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WILLAMETTE WEEK PORTLAND’S NEWSWEEKLY
“IT’S EATING INTO YOUR BEER-AND-STRIPPER MONEY.” P. 4
…and boom? wweek.com
VOL 39/52 10.30.2013
Inside Carbon Audio’s roller-coaster year. Can the Portland startup finally put the world on blast? by Matthew Korfhage
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P. 12
Ja m e s A loys i u s
NEWS An anti-TriMet blogger is arrested. beer INSIDE DEAN POTTLE’S BASEMENT BAR. books DEPRESSION, DOGS AND HYPERBOLE.
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Willamette Week OCTOBER 30, 2013 wweek.com
AUGUST LIPP
CONTENT
MO MONEY, MO FOOD: Taste-testing the Blazers’ new arena grub. Page. 23.
NEWS
4
MUSIC
25
LEAD STORY
12
PERFORMANCE 35
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 Andrea Damewood, Nigel Jaquiss, Aaron Mesh Copy Chief Rob Fernas Copy Editors Matt Buckingham, Jessica Pedrosa Stage & Screen Editor Rebecca Jacobson Music Editor Matthew Singer Projects Editor Matthew Korfhage Books Penelope Bass Classical Brett Campbell Dance Aaron Spencer Theater Rebecca Jacobson Visual Arts Richard Speer Editorial Interns Ravleen Kaur, Paul Kiefer
CONTRIBUTORS Emilee Booher, Ruth Brown, Nathan Carson, Rachel Graham Cody, Robert Ham, Jay Horton, Reed Jackson, Emily Jensen, AP Kryza, Nina Lary, Mitch Lillie, John Locanthi, Michael Lopez, Sara Sneath, Enid Spitz, Mark Stock, Brian Yaeger, Michael C. Zusman PRODUCTION Production Manager Ben Kubany Art Director Kathleen Marie Graphic Designers Mitch Lillie, Amy Martin, Xel Moore, Dylan Serkin Production Interns Jerek Hollender, Kayla Nguyen ADVERTISING Director of Advertising Scott Wagner Display Account Executives Maria Boyer, Ginger Craft, Michael Donhowe, Janet Norman, Kyle Owens, Sharri Miller Regan, Andrew Shenker Classifieds Account Executive Matt Plambeck Advertising Assistant Ashley Grether Marketing & Events Manager Carrie Henderson Give!Guide Director Nick Johnson
Our mission: Provide Portlanders with an independent and irreverent understanding of how their worlds work so they can make a difference. Though Willamette Week is free, please take just one copy. Anyone removing papers in bulk from our distribution points will be prosecuted, as they say, to the full extent of the law. Willamette Week is published weekly by City of Roses Newspaper Company 2220 NW Quimby St., Portland, OR 97210. Main line phone: (503) 243-2122 fax: (503) 243-1115 Classifieds phone: (503) 223-1500 fax: (503) 223-0388
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Willamette Week OCTOBER 30, 2013 wweek.com
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INBOX ACTIVIST OR FBI SNITCH?
I went to school with Vahid Brown at Reed College. This piece is spot-on and I’m glad it was written [“Whack-a-Mole,” WW, Oct. 23, 2013]. Working with the FBI is not a “red flag,” it’s a way to potentially get some of the xenophobia, ignorance and just downright stupidity and misinformation out of government policy. If the FBI is teaching its agents that all Muslims are terrorists, I want Vahid there to correct that and teach them that they’re not. I understand the desire for ideological purity, but there are real people who are going to be on the receiving end of FBI actions, and I want them to be understood as human beings, not as caricatures or stereotypes. There is a need for the work Vahid is doing, both in his activist work and in what he did as an FBI trainer (and I would argue those can be seen as working toward one and the same cause). —“M W” This article deals with a complex situation, and while doing a decent job, fails at the end in presenting factual information with regard to its representation of Portland Rising Tide’s involvement and position [see correction below]. As is stated about Vahid Brown in the article— “We’re not putting him on trial here.” Portland Rising Tide does not wish to work with Brown, given his past associations with the FBI. We are not making accusations about his current situation, which we have no information about. We are only stating that these past associations are enough to make it not appropriate for him to work with our group, which is actively targeted by the FBI. —“Portland Rising Tide”
I got my property tax assessment, and it’s gone way up—even though I’ve made no improvements to the property! It’s nice that my house is worth more, but I feel gouged. Can these assessments be appealed? —McNeuberger Seriously, McNeuberger, you can Google “Multnomah County Property Tax Appeal” with one hand; you don’t even need to put down the bong. Sure, I could spend this column desultorily paraphrasing the results of said Google search by replacing every instance of the phrase “petition filing” with the words “donkey boners” (God knows I’ve done it before). Today, though, I happen to be fresh out of psychedelic toad venom, which means I have the clarity of mind to really attack your question without fear of interference from marauding giant bats! I sympathize with the fact that the recovery of the housing market is eating into your beerand-stripper money. But you touch on a damning 4
Willamette Week OCTOBER 30, 2013 wweek.com
WATER BUREAU’S SPENDING
People cannot afford their water bills, and the Water Bureau wastes money like this [“MillionDollar Water Park,” WW, Oct. 23, 2013]. City Commissioner Nick Fish needs to go. It’s time to clean house at City Hall. —“Marilyn” The Water Bureau spent a fraction of its project budget on improving the park center, building sustainable quarters for the park overseer, and improving the trail system. My water money was well spent. —“Hannah Keziah Mills”
MULTNOMAH WHISKEY LIBRARY
This place is a joke and the review was spot-on [“Bar Spotlight,” WW, Oct. 23, 2013]. I went inside on opening weekend, but they were “full for the night” at 6:30 pm. It was empty at the time. I went back to my ’hood and was treated like my business was appreciated. —“Tasty Nuggets”
CORRECTION
Our Oct. 23 cover story, “Whack-a-Mole,” inaccurately attributed an Oct. 4 email sent to Vahid Brown questioning his work training FBI agents as coming from the activist group Portland Rising Tide. The email came from an activist who has worked with Rising Tide but is not a member of the group. WW regrets the error. 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.
problem with property taxation: Improvements to one’s property are punished with higher taxes, while neglect is rewarded with a lower bill. Luckily, there’s a way around this. It’s called Land Value Taxation (LVT). Like single-payer health care, LVT is a wonky good-governance idea that experts love and traditionalists fear. Thus, I’m surprised it hasn’t gotten more traction in Portland. The idea is that you tax the value of the land itself, independent of improvements. Wanna spend your own money developing your property? Your tax bill won’t change. Wanna sit on a vacant lot in a desirable area while you wait for the price to rise so you can make a killing? Fine, but you’ll pay for the privilege. LVT seems to have something for everyone, with the notable exception of real-estate speculators. Unfortunately, those speculators are often exactly the sort to be thick as thieves with mayor types. I just thank God that sort of chumminess could never happen here. QUESTIONS? Send them to dr.know@wweek.com
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6/4/13 11:49 AM
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MEDIA: Transit cops arrest an anti-TriMet blogger. EDUCATION: Is PPS illegally denying high-schoolers classroom time? CONSUMERS: Problems at PDX stick a traveler with an $1,800 bill. COVER STORY: A Portland firm’s trials selling a thing called the Zooka.
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COURTESY OF PSU
PORTLAND LOSES AN URBAN-PLANNING LEADER.
TOULAN
Nohad Toulan—a leading figure in Portland’s urban planning and Islamic worlds—died Oct. 28 with his wife, Dirce Angelina Moroni Toulan, in a traffic accident in Uruguay. Toulan, 81, was the retired director of Portland State University’s College of Urban and Public Affairs, which includes the School of Urban Studies and Planning that bears his name. He taught city planning at PSU for 30 years and helped draft Portland’s celebrated urban growth boundary. Toulan’s planning efforts extended outside the region: In 1984, he left Portland for two years to draft a comprehensive regional plan for the Islamic holy city of Mecca in Saudi Arabia. Dirce Toulan, herself an architect and planner, was 79. “It is very hard to imagine the American Muslim and Arab communities and Portland without Dr. Nohad and Dirce Toulan,” says Wajdi Said, director of Portland’s Muslim Educational Trust. “Both were and will continue to be the pride of the Muslim community in Oregon.” The battle to end City Hall control of the Portland Water Bureau is now a divided front. A coalition of environmental activists affiliated with Occupy Mount Tabor filed a ballot initiative Oct. 28 to create a “people’s water trust.” The trust would tighten rules on how city water officials spend ratepayers’ money, and require a public vote before adding new chemicals to the city’s drinking water, including fluoride. Left-wing water activists and big businesses had both supported an initiative campaign to shift authority over Portland’s water and sewer utilities from the City Council to an independent, elected water district board. Enviros have now changed course. “The water district would essentially go backward,” says Green Party activist Seth Woolley. Kent Craford, leading the business effort, dismisses Woolley’s proposal. “He probably wrote this in his mom’s basement between rounds of Dungeons & Dragons,” Craford says. The American Civil Liberties Union of Oregon wants to tighten rules on how police departments use information gleaned from automatic license plate readers. The devices— used on 16 Portland Police Bureau cars and by other large law enforcement agencies in Oregon—randomly photograph license plates and store the images (as well as the dates, times and locations of the vehicles) in a searchable database. Police say the images help them find stolen cars and potential suspects. But the ACLU says police keep the images for up to four years—far longer than necessary. The group is drafting a bill for the 2014 legislative session that would require police to delete the images after 24 hours. “We want guidelines so our government is not collecting and retaining innocent people’s data,” ACLU lobbyist Becky Straus says. Portland police spokesman Sgt. Pete Simpson declined to comment on the proposed legislation but says a 24-hour retention limit would render the plate readers “virtually useless as an investigative tool.” Read more Murmurs and daily scuttlebutt. 6
Willamette Week OCTOBER 30, 2013 wweek.com
NEWS
GOT A GOOD TIP? CALL 503.445.1542, OR EMAIL NEWSHOUND@WWEEK.COM
w w s ta f f
A VISIT FROM THE TRIMET SQUAD A BLOGGER IS ARRESTED AFTER REPEATEDLY TEXTING QUESTIONS TO A TRANSIT AGENCY SPOKESWOMAN. By AA R O N M E S H
amesh@wweek.com
Lane Jensen recognized the cops who came for him. The 26-year-old blogger had tangled before with officers of local police departments who work for TriMet, the transit agency Jensen regularly investigates, exposes and harangues on his blog, Portland Transit Lane. In the past, Jensen had recorded arguments with transit police and posted them to his website. But his dealings with them had always been peaceable until Oct. 17, when four officers walked into his place of work, shoved him up against a pole, handcuffed him and took away his cellphone. “We’re keeping this for evidence,” one officer said, according to Jensen. “You’re not getting this back for a long time.” It was Jensen’s use of that phone that had brought the police to his workplace at Prestige Limousines. Two nights earlier, Jensen had been trying to get TriMet press spokeswoman Roberta Altstadt to answer questions about the transit agency’s security after a 15-year-old boy was shot and killed at the Holgate MAX station. Altstadt ignored Jensen, so he used an automated text program to send her 31 messages over four hours to her personal cellphone. “So what is it going to take to get safety on the buses?” the texts asked. “How many more lives will it take? 1? 10? 100? 1,000? A driver being killed while in the seat?” Jensen sent texts after Altstadt asked him to stop, and he now faces charges on 20 counts of telephonic harassment, a misdemeanor. Each charge carries a maximum sentence of six months and a $2,500 fine. The case raises serious questions about the boundaries of journalism and advocacy in the Internet age. The police seized not just his phone but also his laptop. TriMet has also barred him from speaking to anyone at the agency except a designated contact person and from attending any TriMet board meeting where Altstadt is present. (Jensen often testifies—loudly—at the board meetings.) Sandra Baron, executive director of the Media Law Resource Center in New York, says she recalls “remarkably few cases” where a journalist has been charged with harassment. “The part that’s as troubling as the case itself is the seizure of a cellphone or a laptop,” Baron says. “There’s material on there that may not be related in any way, shape or form to his unlawful conduct. That’s very disturbing.” TriMet spokeswoman Mary Fetsch says her agency doesn’t consider Jensen to be a journalist. Jensen says
BUS-TED: Lane Jensen has used his blog, Portland Transit Lane, to serve as a watchdog over TriMet. He says he’s thinking about shutting down the blog after being arrested for telephonic harassment.
TriMet is trying to muzzle him. “Anybody who follows my blog knows I push limits as far as I can go,” Jensen says. “This time, I may have pushed too far. But jail time? That seems way too extreme.” With a buzz cut, glasses and cheeks that blush beet red, Jensen gives off the impression of a socially awkward, easily excitable lab technician. His voice rises to a singsong when he’s amused, or a scream when he’s upset. Jensen makes no pretense of being likable or objective. He relishes the hacktivist role of Internet nemesis, bent on exposing unflattering facts about TriMet. “He’s not completely sensitive to other people around him,” says Al Margulies, a former bus driver who also lambastes the agency and has become Jensen’s closest cohort. “It’s not business as usual for TriMet with him around.” Jensen’s crusade began in September 2012, when he took a TriMet bus from his home in Troutdale to a Fred Meyer store to buy Cheez-Its and a Diet Pepsi. He missed his bus, and then the next one broke down, stranding him for two hours. He lost his call-center job when he reported late for work. “So I started taking my revenge out on
TriMet,” he says. Most journalists wouldn’t recognize Jensen’s methods. He yells at TriMet board members and once tried to perform a citizen’s arrest on board president Bruce Warner for canceling a scheduled meeting. He posts photos of TriMet executives on his blog with obscene captions—and lists their home telephone numbers. But Jensen has also managed a few scoops in one year of reporting. He drew attention to former TriMet board member Tiffany Sweitzer, president of Pearl District developer Hoyt Street Properties, remaining on the board this summer after her term expired. When Gov. John Kitzhaber appointed Joe Esmonde to the board, Jensen discovered he didn’t live in his district. Kitzhaber’s office called it a clerical error. Michael Andersen, who runs the transit magazine Portland Afoot, says Jensen deserves credit as a government watchdog. “Lane is often obnoxious, regularly disruptive and probably counterproductive to his own agenda, but none of that is illegal,” Andersen says. “His advocacy journalism isn’t always right, but it’s regularly useful.” Willamette Week OCTOBER 30, 2013 wweek.com
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Mike Doughty is touring with a new backing band, playing songs by his former band, Soul Coughing. Doughty will perform songs from his new album of re-invented Soul Coughing tunes, as well as more songs that aren’t on the album. His tour will mark the end of a years-long period where Doughty refused to play Soul Coughing songs onstage, in favor of songs from his seven solo albums
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Willamette Week OCTOBER 30, 2013 wweek.com
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NEWS
On Oct. 15, four nights after 15-year-old Abukar Madey was fatally shot in the head at the Holgate MAX stop, Jensen began using his auto-text program again. Jensen says he found Altstadt’s personal cellphone numbers in internal TriMet documents. His messages weren’t intended to unnerve the recipients, he says, but press them for a response. “How is that threatening in any way, shape or form?” he asks. “There’s no threat. It’s asking them the hard questions that they don’t want to answer.” The day after Jensen sent the texts, Officer Tony Cereghino of the Milwaukie Police Department who was assigned to the transit patrol, called Jensen and asked him if he remembered Altstadt telling him not to contact her.
“I seem to remember that,” Jensen said in the phone conversation, which he taped. “I apologize. I will take her off my list and not text her again.” But the call from the cop wasn’t a courtesy call—court records show Cereghino was trying to get Jensen to admit he had texted Altstadt after she had asked him to stop. The next afternoon, transit police arrived at Jensen’s job and arrested him. At his first hearing Oct. 18, a judge ordered Jensen to take down a blog post titled “Want to Annoy Roberta Altstadt?” that listed her cellphone number. Altstadt says Jensen violated her privacy by posting her personal cell phone, then repeatedly texting it. “Based on comments on his blog and his past actions involving numerous employees,” she says, “I fear the behavior will escalate and threaten my personal safety.” Fetsch tells WW the agency has had no direct involvement in the case. She says Altstadt filed a report with transit police because a transit officer had seen her tell Jensen to stop contacting her. “Regarding Mr. Jensen’s claiming he was arrested because he’s TriMet’s biggest critic: This is absolutely false,” Fetsch says. “He was arrested because he broke the law.” Fetsch notes that Jensen has written on his blog about carrying a knife and gun when he rides the bus. She says that indicates he’s a possible threat. Jensen says he’s never carried a weapon and that Fetsch is distorting what’s on his blog. He says he’s written that he and others might as well carry a weapon given TriMet’s lax security, and that he did so as a rhetorical device. Jensen says he’s refused a plea bargain offered by the Multnomah County District Attorney’s Office. He would serve six days in jail, 30 hours of community service and three years’ probation—and agree to have no further contact with Altstadt. Police are still holding his Samsung Galaxy S4 phone
NEWS brad gregg
Jensen’s methods have drawn the scrutiny of transit authorities before. Last December, he began wearing a TriMet jacket and hat loaned to him by Margulies. Jensen says he wore the outfit to signal TriMet drivers they should talk to him about their complaints. A police report shows a TriMet road supervisor questioned Jensen about impersonating a TriMet employee, tried to confiscate the hat, but found no evidence of a crime. In February, Jensen used a cellphone camera to document transit supervisors excluding him from riding TriMet for 30 days—because he stood on a MAX platform without boarding a train. The ban was dismissed. In June, he used the automatic texting program SMS Scheduler to text TriMet managers, including Altstadt, every five minutes. “When will non-union employees stop getting benefits and pensions after 3 years, while drivers have to wait 10-20?” the text read. “Who’s got the harder job?” An affidavit filed in Multnomah County Circuit Court says Altstadt told him if he contacted her again, she’d report him to police.
media
and Lenovo laptop as evidence. While he awaits trial next month, Jensen has kept his job. He rides the MAX to work each day. He has no choice, he says. “I have no other way of getting around.”
Willamette Week OCTOBER 30, 2013 wweek.com
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education w w s ta f f
NEWS
FAST TIMES AT PPS HIGH A COALITION OF PARENTS ALLEGES THAT CUTS IN HIGH-SCHOOL CLASSROOM HOURS VIOLATE OREGON LAW. By R ac HeL GR a Ha M cody
rcody@wweek.com
When it comes to the number of hours students spend in the classroom, Oregon is already near the bottom of the barrel. It’s especially bad in the Portland Public Schools, where fewer than 20 percent of high-school students—and only 7 percent of seniors—spend a full day in classes. That’s according to a complaint being filed with the Oregon Department of Education by exasperated parents who say Portland Public Schools’ high-school schedule breaks state law. Last year, the Portland Parents Coalition warned the district it was out of compliance by offering so little instructional time for their kids. The coalition says the district prevents most students from taking a full course load, filling their days instead with mandatory study halls and chunks of empty time. The result: Portland students fall more than 100 hours short of the state-mandated minimum 990 instructional hours per year. After what it calls broken promises by district officials, coalition members say they will file a formal complaint with the Oregon Department of Education. The complaint alleges that Portland Public Schools’ failure to provide the required number of instructional and classroom hours is a “de facto shortening of the school year” and jeopardizes students’ educational opportunities. “PPS’s policy and practice have created a culture in our high schools where a full class day or year of meaningful education is neither the norm nor the expectation,” says coalition member Caroline Fenn. “This is the superintendent’s responsibility. We need the state’s help to hold 10
Willamette Week OCTOBER 30, 2013 wweek.com
the [school] board and the superintendent’s feet to the fire.” The coalition—which includes former School Board member Julia Brim Edwards—grew out of parent dissatisfaction with the district after it cut high-school teachers and switched to an eight-period block schedule in 2011. Portland Public Schools limited most students to seven class periods spread over two days—the equivalent of losing 22 school days, according to the complaint. A December 2012 district report says fewer than half of high-school students now attend school for a full day—a sharp decline from 201011, the year before the district changed the schedule. Superintendent Carole Smith announced the district’s proposed 2013-14 budget last spring, with more cuts to high-school instructional hours. The coalition’s members threatened to file a complaint with the state at the time but pulled back after Smith revised the district’s budget to restore 58 high-school teaching positions and allow students to take up to eight periods of classes a day. Smith said then the district could not afford to staff schools for all eight periods. “If we had more resources, then we could hire more teachers and offer more classes to kids,” district spokesman Robb Cowie said at the time. Fenn says the district has not followed through in good faith. The final straw, coalition members say, came in October when the district announced it had found an extra $11 million in the budget. “Either their budgeting system is broken or they are playing a shell game with numbers,” Fenn says. PPS officials say they have not seen the complaint and can’t comment on it. “It’s our goal to increase instructional time for all students,” says district spokeswoman Christine Miles. “Our latest contract proposal increases instructional time by three days.” The Oregon Department of Education had not received the complaint by WW’s press time. Fenn says the coalition hopes the state will use its bully pulpit and perhaps its control of access to state education funding to require Portland Public Schools to provide at least the state’s minimum number of instructional hours. “They could take the position of advocating for kids,” Fenn adds, “and say this is not OK.”
NEWS cameronbrowne.com
coNSUmErS
PAYING DOUBLE TECHNICAL PROBLEMS AT PDX? NOT OUR PROBLEM, SAYS THE PORT OF PORTLAND—AND EVERYONE ELSE. By NIG E L JAQ UI SS
njaquiss@wweek.com
W W W. WA G P O RT L A N D . C O M
The readers of Travel + Leisure love Portland International Airport. They said so in a survey published Oct. 15 that named PDX the nation’s best. “Portland, OR, has a reputation for hipsters,” the magazine wrote, “but its airport makes a positive impression on all kinds of travelers thanks to quality food and shopping options and the likelihood of an on-time departure.” Brandi Morris disagrees. What started off as a dream vacation for Morris has revealed a loophole in PDX’s operations that exposes anyone using the airport to financial loss. A breakdown by the company that delivers jet fuel to planes caused more than dozens of flights to be delayed last June, including Morris’. She incurred more than $1,800 in costs to rebook her flights and wants someone to reimburse her. So far, no one will. The Port of Portland, which owns and operates the airport, has sent Morris into what she calls a “vortex of events” in which no one—the airline, the fuel company or the port—is willing to take responsibility. “It feels like a raw deal to be out an additional nearly $2,000 for something you already paid for,” Morris says. Morris provided letters and emails that document her efforts to be made whole— and the runaround she got in return. On June 14, Morris and her 7-year-old daughter, Audrey, left their Sellwood home headed for Paris. They were scheduled to meet up with Morris’ sister and niece. “We had promised my niece that when she graduated from high school, we’d take
LEFT AT THE GATE: “To my mind, the buck stops with the Port of Portland, whose name and brand are on the facility,” says Brandi Morris, whose Paris trip with her daughter, Audrey, got delayed because of a fueling snafu at PDX.
her to Paris,” says Morris, 39, who co-owns an advertising agency. Morris travels a lot, so she knows to expect delays. She says she and Audrey arrived at PDX at 5:15 am for a 7 am departure to Los Angeles on a Virgin America flight. They were to catch an Air Tahiti flight to Paris. But a fueling delay of five hours at PDX delayed their departure, causing them to miss the Paris flight. Air Tahiti said it had no seats on later flights and told Morris it was the Portland airport’s fault, not the airline’s. Morris’ husband jumped online and bought two one-way tickets for an additional $1,812.40. Morris and her daughter got to Paris a day late. When Morris got back, she sent an email to the Port of Portland seeking reimbursement. “The airline said responsibility for the delay lies with airport facilities and not with them,” Morris wrote July 13. “I will also forward the receipt for the new tickets.” In a series of polite emails, port customer service representative Donna Prigmore told Morris to take up the issue with
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the fuel company. Air Service International Group, according to its website, provides aviation fuel and other services at more than 80 airports worldwide. The company itself is owned by BBA Aviation, a London-based airport services company with more than $2.1 billion in revenues last year. Morris says the port then bowed out. She tracked down Lawrence McMahon, a vice president with Air Service International Group, based in Los Angeles. “Today I received a call from Larry McMahon at ASIG,” Morris wrote to the port’s Prigmore on Oct. 22, “and while he admitted fault in the system failure, [he] said that they would offer no compensation for my redundant ticket as they ‘have no contractual obligation to me.’ According to this guy, their contractual obligation is with the airport.” “OK, it’s now official,” Morris added. “Every party in this situation has blamed every other party while no one has accepted responsibility for their contractual obligation to me and I’m still out lots of money.” Longtime port spokesman Steve
Johnson says what happened to Morris is unusual. “I can’t think of a comparable example in the last several years,” he says. Johnson says 14 people complained about the June 14 delays and eight sought compensation or reimbursements. But he says the port has no responsibility for the losses suffered by Morris and others. That’s because the airlines serving PDX collectively own the fueling equipment and contract with Air Services International Group to operate it. “The airlines are collectively responsible,” Johnson says. “We don’t have the authority to tell the airlines to make a reimbursement.” Air Services International Group and its executive, McMahon, did not respond to a request for comment. Morris says she’s frustrated with the port’s refusal to fix the problem. “I keep thinking that I’m somebody’s customer, but nobody wants to ta ke responsibility,” Morris tells WW. “It’s a little scary to think some version of what happened to us could happen to anyone at any time.”
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Willamette Week OCTOBER 30, 2013 wweek.com
HEAR THE RAINBOW: Carbon Audio’s Zooka Bluetooth speakers in their manycolored glory. Apple stores stock a wide range of hues, but big-box stores won’t. “Everybody likes black, for some reason,” says marketer and designer Drew Downie.
…AND BOOM? INSIDE CARBON AUDIO’S ROLLERCOASTER YEAR. CAN THE PORTLAND STARTUP FINALLY PUT THE WORLD ON BLAST?
By MATTHEW KOR FHAGE
mkorfhage@wweek.com
The wine cost $12,000 a bottle. It was a ’71 Chateau Petrus, maybe a ’73—Jason Martin can’t remember. But he does know it was Las Vegas in January 2012 at the Consumer Electronics Show, and that everyone was telling him the Zooka was going to be a major hit. The company he helped start only four months earlier, Portland-based Carbon Audio, had invented a cylindrical little Bluetooth speaker called the Zooka designed for laptops and tablets, in particular the iPad. The person buying the wine was the owner of a factory in China that was the size of a small city, and he’d just agreed to manufacture thousands of Zookas. The factory executives celebrated by downing the expensive wine in gulps, then leaving their glasses half-full at the table. Martin had done business in Asia, where he enjoyed drinks at lavish factory dinners. But this time it was different. “We’d never experienced a dinner like this before,” he says. “This was more. We’re making this deal. We’re producing these products.” Martin picked up the half-finished glasses and drank the wine. Carbon Audio introduced the Zooka to the world in February 2012 by asking for what, in business terms, was barely more than spare change: $25,000 in Kickstarter funding. At the time, Carbon Audio had nothing to offer but a hacked-together prototype of the speaker and a collection of molded rubber tubes. But within seven months, Carbon Audio had wireless speakers on retail shelves. Just over a year into its product launch, the tiny company has sold more than 100,000 silicone speakers that look and feel a bit like sex toys. Indeed, the Chinese company that fashions the silicone sheaths makes female pleasure products in the same factory. Apple adjusted its stores’ shelving to accommodate the Zooka. Best Buy, Target and Wal-Mart placed huge orders. Zookas are sold in Brazil, Poland and Japan. The device has been featured on the websites for Rolling Stone, Wired and The New York Times, along with pretty much every tech consumer blog in existence. Janet Jackson highlighted the Zooka on her website. cont. on page 14
Willamette Week OCTOBER 30, 2013 wweek.com
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BUZZ BOOM BUST
CONT.
P H O T O S B Y B E T H L AY N E H A N S E N
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WORKING AT IT: Drew Downie (from left), Patrick Triato, Carl Jonsson and Jason Martin are the remaining full-time crew at Carbon Audio’s spacious Southeast Portland headquarters (below right). The group traded three of its Zooka speakers to nearby Base Camp Brewing to stock the house keg tap (below left), but it’s since gone dry.
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But even with $5 million in first-year sales, cash is now so tight that Carbon Audio in August had to barter three Zookas to procure a keg of beer from nearby Base Camp Brewing. One of the company’s partners says he hasn’t taken a paycheck since June. And three months ago, the fledgling company fired half its workers, including the founding CEO, shrinking to eight employees. As recently as September, the company didn’t know whether it would continue to exist. Carbon Audio is a prototypical startup: one step away from shutting down, and one step away from cashing in, big time. Carbon Audio and other tech-related startups—from software coders to makers of drones— may be Portland’s best chance at economic growth in the next decade. Our city’s public image may be dry-cured salumi and hand-sewn bike panniers, but much of the real money is in the digital world. Since the depths of the recession in 2009, tech jobs have grown at about twice the rate as the rest of the state’s economy, according to statistics from the Oregon Employment Department. But each startup is a wild risk, hungry for funds to get off the ground. About half disappear within four years. “There are some companies who’ve managed to beat the odds,” says Skip Newberry of the Technology Association of Oregon. “But they’re not all a runaway, wild success. They’re doing just well enough to sustain a couple people.” 14
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“I’ve got two kids at home, so I’m panicked,” says Carbon Audio designer Carl Jonsson. “It’s scary. I’m taking the risk with my children and family as collateral. They just don’t know it.” He pauses, then smiles nervously. “It’ll work out,” he says. “In terms of being driven to want to do it, there’s no option.” Jonsson, a blunt-speaking Swede, is one of Carbon Audio’s many partners, a hodgepodge cobbled together according to the company’s investment needs. Everyone who invested— including denim magnate Danny Guez and rapper M.I.A.’s baby-daddy Ben Bronfman—gets a stake and a voice in the firm. And in a familiar situation in the tech scene (“Where the Tech Is She?,” WW, May 23, 2012), all of Carbon’s partners are male. Like other startups, Carbon Audio was conceived, in part, as a gesture toward freedom. After moving here from Chicago in 2001, Jason Martin was part of a tiny team at Nike that made early prototypes for what would become the tech-geeky Nike Fuel+ speed and distance wristbands. “We were slapping PC boards on people’s shoes,” Martin says. “It was powered by two AAA batteries.” But, Martin adds, “There’s more passion for doing stuff on your own.” In 2006, he left Nike to start a consultancy called New that designed golf putters for Nike, chronometers for Columbia Sportswear and a whole lot of speakers for Logitech. He says those
BUZZ BOOM BUST b e t h l ay n e h a n s e n
cont.
BOARD FEET: The back three walls of Carbon Audio’s studio encompass a giant whiteboard covered with the team’s plans—from designs for upcoming speakers to a 7-foot-tall calendar detailing the company’s schedule. A star has been drawn with the following five points: strategy, organization, process, rewards and people/culture.
companies were all good clients, but he got tired of working for other people. Serial entrepreneurs seem to share a contagious optimism and compulsion to create—a gambler’s urge to split hands or double down. Two years ago, about half the current partners at Carbon Audio started a nowdefunct incubator called 8, intended to mentor would-be companies into health— but quickly realized the products they wanted to incubate were their own. Martin had a watch company called EP Martin. He co-started a company called Original, centered on a little device called the Baby Ba that allows babies to hold their own bottles; the main backer was Courtney Taylor-Taylor of the Dandy Warhols. This year, Carbon Audio co-founder and designer Patrick Triato—the designer behind the first version of the Zooka—has spun off a doggie-backpack company called Bravery. Triato was working to develop a laptop speaker to pitch to a client when he hit on the basic Zooka design. It looked so promising Martin, Jonsson, Triato and others decided to try to make the speakers on their own. The Zooka is styled like no other speaker on the market. For one thing, its exterior is soft. It’s a curvaceous version of a
clipboard clip, with a Bluetooth-controlled speaker tube stuffed inside it like Vienna Beef in a corn dog. The device is made to grip tightly to the slim sides of a tablet or laptop and amplify the thin, tinny audio of those devices by up to five times. “With audio, you need air,” Martin says. “You need space to make noise. As things get smaller, the sound gets worse. More space goes to batteries.” This is why bulky laptops used to blast sound, while the new tablets struggle to be heard over the refrigerator—leaving a wide-open frontier on Apple’s shelves for a friendly looking, aftermarket speaker bar that can enhance that sound. The Carbon Audio team showed the prototype to Apple in the spring of 2012. Expectations weren’t high. “[Apple is] very detail-oriented,” a consultant warned them. “They’re going to be harsh.” The Zooka they showed was built from off-the-shelf speaker parts that still had wires sticking out. But they had a Pantone array of colors that the Apple buyer loved. “Oh, finally,” she told them. “Someone who gets it.” In a still-new Bluetooth speaker market—getting crowded with old-school speaker company Bose, celebrity powerhouse Beats by Dre, and tech-forward Jawbone—the response to Carbon Audio’s
Kickstarter campaign was just as ebullient as Apple’s. The campaign doubled its $25,000 goal in just two weeks. After a month and a half, it had almost tripled that figure, mostly from more than 700 preorders for a product that didn’t yet exist. The Kickstarter backers also suggested a component that made its way into the final design for the Zooka: a little metal kickstand that allows the speaker to double as an iPad stand. But Carbon Audio wasn’t really funded by Kickstarter. It was publicized there. “Kickstarter did more to get us coverage in magazines than a public relations company that cost us $5,000 a month,” says marketer and designer Drew Downie. By the time the Kickstarter campaign closed in March, Carbon Audio had already brought in $1.5 million from outside investors. And before the Kickstarter campaign even began, the company’s first CEO, Mark Schneider, a former vice president of Eastman Kodak, had tossed in $200,000; Martin and Schneider had met while Schneider worked at Logitech. To set up the Zooka’s production line, former Logitech audio designer Jason Riggs traveled to China and stayed there for six months, overseeing every detail at the various factories that made parts for
the Zooka. His pre-existing connections to the Chinese factories were pivotal in getting the speaker manufactured to the company’s specifications. “It’s all about keeping the design intact,” Martin says. “With the Zooka, it didn’t change that much from the original design drawings. It got 2 millimeters bigger in diameter. That’s pretty close.” Apple was onboard to buy Zookas for its stores. Best Buy was onboard soon thereafter. In contrast to the 18-month or twoyear lead time customary among larger companies, Carbon Audio had put together a full factory production line and distribution network in seven months. And the speaker would cost only $99, half the price of its nearest competitor. Everything was in place. That, as it turned out, was the honeymoon. “One-point-five million dollars sounds like a lot of money,” Martin says of the company’s first big investment, “and it is—but for what we’re trying to do, it’s nothing.” For perspective: Mass-fabricating the little tube inside the Zooka that houses the speaker components—one of many parts in the speaker—first requires constructing a metal tool to make the little tube. That runs about $10,000. And before making the cont. on page 16 Willamette Week OCTOBER 30, 2013 wweek.com
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cont.
P h o t o s b y b e t h l ay n e h a n s e n
BUZZ BOOM BUST
INTO THE POCKET: The many stages of design for Carbon Audio’s Pocket Speaker (below right), which the company will release Nov. 5. The earliest concept was the “flask” (red, at rear above), which involved two tubular speakers housed side by side.
metal tool, you need a soft version of the tool that costs about $5,000. “For even something like the Zooka,” says Graham Crawford, who handled logistics for Carbon Audio between February and July of this year, “$100,000 isn’t out of line. And that doesn’t count salaries, operating costs, paying your sales team, building an inventory, and all the investment you need for infrastructure, sales and distribution systems. “Now you’ve got to ship it. If you’ve got time to put it on a boat, that’s great. Otherwise, you’ve got to put it in the air from China. That’ll do something to you.” Unlike large companies, startups can’t get credit from factories. So when Carbon Audio manufactures a run of thousands of Zookas for Apple or Best Buy, it must pay the money up front or it will never get the speakers delivered. But the stores that buy your speaker might not pay for up to 90 days after delivery. This leads to near-constant limbo and cash shortages, which lead to nearconstant fundraising. “You have to have an incredible amount of passion,” Jonsson says, “because you’re gonna need that passion. You might starve. You’re going to go through some rough times.” “I’m divorced now,” Martin says. He was married 15 years. “Everybody’s put blood, sweat and tears in. Everybody’s made sacrifices: time and money and family. I’ve slept here many a night.” “There’s this idea,” he says, “that you’re 100 percent committed for a few years, 16
Willamette Week OCTOBER 30, 2013 wweek.com
then you can have an easy life. That’s never the case. It’s a nice fantasy in your head, but it just doesn’t work that way. ” Before long, Carbon Audio, under Schneider, cut major deals with Target and Wal-Mart that amounted to sales of tens of thousands of Zookas. “If anything,” Riggs says, “we bit off more than we could chew the first year.” In late 2012, Target placed an order for thousands of Zookas for the holiday season—a big risk for the company. “You either keep lean, or you distribute to a lot of retail stores,” says Downie. “They say they want 3,000 units, and you have to pay for it. Instead of saying we’re not ready, we overextended to get money to get things into the store.” Carbon Audio borrowed $1.1 million to fill Target’s order, as well as orders from Apple and Best Buy. But at Target, the speakers didn’t sell. Carbon Audio sent someone down to see the product in Target stores, and quickly discovered why. The speakers had been placed in a locked case in the computer accessories section, instead of in the speaker section. In order for a customer to be interested enough in buying a Zooka to track down a Target employee, they would have to know about the Zooka in the first place. Few did. Carbon Audio had spent almost nothing on marketing, aside from a series of charmingly low-budget YouTube and trade-show ads designed by Wieden+Kennedy 12, each
with the tagline “LOUDERER.” “The marketing guys say sales didn’t place the speaker in appropriate places,” Schneider says. “Sales—in my opinion, rightfully—said we didn’t place the marketing to sell the product.” In March, Target shipped back over half of the Zookas it had ordered from Carbon Audio, along with a sizeable bill asking for money back, plus shipping. “It should have been an eye opener,” Downie says. “But it happened again with Wal-Mart. We tried again. We had to get money, and borrowed against [the sale].” Beginning in July, Carbon Audio faced a similar situation with 13,000 Zookas ordered by Wal-Mart. Carbon Audio scrambled to absorb its losses, in part by selling off returns or unsold Zookas to Eastern Europe and South America, places more forgiving than Canada or Germany when it comes to receiving products in the mail in English-language packaging. The company cut deals on the fly— sometimes at discounts—with distributors that sent its speakers to mom-and-pop stores in Lithuania or Argentina and online stores based in Brazil. “If the big boxes aren’t working,” Martin says, “it wasn’t, ‘Oh, my God, we’re fucked.’ We learn from that lesson and not do that again. Cater to early adopters versus mass consumers.” But the real problem, according to Schneider, had more to do with Justin Timberlake. Or, more to the point, with the lack of
Justin Timberlake. What little marketing strategy Carbon Audio did have involved landing a celebrity who could endorse the Zooka. And the executives thought they might even land a big name at little or no cost. Carbon Audio partner and investor Danny Guez is a second-generation fashion mogul—his father founded Sasson jeans— whose many clothing companies trade in part on celebrity associations. Guez founded his company William Rast with Timberlake. His company Dylan George was favored by Christina Aguilera, Vanessa Hudgens and Emmanuelle Chriqui. Guez’s clothing line Abbot+Main was founded with Kellan Lutz of The Twilight Saga film series. “You get a celebrity, you put him in denim,” Martin says. “That’s Danny’s formula.” It’s also a formula that’s worked in audio, with the company Beats by Dre. And Guez tried to replicate the success. (Guez didn’t respond to WW’s requests for an interview.)
CONT.
BUZZ BOOM BUST
“There was talk with rappers,” Schneider says. “Danny kept promoting that he had access to Justin Timberlake. He said we could pay no money up front. We never closed the deal, never got people to endorse.” “We had so many celebrity meetings,” Riggs says of that period. “Sitting around at high-end hotels waiting for some celebrity to show up.” Carbon Audio met with managers for Avril Lavigne, Kanye West and Troy Carter. “We were talking to [Jennifer Lopez’s] manager,” Martin says, “and then she goes to JBL.” “The deals they brought forward were ridiculously expensive,” Schneider says. Martin soured on the prospect of celebrity endorsements. “They want $3 million in an escrow account based on the promise of future sales,” Martin says. “Celebrities come and go, night and day. Will they be good in five years? Will Rihanna be stoned? I’m not going to put my brand in somebody’s hands.” The celebrity deals went nowhere. The Zookas continued to sell at Apple, but without a national ad campaign, they didn’t move in the big-box stores. Schneider says he never liked the idea of celebrity endorsements, and this summer pushed an aggressive strategy to continue wide distribution of the Zooka and future products. In July, the company’s board of directors voted to remove Schneider from his post as CEO—even as he remains the largest shareholder. The board then voted Martin and Riggs co-CEOs, while firing half the employees.
“WILL RIHANNA BE STONED? I’M NOT GOING TO PUT MY BRAND IN SOMEBODY’S HANDS.” —JASON MARTIN These days, the spacious Carbon Audio office is staffed on a dayto-day basis by three or four people. Everyone at the company now wears multiple hats—whether or not they fit. Their marketing writer is now also in charge of distribution. He shepherds shipments through Chinese customs. Martin, a designer by trade, has been fundraising almost full time. “We’re doing stuff we probably shouldn’t be doing,” Martin says. “I’m drawing up finance contracts.” The whiteboard that covers the entire back wall is filled with ideas, designs and plans for the future. Amid the chaos of the past year, Carbon Audio has managed to set up production and shipping on a new product, the Pocket Speaker, that will debut in Apple stores Nov. 5. The Chinese factory had told the company it was impossible to make the speaker as small as Carbon Audio wanted, so again Riggs traveled to China for months until the factory brought the speaker within about 2 millimeters of the design specs. The new Bluetooth speaker is the size and shape of a fancy cigarette case—small enough, indeed, to fit in your pocket. It comes in a bunch of pretty colors. It’ll cost $99, same as the Zooka. And it’s really, really loud. Carbon Audio is thinking of using the speaker to sponsor local underground dance parties. There are two more audio products already being designed for next year. And though a similar deal fell through a month ago, Martin says the company is talking through a deal that might ensure its financial stability. Pared down to the original design team, the company’s remaining employees appear happy. Carbon Audio’s dreams have left Wal-Mart and returned to markets more familiar to Portlanders: the Apple store, viral online sales. Though the company is only 2 years old, the remaining crew seems like a boy band at a 10-year reunion, swapping war stories from the old days. Carbon Audio has no more plans to sell to big-box stores. The company is not talking to any more celebrities. “Apple loves us,” Martin says, “so we’ll sell to Apple. We’ll talk to tastemakers. We’ll talk to consumers. We’ve been spending too much time on these other parts of the business. Let’s go back to making amazing products. Let’s go back to the core of what we do.” Willamette Week OCTOBER 30, 2013 wweek.com
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Willamette Week OCTOBER 30, 2013 wweek.com
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Read our story: canton-grill.com Willamette Week OCTOBER 30, 2013 wweek.com
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FOOD: The Moda Center has Killer grub. MUSIC: Did Death invent punk rock? BOOKS: Allie Brosh’s dogs are dumb. MOVIES: This almost makes up for Django Unchained.
23 25 38 39
SCOOP GOSSIP DIDN’T DRESS AS MILEY CYRUS. BREAK A LEG: There was a scary moment during Saturday night’s production of Fiddler on the Roof when an actress toppled off a 5-foot rig, prompting a trip to the hospital and momentarily stalling the show at the Gerding Theater. Alicia Irving plays an apparition in the Portland Center Stage show, standing on a platform pushed by another performer. The show carried on after an extended intermission, and Irving returned for the next day’s matinee. “Our stage manager says she killed it,” says PCS spokeswoman Claudie Fisher. “The entire structure tipped over, but nobody was hurt. We’re really thankful.”
CO u R T E SY O F B AC K S PA P C E
DEAL SEALED: Alien Boy: The Life and Death of James Chasse has inked a distribution deal with Breaking Glass Pictures. The documentary, directed by Portland filmmaker Brian Lindstrom, chronicles Chasse’s battle with schizophrenia and his death in 2006 at the hands of Portland police. “It was a travesty of justice,” Breaking Glass CEO Rich Wolff tells WW. “It’s a moving and sad movie.” For Lindstrom, it’s a chance to spread awareness—and a stick in the eye of those who doubted the film. “I had one distribution expert tell me, ‘Don’t make films about mentally ill people or prisoners,’” Lindstrom says. “‘No one can sell them.’” Wolff expects Alien Boy to receive limited theatrical release in March 2014.
BACKSPACE
SPACED OUT: Backspace’s tenure in Old Town is coming to an end. The oft-beleaguered all-ages music venue will cease all live performances beginning Nov. 1, though it will remain open as a coffee shop temporarily, according to owner Eric Robison. In September, Scoop reported that Robison was looking to relocate the club to a larger space before its lease expired. While a plan to move into the building currently occupied by the Conga Club, on Northeast Martin Luther King Jr. Boulevard., has stalled, Robison is looking at another Northeast space, though the relocation may not happen until spring 2014. Robison says he hopes to throw one final New Year’s Eve concert at Backspace’s current location with a bigname local act, pending landlord approval. Though he won’t reveal the name of the act, chances are it is not the Oregon Symphony, which was erroneously reported to be performing there instead of Arlene Schnitzer Concert Hall in last week’s music calendar. WW regrets the error. GONE DUTCH: The most comprehensive survey of Oregon breweries ever written will be penned in…Amsterdam? Portland beer writer Brian Yaeger, who is finishing a book after visiting every brewery in Oregon, moved to the Netherlands last week. Yaeger wrote for WW and several national beer magazines and authored a book about a beery national road trip called Red, White and Brew. In one of his last acts as an Oregonian, Yaeger teamed with Old Town to brew an IPA in honor of his son Izzy for this Saturday’s Pro/Am Beer Festival. 20
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H EADOU T
WILLAMETTE WEEK
W HA T TO DO T HIS W E E K IN AR TS & CUL T URE
THURSDAY OCT. 31 WAR OF THE WORLDS [LIVE RADIO] Seventy-five years ago, Orson Welles freaked out the United States (and even Canada!) by broadcasting a series of news bulletins about a Martian invasion. Listeners panicked, with some even fleeing their homes. None of it, of course, was true, but it made Welles damn famous. To celebrate the anniversary, the talented folks at Willamette Radio Workshop recreate the broadcast, with live voice actors, Foley artists and recorded sound effects. McMenamins Kennedy School, 5736 NE 33rd Ave., 2493983. 4:30 and 6 pm. Free.
O T H E R COU N TRIE S’ CAN DY, RAN K E D.
H
alloween has become dang erously homog enized. Everywhere, you find the same candy and the same superhero costumes and the same fake cobwebs. Portlanders should know better: Trickor-treating should be a valuable cultural experience, an opportunity to edify our youngsters by dressing them in the garb of Masai warriors and teaching them about Southeast Asian fruits, not a time to buy a Batman costume at Target and eat Nestlé Crunch bars.
1
3.
2.
BE N Y
LOCOCHAS COUNTRY OF ORIGIN: MEXICO
These fruity bonbons— they come in mango, watermelon and tamarind flavors—pack a powerful chili center. They were our overall favorite. Look for them at East Portland’s La Tapatia and any Supermercados Mexico.
6.
ROSH E N H U N TING CHOCOLA T E COUNTRY OF ORIGIN: UKR AINE
We were hard-pressed to find a better label than this one. A jaunty green fedora sitting atop a hunting rifle? Amazing. Too bad the chocolate itself tastes like chalk.
If we’re to build savvy citizens of the world, we need to start at Fubonn, the Russian grocery Good Neighbor, Barbur World Foods and La Tapatia. We shopped them to pick out tricks and treats for the little beggars at your door this year, from the sulky 4-year-old whose hipper-than-thou alterna-parents dressed him as Lenin to the punkass teenager wearing a dirty sheet who claims to be a ghost. REBECCA JACOBSON.
KIN DE R CHOCOLA T E COUNTRY OF ORIGIN: GER M ANY
An ultra-sweet chocolate bar with creamy milk filling, Kinder tastes like everything safe and loving in the world. Give to any anxious, stuttering cowboys.
7.
PU M PKIN CAN DY COUNTRY OF ORIGIN: KOREA
In countries not colonized by Starbucks, pumpkin doesn’t mean foul sugarspice bomb. In this case, for example, it means something chewy, sweet and thoroughly meh.
GO: Halloween is Thursday, Oct. 31. Everywhere. Free.
4.
DU PON T D’ISIGN Y BU T T E R SAL T E D
A DZ U KI BEAN M ILK CAN DY
CARA M E LS
COUNTRY OF ORIGIN: FR ANCE
Sweet, sophisticated, mildly salty and oh-so-French, hand out this candy to that precocious preteen girl dressed as Gloria Steinem. Make sure she doesn’t have braces.
COUNTRY OF ORIGIN: TAIWAN
A refined candy, this one. A staple in macrobiotic diets, adzuki beans are nutritionally rich, and this little chewy morsel isn’t too sugary and tastes pleasantly of peanuts. It will be most appreciated by families of co-oppers, but warn the parents—there’s gluten in this one.
CE DRINCA
CAPPUCCINO BON BONS COUNTRY OF ORIGIN: ITALY
Dirt and Aquafresh.
PRO-AM BEER FESTIVAL [BEER] Homebrewers team with a dozen of Portland’s best breweries to make one-off brews. Twentyfive dollars gets you a 4-ounce pour of each, and ticket sales are limited so that everyone gets to try all 13 beers. Music from Lost Creek Bluegrass Band and, oh, free pretzel necklaces all around. The Con-Way Warehouse, 2170 NW Raleigh St. 2-6 pm. $25. 21+ Tickets atwwbeerproam.eventbrite.com.
5.
BRON HI TOF FE E S COUNTRY OF ORIGIN: CROATIA
Know those British wine gums? These are like absinthe gums. They may also numb children’s mouths, making them a good option for the prissy Disney princess bossing her dad around.
RICOLINO DU VALIN COUNTRY OF ORIGIN: MEXICO
Remember that awful fluoride foam you used to get at the dentist? This is worse. Provide to any children looking like they need to kick their glue addictions.
FOXFINDER [THEATER] Putting parables onstage is an iffy endeavor, but there’s no denying the impact of a successfully staged allegory. British playwright Dawn King’s Foxfinder, making its U.S. premiere at Artists Rep, is just that. A futuristic drama about a totalitarian government that sends an agent to investigate a mysterious fox infestation in the English countryside, it’s what Time Out London called a “fascinating dystopian welter of fear, superstition and nature in revolt.” Artists Repertory Theatre, 1515 SW Morrison St., 241-1278. 7:30 pm. $25-$55.
SUNDAY NOV. 3 DESTROYER [MUSIC] 2013 is the year Dan Bejar— the patron saint of every socially awkward lit professor in the country— grew disillusioned with the English language and decided to record an EP of European blues sung entirely in a foreign tongue. The resulting Five Spanish Songs is more pure power pop than anything he’s done since the first two New Pornographer records. Tonight, our god performs sans backing band. Hallelujah! Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. $15. 21+.
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SATURDAY NOV. 2
BIG FRUI T DURIAN FLA VOURE D SOF T CH E W Y CAN DY
MONDAY NOV. 4
COUNTRY OF ORIGIN: THAILAND
The durian fruit gets a bad rap for its foul stench. This sweet does nothing to redeem its reputation: It tastes like a hospital smells. It’s revenge in candy form. Dispense wisely.
REMEMBERING MULUGETA SERAW [HISTORY] In 1988, an Ethiopian immigrant was beaten to death by a member of a white supremacist gang on the streets of Southeast Portland, pulling back the veil on an ugly subculture of violent racism in the Rose City. Twenty-five years later, the Oregon Encyclopedia revisits the murder, and discusses its lingering effects. It’s a painful but necessary history lesson. Mission Theater, 1624 NW Glisan St., 223-4527. 7 pm. Free.
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FOOD & DRINK By JOrDAN GrEEN. Editor: MArTIN CIZMAr. Email: dish@wweek.com. See page 3 for submission instructions.
THURSDAY, OCT. 31 Day of the Dead Celebration
Church, the airy, picnic-tabled 6-monthold bar on Sandy, isn’t particularly spooky. But it’s trying so, so hard for Halloween, with three nights of specials (bring an item to the “altar” for happy-hour prices all night) and throwback hip-hop. Expect Geto Boys “Mind Playing Tricks on Me” hourly—that’s cool with us. Church, 2600 NE Sandy Blvd., 206-8962. 4 pm ThursdaySaturday, Oct. 31-Nov. 2. Prices vary.
Haunted Pub Crawl
BeerQuest PDX’s latest pub crawl kicks off at Kells, runs through downtown and Old Town, and includes a tour of the Shanghai Tunnels. I took one of those tours years ago, and while the legend and lore they feed you is almost entirely bullshit, the tunnels could still be referred to as “creepy”—especially since the Big One could hit and you’d be sandwiched under Old Town for the rest of time. Ain’t nobody comin’ for ya. Multiple locations. 8 pm Thursday-Saturday, Oct. 31-Nov. 2. $25.
FRIDAY, NOV. 1 Stop Being Sweet Support Group
Are you unable to walk by your office’s reception desk without grabbing a mint, even if it’s the gross kind? Did you swipe a couple of Kit Kats from your kid’s pumpkin-shaped plastic pail? Have you ever snorted Maui Punch Pixy Stix? Well, consider this a post-holiday intervention. We think you might want to check out Stop Being Sweet, a new support group founded by local antisugar activist David Vanadia. The group meets every Friday from 6 to 7 pm—the time you’re otherwise halfway to the bottom of a cherry cordials box—to eat meals made without kiddie crack. Vibrant Studios, 1532 SW Jefferson St. 6-7 pm every Friday. $12.
SATURDAY, NOV. 2 Pro/Am Beer Festival
Homebrewers team with a dozen of Portland’s best breweries (between ’em they won five medals at the Great American Beer Festival, more than the whole state of Washington) to make a one-off brew. For $25, you get a 4-ounce pour of each; ticket sales are limited so everyone can try all 12 beers. Music from Lost Creek Bluegrass Band and, oh, free pretzel necklaces. Con-Way, 2170 NW Raleigh St., wweek. com/promotions. 2-6 pm. $25. 21+.
EaT: An Oyster Bar Anniversary Party EaT celebrates five years in the biz with a gumbo cook-off. Hopworks BikeBar, 3947 N Williams Ave., 281-1222. Noon-3 pm. Prices vary.
Coi Cookbook Release Party
Daniel Patterson has a Michelin star for his San Francisco restaurant Coi, which does what’s called “a new kind of Californian cuisine.” At this Portland release party, Patterson will speak and local chef Katy Millard, who worked with Patterson for two years and now does pop-up dinners under the Coquine mantle, will prepare tastes from the book. Ticket prices include food and a signed copy of the book. Southeast Wine Collective, 2425 SE 35th Place, 208-2061. 7-9:30 pm. $85-$100.
Sierra Nevada Celebration Ale Vertical
Taste six vintages of Sierra Nevada Celebration Ale (2008-present) directly from the keg. Woodstock Wine & Deli bought the kegs new and has been hoarding them for just this occasion. Woodstock Wine & Deli, 4030 SE Woodstock Blvd., 777-2208. 1-6 pm. $15 for six 6-ounce samples.
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PROFILE
BASEMENT BREW
JErEK HOLLENDEr
= WW Pick. Highly recommended.
STEP INTO DEAN POTTLE’S NEVER-ENDING HOUSE PARTY. BY M ARTI N C I Z M A R
MCIZMAR@wweek.CoM
First rule of Dean’s Scene: You cannot buy beer at Dean’s Scene. You can drink beer—there’s plenty of suds spouting from four taps inside the pub Dean Pottle built in the basement below his plumbing shop on Northeast Fremont Street—but you can’t buy it. That would be against the law, because Dean’s Scene isn’t a licensed business, let alone a bar. Dean’s Scene is, as far as we know, Portland’s only noncommercial homebrew pub. Strangers who’ve heard about the Scene come to drink in this dimly lit cave. They sit in a haze of tobacco and medical-marijuana smoke below a coaster-covered ceiling next to special bottle-sized shelving built to house the most honored of dead soldiers. It’s low key and apparently legal: Pottle says both the cops and the Oregon Liquor Control Commission have dropped by in the last seven years, and both seem to be all right with the model since there’s no booze sold and people serve themselves. Legally, it’s a house party with a keg fund at the door. Though some think of Pottle’s place as a speakeasy, it isn’t exactly low-profile. He was filmed for the Oct. 29 episode of the Esquire Network’s Brew Dogs. This Saturday, the coconut-brown ale Pottle made with his neighbors at Alameda Brewing will be on tap at Portland’s first ProAm Beer Festival. Pottle hopes to someday convert his space into a commercial brewery. Though he’ll expect to replace his brewing equipment if he makes that jump, Pottle already has his one-barrel system rigged for efficiency, complete with faucets that pour automatically when positioned above the vessel they’re meant to fill. Currently it’s half-brewery and half-basement. A storage shelf holds six full glass carboys. Kegs of
PRO/AM BEER FESTIVAL TAP LIST Alameda with Dean Pottle
DMC Toasted Coconut Brown Ale Dean Pottle teamed with neighboring Alameda Brewing to make a toasted coconut brown ale.
Breakside with Paul Kasten
Old Woody Wildwood chef Paul Kasten helped on this Englishstyle old ale fermented on oak spires.
Buckman Botanical with Steve Carper
scenesters: Misty Loth Lorien and husband Dean Pottle inside Dean’s scene.
pumpkin brew for Pottle’s Halloween party are chilled by refrigeration panels salvaged from a plumbing job. There’s even a small commercial-grade glass-washing machine. When Dean’s is open, a blue and green neon sign lights the window. Scenesters head down the heavy steel steps to his basement and stuff the $10 suggested donation into the box at the bottom of the stairs (“you don’t have to pay,” Pottle repeats) then grab a glass from the case which Pottle restocks at the 25 beer festivals he attends every year. Then, they sidle up to the double-sided bar. The brewmaster comes around to chat, an American Spirit between his fingers. He may or may not be wearing one of his Dean’s Scene T-shirts, which bear the slogan “The place where you never drink the same beer twice.” Pottle is wiry and young for his 62 years, with a gray ponytail and mustache and square metal-rimmed glasses. By his count, Pottle was 41 the first time he had a “real beer.” It was 1991, and he was living in his hometown in Fairfield County, Conn. The beer was an amber ale from New England Brewing Company, and it made such an impression that Pottle wanted to learn
Laurelwood with Liam Nagy
Rusty Robot Strong Ale rusty robot was created by Laurelwood’s lead brewer, Shane Watterson, and his longtime homebrew accomplice, Liam Nagy.
Migration with Fletcher Beaudoin
Get Lit Wit This imperial Belgian wit was brewed with Fletcher Beaudoin, who made an imperial red distributed as part of Sierra Nevada’s beer camp program.
Old Town with Brian Yaeger
Cranberry Kölsch Buckman Botanical’s collaboration with veteran Oregon Brew Crew member Steve Carper includes about 20 pounds of whole-berry cranberry sauce.
I.P. Yae and LOLA Strawberry Lemonade This Northwest-style IPA was brewed with WW contributor Brian Yaeger, author of Red, White and Brew. Old Town is also pouring a strawberry lemonade beer brewed with Ladies of Lagers and Ales.
Coalition with Eric Steen
Portland U-Brew with Aaron Bach
Slow Heather Ale Eric Steen, who hosts the Beers Made by Walking park tours, brewed this ale with heather tips for a flowery and herbal aroma.
Chewy Wookie Imperial Stout Chewy Wookie is an American-style stout brewed with Aaron Bach of the Portland Brewers Collective.
Deschutes with Ryan Spencer
Vanilla Bourbon Creme Ale Hillsdale’s Sasquatch and certified Cicerone George Dimeo will serve this vanilla bourbon creme ale, made with oak chips soaked in Evan Williams bourbon, on nitro.
Session Diesel IPA This brew was made with ryan Spencer, certified beer judge and host at Deschutes’ Portland pub.
Fort George with Charlie “The Beer Traveler” Herrin Chärlezen Charge Märzen Charlie Herrin has been an avid craft-beer consumer for 20 years. This beer, brewed with Fort George, is a traditional German Märzen.
Willamette Week OCTOBER 30, 2013 wweek.com
Sasquatch with George Dimeo
Widmer Brothers with Noel Blake
Steel Bridge Porter Noel Blake, member of the Oregon Brew Crew since 1995, teamed with Widmer on this porter.
how to make it himself. His wife, Misty, gave him a homebrew kit for Christmas. “I started brewing and I never quit,” he says. In 1997, during his divorce from Misty— they were together for 20 years, split for 12, then got back together again four years ago but say they’re planning to split again—Pottle made his first pilgrimage to the West Coast and fell in love with Portland during a stay at the hostel at Edgefield. “I’d heard Portland had good beer, but we had no idea because we didn’t have the Internet back in those days,” he says. He spent the last night of his trip drinking in Edgefield’s packed Little Red Shed. “I was from the East Coast,” he says, “and I was like, ‘This is it!’’’ So Pottle moved to Portland in 1998. “Out here they really cared about shit, and that got to me,” he says. “That’s why people move here from all over the country, because they’re too good for where they’re from. And I feel bad, because they really needed me back there.” After spending the summer in a hostel and a couple of years living off Southeast Foster Road, Pottle bought his Beaumont home for $140,000 in 2001. “Cheaper than shit,” he says, though the basement required more hours of work than he cares to count. Shortly thereafter, he got back together with Misty, who’d been living in Tucson, Ariz. She became a fixture in the place and remains so. Even as they plan to divorce, she’s still there playing dominoes and calling for Dean to crack a framboise. They went to see The Heat last week, and have a couple’s Halloween costume planned. Dean’s Scene isn’t much of a secret these days. Over the summer, his basement was a stop on the Fremont Festival’s pub crawl, closing out a night that began at Fremont Ridge bar and Smallwares. He’s had Yelp reviews over the years and, just this month, received a letter from Yelp congratulating him on the impressive reviews of his place. So, yes, it’s OK to talk about Dean’s Scene. Just remember the second rule of Dean’s Scene: You cannot buy beer at Dean’s Scene. “People ask me for kegs and I say ‘I can’t sell you a keg,’” he says. “But invite me to the party and I’ll come and bring a keg.” GO: Dean Pottle’s DMC Coconut Brown Ale will be served at the Portland Pro-Am Beer Festival at Con-Way, 2107 NW raleigh St., on Saturday, Nov. 2. 2 pm. $25. Dean’s Scene, 4714 NE Fremont St., is open Monday, Wednesday, Friday and Saturday nights when the neon sign is lit.
FOOD & DRINK REVIEW AuGuST LIPP
Fire on the Mountain, Section 119 Playbook: Fire on the Mountain makes the best wings in town (Ike’s excepted), and now you can get them before, during and after the game. Execution: On the plus side, they’re the same great wings you know and love. And, if you get the Cajun-spiced Blazer sauce, they’re tingly hot and ludicrously good. On the downside, it takes some time to get your order (we missed five minutes that included four exciting layups and one thrilling 3-pointer), sloppy eaters are likely to drip sauce in the hair of the fan seated in front of them, and that 47-percent markup (six wings are $8.75 at the Mo, $5.95 elsewhere) is very noticeable with a compact, bony foodstuff.
WHO NEEDS CHALUPAS? BOOMSHAKALAKA! NEW BLAZERS ARENA FOOD IS ON FIRE! BY M A RT I N C I Z M A R
mcizmar@wweek.com
These are uneasy days for Trail Blazers fans. Tonight, Portland’s NBA team begins what it hopes will be a Cinderella season, ending with the Western Conference’s eighth playoff seed and the right to get bounced in the first round by the Houston Rockets. On Saturday, the Blazers play their first home game in the building now known as the Moda Center. First-round draft pick C.J. McCollum will not be on the court, having broken his left foot for the second time this year. Meanwhile, the team has replaced the cherished tradition of gifting fans Taco Bell chalupas on occasions when it scores at least 100 points with a crass marketing gimmick involving McMuffins. Yet there’s hope in Rip City. Not only do the Blazers have the league’s reigning Rookie of the Year, point guard Damian Lillard, their arena now has possibly its best in-game grub. During
the offseason, the Mo’s concessioner tapped Bunk Sandwiches, Fire on the Mountain, Killer Burger, Sizzle Pie and Po’ Shines to take over food stands. How do they stand up against the originals? Did Killer’s peanut butter-picklebacon burger shrink to “girlie” size? Does Bunk’s Cubano cost $75? Can Sizzle Pie blare Ride the Lightning at its cash register? We bought a pair of ear-pop seats by the old Pacific Division championship banners for a preseason game and tasted our way around the concourses. Killer Burger, Section 105 Playbook: Just like at this local chainlet’s regular locations, Killer Burger Mo makes burgers with mandatory bacon and an order of fries. The slimmed-down menu keeps the classic peanut butterpickle-bacon burger ($7.95 normally, $10.25 here) and the Jose Mendoza with chilies and jack cheese ($8.95 normally, $10.25 here). New for the arena is a Blazer
burger with serrano peppers, raw onion and barbecue sauce. Execution: We were pleased to find they hadn’t skimped on the Blazer burger’s spicy serranos. The arena’s cooks haven’t quite mastered the Killer cooking technique that seals in the beef’s juices with a thin hull of char, and the fries were a bit mealier than you’ll get at a regular location, but this is a very large pile of very good food for $10.25 in a place with $9 beers.
Sizzle Pie, Sections 122 and 113 Playbook: Above-average pizza by the slice, wrist tattoos, vegan cheese option, glutenfree crust option, Tom Clancy’s old Army ball cap and 4 am closing time. Execution: Pretty much the same, except a Hawaiian ham and pineapple slice with nice, chewy crust is $6.50, and the window closes around 10 pm most game nights.
Po’ Shines, Section 115 Playbook: Mo’ Shines is a branch of beloved North Portland soul-food joint Po’ Shines, which is known for fried catfish, grits, hush puppies and barbecue. This restaurant predates the others and has kept prices low: A plank of fried catfish and a waffle is $11.25 at the game while the fried catfish breakfast plate with grits and toast is normally $8.95. The crew remains Bunk Sandwiches, spirited. Pro tip: If you want to get a good Section 321 Execution: The only buzz from your $9 draft beer, climb Playbook: Following the to the Laurelwood Half Court Pub real dud of the bunch, same plan as the Bunk on the 300 level, home of the 7.5Po’ Shines may need to ABV Workhorse IPA. Widmer truck, there’s a limited percent increase prices to keep Brothers’ 7-percent ABV Falconer’s menu of rich sandwiches IPA, available at the Fan Haus on the quality on the floor. The (Cubano, muffuletta and 100 level, finishes a close second in starchy waffle doesn’t the booze-per-buck derby. meatball) served with taste like it was made chips for $12. with butter and the overExecution: We’ve had better and worse ly salty and pallid catfish had none of the Cubanos from Bunk, which charges $9 oiliness you expect and a crumb crust that for the sandwich at its regular locations. tastes like crushed saltines with no herbs This one was light on pickles and mus- or pepper. Mo’ Shines is, however, open tard, though the arena fortunately has Sundays as its cousin sits closed. little kiosks with both, plus ketchup and onions. The sandwich is a small, dense GO: The first home game of the Trail Blazers’ 2013-14 season is against the San pocket of deliciousness that lends itself Antonio Spurs on Saturday, Nov. 2. 7 pm. well to in-seat consumption. $24-$213. It airs on KGW, channel 8.
Now pouring our own beer and selling burgers at all 3 locations. Pizza, full-bar, brewery and heated patio at our Fremont location.
Portland’s Best Wings! 1708 E. Burnside 503.230.WING (9464)
Restaurant & Brewery NE 57th at Fremont 503-894-8973
4225 N. Interstate Ave. 503.280.WING (9464)
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Willamette Week OCTOBER 30, 2013 wweek.com
MUSIC
Oct. 30-NOv. 5 PROFILE
= WW Pick. Highly recommended.
S E LT O S A M A R T S
Prices listed are sometimes for advance ticket sales. At-the-door increases and socalled convenience charges may apply. Event lineups are subject to change after WW’s press deadlines. Editor: MATTHEW SINGER. TO BE CONSIDERED FOR LISTINGS, go to 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.
WEDNESDAY, OCT. 30 Glasser
[VACUUM CHAMBER MUSIC] For all the critical adoration greeting her 2010 debut, the underlying critical sentiment regarding Cameron Mesirow’s future as Glasser never quite indulged the breathless career predictions typically thrust upon young women able to so readily render thoughtfulness captivating. Already possessed of such a singular muse and so Björk-beforeher-time, she seemed capable of anything—even a long-gestating concept album on agoraphobia painstakingly crafted midst NYC apartment—but the unabashed self-obsessions fueling this month’s Interiors somehow nudged her flights of fancy toward a new approachability. JAY HORTON. Bunk Bar, 1028 SE Water Ave., 894-9708. 9 pm. $15. 21+.
Pete Rock & CL Smooth, Camp Lo, Serge Severe, Packard Browne, DJ Biggz
[GOLDEN-AGE HIP-HOP] Producer Pete Rock and rapper C.L. Smooth put out just two albums as a duo, but they needed only one: 1992’s Mecca and the Soul Brother. Rarely have beats, voice and content meshed so perfectly, with Rock’s impeccable layering of funky soul-jazz samples providing such an essential backdrop for Smooth’s thoughtful and unguardedly autobiographical rhymes that it’s hard to imagine one existing without the other. In truth, after the group split following 1994’s The Main Ingredient, Rock went on to join hip-hop’s producer hall of fame, while Smooth largely receded from the spotlight. Attempts to record a new record together fell apart acrimoniously in the ’00s, but the fact the two can put aside differences to perform Mecca in full for its 21st anniversary proves its worth as a masterpiece of hip-hop’s golden age: If its two feuding creators can agree on it enough to be in the same room together, it must be great. MATTHEW SINGER. Hawthorne Theatre, 1507 SE 39th Ave., 233-7100. 8 pm. $20 advance, $23 day of show. 21+.
THURSDAY, OCT. 31 Foy Vance, Rams’ Pocket Radio
[FOLKSTER] Irishman Foy Vance may not have hit the big time quite yet, but chumming around with labelmates Mumford & Sons is a fine start. Born the literal son of a preacher man, Vance spent his youth sauntering the American South, probably formulating the rootsy make-up shading his latest LP, Joy of Nothing. His soothing brogue isn’t as foreign as expected, whether hovering above the arenaready piano of the Springsteen-esque opener or merely topping off alongside Bonnie Raitt on the album’s most austere tearjerker, “You and I,” yet it’s evidently not from around here, either. BRANDON WIDDER. Bunk Bar, 1028 SE Water Ave., 894-9708. 9 pm. $10 advance, $12 day of show. 21+.
Gift of Gab, Landon Wordswell, Tim Hoke and DJ Bephlip, Xperience and MTK, DJ Lord Nock, Tope, Mostafa, Ether Xoxo
[ACROBATIC RHYMES] Try saying this, one of Gift of Gab’s most wellknown rhymes, from the Blackalicious song “Alphabet Aerobics,” out loud: “Artificial amateurs aren’t at all amazing/Analytically, I assault, animate things.” Do you hear it? The lines aren’t tongue twisters, but if read just right, they give a sense of Gift of Gab’s flow, with equal heaping portions of soul and technique. Of course, the other half of Blackalicious, beat archi-
tect Chief Xcel, won’t be gracing Gab with his amazing beats tonight, but no matter. Half of Blackalicious is still a lot of dopeness. MITCH LILLIE. Hawthorne Theatre, 1507 SE 39th Ave., 233-7100. 8 pm. $13 advance, $15 day of show. All ages.
Thriller 5: Mark Farina, Vndmg, Mercedes, Pumpkin, Jackal, David Levi, Octabon, Warren G
[BEATS FROM THE GRAVE] If you’ve ever heard any of Mark Farina’s Mushroom Jazz cuts, you know this is the place for house-music enthusiasts to be on Halloween. His kaleidoscopic grooves make the perfect backdrop for an All Hallow’s Eve at Refuge, a venue where freaky costume attire is more commonplace than work-ready threads. The fifth annual Thriller dance party also features an array of acts in support of Farina, from Bay Area bass bumper Vndmg to L.A.’s (appropriately named) Pumpkin, not to mention G-funk regulator Warren G. GRACE STAINBACK. Refuge, 116 SE Yamhill St. 9 pm. $13. 21+.
AFI, Touche Amore, Coming
[MASCARA PUNK] The convergence of Warped Tour vets AFI and upstart post-hardcore-scene heroes Touche Amore may seem unremarkable on paper, but there’s more going on here than just a young band touring with old guys. AFI once carried the flag for anthemic, all-in hardcore punk, but the past decade has seen the band digress into a proggy caricature of its former self. Arena ambitions be damned, the group can still bring it live—but expect Touche Amore to do a finer job of appeasing the older fans who showed up in hopes of AFI reliving its ’90s glory days, delivering blistering, under-two-minute salvos about the angst of existence. Show up early and witness the torch being passed. PETE COTTELL. Roseland Theater, 8 NW 6th Ave., 224-2038. 7 pm. Sold out. All ages.
Kaytranada, Groundislava, Jerome Lol
[SAY MY NAME] He used to go by Kaytradamus, but now Montreal hip-hop producer Kevin Celestin calls himself Kaytranada, a nod to his native land. The change was a needed one. As Kaytradamus, Celestin got major hype from a trap remix of M.I.A.’s “Bad Girls,” but he realized his heart wasn’t in it. He now follows a long history of jazz and soul-obsessed producers like J Dilla and Madlib in making hip-hop with a less precise, stumbling feel. Instead of either of those two producers’ blazed-out style, which makes their beats good for little else but toking up, Kaytranada manages to keep the dance floor in mind. MITCH LILLIE. Rotture, 315 SE 3rd Ave., 2345683. 9 pm. $10. 21+.
FRIDAY, NOV. 1 Dia De Los Muertos: Tiburones, Edna Vazquez, Mariachi Los Palmeros, Orquestra Pacifico Tropical
[DANCE OF THE DEAD] Contrary to what Wal-Mart would lead you to believe, Halloween wasn’t always about Reese’s Cups shaped like pumpkins and matching superhero costumes for the whole family plus dog. The holiday has tread a widely divergent path since its historic inception as a pagan ritual for the end of the harvest season. Dia de los Muertos, on the other hand, is a time-honored celebration that has remained firmly rooted in Mexican tradition. The Crystal Ballroom’s authentic celebration of the dead begins
CONT. on page 27
LIVING DEATH
THE HACKNEY BROTHERS TRIED TO BURY THEIR OLD BAND. IT WOULDN’T STAY DEAD. BY matthew siN ger
msinger@wweek.com
Up in Bobby Hackney’s attic, sealed in a white cardboard box, lay a secret. A secret he and his brother, Dannis Hackney, kept hidden from their closest family and friends for over 30 years. In the 1970s, they were in a rock band, along with their other brother, David Hackney. That band, simply called Death, recorded a handful of demos, blew an opportunity at the big time and broke up. After moving from their hometown of Detroit to Vermont a few years later, Bobby and Dannis started playing reggae, which allowed them to tour, release albums and enjoy a modicum of success as musicians. David, meanwhile, never stopped believing the music of Death would eventually see the light of day. Shortly before succumbing to lung cancer in 2000, he gave the master tapes to Bobby, insisting the world would come looking for them. Bobby shuttered the tapes away—not even his three sons knew about them. “They saw us as reggae musicians, they didn’t see us as anything else,” says drummer Dannis. “They were looking up to us. He was the cool dad and I was the cool uncle, so we kind of rolled with that. We didn’t want to bring them the old, disappointing Death stories.” History, though, has a way of wriggling free from the strictest confines. Copies of Death’s lone official release—an ultra-rare 45-rpm single—made it into the hands of record collectors, and then online. In 2009, the Chicago label Drag City issued the seven songs the band managed to record in its lifetime, under the title For All the World to See. For rock historians, it was as if archaeologists had uncovered another Lucy. With Bobby’s elastic snarl decrying corrupt politicians and mindless conformists over frenzied rhythms more harried than the wildest garage rock of the era, critics heard an undiscovered through line linking fellow Motor City madmen like the MC5 to the fury later kicked up by the Ramones and the Clash. It was a “holy shit” moment: Three black siblings from inner-city Detroit had kind of, sort of invented punk rock. Naturally, that came as news to the band.
“When we did this music in the ’70s, if you called somebody a ‘punk,’ you got a bloody nose,” says singer-bassist Bobby. “When the punk movement came about, we said some of those bands’ chord structures reminded us of what we did in Detroit, but we never really looked at it like this because we never considered us a punk band. We were just hard-driving Detroit rock ’n’ roll.” However history wants to contextualize it, Death isn’t just a record-geek curio, but a truly kick-ass rock band that always deserved wider recognition. It almost got there the first time around. Clive Davis allegedly dangled a contract in front of them, with one condition: change the name. David, the guitarist and lead songwriter, refused. He came up with the “Death” moniker after their father died in a car accident. It wasn’t for blunt shock value: Deeply spiritual, David referred to death as “the ultimate trip,” a step closer to God. Without the name, the band meant nothing. At the time, his brothers bristled at David’s decision to turn down the deal, and the group began unraveling. In retrospect, they’ve come to see his hard-nosed defiance as just another way the band was ahead of its time. “Dannis and I joke now that it took us all these years to realize our brother, David, represented what the whole punk movement was about,” Bobby says. “He was definitely in that vein. He was off-beat and off-center, and full of aggression and determination and resolve about our music.” He may have been the only one. As the recent documentary A Band Called Death makes clear, once Bobby and Dannis started their reggae band, Lambsbread, they filed Death away as a youthful failure, and even their bandmates—including Bobbie Duncan, who replaces David on guitar for Death’s reunion gigs—had no idea about their past. Now that the secret’s out, the surviving Hackneys have re-embraced Death, touring and writing new music, largely as a tribute to their late brother. Ask what it’s like playing without David, though, and they’ll quickly correct you: He is still with them. Because if the past few years have taught the brothers anything, it’s that death is never the end. “David may not be with us in the flesh,” Bobby says, “but as far as all the music and all the inspiration, he’s strong in that.” SEE IT: Death plays Branx, 320 SE 2nd Ave., with P.R.O.B.L.E.M.S. and Vultures in the Sky, on Sunday, Nov. 3. 7 pm. $17. All ages. Willamette Week OCTOBER 30, 2013 wweek.com
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think it’s just trivia? think again.
RAMENS RAM N
Wednesday
ays30th!)@ 8pm rdOctober tu(Starts Sa Concordia Ale House (Portland ) - 8:00 PM b ’s Pu lly(Portland ) - 8:30 PM (new!) DoubleKe Dragon
Monday
Cheerful Bullpen (Portland ) - 8:30 PM
) — 7:00 PM m 8p s@ ay(Portland ursdLion ThThirsty Hawthorne Hideaway (Portland) — 8:00 PM (Starts r & Grill Ba18th) gNovember Redwin
Space Room (Portland ) - 7:00 PM 2222 San Diego Ave • Old Town
2 30th St • North Park 401Tuesday
Thursday
The Dugout (Hillsboro ) — 7:00 PM Biddy McGraw's (Portland ) — 7:00 PM Cheerful Tortoise (Portland ) — 9:00 PM Tonic Lounge (Portland ) — 7:00 PM Shanahan's (Vancouver) - 7:00 PM
Tuesdays @ 8pm
21st Avenue Bar & Grill (Portland ) - 7:00 PM Belmont Inn (Portland ) - 7:00 PM
Mondays @ 9pm Bourbon Street Bar & Grill
(starts August 14th) Saturday
Abbey rk hQuizPa So (Allut Dr. Who — ONE DAY ONLY)
The Tardis Room (Portland) — 2:00 PM
4612 Park Blvd - University Heights
1946 Fern Street • South Park www.geekswhodrink.com @geekswhodrink
Gerding Theater at the Armory 128 NW Eleventh Avenue
facebook.com/geekswhodrink 503.445.3700
pcs.org
By DAVID
NOV. 16 to DEC. 22
DIRECTED BY
MATT HOVDE BY PETER GWINN & BOBBY MORT
SEDARIS ADAPTED FOR THE STAGE BY
JOE MANTELLO
to DIRECTED BY
WENDY KNOX
This project is supported in part by an award from the National Endowment for the Arts.
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Willamette Week OCTOBER 30, 2013 wweek.com
NOV. 26 DEC. 29 StarRing
Darius PieRCe
friday–saturday
Iron & Wine, Laura Mvula
with a procession from Southwest Clay Street and Park Avenue, which threads its way downtown and up to the historic venue where face painters, Aztec dancers and rhythmic beats await. Tiburones, a Portlandbased music project joining Y La Bamba’s Luz Elena Mendoza and the Shaky Hands’ Nick Delffs, headlines the musical festivities. Thinking about dead folks has never been more fun. GRACE STAINBACK. Crystal Ballroom, 1332 W Burnside St., 225-0047. 5:30 pm. $10 advance, $12 day of show. Free for children 12 and under. All ages.
[QUIET LIFE] Before allowing Sam Beam’s Sleepy Time Beard Band—I think that’s the original name of Iron and Wine, though don’t quote me on that, particularly at a trivia night—to carry you off to slumber, arrive early for a quick jolt of mesmeric energy from opener Laura Mvula. The 27-year-old British soul singer’s debut album, Sing to the Moon, braids R&B, pop and the orchestral theatricality expected of a conservatory grad into an enchanting blend that feels at once traditional and visionary. Then break out the blue mats and enjoy your sad-bastard lullabies. MATTHEW SINGER. Crystal Ballroom, 1332 W Burnside St., 225-0047. 8 pm. Sold out. All ages.
Cut Copy, Kauf, Larry Gus
The Transylvanian Voodoo Ball: Vagabond Opera, Chervona, Ashia Grzesik [TRANSYLVANIAN VOODOO BALL] One of the city’s most colorful Day of the Dead celebrations marks its seventh year with belly and swing dancers, wandering butoh performers, a costume contest—oh yeah, and music. The everenergetic gypsy-klezmer brass band Chervona and cellist-chaunteuse Ashia Grzesik (just back from an extended European sojourn with an intense new album) join headliners Vagabond Opera, who’ve added more musical and visual treats to their repertoire, as if its usual theatrical mélange of dueling cellos, clarinet, accordion, operatic vocals, burlesque and hot club jazz weren’t already enough to awaken the ancestors. BRETT CAMPBELL. Star Theater, 13 NW 6th Ave. 9 pm. $16 advance, $20 day of show. 21+.
Greensky Bluegrass, Fruition
[JAM-GRASS] In a genre split between standout newcomers and long-running staples, one listen to Greensky Bluegrass’ latest effort, Handguns, is enough to quietly slip the Michigan group into the latter category. However, the countrified-roots band consistently delivers onstage in spite of its studios albums’ lumbering sameness and lack of “Wagon Wheel” moments. Songs peak 10 minutes in, when the harmony-dipped melodies finally settle and Anders Beck’s dobro slides in a la the Jerry Douglas Express. The bluecollar lyrics are a nice touch, but it’s the rustic jams that have warranted the band its two-night slot here. BRANDON WIDDER. Wonder Ballroom, 128 NE Russell St., 2848686. 9 pm. $20 advance, $23 day of show. 21+. Greensky Bluegrass also plays Wonder Ballroom on Saturday, Nov. 2.
SATURDAY, NOV. 2 White Lung, Antwon
[PUNK ROCK] White Lung is the Levi’s 501 of punk rock: traditional, timeless, popular. The Vancouver, British Columbia, quartet emphasized its might in 2012 with the release of sophomore record Sorry, establishing itself as perhaps the best band among Deranged Records’ impressive cast (Fucked Up, the Men, et al.). The band creates pummeling, never-stagnant, nearly hardcore tracks. Strangely, Bay Area rapper Antwon shares the bill, having played together at SXSW earlier in the year. MARK STOCK. Bunk Bar, 1028 SE Water Ave., 894-9708. 9 pm. $10 advance, $12 day of show. 21+.
Blowfly, NighTrain, Ancient Heat, DJ Alonzo Mourning Sickness
Clarence Reid first decided to record a set of X-rated song parodies and put himself on the cover disguised as a sort of thrift-store superhero, he probably never imagined anyone would want to hear it 40 years later. At the time, the Georgia-born songwriter was penning hits for soul artists like Betty Wright and Sam&Dave as well as releasing his own records of sturdy Southern R&B. He put out The Weird World of Blowfly, featuring such juvenilia as “Shittin’ on the Dock of the Bay” and “Hole Man,” on his own label, mostly as a goof. Next thing he knows, he’s made dozens of albums under the Blowfly alias, and his serious work is more obscure than his novelty records. Although his humor has never risen above eighth-grade level, 2006’s Blowfly’s Punk Rock Party includes a Ramones parody called “I Wanna Be Fellated,” which is clearly a stroke
[DIRTY OLD MAN] In 1971, when
JOANNE M. COTTELL
[ELECTRO-POP] It takes either complete obliviousness or bold sleight of hand to slip obvious references to Fleetwood Mac’s “Never Forget” into your album without drawing the attention of the nearest lawyer. While Cut Copy’s third LP, Zonoscope, does just that, it never dallies long. And if the expansive percussion of the Melbourne quartet’s upcoming LP is telling of the group’s continued electro-prog wriggling, finding reason to dance won’t be an issue. BRANDON WIDDER. Roseland Theater, 8 NW 6th Ave., 224-2038. 9 pm. $25 advance, $27 day of show. All ages.
MUSIC
CONT. on page 28
LETTER TO MY 13-YEAR-OLD SELF BY PETE COTTELL
RE: SOUL COUGHING Dear 13-Year-Old Pete, Hey there. Your future self here, writing from the year 2013. Before I cut to the chase, I’d like to congratulate you on making it through the summer of 1997 without obtaining a milk crate full of ska records. Choosing Soul Coughing’s Irresistible Bliss over the latest Goldfinger record was a prescient choice few tweens in Akron, Ohio, would have made at the time, and I am here to tell you that you chose correctly. Picking Airwalks over Vans was a total poseur move, but putting your faith in that weirdo “slacker jazz” band from the Lower East Side will turn out to be a trend-bucking maneuver you will not regret. The choice to sell your ticket to see Mike Doughty and company at the Odeon in Cleveland in order to purchase Magic: The Gathering cards, however, will be very regrettable. You will use an impending family vacation to some lake near Buffalo to further rationalize this decision, but I’m here to inform you the vacation will end early, and you’ll end up being able to go to the concert. You better find a way do this, because the band will acrimoniously implode in 2000. This is your last chance to see them. Sort of. You see, after throwing the other members of Soul Coughing under the bus in one interview after the next, Doughty will spend the next decade as a trad-rocker, releasing earnest, semicrunchy roots-rock records on onetime tourmate Dave Matthews’ ATO label. You’ll be too busy listening to emo to bother seeing him live, which won’t be worth your time, anyway. Between acoustic ditties about his boozy days as a doorman at the Knitting Factory, Doughty gets flustered when drunkards in the crowd troll him endlessly by yelling out requests for alt-rock gold-rush-era hits like “Super Bon Bon” and “Circles.” Rather than get the band back together to cash in on nostalgia like contemporaries Pavement or Archers of Loaf—two other ’90s bands you’ll inevitably trade your Senses Fail and Taking Back Sunday records for—Doughty is trotting out the oldies on a tour he’s snarkily dubbed “M. Doughty Used to Be in Soul Coughing.” The title is meant to take the piss out of residual fans who would rather not see him grow up and move on, yet the end result is the same: a live set of Soul Coughing songs! Doughty will be the only original member, but it will certainly be better than watching the other dudes attempt to re-create the hits with the former lead singer of Dishwalla or the New Radicals in Doughty’s place. If you’ve already sold that ticket, there’s not much else I can do but urge you not to sell those Magic cards to buy books for college. They’ll turn out to be worth a lot more than your communications degree. Sincerely, 29-Year-Old Pete SEE IT: M. Doughty Used to Be in Soul Coughing plays Wonder Ballroom, 128 NE Russell St., with Moon Hooch, on Sunday, Nov. 3. 7:30 pm. $20 advance, $22 day of show. 21+. Willamette Week OCTOBER 30, 2013 wweek.com
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MUSIC
saturday–tuesday
of genius. Heh heh, I said “stroke.” MATTHEW SINGER. The Know, 2026 NE Alberta St., 473-8729. 8 pm. Call venue for ticket information. 21+.
SUNDAY, NOV. 3 Destroyer, Pink Mountaintops
[LISTEN, WE’VE BEEN DRINKING] It was 2013, the American government crumbled before our very eyes and, according to press lore, Dan Bejar grew disillusioned with the English language. So naturally, Bejar—patron saint of every socially awkward lit professor in the country—decided to record an EP of European blues sung entirely in a foreign tongue. Five Spanish Songs finds Bejar and many of his Destroyer cohorts tackling the songs of Antonio Luque of the band Sr. Chinarro, and the results are more pure power pop than anything he’s done since the first two New Pornographers records. Tonight, our god performs sans backing band, so be sure to request a song that mentions Nancy, Christine, Holly, Ruby, Gretchen or Jessica. MICHAEL MANNHEIMER. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. $15. 21+.
MONDAY, NOV. 4 Emmylou Harris, Rodney Crowell, Richard Thompson
[COUNTRY] The late Gram Parsons has remained an integral part of every appearance Emmylou Harris has made onstage since the pair performed together during the early 1970s. Whether she’s been
matched with her Hot Band, Mark Knopfler or, most recently, Rodney Crowell, Parsons’ ghost insinuates its way onto the mic in the form of songs like “Luxury Liner,” which Harris and Crowell have been playing on this current tour. But amid works like that and Harris’ own standout, “Red Dirt Girl,” there’s likely to be a wellknown Bob Wills tune tossed in, as this country veteran further solidifies her place in the music’s history book. DAVE CANTOR. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 248-4335. 8 pm. $47$90.50.
RAC, MNDR
[ALL CAPS, DON’T CARE] In Portland’s anemic electronic scene, it’s understandable that few are aware one of the genre’s hottest remixers lives in our backyard. The Remix Artist Collective is the solo effort of Andre Allen Anjos, and he’s worked his magic on just about every emerging indie artist as of late. This show finds him paired with the similarly poppy MNDR. Her New York-bred synth pop is just as instantly gratifying as Anjos’ remixes, ensuring absolute chaos on the dance floor. GEOFFREY NUDELMAN. Doug Fir Lounge, 830 E Burnside St., 2319663. 9 pm. $12 advance, $15 day of show. 21+.
TUESDAY, NOV. 5 Shabazz Palaces, Natasha Kmeto, Minden
[HIP-HOP MEETS ELECTRONIC] This Red Bull-sponsored showcase offers a couple of the most forward-thinking fusion acts in the
COURTESY OF MONqUI
PREVIEW
Mazzy Star, Mariee Sioux [DREAMIEST POP] It’s been 17 years since Mazzy Star released its third album, Among My Swan. The world has changed, but the band’s laid-back, twangy dream folk has not. Never officially broken up, vocalist Hope Sandoval and David Roback—her guitarist and collaborator since the days of Opal—were slowly picking away at their fourth album, Seasons of Your Day, for years, finally releasing it in September. Mazzy Star fans will welcome the familiar sparse orchestration and blissed-out mood. A solid effort, it will forever exist in the shadows of the band’s unexpected success after the single “Fade Into You” became a left-field hit back in 1994. Oddly, the cloying success of So Tonight That I Might See, the album with “Fade Into You,” has reared its head again: The track “Into Dust” was recently featured in the advertising campaign for the video game Gears of War 3, bringing the album back onto the British charts. But success was not something the band ever courted. Sandoval prefers the shadows, having begged her way out of her major-label contract and often performing with her back to the audience. Fortunately, this is timeless, heavy-lidded music, delivered by its creators on wistful clouds of cotton by blue light and Quaaludes. NATHAN CARSON. Crystal Ballroom, 1332 W Burnside St., 225-0047. 9 pm Sunday, Nov. 3. $30 advance, $33 day of show. All ages. 28
Willamette Week OCTOBER 30, 2013 wweek.com
TUESDAY/CLASSICAL, ETC.
MUSIC
Northwest. Ishmael Butler’s offbeat hip-hop project, Shabazz Palaces, drew rave reviews with its 2011 album, Black Up, a genre-bending and ambitious take on the genre, featuring liquid rhyming and spacey electronic vibes. It’s a perfect pairing with Natasha Kmeto’s outstanding left-of-center production and equally haunting vocals. Her excellent 2013 album, Crisis, leans a little more to the electronic side, as does her live show. GEOFFREY NUDELMAN. Doug Fir Lounge, 830 E Burnside St., 231-9663. 8:30 pm. $3 with RSVP. 21+.
Davis’ Kind of Blue, captures the spirit of the most celebrated jazz album of all time by using that forward-looking 1959 classic as a point of departure rather than a source of imitation. Commissioned by the Barcelona Jazz Festival, Sosa’s original compositions deploy African, Latin and electronic elements, even while explicitly referencing its immortal predecessor. Sosa’s fine band, featuring German trumpeter Joo Kraus, saxophonist
CLASSICAL, JAZZ & WORLD
THE PARSON RED HEADS ORB WEAVER (FIESTA RED)
Leni Stern Trio
[JAZZ GOES TO DAKAR] Born in Germany, schooled at Boston’s jazz-generator Berklee School and entranced by Africa, singer-guitarist Leni Stern—who also plays ngoni, a West African predecessor to the banjo—follows a long line of Western musicians inspired by Africa, directly or otherwise, and maintains a direct connection via band members Alioune Faye and electric bassist Mamadou Ba. Her previous Portland visit and album revolved around Malian music, but her new album, Jelell, has origins in Dakar, Senegal, where it was recorded. Subjects range from lullabies to rain prayers to songs about Senegalese wrestling. Though Stern’s recessive singing adds little, her combination of jazz improv, African instruments and tunes should satisfy fans of both. BRETT CAMPBELL. Camellia Lounge, 510 NW 11th Ave., 221-2130. 8 pm Friday, Nov. 1. $10. 21+.
McTuff, Skerik, Crack Sabbath, Haas and Amendola
[JAZZ] Seattle’s McTuff is asking fans to arrive at this show bedecked in Halloween gear, despite the date. The organ trio, though, is usually capable of summoning demons even without all the livery. Hitting town with sometime sax collaborator and occasional Les Claypool sideman Skerik, the augmented B3 troupe is likely to work its way through a backlog of music drawn from a pair of studio albums already in the can and one on the way, and sundry funked-up recognizable standards. Skerik’s Crack Sabbath, an ensemble as noisy as it is relentlessly creative, is slated to open. Also along for the Joe Doria-helmed evening are Jacob Fred Jazz Odyssey’s Brian Hass and Bay Area drummer Scott Amendola. DAVE CANTOR. Goodfoot Lounge, 2845 SE Stark St., 503-239-9292. 9 pm Saturday, Nov. 2. $12 advance, $15 day of show. 21+.
Britten’s War Requiem: Oregon Symphony
[GIVE PEACE A CHANCE] One of the great, large-scale, nonliturgical masses, the War Requiem was composed by British pacifist Benjamin Britten, a luminary of 20th-century classical music. He was commissioned to write this piece in commemoration of the consecration of the Coventry Cathedral nearly two decades after the 14th-century original was bombed in World War II. Employing a full orchestra and a boys choir, the finale unites all three with overwhelming results. Verdi’s “Requiem” is an obvious stylistic influence, the standard Latin texts juxtaposed with Wilfred Owen’s wartime poetry. War Requiem has had a long, successful life, with hundreds of thousands of recordings sold, a film of the same name directed by Derek Jarman and a 2002 performance organized by the Crass Collective. NATHAN CARSON. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 248-4335. 7:30 pm Sunday, Nov. 3. $27-$71.
A Tribute to Miles Davis’ Kind of Blue: Omar Sosa’s Afri-Lectric Experience
[JAZZ] Eggun, the great Cubaborn pianist-composer Omar Sosa’s 50th anniversary tribute to Miles
Peter Apfelbaum, Cuban flautistsaxophonist Leandro Saint-Hill and Sosa’s longtime rhythm section, Marque Gilmore and Childo Tomas, make the album and this PDXJazz concert more than just another name-check. BRETT CAMPBELL. Mission Theater and Pub, 1624 NW Glisan St., 223-4527. 7:30 pm Tuesday, Nov. 5. $20 advance, $25 day of show. Under 21 permitted with legal guardian.
ALBUM REVIEWS
[FOLKISH PSYCH POP] Nineteen seconds of bright, delicate guitar strums and the warbling cry of the Great Northern Loon is one way to start an album. It’s fitting, though, given that the Parson Red Heads’ third LP, Orb Weaver, represents a new dawn of sorts for the band— one rooted in warm familiarity, yet somehow poles apart from previous offerings. Orb Weaver, released on the heels of the Portland quartet’s reissue of its second LP, finds the band residing in a different place sonically. The group’s former album was a tight blend of harmonyrich country pop, and though its new offering is still Southern-fried and bell-bottomed with sweet guitar riffage, it feels less contrived. Laid-back lead single “Every Mile” and the Byrds-esque “I Never Sleep” both billow with four-part harmonies and lead vocalist Evan Way’s sense of longing. “Lost Again” gently smolders, while tracks like “Borrow Your Car” blaze with spry guitar interplay akin to the Drive-By Truckers. Meanwhile, “To the Sky,” with its balmy bassline, introspective lyrics and brief fits of psychedelia, is the kind of extended powerpop cut that sounds like a lost Revolver B-side. It’s still brightly polished and jaunty, but maybe producer Scott McCaughey finally told the band what it needed to hear most: Just play the damn thing. BRANDON WIDDER.
STRUNZ & FARAH
LIVE IN CONCERT – FRIDAY NOV 8 – 7:30 PM
WALTERS CULTURAL ARTS CENTER 527 E. Main Street – Downtown Hillsboro – OR 97123 503-615-3485 “Devastating acoustic duo...considered by many to rank alongside the
best guitar players in the world.”– Guitarist “Dazzling virtuosity and a cross-cultural repertoire that celebrated and sometimes fused Latin, Arab, European, Afro-Cuban and American styles.” —The Washington Post
$20 ADVANCE / $25 DAY OF SHOW Call for tickets or purchase online at www.brownpapertickets.com
Visit us online and follow us on facebook!
SEE IT: The Parson Red Heads play Aladdin Theater, 3017 SE Milwaukie Ave., with Mimicking Birds and the Alialujah Choir, on Saturday, Nov. 2. 8 pm. $12 advance, $15 day of show. All ages.
THE OCULAR CONCERN SISTER CITIES (PCJE) [WORLDLY JAZZ] The title of the Portland jazz ensemble’s new album is a little misleading. Composer-pianist Andrew Oliver’s fourmovement suite—which adds top classical musicians, some from the Oregon Symphony, on violin, viola and cello—is indeed based on some of Portland’s 10 sister cities, a nice inspiration for jazz informed by global sounds, in the tradition of globetrotting bandleaders like Duke Ellington and Dave Brubeck. But while vibes player Nathan Beck’s mbira summons our Zimbabwean sister city Mutare, Portland lacks an Argentine sibling to justify local tango master Alex Krebs’ bandoneon accordion and milonga beat, and there’s little audible evidence of our sister cities in Korea, Taiwan and beyond. So is the concept all Bologna (which happens to be another of our sister cities)? In fact, Oliver explains, “the letters in the names of the sister cities were used to create pitch material.” Ultimately, though, what matters to listeners is the seamless integration of the guest artists with the core band, which features co-leader Dan Duval on electric guitar, clarinetist Lee Elderton, Nathan Beck on vibes and drummer Stephen Pancerev performing world music with serious jazz chops. Jazz fans will appreciate the grabby grooves that fuel all these diverse compositions, from the breezy opener “Oxygen Lake” to the unexpectedly gentle closing track, “William S. Burroughs, Let’s Go!” The band will premiere the suite in a concert this week that includes still another ambitious Oliver original: “New Traditions,” a new suite for Oliver’s Kora Band, commissioned by Chamber Music America. It’s a double treat for fans of jazz and world music alike. BRETT CAMPBELL. SEE IT: The Ocular Concern plays Jimmy Mak’s, 221 NW Everett St., with the Kora Band, on Wednesday, Oct. 30. 8 pm. $10. 21+. Willamette Week OCTOBER 30, 2013 wweek.com
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Demons Fear Jesus?
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Willamette Week OCTOBER 30, 2013 wweek.com
MUSIC CALENDAR = WW Pick. Highly recommended. Editor: Mitch Lillie. TO HAVE YOUR EVENT LISTED, send show information at least two weeks in advance on the web at wweek.com/submitevents or (if you book a specific venue) enter your events at dbmonkey. com/wweek. 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.
[OCT. 30-NOV. 5] Buffalo Gap eatery and Saloon
McMenamins edgefield
Bunk Bar
McMenamins Rock creek tavern
6835 SW Macadam Ave. Hutson, Find Your Smile
1028 SE Water Ave. Foy Vance, Rams’ Pocket Radio
chapel Pub KRISTEN WRIgHT
430 N Killingsworth St. Steve Kerin
club 21
2035 NE Glisan St. Lesser Bangs
crystal Ballroom
1332 W Burnside St. Zombie Ball: Satan’s Pilgrims, The Satin Chaps, Hong Kong Banana, DJ Flight Risk
dante’s
350 W Burnside St. Shafty
doug Fir Lounge
830 E Burnside St. Polyrhythmics, Eldridge Gravy and the Court Supreme
duff’s Garage
1635 SE 7th Ave. Boneyard Preachers
east end
203 SE Grand Ave. Halloween Cover Show: Pictorials, And And And, No Tomorrow Boys, Lonnie Winn, Honey Bucket
Goodfoot Lounge
SKuLL cANdy: tiburones plays dia de Los Muertos at crystal Ballroom on Friday, Nov. 1.
Wed. Oct. 30 Al’s den at the crystal Hotel 303 SW 12th Ave. Ryan Sollee, Joel Miller
Alberta Rose theatre 3000 NE Alberta St. The Golem: Beth Karp, RIngo Zeitgeist
Alberta Street Public House
1036 NE Alberta St. The Quick and Easy Boys
Devil’s Night Boogie Down: TapWater
Goodfoot Lounge
2845 SE Stark St. Danny Barnes and Matt Sircely
Hawthorne theatre Lounge
1503 SE Cesar E. Chavez Blvd. Rockstar Karaoke
Hawthorne theatre
4811 SE Hawthorne Blvd. Sama Dams, Khan Heir, Modern Marriage
1507 SE 39th Ave. Pete Rock & CL Smooth, Camp Lo, Serge Severe, Packard Browne, DJ Biggz
Amadeus Manor
Jack London Bar
Alhambra theatre
2122 SE Sparrow St., Milwaukie Open Mic
Andina
1314 NW Glisan St. Toshi Onizuka
Ash Street Saloon
529 SW 4th Ave. Proper Movement Drums and Bass
Jade Lounge
2346 SE Ankeny St. Mick Shafer
Jimmy Mak’s
225 SW Ash St. Disenchanter, Heavy Baang Staang, Swamp Devil, Wolflaut
221 NW 10th Ave. The Ocular Concern, the Kora Band
Backspace
112 SW 2nd Ave. Sammi
115 NW 5th Ave. The Jesus Rehab, Julia Massey and the Five Finger Discount, A Blinding Silence, Tiburona
Brasserie Montmartre 626 SW Park Ave. Tevis Hodge
Bunk Bar
1028 SE Water Ave. Glasser
club 21
2035 NE Glisan St. 42 Ford Prefect, The Polaroids, DJ Snaxx
doug Fir Lounge
830 E Burnside St. Jay Brannan, Timmy Straw
Fire on the Mountain Buffalo Wings east 1706 E Burnside St. Kory Quinn
Four Horsemen Haunted Attractions
1223 N Hayden Meadows Dr.
Kells
Kenton club
2025 N Kilpatrick St. The Tumblers
Landmark Saloon
4847 SE Division St. Jake Ray & the Cowdogs
Langano Lounge
1435 SE Hawthorne Blvd. Mufassa, Cambrian Explosion, Ghost Frog
Laurelthirst
2958 NE Glisan St. Simon Tucker Blues Band
Lents commons
9201 SE Foster Road Open Mic
Lodge
6605 SE Powell Blvd Pete Ford Band Jam
McMenamins edgefield 2126 SW Halsey St., Troutdale Kris Deelane
McMenamins Rock creek tavern
10000 Old Cornelius Pass Road, Hillsboro Billy D
Mississippi Studios
3939 N Mississippi Ave. Mississippi Studios’ 10th Anniversary Hootenany: Laura Gibson, Adam Shearer (of Weinland), Kyle Morton (of Typhoon), Sneakin Out, Matt Sheehy, the Defibulators, Lewi Longmire Band
Peter’s Room
8 NW 6th Ave. Roach Gigz, Husalah, Marlow, Young Remedy, Pac B, DJ Skimask
Record Room
8 NE Killingsworth St. The Ghost Ease, the Century, Tiburones
Shaker and Vine
2929 SE Powell Blvd. Galen Flous
Slabtown
1033 NW 16th Ave. Queer All Ages Halloween Party: Fist Shaped Box (Nirvana), Katie O and the No No Nos (Yeah Yeah Yeahs), Bomb Ass Phugees (The Fugees/ Jean Wycliff/Lauren Hill), DJ Il Trill, DJ Bitch Slap
the Blue Monk
3341 SE Belmont St. Brothers of the Baladi
the elixir Lab
2738 NE Alberta St. Open Mic Nite
the Know
2026 NE Alberta St. Antidote, the Go-Go’s, Red Lorry Yellow Lorry
the Old church
1422 SW 11th Ave. Michael Barnes
tonic Lounge
3100 NE Sandy Blvd. Do You Remember Rock ‘n’ Roll Radio? Show: Pat Kearns
tony Starlight’s
3728 NE Sandy Blvd. Bo Ayars
torta Landia
4144 SE 60th Ave. Knowhere
Velo cult
1969 NE 42nd Ave. Holly’s Wood & Her Unknown Blues Band
Wilfs Restaurant & Bar
800 NW 6th Ave. Ron Steen Band, Catarina
tHuRS. Oct. 31 Al’s den at the crystal Hotel 303 SW 12th Ave. Ryan Sollee, Autopilot is For Lovers
Alberta Rose theatre 3000 NE Alberta St. Jerry Joseph
Alberta Street Public House 1036 NE Alberta St. Renegade String Band
Alhambra theatre
4811 SE Hawthorne Blvd. World’s Finest, Indubious, New Kingston (theatre); Brain Capital, Autonomics, Manx, White Chocolate and the Cigarettes (lounge)
Andina
1314 NW Glisan St. Danny Romero
Andrea’s cha cha club 832 SE Grand Ave. Pilon D’Azucar Salsa Band
Artichoke community Music 3130A SE Hawthorne Blvd. Songwriter Roundup
Ash Street Saloon
225 SW Ash St. Pierced Arrows, Poison Idea, Don’t
Biddy McGraw’s Irish Pub 6000 NE Glisan St. Grateful Buds
Brasserie Montmartre 626 SW Park Ave. Grant Slayer
2845 SE Stark St. Scott Pemberton Trio
Hawthorne theatre Lounge
1503 SE Cesar E. Chavez Blvd. Happy Otherwise, Mono Operandi, Sallo
Hawthorne theatre
1507 SE 39th Ave. Gift of Gab, Landon Wordswell, Tim Hoke and DJ Bephlip, Xperience and MTK, DJ Lord Nock, Tope, Mostafa, Ether Xoxo
Ivories Jazz Lounge and Restaurant
2126 SW Halsey St., Troutdale The Lowest Pair
10000 Old Cornelius Pass Road, Hillsboro The Twangshifters
McMenamins’ Kennedy School
5736 NE 33rd Ave. Freak Mountain Ramblers
Mississippi Studios
3939 N Mississippi Ave. Spookies, Big Haunt
Muddy Rudder Public House 8105 SE 7th Ave. Josiah Payne
Music Millennium
3158 E Burnside St. Indubious
Plew’s Brews
8409 N Lombard St. Tombstoner Radio Room 1101 NE Alberta St The Keplers
Refuge
116 SE Yamhill St. Thriller 5: Mark Farina, Vndmg, Mercedes, Pumpkin, Jackal, David Levi, Octabon, Warren G
Roseland theater
8 NW 6th Ave. AFI, Touche Amore, Coming
Rotture
315 SE 3rd Ave. Kaytranada, Groundislava, Jerome Lol
Secret Society Ballroom
116 NE Russell St. The Nitemare B4 Xmas: Saloon Ensemble, Maracaboom
Slabtown
1033 NW 16th Ave. Johnny Thunders and the Heartbreakers, Joy Division, Buddy Holly and the Crickets
1435 NW Flanders St. Tom Grant Vocal Showcase: Tom Grant, Michaela Dale, Laura Cunard
Star Bar
Jack London Bar
Star theater
529 SW 4th Ave. Ghastly Tales of the Pacific Northwest
Jade Lounge
2346 SE Ankeny St. Lirissa Birdseye, K’lyn Bain
Kells
112 SW 2nd Ave. Flight of Earls
Kelly’s Olympian
426 SW Washington St. Demon Teds Are Go, Motley Crude, Advisory
Kenton club
2025 N Kilpatrick St. Last Prick Standing, RLLRBLL, Party Killer, Bubble Cats
Landmark Saloon
4847 SE Division St. The Pickups
Langano Lounge
639 SE Morrison St. Radio Bloodbath, Tenement Kids, Pity Things, DJ Hard Shartz 13 NW 6th Ave. Exotic Masquerade: Pepe & the Bottle Blondes, Krebsic Orkestar
the Analog
720 SE Hawthorne The Charlie Darwins, Race of Strangers, Grey for Days, Drunk on Pines
the Know
2026 NE Alberta St. Everybody Loves Sausages, Spectallica, Lungfish
thirsty Lion
71 SW 2nd Ave. Brian O’Dell Band
tiger Bar
317 NW Broadway Karaoke From Hell
tony Starlight’s
3728 NE Sandy Blvd. Tony Starlight, Bo Ayars
1435 SE Hawthorne Blvd. The Hugs, the Verner Pantons, the Mucks, Val Bauer
West cafe
Laurelthirst
White eagle Saloon
2958 NE Glisan St. Lewi Longmire & the Left Coast Roasters
Laurelthirst
2958 NE Glisan St. Pagan Jug Band
Lodge
6605 SE Powell Blvd Ben Rice B3 Trio
1201 SW Jefferson St. Alan Jones Academy Jazz Jam 836 N Russell St. Bradley Wik and The Charlatans, Moody Little Sister
White Owl Social club
1305 SE 8th Ave. Toxic Holocaust, Stovokor
Wilfs Restaurant & Bar 800 NW 6th Ave.
Heather Keiser, Ron Steen, Steve Christofferson
FRI. NOV. 1 Al’s den at the crystal Hotel 303 SW 12th Ave. Ryan Sollee, Aina Haina
Alberta Rose theatre
3000 NE Alberta St. Shelley Short & the Sure Shots, Adam Selzer, Michael Hurley
Alberta Street Public House 1036 NE Alberta St. Cuban Salsa Night
Jimmy Mak’s
221 NW 10th Ave. Brownish Black, the Get Ahead
Katie O’Briens
2809 NE Sandy Blvd. Secnd Best, Faithless Saints, 48 Thrills, Absent Minds
Keller Auditorium 222 SW Clay St. Salome
Kells Brewpub
210 NW 21st Ave. Sami Rouisi
Kells
112 SW 2nd Ave. Cul an Ti
Alhambra theatre
Kelly’s Olympian
Artichoke community Music
Kenton club
4811 SE Hawthorne Blvd. The Slants
3130A SE Hawthorne Blvd. Friday Coffeehouse
426 SW Washington St. Hong Kong Banana, the Dandelyons, Mufassa 2025 N Kilpatrick St. The Hand That Bleeds, Valkyrie Rodeo, AL-X
Ash Street Saloon
Landmark Saloon
Beaterville cafe
Laurelthirst
225 SW Ash St. Usnea, Ninth Moon Black, Rolling Through the Universe, Beringia 2201 N Killingsworth St. Lucy Hammong, Abram Rosenthal
Biddy McGraw’s Irish Pub 6000 NE Glisan St. Manimalhouse, Lynn Conover
Branx
320 SE 2nd Ave. Fluid Spill, the Brandon Sills Project, Stepper, Town and the Writ, Super Desu
crystal Ballroom
1332 W Burnside St. Dia De Los Muertos: Tiburones, Edna Vazquez, Mariachi Los Palmeros, Orquestra Pacifico Tropical
dante’s
4847 SE Division St. Get Rhythm, Ron Rodgers and the Wailing Wind 2958 NE Glisan St. Nick Peets, Don of Division Street, Paul Brainard, Eagles of Freedom (J.J. Cale tribute), Tree Frogs
McMenamins edgefield 2126 SW Halsey St., Troutdale Mark Alan
McMenamins Rock creek tavern
10000 Old Cornelius Pass Road, Hillsboro Jon Koonce
Mississippi Pizza
3552 N Mississippi Ave. Jenny Sizzler
Mississippi Studios
3939 N Mississippi Ave. Rubblebucket, Dana Buoy, Swahili
350 W Burnside St. Hell’s Belles, Rum Rebellion
Mock crest tavern
doug Fir Lounge
Muddy Rudder Public House
830 E Burnside St. Lake Street Dive, Miss Tess & the Talkbacks
duff’s Garage
1635 SE 7th Ave. The Strange Tones, the Hamdogs
east end
203 SE Grand Ave. Maniak, Lucifer’s Child, Torture Rack, Witchvomit
eastBurn
1800 E Burnside St. Le Printemps
Ford Food and drink 2505 SE 11th Ave. Jeremy Murphy
Hawthorne theatre Lounge
1503 SE Cesar E. Chavez Blvd. Aima Moses, Roots Renewal System
Hawthorne theatre
1507 SE 39th Ave. SoMo, Propane LV, Kid Slim
Holocene
3435 N Lombard St. Suburban Slim
8105 SE 7th Ave. Reverb Brothers
Nel centro
1408 SW 6th Ave. Mike Pardew
Original Halibut’s II 2527 NE Alberta St. Lloyd Allen
Record Room
8 NE Killingsworth St. Hooded Hags, Wimps, Western Hymn, Sad Horse
Rock Bottom Brewery 206 SW Morrison St. Lincoln’s Beard
Roseland theater
8 NW 6th Ave. Cut Copy, Kauf, Larry Gus
Secret Society Ballroom
116 NE Russell St. Dominic Castillo
Shaker and Vine
2929 SE Powell Blvd. River Twain
1001 SE Morrison St. Fresh. 5-Year Anniversary: Poolside, Plastic Plates
Slabtown
Ivories Jazz Lounge and Restaurant
Star Bar
1435 NW Flanders St. Two Tenors, Dave Frishberg
Jack London Bar 529 SW 4th Ave. Decadent 80s
Jade Lounge
2346 SE Ankeny St. The Ink-Noise Review, Laura Dunn, Moniker
1033 NW 16th Ave. Poke Da Squid 639 SE Morrison St. Uncontrollable Urge: DJ Paultimore
Star theater
13 NW 6th Ave. The Transylvanian Voodoo Ball: Vagabond Opera, Chervona, Ashia Grzesik
CONT. on page 32
Willamette Week OCTOBER 30, 2013 wweek.com
31
MUSIC CALENDAR
oct. 30-Nov. 5
Ted Bois
Refuge
116 SE Yamhill St. Dark Funk Halloween: Medium Troy, Acorn Project, Dark Matter Transfer
Rock Bottom Brewery 206 SW Morrison St. DK
Roseland Theater
8 NW 6th Ave. Buddy Guy, Quinn Sullivan
Secret Society Ballroom
116 NE Russell St. The Nitemare B4 Xmas: Saloon Ensemble, Joy Now Youth Marching Band
Shaker and Vine
2929 SE Powell Blvd. Finn Doxie Masquerade
The Analog
listen, i’ve been drinking heineken: destroyer plays Mississippi studios on sunday, nov. 3. The Analog
720 SE Hawthorne Downtown Brown, American Roulette
The Blue Diamond
2016 NE Sandy Blvd. Sonny Hess, Vicki Stevens
The Blue Monk
3341 SE Belmont St. The Hugs, the Hague, Couches, Chung Antique
The Elixir Lab
2738 NE Alberta St. Instrumental Grooves: Austin Stewart
The Know
2026 NE Alberta St. Nasalrod, Swampbuck, Humours
The TARDIS Room
1218 N Killingsworth St. Arthur Moore
The Whiskey Bar
31 NW 1st Ave. Day of the Dead: Designer Drugs, Hal-V, Spacecase, KELLAN, Dvnger
4811 SE Hawthorne Blvd. Monster’s Ink, Kinetic Emcees, the Resistance, Jah’di
Artichoke Community Music
3130A SE Hawthorne Blvd. Alder and Hearne
Ash Street Saloon
225 SW Ash St. Experimental Portland Presents: Les Rhinoceros, Brother Donkey, Existence Habit, Dweomer
Beaterville Cafe
2201 N Killingsworth St. Jonathan Trawick, Aarun Carter, Amy Bleu
Biddy McGraw’s Irish Pub 6000 NE Glisan St. The Rainbow Sign, Erin Leiker, Robert Holladay, the Barkers
Branx
Thirsty Lion
Tiga
Buffalo Gap Eatery and Saloon
1465 NE Prescott St. Oxfist
Tonic Lounge
6835 SW Macadam Ave. Rockin’ Piano Party: Jorge Ramirez
3100 NE Sandy Blvd. North Bound Rain, Cats Under The Stars
1028 SE Water Ave. White Lung, Antwon
Tony Starlight’s
Camellia Lounge
3728 NE Sandy Blvd. Shanghai Woolies
Velo Cult
1969 NE 42nd Ave. the Ventilators
Vie de Boheme
1530 SE 7th Ave. Ken DeRouchie Band
White Eagle Saloon
836 N Russell St. Naked Soul, Luke Dowler, Jeraboam
Wilfs Restaurant & Bar
800 NW 6th Ave. Tom Grant, Shelly Rudolph
Wonder Ballroom
128 NE Russell St. Greensky Bluegrass, Fruition
Wxyz Bar at the Aloft Hotel
9920 NE Cascades Parkway Bob Hines
SAT. NoV. 2 411 SE 6th Ave.
Charts, Surfs Drugs
Al’s Den at the Crystal Hotel 303 SW 12th Ave. Ryan Sollee, Paleo
Aladdin Theater
3017 SE Milwaukie Ave. The Parson Red Heads, Mimicking Birds, the Alialujah Choir
Alberta Rose Theatre
3000 NE Alberta St. Live Wire Radio Show: Laura Veirs, Old Light
Alberta Street Public House 1036 NE Alberta St.
Willamette Week OCTOBER 30, 2013 wweek.com
Alhambra Theatre
320 SE 2nd Ave. The Chariot, Glass Cloud, Birds in Row, To the Wind, Rebuker
71 SW 2nd Ave. Kinky Brothers
32
Strangled Darlings
Bunk Bar
510 NW 11th Ave. Royce Lovett, Nicole Sangsuree
Club 21
2035 NE Glisan St. Halloween Weekend Coverband Extravaganza: Lust To Love (GO-Go’s), Crass Records-A sides/B Sides, Radio Birdbath (Radio Birdman), Clitz (Blitz)
Clyde’s Prime Rib
5474 NE Sandy Blvd. Cool Breeze
Crystal Ballroom
1332 W Burnside St. Iron & Wine
Dante’s
350 W Burnside St. The Dwarves, Long Knife, Celebrity Graves, Burn the Stage
Doug Fir Lounge
830 E Burnside St. Terakaft, Dusu Mali Band
Dublin Pub
6821 SW Beaverton-Hillsdale Highway Sons of Malarkey
Duff’s Garage
1635 SE 7th Ave. Sonny Hess, Lisa Mann
East End
203 SE Grand Ave. Rio Grands, Charts, Woodwinds, Hosemobile
EastBurn
1800 E Burnside St. Chris Juhlin and The Collective, DJ Jesse Espinoza
Eugenio’s
3584 SE Division St. TenPenny
Foggy Notion
3416 N Lombard St. Juke Joint Gamblers, Hard Money Saints, Jack Rainwater
Hawthorne Theatre
1507 SE 39th Ave. Chronological Injustice, Jahai, Othrys, Violent Majority
Ivories Jazz Lounge and Restaurant 1435 NW Flanders St. Randy Porter Trio
Jimmy Mak’s
221 NW 10th Ave. Soul Vaccination
Kells Brewpub
210 NW 21st Ave. Sami Rouisi
Kells
112 SW 2nd Ave. Cul an Ti
Kelly’s olympian
426 SW Washington St. Bubble Cats, Moon Debris, Fen Wik Ren, Muriel Stanton Band
Kenton Club
2025 N Kilpatrick St. Super Duper Fun Gun, Bleach Blonde Dudes, Stewart Villain
Landmark Saloon
4847 SE Division St. Br’er Rabbit
Langano Lounge
1435 SE Hawthorne Blvd. Still Caves, A Volcano, Vodka Wilson Overdrive
LaurelThirst
2958 NE Glisan St. Steelhead, Palace Fiction, SPUR
720 SE Hawthorne Crazy Like Me, Cellar Door, Redcast, Christian Burkhardt
The Blue Diamond
2016 NE Sandy Blvd. Melanie Roy
The Blue Monk
3341 SE Belmont St. Brazilian Halloween: Skanky D, Os Captivaras, DJ Digo
The Elixir Lab
2738 NE Alberta St. Bassment Jazz
The Know
2026 NE Alberta St. Blowfly, NighTrain, Ancient Heat, DJ Alonzo Mourning Sickness
The Lovecraft
421 SE Grand Ave. 3SUM, Miss Prid
Thirsty Lion
71 SW 2nd Ave. Brian Odell Band
Tonic Lounge
3100 NE Sandy Blvd. Doomsower, Towers, Disenchanter, Solar Adept
Tony Starlight’s
3728 NE Sandy Blvd. Neil Diamond Tribute
Trinity Episcopal Cathedral
147 NW 19th Ave. Fall On Me: An R.E.M. Liturgy
Vie de Boheme
1530 SE 7th Ave. Acoustic Minds: Whitney Myer, Lindsey Paveo
White Eagle Saloon 836 N Russell St. Garcia Birthday Band
Wilfs Restaurant & Bar 800 NW 6th Ave. Devin Phillips Quartet
McMenamins Edgefield
Wonder Ballroom
McMenamins Rock Creek Tavern
Wxyz Bar at the Aloft Hotel
2126 SW Halsey St., Troutdale Brady Gross
10000 Old Cornelius Pass Road, Hillsboro Brad Creel and the Reel Deel
Mississippi Pizza
3552 N Mississippi Ave. Red Yarn
Mississippi Studios
3939 N Mississippi Ave. Goldroom, Strange Talk
Mock Crest Tavern 3435 N Lombard St. The Adequates
Muddy Rudder Public House 8105 SE 7th Ave. JD Dawson
Nel Centro
1408 SW 6th Ave. Mike Pardew, Dave Captein, Randy Rollofson
original Halibut’s II 2527 NE Alberta St. Jim Mesi
Record Room
8 NE Killingsworth St. Like A Villain, Paper/Upper/ Cuts, Grammies
Red and Black Cafe
400 SE 12th Ave. Living Rheum, Matt Pless, Francie Moon, Rodya Crow and the Do You Really, Know Your Mother? Band
128 NE Russell St. Greensky Bluegrass, Fruition
9920 NE Cascades Parkway Ian James
SuN. NoV. 3 Al’s Den at the Crystal Hotel 303 SW 12th Ave. Jimmie Linville
Alberta Rose Theatre
3000 NE Alberta St. Keegan Smith, Jenny Conlee, Megan Bohbot, Robert Gierek, Jessica Lindley, Jenene & Ross Youngman (Notes of Hope benefit)
Alberta Street Public House 1036 NE Alberta St. Cherimoya
Ash Street Saloon
225 SW Ash St. Goddamned Animals, the Fail Safe Project
Branx
320 SE 2nd Ave. Death, P.r.o.b.l.e.m.s., Vultures in the Sky
Clyde’s Prime Rib
5474 NE Sandy Blvd. Ron Steen Jazz Jam
Concordia university
2800 NE Liberty St. Wind Ensemble Fall Concert
OCT. 30-NOV. 5
MUSIC CALENDAR
CAMERONBROWNE.COM
BAR SPOTLIGHT
KNOCKING AROUND: There are two types of Alberta Street bars: sticky-floored dives and whatever’s around the corner from your house. For all its gentrified, au courant hipness, the area still lacks an anchoring nightspot—a Dig a Pony or a Beulahland, say—that serves as a social nexus for the entire neighborhood. It is a street full of perfectly acceptable bars, of which The Knock Back (2315 NE Alberta St., 284-4090, theknockback.com) is the latest addition. Located in the former Del Inti space, in the center of Last Thursday territory, it is literally middle of the road, with a comfortable, burgundy-hued atmosphere, a small stage for weekly live music, two patios—one covered, the other with a fire pit—and a requisite pair of taxidermied animal heads affi xed to a wall. Neither a Pabst-stained clubhouse nor a hoity-toity mixology lab, the drink menu features rotating craft brews and house punch, a solid Old Fashioned ($7) and a couple of outliers, including the Soju Mule (basically a vodka soda augmented with the titular Korean liquor) and hot buttered rum infused with squash. If you live next door, you’ll probably be there a lot. Otherwise, you’ll visit once, think it nice and not return until taking cover from the stilt walkers or unicycle jousters in the summer. MATTHEW SINGER. Crystal Ballroom
1332 W Burnside St. Mazzy Star
Doug Fir Lounge
830 E Burnside St. Jelly Bread, Ayron Jones & the Way, Tony Smiley & the Urban Subs
Ford Food and Drink 2505 SE 11th Ave. Tim Roth
Hawthorne Theatre Lounge
1503 SE Cesar E. Chavez Blvd. Robokchoy, Dang, Don’t Trust Whitey
Hawthorne Theatre
1507 SE 39th Ave. The Story So Far, Stick To Your Guns, Such Gold, Rotting Out, Heart To Heart
Ivories Jazz Lounge and Restaurant 1435 NW Flanders St. The Bylines
Mississippi Studios
3939 N Mississippi Ave. Destroyer, Pink Mountaintops
Muddy Rudder Public House 8105 SE 7th Ave. Irish
Music Millennium
3158 E Burnside St. Mike Doughty
NEPO 42
5403 NE 42nd Ave. Open Mic
Red and Black Cafe 400 SE 12th Ave. For You My Lady
Rock Bottom Brewery 206 SW Morrison St. Corner
Rontoms
600 E Burnside St. Old Kingdom, Ape Machine
Roseland Theater
Jade Lounge
8 NW 6th Ave. Liv Warfield, New Power Generation Hornz
Kells
Slabtown
LaurelThirst
The Conga Club
2346 SE Ankeny St. Kojima 112 SW 2nd Ave. Danny O’Hanlon 2958 NE Glisan St. Freak Mountain Ramblers
McMenamins Rock Creek Tavern
10000 Old Cornelius Pass Road, Hillsboro Hanz Araki
Mississippi Pizza
3552 N Mississippi Ave. Fez Fatale, Gabe Rodriguez
1033 NW 16th Ave. Portland Poetry Slam 4923 NE Martin Luther King Jr. Blvd., Suite 102 VYBZ Reggae Night
Trinity Episcopal Cathedral
Vie de Boheme 1530 SE 7th Ave. John Dover
White Eagle Saloon 836 N Russell St. Science!
Wonder Ballroom
128 NE Russell St. Mike Doughty
MON. NOV. 4 Al’s Den at the Crystal Hotel 303 SW 12th Ave. Jimmie Linville
Arlene Schnitzer Concert Hall
1037 SW Broadway Emmylou Harris, Rodney Crowell, Richard Thompson
Camellia Lounge
510 NW 11th Ave. Vocalists’ Jazz & Blues Jam: Joe Millward
Dante’s
350 W Burnside St. Karaoke From Hell
Doug Fir Lounge 830 E Burnside St. RAC, MNDR
Duff’s Garage
1635 SE 7th Ave. Lily Wilde
Goodfoot Lounge
2845 SE Stark St. Sonic Forum Open Mic
147 NW 19th Ave. Evensong In Remembrance: Trinity Choir
Ground Kontrol
Valentine’s
2346 SE Ankeny St.
232 SW Ankeny St. Advisory, Child Children, Spanish Galleons
511 NW Couch St. Metal Monday
Jade Lounge
CONT. on page 34 Willamette Week OCTOBER 30, 2013 wweek.com
33
MUSIC CALENDAR
OCT. 30-NOV. 5
M A S S I M O M A N T O VA N I
Ivories Jazz Lounge and Restaurant
STREET
1435 NW Flanders St. Mac Potts
Jimmy Mak’s
221 NW 10th Ave. The Collective Quartet
Kells
112 SW 2nd Ave. Danny O’Hanlon
LaurelThirst
2958 NE Glisan St. Jackstraw
Lola’s Room at the Crystal Ballroom 1332 W Burnside St. Steer Crazy
McMenamins Edgefield
PG. 19
2126 SW Halsey St., Troutdale Hanz Araki, Kathryn Claire
LOVE SOSA: Omar Sosa Afri-Lectric Experience plays at Mission Theater on Tuesday, Nov. 5. Cover Songs Spectacular: Elie Charpentier
Jimmy Mak’s
221 NW 10th Ave. Valerie Day, Darrell Grant, Portland Chamber Orchestra
Kells Brewpub
210 NW 21st Ave. Traditional Irish Jam Session
Kells
112 SW 2nd Ave. Danny O’Hanlon
LaurelThirst
2958 NE Glisan St. Kung Pao Chickens, Portland Country Underground
McMenamins Rock Creek Tavern 10000 Old Cornelius Pass Road, Hillsboro Bob Shoemaker
Red and Black Cafe
400 SE 12th Ave. Living Rheum, Matt Pless
Tiga
1465 NE Prescott St. Alex John Hall
TUES. NOV. 5 Al’s Den at the Crystal Hotel
Lola’s Room at the Crystal Ballroom
303 SW 12th Ave. Jimmie Linville
McMenamins Edgefield
1036 NE Alberta St. The Stomptowners
1332 W Burnside St. No Tomorrow Boys, Thee Four Teens
2126 SW Halsey St., Troutdale Skip vonKuske and Cellotronik
Alberta Street Public House
Alhambra Theatre
Camellia Lounge
510 NW 11th Ave. Tom Wakeling, Steve Christofferson, David Evans, Todd Strait
Doug Fir Lounge
830 E Burnside St. Shabazz Palaces, Natasha Kmeto, Minden
Goodfoot Lounge
2845 SE Stark St. The Family Funktion
Habesha
801 NE Broadway Erik Anarchy, Lust For Glory, Feral Drollery
Holocene
1001 SE Morrison St. Masque A Sex-Positive Celebration of the Arts: Classical Revolution, PDX DANCE COLLECTIVE, Bergerette
Andrea’s Cha Cha Club 832 SE Grand Ave. Salsa: DJ Alberton
Beech St. Parlor
412 NE Beech St. Treasure Hunters Club DJs
Berbati’s
231 SW Ankeny St. DJ Seleckta YT
Bossanova Ballroom 722 E Burnside St. Wednesday Swing
CC Slaughters
219 NW Davis St. Trick with DJ Robb
Dig a Pony
736 SE Grand Ave. Pussy Control: Nathan Detroit, Freaky Outty
Ground Kontrol
511 NW Couch St. TRONix: Logical Aggression
Lola’s Room at the Crystal Ballroom 1332 W Burnside St. Sunshine Daydream: DJ Andrew Geller
The Lovecraft
421 SE Grand Ave. Bones: DJ Aurora, DJ Diess
The Whiskey Bar
31 NW 1st Ave. DJ Slink, Bennt Rox, Casey Vann
Tiga
1465 NE Prescott St. DJ Nate C.
THURS. OCT. 31 Beech St. Parlor
412 NE Beech St. DJ Big Baby Experience
34
Willamette Week OCTOBER 30, 2013 wweek.com
10000 Old Cornelius Pass Road, Hillsboro Bluegrass Tuesday
Pub
Mission Theater and
1624 NW Glisan St. A Tribute to Miles Davis’ Kind of Blue: Omar Sosa AfriLectric Experience
Mississippi Pizza
3552 N Mississippi Ave. Steve Rodin
The Blue Monk
3341 SE Belmont St. The World War Ones, Psychomagic
Tiga
1465 NE Prescott St. I’m Dynamite
Tony Starlight’s
3728 NE Sandy Blvd. The Mont Chris Hubbard Bonus Show
4811 SE Hawthorne Blvd. Garcia Birthday Band
Ground Kontrol
Ground Kontrol
Lola’s Room at the Crystal Ballroom
Star Bar
511 NW Couch St. DJ EPOR
WED. OCT. 30
McMenamins Rock Creek Tavern
Berbati’s
231 SW Ankeny St. Studyhall: DJ Suga Shane
CC Slaughters
219 NW Davis St. Hip Hop Heaven with DJ Detroit Diezel
Foggy Notion
3416 N Lombard St. DJ Susie Cue
Harlem
220 SW Ankeny St. Bounce: Tourmaline, Valen
Holocene
1001 SE Morrison St. Laid Out: Gossip Cat, Ill Camino, Orographic, Misti Miller
Lola’s Room at the Crystal Ballroom 1332 W Burnside St. 90s Dance Flashback
1332 W Burnside St. 80s Video Dance Attack
Rotture
315 SE 3rd Ave. Shutup&dance
The Lovecraft
421 SE Grand Ave. Brickbat Mansion
SAT. NOV. 2 Church
FRI. NOV. 1 Berbati’s
231 SW Ankeny St. Cloud City Collective
CC Slaughters
219 NW Davis St. Fetish Friday with DJ Jakob Jay
Goodfoot Lounge 2845 SE Stark St. DJ Magneto
MON. NOV. 4 Berbati’s
231 SW Ankeny St. DJ Henry Dark
CC Slaughters
East End
511 NW Couch St. DJ Etbonz
Holocene
1001 SE Morrison St. Booty Bassment: Maxx Bass, Nathan Detroit, Ryan & Dimitri
Lola’s Room at the Crystal Ballroom
Rotture
1465 NE Prescott St. Pattern & Shape
13 NW 6th Ave. Church of Hive
Ground Kontrol
The Lovecraft
Tiga
Star Theater
219 NW Davis St. Maniac Monday with DJ Robb
1332 W Burnside St. All Decades Video Dance Attack
421 SE Grand Ave. Halloween Dance Party: DJ Horrid, DJ Straylight
639 SE Morrison St. DJ Baby Lemonade
2600 NE Sandy Blvd. DJ Drew Groove
2225 E Burnside St. DJ Eric Beats
Pix Patisserie
511 NW Couch St. Black Sunday: DJ Nate C.
315 SE 3rd Ave. Dickslap: Jake Shears, Sammy Jo, Trouble, DJ Nark
203 SE Grand Ave. Sweating in the Dark: DJ Noah Sweat, Henry Dark
The Lovecraft
421 SE Grand Ave. Departures: DJ Waisted, DJ Anais Ninja
TUES. NOV. 5 Berbati’s
231 SW Ankeny St. Soundstation Tuesdays: DJ Instigatah, Snackmaster DJ
CC Slaughters
Star Bar
219 NW Davis St. Girltopia with DJ Alicious
The Conga Club
835 N Lombard St DMTV with DJ Danimal
639 SE Morrison St. DJ Plucky
Eagle Portland
4923 NE Martin Luther King Jr. Blvd., Suite 102 Tropical Saturday Salsa
Kelly’s Olympian
Tiga
Lodge
1465 NE Prescott St. DJ Bad Wizard
SUN. NOV. 3 Berbati’s
231 SW Ankeny St. DJ Linkus EDM
426 SW Washington St. DJ Flight Risk 6605 SE Powell Blvd DJ Easy Finger
The Analog
720 SE Hawthorne S.Y.N.T.
The Lovecraft
421 SE Grand Ave. TRNGL: DJ Rhienna
Oct. 30–NOv. 5
= WW Pick. Highly recommended. Most prices listed are for advance ticket sales. At-the-door increases and so-called convenience charges may apply, so it’s best to call ahead. Editor: REBECCA JACOBSON. Theater: REBECCA JACOBSON (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 The Complete Works of William Shakespeare (Abridged)
Oregon Children’s Theatre’s Young Professionals Company—made up of actors between the ages of 13 and 18—presents the much-loved, rapidfire comedy, which squeezes all 37 of Shakespeare’s plays into less than two hours. Oregon Children’s Theatre Young Professionals Studio Theatre, 1939 NE Sandy Blvd., 228-9571. 7 pm Fridays-Saturdays and 2 pm Sundays through Nov. 10. $10-$12.
Foxfinder
Putting parables onstage is an ofteniffy endeavor, but there’s no denying the impact of a successfully staged allegory. British playwright Dawn King’s Foxfinder, making its U.S. premiere at Artists Rep, should be just that. A futuristic drama about a totalitarian government that sends an agent to investigate a mysterious fox infestation in the English countryside, it’s what Time Out London called a “fascinating dystopian welter of fear, superstition and nature in revolt.” Artists Rep artistic director Dámaso Rodriguez has assembled a strong cast, including Joshua Weinstein as the ascetic, selfflagellating agent. Artists Repertory Theatre, 1515 SW Morrison St., 241-1278. 7:30 pm Wednesdays-Sundays and 2 pm Sundays through Dec. 1. $25-$55.
I Wander, It Calls
Well Arts, which runs workshops with disenfranchised groups, presents a lyrical play written by people with diagnoses of mental illness and performed by professional actors. Portland Actors Conservatory, 1436 SW Montgomery St., 459-4500. 7:30 pm Fridays and 2 pm Saturdays through Nov. 9. $10.
Inspecting Carol
Halloween is over, which means local theater companies are rolling out the tinsel. Lakewood Theatre Company, ever early to the Christmas rush, presents a backstage comedy about a haphazard production of The Christmas Carol. Lakewood Center for the Arts, 368 S State St., Lake Oswego, 6353901. 7:30 pm Thursdays-Saturdays, 2 pm some Sundays and 7 pm some Sundays. No show on Thanksgiving. Through Dec. 8. $32.
Late: A Cowboy Song
Portland Civic Theatre Guild’s monthly series of staged readings continues with an early play—by the deservedly acclaimed Sarah Ruhl—about a woman torn between her husband and her childhood friend, a lady cowboy (not, to be clear, a cowgirl). The Old Church, 1422 SW 11th Ave., 971-322-5387. 10 am Tuesday, Nov. 5. $8.
Maleficia
String House Theatre presents what’s sure to be a doozy of a devised work directed by Joel Harmon. The nonverbal production relies on sound design and movement to explore witchcraft, malevolence, cruelty and violence, asking what prompts good people to turn on their fellow community members. Those seeking first-date material should best look elsewhere. Shout House, 210 SE Madison St., Ste. 11. 10 pm Thursdays-Saturdays; 8 pm Friday, Nov. 1 and Sunday, Nov. 10. Through Nov. 16. $10.
A Pigeon and a Boy
The Jewish Theatre Collaborative embarks on a months-long process to adapt and perform a novel by Israeli author Meir Shalev about twinned love stories. One takes place during the 1948 War of Independence and
the other in the present day. As a first step, the JTC holds casual introductory sessions to the text, complete with food and drink. Visit jewishtheatrecollaborative.org for event locations. Multiple locations, 1-800-838-3006. 7 pm Sunday-Tuesday, Nov. 3-5. $15.
War of the Worlds
Seventy-five years ago, Orson Welles freaked out the United States (and even Canada!) by broadcasting a series of news bulletins about a Martian invasion. Listeners panicked, believing aliens really were destroying roads and releasing poison gas. Some fled their homes. None of it, of course, was true, but it made Welles damn famous. To celebrate the anniversary, the talented folks at Willamette Radio Workshop recreate the broadcast with live voice actors, Foley artists and recorded sound effects. Wednesday’s performance is at Vancouver’s Kiggins Theatre (1011 Main St.) and Thursday’s shows are at McMenamins Kennedy School (5736 NE 33rd Ave.). Multiple venues. 7 pm Wednesday and 4:30 and 6 pm Thursday, Oct. 30-31. Free.
NEW REVIEWS 9 to 5: The Musical
As lights go down and a Dolly Parton image suddenly appears projected above the minimal scenery, there’s an unwelcome whiff of Branson, Mo., that would strangle most musicals before the first chorus. But however inane the preamble or insulting the implication, one likes to give Dolly the benefit of the doubt. This theatrical adaptation of the movie 9 to 5 certainly relishes the easy humor of obsolete technology. But while the inefficiency of electric typewriters isn’t explicitly linked to the garrulous misbehavior of unabashed sexists, the air of impending extinction enlivens a feminism-for-beginners romp packed with memorable tunes and winning performances. As the long-suffering office manager, Lisamarie Harrison wields a devastating comic timing that threatens to bring down the house with every underplayed aside, but her deadpan venom isn’t of the same theatrical universe as the telegraphed shrillness Amy Jo Halliday thrusts upon newly hired Judy’s plucky ineptitude. Though Harrison proves herself a capable singer, her limitations of register are inevitably magnified when set directly against Halliday’s showstopping vocals. Stephanie Heuston, in Parton’s role as Doralee, handles the heaviest lifting of a misunderstood “Backwoods Barbie” with full voice and electric presence. Even though the actresses never fade seamlessly into their roles in this Stumptown Stages’ presentation, that may be just the point. JAY HORTON. Brunish Theatre, 1111 SW Broadway, 381-8686. 7:30 pm Thursdays-Saturdays and 2 pm Sundays and some Saturdays through Nov. 10. $25-$40.
ALSO PLAYING Corrido Calavera
As the 18th installment in Milagro Theatre’s annual Day of the Dead series, the original production Corrido Calavera must live up to a long history of outrageous and poignant theater. Chilling, though, this isn’t. As the lights fade in, four skeletons whispering and pushing around two coffins is about as scary as Corrido Calavera gets. The coffins open, bearing a confused Manuel (Enrique E. Andrade) and Amanda (Tricia Castañeda-Gonzales), who demand answers. “The two of you have passed on to the other side,” the leader of the skeletons explains to the couple, but Amanda is in disbelief. “You mean we’re in Mexico?” It’s the first of many near-perfect one-liners, which, though much denser in act one,
ensure that Corrido Calavera is one of the funniest plays to hit Portland this season. If the laughs tend to be early in the performance, the message hits home in the finale. Manuel and Amanda, who struggled in their marriage while still alive, must battle the ominous and omnipresent D. Inc.— and its CEO/mascot, Muerte Mouse, dressed and acting like an Adbusters parody of Mickey. The ending is wholesome and happy—isn’t it always in D. films?—but the skeletons, especially the Southern drawling Mariel Sierra and the bombastic Nelda Reyes, make you laugh till you’re dead. MITCH LILLIE. Miracle Theatre, 525 SE Stark St., 236-7253. 7:30 pm Thursdays, 8 pm Fridays-Saturdays and 2 pm Sundays through Nov. 10. $15-$26.
Detroit
The streets in the unnamed suburb of Detroit—which is not necessarily set anywhere near the Motor City—evoke light. Ultraviolet Lane. Fluorescent Avenue. Sunshine Way. But this suburb, built in the postwar housing boom and filled with prefab homes, is no longer the luminous place of its original inhabitants’ fantasies. Detroit is set in 2009, and the four central characters occupy a world of foreclosures, layoffs and fractured dreams. It’s a world that should be familiar to us, but in this Portland Playhouse production, it feels both alien and alienating. Lisa D’Amour’s Pulitzer-nominated play centers on two couples: Mary and Ben enjoy the trappings of a middle-class lifestyle, while Sharon and Kenny are recovering addicts. Unfolding over two acts, the play’s vignettes make for a fractured structure. At its best, the dialogue buzzes with an offbeat poetry that echoes this sense of fracture. “Cheetos are always the first thing to go at a party, even when they’re next to the brie,” says Sharon (Kelly Tallent). But this Portland Playhouse production is unable to resolve warring senses of slapstick and pathos. The characters spend more time bonking their heads, crashing through porches and vomiting on each other than they do exposing or salving their wounds. Tallent and Brooke Totman (who plays the middle-class wife) opt for caricaturish portrayals that grate for the wrong reasons—they’re uncomfortable not because they niggle at something true, but because they’re forced. Tallent plays her role like an overgrown child, all graceless flailing and squeaky voice. It’s an interesting choice: There’s a case to be made that these characters are essentially children, thrashing about in a dangerous new world and scrambling for survival strategies. But in practice, it’s just distracting, and Detroit comes up cold. REBECCA JACOBSON. Portland Playhouse, 602 NE Prescott St., 488-5822. 7:30 pm Wednesdays-Saturdays and 2 pm Sundays through Nov. 3. $27.75-$38.75.
Everything Everything Everything
Seattle performers Wesley K. Andrews and ilvs strauss (who insists on not capitalizing her name, which is apparently pronounced “Elvis”) present a multimedia show about two roommates who fall for the same older woman. We hear it’s recommended for “fans of NPR, thoughtful standup comedy, edgy theatre, indie music and LGBT arts patrons.” Rape-joke enthusiasts and Lars Larson devotees, you’ve been warned. Action/Adventure Theatre, 1050 SE Clinton St. 10:30 pm Fridays-Saturdays through Nov. 2. $12.
Fall of the Band Season Two
The spunky folks at Action/Adventure present another season of episodic comedy, returning to the exploits of fictional Portland band Ghost Dad. Each weekend’s installment—a theatrical sitcom, essentially—picks up where they last left off, with dialogue improvised by a reliably funny cast. Action/ Adventure Theatre, 1050 SE Clinton St. 8 pm Thursdays-Sundays through Nov. 24. $10-$14; season pass $45.
Fiddler on the Roof
“Twenty-eight?!” my friend exclaimed, after I told her the size of the cast for Portland Center Stage’s Fiddler on the Roof. “There aren’t even that many Jews in Portland!” (Give her a break: She’s a Jew from Long Island.
And for the record, there are close to 50,000 Jews in Portland.) But I took her point. Despite our recent bagel boom, this isn’t exactly a city teeming with yarmulke-clad, kosher-keeping denizens. How would PCS artistic director Chris Coleman—himself a goy from Atlanta—treat this portrait of life in a Jewish shtetl in pre-revolutionary Russia? Would he turn it into an allegory for Syria? For Israel-Palestine? For the embattled Right 2 Dream Too homeless encampment? The answer, mercifully, is no. It’s easy to make contemporary analogies for the classic musical, which centers on Tevye, a tradition-bound milkman facing the forces of modernity and malice. But what makes this production work is its refusal to generalize or to draw sweeping parallels. Coleman brings texture to a broad tale: It’s neither weepily mournful nor parodically ridiculous. As Tevye, David Studwell plays a man
weary but resilient, buoyed by a dark and idiosyncratically Jewish sense of humor. Fiddler may lack the subversion of a Sondheim musical, the humor of Spamalot or the swooning emotionality of West Side Story. But it’s hard to deny its warm and homespun allure, which tugs on our desire for tradition while warning us of the dangers of insularity. L’chaim! REBECCA JACOBSON. Gerding Theater, 128 NW 11th Ave., 4453700. 7:30 pm Tuesdays-Sundays, 2 pm Saturdays-Sundays, noon Thursdays through Nov. 3. $38-$72.
Magic Tree House: A Night in New Orleans
Oregon Children’s Theatre presents a tale based on the Magic Tree Housebooks about a boy and girl who travel back in time to New Orleans in 1915, where they hang out with a
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REVIEW GARY NORMAN
PERFORMANCE
symPatHy for tHe devil: Heath Koerschgen and Karen Wennstrom.
DR. JEKYLL AND MR. HYDE (THEATRE VERTIGO) We all do bad things. Whether that’s pirating your neighbor’s wireless signal or pouring acid onto a prostitute’s face just depends on your level of commitment. So for all its social commentary about good versus evil and the duality of man, Robert Louis Stevenson’s 1886 novella Strange Case of Dr. Jekyll and Mr. Hyde remains fascinating and horrifying simply because, on some level, we know it’s true. Like a cross between Guy Ritchie’s Sherlock Holmes and an episode of Law & Order: Criminal Intent, Theatre Vertigo’s production of Dr. Jekyll and Mr. Hyde is fast-paced, gleefully wicked and undeniably cool. The story is familiar, with Jeffrey Hatcher’s adaptation staying relatively faithful to the original tale. But director Bobby Bermea keeps the action brisk, with scenes that cut quickly into the next. At its violent climaxes, we see briefly lit snapshots of morbidly beautiful choreography: a cane poised to strike, a howling cry, a face contorted in pain. Making creative use of the small space in the company’s new performance venue, the Shoebox Theater, the set consists of little more than two doors and minimal props. It is the explosive performances that transport the action to the seedy streets of London. Upper-class gentleman Dr. Jekyll (Mario Calcagno) begins to unravel at the hands of his alter ego, his very facial expressions become strained and dark as he loses himself to the beast within. Cleverly hinting at the evil in all of us, the fiend Edward Hyde is portrayed by not one but six actors throughout the performance, with the persona often leaping from person to person during his grisly transformations. At times, the actors whisper over each other’s shoulders, voicing their true desires. But Hyde is played primarily by Heath Koerschgen, who displays a suave demeanor and a surprising amount of sympathy, especially in his love for the feisty but naive Elizabeth Jelkes (Karen Wennstrom). So for whom do we root? The man who suppresses his desire only to be destroyed by it, or for the manifested desire itself? Despite Hyde’s ruthless nature, it’s hard not to feel a thrill when he emerges, top hat and cane in hand. We, too, are transfixed by his actions, just like the maid who witnesses his horrific deeds from a window. “The good in me would have called out sooner,” she says, “but the bad in me wanted to watch.” PENELOPE BASS. chief of sinners, chief of sufferers.
see it: Dr. Jekyll and Mr. Hyde is at the Shoebox Theater, 2110 SE 10th Ave., 306-0870. 7:30 pm Thursdays-Saturdays and 2 pm Sundays Willamette Week OCTOBER 30, 2013 wweek.com
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Oct. 30–NOv. 5
teenage Louis Armstrong, learn about jazz and meet some pirate ghosts. With a live score by a jazz ensemble, the production is recommended for kids 4 and up. Newmark Theatre, 1111 SW Broadway, 228-9571. 2 and 5 pm Saturdays and 2 pm Sundays through Nov. 10 (no 5 pm show Saturday, Nov. 9). $15-$30.
NT Live: Macbeth
Maybe you sat through high-school English watching Kenneth Branagh in Henry Vand Hamlet. See him on the screen again in this performance broadcast in high def from England; it’s the actor’s first foray back into Shakespeare in more than a decade (!). World Trade Center Theater, 121 SW Salmon St., 235-1101. 2 and 7 pm Saturdays Oct. 26 and Nov. 2 and Sunday, Nov. 3. $20.
The Outgoing Tide
CoHo Productions’ The Outgoing Tide digs into hefty stuff: Playwright Bruce Graham tackles the dilemmas faced when a family member has Alzheimer’s disease, along with moral, ethical and emotional conflicts relating to the right to die. The plot isn’t revolutionary, nor is the reliance on humor to temper the heartbreak. Flashback scenes, which provide emotional backstory, are similarly standard. Thankfully, director Stephanie Mulligan has a superb take on Graham’s candid sadness and blunt humor, managing to streamline the somewhat unwieldy flashbacks and steer clear of melodramatic timing. Gunner (Tobias Andersen) has rapidly developing Alzheimer’s and frustratingly fades in and out of cognizance. Wife Peg and son Jack must cope with Gunner’s forgetfulness and confusion, as well as his constant requests to have pancakes “tomorrow.” And, inevitably, they must contend with his determination to “tie up loose ends” on his own terms, while he still has the ability to do so. Andersen shines as a feisty and lovable Gunner, while Jane Fellows is simultaneously grating and endearing as his wife. As Jack, meanwhile, Gary Norman skillfully conveys his character’s sadness and sense of mediocrity. This outstanding trio prompts audiences to zip between laughter and tears for the full 105minute runtime. Thanks to a resoundingly stellar cast, The Outgoing Tide is a must-see. JEN LEVINSON. CoHo Theater, 2257 NW Raleigh St., 2202646. 7:30 pm Thursdays-Saturdays and 2 pm Sundays through Nov. 9. $20-$25.
Ruckus in the Lobby
Traveling Lantern Theatre Company, a touring troupe that presents interactive children’s theater, brings a series of Saturday-morning performances to the Artists Rep lobby. The company will rotate three shows in the fall before a six-week run of A Christmas Carol in the winter. Performances last about 45 minutes and are recommended for kids in kindergarten through sixth grade. See travelinglantern.com for full schedule. Artists Repertory Theatre, 1515 SW Morrison St., 241-1278. 10:30 am Saturdays through Dec. 28. $5.
The Submission
“It’s only a bullet if you load the gun with it,” says Danny, a playwright. He’s referring to the N-word, but he might as well be describing the shortcomings of The Submission, a play by Jeff Talbott. The story has plenty of ammo: It centers on Danny, a gay white playwright who has written a moving drama about a black family in the projects and, in a bid to increase its chances of being produced, has submitted it under the patently ridiculous pseudonym of Shaleeha G’ntamobi. When the play is actually accepted at a theater festival, Danny enlists a black actress to pose as the playwright. The bullets—all the racial and homophobic slurs you’d expect, pitched during debates about who corners the market on oppression—are there. What’s missing is the gun: a robust dramatic framework to give those munitions any firepower. Absent that, Defunkt Theatre’s season opener winds up talky but toothless. At the beginning, Danny (Matthew Kern) is buoyant and hopeful. But as the play clumps along,
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he proves to be an utterly callous, out-of-touch, racist lout. Talbott provides no reason for Danny’s outrageous insensitivity, and Kern’s oily and arrogant portrayal hardly helps. Other performers fare better, particularly Matthew Dieckman, who is honest, wry and grounded as Danny’s good friend. From a nonsensical line about Hitler eating kugel to racist remarks that fail to add anything new to the conversation about race in American theater (“He’s too African-y,” Danny says about an actor), The Submission has plenty of talk but astonishingly little to say. REBECCA JACOBSON. The Back Door Theater, 4319 SE Hawthorne Blvd. 7:30 pm Thursdays-Sundays through Nov. 16. $15-$25 sliding scale, Thursdays and Sundays are “pay what you can.”
The Twelfth Night of the Living Dead
Bag&Baggage celebrates Halloween with a zombie-Shakespeare mashup. It’s like The Walking Dead in iambic pentameter. The Venetian Theatre, 253 E Main St., Hillsboro, 345-9590. 7:30 pm Saturday-Thursday, Oct. 26-31. $20-$24.
Wilde Tales
Oscar Wilde’s two collections of fairy tales, which he wrote “not for children but for childlike people,” explore the ambiguity of the heart and the illogical nature of love. Adapted by Portland playwright Karin Magaldi and directed by Samantha Van Der Merwe, Wilde Tales unfolds through six loosely linked stories that come to life like a pop-up book. A fisherman who has fallen in love with a mermaid abandons his soul to live with her, and the soul must wander the land alone, encountering a selfish giant, a generous statue, self-sacrificing birds and a heartbroken dwarf. The intimate space at Shaking the Tree Theatre serves the show well—the six actors become whispering silhouettes behind backlit scrims, surrounding the audience like words floating up from the page. The stage direction is so simple and elegant it becomes art in itself. As if exploring a whimsical playground, the actors both play their central characters and provide their own third-person narration, and at other times they embody the plants, birds, walls, wind— and it all works magically. Each shift in expression, change in voice and delicate movement becomes transfixing. Whether or not you walk away with any grand new theories about love, you’ll certainly leave with a little more childlike wonder. PENELOPE BASS. Shaking the Tree Studio, 1407 SE Stark St., 235-0635. 7:30 pm FridaysSaturdays, 2 pm Saturdays and 5 pm Sundays through Nov. 9. $22.
COMEDY & VARIETY Dan Cummins
The comic behind the Revenge Is Near and Crazy With a Capital F comedy albums hits the Helium stage. Helium Comedy Club, 1510 SE 9th Ave., 888643-8669. 8 pm Thursday and 7:30 and 10 pm Friday-Saturday, Oct. 31-Nov. 2. $15-$25.
Down and Dirty: A Fun Comedy Showcase
An unusually lighthearted showcase this time around, with standup from Caitlin Weierhauser, Nathan Brannon, Nariko Ott, Alex Rios and Eric Cash. Patrick Perkins hosts. Ash Street Saloon, 225 SW Ash St., 226-0430. 9 pm Tuesday, Nov. 5. Free.
and third Friday. $5.
Funnier Than You
Richie Stratton hosts a new monthly standup series, with five local comedians competing for cash prizes. Sky Club at Ankeny’s Well, 50 SW 3rd Ave., 223-1375. 9:30 pm every first Friday. Free. 21+.
Funnier on the Inside
This monthly comedy showcase is always held at Portland’s Doctor Whothemed bar, but this month it’s particularly appropriate. In addition to standup from Nathan Brannon, Scoot Herring, Sarah Murrell, Venu Mattraw and Crystal Davis, there will be a Halloween costume contest and, uh, deep-fried Mars Bars. The TARDIS Room, 1218 N Killingsworth St. 9:30 pm Thursday, Oct. 31. $5 suggested.
It’s Gonna Be Okay
Portlander Barbara Holm hosts a twice-monthly standup showcase featuring local and traveling comics. EastBurn, 1800 E Burnside St., 2362876. 8:30 pm every first and third Monday. Free.
Scary Movie
The Brody Theater folks present a special Halloween show, improvising a double feature based on sci-fi and horror tropes of the ’40s and ’50s. Brody Theater, 16 NW Broadway, 224-2227. 7:30 pm Thursday, Oct. 31. $9-$12.
Subashini Ganesan
Portland’s leader in the South Indian classical dance Bharatanatyam performs a piece with her troupe Natya Leela. The piece, titled al(l)one, explores the human struggle between loneliness and the quest to be alone. Ganesan is joined by Kristina Spooner and Tassa Chabouni with Joe Powers on harmonica. Studio 2, 810 SE Belmont St. 8 pm Friday-Saturday, Nov. 1-2; 5:30 pm Saturday, Nov. 2. $10-$16.
Polaris Dance Theatre
The show X-Philes doesn’t have much to do with The X-Files. The “X” stands for Polaris’ 10-year anniversary. Didn’t Polaris celebrate its 10th year last year,
For more Performance listings, visit
PREVIEW
Weekly Recurring Humor Night
Whitney Streed hosts a weekly comedy showcase. Tonic Lounge, 3100 NE Sandy Blvd., 238-0543. 9:30 pm every Wednesday. “Pay what you want,” $3-$5 suggested.
DANCE Burlesque S’il Vous Plait
New burlesque dancers walk the plank, joined by some season standbys, featuring Siobhan Atomica, Dee Dee Pepper, Zora Von Pavonine and Angelique DeVil. Burlesque madame Zora Phoenix MCs the night. Crush, 1400 SE Morrison St, 235-8150. 9 pm Friday, Nov. 1. $10. 21+.
Cabaret Boris and Natasha
This variety show plays on duplicity: alternate personas, imposters, disguises and covers. Wayne Bund’s genderfuck drag persona Feyonce MCs the show that includes dance and theater. Among the acts: Intisar Abioto performs a piece dealing with “self-mythos and magic” that is likely highly abstract, Chuck Barnes plays the banjo, Grace Carter (of Defunkt Theatre) presents a piece on conceptual portraitist Cindy Sherman and three untrained guys calling themselves the Boris & Natasha Dancers perform what they call “anti-dance”— basically Linda Austin helped them come up with something in one rehearsal. Performance Works NW, 4625 SE 67th Ave., 777-1907. 8 pm Friday-Saturday, Nov. 1-2. $10-$15.
Day of the Dead
Friday Night Fights
Grotesque Gorelesque
Willamette Week OCTOBER 30, 2013 wweek.com
Three artists—poet David Biespiel, dancer Gavin Larsen and musician Joshua Pearl—make up the trio Incorporamento, which debuts a new work this weekend. Portland audiences last saw the trio at the 2011 Fertile Ground Festival when it performed A Ghost in the Room With Us. That piece, like this new one, Ships of Light, was a blending of their talents: Larsen, a former Oregon Ballet Theatre principal dancer, moved melodically to music and poetry performed by Pearl andBiespiel. Ships of Light is supposed to represent the passage of time as a sequence of rituals, but if it’s anything like Incorporamento’s last piece, time will move beautifully, yet very slowly. BodyVox Dance Center, 1201 NW 17th Ave., 229-0627. 7:30 Friday-Saturday, Nov. 1-3; 4 pm Sunday, Nov. 3. $10-$20.
It’s a Cascadian comedy battle at this monthly series, with comics from Seattle and Portland battling each other in a joke joust. Christian Ricketts and Andie Main host. Mississippi Pizza, 3552 N Mississippi Ave., 288-3231. 9:30 pm Wednesday, Oct. 30. $5.
Portland’s very own polyester-encased, sleazy, narcissistic talk-show host—the alter-ego of Aaron Ross—presents the 500th installment of his variety show. His guests include the Decemberists’ Chris Funk, Dave Dahl of Dave’s Killer Bread and four mayors (including one from the tiny town of Willamina). Star Theater, 13 NW 6th Ave., 248-4700. 9 pm Saturday, Nov. 2. $5.
Competitive improv, with two teams battling for stage time. Curious Comedy, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 10 pm every first
Incorporamento
you ask? Yes, it did—the company was founded in 2002. But anniversaries are good for marketing, so this year Polaris is compiling a retrospective of its shows from the past 10 years, including its firstever performance. The show includes iChange, a piece about human relationships over a lifetime (that has little to do with Apple products), the Motown inspired Lil’ Mo and Tangled, the show it celebrated its 10-year anniversary with last year. Polaris Contemporary Dance Center, 1501 SW Taylor St., 3805472. 7:30 pm Fridays-Saturdays, 2 pm Sundays, Nov. 1-10. $17.50-$25.
Secret Weapon
Metal, burlesque, belly dance and circus all blended together. The acts are too numerous to list: Metal bands are upstairs (American Roulette, Downtown Brown and more), performers are upstairs (Bayou Bettie and Fleur De Sel among them) and aerial silk performers and hula hoopers give the place extra flair. Analog Cafe, 720 SE Hawthorne Blvd., 206-7439. 8:30 pm Friday, Nov. 1. Contact venue for ticket information. 21+.
Ed Forman’s 500th Show EDstravaganza
Goldie Goodnight, Layne Fawkes, Sofia Flash and Surreal De Sade. Tonic Lounge, 3100 NE Sandy Blvd., 2380543. 9 pm Thursday, Oct. 31. $5 with costume, $7 without. 21+.
SCOOTER CuRL
PERFORMANCE
The Halloween edition of Grotesque Gorelesque features the band the Reanimated. Performers include Burk Biggler, Rian Ryn, Aids Benedict,
make a splash: Dancer amanda morse.
FLOAT (TOPSHAKEDANCE) cuttin’ a rug here, under the sea.
Swim instructors will tell you that floating on your back is a nifty trick for staying alive when stranded in a body of water. It’s an act that involves a sort of urgent calm: Either relax or die. That’s what Jim McGinn learned while he was in his 20s, training to swim 21 miles across Southern California’s Catalina Channel. He never completed the swim—he was pulled out of the water with hypothermia after eight hours—but the experience inspired his newest piece, Float, with his dance company, TopShakeDance. “Issues with fear and the real struggle with hypothermia would make me lose my mind, in a way, or just drift outside myself,” says McGinn, a 53-year-old with a day job as a physicist. Swimming in the ocean—especially in darkness, as McGinn did in 5 am trainings—is beautiful but frightening. The cold, the isolation and the threat of what lurks beneath the surface all influence his aquaticthemed piece in a way more ominous than bubbly. “There’s always a sense of mystery to Jim’s pieces,” says dancer Dana Detweiler. “You’re always unsure. Every time it could be a little different.” To give dancers a sense of the movement he was after, McGinn took them to rehearse on the floating docks just south of the Hawthorne Bridge. In May, the company performed a 15-minute segment at the docks for a crowd of about 15, some of whom watched from canoes. The piece that opens this weekend is perhaps too long—in rehearsal, the 70-minute work sometimes feels like it is indeed floating, not going anywhere. But if you lean into it, you might be able to go with the flow. AARON SPENCER. see it: Float is at Conduit Dance, 918 SW Yamhill St., Suite 401, 2215857. 8:30 pm Friday-Sunday, Nov. 1-3, and Wednesday-Friday, Nov. 6-8. $12-$25.
VISUAL ARTS
Oct. 30–NOv. 5
= 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.
Maria José D’Amico: Bien de Familia
style. There are no people in his tableaux, just architecture and landscape. While the compositions are technically sound, they’re dreary, chromatically bland and vaguely unnerving—but not quite unnerving enough to truly disturb the imagination. Through Nov. 2. Charles A. Hartman Fine Art, 134 NW 8th Ave., 287-3886.
Jacques Flechemuller: Dance With Ingres
The understated wit of Jacques Flechemuller’s drawings flows from the sheer absurdity of their imagery and titles. There’s a picture called Darwin that shows a chimpanzee reading a christian Bible. in another, a dog wears a cone collar that’s emblazoned with the words “God is invincible.” huh? Then there’s a knight in armor; in one hand he holds a heraldic banner, in the other a shield. in place of a family crest, the shield bears the word “Mayonnaise.” Somewhere between Mad magazine and cheech and chong, this show is probably best viewed while slightly high. Through Nov. 2. PDX Contemporary Art, 925 NW Flanders St., 222-0063.
Jeffrey Butters: Passages
in a triptych of ravishing oil paintings, Jeffrey Butters perfects a style he has been reaching toward in recent series. Cadmium Reaction I and VI, as well as Manganese Reaction I, overlay luscious impasto atop gold dust and powder pigment. Butters begins this process by rubbing the powders over wet gesso. This creates the basis for compositions that combine the extreme surfaces of van Gogh with the delicate, washy optical nature of Monet. The works’ most surprising achievement is to function as heavily layered objects while depicting wispy clouds and mists that threaten to float out of their very frames. Through Nov. 2. Butters Gallery, 520 NW Davis St., second floor, 248-9378.
unfinished by Paul soriano
Clifford Rainey: In the Beginning Was Black
after a year of harrowing personal losses, clifford Rainey transmuted grief into a suite of mournful but gorgeous glass and mixed-media sculptures. The show’s iconic work, Mourner, is a 2-foot-high stylization of the Grim Reaper. The sculpture depicts only the figure’s black robe; there is nothing inside except empty space and shadow. it’s a powerful piece, impeccably executed, deeply unsettling. Through Nov. 2. Bullseye Gallery, 300 NW 13th Ave., 227-0222.
Contemporary Northwest Art Awards
Daniel Robinson: Open Road
expansive, thoughtful and dramatically installed, the biannual contemporary Northwest art awards
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didn’t disappoint this year. curator Bonnie Laing-Malcolmson has created a spectacular survey of artwork across a diverse field of practices, filling—but not overfilling—a generous exhibition space with work by artists from Oregon (Karl Burkheimer), Washington (isaac Layman, Nicholas Nyland and the single-monikered artist known as Trimpin), Montana (anne appleby) and Wyoming (abbie Miller). as heterogeneous as these artists’ works are, somehow LaingMalcolmson makes them cohere spatially and thematically. Through Jan. 12. Portland Art Museum, 1219 SW Park Ave., 226-0973.
AME
in works such as Elevator and Tracks and Below the Bullseye, daniel Robinson paints grain silos, farms and factories in a flat, uninflected
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GIVE! GUIDE 2013
Jim Riswold: Art for Oncologists
at least three people and some bubble-bath-infused hot water could fit inside the oversize “candy dish” at the heart of Jim Riswold ’s Art for Oncologists. The “candies” the dish contains are giant heart-shaped sculptures, each inscribed with the name of a chemotherapy drug. This is a very personal piece and exhibition for Riswold, a longtime leukemia and prostate cancer survivor. he hints at the tenacity required for this 13-year battle royale in the piece Don Quixote Fights Cancer. in the photograph, a figurine of cervantes’ oblivious hero sits astride a brightly colored chemo drip. Fighting cancer, Riswold implies, may be a bit like tilting at windmills; it requires a steadfast belief that eventually, against all odds, one will succeed. Through Nov. 2. Augen DeSoto, 716 NW Davis St., 224-8182.
The so-called “ruin porn” genre fetishizes the interiors of derelict buildings. Several important photography exhibitions in the past five years have showcased ramshackle spaces in detroit, riffing on the unlikely beauty of urban decay. Many of these shows included images of peeling wallpaper and plants growing on the floors of once-sumptuous dining rooms—images that were often shocking to the point of exploitation. This is exactly what Maria José d’amico’s pictures do, except instead of detroit, he took his photos in argentina. in these abandoned homes, walls are stained with the outlines of bookcases no longer there; wainscoting is chipping off; hardwood floors have rotted away, leaving only a few structural support beams. a poignant image shows a baby crib lying hobbled on the floor, three of its four legs gone. These works have a bleak, postapocalyptic feel, but they’re so similar to ruin porn we’ve seen before, viewers are apt to find the show redundant. Through Nov. 3. Blue Sky Gallery, 122 NW 8th Ave., 225-0210.
Michael Schultheis: Universal Couplings of Archimedes
Like portland-based encaustic artist elise Wagner, painter Michael Schultheis is intrigued by the meeting place of science and art. Schultheis’ point of departure for his current batch of pieces were the mathematical and geometric formulas of ancient Greek mathematician and inventor archimedes of Syracuse (287 Bc-212 Bc). in Schultheis’ creamily textural paintings, scientific symbols drift across a picture plane, suffused in earth tones, blues and bracing tomato reds. Through Nov. 2. Froelick Gallery, 714 NW Davis St., 222-1142.
Michael T. Hensley: New Works
exuberant, fanciful and just a little wack, Michael T. hensley’s mixedmedia works blend painting and drawing. in the imagery in the show’s 40-odd pieces, there’s something for everyone: faces, landscapes, seascapes, cityscapes, airplanes, wine bottles, chemistry beakers, fried eggs, salt shakers, cacti, ice cream cones, cherries. Wisely, hensley counterbalances this compositional density with judicious use of negative space. chromatically, he goes for broke, with a palette of bright blues, greens and pinks, lending an atmosphere of whimsy and fantasy. Through Nov. 10. Mark Woolley Gallery @ Pioneer, 700 SW 5th Ave., third floor, Pioneer Place Mall, 998-4152.
Mike Egan: We Bleed Black Blood When We Die Dark Deaths
pittsburgh-based artist Mike egan delivers a perfect halloweenthemed show, full of skeletons, coffins, pumpkins, devils and ghouls. he paints them in an iconic, childlike style that’s quietly charming,
if perhaps a touch too designish. egan’s professional history plays into his subject matter: he graduated from mortuary school and once worked as a licensed funeral director. in the process, he became obsessed with death and the fictions we build up around it. That obsession has found its way into his artwork. Through Nov. 2. Breeze Block Gallery, 323 NW 6th Ave., 318-6228.
Paul Soriano: Oblivion
paul Soriano departs from his serene portraiture in a new suite of oil paintings entitled Oblivion. There’s nothing serene about these works, with their hyperkinetic undergirding of gestures, swarming underneath the paintings’ surfaces like hornets. The works’ subject matter also has a vespine sense of danger and agitation. in the imagery, Soriano confronts psychosexual demons he has never before explored in his exhibited work. The wild-haired figure in Shaman in the Twilight of his Days, the erect male nude in Lost (in the Valley of Pleasure) and the bareassed youth confronted by clothed boys in At the Crossroad (Kill the Pig) all illuminate dark corners of the sexual psyche in a manner recalling the feverish erotic fantasias of painter eric Fischl. Through Nov. 7. Cock Gallery, 625 NW Everett St., No. 106, 552-8686.
Subject, Answer, Countersubject
Subject, Answer, Countersubject is the debut of disjecta’s third curator-in-residence, Summer Guthery. Guthery themed the show on the idea of the fugue, with art pieces playing off one another like melodies in Baroque counterpoint. The artists— Talia chetrit, Shana Lutker, Virginia Overton, Marlo pascual, Virginia poundstone, R.h. Quaytman, Marina Rosenfeld and Blair Saxon-hill—are well-chosen and complementary in sensibility. poundstone’s gritty sculpture, which juxtaposes shiny metal with a coarser, more porous substance, is a particular standout. Through Nov. 3. Disjecta, 8371 N Interstate Ave., 286-9449.
Tom Cramer and Laura Russo
Two of the Northwest’s most beloved artists join forces in this powerful double bill. Tom cramer’s Continuum brings together his luxurious goldand silver-leafed paintings and his elegantly phantasmagorical drawings, while Sherrie Wolf’s exhibition, Stills, showcases her gift for jaw-dropping photorealism. in wildly divergent styles, the artists capture the lavish gifts of nature’s bounty. it will be fascinating to see how their works play together in dialogue within Russo’s expansive front and back galleries. Through Nov. 2. Laura Russo Gallery, 805 NW 21st Ave., 226-2754.
For more Visual arts listings, visit
GET READY TO GIVE, PORTLAND! Nov. 6, 2013 giveguide.org facebook.com/giveguide Willamette Week OCTOBER 30, 2013 wweek.com
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BOOKS
Oct. 30–NOv. 5 PROFILE
= 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.
WEDNESDAY, OCT. 30 Max Blumenthal
Delving straight to the center of the Israel-Palestine conflict to understand it on a more personal level, journalist Max Blumenthal’s new book, Goliath: Life and Loathing in Greater Israel, offers an account from both the badlands and the high society to create a portrait of the authoritarian politics that rule the region. Powell’s City of Books, 1005 W Burnside St., 2284651. 7:30 pm. Free.
THURSDAY, OCT. 31 Bill Ayers
Vilified as a domestic terrorist by the right wing, political activist Bill Ayers, co-founder of Weather Underground, was forced into hiding with his wife. He recounted the experience in his memoir Fugitive Days. In his new follow-up book, Public Enemy, Ayers continues his story with the moment he came out of hiding and tried to rebuild his life as a public figure working for educational reform. Powell’s City of Books, 1005 W Burnside St., 228-4651. 7:30 pm. Free.
newest, Julia Child Rules. Alberta Rose Theatre, 3000 NE Alberta St., 719-6055. 7:30 pm. $20-$25.
Allie Brosh
With simple doodles created in Paintbrush and a self-deprecating sense of humor, blogger Allie Brosh skyrocketed to fame over the past couple of years telling stories about her childhood, neurotic dog and, more recently, struggle with depression on her blog, Hyperbole and a Half. Her new book of the same name includes classic posts and new writings. Powell’s City of Books, 1005 W Burnside St., 228-4651. 4 pm. Free.
MONDAY, NOV. 4 Rebecca Eaton
For PBS fanboys, Rebecca Eaton needs no introduction as the host of drama series Masterpiece Theatre for more than 25 years. In her new memoir, Making Masterpiece, Eaton shares anecdotes and behind-thescenes stories and recounts working with many of the show’s writers, directors and creative contributors. Brilliant! Powell’s City of Books, 1005 W Burnside St., 228-4651. 7:30 pm. Free.
Gavin Edwards
Feeding our endless fascination with celebrities, scandal and death, journalist Gavin Edwards’ new book, Last Night in the Viper Room, explores the life and premature death of actor and teen idol River Phoenix, who died of a drug overdose in the Hollywood club at age 23. Powell’s on Hawthorne, 3723 SE Hawthorne Blvd., 228-4651. 7:30 pm. Free.
FRIDAY, NOV. 1 Matt Love
Yes, it rains a lot in Portland. As far as the rest of the country is concerned, it is one of our defining features, along with strippers and doughnuts. But those of us who choose to live here understand the beauty of the rain and how it influences our lives. Matt Love’s new collection of writings about the rain brings together everything from essays and vignettes to oral history and weather reports for the book Of Walking in Rain. Leave the umbrella at home. Powell’s City of Books, 1005 W Burnside St., 2284651. 7:30 pm. Free.
The People’s Ink Release Party
Proving you really can get by with a little help from your friends, community writers’ group the People’s Ink hosts a cooperative book release with six of its authors. Thomas J. Turner, Travis McGuire, Jim O. Neal, Dave Garlock, Eliot Olingrad and Robert Benefiel each speak about their selfpublished books. Vie de Boheme, 1530 SE 7th Ave., 360-1233. 4 pm. Free.
SATURDAY, NOV. 2 Live Wire
The Live Wire variety show is for feminist-lit lovers this week. Cartoonist and comic creator Peter Bagge (of the HATE series) shares his already acclaimed new graphic novel, Woman Rebel: The Margaret Sanger Story, about the co-founder of Planned Parenthood. Also reading is bestselling author Karen Karbo, whose 14 books include the Kick Ass Women series—like How Georgia Became O’Keefe, How to Hepburn and her
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TUESDAY, NOV. 5 The Hour That Stretches
Celebrating the best bizzaro- and fringe-fiction writing, the Hour That Stretches reading series throws in a horror twist this month for the theme “Season of the Witch.” Ann S. Koi reads from her Tribes of Heaven series, along with Portland poet Dan Raphael (The State That I’m In), Seattle horror author Aaron Besson and poet Brenda Taulbee (Dances With Bears…And Other Ways to Lose a Limb). Jade Lounge, 2346 SE Ankeny St., 236-4998. 8-10 pm. Free. 21+.
Garrison Keillor
America’s favorite storyteller and surrogate grandpa Garrison Keillor has long shared his gentle humor through NPR program A Prairie Home Companion and a series of books. Continuing to wax long and poetic on the human condition, Keillor presents an evening of storytelling based on his newest book, O, What a Luxury. Newmark Theatre, 1111 SW Broadway, 248-4335. 7:30 pm. $20-$30.
For more Books listings, visit
Willamette Week OCTOBER 30, 2013 wweek.com
WRITE ALL THE BOOKS MEET THE HYPERBOLIC ALLIE BROSH. By R u th B R Ow N
243-2122
You’re probably familiar with Allie Brosh’s work— you just don’t realize it. Posts and cartoons from the Bend-based writer’s blog, Hyperbole and a Half, are all over the Internet—shared constantly on Facebook, scaling the viral heights of Reddit, and inspiring a 4chan board’s worth of memes. But even if you’ve never chuckled at the “Alot”—an imaginary creature that appears whenever someone fails to acknowledge the space between “a” and “lot”— or retweeted her revised pain chart for hospital emergency rooms (it goes up to “Blood is going to explode out of my face at any moment”), you’ve probably heard some variation on this: “Clean ALL the things!” It comes from a cartoon panel in Brosh’s 2010 post called, “This Is Why I’ll Never Be an Adult.” The 28-year-old’s long-suffering avatar—a stick figure in a pink dress with a blond shock of hair jutting out of its head like a permanently attached party hat— shouts the line as she definitely raises a broom and commits to being a “real adult” (spoiler: She fails). That panel took on a life of its own, reposted, altered and satirized all over the social Web, until finally breaking free of the digital world and just becoming something people say in real life. “Buy ALL the things!” “Drink ALL the beer!” Brosh says this happens to her a lot. “It’s so weird. It’s so weird,” she says over the phone. “Sometimes I’ll hear people use it in real life. I’ll meet somebody and they’ll say that. They don’t know that I’m me, and they’ll say this thing. I just have this quiet moment where I enjoy it to myself.” Although her face may not be recognizable on the street, Allie Brosh is a name people know. When she started Hyperbole and a Half as a hobby four years ago, it wasn’t the most likely viral sensation. The site is like the anti-Oatmeal: a generic Blogger template, a dot-blogspot domain; and long, sporadically posted autobiographical stories peppered with drawings that look like they were done in MS Paint. There are no ads and no “buy this as a poster!” banners. She took down the site’s short-lived donation button because “it just felt weird to me.” And yet, Brosh very rapidly developed a huge online following; her sharp wit and ability to capture complex emotions in simple mouse-drawn
cartoon characters turning short anecdotes about childhood misadventures and her “slightly retarded” dog into astute short stories. “Draw-writing,” as Brosh calls it, quickly became her full-time job, and a book deal followed. Then she all but disappeared from the Internet for two years. In mid-2011, Brosh developed a sudden, crippling depression. Her site, pulling in 5 million hits a month, and Twitter and Facebook accounts, with hundreds of thousands of followers, plunged into radio silence, as Brosh battled her illness and attempted to finish the book. She worried that her still-blossoming career would fade into obscurity along with her, but ultimately, she says, she didn’t see much of a choice. “I talked to my editor about it and it just came down to, I need to take a mental-health break,” she says. “I would’ve just run myself into the ground if I just kept trying to push and push and keep myself in the public eye.” But, if anything, Brosh’s popularity grew in her absence. During this period, she wrote just two posts, which would become some of her most widely shared work. Self-deprecating humor and honesty had always been a trademark, but in “Adventures in Depression” and “Depression Part Two,” Brosh laid bare both the crushing helplessness and dark absurdity she experienced. “I think it was sort of my way of owning it,” she says, “of taking this horrible, scary thing—the worst thing that has ever happened to me in my entire life—and sort of deconstructing it publicly; just showing how absurd it is to everyone.” There was 18 months of silence between the two posts. When Brosh dropped “Depression Part Two” last May, the Internet gave all the clicks. Five months later, Brosh is back online and she’s posting again—albeit as irregularly as she ever did— and that book is finally being released. Hyperbole and a Half is still using a free domain, and is ad-free, save for an orange square where she’s scrawled the word “BOOK” and a smiley face. But big publishing companies expect authors to go out on the road and promote their products, which means Brosh is finally having to put a public face to that name—and that saying. “I’ve gone to a couple of book signings where people have come to meet me,” she says. “It’s still so strange for me to see; these people are excited to meet me because I’m me? It’s just a weird thing to adjust to.” GO: Allie Brosh reads at Powell’s City of Books, 1005 W Burnside St., on Saturday, Nov. 2. 4 pm. Free.
oct. 30 - nov. 5 REVIEW
= ww Pick. Highly recommended.
JAAP BUITENDIJK/FOX SEARCHLIGHT
MOVIES
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.
A-
20 Feet From Stardom
Morgan Neville’s 20 Feet From Stardom turns the spotlight on several career backup singers. Most are resigned to their roles in the musical ecosystem, content to have sacrificed their own aspirations for the sake of elevating the art itself. Whether that’s noble or a con, Neville never judges. He just lets them sing. And, in a more perfect universe, that would be enough. MATTHEW SINGER. Living Room Theaters. new
About Time
C In About Time, writer-direc-
tor Richard Curtis—who scripted Four Weddings and a Funeral and Notting Hill—tells yet another tale of a British bloke besotted with an American woman in London. Now, though, there’s a time-travel hook. Tim (Domhnall Gleeson) and Mary (Rachel McAdams, returning to familiar ground after the high-concept Harlequin romance of The Time Traveler’s Wife) are the destined-to-be-happy couple. The twist is that Tim can visit the past without the pesky problem of running into younger selves. At first this conceit allows for one-trick-pony jokes as Tim benefits from do-overs of amorous mishaps—like erasing his fumbling with Mary’s front-clasp bra during their first tryst. But the movie ultimately spirals outward from its romcom roots to encompass family, birth, death and, natch, the meaning of life. As ever, Curtis’ brand of cleverness remains in the realm of the cute while tiptoeing around darker territory, hinted at in Tim’s momentary temptation to cheat on Mary with a formative crush. If you could constantly revise the past, how would this affect your morality? Alas, About Time doesn’t go down this enticing rabbit hole, remaining too committed to rutted sentimentality. R. KRISTI MITSUDA. Cedar Hills, Bridgeport. new Alias Ruby Blade: A Story of Love and Revolution
[ONE NIGHT ONLY] Documentary filmmaker Kirsty Sword intended to spend her time in East Timor chronicling the independence movement. Then she fell in love with an imprisoned revolutionary, despite never having met him in person. Alex Meillier’s documentary tells Sword’s story. NW Film Center’s Whitsell Auditorium. 7 pm Thursday, Oct. 31.
All Is Lost
B We all know Robert Redford too
well. We know that, after nearly 50 years on the big screen, Redford the man is not an investigative journalist, a gadabout sidekick or a dark-horse power hitter. He is, however, a mildly eccentric and reclusive celebrity, one who might very well undertake a solo sailing trip around the world. As the only actor in All Is Lost, he does just that. Then, wood cracks and water rushes in. A shipping container has punched a hole in the hull, destroying the GPS and radio. He does his best to patch the hole, but it’s Redford vs. the world from here on out. The autobiographical parallels are striking, which is perhaps the reason Redford is out of the director’s chair and working with newbie J.C. Chandor, who became a rising star after 2011’s Margin Call. That movie thrilled with 24 hours inside an investment firm’s meltdown; All Is Lost does the same with much less. As the storm worsens, though, so do the special effects. But All Is Lost quickly regains its tension, and it intrigues both as a cinematic experiment and as a vehicle for Redford’s naturalistic acting. Critics who have seen the film as an allegory for capitalism ignore the story’s deep simplicity: That’s a shipping container crashing into Redford’s yacht, not some thinly veiled symbol of consumerism. This is one man, alone, facing death. Redford is playing himself, and he’s not playing around. PG-13. MITCH LILLIE. Fox Tower.
new
B-Movie Bingo: Cyclone
[ONE NIGHT ONLY, REVIVAL, GAMES] Cross out the genre-movie clichés during this low-budget actioner about a futuristic motorcycle. Hollywood Theatre. 7:30 pm Tuesday, Nov. 5. new
Big Sur
After last year’s On the Road, another cinematic adaptation of a Jack Kerouac novel. Michael Polish’s movie adapts Kerouac’s 1962 autobiographical novel about an author caught in midlife ennui. R. Living Room Theaters.
Blue Jasmine
B Woody Allen’s Blue Jasmine isn’t
so much a fish-out-of-water movie; it’s a horse-with-a-broken-leg-in-water movie. You know how this thing’s going to end. Cate Blanchett’s Jasmine is a rarefied, half-delusional socialite tossed roughly down the slopes of her husband’s financial pyramid scheme after he is arrested. She lands in a strangely Bronx Guido version of San Francisco inhabited by her lowrent sister Ginger (played with wonderful sympathy by Sally Hawkins). Blanchett’s performance is fascinating. She’s an Ingmar Bergman figure yanked straight out of Tennessee Williams: brittle, high-bred, wellguarded against reality but wretchedly vulnerable, snapping back and forth between high-class snob and raving drunk. Blue Jasmine cannot reconcile its broad comedy and pathos into coherence, but all the more impressive, then, that Hawkins’ and Blanchett’s twinned performances still manage to pick up most of the pieces. PG-13. MATTHEW KORFHAGE. Hollywood Theatre. new
Capital
D+ Set in the midst of a massive
banking crisis rippling through Europe, French director Costa-Gavras’ Capital tries to play like a European update of Wall Street, right down to its skeezy protagonist, who seems like a villain to the everyman and a hero to the greedheads running roughshod over the world’s finances. A Gordon Gecko with a taste for caviar, Gad Elmaleh plays Marc Tourneuil, a power-hungry banking executive for the oh-so-subtly named Phenix Bank. Marc engineers an insider-trading scheme that leaves thousands jobless and his investors with more money and women than they know what to do with. Capital positions itself as a thriller, as evidenced by its pulsing score, globetrotting story and frequent close-ups of shiny things. But these elements aren’t even the most ham-fisted thing about this brutally unsubtle condemnation of the global financial system (or “the fat whore,” as our “hero” calls it). Hell, repeating the mantra “rob from the poor and give to the rich”—Capital’s “greed is good”—isn’t obvious enough for this film. So instead, Elmaleh turns to the camera and straight-up tells us that bankers are assholes. And he does this more than once. The only way to get more heavy-handed would be to rename the film Bankers Are Bad People, and You Shouldn’t Trust Them—maybe with an exclamation mark tossed in for good measure. R. AP KRYZA. Fox Tower.
Captain Phillips
A- It’s easy to forget this while
hanging at an average Portland cafe, but America is scary as hell. Especially if you’re a Somali pirate. You probably already know the story behind the new Tom Hanks movie, Captain Phillips, because you heard it first from the helmet-haired hagiographers of cable news. Back in 2009, four Somali pirates boarded a freighter and kidnapped its captain, Richard Phillips (played in the movie by Hanks). They kept him for five days on a lifeboat, demanding a ransom of $10 million, then got their brains blown out of their skulls by Navy SEALs. In outline form, the politics of the plot are prob-
FIDDLe me THIS: Benedict Cumberbatch and Chiwetel ejiofor.
FREEDOM LOST STEVE MCQUEEN’S 12 YEARS A SLAVE IS A BRUTAL, BEAUTIFUL AND VITAL FILM. BY ReB ecca jacoB son
rjacobson@wweek.com
Twelve Years a Slave was part of a literary tide. When the memoir was published in 1853, Uncle Tom’s Cabin and Frederick Douglass’ autobiography were bestsellers, helping to fuel the abolitionist movement. But Solomon Northup’s story was different. Born a free man, Northup led a comfortable life as a carpenter and violinist with his wife and children in upstate New York. In 1841, he was brought under false pretenses to Washington, D.C., where he was drugged, kidnapped and sold into slavery. He managed to regain his freedom 12 years later and soon published Twelve Years a Slave, which became a bestseller of its own. But at some point, Northup disappeared and his book fell out of print. Now, it’s little-known outside the halls of academia. All of which makes British director Steve McQueen’s 12 Years a Slave an even more staggering revelation. Though it wasn’t uncommon for free blacks to be kidnapped into slavery—it’s likely the number of kidnapped blacks surpassed the number that escaped via the Underground Railroad—this cinematic rendering of our country’s shameful history cuts particularly deep. In part, it’s that Northup is the perfect stand-in for the viewer: We see slavery through the eyes of both an outsider and a participant. But in greater part, it’s that McQueen has constructed a film that’s agonizing but not lurid, compassionate but not melodramatic, patient but still thrilling—and unlike other such movies, it doesn’t feel like a moralizing homework assignment. 12 Years a Slave opens with Northup (Chiwetel Ejiofor) already in slavery. Through a series of efficient flashbacks, it recounts the events that led to his kidnapping and sale into slavery. Two middlemen offered Northup work with a circus in D.C.—a place where, unlike New York, blacks lacked protections. In the film, he wakes up in shackles in a slave pen within sight of the Capitol building. He’s then thrown on a boat to Louisiana, where he glimpses the defeated faces and whip-scarred flesh of slaves for sale at a muddy New Orleans port. Northup’s first owner (Benedict Cumberbatch)
believes himself benevolent, gifting Northup a fiddle. “I hope it brings us both much joy over the years,” he says, and Ejiofor’s eyes convey a heartbreaking flash of recognition: This arrangement is to be permanent. Yet this first owner is kind compared to Northup’s next master, a “nigger-breaker” named Epps, portrayed by Michael Fassbender with terrifying, animalistic ferocity. McQueen exposes the full extent of slavery’s physical cruelty, from the endless hours of cottonpicking to the capricious acts of violence, as well as the system’s psychological toll. Ejiofor, with stoicism and crushing reserve, plays a man forced to keep his head down and feign illiteracy. At one point, he covertly attempts to write a letter by boiling blackberries to make ink, but the fruit fails to thicken. As the juice bleeds across the paper, it’s nearly as painful to watch as a scene of a whipping. Despite its handful of vicious instances of violence, 12 Years has none of the garish extravagance of last year’s Django Unchained, in which Quentin Tarantino perverted a historical atrocity into a hip-hop-scored spaghetti Western. 12 Years is a vital corrective to that film—instead of spraying blood over the cotton bolls, McQueen focuses on the wholesale perversion of human relationships caused by slavery. Epps, for example, cannot understand his simultaneous love and hate for a slave named Patsey, played by a shattering Lupita Nyong’o, whom he brutally rapes and beats and yet still favors above his wife. Alongside such brutality, McQueen stages takes of astounding beauty and surprising tranquility. He’s a patient filmmaker, favoring long shots and wide angles over the quick cuts and close-ups that can sap scenes of their impact. At one point, Northup is nearly lynched, and he hangs from a branch, his toes just touching the ground. We hear his feet against the gurgling mud. Cicadas buzz. In the background, female slaves carry buckets of water. Children play tag. No one acts. The scene lasts for minutes. Yet watching 12 Years a Slave does not feel like an ethical or educational obligation. While its instructive value is undeniable, this is also a rousing portrait, a morally complicated tale and a masterful work of art. It’s not perfect—flashbacks to Northup’s life as a free man in New York are too idyllic, and the literary language can feel stilted— but it comes damn close. A 12 Years a Slave is rated R. It opens Friday at Fox Tower.
CONT. on page 40 Willamette Week OCTOBER 30, 2013 wweek.com
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OCT. 30 - NOV. 5
lematic for a film: It is the heroic triumph of superior, mostly white American forces against amateurish, violent African criminals. But Paul Greengrass’ film is no Black Hawk Down. Whenever the Navy SEALs emerge, they are seen in blank silhouette, accompanied by the ominous music of alien assault. It’s an interesting choice by Greengrass: Why won’t he let you just root for Tom Hanks and the Navy and then cheer at the end? Instead, we observe the inevitable violent death of the only real characters in the film: the pirates themselves. Though shot with an eerie, disciplined neutrality, this is perhaps the most compassionate piece of filmmaking I’ve seen this year. PG-13. MATTHEW KORFHAGE. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Moreland, Oak Grove, Division, Lloyd Center, Movies on TV, Sherwood, Sandy.
Carrie
C- Kimberly Peirce’s new take on Stephen King’s seminal high-school tale is gorgeously shot, capably acted and appropriately gruesome. But it also manages the dubious task of being at once horrifically redundant, lazy and irresponsible in its inability to fit itself into the current landscape, one that could desperately use a more thoughtful rethinking of the story of a bullied high-school outcast. We exist now in a post-Columbine world, one where the conversation about bullying permeates our cultural consciousness. And it’s in this respect that Peirce’s lack of nuance and inability to reinterpret her source material becomes troubling. In essentially re-creating De Palma’s work, Peirce misses an opportunity to really say something about Carrie’s story. Peirce—who, it’s important to note, gave us one of cinema’s most tragic and heartfelt portraits of victimization with Boys Don’t Cry—just goes through the beats of DePalma’s film and does little to bring its underlying themes into focus. It’s We Need to Talk About Kevin repurposed as a rollicking revenge flick. Carrie White and her victims deserve better. So do we. R. AP KRYZA. Eastport, Clackamas, Forest, Division, Lloyd Center, Movies on TV, Sherwood.
NEW
nected vignettes and gruesome acts of violence. We get some glimpses into the ludicrously moneyed world these characters inhabit, a place where cheetahs wearing rhinestone collars sit both poolside and pianoside. It’s a world of Bentleys, diamonds and snakeskin boots, riches that Scott ogles in artless closeups. It’s also an oversexed world, which is where that woman with the cheetah-print tattoos enters. She’s played by Cameron Diaz, in a stiff, affected performance so bad it’s painful to watch. As with McCarthy’s novels adapted for the screen— The Road and No Country for Old Men—The Counselor is peopled with bizarre characters harboring dark motives. This effort, though, could have used some counseling of its own. R. REBECCA JACOBSON. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Living Room Theaters, Oak Grove, Division, Lloyd Center, Movies on TV, Sherwood, Sandy.
Despicable Me 2
C This sequel to 2010’s blockbuster adds Kristen Wiig as high-spirited love interest and expands the animated repertoire to encompass 3-D thrills, but the story itself, which shoehorns Gru into the service of a global super-spy league for the flimsiest of reasons, arrives packed with exposition and shorn of coherency. PG. JAY HORTON. Eastport, Indoor Twin, Movies on TV.
Don Jon
A- Joseph Gordon-Levitt’s debut as a triple threat—writer, director and star, a la Clint Eastwood—is appropriately festooned with the time-honored totems of macho masculinity. We’ve got cartoon-
ish muscles, unbridled rage, some good old-fashioned misogyny and, of course, sex that’s all about the man. “Condoms are just terrible,” whines Jon (Gordon-Levitt), a Guido beefcake who likes porn better than real sex. “But you gotta wear one because, unlike porn, real pussy will kill you.” Or rather, real pussy—with all its trappings of commitment— will kill your bachelor lifestyle. Jon doesn’t have time for that. He is so immersed in Internet porn that it’s hard to tell whether his attitudes about sex and love are the product or the cause of his obsession. When Jon meets super-fox Barbara (Scarlett Johansson) and actually tries to date her, her abject horror at his obsessive meat-pounding kicks off the slow unraveling of Jon’s belief in porn as the apex of sexual stimulation. Gordon-Levitt brings just enough depth to the character, and to the film overall, to turn a schlocky premise into an honest and approachable exploration of how porn—and really, any other addictive simulation of reality—can cheat us out of the richness of actual experiences. R. EMILY JENSEN. Living Room Theaters. NEW
Ender’s Game
Author Orson Scott Card has come under fire for his criticism of gay marriage, but this adaptation of his sci-fi novel nevertheless arrives heavily hyped. Screened after WW press deadlines, but look for Curtis Woloschuk’s review at wweek.com. PG-13. Cedar Hills, Eastport, Clackamas, CineMagic, Mill Plain, Cornelius, Oak Grove, Cinema 99, Birdgeport, City Center,
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REVIEW H E C TO R M AT TA
MOVIES
Closure
[ONE DAY ONLY, DIRECTOR AND SUBJECT ATTENDING] The Portland premiere of a documentary about a multiracial adoptee working to track down her birth parents. Clinton Street Theater. 4 pm Sunday, Nov. 3.
Cloudy With a Chance of Meatballs 2
Cheeseburgers, falling from the sky! Again! PG. 99W Drive-In, Cedar Hills, Eastport, Clackamas, Cornelius, Oak Grove, Division, Movies on TV, Sherwood, Sandy. NEW
The Counselor
D+ So far as I can tell, The Counselor has one primary lesson to teach viewers: Drug trafficking is bad. Real bad. Unless, of course, you’re an exotic dancer-turnedheartless villain with cheetah print tattoos down your back and your fingernails painted silver. Then you’re in the clear. The Counselor, directed by Ridley Scott and written by Cormac McCarthy (it’s the author’s first original screenplay), is an unmitigated mess. It’s a cautionary tale about drug trafficking and reckless romance, set on the U.S.-Mexico border, but it’s so full of faux-poetic mumbo-jumbo and so choppily assembled that the result is just frustrating and dumb. The titular character, played by Michael Fassbender, is an unnamed lawyer who has gotten himself into a mess involving a martini-guzzling client (Javier Bardem, his hair looking like he stuck his finger in an electric socket) and a cowboy hat-wearing middleman (Brad Pitt). As it becomes obvious things will unravel for Fassbender, Pitt turns to him: “Counselor, I don’t know what you should do, but it’s out of your hands,” he says. The film, likewise, spirals out of Scott’s hands, lurching between discon-
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Willamette Week OCTOBER 30, 2013 wweek.com
OVER THE BORDER: It’s one thing to hear the facts: In the past 15 years, more than 2,500 migrants attempting to cross the Mexico-Arizona border through the Sonora Desert have perished en route. It’s quite another to view the decomposing corpse of a 13-year-old girl discovered baking in the 108-degree sun, as depicted in Marco Williams’ The Undocumented. This young Jane Doe is one of hundreds each year that fall victim to heat exhaustion and dehydration in the desert. The death toll has risen steadily as the U.S. has tightened its borders, forcing migrants on a much longer and more treacherous journey. The Undocumented follows attempts to identify these corpses and return them to their families, weaving together narratives of several Mexican families whose loved ones remain missing. The film paints a deeply human portrait of all parties involved, from employees at the Mexican Consulate in Tucson struggling to provide answers to grief-stricken families, to the grim-faced Border Patrol in the desert that tensely tries both to enforce laws and save lives. While it’s clear who the victims are, the perpetrator is less clearly defined. But Tucson medical examiner Bruce Parks’ closing words haunt the viewer: “The United States is asking for this labor force. We have to ask ourselves, do we have some responsibility in these deaths?” GRACE STAINBACK. A SEE IT: The Undocumented plays at the NW Film Center’s Whitsell Auditorium. 7 pm Wednesday, Oct. 30.
OCT. 30 - NOV. 5
MOVIES KERRY BROWN/TWENTIETH CENTURY FOX
Division, Hilltop, Lloyd Center, Lloyd Mall, Movies on TV, Pioneer Place, Sherwood, Sandy, St. Johns Twin.
Enough Said
A- Watching Nicole Holofcener’s
Enough Said is a bit like watching any romantic comedy—provided you’re hung over and bleary-eyed and vulnerable, a little raw from the weight of life. Which is to say, it’s a bit less like the comedies of film and a bit more like the comedies that occur in life, with laughter a balm for tart failure and for the embarrassment of naked hope. In Enough Said, you’re going to get a huge sitcom-caliber calamity: Julia Louis-Dreyfus’ new best friend (Catherine Keener) turns out to be the embittered ex-wife of her new lover (James Gandolfini). The film is a rare thing: a portrait of middleaged romance that feels genuine in its baby steps and lurches, the hesitations of people out of practice. Louis-Dreyfus’ comedy is rooted in missed opportunity and sudden regret, Keener’s often in the brittle judgment of the alpha female. Gandolfini’s? Apparently it comes from love. In his final role, he shows a tenderness and goodnatured humor that imbues the film with an extra layer of pathos: that we will not know him this way again. One of his last lines in the film is “I’ve missed you.” Well, I’ll miss him, too. PG-13. MATTHEW KORFHAGE. Hollywood Theatre, Cedar Hills.
Escape Plan
C+ Escape Plan is the sort of film they don’t make anymore. Every single element, from choice of fonts to riff-dappled score to blithe racism, has been curated to assend-of-the-’80s specifications. Forget about the story, which is just the latest iteration of an evergreen crowd pleaser. The central conceit— prison security specialist Ray Breslin (Sylvester Stallone) finds himself mysteriously shunted to a privately operated detention facility housing a hulking graybeard with a thick accent (Arnold Schwarzenegger)— isn’t especially ludicrous. No more or less suspension of disbelief is demanded than from the average popcorn flick, but the reliance on rightfully abandoned modes of storytelling proves torturous. Stallone and Schwarzenegger are in their comfort zone, to be sure. Even as the film plays out with all the verve and tension of a John Deere catalog, our heroes do their damnedest to distract. But these sorts of films, these immobile actioners, feel so cramped after a while, especially compared to the hyperkinetic restlessness of modern shoot-’em-ups. And yet. In the final, oddly rousing battle, when Schwarzenegger finally grabs a machine gun, the viewer feels momentary awe. Within the simplest possible staging, the filmmakers insert a close-up of his deadened gaze. It’s an old trick, equal parts Man With No Name and Dick Tracy, and, in the instant, timeless. R. JAY HORTON. Cedar Hills, Eastport, Clackamas, Forest, Oak Grove, Division, Movies on TV, Sherwood, Sandy.
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Free Birds
B While we wouldn’t quite call Free Birds a good idea, there are so many children’s pics waiting to collide at the Christmas line of scrimmage that any cartoon set during November (even a mismatched pair of turkeys traveling through time to steer the first Thanksgiving away from poultry) seems, well, smart business. Helmed by Horton Hears a Who! vet Jimmy Hayward and voiced by an enviable troupe of A-listers, the resulting feature arrives with sweeping inoffensiveness and large personalities. Woody Harrelson’s grizzled self-satire as a Turkey Liberation Front radical might actually comfort both sides of the vegan divide. If the film changes any Thanksgiving menus, credit less the mixed moral lesson than the impossibly unappetizing depictions: These turkeys resemble golfclub cozies in pastel-colored suede jackets. And, if we must watch
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THE COUNSELOR
another iteration of an adorably feckless fellow wooing an officious overachiever, Owen Wilson and Amy Poehler know the roles pretty well. For a production so strictly manufactured, there’s an addled comedic sensibility given blessedly free range. Children won’t understand any of the jokes, of course, but this isn’t really a kid’s movie. The nimble tiptoe past racially sensitive issues and the Brueghelian tint of the computer animation tend toward the dully ominous, and the only interesting character development plays strictly for adults. Neither kids nor parents will be happy, exactly, but that’s not the point of Thanksgiving. We gather together, ignore the dry white meat, and load up on the stuffing. PG. JAY HORTON. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Oak Grove, Division, Movies on TV, Sherwood, Sandy.
way it calls bullshit on Hollywood’s gender dynamics and the dreck that passes for feminist cinema. R. REBECCA JACOBSON. Living Room Theaters.
Gravity
A- With Gravity, Alfonso Cuarón
and his screenwriter son, Jonas, take on the most primal fear possible, that of being lost in an abyss of nothingness. The film features only two actors, Sandra Bullock and George Clooney. Their simple space-station repair mission turns into a nightmare as debris from a destroyed satellite tears their shuttle to shreds and they’re left hopelessly adrift with a dwindling supply of oxygen. It is perhaps the most stressful experience to be had in a movie theater this year, and as such it’s nearly perfect. Bullock exudes terror and strength. Clooney, here playing a supporting piece of space debris, becomes the film’s sense of calm and functions as much-needed comic relief. It’s impossible to even consider relaxing as the characters drift from one scrape with death to the next over the course of 90 unrelenting minutes. But it’s in the brief lulls that Cuarón manages his most amazing feats, allowing us to stop and stare in awe at the beauty of the images onscreen. PG13. AP KRYZA. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Oak Grove, Division, Lloyd Center, Movies on TV, Sherwood, Sandy, St. Johns Twin.
In a World...
B+ Lake Bell is on a crusade against
“sexy baby voice.” For those unfamiliar with this obnoxious tic, imagine if Betty Boop incorporated some of Ke$ha’s vocal fry—that low, guttural vibration—and ended every sentence as if it were a question. That’s Bell’s pet peeve, and she lampoons it to pitch-perfect effect in In a World…, which she wrote, directed, produced and stars in. But as funny as that sendup is, it’s still far from the best thing in the film, which takes us into the idiosyncratic and competitive realm of voice-over artists. Bell plays Carol, an aspiring voice-over artist who ends up vying for voice-over work on the trailers for a hilarious Hunger Games-style spoof. The movie is overstuffed, but its unassuming tone, its generosity of spirit, and Bell’s skillful performance redeem the uneven pacing and bumpy storytelling. But most of all, In a World… succeeds for the
Insidious: Chapter 2
C- The scariest thing about Insidious: Chapter 2 is that there will probably be a Chapter 3. Full of cheap scares, loud noises that are more obnoxious than jarring, and obvious visual cues, it’s an expected downgrade from the lo-fi charms of the surprisingly decent original. As in the original, Chapter 2’s sequences involving the Further— its vision of the netherworld—are far and away the most engaging; there’s something charming about the austerity of the place, which consists of little more than LED lamps and smoke machines. But for every good scene, there are two or three bad ones, with ludicrous plot developments hampering what little momentum director James Wan has established. PG-13. MICHAEL NORDINE. Clackamas, Movies on TV.
Jackass Presents: Bad Grandpa
Johnny Knoxville puts on old-man makeup and gets wheeled across the country in a shopping cart. Or something. Look for Jay Horton’s review at wweek.com. R. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Oak Grove, Division, Lloyd Center, Movies on TV, Sherwood, Sandy. NEW
KPFA on the Air
[ONE NIGHT ONLY, REVIVAL] A 2000 documentary about Berkeley, Calif.’s KPFA, the first listener-supported radio station in the U.S., followed by a panel discussion with KBOO broadcasters. Hollywood Theatre. 7 pm Sunday, Nov. 3. NEW
Last Vegas
C- One can easily imagine the
pitch that led to Last Vegas: “It’s The Hangover for the retired set!” John Turtletaub’s film thrusts four 60-something besties (Michael Douglas, Robert De Niro, Morgan Freeman and Kevin Kline) into Sin City for a bachelor party/last hurrah in hopes hilarity will ensue. If that premise sounds familiar, so are the ensuing shenanigans: fanny packs, bikini contests, Viagra jokes, unearned nostalgia and shopworn musings on aging. Though intermittently funny and not entirely without their charms, Turteltaub’s half-hearted attempts to create a new Rat Pack mostly fall flat. The familiarity of the gags works against the movie rather than for it, and no one onscreen seems to be having an especially good time, a feeling likely to be shared by the audience. So much screen time is devoted to defusing the longstanding tension between Douglas’ and De Niro’s characters—they liked the same girl; De Niro married her and Douglas didn’t show up at her funeral—that their would-be romp is ultimately something of a downer. Which would be fine if the film’s thoughts on friendship and mortality were especially poignant, but they’re as hackneyed as the jokes about boners, transvestites and
HAPPY HALLOWEEN
Willamette Week OCTOBER 30, 2013 wweek.com
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MOVIES
oct. 30 - nov. 5
50 Cent, who at one point is mistaken for a member of the Jackson 5. PG-13. MICHAEL NORDINE. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Oak Grove, Division, Lloyd Center, Movies on TV, Sherwood, Sandy.
Machete Kills
Danny Trejo is back as a bounty hunter-dodging secret agent who must take down an evil arms manufacturer who wants to send a weapon into space. Woof. R. Movies on TV.
Madness and Glory: The History of the Satyricon new
[TWO NIGHTS ONLY, DIRECTOR ATTENDING] A documentary directed by Mike Lastra about Portland’s legendary, now-defunct music venue, with interviews and archival footage of performances. Hollywood Theatre. 7 pm Saturday and 9:30 pm Thursday, Nov. 2 and 7. new
Mortified Nation
[ONE NIGHT ONLY, DIRECTORS ATTENDING] Mortified stage shows are a long-running project, somewhat akin to The Moth, with adults reading their childhood writings before a live audience. This new documentary charts the growth of Mortified and includes plenty of performance footage, some of it shot in Portland. Mission Theater. 7 pm Friday, Nov. 1. new
Muscle Shoals
C+ To hear Bono talk, the Alabama city of Muscle Shoals is a holy place conducive to magic and alchemy. Granted, the Irishman could probably wax equally rhapsodic about a digestive cookie. So, it’s a good thing the riverside city has the hymns to back up his assertion. Classics like Percy Sledge’s “When a Man Loves a Woman” and Aretha Franklin’s “Respect” were recorded within FAME Studios’ unassuming walls, produced by Rick Hall and propelled by the Swampers, a powerhouse backing band with all the aura of farmhands. But first-time director Greg Camalier rarely delves into the actual recording of these staples. Frequently, we glimpse keyboardist Spooner Oldham coaxing out a few skeletal chords before the finished track bursts forth fully formed. While this practice ensures that such hallowed tunes as the Rolling Stones’ “Wild Horses” are never reduced to multiple takes and overdubs, it’s too cursory of an approach. Camalier gives short shrift to both Hall’s tragic backstory and his falling out with the Swampers, instead trotting out more effusive talking heads. (You’ll be hard-pressed to recall seeing Keith Richards this [re] animated.) And yet, the film possesses considerable persuasive power despite its modest substance and simple construction, making it very much like the timeless songs it showcases. PG. CURTIS WOLOSCHUK. Living Room Theaters.
new
My Neighbor Totoro
[THREE DAYS ONLY, REVIVAL] Hayao Miyazaki’s 1988 film, about two little girls who discover a mystical forest inhabited by delightful creatures, helped launch the anime director to international fame. G. Fifth Avenue Cinema. 7 and 9:30 pm FridaySaturday and 3 pm Sunday, Nov. 1-3. new
Nebraska
[ONE NIGHT ONLY] Alexander Payne’s new movie, about an elderly man convinced he’s won a million dollars and the son who reluctantly takes him on a road trip to collect his winnings, doesn’t open in Portland till Nov. 5, but the Hollywood Theatre hosts an advance screening. Afterwards, film critic Peter Travers will host a videostreamed Q&A with stars Bruce Dern and Will Forte. Portland composer Mark Orton, who scored the film, will also attend. R. Hollywood Theatre. 7 pm Tuesday, Nov. 5.
Planes
B+ Planes is a straightforward lark about a plucky crop-duster afraid of heights who manages to qualify for a round-the-world race. The global stereotypes lend themselves to humor
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at turns racist (the Mexican plane wears a wrestling mask), anti-racist (the gleaming, unaccented Mexican air force saves the American champ), and meta-racist (the Mexican plane harbors romantic stirrings for a sleek French-Canadian craft) while also enabling the studio’s trademark nuggets of scattershot whimsy. Buckle up, it’s gonna be a smooth ride. PG. JAY HORTON. Valley.
Prisoners
B Like Clint Eastwood’s sadistically
bleak Mystic River, Denis Villeneuve’s Prisoners presents its protagonists with an unimaginable horror: the abduction of their young daughters. As Pennsylvania patriarchs driven to the edge by the disappearance of their 7-year-olds, Hugh Jackman’s and Terrance Howard’s faces are mapped with anguish as their characters go to extreme measures to bring home their daughters. But unlike Mystic River, this year’s first high-profile awards contender wrings pulp out of the proceedings, something Eastwood was too busy torturing his characters to try. That’s not to say Prisoners is better than the overrated Mystic River, but it is far more watchable. After all, we want to watch our villains suffer, so most audiences will thrill at the idea of Jackman, shedding his Wolverine costume but not the menace, kidnapping and torturing a suspect (Paul Dano) in an effort to translate his pain into answers. Scenes between Jackman, Howard and the impressive Dano are wonderfully tense, but the film loses traction whenever Jake Gyllenhaal enters. As a hotshot detective, Gyllenhaal is perfectly effective, but it’s during his investigation that the mystery derails into total pulp. Still, Villeneuve, who exploded onto the scene with 2010’s devastating Incendies, shows endless potential in his U.S. debut. It may not have the endlessly pummeling effect of Mystic River or Ben Affleck’s Gone Baby Gone, but in terms of child-abduction thrillers, Prisoners is engaging and gut-wrenching—without diving into an abyss of emotional torture in the name of entertainment. R. AP KRYZA. Eastport, Division, Movies on TV.
Runner Runner
D+ Runner Runner exists in an alternate reality where everybody speaks in gambling metaphors, hot college students stop midparty to gather excitedly around a computer to watch a dude play online poker for a few hours, and it’s possible for a kid with zero dollars in his bank account to hop instantly on a flight to Costa Rica. In this alternate universe, Ben Affleck never matured past his meatheaded douchebag persona—here, he plays a corrupt video-poker tycoon who smirks and lumbers around like the cocky high-school bully he played in Dazed and Confused. It is a world where Justin Timberlake loses all his considerable charisma despite playing Affleck’s protégé, who is seduced by the glitz and glamor of the apparently super-sexy and enticing world of shady online poker. In this alternate reality, mouse clicks and Web searches are supposed to constitute white-knuckle action, and street chases are glossed over as boring. It is not a world worth visiting. Or, to use words its characters might more easily understand: Don’t buy into this game. Or play your cards elsewhere. Or...whatever. This movie sucks. R. AP KRYZA. Division.
Rush
B- Right off the bat, let’s address the query that’s inevitably posed of all sports movies: Must one have a vested interest in the sport to enjoy said film? In the case of Rush, the answer is, “Of course not,” because if Ron Howard were banking on audience knowledge of the international Formula One racing scene of the 1970s to sell this biopic, EDtv suddenly wouldn’t seem like his worst misstep. Instead, the movie, based on the six-year battle for F1 supremacy between stern Austrian Niki Lauda (Daniel Brühl) and walking British hard-on James Hunt (Chris Hemsworth), deals with much more familiar (one might say tired) themes: the nature of professional rivalry, the sociopathy of competi-
Willamette Week OCTOBER 30, 2013 wweek.com
tion and the definitions of masculinity. Ninety percent of the film takes place on racetracks and in press conferences, and the moments meant to underscore the personal relationships driving (ahem) these two diametrically opposed men feel, ahem, rushed. The screenplay is by Peter Morgan, whose words transformed Howard’s Frost/ Nixon—essentially a two-hour sitdown interview—into a white-knuckle boxing match. Apparently, though, his skill doesn’t work in the other direction: Drowned out by all the vroomvroom, his dialogue can’t turn what’s essentially an intermittently entertaining actioner into the character-driven, ’70s-style talkie Howard envisions it being. R. MATTHEW SINGER. Eastport.
AP FILM STUDIES
Sex Worker Film Series: Screaming Queens
[ONE NIGHT ONLY, REVIVAL] The newish film series continues with a 2005 documentary about the drag queens and trans women who resisted police harassment at a diner in San Francisco’s Tenderloin in 1966. Clinton Street Theater. 7 pm Saturday, Nov. 2.
Specticast Concert Series: Pat Metheny new
[ONE NIGHT ONLY] A few years ago, the composer and jazz musician built a contraption called the Orchestrion, made of self-playing acoustic instruments triggered by Metheny’s guitar. Tonight, catch performance footage shot at a Brooklyn church in 2010. Clinton Street Theater. 7 pm Tuesday, Nov. 5.
Thelma & Louise
[ONE NIGHT ONLY, REVIVAL] The classic feminist road movie gets its own beer by Full Sail brewer Stephanie Duffy. Duffy has crafted an imperial Cascadian dark ale inspired by the movie, which will be on tap at tonight’s screening. R. Hollywood Theatre. 7 pm Friday, Nov. 1.
The Trials of Muhammad Ali
B+ [ONE NIGHT ONLY] The contro-
versy surrounding Muhammad Ali as a public figure is well summarized in the first two minutes of the latest tribute to the legendary boxer, Bill Siegel’s The Trials of Muhammad Ali. First, we see a 1968 TV broadcast in which host David Susskind tells Ali he is a “disgrace to his country, his race and what he laughably describes as his profession.” An abrupt cut to 2005 depicts George W. Bush awarding Ali the Presidential Medal of Freedom, remarking, “The American people are proud to call Muhammad Ali one of their own.” The rest of Siegel’s documentary is spent fleshing out the polarizing opinions of one of America’s most vivid personalities, from a radio announcer calling Ali a “bag of air” to an adoring legion of fans greeting him in Egypt as a legend and an inspiration. For those younger viewers who weren’t around during the often-racist social fervor of the Vietnam era, the film provides an honest glimpse of a time when Ali was more condemned than cherished. Trials is thorough and balanced in its presentation, ultimately an entertaining reminder that, bombastic or not, Ali was a fascinating cultural icon and a damn great fighter. GRACE STAINBACK. Cinema 21.
We’re the Millers
B- Up until now, I only tolerated Jennifer Aniston. She’s the vanilla ice cream of the cinematic world. But her performance as a caustic stripper in We’re the Millers is a sort of remedy for all those years of good-girl typecasting (save her role as a rapey dentist in Horrible Bosses). Is the novelty of a squeaky-clean Aniston working the pole yet another cheap Hollywood ploy to sell movie tickets? Absolutely. But it turns out she has the range to pull it off with surprising depth and feeling. R. EMILY JENSEN. Valley.
The Wolverine
B This is basically a high-budget take on an old-school samurai flick, with Wolverine as the ronin. And it’s as awesome as it sounds. PG-13. AP KRYZA. Valley.
before twilight: Max Schreck as Count orlok in Nosferatu.
SHARED NIGHTMARES HERE THERE BE DRAGONS—AND NOSFERATU. BY A P kRYzA
apkryza@wweek.com
At a party long ago, a bleary-eyed co-worker began talking about dragons. He was drunkenly regurgitating a theory that all humans were evolved from aquatic apes whose main predators were big cats, giant lizards and birds. The dragon was the combination of protohumans’ biggest fears, and through millions of years of evolution it became a shared residual nightmare. In an age when we’re bombarded with onscreen horrors, what nightmare creatures will future generations inherit? Will children dream of a Freddie Krueger? A Jason Voorhees? Or a Paula Deen? Most likely, the monster will look a lot like Count Orlok, the eternally creepy vampire played so effectively by Max Schreck in 1922’s Nosferatu that people suspected he really was a vampire (another shared evolutionary trait: People are dumbasses). The silent film—playing Wednesday with a live original score— isn’t just the earliest example of vampire lore transported to the screen. It’s also the first full-blown horror flick (with respect to The Cabinet of Dr. Caligari). Schreck, immersed in director F.W. Murnau’s dreary atmosphere, seizes the screen with his spindly fingers. He lodges his pointed ears, sunken eyes and grotesque grin in the viewer’s mind. He moves like an ancient predator, creeping through the shadows and into our imaginations. Ninety years later, Count Orlok is already part of our shared nightmares. The enduringly terrifying character has found his way into nearly every facet of cinematic terror. He burst open the doors of vampire myth and paved the way for everyone from Dracula to those sparkly things we needn’t name. He inspired generations of stalkers in the shadows. Without him, we would have no Tall Man in Pan’s Labyrinth, no Mr. Burns in The Simpsons. Willem Dafoe might be out of work. Millions of years from now, when we’ve evolved into superior beings, children will have nightmares about mysterious creatures: In Japan, they might have long, flowing black hair. In North America, they might sport gloves made of knives. But they’ll all have the pointy ears, black eyes and menacing grin of a pasty old vampire from 1922. Mission Theater. 8 pm Wednesday, Oct 30. Also showinG: In other live-soundtrack news, Portland’s Beth Karp has written one to accompany the 1920 horror flick The Golem. Alberta Rose Theatre. 6 pm Wednesday, Oct. 30. As old Robert Redford sails the seas in All Is Lost, young Redford charms his way into trouble in The Sting. Academy. Nov. 1-7. Before it was a Nicolas Cage punch line, The Wicker Man was a high mark for brain-fuck horror. Hollywood Theatre. Nov. 1-7. With 1931’s M, Fritz Lang made a dreary film—and set the stage for a longtime love affair with onscreen serial killers. NW Film Center’s Whitsell Auditorium. 4:30 and 7 pm Saturday, Nov. 2. Federico Fellini paints a love letter to himself in 8½, ushering in a generation of masturbatory filmmaking. 5th Avenue Cinema. 8 pm Saturday, Nov. 2.
MOVIES
NOV. 1-7
COURTESY OF UNIVERSAL PICTURES
Sun-Mon-Tue-Wed 12:15, 02:45, 05:15, 07:45, 10:15 ARRAMBAM Fri-Sat-SunMon-Tue-Wed 11:10, 02:35, 06:00, 09:25
Regal Cinemas Bridgeport Village Stadium 18 & IMAX
7329 SW Bridgeport Road, 800-326-3264 ENDER’S GAME Fri-SatSun-Mon-Tue-Wed 01:00, 04:00, 07:30, 10:30 ENDER’S GAME: THE IMAX EXPERIENCE Fri-Sat-SunMon-Tue-Wed 12:00, 03:30, 07:00, 10:00 ABOUT TIME Fri-Sat-Sun-Mon-Tue-Wed 11:30, 03:00, 07:15, 10:15
Living Room Theaters NOT ON A BOAT: The Sting plays at the Academy on Nov. 1-7.
Regal Lloyd Center 10 & IMAX
1510 NE Multnomah St., 800326-3264 ENDER’S GAME: THE IMAX EXPERIENCE Fri-Sat-SunMon-Tue-Wed 01:10, 04:10, 07:05, 09:55 ENDER’S GAME Fri-Sat-Sun-MonTue-Wed 12:40, 03:40, 06:35, 09:25 LAST VEGAS Fri-Sat-Sun-Mon-Tue-Wed 12:20, 03:50, 07:00, 09:50 GRAVITY 3D Fri-Sat-SunMon-Tue-Wed 12:00, 02:25, 04:55, 06:20, 07:20, 09:00, 09:45 GRAVITY Fri-SatSun-Mon-Tue-Wed 12:45, 03:15 CAPTAIN PHILLIPS Fri-Sat-Sun-Mon-TueWed 12:15, 03:20, 06:25, 09:30 THE COUNSELOR Fri-Sat-Sun-Mon-Tue-Wed 12:30, 03:35, 06:40, 09:35 JACKASS PRESENTS: BAD GRANDPA Fri-SatSun-Mon-Tue-Wed 12:05, 01:00, 02:35, 03:55, 05:05, 06:50, 07:30, 09:20, 10:00 CARRIE Fri-Sat-Sun-MonTue-Wed 12:55, 03:30, 06:10, 09:05
Clinton Street Theater
2522 SE Clinton St., 503238-8899 REPO! THE GENETIC OPERA Fri 12:00 SCREAMING QUEENS: THE RIOT AT COMPTON’S CAFETERIA Sat 07:00 THE ROCKY HORROR PICTURE SHOW Sat 12:00 CLOSURE Sun 04:00 LET’S NOT Sun 07:30 JFK: A PRESIDENT BETRAYED Mon 07:00 PAT METHENY: THE ORCHESTRION PROJECT Tue 07:00 ROLLING STONES FREE HYDE PARK CONCERT Wed 07:00
Moreland Theatre
6712 SE Milwaukie Ave., 503236-5257 CAPTAIN PHILLIPS Fri-SatSun-Mon-Tue-Wed 05:30, 08:15
Mt. Hood Theatre
2320 Lloyd Center Mall, 800-326-3264 ENDER’S GAME Fri-SatSun-Mon-Tue-Wed 12:10, 02:45
401 E Powell Blvd., 503-6650604 THE SMURFS 2 Fri-SatSun-Mon-Tue-Wed 04:30 PERCY JACKSON: SEA OF MONSTERS Fri-Sat-SunMon-Tue-Wed 07:00 THE MORTAL INSTRUMENTS: CITY OF BONES Fri-SatSun-Mon-Tue-Wed 09:00
Regal Division Street Stadium 13
St. Johns Twin Cinemas and Pub
Regal Lloyd Mall 8
16603 SE Division St., 800326-3264 ENDER’S GAME Fri-SatSun-Mon-Tue-Wed 12:25, 03:20, 05:10, 07:00, 08:00, 09:50 FREE BIRDS FriSat-Sun-Mon-Tue-Wed 12:10, 02:30, 04:50, 07:10, 09:30 FREE BIRDS 3D Fri-Sat-Sun-Mon-TueWed 12:40, 03:00, 05:20, 07:40 LAST VEGAS FriSat-Sun-Mon-Tue-Wed 12:00, 02:35, 05:05, 07:35, 10:10 JACKASS PRESENTS: BAD GRANDPA Fri-SatSun-Mon-Tue-Wed 12:15, 12:50, 02:40, 03:10, 05:00, 05:30, 07:20, 07:55, 09:45, 10:15 THE COUNSELOR Fri-Sat-Sun-Mon-Tue-Wed 12:55, 03:40, 06:50, 09:40 ESCAPE PLAN Fri-Sat-SunMon-Tue-Wed 12:35, 03:25, 06:55, 09:55 CARRIE Fri-Sat-Sun-Mon-Tue-Wed 12:20, 02:50, 05:15, 07:50, 10:15 CAPTAIN PHILLIPS Fri-Sat-Sun-Mon-Tue-Wed 12:30, 03:30, 06:30, 09:35 GRAVITY Fri-Sat-Sun-MonTue-Wed 03:05 GRAVITY 3D Fri-Sat-Sun-Mon-TueWed 12:45, 05:25, 07:45, 10:05 RUNNER RUNNER Fri-Sat-Sun-Mon-Tue-Wed 10:00 CLOUDY WITH A CHANCE OF MEATBALLS 2 Fri-Sat-Sun-Mon-Tue-Wed 12:05, 02:25, 04:45, 07:05, 09:25 PRISONERS Fri-SatSun-Mon-Tue-Wed 01:00
8704 N Lombard St., 503286-1768 GRAVITY Fri-Sat-Sun-MonTue-Wed 05:00, 07:15, 09:15 ENDER’S GAME Fri-Sat-Sun-Mon-Tue-Wed 05:45, 08:20
CineMagic Theatre
2021 SE Hawthorne Blvd., 503-231-7919 ENDER’S GAME Fri-SatSun-Mon-Tue-Wed 05:30, 08:00
Century 16 Eastport Plaza
4040 SE 82nd Ave., 800326-3264-952 DESPICABLE ME 2 Fri-Sat 11:20, 01:55, 04:25, 06:55, 09:40 ESCAPE PLAN FriSat 11:00, 01:50, 04:40, 07:30, 10:25 PRISONERS Fri-Sat 11:25, 02:55, 06:25, 09:50 RUSH FriSat 12:10, 03:20, 06:35, 09:35 CLOUDY WITH A CHANCE OF MEATBALLS 2 Fri-Sat 12:00, 04:55, 09:45 CLOUDY WITH A CHANCE OF MEATBALLS 2 3D Fri-Sat 02:25, 07:20 GRAVITY Fri-Sat 01:30, 09:00 GRAVITY 3D FriSat 11:05, 12:05, 02:45, 04:00, 05:10, 06:30, 07:35, 10:05 CAPTAIN PHILLIPS Fri-Sat 12:20, 03:50, 07:05, 10:10 CARRIE Fri-Sat 11:30, 02:05, 04:35, 07:15, 09:55 THE COUNSELOR Fri-Sat
01:00, 03:55, 07:00, 10:00 JACKASS PRESENTS: BAD GRANDPA Fri-Sat 11:15, 12:30, 01:45, 03:00, 04:15, 05:30, 06:45, 08:00, 09:15, 10:30 ENDER’S GAME Fri-Sat-Sun 11:00, 01:50, 04:40, 07:30, 10:20 LAST VEGAS Fri-Sat 11:10, 01:45, 04:30, 07:10, 10:00 FREE BIRDS Fri-Sat 12:15, 05:15 FREE BIRDS 3D FriSat 02:45, 07:45, 10:15
99 West Drive-In
Highway 99W, 503-538-2738 CLOUDY WITH A CHANCE OF MEATBALLS 2 Fri-SatSun 07:00 THE MORTAL INSTRUMENTS: CITY OF BONES Fri-Sat-Sun 08:45
Fifth Avenue Cinemas
510 SW Hall St., 503-7253551 MY NEIGHBOR TOTORO Fri-Sat-Sun 03:00 8 1/2 Sat 08:00
NW Film Center’s Whitsell Auditorium
1219 SW Park Ave., 503221-1156 ONIBABA Fri-Sun 04:30 M Sat 04:30, 07:00 LENNY COOKE Wed 07:00
Regal Pioneer Place Stadium 6 340 SW Morrison St., 800326-3264 ENDER’S GAME Fri-SatSun-Mon-Tue-Wed 01:10, 04:00, 07:00, 10:00
Century 16 Cedar Hills
3200 SW Hocken Ave., 800326-3264-984 ESCAPE PLAN Fri-SatSun-Mon-Tue-Wed 02:30, 08:50 CLOUDY WITH A CHANCE OF MEATBALLS 2 Fri-Sat-Sun-Mon-TueWed 11:30, 02:00, 07:00 CLOUDY WITH A CHANCE OF MEATBALLS 2 3D FriSat-Sun-Mon-Tue-Wed 04:30, 09:30 GRAVITY Fri-Sat-Sun-Mon-Tue-Wed 01:15, 03:45, 06:15, 08:45 GRAVITY 3D Fri-SatSun-Mon-Tue-Wed 12:00, 02:30, 05:00, 07:30, 10:00 CAPTAIN PHILLIPS Fri-SatSun-Mon-Tue-Wed 11:20, 12:55, 04:05, 05:40, 07:15, 10:25 ABOUT TIME Fri-SatSun-Mon-Tue-Wed 11:00, 01:55, 04:50, 07:45, 10:40 ENOUGH SAID Fri-Sat-SunMon-Tue-Wed 11:00, 01:45, 10:30 THE COUNSELOR Fri-Sat-Sun-Mon-Tue-Wed 11:00, 01:55, 04:50, 07:45, 10:35 JACKASS PRESENTS: BAD GRANDPA Fri-SatSun-Mon-Tue-Wed 11:30, 12:45, 02:00, 03:15, 04:30, 05:45, 07:00, 08:15, 09:30, 10:45 ENDER’S GAME Fri-Sat-Sun-Mon-Tue-Wed 11:25, 12:50, 02:15, 03:40, 05:05, 06:30, 07:55, 09:20, 10:45 LAST VEGAS FriSat-Sun-Mon-Tue-Wed 11:35, 02:10, 04:45, 07:20, 09:55 FREE BIRDS Fri-SatSun-Mon-Tue-Wed 11:00, 01:30, 04:00, 06:30, 09:00 FREE BIRDS 3D Fri-Sat-
341 SW 10th Ave., 971-2222010 20 FEET FROM STARDOM Fri-Sat-Sun-Mon-Tue-Wed 12:30, 02:30, 08:35 BIG SUR Fri-Sat-Sun-MonTue-Wed 12:10, 03:00, 05:10, 06:40, 09:30 DON JON Fri-Sat-Sun-MonTue-Wed 12:40, 02:40, 05:00, 07:00, 09:00 IN A WORLD... Fri-Sat-SunMon-Tue-Wed 02:50, 04:30, 07:30 THE COUNSELOR Fri-Sat-SunMon-Tue-Wed 11:55, 12:20, 02:20, 04:45, 05:15, 07:15, 07:45, 09:40, 10:05 YOU WILL BE MY SON Fri-SatSun-Mon-Tue-Wed 12:00, 02:10, 04:20, 06:50, 09:10
Century Clackamas Town Center and XD
12000 SE 82nd Ave., 800326-3264-996 ESCAPE PLAN Fri-SatSun-Mon-Tue-Wed 11:05, 02:00, 04:55, 07:50, 10:40 CLOUDY WITH A CHANCE OF MEATBALLS 2 Fri-Sat-Sun-MonTue-Wed 11:25, 04:30, 09:35 CLOUDY WITH A CHANCE OF MEATBALLS 2 3D Fri-Sat-Sun-MonTue-Wed 02:00, 07:05 INSIDIOUS: CHAPTER 2 Fri-Sat-Sun-Mon-Tue-Wed 10:20 INSTRUCTIONS NOT INCLUDED Fri-SatSun-Mon-Tue-Wed 10:55 GRAVITY Fri-Sat-SunMon-Tue-Wed 11:10, 09:10 GRAVITY 3D Fri-Sat-SunMon-Tue-Wed 12:30, 01:40, 03:00, 04:15, 05:30, 06:45, 08:00, 10:25 CAPTAIN PHILLIPS Fri-Sat-SunMon-Tue-Wed 11:30, 12:55, 02:50, 04:10, 06:05, 07:25, 09:15, 10:30 CARRIE FriSat-Sun-Mon-Tue-Wed 11:55, 02:35, 05:10, 07:55, 10:30 I’M IN LOVE WITH A CHURCH GIRL Fri-Sat-SunMon-Tue-Wed 12:20, 03:20 THE COUNSELOR Fri-SatSun-Mon-Tue-Wed 11:00, 01:50, 04:45, 06:20, 07:35, 09:20, 10:35 JACKASS PRESENTS: BAD GRANDPA Fri-Sat-Sun-Mon-Tue-Wed 11:05, 11:50, 12:40, 01:30, 02:20, 03:10, 03:55, 04:50, 05:40, 06:30, 07:20, 08:10, 09:05, 09:50, 10:40 ENDER’S GAME Fri-SatSun-Mon-Tue-Wed 11:55, 01:00, 02:55, 04:00, 06:00, 07:00, 08:55, 10:00 LAST VEGAS Fri-Sat-Sun-MonTue-Wed 11:15, 01:55, 04:35, 07:15, 10:05 FREE BIRDS Fri-Sat-Sun-Mon-Tue-Wed 11:00, 01:30, 04:00, 06:30, 09:00 FREE BIRDS 3D Fri-Sat-Sun-Mon-Tue-Wed 12:15, 02:45, 05:15, 07:45, 10:15 PULLING STRINGS Fri-Sat-Sun-Mon-Tue-Wed 11:10, 01:55, 04:40, 07:30, 10:15 DIRTY HARRY SunWed 02:00, 07:00
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TREE SERVICE NE Steve Greenberg Tree Service 1925 NE 61st Ave. Portland, Oregon 97213 503-774-4103
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CELL PHONE REPAIR N Revived Cellular & Technology 7816 N. Interstate Ave. Portland, Oregon 97217 503-286-1527 www.revivedcellular.com
Receive complete Documentation • computer printout of muscle spasm/inflammation • Examination page • Updated diagnosis page
We Provide • Physical Exams • Therapies • Acupuncture • Massage • Chiropractic • Spinal decompression • Documentation
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Mary Jane’s House of Glass
Glass Pipes, Vaporizers, Incense, Candles. 10% discount for new OMA Card holders! 1425 NW 23rd, Ptld. 503-841-5751 7219 NE Hwy 99, Vanc. 360-735-5913 44
MEN’S HEALTH Bodyhair grooming M4M. Discrete quality service. 503-841-0385 by appointment.
Inner Sound
2510 NE Sandy Blvd Portland, Or 97232 503-969-3134 www.atomicauto.biz
Totally Relaxing Massage
Featuring Swedish, deep tissue and sports techniques by a male therapist. Conveniently located, affordable, and preferring male clientele at this time. #5968 By appointment Tim 503.575.0356
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Devoted, nurturing, loving gay couple looking to adopt first baby into a family offering education, fun, travel, laughter, and unconditional love and support. Call, TEXT, or email anytime about Kyle & Adrian; 971-238-9651 or kyleandadrianfamily@gmail.com or visit kyleandadrianadoption.com PREGNANT? THINKING OF ADOPTION? Talk with caring agency specializing in matching Birthmothers with Families Nationwide. LIVING EXPENSES PAID. Call 24/7 Abby’s One True Gift Adoptions. 866-413-6293. (AAN CAN)
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Hindustani Vocal Concert Srivani Jade, Vocalist with Vivek Datar on Harmonium, and Ravi Albright on Tabla
SERVICES BUILDING/REMODELING
PCC Rock Creek 17705 Springville Rd • Portland, OR 97229
Saturday, Nov. 9, 2013, 7:30pm
Tickets are $20 for non-members in advance and available through www.kalakendra.org or may be purchased at the door for $25. Students $15 and children $10 ($12 at the door). 2013-14 Friends of Kalakendra and members are admitted free. Membership is available at the door.
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Get trained as FAA certified Aviation Technician. Housing and Financial aid for qualified students. Job placement assistance. Call Aviation Institute of Maintenance 877-492-3059 (AAN CAN)
BAZAARS/RUMMAGE SALES 16th Annual Holiday Craft Show Yachats on the Coast Inside Yachats Commons This Sat-Sun, 10am, 70 Booths Art, Food, Demos, Fun +100’s of Gifts!!! FREE ADMISSION 541-547-4664
LAWN SERVICES Bernhard’s
Residential, Commercial and Rentals. Complete yard care, 20 years. 503-515-9803. Licensed and Insured.
TREE SERVICES Steve Greenberg Tree Service
Pruning and removals, stump grinding. 24-hour emergency service. Licensed/ Insured. CCB#67024. Free estimates. 503-284-2077
Mary Jane’s House of Glass
Glass Pipes, Vaporizers, Incense, Candles. 10% discount for new OMA Card holders! 1425 NW 23rd, Ptld. 503-841-5751 • 7219 NE Hwy 99, Vanc. 360-735-5913
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Week of October 31
JOBS CAREER TRAINING
ARIES (March 21-April 19): Once when I was hiking through Maui’s rain forest, I spied a majestic purple honohono flower sprouting from a rotting log. As I bent down close, I inhaled the merged aromas of moldering wood and sweet floral fragrance. Let’s make this scene your metaphor of the week, Aries. Here’s why: A part of your life that is in the throes of decay can serve as host for a magnificent bloom. What has been lost to you may become the source of fertility. Halloween costume suggestion: a garbage man or cleaning maid wearing a crown of roses. TAURUS (April 20-May 20): What don’t you like? Get clear about that. What don’t you want to do? Make definitive decisions. What kind of person do you not want to become and what life do you never want to live? Resolve those questions with as much certainty as possible. Write it all down, preferably in the form of a contract with yourself. Sign the contract. This document will be your sacred promise, a declaration of the boundaries you won’t cross and the activities you won’t waste your time on and the desires that aren’t worthy of you. It will feed your freedom to know exactly what you like and what you want to accomplish and who you want to become. Halloween costume suggestion: the opposite of who you really are. GEMINI (May 21-June 20): Are you up for an experiment? Not just on Halloween, but for a week afterwards, be scarier than your fears. If an anxious thought pops into your mind, bare your teeth and growl, “Get out of here or I will rip you to shreds!” If a demon visits you in a nightly dream, chase after it with a torch and sword, screaming “Begone, foul spirit, or I will burn your mangy ass!” Don’t tolerate bullying in any form, whether it comes from a critical little voice in your head or from supposedly nice people who are trying to guilt-trip you. “I am a brave conqueror who cannot be intimidated!” is what you could say, or “I am a monster of love and goodness who will defeat all threats to my integrity!” CANCER (June 21-July 22): Are you ready to be amazed? Now would be an excellent time to shed your soul’s infantile illusions . . . to play wildly with the greatest mystery you know . . . to accept gifts that enhance your freedom and refuse gifts that don’t . . . to seek out a supernatural encounter that heals your chronic sadness . . . to consort and converse with sexy magical spirits from the future . . . to make love with the lights on and cry when you come. Halloween costume suggestion: the archetypal LOVER. LEO (July 23-Aug. 22): Some people in your vicinity are smoldering and fuming. The air is heavy with emotional ferment. Conspiracy theories are ripening and rotting at the same time. Hidden agendas are seeping into conversations, and gossip is swirling like ghostly dust devils. Yet in the midst of this mayhem, an eerie calm possesses you. As everyone else struggles, you’re poised and full of grace. To what do we owe this stability? I suspect it has to do with the fact that life is showing you how to feel at home in the world no matter what’s happening around you. Keep making yourself receptive to these teachings. Halloween costume suggestion: King or Queen of Relaxation. VIRGO (Aug. 23-Sept. 22): Unification should be a key theme for you in the coming weeks. Anything you do that promotes splicing and blending and harmonizing will get extra help, sometimes from mysterious forces working behind the scenes. The more you work to find common ground between opposing sides, the stronger you’ll feel and the better you’ll look. If you can manage to mend schisms and heal wounds, unexpected luck will flow into your life. To encourage these developments, consider these Halloween disguises: a roll of tape, a stick of Krazy Glue, a wound that’s healing, a bridge. LIBRA (Sept. 23-Oct. 22): What do you think you’d be like if you were among the one-percent-wealthiest people on Earth? Would you demand that your government raise your taxes so you could contribute more to our collective well-being? Would you live simply and cheaply so you’d have more money to donate to charities and other worthy causes? This Halloween season,
I suggest you play around with fantasies like that -- maybe even masquerade as an incredibly rich philanthropist who doles out cash and gifts everywhere you go. At the very least, imagine what it would be like if you had everything you needed and felt so grateful you shared your abundance freely. SCORPIO (Oct. 23-Nov. 21): What if you had the power to enchant and even bewitch people with your charisma? Would you wield your allure without mercy? Would you feel wicked delight in their attraction to you, even if you didn’t plan to give them what they want? I suspect these questions aren’t entirely rhetorical right now. You may have more mojo at your disposal than you realize. Speaking for your conscience, I will ask you not to desecrate your privilege. If you must manipulate people, do it for their benefit as well as yours. Use your raw magic responsibly. Halloween costume suggestion: a mesmerizing guru; an irresistible diva; a stage magician. SAGITTARIUS (Nov. 22-Dec. 21): I had a dream that you were in the film O Brother, Where Art Thou? You were like the character played by George Clooney after he escaped from a prison chain gang. Can you picture it? You were wearing a striped jailbird suit, and a ball and chain were still cuffed around your ankle. But you were sort of free, too. You were on the lam, making your way from adventure to adventure as you eluded those who would throw you back in the slammer. You were not yet in the clear, but you seemed to be en route to total emancipation. I think this dream is an apt metaphorical depiction of your actual life right now. Could you somehow use it in designing your Halloween costume? CAPRICORN (Dec. 22-Jan. 19): I invite you to try the following exercise. Imagine the most powerful role you could realistically attain in the future. This is a position or niche or job that will authorize you to wield your influence to the max. It will give you the clout to shape the environments you share with other people. It will allow you to freely express your important ideas and have them be treated seriously. Let your imagination run a little wild as you visualize the possibilities. Incorporate your visions into your Halloween costume. AQUARIUS (Jan. 20-Feb. 18): In the course of earning a living, I have worked four different jobs as a janitor and six as a dishwasher. On the brighter side, I have performed as a songwriter and lead singer for six rock bands and currently write a syndicated astrology column. According to my analysis of the astrological omens, you Aquarians are primed to cultivate a relationship with your work life that is more like my latter choices than the former. The next eight months will be a favorable time to ensure that you’ll be doing your own personal equivalent of rock singer or astrology columnist well into the future. Halloween costume suggestion: your dream job. PISCES (Feb. 19-March 20): Author Robert Louis Stevenson loved the work of poet Walt Whitman, recommending it with the same enthusiasm as he did Shakespeare’s. Stevenson also regarded Whitman as an unruly force of nature, and in one famous passage, called him “a large shaggy dog, just unchained, scouring the beaches of the world and baying at the moon.” Your assignment is to do your best imitation of a primal creature like Whitman. In fact, consider being him for Halloween. Maybe you could memorize passages from Whitman’s Leaves of Grass and recite them at random moments. Here’s one: “I too am not a bit tamed, I too am untranslatable, / I sound my barbaric YAWP over the roofs of the world.”
Homework Meditate on death not as the end of physical life, but as a metaphor for shedding what’s outworn. In that light, what’s the best death you’ve experienced? Freewillastrology.com
check out Rob Brezsny’s Expanded Weekly Audio Horoscopes & Daily Text Message Horoscopes
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Ruby Spa at the Grand Lodge in Forest Grove Is now hiring LMTs and Nail Techs! 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.
Stars Cabaret in TUALATINHiring (Tualatin-TigardLake Oswego)
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MUSICIANS MARKET FOR FREE ADS in 'Musicians Wanted,' 'Musicians Available' & 'Instruments for Sale' go to portland.backpage.com and submit ads online. Ads taken over the phone in these categories cost $5.
INSTRUMENTS FOR SALE TRADEUPMUSIC.COM
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Stars Cabaret in TUALATIN is now accepting applications for Servers, Bartenders, Hostess, Valet. Part and Full-time positions available. Experience preferred but not required. Earn top pay + tips in a fast-paced and positive environment. Stars Cabaret is also conducting ENTERTAINERS auditions and schedule additions Mon-Sun 11am-10pm.
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MOTOR GENERAL “Atomic Auto New School Technology, Old School Service” www.atomicauto.biz mention you saw this ad in WW and receive 10% off for your 1st visit!
AUTOS WANTED MCMENAMINS WILSONVILLE OLD CHURCH AND PUB is now hiring LINE COOKS and DISHWASHERS! Qualified apps must have an open & flex sched including, days, eves, wknds and holidays. We are looking for applicants who have prev exp related exp and enjoy working in a busy customer serviceoriented enviro. We are willing to train! 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.
EMPLOYMENT OPPORTUNITIES MCMENAMINS RUBY SPA at the Grand Lodge in Forest Grove Is now hiring NAIL TECHs and LMTs! Qualified apps must have an open & flex sched including, days, eves, wknds and holidays. We are looking for applicants who have prev exp related exp and enjoy working in a busy customer service-oriented enviro. We are also willing to train! 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.
CASH FOR CARS: Any Car/Truck. Running or Not! Top Dollar Paid. We Come To You! Call For Instant Offer: 1-888-420-3808 www.cash4car.com (AAN CAN)
RENTALS ROOMMATE SERVICES ALL AREAS - ROOMMATES.COM. Browse hundreds of online listings with photos and maps. Find your roommate with a click of the mouse! Visit: www.Roommates.com. (AAN CAN)
Indian Music Classes with Josh Feinberg
Specializing in sitar, but serving all instruments and levels! 917-776-2801 www.joshfeinbergmusic.com
Learn Piano All styles, levels
With 2 time Grammy winner Peter Boe. 503-274-8727.
STUFF FURNITURE
BEDTIME
TWINS
MATTRESS
$
COMPANY
79
FULL $ 89
QUEEN
(503)
760-1598
109
$
7353 SE 92nd Ave Mon-Fri 9-5, Sat 10-2
Custom Sizes » Made To Order Financing Available
PETS Piper, Larry, Healey and Tasty.
WARNING : The Surgeon General has determined that the level of cuteness and sweetness that these puppies are emitting can cause symptoms including but not limited to : shortness of breath, heart palpitations, dizziness and extreme happiness. That’s right…these babies are the embodiment of all that is adorable and squishy and loving. They are also… puppies!! That means potty training, crying fits and chewed up tennies, so while these little loves are as perfect and healthy and social as they come they are still a whole lot of work so we ask that all puppy parents really consider their schedules and willingness to lose some sleep! With puppy adoption we do have mandatory puppy class enrollment offered at a number of different facilities just to be sure these little cuties grow up to be the best big (little) doggies we can be! We are vaccinated and will be fixed and microchipped with our adoptions! Our adoption fees are $350. There are four of us, 2 boys and 2 girls. Please fill out the adoption application at www.pixieprojet.org and submit it to the ladies at pixie project so we can set up a time to meet! Thanks so much and we can’t wait to meet you! 503-542-3432 • 510 NE MLK Blvd • pixieproject.org Willamette Week Classifieds OCTOBER 30, 2013 wweek.com
45
TO PLACE AN AD CONTACT:
CHATLINES Curious About Men? Talk Discreetly with men like you! Try FREE! Call 1-888-779-2789 www. guyspy.com (AAN CAN)
MATT PLAMBECK
503-445-2757 • mplambeck@wweek.com
JONESIN’ by Matt Jones
In the Cards–I’m kind of a big deal.
THE POWER OF
CLASSIFIEDS
43 15th-century Flemish painter 46 “Damn Yankees” vamp 47 Vlad, as the legend goes 48 Green energy type 49 You, to Yves 50 He played Locke on “Lost” 54 “I’d like to buy ___” (“Wheel” request) 55 With great skill 56 Battle (for) 57 Ave. crossers 58 Had a debate 59 Superlative ending
Across 1 Drill sergeant’s syllable 4 Formal promise? 10 Casablanca’s country: abbr. 13 Land on the Med. Sea 14 He wrote of Walden Pond 16 Diminutive ending, in Italian 17 Pop artist who used faceless stick figures 19 Big shot in the office
20 Serial piece 21 Budget brand of Intel CPUs 23 “Comfortably ___” (Pink Floyd) 24 Jazz great with the album “High Priestess of Soul” 27 Location finder, briefly 28 High-rated search engine, once 29 Hip hop fan, maybe 30 Increasingly hard to
find net surfer 31 Calvin and Naomi 33 “The Devil’s Dictionary” author 36 ___ and Guilder (warring “The Princess Bride” nations) 37 They may include twists 38 Dip ___ in the water 39 Handout after a checkup 40 Choke, or a joke
Down 1 Outdoors activity 2 Depletes 3 Rainbow creators 4 “Am ___ only one?” 5 “Keep it down!” 6 Condo grp. 7 Part of ETA 8 German cameras 9 Highway sections 10 Of small organisms 11 Two-person basketball game 12 Andy and Mickey 15 “Unattractive” citrus 18 Margarine holder 22 Campfire remains 24 Parachute fabric 25 Finishes a cake 26 Message response that’s not really a response 28 “Footloose” actress Singer 30 Cold sore-fighting brand in a tiny tube 31 Mall booth 32 “___ get this party started”
33 “Gimme Shelter” speedway 34 Oft-mocked treats 35 “Helicopter” band ___ Party 36 Dish served with a distinct sound 39 “Cyrano de Bergerac” star Jose 40 Become available to the general public, as a new website 41 “Thank U” singer Morissette 42 January birthstone 44 Utah ski resort 45 “I ___ drink!” 46 Reed recently deceased 48 Flooring meas. 51 D&D, e.g. 52 “___ Mama Tambien” 53 “Bravo, matador!”
last week’s answers
©2013 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 #JONZ647.
E WW
EK
T O D M CO
46
Week Classifieds OCTOBER 30, 2013 wweek.com
TO PLACE AN AD CONTACT:
MATT PLAMBECK
503-445-2757 • mplambeck@wweek.com
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47
BACK COVER
TO ADVERTISE ON WILLAMETTE WEEK’S BACK COVER CALL 445-2757 BANKRUPTCY
Do you want to be debt free? Call Now: 503-808-9032 FREE Consultation. Payment Plans. Scott Hutchinson, Attorney www.Hutchinson-Law.com
$BUYING JUNK CARS$ $100-$2000 no title required ,free removal call Jeff 503-501-0711 jms300zx@yahoo.com
Bankruptcy Attorney
It’s not too late to eliminate debt, protect assets, start over. Experienced, compassionate, top-quality service. Christopher Kane, 503-380-7822 www.ckanelaw.com
AA HYDROPONICS
9966 SW Arctic Drive, Beaverton 9220 SE Stark Street, Portland American Agriculture • americanag.com PDX 503-256-2400 BVT 503-641-3500
FULL-BODIED FELLATIO / THURS, NOV 7TH - FULL PLEASURE, POWER AND PAIN: AN INTRO TO BDSM / SUN, NOV 10TH - 7:30 – $20 BEYOND MONOGAMY / THURS, DEC 5 - 7:30 – $20 Register early on-line, classes fill up quickly! THE JOYS OF TOYS! / WED, DEC 11 - 7:30 – $15 SHEBOPTHESHOP.COM 909 N BEECH STREET, HISTORIC MISSISSIPPI DISTRICT 503-473-8018 SU-TH 11–7, FR–SA 11–8
NBA PLAYER HOUSE
$Cash for Junk Vehicles$
Ask for Steve. 503-936-5923 Licensed/Bonded/Insured
Community Law Project
20% Off Any Smoking Apparatus With This Ad!
Sliding-Scale Nonprofit Attorneys Bankruptcy - Tenants Small Business - More (503)208-4079 www.CommunityLawProject.org
BUY LOCAL, BUY AMERICAN, BUY MARY JANES
Guitar Lessons
Personalized instruction for over 15yrs. www.danielnoland.com 503-546-3137
HIPPIE MODELS
Females 18+. Natural/hairy/unshaved. Good Fit Bodies. Creative/fun outdoor nude shoots for Hippiegoddess.com. $400-$600. 503-449-5341 Emma
8’ Entry & 7’ Interior Doors • High Counters
Guest House
Glass Pipes, Vaporizers, Incense & Candles
7219 NE Hwy. 99, Suite 109
Enjoy the Benefits of Massage
Massage openings in the Mt. Tabor area. Call Jerry for info. 503-757-7295. LMT6111.
Pre-Listing Sale • Save $ • Buy Direct
Vancouver, WA 98665
(360) 735-5913 212 N.E. 164th #19 Vancouver, WA 98684
(360) 514-8494
1425 NW 23rd Portland, OR 97210 (503) 841-5751
6913 E. Fourth Plain Vancouver, WA 98661
8312 E. Mill Plain Blvd Vancouver, WA 98664
(360) 213-1011
1156 Commerce Ave Longview Wa 98632
(360) 695-7773 (360) 577-4204 Not valid with any other offer
1825 E Street
Washougal, WA 98671
(360) 844-5779
WHERE SINGLES MEET Oregon Wage Claim Browse & Reply FREE! Attorneys 503-299-9911
Improvisation Classes Now enrolling. Beginners Welcome! Brody Theater 503-224-2227 www.brodytheater.com
The Urantia Book: A Very Mysterious Book
Use FREE Code 2557, 18+
Portland’s LARGEST Garage Sale w/Antiques & Collectibles
New Renaissance Bookstore 1338 NW 23rd Ave, Fri. Nov. 1, 7-8:30 pm, $12 Integrates and illuminates science, religion and philosophy www.UrantiaBook.com
Saturday Nov. 2nd 8am-5pm @ Portland EXPO Center 2060 N Marine Dr 97217 Over 300 Sales! Adults $5 Kids Free www.portlandgsale.com
Medical Marijuana
card Services clinic
Helping Oregon employees collect wages! Free consultation! Schuck Law (503) 974-6142 (360) 566-9243 http://wageclaim.org
Qigong Classes
Cultivate health and energy www.nwfighting.com or 503-740-2666
Relfexology
River and Mt. Hood Views
Please see raptorhangout.info for pictures
call - Kris 503-274-8118 Opiate Treatment Program
Oregon Medical Marijuana Patient Resource Center
Evening outpatient treatment program with suboxone. CRCHealth/Dr. Jim Thayer, Addiction Medicine http://belmont.crchealth.com 1-800-797-6237
Muay Thai
*971-255-1456* 1310 SE 7TH AVE
Self defense & outstanding conditioning. www.nwfighting.com or 503-740-2666
Treat your feet at Hong Kong Foot Spa 8747 SW Beaverton-Hillsdale HWY suite E, Portland, 97225 Call 971-300-3836
Open 7 Days www.ommpResourceCenter.com
North West Hydroponic R&R
We Buy, Sell, & Trade New & Used Hydroponic Equipment. 503-747-3624
ONLY
$125 Phone (503) 208-2166 info@greenlifecompassionclinic.com www.greenlifecompassionclinic.com
503-384-Weed (9333) www.mmcsclinic.com 4911 NE Sandy Blvd, Portland • open 7 days
Oregon Medical Marijuana Recommendations
New Downtown Location! 1501 SW Broadway www.mellowmood.com
4119 SE Hawthorne, Portland ph: 503-235-PIPE (7473)