September 13th, 2013 2:57 pm | by WW Culture Staff Features | Posted In: Willamette Weekend

Willamette Weekend: 15 Things to Do in Portland, September 13-15

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Friday, Sept. 13

Diarrhea Planet
If you want to tempt fate on Friday the 13th, this is the band to see. DP toes that taut tightrope between power pop, pop punk and poop jokes. Mississippi Studios, 3939 N Mississippi Ave., with the So So Glos and Boom!, on Friday, Sept. 13. 9 pm. $12. 21+.

[THEATER] Even if you’re not much of an art buff, chances are you’ve seen Edward Hopper’s Nighthawks, that snapshot-like painting of a 1940’s American diner. Push Leg theater’s latest original production loosely draws inspiration from the famous work, combining theater and dance to imagine the daily lives of the employees and customers of a small-town diner. From JoAnn (Catherine Egan), the sassy owner who dreams of expanding her pie business, to Harvey (Darren McCarthy) and Crystalene (Anne Sorce), the servers who make fun of annoying customers during the lull between lunch and dinner, to the patrons who frequent the restaurant, what we get is a series of real-life moments that highlight the humor of the workplace. Although awkward transitions and a few oddly placed dance numbers occasionally hinder the story’s flow, sometimes these offbeat elements work remarkably well, and unanswered questions become the show’s funniest parts. Why is the phone placed so high on the wall, requiring the diminutive JoAnn to jump, parkour-style, to reach it? Why does Crystalene suddenly break into a clumsy dance resembling a mix between the robot and the funky chicken? If you enter with an open mind and faith in the small but wellpracticed cast, you’ll enjoy Nighthawks for what it is—a smile-inducing look at real life. KAITIE TODD. Portland Actors Conservatory, 1436 SW Montgomery St., 274-1717. 7:30 pm Thursdays- Fridays and 2 pm Sunday, Sept. 15. Through Sept. 21. $15-$18.

Aaron Dilloway
[TAPE NOISE] Bands almost always break up over money or women, but noise artist Aaron Dilloway departed Detroit’s Wolf Eyes for a different reason: He moved to Nepal to do some recording—not an album but everything else, including rivers, drunks, demonstrations and parks. If that sounds esoteric, well, it is. If Wolf Eyes are noise-rock pioneers, making and breaking their own boundaries with dozens of limited cassette releases, Dilloway is the scout, sent far ahead of even the avant-garde. Opened Door is Dilloway’s latest 10-minute cassetteonly release, of which he’s made literally hundreds, all put out by forgettable labelettes and fashioned for obscurity—in every sense of the word. MITCH LILLIE. Yale Union (YU), 800 SE 10th Ave., Portland, 236-7996. 9:30 pm. $10. 21+.

Saturday, Sept. 14

Mitchell Jackson
[BOOKS] Growing up as a black adolescent in a neglected neighborhood in overwhelmingly white Portland, Mitchell Jackson came of age in the ’90s in a community struggling with crack cocaine. His new autobiographical novel, The Residue Years, is told from the alternating perspectives of a mother trying to get clean and a son who has no other way to support his family than to sell the drugs plaguing them. Powell’s City of Books, 1005 W Burnside St., 228-4651. 7:30 pm. Free.

[BEER] Fall in Oregon is wonderful. But am I the only one who wants to hold on to summer as long as possible? Anyway, the Oktoberfests are starting up with Lompoc Brewing. There will be brats and German potato salad, which just caused the Prussian half of my genetics to begin preparations for either war or feasting. If you’re a football fan and you’re thinking, “No, the Ducks are playing,” don’t worry, because TVs exist at 5th Quadrant, and they’ll be airing Oregon’s curb-stomping of Tennessee. If you aren’t a football fan, there will be games and the aforementioned beer and brats. 5th Quadrant, 3901-B N Williams Ave., 288-3996. Noon-5 pm.

Campo (Pieter Ampe and Guilherme Garrido), Still Standing You
[DANCE] It’s not to be helped: If you tug on each other’s penises in public, that’s what people are going to talk about. And indeed, Pieter Ampe and Guilherme Garrido are naked through much of this dance performance. The two tweak each other’s genitalia in symbolic macho display, a bit like two giraffes necking in the wild. Maybe it looks tender from the outside, but it’s also a battle for sexual primacy. In their own arty-Euro way, the pair are all about the bromance, the humorous posturing and intimacy and, yes, latent sexuality inherent in close male friendship. “It’s a very selfish performance, a very self-centered performance,” Garrido has said. In a review of their Belgian performance (this will be their U.S. debut), writer Sylvain Verstricht described the show as “what Jackass would look like if it were contemporary dance instead of performance art…the kind of work that can only come from a place of deep friendship and trust. How else could a couple of straight buds hold each other’s sweaty cock?” Still Standing You is a sentimental buddy comedy taken to its furthest and most uncomfortable extreme in dance, a wild pas de dudes. But though it delights in spoofing both modern dance and the modern male, the performance is much less How High than high art, a truly intense examination of what we mean when we say, “I love you, man.” MATTHEW KORFHAGE. Portland Center for the Performing Arts, Winningstad Theatre, 1111 SW Broadway. 6:30 pm Friday-Saturday, Sept. 13-14. $20-$25. All ages.

Critical Mascara: A Post-Realness Drag Ball
[DANCE] As part of PICA’s Time- Based Art Festival, genderfuck drag performer Kaj-Anne Pepper and Magic Mouth frontman Chanticleer Tru attempt to create a successful drag ball. Artists will be invited to compete against each other in the categories of looks, walk and dance. The event will also feature performances and audience challenges, so study up on your queer history. Con- Way, 2170 NW Raleigh St., 224-7422. 10:30 pm. $8-$10.

Swamp Dogg
[SOUL] A country-tinged, rock-informed soul shouter, wailing witty, dirty lyrics about conflicts between rich and poor, black and white, man and wife. Dante’s, 350 W Burnside St., on Saturday, Sept. 14. 9 pm. $15. 21+.

Julia Holter, Nedelle Torrisi
[MUSIC FOR A DARKENED ROOM] “Cinematic” is quickly surpassing “epic” as the lazy rock-writer adjective du jour, but fucking hell: Is there any more appropriate word to describe the music of Julia Holter? The L.A.-based singer-composer’s arrangements deliberately sound like movie soundtracks— well, art-film soundtracks, but those still count, right?—and some even point directly to their celluloid inspirations. Her latest album, Loud City Song, for example, is influenced in part by the 1958 movie musical Gigi. Heady stuff, and Holter has avant-garde tendencies, but the most impressive thing about the work is that, for all its intoxicating strings and brass and Holter’s cool wisp of a voice, it’s as listenable as it is watchable. MATTHEW SINGER. Holocene, 1001 SE Morrison St., 239-7639. 7:30 pm. $10 advance, $12 day of show. 21+.

Sunday, Sept. 15

Tomato Tasting
[FOOD, GARDEN] Fat, juicy heirloom tomatoes cost, what, like $4 each? Taste 50 varieties of new, old and rare ’maters and make plans for next year at Dennis’ 7 Dees’ tomato festival. Dennis’ 7 Dees, 6025 SE Powell Blvd., 777-1421. 10 am-4 pm. Free.

Reel Bad Arabs
[LECTURE] Reinforced by decades of racism in Hollywood, where every super-villain and incompetent terrorist has a varying shade of ethnic brown skin and a scary foreign accent, it’s no wonder people of Middle Eastern descent can feel maligned. As part of the lecture series “A Day in the Life: Memoirs From the Middle East,” PSU professor Leerom Medovoi reveals a pattern of Arab stereotyping in the movies with “Reel Bad Arabs: How Hollywood Vilifies a People.” Central Library, 801 SW 10th Ave., 988-5123. 2 pm. Free.

The Legendary Pink Dots
[PSYCHEDELIA] The Legendary Pink Dots—established in 1980—have been around long enough to safely live up to their lofty moniker. The band has achieved mythical status on the strength of an awe-inspiring discography of psychedelic pop and gothic-leaning drama that doesn’t shy away from discordance. Even more impressively, the Dots have rarely flagged in terms of quality, up to and including their 2013 release, The Gethsemane Option, an album that finds harmony with Syd Barrett-esque whimsy, bucking drum machines and leader Edward Ka-Spel’s enticing purr of a voice. ROBERT HAM. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $20 advance, $22 day of show. 21+.

Haymarket Squares, Fast Rattler
[PUNK FOLK] Like an Americana counterpart to the Pogues with a very real chip on their shoulders, Phoenix, Ariz., quintet Haymarket Squares have taken old-school Appalachian folk and bluegrass and infused it with fuck-all puckishness. “I guess I don’t give a shit about giving a shit,” John Luther Norris snarls on one track from the group’s third record, Wild Ruckus , which also includes the requisite song about getting fucked up (“Let’s Get Fucked Up,” as it were), reluctantly falling for a Republican (“Forbidden Love”) and a polkafied cover of Pink Floyd’s “Hey You” you would be forgiven for mistaking for Weird Al—and that’s a compliment. It’s rowdy, goofy, wiseass stuff, a welcome infusion of angst and smarm in a genre often too self-serious to have any fun with tradition. AP KRYZA. White Eagle Saloon, 836 N Russell St., 282-6810. 7 pm. Free. 21+.

The Blow, We Put It Together So We Could Take It Apart
[PERFORMANCE POP ART] Khaela Maricich writes songs in order to explode them. Under the moniker the Blow, the ex-Portlander (now of Brooklyn, natch) has produced six albums of bang-up electro pop, accessible enough to win over Pitchfork and The New York Times. But in truth, the Blow—which started out of Olympia, Wash., in the early 2000s—is more ongoing performance-art piece than true pop group. Integrating monologues and concept-driven visuals into its performances, the band’s music is often just an excuse to put on a show, existing only to be mangled, contorted and reshaped live. Maricich and her creative partner, Melissa Dyne, just spent the last seven years crafting the self-titled follow up to 2006’s Paper Television, an “odyssey of experimentation” slated for release Oct. 1. And now, before it even comes out, they’re planning to destroy it. Little is known about what the Blow’s performance at TBA will entail exactly, but judging from the title, We Put It Together So We Can Take It Apart, there might not even be an album left to release come October. MATTHEW SINGER. Portland Center for the Performing Arts, Winningstad Theatre, 1111 SW Broadway. 8:30 pm Sunday-Monday, Sept. 15-16. $15-$20. All ages.

Caitlin Mathes 
[CABARET] Although both Portland Opera and Portland State recently produced his “Street Scene” and Storm Large sang his “Seven Deadly Sins” with the Oregon Symphony last year, 20thcentury composer Kurt Weill is still best known for his Threepenny Opera and its hit song, “Mack the Knife.” But there’s so much more smart, seductive and sometimes searing Weill music that deserves hearing, and in this Classical Revolution PDX cabaret-style show with Wild West overtones(!), former Portland Opera resident studio artist Caitlin Mathes will sing 90 minutes of it, accompanied by pianist David Saffert. Judging by her win at the 2011 Lotte Lenya Competition, her dazzling and theatrical vocal recital last year, as a compelling turn in Opera Theater Oregon’s The Cunning Little Vixen this summer, this young mezzosoprano is a star on the rise. BRETT CAMPBELL. Vie de Boheme, 1530 SE 7th Ave., 360-1233. 7:30 pm Sunday, Sept. 15. $5 suggested donation. 21+.
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