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Willamette Week APRIL 16, 2014



PLAYOFF FEVER: How the Blazers can succeed in their return to the NBA postseason. Page 11.
















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Sure, Banfield Pet Hospital got some property tax breaks, but don’t gloss over the fact that it was in Portland for 10 years [“The Starship Enterprise Zone,” WW, April 9, 2014]. That’s not exactly a drop in the bucket. Hundreds of people employed for 10 years is a significant economic impact, much more than $1.43 million in tax forgiveness that wouldn’t have even been collected had the company not been here at all. —“BallBearings” Somehow, I rather doubt the city of Portland promised Rodeo Drive by the end of the terms for the tax breaks. This is a prime example of companies/corporations looking out for profits, period. Want to bet Vancouver gave away the bank to pull Banfield Pet Hospital across the river? At the end of those tax breaks, Banfield will relocate (additional tax breaks for the move) as well as pick up freebies from its next chump community. I don’t blame Banfield in the least; it’s the ignorant politicians trying to make a name for themselves who sell out their communities. —“Arm of Keaau”

Audition June 9th & 10th 3:30-6:30

As much as giving tax breaks to businesses may on the surface seem like a government giveaway, the reality is that other municipalities are willing to give these same financial incentives to companies. And just like with Banfield, the City Council either has to play that game, or watch as companies get poached. What Portland does have going for it is, there are a ton of people who want to live in Portland (and not in the suburbs). What Portland needs to do is go after the kind of companies that see actually being in Portland as an advantage for attracting and keeping talent. —“Firegod” Stop giving subsidies and maybe address a better business climate? Oh, wait, this is Portland. My bad! —“fuobl”


Why would having kids not in school at all be the answer? [“Suspended Disbelief,” WW, April 9, 2014.] Don’t get me wrong—I don’t think schools do enough to punish kids (which is why bullying is probably getting worse). But there should be somewhere for the kids to go. They shouldn’t just be let out of school. Isn’t

that sort of rewarding them? Even if it’s a day or two, there should be a space for those kids who are issues—or have issues—and teachers/administrators trained to deal with them and hopefully help them. The schools themselves are not places where kids with discipline problems are going to thrive, because the schools are not designed for them. —“pdxmom”


Jim Francesconi just showed how little he knows about the state of health care and the needs of the working poor [“One Question,” WW, April 9, 2014]. Medicaid expansion and the Affordable Care Act are not the answer to the county alcohol and drug treatment funding needs. The working poor are still falling through the gap without coverage, insufficient coverage, high out-of-pocket expenses, etc. Affordable, high-quality services started by innovative thinkers and cooperation from county officials will do more to increase access than the ACA. —“Phil Broyles” “We have better ways to feed really needy people”? What better way than to grow food? I guess Deborah Kafoury doesn’t have to worry about where her next meal is coming from, having collected a fat salary as county commissioner and an even fatter one should she win this election. —“realist”


An item on page 39 of your 2014 Bar Guide refers to Pabst Blue Ribbon as “a union beer,” which implies that the “brewery” is staffed by union members. In fact, there is no Pabst brewery. The brand is what is known as a virtual brewery, in that all of the actual beermaking is contracted out, mostly to Miller. The perceived hipness of PBR is based on a misperception that it is an old-school, bluecollar, union-friendly product, when in reality it is simply a name owned by a marketing group in Los Angeles. Caveat potor. Jefferson Ranck Northeast Portland 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:

DR. KNOW ON VACATION: Marty Smith, aka Dr. Know, is on tour with his band, Slutty Hearts. His column will return April 30. Send questions to 4

Willamette Week APRIL 16, 2014

Willamette Week APRIL 16, 2014


POLITICS: The next expensive ballot battle: GMO labeling. 7 HEALTH: Heroin death rates fall thanks to a new state law. 9 SPORTS: Here’s how the Blazers can advance in the playoffs. 11 COVER STORY: Seeking justice for Oregon’s transgender inmates. 12



Proponents of an initiative to ban public funding for abortions are employing a novel tactic: The group’s website,, allows users to search for the names of people who have signed the initiative petition. A quick search, for instance, shows neither of the leading Republican candidates for the U.S. Senate in the May 20 primary, Dr. Monica Wehby or state Rep. Jason Conger (R-Bend), have signed the petition, although both have said they are opposed to abortion. Jeff Jimerson, one of the measure’s chief petitioners, says the search function is designed to help the campaign avoid costly penalties for turning in duplicate signatures. “We’ve been gathering signatures for a year, and it’s an all-volunteer effort,” Jimerson says. “We’ve caught hundreds of duplicate signatures this way.”

PORTLAND POT SHOPS: Not if we get more, but where they get to locate.

Portland City Hall isn’t halting the growth of medical marijuana dispensaries inside city limits—but Mayor Charlie Hales is looking to tighten the rules on pot shops. State legislation creates a May 1 deadline for cities to decide if they want to cap the number of marijuana retailers for the next year. The League of Oregon Cities says 87 cities—including many suburban towns ringing Portland—have either passed a moratorium or are considering one. Instead, aides to Hales say, the mayor wants Portland to require dispensaries to notify neighbors about their siting, operate for limited hours and follow tighter rules about where they can locate. “We want to make sure that we’re taking into account the will of the voters and neighborhood livability,” says Hales spokesman Dana Haynes. “Those may be contradictory goals.” There goes the bride: State Registrar Jennifer Woodward has already overhauled Oregon’s marriage-license application forms in anticipation of a federal court ruling that could overturn the state’s ban on same-sex marriage. Gone are the traditional places for the name of the “groom” and “bride,” replaced by lines for “Party A” and “Party B.” (Each person gets to check a box to declare whether he or she is a bride, groom or simply “spouse.”) Woodward tells WW the new forms will be ready to use the moment U.S. District Judge Michael McShane in Eugene rules whether the Oregon ban is constitutional. If he orders the ban struck down, Woodward says, counties can immediately use the updated forms. That could happen as soon as April 23, when McShane hears oral arguments on the question. Read more Murmurs and daily scuttlebutt.


Willamette Week APRIL 16, 2014



amy martin


There’s much to talk about in Ashland—a southern Oregon winter so dry that, for the first time in 50 years, the local ski mountain failed to open, or the fare at this year’s Oregon Shakespeare Festival. But it’s not the weather or the arts that are dominating conversations there. It’s three big letters: GMO. The controversy over genetically modified organisms in food has come to Jackson County, where voters will consider a measure in May to ban growing “genetically engineered” plants. Local fields of modified sugar beets are a top concern of ban advocates. “It’s certainly the talk of the town,” says Vincent Smith, an assistant professor of sociology and environmental studies at Southern Oregon University. Smith says young voters, who tend to be apathetic, particularly in primary elections, are especially engaged. “It’s a huge issue for students,” Smith says. “It’s all they want to talk about.” The Jackson County measure may be only a prelude to a statewide measure that— based on recent GMO fights in neighboring states—could become the most expensive ballot-measure fight in Oregon history. The current high-water mark is 2007’s Measure 50, a failed tobacco tax increase. Proponents spent $4.1 million and opponents $12.1 million. A dozen years ago, Oregon looked at becoming the first state in the nation to require labeling of food that contains genetically modified ingredients. Voters trounced the measure 71 to 29 percent after agribusiness companies, led by Monsanto, spent $5.5 million to defeat it. This year, proponents have submitted initiative measures that (according to the wording of one) “requires food manufacturers, retailers to label ‘genetically engi-

neered’ foods as such.” The Oregon GMO Right to Know committee, which has raised $112,000, will need to gather 87,213 signatures by July 3 to make the ballot. There are a couple of reasons to think the result could be different this time. First, the fight in Jackson County is drawing attention to the issue. Monsanto and other agribusiness giants, Dupont and Syngenta, have poured cash into Jackson County to defeat the measure. As of April 15, their committee opposing the GMO seed ban has raised $834,000—more than $8 for every registered voter in the county. Proponents of the ban, meanwhile, have raised just $180,000. Ban supporters have distributed 2,500 lawn signs and knocked on thousands of doors. “People down here are really dis-

gusted to see this kind of money flowing in,” says Elise Higley, a Jackson County farmer and campaign manager for the GMO ban. “But I think it’s activated people and caused them to step forward.” Second, recent GMO labeling battles in Washington and California have given proponents signs of hope, even though measures in both states went down to defeat. In 2012, California narrowly defeated a GMO labeling measure after Monsanto and other corporations spent $46 million to defeat it. In 2013, Washington saw the companies spend nearly $33 million. Proponents, led by Dr. Bronner’s Magic Soaps, spent $8 million and lost by 2 percentage points—the same as in California. The off-year vote in Washington saw low turnout—46 percent.

That the measure came so close to passing anyway is a positive sign for proponents here: Based on historical trends, Oregon’s 2014 general election is likely to see turnout of at least 70 percent, buoyed by young voters, who are more supportive of labeling. Oregon’s largest city spent much of 2013 chewing on an issue with some similarities—fluoridation. In the vote whether to fluoridate Portland’s drinking water, proponents found their arguments no match for the passion and skepticism fluoride critics brought to the race. Fluoride backers outspent their opponents 3-to-1 but got trounced at the polls 61 to 39 percent. About one in five Oregon voters lives in Multnomah County, and the fluoride results suggests many voters are skeptical of science, particularly corporatefunded science. Western Washington University political science professor Todd Donovan, who watched the Washington labeling ballot fight closely, says the sentiments that led to the defeat of fluoride are similar to those that underpin arguments for GMO labeling. “There’s maybe an anti-science feeling that runs through the anti-fluoride and the pro-labeling groups,” Donovan says. “There is an overlap there.” Pat McCormick, a Portland public relations consultant who worked to defeat Oregon’s 2002 GMO labeling measure, says he thinks fluoride critics are likely to support labeling. “The two issues are related,” says McCormick, whose firm worked to defeat the GMO labeling measure campaigns in Washington and California and expects to be involved here. McCormick says it’s premature to talk strategy for a measure that hasn’t qualified for the ballot, but an attempt to marginalize GMO critics is likely. “It was puzzling and confusing how readily fluoride opponents dismissed the underlying science,” he says. Paige Richardson, a political consultant leading the labeling campaign, disagrees that there’s an overlap between concerns about GMOs and fluoride. She says GMO labeling is more about disclosure than science. “It’s convenient for the corporations who are profiting from GMOs to label opponents as extremists,” Richardson says, “but really we are just people who want to know what is in the food so we can decide to eat it or not.” Richardson has assessed why labeling failed in California and Washington and believes Oregon voter turnout in November will benefit the measure. She also thinks the labeling campaign will get its message out despite the money opponents may sink into their campaign. “We will be outspent, but we’ll have more voters participating in the conversation,” Richardson says. “Oregonians are interested in transparency in lots of levels.”

Willamette Week APRIL 16, 2014


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INJECTING HELP: An Oregon law expanding access to naloxone—a drug that revives people experiencing a heroin overdose—took effect July 9, 2013. Outside In started distributing naloxone the next day. “We had been chafing at the bit to do this,” says executive director Kathy Oliver.


Two months ago, a heroin user overdosed on the Southwest Salmon Street overpass across Interstate 405, about a block from the headquarters of Outside In. Someone alerted the staff at the nonprofit social-services agency, and someone else called 911. But Haven Wheelock, who runs Outside In’s needle-exchange program, ran out the door carrying a dose of a drug called naloxone. The heroin user was down, unresponsive and turning blue. Wheelock injected him with naloxone, used to snap people out of an overdose. “It was a scary situation,” says Kathy Oliver, Outside In’s executive director and Wheelock’s boss. “But he came to and walked to the ambulance when it arrived.” Until last year, naloxone, also known as Narcan, was administered almost entirely by medical professionals. But Oregon lawmakers sought to broaden its availability for application by friends, family, caseworkers, other drug users and anyone else who’s around people using heroin. The results so far have surprised even the strongest advocates of expanding naloxone’s use. Heroin deaths have fallen by nearly half in Multnomah County since the law expanding access to naloxone went into effect, according to early numbers compiled by the county. County officials say there were 29 overdose deaths between July 9, when the law went into effect, and the end of 2013. They say the county had 52 overdose deaths for the same time period in 2012. Officials say they can’t attribute all of the 44 percent decline to the availability of naloxone, but that the new law is the only major change

between the two time periods. “Usually the things we do in public health have a longer time line, because they’re very prevention-focused,” says Kim Toevs, a senior manager for the Multnomah County Health Department, which oversees the county’s needle-exchange program. “It’s not often in public health we get to do work that has an immediate life-saving impact.” Oregon had for years been considered in the forefront of protecting the health of drug users. Outside In, for example, started its needle exchange in 1989. But the state had fallen years behind other places that expanded the use of naloxone, and until last year had shown little interest in making the drug more available (“Who Wants to Save a Junkie?” WW, March 6, 2013). Chicago, San Francisco and New York had seen sharp decreases in heroin deaths after officials allowed wider public access to naloxone. A 2012 report by the Centers for Disease Control and Prevention found expanding the use of naloxone by nonmedical professionals had saved an estimated 10,000 lives in the 15 states where the laws had been changed. Under the 2013 Oregon law, anyone can administer naloxone after going through a training program on how and when to use it. People who go through the training are then given a naloxone kit. (The drug is usually injected but also comes as a nasal spray.) So far, Outside In is the only group in the state that is providing training and distribution. Wheelock, who rushed to inject naloxone into the overdosed man, is the only person in Oregon training people how to administer the drug. Oliver says Outside In has trained 689 people since the law went into effect in July. Her organization has reports of naloxone being administered 239 times by people they have trained. “Not all of those would have resulted in a death, but there is no doubt some would have,” Oliver says. “I firmly believe we did prevent a fair number of deaths by overdose.” Toevs says the county plans to expand training and distribution of naloxone to its three needle-exchange programs, which are all located in eastside Portland and serve as many as 7,000 people. “Even if we can’t get to every drug user,” Toevs says, “if we get to enough of them, the likelihood one of them will have naloxone on hand when someone needs it will be increased in a meaningful way.”

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Last weekend, the Portland Trail Blazers played the best game of their surprisingly good season. Their April 13 overtime win over the Golden State Warriors and their crazy-hot shooting guard Stephen Curry showcased the team at its finest. The combination of crisp pick-and-rolls, clutch shots and notably good luck were textbook examples of why the Blazers are headed to their first playoff berth since 2011. The Blazers were smoking early this season, for a time holding the NBA’s best record and rekindling affections of disaffected fans (“On the Rebound,” WW, Dec. 18, 2013). They cooled off a bit in the spring. But the team, now 53-28 with one regular-season game left, is good enough to have slid into the playoffs, and will meet its longtime nemeses, the Houston Rockets. In 2009, the Rockets destroyed the most promising Portland team in a decade by winning a playoff series in six games. The next season, franchise center Greg Oden went up for a rebound against Houston and kept going down, sinking to the court with a fractured knee. Even this season, some of the Blazers’ most frustrating losses have come against star guard James Harden and the Rockets. Here’s how the Blazers can break this miniature curse and extend their run into the playoffs.

D is for defense—and decider. Watch for a high-scoring series: The Rockets and Blazers have the second- and third-best offenses, respectively, in the NBA (behind the Los Angeles Clippers). The team that decides to commit to defense will win this series. The Blazers have a target number: 100. They’ve lost only four times this season when they’ve kept opponents under 100 points. They lost three of four games against the Rockets this season—and the Rockets averaged 120 points in those wins. The key to watch: how well Portland contains Harden, who is averaging nearly 28 points a game in April.

BOUNCING BACK: Blazers power forward LaMarcus Aldridge, who returned from a back injury last month, is averaging 23.2 points per game this season. He’s done better—26.7 points per game—against his team’s first-round playoff foes, the Houston Rockets.

Lillard must rise to the occasion. Damian Lillard is a star, but he has no postseason experience. Lillard, when he was at Weber State, never even played in the NCAA Tournament. All the clichés are true: The lights will be brighter, the intensity greater, and the expectations on Lillard will be nothing short of brilliant, creating real pressure. Lillard—a point guard with a new $100 million shoe deal with Adidas—has been great when called upon to be great. If he buckles to the added pressure, it will be a short series for the Blazers.

Success will be riding on the bench. Blazers general manager Neil Olshey is on the short list for NBA Executive of the Year, to a large degree because of his ability to build a bargain-basement team—including a bench far more reliable than last season’s. The Blazers will need their backup players to get even better. Point guard Mo Williams is Portland’s most consistent second-unit scorer. Williams has been a lightning rod for criticism at times this season for his cavalier ball handling and sometimes questionable decision making. But his 41 playoff appearances are by far the most of any Blazer, so he’ll provide more than just baskets.

Avoid the mind games together. The mental aspects of a best-of-seven series can be just as important as the physical. The Rockets’ victories over Portland this season give them the edge—especially after Houston’s come-from-behind overtime win in early March.

But it’s about more than just forgetting past wins and losses. The Blazers have to avoid the distractions that have already started. Lillard and Rockets guard Patrick Beverley exchanged barbs in the press last month, animosity that should carry over to the playoffs. The Rockets aren’t a bunch of savvy veterans like the San Antonio Spurs. But both center Dwight Howard and Harden have been to the NBA Finals. Those guys know how a game can be won or lost before a single shot goes up.

The real battle is Stotts vs. McHale. Through 81 regular-season games, Blazers coach Terry Stotts has effectively managed his rotations, especially when power forward LaMarcus Aldridge was out of the lineup. He’s gotten consistent improvement from guard Wesley Matthews and forward Nicolas Batum, and turned center Robin Lopez into one hell of a player. Beyond maximizing the output of his starting five, Stotts is going to need some masterful moments of play-calling. From Houston coach Kevin McHale, the Blazers are going to see every play, every defense and every possible personnel combination the Rockets can muster. McHale has the playoff experience Stotts lacks—he took the Rockets to the postseason last year (they lost in the first round), not to mention his Hall-of-Fame playing career with the Boston Celtics. If Stotts can produce a couple of sneaky plays at opportune moments, or if an unexpected rotation change has a positive effect on a game, the Blazers have a very good chance of taking the series, extending one of the most intriguing seasons in franchise history, at least for a few more weeks.


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Willamette Week APRIL 16, 2014



The prison system says he is a man.

The fight for justice for Oregon’s transgender inmates.

By kate willson kwills o n@wwe e m


ristina Olvera wants to enjoy the simple pleasures of crossing her legs when she sits, applying eyeliner and pouting her lips. Her landlord disapproves when she plays with her hair, grows out her nails or wears tight jeans. T hat landlord, the Oregon Department of Corrections, recognizes her only as a man—Jose Antonio Olvera, 26, a heroin addict and career petty criminal who was sentenced to 28 months in prison after stealing nine pairs of jeans from Diesel in the Pearl District and $500 in merchandise from the downtown Sephora in 2012. Olvera had been living as a woman and taking estrogen when the state sent her to the Columbia River Correctional Institution in Northeast Portland in January 2013. There, Olvera says, prison officials have violated her constitutional rights against cruel and unusual punishment by denying her necessary medical and mental health care recommended for people who are transgender—that is, someone who identifies with, and usually wants to be, the opposite gender. “I’m a human with rights and feelings that are being trampled on over and over by the Department of Corrections,” Olvera wrote to prison officials in a tort claim last month.


lvera’s condition, gender dysphoria, isn’t some made-up complaint concocted by a prisoner looking to make trouble. It’s a widely established medical and psychiatric diagnosis, for which treatment includes hormones and allowing the subject to live as the opposite sex. Olvera is not alone. Prison officials say they know of at least 10 such inmates in the state system. Corrections department records obtained by WW show Oregon prison officials have for years been denying inmates with gender dysphoria medical and mental health treatment related to their diagnoses, even when treatment has been called for by physicians and other medical professionals. The corrections department’s actions run counter to federal court rulings in as many as eight states where judges have found that treatments sought by transgender prisoners are medically necessary. In many cases, Oregon officials haven’t just denied care in individual cases; for years, they have said they wouldn’t treat gender dysphoria, or gender identity disorder, as the diagnosis has been called in the past. In the best of circumstances, gender dysphoria is often misunderstood. For Oregon prison officials, who house nearly 15,000 inmates, dealing with men who feel they must live as women (and vice versa) makes their job all the more difficult. “They’re struggling to maintain order among all these inmates,” says Dr. Megan Bird, a gynecologist with Legacy Health who treats transgender patients. “Do they put them in a men’s prison and risk harm to them, or put them in a women’s prison where they risk making other women uncomfortable?” Corrections officials are struggling to manage an already challenging population. The corrections department says more than half of prisoners struggle with drug or alcohol addiction; one in five has a severe mental illness. Bird and others say prisons are required by law to provide necessary medical and psychological care. cont. on page 14 Willamette Week APRIL 16, 2014





Under a recent settlement with one inmate, and the threat of a lawsuit from Olvera, Oregon corrections officials are considering a new approach. But the proposed policy, still a draft, shows little would change in the way medical officials treat transgender prisoners. Corrections officials insist they are trying to bring about real change. “It really is a culture shift within the Department of Corrections, having something in place that says, ‘This is how we’re going to work with transgender individuals,’ and create more awareness throughout the organization,” says corrections department spokeswoman Elizabeth Craig. “This is a complex issue.”


t was 1952 when most Americans first learned of transsexuals (as transgender people were then called). That’s when newspapers revealed the story of a Bronx-born man named George William Jorgensen who had traveled to Denmark, undergone surgery that turned him physically into a female, and returned calling herself Christine. The international media attention that followed Christine Jorgensen’s story created confusion about transsexuals that lingers today—are they just crossdressing gays or people with mental illness? Neither is the case. Gender dysphoria is a medical diagnosis that has been widely accepted for the past four decades. “Scientists today can’t explain why some people are born straight or gay, but we have enough evidence to be pretty confident that it’s not something people can change or should be expected to try to change,” says Harper Jean Tobin, director of policy at the National Center for Transgender Equality. “Gender identity is the same way. All they have to do is read the science, read the law, read the standards of care, do the right thing.” Nearly 700,000 Americans today identify as transgender, according to a study by the Williams Institute at the UCLA School of Law. In many respects, the past several years have witnessed extraordinary gains for transgender people. Legislation across the country that seeks to protect gays and lesbians often includes transgender people as a protected class. Transgender people are also becoming more accepted and visible in the public eye. Acceptance has moved so far that the agricultural community of Silverton, 14 miles east of Salem, has a transgender man, Stu Rassmussen, as mayor. But the diagnosis is still largely misunderstood, even by physicians and psychiatrists—and by many transgender people as well. Anny May Stevens was born in 1962 as Edward Dean Stevens. Raised in Oklahoma and California, Stevens by age 8 was sneaking into her sisters’ room to borrow their panties. “I’d ask him why he did it,” Stevens’ father, Carl,


Willamette Week APRIL 16, 2014

recalls. “He just said, ‘Because it feels good.’” Stevens, who later moved to Portland, struggled to live as a man. After several suicide attempts, Stevens found a therapist in 1993 who diagnosed her with gender identity disorder. By then, physicians and psychiatrists were following widely accepted treatment guidelines first written in 1979 that included a mental health evaluation, hormones (for men, estrogen), and encouraging the patient to live as the opposite sex. “It is medically necessary,” says Dr. Jack Drescher, a member of the American Medical Association and author of the American Psychiatric Association position statement on access to care for transgender patients. “Many people who do not receive treatment are depressed, suicidal.” A physician prescribed estrogen for Stevens in 1994. “They made me feel whole, even though it wasn’t complete,” she says of the hormones. “I felt closer to what I needed to be.” She went to court to have both her name and gender legally changed. Stevens also had a serious drinking problem. In April 1997, she was staying at the Estate Hotel in Old Town when she invited a neighbor, a 35-year-old man, into her room. Stevens said he tried to sexually assault her, and she killed him—first stabbing him with a scissors, then striking him with a hatchet. She cut him more than 80 times. “I am sorry but he asked for it,” she wrote in a note she left by the body, according to news accounts at the time. “Anny May Stevens.”

She pleaded guilty to manslaughter and received an 18-year sentence. Once in prison, Stevens found that corrections medical officials refused to continue the hormone treatments prescribed by her doctor. Court records say the corrections department’s medical director, Dr. Steven Shelton, wrote in Stevens’ case file that the treatments she sought were “entirely elective.” Shelton, who is still the corrections department’s medical director, told WW he would not discuss Stevens’ case or the treatment of transgender prisoners in general. Shelton’s decision not to treat Stevens was at odds with rulings by federal courts, which by then had been telling states to follow a different path with regard to transgender prisoners. In 1997, the 9th U.S. Circuit Court of Appeals (with jurisdiction over Oregon) ruled the state of California had to immediately resume providing estrogen to a transgender inmate who, like Stevens, had been taking the hormone before entering prison. Even earlier, in 1990, a federal judge in Michigan ordered that state’s prison system to reinstate hormone treatment to a transgender inmate. “Taking measures which actually reverse the effects of years of healing, medical treatment is measurably worse [than not providing treatment in the first place], making the cruel and unusual determination much easier,” the Michigan judge ruled. Stevens filed two handwritten lawsuits to challenge her lack of medical treatment by Oregon prison officials. A state judge in Malheur County tossed out her 2002 case without comment. In a 2005 case, U.S. District Judge Janice Stewart acknowledged that Stevens’ case paralleled those in other states in which prisons had shown a “deliberate indifference” to transgender inmates’ “serious medical need.” Deferring to the state judge’s decision, however, Stewart dismissed Stevens’ case. Stevens is now in the Deer Ridge Correctional Institution in Madras and is scheduled to be released next year. Once out, she says, she will pursue gender reassignment surgery. “I want to live my life as a woman,” Stevens says. “I want to be whole.”


ne reason prison officials gave the court for refusing to refill Stevens’ hormone prescription was that she posed a low risk of harming herself. Yet the department also refused to treat another inmate who repeatedly demonstrated she would kill or castrate herself without treatment. Rebekah Brewis was 18 when she learned the confusion she had suffered all her life had a diagnosis. Born Jorey Lee Brewis in Grants Pass in 1980, she had never felt like a man. In 1998, according to court records, an Oregon prison therapist diagnosed her with gender


dysphoria. “I believed I was a woman,” Brewis tells WW, “but I didn’t know about transgender people.” In 2000, Brewis landed back in prison after breaking into an Ashland home. She pleaded guilty to robbery and received a 70-month sentence. In prison, Brewis says she tried killing herself five or six times—first in 2002 at Eastern Oregon Correctional Institution by using a torn bed sheet as a noose. Soon afterward, she asked to be treated for her diagnosis, but the prison medical staff refused, Brewis said in court filings. “You don’t look like a girl,” she says one prison counselor told her. “You look like a guy to me.” Shaving her legs was the one thing that made Brewis feel feminine. Shelton, the prison system’s medical director, refused to allow it, court records say, because there was no medical need for the shaving. Officers disciplined Brewis when she did shave her legs. Nor could she pluck her eyebrows or shower alone. Guards taunted her. As Brewis recalls, once on her way to see a doctor, a guard yelled out, “Don’t hang yourself on the way to medical!” “I wasn’t doing nothing wrong to nobody,” Brewis tells WW. “You have to be so desperate if you want any help.” “If they have a diagnosis and they are not treated, that can lead to depression or suicide,” says Jamison Green, a professor at the Center of Excellence for Transgender Health at the University of California, San Francisco. He said some patients who aren’t treated—particularly inmates—will try to medicate themselves by cutting off their testicles. “It happens in prisons because people are stuck and they have no hope,” Green says. “They think no one will give them the treatment they need.” Brewis tells WW she thought if she no longer had testicles, the lack of testosterone would make her feel better. She also believed prison officials might move her to a women’s prison—and that the act would prove to everyone she was not simply faking her diagnosis. “I felt hopeless,” Brewis says. “That’s when I decided I had to castrate myself.” Court records say that on Dec. 30, 2004, Brewis sneaked photocopied pages of Gray’s Anatomy, a standard medical textbook, out of the prison library and into her cell. With a pair of fingernail clippers she began cutting open her scrotum. But then she stopped. “I got scared,” she tells WW. “There was so much blood.” Guards found Brewis the next morning, one testicle protruding from her scrotum, according to court records. They rushed her to St. Anthony Hospital in Pendleton, stitched her up and placed her on suicide watch. Brewis says in court filings the attempt earned her a misconduct report for possession of a dangerous weapon and contraband. She tried again several times to castrate herself, using razor blades or by cinching her scrotum with hair ties or twine. Despite this, corrections medical staff still refused to treat her diagnosis. In 2005, Dr. Daryl Ruthven, the corrections department’s chief psychiatrist, also diagnosed Brewis as transgender but wouldn’t prescribe her hormones, court records say. “Ruthven refused to recommend any treatment though conceded that female hormone therapy may alleviate the plaintiff’s anxiety,” according to court records later filed by Brewis. She also says Ruthven told her if she ever succeeded in cutting off her testicles, he’d have the hospital sew them back on. When contacted by WW, Ruthven declined to comment. After another suicide attempt in 2006—Brewis slit her arm 20 times with a razor blade—Portland lawyer Michelle Burrows heard about Brewis’ case. She found local gender dysphoria expert B.J. Seymour. Medical records say Seymour recommended Brewis receive three months of counseling, get a prescription for estrogen, and be allowed to shave her body and change her name. “These recommendations,” Seymour wrote, “should

transgender inmates

Cosmetic reforms The Department of Corrections’ new approach to transgender care won’t change medical policies judges elsewhere have called unconstitutional. The Oregon Department of Corrections is drafting its first formal policy on how to deal with transgender prisoners, after years of denying treatment to inmates with gender issues. The agency is taking the action in response to tort claims by one inmate, Kristina Olvera, and a lawsuit brought last year by a post-operative inmate who was recently moved to the women’s prison at Coffee Creek Correctional Facility. The settlement with inmate Linda P. Thompson has forced corrections officials to spell out the steps they will take to identify and assess each inmate who might be transgender. For example, inmates might be allowed different underwear and to shower separately from other inmates. “Everyone doesn’t fit into a nice, neat box,” says Heidi Steward, superintendent of Coffee Creek Correctional Facility and lead author of the new policy. “Years ago we said, ‘If you were born a male, you’re placed in a male institution. Figure out how to live.’ We moved away from that model quite a while ago.” A review of the policy by WW, however, found that some of the steps are already required by federal law. But a closer look shows the proposed policy falls far short of the minimum standards of care adopted by many states, the

Federal Bureau of Prisons and the World Health Organization. The draft policy shows corrections officials will make few meaningful changes in past practices regarding medical treatment. Medical staff will continue hormones prescribed to inmates before they were jailed, but will not allow an inmate to start taking hormones if he or she hadn’t been taking them before entering prison. The Federal Bureau of Prisons, for example, changed its policy after an inmate challenged the practice in court. A resulting settlement required the U.S Department of Justice in 2012 to draft a new policy specifically allowing inmates without a prior diagnosis to receive recommended treatment. “We may not provide them hormone therapy or make surgical procedures,” Steward says. “But there are a lot of things we do deal with. If they started getting anxiety or depression, we would treat that.” A panel, the Nonconforming Gender Review Committee, would make recommendations about housing and treatment, but the policy would not require its nine members to obtain specialized training. Two of its members— including Dr. Steven Shelton, the corrections department’s medical director—have denied inmates treatment in the past even when

help to alleviate the depression that has brought her to the point of attempting suicide and self-mutilation.” Court records say corrections department officials rejected the recommendation. On Sept. 18, 2007, alone in her two-person cell, Brewis lay back on the plastic-covered mattress, a blanket covering her body, and her legs akimbo like a woman preparing for birth. It was 5 am. She dug her fingernails into her scrotum, tearing slowly, breathing deeply. For five hours she labored, biting down on a prison-issue white towel, and stopping periodically to sop up blood with a roll of toilet paper. “The image, the pain kept pushing me,” she says of the urge that drove her. “It was like someone planning an escape from prison. That was my escape.” Once she had exposed her testicles, she tied off each epididymis with a rubber band and dental floss. After 27 hours, her testicles fell off. She smashed them just to make sure they couldn’t be reattached.

experts found that treatment was medically necessary. WW asked Shelton and Dr. Daryl Ruthven, the corrections department’s chief psychiatrist, if either had specialized training in the diagnosis or treatment of transgender patients. Both declined to comment. Corrections officials could not name any member of its committee who had training in the diagnosis or treatment of transgender patients. When WW first sought a copy of the new policy last month, corrections department officials said they were working on a draft but claimed they had nothing written down. Officials later acknowledged a draft policy had been written but initially declined to release it, claiming it was protected by attorney-client privilege. When WW learned the policy had been shared outside the agency, corrections officials agreed to release the draft. The agency has brought in Basic Rights Oregon—an advocacy group working to end discrimination based on sexual orientation and gender identity— to review its plan and train corrections staff. Aubrey Harrison, deputy director of Basic Rights Oregon, says transgender people overall are more likely to be incarcerated, assaulted and denied medical care, as well as confront issues of housing and personal safety. Harrison says her organization has been working with the corrections department to address problems with the treatment of inmates. “We’ve had really good conversations with them,” she says. “What we’re seeing is the DOC’s willingness to address the problem.” KATE WILLSON.

A month after Brewis castrated herself, a corrections department physician, Dr. Jo Elliott-Blakeslee, recommended Brewis get estrogen treatments. The next year, another corrections department physician, Dr. Gregory Lytle, agreed. Shelton, the department’s medical director, put a stop to it. “We do not treat transgender cases,” Shelton told Lytle in 2008, according to a transcription Brewis made from Lytle’s notes for a court filing. The prison system offered Brewis only testosterone as a hormone replacement. Shelton declined to discuss Brewis’ case. ElliottBlakeslee and Lytle have since died. Brewis refused the testosterone. But without hormones to balance her metabolism, immune system and behavior, she got hot flashes and night sweats. Her moods fluctuated, and her bones grew brittle. cont. on page 17 Willamette Week APRIL 16, 2014



Willamette Week APRIL 16, 2014





he Idaho case is one of many court decisions in which states have been forced to treat transgender inmates under widely recognized standards of care. A federal judge in Wisconsin in 2011 ordered the state’s prison system to provide treatment to transgender inmates deemed necessary by medical experts. Federal judges in Massachusetts in 2011 and this year went further, saying the state must also provide “medically necessary” surgery. Following a 2009 inmate lawsuit, the Federal Bureau of Prisons implemented a policy that allows transgender inmates in its system to receive treatment regardless of whether they were diagnosed before or after incarceration. In 2013, the U.S. Department of Justice wrote guidelines for state prisons dealing with transgender inmates. “Medical experts do not view transitional treatments for transgender people as dangerous or experimental,” the guide reads, adding that the American Medical Association and the American Psychological Association “agree that these transition-related treatments are effective and medically necessary for individuals who have been appropriately evaluated.” Some institutions have implemented policies even without the threat of litigation, including those in Harris County, Texas, and Cook County, Ill., both in 2013. Dr. Nneka S. Jones at the Cook County Sheriff’s Office says inmates can meet with medical experts in transgender care. The jail provides underwear that fit a person’s perceived gender and special shaving gels for inmates who want to get rid of their body hair. “When you treat them with human dignity and respect, you can deter bad behavior,” Jones says. “You’ll


“That person is at risk for all sorts of problems,” says Randi Ettner, an Illinois-based clinical psychologist and member of the World Professional Association for Transgender Health. “Hormones regulate all the processes in our body. They are not optional. That person is really at risk.” Oregon’s response to Brewis stands in contrast to a similar case in Idaho, where corrections officials also offered only testosterone to a transgender patient who had cut off his testicles with a razor blade. A federal judge in 2007 found the Idaho Department of Corrections’ treatment violated the inmate’s Eighth Amendment protection against cruel and unusual punishment. Oregon officials instead responded in December 2009 by sending Brewis to the Oregon State Hospital in Salem, where she tried twice—unsuccessfully—to bring a lawsuit against corrections and mental health officials. She was released in April 2011. “I was pretty angry, but you have to accept what you have to live with,” Brewis says. “Today things are so much better. I am able to take care of myself and take the treatments I need.”

spend more energy dealing with the day-to-day problems unless you make their stay more empathic, humane. It’s definitely worth it.”


hange may come to Oregon, in fact, because of Kristina Olvera. On paper, Olvera is hardly the kind of citizen one would expect to force the state’s prison system to reform its ways. Olvera says she started shooting heroin at 15. She stole video games from a disabled older brother to buy drugs. She wrote bad checks, broke into cars, stole anything she could pawn—from panties and perfume to dog food. By the time she went to prison, court records show, she had been convicted of nearly 30 crimes, from theft and robbery to jaywalking and riding public transport without a fare. She was born Jose Olvera in 1987 and grew up feeling as if she was more like a girl, enjoying sparkles and lip gloss and dressing in her mom’s clothes. Olvera says she had been formally diagnosed as transgender and had lived as a woman before pleading guilty to theft in 2013. Prison guards have chastised Olvera for acting too feminine, looking in the mirror and posing Vogue-style for photos. Disciplinary records say one guard called her “bitch” and “that thing” and refused to hand her mail, instead flinging it at her in front of other inmates. She says most inmates accept her, but some call her “tramp” or murmur, “It calls itself Kristina.” Olvera, medical records say, had been taking estrogen obtained illegally before entering prison last year. She

has asked for a medical diagnosis and counseling while in prison, as well as hormones, but corrections officials have said no. “I contacted Dr. Shelton, Medical Director, to verify the unwritten but broadly discussed policy,” Richard O’Brien, a nurse at Columbia River Correctional Institution, wrote Jan. 30 in an internal department memo, “which has been that if the patient has been receiving treatment and hormones prior to their admission within ODOC, that we will continue/maintain them on the current doses, but that we do not initiate or advance them in their transition.” Olvera has since filed dozens of grievances and two tort claims with the department, the preliminary steps to filing a lawsuit against the corrections department. Unlike other inmates who have sued over transgender issues without legal representation, Olvera is preparing a case with her attorney, Michelle Burrows. “Prison systems don’t change unless they’re told to,” Burrows says. “You have to get a federal judge to say, ‘If you incarcerate them, you have to treat them like human beings.’” Corrections officials say they are writing a policy that will guide their staff on how to deal with transgender inmates (see sidebar). But corrections officials repeatedly declined to discuss the agency’s past actions and decisions, turning down WW’s requests to speak with medical and mental health staff, guards, administrators and director Colette Peters. Corrections officials also declined to identify any medical staff members who had been trained to diagnose or treat gender dysphoria. “We’re doing what we’re legally required to do,” says Craig, the corrections department spokeswoman. Gov. John Kitzhaber’s also didn’t respond to WW’s questions. State legislators who oversee the state’s prison system said they are unfamiliar with the issue. “We have not had any discussions,” says Sen. Floyd Prozanski (D-Eugene), chairman of the Senate Judiciary Committee. Sen. Laurie Monnes Anderson (D - Gresham), who chairs the Committee on Health Care and Human Services, says her panel has never examined the issue. “There should be no problem with taking the agencies to task,” she says. “There’s no way they can violate the rights of an inmate.” “Oregon needs to adopt a policy,” says Burrows. “And we’re hoping Kristina can take that step and say, ‘Here’s what you need to do: develop policy for folks like me.’” Olvera knows her lawsuit, which could be filed within the next two months, will drag on long after she’s out of prison. “They’re not going to change things for me, but I can help inmates down the road, help them get adequate treatment,” she says. “I never want anyone else to go through this.” Willamette Week APRIL 16, 2014


Willamette Week Presents

ANNOUNCING YOUR 2014 CART LINE UP 808 Grinds Bamboo Café Bardo’s Grill Bro Dogs Creperie du Lys Dalo’s Food Cart Fifty Licks Gonzo Seattle 85.3% Hapa Ramen Denver 81.9% Hungry Heart PDX San Francisco 74.1% Kesone Asian Fusion San Diego 70.7% KOI Fusion Portland 68.6% Little Boba Truck Phoenix 58.08% Sacramento 26.42% Love Belizean Maine Street Lobster Co. Mama Chow’s Kitchen Masala Pop Mildred’s Sweet Treats Mix N Match Creamery Moberi Momo Cart Native Bowl PDXSliders Ramy’s Falafel Fusion Sila Thai Food, LLC. Sivad’s House of Soul So Cold Southern Belle’s Taqueria La Merced Thick Deep Dish Pizza Thrive Topped Art


Willamette Week APRIL 16, 2014













Willamette Week APRIL 16, 2014


DISH: Old-time fountains of soda. MUSIC: 4/20 concert guide. BOOKS: Agnes Magnúsdóttir: repudiated immortal. MOVIES: Cossacks sodomize Jude Law’s cranium.

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CUFF THE RANCHER, TAKE THE CATTLE. SCHOOL’S OUT: Even Portland’s architecture is screwing with hip-hop shows now. On April 13, a concert by Schoolboy Q at the Crystal Ballroom ended about 20 minutes into the L.A. rapper’s headlining set after venue staff noticed a crack in a structural beam. The building was evacuated around 11:20 pm, sending 1,200 to 1,500 concertgoers onto West Burnside Street. “Portland 2 rowdy,” Schoolboy Q tweeted afterward, also noting that “riot police” were surrounding his tour bus. (Cops were called to the scene to assist with crowd dispersal. No arrests were made.) Refunds are being offered to all ticket holders. The damaged beam, which runs across the ceiling at Lola’s Room below the main SCHOOLBOY Q floor, has been temporarily reinforced, and no upcoming shows are expected to be canceled, says Mike Walker, a marketing coordinator for McMenamins. As for any conspiracy theories, Walker says it’s “just a coincidence” that this occurred at a rap show. “It’s not the music that made this happen,” he says. LANGANO LOUNGE: Ethiopian indie-rock party bar Langano Lounge, beneath Jarra’s Ethiopian Restaurant at 1435 SE Hawthorne Blvd., will close in May to make room for apartments. Langano plans to throw a series of farewell parties May 1-3 that may include reunited incarnations of Portland bands Hawkeye and 1776. Habesha, Portland’s other Ethiopian restaurant/music venue, continues apace. >> New Portland Rose, which writer and musician Willy Vlautin called “the greatest Bukowski bar” in St. Johns, looks to be getting a new owner from just down North Lombard Street. Laurie Brekken, director of Mock Crest Tavern, has applied for a liquor license to take over stewardship of the Rose. MILLENNIAL MOULD: Bob Mould is filming another music video in Portland, this time with a scene at old-guard music store Music Millennium on April 18 and 19. Local director Alicia J. Rose says store owner Terry Currier and Superchunk drummer Jon Wurster will appear in the clip with the former Hüsker Dü frontman. “I don’t want to give too much away, but there will be some hilarious commentary vis-à-vis a story about the power of hype and the death of the record store by technology/Internet,” Rose tells Scoop. Extras were asked in a limited casting call to “imagine lining up for a magically hyped ‘hi-tech item that could change your life,’ tailgate style.” Rose filmed a previous music video with Mould in Portland, “The Descent,” in 2012. NEW LIBRARY: A new TV series called The Librarians will shoot in Portland, TNT confirmed last week. Dean Devlin, well known in local film circles for having filmed Leverage in Portland, serves as executive producer, along with Noah Wyle. As in the TV movie franchise on which it’s based, Wyle will play the head honcho of a mysterious cadre of librarians responsible for safeguarding mystical artifacts and generally protecting the world from supernatural threats. Christian Kane, having shorn his long mane from Leverage, will play a preternaturally brilliant Oklahoma oil worker/art-history savant, with Rebecca Romijn also starring. The series is set to air late this year. 20

Willamette Week APRIL 16, 2014



What to do this Week in arts & culture

WEDNESDAY APRIL 16 DJ QUESTLOVE [MUSIC] Ain’t no party like a Questlove party ’cause at a Questlove party, you might learn something. The new Tonight Show bandleader is a walking music encyclopedia, and his DJ sets are educational seminars in funk, jazz, hip-hop and R&B. Alhambra Theatre, 4811 SE Hawthorne Blvd., 610-0640. 10 pm. $20. 21+.

THURSDAY APRIL 17 OrEgOn baLLET ThEaTrE [DAnCe] After 18 seasons, ballerina Alison Roper, known for her fluid stoicism, takes her final bows. In this Celebrate program, she’ll dance the company premiere of nacho Duato’s Cor Perdut, a pas de deux set to music by great Catalan singer Maria del Mar Bonet. Newmark Theatre, 1111 SW Broadway, 222-5538. 7:30 pm. $25-$142.


WRESTLING CHURCH IS SPENDING EASTER SUNDAY PREACHING THE GOSPEL OF THE SQUARED CIRCLE. HERE’S A PRIMER ON THE REAL GLOBAL GAME. Professional wrestling isn’t a sport. I’ll give its detractors that. It’s something much more interesting—a form of physical theater, misunderstood in the United States but with deep cultural roots elsewhere. This Easter, a group of grappling aficionados will gather at the Jack London Bar for Wrestling Church, a sermon on the art of the squared circle, with video clips of matches from around the world. If you don’t want to look like a total rube, here are nine historical wrestlers from outside of North America you should know. MATTHEW SINGER.


An icon of Babe Ruth proportions in Mexico, el Santo not only established the modern lucha libre form but also bravely defended his country in its war with supernatural ghouls (see the documentary Santo and Blue Demon Against the Monsters). Fun fact: He revealed his identity a week before his death, then died with his mask on. Hank Williams has nothing on this dude.


Literally a cartoon character come to life, Tiger Mask pioneered Japan’s junior heavyweight style with speed and combinations that would make Ip Man dizzy. Fun fact: The persona has been passed down to five different wrestlers, making it a franchise on par with Batman, or at least Dr. Who.


Inoki founded new Japan Pro Wrestling, Japan’s biggest wrestling promotion, and, for better or worse, was the archetype of the unbeatable figurehead. Fun fact: He once fought Muhammad Ali by lying on his back and kicking his legs. Why didn’t Sonny Liston think of that?

Before ’roiding himself beyond recognition in the World Wrestling Federation—where he teamed with Davey Boy Smith as the British Bulldogs—the Dynamite Kid combined lithe athleticism with an english soccer hooligan’s love of head butts. Fun fact: Went so hard during his career he’s now confined to a wheelchair. Wait, that’s not fun.




Máscaras popularized the acrobatic lucha style internationally, most crucially in Japan. Fun fact: He’s kind of a dick, according to wrestlers Mick Foley and Chris Jericho.

The Great Muta blew the corn dogs off Southern wrasslin’ fans in the ’80s with his innovative moves, aloof exoticism and ability to spew blinding mist from his mouth. Fun fact: He bled so much during a match, Internet wrestling geeks began ranking in-ring blood loss on “the Muta Scale.”


The evolutionary Tiger Mask, Liger has a highly varied skill set and a mask that makes him look like a Brundlefly-esque mash-up of a bull, a mosquito and a hair-metal guitarist. Fun fact: He fought (and lost) a legit mixed martial arts bout in 2002, while still wearing his mask.


Misawa was the best of All Japan Pro Wrestling’s “Big Three,” who in the ’90s brought an epic “big fight” atmosphere to their main events, often pounding the crud out of each other for up to an hour. Fun fact: Died from injuries sustained in a match five years ago.


More a Mexican cult fave than an important figure, La Parka’s signature move is braining opponents with a chair, then using it to play air guitar. That deserves an honorable mention, if nothing else. Fun fact: Didn’t you just read the thing about the chair?

gO: Wrestling Church is at the Jack London Bar, 529 SW 4th Ave., on Sunday, April 20. 5 pm. Free. 21+.

wiLLiam L. SULLiVan [BOOKS] William Sullivan’s series of 100 Hikes books are the hiking guides for Oregon. The Oregon Variations is a collection of short stories and essays examining the state’s quirks. His presentation includes a slide show of Oregon’s oddest travel destinations. Powell’s on Hawthorne, 3723 SE Hawthorne Blvd., 228-4651. 7:30 pm. Free.

FRIDAY APRIL 18 a KEnJi bUnCh rETrOSPECTiVE [MODeRn CLASSICAL] Violist Kenji Bunch, one of America’s finest emerging composers, moved back to his hometown last year. This allBunch show features a string quintet that embraces Appalachian fiddling and Texas swing and an amplified sextet inspired by everything from comic-book graphics to heavy metal. Alberta Rose Theatre, 3000 NE Alberta St., 719-6055. 8 pm. $10-$35. Under 21 permitted with guardian.

SATURDAY APRIL 19 maSSiVE garagE SaLE [SHOPPInG] Forget spring cleaning. What you really need to do this weekend is accumulate some Celine Dion cassette tapes, a few electricblue ski suits and a used stationary bike. Expo Center, 2060 N Marine Drive, 736-5200. 8 am-5 pm. $5.

SUNDAY APRIL 20 EaSTEr/420 [HOLIDAYS] Celebrate the resurrection of Jesus and/or marijuana.

MONDAY APRIL 21 SEx ED ThrOUgh ThE agES [BIRDS AnD BeeS] An interactive trip down mammary—excuse us, memory—lane focusing on the history and current state of sex education. Maybe you’ll finally learn where boners come from. Doug Fir Lounge, 830 E Burnside St., 231-9663. 7:30 pm. $8 advance, $10 day of show. 21+. Willamette Week APRIL 16, 2014


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Willamette Week APRIL 16, 2014




Editor’s note: Columnist Wm. Willard Greene is on a spirit quest in the Rockies. In his place, we’ve asked another writer to chime in about recent changes to Oregon dispensary laws. Marijuana enthusiasts are accustomed to the blooming ga rdens of Oregon. While our neighbors to the north set up the nation’s first marijuana shops open to out-of-staters, we’ve at least had liberal rules to govern our local bouquet, with about 55 dispensaries in the Portland area, according to and But, quietly, over the past two weeks, at least 13 Oregon medical marijuana dispensaries have been shuttered. And more might follow thanks to Oregon’s Senate Bill 1531, a new law that gives cities the right to set their own rules for dispensaries and marks the death of the Ziploc. Only 14 Portland dispensaries were approved for business as of April 4. Many others are still operating while their paperwork is processed. Most of the drama was unnecessary, and only came about because dispensary operators weren’t up to code to begin with. Hopefully, the dispensaries that reopen will have learned two important lessons. First, that it’s important to pay attention to new laws and fi le paperwork in a timely fashion. Second, that the optics of how medical marijuana is packaged and sold matter to people beyond their clients. The new laws force a more professional approach to pot, probably for everyone’s benefit in the long run.

The closed dispensaries could have avoided spendy inconveniences if they’d listened to Oregon Public Broadcasting in the last six months. The rules for location, security and product testing have been outlined since then. The industry’s smarter actors listened. For example, Jeremy Plumb of Farma+, a local grower and distributor to multiple dispensaries, was relieved when he dug in and learned that only products with attractive packaging would be banned, after hearing rumors of all edibles being outlawed. “The new rules simply underscore the fluid nature of cannabis regulation,” he says. “All of us need to stay on top of the law, because we are in a period of profound transition.” For most of the closed dispensaries, it’s only a matter of time before they reopen. That is, unless they’re in a city that decides to crack down. Local governments can now regulate how dispensaries operate, including their hours and location, and can shut down any facility until May 1 of next year. More conservative cities are already flexing this new muscle, with dispensary bans being passed in Ontario and Medford. The most serious fight on the horizon is whether city cops, acting under color of federal law, will begin harassing dispensaries in conservative areas of the state. The rules and how they apply to local, state and federal laws are muddier than ever now. In Portland, we have the luxury of lighting a joint and watching the melee play out. But the effect on medical marijuana cardholders in rural areas could be extreme. Becky Straus, lobbyist for the American Civil Liberties Union of Oregon, says the changes could “open the door to more such local proposals that would effectively strip registrants of their ability to obtain medical marijuana if they don’t submit to highly invasive regulations or, in some cases, completely.” Jackson County passed a dispensar y moratorium last week, forcing its 7,200 cardholding residents to grow their own


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or find a grower until May 2015. For most patients, neither of those options is as safe or dependable as going to a licensed dispensary. On the other side, Rob Bovett, legal counsel and policy manager for the Association of Oregon Counties, emphasizes that the explicit right to “regulate or opt out of dispensaries would have avoided years of protracted, expensive and needless litigation.” He notes that cities in California and Washington have always had this authority, and considers the Oregon Medical Marijuana Program “the most unregulated marijuana dispensary program in our nation.” T he Por tla nd d ispensa r ies ex periencing negative ef fects a re mainly those that ignored basic rules from the start. It’s now costing them in legal fees and forced relocation. With dispensary clerk becoming the new barista gig for underemployed liberal arts grads, many young shops with witty names and hip, modern décor are feeling the effects the

hardest. That’s because they were more focused on their Instagram accounts than obscure legal jargon. After things settle, the biggest differences average patients will notice are the move to child-resistant safety packaging for all products and new security systems. There are more than 10,000 licensed patients in Multnomah County, and some are willing to trek across town for a good batch of Matanuska Thunder Fuck. New dispensaries should leave the punny name game to the strip clubs a nd spend their energ y on the rig ht equipment and a knowledgeable staff. As long as the medicinal marijuana community stays aware of its state rights and requirements—or just hires good law yers—everyone can face the future with high hopes. After all, there’s still THC-infused root beer and spaghetti sauce on the shelves. Someday, we might even get a medible macaron cart. Just don’t put a Scooby-Doo label on it.

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Dog Daycare • Boarding • Behavioral Counseling Willamette Week APRIL 16, 2014


Shandong = WW Pick. Highly recommended.


Shandong See page 3 for submission instructions.

FRIDAY, APRIL 18 Spirited Pies

This mostly looks like an excuse to get you drunk for no reason, while you eat pie. Pacific Pie Co. is playing host to local distillers, who’ll be handing out free samples of their drinks. This week’s distiller is New Deal, and ginger-pear pie with ginger liqueur will be sold. Next week, Clear Creek. Pacific Pie Co., 1668 NW 23rd Ave., 381-6157. 4-6 pm. Free admission and tastings.

Spring Beer and Wine Fest

Experience Lebanese cuisine at its best Call us for your event party & catering needs! Belly dancing Friday and Saturday evenings 223 SW STARK STREET PORTLAND, OR 503-274-0010 ALAMIRPORTLAND.COM

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My, time flies: Twenty years of this mess of a fest at the Convention Center. It doesn’t have the tight curation of other fests in town, and the Convention Center is not exactly cozy. But, holy shit, there’s a lot of booze, beer and wine. If you honestly have no idea what you like, this is the place for you. Take note, in particular, of the broad range of ciders—13 in all. Not to mention the 40 beers, 20 wines and 10 distilleries. Thank God for MAX trains. Oregon Convention Center, 777 NE Martin Luther King Jr. Blvd., 235-7575. Noon-10 pm Friday and Saturday, April 18-19. $8 admission, $1 tasting tokens, $6 tasting cups.

SATURDAY, APRIL 19 Urban Wine Tour

A drunken bus with a sober driver roving around the urban wineries of Portland. Care to figure out what the fuss is about? This is how you do it: on a five-hour tour that will deposit you, like a sack of grapes, right back where you started. Smart people pick up a $20 PDX Urban Wine Passport first ( for free tastings. More details and ticket-buying at EastBurn, 1800 E Burnside St., 236-2876. Noon. $35.

SUNDAY, APRIL 20 Easter Bag o’ Brunch

We ignore the utter weirdness of a leavened-dough New York Jewishstyle Easter meal during Passover— chalking it up to the majesty of America—and salute this hedge on the old-fashioned Easter brunch: No need to mobilize grandma to Salty’s buffet or some horrible tableclothed hotel drawing room, and no need to cook. Just pick up a bag o’ brunch at KitchenCru with a dozen bagels, egg-salad fixings, hard-boiled eggs, juices and utensils, and call it a morning. We suggest, however, that you also pick up some $4 convenience-store sparkling wine to pep up the juice. Bowery Bagels, 310 NW Broadway, 227-6674. Order by Friday, April 18, for pickup on Sunday, April 20. $80.

Easter Egg Hunt


800-677-6712 | 24

Willamette Week APRIL 16, 2014




Man, forget the kids. Kids get everything. The prizes at this Easter egg hunt are even better for adults, with up to $50 gift certificates hidden in eggs, good for housemade Peeps and high-end chocolate shaped like bunnies on motorcycles. And unlike those crappy memories of churchmeadow bullies hogging all the eggs and pushing over your basket and making you cry, only one egg per person. Like goddamn grown-ups, we will take our turns politely. Aside from the egg hunt, there are tea seatings at 2, 3 and 4 pm, which include 15 little vittles and a pot of Townshend’s Tea for 30 bucks. Best. Easter. Ever. Pix Patisserie, 2225 E Burnside St., 971-271-7166. 2 pm. $30. RSVP by April 18, kids welcome.

TWO AMIGOS: Spicy green chili and milder red chicken mole.

SABROSA BARBOSA Silvia Barbosa asks only two questions when presented with indecisive customers at Sabrosa Barbosa: “Are you a vegetarian?” (No.) “Do you like spicy foods?” (Yes.) If those are your answers, you’re given two sample cups. In one hand, a red mole. In the other, a green chili. If you’re still indecisive, order both. The chicken mole bowl and the chicken green chili bowl (each $6.50) are served over rice and fat, white Peruvian beans. Barbosa says the chicken mole is a traditional OaxaOrder this: Chicken mole bowl ($6.50) can recipe from her grandand the quesadilla ($2). mot her, pa ssed dow n i n I’ll pass: Chicken green chili ($6.50) the family and only slightly modified to accommodate her cart’s gluten-free aspirations. And it’s everything you’d expect a mole to be: moist, fork-tender chicken, and a sauce rich with a smoky blend of chocolate, peanuts, garlic, onions, bananas, honey and tomatoes. The green chili, however, is another stor y. A mong my friends and family, I’m usually the one ordering spicy dishes and laughing at weaker constitutions. But I was only able to relish the cheesy rice and chicken through the first bites before being overwhelmed by the kick of those green jalapeño and serrano chilies. Barbosa and her husband, Matthew Knight, hand peel and roast peppers in their commissary kitchen before simmering the chicken and pork in the sauce overnight. Since the green chili is one of only a few things on the menu, Barbosa is constantly tweaking the recipe. She tells me the chili recipe has been toned down since I visited. I just might test my luck again. LAURA HANSON. EAT: Sabrosa Barbosa, Southwest 10th Avenue and Alder Street, 11 am-3:30 pm Monday-Thursday, 10:45 am-6:30 pm Friday-Saturday, 11 am-4:30 pm Sunday.


BARREL-AGED NIGHT CAP (COALITION BREWING) In dark porters and stouts, coffee typically reads as rich and bitter. But some of the most refreshing fl avors in coffee are those bright, fruity notes you get from lighter roasts or cold-pressed cups. Night Cap, Coalition’s new barrel-aged coffee IPA, hits those hard. Inspired by the French custom of serving espresso with a bit of lemon peel, Coalition’s Elan Walsky actually put a little lemon peel in the hopback while brewing. My glass at Hawthorne Hophouse reminded me more of cascara, the tea made of coffee berries, than normal joe. Night Cap uses Cascade and Citra hops and was conditioned on whole Ethiopian Yirgachefe beans from Ristretto Roasters before going into second-use bourbon barrels for eight weeks. The result is a cherry-heavy brew that’s also sticky with toffee. Recommended. MARTIN CIZMAR.

FOOD & DRINK Happy Hour


Monday–Saturday 4–6pm & 8pm–close

Walk-Up Window 11am - 2pm

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



Jobs for the Food and Drink Industry Staffing solutions for owners and managers


Sandy Boulevard is the Bob Barker of Portland thoroughfares, the one street that time has chosen not to visit. There are now only two old-time drugstore soda fountains left in Portland, and both can be found on Northeast Sandy. Sure, the new-fangled Cosmic soda shop off Belmont Street will still serve you an egg cream from an instruction booklet, by a cash register that sells bacon cotton candy as an impulse buy. But in Roseway and Hollywood, respectively, Fairley’s and Paulsen’s pharmacies remain monuments to childhood memories most of us never had, a wide-eyed world where you bought your first condom in the same place you bought your first malted milkshake. Paulsen’s Pharmacy 4246 NE Sandy Blvd., 287-1163. The 96-year-old Paulsen’s is a thoroughly modern pharmacy, but its interior looks a like a coastal gift store—complete with 2-inch caramel and peanut-butter fudge squares from Rockaway Beach that pharmacist Gary Balo warns me not to eat in one sitting. Near a collection of trophies, the back wall is tiled with metal-plated Coca-Cola ads, and a black-and-white photograph of two men with what looks to be a bird skeleton. But Paulsen’s comes by its nostalgia honestly. Balo took over from his ex-partner, James Meade, who took over from Charles Paulsen. He calls out his customers’ first names when they enter. The soda counter is staffed on a Saturday afternoon by two teenage girls who might be sisters; one is wearing a pink sweatshirt that reads “Believer.” They are the only teens in the shop. Green River lime soda comes out of the fountain, and the egg cream ($2) comes in chocolate and vanilla. I haven’t had an egg cream before, but that’s OK, neither has the girl who’s making me one. The shop’s soupy vanilla version is a bit like an eggy Vanilla Julius—despite the fact that

an egg cream (in the oldest joke in New York City) contains neither egg nor cream but rather soda, milk and syrup. The blackberry milkshake ($3.50, add 50 cents for malt) is milkier than it is thick— you can suck it up fast enough to get an ice-cream headache—but it’s flavorful, and not overly sweet. Still, my friend and I soon realize we are two grown men alone at a pharmacy, talking to teenage girls about ice cream. As with so much that belongs more to the past than the future, Paulsen’s is both wonderful and sad, adrift in the world. I eat the entire fudge square in the car, against the pharmacist’s advice.


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Fairley’s Pharmacy 7206 NE Sandy Blvd., 284-1159, Like Paulsen’s, Fairley’s is a strangely oblong sliver of a building formed by Sandy’s diagonal jag. Inside, however, the 1913-founded pharmacy is a spacious avalanche of vitamin shelves, museum displays of ancient tonics, and old-fashioned good cheer. The fact I’m ordering milkshakes at 9 am seems to positively delight the pharmacist, who counsels me—with the full force of post-graduate schooling behind her—that at least I’m getting some calcium. The soda counter has been modernized to include a coffee shop, which also makes espresso milkshakes. The flavor array of phosphate sodas ($2.25 for a large) is bewildering in its variety, from salted caramel to English toffee. The pomegranate is blessedly tart and comes with a mild chemistryset aftertaste that I find charming. The malted menu includes multiflavor Umpqua ice-cream blends from strawberry-cherry to peanut butterchocolate, and an option for Oreo crumbles. But I am a strawberry purist since childhood, and get a thick and lovely malted for $3.75. The egg cream ($2.25) has syrup on the bottom, with a froth of milk soda ascending the glass, though it’s not quite thick enough to hold up the straw, which I’m told is an industry-standard criterion. The shop is pure sunshine: The light streams blindingly through the windows and under the eaves of my brain, which is in the throes of a near-frightening sugar buzz. I don’t know whether I feel young again or really old. Willamette Week APRIL 16, 2014


May 19th, 2014


Willamette Week APRIL 16, 2014


WW_ArtAdv.indd 1

Kung Fu Camp

! s u h t i w l Come sai

*Teen River Adventure Camp *Junior River Adventure Camp *Youth Camps Ages 5-18 *Youth Racing Program Ages 8-18 *Adult Classes *Membership & Moorage *US Sailing Certified Instructors

Make a SFX Poster • Design a Comic Book Cover • Draw a Comic Strip 3/10/14 4:50 PM


H2o0u14se n e p O May 6,0 p.m.

:3 6 – 7 r School L owe o n H a l l m Com

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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


2-12 S E D A R G 156 1 . 1 2 2 . 3 50 RG O . M L I F NW


YOUTH, TEENS, FAMILIES Camp Westwind • 541-994-2383 Willamette Week APRIL 16, 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 16, 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

Moderate Price • Safe • Fun Small Groups


25 minutes from downtown Portland

(503) 678-5478

More info & registration at: or 503.560.3592

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

Register online!

Course catalog and online registration at

St. Mary’s Academy • 1615 SW 5th Avenue • Portland, OR 97201 • 503.721.7728 Willamette Week APRIL 16, 2014



Willamette Week APRIL 16, 2014



= 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 16 Arlo Guthrie

[FOLK] In a way, Arlo Guthrie’s artistic identity was defined from the start by loss. He debuted with his signature shaggy-dog classic, “Alice’s Restaurant,” in 1967—the same year Huntington’s disease claimed dad Woody’s life—and had to reckon with the folk legend’s legacy throughout his career’s first decades. But the last two years have seen the passing of Guthrie’s wife of 43 years, Jackie, and more recently, that of Pete Seeger, his father’s fellow traveler who became Arlo’s own longtime musical compatriot. So the mood may be more wistful than usual at Guthrie’s current performances. Then again, Guthrie’s wryly sunny demeanor should easily outshine any dark clouds. And imagining his liberal fan base reckoning with Guthrie’s current libertarian leanings provides its own comic relief—though one hopes this celebrated son’s Ron Paul boosterism doesn’t sympathetically translate to support of Rand. JEFF ROSENBERG. Aladdin Theater, 3017 SE Milwaukie Ave., 234-9694. 8 pm. $42 advance, $45 day of show. Under 21 permitted with legal guardian.

Soul’d Out Music Festival: DJ Questlove, Moon Hooch, Steven Vaughn Kray


[TRUE ROOTS] Ain’t no party like a Questlove party ’cause at a Questlove party, you might actually learn something. Beneath the newly minted Tonight Show bandleader’s prodi-

gious ’fro is an encyclopedia’s worth of musical knowledge, and the dude’s record collection is like his own private Library of Congress. Naturally, his DJ sets aren’t top-40 surveys or dancefloor background noise but engaging educational tours through the history of hip-hop, R&B, funk and jazz. He isn’t against dropping contemporary hits into the mix—just don’t expect to hear much Miley, unless it’s mashed up with, like, a rare Thelonious Monk 45. MATTHEW SINGER. Alhambra Theatre, 4811 SE Hawthorne Blvd. 10 pm. $20. 21+.

Slow Music, the Humans

[IT’S IN THE NAME] Over four-plus decades, visionary prog-rock legend Robert Fripp has founded and maintained King Crimson, performed in other ensembles like the League of Crafty Guitarists and appeared on literally hundreds of releases, including celebrated albums with Brian Eno, David Bowie, Peter Gabriel, David Byrne, David Sylvian and many others. Now, the restlessly unpredictable guitarist extraordinaire reconvenes the Seattle-based ambient experimental music project that also features R.E.M. guitarist Peter Buck, Ministry drummer Bill Rieflin, Soundgarden drummer Matt Chamberlain and Portland bassist Fred Chalenour. Expect gradual, overlapping waves of atmospheric textures. Fripp and Rieflin also play in the other act on the bill, experimental rock band the Humans, with Chris Wong and Fripp’s wife, Toyah Willcox. BRETT


CONT. on page 32


THE FIVE GREATEST STORIES SLICK RICK EVER TOLD “A Teenage Love” A story of adolescent love and the insecurities of young men and women. This song brings me back to childhood and the electric energy my neighborhood had at the time in the ’80s. It’s one of the first songs I heard where the content on the verses embodied everything on the hook. Super well written. “Children’s Story” A no-brainer. Slick Rick painted a picture of the inner city that most suburbanites and the well-to-do had never seen or heard of. Lyrical brilliance! “La Di Da Di” Slick Rick takes us through a day in the life of the Ruler himself. Doug E Fresh on the beat box and pure, raw flow. Artists to this day still use his flow and cadence from this song. “Mona Lisa” This story is about a stuck-up lady from around the way. Hip-hop has always had its arrogance, but no one does it with so much class as the Ruler. Top it off with Dionne Warwick’s “Walk On By” at the end to make it a classic. “Memories” Slick Rick tells us of when he was a young man and all the things that made those times great. I was about 19 or 20 when this song came out, and for our generation it was among the golden era of hip-hop. Slick Rick reminds us why he was one of the best and still remains timeless. SEE IT: Slick Rick plays Alhambra Theatre, 4811 SE Hawthorne Blvd., with Risky Star and Evv’n Flo featuring Dirty Revival, as part of the Soul’d Out Music Festival, on Saturday, April 19. 9 pm. $20. 21+.

BLITZEDKRIEG: (Clockwise from top left) Mobb Deep, Switchfoot, Huun Huur Tu and Gloria Trevi.


What is 4/20, anyway? Theoretically, it’s unofficial National Marijuana Appreciation Day, but that implies those who observe it don’t appreciate the shrubbery of the gods every other day of the year. Instead, it’s more like a stoner St. Patrick’s Day, in which inexperienced smokers live like a pothead for a day—often in public. For those amateurs, we’ve assembled this guide, and enlisted Willamette Week’s resident tokeologist, Wm. Willard Greene, to help you choose the best strain for the highest of holidays. Mobb Deep Doug Fir Lounge. 9 pm. $20 advance, $23 day of show. 21+. Life in Queens is no kung fu fantasy. A few years after Wu-Tang Clan claimed Staten Island for Shaolin with 36 Chambers, Mobb Deep dropped The Infamous, an East Coast rap milestone of equal proportions and similarly grimy production aesthetic that subbed movie-nerd escapism for really real realism—maybe a tad too real. Nineteen years later, MCs Prodigy and Havoc are still reporting live from the meanest streets in New York, where death rules everything around them. Get blunted, but beware: It might make you think way too hard about the line “stab your brain with your nose bone.” Wm. Willard Greene suggests: “OG Kush. You’ll feel mellow enough for the chill, swaying crowd, and hard enough to look those legends dead in the eye and give the ‘what up?’ head nod.” Gloria Trevi Roseland Theater. 8 pm. $45 general admission, $220 VIP. All ages. Throughout her career, Mexican pop star Gloria Trevi has poked and prodded the conservatism of her home country with an overt sexuality rivaling that of Madonna, to whom she’s often compared. But her rebelliousness extends beyond sheer T&A, with songs addressing feminism, drugs, abortion

and other social taboos most chart-busting Latin singers won’t touch. Of course, you’ll need to know Spanish to get all that, and Babel Fish Kush is pretty hard to find these days. Wm. Willard Greene suggests: “Jack Herer. This breezy and upbeat sativa will have you floating on the balls of your feet, and doing some sort of Latin dance, many of which I’ve seen on television and are quite charming.” Switchfoot Crystal Ballroom. 8 pm. $25 advance, $28 day of show. All ages. God’s got the sickest cutback of all, dude. Like Creed if they were chill Southern California surfer bros with Jesus fish on their woodies, Switchfoot tamped down the Christian proselytizing of its early albums to make a successful crossover bid onto mainstream alt-rock radio in the early ’00s, but never stopped sounding vaguely churchy—less like hardcore evangelists than youth-camp counselors too nice to tell you how bad your afterlife is shaping up. For much of this crowd, the only holiday going down is Easter, so pack some Visine, lest ye be judged. Wm. Willard Greene suggests: “Kill Bill. A chill, present head high for the fans, and soothing physical relief for the tense skeptics braced for a preachy interlude.” Huun Huur Tu Alberta Rose Theatre. 8 pm. $25 advance, $28 day of show. Minors admitted with guardian. Gird your mind for blowing. Huun Huur Tu are masters in the art of Tuvan throat singing, in which different tones are layered atop one another to give the impression of producing multiple pitches at once. These guys are human didgeridoos, basically, creating a sound like an Auto-Tune beehive. If you’re not careful, this could turn out like the time you smoked a J before going to see the dude who makes the noises in Police Academy and nearly went into epileptic shock. Wm. Willard Greene suggests: “Shipwreck. Because the idea of Tuvan throat singing is a connection to something larger—like the goddamned history of human experience.” Willamette Week APRIL 16, 2014



WEDNESDAY–FRIDAY explains the addition of a screechy, skippable band like opener Butcher Babies. Head to the bar during their set and fill your stomach with Black Label. CAT JONES. Roseland Theater, 8 NW 6th Ave., 224-2038. 7 pm. $26.50. All ages.

CAMPBELL. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $25 advance, $30 day of show. 21+.

Soul’d Out Music Festival: Caravan Palace, Bombino, Medium Troy with the Bohemian Dub

Soul’d Out Music Festival: The Orb, Nordic Soul

[TUAREG BLUES] Omara Moctar has spent his life on the run. In 1990, at age 10, the Saharan-born guitarist, who grew up in an encampment of nomadic Tuaregs in northern Niger, escaped to Algeria with his family at the outbreak of a Tuareg uprising against the government. It was the start of a cycle of exile and return for the young musician. Now known as Bombino, the 33-year-old desert-blues ambassador is uniquely equipped to handle the displaced existence of a rising international rock star. Released last April, the appropriately titled Nomad—produced by Black Keys’ Dan Auerbach—is at once a display of exhilarating musicianship and hypnotic control, as Moctar sends fiery spirals of notes circling around polyrhythmic dance grooves, handclap percussion and fuzztone organ. The effect is utterly entrancing, like staring at a desert campfire. French electro-swing outfit Caravan Palace top the bill, but Bombino’s mesmerizing fretwork is the true headliner. MATTHEW SINGER. Roseland Theater, 8 NW 6th Ave., (971) 2300033. 8 pm. $20. 21+.

[HOUSEKEEPING] If Alex Paterson didn’t quite father the IDM generation, the Orb’s heavenly body at least served as ever-present, halfmad uncle over a quarter-century’s convention-busting explorations, and a resignation to tasteful collaboration with favored legends (David Gilmour, Lee “Scratch” Perry) over their relatively recent career comedown shouldn’t overwhelm the heights once broached. Maybe we’ll never again see a U.K.charting single arrive just three seconds short of 40 minutes—a truncated version appeared on Top of the Pops while the composers played chess—but the true marvel of “Blue Room” lay in how unsuitable the addled rhythms and thunderous dynamics felt for either club floor or chill-out room. Justly famed for soundtracking the sleepier side of rave through little fluffy clouds of ambient house, the Orb’s vision of dance music was a bit more— forgive the phrase—intelligent. JAY HORTON. Star Theater, 13 NW 6th Ave., 248-4700. 9 pm. $17. 21+.

King Parrot, Vattnet Viskar


[AUSSIE THRASH] King Parrot is not yet a household name on these shores, but this extensive U.S. trip should quickly change that. The Australian band formed in Melbourne in 2011, and has since become a coveted live act. Taking a page from the Red Fang book of success, King Parrot has issued several comedic, widely shared music videos, and while the corpsepainted group presents a musical assault of modern blackened thrash metal, clips for the likes of “Shit on the Liver” and “Dead End” are tongue-in-cheek homages to horror film classics reveling in a surreal sense of humor. NATHAN CARSON. Rotture, 315 SE 3rd Ave., 234-5683. 9 pm. $10 advance, $12 day of show. 21+.

THURSDAY, APRIL 17 Soul’d Out Music Festival: Black Label Society, Butcher Babies

[HEAVY SOUTHERN ROCK] Black Label Society is the brainchild of Zakk Wylde, who played guitar for Ozzy Osbourne from 1998 to 2007. In his own group, the nods to Southern rock drive the band’s groove, making them a modern hard-rock answer to ZZ Top and Lynyrd Skynyrd. This show is being co-presented by Revolver, which


Willamette Week APRIL 16, 2014

[LABEL SHOWCASE] A great cover album not only pays homage to a beloved musician but reimagines the music itself. And while there’s little new about covering My Bloody Valentine, Portland’s Kenny Feinstein has succeeded in adapting the band’s 1991 shoegaze landmark Loveless via an extreme rearrange-


Goat, Holy Wave

[GLOBAL PSYCH] World Music, the 2012 debut from the masked Swedes known as Goat, is the kind of record you’d expect to stumble across on an obscure music blog—something long out of print, by a band that’s vanished from existence— that you download out of curiosity and become obsessed with, in part because you just can’t believe it exists. In fact, those are precisely the sort of albums the group appears to be drawing upon in its otherworldly potion of smoking Afro-rock guitars, tribal chants and percussion, and funky, psychedelic rhythms. Allegedly hailing from the tiny village of Korpilombolo, population 529, Goat does its best to reflect the mystique of those rarest of rare-groove recordings, too, concealing its identity and playing up the voodoo rituals of its hometown in interviews. Even if it turns out the band is really just a bunch of bored lawyers from Stockholm or something, it won’t matter: The music is enigmatic enough on its own. MATTHEW SINGER. Wonder Ballroom, 128 NE Russell St., 2848686. 7:30 pm. $18 advance, $20 day of show. 21+.

Fluff & Gravy Records Showcase: Mike Coykendall, Kenny Feinstein, Kevin Lee Florence, Vacilando

ment. Through the lens of gentle, porch-lit Americana, the Water Tower frontman explores his favorite record, one he admits listening to every day for a year. Loveless: Hurts to Love shows an artist so enamored of Kevin Shields and company that he’s rendered almost speechless. Feinstein’s stark style could be interpreted as either timidity or respectful nodding, save for the fact his selection of instruments—mandolin, fiddle, dulcimer, dobro—suggest a performer confident in his ability to turn his muse on its head. He performs the record in full tonight along with sets from Fluff and Gravy labelmates Mike Coykendall, Kevin Lee Florence and Vacilando. MARK STOCK. Dante’s, 350 W Burnside St., 345-7892. 9 pm. $8. 21+.

Godflesh, Cut Hands, House of Low Culture, La Fin Absolute du Monde

[INDUSTRIAL METAL] Some might say the term “industrial metal” came from Godflesh. The band is a founding father of the minimalist, machine-driven, heavy-as-hell genre, coming from the outskirts of Birmingham, England, where the factories run 24 hours a day and the air is thick with exhaust. Godflesh was originally supposed to come through Portland last fall, but, thanks to the government shutdown, were unable to get visas. All tickets to the other show will be honored this time around. World Lit Only by Fire, the group’s first new record since 2001, will be out some time this year, so it would seem likely fans are about to be smashed with some long-awaited new tunes. CAT JONES. Hawthorne Theatre, 1507 SE 39th Ave., 233-7100. 8 pm. $20. All ages.

CONT. on page 35



Who: Bailey Winters (vocals, drums, bass, production), Johnny Zeigler (keyboards, drums, bass, production). Sounds like: The disco love child of R. Kelly and Flight of the Conchords. For fans of: Chromeo, Prince, Beck. Why you care: Phone Call is the latest avatar of longtime collaborators Bailey Winters and Johnny Zeigler. Making music together since their days at the California College of the Arts in Oakland, where they bonded over a shared love of Blondie and Elvis Costello, their projects have taken on many forms. First, there was a “Weezer rip-off” indie-rock project. Then came nudisco darlings Strength, which gained a cult following in Portland before guitarist Patrick Morris left to join STRFKR full-time. Winters and Zeigler re-emerged as Phone Call in 2012, bumping and grinding to a more modern beat. “Phone Call is not as dancey or as manic as Strength,” says Winters, citing West Coast hip-hop as a major influence. “It’s less rock ’n’ roll because it doesn’t have that guitar element. We’re definitely moving in a more R&B direction.” While there’s a tongue-in-cheek, white-boy swagger to the group’s sound—Winters rapping over the bass-heavy beats of “Highway Robbery” hark back to Andy Samberg boasting about boat travel—the playfulness in the group’s catchy blend of synths and soul only makes it more seductive. “The ultimate goal is to make a record, which is what we’re working on currently,” Winters says. “Everything else is just icing on the cake.” SEE IT: Phone Call plays Holocene, 1001 SE Morrison St., with Magic Fades, Rap Class and DJ Portia, on Wednesday, April 16. 8:30 pm. $5. 21+.

Willamette Week APRIL 16, 2014




HURRAY FOR THE RIFF RAFF SATURDAY, APRIL 19 [FOLK] Alynda Lee Segarra admits she’s gotten soft. Once a teenage vagabond, who left home before she was old enough to vote and spent time hopping freight trains and hitchhiking around the country, the singer and musician has, at age 26, finally settled into a life of comfort and stability. “I sleep in a bed, always have a little money in my pocket and don’t have to carry everything I own on my back,” says Segarra, who fronts the folk-blues act Hurray for the Riff Raff. “I am blessed.” Growing up in the Bronx, raised by her aunt and uncle, Segarra spent much of her time at punk shows in the bohemian Lower East Side, looking for her “people.” She often came into contact with travelers who’d regale her with tales of riding the rails and drifting from place to place. “I always had a wandering mind,” she says, recalling “epic” family road trips in woodpaneled vans. “I knew I should be out on the road somewhere.” And so, at 17, Segarra set out on her own, eventually settling in the South. After coming to New Orleans and joining the Dead Man Street Orchestra as a washboard player, she picked up the banjo and guitar and tried her hand at songwriting. “I am a fan of simplicity,” Segarra says. “I am also a big fan of melody, and that is why I never was interested in performing hardcore or punk music. I wanted to sing something pretty.” She formed Hurray for the Riff Raff with drummer and violinist Yosi Pearlstein and bassist David Maclay in 2007, self-releasing its first two albums of soulful, Woody Guthrieinfluenced blues. The group released its fourth album, Small Town Heroes, earlier this year, and while the record maintains the same wandering sound the trio is known for, Segarra’s focus is on her adopted hometown of New Orleans. Much attention has been paid to one song in particular, “The Body Electric,” which, according to Segarra, was written about a young girl she met on her travels who was later murdered. “It’s a song that speaks about our society’s conditioning toward women and their bodies,” she says. “When a woman has the audacity to believe she is the sole owner of her body, often she is harmed in some way, physically or mentally. ‘The Body Electric’ sings to the women killed in murder-ballad folk songs and to those harmed in life. It’s also my plea to men around the world to question what they’ve been taught about women.” This social awareness, though, is not new to her music—since beginning to write her own songs, Segarra has covered a range of topics, including post-hurricane New Orleans. “I believe art is the only antidote to the sickness of our culture,” she says. “It is the artist’s duty, whether a poet, painter or musician, to heal the minds of the public, for those who are working hard and not as privileged as I am to travel the world and sing.” KAITIE TODD. Alynda Lee Segarra may have settled down, but her music hasn’t.

SEE IT: Hurray for the Riff Raff plays Aladdin Theater, 3017 SE Milwaukie Ave., with Clear Plastic Masks, on Saturday, April 19. 10 pm. $15. Under 21 permitted with legal guardian. 34

Willamette Week APRIL 16, 2014


Soul’d Out Music Festival: KPSU Kruise featuring Magic Mouth, Orquestra Pacifico Tropical

[LITERAL YACHT ROCK] I live the kind of life where I rarely get to party on a giant boat. Sure, I went to a cousin’s wedding cruise when I was 15, but I don’t know if watching my aunts slam wine spritzers counts as “partying.” Either way, Portland State University’s radio station is teaming up with the Soul’d Out Music Festival to bring you one of the flashiest boat concerts the Willamette River has yet seen. Imagine popping a bottle of bubbly while listening to Magic Mouth, a glammed-out funk band that channels the spirit of both indie rock and a Baptist choir, and the traditional Colombian cumbia of Orquestra Pacifico Tropical. This might be the closest you’ll ever get to living like P-Diddy. Excuse me, Puff Daddy. ASHLEY JOCZ. Portland Spirit, Southwest Front and Salmon streets, 224-3900. 10:30 pm. $10. 21+.

Oi Polloi, Wartown, Vindictive, Rum Rebellion, Wretched of the Earth

[ANARCHO-PUNK] There are probably enough Oi! puns dating to the 1980s that none need be uttered again. The Scottish dudes who make up Oi Polloi would probably disagree, naming their 1985 debut Destroi! the System. All this time later, the only audible difference in the band’s approach to gnarly punk politicism is its slower pace on 2012’s Duisg! The band’s recordings weren’t ever revolutionary. They still aren’t. But no one can claim that Deek Allan and his dozens of former bandmates don’t deeply believe in the music they’ve played. DAVE CANTOR. Slabtown, 1033 NW 16th Ave., 223-0099. 8 pm. $10. All ages.

SATURDAY, APRIL 19 The Men, Gun Outfit

[DRAWLING DIY] Gun Outfit’s lonesome lyrics sing to a cowboy hitting the open road via a Craigslist rideshare and stopping off at house shows searching for free spirits. There’s honesty in the drawling vocals, along with steady drumming and power chords blended with twangy high tones, combining the desperation of Dinosaur Jr. with the forlorn outlook of Neil Young. “You enforce my loyalty, or is it my free will?/ Or is it mental illness that I love you still,” the soft vocals wonder. Dylan Sharp and Caroline Keith split songwriting duties equally, amounting to one nonconformist voice with two genders paving its way through an American Dream. They open for the Men, the shape-shifting Brooklyn band whose latest album, Tomorrow’s Hits, finds it trying on the guise of early Springsteen. LYLA ROWEN. Dante’s, 350 W Burnside St., 226-6630. 9 pm. $12. 21+.

Shakey Graves, Crushed Out

[SATURDAY-NIGHT FOLK] The Emmy-winning cast of NBC’s Friday Night Lights is the last place one would expect to find a lo-fi, flatpicking folkist like Alejandro RoseGarcia. Performing under the solo moniker Shakey Graves since his phenomenal 2011 debut, Roll the Bones, the Austin native, who briefly played Julie Taylor’s love interest “the Swede” on the cult-favorite football drama, has become a sleeper star of the modern folk world via shuffling blues guitar and a kick drum manufactured from an old suitcase. His latest EP, Donor Blues, features sparse arrangements akin to Lead Belly, each warmed with a mild distortion only an 8-track reel-to-reel could muster. BRANDON WIDDER. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 5:30 and 9 pm. Sold out. 21+.

The Bugs, Grand Style Orchestra

[GARAGE PUNK] True to its name, Portland two-piece (or sometimes

three-, according to the back of its new record) the Bugs has gone about its business while crouched in the nooks and crannies of the Portland music scene, churning out smartly smart-ass, garage-y poppunk since 1998. The Bugs’ latest album, The Right Time, doesn’t deviate much from their established formula of snotty vocals, snottier lyrics and catchy guitars. But as the saying goes, you don’t have to reinvent the wheel to make a nice set of tires, and the Bugs’ are clearly built to last. MATTHEW SINGER. Turn! Turn! Turn!, 8 NE Killingsworth St., 284-6019. 8 pm. Call venue for ticket information. 21+.

Jonas Rake, Bryan Zentz, Invisible Ziggurat, Neglect, JT Collins

[LIVE TECHNO] Quietly, techno and experimental producer Jonas Rake has been making tracks in Portland. “Quiet” is not a word I’d normally associate with techno, but in this case I’ll make an exception. Rake leaves no space unfilled, firmly plucking short, staticky samples to make a techno sound echoing from a haunted workshop—this was the sound of his Autechre-inspired project Dampkrane, which still lives on, without the name. Elsewhere, playing with and ripping apart melodies on “Et Pata Phys,” he is a rough but gifted surgeon. MITCH LILLIE. The Blue Monk, 3341 SE Belmont St., 503-595-0575. 9 pm. $5. 21+.

SUNDAY, APRIL 20 Halo Varga, Evan Toutz, Uungh, Demetre Baca, Doc Manny, Clay Watkins, DJ Tracy, DJ Tao, Ollie Vaughn


has been classing up the West Coast house scene for two decades. “Future,” released in 2000, is undoubtedly one of this millennium’s finest cuts, taking the best of disco—basslines and that shuffle—without compromising any of house’s tempo or drive. After founding underground highbrow dance label CityDeep, Halo has been focusing on a new label, Surface, a new tech-house collaboration as H-Foundation and reissuing some of his “Future”-era cuts. Maybe he’s not in his producing prime, and maybe that’s OK because this is Hollywood Bowl’s—what the fuck?—closing party. MITCH LILLIE. Hollywood Bowl, 4030 NE Halsey St., 2889237. 10 pm. $12 advance, $15 day of show. 21+.

The Dillinger Escape Plan, Trash Talk, Retox, Shining

[METALJAZZMATHCORE] It took me a little bit to get into the Dillinger Escape Plan. The mathedout, seizure-inducing metallic pandemonium that is 1999’s Calculating Infinity was too much for my fragile 15-year-old mind to handle. I didn’t revisit the album until six years later, when Miss Machine, the first album with Mike Patton-onsteroids singer Greg Puciato, convinced me I should, and I’ve been a fan ever since. The group’s most recent release, 2013’s One of Us Is the Killer, is another excellent piece of spazzed-out brutality that’s as catchy as it is pulverizing. SAM CUSUMANO. Hawthorne Theatre, 1507 SE 39th Ave., 233-7100. 8 pm. $20 advance, $25 day of show. All ages.

[HOUSE] Globetrotter Halo Varga

CONT. on page 37


SLEEP OREGON FAILURE (OLDOMINION) [PO-HOP] On the first verse of “Rap Rehab,” a playfully introspective track on Oregon Failure, the newest album from Portland MC Sleep, the 37-year-old poses a question that most rappers undoubtedly ask themselves when closing in on middle age: “What do I do now?” It’s a dilemma rooted in the fact that hip-hop—maybe more than any other music genre—is constantly reinventing itself. Often, the only way for MCs to stay relevant is to reinvent themselves along with it. In Sleep’s case, though, the question is more satirical than literal: Over his decade-plus career as a member of respected Northwest rap outfits Oldominion and the Chicharones, his sound—rapid-fire lyricism over drum-slapping beats—has remained pretty much the same. His refusal to bend to the rap trend du jour, aside from a brief, ironic foray into Auto-Tune, is certainly a result of coming up in the early 2000s, when there was a clear divide between the sugary mainstream and the lyric-driven “underground.” Oregon Failure sounds like it was plucked straight from a CD rack in that era, to both its benefit and detriment. The album succeeds when Sleep utilizes his lyrical dexterity to tap his inner Beastie Boy and have fun. On “You Ain’t Shhh,” he yells out comic-villain threats (“I’m going to crush you!”) while spitting inane reassurances about his talents on the mic. On “Rap Rehab,” he jokes about hosting a “support group for washed-up rappers” and finding new employment now that he’s realized that he’ll never be famous. “The only thing I ever been good at was cussing,” he says. Elsewhere, things get more serious, and while Sleep’s machinegun delivery is always impressive, it can become tiresome in the moments meant to strike an emotional chord. You can’t help but wish he’d occasionally slow things down and focus on delivering the message at hand. But it’s tough to teach a 37-year-old rapper new tricks. REED JACKSON. SEE IT: Sleep plays Ash Street Saloon, 225 SW Ash St., with Bad Habitat, Kinetic Emcees, Das Leune and Ether XOXO, on Sunday, April 20. 9 pm. $8. 21+. Willamette Week APRIL 16, 2014






Thus Owls are Montreal-based band comprised of husband and wife duo Simon and Erika Angell. Turning Rocks is inspired by Erika’s long family history on the island of Orust in Sweden, from the home they’ve occupied for generations, to local legends, with each song representing a different story, or relationship.

Out of the flux of ambition and distraction and imagination came Tori Amos’s 14th studio album: Unrepentant Geraldines. It’s a vivid and vital album on which Amos once more zeroes in on the writing of brightly melodic, deftly evocative chamber-pop.

Available May 13th



She’s So Unusual: A 30th Anniversary Celebration ON SALE $7.99 CD ON SALE $35.99 DELUX EDITION 2CD

The 2CD Deluxe Edition, Remastered Audio and premieres two previously unreleased recordings from the concert’s sound check: Sinéad O’Connor singing “I Believe In You” and Eric Clapton’s interpretation of “Don’t Think Twice, It’s Alright.”

She’s So Unusual: A 30th Anniversary Celebration is a tribute to one of the greatest albums of all time and now includes the original album remastered PLUS 3 brand new remixes by NERVO, Bent Collective, and Yolanda Be Cool.

ALLMAN BROS Play All Night: Live at the Beacon Theater 1992 ON SALE $13.99

Whether you’ve never experienced the magic of The Allman Brothers Band at the Beacon Theatre or you’re eagerly planning for next year’s shows, Play All Night is a first time you’ll want to re-live over and over again.



SUN, APRIL 20 @ 1:30 PM


From His Head to His Heart to His Hands ON SALE $49.99 4CD SET Sony Legacy Recordings, along with Bob Sarles of Ravin’ Films, has released From His Head to His Heart to his Hands. Bloomfield was born July 28, 1943, in Chicago, Illinois. An indifferent student and self-described social outcast, Bloomfield immersed himself in the multi-cultural music world that existed in Chicago in the 1950s.

THE FLOACIST RISE OF THE PHOENIX MERMAID ON SALE $14.99 CD The multi Grammy nominated breakthrough group Floetry, founded by Natalie The Floacist Stewart and Marsha Ambrosius, established the gold standard for creativity in neo soul.

AUGUSTUS PABLO EAST OF THE RIVER NILE ON SALE $13.99 CD $19.99 LP “Pablo was the Miles Davis of the melodica ... and this album is his kind of blue ... maybe the ultimate chill out record.” –Spin Magazine

MATT ANDERSEN WEIGHTLESS ON SALE $13.99 CD Weightless, the new album, is infused with Andersen’s unparalleled dexterity on the guitar. With GRAMMY Award winning producer Steve Berlin (Los Lobos, Great Big Sea, Tragically Hip) behind the boards, Andersen s command of the blues and his distinctive soulful voice have been captured on record as never before.

“Switchfoot’s Fading West doubles as the soundtrack to the San Diego alt-rock outfit’s identically titled documentary, which charts the band’s globe-trotting surfing exploits, which at least partly explains the album’s marked departure from the guitar-led stadium rock of their previous efforts. The album instead opts for chill synthesizers and buzzy basslines, an attempt at the kind of summery radio pop the retro-cool kids are making these days.” –Slant Magazine


MON, APRIL 21 @ 6 PM “Kim and Scott Collins, The Smoking Flowers, carry on the torch where Gram Parsons and Emmylou Harris left off in their day, delivering beautifully produced, sometimes moody, songs with knockout harmonies... and less traditional than your classic country-folk duo by bringing a punk-attitude and energy to their highly infectious songs. A marriage of song and voice that is uniquely their own.” –AltCountry.NL Magazine


market GUIDe

WW’s market Guide returns with a look at Portland’s specialty markets. We’ll visit farmers markets, world markets, bakeries and greengrocers, and tell you where to get the best meats, spices, and coffee. We’ll even include a few recipes from notable chefs to inspire the home cook to explore the boutiques and purveyors that enrich our culinary community. Circulation: 70,000

Publishes: May 7th, 2014 Space Reservation & Materials Deadline: Thursday, April 24th at 4 pm

503.243.2122 • 36

Willamette Week APRIL 16, 2014


The Underachievers, Denzel Curry, Dillon Cooper, Azizi Gibson

[LIVE FROM NEW YORK] The Underachievers are part of hiphop’s next generation. With short attention spans, generous drug references and a bevy of Instagram photos, they mirror the audiences they generally play for. Even though they’re signed to Flying Lotus’ Brainfeeder label, the production is more mainstream than abstract, with standard instrumentation and sampling. The duo represents a growing New York contingent that unleashes coherent rhymes while shrouded in a haze of smoke. GEOFF NUDELMAN. Peter’s Room, 8 NW 6th Ave., 219-9929. 8 pm. $15. All ages.

Soul’d Out Music Festival: St. Paul & the Broken Bones, Liz Vice

[THE OVERCOMMITMENTS] Whether straining to capture how right their gospel-tinged slowburners sound or justify how wrong the soul-saving carpetbaggers feel, every story that follows St. Paul and the Broken Bones’ all-conquering tour inevitably hits upon the same points: frontmanpreacher Paul Janeway’s bottomless emotive register; his sidemen’s impeccable mastery of Stax-y backdrops; the utter enchantment of sold-out crowds. While the Birmingham troupe’s debut album, Half the City, stands heads above novelty lounge acts, the unaffected precision with which it limns the greats still seems more the fruit of careerism or a hobbyist’s devotion. However fully voiced the legendary recordings, those artists who gave shape and color to soul never entirely bared theirs. But now, to paraphrase that other sanctified resurrectionist, we see through the glass too clearly. JAY HORTON. Wonder Ballroom, 128 NE Russell St., 284-8686. 8 pm. $13.50 advance, $15 day of show. 21+.

TUESDAY, APR. 22 Ellie Goulding, Conway

[POP] Sure, she rocked the Skrillex haircut for a while, and her synthtinged dance hit “Lights” topped the Billboard charts last year, but most of Ellie Goulding’s album, Halycon Days, shows a softer side of the beloved British electropop singer. She’s got the voice—a clear, high soprano—to back up the varying moods, and her delicately sparse cover of Alt-J’s “Tesselate” is particularly wonderful. But it still seems as though she’s struggling to find her identity. KAITIE TODD. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 248-4335. 8 pm. $49.50. All ages.

Juana Molina, There Is No Mountain

[FOLK EXPERIMENTALIST] There’s a scrapbook quality about Argentinian actress-turned-musician Juana Molina’s sound. Björkish in its abstract nature and South American in its shuffling tempos and classical guitar work, Molina does a lot within fairly stark confines. Her newest record, Wed 21, is the work of a shrewd looper and clever guitarist. The 51-year-old comes across as scatterbrained on record, but her hyper-impressionistic folk is the deliberate minimalism of a professional, one adored in her home country for not only her music, but her acting and onetime comedy show. MARK STOCK. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $15 advance, $17 day of show. 21+.

White Lies, Frankie Rose, Together Pangea

[BLUE-EYED NU-WAVE] With the New Wave revival going chill over the past five years, now may be the time for a band like White Lies to shine. On last year’s Big TV, the British trio carries the torch that bands like Editors and the Killers


left by the wayside when kids with laptops were making post-punk sound tiny. Instead, outsized drum reverb, pillowy synths and soaring vocals—obligatory flourishes for a band that broke big while touring with Muse—make the Joy Divison and Smiths rehashes sound like a hopeful artifact of the future. PETE COTTELL. Roseland Theater, 8 NW 6th Ave., 224-2038. 8 pm. $25. All ages.

Bombay Bicycle Club, Royal Canoe

[INDIE] When thinking of a way to describe Bombay Bicycle Club, “the British Vampire Weekend” is the most immediate thing that comes to mind. That’s not quite right, however. Despite the quartet’s love for quirky, distorted guitars and tight, catchy beats, this year’s So Long, See You Tomorrow is a collection of songs bigger and fuller than those on its previous three albums. These guys might not possess the same tonguein-cheek cleverness as Vampire Weekend, but their sound is just as much their own thing. KAITIE TODD. Wonder Ballroom, 128 NE Russell St., 284-8686. 7:30 pm. $18 advance, $20 day of show. All ages.

CLASSICAL, JAZZ & WORLD Chris Speed Trio, Blue Cranes

[JAZZ] The saxophonist of choice for prominent New York new jazz bandleaders like John Zorn, Uri Caine, Tim Berne, Dave Douglas and John Hollenbeck, Brooklynbased Seattle native Chris Speed also leads a bewildering variety of avant-jazz ensembles, from Human Feel to Endangered Blood. Speed’s engaging compositions highlight the new release Really OK from this piano-less trio featuring bassist Chris Tordini and irrepressible Bad Plus drummer Dave King, which emphasizes its leader’s more melodic, Sonny-meetsOrnette side. BRETT CAMPBELL. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 8 pm Wednesday, April 16. $12 advance, $15 day of show. 21+.


Soundcontrol PDX and church of rnr present:


$7.00 at the door.

THURSDAY, APRIL 17 9pm. 21 & Over



(doors open at 8pm). All Ages

Soundcontrol PDX and church of rnr present:


SATURDAY, APRIL 19 9pm. 21 & Over

Predatory light


$7.00 at the door. Falafel House: 3 to Late–Night All Ages Shows: Every Sunday 8–11pm Free Pinball Feeding Frenzy: Saturday @ 3pm


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

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

Michael Moore Quartet

[JAZZ] While he’s lived and worked in Amsterdam for decades, expatriate saxophonist, clarinetist and composer Michael Moore still infuses his improvisations with American melodicism and swing— unsurprising for a Californian who’s worked with lyrical pianist Fred Hersch and led projects focusing on Irving Berlin and Bob Dylan standards. Although adept at the avant-garde that characterizes much Dutch jazz, his quartet also delivers straight-ahead sounds with inventive aplomb. BRETT CAMPBELL. Mission Theater, 1624 NW Glisan St., 223-4527. 7 pm Thursday, April 17. $15. Under 21 permitted with legal guardian.

To Brooklyn and Back: A Kenji Bunch Retrospective

[21ST-CENTURY CLASSICAL] When violist Kenji Bunch moved back to his hometown of Portland last year after two decades in Brooklyn, it symbolized Portland’s transformation into a destination for indie-classical creators. Bunch, acclaimed as one of America’s finest emerging composers, is now becomes artistic director of FearNoMusic, the veteran ensemble that’s long explored the frontiers of new music. This all-Bunch show includes his beautiful piano trio homage to American midcentury jazz and ballads, featuring an amplified sextet inspired by everything from comic-book graphics to heavy metal, a string quintet that embraces Appalachian fiddling and Texas swing, and more—yet it all resounds with his distinctive, openhearted voice. BRETT CAMPBELL. Alberta Rose Theatre, 3000 NE Alberta St., 719-6055. 8 pm Friday, April 18. $10-$35. Under 21 permitted with legal guardian.

Willamette Week APRIL 16, 2014



Willamette Week APRIL 16, 2014

MUSIC CALENDAR = ww pick. Highly recommended. Editor: Mitch Lillie. TO HAVE YOUR EVENT LISTED, send show information at least two weeks in advance on the web at 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: For more listings, check out

[APRIL 16-22] Mission Spotlight, Holiday Friends/ Hello Damascus

ringlers pub

1332 W Burnside The Windshield Vipers

350 W Burnside St. Fluff and Gravy Records Showcase

rock Creek Tavern

doug Fir lounge


10000 NW Old Cornelius Pass Rd. Mexican Gunfight

roseland Theater

8 NW 6th Ave. Black Label Society, Butcher Babies

Secret Society Ballroom

116 NE Russell St. Tim Snider and The House of Waters, Worth


1033 NW 16th Ave. Slow Seasons, 100 Watt Mind, Surfs Drugs

Splash Bar Hawaiian Grill

904 NW Couch Jordan Harris & Christie Bradley

Star Theater

13 NW 6th Ave. The Orb, Nordic Soul

The GoodFoot lounge 2845 SE Stark St. Dusu Mali, Publish the Quest

The Grand Cafe

832 SE Grand Ave. Pilon D’Azucar Salsa Band

welCOMe TO My NiGHTMAre: Goat plays wonder Ballroom on wednesday, April 16.

wed. April 16 Al’s den

303 SW 12th Ave. Chris Phillips

Aladdin Theater

3017 SE Milwaukie Ave. Arlo Guthrie

doug Fir lounge

830 E Burnside St. Slow Music, the Humans

duff’s Garage

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


2126 SW Halsey St. Henry Kammerer

Hawthorne Theatre

1507 SE 39th Ave. Battle for Warped Tour: From The Eyes Of Cain, For Those Alive, Gordon Avenue, Walter & The Conqueror

Hawthorne Theatre lounge

1503 SE Cesar E Chavez Blvd. Mikey Davis & Guests


Mississippi Studios

3939 N Mississippi Ave. Chris Speed Trio ft. The Bad Plus’ Dave King + Chris Tordini, Blue Cranes

rock Creek Tavern

10000 NW Old Cornelius Pass Rd. Billy D

roseland Theater

8 NW 6th Ave. Caravan Palace, Bombino


315 SE 3rd Ave. King Parrot, Vattnet Viskar


1033 NW 16th Ave. Thou, Cloud Rat, o paon, Druden

Starday Tavern

6517 SE Foster Road JT Wise Band

426 SW Washington St. Paul Dillon, Nate Wey and Christoper Walberg

landmark Saloon

4847 SE Division St. Whiskey Wednesday: Jake Ray & the Cowdogs

laurelThirst public House

2958 NE Glisan St. MacMenn/Bare, Donald Beaman (9 pm); Feathers & Friends (6 pm)

4811 SE Hawthorne Blvd. Bel Mizik, Balans

Ash Street Saloon

225 SW Ash St. Mothers Whiskey, Pinkzilla, Disenchanter, Elephant Gun

Back Stage Bar

3701 SE Hawthorne Blvd. Eye Candy VJ

Beaterville Cafe

2201 N Killingsworth St. Michael Collins Songwriter Showcase

Blue diamond

2016 NE Sandy Blvd. Ben Jones and Friends


2026 NE Alberta St. Peace Killers, Black Magik Dragon

The Old Church

Kelly’s Olympian

Alhambra Theatre

The Know

2845 SE Stark St. Earphunk & Shafty

Jade lounge

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

303 SW 12th Ave. Chris Phillips, Drew Victor

Boon’s Treasury

The lodge Bar & Grill

Jimmy Mak’s

Al’s den

The GoodFoot lounge

1001 SE Morrison St. Phone Call, Magic Fades, Rap Class, DJ Portia 2342 SE Ankeny St. Joe Baker

THurS. April 17

6605 SE Powell Blvd. Pete Ford Band

1422 SW 11th Ave. Faun Fables, Pwrhaus, Arrington de Dionyso

Tillicum restaurant & Bar

888 Liberty St. NE Billy D 320 SE 2nd Ave. Dance Gavin Dance, Capture the Crown, Palisades and Bleach Blonde

Broadway rose New Stage Auditorium 12850 SW Grant Ave. The Bikinis

Cadigan’s Corner Bar 5501 SE 72nd Ave. Kenny Lee Blues Jam

8585 SW BeavertonHillsdale Hwy. High Boltage

Calapooia Brewing

Tony Starlight’s Supper Club


3728 NE Sandy Blvd. Piano Bar with Bo Ayars

Trail’s end Saloon 1320 Main Street Big Monti

white eagle Saloon 836 N Russell St. Snowblind Traveler

wilf’s restaurant & Bar 800 NW 6th Ave. Ron Steen Band

wonder Ballroom

128 NE Russell St. Goat

140 Hill St. NE Rough Jazz

1900 NW 18th Ave Cash For The Cause: A Night of Johnny Cash and Cocktails

Chapel pub

430 N Killingworth St. Steve Kerin


1665 SE Bybee Ave. Adlai Alexander

Crystal Ballroom

1332 W Burnside Street Lalah Hathaway and Ruben Studdard


The lodge Bar & Grill 6605 SE Powell Blvd. Ben Rice B3 Trio

350 W Burnside St. Belles Bent for Leather, Empire Rocket Machine and Adrian & The Sickness, New Social Outcasts

The Muddy rudder public House

doug Fir lounge

2525 NE Alberta St. Terry Robb

830 E Burnside St. Ural Thomas & the Pain, Ancient Heat

duff’s Garage

1635 SE 7th Ave. Ojos Feos, Tough Love Pyle


2126 SW Halsey St. Tanner Cundy

Hawthorne Theatre

1507 SE 39th Ave. Natural Vibrations, Indubious, Steady Riot

Hawthorne Theatre lounge

1503 SE Cesar E Chavez Blvd. Certain Death, Stuck on Nothing

Jade lounge

2342 SE Ankeny St. Jamie Leopold

Jimmy Mak’s

221 NW 10th Ave. Joe Louis Walker, Mel Brown B3 Organ Group

Kelly’s Olympian

426 SW Washington St. Shouter and Carmine

Kenton Club

2025 N Kilpatrick St. Beat Totem

laurelThirst public House

2958 NE Glisan St. Matty Charles & Katie Rose, W.C. Beck (9:30 pm); Lewi Longmire & the Left Coast Roasters (6 pm)

Magnolia’s Corner

4075 NE Sandy Blvd Johnathan Foster

Mission Theater

1624 NW Glisan St. Michael Moore

Mississippi pizza

3552 N Mississippi Ave. Cafe Istanbul, Ed Haynes

Mississippi Studios

3939 N Mississippi Ave.

Dark Star Orchestra


8105 SE 7th Ave. Sleepy Eyed Johns

The Original Halibut’s ii

The press Club

2621 SE Clinton St. SuS Quartet

The Tonic lounge

3100 NE Sandy Blvd. Missing Persons, The Break Up and Third Gate

white eagle Saloon

836 N Russell St. Chris Baron and Friends

Fri. April 18 Al’s den

303 SW 12th Ave. Chris Phillips

Alberta rose Theatre

3000 NE Alberta St. To Brooklyn and Back

Alhambra Theatre

4811 SE Hawthorne Blvd. Marv Ellis, MOCHI, Neil Mangicaro, Onward, Etc.

Ash Street Saloon

225 SW Ash St. Muffaluffagus, Necktie Killer, Smash Bandits

Boon’s Treasury

888 Liberty St. NE Michael Hamlin Taylor Band


320 SE 2nd Ave. Move the Earth, Simon Says Die, In the Aether, & Against the Raging Tide

Broadway rose New Stage Auditorium 12850 SW Grant Ave. The Bikinis

Clyde’s prime rib restaurant & Bar

5474 NE Sandy Blvd. On-Q Band

Crush Bar

1400 SE Morrison St. Bloco Alegria Samba Band

Crystal Ballroom

830 E Burnside St. Greylag

duff’s Garage

1635 SE 7th Ave. The Hamdogs

duff’s Garage

1635 SE 7th Ave. Fat Tones


2126 SW Halsey St. The Old Yellers

evans Auditorium,

0615 S.W. Palatine Hill Road MSC 18 Sitar & Tabla, with Josh Feinberg and Aditya Kalyanpur

Gemini lounge

6526 SE Foster Rd. Finn Doxie

Hawthorne Theatre

1507 SE 39th Ave. Godflesh, Cut Hands, House of Low Culture, La Fin Absolute du Monde

rock Bottom Brewery portland 206 SW Morrison St. Amorous

rock Creek Tavern

10000 NW Old Cornelius Pass Rd. Three for Silver

roseland Theater

4811 SE Hawthorne Blvd. Slick Rick

116 NE Russell St. Boy & Bean

Shaker and Vine

2929 SE Powell Blvd. Los Dos


1033 NW 16th Ave. Oi Polloi, Wartown, Vindictive, Rum Rebellion, Wretched of the Earth

Star Bar

639 SE Morrison St. Fast Times at A-Train High

Star Theater

Hollywood’s Hot rod Bar & Grill


2026 NE Alberta St. Happy Noose

Hotel Oregon

310 NE Evans St. Sloan Martin (of Celilo)

Jade lounge

2342 SE Ankeny St. Mason Porch Band

Jimmy Mak’s

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

Kelly’s Olympian

426 SW Washington St. A Happy Death and Ladywolf, Foxy Lemon and The MadCaps

Kenton Club

2025 N Kilpatrick St. Damn Librarians, Noble Firs, Grandhorse

The Firkin Tavern

The Know

The Muddy rudder public House

8105 SE 7th Ave. Tucker, Thompson and Platt

The Original Halibut’s ii

Magnolia’s Corner

4075 NE Sandy Blvd Eric John Kaiser

Midnight roundup

345 NW Burnside Rd. Sacred Road

Mississippi pizza

3552 N Mississippi Ave. Melao de Cuba, Cedro Willie

portland Spirit

SW Salmon Street And SW Naito Magic Mouth, Orquestra Pacifico Tropical

Artichoke Music

3130 SE Hawthorne Blvd. Jamie Stillway

Biddy McGraw’s

6000 NE Glisan St. The Marvins

Blue diamond

2016 NE Sandy Blvd. Billy D. and the Hoodoos

Boon’s Treasury

888 Liberty St. NE Three for Silver


320 SE 2nd Ave. Trial & The Physical Challenge, Young Turks, Unrestrained, & Kill the Shark

Broadway rose New Stage Auditorium 12850 SW Grant Ave. The Bikinis

Cadigan’s Corner Bar 5501 SE 72nd Ave. Live Music

Calapooia Brewing 140 Hill St. NE Xenat-Ra

Catlin Gabel School’s Cabell Theater

Clyde’s prime rib restaurant & Bar

510 NW 11th Ave. David Valdez/Randy Porter Latin Jazz Quartet

The whiskey Bar 31 NW 1st Ave. Craze

Tiga Bar portland

1465 NE Prescott St. City Baby

Tony Starlight’s Supper Club


137 N Main Ave. The Mike Branch Band

720 SE Hawthorne Blvd. Grand Royale, Oubliette

The Tea Zone and Camellia lounge

laurelThirst public House

M & M restaurant & lounge

Analog Cafe & Theater

8825 SW Barnes Rd. Maru a Pula Marimba Band

3728 NE Sandy Blvd. An Acoustic Showcase: Terry Robb, Paul Chasman/ Lauren Sheehan

2958 NE Glisan St. Spacebreath, Johnny Keener (9:30 pm); Michael Hurley & the Croakers (6 pm)

Alhambra Theatre

2525 NE Alberta St. Lloyd Allen

laughing Horse Book Collective 12 NE 10th Ave. Darto, Two Nights, Two Sets

Alberta rose Theatre

Secret Society Ballroom

1937 SE 11th Ave. Irie Idea, Intentional Overtones, Chicken & Eggs

1001 SE Morrison St. Rockbox: Matt Nelkin, DJ Kez

Aladdin Theater

3017 SE Milwaukie Ave. Hurray for the Riff Raff 3000 NE Alberta St. Lady Sings The Blues: A Tribute To Billie Holiday

Hawthorne Theatre lounge

10810 NE Sandy Blvd. Madson Band

303 SW 12th Ave. Chris Phillips

8 NW 6th Ave. The Paradiso Journey, Kill the Noise, Alvin Risk, Craze

13 NW 6th Ave. Daley with Travis McClung, Soul’d Out Music Festival

1503 SE Cesar E Chavez Blvd. The Silver Palms

SAT. April 19 Al’s den

4144 SE 60th Ave. Jeremy Junkin

Trail’s end Saloon 1320 Main Street Ma Fondue

Venetian Theatre & Bistro 253 E Main St. Tony Starlight, Neil Diamond Tribute

Vie de Boheme

1530 SE 7th Ave. Bart Hafeman’s Reflex 80’s Show

white eagle Saloon 836 N Russell St. Jon Langford, David Olney, Dan Weber, Reverb Brothers

wilf’s restaurant & Bar

800 NW 6th Ave. Richard Arnold & The Groove Swingers

wonder Ballroom 128 NE Russell St. The Infamous Stringdusters, The Boston Boys

5474 NE Sandy Blvd. Andy Stokes


350 W Burnside St. The Men, Gun Outfit

doug Fir lounge

830 E Burnside St. Wild Ones, Summer Cannibals, Teen Spot

duff’s Garage

1635 SE 7th Ave. Libertine Belles


2126 SW Halsey St. Brian McGinty

Fifth Avenue lounge 125 NW 5th Ave Suit & Tie Saturdays

Gemini Bar & Grill

456 N State St. The Gentlemens Club

Hawthorne Theatre 1507 SE 39th Ave. Sevendust

Hawthorne Theatre lounge

1503 SE Cesar E Chavez Blvd. Peelander-Z, The Slants, the Mormon Trannys

Hollywood’s Hot rod Bar & Grill 10810 NE Sandy Blvd. Madson Band

Hotel Oregon

310 NE Evans St. Planes On Paper

Jimmy Mak’s

221 NW 10th Ave. Tell Mama! Etta James Tribute

CONT. on page 40

1332 W Burnside Street

Willamette Week APRIL 16, 2014


MUSIC CALENDAR Kelly’s Olympian

426 SW Washington St. Animal R & R, Lucy Gray, Brigadier

Kenton Club

2025 N Kilpatrick St. Medicine Family, Whistle Punk

Laughing Horse Book Collective

12 NE 10th Ave. Darto, Two Nights, Two Sets

LaurelThirst Public House

2958 NE Glisan St. The Domestics, Matt Buetow and Mount Joy (9:30 pm) The Yellers (6 pm)

M & M Restaurant & Lounge

137 N Main Ave. The Mike Branch Band

Midnight Roundup

345 NW Burnside Rd. Sacred Road

Mississippi Pizza

3552 N Mississippi Ave. Professor Gall, Bellow, Wing, Strangely Bicycle Tour & Smut City Jellyroll Society, Three for Silver

Mississippi Studios

3939 N Mississippi Ave. Shakey Graves, Crushed Out,

Ringlers Pub

1332 W Burnside Floating Pointe

Rock Bottom Brewery Portland 206 SW Morrison St. Orphan Train

Rock Creek Tavern

10000 NW Old Cornelius Pass Rd. Butterfly Breakdown

Secret Society Ballroom 116 NE Russell St. Everything’s Jake

Shaker and Vine

2929 SE Powell Blvd. Issac Turner


1033 NW 16th Ave. Predatory Light, Urzeit, Rohit, Hungers

The Firkin Tavern

1937 SE 11th Ave. Autonomics, Upstairs Downstairs, Bleach Blonde Dudes

The GoodFoot Lounge 2845 SE Stark St. Will Bernard’s Pleasure Drones

The Know

2026 NE Alberta St. Oi Polloi, Wartorn, Vindictive, Raw Nerves

The Lovecraft

421 SE Grand Ave. Myrrh Larsen

The Muddy Rudder Public House 8105 SE 7th Ave. Howard Wade

The Old Church

1422 SW 11th Ave. Sounds of Brazil: Choro PDX 2014

The Original Halibut’s II 2525 NE Alberta St. Norman Sylvester

The Tea Zone and Camellia Lounge 510 NW 11th Ave. Nancy King & Steve Christofferson

The Waypost Coffeehouse & Tavern 3120 N Williams Ave. The Syrinx Effect and Get Smashing Love, Michael Coleman

Thirsty Lion Pub SW 2nd & Ash St. Will Bradley Band

Tigardville Station

12370 SW Main Street 90 Proof

Tony Starlight’s Supper Club

3728 NE Sandy Blvd. Jessica Fichot & Jenny Finn Orchestra

APRIL 16–22 Torta-Landia

4144 SE 60th Ave. Rogue Bluegrass Band

Trail’s End Saloon 1320 Main Street Stepchild

Tree’s Restaurant and Catering

20510 SW Roy Rogers Road #160 Eddie Parente

Vie De Boheme 1530 SE 7th Ave. Soul Vaccination

Whiskey City Rock Bar 11140 SE Powell Blvd. Boom Jinx

White Eagle Saloon

836 N Russell St. Bombadil, Maxwell Hughes, DoveDriver

White Owl Social Club

Roseland Theater

8 NW 6th Ave. Gloria Trevi, La Heroine Divine

Willamette Week APRIL 16, 2014

1037 SW Broadway Ellie Goulding


Blue Diamond

The Blue Monk

Boon’s Treasury

The GoodFoot Lounge

Bossanova Ballroom

The Know


1033 NW 16th Ave. Grand Style Orchestra 3341 SE Belmont St. Transcendental Brass Band 2845 SE Stark St. 1000 Fuegos, Wil Kinky 2026 NE Alberta St. Cosmonauts

The Tonic Lounge

3100 NE Sandy Blvd. The Untouchables

The Waypost Coffeehouse & Tavern

2016 NE Sandy Blvd. The Gretchen Mitchell Band 888 Liberty St. NE Bombadil 722 E Burnside St. Tuesday Blues

320 SE 2nd Ave. Circle Takes the Square and Sloths, The Sky Above the Earth Below

Bunk Bar

1028 SE Water Ave. Charts, Phantom Ships

Cadigan’s Corner Bar

Wilf’s Restaurant & Bar

3120 N Williams Ave. A Thousand Swords and Weather Exposed, Wavor Clamor Bellow

Vie De Boheme

1332 W Burnside Street Huge Swing Dance

Wonder Ballroom

1530 SE 7th Ave. Chuck Israels Jazz Cafe

1305 SE 8th Ave. Zach Ryan & the Renegades 800 NW 6th Ave. Ron Steen Band

128 NE Russell St. Fruition, Otis Heat

SUN. APRIL 20 Al’s Den

303 SW 12th Ave. The Breaking

Alberta Abbey

126 NE Alberta Street M.A.S.S. VI: METAL M.A.S.S., featuring Atriarch, Joe Preston + Daniel Menche, Maja D’Aoust

Alberta Rose Theatre

3000 NE Alberta St. Huun Huur Tu

Alhambra Theatre

4811 SE Hawthorne Blvd. The Underachievers, Denzel Curry, Azizi Gibson

Ash Street Saloon

225 SW Ash St. Sleep, Bad Habit, Kinetic Emcees


320 SE 2nd Ave. Consider Me Dead, Farewell My Love, The Venetia Fair, Whispers of Wonder

White Eagle Saloon 836 N Russell St. Rivera, Joytribe

Wonder Ballroom

128 NE Russell St. St. Paul & the Broken Bones

Al’s Den

303 SW 12th Ave. The Breaking

Alhambra Theatre

4811 SE Hawthorne Blvd. Prezident Brown

Blue Diamond

2016 NE Sandy Blvd. Hot Tea Cold


350 W Burnside St. Karaoke from Hell

Dig a Pony

736 Southeast Grand Ave. Bad Wizard

Jade Lounge

2342 SE Ankeny St. Emerson House Band

Jimmy Mak’s

Broadway Rose New Stage Auditorium

221 NW 10th Ave. The Dan Balmer Trio, Canby H.S. Jazz Ensemble


112 SW 2nd Ave. Pat Buckley

Crystal Ballroom

426 SW Washington St. Eye Candy VJs

12850 SW Grant Ave. The Bikinis 1665 SE Bybee Ave. DTQ String Quartet

1332 W Burnside Street Switchfoot

Doug Fir Lounge

830 E Burnside St. Mobb Deep


2126 SW Halsey St. Billy D

Hawthorne Theatre

1507 SE 39th Ave. The Dillinger Escape Plan, Trash Talk, Retox, Shining


Kelly’s Olympian

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

Mission Theater

1624 NW Glisan St. George Colligan Quintet, Tom Guarna

Mississippi Pizza

3552 N Mississippi Ave. Mr. Ben


Plews Brews

LaurelThirst Public House

Rock Creek Tavern

1001 SE Morrison St. The Hood Internet, Pictorials 2958 NE Glisan St. Kory Quinn & the Comrades (9 pm); Freak Mountain Ramblers (6 pm)

Mississippi Studios

3939 N Mississippi Ave. Youngblood Brass Band, St. Paul & The Broken Bones/ Fly Moon Royalty

Peter’s Room

8 NW 6th Ave The Underachievers, Denzel Curry, Dillon Cooper

Rock Creek Tavern

10000 NW Old Cornelius Pass Rd. Hanz Araki


600 E. Burnside St. The We Shared Milk, Fox and the Law

5501 SE 72nd Ave. Hip Deep

Crystal Ballroom

Dig a Pony

736 Southeast Grand Ave. Team Atkins

Doug Fir Lounge

830 E Burnside St. Juana Molina, There Is No Mountain

Duff’s Garage


8409 N. Lombard St. Med Monday 10000 NW Old Cornelius Pass Rd. Bob Shoemaker

Star Bar

639 SE Morrison St. Metal Monday

1635 SE 7th Ave. Dover Weinberg Quartet


2126 SW Halsey St. Lee Koch Trio

Hawthorne Theatre

1507 SE 39th Ave. Combichrist, William Control, New Year’s Day

Jade Lounge

2342 SE Ankeny St. Lorna Miller

Jimmy Mak’s

221 NW 10th Ave. Reed College Jazz Ensemble

Jimmy Mak’s

221 NW 10th Ave. Mel Brown Septet


112 SW 2nd Ave. Pat Buckley

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

Lola’s Room

1332 W Burnside The Roseland Hunters

Mississippi Pizza

3552 N Mississippi Ave. Katie Carlene, Haley Johnsen, Chandler Strutz

Mississippi Studios

3939 N Mississippi Ave. Think Globally, Rewild Locally, An Earth Day Benefit Party for Rewild Portland

Roseland Theater

8 NW 6th Ave. White Lies, Frankie Rose

Star Theater

13 NW 6th Ave. Charlie Worsham

The Blue Monk

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

The Firkin Tavern

1937 SE 11th Ave. Chandler Strutz, Bevelers, Adam Brock, Matthew Ulm

The Know

The GoodFoot Lounge

The Muddy Rudder Public House

The Lehrer

White Eagle Saloon

The Waypost Coffeehouse & Tavern

2026 NE Alberta St. The Shivas, Super 78

8105 SE 7th Ave. Lloyd Jones

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

TUES. APRIL 22 Al’s Den

303 SW 12th Ave. The Breaking


Arlene Schnitzer Concert Hall

2845 SE Stark St. Radula

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

3120 N Williams Ave. Kelly Bosworth

Wonder Ballroom

128 NE Russell St. Bombay Bicycle Club, Royal Canoe

APRIL 16–22




CLOUD-CHASING: Maybe you’ve been curious about those things people are sucking on around town. They look like a cross between a lightsaber and a dentist’s drill and emit thick clouds of watery mist that smell like a candy shop. Vaping appears poised to become that rarest of trends, the one that ascends from the bottom of society. Or so it seems at Elements PDX (3340 SE Hawthorne Blvd., 971-373-8192,, a slick, new vape shop on Southeast Hawthorne. This shop is a lot different from the Gresham shacks advertising “E-CIGS HERE” on a yellow tarp. There’s an etched glass door that leads into a room of rugged steel and wood lighted by exposed bulbs. You sit on metal taboret stools as a helpful clerk sets you up with a vaporizer, a rubber mouth guard and your choice of “juice” cartridges flavored like Starbucks drinks, Girl Scout Cookies and girly cocktails. Fruit flavors taste like fruit juice, not fruit-flavored candy. The Rice Krispies flavor tastes exactly like the cereal, but only when you exhale. It’s bizarrely compelling. You’re supposed to buy something to go, but people hang out shooting darts and sampling the more exotic juices. London just got its first dedicated vape lounge. Elements isn’t quite that, but we’re headed there fast. Barring a rash of fear-mongering and bans, look for a trendy vape joint in the Pearl by summer. MARTIN CIZMAR.

The Rose Bar

111 SW Ash St Loop feat. Keegan Smith, The Sexbots, Lisa Vasquez, and Elena Leona

WED. APRIL 16 Alhambra Theatre

4811 SE Hawthorne Blvd. DJ Questlove

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. Event Horizon, Industrial Dance Night

Tiga Bar Portland

1465 NE Prescott St. DJ Dad Jeans


1001 SE Morrison St. Rockbox: Matt Nelkin, DJ Kez

Moloko Plus

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

Moloko Plus

3967 N Mississippi Ave. DJ Maximillion


315 SE 3rd Ave. Scuba, Graintable & Ben Tactic

SAT. APRIL 19 Holocene

THURS. APRIL 17 Analog Cafe & Theater

720 SE Hawthorne Blvd. Bubble Up

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

Crush Bar

1400 SE Morrison St. Cup Pop

FRI. APRIL 18 EastBurn

1800 E Burnside St. DJ Gregarious

Harlem Portland

220 SW Ankeny St. Lionsden

1001 SE Morrison St. Gaycation: Mr. Charming, DJ Snowtiger

Moloko Plus

3967 N Mississippi Ave. The Central Experience with Gulls & Mr. Peepers


116 SE Yamhill David Starfire, Birds of Paradise, WALA, AfroQBen and Max Ribner, Evan Toutz

Star Theater

13 NW 6th Ave. Run! It’s a Trap: Chronic Edition

The Blue Monk

SUN. APRIL 20 Berbati

19 SW 2nd Ave. Sunday Syndrome

The Lovecraft

421 SE Grand Ave. Miss Spooky

MON. APRIL 21 CC Slaughters Nightclub & Lounge 219 NW Davis St. Maniac Monday, With DJ Robb

The Lovecraft

421 SE Grand Ave. Departures, DJ Waisted and Friends

Tiga Bar Portland

1465 NE Prescott St. DJ Pretty Ugly

TUES. APRIL 22 Analog Cafe & Theater

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

The Lovecraft

421 SE Grand Ave. Bones with DJ Aurora

Tiga Bar Portland

1465 NE Prescott St. DJ Nate C

3341 SE Belmont St. Jonas Rake, Bryan Zentz, Invisible Ziggurat, Neglect, JT Collins

Willamette Week APRIL 16, 2014


think it’s just trivia? think again.



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 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

April 19 is the day both indie & major labels roll out hundreds of special vinyl releases. Box sets, limited-editions, 7” singles, colored vinyl & more. We’ll have freebies, refreshments, Skullcandy headphones to win, samplers & more. Come early... quantities limited.

See our web site or for details.

Stop in downtown starting at 1 p.m. for DJ sets by Mudhoney’s Steve Turner, Pure Bathing Culture & performances by Big Haunt & Aan! NEW & US CDs, DVDs ED & VINYL



Willamette Week APRIL 16, 2014


April 16–22 FEATURE

= WW Pick. Highly recommended.


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


A ’60s girl group comes out of retirement in this musical at Tigard’s Broadway Rose Theatre. Think “Under the Boardwalk” and “Yellow Polka Dot Bikini” delivered by a clutch of Jersey girls reliving their prime. Broadway Rose New Stage Theatre, 12850 SW Grant Ave., Tigard, 620-5262. 7:30 pm Thursdays-Saturdays and 2 pm Saturdays-Sundays through May 18. $20-$38.

Pilot Season: Outlaw’s Embrace

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—centers on a spunky heroine who’s been kidnapped by a studly outlaw. Action/Adventure Theatre, 1050 SE Clinton St. 10 pm Thursday-Saturday, April 17-19. $6-$10.


Boom Arts presents astaged reading of Chilean playwright Guillermo Calderón’s drama, which finds three young women debating the future of a site where thousands of Chileans were tortured. A Q&A with Calderón follows. Reed College Performing Arts Building, SE 28th Ave. and Botsford Drive, 7777284. 5 pm Tuesday, April 22. Free.


The opening of Opus 3, a collaboration between Portland Actors Conservatory and Portland Experimental Theatre Ensemble, gives the distinct sense of arriving too early to a really weird party. I don’t think I’d really want to attend a party based, as Opus 3 is, on August Strindberg’s gothic and haunting play The Ghost Sonata. Two women (J’ena SanCartier and Sarah Yeakel) gaze with thousand-yard stares and fidget with their frilly dresses as dripping water keeps time. A conductor figure (Alwynn Accuardi) loudly decries things she hates—steamed vegetables, for one. If this were a party, I’d leave my drink at the nearest exit, but as theater, it’s compelling if a little desperate. That is, until the energetic Emily Elizabeth Welch and Matthew M. Ostrowski walk down the runway, dressed, respectively, as a Cossack and a frumpy grandmother. Their passive-aggressive bickering—always with an odd pet name like “my bird of prey” or “turnip” screamed after each strained phrase—lends the production some much-needed humor on loan from Monty Python’s Pepperpots and Roxanne. I may have been too struck with the giggles to pick up on all Opus 3 had to say about relationships and communication, but that’s all right: I’m loving this weird party. MITCH LILLIE. Portland Actors Conservatory, 1436 SW Montgomery St., 274-1717. 7:30 pm Thursdays-Saturdays and 2 pm Sundays through April 27. $5-$25.


Othello can be a bit of a tough sell. Not only is it one of Shakespeare’s most racially insensitive plays (and that’s saying something), but even the most credulous audience member might wonder why the title character, a warrior with a reputation for bravery and a Moor known for his passion can be so easily persuaded to think the worst of his great love. The key to our willingness to suspend disbelief is Iago, whose cunning not only dissolves Othello and Desdemona’s devotion but nearly succeeds in toppling an entire kingdom. This performance can make or break the show, and for-

tunately for this Portland Center Stage production, Gavin Hoffman’s nuanced portrayal of Othello’s BFF/ enemy-in-disguise has the stroke of genius about it. The same can be said of Dana Green’s turn as Iago’s wife, Emilia. It’s a small role but an essential one, and in Green’s hands, the scene in which Emilia and Desdemona lament a woman’s lot (to love, cherish, sacrifice and suffer) is both poignant and edifying. The players get help from Scoff Fyfe’s gorgeous, rotating set and Susan E. Mickey’s sumptuous costumes. This production, helmed by PCS artistic director Chris Coleman, doesn’t attempt anything radical—it’s Shakespeare at its most traditional, but that also makes it a perfect start to the Complete Works Project, a two-year initiative during which several Portland cultural institutions will attempt to stage the Bard’s full 37-play catalog. DEBORAH KENNEDY. Gerding Theater, 128 NW 11th Ave., 445-3700. 7:30 pm Tuesdays-Sundays; 2 pm SaturdaysSundays; noon Thursdays through May 11. $29-$67.

The Quality of Life

“I need a cookie,” someone in the audience sighed as the lights came up during intermission on the opening weekend of Artist Repertory Theatre’s The Quality of Life. Little did she know that the second half would double down on that need for something simple and sugary. On the surface, Jane Anderson’s play sounds simple: Two married couples deal with different stages of grief and vastly different spiritual beliefs over the course of a day together. Dinah and Bill, an Ohio couple with a strained relationship, are mourning the murder of their only child by knitting, crafting and going to work and to church—anything to keep moving. They’re visiting Jeannette and Neil, free-spirited soulmates living in a yurt in California, who are more apt to point out their recycled decorations or say “Namaste, baby” than to dwell on the fact that Neil has terminal cancer and their house burned down in a wildfire. Predictably, these styles of grieving clash, spurring very real and poignant conversations about life and death and what might come afterward. Despite the weighty themes, the performance, directed by Allen Nause, is sprinkled with lighthearted moments. That’s mostly thanks to the wonderful cast—one moment filled with dry humor and the next raging (or sobbing) at the thought of living without a loved one. The bubble bursts as the characters—and audience—realize that this is life: learning to let go of heartbreak, or learning to embrace it. And you know what? Maybe we all need a cookie sometimes. KAITIE TODD. Artists Repertory Theatre, 1515 SW Morrison St., 241-1278. 7:30 pm Wednesdays-Sundays and 2 pm Sundays through May 11. $25-$55.


From the opening moments of Post5 Theatre’s Hamlet, it’s evident this isn’t the version you saw in high school. King Claudius and Queen Gertrude resemble the picture-perfect parents from a ’50s sitcom, servants snap photos with smartphones, and Ty Boice as Hamlet swaggers into the room wearing sunglasses and a fancy suit, every bit as bitter and melancholy as you expect him to be—until he isn’t. Boice’s Danish prince drips with sarcasm one second and flightiness the next, making Shakespeare’s tragedy come alive with unexpected comedy. From the exasperated “ugh” right before a sword fight to the singsong “goodnight, mother” as he drags a dead body out of the room, Boice

CONT. on page 44

by any stretcH: Kiera brinkley (left) and Uriah boyd.


As sisters, Kiera Brinkley and Uriah Boyd know siblings don’t get anywhere by being babied. So even as they look out for each other, they won’t hesitate to make the other do things for herself. “If I ask for a glass of water,” says Kiera, “Riah will be like, ‘Here’s your stool.’” “One day you’re going to live on your own,” Uriah answers, “and you’re not going to have people to grab stuff.” The 20-year-old Kiera has good reason for needing people to grab stuff: She’s a quadruple amputee. But she’s also an accomplished dancer with a shelf of dance awards and stacks of newspaper clippings to her name. Though Uriah, two years younger, has often felt in the shadow of her talented sister, the two will share the spotlight in an upcoming dance performance, Soar, that is also the culmination of an in-progress documentary about them. Kiera lost most of her arms and legs at age 2 when doctors amputated them to prevent the spread of a bacterial infection. She started dancing almost immediately, wiggling and squirming to hip-hop in the living room. As a student at Da Vinci Middle School, a dance teacher persuaded her to leave her chair and dance with the other students on the f loor, and she continued from there. In 2009, the Dream Factory granted her wish to visit Juilliard, gaining her a f lurry of national media attention. Now she’s a company member with Polaris Dance Theatre, a Portland troupe of young contemporary dancers. Kiera is small, but she takes up an expanding cloud of space, twirling and rolling seamlessly. “I was not prepared for her facility of movement,” says Susan Hess Logeais, a former San Francisco Ba llet dancer and the filmma ker behind the new documentary. At the same time, Logeais noticed how Uriah, who had danced so

often with Kiera, moved with the same fluidity. “Kiera is remarkable,” says Logeais. “Part of that is her own will and courage, and the other is the environment that she was raised in. But Uriah rarely gets recognized for her uniqueness, and she does move in a very unique way. She is just carried in space. It’s so effortless and easy.” Ur ia h ack nowledges t hat she of ten felt ignored. “I felt like I was in her shadow most of the time,” she says. “I was younger, so everyone knew her first, and she had such a strong presence. I was shy, awkward. I didn’t really have that much going for myself.” In person, Kiera has a primness about her, with pulled-back hair and carefully applied makeup. She’s a self-described people pleaser. The dread lock-wea r ing Ur ia h, mea nwhile, recently moved in with her boyfriend and out of the King neighborhood home that Kiera shares with their mom and two other siblings. She’s not as determined as Kiera to keep dancing—she’d like to pursue a career in construction—and says her older sister is more sheltered. “You’ve always been a mama’s girl,” she tells Kiera, purposefully and with no hint of malice. “You stay under the wing and follow the rules.” “I agree,” Kiera quickly replies. When Kiera choreographs, she prefers to have Uriah there. Throughout their years of dancing together, they’ve formed a kind of language— Kiera calls it “sister telepathy.” If Kiera is trying to communicate a certain move that she can’t replicate with her body, Uriah can translate. “It will be a certain pattern, like ‘duh-da-duhda-duh,’” Kiera says, “and more than likely that will be a double spin and then flick of the leg.” And they know when tough love works. When Kiera was asked to join Polaris, she felt apprehensive. “I didn’t think I’d be able to keep up,” Kiera says. “Riah was just like, ‘Suck that up.’” see it: Kiera Brinkley and Uriah Boyd perform Soar at the Newmark Theatre, 1111 SW Broadway, 248-4335, with a clip from Susan Hess Logeais’ film and performances by the Portland Ballet, Polaris Dance Company, the Kemba Shannon Ensemble, and the Jefferson Dancers. 7:30 pm Monday, April 21. $25-$35. Willamette Week APRIL 16, 2014


April 16–22

brings a compelling duality to his character: His madness is razor-sharp, but also frightening in its unpredictability. Aided by an intimate set and a cast that plays up the humor—notably Jessica Tidd, who near matches Boice’s charisma as Ophelia—the production, under Paul Angelo’s direction, slowly regains its gravity as the tragedy unfolds. Yet it’s a heft lightened by laughter from a Hamlet who’s both fun and scary to watch. But mostly fun. KAITIE TODD. Milepost 5, 850 NE 81st Ave., 729-3223. 7:30 pm Thursdays-Sundays through May 4. $15; Thursdays “pay what you will.”


Spring is often referred to as the season of love. But for Bob and Helena, two unlikely lovers in Edinburgh, the solstice is when the magic happens. Midsummer is modestly subtitled “a play with songs,” and strictly speaking, that description holds up. David Greig and Gordon McIntyre’s romantic romp from 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. Much of the charm in this Third Rail production comes courtesy of the leads. 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. Or of romantic comedy, anyway. And 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. That creative freedom could make Midsummer either a director’s dearest dream or worst nightmare, but Philip Cuomo is obviously in his element, and the pacing, particularly during Bob and Helena’s debaucheryfilled weekend, 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.


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, 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 semiscripted 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. 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—too often slipped by. REBECCA JACOBSON. Action/Adventure Theatre, 1050 SE Clinton St. 8 pm Thursdays-Sundays through April 27. $10-$15; Thursdays “pay what you will.”


The Aces, a sketch-comedy duo comprising Shelley McLendon and Michael Fetters, are aptly named: They’re damn good at what they do, and they’re back with a new show running for three weeks. Interstate Firehouse Cultural Center, 5340 N Interstate Ave., 306-5217. 8 pm Fridays-Saturdays through May 3. $15.

Carmen Lynch

The repeat Last Comic Standing contestant, who has some great jokes


The repeat Last Comic Standing contestant, who has some great jokes about mouth guards and mice, hits Portland. Helium Comedy Club, 1510 SE 9th Ave., 888-643-8669. 8 pm Thursday and 7:30 and 10 pm FridaySaturday, April 17-19. $15-$27. 21+.

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 highflying 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. Who will prevail? Will anyone save the unicorn? A-WOL Warehouse Theater, 2303 N Randolph St. 8 pm Thursday-Friday and 5 pm Saturday, April 17-20. $13-$30.

Chase & Stacey: Joyride


about mouth guards and mice, hits Helium for a three-night stand. Helium Comedy Club, 1510 SE 9th Ave., 888643-8669. 8 pm Thursday and 7:30 and 10 pm Friday-Saturday, April 17-19. $15-$27. 21+.

Carmen Lynch

Curious Comedy’s Stacey Hallal teams up with ace solo performer Chase Padgett for a musical-comedy extravaganza they claim melds Reggie Watts with I Love Lucy. Curious Comedy, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 8 pm Fridays-Saturdays through May 2. $12-$15.

The Dirty Dozen

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

Doug Benson

Hey, it’s 4/20. Huh. Hey look, there’s Doug Benson. I think I remember that guy from the documentary Super High Me. Think he’s gonna make some pot jokes? Maybe at the show happening at 4:20 pm? Helium Comedy Club, 1510 SE 9th Ave., 888-643-8669. 4:20 and 7:30 pm Sunday, April 20. $20.

Empire High

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

Fly-Ass Jokes

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

Late-Night Action With Alex Falcone

Comic Alex Falcone returns with very funny sidekick Bri Pruett for another installment of the variety show, this time featuring former Simpsons show-runner Bill Oakley, comedian Shane Torres, sketch comics Chase Padgett and Stacey Hallal, video game designer Steve Gaynor and musician Laura Gibson. Secret Society Ballroom, 116 NE Russell St., 493-3600. 9 pm Saturday, April 19. $10-$15.

A Salute to Late-Night with Aaron Ross Aaron Ross—perhaps better known as his libidinous, boozy alter ego Ed Forman—puts away the 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.

Show Us Your Wits

Andie Main hosts a comedy showcase, featuring Albert Kirchner, Douglas Gale, Christian Ricketts, Philip Schallberger, Tim Hammer and Steven Wilber. Jack London Bar, 529 SW 4th Ave., 228-7605. 8 pm Saturday, April 19. $5. 21+.

Two for the Show

Each night of this improv show features two different pairs of improvisers, who’ll create fresh sets of characters and scenes Brody Theater, 16 NW Broadway, 224-2227. 7:30 pm Saturdays through April 19. $12.

DANCE A-WOL Dance Collective

The aerialist troupe reprises its comic

Willamette Week APRIL 16, 2014

Theater in the early ’60s, later founded a kind of Donald Trump-style Dance Apprentice program wherein students had to raise the fees to pay for the solos she taught them. She called it the Solo Performance Commissioning Project, and she ended it in 2012 after a 14-year run. Now, two of her former students, Shannon Stewart and Mary Margaret Moore, both of Seattle, are performing adaptations of their solos as part of a discussion about Hay’s

work. The discussion, which is free, starts at 7 pm, and the show is at 8 pm. Conduit Dance, 918 SW Yamhill St., Suite 401, 221-5857. 8 pm FridaySaturday, April 18-19. $12-$15.

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If Isaiah Esquire asks you to lick him, be warned: He tastes like lotion. He and Tod Alan get naked and break your personal-space bubble in all sorts of ways, from vodka spills to whip cream spits. The lady performer this evening, Zora Von Pavonine, will also take off her clothes, but is unlikely to break such boundaries of taste— though you may want her to. Crush, 1400 SE Morrison St, 235-8150. 9:30 pm Saturday, April 19. $10.

Diego Piñon

The Mexican butoh artistis in the middle of a six-week residency at local butoh queen Mizu Desierto’s studio, during which he’s leading workshops for those inclined toward deep, soulexposing improv. He’s also leading a group of butoh artists, the Butoh Ritual Mexicano Ensemble, in 10 days of self-discovery and movement exercise that will culminate in a new work, parts of which were hashed out during Piñón’s visit last year. Expect nudity, ritualistic convulsing and men in ties clobbering each other with cabbages. The Headwaters, 55 NE Farragut St., No. 9. 7:30 pm Friday-Saturday, April 18-19. $12-$15.

A Nude World Order

Burlesque theme queen Miss Alex Kennedy takes on conspiracy. Is Big Brother watching? Are we alone in the universe? Did Elvis really not die, just go home? Her lineup—including Holly Dai, Baby LeStrange and Johnny Nuriel, among others—has enough alternative edge and lust for creepiness to make you believe. At least, I want to believe. Dante’s, 350 W Burnside St., 226-6630. 9 pm Saturday, April 20. $12-$15. 21+.

Oregon Ballet Theatre

Oregon’s premier ballet company is losing its premier ballerina. Alison Roper, at age 40 and after 18 seasons, is about to retire, performing for the last time as a principal dancer in OBT’s Celebrate program. Her final bows, which she’ll take at the April 26 performance, also mark the end of the old guard at OBT under former artistic director Christopher Stowell. Roper almost left with him last year, but new artistic director Kevin Irving convinced her to stay for one more season. In this program, she will perform the company premiere of Nacho Duato’s Cor Perdut, a dynamic pas de deux set to music by Maria del Mar Bonet. The company will also premiere Petal, a vivacious and colorful piece by Helen Pickett, and The Lost Dance, a contemporary piece with an edge that Matjash Mrozewski set on OBT in 2012. Newmark Theatre, 1111 SW Broadway, 222-5538. 7:30 pm ThursdaysSaturdays, April 17-26; 2 pm SaturdaySunday, April 19-20. $25-$142.

Skinner/Kirk Dance Ensemble

Daniel Kirk and David Skinner are consistently the best parts of BodyVox performances. They mix athleticism and skill, as in their daring aerial feats, with only a touch of gimmickry—props like tires or moving dollies. Their offshoot project, Skinner/Kirk, now a 12-year-old partnership, highlights their innovative style of performance. In this program, Skinner performsWithin the Lines, a piece about tension, perspective and space, as seen through windows. BodyVox Dance Center, 1201 NW 17th Ave., 229-0627. 7:30 pm Thursdays-Saturdays, April 17-26. $25$59.

Who’s Afraid of Deborah Hay

Deborah Hay, a member of the influential postmodern Judson Dance

sink or swim: Going off the deep end.

POOL (NO WATER) (THEATRE VERTIGO) No lifeguard on duty.

Say a man dies of AIDS. Now say a friend collects his blood and bandages and condoms and catheters and makes them into art. Has this artist crossed the line between creation and exploitation? At what point does artwork, never mind its aesthetic value, become unethical? In friendship—particularly among artistically inclined chums—there’s a similarly delicate line between amity and antagonism. We celebrate our friends’ achievements, even as we scrutinize their talents and beat back our own envy and resentment. And when these lines intersect in Mark Ravenhill’s pool (no water), it’s downright combustible. Ravenhill’s 2006 play, presented by Theatre Vertigo in a striking if occasionally shaky production, is written as a collective monologue. Lines in the script are not allocated to anyone, nor does Ravenhill specify the size of the ensemble. Stagings elsewhere have enlisted casts ranging from four to 11 actors; this production has seven, who deliver some lines singly and others in unison in a propulsive, pitter-patter style that’s like slam poetry with a malevolent bite. All bohemian artists, they’ve gathered at the posh digs of a friend who’s made it big—thanks to that aforementioned AIDS art. Played with serene detachment by Christy Bigelow, she’s a blond beauty in a red bikini who speaks in near-mythic terms about her swimming pool: dizzying promises of drug-fueled bliss, a dreamy pool boy, carefree skinny-dipping and, if you’re lucky, creative rebirth. Instead, what happens in the pool—the walls of the itty-bitty Shoebox Theater evocatively painted as powder-blue tiles—is a freak accident that lands Bigelow’s character in a coma, her body a mangled canvas of ghastly bruises. In what seems to the others as just comeuppance, they begin photographing her wounds. As if armed with an automatic rifle, Ravenhill takes aim at the modern urge to document everything and our instinct to pervert tragedy for our own creative ends, as well as the commodification of art. It’s a lot for a 70-minute one-act, but these actors, under Samantha Van Der Merwe’s direction, throw themselves at it. Sometimes literally—it’s a highly physical production punctuated by spasms of abstract movement. The choreography is a mixed bag: The flurry of photography in the hospital room is awkward, while a joylessly frenzied coke-and-sex binge strikes at our twisted reactions to grief. As for the performers, a few—such as Stephanie Cordell as a fieryeyed hellion oozing dangerous sexual energy—commit fully. Others waver, seeming distracted as they make clumsy jabs at intensity. But in the moments when this group comes together, like a diabolical Greek chorus, this is a satisfying deep-end dive into a stew of adrenaline, narcissism and shame. REBECCA JACOBSON.

see it: pool (no water) is at Shoebox Theater, 2110 SE 10th Ave., 306-0870. 7:30 pm Thursdays-Saturdays and 2 pm Sundays through May 10. $20.


APRIL 16–22

Patricia Galagan: Objects of Desire

= 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:

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.

Gary Boswell

Gary Boswell’s Chimera series of photo collages off er a case study in why collages are so often trite. He puts together cut-out fl owers, birds and fi gures in compositions that are arbitrary and facile. Happily, his series of automatic (meaning “from the unconscious”) paintings, Becoming Visible, off ers considerably more interest. The black-and-white images are most compelling, with seeping, dripping contours that activate the viewer’s imagination. They seem to be channeling Asian landscape painting, with forms suggestive of mountains, cliff s and valleys. Through April 27. Nine Gallery, 122 NW 8th Ave., 503-227-7114.

Group show: Artistic License

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

Jeffrey Sarmiento: Constructions

Jeff rey Sarmiento’s virtuosic Constructions fi lls Bullseye’s front

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

Mary Josephson: Character

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

Oregon Art Beat Exhibition: Celebrating 15 Years of Creativity on OPB

At a time when reality TV reigns and viewers are deserting television in droves for the Internet, you have to give props to a TV show devoted to the old-fashioned mission of profi ling local and regional artists. That being said, Oregon Art Beat is a cringeinducing show that manages to make even the most inspired artists come across as corny, pabulum-spouting wankers. With its outdated set and production values, Art Beat homogenizes artists by reducing their unique practices into pat featurettes, heavy on clueless voice-overs by the show’s correspondents and an intrusively saccharine soundtrack heavy on synths and faux-Native fl ute. Now the show is sponsoring an exhibition at Mark Woolley and People’s Art of Portland, showcasing work by hundreds of artists subjected to the program’s icky formula over the past 15 years. Much of the artwork itself is sublime. Too bad the show’s producers can’t fi nd a way to translate the creative impulse into anything other than patronizing New Age drivel. April 19-June 15. Mark Woolley Gallery @ Pioneer, 700 SW 5th Ave., third fl oor, Pioneer Place Mall, 998-4152.

The conceit is simple, if hardly original: have someone pose for a photograph holding or standing beside something they cherish. Patricia Galagan asked people to do this when she visited Cuba, and the resulting photos make up the body of work in Objects of Desire. A print entitled Odalisque shows a woman reclining beneath a prized painting; the butcher in This Knife proudly brandishes the instrument of his livelihood; and Waiting for Mia shows a woman clutching her pregnant belly. All of this would be fi ne enough if it weren’t for Galagan’s misguided attempt to frame the series as cultural commentary. “In America,” she asserts in her artist statement, “many people defi ne themselves by their possessions. In Cuba, the opposite is true.” And so the Santa Fe, N.M.-based Galagan, having moonlighted as an outside observer in Cuba, has decided that the Cuban people are big-souled naifs who value simple things like paintings, tools and gestating babies, while their neighbors to the north are crass materialists who cling to iPads, designer jeans and fancy cars. There may be some truth in this, but the photographer’s attempt to universalize winds up as a Gauguin-worthy exercise in neocolonialist condescension. Through April 27. Blue Sky Gallery, 122 NW 8th Ave., 225-0210.

Ted McCann: Green Illume

There’s a sense of abstracted trompe l’oeil in Ted McCann’s illusionistic mixed-media paintings and sculptures. You could swear Adrift was made out of giant chunks of turquoise, but the material is actually painted plastic foam. And his Aramid looks like a painting on canvas, but in fact it’s Kevlar, a material used to make body armor. The painting is in the overall shape of a square, with a torsolike form set within. With its two interrelated shades of yellow, it has a formalist rigor that contrasts with the bulletproof-vest material—think Josef Albers crossed with G.I. Joe. Through April 26. Hap Gallery, 916 NW Flanders St., 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 make for an invigorating double bill. Through April 26. Upfor Gallery, 929 NW Flanders St., 227-5111.

For more Visual Arts listings, visit



ANONYMOUS WOMEN, EVA LAKE Don’t you just love it when poetic men insist that women are stand-ins for something other than, well, women? Shakespeare famously compared his lady love to a summer’s day, while Lord Byron reckoned his to “the night of cloudless climes and starry skies.” In Women in Love, D.H. Lawrence linked women to primroses and figs. And Ernest Hemingway’s old fisherman construes the ocean as a woman, deploying pronouns accordingly: “The old man always thought of her as feminine and as something that gave or withheld great favours....” Artist Eva Lake tackles such hackneyed nonsense head-on in her thought-provoking collage series, Anonymous Women. She composes each piece with imagery culled from old fashion magazines, superimposing cut-up images of women (mostly fashion models from the pre-supermodel era) atop different backdrops. In Anonymous Woman No. 25 and No. 71, there are trees in the background; in 36, 53 and 58, it’s the ocean; in No. 6, the moon; and in No. 4, a spiraling galaxy. What else is a woman? No. 15 depicts a woman’s face on a carpet, ready to be trod underfoot. In No. 27, a face hovers over an ornate sitting room, while in No. 55, a pair of eyes and bangs hang on the wall inside a picture frame. The point here is blunt: Women are all too often treated as if they’re interchangeable with décor. Pointedly, Lake shows only the women’s eyes, lips and hair, as if in response to late Pop artist Tom Wessellmann, who painted every part of a woman’s body except her face. Also a gifted writer and the host of KBOO’s Art Focus, Lake has a unique take on the objectification of women. She’s worked off and on as a makeup artist for many years, so she knows a thing or two about artifice. No doubt she’s covered up many a plastic-surgery scar in this line of work—a tie-in with the sliced-and-diced faces in her collages. This backstory lends a welcome ambiguity to the artwork. Is Lake denouncing cultural beauty norms or celebrating them? Her critique is more third-wave feminist than second. It isn’t black-and-white, and it’s not gray, either; it’s in pastels, jewel tones and hard metallic gloss. She invites viewers to be simultaneously appalled and charmed by historical representations of the feminine—a trope that, deconstructed as it has been, still manages to remain mysterious. RICHARD SPEER.

Independent women, part 3.

GO: Anonymous Women is at Augen Gallery, 716 NW Davis St., 546-5056. Through April 26.

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APRIL 16–22

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

WEDNESDAY, APRIL 16 Phil Stanford

Longtime Portland journalist and author Phil Stanford is renowned for his true-crime books and reporting, particularly his ’94 series for The Oregonian about the Happy Face Killer. His newest release, White House Call Girl, explores the links between a call-girl operation run by ex-stripper Heidi Rikan and the Watergate scandal that brought down Nixon. Powell’s City of Books, 1005 W Burnside St., 228-4651. 7:30 pm. Free.

Amanda Michalopoulou

Likening friendship to a totalitarianism versus a democracy, Greek author Amanda Michalopoulou’s new novel, Why I Killed My Best Friend, is ultimately a simple exploration of the ups and downs of true friendship. Michalopoulou will be joined in conversation by her book’s translator, Karen Emmerich. Powell’s on Hawthorne, 3723 SE Hawthorne Blvd., 228-4651. 7:30 pm. Free.

Annie Lighthart and Gary Thompson

There’s a lot of inspiration to be found in the Northwest. Proving the point, Annie Lighthart began writing poetry after her first visit to an Oregon oldgrowth forest, with her debut collection, Iron String, published last year. Joining her in a reading will be longtime teacher and CutBank founding editor Gary Thompson. His fifth and newest poetry collection is One Thing After Another. The Press Club, 2621 SE Clinton St., 233-5656. 7:30 pm. $5.

THURSDAY, APRIL 17 Krista Bremer

After marrying a Libyan-born Muslim and raising two children with Arabic names in the American South, Krista Bremer witnessed firsthand the incredible prejudice that exists in our country, as well as altered her own perceptions of the world. Her new book, My Accidental Jihad, chronicles her experiences. Author Cheryl Strayed (Wild) will join Bremer in conversation about the book. Powell’s City of Books, 1005 W Burnside St., 228-4651. 7:30 pm. Free.

FRIDAY, APRIL 18 William L. Sullivan

The term “avid hiker” hardly seems adequate to describe William Sullivan’s quest to explore nearly every inch of Oregon. His series of 100 Favorite Hikes books cover all sections of the state (with Sullivan having personally hiked all recommended trails at least once), and he also delves into local history with nonfiction books like The Case of D.B. Cooper’s Parachute. His newest book, The Oregon Variations, celebrated the state’s quirks and characters through a collection of short stories and essays. His presentation will include a slide show of Oregon’s oddest hiking and travel destinations. Jacobsen’s Books, 211 E Main St., 6818243. 7 pm. Free.

Maja D’Aoust

The self-proclaimed “White Witch of L.A.,” Maja D’Aoust is a performer and scholar of topics like transformational psychology and astrology. Her lecture The Creative Fire—first in a three-part series by the Portland Center for Public Humanities—will explore artistic inspiration through folklore and mythology. Portland eccentrics, prepare to be outshone. Xhurch, 4550 NE 20th St. 7 pm. Free.

MONDAY, APRIL 21 World Book Night

Spreading the love of reading in 20 cities across the country, Powell’s


Willamette Week APRIL 16, 2014

will serve as a distribution point for World Book Night, which hands out specially chosen titles each year. Sharing in the literary love will be local authors Cheryl Strayed, Matthew Dickman, Amanda Coplin, Paul Collins and Chelsea Cain, who will each speak about a book that influenced them. Powell’s City of Books, 1005 W Burnside St., 2284651. 7:30 pm. Free.

TUESDAY, APRIL 22 Mountain Writers Poetry Reading

For more than two years, accomplished poet and teacher Peter Sears has been offering his wisdom to emerging poets through workshops at Mountain Writers. The effort has culminated in the release of a new anthology, Just Now: 20 New Portland Poets, which Sears edited. Sharing their work for the release of the book will be contributing writers Carol Ellis, Jane Greenbaum, Dan Hannon and Martha Ragland. Broadway Books, 1714 NE Broadway, 284-1726. 7 pm. Free.

For more Books listings, visit


HANNAH KENT, BURIAL RITES Burial Rites (Back Bay Books, 311 pages, $15) is a fictional reimagining of the life of Agnes Magnúsdóttir, a farmhand who awaits execution for murdering her employer in 19th-century Iceland. The story is well-known in Iceland, but the back of Hannah Kent’s debut also gives away the end: Agnes was the last person publicly beheaded A sentence of sorts in Kornsá. in the volcanic island nation. The tension in Kent’s novel doesn’t revolve around whether Agnes was absolved, but rather whether she actually committed the crime for which she was executed. Like other historical fiction, Burial Rites fills in the details, giving the characters some color and chronicling Agnes’ inner struggle as she hurtles toward the ax blade. In her endnotes, Kent says she was inspired to write Burial Rites after spending time as an exchange student in Iceland as a teenager. Much like Agnes, Kent found solace in times of loneliness in the beauty of Iceland’s landscape. The source material was gleaned from local records and lore, with passages taken from letters and poems written by and about Agnes as she awaited execution on a farm called Kornsá. The book begins there, as Agnes experiences a reawakening as a poet who shows defiance to her fate. “It is already a fine day outside,” she writes. “The grass is wet from a night rain, and the blades look bright in the light of the rising sun. There is a brisk wind and it blows ripples across the puddles in the yard. I notice the small things, now.” Kent’s picture of Iceland at the time includes gritty details of farm life—families slept in a single room and went weeks without food or medicine because of bad weather. (In the postscript, she explains that she left out the fact that farm families stored their own urine for its ammonia.) Kent shows the bleakness of the climate and the fragility of human life at the time, even for those not condemned to execution. Each chapter is introduced with a historical document, translated and adapted from the originals, some in the form of poems written by Agnes. The story bounces between the perspectives of the family that takes in Agnes in her last days, to the clergyman who gives her spiritual guidance, to Agnes herself. Kent effectively shows how those around Agnes come to understand the resilience of the human spirit through her. Toward the end of the book, the family that once spurned Agnes comes to understand the truth behind her crime and brings her into their fold, even dressing Agnes in their best clothes to help her face death with dignity. Their last moments together are heartbreaking. I felt as nauseated as Agnes in the moments leading up to her execution; the details of the murder are harrowing, but the fact that she had to face the chopping block is, regardless, absolutely tragic. LAURA HANSON. GO: Hannah Kent appears at Powell’s City of Books, 1005 W Burnside St., 228-4651, on Friday, April 18. 7:30 pm. Free.

aPRil 16–22

Cheap Thrills

= 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. Edgefield, Kennedy School, Laurelhurst.

13 Sins

C- The similarities between the recent

black comedy Cheap Thrills and 13 Sins (itself a remake of a 2006 Thai thriller) are, on the surface, remarkable: Both films focus on a recently fired, down-on-his-luck dude prodded by a stranger to demean himself and sacrifice his morality for money. But where Cheap Thrills went with jetblack humor to make a commentary on the corruptibility of good men, 13 Sins takes its topic very seriously. The film starts off interestingly enough, as father-to-be Elliot (Mark Webber) receives a pink slip and an eviction notice on the same day, plus the threat that his mentally unstable brother might be institutionalized and news that his racist dad is moving in with him. As he’s scrambling for a solution, he receives a call from a mysterious man who tells him he’s been selected for a game show in which he will be handsomely rewarded for completing 13 tasks of increasing difficulty and moral degradation. And so our hero is forced by desperation first to eat a fly, then make a child cry and then…well, let’s just say there are severed limbs, corpse desecration and arson in his cards. Director Daniel Stamm seems to want to say something deep, but none of this seems real. By the time the lazy twist comes around at the climax, you’ll have grown numb to the icky and contrived game, not to mention the film’s smug self-satisfaction. R. AP KRYZA. Living Room Theaters.

300: Rise of an Empire

D+ Say what you will about Zack Snyder’s ultraviolent, exceedingly homoerotic 2006 film 300, but the comic-book adaptation delivered exactly what it promised: It was big and dumb, with visual verve of unprecedented elegance (plus a lot of shouting). Eight years later, nobody was exactly clamoring for a sequel to a film that saw its main characters beheaded, yet here we have Noam Murro’s 300: Rise of an Empire, a cacophony of severed limbs, exploding bodies and CGI boats that look like they were pulled from an outdated 300 video game. The special effects are the biggest stars of the series, and yet nothing here manages to transport the viewer into the brutal wonderland Snyder concocted. Computeranimated blood spurts look like Play-Doh, the crashing waves of the ocean like something rendered for the GameCube. R. AP KRYZA. Academy, Valley.

American Hustle

A From the sincerely insincere, David

O. Russell’s American Hustle builds genuine characters. The film’s establishing shot is brilliant in this regard: a humorously long sequence of Christian Bale’s potbellied con man, Irving Rosenfeld, gluing a toupee to his head. When meticulously permed federal agent Richie DiMaso (Bradley Cooper) makes a move on Rosenfeld’s girl almost immediately thereafter, it’s an insult. When he musses his rug, it’s an unforgivable violation. It’s a wild pretzel of a plot: Rosenfeld and mistress Sydney Prosser (Amy Adams) have been caught by DiMaso in an undercover sting and are forced to run confidence rackets for the feds in order to nab other grifters. Halfway through the film, it’s unclear who’s conning whom, but it’s clear everybody’s conning themselves. This is the high wire that makes American Hustle so exhilarating, with the quick turns of a David Mamet or Howard Hawks fasttalkie. Really, it’s the sort of flick we’ve rarely seen since the ’40s: a farce with a heart. R. MATTHEW KORFHAGE.

Academy, Laurelhurst, Valley.

American Mustang

[ONE WEEK ONLY] Did you read young-adult novels about horses as a teenager? If so, this documentarynarrative hybrid about the plight of wild mustangs is probably for you. And it’s in 3-D, as all movies about the plight of wild mustangs should be. Fox Tower.

Bad Words

B- In Bad Words, Jason Bateman plays a 40-year-old named Guy exploiting a loophole in the rules that allows him to enter a prestigious spelling bee, much to the chagrin of the organizers and the other contestants’ parents. Not only a preternaturally good speller but also an unabashed prick, Guy spends his downtime begrudgingly befriending (or, depending on one’s view of it, corrupting) a precocious boy whose hotel room is just a few doors down from his. The interactions between the two are the film’s highlight: Guy’s vulgar cynicism colliding with the kid’s bright-eyed innocence may be low-hanging fruit, but Bateman still does a fine job of picking every ripe piece. R. MICHAEL NORDINE. Academy, Laurelhurst, Movies on TV.


A nature documentary about an Alaskan family of the titular large fuzzy creatures. G. Cedar Hills, Eastport, Clackamas, Cornelius, Bridgeport, Hilltop, Lloyd Center, Movies on TV, Sherwood, Tigard, Wilsonville.

The Best of the 40th Northwest Filmmakers’ Festival

[TWO DAYS ONLY] A selection of films, including short works by Portlanders Joanna Priestley and Vanessa Renwick, from last November’s festival. NW Film Center’s Whitsell Auditorium. 7 pm Thursday and 5 pm Saturday, April 17 and 19.

Captain America: The Winter Soldier

C+ Of all the four-color icons, Captain

America should be the least open to interpretation. Ol’ Winghead seemed a charming anachronism from the time Stan Lee assembled the uncanny freaks and amazing geeks of the Marvel Universe 50-some years ago, and the sheer strangeness of past generations’ uncomplicated ideals fueled the unexpected delights of Captain America: The First Avenger. Alas, where the 2011 film found a dreamily compelling momentum somewhere between magical realism and newsreel propaganda, Captain America: The Winter Soldier wades through thankless cameos and interminable exposition. The fractured plot pits the superspies of S.H.I.E.L.D. against Hydra’s shadowy cabal and Cap against a steel-armed, greasy-maned assassin. Once again, star Chris Evans’ unaffected certitude and boyish selfregard suggest why a mortal might one day command the Marvel gods and monsters. But now his appealing mix of officer and gentleman has been reduced to frat-house moralizing. There’s more setup for the surrounding saga: Sam “The Falcon” Wilson is deftly introduced, ScarJo’s Black Widow finally has some backstory, and Samuel L. Jackson’s Nick Fury is no longer just a framing device. For all the failings on display, the mighty Marvel machine rolls along. The Winter Soldier might not be much of a movie in and of itself, but maybe there are no second acts in Captain America’s life. PG-13. JAY HORTON. Bagdad, Cedar Hills, Eastport, Clackamas, Cornelius, Oak Grove, Movies on TV, St. Johns.

Cesar Chavez

Michael Peña stars in Diego Luna’s biopic about the legendary civil-rights activist and labor leader. PG-13. Forest, Movies on TV.

B [TWO DAYS ONLY] Freshman

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 cokeaddled couple, 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. WednesdayThursday, April 16-17. NEW

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, Cornelius, Oak Grove, Movies on TV.


B Enemy begins with a koanlike epi-

graph: “Chaos is order yet undeciphered.” As self-serious as that line may be, Prisoners director Denis Villeneuve quickly redeems himself with a series of hypnotically weird

CONT. on page 48



Child’s Pose

B Romania is currently in the midst

of a decadelong cinematic hot streak, and Child’s Pose won the prestigious Golden Bear at last year’s Berlin Film Festival. In the film, a 30-something layabout faces serious time after killing a child in a car accident, and his domineering mother can’t help but try to get him off the hook. It’s an unhealthy mother-son relationship, to say the least, and Călin Peter Netzer deftly examines loss, dependency and the delicate bonds that hold families together. As the mother, Luminiţa Gheorghiu is restrained but powerful, breathing life and credibility into what could have been an overwrought role. MICHAEL NORDINE. Living Room Theaters.

A Cinema of Mutual Respect

[TWO NIGHTS ONLY] Collaborators Alexander Carver, Gabriel Abrantes and Daniel Schmidt make experimental films that Cinema Project’s Mia Ferm says exist “in a weird cross section between experimental film, indie narrative and gallery moving-image art.” Cinema Project presents two different programs, with Schmidt in attendance both evenings. Hollywood Theatre. 7:30 pm Monday and Wednesday, April 21 and 23.


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 with Divergent, director Neil Burger proves there’s more than one way to ride this wave. Veronica Roth wrote Divergent while still in college—and probably right after reading Ender’s Game—and she brings together the overthrow of an oppressive government and a freshman-year identity crisis. 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, Cornelius, Oak Grove, Movies on TV.

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.

EyES TO SEE yOu: Johnny Depp gives a PowerPoint presentation.

TRANSCENDENCE On the surface, techno thrillers seem like a slam dunk: As technology evolves, so do the potential plot devices for effects-heavy films that pit man against the very stuff designed to benefit humanity. The trouble is, the shelf life of a techno thriller shrinks as technology advances. The long list of movies that were once considered “cuttingedge”—Maximum Overdrive, The Net, Antitrust, Hackers, Eagle Eye, Swordfish—should serve as a warning to directors planning a film that includes more than one scene of actors frantically typing in a dark room lit only by a computer screen while talking about algorithms and “the Web.” It’s unlikely Transcendence will be as horribly dated as its nearest counterpart, the 1992 oddity The Lawnmower Man, with which it shares the theme of a goodhearted man transforming into a digital god. Unlike that horrible riff on Flowers for Algernon, Transcendence addresses a compelling question about a technologically dependent society: What are the benefits and costs of computers that behave with the intelligence (and potential malevolence) of a super-evolved human mind? The cautionary tale centers on Drs. Will and Evelyn Caster (Johnny Depp and Rebecca Hall), whose lives are torn apart when Will is mortally wounded by terrorists attempting to halt his revolutionary artificial-intelligence program. Distraught, Evelyn and a skeptical colleague (Paul Bettany) manage to record Will’s brain patterns and incorporate them into the supercomputer’s operating system, effectively resurrecting Will’s ideas and personality. But wait…is it Will? (Cue explosive “bwwwaum” sound effect.) Transcendence isn’t nearly as corny as it sounds, and the plot transforms into something unexpected as terrorists, the military and other organizations grow wary of “Will’s” plan to connect human minds. Credit director Wally Pfister—Christopher Nolan’s go-to cinematographer, making his directorial debut after giving Inception, Memento and the Batman trilogy their aesthetic—for making things look gorgeous, feel creepy and move relatively briskly. Depp gives an unusually subdued performance as something of an advanced cousin of HAL 9000, while Hall anchors the film with much-needed heart as she struggles to differentiate between the man she loves and the monster she’s made in his image. But in moving between the smaller story of tragic lovers and a greater fable about the dangers of playing God, Pfister’s film jackknifes jarringly, with characters inexplicably switching allegiances and fundamentally flipping their ideals halfway through. Such muddy characterization means that even if the film’s technology never feels as outdated as a flip phone, it’s still unlikely to endure. AP KRYZA. There’s a ghost in the machine.

C+ SEE IT: Transcendence is rated PG-13. It opens Friday at Cedar Hills, Eastport, Clackamas, Oak Grove, Bridgeport, Division, Lloyd Center, Movies on TV, Pioneer Place, Hilltop, Sherwood, Tigard.

Willamette Week APRIL 16, 2014


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

Captain America: The Winter Soldier (PG-13) 11:15AM 12:50PM 4:00PM 5:35PM 7:10PM 10:25PM Divergent (PG-13) 12:20PM 3:40PM 6:55PM 10:10PM Captain America: The Winter Soldier 3D (PG-13) 2:25PM 8:45PM LEGO (PG) 11:05AM 4:20PM 9:45PM Bears (G) 12:30PM 2:45PM 5:00PM 7:15PM 9:30PM Haunted House 2, A (R) 12:15PM 2:50PM 5:20PM 7:45PM 10:15PM Heaven Is For Real (PG) 11:15AM 1:55PM 4:35PM 7:15PM 9:55PM Grand Budapest Hotel, The (R) 11:30AM 2:15PM 4:55PM 7:30PM 10:05PM Draft Day (PG-13) 11:35AM 2:20PM 5:05PM 7:50PM 10:35PM God’s Not Dead (PG) 11:10AM 2:00PM 4:50PM 7:40PM 10:30PM

Muppets Most Wanted (PG) 11:25AM 4:45PM 10:05PM Noah (PG-13) 12:05PM 3:35PM 7:05PM 10:15PM Transcendence (PG-13) 11:05AM 12:30PM 1:55PM 3:20PM 4:45PM 6:10PM 7:35PM 9:00PM 10:25PM LEGO (PG) 2:10PM 7:30PM Rio 2 3D (G) 12:40PM 3:20PM 6:00PM 8:40PM Rio 2 (G) 11:20AM 2:00PM 4:40PM 7:20PM 10:00PM Oculus (R) 12:05PM 2:40PM 5:15PM 7:50PM 10:25PM Race Gurram (Ficus) (NR) 12:30PM 3:45PM 7:00PM 10:15PM Captain America: The Winter Soldier 3D (PG-13) 11:05AM 5:25PM

Captain America: The Winter Soldier (PG-13) 12:05PM 2:15PM 3:30PM 7:00PM 8:35PM 10:10PM Heaven Is For Real (PG) 11:30AM 2:00PM 4:30PM 7:00PM 9:30PM Bears (G) 11:00AM 1:10PM 3:10PM 5:30PM 7:40PM 9:50PM Grand Budapest Hotel, The (R) 11:30AM 2:10PM 4:45PM 7:20PM 10:00PM Haunted House 2, A (R) 12:00PM 3:00PM 5:20PM 7:40PM 10:00PM 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 10:15PM Noah (PG-13) 11:05AM 2:15PM 5:25PM 8:45PM Transcendence (PG-13) 1:00PM 4:00PM 7:10PM 10:10PM Mr. Peabody And Sherman (PG) 11:25AM 1:55PM 4:25PM 7:00PM 9:30PM Rio 2 3D (G) 12:20PM 3:10PM 6:05PM 8:50PM Rio 2 (G) 11:00AM 1:40PM 4:35PM 7:25PM 10:15PM Oculus (R) 11:20AM 2:00PM 4:45PM 7:30PM 10:05PM Raid 2, The (R) 11:10AM 2:45PM 6:20PM 9:50PM Captain America: The Winter Soldier 3D (PG-13)

2:20PM 9:00PM Captain America: The Winter Soldier (PG-13) 11:00AM 12:40PM 3:55PM 5:35PM 7:20PM 10:30PM Heaven Is For Real (PG) 11:30AM 2:10PM 5:00PM 7:45PM 10:30PM Bears (G) 12:15PM 2:30PM 4:45PM 7:00PM 9:15PM Grand Budapest Hotel, The (R) 12:00PM 2:35PM 5:05PM 7:40PM 10:15PM Haunted House 2, A (R) 12:10PM 2:50PM 5:20PM 7:50PM 10:20PM Divergent (PG-13) 12:30PM 3:50PM 7:05PM 10:25PM Draft Day (PG-13) 11:20AM 2:05PM 4:50PM 7:35PM 10:20PM

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

APRIL 16–22

scenes—including one involving tarantulas and masked women at a sex club—that prove this isn’t entirely an indulgent exercise in pseudo-intellectualism. Based on a novel by Pulitzer Prize-winning Portuguese fabulist José Saramago, Enemy centers on an affectless history professor named Adam (Jake Gyllenhaal). When one particularly tenacious co-worker suggests Adam rent a silly rom-com, he gives in—and discovers that one of the actors looks exactly like him. As the look-alikes, Gyllenhaal turns in two sly and playful performances, sweating and stuttering as Adam, crowing and strutting as Anthony. Set in an unnamed Canadian city, the entire film looks stained by nicotine, all sickly taupes and jaundiced yellows. The score, a fitful mix of strings and metallic clangs, amplifies the sense of menace. What it all means—and whether it’s more than a creepy mood piece—is debatable. Is Villeneuve commenting on male insecurity? On isolation and desire? Or perhaps he’s just spinning us into an intricate, inescapable web. R. REBECCA JACOBSON. Academy.

C- Five years after finding her husband’s body washed up on a beach in Mexico, Nikki (Annette Bening) goes aimlessly about life in Los Angeles. But then she spots the late Garrett’s doppelganger in Tom (Ed Harris), and begins haunting the grounds of an art museum in hopes of seeing him again. The Face of Love moves forward in a straight, surprise-free line as Nikki and Tom inevitably enter into a relationship that leads to a confrontation with the past. In doing so, director Arie Posin skirts more entrancing matters, resulting in a maudlin, vanilla film. PG-13. KRISTI MITSUDA. Living Room Theaters.


Filmed by Bike

[FOUR DAYS ONLY] Velophilia and cinephilia collide for four days of films devoted to bikes in all their glory. For the first time in its 12-year history, the fest will show a featurelength film, Ciclo, about two Mexican brothers who retrace their 1956 bike journey from Mexico to Canada. Otherwise, expect short films from all over the world, a storytelling event and an opening-night street party with beer, acrobatics and a DJ. See for schedule. Clinton Street Theater. SaturdayTuesday, April 19-22.

B Widely hailed as a return to the classic animated features of yore, Frozen arrives as an uncomplicated triumph of traditionalism, for better or worse. Compared to the pandering messiness of most kids’ movies, there’s plenty to excite the familyfriendly faithful. Widescreen 3-D visuals sculpt an endlessly inventive setting of ice palaces and snowcapped peaks, the original songs written by veterans of Avenue Q and The Book of Mormon soar and tickle as needed, and snowman sidekick Olaf giddily beats back the encroaching melodrama. PG. JAY HORTON. Academy, Kennedy School.

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. Our hero, M. Gustave, is the dapper concierge running the Grand Budapest front desk and back halls. He’s played by Ralph Fiennes with such flowery cosmopolitanism that you can almost see the cloud of cologne drifting behind him as he scurries to his next boudoir appointment with a rich dowager. I’d love to recite an ode to The Grand Budapest Hotel, because it’s the most politically aware story Anderson has told. It’s set in an

Willamette Week APRIL 16, 2014


A- With Gravity, Alfonso Cuarón

and his screenwriter son, Jonas, take on the most primal fear possible, that of being lost in an abyss of nothingness. The film features only two actors, Sandra Bullock and George Clooney, whose simple space-station repair mission turns into a nightmare as debris from a destroyed satellite tears their shuttle to shreds. We, like the characters, are stuck, watching as the events unfold and gasping for our collective breath as the oxygen meter slowly runs out. PG-13. AP KRYZA. Valley.

A Haunted House 2

The 2013 original was almost universally panned, and in this follow-up horror spoof, we can only


The Face of Love



imaginary Middle European country in the 1930s, at the edge of war. Its story, a silly caper, brushes against the deepest horrors of the 20th century, and ends by acknowledging irrevocable damage. Yet I can’t shake the feeling that something’s missing. 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. Cinema 21, Cedar Hills, Eastport, Clackamas, CineMagic, Hollywood, Moreland, Oak Grove, St. Johns.



DOUBLE DICKIES: Richard E. Grant and Jude Law.

DOM HEMINGWAY Pretty boy turns petty; preaches with poetry.

Jude Law is all grown up. In Richard Shepard’s gangster send-up Dom Hemingway, Law has ditched his pretty-boy looks to play a petty criminal with a paunch and “a face like an abortion.” (Dom’s words, not mine.) The results are so delightful you can’t help hoping Law lets his hairline recede and gym membership expire. Dom Hemingway begins with our imprisoned hero, naked of torso and arms akimbo, delivering a soliloquy about the many splendors of his “exquisite cock.” His penis is a Picasso, Hemingway argues. It’s a Renoir. It should hang in the Louvre. Perhaps he’s right, but we never see the member, which, in this opening scene, is the appreciative recipient of a conjugal visit. The true work of art and the driving force behind this farce is Dom’s brain. Sure, it didn’t always make good decisions—there was that 12-year jail sentence for a safe-cracking gone awry. While Dom did time, his estranged wife died of cancer and his daughter came to the understandable conclusion that her father was a schmuck best left to his own devices. But, my God, the similes that flow from Dom’s mouth, even when he’s reeling from a bird-and-blow binge. “It feels like Cossacks are sodomizing my cranium,” he tells Dickie Black, his one-handed partner-in-crime. It’s poetry. Pure poetry. That’s not to say Dom Hemingway is deep or anything. It’s Sexy Beast meets Lock, Stock and Two Smoking Barrels meets triumph of the criminal spirit. In other words, it’s damned entertaining, thanks both to Law, who inhabits Hemingway’s sideburns, leisure suits and slouch like he was born a small-time Midlands wastrel, and Richard E. Grant, whose portrayal of the long-suffering, clothes-obsessed Dickie is a breath of wry air. There is a plot, at least of sorts. Dom and Dickie head to France to retrieve Dom’s share of the spoils from the job that landed him in the joint. Waiting for them is a man they call “Fontaine,” but who now goes by Ivan. Ivan has odd taste in art—namely portraits of primates—and a gorgeous girlfriend who, following an equally gorgeous car crash, takes Dom’s money and runs. Dom then sets out to get his money back and win over the affections of his daughter. Both quests seem doomed from the start, but Dom, while dumb, ain’t stupid. Consider his response to being told he can no longer smoke in his favorite pub because it’s bad for his health. “Being a cunt is bad for your health,” he says. “I’m just smoking a fag.” DEBORAH KENNEDY. B+

SEE IT: Dom Hemingway is rated R. It opens Friday at Fox Tower.

april 16–22

Heaven Is for Real

A based-on-truth drama, starring Greg Kinnear as a father whose son attests that he visited heaven after a near-death experience. pG. Cedar Hills, Eastport, Clackamas, Cornelius, Bridgeport, Hilltop, Lloyd Mall, Movies on TV.


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. It seems to know you. You fall in love with her. Eventually, you’re arguing about sex. She starts saying things like, “I’m becoming much more than they programmed.” Twenty years ago, this scenario would’ve played as a dystopian nightmare. But in the era of Catfish, where “dating” is an increasingly abstract concept, the premise of Spike Jonze’s Her can serve as the basis for an honest-togoodness relationship drama. Her is, perhaps, a movie that is easier to think about than to watch: It’s overlong, and prone to greeting-card proverbs. But its central thought is one that will only grow more significant as the world becomes a bigger, more alienating place: Is any feeling real, or are we just programmed that way? r. MATTHEW SINGER. Laurelhurst.

The Lego Movie

B+ In The Lego Movie, directors

Phil Lord and Christopher Miller have imagined a world of chaotic bliss. Using a combination of computer and stop-motion animation that keeps the herky-jerky laws of Lego physics in mind, The Lego Movie follows milquetoast construction worker Emmet (Chris Pratt) on a hero’s journey. Emmet is seen as the unwitting prophet who could end the reign of President Business (Will Farrell), a tyrant who believes all creations should be made exactly according to instructions. The Lego Movie comes dangerously close to the pop culture-saturated Shrek model, but just when the film starts becoming too cute, the plot shifts into another nutso action sequence filled with clever sight gags. pG. AP KRYZA. Cedar Hills, Clackamas, Empirical Theater at OMSI.

The Missing Picture

B Rithy Panh’s affecting documen-

tary employs hundreds of clay figurines to tell an autobiographical story of Cambodia’s genocide of the ’70s. But this isn’t claymation— the figurines, painstakingly carved and painted, do not move. Panh,

a French-Canadian director who’s made several other films about the Khmer Rouge, instead places these tiny yet haunting sculptures in elaborate dioramas of the killing fields. Alongside these tableaux, Panh splices in archival propaganda newsreels and occasionally superimposes the clay figurines into the action. Tying it all together is the preternaturally calm voice-over narration, which blends memories of horror with more abstract musings on “conquest through emptiness” and the revolutionary power of cinema. REBECCA JACOBSON. Living Room Theaters.

The Monuments Men

C+ The story of The Monuments Men is inspiring. During World War II, a squadron of older art scholars was dispatched to Europe in an effort to protect art and other precious cultural artifacts from being destroyed by bombs, stolen by the Nazis or swiped by private collectors. It sounds like incredible fodder for a film, especially with George Clooney in front of and behind the camera, and a dream cast that includes Matt Damon, Cate Blanchett, John Goodman, Bill Murray and Jean Dujardin. Alas, what could have been a weird cross between Inglourious Basterds and Ocean’s Eleven turns out to be a bit of a slog. pG-13. AP KRYZA. Academy, Edgefield, Kennedy School, Laurelhurst, Mt. Hood, St. Johns, Valley.

Mr. Peabody & Sherman

Two Rocky & Bullwinkle characters take some trips in a time machine. pG. Eastport, Clackamas, Movies on TV.

Muppets Most Wanted

B While technically the eighth

Muppet movie, new release Muppets Most Wanted probably won’t be judged against the grosses of Muppet Treasure Island. For better or worse, the overwhelming success of 2011’s The Muppets provided Disney a reboot blueprint: Stay with what works and remember who we’re here to see. So, of course, Kermit is replaced by a Russian doppelgänger, we visit the grand concert halls of Europe, and Tina Fey and Ricky Gervais are given extended solo dance routines. While awful choices abound, the Muppets reflexively generate so much unsinkable goodwill that even the laziest of plots still charms—and might even be welcome, given the ’70s-meets-art deco visual aesthetic and escalating cameo bombs. pG. JAY HORTON. Cedar Hills, Eastport, Clackamas, Forest, Movies on TV.


Maybe you’ve heard this story about a giant flood and some animals on a boat. Russell Crowe apparently got the pope’s blessing for the movie, but the studio doesn’t seem to have

the same level of faith—Noah didn’t screen for Portland critics. pG-13. Cedar Hills, Eastport, Clackamas, Cornelius, Oak Grove, Movies on TV.

+ a teaser of Ian McCluskey’s new film Les Voyageurs Sans Trace (featuring Paul and Kate Kuthe)!

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 two-part 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. Laurelhurst.

Nymphomaniac: Volume II

C- Le sigh. It couldn’t last. The

first half of Lars von Trier’s Nymphomaniac managed to strike a wobbly balance between humorously abstract rumination and subzero-temp sexploitation. But the second part of his examination of the travails of a self-professed nymphomaniac (Charlotte Gainsbourg) is just a litany of complaint, delivered in Latin. You start to feel that like an old fetishist, the often brilliant von Trier just can’t help himself: He must take a revered indie figure (Björk, Gainsbourg), and put her through the full paces of sub-Sirkian melodrama, but only so slowly and tediously you aren’t actually manipulated into feeling anything. Instead, coldly, coldly—like a Nazi doctor— you must watch a woman subjected to torture, whether by her own designs or those of awful men. And so the titular nymphomaniac is betrayed by both protegee and mentor, slapped around just so she can feel again, kicked in the face, and subjected to even worse indignities. Why? Because for some particularly trollish part of von Trier, pain is always the truth beneath any dream of happiness. “I am a nymphomaniac!” Gainsbourg proudly declares to a sex-addict support group that looks frumpy by comparison. Her triumph is brief. The film is not. MATTHEW KORFHAGE. Hollywood Theatre, Cinema 21.

Tuesday, April 22nd, 2014 @ McMenamins Mission Theater Doors at 6pm, Presentation at 7pm Minors welcome with parent/guardian Tickets at: Alder Creek Kayak & Canoe locations, online at, and at Mission Theater box-office McMenamins Mission Theater 1624 NW Glisan


B As evil mirrors go, you can’t 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

CONT. on page 50 CO U R T E SY O F PA R A DA F I L M

expect more hanky-panky between stuffed animals and Marlon Wayans. r. Cedar Hills, Eastport, Clackamas, Cornelius, Oak Grove, Bridgeport, City Center, Division, Lloyd Center, Movies on TV, Pioneer Place, Sherwood, Tigard.


child’s pose Willamette Week APRIL 16, 2014


APRIL 16–22

“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. While flashbacks dissecting the gruesome disintegration of Mom and Dad run concurrently with the kids’ frazzled attempts at vengeance, any breakthrough of buried memories or emotional truths 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, Cornelius, Oak Grove, Movies on TV.


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-my-soup humor that Fawlty Towers made irrelevant four decades ago. After the film ends, it’s Philomena’s story that sticks. Director Stephen Frears and company should be given credit only for staying out of the real Philomena’s way. PG-13. MITCH LILLIE. Academy, Laurelhurst.

Pig Death Machine

[ONE NIGHT ONLY] A wacky gross-out from cult auteur Jon Moritsugu about all the repellent stuff that happens to two people who eat contaminated pork. Clinton Street Theater. 7 pm Thursday, April 17.

The Raid 2

B+ Poor Rama. The last time we saw

the baby-faced 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, Indonesiabased 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 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, but instead, he has attempted something much grander and more ambitious. The story is sprawling, and the formerly one-dimensional Rama gets a bit more personality. This adds up to a lot more downtime between fight scenes. But it also gives Evans the opportunity to prove he is a filmmaker capable of far bigger things. R. RUTH BROWN. Cinema 21, Movies on TV, Eastport, Clackamas.

Rio 2

Anne Hathaway and Jesse Eisenberg voice mama and papa macaws raising a feathered brood. WW was too hungover from spring break to make the screening. G. Cedar Hills, Eastport, Clackamas, Cornelius, Oak Grove, Movies on TV.


B+ First, the bad news: In this RoboCop, no bad guys get turned into walking piles of toxic waste and splattered across the hood of a car. It’s PG-13, after all. The good news is almost everything else. Don’t misread. This reboot doesn’t graze the 1987 original, in which Paul Verhoeven Trojan-horsed a wicked-sharp critique of American corporate fascism


inside a gonzo sci-fi blow-’em-up and scored a massive hit. But if we forget the movie is called RoboCop, what we’ve got is an above-average, largescale Hollywood action flick. PG-13. MATTHEW SINGER. St. Johns.



A Spell to Ward Off the Darkness


Ward Off the Darkness, co-directed by British experimentalists Ben Russell and Ben Rivers, aims to be a triptych study of light and darkness. The first of three sections—denoted only by a triangle that flashes onscreen—is set in a utopian commune. The multilingual members splash in the sauna, breastfeed their children and share responsibilities and screen time. Only in the second segment do we learn that the silent, springy-haired man is the protagonist, now completely alone, fishing and foraging on an island. He’s played by a completely wordless Robert Aiki Aubrey Lowe, the experimental musician who performs as Lichens. The second leg should the film’s crown, with meditations on isolation and self. But it ends up as proof that an expansive vision does not excuse incoherence. We wander around the forest with Lowe, taking in a postcard rack’s worth of trees, water and, yes, lichen. Filmed in one long shot, the final section sees Lowe performing as part of a metal band in a dim bar. The atmosphere is jovial, not dark, and the whole film, one imagines, has been one long promo video for Lowe’s next abstract project. While Spell certainly wards off darkness, other demons eventually overwhelm it. MITCH LILLIE. NW Film Center’s Whitsell Auditorium. 9 pm Friday and 7 and 9 pm Saturday, April 18-19.

Under the Skin

B 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. Though based on the novel by Michel Faber, Under the Skin is greatly stripped down. Why ScarJo, decked out in skintight, acid-washed jeans and a Karen Carpenter wig, is compelled to take men home to one her many mirror-floored apartments 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 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. Why? The lack of clarity is part of the film’s appeal. But it’s also 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. R. DEBORAH KENNEDY. Fox Tower.

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, he’s found what may be the ultimate embodiment of this notion. Now out of the public eye and essentially off the hook, 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.

Willamette Week APRIL 16, 2014

LIVE BY THE SWORD: And for the buxom warrior women.


apkr yza@wweek .com

When the hell did stoner movies get so damn complicated? The best of the recent crop of “let’s get high” films, the Seth Rogen-James Franco opuses Pineapple Express and This Is the End, are brilliant in their balance of scatological humor and smarts, the former a dissection of action cinema and the latter a commentary on celebrity selfishness. But damned if they don’t require you to think. Whether it’s Rogen and Franco lampooning their celebrity personas, Harold and Kumar questing for White Castle, or Method Man and Redman attending Harvard, stoner flicks of the past 15 years are so rife with wordplay and pop-culture references that viewing them requires you to actually process information and pay attention. That’s pretty hard after a long session with a gravity bong. Which makes 1981’s animated freak show Heavy Metal (playing Friday to Sunday at Portland State’s 5th Avenue Cinema) all the more essential as 4/20 rolls around. Make no mistake: Heavy Metal is a terrible, terrible film. With its buxom warrior women, Jimmy Carter sextime rock soundtrack (with contributions from Devo, Black Sabbath and Cheap Trick), space truckers and muscle-bound sexual demigods, Gerald Potterton’s film looks as if it were masturbated into existence by a 12-year-old who got a hold of his dad’s stash and went to town on the doodles on the back of his notebook. But the hand-drawn animation of the anthology flick, which is linked together by an evil space orb or some shit, is gorgeous. The voice cast—populated by SCTV alums like John Candy, Eugene Levy and Harold Ramis—is spot-on, and the onslaught of zombies, astronauts, flying bird thingies and impossibly gigantic boobs is nonsensically incredible. And incredibly stupid. Most importantly, it doesn’t require a single brain cell to enjoy. It’s an antiquated, batshit crazy fantasy fi lm in which nerdy kids are transformed into sexually charged warriors, humping a space nympho is essential to saving the world, and butt-rock anthems blare with the power of 1,000 subwoofers installed in 1,000 windowless vans

with unicorn decals. As such, it just might be the purest stoner flick of all. Portland State’s 5th Avenue Cinema. 7 and 9:30 pm Friday-Saturday and 3 pm Sunday, April 18-20. ALSO SHOWING: In terms of charisma, Ferris Bueller ranks at the top of the movie-character totem. He’s also a manipulative, self-serving prick, which makes me wonder why nobody has made a sequel in which Ferris rises to power as the dictator of a small nation, with Cameron as his bodyguard/sex gimp. This screening of Ferris Bueller’s Day Off includes free beer samples, plus a pre-movie set by comedian Amy Miller, who can totally steal that sex gimp joke. Mission Theater. 7 pm Wednesday, April 16. Former WW columnist and perennial gadfly Byron Beck takes the stage at the Hollywood for Lost Oregon, a presentation of old home movies and government films peering into the state’s history. The Beck-led “celebrity” panel (which, for some reason, doesn’t include me) will attempt to identify locations. All of you in the audience, meanwhile, get to provide the soundtrack. Sing loud and proud, people. Hollywood Theatre. 7:15 pm Thursday, April 17. When Reservoir Dogs hit theaters in 1992, nobody could have guessed the impact it would have on cinema, the endless knockoff s it would inspire, or how it would cause shortages of skinny black ties in thrift shops across the land. Laurelhurst Theater. April 18-24. If avant-garde film is your thing, 5th Avenue Cinema is ready to blow your mind with a free program of works by masters Stan Brakhage and Maya Deren. If it’s not your thing, this might prove a living hell, and you should stay home and watch Road House, which is definitely showing on some channel or other and is definitely awesome. 5th Avenue Cinema. 7:30 pm Friday, April 18. A pioneering indie flick shot on a shoestring budget, 1978’s Northern Lights tells the story of a 1915 anti-trust campaign in North Dakota, with local North Dakotans—and their accents—populating the cast in lieu of professional actors. NW Film Center’s Whitsell Auditorium. 7 pm Friday and Sunday, April 18 and 20. Francis Ford Coppola’s Apocalypse Now is also a great stoner movie, but for all the wrong reasons: It’s a bugfuck trip into the heart of darkness. Halfway through the movie, it makes you feel high as hell totally on its own. And that’s before Dennis Hopper shows up. This digital restoration is of the original cut, not the “redux” version that included extra French people talking. Hollywood Theatre. 2:30 and 7:30 pm Saturday-Sunday, April 19-20.


APRIL 18–24

EVERY DOG HAS ITS DAY: Reservoir Dogs plays April 18-24 at the Laurelhurst Theater. 09:00

Kennedy School Theater Regal Lloyd Center 10 & IMAX

1510 NE Multnomah St. TRANSCENDENCE: THE IMAX EXPERIENCE Fri-SatSun 01:30, 04:30, 07:30, 10:30 TRANSCENDENCE Fri-Sat-Sun 12:50, 03:50, 06:50, 09:50 BEARS FriSat-Sun 12:25, 05:15, 07:25, 09:45 A HAUNTED HOUSE 2 Fri-Sat-Sun 12:00, 02:20, 04:45, 07:10, 09:35 PETER GABRIEL: BACK TO FRONT Wed 07:30

Regal Lloyd Mall 8

2320 Lloyd Center Mall HEAVEN IS FOR REAL Fri-Sat-Sun-Mon-Tue-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

616 NW 21st Ave., 503-223-4515 THE GRAND BUDAPEST HOTEL Fri-Sat-Sun-MonTue-Wed 04:30, 07:00, 09:30 NYMPHOMANIAC: VOLUME II Fri-Sat-SunMon-Tue-Wed 06:45, 09:15 THE RAID 2 Fri-Sat-SunMon-Tue-Wed 03:15, 09:45

Clinton Street Theater

2522 SE Clinton St., 503-238-8899 FILMED BY BIKE Sat-SunMon-Tue 06:00, 08:00 THE ROCKY HORROR PICTURE SHOW Sat 12:00 REEL FEMINISM: SIREN SPIRITS Wed 07:00

Laurelhurst Theatre & Pub

2735 E Burnside St., 503-232-5511 THE MONUMENTS MEN Fri-Sat-Sun-Mon-TueWed 07:00 BAD WORDS Fri-Sat-Sun-Mon-TueWed 04:30, 07:20, 07:20 RESERVOIR DOGS Fri-SatSun-Mon-Tue-Wed 09:40 12 YEARS A SLAVE Fri-SatSun-Mon-Tue-Wed 06:30 NYMPHOMANIAC: VOLUME I Fri-Sat-Sun-Mon-Tue-Wed 09:15 AMERICAN HUSTLE Fri-Sat-Sun-Mon-Tue-Wed 09:00 PHILOMENA FriSat-Sun-Mon-Tue-Wed 06:45 HER Fri-Sat-SunMon-Tue-Wed 09:30 FROZEN SING-ALONG SatSun 01:40

Moreland Theatre

6712 SE Milwaukie Ave., 503236-5257 THE GRAND BUDAPEST HOTEL Fri-Sat-Sun-Mon-

Tue-Wed 05:30, 07:40

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

CineMagic Theatre

2021 SE Hawthorne Blvd., 503-231-7919 THE GRAND BUDAPEST HOTEL Fri-Sat-Sun-MonTue-Wed 05:30, 07:40

Century 16 Eastport Plaza

4040 SE 82nd Ave., 800-326-3264-952 MR. PEABODY & SHERMAN Fri-Sat-Sun-Mon-Tue-Wed 11:25, 01:55, 04:25, 07:00, 09:30 DIVERGENT FriSat-Sun-Mon-Tue-Wed 12:30, 03:50, 07:05, 10:25 MUPPETS MOST WANTED Fri-Sat-Sun-Mon-Tue-Wed 11:15, 02:10, 05:00, 07:45, 10:15 BEARS Fri-Sat-SunMon-Tue-Wed 12:15, 02:30, 04:45, 07:00, 09:15 THE GRAND BUDAPEST HOTEL Fri-Sat-Sun-Mon-Tue-Wed 12:00, 02:35, 05:05, 07:40, 10:15 NOAH Fri-Sat-SunMon-Tue-Wed 11:05, 02:15, 05:25, 08:45 DRAFT DAY Fri-Sat-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 11:00, 12:40, 03:55, 05:35, 07:20, 10:30 CAPTAIN AMERICA: THE WINTER SOLDIER 3D Fri-Sat-SunMon-Tue-Wed 02:20, 09:00 THE RAID 2: BERANDAL Fri-Sat-Sun-Mon-Tue-Wed 11:10, 02:45, 06:20, 09:50 RIO 2 Fri-Sat-Sun-MonTue-Wed 11:00, 01:40, 04:35, 07:25, 10:15 RIO 2 3D Fri-Sat-Sun-MonTue-Wed 12:20, 03:10, 06:05, 08:50 OCULUS Fri-Sat-Sun-Mon-Tue-Wed 11:20, 02:00, 04:45, 07:30, 10:05 TRANSCENDENCE Fri-Sat-Sun-Mon-Tue-Wed 01:00, 04:00, 07:10, 10:10 HEAVEN IS FOR REAL Fri-Sat-Sun-Mon-Tue-Wed 11:30, 02:10, 05:00, 07:45, 10:30 A HAUNTED HOUSE 2 Fri-Sat-Sun-Mon-TueWed 12:10, 02:50, 05:20, 07:50, 10:20

Edgefield Powerstation Theater

2126 SW Halsey St., 503-249-7474-2 THE MONUMENTS MEN Fri-Sat-Sun-Mon-Tue-Wed 06:00 12 YEARS A SLAVE Fri-Sat-Sun-Mon-Tue-Wed

5736 NE 33rd Ave., 503-249-7474-4 FROZEN Fri-Sat-Sun-MonTue-Wed 12:00, 05:30 12 YEARS A SLAVE FriSat-Sun-Mon 02:30 THE MONUMENTS MEN Fri-SatSun-Mon-Tue-Wed 07:45 ABOUT LAST NIGHT FriSat-Tue-Wed 02:30

Empirical Theatre at OMSI

1945 SE Water Ave., 503-797-4000 MYSTERIES OF THE UNSEEN WORLD Fri-SatSun 11:00 SEA MONSTERS 3D: A PREHISTORIC ADVENTURE Fri-Sat-Sun 12:00 FLIGHT OF THE BUTTERFLIES 3D FriSat-Sun 01:00 GREAT WHITE SHARK Fri-Sat-Sun 02:00 JERUSALEM FriSat-Sun 03:00 THE LEGO MOVIE Fri-Sat-Sun 04:00 PARTICLE FEVER Fri-SatSun 06:00

Hollywood Theatre

4122 NE Sandy Blvd., 503-281-4215 NYMPHOMANIAC: VOLUME II Fri-Sat-Sun-Mon-TueWed 07:00, 09:30 THE GRAND BUDAPEST HOTEL Fri-Sat-Sun-Mon-Tue-Wed 07:15, 09:15 APOCALYPSE NOW Sat-Sun 02:30, 07:30 CINEMA PROJECT MonWed 07:30 TV KNOWS BEST Tue 07:30

NW Film Center’s Whitsell Auditorium

1219 SW Park Ave., 503-221-1156 NORTHERN LIGHTS FriSun 07:00 A SPELL TO WARD OFF THE DARKNESS Fri-Sat 07:00, 09:00 REGIONAL ONE FINALS Tue 06:00 WINTER IN THE BLOOD Wed 07:00

Regal Pioneer Place Stadium 6

340 SW Morrison St. A HAUNTED HOUSE 2 FriSat-Sun-Mon-Tue-Wed 02:10, 04:45, 07:45, 10:15 TRANSCENDENCE Fri-SatSun-Mon-Tue-Wed 01:00, 04:00, 07:00, 10:00

St. Johns Theater

8203 N Ivanhoe St., 503-249-7474-6 THE MONUMENTS MEN Fri-Sat-Sun-Mon-Tue-Wed 01:00, 06:30 ROBOCOP Fri-Sun-Mon-Tue-Wed 09:15

07:15 AMERICAN HUSTLE Fri-Sun-Mon-Tue-Wed 09:00 FROZEN Fri-SatSun-Mon-Tue-Wed 04:30 PHILOMENA Fri-Sat-SunMon-Tue-Wed 02:20, 06:45

Century Clackamas Town Center and XD

12000 SE 82nd Ave., 800-326-3264-996 THE TEN COMMANDMENTS Fri-Sun-Wed 02:00, 07:00 THE LEGO MOVIE Fri-SatSun-Mon-Tue-Wed 11:05, 04:20, 09:45 THE LEGO MOVIE 3D Fri-Sat-SunMon-Tue-Wed 01:40, 07:05 MR. PEABODY & SHERMAN Fri-Sat-Sun-Mon-Tue-Wed 02:00 DIVERGENT FriSat-Sun-Mon-Tue-Wed 12:20, 03:40, 06:55, 10:10 MUPPETS MOST WANTED Fri-Sat-Sun-Mon-TueWed 11:15, 10:15 BEARS Fri-Sat-Sun-Mon-TueWed 12:30, 02:45, 05:00, 07:15, 09:30 THE GRAND BUDAPEST HOTEL FriSat-Sun-Mon-Tue-Wed 11:30, 02:15, 04:55, 07:30, 10:05 GOD’S NOT DEAD Fri-Sat-Sun-Mon-Tue-Wed 11:10, 02:00, 04:50, 07:40, 10:30 NOAH Fri-Sat-SunMon-Tue-Wed 12:50, 04:05, 07:20, 10:30 DRAFT DAY Fri-Sat-Sun-Mon-Tue-Wed 11:35, 02:20, 05:05, 07:50, 10:35 CAPTAIN AMERICA: THE WINTER SOLDIER Fri-Sat-Sun-Mon-Tue-Wed 11:15, 12:50, 04:00, 05:35, 07:10, 10:25 CAPTAIN AMERICA: THE WINTER SOLDIER 3D Fri-Sat-SunMon-Tue-Wed 02:25, 08:45 THE RAID 2: BERANDAL Fri-Sat-Sun-Mon-Tue 12:00, 03:30, 07:00, 10:20 RIO 2 Fri-Sat-Sun-Mon-Tue-Wed 11:45, 12:45, 03:30, 05:15, 06:15, 09:00, 10:40 RIO 2 3D Fri-Sat-Sun-MonTue-Wed 11:00, 01:45, 02:30, 04:30, 07:15, 08:00, 10:00 OCULUS Fri-SatSun-Mon-Tue-Wed 11:50, 02:35, 05:10, 07:55, 10:40 TRANSCENDENCE Fri-SatSun-Mon-Tue-Wed 10:55, 12:10, 03:05, 06:10, 09:05 HEAVEN IS FOR REAL Fri-Sat-Sun-Mon-Tue-Wed 11:15, 01:55, 04:35, 07:15, 09:55 MAKE YOUR MOVE Fri-Sat-Sun-Mon-TueWed 11:20, 02:05, 04:50, 07:45, 10:35 A HAUNTED HOUSE 2 Fri-Sat-SunMon-Tue-Wed 12:15, 02:50, 05:20, 07:45, 10:15 PETER GABRIEL: BACK TO FRONT Wed 07:30

Academy Theater

7818 SE Stark St., 503-252-0500 BAD WORDS Fri-Sat-SunMon-Tue-Wed 05:15, 09:40 ENEMY Fri-Sat-Sun-MonTue-Wed 05:00, 09:15 300: RISE OF AN EMPIRE Fri-Sat-Sun-Mon-TueWed 02:40, 07:00 THE MONUMENTS MEN Fri-SatSun-Mon-Tue-Wed 02:50,


Willamette Week APRIL 16, 2014
















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Week of April 17



ACTIVISM ARIES (March 21-April 19): It’s Compensation Week. If you have in the past suffered from injustice, it’s an excellent time to go in quest of restitution. If you have been deprived of the beauty you need to thrive, now is the time to get filled up. Wherever your life has been out of balance, you have the power to create more harmony. Don’t be shy about seeking redress. Ask people to make amends. Pursue restorations. But don’t, under any circumstances, lust for revenge. TAURUS (April 20-May 20): “Our brains are no longer conditioned for reverence and awe,” said novelist John Updike. That’s a sad possibility. Could you please do something to dispute or override it, Taurus? Would it be too much to ask if I encouraged you to go out in quest of lyrical miracles that fill you with wonder? Can I persuade you to be alert for sweet mysteries that provoke dizzying joy and uncanny breakthroughs that heal a wound you’ve feared might forever plague you? Here’s what the astrological omens suggest: Phenomena that stir reverence and awe are far more likely than usual.

her way to be kind to a seemingly feeble, disabled old woman. The crone turns out to be a good witch who rewards the girl with a bag of gold. But as I hinted, there could also be a bit of that other kind of karma lurking in your vicinity. Would you like to ward it off? All you have to do is unleash a flurry of good deeds. Anytime you have a chance to help people in need, do it. SCORPIO (Oct. 23-Nov. 21): As they lie in the sand, African crocodiles are in the habit of opening their jaws wide for hours at a time. It keeps them cool, and allows for birds called plovers to stop by and pluck morsels of food that are stuck between the crocs’ molars. The relationship is symbiotic. The teeth-cleaners eat for free as they provide a service for the large reptiles. As I analyze your astrological aspects, Scorpio, I’m inclined to see an opportunity coming your way that has a certain resemblance to the plovers’. Can you summon the necessary trust and courage to take full advantage?

GEMINI (May 21-June 20): I wonder if it’s time for you to modify an old standby. I’m getting the sense that you should consider tinkering with a familiar resource that has served you pretty well. Why? This resource may have some hidden weakness that you need to attend to in order to prevent a future disruption. Now might be one of those rare occasions when you should ignore the old rule, “If it ain’t broke, don’t fix it.” So be proactive, Gemini. Investigate what’s going on beneath the surface. Make this your motto: “I will solve the problem before it’s a problem -- and then it will never be a problem.”

SAGITTARIUS (Nov. 22-Dec. 21): Are you sure you have enough obstacles? I’m afraid you’re running low. And that wouldn’t be healthy, would it? Obstacles keep you honest, after all. They motivate you to get smarter. They compel you to grow your willpower and develop more courage. Please understand that I’m not taking about trivial and boring obstacles that make you numb. I’m referring to scintillating obstacles that fire up your imagination; rousing obstacles that excite your determination to be who you want and get what you want. So your assignment is to acquire at least one new interesting obstacle. It’s time to tap into a deeper strain of your ingenuity.

CANCER (June 21-July 22): “Do you really have what it takes or do you not have what it takes?” That’s the wrong question to ask, in my opinion. You can’t possibly know the answer ahead of time, for one thing. To dwell on that quandary would put you on the defensive and activate your fear, diminishing your power to accomplish the task at hand. Here’s a more useful inquiry: “Do you want it strongly enough or do you not want it strongly enough?” With this as your meditation, you might be inspired to do whatever’s necessary to pump up your desire. And that is the single best thing you can do to ensure your ultimate success.

CAPRICORN (Dec. 22-Jan. 19): In 1937, physicist George Paget Thomson won a Nobel Prize for the work he did to prove that the electron is a wave. That’s funny, because his father, physicist J. J. Thomson, was awarded the Nobel Prize in 1906 for showing that the electron is a particle. Together, they helped tell the whole story about the electron, which as we now know is both a wave and a particle. I think it’s an excellent time for you to try something similar to what George did: follow up on some theme from the life of one of your parents or mentors; be inspired by what he or she did, but also go beyond it; build on a gift he or she gave the world, extending or expanding it.

LEO (July 23-Aug. 22): I swear my meditations are more dynamic when I hike along the trail through the marsh than if I’m pretzeled up in the lotus position back in my bedroom. Maybe I’ve been influenced by Aristotle’s Peripatetic School. He felt his students learned best when they accompanied him on long strolls. Then there was philosopher Friedrich Nietzsche, who testified that his most brilliant thoughts came to him as he rambled far and wide. Even if this possibility seems whimsical to you, Leo, I invite you to give it a try. According to my reading of the current astrological omens, your moving body is likely to generate bright ideas and unexpected solutions and visions of future adventures.

AQUARIUS (Jan. 20-Feb. 18): You have been a pretty decent student lately, Aquarius. The learning curve was steep, but you mastered it as well as could be expected. You had to pay more attention to the intricate details than you liked, which was sometimes excruciating, but you summoned the patience to tough it out. Congrats! Your against-the-grain effort was worth it. You are definitely smarter now than you were four weeks ago. But you are more wired, too. More stressed. In the next chapter of your life story, you will need some downtime to integrate all you’ve absorbed. I suggest you schedule some sessions in a sanctuary where you can relax more deeply than you’ve allowed yourself to relax in a while.

VIRGO (Aug. 23-Sept. 22): Throughout North America and Europe, there are hundreds of unused roads. Many are former exit and entrance ramps to major highways, abandoned for one reason or another. Some are stretches of pavement that used to be parts of main thoroughfares before they were rerouted. I suggest we make “unused roads” your metaphor of the week, Virgo. It may be time for you to bring some of them back into operation, and maybe even relink them to the pathways they were originally joined to. Are there any missing connections in your life that you would love to restore? Any partial bridges you feel motivated to finish building?

PISCES (Feb. 19-March 20): You have the power to shut what has been open or open what has been shut. That’s a lot of responsibility. Just because you have the power to unleash these momentous actions doesn’t mean you should rashly do so. Make sure your motivations are pure and your integrity is high. Try to keep fear and egotism from influencing you. Be aware that whatever you do will send out ripples for months to come. And when you are confident that you have taken the proper precautions, by all means proceed with vigor and rigor. Shut what has been open or open what has been shut -- or both.

LIBRA (Sept. 23-Oct. 22): Karma works both ways. If you do ignorant things, ignorant things may eventually be done to you. Engage in generous actions, and at some future date you may be the unexpected beneficiary of generosity. I’m expecting more of the latter than the former for you in the coming days, Libra. I think fate will bring you sweet compensations for your enlightened behavior in the past. I’m reminded of the fairy tale in which a peasant girl goes out of

Homework Comment on the following hypothesis: “You know what to do and you know when to do it.”

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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.

MCMENAMINS is now hiring LINE COOKS! 503.227.1098 $1000 WEEKLY MAILING BROCHURES From Home. Helping home workers since 2001. Genuine Opportunity. No Experience required. Start Immediately (AAN CAN) Help Wanted! make extra money in our free ever popular homemailer program, includes valuable guidebook! Start immediately! Genuine! 1-888-292-1120 (AAN CAN)

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.


Qualified apps must have an open & flex sched including, days, eves, wknds and holidays. We are looking for apps who have prev exp related exp and enjoy working in a busy cust service-oriented enviro. We are also willing to train! We offer opps for advancement and excellent benefits for elig employees, including vision, med, chiro, dental and so much more! Please apply online 24/7 at www. or pick up a paper app at any McMenamins locations. 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. Come to our McMenamins Cornelius Pass Roadhouse Job Fair, on Tues, April 29th, to fill out an app between the hours of 1pm and 4pm! Managers will be on hand to talk to interested apps. We are loc at 4045 NW Cornelius Pass Rd. Hillsboro, OR 97124.


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Willamette Week Classifieds APRIL 16, 2014





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Ron For Your Lives!–that’s all you can do.

(from a stand-up comedian and a fictional newsman)? 58 Video game starting point 59 ___ car (child’s ride) 62 Compass dir. 63 Advanced 64 Interlock 65 The Mavericks, on scoreboards 66 ‘90s Mariners star 67 Agree (to)

Across 1 Ski lodge drinks 7 Put up for display 11 “Danny and the Dinosaur” author ___ Hoff 14 Show off 15 Cookie with its name stamped on it 16 Actress Mendes 17 Furniture wheel 18 Club for shorter shots 20 “What’s that D.C. university, hon?” response (from a director and former

pitcher)? 22 Fish hook 24 Through 25 Controversial director Riefenstahl 26 Affect adversely 27 Dubliner’s dance 28 Affirmation at the altar 31 Adjust a clock 32 Become more liked by 34 Like day-old bread 36 Premium-class TV dinner brand (from a fictional

boss and an actor)? 40 Oldest of the “Animaniacs” siblings 41 Strainers 43 Miguel’s “more” 46 Part of iOS 47 Easter egg coloring 48 Put away 49 Volcano that erupted in 2002 51 Al and Peggy Bundy’s son 52 “Srsly?!” 53 Wine that can’t decide what it is

Down 1 Freon letters 2 Rock-___ (jukebox manufacturer) 3 Movement of money 4 Words before bounds or breath 5 Over again 6 “The Firebird” composer 7 Accord creator 8 Like Death Valley 9 “99 Luftballons” singer 10 Movie or party attachment 11 Sitcom, e.g. 12 Miss ___ (“PeeWee’s Playhouse” character) 13 “Heck!” 19 Down with something 21 18-wheeler 22 Prank 23 Goes on TV 27 The ___ Brothers 28 “___ Always

Sunny in Philadelphia” 29 Short, short shorts 30 Skate park maneuver 33 Method 34 Snoopy ___-cone Machine 35 The night before 37 Allows 38 Common 39 “Are you for ___?” 42 Hog’s haven 43 Whimpered 44 Favorite daughter of Zeus 45 Whimper 47 Burrowed 50 Fed on 51 AKC category 52 “This is weird, but...” 54 First name of the “First Lady of Song” 55 Feral pig 56 “...___ dust shalt thou return” 57 Columbus vessel 60 Food preserver 61 Suffix with employ

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 #JONZ671.


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Week Classifieds APRIL 16, 2014


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Hank the Tank!! Entering the ring standing 14 inches 14 pounds it’s HAAANNNNK! I’m a Dachshund/Chihuahua mix and I’m at the top of my game. I’m a real athlete and dare I say over achiever? During my 4 years in this ring they call the world I try to maintain a healthy regimen of exercise and diet. 15 reps of playtime a day. I love making new friends to workout with so I’m great with other dogs. Workouts are followed by cool down cuddle sessions with my coach (you) on the couch. Treats, treats ,treats, does a body good. I mean really I burn serious calories in those power lifting sessions!

I’ve got all my vaccines, microchipped and neutered. I’m getting fit for YOU! I’m looking for a new workout buddy and I’d love for you to be my new life coach. My name is Hank the Tank and I’m the ultimate contender for you lap and heart! To meet me fill out an application at The Pixie Project: Loving pets and people through personalized pet adoption and low cost veterinary assistance.

Medical Marijuana Card Services Clinic

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I’m a real man of discipline and just the guy you have been looking for! There’s an adoption fee of $220. So Tag me in! And we’d make the ultimate tag team.

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Spring Adoption Event April 17 – 19 50% off adult cat adoptions*

All cats are spayed or neutered, vaccinated, and tested for FIV/FeLV.

14175 SW Galbreath Drive Sherwood, OR 97140 503.925.8903 *Special adoption fees for cats age 1 year and above at CAT’s Sherwood shelter location only. No other discounts apply.

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Do you want to be debt free? Call Now: 503-808-9032 FREE Consultation. Payment Plans. Scott Hutchinson, Attorney 400+ Sales PDX’s LARGEST Garage Sale Sat. April 19th 8- 5 Adults $5 Kids Free Portland EXPO Center- 2060 N Marine


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$$$ CASH FOR DIABETIC TEST STRIPS $$$ Paying up to $30/box. Help those who can’t afford insurance. Free pickup in SW WA and Portland Metro. Call 360-693-0185

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


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

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Quick fix synthetic urine now available. Your hookah headquarters. Vapes. E-cigs, glass pipes, discount tobacco, detox products, salvia and kratom We Buy, Sell, & Trade New & Used HydroStill Smokin’ Tobacco For Less ponic Equipment. 503-747-3624 12302 SE Powell 503-762-4219

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Glass Pipes, Vaporizers, Incense, Candles. 10% discount for new OMA Card holders! Evening outpatient treatment 1425 NW 23rd, Ptld. 503-841-5751 program with suboxone. 7219 NE Hwy 99, Vanc. 360-735-5913 CRCHealth/Dr. Jim Thayer, Addiction Medicine 1-800-797-6237 Kaiser Permanente

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Program, Off Max near Clackamas Town Center 503-902-1105 Dr. Ray Tangredi Psychiatry/Addiction Initial 30 Minute Consultation Free

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40 24 willamette week, april 16, 2014  
40 24 willamette week, april 16, 2014