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Willamette Week MAY 14, 2014



LOVE SQUEEZE: Police and prosecutors say “sweetheart scams,” like a massive fraud revealed last week in federal court, are on the rise. Page 7.
















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, Cambria Roth

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

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

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Willamette Week MAY 14, 2014


INBOX MAKING OUR STREETS SAFER While Willamette Week accurately notes that the number of pedestrian fatalities has remained static in recent years, this does not address the root issue that explains the need for increased revenue [“Road Worriers,” WW, May 7, 2014]. Oregon Walks believes that even a single fatality on our public streets is unacceptable, and the city of Portland must prioritize investment in safety on our neighborhood streets. Collisions between drivers and pedestrians are increasingly concentrated in areas with many minority, low-income, young and elderly residents; our public right of way has been designed in a way that systemically puts these users at risk. Since January 2013, 11 of 16 pedestrians struck and killed by automobiles in Portland were walking on streets east of 82nd Avenue. We applaud the ongoing efforts of City Commissioner Steve Novick, Portland Bureau of Transportation director Leah Treat and the dozens of organizations that signed our Vision Zero letter supporting the efforts of the city to fundamentally rethink street design, investment priorities and traffic enforcement to eliminate fatalities from our community Because the street fee is inherently regressive in nature, placing much of the burden on working families, Oregon Walks hopes to see a higher percentage of this funding go directly to safety measures in these neighborhoods. We are encouraged by the city’s leadership in searching for a solution that will save lives on our streets, and believe this is indeed a crisis in need of thoughtful leadership and funding to support its implementation. Aaron Brown Board president, Oregon Walks

With Bull Run being off limits to most everyone for years, there could be some monster-sized fish swimming around in there. Has it ever been considered for a monster-fish reality-TV show? —Stimpy Be careful what you wish for, Stimpy—if you think pee in your water is bad, imagine how you’d feel if it was tainted with essence-of-reality-TVproducer. They say when MTV shot an episode of The Real World: San Francisco on the Hetch Hetchy reservoir, the Bay Area’s tap water tasted of hair gel and schadenfreude for months. At least part of your premise, however, is sound: Waterways in Bull Run are off limits not only to fisherfolk, but to almost all dirty, naturedespoiling humans—no one is allowed inside the romantically named Bull Run Watershed Management Unit (BRWMU) except Water Bureau or Forest Service employees on official business. 4

Willamette Week MAY 14, 2014


Despite the note that we shouldn’t generalize from Donald Anthony Beckwith’s story, the lesson we’re supposed to take away from the anecdote is obvious: that incarceration turned his life around and allowed him to get some education and professional skills [“Spare the Jail, Spoil the Child?,” WW, May 7, 2014]. Which, for an article that trumpets focusing on the statistics, is a pretty disingenuous little dodge around the data. It’s well-established that kids who get incarcerated have vastly higher recidivism rates than ones who enter diversion programs, and incarceration is more expensive. So you think we’ve got a problem with high juvenile justice spending and high crime rates, and your solution is to throw more youth in jail? Now you’re spending even more money to turn more kids into repeat offenders. —“dh”


At first I thought, “$56,000 a year to run a small plot of land?” [“Back to the Garden,” WW, May 7, 2014.] Well, I read the rest of the story and find that Jerry Hunter supervises court-ordered work details as well as coordinates education programs on farming. He’s underpaid for what he does. And we get real food given to nonprofits. This might be the most useful government employee out there. —“John Retzlaff ” 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:

So if the fish in Bull Run are safe—or at least as safe as anything in the food chain can be—have some of them been growing to Cthulhu-like proportions over the last few decades? In a word, probably not. (Technically, that’s two words, but whatever.) I looked through the Water Bureau’s list of the 21 fish species in the BRWMU, and over half of them are small, crummy, minnowlike fish—shiners, dace, sculpins—that could grow forever and still not be big enough to stick out of a hot-dog bun. But what of the other listed species, the mighty salmonids? Chinook, coho, steelhead— surely in this pristine, angler-free environment they must be growing to prodigious size, right? Except they can’t. With rare exceptions, salmon are anadromous—they’re born in fresh water, do their growing in the ocean, and only return to fresh water to spawn. There may be big fish in Bull Run, but they got big somewhere else. QUESTIONS? Send them to

Willamette Week MAY 14, 2014


CRIME: A record-setting “sweetheart scam.” CITY HALL: The truth gets soaked in the water district debate. POLITICS: Our 2014 primary election endorsements. COVER STORY: Best New Band 2014.

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It’s not every day that a conservative talk-show host suggests spending more taxpayer dollars. But during his May 8 show on KXL-FM 101.1, Lars Larson floated an alternative to Mayor Charlie Hales and Commissioner Steve Novick’s proposed street fee to pay for transportation projects: Use $50 million a year from urban renewal areas, run by the Portland Development Commission, on the city’s $1.5 billion road-maintenance backlog. “Let the developers finance their own projects,” Larson said, “and pour that $50 million into bringing the streets back up to standard.” Hales, meanwhile, continues to defend the fee to raise transportation funds by charging up to $12 a month per household, regardless of homeowners’ income. “We’re going to start charging poor people to pave their streets because we have to,” Hales told a regional transportation advisory committee May 5, as first reported by Metro News. “It’s regressive, and I’m sorry it’s regressive. We have to be that clear with people because it’s so much easier to stay in denial and hope we can go another couple years without having to raise taxes.” In another spending controversy, Hales has moved quickly to enact reforms in the way the City Council reviews big construction projects, following a WW report on the tripling in costs of a new Bureau of Environmental Services office building that’s home to sewer engineers (“Space of Waste,” WW, April 30, 2014). We reported contract and design changes for the building went through the City Council five times—all without debate. Hales told city bureau directors May 6 that contract increases of $1 million-plus can no longer go on the council’s consent agenda, where items are gaveled through without debate. WW reported the building’s original price rose from $3.2 to $11.4 million. KOIN-TV last week uncovered records showing the final cost actually hit $12.6 million. Two national magazines are highlighting the big money helping Portland neurosurgeon Monica Wehby’s campaign to become the Republican nominee for U.S. Senate. National Journal profiled John Jordan, a multimillionaire vineyard owner from California who supported the NewRepublican. org political action committee, which bought advertisements supporting Wehby. And WEHBY Mother Jones wrote about Loren Parks, a medical-device seller and frequent donor to conservative causes. Mother Jones highlighted Parks’ claims that, as an unlicensed sex therapist, he can hypnotize women into becoming “sex machines.” Parks gave $75,000 to a PAC called “If He Votes That Way in Salem, Imagine What He Will Do in Congress,” which ran ads against Wehby’s chief opponent, state Rep. Jason Conger (R-Bend). The winner of the GOP primary is likely to face U.S. Sen. Jeff Merkley (D-Ore.) in the fall. Read more Murmurs and daily scuttlebutt.


Willamette Week MAY 14, 2014








Ralph Raines Jr. led a fantasy life. At 66, the heir to a third-generation Washington County logging company had once faced the prospect of a lonely existence. He was without close family and, as prosecutors now say, he was a bit socially awkward. But he had found a beautiful young wife—or she had seemed to find him, actually. Mary Marks was thin and blond and preferred heavy makeup. She had presented Raines with a baby boy she said was their son, a child who sat on his lap and called him “Daddy.� What’s more, a devoted caregiver named Rachel Lee, who had looked after Raines’ father, was now helping Raines handle the millions of dollars that came from the family’s timber company. Raines’ life had gone on like this for nearly a decade— until March, when police told him the life around him was a hoax. Mary wasn’t really his wife, and the boy wasn’t his son. And Rachel, the caregiver? She was, in reality, Mary’s mother and the architect of a yearslong scam that, authorities say, drained Raines of at least $12 million and as much as $20 million. Prosecutors say Raines is left with

$200,000. It’s a classic con called the “sweetheart swindle�—a younger woman ingratiates herself with an older, vulnerable man so she can get access to his money. Investigators say these scams are on the rise as the population ages. “Once you get your hooks in, it’s easy money,� says Jay Pentheny, the elder-abuse detective for the Multnomah County Sheriff’s Office, who has investigated many “sweetheart� cases. “This is very prevalent, and it’s getting worse. I guarantee there are so many more cases going on in Portland that we don’t know about.� Prosecutors say they’ve never seen a “sweetheart� fraud as large or as egregious as the one waged against Raines. The scammers allegedly bought luxury cars and financed trips to Las Vegas by liquidating Raines’ bank accounts and selling off his properties—all while keeping Raines isolated and confused. Rachel Lee, 43, and her daughter, Porsha Lee, 24, who played the wife “Mary� in the alleged scam, were arraigned May 9 in U.S. District Court in Portland on charges of wire fraud, money laundering and conspiracy. Rachel Lee’s boyfriend, Blancey Lee, and another daughter, Samantha Lee, are also named in the 13-count indictment. “The defendants, their family and their friends lived a lavish lifestyle on the back of this victim,� Assistant U.S. Attorney Donna Maddux told a federal judge at the Lees’ arraignment. “In terms of sweetheart scams, it was like winning the Powerball.�

Raines declined to be interviewed for this story. His attorney, Brett Hall, says investigators are still trying to understand what happened, and that includes helping Raines figure it out himself. “This is devastating,â€? Hall tells WW. “He believed that Rachel [Lee] was helping him. She created a dream state and kept him there.â€? An only child, Ralph Raines Jr. grew up logging with his father, Ralph Sr., and his mother, Helen, on their 1,300-acre tree farm overlooking Gaston. Ralph Sr., a World War II veteran, had inherited the former Carnation Logging Co. from his father. The family lived modestly, rarely giving hints of how rich the timber business had made them. When Helen died in 2001, she left tens of thousands of dollars to local libraries in Gaston and Forest Grove, news reports say, and $375,000 for a library at Pacific University. The family also gave $400,000 to Tuality Forest Grove Hospital for the Raines Dialysis Center. Raines served a tour as a sailor in Vietnam, and then earned an associate’s degree in forestry from Clatsop Community College. He never married, and he had no children. In 2004, Raines traveled to Bend for a conference of tree-farm owners, where he met Rachel Lee, then 32, a slender dark-haired woman with large, vulnerable eyes. Raines confided to her that his mother had died a few years earlier. Lee said she could relate—she too had lost her mother recently. The two quickly bonded. (Prosecutors say Rachel Lee’s mother was actually alive and living in California at the time.) Over the next two years, prosecutors say, Lee gained the trust of Raines and his father. “It was his understanding that [Lee] was there to help them, to guide them through their finances,â€? Maddux told a federal judge last week at Ä‹Ĺ?+*Ĺ?,#!Ĺ?ĉ %(()!00!Ĺ?!!' MAY 14, 2014 33!!'Ä‹+)



Lee’s arraignment. Lee was hired as caretaker for Ralph Sr., then 86, after he suffered a stroke in 2006. Prosecutors say Lee didn’t let on that her only work experience was as a psychic. Before long, court records say, Rachel Lee was controlling the Raines family finances. In 2006, Ralph Jr. bought a new $915,000 home in Portland’s Northwest hills, and public records show Rachel and her family moved in. In 2008, the indictment says, Rachel Lee brought her daughter, Porsha, then 17, into the scam. Porsha Lee put on a blond wig, large glasses and plenty of makeup. Feigning an English accent, she introduced herself to Ralph Jr. as Mary Marks, a British citizen in the U.S. illegally who needed a green card. Raines told investigators he fell in love with Mary. Porsha Lee, disguised as Mary, told Raines she wanted to have his child, but only through artificial insemination. She convinced him to give her a sperm donation, and then told him she was going to California to have the baby. She later returned with a little boy and told Raines this was his son. Court records obtained by WW confirm the child was born not to Porsha Lee but to her sister, Samantha, who, prosecutors say, goes by the aliases “Bubbles” and “Pebbles.” The boy’s birth certificate doesn’t list a father. Porsha Lee then managed to convince Raines they were actually married, court records say. That was also a lie. It’s still not clear how or why Raines could have been fooled into believing this. His attorney, Hall, will only say Raines was convinced of her story by his desire for a family of his own, and by the extremes the Lees took to make the story seem real. Meanwhile, Rachel Lee, mother of the young woman portraying Raines’ wife, had opened joint bank accounts with Raines and was funneling money to her personal accounts. Raines’ father, Ralph Sr., died in 2011.

Downtown: 1036 W. Burnside St. | 222-3418 Hawthorne District: 1420 SE 37th Av. | 234-1302


Willamette Week MAY 14, 2014

m u lt n o m a h c o . s h e r r i f f ’ s d e p t.


racheL Lee

Porsha Lee

That’s when the money really started to fly. Ralph Sr.’s probate file, obtained by WW, shows that Rachel and Porsha Lee, posing as Raines’ wife, inserted themselves into the handling of the estate, which was valued at $5 million. According to court documents, Rachel Lee convinced Raines to sell the Northwest Portland home, where she lived, for $640,000. She also got him to sell his family’s tree farm for $12.3 million, telling him he needed the money to cover inheritance taxes, the indictment says. The day after the tree farm sold, court records say, Lee and her boyfriend, Blancey Lee, went on a buying spree. Blancey bought a $200,000 Ferrari convertible and a $300,000 Bentley Mulsanne, according to the indictment and Oregon Department of Motor Vehicles records reviewed by WW. The vanity plates he put on the cars: “MRBIG” and “MRBIG1.” The indictment says Rachel Lee and Blancey Lee took Raines’ money to Las Vegas, where they stayed and gambled at the Wynn, the Venetian and the Bellagio hotels. They bought rental properties and opened psychic businesses in Bend, Canby, St. Helens and Portland. Last fall, court records say, Rachel Lee told Raines he was broke and would have to file for bankruptcy.

Porsha Lee, still posing as his wife, Mary Marks, called a real-estate agent and put Raines’ last two properties on the market: a 1930s family homestead and a dilapidated A-frame cabin near Gaston where Raines continued to live. The cabin had once been surrounded by woods his family owned. After the sale of the tree farm, the house stood isolated and exposed in the middle of a clear-cut. Investigators say the scam unraveled when someone— authorities won’t say who—tipped the Canby police, who joined with the Internal Revenue Service to build the case against the Lees. When agents told Raines he had been scammed, he was skeptical. After checking back with Rachel Lee, Raines explained to agents he had given her $4 million as a gift. Agents told him she had taken much more than that. Federal agents arrested Rachel Lee and Porsha Lee at their psychic shop in Bend last week. According to prosecutors, the Lees had traded their iPhones for disposables and had suitcases packed next to the door. When she was arrested, Porsha Lee had $40,000 in cash hidden in her underwear. Investigators say Raines tried to cover for Rachel and Porsha Lee, something that Pentheny, the Multnomah County detective, says is common in such scams. “The men who have been victimized do not want us involved,” he adds. “They don’t want friends or family to know about what happened to them.” Prosecutors say Porsha Lee told authorities after her arrest that she made only $500 a month as a psychic— which didn’t explain why she was driving a new Mercedes. Neighbors of the Lees’ psychic business in Canby tell WW that Rachel Lee had recently met an older man who owns lots of land. The man has since told investigators he plans to marry Rachel Lee and, as a sign of affection, recently bought her a Mercedes of her own.

city hall


By aaR ON MESh

For a while there, it looked as if the backers of a measure to take control of Portland’s water and sewer systems from City Hall were going to flood the airwaves with campaign ads. But so far the water revolution has not been televised. Measure 26-156 would create an independent water board to set rates and approve all future spending now overseen by the City Council and the city’s two utilities, the bureaus of Water and Environmental Services. Backers of the measure raised $96,689 to campaign for it once it made the ballot, and they’ve paid for just one radio ad. Opponents of the measure, meanwhile, have raised $257,166 and have


two video ads—one on the air, the other on the Web. The advertising uncorked by the campaigns repeats some of the spring’s biggest boasts and fibs about the measure (“Talkin’ Bull,” WW, April 23, 2014). The campaigns are tussling over whether the measure would halt out-of-control City Hall spending, or merely hand Portland’s utilities to a board of corporate flunkies. One side says your rates would go down; the other says rates would fall only for corporations. WW took a line-by-line sip of the commercials and got a sour taste from both sides. Here’s our analysis.

THe “NO” CAMPAIgN—vIDeO “vote NO on 26-156” Water: Simple, clear, pure. But corporate polluters (1) are muddying the water with Measure 26-156. Lobbyists (2) crafted 26-156 to create a new water and sewer board they can stack with friends to lower their bills (3). But independent sources say our rates may go up (4). Corporate polluters hijacking our board? Higher rates? We shouldn’t swallow that.

1. tRUE. One of the measure’s biggest supporters, German semiconductor manufacturer Siltronic, contaminated the groundwater at its Willamette riverfront site in Northwest Portland with the solvent trichloroethene during the 1980s. City records show another big contributor, Portland Bottling Co., has been repeatedly fined by the Bureau of Environmental Services for discharging pollutants into the city’s sewer system. 2. tRUE. Chief petitioner Kent Craford is a former lobbyist for the Portland Water Users Coalition, a group of big water customers.

“Higher rates” Neighbors. Some are good, but some… well. But would you force neighbors to pay higher bills so you could pay less? Industry lobbyists (2) crafted a ballot measure to do just that with water and sewer rates. It creates a new board they can stack with friends to lower their water bills (3). They claim it will lower rates for us. But independent sources say there’s no guarantee. And rates could go up (4).

3. FalSE. Big industrial water users can’t “stack the board.” Only voters can select the new board’s members. And there is no guarantee—nor any language in the measure—that industrial users will see their rates go down. 4. MiSlEaDiNG. Even with a new water board, rates are likely to continue to climb—but that would not be result of the measure, as the ad implies.

H T T P : // W W W . S T O P C O r P O r A T e P O L L u T e r S . C O M / v I D e O S /

THe “yeS” CAMPAIgN—rADIO Did you know that Portland has higher water rates than Phoenix, Arizona (1)? An independent lawsuit has identified $127 million in questionable expenditures, including City Hall pet projects unrelated to water and sewer systems (2). City Hall even spent $1.2 million from our water and sewer bills to fund political election campaigns (3). Now Commissioner Nick Fish wants to raise our water rates another 55 percent (4). Time to tell Fish he’s out of water. On May 20, voters need to send City Hall a message by creating a public water district. A public water district will stop City Hall abuse and rein in water bills (5). It sets up an independent elected board with annual financial audits (6) and strict conflict-of-interest rules (7). No more City Hall water bill slush fund (8).”

1. tRUE but MiSlEaDiNG. A standard monthly water bill in Phoenix is $6.26— well below Portland’s $26.65. But Phoenix’s system is subsidized by the feds, and many of the costs are passed on through property-tax bills. 2. MiSlEaDiNG. The “independent” claim that $127 million was misspent is coming from many of the same people who are backing the measure. A judge has so far found $1.2 million was misspent—troubling, but an amount that has a negligible effect on rates. 3. FalSE. The judge ruled the city misspent $547,438 on its voter-owned elections program. 4. MiSlEaDiNG. No one at City Hall has proposed a 55 percent rate increase. But the five-year forecast, released by Fish’s office last fall, projects rates could increase by 55 percent over the next five years. The City Council

must approve any increase. 5. FalSE. The measure does not guarantee water bill increases will stop—or even slow down—with a new water board. 6. MiSlEaDiNG. That already happens. The measure prohibits independent reviews of the water board by the City Auditor—unless the board invites such a review. 7. tRUE. The measure sets six-year waiting periods for former city employees and contractors who want to run for the board. There are no restrictions to keep allies of big water customers from running. 8. tRUE. The City Council could no longer determine how water and sewer funds were spent.

Willamette Week MAY 14, 2014


think it’s just trivia? think again.




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

Thursdays @ 8pm ing Bar & Grill Redw Tuesday 4012 30th St • North Park

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

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

Punch Bowl Social — 8PM 8pm s@ ayHouse turdAle Sa Concordia — 8PM Space Room — 7PM Pub lly’s Ke Tonic Lounge — 7PM

2222 San Diego Ave • Old Town

Buffalo Gap — 7:30PM


21st Avenue Bar & Grill — 7PM m da—ys esInn Belmont 7PM @ 8p Tu

(starts August 14th)

M&M Lounge (Gresham)—8PM

South Park Abbey





Oregon is counting votes in the coming days—on May 20, to be exact—to find out who voters want running their local government, and which candidates they want to see facing off in the general election this fall. Be one of those voters. Mail-in ballots must be in the hands of county elections officials by 8 pm on May 20. Drop them off in person if you must. We’re here to make it all easier. Our endorsements for the 2014 primary election appear below. WW offers recommendations only in competitive races and for ballot measures. Unlike other news outlets, we do so after inviting all candidates and campaigns to our offices to present their views. For more details about how we made our decisions— and to watch videos of the endorsement interviews—go to Here’s our list.

1946 Fern Street • South Park @geekswhodrink




1st District, Republican: DELINDA DELGADO MORGAN 5th District, Democrat: KURT SCHRADER 5th District, Republican: BEN POLLOCK


Republican primary: DENNIS RICHARDSON



District 34, Democrat: KEN HELM District 41, Democrat: DEBORAH BARNES District 42, Democrat: ROB NOSSE District 44, Democrat: TINA KOTEK District 45, Democrat: BARBARA SMITH WARNER District 50, Democrat: CARLA PILUSO District 51, Republican: JODI BAILEY


President, nonpartisan: TOM HUGHES



Chair, nonpartisan: DEBORAH KAFOURY Commissioner, District 1, nonpartisan: JULES BAILEY Commissioner, District 2, nonpartisan: LORETTA SMITH


Commissioner, Position 2, nonpartisan: NICK FISH Commissioner, Position 3, nonpartisan: DAN SALTZMAN Measure 26-156, creates an independent water district: NO


Willamette Week MAY 14, 2014

Willamette Week MAY 14, 2014



WILLAMETTE WEEK’S BEST NEW BAND SHOWCASE 2014 featuring Ural Thomas & the Pain, Summer Cannibals and Tiburones SATURDAY, MAY 17, AT MISSISSIPPI STUDIOS (3939 N MISSISSIPPI AVE.) FREE. 8 PM DOORS, 9 PM SHOW. 21+.


Willamette Week MAY 14, 2014


In the decade we’ve been polling Portland’s most knowledgeable music fans and professionals to compile our annual Best New Band list, we’ve learned one thing: Bands here don’t just break up and disappear. They evolve and regenerate. They add a guitarist, lose a cellist, and emerge with a new Bandcamp page. Of the 10 acts you’re going to read about on this year’s list, half have connections to bands who’ve made the list before. You may not know the septuagenarian soul singer in our top spot, but the drummer who revived his career played in two previous finalists. Band No. 3 is practically a Best New Band supergroup. Our fifth-place artist is a member of Au, a finalist from way back in 2008. The duo in sixth place spun off from last year’s winner, Shy Girls. One of the rappers in the 10thplace group made the list as a solo artist two years ago. Now you understand why we encourage voters—a coalition of more than 200 journalists, musicians, promoters, label owners, radio hosts and local music fanatics—not to get hung up on the definition of “new.” D espite appearances, this issue isn’t a coronation. It’s an attempt to capture a fleeting moment, before the cycle of regeneration starts over again. It’s an imperfect process, we admit. There should be more hip-hop and electronic music on this list. More jazz. More everything. But Best New Band is never meant to be the last word. Rather, it’s a starting point. It’s a way to quiet the noise while selectively raising the volume, to slow things down and take in the landscape. Because in Portland, music moves pretty fast. If you don’t stop and listen once in a while, you might miss something awesome. —Matthew Singer, Willamette Week Music Editor

jAmeS rexroAd

PaIN IS ThE NaME OF ThE gaME: Ural Thomas (center) and the Pain.



POINTS: 121.5 FORMED: 2013 SOUNDS LIKE: A delayed

radio transmission from an alternate version of the ’60s, where the world’s greatest soul man is from Portland and Hitsville USA is made out of recycled plywood.

It’s a damp Sunday afternoon in early May, and church is most definitely in service at the House of Entertainment. A small but loyal parish is gathered in the appropriately nicknamed home of Ural Thomas, where, for the last 40 years, the singer and son of a preacher man has conducted an ongoing sermon on the religion of blues, R&B, rock ’n’ roll and, especially, soul. Every week going back to the late ’60s, when he moved in behind the ReBuilding Center on North Mississippi Avenue, Thomas has opened the sliding glass door leading to his charmingly ramshackle practice space, inviting the public for jam sessions that start around 1 pm and, when things get really cooking, can extend past sundown. In the last year, Thomas, a powerhouse performer who once shared stages with James Brown, Otis Redding and Stevie Wonder, has gone from being an artifact in a record collector’s crate to a local living legend, headlining sold-out gigs at Doug Fir Lounge and Mississippi Studios with his young backing band, the Pain. But this is still where you can find the 73-year-old most Sundays, calling out chords from behind a silver Casio keyboard like an evangelist referencing Bible verses. “Follow me, don’t lead me!” shouts Thomas, dressed in a buttoned black shirt, warmups and knit cap, directing the six musicians surrounding him through a bluesy waltz. In comparison to the polished nine-piece soul orchestra that now supports him live, this slapdash group—two guitarists, a drummer, a slaphappy bassist, a tin-whistle player and the most enthusiastic egg-

shaker you’ll ever meet—is rough to the point of chafing. But then, it fits the surroundings. According to Thomas, after his house burned down in the ’70s, he rebuilt it himself using recycled materials. The place looks like it’s being held together by plywood, old carpets and a lot of staples and glue. Decorations appear to have been grabbed blindly from a Goodwill bin: a stuffed Halloween spider; a velvet painting of Napoleon; posters of Bo Diddley, and Chunk and Sloth from The Goonies; magazine cutouts of Martin Luther King Jr., New Kids on the Block, a monkey in a Superman costume and Tupac with a pompadour drawn on his head. As the band stutters through Barry White’s “Can’t Get Enough of Your Love, Babe” and Buddy Holly’s “True Love Ways,” it feels like the vibrations are going to cause the roof to cave in. At a glance, Thomas is a homegrown version of Charles Bradley or Sharon Jones, once obscure singers who, thanks to younger admirers, have experienced late-career resurgences. In truth, Thomas might be closer to Portland punk heroes Fred and Toody Cole: someone who insulated himself from the harsh unfairness of the world by building his own. “A cool thing about Ural that sort of puts him in the tradition of Portland is, he’s been DIY since day one,” says Eric Isaacson, owner of Mississippi Records, who discovered Thomas 11 years ago when a woman brought in a record Thomas self-recorded with local children in the ’60s. “He was just sort of doing it himself. He made his cracks at trying to make it in the big time and be cont. on page 14 Willamette Week MAY 14, 2014





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CAN YOU DIG IT: Ural Thomas and the Pain opening for George Clinton at Crystal Ballroom on May 11.

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Willamette Week MAY 14, 2014

on major labels, but it never fazed him when he didn’t make it in that world.” “I don’t really feel like I missed anything in life,” says Thomas, sitting with drummer Scott Magee and Ben Darwish, the Pain’s music director and keyboardist, in a quieter moment at the House of Entertainment. “Even the rough times, I can’t say they’re really bad because I’ve learned something from every experience I’ve ever had. And I hope I’ve given something back along the way. I never expected anything from anyone except myself.” In the decades after he quit the music industry and returned to the neighborhood he grew up in, Thomas kept a low profile. He’d poke his head out on occasion—filming a segment for the Portland music website Into the Woods, performing at an exhibition for the Oregon Historical Society, appearing in a documentary about Seattle funk band Wheedle’s Groove—but for the most part, only his jam buddies knew he was even still in town. And so, when Magee called to propose dusting off some of Thomas’ old material, neither could believe the other was actually on the line. “I still, at times, can’t believe it, as far as how lucky I feel,” Magee says. A few years ago, the 40-year-old Magee, previously a member of indie-folk acts Loch Lomond and Y La Bamba, became obsessed with soul. He began collecting 45 rpm singles and spinning them around town as DJ Cooky Parker. “Push ’Em Up,” a wild dance tune Thomas recorded with his original doo-wop group, the Monterays, found its way into Magee’s rotation—a gift from Isaacson, who reissued two rare Thomas singles on his label in 2011. When Magee started talking in vain about starting an act that would reinterpret those old tunes live, Isaacson saw an opportunity. “I felt like Ural deserved to have a really tight band that would complement his vocal style,” Isaacson says. “I thought Scott was a tasteful enough guy, and motivated and ambitious enough to put it together. So I gently nudged him to give Ural a call.” A month later, Magee, Darwish and Thomas, along with bassist Eric Hedford and guitarist Brent Martins, were in a rehearsal room together. “We were all just standing there, like, ‘Do we just play the song?’” Magee says. He counted off into “Pain Is the Name of Your Game,” a sweeping ballad Thomas released in 1967, sans the recorded version’s big horns and backing vocals. “Ural came in on the first verse, and it was really powerful,” Magee says. “Within seconds, in my

brain, I’m like, ‘We’re good.’ If we can hold it together and if Ural wants to do it, this is going to be fantastic.” “I was like, ‘I sure hope this works,’” Thomas recalls of that initial session. “But I just felt comfortable. I was ready to roll.” Darwish and Magee set about fleshing out the band, recruiting a three-piece horn section and two backup singers, while Magee developed a set centered on other Thomas originals—funky foot-stomper “Can You Dig It?”, the buoyantly blissful “I’m a Whole New Thing”—and a few of his favorite deep cuts from other artists. After a few warm-up gigs, the Pain had its official coming-out party at Doug Fir Lounge in November. The response was rapturous. It wasn’t just how authentic the band sounded or the palpable joy Thomas exuded onstage. It was the revelation that, at one point in time, the whitest city in America not only had soul but bred it, too. “A guy like Ural wouldn’t matter as much in Chicago or Memphis or New Orleans,” Magee says. “There’s a lot more people, even of his age, who are amazing performers, and down there, it’s just kind of, like, expected. I feel we have this chance to seem somehow fresh, which is exciting for all of us to be part of musically, because it’s not a sound we’ve had a chance to do here.” The excitement over the Pain has transcended Thomas’ rediscovery. An “ecosystem,” as Magee calls it, has sprung up around the group, of artists wanting to engage with a history it never knew existed. At the Pain’s return engagement at Doug Fir in April, the Decemberists’ Chris Funk sat in on guitar. DJ Rev Shines, of hip-hop mainstays Lifesavas, spun records. Shirley Nanette, another singer from Portland’s past, made a cameo appearance, and just about brought the place down. The constellation of talent surrounding the group is beginning to resemble Daptone Records, the New York soul revivalists responsible for rescuing several artists from the margins of history. All that’s missing is an actual record. But that’s coming, too. Eventually. “I’m interested in having the workload increase,” Magee says. “I’d like to see everyone doubling down on the energy level this next year. Maybe an album can come out within two years. So that in 2016, people won’t be like, ‘Yeah, I remember that band, Ural Thomas and the Pain. They were cool.’ I want it to thrive. Because Ural, he deserves that.” Thomas corrects him: “I think we all deserve it.” MATTHEW SINGER.



DID IT aLL FOR ThE cOOKIES: (From left) Summer cannibals’ Jessica Boudreaux, Lynnae Gryffin, Valerie Brogden and Marc Swart.


If recent Best New Band polls are an indicator of Portland’s interest in what one may refer to as “rock music,” the relationship status has been gradually digressing from “it’s complicated” to “divorced.” The clouds of grunge have parted, making way for genteel bedroom artists using laptops and layers of reverb to make what is now democratically referred to as “pop music” above all else. While this is great news for baristas in search of locally grown vibes to occupy sonic real estate between cuppings, it’s a sorry state for everyone else who wishes these fops would grow a pair and shut the fuck up already. Alas, the rockists have finally risen from their couches to make their voices heard: Summer Cannibals are the new “rock band” for the people. The Cannibals started out like most ambitious youngsters, cutting their teeth as local support and participating in showcases at Rontoms Sunday Sessions. While being an important steppingstone for anyone trying to be someone, the uber-hip eastside spot is not exactly famous for drawing an attentive crowd. “We’re really loud! It doesn’t matter!” bassist Lynnae Gryffin exclaims when crossed with the idea of uninterested scene kids. It’s not subtle, sure, but it works: The group’s amped-up surf rock has vaulted it to packed houses supporting Atlanta’s Black Lips, Thermals side project Hurry Up and a sold-out Crystal Ballroom gig opening for Chvrches. Since forming in 2012, frontwoman-guitarist Jessica Boudreaux has kept a sharp eye on the band’s place in the hierarchy of the local music scene. The dream of the ’90s has plenty of room for Summer Cannibals’ garage-grrrl redux, but it’s essential to dream bigger to escape the holding pattern of local fame. “I think [attaining national success] is a little harder in Portland,

CANNIBALS POINTS: 108 FORMED: 2012 SOUNDS LIKE: J Mascis and Kathleen Hanna formed a secret one-off surf-rock band in the summer of 1994. They played two basement shows in Olympia before going back to their day jobs.

at least more than it would be in New York or L.A.,” Boudreaux says. “There’s a ladder of success you can climb, and it’s relatively easy to get to certain points initially, but in other places there’s a more competitive vibe, and you’re fighting for those spots that are enviable. I don’t see that as much here.” “I think the ceiling is lower for that reason, too,” Gryffin adds. “There’s ‘Portland’ famous, but that’s a pretty limited scope.” “Yeah, totally,” Boudreaux says. “It’s not a negative thing. It’s just different.” Before testing its mettle on the road, the group will record a fulllength this summer at Larry Crane’s Jackpot Studio—a follow-up to its debut, No Makeup, which the Cannibals released last year on their own label, New Moss. (They also issued Diamond Junk by 2013 Best New Band finalist Sun Angle.) Besides being known for running the DIY recording tome Tape Op, Crane has a massive production résumé that includes records by such bands as Pavement, the Breeders and Summer Cannibals’ often-referenced heroes, the Thermals. “Our first show was with Hurry Up at Mississippi Studios, which was crazy to have that kind of support from them right off the bat,” Gryffin says. “[The Thermals] have been a band for 10 years. They told us to do it forever. Don’t stop. Just keep doing it.” With the other rising stars in the Portland scene having very little stylistic overlap with what makes Summer Cannibals a force to be reckoned with, it’s easy to see their back-to-basics approach to garage rock taking off in a big way. Ty Segall and Thee Oh Sees are slowly taking over the southern half of the West Coast, and it looks like the northern half is Summer Cannibals’ for the taking. Even Boudreaux’s mom seems to get it. “We were having dinner with Jessica’s parents and a couple other people in Gig Harbor, and [Jessica’s mom] was really embarrassing us and putting on Summer Cannibals,” says guitarist Marc Swart. “When she put it on, she asked the other couple, ‘Do you like rock music? This song is rock music.’ It was awesome.” PETE COTTELL. cOnT. on page 17 Willamette Week MAY 14, 2014


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POINTS: 72 FORMED: 2013 SOUNDS LIKE: Post-Graceland

Paul Simon, if he spent his time listening to Beach House and cumbia and watching footage of Nina Simone on YouTube.

Luz Elena Mendoza and Nick Delffs have been here before. Not necessarily at Savoy Tavern, the snug bar on Southeast Clinton Street, where they sit admiring the mounted buck head amid the warm glow of the table lamps, but chatting about being named to WW ’s Best New Band list. Delffs’ former band, the Shaky Hands, placed first in 2007. Mendoza’s Spanglish folk-pop ensemble, Y La Bamba, earned a spot on the list two years later. But Tiburones—the band Delffs and Mendoza started last year and named after the Spanish word for sharks—is a different kind of animal. Though the music is still rooted in percussive flourishes and Mendoza’s sweet vocal swing, it’s less ethereal than both of their past efforts, and imbued with a heightened sense of collaboration. “Everyone needs change,” says the tall, tattooed Mendoza when asked about the band’s beginnings. “When you’re doing the same thing over and over, even if it feels good, you start to wonder what it’s like doing something else.” Delffs, scruffy and clad in a slim sport coat, echoes those sentiments from across the table. “It’s like a welloiled machine,” he says. “Beautiful things happen, but sometimes you need a fundamental change.” In his case, the most fundamental difference is that the two musicians write songs together—a notable change for Dellfs, who’s used to playing frontman for both the Shaky Hands and his solo project, Death Songs. He and Mendoza began collaborating when a mutual friend brought them together to play at her house a few years ago. That one-off collaboration extended into days-long sessions in which they’d help each other flesh out their respective songs. A joint Death Songs-Y La Bamba West Coast tour followed in 2012, and the pair finally decided to start an official project. “When you have the environment, tools, timing and right people, it just kind of happens,” Mendoza says. “A lot of people can resonate with that, but they probably have a different way of articulating it.” With Mendoza at the helm, the band’s eclectic sound isn’t too far-flung a departure from past efforts. The music still incorporates traditional folk elements, with a heavy emphasis on syncopated percussion, instilling Mendoza’s distinctly operatic vibrato with a keen pulse flanked by delicately cascading guitar, lush harmonies and a scattered mix of keys and vibraphone. Additional percussion and Delffs’ dynamic drumming are pivotal to the rhythm, often rollicking in bare-bones fashion before erupting into a cannonade of toms and hi-hat. An all-female choir known as Maria Maria—which Mendoza refers to as a “vocal hug”—often accompanies the band, rendering her hushed, Feist-like timbre even more resounding.

ShaRK TaNK: Nick Delffs (front), Luz Elena Mendoza (far right) and Tiburones.

With their other bands on indefinite hiatus, Tiburones is now both musicians’ primary concern. They just finished a short tour opening for Portland roots-rockers Black Prairie, and the band is wrapping up an album with the help of the Decemberists’ Chris Funk. But Mendoza and Delffs aren’t trying to look too far ahead. They’re happy enough just living in the moment. “We’ve both been in bands who’ve toured and sacrificed a good deal for music,” says Delffs before he, Mendoza and bassist Samantha Stidham take the stage at Savoy Tavern. “We’ve talked a lot about our past experiences, and we want to try and do something different, to be smarter about this project.” “But we also want it to allow us to be who we are,” Mendoza quickly interjects, “because we just can’t stop playing music. It’s an ongoing search for the balance.” BRANDON WIDDER. coNT. on page 18 Willamette Week MAY 14, 2014







POINTS: 54 FORMED: 2013 SOUNDS LIKE: Arcade Fire covering “I Put a Spell on You” with the

intensity of a Daniel Day-Lewis monologue.

Drew Grow has a voice so fiery and convincing it makes his trio, Modern Kin, an act of near-religious catharsis. The band’s self-titled debut full-length, released last October, is a mesmerizing amalgamation of gospel and rock ’n’ roll, delivered with the fervor of a man touched by an unspeakable force, not to mention a musical gene pool: Grow’s mother, a trained vocalist, sang in coffeehouses in the ’60s, and both of his parents sang in opera choirs. He owes his evangelistic presence to them as well. “By the time I came along, my parents had become evangelical Christians,” Grow says, “and my childhood was full of church music, choirs, holy-roller all-night camp meetings.” Modern Kin started as Drew Grow and the Pastors’ Wives in 2007. Three-fourths of the band carried over to the current act. They’re fewer in number but bolder in sound, trading twang and folk for bigger amps and a bit of fury. Drew credits the band’s versatility and flexibility to his bandmates, bassist Kris Doty and drummer Jeremiah Hayden. “After playing with


Willamette Week MAY 14, 2014

four [musicians] for a few years, I’m enjoying the space in the music so much,” Grow says. Grow had become so attached to the music that, by the time it came to record an album, he needed an outside perspective. So he brought in his girlfriend, drummer Janet Weiss of Quasi and Sleater-Kinney, to produce. “It was invaluable to have someone with her instinct and chops saying ‘yea’ or ‘nay,’” Grow says. Songs like “Abandon” and “Pony” contain the volume and ferocity of Arcade Fire circa Neon Bible. Others, like “Big Enough to Cook,” show signs of Talking Heads and even shock-rock specialist Screamin’ Jay Hawkins. Doty’s upright bass grumbles from below, while Hayden’s piercing ride cymbal creates a chilling effect. In between is Grow himself, belting like it’s his last sermon on earth. Words li ke “stomp,” “sha ke” a nd “shatter” appear frequently in Modern Kin’s lyrics, which skip around subjects of mortality, family and, not surprisingly, religion. They’re potent words that carry a sound in and of themselves. “Let’s not

KIN FOLK: Modern Kin’s (from left) Drew Grow, Jeremiah Hayden and Kris Doty.

talk or theorize, I can show I can surprise/ Pull the curtain back/ Ta-da/ Here is that bang,” Grow sings on “Modern Skin.” The diction is deadly, the written lines just as explosive and possessed as the music. Last fall, Modern Kin played seven sets in 24 hours at Mississippi Studios. The shows were broadcast via YouTube, each scheduled for a different time zone. At 10 pm Pacific Time, the group was playing to a decent in-house crowd. At 7 the next morning, the band was scarfing doughnuts

and playing before how ever many fans it may have in Beijing. “It was an interesting experiment,” Grow says. “We wanted it to feel like we were playing from our basement, like Wayne’s World.” But he admits the shows played before actual attendees knocked the pants off the sets performed mostly for viewers half a world away. “The truth is that our rock show is not virtual,” he says. “It is a thing we do with our audience.” MARK STOCK.



AkilA FielDS








FORMED: Made her first recording in 2008.

FORMED: 2012

FORMED: 2011

SOUNDS LIKE: A congregation of umlauts— Björk meets Arvo Pärt at Steve Reich’s synagogue.

SOUNDS LIKE: Ornette Coleman’s The Shape of Jazz to Come and a lost J Dilla drum track playing simultaneously in the back of The Millennium Falcon.

SOUNDS LIKE: ’90s R&B dreamboats getting weird in adulthood.

Like a Villain’s Holland Andrews scares children. At least, the scant video evidence seems to bear this out. A torrent of operatic wails from Andrews during an outdoor May Day performance sent a wobbly 3-year-old running for the nearest high ground. “I like to think that the sheer raw power of my screaming emotions blew her away and terrified her,” Andrews says. “‘Daddy, I don’t want to grow up like that!’” And sure, the title track of her upcoming album, Bast—the name of the Eg yptian cat goddess—was inspired by a deep-throated, wailing Diamanda Galas piece that the notoriously frightening singer performs naked while bathed in blood. But Andrews—shy in manner and, on a recent rainy afternoon, a bit under the weather—says her solo project is geared toward healing. “Some people see me acting like a freak and screaming and getting on my knees, and they can find some inspiration in that,” she says. “I’m an emotional person. I’d like to hope I’m not the only emotional person ever.” The 25-year-old started making her own music in California as a teenager, when she got her first Mac computer, after previous time as a clarinetist for her highschool band and, tellingly, as a musical-theater nerd. Like a Villain has developed into a study in dynamics—simple parts that build into storms. Andrews constructs her songs live with nothing but a clarinet, a glockenspiel and a series of loop, delay and reverb pedals—and, of course, the power of her own formidable voice. Her songs build from woodwind, chime and simple lyrics, looped around to reach crescendos that sometimes come on like a breaking wave. “You’re worth more than what you know,” Andrews belts, and the feeling is somewhere between a squishy therapy session and a desperate howl into the abyss. Her songs are a cathartic game of emotional catch-and-release. She’s neck-deep into recording her much-delayed new album with producer Mike Erwin, and has commissioned sounds from her own bandmates in AU and from members of Typhoon, at one point asking 10 friends to stand in a bowling alley parking lot singing, “We are never going to die!” It isn’t true, of course. But the whole point is making you believe it, if only for a moment. MATTHEW KORFHAGE.

It’s been nearly a month since Noah Bernstein and Dan Sutherland of experimental jazz hip-hop duo Grammies have seen each other, and instantly they’re making up for lost time. “We’ll give you a minute to catch up on the disguises,” Bernstein says, laughing as he switches his Google Hangout costume from a party hat and mustache to a pirate get-up. “I’m already having too much fun.” Bernstein is forced to video chat because he’s spent the better part of April and early May on the road with Shy Girls, the band that was handpicked to open 14 shows across the country for rising sister-pop act Haim. But it’s his other band that is garnering tons of attention this year—odd and rewarding for a saxophone-and-drums duo that, to the untrained ear, makes a pretty weird racket. Grammies’ music comes from the experimental world, but it also has two feet firmly planted on the dance floor. Sutherland’s beats—grimy, chopped up and syncopated, like something Flying Lotus would come up with when he’s super-baked—are aided by the use of a sampler, and he jokes that even if he screws up he can trigger it to match with the drums. Though Bernstein hails from a pretty strict jazz background, the duo’s mutual love of hip-hop and “modulating R&B chords” leads to jams that work surprisingly well as standalone songs. If the band’s rhythm were the foundation of an old church, then Bernstein’s heavily processed saxophone is all the intricate details: the etched markings above the entryway, the stained-glass window fading from too many years in the sun. Bernstein and Sutherland interact, even in the digital space, like two long-lost brothers in on the same joke. Their chemistry is also immediately evident onstage, with Sutherland locking in on his kit while Bernstein goes nuts on the saxophone, soloing over the top like a free-jazz Damian Lillard. You can hear that same spirit in Grammies’ debut album, Award Winning (engineered by Shy Girls’ Dan Vidmar), and their follow-up, recorded straight to tape in a St. Johns basement during February’s snow storm with help from their friends in fellow 2014 Best New Band finalist, WL. “I never really imagined being able to pull off such a full, intense sound with just two people,” Bernstein says. “In the past it was always, ‘I have this not very well-paying gig, let me call a buddy.’ This band is totally perfect, vibe-wise.” MICHAEL MANNHEIMER.

A year ago, Mike Grabarek and Jeremy Scott were an Internet-based phenomenon, grinding out difficultto-define beats somewhere between R&B and the hazy “vaporwave” micro-genre from the comfort of their bedroom. Now, Magic Fades has developed into a bona fide live band, with a fan base flourishing both online and off. But according to the duo, it wasn’t as if they just decided one day to go legit. “The thing is,” Grabarek says, “people only knew of us online because we played around Portland, but like…” “...nobody cared,” says Scott, finishing his partner’s sentence. It wasn’t until the pair played the Dark Arts Festival at Holocene in 2012 that Magic Fades finally began getting quality gigs. At this point, the group has performed in just about every tiny spot in town, as well as popular spaces such as Doug Fir Lounge, Mississippi Studios and Valentines. Magic Fades hasn’t had to change anything stylistically—it’s still making gauzy bedroom music to soundtrack the late-night fantasies of lonely bloggers— but it has adjusted sonically. “We’ve had to change around a few things in order to mix in a live setting,” Scott says, “instead of strictly listening to something on your computer or streaming a live audio.” The band is in the midst of creating new music that will showcase “less R&B and more experimental weird stuff.” “We’re trying to get the project as good as we can so we can go shopping around for potential labels,” Grabarek says. In the past, Magic Fades would create a single and release it online immediately. Now, the intent is to build anticipation for a full-length album by curbing the quick-hit uploads. As for when that album will be released, “we’re not sure,” Grabarek says. Even as they talk about hype, Grabarek and Scott are adamant about staying low-key, in the fear they will be “overbearing about advertising online, which is annoying,” says Grabarek. All of these concerns—adjusting the music to a live setting, figuring how much promotion is too much—are things the duo didn’t have to worry about back in the bedroom days, when online play counts were all that mattered. But the most important thing to Magic Fades now is the same thing it’s always been. “It’s all about the beat anyway,” Grabarek says. KATHRYN PEIFER.

COnt. on page 20 Willamette Week MAY 14, 2014










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YEAR’S TOP 10. p.19

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bra on.”

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p. 41

Disbanded in 2011, but has reunited sporadically since. Bassist Mayhaw Hoons and drummer Colin Anderson started Spookies, while Nick Delffs released an album as Death Songs before forming Tiburones with Luz Elena Mendoza of Y La Bamba (see page 17).


Vol 35/26 05.06.2009


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P. 54

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“Cute as a button sewn into the faCe of a kitten.”

Imploded into nonexistence in 2010.


2010—Sallie Ford & the Sound Outside

P. 57

Put out two albums, played Letterman, blew up in France, broke up last year. Ford immediately formed a new band with members of Albatross, Viva Voce and Point Juncture, WA.


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the 10 local acts portland’s music insiders are talking about (and listening to). page 14

VoL 37/26 05.04.2011

2011—And And And Still plays profusely and hosts its annual summer Rigsketball tournament. Drummer Bim Ditson has become the Portland music scene’s unofficial mascot.


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VOL 39/26 05.01.2013

Released its second album, Animals in the Median, last year, along with an EP of remixes by TxE’s G-Force featuring a verse from Southern strip-rap king Juicy J.

2013—Shy Girls Spent this April and May playing large theaters opening for Haim. Also received shoutouts online from Maxwell and Brandy.

jason quigley


ly m ay lW a s a k i

to d d Wa l b e r g



9. WL

10. TxE



POINTS: 37.5

FORMED: 2010

FORMED: 2011

FORMED: 2009

SOUNDS LIKE: Heavy lullabies for the distortion-

SOUNDS LIKE: Waking up with a bad hangover

SOUNDS LIKE: Wandering into a house-party cipher and getting the strange feeling you’ve been kicking it with these dudes your whole life.

Last summer, WL performed at a Red Bull-sponsored event at which the band was required to give the energydrink company unlimited rights to one of its songs. “They record it live at the show and then they can use it for whatever they want, anywhere in the universe, forever,” says guitarist Michael Yun. While some bands gifted a song from one of their albums, WL wrote a song specifically for Red Bull. Drummer Stevie Sparks chimes in: “The chorus line was, ‘Fuck all your bullshit,’ 20 times, over and over.” “They kept saying, ‘What about this other one?’” adds vocalist Misty Mary. “But we just said, ‘No, we made this one for you.’” That act of defiance says a lot about the band. While WL has frequently been referred to as “shoegaze,” due to the mellow, ambient sound of its debut album, last year’s Hold, the truth is that, underneath the slow tempos and atmospheric vocals, WL is a band with bite. For certain audiences, sometimes it bites too hard. “We just played a show in L.A. where we were heavily pushed as a shoegaze band, and the audience was a bunch of kids crossed-armed wearing ‘Ride’ T-shirts and expecting something entirely different from the keyboard trio onstage,” Yun says. “In some senses, we embrace that, sure. If there’s an audience that wants to see a shoegaze band, come out and we’ll play for you.” With its upcoming album, though, the band is looking to paint a more accurate depiction of itself. (The members confess they’re not even all that familiar with the shoegaze genre; Sparks is a metal fan, in fact.) They finished recording in January and have been carefully tweaking the record. Yun says the band is “getting pretty antsy” about moving on to its next project, but the members are forcing themselves to reel in their impulse to jump ahead too fast. They believe they’re at the point where WL needs to garner more exposure for the next album, in order to develop its audience—the right audience. “I am confident that when we release our next album, some of our shoegaze reputation will be shattered in a way that will help us connect more directly with people that will appreciate what we’re doing,” Yun says. “We’re working hard to create good music that we hope will enrich people’s lives.” LAURA HANSON.

These days, MCs Anthony “Tope” Anderson and Jamiah “Epp” Sneed have a pretty good relationship with Portland’s indie-rock scene—better, in fact, than most other hip-hop acts in town. But there have been some bumps in the road. Like that thing at Rontoms two years ago. “They kind of banned us,” says Tope from a table outside Peet’s Coffee & Tea on Southeast Hawthorne Boulevard, as Epp giggles at the memory. In July 2012, TxE, the rappers’ trio with producer Gabe “G Force” Edelmann, was offered a spot on one of the East Burnside bar’s free, oftenpacked Sunday showcases—a rarity for a rap group. They even got And And And, the hottest band in the city at the time, to open. “We get to soundcheck, and the soundman’s like, ‘There’s no way you guys are headlining over And And And,’” Tope says. After successfully doing just that, Epp took a moment to gloat. “The soundman didn’t think we could headline tonight,” he told the crowd, “but I think we just showed him, obviously, we’re worthy of headlining!” “Then G Force comes from behind the tables,” Tope says, “grabs the mic and goes, ‘Yeah! Fuck the soundman!’” “It was some real punk-rock shit,” Epp adds. A politely worded email arrived shortly thereafter, saying the group would not be invited back. What’s ironic is that, at the time, TxE was at work on a clever crossover bid. On TxE vs. PRTLND, Tope and Epp affixed their casual, everydude flows to beats built from the guitars, synths and delicate vocal melodies of the likes of Typhoon, Sallie Ford and Starfucker. But the album, which didn’t drop until late last year because of label issues, wasn’t intended as an olive branch to Portland’s dominant music culture. It’s the product of what Tope calls “a weird summer,” spent going to house shows, drinking “bad Champagne and PBR” and “hanging out with a lot of hipster girls.” Making a record drawn from the sounds surrounding them just made sense. “Subconsciously, it wasn’t like, ‘We need to be part of this,’” Epp says. “We were making music, and people were liking what they heard.” With G Force having recently decamped to L.A., and with each member’s solo ventures taking off, the future of the group is somewhat in flux. But Tope, who placed on our Best New Band list as a solo artist in 2012, says when it comes to making another TxE record, “the door is never closed.” “We all sound different on our solo stuff,” he says, “but once we come together as a group, it shines.” MATTHEW SINGER.


For a band that calls its music “dreamy,” the Ghost Ease certainly likes to turn up the volume. “I’m a dreamy kind of person,” says singer-guitarist Jem Marie, who writes most of the group’s songs. “I’m also very intense, so there has to be those intense, punchy moments.” The all-female trio released its self-titled debut LP last year: eight tracks of hazed-out garage rock, heavy on the distortion, which envelops trance-inducing guitar riffs and Nsayi Matingou’s crashing, frenzied drums. Marie’s high, delicate soprano mixes with the heaviness, slowly ascending right along with the surprisingly laidback melodies—an effect that lends itself to a bleary, warm feeling, like waking up from a long nap. Formed in 2010, the Ghost Ease first began as a solo project for Marie, who still performs solo under the moniker Murmur Ring. Matingou joined in 2012 after seeing Marie perform around town, and ditched the guitar—which she played in her previous experimental rock group, Kusikia—to learn drums. “I think that’s why it was fun to jump into this, because it was such a new experience,” Matingou says. “You get so used to the ideas of what the rules are. And with drums, I don’t know the rules yet, so I do whatever I want.” Following the release of its album—recorded in Matingou’s cousin’s house as a two-piece—the Ghost Ease added Fabi Reyna, also a guitarist, to the lineup to play bass. Fresh off a West Coast tour earlier this year, the trio is working on new songs for its second fulllength, tentatively scheduled for release this summer. Marie says the new songs mark a shift in her songwriting, with the angst present in the first album beginning to fade. “At that time, I wanted so many things and couldn’t get it,” Marie says of making the band’s debut. “Now with my life, I’m like, ‘I want it, I think about it and I get it.’ I’ve just discovered how to do that over maturing in all these different ways.” Although the eeriness of the music will remain, the band says its songs have grown up, too, in part because of the newly stable lineup. “They’re going to be fuller and even more dynamic,” Matingou says, “because there’s three heads instead of two.” KAITIE TODD.

before realizing your roommate has a plate of scrambled eggs and a cold compress for you.


11. sama dams, 35 pts. 12. talkative, 33.5 pts. 13. your rival, 32.5 pts. 14. illmaculate, 32 pts. 5. thanks, 29 pts. 16. Hustle & drone, 28.5 pts. 17. Hook & anchor, 27 pts. 17. ibqt, 27 pts. 19. Houndstooth, 26 pts. 20. a Happy death, 24.5 pts. Willamette Week MAY 14, 2014



Willamette Week MAY 14, 2014




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Willamette Week MAY 14, 2014



FOOD: Traveling to far East Portland for Uzbek food. MUSIC: A hip-hop trio at Roseland. THEATER: Swashbuckling and break dancing. MOVIES: Tom Hardy spends 85 minutes in a car by himself.


27 33 43 47

SCOOP NEXT, KOURTNEY PUSHES KANYE DOWN THE STAIRS. CAVE COD: Paleo-only food cart Cultured Caveman—dedicated to a diet consistent with that of prehistoric people—has filed for a tavern license for its planned brick-and-mortar restaurant in St. Johns at 8233 N Denver Ave., and intends to serve hard cider and kombucha cocktails. (Did cavemen drink kombucha?) In support of the license, Caveman wrote to the Oregon Liquor Control Commission that its customers are “incredibly healthy and not prone to overconsumption of alcohol.” On that note, the restaurant also plans to serve fermented cod liver oil. >> In other news of alcohol that’s moral and upstanding, nonprofit pub the Oregon Public House brewed a nonprofit beer in collaboration with Alan Taylor of Pints Brewing, one of WW’s top five bars of the year in last month’s Bar Guide. The Oregon Public House released its Do Gooder IPA on May 10. W W S TA F F

THIS SPACE FOR RENT: Portland is no longer America’s bike capital. At least, not according to Portland. The short-lived, already iconic four-story “Welcome to America’s Bike Capital” mural on Southwest Ash Street had been mostly scrubbed as of May 12, a result of city laws that allow advertising—but not art—on the side of historic buildings. It’ll be replaced by an ad for building tenant Pedal Bike Tours, according to As of Monday afternoon, however, the wall simply displayed a giant green circle with a bicycle inside, making it the largest and leastreliable traffic signal in Portland.

C H R I S R YA N P H O T O . C O M

HAUNTED VANCOUVER: From Twin Peaks to Twilight, the Pacific Northwest has long been a pop-culture hub of the supernatural. The latest entry is The Haunting of Sunshine Girl, a YouTube series recently snapped up by the Weinstein Company for a movie and young-adult book franchise. The Web series, filmed in Portland and Vancouver, Wash., centers on a teenager who moves from Texas to Washington state and quickly learns her house is haunted by ghosts and zombies. YouTube star Paige McKenzie—who, like her character, still hasn’t hit legal drinking age—will also appear in the film adaptation. The first planned Haunting book is due in 2015; no film dates have been set.


Willamette Week MAY 14, 2014

NINES, PART TWO: The fi nancially troubled Nines hotel may have found a buyer. A subsidiary of Marylandbased Pebblebrook Hotel Trust fi led an application May 7 to take over the liquor license of the Nines, rooftop restaurant Departure and Urban Farmer steakhouse. Departure’s Gregory Gourdet Pebblebrook bought Portland’s Hotel Modera in 2013, and the Hotel Vintage Plaza in 2012. The Nines’ operator, Sage Hospitality, had been in financial straits this week until the Portland Development Commission accepted a buyout. From the OLCC filing, it appears Pebblebrook Hotel Trust is the most likely suitor for the hotel.




THURSDAY MAY 15 OUT-OF-PRINT AUTHORS PANEL [BOOKS] What happens when a book goes out of print? Some have the fortune of being unearthed by a trio of local writers: science-fiction legend Ursula K. Le Guin, Wild author Cheryl Strayed and the always-entertaining Lidia Yuknavitch. Each chose a book to be reprinted, which they’ll discuss. Powell’s Books at Cedar Hills Crossing, 3415 SW Cedar Hills Blvd., Beaverton, 228-4651. 7 pm. Free.


SASQUATCHES ARE ALIENS WW: Can you tell me about your first encounter with Sasquatch and the Star People? Kewaunee Lapseritis: Back in September of 1979, I was on Native American property. I had an encounter; a Sasquatch started talking to me telepathically. I kept thinking, “What’s going on here?” But every time I thought something, he would answer it. And minutes later, an ET started talking to me, and I said, “I don’t see you.” And he said, “Well, I’m in what you people call a UFO. I’m just above you, in another dimension.” They told me to write a book about it, which I did. I’ve written two now, and they want me to write a third book. Why did they want you to write a book? Because people think they’re animals when they are an evolved people who are interdimensional. And they want people to know that they’re not monsters. They don’t want to be shot at by ignorant hunters. And they want us to stop destroying the planet, because the planet’s dying and they’re very attuned to Earth energy. So you’ve written that Sasquatch is an alien that was brought here millions of years ago but is different than what you call the Star People, who are more like what we would consider a typical alien to look like. Yes, but I’ve seen seven different alien types.

KEWAUNEE LAPSERITIS, PRESENTER AT THIS WEEKEND’S McMENAMINS UFO FESTIVAL, EXPLAINS THE CONNECTION BETWEEN BIGFEET AND FLYING SAUCERS. There are many of them; they’re attracted to people who are nonviolent. They’re attracted to people who are very caring, who are compassionate and that care about the planet and people. And they’re attracted to those people, and contact them. And they’ve used me as a middleman between their world and ours. This summer, they’re going to take me through a portal to a parallel world, and they want me to write about it in a third book. Why are they going to take you? Because I’m a professional writer. Because I’m a scientist with credentials. They’re very selective about what information they want out there. Because I’ve been able to do that for them, and I don’t have any fear of them, and my life is devoted to God and to helping people. So they like what I do. So can you provide a brief synopsis of the relationship between Sasquatch and ETs? You said you were spoken to by both. Right, and many different ones have come since then, and talked with me. In 2012,

I had a brain tumor and the ETs took me six times and dissolved it. So I’m perfectly fine now. That’s obviously very good. So what is the relationship between the people who live in the forest and the people who fly the UFOs? There are many different beings living in our forests, not just Sasquatch. Many different ones. They’ve been here for millions of years but they use portals to go in and out of. And the ETs use the portals, too. So when the ETs need help doing mining work for different minerals on our planet, they ask the Sasquatch to help because they’re so super-powerful and they can move gigantic rocks and stuff to help them. You seem to not get along that well with Sasquatch hunters. No, why should I? They want to murder these people. That’s crazy! They don’t even know what they’re shooting at. That’s nutty, that’s psychopathic! What about the people who don’t want to shoot a Sasquatch, that just want to get photos of them. Do you get along with them? Yes, but the Sasquatch say the people with cameras want to exploit them, to make money from them, and they won’t allow it. MARTIN CIZMAR.

GO: McMenamins 15th annual UFO Festival is at the Hotel Oregon, 310 NE Evans St., McMinnville, on Thursday-Sunday, May 15–18. $15-$80. See Kewaunee Lapseritis speaks Saturday. He is the author of The Sasquatch People and Their Interdimensional Connection. See

LOOP [MUSIC] Though it hasn’t released an album in over 20 years, Loop’s legacy is strong enough to ingratiate the U.K. band’s catalog to a generation of fuzzed-out guitar enthusiasts. Its opening salvo, 1987’s Heaven’s End, remains a high-water mark of the era’s experimental rock. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $15 advance, $17 day of show. 21+.

SATURDAY MAY 17 BEST NEW BAND SHOWCASE [MUSIC] A septuagenarian soul genius, a band of young garage rockers and a Latin-folk supergroup walk into a club and play a free show. That’s the setup for WW ’s annual showcase of the year’s best new artists. Dare we say this is the strongest lineup in years? We’d say yes, but then, we’re obviously biased. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. Free. 21+. MAIFEST [GERMANS] Don’t wait until Oktoberfest to celebrate Germany’s inimitable contributions to world culture: bratwurst, beer and dancing in circles around a pole. Prost! Oaks Park, 7805 SE Oaks Park Way, 11 am-7 pm. Free. MT. HOOD MEADOWS SEASON’S END BEER & MUSIC FEST [SKIING] Rare Double Mountain brews and an even rarer performance by Austin punk-bluegrass legends Bad Livers help kick Mt. Hood Meadows’ ski season in the butt on the way out: $59 nets equipment rental, lift ticket and a $20 Double Mountain gift certificate. Mt. Hood Meadows, Mount Hood, 337-2222, Ski lifts 9 am-2 pm. $59.

SUNDAY MAY 18 JOSHUA BELL PLAYS SIBELIUS [CLASSICAL] When he’s not posing as a busker in Washington, D.C., metro stations, Bell is playing soldout shows around the world on his $4 million Stradivarius violin. He’ll use it here to play Jean Sibelius’ Violin Concerto in D Minor, which was ill-received in its day because no soloist could match its technical requirements. Safe to say, Bell is up to the task. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 248-4335. 7:30 pm. $45+. All ages.

Willamette Week MAY 14, 2014



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

THURSDAY, MAY 15 Soil and Sea Supper Social


PG. 29


Division and Helioterra wines bill their terroir-happy, three-course wine dinners as “interactive,” which quite frankly is what our dinners always are. But in this case, you get to interact not just with the food but the food purveyors: Nevor Shellfish’s Travis Oja will talk about reintroducing the Olympia Oyster to Netarts Bay. Meanwhile, there will be meals by Bar Avignon chef Eric Joppie and dessert and vegetable poaching by Jacobsen Salt Co. Southeast Wine Collective, 2425 SE 35th Place, 208-2061. $75.

Shandong Giddy-Up With Goat Milk


Pop-up dessert club Morgan St. Theater and food quarterly Edible Portland are teaming up for a goat milk ice cream dessert event at Din Din, drawing from the Jewish folk song “One Little Goat.” Chichi goat milk sundaes with hay flavors, mint oil, cajeta, ras el hanout-spiced cookies, plus music and stories: Oh, and optional wine pairings by Pairings Wine Shop, which makes a career out of pairing wine with almost anything. Din Din Supper Club, 920 NE Glisan St., 544-1350. 8 pm Thursday and Friday, May 15-16. $30; $10 wine pairings.

FRIDAY, MAY 16 Afro-Vegan Dinner

Bryant Terry will talk about social justice and his Afro-Vegan cookbook blending African, Caribbean and Southern flavors for the vegan crowd, while chef Bradley from Po’shines cooks up tastings from the cookbook. Possible offerings include a roselle-rooiboos drink, dandelion salad with pecan dressing, sweet potato and lima bean tagine and skillet cornbread with pecan dukkah. Celebration Tabernacle, 8131 N Denver Ave., 489-7804. 7-9 pm. $10.

SATURDAY, MAY 17 Mt. Hood Meadows Beer & Music Fest

Ski season’s ending at the Meadows. So if you’re one of the fashion plates who won’t deign to enter Timberline, you’ll apparently have to find something more seasonally appropriate to do after today. Meanwhile, Double Mountain Brewery will help you drown your sorrows with a selection of new and rare beers. And to top it off ? Downright legendary Austin punkbluegrass band Bad Livers is playing, for reasons I don’t rightly know. Mt. Hood Meadows, Mount Hood, 337-2222, 9 am-5 pm. $59 for equipment rental, lift ticket and a $20 Double Mountain gift certificate.

SUNDAY, MAY 18 Association May: ‘The Connective’

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


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Willamette Week MAY 14, 2014

6/10/12 9:41 AM

The May installment of the Association chef speaker series features Jason Barwikowski (Woodsman Tavern), who will cook up a batch of foods from Stargazer Farm, while Kelley Roy of Portland ADX speaks about the economic and social importance of human interaction, which we presume will also occur at the dinner. Synergy! Speaking of synergy: cocktails from Evan Zimmerman, desserts from Kristen D. Murray (Maurice, Paley’s Place) and wines from Teutonic. Hoo! Tickets at brownpapertickets. com/event/681030. Union/Pine, 525 SE Pine St., 818-292-1169. 7-11 pm. $65 plus gratuity.

LIVER FOUNDATION: Chef Alex Denchev’s foie gras burger is his grandma’s recipe.

GASTRO MANIA Foie gras is like steroids for meat flavor: shamelessly fatty and mildly illicit, so effective it feels like cheating. In Tokyo, Wendy’s puts foie gras on a hamburger. French burger chain Quick slaps it on the patty like it’s nothing. But ever since Old Town’s Gilt Club closed, along with its buttery $20 monstrosity, foiehappy Portland has been without a regular liver-topped burger. Until now, that is. Gastro Mania, tucked away in the Q19 pod in Slabtown, is serving up a foie gras burger for a mere $8. And it’s heaven—a fatty, gloopy mess with bacon, tomato and onion marmalade. Usually a hearty Grand Central ciabatta bun would run the risk of overpowering its contents, but here it’s the only starch that could hold up to the burger’s rich obscenity. If this were the cart’s only item, we’d still be eating here as often as our cardiologists would allow. But it isn’t. The rest of Gastro Mania is a mélange of Mediterranean fare that competes in indulgence, from a moist, mustard aioli and shallot porchetta sandwich (also $8 and on squared ciabatta) to $7 piled-high, fresh-grilled lamb, chicken or veggie gyros slathered in dilled-up tzatziki and wrapped in thick pita that, likewise, barely contains it. A Mediterranean-style lettuce and swordfish salad ($8) is, by comparison, a marvel of restraint, even though it contains a child-ruler-sized, Parmesan-topped, parsley-flecked slab of one of the ocean’s most delectably fatty fishes. But swordfish fat, we are told, is good fat, all omega-3s and nothing saturated. It’s practically health food. Otherwise, there’s always the tuna, calamari or $2.50 sides of mushroom, bell pepper and squash salad, or oil-crisped, spiced potato wedges. But all the gyros and porchettas and salads in the world don’t stand a chance. We would like rich, buttery liver, and we would like it on a hamburger, please. MATTHEW KORFHAGE. EAT: Gastro Mania, Northwest Quimby Street and 19th Avenue (Q19 pod), 689-3794. 11 am-3 pm Monday-Friday.


PISTON PALE ALE (LAURELWOOD BREWING) It seems like beer styles have been around forever. Actually, though, the first efforts to codify the world’s many stripes of brew only date to the Ford administration, and the style categories we talk about today owe much of their shape to Portland writer Fred Eckhardt’s 1989 book The Essentials of Beer Style. Now, 25 years later, those styles shade every pint. That means it’s important to install the appropriate updates. When it comes to “American Pale Ale,” the style tag applied to Laurelwood’s newly formulated and bottled Piston and India Pale Ale, we’re witnessing a merger. This pale 5.6 percent ABV brew has only 35 bitterness units, but you taste all of them thanks to citrusy Simcoe hops. It’s perhaps a tad lighter and crisper than the average Portland IPA, though downright syrupy compared to some. Oh, and it’s definitely poundable. MARTIN CIZMAR.



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’STAN THE PLAN: Manti, borscht and lamb kebobs.


Another high point is the manti ($9.95), steamed dough pockets filled with stewy chopped onions and small, richly fatty chunks of beef and lamb. The Turkish version of the dish is tight and tiny, while the Uzbek version served here is thicker-skinned, nearly as large as a doughnut, with five on a plate. There are two other kinds of dough pockets (each $2.50) also worth trying. The first is cheburek, a fried puff stuffed with ground beef BY M A RT I N C I Z M A R and onions that crushes down like a fast-food burger. The other is samsa, a sesame-topped hand pie made from a heartier dough. It’s more It’s tough to keep all those ’Stans straight, huh? If you can name all seven such-suffixed like the outstanding lepeshka that comes in the nations, well, you’re worldlier than me. Those house bread basket. The triangle-shaped samsa Central Asian nations conquered by Mongol is stuffed with onions, caraway seeds and little khans, then made into Soviet satellites before cubes of lamb and beef. Ours came out perfect: coming under the control of men crusty on the bottom, fluffy on top, soft and steamy inside. titled President For Life all run Order this: Carrot salad ($3.50), Uzbek soups also get major together, even after a decade- manti ($9.95), borscht ($4.50) play. They’re all less than $6 and long war in one of them. Much of and kvass ($2.50). what I know about the region was Best deal: Samsa ($2.50). served in pho-sized portions. informed by Kazakh journalist My favorite was the borscht Borat Sagdiyev’s well-documented visit to “home ($4.50), a beautiful pinkish red beet soup with thin slivers of al dente cabbage, fatty hunks of of mighty U.S. warlord, Premier Bush.” East Portland’s new Uzbekistan Restaurant meat, peppers, onions, potatoes, a dusting of piques curiosity. That vaguely Asian car- dill and a little cup of sour cream. The lugman rot salad that comes with steamed bao-style ($5.95) has wonderfully rich broth, though its dumplings? Brought over by Koreans exiled by fat noodles were overdone. Stalin, and then adopted by Turkic locals. The The entrees that don’t involve dumplings dumplings themselves? Manti carried west by are mostly charcoal-grilled, including kebabs of Mongol hordes. Hot borscht with shredded chicken, beef and lamb ($8.95, $9.95 and $10.95, cabbage and beef ? Apparently very common respectively). All come on two metal skewers, outside Mother Russia. served atop grainy wild rice (Uzbeks are famous Uzbekistan Restaurant—alternately known for their plov, though it wasn’t available on my as Uzbek Grill and billed as a “Mediterranean visits) with onions and salad. We had the lamb, restaurant,” although Uzbekistan is double which was a little overdone. Better is chicken landlocked and no closer to the Mediterranean tabaka ($14.95), a whole Cornish game hen, sliced than Oslo—brings a mix of Central Asian food to down the breast and flayed out below sliced lema scruffy space that formerly housed a Chinese ons, with mashed potatoes and carrot salad. drive-thru. After two trips to East Burnside Desserts are limited and unremarkable—the Street and 185th Avenue, I’m inclined to make Uzbeks mostly eat fruit and nuts—but you might more culinary learnings for benefit glorious food want to end the meal with a glass of Russian scene of Portland. kvass, a unique cider made from bread that looks The crispy, spicy carrot salad ($3.50) is like an IPA and is lightly carbonated with a mild ubiquitous in former Soviet states and is served sweetness. It’s served in intriguing glassware, here as an appetizer or on the side with many too: narrow at the bottom, wide at the top, with other dishes. It’s a simple and effective mix of a heavy-duty handle and stamped with intricate julienned carrots, sharp housemade vinegar, oil, cursive script reading “Coca-Cola.” garlic and crushed red pepper. We downed a pot of the house’s floral, slightly minty green tea try- EAT: Uzbekistan Restaurant, 18488 E Burnside St., 328-6057, 11 am-9 pm ing to determine if it had turmeric—the waitress Monday-Thursday, 11 am-2 pm Friday, 11 am-9 said it did not. pm Sunday. Closed Friday night and Saturday.


Willamette Week MAY 14, 2014



Willamette Week MAY 14, 2014


may 14–20 PROFILE

= WW Pick. Highly recommended.


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

WEDNESDAY, MAY 14 Maxïmo Park, Eternal Summers

[THE DARK OF THE MATINEE] Nine years on from its still outstanding debut album, A Certain Ratio, British quintet Maxïmo Park has cleaned up a bit, but so has the world of guitar rock. In 2005, the band was cresting on a wave built from the angular storms of groups like Franz Ferdinand, Bloc Party and the Futureheads—all jagged right triangles, nervous energy and really tight pants. A Certain Ratio perfectly captured a moment when danceable, New Wave-indebted indie rock was en vogue, and though times certainly have changed, singer Paul Smith can still fit a whole ton of detail into short, concise pop songs. Too Much Information, the band’s fifth, and most restrained, full-length, doesn’t quite capture the pure joy of singles like “Apply Some Pressure,” but it shows a band unafraid to talk about growing older occasionally pushing the tempo. MICHAEL MANNHEIMER. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $15 advance, $17 day of show. 21+.

Morning Ritual, Rio Grands, Mojave Bird

[SMOOTH CONCEPT] Morning Ritual is a collaboration between Portland jazz maestro Ben Darwish and the angelically voiced Shook Twins. The group’s lone record, The Clear Blue Pearl, tells a love story against a backdrop of drought and struggle. And while it is likely to prove prophetic in time, we can enjoy its musical side for now, a cunning mix of R&B, session jazz and soul. The band is dubbing it “fantasy folkstep,” but there’s a silky, sultry D’Angelo vibe about it as well, especially in newest single “So Cold.” Come see one of the more inventive musical projects of the last few years in the flesh. MARK STOCK. Holocene, 1001 SE Morrison St., 239-7639. 8:30 pm. $8. 21+.

Super Brown, It Might Get Dangerous, Indigenous Robot

[PSYCH ROCK] We don’t know a lot about Super Brown. The Humboldt transplants have played two shows since moving up to Portland a month ago. We can, however, make assumptions. The group’s endless fuzziness and androgynous vocals tell us that more than one member has spent a bummed-out evening in his parents’ basement listening to My Bloody Valentine. With song titles such as “Drugs, Bitches and Jesus” and “OG Song” we can hear the suburban ennui fueling the group’s psychedelic garage rock. Here’s what we know for sure: If you are a loyal fan of pummeling guitars and spacy riffs, you’ll want to get to know Super Brown. ASHLEY JOCZ. Kelly’s Olympian, 426 SW Washington St., 228-3669. 8 pm. $5. 21+.

THURSDAY, MAY 15 Purity Ring (DJ Set), Prsn

[DANCE DANCE DANCE] Now that they’ve established themselves as a major touring duo, the members of Purity Ring are putting their live show aside to travel as DJs. From the looks of several videos online, each member brings the same eclectic, bass-heavy production to their solo sets. Opening the show is rising Portland producer Prsn, who meshes reggae, drum ’n’ bass, electronica and much more to create engaging, sonically diverse sets. GEOFF NUDELMAN. Branx, 320 SE 2nd Ave., 234-5683. 9 pm. $15 advance, $15 day of show. 21+.

Gardens & Villa, Pure Bathing Culture

[CHILLRAVE] On new record Dunes, Gardens & Villa hit sad-bastard pay dirt by pounding away at the sweet spot between chilled-out laptop dithering and kaleidoscopic, dance floorapproved melancholia. Sure, ever since Washed Out broke the axles of the chillwave bandwagon, the shelf life of a band that employs elliptical psych riffs, glistening synth textures and a dude with an Ableton sticker on his Macbook is roughly two months, but you may as well get it while it’s hot. If you don’t, an H&M store in Florida will. PETE COTTELL. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $12. 21+.

FRIDAY, MAY 16 Grandhorse, Violent Psalms, Western Haunts, Dedere

[INDIE ROCK] Slow to Speak, the debut from Portland’s Violent Psalms, is a low-key but emotionally ravaging album about, in the band’s own words, “growing up in a shitty small town, suffering abuse and escaping within an inch of life.” Kind of a bummer, but frontman Ezekiel James’ forthrightness makes it a hard record to turn away from. The album receives its official release tonight. Alhambra Theatre, 4811 SE Hawthorne Blvd. 9 pm. $5. 21+.

Survival Knife, Hungry Ghost

[NORTHWEST STALWARTS] Justin Trosper has been relatively quiet since the dissolution of Olympia post-posthardcore Unwound in 2002. Unwound was one of the best—and definitely the most underrated—Northwest bands of the ’90s, cranking out dissonant, noisy jams heavy on effects pedals but much weirder and uglier than most of the grunge and alt rock of the times. Survival Knife, his new band with Unwound’s original drummer, Brandt Sandeno, plays things much more straight to the vest. The band’s debut album, Loose Power, is aptly named— it’s a wild and tuneful collection of rock songs, led by Trosper’s distinctive moan and the rush of four musicians playing together in the same room. MICHAEL MANNHEIMER. Bunk Bar, 1028 SE Water Ave., 894-9708. 10 pm. $8 advance, $10 day of show. . 21+.

Nickel Creek, the Secret Sisters

[PROGRESSIVE BLUEGRASS] Twentyfive years is an undeniably long life for any band, and it seems especially long when the members came together before they were even 13 years old. In celebration of Nickel Creek’s quarter-century anniversary, mandolinist Chris Thile, fiddler Sara Watkins and guitarist Sean Watkins collaborated once again after a nine-year recording hiatus, creating the ever-upbeat and energetic A Dotted Line. The band’s cover of Mother Mother’s “Hayloft” might leave longtime Nickel Creek fans slack-jawed with its left-field peppiness and touches of electronic instrumentation. But on songs like “Love of Mine” and “Destination,” the trio also sticks to what it does best. Both tunes feature Nickel Creek’s signature, seamless blend of driving mandolin lines, peels of lilting fiddle and expertly intertwining three-part harmonies. KAITIE TODD. Crystal Ballroom, 1332 W Burnside St., 225-0047. 8 pm. Sold out.

Loop, Kinski

[NAVELGAZE] Loop hasn’t released an album in over 20 years, but the U.K. band’s legacy is strong enough to ingratiate its catalog to a generation of fuzzed-out-guitar enthusiasts. Leaving

CONT. on page 31



Hope is a common theme when speaking with Liz Vice about her debut album, There’s a Light. Rich with throwback R&B influences, the album features 10 tracks of Vice’s dynamic, soulful vocals, with lyrics referencing her deep-rooted spirituality. But she’s not here to “tickle people’s ears” with religion, she says. “I know people have labeled me as this gospel singer, but I’m like, ‘I didn’t even grow up with this music,’” says Vice, laughing. “I grew up with Bonnie Raitt and Melissa Etheridge and James Ingram. And I love Disney songs.” The middle child of five siblings raised by a single mom, Vice’s original dream of stardom stemmed from a Justin Timberlake and Christina Aguilera concert she attended as a kid. More than being a singer, though, the show inspired her to be an actress. Following the concert, she wrote her Oscar acceptance speech—which she still carries around with her—and practiced being interviewed by Jay Leno in her bathroom mirror. But during college, Vice suffered from kidney failure, and she went on dialysis. Believing she wouldn’t live past age 21, her focus changed. “My dreams kind of shifted from thinking about the future of becoming an actress to, what can I do today?” she says. “Because if the Lord isn’t going to heal me and if I’m not going to live very long, what can I do to encourage people to live the best life that they can?” After a few more years of dialysis and studying medical assisting, Vice received an unforgettable call at 3 am: A kidney was available for her. Following the transplant in 2005, she began what she calls her “bonus life,” and returned to her dream of filmmaking—only this time, she wanted to direct. “My desires shifted from wanting to be seen to making things happen,” she says. Vice later switched from her regular church to Portland’s Door of Hope. She mentions getting a “subtle nudge” from God, telling her to try out

for her church’s choir, even though the thought of singing in front of people intimidated her. By 2010, Vice was volunteering for choir solos. A year later, she started singing with local gospel collective Deeper Well. “I hated singing; it was always terrifying,” says Vice, who recalls feeling like a “sweaty James Brown” when she sang her first solo. “I got super shaky afterward, and I still do to this day. If I’m singing a song, I’m screaming out, ‘There is hope! There is hope!’ It takes so much power out of me.” This exclamation of hope is found throughout her album, which was written and produced by Door of Hope pastor Josh White and recorded live on analog tape last summer. The resulting classic soul sound was surprising even to Vice. “So many Christians are like, ‘I’ve never heard anything like this. I do not like Christian music, but I love this album because I’ve never heard anything like this before,’” Vice says. “And I don’t know why that is. I’m just as shocked at how many people loved

“I’M SCREAMING OUT, ‘THERE IS HOPE! THERE IS HOPE!’ IT TAKES SO MUCH POWER OUT OF ME.” this album who wouldn’t even step foot in a church.” People might not step foot in a church immediately upon hearing Vice’s music, but they might step into a concert venue, which helps convince her to keep singing—even if it makes her shake with fear. “When I see people having fun, and they can have one of the crappiest weeks and then go to a concert and they’re like, ‘Yes, I needed to hear this,’ then it makes me feel like, regardless of my insecurities, I’m going to keep doing this, because I see how it changes people,” she says. Though she hasn’t gotten over her stage fright, Vice has no plans to stop any time soon. “I’m singing about Jesus in bars,” she says with a laugh. “And I love it.” SEE IT: Liz Vice plays Mississippi Studios, 3939 N Mississippi Ave., with the Breaking Yard and Valley Maker, on Thursday, May 15. 8 pm. $6 advance, $8 day of show. 21+. Willamette Week MAY 14, 2014



Willamette Week MAY 14, 2014

FRIDAY–SUNDAY A septuagenarian soul genius, a band of young garage rockers and a Latin-folk supergroup walk into a club and play a free show. That’s the setup for WW’s annual showcase of the year’s best new artists. Dare we say this is the strongest lineup in years? We’d say yes, but then, we’re obviously biased. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. Free. 21+.

off with 1990’s A Gilded Eternity, the band just missed the underground’s eventual radio takeover a few years later. It’s unlikely Loop would have hit the charts, but after its three-album arc, a concerted musical vision had taken hold, something beyond what began as simple Spacemen 3 worship. On “Gilded” and “Fade Out,” a hard-rock stance cropped out Loop’s twisting psychedelia, even if its opening salvo, 1987’s Heaven’s End, remains a highwater mark of the era’s experimental rock set. DAVE CANTOR. Doug Fir Lounge, 830 E Burnside St., 2319663. 9 pm. $15. 21+.

Dimond Saints, Octaban, Barisone, Drewslum

[SAINT FUTURE] Normally, collaborations in the electronic music world array their makers’ trademarks with the subtlety of a Ferrari T-shirt. Not so for Dimond Saints, a newborn collaboration between Oakland’s An-Ten-Nae and ReLeece. The duo has foregone its belching, purple-hazed textures for more traditionally synthesized sounds, but “Future Beat” remixes and sampleheavy originals are still the Saints’ forte. Though not the smash hit’s finest retouch, their remix of “Drunk in Love” is a daytime trap take that, like the group itself, leaves the original’s best elements in place. MITCH LILLIE. Refuge, 116 SE Yamhill St. 9 pm. $15. 21+.

Louie Culture

[REGGAE] There is another Portland exerting its gravity on musical tides: The rural parish in northeast Jamaica, where reggae artist Louie Culture was born and raised. Culture came onto the international reggae scene with the minimalist riddim of 1994’s “Gangalee,” and he’s maintained solid standing by collaborating with top producers and singers, as he did with Mikey Spice on the more traditional “Grab Yu Lass.” That doesn’t mean you’ve heard him on the radio: Jamaican music has been dominated by dancehall for the past two decades. With the recent imprisonment of dancehall don Vybz Kartel, though, Louie’s brand of reggae is due for a comeback. MITCH LILLIE. Hawthorne Theatre, 1507 SE 39th Ave., 233-7100. 8 pm. $25. All ages.

Baths, Young Fathers

[THE SADDEST GLITCH] Los Angeles electronic musician Will Wisenfeld—better known as Baths— gained new fans and rave reviews with last year’s Obsidian, a record that was staggering in both its composition and sense of melancholy. His latest release came out just last week, with an EP entitled Ocean Death. Wisenfield referred to the record as a “companion” to Obsidian, sharing with it the same vast feelings of loneliness and mortality. Death’s title track picks up right where Obsidian left off, showcasing a dense, airtight soundscape that leaves you breathless. It’s an absolutely gorgeous track, and a reminder that sadness can oftentimes be beautiful. SAM CUSUMANO. Rotture, 315 SE 3rd Ave., 234-5683. 9 pm. $13. 21+.

SATURDAY, MAY 17 Cloud Cult

Saint Vitus, Sons of Huns

[CLASSIC DOOM METAL] Scott “Wino” Weinrich is back in town for the second time in two months. Last time it was with Spirit Caravan, but now, it’s with his legendary doom band Saint Vitus that began 35 years ago and has been regarded worldwide as a pioneering group for the entire slowed-down, evilled-up genre ever since. Saint Vitus will be playing their timeless album Born Too Late in its entirety, along with a whole other bag of tricks that will undoubtedly include crowd-pleasing favorites. Portland’s own heavyas-all-hell “brontosaurus” rock trio Sons of Huns is out on the road with Vitus as well, so this will be a warm welcome home for them. CAT JONES. Branx, 320 SE 2nd Ave., 234-5683. 8 pm. $14. 21+.

The Pynnacles, the Cry, RAF Mod Band [RETRO GARAGE] Led by ex-Crackerbasher and Portland music institution Sean Croghan, the Pynnacles play Nuggets-y psychedelic garage rock with a madcap energy that, despite the throwback leanings, makes them come off resoundingly contemporary. Tonight, the band celebrates the release a new seveninch. Dante’s, 350 W Burnside St., 345-7892. 9 pm. $8. 21+.

Best New Band Showcase: Ural Thomas & the Pain, Summer Cannibals, Tiburones


SUNDAY, MAY 18 Nathaniel Rateliff, Carly Ritter

[CABIN SONGS] Raised in rural Missouri, Nathaniel Rateliff took up music at an early age, drawn to the drum set at first, then ultimately the guitar. He moved to Denver for missionary work as a teenager and started writing his own songs, gathering a devoted following along the way. Having played with a quintet for several years, Rateliff is currently going solo, playing dimly lit adaptations of folk in the vain of early Bon Iver. His newest record, Falling Faster Than You Can Run, cradles Rateliff ’s frank and powerful voice, with little to interfere but some patient acoustic and slide guitar. MARK STOCK. Bunk Bar, 1028 SE Water Ave., 894-9708. 8 pm. $10$12. 21+.

William Fitzsimmons, Ben Sollee

[MELANCHOLIC FOLK] William Fitzsimmons’ music, on the whole, has never been anything other than somber. Like the rest of his lo-fi discography, the Illinois-based musician’s most recent effort, Lions, is bathed in eloquent, subdued acoustic picking and a smattering of gentle strings that immediately recall Josh Ritter or an overproduced rendition of Iron and Wine’s Around the Well. Though the album can seem one-dimensional at first glance, the harmonious accompaniment and Fitzsimmons’ renewed sense of optimism invigorate a work that may otherwise pass for movements of the same long song. It remains personal, with lyrical themes steeped in mental illness, but it’s not all Ackerman and Freud. BRANDON WIDDER. Doug Fir Lounge, 830 E Burnside St., 2319663. 9 pm. $22. 21+.

The Ghost Ease, Focus Troup, Half Shadow, Bed

[HEAVY DREAMSCAPES] Heavy and slow with strong vocals, the Ghost Ease are a refreshing

CONT. on page 34


[CHAMBER ROCK] Whether Cloud Cult warranted a feature-length documentary is debatable, but it’s not surprising, considering the Minnesota indie rockers have released nine albums of infectious chamber pop during the last decade and a half, swinging their compostable wares in recycled paperboard sleeves of which they are incredibly proud. Love, the band’s 2014 studio effort, basks in the artful camaraderie of bands like Broken Social and Arcade Fire, slipping nimble guitars alongside brass and strings before segueing into heavy guitars and brooding distortion. The funny thing is, frontman Craig Minowa’s vocal delivery still aches with regret, despite the album’s celebratory sound. BRANDON WIDDER. Aladdin Theater, 3017 SE Milwaukie Ave., 234-9694. 9 pm. $18 advance, $20 day of show. All ages.




Who: Zak DesFleurs. Sounds like: Bobby Digital—the Jamaican dancehall producer, not RZA’s alter ego—forging reggaeton riddims amid an occultist’s dimly lit reptile collection. For fans of: Night Slugs, Fade to Mind, Wiley, MikeQ. Why you care: “The album came out of nowhere,” says Zak DesFleurs, aka SPF666, about his debut EP, Scorpion Cache. Along with Commune and Massacooramaan, the producer runs the monthly electronic dance night Club Chemtrail, which also doubles as a record label. He’d been shopping the songs to other companies, until it dawned on him: “I realized I should just put these three tracks out through Chemtrail, because it’s representative of what we do with the night.” While other monthlies adhere to strict genre tags, Club Chemtrail employs an encyclopedia of dance styles. So it’s no surprise that Scorpion Cache runs the gamut as well. The title track flawlessly meshes shades of jungle with a dembow beat stripped from reggaeton, while elsewhere, the EP nods to grime and ballroom house, with banging remixes from Neana, Massacooramaan, Commune and Austin’s Mike G. As a whole, SPF666’s debut is dark and pliant without sacrificing an almost cheesy frolic. “We’ve always worked in this sort of weirdo conspiracy theory, paranoid, co-opted New Age bullshit aesthetic,” DesFleurs says of Chemtrail. But while the range of genres on Scorpion Cache shows SPF666 to be an excellent co-opter, there isn’t a whiff of bullshit anywhere. SEE IT: SPF666 plays Holocene, 1001 SE Morrison St., with Jubilee, IBQT, Massacooramaan and Commune, on Thursday, May 15. 9 pm. $6. 21+. Willamette Week MAY 14, 2014



Willamette Week MAY 14, 2014

MUSIC Riff Raff, Grandtheft, DeafMind [PARTLY RAP] No one will blame you for not taking Riff Raff seriously. Many of his raps are categorically bad. He makes cringe-worthy videos of himself singing ’80s hits at karaoke bars. His obsession with image extends not only to meticulously peeled banana-themed outfits and wearing a shark-tooth grill but also to rampant social media whoring and getting the MTV logo tattooed on his neck. “Cuz My Gear” is one of Raff’s biggest and catchiest hits, but it could well become this generation’s “Ice Ice Baby.” Still, I wouldn’t bet on Raff being a one-hit quitter. Falling out of the collective consciousness is impossible when, like Raff, you keep pace with the rigorous mixtape and album-release schedule modern hip-hop requires, and far exceed your peers’ pace in video releases, Vines, Tweets, posts and interviews. And when your gimmick extends so deeply into your lifestyle—accepting the artificiality of it all without sacrificing spontaneity—the title of Raff’s forthcoming Mad Decent joint Neon Icon starts to ring true. Riff Raff isn’t a rapper, a celebrity or a walking fiasco. He’s a hustler. And more importantly, he’s an entertainer—even if it comes at the expense of quality control. MITCH LILLIE. 8 pm Thursday, May 15. $20. All ages.

YG, DJ Mustard, Easy McCoy [MUSTARD ON DA BEAT] While everyone was convincing themselves that Schoolboy Q’s Oxymoron was the second coming of good kid m.A.A.d city—spoiler alert: It’s not— YG quietly released the current frontrunner for West Coast hip-hop album of the year, My Krazy Life. The Compton-raised artist managed to satisfy the mainstream’s present interest in confessional storytelling as well as turn out a few of the best piano- and flute-based bangers since 50 Cent. Songs like “Left, Right”, “I Just Wanna Party” and the Lil Wayne-referencing “My Nigga”—all produced by tourmate DJ Mustard—are absolutely begging to be blasted out of bass-heavy speakers while you time-travel back to 2004 in your DeLorean. On more narrative tracks, such as “Meet the Flockers” or “Sorry Momma,” YG’s raspy flow breathes life into vivid tales of armed robbery, gangland brotherhood and familial heartbreak, with all the wit and poise of a seasoned veteran. SAM CUSUMANO. 8 pm Friday, May 16. Sold out. All ages. courtesy of skam artists


Lil Jon (DJ set), Sidestep

c o u r t e s y o f s ta m p e d e m a n a g e m e n t

courtesy of mad decent


For more information on our organic growing programs, visit

[KING OF CRUNK] Lil Jon is a rapper the way Sid Vicious was a bass player: The qualities he brings to his chosen art form transcend common definitions of “good” and “bad.” Nothing about the way his career has unfolded could be described as “subtle,” but it has been an exercise in a particularly loud kind of minimalism: No one this side of Fox News has gotten more mileage out of monosyllabic shouting. He’s basically a human air horn, so it makes sense that, with the crunk-juice well running a bit dry as of late, he’s returned to his DJ roots. What to expect from a Lil Jon DJ set? Probably not much that you wouldn’t find at a regular Lil Jon show: chest-caving beats, college dudes incessantly yelling Chappelle’s Show references at him, and a whole lot of ludicrous energy. Also, bet on hearing the year’s greatest jock jam, “Turn Down for What,” Jon’s collaboration with French electro-bro DJ Snake, about four dozen times. MATTHEW SINGER. 8 pm Saturday, May 17. 8 pm. $26.50. All ages. The official after-party is at Star Theater, 13 NW 6th Ave. 11 pm. $18. 21+. All shows at Roseland Theater, 8 NW 6th Ave., 971-230-0033. Willamette Weekly 05-14-14.indd 1

Willamette Week MAY 14, 2014


4/15/14 1:52 PM



see WW’s top three neW bands of 2014.

UrAl ThomAS & ThE PAiN SUmmEr CANNiBAlS TiBUroNES saturday, may 17. doors at 8pm shoW at 9pm. free. 21+ mississippi studios 3939 ne mississippi aVe.


Willamette Week MAY 14, 2014



Willamette Week’s 2014

sunday–tuesday/classical, etc.

Jessie Marquez

[CUBAN JAZZ POP] When Jessie Marquez, now based in Portland, first visited her father’s childhood home in Cuba in 1996, hearing the familiar filin—the Cuban musical style based on American jazz and Brazilian bossa nova—drew her to singing the music herself. She eventually performed around the island of its origin and topped the jazz charts in Latin America, Europe and the U.S. Her vocal style—paradoxically warm and cool at once— reaches back to classic bossa but adds a Caribbean lilt. She’s abetted by Portland jazz vets pianist Clay Giberson, bassist Al Criado, percussionists Charlie Doggett and Rafael Trujillo and saxophonist John Nastos. BRETT CAMPBELL. Jimmy Mak’s, 221 NW 10th Ave., 295-6542. 8 pm Friday, March 16. $12.

levitated mass: Jessy lanza plays Holocene on monday, may 19. change of pace among Portland’s female-fronted bands, who by and large play peppy garage rock. Frontwoman Jem Marie’s swirling voice intertwines with a thudding rhythm section and aggressive guitar. On “Supermoon (In Scorpio),” ticking cymbals build up before surrendering to a flurry of crashes and rolling snares, then leaving us in silence until Marie’s voice signals the ticking to bring us back. It’s a hypnotic effect, ebbing between relaxation and aggression. With a year removed since Ghost Ease’s first fulllength, expect to hear at least one new song tonight, with more soon to come. LYLA ROWEN. Holocene, 1001 SE Morrison St., 239-7639. 8:30 pm. $7. 21+.

MONDAY, MAY 19 Suzanne Vega, Ari Hest

[CHANTEUSE LAUREATE] Beloved yet something less than iconic, with defining anthems that either make for uncomfortable sing-alongs (child-abuse ballad “Luka”) or helped kill the record industry (MP3 inspiration “Tom’s Diner”), Suzanne Vega never quite reached the shortlist of singer-songwriter elite seemingly preordained from her approachably arty, early-’80s folkpop beginnings. After eschewing new material for seven years—time largely spent re-recording spartan renditions of her back catalog— recent release Tales From the Realm of the Queen of Pentacles arrives as blissfully unconcerned with mass relevance as the ungainly Tarot-derived title suggests, but sudden bursts of garage riffage and 50 Cent-sampled backdrops finds her ever-peripatetic muse newly, weirdly engaged with the mainstream. JAY HORTON. Aladdin Theater, 3017 SE Milwaukie Ave., 234-9694. 8 pm. $32 advance, $35 day of show. Under 21 permitted with legal guardian.

Death in June

[COTTAGE INDUSTRIAL] A dozen years since the perceived threat of its last local visit sparked a firestorm of venue-shuffling outrage, Death in June seems an unlikely lightning rod for genuine controversy, however muddled its political record or unpleasant its associations. Whether the band employs Nazi symbology as artful provocation, exploitative gambit or quasi-declaration of cryptic principles, its performances read as nothing more incendiary than pantomimed agitprop reduction unfurled by post-punk duffers beating back irrelevance with an ever-more-embarrassing gusto. Meanwhile, the neo-folk innovators’ musical legacy—dystopian menace layered within tuneful strummings for a sort of bucolic goth wholly disparate from the surrounding conceptual shtick—seethes with a serrated loveliness far more deserving of attention. But founding frontman Douglas P. makes it so hard not to mention the war. JAY

HORTON. Alhambra Theatre, 4811 SE Hawthorne Blvd. 9 pm. $25 advance, $30 day of show. 21+.


[MOTOR CITY BURNING] Anyone pining for the early-aughts postpunk revival should pick up Protomartyr’s Under the Color of Official Right pronto. It’s got everything you could want from a squad of Detroit C.H.U.D.s tunefully raging against a blighted urban landscape: locust-swarm guitar buzz, drums that sound like they’ve been rotting in an attic for decades, a singer with the voice of Franz Ferdinand’s Alex Kapranos on a couple cc’s of Mark E. Smith. Frontman Joe Casey’s lyrics have the sardonic bite of Morrissey, but he delivers his piercing recriminations with a slurred sneer reminiscent of tortured Danish hooligans Iceage, with targets that include “smug urban settlers,” “gluten fascists” and “alt-weekly types.” I know, man, we’re the fucking worst. MATTHEW SINGER. Bunk Bar, 1028 SE Water Ave., 328-2865. 9:30 pm. $8. 21+.

Jessy Lanza, Saint Pepsi, Magic Fades, Intuitive Navigation DJs

[R&B] Of all the albums sprawling U.K. electronic label Hyperdub has released in its decade of existence, Ontarian R&B singer Jessy Lanza’s has the weirdest and sexiest name. Pull My Hair Back dropped last September and stirred more than a few cups of tea on both sides of the pond. Lanza’s voice melts right into Junior Boy Jeremy Greenspan’s skeleton beats, which are less a vehicle than a mold for Lanza’s dripping melodies. After giving out her digits in “5785021,” Lanza reassures us: “You can call me.” What’s Canada’s country code? MITCH LILLIE. Holocene, 1001 SE Morrison St., 2397639. 8:30 pm. $12 advance, $14 day of show. 21+.

Matt Pond PA, the Lighthouse and the Wailer

[ACOUSTIC NOSTALGIA ] In May 2004, Matt Pond PA released Emblems, a haunting acoustic album filled with tightly crafted pop songs about how much love sucks. The album gained the band indie-rock success, which back then meant being featured on the soundtrack for The O.C. Ten years and a Starbucks holiday commercial later, the group is going on tour playing Emblems beginning to end and relishing in those simpler times, before Marissa Cooper died and the musical zeitgeist began to forget about artists like Snow Patrol and Ben Howard. Nostalgia aside, Matt Pond PA puts on a touching, beautifully orchestrated show that will entertain no matter the decade. ASHLEY JOCZ. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 8 pm. $12. 21+.

Cecile Licad

[CLASSICAL PIANO VIRTUOSA] As a child growing up in the Philippines in the 1960s, Cecile Licad began impressing anyone who heard her play. A scholarship to Philadelphia’s renowned Curtis Institute, international awards and recordings of core classical repertoire soon followed. But what recently distinguished Licad from the proliferation of endlessly Chopin-ing piano prodigies was her advocacy of the forwardlooking 19th-century composerpianist Louis Moreau Gottschalk, who lived fast, loved hard and died young, but not before showing Europeans that America has musical value, too. In this refreshingly unusual recital, Licad will play his music along with works by other 19th- and 20th-century American and European composers, including Edward MacDowell, Leo Ornstein, Cecile Chaminade and more. BRETT CAMPBELL. Lincoln Recital Hall, Room 75, 1620 SW Park Ave. 7:30 pm Friday, March 16. $10-$25.

Joshua Bell Plays Sibelius

[VIRTUOSO CONCERTO] When he’s not posing as a busker in Washington, D.C., metro stations, Joshua Bell is playing soldout shows around the world on his $4 million Stradivarius violin. The Gibson ex-Huberman Stradivarius of 1713 is the subject of the recent documentary Story of His Violin, and its tale involves decades of theft, recovery and salvation. Bell will no doubt play it with love and fury here in Portland, especially on the Jean Sibelius piece, Violin Concerto in D Minor. The Finnish composer only wrote one concerto, which was ill-received in its day because no available soloist could match its technical requirements. It seems safe to say that Bell is up to the task. NATHAN CARSON. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 248-4335. 7:30 pm Saturday-Sunday and 8 pm Monday, May 17-19. $45 and up. All ages.

Resonance Ensemble

[CONTEMPORARY CHORAL] Two of the city’s most vital musical organizations join forces. Resonance comprises the cream of Portland’s professional choirs, and Cascadia Composers just keeps offering better and more diverse music by Oregon composers. This performance features new music, all pertaining to natural surroundings, by veteran top-notch local composers like Jack Gabel, Jeff Winslow and more. This includes rising stars Stacey Philipps and Renee FavandSee, whose five-movement Only in Falling, her setting of Wendell Berry poems that’s a musical response to a recent family tragedy, receives its world premiere. The concert, which includes harp, piano and organ accompaniment, also features nature-themed music by two of the hottest, youngish choral composers, Latvia’s Eriks Esenvalds and Norway’s Ola Gjeilo. BRETT CAMPBELL. Agnes Flanagan Chapel, Lewis & Clark College, 0615 SW Palatine Hill Road: 7:30 pm Saturday,

CLASSICAL, ETC. May 17. Lincoln Hall, Portland State University, 1620 SW Park Ave.: 4 pm Sunday, May 18. 427-8701. $11$22.

Muse: Forward Emerging Music Salon

[NEW MUSIC INCUBATOR] Since composer-guitarist Christopher Corbell took the reins last year, Classical Revolution PDX has morphed from an organization best known for its chamber jams into a creative incubator of Portland new music. Conceived as “common ground for experimental, ambient, electronic, improvisatory and compositional artists,” this is the first



in CRPDX’s new monthly series showcasing music by selected emerging composers, this time including John Berendzen, whose electronic and acoustic sounds have enhanced Liminal Theater productions, and Emyli Poltorak, a Portland State student whose music was a highlight of Cascadia Composers’ recent Crazy Jane concert. BRETT CAMPBELL. The Waypost, 3120 N Williams Ave., 367-3182. 7 pm Sunday, May 18. Donation. 21+.

For more Music listings, visit

A rundown of the best bike shops in town along with local gear manufacturers. We’ll tell you where to ride, from touring, to indoor mountain bike parks, to brewery tours.

Hits the streets May 28th!


AGALLOCH THE SERPENT & THE SPHERE (PROFOUND LORE) [FOLK METAL] When Portland’s folk-metal quartet Agalloch released its new single, “Celestial Effigy,” the website MetalSucks wrote, “I’ve yet to meet a person who says, ‘Nah, I don’t really like Agalloch.’” And you know what? It’s completely true. Agalloch has released consistently breathtaking albums that are somehow both gorgeous and abrasive, and it’s impossible not to become entranced. The band’s fi fth full-length, The Serpent & the Sphere, further proves this point. From the first haunting notes of opener “Birth and Death of the Pillars of Creation” to the utterly epic, nearly 13-minute track “Plateau of the Ages” to the very last acoustic guitar squeak of the outro, the album absolutely soars. There is an air of triumph to the record that doesn’t let up—even in the acoustic moments, which are damn near an approximation of black-metal flamenco. The Serpent & the Sphere was engineered by the respected Billy Anderson at Portland’s Cloud City Sound recording studio, which is undoubtedly why the beautiful complexity of this album is so clear, straightforward and perfectly mixed. If you’ve never listened to Agalloch, this album makes a great introduction. CAT JONES. SEE IT: Agalloch plays Star Theater, 13 NW 6th Ave., with Lasher Keen and Sedan, on Friday, May 16. 9 pm. $12. All ages.

HOT VICTORY HOT VICTORY (EOLIAN EMPIRE) [CLASHING ROBOTS] This is all a horrible, chemical dream, from the savage drumming to the woozy electronic manipulations. After releasing Triangulum Australe a few years ago, the duo of Caitlin Love and Ben Stoller— each playing drums and electronics—has engaged in more of a dystopian aural aesthetic, and seen fit to issue an album’s worth of jarring samples and polyrhythmic propulsion unmatched by anyone this side of Ralf Hütter and Florian Schneider. Hot Victory’s newly issued self-titled album finds the pair awash in an industrial influence, with “Island Realm,” the album’s second cut, being particularly devoid of levity. The song doesn’t necessarily evoke visions of being surrounded on all sides by water, unless your island nation happens to be under siege by malevolent robots. And the album’s other five tracks only slightly hedge toward airier territory. “Harmony of Spheres” takes on the most New Age vibe. There’s a twinkling key loop set in front of the pair’s drumming, which only asserts itself during the composition’s bridge. But when it does, the percussion is as damaging as anywhere on the album. The tension created by Hot Victory’s unruly and mechanicalsounding tastes has wrought a unique vision amid a crowded avant field. And even if making it through the album’s opener—a 12-minute, paranoia-infested number called “Teneabrae”—is a bit difficult, it’d be equally hard to turn away and not hear how this commotion is going to end. DAVE CANTOR.







Willamette Week’s






TUESDAY, MAY 27 • 5-8 PM CRANK • 2725 SE ASH ST.



Food available for purchase by Bro Dogs Grand prize drawing for a Rainer Bicycle and other cycling gear! RSVP to

SEE IT: Hot Victory plays Branx, 320 SE 2nd Ave., with Floor, Thrones and Norska, on Friday, May 16. 7:30 pm. $12. All ages. Willamette Week MAY 14, 2014



Willamette Week MAY 14, 2014


[MAY 14-20] Biddy McGraw’s

= ww Pick. Highly recommended. Editor: Mitch Lillie. TO HAVE YOUR EVENT LISTED, send show information at least two weeks in advance on the web at Press kits, CDs and especially vinyl can be sent to Music Desk, WW, 2220 NW Quimby St., Portland, OR 97210. Please include show or release date information with all physical mailings. Email: For more listings, check out

6000 NE Glisan St. Train River

Blue diamond

2016 NE Sandy Blvd. Ben Jones and Friends

Boon’s Treasury


888 Liberty St. NE Billy D


320 SE 2nd Ave. Purity Ring (DJ Set), PRSN

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

Bunk Bar

1028 SE Water Ave. The Verner Pantons and Ancient River, Kngdom of the Holy Sun

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

Calapooia Brewing 140 Hill St. NE Rough Jazz

Chapel Pub

430 N Killingworth St. Steve Kerin


350 W Burnside St. Steel Cranes, The Redwood Plan, Cockeye, Sharks from Mars

doug Fir Lounge

830 E Burnside St. Gardens & Villa, Pure Bathing Culture

duff’s Garage

2530 SE 82nd Ave Rick Estrin, The Nightcats, Tough Love Pyle

TONGue uNTIed: danny Brown performs at Roseland Theater on May 11. “Here’s to your mothers,” he yelled toward the end of the set. “Birthed some cool-ass children, because you’re at a danny Brown concert on Mother’s day.” Read the full review and see more photos at

wed. May 14 al’s den

303 SW 12th Ave. Sloan Martin (of Steelhead)

alberta Street Public House 1036 NE Alberta St. Local Roots Radio Live Concert Recording

Beaterville Cafe

2201 N Killingsworth St. Open Mic

Blue diamond

2016 NE Sandy Blvd. The Fenix Project

Boon’s Treasury

888 Liberty St. NE Chris Margolin

Bravo Lounge

8560 SE Division St. Blues Jam


350 W Burnside St. Bug Girl & Black Snake

doug Fir Lounge

830 E Burnside St. Maxmo Park, Eternal Summers

duff’s Garage

2530 SE 82nd Ave Suburban Slim’s Blues

duke’s Bar & Grill

Gemini Bar & Grill

456 N State St. Jacob Merlin and Sarah Billings

Hawthorne Theatre

1507 SE 39th Ave. Battle For Warped Tour: Surviving Yesterday, Rags & Ribbons, Third Below, Idletap, Tyranno Tut


1001 SE Morrison St. Morning Ritual, Rio Grands, Mojave Bird

Jimmy Mak’s

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

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

Kelly’s Olympian

426 SW Washington St. Super Brown, It Might Get Dangerous, Indigenous Robot

Landmark Saloon

4847 SE Division St. Miller and Sasser’s Twelve Dollar Band!, Jake Ray & the Cowdogs

LaurelThirst Public House

SE 146th & Division St. James Otto 10th Anniversary Show

2958 NE Glisan St. Apollo Four, Drunk on Pines (9 pm); Sneakin’ Out (6 pm)


Lola’s Room

2126 SW Halsey St. Donevan Karr

1332 W Burnside Harry and the Potters

Mississippi Studios

3939 N Mississippi Ave. Pert Near Sandstone, Sugarcane

Rock Creek Tavern

10000 NW Old Cornelius Pass Rd. Billy D

Roseland Theater

8 NW 6th Ave. O.A.R., Jillette Johnson

Trail’s end Saloon 1320 Main Street Big Monti

white eagle Saloon

836 N Russell St. Allies from Nowhere, The Folly, Brother Lawrence

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

Shaker and Vine

2929 SE Powell Blvd. Robbie Laws Blues Guitar Ensemble


1033 NW 16th Ave. Grease Envelope, Way In, Open Marriage, Yunsumz

The Know

2026 NE Alberta St. Queer Aggression IV: Leviticus Rex, White Massacre

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

Tigardville Station

THuRS. May 15 al’s den

303 SW 12th Ave. Sloan Martin (of Steelhead)

aladdin Theater

3017 SE Milwaukie Ave. The Manhattan Transfer

alberta Rose Theatre 3000 NE Alberta St. Okaidja Afroso and Shokoto

alhambra Theatre

4811 SE Hawthorne Blvd. Device Grips

east end

203 SE Grand Ave. Bath Party, Noble Firs


2126 SW Halsey St. The Junebugs

Hawthorne Theatre

1507 SE 39th Ave. Elenora, A World Without, How The West Was Won, Standing Satellites

Jade Lounge

2342 SE Ankeny St. Jamie Leopold

Jimmy Mak’s

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

Kennedy School

5736 NE 33rd Ave. Peter Pants

Kenton Club

2025 N Kilpatrick St. Japanese Game Show, The Protons, Toy

LaurelThirst Public House

2958 NE Glisan St. Kalia and the Kid, Tim Acott Band (9:30 pm); Lewi Longmire and the Left Coast Roasters (6 pm)

Lola’s Room

1332 W Burnside Gabrielle Aplin

Magnolia’s Corner

4075 NE Sandy Blvd Todd Bayles

12370 SW Main Street Open Mic with Jim Crutcher

analog Cafe & Theater

Tillicum Restaurant & Bar

ash Street Saloon

3552 N Mississippi Ave. Cafe Istanbul, Hillwilliams

Back Stage Bar

3939 N Mississippi Ave. Liz Vice, The Breaking Yard, Valley Maker

8585 SW BeavertonHillsdale Hwy. High Boltage

Tony Starlight’s Supper Club

3728 NE Sandy Blvd. Ayars Times Two Presents, The Essence of Bacharach

720 SE Hawthorne Blvd. Muevete Jueves 225 SW Ash St. Machine, Leonhardt

3701 SE Hawthorne Blvd. Eye Candy VJ

Beaterville Cafe

2201 N Killingsworth St. Michael Collins Songwriter Showcase

Mississippi Pizza

Mississippi Studios

Mock Crest Tavern 3435 N Lombart St. Robert Richter Duo

Newmark Theatre 1111 SW Broadway Jesse Cook

Oregon Public House 700 Dekum Street Kye Alfred Hillig, Daniel G. Harmann, and Pete Jordan (from Cloud Person)

FRI. May 16 al’s den

303 SW 12th Ave. Fernando, Casey Neill

alberta Rose Theatre

Ringlers Pub

3000 NE Alberta St. The Righteous Mothers, Christine Lavin

Rock Creek Tavern

alberta Street Public House

1332 W Burnside The Windshield Vipers 10000 NW Old Cornelius Pass Rd. Mexican Gunfight

Roseland Theater

8 NW 6th Ave. Riff Raff, Grandtheft

Savoy Tavern

2500 SE Clinton St. Coconino, Optic Nerve Trio

Secret Society Ballroom

116 NE Russell St. The Tom Bergeron Brasil Band, Orquestra Brasil

Shaker and Vine

2929 SE Powell Blvd. Jeremiah Clark


1033 NW 16th Ave. Thunderchief, Ectopic Pregnancy, Mercurio

Splash Bar Hawaiian Grill

904 NW Couch Jordan Harris & Christie Bradley

Star Theater

1036 NE Alberta St. Renegade String Band, Eight Dollar Mountain

alhambra Theatre

4811 SE Hawthorne Blvd. Grandhorse, Violent Psalms, Western Haunts, Dedere, Poor Man’s Whiskey

2845 SE Stark St. The Way Downs, Erotic City (Prince Tribute)

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

The Know

2026 NE Alberta St. Eu’s Arse, Reactor

The Lehrer

8775 SW Canyon Ln. Lisa Mann & Sonny Hess

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 Tea Zone and Camellia Lounge

510 NW 11th Ave. Tristan Weitkamp Quintet

Tony Starlight’s Supper Club

3728 NE Sandy Blvd. The Libertine Belles


232 SW Ankeny St This Charming Man, DJ MsPrid

white eagle Saloon

836 N Russell St. Rose Windows, Jeffertitti Nile, Moon By You, Chris Baron and Friends

wilf’s Restaurant & Bar 800 NW 6th Ave. Curtis Salgado, Alan Hager and Dave Fleschner

Jantzen Beach Bar & Grill

909 N. Hayden Island Dr. One Brick Shy

Jimmy Mak’s

221 NW 10th Ave. Jessie Marquez

Kelly’s Olympian

426 SW Washington St. Bath Party, The Hugs, Pheasant, Liquid Light 2025 N Kilpatrick St. Future Historians

ash Street Saloon

Landmark Saloon

225 SW Ash St. Demure, Dirtnap, The Fail Safe Project, Mosby

Beaterville Cafe

2201 N Killingsworth St. Le Printemps, The Lovely Lost

Biddy McGraw’s

6000 NE Glisan St. Counterfeit Cash, Belinda Underwood and Josiah Payne

Blue diamond

2016 NE Sandy Blvd. Norman Sylvester

320 SE 2nd Ave. Floor and Thrones, Hot Victory

The GoodFoot Lounge

2342 SE Ankeny St. Keegan Heron

Kenton Club

The Conga Club

1937 SE 11th Ave. Wingnut Commander, Cove Michaelian, Joe Little

Jade Lounge

3130 SE Hawthorne Blvd. Friday Night Coffeehouse

Boon’s Treasury

The Firkin Tavern

310 NE Evans St. The Windshield Vipers, Kirby Swatosh Moon Rock Patrol

artichoke Music

13 NW 6th Ave. Tab Benoit, Cody Beebe & the Crooks and Woodbrain 4923 NE Martin Luther King Jr. Blvd. Dina y Los Rumberos

Hotel Oregon

888 Liberty St. NE Floating Pointe


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

Bunk Bar

4847 SE Division St. Pete Krebs and The Portland Playboys, Hank Sinatra and His Atomic Cowboys

Lincoln Performance Hall-Portland State 1620 SW Park Ave. Cecile Licad

M & M Restaurant & Lounge 137 N Main Ave. 24/7

Magnolia’s Corner

4075 NE Sandy Blvd Three For Silver

Midnight Roundup

345 NW Burnside Rd. Sacred Road

Mississippi Pizza

3552 N Mississippi Ave. Melao de Cuba, Waxwings

Mississippi Studios

3939 N Mississippi Ave. Cashd Out, Big E and The Stomp

1028 SE Water Ave. Survival Knife, Hungry Ghost

Mock Crest Tavern

Calapooia Brewing

Muddy Rudder Public House

140 Hill St. NE McDougall

Classic Pianos

3435 N Lombart St. Mile to Go

8105 SE 7th Ave. Blueflags and Blackgrass

3003 SE Milwaukee Avenue Whisperings Solo Piano Concert

Ponderosa Lounge

Clyde’s Prime Rib Restaurant & Bar

10000 NW Old Cornelius Pass Rd. Feathers and Friends

5474 NE Sandy Blvd. Andy Stokes

Crystal Ballroom

1332 W Burnside Street Nickel Creek, the Secret Sisters


350 W Burnside St. The Chop Tops

doug Fir Lounge

830 E Burnside St. Loop, Kinski

duff’s Garage

2530 SE 82nd Ave Roseland Hunters

east end

203 SE Grand Ave. DVST, Camino Acid, NeveroddoreveN


721 NW 9th Ave Evening for Opal Creek


2126 SW Halsey St. Brian Copeland

Hawthorne Theatre 1507 SE 39th Ave. Louie Culture

Hawthorne Theatre Lounge

1503 SE Cesar E Chavez Blvd. The Shrike

10350 N Vancouver Way Battle of the Bands Finals

Rock Creek Tavern

Roseland Theater

8 NW 6th Ave. YG, DJ Mustard

Secret Society Ballroom

116 NE Russell St. Hill Dogs, Foxy Lemon, Sam Densmore, Noble Firs, Boy & Bean

Shaker and Vine

2929 SE Powell Blvd. Michael Engberg, Cody Weathers


1033 NW 16th Ave. Shadow of the Torturer, Backyard Mortuary, Shroud of the Heretic, Torture Rack

St. James Lutheran Church 1315 SW Park Ave Concert for a Cause

Star Theater

13 NW 6th Ave. Agalloch, Lasher Keen & Sedan

The annex

5242 N. Lombard St. Lunchbox

The Firkin Tavern

1937 SE 11th Ave. Holy Tentacles, Lubec, Beach Party

CONT. on page 38 Willamette Week MAY 14, 2014


The Horse Radish 211 W. Main St. Orvil & Garry

The Know

2026 NE Alberta St. Left Blank

The Lehrer

8775 SW Canyon Ln. Ma Fondue

The Meteor Lounge

2015 8th Ave Tony Starlight’s AM Gold Show

The Original Halibut’s II 2525 NE Alberta St. A C Porter

The Tea Zone and Camellia Lounge

510 NW 11th Ave. George Colligan and Theoretical Planets

Tony Starlight’s Supper Club

3728 NE Sandy Blvd. Soulcity Band


4144 SE 60th Ave. Bob Heyer

Twlight Cafe & Bar 1420 SE Powell Blvd Punk Rock

Vie De Boheme

1530 SE 7th Ave. Ken deRouchie Band

White Eagle Saloon 836 N Russell St. Radio Giants, Reverb Brothers

SaT. May 17

may 14–20

Bamboo Grove Salon

134 SE Taylor St. From Leaf to Wind: Soprano Estel Gomez with Eugene Contemporary Chamber Ensemble

303 SW 12th Ave. Sloan Martin (of Steelhead)

aladdin Theater

3017 SE Milwaukie Ave. Cloud Cult

alberta Rose Theatre

Blue Diamond

2016 NE Sandy Blvd. The Fenix Project

Boon’s Treasury


Lewis & Clark College, agnes Flanagan Chapel

888 Liberty St. NE Forever Growing 320 SE 2nd Ave. Saint Vitus and Mos Generator, Sons of Huns

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

Bunk Bar

1028 SE Water Ave. Bear Mountain and Misun

Calapooia Brewing 140 Hill St. NE John Shipe

1037 SW Broadway Joshua Bell Plays Sibelius

ash Street Saloon 225 SW Ash St. Red Cloud

0615 SW Palatine Hill Rd Northern Light

Lincoln Performance Hall-Portland State 1620 SW Park Ave. Resonance Ensemble

Lola’s Room

1332 W Burnside Come As You Are’, 90s Dance Flashback

M & M Restaurant & Lounge 137 N Main Ave. The Insensitives

Club 21

2035 NE Glisan St. Is/Is, the Dandelyons, Psychomagic

Midnight Roundup

Clyde’s Prime Rib Restaurant & Bar

Mississippi Pizza

5474 NE Sandy Blvd. On-Q Band


350 W Burnside St. The Pynnacles, the Cry, RAF Mod Band 830 E Burnside St. Steelhorse: Bon Jovi Tribute, One From Many

Duff’s Garage

2530 SE 82nd Ave Trigger’s Revenge


Hawthorne Theatre

arlene Schnitzer Concert Hall

4847 SE Division St. Oregon Valley Boys

2958 NE Glisan St. The Foothills (9:30 pm); The Yellers (6 pm)

alberta Street Public House

4811 SE Hawthorne Blvd. Kyle Gass Band

2025 N Kilpatrick St. Comm, Sat 9:30 pm

LaurelThirst Public House

6000 NE Glisan St. Max’s Midnight Kitchen

2126 SW Halsey St. Mary Flower

alhambra Theatre

Kenton Club

Landmark Saloon

3000 NE Alberta St. The Banjo Killers, Scott Law Black Mountain Album Release & Tony Furtado

1036 NE Alberta St. Twisted Whistle, Wildwood

2342 SE Ankeny St. JD’s Blues/Grass Sessions

Biddy McGraw’s

Doug Fir Lounge

al’s Den

Jade Lounge

Gemini Bar & Grill 456 N State St. Dancehall Days

1507 SE 39th Ave. Hellogoodbye, Vacationer, Heavenly Beat

Hawthorne Theatre Lounge

1503 SE Cesar E Chavez Blvd. Katie Carlene, The Steam Cats of Sekonza

Holiday Inn airport

8439 NE Columbia Blvd. Satori Men’s Chorus: Satori Night Life

Hotel Oregon

310 NE Evans St. Orchestre L’Pow, Escape, X-Minus One

345 NW Burnside Rd. Sacred Road 3552 N Mississippi Ave. High Drive Revival, David E. Lane Band, Toy Trains, Music for Kids

Mississippi Studios

3939 N Mississippi Ave. Best New Band: Ural Thomas and the Pain, Summer Cannibals, Tiburones

Mock Crest Tavern

3435 N Lombart St. Johnny Ward Sharkskin Revue

Mt. Hood Meadows

Mt Hood Meadows Dr Season’s End Beer and Music Fest

Muddy Rudder Public House 8105 SE 7th Ave. Brooks Robertson

Rock Creek Tavern

10000 NW Old Cornelius Pass Rd. Blue Skies for Black Hearts


315 SE 3rd Ave. Baths, Young Fathers

Secret Society Ballroom

116 NE Russell St. Everything’s Jake

Shaker and Vine

The Waypost Coffeehouse & Tavern

3120 N Williams Ave. The Waking Guild Album Release Show

Tigardville Station

12370 SW Main Street 90 Proof

Tony Starlight’s Supper Club

3728 NE Sandy Blvd. Help! The Beatles Tribute Band

2929 SE Powell Blvd. 100 Proof, Earth People and Willow Rock



Tree’s Restaurant and Catering

1033 NW 16th Ave. Extinction of Mankind, Long Knife, Spit Vitriol, The Siege Fire, Iskallt Regn

St Michael and all angels Episcopal Church

1704 NE 43rd Ave. Musica Maestrale Presents: Songs of Spring


5441 SE Belmont Street The Hollywood Music Industry Intensive

The annex

5242 N. Lombard St. Quiet!

The Firkin Tavern

1937 SE 11th Ave. Animal Eyes, Fog Father, Settlers

The GoodFoot Lounge 2845 SE Stark St. The Quick and Easy Boys, Jelly Bread

The Horse Radish 211 W. Main St. Robbie Laws

The Know

2026 NE Alberta St. The Numerators, Marriage & Cancer

The Lehrer

8775 SW Canyon Ln. Acoustic Jam with Chuck Gilman

The Lehrer

8775 SW Canyon Ln. The Lloyd Jones Band

4144 SE 60th Ave. Ozzrocket

20510 SW Roy Rogers Road #160 The Flat Nines

Vie De Boheme 1530 SE 7th Ave. Soul Vaccination

White Eagle Saloon

836 N Russell St. Tyler Stenson, Naomi LaViolette, DoveDriver

Wilf’s Restaurant & Bar 800 NW 6th Ave. Mark Simon Qunitet

SuN. May 18 al’s Den

303 SW 12th Ave. Garcia Birthday Band

alhambra Theatre

4811 SE Hawthorne Blvd. The Sweet Life Society, TheBrund, DJ GlobalRuckus

arlene Schnitzer Concert Hall

1037 SW Broadway Joshua Bell Plays Sibelius

ash Street Saloon 225 SW Ash St. Sit Kitty Sit, Rabit Wombat, Poe and Monroe

Blue Diamond

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

Broadway Rose New Stage auditorium

Norse Hall

The Lovecraft

Pioneer Courthouse Square

The Original Halibut’s II

Bunk Bar

The Press Club

Clyde’s Prime Rib Restaurant & Bar

111 NE 11th Street Syttende Mai Celebration

701 SW 6th Ave. The One More Time Around Again Marching Band, 30 Year Celebration

Ringlers Pub

1332 W Burnside Floating Pointe

421 SE Grand Ave. Brit Pop Dance Night

2525 NE Alberta St. Jon Bunzow 2621 SE Clinton St. Silver Lake 66

The Tea Zone and Camellia Lounge 510 NW 11th Ave. The Whitney James Quintet

12850 SW Grant Ave. The Bikinis

1028 SE Water Ave. Nathaniel Rateliff and Carly Ritter

5474 NE Sandy Blvd. Ron Steen Jazz Jam

Doug Fir Lounge

830 E Burnside St. William Fitzsimmons, Ben Sollee


2126 SW Halsey St. Billy D

First united Methodist Church-Portland

angel ceballos



1838 SW Jefferson St. Big Horn Brass Spring Concert, Pictures at an Exhibition

Habesha Lounge

801 NE Broadway St. Muzzy, Kool Skull, The Translucent Spiders, Justin Smith (information)

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


1001 SE Morrison St. The Ghost Ease, Focus Troup, Half Shadow, Bed

MELLOW MELLA: Despite its generic brick, hardwood and neutral-green décor, Carmella’s (1320 SE Water Ave., 232-1633, reveals unexpected comforts. And unexpected strangeness. Bedford will be the first to greet you at this Produce Row wine bar. He’s a little eager, but friendly, and remarkably well-mannered considering he was found on the side of the road. The pied-fur border collie hangs out at Carmella’s most days, sometimes parking near the front hearth, which is fired with real wood and stoked regularly. Above the hearth is a framed Model T license plate, found by owner Maggie Shippy next to an old tire in the train tracks that run underneath the bar’s floor— the presumed remnants of a terrible accident. Shippy will open a hatch in the hardwood to show you the tracks, provided you don’t look drunk enough to fall into the yawning chasm. The bar extends backward, to a room of circular settees and yet another wood-fired hearth, plus a third, long-tabled room in the back presided over by a push-pinned map showing the travels of Shippy’s grandmother, Carmella. The vast stores of wine—the menu is the length of a book, with 45 different bottles from Turley and 17 Châteauneufs-du-Pape—are hidden behind a ground-level bank vault door. It’s a mostly solo shop, and Shippy describes the wine a little breathlessly, like a music geek who’s been asked about her favorite Alan Lomax discovery. Despite the highfalutin vintages, the result is a bit small-towny, and three-glass flights run $15 to $18 for red, white, bubbly or rosé in regional variations. The bar plans to build a deck that will look out on the Water Avenue gravel pit. Drink some wine, watch the world get made new. MATTHEW KORFHAGE. LaurelThirst Public House

2958 NE Glisan St. Cheerful Tearful, Whales Whaling, Jordannah Elisabeth (9 pm); Freak Mountain Ramblers (6 pm)

Lewis & Clark College, agnes Flanagan Chapel 0615 SW Palatine Hill Rd Resonance Ensemble


1401 SE Morrison Sanctuary Sunday

Mississippi Studios

3939 N Mississippi Ave. Chad Valley, Strange Talk

Plews Brews

8409 N. Lombard St. Open Mic

Portland State university Lincoln Hall 1620 SW Park Ave. Northern Light

Rock Creek Tavern


10000 NW Old Cornelius Pass Rd. Hanz Araki

Landmark Saloon

600 E. Burnside St. Sunday Sessions

112 SW 2nd Ave. Traditional Irish Music 4847 SE Division St. Ian Miller and Friends


Saints Peter and Paul Episcopal Church

8147 SE Pine St. Musica Maestrale Presents: Songs of Spring


HELLO FROM SOMEWHERE IN DETROIT: Protomartyr plays Bunk Bar on Monday, May 19. 38

Willamette Week MAY 14, 2014

1033 NW 16th Ave. Grand Style Orchestra

St. Stephen’s Catholic Church

alhambra Theatre

The Blue Monk

1037 SW Broadway Joshua Bell Plays Sibelius

1112 SE 41st Avenue A Smaller Drop in a Deeper Ocean

3341 SE Belmont St. Sunday Jazz Series

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

The Waypost Coffeehouse & Tavern

3120 N Williams Ave. Muse: Forward Emerging Music Salon

Tom McCall Waterfront Park 2 SW Naito Pkwy. Kenny Lavitz

Trail’s End Saloon

1320 Main Street Sundays at the Trails

Vie De Boheme

1530 SE 7th Ave. Chuck Israels Jazz Cafe

White Eagle Saloon 836 N Russell St. Rob Johnston

MON. May 19 al’s Den

303 SW 12th Ave. Garcia Birthday Band

aladdin Theater

3017 SE Milwaukie Ave. Suzanne Vega

4811 SE Hawthorne Blvd. Death in June

arlene Schnitzer Concert Hall

Blue Diamond

2016 NE Sandy Blvd. Hot Tea Cold


320 SE 2nd Ave. Letlive and Architects, Glass Cloud and I The Mighty

Bunk Bar

1028 SE Water Ave. Protomartyr


1665 SE Bybee Ave. Open Mic

Crystal Ballroom

1332 W Burnside Street Lindsey Stirling


350 W Burnside St. Karaoke from Hell

Dig a Pony

736 Southeast Grand Ave. Bad Wizard

Doug Fir Lounge

830 E Burnside St. People Under The Stairs


1001 SE Morrison St. Jessy Lanza, Saint Pepsi, Magic Fades, Intuitive Navigation DJs

cont. on page 40

Willamette Week MAY 14, 2014




THURSDAY, MAY 15 8pm. All Ages


FRIDAY, MAY 16 9pm. 21 & Over


SATURDAY, MAY 17 9pm. 21 & Over


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

Jade Lounge

2342 SE Ankeny St. Emerson House Band

may 14–20 The Tea Zone and Camellia Lounge

Jimmy Mak’s

510 NW 11th Ave. Vocal Jam with Joe Millward

Kelly’s Olympian

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

Landmark Saloon

800 NW 6th Ave. Blue No More

LaurelThirst Public House

128 NE Russell St. Kishi Bashi

221 NW 10th Ave. The Dan Balmer Trio, Sunset High School Jazz Band 426 SW Washington St. Eye Candy VJs 4847 SE Division St. Sagebrush Sisters 2958 NE Glisan St. Kung Pao Chickens (9 pm); Portland Country Underground (6 pm)

Lola’s Room

1332 W Burnside Punk Rock Mondays

white eagle Saloon

wilf’s Restaurant & Bar

wonder Ballroom

TUeS. May 20 al’s den

303 SW 12th Ave. Garcia Birthday Band

Mississippi Studios

alberta Street Public House

Rock Creek Tavern

analog Cafe & Theater

Star Bar

arlene Schnitzer Concert Hall

3939 N Mississippi Ave. Matt Pond PA, the Lighthouse and the Wailer 10000 NW Old Cornelius Pass Rd. Bob Shoemaker 639 SE Morrison St. Metal Monday

The Know

2026 NE Alberta St. Jeffertitti’s Nile, Psychomagic

1036 NE Alberta St. Sandy Tar String Band, Wayward Vessel

720 SE Hawthorne Blvd. People’s Ink Weekly

1037 SW Broadway Joshua Bell Plays Sibelius

Blue diamond

2016 NE Sandy Blvd. The Gretchen Mitchell Band

The Lehrer

Bossanova Ballroom

The Muddy Rudder Public House

Bunk Bar

8775 SW Canyon Ln. The Jazzshack

8105 SE 7th Ave. Lloyd Jones

722 E Burnside St. Tuesday Blues

1028 SE Water Ave. 1776, Coma Serfs, The Dandelyons

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

duff’s Garage

2530 SE 82nd Ave Spit Tunes

duff’s Garage

2530 SE 82nd Ave Woodlander


2126 SW Halsey St. Paul Basile of Great Elk

Hawthorne Theatre Lounge

Mississippi Pizza

3552 N Mississippi Ave. J.D. Devros & Keld Bangsberg

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

Shaker and Vine

2929 SE Powell Blvd. MPEG

Starday Tavern

6517 SE Foster Road Joe Baker, Buzz Holland

1503 SE Cesar E Chavez Blvd. The Mike Prigodich Trio, Dave Captein and Todd Strait

The Blue Monk

Jade Lounge

The Goodfoot Lounge

2342 SE Ankeny St. Jeeper Creepers Swing Band

Jimmy Mak’s

221 NW 10th Ave. Mel Brown Septet

Lan Su Chinese Garden 239 NW Everett St. Music in the Teahouse

Landmark Saloon

4847 SE Division St. Ready to Roll

Landmark Saloon

4847 SE Division St. Honky Tonk Union

LaurelThirst Public House

2958 NE Glisan St. What About Us, Emily and Jamie of Great Wilderness (9 pm); Jackstraw (6 pm)

Lola’s Room

1332 W Burnside The Roseland Hunters

3341 SE Belmont St. The Pagan Jug Band, Special Guests 2845 SE Stark St. Boys II Gentlemen: A Big Party Band, Featuring Members of Quick and Easy Boys and Excellent Gentlemen

The Know

2026 NE Alberta St. Internal Rot, Pleasure Cross

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

white eagle Saloon 836 N Russell St. Calico the Band


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



315 SE 3rd Ave. Movement Pre-Party: Raiz, Jak & Andrew Boie


The Goodfoot Lounge

wed. May 14 Berbati

19 SW 2nd Ave.

dJ Seleckta yT, Riddim Up wednesday CC Slaughters Nightclub & Lounge 219 NW Davis St. DJ Robb, Trick

dixie Tavern

NS 3rd & Couch St. Hump Night

east end

203 SE Grand Ave. DJ Shauna Faye and Corsh

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

Harlem Portland

220 SW Ankeny St. DJ Jack

Moloko Plus

3967 N Mississippi Ave.

King Tim 33 1/3 Star Bar

639 SE Morrison St. DJ Nico Suave

The Lovecraft

421 SE Grand Ave. Exhume

THURS. May 15 analog Cafe & Theater 720 SE Hawthorne Blvd. Bubble Up

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


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

CC Slaughters Nightclub & Lounge 219 NW Davis St. Hip Hop Heaven, With DJ George


Willamette Week MAY 14, 2014

Crush Bar

1400 SE Morrison St. Cup Pop

Harlem Portland

220 SW Ankeny St. DJ Tourmaline, DJ Valen


1001 SE Morrison St. Club Chemtrail: Jubilee, IBQT, SPF666, Massacooramaan, Commune, Team Paradise

Midnight Roundup

345 NW Burnside Rd. Buck Wild Thursdays with DJ Cutt

Moloko Plus

3967 N Mississippi Ave. Brazilian Night, Nik Nice & Brother Charlie

Star Bar

639 SE Morrison St. DJ Jonny Cakes

The Lovecraft

421 SE Grand Ave. Synthicide

fRi. May 16 CC Slaughters Nightclub & Lounge

219 NW Davis St. DJ Jakob Jay, Sweat Fridays

Harlem Portland

220 SW Ankeny St. Lionsden


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

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. DJ Maximillion

2845 SE Stark St. DJ Aquaman’s Soul Stew

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

The Lovecraft

421 SE Grand Ave. Perforce! Dark Dance Night

The whiskey Bar 31 NW 1st Ave. Caked Up

SaT. May 17 alhambra Theatre

4811 SE Hawthorne Blvd. Andaz: DJs Anjali & The Incredible Kid

CC Slaughters Nightclub & Lounge 219 NW Davis St. Revolution, DJ Robb

east end

203 SE Grand Ave. DJ Action Slacks, DJ Wildman James

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

dig a Pony

736 Southeast Grand Ave. Am Gold

east end

203 SE Grand Ave. DJ Mother of Pearl

fez Ballroom

1035 SW Stark St. Super Soul Sunday Nights

Oaks Park

7805 SE Oaks Park Way 70’s Roller Disco

MON. May 19 CC Slaughters Nightclub & Lounge 219 NW Davis St. Maniac Monday: DJ Robb

Ground Kontrol Classic arcade

511 NW Couch St. Metal Mondays, with Metal Kyle and DJ Shreddy Krueger

The Lovecraft

Moloko Plus

421 SE Grand Ave. Departures, DJ Waisted and Friends


analog Cafe & Theater

3967 N Mississippi Ave. The Central Experience with Gulls & Mr. Peepers 116 SE Yamhill Dimond Saints, Octaban, Barisone, Drewslum

Roseland Theater

8 NW 6th Ave. Lil Jon (DJ Set), Sidestep

Star Bar

639 SE Morrison St. Go French Yourself! with DJ Cecilia

The whiskey Bar

31 NW 1st Ave. Play Saturdays and Jerome Isma-Ae

SUN. May 18 Berbati

19 SW 2nd Ave. Sunday Syndrome

TUeS. May 20 720 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

Star Bar

639 SE Morrison St. DJ Smooth Hopperator

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

The Lovecraft

421 SE Grand Ave. TRNGL, DJ Rhienna

Willamette Week MAY 14, 2014


May 14–20

= 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:


OPENINGS & PREVIEWS Do You Remember These?

Northwest Senior Theatre presents a daytime musical variety show with popular songs from the ‘20s through the ‘40s. Alpenrose Dairy Opera House, 6149 SW Shattuck Road, 2272003. 2 pm Wednesday-Saturday, May 14-17. $5.

Sesame Street Live

You know what this is. Go take your nieces and nephews to learn about the alphabet and equality. Memorial Coliseum, 1401 N Wheeler Ave., 9634400. 6:30 pm Friday; 10:30 am, 2 and 5:30 pm Saturday; 1 and 4:30 pm Sunday, May 16-18. $15-$58.

Veterans Voices

Six war veterans—all students at Portland State—tell true tales of transitioning back to civilian life. Lincoln Hall, Portland State University, 1620 SW Park Ave., 725-3307. 7 pm Wednesday, May 14. Free.

NEW REVIEWS Ain’t Misbehavin

From the opening moments, as flickering footage of Fats Waller dissolves to the casual magic of a slide pianist who is himself soon overtaken by a singingand-dancing quintet, Ain’t Misbehavin’ never quite takes a breath. The beloved revue, swung to best advantage by Stumptown Stages as triumphant capper to the season, strips away the deadened falsities of dramatizations by offering up largely forgotten gems without much comment or context. With a songbook marked by raucous momentum and hardboiled lyricism, the distillation of genre into kinetic cartoon serves as a sort of idealized jukebox musical, which seems both noble and something of a shame. The five performers boast admirable range, tireless energy and the sort of infectious camaraderie to link together mismatched ditties. But the two fleetfooted rogues (Monte J. Howell and Terence Kelley) tend toward an efficient, featureless sheen, while Shanelle Nicole Leonard and Julianne R. Johnson-Weiss’ brief stabs at stylized interpretations seem more awkward disruption of routine than fully realized personae. Successive standards require some variance, sure, but the most effective change of pace should be the type of commitment Deidra Grace Chiverton brings to a bravura “Honeysuckle Rose” that wrings every drop of passion and torment from Waller’s signature ballad, with enough lilting earthiness to do the composer proud. JAY HORTON. Brunish Theatre, 1111 SW Broadway, 800-273-1530. 7:30 pm Thursdays-Fridays, 2 and 7:30 pm Saturdays and 2 pm Sundays through May 25. $28.65-$49.75.

The Jim Pepper Project

An original play by Triangle Productions’ Don Horn, The Jim Pepper Project aims to illuminate the life of Jim Pepper, the late Oregonian who used his Native American heritage to inform his jazz music. Pepper, who died from cancer in 1992 at the age of 50, brought together Native American chants and saxophone in his music— 1969’s “Witchi Tai To” is the only song in the history of the Billboard charts to feature a Native chant—and he lived a rich life beyond his music, the details of which could have made for a compelling play. Unfortunately, this well-intentioned effort actually plays like a spoken-word performance of a Wikipedia page about Native Americans, with very little story about Pepper himself. The actors recite long lists of facts, many of which lack a clear connection to Pepper’s life or


family history. An opening-weekend performance was also dogged by technical difficulties: dropped props, missed beats on musical numbers and frequently forgotten and misspoken lines. As Pepper, M. Cochise Anderson had to serve as something of an onstage prompter. With a more satisfying script and smoother performances, Horn might be able to achieve his stated goal of bringing The Jim Pepper Project to local schools and tribal groups, but there’s a ways to go. LAURA HANSON. Sanctuary at Sandy Plaza, 1785 NE Sandy Blvd., 239-5919. 7:30 pm Thursdays-Saturdays and 2 pm Sundays through May 31. $15-$35.

ALSO PLAYING After the Revolution

The junction of the personal and the political grows knotty in Amy Herzog’s finely observed if not altogether satisfying family drama After the Revolution. It’s the cynical late ’90s in Boston, and Emma (Jennifer Rowe), the daughter of lifelong Marxists and a recent law-school grad, has just learned her grandfather wasn’t the incorruptible hero she’d thought. An activist who was blacklisted for refusing to name names during the Red-baiting era, Joe Joseph, it turns out, was feeding information to the Soviets. This revelation throws Emma, who’s just established a legal fund in Joe’s name to fight social injustice, into a tizzy. But considering that her grandfather was a Jewish intellectual in Greenwich Village, is his espionage really that alarming? Emma’s explosive reaction feels implausible, resulting in stakes that are never more than anemic. It also undercuts the play’s worthwhile questions: What do we do when our childhood understandings are fundamentally flipped? How do we balance idealism and pragmatism? The structure doesn’t help, either. The play has 17 short scenes, separated by overlong blackouts and music so twee you half expect a romper-clad Zooey Deschanel to spring out of the wings and into the tastefully appointed living room. Still, the the performances in this Portland Playhouse production, directed by Tamara Fisch, are absorbing, even if they felt over-rehearsed on opening night. The undisputed standout is the great Vana O’Brien, who plays Joe’s widow, Vera—a character based on Herzog’s own grandmother— as both moral compass and fount of wry humor. REBECCA JACOBSON. Portland Playhouse, 602 NE Prescott St., 488-5822. 7:30 pm WednesdaysSaturdays and 2 pm Sundays through June 1. $25-$36.

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, by Ray Roderick and James Hindman, centers on four bandmates as they reconvene at a benefit concert for their childhood beach resort, which a realestate mogul is threatening to buy up. 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 postgirl 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

Willamette Week MAY 14, 2014

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 Thursdays-Saturdays and 2 pm Saturdays-Sundays through May 18. $20-$38.

Fancy Nancy

Oregon Children’s Theatre presents a musical, best for kids 4 and up, about a girl who dreams of playing a mermaid in the school recital—and is then cast as a boring old tree instead. Newmark Theatre, 1111 SW Broadway, 228-9571. 2 and 5 pm Saturdays and 11 am and 2 pm Sundays through June 1. $15-$30.

The Giver

Oregon Children’s Theatre premiered this adaptation of Lois Lowry’s seminal young-adult novel about a dystopian society back in 2006, and now the company 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.

precision and loose-limbed abandon by Kelly Godell, Orion Bradshaw and Matthew Kerrigan. It’s perhaps most interesting to see this play as a litmus test for what sorts of jokes still have the capacity to shock—and nevertheless prompt laughter. By turning one of the play’s consistent questions—who’s the arbiter of appropriate behavior?— on the audience, Urueta makes his play that much more diabolical, that much more delicious. REBECCA JACOBSON. 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.

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. When she’s told that girls can’t take shop class, Grandma won’t have any of it. 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.

Maple and Vine

Maple and Vine is a disturbingly realistic portrayal of what might happen if you could abandon your iPhone, daily latte and personal vibrator and retreat to a gated community where everyone lives as if it’s 1955. That’s just what happens in Jordan Harrison’s 2011 play, presented by CoHo in an uneven but provocative production directed by Megan Kate Ward. New York City power couple Katha, a publishing executive, and Ryu, a plastic surgeon, find themselves overwhelmed by a late-term miscarriage and the anonymity that comes with life in the big city, so they give it up for a world where she becomes a kitchenbound housewife and he can’t be anything more than a box maker thanks



The Last Five Years

The Last Five Years begins at the end of a love story—but also at the beginning. That might sound like a sappy rom-com tag line, but don’t be mistaken: This twocharacter musical, presented by Portland Center Stage and directed by Nancy Keystone, features separate timelines, one going forward and the other backward, as our couple falls in and out of love (or out of and into love). Written by Jason Robert Brown in 2002, the musical travels forward with Jamie, a successful writer who has just fallen in love with Cathy, and in reverse with Cathy, a struggling actress shattered by the end of her marriage to Jamie. The music easily interlaces moody jazz, upbeat pop and wrenching ballads, leading the audience through snapshots of interactions and emotions. One moment, we ache at Cathy’s hope-tinged sadness as she sits with Jamie and tries to fix their problems. At another, we see a wide-armed Jamie dancing on the table as he confesses he’s going to ask Cathy to move in with him. It’s an interesting parallel to witness such tonally varied scenes one after the other, and it allows the audience to understand both of the characters’ stories without choosing sides. Though it’s occasionally disappointing that the characters don’t really interact with each other—their timelines intersect only once—Merideth Kaye Clark and Drew Harper give wonderfully natural performances, and The Last Five Years allows for a simultaneously bright and heartbreaking look into the development and failure of a relationship between two everyday people. KAITIE TODD. Gerding Theater, 128 NW 11th Ave., 4453700. 7:30 pm Tuesdays-Saturdays, 2 pm Saturdays-Sundays and noon Thursdays through June 22. $30-$60.

Learn to Be Latina

Learn to Be Latina has a little something for everyone. A Missy Elliott dance routine featuring a backflip that transitions into twerking. A muffeating puppet. AIDS jokes. A tender lesbian love story. A Twin Towers pantomime. Subtle this is not. But it’s precisely this balls-to-the-wall (including some literal balls, to the walls of a restroom stall) offensiveness that makes Enrique Urueta’s comedy work. Brassy and boisterous with plenty of bombass dance sequences, Learn to Be Latina follows an aspiring young pop star named Hanan (Nicole Accuardi) who’s told by the record label that she’s “the wrong kind of brown.” So the LebaneseAmerican Hanan enters identity boot camp to refashion herself as a bootyswiveling, “arriba!”-whooping Latina diva. Urueta is a snappy writer, but he trades in a few worn stereotypes, and his stabs at poignancy miss the mark. That means Hanan’s budding lesbian relationship proves neither steamy nor stirring, and the play ends with an overly earnest redemption monologue. But these Milagro performers, under Antonio Sonera’s confident direction, are so fully committed that the play becomes a showcase for their myriad talents. This is especially true for the trio of record-company functionaries, played with alternately militaristic

cut to tHe cHaise: adam syron and chrissy Kelly-Pettit.

PRIVATE LIVES (BAG & BAGGAGE PRODUCTIONS) For those who missed out on spring vacation, Private Lives is a delightful escape. The comedy of manners, written in 1930 by the legendary Noël Coward, is an absurd tale told through the peephole of a bedroom door—think two hours of dirty laundry being hung out to dry while on holiday in France. This production, at Hillsboro’s Bag & Baggage, keeps things period-appropriate, with stiff dinner jackets for the gents and red lipstick for the ladies. Adam Syron plays fast-talker Elyot Chase, who’s on honeymoon with his new bride. We soon learn that Elyot’s ex-wife, Amanda (Chrissy Kelly-Pettit), is in the neighboring villa—and also on honeymoon. The two new couples are ill-matched: “I should like you to respect me as your wife!” declares Elyot’s freshly betrothed. “I should like to cut off your head with a meat ax,” he dryly replies. These pairings crumble as Elyot and Amanda fall back in love, their crazy romance reignited with the same passion and obstinacy that ended their union the first time. Kelly-Pettit commands attention as the wild Amanda, who ends most conversations with a profession of love or by throwing a pillow across the room. With highly theatrical elocution, Syron’s performance pays homage to Coward himself, who played Elyot in the play’s original production. All grand flourishes of his dressing gown, limp wrists and perky stride, Elyot’s flamboyance makes the amour fou all the more entertaining. B&B artistic director Scott Palmer has deft command of set details, too, as when Elyot and Amanda childishly bicker in her Paris apartment, shoving a velvet chaise lounge back and forth. This ineffective to-andfro sums up their entire relationship: They will never truly be over one another, but they’re too volatile to last longer than a honeymoon. They nitpick endlessly, never resolving anything and living off the drama. Surrounded by exotic birdcages, dressed in silk robes and consumed by drinking, fighting and making love, Elyot and Amanda are the picture of upper-class excess and misadventure. As we become wrapped up in their silly spats, it’s easy to reflect on our contemporary obsession with celebrity—particularly our conviction that “they’re just like us!” Cattier than drag queens and far wittier than the Kardashians, this spectacle is just as addictive and much more satisfying. LAUREN TERRY. Throwing pillows, maybe chopping off heads.

see it: Private Lives is at the Venetian Theatre, 253 E Main St., Hillsboro, 693-3953. 7:30 pm Thursdays-Saturdays and 2 pm Sundays through May 30. $26-$30.

May 14–20

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.

Show Boat

Considering it was first brought to the stage in 1927, Show Boat addresses some controversial questions, including interracial marriage, gambling addiction and race relations in the South. But like any good musical comedy, it manages to tie up the messy loose ends in a colorful bow, and with a high-stepping musical number. The Jerome Kern-Oscar Hammerstein show also contributed some beloved songs to the musical theater catalog, including “Ol’ Man River” and “Can’t Help Lovin’ Dat Man,” which this Lakewood Theatre Company cast performs capably enough. A few voices stand out, namely Jennifer Davies’ crystalline soprano as Magnolia Hawks and Geoffery Simmons’ soulful bass as Joe. Spanning four decades, the show’s ebullient choreography serves as a social timeline as the characters cakewalk, fox trot and chicken scratch their way through failed marriages and racial tensions. The production value is high, too, especially the elaborate costumes with top hats, ruffled bloomers and bustles aplenty. It all may seem a little ridiculous and antiquated in presentation, but the underlying, universal metaphor of being swept through life on a current we cannot control is what keeps Show Boat afloat after all these years—well, that and all those high kicks. PENELOPE BASS. Lakewood Center for the Arts, 368 S State St., Lake Oswego, 635-3901. 7:30 pm Thursdays-Saturdays, 2 pm some Sundays and 7 pm some Sundays through June 8. $36.

States of Emergency

Last season, Defunkt presented two plays in repertory that explored themes of homosexuality. Director Jon Kretzu returns for two more thematically linked shows, this time centering on our reactions to violence and barbarity: Martin Crimp’s Fewer Emergencies, a triptych of grim tales about failed relationships and schoolyard massacres; and Betty’s Summer Vacation by Christopher Durang, a black comedy about a group of guests—including a gay serial killer, a flasher and a horny cad—at a beach house. The Back Door Theater, 4319 SE Hawthorne Blvd. 7:30 pm ThursdaysSundays through June 14 (no show May 11 or June 6); see for complete schedule. $15-$25 sliding scale Fridays-Saturdays; “pay what you can” Thursdays and Sundays.


You might know Madrigal as the Daily Show correspondent who’s orchestrated intolerance-offs between Mississippi and Alabama to determine which state was more homopho-

bic (turns out both love the gays!), but he’s also got a goofy brand standup in which he riffs on day laborers, living with a pregnant woman and how to be a better Mexican. Helium Comedy Club, 1510 SE 9th Ave., 888-643-8669. 8 pm Thursday and 7:30 and 10 pm FridaySaturday, May 15-17. $15-$32.

Comedy Grab Bag

This installment of the freewheeling comedy show—which brings together standup, sketch, video shorts and improv—has a courthouse theme, which probably means lots of Tonya Harding and OJ Simpson jokes. Improv group the Baguettes perform, as well as guest monologist Leon Anderson and ever-funny comic Amy Miller. Action/Adventure Theatre, 1050 SE Clinton St. 8 and 10 pm Friday and 8 pm Saturday, May 16-17. $6-$8.


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

Cute Boyz Club

Portlander Paul Schlesinger premieres a new monthly comedy show, a narrative series about a gaggle of adorable seventh-grade boys (played by Schlesinger, Jason Traeger and Emerson Lyon) and their friends. In this first episode, one of the boys can’t attend the big school dance. Alicia McDaid guest stars as the school therapist, while local comics Zak Toscani and Bri Pruett and Los Angeleno Mikey Kampmann provide standup sets. Valentine’s, 232 SW Ankeny St., 248-1600. 10 pm Tuesday, May 20. Free.

Diabolical Experiments

Improv jam show featuring Brody performers and other local improvisers. Brody Theater, 16 NW Broadway, 2242227. 7 pm every Sunday. $5.

Electric Dreams

StageWorks Ink, the company behind such raucous, irreverent fare as Varsity Cheerleader Werewolves LIVE From Outer Space and Flash Ah-Ahhh!!, presents a stage adaptation of a little-seen cult film about a computer that comes to life—and then competes with its owner for the affections of the dreamy cellist next door. It’s a fantastical musical comedy dense with ‘80s tunes (think Culture Club and Daft Punk’s Giorgio Moroder), performed with a live band. Funhouse Lounge, 2432 SE 11th Ave., 841-6734. 7 pm ThursdaysSaturdays (and 2 pm Sunday, May 18) through May 24. $12-$18.

Fly-Ass Jokes

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

Friday Night Fights

Competitive improv, with two teams battling for stage time. Curious Comedy, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 10 pm every first and third Friday. $5.

Late Night Action With Alex Falcone

On this episode of Alex Falcone’s Portland-centric talk show, he’s got Kickstarter founder Andy Baio on the bill, as well as Jean MacDonald of AppCamp4Girls and local comedian Zak Toscani. Bri Pruett, as ever, provides comic support. Secret Society Ballroom, 116 NE Russell St. 9 pm Saturday, May 17. $10-$15.


Late-night comedy show with improv, sketch and standup. Curious Comedy, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 10 pm every Saturday. $5.

Open Court

Team-based, long-form improv open to all. Curious Comedy, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 8 pm every first and third Thursday. $5.

Show Us Your Wits

This installment of the twice-monthly

comedy show features headliner Jonah Barnes, with opening sets from Whitney Street, Randy Mendez, Lauryn Petrie and Dan Weber. Andie Main hosts. Jack London Bar, 529 SW 4th Ave., 228-7605. 8 pm Saturday, May 17. $5.

Whiskey Tango

Portland’s all-dude improv troupe— comprising Gabe Dinger, Jed Arkley, Leon Anderson, Nathan Loveless and Samuel De Roest—hits the Helium stage. Helium Comedy Club, 1510 SE 9th Ave., 888-643-8669. 8 pm Wednesday, May 14. $7-$12.

DANCE 19 Almost Twenty

Decades be damned—Conduit, the Portland community studio space, isn’t waiting until its 20th birthday to hold a benefit performance. Contemporary dancers close with the nonprofit, including Mary Oslund, Gregg Bielemeier, Tere Mathern and Dora Gaskill, contribute abstract work for the show, a mix of meditation and moxie. Alexander Dones and his group Radical Child, which he calls the “Occupy Wall Street of performance art,” dive into metaphysical existentialism. Carla Mann shows two films, one featuring Jae Diego and the other featuring Northwest Dance Project’s Ching Ching Wong. The show starts at Director Park and moves to the Conduit Studio. Director Park, 815 SW Park Ave. 7 pm Friday-Saturday, May 16-17. $20-$100.

Biggler Burlesque Finale

In memory of Burk Biggler, the little-man stripper and burlesque producer who died in March from asthma complications, this burlesque show will raise money for the Starlight Foundation for children’s health. Biggler was known for his “staple” act, in which the audience stapled money to his body. At this show, all money stapled to a cardboard poster will go toward the foundation. Shanahan’s Pub &Grill, 209 W McLoughlin Blvd., 7351440. 9 pm Saturday, May 17. Free. 21+.

modern piece. BodyVox Dance Center, 1201 NW 17th Ave., 229-0627. 8 pm Saturday, May 17. $20-$25.

Deliberate Movement Theatre and Wobbly Dance

In Slumming Angel, Deliberate Movement Theatre director Ed Alletto says he takes a “cubist” approach to time, in which events aren’t linear but happen as a blur of thoughts. Those thoughts are seen through the nameless protagonist as she adopts roles in American culture: a child, a teen, an adult. Clothing comes on and off. A man hits golf balls. People dance with furniture. The nine performers have a mix of dance, theater and performance art backgrounds, and they’ll pull audience members into the show, too. The program is also split with Wobbly Dance, a duo of wheelchair users performing a love-hate piece that incorporates medical tubing. The Headwaters, 55 NE Farragut St., No. 9. 7:30 pm Fridays-Saturdays, May 16-17, 30-31; 2 pm Sundays, May 18 and June 1. $12-$15.


The bi-monthly burlesque competition show has stripteasers shimmying to songs picked by the audience. Three performers compete, and should one not advance, she goes to a sudden death round called “Rhinestone Redemption.” This month’s theme: disco. Baby LeStrange also performs as reigning queen. Analog Cafe, 720 SE Hawthorne Blvd. 8 pm Tuesday, May 20. $10.

Miss Kennedy’s Theater of Burlesque

Whovians and Monty Python fans rejoice—burlesque goes British. This installment of theme queen Alex Kennedy’s show will have Nina Nightshade performing as the TARDIS and Sofia Flash as a Knight who says “Ni,” among other performances. For

an American television break, Baby LeStrange dresses as Tina Belcher and performs a stocking pull, which is guaranteed to be everything. Dante’s, 350 W Burnside St., 226-6630. 9 pm Sunday, May 18. $12 in advance, $15 at the door. 21+.

Northwest Classical Ballet

The Vancouver, Wash., ballet company puts on a full-lengthSleeping Beauty under director Maricar Drilon. Mountain View High School, 1500 SE Blairmont Drive, Vancouver, 360-574-8386. 2 pm and 7 pm Saturday, May 17. $15.

Okaidja Afroso and Shokoto

A guy leaps over a row of tall drums and flings a cloud of powder in this air. As it falls, he spins and moves his feet in a flurry, as the drummers from Okaidja Afroso’s band Shokoto play him on. Afroso lives in Portland but is from Ghana, and while his music is largely based in Ghanaian tradition, he expands on that sound with his instruments—guitars, xylophones, various percussion—while dancers animate their high-energy sound. Alberta Rose Theatre, 3000 NE Alberta St., 7196055. 7:30 pm Thursday, May 15. $15 in advance, $18 at the door, $10 youth.

Peep Show

Drag queen Artemis Chase asks local performers to freak out the audience as much as possible—think selfcastration and masturbating nuns. This month’s show has burlesque, boylesque, drag, some circus stuff and queer hip-hop group Bomb Ass Pussy. The Analog, 720 SE Hawthorne, 4328079. 9:30 pm Wednesday, May 14. $7 at the door, $12 reserved seating. 21+.

For more Performance listings, visit


to his race. But why? Harrison fails to investigate why the couple would make such an extreme choice, and this jarring decision is aggravated by Heath Hyun Houghton and Melissa Schenter’s selfconscious and stagy portrayal of their characters’ depression, with Houghton at one point confusing angry, full-body shaking for the paralyzing grief his lines suggest. Interestingly, though, the actors’ self-conscious staginess works in the second act: Once they acknowledge the ridiculousness of the decision to live in an artificially halted world, they’re freer to connect with the audience. There’s plenty else here to redeem the production, including the charming period-appropriate dialogue (“Oh, Dean, sometimes you just razz my berries”), Spencer Conway’s captivating turn as a man who becomes heartbreakingly aware of how living in the gated community has changed him, and the overarching examination of how to live purposefully. LAURA HANSON. CoHo Theater, 2257 NW Raleigh St. 7:30 pm Thursdays-Saturdays and 2 pm Sundays through May 24. $15-$25.



The monthly boy-and-girl burlesque show has dancing stripteaser Tod Alan and the diva-glam Isaiah Esquire. They’re joined this month by Seattle’s Queenie O’Hart, who’s been called “musical theater with tits,” and sideshow variety act Doc Tetanus, whose recent show antics include picking up a bowling ball with a chain attached to his nipples. Crush, 1400 SE Morrison St, 235-8150. 9:30 pm Saturday, May 17. $10. 21+.

Classical Ballet Academy

The school of dancers ages 8-18 puts on two shows. An original full-length ballet by school director Sarah Rigles set to music by Saint-Saens, The 12 Dancing Princesses is based on a Brothers Grimm tale in which the princesses, in pancake tutus, sneak away every night to dance. The dancers also perform The Phantom of the Opera, a more contemporary show for modern and jazz dancers. Both are good introductions to dance for kids. Some of these dancers are starting their dance careers—Alex Stewart, 17, was recently asked to audition for Newsies on Broadway. Lincoln Hall, Portland State University, 1620 SW Park Ave., 725-3307. 8 pm Friday, May 16 and 6 pm Sunday, May 18 [Phantom]; 2 pm Saturday-Sunday, May 17-18; 6 pm Saturday, May 17 [Princesses]. $12-$20.

Darjeeling Dance Collective

Eight women of varying belly-dance experience got together a year ago under the direction of belly dancer Ruby Beh, with the goal of pushing themselves in the craft. Many were familiar with usual tribal and American cabaret styles, but they worked on pieces influenced by jazz, 1950s Egypt, classical Persian dance and more. They call the resulting show No Limits: A Transformative Year of Belly Dance, which includes a rule-breaking mix of traditional and modern choreography, as well as character pieces. They even—gasp!—use finger cymbals in a

BATTEN DOWN THE HATCHES: You can’t blame Bill Rauch for wanting to spice up The Pirates of Penzance. The 1879 Gilbert & Sullivan operetta is a frothy affair with plenty of rascally swashbucklers and dewycheeked maidens, but it’s been so widely produced—and so widely referenced in pop culture—that it’s natural the Oregon Shakespeare Festival artistic director would want to give it his own stamp. This Portland Opera staging is a reworked version of Rauch’s widely praised 2011 production in Ashland, and as much as it’s a whirling, crowd-pleasing showcase of lavish costumes, clever stage props and fizzy lyricism, it’s also proof of the pitfalls of selectively updating a 135-year-old show. Some timing and amplification stumbles aside, it’s frustrating to see successful parodic twists—as when the Pirate King (a great Daniel Okulitch) briefly adopts the hip-swiveling, twangy-voiced, lip-curling swagger of a certain other king—lurch into gags that thud like an anchor dropped on the deck. Take the ill-advised bit of break dancing from the police sergeant, or an exclamation of “Google it!” that might have been funny in the age of Netscape but today rings stale. Yet there is a tenderness here, with the song “Hail, Poetry” played for resonance rather than satire. As the Pirate King sings, “For what, we ask, is life without a touch of poetry in it?” Not a lot—but it would be so much more without clumsy attempts at the worm. REBECCA JACOBSON. SEE IT: The Pirates of Penzance is at Keller Auditorium, 222 SW Clay St., 241-1802. 7:30 pm Thursday and Saturday, May 15 and 17. $48.45-$174.70. Willamette Week MAY 14, 2014



MAY 14–20

= 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:

pools of negative space. Mangold renders the shapes in slate blues and gunmetal tones. Refreshingly simple in their compositions, the works exude quiet serenity. Through May 31. Elizabeth Leach Gallery, 417 NW 9th Ave., 224-0521.

Melinda Stickney-Gibson: New Paintings From the Woods

In the serenity of her studio in rural upstate New York, Melinda Stickney-Gibson creates complex and varied abstract paintings. By alternating between wet-looking, heavily varnished paint and matte, chalky surfaces, she can create a push-pull tension between foreground and background. Her painting on paper, Thinking It, d emonstrates how effectively she integrates thick brushwork with light splatters. This sonata of contrasts continues in her counterposition of rich green and maroon tones against rusty reds the hue of dried blood. The end effect is a striking sense of equipoise. Through May 31. Butters Gallery, 520 NW Davis St., second floor, 248-9378.

Renée Zangara: Behemoth


Albert J. Winn: My Life Until Now

Since 1990, when he was diagnosed, photographer Albert J. Winn has been living with AIDS. That’s a long time to grapple with a devastating disease, but Winn turned his diagnosis into an ongoing series of self-portraits. As he explains in his artist statement, he has always had a simple goal: to tough it out and live long enough to die of something other than AIDS. Going on a quarter-century afterward, he has succeeded in doing that—he now has a potentially fatal form of cancer. Notably, the self-portraits are remarkable not so much for their chronicling of the ups and downs and medical indignities of AIDS, but for the way they show the simple passage of time itself. We see Winn travel from middle age, wearing bad, leftover-fromthe-1980s eyeglasses and a bad, leftover-from-the-’80s comb-over, to a bald, gauntly beautiful man in early old age. This is a fearless, haunting body of work. Through June 1. Blue Sky Gallery, 122 NW 8th Ave., 225-0210.

Andy Vogt: Fossilized

San Francisco-based artist Andy Vogt turns plywood and other salvaged wood into the stuff of sculptural perfection. But this is no polished, gleaming perfection— rather, a weathered, beaten-down beauty. He arranges strips of wood into dynamic, delightful compositions, as if he were deconstructing Sol LeWitt’s cubes and reconfiguring them to decorate a New England barn. The show’s most striking work, Sustained Decay, seems a direct translation of the nimbus beams radiating down on Bernini’s masterpiece Saint Teresa in Ecstasy. To see such divine light rendered as old wood is a revelation. Another thought-provoking piece, Interior End, is a beveled frame, as might fit a mirror, with nothing but blank wood where the glass would be. It’s hard not to view it as a metaphor for the quest for meaning in life: We peer, we seek, but there is no refl ection, only implacable, decayed wood. Through May 31. Hap Gallery, 916 NW Flanders St., 444-7101.

Anna Von Mertens: Above, Between and In

Anna Von Mertens’ works look like paintings, but they’re actually made of hand-dyed cotton. She takes her inspiration for these gorgeous, saturated compositions from three different sources: juices (as in the piece Kale, Carrot, Apple), psychic “aura readings” (Me and Chris), and the aurora borealis. With their loose, intuitive shapes and patterns, the works recall the


Willamette Week MAY 14, 2014

prints and paintings of the late Helen Frankenthaler. The aurareading pieces are presented in a split-screen format, with amorphous blobs sitting side by side. It’s a striking presentation, made even more seductive by the bold color palette. This artwork looks good enough to eat. Through May 31. Elizabeth Leach Gallery, 417 NW 9th Ave., 224-0521.

Johannes Girardoni: Redacted

There’s a disarming simplicity to Johannes Girardoni’s sculptures. His Peak Light Extractor— Yellow/Pink is a long block of resin attached to a long wood-and-metal shelf. There’s an LED light inside it. And that’s basically it—yet it’s one of the most refi ned sculptures you’re likely to see in Portland this year. Likewise, his Diptych-Carbon Black is half wood, half beeswax. It looks like it should be the door to a beekeeper’s apiary. The elegance of these sculptures stands in contrast to the artist’s fussy, process-intensive photo prints, which are digitally manipulated to remove visual information and text, thereby vexing the viewer’s attempts to comprehend them. Unlike the sculptures, the prints come across as precious, overthought and arid. Through May 31. PDX Contemporary Art, 925 NW Flanders St., 222-0063.

Jordan Rathus: Fernweh (Farsickness)

Brooklyn, N.Y., artist Jordan Rathus is a multimedia dynamo. Her invigorating show consists of two short fi lms, each displayed in its own installation, plus photographs and a souvenir calendar. All the works have themes of travel and the tourism industries, and while the artist’s perspective is satirical, it’s never snide. Rathus is laughing with clueless tourists, not at them, and some of her humor is self-directed. In the aforementioned calendar, she poses provocatively on a furblanketed bed in Finland, alternately seducing the camera with come-hither glances and mocking herself with dorky expressions. Even though we realize the shots are self-consciously cheesy, we can’t help but fi nd them alluring. In a triumph of post-ironic self-deprecation, the artist shows that the joke is not only on her, but on the rest of us as well. Through May 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, fl oat amid

Renée Zangara’s last show at Nine was all about backyard chickens. This time around, she’s turned over the fl oor to Romeo, her pet Rottweiler. He’s a big dog, ergo the show’s title, and Zangara renders him in various settings as he romps and lazes about. As in her chickenthemed paintings, Zangara’s technique tends to be more aristocratic than her subject matter. The best part of Swimming Lessons is not the dog, but the grass, trees and other vegetation, which she renders with an exhilarating melding of staccato lines; arching, lyrical passages; and luxuriant surfaces. If she had lived in the era of Rococo, Zangara might have given Fragonard a run for his money, painting portraits of noblemen in silk breeches and their pompadoured paramours; today, her brand of virtuosity is out of style, and she’s left painting the roosters and the dog out back. But my, my, what fl air in those feathers and all that fur! Through June 1. Nine Gallery, 122 NW 8th Ave., 227-7114.

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

If you have kids, you’ve gotta take them to Stephan Soihl’s show, which has turned Blackfi sh into a hybrid of a science museum and an art museum. Soihl’s sculptures have motors, gears, levers, and other moving parts, some hidden, most visible. Some pieces hang like mobiles from the ceiling, rotating when their tiny electric fans are activated by microchips. They have miniature speakers attached, and at random intervals they make chirping noises that sound like robotic birds or R2-D2. Some sculptures contain colored oils, which slowly fi ll and empty clear plastic containers as the pieces tilt up and down. In our increasingly didactic visualarts culture, there aren’t a lot of art exhibitions that are just plain unadulterated fun, but goshdarnit, this is one of them. Through May 31. Blackfi sh Gallery, 420 NW 9th Ave., 234-2634.

Works in Clay

PDX’s Window Project is all about clay this month. You really want to hate Saya Moriyasu’s diminutive ceramic dogs, with their buggedout eyes and exaggerated contours, but they’re just too damned cute not to love. Meanwhile, Anthony Sonnenberg’s ceramic candelabrum, encrusted with a metallic fi nish, has an odd blend of polish and crudity, recalling Nicholas Nyland’s similarly bizarre candelabra at last year’s Contemporary Northwest Art Awards . Through May 31. PDX Window Project, 925 NW Flanders St., 222-0063.

For more Visual Arts listings, visit


May 14–20

= 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, MAY 14 William Flynn

Though penned as a novel, William Flynn’s new book, Direct Action, could easily have come straight from the headlines. With the support of three Westerners, a small rebel army on the island of Sumatra battles the military-backed corporations ravaging the land for palm oil. It’s like Walden as interpreted by Clive Cussler. Hollywood Public Library, 4040 NE Tillamook St., 988-5391. 6-7:30 pm. Free.

David Cay Johnston

When adjusted for inflation, most Americans are now earning what was the average income in 1966. Shit. This and other disparaging revelations comprise Pulitzer Prize-winning journalist David Cay Johnston’s new book, Divided: The Perils of Our Growing Inequality. Powell’s City of Books, 1005 W Burnside St., 2284651. 7:30 pm. Free.

THURSDAY, MAY 15 Stacey D’Erasmo

In her debut novel, Wonderland, Stacey D’Erasmo follows the comeback of once-idolized rock star Anna Brundage after a seven-year hiatus. D’Erasmo is joined in conversation by Spinanes singer-songwriter Rebecca Gates, with author and screenwriter Jon Raymond serving as moderator. Powell’s City of Books, 1005 W Burnside St., 228-4651. 7:30 pm. Free.

MONDAY, MAY 19 Poetry Reading

Having published six chapbooks, one full-length collection of poetry and with her work published in more than 400 journals and anthologies, poet Marjorie Power, it’s safe to say, knows what she’s doing. Joining her in a reading will be Oregon native David Pickering, who was recently featured at the Silverton Poetry Festival. Glyph Cafe & Arts Space, 804 NW Couch St., 719-5481. 7 pm. Free.

TUESDAY, MAY 20 Unchaste Readers

With heartbreaking intimacy and dark humor, Ariel Gore’s new memoir, The End of Eve, follows her experience caring for her ailing, and not entirely sane, mother. Gore will read from the book as she takes the stage alongside many talented authors for the Unchaste Readers series, including Nina Rockwell, Emily Newberry, Jenny Hayes, Moe Bowstern, Dena Rash-Guzman, Wendy Chin-Tanner and Margaret Alysia Garcia. Jack London Bar, 529 SW 4th Ave., 228-7605. 7:30 pm. Free. 21+.

Steven Galloway

Combining the real-life intrigue of historical fiction and the pure awesomeness of magic, Steven Galloway (The Cellist of Sarajevo) explores the life and death of Harry Houdini and how his fate became inextricably linked with the unknown man who ultimately killed him—twice—in his new novel, The Confabulist. Powell’s City of Books, 1005 W Burnside St., 228-4651. 7:30 pm. Free.

For more Books listings, visit



NO SUCH THING AS “OUT OF E-PRINT” This week, Portland authors Cheryl Strayed, Lidia Yuknavitch and Ursula K. Le Guin, plus Bitch Media Editor Kjerstin Johnson, will gather at the Powell’s in Beaverton to discuss their favorite books that were out of print before being revived by Pharos Editions. It should be a great talk— Three things you should know and also a reminder of the about out-of-print books. positive side effects of the digital publishing disruption so often depicted as a menace to readers and authors. 1. “Out of print” is quickly becoming as antiquated as “floppy disk” as literary agencies begin to publish more and more backlist titles in digital format. Although publishers will stop printing unsuccessful books, we’re entering an era when there’s no such thing as “out of print,” since most books are becoming available on e-readers. Almost all books first published after 2007, when Amazon’s Kindle was introduced, are simultaneously released in digital format since it takes only a few minutes of formatting to convert a book from the author’s original document to an e-book. However, if a book was published before e-readers, or computers, and neither the publisher nor the author has a digital copy saved on a hard drive, the situation becomes more complicated. 2. It’s often authors and literary agencies, not publishing houses, that are releasing backlist books for e-readers. E-readers are changing the nature of the publishing industry because they’re changing the relationships between literary agencies and publishing houses. Old publishing contracts give the rights to a book back to its author and agent when the publishing company chooses to stop publishing physical editions of the book. However, as publishing companies see literary agencies and authors profit from releasing backlist titles for e-readers, publishers are seeking to retain the rights to digital publishing in perpetuity. Agents, who get a share of the author’s profits, want to keep that right for their clients. Behind the scenes, agents and publishing houses are both consulting attorneys on how to keep digital publishing rights for themselves and retain the publishing rights in some unforeseeable future format. Negotiations are taut, as neither side knows precisely what it is fighting for. 3. Interns are the silent heroes of this digital revolution. The people doing the mind-numbing labor of the digital revolution are frequently the interns at literary agencies. When the agent doesn’t have a digital copy of a book, a young publishing hopeful will be assigned to create the digital copy. In other words, the intern will copy-edit the book after it is scanned and converted into a Word document, looking for mistakes like “amd” instead of “and” or “bve” instead of “love.” If the agency doesn’t have access to such a scanner, an intern might have to retype the whole book word for word, careful not to damage the literary agent’s only remaining copy, for fear of ending her publishing career because of one torn book spine. How do I know this? I was one of those interns. Which is why I’ll rejoice the day the vast library of backlist titles—if not for the history of the published word, then at least covering the history of literary agencies—is finally in digital format. In the meantime, go ahead and romanticize this soon-to-be-obsolete phenomenon. LAURA HANSON. GO: Cheryl Strayed, Lidia Yuknavitch, Ursula K. Le Guin and Kjerstin Johnson will speak at Powell’s Books at Cedar Hills Crossing, 3415 SW Cedar Hills Blvd., Beaverton, 228-4651, on Thursday, May 15. 7 pm. Free.










Little Dragon and Red Bull are hosting a listening event and rubberband car race contest in celebration of their latest album, “Nabuma Rubberband”, here at Music Millennium on Friday May 16th at 6pm. There will be a contest for special prizes and a chance to win two flights and two tickets to see Little Dragon at Bonnaroo. Complimentary pizza & beverages will be provided. Check details at NABUMARUBBERBAND.COM on how to build your rubberband derby car.


The Duffy Bishop Band is without a doubt one of Portland’s greatest treasures, and they’ll be debuting their newest album “Find Your Way Home”. With scores of awards and four of the finest CD’s ever to come out of the Rose City, Duffy Bishop and her guitarist/songwriter husband Chris Carlson, have become one of the most popular Northwest acts at festivals and nightclubs around the nation. Wrenching and raw, gentle and tender, Duffy’s blues takes you on an intensely personal journey home.

LIVE PERFORMANCE NATHANIEL RATELIFF SUNDAY, MAY 18TH @ 3 PM Singer-songwriter Nathaniel Rateliff has made his way from modest means in Hermann, Missouri to the international stage. His latest studio effort, “Faliing Faster Than you Can Run”, has been a long time in the making. Consisting mostly of songs Rateliff penned on the road over several years, the album is never lacking on intensity— Rateliff’s forceful vocals lend a certain kind of honestly to any performance, and this set of recordings is no different. His work has been praised by Led Zeppelin front-man Robert Plant who called Rateliff’s music “fragmented and poignant.”

3158 E. Burnside / 503-231-8923 / Willamette Week MAY 14, 2014


may 14–20 REVIEWS

= 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.

The Amazing Spider-Man 2

B- When Spider-Man first swung into

cinemas in 2002, his was a simpler world. But in a post-Avengers landscape, gee-whiz goofball Peter Parker has been deemed outdated, which means that in The Amazing SpiderMan 2, he’s not just sidled with great power and responsibility. 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. Actionwise, that’s great. Andrew Garfield, all spindly limbs and corny one-liners, brings joy to the eye-popping action. Matching him is Emma Stone, whose Gwen Stacy is less a damsel in distress than a Watson to Garfield’s web-slinging Holmes. Alas, the flaws are also bigger, among them Peter’s emo angst and wedged-in plot elements that reek of franchise-building. 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, the effects and imaginative action would carry the film. But as it is, this is a placeholder that frustrates as much as it entertains. PG-13. AP KRYZA. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Oak Grove, Division, Lloyd Center, Movies on TV, Sandy, St. Johns.

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 a prestigious spelling bee. 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 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 lowhanging fruit, but Bateman still does a fine job of picking every ripe piece. MICHAEL NORDINE. Laurelhurst.


A nature documentary about an Alaskan family of the titular large fuzzy creatures. G. Cedar Hills, Eastport.


A Fans of Downton Abbey and 12

Years a Slave alike will swoon over this period drama, one hand clutching a Kleenex and the other clenched in a fist of solidarity. Belle (a luminous Gugu Mbatha-Raw), the illegitimate daughter of a slave and a Royal Navy captain, is sent to live with her father’s aristocratic uncle in rural England. Raised in relative isolation as one of their own, we meet up with Belle as she embarks upon the drama of Victorian-era matchmaking—a process made complicated by tensions over her skin color. Eventually Belle finds herself with two suitors: a handsome if pompous aristocrat whose family is more attracted to Belle’s generous inheritance than to the girl herself, and humble lawyer John Davinier, who’s engaged in a passionate legal crusade to abolish slavery. Belle’s cousin Elizabeth (Sarah Gadon) is trying to find a match of her own, and with her boy-craziness, she serves as an excellent foil for Belle’s shrewd maturity. Based on a true story, Amma Asante’s film is a serious exploration of race, gender and civil rights, but the Jane Austen clothing means there’s enough fan-fluttering drama to please the period-romance crowd. R. GRACE STAINBACK. Fox Tower.


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. Writer-director Jeremy Saulnier 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 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). 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. Eastport, Clackamas, Movies on TV.

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, The Winter Soldier wades through thankless cameos and interminable exposition. 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. PG13. JAY HORTON. Cedar Hills, Eastport, Clackamas, Forest, Oak Grove, Division, Lloyd Center, Movies on TV, Sandy.


A Like a naturalist’s war cry,

DamNation calls for the destruction of America’s dams, which co-directors Ben Knight and Travis Rummel assert have wreaked havoc on this nation’s natural resources. The documentary opens with a history lesson that charts the rise of dams—more than 75,000 built in less than a century—as a government-touted feat of engineering. This gives way to an exploration of their effect on the environment. Knight and Rummel focus mostly on salmon, whose migratory cycles are disrupted by dams, but also argue that cultural and spiritual degradation occurs when humans attempt to thwart Mother Nature. Portland’s backyard gets its share of attention: Bonneville Dam is called out for its ethically question-

Willamette Week MAY 14, 2014

FuTuRE LOvE: Simone Edwards in The Abominable Crime.

QUEER THE WAY QDOC WANTS TO MAKE YOU THINK. AND PROBABLY CRY. Eight years in, the Portland Queer Documentary Film Festival remains the only one of its kind in the country, with no sign of slowing. The 11 films this year range from political rallying cries to idiosyncratic character portraits to examinations of forgotten history. Here are five highlights. The Case Against 8 [DIRECTORS ATTENDING] Charting the five-year effort to overturn California’s ban on same-sex marriage, Ben Cotner and Ryan White’s documentary is an emotionally stirring look at a complicated legal battle. Cotner and White rely on talking-head interviews, but there’s none of the drudgery you might expect from such an approach. The power lies in the personal stories of the four plaintiffs as they journey from suffering silently to arguing for the legitimacy of their love in front of the country. LAURA HANSON. NW Film Center’s Whitsell Auditorium. 7:30 pm Thursday, May 15. The Abominable Crime [SUBJECT ATTENDING] Micah Fink’s affecting call to action follows two Jamaicans who flee their country’s homophobic laws to seek asylum abroad. Human rights activist Maurice Tomlinson has trouble balancing his public and private lives, but it’s single mother Simone Edwards who’s the film’s emotional core. Edwards survived an anti-gay shooting five years ago, and fearing that another attempt might render her daughter an orphan, she fled alone to the Netherlands. In tearful scenes, she tries to parent over the phone from the safe home she’s prepared for the day she can be reunited with her daughter. Comments from Jamaican public officials range from reasonable to inflammatory: “I hate homosexuality because within it it has the potential for the human race to become extinct,” says Bishop Herro Blair. LAURA HANSON. Kennedy School. 7 pm Friday, May 16. Maurice Tomlinson in attendance. Regarding Susan Sontag [DIRECTOR ATTENDING] It’s a daunting proposition to capture one of the 20th century’s greatest

intellectuals in 100 minutes, but director Nancy Kates takes a balanced, cool-headed approach. Through readings of Susan Sontag’s own words and lively interviews—Fran Lebowitz provides particularly trenchant comments about Sontag’s understanding of her photogenic face—there emerges a portrait of a woman deeply committed to the work of the mind, but also prone to egotism, fierce criticism of herself, and insensitivity to those she loved. REBECCA JACOBSON. Kennedy School. 1:30 pm Saturday, May 17. The Dog John Wojtowicz was a louse, a self-avowed “pervert,” a cheater, a charmer, a thief, an early gay-rights activist, maybe a sociopath, certainly a narcissist, a ruiner of women born as either sex. He was, as his nickname and the title of this documentary suggest, a dog. He’s also one of the most compelling (if not always likeable) subjects life could invent—the real guy behind Sidney Lumet’s Dog Day Afternoon, about a bank heist meant to pay for sex reassignment surgery. Wojtowicz makes for a very strange tour guide through early years of gay activism in New York, and his doting mother is just as fascinating. MATTHEW KORFHAGE. Kennedy School. 9 pm Saturday, May 17. The Circle An unconventional but not altogether ineffective blend of documentary and dramatization, The Circle tells the story of the titular gay club in 1950s Zürich. Switzerland was relatively progressive for its time: Homosexuality, while not widely accepted, wasn’t illegal. (In Germany, where it was banned, a Friday evening Lufthansa flight from Frankfurt to Zürich was known as the “Queen Hansa Express.”) Director Stefan Haupt focuses his film on shy schoolteacher Ernst Ostertag, who falls in love with Röbi Rapp, a barber and drag performer. Meanwhile, Zürich’s gay community is hit by a string of murders that grab headlines and police attention, in turn unraveling the club. This unfolds mostly as well-acted period drama, with occasional present-day footage from Ostertag and Rapp. These scenes make clear the two are still smitten with each other, but their comments don’t much deepen the narrative. REBECCA JACOBSON. Kennedy School. 2:45 pm Sunday, May 18. SEE IT: QDoc runs Thursday-Sunday, May 15-18. Visit for ticket info and more showtimes.

MAY 14–20

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-outloud 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-turnedwannabe blockbuster, with another rising star—Shailene Woodley, in for Jennifer Lawrence—at the center. But with Divergent, director Neil Burger proves there’s more than one way to ride this wave. Veronica Roth wrote Divergent while still in college, and she brings together the overthrow of an oppressive government and a freshman-year identity crisis. Conceptually, Divergent employs elements from Harry Potter, G.I. Jane and Gattaca, and visually, it offers a memorable take on the post-apocalyptic landscape without overdosing on CGI. PG-13. LAUREN TERRY. Cedar Hills, Eastport, Clackamas, Division, Movies on TV.

Draft Day

C- Has it really come to this, Cleveland? Have things with your sports teams gotten so bad you’ve taken to writing fan fiction about the NFL draft? Not about a game or a season. The draft. Way to aim high. To be fair, even though it’s cowritten 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 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,” , 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 interrupts, and the film dissolves into NFL-sponsored pablum. PG-13. MATTHEW SINGER. Avalon, Cedar Hills, Clackamas, Movies on TV.

Fed Up

A Two white powders are poured

onto a desk. One is sugar, the other cocaine. Which one is more likely to get you hooked? As noted in Stephanie Soechtig’s balanced documentary Fed Up, sugar is in fact eight times more addictive than cocaine, and yet the food industry and our government still fill food with tons of it, in order to keep their pockets full and Americans fat. Executive producer Katie Couric narrates this 90-minute documen-

tary, which unwraps how powerful food companies have colluded with the government to produce widespread obesity. Arguing that “solutions” to the weight problem only further feed the epidemic, the film follows four overweight adolescents and shows their families’ struggles to remain healthy in a nation that keeps feeding us lies. Fed Up relies less on heartstring-tugging than on damning statistics: By 2050, one in every three people will have diabetes. Currently, 75 percent of medical-care costs go to treat metabolic disease. At the end of the film, though, we revisit the kids to check on their current state of health after much effort to lose weight. Though they all continue to exercise and try to eat healthy, not one has been

CONT. on page 48


able salmon hatchery, as is The Dalles Dam for its premeditated flooding of Celilo Falls, a historic Native American settlement. The real scene-stealer is Knight’s candid first-person narration, as when he tells us that salmon hatcheries “basically suck at life” for how they promote inbreeding and beat fish to death to extract their eggs. GRACE STAINBACK. Hollywood Theatre.



LOCKE Life in the commuter lane.

The average cinemagoer will know Tom Hardy as the handsome Brit from Inception, or as Batman’s ultra-ripped, marble-mouthed nemesis in The Dark Knight Rises. That Tom Hardy does not appear in Locke. Arthouse buffs will best remember Hardy from films like Nicolas Winding Refn’s Bronson—in which he scorched viewers’ psyches as the gargantuan titular sociopath—or as the slack-jawed redneck bootlegger in the under-seen Prohibition drama Lawless. That Tom Hardy is also absent in Locke. For Locke’s entire 85-minute runtime, the camera is trained exclusively on Hardy as he makes a late-night drive from Birmingham to London for the birth of his illegitimate child—the product of a one-night stand, the only time in his carefully calibrated life that he betrayed both his moral code and his wife. So he drives, fielding call after life-changing call on his Bluetooth. He tries to calm his wife. He comforts the stranger carrying the living symbol of his infidelity. A respected construction foreman, he’s just left work before the biggest day of his career, so he walks a nerve-rattled underling through preparations for the project, continuing to do right in a job he will probably lose. That’s it. A man in his car. No madman on the other end of the line. No shadowy figures. No chases. Just one car, one phone, one man. Yet this is a perfect vehicle for Hardy’s talents, and despite the absence of anybody but the jagged-toothed Brit, Locke manages a strange level of tension. Writer-director Steven Knight wisely shot the film over the course of only a few late nights, with Hardy fielding calls in real time from actors on real phones. As such, his exhaustion and concentration are very, very real. He manages layers of angst, anger, pride, sadness and vulnerability, his increasingly weary face lit only by passing headlights. Whether calmly instructing his employees or—in the most stinging moments—speaking out loud to the memory of his father, Hardy is staggering. Make no mistake. Many viewers will abhor Locke for precisely what makes it wonderful: It’s a movie about a guy in the car. This isn’t the story of anything but a proud man fending off shame and personal defeat. There are no special effects, save the brilliant special effect that is Hardy, who disappears into the role, driving headlong into the unknown. AP KRYZA.

B+ SEE IT: Locke is rated R. It opens Friday at Living Room Theaters.

HEADOUT PG. 25 Willamette Week MAY 14, 2014


Godzilla (2014) XD-3D (PG-13) 10:45AM 1:45PM 4:45PM 7:45PM 10:45PM Legends Of Oz: Dorothy’s Return (PG) 12:10PM 2:45PM 5:10PM 10:00PM Million Dollar Arm (PG) 10:45AM 1:40PM 4:40PM 7:40PM 10:35PM Legends Of Oz: Dorothy’s Return 3D (PG) 7:35PM Transcendence (PG-13) 10:45AM 1:35PM 4:30PM 7:30PM 10:30PM Heaven Is For Real (PG) 11:15AM 1:50PM 4:35PM 7:20PM 9:55PM Rio 2 3D (G) 7:05PM Rio 2 (G) 10:00AM 11:00AM 1:40PM 4:25PM 9:50PM Other Woman, The (PG-13) 11:05AM 1:55PM 4:40PM 7:25PM 10:10PM Mom’s Night Out (PG) 11:40AM 2:20PM 4:55PM 7:35PM 10:15PM Neighbors (R) 10:50AM 12:00PM 1:30PM 2:40PM

4:10PM 5:20PM 6:50PM 8:00PM 9:30PM 10:40PM Godzilla (2014) (PG-13) 10:00AM 1:00PM 4:00PM 7:00PM 10:05PM Brick Mansions (PG-13) 10:05AM 12:35PM 3:00PM 5:25PM 7:55PM 10:20PM Captain America: The Winter Soldier 3D (PG-13) 7:15PM Amazing Spider-Man 2 (PG-13) 11:35AM 2:55PM 6:20PM 9:45PM Amazing Spider-Man 2 3D (PG-13) 12:30PM 3:50PM 7:10PM 10:25PM God’s Not Dead (PG) 11:10AM 2:00PM 4:50PM 7:40PM 10:30PM Godzilla (2014) 3D (PG-13) 11:30AM 12:15PM 2:30PM 3:15PM 5:30PM 6:15PM 8:30PM 9:15PM Draft Day (PG-13) 11:20AM 2:15PM 5:05PM 7:50PM 10:35PM Captain America: The Winter Soldier (PG-13) 12:45PM 3:55PM 10:25PM Divergent (PG-13) 12:20PM 3:40PM 7:00PM 10:15PM

Legends Of Oz: Dorothy’s Return (PG) 11:45AM 2:15PM 4:45PM 9:35PM Million Dollar Arm (PG) 10:45AM 1:40PM 4:35PM 7:30PM 10:25PM Rio 2 (G) 11:25AM 2:00PM 4:35PM 7:10PM Legends Of Oz: Dorothy’s Return 3D (PG) 7:30PM Other Woman, The (PG-13) 11:20AM 2:00PM 4:40PM 7:20PM 10:00PM Rio 2 3D (G) 10:15PM Mom’s Night Out (PG) 11:50AM 2:30PM 5:10PM 7:40PM 10:10PM Neighbors (R) 11:00AM 12:15PM 1:30PM 2:45PM 4:00PM 5:15PM 6:30PM 7:45PM 9:00PM 10:15PM Godzilla (2014) (PG-13) 10:45AM 1:30PM 4:30PM 7:30PM 10:30PM

Amazing Spider-Man 2 (PG-13) 12:20PM 3:40PM 7:00PM 10:15PM Bears (G) 11:20AM 1:30PM Heaven Is For Real (PG) 11:30AM 2:00PM 4:30PM 7:10PM 9:40PM Amazing Spider-Man 2 3D (PG-13) 10:45AM 2:00PM 5:15PM 8:40PM Draft Day (PG-13) 11:10AM 2:00PM 4:50PM 7:40PM 10:30PM Godzilla (2014) 3D (PG-13) 11:30AM 12:30PM 2:30PM 3:30PM 5:30PM 6:30PM 8:30PM 9:30PM Captain America: The Winter Soldier (PG-13) 12:15PM 3:45PM 7:00PM 10:10PM Divergent (PG-13) 3:50PM 7:00PM 10:10PM

Legends Of Oz: Dorothy’s Return 3D (PG) 10:05PM Legends Of Oz: Dorothy’s Return (PG) 12:15PM 2:45PM 5:10PM 7:45PM Rio 2 (G) 11:05AM 1:40PM 7:25PM 10:10PM Heaven Is For Real (PG) 11:25AM 2:10PM 4:50PM 7:35PM 10:20PM Million Dollar Arm (PG) 10:45AM 1:45PM 4:45PM 7:45PM 10:40PM Other Woman, The (PG-13) 11:10AM 1:50PM 4:30PM 7:20PM 10:10PM Rio 2 3D (G) 4:35PM Neighbors (R) 10:50AM 12:25PM 1:45PM 3:15PM 4:25PM 6:05PM 7:10PM 8:45PM 10:00PM Noah (PG-13) 7:00PM 10:20PM

Amazing Spider-Man 2 (PG-13) 12:20PM 2:00PM 3:40PM 6:55PM 8:40PM 10:25PM Bears (G) 12:10PM 2:30PM 4:45PM Grand Budapest Hotel, The (R) 11:55AM 2:35PM 5:05PM 7:40PM 10:15PM Amazing Spider-Man 2 3D (PG-13) 10:45AM 5:20PM Brick Mansions (PG-13) 2:05PM 8:00PM Godzilla (2014) 3D (PG-13) 10:45AM 11:45AM 2:00PM 3:00PM 5:15PM 6:15PM 8:30PM 9:30PM Godzilla (2014) (PG-13) 12:45PM 4:00PM 7:15PM 10:30PM Captain America: The Winter Soldier (PG-13) 12:40PM 3:55PM 7:05PM 10:25PM Divergent (PG-13) 10:55AM 4:40PM 10:30PM


MAY 14–20



BELLE able to keep their weight down. PG. KATHRYN PEIFER. Fox Tower.

Finding Vivian Maier

A- In our era of unparalleled self-

aggrandizement, 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 Nietzscheobsessed egomaniac and a horsetoothed, 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 German Doctor

A Based on a true story, Lucía

Puenzo’s The German Doctor follows an Argentine family that unwittingly plays host to Josef Mengele—one of the Nazis’ most heinous war criminals—during his postwar exile in South America. Twelve-year-old Lilith becomes very taken with Mengele and, unfortunately, the feeling is mutual: The doctor directs his medical curiosity toward her, to devastating effect. As Mengele, Àlex Brendemühl is thoroughly icy, and the ever-present tension between him and Lilith’s father—one man who strives for uniformity and perfection, the other who accepts human flaws—brings rich symbolism to the film. PG-13. GRACE STAINBACK. Living Room Theaters.

Go Down Death

D [THREE NIGHTS ONLY] Go Down Death ends in the middle of a con-


Willamette Week MAY 14, 2014

versation between two women, which would be obnoxious enough if these were characters we’d met earlier in Aaron Schimberg’s film. As it stands, though, these women don’t even inhabit the same time period as the preceding 80 minutes of the film, which takes place in some sort of hyperstylized gothic landscape populated by gravediggers, precocious children, metaphysical doctors, soldiers, prostitutes, gamblers and hucksters, all of whom drone on and on in soliloquy, or in increasingly pretentious poetry and song. The film—“based” on the work of a fictional folklorist—is at once plotless and rudderless. Its saving grace is its gorgeous black-and-white photography, which is intentionally made to look worn. Story lines, or some semblance of them, are cut off midscene and then forgotten. Eventually, it seems as though Schimberg is playing a joke on us, lampooning the very essence of the avant-garde. But as the film switches from a surrealistic piece of American gothic to a scene of hipsters in a modern apartment, it becomes apparent it’s so smugly proud of its own surrealism that it can’t tell the difference between nonsense and artistic experimentalism. AP KRYZA. Clinton Street Theater. 9:15 pm Friday-Sunday, May 16-18.


The King of Monsters is back, this time with more CGI. Screened after WW press deadlines, but look for AP Kryza’s review at wweek. com. PG-13. Bagdad, Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Lake Theater, Oak Grove, Bridgeport, City Center, Division, Hilltop, Lloyd Center, Lloyd Mall, Movies on TV, Pioneer Place, Sherwood, Tigard, Wilsonville, Sandy, St. Johns.

The Grand Budapest Hotel

B+ The old, snide rejoinder to an

over-decorated show is that “you leave humming the sets,” but Wes Anderson’s The Grand Budapest Hotel may be the first movie where you come out tasting them. The titular Alpine resort is the most edible-looking lodge in cinema: a multitiered, pink-frosted castle designed to endure as an ambrosial memory. Our hero, M. Gustave, is the dapper concierge running the Grand Budapest front desk and back halls. He’s played by Ralph Fiennes with such flowery cosmopolitanism that you can almost see the cloud of cologne drifting behind him as he scurries to his next boudoir appointment with a rich dowager. I’d love to recite an ode to The Grand Budapest Hotel, because it’s the most politically aware story Anderson has told. It’s set in an imaginary Middle European country in the 1930s, at the edge of war. Its story, a silly caper, brushes against the deepest horrors of the 20th century, and ends by acknowledging irrevocable damage. Yet I can’t shake the feeling that something’s missing. Who are these beautiful visitors in The Grand Budapest Hotel? They’re meant to be ghosts,

but they shouldn’t be strangers. R. AARON MESH. Cinema 21, Eastport, CineMagic, Hollywood, Lloyd Center.

Heaven Is for Real

A based-on-truth drama, starring Greg Kinnear as a father whose son attests that he visited heaven after a near-death experience. PG. Cedar Hills, Eastport, Clackamas, Cornelius, Oak Grove, Division, Movies on TV, Sandy.


B+ And so there’s this computer.

It’s an artificially hyperintelligent operating system that’s half personal secretary, half therapist. It seems to be thinking. 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. R. MATTHEW SINGER. Laurelhurst.

Hump Film Festival

[THREE DAYS ONLY] It’s another round of Dan Savage’s amateur porn festival, that weekend-long extravaganza of ordinary people getting smutty on the screen. Pray you don’t see your boss’ schlong. Cinema 21. Thursday-Saturday, May 15-17.

Ilo Ilo

C+ Middle-class economic turmoil

plays out microcosmically in Ilo Ilo, which focuses on a Singaporean family during the Asian financial crisis. Pregnant Leng types up termination letters all day at her company while Teck hides the fact that he’s been fired. Their young son, meanwhile, acts out as often as possible in response to the tensions at home. Once Filipina domestic worker Teresa enters, it’s only a matter of time before a bond forms between caretaker and child, and attendant race and class issues arise. But despite the carefully laid details, there’s just a single scene in which the sense of desperation is resonant rather than didactic: Picking up the laundry outside, Teresa is alerted to a man’s suicidal leap only when, on the swift journey down, his body disturbs a flock of birds. KRISTI MITSUDA. Clinton Street Theater.

International Youth Silent Film Festival

A collection of silent three-minute movies made by budding filmmakers, all under the age of 20, and set to one of seven original scores by Nathan Avakian. Hollywood Theatre. 7:30 pm Monday-Wednesday, May 19-21.

The Lego Movie

B+ The Lego Movie comes danger-

ously close to the pop culture-saturated Shrek model of comedy, but

MAY 14–20

Million Dollar Arm

C This supposedly inspirational

sports flick functions better as a sobering portrait of the grim fate that awaits filmmakers shut out from the endangered world of midbudget indies. Respected for Lars and the Real Girl and The Visitor, director Craig Gillespie and writer Tom McCarthy’s greatest accomplishment here is keeping things relatively inoffensive despite a reliance on the shamelessly broad humor that results when culture clashes on screen. (Oh, the high jinks that nearly ensue when two impoverished Indian kids visit a Hollywood mansion!) Staring down financial ruin, sports agent J.B. (Mad Men’s Jon Hamm, getting off lightly with only Disney-caliber issues to deal with here) travels to India, where— with a battery of montages—he identifies two cricketers with the potential to transition to baseball… and recruit a billion new fans in the process. Returning to L.A. with his prize guinea pigs, J.B. quickly realizes he’s facing a wicked learning curve of his own. Could it be that, as a father figure, he makes Don Draper look like Dad of the Year? That his tenant (Lake Bell) isn’t that bad-looking if he lowers his standards? That “having fun” is all that matters? We might be more inclined to buy what this insipid film is selling if anyone on screen could manage anything more than a forced smile. PG. CURTIS WOLOSCHUK. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Oak Grove, Bridgeport, City Center, Division, Hilltop, Lloyd Center, Movies on TV, Sherwood, Tigard, Sandy.


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


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-turned-rugged 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. 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. Edgefield, St. Johns.

Only Lovers Left Alive

A 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. 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.R. CURTIS WOLOSCHUK. Fox Tower.

Open Road


ATTENDING] Freeways are our new fields of wheat; parking garages and freeway underpasses our new mountains; repair shops our forest canopies. Portland director Alain LeTourneau’s “experimental documentary” Open Road endeavors to treat the spaces where cars exist not just as utilitarian means to an end but as landscapes themselves. He does this in part by making the viewer sit still and look closely, with six-minute black-and-white shots of, say, a car raised on a hydraulic lift. Interspersed at long intervals, we have a deadpan voice-over narrative of John C. Fremont’s 19th-

CONT. on page 50


just when the film starts becoming too cute, the plot shifts into another nutso action sequence filled with clever sight gags. PG. AP KRYZA. Academy, Avalon, Edgefield, Lake Theater, Milwaukie, St. Johns, Valley, Laurelhurst.


The Monuments Men

C+ What could have been a weird cross between Inglourious Basterds and Ocean’s Eleven turns out to be a slog. PG-13. AP KRYZA. Laurelhurst, Academy.

Mr. Peabody & Sherman

Two Rocky & Bullwinkle characters take some trips in a time machine. PG. Academy, Avalon, Milwaukie, Valley.


C+ For Mac (Seth Rogen), this is 30. Burdened with the crushing debt and responsibility that accompanies homeownership, he’s nevertheless perfectly content raising his infant daughter and occasionally milking—yes, milking—his wife, Kelly (Rose Byrne), in a puerile sequence that confirms screenwriters Andrew J. Cohen and Brendan O’Brien as Apatow acolytes without the bother of IMDb searches. However, when a frat, ruled by hedonistic brohams Zac Efron and David Franco, moves in next door, Mac’s suburban idyll is shattered and he’s thrust into an escalating turf war. Director Nicholas Stoller manages to instill a propulsive pace to the brinksmanship, but he sacrifices some narrative rhythm in the process. And while Neighbors occasionally resorts to measures every bit as desperate as Mac’s (see the aforementioned milking), the cast rises to the lowbrow occasion. Given the recurring onscreen debates about who’s the best Batman, it’s rather fitting that Mac, a former baller, should ultimately have to wrestle with The Dark Knight’s assertion that, “You either die a hero or you live long enough to see yourself become the villain.” Though a number of the flick’s jokes land, the sincere endorsement of embracing adulthood provides its telling blow. R. CURTIS WOLOSCHUK. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Oak Grove, Division, Lloyd Center, Movies on TV, Sandy.

UNFAIR FAREWELL: You’ll probably recognize God’s Pocket as one of Philip Seymour Hoffman’s final performances, but that sets up expectations of catharsis few films could satisfy. The scattered charms of this shrugged-up slice of life depend instead on acceptance of tempered ambitions from all involved. Much as Hoffman clearly relishes the boozy anomie of lead stooge Mickey—a luckless butcher nudged toward amateur crime by the funeral expenses of a stepson—there’s not much heavy lifting required. Instead, this rambling portrait of wastrels and malcontents in a dingy corner of ’80s Philadelphia should be considered the directorial debut of John Slattery. The small-screen vet, best known as Mad Men’s silver hound Roger Sterling, borrowed from his day job both a game if miscast Christina Hendricks and an overconfidence in the profundity of tonal vagueness, but he hasn’t anywhere near the necessary chops or vision to juggle casual tragedies and macabre humor. God’s Pocket is based on Pete Dexter’s first novel, and Slattery invests this brutal farce with unearned gravitas, allowing his cast to flesh out characters best left sketched. However impressive the talents on hand (including John Turturro and a scene-stealing Richard Jenkins, steeped to the gills in local color), there’s a wearying pointlessness to it all. JAY HORTON. C SEE IT: God’s Pocket is rated R. It opens Friday at Living Room Theaters.

Willamette Week MAY 14, 2014


MAY 14–20

century expeditions into the Western wilds. The metaphor is apparent: This is our new New World. We’ve been calling cities concrete jungles for years anyway, and the framing of the shots is undeniably lovely. But there’s one problem: None of this functions as a film. It’s Koyaanisqatsi without a sense of wonder, and unless those frontier voice-overs were meant as telling irony, it’s free even of politics. And so Open Road feels much more like an art gallery installation than a documentary, something meant for a moment’s glance and recognition. But as a long-form film, it’s a bit like a very old man telling the same joke for an hour. MATTHEW KORFHAGE. NW Film Center’s Whitsell Auditorium. 7 pm Sunday, May 18.

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, the wife and the boobs”) about how best to revenge themselves on the investment-banker snake (Nikolaj CosterWaldau) who’s done them wrong. This is 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. PG-13. JAY HORTON. Living Room Theaters, Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Moreland, Oak Grove, Division, Lloyd Center, Movies on TV, Sandy.


C+ [ONE NIGHT ONLY] When a film

begins with a pregnant woman being struck in the head and belly with a brick, it’s a pretty good guess that the following 115 minutes won’t include any rousing musical numbers or cheerful epiphanies. Director Zack Parker’s twisted story has little room for anything except the unsettling, and in telling the tale of the attack’s aftermath, he’s created an effectually gross but often frustrating psychological horror film. Spelling out any of the turns would ruin the fun of Proxy—if you can call anything here “fun.” Let it suffice to say it focuses on psychosis both violent and sexual, the relationships forged in support groups, loss and love, all the while spraying around a whole lot of stage blood. Those with strong stomachs will find much to love about Parker’s fucked-up freak-out, but eventually it becomes shocking simply for the sake of being shocking. AP KRYZA. Clinton Street Theater. 11 pm Friday, May 16.

Rio 2

It’s back to the Brazilian tropics, with Anne Hathaway and Jesse Eisenberg voicing mama and papa macaws raising a feathered brood. WW was too hungover from spring break to make the screening. G. Cedar Hills, Eastport, Clackamas, Cornelius, Oak Grove, Division, Movies on TV, Sandy.

This Ain’t No Mouse Music!


ATTENDING] Chris Strachwitz, founder of Arhoolie Records and patron of roots music, abhors “mouse music.” While it’s not immediately clear if that’s a description of mainstream pop’s fleeting melodies or an allusion to the Mickey Mouse Club, I’ll agree with him on the basis of This Ain’t No Mouse Music. Chris Simon and Maureen Gosling’s documentary tells the story of Strachwitz’s founding of Arhoolie in California, which became Strachwitz’s outlet for field recordings of previously unheard blues and roots musicians like Lightnin’ Hopkins and eventually Mexican and Tejano folk as well. “My stuff isn’t produced, I just catch it as it is,” Strachwitz says. After years of ferreting out campesinos and field workers in their musical element, Strachwitz is so embedded in the scene that his drawl is more


Mississippi Valley than Oder, where he was born. What’s missing is an exploration of how a boy whose family fled the Russians—not the Nazis—became such an empowering force in black and Latino music communities. Mouse Music’s tight budget and expansive reach sometimes rush its pace, but the density of archival footage and candid interviews with Ry Cooder and Bonnie Raitt more than compensate. MITCH LILLIE. NW Film Center’s Whitsell Auditorium. 7 pm Saturday-Sunday, May 17-18.




C+ This 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? Director Wally Pfister makes things look gorgeous, feel creepy and move relatively briskly. But the film also jackknifes jarringly, with characters inexplicably switching allegiances halfway through. PG13. AP KRYZA. Academy, Clackamas, Milwaukie, Movies on TV, Valley.

Under the Skin

B Jonathan Glazer’s sci-fi/horror hybrid stars 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. Why ScarJo, decked out in skintight, acidwashed jeans and a Karen Carpenter wig, is compelled to take men home to one her many mirror-floored apartments 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. The lack of clarity is part of the film’s appeal. But it’s also frustratingly shallow at times, and would be nothing without its soundtrack. Part otherworldly bee-buzzing, part feedback and all straight-up spook, Mica Levi’s score sets a terrifying tone. Prepare to be scared shitless, even as you shake your head over the story’s many twists, particularly its turn toward tenderness at the end. R. DEBORAH KENNEDY. Hollywood.

Vietnam: Full Disclosure

[TWO DAYS ONLY] At this free film festival, Veterans for Peace Chapter 72 and Portland State’s Students United for Nonviolence screen four documentaries examining the Vietnam War. They include the Academy Awardwinning Hearts and Minds, Peter Davis’ deeply critical 1974 documentary about the failure of American action in Vietnam, and the world premiere of Matthias Leupold’s Lighter Than Orange, which profiles Vietnamese veterans who were exposed to Agent Orange. 5th Avenue Cinema. SaturdaySunday, May 17-18. Visit for schedule.

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. PG-13. REBECCA JACOBSON. Laurelhurst.

Willamette Week MAY 14, 2014


If modern mainstream horror has taught us anything, it’s that there’s nothing scarier than an unexpected cat. Or your own reflection in a mirror you didn’t know was there. I’d be willing to bet that, in the past 20 years, random cats and mirrors account for more scares than ghosts, psychos, reanimated corpses, cannibals, aliens and monsters combined. The fake-out scare is one of the oldest tricks in the book, the cinematic equivalent of springing a jack-in-the-box on an unsuspecting baby. Used sparingly, it’s a great setup for a sucker punch. By building tension and then revealing it to be unfounded (it was just a cat!), viewers let down their guard and become more susceptible to real scares. But filmmakers have become hyperactive, focused on getting audiences to jump rather than feel true dread. It’s skewed the horror market, which explains why for every slowburner like The Others or The Orphanage, we get six Saws, three slasher reboots and a pair of Japanese remakes. I t a l s o e x p l a i n s w hy nobody saw Ti West’s 2009 movie The House of the Devil (playing Friday through Sunday at Portland State’s 5th Avenue Cinema). The film is extremely deliberate in its pacing, telling the story of a perky college student (Jocelin Donahue) who shows up in the boondocks for a baby-sitting gig on the evening of a full lunar eclipse, only to discover that the owners (cult actors Tom Noonan and Mary Woronov, oozing casual menace) have actually duped her into an elder-care job. The old lady, they say, sticks to her room. All sweet little Samantha needs to do is watch TV, eat pizza and not go upstairs. Naturally, she goes upstairs. On its surface, West’s low-budget film is a throwback to video-store schlock of the early ’80s. Samantha comes outfitted with a Walkman and feathered hair. The film often looks like it was shot on a VHS camcorder, and it’s loaded with the freeze-frames and block text that defined the era. West, though, created a completely different kind of throwback. Despite its outward appearances, The House of the Devil pays homage to a bygone era of slow-burn horror, to masters like Alfred Hitchcock and, most directly, Roman

TWIST THE KNIFE: No felines behind these doors.

Polanski—particularly Rosemary’s Baby and The Tenant—with a story that stretches dread to the breaking point before jumping into a bugfuck climax with giallo overtones. The House of the Devil is neither terrifying nor rushed. Instead, most of it involves Samantha simply exploring the cavernous old mansion, accompanied by a soundtrack that alternates between creaks, footfalls and the corny ’80s music blasting from her headphones. Occasionally, we’re treated to a glimpse of the horrors hidden behind closed doors, but mostly, we know what Sam knows. As her paranoia grows, so does ours. It’s an exercise in nerve-fraying that rewards the patient viewer, even if some decry it as being all buildup, little payoff. Those naysayers, sadly, are the ones who fill seats. West followed up his electric breakout with another little-seen slow-burner, The Innkeepers, before succumbing to the found-footage trope with his contribution to anthology film V/H/S and the Jonestown-inspired The Sacrament. The House of the Devil remains his triumph. And it managed all that dread without a single goddamned cat. Portland State’s 5th Avenue Cinema. 7 pm FridaySaturday and 3 pm Sunday, May 16-18. ALSO SHOWING: Women in the workplace?! The ’80s were a crazy time. Working Girl is a delight, and this screening is preceded by standup from comedians Sean Jordan and Jenna Zine. Mission Theater. 8:30 pm Wednesday, May 14. Billy Wilder may have been the first to tackle Hollywood’s destructive qualities with his 1950 noir classic Sunset Boulevard, but he certainly wasn’t the last. Sixty years ago, the subject gave us one of our greatest films. Today, we’re stuck with TMZ. Laurelhurst Theater. May 16-22. As computer effects once again take over the summer multiplex, now’s the perfect time to revisit Mad Max, if only to see what a real car chase looks like. And what a not-crazy Mel Gibson looks like. Academy Theater. May 16-22. With a career that includes such disparate films as The Exorcist, Cruising, Killer Joe and The French Connection, it’s not surprising that William Friedkin’s The Sorcerer gets overlooked. But the white-knuckle story of roughnecks transporting nitroglycerine through the South American jungle is one of the director’s greatest gems, Matthew McConaughey’s KFC fetish notwithstanding. 5th Avenue Cinema. 7:30 pm Friday, May 16. With the Blazers against the ropes, relive the bygone days with Fast Break, a documentary about the 1976-77 championship season that stars Bill Walton’s chin strap. Clinton Street Theater. 1:30 pm Saturday, May 17. Beatnik jazz. Go-go dancers. Ape monsters! Damn, the ’60s were amazing, and Repressed Cinema brings the sleaze by unearthing 1965’s exploitation oddity All Men Are Apes! Hollywood Theatre. 7:30 pm Tuesday, May 20.

MAY 16–22


IT’S THAT RAT CIRCUS OUT THERE: Mad Max plays May 16-22 at the Academy Theater.


Regal Lloyd Center 10 & IMAX

1510 NE Multnomah St. GODZILLA: AN IMAX 3D EXPERIENCE Fri-Sat-SunMon-Tue-Wed 01:25, 04:30, 07:30, 10:30 GODZILLA Fri-Sat-Sun-Mon-TueWed 12:45, 03:50, 06:50, 09:50 MILLION DOLLAR ARM Fri-Sat-Sun-Mon-TueWed 12:30, 03:40, 07:00, 10:10 NEIGHBORS Fri-SatSun-Mon-Tue-Wed 12:05, 01:15, 02:40, 04:20, 05:15, 07:05, 07:50, 09:40, 10:25 CAPTAIN AMERICA: THE WINTER SOLDIER Fri-SatSun-Mon-Tue-Wed 12:20, 03:25, 06:35, 09:45 THE AMAZING SPIDER-MAN 2 Fri-Sat-Sun-Mon-Tue-Wed 12:35, 03:55, 07:20, 10:40 THE AMAZING SPIDERMAN 2 3D Fri-Sat-SunMon-Tue-Wed 12:00, 03:20, 06:45, 10:05 THE GRAND BUDAPEST HOTEL Fri-SatSun-Mon-Tue-Wed 12:55, 03:35, 06:30, 09:30 THE OTHER WOMAN Fri-SatSun-Mon-Tue-Wed 01:05, 04:10, 07:15, 10:00

Avalon Theatre & Wunderland

3451 SE Belmont St., 503-238-1617 DRAFT DAY Fri-Sat-SunMon-Tue-Wed 04:30, 08:30 MR. PEABODY & SHERMAN Fri-Sat-Sun-Mon-Tue-Wed 12:45, 02:40, 06:35 THE LEGO MOVIE Fri-Sat-SunMon-Tue-Wed 01:10, 03:05, 05:00, 07:00, 08:55

Bagdad Theater and Pub

3702 SE Hawthorne Blvd. 503-249-7474 GODZILLA Fri-Sat-SunMon-Tue-Wed 12:45, 03:45, 07:00, 10:15

Clinton Street Theater


Mission Theater and Pub

1624 NW Glisan St., 503-249-7474-5 MORTIFIED PORTLAND! Fri-Sat 08:00 COSMOS Sun 09:00 THE AMERICAN NURSE Mon 06:00, 09:00

Moreland Theatre

6712 SE Milwaukie Ave., 503-236-5257 THE OTHER WOMAN FriSat-Sun-Mon-Tue-Wed 05:30, 08:00

St. Johns Cinemas

8704 N Lombard St., 503-286-1768 GODZILLA Fri-Sat-SunMon-Tue-Wed 04:15, 07:00, 09:35 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 10:55, 04:40, 10:30 BEARS FriSat-Sun-Mon-Tue-Wed 12:10, 02:30, 04:45 THE GRAND BUDAPEST HOTEL Fri-Sat-Sun-Mon-Tue-Wed 11:55, 02:35, 05:05, 07:40, 10:15 NOAH Fri-Sat-SunMon-Tue-Wed 07:00, 10:20 CAPTAIN AMERICA: THE WINTER SOLDIER Fri-SatSun-Mon-Tue-Wed 12:40, 03:55, 07:05, 10:25 RIO 2 Fri-Sat-Sun-Mon-Tue-Wed 11:05, 01:40, 07:25, 10:10 RIO 2 3D Fri-Sat-SunMon-Tue-Wed 04:35 THE OTHER WOMAN Fri-SatSun-Mon-Tue-Wed 11:10, 01:50, 04:30, 07:20, 10:10 THE AMAZING SPIDERMAN 2 Fri-Sat-Sun-MonTue-Wed 12:20, 02:00, 03:40, 06:55, 08:40, 10:25 THE AMAZING SPIDERMAN 2 3D Fri-Sat-SunMon-Tue-Wed 10:45, 05:20 GODZILLA Fri-Sat-SunMon-Tue-Wed 12:45, 04:00, 07:15, 10:30 GODZILLA 3D Fri-Sat-Sun-Mon-Tue-Wed 10:45, 11:45, 02:00, 03:00, 05:15, 06:15, 08:30, 09:30 MILLION DOLLAR ARM Fri-Sat-Sun-Mon-Tue-Wed 10:45, 01:45, 04:45, 07:45, 10:40 HEAVEN IS FOR REAL Fri-Sat-Sun-Mon-TueWed 11:25, 02:10, 04:50, 07:35, 10:20 NEIGHBORS Fri-Sat-Sun-Mon-Tue-Wed 10:50, 12:25, 01:45, 03:15, 04:25, 06:05, 07:10, 08:45, 10:00 BRICK MANSIONS Fri-Sat-Sun-Mon-Tue-Wed 02:05, 08:00 LEGENDS OF OZ: DOROTHY’S RETURN Fri-Sat-Sun-Mon-TueWed 12:15, 02:45, 05:10, 07:45 LEGENDS OF OZ: DOROTHY’S RETURN 3D Fri-Sat-Sun-Mon-Tue-Wed 10:05

Edgefield Powerstation

2126 SW Halsey St., 503-249-7474-2 THE LEGO MOVIE Fri-SatSun-Mon-Tue-Wed 06:00 NON-STOP Fri-Sat-SunMon-Tue-Wed 09:00

5th Avenue Cinema

510 SW Hall St., 503-725-3551 THE HOUSE OF THE DEVIL Fri-Sat 07:00, 09:30 Sun 03:00 SORCERER Fri 07:30

Hollywood Theatre

4122 NE Sandy Blvd., 503-281-4215 THE GRAND BUDAPEST HOTEL Fri-Sat-Sun-MonTue-Wed 06:45, 09:00 DAMNATION Fri-SatSun-Mon-Tue-Wed 07:15 UNDER THE SKIN Fri-SatSun-Mon-Tue-Wed 09:15 NW ANIMATION FESTIVAL Fri-Sat-Sun 01:00, 07:00 INTERNATIONAL YOUTH SILENT FILM FESTIVAL Mon-Tue-Wed 07:30 ALL MEN ARE APES Tue 07:35

NW Film Center’s Whitsell Auditorium 1219 SW Park Ave., 503-221-1156 THIS AIN’T NO MOUSE MUSIC! Fri-Sat 07:00 OPEN ROAD Sun 07:00

Regal Pioneer Place Stadium 6

340 SW Morrison St. GODZILLA Fri-Sat-SunMon-Tue-Wed 01:15, 04:30, 07:40, 10:45 GODZILLA 3D Fri-Sat-Sun-Mon-Tue-Wed 12:30, 03:45, 07:00, 10:10

St. Johns Theater

8203 N Ivanhoe St., 503249-7474-6 THE LEGO MOVIE Fri-SatSun-Mon-Tue-Wed 06:30 NON-STOP Fri-Sun-MonTue-Wed 01:00

Century 16 Cedar Hills

3200 SW Hocken Ave., 800-326-3264-984 DIVERGENT Fri-Sat-SunMon-Tue-Wed 03:50, 07:00, 10:10 BEARS FriSat-Sun-Mon-Tue-Wed 11:20, 01:30 DRAFT DAY Fri-Sat-Sun-Mon-Tue-Wed 11:10, 02:00, 04:50, 07:40, 10:30 CAPTAIN AMERICA: THE WINTER SOLDIER Fri-Sat-Sun-Mon-Tue-Wed 12:15, 03:45, 07:00, 10:10 RIO 2 Fri-Sat-Sun-MonTue-Wed 11:25, 02:00, 04:35, 07:10 RIO 2 3D Fri-Sat-Sun-Mon-Tue-Wed 10:15 THE OTHER WOMAN Fri-Sat-Sun-Mon-Tue-Wed 11:20, 02:00, 04:40, 07:20, 10:00 THE AMAZING SPIDER-MAN 2 Fri-SatSun-Mon-Tue-Wed 12:20, 03:40, 07:00, 10:15 THE AMAZING SPIDER-MAN 2 3D Fri-Sat-Sun-MonTue-Wed 10:45, 02:00, 05:15, 08:40 GODZILLA Fri-Sat-Sun-Mon-Tue-Wed 10:45, 01:30, 04:30, 07:30, 10:30 GODZILLA 3D FriSat-Sun-Mon-Tue-Wed

Academy Theater

7818 SE Stark St., 503-252-0500 TRANSCENDENCE Fri-SatSun-Mon-Tue-Wed 04:25, 09:10 DON HERTZFELDT ANIMATION SCREENING Fri-Sat-Sun-Mon-Tue-Wed 02:35, 09:20 MUPPETS MOST WANTED Fri-Sat-SunMon-Tue-Wed 04:15, 06:30 MR. PEABODY & SHERMAN Fri-Sat-Sun-Mon-Tue-Wed 04:35 THE LEGO MOVIE Fri-Sat-Sun-Mon-Tue-Wed 07:00 THE MONUMENTS MEN Fri-Sat-Sun-Mon-TueWed 01:45, 06:45 MAD MAX Fri-Sat-Sun-Mon-TueWed 02:25, 08:50

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, 10:15 GOD’S NOT DEAD Fri-Sat-Sun-Mon-TueWed 11:10, 02:00, 04:50, 07:40, 10:30 DRAFT DAY Fri-Sat-Sun-Mon-TueWed 11:20, 02:15, 05:05, 07:50, 10:35 CAPTAIN AMERICA: THE WINTER SOLDIER Fri-Sat-Sun-MonTue-Wed 12:45, 03:55, 10:25 CAPTAIN AMERICA: THE WINTER SOLDIER 3D Fri-Sat-Sun-Mon-Tue-Wed 07:15 RIO 2 Fri-Sat-SunMon-Tue-Wed 11:00, 01:40, 04:25, 09:50 RIO 2 3D Fri-Sat-Sun-Mon-Tue-Wed 07:05 TRANSCENDENCE Fri-Sat-Sun-Mon-Tue-Wed 10:45 THE OTHER WOMAN Fri-Sat-Sun-Mon-TueWed 11:05, 01:55, 04:40, 07:25, 10:10 THE AMAZING SPIDER-MAN 2 Fri-SatSun-Mon-Tue-Wed 11:35, 02:55, 06:20, 09:45 THE AMAZING SPIDER-MAN 2 3D Fri-Sat-Sun-Mon-Tue-Wed 12:30, 03:50, 07:10, 10:25 GODZILLA Fri-Sat-SunMon-Tue-Wed 01:00, 04:00, 07:00, 10:05 GODZILLA 3D Fri-Sat-Sun-Mon-Tue-Wed 11:30, 12:15, 02:30, 03:15, 05:30, 06:15, 08:30, 09:15 MILLION DOLLAR ARM Fri-Sat-Sun-Mon-Tue-Wed 10:45, 01:40, 04:40, 07:40, 10:35 HEAVEN IS FOR REAL Fri-Sat-Sun-Mon-Tue-Wed 11:15, 01:50, 04:35, 07:20, 09:55 MOMS’ NIGHT OUT Fri-Sat-Sun-Mon-Tue-Wed 11:40, 02:20, 04:55, 07:35, 10:15 NEIGHBORS Fri-SatSun-Mon-Tue-Wed 10:50, 12:00, 01:30, 02:40, 04:10, 05:20, 06:50, 08:00, 09:30, 10:40 BRICK MANSIONS Fri-Sat-Sun-Mon-TueWed 12:35, 03:00, 05:25, 07:55, 10:20 LEGENDS OF OZ: DOROTHY’S RETURN Fri-Sat-Sun-Mon-TueWed 12:10, 02:45, 05:10, 10:00 LEGENDS OF OZ: DOROTHY’S RETURN 3D FriSat-Sun-Mon-Tue-Wed 07:35



11:30, 12:30, 02:30, 03:30, 05:30, 06:30, 08:30, 09:30 MILLION DOLLAR ARM Fri-Sat-Sun-Mon-Tue-Wed 10:45, 01:40, 04:35, 07:30, 10:25 HEAVEN IS FOR REAL Fri-Sat-Sun-Mon-Tue-Wed 11:30, 02:00, 04:30, 07:10, 09:40 MOMS’ NIGHT OUT Fri-Sat-Sun-Mon-TueWed 11:50, 02:30, 05:10, 07:40, 10:10 NEIGHBORS Fri-Sat-Sun-Mon-Tue-Wed 11:00, 12:15, 01:30, 02:45, 04:00, 05:15, 06:30, 07:45, 09:00, 10:15 LEGENDS OF OZ: DOROTHY’S RETURN Fri-Sat-Sun-Mon-TueWed 11:45, 02:15, 04:45, 09:35 LEGENDS OF OZ: DOROTHY’S RETURN 3D Fri-Sat-Sun-Mon-Tue-Wed 07:30


Willamette Week MAY 14, 2014


























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HOSPITALITY/RESTAURANT McMenamins Cornelius Pass Roadhouse & Imbrie Hall is now hiring for all positions! We will be holding a job fair on Weds, May 28th from 1pm to 4pm. Come by to fill out an app @ 4045 NW Cornelius Pass Road, Hillsboro, OR 97124. Managers will be on hand to talk to applicants!You can apply online 24/7 at www. or pick up a paper app at any Cornelius Pass Roadhouse, or at any McMenamins location.(Mail to 430 N. Killingsworth, Portland OR, 97217 or fax: 503-221-8749). Call 503-952-0598 for info on other ways to apply. E.O.E.

McMenamins Grand Lodge in Forest Grove

is now hiring for all positions including: Line Cooks, Catering and Pub Servers, Catering Captains, Bartenders, Asst. Pub Mgrs. and Night Auditors. Ruby Spa positions include, LMT’s and Hair Stylists. We have both seasonal and long term opportunities. Qualified apps must have an open & flex sched including, days, eves, wknds and holidays. We are looking for people who enjoy working in a busy customer service-oriented enviro. We offer opps for advancement and excellent benefits for eligible employees. You can also apply online 24/7 at www. or pick up a paper app at any Grand Lodge or at any McMenamins location.(Mail to 430 N. Killingsworth, Portland OR, 97217 or fax: 503-221-8749). Call 503-952-0598 for info on other ways to apply. Please no phone calls or emails to individ locs! E.O.E.We will be holding a job fair on Tues, May 20th from 1pm to 4pm. Come by to fill out an application. Managers will be on hand to talk to applicants!

Ruby Spa at the Grand Lodge in Forest Grove

is now hiring LMTs & Hair Stylists! Qualified apps must have an open & flex sched including, days, eves, wknds and holidays. We are looking for applicants who enjoy working in a busy customer service-oriented enviro. We offer opps for advancement and excellent benefits for eligible employees, including vision, med, chiro, dental and so much more! Please apply online 24/7 at www. or pick up a paper app at any McMenamins location. Mail to 430 N. Killingsworth, Portland OR, 97217 or fax: 503-221-8749. Call 503-952-0598 for info on other ways to apply. Please no phone calls or emails to individ locs! E.O.E.

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

7353 SE 92nd Ave Mon-Fri 9-5, Sat 10-2

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Week Classifieds MAY 14, 2014

Looking for an exciting, fun work environment? McMenamins is now hiring at most locations, multiple positions available and range from entry level to management. We have both seasonal and long term opportunities. Qualified apps must have an open & flex sched including, days, eves, wknds and holidays. We are looking for applicants who enjoy working in a busy customer service-oriented enviro. We offer opps for advancement and excellent benefits for eligible employees, including vision, med, chiro, dental and so much more! Please apply online 24/7 at or pick up a paper app at any McMenamins location. Mail to 430 N. Killingsworth, Portland OR, 97217 or fax: 503-221-8749. Call 503-952-0598 for info on other ways to apply. Please no phone calls or emails to individ locs! E.O.E.



503-445-2757 • ©2014 Rob Brezsny

Week of May 15


ARIES (March 21-April 19): When the path ahead divides in two, Aries, I am hoping you can work some magic that will allow you to take both ways at once. If you do master this riddle, if you can creatively figure out how to split yourself without doing any harm, I have a strong suspicion that the two paths will once again come together no later than August 1, possibly before. But due to a curious quirk in the laws of life, the two forks will never again converge if you follow just one of them now. TAURUS (April 20-May 20): I see you as having more in common with a marathon runner than a speed racer. Your best qualities tend to emerge when you’re committed to a process that takes a while to unfold. Learning to pace yourself is a crucial life lesson. That’s how you get attuned to your body’s signals and master the art of caring for your physical needs. That’s also how you come to understand that it’s important not to compare yourself constantly to the progress other people are making. Having said all that, Taurus, I want to recommend a temporary exception to the rule. Just for now, it may make sense for you to run fast for a short time. GEMINI (May 21-June 20): If you fling handfuls of zucchini seeds on the ground of a vacant lot today, you shouldn’t expect neat rows of ripe cucumbers to be growing in your backyard in a couple of weeks. Even if you fling zucchini seeds in your backyard today, you shouldn’t expect straight rows of cucumbers to be growing there by June 1. Let’s get even more precise here. If you carefully plant zucchini seeds in neat rows in your backyard today, you should not expect ripe cucumbers to sprout by August. But here’s the kicker: If you carefully plant cucumbers seeds in your backyard today, and weed them and water them as they grow, you can indeed expect ripe cucumbers by August. CANCER (June 21-July 22): “If we want the rewards of being loved,” says cartoonist Tim Kreider, “we have to submit to the mortifying ordeal of being known.” How are you doing with this trade-off, Cancerian? Being a Crab myself, I know we are sometimes inclined to hide who we really are. We have mixed feelings about becoming vulnerable and available enough to be fully known by others. We might even choose to live without the love we crave so as to prop up the illusion of strength that comes from being mysterious, from concealing our depths. The coming weeks will be a good time for you to revisit this conundrum. LEO (July 23-Aug. 22): There’s a piece of art on the moon: a ceramic disk inscribed with six drawings by noted American artists. It was carried on the landing module of the Apollo 12 mission, which delivered two astronauts to the lunar surface in November 1969. One of the artists, Leo maverick Andy Warhol, drew the image of a stylized penis, similar to what you might see on the wall of a public restroom. “He was being the terrible bad boy,” the project’s organizer said about Warhol’s contribution. You know me, Leo. I usually love playful acts of rebellion. But in the coming weeks, I advise against taking Warhol’s approach. If you’re called on to add your self-expression to a big undertaking, tilt in the direction of sincerity and reverence and dignity. VIRGO (Aug. 23-Sept. 22): The planet we live on is in constant transformation. Nothing ever stays the same. To succeed, let alone survive, we need to acclimate ourselves to the relentless forward motion. “He not busy being born is busy dying,” was Bob Dylan’s way of framing our challenge. How are you doing with this aspect of life, Virgo? Do you hate it but deal with it grudgingly? Tolerate it and aspire to be a master of it someday? Whatever your current attitude is, I’m here to tell you that in the coming months you could become much more comfortable with the ceaseless flow -- and even learn to enjoy it. Are you ready to begin? LIBRA (Sept. 23-Oct. 22): “It isn’t that I don’t like sweet disorder,” said English author Vita SackvilleWest, “but it has to be judiciously arranged.” That’s your theme for the week, Libra. Please respect how precise a formulation this is. Plain old ordinary disorder will not provide you with the epiphanies and break-

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throughs you deserve and need. The disorder must be sweet. If it doesn’t make you feel at least a little excited and more in love with life, avoid it. The disorder must also be judiciously arranged. What that means is that it can’t be loud or vulgar or profane. Rather, it must have wit and style and a hint of crazy wisdom. SCORPIO (Oct. 23-Nov. 21): I have three sets of questions for you, Scorpio. First, are you anyone’s muse? Is there a person who draws inspiration from the way you live? Here’s my second query: Are you strong medicine for anyone? Are you the source of riddles that confound and intrigue them, compelling them to outgrow their narrow perspectives? Here’s my third inquiry: Are you anyone’s teacher? Are you an influence that educates someone about the meaning of life? If you do play any of these roles, Scorpio, they are about to heat up and transform. If you don’t currently serve at least one of these functions, there’s a good chance you will start to soon. SAGITTARIUS (Nov. 22-Dec. 21): According to my reading of the astrological omens, you should draw inspiration from this Chinese proverb: “Never do anything standing that you can do sitting, or anything sitting that you can do lying down.” In other words, Sagittarius, you need extra downtime. So please say NO to any influence that says, “Do it now! Be maniacally efficient! Multitask as if your life depended on it! The more active you are the more successful you will be!” Instead, give yourself ample opportunity to play and daydream and ruminate. CAPRICORN (Dec. 22-Jan. 19): In Raymond Chandler’s pulp fiction novel Farewell, My Lovely, his main character is detective Philip Marlowe. At one point Marlowe says, “I needed a drink, I needed a lot of life insurance, I needed a vacation, I needed a home in the country. What I had was a coat, a hat and a gun.” In accordance with your astrological omens, Capricorn, I’m asking you to figure out how you might be like Marlowe. Are there differences between what you think you need and what you actually have? If so, now is an excellent time to launch initiatives to fix the discrepancies.

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AQUARIUS (Jan. 20-Feb. 18): There’s a slightly better chance than usual that you will have a whirlwind affair with a Bollywood movie star who’s on vacation. The odds are also higher than normal that you will receive a tempting invitation from a secret admirer, or meet the soul twin you didn’t even know you were searching for, or get an accidental text message from a stranger who turns out to be the reincarnation of your beloved from a previous lifetime. But the likelihood of all those scenarios pales in comparison to the possibility that you will learn big secrets about how to make yourself even more lovable than you already are. PISCES (Feb. 19-March 20): Author Eva Dane defines writer’s block as what happens “when your imaginary friends stop talking to you.” I suspect that something like this has been happening for you lately, Pisces -- even if you’re not a writer. What I mean is that some of the most reliable and sympathetic voices in your head have grown quiet: ancestors, dear friends who are no longer in your life, ex-lovers you still have feelings for, former teachers who have remained a strong presence in your imagination, animals you once cared for who have departed, and maybe even some good, old-fashioned spirits and angels. Where did they go? What happened to them? I suspect they are merely taking a break. They may have thought it wise to let you fend for yourself for a while. But don’t worry. They will be back soon.

Changing the image of rescue, one animal at a time...

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Homework What’s the thing you lost that should stay lost? What’s the thing you lost that you should find?







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

The audio horoscopes are also available by phone at

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

If you or your business would like to sponsor a pet in one of our upcoming Pet Showcases, contact: Matt Plambeck 503-445-2757

Willamette Week Classifieds MAY 14, 2014




503-445-2757 •



by Matt Jones

Get Back–return to what you know. lioness 54 Queens diamond, once 55 Take on more issues? 56 Othello, for example 57 Allergy source 58 QB play 59 Roadside rest stops

Find your Flame on


Across 1 Woodshop tools 5 Dish (out) 9 Florida fullback, for short 12 Fluish, perhaps 13 “Space Invaders” company 15 Mascara’s target 16 Campus letters 17 Convincing 18 “... butterfly, sting like ___” 19 “___ for Alibi” (Grafton novel) 20 Places for

an Arp 33 Sapporo sashes 37 One end of a fencing sword 39 1968 Winter Olympics site 43 ___ apso 44 Lock up tight 45 Convent-ional title? 46 Item exhumed years after burial 50 Hem’s partner 51 Part of NCAA 52 Like mad callers 53 “Born Free”

missing persons reports 22 “And I’ve got one, two, three, four, five ___ working overtime” (XTC lyric) 24 Nixes a bill 25 1980 running medalist Steve 26 Unobtrusive, as a ringtone setting 29 It’s heard in Houston 31 Affected 32 It may hold up

Down 1 Home of The Ringling Circus Museum 2 Go-getter 3 Waiting room query 4 DOS component? 5 Fictional typing tutor ___ Beacon 6 Latin list ender 7 Sound off 8 Lindros formerly of the NHL 9 Mandrill kin 10 Newsgroup system since 1980 11 Game with 32 pieces 14 Encyclopedia Brown’s hometown 15 Italian word for “milk” 20 2000 Subway Series losers 21 Hinduism, for example: abbr. 23 Hang out 26 Bristly brand 27 Like some congestion

28 Greta Garbo, for one 30 Suave 33 Reactions to fireworks 34 Shooting/skiing event 35 Available, as fruit 36 Series with an upcoming Episode VII 38 Ballerina’s bend 39 Teahouse hostess 40 Former Attorney General ___ Clark 41 First name on the Supreme Court 42 Robertson of CNN 44 Hidden loot 45 A great many 47 Get ready 48 Yemen’s largest city 49 Pac-12 team since 2011 53 Longtime Pet Shop Boys record label

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 #JONZ675.





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Week Classifieds MAY 14, 2014





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Do you want to be debt free? Call Now: 503-808-9032 FREE Consultation. Payment Plans. Scott Hutchinson, Attorney WAREHOUSE SALE Friday + Saturday, May 16 + 17, 10am-6pm Portland Jewelry Supplies 2820 SE 8th Ave 503-230-9010 Great Deals!

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North West Hydroponic R&R

We Buy, Sell, & Trade New & Used Hydroponic Equipment. 503-747-3624


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

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Comedy Classes Guitar Lessons

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

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

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8312 E. Mill Plain Blvd Vancouver, WA 98664

May 17th and 18th Portland Expo Center, Sat 9-6, Sun 9-4. Admission $10. 503-363-3564

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40 28 willamette week, may 14, 2014  
40 28 willamette week, may 14, 2014