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WILLAMETTE WEEK PORTLAND’S NEWSWEEKLY

“BE CAREFUL TRYING THE SPLITS IN 4-INCH HEELS.” P. 21

WIPEOUT! JORGE GUZMAN CAME UP WITH AN IDEA FOR A BETTER SURFBOARD. HE SAYS HIS INSTRUCTOR AT PORTLAND STATE UNIVERSITY STOLE IT. BY CAMBRIA ROTH AND BRENT WALTH | PAGE 12

WWEEK.COM

VOL 40/29 05.21.2014

P. 7

WILL CORWIN

NEWS END-OF-LIFE DRUG SHORTAGE. FOOD SMOKIN’ IN SELLWOOD. MUSIC SORTING SASQUATCH.


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WILL CORWIN

CONTENT

EIN RICHTIGER COWBOY: Draining the boot at Stammtisch. Page 33.

NEWS

4

MUSIC

25

LEAD STORY

12

PERFORMANCE 34

CULTURE

19

MOVIES

39

FOOD & DRINK

22

CLASSIFIEDS

44

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 Editor Matt Buckingham 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

DISTRIBUTION Circulation Director Mark Kirchmeier WWEEK.COM Web Production Brian Panganiban Web Editor Matthew Korfhage MUSICFESTNW Executive Director Trevor Solomon Associate Director Matt Manza Marketing Coordinator Madeleine Zusman TECHFESTNW Program Director Lizzy Caston OPERATIONS Accounting Manager Chris Petryszak Credit & Collections Shawn Wolf Office Manager/Receptionist Sam Cusumano A/P Clerk Andrea Iannone Manager of Information Systems Brian Panganiban Associate Publisher Jane Smith Publisher Richard H. Meeker

Willamette Week welcomes freelance submissions. Send material to either News Editor or Arts Editor. Manuscripts will be returned if you include a self-addressed, stamped envelope. To be considered for calendar listings, notice of events must be received in writing by noon Wednesday, two weeks before publication. Send to Calendar Editor. Photographs should be clearly labeled and will be returned if accompanied by a selfaddressed, stamped envelope. Questions concerning circulation or subscription inquiries should be directed to Mark Kirchmeier at Willamette Week. Postmaster: Send all address changes to Willamette Week, 2220 NW Quimby St., Portland, OR 97210. Subscription rates: One year $100, six months $50. Back issues $5 for walk-ins, $8 for mailed requests when available. Willamette Week is mailed at third-class rates. Association of Alternative Newsmedia This newspaper is published on recycled newsprint using soy-based ink.

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INBOX OREGON’S JUVENILE OFFENDERS

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Willamette Week’s piece on juvenile justice in Oregon, “Spare the Jail, Spoil the Child?” [May 7, 2014], is a one-sided tribute to the dying gasps of dinosaurs. Across the country, states are recognizing the importance of using research and outcomes to drive our juvenile justice policies. Prosecutors in Oregon see this trend as undermining their powerful role within our justice system and are trying to breathe life into a “tough on crime” belief system that is becoming increasingly extinct. Let’s be clear: Youth who commit crimes need to be held accountable. That accountability must be proportionate to their crimes and reduce the chance they will commit other crimes in the future. Readers of this article might be asking, “Why does Oregon have such a high arrest rate for juvenile property crimes compared to other states?” Arrest rates aren’t a good indicator of crime rates because they often reflect enforcement policies, not crimes committed. A 2011 report on Oregon’s juvenile justice system found that our arrests for liquor and runaway violations were higher than average. This could simply be a policy priority. What we do know is that arrest numbers alone, as portrayed in this article, don’t give us the whole picture. Contrary to WW ’s claim that the juvenile justice system is “one of the least transparent parts of the state’s justice system,” it is in fact the state prosecutors’ offices that have virtually no oversight. Elected district attorneys are not accountable for how they use state resources or what outcomes their policies and practices deliver.

They have been beating the same “we want to send more people to prison” drum for 20 years, but no one is asking them: Do prisons and jails make people less likely to commit future crimes, more likely to pay restitution to victims, or more likely to keep our communities safe? Juvenile justice research tells us the answer is no. Arguing that we need more incarceration in Oregon is like asking for teachers to be allowed to spank students. It’s not effective, and people educated in research on juvenile justice know it. As we get smarter about our approaches to criminal and juvenile justice policy, prosecutors will have less power over the system and be forced to take their rightful place as one party in the adversarial process. The tide is turning, and prosecutors like Chuck French and his employer, John Foote in Clackamas County, will keep swimming upstream until the current is too strong for them. It’s long overdue for district attorneys not to just call for accountability of others—whether it’s youth who commit crimes or the systems that hold them accountable—but to be subject to some oversight themselves. Until that happens, rather than listening to their misleading closing arguments in the case for sending more youth to jail, remember that your district attorneys are elected officials and accountable to you through the ballot box. Shannon Wight, deputy director Partnership for Safety and Justice 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: mzusman@wweek.com.

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Portland still has only one team—the Trail Blazers—from one of the four traditional major sports leagues. Does your privileged position as a widely read columnist give you access to the well-heeled Portlanders who might buy us another? —Hardball I’d love to help you, Hardball, but I’m afraid you deeply misjudge the social status of professional wiseasses. My connections are more the kind where I can hook you up with a guy on the inside who’s willing to shiv your jailbird brother-in-law for a box of Pop-Tarts. Asking me to intercede with the Phil Knights of the world is like asking Jenny McCarthy to put in a good word for you with the Nobel Prize committee. Success has a thousand fathers, and failure is an orphan—except when it comes to not having a second major sport in Portland. Then failure’s mom is a total whore. There are almost as many

reasons why we haven’t gotten the next big team as there are people you could ask. Take baseball, for example. First, we’d have to pry the Seattle Mariners’ cold, dead hands off a Portland TV market they’re used to owning. Then we’d need to find an owner dying to pour jillions down a highly speculative rat hole. Meanwhile, every city that has a team wants to keep it just as badly as we want to steal it away. It’s true that Portland has a detailed plan for a Rose Quarter stadium should an owner and team be forthcoming. It’s also true that in middle school, I had a detailed plan for what I would do if a beautiful naked woman were to climb through my bedroom window. Never say never, but the fastest way for Portland to get another team in a major sport is probably just to wait—eventually, Major League Soccer will nose its way into the top four. (Suck it, hockey.) QUESTIONS? Send them to dr.know@wweek.com


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HEALTH: End-of-life drug is entangled in death penalty politics. HOTSEAT: State Treasurer Ted Wheeler stumps for scholarships. COVER STORY: A new surfboard company’s troubled origins.

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The new fee Mayor Charlie Hales and City Commissioner Steve Novick want to levy against Portland homeowners and businesses will hit an unexpected target as well: other government agencies. As first reported on wweek. com, Hales says he has personally called leaders at Portland Public Schools, Metro, the Port of Portland, and Oregon Health & Science University to HALES tell them they should expect to pay the fee, as will public universities and other school districts inside city limits. PPS was surprised to learn its bill could be as high as $400,000 a year. Homeowners could pay as much as $12 a month, while businesses and government agencies would be charged based on the size of their properties and the traffic they generate. Hales and Novick will reveal their plan May 22, and the City Council could vote on it in early June. Dept. of Shameless SelfPromotion, 2014 Edition: WW won 13 first-place awards at the Society of Professional Journalists banquet May 17, including one for general excellence. WW scored two top prizes among alternative newspapers in Oregon, Washington, Idaho, Montana and Alaska for stories published in 2013. Only half the results are in, but these are our firstplace winners so far: Investigative reporting: Rachel Graham Cody, “Expel Check” (Sept. 25, 2013), rising discipline rates levied by Portland Public Schools against African-American students. Sports reporting: Aaron Mesh, Casey Jarman, Aaron Brown, Jonanna Widner and John Locanthi, “Rip City vs. No Pity” (Oct. 9, 2013), Portland Timbers and Portland Trail Blazers competing for fans’ love. WW also won the General Excellence prize and 10 first-place awards among Oregon and southwest Washington weekly newspapers, circulation 8,000-plus. Social issues reporting: Nigel Jaquiss, “No Good Deed” (July 17, 2013), the adoption of a troubled child. Profiles: Andrea Damewood, “Whack-a-Mole” (Oct. 23, 2013), an activist accused of being an FBI informant. Government reporting: Damewood, “The Woman Behind the Bridge” (Feb. 27, 2013), an adviser to Gov. John Kitzhaber’s lobbying for the Columbia River Crossing. Investigative reporting: Cody, “Expel Check.” Education reporting: Jaquiss, “Flunk Factories” (Nov. 13, 2013), the truth behind Portland high schools’ graduation rates. Science and health reporting: Erin Fenner, “Who Wants to Save a Junkie?” (March 6, 2013), expanding use of a drug to resuscitate overdosed heroin users. Sports feature: staff, “Spoke Addicts” (April 10, 2013), our 2013 bike issue. Photography: Evan Johnson, “City of Bridges” (Oct. 2, 2013), a photo essay of Portland’s bridges. Long feature: Matthew Singer, “The Last of the Sad Bastards” (Oct. 16, 2013), a profile of Elliott Smith 10 years after his death. Arts reporting: Singer, “The Last of the Sad Bastards.” Consumer and lifestyle: staff, “Hook It to My Veins” (Dec. 4, 2013), our 2013 coffee issue. Read more Murmurs and daily scuttlebutt.


NEWS

GOT A GOOD TIP? CALL 503.445.1542, OR EMAIL NEWSHOUND@WWEEK.COM

W W S TA F F

PENALIZED BY THE DEATH PENALTY PATIENTS HOPING TO USE OREGON’S DEATH WITH DIGNITY LAW HAVE BECOME VICTIMS OF CAPITAL PUNISHMENT POLITICS. BY N I G E L JAQ U I S S

njaquiss@wweek .com

Michael Hayward just watched somebody die. And he’s angry, because the next death he witnesses may be more difficult—and a lot more expensive. Hayward is a former nurse and firefighter who has volunteered for two years with Compassion and Choices Oregon, an advocacy group for terminally ill patients seeking to end their lives under the state’s Death With Dignity Act. He educates terminally ill patients about the law, helps with end-of-life planning and often attends their deaths. The ideal death, he says, is planned, painless and relatively inexpensive—thanks to lethal drugs that should be readily available to anyone who needs them. But Hayward is going public with a closely kept secret about pentobarbital, the optimal drug for his clients: It’s no longer available in Oregon. The next-best drug, secobarbital, costs $1,500 to $2,300—more than five times what pentobarbital costs. Even at that price, it’s hard to get. Hayward says one patient was recently forced to seek funding for her secobarbital from a Washington foundation that helps cover end-of-life costs. “It seems obvious that if there was an Oregon law, passed and supported by the majority of voters, that enabled physicians to relieve end-of-life pain and suffering, then the law should be supported regardless of a citizen’s ability to pay,” Hayward says. “When Oregon citizens are denied access to that law, then something needs to be done.” Death-with-dignity patients are victims of a global political battle over capital punishment in the U.S., according to the federal Food and Drug Administration, which regulates pharmaceuticals, and the Oregon Health Authority, which oversees application of the state’s Death With Dignity Act. Access to pentobarbital, also known as Nembutal, has all but ended in the United States because U.S. prison officials use it in lethal injections for executions. “Manufacturing of the product has gone overseas, and the company [that makes Nembutal] has made a policy decision not to ship it because it can be used in death-penalty cases,” says Tom Burns, pharmacy director for the Oregon Health Authority. In recent years, death-penalty opponents have pressured drug companies here and in Europe to restrict drugs used to execute death-row inmates. States such as Texas and Oklahoma that regularly execute prisoners have found it increasingly difficult to obtain the drugs they require, including pentobarbital. The shortage of drugs played a role in the botched execution of Clayton Lockett in Oklahoma last month. According to media reports, the death-row doctor used a new cocktail of drugs that left Lockett writhing in pain before he died 43

SCARCE COMMODITY: State officials say terminally ill Oregonians currently cannot obtain pentobarbital, the drug commonly used in death-with-dignity cases.

minutes later of a heart attack. With publicity like that, it’s hardly surprising that nobody involved in the pentobarbital supply chain wants to talk about Oregon’s problem. In 1997, Oregon became the first state in the nation to approve allowing doctors to write lethal prescriptions for terminally ill patients. In 2013, doctors wrote 122 prescriptions under the Death With Dignity Act, allowing 71 Oregonians to take their own lives. That brought the total number of death facilitated by the act to 752. “This affects a limited number of people,” Gary Miner, compliance director for the Oregon Board of Pharmacy, says of the shortage. “But for those it does affect, it’s a significant problem.” Representatives of Lundbeck, the Danish pharmaceutical company that manufactured pentobarbital, and McKesson, its U.S. distributor, did not return phone calls seeking comment. On May 8, Miner says, Compassion and Choices’ former

“TERMINALLY ILL PEOPLE NEED YOUR HELP TO SECURE FOR THEM WHAT THE LAW INTENDED.” —MICHAEL HAYWARD TO GOV. JOHN KITZHABER and current medical directors, Drs. Nancy Crumpacker and Peter Reagan, met with the Oregon Board of Pharmacy. Crumpacker and Reagan proposed that a compounding pharmacy in Oregon be allowed to obtain the raw materials needed to make pentobarbital and manufacture a generic form of the drug. “The compounding pharmacy would buy the raw material, and Compassion and Choices would just facilitate distribution,” Miner says. Miner says he’s not aware of any legal reason Compassion and Choices’ plan would not work, although many details remain. Compassion and Choices Oregon state

director Kat West declined to speak to WW, insisting written questions be sent to a Washington, D.C., spokesman for the national organization. Through the spokesman, West denied there’s a pentobarbital shortage in Oregon, but she failed to offer substantiation or explain why her group’s medical director recently sought the pharmacy board’s help in finding an alternative supply. Hayward’s wife, state Sen. Elizabeth Steiner Hayward (D-Northwest Portland), is a family doctor who has written end-of-life prescriptions. She says there is indeed a shortage. “Providing this service is important to Oregonians, and I’m very concerned about what appears to be a complete lack of availability of the drug we’ve historically used,” Steiner Hayward says. “What I’ve been told by the pharmacists is the drug is completely unavailable, and we should not prescribe it.” Death with dignity is currently legal in only two other states: Washington and Vermont. Advocates would like to expand the policy across the country, and their concerns about bad publicity hampering that rollout appear to account for their reluctance to discuss Oregon’s shortage. Hayward says he’d like to see Oregon’s congressional delegation and Gov. John Kitzhaber throw their weight behind finding a solution. After recently assisting a 55-year-old cancer patient to end her life, Hayward wrote a letter to Kitzhaber, urging the former emergency-room doctor to use the power of his office to get the state to assist in purchasing pentobarbital. “My client died peacefully,” Hayward wrote to Kitzhaber on May 2. “However, now other terminally ill people need your help to secure for them what the law intended.” Kitzhaber’s spokeswoman, Rachel Wray, referred WW’s questions to the board of pharmacy and the OHA. Hayward says it’s important that all terminally ill Oregonians, not just those with the means to pay for expensive drugs, be allowed to end their lives peacefully. “It’s unconscionable to me that this law is now at risk of only being applied to those that can afford to use it,” he says. “A choice of living in pain because they can’t afford to die peacefully and the state that enacted the law won’t help is sadly outrageous.” Willamette Week MAY 21, 2014 wweek.com

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POLITICS

TED WHEELER

NEWS

THE STATE TREASURER—FAMOUSLY ADVERSE TO RISK—WANTS TO GAMBLE MILLIONS FOR COLLEGE SCHOLARSHIPS. W W S TA F F

No other state is doing this. What’s your rationale? Oregon currently has a bimodal economy. There are a lot of jobs—professional, skilled jobs—that pay well. There are a lot of jobs that don’t require a lot of skills and do not pay particularly well. But there is not a whole lot in the middle. Our goal should be to jump-start people from the lower end of the economic spectrum into the higher end. The only reliable way to do that is through skills training.

COLLEGE ON CREDIT: “There is always financial risk,” State Treasurer Ted Wheeler says of his plan to have the state borrow money to pay for college scholarships. He says Oregon’s investment history reduces that risk “pretty close to zero.” BY WW STA F F

243-2122

We didn’t think we’d see State Treasurer Ted Wheeler out on the campaign trail for another two years. He won election in the last cycle to a full four-year term after being appointed in 2010 to replace Ben Westlund, who had died in office. But expect to see him campaigning this fall for an audacious plan for Oregon to borrow hundreds of millions of dollars to finance college scholarships. His “Opportunity Initiative,” which will appear on the November ballot, marks an aggressive step forward for Wheeler, 51, a normally risk-averse politician who serves as the state’s banker. The Treasury would invest the borrowed money and use the earnings to pay for scholarships and grants. The money would be constitutionally protected so it couldn’t be used for other purposes. Taxpayers, meanwhile, would cover the debt payments through the state’s general fund, the same account that pays for schools, prisons and social services. The plan is a financial gamble, and there’s no guarantee lawmakers would fund it, even if voters say yes. But talking up college costs—and proposing a state fund to help cover them—raises Wheeler’s profile as he considers a campaign for governor in 2018. We asked him about his plan, about a future run for governor, and whether he should have moved faster to shut down the Columbia River Crossing project.

WW: So what exactly is this “Opportunity Initiative” that you are pushing? Ted W heeler: The Oregon Oppor tunity Initiative is a long-term plan around workforce development. The purpose of it is to create a permanent, growing, locked endowment dedicated to two things. The first is need-based student aid, for those who wish to go to a university or a community college. The second thing it does is create support to incentivize and grow vocational and technical training programs at the community-college level.

What’s wrong with our current approach? Right now, we have what I’ll call “the evil twins” when it comes to advanced training and education: We are a high-cost, low-student-aid state. The cost to students and their families of higher education has grown 50 percent over a recent eight-year period. At the same time, the student-aid program in this state by any measure is anemic: Only one out of every five students who qualify and apply for the Oregon Opportunity Grant program gets anything. Isn’t borrowing money to invest in stocks a risky way to address that problem? The question is, do you make money? You’ll have good years and you’ll have bad years, but the expectation is that over a 30-year period, you will actually have positive growth in that endowment. The state’s pension plan over a 30-year period has earned average returns of more than 10 percent. For this, we’re basing our projections on 7.5 percent rates of return. Those historical numbers are impressive, but the market could decline for years after you borrow the money. There is some risk, right. But understand there is the same risk any time we CONT. on page 11

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NEWS

W W S TA F F

POLITICS

WHEELER

issue general obligation bonds to invest in a project. There’s a state prison facility that we used general obligation bonds to fund that’s never been opened. Multnomah County has a jail that we funded using local bonds that was never opened. What I’m asking people to do is to think more broadly about what a long-term economic asset is. You’ve characterized your plan as an economic development strategy. What do you think of the state’s current economic development strategy? The governor has said that the Oregon Business Plan is his economic development strategy. That’s great, but there are about 10 different goals in the Oregon Business Plan. If I had a strategy, and I wanted to focus on one economic issue that I felt was paramount to this state’s future, it would be education. We cannot succeed if we have the second-highest dropout rate in the nation. How would you assess the urgency of building a skilled workforce? I don’t think we are nearly as aggressive as we need to be on economic development. I don’t think we understand how important this issue is, especially in rural Oregon, where since 1980 their economy has been on the skids. We’ve never adequately addressed replacing a naturalresource economy. The Columbia River Crossing Project was $200 million spent for nothing. You had a role in assessing it along the way, and your critique of it helped stop it. Do you wish you had moved more aggressively to kill that project? No, I’m very satisfied with the process we undertook. We were methodica l w ith the investment grade analysis. Our job in the Treasury isn’t to issue bumper-sticker proclamations. Our job is to do the work and take a hard look at the fi nancial underpinnings of projects like the CRC, and we did and it came up lacking. Instead of just standing there and saying, “I don’t think it is a good idea,” I was able to come forward and explain in very specific detail why I thought it was lacking.

You proposed ambitious legislation in February that would have assigned state employees to do work for the Treasury that’s now done by expensive Wall Street firms. It failed to pass. What happened? Our proposal, over a 20-year period, would have saved between $2.5 billion and $3 billion. We would have derived those savings through bringing people in-house to do basic back-office stuff. This isn’t wizards of Wall Street stuff.

“WE CANNOT SUCCEED IF WE HAVE THE SECONDHIGHEST DROPOUT RATE IN THE NATION.” —TED WHEELER Why did it fail? We spent too much time negotiating with the co-chairs about what would actually be in the bill. By the time it was ready to go to the floor of both chambers, where we had the votes, it got caught up in the debate around the class-action lawsuit bill. Do you take any ownership of that failure? Damn right I do, absolutely. I learned some important lessons. First of all, if you have a complex policy bill and you want it to pass, you have to have all of the votes and all of the commitments lined up before the Legislature is even gaveled into order. And you need to get your bill through in the first week, while people can still stand each other. Because by the end of the legislative session, they are not going to be talking to each other. Would you like to be governor someday? Being governor gives you a larger bully pulpit, it allows you to establish the fi rst framework for the budget, it gives you the opportunity to prioritize the things you think need to be prioritized. It is an important opportunity, and one I would certainly consider. Whether or not I am the right guy for it, whether or not the timing is right, that is the future. I don’t know.

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will corwin

hot balsa: Jorge Guzman with one of the original Yuyana surfboards. 12

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wipeout! jorge guzman had an idea for a better surfboard. he says his instructor at Portland state university stole it.

By CAMBRIA ROTH an d BRENT WALTH 243 -2 12 2

I

n a town filled with dazzling startups, few new businesses in Portland look as fun as Yana Surf. The company, founded last year by local entrepreneur Wilson Zehr, sells “heirloom-quality” balsa surfboards that could pass as works of art. With price tags as high as $3,500, some collectors might want to hang a Yana Surf board on their wall rather than take it into gnarly waves. Yana Surf has landed world-class Brazilian surfer Maya Gabeira as a spokeswoman. And it’s pushing green cred, selling boards made of renewable Ecuadorian balsa rather than the environmentally harsh plastics that go into most boards. “We are well on our way,” Zehr says, “to creating an important, sustainable surf brand.” Zehr, 53, says he got the idea for the company from a student in a business course he taught at Portland State University. Zehr says the branding, design and strategy for Yana Surf are all his creations. The former student from whom Zehr got the idea tells a different story. He says Zehr stole his business. cont. on page 15

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WIPEOUT!

Jorge Guzman says he had already launched a company to sell balsa boards with the basic strategy Yana Surf is now using. He says he shared his idea with Zehr, who was his class instructor at the time. Then, he says, Zehr ran with the idea, took control of the company’s assets and shoved him out of the picture. Zehr says Guzman’s business had no hope of going anywhere. He responded to his student’s pleas for help, and purchased the assets of Guzman’s surfboard company before starting his own. “The idea of selling surfboards,” Zehr says, “was hardly original.” But records, emails and other documents provided to WW by Guzman contradict many of Zehr’s statements. The records raise doubts whether Zehr bought anything from Guzman and his partners, and they suggest Zehr made financial promises he has never fulfilled. Guzman, 34, acknowledges he was naive and inexperienced. “I trusted him as my instructor,” Guzman says, “not knowing that this was going to be the result.” With more than 29,000 students, PSU is the state’s largest university, and it has even grander aspirations to become a national-class center of higher ed. Key to that strategy are PSU’s School of Business Administration and its ambitions of becoming an incubator for business innovation. But Guzman’s experience raises questions about the extent to which the university looks out for its students

“THEY WERE SO BEAUTIFUL,” JORGE GUZMAN SAYS OF THE BALSA SURFBOARDS. “I KNEW I REALLY WANTED ONE.” who come up with commercial ideas. As Guzman later learned, PSU, unlike many universities, has no policy that protects its students’ intellectual property. Guzman says he has spoken to lawyers who say he’s got a strong case, but they won’t take it on without a retainer of as much as $10,000, which Guzman says he can’t afford. One of the lawyers who looked at the case, Ashley Bannon, says Zehr’s actions are troubling but that PSU’s failure to protect Guzman is even more worrisome. “It just seems completely egregious, with a vulnerable student who is trying to learn from a professor and someone he thinks he can trust,” Bannon says. “The university

YA N A S U R F. C O M

Y U YA N A . C O M

CONT.

SLICED: The Yuyana Surf partners say they never sold rights to their website (left) to Yana Surf, which is actively marketing surfboards and other merchandise with its site (above).

has basically no rules or regulations to prohibit a professor from taking advantage.”

J

orge Guzman has always dreamed of owning his own business. Growing up in Querétaro, Mexico, he watched his parents work as proprietors of a tortilla business. After they divorced, he moved with his mother to Independence, Ore. He held a series of sales jobs, worked at an accounting fi rm and attended business classes at night, fi rst at Portland Community College, then PSU, where he graduated in 2012 with a degree in marketing. Today, Guzman works for Hacienda CDC, a nonprofit that provides affordable housing. He also co-founded Hispanicpros, a nonprofit network of 1,500 business people that helps Latinos advance their careers. His work brought him to the attention of Mayor Charlie Hales, who in January 2013 appointed Guzman to the board of directors of Home Forward, the city’s housing authority. Guzma n—who favors suits that never seem to wrinkle—has a soft, deliberate voice that often belies his intensity. He’s a stickler for precision, often repeating his points. What Guzman loves to do more than anything is surf. “I love the whole culture of it—it’s just nature and you on the board,” he says. “You can just be out there and forget everything.” As Guzman recalls it, he’d been out one weekend in the waves near Otter Rock on the Oregon coast in 2008 when a friend told him about amazing surfboards he’d seen on a recent trip to Ecuador. They were crafted from balsa wood with inlaid designs—sleek and stunning. “They were so beautiful,” Guzman recalls thinking when his friend showed him photos. “I knew I really wanted one.” Guzman thought if his desire for a balsa board was so strong, other surfers might feel that way, too. So Guz-

man started a company called Yuyana Surf with plans to export the Ecuadorian boards and resell them in the United States and Japan. Balsa surfboards are nothing new—many boards were originally made of the wood, instead of plastic or fiberglass, and a small percentage of those sold today still are. But in recent years, there has been a growing demand for boards with a smaller carbon footprint. Guzman saw a business opportunity: attractive surfboards made of a renewable material, sold at a reasonable price. “I knew surfers are environmentally conscious, and this was going to be a big part of our strategy,” Guzman says. He brought in two friends as partners: Ruben Barberan, who had fi rst shown Guzman photos of the balsa boards, and Tom Bradley, who works in financial services at a local credit union. The three held equal shares of the new company, and each sunk a few thousand dollars in the venture. Barberan set up a website and traveled to Ecuador to talk to suppliers. Guzman spent time in Japan researching markets for the boards. They ordered four boards made and showed them around at surf shops on the Oregon coast. But with full-time jobs, the three struggled to gain any momentum. In 2012, the partners agreed Guzman would finish his bachelor’s degree in business at PSU—and then turn his complete attention to Yuyana Surf. In the summer of 2012, Guzman still had one major class to clear: BA 495 Business Strategy, the senior capstone course in which students help local companies develop business and marketing plans. That’s where he fi rst met BA 495’s instructor, Wilson Zehr.

CONT. on page 16 Willamette Week MAY 21, 2014 wweek.com

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WIPEOUT!

cont.

SU, like many universities, is turning increasingly to part-time instructors, called adjuncts, to teach courses. In many ways, it’s a cost-saving measure: Universities often pay adjuncts a flat fee per course and often don’t have to offer benefits. In turn, students get instructors who—unlike many professors—are directly engaged in the field that they’re teaching. At the PSU School of Business Administration, 53 percent of the credit hours offered are taught by adjuncts. Zehr, who had been teaching at PSU since 2005, in many ways had the career Guzman wanted. In various bios, Zehr calls himself a “serial entrepreneur” who claims to have turned $60 million of investors’ money into payouts of $160 million. Zehr—round-faced, with spiky, sandy hair salted with gray—grew up in Pacifica, Calif., and after high school moved to Oregon, where he had family. At PSU, he earned a bachelor’s in business and an MBA, and completed coursework (but not the dissertations) for two Ph.Ds. He trained as a software engineer and worked for Sequent Computers. He says he fell into doing startups, proved to be good at sales and marketing, and by 2000 developed his own company, Zairmail. The firm produced and sent direct-mail advertising. The innovation Zairmail offered: Customers anywhere in the world could design and upload their direct mail, and Zairmail would print and mail it. Zehr told The Oregonian in 2000 his business took off with about $1 million in seed funding from Timberline Venture Partners, a local venture capital firm, and an investment from Hewlett-Packard. The company was unprofitable and shuttered in 2004, two months after Zehr quit as president, leaving a long trail of debt and unpaid taxes. Zehr had to file for bankruptcy (see sidebar, page 17). Zehr is now CEO of Cendix, a revived version of his old direct-mail company. His resilience is one of his strengths, say people who have worked with him. “It’s his tenacity,” says John Griffith, who worked with Zehr at Zairmail and now serves on the board of directors of Yana Surf. “A lot of people lose their way as they go through hard times in business. He just stays with his path.” Zehr didn’t talk about his past business troubles in the course Guzman took. Guzman says during the opening class session, Zehr spent the first 30 minutes talking about his success running his businesses. “He talked about how he brought in millions of capital and made his investors rich,” Guzman says. “He did not lack for confidence in himself.” Zehr says he doesn’t remember exactly when Guzman showed him his business strategy for Yuyana Surf. As he recalls, he didn’t speak to Guzman much about his idea while Guzman was his student. Guzman recalls it differently. He says after the first class session he showed his idea and business plan to Zehr, hoping the instructor would have other students evaluate the idea. Within days, according to documents Guzman provided WW, Zehr emailed him. “I’m intrigued by the surfboard product that you showed me in class,” Zehr wrote June 28, 2012. “Can you please send me some more information on it? Let’s see if we can come up with ideas.” At first, Guzman says he was thrilled—maybe he could get his business idea evaluated in class after all. But it soon became apparent Zehr wasn’t interested in Yuyana as a case study for the class. Zehr saw something in Yuyana Surf that had the potential to make money—and he wanted in on the business.

A

s Zehr remembers it, Guzman sought him out. “He asked me: ‘Will you look? We would appreciate your advice,’” he recalls Guzman saying. “They wanted me to get involved in it. I said no.” Guzman remembers it differently and says Zehr pursed him. “I felt pressure from Wilson to deliver what he wanted,” Guzman says, “because I didn’t want to see my grade or the student-teacher relationship inside class affected.” But Guzman says his reluctance was overwhelmed by Zehr’s apparent business knowledge and track record. He 16

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RIP CURL: Ruben Barberan (right) says the Yuyana Surf partners trusted Jorge Guzman’s judgment in dealing with Wilson Zehr, because Guzman trusted Zehr as his PSU instructor. Giving Zehr assets of the company, Barberan says, “was a stupid thing for us to do.”

thought Zehr might be the best thing that happened to his dreams of making Yuyana Surf a reality. In July 2012, Guzman and his partners met Zehr at Cha Taqueria in Northwest Portland, where over lunch Zehr told them he had connections to Red Bull and Nike, and he could bring in investors. Guzman’s partners were not all that impressed with Zehr. “We left it up to Jorge, because he had worked the most on this,” Barberan says. “He felt he could trust Wilson because he was his teacher, and we trusted Jorge’s instincts.” Zehr told WW that he saw their plans for Yuyana Surf as nothing special: The company would be little more than a pass-through for surfboards, not establishing its brand as anything that set it apart. What’s more, he says, the three partners lacked the experience to make the business work. “It was completely dysfunctional,” Zehr says. “It didn’t have a prayer.”

G

uzman never brought in an attorney or outside adviser to help him and his partners deal with Zehr, even long after the course Zehr was teaching ended in August 2012. After what emails show to be a long and tortured relationship between Guzman and Zehr, the PSU instructor launched his own company to sell balsa boards. He called it Yana Surf, a name that simply dropped the first two letters of the one Guzman’s firm used. Guzman’s accusation that Zehr did more than copy his idea—that he stole it—turns on two key points. First, Guzman and his partners say Zehr took the

assets of their company—including a website and one surfboard—after promising to buy them out. They say they never agreed to terms, but Zehr took the assets anyway. Emails show Zehr obtained the website because Guzman, trusting his former instructor, sent Zehr the codes and password before they even had an offer to sell. “Giving Wilson control of the website,” Barberan says, “was a stupid thing for us to do.” Zehr eventually offered $4,200 for Yuyana’s assets, payable only if his new company, Yana Surf, turned a profit in two years. He tells WW he has a signed agreement making the deal legal. WW requested that Zehr provide a copy of the sales agreement, but he declined to do so. The Yuyana Surf owners dispute Zehr’s claim. Guzman signed the deal, but the other two partners—Barberan and Bradley, representing a majority of the shares—tell WW they never went along. “To say I signed anything,” Bradley says, “that’s laughable.” Neither Barberan nor Bradley wanted to go into business with Zehr, but Guzman did. Zehr, in fact, had enticed him with an offer to become half-owner of the new surfboard company. Zehr promised in a Nov. 18, 2012, email that he and Guzman would share an “equal partnership.” In a later email, he promised Guzman they would be “50/50.” Zehr says Guzman eventually turned the offer down. Emails show Guzman accepted the offer but grew concerned when Zehr alone made all of the decisions about Yana Surf. Zehr appointed himself president, named his attorney as a corporate officer and offered stock to others—without consulting Guzman.


W W S TA F F

CONT.

WILSON ZEHR SAYS THERE IS NOTHING STANDING IN JORGE GUZMAN’S WAY TO SELL SURFBOARDS. “WHY ISN’T HE DOING THAT?” HE ASKS.

WILSON ZEHR

Guzman reminded Zehr the sale of Yuyana’s assets had never formally gone through and demanded that he halt all operations until they could come to terms. “You are really not in a position to give orders to anyone,” Zehr wrote back on Feb. 11, 2013. “Based on your response, we will assume that you will not be moving forward with us. I’ve really enjoyed working with you. I’m sure you will be successful in all your future endeavors.” In an email, Guzman pleaded with Zehr—he didn’t want to be left out of Yana Surf. He just wanted what had been promised him. Zehr shot back in an email: “Think we are done here.” Jorge Guzman never heard from Wilson Zehr again.

G

uzman had a lawyer send Zehr a letter demanding the return of Yuyana Surf ’s assets. Zehr didn’t respond. (Zehr tells WW he doesn’t remember getting the letter.) Guzman then spent a year talking to lawyers before deciding to complain to PSU. Guzman wanted the university to take responsibility for everything that had happened with Zehr—especially while Zehr was his instructor. PSU conducted an investigation and concluded that enough of the interaction between Guzman and Zehr took place outside the classroom to absolve the university of any liability. “These individuals met in class, but pursued a business relationship after the class was over, and beyond,” PSU spokesman Scott Gallagher says. Gallagher says it’s not clear what more the university could have done to protect Guzman, who had many avenues he could have used to complain while enrolled in Zehr’s course. Still, in its letter to Guzman, PSU did not address the ethics of a professor negotiating with a student about a business while he had the student in a class. “That would be a personnel matter, which we could not discuss publicly,” Gallagher says. The Oregon University System doesn’t require its institutions to protect student ideas. OUS spokeswoman Diane Saunders says those decisions are left to individual schools—especially at PSU, Oregon State University and the University of Oregon, which won more independent status last year. “There are no system-level policies at all,” Saunders says. The Association of American University Professors offers model ethics guidelines that focus largely on professors giving proper credit when using students’ work in academic collaboration.

“We can’t comment specifically on this case,” says Claire Katz, a philosophy professor at Texas A&M University and chairwoman of the AAUP ethics committee. “Any theft of ideas is wrong and unethical. This is unusual because it was a business.” Most guidelines governing faculty and the rights of students deal with intellectual property—what the law usually defines as “creations of the mind.” A company can protect its name, trademarks and inventions, for example, but not necessarily its basic strategy and marketing plan. What Guzman had was an idea—not essentially a unique one—that he and his partners had nonetheless spent time and money working to develop. Unlike PSU, Oregon State has adopted protections for undergrads. Ilene K. Kleinsorge, dean of OSU’s College of Business, says her school already provided protections for graduate students, but she said OSU has gone further and protects undergraduates as well because of the large amount of time faculty spend helping them develop their ideas. “Undergrad student ideas,” Kleinsorge says, “are off limits.”

W

ilson Zehr doesn’t currently teach at PSU. But he’s landed instructor positions at Marylhurst University and OSU, where he will teach a course at the College of Business this summer. Without question, Zehr has taken Yana Surf far beyond what Jorge Guzman envisioned. The company has yet to sell a single surfboard to the public or to a surf shop, but he’s rounded up investors and plans to bring surfboard manufacturing to Oregon. Selling surfboards is besides the point, Zehr says: He wants to build Yana Surf as a brand to sell surfing merchandise, which is far more profitable than selling the boards themselves. Zehr says he has spent his entire career building companies and helping others—including students—do the same without anyone accusing him of unethical behavior as Guzman has done. “We do think that [Guzman] should continue to develop ‘his’ idea if he believes that it can be a commercial success,” Zehr says. “There is nothing standing in his way. Why isn’t he doing that?” Meanwhile, Guzman says friends advise him to move on. “I should—emotionally, physically, it’s been tough,” Guzman says. “Wilson Zehr once told me that the business world in real life doesn’t work like they tell you in business school. I guess that is a lesson—that, and not to be as trusting as I once was.”

WIPEOUT!

POSTAGE DUE Wilson Zehr’s official résumé doesn’t include a bumpy spot in his career that cost taxpayers and creditors more than $450,000. He ran his direct-mail company, Zairmail, from 1999 until 2004, when it shut down. “He made a good go of it,” says William Kallman, who then ran Timberline Venture Partners, the investment group that eventually sank $2 million into Zairmail. “He never made a profit.” At one point, Zairmail was doing so much business the company needed six full-time employees to handle all of the incoming orders with revenues of as much as $1 million a year. Zehr acknowledges his company had cashflow problems. “What startup doesn’t have those problems?” he says. In July 2003, Zehr landed a $250,000 business loan funded by taxpayers through the Portland Development Commission. According to court documents, the loan went to Zairmail’s parent company, iPost, and later transferred to a firm called Launchpoint, also run by Zehr. He promised the loan would be paid back in five years. Zehr says the loan helped the company make payroll and keep 25 employees working. “The deal we did at Launchpoint was a win for Portland,” Zehr tells WW. Within months of the loan, Zehr’s company wasn’t making its payroll taxes. One employee recalls a Portland General Electric workman showed up one day to turn off the power because the company hadn’t paid its utility bill. Another former employee says Zehr canceled health benefits for workers without telling anyone. One worker was stuck with a $10,000 hospital bill when his wife had a baby soon after Zehr cut his insurance. Zehr declined to comment. Zehr left Launchpoint and Zairmail less than two months before they shut down operations in October 2004. Five months later, he and his then-wife, Nancy, filed for Chapter 7 bankruptcy, which allowed them to walk away from debts of $214,000. State records show Launchpoint still has liens filed against it by the state of Oregon for employment taxes ($5,244 in 2004, with interest accruing at 18 percent a year) and by the Internal Revenue Service for $11,867. Zehr tells WW that another company, Best Strategy, bought Zairmail and assumed liability for its debts. Officials at the PDC say that isn’t true. In October 2004, the PDC filed a notice of default on the taxpayer-funded loan when Launchpoint failed to keep up payments, and is still the debtor of record for the $221,000 balance. When the city filed its default notice, the PDC took possession of Zairmail and Launchpoint’s intellectual property, including trademarks. In 2009, patent and trademark records show, the PDC let its claim expire. The next year, Zehr got the trademarks back, and is again using the Zairmail name in his new business. CAMBRIA ROTH and BRENT WALTH.

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STREET

OVERALL AWESOME CRAZY, SEXY AND/OR COOL DENIM BIBS. P h otos by b ria n a Cer ezo, Kati e D enni s , a n n a Jaye Go ellne r, emily Pr a D o, anD Co lle en sohn wweek.com/street

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FOOD: New barbecue in Sellwood. MUSIC: What to see at Sasquatch. THEATER: A summer vacation gone horribly wrong. MOVIES: Jesse Eisenberg plays doppelgängers.

think i t’s ju st t rivia? think a gain.

23 25 34 39

SCOOP RAMENS RAM N

Wednesday

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 Laurelwood Public House (SE Portland) — 8PM The Ram —(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

Thursday

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

(starts August 14th)

M&M Lounge (Gresham)—8PM

South Park Abbey

www.geekswhodrink.com 1946 Fern Street • South Park @geekswhodrink

facebook.com/geekswhodrink

INGER KLEKACz

Monday

THEY STOLE OUR CREDIT CARD AND WENT TO LARDO. TORRES ON TV: Local comic Shane Torres—who placed second in WW’s Funniest 5 poll last November—will appear on NBC’s Last Comic Standing, which returns this week after four years off the air. The elimination-style standup comedy competition is Torres’ first television appearance. Though he says he was mostly “hell-bent on not screwing it up,” Torres noted that judge Roseanne Barr gave him particular praise. “Roseanne was really nice to me,” Torres tells Scoop. “She was very complimentary of my set. She said she really liked my subject matter and my writing.” As for the other contestants, Torres said there mercifully aren’t any freakshow acts or “weird guys in chicken suits” this year. “Everybody was a comic,” he says. “Everybody had some credibility.” The show premieres Thursday, May 22. TORRES Portland audiences can also catch Torres at the Hollywood Theatre on May 30. >> In other comedy-on-TV news, NBC’s Undateable, co-starring former Portland standup Ron Funches, will make its debut May 29. The show had been pulled from the spring schedule so the stars could build enthusiasm with a live comedy tour. The network will air the episodes it ordered last year back-to-back.

TWO-WAY STREET: Multiple local news organizations are trumpeting Portland’s position as “most courteous driving city,” as self-reported by Portlanders in a 2,500-driver survey, conducted by a roadside-assistance service and released May 12. (Houston was the worst.) However, a study released this month shows Portland’s driving courtesy may be selective. A U.S. Department of Transportation-funded study by PSU’s Tara Goddard and Kimberly Barsamian Kahn showed that among 168 pedestrian attempts to cross a street in downtown Portland, cars approaching crosswalks were half as likely to yield to black males as white males. 20

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J o N AT H A N H I L L

TABOR BUBBLING: Vancouver’s Mt. Tabor Brewing may be returning to Portland—though not to Mount Tabor. Brewmaster Eric Surface started the brewery on Southeast Stark Street in the Mount Tabor neighborhood, but moved across the river to cut costs. But on May 12, Surface filed a liquor license application to open a second, 15-barrel brewery in Buckman, at 124 SE 11th Ave. Surface says he expects to open a tasting room by November and will move main production to Portland while brewing “fun stuff” in Vancouver. >> Meanwhile, First National Taphouse in Eugene plans to open a second location near Portland State University at 1962 SW 5th Ave. Seating for 168 patrons is planned, as is live music. The location in Eugene offers growler fills from 28 taps and a stock of singlebarrel whiskeys. >> Coalition Brewing is planning to give up its taproom on Southeast Ankeny Street and become a distribution-only brewery. Last call will be May 31. You’ll still be able to get a beer at the location, though, which will become a pub called Tap That.


HEADOUT CAMERONBROWNE.COM

WILLAMETTE WEEK

WHAT TO DO THIS WEEK IN ARTS & CULTURE

With Maya Rudolph’s Prince tribute act coming to town, Portland’s veteran Purple Rain Man offers the SNL alum some advice.

THE PLAYBOY OF THE WESTERN WORLD [THEATER] Often debated but rarely staged, Irish playwright J.M. Synge’s play prompted riots when it was first produced in 1907. Synge intended the play as a farce, but early audiences objected to its suspect morality—the story centers on a young stranger who struts into a remote town telling tall tales of murder and quickly finds himself a romantic hero. Artists Repertory Theatre, 1515 SW Morrison St., 2411278. 7:30 pm. $25-$55. GHOST OF A SABER TOOTH TIGER [MUSIC] Sean Lennon, the only son of John and Yoko, has rarely strayed from Beatles-y pop, but Midnight Sun, the latest album from his duo with girlfriend Charlotte Kemp Muhl, is straight-up rock with meaty guitars and lyrics about kidnapping the grandson of an oil tycoon. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. $13 advance, $15 day of show. 21+.

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Doesn’t matter if it’s the Dirty Mind-era’s briefs-and-trenchcoat combo, the regal look of Purple Rain or “the ass-out ‘Gett Off’ outfit” from the 1991 MTV Music Video Awards, the clothes (or lack thereof ) make the Prince. “No matter what era you take on, dress the part, fully to the max,” Stefoni says. “No exceptions.”

WAXAHATCHEE, PERFECT PUSSY [MUSIC] This special all-ages matinee pairs the trembling tenderness of Waxahatchee’s Katie Crutchfield with Perfect Pussy’s feminist post-hardcore din—two seemingly divergent styles that actually make a lot of sense together. The latter is making up for a Portland date it canceled in March. Doug Fir Lounge, 830 E Burnside St., 231-9663. 4 pm. $13 advance, $15 day of show. All ages.

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When people pay to see a pretender to the purple throne, they want the total package—“the manners and smirks and sexiness,” as Stefoni puts it. “Learn his dance moves, or moves that come close to what he does in that particular song,” he says. Just be careful not to pull something while attempting the splits in 4-inch heels.

SOHN [MUSIC] Tremors, the debut album from the South London producer born Christopher Taylor, is no less confident and well-produced than the remixes of Angel Haze and Disclosure he used to turn out from the privacy of his own home. It’s an avant-garde interpretation of Jamiroquai, teeming with soulful, glassy vocals, dreamy atmosphere and a blue humanness setting him apart from the overly mechanized electronica crowd. Holocene, 1001 SE Morrison St., 239-7639. 8:30 pm. $13 advance, $15 day of show. 21+.

SATURDAY MAY 24

Everyone wants to be Prince. But some are better at it than others—even Prince isn’t that great at being Prince anymore. Maya Rudolph is the latest to try stepping into those formidable platforms. This week, the former Saturday Night Live cast member brings her gender-flipped homage, Princess, to the Wonder Ballroom. She and cohort Gretchen Lieberum are new at this, so we asked Julian Stefoni—who’s been leading Portland’s long-running Prince tribute act Erotic City for 20 years—for a few pointers on embodying His Royal Purpleness. MATTHEW SINGER.

Saying “sing the songs right” seems obvious, but realize it ain’t all squeals and androgynous moans. “Prince has an exceptional vocal range,” Stefoni says, from the silky falsetto of “Kiss” to the deeper come-ons of “Little Red Corvette.” You’ll get bonus points for nailing his computeraltered “Camille” voice, too.

THURSDAY MAY 22

SUNDAY MAY 25

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If you’re not willing to dry-hump the stage, the microphone and any other inanimate object in the vicinity, then you should be willing to go the distance in other areas. “If you’re going to sing ‘Darling Nikki,’ then become her onstage,” Stefoni says. “Give the crowd a visual of what that song is about—not just the tease but the raw sexiness.” He suggests utilizing stage props, which, in the case of “Darling Nikki,” means a magazine and several unspecified “devices.”

SEE IT: Princess plays Wonder Ballroom, 128 NE Russell St., on Sunday, May 25. 8 pm. $30. 21+.

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JULIAN STEF ONI AS PRIN CE

Aloofness is key to the real Prince’s persona, but when you’re faking the funk, you can’t afford to be detached. “Be engaging to the crowd,” Stefoni says. “Make them feel part of the show. Make them feel like dancing and singing with you.” And remember: There’s not a crowd out there that won’t react to a pair of assless chaps.

DRAGON BOAT RACES [DRAGON BOATS!] The run-up to serious dragon-boat racing season begins on the rough-and-tumble waters of Vancouver, Wash. Because dragon boats aren’t just an imperialist recruitment and training tool for the Chinese navy anymore. Vancouver Lake Park, paddleforlife. org. 9 am. Also on May 24. Free.

TUESDAY MAY 27 BIKE GUIDE RELEASE PARTY [BIKES] WW is publishing its firstever glossy bike guide, and we’re celebrating with free beer, music and giveaways from Crank and Nutcase Helmets—and kale chips! RSVP to cycle@wweek.com. Crank, 2725 SE Ash St. 5 pm. Free. 21+. Willamette Week MAY 21, 2014 wweek.com

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FOOD & DRINK

By MATTHEW KORFHAGE.

www.shandongportland.com Editor: MARTIN CIZMAR. Email:

dish@wweek.com. See page 3 for submission instructions.

WEDNESDAY, MAY 21

Shandong

Night Light 10-Year Anniversary Party Night Light Lounge celebrates 10 years of back-patio boozing by dialing back the beer and well-drink prices to 2004 levels, and offering $2 food specials, for 10 days through May 30. Wednesday night is the kickoff party with DJ Rev Shines, plus goodie bags filled with employee mug shots for the first 20 patrons who arrive after 7 pm. Night Light Lounge, 2100 SE Clinton St, 731-6500, nightlightlounge.com. 7 pm. 21+.

www.shandongportland.com

FRIDAY, MAY 23 German/Austrian Wine Tasting

Ewal Moseler, an importer of wines made near the blackest of forests, where fairy tales come from, will select six German and Austrian wines for a pretty dang cheap happy-hour tasting. Europa Wine Merchant, 1111 SW Alder St., 224-3520, 4:30-6:30 pm. $10.

Hip Chicks Do Wine Tasting

Screw those limos snaking off into the hills of Dundee or the strip malls of Newberg. Go local: Twice a year, including this entire Memorial Day weekend, urban winery Hip Chicks opens their cellars wide and offers a tasting of every single one of their wines, which will amount to 10-12 wine tastes for a mere $15, with live music and such, besides. Wine Club members are free. Hip Chicks Do Wine, 4510 SE 23rd Ave., 2343790. Friday and Saturday 11 am-8 pm, Sunday and Monday 11 am-6 pm. $15.

Rhone All-Stars

Red Slate Wine Company is pulling out the big boys for this wine tasting, which makes it a bit more of a commitment than most wine tastings at its triple-digit price tag. But for that commitment, they deliver nine rarities and high-ticket business from the Rhone valley. It’s the sort of wine tasting where pretty much all of the wines go for more than a C-note, from Chave Hermitage 1992 to Pierre Usseglio Reserve des 2 Freres Chateauneuf du Pape 2009. Red Slate Wine Company, 107 SE Washington St., No. 133, 232-3867. 7 pm. $125.

SATURDAY, MAY 24 Lompoc Brewing Soccer Fundraiser

Lompoc’s Fifth Quadrant throws a fundraiser and silent auction to raise money for the West Side Timbers Premier Soccer Club U13 Copa, the youth soccer team that just won the Oregon State Cup and is advancing to regionals. The majority of beer sales will go toward the youth team’s travel costs, and Lompoc will donate a portion of annual proceeds from Kick Axe pale ale kegs toward a new field at Jefferson High School. Fifth Quadrant, 3901 N Williams Ave., 288-3996, lompocbrewing.com. 3-6 pm.

fetcheyewear.com | 877.274.0410

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

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Shandong = WW Pick. Highly recommended.

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6/10/12 9:41 AM

MONDAY, MAY 26 Memorial Day Free Cake

In an annual tradition, Salty’s on the Columbia is giving out free cake to military veterans with lunch or dinner in honor of Memorial Day, plus throwing down a $20 gift card for a future visit. Call ahead to make sure you get your cake. Salty’s on the Columbia, 3839 NE Marine Drive, 505-9986, saltys.com/portland.

IT’S THE WURST!: Cart owners Ksenia and Bryan Roeder.

DEUTSCHLAND CURRY If you are what you eat, Berliners are made of currywurst. The homegrown flavor of postwar Berlin is Herta Heuwer’s patented sauce of English curry, Worcestershire sauce and ketchup, slathered over sliced pork sausage that’s first been steamed, then fried. Every Berlin mayor has to get an official photo taken with the stuff before they’ll even let him in the building. The city’s also installed a Currywurst Museum. They eat more currywurst per capita than we eat pizzas. B ut no one h a s op ene d a ded ic ated c u r r y w u r st c a r t in Por tla nd u nti l now. The Order this: Currywurst ($6.50). I’ll pass: The lentils are a no. new Deutschland Curry cart is all about the sausage—specifically, cumin-spiced pork bratwurst made with the help of a butcher in deeply German Mt. Angel. The best item at the cart is the original. The cart’s paprika currywurst and fries ($6.50) has an affably faithful rendition of Heuwer’s sweet-tangy Chillup sauce, with just enough spice to bother a German (which is to say, not much). The fries are handcut, crisp on the outside and soft on the inside, with an option for Berlin’s customary mayo as a dipping sauce. The basket is a spaceship back to the unsavory tourist sections of the Ku’damm. Of the wurst variations, stick to the Hungarian lecso dog ($6), a hot-dog-bunned brat slathered in a fondue made from Tillamook aged white cheddar and a stew of acidic paprika, tomato and peppers. The lentil dog ($6), on the other hand, is an experiment gone wrong—it’s like a hot dog that fell in cumin mud—and the fondue brat without the lecso ($6.75) is a dull white paste. But all the cart really needs, as every Berliner knows, is the straight-up currywurst and fries, plus access to beer. As Herbert Grönemeyer noted in his smash German hit “Currywurst,” that curry sure does make you thirsty. MATTHEW KORFHAGE. GO: Deutschland Curry, Southwest 5th Avenue and Stark Street, 866-5903, deutschlandcurry.com. 11 am-3 pm Monday-Friday.

DRANK

BURNCIDER (CIDER RIOT) Portland’s fledgling cider scene needs something like Cider Riot. First, because the now year-old cidery brings some swagger so far unknown among the often meek glutophobes—witness the mob of Riot supporters who marched through North Tabor playing bagpipes and wearing kilts to celebrate the anniversary. Second, because of products like Burncider, a mild and quite dry draft cider. Unlike the hopped and beery Everybody Pogo, first in the Riot lineup, Burncider is a traditional British-style drop that uses a hefty dose of tannic cider apples. It’s floral on the nose, with a tart streak, a mild sweetness and light carbonation. One glass of most West Coast ciders is enough for me, but Burncider remains subtle enough to session. Suddenly, I feel like playing darts, or something. Recommended. MARTIN CIZMAR.


FOOD & DRINK N ATA L I E B E H R I N G . C O M

REVIEW

Happy Hour Monday–Saturday 4–6pm & 8pm–close

PRAYERS WANTED: Brisket with mac and cheese and collard greens.

FALSE PRIEST

Everything is served on pie plates. A pie plate of three deviled eggs filled and topped with little pieces of brisket and an ultra-acidic piccalilli are tasty enough, but the cooks use a little of that filling to stick them to the butcher paper. Which means you’re either eating deviled eggs with a fork (nerd!) or your fingers are covered in slop before you even get your ribs. And yet you’re better off with those eggs than a terrible radicchio BY M A RT I N C I Z M A R mcizmar@wweek.com salad ($7.95) with white beans and beets dressed with cream-colored blah and doughy fried-zucThe dining desert of Sellwood needs some salva- chini pickles ($4.95). tion. Sure, there are a few great old standbys, yet Lick the mayonnaise off your fingers and pick Sellwood-Westmoreland remains the wealthiest up a tender pork rib (the four-rib platter with two neighborhood on the east side where you have to sides is $14.95) with four house sauces, all decent drive elsewhere to find an exciting new restaurant. but unremarkable. On the side, you’ll want the Reverend’s BBQ looked to be mac and cheese, which is topped just the prophet the neighborwith crumbled barbecue chips, Order this: A pound of fried hood needed. The smokehouse chicken ($11.95 for white meat), and the collard greens, which comes from the trio behind Lau- sausage plate ($12.95). get a lot better with a squirt of relhurst Market, the best steak- I’ll pass: Brisket, coleslaw, potato mustard sauce. The coleslaw and salad, smoked tempeh. house in town, which has its own potato salad were both tweaked butcher shop and killer cocktails. after my visits, which is a good But while this nearly 2-month-old barbecue joint thing, because both had texture issues. might yet ascend that golden staircase, it’s got a I had the brisket in some form on all three visits ($16.95 for a plate, $11.95 for a sandwich), and found tough climb ahead. Unlike Laurelhurst, which perfectly mixes the it unsatisfying each time. Brisket is tricky, and I’ve bourbon of tradition with newfangled smoked found it’s best to avoid arguments about orthodoxy. ice cubes, Reverend’s is pure Americana, with big But I believe barbecue joints keep their customTVs showing sports, menus in plastic sleeves and ers happy by asking what sort of cut they want. Miller Lite proffered with a note of self-defense on Because while there’s probably some guy—the one the menu: “Who cares? It’s beer…” And, hey, I’ve who wants extra MSG on his fried noodles—who been known to order High Life. But too much at savors the extra-fatty pieces, I’d prefer a leaner cut. Reverend’s has been given the “Who cares, it’s…” Beyond that, I found the slabs of brisket on my last treatment. Behind the bar alone, there are boxes visit so smoky the meat suffered. of tempranillo stacked up like cordwood, a Pimm’s The pork ($12.95 for a plate, $7.95 for a half Cup ($7) made with ginger ale instead of lemon pound, oddly not available as a sandwich), on the soda, and dry martinis that the bartender proudly other hand, was bland and not smoky enough. proclaims don’t have “any vermouth at all.” Whatever you do, avoid the smoked tempeh sandI may be a beer geek, a cocktail snob and the wich ($8.95)—gummy tempeh topped with slaw most damnable of Yankees, but I’m always content froth and fried onion on crusty ciabatta. in the NASCAR Pit of America if the barbecue is If you’ve got your heart set on dessert, snatch good enough. But deliverance doesn’t come. up the salty-and-smoky caramel nut bar ($6), Let’s start with the Good News, which is that and steer clear of the rhubarb-and-strawberry the Reverend makes some damned good fried shortcake, which is more like a hard, dry, notchicken. The recipe comes over from Simpatica very-sweet biscuit. and involves frying the boneless bird at a lower I’d like to recommend a new gem where you temperature to get crisp, buttery breading and can pop in for dessert but, well, it’s Sellwood. See breasts so juicy they drip. Sausages from Laurel- you at Gino’s—again. hurst are also excellent—you’ll want the entree plate ($12.95) with a variety of three links GO: Reverend’s BBQ, 7712 SE 13th Ave., 3278755, reverendsbbq.com. 11:30 am-9 pm Sundaysmoked and halved. Thursday, 11:30 am-10 pm Friday-Saturday. But then the little sins start to mount.

REVEREND’S BBQ DOESN’T BRING DELIVERANCE TO SELLWOOD.

Walk-Up Window 11am - 2pm

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

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may 21–27 FEATURE

WEDNESDAY, MAY 21 XXYYXX, Ghost Feet, Rap Class

[BED-HOP] Marcel Everett, the bedroom beatmaker known as XXYYXX, hasn’t done much in his legal adulthood. Only a few remixes and short tracks have dropped since he turned 18, which might hearten aspiring artists until they realize that he just became old enough to vote last October. Everett already has a half-dozen critical-darling albums and EPs under his belt, but it’s his increasing experimentation within the genres of ambient, garage and hip-hop—all can be heard on SoundCloud singles “Golden” and “Angel”—that makes him the most exciting teen on the planet. MITCH LILLIE. Rotture, 315 SE 3rd Ave., 234-5683. 9 pm. $15. 21+.

THURSDAY, MAY 22 Neko Case, the Dodos

[COUNTRY AT THE CORE] Not since Bonnie Raitt has there been a voice as strong as Neko Case’s. The countrified siren is why auditoriums and concert halls exist: Pipes as powerful as hers need big spaces to match. Some know her as a member of the New Pornographers, a Canadian supergroup that, in hindsight, was perhaps just too talented for its own good. On her own, with a standup backing band, Case is at home and deservedly the main event. The way she channels country legends like Patsy Cline and Dolly Parton is something to behold. Newest record The Worse Things Get the Harder I Fight… is what we’ve come to expect from Case: an expert combination of sharp songwriting and spacious Americana. MARK STOCK. Aladdin Theater, 3017 SE Milwaukie Ave., 234-9694. 8 pm. Sold out. Under 21 permitted with legal guardian. Through May 23.

Cage the Elephant, Foals, Tiger Merritt

[RADIO INDIE] A musician who understands the value of crowd energy (or just really likes to get down), Cage the Elephant frontman Matt Schultz has quickly been gaining notoriety for his contagious showmanship, complete with demonically possessed writhing, spontaneous leaps into mosh pits and precarious climbs up stage scaffolding. The altrock quintet’s progressively more raucous live performances now bring to life tracks from 2013’s Melophobia, the band’s third release, which explores a more thrashy, psychedelic sound, with a hint of British glam rock. GRACE STAINBACK. Crystal Ballroom, 1332 W Burnside St., 2250047. 8 pm. Sold out. All ages.

Chet Faker, Reva DeVito

[SOUL CROONER] Chet Faker (real name: Nicholas Murphy) sings like a man who’s been through it all. His debut LP, Built on Glass, is a twisted journey through heartbreak, redemption and healing soundtracked by perfect electronic textures and soft, steady vocals. Coupled with excellent songwriting, Murphy breathes new life into the intersection of soul, R&B and electronica in a way that assures his listeners it’s all going to be OK. GEOFF NUDELMAN. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $14. 21+.

Foster the People

[AGITPOP] A jingle writer toiling away on disposable hooks those long years on the advertising assembly line before “Pumped Up Kicks” jammed the summers of 2011, Foster the People frontman Mark Foster must have known certain criticisms

were unavoidable as his Los Angelesbased trio’s star enjoyed a dizzying ascent. You’d also imagine a seasoned brand analyst would trust the marketplace. Few groups so perfectly embodied the burgeoning appetite for the high-craft, lowbrow indulgences of glossy pop fusion, but while the less-palatable textural subtleties of his smash single were buried upon delivery, Foster evidently took pains to ensure its future sociopolitical musings wouldn’t be so easily ignored. The band’s recently released sophomore album plants arresting choruses in a wide array of alt landscapes (Vampire Weekend here, MGMT there), but with clunky lyrical embarrassments shoved to the forefront, Supermodel rather protests too much that airbrushed appeal doesn’t equal vapidity, which seems irredeemably stupid. JAY HORTON. Roseland Theater, 8 NW 6th Ave., 224-2038. 9 pm. Sold out. All ages.

Jex Toth, Witch Mountain, Usnea

[OCCULT ROCK] The entrancingly enigmatic singer Jex Toth has been compared to Pink Floyd, Jefferson Airplane and Black Sabbath, but with the sensibilities of modern lungs like Fiona Apple and Chelsea Wolfe. The occult undertones in her bewitching tunes make her a perfect puzzle piece to juxtapose with local Witch Mountain, whose sultry, soulful doom metal is about to launch the group back on a tour of Europe. Catch them at this show and you just might hear some tracks from their third fulllength record, which is being mixed and mastered as we speak. CAT JONES. Star Theater, 13 NW 6th Ave. 9:30 pm. $10. 21+.

First Aid Kit, Willy Mason

[WOOD NYMPHS OF THE NORTH] Swedish sisters Johanna and Klara Söderberg have a rich enough backstory, with a Fleet Foxes cover that blew up on YouTube leading to a debut EP reissued by Wichita Recordings featuring three songs recorded live in a Swedish forest. But then, the songs of First Aid Kit are little more than talking points by now. This year’s Stay Gold cashes the check the hype machine has been writing for a few years now, displaying roots rock a la Emmylou Harris and Loretta Lynn with little trace of its Nordic origins beyond the ethereal reverb that encompasses the duo’s fearless vocals like a warm blanket on a cold night in the old country. PETE COTTELL. Wonder Ballroom, 128 NE Russell St., 284-8686. 8:30 pm. Sold out. All ages.

FRIDAY, MAY 23 Parquet Courts, Naomi Punk

[STONED AND STARVING] As easy as it is to compare wisecracking Brooklyn indie-rock outfit Parquet Courts to heroes of yore—Slanted & Enchanted-era Pavement, the Velvet Underground, even Polvo—it’s just as simple to say who they don’t sound like, which is just about every other new rock band of the 2010s. Breakthrough record Light Up Gold saw the band alternate between garage burnout rave-ups (“Borrowed Time”), sprightly mumbles (“N Dakota”) and the instant classic “Stoned and Starving,” which, with its insistent guitar racket and lyrics about stumbling through Ridgewood, Queens, looking for more Swedish Fish, made it a contender for the Best New York Rock Song since Julian Casablancas got kinda fat. With new record Sunbathing Animal prom-

CONT. on page 26

WRANGLING SASQUATCH WHO TO SEE—AND WHO TO AVOID—AT THIS YEAR’S SASQUATCH MUSIC FESTIVAL. By maTTHEW SINGER

msinger@wweek.com

Let’s face it: If you’re driving four hours to middle-of-nowhere Washington for Sasquatch this weekend, it’s probably to see Outkast. But there’s a lot of other stuff happening before and after “Hey Ya!” fades into the night. Here’s a day-by-day primer.

FRIDAY BEST REASON TO GET UP EARLY: The Stepkids Mind-warping soul that makes a convincing argument for taking those mysterious pills, which you got from that weird dude at the gas station, hours earlier than planned.

them over the surrounding instrumental buzz or not. BEST REASON TO AVOID THE MAIN STAGE: Violent Femmes No one’s denying that the Femmes’ debut is a college rock classic, but it came out in 1982. For the average Sasquatch attendee, the band might as well be Benny Goodman, and watching two dozen middle-aged record store clerks pleading for “just one fuck” is a sight depressing enough to put a damper on the rest of the weekend. BEST REASON TO STAY OUT LATE: Cut Copy Once just another indie electro-pop group grasping at dance nirvana, the Aussie trio reached it with last year’s ’90s-gazing Free Your Mind. Don’t expect a lot of sick drops—just ebullient house grooves you can ride all the way back to your campsite.

SUNDAY

BEST REASON TO EXPLORE THE SMALLER STAGES: Gifted Gab Not to be confused with indie-rap motor mouth Gift of Gab, though after hearing Gifted Gab’s rugged, blunted flows, you’re more likely to wonder how long the Lady of Rage has been hiding out in Seattle.

BEST REASON TO GET UP EARLY: Pollens Seattle’s answer to Dirty Projectors layer mellifluous vocal harmonies over elliptical guitars and African polyrhythms, and its trancelike quality is just the sort of massage your brain is going to need to get through Day Three.

BEST REASON TO AVOID THE MAIN STAGE: Cage the Elephant No, they’re not the band that does “Pumped Up Kicks” or the one with the irritating period in its name. They’re… wait, who are they again? BEST REASON TO STAY OUT LATE: Die Antwoord Like a Lars von Trier movie or your mom’s final project for that sculpting class, some monstrosities you just have to witness for yourself. You’ve already seen Outkast, so what do you have to lose (except for sleep as that one dude’s face haunts your dreams)?

SATURDAY BEST REASON TO GET UP EARLY: Hobosexual And you thought Diarrhea Planet was the worst name ever. At least in this case the handle gives you some idea of what you’re getting into: scuzz-bucket, two-man boogie blues with song titles like “Sex Destroyer,” “Van Candy” and “A Motherfuckin’ Song About Robots.” BEST REASON TO EXPLORE THE SMALLER STAGES: Eric Andre Comedy with any sort of nuance usually doesn’t translate well at music festivals, but that’s not a problem for Andre, whose manic non sequiturs make just as much sense whether you can hear

F

Editor: MATTHEW SINGER. TO BE CONSIDERED FOR LISTINGS, go to wweek.com/ 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: msinger@wweek.com. Fax: 243-1115.

S TA F

= 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.

BEST REASON TO EXPLORE THE SMALLER STAGES: The Flavr Blue The cancellation of English dance-pop duo AlunaGeorge was a major disappointment, but this Emerald City group’s nocturnal electro-R&B should help fill at least part of the void.

WW

MUSIC

BEST REASON TO AVOID THE MAIN STAGE: Kid Cudi He’s like if Drake had a cousin whose idea of flirting is reading passages from his unpublished sci-fi novel in Auto-Tune. Unless you want to know what Martin Starr’s character from Party Down would be like as a rapper, it’s probably best to just get a churro and chill. BEST REASON TO STAY OUT LATE: Gesaffelstein One part of the production team behind Kanye’s “Black Skinhead” (along with fellow Frenchmen Daft Punk), his clanging industrial techno is leaden enough to black out the glow sticks that’ll be waving for Major Lazer at the other end of the Gorge. SEE IT: Sasquatch is at the Gorge Amphitheater, 754 Silica Road, Quincy, Wash., on Friday-Sunday, May 23-25. Sold out. See sasquatchfestival.com for complete schedule. Willamette Week MAY 21, 2014 wweek.com

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MUSIC

FRIDAY

ising to push the tempo even more, it’s time to ditch those GBV shirts and worship a new kind of drinking band. MICHAEL MANNHEIMER. Doug Fir Lounge, 830 E Burnside St, 231-9663. 9:30 pm. $12. 21+.

Love in This Club: Bit Funk, Nathan Detroit, Ben Tactic, Laura Lynn

[DISCO BEACH] Nightclubs have gotten darker and the jams harder in the past few years, but there is an oasis: the sunny beaches of disco house. Brooklyn producer Bit Funk’s Soul Satisfaction EP, released for free late last year, proves he knows those shores well, mixing jazzy organ riff s with upbeat but not too upbeat beats. Bit Funk’s music has the eff ect of an attractive individual walking up to you on that beach, a coconut in each hand, a straw and a little umbrella poking out of each. Cliché? A little. But just relax. MITCH LILLIE. Holocene, 1001 SE Morrison St., 239-7639. 8:30 pm. $5. 21+.

The Growlers, Guantanamo Baywatch, Summer Cannibals

SAM LINGLE

[PSYCHOTROPIC ROCK] Although the increasing pervasiveness of the surf-rock genre has been criticized, I argue that there’s nothing wrong with a little love for the beach. The Growlers are a perfect example of where the sunny rock genre

went right. Self-described as a “gothic beach party,” the California fi ve-piece writes songs whose subjects range from girls to drug addiction. Not only are they lyrically diverse, but with riff s that sound like a drunken homage to the Beach Boys, who wouldn’t want to jump on that bandwagon? ASHLEY JOCZ. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. $15. 21+.

Tyler the Creator

[BASTARD RAP] There’re MCs twice Tyler the Creator’s age who haven’t issued three albums worth listening to—and the L.A. native’s already released that many revisitable odes at the ridiculous age of 23. His debut, 2009’s Bastard, was more interesting than an autobiographical piece by a teen should have been. He amped up the weirdo productions for Goblin two years later and continued his vulgar (and hilarious) raps on last year’s Wolf. All his talk about balls and bitches might not sit well with proper liberals, but Tyler’s work is confessional. And if he couldn’t speak frankly, an utterly unique perspective in hip-hop would simply be lost. DAVE CANTOR. Roseland Theater, 8 NW 6th Ave., 224-2038. 8 pm. All ages.

INTRODUCING NEKA & KAHLO

BY GRACE STAINBACK

Who: Mila “Kahlo” Kokich (rapper), Neka Perini (singer, producer) Sounds like: The raw frustration of Eminem’s identity crisis encountering the soulful wisdom of Adele, with Skrillex on the decks. For fans of: Mary J. Blige, Alicia Keys, Illmaculate, TxE. Why you care: Neka and Kahlo is more than a music project. As an interracial lesbian couple making hip-hop together, the pair’s mission statement is to help us see ourselves as the multilayered, weird-as-hell Venn diagrams we truly are. “Our society tends to be very binary, very dualistic,” says Mila “Kahlo” Kokich. “There’s black and white, Democrat and Republican, and even the saying, ‘two sides to every story.’ We think there are several sides to every story. We are an embodiment of all our complexities, as women, members of the queer community and members of the hip-hop community. These aren’t isolated communities. They all overlap.” This diversification is evident on the duo’s debut EP, Thirdwave: The seven tracks juxtapose pop hooks with tightly wound rhymes, frenetic drum’n’ bass with groovy, ethereal ballads. “I ain’t Anna Mae, Marie Antoinette/ Women in rap, I take the cake,” raps Kahlo on opener “The Shew Stone,” segueing into an album rife with assertive, urgent lyricism. The couple draws much inspiration from their dual experiences growing up and coming out. “We’ve always been soulsearching together, exploring our identity as a queer couple,” Kahlo says. “Our music has been a way for us to express ourselves and work through that.” Neka and Kahlo’s debut is culturally relevant in other ways. Thirdwave drops at a particularly tense time for hip-hop in Portland, in which the Portland Police Bureau has come under increased scrutiny for the proliferation of officers at local rap shows. “This is not just a hip-hop issue, it’s an equity issue,” says Kahlo, who grew up in St. Johns. Neka, who relocated from California, calls the ambiance in Portland a “quiet racism” in which the hip-hop scene doesn’t fit into the image the city would like to portray. “We hope our shows help everyone—the gay community, the [predominantly white] Portland community, the hip-hop community—to be in the same place, to open their eyes and see each other,” she says. SEE IT: Neka and Kahlo play Rotture, 315 SE 3rd Ave., with Amine, Aviel, Maze Koroma, Blossom and Astro King Phoenix, on Thursday, May 22. 8 pm. $5 advance, $8 day of show. 21+. 26

Willamette Week MAY 21, 2014 wweek.com


FRIDAY–SATURDAY

[BEACH CORE] Reunion fever is in full assault, and even footnotes from the hardcore canon are enjoying the spoils. Case in point: Santa Cruz progressive hardcore outfi t Bl’ast. Its metal-tinged take on Circle Jerks-style punk landed it on SST records and tours with Black Flag back in the ’80s. Now, vocalist Cliff ord Dinsmore and founding guitarist Mike Neider are joined by a crack rhythm section of alumni from Queens of the Stone Age. With Joey Castillo on the kit anything is possible, and with Nick Oliveri on bass, anything could go wrong at any time. So take heed, and catch Bl’ast while the iron is hot and the boards are waxed. NATHAN CARSON. Star Theater, 13 NW 6th Ave. 7 pm. $15 advance, $18 day of show. All ages.

SATURDAY, MAY 24 Ramblin’ Jack Elliott, Nell Robinson, Jim Nunally

[FOLK LEGEND AND FRIENDS] Portland’s been fortunate over the past few years to host a handful of visits from folk music’s elder statesman Ramblin’ Jack Elliott. If you’ve yet to take advantage of those opportunities, don’t waste any more time. For background on Elliott’s storied career, check out the documentary The Ballad of Ramblin’ Jack, a revised edition of which is being digitally released this week. His dextrous guitar picking, wily voice, intellect and sense of humor all remain tack-sharp at 82. On this trip, the so-called Brooklyn Cowboy is joined by Southern-rooted singersongwriters Nell Robinson and Jim Nunally for what’s dubbed the Seeds and Stories Trail Tour. JEFF ROSENBERG. Alhambra Theatre, 4811 SE Hawthorne Blvd. 8:30 pm. $20. 21+.

Rodriguez, LP

[FOLK HERO] By now, the story of Sixto Rodriguez should be familiar to anyone with a passing interest in popular music. After releasing two albums of Dylanish social commentary in the ’70s, the singersongwriter vanished from public view, but not before becoming, unbeknownst to him, a folk hero in South Africa, where his songs were adopted as anthems for the anti-apartheid movement. Fans presumed he was dead. In truth, he was just in Detroit (which, as my friend and Michigan native AP Kryza likes to say, is basically the same thing). All this was detailed in the documentary Searching for Sugar Man, which won an Oscar in 2012 and kicked off the stateside Rodriguez renaissance. This story of delayed triumph was recently given a tragic postscript, however: Earlier this month, Sugar Man director Malik Bendjelloul was found dead of an apparent suicide. Were it not for him, it’s hard to imagine Rodriguez ever emerging from the record bin of lost history. Expect some kind of tribute from the stage tonight. MATTHEW SINGER. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 248-4335. 8 pm. $47.50-$70.50. All ages.

Brody Dalle

[DESERT PUNK] When Brody Dalle first showed up on American soil as an Australian teenager, she started using her gritty, gravelly voice to tackle her political and cultural frustrations while fronting the threepiece punk band the Distillers. As that group fell apart and she grew up and matured as a songwriter— and married Queens of the Stone Age frontman Josh Homme—she made one record under the moniker Spinnerette in 2009. After a five-year break to have two children and focus on life in the Southern California desert, she returns this year with an upbeat solo record, Diploid Love, that’s a bit more traditionally rock ’n’ roll than its predecessors. CAT JONES. Dante’s, 350 W Burnside St., 226-6630. 9:30 pm. $12. 21+.

Waxahatchee, Perfect Pussy, Potty Mouth

The Ghost of a Saber Tooth Tiger, Syd Arthur

[POWERFUL EMOTIONS] After leaving her band P.S. Eliot in 2011, Katie Crutchfi eld has released two albums as Waxahatchee and gained recognition outside the community-run show-space circuit. Her soft voice and poppunk acoustic guitar evoke a trembling tenderness capable of digging a pit in your stomach. Even when she goes electric, your heart still aches. At this special allages matinee, she is paired with the equally raw force of Perfect Pussy, whose confessional debut album, Say Yes to Love, showcases frontwoman Meredith Graves’ powerful femininity via post-hardcore vocals as her bandmates whip up a fl urry of sound around her. If you’ve got some shit on your chest this is the time to deal with it. LYLA ROWEN. Doug Fir Lounge, 830 E Burnside St., 2319663. 4:30 pm. $13 advance, $15 day of show. All ages.

[LENNON BY NAME] Sean Lennon, the only son of John and Yoko, was born with big shoes to fill. As expected, the music he’s crafted with his model girlfriend Charlotte Kemp Muhl under the moniker Ghost of a Saber Tooth Tiger has never strayed far from his DNA—until recently. The duo’s latest effort, the superb Midnight Sun, ditches the pair’s formerly arcane sound in favor of a straight-up rock record, bulging with meaty guitar that gives way to ’60s-inspired psychedelia with a tinge of Middle Eastern instrumentation and lyrics about kidnapping the grandson of an oil tycoon. But it would still be daft to simply ignore the nasally, spaced-out vocal similarities Sean shares with his father. NATHAN CARSON. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. $13 advance, $15 day of show. 21+.

Nothing, Whirr, Youth Code

[POST-ROCK FOREFATHERS] If this year’s Rave Tapes is any indication, Mogwai fans can give up on holding their breath for a “return to form” from our generation’s leading post-rock progenitors. Since its genre-defining debut Young Team emboldened an army of clones to invest in stacks of amps and miles of pedals in lieu of guitar lessons, little is left of the pie as this group of Scots dithers about with krauty electronics and obtuse vocal layers in search of new directions for their angst and caterwauling. Perhaps soundtracking zombie films and re-hashing its classic song “Like Herod” is still the best approach— it’s certainly their most original. PETE COTTELL. Roseland Theater, 8 NW 6th Ave., 224-2038. 9 pm. $21. All ages.

[SHOEGAZIN’] Despite having the perfect name for it, Philadelphia’s Nothing is defi nitely not metal. This may come as a surprise, as its excellent debut album, Guilty of Everything , was released earlier this year via metal imprint Relapse Records. Instead, the band off ers up dreamy, dense post-hardcore, residing on the same sonic spectrum as bands like Deftones and Deafheaven, but leaning toward the pop end of things. That’s not to say its tidal wave of sound won’t blissfully crush you, but you’re likely to be too mesmerized to do anything about it. SAM CUSUMANO. Holocene, 1001 SE Morrison St., 239-7639. 6:30 pm. $10 advance, $12 day of show. 21+.

Mogwai, Majeure

CONT. on page 28

PREVIEW A N D R E A S WA L D S C H U E T Z

Bl’ast!, Tragedy, Transient, 13 Scars

MUSIC

Sohn, Mr. Little Jeans, John Dee-J [SOUL-TRONICA] Christopher Taylor, aka Sohn, is a South London product currently producing, remixing and creating his own solo material from Vienna. Praise from heavy hitters, along with studio collaborations with the likes of Lorde and Miguel, have Sohn basking in the spotlight. His debut LP, Tremors, is no less confident and wellproduced than the Angel Haze and Disclosure remixes he used to turn out from the privacy of his own home. The much-buzzed British label that took him in, 4AD, is an ideal fit, with an eclectic and modern roster that includes the likes of Tune-Yards and Future Islands. Tremors teems with Taylor’s soulful, glassy vocals and fondness for dreamy, echoey electronica. It’s an avant-garde interpretation of Jamiroquai, trading funk for a cleaner, crystalline brand of digital beats, keys and moody effects. In many ways, Sohn is the product of his northern European environment, tempted by dance and R&B but often caving under the enormous pressure of open expanses, dark winters and the resulting melancholy. But it’s that very blue humanness that differentiates Sohn from the overly mechanized electronica crowd. MARK STOCK. Holocene, 1001 SE Morrison St., 239-7639. 8:30 pm Thursday, May 22. $13 advance, $15 day of show. 21+. Willamette Week MAY 21, 2014 wweek.com

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MUSIC

SATURDAY–TUESDAY

Liars, Massacooramaan

[NO WAVE NU-RAVE] The pod people in Brooklyn’s Liars have slithered into a diff erent host body with practically every release stretching back more than a decade. Emerging alongside the likes of the Yeah Yeah Yeahs at the turn of millennium with a blackened take on revivalist disco punk, each record seems to be a reaction against the last. As such, the band’s discography is now a grab bag of experiments both successful (the awesomely unnerving Sisterworld ) and failed (the almost unlistenable They Were Wrong, So We Drowned ). This year’s Mess falls in the former category. Seven albums in, Liars have come back around to working with dance rhythms, albeit with more focus on electronic instrumentation. It’s a throbbing, burping, oozing record, but make no mistake: It’s also a heavy groover, made for those whose idea of a fun night out is slamming back a cocktail of bath salts and throwing a rave in the sewer. MATTHEW SINGER. Star Theater, 13 NW 6th Ave. 9 pm. $16. 21+.

Elbow, John Grant

[DAD ROCK] You know you’ve made it as a band when you’re commissioned to help make your own beer. Marston’s Charge Golden Pale is a blend of three malts fermented at a higherthan-normal temperature, while Elbow, the band that inspired the brew, is a blend of fi ve alt-rockers from Manchester fresh off its sixth studio album, The Take Off and Landing of Everything. The group’s musical recipe was diff erent this time, splitting the songwriting up among the various members and blending it all together at the end. The result is a safe and surprisingly coherent record, gray and melodic like Doves while decidedly dad-rockish in the vein of Sting. MARK STOCK. Wonder Ballroom, 128 NE Russell St., 284-8686. 9 pm. Sold out. All ages.

SUNDAY, MAY 25 Wild Ones, Anne, Teen Spot

[THE POWER IN POWER POP] Oh man, do the songs on TeenSpot’s debut EP, Aggressive Inline Skating, appeal to just about every musical pleasure zone in my brain. Like the work of his other super power-pop outfi t, Your Rival, Mo Troper can channel the best of Superchunk, the Raspberries and the New Pornographers into tightly wound, irresistibly catchy pop nuggets. Tonight, the band opens an almost perfect night of PDX, um, pop, alongside the darkwaveinspired synthscapes of Anne and Wild Ones, who just might be the best synth-pop band in town. I don’t really believe in supergroups, but I do believe in super bills. MICHAEL MANNHEIMER. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $10 advance, $12 day of show. 21+.

Die Antwoord

[RAP$] While The New York Times has admired South African party rappers Die Antwoord for their “brilliant weirdness,” I don’t think “brilliant” applies to zef culture on the whole. Zef is a gaudy, trashy, working-class aesthetic that, in American terms, exists somewhere between ratchet hip-hop and a trailer park. Apparently fans have rationed the incendiary raps released on Ten$Ion in 2012—nothing has been released since—and supplemented them with Die Antwoord’s strange Instagram account. They’re still hungry, though: This show is sold out. MITCH LILLIE. Roseland Theater, 8 NW 6th Ave., 224-2038. 8:30 pm. Sold out. All ages.

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Willamette Week MAY 21, 2014 wweek.com

MONDAY, MAY 26 Pink Mountaintops, Giant Drag, Daydream Machine

[PSYCHO POP] It’s been a difficult journey for the L.A. group Giant Drag. After being dropped by Interscope Records and dealing with lead singer Annie Hardy’s numerous health problems, the two-piece called it quits in 2013. But after some time off, Giant Drag is apparently back. While the group was previously renowned for its tongue-in-cheek lyricism and three-chord formula, the recent Band Car EP is a more experimental, acoustically driven effort, exploring a realm beyond the simple, sunny garage pop it was once so familiar with. Headliner Pink Mountaintops, the psychedelic side project of Black Mountain’s Stephen McBean, just released its fourth album, Get Back. ASHLEY JOCZ. Bunk Bar, 1028 SE Water Ave., 894-9708. 9 pm. $12. 21+.

Banks, Jerome LOL

[SEXY R&B] After a stint opening up for drugged-out lothario the Weeknd and an appearance at Coachella last month, Banks currently fi nds herself in the midst of a sold-out headlining tour. The blooming L.A. songstress gained international attention last year with a pair of EPs, and her fulllength debut, Goddess, is slated to come out this September. With a wickedly sensual voice, sharp production and “girl lost in the world” lyrics, Banks has an undeniable appeal, especially amongst the country’s growing population of confused twentysomethings. SAM CUSUMANO. Doug Fir Lounge, 830 E Burnside St., 2319663. 9 pm. Sold out. 21+.

TUESDAY, MAY 27 Tyvek, Woolen Men

[MOTOR CITY MAYHEM] The irony of a destructive post-punk quartet from Detroit named after the country’s most famous polyethylene wrap for new homes is not lost on me. But it does distract from Tyvek’s vintage noise, derived equally from Brit rock and local legends like Iggy Pop. In 2012, the band released On Triple Beams, a brash record full of neurotic guitar riff s and Kevin Boyer’s commanding and decidedly put-out vocals. Straightforward melody-seekers need not apply. MARK STOCK. Bunk Bar, 1028 SE Water Ave., 3282865. 10 pm. $6. 21+.

Pete Yorn

[MAYER CLINIC] After faithfully playing the enlightened indie gal’s heartthrob singer/songwriter— and the guiltiest of pleasures for her soon-to-be-ex—over fi ve eff ortlessly tuneful albums of singalong woe spanning the august, the slightly Pixielated guitar pop of Pete Yorn’s self-titled, Frank Black-produced 2010 release felt like a new beginning. Yet, given his subsequent disappearance from the troubadour game, it evidently represented a fi nal farewell. Collaborating with J.D. King on the backwards-leaning trifl es of last year’s The Olms— like similarly-retro-scoped Break Up—teased just enough of those prodigious popsmith talents through a Laurel Canyon haze to inspire hopes of a proper next chapter, but another iteration of 2006’s You & Me acoustic tour seems the worst sort of nostalgia. JAY HORTON. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $30. 21+.

Marc Ribot’s Ceramic Dog, 1939 Ensemble

[EXPERIMENTAL] As Tom Waits’ go-to guitarist, Marc Ribot knows how to make a skronkin’ good noise that spills across the borders of jazz, rock and the avant-garde. His latest project—


TUESDAY/CLASSICAL, ETC. though his website insists it’s “not a ‘project’ [but] a real band ”—is Ceramic Dog, which the same site calls “a free/punk/funk/experimental/psychedelic/post electronica collective,” positioning Ribot’s adventurous axe at the axis of a power trio featuring bassist Shahzad Ismaily and drummer Ches Smith. Their propulsive, tight but open-minded backing provides a platform for Ribot’s overthe-top soloing and occasional understated singing, making this perhaps the guitarist’s most satisfying non-project yet. JEFF ROSENBERG. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 8 pm. $17. 21+.

Band of Skulls, Deap Vally

[GLOSSY GARAGE ROCK] Southampton trio Band of Skulls doesn’t seem to shy away from its influences. Over the course of three albums, the outfit’s sound has followed closely on the heels of glamrock forebears like T. Rex while issuing crunching squalls of arenaready blues and cocksure hooks akin to the Black Keys. The band’s latest LP, Himalayan, finds the familiar vocal androgyny of co-singers Emma Richardson and Russell Marsden adorning a dusky psychedelic strut with spectral undertones. The riff s are more epic, likely the product of stints opening for Queens of the Stone Age. Unfortunately, they also lack the welcome sleaze of the band’s earlier work. BRANDON WIDDER. Wonder Ballroom, 128 NE Russell St., 284-8686. 8:30 pm. $19 advance, $20 day of show. All ages.

CLASSICAL, JAZZ & WORLD Third Angle presents New Ideas in Music

[MUSICAL INNOVATIONS] Third Angle, the ensemble of Oregon Symphony members and other top local classical musicians, has been performing contemporary sounds for more than a quarter century. For the past few years, it has also helped generate them via the annual New Ideas in Music competition. Each year, the group issues a call for scores from emerging composers and, with help from a panel of some of today’s most accomplished composers, chooses innovative works that promise to connect with audiences— a valuable contribution to refreshing the string-quartet repertoire. This year’s choices include music by Adam Borecki, Max Duykers, Kerrith Livengood, Charles Nichols, Amao Wang and May Kay Yau. BRETT CAMPBELL. Alberta Rose Theatre, 3000 NE Alberta St., 719-6055. 7:30 pm Friday, May 23. $10-$30. Under 21 permitted with legal guardian.

The Spirit of the ImpossibleStrange: Portland Jazz Composers’ Ensemble Celebrates Sun Ra

[COSMIC JAZZ] Whether Herman Poole Blount was born in Birmingham, Ala., or, as he claims, on Saturn, the eccentric pianist who became Sun Ra was one of jazz’s most adventurous composers and one of American music’s most colorful characters. His bands mixed disciplined performances with Egyptian-inspired costumes, sly humor, mysticism, Afro-futurism, dancers, fi re-eaters and more. Since his death in 1993, Sun Ra’s legacy continues not only in his still-touring Arkestra but in shows like this one, featuring compositions in tribute to his off beat spirit by PSU prof Charley Gray, Trio Subtonic’s Galen Clark and a trio of recent New York transplants who’ve already boosted Portland’s jazz scene: pianist George Colligan, native Oregonian trumpeter-composer Douglas Detrick and guitarist Ryan Meagher. BRETT CAMPBELL. TaborSpace, 5441 SE Belmont St. 7:30 pm Friday, May 23. $5-$60 d onation suggested .

For more Music listings, visit

MUSIC

ALBUM REVIEWS

MIMICKING BIRDS EONS

(GLACIAL PACE)

[CELESTIAL FOLK] In 2009, before the release of its first album, Mimicking Birds opened for Glacial Pace label boss Isaac Brock ’s band, Modest Mouse, at Crystal Ballroom, and the audience chatter so overwhelmed the musicians they might as well have been f lamenco guitarists providing background music for a busy tapas bar. Even in less-cavernous environs, songwriter Nate Lacy’s spider-web-fragile folk doesn’t command attention. It is pervasive in its quietude: Lacy sings in a trembling murmur, as if he’s only half-committed to being heard, and plays guitar the same way, the squeak of his fi ngers on the fretboard filling nearly as much space as the chords he often seems to be suggesting more than strumming. But for all its hushed, introspective qualities, the world Mimicking Birds invokes on record extends far beyond Lacy’s navel. It doesn’t reveal itself in a glance. Listening to the band is like peering at a drop of water in a microscope: The closer it’s observed, the more its internal universe opens up. With Eons, that universe has grown more lushly detailed. It’s still centered on Lacy’s delicate acoustic-guitar patterns and ghostly chill of a voice, but, abetted by drummer Aaron Hanson, bassist Adam Trachsel and producer Jeremy Sherrer, there’s now a brilliant star system orbiting around him. Shimmers of distortion ripple across “Memorabilia” and “Wormholes,” while throughout the record, various constellations of sitar, banjo and mouth harp glint in the distance. On “Owl Hoots,” Sherrer envelops Lacy in a meteor shower of skittering drums and electronic ephemera, propelling him across his own astral plane. Lacy has always fi lled his lyrics with invocations of nature and the cosmos, of “planetary systems” and reservoirs fi lling with fluid. But on Eons, he isn’t merely gazing at the stars—he’s traveling among them. MATTHEW SINGER. SEE IT: Mimicking Birds play Doug Fir Lounge, 830 E Burnside St., with Wake Owl and Big Haunt, on Friday, May 23. 6 pm. $10 advance, $12 day of show. 21+.

FRACTAL QUINTET PRECIPIECES (PJCE RECORDS) [JAZZ FUSION] The Portland Jazz Composers’ Ensemble’s record label continues to refresh the city’s jazz discography with a diverse range of monthly releases that usually veer beyond straight-ahead classic sounds. That open-mindedness explains the varied influences peppering its newest album. Fractal Quintet is the decade-old project of guitaristcomposer Libby Roach, who in the ’90s fronted the punkish Ashland trio Smidgen. (Biggest claim to fame: It once opened for Primus.) Precipieces, the band’s long-delayed debut, features some rockish guitar shredding and backbeats, Latin rhythms, odd meters worthy of Frank Zappa or Mr. Bungle, and other non-standard angularities, along with more familiar jazz improvisation and grooves. Yet the off beat combinations never feel forced or self-consciously avant-garde. Somehow, a surprisingly fresh cover of Gershwin’s perennial “Summertime”—which, along with “Sideways,” showcases Roach’s distinctive vocals—fits snugly, too. While Fractal has long been Roach’s vehicle for more complex compositions, even the instrumental cuts bear attractive traces of her other band’s avant-pop sensibility. Precipieces bountifully blends a diverse band of Portland jazzers —including chameleonic pianist Andrew Oliver (who, having moved to London, will be replaced at the CD-release concert by Clay Giberson), funk drummer Whityn Owen (who replaced the late, longtime fi xture Kipp Crawford), saxophonist Lee Elderton, trumpeter Kate Presley, bassist Eric Gruber and guests—into a tight, wide-ranging ensemble that can snag listeners across the jazz-rock spectrum with its singular groove. BRETT CAMPBELL. SEE IT: Fractal Quintet plays Alberta Street Pub, 1036 NE Alberta St., with Trio Subtonic, on Thursday, May 22. 9 pm. $10. 21+. Willamette Week MAY 21, 2014 wweek.com

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Willamette Week MAY 21, 2014 wweek.com


MUSIC CALENDAR

[MAY 21-27] Kennedy School

= 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 wweek.com/submitevents. 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: music@wweek.com. For more listings, check out wweek.com.

5736 NE 33rd Ave. Alexa Wiley and The Wilderness

Magnolia’s Corner

4075 NE Sandy Blvd Eric John Kaiser

Mississippi Pizza k AT H L E E N M A R I E

3552 N Mississippi Ave. Sparkle Nation, The Husbands, Porchcats Bluegrass

Mississippi Studios

3939 N Mississippi Ave. Bridget Everett, Shane Torres

Muddy Rudder Public House

8105 SE 7th Ave. Gabby Macrae & Friends

Ringlers Pub

1332 W Burnside The Windshield Vipers

Rock Creek Tavern

10000 NW Old Cornelius Pass Rd. Major Powers & the Lo-fi Symphony

Roseland Theater 8 NW 6th Ave. Foster The People

Rosewood Initiative Community Center

16126 SE Stark Street Jim Pepper’s Powwow

Rotture

New waVe: Summer Cannibals’ Valerie Brogden at WW’s Best New Band Showcase at Mississippi Studios on May 17. See more photos at wweek.com.

wed. May 21 al’s den

303 SW 12th Ave. Garcia Birthday Band

Biddy McGraw’s

6000 NE Glisan St. Stringed Migration

Blue diamond

2016 NE Sandy Blvd. The Fenix Project

Blythe & Bennett Records

3334 SE Belmont St. Slutty Hearts

Boon’s Treasury

888 Liberty St. NE Butterfly Breakdown

dante’s

350 W Burnside St. KD and the Hurt

doug Fir Lounge

830 E Burnside St. Radiation City, Sama Dams, Wishyunu

duff’s Garage

2530 SE 82nd ave Suburban Slims Blues Jam

east end

203 SE Grand Ave. Neutral Boy, Stumblebum

edgefield

2126 SW Halsey St. Henry Hill Kammerer

Gemini Bar & Grill

456 N State St. Jacob Merlin and Sarah Billings

Hawthorne Theatre Lounge

1503 SE Cesar E Chavez Blvd. Early Man, Weresquatch & Gladius

Holocene

1001 SE Morrison St. Accent / Sustain: Apartment Fox, Sun Hammer, Ethernet, DJ Etbonz, jprez, DJ Ryan Griffin

Jimmy Mak’s

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

Jo Rotisserie & Bar 715 NW 23rd Ave

George Colligan Trio

Landmark Saloon

Tillicum Restaurant & Bar

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

8585 SW BeavertonHillsdale Hwy. High Boltage

Landmark Saloon

1320 Main Street Big Monti

4847 SE Division St. Miller and Sasser’s Twelve Dollar Band

LaurelThirst Public House

2958 NE Glisan St. Blue Flags and Black Grass (9 pm); Amanda Richards and the Good Long Whiles (6 pm)

Lola’s Room

1332 W Burnside Americana Round-Up’

Mississippi Studios

3939 N Mississippi Ave. Lake, Juan Wauters, The Ocean Floor

Plews Brews

8409 N. Lombard St. Full Spectrum

Rock Creek Tavern

10000 NW Old Cornelius Pass Rd. Billy D

Rotture

315 SE 3rd Ave. XXYYXX, Ghost Feet, Rap Class

Slabtown

1033 NW 16th Ave. Ivy League, Discourse, Homewrecker

The GoodFoot Lounge 2845 SE Stark St. Dusu Mali, Yogoman Burning Band

The Know

2026 NE Alberta St. Aerial Ruin, Disemballerina

The Lehrer

8775 SW Canyon Ln. The Bridge City Blues Band

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

The Red and Black Cafe 400 SE 12th Ave. Kilgore Trout

Trail’s end Saloon

white eagle Saloon 836 N Russell St. The Lonesome Billies, Country Lips

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

THuRS. May 22 al’s den

303 SW 12th Ave. Garcia Birthday Band

aladdin Theater

3017 SE Milwaukie Ave. Neko Case

alberta Street Public House

1036 NE Alberta St. Trio Subtonic, Fractal Quintet

analog Cafe & Theater 720 SE Hawthorne Blvd. Muevete Jueves

arlene Schnitzer Concert Hall

1037 SW Broadway Hugh Laurie with The Copper Bottom Band

ash Street Saloon 225 SW Ash St. The Exacerbators

Beaterville Cafe

2201 N Killingsworth St. Amber Sweeney Songwriter Showcase

Biddy McGraw’s

6000 NE Glisan St. The Hollerbodies

Blue diamond

2016 NE Sandy Blvd. Ben Jones and Friends

Boon’s Treasury

888 Liberty St. NE Ray Tarantino

Brasserie Montmartre 626 SW Park Ave. Larry Calame

Calapooia Brewing

140 Hill St. NE Wild Hog in The Woods

Chapel Pub

430 N Killingworth St. Steve Kerin

Club 21

2035 NE Glisan St. Polaroids, People Electric, Dottie Attie

Corkscrew

1665 SE Bybee Ave. Adlai Alexander Trio

Crystal Ballroom

1332 W Burnside Street Cage The Elephant, Foals

dig a Pony

736 Southeast Grand Ave. Newrotics

doug Fir Lounge 830 E Burnside St. Chet Faker

duff’s Garage

white eagle Saloon 836 N Russell St. The Royal Oui

wilf’s Restaurant & Bar 800 NW 6th Ave. Alex Koehler Quartet

wonder Ballroom

128 NE Russell St. First Aid Kit, Willy Mason

FRI. May 23 al’s den

303 SW 12th Ave. Garcia Birthday Band

aladdin Theater

3017 SE Milwaukie Ave. Neko Case

alberta Rose Theatre

3000 NE Alberta St. New Ideas In Music Competition and Concert

alhambra Theatre

4811 SE Hawthorne Blvd. Scorpion Warrior, Boy Funk

ash Street Saloon 225 SW Ash St. Brigadier

Ballad Town Billiards 2036 Pacific Ave. The Twangshifters

Biddy McGraw’s

6000 NE Glisan St. The Rainbow Sign, Thin Rail

Three For Silver, Turtle the Band

Anson Wright Quartet

Jantzen Beach Bar & Grill

31 NW 1st Ave. Henry Fong

909 N. Hayden Island Dr. Beat Frequency

Jimmy Mak’s

221 NW 10th Ave. The Ty Curtis Band

Kelly’s Olympian

426 SW Washington St. Lil Ass Boom Box Festival

Kenton Club

2025 N Kilpatrick St. Violent Psalms

Landmark Saloon

4847 SE Division St. Countryside Ride

LaurelThirst Public House

2958 NE Glisan St. The Fire Weeds (9:30 pm); Lewi Longmire and the Left Coast Roasters (6 pm)

M & M Restaurant & Lounge 137 N Main Ave. Megan James Band

Magnolia’s Corner

4075 NE Sandy Blvd Hana Kim

Mississippi Pizza

3552 N Mississippi Ave. Dirty Revival Collective, Dismal Niche Orchestra

The whiskey Bar

Tigardville Station

12370 SW Main Street Hifi Mojo

Torta-Landia

4144 SE 60th Ave. Brandi Haile

Vie de Boheme 1530 SE 7th Ave. Ojos Feos

white eagle Saloon

836 N Russell St. Major Powers & the Lo-fi Symphony, Reverb Brothers

wilf’s Restaurant & Bar

800 NW 6th Ave. Greta Matassa, George Mitchell, Scott Steed

SaT. May 24 al’s den

303 SW 12th Ave. Garcia Birthday Band

alberta Rose Theatre 3000 NE Alberta St. In Retrospect, Moonbeems 432, Paul Mauer, Feral Harp, The Love and Stress Compound

Mississippi Studios

alberta Street Public House

2016 NE Sandy Blvd. Bottleneck Blues Band

3939 N Mississippi Ave. The Growlers, Guantanamo Baywatch

Shaker and Vine

Boon’s Treasury

Mock Crest Tavern

alhambra Theatre

2929 SE Powell Blvd. The Flat Nines with Perola

Brasserie Montmartre

Ponderosa Lounge

315 SE 3rd Ave. Neka & Kahlo, Aminé, Aviel, Maze Koroma, Blossom, Astro King Phoenix

Slabtown

1033 NW 16th Ave. The Banner, Agitator, Life for a Life, Mercy Pledge, The Globalist

Splash Bar Hawaiian Grill

904 NW Couch Jordan Harris & Christie Bradley

Star Theater

Blue diamond

888 Liberty St. NE Wil Kinky 626 SW Park Ave. Paul Paresa and the People

Bunk Bar

1028 SE Water Ave. The Lower 48 and Brownish Black, Moon By You

Crystal Ballroom

1332 W Burnside Street Christina Perri, Birdy

13 NW 6th Ave. Jex Toth, Witch Mountain, Usnea

dante’s

The Conga Club

dig a Pony

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

The GoodFoot Lounge 2845 SE Stark St. Lil’ Smokies

350 W Burnside St. Zepparella 736 Southeast Grand Ave. Cooky Parker

doug Fir Lounge

830 E Burnside St. Wake Owl, Mimicking Birds, Big Haunt (6 pm); Parquet Courts, Naomi Punk (9:30 pm)

3435 N Lombart St. Sneakin’ Out

10350 N Vancouver Way Slicker Country Band

Rock Creek Tavern

10000 NW Old Cornelius Pass Rd. Krista Herring

Roseland Theater

8 NW 6th Ave. Tyler The Creator

Star Theater

13 NW 6th Ave. Bl’ast!, Tragedy, 13 Scars and Special Guests

TaborSpace

5441 SE Belmont St. The Spirit of the Impossible-Strange: Portland Jazz Composers’ Ensemble Celebrates Sun Ra

The Firkin Tavern

1036 NE Alberta St. Jonah Luke, St. Paul de Vence, The Druthers

4811 SE Hawthorne Blvd. Cambrian Explosion, Coma Serfs, Foxy Lemon, Psychomagic, Mister Tang

arlene Schnitzer Concert Hall

1037 SW Broadway Rodriguez

ash Street Saloon

225 SW Ash St. World Of Lies, Victims Of Internal Decay, Spawn, Hyborian Rage + Warkrank

Beaterville Cafe

2201 N Killingsworth St. Chris Baron

Blue diamond

2016 NE Sandy Blvd. The Pat Stilwell Band

Boon’s Treasury

888 Liberty St. NE Major Powers & the Lo-fi Symphony, Mr. Plow

1937 SE 11th Ave. Tango Alpha Tango, Dunnoy

Brasserie Montmartre

duff’s Garage

The Horse Radish

Calapooia Brewing

east end

The Lehrer

Clyde’s Prime Rib Restaurant & Bar

2126 SW Halsey St. Warren Floyd

2026 NE Alberta St. The Lovesores, Lisa Doll & The Rock N Roll Romance, The Cry!

Hawthorne Theatre

The Lodge Bar & Grill

edgefield

The Muddy Rudder Public House

The Original Halibut’s II

Ford Food and drink

2530 SE 82nd Ave Legacy Big Band, Tough Love Pyle

east end

203 SE Grand Ave. Bath Party, Psychomagic, Cult Babies

edgefield

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

The Know

2530 SE 82nd Ave Duffy Bishop Band 203 SE Grand Ave. Viscious Pleasures, Smoke Rings

1507 SE 39th Ave. (hed) PE, Soil, In the Aether, Do It For The Dinosaurs

6605 SE Powell Blvd. Ben Rice B3 Trio

Hawthorne Theatre Lounge

2525 NE Alberta St. Terry Robb

2505 11th Ave #101 Choro da Alegria plays Brazilian choro

The Press Club

Gemini Bar & Grill

The Red and Black Cafe

Gemini Lounge

1503 SE Cesar E Chavez Blvd. Kevin Seconds, Steve Nobles, Matt Danger

Holocene

1001 SE Morrison St. SOHN

Jade Lounge

2342 SE Ankeny St. Pacific Oceans with Host Colin Fisher

Jimmy Maks

221 NW 10th Ave Oregon Music Hall of Fame Performance Celebration for Scholarship Recipients

2621 SE Clinton St. The Midnight Suns

400 SE 12th Ave. Secret Abilities, Blind Lovejoy, Moon Debris

The Secret Society

116 NE Russell St. Jacob Miller and the Bridge City Crooners, The Dustbowl Revival, The Scarring Party

white eagle Saloon

836 N Russell St. Chris Baron and Friends

2126 SW Halsey St. The Old Yellers

456 N State St. Kode Bluuzs

6526 SE Foster Rd. Finn Doxie

Hawthorne Theatre

1507 SE 39th Ave. Path To Ruin and Damage Overdose, Existential Depression, Only Zuul, and Spawn

Hotel Oregon

310 NE Evans St. Jon Davidson

Jade Lounge

2342 SE Ankeny St.

211 W. Main St. Ben Rice

8775 SW Canyon Ln. The New Iberians

8105 SE 7th Ave. Terry Robb & Lauren Sheehan

626 SW Park Ave. Stephanie Cook 140 Hill St. NE Symplistic Soles

5474 NE Sandy Blvd. Randy Starr

dante’s

350 W Burnside St. Brody Dalle

doug Fir Lounge

The Original Halibut’s II

830 E Burnside St. Waxahatchee, Perfect Pussy, Potty Mouth (4:30 pm); Stu Larsen (9 pm)

The Red and Black Cafe

duff’s Garage

2525 NE Alberta St. Karen Lovely

400 SE 12th Ave. Earth Anchor, The Stein Project/ Mouthbreather

The Secret Society 116 NE Russell St. The Supraphonics, Suburban Slim, The Sportin’ Lifers

The Spare Room

4830 NE 42nd Ave She’s Not Dead

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

2530 SE 82nd Ave Steve Kerin

east end

203 SE Grand Ave. Tee Pee Records Showcase

edgefield

2126 SW Halsey St. Moody Little Sister Duo

Gemini Bar & Grill 456 N State St. Ants in the Kitchen

CONT. on page 32

Willamette Week MAY 21, 2014 wweek.com

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MUSIC CALENDAR Gemini Lounge

6526 SE Foster Rd. Amber Harlan Granmo

Hawthorne Theatre

1507 SE 39th Ave. DevilDriver, Whitechapel, Carnifex, Revocation

Hawthorne Theatre Lounge

1503 SE Cesar E Chavez Blvd. EngraveD

Holocene

1001 SE Morrison St. Nothing, Whirr, Youth Code

400 SE 12th Ave. Quietly Kept, Spider Moccasin

The Secret Society

116 NE Russell St. The Swingtown Vipers

The TARDIS RoomFish & Chip Shop

1218 N Killingsworth St. Dionvox

The Tea Zone and Camellia Lounge

510 NW 11th Ave. Dmitri Matheny Group

Tigardville Station

Jade Lounge

Tony Starlight’s Supper Club

2342 SE Ankeny St. Keeter and Ali, Ali Rice & the Ranch Hands

12370 SW Main Street The Bar Pilots

Jimmy Mak’s

3728 NE Sandy Blvd. Tony Starlight & John Gilmore Salute the Gentlemen of Song

Kenton Club

4144 SE 60th Ave. Dennis Elmer

221 NW 10th Ave. Soul Vaccination

Torta-Landia

Tom McCall Waterfront Park 2 SW Naito Pkwy. Wicky Pickers

Valentine’s

232 SW Ankeny St Moonlit Wheat EP Release Show

Vie De Boheme 1530 SE 7th Ave. Padam Padam

White Eagle Saloon 836 N Russell St. Rob Johnston

Wonder Ballroom

128 NE Russell St. Maya Rudolph & Gretchen Lieberum are Princess

MON. MAY 26 Al’s Den

303 SW 12th Ave. Ray Tarantino

Blue Diamond

2016 NE Sandy Blvd. Hot Tea Cold

2025 N Kilpatrick St. The Verner Pantons, Spirit Lake

Vie De Boheme 1530 SE 7th Ave. Bart Hafeman

LaurelThirst Public House

1028 SE Water Ave. Pink Mountaintops

White Eagle Saloon

Dante’s

2958 NE Glisan St. The Ridgerunners: Jimmy Boyer, Lynn Conover, Dan Haley, Tim Acott (9:30 pm); The Yellers (6 pm)

M & M Restaurant & Lounge 137 N Main Ave. Megan James Band

Michelle’s Pianos

600 SE Stark Street Tuning in to Better People: An Evening with Michael Allen Harrison

Mississippi Pizza

3552 N Mississippi Ave. Small Souls, The Alphabeticians, Run Boy Run

Mississippi Studios

3939 N Mississippi Ave. The Ghost of a Saber Tooth Tiger, Syd Arthur

Mock Crest Tavern

3435 N Lombart St. Tracey Fordice & The 8 Balls

Muddy Rudder Public House 8105 SE 7th Ave. James Clem

Ponderosa Lounge

10350 N Vancouver Way Hang Em’ High

Ringlers Pub

1332 W Burnside Floating Pointe

Rock Creek Tavern 10000 NW Old Cornelius Pass Rd. Ray Tarantino

Roseland Theater 8 NW 6th Ave. Mogwai

Slabtown

1033 NW 16th Ave. Eight Bells, LKN, Eye of Nix, Theologian

Slim’s

8635 N Lombard St Irie Idea Album Release Show

Star Theater

13 NW 6th Ave. Liars

The Firkin Tavern 1937 SE 11th Ave. Mascaras, Old Age, Months

The GoodFoot Lounge

2845 SE Stark St. Jujuba

The Lehrer

8775 SW Canyon Ln. The Andy Stokes Band

The Original Halibut’s II 2525 NE Alberta St. Cool Breeze

Willamette Week MAY 21, 2014 wweek.com

The Red And Black Cafe

Jade Lounge

2342 SE Ankeny St. Alison Wesley, Ali Ipolitto

32

MAY 21–27

836 N Russell St. Charles Neville, Youssoupha Sidibewith the Mystic Rhythms, DoveDriver

Wilf’s Restaurant & Bar

800 NW 6th Ave. Greta Matassa, George Mitchell, Scott Steed

Wonder Ballroom 128 NE Russell St. Elbow, John Grant

SUN. MAY 25 Al’s Den

303 SW 12th Ave. Ray Tarantino

Blue Diamond

Bunk Bar

350 W Burnside St. Third Seven; Karaoke from Hell

Doug Fir Lounge 830 E Burnside St. Banks

Duff’s Garage

2530 SE 82nd Ave Keeter / Allison

Edgefield

2126 SW Halsey St. Groovy Wallpaper

Hawthorne Theatre 1507 SE 39th Ave. Hoodie Allen

Jade Lounge

2342 SE Ankeny St. The Global Folk Club, Andrea Wild

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

Jimmy Mak’s

Cadigan’s Corner Bar

Lola’s Room

Clyde’s Prime Rib Restaurant & Bar

Rock Bottom Brewery Portland

5501 SE 72nd Ave. Portland Casual Jam

5474 NE Sandy Blvd. Ron Steen Jazz Jam

Doug Fir Lounge

830 E Burnside St. Wild Ones, Anne, Teen Spot

East End

203 SE Grand Ave. SistaFist’s

Edgefield

2126 SW Halsey St. John Bunzow

Jade Lounge

2342 SE Ankeny St. Moorea Masa, Allison Hall & Guest

LaurelThirst Public House

221 NW 10th Ave. The Dan Balmer Trio 1332 W Burnside Punk Rock Mondays

206 SW Morrison St. Whitechapel, Carnifex Revocation

Rock Creek Tavern 10000 NW Old Cornelius Pass Rd. Bob Shoemaker

Roseland Theater

8 NW 6th Ave. Tech N9ne (with Krizz Kaliko), Freddie Gibbs

Slabtown

1033 NW 16th Ave. BFA, Sioux Falls, Azul Toga

The Lehrer

8775 SW Canyon Ln. The Jazzshack

2958 NE Glisan St. New Tenants (9 pm); Freak Mountain Ramblers (6 pm)

The Muddy Rudder Public House

Mississippi Studios

White Eagle Saloon

3939 N Mississippi Ave. The Quick & Easy Boys, Pete Krebs, Lewi Longmire, Simon Tucker

8105 SE 7th Ave. Lloyd Jones

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

Rock Creek Tavern 10000 NW Old Cornelius Pass Rd. Hanz Araki

Rontoms

600 E. Burnside St. Sunday Sessions

TUES. MAY 27 Al’s Den

303 SW 12th Ave. Ray Tarantino

Blue Diamond

Roseland Theater

2016 NE Sandy Blvd. The Gretchen Mitchell Band

Rotture

Bunk Bar

Slabtown

Cadigan’s Corner Bar

8 NW 6th Ave. Die Antwoord

315 SE 3rd Ave. Black Cobra, The Cutthroats 9, & Arabrot 1033 NW 16th Ave. Coke Bust, Replica, Raw Nerves, The Stops, Brain Slug

1028 SE Water Ave. Tyvek and The Woolen Men 5501 SE 72nd Ave. Soul Provider, Naomi T


MAY 21–27 830 E Burnside St. Pete Yorn

BAR SPOTLIGHT WILL CORWIN

Doug Fir Lounge

MUSIC CALENDAR

East End

203 SE Grand Ave. Winter, Psychomagic

Edgefield

2126 SW Halsey St. Hanz Araki

Jade Lounge

2342 SE Ankeny St. Lorna Miller

Jimmy Mak’s

221 NW 10th Ave. Mel Brown Septet

Lola’s Room

1332 W Burnside The Roseland Hunters

Mississippi Pizza

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

Mississippi Studios

3939 N Mississippi Ave. Marc Ribot’s Ceramic Dog

Ponderosa Lounge

10350 N Vancouver Way Flexor T

Shaker and Vine

2929 SE Powell Blvd. Izzy Water

Starday Tavern

6517 SE Foster Road Joe Baker

The GoodFoot Lounge 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. Frenzy, Radiation, Snitch

White Eagle Saloon 836 N Russell St. Anthemtown Artist Showcase

Wonder Ballroom

128 NE Russell St. Band of Skulls, Deap Vally

HIER SITZEN DIE: There’s a lot of glass at Stammtisch (401 NE 28th Ave., 206-7983, stammtischpdx.com), the new German pub from the owners of Prost. Before you see the small wooden sign advertising this above-ground ratskeller, you’ll see the massive windows open to the streets of Kerns. Once you get inside, you’ll see glassware stacked to the ceiling behind the bar. Stammtisch not only has branded glasses for all the bier here, it has them in all three available sizes, from 0.3 liters up to the giant 1-liter Bitburger boot ($9.50 for about 34 ounces). If there’s any big trend in the Portland bar scene this year, it’s slavish attention to a specific European drinking culture, whether that’s the Abbey’s massive selection of Belgian beers or Kachka’s 50-deep Russian vodka list. At Stammtisch, that means a buttered pretzel served with mustard, paprika cheese and schmaltz, and curried french fries, plus a very noble 18-tap German beer roster. Order the big boot of Veltins Pilsner (“hoppy—German hoppy, not Portland hoppy,” the waitress says) and you might feel inclined to honor the pub’s motto, loosely translated as “here sit those who always sit here.” MARTIN CIZMAR.

Love in This Club, Bit Funk, Nathan Detroit, Ben Tactic, Laura Lynn

Lola’s Room

1332 W Burnside 80s Video Dance Attack

Midnight Roundup

WED. MAY 21 Berbati

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

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

Ground Kontrol Classic Arcad e 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

Pub at the End of the Universe 4107 SE 28th Ave. Wicked Wednesdays

Star Bar

639 SE Morrison St. DJ Wess Texass

The Lovecraft

421 SE Grand Ave. Event Horizon: Industrial Dance Night

THURS. MAY 22 Analog Cafe & Theater 720 SE Hawthorne Blvd. Bubble Up

Berbati

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

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

Dig a Pony

736 Southeast Grand Ave. Radiation City DJs

Harlem Portland

220 SW Ankeny St. DJ Tourmaline, DJ Valen

Moloko Plus

3967 N Mississippi Ave. Morganixx and Friends

Star Bar

639 SE Morrison St. DJ Andrew Loomis

The Lovecraft

421 SE Grand Ave. Rock with Death Trip & DJ Tobias

FRI. MAY 23 CC Slaughters Nightclub & Lounge 219 NW Davis St. DJ Jakob Jay, Sweat Fridays

CC Slaughters Nightclub & Lounge 219 NW Davis St. Sound Glitter, DJ Peter Calandra

Harlem Portland

220 SW Ankeny St. Lionsden

Holocene

1001 SE Morrison St.

345 NW Burnside Rd. Party with DJ JB

Moloko Plus

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

Lamar LeRoy

Star Bar

639 SE Morrison St. DJ BJ

The Lovecraft

421 SE Grand Ave. Darkness Descends Dance Night

SUN. MAY 25 CC Slaughters Nightclub & Lounge

Moloko Plus

219 NW Davis St. The Superstar Divas, DJ Robb

Rotture

Fez Ballroom

3967 N Mississippi Ave. Monkeytek & Friends 315 SE 3rd Ave. The Cockpit: Tracy/Tao, Art of Hot, Amy Kasio, Tronic

Star Bar

639 SE Morrison St. DJ Truhn Juice

The GoodFoot Lounge 2845 SE Stark St. DJ Aquaman’s Soul Stew

The Know

2026 NE Alberta St. DJ Rap Class

The Lovecraft

421 SE Grand Ave. DJ Horrid

SAT. MAY 24

1035 SW Stark St. Super Soul Sunday Nights

The Lovecraft

421 SE Grand Ave. Danger Zone!

MON. MAY 26 CC Slaughters Nightclub & Lounge 219 NW Davis St. Maniac Monday, With DJ Robb

The Lovecraft

421 SE Grand Ave. Departures, DJ Waisted and Friends

TUES. MAY 27

CC Slaughters Nightclub & Lounge

Analog Cafe & Theater

Holocene

Berbati

219 NW Davis St. Revolution, DJ Robb

1001 SE Morrison St. Club Crooks: DJ Izm, Mr. Marcus

Midnight Roundup

345 NW Burnside Rd. Party with DJ JB

Moloko Plus

3967 N Mississippi Ave.

720 SE Hawthorne Blvd. S.Y.N.T. Weekly Dubstep Night 19 SW 2nd Ave. Soundstation Tuesdays, DJ Instigatah and Snackmaster DJ

The Lovecraft

421 SE Grand Ave. Bones with DJ Aurora

RECORD RELEASE PARTY PACIFIC MEAN TIME TUESDAY MAY 27TH @ 6 PM Pacific Mean Time’s eponymous debut of their self-titled album is a gorgeously detailed, personal testament to the full length recording. Their album will reignite the public’s seemingly waning love affair with full-length albums. Swiftly and seamlessly fitting each piece together, the band grafts a reverbed pop bombast onto a series of more deliberate and measured rhythms.

LIVE PERFORMANCE ROOK & THE RAVENS WEDNESDAY MAY 28TH @ 6 PM Hailing from the hills on the east side of town, Rook & The Ravens are loosely part of the recent wave of tuneful Americana-flavoured indie that’s been lapping around the fringes of Manchester for a while now and with their Album “The Judge” ready to go, things are indeed looking bright. They sound like a ride in an open-top car on a sunny day, which is not a concept generally associated with Glossop. There’s no hidden agenda, no tricks, it’s all about the tunes.

3158 E. Burnside / 503-231-8923 / musicmillennium.com Willamette Week MAY 21, 2014 wweek.com

33


PERFORMANCE

may 21–27 REVIEW

= WW Pick. Highly recommended.

ROSEMARY RAGUSA

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 (rjacobson@wweek.com). Dance: AARON SPENCER (dance@wweek.com). TO BE CONSIDERED FOR LISTINGS, submit information at least two weeks in advance to: rjacobson@wweek.com.

THEATER OPENINGS & PREVIEWS Lizzie

St., 488-5822. 7:30 pm WednesdaysSaturdays and 2 pm Sundays through June 1. $25-$36.

Ain’t Misbehavin

Often debated but rarely staged, Irish playwright J.M. Synge’s play prompted riots when it was first produced in 1907. Synge intended the play as a farce, but early audiences objected to its suspect morality—the story centers on a young stranger who struts into a remote town telling tall tales of murder and quickly finds himself a romantic hero. Dámaso Rodriguez, the artistic director of Artists Rep, helms this revival, which boasts a strong cast that includes Chris Murray, Allen Nause, Amy Newman and Bill Geisslinger. Artists Repertory Theatre, 1515 SW Morrison St., 241-1278. 7:30 pm WednesdaysSundays and 2 pm Sundays through June 22. $25-$55.

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 singing-and-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.

ALSO PLAYING

Fancy Nancy

Portland Center Stage closes its season with a bang...er, a whack. Or 40. This rock musical recounts the tale of the infamous Lizzie Borden, with song lyrics that draw on actual dialogue from the trials, plenty of fake blood, and very saucy language. Gerding Theater, 128 NW 11th Ave., 445-3700. 7:30 pm TuesdaysSundays; 2 pm Saturday-Sundays; and noon Thursdays through June 29. $38-$72.

Macbeth

Northwest Classical Theatre Company ends its season, which has been devoted to kings, with one of Shakespeare’s darkest tragedies. Shoebox Theater, 2110 SE 10th Ave., 971-244-3740. 7:30 pm ThursdaysSaturdays and 2 pm Sundays through June 22. $20.

The Playboy of the Western World

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

34

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 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 spokenword 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

Willamette Week MAY 21, 2014 wweek.com

CONT. on page 35

no muumuu for you: (from left) Jane Geesman, Allie Pratt and Kelly tallent in Betty’s Summer Vacation.

PAIN OR PLEASURE TWO PLAYS AT DEFUNKT THEATRE EXPLORE OUR APPETITE FOR SAVAGERY. By Ka itie todd

243-2122

Whether it’s because they ’ve horrified or enthralled, some plays have a way of lingering long after the actors take their bows. Often that’s welcome—it’s one of the things that makes theater so vital. Other times, though, these unforgettable scenes stick around too long for comfort. Director Jon Kretzu spans this spectrum with Fewer Emergencies and Betty’s Summer Vacation, a pair of plays now running in repertory at Defunkt Theatre under the name “States of Emergency.” Last year, Kretzu directed two seminal works of homosexual theater. This time, he’s chosen works that tackle modern-day violence, exploring how it can be shrouded in fake optimism or sensationalized by entertainment junkies hungry for the next headline. Told in three loosely connected acts, Martin Crimp’s Fewer Emergencies examines suffering, mental illness and domestic gloom among the affluent. The characters lounge comfortably around a table as they tell their stories, fielding questions and making edits as they go. This “Who’s on First?” style of dialogue jars at first, but it eventually serves to highlight that the two main speakers—a defensive housewife in the first act and a suburban dad in the second—aren’t mentally stable. Scenic details amplify this sense of precariousness, such as spilled wine that later becomes a pool of blood, and lighting that casts the entire theater, including the audience, in a deep shade of red. The standout in the cast is Steve Vanderzee, who captures the calm menace and instability of a suburban father who becomes a school shooter. As he stalks around the classroom, he often stops and offers a sad half smile, or looks off into space, his eyes flitting dangerously. When he speaks, his disjointed thoughts reveal his instability: “Wait. No. Yes. No. Don’t help me. Help me!” Still, the play also has some plot points cloaked in a cheerful sheen, which leaves audiences with

an appealing, if unsettling, ambiguity. There is no subtlety, however, to Betty’s Summer Vacation. Christopher Durang has called his 1999 play a commentary on the “tabloidization” of U.S. culture and the media’s focus on violence and gossip, particularly the highly publicized celebrity trials of the late ’90s. The story focuses on Betty and her friend Trudy, who decide to share a beach home for the summer. There they meet their roommates: Keith, a quiet guy with a mysterious hatbox, and Buck, an overbearing horndog who would have loved Snapchat—he flaunts dick pics to anyone who will look. The melodramatic landlord, Mrs. Sizemagraff, also comes to stay, and together they ignite a series of horrifying events, from a rape to a castration to a beheading, all leading to a fake TV trial. As all this unfolds, a laugh track echoes from the ceiling. These cackles encourage Buck to hump a bench as a come-on to Betty, and at another point the laughter eggs on Mrs. Sizemagraff when she leaves the house to snare a man. So when the voices suddenly burst through the wall like zombies and turn out to be three unkempt TV addicts whining, “Entertain us, please,” and demanding more violence, it’s not much of a surprise. This is black comedy at its most pointed, which is effective in making an argument about sensationalism, but it overwhelms more than it enlightens: It’s just as likely to incite frozen terror among audience members as they hear a rape happening offstage as it is to prompt dark laughter, as when Betty finds a castrated penis on ice in the fridge. Despite skilled performances, the play lacks characters worth your empathy. As Trudy, Kelly Tallent brings to her role a curious, delighted and almost childlike demeanor, but also a sense of derangement, and Vanderzee as Keith is a creepily sweet serial killer. But Durang draws his characters too much like Judge Judy caricatures—I felt lonely and alienated as these alarming events played out. If Betty’s Summer Vacation is a swift blow to the belly—it’s all pain, no gain—Fewer Emergencies is like an emerging bruise that slowly expands and changes hues. Dodge the punch; weather the blemish. see it: Fewer Emergencies and Betty’s Summer Vacation run in repertory at the Back Door Theater, 4319 SE Hawthorne Blvd. 7:30 pm Thursdays-Sundays through June 14 (no show June 6); see defunktheatre.com for complete schedule. $15-$25 sliding scale Fridays-Saturdays; “pay what you can” Thursdays and Sundays.


may 21–27 BRUD GILES

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.

Private Lives

maple and vine go. LAURA HANSON. Sanctuary at Sandy Plaza, 1785 NE Sandy Blvd., 239-5919. 7:30 pm ThursdaysSaturdays and 2 pm Sundays (no show Sunday, May 11) through May 31. $15-$35.

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 two-character 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 widearmed 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 Latinafollows 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 Lebanese-American Hanan enters identity boot camp to refashion herself as a booty-swiveling, “arriba!”whooping Latina diva. Urueta is a

brilliantly snappy writer of buttonpushing dialogue and killer one-liners. Still, Urueta 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 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 FridaysSaturdays 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. Best for kids 5 and up. 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. Thursdays through June 29. $38-$72.

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 lateterm miscarriage and the anonymity that comes with life in the big city, so they give it up for a world where she becomes a kitchen-bound housewife and he can’t be anything more than a box maker thanks 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 self-conscious and stagy portrayal of their characters’ depression, with Houghton at one point confusing angry, full-body shaking for the paralyzing grief his lines suggest.

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 Bag&Baggage production, directed by Scott Palmer, keeps things periodappropriate, 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 new 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. As we become wrapped up in Elyot and Amanda’s 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. The Venetian Theatre, 253 E Main St., Hillsboro, 693-3953. 7:30 pm ThursdaysSaturdays and 2 pm Sundays through May 30. $26-$30.

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 KernOscar 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

PERFORMANCE

Sundays and 7 pm some Sundays through June 8. $36.

7 pm Thursdays-Saturdays (and 2 pm Sunday, May 18) through May 24. $12-$18.

COMEDY & VARIETY

Inspired By

ALL CAPS: The Cryptids of Comedy

A bunch of local improvisers, including Holly Wigmore, Scott Rogers and Wallace Fessler, present an evening of character-based comedy. Expect sketches featuring the Abominable Snowman, Sasquatch and other mysterious beasts. Jack London Bar, 529 SW 4th Ave., 228-7605. 8 pm Thursday, May 22. $10-$12.

Bob Marley

While we wish we could tell you Helium had resurrected the reggae legend for a night of standup, this is actually a dude from Maine who’s made the late-night circuit and acted in The Boondock Saints. Helium Comedy Club, 1510 SE 9th Ave., 888-643-8669. 8 pm WednesdayThursday and 7:30 and 10 pm FridaySaturday, May 21-24. $12-$30. 21+.

Bridget Everett

The cabaret comedian brings her bawdy jokes and crystalline voice to Portland for a night of singing about titties—and possibly rushing the audience to grab yours. Top local comic Shane Torres, who’s snagged some big gigs recently (he opened for David Alan Grier last month), also performs. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 7:30 and 10:30 pm Thursday, May 22. $20$23. 21+.

ComedySportz

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

Comics Under the Influence

Wait, this is something.. new? No, what actually happens here is that several standup comedians—Nathan Brannon, Dax Jordan, Don Frost and Trevor Thorpe—will each do a 10-minute set free of the influence. They’ll leave the stage, get sloshed and then do a second 10-minute set. You might need a few stiff drinks of your own. Jonas Barnes hosts. Dante’s, 350 W Burnside St., 2266630. 8 pm Thursday, May 22. $8. 21+.

Curious Comedy Open Mic

Gabe Dinger hosts a weekly openmic night. Sign-ups begin at 7:15, and comics get three minutes of stage time apiece. Curious Comedy, 5225 NE Martin Luther King Jr. Blvd., 4779477. 8 pm every Sunday. Free.

Diabolical Experiments

Improv jam show featuring Brody performers and other local improvisers. Brody Theater, 16 NW Broadway, 224-2227. 7 pm every Sunday. $5.

Dream Team Presents: Cat Ladies

Portlanders Dylan Reiff and Garrett Palm launch a new monthly showcase that brings improvisers from around the country to the clown-covered walls of Funhouse Lounge. First up is the long-form improv troupe Cat Ladies, a trio of women with impressive comedy pedigrees. The show also features stand-up from proven funny people Amy Miller and Shane Torres, a smattering of local improvisers and a surprise monologist (“a secret guest celebrity,” quoth the press release). Funhouse Lounge, 2432 SE 11th Ave., 841-6734. 9:30 pm Friday, May 23. $10-$12.

Electric Dreams

StageWorks Ink, the company behind such raucous, irreverent fare asVarsity Cheerleader Werewolves LIVE From Outer Space andFlash 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), which will be performed with a live band. Funhouse Lounge, 2432 SE 11th Ave., 841-6734.

For this novel variety show (which doubles as a fundraiser), spunky troupe Action/Adventure gave writers, including Chelsea Cain, Cari Luna and Alexis Smith, instructions to pen short works of fiction based on a simple prompt: “The Wrong Side of the Tracks.” In turn, local performers and visual artists crafted fresh work inspired by those stories. Expect puppets, plays, comics, music and booze. Secret Society Ballroom, 116 NE Russell St. 9 pm Saturday, May 24. $15-$20.

Kyle Dunnigan

Kyle Dunnigan is everywhere—he cohosts the podcast Professor Blastoff with Tig Notaro, works on Inside Amy Schumer and has done the late-night circuit—and deservedly so. His brand of comedy is silly but sly, with plenty of great celebrity impersonations and amusing musical breaks. Hollywood Theatre, 4122 NE Sandy Blvd., 2814215. 9:30 pm Thursday, May 22. $15.

Mixology

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.

Naked Comedy Open Mic

The Brody hosts a twice-weekly open-mic night. Comics get fourminute standup slots and can sign up online. Brody Theater, 16 NW Broadway, 224-2227. 9:30 pm every Wednesday and Thursday. Free with one-item minimum purchase.

Two Houses

An improvised romance culminating in a wedding. Brody Theater, 16 NW Broadway, 224-2227. 8 pm Saturdays through June 14. $9-$12.

DANCE Fuse Dance Force

A new Vancouver, Wash., pre-professional dance company debuts its show Beginnings, featuring contemporary dance, jazz and tap. The troupe mixes original choreography with musical theater-esque storytelling. Clark College-Gaiser Hall, 1800 E McLoughlin Blvd., 360-992-2662. 3 pm and 7 pm Saturday, May 24. $10 students, $15 adults.

Gothique Blend

Burlesque performers and circus acts share the stage in this weekly sideshow. Expect trance-inducing light spinning, freakish makeup and zany theatrics. The Analog, 720 SE Hawthorne Blvd., 432-8079. 9 pm Monday, May 26. Free. 21+.

The Mad Marquis Hump Day Happy Hour Sip & Strip

Burlesque rookies and seasoned pros perform in this weekly show with a casual atmosphere that encourages experimentation. Hosted by the Mad Marquis and produced by Geeklesque creators Critical Hit Burlesque. The Analog, 720 SE Hawthorne Blvd., 432-8079. 6:45 pm Wednesday, May 21. $5. 21+.

National Tap Dance Day

National Tap Dance Day is a real thing (thanks George H. W. Bush!), though it’s technically on May 25 to coincide with Bill “Bojangles” Robinson’s birthday. This show, sponsored by Gladstone dance supply store Dancer’s Corner, has a lineup of Portland’s most prolific tappers, including Shoehorn, Beat Bangerz, Dre Baby and more. Clinton Street Theater , 2522 SE Clinton St., 2388899. 7 pm Saturday, May 24. $25.

For more Performance listings, visit

Willamette Week MAY 21, 2014 wweek.com

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VISUAL ARTS

MAY 21–27

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

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 afterwards, 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-from-the1980s eyeglasses and a bad, leftoverfrom-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 some 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 thoughtprovoking 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 reflection, 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 prints and paintings of the late Helen Frankenthaler. The aura-reading 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.

Gwen Davidson: Reflections THIRD MONTH OF DECEMBER BY JORDAN RATHUS

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Willamette Week MAY 21, 2014 wweek.com

Gwen Davidson takes a simple motif, horizontal slats of creamy color, and

turns it into a running trope—which is to say, a style. She deploys these elements in abstracted landscapes, where they stand in visually for strata of land, sea and sky. The fact that she paints on paper gives the works a welcome sense of texture, but the technique doesn’t always have legs. Taken as a whole, the paintings wear thin, and the show seems one-note. Through May 31. Froelick Gallery, 714 NW Davis St., 222-1142.

media works on paper. In the past, she overlapped words and calligraphy to create dense screens of linguistically incomprehensible but compositionally evocative text. In her new show, she ties words in with architecture, alluding to the similarities between the structure of sentences and the structure of buildings. Through May 31. Laura Russo Gallery, 805 NW 21st Ave., 226-2754.

Johannes Girardoni: Redacted

Melinda Stickney-Gibson: New Paintings From the Woods

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

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

Letters and words play a big part in Margot Voorhies Thompson’s mixed-

In the serenity of her studio in rural upstate New York, Melinda StickneyGibson 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, demonstrates 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

Renée Zangara’s last show at Nine was all about backyard chickens. This time around, she’s turned over the floor 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 chicken-themed 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 flair in those feathers and all that fur! Through June 1. Nine Gallery, 122 NW 8th Ave., 227-7114.

Sarah Knobel: Icescapes

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

For more Visual Arts listings, visit


BOOKS

MAY 21–27

= 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: words@wweek.com. Fax: 243-1115.

SATURDAY, MAY 24 Brave on the Page

Celebrating Short Story Month, several contributing authors from local anthology Brave on the Page: Oregon Writers on Craft and the Creative Life will read selections of their work. The lineup includes Brian M. Biggs, Dian Greenwood, Nancy Townsley and Stevan Allred, who will also host the event. Another Read Through Books, 3932 N Mississippi Ave., 208-2729. 1:30 pm. Free.

SUNDAY, MAY 25 Joshua Ferris

WEDNESDAY, MAY 21 Grant High School Student Reading

Being a teenager is rough. If you disagree, you’ve probably just mentally blocked the pure hell of adolescence. Luckily, Literary Arts off ers an outlet for the angst with their ongoing Writers in the Schools program, which hosts professional writers in public classrooms to help students fi nd their own voice. Sharing their work will be students from the Grant High School program on the 21st and 22nd. Broadway Books, 1714 NE Broadway, 284-1726. 7 pm each night. Free.

Danielle Krysa

Whether you’re a writer, an artist or a butter carver, few things are more frustrating than a creative block. But knock off that self-fl agellation because there just might be a better way. Danielle Krysa, blogger of The Jealous Curator, interviewed 50 successful artists to mine their secrets for moving beyond doubt and getting the ideas to fl ow. The result is her new book Creative Block: Get Unstuck, Discover New Ideas. Powell’s Books at Cedar Hills Crossing, 3415 SW Cedar Hills Blvd., Beaverton, 228-4651. 7 pm. Free.

Mountain Writers Series

Promoting the voices of authors in the Pacifi c Northwest since 1973, the Mountain Writers Series ongoing readings and workshops continue to highlight the boundless literary talent present in our community. Sharing their work for a poetry reading will be Susan Rich (Cloud Pharmacy, The Alchemist’s Kitchen) and Kelli Russell Agodon (Letters From the Emily Dickinson Room). The Press Club, 2621 SE Clinton St., 233-5656. 7:30 pm. $5.

THURSDAY, MAY 22 Paulann Petersen and Annie Lighthart

National Book Award fi nalist Joshua Ferris (Then We Came to the End ) turns his oft-profound sense of humor on the contradictions and absurdities faced in our modern culture. His new protagonist, Paul O’Rourke, is a technology-addicted Luddite and a God-fearing atheist who is just trying to make sense of life and love in the new book To Rise Again at a Decent Hour. Powell’s City of Books, 1005 W Burnside St., 228-4651. 7:30 pm. Free.

À Reading No. 6

Again bringing together a handful of talented local writers to celebrate contemporary literature and performance, À Reading will host Arya David Imig, Julia Clare Tillinghast, Russ Woods, Wendy Chin-Tanner and Matty Byloos. Valentines, 232 SW Ankeny St., 248-1600. 5-8 pm. Free.

TUESDAY, MAY 27 Oregon Encyclopedia History Night

So, Lincoln may not have spent a whole lot of time in the Pacifi c Northwest, or west of the Mississippi in general, but he did have some friends who moved here and kept him in the loop, kinda like your cousin Jared who moved here from Arizona. Whatever the tenuous connection, many of Lincoln’s policies infl uenced life in Oregon, and Richard Etulain will explore those infl uences in his History Night presentation Abraham Lincoln and the Oregon Country. McMenamins Edgefi eld, 2126 SW Halsey St., Troutdale, 669-8610. 6:30 pm. Free.

Sean Davis

The day after Sept. 11, 2001, former soldier and art-school dropout Sean Davis re-enlisted in the military. His new book, The Wax Bullet War: Chronicles of a Soldier and Artist, follows his personal account of the war in Iraq as well as his continued belief in the restorative power of art. Powell’s City of Books, 1005 W Burnside St., 228-4651. 7:30 pm.

With six full-length collections of poetry to her name, most recently Understory, Oregon Poet Laureate Paulann Petersen admirably fulfi lls her duties through sharing her own work and promoting the poetry of others. Joining her for a reading will be Portland writer and teacher Annie Lighthart, whose new collection is Iron String. Daedalus Books, 2074 NW Flanders St., 274-7742. 7 pm. Free.

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Call today for an appointment 503.552.1551 • www.ncnm.edu 3025 SW Corbett Avenue, Portland, OR 97201 For more Books listings, visit

We are located at the west end of the Ross Island Bridge. Willamette Week MAY 21, 2014 wweek.com

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Willamette Week’s

BIKE GUIDE LAUNCH PARTY

A CYCLIST’S HAPPY HOUR TUESDAY, MAY 27 • 5-8 PM CRANK • 2725 SE ASH ST. Food available for purchase by Bro Dogs

Grand prize drawings for a Rainer Bicycle & Public V1 (singlespeed city bike), provided by Crank! Other prizes by Showers Pass, Nutcase Helmets, Portland Pedal Power, Crank, and more!

RSVP to cycle@wweek.com

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MOVIES

MAY 21–27 AP FILM STUDIES

= 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: rjacobson@wweek.com. Fax: 243-1115.

2+2: A Couple With a Couple

[ONE NIGHT ONLY] In Argentine director Diego Kaplan’s comedy, two swingers persuade their friends to join them in the sack. Hollywood Theatre. 7 pm Friday, May 23.

Aftermass: Bicycling in a Post-Critical Mass Portland

[ONE NIGHT ONLY, DIRECTOR ATTENDING] Local director Joe Biel screens his new documentary exploring the growth of bicycling in Portland since 1971, in particular the rise and fall of Critical Mass rides. Clinton Street Theater. 7 pm Friday, May 23.

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. 99 West, Cedar Hills, Easport, Clackamas, Cornelius, Oak Grove, Lloyd Center, Movies on TV, Sandy.

B.B. King: The Life of Riley

[ONE NIGHT ONLY] A new documentary from director Jon Brewer about the legendary bluesman, with interviews from a ridiculously long list of musicians (including Bonnie Raitt, Carlos Santana, Bono and Keith Richards), and narration by Morgan Freeman. Hollywood Theatre. 7:30 pm Sunday, May 25.

Bears

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

Being Ginger

A- [ONE WEEK ONLY] “Red hair is

my lifelong sorrow.” So says Anne Shirley in Lucy Maud Montgomery’s classic novel Anne of Green Gables. Whether or not filmmaker Scott P. Harris is familiar with Montgomery’s titian-haired heroine, he certainly knows where she’s coming from. His new documentary, Being Ginger, is a heartfelt and funny exploration of what it’s like to be a red-haired man in a blond man’s world. The film is also about Harris’ quest for a woman who will love him, despite his bright red hair. It’s not easy. Many of the women Harris interviews in an Edinburgh park dismiss ginger men out of hand for being “nerdy,” “awkward” and bad in bed. One even suggests that gingers deserve to be marginalized because they’re just—that—ugly. Being Ginger is a shocking reminder that the phrase “beat you like a redheaded stepchild” is a thing, and the most powerful moments in this film deal with the bullying Harris suffered at the hands of cruel classmates. Yet Being Ginger isn’t a downer. If anything, it’s redemptive. Thanks to a festival of fellow gingers in the Netherlands and the attentions of a beautiful red-haired girl, Harris

gradually discovers that he is much more than just the tint of his follicles and learns to accept himself, freckles and all. DEBORAH KENNEDY. Clinton Street Theater.

Belle

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. 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.

Big Joy: The Adventures of James Broughton

B [ONE DAY ONLY, DIRECTORS ATTENDING] “When in doubt, twirl,” advised James Broughton. A dancer-turned-poet-turned-filmmaker, Broughton, who died in 1999, was a flamboyant free spirit whose art influenced the Beat Generation and beyond. He emerged as part of the post-World War II San Francisco Renaissance, espousing sensual pleasures and a Zen view of the world. “I believe in ecstasy for everyone,” he mused on the page and onscreen, from the childlike wonder of his poem “This Is It,” to The Bed, a flick so fleshhappy it had to be printed at a porn studio. A creative contemporary of Anaïs Nin, Imogen Cunningham and Alan Watts, Broughton turned to Jungian therapy to reconcile what he termed his “double-sexed” being: He had a child with then-fledgling film critic Pauline Kael and, later, two more with wife, Suzanna, before taking off with a man 35 years his junior. Co-directors Stephen Silha and Eric Slade (who lives in Portland) craft a portrait that echoes the bohemian vibe of their subject, perhaps too much so—Broughton’s children and ex-wife come off as footnotes—and even his most fearful journal entries are read here with an odd sense of whimsy. Still, it’s hard not to be charmed by a presence so playful and larger than life. If this is it, as Broughton’s almostSeussian work goes, it’s not that bad, even when it is. AMANDA SCHURR. Hollywood Theatre. 4:30 pm Saturday, May 24.

Blueberry Soup

A- [ONE NIGHT ONLY, DIRECTOR

ATTENDING] Blueberry Soup picks up in the aftermath of the 2008 economic crisis in Iceland, following a group of civilians working to redraft the national constitution. Befitting its humble title, a reference to an Icelandic comfort food, Seattle director Eileen Jarrett’s documentary spins a tale of humble, homegrown anarchy. The film’s first act focuses on how “sewing clubs” laid the groundwork for citizens to come together, share ideas and eventually petition the government for a larger say in constitutional reform. Indeed, there are at least a dozen shots of vintage sewing machines set against stunning natural panoramas, as if to insert this cultural phenomenon quite literally into the fabric (heh) of the Icelandic landscape. From this restless community of sewing enthusiasts grew a constitutional council, made up of journalists, lawyers, public servants and artists, who would make history

CONT. on page 40

COWPOKIN’ AROUND: Don’t mess with Joan Crawford.

JOANIE GOT A GUN

JOHNNY GUITAR AND THE DEARTH OF FEMINIST WESTERNS. BY A P KRYZA

apkryza@wweek.com

Joan Crawford plays neither a whore nor a sheriff’s wife. Mercedes McCambridge, meanwhile, isn’t a rape victim, bar wench or schoolmarm. That alone would make Nicholas Ray’s Johnny Guitar (playing May 23-29 at the Laurelhurst Theater) a rare entry in the Western genre. But the 1954 film manages the dual task of bringing women to the front of a male-dominated landscape and serving as a particularly ballsy statement against Joseph McCarthy and the Hollywood blacklist. Oh, and it’s tremendously fun, riotously campy and consistently enthralling. The Wild West isn’t exactly a friendly place for women in cinema. If they’re lucky, they get to wear a pretty dress while being menaced by a dusty cowpoke until their knight in shining rawhide shows up to save the day. The ones who aren’t tied to a train track have bleaker career prospects: as rape victims, prostitutes, punching bags, bar wenches, nags or wagontrail dysentery factories. So when Crawford’s Vienna emerges, gun in hand, during Johnny Guitar’s opening scenes, it’s arresting. Even more arresting is when all the men stop talking and start taking orders from this saloon owner. Even Sterling Hayden’s titular guitar- and gunslinger is under Vienna’s sirenlike spell. They work for her. They fight for her. They do as they’re told. On the other end of the spectrum is McCambridge’s Emma, a bloodthirsty townie who leads her own gaggle of emasculated cowpokes and hardasses, barking orders in an attempt to get Vienna run out of town. Or lynched. The film sets itself up as the story of a man rescuing the woman he loves. Hayden—tall, squarejawed and throaty—is the picture of a Western hero, an outlaw who’s sworn off violence and rides headlong to help the woman he spurned. Instead, as soon as he arrives, his machismo is stomped under Vienna’s boots. But Vienna isn’t a domineering shrew, either. Her influence is forged from respect. She is brave and generous. She takes in outcasts and offers them friendship and whiskey. When it comes to the fight-or-flight climax, she decides to split her fortune with the three men in her employ.

In addition to being the first feminist-leaning Western, Ray’s film is an allegory for Joseph McCarthy’s communist witch hunt. Emma is a hilariously over-the-top version of the senator who bullies men into making false accusations. Grilling a banker who was just robbed, Emma goads out of him an allegation against the innocent Vienna. Maniacally grinning, she then gathers her posse to set fire to Vienna’s home, where she stands in a Christ-like pose, relishing the agony she’s wrought. McCambridge nails it with slimy, hammy aplomb—it’s a shockingly effective moment. Before Johnny Guitar, cinema hadn’t presented such powerful women using their allure to very different ends. Women orchestrate virtually everything in the film, whether it’s Vienna commanding Johnny to play his git-box on cue or Emma forcing the hands of law enforcement to benefit her own brand of vengeance. These women aren’t victims or objects—they make the world turn. ALSO SHOWING: The NW Film Center kicks off its “Mad Romance: The Films of Leos Carax” series, featuring all five of the French auteur’s films. First up are moody romance Boy Meets Girl and crime thriller Mauvais Sang. NW Film Center’s Whitsell Auditorium. May 23-25. See nwfilm. org for schedule. With the mercury (maybe) rising, it’s the perfect time to revisit Jaws, the movie that defined the summer blockbuster— and remains one of the best ever. Academy Theater. May 23-39. The Hollywood’s “This Is Your Theatre”—in which viewers pick what they want to see on the big screen—this month features Stanley Kubrick’s 2001: A Space Odyssey. Hollywood Theatre. 7:30 pm Saturday, May 24. Dr. Seuss’ The Cat in the Hat and The Butter Battle Book seem like hyperrealism compared to his 1953 film The 5,000 Fingers of Dr. T, a tale of enslaved children forced by a nefarious doctor to play the world’s largest piano. It’s terrifying. But somehow less so than the time Mike Myers played the Cat. Hollywood Theatre. 2:30 pm Saturday-Sunday, May 24-25. Before he was played by Mark Ruffalo, Ed Norton and Eric Bana, The Incredible Hulk was portrayed by a gnarled, green-painted Lou Ferrigno. The original TV pilot will screen tonight, along with oldschool 1970s commercials. Hollywood Theatre. 7:30 pm Monday, May 26. Anyone who was ever a 12-year-old boy watching Skinemax through a blurred cable broadcast knows the name Emanuelle. Now, the Grindhouse Film Festival unearths a 35 mm print of Emanuelle Around the World, the holy grail of the softcore porn world. Hollywood Theatre. 7:30 pm Tuesday, May 27. Willamette Week MAY 21, 2014 wweek.com

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MOVIES

MAY 21–27

W I S S E LVA L L I G F I L M S

middle-aged French guys hanging out and being French, which makes up for the relative shortage of bicycles. MATTHEW SINGER. Living Room Theaters.

Divergent

BEING GINGER

Blended

C- Adam Sandler might be the

smartest person in Hollywood. Adopting the Ernest P. Worrell prototype, the “Adam Sandler goes to” model has taken the comedian and his buddies camping, to the tropics and beyond. The dude’s on permanent vacation, popping out crappy movies between naps. In Blended, Sandler hits Africa—well, a high-end resort/spa in Africa, but that’s Africa enough to allow him to pet a baby elephant and dress up a monkey as a Hooters waitress. The film re-teams Sandler and Drew Barrymore—who vacationed together in Hawaii in 50 First Dates and belted ’80s hits in The Wedding Singer—as single parents. After a disastrous first date, they end up at the same isolated resort, where a vaguely racist parody of Ladysmith Black Mambazo and humping rhinos stoke the flames of love. The two bond as Sandler teaches Barrymore’s sons to man up with the help of sports, and Barrymore shows Sandler’s tomboy girls how to shimmy like ladies. All the familiar Sandler beats are here, from overwrought sentimentality (his daughter talks to her dead mom) to a cast of weirdo, scene-stealing supporting characters (good to see you again, Kevin Nealon). The rom-com suits Sandler’s sensibilities better than recent flops like That’s My Boy and Bedtime Stories. Perhaps that’s because Sandler’s a bit more relaxed here. Of course he is: He’s on vacation. PG-13. AP KRYZA. Cedar Hills, Easport, Clackamas, Mill Plain, Cornelius, Oak Grove, Bridgeport, City Center, Division, Hilltop, Lloyd Center, Movies On TV, Pioneer Place, Sherwood, Tigard, Sandy.

Bucksville

[ONE NIGHT ONLY, DIRECTOR ATTENDING] Local indie filmmaker Chel White screens his new thriller, about a young man who must decide whether to give up his family’s vigilante way of life. Hollywood Theatre. 7 pm Thursday, May 22.

Captain America: The Winter Soldier

MUSIC

PG. 25 40

Willamette Week MAY 21, 2014 wweek.com

C+ Where 2011’s Captain America: The First Avenger found a dreamily compelling momentum somewhere between magical realism and newsreel propaganda, The Winter Soldier wades through thankless cameos and interminable exposition. 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 moraliz-

ing. PG-13. JAY HORTON. Cedar Hills, Eastport, Clackamas, Forest, Movies On TV, Sandy.

Cycling With Moliere

B- Nous parlons de pratique. That’s

French for “We’re talking about practice,” a phrase coined by noted American philosopher Allen Iverson. There’s a lot of chatting about rehearsal in Cycling With Molière— more than there is cycling, in fact. A popular soap opera actor (Lambert Wilson) travels to the Ile de Re off the coast of France to coax a prematurely retired colleague (Fabrice Luchini) to appear in a production of Molière’s The Misanthrope. It’s the role he was born to play, baby! Because he is a misanthrope, see. The two commence endlessly reading from the play (occasionally while cycling around the island), arguing over the performances, passive-aggressively flirting with an Italian divorcee and mentoring an aspiring porn actress. Mostly, it’s two

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, directed by Ivan Reitman, relegates fans and even players to the margins and focusing instead on the plight of an underappreciated, oft-over-

REVIEW OPEN ROAD FILMS

by crowdsourcing ideas on online forums and posting drafts of the constitutional bill on Facebook to seek feedback from the entire country. Though the proposed document was killed last year (as happens with so many good ideas that make their way to the guys in charge), there’s optimism that a new parliament will see the bill through, placing into effect the world’s first crowdsourced constitution. GRACE STAINBACK. NW Film Center’s Whitsell Auditorium. 7 pm Thursday, May 22.

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. Academy, Avalon, Cedar Hills, Clackamas, Edgefield, Indoor Twin, Kennedy School, Laurelhurst, Mt. Hood, Moves On TV.

I <3 CARTS: Imagine a movie written entirely by focus groups in Portland, Brooklyn and Silver Lake. In Chef, Jon Favreau plays an all-star cuisinier who’s stymied by his corporately conservative, Dustin Hoffman-owned restaurant and has a meltdown that gets posted on TMZ—but not before he gets to sleep with Scarlett Johansson! He then discovers his love for authentic cooking and his love for his own cute son by running a Cuban food cart and traveling across the country with said son and John Leguizamo, whom you didn’t even know you missed until you saw him. And everything feels so good all the time it’s like eating a cronut forever, except the cronut is a beignet because beignets are totally authentic. You know what’s also authentic? A weird product placement proclaiming Ketel One the classiest liquor ever, tweets that chirp and fly onscreen, a food blogger who sells his blog to AOL (ha!) for $10 million (double ha!), and prominent food critics announcing their visits a week in advance and then writing only about the weight gain of the chef. Also, sleeping with Sofia Vergara is obviously way more authentic than sleeping with Scarlett Johansson. Chef is likable the way your half-witted, earnest, eager-to-please cousin is likable. But over time, it’s just as tedious. If you like Cubanos, don’t watch this movie. Eat a Cubano. MATTHEW KORFHAGE. C-

SEE IT: Chef is rated R. It opens Friday at Lloyd Center.


2013 - SONY PICTURES CLASSIC

MOVIES

looked 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, but then the rest of Weaver’s life interrupts, and the film dissolves into NFL-sponsored pablum. PG-13. MATTHEW SINGER. Valley.

For No Good Reason

B- Despite his grotesquely strik-

ing visuals, English artist Ralph Steadman has lived for decades in the shadow of gonzo journalist Hunter S. Thompson. Having exploded into the public consciousness as the illustrator behind Fear and Loathing in Las Vegas, Steadman spent much of his career bringing Thompson’s deranged prose to life while simultaneously crafting overlooked works of artistic provocation all his own. For No Good Reason finally puts the spotlight directly on Steadman… before shifting it to Thompson. To be fair, it’s impossible to talk about Steadman without discussing Thompson. But for a film about a man who once scrawled “Fuck the pope” on the side of a boat, and whom Rolling Stone publisher Jann Wenner has called a more dangerous thinker even than Thompson, director Charlie Paul seems stuck on Mr. Gonzo. To be sure, Thompson and Steadman make a wonderful odd couple, so the film is plenty entertaining (despite even the questionable soundtrack appearances by Jason Mraz and All American Rejects). But Paul and Johnny Depp—who shows up to mumble questions—gained unlimited access to an artist whose mind spews acid to create nightmare reflections of society. Instead of something fresh or incisive, they emerge with another Thompson elegy disguised as a Steadman documentary. R. AP KRYZA. Cinema 21.

Godzilla

B Godzilla has risen from a 16-year

slumber, and the big green badass is pissed. You would be too, if your more recent Hollywood incarnation had robbed you of your atomic breath or made you listen to Puff Daddy. Happily, Gareth Edwards’ new take contains no Diddy ditties or Matthew Brodericks. In fact, it pretty much ignores the existence of Roland Emmerich’s disaster, serving instead as a sequel of sorts to the original 1954 classic. Those seeking a nonstop slugfest akin to Pacific Rim should temper their expectations. The film builds steadily, with Godzilla spending much of the first 90 minutes racing to fight a pair of city-destroying insectoids while humans scramble and scream. This surprising focus on the human element is perhaps the film’s only misstep. Otherwise, Edwards nails the most important aspect of any Godzilla movie: the giant lizard’s scale. For the film’s first half, we see the massive battles from the limited viewpoints of those running through the streets. Only when Godzilla’s road trip finally ends in San Francisco do we get a full-on view of the monsters trading blows—for 40 straight minutes of city-leveling bliss. Godzilla is an expertly made blockbuster designed to make us realize how small we really are compared to the forces of nature, with the added bonus of a gigantic atomic lizard who barfs fire without being soundtracked by Diddy. It’s good to have the monster back where he belongs: in our good graces. PG-13. AP KRYZA. 99 West, Bagdad, Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Lake Theater, Oak Grove, Lloyd Center, Movies On TV, Roseway, Sandy, St. Johns.

The Grand Budapest Hotel

B+ The old, snide rejoinder to an

over-decorated show is that “you

FOR NO GOOD REASON 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. We stick out our tongues to catch the shimmering snowflakes, and taste only air. R. AARON MESH. Eastport, CineMagic, Hollywood, Lake Theater.

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. Eastport, Forest, Oak Grove, Movies On TV.

Hope

[ONE NIGHT ONLY] A new documentary about professional cyclist Maria Parker, who completed the grueling Race Across America in 2013 in order to raise funds for brain cancer research (Parker’s sister has terminal brain cancer). Velo Cult Bike Shop, 1969 NE 42nd Ave. 7 pm Sunday, May 25. $20.

The Lego Movie

B+ The Lego Movie comes danger-

ously close to the pop culture-saturated Shrek model of comedy, but just when the film starts becoming too cute, the plot shifts into another nutso action sequence filled with clever sight gags. PG. AP KRYZA. Milwaukie.

Locke

B+ 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 as the gargantuan titular sociopath in Nicolas Winding Refn’s Bronson or as the slack-jawed redneck bootlegger in the underseen 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 latenight drive from Birmingham to London for the birth of his illegitimate child. So he drives, fielding call after life-changing call on his Bluetooth. He tries to calm his wife.

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He comforts the stranger carrying the living symbol of his infidelity. A respected construction foreman, he walks a nerve-rattled underling through preparations for the project. That’s it. Just one car, one phone, one man. Yet this is a perfect vehicle for Hardy’s staggering talents, and writer-director Steven Knight manages a strange level of tension. R. AP KRYZA. Living Room Theaters.

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. Staring down financial ruin, sports agent J.B. (Mad Men’s Jon Hamm) travels to India, where 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, Lloyd Center, Movies On TV, Sandy.

Mr. Peabody & Sherman

Two Rocky & Bullwinkle characters take some trips in a time machine. PG. Academy, Laurelhurst, St. Johns, Valley.

Muppets Most Wanted

B For better or worse, the overwhelming success of 2011’s The Muppets provided Disney a reboot blueprint: Stay with what works and remember who we’re here to see. So, of course, Kermit is replaced by a Russian doppelgänger, we visit the grand concert halls of Europe, and Tina Fey and Ricky Gervais are given extended solo dance routines. While awful choices abound, the Muppets reflexively generate so much unsinkable goodwill that even the laziest of plots still charms—and might even be welcome, given the ’70s-meets-art deco visual aesthetic and escalating cameo bombs. PG. JAY HORTON. Academy, Laurelhurst, St. Johns, Valley.

Neighbors

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GIVE! GUIDE 2014

WILLAMETTE WEEK'S

2014

SKIDMORE PRIZE NOMINATIONS GO LIVE ON

JUNE 1 AT GIVEGUIDE.ORG

C+ For Mac (Seth Rogen), this is 30. Burdened with the crushing debt and responsibility that accompanies homeownership, he’s never-

CONT. on page 42 Willamette Week MAY 21, 2014 wweek.com

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X-Men: Days Of Future Past 3D (PG-13) 11:00AM 1:30PM 2:20PM 4:50PM 5:40PM 9:00PM X-Men: Days Of Future Past (PG-13) 10:10AM 11:50AM 3:10PM 6:30PM 8:10PM 9:50PM Godzilla (2014) 3D (PG-13) 10:45AM 11:30AM 12:15PM 1:45PM 2:30PM 3:15PM 4:45PM 5:30PM 6:15PM 7:45PM 8:30PM 9:15PM 10:45PM Godzilla (2014) (PG-13) 10:00AM 1:00PM 4:00PM 7:00PM 10:05PM Million Dollar Arm (PG) 10:45AM 1:40PM 4:40PM 7:40PM 10:35PM Mom’s Night Out (PG) 11:35AM 2:15PM 4:55PM 7:35PM 10:15PM

Neighbors (R) 12:00PM 2:40PM 5:20PM 8:00PM 10:40PM Other Woman, The (PG-13) 11:05AM 1:50PM 4:35PM 7:25PM 10:10PM Rio 2 (G) 10:05AM 10:55AM 1:35PM 4:20PM 7:05PM 9:55PM Amazing Spider-Man 2 3D (PG-13) 7:10PM Amazing Spider-Man 2 (PG-13) 12:30PM 3:50PM 10:25PM Belle (PG) 11:40AM 2:25PM 5:10PM 7:50PM 10:30PM Blended (PG-13) 10:55AM 12:25PM 1:50PM 3:20PM 4:40PM 6:10PM 7:30PM 9:05PM 10:30PM Chef (R) 10:50AM 1:45PM 4:30PM 7:25PM 10:20PM Divergent (PG-13) 12:20PM 3:40PM 7:00PM 10:15PM Captain America: The Winter Soldier 3D (PG-13) 7:15PM Captain America: The Winter Soldier (PG-13) 12:45PM 3:55PM 10:25PM

Million Dollar Arm (PG) 10:45AM 1:40PM 4:35PM 7:30PM 10:25PM Neighbors (R) 10:00AM 12:30PM 3:00PM 5:30PM 8:00PM 10:30PM X-Men: Days Of Future Past (PG-13) 10:00AM 11:30AM 1:00PM 4:00PM 7:00PM 8:30PM 10:00PM Manam (Cinegalaxy) (NR) 1:35PM 7:35PM Vikramasimha (Telugu) 3D (NR) 10:55AM 4:50PM 10:40PM X-Men: Days Of Future Past 3D (PG-13) 10:45AM 12:15PM 1:45PM 2:30PM 3:15PM 4:45PM 5:30PM 6:15PM 7:45PM 9:15PM 10:45PM Other Woman, The (PG-13) 7:05PM 10:05PM Rio 2 (G) 11:00AM 1:35PM 4:10PM

Godzilla (2014) (PG-13) 10:45AM 1:30PM 4:30PM 7:30PM 10:30PM Amazing Spider-Man 2 (PG-13) 3:30PM 7:05PM Belle (PG) 11:15AM 1:50PM 4:25PM 7:00PM 9:35PM Kochadaiiyaan (Tamil) 3D (NR) 10:20AM 1:20PM 4:20PM 7:20PM 10:20PM Amazing Spider-Man 2 3D (PG-13) 12:00PM 10:30PM Divergent (PG-13) 4:15PM Godzilla (2014) 3D (PG-13) 11:30AM 12:30PM 2:30PM 3:30PM 5:25PM 6:30PM 8:30PM 9:30PM Blended (PG-13) 10:30AM 1:30PM 4:20PM 7:10PM 10:00PM Captain America: The Winter Soldier (PG-13) 10:00AM 1:05PM 7:25PM 10:35PM

Neighbors (R) 11:00AM 1:40PM 4:25PM 7:10PM 10:00PM Million Dollar Arm (PG) 10:50AM 1:45PM 4:45PM 7:45PM 10:40PM X-Men: Days Of Future Past (PG-13) 11:45AM 2:00PM 3:00PM 6:15PM 7:40PM 9:30PM 10:45PM Other Woman, The (PG-13) 11:10AM 1:50PM 4:30PM 10:10PM X-Men: Days Of Future Past 3D (PG-13) 10:45AM 12:45PM 4:00PM 5:15PM 7:15PM 8:30PM 10:30PM Rio 2 (G) 11:05AM 1:40PM 4:35PM 7:25PM Railway Man, The (R) 1:00PM 4:00PM 7:10PM 10:00PM

Grand Budapest Hotel, The (R) 11:55AM 2:35PM 5:05PM 7:40PM 10:15PM Bears (G) 11:15AM 1:30PM 3:45PM 5:55PM Amazing Spider-Man 2 (PG-13) 12:20PM 3:40PM 6:55PM 10:20PM Heaven Is For Real (PG) 8:05PM 10:35PM Blended (PG-13) 10:45AM 1:35PM 4:30PM 7:30PM 10:35PM Godzilla (2014) (PG-13) 10:45AM 1:45PM 3:15PM 4:45PM 7:45PM 10:45PM Godzilla (2014) 3D (PG-13) 11:30AM 12:15PM 2:30PM 5:30PM 6:15PM 8:30PM 9:15PM Captain America: The Winter Soldier (PG-13) 12:40PM 3:55PM 7:05PM 10:25PM

X-Men: Days Of Future Past XD-3D (PG-13) 12:40PM 4:00PM 7:20PM 10:40PM

MAY 21–27

theless 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. 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. R. CURTIS WOLOSCHUK. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Oak Grove, Lloyd Center, Movies On TV, Sandy.

meeting a string of oddballs along the way. Clinton Street Theater. 7 pm Thursday, May 22.

Transcendence

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. PG-13. AP KRYZA. Academy, Milwaukie, Valley.

X-Men: Days of Future Past

Wolverine, Iceman and Storm return for another go-around. In related news, it’s officially blockbuster season. Screened after WW press deadlines, but look for AP Kryza’s review at wweek.com. PG13. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Moreland, Oak Grove, Bridgeport, City Center, Division, Hilltop, Lloyd Center, Movies On TV, Pioneer, Sherwood, Tigard, Wilsonville, Sandy, St. Johns.

REVIEW DEAN RODGERS

MOVIES

Noah

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. PG13. Academy, Avalon, Laurelhurst, Milwaukie, Mt. Hood, Valley.

Only Lovers Left Alive

FRIDAY

A Given that languid cool is the life-

blood 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. While the film is laced with mordant wit, 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. Hollywood Theatre.

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. Cedar Hills, Eastport, Clackamas, Cornelius, Movies On TV.

Rio 2

Anne Hathaway and Jesse Eisenberg voice mama and papa macaws raising a feathered brood. G. Cedar Hills, Eastport, Forest, Indoor Twin, Oak Grove, Movies On TV.

Short Peace

[ONE NIGHT ONLY] A new anthology of four anime films, including one from Akira director Katsuhiro Otomo. Hollywood Theatre. 9:30 pm Friday, May 23.

Soft in the Head

[ONE NIGHT ONLY] In this new film from independent director Nathan Silver, a young woman in New York City bounces between friends’ houses and homeless shelters,

42

Willamette Week MAY 21, 2014 wweek.com

FOLLOWING SUIT: Jesse Eisenberg…and Jesse Eisenberg.

THE DOUBLE It’s only right that a film about doppelgängers should feel eerily familiar. That’s certainly the case with writerdirector Richard Ayoade’s sophomore feature, The Double. While loosely adapted from Dostoevsky’s novella of the same name, the film’s attitude and aesthetics are strongly indebted to Aki Kaurismäki and Terry Gilliam, lifting the former’s deadpan absurdism and the latter’s withering view of pencil-pushers trapped in bureaucratic hamster wheels. Granted, if ever confronted by a pencil, lowly clerk Simon James (Jesse Eisenberg) would probably just apologize for getting in its way. On the odd occasion he works up the nerve to say anything, it’s invariably a single word: “sorry.” He’s a nonentity at his dystopian office and an object of condescending pity for co-worker Hannah (Mia Wasikowska, who wears darkness well)—until his daily routine of indignations and faint hopes is interrupted by the arrival of James Simon (Eisenberg again). Despite being physically identical to our meek protagonist, this charismatic interloper is also everything he’s not, effortlessly working a cruel system that spat out Simon like an unwanted chew toy. Ayoade’s characters are thinly sketched, with their few defining traits closer to affectations. But Eisenberg wisely takes this opportunity to forgo naturalism for exaggerated physicality. From an opening sequence that sees him running afoul of train doors and turnstiles, Simon clumsily navigates the world as if it were a hostile obstacle course. Just as this renders Simon a sympathetic Chaplin-esque figure, the opportunistic James conducts himself in the manner of a cartoon villain with a gargantuan appetite, all but tossing Hannah over his shoulder like Bluto did to Olive Oyl. And yet, despite performances every bit as stylized as the retro-futuristic set design, these characters bleed when pricked. (As we see in graphic detail as Simon and James’ rivalry escalates.) Their pungent melancholy also entices the viewer’s sympathy: After all, who hasn’t felt invisible, or dreamt of reinventing himself as a titan capable of running roughshod over his oppressors? Given that it investigates the slipperiness of identity, it’s fitting that The Double never quite carves out one of its own. Even so, much like the blade that Simon wields in an unsettling and surreal climax, it makes a lasting impression. CURTIS WOLOSCHUK.

Jesse Eisenberg does double duty.

B SEE IT: The Double is rated R. It opens Friday at Living Room Theaters.


MOVIES

MAY 23-29

1975 - UNIVERSAL PICTURES

MEN: DAYS OF FUTURE PAST Fri-Sat-Sun-Mon-Tue 01:15, 04:30, 07:45, 11:00 X-MEN: DAYS OF FUTURE PAST 3D Fri-Sat-Sun-MonTue 12:30, 03:45, 07:00, 10:15 BLENDED Fri-SatSun-Mon-Tue 12:45, 04:00, 07:15, 10:30

Regal Cinemas Bridgeport Village Stadium 18 & IMAX

YOU’RE GONNA NEED A BIGGER BOAT: Jaws plays May 23-29 at the Academy Theater. THE GRAND BUDAPEST HOTEL Fri-Sat-Sun-MonTue-Wed 05:30, 07:40

Kennedy School 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-Tue-Wed 12:45, 03:50, 06:50, 09:50 MILLION DOLLAR ARM Fri-Sat-Sun-Mon-Tue-Wed 12:30, 03:40, 07:00, 10:10 NEIGHBORS Fri-Sat-SunMon-Tue-Wed 12:05, 01:15, 02:40, 04:20, 05:15, 07:05, 07:50, 09:40, 10:25 THE AMAZING SPIDER-MAN 2 Fri-Sat-Sun-Mon-Tue-Wed 12:35, 03:55, 07:20, 10:40 THE AMAZING SPIDER-MAN 2 3D Wed 12:00, 03:20, 06:45, 10:05 CAPTAIN AMERICA: THE WINTER SOLDIER Wed 12:20, 03:25, 06:35, 09:45 THE GRAND BUDAPEST HOTEL Wed 12:55, 03:35, 06:30, 09:30 THE OTHER WOMAN Wed 01:05, 04:10, 07:15, 10:00 X-MEN: DAYS OF FUTURE PAST Fri-Sat-Sun-Mon-Tue 12:00, 12:30, 03:45, 06:30, 07:00, 10:15 X-MEN: DAYS OF FUTURE PAST 3D FriSat-Sun-Mon-Tue 01:10, 03:15, 04:20, 07:35, 09:45, 10:45 BLENDED Fri-SatSun-Mon-Tue 12:50, 03:55, 07:15, 10:10 CHEF Fri-SatSun-Mon-Tue 12:15, 03:05, 06:35, 09:30

Regal Lloyd Mall 8

2320 Lloyd Center Mall GODZILLA Wed 02:30, 08:30 GODZILLA 3D Wed 11:30, 05:30 LEGENDS OF OZ: DOROTHY’S RETURN Wed 12:20, 03:00 MOMS’ NIGHT OUT Wed 12:30, 03:10, 05:55, 08:50 THE AMAZING SPIDER-MAN 2 Wed 11:40, 02:55, 05:00, 08:20 BEARS Wed 12:00, 02:15 HEAVEN IS FOR REAL Wed 12:10, 02:50, 05:40, 08:55 OCULUS Wed 06:15, 09:00 RIO 2 3D Wed 02:40, 08:00 RIO 2 Wed 11:50, 05:20 NOAH Wed 05:50, 08:25 DIVERGENT Wed 12:15, 04:00, 07:45

Regal Division Street Stadium 13 16603 SE Division St. GODZILLA Wed 12:30, 02:00, 03:45, 07:30, 10:30 GODZILLA 3D Wed 12:00, 03:15, 07:00, 10:00 MILLION DOLLAR ARM Wed 12:15, 03:30, 07:15, 10:15 NEIGHBORS Wed 12:10, 02:40, 05:10, 07:45, 10:20 LEGENDS OF OZ: DOROTHY’S RETURN Wed 11:35, 04:50 MOMS’ NIGHT OUT Wed 11:45, 02:15, 04:45, 07:25, 10:10 THE AMAZING SPIDER-MAN 2 Wed 12:20, 03:40, 07:10, 10:05 THE AMAZING SPIDER-MAN 2 3D Wed 11:50, 03:10, 06:40, 09:55

THE OTHER WOMAN Wed 11:40, 02:30, 05:00, 07:35, 10:05 HEAVEN IS FOR REAL Wed 11:55, 02:20, 04:50, 07:20, 09:40 RIO 2 Wed 11:30, 02:05, 04:30, 07:05, 09:35 CAPTAIN AMERICA: THE WINTER SOLDIER Wed 12:05, 03:05, 06:30, 09:30 DIVERGENT Wed 12:25, 03:35 GOD’S NOT DEAD Wed 07:05, 10:25 X-MEN: DAYS OF FUTURE PAST 3D Fri 12:00, 03:15, 06:45, 10:00 X-MEN: DAYS OF FUTURE PAST Fri 12:30, 03:45, 07:15, 10:30 BLENDED Fri 11:30, 02:15, 05:00, 07:45

Bagdad Theater

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

Cinema 21

616 NW 21st Ave., 503-223-4515 THE GRAND BUDAPEST HOTEL Wed 04:30, 06:45, 09:00 FINDING VIVIAN MAIER Wed 04:30, 06:45, 08:45 BLUE RUIN Wed 07:00, 09:00

Clinton Street Theater

2522 SE Clinton St., 503-238-8899 ILO ILO Wed 07:00 PORTLAND STEW Wed 06:00 SOFT IN THE HEAD BEING GINGER FriSat-Sun-Mon-Tue 07:00 AFTERMASS: BICYCLING IN A POST-CRITICAL MASS PORTLAND Fri 07:00 THE ROCKY HORROR PICTURE SHOW Sat 12:00

Laurelhurst Theatre & Pub

2735 E Burnside St., 503-232-5511 MUPPETS MOST WANTED Fri-Sat-Sun-MonWed 09:05 SUNSET BOULEVARD Wed 06:45 THE MONUMENTS MEN Fri-Sat-Sun-Mon-TueWed 07:15 BAD WORDS Wed 09:45 HER Fri-SatSun-Mon-Tue-Wed 07:00 VERONICA MARS Wed 09:35 THE LEGO MOVIE Fri-Sat-Sun-Mon-Tue-Wed 09:15 THE WIND RISES Wed 06:30 FROZEN SING-ALONG Sat-SunMon-Wed 01:15 NOAH Fri-Sat-Sun-Mon-Tue 06:45 DIVERGENT FriSat-Sun-Mon-Tue 09:15 JODOROWSKY’S DUNE Fri-Sat-Sun-Mon-Tue 07:15 JOHNNY GUITAR Fri-SatSun-Mon-Tue 06:30 THE WIND RISES Fri-Sat-SunMon-Tue 09:00

CineMagic Theatre 2021 SE Hawthorne Blvd., 503-231-7919

5736 NE 33rd Ave., 503-249-7474-4 THE LEGO MOVIE Fri-SatSun-Mon 12:00, 05:30 DIVERGENT Fri-Sat-SunMon-Tue 02:30

Hollywood Theatre

4122 NE Sandy Blvd., 503-281-4215 THE GRAND BUDAPEST HOTEL Fri-Sat-Sun-MonTue-Wed 06:45, 09:00 DAMNATION Wed 07:15 UNDER THE SKIN Wed 09:15 INTERNATIONAL YOUTH SILENT FILM FESTIVAL Wed 07:30 BUCKSVILLE ONLY LOVERS LEFT ALIVE Fri-Sat-SunMon-Tue 06:45, 09:10 PDXLAFF LATIN AMERICAN FILM FESTIVAL Fri 07:00 SHORT PEACE Fri 09:30 THE 5,000 FINGERS OF DR. T. Sat-Sun 02:30 BIG JOY: THE ADVENTURES OF JAMES BROUGHTON Sat 04:30 2001: A SPACE ODYSSEY Sat 07:30 BB KING: THE LIFE OF RILEY Sun-Mon 07:30 EMANUELLE AROUND THE WORLD Tue 07:30

Regal Fox Tower Stadium 10

846 SW Park Ave. SPARTACUS Wed 02:00, 07:00 BELLE Wed 12:45, 03:20, 04:20, 05:50, 06:50, 08:40, 09:20 MILLION DOLLAR ARM Wed 12:30, 03:30, 06:20, 09:10 FED UP Wed 01:15, 03:50, 06:10, 08:30, 09:30 FADING GIGOLO Wed 12:50, 03:45, 06:45, 09:15 ONLY LOVERS LEFT ALIVE Wed 12:30, 03:15, 06:15, 09:00 THE RAILWAY MAN Wed 12:40, 03:25, 06:00, 08:45 UNDER THE SKIN Wed 01:00, 04:00, 06:30 LE WEEK-END Wed 01:20 THE LUNCHBOX Wed 01:10, 04:30, 07:00, 09:00 DIVERGENT BACK TO THE FUTURE Sun 02:00

NW Film Center’s Whitsell Auditorium

1219 SW Park Ave., 503-221-1156 BLUEBERRY SOUP BOY MEETS GIRL Fri-Sat-Sun 07:00 MAUVAIS SANG FriSat-Sun 04:30

Regal Pioneer Place Stadium 6

340 SW Morrison St. GODZILLA Wed 01:15, 04:30, 07:40, 10:45 GODZILLA 3D Wed 12:30, 03:45, 07:00, 10:10 NEIGHBORS Wed 12:45, 01:30, 04:10, 04:40, 06:45, 07:30, 09:30, 10:15 THE AMAZING SPIDER-MAN 2 3D Wed 03:30, 10:30 THE AMAZING SPIDERMAN 2 Wed 01:00, 07:10 CAPTAIN AMERICA: THE WINTER SOLDIER Wed 01:40, 04:50, 08:00 X-

7329 SW Bridgeport Road GODZILLA Wed 01:00, 02:00, 04:30, 05:00, 07:30, 08:00, 10:45 GODZILLA 3D Wed 11:00, 09:15 MILLION DOLLAR ARM Wed 11:05, 12:45, 02:00, 03:50, 04:55, 07:30, 08:00, 09:25, 10:25 GODZILLA: AN IMAX 3D EXPERIENCE Wed 12:00, 04:00, 07:00, 10:15 LEGENDS OF OZ: DOROTHY’S RETURN Wed 11:10, 01:45, 04:10 NEIGHBORS Wed 11:05, 11:35, 01:40, 02:10, 04:20, 05:05, 07:10, 07:40, 09:55, 10:55 MOMS’ NIGHT OUT Wed 11:20, 02:05, 04:40, 07:15, 09:45 THE AMAZING SPIDER-MAN 2 Wed 12:35, 03:00, 04:05, 07:05, 07:30, 10:50 THE AMAZING SPIDER-MAN 2 3D Wed 11:25, 09:30 THE OTHER WOMAN Wed 11:40, 02:20, 05:10, 07:55, 09:20 BEARS Wed 11:50, 02:15, 04:35, 06:45, 09:50 HEAVEN IS FOR REAL Wed 11:15, 01:55, 04:30, 06:55, 10:20 RIO 2 Wed 10:55, 01:35, 04:15, 06:50, 10:10 CAPTAIN AMERICA: THE WINTER SOLDIER Wed 12:15, 03:20, 07:45, 10:35 DIVERGENT Wed 12:50, 03:55, 10:55 GOD’S NOT DEAD Wed 06:35, 10:25 THE GRAND BUDAPEST HOTEL Wed 12:05, 02:30, 04:50, 07:25, 10:40 A MILLION WAYS TO DIE IN THE WEST Wed 07:30 X-MEN: DAYS OF FUTURE PAST 3D Fri-SatSun 09:45, 01:00, 04:15, 07:30, 10:00 X-MEN: DAYS OF FUTURE PAST Fri-SatSun 09:15, 12:30, 03:45, 07:00, 09:30 BLENDED FriSat-Sun 09:30, 12:45, 04:10, 07:15, 10:15

Academy Theater

7818 SE Stark St., 503-252-0500 TRANSCENDENCE Fri-SatSun-Mon-Tue-Wed 04:25, 09:10 DOM HEMINGWAY Wed 02:35, 09:20 MUPPETS MOST WANTED Fri-Sat-SunMon-Tue-Wed 04:15, 06:30 MR. PEABODY & SHERMAN Sat-Sun-Mon-Wed 04:35 THE LEGO MOVIE Fri-SatSun-Mon-Tue-Wed 07:00 THE MONUMENTS MEN Wed 01:45, 06:45 MAD MAX Wed 02:25, 08:50 NOAH Fri-Sat-Sun-Mon-Tue 01:30, 06:30 DIVERGENT Fri-SatSun-Mon-Tue 01:40, 06:45 JODOROWSKY’S DUNE Fri-Sat-Sun-Mon-Tue 02:10, 09:15 JAWS Fri-Sat-SunMon-Tue 04:10, 09:35

Living Room Theaters 341 SW 10th Ave., 971-222-2010 DANCING IN JAFFA Wed 12:20, 02:40, 09:00 GOD’S POCKET Wed 12:40, 02:50, 04:40, 07:30, 09:30 LOCKE Wed 12:15, 02:20, 05:00, 07:45, 09:40 THE GALAPAGOS AFFAIR: SATAN CAME TO EDEN Wed 01:15, 04:00, 06:50, 09:25 THE GERMAN DOCTOR Wed 12:10, 02:30, 05:10, 07:00, 09:15 THE OTHER WOMAN Wed 12:30, 03:00, 04:30, 05:20, 06:40, 07:15, 09:35

SUBJECT TO CHANGE. CALL THEATERS OR VISIT WWEEK.COM/MOVIETIMES FOR THE MOST UP-TO-DATE INFORMATION FRIDAY-THURSDAY, MAY 23-29, UNLESS OTHERWISE INDICATED

Willamette Week MAY 21, 2014 wweek.com

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Week of May 22

ARIES (March 21-April 19): I believe your persuasive powers will be stronger than usual in the weeks ahead. The words coming out of your mouth will sound especially interesting. I also suspect that your intelligence will get at least a temporary upgrade. The clarity of your thoughts will intensify. You will see truths you have been blind to in the past. Innovative solutions to long-running dilemmas are likely to occur to you. The only potential snag is that you might neglect to nurture your emotional riches. You could become a bit too dry and hard. But now that I’ve warned you of that possibility, let’s hope you will take steps to ensure it won’t happen. TAURUS (April 20-May 20): If there was a Hall of Fame for scientists, physicist Isaac Newton (16421727) would have been the charter member. He was like Elvis Presley and Chuck Berry were to rock and roll, like Babe Ruth was to baseball. The theory of gravity and the three laws of motion were his gifts to the world. He made major contributions to mathematics and optics, and was a central figure in defining modern science. There is also a legend that he invented the cat door, inspired by his pet felines. Whether or not that’s true, it serves as an excellent metaphor for this horoscope. It’s an excellent time for you to apply your finest talents and highest intelligence to dream up small, mundane, but practical innovations. GEMINI (May 21-June 20): During the next 12 months you will have exceptional opportunities to soak up knowledge, add to your skill set, and get the training you need to pursue interesting kinds of success in the coming six to eight years. What’s the best way to prepare? Develop an exciting new plan for your future education. To get in the mood, try the following: make a list of your most promising but still unripe potentials; meditate on the subjects that evoke your greatest curiosity; brainstorm about what kinds of experiences would give you more control over your destiny; and study three people you know who have improved their lives by taking aggressive steps to enhance their proficiency. CANCER (June 21-July 22): The moon shows us a different phase every 24 hours, which makes it seem changeable. But in fact, not much actually happens on the moon. It has no atmosphere, no weather, no wind, no plant life, no seasons. There is some water, but it’s all frozen. Is there anything like this in your own life, Cancerian? Something that on the surface of things seems to be in constant motion, but whose underlying state never actually shifts or develops? According to my analysis, now would be an excellent time for you to revise the way you understand this part of your world, and then update your relationship with it. LEO (July 23-Aug. 22): Have you thought of organizing a crowdfunding campaign to boost your pet project or labor of love? I suggest you get serious about it in the next four weeks. This coming phase of your cycle will be a favorable time to expand your audience, attract new allies, and build a buzz. You will have a sixth sense about how to wield your personal charm to serve your long-term goals. More than usual, your selfish interests will dovetail with the greater good -- perhaps in unexpected ways. VIRGO (Aug. 23-Sept. 22): Years ago I had a Virgo friend who was a talented singer. She had technical skill, stylistic flair, and animal magnetism, making her worthy of being a lead vocalist in almost any great band. And yet when she was asleep and had dreams of performing, she often found herself standing in the shadows, barely visible and singing tentatively, while her back-up singers hogged the spotlight at center stage. Moral of the story: Some of you Virgos are shy about claiming your full authority. It doesn’t always come easy for you to shine your light and radiate your power. And yet you can most definitely learn to do so. The coming weeks will be an excellent time to make progress in this direction. LIBRA (Sept. 23-Oct. 22): “There is always an enormous temptation in all of life,” writes Annie Dillard, “to diddle around making itsy-bitsy friends and meals

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EMPLOYMENT OPPORTUNITIES

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. mcmenamins.com or pick up a paper app at any McMenamins location. Mail to 430 N. Killingsworth, Portland OR, 97217 or fax: 503-221-8749. Call 503-952-0598 for info on other ways to apply. Please no phone calls or emails to individ locs! E.O.E.

and journeys for itsy-bitsy years on end . . . I won’t have it. The world is wider than that in all directions, more dangerous and bitter, more extravagant and bright.” Your assignment in the coming weeks, Libra, is to transcend whatever is itsy-bitsy about your life. The alternative? Head toward the frontier and drum up experiences that will thrill your heart and blow your mind. SCORPIO (Oct. 23-Nov. 21): “We are all searching for someone whose demons play well with ours,” writes novelist Heidi R. Kling. That’s good advice for you to keep in mind these days, Scorpio. Those little imps and rascals that live within you may get you into bad trouble if they feel bored. But if you arrange for them to have play dates with the imps and rascals of people you trust, they are far more likely to get you into good trouble. They may even provide you with bits of gritty inspiration. What’s that you say? You don’t have any demons? Not true. Everyone has them. SAGITTARIUS (Nov. 22-Dec. 21): “When people tell you who they are, believe them,” writes blogger Maria Popova (Brainpickings.org). “Just as importantly, however, when people try to tell you who you are, don’t believe them.” Those suggestions are especially crucial for you to keep in mind these days. You are entering a phase when your best relationships will be up for review and revision and revitalization. To foster an environment in which intimacy will thrive, you’ve got to be extra receptive, curious, tolerant, and tender. That’s all! Not hard, right? A good place to start is to proceed as if your allies know who they are better than you do -- even as you ask them to return the favor. CAPRICORN (Dec. 22-Jan. 19): “Kludge” (pronounced klooj) is a slang word that refers to a clumsy but effective fix for an engineering problem. It’s a cobbled-together solution that works fine, at least temporarily, even though it is inelegant or seems farfetched. Let’s use this concept in a metaphorical way to apply to you. I’m guessing that you will be a kludge master in the coming days. You will be skilled at making the best of mediocre situations. You may have surprising success at doing things that don’t come naturally, and I bet you will find unexpected ways to correct glitches that no one else has any idea about how to fix. AQUARIUS (Jan. 20-Feb. 18): I hesitate to compare you to your fellow Aquarian Kim Jong-il. When he was alive and ruling North Korea, he was an egomaniacal tyrant. You’re definitely not that. But there are certain descriptions of him in his official biography that remind me of the kinds of powers you may soon exhibit. He was called The Great Sun of Life and Highest Incarnation of Revolutionary Comradely Love, for instance. Titles like that might suit you. It is said that he invented the hamburger. He could command rain to fall from the sky. He once shot eleven holes-in-one in a single round of golf, was a master of gliding down waterslides, and never had to use a toilet because he produced no waste. You may be able to express comparable feats in the coming weeks. (Do it without falling prey to excessive pride, OK?) PISCES (Feb. 19-March 20): Even if you had a sensitive, nurturing mommy when you were growing up, and even if she continues to play an important role in your life, now would be a good time to learn how to mother yourself better. You are finally ready to appreciate how important it is to be your own primary caregiver. And I’m hoping you are no longer resistant to or embarrassed about the idea that part of you is still like a child who needs unconditional love 24/7. So get started! Treat yourself with the expert tenderness that a crafty maternal goddess would provide.

Homework Name a beautiful thing you were never capable of doing until this past year. http://RealAstrology

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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. mcmenamins.com 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.

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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 www.mcmenamins.com or pick up a paper app at any McMenamins location. Mail to 430 N. Killingsworth, Portland OR, 97217 or fax: 503-221-8749. Call 503-952-0598 for info on other ways to apply. Please no phone calls or emails to individ locs! E.O.E.

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Across 1 Brother of Dubya 4 Does nothing 10 “And others” abbreviation 14 Let go 15 Fed. securities 16 1958 Chevalier musical 17 Actress Kirshner 18 Like some fibrillation 19 Agents under J. Edgar Hoover, informally 20 Put effort into

40 Detach 42 Become less hostile 44 Irish airline ___ Lingus 45 Research your blind date, say 46 Mister, in Rio 48 Polar expedition vehicle 49 10-rated Bo 51 Amateur 52 Bunk up 56 Cupid’s specialty 58 Bar in a steering

test prep 22 Serviceability 23 Ex-R.E.M. lead 24 Hiccups, e.g. 27 “Dang straight!” 30 Certain Sooner 31 Problem while drying out 33 Backside 34 Not quite transparent 35 In-basket stamp: abbr. 37 Necklace part 39 Address for Bill and Ted

Down 1 Impromptu concerts 2 Goes offstage 3 Reason cosmetology is a no-go? 4 “Freeze!” 5 Where sand and plastic shovels go? 6 When tripled, a 1970 war film 7 Make Kool-Aid 8 Abacus piece 9 Fashionable initials 10 Sandwich spread 11 Party in New York City? 12 Get better in barrels 13 Jeremy of the NBA 21 “Lock Up the Wolves” metal band 22 “___ and Away” 24 The two things

tires do best? 25 “Harold and ___” 26 Nasty expression 28 Course for U.S. immigrants 29 “___ how I roll” 31 “Hugs not ___” 32 Carpentry joint part 36 Horse-drawn vehicles, despite their name 38 That naval vessel 41 Cosmetics aisle brand 43 Sweet-talk 47 Day division, in Venice 50 Great Rift Valley locale 52 In ___ (as found) 53 Alpaca group 54 Longtime Yankees nickname 55 Conked out 56 “Resurrection” network 57 Ranch call 58 Cough syrup amt. last week’s answers

©2014 Jonesin’ Crosswords (editor@jonesincrosswords.com) 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 #JONZ676.

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40 29 willamette week, may 21, 2014  
40 29 willamette week, may 21, 2014  
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