Image provided by: Clackamas Community College; Oregon City, OR
About The Clackamas print. (Oregon City, Oregon) 1989-2019 | View Entire Issue (Feb. 16, 2005)
Arts ^^Entertainment February 16, 2005 th^LACKAMASprinf *Q lilm brings surfing to the easy chair lizabeth Tobey UClackamas Print ■itching “Riding Giants” is a ■e to live vicariously as a big ■surfer; you’re on the edge of ■at in nervous anticipation as ■y’s best take on bigger and H waves. ■e film, recently released on ■ was the opening night selec- ■br the 2004 Sundance Film ■al. It’s easy to see why. ■e his earlier film, “Dogtown He Z-Boys,” did for skate- Hng, Director Stacy Peralta’s Hg Giants” is a captivating ■ntertaining history of surf- ■ginning with an animated |tio entitled “1000 Years of ■g in Two Minutes or Less,” Him quickly and comically ■vs surfing, beginning with its ■Polynesian roots, to suppres- fcn from Christian missionaries, Fits comeback and popularity in H41 century. ■From there the movie comes closer to the present and divides into three sections as it focuses on individual people, the innovators of big wave surfing. The first is Greg Noll, nick named “The Bull” for his relent less determiAnation in Hawaii’s big surf in the 1950s and his showy surfing style. Next isJeff Clark, the fron tiersman who brought surfing to California after he discovered the immense waves of the dangerous, chilling Mavericks Beach near San Francisco and rode them alone for 15 years. Chapter three is dedicated to Laird Hamilton, perhaps the best big-wave rider in history. He pio neered tow-in surfing, allowing surfers to reach speeds around 35 mph as they enter the lineup and catch waves as high as eight-story buildings. Because the waves in this video keep getting larger, and the surfers face greater challenges, the adrenaline stays and the excite ment builds throughout the film. There are interviews with Noll, Internet Photo “Riding Giants” does for surfing what “Dogtown and the Z-boys” did for skateboarding. Above, a group of surfers waits quietly for the first great wave of the day. Clark and Hamilton themselves, as well as surf experts and story tellers. The casual, contemporary interviews are the most entertain ing part of the film. Hearing sto ries straight from the surfers, foil of slang and surf jargon, provides plenty of laughable material. They capture the feel of the time and the attitude and rebel liousness of the people who were part of it. Certainly the best documentary I’ve seen in a long time. vrtland Art Museum temporary home to native art individual artifacts. There were a few bits of general informa tion placed around groups of shirts or horse saddles or tools with elaborately carved handles, but most of it was vague at best and those who are as interested in the history of the culture as the art The Portland Art Museum is now providing temporary itself will probably find themselves looking for answers in the residence to roughly 200 artifacts originally created by the wrong museum. Native Americans of the northwest’s own Columbia River Overall, the Portland Art Museum has put together an attrac Gorge, and those 300-year-old shirts and purses never tive collection of authentic looked so good. Native American Art dating The pieces themselves are all dated anywhere from back hundreds, even thou A.D. 1000 to 1700. Most were collected from/he late sands, of years. Even though 19th to the early 20th century and, according to the it’s clear their interest is museum’s website, this is the first time many items more in the visual intrigue have been displayed in view of the public. of the pieces rather than the First in line is a collection of anthropomorphic historical significance, the figures, some privately owned or on loan from other art itself is attractive enough museums. What’s amazing is how each one keeps its that the museum need not be own individuality when the same lines and shapes are ashamed of that fact. used on many of the figures. One private collection “The People of the River” piece is carved of basalt, dated “Pre-contact,” and exhibit will be showing keeps a consistent, nearly perfect curve down the spine through May 29. The muse of the figure. um is open 10 a.m. to 5 p.m. What follows is anything frm a baby’s crib with on Tuesday, Wednesday, and images of animals carved into every piece of wood Saturday, 10 a.m. to 8 p.m. (including the rockers), to a collection of very intri on Thursday and Friday, and cately woven baskets, women’s bags, colorfully beaded noon to 5 p.m. on Sunday. ceremonial regalia and, of course, decorative dinner Usual entrance fees apply: ware. $10 for adults, $6 for kids Photo courtesy ot Portland Art Museum The only pieces of the exhibit that left a little to be (four to 17), and $9 for stu- A coiled basket, ca. 1900. desired were the plaques that- accompanied most of the , dents and seniors. Jeff Sorensen The Clackamas Print jay pokes fun at Mexican-American history, without drugs I started to laugh. I don’t know if it was the fact that Pat was secretly in love with Aldo or because the soundtrack Be Clackamas Print included Ricky Martin tunes. To some, the history between Mexico From the get-go, Pat and Aldo are 1 and America is fairly controversial. “The off to Mexico. Upon arrival, they start ■ Trae History of Coca-Cola in Mexico” changing characters and props con n takes a comical jab at this history, and the stantly, whether or not the audience ■ audience even manages to learn some- could see, which I found annoying. H thing in the end. Just when a scene began to be funny, D hl This comedy takes place at the Pat and Aldo would go offstage and Miracle Theater on the east side this lady would come out and change I B of town. The main characters are the scene. The lady also happened to B Portland artists Pat and Aldo who be in the play as a salsa dancer and a r' ; ■ want to make a film, so they turn to soldier. Though her parts in the play 7 ■ each other for help and end up mak- were sassy and funny, to see her chang I I ing a documentary of Coca-Cola in ing the scenes was a little confusing. Internet I B Mexico. So the play goes back and forth |BUl A s you all may know, Coca-Cola between Aldo and Pat making their C°«-Cola and the America it represents. True History is a little annoying, but funny. |HB originally got its name due to the fact documentary and acknowledging how HB that cocoa leaf was in the ingredi- corporate America is screwing over Hl ents; in this play, however, that is not Mexico, such as when Pat and Aldo meet a family the main focus. This play reminded whose land is being bought by the government for IB I me of watching the History Channel. dirt cheap and they are forced to sell. Really, there ■I While the actors were working up are a lot of facts behind this play so you do learn a |H| a sweat running all over the stage, I lot about the history Mexico and America, but in a HI was working on trying to get myself comical way. If you’re interested in a little history HI warmed up to the fact this play lesson on how we treat Mexico, with a twist of Coca- HI was not going to be about the drug Cola advertisement, it is worth the laugh. But if you IB cocaine. We all know Coca-Cola are want learn more about cocaine, you’re better off Ml came from cocaine, but I wanted renting “Robo Cop.” ■■B to know when, where, what, and This play will be running through Feb. 26 at the B9 ■ how—but no, that was not it. After I Miracle Theater located at 525 SE Stark. The show BB ■ realized this play was about a docu- starts at 8 p.m. Friday and Saturday. Tickets are avail mentary done by two radical artists, able at (503) 720-0397 or the door. lirista Danielson
