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VOL 40/26 04.30.2014

I L L L U S T R A T I O N B Y K E N N E T H H U E Y. P H O T O G R A P H B Y M A T T W O N G .



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CHEERING FANS: Live from the Portland Flea Market. Page 23.
















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

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The water ain’t so muddy on this one as WW suggests: It’s a simple case of big corporations trying to take over the Water Bureau to cut their rates (not ours) and take over the Bureau of Environmental Services to gut the environmental protections that make Portland such a great place to live [“Talkin’ Bull,” WW, April 23, 2014]. Yes, the City Council made some mistakes that made room for these opportunists to trick people into supporting their takeover. But those infamous “pet projects” barely add up to a rounding error in the Water Bureau’s budget. What is driving the high rates is the Big Pipe and burying the reservoirs. I’m against the reservoir project, but there is nothing a new board could do to stop it. If they try, they will get sued, they will lose, they will bury the reservoirs—with the added expense of all those legal fees. Listen to the chorus of civic groups that are paying close attention. Don’t be fooled! Vote “no” on Measure 26-156. —“Xander Patterson”

Well, at least this guy has been behind bars all this time and not out running around. That ought to be of some comfort [“Justice Derailed,” WW, April 23, 2014]. Still… That there could even be the mere perception that such a person were getting out just demonstrates where our so-called “justice” system truly lies. There are untold (and uncounted) numbers of innocent people rotting away in prison right now, because they simply were not “savvy enough” to game the process. —“Damos Abadon”

Elected volunteer boards are supervising utility districts all across Oregon, and doing a pretty good job. Take the paid politicians out of the equation, and let the utilities focus on their core business. —“Skepti-Cal” The infrastructure projects are necessary. I am voting to keep the water and sewer system in city control. I do not like the corporate interests with so much power, if they win this battle at the polls. —“hotstuffpdx”

I’m getting scolded for bringing my metal water bottle into the bar. Some bars say it’s illegal; others say I can keep it, but only if I let them fill it with their water. I can’t find this in OLCC regulations. Can you clarify? I just want to stay hydrated. —Drunk and Thirsty Oh, Drunk; you scamp, you saucy rogue. I can’t tell whether you’re just yanking my chain or you genuinely have a faltering grasp on the obvious. The Oregon Liquor Control Commission isn’t the only entity that can make bar rules—the bar also gets a say. There’s nothing in OLCC regulations that says you can’t write your name in the artichoke dip using your penis, for example, but most bars won’t let you do it. (Many won’t even let you do it using someone else’s penis.) You’re not allowed to bring outside containers into the bar for the same reason you’re not allowed to walk into Clarklewis, put your muddy 4

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Wait a minute! I thought Saint Jim was all about job creation [“It’s the Real Thing,” WW, April 23, 2014]. He didn’t seem to even know the county had a health department. Then he spots a contribution from Coca-Cola to his rival, and it renews his concern over childhood obesity while he conveniently forgets he had tried to tap them himself? Go back to your welding lessons, Francesconi. —“Dave Lister”


Must everything have a label? [“The Fleecing of America,” WW, April 23, 2013.] They’re clothes. Put them on and shut up. —“Dave Fitzpatrick” 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:

feet up on the linen tablecloths, and ask the maitre d’ to be a sport and heat up that microwave burrito you’ve been saving for just such an occasion: No one makes any money when you do such a thing. I realize you’ve been giving me a song-anddance about hydration, but I find it hard to believe you haven’t noticed how much cheaper your night out could be if you could bring liquor from home. The bar assumes, probably correctly, that you’re trying to sneak in cheap booze so you can suck up all their tony atmosphere without shaking loose any cash. So cut the bar some slack. They’re in business to sell drinks. It’s not their job to provide you with a free place to hang out while you slurp $6 HRD vodka from your backpack—that’s what the library is for.

QUESTIONS? Send them to

Willamette Week APRIL 30, 2014



CITY HALL: A city sewer office that became an $11.4 million hole. 7 POLITICS: Our 2014 primary endorsements. 10

Estate Jewelry


Gay-rights advocates aren’t waiting to fi ght back against a proposed ballot measure that would allow businesses to refuse wedding services to same-sex couples. A new group led by Basic Rights Oregon and the American Civil Liberties Union of Oregon will start airing ads Friday that attack the Protect Religious Freedom Initiative, which is being backed by the Oregon Family Council. The measure is similar to one passed in Mississippi and a narrower version recently vetoed in Arizona by Gov. Jan Brewer. The initiative’s attorney, Shawn Lindsay, says backers could begin gathering the required 87,000 signatures within a couple of weeks. Opponents say they want to stop the measure before it qualifies for the ballot. “Oregon would be the only state in the country where an LGBT-related measure is on the ballot this year,” says Peter Zuckerman, spokesman for Oregon United for Marriage. “That makes it a national focus. If we lose here, the same campaign could be exported across the country.” There’s good and bad news for Oregonians in the bankruptcy of the biggest leveraged buyout in history. Dallas-based Energy Future Hold ings filed for Chapter 11 protection April 29, declaring around $40 billion in debt after being bought in part by Texas Pacific Group in 2007. That’s the same Texas Pacific whose bid for Portland General Electric in 2005 was killed by state regulators, who said allowing a buyout firm to gain hold of a utility was too risky. That allowed PGE customers to avoid the fate faced by Energy Future. The bad news? The Oregon Investment Council sunk $1.8 billion into buyout funds used by Texas Pacific and Kohlberg Kravis Roberts to buy Energy Future for $48 billion in 2007. It’s unclear how much of the state’s money went into the buyout, but that equity has now been wiped out, and both funds have performed well below the return Oregon sees from other private equity investments. Oregon State Treasury spokesman James Sinks says that’s why the state diversifies its investments. “You don’t put all your eggs in one basket,” Sinks says. “That helps buffer you when you get the occasional goose egg.” The Zombridge chronicles continue. Oregon officials, having again declared the Columbia River Crossing project dead, can’t seem to let go. On April 10, Metro President Tom Hughes proposed stripping the $2.8 billion project from the region’s long-term transportation plan to tackle parts of it piecemeal. That same day, Oregon Department of Transportation director Matt Garrett fired off a letter, saying removal of the CRC from the region’s strategy “does not respect the thoughtful transportation planning that has taken place” and “is not an appropriate step at this time.” ODOT spokesman Dave Thompson says Garrett isn’t trying to revive the CRC but merely wants a public discussion before any such move is made. “We haven’t changed our answer one little bit for months,” Thompson says. “We are shutting down the project.” Read more Murmurs and daily scuttlebutt.


Willamette Week APRIL 30, 2014



will corwin


In December 2011, a coalition of angry water and sewer ratepayers sued the city of Portland. Their basic allegation: The city had squandered $127 million in ratepayers’ money on questionable projects. That should have been a warning to City Council members to watch their spending on the next ratepayerfinanced idea that came along. It wasn’t. A month later, in January 2012, the City Council without debate voted to increase spending on a Bureau of Environmental Services office project on its way to $11.4 million in costs—triple its original price tag. Records obtained by WW show how the city turned what was supposed to be a utilitarian office building into a gleaming environmental showcase and the “new face” of the Portland’s sewage treatment plant. The city’s own contractors called the building, which opened last month, a “poster-child facility” for wastewater engineers in North Portland. There’s no suggestion the spending was improper, but the records show the City Council failed to keep the project under control. Five times, between 2010 and 2012, the council agreed to keep spending more money on the project, and did so without debate. “I totally take ownership that this project got way beyond its ways and means,” says City Commissioner Dan Saltzman, who then oversaw the Bureau of Environmental Services. “We did push back on the contracts, but we didn’t push back hard enough. I kept seeing the scope change quite a bit. That’s the problem. It’s never a good thing to do.” Final all-in construction costs make the Columbia Boulevard Wastewater Treatment Plant support facility one of the city’s most expensive office spaces. Bureau of Environmental Services director Dean Marriott tells WW the building’s construction costs were $5.5 million, which translates to $478 per square foot. If true, that makes the sewer engineers’ offices more expensive than the proposed downtown Sustainability Center promoted in 2009 by then-Mayor Sam Adams. That building died on the drawing board because its estimated cost—$462 a square foot—would likely have made it the city’s most expensive building. But records obtained by WW under the Oregon Public Records Law show Marriott is leaving out millions of dollars in costs, including planning, design and landscaping expenses typically included in the price of construction. Based on the records, the project’s true per-square-foot costs would range between $799 and $956. Marriott says the project’s purpose expanded, from an office building to a welcome center that could provide

HOW GREEN WAS MY OFFICE: Requests for more money for this Bureau of Environmental Services office building ranged from adding safety precautions on the ecoroof to relocating the gas line that feeds the barbecue.

security for the sewer treatment plant. “We’re accomplishing multiple purposes with this development, which seems to be beyond some people’s ability to understand,” Marriott says. “This is what you want from your government. We adapted. We solved a lot of problems at that campus.” On May 20, Portland voters will decide whether to strip control of the city’s water and sewer bureaus and give control of them to a seven-person, independently elected board. The ballot measure has been pushed by large corporate water users that have pointed to what they say are wasteful and unnecessary projects funded with ratepayer money (“Talkin’ Bull,” WW, April 23, 2014). Those projects include an environmental display home called the “Water House,” and a $1.1 million visitors’ center and caretaker’s house at a new underground reservoir on Powell Butte (“Million-Dollar Water Park,” WW, Oct. 23, 2013). But the $11.4 million office project for sewer engineers has largely gone without public scrutiny. KOIN-TV first reported the building’s increased price tag in March, but documents released to WW under the Oregon Public Records Law explain for the first time how costs spiraled out of control. The Bureau of Environmental Services runs the Columbia Boulevard Wastewater Treatment plant at 5001 N Columbia Blvd., along the Columbia Slough about two miles west of Interstate 5. It’s where the city flushes its wastes, pumping in 70 million gallons (when it’s not raining) to 450 million gallons (when it does rain) of sewage and stormwater a day. In 2009, the bureau proposed a $3.2 million office building to replace modular buildings where 38 BES employees, including engineers, worked. But records show the BES had underestimated the building’s basic costs. The price went up to $4.6 million by the time the City Council voted on the design contract in June 2010. The bureau awarded the design contract for the office building to Skylab Architecture, known for such projects as the log-cabin nightclub Doug Fir Lounge. Skylab designed an 11,500-square-foot angular steel and glass structure that appears to rise out of wetland

grasses that slope down the building’s sides and roof. The building was designed to show off the environmental work the BES does in other parts of the city, from bioswales to ecoroofs. The design called for native plants to cover 80 percent of the roof, a wooden deck with a gas barbecue overlooking an existing pond, and vented windows at the top of the roof to give workers fresh air. Even the doors to the restrooms reflect the LEED Goldcertified building’s environmental mission: The frosted glass shows silhouettes of men and women, drawn out of wetland creatures like snakes, salmon and heron. “It will be the poster-child facility for the BES,” architects wrote, “representing the function of the [wastewater plant] and providing an interactive, educational depiction of current programs of the BES.” In February 2012, Saltzman put the greatly expanded $7.9 million project on the council’s consent agenda, where items considered routine are passed without public discussion. The council, again without comment, approved it. Over the next year, the council wordlessly approved more design changes—and cost increases—until the project hit $10.2 million. But BES wasn’t done: Without needing the City Council’s approval, the bureau signed off on 85 change orders totalling $1 million sought by the project’s contractors. Marriott says the $3.7 million cost of designing and managing the project—and the $2.2 million spent on improving the surrounding site—should not count as part of the building’s cost per square foot. Will Macht, a real-estate developer and professor at Portland State University, says such related costs should be included. “Without looking at the project in detail, certainly the number is extraordinarily high,” he says. “It would invite further questions, attention and scrutiny.” On April 25, after WW started asking questions about the project, City Commissioner Nick Fish, who now oversees the BES, asked City Auditor LaVonne Griffin-Valade to investigate it in a formal audit. “A lot of things land on our consent agenda,” Fish says. “A lot of projects grow in cost. The question is, was there enough transparency?” Willamette Week APRIL 30, 2014



Willamette Week APRIL 30, 2014

Willamette Week APRIL 30, 2014




mid the noise of an election season, one person’s vote can seem insignificant—like a trickle of skateboarder’s urine in a 38-million-gallon reservoir. If on ly each voter had a n immediate impact—like the city’s absurd decision two weeks ago to drain Mount Tabor Reservoir No. 5 because some teen might have peed in it.

We vote not because we expect an immediate response, but because we owe it to our community to raise our collective voice. What follows are our recommendations for how we think you should cast your vote—it’s our 2014 primary endorsement issue. As we do ever election cycle, we invite candidates in competitive races to a joint appearance in our office, where we turn on the video camera and ask them tough (we hope) questions. We also asked one question of all candidates we hope will entertain, if not illuminate: If you could be any


Willamette Week APRIL 30, 2014

other person, living or dead, who would you be? You can see video of these endorsement interviews at The primary election May 20 allows Democrats and Republicans to choose among their own tribes. In two of the biggest elections, GOP voters will select candidates to take on two of the state’s most prominent Democratic incumbents, U.S. Sen. Jeff Merkley and Gov. John Kitzhaber. That may be why turnout for primary elections is usually low—it seems as if nothing really gets decided until November. Not so this year. Voters may also choose the executive who will oversee the health-care and public-safety colossus known as Multnomah County, as well as decide whether to send two long-term incumbents back to their seats on the Portland City Council. Without question, however, the most important question in front of Portland voters is Measure 26-156, which if passed would create an independent public utility to control Portland’s water and sewer services. For more than a century, the city has relied on the pristine waters of Bull Run Lake on the shoulder of Mount Hood for drinking water. Portland’s water supply is rightfully the envy of the nation. A handful of corporations put this question on the ballot after years of City Hall mismanagement of water and sewer funds. And now control of the city’s water supply hangs in the balance. So cast your vote. Let it fly. You might not see the waters rise, nor can we promise complete relief when you’re done. But your contribution to the tide of democracy in your community will make a difference.




answers were at times disingenuous. In two terms in the Oregon House, Conger has produced a conservative record that—as noted above—is often out of step with our views. But at least he has clear, consistent positions. He’s shown strong support for charter schools but also crossed the aisle to push for legislation calling for toxic-chemical labeling and criticizing corporate welfare. He’s tough and sometimes too enamored of the sound of his own voice. But he’s far more prepared than Wehby to stand up to incumbent Sen. Jeff Merkley (D-Ore.) and give Merkley a serious challenge. Also running: IT consultant Mark Callahan, lawyer Tim Crawley and former Linn County Republican Chairwoman Jo Rae Perkins. Who Conger would be if not himself: “George Washington. He turned down the chance to be king.”

JASON CONGER • REPUBLICAN PRIMARY Of the two major candidates in this race, we probably agree on more issues with Dr. Monica Wehby, a pediatric neurosurgeon from Portland, than we do with state Rep. Jason Conger (R-Bend), a business lawyer. Wehby supports marriage equality and Conger does not. Wehby’s position on abortion is a moving target but is certainly to the left of Conger, who is the Oregon Right to Life candidate in this race. And yet Conger is our choice. Both candidates have compelling bios: Wehby fixes juvenile spines, and Conger was briefly homeless growing up and worked his way through community college to Harvard Law School. But when it comes to preparation, knowledge of the issues and an ability to express the results of clear thinking, there’s no contest. We asked all five candidates in this race a fairly simple question: which U.S. Supreme Court justice most closely mirrors your values? After one candidate named Justice Anthony Kennedy, Wehby piggybacked on the answer. After Conger gave a ringing endorsement of arch-conser vative Justice Antonin Scalia, Wehby awkwardly changed her answer to Scalia as well. (Outside the interview, she told us she really meant to say Chief Justice John Roberts, but that she actually likes Justice Samuel Alito best of all.) A candidate is certainly entitled to change her mind. But watching Wehby fumble her way through a 90-minute job interview convinced us that, however skilled she may be with a scalpel, she could use a lot more training than her outof-state political consultants have provided. Republicans are using Obamacare as a major wedge this year. On this question, Wehby is all over the map. She touted the value of some provisions of the Affordable Care Act, such as those on pre-existing conditions. A former Oregon Medical Association president, Wehby waffled endlessly when she tried to describe which parts of major health-care reform she might have supported in the past. When pressed, Wehby acknowledged she’d vote to repeal the entire ACA if the question was put to her in the U.S. Senate. Conger, who clearly dislikes Obamacare, nonetheless had the common sense to support bills in the Oregon Legislature that would leverage its benefits to Oregonians. Wehby is trying to appeal to right wingers while preserving campaign rhetoric for the general election. Given her knowledge of the health-care system, and the stakes for Oregonians, her befuddling

JEFF MERKLEY • DEMOCRATIC PRIMARY One thing that always impresses us about candidates is their willingness to show their independence and stand up against powerful interests, whatever their political stance. For Jeff Merkley, a rookie senator from a small state, the easiest move in the world would be to go along with his party’s president. After all, President Obama’s big victory in Oregon in 2008 helped sweep Merkley into office and oust the incumbent, Sen. Gordon Smith (R-Ore.). But instead, Merkley pushed back in early 2010 when Obama wanted to reappoint Federal Reserve Chairman Ben Bernanke. Merkley saw Bernanke as part of the problem that led to the U.S. economy’s meltdown in 2008. Merkley lost that battle but prevailed last year, when he led the fight against Obama’s plans to name former Treasury Secretary Lawrence Summers to replace Bernanke. Merkley and his allies made clear they wouldn’t stand for Summers, and the job eventually went to Janet Yellen. It wasn’t just a winning fight for Merkley, but the right one for the rest of us. His attention to the nation’s financial system extends to looking out for consumers’ best interests. His legislation ended practices of home buyers being steered to “teaser”-rate mortgages that have low initial interest rates but balloon in costs later. He also authored the ban that stopped lenders paying what amounted to kickbacks to financial institutions that originate mortgages. He’s called for an end to payday loans, something that as a state legislator he helped end in Oregon. Perhap Merkley’s top achievement, however, was helping pull off one of the most important reforms the Senate has seen in years. A single senator can bring the entire chamber to a halt with a filibuster—or just the threat of CONT. on page 12 Willamette Week APRIL 30, 2014



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one. This parliamentary move has been on the rise in recent years as a stalling tactic responsible for gridlock in the Senate, where provincial traditions hold sway. Merkley helped lead the winning fight last fall to limit when the fi libuster can be used. It’s a wonky topic, but Merkley is a wonky guy, and his reform has meant meaningful change. We’re less i mpressed w it h Merk ley ’s election-year pitch for raising cost-of-living increases for seniors collecting Social Security. Merkley argues the current increases aren’t enough and that tax hikes on incomes of over $250,000 would cover the costs. We’ll see if he’s as hot for the idea if he gets re-elected. Merkley has only token primary opposition— William Bryk and perennial candidate Pavel Goberman. That said, Merkley has had an impressive first term, yet he will attract major national money to oppose him because he is a freshman senator and he is running for re-election in a year that could be tough for Democrats, even in a blue state like Oregon. We’re always in favor of a vigorous generalelection debate, and we think Merkley will get one whether his GOP rival is state Rep. Jason Conger (R-Bend) or Dr. Monica Wehby. Vulnerable or not, we think Merkley has had a first term of which he can be proud. Who Merkley would be if not himself: Former Oregon Gov. Tom McCall.

redesign of the Constitution, the principal could veto any financial decision by the president or Congress. Niemeyer’s choice for the job: Donald Trump. Jason Yates, a service manager at a pestcontrol company, entered the race after being inspired by Sen. Ted Cruz (R-Texas) during Cruz’s speechifying during the U.S. government shutdown last year. Yates is the most articulate candidate in the primary and speaks passionately about the perils of student debt. He’s a graduate of Portland State University’s film studies program, where he produced a comedic Web series titled Awkward Moments With Jesus. He played the title role. (In one episode, Jesus does speed dating.) That leaves Morgan, a Yamhill County heavy-equipment operator, vintner and martial arts instructor. WW endorsed her in the 2012 primary election, and she was trounced by Bonamici in the general election. Morgan doesn’t seem to have deepened her campaign much: Her website is the same, as are her prolife, pro-logging speeches. But she has a stronger connection to the people of her district, and a clearer message, than either of her opponents. W ho Morgan would be if not herself: “I wouldn’t want to be a man. But I would be Benjamin Franklin.”




DELINDA DELGADO MORGAN REPUBLICAN PRIMARY How firm a hold does U.S. Rep. Suzanne Bonamici (D-Ore.) have on this district, which stretches from Portland’s West Hills all the way to Astoria? It’s a death grip. In a 2012 special election to fill the seat, vacated by U.S. Rep. David Wu, the Republican National Committee backed a solid candidate, businessman Rob Cornilles, to grab the opening. Cornilles couldn’t break 40 percent against Bonamici. Two years later, the GOP power structure isn’t even trying. So Republican 1st District voters instead have three candidates whose odd rhetoric would be scary if any ever had a snowball’s chance of winning. Bob Niemeyer, a mechanical engineer, says his top goal is defending the U.S. Constitution—and would do so by rewriting it to create a fourth branch of the federal government, an executive called “the principal.” In Niemeyer’s

Schrader swept into office in 2008 as part of Obama’s big blue tide, but the veterinarian and three-term congressman has shown he is independent of traditional Democratic thinking. He’s been part of the so-called Blue Dog Democrats who see themselves as budget and deficit hawks. Schrader is also part of a plan to change the way the former Oregon and California railroad lands are managed. Many Oregon counties rely on timber payments from these federal lands, and decreasing harvests have left many strapped. Schrader favors shelving half the lands for preservation and harvesting from the rest. The proposal has drawn the ire of environmentalists and a veto threat from the White House. This stance allows Schrader to talk bluntly about how President Obama shouldn’t “meddle” in Oregon’s efforts to help local counties. Undoubtedly, that plays well in rural areas of the district (which stretches across the Willamette Valley from the Oregon Coast to the Cascades) with independents and Democrats who have drifted away from Obama. Schrader has left himself open for tough questioning from the more progressive wing of his party, if he’d drawn an opponent who is up to the task. Anita Brown is not that person. A former U.S. Army medical specialist, Brown lacks the experience and knowledge to pose a serious

CONT. challenge to Schrader. Who Schrader would be if not himself: James Madison, because of his ability to work people on all sides.




BEN POLLOCK • REPUBLICAN PRIMARY As a Clackamas County Commissioner for the past two years, Tootie Smith has trailed dutifully behind County Chairman John Ludlow, attacking light rail and giving Tea Party ideas a platform. Her time on the commission has otherwise been unremarkable, as was her stint in the Oregon House from 2001 to 2005, where she was perhaps best known for loosening state rules so professional wrestling could return to Oregon. While in Salem, she showed a ridiculous degree of insensitivity to ethics when she invited lobbyists to buy Christmas wreaths from her family’s tree farm. Such thickness was exceeded only by her 2012 campaign fundraising ploy: a raffle where the winner got to take home a Glock pistol. GOP voters in the 5th Congressional District have to ask whether Smith even has the required nerve to challenge a brawler like Kurt Schrader in the general election. Smith refused to come to WW’s offices and be interviewed alongside her primary opponent, newcomer Ben Pollock. Pollock, 29, is a former political consultant who helps run his family business, a Canby company that makes custom interiors for classic cars. He grew up in Portland and went on to work for such conservative stalwarts as Texas Gov. Rick Perry and U.S. Sen. Ted Cruz (R-Texas). Pollock calls himself a “liberty-minded Republican” who would return control of federal timberlands back to the states and would (like many GOP candidates) undo Obamacare. He squirmed when asked how he would vote on a ballot measure to end Oregon’s ban on same-sex marriage, complained the issue would make it difficult for him to win the primary and then—to his credit—said he would vote for it because it fit with his belief that the government has no business interfering in people’s private lives. (Notably, he’s opposed to abortion.) Pollock may be overreaching by running for Congress in his fi rst political campaign, and he may well be too green to give Schrader a serious challenge, but we see him as far more substantive and serious than Smith. Who Pollock would be if not himself: The assistant linesman who Pollock, an ardent Timbers fan, says blew a controversial call in the Timbers’ 2-1 loss to FC Dallas on March 29—“so I could change the call.”

DENNIS RICHARDSON • REPUBLICAN PRIMARY Oregon has not had a Republican governor since Vic Atiyeh left office in January 1987. That’s the second-longest streak of Democrats dominating a governor’s office, trailing only Washington state. It’s not as if the Republicans seeking the Oregon governorship have stuck with the same formula. The past three GOP gubernatorial nominees have embodied three different approaches. Chris Dudley in 2010 was a political neophyte but a celebrity, thanks to his NBA career that included a stint with the Portland Trail Blazers; Ron Saxton in 2006 was a well-connected moderate insider from the Democratic stronghold of Portland; and Kevin Mannix in 2002 was a fire-breathing conservative from Salem with a strong legislative record. Three different approaches, one common result: failure. This year, the nominee will emerge from a crowded field of seven candidates: Portland businessman Tim Carr, retired Medford concrete contractor Gordon Challstrom, Lyons Realtor Bruce Cuff, Douglas County timber merchant Mae Rafferty, West Linn property manager Darren Karr, and Rep. Dennis Richardson (R-Central Point). During our endorsement interview, Carr, who noted he once was a star tennis player, made reforming the Public Employees Retirement System a top priority but couldn’t list a single step he’d take in doing so. Challstrom, enraged about government spending, says he would cut taxes. Rafferty had few specific ideas to offer. As for Karr, his campaign slogan, “Crazy for Oregon,” is about as apt as we’ve seen in many years. Among the long-shots, Cuff is the only one who bears even the faintest resemblance to a serious candidate. He offered a proposal for a local sales tax (with the rates set by each county) to fund schools. His idea fell apart when he admitted he had no idea of its fiscal impact. Richardson is the clear choice as the Republican nominee to take on Gov. John Kitzhaber. He served as a helicopter pilot in Vietnam and afterward, went to law school and moved to Oregon. He and his wife raised nine children, he ran a successful law practice in Central Point and he entered politics relatively late, winning election to the House in 2002 at age 52. CONT. on page 14 Willamette Week APRIL 30, 2014




In Salem, he’s earned a reputation for diligence and integrity. He served as co-chair of the budget-writing Joint Ways and Means Committee in 2013, an honor caucuses reserve for their most capable members. Richardson is a smart, thoughtful lawmaker who will easily win this primary with his message of downsizing government and making what’s left more efficient. His challenge, however, is appealing to voters in the suburbs, where Republicans must do well to counteract the Portland area’s heavy Democratic vote. Richardson is charisma-free, pro-life and on record as having voted for the creation of Cover Oregon, the failed health-insurance exchange that is Kitzhaber’s greatest weakness. In our endorsement interview, Richardson was cautiously vague about his priorities if he somehow were elected governor. He’ll have to do better in the general election. But Richardson can worry about that after the primary. Who Richardson would be if not himself: Steve Jobs. “He wasn’t willing to accept things as they were. But I’d be nicer.”



DEBORAH BARNES DEMOCRATIC PRIMARY The residents of District 41 are fortunate. Following the retirement of eight-term incumbent Rep. Carolyn Tomei, three credible candidates jumped into this race. Ted Roe is a labor lawyer passionate about defending injured workers. Kathleen Taylor brings valuable experience as a management auditor who has dug deeply into state agencies as well as local government bureaucracies. But we’re going with Deborah Barnes, a teacher and union leader in the North Clackamas School District. Admittedly, we’re nervous about giving the already powerful Oregon Education Association another voice in Salem. But Barnes is an excellent fit for this district. Barnes was a longtime radio reporter who served two terms on the Milwaukie City Council. She displays a far stronger grasp of her district and its economic base and, frankly, is far more in tune with what Milwaukie needs than her two opponents from Southeast Portland. Her experience teaching in North Clackamas’ skills center has given her a deep knowledge of careertechnical education and school funding that could make a big difference in Salem. Who Barnes would be if not herself: Hillary Clinton. “She never gives up, no matter what happens.”

former Portland Parks & Recreation supervisor, is too conservative for his district. Kathleen O’Brien, an adoption lawyer, has big ideas—especially about using legalized weed to fund transportation—but spent more time in our endorsement interview asserting that she was a viable candidate. That leaves three viable candidates. Teddy Keizer, a private tutor, is independently wealthy and running a campaign with posters featuring a silhouette of him hiking. He’s eager to tell you about his world records for climbing peaks, a hint of narcissism that troubles us. But more troubling was his difficulty offering specific answers to policy questions. Don Gavitte is a teacher at Grant High School who has campaigned against cuts to school funding. He’s a welcome addition to election season, and consistently intrigued us with his policy suggestions, such as getting Oregon to adopt a consumption tax and reforming education in the juvenile-justice system. But we worry he’s still too much of a single-issue candidate. Then there’s Rob Nosse—whose role as an organizer with the Oregon Nurses Association gives him access to union money, making his candidacy almost entirely funded by a single source. That financial advantage clearly rankles his opponents, and gives us pause as well. But while he can be glib and pushy to the point of annoyance, Nosse brings a broad range of experience and greater readiness to hit the ground in Salem. It’s a tough decision. And while we’d happily vote for Gavitte, teachers are well represented in Salem. It’s Nosse by a nose. Who Nosse would be if not himself: John Lennon. “He was really trying to do something differently in the early ’70s.”


DISTRICT 42 KEN HELM • DEMOCRATIC PRIMARY The incumbent, Rep. Chris Harker, is retiring, and the open seat in this heavily Democratic district has attracted a strong field. Brian Tosky, who works for an educational consulting fi rm, brings a strong schools background. Jason Yurgel, who runs a private investigations firm, has deep roots in the district, offers a long record of civic engagement and brings a thoughtful perspective on criminal justice issues. Yurgel is plenty independent—he’s a rare Democrat who speaks favorably about Oregon’s property ta x limits—and in many races would get our endorsement. Unfortunately for Yurgel, land-use lawyer Ken Helm is an even better candidate. Land use will continue to be one of highest-stakes and most divisive issues with which Oregonians grapple. Helm has represented developers, worked as a staff lawyer for Metro for six years and now serves as a land-use hearings officer all over the state. He’s calm, balanced and brings a particular skill (his expertise in land-use law) the Legislature needs. Who Helm would be if not himself: The late British historian Tony Judt, whom Helm says was one of the great thinkers and writers of the 20th century.


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ROB NOSSE • DEMOCRATIC PRIMARY The game of musical chairs that began with Multnomah County Chairman Jeff Cogen’s resignation last summer has extended to this state House seat, after Rep. Jules Bailey (D-Portland) decided not to run for re-election so he could contend for a seat on the Multnomah County Commission. In his wake, a glut of candidates have piled up like the line for beer and popcorn at the district’s Bagdad Theater. The six-way race presents perhaps the most difficult choice in this election. Let’s start with the easy eliminations. Dan Shaw, a video-game designer and left-wing political activist, is obnoxious and needlessly combative. John Sweeney, a

We’ll say this for challenger Joe Rowe: It takes guts to challenge a sitting Oregon House speaker. Rep. Tina Kotek is one of the most powerful women in Oregon politics, and that would normally mean she’s completely unassailable in a dark-blue district. Except Kotek had to eat her words too often. She presided over larger cuts to public-employee retirement benefits than she originally said she would allow, irking her union friends and undercutting her credibility. She also invested enormous political capital in the Columbia River Crossing, only to see that mega-project founder after the expenditure of nearly $200 million. Both of those issues could provide ammunition for Rowe, but the first-time candidate, a teacher, lacks the political chops and institutional support to give Kotek a serious challenge. We haven’t always agreed with Kotek, but she’s smart, hard-working and an easy choice to continue to represent District 44. Who Kotek would be if not herself: An aide to the Dalai Lama. “I’d get to listen to him talk every day, and he meets with a lot of interesting people.”



an example of how she thinks independently of the Democratic Party line and offered an unconvincing defense of her caucus’ heavy-handed attempt in February to exclude the Oregon Supreme Court from its role in reviewing ballot titles. She’s a better option than Sincic but needs to elevate her game. Who Smith Warner would be if not herself: Oprah Winfrey: She started with two strikes against her—being a woman and African-American—and she’s created an empire that helps others.



It takes a tough woman to rise to the top of a paramilitary organization, but Piluso has also distinguished herself in other policy areas, serving on the board of Human Solutions and other nonprofits. She’s also served six years on the Gresham-Barlow School board. She’s an unusually strong candidate who would be a great addition to a Democratic caucus thinned by attrition. Beatrice Cochran, a medical language specialist at Providence Hospital, is also running but declined to show up for our endorsement interview. Who Piluso would be if not herself: Eleanor Roosevelt. “She created a serious role for women in government.”


BARBARA SMITH WARNER • DEMOCRATIC PRIMARY As befits one of the state’s safest Democratic seats, this district pits two dyed-in-the-wool liberals duking it out: newly-appointed incumbent Barbara Smith Warner, a former labor organizer and aide to U.S Sen. Ron Wyden (D-Ore.); and Tom Sincic, a recently retired nurse practitioner. Sincic is earnest and a longtime activist on public health issues. But he displays a naivete—he told us he’d fill the K-12 funding hole in part by cranking up hemp production and taxing it. He then twisted himself into a pretzel trying to explain why he believes fluoride to be effective but voted last year against adding it to Portland’s drinking water. Smith Warner showed her political savvy in December, when she legally packed a meeting of the county Democratic party with supporters to ensure she’d be the leading candidate to replace Rep. Michael Dembrow, who moved up to the Senate. During our interview, Smith Warner struggled to fi nd

CARLA PILUSO • DEMOCRATIC PRIMARY Four years ago, we enthusiastically endorsed Carla Piluso for a seat on the Multnomah County Board of Commissioners. She ultimately lost to Diane McKeel. Now she’s seeking to replace three-term state Rep. Greg Matthews, who’s not seeking re-election. Piluso brings a strong public safety background to the job, having served 30 years as a Gresham police officer, the last six as chief.

JODI BAILEY • REPUBLICAN PRIMARY A political newcomer, Jodi Bailey works for a nonprofit that encourages businesses to use American-made prodCONT. on page 16

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ucts. That’s fine, but she’ll need to explain some troubling financial history to voters. She and her husband sold their Arizona limousine-rental business to move to Oregon in 2008, then filed for Chapter 11 bankruptcy protection when they couldn’t sell their two homes in Phoenix. That bailout taught her some Clintonian compassion—she actually said of voters in her endorsement interview that she “felt their pain.” But she can’t identify a single business regulation in Oregon that she’d like to see changed. Instead, she leans on a platform favoring more government subsidy for manufacturing, which feels like a talking point recycled from local chambers of commerce. Bailey deserves credit, however, for bucking her party on same-sex marriage: She says she would probably vote to legalize it. Her opponent, Brandon Miles, didn’t show up for our endorsement interview. His campaign’s Facebook page shows him standing in front of the Oregon State Capitol with an AR-15 semiautomatic rifle. Shudder, then vote for Bailey. Who Bailey would be if not herself: “I don’t know that I would want to be anybody else.”

in Hillsboro, Hughes is the right guy. His opponent, Jeremiah William Johnson, a self-described community advocate, has only a rudimentary sense of what Metro actually does. Who Hughes would be if not himself: Actor Mickey Rooney, who died recently at age 93. “I envy people who’ve had long lives and lots of fun.”




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Metro represents a rare form of regional government, handling a grab bag of duties for Oregon’s three most populous counties. The agency oversees solid waste disposal, land-use planning (specifically the urban growth boundary), the Oregon Zoo, the Oregon Convention Center and the Expo Center. W hen Tom Hughes, a retired Beaverton teacher and former two-term Hillsboro mayor, ran for council president four years ago, his goal was to make Metro’s sometimes esoteric work more relevant to constituents. By a couple of measures, he’s succeeded. He’s moved the proposed Convention Center Hotel closer to reality than it’s been in 40 years. We’re still not sure the $200 million project, which includes $80 million in government subsidy, is worthwhile, but give him credit for progress. He also successfully promoted a ballot measure to raise operating funds for 16,000 acres of green space Metro has acquired. The money will help restore and open up those lands. Hughes has also re-engineered Metro to gear it more toward economic development. Other than his efforts with the hotel project, we haven’t seen a lot of results. We’ve noted Hughes’ affection for taxpayer-funded travel in these pages, but if our region is to have an ambassador, a friendly grandfather with a record of success

DEBORAH KAFOURY • NONPARTISAN The Multnomah County chair’s job is too important to be a consolation prize. The county spends $1.2 billion annually, most of it on public safety and health. As the county’s top executive, the chair presides over the fivemember board of commissioners and plays a key role in how well the county runs its jails, monitors parolees and provides a vast array of safetynet services for county residents, from housing for homeless families to medical care for one in 10 local citizens. For former two-term City Commissioner Jim Francesconi, however, the county’s mission is secondary to his own personal journey back from political oblivion. A heavy favorite in the 2004 mayoral race, Francesconi took a shellacking from a lightly financed, little-known former police chief named Tom Potter. He’s spent a decade in the political wilderness since then, serving on the board of the Oregon University System and lobbying for various clients. Francesconi, a law yer, thought long and hard about running for mayor in 2010, telling The Oregonian he’d talked to more than 100 people about entering that race. Instead, he’s now telling voters his heart has always been with the county’s human services mission. He’s campaigned on the county’s role as a job creator (which isn’t part of its charter) and its potential to close the income gap. His message is admirable, but the motive behind it is dubious, given that he’s passed on other opportunities to run for the county board. In 2004, Francesconi lost in part because he sold his soul for big campaign contributions from business interests. He now says that was a big mistake and he’s learned from it. This time, he’s aligned himself with organized labor, making written promises to help unionize county contractors that, were he to carry them out, would appear to break the law (“The Great Race,” WW, March 26, 2014).

CONT. His rival for the chair’s job is Deborah Kafoury, a former minority leader in the Oregon House. Kafoury is just as smart and has more relevant political experience with her five years on the county commission from 2009 to 2013. (County rules forced her to resign from the commission to seek the chair’s job.) Kafoury is as low-key as Francesconi is animated. In the Oregon House from 1998 to 2004, she led a caucus that included such alpha males as Randy Leonard (who went on to the Portland City Council) and now-U.S. Sen. Jeff Merkley. Democrats were then a small minority, but Kafoury passed legislation that beefed up child care for working mothers and provided new funding for victims of domestic violence, issues squarely inside Multnomah County’s wheelhouse. As a county commissioner, Kafoury took charge of the long-stalled Sellwood Bridge replacement project, helped consolidate the city and county’s overlapping work on homelessness, and displayed a useful ability to obtain funding from the Legislature. She was born into a political family. Her parents (Steve and Gretchen Kafoury) held elected office for 30 years combined. But Kafoury comes across as an almost reluctant politician. She’d rather talk about the county and its mission than herself. That’s made her campaign lackluster and understated in the face of Francesconi’s quest for redemption. But it’s an approach Multnomah County residents deserve. Voters have other candidates to choose from. Steven Reynolds, a West Point grad, makes a case for cutting county spending but lacks the needed experience for the job. Others include James Rowell, perennial candidate Wes Soderback, salsa bandleader Aquiles Montas, and Patty Burkett, who lists her occupation as “nonfiction research advocate.” An important note on how this race works: The candidates are running both to fill the remaining term of ex-County Chairman Jeff Cogen (who resigned last year amid a sex scandal) and to fill the position’s next fouryear term. That means the list of candidates appears on the ballot two times. Vote Kafoury twice. Who Kafoury would be if not herself: “My grandmother, Eleanor Kafoury. She was a giving individual and a talented painter.”

programs. He may have the stronger grasp on these local issues, and his suggestions for trimming fat from the county budget are welcome. But his interview with WW raised questions about his preparedness for office. Without prompting, he confessed to having drinks at a charity event in 2007 and crashing his car into a bank. (He was charged with drunken and reckless driving, and got it erased from his record by attending alcohol diversion classes.) Wilson told us the experience has helped him understand what people face in court-mandated diversion programs. It was one of the stranger moments we’ve seen in an endorsement interview, and it causes us to question his judgment in how he deals with personal challenges. (After Cogen, this is not a trivial matter for Multnomah County.) We hope Wilson runs again, but in this race, our nod goes to Bailey. A 34-year-old three-term state legislator, Bailey has gained a reputation in Salem as a clothes horse and a brilliant policy mind. He demonstrated both traits in our interview. His bicycle cufflinks gave a sartorial nod to his district, and his experience chairing the House Energy and Environment Committee shows he knows how to work with colleagues to manage public dollars. “Budgets,” he told us, “are how you effect change.” And his plans to reform the cost overruns in the Multnomah County sheriff’s office are much needed. As unusual as it is to enjoy a county race with two solid choices, it’s even rarer to see a brain of Bailey’s wattage pointed toward a building that often attracts B-teamers. Our only concern is that he’ll see the seat as a launching point to some larger ambition. We urge you to vote for Bailey—and urge him to stick around. Who Bailey would be if not himself: Rosa Parks. (Yes, really.)






When Deborah Kafoury vacated this seat to run for the Multnomah County chair job vacated by the self-immolating Jeff Cogen, she created the chance for a true contest to replace her. And voters do have a choice between two highly qualified candidates. Until recently, Brian Wilson ran his family’s realestate management business, the Kalberer Co. But he’s better known for his wide range of volunteer work in public life—advocating for the Sellwood Bridge, library funding and gay rights. Wilson is whip-smart on the challenges facing the county—especially its homelessness and drug-treatment

living in her district. Their claims are harder to believe, however, since two of them—business consultant Teressa Raiford and perennial candidate Bruce Broussard—have aligned themselves with Artharee, who has somehow made himself out to be Smith’s victim. During our endorsement interview, Broussard, a perennial candidate, voiced only vague, empty complaints against Smith, and Raiford seemed barely awake. The fourth candidate, Concordia University graduate student Kelvin Hall, offers a more interesting critique of Smith: He rightly points out how closely her favored nonprofits are aligned with the county power structure. Hall wants the county budget to be apportioned to the geographic districts each commissioner represents. But his plan for how to do that is hazy. In our interview, Smith appeared irritated and patronizing to her opponents. They do have a point: We’d like to see her acknowledge she could take a more visible role leading North and Northeast Portland’s African-American population. But we still think she’s the best choice to carry out that mission. Who Smith would be if not herself: She mentions a number of people, including Wyden, President Obama and former state Sen. Margaret Carter (D-Portland).





It’s impossible to talk about why Loretta Smith should be re-elected to a second term on the county commission without discussing the bad behavior publicly directed her way last summer. That’s when Baruti Artharee, Mayor Charlie Hales’ then-police liaison, stood up at a gathering of AfricanAmerican leaders and made sexually harassing remarks about Smith. Hales reluctantly suspended Artharee for a week. It was light discipline, but it factored into his subsequent resignation from the mayor’s office. The dismal event matters now because it has obscured Smith’s achievements in office and exposed resentment that has festered toward her within the African-American community. Smith, a former aide to U.S. Sen. Ron Wyden (D-Ore.), has been part of the coalition that helped steady county government in the past few years. She also deserves praise for championing better health care for the county’s poorest citizens, and for backing jobtraining programs for minorities. Smith’s three challengers in the race—all AfricanAmerican—complain she has lost touch with the people

The path to a third term in Portland City Hall should be smooth for Nick Fish, a soft-spoken employment lawyer and son of a centuries-old line of public servants in New York state. He faces no significant opposition. He has overseen popular city services like parks and the social safety net. His diplomatic nature has made him the City Council’s reliable peacemaker. But Fish is surrounded by sharks. For nearly a year, he has been the target of populist bile. Fed-up water activists and big business have made him the poster boy in mocking attack ads as they try to launch a new public water utility and make Fish the city commissioner who lost Bull Run. That’s unfair, because in his six years on the council, Fish has quietly become Portland’s strongest champion of the little guy. His passion for public housing has not only kept basic social services safe during budget season but has led the charge to fi nd permanent shelter for the city’s homeless. His greatest legacy while running the Housing Bureau has been adding beds and roofs—especially Bud Clark Commons, the Old Town housing complex that’s radical in creating a joint living space aimed at serving the most marginalized people in the city. Fish has also made the city’s parks more welcoming. CONT. on page 19 Willamette Week APRIL 30, 2014


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Willamette Week APRIL 30, 2014



CONT. He fought downtown business interests, who had long controlled a privatized park security force, and instead created a park rangers program that’s been a tremendous success. Fish made no secret of his dismay when Mayor Charlie Hales stripped him of housing and parks and instead gave him the bureaus of Water and Environmental Services midway through a political war over Bull Run Watershed. But he’s worked to restore public confidence in those systems, shedding the most egregious waste while passionately defending the core work the city does. If voters give City Hall another chance to run its water and sewer system, he’ll be the reason why. In fact, Fish has increasingly taken on the task of reform. He’s emerging as a voice of opposition to a lackluster mayor. He was the lone opposition to Hales’ heartless sweeps of homeless people from the city ’s sidewalks, and the reason the mayor’s office couldn’t quietly eliminate a necessary financial watchdog. His only opponent to arrive at the WW endorsement interview, general contractor Sharon Maxwell, offered more heat than light, contradicting herself in diatribes directed at Fish. Some of her criticism is valid. To be sure, Fish has often been too cautious to be effective. Skeptics are right to look at the city auditor’s recent criticism of free spending on affordable housing and wonder whether Fish should have run a tighter ship. And we wish he had spoken up more during the Sam Adams-Randy Leonard years. But he’s speaking now. Voters should listen—and send him back to City Hall. Who Fish would be if not himself: Abraham Lincoln. “Because he probably was the greatest leader we’ve ever produced, not a bad lawyer, and a great orator.”


DAN SALTZMAN • NONPARTISAN Dan Saltzman has perfected the art of saying no. In four terms on the Portland City Council, the taciturn, Cornell- and MIT-degreed engineer has emerged as City Hall’s resident skeptic. It’s a role he’s earned through 15 years as the building’s in-house repairman. There are few dirty jobs Saltzman hasn’t had foisted on him after someone else’s colossal screw-up. In 2001, he righted the Water Bureau (for a while) after the city blew $40 million on billing-system software that went haywire. His constant questioning of unchecked spending at Portland Fire & Rescue was the only accountability the department had while ex-firefighter Randy Leonard protected it. He was less successful running an insubordinate police force for then-Mayor Sam Adams. But one of Mayor Charlie Hales’ savviest moves was putting Saltz-


man in charge of the firehouses. He describes himself as a “change agent” at Fire & Rescue and has earned the title. He’s pushed to substitute nimble SUVs to respond to non-fi re calls rather than having crews roll four-person trucks every time. That’s a major cultural shift at a hidebound bureau, and it’s getting rave reviews. His track record running the Bureau of Environmental Services is mixed. He allowed lax management that’s left the city vulnerable to a ballot measure usurping control of its water and sewer utilities. But he also saw the Big Pipe sewer project through to a successful completion. And you’d be hard-pressed to find an official as dedicated to a single cause as Saltzman is to the Children’s Levy, which funds early education and abuse prevention. The challengers in his bid for a fifth term both tack hard from the left. Nicholas Caleb is the most polished. A part-time Concordia University instructor, he’s made a $15-an-hour minimum wage the central plank of his campaign. He should have checked the law, however: Increasing the minimum wage is not something the Portland City Council can do without permission from the state Legislature. He exhibits a utopian impracticality that’s already too prevalent in City Hall. The unnervingly intense Joe Meyer runs a sports statistics website and hosts a KBOO radio show—but offers few clear ideas. A third challenger, Leah Dumas, didn’t bother to attend the endorsement interview. Two years ago, Saltzman took reform of Portland’s Fire and Police Disability and Retirement System to voters. When the measure passed despite union ire, he celebrated privately at a dive bar. This year, upon his re-election, he deserves a more public validation. Who Saltzman would be if not himself: “James Henry Breasted, one of the fi rst Egyptologists.” CONT. on page 21

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CREATES AN INDEPENDENT WATER DISTRICTNO We can’t remember an offseason election that’s generated the level of heartburn caused by this single ballot measure. We’d tell everybody to calm down and drink a glass of water—but that’s what the fight is about. As WW reported in last week’s cover story (“Talkin’ Bull,” WW, April 23, 2014), the measure to remove City Hall’s control of its water and sewer utilities has sparked a flurry of lies, half-truths and insults exchanged between city officials and the business coalition trying to create a new government called a “public water district.” The two sides have called each other names, impugned the other side’s motives, and accused their opponents of betraying the civic responsibility to provide clean drinking water at a fair price. When the campaigns arrived in our office to debate, it was all we could do to keep them from screaming over each other. All this rancor has obscured the fact that Portland voters face their most momentous decision in years. It’s a choice that

could change the very nature of city government, and may irreparably damage the system that protects and manages our most precious natural asset—the Bull Run Watershed. What does the measure do? It takes away any power City Hall has over the Water Bureau and Bureau of Environmental Services, which runs the city’s sewer system. And it hands over that authority to a seven-member elected board. If we had our way, the measure would lose by a single vote. Why? Because this terrible idea would still be defeated, but the message would be sent as loud as possible to City Hall’s leaders that they have a giant mess to clean up and their defense in the face of criticism has been pathetic. For years, the City Council has blithely ignored its own charter, state law, and repeated warnings from the city auditor against using revenue from citizens’ water and sewer bills to fund whatever projects caught its fancy. Former Commissioner Randy Leonard may have spearheaded the most outrageous expenses—experimental projects like the environmental show home called the “Water House” and fiascoes like trying to start a cottage industry selling open-air public toilets to other cities. But his colleagues abetted him. Such irresponsible spending isn’t the main reason our water and sewer bills keep getting ever more eye-popping. The city has billion-dollar obligations—construction projects like the Big Pipe and underground reservoirs—that it couldn’t escape even it were pinching every penny. But the culture of cavalierly managing ratepayer money has led to a revolt—funded by the businesses paying the biggest bills and tapping into populist outrage. City officials, especially Mayor Charlie Hales, have responded with a toxic blend of bluster and arrogance. Meanwhile, the campaign to fight the measure has been a ghost. Our leaders are now on the cusp of squandering away the city’s control over Bull Run. Quite a legacy. But here’s the problem with giving in to the temptation to punish City Hall by voting for this measure: The new government agency it proposes has the strong potential to


be far worse. Public utility districts are not inherently flawed. They can be a terrific way for the people to control what the private sector might otherwise gobble up. The trouble with this measure is that its language makes accountability harder instead of easier. The measure bans most qualified people from serving on the elected board—it’s very likely that the only people who could run are retirees or the independently wealthy, so long as they’ve been away from having anything to do with the water or sewer system for at least six years. Who’s not restricted from serving? People with a financial stake in the companies that stand to benefit most—and the very companies, such as German silicon wafer manufacturer Siltronic and Portland Bottling Co., bankrolling this campaign. We’re just as troubled by the fact that the city auditor wouldn’t be allowed to peek at the books of the new district. That’s not more transparency. It’s less. To earn your vote, the creators of this measure need to offer substantive answers to two questions: Would this new board be more responsible to the public than the current government? And would it lower your utility bills? The measure’s backers can’t answer either question— we know, because we asked them repeatedly and got either dodgy responses or blank stares. They’re great at complaining how the city has wasted water and sewer money. But they can’t tell you what that spending has done to actually increase rates (answer: not much) or list what future projects they would cut without damaging the system or violating federal laws. It’s understandable to want to punish misbehaving city officials by taking away their water toys. But it’s worth remembering what’s at stake. Portlanders rightly cherish their uniquely pure drinking water. Handing it over to such an uncertain form of government is cutting off our hose to spite our face.

Willamette Week APRIL 30, 2014



Willamette Week APRIL 30, 2014







Willamette Week APRIL 30, 2014


FOOD: Upping the ante on exotic Thai food. MUSIC: Psychedelic Portland acid rap. BAR REVIEW: A new Pig in the Pearl. MOVIES: The circle, still unbroken.

think it’s just trivia? think again.

27 34 38 46


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 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 Bullseye Pub — 7:30PM

Tuesdays @ 8pm (starts August 14th)

South Park Abbey

1946 Fern Street • South Park @geekswhodrink

H O L LY W O O D B O W L P D x . C O M



one more game: Hollywood Bowl has received a stay of execution. The 52-year-old Northeast Portland bowling alley was set to close its doors for good in mid-May but will now stay open until June 2, which is the earliest crews can arrive to haul away the equipment, according to general manager David Lemke. That’s good news for bowlers and, apparently, petty thieves. Lemke says since the closure was announced in February, pieces of soon-to-be memorabilia—including shoes, balls, even the restroom’s soap dispenser—have been disappearing en masse. “Everyone wants a piece of Hollywood Bowl,” he says. Anyone wanting to obtain a piece of the business legally can visit and bid on tables, lockers, a vending machine and the iconic letter-board sign. juanna bet: Texas megacorporation Frito-Lay looks to be targeting Oregon’s homegrown, family-run tortilla chip company. “Word on the street is, they’re coming after Juanita’s,” says Juanita’s CEO Luis Dominguez. Frito-Lay recently introduced La Cocina de Josefina chips, but nowhere is the company listed on the packaging, which proudly declares that they are “made in the Northwest.” The chips are made at the Vancouver Frito-Lay plant at 4808 NW Fruit Valley Road. “This is a specialty brand in the Northwest, a Frito-Lay representative told The Columbian. “We wanted it to have that local feel.” Dominguez believes this goal extends to the chips’ packaging. “They copied the label,” he says of Josefina. “Our customers are very smart. You think they’re gonna fool them? Yeah. The first time.” It also extends to Web presence. Type “Juanita’s” into Google, and the first thing many users will see is a paid link to the Josefina site. CroWn jeWeLS: Johnny Zukle, owner of vegan strip clubs Casa Diablo and Black Cauldron, is adding more seitan to his sandwich. He has applied for a liquor license for an Old Town strip club at the former Crown Room nightclub (205 NW 4th Ave.), in partnership with Top Flyte security company owner Timo Porotesano and Dirty nightclub owner Chris Lenahan. The location is already in operation as an after-hours juice bar. However, a liquor license will require that the strip club begin food service—no word whether this will be a vegan trifecta. >> The Pawfee Shop, at 6035 NE Halsey St., which doubles as a doggy daycare, has filed for a tavern license. Doggie guests stay in a simulated living room with a fireplace and TV, and are visible through a fish-tank window. “We want to get the liquor license before the World Cup,” says owner Jeffrey Garvais. “Everyone here is Brazilian.” It’S a SIgn: The controversy-plagued WhiskeyFestNW advertisement placed over a 130-foot temporary mural painted by street artist Klutch—causing Klutch to deface his own work in response April 19—was taken down April 27 by the forces of nature. A flash thunderstorm sent the ad and much of the mural tumbling to the pavement. Klutch denies involvement, but notes that the 10-minute storm spared the sections of mural not containing the WhiskeyFest banner, which acted as a sail. “You can’t cheat karma,” he tells WW.


Willamette Week APRIL 30, 2014




WEDNESDAY APRIL 30 THEE SILVER MT. ZION MEMORIAL ORCHESTRA [MUSIC] Fuck Off Get Free We Pour Light on Everything, the latest album from this ever-evolving Godspeed You! Black Emperor spinoff, is every bit as explosive as last year’s GY!BE release—except it’s got vocals, adding an extra layer of agitation. Mississippi Studios, 3939 N Mississippi Ave., 9 pm. $15 advance, $17 day of show. 21+.

FRIDAY MAY 2 LEARN TO BE LATINA [THEATER] An aspiring LebaneseAmerican pop star tries to reinvent herself as a Latina bombshell while coming to terms with her sexual identity. The play has earned praise for hilariously puncturing racial and gender stereotypes—and for its bombass dance sequences. Miracle Theatre, 525 SE Stark St., 236-7253. 8 pm. $22-$26. STANDUP AT 4TH DIMENSION [COMEDY] If the thought of brassy, blue-collar comic Kristine Levine telling jack-shack jokes while drinking grape slushies at a booze-free sober club isn’t enough of a draw, tonight’s showcase also features standup from Nathan Brannon, JoAnn Schinderle and Andy MacDonald. 4th Dimension Sober Club, 2410 N Mississippi Ave. 9:30 pm. $5 suggested.

MONDAY MAY 5 WELCOME TO DILLAVILLE [MUSIC] For true hip-hop heads, producer James “J Dilla” Yancey is a saintly figure. Those who owe their careers to his soulful beats are still paying homage eight years after his death. That includes the headliners for this tribute show: Slimkid3 and Fatlip of the Pharcyde, and Slum Village, the Detroit group of which Yancey was once a member. Hawthorne Theatre, 1507 SE Cesar Chavez Blvd., 233-7100. 8 pm. $18 advance, $20 day of show. All ages.

¡ABAJO FRANCIA! Cinco de Mayo marks the Mexican army’s victory over Napoleonic France. Here’s how to properly celebrate. GO: Cinco de Mayo is May 5. This piñata was custom-made by Boom Boom’s Balloons, 2739 N Lombard St., 289-7807,

THE MYSTERY OF TERROIR IN OREGON [WINE] Oregon has many types of dirt. Some of that dirt is rich and black. Some of it is chalky and red. Some parts of Oregon are cool and damp while other parts of the state are windy or hot and very dry. Scott Burns, geology professor emeritus at Portland State University, explains how this affects our pinot. Hollywood Theatre, 4122 NE Sandy Blvd., 281-4215. 7 pm. $5 donation.

TUESDAY MAY 6 PANTHA DU PRINCE PRESENTS THE TRIAD [MUSIC] German producer Hendrik Weber makes heady, starstruck electronic music that falls somewhere between minimal techno and shoegaze wonder. Tonight, he debuts new material as the Triad, with guitarist Scott Mou and drummer Bendik Hovik Kjeldsberg. Doug Fir Lounge, 830 E Burnside St., 2319663. 9 pm. $14 advance, $16 day of show. 21+. Willamette Week APRIL 30, 2014





Email: See page 3 for submission instructions.




Apparently, in Catalonia, everybody freaks out about calcots— mild, spring onions grilled till a bit blackened, served up scraped into romesco sauce. Sounds nice, really, and apparently it was quite a feat for Viridian Farms to get hold of the appropriate seeds. Well, Foster’s Craft Cooking and Viridian are having a party with oysters and Basque cakes and calcots (of course), but they’re being as secretive as a morel hunter about it: The address will be mailed only after a confi rmed RSVP at 4 pm. $30.

Cider House Dinner

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Piles and piles of Finnegan cider are promised in a four-course, Spanish-style dinner, including steaks grilled by the Parish, cider-cooked chorizo, salt-cod omelets and Idiazabal cheese. They ask you in their press materials to grab cider from the barrel when you hear the word “Txotx,” a Basque toast that sounds exactly like a 4-year-old saying “church.” It sounds a lot like a 21-year-old saying “church,” too. Bar Vivant, 2225 E Burnside St., 971-271-7166. 4 pm. $55 all inclusive.

9th Annual Fredfest

Untitled-2 1

6/10/12 9:41 AM

The famed Fred Eckhardt, immortalized in suds, is celebrating his 88th birthday at Hair of the Dog with a load of rare beers you probably won’t otherwise fi nd, with cheese, chocolate, candy and cereal off ered to help grain up your stomach as you ring him in. The party will happen in two three-and-a-half-hour sessions. Apparently, Fred ’s got some stamina at 88. Funds go to charity, and to beer. Hair of the Dog, 61 SE Yamhill St., 232-6585. 1-4:30 pm, 5:30-9 pm. $60.

MONDAY, MAY 5 The Mystery of Terroir in Oregon

[WINE] Oregon has many types of dirt. Some of that dirt is rich and black. Some of it is chalky and red. Some parts of Oregon are cool and damp while other parts of the state are windy or hot and very dry. Scott Burns, Portland State University geology professor emeritus, explains how this aff ects your wine. Hollywood Theatre, 4122 NE Sandy Blvd., 281-4215. 7 pm. $5 donation.

TUESDAY, MAY 6 Desserts and Bubbles

As part of Argyle Winery’s bubbles week that fastidiously avoids the word “Champagne” in all marketing materials, this event pairs fi ve Argyle sparkling wines with sweets from Petunia’s, Pix, Raven & Rose, Salt & Straw and Xocolatl de David at a relative premium. Skip dinner, and if you’re not light-headed and in love after that whole mess, you’re made of sterner stuff than us. Union/Pine, 525 SE Pine St., 818-292-1169. 7:30 pm. $25.



Shandong = WW Pick. Highly recommended.

Willamette Week APRIL 30, 2014

SHERPA FOOD: Chicken curry with dal at Himalayan Food cart.

HIMALAYAN FOOD A new strand of Tibetan prayer flags going up off Southeast Clinton Street hardly merits mention. Except this time, for once, it actually signifies the presence of something Tibetan. And, for that matter, Indian, Bhutanese and Nepalese. The Himalayan Food cart that recently appeared at Southeast Division Street and 50th Avenue offers a wildly diverse cuisine that’s both familiar—the housemade dumplings called “momo” could pass for pot stickers at any Chinese restaurant in town—and distinctive. Take the hot sauce, made partly with peppers imported from Nepal. It comes in wee plastic Order this: Chicken curry with cups and has the orange shade of dal ($6.50), beef momo ($6.75). Google Maps’ freeways. It’s pure I’ll pass: Thakpa soup ($5.50). scorching magma below earthy layers of rich volcanic soil. The best dipper for that sauce is the chicken curry ($6.50) with rice and dal, an herby slurry of cooked-down, soft yellow lentils somewhere on the spectrum between sauce and soup. The cart’s oniony, garlicky version isn’t so different from the kik alicha wot you’ll find at the Ethiopian restaurant across the street. The same curry spices are also used on tender hunks of lamb ($7.50). The dumplings come with ground beef, pork or veggies ($6.75 for eight), and are shaped to signal their contents. The meat versions, plump and juicy inside, with a tangy hot dipping sauce, are especially satisfying. Unlike the other quick-service fare, they take 15 minutes to cook, so plan accordingly. Also enjoyable is a chow mein-and-veggie plate ($6.50) with chicken, pork, beef or extra veggies. The noodles are springy wheat, the size of spaghetti, served in a heap that fi lls an entire standard-sized to-go container. Thin slices of beef were a little gamey, and especially good in that house hot sauce. The only thing I didn’t like was thakpa, a 32-ounce bowl of chicken noodle soup ($5.50), which was, well, way too much like other chicken noodle soup, a bland broth in need of more salt, with gummy noodles and a few shards of greens. Given the number of other Himalayan dishes—there are hundreds of recipes in the canon—it shouldn’t be hard to find something else to carry those colorful flags forward. MARTIN CIZMAR. EAT: Himalayan Food at A La Carts Food Pavilion, Southeast 50th Avenue and Division Street, 740-8122.


WILD OREGON LOGGER (FALLING SKY BREWING) The old joke goes that Budweiser is more of a sake than a beer. Like a lot of mass-market lagers, Bud is made with a heavy dose of rice, a cheap source of sugar that lowers production costs while keeping the brew clean and crisp. Rice and other adjuncts have long been shunned by craft brewers, but lately I’ve seen a few interesting experiments with rice and corn, none better than the Wild Oregon Logger I sampled at last weekend’s Oregon Garden Brewfest in Silverton and which will be on tap at Bailey’s Upper Lip on Saturday. Made by Eugene’s Falling Sky, the beer is a pre-Prohibition lager with wild rice grown in Eastern Oregon. The hardy wild rice has some nuttiness, plus lots of ripe and fruity flavors. It’s still a smooth straw-yellow beer, but with layers of nuance you’d never expect from any riced-up lager. Recommended. MARTIN CIZMAR.


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ALL THAI’D UP: A diner serves up lobster salad from a spread at Lang Baan.


coconut, including the menu’s standout in both months, the lobster salad dish on the 11-course menu. The lobster is paired with the grapey pop of rambutan fruit amid bitter pennywort herb, mint, tamarind, coconut and spice. The flavors and textures are each present singly, but play intensely off the others—a bit like a harmony with one note a half-step sharp (the pennywort, in this case) that BY M AT T H E W KO R F H AGE calls all the other notes into piercing relief. The other standout dish, the nahm prik ong kai You know this by now: Portland’s best Thai food khem, sai-aou on the March menu, was a mouthful is also some of the best anywhere in the country. in more ways than one. Centering around a wildly We even had to donate our spare Pok Poks to intense cherry tomato-and-pork relish, the dish New York City. Without leaving the city, Port- is a choose-your-own adventure of flavors, from land diners get national-caliber Chiang Mai cart vegetable base to richly savory salted duck egg and fare, khao man gai and Kuaytiew noodles. spicy-sweet Chiang Mai sausage. A green mango And in a little backroom tucked behind PaaDee salad on the April menu is crisped up with a filarestaurant, Akkapong Earl Ninsom just upped the mented catfish “net” that’s a magic trick of texture. stakes again. Unless you eat regularly at the Nahm Desserts have been a splendid blend of sweet Bangkok in Thailand, you probably haven’t tried and savory, from black-sesame rice treats to anything on Lang Baan’s everApril’s grace note, a cup of panchanging tasting menu. danus fruit “noodles” in coconut And yet somehow it’s less Order this: The $40 meal, plus cream with jasmine shaved ice a cocktail or two. You’ll be full, intimidating than Whiskey Soda buzzed and happy. and melon. It’s a tour of sweetLounge, let alone Pok Pok. Lang bitter textures that is the essence Baan is the friendliest prix-fixe of summer in springtime. meal in Portland—so casual they might forget The wine pairings don’t always complement your serving spoon, or climb up on your seat to that odd combination of delicacy and spice mess with the curtains. The restaurant’s menu is inveterate to Thai food. Avoid craft beer and nine courses at $40 or 11 at $60, and parks all the go for a simple Thai lager, or hit up the cocktail ramshackle wonder of a Thai marketplace into its menu. The whiskey-tamarind and cognacmotley-wooded, open-kitchen tasting room. mango combos of the PaaDee and 12-Mile Limit Menus change monthly. March featured Royal ($8 each), respectively, offer the blend of spice, Thai, and April Southern Thai. Northern Thai is sweet and bitter needed to stand up to the food next, in May. But each of the first two menus have without clashing. begun with a snack of miang som-o, which comBut a difficulty with Lang Baan is that even presses every flavor group in the Thai repertoire familiar and inexpensive Thai food is so cominto a one-bite salad: salty-savory shrimp, sweet plex and intense it’s a high-wire act for the rescoconut, a jolt of chili and a tart burst of pomelo taurant to justify the tasting menu’s $40 or $60 on an earthy, bitter betel leaf. It doesn’t so much price over even Ninsom’s own excellent PaaDee. cleanse the palate as prime it for a show, like a bite A hiramasa ceviche, for example, was an elevatbefore a kiss. Also stalwart on the snack menu is ed yum neua with fish, a Dungeness wilted into sticky rice infused with watermelon water, then sweet curry, and a perfectly pleasant pineappleleft to dry into little rice-cake crisps. These serve soy short rib recalled Korean or Hawaiian fare. as ground for a Dungeness crab salad or, even betReally it’s the variety of experience that sets ter, a citric, sweet-coconut dish showcasing the Lang Baan apart from other fine Thai in town. If natural affinity of pork for peanuts. you’re willing to let the budget be damned, it’s the April’s Southern menu opted for measured most exciting Thai dinner in Portland. herbal sweetness over that region’s famed heat— much in line with the balance-in-all-things cui- EAT: Lang Baan, 6 SE 28th Ave., 971-344-2564. 6 and 8:30 pm seatings Thursday-Saturday. For sine of the Thai royal family’s kitchen. Much at reservations, email Lang Baan puts the lime—or the tamarind—in the


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Willamette Week APRIL 30, 2014


april 30–may 6 PROFILE

= WW Pick. Highly recommended.


Prices listed are sometimes for advance ticket sales. At-the-door increases and socalled convenience charges may apply. Event lineups are subject to change after WW’s press deadlines. Editor: MATTHEW SINGER. TO BE CONSIDERED FOR LISTINGS, go to submitevents and follow submission directions. All shows should be submitted two weeks or more in advance of event. Press kits, CDs and especially vinyl can be sent to Music Desk, WW, 2220 NW Quimby St., Portland, OR 97210. Please include show or release date information with all physical mailings. Email: Fax: 243-1115.


[BLUES] Keb’ Mo’ has three Grammys and 12 records to his name. The Compton, Calif., native has played the White House and is adored by legends in his field. At 62, that might be enough for some to hang their hat on, but not Keb’. The Nashville bluessmith is a man possessed, having just dropped Bluesamericana, an apt if not terribly literal record title. While his band sometimes strays into adultcontemporary territory, Mo’—with his fast fingers and traditional blues approach—plays a tidy brand of music stuck halfway between the prairie and the bayou, and manages to do so without sounding dated. MARK STOCK. Aladdin Theater, 3017 SE Milwaukie Ave., 234-9694. 8 pm. $42$59. Under 21 permitted with legal guardian.

White Fang, Mean Jeans, Charts

[SPAZZ PUNX] No band in Portland throws a tantrum quite like White Fang. The stoner punks top an all-star local bill that also includes the lovably beery Mean Jeans and surf-punk promcrashers Charts. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $10 advance, $12 day of show. 21+.

I Break Horses, Rival Consoles, Exotic Club

[DREAM-TRANCE] A name like I Break Horses brings to mind hard-hitting crust punk so aggressive it leaves the listener frozen. But that is not the reality of this Swedish duo, which specializes in highly textured, melancholy electronica. Maria Linden and Fredrik Balck serve up introverted, almostdance music so sharp it had the group opening for M83 recently (a perfect fit, really). I Break Horses just released sophomore LP Chiaroscuro, a record that seems to take as much from My Bloody Valentine as it does from Phantogram. MARK STOCK. Holocene, 1001 SE Morrison St., 239-7639. 8:30 pm. $12 advance, $14 day of show. 21+.

Thee Silver Mt. Zion Memorial Orchestra, Jherek Bischoff

[EXPERIMENTAL SYMPHONICS] “It’s like Godspeed You! Black Emperor with vocals,” a record clerk once told me of Silver Mt. Zion, the post-rock progenitors’ ever-evolving side project. While doing an adequate job of satiating the thirst for chaotic caterwauling during GY!BE’s prolonged hiatus, it raised the question of whether another release from the anarchist Canadians’ baroque night job would be met with the same enthusiasm. Fuck Off Get Free We Pour Light on Everything is every bit as explosive as last year’s Godspeed release, with the vocals adding an extra layer of agitated dissidence that gives fans something to scream while headbanging along. PETE COTTELL. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. $15 advance, $17 day of show. 21+.

Manchester Orchestra, Balance and Composure, Kevine Devine

[INDIE THRASH] Frontman Andy Hull said the mission statement of Manchester Orchestra’s fourth LP was to “make a crazy-loud rock record.” Indeed, Cope has more unrelenting, white-knuckle energy than the indierock group’s previous releases stretching back a decade. They’ve posted a stream of the album in its entirety on Manchester Orchestra’s YouTube channel, where you can also check out 100-plus video podcasts the group has uploaded over the years, giving fans a glimpse inside recording sessions, tours and creative musings. GRACE

STAINBACK. Roseland Theater, 8 NW 6th Ave., 224-2038. 7:30 pm. $17. All ages.

Peter Buck, Super-Earth

[ROCKING IN RETIREMENT] The exR.E.M. guitarist and part-time Portland resident plays the second of two uberintimate, uber-cheap solo shows, likely performing selections from his two vinyl-only releases, both issued on local label Mississippi Records. He’ll also debut his latest supergroup, appropriately titled Super-Earth, featuring Sleater-Kinney vocalist Corin Tucker. The Secret Society, 116 NE Russell St., 493-3600. 8 pm. $5. 21+.

Ulcerate, Ritual Necromancy, Heathen Shrine, Bastard Feast

[KIWI DEATH] Countless metal bands have strip-mined Tolkien’s novels for inspiration, but New Zealand’s Ulcerate is not one of them. Though the band hails from the Shire of Auckland, its music is a brutal form of death metal with astrophysical complexity. The vast majority of today’s metal bands have hit a brick wall in terms of pushing genre boundaries into new territory. Ulcerate is among the few that have found 21st-century modes of layering rhythms and anti-melodies into aggressively beautiful abstractions. Ulcerate’s third album, The Destroyers of All, was its international breakout. Fourth and latest disc Vermis came out on Relapse last year, proving there are still outer reaches to be plumbed. NATHAN CARSON. Tonic Lounge, 3100 NE Sandy Blvd., 238-0543. 9 pm. $10. 21+.

THURSDAY, MAY 1 Modest Mouse, Survival Knife

[FLOATING ON] It’s been just over a decade since Modest Mouse released its mainstream breakthrough, Good News for People Who Love Bad News. The Portland-based outfit released a surefooted follow-up in 2007 and a scattershot collection of B-sides in the time between, further careening into accessible indie rock stamped with Isaac Brock’s feverish barking and taste for bent guitar. Though rumors of a collaboration with Big Boi and recent tour cancellations have hinted at a new album that’s yet to come, Brock’s two-day run will probably mesh old favorites with soon-to-surface material. Sure, you may go for “Float On” and “Dashboard,” but you’ll stay for songs like “Shit Luck” and “Spitting Venom.” BRANDON WIDDER. Crystal Ballroom, 1332 W Burnside St., 225-0047. 8 pm. . Sold out. Through May 2.

We Are Scientists, PAWS

[POST-PUNK POWER POP] Keith Murray and Chris Cain were always decent enough rock stars. As We Are Scientists, the pair scored a modest indie-disco anthem with 2005’s “Nobody Move, Nobody Gets Hurt” and charted a few more hits across the pond—think danceable Fountains of Wayne or self-effacing Killers—but the Northern Californians always spun any career momentum into cheeky improv stunts or comedy shorts. While recently released fifth album TV en Francais finds the graying lads still fond of the instantly hummable, eminently forgettable chorus, longtime fans gather more for the polished stage patter-turned-standup routine, and the odds of attracting younger listeners to tired retreads of yesterday’s idioms seem increasingly slim, despite a newfound fascination with viral memes begun perhaps too late in the game. Timing, they say, is everything. JAY HORTON. Doug Fir Lounge, 830

CONT. on page 31

ROOmIES: Theresa Wayman (second from left) and Warpaint.



The path from blog-worthy buzz band to compelling live presence is treacherous. As we’ve learned from the hundreds of bands that face-plant live in the wake of well-hyped debuts, adding layers of nuance to a record creates a tightrope onstage many acts can’t walk. On the heels of its massive 2010 debut, The Fool, Warpaint had no choice but learning how to make its delicate, dreamy sonics work in a live setting. “We were thrown into the touring world and had never done that before,” says guitarist Theresa Wayman. “We learned a lot about playing music live, about being performers, about what works onstage versus what works in recordings. It’s not always the same thing.” The initial conversation surrounding Warpaint focused on its Hollywood connections: Bassist Jenny Lee Lindberg is the sister of actress Shannyn Sossamon (the group’s original drummer), and Wayman had a bit part in the 2002 adaptation of Bret Easton Ellis’ The Rules of Attraction. But this year’s self-titled record has shifted the attention squarely to the group’s razor-sharp musicianship. After renting a house in Joshua Tree and going on a songwriting bender, the L.A.-based quartet enlisted super-producer Flood to turn weeks of jamming into a tightly wound record that’s footed equally in straightforward grooves and crystalline ambiance. Flood’s work with Nine Inch Nails and U2 is exemplary of his “studio as instrument” flourishes, famous for making basic compositions sound massive without dulling their edges. But it was his work on PJ Harvey’s To Bring You My Love that hooked Wayman on his approach. “It was clear he’s got a range of capability, but PJ Harvey was what really sold me,” she says. “She’s like us in that she wants to retain some of the demo aspects of her songs because she feels like the demo is a really important moment in the song’s evolution, and that original feeling and idea that it cap-

tures is something more wild that hasn’t been too thought about. It’s really important to remember that moment of the song.” Warpaint is more straightforward than it sounds on paper, albeit with a heavy dose of texture that many associate with Warpaint’s Southern California roots. Drummer Stella Mozgawa refuted the band’s distinct ties to L.A. as “archaic” in a recent interview, but Wayman considers the tone of Warpaint to be distinctly Californian. “We got influenced by other types of music and broadened our horizons, but at the same time it sounds more ‘California’ to me than our last one,” she says. “It’s kind of dreamy and a little bit hazy, and that to me is a feeling you get when you’re in

“IT’S KIND OF DREAMY AND A LITTLE BIT HAZY, AND THAT IS A FEELING YOU GET WHEN YOU’RE IN L.A.” —WARPAINT’S THERESA WAYMAN L.A. and out in the desert. Everything is a mirage because it’s so sunny and hot and there’s always this glare in your eye. It’s like the feeling of summer and kicking back and daydreaming.” The inflection of R&B and electronic sounds is often overstated as young bands go out of their way to distance themselves from bloated rockist ideals, but the marriage of hip-hop beats and driving basslines to the feather-light vocals of Wayman and guitarist Emily Kokal is the most obvious highlight on a record loaded with them. Despite the group’s traditional rock-band setup, calling Warpaint a rock record feels a bit off. “Groove is really important to us,” Wayman says. “I think that’s what we really get off on and it’s what we love doing live. We tried to make it a priority on this album. We probably listen to rock music less than any other kind of music, to be honest.” SEE IT: Warpaint plays Wonder Ballroom, 128 NE Russell St., with James Supercave, on Thursday, May 1. 8 pm. $18 advance, $20 day of show. All ages.

Willamette Week APRIL 30, 2014



Willamette Week APRIL 30, 2014

THURSDAY-SATURDAY multicolor bursts as the trio mixes beats live. Four years after debut album Drink the Sea thrust the L.A. group into the electronic spotlight, Love Death Immortality followed up this February with equal parts beat, bass and, well, glitch. GRACE STAINBACK. Roseland Theater, 8 NW 6th Ave., 224-2038. 8 pm. Sold out. All ages.

John Roderick, Sean Nelson

[LONELY WINTER] The Long Winters’ cornerstone songwriter, John Roderick has always been at his best when he’s at his bleakest. Although the Seattle-based band released an excellent, threepart series of studio albums in the ’00s, Roderick has been schlepping the same wizened power pop ever since, occasionally rehashing albums in their entirety and recently opening for a solo Colin Meloy. His lyrics remain everyday authentic and charmingly caustic, enveloped in hard times and tragic symbolism, while his solo gigs add a spare gravity to a voice that shares—for better or worse— an undeniable resemblance with R.E.M.’s Michael Stipe. BRANDON WIDDER. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. $12. 21+.

SATURDAY, MAY 3 Fu Manchu, Electric Citizen, Satyress

[SIMPLE STONERS] Along with any stoner-rock band comes a boatload of regret—balanced, of course, by ridiculously heavy riffs. Hearing Scott Hill sing, all deadpan and vacant, almost ruins every song Fu Manchu’s recorded. Luckily, each composition sounds pretty much the same, so wait long enough and the Southern California ensemble is likely to find some deep, spacedout groove to enjoy. Being around for almost 25 years hasn’t expanded the group’s approach to smoky rock stuff, even as 2009’s Signs of Infinite Power embraces production flourishes more than the band had in the past. But if shame in that kind of embellishment doesn’t inhibit enjoyment, there’s an embarrassment of riches in Fu Manchu’s work. DAVE CANTOR. Dante’s, 350 W Burnside St., 226-6630. 9 pm. $15. 21+.

FRIDAY, MAY 2 Dizzy Wright, Mark Battles

Cool Nutz

[HIP-HOP MAYOR] Terrance “Cool Nutz” Scott has been called “the ambassador of Portland hip-hop” for so long it’s easy he’s not a selfappointed diplomat but a tough MC who earned that title through blue-collar rhyme skills and an indefatigable work effort. The dude is perpetually promoting new projects, the latest of which, titled EMO, drops a few days after tonight’s birthday celebration. Ash Street Saloon, 225 SW Ash St., 226-0430. 9:30 pm. $7. 21+.

Boat, The Comettes

[ANTHEMS FOR A 33-YEAR-OLD RECORD CLERK] For a certain strain of indie-rawk fans, Seattle outfit Boat is the greatest band nobody (OK, almost nobody) has ever heard. There’s a reason these dudes named a compilation of early material 50 Sweaty Boat Fans Can’t Be Wrong. Few live acts I’ve ever seen earn such a passionate, devoted and drunken love like D. Crane and company. Boat is the type of band that appeals to the kind of person who wakes up at 7 am on a weekend to get in line for the local record convention, and I mean that as the greatest compliment. 2013’s Pretend to Be Brave doesn’t move the needle far from the band’s Fountains of Wayne-style power pop-meetsPavement’s “Stereo” vibe, but like every Boat record, it contains at least five songs that sound absolutely perfect at midnight after five beers and two questionable text messages to your ex. MICHAEL MANNHEIMER. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. Free. 21+.

The Glitch Mob, Ana Sia, Penthouse Penthouse

[BEATS ON BEATS ON BEATS] Set side by side onstage behind their laptops and controllers, fedoras and faux-hawks twerking to the beat, the members of the Glitch Mob look like cutting-edge bobbleheads with magical musical powers, due to their JazzMutant Lemur touchscreen controllers that light up in

Paradise, The Upsidedown, The Suicide Notes

[ORGAN GRIND] While Soldiers of the Modern Age, the second full-length from Portland combo Paradise, arrives ready for battle, the quartet’s notion of moderCOURTESY OF SLIMKID3.COM

[HIP-HOP] Michigan marijuana enthusiast Dizzy Wright’s latest mixtape is a tasty blend of laid-back weed rap and enlightened introspection. State of Mind is the follow-up to 2013 breakthrough The Golden Age, which saw critics take note of the rapper’s Curren$ymeets-Bone Thugs flow. With its hazy beats, effortless rhymes and catchy choruses, State is certainly a good soundtrack for your postwork blunt-and-couch routine. Just make sure you get all of your fun in before the show—we don’t need to be giving Portland any more excuses to kill the vibes. SAM CUSUMANO. Alhambra Theatre, 4811 SE Hawthorne Blvd. 7 pm. $15. All ages.

nity decidedly centers on “mod”— note the lush cover of Status Quo’s “Pictures of Matchstick Men.” But the hard-charging, backward-leaning, Farfisa-fueled grooves are pushed ever so slightly from ’60s garage by frontman Steven Denakis’ punky Richard Hell-scapes. Local shoegaze troupe the Upsidedown, now counting Go Fever’s Tony Hilsmeier among its psych-blues swirl, opens with its first show since last fall. JAY HORTON. Doug Fir Lounge, 830 E Burnside St., 2319663. 9 pm. $10. 21+

Typhoon, Big Haunt, the Morals

[GRANDEUR POP] White Lighter is a pretty ironic title for Typhoon’s most recent album: Nothing about it is pocket-sized. Only a few songs exceed five minutes, but each goes through a symphony’s worth of movements, with peaks and valleys carved from booming cannonades of guitars and drums and strings and horns and choirs and keyboards and countless other sedimentary layers of sound. But as big as it’s become, both in sound and popularity, the chamber-pop orchestra still manages to return on occasion to the clubs that nurtured it. Tonight, the band returns to Mississippi Studios as part of KINK radio’s inaugural City Fair and Exposition, “a showcase of all things that make Portland great” that includes food carts, beard trimmings and a “goat appreciation area.” MATTHEW SINGER. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 5:30 and 9 pm. $20, second show soldout. 21+.


CONT. on page 33


THE PHARCYDE’S TRE HARDSON ON J DILLA Though not a household name on the level of hip-hop’s other martyr figures, for true heads, the producer James Yancey—aka Jay Dee, aka J Dilla—is a saint on par with Tupac, Biggie and Jam Master Jay. Eight years after Yancey’s death from a blood disease, the artists who owe their careers to his soulful beats are still paying homage. The Welcome to Dillaville tour features two such acts: Slum Village, the Detroit group of which Yancey was once a member; and Tre “Slimkid3” Hardson and Fatlip of the Pharcyde, whose second album, 1995’s Labcabincalifornia, introduced Yancey’s idiosyncratic production to a wider audience. We asked Hardson, who lives in Portland, to recall the first time he heard Jay Dee. “We were recording our record, and we had maybe 20, 30 songs or something like that. [Delicious Vinyl co-founder] Mike Ross was like, ‘There’s still something missing,’ and we all agreed. We were trying to get that New York sound, because that’s what we listened to, what we danced to. So Mike Ross set it up where we went to New York for six months or so to produce the rest of Labcabincalifornia. We met with Q-Tip, he played us some beats, and they were super killer. He was like, ‘This is my boy, Jay Dee.’ We didn’t believe it was James Yancey. We thought it was Q-Tip’s alias. We finally met Jay Dee when he was in town one day, and he was this cool demeanor type of cat. He had his little Kangol on, dressed nice and clean. He was always sharp. And everything took off from there, basically. “To us, he was a really mellow cat. When I was on the road with Yancey Boys and Slum Village in Europe, I got to hear more about what kind of cat he actually was. He was so quiet around us, yet he was Superman in Detroit. He was always putting people on. He had a big heart about things. But he had his player side as well. I always saw this calm dude. I never saw anyone who’d be like how we were, which was just balls to the wall.” J DILLA SEE IT: Welcome to Dillaville, featuring Slimkid3 and Fatlip, Slum Village, Serge Severe and Elton Cray, is at the Hawthorne Theatre, 1507 SE Cesar Chavez Blvd., on Monday, May 5. 8 pm. $18 advance, $20 day of show. All ages.


E Burnside St., 231-9663. 9 pm. $15 advance, $17 day of show. 21+


Willamette Week APRIL 30, 2014



Chris Robinson Brotherhood Phosphorescent Harvest $12.99 Also on LP Appearing at the Wonder Ballroom, Friday May 9th.

Holly Golighty & The Brokeoffs All Her Fault $11.99 Appearing at Slabtown on 5/9

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Nothing Guilty Of Everything $10.99 Also on LP, and appearing at Holocene on 5/24

Suzanne Vega Tales From The Realm Of The Queen Of Pentacles $10.99 Also on LP

The Both The Both $10.99 The Both is Aimee Mann & Ted Leo. Also on LP

Looking Into You A Tribute To Jackson Brown $19.99

Pixies Indie City $11.99 Available on 5/6 —Also on LP

Eels The Cautionary Tales Of Mark Oliver Everett $10.99 Deluxe Limited Edition $15.99 Also on LP and appearing at the Aladdin Theater on 6/8

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offer good through 5/27/2014 32

Willamette Week APRIL 30, 2014


Ingrid Michaelson, Storyman, the Alternative Routes

[PIAno PoP] “Girls chase Boys,” the first single off Ingrid Michaelson’s latest album, features the cutesy sweetness established on her previous singles, laden with hand claps and quirky guitar and a chorus of fluttery “ohs.” But she drops the sugary pop early on Lights Out, opting for darker, piano-driven ballads. one song in particular, “Handsome Hands,” showcases Michaelson’s impressive range along with low, peaceful strings that build like an oncoming storm, pierced by bright, intense strikes of trumpet. It’s here that the album title becomes fitting. But while Michaelson has shed some of her infectious brightness, the simple, soaring choruses manage to balance the dark with the light. KAItIE toDD. Roseland Theater, 8 NW 6th Ave., 224-2038. 7:30 pm. $28. All ages.

SUNDAY, MAY 4 The Pains of Being Pure at Heart, Fear of Men, Ablebody

S I M o n B o A S /J U L I A n n E R o S E t U n n E L L E

[InDIE MUScLE] After luring the college-radio crowd with his gluey twee pop, Reed alum and Pains of Being Pure at Heart leader Kip Berman thought it was time to tell some secrets. Perhaps the Brooklyn band’s most cohesive and private work yet, third record Days of Abandon plays like a deep, relaxing exhale. the melodies are sugary— too sugary at times— but that’s to be expected from a group of such pent-up exuber-


ance. there’s a ring of Morrissey to Berman’s vocals, especially when he’s dealing in the darker subject matter of the newest release. MARK StocK. Holocene, 1001 SE Morrison St., 239-7639. 8:30 pm. $12 advance, $14 day of show. 21+.

Rachel Taylor Brown, Leigh Marble

[UnEASY LIStEnInG] Portlander Rachel taylor Brown commences her new album, Falimy (sic), in typically idiosyncratic fashion. over jaunty music-hall chords, she warbles cheerily, “the world is so frightening/there’s no one to comfort you, no one to care,” before bringing in choral vocals and ornery power chords. “So let’s make a family,” she concludes, ultimately unleashing Annie Lennox-ish vocal gymnastics over the song’s protracted fade. the ensuing tracks—including the delicate “Robin,” time signature-jumbling “Little Fucker” and aggressively discordant “Me Hurting You”—are welcome additions to Brown’s compelling body of work, featuring her best singing yet. JEFF RoSEnBERG. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 8 pm. $5. 21+.

Nails, Iron Lung

[GooD MEtALcoRE] In the hoary days of the 1980s grind scene, teenagers obsessed with breaking the sound barrier on hand-medown instruments and cassette four-tracks produced seminal works like napalm Death’s Scum. Fast forward to 2014, and oxnard,

cont. on page 34

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Who: Chris Scott (guitar, keyboards), Mike Byrne (drums, electronics), Patrick Dougherty (bass). Sounds like: An intense Joint Chiefs of Staff meeting where all arguments are made on electric guitars. For fans of: Battles, Dan Deacon, Holy Fuck, Mothertapes. Why you care: With the help of a looping mothership known as the Gibson Echoplex, Bearcubbin’ builds towering math-rock monuments via off-tempo rhythms, percussive guitar, effectspedal tinkering and ferocious drum work. Save a few vocal bursts and samples, it’s all instrumental. Mastermind Chris Scott acknowledges the influence of experimental wunderband Battles, but he’s tired of the comparison. The bands share the same jazz-minded abstraction, but Bearcubbin’ feels less rigid and more animated—literally. “There’s a part in a song on the new record called ‘Master Cylinder,’ and it’s what I remember the bluebird from Snow White sounding like,” Scott says. “It’s that thing of being powerful but at the same time whimsical.” Scott started the band in 2009, after stepping in to play with drummer Mike Byrne’s previous outfit, Moses, Smell the Roses. Byrne briefly manned the kit for the Smashing Pumpkins the same year, being hand-selected by Billy Corgan over thousands of candidates. “Mike’s always had a larger-than-life personality,” Scott says. Unsurprisingly, Bearcubbin’s meter is crisp and its sound highly percussive. Girls With Fun Haircuts, the band’s second full-length, is rich with stop-start pacing, layered guitars and zany effects. While there’s plenty of noise, there’s always a core progression the listener can grasp when shit gets weird. The trio, rounded out by bassist Patrick Dougherty, Scott’s former bandmate in the Jezebel Spirit, has since played SXSW, Treefort and a slew of Portland shows. Record deals and touring would be great, but Bearcubbin’ is going to hang out in Portland for a while. Graduation, new jobs and a remix record are all on the horizon. But what Bearcubbin’ wants most right now is its newest album out on vinyl. “That’s kind of our top priority,” Scott says. SEE IT: Bearcubbin’ plays Bunk Bar, 1028 SE Water Ave., with Moon Honey and Animal Eyes, on Saturday, May 3. 9:30 pm. $7. 21+. Willamette Week APRIL 30, 2014



Calif.’s Nails have pro gear and attitude, a record deal with Southern Lord and the chops and studio prowess to make a 10-song “album” that reproduces its aggression in high fidelity. The record is called Unsilent Death, and spends about 16 total minutes ramming vocalist Todd Jones’ fist down your throat. Nails alternately blasts and chugs, leaving just about everything to the imagination except for pure sonic pummel. NATHAN CARSON. Star Theater, 13 NW 6th Ave. 7 pm. $10. All ages.



MONDAY, MAY 5 Mono, Helen Money

[CRESCENDO-CORE] Wikipedia classifies Mono as “post-rock,” but the telling detail separating the Japanese quartet from the rest of the flock is found in the group’s lineup entry: Members are credited with glockenspiel in addition to their traditional instruments. Rather than bludgeon you with brute force, Mono unleashes a dense tornado of symphonic catharsis to stand out from the herd of Explosions in the Sky clones. With a new record slated for fall, expect to hear some new tracks that sound like B-sides to the epic final scene of Disney’s Fantasia, at a volume no child should ever be exposed to. PETE COTTELL. Doug Fir Lounge, 830 E Burnside St., 2319663. 9 pm. $12 advance, $14 day of show. 21+.

TUESDAY, MAY 6 Teen, King Friday

[STILLNESS IS THE MOVE] Following in the footsteps of Dirty Projectors, Ava Luna and a host of other buzz bands incorporating modern R&B influences into the normally white-as-rice genre of “indie rock,” Brooklyn quartet Teen has reconfigured itself for the dance floor on its sophomore record, The Way and Color. Fortunately, the band has two things going for it: lead singer Teeny Lieberson’s tremendous, caterwauling voice, and a reliance on blaring horns to offset the driving rhythms and plinking keys. Teeny—who used to play keyboards in Here We Go Magic—is in full command on stunning opening number “Rose 4 U” and the shapeshifting quasi-ballad “Breathe Low & Deep.” This is how you follow a trend and do it right. MICHAEL MANNHEIMER. Bunk Bar, 1028 SE Water Ave., 894-9708. 10 pm. $8. 21+.

Pantha du Prince, Queens

[LAYERED SHIMMER] German producer Hendrik Weber, who records under the nom de EDM Pantha du Prince, makes the kind of heady, starstruck electronic music that falls somewhere between minimal techno and shoegaze wonder. After the success of 2010’s Black Noise, he released the resplendent Elements of Light, fusing his muted electronics with an orchestra of chiming bells for a gorgeous take on new classical minimalism. Tonight, Hendrik debuts new material as the Triad, with NYC guitarist Scott Mou, a longtime collaborator who also opens the show, and Norwegian drummer Bendik Hovik Kjeldsberg. MICHAEL MANNHEIMER. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $14 advance, $16 day of show.

Red Bull Sound Select: Russian Circles, Witch Mountain, Gaytheist

[APOCALYPTIC MATH METAL] Since blowing up the instrumental-metal scene with 2006’s Enter, Russian Circles—actually from Chicago—has been churning out tense, bludgeoning dirges at an impressive clip. On last year’s Memorial, Russian Circles’ fifth and most dynamic release, the reliance on effects-based parlor tricks has been tempered by a heightened sense of atmosphere and sonics. Last time the band was in town, back in March, it nearly


Willamette Week APRIL 30, 2014

thE REnaissancE cOalitiOn: (From left) slick Devious, ton Jungir, Bryce lang, Maze Koroma, Zoo.

THE RENAISSANCE COALITION Copycat rappers, unimaginative rappers, pretty rappers, Portland rappers who film themselves rapping on bridges—that’s that shit the Renaissance Coalition doesn’t like. Add Dwight Howard to that list as well. As they watch the Blazers cap a second playoff win on the Houston Rockets’ home court, the five members of the Portland rap collective are gathered in the apartment of producers Bryce Lang and Ton Jungir, discussing the crew’s origins. Friends since their high-school days, which aren’t that far behind them, they rented a rehearsal space downtown a few years back and spent the summer hashing out the group’s aesthetic. What united them was their discontent with the state of popular music—Portland hip-hop included. “You gotta be ugly, man,” says Jungir, sparking a celebratory Swisher Sweets cigar. “There’s too much prettiness going on in this rap shit. Whatever happened to nasty raps?” “That’s why I don’t comb my hair,” adds Dylan “Zoo” Muldrew, as the room bursts into a chorus of giggles. On the serious tip, though, the Renaissance men are doing their part to dirty up Portland’s rap scene. With beats sourced from psychedelic rock records and the wigged-out lyricism to match, the crew—rounded out by rappers Maze Koroma and Slick Devious— knows it doesn’t fit in with the city’s prevailing hip-hop culture, which favors dusty soul samples and narratives drawn from the displaced side of gentrified Portland. Having all grown up in North Portland, the Coalition, which is four-fifths African-American, has been through the same experiences as many of its peers. But being documentarians interests the members less than following the streams of their own consciousness, whether it leads to tales of ancient pharaohs or stoned daydreams about teleporting to the ’70s and dropping acid with Huey Newton. “Everyone asks, ‘What your music about?’ I don’t fucking know,” says Devious. “It’s about the shit in my head.” Citing Basquiat, Dalí, Kubrick and Pink Floyd as influences, the group sees itself as residing halfway between the street-corner cipher and the art gallery. And, true to its name, rap is only one part of the equation. The Coalition’s videos are nearly as important as its mixtapes, disregarding clichéd cityscapes to visualize its audio fever dreams with the cinematic surrealism they deserve. Zoo’s “Nobody Loves a Genius Child” is the bizarro standout so far, a spiked Kool-Aid hallucination teeming with occult imagery. “It’s not different, it’s just not what you’re thinking,” says Koroma, who directs many of the videos. “It’s just not what you expect, like the bridges and all that shit. We see that every fucking day.” As hip-hop has become a hot-button issue in Portland, the Renaissance Coalition has been left out of the conversation. But people are still managing to find them: The organizers of Reed College’s Renn Fayre booked the group to play their annual student bacchanal this weekend after discovering its Web site. To hear the members tell it, that’s all part of the plan. “We have a motto: Stay quiet, stay working,” Lang says. “What that means is coming out with great music but not shoving it down people’s throats.” “You don’t find diamonds lying on the ground,” Muldrew adds. “You have to search for it.” MATTHEW SINGER. Portland hiphop’s odd future is now.

MORE: See for videos, album downloads and more.

TUESDAY/CLASSICAL, ETC. shook Wonder Ballroom off its foundation—so imagine what it’ll do to a venue half the size. PETE COTTELL. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. $3 with RSVP, $10 day of show. 21+.

CLASSICAL, JAZZ & WORLD Cappella Romana, Third Angle New Music

[ENVIRO ORATORIO] If those Earth Day vibes are already fading, re-experience respect for the natural world in Oregon composer Robert Kyr’s powerful A Time for Life. Better known for its performances of centuries-old music, Cappella Romana commissioned this hourlong “environmental oratorio” for eight singers and three instrumentalists from the University of Oregon prof, and its 2007 premiere was one of the year’s most impressive contemporary classical music events. Inspired by the Greek Orthodox Service for the Environment and invocations of nature praise from Navajo, Pawnee, Osage, Sioux, Eskimo, Chinook, Ojibway, biblical and other prayers and songs, it’s a dramatic musical play based on ancient sources, addressing, in undidactic fashion, a very current crisis. BRETT CAMPBELL. St. Mary’s Cathedral, 1739 NW Couch St. 8 pm Friday, May 2. $22.

3 Leg Torso, Shoestring Trio

[WEST COAST ECLECTIC] Like some kind of strange but benevolent virus, Portland’s 3 Leg Torso is spreading its deliciously oddball blend of world music, jazz and chamber music down the West Coast, the vector being former 3LT bassist Michael Papillo. Papillo moved to Los Angeles and formed his own category-defying outfit, Shoestring Trio, which also par-


takes of its parent organism’s gypsy jazz and tango, but adds samba and French chanson stylings. BRETT CAMPBELL. The Old Church, 1422 SW 11th Ave., 2222031. 8 pm Saturday, May 3. $15 advance, $17 day of show. All ages.

Garrick Ohlsson

[CLASSICAL PIANO] Charles Griffes was one of the most promising American composers of his generation, but he died too young (age 35) and too soon (1920) to achieve lasting prominence. Pity, as the New Yorker’s colorful music, influenced by the French Impressionists, still has much to offer. The New York-born, San Francisco-based Garrick Ohlsson, who’s been near the top of the classical piano world since becoming the only American to win the International Chopin Competition in 1970, will devote most of his Portland Piano International recital to a quintet of Griffes’ works, plus a pair of sonatas by one of Griffes’ major influences, Russian composer Alexander Scriabin, and some Chopin. BRETT CAMPBELL. Newmark Theatre, 1111 SW Broadway, 248-4335. 4 pm Sunday, May 4. $45-$54. All ages.

Yaron Gottfried, David Captein and David Hobbs

[CLASSICAL MEETS JAZZ] In this benefit for Portland Chamber Orchestra, the Israeli pianist-composer-conductor Yaron Gottfried, backed by veteran Portland jazzers Dave Captein on bass and Gary Hobbs on drums, performs his original music (influenced by Baroque, classical and folk music sources), jazz standards and jazzy variations on classical standards. BRETT CAMPBELL. Jimmy Mak’s, 221 NW 10th Ave., 295-6542. 8 pm Monday, May 5. $35. Under 21 permitted until 9 pm.


DO YOU HAVE GENITAL HERPES? YOU MAY QUALIFY FOR A CLINICAL RESEARCH STUDY Westover Heights Clinic is conducting a research study for healthy adults with HSV-2 genital herpes. The study is being done to evaluate the safety of an investigational drug. Study participants need to be between the ages of 18 and 50, have recurring genital outbreaks, and be able to come to the clinic for scheduled appointments. Subjects will be compensated for time and travel. To find out if you qualify, please call: Westover Heights Clinic 503-226-6678


BLACK PRAIRIE FORTUNE (SUGAR HILL) [ROOTS RAWK] If a side project is lucky, there will come a time when the term “side project” no longer applies. It often begins when the band takes on a character rivaling that of the projects formerly overshadowing it. For Portland’s Black Prairie, a band composed of vocalist Annalisa Tornfelt and four-fifths of the Decemberists, Fortune is that album. For the first time, Black Prairie places Tornfelt at the forefront, emphasizing her delicate, country-pop delivery. The album begins with the subtle, propulsive, almost hip-hop beat of “The 84,” in which slinking accordion and cascading guitars interweave with Tornfelt’s sweetly languid lyrics, chronicling her move to Portland with her soon-to-be husband. Black Prairie’s previous release, Wild Ones, was an instrumental companion to Jon Mooallem’s book of the same name, and while that soundtrack’s melange of Eastern European sounds is still present on Fortune, the mood is amped up more than anything the band has put out in its four-year career. Americana rocker and lead single “Let It Out,” apparently written after listening to a lot of Coda-era Zeppelin, offers the first taste of the album’s harder edge. The upbeat, accordionseared cut addresses the inevitable ups and downs of long-term relationships, with densely layered instrumentation and a dynamite drum solo. The title track and slightly psychedelic “The White Tundra” follow, both awash in distorted guitar and soaring fiddle. Other tracks, such as “If I Knew You Then” and closer “Count to Ten,” project Black Prairie’s pre-established mellow side, with staggering strings and soft, acoustic lulls. But here, they serve as more of a welcome reprieve than the dominating theme. After all, orchestral dissonance only gets a band so far. BRANDON WIDDER. SEE IT: Black Prairie plays Aladdin Theater, 3017 SE Milwaukie Ave., with Tiburones, on Friday, May 2. 8 pm. $15. Under 21 permitted with guardian. Willamette Week APRIL 30, 2014


early bird tickets on sale friday

SAtUrDAY girl tAlk phANtogrAm rUN the jewelS fUtUre iSlANDS mAN mAN gArDeNS & villA thUNDercAt ShY girlS lANDlADY

SUNDAY SpooN hAim tUNe-YArDS fUckeD Up the ANtlerS piNk moUNtAiNtopS emA moDerN kiN the DiStrictS


Willamette Week APRIL 30, 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:

[APRIL 30-MAY 6] Hawthorne Theatre lounge

1503 SE Cesar E Chavez Blvd. Ultra Goat, Broken Bodies


For more listings, check out

1001 SE Morrison St. Breton, Kid Karate


in Other words

14 NE Killingsworth St. Third Wave Thursdays Open Mic

Jade lounge

2342 SE Ankeny St. Jamie Leopold’s ‘Salon de Musique’

Jimmy Mak’s

221 NW 10th Ave. Mel Brown B3 Organ Group

Kennedy School

5736 NE 33rd Ave. May Day Celebration, Freak Mountain Ramblers, The Junebugs, Play Date

laurelThirst public House

2958 NE Glisan St. Natural Remedy, Born Cosmic, Laura Birdseye (9:30 pm); Lewi Longmire & the Left Coast Roasters (6 pm)

Magnolia’s Corner

4075 NE Sandy Blvd Chappell and Dave Holt

BAr rOCK: Bleeding rainbow at Sloan’s Tavern on April 26. See more photos at

wed. April 30 Al’s den

303 SW 12th Ave. Hip Hatchet

Aladdin Theater

3017 SE Milwaukie Ave. Keb’ Mo’

Alhambra Theatre

4811 SE Hawthorne Blvd. Brothers Grim, GROTE, Psyd3ffect

Andina restaurant 1314 NW Glisan Toshi Onizuka

Ash Street Saloon 225 SW Ash St. Zorakarer

Beaterville Cafe

2201 N Killingsworth St. Open Mic

Blue diamond

2016 NE Sandy Blvd. The Fenix Project

Boon’s Treasury

888 Liberty St. NE Eric John Kaiser

Bossanova Ballroom 722 E Burnside St. Swing DJ


350 W Burnside St. El Vez Punk Rock Revue, the Schitzophonics, Diana Death

doug Fir lounge

830 E Burnside St. White Fang, Mean Jeans, American Culture

duff’s Garage

2530 SE 82nd Ave Suburban Slims Blues Jam, Woodlander

Gemini Bar & Grill

456 N State St. Jacob Merlin and Sarah Billings

Hawthorne Theatre lounge

1503 SE Cesar E Chavez Blvd. Mikey Davis, Tosten Larson

Jimmy Mak’s

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

Jo rotisserie & Bar 715 NW 23rd Ave George Colligan Trio


112 SW 2nd Ave. Brian O’Dell

lan Su Chinese Garden

239 NW Everett St. Music in the Teahouse

landmark Saloon

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

laurelThirst public House

2958 NE Glisan St. Simon Tucker Blues Band (9 pm); Feathers & Friends (6 pm)

Mississippi Studios

3939 N Mississippi Ave. The Silver Mt. Zion Memorial Orchestra

rock Creek Tavern

10000 NW Old Cornelius Pass Rd. Billy D

roseland Theater

8 NW 6th Ave. Manchester Orchestra, Balance and Composure, Kevin Devine

Secret Society Ballroom

116 NE Russell St. Peter Buck, Super-Earth

Shaker and Vine

2929 SE Powell Blvd. Jay Pervis


1033 NW 16th Ave. Tiny Moving Parts, Frameworks, Gates

Starday Tavern

6517 SE Foster Road JT Wise Band

The elixir lab

2734 NE Alberta St. Open Mic Night

The lodge Bar & Grill 6605 SE Powell Blvd. Pete Ford Band

The press Club

2621 SE Clinton St. Robokchoy

Tiga Bar portland

1465 NE Prescott St. Kendall Holladay

Tigardville Station

12370 SW Main Street Open Mic with Jim Crutcher

Tillicum restaurant & Bar 8585 SW BeavertonHillsdale Hwy. High Boltage

Tony Starlight’s Supper Club

3728 NE Sandy Blvd. Piano Bar with Bo Ayars


4144 SE 60th Ave. Knowhere Music

Trail’s end Saloon 1320 Main Street Big Monti

Vie de Boheme 1530 SE 7th Ave. Gypsy Jazz Jam

white eagle Saloon 836 N Russell St. Martin Gershowitz

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

THurS. MAy 1 Agnes Flanagan Chapel

0615 SW Palatine Hill Rd Acabrella Concert

Al’s den

303 SW 12th Ave. Hip Hatchet

Aladdin Theater

3017 SE Milwaukie Ave. Johnny Clegg Band, Jesse Clegg

Alberta rose Theatre

3000 NE Alberta St. The Speakeasy Incident, acob Miller and the Bridge City Crooners, Smut City Jellyroll Society, Swingtown Vipers

Ash Street Saloon

225 SW Ash St. The Bone Snatchers, Rock ‘n Roll Suicides, The Lolligaggers

Back Stage Bar

3701 SE Hawthorne Blvd. Eye Candy VJ

Beaterville Cafe

2201 N Killingsworth St. James Faretheewell

Blue diamond

2016 NE Sandy Blvd. Ben Jones and Friends

Boon’s Treasury

888 Liberty St. NE Skip vonKuske’s Cellotronik

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

Bunk Bar

1028 SE Water Ave. The Pharmacy

Cadigan’s Corner Bar 5501 SE 72nd Ave. Thursday Night Blues Jam

Chapel pub

430 N Killingworth St. Steve Kerin

Crystal Ballroom

1332 W Burnside Street Modest Mouse, Survival Knife

doug Fir lounge

830 E Burnside St. We Are Scientists, PAWS

duff’s Garage

2530 SE 82nd Ave Joe McMurrian, Tough Love Pyle

east end

203 SE Grand Ave. Ten Pole Drunk, Wobblies, Fools Rush and Insignificunts


2126 SW Halsey St. Sloan Martin

Gemini lounge

6526 SE Foster Rd. Emilio Shivers

Hawthorne Theatre

1507 SE 39th Ave. Medium Size Kids, Ninjas with Syringes, Secnd Best, Nothing Like You, City States, The Shoestringers

Mississippi pizza pub 3552 N. Mississippi Ave The Tamed West, Sloe Loris

Mississippi Studios

3939 N Mississippi Ave. John Roderick, Sean Nelson

Mock Crest Tavern 3435 N Lombart St. Open Mic Jam with Johnnie Ward

Old Church & pub

30340 SW Boones Ferry Rd. Michele Van Kleef

ringlers pub

1332 W Burnside The Windshield Vipers

rock Creek Tavern

10000 NW Old Cornelius Pass Rd. Lynn Conover and Gravel

Secret Society Ballroom

116 NE Russell St. Kate Lynne Logan CD Release, Moody Little Sister, Sammy Witness & The Reassignment

Shaker and Vine

2929 SE Powell Blvd. Tristan WeinKamp Ensemble


1033 NW 16th Ave. Gallons, The Hague, Beach Party, Violent Pslams

Splash Bar Hawaiian Grill

904 NW Couch Jordan Harris & Christie Bradley

St. Honore

3333 SE Division Street Hot Club of Hawthorne

The Annex

5242 N. Lombard St. Jam & Open Mic

The Conga Club

4923 NE Martin Luther King Jr. Blvd. Dina y Los Rumberos

The Firkin Tavern

1937 SE 11th Ave. Steph Infection & the Heebie Geebies, Sam Densmore

The GoodFoot lounge 2845 SE Stark St. Tezeta Band

The Grand Cafe & Andrea’s Cha Cha Club 832 SE Grand Ave. Pilon D’Azucar Salsa Band

The lehrer

8775 SW Canyon Ln. The Squabble

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

The Muddy rudder public House 8105 SE 7th Ave. Sleepy Eyed Johns

The Original Halibut’s ii 2525 NE Alberta St. Terry Robb

The press Club

2621 SE Clinton St. Perola

Calapooia Brewing 140 Hill St. NE Sassparilla

Crystal Ballroom

1332 W Burnside Street Modest Mouse, Survival Knife


350 W Burnside St. Appetite for Deception

doug Fir lounge 830 E Burnside St. Augustana

duff’s Garage

2530 SE 82nd Ave The Hamdogs

duff’s Garage

2530 SE 82nd Ave Big Monti


2126 SW Halsey St. Peter Pants

The Tea Zone and Camellia lounge

First united Methodist Church-portland

The Tonic lounge

Gemini Bar & Grill

Tigardville Station

Glyph Cafe & Arts Space

510 NW 11th Ave. Rick Greene Quartet 3100 NE Sandy Blvd. Bullet Boys 12370 SW Main Street The Fabulous Lisa Fraser

Tony Starlight’s Supper Club

3728 NE Sandy Blvd. Sing for Your Supperclub

1838 SW Jefferson St. Bon Bons and Bratwurst 456 N State St. Sore Thumb

804 NW Couch St Ticklish Animal - Robert Duncan Gray

Hawthorne Theatre

Trail’s end Saloon

1507 SE 39th Ave. TouchN, LoveN, SqueezeN, Gold Dust, Gold Dust

Vie de Boheme

Hawthorne Theatre lounge

1320 Main Street American Roots Jam 1530 SE 7th Ave. Loose Change

white eagle Saloon 836 N Russell St. Fret Drifters

wilf’s restaurant & Bar 800 NW 6th Ave. Mike & Haley Horsfall

wonder Ballroom

128 NE Russell St. Warpaint, James Supercave

Fri. MAy 2 Al’s den

303 SW 12th Ave. Hip Hatchet

Aladdin Theater

1507 SE 39th Ave. The Stubborn Lovers, The Tumblers

Hotel Oregon

310 NE Evans St. Sloan Martin

Jade lounge

2342 SE Ankeny St. Jeeper Creepers

Jantzen Beach Bar & Grill

909 N. Hayden Island Dr. Lace & Lead

Jimmy Mak’s

221 NW 10th Ave. Michael Allen Harrison’s Superband

laurelThirst public House

3017 SE Milwaukie Ave. Black Prairie

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

Alhambra Theatre

Magnolia’s Corner

4811 SE Hawthorne Blvd. Dizzy Wright, Mark Battles

Analog Cafe

720 SE Hawthorne Blvd. Cloud City Circus: Beltane

Artichoke Music

3130 SE Hawthorne Blvd. Friday Night Coffeehouse

Ash Street Saloon

225 SW Ash St. Cool Nutz

Beaterville Cafe

2201 N Killingsworth St. The Sun Flights

Bethel Congregational united Church of Christ 5150 SW Watson Avenue Sing out of the Americas IV

Blue diamond

2016 NE Sandy Blvd. Jim Mesi

Boon’s Treasury

888 Liberty St. NE Oh My Mys

4075 NE Sandy Blvd Cybelle Clements

Mississippi pizza pub 3552 N. Mississippi Ave Krebsic Orkestar, Jenny Sizzler

Mississippi Studios

3939 N Mississippi Ave. Boat, The Comettes

Mock Crest Tavern 3435 N Lombart St. Suburban Slim

rock Creek Tavern

10000 NW Old Cornelius Pass Rd. Jon Koonce


315 SE 3rd Ave. The Globalist, Not In My House, She Preaches Mayhem

Secret Society Ballroom

116 NE Russell St. Dominic Castillo

Secret Society Ballroom

Broadway rose New Stage Auditorium

116 NE Russell St. An Evening with El Cuadro Gallo

Cadigan’s Corner Bar

2929 SE Powell Blvd. John Dover & Friends

12850 SW Grant Ave. The Bikinis 5501 SE 72nd Ave. Live Music

Shaker and Vine


1033 NW 16th Ave. Big Black Cloud, Towers, Prizehog

Star Theater

13 NW 6th Ave. Justin Nozuka, Sanders Bohlke and Megan Bonnell

Starday Tavern

6517 SE Foster Road Dave Stoops & The Quags

The Firkin Tavern

1937 SE 11th Ave. Parallaxx, Nocturnal, Simply Sage, Rose City Trio, DJ Licky

The Horse radish 211 W. Main St. Billy D

The Know

2026 NE Alberta St. Levon’s Helmet, Bad Future, Young Fast Scientific

The lehrer

8775 SW Canyon Ln. Nu Wave Machine

The Muddy rudder public House 8105 SE 7th Ave. Marxist Brothers

The Nest lounge

2715 SE Belmont St Tortune

The Old Church

1422 SW 11th Ave. Tina Malia and Hans Christian

The Original Halibut’s ii 2525 NE Alberta St. Franco & the Stingers

The press Club

2621 SE Clinton St. The Cary Miga Trio

The Tea Zone and Camellia lounge 510 NW 11th Ave. Mary Flower Trio

The whiskey Bar 31 NW 1st Ave. The Disco Fries

Tigardville Station

12370 SW Main Street HIFI Mojo

Tillicum restaurant & Bar 8585 SW BeavertonHillsdale Hwy. The Dischords

Tony Starlight’s Supper Club

3728 NE Sandy Blvd. Neil Diamond Tribute


4144 SE 60th Ave. Lew Jones

walters Cultural Arts Center 527 E Main The Oregon Mandolin Orchestra Spring Concert, With Grammy Award Winning Mandolinist John Reischman

white eagle Saloon

836 N Russell St. Nails Hide Metal, Chums, Rocket 3

wilf’s restaurant & Bar 800 NW 6th Ave. Tom Grant & Shelly Rudolph

wonder Ballroom 128 NE Russell St. Moonalice, Garcia Birthday Band

SAT. MAy 3 Al’s den

303 SW 12th Ave. Hip Hatchet

CONT. on page 38 Willamette Week APRIL 30, 2014


Aladdin Theater

3017 SE Milwaukie Ave. Led Zepagain

Arlene Schnitzer Concert Hall

1037 SW Broadway Chris Botti

Artichoke Music

3130 SE Hawthorne Blvd. Joyce Woodson, Karin Blaine

Ash Street Saloon 225 SW Ash St. Raise the Bridges, PlanetRAWK, Born Cosmic

Beaterville Cafe

2201 N Killingsworth St. Howard Wade

Bethel Congregational United Church of Christ 5150 SW Watson Avenue Sing out of the Americas IV

Biddy McGraw’s

6000 NE Glisan St. Jug Band Extravaganza

Blackwater Records

1925 SE Morrison St. Zyanose, Lebenden Toten, Frenzy, Peroxide, Life Form

Blue Diamond

2016 NE Sandy Blvd. Hifi Mojo

Boon’s Treasury

888 Liberty St. NE Mark McMinn


320 SE 2nd Ave. Bearracuda, DJ John Lepage and Matt Stands

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

Bunk Bar

1028 SE Water Ave. Bearcubbin’, Moon Honey, Animal Eyes

Calapooia Brewing 140 Hill St. NE Cat Like Reflexes

Clinton Street Theater 2522 SE Clinton St. Pete Seeger Tribute and Sing-a-Long

Club 21

2035 NE Glisan St. Autistic Youth, Rough Kids, Black & White, Piss Test

Clyde’s Prime Rib Restaurant & Bar

5474 NE Sandy Blvd. Cool Breeze


350 W Burnside St. Fu Manchu, Electric Citizen

Disjecta Contemporary Art Center 8371 N Interstate Ave. Outerspace on a Thursday

Doug Fir Lounge

830 E Burnside St. Paradise Record Release Celebration, The Upsidedown, The Suicide Notes

Duff’s Garage

2530 SE 82nd Ave DK Stewart


2126 SW Halsey St. The Columbians

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

Gemini Bar & Grill 456 N State St. Jukebox Heroes

Gemini Lounge

6526 SE Foster Rd. DJ Encrypted

Hawthorne Theatre

1507 SE 39th Ave. Nile, Season of Suffering, World Of Lies, Goathead, Necryptic

april 30–may 6

Hawthorne Theatre Lounge

1507 SE 39th Ave. An Evening with Lenny Rancher

Holladay Park Church

2120 NE Tillamook Street Vermilion Melodies, Sapphire Harmonies, Presented by Blueprint Ensemble Arts

Hotel Oregon

310 NE Evans St. Chris Margolin

Jimmy Mak’s

221 NW 10th Ave. Portland Soul All-Stars

LaurelThirst Public House

2958 NE Glisan St. Peter Pants and the Lost Boys (9:30 pm); The Yellers (6 pm)

Lincoln Performance Hall

1620 SW Park Ave. SYLVANA: Music of the Forests, Flowers, and Trees

M & M Restaurant & Lounge

LaurelThirst Public House

The Press Club

Mississippi Pizza

The Tea Zone and Camellia Lounge

Mississippi Pizza

2525 NE Alberta St. Jim Mesi 2621 SE Clinton St. Jenna Ellefson

510 NW 11th Ave. Nancy Curtin Brazilian Trio

2958 NE Glisan St. Freak Mountain Ramblers 3552 N Mississippi Ave. Christine Havrilla & Gypsy Fuzz 3552 N Mississippi Ave. Anthemtown Open Mic

Mississippi Studios

The Tonic Lounge

3939 N Mississippi Ave. Rachel Taylor Brown, Leigh Marble

Thirsty Lion Pub

Mt. Hood Community College

3100 NE Sandy Blvd. Ulcerate SW 2nd & Ash St. Brian O’dell Band

Tigardville Station

12370 SW Main Street Beadhead

Tom McCall Waterfront Park 2 SW Naito Pkwy. American Nobody


4144 SE 60th Ave. Corey R-J

Trail’s End Saloon

26000 SE Stark St Bon Bons and Bratwurst

Newmark Theatre

1111 SW Broadway Garrick Ohlsson

Plews Brews

8409 N. Lombard St. Open Mic

Rock Creek Tavern

10000 NW Old Cornelius Pass Rd. Hanz Araki

137 N Main Ave. CRUSH

1320 Main Street Walter Trout Benefit/ Fundraiser


Mississippi Pizza

Vie De Boheme


White Eagle


3552 N Mississippi Ave. Robin Jackson Band & Moorea Masa

Mississippi Studios

3939 N Mississippi Ave. Typhoon, Big Haunt/ The Morals

Mock Crest Tavern 3435 N Lombart St. Adequates

Ringlers Pub

1332 W Burnside Floating Pointe

Rock Creek Tavern

10000 NW Old Cornelius Pass Rd. The Twangshifters

Roseland Theater

8 NW 6th Ave. Ingrid Michaelson, Storyman, The Alternate Routes


315 SE 3rd Ave. C Average, Lord Dying, Vanguard & Zirakzigil

Secret Society Ballroom

116 NE Russell St. The Libertine Belles

Shaker and Vine

2929 SE Powell Blvd. Josie Johnson & Jodie McLaren


1530 SE 7th Ave. Afro-Caribbean Night 836 N Russell St. The Resistance

Aladdin Theater

3017 SE Milwaukie Ave. Steep Canyon Rangers

Andina Restaurant

1314 NW Glisan The Smut City Jellyroll Society

Arlene Schnitzer Concert Hall

1037 SW Broadway Portland Youth Philharmonic

Ash Street Saloon

225 SW Ash St. 22 Kings, The Lovely Lost

Bethel Congregational United Church of Christ

5150 SW Watson Avenue ISing out of the Americas IV

Blue Diamond

2016 NE Sandy Blvd. Kevin Selfe and the Tornadoes Jam Session

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

The Blue Monk

5501 SE 72nd Ave. Portland Casual Jam

3341 SE Belmont St. Studfinder & Guests

The Firkin Tavern

1937 SE 11th Ave. Cambrian Explosion, Linear Downfall, Ports Will Call

The GoodFoot Lounge 2845 SE Stark St. Goodfoot All-Stars Tribute to James Brown

The Horse Radish 211 W. Main St. Sky Bound Blue

The Know

2026 NE Alberta St. Black & White, Long Knife, Rough Kids, Adelit@s, DJ Young Mandrew, Barbarian Riot Squad, Husqvarna, 42 Ford Perfect

The Lehrer

8775 SW Canyon Ln. The Strange Tones

The Little Church

5138 NE 23rd Ave Portland Sacred Harp’s 2nd Annual Double All Day Singing

The Muddy Rudder Public House

Willamette Week APRIL 30, 2014

600 E. Burnside St. Ancient Heat 315 SE 3rd Ave. 1349, Druden, Anonymia 1033 NW 16th Ave. Grand Style Orchestra


SUN. MAy 4

1033 NW 16th Ave. Unrestrained, Rat Path, Cast Out, Funerals

8105 SE 7th Ave. The Junebugs


The Original Halibut’s II

Cadigan’s Corner Bar

Calapooia Brewing 140 Hill St. NE Blues Jam

Clyde’s Prime Rib Restaurant & Bar

5474 NE Sandy Blvd. Ron Steen Jazz Jam

Crystal Ballroom

1332 W Burnside Street Steel Panther, Future Villians


350 W Burnside St. Lovebomb Go-Go Marching Band

Duff’s Garage

2530 SE 82nd Ave Fiona Boyes

Hawthorne Theatre 1507 SE 39th Ave. Battle of the Bands


1001 SE Morrison St. The Pains of Being Pure at Heart, Fear of Men, Ablebody


112 SW 2nd Ave. Traditional Irish Music

1033 NW 16th Ave. Survay Says!

St. James Lutheran Church

1315 SW Park Ave Bach Cantata Vespers

Star Theater

13 NW 6th Ave. Nails, Iron Lung, Bone Sickness and Skinfather

The Blue Monk

3341 SE Belmont St. Sunday Jazz Series

The Firkin Tavern 1937 SE 11th Ave. Open Mic

The Know

2026 NE Alberta St. Radioactivity, Suspicious Beast, The Estranged

The Little Church

5138 NE 23rd Ave Portland Sacred Harp’s 2nd Annual Double All Day Singing

The Muddy Rudder Public House 8105 SE 7th Ave. Irish Music

The Waypost Coffeehouse & Tavern 3120 N Williams Ave. Classical Revolution

Tom McCall Waterfront Park 2 SW Naito Pkwy. Portland Market

Trail’s End Saloon

1320 Main Street Sundays at the Trails

Trinity Episcopal Cathedral 147 NW 19th Ave Eastertide Organ Meditation

White Eagle Saloon 836 N Russell St. Rob Johnston

Duff’s Garage

2530 SE 82nd Ave Lily Wilde Orchestra


2126 SW Halsey St. Skip vonKuske’s Cellotronik

Hawthorne Theatre

1507 SE 39th Ave. Welcome To Dillaville


1001 SE Morrison St. Orquestra Pacifico Tropical, Minden, Edna Vasquez, DJ Michael Bruce

Jade Lounge

2342 SE Ankeny St. Cover Songs Spectacular with Elie Charpentier

Jimmy Mak’s

221 NW 10th Ave. Yaron Gottfried Trio

Jimmy Mak’s

221 NW 10th Ave. The Dan Balmer Trio

Kelly’s Olympian

426 SW Washington St. Eye Candy VJs

LaurelThirst Public House

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

Mississippi Studios

3939 N Mississippi Ave. Frontier Ruckus, The Deep Dark Woods

Plews Brews

8409 N. Lombard St. Med Monday

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

Rock Creek Tavern

10000 NW Old Cornelius Pass Rd. Bob Shoemaker

Star Theater

13 NW 6th Ave. Corb Lund

The Blue Monk

3341 SE Belmont St. Bunker Sessions Open Mic

The GoodFoot Lounge

Al’s Den

303 SW 12th Ave. Drew Victor

Blue Diamond

2016 NE Sandy Blvd. Hot Tea Cold


1665 SE Bybee Ave. Open Mic


350 W Burnside St. Karaoke from Hell

Doug Fir Lounge

830 E Burnside St. MONO, Helen Money

RIVER BERKSHIRE PIG: If Restoration Hardware opened a Western-themed bar, it would look a lot like River Pig Saloon (529 NW 13th Ave., 971-266-8897, Billed in its press materials as a gritty throwback to the Pearl District’s bluecollar past, the bar’s a bit more like the self-conscious warehouse gutting and rehabbing of the nearby Wieden+Kennedy office: an airy, hard-wooded, brick-and-wallpaper museum of barroom slate, chainsaw and piano parts, with elk and antelope taxidermy far larger than an eastside bar could afford unless they shot the bucks themselves. Avoid the tedious $10 dry-rubbed Cajun wings in favor of a massive buffalo burger for about the same price, or slum with terrific $4 herbed curly fries or an $8 plate of poor man’s comfort— shit on a shingle–with a $12 single-barrel Four Roses bourbon. The tops are cutely styled after Old West card tables, though the relaxed after-office crowds sitting around them look more likely to shoot Instagrams of the antique cash register than well tequila. But while the bar is nowhere near “gritty,” it is a handsome and immensely useful neutral ground in a neighborhood that can feel like a desert to somebody who just wants a casual drink after work. The bar offers a massive flat-screen TV without being a sports bar, a solid whiskey list, $5 pints of craft beer and very little pretension despite the obvious money that went into working the place over. And who knows? Maybe shoe designers and account managers are Portland’s lumber workers of today. After all, they dress the same. MATTHEW KORFHAGE.

2845 SE Stark St. Sonic Forum Open Mic Night

The Lehrer

8775 SW Canyon Ln. The Jazzshack

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

The Red And Black Cafe 400 SE 12th Ave. 22 Kings

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

TUES. MAy 6 Al’s Den

303 SW 12th Ave. Drew Victor

Alhambra Theatre

4811 SE Hawthorne Blvd. Siines, Ask You In Gray, Myrrh Larsen

Analog Cafe & Theater

MON. MAy 5

BAR SPOTLIGHT N ata l i e B e h r i N g


720 SE Hawthorne Blvd. People’s Ink Weekly

Ash Street Saloon 225 SW Ash St. Black Beast Revival

Blue Diamond

2016 NE Sandy Blvd. The Gretchen Mitchell Band

Bossanova Ballroom 722 E Burnside St. Tuesday Blues

Bravo Lounge

8560 SE Division St. Blues Jam

Bunk Bar

1028 SE Water Ave. Teen and King Friday, Dogheart

Cadigan’s Corner Bar 5501 SE 72nd Ave. Soul Provider, Naomi T

Doug Fir Lounge

830 E Burnside St. Pantha Du Prince, Queens

Duff’s Garage

2530 SE 82nd Ave Dover Weinberg Quartet , Spit Tunes


2126 SW Halsey St. Hanz Araki

Jimmy Mak’s

221 NW 10th Ave. Minds Matters 8th Annual Jazz Soiree

Russian Circles, Witch Mountain, Gathiest

Mock Crest Tavern 3435 N Lombart St. Johnnie Ward & The Eagle Ridin’ Papas

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

Rock Creek Tavern

10000 NW Old Cornelius Pass Rd. Open Bluegrass Jam

Sellwood Public House 8132 SE 13th Ave. Open Mic

Shaker and Vine

2929 SE Powell Blvd. Mitch Gonzales

Slim’s Restaurant & Lounge 8635 N Lombard St. Open Mic Night

Star Theater

Jimmy Mak’s

13 NW 6th Ave. They Call Me Rocket’ Book Fundraiser

Landmark Saloon

Starday Tavern

LaurelThirst Public House

The Blue Monk

221 NW 10th Ave. Mel Brown Septet 4847 SE Division St. Ready to Roll

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

Midnight Roundup

345 NW Burnside Rd. Open Mic Jam Session

Mississippi Studios

3939 N Mississippi Ave.

The Family Funktion

The Lehrer

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

The Tea Zone and Camellia Lounge

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

The Tea Zone and Camellia Lounge 510 NW 11th Ave. Vocal Jam with Joe Millward

Tony Starlight’s Supper Club

3728 NE Sandy Blvd. The Mont Chris Hubbard Bonus Show

Venti’s Cafe And Tap House`

2840 Commercial Street Lounge Night

White Eagle Saloon 836 N Russell St. Blues League

6517 SE Foster Road Joe Baker 3341 SE Belmont St. The Pagan Jug Band, Special Guests

The Foggy Notion 3416 N Lombard St. Trick Sensei, Hungry Skinny & Race of Strangers

The GoodFoot Lounge 2845 SE Stark St.

coNt. on page 38

Stay on the Edge of the Pearl.

Walk to Timbers Games!

Bargain Rates Downtown from $45 per night single occupancy ($55 double)

The GeorGia hoTel A Vintage Walk-Up Stroll to Powell’s, Shops, Restaurants, Theaters & Crystal Ballroom

308 SW 12th at Stark St. • 503- 227-3259 Willamette Week APRIL 30, 2014


april 30–may 6

neil krug


Fri. MAy 2 CC Slaughters Nightclub & lounge 219 NW Davis St. DJ Jakob Jay, Sweat Fridays

wed. April 30 Beech Street parlor 412 NE Beech St. DJ Ghost Capital


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

Cadigan’s Corner Bar 5501 SE 72nd Ave. Wednesday Swap

CC Slaughters Nightclub & lounge

co u r t e sy o f pa n t h a d u p r i n c e .co m

Trio ClUB: The Glitch Mob plays roseland Theater on Friday, May 2.

219 NW Davis St. DJ Robb, Trick

dig a pony

736 Southeast Grand Ave. Colin Jones

dixie Tavern

NS 3rd & Couch St. Hump Night

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

Moloko plus

3967 N Mississippi Ave. King Tim 33 1/3

pub at the end of the Universe 4107 SE 28th Ave. Wicked Wednesdays

The GoodFoot lounge 2845 SE Stark St. Shafty: A Phish Tribute

ThUrS. MAy 1 Alhambra Theatre

SeeiNG doUBle-doUBle: pantha du prince plays doug Fir lounge on Tuesday, May 6.


Willamette Week APRIL 30, 2014

4811 SE Hawthorne Blvd. Dirty Vegas

Analog Cafe & Theater 720 SE Hawthorne Blvd. Bubble Up, Muevete Jueves

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


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

Beulahland Coffee & Alehouse 118 NE 28th Ave. DJ Maxx Bass

Calapooia Brewing 140 Hill St. NE Rusty Hinges

CC Slaughters Nightclub & lounge

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

harlem portland

220 SW Ankeny St. DJ Tourmaline, DJ Valen

Moloko plus

3967 N Mississippi Ave. DJ Sahelsounds

The Know

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

harlem portland

220 SW Ankeny St. Lionsden


1001 SE Morrison St. Cock Block: DJ Shiva, Miss Shelrawka, Tracy Why, Scifi Sol

lola’s room

1332 W Burnside 80s Video Dance Attack

Moloko plus

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

Moloko plus

3967 N Mississippi Ave. Weiss Cube

roseland Theater

8 NW 6th Ave. The Glitch Mob, Ana Sia, Penthouse Penthouse

The GoodFoot lounge 2845 SE Stark St. Soul Stew, DJ Aquaman

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

The lovecraft

421 SE Grand Ave. Brickbat Mansion

SAT. MAy 3

The lovecraft

Bossanova Ballroom

The refuge portland

CC Slaughters Nightclub & lounge

421 SE Grand Ave. Vortex, DJ Kenny, John and Skip 116 SE Yamhill Doctor P

722 E Burnside St. 80s Dance Party

219 NW Davis St. Revolution, DJ Robb

Crush Bar

1400 SE Morrison St. Maricon


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

Moloko plus

3967 N Mississippi Ave. DJ Roane

The Conga Club

4923 NE Martin Luther King Jr. Blvd. Tropical Saturday Salsa

The eagle portland 835 N Lombard 80s Dance Night

The lovecraft

421 SE Grand Ave. Miss Prid

SUN. MAy 4 Analog Cafe & Theater 720 SE Hawthorne Blvd. Sensory, Bittersweet Productions and PANZEN


19 SW 2nd Ave. Sunday Syndrome

CC Slaughters Nightclub & lounge

219 NW Davis St. The Superstar Divas, DJ Robb

Fez Ballroom

1035 SW Stark St. Super Soul Sunday Nights

The Conga Club

4923 NE Martin Luther King Jr. Blvd. Old School Rock and Slow Jams

The lovecraft

421 SE Grand Ave. NecroNancy

MoN. MAy 5 Ash Street Saloon 225 SW Ash St. DJ D Train

CC Slaughters Nightclub & lounge

219 NW Davis St. Maniac Monday, With DJ Robb

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

The lovecraft

421 SE Grand Ave. Departures, DJ Waisted and Friends

TUeS. MAy 6 Analog Cafe & Theater 720 SE Hawthorne Blvd. S.Y.N.T. Weekly Dubstep Night


19 SW 2nd Ave. Soundstation Tuesdays, DJ Instigatah and Snackmaster DJ

CC Slaughters Nightclub & lounge

219 NW Davis St. TNA Tuesdays, DJ Jakob Jay


1001 SE Morrison St. Tin House: Memory, Houndstooth, Lubec, DJ Blind Bartimaeus, DJ Mas y Menos

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

The lovecraft

421 SE Grand Ave. Sin Pit with DJ Ol’Sippy

Willamette Week APRIL 30, 2014



april 30–may 6

= 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:

something of a prologue to the original play. Gorilla Bomb’s production of this combined play, called Edward Albee’s At Home at the Zoo, develops Peter’s story by exploring his uneasy relationship with his wife, Ann, as they try (and frequently fail) to communicate. Ann (a wonderfully animated Sara Fay Goldman, who also directs) is aching for a little madness in their lives, but this desire is often curbed by her tentative and inattentive partner, who likes things the way they are. The two connect and then clash, and Ann’s gentle prodding of Peter helps to illuminate what happens next. In the second act, Peter meets Jerry (an absorbing Edward Lyons Jr.), a frenetic transient who speaks with Aaron Sorkin-like speed and pokes Peter with challenging questions until he explodes. Contained in a small set with minimalist scenery—a spare living room in the first act and a park bench in the second—the production offers an intimate exploration of love, cruelty, complacency and the animal side of all of us. KAITIE TODD. Shout House, 210 SE Madison St., Ste. 11. 7:30 pm FridaySunday, April 25-27; Thursday-Monday, May 1-5; and Thursday-Saturday, May 8-10. $10.



Young American playwright Amy Herzog has been a quickly rising star Off-Broadway, writing powerful but deeply humane works that mine her family’s history, and this Portland Playhouse production marks the first time one of her plays will be seen on a local stage. In this drama, the daughter of radical leftists is jolted by the revelation that her grandfather might have fed secrets to the Soviets. Portland Playhouse, 602 NE Prescott St., 4885822. 7:30 pm Wednesdays-Saturdays and 2 pm Sundays through June 1. $25$36.

Jump at the Sun

For its newest show, Well Arts—a nonprofit that runs theater workshops with marginalized populations—collected oral histories from three generations of African-American women in Portland. Those stories, which stretch all the way back to the ’20s, will be performed by a quartet of professional actors. Portland Actors Conservatory, 1436 SW Montgomery St., 459-4500. 7:30 pm Fridays and 2 pm Saturdays through May 10. $5-$10.

The Last Five Years

Talented locals Merideth Kaye Clark and Drew Harper star in this Portland Center Stage musical about two young New Yorkers who fall in love. In the show, they trace their stories in opposite directions: He tells it chronologically, while she lets it unfold backward. Gerding Theater, 128 NW 11th Ave., 445-3700. 7:30 pm TuesdaysSaturdays, 2 pm Saturdays-Sundays and noon Thursdays through June 22. $30-$60.

Learn to Be Latina

In Enrique Urueta’s 2010 comedy, which earned him a nod from SF Weeklyas best up-and-coming playwright, an aspiring Lebanese-American pop star tries to reinvent herself as a Latina bombshell while coming to terms with her sexual identity. The play has earned widespread praise for hilariously puncturing racial and gender stereotypes—and for tossing in some bomb-ass dance sequences. Milagro Theatre has assembled a powerhouse cast that includes Nicole Accuardi, Matthew Kerrigan and Olga Sanchez. Miracle Theatre, 525 SE Stark St., 236-7253. 7:30 pm Thursdays, 8 pm Fridays-Saturdays and 2 pm Sundays through May 31. $17-$26.

Maple and Vine

In the final production of CoHo’s season, Megan Kate Ward directs


Jordan Harrison’s 2011 play, in which a stressed New York couple decides to leave behind their smartphones and sleek apartment and move to a gated community that, Pleasantville-style, tries to turn back the clocks to 1955. CoHo Theater, 2257 NW Raleigh St. 7:30 pm Thursdays-Saturdays and 2 pm Sundays through May 24. $15-$25.

Over the River and Through the Woods

Tigard’s Mask & Mirror Community Theatre presents a comedy by Joe Pietro about a Jersey boy who wants to move to Seattle, so his grandparents try to use a girl to bait him to stay. Calvin Presbyterian Church, 10445 SW Canterbury Lane, Tigard, 333-1139. 7:30 pm Fridays-Saturdays and 2 pm Sundays through May 18. $12.

Playback Theater

Audience members tell stories, which Playback’s actors and musicians improvise on the spot. This month’s theme, fitting for spring, is “Birth and Rebirth.” Action/Adventure Theatre, 1050 SE Clinton St. 6 pm family show and 8 pm regular show Friday, May 3. $5-$12.

Show Boat

Lakewood Theatre Company stages the long-enduring winning musical about life, racism and love on a Mississippi River show boat from 1887 to 1927. Lakewood Center for the Arts, 368 S State St., Lake Oswego, 6353901. 7:30 pm Thursdays-Saturdays, 2 pm some Sundays and 7 pm some Sundays through June 8. $36.

Side Show

For the final installment of its season, Portland Civic Theatre Guild presents a staged reading of this musical about conjoined twins who become carnival stars in the early 1920s. The Old Church, 1422 SW 11th Ave., 222-2031. 10 am Tuesday, May 6. $8.

Truth Be Told: An Evening of Storytelling For this Moth-style storytelling event, three judges listened to short voice mails, selecting seven people to tell their true tales. All of the stories— capped at nine minutes—revolve around the theme of “community.” Multnomah Arts Center, 7688 SW Capitol Highway, 823-2787. 7:30 pm Friday, May 2. $5-$15 suggested. 21+.

NEW REVIEWS At Home at the Zoo

In Edward Albee’s The Zoo Story, which premiered in 1959, audiences were introduced to Peter and Jerry, two opposites living in New York who share in a dramatic—though not altogether unexpected—tragedy. In an effort to give more context to Peter, a shy textbook editor, Albee penned a follow-up in 2004 that would act as

Willamette Week APRIL 30, 2014

The Bikinis

A musical called The Bikinis about a ‘60s girl group reuniting as middleaged women might fill your mind with images of sagging bodies squeezed into skimpy two-pieces. But that isn’t what you’ll get in this Broadway Rose production. The musical centers on four bandmates as they reconvene at a benefit concert for their childhood beach resort, which a real-estate mogul is threatening to buy up. It’s essentially a concert itself, with ‘50sera trailers framing the stage and a white picket fence separating the performers from the live band. Though occasionally interrupted by the women’s chatter about adolescence on the Jersey shore—winning singing competitions, canoodling with dreamy lifeguards, fitting into tiny swimsuits— the plot is little more than a flimsy clothesline on which to hang peppy oldies, and it moves toward an unsatisfying, predictable conclusion. Still, the four stars turn in strong performances as they bring the audience up to speed on their lives post-girl group, from the Vietnam War to the disco era, marking each period with a song— think ”I’m Every Woman,” “These Boots Are Made for Walkin’” and “It’s Raining Men.” Though it touches on cultural upheaval, The Bikinis is mostly a lighthearted bauble, a brief escape to bygone summers on the shore. LAURA HANSON. Broadway Rose New Stage Theatre, 12850 SW Grant Ave., Tigard, 620-5262. 7:30 pm ThursdaysSaturdays and 2 pm SaturdaysSundays through May 18. $20-$38.

The Giver

Oregon Children’s Theatre premiered this adaptation of Lois Lowry’s seminal young-adult novel about a dystopian society in 2006 and now brings it back for another run. Winningstad Theatre, 1111 SW Broadway, 228-9571. 2 and 5 pm Saturdays and 2 pm Sundays through May 18. $10-$28.


Post5 Theatre’s abridged Hamlet 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’s 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 pro-

duction 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.”

Little Red “Riding Hood”

In this doo-wop-inflected production at Northwest Children’s Theater, Little Red has been reimagined as a girl who dreams of racing cars. NW Neighborhood Cultural Center, 1819 NW Everett St., 222-4480. Noon and 4 pm Saturdays-Sundays and 7 pm some Fridays through May 26. $13-$22.


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, 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. Fortunately 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. 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. $38-$72.

pool (no water)

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? In friendship, there’s a similarly delicate line between amity and antagonism. 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, and these seven actors 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. But then a freak accident lands the successful artist in a coma, her body a mangled canvas of ghastly bruises, and the others 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. It’s a lot for a 70-minute one-act, but these actors throw themselves at it. Sometimes literally—it’s a highly physical production punctuated by spasms of abstract movement. As for the performers, a few, such as Stephanie Cordell as a fiery-eyed hellion, commit fully, while others waver. 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. Shoebox Theater, 2110 SE 10th Ave., 306-0870. 7:30 pm Thursdays-Saturdays and 2 pm Sundays through May 10. $20.

The Quality of Life

On the surface, Jane Anderson’s The Quality of Life 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 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, this Artists Rep production, directed by Allen Nause, is sprinkled with lighthearted moments, mostly thanks to the wonderful cast. 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.


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. Interstate Firehouse Cultural Center, 5340 N Interstate Ave., 306-5217. 8 pm Fridays-Saturdays through May 3. $15.

Chase & Stacey: Joyride

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.

Comedy Buzzword Bingo

Kind of like the Hollywood Theatre’s B-Movie Bingo, just for standup—you get a card filled with words, jokes and random stage activities, and you check the boxes each time one of those things happens at the mic. The always amiable Sean Jordan hosts, with sets from Nariko Ott, Jordan Casner, Jon Washington and Adam Pasi. Grandprize winner gets two tickets to Natasha Leggero later this weekend. Helium Comedy Club, 1510 SE 9th Ave., 888-643-8669. 8 pm Wednesday, March 30. Free. 21+.

Comedy Fundraiser for the Kurt Cobain Museum

As part of Portlander Jaime Dunkle’s efforts toturn Kurt Cobain’s childhood home in Aberdeen, Wash., into a museum, comic Richie Stratton hosts a night of standup, with sets from Craig Nelson, Andie Main, Dave Kahn, Becky Braunstein, Grace Sadie, Eric Cash and Amanda Arnold. Since learning Cobain’s mother put the house up for sale, Dunkle has been trying to raise the $500,000 asking price through the crowdfunding site GoFundMe, plus an additional $200,000 to build onsite parking and restore the house—which still contains band logos Cobain stenciled onto his bedroom wall—to precisely how it looked when Cobain was growing up, Sky Club at Ankeny’s Well, 50 SW 3rd Ave., 223-1375. 9:30 pm Friday, May 2. Sliding scale donation. 21+.

Fly-Ass Jokes

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

Go to a Comedy Show at Mississippi Pizza

My, aren’t we pushy. But hey, donations go toward the Oregon Human Society, so that seems compassionate. Christian Ricketts hosts, with sets from Katie Rose Leon, Tim Hammer, Paul Jay, Jeremy Eli and Caitlin Weierhauser. Mississippi Pizza, 3552 N

CONT. on page 43



© E D U A R D O PAT I N O , N YC

pieces from local and national choreographers for its annual showcase of ballet, modern, tap and jazz. Noteworthy is Eyes on You, a ballet by former Oregon Ballet Theatre artistic director Christopher Stowell, restaged here by Anne Mueller, also formerly of OBT. Jamel Gaines, artistic director of Creative Outlet Dance Theatre of Brooklyn, a company known for blending elements of African-American culture with modern choreography, contributes two works about arts in schools. There are also some Bob Fosse recreations done with permission from the Fosse estate. Arts & Communication Magnet Academy Performing Arts Center, 11375 SW Center St., Beaverton. 7:30 FridaySaturday, May 2-3; 2:30 pm Saturday, May 3; 2 pm Sunday, May 4. $8 students, $15 adults.

BALLET HISPANICO Mississippi Ave., 288-3231. 9:30 pm Wednesday, April 30. By donation.

The Magic Box Comedy Show

A night of comedy (and maybe some songs and shenanigans), featuring standup from Jen Allen, Tim Ledwith, Curtis Cook, Gabe Dinger and others. Funhouse Lounge, 2432 SE 11th Ave., 309-3723. 8 pm Tuesday, May 6. Free.

Natasha Leggero

Comedian Leggero has the air of a debutante—her penchant for fur and e-cigarettes adds to that vibe— but her sharp and nervy standup goes beyond her glam persona to hit heights of sarcastic brilliance. Helium Comedy Club, 1510 SE 9th Ave., 888-643-8669. 8 pm Thursday and 7:30 and 10 pm Friday-Saturday, May 1-3. $20-$32. 21+.

Standup Comedy at the Sober Club

If the thought of brassy, blue-collar comedienne Kristine Levine telling jack-shack jokes while drinking grape slushies at a boozefree establishment isn’t enough of a draw, tonight’s showcase at 4th Dimension Sober Club (no vodka, but there is Red Bull!) also features standup from Nathan Brannon, JoAnn Schinderle and Andy MacDonald. Nariko Ott hosts. 4th Dimension Sober Club, 2410 N Mississippi Ave. 9:30 pm Friday, May 2. $5 suggested.

Surrounded by Idiots

The Brody presents an encore performance of a sketch revue written by founder Tom Johnson. There’s a sprawling cast of characters, including a drill sergeant pondering his enemies’ religious writings, founding fathers stuck in disagreement over an analogy and a TV news team arguing about the nature of tragedy. Brody Theater, 16 NW Broadway, 224-2227. 8 pm Saturday, May 3. $12.

DANCE Ballet Hispanico

The season closer for dance presenter White Bird is a nearly twohour ode to Latin culture. The first piece, Eduardo Vilaro’s Asuka, gets its name from Celia Cruz’s catch phrase—“Azúcar!” (or “sugar”). It’s a dance biopic of the singer with slick but quirky choreography and a score mixed with club jams and unsettling Cuban state radio announcements. Next, Annabelle Lopez Ochoa’s Sombrerisimo has six men dancing like dandies in derby hats. Sortijas, a duet by choreographer Cayetano Soto, is a melodramatic sex tangle interrupted by the entrance of black paper airplanes. Finally, Gustavo Ramirez Sansano’s El Beso—or “the kiss”—toys with every variation of the word, from cheek to French, as the dancers move with flourishes both bold and cute. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 248-4335. 7:30 pm Wednesday, April 30. $26-$70.

Caravan of Glam

Since September, a band of Portland drag queens and queer entertain-

ers has been carpooling to Oregon’s smaller communities as tasteful ambassadors of the big city. In Bend, Isaiah Esquire invited an 80-year-old woman onstage, where she danced with him and slipped a tip in his thong. Now the group is being booked in such glamorous locales as Boise, Idaho and Arcata, Calif., but first, they put on a hometown show with guest performers Johnny Nuriel and Charity Marchandt. Star Theater, 13 NW 6th Ave. 9 pm Thursday, May 1. $10, $15 VIP. 21+.

Cirque du Soleil

Given all the masks, you might expect some overlap in the cast of Cirque Du Soleil’s Totem, now playing inside a massive blue and yellow tent—pardon, chapiteau— outside the Expo Center. Then, after two and a half hours of humans doing things it seems humans should not be capable of doing, comes the casting call. Turns out, all those creatures are highly adapted. The glowing frog people jumping on trampolines inside a structure that looks like the sun-bleached rib cage of some long-extinct species of megafauna? They do not also play the Martian people who wear costumes that look like blacklighted Persian rugs and hop between flexible beam things, nor the ladies on towering unicycles who catch bowls on their heads. And, obviously, there’s no overlap between the hoop-dancing indigenous Americans or the juggling Abe Lincoln. That makes sense, I suppose, given the difficulty of every stunt in this extravagant production. Still, it’s tough to picture until you see the whole ecosystem take a bow. MARTIN CIZMAR. Portland Expo Center, 2060 N Marine Drive, 7365200. 7:30 pm Thursdays; 4:30 and 8 pm Fridays-Saturdays and 1 and 4:30 pm Sundays through May 4. $40-$135.

Cloud City Circus

First Thursdays at the Analog mean aerial performers hanging an arm’s length from your table. The circus group’s monthly performances have been going on for nearly a year, and this month’s show includes the group’s regulars doing aerial acts and LED spinning, with belly dance by Cigi. Analog Cafe, 720 SE Hawthorne Blvd. 9:30 pm Thursday, May 1. $5. 21+.

Cloud City Circus: Beltane

Beltane is an almost forgotten Gaelic May Day festival that’s been reclaimed by the neopagan set. Portland’s (probably numerous) neopagans can celebrate at Cloud Gate Circus’ Beltane show, a bisexual, black-light circus. It’s a party of fertility and sexuality, with artsy nudity accentuated with glowin-the-dark paint. Performances include aerial trapeze, belly dance, ballet and acrobatics—plus a human sacrifice! Analog Cafe, 720 SE Hawthorne Blvd. 9:30 pm Friday, May 2. $10. 21+.

Dance West

The teenage dance company turns 15 this year and has curated


The theatrical pole-dancing company eschews the customary exotic take on the form in exchange for aerial acrobatics, dance and physical storytelling. In this show, Elemente, the dancers become earth, air, water and fire, flipping and spinning on a pole almost 22 feet tall. One duet has a wildcat hunting a deer. Another combines the four elements in a storm, all to an instrumental score ranging from cello to electronica. It’s a more culturally rich experience than Sassy’s, and who knew that was possible? Alberta Rose Theatre, 3000 NE Alberta St., 719-6055. 8 pm Saturday, May 3. $24. 21+.

Jefferson Dancers

The lauded high-school company puts on its spring concert with its usual sampling of dance forms: ballet, jazz, modern, hip-hop, tap and African. Perhaps the best part about the group’s performance is the audience rowdiness—no polite applause here; you’ll know where each soloist’s family is sitting by the explosion of woos and hollers in the middle of the performance. This enthusiasm dissipates as the dancers advance in their careers, but for now, savor it. Ah, to be young. Newmark Theatre, 1111 SW Broadway, 248-4335. 7:30 pm WednesdaySaturday, April 30-May 3; 2 pm Saturday, May 3. $18-$28.

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

Pardon My Fringe: Burlesque As Fuck

Burlesque group the Fringe Benefits debuts new pieces in a show of extreme vice. The performers —Angelique DeVil, Babs Jamboree, Claire Voltaire, Lily Le Fauve and Zora Von Pavonine—want to push the limits of decency, demonstrating that a little intensity isn’t a bad thing. Among the acts, a band of sideshow circus freaks transforms an unwitting visitor. And performers, armed with bedsheets and pillows, play out a morning-after scene. Pianist Kevin Hardy rolls in between acts with an electronic keyboard and a toy piano. In addition to ballads and original songs, he pairs classic works with pop lyrics. Von Pavonine also promises a “metric fuck ton of confetti.” Crush, 1400 SE Morrison St, 235-8150. 7 pm Saturday, April 26; 8:30 pm Friday, May 2. $12 in advance, $15 at the door, $65-$80 tables. 21+.

Shit Show

Yes, the theme of this burlesque show is shit. Well, the metaphorical stuff—the crap we all have to deal with, from horrible jobs to cramps to boob tassels that won’t twirl. Lascivious Lenore performs her celebrated Mr. Hankey the Christmas Poo bit.Tod Alan does a gut-wrenching interpretation of Frozen’s “Let it Go.” Baby LeStrange attacks a child for chocolate. It’s a chance to get it all out. This could be the start of a movement. Crush, 1400 SE Morrison St, 235-8150. 6:30 pm Saturday, May 3. $12, $15 VIP. 21+.

For more Performance listings, visit Willamette Week APRIL 30, 2014




= 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:

Jeffrey Sarmiento: Constructions

Jeffrey Sarmiento’s virtuosic Constructions fills 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 flawed 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.

Johannes Girardoni: Redacted

Conceptual artist Johannes Girardoni is all about nothing. His digital prints and sculptures explore the theme of absence. In his images of billboards, the advertisements’ images and text have been digitally removed. In his sculptures, the hollowed-out voids are every bit as important, if not more so, than the work’s actual contours. In both cases, the viewer is left to ruminate on what’s not there. Girardoni never disappoints; his shows are invariably challenging and visually rich, so it’ll be a treat to see what he’s come up with this time. Through May 31. PDX Contemporary Art, 925 NW Flanders St., 222-0063.

Jordan Rathus: Fernweh (Farsickness)

A woman lies on her stomach naked, legs raised provocatively behind her on a fur-blanketed bed. She’s in some kind of thatched-roofed resort, presumably in an exotic locale. It’s an exaggeration of the sort of place people dream of traveling to so they can dine in the hotel restaurant before having their “local folklore experience.” This knowingly cheesy photograph by Jordan Rathus is part of a suite of photos and video installations poking fun at tourism and the travel industry. Witty and nuanced, the show both entertains and implicates the viewer. We snicker at these overblown tableaux, but gosh, wouldn’t it be great to stay a week at a Four Seasons spa in Bali? It’s all too easy to poke fun at “the ugly American,” all too difficult to realize when we need to point the finger at ourselves. May 1-31. Upfor Gallery, 929 NW Flanders St., 227-5111.

Julia Mangold: Works on Paper

Viewers familiar with Julia Mangold’s rectilinear sculptures will see echoes of those pristine geometries in this exhibition, which concentrates on her works on paper. Implacable rectangles, sometimes overlapping slightly, float amid pools of negative space. Mangold renders the shapes in slate blues and gunmetal tones. Refreshingly simple in their compositions, the works exude quiet serenity. May 1-31. Elizabeth Leach Gallery, 417 NW 9th Ave., 224-0521.



Willamette Week APRIL 30, 2014

Margot Voorhies Thompson: The Theater of Language: Conversations & Metaphors

Letters and words play a big part in Margot Voorhies Thompson’s mixedmedia works on paper. In the past, she overlapped words and calligraphy to create dense screens of linguistically incomprehensible but compositionally evocative text. In her new show, she ties words in with architecture, alluding to the similarities between the structure of sentences and the structure of buildings. May 1-31. 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 profiling local and regional artists. That being said, Oregon Art Beat is a cringe-inducing show that manages to make even the most inspired artists come across as corny, pabulumspouting 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 fauxNative flute. 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 find a way to translate the creative impulse into anything other than patronizing New-Age drivel. Through June 15. Mark Woolley Gallery @ Pioneer, 700 SW 5th Ave., third floor, Pioneer Place Mall, 998-4152.

Sarah Knobel: Icescapes

Montana artist Sarah Knobel cobbles together wigs, feathers and other disparate objects, submerges them in colored water, then sticks the whole shebang in the freezer. Once they’re frozen solid, she takes the bizarre contraptions out and photographs them as they melt. The resulting prints are whimsical, perversely fascinating and sorta gross. May 2-June 1. Newspace Center for Photography, 1632 SE 10th Ave., 963-1935.

Stephan Soihl: Motorized and Solar-Powered: Art in Motion

There’s a gee-whiz, “How’d he do that?” quality to Stephan Soihl’s kinetic sculptures. Their components— resin, brass, metal, motor oil—are hooked up to hidden motors. The pieces slowly tilt and turn, the motor oil gradually pouring into and out of clear containers. Clunky yet somehow graceful, they’re “poetry in motion,” drawing upon Soihl’s dual backgrounds in art and science. Through May 31. Blackfish Gallery, 420 NW 9th Ave., 234-2634.

For more Visual Arts listings, visit


april 30–may 6

= 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 30 The Magazine Book Release

Portland-based bi-monthly electronic magazine The Magazine will be releasing its first book comprising 28 of their stories that readers and contributors said meant the most to them. Since the fall of 2012, The Magazine has been hosting the writing of interesting people with something to say on just about any topic, and the book will include stories about everything from the construction of a giant lava lamp to the lives of chickens after they lay no more. Editor Glenn Fleishman will be joined by several contributors. Reading Frenzy , 921 SW Oak St., 274-1449. 6:30 pm. Free.

THURSDAY, MAY 1 Trevor Blake

Ruminating on a variety of isms, from objectivism to anarchism, Portland author Trevor Blake’s new collection of essays, Confessions of a Failed Egoist, manages to escape the trappings of the philosophically obscure by grounding his tales in personal experiences and real people while maintaining a skewering sense of humor. Mother Foucalt’s Bookshop, 523 SE Morrison St., 236-2665. 5 pm. Free.

SATURDAY, MAY 3 Jason Beem

Jason Beem, writer and track announcer at Portland Meadows, transformed his destructive gambling addiction into his debut novel, Southbound. Already being hailed by the Portland literary community as gritty and fearless, Southbound explores how we all attempt to fill the vacancies of our lives. Portland Meadows, 1001 N Schmeer Road, 285-9144. Noon-3 pm. Free.

SUNDAY, MAY 4 Revolution Empathique

Inspired by the salons of preenlightenment Paris, where the public came together in a “theater of conversation,” the new quarterly event Revolution Empathique Storytelling Salon will encourage participants to share their own stories. The prompt this time will be “Life-Changing Moments,” and storytellers will have five minutes to share through words, visuals or even interpretive dance, should you feel so inclined. Champagne, munchies and dramatic lighting will be provided. Milepost 5, 850 NE 81st Ave., 729-3223. 6:30 pm. Free.

MONDAY, MAY 5 Literary History Night

The Oregon Encyclopedia has long been hosting experts to share the historical tales of our state. For the summer, the OE will be introducing the new Literary History Night series. Kicking things off will be New York Times best-selling author Phillip Margolin, who will talk about and read from his new historical novel, Worthy Brown’s Daughter based on Holmes v. Ford, the only Oregon Case that dealt with slavery. Mission Theater, 1624 NW Glisan St., 223-4527. 7 pm. Free.

TUESDAY, MAY 6 Rita Golden Gelman

a divorce, Rita Golden Gelman decided to drastically change her life. In 1986, she sold virtually all of her possessions and spent the following decades traveling— from a Zapotec village in Mexico to the rain forests of Borneo to the Galapagos Islands—intent on experiencing the cultures she dreamed about as a child. Her newest book is Tales of a Female Nomad. Broadway Books, 1714 NE Broadway, 284-1726. 7 pm. Free.

The Hour That Stretches

Get ready to get weird with the monthly bizarro reading series The Hour That Stretches, hosted by local bizarro-fic author Edward Morris. Taking the stage for 30-minute increments of the indefinable will be David Agranoff, Sarah Polansky Mura, poets Adam Gonzobo and Michael Allen in a tag-team performance, and newcomers Michael Green, Shepherdess Nightshade and Nick Giampietro. Jade Lounge, 2346 SE Ankeny St., 236-4998. 7-10 pm. Free.

For more Books listings, visit


BENJAMIN ROSS, DEAD END Your mom lives in a failed socialist experiment. At least she does if she’s out in the ’burbs, where covenants and zoning laws are mostly meant to stop low-class apartment dwellers or commercial businesses from tainting their residential idyll. But those homeow ners’ associations are actua lly follow ing the Why the rent is 2 damn high. script of 19th-century socialist utopias. The first half of D.C. transit activist Benjamin Ross’ new book, Dead End: Suburban Sprawl and the Rebirth of American Urbanism (Oxford, 250 pages, $29.95), is a nuanced catalog of such unintended consequences: slums caused by “unslumming,” the dead zones surrounding those 1950s freeways that were meant to revitalize the city, and the numerous failures of the car-dependent suburbs. Ross incisively describes the matrix of retail politics, in which big developers or rich NIMBYs court politicians to clear out bureaucratic debris. He compares the city’s role in such planning—which rewards large builders over small ones—to a nightclub bouncer weighing deep pockets against social cachet. “The balding hedge-fund manager with a taste for Champagne gets seated in the VIP section,” Ross writes, “for the same reason the office building is allowed to go up along the interstate.” Ross isn’t talking to righties and suburbanites with this book. Jane Jacobs trumps Robert Moses, dense cities are better than sprawl, and trains and bikes are better ways to move people than cars. The mixed-use, walking neighborhood is the soul of a city. Portland, then, is the main success story of his new-urbanist model, starting with an ode to former mayor/child molester Neil Goldschmidt, still an undimmed star in city-planning circles. Our myriad tax and zoning revolts are also Ross’ test case for the conservative backlash against city planning. It’s a breezy, dewy history, with clear friends and foes. And while he’s a terrific diagnostician, Ross’ proposed solutions to issues such as communities broken up by gentrification are a bit diffuse. His most substantive ideas involve allowing apartment tenants to have a voice in city-planning issues, and getting rid of anti-residential zoning restrictions that drive up rents. In the end, Ross is most compelling as a psychologist of a growing city’s many neuroses. He raises a lot of interesting issues, but we’re still going to need to talk about them all next week. MATTHEW KORFHAGE. GO: Benjamin Ross speaks at Powell’s Books on Hawthorne, 3723 SE Hawthorne Blvd., 228-4651, on Monday, May 5. 7:30 pm. Free.


The Glitch Mob, was formed in 2006 within the burgeoning Los Angeles bass-driven ‘beat’ scene. The group made a name for themselves playing live, choosing to perform with laptops and MIDI controllers like the Lemur.[2][3] They won fans through showcasing their chosen technology during solo performances, and after gaining attention in Los Angeles and San Francisco, the group eventually toured more widely along the West Coast and then to various festivals worldwide.

LIVE PREFORMANCE GAYTHEIST SUNDAY MAY 4TH @ 6 PM Gaytheist is a trio of fellas from Portland, OR started in 2011 that shake, rattle and roll with vicious intensity and loud, catchy grooves. They’ve released a new album called “Live At The Banana Stand”, which was recorded during a Halloween Party in 2013 for about 100 beautifully costumed people. This latest release contains 13 songs, all live versions from their last four albums.

LIVE PERFORMANCE SAUL CONRAD TUESDAY MAY 6TH @ 6 PM Singer/Songwriter Saul Conrad is an Americana artist existing on the far fringes of indie folk. Signed to Cavity Search Records, he’ll be coming to Portland to promote his upcoming 3rd full-length album “a tyrant and lamb”, soon to be released on May 20th, 2014.

At age 48 and on the verge of

3158 E. Burnside / 503-231-8923 / Willamette Week APRIL 30, 2014


april 30–may 6 HOTSEAT

= 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.

300: Rise of an Empire

D+ Say what you will about Zack

Snyder’s ultraviolent, exceedingly homoerotic 2006 film 300, but the comic-book adaptation delivered exactly what it promised: It was big and dumb, with visual verve of unprecedented elegance (plus a lot of shouting). Eight years later, nobody was exactly clamoring for a sequel to a film that saw its main characters beheaded, yet here we have Noam Murro’s 300: Rise of an Empire, a film that expands the battlefield to the ocean but comes off as a dull, lifeless Xerox of the original. Eschewing most of the story in favor of nonstop carnage (which is probably the right call), Rise of an Empire pits Greek general Themistokles (Sullivan Stapleton) against the Persian navy, led by the bloodthirsty and libidinous Artemisia (Eva Green). What unfolds is a cacophony of severed limbs, exploding bodies and CGI boats that look like they were pulled from an outdated 300 video game. r. AP KRYZA. Valley.

Alan Partridge: Alpha Papa

A- When we last left Alan...wait. We’ve never really left Alan, or maybe it’s more accurate to say he’s never left us. Since his debut as a midlevel radio personality in The Day Today, and thanks to a seemingly endless series of Partridge spinoffs—Knowing Me Knowing You; Knowing Me Knowing Yule; two seasons of I’m Alan Partridge; and Mid-Morning Matters with Alan Partridge—the life of this Stilton-scented broadcaster (played by comic genius Steve Coogan) has been an open book. Not only have we been privy to the disastrous end of his BBC chat show (helpful hint: Lord Byron’s dueling pistols do not shoot blanks) and the time he hit rock bottom with only Toblerones and videos of Bangkok lady boys for company, we’ve seen him triumph, albeit in modest ways. And now, in the newest installment in the Partridge playbook, Alan Partridge: Alpha Papa, Alan is helming North Norfolk Digital’s Mid-Day Matters program and saving the station from a sacked employee gone postal (Colm Meaney) and a looming corporate takeover. Partridge devotees will be happy to know that Alan’s assistant Lynn (the hilarious Felicity Montagu) and Geordie friend Michael (Simon Greenall) are along for the ride, which is, indeed, a wild one. And newcomers to the Partridge family needn’t worry. A working knowledge of all things Alan isn’t necessary to enjoy this ridiculous and irreverent romp through Norwich. r. DEBORAH KENNEDY. Hollywood Theatre.

Alien Abduction

[ONE NIGHT ONLY] A camping trip in North Carolina goes terribly awry in this found-footage horror flick. Clinton Street Theater. 10 pm Friday, May 2.

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. Despite its ’70s high-criminal subject matter, it is far closer to His


Girl Friday than to Goodfellas. Really, it’s the sort of flick we’ve rarely seen since the ’40s: a farce with a heart. r. MATTHEW KORFHAGE. Valley.

Bad Words

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


A nature documentary about an Alaskan family of the titular large fuzzy creatures. G. Cedar Hills, Eastport, Clackamas, Cornelius, Lloyd Center, Sherwood, Sandy.


In Amma Asante’s period piece, which is inspired by a true story, a biracial woman endeavors to end slavery in 18th-century England. pG. Living Room Theaters.

Blue Ruin

C+ Blue Ruin does a great job of

masking how little it has to say about the bloodshed it deals in. An arthouse revenge thriller in the key of Southern gothic, it follows Dwight (Macon Blair), a Virginian living on the fringes who hesitantly re-enters society to track down his father’s murderer after the killer is released from prison. At times, Dwight comes across as a superhero (or -villain) in the first act of his origin story: There’s some dark power within him that he’s afraid to unleash. He fears his capacity for violence as well as his inability to effectively dole it out to those he deems guilty, a curious contradiction that informs Jeremy Saulnier’s film as a whole. The writer-director seems to want it both ways: to appear wary of violence yet also ready to put our base brutality on graphic display. Blue Ruin is a moody and tense depiction of a blood feud’s endgame, but it falls short of its deeper, seemingly self-appointed task of showing how Dwight’s repressed rage irrevocably alters anyone unlucky enough to be standing nearby—especially himself. r. MICHAEL NORDINE. Cinema 21.

Brick Mansions

B- It’s fitting that for what would turn

out to be one of his final roles, the late Paul Walker portrayed his most recognizable character: the empathetic undercover cop who switches sides after some rough-around-the edges criminals teach him a thing or two about honor, justice and stickin’ it to the man. Such is the unfolding of Brick Mansions, an almost scene-forscene remake of the 2004 French film District B13. In a dystopian Detroit, cop Damien Collier (Walker) sets out to

Willamette Week APRIL 30, 2014



Beth Harrington didn’t grow up listening to country. As a kid in Boston, she was reared on progressive rock and punk, and she herself sang backup in Jonathan Richman’s Modern Lovers in the early ’80s. But her new documentary, The Winding Stream: The Carters, the Cashes, and the Course of Country Music, which has its Portland premiere May 3, centers on the seminal role the Carter-Cash family played in American music. More than a decade ago, the Vancouver, Wash., filmmaker struck up a friendship with Roseanne Cash—the singer narrated Harrington’s Grammy-nominated Welcome to the Club: The Women of Rockabilly—and she offered to introduce Harrington to her family. Harrington went on to conduct one of the last interviews with Johnny Cash before his death in 2003. In addition to that conversation with Cash, The Winding Stream features family interviews, archival footage and musical cameos from John Prine, George Jones, Sheryl Crow and Kris Kristofferson. Harrington spoke with WW about talking to Cash, what questions she’d ask the Carter Family, and the need to deep-six the phrase “country music.” WW: When did you first hear a Carter Family song? Beth Harrington: It’s funny, but I didn’t really remember when I’d first heard a Carter Family song until I was watching The Winding Stream and the section that deals with the Nitty Gritty Dirt Band and their record Will the Circle Be Unbroken [which includes covers of Carter Family songs]. I was an urban kid, so country music wasn’t my thing. I was working at a radio station that played progressive rock, but we kept playing that album. I realized country music was cool, and I started listening to the Byrds and Gram Parsons, hippie bands who played country. It really opened my eyes. What was it like talking to Johnny Cash? He wasn’t in good health at that time, and when we arrived in Nashville, he was in the hospital. We were totally prepared to have to return home without getting the interview. Then, on what was supposed

TRavELIN’ mINSTREL BaND: Sara, maybelle and a.P. Carter.

to be our last night in town, Roseanne called and said, “He’s home and he wants to talk to you.” We were all a little freaked out, a little starstruck, but he was incredibly gracious and really animated, despite being so frail. I’m convinced he wanted to do the interview to talk about two women who were most important to him in this life—Maybelle and June. It was hard for him; June had only been gone a few months. You could sense that you were talking to a man who was facing his own mortality. He died three weeks later. Your main subjects—founding members A.P., his wife, Sara, and his sister-in-law Maybelle— had all died by the time you began filming. What would you ask them if you could? I would ask A.P. and Maybelle about their passion, what made them tick. They were devoted to music, and that never changed, despite all the ups and downs. They were the country music stars of their day, but that didn’t mean they were rich. Not even close. They weren’t in it for the money. Their passion was pure. Sara, on the other hand, wasn’t passionate about music. She had an amazing voice, but her heart was elsewhere. I’d ask her what she would have done with her life if A.P. hadn’t come along and roped her into the band. Can you talk more about the film’s subtitle, “the course of country music”? I actually wish we could do away with the “country” label. It doesn’t really tell us anything—it’s a lot like “rock ’n’ roll.” When the Carters were making their music in the ’20s and ’30s, it didn’t even have a name. Some people called it “old-timey.” Some called it “hillbilly.” And now the Carter Family music is showing up in the oddest places. I heard the Decemberists used to warm up with Carter songs, and Beck has an album of Carter covers. The Carters’ work courses through all of American music. I don’t want to get too kumbaya here, but my hope is that this film appeals to young people and old people, rural people and hipsters, “country” music fans and rock fans. I hope it puts them in the same room. Ideally, music shouldn’t divide people. It should bring them together. SEE IT: The Winding Stream plays at the Hollywood Theatre at 6:30 pm Saturday, May 3. A Q&A with Harrington will follow. $10.

dancing in jaffa avenge his father’s death and thwart a drug kingpin, and he finds an unlikely sidekick in honest slum warrior Lino (David Belle, who plays the same role in the original). In a satisfying, brocentric recipe, the two start out as foes but wind up finishing each other’s sentences, taking down troll-sized gangsters in slow-motion hand-tohand combat, and executing perfectly in-sync backflips off exploding vehicles. You know, coincidentally. The film is so formulaic that it’s actually funny. Take it for what it is, and enjoy Paul Walker at Paul Walker’s best, which is flattening bad guys with ninja chops and steely blue eyes. pG-13. GRACE STAINBACK. Cedar Hills, Eastport, Clackamas, Cornelius, Lloyd Center, Sherwood, Sandy.

Bright Days Ahead

B- It’s impossible not to use the word radiant when describing Fanny Ardant, who portrays a 60-yearold married grandmother in director Marion Vernoux’s solid if unspectacular French romance Bright Days Ahead. Months after the loss of her best friend to cancer, Caroline (Ardant) has impulsively retired from her dental practice. Bored and grieving, she seeks escape at the titular senior center. Her initial reluctance to take up pottery and drama classes is swept away by a steamy affair with a muchyounger computer teacher, Julien, a ladies’ man who grabs her hand for sprints through the rain and passionate kisses on the nearby carousel. This is hardly new stuff, nor is the quirky ensemble of characters at the senior center. But Ardant elevates the material—the screenplay was adapted from Fanny Chesnel’s novel—with a sublime and subtle elegance. As practical as she is sensual, Caroline has no delusions of grandeur about Julien, and no apologies, not even to her bewildered, resigned spouse. As the film winds to its overdue conclusion, wife and husband share tender moments of worn-in humor and affection that only decades together can forge. Still, this is Caroline’s story, and Ardant owns it. AMANDA SCHURR. Living Room Theaters.

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, greasymaned assassin. The first film’s foot chase through 1940s Brooklyn thrilled to Cap’s newfound grace and athleticism, and once again, star Chris Evans’ unaffected certitude and boyish 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. pG-13. JAY HORTON. Bagdad, Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Lloyd Center, Sherwood, Sandy.

Dancing in Jaffa

B+ Like Mad Hot Ballroom transplanted to Israel, the charming documentary Dancing in Jaffa centers on efforts to bring together Palestinian and Jewish children through the magic of rumba and merengue. The similarity between the films is no coincidence: The tangoing evangelist in Israel is four-time world champion ballroom dancer Pierre Dulaine, who founded the Dancing Classrooms program profiled in the earlier documentary. Dulaine was born in Jaffa to a Palestinian mother and Irish father, but this is his first time back in the southern port city since his family left in 1948. It’s an emotionally affecting experience for the idealistic Dulaine, who is playful and encouraging with his students but also prone to moments of divalike impatience with those who refuse to participate. The film, warmly directed by Hilla Medalia, follows ballroom classes at five schools in Jaffa—two Jewish, two Palestinian and one mixed—and the drama that unfolds when these 10- and 11-yearolds must, as Dulain says, “dance with the enemy.” In the buildup to the eventual ballroom competition, we get to know a trio of students closely: Just wait for the laugh-out-loud moment when Lois, an ebullient Jewish girl, explains to her destitute dance partner Alaa how a sperm bank works. Still, violence and intolerance lurk in the background, with a few sobering scenes of anti-Arab protests. But Medalia treats it all with a light touch, and—somewhat miraculously for a film about cute kids wiggling their hips— without any sugarcoating. REBECCA JACOBSON. Living Room Theaters.


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, in for Jennifer Lawrence—at the center. But with Divergent, director Neil Burger proves there’s more than one way to ride this wave. Veronica Roth wrote Divergent while still in college—and probably right after reading Ender’s Game— and she brings together the overthrow of an oppressive government and a freshman-year identity crisis. 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. 99W Drive-In, Cedar Hills, Eastport, Clackamas, Lloyd Center, Sherwood.

Draft Day

C- Has it really come to this,

Cleveland? Have things with your sports teams gotten so bad you’ve taken to writing fan fiction about the NFL draft? Not about a game or a season. The draft. Way to aim high. To be fair, even though it’s co-written by a native son of northeast Ohio, Draft

Day isn’t really about the Browns or that long-suffering city on the banks of the Cuyahoga. Slot in any losing franchise and the movie remains the same. Set—you guessed it—on the day of an alternate-reality football draft, the film, directed by Ivan Reitman, hardly leaves the training facility, relegating fans and even players to the margins and focusing instead on the plight of an underappreciated, oft-overlooked figure in pro sports: the rich, white general manager. Pressured to “make a splash” while strolling through a water park with the team’s owner, new Browns GM Sonny Weaver (played by Kevin Costner as a wooden plank with eyes) has a choice: Does he trade up to nab the sure-thing quarterback…or go with his gut? There is natural intrigue in the machinations of powerful men playing chess with the careers of young athletes, and for fleeting moments, Draft Day conjures some of that. But then the rest of Weaver’s life—pregnant secret girlfriend, hothead coach, dead father—interrupts, and the film dissolves into NFL-sponsored pablum. Better luck next time, Cleveland… though you’re probably sick of hearing that. pG-13. MATTHEW SINGER. Cedar Hills, Clackamas, Sherwood.

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 imaginary Middle European country in the 1930s, at the edge of war. Its story, a silly caper, brushes against the deepest horrors of the 20th century, and ends by acknowledging irrevocable damage. Yet I can’t shake the feeling


that something’s missing. The Grand Budapest Hotel confirms the split of Anderson’s work into three distinct periods. His earliest pictures feature perpetual teenagers play-acting at the ideal lives they can’t quite maintain. His second act follows spoiled men globe-trekking for purpose. And then come the fairy tales, which all include the same elements: stop-motion, maps, tunnels, and heroes marching at right angles and dangling from great heights. What they don’t have are characters who talk to each other. And with the exception of the fantastically realized M. Gustave, they don’t reveal

CONT. on page 48



april 30–may 6

Ernest & Celestine

A- This charming Belgian children’s film

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

Finding Vivian Maier

A- In our era of unparalleled selfaggrandizement, it’s difficult for us to comprehend why anyone, let alone a talented artist, might choose to keep her achievements to herself. But Vivian Maier, street photographer and Chicago nanny, did just that. When she died in 2009, penniless and alone, she left behind hundreds of thousands of negatives, as well as thousands of rolls of undeveloped film. The interviews with her former employers and child charges, while fascinating and at times disturbing, can’t hold a candle to her work, which is the real star of this documentary. The photos, particularly the self-portraits, appear on the screen like mini-revelations, flashes of genius from the best photographer you’ve probably never heard of. DEBORAH KENNEDY. Cinema 21.

The Galapagos Affair

A- It’s a story worthy of Agatha Christie:

A heap of Europeans alight on a remote, rocky island in the Galapagos, all with their own harebrained notions of escaping the decadence of modern society and creating paradise in an exotic locale. Sexual intrigue, jealousy and betrayal flourish. Within a few years, several have disappeared under shady circumstances and others are dead, with at least one the victim of an apparent murder. This documentary recounts the deliciously pulpy events of 1934, drawing on homemovie footage from the time and an excellent voice-over cast that reads the letters and diaries of those involved, who include a Nietzsche-obsessed egomaniac and a horse-toothed, revolver-wielding baroness with a “pair of servile gigolos.” In the words of an American entomologist who often visited the island, “Go where you may, you cannot escape the problem of social adjustment.” There’s no Hercule Poirot here to piece together this still-unsolved mystery, but perhaps that’s all for the better. REBECCA JACOBSON. Living Room Theaters.

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

taxi time: andrew Garfield.

THE AMAZING SPIDER-MAN 2 When Spider-Man first swung into cinemas in 2002, his was a simpler world. At best, his caped forefathers were brooding billionaires, vengeful half-vampires and mutants standing for civil rights. At worst, they were brooding billionaires with bulletproof nipple-guards. But all too soon, Peter Parker—that gee-whiz goofball with a big heart, a bigger brain and the worst case of “friend zone” since Kevin Arnold—was deemed outdated by the studios. A superhero’s journey is no longer his own. It’s a spandex house party. The Avengers became interdimensional Traveling Wilburys. The X-Men went multigenerational. Superman returned, and now he’s set to join Batman, the Green Lantern and whatever B-list scrub the Justice League can muster. 2012’s The Amazing Spider-Man made Peter a goodhearted smart-ass, identifiable in his anguish and lovelorn coyness. But in a post-Avengers landscape, that’s not enough. In The Amazing Spider-Man 2, Spidey’s not just sidled with great power and responsibility as he battles supervillains. He’s burdened by a cinematic universe teeming with spinoffs. Coupled with sequel-itis, that means everything must be bigger, louder and capable of feeding an endless franchise (at least two more sequels and two spinoffs are in the works). Action-wise, that’s great. Andrew Garfield, all spindly limbs and corny one-liners, brings joy to the eye-popping action, whether battling Jamie Foxx’s electrified villain or helping a kid stand up to bullies. Matching him is Emma Stone, whose Gwen Stacy is less a damsel in distress than a Watson to Garfield’s web-slinging Holmes, creating a charismatic female counterpart usually absent in the comic-book boys’ club. Alas, the flaws are also bigger, among them Peter’s emo angst—which makes director Marc Webb’s breakout, (500) Days of Summer, seem like pure sugar—and wedged-in plot elements that reek of franchise-building. The great Dane DeHaan, as the infamous Harry Osborn, gets about 20 minutes for an arc that took Sam Raimi and James Franco three movies to develop. Paul Giamatti and Felicity Jones pop in for extended cameos that simply serve to tease future roles. The ghost of Gwen’s dad shows up. A shadowy conspiracy unfolds. And none of it jells together. Yet even with all the spinoff egg-laying and a tone that jackknifes between Joel Schumacher camp and Christopher Nolan grit, there’s a great bag of popcorn here. Were the fat trimmed and the villains allowed to hold their own—rather than teasing the Sinister Six spinoff that’s in the works—the effects and imaginative action would carry the film. But as it is, this is a placeholder that frustrates as much as it entertains. AP KRYZA. all franchise-building and no play makes Spidey a dull boy.

B- see it: The Amazing Spider-Man 2 is rated PG-13. It opens Friday at most major Portland-area theaters.

Willamette Week APRIL 30, 2014


Heaven Is For Real (PG) 11:25AM 2:00PM 4:35PM 7:20PM 9:55PM Noah (PG-13) 12:15PM 3:35PM 7:00PM 10:20PM Transcendence (PG-13) 10:55AM 1:50PM 4:45PM 7:45PM 10:40PM Haunted House 2, A (R) 2:35PM Oculus (R) 11:50AM 5:10PM 7:55PM 10:35PM Rio 2 3D (G) 11:45AM 2:30PM 5:15PM 8:00PM 10:40PM Rio 2 (G) 10:05AM 11:00AM 1:40PM 4:25PM 7:05PM 9:50PM Other Woman, The (PG-13) 10:00AM 11:05AM 12:45PM 1:55PM 3:30PM 4:40PM 6:20PM 7:30PM 9:10PM 10:15PM Quiet Ones, The (PG-13) 11:35AM 2:15PM 4:50PM 7:25PM 10:00PM Draft Day (PG-13) 11:30AM 2:20PM 5:05PM 7:50PM 10:35PM

Amazing Spider-Man 2 (PG-13) 10:00AM 11:40AM 3:00PM 6:20PM 8:10PM 9:45PM Amazing Spider-Man 2 (XD-3D) (PG-13) 12:30PM 3:50PM 7:10PM 10:30PM God’s Not Dead (PG) 11:10AM 2:00PM 4:50PM 7:40PM 10:30PM Amazing Spider-Man 2 3D (PG-13) 10:50AM 1:20PM 2:10PM 4:45PM 5:30PM 8:55PM Bears (G) 10:10AM 12:25PM 2:45PM 5:00PM 7:15PM 9:30PM Captain America: The Winter Soldier (PG-13) 11:15AM 2:25PM 5:45PM 9:05PM Divergent (PG-13) 12:20PM 3:40PM 7:00PM 10:10PM Brick Mansions (PG-13) 10:05AM 12:35PM 3:00PM 5:25PM 7:55PM 10:25PM Captain America: The Winter Soldier 3D (PG-13) 12:50PM 4:00PM 7:10PM 10:25PM

Heaven Is For Real (PG) 11:30AM 2:00PM 4:30PM 7:10PM 9:40PM Grand Budapest Hotel, The (R) 11:30AM 2:00PM 4:30PM 7:00PM 9:30PM Transcendence (PG-13) 11:05AM 1:55PM 4:45PM 7:35PM 10:25PM Other Woman, The (PG-13) 10:00AM 11:20AM 12:45PM 2:00PM 3:30PM 4:40PM 6:15PM 7:20PM 9:00PM 10:00PM Rio 2 (G) 11:00AM 1:40PM 4:40PM 7:20PM 10:00PM Rio 2 3D (G) 10:00AM 12:35PM 3:10PM Quiet Ones, The (PG-13) 10:30PM Divergent (PG-13) 10:00AM 1:05PM 4:15PM 7:25PM 10:35PM

Amazing Spider-Man 2 (PG-13) 10:50AM 12:30PM 3:50PM 7:10PM 8:50PM 10:30PM Amazing Spider-Man 2 3D (PG-13) 10:00AM 11:40AM 1:20PM 2:10PM 3:00PM 4:40PM 5:30PM 6:20PM 8:00PM 9:40PM Draft Day (PG-13) 11:10AM 2:00PM 4:50PM 7:40PM Bears (G) 11:00AM 1:10PM 3:10PM 5:30PM 7:40PM 9:50PM Captain America: The Winter Soldier (PG-13) 12:05PM 3:30PM 7:00PM 10:10PM Captain America: The Winter Soldier 3D (PG-13) 5:45PM 9:00PM Brick Mansions (PG-13) 11:00AM 1:20PM 3:40PM 6:00PM 8:20PM 10:35PM

Noah (PG-13) 11:45AM 3:10PM 6:40PM 9:50PM Heaven Is For Real (PG) 11:25AM 2:10PM 4:50PM 7:45PM 10:20PM Rio 2 (G) 11:00AM 1:40PM 7:25PM 10:15PM Oculus (R) 11:20AM 2:00PM 4:40PM 7:15PM 10:05PM Rio 2 3D (G) 4:35PM Quiet Ones, The (PG-13) 11:30AM 2:15PM 4:55PM 7:50PM 10:25PM Other Woman, The (PG-13) 10:55AM 12:15PM 1:45PM 3:05PM 4:30PM 5:50PM 7:20PM 8:45PM 10:10PM Divergent (PG-13) 12:20PM 3:50PM 7:05PM 10:25PM Amazing Spider-Man 2 (PG-13) 10:15AM 11:40AM

3:20PM 4:15PM 7:00PM 8:50PM 10:30PM Amazing Spider-Man 2 3D (PG-13) 10:45AM 12:35PM 1:30PM 2:25PM 5:10PM 6:05PM 7:55PM 9:45PM Grand Budapest Hotel, The (R) 11:55AM 2:35PM 5:05PM 7:40PM 10:15PM Bears (G) 12:10PM 2:30PM 4:45PM 7:10PM 9:40PM Captain America: The Winter Soldier (PG-13) 12:40PM 3:55PM 7:20PM Captain America: The Winter Soldier 3D (PG-13) 10:30PM Brick Mansions (PG-13) 12:00PM 2:20PM 5:00PM 7:30PM 10:00PM

april 30–may 6



alan partridge: alpha papa their essence by actions. Who are these beautiful visitors in The Grand Budapest Hotel? They’re meant to be ghosts, but they shouldn’t be strangers. We stick out our tongues to catch the shimmering snowflakes, and taste only air. r. AARON MESH. Cedar Hills, Eastport, Cinema 21, CineMagic, Forest, Hollywood, Lake Twin, Lloyd Center, St. Johns.

A Haunted House 2

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




EVENT HOTLINE: (503) 281-4215


The 2013 original was almost universally panned, and in this followup horror spoof, we can only expect more hanky-panky between stuffed animals and Marlon Wayans. r. Clackamas, Sandy.


A [ONE NIGHT ONLY, DIRECTOR ATTENDING] Hawaii, the third feature from Argentine director Marco Berger, is quiet, contemplative and beautifully shot. An agonizing story of unrequited desire, the film follows two childhood friends who unexpectedly reunite after decades away from each other. Eugenio (Manuel Vignau) is an attractive writer who spends his time in his summer home typing on his laptop, and Martin (Mateo Chiarino) an equally attractive vagabond who, at the film’s opening, sleeps in the forest and washes himself at the outdoor faucet of a nearby home. When they spot each other, Eugenio offers Martin a temporary job doing home repairs, and as Martin’s situation becomes clearer—he’s actually homeless— Eugenio does all he can to help out his old friend. Their mutual and unspoken desire is palpable, almost reminiscent of adolescent love, and Pedro Irusta’s carefully deployed orchestral score adds to the ache. The viewer spends the movie in as much pain as the characters, yearning for the men to summon the courage to bridge the ever-widening distance between them. LAURA HANSON. NW Film Center’s Whitsell Auditorium. 8 pm Friday, May 2.

Heaven Is for Real



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Willamette Week APRIL 30, 2014

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, Sherwood, Sandy.


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. She falls in love with you. Then she develops the capacity for jealousy. Eventually, you’re arguing about sex. She starts saying things like, “I’m becoming much more than they programmed.” Twenty years ago, this scenario would’ve played as a dystopian nightmare. But in the era of Catfish, where “dating” is an increasingly abstract concept, the premise of Spike Jonze’s Her can serve as the basis for an honest-to-goodness relationship drama. Her, the first film Jonze has written himself, isn’t another Charlie

Kaufman mind puzzle, but its emotions are no easier to untangle, nor to categorize. Is it sci-fi? Horror? Satire? Or is a story about falling in love with binary code the only honest way to talk about modern romance? 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.


B+ [ONE NIGHT ONLY] Gabriel Mascaro’s documentary Housemaids gives an unfiltered view into the lives of housemaids in Rio de Janeiro. Without voice-over narration or other adornment, Mascaro simply presents seven brief segments about each of the maids, allowing them to tell tragic life stories and describe their complicated relationships with their employers. But the approach works, largely because the ones holding the camera are the housemaids’ upper-class teenage charges. From behind the camera, these kids ask frank questions—“Do you like my mom?” “Are you happy?”—and the maids answer with sobering honesty. We learn about drugaddicted children, domestic abuse, dangerous miscarriages, murder and estrangement. These accounts would be shocking no matter the context, but they’re given added heft because of the clear emotional attachment between the maids and the children. Each story grows more shattering, leaving the viewer depleted but rapt by film’s end. There are pockets of optimism, though: At one point, a boy asks his housemaid if she considers herself free. “Yes, I believe I have freedom,” she answers, smiling as she looks through photos of herself and her employer, playing together as children. LAURA HANSON. Clinton Street Theater. 9 pm Thursday, May 1.


A- David Gordon Green has turned

out a lot of Bust-Ass in recent years: Lest you forget, the stoner-movie director discovered Eastbound & Down’s Danny McBride. But 10 years back, we all thought the director of All the Real Girls was angling to be Terence Malick, not Judd Apatow. Well, in 2013’s Prince Avalanche, he repainted the lines on that road, and with Joe, he finally travels on it. In his adaptation of the novel by Southern master Larry Brown, Green returns to where he started, with a long and low evocation of the fucked-up American South. Using a mixture of actors and people off the street, he punctuates the film with unscripted slapstick and mournful violence. Nicolas Cage plays the titular Joe, and while his hair often plays a supporting role in his films, in Joe his beard hides the fact that he’s even Nicolas Cage. He is a sadeyed, imperfect screw-up of a man who wants the right things but can’t make it right. Joe’s main role is as

mentor to vagrant teen Gary (Tye Sheridan of Mud and The Tree of Life, in a beautiful performance), who is terrorized by his father, one of the most frightening men I’ve seen in film. Non-actor Gary Poulter was discovered by Green at a bus stop (he died before the film was released), and his dead-eyed alcoholic stare could not be faked. Nothing, in fact, seems faked. In a film that could have been deep melodrama or deep sentimentalism, no note rings false. r. MATTHEW KORFHAGE. Living Room Theaters.

The Lego Movie

B+ With The Lego Movie, 21 Jump

Street and Cloudy With a Chance of Meatballs directors Phil Lord and Christopher Miller have imagined a world of chaotic bliss. Using a combination of computer and stopmotion animation that keeps the herky-jerky laws of Lego physics in mind, The Lego Movie follows milquetoast construction worker Emmet (Chris Pratt) on a hero’s journey. Emmet is seen as the unwitting prophet who could end the reign of President Business (Will Farrell), a tyrant who believes all creations should be made exactly according to instructions. We follow Emmet as he teams with Lego allstars ranging from Batman to Shaq, who together attempt to keep imagination alive. The Lego Movie comes dangerously close to the pop culture-saturated Shrek model of comedy, but just when the film starts becoming too cute, the plot shifts into another nutso action sequence filled with clever sight gags. Naysayers will whine that it’s just an extended toy commercial. But for those of us who remember the limitlessness of our imaginations as we played with little plastic blocks, this is a joy to behold. pG. AP KRYZA. Academy, Lake Twin, Laurelhurst, Valley.

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 slog. pG-13. AP KRYZA. Academy, Laurelhurst.

Mr. Peabody & Sherman

Two Rocky & Bullwinkle characters— a hyperintelligent beagle and a 7-year-old boy—take some trips in a time machine. pG. Valley.


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



B It’s been about six years since

Liam Neeson stopped campaigning for golden statuettes of bald men and started slugging bald foreign men with gold teeth, and Non-Stop marks the eighth film in which this classical actor-turnedrugged elder statesman of action has been consumed by neck-punching. It’s also the most colossally stupid film of his latter-day crusade against other men’s throats. And as such, Non-Stop is entertaining as all hell. Neeson stars as air marshal Bill Marks, an alcoholic with a dead daughter who, a few drinks into his day, boards a flight that’s doomed for a fate only flights containing Liam Neeson can know. He gets a text from an unknown number saying that a passenger will be killed every 20 minutes unless the hijacker receives $150 million. This is trash cinema taken to wonderfully dumb heights. PG-13. AP KRYZA. Kennedy School.

Nymphomaniac: Volume I

B- Nymphomaniac arrives with a

firestorm of press about sex, sex and more sex among Shia LeBeouf, Charlotte Gainsbourg and model Stacy Martin (who plays the young version of Gainsbourg). But as in most von Trier movies, the real subject isn’t so much sex as the endless suffering of women. It’s part sympathy, part clinical exploitation, part digressive philosophical inquiry. Gainsbourg’s character, Joe, the titular nymphomaniac, arrives as a beaten hump, and is rescued by a creepily deadpan Seligman (Stellan Skarsgård). This first installment of the two-part film is essentially Joe’s confession 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.

the wife and the boobs”) about how best to revenge themselves on the investment-banker snake (Nikolaj Coster-Waldau) who’s done them wrong. As the first feature written by Melissa Stack, The Other Woman arrives as an odd mélange of the trite and the truculent. This is also the comedic debut of director Nick Cassavetes, heretofore known for maybe-too-precious emotive celebrations like She’s So Lovely and The Notebook. Whether simply tonedeaf to the usual beats of the genre or possessed of a truly deadpan wit, he neatly undersells the farcical brutality. Diaz’s unfulfilled career woman, Mann’s ditzy hausfrau and Upton’s cheerily empty vessel may read like anti-feminist tropes, but, fleshed out by talented performers, they’re hardly played that way. The most grievous insults are playfully wielded and blithely absorbed, and the actors savor each self-deprecatory aside as off-handed testament to an outsized pride. Perhaps in some better world, major motion pictures would delight in capturing the value of supportive female friendships through expansive portraits, but in the age of the selfie, there’s gotta be room for a stylized caricature. PG-13. JAY HORTON. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Lloyd Center, Sherwood, Sandy.

The Quiet Ones

A 1970s-set paranormal horror film about a team of Oxford research-

ers who undertake experiments on a possessed girl. PG-13. Cedar Hills, Eastport, Clackamas.

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, Indonesia-based filmmaker Gareth Evans had a similarly crappy choice to make with this sequel. One of the best things about Redemption was the unrelenting action—the stunts and gore that left viewers alternately grinning and wincing as star and fight choreographer Iko Uwais delivered a master class in the martial art of pencak silat. Evans could have followed a similar format here and pleased many fans, but instead, the filmmaker 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, sacrificing the brutal pace that made the first film so much fun.

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the same level of faith—Noah didn’t screen for Portland critics. PG-13. Eastport, Clackamas, Sherwood.



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 homeoffice décor as modern-day bogeyman, a good prop, a great director (Mike Flanagan), and an ideal cast (top TV vets led by epochal nerd crushes Karen “Amy Pond” Gillan and Katee “Starbuck” Sackhoff ) can still wring genuine terror from a daft premise. Gillan, as the older sister, must outfight and outwit the antique fixture that killed her parents. Flanagan employs the lingering trauma of Kaylie and her brother, newly released from a psychiatric institution, just enough to heighten character fragility and loosen the audience’s moorings. While flashbacks dissecting the gruesome disintegration of Mom and Dad run concurrently with the kids’ frazzled attempts at vengeance, any breakthrough of buried memories or emotional truths seems an unintended consequence of the slowly tightening cinematic suffocation—a chilling airlessness as the protagonists nearly trample their younger selves. By film’s end, the actual demonic presences seem relatively cheeseball in comparison to the onslaught of undimmed memories. R. JAY HORTON. Eastport, Clackamas, Cornelius.

The Other Woman

C To pass the Bechdel test a film

must present a scene featuring two women talking about something other than a man. The Other Woman would almost certainly flunk that exam. The majority of screen time is given over to a rambling conversation between our jilted protagonists (Cameron Diaz, Leslie Mann and Kate Upton, helpfully self-identified as “the lawyer,

UNDEAD AHEAD: Given that languid cool is the lifeblood of Jim Jarmusch’s oeuvre, it makes sense that he’s finally gravitated to the vampire genre. In Only Lovers Left Alive, the iconoclastic director brings both absurdity and sensuality to the undead, using Tilda Swinton and Tom Hiddleston’s otherworldliness to tap into a rich vein of sardonic humor. For these two immortal creatures, unending life causes complacency—after centuries of existence, it seems there’s nothing new on earth. As the film opens, Hiddleston’s despondent Adam is holed up in the husk of Detroit, amassing vintage guitars and recording hypnotic tracks. When Swinton’s magisterial yet matronly Eve jets in from Morocco, Adam shows her the tragic sights of the Motor City’s ruins, including the Michigan Building’s once-glorious theater that’s now a parking garage. He has no appetite, though, for the anarchy her troublemaking sister (Mia Wasikowska) visits on their dingy Eden, drawing attention by treating unwitting humans like delectable pieces of meat. While the film is laced with mordant wit—the blood popsicles have already become legendary—there’s also an affecting subtext: Jarmusch seems to be using genre tropes to explore his own concerns about maintaining his creative drive as he enters his 60s. Just as Adam learns that the world contains undiscovered wonders, one of cinema’s most idiosyncratic voices confirms, with droll eloquence, that he still has much to say. CURTIS WOLOSCHUK. A SEE IT: Only Lovers Left Alive is rated R. It opens Friday at Fox Tower.




But it also gives Evans the opportunity to prove he is a filmmaker capable of far bigger things, and Uwais continues to impress with his jaw-dropping combat skills. R. RUTH BROWN. Academy, Laurelhurst.


Under the Skin

B Hell hath no fury like a woman

Rio 2

It’s back to the Brazilian tropics, with Anne Hathaway and Jesse Eisenberg voicing mama and papa macaws raising a feathered brood. WW was too hungover from spring break to make the screening. G. 99W Drive-In, Cedar Hills, Eastport, Clackamas, Cornelius, Indoor Twin, Sherwood, Sandy.

Sex Workers Film Series: Mr. Angel

B [ONE NIGHT ONLY] Porn star Buck Angel has a thick neck, a ginger Fu Manchu mustache and a shaved head. He has tribal tattoos down his muscled arms and the word “Pervert” inked across his back. He also has a vagina. Angel was born a girl but always identified as male, and he’s transitioned to a man in every way but one. When Angel films a scene with a trans woman, the two look every part the heterosexual couple—except the machinery operates in the opposite direction expected. This baffles some around him, none more so than his father, a manly man who sees Angel as a sexual oddity yet still aches to understand him. Dan Hunt’s film, which took six years to make, wisely doesn’t dwell on definitions, and while Angel’s comments about nonconformity can grow trite, they still ring genuine. REBECCA JACOBSON. Clinton Street Theater. 7 pm Friday, May 2.

A Standing Still


ATTENDING] Well-meaning but ultimately amateurish and uninvolving, Portlander Scott Ballard’s second feature follows a young woman who leaves her job at a fire lookout in the mountains after learning that her father’s been admitted to the hospital. Allison (an intermittently affecting Sara Robbin) returns home to Portland, where her just-discharged father is cagey about his health, a former lover spurns her, and her weirdly SoCal friends—they’re wearing spangly tops and drinking martinis on a blindingly sunny afternoon— ask whether Allison, who spends five months at a time at the remote lookout, is going to become the Unabomber or start speaking in squirrel. Either of which would have been more interesting than what ultimately happens, which is a lesson in loss filled with strained dialogue, crying jags in her dad’s pickup truck, and lots of lonely pints of beer. REBECCA JACOBSON. NW Film Center’s Whitsell Auditorium. 7 pm Tuesday, May 6.


C+ 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. Trouble is, a film’s shelf life shrinks as technology advances. The long list of movies that were once considered “cuttingedge” should serve as a warning to directors. Transcendence, at the very least, addresses a compelling question: 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 colleague manage to record Will’s brain patterns and incorporate them into the supercomputer’s operating system, effectively resurrecting him. But wait…is it Will? 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. But things also jackknife jarringly, with characters inexplicably switching allegiances and funda-


mentally flipping their ideals halfway through. PG-13. AP KRYZA. Cedar Hills, Clackamas, Lloyd Center, Sherwood, Sandy.



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. If they make physical contact with each other, they burst like balloons. But why? The lack of clarity is part of the film’s appeal. 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. Is this black widow becoming human? Has she grown a heart under that skin…er, polymer? And, if so, what is a heart worth in this landscape of lust and loneliness? R. DEBORAH KENNEDY. Hollywood.

Walk of Shame

Elizabeth Banks is great, but this film—in which Banks plays an aspiring news anchor who’s stranded after a one-night stand and then must navigate Los Angeles’ snarl to get to an important job interview on time—is written and directed by Steven Brill, whose record is atrocious. Like, really atrocious: He’s the man behind such dreck as Little Nicky, Mr. Deeds and Without a Paddle. Not screened for Portland critics. R.

Welcome to Bridgetown: Documentary Preview Event

[ONE NIGHT ONLY] A week before the massive comedy festival kicks off (look for our preview coverage next week), director Adam Smith screens a few clips from his new documentary about Bridgetown and its influence on Portland’s standup scene. Hollywood Theatre. 7 pm Sunday, May 4.

The Wind Rises

B- Early in Hayao Miyazaki’s latest— and probably final—film, an earthquake strikes Tokyo. The earth buckles and writhes, rippling like a belly dancer’s abdomen. It’s a remarkably moving scene, both for its raw kinetic energy and for the clear sense of physical and human destruction. Alas, the rest of The Wind Rises, even as it showcases Miyazaki’s painterly hand-drawn animation, isn’t nearly so dynamic. And that’s in spite of a story that revolves around flight, the based-on-truth tale of an ace aeronautical engineer named Jiro. Born in 1903, Jiro’s devotion to airplanes gets him unwillingly swept up in the war machine: He travels to Germany to meet Nazi engineers and helps build machines that, no matter how beautiful, are designed to kill. There’s an interesting tension here between technology and totalitarianism, but Jiro is so thinly developed—he’s a genius at work and a sweet husband to his consumptive wife at home—that the question quickly evaporates. The film has a lovely melancholy, but that feels largely due to Miyazaki’s impending departure from cinema. He’ll be missed, even if The Wind Rises is a bumpy ride. PG-13. REBECCA JACOBSON. Laurelhurst.

Willamette Week APRIL 30, 2014

COME ON, RIDE THE TRAIN: The King of the Monsters.


Back in the day, our city-crushing, radiationbreathing monsters had a hell of a lot more to say. Somewhere along the way, though, they got too big for their soapboxes. Or just smashed them. May marks the return of Godzilla. The new movie, out May 16, looks big, loud and admittedly awesome. But it’s also got some huge shoes to fill. Six decades after the original Godzilla (screening Friday through Monday at the Hollywood Theatre), it’s easy to look simply at what Ishiro Honda’s film spawned: more than 30 films (including a terrible Matthew Broderick movie), video games, kids’ cartoons and more knockoffs than Gucci. But in its time, this rubber-suited granddaddy was more than that: The King of the Monsters was a walking, marauding manifestation of the fear of nuclear annihilation. As any nerd whose vocabulary includes the word “kaiju” knows, Godzilla’s conception by American nuclear fire in the Pacific is no coincidence. Nine years before the beast’s inception, the U.S. had dropped atomic bombs on Hiroshima and Nagasaki. Nuclear testing ran rampant in the Pacific, and radiation poisoning of humans and fish dominated headlines. But nobody knew the potential long-term effects. For Honda, the nuclear contamination produced a gigantic, pissed-off lizard that rose from the ocean to destroy humanity. A nightmarish creature whose very existence stemmed from the hubris of scientists, Godzilla became the righteous embodiment of nature’s wrath. Cold War-era imitators followed, from the great ripoff Gamera to ridiculous matinee nonsense like the giant-rabbit classic Night of the Lepus. And then—as Godzilla spawned a talking son and started teaming up with other creatures to fight aliens—giant monsters became dumb. Soon, eco-terror focused on smaller things: the airborne pathogens of The Andromeda Strain or Outbreak, or the plants duping dumbfuck humanity into mass suicide in The Happening. Some of these films sparked dread for their perceived realism (see: Contagion). Then documentaries like An Inconvenient Truth managed to bump giant monsters out of the game with epic PowerPoint presentations. I can’t figure out PowerPoint. A gigantic prehistoric tortoise like Gamera had no chance.

What we lost in the past 60 years was the cityleveling metaphor that is a rampaging monster. Pacific Rim’s interdimensional neon beasties just wanted a new home. Cloverfield’s monsters were straight-up pricks, and Super 8’s invading alien wanted only to make us wish we were watching The Goonies or E.T. It’s almost shocking that nobody’s decided to piss off Fox News by making a flick in which a woolly mammoth is thawed out by global warming and goes on to destroy Alaska. Or how about a creationist-baiting remake of Encino Man? Maybe an oil spill results in a gigantic Cajun crawdad in the Gulf. Perhaps some dipshit kid pees in a reservoir and officials decide to drain the water, awakening a slumbering prehistoric beaver that descends from his volcano and feasts on people too busy Instagramming the attack to flee. That would be a social and environmental commentary! While it remains to be seen if the new Godzilla touches on collective fears—blaming the monster’s creation on Fukushima would be logical—it seems unlikely. We seem to prefer our environmental terror delivered by former vice presidents in black suits, rather than by gargantuan monsters in green rubber ones. ALSO SHOWING: Kicking off a four-day run of films focused on the American worker, the Clinton Street unearths the landmark 1954 drama Salt of the Earth, which shed light on the plight of Mexican-American mineworkers and, of course, got all involved blacklisted during Joseph McCarthy’s communist witch hunt. Clinton Street Theater. 7 pm Wednesday, April 30. KBOO presents a double feature of Clara Lemlich, about the 1909 New York garment workers’ strike, and Chain of Love, a doc examining the exodus of Filipina women seeking work as domestic caretakers. Clinton Street Theater. 6:30 pm Thursday, May 1. Say what you will about Tom Cruise: The toothy bastard has starred in some fantastic films in his time. Few would call Ridley Scott’s 1984 fantasy epic Legend one of them (yes, this might get me stabbed by a unicorn), but it did mark Cruise’s first foray into action, a genre that the little guy’s managed to dominate despite the naysayers. Also, Tim Curry is a demon. Academy Theater. May 2-8. For the second time in as many months, you can misquote Casablanca while watching it on the big screen. Poor Sam. Laurelhurst Theater. May 2-8. The 1947 Michael Powell-Emeric Pressburger classic Black Narcissus gorgeously chronicles the struggles of nuns dispatched to the Himalayas…in Technicolor! 5th Avenue Cinema. 7:30 pm Friday, May 2. The NW Film Center presents a retrospective by modernist postwar animators John and Faith Hubley, who won three Oscars for films you’ve never heard of. Now’s the time to remedy that. NW Film Center’s Whitsell Auditorium. 7 pm Sunday, May 4.


MAY 2–8

UNICORNS ARE REAL: Legend plays May 2-9 at Academy Theater.

1510 NE Multnomah St. THE AMAZING SPIDERMAN 2 3D Fri-Sat-SunMon-Tue-Wed 11:40, 03:05, 06:30, 10:25 THE AMAZING SPIDER-MAN 2 Fri-Sat-Sun-Mon-Tue-Wed 12:10, 03:35, 07:00, 09:55 THE OTHER WOMAN FriSat-Sun-Mon-Tue-Wed 01:00, 03:55, 07:20, 10:05 CAPTAIN AMERICA: THE WINTER SOLDIER Fri-SatSun-Mon-Tue-Wed 12:00, 03:25, 06:55, 10:10 THE GRAND BUDAPEST HOTEL Fri-Sat-Sun-Mon-TueWed 01:10, 03:45, 06:40, 09:30 BRICK MANSIONS Fri-Sat-Sun-Mon-Tue-Wed 12:20, 02:45, 05:10, 07:50, 10:15 TRANSCENDENCE Fri-Sat-Sun-Mon-TueWed 12:50, 04:30, 07:40, 10:35 DIVERGENT Fri-SatSun-Mon-Tue-Wed 11:50, 03:15, 07:10, 10:30 BEARS Fri-Sat-Sun-Mon-TueWed 12:30, 02:35, 04:40, 06:45 WALKING WITH THE ENEMY Fri-Sat-SunMon-Tue-Wed 09:40 THE MOMENT: MAYWEATHER VS. MAIDANA Sat 06:00 FOCUS ON THE FAMILY PRESENTS: IRREPLACEABLE Tue 07:30

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 FINDING VIVIAN MAIER Fri-Sat-Sun-Mon-Tue-Wed 04:45, 07:00, 09:00 THE GRAND BUDAPEST HOTEL Fri-Sat-Sun-Mon-Tue-Wed 04:30, 07:15, 09:30 BLUE RUIN Fri-Sat-Sun-Mon-TueWed 04:15, 06:45, 08:45

Clinton Street Theater


Laurelhurst Theatre & Pub 2735 E Burnside St., 503-232-5511 THE LEGO MOVIE FriSat-Sun-Mon-Tue-Wed 09:10 CASABLANCA Fri-Sat-Sun-Mon-TueWed 07:15 THE RAID 2

Fri-Sat-Sun-Mon-Tue-Wed 08:50 BAD WORDS FriSat-Sun-Mon-Tue-Wed 06:45 HER Fri-Sat-SunMon-Tue-Wed 09:30 THE MONUMENTS MEN FriSat-Sun-Mon-Tue-Wed 06:30 THE WIND RISES Fri-Sat-Sun-Mon-Tue-Wed 07:00 NYMPHOMANIAC: VOLUME I Fri-Sat-Sun-MonTue-Wed 09:40 FROZEN SING-ALONG Sat-Sun 01:15 ERNEST & CELESTINE SatSun 02:00

Moreland Theatre

6712 SE Milwaukie Ave., 503236-5257 THE AMAZING SPIDERMAN 2 Fri-Sat-Sun-MonTue-Wed 05:30, 08:20

Roseway Theatre

7229 NE Sandy Blvd., 503-282-2898 THE AMAZING SPIDERMAN 2 3D Fri-Sat-SunMon-Tue-Wed 01:30, 04:45, 08:00

St. Johns Cinemas

8704 N Lombard St., 503-286-1768 THE GRAND BUDAPEST HOTEL Fri-Sat-Sun-MonTue-Wed 04:30, 07:00, 09:20 THE AMAZING SPIDER-MAN 2 Fri-Sat-SunMon-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 DIVERGENT Fri-Sat-SunMon-Tue-Wed 12:20, 03:50, 07:05, 10:25 BEARS Fri-Sat-Sun-Mon-TueWed 12:10, 02:30, 04:45, 07:10, 09:40 THE GRAND BUDAPEST HOTEL FriSat-Sun-Mon-Tue-Wed 11:55, 02:35, 05:05, 07:40, 10:15 NOAH Fri-Sat-SunMon-Tue-Wed 11:45, 03:10, 06:40, 09:50 CAPTAIN AMERICA: THE WINTER SOLDIER Fri-Sat-Sun-MonTue-Wed 12:40, 03:55, 07:20 CAPTAIN AMERICA: THE WINTER SOLDIER 3D Fri-Sat-Sun-Mon-Wed 10:30 RIO 2 Fri-SatSun-Mon-Tue-Wed 11:00, 01:40, 07:25, 10:15 RIO 2 3D Fri-Sat-Sun-Mon-Wed 04:35 OCULUS Fri-SatSun-Mon-Tue-Wed 11:20, 02:00, 04:40, 07:15, 10:05 THE OTHER WOMAN FriSat-Sun-Mon-Tue-Wed 10:55, 12:15, 01:45, 03:05, 04:30, 05:50, 07:20, 08:45, 10:10 THE QUIET ONES Fri-Sat-Sun-Mon-Tue-Wed 11:30, 02:15, 04:55, 07:50, 10:25 THE AMAZING SPIDER-MAN 2 Fri-Sat-

Kennedy School Theater

5736 NE 33rd Ave., 503-249-7474-4 MR. PEABODY & SHERMAN Fri-Sat-Sun-Mon-Tue-Wed 05:30 THE WIND RISES Fri-Sat-Sun-Tue-Wed 05:30, 08:00 NON-STOP Fri-Sat-Sun-Mon-Tue-Wed 02:30 BAD WORDS Fri-Sat 10:40

Empirical Theatre at OMSI

1945 SE Water Ave., 503-797-4000 MYSTERIES OF THE UNSEEN WORLD Fri 10:00, 11:00, 12:00, 01:00 FLIGHT OF THE BUTTERFLIES 3D Fri 02:00 GREAT WHITE SHARK Fri 03:00

5th Avenue Cinema 510 SW Hall St., 503-7253551 THE WARRIORS FriSat-Sun 03:00 BLACK NARCISSUS Fri 07:30

Hollywood Theatre

4122 NE Sandy Blvd., 503-281-4215 GODZILLA: THE COMPLETE JAPANESE ORIGINAL Fri-Sat-Sun-Mon 09:30 THE GRAND BUDAPEST HOTEL Fri-Sat-Sun-MonTue-Wed 07:15, 09:15 ALAN PARTRIDGE FriSat-Sun-Mon-Tue-Wed 06:45 UNDER THE SKIN Fri-Sat-Sun-Mon-Tue-Wed 09:00 BRIDGETOWN COMEDY FESTIVAL Sun 07:00 DOUBLE TROUBLE Tue 07:30

NW Film Center’s Whitsell Auditorium


St. Johns Theater

8203 N Ivanhoe St., 503-249-7474-6 NO FILMS SHOWING TODAY Fri MR. PEABODY & SHERMAN Sat-Mon-TueWed 06:30 BAD WORDS Sun-Mon-Tue-Wed 01:00, 09:00

Academy Theater

7818 SE Stark St., 503-252-0500 THE RAID 2 Fri-Sat-SunMon-Tue-Wed 08:40 BAD WORDS Fri-Sat-Sun-

Mon-Tue-Wed 09:35 MR. PEABODY & SHERMAN Fri-Sat-Sun-Mon-TueWed 04:30 ERNEST & CELESTINE Fri-Sat-SunMon-Tue-Wed 05:10 THE LEGO MOVIE Fri-Sat-SunMon-Tue-Wed 02:10, 04:20, 06:30 THE MONUMENTS MEN Fri-Sat-Sun-MonTue-Wed 02:00, 06:45 THE WIND RISES Fri-SatSun-Mon-Tue-Wed 07:00 LEGEND Fri-Sat-Sun-MonTue-Wed 03:10, 09:15

Century Clackamas Town Center and XD

12000 SE 82nd Ave., 800-326-3264-996 DIVERGENT Fri-Sat-SunMon-Tue-Wed 12:20, 03:40, 07:00, 10:10 BEARS FriSat-Sun-Mon-Tue-Wed 12:25, 02:45, 05:00, 07:15, 09:30 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 12:15, 03:35, 07:00, 10:20 DRAFT DAY Fri-Sat-Sun-Mon-Tue-Wed 11:30, 02:20, 05:05, 07:50, 10:35 CAPTAIN AMERICA: THE WINTER SOLDIER Fri-Sat-Sun-Mon-Tue-Wed 11:15, 02:25, 05:45, 09:05 CAPTAIN AMERICA: THE WINTER SOLDIER 3D FriSat-Sun-Mon-Tue-Wed 12:50, 04:00, 07:10, 10:25 RIO 2 Fri-Sat-Sun-MonTue-Wed 11:00, 01:40, 04:25, 07:05, 09:50 RIO 2 3D Fri-Sat-Sun-MonTue-Wed 11:20 OCULUS Fri-Sat-Sun-Mon-Tue-Wed 11:50, 05:10, 07:55, 10:35 TRANSCENDENCE Fri-SatSun-Mon-Tue-Wed 10:55, 01:50, 04:45, 07:45, 10:40 THE OTHER WOMAN FriSat-Sun-Mon-Tue-Wed 11:05, 12:45, 01:55, 03:30, 04:40, 06:20, 07:30, 09:10, 10:15 THE QUIET ONES Fri-Sat-Sun-Mon-Tue-Wed 11:35, 02:15, 04:50, 07:25, 10:00 THE AMAZING SPIDER-MAN 2 Fri-SatSun-Mon-Tue-Wed 11:40, 01:20, 03:00, 06:20, 08:10, 09:45 THE AMAZING SPIDER-MAN 2 3D FriSat-Sun-Mon-Tue-Wed 10:55, 02:10, 04:45, 05:30, 08:55 HEAVEN IS FOR REAL Fri-Sat-Sun-Mon-TueWed 11:25, 02:00, 04:35, 07:20, 09:55 A HAUNTED HOUSE 2 Fri-Sat-Sun-MonTue-Wed 02:35 BRICK MANSIONS Fri-Sat-SunMon-Tue-Wed 12:35, 03:00, 05:25, 07:55, 10:25 THE MOMENT: MAYWEATHER VS. MAIDANA Sat 06:00 BEN-HUR Sun-Wed 02:00, 07:00 FOCUS ON THE FAMILY PRESENTS: IRREPLACEABLE Tue 07:30


Regal Lloyd Center 10 & IMAX

Sun-Mon-Tue-Wed 11:40, 03:20, 04:15, 07:00, 08:50, 10:30 THE AMAZING SPIDER-MAN 2 3D Fri-SatSun-Mon-Wed 10:45, 12:35, 01:30, 02:25, 05:10, 06:05, 07:55, 09:45 HEAVEN IS FOR REAL Fri-Sat-SunMon-Tue-Wed 11:25, 02:10, 04:50, 07:45, 10:20 BRICK MANSIONS Fri-Sat-SunMon-Tue-Wed 12:00, 02:20, 05:00, 07:30, 10:00


Willamette Week APRIL 30, 2014































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Week of May 1


ARIES (March 21-April 19): “Dear Astrologer: We Aries people have an intense fire burning inside us. It’s an honor and a privilege. We’re lucky to be animated with such a generous share of the big energy that gives life to all of nature. But sometimes the fire gets too wild and strong for us. We can’t manage it. It gets out of our control. That’s how I’m feeling lately. These beloved flames that normally move me and excite me are now the very thing that’s making me crazy. What to do? Aries.” Dear Aries: Learn from what firefighters do to fight forest fires. They use digging tools to create wide strips of dirt around the fire, removing all the flammable brush and wood debris. When the fire reaches this path, it’s deprived of fuel. Close your eyes and visualize that scene. TAURUS (April 20-May 20): “My personal philosophy is not to undertake a project unless it is manifestly important and nearly impossible.” So said Taurusborn Edwin Land, the man who invented the Polaroid camera. I have a feeling these might be useful words for you to live by between your birthday in 2014 and your birthday in 2015. In the coming 12 months, you will have the potential of homing in on a dream that will fuel your passions for years. It may seem to be nearly impossible, but that’s exactly what will excite you about it so much -- and keep you going for as long as it takes to actually accomplish. GEMINI (May 21-June 20): I wish there was a way you could play around with construction equipment for a few hours. I’d love it if you could get behind the wheel of a bulldozer and flatten a small hill. It would be good for you to use an excavator to destroy a decrepit old shed or clear some land of stumps and dead trees. Metaphorically speaking, that’s the kind of work you need to do in your inner landscape: move around big, heavy stuff; demolish outworn structures; reshape the real estate to make way for new building projects. CANCER (June 21-July 22): In the Transformers movies, Optimus Prime is a giant extraterrestrial warrior robot. His body contains an array of weapons that he uses for righteous causes, like protecting Earth’s creatures. His character is voiced by actor Peter Cullen. Cullen has also worked extensively for another entertainment franchise, Winnie the Pooh. He does the vocals for Eeyore, a gloomy donkey who writes poetry and has a pink ribbon tied in a bow on his tail. Let’s make Cullen your role model for now. I’m hoping this will inspire you to get the Eeyore side of your personality to work together with the Optimus Prime part of you. What’s that you say? You don’t have an Optimus Prime part of you? Well, that’s what Eeyore might say, but I say different. LEO (July 23-Aug. 22): Do you finally understand that you don’t have to imitate the stress-addled workaholics and self-wounding overachievers in order to be as proficient as they are? Are you coming to see that if you want to fix, heal, and change the world around you, you have to fix, heal, and change yourself? Is it becoming clear that if you hope to gain more power to shape the institutions you’re part of, you’ve got to strengthen your power over yourself? Are you ready to see that if you’d like to reach the next level of success, you must dissolve some of your fears of success? VIRGO (Aug. 23-Sept. 22): “Beauty is the purgation of superfluities,” said Michelangelo. Do you agree? Could you make your life more marvelous by giving up some of your trivial pursuits? Would you become more attractive if you got rid of one of your unimportant desires? Is it possible you’d experience more lyrical grace if you sloughed off your irrelevant worries? I suggest you meditate on questions like these, Virgo. According to my interpretation of the astrological omens, experiencing beauty is not a luxury right now, but rather a necessity. For the sake of your mental, physical, and spiritual health, you need to be in its presence as much as possible. LIBRA (Sept. 23-Oct. 22): I’m pretty sure God wants you to be rich. Or at least richer. And I know for a fact that I want you to be richer. What about you? Do you want to be wealthier? Or at least a bit more flush? Or would you rather dodge the spiritual tests you’d have to face if you became a money magnet? Would you prefer

to go about your daily affairs without having to deal with the increased responsibilities and obligations that would come with a bigger income? I suspect you will soon receive fresh evidence about these matters. How you respond will determine whether or not you’ll be able to take advantage of new financial opportunities that are becoming available. SCORPIO (Oct. 23-Nov. 21): The U.S. military budget this year is $633 billion. In comparison, the United Nations’ peacekeeping budget is $7.8 billion. So my country will spend 81 times more to wage war than the U.N. will spend to make peace. I would prefer it if the ratio were reversed, but my opinion carries no weight. It’s possible, though, that I might be able to convince you Scorpios, at least in the short run, to place a greater emphasis on cultivating cooperation and harmony than on being swept up in aggression and conflict. You might be tempted to get riled up over and over again in the coming weeks, but I think that would lead you astray from living the good life. SAGITTARIUS (Nov. 22-Dec. 21): Actor Matthew McConaughey prides himself on his willingness to learn from his mistakes and failures. A few years ago he collected and read all the negative reviews that critics had ever written about his work in films. It was “an interesting kind of experiment,” he told Yahoo News. “There was some really good constructive criticism.” According to my reading of the astrological omens, Sagittarius, now would be an excellent time for you to try an experiment comparable to McConaughey’s. Be brave! CAPRICORN (Dec. 22-Jan. 19): “Dear Oracle: I might be hallucinating, but recently I swear my pet iguana has been getting turned on whenever I disrobe in front of it. My naked body seems to incite it to strut around and make guttural hissing sounds and basically act like it’s doing a mating dance. Is it me, or is the planets? I think my iguana is a Capricorn like me. - Captivating Capricorn.” Dear Capricorn: Only on rare occasions have I seen you Capricorns exude such high levels of animal magnetism as you are now. Be careful where you point that stuff! I won’t be shocked if a wide variety of creatures finds you extra alluring. AQUARIUS (Jan. 20-Feb. 18): “Eat like you love yourself,” advises author Tara Stiles. “Move like you love yourself. Speak like you love yourself. Act like you love yourself.” Those four prescriptions should be top priorities for you, Aquarius. Right now, you can’t afford to treat your beautiful organism with even a hint of carelessness. You need to upgrade the respect and compassion and reverence you give yourself. So please breathe like you love yourself. Sleep and dream like you love yourself. Think like you love yourself. Make love like you love yourself. PISCES (Feb. 19-March 20): If blindfolded, most people can’t tell the difference between Pepsi and Coca-Cola. But I bet you could, at least this week. Odds are good that you will also be adept at distinguishing between genuine promises and fakes ones. And you will always know when people are fooling themselves. No one will be able to trick you into believing in hype, lies, or nonsense. Why? Because these days you are unusually perceptive and sensitive and discerning. This might on occasion be a problem, of course, since you won’t be able to enjoy the comfort and consolation that illusions can offer. But mostly it will be an asset, providing you with a huge tactical advantage and lots of good material for jokes.

Homework Think of the last person you cursed, if only with a hateful thought if not an actual spell. Now send them a freehearted blessing.

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



EARN $500 A DAY. Airbrush & Media Makeup Artists For: Ads - TV - Film - Fashion Train & Build Portfolio in 1 week. Lower Tuition for 2014. Help Wanted! make extra money in our free ever popular homemailer program, includes valuable guidebook! Start immediately! Genuine! 1-888-292-1120


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

McMenamins Edgefield

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

Symphony Hi! I’m Symphony, a happy, squishy little dumpling at just two years old and thirteen lbs. I am a sweet and confident girl with a true symphony of different mews and coos and purrs and twirls and dances to do for you, especially when it’s almost dinnertime, and I loove to entertain. I also cherish the quiet moments just as much, with my favorite hu-

man, once all the other orchestral instruments have gone to bed and we can just curl up and relax. I come microchipped, spayed and current on all vaccines. Fill out an application at or come on down to the cattery and see if this is the symphony you’ve been waiting to hear! My adoption fee is $100.

The Pixie Project: Loving pets and people through personalized pet adoption and low cost veterinary assistance.

503-542-3432 510 NE MLK Blvd Willamette Week Classifieds APRIL 30, 2014





503-445-2757 •



by Matt Jones

BRB–I gotta go get changed. MacDonald” sound 53 One of the Carpenters 55 Thread target 57 River by the Louvre 58 Big boats 59 “I’m getting seasick in this jail,” e.g.? 61 Bikini Bare competitor 62 Took in too much 63 Georgia’s capital, casually 64 Barnyard pen 65 “Go away!” 66 “Cats” inspiration’s monogram


Across 1 Govt. producttester 4 “Viva ___!” (1952 Marlon Brando movie) 10 Rather adept at reporting? 13 “How cute!” sounds 14 Demons that prey upon sleepers 15 Air filter acronym 16 Creating a Pittshaped cake? 18 Sheltered valley 19 Full of it

for a short time? 35 “Alice” diner owner 37 Apprehension 38 TV series set in the Tanner household 39 1980’s Punky as an impediment? 42 Conductor Toscanini 43 Play leapfrog 44 Sault ___ Marie 47 Apparel size: abbr. 48 Blown away 51 Made an “Old

20 “Blueberries for ___” 21 One of Xavier Cugat’s exes 22 Periods of boredom 24 “Night” author Wiesel 26 Bro, say 27 Temperature meas. 28 Heart readout, for short 30 Mississippi River explorer 32 Breakfast item that’s only around

Down 1 Legendary 2 The Rock’s real first name 3 “Who’s ___?” 4 More piquant 5 “Life of Pi” director Lee 6 Banned pollutants, briefly 7 Distinctive atmospheres 8 Game for little Little Leaguers 9 Lend a hand 10 “3 Feet High and Rising” hip hop trio 11 Drink before dinner 12 Tiny machine 15 MLB banned substance 17 Shiba ___ (dog breed) 21 Average grades

23 Big name in ‘80s hair metal 25 “Same here” 29 “Pretty Woman” star 31 Mufasa’s malevolent brother 32 French cheese 33 Hardly any 34 Big shindig 35 Oscar-winning role for Meryl 36 ‘ neighbor 39 Troubled region of Europe, with “The” 40 Word in many cereal names 41 Hulu offering 44 Telluride top 45 Basic doctrines 46 1926 English Channel swimmer Gertrude 49 Spine-tingling 50 Fizzling out 52 Circus precaution 54 Secaucus clock setting 56 Frozen waffle brand 59 Consumer protection org. 60 Affable Affleck

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 #JONZ673.

Find your Flame on





Portland 503-222-CHAT (2428) Vancouver 360-314-CHAT

Seattle 206-753-CHAT • Tacoma 253-359-CHAT • Everett 425-405-CHAT



Free group chatrooms 24/7! 503-222-CHAT 54

Week Classifieds APRIL 30, 2014


503.416.7098 Try for FREE

Ahora en Español

For More Local Numbers: 1.800.926.6000




503-445-2757 •

ww presents



“Rhythms of the Heart” by Scott A. Foster $750 For sale at:


CLASSIFIEDS Submit your art to be featured in Willamette Week’s I Made This. For submission guidelines go to

Willamette Week Classifieds APRIL 30, 2014




Do you want to be debt free? Call Now: 503-808-9032 FREE Consultation. Payment Plans. Scott Hutchinson, Attorney


9966 SW Arctic Drive, Beaverton 9220 SE Stark Street, Portland American Agriculture • PDX 503-256-2400 BVT 503-641-3500

Bankruptcy Payment Plans

Tax - Tenants - Small Business - More Sliding-Scale NONPROFIT Attorneys (503) 208-4079

$Cash for Junk Vehicles$


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

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

20% Off Any Smoking Apparatus With This Ad! BUY LOCAL, BUY AMERICAN, BUY MARY JANES

Comedy Classes

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

Glass Pipes, Vaporizers, Incense & Candles

7219 NE Hwy. 99, Suite 109 Vancouver, WA 98665

(360) 735-5913

Guitar Lessons

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

Hippie Goddess

Females 18+. Natural, Fit Bodies. Creative outdoor shoots for $400-$600. 503-449-5341 Emma MOTHERLESS MOTHER’S DAY CELEBRATION “Through sharing their stories, our Mothers live on among us” 11am Sun. May 11th, Wallace Park, 1600 NW 25th Ave Facebook Event FREE

Muay Thai

Self defense & outstanding conditioning. or 503-740-2666

“Reds and Roses” a weekend for Mothers

A North West Alliance Smooth Jazz and Wine experience Featuring Smooth as Jazz

212 N.E. 164th #19 Vancouver, WA 98684

(360) 514-8494

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

6913 E. Fourth Plain Vancouver, WA 98661

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

Opiate Treatment Program

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

Vancouver, WA 98664

(360) 213-1011

1156 Commerce Ave Longview Wa 98632

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


North West Hydroponic R&R

8312 E. Mill Plain Blvd

1825 E Street

Washougal, WA 98671

(360) 844-5779

May 9-11 • 1pm-10pm Tesóaria Winery 4003 N Williams, Portland $15


including tasting

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

including a tasting flight • non-profit community event

Open 7 Days

Qigong Classes

Cultivate health and energy or 503-740-2666


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

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

Field Organizer $12.25/Hour ORGANIZING

JOBS New Downtown Location! 1501 SW Broadway

4119 SE Hawthorne, Portland ph: 503-235-PIPE (7473)

503 235 1035

May 10 • 6pm-10pm The Wine Valet 16580 SE McLoughlin Blvd., Portland

Field Manager $17.00/Hour

Medical Marijuana

card Services clinic

APPLY NOW 503.224.1004

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

Pizza Delivery

Until 4AM!

40 26 willamette week, april 30, 2014  
40 26 willamette week, april 30, 2014