacuated wades through knee-deep water. Her hair mussed and her clothes soaked to the waist, she pauses to pick a flower. As she turns to the camera, we can see her smile. We can almost hear her laugh. It’s one of many moments in this wordless documentary that’s so lovely it’s almost disconcerting. The film, by Bill Morrison, patches together archival footage and sets it to a spellbinding original score by guitarist Bill Frisell. There’s plenty here that recalls Katrina or Sandy in its harrowing imagery: the near-oceanic swelling of the river, the demolished towns, the crowded tent cities. But in illustrating the magnitude of the most destructive river flood in U.S. history—it covered 27,000 square miles and displaced more than 1 million people—The Great Flood is cinematic testament not only to the sheer power of the natural world, but to the indomitability of the human spirit. That’s a daunting task, yet the film achieves it not through weepy voice-over narration, image manipulation or an overwrought, disaster-porn soundtrack. Instead, we get a bluesy, slightly dissonant reverb tracking shots of wrecked streets, the sign for “ABLE HOTEL” quietly reflected in a vast puddle. At other times, the score turns jazzy and jaunty, as when a binocular-wielding Herbert Hoover swings through for photo ops with floodplain refugees, or when a trumpet yowls wistfully as uprooted Southerners—many of them former sharecroppers—decamp for the industrial North. The film stock is scorched or splotchy in places, adding an appealing, staticky glow. Most interestingly, The Great Flood provokes questions about how we react to such calamity. As you watch a woman matter-of-factly get a haircut, deluge be damned, or a man play piano at a tent settlement, you can’t help but compare them to the much more demonstrative disaster victims on 24-hour cable TV news. Just watch the faces of men stacking sandbags, looking incredulous and slightly insulted that they’re being filmed. There’s no wailing into the camera here, no sensationalistic melodrama. Am I aestheticizing these survivors as paragons of resiliency belonging to a bygone time? Some have criticized the film for presenting suffering as quaint. That’s misguided. This is 80 minutes of audiovisual poetry at its most sublime, and its most vital. REBECCA JACOBSON. a mesmerizing, wordless trip along the Mississippi.

A- See it: The Great Flood plays April 7-11 at the Clinton Street Theater.


Goodbye World

C The post-apocalyptic land-

scape in Denis Hennelly’s Goodbye World is a familiar one to moviegoers: Following a cyber-attack, we get anarchic rioting in the streets, devastating eff ects of a wireless world and inevitable tyrannical rule. But Hennelly off ers it only in unsatisfying, bite-sized rations. Better referred to as Hello College Reunion, the fi lm lacks any real sense of impending doom and instead reeks with the stench of seven old buddies reliving their clichéd college-era stunts and knotty—not naughty—romantic liaisons. The worst these faux-friends encounter are the infl ated prices of tampons and nonfunctioning cellphones. They’re residing at a secluded house in Northern California, equipped with a guest house (hello vacation), a hot tub (hello luxury) and a garden (this new world is going to be rough). The plot is less than engaging, unless watching three-and-a-half fumbling love stories—complete with rash marriages, divorces and undesirable sex—tickles your carnal fancy. After much delay, the fi lm fi nally touches on a serious postapocalyptic necessity, medicine. This fi ve-star home has plenty of drugs in the fridge, and the neighbors desperately want them. But Hennelly does nothing satisfying with that question. Goodbye World might work as a movie about an apocalypse or a Greek mixer—just not as both . KATHRYN PEIFER . Living Room Theaters.

Hotel ? They’re meant to be ghosts, but they shouldn’t be strangers. We stick out our tongues to catch the shimmering snowfl akes, and taste only air. R . AARON MESH . Cinema 21, Cedar Hills, Eastport, Clackamas, Moreland.


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 fi lm 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 fi lm features only two actors, 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 diffi cult role. Clooney, here playing a supporting piece of space debris, becomes the fi lm’s sense of calm and functions as much-needed comic relief. It’s impossible to even consider relaxing 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 fi lm is as haunting and beautiful as it is brilliant . PG13 . AP KRYZA . Laurelhurst Theater, Academy Theater, Valley.

Captain America: The Winter Soldier XD3D (PG-13) 12:30PM 3:50PM 7:10PM 10:30PM Mr. Peabody And Sherman 3D (PG) 9:35PM Mr. Peabody And Sherman (PG) 11:00AM 1:40PM 4:05PM 7:00PM LEGO (PG) 11:15AM 1:45PM 7:05PM Sabotage (R) 11:10AM 1:55PM 4:35PM 7:25PM 10:15PM LEGO 3D (PG) 4:15PM 9:55PM Noah (PG-13) 10:00AM 11:35AM 1:10PM 2:45PM 4:20PM 5:55PM 7:40PM 9:05PM 10:50PM Non-Stop (PG-13) 11:40AM 2:25PM 5:05PM 7:50PM 10:35PM Need For Speed (PG-13) 4:10PM 7:20PM Muppets Most Wanted (PG) 10:30AM 11:55AM 1:30PM 2:55PM 4:15PM 5:35PM 8:25PM 11:15PM Need For Speed 3D (PG-13) 1:00PM 10:30PM

Mr. Peabody And Sherman 3D (PG) 11:40AM 2:05PM Mr. Peabody And Sherman (PG) 10:00AM 12:25PM 2:50PM 5:15PM 7:40PM 10:10PM Sabotage (R) 11:45AM 2:25PM 5:05PM 7:45PM 10:25PM Monuments Men (PG-13) 11:00AM Non-Stop (PG-13) 4:30PM 7:15PM 10:00PM Rowdy (24 Frames Factory) (NR) 11:30AM 2:10PM 4:50PM 7:30PM 10:15PM Muppets Most Wanted (PG) 11:00AM 1:45PM 4:30PM 7:15PM 10:00PM Noah (PG-13) 11:00AM 12:40PM 2:10PM 3:50PM 5:20PM 7:00PM 8:30PM 10:10PM LEGO (PG) 10:40AM 3:50PM


B+ And so there’s this computer. It’s an artifi cially hyperintelligent operating system that’s half personal secretary, half therapist. It speaks in a naturalistic feminine rasp. It seems to be thinking. It seems to know you. You fall in love with her. She falls in love with you.

CONT. on page 48


The Book of Mormon soar and tickle as needed, and snowman sidekick Olaf giddily beats back the encroaching melodrama. It’s the sort of Disney fi lm even Disney barely makes anymore, as majestic and problematic as a sudden snowfall, and, like all blizzards of youth, we’ll mourn its passing . PG . JAY HORTON . Academy Theater, Valley.


Mr. Peabody And Sherman 3D (PG) 11:05AM 1:40PM 4:20PM LEGO (PG) 11:00AM 1:45PM 4:30PM 7:15PM 10:00PM Sabotage (R) 11:10AM 1:50PM 4:40PM 7:30PM 10:25PM Mr. Peabody And Sherman (PG) 11:40AM 2:20PM 5:05PM 7:35PM 10:20PM Non-Stop (PG-13) 6:55PM 9:45PM Noah (PG-13) 11:05AM 12:30PM 2:20PM 3:45PM 5:30PM 7:00PM 8:45PM 10:15PM Muppets Most Wanted (PG) 11:15AM 2:10PM 5:00PM 7:45PM 10:30PM Grand Budapest Hotel, The (R) 11:20AM 2:00PM 4:45PM 7:20PM 10:00PM

God’s Not Dead (PG) 10:45AM 1:35PM 4:25PM 7:15PM 10:05PM 300: Rise Of An Empire (R) 11:20AM 2:00PM 7:20PM 10:10PM Bad Words (R) 12:20PM 2:55PM 5:25PM 8:00PM 10:25PM 300: Rise Of An Empire 3D (R) 4:50PM Grand Budapest Hotel, The (R) 11:30AM 2:20PM 4:55PM 7:30PM 10:00PM 3 Days To Kill (PG-13) 7:00PM 9:50PM Cesar Chavez (PG-13) 11:25AM 2:15PM 4:50PM 7:35PM 10:20PM Divergent (PG-13) 10:05AM 11:45AM 1:15PM 2:50PM 4:30PM 6:00PM 7:45PM 9:10PM 10:55PM Captain America: The Winter Soldier 3D (PG-13) 10:50AM 2:10PM 3:00PM 5:30PM 8:50PM 9:40PM Captain America: The Winter Soldier (PG-13) 10:00AM 11:40AM 1:20PM 4:40PM 6:20PM 8:00PM 11:20PM

300: Rise Of An Empire (R) 1:45PM 7:20PM Captain America: The Winter Soldier 3D (PG-13) 10:00AM 11:30AM 1:10PM 2:50PM 4:30PM 5:20PM 6:10PM 7:50PM 9:30PM 11:00PM Maan Karate (AIM Distribution) (NR) 9:00PM 300: Rise Of An Empire 3D (R) 4:30PM 10:05PM Grand Budapest Hotel, The (R) 11:00AM 1:30PM 4:00PM 7:00PM 10:00PM LEGO 3D (PG) 1:15PM 6:30PM Captain America: The Winter Soldier (PG-13) 10:50AM 12:20PM 2:00PM 3:40PM 7:00PM 8:40PM 10:20PM Divergent (PG-13) 11:05AM 12:40PM 2:15PM 3:50PM 5:25PM 7:00PM 8:35PM 10:10PM

300: Rise Of An Empire (R) 11:10AM 1:55PM 4:30PM 7:25PM 10:10PM 300: Rise Of An Empire 3D (R) 7:00PM 9:50PM LEGO 3D (PG) 10:50AM 1:30PM 4:05PM Bad Words (R) 11:25AM 1:50PM 4:20PM 7:10PM 9:45PM Divergent (PG-13) 11:00AM 12:15PM 2:15PM 3:30PM 5:30PM 6:50PM 8:50PM 10:05PM Captain America: The Winter Soldier (PG-13) 11:45AM 3:15PM 6:45PM 10:15PM Captain America: The Winter Soldier 3D (PG-13) 10:45AM 1:00PM 2:15PM 4:30PM 5:45PM 8:00PM 9:30PM

Movie times subject to change, call theaters for times Showtimes valid Friday to Thursday

The Grand Budapest Hotel

B+ The old, snide rejoinder to an

over-decorated show is that “you leave humming the sets,” but Wes Anderson’s The Grand Budapest Hotel may be the fi rst movie where you come out tasting them. The titular Alpine resort is the most edible-looking lodge in cinema: a multitiered, pink-frosted castle designed to endure as an ambrosial memory. Our hero, M. Gustave, is the dapper concierge running the Grand Budapest front desk and back halls. He’s played by Ralph Fiennes with such fl owery cosmopolitanism that you can almost see the cloud of cologne drifting behind him as he scurries to his next boudoir appointment with a rich dowager. I’d love to recite an ode to The Grand Budapest Hotel, because it’s the most politically aware story Anderson has told. It’s set in an imaginary Middle European country in the 1930s, at the edge of war. Its story, a silly caper, brushes against the deepest horrors of the 20th century, and ends by acknowledging irrevocable damage. Yet I can’t shake the feeling that something’s missing. The Grand Budapest Hotel confi rms the split of Anderson’s work into three distinct periods. His earliest pictures (Bottle Rocket, Rushmore and The Royal Tenenbaums) feature perpetual teenagers play-acting at the ideal lives they can’t quite maintain. His second act (The Life Aquatic, The Darjeeling Limited ) follows spoiled men globe-trekking for purpose. And then, starting with Fantastic Mr. Fox, come the fairy tales. Fox, Moonrise Kingdom and Budapest all include the same elements: stop-motion, maps, tunnels, and heroes marching at right angles and dangling from great heights. What they don’t have are characters who talk to each other. And with the exception of the fantastically realized M. Gustave, they don’t reveal their essence by actions. Who are these beautiful visitors in The Grand Budapest

STARS AND TROPES FOREVER: Of all the four-color icons, Captain America should be the least open to interpretation. Ol’ Winghead seemed a charming anachronism from the time Stan Lee assembled the uncanny freaks and amazing geeks of the Marvel Universe 50-some years ago, and the sheer strangeness of past generations’ uncomplicated ideals fueled the unexpected delights of Captain America: The First Avenger. Alas, where the 2011 film found a dreamily compelling momentum somewhere between magical realism and newsreel propaganda, Captain America: The Winter Soldier wades through thankless cameos (Robert Redford? Emily VanCamp? Garry Shandling?) and interminable exposition (imagine Iron Man interrupted with discursive tangents about electrical engineering). The fractured plot pits the superspies of S.H.I.E.L.D. against Hydra’s shadowy cabal and Cap against a steel-armed, greasy-maned assassin. The first film’s foot chase through 1940s Brooklyn thrilled to Cap’s newfound grace and athleticism, and once again, star Chris Evans’ unaffected certitude and boyish self-regard suggest why a mortal might one day command the Marvel gods and monsters. But now his appealing mix of officer and gentleman has been reduced to frat-house moralizing. There’s more setup for the surrounding saga: Sam “The Falcon” Wilson is deftly introduced, ScarJo’s Black Widow finally has some backstory, and Samuel L. Jackson’s Nick Fury is no longer just a framing device. For all the failings on display, the mighty Marvel machine rolls along. The Winter Soldier might not be much of a movie in and of itself, but maybe there are no second acts in Captain America’s life. JAY HORTON. C+ SEE IT: Captain America: The Winter Soldier is rated PG-13. It opens Friday at 99W Drive-In, Cedar Hills, Eastport, Clackamas, Cornelius, Oak Grove, Bridgeport, City Center, Division, Hilltop, Lloyd Center, Lloyd Mall, Pioneer Place, Sherwood, Tigard, Wilsonville, St. Johns.

Willamette Week APRIL 2, 2014


aPril dates2–8 here

Then she develops the capacity for jealousy. Eventually, you’re arguing about sex. She starts saying things like, “I’m becoming much more than they programmed.” Twenty years ago, this scenario would’ve played as a dystopian nightmare. But in the era of Catfish, where “dating” is an increasingly abstract concept, the premise of Spike Jonze’s Her can serve as the basis for an honest-togoodness relationship drama. Her, the first film Jonze has written himself, isn’t another Charlie Kaufman mind puzzle, but its emotions are no easier to untangle, nor to categorize. Is it sci-fi? Horror? Satire? Or is a story about falling in love with binary code the only honest way to talk about modern romance? Credit Jonze for never mocking Joaquin Phoenix’s lonely former L.A. Weekly stafferturned-emotional copywriter, even though he puts him in a ’stacheand-glasses combo out of a pedophile Halloween costume and gives him the exceptionally dweeby name Theodore Twombley. Thanks to Phoenix’s warm, subtly brave performance, his character doesn’t seem crazy. Scarlett Johansson voices the OS, and her husky rasp sounds livedin and imperfect. In other words, it’s distinctly human. Her is, perhaps, a movie that is easier to think about than to watch: It’s overlong, and prone to greeting-card proverbs. But its central thought is one that will only grow more significant as the world becomes a bigger, more alienating place: Is any feeling real, or are we just programmed that way? r. MATTHEW SINGER. Laurelhurst Theater, Academy Theater.

Ich Hunger


Interior. Leather Bar.

B [TWO DAYS ONLY] “Fucking”

James Franco and gay art-porn director Travis Mathews team up to make a docudrama about making a gay art-porn film. The goal: to re-create the 40 minutes of footage apparently cut from the 1980 Al Pacino flick Cruising, which featured graphic sex in a gay nightclub. As things get more and more pornographic, and it becomes increasingly clear Franco has no idea what he’s doing, the actor playing Pacino playing an undercover cop begins to freak out at what he’s gotten himself into just for the sake of being part of Franco’s “mission.” Confusing? It is, but unlike our protagonist, it’s best not to overthink it—just sit back and enjoy the meta-commentary on male sexuality and Franco’s fame, and all the big, throbbing penises. RUTH BROWN. Hollywood Theatre. 7 pm Sunday and 9:30 pm Monday, April 6-7.

Jack Ryan: Shadow Recruit

C+ Jack Ryan: Shadow Recruit

exists in a strange world of hybridized espionage clichés. At its core, it stays loyal to the roots of Tom Clancy’s enduringly popular title character, pitting a younger version of Ryan against Russians who exist in a sort of Cold War vacuum and hate America as much as they hate the letter W. But this is a post-9/11 Jack Ryan as well, so those very same Russians also operate a sleeper terrorist cell bent on blowing up Manhattan with homemade bombs. The new Jack Ryan is a reboot and an origin story, wherein a college-age Jack (Chris Pine, the go-to guy for college-age versions of iconic heroes) heeds the call of duty when the Twin Towers go down. He first serves as a Marine and then becomes a brilliant analyst enlisted by the CIA to infiltrate Wall Street to discover who might be funding terror. Because this is a post-Bourne film, there’s some neck-punching paired with fights in bathrooms, motorcycle chases and aggressive Googling, with our hero pensively staring at a computer while his fingers fly. Pulling double duty as the film’s director and its slinky villain, a slumming Kenneth Branagh proves he can be more fun than his PBS pedigree lets on, yet Jack Ryan remains a pretty bland affair that’s cobbled together from bits and pieces of other, better films. PG-13. Valley.

The Lego Movie

B+ In the Toy Story series, some of

ErnEsT And CELEsTinE the best scenes take place in a child ’s imagination. They’re tremendous action sequences, revealed to exist only in the mind of a child playing with toys. The Lego Movie stretches that idea to feature length, and the results are pretty incredible. 21 Jump Street and Cloudy With a Chance of Meatballs directors Phil Lord and Christopher Miller have imagined a world of chaotic bliss. Using a combination of computer and stop-motion animation that keeps the herky-jerky laws of Lego physics in mind, The Lego Movie follows milquetoast construction worker Emmet (Chris Pratt) on a hero’s journey. Emmet is seen as the unwitting prophet who could end the reign of President Business (Will Farrell), a tyrant who believes all creations should be made exactly according to instructions. We follow Emmet as he teams with Lego allstars ranging from Batman to Shaq, who together attempt to keep imagination alive. The Lego Movie comes dangerously close to the pop culturesaturated Shrek model of comedy, but just when the film starts becoming too cute, the plot shifts into another nutso action sequence filled with clever sight gags. Naysayers will whine that it’s just an extended toy commercial. But for those of us who remember the limitlessness of our imaginations as we played with little plastic blocks, this is a joy to behold. PG. AP KRYZA. Cedar Hills, Eastport, Clackamas, Cornelius.

Le Week-End

B There’s really nothing quite like self-indulgent baby boomers in hate. Toward the beginning of Le WeekEnd, Meg (Lindsay Duncan), the blonder half of a long-married couple on vacation in Paris, offers this assessment of her relationship with her husband, Nick (Jim Broadbent): “It’s not love. It’s like being arrested.” And in many ways that’s a perfect


ATTENDING] Ich Hunger is just your basic German-language, 1930s-style, black-and-white, hick-town, expressionist-romanticist monster film shot in midstate Washington. Fairies glow and weep. A camera-mugging creature-boy who looks a little like a disheveled Dell computer pitchman stalks the landscape, eating flesh where he finds it, hunted mercilessly by a goateed football jock who speaks in creaky-old-man Deutsch. (There are English subtitles.) The boy represents, of course, the dangerous and beautiful wildness of the human spirit, which must be tamped down by an asshole in sunglasses. So it’s like junior high, but with haunting shots of trees. Tacoma director Isaac Olsen’s broad parody of oldschool German Expressionism sometimes directly hits its mark for the film student and lonely arthouse aficionado—the only people for whom M and Nosferatu might be ripe targets for satire—and sometimes reads like an amateur Monty Python version of a creature feature, or a much more self-conscious version of the film from American Movie. Olsen has a talent for framing and lighting, and the editing keeps the one-hour film agile enough that it’s never boring.

But the landscape shots are unfortunately more interesting than the ones with people: With the exception of an unbridled Andreas Harder as the sunken-eyed, gangly limbed creature-boy, the acting is sub-community theater. For the film geek and the lover of pretty pictures. MATTHEW KORFHAGE. NW Film Center’s Whitsell Auditorium. 7 pm Thursday, April 3.



description of this movie from director Roger Michell and screenwriter Hanif Kureishi. It’s like being caught in the panic room that is love on its deathbed—at least until Jeff Goldblum, in the form of Nick’s old friend Morgan, arrives and does what Jeff Goldblum does best (i.e., spew slime and charm all over everyone). He also does what he can to salvage not only the movie but Nick and Meg’s marriage. He almost succeeds. r. DEBORAH KENNEDY. Fox Tower.

The Lunchbox

A The Lunchbox is set in Mumbai,

where a fraternity of 5,000 men, the dabbawallas, have been delivering hot lunches from the city’s housewives to their businessman husbands for the past 120 years. According to a Harvard study, only one in a million Mumbai lunches is delivered to the wrong person. The Lunchbox tells the story of one such unlikely lunchbox and the even more unlikely bond that forms between an unhappy stayat-home mother, Ila (the irresistible Nimrat Kaur), and Sajaan, a widower accountant on the verge of retirement. Sajaan, played by veteran Bollywood star Irrfan Khan, receives the lunchbox intended for Ila’s husband, and a sweet and thoughtful exchange of notes begins. Food, of course, plays an important role. At the beginning of the film, Ila is learning to cook in order to spark her husband’s dampened interest, but because of the mixup with the lunchbox, her food ends up providing Sajaan with what he needs most at this point in his life: something to look forward to. Batra allows Ila and Sajaan’s relationship to develop slowly and subtly, like an old photograph, and the tender humor (much of it courtesy of Nawazuddin Siddiqui as Shaikh, Sajaan’s orphaned protégé) adds exactly the right amount of spice to what is already a delicious mix of melancholy and hope. PG. DEBORAH KENNEDY. Fox Tower.

Mistaken for Strangers

A- Tom Berninger is a familiar per-


Willamette Week APRIL 2, 2014

sonality: He’s a 30-something with no plans to stop slacking off and partying, and he has the long metalhead locks and potbelly to prove it. Tom also happens to be the younger brother of Matt Berninger, lead singer for the National, who invites Tom on tour as a roadie. But Tom has his own plans. He intends to make a documentary of the experience, often at the expense of his actual duties. The result is a hilarious, half-baked rock doc, with Tom’s directions wisely uncut. (“This is good, this is gonna be perfect for your intro shot,” he says during one member’s intro shot.) Because he’s family, Tom’s awkward, spontaneous interview prompts— “Where do you see the band in 50 years?” or “You’re way more popular than any of my friends”—elicit honest reactions. Comparisons to This Is Spinal Tap are a bit farfetched, though. In Mistaken for Strangers, it’s the band members who are the professionals, while the director screams, “Hey, Moby!” towards the singer’s house while floating in an infin-

ity pool. Though for brief moments it feels like watching amateur home video, Mistaken for Strangers is a comedic take on making a documentary and an honest take on brotherhood. MITCH LILLIE. Hollywood Theatre.

The Monuments Men

C+ The story of The Monuments Men is inspiring. During World War II, a squadron of older art scholars was dispatched to Europe in an effort to protect art and other precious cultural artifacts from being destroyed by bombs, stolen by the Nazis or swiped by private collectors. It sounds like incredible fodder for a film, especially with George Clooney in front of and behind the camera, and a dream cast that includes Matt Damon, Cate Blanchett, John Goodman, Bill Murray and Jean Dujardin. Alas, what could have been a weird cross between Inglourious Basterds and Ocean’s Eleven turns out to be a bit of a slog. A beautiful slog, sure, with its glorious images of European architecture, painting and sculpture, but a slog nonetheless. Much of the dullness comes from an episodic story line that requires these great performers to spend most of the film apart, contemplating in voice-over whether art is worth the ultimate sacrifice and pontificating about the righteousness of their cause. The performances are great and the views are stunning, but The Monuments Men still comes off more as a sermon than an entertaining piece of art unto itself. PG-13. AP KRYZA. Cedar Hills.

Mr. Peabody & Sherman

Two Rocky & Bullwinkle characters—a hyperintelligent beagle and a 7-yearold boy—take some trips in a time machine. PG. Cedar Hills, Eastport, Clackamas, Cornelius, Oak Grove.

Muppets Most Wanted

B While technically the eighth Muppet movie—or, as the first song smartly explains, the seventh sequel— new release Muppets Most Wanted probably won’t be judged against the grosses of Muppet Treasure Island. For better or worse, the overwhelming success of 2011’s The Muppets provided Disney a reboot blueprint: Stay with what works and remember who we’re here to see. So, of course, Kermit is replaced by a Russian doppelgänger, we visit the grand concert halls of Europe, and Tina Fey and Ricky Gervais are given extended solo dance routines. While awful choices abound, the Muppets reflexively generate so much unsinkable goodwill that even the laziest of plots still charms—and might even be welcome, given the ’70s-meets-art deco visual aesthetic and escalating cameo bombs. Whatever the failings of the human leads, every gulag needs Ray Liotta, Danny Trejo and Josh Groban. Every wedding needs “the” Usher. Every Miss Piggy-Celine Dion duet needs an Academy Award. Fey and Gervais are not, however, singers, and neither are they actors in any traditional sense. Rather than embodying a role, they organize their most rel-


Need for Speed

C When a car-chase fl ick opens with its main characters watching the Steve McQueen classic Bullitt, it had better deliver the goods. Luckily, Need for Speed makes good on its promise of high-octane spectacle, putting Breaking Bad star Aaron Paul in the driver’s seat of a tricked-out Mustang. He’s undertaking a 240mph, cross-country quest to beat his douchebag rival (Dominic Cooper) in an illegal street race. The fi lm off ers up a steady stream of revving engines and amazing stunts—largely executed without computer assistance—that would do McQueen proud. Unfortunately, director Scott Waugh is also saddled with telling a story, which is a dubious task for a fi lm based on a wildly popular series of video games with no plot. Screenwriter George Gatins comes up with the simplest excuse possible to crash cars—it’s a standard honor and revenge narrative—but at 130 minutes, the fi lm runs out of gas just when the third act kicks in. Paul, henceforth to be known as Aaron Paul Walker, glowers eff ectively enough behind the wheel as logic and physics are gleefully ignored. Need for Speed could have been a great little B-movie throwback if it knew where to slam on the brakes. Instead, it blows a fl at about 90 minutes in and idles to the fi nish line . PG-13 . AP KRYZA . Clackamas, Forest Theatre.


Maybe you’ve heard this story about a giant fl ood and some animals on a boat. Russell Crowe apparently got the pope’s blessing for the movie, but the studio doesn’t seem to have the same level of faith— Noah didn’t screen for Portland critics . PG-13 . Cedar Hills, Eastport, Clackamas, CineMagic, Cornelius, Oak Grove.


B It’s been about six years since Liam Neeson stopped campaigning for golden statuettes of bald men and started slugging bald foreign men with gold teeth, and Non-Stop marks the eighth fi lm in which this classical actor-turned-rugged elder statesman of action has been consumed by neck-punching. It’s also the most colossally stupid fi lm of his latter-day crusade against other men’s throats. And as such, Non-Stop is entertaining as all hell.

Neeson stars as air marshal Bill Marks, an alcoholic with a dead daughter who, a few drinks into his day, boards a fl ight that’s doomed for a fate only fl ights containing Liam Neeson can know. He gets a text from an unknown number saying that a passenger will be killed every 20 minutes unless the hijacker receives $150 million. All of the above sounds pretty stupid, but it’s nowhere near as stupid as the movie itself. And yet director Jaume Collet-Serra—who directed Neeson’s fi sts in Unknown and helmed the awesomely stupid Orphan —has some slick tricks up his sleeve. The fi lm seems like a parody of itself, balancing claustrophobic tension and action like a slack-jawed Hitchcock homage. Neeson knows how ridiculous this shit is, and so does his director. This is trash cinema taken to wonderfully dumb heights . PG-13 . AP KRYZA . Cedar Hills, Eastport, Clackamas, Forest Theater, St. Johns.

The Nut Job

Animated squirrels plan a heist of a nut store. Parents, try to keep the dick jokes to a minimum . PG . Valley Theater.

Nymphomaniac: Volume I

B- Lars von Trier’s Nymphomaniac contains nothing less than the future of movies: Celebrities and fashion models are digitally grafted onto the thrusting, interpenetrating genitalia of unknown porn actors, who hump in relative anonymity. Call it ghost porn, stunt porn, whatever you like. It’s brilliant. But it’s also a grade-A troll of the moviegoing public. Nymphomaniac arrives with a fi restorm of press about sex, sex and more sex among Shia LeBeouf, Charlotte Gainsbourg and model Stacy Martin (who plays the young version of Gainsbourg). But as in most von Trier movies, the real subject isn’t so much sex as the endless suff ering of women. It’s part sympathy, part clinical exploitation, part digressive philosophical inquiry. Gainsbourg’s character, Joe, the titular nymphomaniac, arrives as a beaten hump, and is rescued by a creepily deadpan Seligman (Stellan Skarsgård). This fi rst installment of the two-part fi lm is essentially Joe’s confession of her history of joyless sex with 10 or 20 men a day since she was a teenager. Seligman hilariously compares her sexual conquests to fl y-fi shing, Fibonacci numbers and classical polyphony (often with quirky visual cues) to tell her that her experiences are all perfectly normal. In its absurdist utopianism without understanding, it reaches back to von Trier’s most vital movie, The Idiots. But unlike that fi lm, Nymphomaniac is almost without aff ect. It’s almost as if von Trier wanted to be free to use

people without the distraction of personality. Which makes him a lot like his main character. MATTHEW KORFHAGE . Cinema 21, Hollywood Theatre.


C- The hardest part about watching Philomena, a fi lm based on the true story of an Irish woman’s search for the son she gave up for adoption 50 years previous, is accepting the amazing Judi Dench as a bumbling simpleton in the title role. “We don’t have Mexicans in England—we have Indians,” she excitedly explains to the MexicanAmerican cooks. If you can get over Dench as Grandma Goof—a role she plays as best she can— then Philomena stands on its own two feet. One of those feet is the enthralling, often emotional storyline. Philomena and Martin Sixsmith (Steve Coogan), a political journalist who’s taken on his fi rst human-interest story, uncover secrets both cloistered in the nunnery where Philomena’s child was born and spread across America, where her son was taken as a child. Unfortunately, the other foot is the waiter-my-soup humor that Fawlty Towers made irrelevant four decades ago. A stuff y Martin plays off the oblivious Philomena and vice versa. After suggesting that Martin not print her real name in the story, Philomena asks, “What about Anne…Anne Boleyn? It’s a lovely name!” After the fi lm ends, it’s Philomena’s story that sticks. Director Stephen Frears and company should be given credit only for staying out of the real Philomena’s way. PG-13 . MITCH LILLIE . Laurelhurst Theater, Academy Theater.

Rio 2

It’s back to the Brazilian tropics, with Anne Hathaway and Jesse Eisenberg voicing mama and papa macaws raising a feathered brood. WW was too hungover from spring break to make the screening. G . Cedar Hills.


Don’t want Russell Crowe on a boat? How about Arnie—as in the Governator—as the head of an elite DEA squad? He’s got a mean neck tatt . R . Cedar Hills, Eastport, Clackamas, Cornelius, Oak Grove.


B In Teenage, documentary fi lm-

maker Matt Wolf presents a scrapbook-style look at how the concept of the titular stage of life developed over the fi rst half of the 20th century. Based on a 2007 book by Jon Savage, Wolf uses archival footage, fi rst-person narration and a feisty soundtrack by Deerhunter’s Bradford Cox to chart the teen experience through the two world wars, segregation, dope and the jitterbug. It’s an interestANNA ROSE HOLMER

evant tics, telegraph their amateur eff orts to the audience and presumably depend upon natural presence and timing to carry a scene, which tends to fail disastrously when the co-star cannot wink. It actually is easy being green-screened. Comedy with puppets is hard . PG . JAY HORTON . Cedar Hills, Eastport, Clackamas, Cornelius, Indoor Twin, Oak Grove.


TEENAGE Willamette Week APRIL 2, 2014




ing history lesson through the eyes of young people: Accounts of the Harlem riots, boredom during the Great Depression and resistance to the Nazi party among German youth are particularly poignant in their innocence. However, while the narrations are supposedly drawn from real diary entries, it’s never made clear who penned these perceptive jottings, or how the journals were recovered. But if there is one thing viewers will learn from these anonymous historians, it’s that getting old is totally lame. “Our world was speedy, and they were old,” writes one girl about adults. Comments another diary keeper from the ’40s: “17 is the perfect age between adolescence—which means you’re going somewhere—and adulthood, which means you’re on the downgrade.” GRACE STAINBACK . Living Room Theaters.


Tim’s Vermeer


B- In this documentary from Penn

and Teller (yes, that Penn and Teller), an inventor of high-tech computer equipment named Tim Jenson sets out to re-create the painting The Music Lesson by 16thcentury Dutch master Johannes Vermeer. The music is lovely, as are the glimpses of Vermeer’s work, but there’s something missing. Even at the conclusion of Jenson’s experiment, it’s not completely clear whether Vermeer had the help of a camera obscura when painting his masterpieces. What is crystal clear is that Jenson has too much time and money on his hands. Otherwise, why would he devote five years of his life to what is, in the end, (a) an extended version of MythBusters and (b) a hyped-up game of paint-by-numbers? DEBORAH KENNEDY. Living Room Theaters.

Veronica Mars

After a Kickstarter campaign that made headlines—backers contributed $5.7 million—the movie adaptation of the cult-favorite TV show is being rolled out across the country. Onetime amateur sleuth Veronica is about to graduate from law school when she learns her ex-boyfriend has been accused of murder, so she fl ies back home, just in time for her 10-year high-school reunion . PG13 . Living Room Theaters.

The Wolf of Wall Street

A Martin Scorsese’s best picture

since Goodfellas and his fi fth with Leonardo DiCaprio is at once hilarious, terrifying, hallucinogenic, infuriating, awe-inspiring, meandering and, at three hours, utterly exhausting. It’s also (in this critic’s opinion) the best movie of 2013, possibly DiCaprio’s fi nest work and the bitch slap that Wall Street deserves—even if the true but ludicrous story of fi nancial criminal, stock-market juggernaut and rampant drug addict Jordan Belfort could inspire others to aspire to his level of douchebaggery. This is a man who makes Gordon Gecko seem like Mother Teresa. With his buddies, he runs roughshod over the fi nancial well-being of rich and poor alike and creates for himself a world of drug-addled debauchery that makes Hunter S. Thompson’s escapades seem like a college freshman’s. Some may scoff at the runtime, or at the fi lm’s episodic look into Belfort’s debauchery, but both just serve to further pummel you into submission as our “hero” glides through a privileged life with a steady diet of Quaaludes, cocaine, hookers, alcohol, sushi and hubris. Every moment counts. Every scene is frontloaded with hysterics and backloaded with dread. It is a modern masterpiece of excess, style and lunacy. R . AP KRYZA . Laurelhurst Theater, Valley Theater.


Willamette Week APRIL 2, 2014

Editor’s Note: It’s been two weeks since columnist AP Kryza disappeared, leaving behind only a garbled voicemail and Jewish cats, crop tops a cryptic note delivered by a small fluffy and lots of kung fu at dog in formal wear. We recently spotted Portland’s indie theaters. a smoke message in the sky, though—a skywriter seemed to be struggling to spell “batshit” while drawing illustrations of Miss Piggy, Bilbo Baggins and Ryan Gosling eating meatball subs together. So for another week, Deborah Kennedy steps up to tell us what’s playing in local repertory theaters. ALSO SHOWING: You might think the “drunken fist” fighting technique involves too many Jäger bombs and a bouncer. But if you’ve seen Drunken Master, you know it’s as far from a clumsy bar fight as you can get. According to this 1978 kung fu comedy starring Jackie Chan, it’s an intricate, eight-step martial art form that arms you with all the unique kicks and punches required to save your father from a notorious killer, known to all as “Thunderleg.” Laurelhurst Theater. April 4-10. Orson Welles and Rita Hayworth are on a boat in The Lady From Shanghai, which tells the story of Michael O’Hara, an Irish seaman who, against his better judgment, falls in love with his boss’s wife and becomes entangled in a murder plot. Co-starring the San Francisco Aquarium and one very surreal hall of mirrors. NW Film Center’s Whitsell Auditorium. 7 and 9 pm Friday-Saturday, April 4-5. When it first debuted in 1974, Le Cousin Jules thrilled audiences and critics alike with its quiet and obsessively detailed depiction of the daily lives of an elderly couple living in isolation in the French countryside. For many years, film buffs worried Dominique Benicheti’s masterpiece would be lost to time and decay, but now, fully restored, it comes to town as part of the PSU French Film Festival. 5th Avenue Cinema. 7 pm Friday, April 4. Set in 1920s Algeria and based on the comic-book series of the same name, Le Chat du Rabbin (The Rabbi’s Cat) follows the adventures of a fussy feline that, having swallowed a parrot, can speak and demands to be converted to Judaism. Part of the PSU French Film Fest. 5th Avenue Cinema. 7 pm Saturday, April 5. Nearly 30 years later, Terry Gilliam’s dystopian nightmare Brazil remains as hilarious and terrifying as it was the first day it was unleashed on the world. Hollywood Theatre. 7 pm Saturday, April 5. Who wants to travel first class, mai tai in hand, when you can get a Hard Ticket to Hawaii? Andy Sidaris’ 1987 B-movie masterpiece basks in the glory that is babes in crop tops, diamond-hungry drug lords and escaped toxic snakes. Tonight’s screening will feature live comedic commentary a la Mystery Science Theater 3000. Hollywood Theatre. 9:45 pm Saturday, April 5. If you like your Bible stories animated, illuminated, set in the eighth century and full of forest spirits, then Le Secret de Kells is the film for you. The final offering of the PSU French Film Fest, it was nominated for an Academy Award for Best Animated Feature in 2009. 5th Avenue Cinema. 5 pm Sunday, April 6. Directed by Luchino Visconti, Rocco and His Brothers is a classic of 1960s Italian cinema. The film follows the lives of a mother and her five sons who leave Sicily for a more peaceful life in the north, only to run into trouble in the form of a beautiful prostitute. NW Film Center’s Whitsell Auditorium. 6:30 pm Sunday, April 6. A wise man once said, “Don’t do drugs.” He probably should have added, “And never join a blood-swilling masked gang because this choice will probably come back to haunt you.” Kao Yao (also known as Lizard Venom) learns this the hard way when he tries to kneecap his former gang in the 1982 kung fu kitschfest Masked Avengers. Hollywood Theatre, 7:30 pm. Tuesday, April 8.

APRIL 4–10



THE WAY OF THE WINO: Drunken Master plays April 4-10 at the Laurelhurst Theater.

Regal Lloyd Center 10 & IMAX


Regal Lloyd Mall 8

2320 Lloyd Center Mall CAPTAIN AMERICA: THE WINTER SOLDIER 3D FriSat-Sun-Mon-Tue-Wed 02:45, 08:30 CAPTAIN AMERICA: THE WINTER SOLDIER Fri-Sat-Sun-MonTue-Wed 11:30, 06:00

Regal Division Street Stadium 13 16603 SE Division St. CAPTAIN AMERICA: THE WINTER SOLDIER 3D Fri 12:00, 03:15, 06:45, 10:00 CAPTAIN AMERICA: THE WINTER SOLDIER Fri 12:30, 03:45, 07:15, 10:30

Cinema 21

616 NW 21st Ave., 503-223-4515 THE GRAND BUDAPEST HOTEL Fri-Sat-Sun-MonTue-Wed 02:00, 03:45, 04:15, 06:30, 07:00, 09:00, 09:30 NYMPHOMANIAC Fri-Sat-Sun-Mon-Tue-Wed 03:30, 06:00, 08:45

Clinton Street Theater


Laurelhurst Theatre & Pub

2735 E Burnside St., 503-232-5511 12 YEARS A SLAVE FriSat-Sun-Mon-Tue-Wed 06:30 AMERICAN HUSTLE Fri-Sat-Sun-Mon-Tue-Wed 09:00 GRAVITY Fri-SatSun-Mon-Tue-Wed 07:00 DRUNKEN MASTER FriSat-Sun-Mon-Tue-Wed 09:20 THE WOLF OF WALL STREET Fri-SatSun-Mon-Tue-Wed 08:40 PHILOMENA Fri-Sat-SunMon-Tue-Wed 06:20 HER Fri-Sat-Sun-Mon-Tue-Wed 09:30 DALLAS BUYERS CLUB Fri-Sat-Sun-Mon-TueWed 06:50 FROZEN SINGALONG Sat-Sun 01:00

Moreland Theatre

6712 SE Milwaukie Ave., 503236-5257 THE GRAND BUDAPEST HOTEL Fri-Sat-Sun-MonTue-Wed 05:30, 07:40

Oak Grove 8 Cinemas

16100 SE McLoughlin Blvd., 503-653-9999 CAPTAIN AMERICA: THE WINTER SOLDIER Fri-SatSun-Mon-Tue-Wed 01:00, 02:30, 04:00, 05:30, 07:00, 08:30, 10:00 BAD WORDS Fri-Sat-Sun-MonTue-Wed 01:10, 03:20, 05:30, 07:40, 09:45 NOAH Fri-Sat-Sun-Mon-Tue-Wed 12:30, 03:30, 06:30, 09:30 DIVERGENT Fri-Sat-SunMon-Tue-Wed 12:40, 03:40, 06:40, 09:40 MUPPETS MOST WANTED Fri-SatSun-Mon-Tue-Wed 12:05, 02:30, 05:00, 07:30, 09:50 SABOTAGE Fri-Sat-SunMon-Tue-Wed 12:00, 02:20, 04:50, 07:20, 09:55 MR. PEABODY & SHERMAN Fri-Sat-Sun-Mon-Tue-Wed 12:50, 03:00, 05:10, 07:10, 09:20

CineMagic Theatre 2021 SE Hawthorne Blvd., 503-231-7919 NOAH Fri-Sat-Sun-MonTue-Wed 05:30, 08:20

Century 16 Eastport Plaza 4040 SE 82nd Ave., 800-326-3264-952 300: RISE OF AN EMPIRE Fri-Sat-Sun 11:10, 01:55, 04:30, 07:25, 10:10 300: RISE OF AN EMPIRE 3D Fri-Sat-Sun 07:00, 09:50 THE LEGO MOVIE Fri-SatSun 11:00, 01:45, 04:30, 07:15, 10:00 THE LEGO MOVIE 3D Fri-Sat-Sun 10:50, 01:30, 04:05 MR. PEABODY & SHERMAN Fri-Sat-Sun 11:40, 02:20, 05:05, 07:35, 10:20 MR.

PEABODY & SHERMAN 3D Fri-Sat-Sun 11:05, 01:40, 04:20 NON-STOP Fri-Sat-Sun 06:55, 09:45 DIVERGENT Fri-Sat-Sun 11:00, 12:15, 02:15, 03:30, 05:30, 06:50, 08:50, 10:05 MUPPETS MOST WANTED Fri-Sat-Sun 11:15, 02:10, 05:00, 07:45, 10:30 BAD WORDS Fri-Sat-Sun 11:25, 01:50, 04:20, 07:10, 09:45 THE GRAND BUDAPEST HOTEL Fri-Sat-Sun 11:20, 02:00, 04:45, 07:20, 10:00 NOAH Fri-Sat-Sun 11:05, 12:30, 02:20, 03:45, 05:30, 07:00, 08:45, 10:15 SABOTAGE Fri-Sat-Sun 11:10, 01:50, 04:40, 07:30, 10:25 CAPTAIN AMERICA: THE WINTER SOLDIER FriSat-Sun 11:45, 03:15, 06:45, 10:15 CAPTAIN AMERICA: THE WINTER SOLDIER 3D Fri-Sat-Sun 10:45, 01:00, 02:15, 04:30, 05:45, 08:00, 09:30

Hollywood Theatre

4122 NE Sandy Blvd., 503-281-4215 NYMPHOMANIAC: VOLUME I Fri-Sat-Sun-Mon-TueWed 06:45 AMERICAN HUSTLE Fri-Sat-Sun-MonTue-Wed 09:00 MISTAKEN FOR STRANGERS FriSat-Sun-Mon-Tue-Wed 09:45 FLIGHT OF THE NAVIGATOR Sat-Sun 03:00 BIG MEN Sat-Sun 04:45 BRAZIL Sat 07:00 HARD TICKET TO HAWAII Sat 09:45 INTERIOR. LEATHER BAR. Sun-Mon 09:30 MASKED AVENGERS Tue 07:30 VISIONARY & THE VISION Wed 07:00 STAND WITH ME Wed 07:30

NW Film Center’s Whitsell Auditorium 1219 SW Park Ave., 503-221-1156 THE LADY FROM SHANGHAI Fri-Sat 07:00, 09:00 ROCCO AND HIS BROTHERS Sun 06:30

Regal Pioneer Place Stadium 6 340 SW Morrison St. CAPTAIN AMERICA: THE WINTER SOLDIER FriSat-Sun-Mon-Tue-Wed 12:45, 04:00, 07:30, 10:45 CAPTAIN AMERICA: THE WINTER SOLDIER 3D FriSat-Sun-Mon-Tue-Wed 12:15, 03:30, 07:00, 10:15

St. Johns Theater

8203 N Ivanhoe St., 503-249-7474-6 DIVERGENT Fri-Sat-SunMon-Tue-Wed 04:30, 07:30 CAPTAIN AMERICA: THE WINTER SOLDIER Fri-MonTue-Wed 05:00, 07:55 NON-STOP Sat-Sun 02:00, 05:00, 07:55

Regal Cinemas Bridgeport Village Stadium 18 & IMAX

7329 SW Bridgeport Road CAPTAIN AMERICA: THE

WINTER SOLDIER -- AN IMAX 3D EXPERIENCE FriSat-Sun-Mon-Tue-Wed 12:30, 03:45, 07:00, 10:15 CAPTAIN AMERICA: THE WINTER SOLDIER Fri-SatSun-Mon-Tue-Wed 01:00, 04:15, 07:30, 10:45

Century Clackamas Town Center and XD

12000 SE 82nd Ave., 800-326-3264-996 3 DAYS TO KILL Fri-Sat-SunMon-Tue-Wed 07:00, 09:50 300: RISE OF AN EMPIRE 3D Fri-Sat-Sun-Mon-TueWed 04:50 300: RISE OF AN EMPIRE Fri-Sat-SunMon-Tue-Wed 11:20, 02:00, 07:20, 10:10 BAD WORDS Fri-Sat-Sun-Mon-Tue-Wed 12:20, 02:55, 05:25, 08:00, 10:25 CAPTAIN AMERICA: THE WINTER SOLDIER 3D Fri-Sat-Sun-Mon-Tue-Wed 10:50, 02:10, 03:00, 05:30, 08:50, 09:40 CAPTAIN AMERICA: THE WINTER SOLDIER Fri-Sat-Sun-MonTue-Wed 10:00, 11:40, 01:20, 04:40, 06:20, 08:00, 11:20 CESAR CHAVEZ Fri-SatSun-Mon-Tue-Wed 11:25, 02:15, 04:50, 07:35, 10:20 DIVERGENT Fri-Sat-SunMon-Tue-Wed 10:05, 11:45, 01:15, 02:50, 04:30, 06:00, 07:45, 09:10, 10:55 GOD’S NOT DEAD Fri-Sat-SunMon-Tue-Wed 10:45, 01:35, 04:25, 07:15, 10:05 THE GRAND BUDAPEST HOTEL Fri-Sat-Sun-Mon-Tue-Wed 11:30, 02:20, 04:55, 07:30, 10:00 THE LEGO MOVIE 3D Fri-Sat-Sun-Mon-Tue-Wed 04:15, 09:55 THE LEGO MOVIE Fri-Sat-Sun-MonTue-Wed 11:15, 01:45, 07:05 MR. PEABODY & SHERMAN 3D Fri-Sat-Sun-Mon-TueWed 09:35 MR. PEABODY & SHERMAN Fri-Sat-SunMon-Tue-Wed 11:00, 01:40, 04:05, 07:00 MUPPETS MOST WANTED Fri-Sat-SunMon-Tue-Wed 10:30, 11:55, 01:30, 02:55, 04:15, 05:35, 08:25, 11:15 NEED FOR SPEED 3D Fri-Sat-Sun-MonTue-Wed 01:00, 10:30 NEED FOR SPEED Fri-Sat-SunMon-Tue-Wed 04:10, 07:20 NOAH Fri-Sat-Sun-MonTue-Wed 10:00, 11:35, 01:10, 02:45, 04:20, 05:55, 07:40, 09:05, 10:50 NON-STOP Fri-Sat-Sun-Mon-Tue-Wed 11:40, 02:25 SABOTAGE Fri-Sat-Sun-Mon-Tue-Wed 11:10, 01:55, 04:35, 07:25, 10:15 THE METROPOLITAN OPERA: LA BOHEME Sat 09:55 METROPOLITAN OPERA: LA BOHEME ENCORE Wed 06:30


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Week of April 3




ACTIVISM ARIES (March 21-April 19): In his novel The Unbearable Lightness of Being, Milan Kundera says that the brain has “a special area which we might call poetic memory and which records everything that charms or touches us, that makes our lives beautiful.” In the coming days, it will be especially important for you to tap into this power spot in your own grey matter, Aries. You need to activate and stir up the feelings of enchantment that are stored there. Doing so will make you fully alert and available for the new delights that will be swirling in your vicinity. The operative principle is like attracts like. TAURUS (April 20-May 20): Our ancestors could see the Milky Way Galaxy spread out across the heavens on every clear night. Galileo said it was so bright, it cast a shadow of his body on the ground. But today that glorious spectacle is invisible to us citydwellers. The sky after sundown is polluted with artificial light that hides 90 percent of the 2,000 stars we might otherwise see. If you want to bask in the natural illumination, you’ve got to travel to a remote area where the darkness is deeper. Let’s make that your metaphor, Taurus. Proceed on the hypothesis that a luminous source of beauty is concealed from you. To become aware of it, you must seek out a more profound darkness. GEMINI (May 21-June 20): “Dear Gemini: I don’t demand your total attention and I don’t need your unconditional approval. I will never restrict your freedom or push you to explain yourself. All I truly want to do is to warm myself in the glow of your intelligence. Can you accept that? I have this theory that your sparkle is contagious -- that I’ll get smarter about how to live my own life if I can simply be in your presence. What do you say? In return, I promise to deepen your appreciation for yourself and show you secrets about how best to wield your influence. -Your Secret Admirer.” CANCER (June 21-July 22): The Cancerian artist Rembrandt became one of the world’s greatest painters. It was a struggle. “I can’t paint the way they want me to paint,” he said about those who questioned his innovative approach. “I have tried and I have tried very hard, but I can’t do it. I just can’t do it!” We should be glad the master failed to meet his critics’ expectations. His work’s unique beauty didn’t get watered down. But there was a price to pay. “That is why I am just a little crazy,” Rembrandt concluded. Here’s the moral of the story: To be true to your vision and faithful to your purpose, you may have to deal with being a little crazy. Are you willing to make that trade-off? LEO (July 23-Aug. 22): The Indian spiritual teacher Nisargadatta Maharaj offered a three-stage fable to symbolize one’s progression toward enlightenment. In the first stage, you are inside a cage located in a forest where a tiger prowls. You’re protected by the cage, so the tiger can’t hurt you. On the other hand, you’re trapped. In the second stage, the tiger is inside the cage and you roam freely through the forest. The beautiful animal is trapped. In the third stage, the tiger is out of the cage and you have tamed it. It’s your ally and you are riding around on its back. I believe this sequence has resemblances to the story you’ll be living in the coming months. Right now you’re inside the cage and the tiger is outside. By mid-May the tiger will be in the cage and you’ll be outside. By your birthday, I expect you to be riding the tiger. VIRGO (Aug. 23-Sept. 22): What is “soul work,” anyway? It’s like when you make an unpredictable gift for someone you love. Or when you bravely identify one of your unripe qualities and resolve to use all your willpower and ingenuity to ripen it. Soul work is when you wade into a party full of rowdy drunks and put your meditation skills to the acid test. It’s like when you teach yourself not merely to tolerate smoldering ambiguity, but to be amused by it and even thrive on it. Can you think of other examples? It’s Soul Work Week for you. LIBRA (Sept. 23-Oct. 22): Are you close to anyone who is a catalytic listener? Is there a person who

tunes in to what you say with such fervent receptivity that you get inspired to reveal truths you didn’t realize you knew? If so, invite this superstar out to a free lunch or two in the coming days. If not, see if you can find one. Of course, it is always a blessing to have a heart-to-heart talk with a soul friend, but it is even more crucial than usual for you to treat yourself to this luxury now. Hints of lost magic are near the surface of your awareness. They’re still unconscious, but could emerge into full view during provocative conversations with an empathetic ally. SCORPIO (Oct. 23-Nov. 21): On my blog, I quoted author Ray Bradbury: “You must stay drunk on writing so reality cannot destroy you.” I asked my readers what word they would use in place of “writing” to describe how they avoided being destroyed by reality. Popular responses were love, music, whiskey, prayer, dreams, gratitude, and yoga. One woman testified that she stayed drunk on sexting, while another said “collecting gargoyles from medieval cathedrals,” and a third claimed her secret was “jumping over hurdles while riding a horse.” There was even a rebel who declared she stayed drunk on writing so she could destroy reality. My question is important for you to meditate on, Scorpio. Right now you must do whatever’s necessary to keep from being messed with by reality. SAGITTARIUS (Nov. 22-Dec. 21): Does your mother know what you are up to these days? Let’s hope not. I doubt if she would fully approve, and that might inhibit your enthusiasm for the experiments you are exploring. It’s probably best to keep your father out of the loop as well, along with other honchos, cynics, or loved ones who might be upset if you wander outside of your usual boundaries. And as for those clucking voices in your head: Give them milk and cookies, but don’t pay attention to their cautious advice. You need to be free of the past, free of fearful influences, and free of the self you’re in the process of outgrowing. CAPRICORN (Dec. 22-Jan. 19): For the foreseeable future, I urge you not to spend much time wrangling with bureaucrats and know-it-alls. Avoid frustrating projects that would require meticulous discipline. Don’t even think about catching up on paperwork or organizing your junk drawer or planning the next five years of your career. Instead, focus on taking long meandering walks to nowhere in particular. Daydream about an epic movie based on your life story. Flirt with being a lazy bum. Play noncompetitive games with unambitious people. Here’s why: Good ideas and wise decisions are most likely to percolate as you are lounging around doing nothing -- and feeling no guilt for doing nothing. AQUARIUS (Jan. 20-Feb. 18): Are you waiting? Are you wondering and hoping? Are you calculating whether you are needed, and if so, how much? Do you wish the signs were clearer about how deeply you should commit yourself? Are you on edge as you try to gauge what your exact role is in the grand scheme of things? I’m here to deliver a message from the universe about how you should proceed. It’s a poem by Emily Dickinson: “They might not need me but – they might – / I’ll let my Heart be just in sight – / A smile so small as mine might be / Precisely their necessity -” PISCES (Feb. 19-March 20): You will soon get a second chance. An opportunity you failed to capitalize on in the past will re-emerge in an even more welcoming guise, and you will snag it this time. You weren’t ready for it the first time it came around, but you are ready now! It’s probably a good thing the connection didn’t happen earlier, because at that time the magic wasn’t fully ripe. But the magic is ripe now!

Homework Choose one area of your life where you’re going to stop pretending. Report results to

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

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Saturday, April 12, 2014 at 7:30 PM


is hiring line cooks, pizza cooks, prep cooks, catering cooks and a baker for the Power Station Pub and Black Rabbit Restaurant. Prev high vol rest kitchen exp a MUST. Must have an open & flex sched; days, eves, wknds and holidays. Please apply online 24/7 at www. or pick up a paper app at any McMenamins. Mail to 2126 SW Halsey, Troutdale, OR 97060 or fax: 503-667-3612. Call 503-952-0598 for info on other ways to apply. Please no calls or emails. E.O.E.

Admission FREE for 2013-14 Friends of Kalakendra & Members Adults: $20 ($25 at door), Children (3-12 years): $10 ($12.50 at door), Students (with ID): $15.00 Tickets can be purchased online at


McMenamins Edgefield

is now hiring Servers, Bartenders, Catering Captains, Hosts, Foodrunners and Bussers. The positions are pt-ft, seas position. Must have an open & flex sched including, days, eves, wknds and holidays. Must have high vol. restaurant exp and enjoy a busy customer service-oriented enviro. Please apply online 24/7 at www. or pick up paper app at any McMenamins location. Mail to 2126 SW Halsey, Troutdale, OR 97060 or fax: 503-667-3612. Call 503-952-0598 for info on other ways to apply. Please no phone calls/emails to individ locs! E.O.E.


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 serviceoriented enviro. 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.




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


The audio horoscopes are also available by phone at



Buckminster a.k.a. Bucky Hey there! I’m Buckminster, but you can call me Bucky. I’m five years young with the most luxuriously soft fur, which I take great pride in keeping clean and gorgeous. The snowy white and rich red stripes do wonders to bring out my deep blue green eyes don’t you think? But not to worry, you won’t need a lint roller with me I barely even shed - magic kitty! Sorry if I am starting to sound a little full of myself. I just have been waiting so long to find my forever home that I am trying to really highlight all of my wonderful special attributes!

I will also greet you each day with my charming sing-songy meows and contented purrs. I am easy going, extremely well behaved and generally an all around WONDERFUL kitty who will make a perfect addition to any family. I am currently in foster care, but would love to meet you anytime! I am fixed, microchipped and vaccinated, and my adoption fee is is $100. Just fill out an adoption application at pixieproject. org and we can schedule a meet and greet. I might even enjoy a canine companion too if you have one, but I’d definitely prefer to be your only favorite feline.

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by Matt Jones

I Know It Forward and Backward–letters in alphabetical order, that is.

54 Column’s counterpart 57 Robot dance caller’s instruction to folk dance? 60 Cake laced with rum 61 Lewd look 62 Despotic 63 Roswell sightings 64 Bread heels 65 Meets a bet 66 Recipe part

Across 1 Big ___ (David Ortiz’s nickname) 5 One in a million, e.g. 9 Desert Storm missile 13 Robin Thicke’s dad 14 Coffee ice cream flavor 15 Mr. Peanut accessory 16 Bubbly popper 17 Stick with Mario (and not that dreadful hedgehog

35 Kolkata currency 36 Boy in “Toy Story” 40 Why there’s now only a huge pile of banana peels left? 43 Tree gunk 46 “Dear” advice giver 47 Some winds 48 Not quite in the majors 50 “Do me a ___” 52 Tank buildup 53 Be slack-jawed

instead)? 19 First name in talks 20 Dandling place 21 Wilder’s “Silver Streak” costar 22 Carries out orders 24 Without exception 26 Ford or Rollins 28 Put forth 29 Draw upon 30 Still able to stay awake for a few more minutes? 34 Disposition

Down 1 Accord 2 Sunblock ingredient 3 “Sorry about that” 4 Ballpoint fluid 5 Bench wear 6 Feel sore 7 P, on a frat house 8 Musical knack 9 Contempt 10 Favor asker’s opening 11 Labor forces 12 Order from above 14 Loads 18 Bender 20 Janitor’s pocketful 23 Bucking beast 24 Dice 25 Lopsided 26 It may be cured 27 Bulldog, schoolwise 28 Opium origin 31 A ___ Called Quest 32 Fitness program

based on Latin dancing 33 ___ Lama 37 Annual nonathletic sports event 38 Billy ___ Williams 39 QB gains 41 Van trailer? 42 Eye up 43 Not wobbly 44 Sorkin who voiced Harley Quinn in the Batman animated series 45 Overate, with “out” 49 Figure skating event 50 “___ alive!” 51 National gemstone of Australia 53 School supplies list item 55 Double reed instrument 56 Nesting insect 58 Some notebooks 59 Miner’s quarry 60 Student driver?

last week’s answers

©2014 Jonesin’ Crosswords ( 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 #JONZ669.

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40 22 willamette week, april 2, 2014  
40 22 willamette week, april 2, 2014