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VOL 40/23 04.09.2014

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Willamette Week APRIL 9, 2014


CONTENT Time for new Birkenstock sandals? We can help.

RUN THIS TOWN: Tracking the trends in local running gear. Page 16.
















STAFF Editor-in-Chief Mark Zusman EDITORIAL Managing Editor for News Brent Walth Arts & Culture Editor Martin Cizmar Staff Writers Nigel Jaquiss, Aaron Mesh, Kate Willson Copy Chief Rob Fernas Copy Editors Matt Buckingham, Jessica Pedrosa Stage & Screen Editor Rebecca Jacobson Music Editor Matthew Singer Projects Editor Matthew Korfhage Books Penelope Bass Dance Aaron Spencer Theater Rebecca Jacobson Visual Arts Richard Speer Editorial Interns Laura Hanson, Kathryn Peifer, Cambria Roth, Brendan Welch

FOLLOW YOUR FEET TO FOOTWISE CONTRIBUTORS Emilee Booher, Ruth Brown, Nathan Carson, Rachel Graham Cody, Pete Cottell, Jordan Green, Jay Horton, AP Kryza, Nina Lary, Mitch Lillie, John Locanthi, Enid Spitz, Grace Stainback, Mark Stock, Michael C. Zusman PRODUCTION Production Manager Ben Kubany Art Director Kathleen Marie Graphic Designers Mitch Lillie, Amy Martin, Xel Moore, Dylan Serkin Production Interns Emma Browne, Will Corwin ADVERTISING Director of Advertising Scott Wagner Display Account Executives Maria Boyer, Ginger Craft, Michael Donhowe, Kevin Friedman, Janet Norman, Kyle Owens, Sharri Miller Regan, Andrew Shenker Classifieds Account Executive Matt Plambeck Advertising Assistant Ashley Grether Marketing & Events Manager Steph Barnhart Give!Guide Director Nick Johnson

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

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As a cab driver who regularly works 82nd Avenue, I fi nd it hilarious that a lot of people who live close in have no idea that this part of town exists [“Portlandia at Cartlandia,” WW, April 2, 2014]. Outside of the uber-hip, close-in neighborhoods exists this very interesting area consisting of working-class people and a whole underworld of drugs, prostitution, karaoke, shady business and bike paths lined with ex-convicts. I come across a lot of people who want to hear stories, and if I pull out some of the really gritty stuff that I’ve experienced out there, I feel like they don’t believe this stuff exists in Portland. Maybe it doesn’t exist if you never stray from the 10 square blocks surrounding Dig a Pony. “Ugh” I find it interesting to go to places like 82nd Avenue because you see such a variety of people, who often are just as quirky as the “hip” people in other sections of the city. The truly progressive-minded can find the party in any part of the city, not just within a few-block radius. “newkewlfarsw”


Having been a resident of Northwest Portland back in the late ’70s when Katherine Dunn was serving breakfast at the Stepping Stone and drawing pitchers of beer at the Earth, while working on her novel, I enjoyed the article about the long life and extensive influence of Geek Love [“Geek Loved,” WW, April 2, 2014].

Good answer in last week’s column, but wrong sign. Your reader was not talking about the Uncle Sam sign in Chehalis, but the religious billboard that’s stood near Kalama for years. —Liberty

I’m afraid, Liberty, that you (and numerous other readers) are correct: Last week’s column answered a question about a wacky billboard near Kalama with a response about a wacky billboard near Chehalis. Like Ryan Reynolds and Ryan Gosling, Kalama and Chehalis are easy to get mixed up. Still, that’s no excuse, so I’m going to man up and take my medicine. (To be honest, I was planning to take the medicine anyway—it’s really good medicine. Maybe just a little more…ah, there we go.) Now, where were we? Oh, right; the billboard. Unfortunately, a combination of scheduling challenges and this tedious electronic ankle monitor made it impossible for me to go up to Kalahalis or whatever to check it out for myself. Luckily, reader Lesley S., a former resident 4

Willamette Week APRIL 9, 2014

Dunn, like the waitresses who worked the graveyard shift at Quality Pie, had a serene and comforting (yet authoritative) presence that communicated to every customer that regardless of their condition or the unpleasant voices in their head, they would be taken care of as long as they did not start any nonsense. Ed Reckford Northeast Portland


Ignorance is not a bad word but simply means the lack of knowledge. I used to be one of the good citizens who took a very dim view of the homeless [“21 and Over,” WW, April 2, 2014]. Once I had an open mind and was enlightened, my view totally changed. I believe that Right 2 Dream Too is a godsend and those who work downtown at R2D2 are angels. If we look at other countries and judge them on how they treat those with very little resources, then we may want to turn that high-powered and judgmental microscope on ourselves. “Trena Sutton”


Contrary to a report in our books listings March 26, Portland authors Cheryl Strayed and Chelsea Cain were never part of the writing group founded by fellow local author Tom Spanbauer. WW regrets the error. 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:

of the Chelahama area, comes through: “When I moved to Kelso in 1974, the billboard read: ‘After death…the judgment.’ Kind of a scary message to read from the freeway.” According to an article by Michael Perry in the Columbia River Reader, the billboards in question (there’s one facing in each direction along I-5) advertise the Gospel Sign Shop, supposedly housed in a tiny shack between the two signs. I say “supposedly,” since Perry claims the “shop” exists to take advantage of a loophole in the 1960s law restricting billboards along the highway: The signs are legal because they aren’t really signs, they’re onsite samples of the work the Gospel Sign Shop could do for you. It’s not clear how you’d hire them, since they don’t appear to have a phone number or any other independently confirmable footprint as a business. But I suppose that with enough medicine, anything is possible.

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BUSINESS: Its subsidies dried up, Banfield Pet Hospital bolts. ONE QUESTION: What spending would county chair candidates cut? ARTS: Oregon Repertory Singers investigates its former chief. SCHOOLS: Parents demand action on PPS’s discipline policies. HOTSEAT: Federal Public Defender Steven Wax.


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Multnomah County is erasing all traces of Sonia Manhas, the health department employee who had an affair with thenCounty Chairman Jeff Cogen. (They both quit last year, under duress, after Cogen admitted to the affair.) In its proposed 2014-15 budget, the county wants to eliminate Manhas’ old job and fold the health department’s office of policy and planning into another division. Manhas—who pushed such public health efforts as MANHAS discouraging people from drinking too much sugary soda—helped create the office before applying to run it. The move saves the budget about $200,000. County spokeswoman Julie Sullivan-Springhetti says much of the office’s work will continue: “Really, it’s up to the next health department director and the next [county] chair to decide the county’s priorities and policies around community health.” We’ve seen this one before: State officials declare the Columbia River Crossing project dead, then find a way to keep it alive. Gov. John Kitzhaber labeled the CRC a goner after the Legislature in February refused to go along with an Oregon-only plan to build the $2.8 billion Interstate Bridge and light-rail project. But lawyers for the feds and the state recently told a federal judge they still hope the project can get funded. They made that surprising claim in a federal lawsuit brought by the Coalition for a Livable Future, a Portland advocacy group seeking to block the CRC on environmental grounds. If the project truly were dead, the coalition’s lawsuit would be moot. But on March 18, project lawyers sought and received a stay that keeps the CRC alive for another year. Oregon Department of Transportation spokesman Dave Thompson says ODOT will not seek CRC funding. Critics are skeptical. “I’m very concerned,” says Maura Gross, the coalition’s executive director. “The governor indicated this project was shutting down, but what’s happening in the litigation tells a different story.”



The city of Portland has spent $96 million since 1998 trying— and failing—to rebuild the East Portland neighborhood of Lents, as WW reported earlier this year (“Razed & Confused,” WW, Jan. 22, 2014). Following that story, Mayor Charlie Hales and the Portland Development Commission are preparing to spend even more to rescue the work already done in the Lents Town Center Urban Renewal Area, according to a draft plan obtained by WW. “We’re doubling down,” writes PDC officials in the upcoming “Lents 5-Year Action Plan.” It proposes that the city spend another $54 million. The city has issued six such plans before. What’s different this time? Deadlines: PDC wants to see five major projects under construction by 2019 near or along Southeast 92nd Avenue and Foster Road. Some residents are pleased to see the benchmarks. “It’s time to start acting,” former Lents Neighborhood Association chairman Nick Christensen says. “I’m optimistic that the PDC gets that.”

Read more Murmurs and daily scuttlebutt.








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


FOR SALE OR RENT: Employees at the Banfield Pet Hospital headquarters at 8000 NE Tillamook St. will relocate to Vancouver, Wash., where Banfield’s CEO and 30 percent of staff live.


Most people know Banfield Pet Hospital from its convenient locations in hundreds of PetSmart stores across the United States. The Banfield chain started in Portland, and nine years ago the company built a $25 million headquarters in Northeast Portland, after local governments gave the company more than $1.43 million in taxpayer subsidies and millions more in a favorable land deal. “We’re here to stay,” Kelly Orfield, Banfield’s senior director of hospital operations, told the Mid-County Memo newspaper in 2005. “Stay” is a relative term in the arena of government economic incentives. Those subsidies have run dry, and Banfield Pet Hospital—bought in 2007 by Mars Inc., with its estimated $30 billion in annual sales—is leaving the city and moving across the Columbia River to Vancouver. The case of Banfield Pet Hospital underscores the tradeoffs, and risks, when local governments essentially pay companies to locate here. Tony Rufolo, an emeritus professor of economics at Portland State University, has studied enterprise zones and other corporate tax incentives. He says policymakers

should ask two questions about tax incentives: Would the company have made the investment regardless and are there long-term benefits? “In general, enterprise zones don’t seem to be very effective,” Rufolo says. “[Banfield’s] case would seem to confirm the criticism that there’s little long-term benefit for taxpayers.” The story starts back in 2003, when Banfield, then owned by Dr. Scott Campbell, an Oregon veterinarian, began looking for more space for its headquarters. Meanwhile, Portland Public Schools was trying to unload surplus real estate, including an alternative school called Vocational Village where students took shop classes and other types of hands-on instruction. County property records show the 5.3-acre site at Northeast 80th Avenue and Tillamook Street was valued at $4.7 million. But PPS was at the time desperate to plug holes in its budget. The district said it had the property appraised at $2.1 million, and then sold it to Banfield for $2.3 million. The Portland City Council was under pressure to be more business-friendly, after seeing Louisiana-Pacific Corp., a building materials manufacturer, move to Nashville, Tenn., and Columbia Sportswear move its headquarters to Washington County. Not only did the City Council unanimously approve Banfield’s request for necessary zoning changes, the city also made sure Banfield could take advantage of one of the city’s enterprise zones. Enterprise zones are designed to induce companies to invest in economically struggling areas by waiving prop-

erty taxes. Like most tax breaks, enterprise zones are controversial. In 2006, the nonpartisan Legislative Fiscal Office produced a report raising questions about the effects of enterprise zones. And in 2010, Rufolo and two colleagues wrote a report that said the cost per job produced by enterprise zones was high and “there appears to be no overall effect on economic growth.” Banfield was fortunate to get its tax break in the first place, persuading the Portland Development Commission to stretch the boundaries of the North/Northeast Enterprise Zone to include its new property. Banfield’s tax benefit—valued at $1.43 million—all but expired in 2012, and last year the company, which had grown from 350 to 500 employees in Portland, started looking for a new headquarters location. The PDC offered locations in Lents, Gateway and Cascade Station near Portland International Airport. The agency even offered a new enterprise-zone tax break, city-subidized loans and workforce training. It wasn’t enough. “I think we were competitive on cost,” PDC economic development director Chris Harder says. “But we were told they wanted a more suburban environment.” Banfield officials declined to answer questions. “This [Vancouver] site best met our long-term growth, business and cultural needs,” the company said in a statement. State Rep. Jules Bailey (D-Portland), who serves as co-vice chair of the Joint Committee on Tax Credits, has studied enterprise zones in his economic consulting work. Bailey—who’s running for Multnomah County commissioner—says politicians need to be careful not to get manipulated and should consider inserting “clawback” language in tax-break agreements. “The point of an enterprise zone is, we are forgoing revenue now in the expectation that there will be job gains for underserved communities,” Bailey says. “We’re making an investment expecting a return. If we don’t get that return, it’s fair to ask if we should get our investment back.” Willamette Week APRIL 9, 2014


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OK, this week it’s actually two questions for the leading candidates in the May 20 primary election for Multnomah County chair. But the questions to Jim Francesconi and Deborah Kafoury are closely related. A key responsibility of the Multnomah County chair is writing the county’s budget and setting the fivemember Board of Commissioners’ priorities. The county’s menu of services is not sexy, but it’s crucial: jails and post-incarceration supervision; public health, including mental health; addiction treatment; and a host of social services programs designed to provide a safety net for low-income county residents. The county’s general fund this year is $469 million. When you count up all the money, including state and federal funds, it’s $1.53 billion. We wanted to know what Francesconi and Kafoury would do differently.


opportunities there, it’s going to free up additional resources for mental health and addiction. [Obamacare pays for health care the county provides free of charge.] There’s a gaping hole in the safety net. The additional resources—at least $20 million— should stay with mental health. Any new resources (not from the ACA) should be spent on ramping up social services for poor children in programs connected to our schools, such as summer programs and [Schools Uniting Neighborhoods] programs.”

KAFOURY: “Helping homeless families get into housing. The county helps homeless families with short-term rent assistance. For example, if a family is dangerously close to being evicted, the county can help with cash infusion. Once a family has become homeless, the county can help in various ways. I found in my five years as a [Multnomah] County commissioner, that if you help people into stable housing, they can better take advantage of other county services, such as drug and alcohol counseling, mental health treatment and job training.”

IF YOU HAD TO DISCONTINUE ONE COUNTY FUNCTION, WHAT WOULD IT BE AND WHY? FRANCESCONI: “Right now, the county owns and operates six bridges over the Willamette River. The county should not be in the bridge business. That function should be cut and transferred to either Metro or TriMet, with the city of Portland being part of the process.” KAFOURY: “The county crops program would be on the chop-

ping block. That program grows food, utilizing the county’s farmer, on a parcel of land out by McMenamins Edgefield. The original idea was for it to be funded through donations and volunteer labor. They do use volunteers and community service from the juvenile justice program. And the food is donated to a nonprofit. But we have better ways to feed really needy people.” NIGEL JAQUISS.


Willamette Week APRIL 9, 2014



Willamette Week APRIL 9, 2014



arts w w s ta f f


Oregon Repertory Singers has launched an investigation of its former executive director after learning that virtually all of the arts organization’s financial records have disappeared. The organization, a collection of six choirs now celebrating its 40th year, has also asked the Portland police to investigate, according to a letter sent by the group’s board and obtained by WW. “We are unable to locate many of the records that would normally be kept in office files or on our computer system,” writes board chairman Mike Lindberg, a former longtime Portland city commissioner, in the April 7 letter. “Some of the missing information is financial, including tax records, and some of

the information entered into our accounting software doesn’t match our financial institution’s records.” The focus of the investigation is Jed Shay, who left Oregon Repertory Singers in December to become executive director of the Portland Youth Philharmonic. In the four months since Shay left Oregon Repertory Singers, Lindberg says in his letter, the organization has been unable to figure out its financial position. “We’re spending many hours trying to locate, reconcile and sometimes rebuild

what is missing,” Lindberg writes. “We have had to correct financial information, such as payroll taxes, and file amended tax forms with additional payments for 2013.” The need to correct its taxes raises the question of whether the organization is missing any money. Lindberg declined to comment to WW on the letter or the investigation. Shay tells WW by email that he has cooperated fully to help locate the missing financial records. “I will continue to cooperate with their inquiries,” he says.

“I did not operate in a financial vacuum,” Shay adds. “The board had unfettered access and oversight with respect to our finances, including our taxes.” Oregon Repertory Singers—which includes both adult and youth choirs—last filed a tax return Nov. 13, 2013. The return listed $323,000 in revenues for fiscal year 2012—about what the group has brought in annually for the past five years. Oregon Repertory Singers board member Carol Fenstermacher says the missing records have left the organization uncertain about its financial status. “We are really trying to get a handle on where we are financially,” Fenstermacher says. “We do not seem to have the funds we thought we did.” Fenstermacher said it’s still not clear whether any money is missing. “We don’t know,” she says. “Some entries are not the same as some of the bank statements.” Public records suggest Shay has experienced difficulties in paying his personal bills. Over the past three years, five creditors have sued him in Washington County Circuit Court, seeking more than $9,600. Shay didn’t respond to WW’s inquiries about the lawsuits. In his letter, Lindberg disclosed that Oregon Repertory Singers has hired legal counsel and asked the Portland police to investigate. Police spokesman Sgt. Pete Simpson said he couldn’t comment on the case. As for Shay, his current employer, the Portland Youth Philharmonic, says he is on leave during the investigation.


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Sheila Warren says she’s fed up. For years now, she and others have been asking Portland Public Schools to change the way it disciplines students who get into trouble. She’s written letters, attended meetings and brought students and parents before the School Board to describe the effects of suspensions and expulsions, which fall disproportionately on Portland’s black, Latino, low-income and special-education students. “ We’ve been tr y ing to push for a reduction in exclusionary discipline for years,” Warren says, “and we never got a response.” Wa r ren a nd the Por tla nd Pa rent Union—a group she founded in 2009 to support families of children facing school discipline—have decided to try something different. This week, the group is launching a campaign calling on the district to declare a moratorium on out-of-school suspensions that require students to do their time outside of school. Warren, who sent her children and grandchildren through PPS, says she hopes the formal call for a halt to out-ofschool suspensions will get the attention of school officials and parents. “It’s a paradigm shift,” says Warren. “We are asking for the schools to pause and listen to the families and students before they make a decision of what they will do with kids.” Expulsions and out-of-school suspensions and racial disparities in school discipline are problems across the country. But the racial disparities have been growing at PPS, and the district hasn’t moved fast enough to fi x them for Warren

and other community members. District numbers show PPS turns to out-of-school suspensions two and a half times as often as requiring suspended students to serve their time in school, sometimes in study halls or detention. School officials say they have been responsive and are working to reverse the trend of widening disparities. School Board member Bobbie Regan says the district has not moved fast enough to close the gaps. “There’s a whole lot of work going on in the district right now,” Regan says. “I’m not sure if a moratorium is really possible, but I am convinced that we could do better. It’s absolutely the discussion we should be having.” PPS data show that, overall, the district is suspending and expelling fewer students than it did three years ago—a trend that school officials say is good news. But the data also show that the hammer, when it falls, hits African-American students harder relative to white students. Last fall, W W reported that racial disparity in PPS’s discipline of white and African-American students was growing despite expensive efforts to reverse the trend (“Expel Check,” WW, Sept. 25, 2013). Data obtained by WW showed black students in 2012-13 were nearly five times more likely to be disciplined than white students. U.S. Attorney General Eric Holder and Education Secretar y A rne Duncan announced in 2011 a crackdown on schools’ overuse of exclusionary discipline and its disproportionate impact on minority and special-education students. The U.S. Department of Education’s Office of Civil Rights reported last month that expulsions and suspensions are imposed significantly more often on Latino and African-American students, do little to improve school safety or deter misbehavior, and hurt academic achievement and graduation rates. The Oregon Education Investment Board also issued a brief in March 2013 calling for Oregon districts to find alter-

SEEKING A MORATORIUM: “School Board members are the top dogs of the district,” says Sheila Warren of the Portland Parent Union. “They are the people who say yea or nay on programs. And they aren’t showing up for our events.”

natives to out-of-school suspensions and expulsions. WW reported last fall that the disparities have grown despite expensive efforts to change the district’s culture regarding race, including $2.5 million on racialsensitivity training for teachers, staff and administrators. Recently, PPS implemented an alternative approach to discipline at a number of Portland schools that promotes positive behavior over punishment, and a program called Restorative Justice, which works to have the disciplined make amends for his or her actions. Tammy Jackson, PPS’s director of student services, says the district is rewriting its discipline policies, which she says should be ready by the start of the 2014-15 school year. Jackson says PPS has been talking to other school districts, such as Baltimore and San Francisco, that have introduced

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moratoriums similar to the one sought by Warren’s group. She adds that each case of student discipline is different, and the punishment meted out needs to take into account many factors, including the safety of students. “We know exclusion is not an effective strategy to support our students,” Jackson says. “At this point, we are not looking to jump off into a moratorium, but we also aren’t shying away from the conversation.” Warren’s group kicks off its campaign Wednesday, April 9, at 6 pm at Rigler Elementary, 5401 NE Prescott St. PPS officials say they plan to attend. “I’m on the ground working with families every day,” Warren says. “When I don’t have families that are nervous wrecks, up in arms, and feeling minimized, then I can have faith [the district’s] programs are working. Right now, I am totally upset with the whole process.”

Willamette Week APRIL 9, 2014







Oregon has known only one chief federal public defender, the person who stands up in court for people who can’t afford an attorney. Steven Wax, who opened the state’s Federal Public Defender’s Office in 1983, has done far more than defend the indigent. Wax has become a national figure, fighting what he sees as injustices created by the U.S. government’s so-called “war on terror.” He helped exonerate Portland lawyer Brandon Mayfield, whom the FBI wrongly (some would say recklessly) linked to the 2004 Madrid train bombings that killed 191. He’s fought against the government’s use of warrantless wiretaps like those secretly used to build a case against Mohamed Mohamud, convicted of trying to set off a dummy bomb at the 2010 Christmas tree lighting in Pioneer Square. In his 2008 book, Kafka Comes to America, Wax detailed defending terror suspects, especially those held at Guantánamo, inside a fog of secrecy and misinformation that was the Bush Administration. And Wax has continued to speak out against President Obama’s continuation of some of his predecessor’s most troubling tactics. Wax—who oversees 24 defense lawyers—spoke to WW about his career and



Willamette Week APRIL 9, 2014

his next role, as legal director at the new Oregon Innocence Project. WW: What have your high-profi le cases—Guantánamo, Mayfield, Mohamud— taught you? Steven Wax: Secrecy is a threat to democracy. It’s far more difficult to restrain power when one does not have the necessary knowledge. Being able to act in secrecy can be a corrupting influence, even on wellmeaning people. It is incredibly frustrating to be put in a position in which a person’s life or liberty is placed in your hands and you are then deprived of the basic tools you need to do your job. How do I know what the universe of information is out there? What I know is that I’m missing information. In some cases, I could get glimpses of what was likely missing, either from former members of the intelligence community or from records we obtained. We could determine there was a larger universe of information out there. That’s disturbing. Looking back on Bush’s war on terror, did Obama succeed in shifting the narrative? There has certainly been a change in rhetoric. There has been little change in the approach to litigation. Guantánamo has not been closed—in part because of Congress. It has also not been closed because the Obama administration has asserted that there are 40 or 50 men in the prison it believes are too dangerous to let go and cannot prosecute. That to me is indefi nite detention, call it whatever you want. Obama talked about the need to rein in some of the policies of the Bush administration. He said what we were doing was torture: “People will not engage in torture under my watch.” That was a significant change. Beyond that, it is not so clear. What are some challenges the Federal Public Defender’s Office will face after you leave?

SAFE HARBOR: “Our work in Guantánamo is done,” Steven Wax says of his representation of military detainees. “All of our clients are either home, or safe in third countries.”

We’ve come through a horrible budget situation. We have come through a time in which I had to lay people off, fire people, in which everyone in the office had to take furloughs. The budget deal that the Republicans and Democrats struck this past December has provided enough funding for this year. But then we get into the 2016 presidential election and the budget deal expires and who knows what is going to happen. Aside from your better-known cases, which ones have stayed with you? One client was charged under the Armed Career Criminal Act, possessing a gun. We won. That man, who had led a pretty wild life, turned his life around, became a very well-established drug counselor. Another guy was charged with drug distribution. The judge made him go to prison for a much, much shorter time than what the guidelines called for. He got out, and he is now running a program helping other people. That’s cool. The Innocence Project will be new to Oregon. Where will you start? With identifying potential cases. The next step is to fi nd out if people have been convicted who should not have been.

The Innocence Project is not limited to capital cases or life-sentence cases. There are people who are ser ving a 10-year sentence and didn’t do it. And how do you prove it? How do you fi nd that person and prove it? Those are our challenges. Will those cases be based on DNA evidence? DNA exonerations are a significant part of what has brought the problem of wrongful convictions to the public’s attention. But there are wrongful convictions out there that cannot be solved by DNA. And those are more difficult. We will be looking at the full spectrum of cases where there might be injustice. How will you feel leaving an office you built? I am, on one hand, really glad to have made the decision and to be moving into a new chapter. On the other hand, it’s scary. When I leave here, I’ll be 66 years old. I don’t always feel old. I have new stuff to learn, and I think I want to learn it. And the other thing I want to do is have more time to write. I want to write another book. What will you write? Chapter 2 of Kafka Comes to America.


pool (no water) by Mark Ravenhill Directed by Samantha Van Der Merwe

April 11 – May 10 Thurs – Sat @ 7:30 Sun @ 2:00 p.m. 503-306-0870



HANFORD State of the Site meeting: Wednesday, April 16 Double Tree Hotel Halsey Room 1000 NE Multnomah st. Portland, OR

• •

6:00 p.m.—Open House 7:00 p.m.—Meeting Begins The meeting will include brief presentations from Hanford’s top managers followed by time for your questions.

For more information: or call 800-321-2008 Willamette Week APRIL 9, 2014



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 Through May 11 Tuesday-Sunday, 11 a.m.-4 p.m. Hoffman Gallery


April 12 3 p.m. Evans Auditorium


April 13 2 p.m. Evans Auditorium

April 16-17 Times and Locations Vary

Senior Art Exhibit Through media including painting, photography, sculpture, and drawing, graduating art majors reflect on their lives and the world around us.

A Musical Tribute to William Stafford Hear musical settings of four of Stafford’s poems— “Our City Is Guarded by Automatic Rockets,” “The Well Rising,” “Vita,” and “Earth Dweller”—composed by Lewis & Clark music faculty and students. The pieces will be performed by college community members and Resonance Ensemble.




Icebreaker Men’s Sonic 5-inch shorts, women’s Dart shorts $84.99 men’s, $79.99 women’s, It’s hard to avoid doing laundry constantly when you run in Portland, where rain and humidity can crank up water bills. One solution is wearing itchfree merino wool. Icebreaker merino wool shorts dry fast and naturally resist stench. The company is based in New Zealand, but its North American offices are in Portland. These lightweight shorts are 100 percent merino wool on the outside with a liner that’s 96 percent merino with some stretchy stuff blended in.


World Music Concert Presented in memory of Lewis & Clark world music faculty members Franya Berkman and Obo Addy, this concert will feature performances of music from Zimbabwe, Ghana, India, Indonesia, and Spain by music students. Tickets cost $5-$10. 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

April 18 4-6 p.m. Madison High School, 2735 N.E. 82nd Avenue


April 25 7:30 p.m. Agnes Flanagan Chapel


April 27 3 p.m. Agnes Flanagan Chapel

Teaching for Organizing and Justice Curtis Acosta will discuss the successful Mexican American studies program in Tucson, Arizona, schools and his strategies that changed Latina/o students’ lives and academic achievement. Advance registration is required at

Inspired by the Past Cappella Nova Choir and the Women’s Chorus will sing 20th- and 21st-century music influenced by earlier styles, including Frank Martin’s Mass for Unaccompanied Double Choir and Franz Biebl’s Ave Maria. Tickets cost $5-$10. CONCERT

Orchestra and Community Chorale Hear opera choruses and watch scenes from operas by Verdi, Donizetti, Mascagni, Mozart, Giordano, and Puccini. Tickets cost $5-$10. 16

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

Willamette Week APRIL 9, 2014

Skora Fit men’s and women’s shoes $94.95, At first look, something seems off. On second look, it becomes clear that Wilsonville-based Skora’s newest line of running shoes combines ingenuity with anatomical common sense, a minimalist structure mimicking your foot’s natural shape. Skora claims to offer increased comfort for the top of the foot using a mesh support pattern and arch band. Plus, the red-and-black Sithlooking footwear is slick. Skout Trail bars $2.49, Scout was Jason Pastega’s best friend and served as his four-legged companion on a series of Northwest adventures. When Pastega decided to create organic energy bars to compete with mainstream bars made with high-fructose corn syrup, he christened them “Skout.” The Portland company produces gluten-free, vegan and nonGMO trail bars—we like the vanilla-and-cherry bar that’s sweet and chewy with a few crunchy bits to keep things interesting.

Dahlgren Multisport compression socks $39, Dahlgren’s socks—made from merino wool and alpaca fiber— combine two soft, naturally wicking materials to provide durability while fighting friction and reducing lactic acid buildup by applying compression to certain parts of the foot, improving circulation. Based in West Linn, Dahlgren produces patterned and standard socks for outdoor excursions, including hiking, backpacking and skiing. Eola Bottling Co. Oregon rain natural virgin water $1.50, This Oregon rain water is like a virgin, touched for the very first time by your lips. Supposedly, clouds forming over the Pacific Ocean are blown straight to the Willamette Valley and the tiny town of Gervais, where mineral-free rainfall is captured and bottled.



Sol Republic Relays in-ear headphones $79.99, The Wilsonville company creates headphones noted for their sleek appearance, vibrant color and tuning out unwanted background clatter. They also have stay-put placement—equipped with four sets of personally sized ear tips. They’re little in size but plenty loud.

OneLegCrow Tank top and jersey $59.99 jersey, $34.99 tank top, OneLegCrow OneLegCrow owner Kyle Stevens prints and sews running shirts in a Portland garage with moisturewicking fabric that draws sweat away from the body for quick evaporation. The short-sleeve cycle jersey is adorned with three back pockets, ideal for holding an iPod, water bottle and ID, making it perfect for trail running.

Hydro Flask Insulated 21-ounce water bottle $25.99, Do you want your water hot or cold? Bend’s Hydro Flask created a double-walled, vacuuminsulated water bottle of normal size made with BPA-free materials and stainless steel. The innovation swears by ice-cold water, even if left on a car’s scorching dashboard in the middle of summer, and by hot fluids during the depths of winter.

Soft Star Shoes RunAmoc Dash shoes $97, These platypus-looking brown-and-turquoise shoes are made from perforated leather and suede. They’re lightweight, with a sturdy sole that is ideal for trail running. Soft Star Shoes is in Corvallis—and makes its shoes there by hand— producing ultra-light shoes that promote natural foot development.

THE GRAHAMS SUN 4/13 @ 3 PM The Grahams, the creative union of lifelong romantic partners Alyssa and Doug Graham, combine soulful bluegrass with hints of earthy Americana, adding colors from traditional folk and country blues, into an infectious blend of storytelling that results in songs of love, loss, yearning, and the view from rural American roads less traveled.


Come celebrate the unveiling of Audios Amigos’ new 7” release on Voodoo Doughnut Recordings. Side A, “Ain’t That a Peach,” is a swamp-garage homage to Voodoo’s cream-cheese-frostingslathered peach fritter. Side B, “Portland Medley,” is an instrumental juggernaut featuring melodies of classic compositions by Dead Moon, the Wipers and Poison Idea!



See the full list at Adidas Climachill women’s and men’s tee and shorts; Springblade running shoes $45 tee, $40 shorts, $180 shoes, Adidas, which has its North American headquarters in North Portland, last month released its “Climachill” technology. The titanium-woven fabric and aluminum cooling spheres—they look like pinhead-sized silver scales—are supposed to lower your body temperature while you’re out training

for that marathon. The 3-D spheres are strategically located on the warmest parts of the body, such as the back of the neck, for maximum cooling potential, and the breathable microfiber fabric wicks sweat away from your skin. The Springblade running shoes, meanwhile, have polymer fins jutting from the soles, which Adidas promises will make you a more efficient runner—or at least offer you both bounce and cushiony support.


FREE COFFEE @ 7:00 AM FREE GIFT BAG TO ALL CUSTOMERS (WHILE THEY LAST) FREE COUPON BOOK FOR DISCOUNTS IN MAY 3 PM: PDX Punk Legend Jerry A. of Poison Idea autograph session 7 PM: Live performance w/ EDJ (Eric D. Johnson of Fruitbats) 8 PM: Live performance with Black Prairie

3158 E. Burnside / 503-231-8923 / Willamette Week APRIL 9, 2014


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



Rewind & Unwind 80’s Pop in a Jazz Format Wednesday nights

w/ John Nastos, Greg Goebel & Dylan Sundstrom 9:30 -11:30 • $5

DI D YOU KN OW ? MAX carries nearly one in three rush-hour commuters traveling to and from Downtown on the Sunset and Banfield freeways.

What makes this place great Why have a beer, when you can have a Session?

Mon-Sat. evenings: Dinner from 5 pm, Music from 8 pm

221 NW 10th • 503-295-6542 18

Willamette Week APRIL 9, 2014



Willamette Week APRIL 9, 2014


think it’s just trivia? think again.

COMIC BOOKS: A long-dormant local franchise returns. FOOD: Steak and frites from a cart. MUSIC: Little Dragon is tan and rested. THEATER: Road-tripping to Ashland for Shakespeare.

23 25 31 43



Hawthorne Hideaway — 8PM Rose & Thistle — 8PM Alberta St. Pub — 8PM

Thursdays @ 8pm Tuesday dwing Bar & Grill Re The Dugout (Hillsboro) — 7PM 4012 30th St • North Park

Biddy McGraw's — 7PM Shanahan's (Vancouver) — 7PM Ship Tavern — 8PM (Starts March 25) Laurelwood Public House (SE Portland) — 8PM Beaterville Cafe and Bar —8PM The Ram Restaurant & Brewery (Wilsonville)— 8PM

Mondays @ 9pm Bourbon Street Bar & Grill 4612 Park Blvd - University Heights

Punch Bowl Social — 8PM Concordia Ale House — 8PM Space Room — 7PM Tonic Lounge — 7PM Buffalo Gap — 7:30PM

Saturdays @ 8pm Kelly’s Pub San Diego Ave • Old Town

2222 Thursday

21st Avenue Bar & Grill — 7PM Belmont Inn — 7PM M&M Lounge (Gresham)—8PM

Tuesdays @ 8pm (starts August 14th)

South Park Abbey

1946 Fern Street • South Park @geekswhodrink

SHAKESPEARE INVENTED THE VERB GOSSIP. BLUE OREGON: Vancouver comic-book publisher Bluewater Productions is headed south of the Columbia. The company— whose upcoming releases include comics based on Kurt Cobain, Tyler Perry and New Jersey Gov. Chris Christie—is moving to Beaverton. “I always wanted to live in Portland,” says Bluewater editor Darren Davis, who says he has family in Newberg and his partner attends the Le Cordon Bleu cooking school in Portland. “But I really just moved here to be closer to Veggie Grill,” he says of the chain, which has locations in Beaverton, Hillsboro and Portland. For more on Portland’s comic-book scene, see “New Bounty” on page 23. FUNGUS KILLER: The Pearl District outpost of Mellow Mushroom, the stone-oven pizza chain, will have its final day of business April 13. “They kept us all in the dark until last Friday,” says one of the shop’s employees, who told WW that 10 Barrel Brewing Co. of Bend is the rumored buyer of the pizza shop’s lease. Employees at 10 Barrel could not confirm at press time that they would move into the Northwest Flanders Street space and said nothing had been finalized; they confirmed, however, that the brewery was in talks to expand into Portland. STUBBORN ’THORNE: Music fans gazing up at the marquee of the Hawthorne Theatre were probably alarmed to see a “FOR SALE” sign affixed to its side. No need to worry. While the building is on the market, a change in ownership won’t affect the venue—one of the few in town that regularly hosts all-ages shows—which has two years left on its lease, according to promoter Mike Thrasher. Landlord Anthony McNamer, a Portland lawyer and founder of the Expunged Records label, says he and the building’s other owners were looking to rent out an empty space on the second floor, and decided to test the market. He told Scoop that current tenants, including Szechuan restaurant Lucky Strike, will remain if there is a sale. “It shouldn’t change the underage-music landscape of Portland at all,” McNamer says. FEEL THE BURNS: Portland Playhouse’s just-announced 2014-15 season has one particularly eye-catching entry. The scrappy theater company, which operates out of a converted church in Northeast Portland, will be staging Mr. Burns, a PostElectric Play. The play, which The New York Times hailed last fall as “downright brilliant,” is set in a post-apocalyptic world where people sustain themselves by recounting episodes of The Simpsons. Playwright Anne Washburn used to live in Portland, as did Simpsons creator Matt Groening, so kudos to Portland Playhouse for snagging the play’s regional premiere. The show opens May 2015. Willamette Week Presents

EAT MOBILE: Both regular and VIP tickets for WW’s Eat Mobile food-cart festival were still on sale as of press time. However, this year’s version of the popular festival has been scaled down at the request of attendees, meaning you’d be wise to buy sooner rather than later. You’ve been warned.


Willamette Week APRIL 9, 2014




PAR & BUB QUIZ Which Portland bar... 1. Took over the space of Becken’s Winning Hand, which was closed down for hand-tohand drug deals by the owner?

2. Used to have its own 30-piece brass band?

3. Is the oldest in Portland, and thwarted Prohibition by serving Manhattans in coffee cups?

4. Was bequeathed by its original owner on the condition the new owners couldn’t change the decorations?

12. Used to be the seat of a gambling empire?


22. Got part of its name after a cameo in the Raquel Welch roller-derby flick Kansas City Bomber?

13. Is in a building once used for City Council meetings?

14. Still has a faint cross and sextant on its floors left from its previous life as a Masonic lodge?

23. Was filmed for the Cooking Channel show Bell y Up! this year?

24. Keeps the sign for Portland’s now-defunct North Portland Jockey Club bar on its walls?

16. Fielded a semipro basketball team from the ’60s to the ’80s?

25. Has a spicy martini named the “Willamette Wea k Sauce”?

5. Was named after a racehorse? 26. Has a special Pabst menu , which includes the Pabstini (PBR with olives), the Chea p Cowboy (PBR with a Pall Mall) and the Portlander (PBR with a fake mustache )?

6. Was named for a Finnish chair? 18. Once employed Courtney Love?

7. Was named by its first owner, a policeman? 19. Has a room hidden behind a floor-to-ceiling bookshelf?

27. Serves more Pabst than any bar in Portland, with a plaque to prove it?

8. Offers home octopus delivery?

9. Used to be a bowling alley?

10. Used to be a pawn shop?

20. Has one of only 11 fully functional 1950s Chicago Coin’s Band Box jukeboxes?

29. Was the first tavern in Portland to allow dancing?

11. Used to be a check-cashing station?


Ash Street Saloon B-Side Backstage Circa 33 Claudia’s Free House The Foggy Notion The Goodfoot Goose Hollow Inn Horse Brass Huber’s Kelly’s Olympian The Lion’s Eye Tavern

Mary’s Club The Nest Oso Market and Bar Paymaster Lounge

GO: If you’re looking for trivia at bars instead of bar trivia, we recommend the following nights:

Red Flag Red Star Tavern

Quizzy (outdoor trivia on sunny days), Bar Bar, 3939 N Mississippi Ave,, 2883895,, 6:30 pm Tuesdays;

Sloan’s Tavern Spare Room Suki’s The World Famous Kenton Club Yamhill Pub


Shanrock (rotating theme nights), EastBurn, 1800 E Burnside St., 2362876,, 6 pm Sundays;

Rum Club The Side Street Tavern The Slammer


Quizissippi (includes physical challenge), Mississippi Pizza, 3552 N Mississippi Ave., 288-3231,, 7 pm Wednesdays.

CHELSEA PERETTI [COMEDY] Chelsea Peretti’s sardonic standup might be abrasive were it not so razor-sharp—and, perhaps, if the Brooklyn Nine-Nine star didn’t also turn the knife on herself. She likes to stoke discomfort among her audience, but the payoff is as savage as the jokes themselves. Hawthorne Theatre, 1507 SE 39th Ave., 233-7100. 8 pm. $15-$20.

NIKE HOOP SUMMIT [BASKETBALL] Freaking out over how to satiate your basketball jones in the week between the end of March Madness and the start of the NBA playoffs? Why not scout the future of the sport by watching America’s best high-school players face off against a squad of pimply all-stars from around the world? It’s sure to be better than the AllStar Game, for sure. Moda Center, 1 N Center Court St., 797-9619. 4 pm. $5-$50.

30. Has a strict policy against serving alcohol to Dave Matthews?

Aalto Lounge Al’s Den The Alibi

POOL (NO WATER) [THEATER] In Mark Ravenhill’s play, a group of young artists gathers at a friend’s posh digs. But when a terrible accident lands the host in the hospital, the others try to turn her suffering into art. It’s an ambitious, somewhat experimental piece of movement theater, so it’ll be intriguing to see how the Theatre Vertigo cast makes it work in the tiny blackbox space. Shoebox Theater, 2110 SE 10th Ave., 306-0870. 7:30 pm. $20.

STUMPTOWN BUNNYCON [BUNNIES] What do you do with those bunny ears and matching fluffy-tailed thong from Halloween? How about a bunny-themed pub crawl along Burnside? The third annual Bunnycon encourages bunny, spring or Easter costumes and ends with an egg hunt and pizza in the North Park Blocks. Ringlers Pub, 1332 W Burnside St., RSVP 3 pm. Free. 21+.

28. Once had an inclined urinal trough so patrons could pee while at the bar?

21. Gets attacked by beer-craving, Fred Armisen-murdering zombies in Red Fang’s “Blood Like Cream” video?

FACTORY FLOOR [MUSIC] Cutting the harshness of industrial with a spatiality borrowed from minimalist techno, the music of this London three-piece isn’t cranked out so much as slowly fermented. It took four years for the group to release its self-titled debut, for the acclaimed dance label DFA, but considering the backbreaking results, it was worth the wait. Doug Fir Lounge, 830 E Burnside St., 2319663. 9 pm. $13 advance, $15 day of show. 21+.


15. Had beers named after its founder by both Rogue Ales and Russian River Brewing?

17. Reopened on the opposite side of town after burning down?


VIRUSES FROM HELL [LECTURE] If you want to kick back with some uplifting news after rushing through your taxes, might we suggest not attending Ken Stedman’s OMSI Science Pub lecture. The PSU biology prof chairs NASA’s virus focus group and will discuss new viruses discovered in volcanic hot springs around the world. Mission Theater, 1624 NW Glisan St., 223-4527. 7 pm, 5 pm doors. $5 suggested. All ages with guardian.

Willamette Week APRIL 9, 2014










ANSWERS TO PAR & BUB QUIZ FROM PAGE 21. 1. The Lion’s Eye Tavern. 2. Suki’s. 3. Huber’s. 4. The Alibi, although the people who bought it were recently allowed to paint it. 5. Free House was a fine, fine horse. 6. An Aalto Lounge is a fine, fine chair. 7. The Slammer. 8. Oso Market and Bar prefers orders over $60 for home delivery. 9. The Spare Room. 10. Rum Club. 11. The Paymaster Lounge uses the check station’s old sign. 12. Al’s Den. 13. Ash Street Saloon. 14. The Goodfoot. 15. Horse Brass. Younger’s Special Bitter, by Rogue Ales, is still on draft. 16. Claudia’s. 17. The Nest. 18. Mary’s Club, where Love danced. 19. Circa 33, but you need a code to get in. 20. Sloan’s Tavern. 21. B-Side. 22. The World Famous Kenton Club was once called, simply, the Kenton Club. 23. The Foggy Notion, though the episode has yet to air. 24. Backstage 25. Red Star Tavern—it’s a tasty drink. 26. The Side Street Tavern. 27. Yamhill Pub. 28. Kelly’s Olympian. 29. Goose Hollow Inn. 30. Red Flag, and the no-service policy also extends to Mumford and Sons.


Willamette Week APRIL 9, 2014

comic Books



Ron Randall has drawn Superman. He has drawn Batman and Spider-Man and Hawkman and Deadpool and the Green Lantern. In his 30-something-year career, the Portland comic-book artist and writer has worked on dozens of major franchises for both Marvel and DC. But the character Randall wants to be remembered for is not a beefy, big-name superhero in deltoid-hugging spandex. The 57-year-old artist hopes his legacy will be a morally complex, quick-witted and comfortably dressed female bounty hunter named Mercy St. Clair, whom he created in the mid-1980s for a then-littleknown publisher in suburban Portland. Almost three decades later, he hopes the world is finally ready for her. Mercy was born in a period of great change for both Randall and the U.S. comics industry. He had been living on the East Coast, where he broke through doing small pieces for major comics publishers. Eventually, he had a monthly assignment drawing DC’s The Warlord, a hulking warrior in a loincloth and a winged helmet. But Randall wanted to move back home to Portland. With The Warlord, he decided he had enough work and connections to risk it. “[Back then] the comic-book industry was basically Marvel and DC Comics,” Randall says. “If you aspired to be a comicbook artist—unless you were going to try to get work on Archie or something like that—that meant you were going to be moving to New York…and you were going to be drawing superheroes.” Today, Portland is a comics town. At downtown’s Periscope Studios, where Randall has had his desk since 2002, he works alongside about 25 other professional illustrators, most several decades younger than him. But in 1985, the city had not yet attained nerdvana. “The honest truth is I thought I was moving 3,000 miles away from the industry,” he says. In fact, Randall had returned to Portland at the perfect time. Small black-andwhite comics publishers were starting up all over the country, and in Milwaukie, a comicbook store owner named Mike Richardson was setting up an outfit called Dark Horse Comics. Within months of Randall’s return, the fledgling publisher made him an offer. “Dark Horse made me the sort of offer that you don’t get: They were willing to pay me money to do whatever I wanted for them,” Randall says. “I was at least bright enough to realize that this was an offer that I wasn’t likely to get very often, if ever.”

photos courtesy of ron randall



Randall’s own creation would not be a superhero. Instead, he was inspired by Westerns, science fiction and the Flash Gordon of his youth. Randall set his story in the 23rd century, centered in a gritty, crimeriddled city called New Gelaph and sprawling out into dusty Wild West frontiers. His hero was a heavily armed female bounty hunter—a “trekker.” She crashed through windows, commandeered flying cars, and sneaked through sewers to track down wanted criminals—all while trying to maintain a semblance of a social life. She wasn’t a morally pure Superman type, but she wasn’t the kind of relentlessly tortured soul showing up in Frank Miller comics at the time, either. And the only time Mercy wore skimpy outfits was to go to bed—her work clothes consisted of a billowy, white neck-to-ankle suit, with big shoulder pads and kneepads and a fetching purple cape. The idea was ahead of its time: Randall had created a wise-cracking female ass-kicker and a sci-fi Western while Joss Whedon was still in college. “Really, there was very little about it, especially at the time, that was considered commercial,” Randall says. “It didn’t have a male lead character—which even today is fighting against a current—but especially back then.” Trekker was exactly the kind of story Dark Horse had been looking for to set it apart from the competition. “I think we were the perfect home for Ron to bring it to, because we were actually looking for things that were a little different to the standard fare,” Richardson says. “I was looking specifically to find some heroines for our books and features, and Trekker was perfect.”

enough money on Trekker to continue paying him the rates it had been. Then supporting a young family, he moved on. He put out a few one-off Trekker stories between other gigs in the ’90s but ultimately decided that telling Mercy’s tale in such a disjointed way was a disservice. So for more than a decade, Randall put all his original Trekker artwork and unpublished stories away in a closet. It was a particularly unfortunate place to leave the story: Mercy’s on-again, offagain cop boyfriend had just died taking a bullet for her, leaving the heroine in the depths of an existential crisis. In 2011, she finally got a chance to move on. “I’m sitting around at my studio one day, and I’m hearing people talking about how they’re doing a Web comic, and this person’s got a blog, and suddenly I realize: Oh yeah, there’s this thing now, it’s called the Internet!” Randall says. So at age 54, after working his whole

Mercy made her debut in an anthology series in 1987, and Trekker was spun off into its own title. The books did well. The mid-to-late ’80s were a bubble period for the industry, Richardson says, and all of Dark Horse’s early titles were exceeding expectations. Still, Randall never felt it quite reached the audience it might have. “I always say it was received with great passion and enthusiasm by not enough readers!” he says with a laugh. Dark Horse was pleased with the sales (“We had modest expectations for our books in those days,” Richardson recalls), but by the end of the decade, Randall says, Dark Horse told him it was not making

career in pen and paper, Randall registered the domain and learned how to build a website. He set up Twitter and Facebook accounts, and started scanning and posting all the original Trekker stories online, one page per day. He called Richardson, and the pair decided to reprint the entire Trekker back catalog as an omnibus, released in August last year. Randall also dusted off the outlines for the stories that never made it to print, and brought Mercy back to life once again. By the time he had finished publishing the original stories online, he was ready to start posting the new pages. In May 2013, Randall began rolling out the first new

return trek: ron randall is bringing back Mercy St. Clair 27 years after her debut.

Trekker comic in 14 years. Things in Mercy’s world have barely changed since the 1980s. Randall has kept the costumes, characters and aesthetic exactly the same as the original in an effort to make a smooth transition between stories. “I was absolutely not interested in doing anything like a reboot of the series,” he says. “The character and the stories are pretty alive and clear in my head.” Though the comics are still identifiably ’80s, the futuristic setting means they rarely feel dated, and there are surprisingly few computers and gadgets to expose their age. (Randall notes a rare faux pas in the original comics was a phone with a cord coming out of it: “I did not project and predict cellphones.”) Both Randall and Richardson are happy with how the omnibus has done commercially. And through hustling both on the Internet and at comics conventions across the country, Randall believes it is finding a new generation of readers—one that has a different attitude to femalefronted comics than audiences did in the ’80s. He is hoping to see his first Mercy St. Clair cosplayers at conventions this year. It probably doesn’t hurt that Dark Horse is a much more powerful entity, now the third-largest comics publisher in the country, with its own movie and TV arm, and plenty of ass-whooping women on the covers of its comics. “In the past, it’s no secret that female characters were big-busted with tight costumes and made primarily for an adolescent male readership,” Richardson says. “Now it’s very different.” The biggest test for Trekker comes with the release of a trade paperback of the first new story, The Train to Avalon Bay. For his part, Richardson believes the new book is “better than ever.” But regardless of sales, Randall says, this time he is determined to see Trekker through to the end. “One thing about doing it yourself is, no one can fire you,” he says, laughing. “So I’m going to keep doing them. But, of course, I want it to find the large potential audience that I’m convinced is there to really appreciate it and enjoy it.” Willamette Week APRIL 9, 2014


Willamette Week Presents

Seattle 85.3% Denver 81.9% San Francisco 74.1% San Diego 70.7% Portland 68.6% Phoenix 58.08% Sacramento 26.42%


Willamette Week APRIL 9, 2014


Happy Hour


Monday–Saturday 4–6pm & 8pm–close


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

WEDNESDAY, APRIL 9 Rum Runner’s Dinner

So Hale Pele is splitting the bar in half, then serving it up five times. Or at least, you get a sampler of five half-size tiki cocktails—which might now be a mere 16 ounces or something—made with local rums, and then a literal pig pile of Polynesian food. If that ain’t enough, tickets come with a ticket to the Toast cocktail festival this weekend ($40 value). Hale Pele, 2733 NE Broadway, 662-8454. 6 pm. $75.

Spirited Pies

This looks like an excuse to get drunk for no reason, while you eat pie. Pacific Pie Co. is playing host to local distillers, who’ll be serving free samples of their drinks. This week’s distiller is House Spirits—they of Dutch-ish gin and even better white whiskeys. There will also be a black-bottom pie made with House Spirits’ coffee liqueur. Pacific Pie Co., 1520 SE 7th Ave., 381-6157. 4 pm Wednesday-Sunday, April 9-13. Free admission.

FRIDAY, APRIL 11 Toast Spirits Festival

Toeing that gentle line between industry trade show and public bazaar, the Oregon Distillers Guide’s Toast spirits fest is back, with 30 distillers showing off 120 versions of whatever pickling substances they cooked up this year, while you try desperately to slow the spread of alcohol by hanging out in their food-cart court. But it won’t matter what you do. Absinthe always wins in the end. Two World Trade Center, 121 SW Salmon St., 5-10 pm Friday and 4-10 pm Saturday, April 11-12. $20-$25. 21+.

SATURDAY, APRIL 12 Syrah Tasting

This massive to-do at McMenamins Edgefield involves people from out of town shelling out $200 to $365 for a Syrah tasting, dinner and lodging package. But you lucky dogs, you live in Portland. So just wander down for the main event, drop a mere $45, and use the extra money to pay your teetotaler friend to come along and drive. There will be 70 Syrahs and Rhones! All in one place! McMenamins Edgefield, 2126 SW Halsey St., Troutdale, 669-8610. 4-7 pm. $45 per person. 21+.

Portland Spring Cocktail Class

This is one of those things where theoretically you’re “taking a class.” And “learning something great.” But actually, you’re making drinks and then drinking them, with some dude telling you how to do it. And whatever you learn, you’ll forget. Just drink your drinks. Specifically, drink your jalapeño passion-fruit margarita, your Bing bourbon sour and your cucumber gin mojito. Salty’s on the Columbia, 3839 NE Marine Drive, 288-3444. 2 pm. $30. 21+.

SUNDAY, APRIL 13 Southeast Wine Collective Supper

Well, this is really nice: the first paella of the season. Crown Paella will be making a big ol’ pan of the stuff, along with cheese, tapas and dessert, while the Wine Collective wineries will serve up wine pairings for all four courses, in whites and rosés. Southeast Wine Collective, 2425 SE 35th Place, 208-2061. 5 pm. $65.

STEAK AND FRENCH FRIES: Il y en a des questions?



Captured by Porches does not make Belgian beer. That wasn’t a problem until Steak Frites PDX moved in across from the little green bus in the pod behind Crema coffee shop at Southeast 28th Avenue and Ankeny Street. Suddenly, the brewery’s old pale ales and porters seem wildly inadequate. Steak with fries is a Franco-Belgian bistro classic and perfect fodder for a food cart. It’s a hot pile of starch and protein to be dipped in fat, courtesy of five aioli options. It’s gratifying right down to the grease-slicked white butcher paper. Each meat-and-potatoes plate is $8.50. The cart offers Order this: Teres major steak with three cuts of steak—tri-tip, regular fries, onions, mushrooms and Brussels sprouts ($10). h a nger a nd t er es m ajor I’ll pass: Seitan and sweet potato fries. on our v isit—plus veganf r iend ly seit a n. ( Vega ns should go to neighboring Wolf & Bear’s; the seitan has the flavor of overchewed gum and the consistency of a soggy cracker.) The meat is prime. Teres major steak is a poor man’s filet mignon, a tender cut taken from the long, thin shoulder muscle. Four slices as thick as a novella come cooked medium-well, tucked into the pile of fries. You want both mushrooms and onions, which each cost 50 cents extra. You can substitute sweet potato fries for a 50-cent upcharge, but don’t. The regular fries are the perfect pub fries—skin-on, English-style, medium-thick chips that were crispy on the outside but limp enough to bend and dunk. The sweet potato fries are thinner and crisper, cooked into rigid orange bows. Both types of fries fare far better with Brussels sprouts, quartered and tossed into the fryer with the tubers. All are meant to be dipped in one of the aiolis, which include blue cheese, horseradish and three house specialties, including curry-rich garam masala, a thin garlic-and-white bean sauce and, my favorite, a white rosemary-mushroom sauce. The only thing left to want is a good dubbel to wash it down. Je vous ai a l’oeil, Capturé par les Porches! MARTIN CIZMAR.


Walk-Up Window 11am - 2pm

La Calaca Comelona 2304 SE Belmont | 503-239-9675 4-10pm Mon–Sat




EAT: Steak Frites PDX, Southeast 28th Avenue and Ankeny Street, 11 am-7 pm TuesdaySaturday, noon-5 pm Sunday.



On paper, Red Sea, the collaboration between Ashland’s Caldera and Hawaii’s Big Island Brewing, looks like a messy wreck. The brew includes pink peppercorns, Himalayan pink salt, molasses and liquid chocolate, plus six different malts and two kinds of hops—all aged on bourbon-soaked oak spirals. And yet this imperial red is all smooth sailing. A rigid backbone of malt and molasses allows the more exotic ingredients to dance around without outshining the rest of the show. From the salt comes a subtle brininess that plays well with stiff chocolaty and peppery flavors neatly stacked atop. The beer is only available in Ashland and isn’t worth the trip alone, though you should absolutely have one or three before braving the very slow currents in the Oregon Shakespeare Festival’s current production of The Tempest (page 43). Recommended. MARTIN CIZMAR. Willamette Week APRIL 9, 2014


May 19th, 2014


Willamette Week APRIL 9, 2014


WW_ArtAdv.indd 1

Kung Fu Camp

To advertise in this section for April 16th, please contact: Matt Plambeck 503-445-2757

! s u h t i w l Come sai

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OMF is a nonprofit organization providing hands-on, opportunities to children and youth using farm animals, agriculture, gardens and natural resources as educational tools.

me r • 6300 SW w.oe Nic w ol R • w oa 14 d 0 For Pre-K – Grade 12 • ,2 2 Po 2 Experience fun and learning through

enrichment, sports, academics, and outdoor activities. OPEN TO ALL • Register online

Gerding Theater at the Armory 128 NW Eleventh Avenue Portland, Oregon 97209

Incoming Juniors & Seniors

Advanced Acting 503.445.3795

Incoming Freshmen–Seniors

Entrance to Professional Theater

June 16–27, Monday–Friday

August 4–15, Monday–Friday

August 4–15, Monday–Friday

Full Day, 9 am–4 pm Advanced Acting & Audition Seminar

Morning Session, 9 am–noon: Dance & Voice

Morning Session, 9 am–noon: Monologues & Meisner

Afternoon Session, 12:30–4 pm: Acting & Voice

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

Full Day, 9 am–4 pm

Full Day, 9 am–4 pm

Musical Theater

rt l

© 2014 OES

on reg O d, an


Jordan Schnitzer Family Art Adventures

See our Farmer-For-A-Day Program and Day Visit Programs



2 0 1 4 OE S


Chris Coleman Artistic Director

TEEN THEATER INTENSIVES SUMMER 2014 Photography by Patrick Weishampel REGISTER: 503.445.3795


Let PCS introduce your teen to the confi dence-building fun of learning performance skills in a stimulating, supportive environment. Our teaching professionals, drawn from Portland’s theater elite, eagerly await the chance to share their experience with you.

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

OCF Joseph E. Weston Public Foundation

Friends of Tryon Creek’s

Summer Nature Day Camp

Tryon Creek State Natural Area

For ages 4-5 through 6th grade Don’t miss out on our 15% discount on the third camp and each additional camp.

Details and Registration at

JUN 16 – AUG 22 2014


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YOUTH, TEENS, FAMILIES Camp Westwind • 541-994-2383 Willamette Week APRIL 9, 2014


From the chemistry lab to the Canadian Rockies. Language culture, music, and more!


Celebrating our 8th year!

July 15th - 19th Call 503.964.1730


SUMMER CAMPS & CLASSES Register: More Info: 503 797 4661 or



July 7– August 1

July 7– August 1

Fun, all day and half day art classes for kids ages 4–14

Week–long college-level art workshops for high school students

Program + schedule information: Contact: or 503.821.8967

Program + schedule information: Contact: or 503.821.8967

Willamette Week APRIL 9, 2014

Please Visit Our Website For More Information On Our Exciting Summer Offerings

Camp Vida 2014:

Fur, Fins & Feathers June 16 – August 22 Contact us for a camp tour! Special guests include goats, llamas, fish, reptiles, service animals and more! Each week features art, music, dance, gardening and cooking for children ages 3-6.

Campers will spend oodles of time outdoors in our expansive play yard and organic garden beds. We offer rich studio environments, seasoned professionals and a joyful community!

SUMMER CAMPS Enroll your child in Camp Rockstar this Summer Break!

June 16th - August 28th|Monday-Thursday|9am-2pm Our camps provide a friendly, safe environment for kids who love to explore and be challenged. Climbers play games and learn exciting bouldering technique from our expert coaches. • Multi-child & multi-week discounts! • $195 per week 410 NE 17th Ave • 503-719-7041 • Ages 5-12

6050 SW Macadam Ave • 503-246-5111

More information and online registration at

Fairy Tale Camps Intensives

Vibe of Portland’s Summer Camps River Ranch

CBA Dance Company Classes

preschool art • elementary art & music middle school comic/illustration & music production & performance

Summer Equestrian Day Camp The oldest and best riding camp for young people

Horse camp ages 7-14 Pony camp ages 5-7 Weekly Sessions beginning June 16th

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Pacific University

Forest Grove, OR • 800.944.7112 • All Ages & Abilities Save $25 - Coupon Code: WW14 Offering camps and courses for girls and boys entering grades 6-12 in: • Kayaking • Rock climbing • Cooking • Finance & Marketing • Executive Leadership • Math and Science • Creative Writing

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St. Mary’s Academy • 1615 SW 5th Avenue • Portland, OR 97201 • 503.721.7728 Willamette Week APRIL 9, 2014



Willamette Week APRIL 9, 2014


april 9–15 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 9 Needles and Pizza, Moon Debris, Busy Scissors

[GARAGE PROG] Moon Debris dances around wavering rhythms on its selftitled LP, drawing from ’70s prog rock with unexpected surf licks and tossing in a few folk themes for good measure. “Fall Flame” starts with a slow tambourine accompanied by soft guitar and vocal harmonies. Then a faster rhythm kicks in, before it cools back down into a short burst of dreamy guitar, tying the earlier harmonies back in. Bassist Heidi Nelms’ high-pitched vocals sound worried at times but, as on “Hearth and Home,” can also be assertive, balanced by guitarist David Hemma’s calm, almost bored-sounding accompaniment. The eclectic structure of sounds amounts to a form of uniquely personal expression. LYLA ROWEN. The Know, 2026 NE Alberta St., 473-8729. 8 pm. Call venue for ticket information. 21+.

THURSDAY, APRIL 10 Cunninlynguists, J-Live, Sadistik, Nemo Achida, Sonreal

[BEYOND SOUTHERN] Cunninlynguists defy whatever people might expect from hip-hip birthed in the South. It’s not drenched in sizzurp and an ungovernable patois, nor are the lyrics obsessed with ridiculous cars and slangin’ drugs. The trio, whose members hail from around Atlanta and Lexington, Ky., boast an updated East Coast production style, evident on the recently issued Strange Journey, Volume Three. While there’s hardly a drop in quality more than a decade into the troupe’s career, guest appearances overwhelm most of the recording—a problem that’ll surely be remedied in a live setting. DAVE CANTOR. Alhambra Theatre, 4811 SE Hawthorne Blvd. 8 pm. $15. 21+.

Chvrches, Summer Cannibals

[ELECTRO-POPULISTS] How do young Scots with a history steeped in shoegaze set out for world domination? Save the reverb and trade the Jazzmasters and fuzz pedals for a mountain of synths. Vocalist Lauren Mayberry pens anthems like a vitriolic women’s studies major, but the arenasized beats and tightly sequenced bass plunks convert any pretense into a round of blown-out, populist fistpumping. The strength of Chvrches’ first single, “Recover,” had the hype machine whirring at a million RPMs before its debut even dropped, and now that The Bones of What You Believe has had time to germinate beyond the blogosphere, the band is on the verge of hugeness. PETE COTTELL. Crystal Ballroom, 1332 W Burnside St., 225-0047. 8 pm. Sold out. All ages.

Peter Case, Count Kellam & Steve Wilkinson

[SINGER-SONGWRITER] Peter Case made his name in the early ’80s with New Wavers the Plimsouls, but his selftitled solo debut from 1986 was one of a handful of records that helped bring the solo singer-songwriter model back into vogue. As Case continued plugging away, often unplugged, his fans got used to two- or three-year gaps between albums, but endured five long years after 2002’s Beeline for 2007’s Let Us Now Praise Sleepy John—its intense, mostly solo acoustic folk-blues tunes more than worth the wait. While 2010’s Wig! went to the other end of the blues spectrum with skronky electric guitars, its songs weren’t as satisfying, but that can perhaps be forgiven

since Case cranked the disc out while recovering from heart surgery. It’s now been almost four years since Wig!, and there’s no word yet of a follow-up, but he just might have some new tunes to share tonight. JEFF ROSENBERG. Dante’s, 350 W Burnside St., 226-6630. 9 pm. $10. 21+.

Temples, Drowners

[PSYCH-POP REVIVAL] When the carcass of psych pop seems like it’s been picked clean, sharpen your knives and go for the marrow. On their NME-approved debut, Sun Structures, Temples gorge themselves on steadfast classics and revivalist send-ups alike: The spacey melancholia of The White Album dovetails with the modernist grooves of Tame Impala and Foxygen, creating hypnotic, flowerpowered Britpop that’s pure bliss for the kids and cringeworthy for anyone over the age of 55 who was actually there, man. PETE COTTELL. Star Theater, 13 NW 6th Ave. 9 pm. $13. 21+.

FRIDAY, APRIL 11 Alexander Robotnick, Soft Metals

[ITALO DISCO] An electronic producer as classically cultish as Maurizio Dami, a.k.a. Alexander Robotnick, requires a good deal of translation. “Robotnik” is Russian for a person who likes working on robots—fitting, because the thing that set Dami apart in the ocean of mid-’80s Italo-disco producers was his use of unnaturally tuned melodic synths. His wildly popular sound was increasingly described as “electro,” especially in regards to the 1983 underground hit “Problèmes d’Amour” (French for “problems of love”). The Third Planet, of course, is a reference to Earth, but it’s also the name of one of Dami’s forays into world music. Perhaps he was searching for the origins of disco. Perhaps he was kind of stoned. Or perhaps he’s just an exploratory visionary from a style undergoing a long and muchneeded comeback. MITCH LILLIE. Blue Monk, 3341 SE Belmont St., 595-0575. $12. 21+.

Aan, Ghost to Falco

[EXPERIMENTAL POP] Quiet as it’s kept, over the last decade Portland’s Ghost to Falco has a rich discography of avant-pop explorations almost totally under the city’s radar. Soft Shield, songwriter Eric Crespo’s latest batch of evocative, enigmatic folk dirges, is the project’s first release in four years, and it exudes the carefully constructed mystery of those that have come before. Will it finally expose Ghost to Falco to the Portland music scene writ large? Stranger things have happened. Just ask former member Bud Wilson, now of Aan: It took him eight years to put out a proper album, and when Amor Ad Nauseum finally dropped in January, it was rightfully heralded as one of the finest local releases in some time. MATTHEW SINGER. Bunk Bar, 2017 NE Alberta St., 328-2865. 9:30 pm. $5 advance, $7 day of show. 21+.

OFF!, Cerebral Ballzy, NASA Space Universe

[OLD YELLERS] An email I received from the publicist promoting the new record from punk supergroup OFF! notes the syncopated drumming of Mario Rubalcaba, which he claims results in “something bordering on hardcore with a Cuban swing.” That’s a bit of a stretch. While there is some subtle variance in rhythm on Wasted Years, the band’s latest blast of blinkand-miss-it geezer fury, the music is

CONT. on page 32

BLuRRED LINES: Yukimi Nagano (second from left) and Little Dragon.


Little Dragon took the long road back to Gothenburg. Seven years ago, the electronic soul quartet left its hometown, the second-biggest city in Sweden, and didn’t take an extended break until coming off the road in support of its last album, 2011’s Ritual Union. Things were going too well to stop. Its popularity was growing with each release. Artists from Damon Albarn to Big Boi tapped them for collaborations. If the band slowed down, there’s no guarantee, in today’s hyperspeed music culture, that it could pick up where it left off. “For us, we toured so much, and haven’t had the luxury of being able to stop because we couldn’t afford it,” says singer Yukimi Nagano, who just returned to Gothenburg following a U.K. press blitz for Little Dragon’s upcoming fourth album, Nabuma Rubberband. “We were just on a roll, which is great. But you get to a point where you need to take a timeout.” Only after three albums did Little Dragon earn the capital to go home again. Nagano insists the band’s members, who have been friends since high school, weren’t on the verge of tearing each other’s eyes out on the tour bus or anything. But they knew that, before going forward, they needed to recharge. And in a way, returning to Gothenburg brought the band back home musically as well. Little Dragon broke through in 2007 with “Twice,” a spare, drizzly ballad from its self-titled debut, constructed from little more than wistful piano and Nagano’s drifting, spectral vocals. But the song turned out to be an outlier: Over three albums, the band has defined itself by a meticulous blend of trip-hop, electro-pop and futurist R&B, a sound suggesting Sade if she aimed her quiet storm at the club instead of the wine bar. Though frosted with a wintry Scandinavian cool, the mood, more often than not, is dialed up. Nabuma Rubberband, though, finds the band circling back to “Twice” and exploring the slowjam territory it had previously only grazed. Nagano admits that, in the past, the group felt self-con-

scious about bringing down the tempo, out of fear of getting pigeonholed. But that’s the other thing success buys: the ability not to give a shit. “Maybe there was that little paranoid feeling before, like, ‘I don’t want to make too many slow songs,’” she says, “but we’ve grown to the point where we don’t really care.” Not that slowing down was part of the plan. Moving into a bigger studio, the band worked up the music the same way as it always has: drawing rough sketches, picking the best of the bunch, then building them up into complete songs. For Nagano, though, the break from the road gave her time for self-analysis. “I felt a little tired of myself,” she says. “I didn’t want to sing another song about love and heartbreak. I can do that very easily, and sometimes you want to challenge yourself.” And that’s what she does right off the bat. “Mirror” opens the record with tense, crazy-making keyboard stabs and Nagano speaking directly to herself: You can practically hear her hands balling up before she declares, “I’m going to put my fist through this mirror”—a promise punctuated by the sound of shattering glass. Nagano workshopped that song, and many others, with David Jude Jolicoeur, better known simply as Dave of De La Soul, who encouraged her to get both more introspective and more universal. “I’m very good at being all over the place with my lyrics. I’ve never really been able to write a story everyone understands,” she says. “And the guys don’t really pay that much attention to the lyrics. They’re so zoned in to the music. They have a ton of opinions on how I sing something, but not necessarily what I’m singing.” Throughout, the music is some of the dreamiest of Little Dragon’s career. But it’s not all so floaty: “Klapp Klapp,” the lead single, is the band’s most propulsive song yet, riding a persistent, clipclopping rhythm and snaky, thundering synth bass. For the most part, though, Nabuma Rubberband sounds like it’s coming from band that’s finally had a chance to relax and reflect. And what it’s reflecting, in large part, is the stillness of its hometown. “It’s not like things are going full speed here,” Nagano says of Gothenburg. “You come home, and you’re like, ‘What’s happened?’ ‘Oh, everything’s like normal.’ It’s like time is frozen.” SEE IT: Little Dragon plays Roseland Theater, 10 NW 6th Ave., with Unknown Mortal Orchestra, on Thursday, April 10. 9 pm. $28. 21+. Willamette Week APRIL 9, 2014





still pretty much straight-forward rage ’n’ roll out of the early Black Flag playbook—which frontman Keith Morris helped write, of course. And that’s totally fine. No-frills ferocity is in such short supply these days that middle-aged lifers venting spleens over 35-year-old riffs hits like a pair of Doc Martens to the face. MATTHEW SINGER. Hawthorne Theatre, 1507 SE Cesar Chavez Blvd., 233-7100. 7 pm. $13.50 advance, $15 day of show. All ages.

Mackintosh Braun, Barcelona

[NEO-R&B] Barcelona is a threepiece outfit from Seattle originally known for its infectious indie rock. Universal signed the former Seattle Pacific students, showering them with cash and demands. Today, the group is free of big-label rule and audibly so, having shifted gears completely into a modernized R&B mode. Barcelona’s newest project, a trilogy of EPs called The Melodrama, is a hyperbolic love story set to glossy synthesizers and crooned pillow talk in the vein of How to Dress Well. MARK STOCK. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. $10. 21+.

Odesza, D33J, Kodak to Graph

[ELECTRONICA] There’s a good chance Odesza’s easygoing dance pop has already graced Holocene via an employee’s playlist some random evening. It’s the kind of chillwave-gone-disco the venue adores, turning weekend cocktail gatherings into rug-tearing affairs. The Seattle duo is just two releases in but already sells out midsized venues throughout the West—no surprise, as Odesza’s hyper-rhythmic, sample-heavy sound is a dose of summer in the wake of a long and lingering winter. MARK STOCK. Holocene, 1001 SE Morrison St., 2397639. 9 pm. Sold out. 21+.

MONDAY, APRIL 14 Afghan Whigs, Early Winters

[ROCK AND SOUL] Ever too beholden to garage-R&B leanings to gain much cultural traction amid the reign of grunge, the Afghan Whigs closed up shop around the end of the ’90s as beloved also-rans. But in those final days of alt-radio ubiquity, even relative disappointments cast a long shadow: The seeds of Do to the Beast, the Whigs’ first album in 16 years, were planted during the band’s surprise 2013 SXSW appearance with Usher, and news of the upcoming release was broken by Bob “Better Call Saul” Odenkirk. Even without founding guitarist Rick McCollum, the boys’ soul-rending maelstrom hasn’t much changed— frontman Greg Dulli, busying himself

[FUNK PUNK JAZZ JAM] From his early ’80s days with Miles Davis through his 30-plus albums, John Scofield has explored many realms of jazz guitar, of which he’s universally acknowledged as one of the living masters, but always seems to return, refreshed, to the punchy funk, rock and R&B influences that put him on the map. Reuniting his Überjam quartet, featuring rhythm guitarist and sampler Avi Bortnick, affords Scofield the musical space to incorporate funk, Afrobeat, house and other dance-driven ingredients into his jam-band groove. BRETT CAMPBELL. Star Theater, 13 NW 6th Ave. 9 pm. $25. 21+.

SATURDAY, APRIL 12 Mark McGuire, Jenny Hval

[WORLD WAVE] Although he’s years removed from his first solo record, Along the Way feels like a true arrival for Mark McGuire. Selfdescribed as an “odyssey,” the LP functions like one long, organic track. The former Emeralds member—who’s also a touring Afghan Whig—has a knack for digital stacking and gleaming atmospheric sketches. It’s high-IQ electronica with a noticeably worldly outlook in the form of mandolin riffs and haunting cathedral chants. Seeing McGuire build his music live only adds to its allure. Norwegian composer and guitarist Jenny Hval opens. MARK STOCK. Bunk Bar, 1028 SE Water Ave., 894-9708. 10 pm. $10. 21+.

Burials, Hazards Cure, Spectral Tombs

[PROG METAL] Portland’s Burials have more in common with progmetal titans Between the Buried and Me than simply a shared passion for undertaking. Like the latter, Burials’ music instantly commands attention, shifting effortlessly between floating, dreamlike passages and circle pit-inducing prog meltdowns. Operatic backing vocals jump in alongside ragged growls, and the guitars fluctuate between fleetfingered solos and chugging riffs. The quartet’s latest offering, 2013’s Tides, is a promising display of musicianship and songwriting that—as its title suggests—both drifts and pummels. SAM CUSUMANO. The Know, 2026 NE Alberta St., 4738729. 8 pm. Call venue for ticket information. 21+.


John Scofield’s Überjam, Skerik’s Bandalabra

with Twilight Singers and Gutter Twins the past decade, might actually be in better voice nowadays—and given the sorry state of whatever we’re calling modern rock, they’ve every right to play the conquering heroes. JAY HORTON. Doug Fir Lounge, 830 E Burnside St., 2319663. 9 pm. $30. 21+.

Chromeo, Tokimonsta

[THAT FUNKY MUSIC] Chromeo’s members are referred to as “revivalists” and “pioneers” in equal measure. While they developed a unique brand of funky dance ballads long before the term “EDM” was commonplace, Dave 1 and P-Thugg changed the game the most with their take on 1980s electro. New album White Women is the culmination of a decade-long journey, and may be the band’s most arena-ready album yet. It’s poppy, dynamic and a clear sign that the brightest lights for this duo lie in the decade ahead. GEOFF NUDELMAN. Roseland Theater, 8 NW 6th Ave., 224-2038. 9 pm. $25. All ages.

TUESDAY, APRIL 15 Tinariwen, the Melodic

[TUAREG ROCK] Tinariwen is the Parliament-Funkadelic of the African desert. Naturally, its origin story is a grabber: Originally coming together in a Libyan refugee camp in the late 1970s, the group returned to its native Mali in the ’90s and performed throughout the Sahara for its fellow Tuareg people, playing the traditional music of the region with Western electrification. Eventually, at the dawn of the new millen-



Who: Cord Amato (guitars and synths), Lee Ritter (drums), Erik Golts (bass and synths), Dave Fulton (keyboards, Moog Taurus bass pedals). Sounds like: Cruising the autobahn at 100 mph while Robert Fripp gets weird in the backseat with a drum machine. For fans of: Can, Neu!, Kraftwerk, Tangerine Dream, Mogwai. Why you care: The term “krautrock” has absolutely nothing to do with sauerkraut, but regardless, the two share one similarity, in that they’re both acquired tastes. Known mostly for it’s droning, elongated structures and sequenced robotic beats, krautrock has not changed much since David Bowie and Brian Eno defected to Berlin in the ’70s after the latter fell in love with the electrolite efficiency referred to as the “motorik” sound. Enter Motrik, Portland’s response to paint-by-numbers instrumental rock. With metronomic beats, undulating synths and a reference to early ’80s post-punk in its “bass-as-lead” setup, there’s nothing clandestine about the group’s übergruven roots. The real left turn comes after the requisite atonal buildups. “The beautiful thing about atonality,” says Motrik keyboardist Dave Fulton, “is that beautiful note that comes after all of the droning. It’s the atonality that helps you appreciate how beautiful that one note that pulls you out of it really is.” Fulton, 52, met former Wow & Flutter guitarist Cord Amato as a video engineer for OPB. They soon began concocting a hybrid of mechanical krautrock rhythms with classic-rock flourishes, a la King Crimson and Pink Floyd. The result is best displayed on “Wolfgang,” a slow-burning, two-part suite of emotive buildups eventually swallowed whole by an airtight rhythm sequence that would sound great on a treadmill. Getting there is a journey—the song is almost nine minutes long—but instant gratification is not what your average krautrock fan is in search of. “You’d have to be very patient to get it,” Fulton says. “But the best things I’ve heard in my life were the things I did not get the first time around. You’d have to have big ears, as our audience typically does.” SEE IT: Motrik plays Rotture, 315 SE 3rd Ave., with Hedersleben and Tonen, on Friday, April 11. 9 pm. $8. 21+


Willamette Week APRIL 9, 2014

tuesday nium, the rest of the world began to take notice of its mesmerizing mix of sunbaked Hendrix guitars and trance-inducing poly-rhythms, opening the road to crossover success for fellow Tuaregs like Bombino. Though the music’s become more familiar to international audiences, it’s no less intoxicating—as Tinariwen’s gorgeous new record, Emmaar, attests. MATTHEW SINGER. Aladdin Theater, 3017 SE Milwaukie Ave., 234-9694. 8 pm. $25 advance, $30 day of show. Under 21 permitted with legal guardian.

Diana Krall

[LAST CENTURY’S MODEL] Nearing two decades as the Western world’s pre-eminent smooth-jazz chanteuse and pia-


nist—or, at least, the only one your mother is likely to have heard— Diana Krall has sold an all-thingsconsidered baffling number of records merely polishing the most familiar chestnuts of the Great American Songbook. Her most recent recording, Glad Rag Doll, enlivened the formula by leaning further backward to interpret an obscure bounty of favored Jazz Age 78s. Alongside typically rough and resonant production by T-Bone Burnett, the forgotten ditties add a welcome bounce to an estimable repertoire. JAY HORTON. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 248-4335. 8 pm. $69.50-$89.50. All ages.


CONT. on page 34



Factory Floor, Dva Damas

[POST-INDUSTRIAL] London’s Factory Floor is a manufacturer that has fully embraced cottage industry over mass production. Forging some of the harshness of industrial with a lightness and space borrowed from minimalist techno, the three-piece band makes driving, carefully constructed electronic music that isn’t cranked out so much as slowly fermented. Despite four years with the current lineup, the group’s self-titled debut was just released late last year on DFA, complete with label’s standard left-field vocal samples. To the uninitiated or undercaffeinated, Factory Floor can start to feel backbreaking around track five, but the open-minded will spot some true promise. While the record was still brewing, the group drew some standout remixers to the table, including New Order drummer Stephen Morris and industrial pioneer Chris Carter of Throbbing Gristle. But this is a revolution, not a hit machine. It’s the latter, not the former, that is Factory Floor’s true paragon, inhabiting the margins of music so fully it can’t be ignored. MITCH LILLIE. Doug Fir Lounge, 830 E

Schoolboy Q, Isaiah Rashad & Vince Staples [LOS AWESOME] It’s not a big stretch that Los Angeles rapper Schoolboy Q decided to title his major-label debut Oxymoron. Schoolboy, who rolls as part of the Top Dawg Entertainment empire with fellow Black Hippy members Kendrick Lamar, Jay Rock and Ab-Soul, lays out a seemingly never-ending series of contradictions—one minute he’s the life of the party, the next he’s contemplative and bashful, lost in a cloud of marijuana smoke and riding the shuffling beat of the slow-burning single “Collard Greens.” His flow is a wondrous, twisting thing, able to volley off an impressive list of collaborators, from Tyler the Creator to Raekwon to the ever-ubiquitous Pharrell, who gives “Los Awesome” the type of spare, futuristic bounce he usually reserves for a Clipse joint. “Hell of a Night” is even a convincing facsimile of Kanye’s “Hell of a Life.” Despite Oxymoron’s juxtaposition of current trends and cloud-rap leanings (“Man of the Year” samples Chromatics’ endof-the-party anthem “Cherry”), it’s still a weird, pill-fueled beast that never forgets its place in L.A.’s gangsta rap hierarchy. You know the drill: I am a sinner, who’s probably going to sin again. MICHAEL MANNHEIMER. Crystal Ballroom, 1332 W Burnside

CO U R T E SY O f I C M pA R T N E R S

Burnside St., 231-9663. 9 pm Wednesday, April 9. $13 advance, $15 day of show. 21+.

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Ghoul, Iron Reagan

Queens of the Stone Age

[DEVIL MUSIC] Josh Homme is blessed with a choirboy’s falsetto and the swagger of a guy who goes through life as if he’s perpetually leaning on the hood of a bitchin’ muscle car. Needless to say, he’s a hard guy to resist, and over the years he’s used his devilish charms to establish Queens of the Stone Age as its own fiefdom in the hard rock universe, with himself at the center. For last year’s Like Clockwork, Homme once again drew a constellation of musical muscle—including Trent Reznor, Arctic Monkeys’ Alex Turner and Sir Elton friggin’ John, not to mention Dave Grohl and bassist Nick Oliveri, key cogs in 2002 breakthrough Songs for the Deaf—into his orbit to help grind out some of the most salaciously heavy grooves he’s conjured in years, but, as usual, the brightest star remains Homme himself. Truly, the world is his Palm Desert bachelor pad. The rest of us are just stopping by for a drink. MATTHEW SINGER. Keller Auditorium, 222 SW Clay St., 274-6560. 8 pm. Sold out.

Graveyard, Bombus

[HEAVY BLUES] Though Graveyard is largely presented as a metal band, the band is, in truth, a heartwrenchingly gorgeous psychedelic blues-rock group, with riffs and ’tude reminiscent of the ’70s and grooves heavy and dynamic enough for just about any music listener to enjoy. Latest album Lights Out, which came out in 2012, pulls at the heartstrings with raw, reallife lyrics and perfect instrumentation that grabs you in the palm of its hand and never relinquishes its grip. CAT JONES. Wonder Ballroom, 128 NE Russell St., 284-8686. 8:30 pm. $18. 21+.


[CLASSICAL GUITAR] Portland Classic Guitar brings Manuel Barrueco, one of the most renowned performers in the classical-guitar world, to town for one of the season’s top guitar recitals. The Cuban master has performed with many of the world’s top orchestras, recorded more than two-dozen albums, won new fans for classical guitar and premiered many new compositions by major composers—none of which will appear on this otherwise excellent program of transcriptions of Baroque masterpieces by J.S. Bach and Domenico Scarlatti, and 19th- and 20th-century classics by Spanish masters Turina and Albeniz. BRETT CAMPBELL. First Congregational Church, 1126 SW Park Ave., 228-7219. 8 pm Friday April 11. $30-$49.

Cappella Romana

[CHORAL REDISCOVERY] Early 20th-century Russian composer Maximilian Steinberg had it all. He was a student and son-in-law of the country’s greatest composer, Rimsky Korsakov; a teacher of Shostakovich, director of the Russian Conservatory; and a colleague of Stravinsky. In 1927, Steinberg wrote his ambitious Passion Week, based on medieval chant melodies— but by the time he finished it, the

CONT. on page 37 34

Willamette Week APRIL 9, 2014


[THRASH] With GWAR on ice following the recent, tragic death of frontman Dave Brockie, aka Oderus Urungus, there is a niche/crevasse/ orifice in metal needing to be filled with blood, bile and spew, and Oakland’s Ghoul may just be the band to do it. It claims to be from Creepsylvania, and its stage show features executioner hoods, fountains of blood and a robot-versusmonster showdown that must have Brockie weeping tears of slime in whatever hell he’s ruling over now. NATHAN CARSON. Branx, 320 SE 2nd Ave., 234-5683. 7 pm. $10 advance, $13 day of show. All ages.


Ben Wendel (far left) and Kneebody.

KNEEBODY WEDNESDAY, APRIL 9 Since a diverse group of teenage CalArts and Eastman School of Music students coalesced as Kneebody in Los Angeles in 2001, the instrumental ensemble has built the kind of growing young audience most jazzers would envy. The way it incorporates rock and pop influences into its singular, organic sound certainly helps with that. WW spoke to saxophonist Ben Wendel about the challenges of expanding outside the jazz box, playing rock clubs and how he’d define Kneebody’s undefinable sound. BRETT CAMPBELL. Virtuosic electrojazz for the indie rock generation.

WW: Your new fourth album is on what’s been traditionally a jazz label, Concord. Yet in Portland, you play indie-rock venues. Why? Ben Wendel: The inspiration for Kneebody’s sound came from the fact that we actually started in a rock venue in L.A., the Temple Bar. We all feel more comfortable in indie-rock clubs. There’s a certain sound to amplified music—driving the tube amp or guitar amp to get a certain sound, fuzz or distortion on the bass and all kinds of effects pedals on the horns—and to hear those clearly in a democratic way across the band, you need a large sound system to experience that. The music is very rhythmic and groove-based, and playing in rooms on the drier side allows us to write music like that. Over the last decade or so, jazz has been reinventing itself thanks to younger musicians who are bringing influences from rock, jam bands, hip-hop and so on. Do you feel Kneebody is part of that trend? I think we’re part of that lineage, which really goes back as far as Weather Report—groove-based music improvisation, lots of different influences. Back then, they called it “fusion music.” I like to call it “hybrid.” But when you make music that doesn’t fit a pigeonhole like “jazz” or “jam” or whatever, doesn’t that make it hard to find an audience? Kneebody is such a specific thing that we have this wide base of followers. We don’t have a specific demographic. I see all kinds of different folks in different venues. Given that it’s an instrumental group and improv is involved, the music is often put under the jazz umbrella, though I don’t know that it’s ever lived there very comfortably. It’s very difficult to describe what the sound is without using six descriptors in a row. Our greatest challenge is to make a sound that’s easier to promote and describe. The other side of that, though, is it can box you in. Music doesn’t fit into categories. We’ve always done best when people just show up and tell other people about the band. And yet, as music critics, we have to come up with a brief phrase that describes your indescribable music. Care to give it a shot? Oh gosh. Uh, let’s just call it “virtuosic electro-jazz.” SEE IT: Kneebody plays Mississippi Studios, 3939 N Mississippi Ave., with the Wishermen, featuring Barra Brown, on Wednesday, April 9. 8 pm. $17 advance, $20 day of show. 21+.

Willamette Week APRIL 9, 2014


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Willamette Week APRIL 9, 2014

CLASSICAL, ETC. increasingly repressive communist government prevented its performance. The score then lay virtually unknown until 2012, when one of his descendants shared it with choral music scholar Alexander Lingas, founder and artistic director of Portland’s superb choir Cappella Romana, which specializes in Orthodox choral works. Now, eight decades after it was composed in St. Petersburg, the last major sacred choral work composed in the Soviet Union receives its world premiere in Portland. BRETT CAMPBELL. St. Mary’s Cathedral, 1739 NW Couch St. 8:30 pm Friday, April 11. $22-$45.



Nowruz Ensemble

[TRADITIONAL PERSIAN] Portland’s Andisheh Center presents this performance from Nowruz Ensemble, a young quartet of Iranian-born, California-based Persian classical music stars who’ve also ventured beyond strict classical traditions. Charismatic singer Mamak Khadem formerly fronted the global fusion band Axiom of Choice, while setar player Sahba Motallebi, percussionist Pezhham Akhavass and kamancheh fiddle master Mehdi Bagheri have performed around the world. BRETT CAMPBELL. First Congregational Church, 1126 SW Park Ave., 228-7219. 7 pm Saturday, April 12. $35-$40.


ILLMACULATE CLAY PIGEONS (SANDPEOPLE MUSIC) [ANXIOUS RAP] “It must have been a mixup,” Illmaculate says three minutes into Clay Pigeons, after pummeling the listener with relentless bars dumped over a piano-led Lou Reed sample. “I think we was waiting for each other/ But all that isn’t important/ What’s important is we here now.” lllmaculate is nothing if not present on his latest collection, jumping wildly between topics—weed, radical politics, star-gazing and the usual healthy dose of self-examination—and stylistic approaches throughout the album’s whopping 20 songs. The St. Johns-built rapper has described the album as somewhat of a stopgap effort, a “momentum-builder” between more focused releases. But it also features technically brilliant rapping that will thrill the heads, and tracks that bluntly address the anxiety of becoming an overnight veteran who hasn’t yet hit his stride. A decade removed from his first Scribble Jam victory, Illmaculate’s finest work is usually his most personal. But Portland’s hip-hop scene is insular when it’s not downright cannibalistic, and the question has always been whether he could keep repping St. Johns without being swallowed up by it. Clay Pigeons shows off a lot of sharp tools and some real choice lumber in search of a blueprint. Greg Poe’s hometown would like him to build an ark, but a nice little cabin would be enough. CASEY JARMAN. SEE IT: Illmaculate plays Alhambra Theatre, 4811 SE Hawthorne Blvd., with Nacho Picasso, on Saturday, April 12. 8 pm. $12 advance, $15 day of show. 21+.

SHOOK TWINS WHAT WE DO (CURLYPINKY) [INDIE FOLK] Shook Twins’ latest release, What We Do, doesn’t capture the hazy pleasantness between wakefulness and sleep so much as the emotional instability of the dream. It rises and falls in and out of different moods—from bright and energetic one moment to dark and dangerous the next. “Toll Free” shows the group’s poppier side, with a bouncy groove alternating between a plucky banjo, fiddle and mandolin, while the album’s first single, “Shake,” goes heavier, with swiftly intertwining strings weaving among stomps and Katelyn and Laurie Shook’s haunting harmonies. “Daemons” follows suit, with sinister-sounding male vocals and flurries of lilting strings that sound beautiful and threatening at the same time. Album closer “Back Now” provides the perfect end to an epic adventure through the subconscious, building to an uplifting chorus. Although it occasionally has its sleepier moments, on the whole the album is approachable and infectious, more polished and less quirky than the Twins’ previous releases. Like any good dream, What We Do leaves listeners energized rather than groggy. KAITIE TODD. SEE IT: The Shook Twins play Mississippi Studios, 3939 N Mississippi Ave., with Steve Poltz, on Friday, April 11. 9 pm. $15 general admission, $30 VIP. 21+. Willamette Week APRIL 9, 2014



Willamette Week APRIL 9, 2014


[APRIL 9-15] Ash Street Saloon

= 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:

225 SW Ash St. The Rodeo Clowns, Marca Luna, State of Jefferson

Bunk Bar

1028 SE Water Ave. Aan, Ghost to Falco

For more listings, check out



350 W Burnside St. The Sorry Devils, Andrew’s Ave & Dogheart

doug Fir lounge

830 E Burnside St. Katie Herzig, Amy Stroup


2126 SW Halsey St. Jet Black Pearl

First Congregational Church of Christ 1126 SW Park Ave Manuel Barrueco

Hawthorne Theatre

1507 SE 39th Ave. Off!, Cerebral Ballzy, NASA Space Universe

Hawthorne Theatre lounge

1503 SE Cesar E Chavez Blvd. Paapa Wastik, Jesse Jendah & Arkaingelle with African Roots Foundation

wed. April 9 Al’s den

303 SW 12th Ave. Wil Kinky

Aladdin Theater

3017 SE Milwaukie Ave. The Wailin’ Jennys

Alhambra Theatre

4811 SE Hawthorne Blvd. Gift of Gab

Ash Street Saloon

225 SW Ash St. Aux78, Benjamin Scott Davis

Boon’s Treasury

888 Liberty St. NE The Folly

Crystal Ballroom

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


350 W Burnside St. Kris Deelane and the Hurt

doug Fir lounge

830 E Burnside St. Factory Floor


1800 E Burnside St. Ian Christensen


2126 SW Halsey St. Chris Marshall and the August Light

Hawthorne Theatre lounge

1503 SE Cesar E Chavez Blvd. Mikey Davis, Luke McCain


lola’s room

1332 W Burnside New Bums, Scout Niblett

Mississippi Studios

3939 N Mississippi Ave. Kneebody, the Wishermen ft. Barra Brown


315 SE 3rd Ave. The New Division, Fringe Class, Moon Mirror, Exotic Club


1033 NW 16th Ave. Defect Defect, Smoke Rings, With Guests

Star Theater

13 NW 6th Ave. I Am the Avalanche, Diamond Youth, Non the Yes Man

The Know

2026 NE Alberta St. Needles & Pizza, Moon Debris, Busy Scissors

Tigardville Station

12370 SW Main Street Open Mic with Jim Crutcher

Tillicum restaurant & Bar 8585 SW BeavertonHillsdale Hwy. High Boltage

Ash Street Saloon 225 SW Ash St. The Shrike, Akkadia

Biddy McGraw’s

6000 NE Glisan St. Jack Dwyer, Ellie Hakanson and Sam Weiss

Bunk Bar

1028 SE Water Ave. And And And, Brite Lines and Tiburones

Crystal Ballroom

1332 W Burnside Street Chvrches


350 W Burnside St. Peter Case

doug Fir lounge 830 E Burnside St. Fishbone

2126 SW Halsey St. Sonny Hess

Hawthorne Theatre

1507 SE 39th Ave. Mani Draper, Elton Cray, Dr. Goon, Keegan B, OneLife, Chandler P, Jacque, D Future

Jade lounge

white eagle Saloon

221 NW 10th Ave. Mel Brown B3 Organ Group

Kenton Club

Al’s den

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

Aladdin Theater

laurelThirst public House

laurelThirst public House

3000 NE Alberta St. Celtic Fiddle Festival

Jimmy Mak’s

2958 NE Glisan St. The Debts, I Am the Lake of Fire (9 pm); Feathers & Friends (6 pm)

303 SW 12th Ave. Wil Kinky 3017 SE Milwaukie Ave. The Wailin’ Jennys

Alberta rose Theatre

2958 NE Glisan St. Jamie Leopold & the Short Stories (9:30 pm); Lewi Longmire & the Left Coast Roasters (6 pm)

Alhambra Theatre

Mississippi pizza

4811 SE Hawthorne Blvd. CunninLynguists, J-Live, Sadistik, Nemo Achida, Sonreal

3341 SE Belmont St. Snowapple, the Cabin Project, Denim Wedding


2025 N Kilpatrick St. Jeremy Burton, Faith Twain, Damn Family, Jackie Alan Denise

1001 SE Morrison St. Adventure Galley, Wishyunu, Just Lions

The Blue Monk

Tillicum restaurant & Bar

Jimmy Mak’s

THurS. April 10

13 NW 6th Ave. Temples, Drowners

The Know

2126 SW Halsey St. Wheeler Brothers, Graham Wilkinson

Trail’s end Saloon

836 N Russell St. Buckle Rash

Star Theater

3552 N Mississippi Ave. Sarah Pigeon & Jack Kovacs, Mo Phillips

2026 NE Alberta St. Life and Limb, Two Hands, Brother Joseph

8585 SW BeavertonHillsdale Hwy. David Cooley

white eagle Saloon

836 N Russell St. Seth Glier, Chris Baron

Fri. April 11 Al’s den

303 SW 12th Ave. Wil Kinky

Alberta rose Theatre

3000 NE Alberta St. Ladies Rise Up and Rock: History of Women in Music, Michele Van Kleef

Alhambra Theatre

4811 SE Hawthorne Blvd. Mufassa, Soopah Eype, Brothers Bror

Analog Cafe & Theater

720 SE Hawthorne Blvd. The Lovely Lost, Cedar Teeth, The Heartford Defiance, Land of the Living, Tyler Stenson, Jeff Campbell

Arlene Schnitzer Concert Hall

1037 SW Broadway Pink Martini

Al’s den

303 SW 12th Ave. Wil Kinky

Alberta rose Theatre 3000 NE Alberta St. Live Wire Radio Show

Alberta Street public House 1036 NE Alberta St. A Simple Colony, Sam Densmore & Curtis Irie, Jeremy Wilson Band, Mike Coykendall

Alhambra Theatre

4811 SE Hawthorne Blvd. Immaculate, Nacho Picasso

Arlene Schnitzer Concert Hall

1037 SW Broadway Pink Martini

Ash Street Saloon

Star Theater


1033 NW 16th Ave. Foriegn Talks, ManX, Ladywolf, New Social Outcasts, Rat Party 13 NW 6th Ave. Sallie Ford, Rich Bain, Three For Silver, Genius Position

The Blue Monk

3341 SE Belmont St. Kithkin, Mercy Graves & Adam Brock 4

The Firkin Tavern

1937 SE 11th Ave. Pals Fest Fundraiser: Eidolons, Bevelers & Guests

The Know

2026 NE Alberta St. Burials, Hazards Cure, Spectral Tombs

221 NW 10th Ave. Karen Lovely 2025 N Kilpatrick St. Black Witch Pudding, Hobosexual, West Water Outlaws

laurelThirst public House

2958 NE Glisan St. John Henry’s Birthday Bash (9:30 pm); Joe McMurrian & Woodbrain (6 pm)

Mississippi Studios

3939 N Mississippi Ave. Shook Twins, Steve Poltz

Moda Center

#150, 1 N Center Court St. George Strait, The Cowboy Rides Away Tour


doug Fir lounge

830 E Burnside St. Ramble On: A Tribute To Led Zeppelin, Root Jack


2126 SW Halsey St. Mary Flower

First Congregational Church 1126 SW Park Avenue Nowruz Ensemble

Habesha lounge

801 NE Broadway St. Havania Whaal

Hawthorne Theatre lounge

1503 SE Cesar E Chavez Blvd. Light Creates Shadow, This Patch of Sky, A Collective Subconscious

128 NE Russell St. The Colourist, Night Terrors of 1927

Sun. April 13 303 SW 12th Ave. Chris Phillips 3000 NE Alberta St. Ellis Paul and Catie Curtis

Alhambra Theatre

4811 SE Hawthorne Blvd. The Grahams

Arlene Schnitzer Concert Hall

1037 SW Broadway Pink Martini

Branx 320 SE 2nd Ave. We Rise the Tides, Lion I Am, Standing On Satellites, & Subtle City

Bunk Bar

1028 SE Water Ave. Say Hi and Big Scary

Colonial Heights presbyterian Church

2828 SE Stephens Street Watermark, Two Cities Joined by the Willamette

Crystal Ballroom

1332 W Burnside Street Schoolboy Q, Isaiah Rashad & Vince Staples

Secret Society Ballroom



Kelly’s Olympian


116 NE Russell St. Johnny Boyd, The Ukeladies, Peter Krebs and His Portland Playboys


1033 NW 16th Ave. Morbosidad, Cemetary Lust, Warpvomit, Trepanation

St. Mary’s Cathedral

1716 NW Davis St. Cappella Romana

Star Theater

13 NW 6th Ave. John Scofield’s Überjam, Skerik’s Bandalabra

The Firkin Tavern

1937 SE 11th Ave. Dramady, Neighbor Wave

The Know

2026 NE Alberta St. Lunch, Darling Chemicalia, Landlines

Tillicum restaurant & Bar 8585 SW BeavertonHillsdale Hwy. The Shedmen

426 SW Washington St. Nerds and Crafts

Kenton Club

2025 N Kilpatrick St. Foxy Lemon, Ex-Girlfriends Club, Thomas Mudrick, Whorehound

langano lounge 1435 Hawthorne The Century

laurelThirst public House

2958 NE Glisan St. Garcia Birthday Band (9:30 pm); The Yellers (6 pm)

Mississippi pizza

3552 N Mississippi Ave. Get Rhythm & Kelsey Mousley (9:30 pm); Eagles of Freedom (6 pm)

roseland Theater

8 NW 6th Ave. Mindless Self Indulgence

13 NW 6th Ave. Fatoumata Diawara

The Know

2026 NE Alberta St. Berri Txarrak, Order of the Gash, Ape Machine

white eagle Saloon

836 N Russell St. Rocket 3, Pete Kronowitt

MOn. April 14 dante’s

wonder Ballroom

Jimmy Mak’s

112 SW 2nd Ave. Kells Pipes and Drums

Star Theater

830 E Burnside St. The Afghan Whigs, Early Winters

315 SE 3rd Ave. Motrik, Hedersleben, Tnen

221 NW 10th Ave. Soulmates

1033 NW 16th Ave. Grand Style Orchestra

350 W Burnside St. Karaoke from Hell

836 N Russell St. The Resistance, the DoveDriver

Alberta rose Theatre

7708 NE 78th St Mozart Requiem

116 NE Russell St. T-Sisters, Mimi Naja, Jay Cobb Anderson, Jeffrey Martin, Anna Tivel

white eagle

Crossroads Community Church

14 NE Killingsworth St. Dirty Queer

Bunk Bar

600 E. Burnside St. Grammies, Tope

Secret Society Ballroom

in Other words

Secret Society Ballroom

1033 NW 16th Ave. She Preaches Mayhem, The Globalist, Divides

SAT. April 12



Al’s den

Kenton Club


836 N Russell St. Garden Goat, All the Apparatus, Reverb Brothers

116 NE Russell St. Trashcan Joe

1028 SE Water Ave. Jenny Hval and Mark Mcguire

Jimmy Mak’s

116 NE Russell St. Hang the Old Year, Long Hallways, Pinscape

white eagle Saloon

Secret Society Ballroom


8 NW 6th Ave. Little Dragon, Unknown Mortal Orchestra


2342 SE Ankeny St. Christopher John Mead and Friends

1320 Main Street Big Monti

roseland Theater

1530 SE 7th Ave. Steve Bradley and the Z sides

225 SW Ash St. Riverpool, Stoning Giants

1001 SE Morrison St. Odesza, D33J, Kodak to Graph

deSerT STOrM: Tinariwen plays Aladdin Theater on Tuesday, April 15.

Vie de Boheme

350 W Burnside St. Lovebomb Go-Go

doug Fir lounge


2126 SW Halsey St. Skip vonKueske’s Groovy Wallpaper

Hawthorne Theatre

1507 SE 39th Ave. Tesseract, Intronaut, Cloud Kicker, The Odious, When They Invade

Jimmy Mak’s

221 NW 10th Ave. The Dan Balmer Trio

laurelThirst public House

2958 NE Glisan St. Kung Pao Chickens (9 pm); Peter Pants (6 pm)

lola’s room

1332 W Burnside Wheeler Brothers, Graham Wilkinson

Mississippi Studios

3939 N Mississippi Ave. Guitar Shorty, DoveDriver

roseland Theater

8 NW 6th Ave. Chromeo, Tokimonsta

Secret Society Ballroom

116 NE Russell St. Charlie Dennard, Clay Giberson, Steve Christofferson

The Know

2026 NE Alberta St. Big Black Cloud, CCR Headcleaner, Destruction Unit

The Muddy rudder public House

2126 SW Halsey St. Lewi Longmire and Anita Lee Elliot

8105 SE 7th Ave. Lloyd Jones

evans Auditorium, lewis & Clark College

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

0615 S.W. Palatine Hill Road Franya Berkman, Obo Addy

Hawthorne Theatre 1507 SE 39th Ave. Megan Nicole

Hawthorne Theatre lounge

1503 SE Cesar E Chavez Blvd. Jason and The Punknecks, The Back Alley Barbers

Mississippi pizza

3552 N Mississippi Ave. Jellyroll Ramblers

Mississippi Studios

3939 N Mississippi Ave. Mackintosh Braun, Barcelona

white eagle Saloon

TueS. April 15 Al’s den

303 SW 12th Ave. Chris Phillips

Aladdin Theater

3017 SE Milwaukie Ave. Tinariwen, the Melodic

Alhambra Theatre

4811 SE Hawthorne Blvd. Dan Tedesco

Analog Cafe & Theater 720 SE Hawthorne Blvd. Kung Fu Vampire, Dirtbag Dan, & G-Mo Skee

Music Millennium

3158 E. Burnside St. The Grahams

CONT. on page 40

Willamette Week APRIL 9, 2014


MUSIC CALENDAR 1037 SW Broadway Diana Krall

Blue Diamond

2016 NE Sandy Blvd. The Gretchen Mitchell Band


Arlene Schnitzer Concert Hall

APRIL 9–15


320 SE 2nd Ave. Ghoul and Iron Reagan, Occultist

Doug Fir Lounge

830 E Burnside St. Jeni Wren, Brownish Black


2126 SW Halsey St. Hanz Araki

Jimmy Mak’s

221 NW 10th Ave. Mel Brown Septet, the Blueprints Trio

Keller Auditorium

222 SW Clay St. Queens of the Stone Age

LaurelThirst Public House 2958 NE Glisan St. Amanda Richards & the Good Long Whiles (9 pm); Jackstraw (6 pm)

Mississippi Pizza

3552 N Mississippi Ave. Inky Shadows

Mississippi Studios

3939 N Mississippi Ave. Micky And The Motorcars, Hip Hatchet (9 pm); Saints of Valory, Vance Joy (4 pm)

The Blue Monk

3341 SE Belmont St. The Pagan Jug Band,

The GoodFoot Lounge 2845 SE Stark St. Radula

The Lehrer

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

White Eagle Saloon

836 N Russell St. Class M Planets, Martyn Leaper

Wonder Ballroom

128 NE Russell St. Graveyard, Bombus

LITTLE PIGGY WENT TO PUB: Over the speakers, the newly uncoupled Chris Martin sings a song about how we never change. But inside Piglet (17730 Pilkington Road, Lake Oswego, 635-7427,, everything is quite different. First announced as an adjunct bar for Pine Shed Ribs, Piglet is better described as the new face of the Lake Oswego slab slinger. Rather than asking diners to order in a waiting room and eat at outdoor picnic tables or in a booze-free and character-deficient dining room, Piglet allows everyone to order inside, where the Shed pairs its smoked meat with beer from five taps and a small selection of West Coast wine. The Portland Monthly’s superlative czar recently downgraded it from “the best barbecue in PDX” to “some of the best BBQ in the metro area.” But the Shed’s full sampler ($17) is better than it was when we reviewed the ’cue this time last year, with smokier brisket, extra-tender pulled pork and the still-excellent pork ribs. The 10-stool bar, though, is the real game-changer, offering patrons the chance to order inside and grab a drink while they wait for pie plates piled high with meat to round the corner from the little shed that’s now the kitchen and storage closet. There’s espresso during breakfast hours, a huge lineup of desserts (the s’more tart with homemade marshmallow on a glacier of ganache is recommended) and five Oregon beers, each of which is a pale ale of some stripe. Pine Shed could use a little more variety on those taps, but that’s nitpicking on what’s otherwise a very happy union. MARTIN CIZMAR.

80s Video Dance Attack

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

The GoodFoot Lounge

WED. APRIL 9 CC Slaughters Nightclub & Lounge 219 NW Davis St. DJ Robb, Trick

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

Harlem Portland

220 SW Ankeny St. DJ Jack

Moloko Plus

3967 N Mississippi Ave. King Tim 33 1/3

The Lovecraft

421 SE Grand Ave. Exhume

The Whiskey Bar


31 NW 1st Ave. Rebecca and Fiona

THURS. APRIL 10 Analog Cafe & Theater 720 SE Hawthorne Blvd. Bubble Up

Gemini Lounge

6526 SE Foster Rd. Flex Logic

Harlem Portland

220 SW Ankeny St. DJ Tourmaline, DJ Valen


CC Slaughters Nightclub & Lounge

3967 N Mississippi Ave. Strictly Vinyl, DJ Strategy

Refuge PDX

116 SE Yamhill St Bloom: Sbastien Lger, Luke Mandala, Apolinario Ancheta, and MontsDe

FRI. APRIL 11 CC Slaughters Nightclub & Lounge

219 NW Davis St. DJ Jakob Jay, Sweat Fridays

The Blue Monk


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


Harlem Portland

220 SW Ankeny St. Lionsden


1001 SE Morrison St. DJ Chelsea Starr

Lola’s Room

1332 W Burnside


Willamette Week APRIL 9, 2014


Moloko Plus

1800 E Burnside St. DJ Rhienna

CC Slaughters Nightclub & Lounge

31 NW 1st Ave. Grandtheft


B.C.’s Bar & Grill

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

The Whiskey Bar

1001 SE Morrison St. I’ve Got a Hole in My Soul: DJ Beyondadoubt

3341 SE Belmont St. Alexander Robotnick, Soft Metals

2433 SE Powell Tetsuo

2845 SE Stark St. Soul Stew: DJ Aquaman

320 SE 2nd Ave. Kill Paris and Candyland

219 NW Davis St. Revolution, DJ Robb

Gemini Lounge

6526 SE Foster Rd. DJ’s Ashby Scaggs, Cee White & Brian Todd


1001 SE Morrison St. Verified: Brenmar, Most Custom, Gang$ign$, Massacooramaan, DVST

Mississippi Studios

3939 N Mississippi Ave. Mrs: DJ Beyonda

Moloko Plus

3967 N Mississippi Ave. DJ Cuica


315 SE 3rd Ave. Volt Explosion!, Coco Montrese, SPF 666

SUN. APRIL 13 Analog Cafe & Theater

720 SE Hawthorne Blvd. Sensory, Bittersweet Productions and PAN-ZEN

CC Slaughters Nightclub & Lounge 219 NW Davis St. The Superstar Divas, DJ Robb


1401 SE Morrison Sanctuary Sunday

Star Bar

639 SE Morrison St. The Bobcat

The Lovecraft

421 SE Grand Ave. Rapture: DJ Finger Bang & Dungeon Master

MON. APRIL 14 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 15 Analog Cafe & Theater 720 SE Hawthorne Blvd. S.Y.N.T.

CC Slaughters Nightclub & Lounge

219 NW Davis St. TNA Tuesdays, DJ Jakob Jay

Star Bar

639 SE Morrison St. DJ Smooth Hopperator

The Lovecraft

421 SE Grand Ave. TRNGL, DJ Rhienna

Willamette Week APRIL 9, 2014


JAY UNGAR & MOLLY MASON An evening of Folk and Bluegrass with the Family Band

Walters Cultural Arts Center 4/25 7:30pm

most celebrated duos on the American Acoustic music scene.” “ One of the

$20 ADVANCE / $25 DAY OF SHOW Call 503-615-3485 for tickets or buy online at


Coming Soon: Ron Steen Quartet–4/11; Oregon Mandolin Orchestra—5/2; Tears of Joy Puppet Theatre Matinee—5/10 (Free)



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“A“Atheatrical knockout.” theatrical knockout” –Trouw (Netherlands)

–Trouw (Netherlands)


meets BOXING you can even sit ringside!

THIS WEEK Thu - Sat 8pm

APRIL 10-12 Photo by Gerco de Vroeg





Willamette Week APRIL 9, 2014

Emio_WW_6h_weekof.indd 1

4/3/14 11:16:44 AM



In its whirling kineticism and unbridled embrace of madcap absurdity, Mark Bedard’s Marx Brothers adaptation is testament to the vitality of the stage. That might be big talk for a silly musical, set at a Florida hotel that’s home to a zany menagerie of characters. But, as directed by David Ivers, there’s something brilliant and exhilarating and just stupidly delightful about watching these comedic beats play out live. The rehearsed bits, while good, can’t compare to the breathless payoff of the improv, and there’s not a moment when these performers phone it in.

the comedy of errors

thE cOcOanuts


“Uh-oh! We have a critic!” It’s Friday afternoon at the Oregon Shakespeare Festival, and I have just been outed. Sitting in the sixth row of the Angus Bowmer Theatre, I feel 600 sets of eyes turn on me. We’re in a matinee performance of The Cocoanuts, a raucous Marx Brothers adaptation, and the actors have just rushed the audience. Chico, played by John Tufts, spies my notepad and snatches it from my hands. Panic sets in. “Oooh, she likes the puns!” Tufts says. I look on in terror, straining to remember what I’ve written. Harpo, the speechless brother, musses my hair. Tufts squeals gleefully: “She likes meeeeee!” And then they’re gone, off to terrorize other audience members. Groucho steals a hat. Playbills f ly. I hear a teenage girl squawk as Harpo tries on her rhinestoneemblazoned sunglasses. My notepad is back in my hands. I clutch it dearly. Like a lot of kids in Portland, I grew up on annual visits to the Oregon Shakespeare Festival. I was once one of those schoolkids in the back of the theater, held rapt by Puck suspended in a crescent moon during a gorgeous production of A Midsummer Night’s Dream. As my classmates nodded off, I was snared. The hook stuck: In reviewing theater for WW, I’ve seen nearly every major Portland production in the last two years. But return-

ing to the southern Oregon town of Ashland as a critic was dizzying. It wasn’t just that I’d be reviewing actors I’d revered as a teenager, though that was plenty surreal. It’s that the experience of OSF is a wholly immersive one: You mourn the death of Romeo and Juliet at the afternoon matinee and then find those actors resurrected and recast as Professor Higgins and Eliza Doolittle that evening. Tiny Ashland is overrun with world-class actors. You run into Blanche DuBois at the coffee shop and spot Macbeth buying beer at Safeway. Themes and juxtapositions emerge across shows. It’s consuming, draining and exhilarating.

YOu RuN INTO BLANCHE DuBOIS AT THE COFFEE SHOP AND SPOT MACBETH BuYING BEER AT SAFEWAY. OSF has made Ashland—a sleepy burg of 20,000, notable for its sulfury-tasting lithia mineral water, proximity to California and views of the Siskiyou Mountains—a theatrical mecca. With three theater spaces, a resident company of about 90 actors and 11 productions a year, only four of them Shakespeare, OSF is one of the largest and oldest theater festivals in the country. A $25 million budget helps attract Broadway-quality ta lent and a tourist-heav y audience to match: At OSF, 85 percent of attendees come from more than 125 miles away (on Broadway, about 65 percent are out-of-towners). On my recent visit, I found these audiences unchanged from a decade ago. The blue-hairs on their annual cultural pilgrim-

the sign in sidney brustein’s window

ages tittered with fresh gossip—in Ashland, actors are treated like tabloid stars. “Did you know the actors playing Ferdinand and Miranda in The Tempest are a real-life couple?” an elderly B&B guest whispered to me, as we munched freshly baked chocolatechip cookies. A nd there were plenty of teenagers on school trips, generally being pounced upon by ushers who chastised them for snapping selfies in the theater. But while the audiences didn’t surprise me, the work did (see sidebar). Rather than settling into complacency, cycling through Shakespeare’s greatest hits and other reliable fare, this 79-year-old festival still has kick. Since Bill Rauch took over as artistic director in 2008, he’s championed musicals, plays from outside the Western canon and new work: Take the American Revolutions program launched in 2008, which aims to commission up to 37 new works about U.S. history by 2017. (One of those, Robert Schenkkan’s All the Way, hit Broadway last month, with Breaking Bad’s Bryan Cranston starring as Lyndon B. Johnson. Rauch directed.) In the current season, a decades-old, little-produced play has been given fresh vigor. A recent Pulitzer winner pulses with street-smart poetry. Actors flex jaw-dropping comedic muscle. Taking in five plays over the course of three days, I was repeatedly reminded of the electricity of the stage, of what live performance can offer that the screen never can. OSF might not produce the riskiest or most avant-garde work in Oregon, but it’s some of the finest theater on the West Coast, and indispensable for the deep-dive experience it offers. And never mind that it had been seven years since I’d last been on the Ashland bricks. Reading the playbill felt like paging through a yearbook, preparing for a reunion I was excited to attend. GO: The Oregon Shakespeare Festival runs through Nov. 2. For showtimes and ticket info, visit

The Comedy of Errors

The Comedy of Errors is one of Shakespeare’s two comedies that centers on twins, but unlike Twelfth Night, this early play relies more on slapstick high jinks and its characters’ baffling obtuseness than on wit of language or plot. Director Kent Gash sets his production during the Harlem Renaissance of the 1920s. Against the backdrop of the Great Migration, the story of a sundered family gains resonance—and we get Elizabethan verse dipped in thick Southern honey and inflected with random outbursts of “Langston Hughes!” But Gash adds unnecessary bells and whistles: neon signs, feather-clad call girls, video projections of the roiling sea, police sirens, and, in an over-the-top final number, confetti guns. Such pyrotechnics end up drawing attention to the thinness of the story, and the intimate Thomas Theatre starts to feel like an Archibald Motley-themed video arcade.

The Sign in Sidney Brustein’s Window

When The Sign in Sidney Brustein’s Window debuted on Broadway in 1964, critics didn’t know what to make of this discursive play by Lorraine Hansberry, who’d stunned the theater world with A Raisin in the Sun five years earlier. The sprawling narrative arc made it impossible to distill the play into a single straightforward message, and there were implicit questions about how a young black playwright could write about a bleeding-heart Jewish intellectual in Greenwich Village. How fortunate that OSF has unearthed this little-seen play, in a captivating production directed by Juliette Carrillo. As the play begins, Sidney (Ron Menzel, filled with nervous energy) has revived his political activism. But he has no reservations expressing his disdain for his wife, Iris, played by Sofia Jean Gomez with shattering emotional range. Hansberry prods the sexism that infused ’60s progressive politics but never reduces Sidney to an unsympathetic prick, and her writing throughout is sharp-witted and frequently very funny.

The Tempest

Never mind the story’s magic: The Tempest is the least playful of the five shows currently running. Though occasionally shot with vim—mostly courtesy of Kate Hurster as Ariel—director Tony Taccone’s rendering is stolid, disjointed and dulled by Denis Arndt’s leaden Prospero. More successful are the four dancers. Inspired by the Japanese dance form butoh, they’re painted all in white, and they glide and roll across the stage with a hyperdeliberateness that’s entrancing.

Water by the Spoonful

“Talking about ideas isn’t saying anything,” says Yazmin, a music professor, when her cousin Elliot ribs her about her smarts. “It’s just making syllables with your mouth.” If there’s anything playwright Quiara Alegria Hudes doesn’t do in this emotionally stirring work, it’s just make syllables with her characters’ mouths. Spoonful, which won the 2012 Pulitzer, tells interwoven stories about Elliot, a young Iraq war vet (played by Daniel Jose Molina with a limp-cumswagger and brassy vulnerability), and an online forum for recovering crack addicts. With empathetic direction by Shishir Kurup, this is a drama about disconnection that coheres beautifully.

MORE: For full reviews, visit

Willamette Week APRIL 9, 2014


april 9-15

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


Boom Arts presents a workshop performance of Deborah Asiimwe’s play about a group of Africans applying for U.S. visas. In a cruel instance of life imitating art, Asiimwe was herself denied a visa, so she’ll participate in post-show conversations via Skype. Lincoln Hall, Portland State University, 1620 SW Park Ave., 567-1644. 7:30 pm Friday-Saturday and 2 pm Sunday, April 11-13. $12-$20.

Buena Vista

Next up in Profile Theatre’s In Dialogue series—which aims to deepen conversation about the season’s featured playwright, Sam Shepard—is a staged reading of Edith Freni’s 2013 play about a bonkers family snowed in at a remote cabin in Colorado. Artists Repertory Theatre, 1515 SW Morrison St., 241-1278. 7:30 pm Saturday and 2 pm Sunday, April 12-13. $15.

E’-Bon, E’-Bon

Local vocalist Lyndee Mah stages a new autobiographical work about her Chinese-European-American heritage. Mah brings together monologue, song and video to trace the story of her ancestors. Sanctuary at Sandy Plaza, 1785 NE Sandy Blvd., 239-5919. 7:30 pm Thursday-Saturday and 2 pm Saturday-Sunday, April 10-13. $10-$25.

Opus 3

A collaboration between Portland Experimental Theatre Ensemble and Portland Actors Conservatory, this original work is inspired by The Ghost Sonata, a chamber play by August Strindberg. The work is about temporality and love, with performers aiming to create a surreal onstage world. Portland Actors Conservatory, 1436 SW Montgomery St., 274-1717. 7:30 pm Thursdays-Saturdays and 2 pm Sundays through April 27. $5-$25.


Portland Center Stage artistic director Chris Coleman takes on Shakespeare’s tragedy of love and jealousy. Gerding Theater, 128 NW 11th Ave., 445-3700. 7:30 pm Tuesdays-Sundays; 2 pm Saturdays-Sundays; noon Thursdays through May 11. $29-$67.

Pilot Season: Do the D.A.N.C.E.

The second of Action/Adventure’s socalled “pilot episodes”—first installments of serialized comedies, one of which will turn into a full production next season—features a ’90s R&B soundtrack and revolves around a girl who loves to groove. Action/Adventure Theatre, 1050 SE Clinton St. 10 pm Thursday-Saturday, April 10-12. $6-$10; $15 for four-week pass.

pool (no water)

In Mark Ravenhill’s 2006 play, young artists gather at a friend’s posh digs. But when a terrible accident lands the host in the hospital, the others try to turn her suffering into art. It’s an ambitious and somewhat experimental piece of movement theater, and it’ll be intriguing to see how Theatre Vertigo makes it work in Shoebox’s tiny black-box space. Shoebox Theater, 2110 SE 10th Ave., 306-0870. 7:30 pm Thursdays-Saturdays and 2 pm Sundays through May 10. $20.

Puppet Slam

Beady Little Eyes unleashes another round of short plays featuring puppets engaging in raucous behavior. Imago Theatre, 17 SE 8th Ave., 231-3959. 8 pm Friday-Saturday, April 11-12. $10-$12.


The Quality of Life

The ever-estimable Allen Nause, former artistic director of Artists Rep, directs the ever-estimable Linda Alper in Jane Anderson’s widely praised drama about a quartet of baby boomers who must confront aging, death and cultural differences. Artists Repertory Theatre, 1515 SW Morrison St., 241-1278. 7:30 pm WednesdaysSundays and 2 pm Sundays through May 11. $25-$55.


Post5’s Hamlet isn’t the version you saw in high school. King Claudius and Queen Gertrude resemble picture-perfect parents from a ’50s sitcom, servants snap photos with smartphones, and Ty Boice as Hamlet swaggers in wearing sunglasses and a fancy suit, every bit as bitter and melancholy as you expect him to be—until he isn’t. Boice’s Danish prince drips with sarcasm one second and flightiness the next, making Shakespeare’s tragedy come alive with unexpected comedy. Aided by an intimate set and a cast that plays up the humor, the production 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 Thursdays-Sundays through May 4. $15; Thursdays “pay what you will.”


Midsummer is modestly subtitled “a play with songs,” and strictly speaking, that description holds up. This romantic romp from David Greig and 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, presented by Third Rail. Local favorite Isaac Lamb makes Bob much more than a lovable loser. Sure, he’s a “piss artist” who sells pink convertibles to shady characters and has lengthy conversations with his penis. But in Lamb’s expert hands, Bob is a hero of romance. Cristi Miles is perfect as the hard-working, hard-drinking yet vulnerable Helena. Interestingly, the whip-smart script doesn’t dictate which actor delivers which line. But director Philip Cuomo is obviously in his element, and the pacing is exceptionally fluid. DEBORAH KENNEDY. CoHo Theater, 2257 NW Raleigh St., 235-1101. 7:30 pm Thursdays-Saturdays and 2 pm Sundays through April 19. $20-$27.

A Pigeon and a Boy

Jewish Theatre Collaborative’s adaptation of Meir Shalev’s novel is performed like an extended poem, with the cast oscillating between Tel Aviv in 1948 and Jerusalem in 2002. The actors tell the story with elegant and expressive movements—Crystal Ann 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. Miracle Theatre, 525 SE Stark St., 512-0582. 7:30 pm Thursdays-Saturdays and 2 pm Sundays through April 12. $25.

COMEDY & VARIETY All Jane No Dick Showcase

Several female comics grab the mic for Picture This!, which is kind of like standup meets Pictionary: Comics perform their sets while being drawn live by artists. Curious Comedy, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 8 pm Thursday, April 10. $5.

Andy Daly

Standup from the chameleonic comedian known for starring on Comedy Central’s Review. Mississippi Studios, 3939 N Mississippi Ave., 288-3895.

Willamette Week APRIL 9, 2014

7:30 pm Saturday, April 12. $17 advance, $20 day of show. 21+.

Emio Greco | PC

Peretti’s sardonic standup might be abrasive were it not so razor-sharp— and, perhaps, if the Brooklyn NineNine star didn’t also turn the knife on herself. She stokes discomfort in her audience, but the payoff is as savage as the jokes themselves. Hawthorne Theatre, 1507 SE 39th Ave., 233-7100. 8 pm Saturday, April 12. $15-$20.

Dance meets boxing in one of the most alluring performances of presenter White Bird’s season. Created by choreographer Emio Greco and director Pieter C. Scholten, Rocco is inspired by Luchino Visconti’s 1960 boxing film, Rocco and His Brothers. It sounds like a knockout, but reviews from other cities make it out to be a letdown. Apparently, the boxing ring on the stage, with the ringside audience, is fantastic, but the appeal dwindles from there. The dance-boxing between the two performers at the outset is sidestepped for a strange bout between two cartoonish characters dressed like Mickey Mouse. The pair milk the camp and jab at each other, eventually stripping to reveal sparkly pants and a not totally surprising hint of homoeroticism. According to The Guardian, the piece is “strong on mood and atmosphere, but its wavering tone and intent means that its best punches aren’t always best placed.” Newmark Theatre, 1111 SW Broadway, 248-4335. 8 pm ThursdaySaturday, April 10-12. $20-$30.

Empire High

Late-Night Variety Show

The Breast Variety Show Ever

A showcase to benefit Brody Theater’s Domeka Parker, who’s currently undergoing treatment for cancer. Brody Theater, 16 NW Broadway, 224-2227. 7 pm Thursday, April 10. $15.

Chase & Stacey: Joyride

Curious Comedy’s Stacey Hallal teams up with Chase Padgett for a musical-comedy extravaganza. Curious Comedy, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 8 pm FridaysSaturdays through May 2. $12-$15.

Chelsea Peretti

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. Funhouse Lounge, 2432 SE 11th Ave., 841-6734. 7 pm Fridays-Saturdays through April 26. $10.

Entertainment for People: New Shit Show

Comedian Amy Miller hosts this installment of the monthly variety show, which features—as the title indicates— new shit from a heap of local writers, musicians and filmmakers. Disjecta, 8371 N Interstate Ave., 286-9449. 8 pm Monday, April 14. $8. 21+.

A Salute to Late-Night with Aaron Ross

Seattle’s Armitage Shanks, a selfdescribed “carny preacher” with a bowler hat and a cigar, hosts a burlesque and vaudeville cabaret. His pedigreed lineup includes burlesque performers Zora Von Pavonine and Angelique DeVil, belly dancer Erika Ryn, funny stripper on wheels Ivizia, and Russell Bruner, who was crowned King of Burlesque by the Burlesque Hall of Fame in 2012. Dante’s, 350 W Burnside St., 226-6630. 9 pm Saturday, April 12. $12. 21+.

Peep Show

Drag queen Artemis Chase brought it last month with the revival of her

queer variety show (I couldn’t sleep after seeing Johnny Nuriel slice off his penis). This month, she has more acts planned to shatter comfort zones, among them naked contemporary dancer Tod Alan, expert O-facer Baby LeStrange, show tunes-singing drag queen Honey Bea Hart and bloodyeyed performance art queen Kaj-Anne Pepper. Artemis also has an act lined up from performer Prys Séphonê that she says is “going to be one of the most extreme acts we’ve had and may be a bit too much for some.” I’m guessing vagenre. The Analog, 720 SE Hawthorne, 432-8079. 9:30 pm Wednesday, April 9. $7-$12. 21+.

Rooted in the Land of Improvisation

To those who are into improvisational performance art, this could be genius. To those who aren’t, this will probably seem like some weird shit. Three improvisers perform two works, each erring on meta, tackling the idea of improvisation itself. In the first piece, Portland’s Craig Baker and Hungary’s Nora Hajos both pose as aliens of sorts, visiting Earth and experimenting with the “essence of polarities.” The piece is a multimedia duet featuring dance, moving words and projections. The second piece comes from Karen Nelson, who lives on Vashon Island. She finds solo-making relatively mysterious, and this piece combines three she’s created. Her inspirations are colorful: powers of superhuman compassion, taking instructions from the universe and the 1950 Japanese film Rashomon. Those directions could soar or flop, but with these shows, the audience is usually as flexible as the performers. Performance Works NW, 4625 SE 67th Ave., 777-1907. 8 pm Friday-Saturday, April 11-12. $10-$20.

For more Performance listings, visit



Aaron Ross puts away the Ed Forman polyester for a month of shows dedicated to the titans of late-night TV. Dante’s, 350 W Burnside St., 226-6630. 10 pm Tuesdays through April 29. $3.

Tommy Davidson

One of the original stars of In Living Color, Davidson has a standup style that capitalizes on his knack for impressions and physical comedy. Helium Comedy Club, 1510 SE 9th Ave., 888-643-8669. 8 pm Thursday and 7:30 and 10 pm Friday-Saturday, April 10-12. $15-$29. 21+.

The Wrath of Comedy

Live-wire young comic Sean Patton is joined by locals Amy Miller and Shane Torres for this comedy showcase, which also features Stovokor, an all-Klingon death-metal band. White Owl Social Club, 1305 SE 8th Ave., 236-9672. 8 pm Tuesday, April 15. $8.

DANCE A-WOL Dance Collective

The aerialist troupe reprises its comic book-inspired saga in two parts: Zip Zap Zoom and Zip Zap Doom. The story has good guys, bad guys, ninjas and a unicorn—characters who suspend themselves from the ceiling as you suspend your disbelief. The superhero angle is a good one for the high-flying A-WOL, as the performers swing in harnesses, drop out of mid-air and spin in lycra. The show is ultimately about good and evil. Zoom is the good guy—er, girl—and the titular character of the first weekend. The second weekend, the plot thickens as her evil cousin, Doom, joins the fold. Who will prevail? Will anyone save the unicorn? A-WOL Warehouse Theater, 2303 N Randolph St. 8 pm ThursdaysSaturdays, April 10-12 and 17-19; 5 pm Saturdays, April 12 and 19. $13-$30.

Agnieszka Laska Dancers

The Agnieszka Laska Dancers perform an excerpt of Chopin Project, a slow ooze of swooping, leaning and bending set to a live piano. The rest of the afternoon is devoted to the mazurka, a Polish triple-meter dance. Polish Hall, 3900 N Interstate Ave., 7151866. 1 pm Sunday, April 13. $10-$15.

HOLDING OUT FOR A HERO: Like the Justice League meets The Office, Sidekicks imagines the everyday drudgery of being a superhero—and the particular travails of playing second fiddle to the big shots. Set in a land called New Cascadia, evoked by drawings of a lumpy Portlandia statue and a wonky-looking Hawthorne Bridge, these superheroes have had it easy recently. Sure, Vitality’s bar Dig a Power might be losing money, and the coffee mugs might be piling up in the office sink, but things have been fairly villain-free…until the evil Influencer and the Technolord hijack a pirated TV signal and inform the city of their evil plans. Action/Adventure Theatre has made its name on semi-scripted serial comedies (Fall of the House, Captured by Aliens, Fall of the Band) that unfold over several weeks, and much of Sidekicks proves why this scrappy troupe manages to sell out shows. Co-directors Pat Moran and Noah Dunham keep the action moving at a brisk clip, and the cast has energy and spunk: Katie Michels makes a great flying-squirrel wannabe, all stubbornly scrunched face and daffy delivery, and Nate Ayling has a bro-tastic turn as a clone who’s been programmed to party, rattling his body in unison with his cocktail shaker. But the ad-libbing, at least on April 5, was hit-or-miss, and opportunities for humor—particularly chances to jab at Portland or workplace dynamics—slipped by. For all their stage time, the superheroes weren’t as funny as their underlings. This mission might best be left to the lackeys. REBECCA JACOBSON. SEE IT: Sidekicks is at Action/Adventure Theatre, 1050 SE Clinton St., 8 pm Thursdays-Sundays through April 27. $10$15, Thursdays “pay what you will.”


APRIL 9-15

= WW Pick. Highly recommended. By RICHARD SPEER. TO BE CONSIDERED FOR LISTINGS, submit show information—including opening and closing dates, gallery address and phone number—at least two weeks in advance to: Visual Arts, WW, 2220 NW Quimby St., Portland, OR 97210. Email:

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 effect, but more importantly, it’s an effect that works graphically. Kudos to this established Northwest artist for adding a new arrow to her stylistic quiver. Through April 26. Laura Russo Gallery, 805 NW 21st Ave., 226-2754.


Being Blackfish: An Exhibit of 30 Current Artist Members

The artist collective known as Blackfish has been throwing itself a well-deserved 35th anniversary party the last couple of months. The celebration’s first iteration featured artwork by the collective’s founders. For April, the focus shifts to current Blackfish members, some of whom have been with the collective since the beginning, many of whom are more recent additions. A total of 30 artists, among them Stephan Soihl and Ellen Goldschmidt, contribute work across a broad gamut of media and styles. Although quality varies wildly from artist to artist, show to show, there is something to be said for three-and-a-half decades of endurance in a city where worthy galleries and nonprofits (remember Victory Gallery or Portland Art Center?) have the lifespans of fruit flies. Through April 26. Blackfish Gallery, 420 NW 9th Ave., 2342634.

Bryan Schutmaat: Grays the Mountain Sends

It’s easy to romanticize small-town life and bucolic mountains if you’re an overworked, under-natured city dweller. But photographer Bryan Schutmaat captures something less romantic, more complex in his images of hardscrabble mining towns throughout the American West. Not all of these landscapes are beautiful; some are despoiled by clear-cutting, garbage dumps, and the kinds of houses that have 10 cars and trucks up on cinder blocks. The grizzled habitués of these places stare at Schutmaat’s lens with an inscrutable blend of pride, weariness and deep distrust of strangers. Through April 27. Newspace Center for Photography, 1632 SE 10th Ave., 963-1935.

Dave Heath: A Dialogue With Solitude

A historically important photographer since the late 1940s, Dave Heath takes pictures that blend fineart and photojournalistic sensibilities. This show, A Dialogue With Solitude, features haunting black-and-white works: portraits, vignettes from the Korean War, and a misty landscape called Culpeper, Virginia, Spring, in which a dog sits on a tree-dotted field, as if waiting for his master to come home. There are also moving images from the civil-rights movement of the 1960s. Nearly every photograph weaves a highly compacted narrative, full of emotion and pathos. Through April 26. Charles A. Hartman Fine Art, 134 NW 8th Ave., 287-3886.

Mary Josephson: Character

Viewers familiar with Mary Josephson’s oil paintings in the style of eccentric figuration will be surprised at the new medium she’s debuting in her April show,

Shane McAdams: Scorched Earth

Talk about unconventional painting methods! Shane McAdams paints on blowtorched styrofoam, a medium that we’re pretty sure isn’t taught in most art schools. But the results are as cool as his blowtorch is hot: scarred, warped surfaces on which the Brooklyn, N.Y., artist has superimposed eerie landscapes, sprawling, bacteriumlike framing devices, and ironically cheerful rainbow stripes. The imagery is inspired by McAdams’ childhood in the American Southwest and his concerns about the environment. Scorched Earth is a wry, sly, spooky show. Through April 26. Elizabeth Leach Gallery, 417 NW 9th Ave., 224-0521.

Ted McCann: Green Illume

It’s worth noting that Ted McCann has a masters-of-fine-arts degree from Yale University and a day job in the construction business. You can see those dueling influences in his wall sculptures on display at Hap. They’re gritty and organic, made of oddly shaped pieces of flotsam found along beaches, yet they’re pieced together into highly sophisticated compositions that have a structural, architectonic integrity. The links between blue-collar realities and the blueblooded hauteur of contemporary art come together fetchingly in this show, Green Illume, which is a military term for a night illuminated by full moon. Indeed, in works like Adrift, there is a pale green-blue color reminiscent of gentle moonlight. This soothing chromaticism contrasts dramatically with the work Aramid, an etude in bright mustard and sunflower yellows. This is a thoroughly satisfying show, the latest in an impressive run of exhibitions at this gallery, which, although only 5 months old, has the curatorial polish of a long-established venue. Through April 26. Hap Gallery, 916 NW Flanders St., 503.444.7101.

Tilt Export: Fanatic

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 aluminum-foil 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.

For more Visual Arts listings, visit Willamette Week APRIL 9, 2014



april 9–15 HOTSEAT




Joe Keatinge Comic Signing

Comic writer Joe Keatinge (Hulk, Glory) will be signing copies of his newest series for Image Comics with W I L LDel A M EDuca. TTE artist Leila Shutter follows WEEK famous explorer Kate Kristopher as she is drawn into her old life by a family secret. Cosmic Monkey Comics, 5335 NE Sandy Blvd., 5179050. 5-7 pm. Free.

THURSDAY, APRIL 10 Tom Spanbauer


Portland Guides

Monthly poetry reading and openmic night the Studio Series will bring together four contributing authors of the new collection Motionless From the Iron Bridge: A Northwest Anthology of Bridge Poems. Sharing their perspective on what makes Portland Bridgetown will be A. Molotkov, Sam Roderick Roxas-Chua, Coleman Stevenson and John Sibley Williams. Stonehenge Studios, 3508 SW Corbett Ave., 224-3640. 7-9 pm. Free.

MONDAY, APRIL 14 E4P: New Shit Show

Though his new book, I Loved You More, tells the story of a love trianWe’ve all seen the same old shit. gle, Tom Spanbauer has long been So get ready for brand-new, neveran advocate for equality in love and before-seen shit with the New Shit marriage. His reading will also serve Show compiled by the local geniuses as a fundraiser for Oregon United for behind Entertainment for People. The Marriage, a coalition fighting for the monthly variety show offers exactly right of Wsame-sex couples to marry. ILLAMETTE I L L Afolks METTE W I L L A M E T what TE it promises, W with performTicket holders will each receive a copy WEEK WEEK WEEK ing new music, comedy, sketches and of the book. Broadway Books, 1714 NE pretty much whatever. Sharing shit Broadway, 284-1726. 7 pm. $18.95. in the spirit of collaboration, playwright D.C. Copeland will present a five-minute play featuring comedian Amy Miller and author Mark Russell (God Is Disappointed in You) along with ensemble members like musician Laura Gibson and host B. Frayn Bibliophiles and hoarders unite for Masters. Disjecta, 8371 N Interstate the 13th annual Spring Used Book Ave., 286-9449. 8 pm. $8. 21+. Sale hosted by the Friends of the Multnomah County Library. More than 20,000 items will be for sale, including hardbacks, rare books and DVDs, with all proceeds benefiting the library. Gresham Station Shopping Center, 1271 NW Civic Portland poet and Oregon Book Drive, Gresham. 6 pm Friday, 9 am Award winner Sandra Stone Saturday and 10 am Sunday, April (Cocktails With Brueghel at the 11-13. Members-only Friday, free Museum Cafe) has released her first Saturday-Sunday. work of poetic nonfiction with the book The Inmost House. If you’re unfamiliar with the concept of poetic It has been more than 15 years since nonfiction, you could read any Lorrie Moore released her best-selling number of contemplative essays, or collection of stories, Birds of America. you could just attend this reading Now in a slim volume of eight stories, and experience the transcendence Moore returns with Bark and proves firsthand. Broadway Books, 1714 NE that her love of language (as well as Broadway, 284-1726. 7 pm. Free. her dark sense of humor) is still fully intact. Powell’s City of Books, 1005 W Burnside St., 228-4651. 7:30 pm. Free. Exploring all the emotions from hope and loss to self-preservation, all underlined by the history of the Jewish experience, poet Raphael Dagold will read from his newest collection of work, Bastard Heart. Joining him in the Tax Day poetry Though it was her seventh novel, reading “Tax Poetic” will be David when Emma Donoghue released Biespiel, founder of the Attic Institute Room in 2010, the literary world and author, most recently, of the colnearly imploded with its praise. Now lection Charming Gardeners. The Donoghue returns with Frog Music, a Waypost, 3120 N Williams Ave., 367story set in 1876 San Francisco about 3182. 7:30 pm. Free. a French burlesque dancer trying to track down the man who murdered her friend. Powell’s City of Books, For more Books listings, visit 1005 W Burnside St., 228-4651. 7:30 pm. Free.





Spring Used Book Sale

TUESDAY, APRIL 15 Sandra Stone

Lorrie Moore

Raphael Dagold

SUNDAY, APRIL 13 Emma Donoghue



= 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.


BEERCuba is the great unknown in America’s backyard, embargoed from both trade and direct travel. But during visits between 2008 and 2013, PortlandGUIDE raised writer Julia Cooke talked to Havana’s prostitutes, party kids, artists

and mothers and observed the city’s burgeoning unofficial economy outside

INSIDE the state-run stores. Her new book, The Other Side of Paradise: Life in the New Cuba (Seal Press, 248 pages, $17), offers vivid portraits of Cubans in the postFidel, post-Soviet age. WW talked to Cooke, who has written for The Atlantic and The New York Times and teaches journalism at the New School, about how the press gets Cuba wrong, and how the face of the country has changed.

WW: Why a book on Cuba? Julia Cooke: I studied at the University of Havana [in 2003], and came back to the States and felt betrayed by images of Havana in the U.S. press. [The Cuba I had experienced] was not the Cuba I read about. I thought this was because I was young, and the reporters were old. Not a strong thesis. But WILLAMETTE WILLAMETTE it was W E Ea K motivating thesis. W E E K



What was different between the Cuba you knew and the one in the press? I don’t think people were writing about the uncertainty of that time. No one was capturing the sophistication. It was couched in nostalgia to the past. The Havana I participated in had sophistication that was based in contemporary life and culture: the jazz clubs, the gay culture. And so much was a very political reading of Cuba. Politics pervades everything, but not everything that happens in Cuba comes from politics. It felt like Cuba was reduced to clichés. What did you find most interesting? It’s the thing I miss the most: The sense of community and allegiance is really strong. The sense of interconnectedness, everyone all moving forward together. It’s what the [Communist] revolution was trying to generate, but it came out of the ultimate failure of the revolution. And yet so many are now waiting to leave the country? In Cuba, paradise is whatever is not today. Either it’s the past or the future, and for so many young Cubans, it’s anywhere but here. It was amazing how fantastical their perception of the rest of the world was. Young punks who believe that anywhere else, they wouldn’t be hassled by the police. How isolated are Cubans from the rest of the world? Quite isolated. The default is “not connected.” You can choose to make yourself connected if you

have the means, but many don’t. You go to a hotel, and they say, “The state didn’t give us our Wi-Fi password yet.” Are laws more relaxed under Raul Castro than under Fidel? The book talks about relaxed laws against homosexuality. It’s a really vibrant scene in Havana. The gay scene is much more fractured in New York. There are different cliques. In Havana, because it’s smaller, and it’s faced awful repression, it’s much more inclusive and ebullient, you know? It’s like these new freedoms are—people are thrilled by them, and it’s infectious. I was struck by a woman in the book who said that Cuba’s hardships after the fall of the Soviet Union—the so-called “special period”— had actually woken up Cuba’s creativity. Because of the economic situation [with Soviet aid], there were fewer economic privations. It was easier to cloak that sinister side of the culture. The special period broke that complacency. It’s hard to say whether this is positive or negative. It was a terrible time, it was very jarring. Elderly women’s eyes would fill with tears when they talked about it. They knew people who had lost children. It was like a war without there being a war. How has Cuba changed recently? Increased privatization, increased stratification along economic lines. The wealthier will get wealthier. A whole lot won’t change until professionals are able to charge for their services. The more professional occupations like lawyer, accountant, engineer—those people can’t charge. They’re considered to be human capital created by the revolution. GO: Julia Cooke reads at Powell’s Books on Hawthorne, 3723 SE Hawthorne Blvd., 228-4651. 7:30 pm Thursday, April 10. Free.


BAR GUIDE willamette week’s 2014

april 9, 2014


Willamette Week APRIL 9, 2014

willamette week


aPRil 9–15

= 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.

12 Years a Slave

A Steve McQueen’s 12 Years a Slave is

agonizing but not lurid, compassionate but not melodramatic, patient but still thrilling. R. REBECCA JACOBSON. Kennedy School, Laurelhurst Theater, Academy Theater.

300: Rise of an Empire

D+ Say what you will about Zack Snyder’s 2006 film 300, but the comic-book adaptation delivered exactly what it promised: It was big and dumb, with visual verve of unprecedented elegance. Noam Murro’s 300: Rise of an Empire expands the battlefield to the ocean but comes off as a dull, lifeless Xerox of the original. R. AP KRYZA. Cedar Hills, Eastport.

American Hustle

A American Hustle is the sort of flick we’ve rarely seen since the ’40s: a farce with a heart. R. MATTHEW KORFHAGE. Laurelhurst Theater, Valley, Academy Theater.

Antarctica: A Year on Ice

[THREE NIGHTS ONLY] A new documentary about the everyday workers who keep Antarctica’s research bases running. Clinton Street Theater. 7 pm Monday-Wednesday, April 14-16.

Bad Words

B- Jason Bateman plays a 40-year-

old named Guy who exploits a loophole in the rules to enter a prestigious spelling bee. Not only a preternaturally good speller but also an unabashed prick, Guy spends his downtime begrudgingly befriending a precocious boy. 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. R. MICHAEL NORDINE. Eastport, Clackamas, Oak Grove, Movies on TV, Sandy.

Captain America: The Winter Soldier

C+ Ol’ Winghead seemed a charm-

ing 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, The Winter Soldier wades through thankless cameos and interminable exposition. Star Chris Evans’ boyish self-regard again suggests 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 frathouse moralizing. PG-13. JAY HORTON. Bagdad, Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Oak Grove, Lloyd Center, Movies on TV, Roseway, Sandy, St. Johns.

Cesar Chavez

Michael Peña stars in a biopic about the legendary civil-rights activist. PG13. Clackamas, Cornelius, Movies on TV.

Cheap Thrills


director E.L. Katz’s Cheap Thrills is an unlikely and unholy mating of two very different influences: the classic Alfred Hitchcock Presents TV series and Jackass. The former—particularly a classic episode starring Steve McQueen and Peter Lorre—receives direct homage, while the latter is evoked in the images of men engaging in stunts of degradation. That’s an odd combo, but it’s shocking how well Cheap Thrills pulls it off. The story is sleek and simple. Family man Craig (Pat Healy) hits the bar after receiving a pink slip and an eviction notice. He coincidentally meets up with old friend Vince (Ethan Embry), a low-level thug. A few drinks in, the duo encounters a coke-addled couple (Sara Paxton

and a surprisingly subdued David Koechner), who begin paying them for stunts of increasingly high stakes. Slap a stripper’s ass and get $200. Start a fight and get $300. Things escalate quickly, and the two men find themselves participants in their benefactors’ sadistic personal game show—and in turn, we’re asked to put a price on our own morality. It sounds gimmicky, and it often is. But despite its flaws, Cheap Thrills is a nasty riot, a disturbing and hysterical commentary on classism and the inherent corruptibility of good men that isn’t afraid to show a dude pooping on somebody’s carpet to make a point. AP KRYZA. Hollywood Theatre. Monday-Thursday, April 14-17.

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. It’s a transformation mirroring that of McConaughey’s career: The rom-com lothario has withered away. In his place arrives a performer at his peak, as an AIDS activist the movies have never seen before: a shit-kicking, homophobic redneck. 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-turned-wannabe blockbuster, with another rising star— Shailene Woodley—at the center. But director Neil Burger proves there’s more than one way to ride this wave. 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. PG-13. LAUREN TERRY. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Oak Grove, Lloyd Center, Movies on TV, Sandy.

Draft Day

C- Has it really come to this,

Cleveland? Have things with your sports teams gotten so bad you’ve taken to writing fan fiction about the NFL draft? Not about a game or a season. The draft. Way to aim high. To be fair, even though it’s co-written by a native son of northeast Ohio, Draft Day isn’t really about the Browns or that long-suffering city on the banks of the Cuyahoga. Slot in any losing franchise and the movie remains the same. Set—you guessed it—on the day of an alternate-reality football draft, the film, directed by Ivan Reitman, hardly leaves the training facility, relegating fans and even players to the margins and focusing instead on the plight of an underappreciated, oft-overlooked figure in pro sports: the rich, white general manager. Pressured to “make a splash” while strolling through a water park with the team’s owner, new Browns GM Sonny Weaver (played by Kevin Costner as a wooden plank with eyes) has a choice: Does he trade up to nab the sure-thing quarterback…or go with his gut? There is natural intrigue in the machinations of powerful men playing chess with the careers of young athletes, and for fleeting moments, Draft Day conjures some of that. But then the rest of Weaver’s life—pregnant secret girlfriend, hothead coach, dead father—interrupts, and the film dissolves into NFL-sponsored pablum. Better luck next time, Cleveland… though you’re probably sick of hearing that. PG-13. MATTHEW SINGER. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Oak Grove, Bridgeport, City Center, Division, Hilltop, Lloyd Center, Movies on TV, Sherwood, Tigard, Wilsonville, Sandy, Living Room Theaters.


the heavens like a Réné Magritte apple; this image fades gently into a corpse’s floppy penis and a slimy doctor’s hand reaching into the body’s fetid intestinal cavity. The sequence is telling: This Faust is an airy legend made bawdy flesh. Though the cinematography is soft and gauzily lit, medieval Germany is here an ugly place of foul humours. The actors, including Faust himself (Johannes Zeiler) seem forever sick or drunk, poisoned by the foulness of life and the air. Though the actors speak German, it is difficult not to see the film as a rough parable about Russia’s fallen state, in which ultimate power is no longer knowledge but access, and corruption is grimly omnipresent. MATTHEW KORFHAGE. NW Film Center’s Whitsell Auditorium. 7 pm Friday and Sunday, April 11 and 13..


B Frozen arrives as an uncomplicated triumph of traditionalism. Widescreen 3-D visuals sculpt an endlessly inventive setting of ice palaces and snowcapped peaks, the original songs soar and tickle as needed, and snowman sidekick Olaf giddily beats back the encroaching melodrama. PG. JAY HORTON. Empirical Theater at OMSI, Kennedy School, Academy Theater.

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 first 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. I’d love to recite an ode to The Grand Budapest Hotel, because it’s the most politically aware story Anderson has told. Yet I can’t shake the feeling that something’s missing. Who are these beautiful visitors in The Grand Budapest Hotel? They’re meant to be ghosts, but they shouldn’t be strangers. We stick out our tongues to catch the shimmering snowflakes, and taste only air. R. AARON MESH. Cedar Hills, Eastport, Clackamas, Cinema 21, Mill Plain, Lake Twin, Moreland, Oak Grove, Lloyd Center, Sandy, St. Johns.


A- With Gravity, Alfonso Cuarón

takes on the most primal fear possible, that of being lost in an abyss of nothingness. Sandra Bullock and George Clooney’s 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. PG-13. AP KRYZA. Kennedy School, Laurelhurst Theater, St. Johns, Valley, Academy Theater.

Growing Up Together

[ONE DAY ONLY, DIRECTOR ATTENDING] Portlander and first-time filmmaker Jing DiPiero screens her new documentary about being a parent in a multicultural family. Clinton Street Theater. 2:30 pm Saturday, April 12.


B+ And so there’s this computer. It’s

an artificially hyperintelligent operating system that’s half personal secretary, half therapist. It speaks in a naturalistic feminine rasp. It seems to be thinking. You fall in love with her. She falls in love with you. Eventually, you’re arguing about sex. 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-to-goodness relationship drama. R. MATTHEW SINGER. Laurelhurst Theater.

It’s Not You, It’s Me

[ONE NIGHT ONLY, DIRECTOR ATTENDING] A new romantic comedy from indie director Nathan Ives about a couple who’s just broken up and whose heads are filled with antagonistic thoughts. Clinton Street Theater. 9 pm Thursday, April 10.

kITCHEN BITCHIN’: Iko Uwais and Cecep Arif Rahman.

THE RAID 2 Poor Rama. The last time we saw the babyfaced Indonesian rookie cop in 2011’s excellent The Raid: Redemption, he had just fought his way up a 15-floor apartment building filled with violent criminals. All he wanted was to get back to his pregnant wife alive. But within the first few minutes of The Raid 2, Rama is forced to go undercover in a prison to infiltrate a powerful crime family. If he doesn’t, he’ll risk the lives of his young family. Things only get worse from there. Welsh-born, Indonesia-based filmmaker Gareth Evans had a similarly crappy choice to make with this sequel. One of the best things about Redemption was the unrelenting action—the start-to-finish stunts and gore that left viewers alternately grinning and wincing as star and fight choreographer Iko Uwais delivered a master class in the martial art of pencak silat. Evans could have followed a similar format here and pleased many fans, but the final product never would have been as good, and both he and Uwais might easily have faded back into obscurity faster than you can say “Ong-bak 2.” Instead, the filmmaker has taken the bigger budget and longer production time he earned from the original’s unexpected international success and attempted something much grander and more ambitious. When Redemption was released, it was often compared to a video game, with Rama working his way up the decrepit apartment building, level by level, bad guy by bad guy, to finally face the boss. You might liken it to the original 1993 version of Doom—a contained world with minimal plot and character development. The Raid 2—originally subtitled Berandal, an Indonesian term for “thug”—has more in common with a modern title like Grand Theft Auto V or Far Cry 3. The story is sprawling, encompassing three different criminal organizations with multiple plots and major characters. The formerly one-dimensional Rama gets a bit more personality, changing fundamentally as he gets deeper inside the criminal underground and the ethical lines of his assignment become increasingly blurred. If The Raid 2 were indeed a video game, it would have multiple playable characters, allow free-roaming all over Jakarta, and have several possible endings—none of them entirely happy. This adds up to a lot more downtime between fight scenes, sacrificing the brutal pace that made the first film so much fun. But it also gives Evans the opportunity to prove he is a filmmaker capable of far bigger things, and Uwais—who was a delivery driver before Evans put him on the big screen—the chance to show he has the acting chops to pull them off. And while there is less action, the bigger budget means the fight scenes that do take place are even more gloriously graphic and over the top. One particularly epic prison-yard brawl exceeds anything in Redemption in both scale and entertainment value. Uwais continues to impress with his jaw-dropping combat skills, as well as his delightful penchant for creative weaponry—this time around, claw hammers, baseballs, a hot plate and soy sauce bottles are all employed in the service of killing and maiming. If The Raid 2 is not quite as consistently compelling as its predecessor, it holds much more promise. If we have to sit through a few scenes of old Indonesian men arguing about their drug-dealing operations to get more of these guys on U.S. screens, I’m glad both Rama and Evans chose to take the tougher road. RUTH BROWN. another master class in indonesian martial arts.

B+ SEE IT: The Raid 2 is rated R. It opens Friday at Cinema 21, Movies on TV, Cedar Hills, Eastport, Clackamas, Bridgeport, City Center.


auteur Aleksandr Sokurov’s Faust begins with a mirror hung pristinely in



CONT. on page 48 Willamette Week APRIL 9, 2014


APRIL 9–15


Captain America: The Winter Soldier XD3D (PG-13) 12:30PM 3:50PM 7:10PM 10:25PM Muppets Most Wanted (PG) 11:05AM 1:50PM 4:35PM 7:20PM 10:10PM Need For Speed 3D (PG-13) 4:35PM Mr. Peabody And Sherman (PG) 11:20AM 1:55PM 4:30PM 9:35PM Son Of God (PG-13) 10:55AM 7:25PM Mr. Peabody And Sherman 3D (PG) 7:00PM Need For Speed (PG-13) 1:30PM 7:35PM Rio 2 3D (G) 11:00AM 1:45PM 2:30PM 4:30PM 7:15PM 8:00PM 10:00PM Rio 2 (G) 11:45AM 12:45PM 3:30PM 5:15PM 6:15PM 9:00PM 10:40PM Raid 2, The (R) 12:00PM 3:30PM 7:00PM 10:25PM Noah (PG-13) 11:00AM 12:50PM 4:05PM 5:45PM 7:20PM 10:30PM

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

Muppets Most Wanted (PG) 11:20AM 2:05PM 4:50PM 7:35PM 10:20PM Noah (PG-13) 12:05PM 3:35PM 7:05PM 10:15PM Son Of God (PG-13) 4:45PM Mr. Peabody And Sherman (PG) 11:45AM 2:15PM 10:35PM Oculus (R) 12:05PM 2:40PM 5:15PM 7:50PM 10:25PM Rio 2 3D (G) 12:40PM 3:20PM 6:05PM 8:40PM Rio 2 (G) 11:20AM 2:00PM 4:40PM 7:20PM 10:00PM Race Gurram (Ficus) (NR) 12:30PM 3:45PM 7:00PM 10:10PM Raid 2, The (R) 12:15PM 3:45PM 7:00PM 10:10PM LEGO (PG) 11:15AM 7:25PM 300: Rise Of An Empire (R) 8:00PM

Captain America: The Winter Soldier 3D (PG-13) 11:40AM 1:20PM 3:00PM 4:40PM 6:15PM 8:00PM 9:40PM Mr. Peabody And Sherman 3D (PG) 4:30PM 300: Rise Of An Empire 3D (R) 10:15PM Captain America: The Winter Soldier (PG-13) 10:50AM 12:30PM 2:10PM 3:50PM 5:30PM 7:10PM 8:45PM 10:25PM Grand Budapest Hotel, The (R) 11:30AM 2:10PM 4:45PM 7:20PM 10:00PM LEGO 3D (PG) 1:50PM Divergent (PG-13) 12:00PM 3:30PM 7:00PM 10:10PM Draft Day (PG-13) 11:10AM 2:00PM 4:50PM 7:40PM 10:30PM

Muppets Most Wanted (PG) 11:15AM 2:10PM 5:00PM 7:45PM Noah (PG-13) 11:05AM 2:15PM 3:45PM 5:25PM 8:40PM 10:30PM Mr. Peabody And Sherman (PG) 1:55PM 4:25PM 7:00PM 9:30PM Son Of God (PG-13) 11:40AM Mr. Peabody And Sherman 3D (PG) 11:25AM Rio 2 (G) 11:00AM 1:40PM 4:35PM 7:25PM 10:15PM Sabotage (R) 10:35PM Rio 2 3D (G) 12:20PM 3:10PM 6:05PM 8:50PM Oculus (R) 11:20AM 2:05PM 4:45PM 7:30PM 10:10PM Raid 2, The (R) 11:10AM 2:45PM 6:15PM 10:00PM Bad Words (R) 1:45PM 9:50PM

Captain America: The Winter Soldier 3D (PG-13) 11:45AM 2:00PM 3:00PM 5:20PM 6:15PM 8:35PM 9:30PM 300: Rise Of An Empire (R) 11:10AM 6:50PM LEGO (PG) 2:55PM 8:10PM 300: Rise Of An Empire 3D (R) 4:05PM Grand Budapest Hotel, The (R) 12:00PM 2:30PM 5:05PM 7:40PM 10:15PM LEGO 3D (PG) 5:30PM Draft Day (PG-13) 11:20AM 2:05PM 4:50PM 7:35PM 10:20PM Captain America: The Winter Soldier (PG-13) 10:45AM 12:50PM 4:10PM 7:20PM 10:30PM Divergent (PG-13) 10:50AM 12:25PM 2:15PM 5:35PM 7:10PM 8:50PM

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

A- David Gordon Green has turned

out a lot of Bust-Ass in recent years: Lest you forget, the stoner-movie director discovered Eastbound & Down’s Danny McBride. But 10 years back, we all thought the director of All the Real Girls was angling to be Terence Malick, not Judd Apatow. Well, in 2013’s Prince Avalanche, he repainted the lines on that road, and with Joe, he finally travels on it. In his adaptation of the novel by Southern master Larry Brown, Green returns to where he started, with a long and low evocation of the fucked-up American South. Using a mixture of actors and people off the street, he punctuates the film with unscripted slapstick and mournful violence. Nicolas Cage plays the titular Joe, and while his hair often plays a supporting role in his films, in Joe his beard hides the fact that he’s even Nicolas Cage. He is a sadeyed, imperfect screw-up of a man who wants the right things but can’t make it right. Joe’s main role is as mentor to vagrant teen Gary (Tye Sheridan of Mud and The Tree of Life, in a beautiful performance), who is terrorized by his father, one of the most frightening men I’ve seen in film. Non-actor Gary Poulter was discovered by Green at a bus stop (he died before the film was released), and his dead-eyed alcoholic stare could not be faked. Nothing, in fact, seems faked. In a film that could have been deep melodrama or deep sentimentalism, no note rings false. R. MATTHEW KORFHAGE. Living Room Theaters.

four hours, Oeke Hoogendijk’s The New Rijksmuseum plays as cinematic onomatopoeia: It conjures the grueling, decade-long renovation of the Dutch national museum via its own unwieldy, extended expression. The documentary reveals staff despondency and turnover— including museum director Ronald de Leeuw’s resignation and Wim Pijbes’ succession—as issues arise


Jodorowsky’s Dune

of revered sci-fi novel Dune was not his finest hour. But those B-movie explosions could have been replaced by something both surreal and visceral had midnight-movie maestro Alejandro Jodorowsky directed the story a decade earlier. Jodorowsky’s Dune tells the story of the failed production, which gained serious traction in the mid-’70s on the heels of Jodorowsky’s seminal Holy Mountain. Jodorowsky’s vision was stunning but bloated, which comes out in interviews with the spiritual director and his cast. Excitement gives way to fiasco as H.R. Giger, Pink Floyd, Orson Welles and Salvador Dalí are all recruited to the project, while the demands and the budget climb. Welles requests a personal chef from a popular Parisian restaurant; Dalí asks to be the highest-paid actor in Hollywood. The film is as much about the man as it is the film, portraying Jodorowsky as a relentless, Leary-esque visionary. “I did not want LSD to be taken,” he says of his overall plan, in a thick Chilean accent. “I wanted to fabricate the drug’s effects, even in the little details.” For those uninitiated to Jodorowsky’s brand of surrealism, Jodorowsky’s Dune will wonder and amuse. For his fans, this a chance to delight in the psychedelic mastermind and what could have been his masterpiece. PG-13. MITCH LILLIE. Fox Tower.

The Lego Movie

puter 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. 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.

Live and Let Live

[ONE NIGHT ONLY, DIRECTOR ATTENDING] A new documentary about six different people who’ve gone vegan. Clinton Street Theater. 7 pm Sunday, April 13.

Muppets Most Wanted

B While awful choices abound, the Muppets reflexively generate so much unsinkable goodwill that even the laziest of plots still charms—and

Willamette Week APRIL 9, 2014

The New Rijksmuseum


from every aspect of the renovation: storage space, contract bids, color schemes, pigeon poop. Even the basic blueprint is embattled as the bicyclists association fights to keep the entranceway redesign from impeding two-wheeled passage (“I spend more time on cyclists than I do on Rembrandt,” quips Pijbes). But Hoogendijk also locates the love behind all the logistical fuss, as her camera caresses the building’s bones and artwork undergoing restoration, and curators expound on visions for their collections, most eloquently Menno Fitski, brighteyed in his regard for two new statues of Japanese temple guards. As the museum finally takes shape, he sums up best the relief and exal-

A David Lynch’s 1984 adaptation

B+ Using a combination of com-


might even be welcome, given the ’70s-meets-art deco visual aesthetic and escalating cameo bombs. PG. JAY HORTON. Cedar Hills, Eastport, Clackamas, Cornelius, Oak Grove, Lloyd Center, Movies on TV.



HITCHHIKERS, BEWARE: Scarlett Johansson.

UNDER THE SKIN ScarJo spins a web for lonely Glaswegians.

Hell hath no fury like a woman with unlimited access to dingy lairs in Glasgow, Scotland. That’s one lesson to be gleaned from Jonathan Glazer’s Under the Skin, a sci-fi/horror hybrid starring Scarlett Johansson as a gorgeous, man-eating alien who lures dudes home with the unspoken promise of sex—only to deliver an exceptionally elegant drowning. That leads to the second, more important lesson: If a beautiful woman in a white stalker van pulls up next to you on the street and asks if you’re alone tonight, say no and run for the Highlands. (Not that the men in this film were warned: Much of the movie was shot with hidden cameras, with the guys just regular Joes.) Though based on the novel by Michel Faber, Under the Skin is greatly stripped down. Why ScarJo, decked out in skintight, acidwashed jeans and a Karen Carpenter wig, is compelled to take men home to one her many mirror-floored apartments (she owns more property than John McCain) is never explained beyond a creepy, 2001: A Space Odyssey-esque montage of images that includes a bloody meat conveyor belt and an exploding star. We do know there’s a man on a motorcycle who’s responsible for cleaning up the evidence of our antiheroine’s dirty work. We discover that her victims, eager to get naked and lope after Johansson like a gang of horny Gungans, end up suspended in blue plastic, staring at their hard-ons. If they make physical contact with each other, they burst like balloons. But why? The lack of clarity is part of the film’s appeal. Under the Skin stubbornly refuses to explain itself, letting Johansson’s voluptuous body do the talking. It’s clearly concerned with the destructive power of physical beauty: The lone man allowed to escape (at least for a moment) has a face only a mother could love. After she lets him go, this predatory fembot stares into a mirror, as if somehow understanding that her comeliness is the root of all evil. That said, the film is frustratingly shallow at times, and would be nothing without its soundtrack. Part otherworldly bee-buzzing, part feedback and all straight-up spook, Mica Levi’s score sets a terrifying tone. Prepare to be scared shitless, even as you shake your head over the story’s many twists, particularly its turn toward tenderness at the end. Is this black widow becoming human? Has she grown a heart under that skin…er, polymer? And, if so, what is a heart worth in this landscape of lust and loneliness? DEBORAH KENNEDY. B

SEE IT: Under the Skin is rated R. It opens Friday at Fox Tower.

APRIL 9–15 tation felt by those involved, as well as the viewer: “It’s like a birth: a long build-up, then all at once, it happens.” KRISTI MITSUDA. NW Film Center’s Whitsell Auditorium. 6:30 pm Saturday, 6 pm Monday, April 12 and 14.


Maybe you’ve heard this story about a giant flood and some animals on a boat. Russell Crowe 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, Mill Plain, Cornelius, Oak Grove, Lloyd Center, Movies on TV, Sandy.

Nymphomaniac: Volume I

B- Lars von Trier’s Nymphomaniac arrives with a firestorm of press about sex, sex and more sex. But as in most von Trier movies, the real subject isn’t so much sex as the endless suffering of women. This first installment of the twopart film is essentially a confession by the titular nymphomaniac (Charlotte Gainsbourg) of her history of joyless sex with 10 or 20 men a day since she was a teenager. In its absurdist utopianism without understanding, it reaches back to von Trier’s most vital movie, The Idiots. But unlike that film, Nymphomaniac is almost without affect. MATTHEW KORFHAGE. Hollywood Theatre.


B As evil mirrors go, you can’t

On My Way

B It’s tough to imagine a more

endearingly matched set of road buddies than Nemo Schiffman and Catherine Deneuve. Schiffman plays a squirrelly ’tween named Charly, a skinny kid with a shaggy mop, a fondness for singing in the car and sticky fingers for a fabulous pair of sunglasses he finds at the convenience store. And Deneuve is, well, Deneuve. Emmanuelle Bercot’s low-key film follows Deneuve’s Bettie as she sets out on a cigarette errand that turns into a weeklong spin through the French countryside. She’s a former beauty queen (imagine that!), and once she picks

up Charly, her grandson, questions about whether she’ll attend a reunion photo shoot with other pageant winners takes on some urgency. But for the most part, the stakes remain low. This is primarily a showcase for Deneuve, charismatic and droll, as she encounters oddball characters on the road— many of whom, such as the old man who takes eons to roll her a cigarette, are played by nonactors—and engages in cheeky exchanges with Charly. “I know where I’m going and I know where I’ve been,” he belts, headphones on, as they drive. Deneuve looks at him askance. “I feel like I’m in the U.S.A,” she mutters. On My Way is a minor film, but it’s no small treat to share this old Mercedes with these two characters. REBECCA JACOBSON. Fox Tower.

Perfect Sisters

[ONE NIGHT ONLY] Abigail Breslin stars in a crime thriller about two sisters who murder their alcoholic mother. Clinton Street Theater. 9 pm Friday, April 11.


C- The hardest part about watching Philomena, a film 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. If you can get over Dench as Grandma Goof, then Philomena stands on its own two feet. One of those feet is the enthralling, often emotional storyline. Unfortunately, the other foot is the waiter-mysoup humor that Fawlty Towers made irrelevant four decades ago. PG-13. MITCH LILLIE. Laurelhurst Theater, Academy Theater.

Rio 2

Anne Hathaway and Jesse Eisenberg voice mama and papa macaws. G. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Oak Grove, Bridgeport, City Center, Division, Hilltop, Lloyd Center, Lloyd Mall, Movies on TV, Pioneer Place, Sherwood, Tigard, Wilsonville, Sandy.

Something Wicked

One of the last things Brittany Murphy did before dying in 2009? Shoot a psychological thriller in the Willamette Valley. Now that film is being released for a limited Northwest run. R. Movies on TV, Fox Tower, Lloyd Center, Division, Bridgeport.


[ONE NIGHT ONLY] A new documentary about a 9-year-old girl who set up a lemonade stand to raise money to free children from slavery. Hollywood Theatre. 7:30 pm Wednesday, April 9.

The Unknown Known

B+ The most interesting thing

about The Unknown Known is how seemingly unrevealing it is. That may sound like a backhanded compliment, but really it’s a testament to how impressively guarded, defensive and almost certainly full of shit Donald Rumsfeld truly is. Errol Morris, the master documentarian behind Gates of Heaven, has made a career of shining a light on the ultimate subjectivity (if not downright unknowability) of truth. In Rummy—who equivocates, gives half answers and ignores the point of certain questions altogether—he’s found what may be the ultimate embodiment of this notion. Now out of the public eye, one of the major architects of the Iraq War kinda-sorta admits that things could have been handled better but, well, shit happens. This sounds like a minor pearl of wisdom around which to build an entire documentary, but it’s actually a tremendous (if unsurprising) glimpse into the attitude of a man who helped get us into a mess we still haven’t resolved. PG-13. MICHAEL NORDINE. Living Room Theaters.


ask for one much scarier than the gothic fever dream of gnarled darkness seething menace from the Oculus poster and app. However dispiriting the prospect of home-office décor as modern-day bogeyman, a good prop, a great director (Mike Flanagan, following up Absentia’s sizable buzz), and an ideal cast (top TV vets led by epochal nerd crushes Karen “Amy Pond” Gillan and Katee “Starbuck” Sackhoff ) can still wring genuine terror from a daft premise. Gillan, as the older sister, must outfight and outwit the antique fixture that killed her parents. Flanagan employs the lingering trauma of Kaylie and her brother, newly released from a psychiatric institution, just enough to heighten character fragility and loosen the audience’s moorings. While flashbacks dissecting the gruesome disintegration of Mom and Dad run concurrently with the kids’ frazzled attempts at vengeance, any breakthrough of buried memories seems an unintended consequence of the slowly tightening cinematic suffocation. By film’s end, the actual demonic presences seem relatively cheeseball in comparison to the onslaught of undimmed memories. As so often happens with these types of movies, more than a glimpse through the looking glass tends to disappoint, but visions of past innocence seen from the rear view are always creepier than you’d assume. R. JAY HORTON. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Oak Grove, Bridgeport, City Center, Division, Lloyd Center, Movies on TV, Pioneer Place, Sherwood, Tigard, Wilsonville, Sandy.




Willamette Week APRIL 9, 2014




SEVERED TIES: Decapitation by lawn mower.


Author’s Note: For the past three weeks, I have embarked on a vision quest that had nothing to do with the film Vision Quest. After eating the blue cactus, I was led by a well-coiffed puppy into a realm populated by my spirit animals, among them a felt creature with the head of Swayze, the abdomen of Gosling and the legs of a Hobbit. On the third day I awoke, severely malnourished, outside of Daddy Mojo’s. I return to you a new man. The effects of a zombie bite vary. In most cases, a bite results in the rapid onset of feverlike symptoms, followed closely by death. Shortly thereafter, victims reanimate with an insatiable hunger for human flesh. Usually, they shamble slowly. Sometimes, they’re instilled with Herculean strength and the speed of Usain Bolt, despite that whole rigor mortis thing. Lately, though, there has been a tragic side effect: The humans around them become humorless dullards. Blame The Walking Dead for the zombie emocalypse. Or Brad Pitt and his stupid haircut in World War Z. Zombie films have lost their hilarity. Since George A. Romero defined the genre with 1968’s Night of the Living Dead, humor has been key to the zombie experience. NOTLD is dark, sure, but from that first indelible line—“They’re coming to get you, Barbara”—it’s littered with winks. Romero, who’s bemoaned Walking Dead’s super-serious approach, went on to give us one of the funniest zombie images ever, with his parade of corpses wandering aimlessly through a mall. The great Return of the Living Dead featured the undead sending for ambulances full of paramedics as if ordering pizza. In 2004, Shaun of the Dead became the ultimate (and most reverential) zombie comedy. Last year’s Warm Bodies was the only widely embraced entry since Shaun to enjoy itself…and it was a bloodless teenybopper romance. Now that AMC has finished its most recent season of child murder and brooding, it’s an ideal time to revisit 1992’s Dead Alive (Hollywood Theatre, April 14-17), perhaps the nastiest, slapstickiest and most insane zombie comedy ever. Peter Jackson broke through with the story of a woman bitten by a Sumatran rat monkey 50

Willamette Week APRIL 9, 2014

and transformed into a pus-gushing, man-eating nightmare—an affliction her son sees as temporary. What follows is a nonstop barrage of lunacy: Zombie babies aren’t just born, they’re taken for strolls in the park. A horny priest busts out some kung fu mayhem. A lawn mower turns a house party into blood-and-sinew oatmeal. Those who only know Jackson as architect of the Hobbit and Lord of the Rings films might be flabbergasted to learn he cut his teeth on this hysterical zom-com, but amid the flying limbs and spewing bodily fluids, you can see the beginnings of a man enamored with cinematic violence, overkill and sprawling action. Sub the orcs for zombies and the swords for a lawn mower, and it all makes perfect sense. Yet for all its nastiness, there’s nary a shade of seriousness in Dead Alive. Fans of Walking Dead would do well to give it a look. Maybe the showrunners should, too. It might inspire Rick and his crybaby crew to bring a priest under their wing. His kung fu skills could save the day. Or at least let them crack a fucking smile once in a while. ALSO SHOWING: The Mississippi Records Music & Film Series presents a two-part Visionary and the Vision program focusing on folk artists, radicals and other creatives who collide art and music. Hollywood Theatre. 7 pm Wednesday-Thursday, April 9-10. KBOO screens Modulations, which gives a history of electronic music…up to 1998. So get ready to have some shitty Moby song stuck in your head! Clinton Street Theater. 7 pm Thursday, April 10. Towering over Forrest Gump as the best story about the cross-country adventures of a mentally challenged man-child in a gray suit, Pee Wee’s Big Adventure taught us a lot of things, most importantly that the Alamo is the worst possible shelter during a tornado. 5th Avenue Cinema. April 11-13. There are dozens of reasons to hit up the annual H.P. Lovecraft Film Fest, but the most compelling might be to attend a Saturday afternoon screening of the bizarre Clive Barker classic Hellraiser with Pinhead himself, actor Doug Bradley. A close second: spaghetti dinner. Because Cthulhu fuckin’ loves his sketti. Hollywood Theatre. April 11-13. Last year, Hollywood lost special-effects pioneer Ray Harryhausen. 1963’s Jason and the Argonauts stands as one of his coolest achievements because, well, stop-motion skeletons. Laurelhurst Theater. April 11-17. Hopefully, a loving digital restoration of Casablanca is enough to sate some jackass suit’s desire to remake it. Probably not. Hollywood Theatre. 7 pm Monday-Tuesday, April 14-15.

APRIL 11–17


C O U R T E S Y O F WA R N E R B R O S .


NW Film Center’s Whitsell Auditorium

THE GERMANS WORE GRAY, YOU WORE BLUE: Casablanca plays April 14-15 at the Hollywood Theatre.

Regal Lloyd Center 10 & IMAX

1510 NE Multnomah St., CAPTAIN AMERICA: THE WINTER SOLDIER -- AN IMAX 3D EXPERIENCE FriSat-Sun-Mon-Tue 12:50, 04:05, 07:20, 10:35 RIO 2 Fri-Sat-Sun-Mon-Tue 05:05, 07:15, 10:00 RIO 2 3D Fri-Sat-Sun-MonTue 11:45, 02:25 DRAFT DAY Fri-Sat-Sun-Mon-Tue 01:00, 03:55, 07:45, 10:30 OCULUS Fri-Sat-Sun-MonTue 01:10, 04:25, 07:05, 09:55 CAPTAIN AMERICA: THE WINTER SOLDIER FriSat-Sun-Mon-Tue 01:20, 03:25, 04:45, 08:00, 10:05 CAPTAIN AMERICA: THE WINTER SOLDIER 3D Fri-Sat-Sun-Mon-Tue 12:10, 06:45 THE GRAND BUDAPEST HOTEL Fri-SatSun-Mon-Tue 12:35, 03:40, 06:30, 09:25 DIVERGENT Fri-Sat-Sun-Mon-Tue 12:05, 03:20, 06:35, 09:50 MUPPETS MOST WANTED Fri-Sat-Sun-Mon-Tue 12:25, 03:10, 07:35, 10:20 NOAH Fri-Sat-Sun-Mon-Tue 12:20, 03:35, 06:55, 10:15

Regal Lloyd Mall 8

2320 Lloyd Center Mall RIO 2 3D Fri-Sat-Sun-MonTue-Wed 02:50, 08:30 RIO 2 Fri-Sat-Sun-Mon-TueWed 12:00, 05:40 HEAVEN IS FOR REAL Wed 12:15, 03:00, 05:45, 08:30

Bagdad Theater and Pub

3702 SE Hawthorne Blvd., 503-249-7474 CAPTAIN AMERICA: THE WINTER SOLDIER Fri-SatSun-Mon-Tue-Wed 12:15, 03:30, 07:00, 10:15

Cinema 21

ROBOCOP Fri-Sat-SunMon-Tue-Wed 09:40 DALLAS BUYERS CLUB Fri-Sat-Sun-Mon-Tue-Wed 07:00 HER Fri-Sat-SunMon-Tue-Wed 09:30 GRAVITY Fri-Sat-Sun-MonTue-Wed 07:15 AMERICAN HUSTLE Fri-Sat-Sun-MonTue-Wed 09:15 12 YEARS A SLAVE Fri-Sat-Sun-MonTue-Wed 06:30 JASON AND THE ARGONAUTS Fri-Sat-Sun-Mon-Tue-Wed 09:00 PHILOMENA FriSat-Sun-Mon-Tue-Wed 06:45 FROZEN SINGALONG Sat-Sun 01:25

Mission Theater and Pub

1624 NW Glisan St., 503-249-7474-5 FERRIS BUELLER’S DAY OFF Wed 08:00

Moreland Theatre

6712 SE Milwaukie Ave., 503-236-5257 THE GRAND BUDAPEST HOTEL Fri-Sat-Sun-MonTue-Wed 05:30, 07:40

Roseway Theatre

7229 NE Sandy Blvd., 503-282-2898 CAPTAIN AMERICA: THE WINTER SOLDIER 3D FriSat-Mon-Tue-Wed 01:30, 04:45, 08:00 CAPTAIN AMERICA: THE WINTER SOLDIER Sun 01:30, 04:45, 08:00

St. Johns Cinemas

8704 N Lombard St., 503-286-1768 THE GRAND BUDAPEST HOTEL Fri-Sat-Sun-MonTue-Wed 04:30, 07:00, 09:20 CAPTAIN AMERICA: THE WINTER SOLDIER Fri-Sat-Sun-Mon-Tue-Wed 05:00, 07:55

616 NW 21st Ave., 503-223-4515 THE GRAND BUDAPEST HOTEL Fri-Sat-Sun-MonTue-Wed 04:15, 07:15, 09:30 THE RAID 2 Fri-SatSun-Mon-Tue-Wed 03:30, 04:30, 07:00, 08:00, 09:55

CineMagic Theatre

Clinton Street Theater

4040 SE 82nd Ave., 800-326-3264-952 300: RISE OF AN EMPIRE Fri-Sat-Sun-Mon-Tue-Wed 11:10, 06:50 300: RISE OF AN EMPIRE 3D Fri-Sat-SunMon-Tue-Wed 04:05 SON OF GOD Fri-Sat-Sun-MonTue-Wed 11:40 THE LEGO MOVIE Fri-Sat-Sun-MonTue-Wed 02:55, 08:10 THE LEGO MOVIE 3D Fri-SatSun-Mon-Tue-Wed 05:30 MR. PEABODY & SHERMAN Fri-Sat-Sun-Mon-Tue-Wed 01:55, 04:25, 07:00, 09:30 MR. PEABODY & SHERMAN 3D Fri-Sat-Sun-Mon-TueWed 11:25 DIVERGENT Fri-Sat-Sun-Mon-Tue-Wed 10:50, 12:25, 02:15, 05:35, 07:10, 08:50 MUPPETS


Laurelhurst Theatre & Pub 2735 E Burnside St., 503-232-5511

2021 SE Hawthorne Blvd., 503-231-7919 NOAH Fri-Sat-Sun-MonTue-Wed 07:00

Century 16 Eastport Plaza

MOST WANTED Fri-SatSun-Mon-Tue-Wed 11:15, 02:10, 05:00, 07:45 BAD WORDS Fri-Sat-Sun-MonTue-Wed 01:45, 09:50 THE GRAND BUDAPEST HOTEL Fri-Sat-Sun-MonTue-Wed 12:00, 02:30, 05:05, 07:40, 10:15 NOAH Fri-Sat-Sun-Mon-Tue-Wed 11:05, 02:15, 03:45, 05:25, 08:40, 10:30 SABOTAGE Fri-Sat-Sun-Mon-Tue-Wed 10:35 DRAFT DAY FriSat-Sun-Mon-Tue-Wed 11:20, 02:05, 04:50, 07:35, 10:20 CAPTAIN AMERICA: THE WINTER SOLDIER Fri-Sat-Sun-Mon-Tue-Wed 10:45, 12:50, 04:10, 07:20, 10:30 CAPTAIN AMERICA: THE WINTER SOLDIER 3D Fri-Sat-Sun-Mon-Tue-Wed 11:45, 02:00, 03:00, 05:20, 06:15, 08:35, 09:30 THE RAID 2: BERANDAL Fri-SatSun-Mon-Tue-Wed 11:10, 02:45, 06:15, 10:00 RIO 2 Fri-Sat-Sun-Mon-TueWed 11:00, 01:40, 04:35, 07:25, 10:15 RIO 2 3D Fri-Sat-Sun-Mon-Tue-Wed 12:20, 03:10, 06:05, 08:50 OCULUS Fri-Sat-Sun-MonTue-Wed 11:20, 02:05, 04:45, 07:30, 10:10

Edgefield Powerstation Theater

2126 SW Halsey St., 503-249-7474-2 ROBOCOP Fri-Sat-SunMon-Tue-Wed 06:00 THE MONUMENTS MEN Fri-SatSun-Mon-Tue-Wed 09:00

Kennedy School Theater

5736 NE 33rd Ave., 503-249-7474-4 FROZEN Fri-Sat-Sun-Wed 12:00 GRAVITY Fri-SatSun-Mon-Wed 05:30 12 YEARS A SLAVE Fri-SatSun-Mon-Tue-Wed 02:30, 07:45

Empirical Theatre at OMSI

1945 SE Water Ave., 503-797-4000 MYSTERIES OF THE UNSEEN WORLD Fri-SatSun-Mon-Tue-Wed 11:00, 03:00 MUMMIES 3D Fri 12:00 FLIGHT OF THE BUTTERFLIES 3D Fri-SatSun-Mon-Tue-Wed 01:00, 05:00 GREAT WHITE SHARK Fri-Sat-Sun-MonTue-Wed 02:00, 04:00 FROZEN Fri-Sat-Sun-MonTue 05:00 GRAVITY 3D Fri-Sat-Sun-Mon-Tue 07:00 SEA MONSTERS 3D: A PREHISTORIC ADVENTURE Sat-Sun-Mon-Tue-Wed 12:00 RAIDERS OF THE LOST ARK Wed 06:30

1219 SW Park Ave., 503-221-1156 FAUST Fri-Sun 07:00 THE NEW RIJKSMUSEUM - PART 1 Sat 06:30 THE NEW RIJKSMUSEUM, PART 2 Mon 06:00 SELECTED 3 Tue 07:00

Regal Pioneer Place Stadium 6

340 SW Morrison St. RIO 2 3D Fri-Sat-Sun-MonTue-Wed 01:00, 07:00 RIO 2 Fri-Sat-Sun-Mon-Tue-Wed 03:45, 09:45 OCULUS FriSat-Sun-Mon-Tue-Wed 01:15, 04:15, 07:30, 10:15

St. Johns Theater

8203 N Ivanhoe St., 503-249-7474-6 ROBOCOP Fri-Sun-MonTue-Wed 06:30 GRAVITY Fri-Sun-Mon-Tue-Wed 01:00, 09:30

Century Clackamas Town Center and XD

12000 SE 82nd Ave., 800-326-3264-996 SON OF GOD Fri-Sat-SunMon-Tue-Wed 10:55, 07:25 THE LEGO MOVIE Fri-SatSun-Mon-Tue-Wed 11:05, 04:20, 09:55 THE LEGO MOVIE 3D Fri-Sat-Sun-MonTue-Wed 01:40, 07:05 MR. PEABODY & SHERMAN FriSat-Sun-Mon-Tue-Wed 11:20, 01:55, 04:30, 09:35 MR. PEABODY & SHERMAN 3D Fri-Sat-Sun-Mon-Tue-Wed 07:00 NEED FOR SPEED Fri-Sat-Sun-Mon-Tue 01:30, 07:35 NEED FOR SPEED 3D Fri-Sat-Sun-Mon-Tue 04:35 DIVERGENT Fri-SatSun-Mon-Tue-Wed 12:25, 03:55, 07:10, 09:40, 10:20 MUPPETS MOST WANTED Fri-Sat-Sun-Mon-Tue-Wed 11:05, 01:50, 04:35, 07:20, 10:10 BAD WORDS Fri-SatSun-Mon-Tue 11:10, 10:40 THE GRAND BUDAPEST HOTEL Fri-Sat-Sun-MonTue-Wed 11:30, 02:15, 04:55, 07:30, 10:05 GOD’S NOT DEAD Fri-Sat-SunMon-Tue-Wed 11:10, 02:00, 04:50, 07:40, 10:30 NOAH Fri-Sat-Sun-Mon-Tue-Wed 10:55, 12:50, 04:05, 07:20, 10:30 DRAFT DAY Fri-SatSun-Mon-Tue-Wed 11:35, 02:20, 05:05, 07:50, 10:35 CAPTAIN AMERICA: THE WINTER SOLDIER Fri-SatSun-Mon-Tue-Wed 11:40, 01:20, 03:00, 04:45, 06:20, 08:10, 09:40 CAPTAIN AMERICA: THE WINTER SOLDIER 3D Fri-Sat-SunMon-Tue-Wed 10:55, 02:10, 05:30, 08:50 THE RAID 2: BERANDAL Fri-Sat-SunMon-Tue-Wed 12:00, 03:30, 07:00, 10:25 RIO 2 Fri-SatSun-Mon-Tue-Wed 11:45, 12:45, 03:30, 05:15, 06:15, 09:00, 10:40 RIO 2 3D FriSat-Sun-Mon-Tue-Wed 11:00, 01:45, 02:30, 04:30, 07:15, 08:00, 10:00 OCULUS FriSat-Sun-Mon-Tue-Wed 11:50, 02:35, 05:10, 07:55, 10:40 CESAR CHAVEZ Fri-Sat-SunMon-Tue-Wed 02:10, 04:45, 10:35 TCM PRESENTS: AND THE OSCAR GOES TO... SunWed 02:00, 07:00 HEAVEN IS FOR REAL Wed 11:15, 01:55, 04:35, 07:15, 09:55

5th Avenue Cinema 510 SW Hall St., 503-725-3551 PEE-WEE’S BIG ADVENTURE Fri-Sat-Sun 03:00

Hollywood Theatre 4122 NE Sandy Blvd., 503-281-4215 H.P. LOVECRAFT FILM

P. 6


Willamette Week APRIL 9, 2014





























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503-445-2757 • ©2014 Rob Brezsny

Week of April 10


ARIES (March 21-April 19): Freedom is the most important kind of joy you can seek right now. It’s also the most important subject to study and think about, as well as the most important skill to hone. I advise you to make sure that freedom is flowing through your brain and welling up in your heart and spiraling through your loins. Write synonyms for “freedom” on your arm with a felt-tip pen: liberation, emancipation, independence, leeway, spaciousness, carte blanche, self-determination, dispensation. Here’s one more tip: Connect yourself with people who love and cultivate the same type of freedom you do. TAURUS (April 20-May 20): It’s Love Your Messes Week, Taurus. In accordance with the astrological omens, you are authorized to love the hell out of the messes in your life -- from the small, awkward knots of confusion to the big, beautiful heaps of fertile chaos. This is not a time to feel embarrassed or apologize for your messes; not a time to shy away from them or ignore them. On the contrary, you should explore them, celebrate them, and even take advantage of them. Whatever else they are, your messes are untapped sources of energy. Learn to love them for the mysterious lessons they keep teaching you. Love them for the courage and willpower they compel you to summon. Love them for the novelty they bring your way and the interesting stories they add to your personal legend. GEMINI (May 21-June 20): “A snowball’s chance in hell” is an American idiom that’s equivalent to saying “it probably won’t happen.” After all, a snowball would instantly melt if exposed to the scorching fires that rage in the underworld. But what if there’s an exception to this axiom? Let’s call on another American idiom: “when hell freezes over.” It’s another way to say “it probably won’t happen.” But the truth is that now and then a cold front does indeed sweep through the infernal region, icing its flames. When that happens, a snowball’s prospects of surviving there improve dramatically. And that’s exactly what I predict will happen for you in the coming week. CANCER (June 21-July 22): In 2007, J. K. Rowling finished writing the seventh volume of her seven Harry Potter books, *Harry Potter and the Deathly Hallows.* The day it was published it sold 11 million copies. But Rowling had actually written the final chapter of this last book way back in 1990, when she first conceived the story she was to spend the next 17 years working on. She knew the climax right from the beginning. I foresee a similar theme unfolding for you in the coming weeks, Cancerian. As you plot a project you will be developing for a long time to come, you will have a vision of what it will be when it becomes fully mature. LEO (July 23-Aug. 22): When you see your shadow, it’s usually right next to you. It’s there on the ground or floor, a fuzzy black shape that follows you around closely. But today I saw my shadow waving back at me from afar. I was standing on top of a hill, and the sun’s rays created a dusky version of me in the meadow way down below. I think this is a useful metaphor for an opportunity that’s available to you. In the coming days, you will be able to view the shadowy, undeveloped parts of your personality as if from a distance. That means you will have more objectivity about them, and thus greater compassion. You can get a calm, clear sense of how they might be mucking with your happiness and how you could transform them. VIRGO (Aug. 23-Sept. 22): “You cannot use butterfly language to communicate with caterpillars,” said psychologist Timothy Leary. That’s good advice for you to keep in mind in the near future. You might want to find a way to carry on constructive dialogs with people who have a hard time understanding you. It’s not necessarily that they are stupid or resistant to your charms. The problem is that they haven’t experienced some of the critical transformations you have. They can’t be expected to converse with you in your butterfly language. Are you willing and able to speak caterpillar? LIBRA (Sept. 23-Oct. 22): Are you thinking of linking your fortunes to a new ally? Or deepening your

collaboration with a familiar ally? Have you fantasized about bonding intensely with a source that may be able to give you more of what you want and bring out more of the best in you? These prospects are worth contemplating, Libra. But I suggest you let your connection ripen a bit more before finalizing the shift. I’m not necessarily saying there’s a potential problem. I simply suspect that you need further exploration and additional information before you can make the smartest move possible. SCORPIO (Oct. 23-Nov. 21): Saturn has been in the sign of Scorpio since October 2012 and will be there until the end of 2014. (It will make another visit from June to September 2015.) What does that mean? I have a view of Saturn that’s different from many astrologers. They regard it as the planet of limitation, struggle, and difficulty. Here’s what I think: While Saturn may push you to be extra tough and work super hard, it also inspires you to cut away extraneous desires and home in on your deepest purpose. It motivates you to build strong structures that free you to express yourself with maximum efficiency and grace. SAGITTARIUS (Nov. 22-Dec. 21): When I took an intermediate painting class in college, our first assignment was to imitate an old master. My choice was the Flemish painter Pieter Breugel the Elder (15251569). I worked on reproducing his painting *The Fight Between Carnival and Lent* as precisely as I could. It was tedious and liberating. I invoked Breugel’s spirit and prayed for his guidance. I sank my psyche deeply into his. By the end of the four-week process I’d learned a lot about painting. Given the current astrological omens, Sagittarius, I suggest you try something similar. Pick someone who excels at a way of working or a state of being that you would like to master yourself, and copy that person for a while. For best results, have fun with it. Play! CAPRICORN (Dec. 22-Jan. 19): Capricorn author J. R. R. Tolkien spent 14 years working on *The Lord of the Rings.* In using a typewriter to produce over 1,200 pages, he relied solely on his two index fingers. He never learned the ten-finger typing method. I suppose it didn’t matter in the end. Presumably, his impediment didn’t affect the quality of his work, but only made it harder to accomplish and required him to spend a lot more time. Is there a fixable limitation on your own ability to achieve your dream, Capricorn? Is there some handicap you could, with effort, overcome? If so, now would be an excellent time to begin. AQUARIUS (Jan. 20-Feb. 18): “The truth’s superb surprise,” wrote poet Emily Dickinson, may be “too bright for our infirm delight.” Sometimes we’ve got to be careful about articulating what’s really going on. “The truth must dazzle gradually,” she said. If it hits us too fast and hard, it may be difficult to digest. So did Emily suggest that we should lie and deceive? No. “Tell all the truth,” she declared, “but tell it slant.” This is excellent advice for you in the coming days, Aquarius. PISCES (Feb. 19-March 20): Here’s my report on your progress. You are not struggling to embody a delusional state of perfection as it is imagined by other people. Rather, you are becoming an evermore soulful version of your idiosyncratic self, evolving slowly but surely. You are not dazedly trudging along a narrow track laid down by thousands of sheep. Instead, you are lively and creative as you bushwhack a path for yourself through the wilderness. To celebrate this ongoing success, Pisces, I suggest you get yourself a new power object that symbolizes your inventive devotion.

Homework Write a short essay on “How I Created Something Out of Nothing.” Go to and click on “Email Rob.”

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

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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.

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.

The audio horoscopes are also available by phone at



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Across 1 Nutty person (and new OED entry of 2014) 12 Talk freely 15 Ziti and such 16 AP competitor 17 Genre for “The Breakfast Club” or “A Catcher in the Rye” 18 Cornelius of “Soul Train” 19 People and language in Clint Eastwood’s “Gran Torino”

43 Magician Harry, Sr. or Harry, Jr. 46 Designation ditched after smoking bans 47 Robert Indiana stamp insignia 48 Did some dirty dancing 51 Wipes clean 54 “Does that ring ___?” 57 Like a new coat, at first? 58 Acknowledges, with “to” 63 ___ heartbeat

20 Waiting for a real person, maybe 22 “Imagine that!” 27 ___ Popken (plus-size clothing retailer; hidden in PULLABLE) 28 Abu Dhabi’s loc. 30 Secretly schemed against 33 Ice cream shop item 36 Lot for Londoners 37 Nut 41 Away from the workplace for good

Down 1 Suffix after sand or Man 2 Director Egoyan 3 Army surplus store stuff 4 Kevin who played Dave 5 1980s teammate of Bird and McHale 6 Former UN Secretary General ___ Hammarskjöld 7 “Kiss, Kiss, Kiss” singer 8 Switch status 9 1950 film noir classic 10 Ad image 11 Genesis locale 12 Ballet star Nureyev 13 Theater with a log rubbed for good luck 14 Odist with a type of ode named for him 21 “Sons of Anarchy” star Charlie 23 Noises from chopper blades 24 Old-school comedian Buddy 25 Bouncers ask for them 26 Tourist activity of declining popularity? 28 Bar code 29 Pie ___ mode 31 Musician on the

road 32 “Gas Food Lodging” actress Skye 34 Rack contents 35 Tetra’s home 38 Looked after 39 Particle suffix, in physics 40 Warehouse qty. 42 AAA job 43 Messed up bigtime 44 John Bobbitt’s ex-wife 45 2009 film set on the planet Pandora 49 Part of DKNY 50 Guy who was all thumbs? 52 Shield bearing Medusa’s head: var. 53 Apple tech support? 55 Attachment on property 56 Fords produced until 1991 59 ___ populi 60 Sinus specialist, for short 61 “___ Drives Me Crazy” (1989 #1 hit) 62 Bee chaser?

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 #JONZ670.

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Comedy Classes

Improv, Standup, Sketch writing. Now enrolling The Brody Theater, 503-224-2227


Learn from a Professional / Get the Skills • 503-438-8466

Eskrima Classes

Personal weapon & street defense or 503-740-2666

Guitar Lessons

Personalized instruction for over 15yrs. 503-546-3137

1425 NW 23rd Portland, OR 97210 (503) 841-5751

6913 E. Fourth Plain Vancouver, WA 98661

8312 E. Mill Plain Blvd Vancouver, WA 98664

1156 Commerce Ave Longview Wa 98632

(360) 695-7773 (360) 577-4204 Not valid with any other offer

Hippie Goddess

Females 18+. Natural, Fit Bodies. Creative outdoor shoots for $400-$600. 503-449-5341 Emma


Ground defense under black belt instruction. or 503-740-2666

North West Hydroponic R&R

(360) 213-1011

1825 E Street

Washougal, WA 98671

(360) 844-5779


Quick fix synthetic urine now available. Your hookah headquarters. Vapes. E-cigs, glass pipes, discount tobacco, detox products, salvia and kratom Still Smokin’ Tobacco For Less 12302 SE Powell 503-762-4219

Opiate Treatment Program

Evening outpatient treatment program with suboxone. We Buy, Sell, & Trade New & Used Hydro- CRCHealth/Dr. Jim Thayer, Addiction Medicine ponic Equipment. 503-747-3624 1-800-797-6237

ROSE CITY WELLNESS see our ad on page 52

Oregon Medical Marijuana Patient Resource Center *971-255-1456* 1310 SE 7TH AVE

503 235 1035

Ask for Steve. 503-936-5923 Licensed/Bonded/Insured


card Services clinic Por t lan and d’s L ar ges gestt


$Cash for Junk Vehicles$

Medical Marijuana

A Linnton Feed & Seed Garden Store

Historic Woodlawn Triangle at NE 8th & Deekum

Browse & Reply FREE! 503-299-9911 Use FREE Code 2557, 18+

Open 7 Days


Dekum Street Doorway

• Gardening tools • Chicken feed • Soil & Mulch • Plant starts • and more!



Fi n e s t Pi p e S h o p

420 Giveaway

Win one of 100 waterpipes the week of April 20 Free to enter. Come in to sign up.

www.m www .me ellow owmo ood d.c com m 4119 S E Hawth horn ne, Portlan and ph h: 503 3 -235 5 -PIP PE (74 473)

503-384-Weed (9333) 4911 NE Sandy Blvd, Portland • open 7 days

Pizza Delivery

Until 4AM!

40 23 willamette week, april 9, 2014  
40 23 willamette week, april 9, 2014