N ATA L I E B E H R I N G . C O M
NEWS KITZ’S CAMPAIGN CONFLICT. FOOD HOT NEW SZECHUAN HOT POT. WEED OREGON’S LEGALIZATION TO-DO LIST. P. 7
P. 25
“GANJA GANGS WILL SCURRY BACK TO THEIR HIDEY HOLES.”
WILLAMETTE WEEK PORTLAND’S NEWSWEEKLY
SAKI’S BIG BET
P. 51
THE CITY SAYS SAKI TZANTARMAS IS HOLDING HIS EAST PORTLAND NEIGHBORHOOD HOSTAGE. BY AARON MESH PAGE 14
WWEEK.COM
VOL 41/02 11.12.2014
P. 51
2
Willamette Week NOVEMBER 12, 2014 wweek.com
WILL CORWIN
FINDINGS
PAGE 24
WHAT WE LEARNED FROM READING THIS WEEK’S PAPER VOL. 41, ISSUE 2.
Advantages of the streetcar include THE EXTRAVAGANT CONSTRUCTION EXPENSE OF
LIGHT RAIL and the punishing
inefficiency of a bus. 4
State officials charged with calming fallout from THE COVER OREGON DEBACLE ran their responses through Gov. John Kitzhaber’s campaign consultants. 7 Speaking of consultants, if serving on A CITIZEN COMMITTEE WITH THEM , it’s best to have a thick skin. 12 If you would like to hear a a parody of Frozen’s “Let It Go” with lyrics about being A CRACK WHORE , there’s a place in East Portland. 14
The HUMP FILM FESTIVAL is a nice little outing for college freshmen, but true perverts can do a lot better. 23 Before THE DOCK was The Dock, it was a training ground for a humble local dance troupe. 42 Sorry, Paula, we no longer care where all THE REAL COWBOYS have gone. 43 Our weed columnist believes a mythical drug kingpin poses a potential threat to ETERNAL POTENTATE JOHN KITZHABER . Given the current state of affairs in Salem, this seems both plausible and not without merit. 51
OUR MOST TRAFFICKED STORY ONLINE THIS WEEK: You’ll soon be allowed to possess a halfpound of weed in Oregon. Readers are stoked about this.
STAFF Editor-in-Chief Mark Zusman EDITORIAL Managing Editor for News Brent Walth Arts & Culture Editor Martin Cizmar Staff Writers Nigel Jaquiss, Aaron Mesh, Beth Slovic Copy Chief Rob Fernas Copy Editors Matt Buckingham, James Yu Stage & Screen Editor Rebecca Jacobson Web & Projects Editor Matthew Korfhage Music Editor Matthew Singer Books Penelope Bass Dance Kaitie Todd
Visual Arts Richard Speer Editorial Interns Gabriella Dunn, Shannon Gormley, James Helmsworth, Miller Resor, Dakota Smith CONTRIBUTORS Nathan Carson, Rachel Graham Cody, Pete Cottell, Jordan Green, Jay Horton, AP Kryza, John Locanthi, Grace Stainback, Mark Stock PRODUCTION Production Manager Dylan Serkin Art Director Kathleen Marie Special Sections Art Director Kristina Morris Graphic Designers Mitch Lillie, Xel Moore Production Intern Daniel Cole
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INBOX AIRBNB IN PORTLAND
Over the last year, city officials and dedicated citizens spent thousands of hours crafting a short-term rental ordinance that would allow Airbnb rentals in single-family homes and duplexes to be become legal [“Safety Last,” WW, Nov. 5, 2014]. At public hearings in April and July, Portland Airbnb hosts begged for and ultimately received such a policy. Now they are ignoring it. So the question is: How do you get Airbnb hosts to register? Here are three ideas: (1) Part of the ordinance requires that the host’s license number appear in all print and online advertising, including Airbnb. To its credit, Airbnb has added a field to enter this number in the property description. So, it is easy to tell if a listing is licensed or not. Now Airbnb and the city of Portland need to work together as “shared city” partners and state that any listing in Portland without a license number will be removed by April 1, 2015. This will give all Airbnb hosts a reasonable amount of time and a real incentive to register. (2) If Airbnb is unwilling to remove listings without license numbers, then the city needs to sue Airbnb to get details on all listings that do not display a license number. (3) In San Francisco’s new ordinance, failure to comply with notices of violations can subject a host to civil and/or criminal penalties, including fi nes of $1,000 per day and county jail time. Portland needs to update its ordinance with similar explicit penalties. Will the real Airbnb please stand up? The company portrays itself as a humble “home-
It’s fall, and my streetcar is becoming a sweaty, muggy mess again. Whenever the outdoor temperature drops below 80, they start blasting the heat. Why are temperatures on public transit so extreme when we live in such a moderate climate? —Tired of Removing Layers Streetcars: When you want something that combines the extravagant construction expense of light rail with the punishing, traffic-bound inefficiency of the bus. Most of my favorite transit scholars (and don’t we all have a few?) think streetcars will be a waste of resources until they have their own traffic lanes—no cars allowed. Of course, if you had dedicated transit lanes, you could just run buses on those. They’d be just as fast for a fraction of the cost, and you wouldn’t be stuck on the streetcar, getting passed by oxcarts loaded with caged geese. Anyway, Tired, on to your actual question. I think it’s worth noting—as we contemplate 4
Willamette Week NOVEMBER 12, 2014 wweek.com
sharing” service that wants to work with cities. But its refusal to take any meaningful action to support compliance with regulations designed to support its business is the other half of Airbnb. —“Steven Unger” Airbnb has zero interest in actually being a good partner. Their strategy is to simply operate illegally in every market, ignoring warnings and cease-and-desist orders until they begrudgingly reach some accommodation with the city…which they then don’t honor. —“Snats” I recently signed up to be an Airbnb host. I don’t have a permit yet, but it’s not because I haven’t tried. Searching for “Airbnb permit Portland” just brings up articles about how no one is applying for a permit, and the city of Portland permit site doesn’t have it clearly listed either. Guess I’ll be calling the number at the bottom. Looking forward to waiting on hold! —“Amy Harris”
CORRECTION
Last week’s 40th-anniversary item “Fred Meets Carrie…” (page 32) incorrectly reported the first air date of Portlandia. The TV show premiered Jan. 21, 2011. 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.
the soul-crushing tedium of being forced to remove one’s North Face jacket and drape it over one’s arm—that approximately one in 10 people who set out on the Oregon Trail died en route. While it’s diverting to imagine a world where the streetcar has a comparable mortality rate (“Look around the car—if you don’t see anybody who looks sickly, it’s gonna be you!”), in real life we’ve got it pretty soft. That’s not to say transit engineers don’t try to coddle you still further. On the MAX, for example, the cars are kept deliberately cooler in cold weather, on the assumption you’ll be more warmly dressed. Even so, it’s not easy to maintain a constant temperature in a small, moving room with big doors that are constantly opening and closing. Perhaps someday, we’ll have temperature-stabilizing quantum force fields to hold your commute at a rock-steady 68 degrees. Until then, try standing closer to the door. QUESTIONS? Send them to dr.know@wweek.com
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STATE GOVERNMENT: Kitzhaber’s campaign staff ruled. POLITICS: Four truths about weed. HOTSEAT: Talkin’ trash about the street tax. COVER STORY: Competing visions for a Lents icon.
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Portland’s most popular schools are under threat, but some education advocates say that’s a good thing. On Nov. 10, the Portland School Board heard a proposal to curb neighborhood-to-neighborhood student transfers and to limit preferential placement of siblings when admitting students to coveted magnet programs such as Da Vinci Arts Middle School. Both policies currently favor white and upperincome families. The proposed changes have huge implications for Portland’s livability and quest for racial inclusion. Proponents of the current system say parents’ ability to send their children to schools outside their neighborhoods keeps middle-class families in Portland. Those families are crucial to the district’s financial strength. But critics say neighborhood transfers weaken neighborhood schools. Sibling placement contributes to the disproportionate number of white and upper-income students at schools like Da Vinci, and critics of the current system say that’s not fair to lower-income and minority students. “We want the district to design a system where the color of a student’s skin does not predict success, as it currently does,” the proposal reads.
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On Nov. 7, the Multnomah County Medical Examiner’s Office ruled that the Oct. 14 death of Cougar Burleigh—a 38-year-old Olympia, Wash., man who was found at about 3:30 am Oct. 12 on the west side of the Burnside Bridge without his pants, cellphone and ID—was a homicide. As first reported on wweek.com, BURLEIGH the ruling marks a significant reversal. The medical examiner initially ruled the circumstances of Burleigh’s death from a severe head injury were “undetermined.” Portland police said they suspected Burleigh, who was intoxicated after a night of barhopping, had accidentally fallen to his death, so they initially declined to open a criminal investigation. But under pressure from Burleigh’s family, police located witnesses who said Burleigh had been involved in some sort of “confrontation” before he fell. “We knew it was a homicide from Day One,” says Nancy Shadley, Burleigh’s stepmother.
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The ride-sharing startup Uber keeps d riving closer to Portland. The San Francisco company, which enlists drivers to use their own cars as de facto taxis, says it’s launching its service Nov. 12 in Gresham, Hillsboro, Beaverton and Tigard. Portland remains the only large West Coast city where Uber doesn’t operate—because the city’s taxi board has barred the company (“Them’s the Brakes,” WW, July 16, 2014). Uber operates in Eugene, Salem and Vancouver, Wash., without permission. But Uber spokeswoman Eva Behrend says the company has the suburbs’ blessing. “Those mayors reached out to us, asking us to come,” Behrend says. Meanwhile, Airbnb reported spending $23,331 on lobbying City Hall in the third quarter of 2014. That’s when the City Council approved rules legitimizing the company’s operations (“Safety Last,” WW, Nov. 5, 2014). That brings Airbnb’s total lobbying this year to $47,614. Read more Murmurs and daily scuttlebutt.
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oregon.gov
NEWS
BLURRED LINES HOW KITZHABER’S RE-ELECTION CAMPAIGN SECRETLY SHAPED STATE POLICY AROUND COVER OREGON. By nig e l jaq ui ss
njaquiss@wweek.com
Gov. John Kitzhaber used campaign advisers to secretly direct his administration’s response to Cover Oregon, the state’s failed $250 million health insurance exchange. Previously undisclosed records show that the state’s official announcements about Cover Oregon were in fact often shaped by Kitzhaber’s re-election campaign consultants. Emails obtained by WW show his campaign advisers went so far as to shape the explanation a Kitzhaber adviser gave to Congress for the Cover Oregon failure. Kitzhaber’s campaign officials were also deeply involved in discussions about settling a dispute with Oracle Corp., the vendor that created the exchange’s website. And emails show Kitzhaber provided his campaign staff with confidential information regarding the legal dispute with Oracle. There’s supposed to be clear separation between an
WITH A LITTLE HELP FROM HIS FRIENDS: Gov. John Kitzhaber won a fourth term Nov. 4, defeating Republican Dennis Richardson.
elected official’s work of governing, which serves the public’s interest, and his campaign, which serves the candidate’s interest. Some overlap is inevitable. But emails show Kitzhaber’s campaign consultants in the past 10 months drove state policy to an unusual degree. In the end, sources tell WW, consultants for his reelection campaign orchestrated the decision to shut down Cover Oregon and switch to the federal health care exchange. That means hundreds of thousands of Oregonians will now have to re-register in the federal system, and that Kitzhaber surrendered control of a key part of his health care agenda putting politics ahead of policy. Kitzhaber’s chief of staff, Mike Bonetto, acknowledged the governor’s office turned to campaign consultants for advice. “Our office routinely seeks outside advice, review, input and counsel as the governor or I deem necessary,” Bonetto wrote in an email. “As it relates to Cover Oregon, I recognized that the multitude of Cover Oregon issues required additional experience and expertise beyond what we had available within our internal communications staff.” Bonetto says seeking outside help was beneficial. “As on any other issue, the governor took that advice and counsel and moved forward independently,” he says.
“His leadership around Cover Oregon resulted in a less risky and less expensive move to the federal exchange, and a reduction in overall operating costs at Cover Oregon.” Observers say, however, the appearance of campaign consultants shaping state policy is troubling. “It’s problematic,” says Paul Gronke, professor of political science at Reed College. “There’s supposed to be a bright line, but the lines have gotten so blurred between John Kitzhaber as candidate and as governor that people don’t see them anymore.” Political science professor Todd Donovan of Western Washington University says outside advisers should be objective, rather than campaign-driven. “If Kitzhaber had hired a PR firm that had never done any campaign work and they were doing messaging, I think we’d look at that differently,” Donovan says. “But the campaign staff has only one job—to get the governor re-elected.” Kitzhaber won re-election Nov. 4, defeating Republican Dennis Richardson, and is now headed to a historic fourth term as Oregon governor. He and his fiancee, first lady Cylvia Hayes, face ethics complaints alleging Hayes used her position in Kitzhaber’s office for personal gain and used state-paid staff to help run her private consulting business. The state also faces a legal battle with Oracle. Oregon has accused the high-tech multinational of fraud and racketeering and is seeking $2 billion in damages. That litigation is likely to provoke an aggressive response as Oracle explores what Kitzhaber knew about Cover Oregon, when he knew it and what he did. cont. on page 8 Willamette Week NOVEMBER 12, 2014 wweek.com
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NEWS
STATE GOVERNMENT
Since at least January, emails show, state officials worked closely with Kitzhaber’s campaign staff. A Feb. 7 email shows Kitzhaber was heavily involved. That day, there was a conference call about campaign strategy, including Bonetto, Kitzhaber spokeswoman Nkenge Harmon Johnson, Kitzhaber staff health care adviser Sean Kolmer and legislative director Dmitri Palmateer, Oregon Health Authority director Bruce Goldberg, OHA communications director Patty Wentz and five campaign consultants to discuss Cover Oregon. The conference call included several Kitzhaber campaign consultants: Patricia McCaig, his top campaign adviser; former senior aides Tim Raphael and Scott Nelson, both of whom were paid by the campaign; and campaign consultants Kevin Looper and Mark Wiener. By late February, the state was holding confidential negotiations to reach a legal settlement with Oracle. Despite the secrecy of the negotiations, Kitzhaber and his state staff shared confidential information about them with campaign consultants. On Feb. 28, Bonetto, Kitzhaber’s chief of staff, emailed that the governor’s general counsel, Liani Reeves, had just given him the latest update on the talks, including details of a potential financial settlement. Copied on the email were three members of Kitzhaber’s re-election team—Raphael, Looper and Wiener—and state employees Harmon Johnson, Wentz and Palmateer. “We’re 10 million apart in numbers and the timing of when that is paid,” Bonetto wrote. “We’re thinking about offering $16 million—they want it next week and we had offered to pay it in two installments over 60 days.” The state soon decided it would cut off talks and sever its relationship with Oracle. On March 2, Kitzhaber sent an email, labeled “Attorney Client Communication” in the subject line, to state officials and his campaign staff about what the official announcement should say. “This language is intended to mean that we are ending our current relationship with Oracle,” Kitzhaber wrote (his emphasis added), “which does not mean we could not use them as a subcontractor under a system integrator in the future.” Kitzhaber shared the confidential information with three state employees and three campaign consultants— again Raphael, Looper and Wiener. State-paid officials trying to manage Cover Oregon fallout were also told they must fi rst run their responses to the press through a Kitzhaber campaign consultant. That consultant was Raphael, formerly the governor’s staff spokesman and now with the lobbying and communications firm Strategies 360. In a March 14 email, Raphael spelled out how two state-paid officials, Kitzhaber spokeswoman Harmon Johnson and OHA spokeswoman Wentz, were to respond to media inquiries. “We need a process for quick, strategic responses to
8
Willamette Week NOVEMBER 12, 2014 wweek.com
“DURING MY TENURE, I WAS ADAMANT THAT THE GOVERNOR’S OFFICE AND HIS CLOSEST ADVISERS NOT BLUR THE LINES BETWEEN STATE INTEREST AND OTHER MATTERS. I WAS TOLD THAT AS LONG AS THINGS WERE GOOD IT DID NOT MATTER WHETHER THINGS WERE RIGHT.” —NKENGE HARMON JOHNSON
breaking stories and reporter calls coming into the Governor’s Office, Cover Oregon and other agencies,” Raphael wrote in the email, which went to Kitzhaber, three statepaid staff members and consultants Looper and Wiener. “Nkenge and Patty agree to contact Tim promptly upon receiving reporter inquiries on anything other than routine Cover Oregon/IT related questions.” The level of control Kitzhaber’s campaign staff exerted extended even to communication with Congress, which had provided the $250 million in federal funds spent on the Cover Oregon website that never worked as promised. In late March, the House Oversight and Government Reform Committee requested that Dr. Bruce Goldberg of the Oregon Health Authority come to Washington, D.C., to testify. On March 21, Bonetto emailed Kitzhaber’s campaign staff for advice. “Please see email below from House Oversight Cmt to Cover Oregon requesting Bruce as a witness,” Bonetto wrote. “Need to make a decision on this by Monday.” Greg Van Pelt, retired CEO of Providence Health and Services’ Oregon region and an adviser to Kitzhaber, was selected to go in Goldberg’s place, Van Pelt says, because Goldberg had recently broken his leg. Kitzhaber’s campaign consultants made sure Van Pelt was on message. On April 2, Raphael sent Harmon Johnson changes he and McCaig had made to Van Pelt’s testimony. “Priority changes are attached. Patricia and I have reviewed the testimony and have focused edits in two areas,” Raphael wrote. “1) Greg’s introduction—with a goal of establishing his private sector health care cred-
ibility and volunteer capacity with the state; and 2) The transition from ACA success to broken website and the Governor’s action to make sure it is not a barrier to enrollment.” On April 2, the day before Van Pelt’s testimony, McCaig sent an email to schedule a meeting that night between Kitzhaber’s re-election team and top officials in the governor’s office. McCaig made clear that she—not anyone from the governor’s office—was in charge. “I’d like to run tonight’s meeting and I think it should be limited to Cover Oregon issues,” McCaig wrote. “Specifically: 1) IT recommendation: content, process and timing; 2) Greg Van Pelt’s appearance [before Congress] tomorrow; 3) Hamstreet: contract, reporting authority, messaging, spokespeople.” “Hamstreet” is Clyde Hamstreet, a Portland turnaround consultant hired to fi x Cover Oregon’s problems. In May, at Kitzhaber’s urging, the Oregon Department of Justice filed suit against Oracle. A June 4 email, after furor over Cover Oregon had cooled, shows a continued mixture of Kitzhaber staff and campaign consultants preparing for a meeting at the governor’s Portland campaign headquarters. “We will be discussing a specific topic area: developing key messages,” McCaig wrote in the email, “identifying further research needs, and establishing a timeline and calendar.” In addition to the usual mix of Kitzhaber staffers and campaign consultants, the email went to Christian Gaston and Mike Marshall of the campaign; Duke Shepard, Kitzhaber’s state-paid labor adviser; and Steve Bella, a state contractor and associate of first lady Cylvia Hayes. Over the summer, Hamstreet chafed under the watch of McCaig, who sources say led the push to shut down Cover Oregon. Hamstreet opposed that decision. “I feel strongly that Oregon should keep its options open,” Hamstreet wrote in a report the state released to The Oregonian last month. Hamstreet also said that political expediency rather than public policy drove Cover Oregon’s decision-making. In the report, Hamstreet decried “excessive politicization of health care reform nationally and in the state.” “Need to get politics out of the picture,” Hamstreet wrote, as The Oregonian first reported Oct. 14. Neither McCaig nor any of the other Kitzhaber campaign consultants agreed to be interviewed for this story. Harmon Johnson also declined to comment. But in a Nov. 3 op-ed in The Oregonian, she wrote that she’d raised concerns about the role of Kitzhaber re-election consultants in running state policy. “During my tenure, I was adamant that the governor’s office and his closest advisers not blur the lines between state interest and other matters,” Harmon Johnson wrote. “I was told that as long as things were good it did not matter whether things were right.”
Willamette Week NOVEMBER 12, 2014 wweek.com
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Willamette Week NOVEMBER 12, 2014 wweek.com
Design Fashion
POLITICS
U N I T E D S TAT E S F I S H A N D W I L D L I F E S E R V I C E
NEWS
SMOKE SIGNALS FOUR THINGS YOU SHOULD KNOW ABOUT LEGAL WEED. BY NIG E L JAQ U I SS
and
AARO N M ES H
243-2122
U.S. Rep. Earl Blumenauer (D-Ore.) is greeting legal recreational pot with a bold prediction. “You are going to change national policy,” Blumenauer declared Nov. 4, less than an hour after the ballot box closed in Oregon. “The marijuana-legalization train has left the station.” Our crystal ball isn’t that focused. But since voters approved Measure 91, most people have learned the answers to three basic questions: No, marijuana isn’t actually legal until July 2015. No, you will not be allowed to smoke in public. And no, medical marijuana will not cease to exist—at least not anytime soon. But the more interesting questions are still being decided by the Oregon Liquor Control Commission, which has until Jan. 1, 2016, to set the rules for selling recreational pot. Here are four truths about where Oregon’s weed train is going.
People from outside Oregon are going to get rich.
Washington and Colorado have a residency requirement for those who want to invest in growing, processing or retail operations. That’s designed to keep money in-state and allow state officials to keep a closer eye on operators. Oregon, which has long been an economic colony for out-of-state investors, has no such restriction. Anthony Johnson, chief petitioner for Measure 91, says the idea was to avoid legal challenges and to mimic Oregon’s alcoholic beverage industry, which allows investment from anywhere. “People with capital can get around restrictions in any case,” Johnson says.
Oregon’s marijuana law is more progressive than our alcohol law.
Since Prohibition ended, Oregon has separated the production of alcohol from its distribution, a system that distributors love but retailers do not. Measure 91 allows for vertical integration, which means a farmer can grow weed and also sell it, cutting out the middleman. In Washington, there have been supply problems, leaving retailers at the mercy of producers and contributing to high prices. “We look at it like a brewery or winery that has a retail outlet,” Johnson says. “It helps business provide an affordable product.”
Driving while under the influence of marijuana in Oregon is probably going to be a flash point.
In Colorado and Washington, state officials established objective limits for how much marijuana a driver can ingest before being arrested for driving under the influence. Not here. “There’s a huge difference between us and Washington and Colorado,” says Clatsop County District Attorney Josh Marquis. “In Washington, there is a presumption of intoxication at a certain level. We don’t have that.”
It pays to wait.
In Oregon, you may grow your own marijuana starting July 2015. Home cultivation is not allowed in Washington. Oregonians may also legally possess far more marijuana—8 ounces to just 1 in Washington. And taxes are significantly lower here. Up north, the state takes a 25 percent bite each time weed changes hands. With a sales tax on top, the effective rate is about 44 percent. In Oregon, the state only gets one bite, $35 per ounce at the producer level, which Johnson says will equate to a 12.5 percent tax rate. “That allows the regulated market to compete with the illicit market,” Johnson says. Willamette Week NOVEMBER 12, 2014 wweek.com
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city hall a n n a j ay e g o e l l n e r
NEWS
ANN SANDERSON A WOODSTOCK HAIR STYLIST IS LEADING THE FIGHT FOR PORTLANDERS TO VOTE ON THE STREET FEE. By aa ro n m e s h
amesh@wweek.com
Since May, Ann Sanderson has been battling the Portland street fee. She also helped design it. Sanderson, 50, owns Odango Hair Studio in the Woodstock neighborhood. When she spoke out against Mayor Charlie Hales and City Commissioner Steve Novick’s plan in May to tax Portlanders millions to pave city roads, officials invited her to serve on the citizen work group drafting an improved version of the transportation fee. Hales and Novick revealed the latest version of the fee Nov. 10, starting the clock for a City Council vote Dec. 3. The new plan, expected to raise $46 million a year, is anchored by an income tax as high as $900 a year and a business fee that tops out at $144 a year for the biggest hotels and hospitals. Petroleum lobbyist Paul Romain says he and his allies plan to collect signatures to send the fee to voters. Sanderson says she’ll help. ann sanderson
WW: How did you become the leader of the street-fee rebellion? Ann Sanderson: Six months ago, I honestly don’t think I could have reliably named all of the Portland City Council members. I wandered into one of the Portland Bureau of Transportation’s town halls thinking it was going to be a presentation on bike paths. Instead, they were presenting a horribly regressive tax based on imaginary numbers. The next couple of weeks, I asked everyone I knew if they’d heard about this “street fee.” No one had. On my way home from another forum, I called one of my fellow neighborhood business owners from the car, and together we created the “Stop Portland Street Fee” page on Facebook. If you’re fighting the street fee, how did you end up on a city committee? I’d been interviewed several times whenever the press needed a quote from “opponents of the street fee.” A staffer at PBOT called me and asked if I would like to be on the work group for businesses. I was excited to be asked to be part of the process. I thought for them it was probably just a matter of wanting to keep their enemies closer, but part of me really wanted to believe that they put me on the committee to help find a good solution. Were you really looking for a solution? I’m not an anti-tax conservative. I genuinely left that first meeting feeling like we as a committee were really going to do something great. When I said as much on the “Stop Portland Street Fee” Facebook page, I took a lot of crap. People suggested that I was just getting played by the 12
Willamette Week NOVEMBER 12, 2014 wweek.com
“a couple of haircuts? to me, a couple of haircuts is a couple of hours on my feet.” politicians and somehow I would be less of an advocate because I’d been roped in. What was the biggest surprise about serving on a government committee? Since this was my first time doing something like this, I didn’t even know the proper etiquette for getting recognized. Apparently, it’s setting your name placard on end until you are called on. But it seriously felt like they were just making up the numbers. At every meeting, there was a new rate sheet. I started joking that when this was all over, I would wallpaper my office with them. Where did you and city officials break ranks? I really believe money just means something different to them. At one point, Gary Corbin, PBOT’s paid consultant, was sitting behind me and—knowing full well that I own a hair salon—said something to the effect that a new structure would raise the fee barbershops and hair salons would pay from just a few dollars a month to over $25 a month. Then he added, “But what is that, a couple of haircuts?” A couple of haircuts? To me, a couple of haircuts is a couple of hours on my feet.
So why not come up with a better idea? We couldn’t come up with an amazing solution, because we were never asked to. Instead, the PBOT staff threw ideas at us. If one person agreed with them, it was taken for consensus. But if four people disagreed with them, it was deemed not to be a majority of the group and discarded. When the report is published, this work group will be blamed for a funding mechanism we neither created nor voted on. Isn’t this version better? It’s still a bad tax. But it’s nowhere near as bad as what they started with. Had there not been public input, it would have been much worse. I still don’t think the city has shown that they have skin in the game. We asked them to dedicate money from the general fund, and they didn’t. Why keep arguing about this? I started fighting the street fee because it was a badly designed tax that would have hurt many people if it had been implemented as presented back in May. I keep going because now it’s a matter of respect for the people of this city. We Portlanders are an unwieldy bunch, but we can be trusted to do the right thing. If we must have a tax to repair streets long neglected by city government, then let them come up with their best plan and let the people weigh in. When you want that much money, you should be asking for it, not just taking it.
Willamette Week NOVEMBER 12, 2014 wweek.com
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p h oto s b y Da n i e l c o l e ( l e f t ) a n D n ata l i e b e h r i n g . c o m ( fa c i n g pa g e )
THE LINCOLN BARROOM: The New Copper Penny has been an icon in East Portland for four decades. Negotiations between the Portland Development Commission and the bar’s owner, Saki Tzantarmas, have recently fallen apart. 14
Willamette Week NOVEMBER 12, 2014 wweek.com
SAKI’S BIG BET THE CITY SAYS SAKI TZANTARMAS IS HOLDING HIS EAST PORTLAND NEIGHBORHOOD HOSTAGE. BY AA R O N M E S H
amesh@wweek.com
S
aki Tzantarmas turns on the lights in the kingdom he built, leans against a table, and starts to cry. The ultraviolet fluorescent beams illuminate an expansive banquet hall he’s named the Parthenon, a room filled with two dozen tables, Doric columns, wall-to-wall mirrors, a disco ball and a white gazebo for weddings. It’s just one room in the New Copper Penny Bar & Grill, Tzantarmas’ drinking campus that takes up 29,767 square feet—and a full city block—at the corner of Southeast 92nd Avenue and Foster Road in the East Portland neighborhood of Lents. At 78, Tzantarmas might be expected to bask in his triumphs as a Greek immigrant who made good. But he says he’s in agony. He can’t sleep. He lies awake wondering what he’s done wrong. All this pain started when he asked the city of Portland for $5.5 million. Tzantarmas claims the executive director of the Portland Development Commission, the city agency tasked with bringing urban renewal to Lents, responded to his request by calling the Tzantarmas family “terrorists holding the neighborhood hostage.” “How dare the guy,” he says. “‘Terrorist’ is a word for blowing people up.” (The PDC director denies using that word.) Tzantarmas wipes his eyes. “Sorry,” he says. “Every time I discuss the damn thing, I just get tears.” For four decades, the New Copper Penny has been Lents’ defining nightspot. With its towering sign featuring a glowing red profile of Abraham Lincoln, it may be the most recognized landmark in East Portland. It has been the setting for Outkast dance parties, weddings, bikini contests and countless off-track bets on horse races. The New Copper Penny is also everything city officials do not want Lents to be: dated, disreputable and a little dangerous. The PDC has another vision for Lents: It wants the neighborhood to become a success story for Portland planning, with the variety of shops and restaurants that have transformed places like North Mississippi Avenue and Northeast Alberta Street. And securing the land on which the New Copper Penny sits is key to that vision.
Tzantarmas’ view is simpler: He wants $5.5 million to go away. The PDC won’t meet his price, saying the land and building are worth, at most, $3.2 million. It’s a figure that is supported by an independent property appraisal. But that hasn’t stopped Tzantarmas, who has warned that either the PDC pony up or he might turn the New Copper Penny into a marijuana dispensary. The standoff is bigger than one nightclub. No place in Portland better symbolizes the tensions created by the eastward drift of this city. Planners predict construction rates in East Portland to quadruple in the next two decades. Lents is the frontier—the border territory between Portlandia and rougher places. The city has already spent more than $100 million on Lents with few results. Tzantarmas’ demand spotlights a question City Hall must answer: When trying to remodel East Portland with our tax dollars, what price is too high?
E
very morning, a few regulars arrive at the New Copper Penny to eat breakfast with Theodosios “Saki” Tzantarmas. Many are Greek; all view him as a kind of local saint. “This man,” says daily patron Nick Raptor, stretching out his arms, “his heart is this big.” Tzantarmas has the long, dangling arms of a former prizefighter, and a pugilist’s face: deep bags under his eyes, a pug nose and toothy grin. He wears bright pastel
sweaters and gray slacks, and talks in a thick Macedonian accent. The New Copper Penny is a sprawling enterprise. One wing has a dance floor, another a room with television screens showing horse races. On the east side is a recently remodeled restaurant with a stainless-steel counter. When Saki first bought the place in 1972, he served gyros 22 hours a day. Now the restaurant has 22 taps of Northwest craft beers. At breakfast, Tzantarmas holds court, busting the chops of whoever’s sitting nearest. When he teases, his deep-lined face breaks into a huge, mischievous smile. “He has this thing now where he tells me he only loves me on Tuesdays,” says Nikki Tzantarmas, his 23-year-old daughter, who tends the New Copper Penny’s bar. “I’ll say, ‘I love you,’ and he’ll say, ‘I don’t.’ He’ll never get old. Ever.” Nikki shows a faded photograph of her father folk dancing, holding aloft a table—covered with a cloth and cluttered with bottles of wine and ouzo—with his teeth. “You don’t want him to bite you,” Raptor says. The legend of Saki is passed down orally and in writing—on the old plastic menus the New Copper Penny only recently replaced. It tells how Tzantarmas’ father, a Greek army officer in Thessaloniki, was killed by Communists in the 1950s (“they chopped him up,” Tzantarmas says, sliding a finger across his throat) and how the son spent three years in an orphanage and a year at sea before jumping ship in Philadelphia with five pennies in his pocket. He arrived in Portland as a heavyweight boxer, with a gold medal he claims is from the 1959 European Championships. In a 1965 bout, The Oregonian billed him as “the Golden Greek of Portland.” (He lost on a technical knockout in the third round.) After six years he says he spent working as a folk dancer, Tzantarmas purchased a run-down pub called the Copper Penny in Lents, his home neighborhood. He soon bought all the properties on the block. A hardware store became the nightclub, a doctor’s office the restaurant, and a shuttered movie theater the Parthenon. The New Copper Penny became East Portland’s go-to spot for nightlife: bikini contests with cash prizes on Thursdays, Top 40 dance nights with a fog machine, and, cont. on page 16 Willamette Week NOVEMBER 12, 2014 wweek.com
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CONT.
INGER KLEKACZ
SAKI’S BIG BET
TOWN CENTER: The New Copper Penny sits at a prominent location in Southeast Portland, just off the Foster Road exit of I-205.
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E
ven as Tzantarmas’ domain grew, some neighbors began to wonder whether a selfcontained entertainment complex was the best cornerstone for Lents, a neighborhood trying to escape its reputation as “Felony Flats.” People who want to revitalize Lents say the New Copper Penny’s location is crucial. It sits at the exit of Interstate 205, and across the street from the new MAX Green Line light-rail station. “It’s just right at the heart of the Lents business district,” says former City Commissioner
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on Sundays, “Greek Nights” when Tzantarmas can still be found sitting at the central table, singing along to the folk songs and showering a belly dancer from a stack of $1 bills. On the night before Halloween, patrons lined up to pay $5 to see a touring burlesque show. It included a dancer who set the tassels of her pasties on fire and gyrated so they spun above her breasts like flaming pinwheels, and another who sang a parody of Disney’s Frozen anthem “Let It Go” so the lyrics were about being a crack whore. The lounge is a time capsule of 1970s drinking customs, with a disco-fabulous elevated dance podium that lights up in colorful squares. To get there, patrons must wait in an antechamber lined floor to ceiling with mirrors. Tzantarmas, who now lives in Happy Valley, runs the New Copper Penny with his son, 43-year-old Johnny Tzantarmas. Saki remains a commanding figure in the Greek community— as well as president of Agro Association Inc., a business guild for Portland’s Greek restaurant owners he founded in 1995. “I tell him, ‘Slow down,’” says Ted Papas, former owner of the downtown nightclub Greek Cusina. “He’s there from 9 o’clock in the morning to 9 o’clock at night. He has no life. He just works.” Two blocks from the New Copper Penny is a vacant lot with a display honoring the neighborhood’s business leaders. A 3-foot-tall waterproof poster features Tzantarmas’ portrait. A Web address posted at the site leads to a YouTube video of Tzantarmas talking about what he’s done for the poorest residents of East Portland, and saying he’s stayed out of trouble while running his bar. He repeats the claim to WW. “Never had a ticket, never a violation,” he says. “Nothing against the law.” Like much of Saki’s story, that is partly true.
Randy Leonard, who championed East Portland in City Hall. “It is critical to the success of that urban renewal area—a linchpin property.” But many think Tzantarmas’ place is not the best kind of business for reviving the neighborhood. “It’s a point of pride for the Tzantarmas family,” says Nick Christensen, former chairman of the Lents Neighborhood Association. “But a nightclub that opens after dark, and you have to get frisked to get in, isn’t adding a ton to the health of our business district. Healthy business districts support a variety of shoppers.” And the New Copper Penny has been a magnet for trouble. Establishments that serve booze have problems, but Tzantarmas’ place—perhaps because of its size, or the kind of crowd it draws—has been more troubled than many. Nearly as soon as the New Copper Penny opened, the Oregon Liquor Control Commission started getting complaints the bar was serving drinks to visibly intoxicated patrons and to minors. The OLCC, however, has fined the New Copper Penny only twice for breaking service rules: in 1977 for serving a visibly intoxicated
CONT.
SAKI’S BIG BET
patron, and in 1981 for letting an employee serve drinks without a license. (Tzantarmas says the fine for overservice was reversed because the patron wasn’t drunk but had cerebral palsy.) In 2002, 14 African-American men filed a civil rights lawsuit against the club for denying them entry based on a “no baggy pants” policy. They said the dress code was selectively enforced against African-Americans. Tzantarmas settled out of court. But the New Copper Penny’s biggest problem has been violence. In 1990, a fight in the parking lot of the New Copper Penny turned into a car chase on I-205. One of the men who left the parking lot was shot to death during that highway chase. In 2003, club bouncer Tony Marks broke up a fight at a Saturday night dance party by putting a 350-pound man named Nafatali Tafito Rusia in a chokehold. Rusia died on the dance floor as the music continued to play. (The Tzantarmases settled out of court with Rusia’s widow.) The death triggered OLCC fines against the New Copper Penny for “a history of serious and persistent problems.” Tzantarmas won’t discuss the death, but says the club’s high rate of police calls is because he’s being responsible. “If you’re drunk, what do you want us to do, beat you up?” he asks. “No. We call the police.” In March 2014, a 34-year-old man was shot in the bar’s parking lot—the second shooting there in two years. Neighbors demanded the OLCC revoke the bar’s license, and television news trucks surrounded the club. In September, Tzantarmas wrote a letter of complaint to the Federal Communications Commission, saying KOIN-TV had defamed his business by reporting the violence had started in his club. “We have suffered greatly,” Tzantarmas wrote. “Business is down 600 percent, and our public image is destroyed!” Records suggest business may indeed be suffering: The New Copper Penny owes $111,896 in back property taxes to Multnomah County. Tzantarmas closed his complaint to the FCC on a defeated note. “I came to America for a better life and have worked very hard toward attaining that goal,” he wrote. “At one time I believed in the truth and justice this country claimed it could offer me.”
P
atrick Quinton has encountered his own share of problems in Lents. Quinton, 49, is a Dartmouth grad who wears sharp charcoal suits and has a well-tended sweep of light brown hair. In 2011, he took the reins at the Portland Development Commission—and soon began overseeing an era of austerity at an agency long known for having money to burn. Among his new rules: a reversal of strategy for East Portland urban renewal. “I said, ‘We’re not buying up any more property in Lents,” Quinton recalls, “until we have a plan.” WW reported in January the urban-renewal agency had spent $96 million over 15 years in Lents while failing to revitalize the neighborhood (“Razed & Confused,” WW, Jan. 22, 2014). The total is now $103 million. City planners say East Portland is poised for a construction boom—predicting 11,600 apartment units in the next 20 years. But the New Copper Penny is still mostly surrounded by empty lots—properties where the PDC bought and demolished buildings, then couldn’t persuade developers to erect anything new. Quinton now faces skepticism from city leaders that the PDC has spent money wisely in Lents—and pressure from the neighborhood to accomplish something. Tzantarmas has been saying for nearly a decade that he wants to cash out of the bar business. In 2005, he revealed plans to shutter the New Copper Penny and build a new development on the site: a mix of senior housing and ground-floor retail. Architectural designs commissioned by Tzantarmas show a nine-story condo tower with a sky bridge leading to shopping. “I’m getting too old,” he told the Portland Tribune then. “I don’t want to leave [Johnny] with this kind of business because it’s not a life. Better we do another trade.” CONT. on page 19 Willamette Week NOVEMBER 12, 2014 wweek.com
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SAKI’S BIG BET P H OTO S B Y N ATA L I E B E H R I N G . C O M
CONT.
AND THEY’RE OFF: The New Copper Penny’s off-track betting parlor shows horse races live from across the country.
But the plans cratered. Tzantarmas blames Randy Leonard, who he says reneged on a handshake agreement that the city would help fund his development project— then threatened to send city inspectors to shut down the New Copper Penny. Leonard says that’s not true. He says he tried to broker a deal for the PDC to buy the New Copper Penny, but Tzantarmas ruined the negotiations with a “pugnacious” approach. “He was his own worst enemy,” Leonard says. “Whatever anybody thinks of the style I brought to my job, I was always seeking a deal. Saki enjoyed saying what he was saying more than getting a deal.” Under Quinton, the PDC reopened negotiations last year to buy first rights to develop Tzantarmas’ land, hoping to use it to attract a grocery such as New Seasons Market. The PDC has several ways it can secure properties for development. It can pay owners for their land and buildings, or offer subsidies to developers to get them to build. It has also used eminent domain to forcibly wrest properties away. But that’s something the PDC hasn’t done in a long time—and the city promised never to use that tool when it brought urban renewal to Lents. It made that concession as a way of pacifying East Portland residents who distrusted downtown government. Instead, the agency hired an appraiser, who said in January the New Copper Penny was worth $3.2 million. Tzantarmas told the PDC he wanted $5.5 million, but he’d trim a half million dollars off that figure in return for a vacant building across the street, which he would turn into another banquet hall. “He’s got a number in his head, what he wants for it,” Papas says. “In his old-fashioned mind, he’s taking it personally.” In July, the negotiation turned toxic. The PDC held a meeting with two developers working closely with Tzantarmas, as well as Jesse Cornett, chairman of the Lents Neighborhood Association. “The New Copper Penny owners are holding your neighborhood hostage,” Quinton reportedly said at the meeting, “and I’m not going to put up with that.” Cornett and Kevin Clock, one of the developers, say Quinton also called the Tzantarmases “terrorists.” Quinton and another PDC official who attended the meeting say he didn’t use that word.
THE NEXT GENERATION: Saki Tzantarmas (left) and his son, Johnny. “We’ve been upfront with them,” Johnny Tzantarmas says of the PDC. “They’re not the only game in town.”
“The ‘hostage’ line stands on its own,” Quinton says. “I don’t need to embellish it. It is reasonable to question their sincerity about selling the property.” The two sides also have different recollections of what triggered Quinton’s remarks. The Tzantarmases say their representatives asked about the price. “He made that comment based on us raising what was paid per square foot for other properties around us,” Johnny Tzantarmas says. PDC officials say the developers arrived at the meeting with a warning that could have been seen as a threat: Tzantarmas had another offer, for a marijuana dispensary—timed to a ballot measure that would legalize recreational weed. WW obtained an email from an anonymous source that confirms the negotiating tactic was discussed later in the summer. The August email was written by Clock to Johnny Tzantarmas and other allies. “Early on have yourself or Johnny state…If these
conditions could be met, a deal could materialize. If not, then we are proceeding quickly with medical marijuana. Do they like the slogan ‘green line to the green room high times’?” The New Copper Penny’s neighbors are divided as to whether the PDC should meet Tzantarmas’ asking price. Cornett, a former City Council candidate, says the PDC’s stubbornness is baffling—and the latest sign East Portland is being neglected. “I just don’t understand it,” Cornett says. “They’ve literally spent more on studies on this urban-renewal area then they’re willing to pay on what they say is their linchpin property. If the city is willing to send $6 million to a company in California to write off a loan for the downtown Nines hotel, they should be willing to spend an extra million dollars in Lents.” Christensen, who preceded Cornett as Lents Neighborhood Association chairman, disagrees. He says the PDC would be throwing good money after bad. “If the PDC cedes to that demand,” Christensen says, “you’ll have every developer in every urban-renewal district saying, ‘Marijuana Disneyland is coming unless you pay us an extra million.’” The decision will now probably go to Mayor Charlie Hales, who has pledged to make “place-making” in Lents a priority. Hales will have to decide how steep a price he’s willing to pay. The mayor met for coffee last month with Saki and Johnny Tzantarmas. But his top aide for urban renewal, Jillian Detweiler, says Hales is not eager for the PDC to buy another property in Lents. “I agree that the visibility of the New Copper Penny would lead one to believe it would be a home run,” Detweiler says. “But we need to show we can make a base hit first.” Saki Tzantarmas believes he can wait out the PDC and get his price. He’s built a world that has proved largely immune to outside pressures—neighborhood demands, government threats and the changing tastes of revelers. He’ll never get old. “Always, still today, I have pennies in my pocket,” he says. Tzantarmas reaches into his gray slacks and there they are: five shiny pennies. He cackles. “Don’t give ’em to PDC!” WW news intern Dakota Smith contributed to this story. Willamette Week NOVEMBER 12, 2014 wweek.com
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GOOD VIBRATOS OPENING NIGHT AT THE PORTLAND OPERA. P H OTOS BY JASON DESOMER wweek.com/street
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FOOD: Hot new hot pot. MUSIC: Why metal fans should love First Aid Kit. PERFORMANCE: Champagne-soaked masked ball. END ROLL: Weed and comics.
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MAYBE OBAMA CAN AT LEAST DESTROY COMCAST. TINY CASKET: Following last week’s announcement that 10 Barrel Brewing has been sold to Anheuser-Busch, a Beaverton group called Sell Out and Die decided to hold an online funeral Nov. 11 for the “bitter end” of the Bend-based brewery. “It’s local and treasured, and we thought this would be a nice, funny way to say goodbye,” says Will Williams VI, founder of Sell Out and Die (selloutanddie.wordpress. com). “We’re having a farewell to something that was ours that isn’t really ours anymore.” 10 Barrel, he says, was his brother’s favorite beer. The physical ceremony was held Nov. 8 in Williams’ backyard with a eulogy and bottles of 10 Barrel beer. 10 Barrel’s new Pearl District brewpub is slated to open within weeks. ROCKING DEAD: Slabtown might not be dead after all. Although the Northwest Portland rock club and pinball haven supposedly closed for good Nov. 2, owner Doug Rogers has apparently experienced a change of heart, announcing he now plans to “dig in my heels” and attempt to reopen the venue. Spurred by a GoFundMe campaign that raised $9,000 in a month, Rogers says if donors can double that amount by the end of this month, Slabtown will reopen in December. He says he’ll fill the calendar with a slate of benefit shows designed to help the club pay its debts. “I’ll also need to negotiate some heavy deals with our landlord and creditors so we have the breathing space to grow into a thriving business,” Rogers adds, “and I’ll be calling in favors to get help with building repairs and upgrades.” Fun fact: Though it had nothing to do with Portland, the episode of The Walking Dead airing the day the club shut down was titled “Slabtown.”
SMOKE BAR: B.J. Smith of Smokehouse 21—the barbecuer behind the best ribs in Portland, according to our June taste-off of 22 local pits—has applied for a liquor license to open a 50-seat bar and restaurant called Smokehouse Tavern SMOKEHOUSE 21 at 1401 SE Morrison St. It will serve the Smokehouse 21 menu along with brunch and bar snacks. The space was previously occupied by Lightbar, a lamped-up light-therapy bar that served spicy mac and cheese. Project Runway winner Michelle Lesniak is a part-owner in the new venture, and will handle décor and—of course—uniforms. A March opening is anticipated. 22
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HOW CAN BE? Karaoke dive Chopsticks II is closing after 23 years. You’ll have some time to give it a proper send-off, however: The club’s lease doesn’t expire until August 2015, at which point the property owner won’t allow bar owner David Chow to renew. “David’s been with us a long time,” says Lisa Lucas, president of the property management company. “He’s been a great tenant. This is a neighborhood that’s developing.” Lucas says she has no definite plans for the East Burnside Street property, but ruled out placing apartments or condos there—like, for example, the high-rise residences her company built next door to Chopsticks. However, she feels the company could now make more money with a different business on the property. Chow is searching for a new location for another Chopsticks.
HEADOUT H AW k k r A L L
WILLAMETTE WEEK
What to do this Week in arts & culture
WEDNESDAY NOV. 12 mother of all storms release [beer] Pelican brewing’s annual barrel-aged barleywine is a hot commodity. At this tasting, not only can you guarantee yourself a taste of the 2014 version, but you can try a vertical from kegs dating to 2011. Belmont Station, 4500 SE Stark St., 232-8538. 5-7 pm. Prices vary.
FRIDAY NOV. 14 todd barry [comedy] A comic’s comic, Todd barry is a veteran standup with a soft delivery who can read loan documents and make them sound hilarious. He’s so good, he can come to a gig without any actual jokes, and he has some of the best crowd work out there. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 7 pm. $20. +21. megan amram [books] known for her offbeat, often macabre tweets—“If embryos are people, ultrasounds are child pornography”—comedian megan Amram has just released her first book, Science...For Her!, which is part Cosmo, part high-school textbook. Powell’s City of Books, 1005 W Burnside St., 800-878-7323. 7:30 pm. Free.
SATURDAY NOV. 15
here’s a big problem with hump, the annual amateur porn festival put on by our dear friends at the local subsidiary of seattle’s Stranger newspaper. sure, it honors our city’s diY spirit. But instead of capturing the true porn-theater experience, it’s a sanitized “zippers-up” affair. enjoy something you see and wish to watch it again in the privacy of your own home? too bad, the films are destroyed afterward, and recording the screen is lightly discouraged. that’s all fine for weekend warriors, but true aficionados of pornography and/or public sex will be left wanting. rather than going to another hump, why not try something a little less undergraduate? remember to practice safe sex, get consent and regularly check in with your partner(s). andreW kniGhtWood.
MR. PEEPS’ THE PEEP HOLE 709 SE 122nd Ave., 257-8617, mrpeeps.com. opened during reagan’s first year in office, mr. Peeps is something of an institution. Its flagship location in southeast Portland sports three showgirl booths, 21 arcade booths, and seven private viewing rooms. It also has plenty of toys and dvds if you change your mind about the whole thing and want to go home. You might also like: Fantasy Adult video, blue spot video, Fat cobra, Paradise video.
THE OREGON THEATER 3530 SE Division St., 232-7469. glory holes adorn the front right wall, and condoms are available at the entrance. The theater is noted for mostly catering to older men, but if you’re looking for a place to watch porn and get off, this is it. You might also like: Paris Theater.
KELLEY POINT PARK North Kelley Point Park Road, 823-2223. From cruisingforsex.com: “been there a couple times the past couple weeks. Tend to be more the bear types but if you just wanna chill out for a while you will come across more athletic
types. I saw in-shape guys going for a jog but [then] all veered off into the bushes.” You might also like: Washington Park, mount Tabor, the I-205 bike path, really any park.
RON JEREMY’S CLUB SESSO 824 SW 1st Ave., 334-2577, clubsesso.com. A swingers’ club, sesso is for people who know what they’re into. It requires a membership to attend and has strict rules about cellphones and photography. The main downstairs area is a dance floor and bar. elsewhere in the building are private rooms, including one designed for couples to watch each other, and another for orgies. You might also like: The velvet rope.
COUNCIL CREST Southwest Council Crest Drive, 823-7529. make-out points don’t exist just in teen movies. They’re real. As anyone who went to high school here can tell you, Portland’s make-out point is council crest. It’s got a beautiful view of the skyline, and plenty of parking and foliage for doing deeds. If you’re not in high school, this is a weird place to go. You might also like: cleveland High dances, the back row of a multiplex theater, Hump.
go: Hump 2014 is hosted by dan savage at cinema 21, 616 NW 21st Ave., 223-4515. Wednesday-sunday, Nov. 12-16. $18.
run the jewels [HIP-HoP] Not long ago, killer mike was a dungeon Family also-ran and el-P was an alt-rap cult hero. but through three collaborative projects—including the just-dropped Run the Jewels 2—this veteran duo has become the toast of the hip-hop world, through a combination of earthquaking production, biting social critique and even sharper humor. Hawthorne Theatre, 1507 SE Cesar Chavez Blvd., 233-7100. 7 pm. Sold out. 21+.
SUNDAY NOV. 16 nt live: frankenstein [THeATer] you’ll have to wait until 2015 for more Sherlock, but cumberbitches can get their fix with this hi-def screening of the wildly popular National Theatre production, in which benedict cumberbatch and Jonny Lee miller alternate roles of the doctor and creature. World Trade Center Theater, 121 SW Salmon St., 235-1101. 2 and 7 pm. $15-$20.
TUESDAY NOV. 18 death from above 1979 [sPAsTIc grooves] Ten years after blowing up off its debut LP, the Toronto drum-and-bass duo have finally followed up. The Physical World doubles down on the no-wave party music that made dFA1979’s first record so explosive, displaying a mastery of melodic aggression and punishing rhythms. Crystal Ballroom, 1332 W Burnside St., 225-0047. 9 pm. $28.50 advance, $30.50 day of show. All ages. Willamette Week NOVEMBER 12, 2014 wweek.com
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Shandong Monday–Saturday 4–6pm & 8pm–close
FOOD & DRINK CHEAP EATS WILL CORWIN
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CHI STYLE: The pepperoni-and-salami sub.
BEAVERTON SUB STATION
! P U R BATTE
Beaverton Sub Station isn’t much of a secret, judging by the noontime line, which runs out to the street. The back wall is covered in newspaper clippings, including an Oregonian column by Steve Duin dubbing Stationmaster Chuck Wilson “The Richest Man in Town.” (Spoiler: Wilson’s wealth is metaphorical.) You won’t find any Willamette Week stories, though. Thanks to our new online archive, I can confirm that during the 33 years this shop has sold 25-cent cups of coffee, delivered to Beaverton’s City Hall by bike, and cut springy rolls from mammoth hoagie buns, we’ve barely taken note of it. That’s an oversight, because the Station does the working-class Midwestern sandwich at a level otherwise unknown in this land of broccolini on brioche. A perfect hoagie can be sublime. Smallwares chef Johanna Ware, a Chicago native, described it recently on our blog: “Thinly sliced turkey, mayo, shredded lettuce and some sort of bread that’s gonna work with that…. There has to be crunch, there has to be salt, acid, and a balance between bread and meat. The Station’s #5—the number is scrawled on the masking tape that seals the wrapper—is pretty damned close to that Platonic ideal and only $5 for a 6-incher. The magic is in the rolls, which are baked Order this: The #17. a block away at Beaverton Bakery. They’ve got a golden shell and a sweet, soft center, and are remarkably springy with loads of yeasty character. Shaved lettuce, a creamy slice of provolone and an admirably even layer of mayo complete the basic package. Things get even better when you step up to the deluxe models, organized by the number of meats, with extra meats bumping up the price by a quarter. Try the #17, which turns the bread a little pink thanks to the seepage from layered-up salami, cotto salami, pepperoni and pastrami. I’ve been dreaming about it ever since, and Lardo’s porkstrami did nothing to help. Since not everyone wants three or four processed pork products for lunch, the Sub Station does have offerings like the Clancy ($5.75), with avocado, provolone, cheddar, sandwich veggies and your choice of turkey, ham or roast beef. The turkey Clancy is damned good, too—great spices, wonderful bread and every ingredient in every bite. Maybe you already knew that, maybe you didn’t. Now you do. MARTIN CIZMAR. EAT: Beaverton Sub Station, 12448 SW Broadway St., 641-7827, beavertonsubstation.com. 9 am-6 pm Mon.-Fri., 10 am-3 pm Sat.
DRANK
BOURBON BARREL-AGED AZTEC (BREAKSIDE) If you’re going to do a bourbon barrel-aged beer, you’re going to want fresh barrels. That’s hard given that most bourbon is made three time zones away, but the difference is huge—a sweeter, rounder, more robust flavor in the beer. That’s hugely helpful with this strong amber, which in its unaged state is made with cacao nibs and both habanero and serrano chilies. That base beer is great on its own, with a nice kick of heat and a silky chocolatyness. The heat all but disappears in the annual aged version, giving the sweetness a fruity note that pairs well with the vanilla-rich oak of the barrel. Recommended. MARTIN CIZMAR. 24
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FOOD & DRINK REVIEW JEREK HOLLENDER
= WW Pick. Highly recommended. By MATTHEW KORFHAGE. Editor: MARTIN CIZMAR. Email: dish@wweek.com. See page 3 for submission instructions.
WEDNESDAY, NOV. 12
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Mother of All Storms Release
Pelican Brewing’s annual barrelaged barleywine is a hot commodity. Nonetheless, the Pacific City brewer is having its release party in Portland, which means you can taste the 2014 version and try a vertical from kegs dating to 2011. The brewers also promise giveaways— pray that means beer. Belmont Station, 4500 SE Stark St., 2328538. 5-7 pm. 21+.
223 SW STARK STREET PORTLAND, OR 503-274-0010 ALAMIRPORTLAND.COM
SATURDAY, NOV. 15 Prestigious Champagne
Milwaukie bar Wine:30 will serve Jay Z’s favored bubbly, “Ace of Spades,” aka Armand de Brignac, which is served in clubs at close to a G. You’ll get that and five more high-end Champagnes for $40. If you miss this one, a similar event Dec. 6 will feature the even more exclusive Ace of Spades brut rosé. Wine:30, 10835 SE Main St., Milwaukie, 654-4595. 3-5 pm. $40.
SUNDAY, NOV. 16 Txotx Cider House Dinner
Bar Vivant will enact the Basque fall tradition of the Txotx—a cider dinner with a massive cask tapped from above, then dropped into glasses from several feet away so the cider gets aerated. The cider is the wellregarded Trabanco from Asturias—a region producing musty, tannic ciders similar to the Basque—and ciders from Lake Oswego’s Finnegan. The Parish will provide steaks, and you take a cider glass home. Bar Vivant, 2225 E Burnside St., 971-2717166. 4-7 pm. $60, all inclusive.
Where we’re eating right now. 1. Broder Nord 2240 N Interstate Ave., 282-5555, broderpdx.com. Forget brunch. Suppertime’s 20-minute chicken arrives ridiculously tender and brined with a tarragon-infused vinegar, wet with its own juice as well as a bit of salsa verde and capers. 2. Zaatar 1037 NW Flanders St., 477-8237, zaatarnw.com. Tony Karam—much missed after he sold his namesake Karam to a relative—is back in central Portland with a new Lebanese spot. 3. Bamboo Izakaya 1409 NE Alberta St., 889-0336, bambooizakaya.com. Get the whole salted mackerel. It’s delicately charred, fresh, sweet, salty and goddamn great. 4. Kachka 720 SE Grand Ave., 235-0059, kachkapdx.com. “Herring under a fur coat,” a stratified butte of a salad with pretty pink beets over layers of vegetables leading down to a base of herring, is Russian coffee-table fare rendered jaw-gapingly tasty. 5. Old Salt 5027 NE 42nd Ave., 971-255-0167, oldsaltpdx.com. This Cully neighborhood butcher shop and restaurant takes wholeanimal butchery to a new level in town, doing what they can with two cows and three or four pigs, then freestyling the rest.
HALF AND HALF: The split spicy and mild hot pot.
CHONGQING HOT POT It’s downright heartening when a restaurant is willing to hand you your own ass in a stainless-steel bowl. In keeping with its eponymous pepper-bathed region of China, soup spot Chongqing Huo Guo doesn’t dull its spicy broth for Western palates. Portland is crazy for hot pot lately, and unlike the much more mild-mannered Beijing Hot Pot down the street, Chongqing will cheerfully stuff your sinuses with Sichuan pepper and chili oil until you look like you’re suffering the symptoms of tropical disease. Still, the best part of the spicy broth isn’t even the fire; it’s the herbal aromatics ranging from lotus seed to figgy jujube that deepen the soup’s flavor. The city of Chongqing claims to be the birthplace of hot pot, a simple Chinese cuisine every bit as modular and humble as an omelet. First, choose a broth—spicy, mild or seafood—and then order an array of a la carte raw vegetables, noodles and meats to cook in the soup, on a hot plate set down on your table. At Chongqing, the broth will run you a mere $2.99 a person— and it refi lls endlessly tableside—but each ingredient might run anywhere from $3.55 for some pork skins or $13.99 for Kobe beef (don’t bother, seriOrder this: Both spicy ously). Veggies are uniformly between and mild broth, plus some stuff to put in it. $3 and $5, including terrific enoki, shiitake or oyster mushrooms. There will be a mighty temptation to over-order; hold back, and don’t get more than two or three items per person. A pair will be well-served with two meats, a noodle, a green such as bok choy, and a mushroom. Dumplings are a bonus, like the prize in your Cracker Jack box. It’s a sloppy, slurpy, casual meal that nonetheless can last as long as a multicourse tasting menu—especially if you add ingredients a few at a time to avoid overcooking, and then experiment with different flavor combinations. Chongqing’s mild broth is light and nutty, while the spicy stuff is demanding on the palate—making the best option the yuanyang bowl, which has both spicy and mild broths partitioned in the middle like a black-and-white cookie. You can mix the two to modulate spice, sure, but the better option is to treat them like two separate bowls of soup, since staff will refi ll your broth right in the hot pot. One side might be light dumplings, the other spicy and fatty pork belly. You can’t lose. But let’s be clear: You can’t win either. You’re paying a little extra to prepare your own food, which is likely less efficient for everybody. But efficiency isn’t the point. Hot pot is a social experience and novelty food—something to do, really. Consider it both dinner and a hobby at the same time. MATTHEW KORFHAGE. EAT: Chongqinq Huo Guo, 8230 SE Harrison St., Suite 315, 971803-7999. 11 am-10 pm daily. Willamette Week NOVEMBER 12, 2014 wweek.com
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nov. 12–18
= WW Pick. Highly recommended. Prices listed are sometimes for advance ticket sales. At-the-door increases and socalled convenience charges may apply. Event lineups are subject to change after WW’s press deadlines. Editor: MATTHEW SINGER. TO BE CONSIDERED FOR LISTINGS, go to 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, NOV. 12 Hard Working Americans, the Congress
[AMERICANA] Todd Snider is one of the wiliest songwriters around, so when he put together a new band last year called Hard Working Americans to release a self-titled album of songs about, yes, hard-working Americans, it seemed odd that those songs were all covers. But the fun Snider got up to with pals like Ryan Adams’ Cardinals guitarist Neal Casal, Widespread Panic bassist Dave Schools, and drummer Duane Trucks (Allman Brother Butch’s son, natch) was infectious. They’ve now followed the debut with a new live CD/DVD, The First Waltz, which brings some originals along to the party. JEFF ROSENBERG. Crystal Ballroom, 1332 W Burnside St., 2250047. 8 pm. $25. All ages.
Siren Nation: Mirah, Luz Mendoza
[POST-FOLK] Coming out of a scene best known for its angsty sound, Olympia, Wash.’s Mirah offers a bit of a surprise. The frequent collaborator—most recently aligned with Thao Nguyen and Tune-Yards—plays a relatively refined brand of experimental chamber folk. Her comfort in the studio is evident in her sound, fit with clean sonic layers and often pretty arrangements. Mirah’s newest record, Changing Light, channels Laura Gibson’s ghostly, melodic and percussive prairie sounds, albeit with hints of the garage rock she was surrounded by in her formative years. Local folk siren Luz Mendoza rounds out the strong bill. MARK STOCK. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $14 advance, $16 day of show. 21+.
Mariachi El Bronx, Tijuana Panthers, Pounded by the Surf
[HARDCORE MARIACHI] The Bronx is more than just an average, longrunning punk band from L.A. In addition to releasing four frenzied albums of blistering punk rock, the band has spent the past several years moonlighting as a top-notch mariachi act. But with the release of III, though the musicians still don the black charro outfits and wail on trumpets, their English take on the folk music of Mexico has modernized. Synthesizers and ARP instruments now accompany the traditional bolero rhythms and frontman Matt Caughthran’s bittersweet melodies of love, loss and shameful behavior. BRANDON WIDDER. Hawthorne Theatre, 1507 SE Cesar E. Chavez Blvd., 233-7100. 7 pm. $15 advance, $18 day of show. 21+.
Tegan and Sara, Waters, the Courtneys
[POP] Ten years ago, Tegan and Sara wouldn’t have fit soundly in the Top 40. That changed last year after the Calgary singers traded the guitar-driven indie sound they established in the early 2000s for polished pop programming on seventh album Heartthrob, their first to hit it big on the U.S. charts. Opting for a dancier direction, Heartthrob brims with huge, anthemic hooks, bright synths and hyper drum machines. Tegan and Sara might have taken a big leap from their original sound, but with the sharp confidence of their intertwining vocals and emotional lyrics, it’s obvious their heart is still in it. KAITIE TODD. Roseland Theater, 8 NW 6th Ave., 2242038. 8 pm. $39.50. All ages.
THURSDAY, NOV. 13 Steve Forbert, Anny Celsi
[SINGER-SONGWRITER] Last year saw a tandem reissue of singer-songwriter
Steve Forbert’s 1978 debut, Alive on Arrival—which earned him the dreaded sobriquet “the new Dylan”—and its 1979 follow-up, Jackrabbit Slim. The latter boasted an almost Top 10 single, “Romeo’s Tune,” Forbert’s sole flirtation with the charts (unless you count his appearance as Cyndi Lauper’s boyfriend in the video for “Girls Just Want to Have Fun”). This year, he dug further back, releasing a disc of demos he made as a Mississippi whelp before splitting for New York. JEFF ROSENBERG. Alberta Rose Theatre, 3000 NE Alberta St., 719-6055. 8 pm. $20 advance, $22 day of show. Under 21 permitted with legal guardian.
Trumans Water, Octagrape, Permanent Makeup, And And And
[ANTI-SQUIGGLECORE] Strip Pavement of all melodic pretense and enable an occasional reference to free jazz, and the San Diego-founded, Portland-reared Trumans Water is the result. TW has been on the road with the Boredoms and been covered by Beck, yet remains the weird missing link between the American underground’s flirtation with genuine experimentation and whatever a rock band could be. Despite a heroic, if patchy, recording history, Trumans Water hasn’t toured the States consistently, with its most recent album, O Zeta Zunis, released in 2010 by Asthmatic Kitty. DAVE CANTOR. Bunk Bar, 1028 SE Water Ave., 894-9708. 8:30 pm. $10 advance, $12 day of show. 21+.
The Coup, Tope, Speaker Minds, Madgesdiq, Verbz
[PUNK-FUNK REVOLUTION] Talking to a shocked Fox News correspondent, frontman Boots Riley recently described the Coup as “a punk funk Communist revolution band.” Music critics have been juggling similar vocabulary to describe the band throughout its 20 years of existence, but coming from Riley, it might just be the final word. Included among Riley’s stated goals is “to make everyone dance while we’re telling them we need to get rid of the system.” So despite the Coup’s commitment to its politics, it’s not all heavy stuff. SHANNON GORMLEY. Hawthorne Theatre, 1507 SE Cesar E. Chavez Blvd., 233-7100. 7 pm. $15 advance, $17 day of show. 21+.
Bastille
[MUMFORD AND SYNTHS] Storming arenas on both sides of the pond ever since the release of 2012’s “Pompeii”led debut, Bad Blood (subsequently reissued as, ahem, All This Bad Blood), Bastille has rather loftier ambitions than being merely the Brit boy band of the extended moment. The London quartet arrived fully formed, wielding an evidently endless supply of triumphant swells, a synth-guitar engine melding the rawkish to the relevant, and their manfully awkward dream catcher in frontman Dan Smith—a better-coiffed, worse-spoken millennial Chris Martin, whose flair for the anthemic just barely overshadows his weakness for morose balladry. While every thundering chorus promises liberte and egalite aplenty, there’s an aching lack of fraternity, in every sense of the word. JAY HORTON. Moda Center, 1401 N Wheeler Ave., 235-8771. 8 pm. $29.50-$39.50. All ages.
FRIDAY, NOV. 14 Lyrics Born, Dirty Revival Collective
[UNDERGROUND VET] Veteran Bay Area rapper Lyrics Born has gotten a lot of mileage out of his distinctive sing-song flow, in which words stream out of him like a magician pulling colored handkerchiefs from his
throat. His last solo outing dropped in 2010, but he’s got a new one, titled Real People, on the horizon, which he’s likely to preview tonight. Alhambra Theatre, 4811 SE Hawthorne Blvd., 6100640. 9 pm. $16. 21+.
EDJ
[FRUIT BAT] Eric D. Johnson’s indiefolk band Fruit Bats was always intended to be a solo act, right up to the band’s demise last November. But the aptly named EDJ, Johnson’s first LP under his new solo moniker, treads far closer to being a proper solo outing. “Odd Love” recalls the finer parts of the Fruit Bats’ The Ruminant Band, with a mélange of hanging notes and trickling harmonies, while the 30-second “Salt Licorice” drifts like a spare Califone tune. The best moments, though, are when Johnson steps away from his roots. The sultry synths and handclaps of “A West County Girl,” a not-so-country song about new beginnings, show that Johnson’s influences exceed merely folk. BRANDON WIDDER. Bunk Bar, 1028 SE Water Ave., 894-9708. 10 pm. $10. 21+.
Rain Parade, Eyelids, Daydream Machine
[REVIVED PSYCHEDELIC REVIVALISTS] If the term “Paisley Underground” means anything to you, you’ll be psyched that Rain Parade has reunited. If it doesn’t, well, kiddies,
it refers to a handful of bands who summoned the sounds and styles of the psychedelic ’60s in ’80s L.A. Guitarist David Roback went on to form the band Opal, which morphed into the hit-making Mazzy Star. Rain Parade’s chiming guitars and cheesy organ recall that heady intersection of garage and folk rock that defined the Nuggets era. Preceding them tonight is Eyelids, featuring old-school Portland rawk gawds sitting comfortably in the same continuum of psychedelic pop. JEFF ROSENBERG. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 10 pm. $12. 21+.
The Bug, Manga, Alter Echo, Selecta YT
[DUB] A metamorphic, diminutive creature that is the unnoticed ruler of the world around him—Planet Earth’s thesis on insects applies well to London producer Kevin Martin. With deep musical roots in jazzcore and industrial hip-hop, Martin became the Bug in 1997, turning to electronic dub and its derivatives. It’s been six years since the seminal London Zoo, but in August the world finally got a follow-up full-length, Angels & Devils, divided into two parts. The first is full of melodic, atmospheric dub, like the transcendent collaboration with Grouper’s Liz Harris, “Void.” Jittery, noisy dubstep fills out the second half, with titles like “Fuck a Bitch.” It’s here that Harris proves himself decidedly
two-legged: Rather than change and die, the Bug just keeps on changing. MITCH LILLIE. Rotture, 315 SE 3rd Ave., 234-5683. 9 pm. $14. 21+.
Dads, Tiny Moving Parts, Choir Vandals, Hemingway
[MATH FEELINGS] There’s something oddly comforting in the way Dads drummer-vocalist John Bradley asks the unnamed subject of “But,” from the duo’s recent release I’ll Be the Tornado, about what kind of diseases she thinks she has and where the pills she takes for them end up. The coupling of Bradley’s plaintive diaryentry yearning and guitarist Scott Scharinger’s acrobatic guitar passages are the PB&J of the math-rock/emo hybrid that put college towns of the Midwest on the map in the late ’90s. Who doesn’t love a gooey sandwich of overdriven emotion every now and then? PETE COTTELL. Star Theater, 13 NW 6th Ave. 7:30 pm. $10. All ages.
Shakey Graves, Rayland Baxter
[BUSK ROCK] Alejandra Rose-Garcia, better known under the moniker Shakey Graves, used to a loner. The 20-something singer-songwriter began his musical career by playing freakfolk tunes in a one-man band. His sound was intensely lo-fi, recording his first major success, Roll the Bones, in various basements and bedroom
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COMMENTARY COURTESY OF WINDISH AGENCY
MUSIC
STOCKHOLM SYNDROME I hate to break it to you, but country music failed us. Once the genre of choice for outlaws and simple folks with big dreams, it’s become a streamlined industry of tepid tunes and Nashvillebankrolled pasteurized posturing. Look no further than the Country Music Awards, where 2014’s big winner, Miranda Lambert, has tamed what little edge she had, and the hunky men are taking more flavor from truck commercials these days than Willie or Johnny. But there is still reason to hope, and it comes from the unlikeliest of places. In Sweden, two women in their early 20s are bringing the roots of country into the 21st century, under the unassuming name First Aid Kit. What does this have to do with metal fans? Well, for starters, they can smell bullshit from miles away. Metal was, until recently, a remarkably vital and progressive genre. In 2014, tradition and authenticity rule the day. Even outside obvious genre boundaries, metalheads have taken to L.A. folk singer Chelsea Wolfe. Though there’s nothing outwardly metallic about her music, she flirts with the vibes of darkness, delivering genuinely stirring music, and her live concerts are filled with black-clad crowds. Though First Aid Kit is decidedly sunnier in outlook, its upcoming show may well be peppered with some of the same adventurous audience. Or, at least, it should be. First Aid Kit is Klara and Johanna Söderberg, hailing from suburban Stockholm. From the get-go, most metal fans will be curious about anything hailing from Sweden that isn’t ABBA. Scandinavia has one of the richest and most important metal scenes in the world, and if you ask any Norwegian, they’ll be quick to tell you that Swedes are the bumpkins that live in their shadow. As it stands, the Söderberg sisters have soaked in that quality that once made country great. Their harmonies are golden, and the melancholy sounds achingly real. Fans of true, old-fashioned country have had few options in recent years. The best practitioner by far is Neko Case, and First Aid Kit draws deeply from
Why metal fans should love First Aid Kit.
her well. But Neko’s audience isn’t really country fans, and neither is First Aid Kit’s. The Söderbergs have been under the wing of their father, a successful pop-rock musician himself. But they’ve also come to the attention of Conor Oberst, Jack White and Fleet Foxes frontman Robin Pecknold. Most of those are hardly names that mainstream country fans will recognize, but they are a sort of royalty nonetheless. Metal is cathartic music, but there is a time when the doors and windows have to be kicked open and the dust cleared out of the cabin. Heavy music carries more weight when juxtaposed against simple beauty. When the sun breaks with dawn and your ears are ringing from the onslaught, ease into First Aid Kit’s Stay Gold. While the main themes of the album seem to be love, loss and determined hope, the girls are not afraid to walk in the shadows. “Fleeting One” begins acoustically, then blooms into the arranged gloom that worked so well for Leonard Cohen: “As we took those evening walks/Down through the graveyard/ Those names engraved always/Put a new shade to my thoughts.” The mood fits like a beanbag chair, and conjures the spirits that we miss. America has let us down, but two girls from Sweden are lighting a new path. NATHAN CARSON. SEE IT: First Aid Kit plays Roseland Theater, 8 NW 6th Ave., on Friday, Nov. 14. 9 pm. $22. All ages. Willamette Week NOVEMBER 12, 2014 wweek.com
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studios across Los Angeles, usually by himself. Recently, though, RoseGarcia has begun to rely on a little help from his friends. With a drummer and a real studio behind him, Shakey Graves’ most recent effort, And the War Came, is his most well-produced, tight and puttogether album yet, proving that having allies ain’t such a bad thing after all. ASHLEY JOCZ. Wonder Ballroom, 128 NE Russell St., 2848686. 8 pm. $15. All ages.
PREVIEWS TIMOTHY SACCENTI
MUSIC
SATURDAY, NOV. 15 Mudhoney, Poison Idea, P.R.O.B.L.E.M.S., DJ Jason Keebler
Gruff Rhys, Willis Earl Beal
[NORTHERN LITES] Is there a band more underrated than Super Furry Animals? Actually, let’s ditch the rhetorical question: The long-running Welsh space-pop outfit is the most underappreciated band of the last 20 years or so, with leader Gruff Rhys’ winding melodies and endearing accent guiding some of the catchiest and—this is important—fun rock songs around. Rhys’ new solo project documents the recent discovery of his relative John Evans, who left Wales in 1792 on a quest to find a mythical tribe of Welshspeaking Native Americans. You can listen to American Interior with this knowledge in the background, or you can just spin “The Last Conquistador” or “Liberty (Is Where We’ll Be)” or the epic “The Swamp” free of context and jam out to some really great rock songs. MICHAEL MANNHEIMER. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $12 advance, $14 day of show. 21+.
Flying Lotus, Thundercat [FUTURE JAZZ] Steven Ellison won’t settle down. The producer, better known to the world as Flying Lotus, isn’t just one of the most innovative musicians putting out material these days. He’s an all-encompassing force of nature, blending genres and styles and constantly breaking the boundary of what can, and should, be allowed in electronic music. On new joint You’re Dead! (that exclamation point is not a typo), FlyLo has perfected his own spectral take on what I’m going to call “future jazz.” The music is danceable but hyperactive, recognizable but otherworldly, foreign yet oddly comforting. Ellison has dabbled in hip-hop before (his rapper alter ego Captain Murphy even makes a few appearances), but never before has he dived in quite like the mind-altering Kendrick Lamar vehicle “Never Catch Me.” Led by a smooth piano line and Thundercat’s frenetic bassline, the song zigzags through different movements like a fish jumping in and out of water, but Kendrick rides the slippery beat like it’s totally natural. While nothing else here quite reaches the same high, there’s still enough weirdness—“Moment of Hesitation” sounds like an Alice Coltrane record remixed by robots—to make this the dreamy jazz-prog-IDM hybrid we always know he had in him. MICHAEL MANNHEIMER. Roseland Theater, 8 NW 6th Ave., 224-8499. 9 pm Monday, Nov. 17. $25. All ages. COURTESY OF THE AGENCY GROUP
[PUNKY FUROR] Mudhoney’s last studio album, 2013’s Vanishing Point, hit shelves about four months before a biography, The Sound & the Fury From Seattle. Neither did much to bring the band to a wider audience. In part, the ambivalence stems from Mudhoney never having made it out the underground, despite its grungy peers becoming millionaires. Lazy lyrics such as “Embrace the positive/ Reject the negative” from “What to Do With the Neutral,” delivered in Mark Arm’s off-key howl, certainly don’t help. Mudhoney’s still capable of brilliance, though, even if it’s becoming harder and harder to wait around for. DAVE CANTOR. Dante’s, 350 W Burnside St., 345-7892. 9 pm. $20. 21+.
Run The Jewels, Ratking, Despot
[INTELLIGENT CRIME MUSIC] For much of their careers, Killer Mike and El-P existed on hip-hop’s periphery. Sure, the former had his Outkast affiliations, and the latter built a dedicated following among serious alt-rap heads as the head of the Def Jux crew, but neither was really in the general conversation when they teamed up for Mike’s 2012 solo album, R.A.P. Music. Between El’s chest-caving production and Mike’s engaging agitprop, the record hit too hard to ignore. With Run the Jewels, their formal collaborative partnership, the veteran duo has essentially bullied their way to widespread acclaim, dropping two loud, brash collections of criminally-minded street tales in as many years. MATTHEW SINGER. Hawthorne Theatre, 1507 SE Cesar Chavez Blvd., 233-7100. 7 pm. Sold out. 21+.
Nu Shooz
[DANCE POP RESOLED] While dismissal of a pre-X-Ray Cafe local music wasteland often feels overstated, ’80s Portlandia was hardly fertile ground for the R&B revue of Nu Shooz’s beginnings, and rather less promising for the proto-electro sensation it became. But John Smith and Valerie Day nonetheless scored an honest-to-God global smash with “I Can’t Wait”—even now, their press insists, played somewhere on earth every 11 minutes— after an unforeseen Dutch remix
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Death From Above 1979 [NO-WAVE FUNK] Looking back on the flash-in-the-pan success of Death From Above 1979’s debut record, You’re a Woman, I’m a Machine, it’s hard to pin down what sort of precedent led to the Toronto drums-and-bass duo’s explosive start. The harsh blast of anti-pop noise that kicks off “Turn It Out” felt like a distant cousin of neo-no-wave duos like Hella and Lightning Bolt, but the muscular grooves that followed were not just some sonic installation piece for the art-school klatch to gawk at: This was a party record through and through. Though Jesse Keeler and Sebastien Grainger called it a day in 2006, the modern era of instant nostalgia laid the groundwork for the duo to return in a massive way. This year’s The Physical World is a cohesive reimagining of what the DFA79 sound may have felt like had the two musicians’ star not risen to the suffocating heights of the late-2000s “blog rock” era. Clearing their plate of expectations has knocked loose a deluge of fresh ideas that manage to sit snugly in the constraints of being a louder-thanaverage two-piece with a taste for sonic exploration but little time for superfluous bullshit. Their body of work is still miniscule, but their mastery of melodic aggression and punishing rhythms will have punk kids shaking their asses for at least another decade. PETE COTTELL. Crystal Ballroom, 1332 W Burnside St., 225-0047. 9 pm Tuesday, Nov. 18. $28.50 advance, $30.50 day of show. All ages.
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of the indie single spurred 1986 gold album Poolside. Following a Best New Artist Grammy nomination, their seemingly fated slide from relevance began (save endless samples by artists ranging from Vanessa Williams to 50 Cent), and the couple shelved the act for a quarter-century before last year’s Freestyle Explosion tour with Alf-era contemporaries bumped momentum sufficiently for this evening’s reunion concert proper. Best not to expect much beyond a triumphant rendition of The Song and dimming variants, but, y’know, cobblers stick to their last. JAY HORTON. Jimmy Mak’s, 221 NW 10th Ave., 295-6542. 7 and 10 pm. $15 advance, $18 day of show. 21+.
Rasheed Jamal, Big Mo, Mic Capes, Montey Carlo
[HEAVY SPITTER] Rasheed Jamal, one-third of rising St. Johns rap trio the Resistance, is still a few weeks away from dropping his new album, Sankofa, but if teaser tracks such as the strikingly dark “Urban Decay” and colossal posse cut “Mt. Olympus” are any indication, it should be a monster. Tonight’s show, which also features fellow Resistance member Mic Capes, doubles as a video shoot, and likely a preview of what’s sure to be one of the top Portland releases of the year. Kelly’s Olympian, 426 SW Washington St., 228-3669. 9 pm. $10. 21+.
Purling Hiss, the Woolen Men, Land Lines
[DIY OR DIE] This show is for everyone who came of age on classic rock but got tired of studio schmaltz and songs about The Lord of the Rings. It’s a bill featuring a triptych of lo-fi, heavy-riffing slackrockers, the centerpiece being Purling Hiss, a Philadelphia signee of the esteemed Drag City label. The wall-of-guitars wailing might bring the ’90s to mind, but at its blues-inflected root is an aesthetic decades older. The band is flanked by two Portland acts, Woolen Men and Land Lines, for which the show also serves as a tape-release party. JAMES HELMSWORTH. The Know, 2026 NE Alberta St., 473-8729. 8 pm. Call venue for ticket information. 21+.
SUNDAY, NOV. 16 Generationals, Springtime Carnivore
[INDIE DANCE] Last year, longtime pals Ted Joyner and Grant Widmer, together known as Generationals, turned out one of the strongest records of the year in Heza. The New Orleans duo has steered its ship towards the dance floor with newest effort Alix, produced by Richard Swift. Fortunately, Generationals has mostly stuck to its guns, those being falsetto harmonies, playful melodies and a signature chimelike sound embedded in most tracks. Akin to Dale Earnhardt Jr. Jr., Joyner and Widmer have ushered tried-andtrue pop elements into the new age with the help of electronics and a capable understanding of indie rock. MARK STOCK. Doug Fir Lounge, 830 E Burnside St., 2319663. 9 pm. $12. 21+.
Yelawolf, Rittz, Big Henry, DJ Klever
[TRUNK MUZIK] A few years ago, Alabama rapper Yelawolf was on serious Next Big Thing status. A skinny white skate punk with a nasal spitfire flow, spinning gripping yarns about the trailer-park poor? Sounds familiar, doesn’t it? The “new Eminem” chatter got so deafening Marshall Mathers himself eventually took notice. Radioactive, released on Em’s Shady Records imprint in 2011, should’ve been the spark to finally blow him up from mixtape superstar to actual chart success. But the album tried a bit too hard to make that happen, diluting his grittiness with pop hooks, polished production
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and star cameos that boxed him in rather than bolstered his credibility. (I mean, Kid Rock? Really?) Yelawolf remains a compelling performer, live and on record, and if Radioactive wasn’t the mainstream breakthrough it should’ve been, it hardly shook his core audience. Let’s just hope his upcoming sophomore effort, Love Story, allows the crossover to come naturally this time around. MATTHEW SINGER. Roseland Theater, 8 NW 6th Ave., 224-8499. 8 pm. $20. All ages.
MONDAY, NOV. 17 James Vincent McMorrow, Moors
[SINGER-SONGWRITER] Music like that of James Vince McMorrow has been inhabiting coffee shops and contemporary dance performances for a few years now, and with his penchant for sparse and haunting songs of heartbreak and longing, it’s easy to see why. His second LP, this year’s Post Tropical, doesn’t quite leave the Bon Iver comparisons behind—check out the harmony-laden drifter “Red Dust”—but it does open up new territory for the Irish singer. Tracks like “Cavalier” and “Gold” trade in the twang and slide guitar found on his previous album, Early in the Morning, for bursts of horns, cannoning cymbals and looping piano lines over McMorrow’s heartfelt vocals. Unlike what the bright pastel colors and palm trees on the album cover suggest, there’s little that’s warm or sunny about it, but it’s perfectly suited for the brooding, rain-drenched winter days ahead. KAITIE TODD. Aladdin Theater, 3017 SE Milwaukie Ave., 234-9694. 8 pm. $25. 21+.
Capital Cities
[POP] Any jerk can write a catchy song, but to write them routinely takes practice. Ryan Merchant and Sebu Simonian, the L.A. duo that makes up Capital Cities, have had plenty of it, working as jingle writers for two years before forming Capital Cities. You can hear that training in the pair’s current work, which mixes contemporary electro with notes of R&B, disco and funk. It’s certainly a sound you’ve heard before, but Capital Cities are particularly careful with their craft, putting just the right amount of stutters into the hooks and calibrating the pitch bends on their synths just so. With such winking songs as “I Sold My Bed, but Not My Stereo” and the Andre 3000 feature “Farrah Fawcett Hair,” they’re not letting effort get the better of their humor, either. JAMES HELMSWORTH. Crystal Ballroom, 1332 W Burnside St., 225-0047. 8 pm. $25 advance, $30 day of show. All ages.
Wovenhand, Pontiak, Bike Thief
[SOUTHERN GOTHIC] Wovenhand is the brainchild of David Eugene Edwards, late of the Denver altcountry group 16 Horsepower. The band might fit beneath the broad umbrella of roots music, but that hardly describes its dark, menacing undercurrent, which has been heavy enough in the past to earn the group dates opening for the likes of Tool. Refractory Obdurate, Wovenhand’s latest, is Biblical in both its references and philosophical heft, and as unnerving as a sermon from a preacher powerful enough to convince you of your own, inevitable damnation. MATTHEW SINGER. Hawthorne Theatre, 1507 SE Cesar Chavez Blvd., 233-7100. 7 pm. $14 advance, $17 day of show. 7 pm. 21+.
Twin Peaks, Meatbodies, Criminal Hygiene, Mope Grooves
[GARAGE POP] I like to imagine the only reason David Lynch decided to bring back Twin Peaks is to troll the Chicagobased band that named itself
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NOVEMBER 12th–16th
NOT GOOD WITH ANY OTHER OFFERS OR ON SALE PRODUCTS
THE 1975
Reserve your Bird
THURSDAY, 11/13 @ 6PM
Due to concerns over capacity, the label has requested that customers who purchase the album at Music Millennium be given preference. Get yours today for guaranteed admission!
ANNY CELSI SATURDAY, 11/15 @ 5PM
Her style has been described as “beatnik cool,” “pop-noir,” and “slightlydelic pop jangle.” Intimate and incisive, Anny’s live shows bring wit, soul and energy to the traditionally mellow singer/songwriter format.
RUN THE JEWELS
in store signing with El-P & Killer Mike
SATURDAY, 11/15 @ 6PM “...Noise-loving Brooklyn rapper-producer El-P and Atlanta’s Killer Mike make the most explosive hip-hop you’ll hear all year.” — Rolling Stone
ROCKET 3 SUNDAY, 11/16 @ 5PM
“ Rocket 3’s songs are simple, direct, pop-inflected rock songs that are compulsively likeable.” — Eugene Weekly
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MUSIC
MONDAY–TUESDAY/CLASSICAL, ETC.
after his show. (LeVar Burton did the same thing to Reading—now “Bleeding”—Rainbow, didn’t he?) Then again, kids impudent enough to swipe the title of a beloved ‘90s artifact aren’t likely to get rattled that easily. Though its lazily chosen moniker suggests these kids don’t care much about anything, Twin Peaks aren’t futzing around when it comes to the tunefully snotty power-pop on second album Wild Onion. Sure, the music is inflected with a Replacements-like shabbiness, but the melodies and riffage are as expertly crafted as prime Weezer. MATTHEW SINGER. Star Theater, 13 NW 6th Ave., 345-7892. 9 pm. $10. 21+
TUESDAY, NOV. 18 Field Report, Hip Hatchet
[WINTER FOLK] Chris Porterfield has the gravelly, lingering voice of an old ghost. The onetime member of Justin Vernon’s DeYarmond Edison just released his second LP as Field Report, titled Marigolden. The Wisconsin outfit delivers stark folk that’s as worn and weathered as a Midwest barn in winter. Porterfield’s rusted voice is complemented by slight instrumentation and nippy ethereal gusts. It’s the tingly kind of Americana that puts a lot of emphasis on the lyrics, and Porterfield has the writing chops to cope. Field Report plays a piercing brand of music with a significant windchill, so make sure to wear layers tonight. MARK STOCK. Bunk Bar, 1028 SE Water Ave., 894-9708. 10 pm. $10 advance, $12 day of show. 21+.
Sohn, Wet
[SOUL-TRONICA] Christopher Taylor, aka Sohn, is a South London product currently producing, remixing and creating his own solo material from Vienna. His debut LP, Tremors, is no less confident and well-produced than the Angel Haze and Disclosure remixes he used to turn out from the privacy of his own home. Tremors teems with Taylor’s soulful, glassy vocals and fondness for dreamy, echoey electronica. It’s an avantgarde interpretation of Jamiroquai, trading funk for a cleaner, crystalline brand of digital beats, keys and moody effects. MARK STOCK. Doug Fir Lounge, 830 E Burnside St., 2319663. 9 pm. $15. 21+.
The Bots, Melt, Fen Wik Ren
[TWO-PIECE GUITARMAGEDDON] The Bots are Mikaiah and Anaiah Lei, two impossibly young brothers from L.A. playing guitar-and-drums garage-punk with a muscle way beyond their years. The duo already have three albums, several festival appearances and a tour with Blur, of all bands, to its credit, despite barely being over high-school age. Catch them now, before they become old, cynical twentysomethings. Hawthorne Theatre Lounge, 1507 SE Cesar Chavez Blvd., 2337100. 7:30 pm. $10 advance, $12 day of show. 21+.
Flosstradamus
[FESTIVAL TRAP LORDS] On one side, you’ve got the braggadocio trap-rap of Rick Ross and Waka Flocka Flame, which sticks to its hip-hop roots. On the other are producers like Flosstradamus and Diplo, making anthemic, minimally lyrical trap for the Molly-ridden festival masses. Few have crossed between the two worlds, but earlier this year, that’s exactly what Flosstradamus did, collaborating with Waka Flocka on “TTU (Too Turnt Up),” and the Atlanta rapper’s gravelly voice is the only thing that saves the track from being a shitty club remix of Li’l Wayne’s “A Milli.” But “Drop Top,” the group’s previous single, is the song that’s actually too turnt up, with Travis Porter’s rap taking a back seat to synths Flosstradamus stole from a happy hardcore rave. MITCH LILLIE. Roseland Theater, 8 NW 6th Ave., 224-2038. 8 pm. $30. 18+.
CLASSICAL, JAZZ & WORLD
Friday, Nov. 14. $20 general admission, $25 reserved seating.
Sarah Tiedemann and Nik Caoile
Crazy Jane Composers
[20TH-CENTURY CLASSICAL] As this concert by flutist Sarah Tiedemann (who has played with groups ranging from the Oregon Symphony to Northwest New Music) and Salem Chamber Orchestra conductor Nik Caoile demonstrates, mid-20th-century chamber music could be a lot easier on the ear than its fearsome reputation suggests. From Aaron Copland’s winsome Duo to Henri Dutilleux’s playful Sonatine to Olivier Messiaen’s The Blackbird (which chirps along like the bird songs that inspired it and so many of the French composer’s other works), to Czech composer Jindrich Feld’s frolicsome Sonata, these midcentury pieces gleam with the audience appeal that so many other cool-kid composers of the era disdained. BRETT CAMPBELL. The Old Church, 1422 SW 11th Ave., 222-2031. 7:30 pm Thursday, Nov. 13. $20 suggested donation. All ages.
Miguel Zenón Quartet
[JAZZ GENIUS] A big reason Miguel Zenón scored coveted Guggenheim and MacArthur “genius” grants a few years ago was his artistic ambition. Not content to merely make stylish, rhythmically intrepid jazz (he co-founded the SF Jazz Collective and recorded with stars like Charlie Haden and Fred Hersch), the New York saxophonist, who immigrated from San Juan in 1998, interviewed second-generation Nuyoricans about what it means to be a Puerto Rican. Zenón’s new multimedia project, Identities Are Changeable, explores the cultural identity of New York’s Puerto Rican community by incorporating video and audio clips from those interviews into his original song cycle. In this PDX Jazz concert, his longtime quartet (drummer Eric Doob, pianist Luis Perdomo and bassist Hans Glawischnig) will play the music from his new album of the same name, without the big band that accompanied them there. BRETT CAMPBELL. Jimmy Mak’s, 221 NW 10th Ave., 295-6542. 7:30 pm
[OREGON ORIGINALS] For some reason—maybe because they tend to be younger—the female contingent of Cascadia Composers seems to write music that feels more in touch with today’s sounds than some of their male counterparts. Their annual Crazy Jane concert, which this year benefits Environment Oregon, includes new music by Oregon women composers, including Susan Alexander, Lisa Ann Marsh, Bonnie Miksch, Jennifer Wright and more, for electronics, piano, strings, plastic instruments, woodwinds, narrator, brass, percussion, voice and—alas, not in time for Halloween—skeleton piano. BRETT CAMPBELL. Lincoln Hall, Portland State University, 1620 SW Park Ave., 725-3307. 7:30 pm Friday, Nov. 14. $5-$15. All ages.
Alban Gerhardt Plays Haydn
[CLASSICAL] Alban Gerhardt returns to the Oregon Symphony to lend his virtuoso skills to Haydn’s baroque Cello Concerto No. 1. Long thought lost, the score was rediscovered in 1961 by a musicologist in the Prague National Museum. Most experts agree on its authenticity as one of Haydn’s major works for small ensemble. Following the concerto on a significantly larger scale is Mahler’s Symphony No. 5. Opening with a funeral march, this work was composed during a tumultuous time in Mahler’s life. He labored on it from his cottage during the summer months of 1901, while recovering from hemorrhaging that left him within “an hour of bleeding to death.” At the time, he was director of the Vienna Court Opera and had just fallen in love with his future wife, Alma Schindler. NATHAN CARSON. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 248-4335. 7:30 pm Saturday, Nov. 15, and 8 pm Monday, Nov. 17. $22-$125. All ages.
For more Music listings, visit
ALBUM REVIEW
ROCKET 3 BURN (SELF-RELEASED) [POP ROCK] The fun of Rocket 3’s debut album, Burn, is in its contrasts. Framed by singer Ramune Nagisetty’s crunchy power chords and sweet, hazy vocals, the album leans toward rock-inflected pop that’d fit right in at college parties, roller-derby matches or as the soundtrack to beach scenes in ’90s teen movies. Though it frequently wanders into bubblegum territory, with energetic choruses delivered via delicate, trilling vocals, the album is also built on a solid foundation of jangle pop and grunge. The juxtaposition doesn’t grow old, even as the songs sound more familiar by the album’s end. Part of this familiarity makes sense: The three-piece frequently nods toward its influences, with covers of the Velvet Underground, the Sex Pistols and My Bloody Valentine making their way onto the tracklist. Interspersed throughout, though, are standout originals that trade the “stuck-in-the-garage feeling” for that of reflective outdoor adventures. Take, for instance, “Catch Me,” a track shaped by easy, breezy harmonies, a bouncy, almost surf melody and hopeful lyrics of new love. Then there’s “Mountain Song,” which floats along like a melancholy lullaby, riding gentle waves of minimal guitar, Nagisetty’s heartbreaking croon and imagery of mountains and stars. Burn ends with a loud, beefed-up rendition of My Bloody Valentine’s “Only Shallow,” which strikes a stark contrast to the punchy pop rock of the rest of the album. If there’s such a thing as a good kind of whiplash, this is it, as the band pushes its candied, grungy sound to ever-heavier, even more sugary heights. KAITIE TODD. SEE IT: Rocket 3 plays Secret Society, 116 NE Russell St., with Citypools and Charts, on Saturday, Nov. 15. 9 pm. $8. 21+.
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Willamette Week NOVEMBER 12, 2014 wweek.com
THANK YOU TO ALL OF THE BUSINESSES THAT SUPPORTED OUR 2014 GIVE!GUIDE KICK OFF CELEBRATION
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CATERERS:
Catering at Its Best | DeAngelo's Catering & Events | Devil's Food Catering Elephants Catering | Food In Bloom Catering | Pearl Catering Simpatica Catering | Vibrant Table Catering & Events Willamette Week NOVEMBER 12, 2014 wweek.com
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MUSIC CALENDAR
[NOV. 12-18] The Tonic Lounge
= ww Pick. Highly recommended. Editor: Mitch Lillie. TO HAVE YOUR EVENT LISTED, send show information at least two weeks in advance on the web at wweek.com/submitevents. Press kits, CDs and especially vinyl can be sent to Music Desk, WW, 2220 NW Quimby St., Portland, OR 97210. Please include show or release date information with all physical mailings. Email: music@wweek.com.
3100 NE Sandy Blvd. Raw Dog and the Close Calls, Thunder Goat, Zak Shaffer
vie de Boheme 1530 SE 7th Ave. The Djangophiles
For more listings, check out wweek.com.
white eagle Saloon
RONITPHOTO.COM
836 N Russell St. Chris Baron & Friends
wilf’s Restaurant & Bar
800 NW 6th Ave. Rock Me Sweet Revue Cabaret and CD release
wonder Ballroom 128 NE Russell St. SoMo
FRi. Nov. 14 Al’s den
303 SW 12th Ave. The Lowest Pair
Aladdin Theater
3017 SE Milwaukie Ave. Lights
Alberta Street Public House 1036 NE Alberta St. Orquesta Monte Calvo
Alhambra Theatre
4811 SE Hawthorne Blvd. Lyrics Born
Ash Street Saloon
RoCK oF Love: Shovels and Rope perform at the Crystal Ballroom on Nov. 9.
wed. Nov. 12 Al’s den
303 SW 12th Ave. The Lowest Pair
Alberta Street Public House 1036 NE Alberta St. Trio Subtonic, D’Vonne Lewis, Barra Brown Quintet
Ash Street Saloon
225 SW Ash St. Sun Kids, The Dakota Badlands, Votive
Blue diamond
2016 NE Sandy Blvd. The Fenix Project
Boon’s Treasury
888 Liberty St. NE The Folly
Cadigan’s Corner Bar 5501 SE 72nd Ave. Danny Hay Davis & The Rat Pack
Crystal Ballroom
1332 W Burnside Street Hard Working Americans, The Congress
dante’s
350 W Burnside St John Moreland with Keirston White, Count Kellum
doug Fir Lounge
Holocene
1001 SE Morrison St. White Arrows, Hont
Jade Lounge
Alhambra Theatre
Jimmy Mak’s
225 SW Ash St. Hemorage, Path To Ruin, Antique Scream
221 NW 10th Ave. The Christopher Brown Quartet, Mel Brown Quartet
Kells
112 SW 2nd Ave. Sammi
LaurelThirst Public House
2958 NE Glisan St. Chelsea McBee, Clawfoot Slumber (9 pm); Love Gigantic (6 pm)
Mississippi Studios
3939 N Mississippi Ave. Alexz Johnson, Jared & The Mill, Patrick Droney
Roseland Theater
8 NW 6th Ave. Tegan and Sara, Waters, the Courtneys
The Tonic Lounge
3100 NE Sandy Blvd. The Siege Fire, Old Lines, Spit Vitriol
Trail’s end Saloon
duff’s Garage
wilf’s Restaurant & Bar
eastBurn
1800 E Burnside St. William Scott Browning
edgefield
2126 SW Halsey St. Pretend Sweethearts
Gemini Bar & Grill
456 N State St. Jacob Merlin and Sarah Billings
Hawthorne Theatre
1507 SE Cesar E. Chavez Blvd. Mariachi El Bronx, Tijuana Panthers, Pounded by the Surf
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1036 NE Alberta St. Mark Sexton Band
2342 SE Ankeny St. The Famous Haydell Sisters, with Andrew Leach and Kerra the Intern
830 E Burnside St. Siren Nation: Mirah, Luz Mendoza 2530 NE 82nd Ave Suburban Slims Blues Jam, Arthur Moore’s Harmonica Party
Alberta Street Public House
1320 Main Street Big Monti
800 NW 6th Ave. Ron Steen Band
THuRS. Nov. 13 Al’s den
303 SW 12th Ave. The Lowest Pair
Aladdin Theater
3017 SE Milwaukie Ave. Southern Soul Assembly, Marc Broussard, JJ Grey, Luther Dickinson, Anders Osborne
Alberta Rose Theatre
3000 NE Alberta St. Steve Forbert, Anny Celsi
Willamette Week NOVEMBER 12, 2014 wweek.com
4811 SE Hawthorne Blvd. Fortunate Youth, The Expanders, Thrive
Ash Street Saloon
Biddy McGraw’s
6000 NE Glisan St. The Hollerbodies
Blue diamond
2016 NE Sandy Blvd. Ben Jones and Friends
Bunk Bar
1028 SE Water Ave. Trumans Water, Octagrape, Permanent Makeup, And And And
Chapel Pub
430 N Killingworth St. Steve Kerin
Clyde’s Prime Rib Restaurant & Bar
5474 NE Sandy Blvd. Mesi and Bradley
dante’s
350 W Burnside St The White Buffalo
doug Fir Lounge
830 E Burnside St. Changing the Tune, Benefit Concert featuring Jilt
duff’s Garage
2530 NE 82nd Ave Tough Love Pyle
eastBurn
1800 E Burnside St. 4 On The Floor
edgefield
2126 SW Halsey St. Sonny Hess
Hawthorne Theatre
1507 SE Cesar E. Chavez Blvd. The Coup, Tope, Speaker Minds, Madgesdiq, Verbz
Hawthorne Theatre Lounge
1503 SE Cesar E Chavez Blvd. Twisted Insane, GODZ, Saint Warhead, PDS, Guilt By Association q
Jimmy Mak’s
221 NW 10th Ave. Mel Brown B3 Organ Group
Kells
112 SW 2nd Ave. Sammi
LaurelThirst Public House
225 SW Ash St. Black Witch Pudding, Serial Hawk, Mothers Whiskey
Biddy McGraw’s
6000 NE Glisan St. Bottleneck Blues Band, Muriel Stanton Band
320 SE 2nd Ave. Dance Gavin Dance & Secrets, Alive Like Me & Defeat the Low
Bunk Bar
1028 SE Water Ave. EDJ 350 W Burnside St Rebirth Brass Band, Just People 830 E Burnside St. Red Light Romeos: A Tribute to Yacht Rock
duff’s Garage
2530 NE 82nd Ave Ellen Whyte Big Band, Jawbone Flats
3435 N Lombart St. Claes of The Blueprints & Friends
edgefield
Moda Center
Hawthorne Theatre
1401 N Wheeler Ave. Bastille
Roseland Theater 8 NW 6th Ave. The 1975
Rotture
315 SE 3rd Ave. The Cutthroats 9, Aeges
Starday Tavern
6517 SE Foster Road Zindu
The Know
2026 NE Alberta St. Ovvl, Pushy
The Muddy Rudder Public House 8105 SE 7th Ave. Stumbleweed
The old Church
1422 SW 11th Ave. Sarah Tiedemann and Nik Caoile
The Secret Society
116 NE Russell St. The Swingtown Vipers
Mississippi Studios
2126 SW Halsey St. The Resolectrics 1507 SE 39th Ave. Scott Bradlee & The Postmodern Jukebox
Hawthorne Theatre Lounge
1503 SE Cesar E Chavez Blvd. Demure, The Hoons, The Hugs
Jimmy Mak’s
221 NW 10th Ave. Miguel Zenn Quartet
Kells
112 SW 2nd Ave. Full Schilling
Korkage wine Bar & Shop 6320 Capitol Hwy Ben Graves Latin & Classical Guitar
LaurelThirst Public House
2958 NE Glisan St. Jenny Don’t & the Spurs, Brush Prairie (9:30 pm); Joe McMurrian & Woodbrain (6 pm)
SAT. Nov. 15 Al’s den
303 SW 12th Ave. The Lowest Pair
Alberta Street Public House
1036 NE Alberta St. Robert Richter, Marianne Flemming, Anna-Lisa
3939 N Mississippi Ave. Rain Parade, Eyelids, Daydream Machine
Alhambra Theatre
Mock Crest Tavern
Arlene Schnitzer Concert Hall
3435 N Lombart St. Sneakin’ Out
o’Connor’s vault
7850 SW Capitol HWy Ellis in Concert
Ponderosa Lounge
10350 N Vancouver Way Whisky Union
Portland Community Music Center 3350 SE Francis St Whistlin’ Rufus, Community Music Center’s Family Friday Concert Series
Roseland Theater
8 NW 6th Ave. First Aid Kit
Rotture
315 SE 3rd Ave. The Bug, Manga, Alter Echo, Selecta YT
Saint Honor Boulangerie
3333 SE Division St The Djangophiles
Sandy Hut
1430 NE Sandy Blvd. ATOTH, Human, A Thrill of the Hunt, L.I.A.R.
Star Theater
The Know
doug Fir Lounge
Mock Crest Tavern
16755 SW Baseline Rd Jay Purvis
Branx
Mississippi Pizza
3939 N Mississippi Ave. Drew Holcomb and The Neighbors
Metropolitan Bistro and Bar
2016 NE Sandy Blvd. Franco Paletta and the Stingers
dante’s
Mississippi Studios
1620 SW Park Ave. Crazy Jane Composers
13 NW 6th Avenue Dads, Tiny Moving Parts, Choir Vandals, Hemingway
Blue diamond
2958 NE Glisan St. Blue Flags & Black Grass (9 pm); Lewi & the Left Coast Roasters (6 pm) 3552 N Mississippi Ave. Red Yarn
Lincoln Performance Hall
2026 NE Alberta St. Residual Echoes, Terminal Fuzz Terror, Eternal Tapestry
The Living Room Theater 341 SW 10th Ave . Jonathan Smith
The Lovecraft
421 SE Grand Ave. Metal Mother, Force Publique, Pastel Ghost
The Secret Society
116 NE Russell St. The My Oh Mys & The Frequence, Lefty & The Twin, Pete Krebs And His Portland Playboys
The Tonic Lounge
3100 NE Sandy Blvd. Hobbs Angel of Death, Swarming Darkness, Cemetery Lust, Torture Rack
Tillicum Restaurant & Bar
4811 SE Hawthorne Blvd. Head for the Hills
1037 SW Broadway Alban Gerhardt Plays Haydn
Artichoke Music
3130 SE Hawthorne Blvd. Brian Oberlin
Ash Street Saloon 225 SW Ash St. Fells Acres
Biddy McGraw’s
6000 NE Glisan St. Bahttsi, Stomptowners
Boon’s Treasury
888 Liberty St. NE Three for Silver
dante’s
350 W Burnside St Mudhoney & Poison Idea, P.R.O.B.L.E.M.S. with DJ Jason Keebler
doug Fir Lounge
830 E Burnside St. Gruff Rhys, Willis Earl Beal
duff’s Garage
2530 NE 82nd Ave Lloyd Jones
edgefield
2126 SW Halsey St. Mary Flower
Gemini Lounge
6526 SE Foster Rd. Amber Harlan Granmo Jazz Trio
Hawthorne Theatre
1507 SE 39th Ave. Run The Jewels (El-P & Killer Mike), Ratking, Special Guest Despot
Hawthorne Theatre Lounge
1503 SE Cesar E Chavez Blvd. Ayo Dot & The Uppercuts
Jimmy Mak’s
221 NW 10th Ave. Nu Shooz
Kells 112 SW 2nd Ave. Full Schilling
LaurelThirst Public House
2958 NE Glisan St. Portland Country Underground (acoustic), John Gnorski (of Houndstooth), The Body Holographic (9:30 pm); Alice Stuart (6 pm)
8585 SW BeavertonHillsdale Hwy. Sonny Hess
Mississippi Studios
Tony Starlight’s Supper Club
Ponderosa Lounge
3728 NE Sandy Blvd. Back to Bacharach
Torta-Landia
4144 SE 60th Ave. Twitch Silverback
3939 N Mississippi Ave. Hook & Anchor 10350 N Vancouver Way Slicker Country Band
Redeemer Lutheran Church
Turn! Turn! Turn!
5431 NE 20th Ave. Bhob Rainey and Joda Clment
vie de Boheme
10000 NW Old Cornelius Pass Rd. The Brothers Jam
8 NE Killiingsworth St Quttinirpaaq, Jagula and Electric Hymn 1530 SE 7th Ave. Nu Wavers
white eagle Saloon 836 N Russell St. Garcia Birthday Band, Reverb Brothers
wonder Ballroom 128 NE Russell St. Shakey Graves
St. Andrew Lutheran Church
12405 SW Butner Road Organ Recital for St. Andrew
Star Theater
13 NW 6th Ave. Embrace, The Human Experience, SaQi, Mihkal, Sixis & Guda
The GoodFoot Lounge 2845 SE Stark St. Scott Law Band, The Student Loan
The Know
2026 NE Alberta St. Purling Hiss, the Woolen Men, Land Lines
The Lovecraft
421 SE Grand Ave. Satsuma
The Muddy Rudder Public House 8105 SE 7th Ave. Cafe Cowboys
The old Church
1422 SW 11th Ave. A Reason to Smile
The Secret Society
116 NE Russell St. Rocket 3, Citypools, Charts, Everything’s Jake
The Tonic Lounge
3100 NE Sandy Blvd. Righteous Darkness & Gloaming, Rotten Strawberry
The waypost Coffeehouse & Tavern 3120 N Williams Ave. 1000TrashCans, Chrome Mole Monocle, The Translucent Spiders, Eaton Flowers
Tigardville Station
12370 SW Main Street Hifi Mojo
Tillicum Restaurant & Bar 8585 SW BeavertonHillsdale Hwy. Direct Divide
Tony Starlight’s Supper Club
3728 NE Sandy Blvd. Tony Starlight’s Neil Diamond Experience
white eagle Saloon 836 N Russell St. Melanie Martinez, Soul Saturdays with DoveDriver
wonder Ballroom
128 NE Russell St. The Green, J Boog, EliMac
SuN. Nov. 16 Al’s den
303 SW 12th Ave. Garcia Birthday Band
Alberta Rose Theatre
3000 NE Alberta St. Rajasthani Gypsy Caravan, Suva Devi and Ustad Arba Music Group
Andina Restaurant 1314 NW Glisan St, 3 Leg Torso
Ash Street Saloon
225 SW Ash St. A Sound of Thunder
Blue diamond
Rock Creek Tavern
2016 NE Sandy Blvd. Kevin Selfe and the Tornadoes Jam Session
Rotture
830 E Burnside St. Generationals, Springtime Carnivore
315 SE 3rd Ave. Self Defense Family, Creative Adult, Wild Moth & Phantom Family
doug Fir Lounge
duff’s Garage
2530 NE 82nd Ave Djangophiles
Sandy Hut
1430 NE Sandy Blvd. Xoth, Zorakarer, Magnabolt
CONT. on page 38
MUSIC PG. 27 Willamette Week NOVEMBER 12, 2014 wweek.com
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MUSIC CALENDAR Hawthorne Theatre
1507 SE 39th Ave. Sanctuary, Spellcaster, Earth To Ashes, Cry Havok, Tanagra
Hawthorne Theatre Lounge
1503 SE Cesar E Chavez Blvd. Tjunatjuna, Contact Cult, Die Geister Beschworen
Holocene
1001 SE Morrison St. Bike Thief, Us Lights, Foxy Lemon
Kells
112 SW 2nd Ave. Bill Tollner
Mississippi Studios
3939 N Mississippi Ave. Frontier Ruckus
Moda Center
#150, 1 N Center Court St. NewSong’s Winter Jam Tour Spectacular
Rontoms
600 E. Burnside St. Sunday Sessions
Roseland Theater 8 NW 6th Ave. YelaWolf, Rittz, Big Henry, DJ Klever
Skyview High School Concert Hall 1300 NW 139th Street Portland Youth Philharmonic Prelude Concert
Tabor Space Sanctuary
5441 SE Belmont Street Portland Interfaith Gospel Choir Fall Concert and Bakesale
The Know
2026 NE Alberta St. Talilo, Signor Benedick the Moor, DJ Devdan, Aleck Woogmaster
Turn! Turn! Turn!
8 NE Killiingsworth St Bitchin Bajas, Pulse Emitter, and Spectrum Control
White Eagle
836 N Russell St. Orphan Train
MON. NOV. 17 Al’s Den
303 SW 12th Ave. Garcia Birthday Band
Aladdin Theater
3017 SE Milwaukie Ave. James Vincent McMorrow, Moors
Arlene Schnitzer Concert Hall
1037 SW Broadway Alban Gerhardt Plays Haydn
Ash Street Saloon 225 SW Ash St. The Underground Resistance
NOV. 12–18
Blue Diamond
Crystal Ballroom
2016 NE Sandy Blvd. Hot Tea Cold
1332 W Burnside Street Death From Above 1979
Crystal Ballroom
Dante’s
1332 W Burnside Street Capital Cities
Doug Fir Lounge
350 W Burnside St Who’s the Ross?
Doug Fir Lounge
830 E Burnside St. Bob Schneider
830 E Burnside St. Sohn, Wet
Edgefield
Duff’s Garage
2126 SW Halsey St. Groovy Wallpaper with the Adequates
Hawthorne Theatre
1507 SE 39th Ave. Wovenhand, Pontiak, Bike Thief
Hawthorne Theatre Lounge
1503 SE Cesar E Chavez Blvd. Rivers of Nihil, Between Chaos and Creation
2530 NE 82nd Ave Josh Hoyer’s Shadowboxers
Edgefield
2126 SW Halsey St. Marcus Glaze
Elsinore Theatre
170 High St. SE The Brothers Four
Embers Portland
11 NW Broadway Recycle Dark Dance Night
Jimmy Mak’s
Ford Food and Drink
Kells
Hawthorne Theatre
221 NW 10th Ave. The Dan Balmer Trio 112 SW 2nd Ave. Bill Tollner
2505 11th Ave #101 Pagan Jug Band
Lola’s Room
1507 SE 39th Ave. The Ghost Inside, Every Time I Die, Architects, Hundredth, Backtrack
Mississippi Studios
Hawthorne Theatre Lounge
1332 W Burnside Punk Rock Mondays 3939 N Mississippi Ave. Pwrhaus, Lady Lazarus
Montavilla Station 417 SE 80th Ave. Buzz Holland
Roseland Theater
8 NW 6th Ave. Flying Lotus, Thundercat
Star Bar
639 SE Morrison St. Metal Monday with DJ Blackhawk
The Know
2026 NE Alberta St. Oven
White Eagle Saloon 836 N Russell St. Singer Songwriter Showcase, Eric John Kaiser
TUES. NOV. 18 Al’s Den
303 SW 12th Ave. Garcia Birthday Band
Alberta Rose Theatre 3000 NE Alberta St. Birds of Chicago, The Steel Wheels
Alberta Street Public House 1036 NE Alberta St. 22 Kings, Wooden Sleepers
Ash Street Saloon 225 SW Ash St. Ground Score Willie
Bunk Bar
1028 SE Water Ave. Field Report
1503 SE Cesar E Chavez Blvd. The Bots, Fen Wik Ren
Jimmy Mak’s
221 NW 10th Ave. Mel Brown Septet, Mario Sandoval
Kells
112 SW 2nd Ave. Bill Tollner
Lincoln Performance Hall 1620 SW Park Ave. Choir Concert
Mississippi Studios
3939 N Mississippi Ave. Chadwick Stokes
Roseland Theater 8 NW 6th Ave. Flosstradamus
Star Theater
13 NW 6th Ave. The Flatliners, The Greenery, Lee Corey Oswald & Guests
The Know
2026 NE Alberta St. Visions of War, Freak Vibe, Andy Place & The Coolheads
The Secret Society
116 NE Russell St. Kenny White, Amy Speace, Jeffrey Martin
Triple Nickel Pub
3646 SE Belmont St. Eye Candy
White Eagle Saloon
836 N Russell St. Blues Jam with Travers Kiley
Midnight Roundup
345 NW Burnside Rd. DJ Cutt Buckwild Country Nights
Moloko Plus
WED. NOV. 12 Dixie Tavern
NS 3rd & Couch St. Hump Night
Ground Kontrol Classic Arcade
511 NW Couch St. TRONix
Moloko Plus
3967 N Mississippi Ave. King Tim 33 1/3
Plews Brews
8409 N. Lombard St. Full Spectrum
Star Bar
639 SE Morrison St. DJ Cobra Kyle
The Know
2026 NE Alberta St. Drink ‘N Dance’ DJ Nite
The Lovecraft
421 SE Grand Ave. Event Horizon, Industrial Dance Night
The Whiskey Bar 31 NW 1st Ave MartyParty
Willamette Week NOVEMBER 12, 2014 wweek.com
Star Bar
639 SE Morrison St. DJ Barrett
The Lovecraft
421 SE Grand Ave. Shadowplay
FRI. NOV. 14 EastBurn
THURS. NOV. 13 Holocene
1001 SE Morrison St. Body Party, Holla n Oates Barisone
Jones Bar
107 NW Couch St Thirsty Thursday
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3967 N Mississippi Ave. Strictly Vinyl, DJ Strategy
1800 E Burnside St. DJ Rhienna
Funhouse Lounge 2432 SE 11th Ave. 90’s Party
Holocene
1001 SE Morrison St. Dance Yourself Clean
NOV. 12–18
MUSIC CALENDAR EMMA BROWNE
BAR SPOTLIGHT
Where to drink this week. 1. Lucky Horseshoe Lounge
2524 SE Clinton St., 954-1606. Taking over the space previously occupied by the Workshop Pub, the loosely Western-themed Lucky Horseshoe keeps a neon horseshoe in the window, its bottles in a metal tub on the bar, and its Occidental or Gigantic beers on tap at a cool $4.
2. Bar Bar
3939 N Mississippi Ave, 288-3895, mississippistudios.com. It’s dark, cold and wet again—weather secretly cheered by some of us—and Bar Bar’s covered deck and constant campfire make it one of the best wintertime patios in town.
3. The Big Legrowlski
812 NW Couch St., 206-6481, biglegrowlski.com. Mostly this is an understated little tap nook on the edge of Chinatown. The Chinatown crowd is not the issue—no rich fucks, no fucking strumpets waltzing around, just a black-and-white rendering of the rug that tied the room together and Bowling Nixon in the restroom.
4. The Pines
1 N Center Court St., 797-9619. Welcome back, Trail Blazers. Goodbye, thirdfloor smoking patio at the Moda Center. The new 300-level bar has 10 Barrel to go with the usual Widmer, Pyramid and Laurelwood, pulled from a glass-walled keg closet that draws as many looks as the view out the window.
5. Prettyman’s General
2637 SE Hawthorne Blvd., prettymansgeneral.com. This dandy little pub and market has all the trappings of contemporary Portland culture: antlers, sheepskin-adorned leather sofas, oil landscapes, Courtney Barnett records, super fancy tuna salad sandwiches.
Jones Bar
107 NW Couch St DJ Dance Party
Lola’s Room
1332 W Burnside 80s Video Dance Attack
Moloko Plus
3967 N Mississippi Ave. Hans Fricking Lindauer Rhythm and Soul Review
Rae’s Lakeview Lounge 1900 NW 27th Ave DJ Mike-A-Nay
Star Bar
639 SE Morrison St. DJ Jonny Jewels
The Whiskey Bar 31 NW 1st Ave Gladiator
Valentines
232 SW Ankeny St. DJ Theo
BARRRRRRR: Near where ocean waters cascaded off the earth’s edge, old maps had a warning: “Here be dragons.” At Portland’s old-time Hal’s Tavern, you might have needed the same heads-up; the bar was always full of grizzled men who woke to boozy tumblers that dragged them to the depths. At There Be Monsters (1308 SE Morrison St., 971-319-6983, tbmpdx.com), there are no monsters, and the seas are all well-charted, lit by Edison bulbs and a kitschy glowing mustache propped behind the bar. In spirit, the navigation-themed bar where Hal’s once was is less a pirate voyage than a convivial, midpriced Portland cruise. The rehabbed dive has intentional rough edges—an unfinished wall, a patio like a storage locker—but the sturdy oldtime cocktails are $9, and the taps include a terrific barrel-aged cider from Carlton. The food is whatever you might find on a British ship—whether shepherd’s pie or salmagundi—with the guy in the galley free to whip up occasional ambitious specials like chanterelle-topped flank steak with Brussels sprouts. (Avoid the weirdly Mexican-tinged tikka masala bowl.) Still, whatever the colonial theme, the real piece of history is the midcentury shuffleboard table, which the bar inherited from Hal’s. I’ve seen it used precisely zero times during a number of visits, but multiple customers have bragged across the bar about their boarding prowess, telling it like an old fish tale—something from times long gone, when there were things to fear on Southeast Morrison. MATTHEW KORFHAGE. SAT. NOV. 15 Holocene
1001 SE Morrison St. Gaycation: Mr. Charming, DJ Snowtiger
Jones Bar
107 NW Couch St Saturday Nights at Jones Bar
The Lovecraft
421 SE Grand Ave. Brit Pop Dance Night
Rae’s Lakeview Lounge 1900 NW 27th Ave DJ Hawn Solo
Star Bar
639 SE Morrison St. Go French Yourself! with DJ Cecilia
The Conga Club
4923 NE Martin Luther King Jr. Blvd. Salsa Saturdays
The Whiskey Bar 31 NW 1st Ave Super8 and Tab
Valentines
232 SW Ankeny St. Sarah Galvin, Robert Duncan Grace
SUN. NOV. 16 Dig a Pony
736 Southeast Grand Ave. Emerson Lyon
The GoodFoot Lounge
2845 SE Stark St. MOM (Motown on Mondays) on Sunday
Valentines
232 SW Ankeny St. Coco Columbia
MON. NOV. 17 Cadigan’s Corner Bar 5501 SE 72nd Ave. Fight Church TV, Jessie
Ground Kontrol Classic Arcade
511 NW Couch St. Metal Mondays, Metal Kyle and DJ Shreddy Krueger
The Lovecraft
421 SE Grand Ave. Departures, DJ Waisted and Friends
Valentines
232 SW Ankeny St. Neo Visual Karaoke
TUES. NOV. 18 Dig a Pony
736 Southeast Grand Ave. Atom 13
Star Bar
639 SE Morrison St. DJ Smooth Hopperator
The Lodge Bar & Grill 6605 SE Powell Blvd. DJ Easy Finger
Valentines
232 SW Ankeny St. Shivery Shakes
Willamette Week NOVEMBER 12, 2014 wweek.com
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Willamette Week NOVEMBER 12, 2014 wweek.com
nov. 12–18
= 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: KAITIE TODD (dance@wweek.com). TO BE CONSIDERED FOR LISTINGS, submit information at least two weeks in advance to: rjacobson@wweek.com.
THEATER
up. Hipbone Studio, 1847 E Burnside St., 358-0898. 7:30 pm Saturday, Nov. 15. $15.
OPENINGS & PREVIEWS
Women of Troy
Alice in Wonderland
Puppet theater company Tears of Joy presents an original adaptation of Lewis Carroll’s classic tale. Imago Theatre, 17 SE 8th Ave., 248-0557, tojt. org. 7:30 pm Friday, Nov. 14; 11 am and 1 pm Saturdays and 1 and 3 pm Sundays, Nov. 15-23. $14-21.
As You Like It
Post5 Theatre inaugurates its new home in Sellwood—which, unlike the company’s previous home at Milepost 5 in Montavilla, has ceilings taller than 9 feet—with Shakespeare’s much-loved comedy of clowning and cross-dressing. Post5 Theatre, 1666 SE Lambert St., 971-258-8584. 7:30 pm FridaysSundays through Dec. 7. $15; Sundays “pay what you can.”
Far Away
Portland State University’s School of Theater and Film presents Caryl Churchill’s devilish fable of a play about a strange and dystopian world. Teaser: The mallards are allied with the elephants and the Koreans, and deer are terrorizing teenagers at shopping malls. Lincoln Hall, Portland State University, 1620 SW Park Ave., 7253307. 7:30 pm Thursday-Saturday and 2 pm Sunday, Nov. 13-16; 7:30 pm Wednesday-Saturday, Nov. 19-22. $6-$15.
Holding Onto the Sky
At some point in the not-too-distant future—like, maybe tomorrow—a big earthquake is likely to hit Portland. Faultline Ensemble, a new company made up of experimental performers and health care workers, puts on an original play set in such a post-disaster Portland, asking how we prepare for and respond to catastrophe. The Headwaters, 55 NE Farragut St., No. 9, 650-814-5519. 8 pm Friday-Sunday, Nov. 14-16; 8 pm Friday-Saturday, Nov. 21-22. $10 suggested.
A Night in November
Corrib Theatre presents a revival of a one-man show starring Damon Kupper as a Belfast man who travels to New York City for the 1994 World Cup. The script, by Irish playwright Marie Jones, is overly pat and overloads its protagonist with shell-shocked musings. Kupper, though, has an ebullient, winning presence. Once he hops across the pond for the World Cup, he’s able to shake off his character’s heavy-handed philosophizing, and he single-handedly captures the conviviality of a mildly tipsy Aer Lingus flight and an utterly sloshed New York City bar. CoHo Theater, 2257 NW Raleigh St., 220-2646. 7:30 pm WednesdaySaturday and 2 pm Sunday, Nov. 12-16. $20-$25.
NT Live: Frankenstein
You’ll have to wait until 2015 for more episodes of Sherlock—and never mind that Benedict Cumberbatch is recently off the market—but Cumberbitches can get their fix with this hi-def screening of National Theatre’s wildly popular production, in which Cumberbatch and Jonny Lee Miller alternate roles of the doctor and the creature. World Trade Center Theater, 121 SW Salmon St., 235-1101. 7 and 10 pm Friday and 2 and 7 pm SaturdaySunday, Nov. 14-16. $15-$20.
Playback Theater
Audience members tell stories, which Playback’s actors and musicians improvise on the spot. This month’s theme, “Good Mistakes: An Evening of Delightful Surprises,” is about happy accidents. The show is for ages 16 and
A staged reading of Jeffrey Puukka’s new adaptation of Euripides’ tragedy, which follows women in Troy after their city has been plundered. Alberta Abbey, 126 NE Alberta St., 897-7037. 7:30 pm Tuesday, Nov. 18. “Pay what you will.”
NEW REVIEWS Bat Boy: The Musical
Opening opposite Die Fledermaus at the Portland Opera, Bat Boy: The Musical explores the same simmering resentments and shadowy machinations, here set in motion by our hero’s vague resemblance to the order Chiroptera. Bat Boy isn’t Strauss, but if this Funhouse Lounge production embraces a more ramshackle approach, that only encourages a welcome verve within the late-’90s satire of rural hypocrisies. It’s a talented cast of improv vets: Some may have limited vocal range, such as Funhouse artistic director Trenton Shine as the small-town doctor who takes in the titular freakish foundling, but fortunately it’s the more accomplished performers who tackle the trickier components of Laurence O’Keefe’s masterful libretto. Love interest Shelley (Leslie Spitznagel) sticks her landing with Portman-ish brio on a hip-hop number that would’ve been disastrous in the wrong hands, while Reverend Hightower (Pip Kennedy) spikes thankless revival scenes with an electric facility. Brian Demar Jones plays the lead role as Nosferatu imagined by Noël Coward, and he’s a marvel throughout. The sole misstep is an aggressively simplistic sound design that often emphasizes the vocal failings of the less experienced cast members and threatens to overwhelm the subtler moments by telegraphing each emotive beat at unnecessary volumes. This play is too smart, the Funhouse is too small, and Bat Boy’s ears are just too large for all of that. JAY HORTON. Funhouse Lounge, 2432 SE 11th Ave., 841-6734. 7 pm ThursdaysSaturdays (and 2 pm Sunday, Nov. 22) through Nov. 29. $15-$25.
You’re a Good Man, Charlie Brown
Watching a full-grown adult suck his thumb is a little unsettling. But that’s exactly what you’ll get in Stumptown Stages’ You’re a Good Man, Charlie Brown, because it features a cast of adults playing kids. It’s a little hard to tell if it feels uncomfortable for that reason, or if it’s because it’s supposed to be a feel-good show even though it’s about how Charlie Brown (Roger Welch) hates his life and how his friends are jerks to him. Still, the musical has been consistently produced for the past 50 years, so maybe not everyone is put off by grownups pretending to be cartoon children. And this production, directed by Kirk Mouser, is plenty cartoonish. Linus (Douglas Zimmerman) sucks his thumb and gleefully pulls his blanket over his head, Sally (Darcy Wright) pouts and speaks in baby talk, and Lucy (Donna Sellman-Pilorget) wears such a consistent smile and bulging eyes that her expression looks drawnon. If that’s your kind of thing, then Stumptown’s version will be perfectly satisfactory. SHANNON GORMLEY. Brunish Theatre, 1111 SW Broadway, 248-4335. 7:30 pm Thursdays-Fridays; 2 and 7:30 pm Saturdays; and 2 pm Sundays through Dec. 7. $30.75-$50.
ALSO PLAYING Bob: A Life in 5 Acts
Everybody’s waiting for their big break. But not everybody is as honest
about it as Bob. Born and abandoned in a restroom stall of a White Castle in Louisville, Ky., Bob (Nathan Crosby) insists he’s going to be “a great man.” His confidence comes from his adoptive mother (Holly Wigmore), who raises him in a beige Chevy Malibu, driving across the country and teaching her son about famous historical figures. And Bob certainly does end up a great man—just not in the way he imagined. Bob: A Life in Five Acts is a classically American rags-to-riches story, reinterpreted through the lens of absurdity. This Theatre Vertigo production, directed by Matthew B. Zrebski, boasts airtight timing and a chameleonic ensemble, both of which help boost Peter Sinn Nachtrieb’s lackluster script. The cast of characters is wacky: There’s Bonnie (Darcy Lynne Rawls), who hates her name and always seems to find Bob in her trunk, an ex-lion tamer (Tom Mounsey), and a bear who spreads his lovers’ ashes at rest stops (Mounsey, again). The show’s humor is testament to the talents of the cast. But despite the polished cast and jokes, the plot is a bit predictable. If you’ve seen It’s a Wonderful Life, you know Bob’s final message. Bob grows—Crosby’s transition from cloyingly ambitious to bitter and middleaged is stark—but no one else does. The other characters never get more than a few minutes onstage before they, too, are whisked from Bob’s life, their absurdity never soaking into the tired story. JAMES HELMSWORTH. Shoebox Theater, 2110 SE 10th Ave., theatrevertigo.org. 7:30 pm ThursdaysSaturdays and 2 pm Sundays through Nov. 15. $20; Thursdays “pay what you will.”
Masque of the Red Death
Shaking the Tree’s Masque of the Red Death confirms director Samantha Van Der Merwe as one of the most creative minds in Portland theater, able to take tricky material and forge work that’s immersive, captivating and alive. It’s something of an anthology play, braiding together stories (and one poem) by Edgar Allan Poe. The connective tissue is the titular story, about a prince named Prospero (Matthew Kerrigan) who invites a thousand nobles to his abbey to elude a plague. In Poe’s original “Masque,” the guests are met with rooms of different colors, each containing a unique oddity. Here, that conceit translates to a series of highly atmospheric miniplays, all adapted by members of local
collective Playwrights West. In an early piece, Andrew Wardenaar’s adaptation of “The Pit and the Pendulum,” we occasionally see actor Joseph Gibson in a cone of light. Often, though, we’re plunged into total darkness. Deprived of sight, all we can do is listen to Gibson’s whispery rasp as he describes what’s around him: rats, rotting meat, a swinging blade. It’s spooky and disorienting in its restraint. Which makes the next scene, Steve Patterson’s take on “The Fall of the House of Usher,” all the more striking in its sensory overload. We’re brought into a small room cast in a sickly green light, where a raving Andy Lee-Hillstrom swigs laudanum and Nicole Accuardi has cata-
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REVIEW KAREN ALMOND
PERFORMANCE
Bye Bye Birdie!
Metropolitan Performing Arts Academy stages the classic musical about the clash of small-town America and rock ‘n’ roll rebelliousness. Winningstad Theatre, 1111 SW Broadway, 248-4335. 7:30 pm Friday, 2 and 7:30 pm Saturday and 2 pm Sunday, Nov. 14-16. $18-$21.50.
In the Forest, She Grew Fangs
High school is a jungle—and in Defunkt Theatre’s In the Forest, She Grew Fangs, sometimes literally so. Stephen Spotswood’s play follows two teenage girls, Lucy Maggard (Marisol Ceballos) and Jenny McConnick (Tabitha Trosen), both haunted by social media at a high school in an unnamed small town. For Jenny, a California transplant whose brain is overlooked for her body, it’s a topless picture of her on the Internet. She expects to be ridiculed at her new school but isn’t. Instead, the kids’ cruelty is directed at Lucy, a quiet weirdo nicknamed “Maggot,” whom they torment not only for her withdrawn behavior but for a porn video they’ve found of her mother. While walking in the woods one night, Jenny saves Lucy from drowning and then quickly becomes obsessed with her, as does shy jock Hunter (Gabriel Isaac Lakey). Shortly thereafter, townsfolk begin finding gutted deer. Dogs start to go missing. And the show, directed by Andrew Klaus-Vineyard, takes a Carrie-style turn. As Lucy’s guardian grandmother, Lauren Modica captures the exhaustion of life in a sleepy town. Trosen, meanwhile, is delightfully snarky as Jenny. “I lifeguarded for two summers at Coronado,” she quips, reminding us that Californians can even find saving a life a hassle. The rapidly shifting power dynamics, coupled with snappy dialogue, mirror the widening gyre of teenage life, and prove an apt reminder: In the scariest stories, you never discover who’s the real monster. JAMES HELMSWORTH. The Back Door Theater, 4319 SE Hawthorne Blvd., 4812960. 7:30 pm Thursdays-Sundays through Nov. 15. “Pay what you can” Thursdays and Sundays; $15-$25 sliding scale Fridays and Saturdays.
Ivy + Bean: The Musical
Oregon Children’s Theatre kicks off its season with a musical based on Annie Barrows’ bestselling book series about two mischievous friends. Best for ages 4 and up. Newmark Theatre, 1111 SW Broadway, 248-4335. 2 and 5 pm Saturdays and 11 am and 2 pm Sundays through Nov. 23. $15-$30.
flirt alert: Mary Dunleavy and ryan MacPherson.
DIE FLEDERMAUS (PORTLAND OPERA) Viennese waltz maestro Johann Strauss II concocted a delightful trifle with Die Fledermaus, his 1874 operetta about a wayward husband and his comeuppance at the hand of a treacherous friend who pays him back for a prank involving the titular bat. The operetta’s canonical status was assured a generation later by Gustav Mahler, who added it to the repertoire of his Vienna Court Opera. Mahler made clear the logic of his decision: The colossal works of Wagner might have more fully captured his aesthetic reverence, but Strauss’ frothy adulteries were guaranteed to pack the house. That seems to have been Portland Opera’s tack 50 years ago, when it staged Die Fledermaus as its first production, in the Madison High School auditorium. Now in the much bigger Keller, the show still fizzes and pops where it counts. Like any piece of sublime comedy, Die Fledermaus conceals depths. Toward the end of the first act, Rosalinde (Mary Dunleavy), the long-suffering wife of that wayward husband, shares a duet with her voluble suitor Alfred (Ryan MacPherson). It’s a Champagne-soaked passage that pivots on the line, in Daniel Dooner and Stephen Lawless’ contemporary translation, “Bitterness turns to bliss in a sweet forgetfulness.” You’d need a heart of Bible Belt sobriety not to get swept away by the promise of a space outside conventional propriety, and of the consolations and surprises that such a festive evening might hold. This production’s women, by and large, are the standouts. Dunleavy’s coolly confident Rosalinde soars and swoons, whether in proper person or as the masked Hungarian making moves on her unknowing husband. As her maid, Susannah Biller seizes the show, trilling her way brilliantly through the third act’s famous ode to spring. While the male performers occasionally get swallowed up by the Keller’s unforgiving acoustics, Daniel Belcher turns in a lustily clueless take as Eisenstein, the hapless central character. Zack Brown’s sets and costumes deliver the lavish spectacle that Strauss’ Vienna demands. But amid this luxurious confection, one note jars. The centerpiece of the operetta, featuring Strauss’ most hummable tunes, is the second act’s grand ball, hosted by the mysterious Russian Prince Orlofsky (Jennifer Rivera, in a fine trouser role). But here Orlofsky interrupts the action, first to recognize opera subscribers and then to introduce a local performer— on opening night, BodyVox. As a whole, this Fledermaus reminds us how boldly this company imagined a broader culture for Portland 50 years ago. If there’s still such a thing as culture 50 years from now, this city hopefully won’t welcome such pandering gestures. JOHN BEER.
Adultery, masked balls and arias soaked in Champagne.
see it: Die Fledermaus is at Keller Auditorium, 222 SW Clay St., 2411802. 7:30 pm Thursday and Saturday, Nov. 13 and 15. $30-$270. Willamette Week NOVEMBER 12, 2014 wweek.com
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nov. 12–18 sions, hardly interacting or even noticing each other except to huff and sigh. And so when it’s revealed they’re friends of long acquaintance, it comes off as bizarre and implausible. What had been Beckett or Brecht becomes merely alienating, despite moments of comedy and insight. As played by Laura Faye Smith and Sharonlee McLean, respectively, the geographer and typographer speak with intense rage disproportionate to what’s being said, so when they raise their volume still further in moments of duress, it reaches grating parody. We learn something about these characters through their views of their own professions, but as it stands here, it’s a bit of a chore. MATTHEW KORFHAGE. Gerding Theater, 128 NW 11th Ave., 445-3700. 7:30 pm Tuesdays-Sundays; 2 pm Saturdays-Sundays; and noon Thursdays through Nov. 16. $25-$55.
643-8669. 8 pm every Tuesday. Free with a two-item minimum. 21+.
5225 NE Martin Luther King Jr. Blvd., 477-9477. 10 pm every Saturday. $5.
Instant Comedy
Naked Comedy Open Mic
Joey Diaz
Picture This!
COMEDY & VARIETY
Mixology
All Jane No Dick Showcase
Standup from an all-female slate of comedians. Curious Comedy, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 8 pm every second Thursday. $10-$12.
With a list of audience-suggested topics, several comics compete for the title of comedic champ. The Curious Comedy Playas also perform improv sets. Curious Comedy, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 10 pm every first and third Saturday. $5.
The Cuban-American comedian, known for his role in The Longest Yard and his Beauty and da Beast podcast, takes the Helium mic for a three-night stand. Sean Jordan and Bri Pruett, two of Portland’s best comics, also perform sets. Helium Comedy Club, 1510 SE 9th Ave., 888-643-8669. 8 pm Thursday, 7:30 and 10 pm Friday-Saturday. $15$27. 21+.
Late-night comedy show with improv, sketch and standup. Curious Comedy,
The Brody hosts a thrice-weekly openmic night. Comics get four-minute standup slots and can sign up online. Brody Theater, 16 NW Broadway, 224-2227. 9:30 pm every Tuesday, Wednesday and Thursday. Free with one-item minimum purchase.
This monthly show is kind of like standup meets Pictionary: Comics perform their sets while being drawn live by artists. Curious Comedy, 5225 NE Martin Luther King Jr. Blvd., 4779477. 10 pm every second Friday. $10.
The P&J Show
Post5 Theatre launches a new monthly variety show, featuring short acts from, uh, just about anyone who volunteers— joke tellers, drag performers, sketch comics, whatever. The bar is open, and drinking is encouraged. Post5 Theatre,
PREVIEW SCOOTER CuRL
JEFF FORBES
PERFORMANCE
Chris D’Elia
Chris D’Elia—one of the stars of Undateable, along with onetime Oregonian Ron Funches—brings his fastpaced, wild-eyed standup to back-toback shows in Portland. Aladdin Theater, 3017 SE Milwaukie Ave., 234-9694. 7:30 and 10 pm Saturday, Nov. 15. $29.
The Comedy Bull FAN GIRL: Linda Austin performs Nov. 14-15 as part of Cabaret Boris & Natasha. leptic fits on a chaise lounge, inches away from us. The downside to the format is that what’s intended as a through line—Prince Prospero’s party— becomes more of a sideline. Kerrigan is one of the city’s most nimble and magnetic performers, and it’s a shame he doesn’t have more stage time. I could have watched an evening-length version of “That Smell,” Ellen Margolis’ meta riff on Poe’s life and legacy. Kerrigan’s monologue— antic, funny, incisive—draws some of its timing from standup, just with the expertly deployed double takes and winking knowingness of the theater. As he exits, he calls out: “Don’t let me spoil the party!” Impossible. REBECCA JACOBSON. Shaking the Tree, 1407 SE Stark St., 235-0635. 7:30 pm Thursdays-Saturdays and 5 pm Sundays through Nov. 22. $20-$25; $5 for ages 19 and under.
Play On
Tigard’s Mask & Mirror Community Theatre opens its fourth season with a backstage farce—about, fittingly, a small community theater—by Rick Abbott. Calvin Presbyterian Church, 10445 SW Canterbury Lane, Tigard, 333-1139. 7:30 pm Friday-Saturdays and 2 pm Sundays through Nov. 23. $7-$15.
She Loves Me
Lakewood Theatre Company presents the oh-so-sweet 1963 musical about feuding perfumery clerks in ’30s Budapest who don’t realize they’re infatuated pen pals. Lakewood Center for the Arts, 368 S State St., Lake Oswego, 635-3901. 7:30 pm ThursdaysSaturdays; 7:30 pm Wednesdays, Nov. 19 and Dec. 10; 7 pm Sundays, Nov. 16 and 23; 2 pm Sundays, Nov. 16, 30, Dec. 7, 14, 21. Through Dec. 21. $37.
The Piano Lesson
August Wilson used to talk about what he called “blood’s memory,” the collective history of American blacks that forever brings the past back into the present. In Wilson’s Pulitzer-winning The Piano Lesson, currently receiving a stirring production at Portland Playhouse, the relationship between blood and memory is more than figurative: The titular piano is a family heirloom that has been stained and polished with the blood and tears of enslaved ancestors. Time passes. Ghosts drift through the house. History
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hulks in the living room. Like most of the works in Wilson’s Century Cycle, The Piano Lesson is set in Pittsburgh’s Hill District. It’s 1936, and Boy Willie (Bryant Bentley) aims to buy a plot of land in Mississippi that his ancestors once farmed. His ticket to riches? A truckful of watermelons—and that piano. But he’s underestimated the protests of his sister Berniece (Chantal DeGroat). As Boy Willie, Bentley is electric, with vocal delivery as nimble as his swinging limbs. Though she has little of her brother’s outward volatility, Berniece is also unshakable in her convictions, and DeGroat plays the role with poise, longing and the occasional burst of ferocity. One of the challenges of staging a Wilson play (and the Playhouse knows, as this is its sixth) is balancing the exalted language and folksy humor. Director Kevin Jones nails the rhythms—lyrical and heady but utterly natural—even if he has to fight against a second act that lags compared to the first. Best of all is the production’s harmony between the muscular and the musical. There’s a moment when the men, gathered around the kitchen table, break into a prison work song. Eyes closed, they stomp their feet and beat their fists, moving from jauntiness to anguish to euphoric relief, as if traveling through the stages of grief. It’s transcendent, next-level stuff, and one of the most moving things I’ve seen onstage. REBECCA JACOBSON. Portland Playhouse, 602 NE Prescott St., 488-5822. 7:30 pm WednesdaysSaturdays and 2 pm Sundays through Nov. 16. $20-$48.
The Typographer’s Dream
You are where you work, we’re told. Lawyers are argumentative assholes, and nurses are either cold or caring. It’s a trope common in fiction since Dickens. In The Typographer’s Dream, written by Portland Center Stage mainstay Adam Bock and directed by Rose Riordan, your job is the source of all your being. A stenographer can hardly say the word “I,” while a geographer does nothing but chart flaws. And the typographer? She can barely get a word in. Set up as a panel discussion among representatives from those three professions, The Typographer’s Dream has a dreamlike quality: The characters do nothing but talk over one another in their urge to explain their profes-
Willamette Week NOVEMBER 12, 2014 wweek.com
This competitive event—in which standup comics fight to stay in the saddle, with the audience as the ultimate arbiter—travels from the Brody Theater to Helium. Contestants include Curtis Cook, Bri Pruett, Sean Jordan, Barbara Holm, JoAnn Schinderle, Steven Wilber and Dan Weber. Helium Comedy Club, 1510 SE 9th Ave., 888643-8669. 8 pm Wednesday, Nov. 12. $10-$17. 21+.
ComedySportz
Family-friendly competitive improv comedy. ComedySportz, 1963 NW Kearney St., 236-8888. 8 pm FridaysSaturdays. $15.
Control Yourself: A Showcase of Funny
JoAnn Schinderle hosts a free, twicemonthly standup showcase, followed by an open mic at 10 pm. Alberta Street Pub, 1036 NE Alberta St., 2847665. 9 pm every first and third Sunday. Free. 21+.
Curious Comedy Open Mic
Curious hosts a weekly open-mic night. Sign-ups begin at 7:15, and comics get three minutes of stage time apiece. Curious Comedy, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 8 pm every Sunday. Free.
Curious Comedy Showdown
Curious Comedy’s improvisers duke it out, in hopes of winning audience votes and advancing to the next round of competition. Curious Comedy, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 7:30 pm Fridays-Saturdays through Nov. 22. $12-$15.
Diabolical Experiments
Improv jam show featuring Brody performers and other local improvisers. Brody Theater, 16 NW Broadway, 2242227. 7 pm every Sunday. $5.
Funemployment Radio Five-Year Anniversary Party
One of Portland’s longer-running podcasts—known for its interviews with comedians and other entertaining people—celebrates its fifth birthday with music and a live recording of the show by hosts Greg Nibler and Sarah X. Dylan. Bossanova Ballroom, 722 E Burnside St., 206-7630. 8 pm Friday, Nov. 14. $10-$15.
Helium Open Mic
Generally regarded as the best openmic night in town, Helium’s sign-ups fill quickly. Show up between 6 and 7 pm to snag some stage time. Helium Comedy Club, 1510 SE 9th Ave., 888-
GIve It A whIRL: erin Zintek (left) and Aneesa turner.
A-BOUT (TOPSHAKEDANCE) Dancing themselves black and blue.
TopShakeDance is about to hit the dance floor hard. Literally: To explore competition and groupthink, the company’s newest work, A-bout, employs wrestling mats, mixed martial arts-inspired choreography and a 5-foot-4 dummy named Chuck. “There’s competition versus mutual support,” says choreographer and TopShake artistic director Jim McGinn. “There’s also weird, interactive rivalry going on inside the work.” That sense of struggle feels apparent during A-bout, as dancers throw punches and push and pull at each other, before suddenly catching someone when she falls, or using another performer for support in a spin. In the past, McGinn—a 54-year-old with a day job as a physicist— has focused his work on conceptual motions related to elements like wind or water. A piece last year, Float, was inspired by his long-distance swims in Southern California, with his dancers rehearsing on the dock south of the Hawthorne Bridge. He says A-bout is pointedly less abstract, focused instead on tight, “necessary movement.” After hatching the idea for the piece in April 2013, McGinn attended MMA, boxing and roller derby events to study athletes’ movements. A former highschool wrestler, he also found ways to incorporate classic takedowns into the work. A few of these moves will be used on Chuck, a 70-pound dummy who, according to McGinn, looks like a “regular old dude”—except for the stubby arms and cankles the dancers find particularly amusing. Chuck won’t be the only one being thrown around—the four performers give each other similar treatment, alternately supporting and combating one another. Still, A-bout isn’t trying to make fighting into dance. Instead, McGinn says he’s interested in examining how attitudes and personas affect the direction of a group. “We’re not trying to replicate fighting styles,” he says. “The movement is really rough and tumble. It’s a lot of hard hitting the ground and a lot of blood and bruises. But if you want to go see somebody fight, you should watch the pros.” KAITIE TODD.
see It: A-bout is at A-WOL Dance Collective, 2303 N Randolph Ave., topshakedance.com. 8 pm Fridays-Sundays, Nov. 14-23. $15-$20.
NOV. 12–18
Random Acts of Comedy
Curious Comedy puts on a freewheeling show that brings together sketch, standup and improv. Curious Comedy, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 9:30 pm Saturdays through Dec. 27. $7-$10.
Script Tease
Using unfinished works by Portland playwrights, performers launch into staged readings—and then improvise once the scripted pages run out. Brody Theater, 16 NW Broadway, 224-2227. 7:30 pm Saturdays through Nov. 22. $9-$12.
Tig Notaro
In 2012, comedian Tig Notaro shot from relative obscurity to national attention with a show in Los Angeles. The 30-minute set detailed the hellish series of events she’d endured over the course of four months: developing a life-threatening intestinal disease, losing her mother to a freak accident, breaking up with her girlfriend and being diagnosed with stage 2 breast cancer. Louis C.K. hailed it as masterful. Notaro—known previously as an oddball comic who would push around a chair on Conan for two minutes or deliver deadpan oneliners about Chaz Bono—suddenly had a name. Since then, the 43-yearold has written a book, due out next year, and has a forthcoming Showtime series in which she travels the country doing shows in her fans’ living rooms—or basements or barns. She also just got a lot of attention for performing topless in New York City, but then had to cancel two recent shows due to massive internal bleeding from a burst cyst. Provided she makes it out of the hospital, she’ll hit Portland for a sold-out, one-night stand. Aladdin Theater, 3017 SE Milwaukie Ave., 234-9694. 8 pm Wednesday, Nov. 12. Sold out.
William Trevitt, BalletBoyz began as a community project for young men of different experience levels. The current incarnation of the company has been around since 2010 and features 10 men with varying dance backgrounds—one had no formal training before joining the group, while others have been dancing in ballet schools across Europe for years. The company is set to perform two numbers by British choreographers Liam Scarlett and Russell Maliphant. Scarlett’s Serpent adopts a modern idiom rather than classical ballet technique, as the dancers weave around each other like slowly moving statues. Maliphant’s work, Fallen, centers around militaristic and mechanical themes. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 245-1600. 7:30 pm Wednesday, Nov. 12. $26$64.
Burtonesque
Miss Alex Kennedy and friends bring back Burtonesque for its second year. A tribute to Sleepy Hollow, Sweeney Todd and all things Tim Burton, the show features fire performances and aerial dance as well as burlesque. Performers include Johnny Nuriel, Jolene Dickerson, Sofia Flash, Rummy Rose, Nina Nightshade, Rebella Revolver, Fleur De Sel and Miss Alex Kennedy. Jay Leiber hosts. Dante’s, 350 W Burnside St., 226-6630. 8 pm Sunday, Nov. 16. $12-$15. 21+.
Cabaret Boris & Natasha
Cabaret Boris & Natasha returns with another variety show. Acts
include a reprise of local stalwart Linda Austin’s solo piece “Hummingbird,” which she premiered earlier this year at NW New Works in Seattle. Featuring noisemakers, a cat-scratching post and a folding fan, the piece incorporates rapid, repetitive motions and moments of spoken word—at one point, Austin appears to be reciting a grocery list—to explore themes of aging and womanhood. The evening also features acts by Jen Hackworth and Claire Barrera, Linda K. Johnson, the Boris & Natasha Dancers and music by Fatha Green. David Weinberg and Reid Urban— billed as “the Greatest Entertainers Ever”—will emcee. Performance Works NW, 4625 SE 67th Ave., 7771907. 8 pm Friday-Saturday, Nov. 14-15. $12-$20.
Willamette Week Presents
PEOPLES CHOICE AWARD
WINNERS!
JVR Spirits (Portland, OR) Big Bottom Whiskey (Hillsboro, OR)
Queen: A Burlesque Tribute
Mixing legendary glam rock and classic burlesque, this show pays tribute to the greatest hits of Queen. In addition to Lady Monster, Tod Alan, Ivana Mandalay and Bettie Velo, the show also brings in burlesque out-of-towners Eddie Van Glam and Mitzy Sixx from Seattle. Zed Phoenix hosts as Reddie Mercury, with prizes for those rocking the best Freddie Mercury ’stache. Crush, 1400 SE Morrison St, 235-8150. 9 pm Saturday, Nov. 15. $12-$15. 21+.
Captive Spirits Distilling (Seattle, WA) GADF COCKTAIL COMPETITION WINNERS Brown: Sound Spirits (Seattle, WA) White: Gompers Gin (Portland, OR) Specialty: Cascade Alchemy (Bend, OR) Best Bartender: Steven Stone, Sound Spirits (Seattle, WA)
For more Performance listings, visit
WINNER OF THE PEOPLE’S CHOICE VOTER DRAWING
REVIEW D AV I D K I N D E R
1666 SE Lambert St., 971-258-8584. 10 pm Saturday, Nov. 15. Free.
PERFORMANCE
VINCENT VALDEZ
BABETTE
Todd Barry
Though more recognizable to the casual fan as “the third Conchord,” Barry is a comic’s comic, a veteran standup with a soft delivery who can read loan documents and make them sound hilarious. He’s so good, he can even come to a gig without any actual jokes (as he did on his previous tour), and he has some of the best crowd work in the biz. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 7 pm Friday, Nov. 14. $20. 21+.
THE MANY LIVES, TWO DEATHS AND DOUBLE KIDNAPPING OF DR. ELLSWORTH
You Are Here
The Brody ensemble puts on a weekly improv showcase, generally featuring a ton of audience participation. Brody Theater, 16 NW Broadway, 224-2227. 8 pm every Friday. $9-$12.
DANCE The Art of Belly Dance
Local belly-dance journal From the Hip presents its eighth showcase, which is set to spotlight five different types of the sometimes shimmying, sometimes fluid dance style. Grace Constantine headlines with her solo fusion improv belly dancing—she favors a shamanic style with an emphasis on art and nature. Other fusion acts take inspiration from Turkish, Spanish and Arabic origins. Elena Villa draws on her flamenco background, while belly dance troupe Baksana displays a Middle Eastern influence. The lineup also includes Cassandra Rose, American cabaret dancer Kalila and belly dance trio Bridgetown Revue. Alhambra Theatre, 4811 SE Hawthorne Blvd., 610-0640. 6 pm Saturday, Nov. 15. $12-$20.
Balletboyz
Dance presenter White Bird’s third show of the season brings British ballet dancers to the Schnitz. Established in 2001 by former Royal Ballet dancers Michael Nunn and
A RUGGED MAN IS HARD TO FIND: There’s no Wild West anymore. So says Austin (Nick Ferrucci) to his brother Lee (Ben Newman) in True West, the final production in Profile Theatre’s season of Sam Shepard. The pair is cooped up in their mother’s home in Southern California, where the Ivy League-educated Austin is working on a screenplay and Lee is—well, doing whatever it is Lee does. A smalltime crook, he’s cagey when Austin asks him how else he spends his time. But when he happens upon a meeting between Austin and producer Saul Kimmer (Duffy Epstein), Lee takes the opportunity to invite the man to golf and pitch him an idea. Saul likes it. And is so often the case when men play golf, jealousy, violence and moral depravity ensue. As directed by Adriana Baer, both men begin unraveling, Lee like a scroll and Austin like a sweater. Exactly who is successful, free and good becomes muddled. Whether intimidating Austin or trying to get his typewriter to work, Newman moves like the pitbull Lee claims to once have owned. Ferrucci plays the quiet judge and indignant, entitled brat well, but he turns to a ham when pushed further. The chemistry between the two leads is dynamic, and their careful negotiation through True West’s wide emotional range is a thrill. But with the countless laments about the Decline of White Male Ruggedness since True West premiered more than 30 years ago, the play feels dated. Is there any need for cowboy eulogies in 2014? JAMES HELMSWORTH. SEE IT: True West is at Artists Repertory Theatre, 1515 SW Morrison St., 241-1278. 7:30 pm Wednesdays-Saturdays and 2 pm Sundays through Nov. 23. $15-$30.
Slideshow, lecture Taken as an infant from and book signing Yakima, raised in with author occupied France during Ross Eliot, WWII, involved with sponsored by the notorious Rajneesh the Queer Resource Puram, East German communists and the Center at PCC Catholic Church, November 20th Dr. Ellsworth, 10-11:30am (1928-2002) Rock Creek Campus was Portland’s most Student Center unique professor, as Building 3 documented in this local Room 128 memoir, recently shortlisted for non-fiction by the 2014 international literary www.profellsworth.com Rainbow Awards Willamette Week NOVEMBER 12, 2014 wweek.com
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VISUAL ARTS
NOV. 12–18
Flight
= 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.
Veteran painter Henk Pander lends his talents to the P:ear program for at-risk youth, affording teens the chance to exhibit their own artwork alongside that of one of the Northwest’s pre-eminent masters. The theme of flight has figured in many of Pander’s well-known expressionistic tableaux. Metaphorically, it’s well-suited to a program that helps young people rise above their circumstances and ascend to new heights. Through Nov. 20. P:ear, 338 NW 6th Ave., 228-6677.
Forbidden Fruit: Chris Antemann at Meissen
In a long-overdue follow-up to her delightful installation at the 2011 Contemporary Northwest Art Awards, Chris Antemann stages a rococo bacchanal in the Portland Art Museum. Her porcelain figures fill a mirrored antechamber, engaging in all manner of languid frivolty. In the sprawling sculpture Love Temple, they sit around—and in some cases, crawl on—a lavishly appointed dining table, some of them naked, some clad only in the skimpiest suggestion of diaphanous fabric. Antemann accents the figures’ white skin with delicate golden lines. Although her revelers, with their powdered wigs and rouged cheeks, are a little too one-note in their appearance to sustain the viewer’s attention, perhaps that is on purpose. After all, 24-hour party people, whether in the 18th century or the 21st, begin to all look the same after the ninth or 10th flute of champagne. Through Feb. 8. Portland Art Museum, 1219 SW Park Ave., 226-0973.
Gregory Grenon and Margaret Shirley
OCCULTATION BY AMJAD FAUR
Akihiko Miyoshi: Pigment Migrations & Suspended Refraction
Perusing Akihiko Miyoshi’s show at Upfor is like walking into a 1980s computer program. His prints, such as Process Structures No. 4 and Abstract Photograph (111111d) show colorful but graphically primitive shapes unfurling atop a black background. Cheerfully clunky, these compositions are more sophisticated, not to mention more fun, than the expressionistic shapes in works like Process Structures No. 1 and No. 2. Rounding out the show, the installation The Distance Between consists of a tripod-mounted camera pointed at a white Styrofoam board. Look into the camera’s viewfinder and you’ll see a multicolored pattern in place of the Styrofoam. Rising diagonally upwards, it’s like a never-ending white-balance test. Through Nov. 29. Upfor Gallery, 929 NW Flanders St., 227-5111.
Amjad Faur: Sun Kings
In Amjad Faur’s photographic print, Tamam Shud, a black blob of some unknown substance melts like a pile of dissolving slime. In the piece Hollow Chambers, smoke billows in front of a bank of mirrors and gauzy fabric. The images are resolutely surreal, begging for metaphorical interpretations. The charm of Faur’s meticulously staged vignettes lies in their inscrutability— and the fact that he produces the bizarre effects in-camera; there’s no Photoshop in post-production. In the still life Blood Chalice/Flag, clusters of grapes appear to melt, the result of the artist pouring epoxy and gold leaf over the fruit right before taking the picture. And in the rhapsodic print Occultation, a panoply of burning candles, wrapped in twine, seems to float in midair. Like many of the images in this show, it’s menacing, beautiful, and more than a little uncanny. Through Nov. 29. PDX Contemporary Art, 925 NW Flanders St., 222-0063.
There’s a trend afoot at Laura Russo Gallery. Last month, gallery director Martha Lee paired Sherrie Wolf’s floral still lifes with Eric Franklin’s abstract sculptures in a satisfying counterposition of representation and abstraction. This month, a similar strategy yields equally intriguing results. In the realm of figuration, artist Gregory Grenon brings the latest iterations in his career-long obsession with the female form and face. The show celebrates 35 years of Grenon exhibiting his work in Portland. On the abstract side of the continuum are Margaret Shirley’s artworks, which read as opulent nonrepresentational patterns, although many pieces are based on plants and other motifs from the natural world. Grenon’s childlike images and Shirley’s organic vignettes make for a well-balanced double bill. Through Nov. 29. Laura Russo Gallery, 805 NW 21st Ave., 226-2754.
Jared Soares: Small-town Hip Hop
Photographer Jared Soares worked at a local newspaper in Roanoke, Va., for four years. As a personal project during that time, he documented the town’s hip-hop scene. Now based in Washington, D.C., the artist captured moments of music stars and hangers-on in images that range from the glamorous to the quotidian. The latter tend to be more intriguing. Palmz Cleans the Studio is about what
happens after the producers have left after a long dubbing session: Under glaring fluorescent light, a janitor wields a vacuum cleaner, tidying up in the aftermath of magic. Another image, Lyric Book, is a tight shot of a backup singer holding her music. It’s so close-up, and the lighting is so extraordinary, the picture looks like minimalist abstract—the book a sagging crescent backed by swaths of shimmering fabric and beads. Through Nov. 30. Blue Sky Gallery, 122 NW 8th Ave., 225-0210.
Jo Hamilton: Our House of Portland: A Portrait in Yarn
Crocheting isn’t just for sweaters and 1970s-style bikinis anymore. Contemporary artists who work in fabric, including Portland-based Jo Hamilton, are doing eye-popping work using crocheted yarn. Hamilton’s show at the Q Center, Our House of Portland: A Portrait in Yarn, uses this unusual fine-art medium to portray local people whose lives have been affected in one way or another by HIV or AIDS. She lets the yarn drip down from her subjects’ contours, an effect reminiscent of stalactites. Seeing the figures’ features appear to melt away underscores the fact that our identities are always unraveling at the edges as time carries out its relentless mission of turning cohesion into disintegration. Through Nov. 30. Q Center , 4115 N Mississippi Ave., 234-7837.
Monroe Hodder: Astroid Enigmas
Monroe Hodder is known for her abstract oil paintings of boldly colored stripes, but in her new exhibition, she takes on a new motif: the spiral. Although her paint application is as creamy and luscious as ever, Hodder’s shapes have shifted; the stability conveyed by her erstwhile stripes has been turned on its head and spun around like a top. In pieces like Last Days of Downhill Drive, large, spiraling shapes evoke the churning of galaxies and black holes, pulling the viewer’s eye into the centripetal force of the composition. Meanwhile, in smaller pieces like Madame Cezanne, wedges of paint fill the picture plane with greens, blues and yellows in a veritable sonata of parallelograms. This is a looser style than we’ve seen from Hodder, and it’s a welcome development. Through Nov. 29. Butters Gallery, 520 NW Davis St., 2nd floor, 248-9378.
Stu Levy: Recent Landscapes—In Search of “What Else”
If you learned to take pictures from legendary master Ansel Adams and you were paying attention, chances are your photographs aren’t going to suck. That’s certainly an understatement in the case of Stu Levy, the gifted photographer whose ecstatic landscapes are being featured at Augen this month. What Levy is able to extract from earth, sea, and sky is the stuff of which epiphanies are made. These vistas show us the world as it would be if every sunset were filtered through a diamond and every mountainside a tapestry woven by God herself. In an aesthetic climate domi-
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nated by nihilism, this is a refreshingly idealistic and uplifting show. Through Nov. 29. Augen DeSoto, 716 NW Davis St., 224-8182.
This Is War! Graphic Arts From the Great War
Here’s a show that will appeal as much to history buffs as art geeks. To commemorate the centenary of the start of World War I, PAM is mounting an admirably even-handed examination of the art and design of both the winners and losers of the “Great War.” The exhibition includes not only the wellknown propaganda posters produced to spin the war according to each nation’s interests, but also artwork referencing parents who lost sons, women who lost boyfriends and husbands, and the sufferings of innocent children injured or killed as collateral damage. Woodcuts, etchings, posters and drawings are on view, spanning the output of artists from Germany, the United States, the United Kingdom, Belgium, France and Switzerland. It’s a feather in the museum’s cap that this exhibition was culled entirely from its existing collection, with the addition of key pieces promised as gifts by prominent regional collectors. Through Dec. 14. Portland Art Museum, 1219 SW Park Ave., 226-0973.
Through the Lens: Portraiture & Self-portraiture
Nan Goldin is one of the world’s most celebrated photographers, but her piece in Liz Leach’s new portrait show is a dud. Entitled Self-portrait on the Train, Boston-New Haven, it shows Goldin gazing vacantly out the train’s window at a blurred landscape. Generic and facile, it belies the artist’s long-standing reputation for confrontational imagery. Happily, there are many more invigorating artworks here, among them David Hilliard’s triptych, Eric Discerning. It’s an intimate masterpiece of alternating sharp and fuzzy focus, with a subject whose intense, asymmetrical eyes communicate an air of enigma. In Miriam Crying II, Berlin, photographer Robert Lyon shows a freckle-faced model in a moment of emotional vulnerability, her eyes welling with tears. She’s in a very different mood in Grand Hotel, Kairo, reclining seductively and shooting the camera a come-hither stare. Finally, Arne Svenson’s Neighbors #9 and #10 (Diptych) counterpose a shot of a modernist apartment with a silhouette of a man seen through a window. The man’s talking to someone, either in person or on the phone—hard to tell which from the angle—and his posture seems aggressive. Why is he angry, and what is he about to do? As a viewer, you’re left rapt by the scene. Lyon has shown us just enough information to leave us wanting more. Through Jan. 3. Elizabeth Leach Gallery, 417 NW 9th Ave., 224-0521.
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BOOKS
NOV. 12–18
= 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.
gushing. Powell’s City of Books, 1005 W Burnside St., 800- 8787323. 2 pm. Free.
SUNDAY, NOV. 16 Karelia Stetz-Waters
Drawing inspiration from her own youth, Oregon author Karelia Stetz-Waters (The Purveyor) sets her fi rst youngadult novel in the early ’90s, when the controversial Ballot Measure 9 was dividing the state over gay rights. Forgive Me If I’ve Told You This Before fi nds protagonist Triinu Hoff man struggling with the concepts of love and independence. Another Read Through Books, 3932 N Mississippi Ave., 208-2729. 1:30-3 pm. Free.
WEDNESDAY, NOV. 12 Molly Gloss
Oregon Book Award winner Molly Gloss (The Jump-Off Creek) will read from her new novel, Falling From Horses . The book follows the story of Bud Frazer, who leaves his home in the Oregon country for the foreign world of Hollywood, and extends the tale of characters from her previous book, The Hearts of Horses. Broadway Books, 1714 NE Broadway, 2841726. 7 pm. Free.
Piper Kerman
Millions of people already know many of the very private details of Piper Kerman’s life, or at least the Netfl ix version of it. Kerman’s memoir, Orange is the New Black: My Year in a Women’s Prison, became the phenomenally popular Netfl ix series. But real life isn’t all cafeteria brawls and church sex, and Kerman has often spoken out against mandatory minimum sentencing, the use of solitary confi nement and violations of prisoners’ civil rights. Kerman will speak in Portland as part of the 22nd season of the Voices Lecture Series, which hosts prominent women who speak on relevant issues. Tiff any Center Emerald Ballroom, 1401 SW Morrison Ave. 7:30 pm. General admission season subscription $189. Simulcast tickets sometimes available for individual events.
FRIDAY, NOV. 14 Megan Amram
As a writer for Parks and Recreation and one of the “25 Funniest People on Twitter” according to Rolling Stone, Megan Amram uses her biting wit for educational purposes, sort of. Her new book, Science... for Her!, is part satire and part gender commentary. Powell’s City of Books, 1005 W Burnside St., 800-878-7323. 7:30 pm. Free.
SATURDAY, NOV. 15
Ed Piskor
Chronicling the epic early history of hip-hop from 1970 to 1983, comic artist and writer Ed Piskor’s Hip Hop Family Tree Vol. 1 and 2 creates a Stan Leemeets-Ken Burns document of the cultural birth of the genre, from Grandmaster Flash to RunD.M.C. Piskor will be in Portland to sign copies of the newly released box set. Bridge City Comics, 3725 N Mississippi Ave., 282-5484. 6-9 pm. Free.
James Tadd Adcox
Set in the ever-popular dystopian future, an alternate version of Indianapolis is controlled almost completely by Big Pharma. In a new novel by Chicago writer James Tadd Adcox, a couple hopes to solve their woes through pharmacological intervention. Adcox will be in Portland to read from his darkly comedic Does Not Love. North Portland residence, 3948 N Concord Ave. 7 pm. Free.
MONDAY, NOV. 17 Poets on Broadway
Bringing the concept of theatrics to the more subdued grandeur of poetry, the ongoing Poets on Broadway series will feature Oregon poet laureate Peter Sears (Small Talk) and Portland poet-about-town Matthew Dickman (Mayakovksy’s Revolver). Antoinette Hatfi eld Hall, 1111 SW Broadway, 2484335. 8 pm. Free.
Carine McCandless
The story of Chris McCandless has become legend in the more than 20 years since his body was discovered in the Alaskan wilderness, with Jon Krakauer’s Into the Wild and Sean Penn’s fi lm adaptation exploring every detail of the ultimately fated trip. Now his sister, Carine McCandless, off ers her interpretation with a personal account of their lives and the many misconceptions about her brother in her new book, The Wild Truth. Powell’s City of Books, 1005 W Burnside St., 800-878-7323. 7:30 pm. Free.
Chuck Palahniuk Book Signing
Is it wildly misogynistic or simply satirical? In Chuck Palahniuk’s new novel, Beautiful You, a wealthy scientist and infamous lover seeks to invent a product that will bring women to debilitating levels of pleasure, but to what end? Palahniuk will be signing copies of the book and just might humor your fan
For more Books listings, visit
Willamette Week NOVEMBER 12, 2014 wweek.com
45
nov. 12–18
Perfect Strangers
= WW Pick. Highly recommended. Editor: REBECCA JACOBSON. TO BE CONSIDERED FOR LISTINGS, send screening information at least two weeks in advance to Screen, WW, 2220 NW Quimby St., Portland, OR 97210. Email: rjacobson@wweek.com. Fax: 243-1115.
OPENING THIS WEEK The Amazing Catfish
[ONE WEEK ONLY] In Mexican director Claudia Sainte-Luce’s semi-autobiographical drama, two women—a young supermarket clerk and an HIVpositive mother of four—form a quick bond. Clinton Street Theater.
Bad Turn Worse
B- [ONE WEEK ONLY] Billy Joe knows who he is, what he wants, and how to get it—or so he tells his girlfriend Sue, in the defining scene of Simon and Zeke Hawkins’ gritty and compact crime thriller Bad Turn Worse. This single-mindedness is the catalyst for the film’s entire plot: It starts with Billy Joe robbing his boss, who turns out to be part of a larger circle of crime that envelops Billy Joe and his friends. In the pivotal scene, though, Billy Joe confronts Sue about sleeping with his best friend, Bobby. Cut through with tension, sensuality and danger, his monologue is the closest Bad Turn Worse comes to brilliant. The rest of the film is well-acted (Mark Pellegrino does a particularly good job as a small-town crime boss) and a bit suspenseful, but ultimately feels more like an elaborately recounted anecdote than a fully developed story, with the ending more of a punch line than a resolution. In the beginning, Sue, a mystery buff, quotes crime novelist Jim Thompson: “There are 32 ways to tell a story, but only one plot: Nothing is as it seems.” Bad Turn Worse doesn’t quite live up to that promise, but the telling is still pretty entertaining. BLAIR STENVICK. Clinton Street Theater.
Beyond the Lights
Gina Prince-Bythewood, best known for Love & Basketball, directs a new movie about a pop megastar (Gugu Mbatha-Raw, of Belle) who falls in love with the cop assigned to her detail. PG-13. Cedar Hills, Eastport, Clackamas, Bridgeport, Evergreen Parkway, Lloyd Mall.
Blood Creek Woodsman
[ONE DAY ONLY, DIRECTOR ATTENDING] Local director Joe Sherlock screens his new horror flick about an Oregon town struck by a mysterious killing spree. Clinton Street Theater. 4 pm Sunday, Nov. 16.
David Bowie Is
[ONE NIGHT ONLY] Like a museum visit in cinematic form, this documentary takes a trip through the touring David Bowie Is exhibition. Hollywood Theatre. 9:30 pm Tuesday, Nov. 18.
Diplomacy
Volker Schlöndorff—who directed the Oscar-winning 1979 adaptation of The Tin Drum—helms a new film about a Swedish diplomat’s efforts to persuade the German military governor of occupied Paris not to carry out Hitler’s orders to destroy the city in 1944. Living Room Theaters.
Dumb and Dumber To
Twenty years after their phenomenally dimwitted characters first hit the big screen, Jeff Daniels and Jim Carrey are back. This time, Harry needs a kidney transplant and learns he unknowingly fathered a daughter years earlier, so he and Lloyd embark on a road trip to find her. Then a murder plot finds them. Screened after WW press deadlines, but look for Jay Horton’s review at wweek.com. PG-13. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Oak Grove, Cinema 99, Bridgeport, City Center, Division, Evergreen Parkway, Hilltop, Lloyd Center, Movies on TV, Pioneer Place, Sherwood, Tigard, Wilsonville, Sandy.
Hump Film Festival
tures ordinary people doing all sorts of nasty on the big screen. In other words: best first date ever. Or see some Hump alternatives on page 23. Cinema 21. Nov. 12-16.
Shockwaves
I Am Eleven
For her new documentary, Australian filmmaker Genevieve Bailey traveled the world, interviewing 11-year-olds in 15 different countries. Kiggins Theatre.
[ONE NIGHT ONLY] To make her new film, media artist Kasumi X drew from more than 25,000 short clips—both public-domain movies and original footage. The result is a feature-length film about a man traumatized by hallucinations and memories of his childhood. Hollywood Theatre. 9:30 pm Friday, Nov. 14.
Las Libres: The Story Continues...
This Ain’t California
[ONE DAY ONLY, DIRECTOR ATTENDING] Gustavo Montaña’s new documentary follows a group of women in the Mexican state of Guanajuato who were sentenced to long prison terms for having abortions. Clinton Street Theater. 11 am Sunday, Nov. 16.
Mad As Hell
[ONE NIGHT ONLY] A new documentary from Andrew Napier about Cenk Uygur, creator of the politically progressive, Internet-based news show The Young Turks. Clinton Street Theater. 7:30 pm Monday, Nov. 17.
No No: A Dockumentary
B [ONE NIGHT ONLY] Almost without fail, baseball documentaries treat their subjects as gods, elevating them to the status of paunchy deities and idealizing the game as some sort of otherworldly spectacle. Which makes freshman director Jeff Radice’s No No: A Dockumentary such a distinct pleasure. The film focuses on the rise, fall and redemption of Dock Ellis, a Pittsburgh pitcher who in 1970 managed the sloppiest no-hitter in major league history in the midst of an LSD trip. With access to the late ballplayer (interviewed shortly before his death in 2008), friends, family and teammates, Radice paints a portrait of a cocky young athlete who faced racism head-on but whose struggles with addiction brought forth a raging demon. Ellis—an unholy combination of Hunter S. Thompson, Muhammad Ali, Superfly, James Brown and Satchel Paige—is a wonderfully unpredictable subject. His exploits are legendary, particularly the titular “no no” and his quest to bean every player on the Cincinnati Reds, and Ellis speaks of his adventures with equal parts pride and regret. But Radice never treats him as a legend. He treats him as a man, chronicling his struggles and triumphs without devolving into hero worship. What emerges is a cinematic rarity: a baseball documentary that nonfans can enjoy. AP KRYZA. Hollywood Theatre. 7:15 pm Friday, Nov. 14.
Northwest Filmmakers’ Festival: Glena
B- The documentary Glena confirms a few things: Obsessives make great subjects. Obsessive underdogs? Even better. But it’s also proof that discarding context is risky. The woman at the center of Portlander Allan Luebke’s feature-directing debut is Glena Avila, a 37-year-old single mother from The Dalles who’s doggedly chasing a career in mixed martial arts, at an age when other fighters think about retiring. We see how this pursuit has caused her personal relationships to crumble, and Luebke appropriately allows other characters to slide into the periphery. But when it comes to the broader landscape of women in MMA, the film falls short. To his credit, Luebke doesn’t let Glena devolve into a schlocky tearjerker, and a scene in which Avila must lose one pound in 20 minutes to make weight is genuinely stressful. The film, which premiered at Slamdance, has caught some big attention: Charlize Theron, Zoe Saldana and the Rock want to do a fictionalized version for Hollywood. REBECCA JACOBSON. NW Film Center’s Whitsell Auditorium. 1 pm Saturday, Nov. 15. For a full festival schedule, see nwfilm.org.
[FIVE DAYS ONLY] Wait, again? Yes, it’s another round of Dan Savage’s amateur porn festival, which fea-
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[ONE DAY ONLY] Director Jan Krawitz screens her new documentary about two women, one determined to donate a kidney and the other in need of one. Hollywood Theatre. 2 pm Sunday, Nov. 16.
Willamette Week NOVEMBER 12, 2014 wweek.com
[ONE NIGHT ONLY] In 2012, when he released his film about skateboarding in 1980s East Germany, director Marten Persiel billed it as a “hybrid documentary.” It turned out to be quite heavily fictionalized, but it still gained acclaim on the festival circuit as an exhilarating immersion in a little-known subculture. Clinton Street Theater. 7 pm Wednesday, Nov. 12.
audience. Substantial swaths of the picture are devoted to nothing loftier than portraying just how unstoppably cool soaring on the back of your own robot would feel. Based on a Marvel comic about repurposed Japanese mutant-villains, this Disney feature drops all references to a larger Marvel world and scales back the well-worn superhero textures to best serve the needs of a slightly harder-edged kids’ cartoon. Big Hero 6 opens in the mean streets of San Fransokyo, where Tadashi narrowly saves his little brother Hiro from a beating after the 14-year-old prodigy wins fistfuls of cash during back-alley ‘bot fights. The first third of the film concerns itself solely with the orphans’ attempts to land Hiro enrollment at a whiz-bang university. The appeal of superherodom isn’t even suggested until an explosion kills Tadashi, but, upon dis-
covering a nano-tech project has been stolen for shadowy ends, what’s a boy to do but weaponize his brother’s adorably puffy health care robot and outfit his goofball lab mates as newly minted misfit warriors of science? PG. JAY HORTON. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Moreland, Oak Grove, Roseway, Sandy, St. Johns Theater.
Birdman
B- In Birdman, our protagonist is Riggan Thomson (Michael Keaton), a washed-up actor who once wore wings as the titular superhero. But in this film, directed by Alejandro González Iñárritu, the real thing with wings is the camera, which soars and swoops through narrow stairwells and bustling Manhattan streets. The effect is that of a single, continuous take. But just as the camera floats along, so
REVIEW COURTESY OF OPEN ROAD FILMS
MOVIES
STILL SHOWING 20,000 Days on Earth
A Nick Cave is one of rock ’n’ roll’s
great liars. He admits as much in 20,000 Days on Earth. The way he sees it, the truth is a sea serpent that exists below the surface of a song, and his goal is to conjure it into the shallows just enough to expose its humps. An honest documentary would only do him a disservice. Fortunately, directors Iain Forsyth and Jane Pollard aren’t interested in capturing the man as much as perpetuating his myth. Like the alleged Banksy doc Exit Through the Gift Shop, even if 20,000 Days is mostly lies, the lies are more revealing—and more entertaining—than a straight biography could ever be. Under his veneer of gothic self-seriousness, you get the feeling Cave is stifling a grin, as if he knows he’s getting away with a tremendous prank. At one point, he visits his “archive” (which probably doesn’t exist) and reads from a last will and testament he claims to have written in the ’80s, which decrees that all his assets go to creating a Nick Cave Memorial Museum. “I was always an ostentatious bastard,” he laughs. Don’t tell Cave, but his humps are showing. MATTHEW SINGER. Laurelhurst.
22 Jump Street
B+ In addition to being one of the best
comedies in recent memory, 2012’s 21 Jump Street was one of the most self-aware movies to come along in some time, openly mocking the fact that it was a retread of a long-forgotten, cornball ’80s cop show. So it only makes sense that the hilarious 22 Jump Street isn’t simply a sequel. It’s a sequel about sequels, and in the action genre that means a few things: It’s essentially the same movie, only bigger and explodier. R. AP KRYZA. Valley.
Alexander and the Terrible, Horrible, No Good, Very Bad Day
Steve Carell and Jennifer Garner star in a Disney adaptation of the popular kids’ book. PG. Clackamas, Oak Grove, Sandy.
Art and Craft
A documentary about Mark Landis, a prolific art forger (he donates his works to museums to avoid prosecution) who is also a diagnosed schizophrenic. Living Room Theaters.
The Best of Me
Onetime high-school sweethearts find themselves back together in their small town. For Nicholas Sparks devotees only. PG-13. Clackamas.
Big Hero 6
A Shelving wordy cleverness for its
own sake, ignoring parental intrusion, and allowing moral lessons to develop organically through a simplified storyline, Big Hero 6 is that rarest thing: an animated children’s adventure designed purely to delight its target
#OmG: Gael García Bernal films the protest.
ROSEWATER Rosewater is a torture film in which suffering is beside the point—it’s a lovely romp in the fields of tyranny. Gael García Bernal, who plays unjustly imprisoned Iranian-Canadian journalist Maziar Bahari, has a pretty, large-featured face that makes pain an aesthetic experience. His performance is by turns affecting, subtle and hilarious, if also often glib. Bahari, of course, is the very real Newsweek reporter who was kept for 118 days in solitary confinement in Iran—ostensibly for espionage—after filming a riot in the wake of President Mahmoud Ahmadinejad’s spurious re-election in 2009. It’s been adapted to film by The Daily Show’s Jon Stewart, who brings the same jaunty momentum, schoolboy wit and selfcongratulatory sincerity that make his comedy news program popular. Much of the film takes place in prison, with no reference to the outside world. The setup—in which Bahari dines with his mother, feels his wife’s pregnant belly and meets lovable Iranian dissidents—takes up a mere half hour of the 145-minute screen time. Still, the audience doesn’t suffer with the character. For a film about a long stint in solitary, it moves swiftly, with very little silence. Even Bahari’s alone time is beset by colloquies with the specter of his dead father, which amount to a secondary interrogation. The Iranian interrogations, meant to get a blindfolded Bahari to admit his perfidious deeds, are manic comedy amid the menace. His interlocutor is obsessed with erotic massage, and doesn’t get why an honest man would go to New Jersey. He thinks a Daily Show sequence is a conversation with a real spy. He’s a very real threat, but also a thesis: There is no evil, only stupidity and ignorance. As a TV host, Stewart smirks happily at the hypocrisy of the world, in the optimistic belief that we must merely expose stupidity to destroy it. Rosewater likewise brims with the journalistic piety that information is the most dangerous weapon in the world. Twitter, we know, will topple empires with hashtags, and the camera on our iPhone will set us free. It is a naive and somewhat smug dream, but an infectious one. And it’s difficult to disagree with free speech as, you know, a good thing. When we see Bahari dancing alone, in the new knowledge that the world outside his prison cell knows he exists, it is one of the most joyful and cathartic moments I’ve seen in film. But even so, the viewer understands that the music he’s dancing to is imaginary. MATTHEW KORFHAGE. Jon Stewart goes to Iran.
B SEE IT: Rosewater is rated R. It opens Friday at Fox Tower, Clackamas, Bridgeport.
nov. 12–18
BAD TURN WORSE too does much else in this self-consciously clever film skate along the surface. Decades ago, Riggan struck gold as a Hollywood superhero, and he’s now trying to rebuild himself by adapting, directing and starring in a Broadway play. It’s of course a winknudge role for Keaton, 63, who wore the Batman suit more than 20 years ago and whose career has wobbled since. the actor works himself into a fidgety lather as he stomps through the theater, bleeding insecurity, selfpity and wounded arrogance. But the screenplay—a committee affair, by Iñárritu and three others—is creaky and self-satisfied. If Birdman’s message is that the theater is the home of high art and Hollywood a place of debased, greed-driven entertainment, Iñárritu doesn’t make a convincing— or even amusingly satirical—argument. R. REBEccA JAcoBSon. Cedar Hills, Clackamas.
The Book of Life
B- A transcendent flourish of fourcolor splendor and kinetic verve, new animated feature The Book of Life arrives overstuffed with artisanal delights, including the world’s grandest piñata. But, while the picaresque drollery will surely draw crowds, the film is still hollow, disposable and a shameless waste of candy. PG. JAY HoRton. Cornelius.
The Boxtrolls
C+ As in Laika’s previous two efforts— the fantastical Coraline and playfully supernatural ParaNorman—The Boxtrolls boasts a scrupulously crafted world. But its overstuffed screenplay lacks humor, and it could use a great deal more fun. PG. REBEccA JAcoBSon. Eastport.
Boyhood
A Boyhood took 12 years, in film as
in life. For 12 years, director Richard Linklater shot the movie for a few weeks each summer as both the main character, a boy named Mason, and the actor, Ellar coltrane, came of age, from 6 to 18. the epic undertaking has resulted in one of the most honest and absorbing representations of growing up ever put to film: all the tedium, all the wonder. We see Mason in a series of moments, and they blend into each other without announcement. new haircuts appear. obama runs for president. We see a teen girl awkwardly saying that “a friend” has a crush on Mason, and then we see her as Mason’s first girlfriend. the passage of time amounts to a special effect more powerful than cGI. How did this wistful kid become a lanky, zitty teen with an illadvised mustache? When did he get so handsome? Who bought him that skateboard? As in life, the moments pass naturally, effortlessly, but in their accumulation we see—with all the suddenness of epiphany—that we have changed. R. MAttHEW KoRFHAGE. Academy, Laurelhurst.
Citizenfour
B History happens in real time in
Citizenfour, a behind-closed-doors account of Edward Snowden’s decision to reveal the dizzying extent of U.S. government surveillance programs. Much of Laura Poitras’ docu-
mentary consists of long interviews with Snowden in the Hong Kong hotel room where he was holed up in June 2013, divulging everything he knew to Guardian reporter Glenn Greenwald. the result is a portrait of the whistle-blower as neither hero nor traitor. Citizenfour’s ground-level vibe and Poitras’ necessary cloak-and-dagger tactics make the documentary like a ’70s paranoia thriller with realworld consequences. Yet there are also instances of near-levity. In one scene, we see Snowden fuss with his hair in the bathroom mirror while a story about him is broadcast on cnn in the background. He’s reached a point of no return, and watching him jump willingly into the unknown is as terrifying as it is thrilling. those familiar with Snowden’s story may complain at the paucity of new details, but what Citizenfour lacks in revelatory information it makes up for with insight into its subject’s motivations. Snowden is meek and articulate, touching on everything from worries about his loved ones’ safety to how he’s more willing to risk imprisonment or “any other negative outcome” than surrender his intellectual freedom. R. MIcHAEL noRDInE. Living Room Theaters.
Dear White People
A- When Justin Simien began work
on Dear White People, early drafts of the screenplay included an over-thetop college party featuring white students in blackface. At some point, though, he ruled it too outlandish and slashed it from the film. then came the compton cookout at the University of california, San Diego, in 2010. the invitation promised chicken, watermelon and purple drank. Students showed up in heavy gold chains, oversized t-shirts and, yes, blackface. Simien quickly revived the party in Dear White People, and it’s one of many pieces that makes this satire so smart, gutsy and relevant. the film, Simien’s directorial debut, blasts apart the notion that we live in a post-racial society, and it explores questions of appropriation, conformity and political strategy while maintaining a tone that’s as playful as it is biting. Set at a fictional Ivy League university, it revolves around four black students. the most intriguing is Lionel (tyler James Williams), a shy, gay trekkie with a beachball-sized Afro. He attempts to reject labels entirely, which allows Simien to ask probing questions about internalized racism. Many have likened him to Spike Lee, and in terms of both subject and style, it’s not an off-base comparison. But Simien’s voice is his own, and it’s vital. R. REBEccA JAcoBSon. Cinema 21.
Dolphin Tale 2
the bottlenose dolphin with the prosthetic tail returns, and this time with a baby dolphin in tow. PG. Academy, Kennedy School, Valley.
The Equalizer
C Antoine Fuqua’s revenge thriller The Equalizer could easily have been downright awful. Instead, it’s merely mediocre, which is testament to the immutable charisma of Denzel Washington: Few others could have made such ultraviolent silliness even
Fury
C Brad Pitt makes an inglorious return to nazi-killing movies in Fury, David Ayer’s would-be epic about tank warfare in the waning days of World War II. Ayers sets up Fury as a gritty depiction of the nazis’ “total war” period, when all civilians were ordered to aid in their country’s desperate efforts—which would be more effective if the director didn’t use these atrocities as little more than action-movie set pieces. R. MIcHAEL noRDInE. 99W Drive-In, Cedar Hills, Eastport, Clackamas, Cornelius, Oak Grove, Sandy.
Gone Girl
B+ Gone Girl might be David Fincher’s
battiest work. the director has taken a lurid suspense yarn—the wildly popular novel by Gillian Flynn—and emerged with a film that deftly straddles the line between brilliant and stupid. It’s a media satire and a meditation on a volatile marriage that masquerades as the kind of plop you’d find Ashley Judd starring in back in the ’90s. It’s mesmerizing. the film centers on nick and Amy Dunne (Ben Affleck and Rosamund Pike), a couple whose relationship is dying, though who’s to blame is a matter of debate. Following Amy’s disappearance, the couple’s story is told in flashbacks via nick’s interrogation sessions and Amy’s diary entries. According to nick, Amy is a cold, friendless sociopath. She says he’s an abusive, adulterous asshole. Her vanishing sparks a national media circus, but what starts as a procedural mystery goes bonkers after a midfilm twist that transforms the tale into perhaps the most expensive, wellacted Lifetime movie ever. naturally, Fincher plays it straight, eschewing visual flourishes for a drab beauty similar to that in Zodiac. Gone Girl’s dark themes could prove too heavy for some mystery fans, and the subversive handling of satirical elements might be mistaken for schlockiness. But that’s Fincher in a nutshell. He’s such a meticulous craftsman you never know when he’s screwing with you, which is exactly what he does here, for 150 gleeful minutes. R. AP KRYZA. 99W Drive-In, Cedar Hills, Eastport, Clackamas, Mill Plain, Forest.
How to Train Your Dragon 2
More animated Vikings, dragons and, scariest of all, teenagers. PG. Academy, Indoor Twin.
The Hundred-Foot Journey
C Director Lasse Hallström has so carefully refined his algorithmic approach to sentimentality that it’s almost hard not to fall victim to The Hundred-Foot Journey. Based on a novel by Richard Morais, the setup is maddening: After an act of violence leaves Papa (om Puri) a widower, his family migrates from Mumbai to rural France and opens an Indian eatery right across the street from a Michelinstarred restaurant run by the imperious, also-widowed Madame Mallory (Helen Mirren). then, of course, culinarily gifted son Hassan (Manish Dayal) learns to explore the cuisine of his new country via the competition’s comely sous chef. cue the expected slow-mo close-ups of hands chopping, seasoning and whipping; whimsical exclamations; and blooming cross-cultural romances that reveal the distance
between the rivals—seemingly worlds apart at first—as easily spanned. the film wins some points for its unifying message and representation of parties typically marginalized in American movies, including South Asians and adults above the age of, say, 35. But its conspicuous machinery and cutesy condescension leave a sour aftertaste. PG. KRIStI MItSUDA. Laurelhurst.
point of hilarity and you’ve got a lot of strained goodwill. Again, this is a film about Mcconaughey and robots kicking it in space. Why so serious? PG-13. AP KRYZA. Bagdad, Cedar Hills, Eastport, Clackamas, CineMagic, Mill Plain, Cornelius, Hollywood, Oak Grove, Sandy, St. Johns Cinemas.
John Wick
A- John Wick treads familiar ground:
Interstellar
C+ christopher nolan is Hollywood’s
most masterful huckster: a blockbuster auteur who uses incredible sleight of hand to elevate into art what other directors would leave as garbage. He is the king of making you think his films— the Dark Knight trilogy, Inception, Memento—are smarter than they actually are. So it makes perfect sense that nolan takes us to another galaxy with Interstellar. In space, nobody can hear you scream, “Wait, that doesn’t make sense...but holy shit, did you see that?!” Whenever something seems really out there, somebody finds a whiteboard and draws a bunch of squiggly marks. Bam! Equation! now look at this wormhole! the plot finds former pilot cooper (Matthew Mcconaughey) raising his kids and crops on a blighted Earth. He’s enlisted by a speechifying Michael caine to captain a space expedition: He must either find a new planet for the remnants of humanity to call home or—if time runs out—find a place to incubate a stash of embryos, thus preventing the extinction of mankind. In other words, Mcconaughey, Anne Hathaway and some robots go on a cool space adventure. At nearly three hours, Interstellar could easily chop an hour off its runtime and remain an exhilarating piece of escapism. Instead, nolan overcomplicates things with indecipherable equations and endless exposition. Add a twist ending that’s ludicrous and self-important to the
A retired hit man is roped back into the life. But this is the rare film that excels as much for what it puts on display as for what it holds back. It oozes style, yet avoids showy slow-mo and cGI. It’s birthed from cliché, yet populated with unpredictable characters. And it’s bloody terrific. It’s also brutally efficient. John Wick opens with the titular character (Keanu Reeves) in mourning, having just buried his wife. that leaves him with only his tricked-out Mustang and a new puppy. Pity, then, when sadistic Russian thug Iosef (Alfie Allen) and his cronies jack his ride and kill his dog. What unfolds is the kind of old-school action we rarely see in this age of gargantuan spectacle. As directed by David Leitch and chad Stahelski, the action unfolds without confusing jump cuts. Whenever the story approaches redundancy, the directors pull out another stylistic flourish. Unburdened by exposition, Reeves is free to do what he does best: be one of his generation’s best action stars. John Wick is a perfect vehicle for him. Which is to say, it’s one of the best action flicks to come along in years. R. AP KRYZA. Cedar Hills, Eastport, Clackamas.
The Judge
D+ Having reluctantly flown home to rural Indiana to attend his mother’s
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halfway engaging. Washington plays Robert Mccall, a seemingly mild-mannered employee of a Home Depotlike store. He doesn’t sleep much and instead spends most of his nights catching up on literary classics and making small talk with teri (chloë Grace Moretz), a teenage prostitute in the employ of the Russian mob. When teri finally dares to defend herself against these ruffians, she lands in the hospital. Mccall doesn’t appreciate this, and during teri’s long convalescence, he takes it upon himself to avenge her injury by putting some old skills to use and murdering as many of these Russians as humanly possible. In the halcyon days of Commando, movies could get away with such absurdity. But the far stuffier 21st century demands a modicum of plausibility The Equalizer can’t be bothered to deliver. R. MIcHAEL noRDInE.
MOVIES
ON THIN ICE: The family of four lies on the bed, limbs intertwined. They’re Swedish. So of course they’re gorgeous—they look ripped from a Hanna Andersson catalog, down to their matching thermal underwear. But not all is so serene on this ski vacation in the French Alps, which unfolds with chilly menace, and a welcome shot of caustic humor, in Ruben Östlund’s Force Majeure. On the second day of the trip, during lunch at an outdoor cafe, an avalanche comes rumbling down the mountain. Tomas (Johannes Bah Kuhnke) insists it’s a controlled slide. But when it doesn’t seem to stop, he grabs his iPhone and darts away, leaving his wife, Ebba (Lisa Loven Kongsli), to shield the kids and scream after him. Turns out Tomas was right, and once the cloud of snow clears, the family resumes their meal. And turns out Force Majeure is a disaster movie after all, only with casualties emotional rather than physical. When Ebba confronts Tomas about fleeing, he shows no contrition. “Is it even possible to run in ski boots?” he huffs. “Come on!” Many have seen the film as a commentary on gender roles, and Östlund indeed told The New York Times he wanted to create “the most pathetic male character on film.” But Mars/Venus debates aside, Force Majeure is an incisive exploration of shame and cowardice. Östlund has applied slight CGI to the mountains, making them just a tad too impeccable, and the chic resort, with its blond wood and simple lines, is an IKEA answer to The Shining’s Overlook Hotel. REBECCA JACOBSON. A- SEE IT: Force Majeure is rated R. It opens Friday at Living Room theaters.
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NOV. 12–18 COURTESY OF MDR
MOVIES
THIS AIN’T CALIFORNIA funeral, high-powered lawyer Hank Palmer (Robert Downey Jr.) forced to confront his estranged father (Robert Duvall). Watching Iron Man work out his daddy issues for well over two hours proves painful for everyone involved, especially viewers, so drawn-out and overwrought is every torturous detail. R. MICHAEL NORDINE. Clackamas.
Kill the Messenger
Interstellar (XD) (PG-13) 11:30AM 3:15PM 7:00PM 10:40PM Judge, The (R) 6:50PM 10:10PM Kirk Cameron’s Saving Christmas (PG) 11:00AM 1:15PM 3:30PM 5:45PM 8:05PM 10:25PM John Wick (R) 11:50AM 2:35PM 5:10PM 7:55PM 10:35PM St. Vincent (PG-13) 11:10AM 1:45PM 4:25PM 7:10PM 10:00PM Ouija (PG-13) 10:55AM 1:15PM 3:35PM 5:55PM 8:15PM 10:40PM Rosewater (R) 11:15AM 1:55PM 4:35PM 7:15PM 10:05PM On Any Sunday: The Next Chapter (PG) 12:30PM 3:00PM 5:25PM 7:50PM 10:15PM Maze Runner, The (PG-13) 11:10AM 4:45PM 10:30PM Nightcrawler (R) 11:05AM 1:55PM 4:50PM 7:40PM 10:35PM
John Wick (R) 12:00PM 2:35PM Nightcrawler (R) 11:00AM 1:50PM 4:45PM 7:35PM 10:25PM Whiplash (R) 11:15AM 1:55PM 4:35PM 7:15PM 9:55PM Interstellar (PG-13) 11:00AM 12:30PM 1:45PM 2:40PM 4:15PM 5:30PM 6:25PM 8:00PM 9:15PM 10:05PM St. Vincent (PG-13) 7:10PM 9:45PM
Beyond The Lights (PG-13) 10:45AM 1:35PM 4:30PM 7:25PM 10:20PM Big Hero 6 3D (PG) 11:45AM 12:40PM 2:30PM 5:15PM 6:10PM 8:00PM 10:40PM Best Of Me, The (PG-13) 2:00PM 7:35PM Interstellar (PG-13) 10:45AM 1:00PM 2:25PM 4:45PM 6:10PM 8:30PM 9:55PM Alexander And The Terrible, Horrible, No (PG) 11:25AM 1:50PM 4:15PM Fury (R) 12:55PM 4:10PM 7:20PM 10:30PM Gone Girl (R) 11:55AM 3:20PM 7:00PM 10:25PM Dumb And Dumber To (PG-13) 11:20AM 2:10PM 5:00PM 7:45PM 10:35PM Big Hero 6 (PG) 10:50AM 1:35PM 3:25PM 4:20PM 7:05PM 8:55PM 9:50PM Birdman (R) 10:45AM 1:40PM 4:35PM 7:30PM 10:20PM
Big Hero 6 3D (PG) 11:40AM 2:25PM 5:10PM 7:55PM 10:35PM Big Hero 6 (PG) 10:45AM 12:35PM 1:30PM 3:20PM 4:15PM 6:05PM 7:00PM 8:45PM 9:45PM Gone Girl (R) 12:20PM 3:40PM 7:00PM 10:20PM Beyond The Lights (PG-13) 10:55AM 1:50PM 4:40PM 7:30PM 10:20PM
UFC 180: Werdum vs. Hunt (PG-13) 7:00PM
Dumb And Dumber To (PG-13) 11:20AM 2:00PM 4:40PM 7:20PM 10:00PM
Ouija (PG-13) 10:45AM 1:05PM 3:25PM 10:25PM
Fury (R) 12:30PM 4:00PM 7:05PM 10:10PM
Pilla Nuvvu Leni Jeevitham (Praneeth Media) (NR)
Billy Elliot: The Musical (PG-13) 12:55PM
6:00PM
Birdman (R) 10:50AM 1:40PM 4:30PM 7:20PM 10:10PM
Interstellar (PG-13) 11:00AM 12:15PM 1:30PM 2:45PM
Big Hero 6 3D (PG) 12:25PM 3:15PM 6:05PM 8:55PM
4:00PM 5:15PM 6:30PM 7:45PM 9:00PM 10:15PM
Beyond The Lights (PG-13) 11:00AM 1:50PM 4:40PM
Guardians Of The Galaxy (PG-13) 12:00PM 3:10PM
7:30PM 10:25PM
6:30PM 9:45PM Whiplash (R) 11:15AM 2:00PM 4:45PM 7:35PM 10:20PM John Wick (R) 11:25AM 2:10PM 4:50PM 7:25PM 10:05PM St. Vincent (PG-13) 11:30AM 2:15PM 5:00PM 7:40PM 10:30PM
Gone Girl (R) 11:40AM 3:05PM 6:40PM 10:15PM Big Hero 6 (PG) 11:05AM 1:50PM 4:40PM 7:30PM 10:20PM Fury (R) 12:30PM 3:45PM 7:00PM 10:25PM Dumb And Dumber To (PG-13) 11:10AM 2:05PM 5:00PM
Ouija (PG-13) 12:15PM 2:50PM 5:20PM 7:45PM 10:10PM
7:50PM 10:30PM
Nightcrawler (R) 11:05AM 1:55PM 4:50PM 7:40PM
Boxtrolls, The (PG) 11:45AM 2:20PM 4:55PM 7:35PM
10:30PM
10:05PM
FRIDAY 48
Willamette Week NOVEMBER 12, 2014 wweek.com
B- Ah, the mid-’90s! The halcyon days of print! When journalists were lightly bearded men who, when they weren’t exposing national secrets, took emotional motorcycle rides through the forest! So it is in Michael Cuesta’s Kill the Messenger, based on the true story of Gary Webb (Jeremy Renner), an ace reporter at the San Jose Mercury News who discovered CIA-backed guerrillas in Nicaragua were funneling cocaine into the United States. Webb’s quest for the truth takes him from Nicaraguan prisons to a sun-dappled Capitol Hill, where a bureaucrat (Michael Sheen) warns him that “some stories are too true to be told.” Renner’s testosterone-fueled approach works in the action-packed first half, but it proves unwieldy in the second. Journalism isn’t all about fleeing from Nicaraguan narcos. There’s far more time spent second-guessing your sources and picking Cheetos out of your keyboard. R. JAMES HELMSWORTH. Academy, Laurelhurst.
Laggies
B- Laggies is one of those comingof-age stories in which the person who’s growing up should have done so 10 years ago. The woman-child in question is Megan (Keira Knightley), an unemployed 20-something who reacts to her longtime boyfriend’s marriage proposal as any sane person would: by freaking out, partying deep into the night with some teenagers she meets outside a liquor store and making up a bogus story to her would-be fiance. She then crashes with one of these teenagers (Chloë Grace Moretz) in order to clear her head when she’s supposed to be at a self-actualization seminar—and then ends up falling for the girl’s father (Sam Rockwell). As patently ludicrous as all this is, it’s also a clever means of imbuing the film with humor and sweetness. Lynn Shelton has a fondness for her flawed characters where others would be content to mock them, which is a rarer quality than it should be. And though the slow-moving tortoise in the backyard is a little on the nose as far as spirit animals go, it does provide an apt enough metaphor for Megan’s incremental progress: better late than never. R. MICHAEL NORDINE. Living Room Theaters.
Listen Up Philip
B+ Oh, the bittersweet deliciousness of being an asshole. Listen Up Philip revels in it. Director Alex Ross Perry has said in interviews that his
film is an amalgamated homage to Philip Roth, and his film blends up the spirit of a self-obsessed, selfhating New York Jewish Lothario just like the Canadians do whiskey, with some of the edge shaved off. True to our times, Listen Up Philip is a coming-of-age movie about a man in his 30s—arrogant, unlovable Philip Lewis Friedman (Jason Schwartzman). Friedman escapes his supportive girlfriend (Elisabeth Moss) to a cottage owned by a lonely, embittered novelist named Ike Zimmerman (Jonathan Pryce), a stand-in for Roth. The older man offers Friedman a tutorial in how to fuck up a life, which he drinks in with wide eyes and a trusting heart, ready to commit himself to a life of casual savagery. One could make a drinking game out of the dirty looks he gets. The film is marred by a somewhat cutesy voice-over, and it’s oddly disjointed, wandering off digressively into the life of Moss’ character. But it is still Schwartzman’s film. Friedman will never be happy; we know this. But as we watch, the childish man learns how to be unhappy as an adult. MATTHEW KORFHAGE. Laurelhurst.
Lucy
B The team behind Lucy sure
knows how to blow shit up and make Scarlett Johansson look hot, all the while tossing in enough distracting imagery to help you forget the movie is soaked in stupid. R. AP KRYZA. Valley.
Maleficent
C+ A revisionist retelling of Disney’s 1959 Sleeping Beauty, Maleficent has a fever-dream edge and the prominent cheekbones of Angelina Jolie. In case your grasp of the source material is rusty, evil fairy Maleficent was left off the invite list to Princess Aurora’s christening, so she dooms the girl to death. But we do not believe in pure evil these days, and Disney wasn’t content to let such a single-minded villain go unconsidered. So what hardened Maleficent’s heart? Rape. The implications are mindboggling, but Jolie only gets the chance to play a jilted lover who exacts her revenge on the most helpless of the kingdom. PG. SAUNDRA SORENSON. Academy, Laurelhurst, Valley.
The Maze Runner
Because there just aren’t enough film adaptations of dystopian young-adult novels out there, here’s another one, about—as you might have gleaned from its title— kids trapped in a maze. PG-13. Clackamas, Empirical Theatre at OMSI.
Nightcrawler
B+ With eyes bulging from his
gaunt skull like a Chihuahua trapped in an industrial vise, Jake Gyllenhaal is an unnervingly strange sight to behold when he walks onto the screen in Nightcrawler. And that’s before his character, Lou Bloom, even opens his mouth. Once Lou
starts chattering—and boy, does Lou chatter—what emerges is one of the slimiest, most disarming sociopaths to hit theaters in some time. Gyllenhaal’s character is terrifying. Not so much for what he does, but for what he represents: He’s sensationalistic and exploitative media personified. The title of Dan Gilroy’s debut feature refers to the lecherous freelance cameramen who prowl city streets, their ears trained to police scanners so they can get to gruesome crime scenes before help arrives and shoot the carnage, tragedy and response as it all unfolds. After witnessing one particularly soulless photographer in action, petty thief Lou invests in a camcorder and a scanner, and promptly crosses police lines in order to tape a grisly accident. What makes Lou such a fascinating and terrifying beast isn’t rooted in traditional cinematic tropes of violence. In reality, he’s quite docile. No, it’s his extreme disconnect and lack of conscience: He sees nothing wrong, for example, with moving a still-breathing victim into better light to improve his shot. R. AP KRYZA. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Oak Grove, Sandy.
Ouija
A supernatural thriller about... you guessed it. PG-13. Cedar Hills, Eastport, Clackamas, Sandy.
Pride
B+ Politics make strange bedfel-
lows. That was certainly true of gay activists and mineworkers, who formed an unlikely alliance during a British labor strike 30 years ago. Their story is dramatized in Pride, Matthew Warchus’ unabashedly crowd-pleasing but not overly saccharine film. It’s 1984, and gay activists in London realize they share a trifecta of enemies with their working-class brethren: the police, the right-wing tabloids and her majesty of supreme ghastliness, Margaret Thatcher. What is there to do, then, but run through the pride parade, clanging buckets and collecting money for the unions? After initial difficulty, the group finds a mining town in Wales willing to accept pounds from poofters, and they pile into a rickety yellow van and head for the countryside. Though Pride hits the expected beats—the soundtrack swells and a little old lady asks if all lesbians are vegetarians—it’s so ebullient that it just feels shrewish to resist. R. REBECCA JACOBSON. Cinema 21.
The Skeleton Twins
C Some twins can finish each other’s sentences, or guess what number the other is imagining with to-the-decimal-point accuracy. In The Skeleton Twins, Maggie and Milo’s sibling ESP manifests in simultaneous suicide attempts. Despite living on different coasts and having had no contact in 10 years, the twins (Kristen Wiig and Bill Hader), try to take their
NOV. 12–18 own lives at practically the same moment. Neither succeeds, but the incident brings them back under the same roof, in the town in upstate New York where they grew up. If this sounds like typical Sundancebaiting indie stuff, well, it is. But if there’s one thing writer-director Craig Johnson gets right, it’s the casting. As former Saturday Night Live castmates, Hader and Wiig come with built-in brother-sister chemistry. One can only imagine how insufferable it would be with anyone else. R. MATTHEW SINGER. Living Room Theaters.
MOVIES
AP FILM STUDIES
St. Vincent
B- Freshman director Theodore Melfi is a very, very lucky man. Under most circumstances, his debut, St. Vincent, would be blasted for its contrived, overwrought plot. Does the world really need another story about a mean old bastard who finds redemption and purpose thanks to a kid? But luckily for Melfi, that crusty bastard is played by Bill Murray, who takes what could have been a geriatric riff on About a Boy and turns it into a showcase of his ever-evolving comedic prowess. PG13. AP KRYZA. Cedar Hills, Eastport, Clackamas, Cornelius, Oak Grove.
Teenage Mutant Ninja Turtles
C The new Teenage Mutant Ninja Turtles is loud, incoherently directed, brash, obnoxious and packed with enough product placement to fill a NASCAR track. PG-13. AP KRYZA. Valley.
This Is Where I Leave You
C+ Shortly after discovering that
his wife is cheating on him, a radio producer (Jason Bateman) returns to his childhood home with his semi-estranged siblings to mourn their father’s death as part of a seven-day Jewish ritual their mother (Jane Fonda) insists was the dearly departed’s final wish. Director Shawn Levy doesn’t do much to hold this all together, instead relying on his ensemble cast (including a scene-stealing Rose Byrne) to strike a workable balance between laughter and tears. R. MICHAEL NORDINE. Academy, Kennedy School, Laurelhurst, Mission, Valley.
Whiplash
B+ Whiplash clefts music from
dance, love and spirituality. What’s left is muscle, red and raw, beating faster and faster against a drum. That’s how Damien Chazelle’s beautiful but troubling film begins: 19-year-old Andrew (Miles Teller) is practicing jazz drumming in a dark room of a New York conservatory. Conductor Terence Fletcher (J.K. Simmons) happens upon him and invites him to join the school’s top band. A battle of egos and tempos ensues, as Andrew must decide how much of himself and his sanity he’s willing to give to music. Teller gives a close-to-the-chest performance. Though he spends most of the movie looking like a dog with its tail between its legs, he occasionally flies into a solipsistic rage. Simmons is certainly horrifying, but you’ve heard these hardass lines before. And here’s where Whiplash is most troubling: It views the abusive instructor as a necessary evil for creating great art. Whiplash is certainly an affecting film, but taking it as anything more than a portrait of a single student-teacher relationship would be a mistake. R. JAMES HELMSWORTH. Cedar Hills, Eastport.
The Zero Theorem
B Something of an unofficial
retro-futuristic companion to Terry Gilliam’s masterpiece, Brazil, The Zero Theorem concerns itself with no less than the origins and potential destruction of the universe. It’s all very weird, anchored by gorgeous visuals and a twitchy, uncharacteristically oddball turn from Christoph Waltz, who tones down the charisma that scored him Oscars for Inglourious Basterds and Django Unchained. R. AP KRYZA. Laurelhurst.
ALSO SHOWING
Professor AP Kryza is currently stuck outside Rapid City, S.D., a victim in the icy grasp of winter storm Rabies, replicants and Astro. He took a break from nagrevolution. ging his sister to show him North by Northwest filming locations to file this rundown of the best of Portland’s repertory showings. Right after that, he parted his hair and ventured to Deadwood under the alias of Roger Thornhill, where two men poured a whole bottle of bourbon into him. No, Mother. They didn’t give him a chaser. AP KRYZA. ALSO SHOWING: Tigard’s Joy Cinema—newly freed of Bollywood films and equipped with pizza and beer—continues its free, 21-and-over Weird Wednesday series with a boozy screening of the 1956 Lon Chaney campfest The Indestructible Man. Joy Cinema. 9 pm Wednesday, Nov. 12. The Oregon Historical Society opens its vaults and unleashes a collection of 16 mm industrial films from the ’60s through the ’80s, including training films, PSAs and severely dated commercials. Hollywood Theatre. 7:30 pm Wednesday, Nov. 12. The PDX Latin American Film Fest presents Of Love and Other Demons, director Hilda Hidalgo’s divisive adaptation of Gabriel García Márquez’s coming-of-age-with-rabies drama. Hollywood Theatre. 7 pm Thursday, Nov. 13. With stark black-and-white animation, Marjane Satrapi’s autobiographical Persepolis—about growing up during and after the Iranian Revolution—seamlessly explodes from page to screen. 5th Avenue Cinema. 7 and 9:30 pm Friday-Saturday and 3 pm Sunday, Nov. 14-16. Indiana Jones completed his incredible run as one of action cinema’s greatest heroes with Indiana Jones and the Last Crusade, which effectively closed the door to any further sequels, Shia LaBeoufs or aliens. Kiggins Theatre. Opens Friday, Nov. 14. There was also only one Blues Brothers movie. Academy Theater. Nov. 14-20. Mel Brooks’ Blazing Saddles remains the gold standard of spoof cinema, mainly in its willingness to tackle the racism of its Western setting—and of Hollywood—while wholly embracing absurdity. Laurelhurst Theater. Nov. 14-20. Movies in Black & White returns for a screening of Rocky III—the In the Heat of the Night of Mr. T’s career—followed by a discussion with filmmaker David Walker and comedian Anthony Lopez. Hollywood Theatre. 7 pm Saturday, Nov. 15. Ridley Scott’s Blade Runner is the rare sci-fi flick that has never aged. Its mix of hard-boiled noir and dystopian existentialism is seamless. Even more astounding, its special effects remain eye-popping. It is, in short, Scott’s masterpiece, worthy of a place alongside Metropolis and Alphaville as one of cinema’s most enduringly captivating sci-fi mishmashes. Clinton Street Theater. 7:30 pm Saturday-Sunday, Nov. 15-16. Shawn Levy—film critic and author of De Niro: A Life (see review, page 45)—will be on hand to introduce the underrated A Bronx Tale, Robert De Niro’s heartfelt directorial debut about a boy torn between his father and a local mob boss. NW Film Center’s Whitsell Auditorium. 7 pm Sunday, Nov 16. Re-Run Theater returns with a marathon of Rowan “Mr. Bean” Atkinson’s cheeky 1983 British historical comedy series, Black Adder. Hollywood Theatre. 7 pm Monday, Nov. 17. Not content to let the OHS steal the 16 mm thunder, Repressed Cinema rolls out Boob Tube Shrapnel, featuring exercise videos, teenage dance shows and other things whose creators probably wish would be destroyed. Hollywood Theatre. 7:30 pm Tuesday, Nov. 18.
WWEEKDOTCOM WWEEKDOTCOM Willamette Week NOVEMBER 12, 2014 wweek.com
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MOVIES
NOV. 14–20
STREET PG. 21
C O U R T E S Y O F WA R N E R B R O S
Academy Theater
7818 SE Stark St., 503-252-0500 KILL THE MESSENGER Fri-Sat-Sun-Mon-TueWed 04:10, 09:45 THIS IS WHERE I LEAVE YOU Fri-Sat-Sun-Mon-TueWed 02:15, 06:45 THE HUNDRED-FOOT JOURNEY Fri-Sat-Sun-Mon-Tue-Wed 01:50, 07:00 BOYHOOD Fri-Sat-Sun-Mon-Tue-Wed 06:30, 09:00 HOW TO TRAIN YOUR DRAGON 2 Fri-Sat-Sun-Mon-Tue-Wed 04:30 MALEFICENT Fri-SatSun-Mon-Tue-Wed 02:00 THE BLUES BROTHERS Fri-Sat-Sun-Mon-Tue-Wed 04:20, 09:30 DOLPHIN TALE 2 Sat-Sun 11:30
Living Room Theaters
5736 NE 33rd Ave., 503-249-7474-4 DOLPHIN TALE 2 Fri-SatSun-Mon-Tue-Wed 02:30 DESPICABLE ME 2 Fri-SatSun-Tue-Wed 05:30 THE HUNDRED-FOOT JOURNEY Fri-Sat-Sun-Tue-Wed 07:45 THIS IS WHERE I LEAVE YOU Fri-Sat-Sun-Tue-Wed 10:00
341 SW 10th Ave., 971-222-2010 ART AND CRAFT FriSat-Sun-Mon-Tue-Wed 11:55, 03:00, 07:45, 09:10 CITIZENFOUR Fri-Sat-SunMon-Tue-Wed 12:10, 02:00, 02:40, 04:10, 05:00, 06:40, 07:15, 09:20 DIPLOMACY Fri-Sat-Sun-Mon-Tue-Wed 11:50, 02:10, 05:10, 07:00, 09:35 FORCE MAJEURE Fri-Sat-Sun-Mon-Tue-Wed 12:15, 02:50, 04:20, 06:50, 09:00 LAGGIES Fri-SatSun-Mon-Tue-Wed 12:05, 01:50, 05:30, 09:45 THE SKELETON TWINS Fri-SatSun-Mon-Tue-Wed 12:00, 04:30, 07:30, 09:40
Empirical Theatre at OMSI
Century Clackamas Town Center and XD
SNAKE DANCE: Blade Runner plays Nov. 15-16 at the Clinton Street Theater.
Kennedy School Theater
Bagdad Theater
Roseway Theatre
Cinema 21
St. Johns Cinemas
3702 SE Hawthorne Blvd., 503-249-7474 INTERSTELLAR Fri-SatSun-Mon-Tue-Wed 11:00, 02:45, 07:00 616 NW 21st Ave., 503-223-4515 DEAR WHITE PEOPLE Fri-Sat-Sun-Mon-TueWed 04:15, 07:00 PRIDE Fri-Sat-Sun-Mon-Tue-Wed 04:30, 07:15
Clinton Street Theater
2522 SE Clinton St., 503-238-8899 THE AMAZING CATFISH Fri-Sat-Mon-Tue-Wed 07:00 BAD TURN WORSE Fri-Sun-Wed 09:00 SHERMAN’S MARCH SatSun 07:00 THE ROCKY HORROR PICTURE SHOW Sat 12:00 LAS LIBRES: THE STORY CONTINUES... Sun 11:00 BLOOD CREEK WOODSMAN Sun 04:00 MAD AS HELL: THE MAKING OF NETWORK Mon 07:30 PORTLAND STEW Wed 06:00
Laurelhurst Theatre & Pub
• BREAKING NEWS • GEO-LOCATING BAR AND RESTAURANT REVIEWS • CITY GUIDES
2735 E Burnside St., 503-232-5511 BLAZING SADDLES FriSat-Sun-Mon-Tue-Wed 07:00 20,000 DAYS ON EARTH Fri-Sat-Sun-MonTue-Wed 09:00 THIS IS WHERE I LEAVE YOU Fri-Sat-Sun-Mon-Tue-Wed 06:45 LISTEN UP PHILIP Fri-Sat-Sun-Mon-Tue-Wed 09:15 BOYHOOD Fri-SatSun-Mon-Tue-Wed 06:15 KILL THE MESSENGER Fri-Sat-Sun-Mon-Tue-Wed 09:30 THE HUNDREDFOOT JOURNEY Fri-SatSun-Mon-Tue-Wed 07:10 THE ZERO THEOREM Fri-Sat-Sun-Mon-Tue-Wed 09:40 MALEFICENT SatSun 01:30
Mission Theater and Pub
1624 NW Glisan St., 503-249-7474-5 DESPICABLE ME 2 Fri-SatSun-Mon-Tue-Wed 05:15 THIS IS WHERE I LEAVE YOU Fri-Sat-Sun-Mon-TueWed 07:45 THE BLUES BROTHERS Fri-Sat-SunMon-Tue-Wed 10:30
Moreland Theatre
6712 SE Milwaukie Ave., 503-236-5257 BIG HERO 6 Fri-Sat-SunMon-Tue-Wed 05:30, 08:00
7229 NE Sandy Blvd., 503-282-2898 BIG HERO 6 Fri-Sat-SunMon-Tue-Wed 01:45, 04:45, 07:45 8704 N Lombard St., 503-286-1768 INTERSTELLAR Fri-SatSun-Mon-Tue-Wed 03:30, 05:00, 07:00, 08:30
CineMagic Theatre
2021 SE Hawthorne Blvd., 503-231-7919 INTERSTELLAR Fri-SatSun-Mon-Tue-Wed 05:00, 08:30
Kiggins Theatre
1011 Main St., 360-816-0352 INDIANA JONES AND THE LAST CRUSADE Fri-SatSun-Mon-Tue 08:30 BAD TURN WORSE Fri-SatSun-Mon-Tue 06:30 I AM ELEVEN Fri-Sat-Mon-Tue 04:30
Century 16 Eastport Plaza
4040 SE 82nd Ave. ST. VINCENT Fri-SatSun-Mon-Tue-Wed 11:30, 02:15, 05:00, 07:40, 10:30 GUARDIANS OF THE GALAXY Fri-SatSun-Mon-Tue-Wed 12:00, 03:10, 06:30, 09:45 THE BOXTROLLS Fri-Sat-SunMon-Tue-Wed 11:45, 02:20, 04:55, 07:35, 10:05 GONE GIRL Fri-Sat-Sun-MonTue-Wed 11:40, 03:05, 06:40, 10:15 WHIPLASH Fri-Sat-Sun-Mon-TueWed 11:15, 02:00, 04:45, 07:35, 10:20 OUIJA FriSat-Sun-Mon-Tue-Wed 12:15, 02:50, 05:20, 07:45, 10:10 BIG HERO 6 FriSat-Sun-Mon-Tue-Wed 11:05, 01:50, 04:40, 07:30, 10:20 BIG HERO 6 3D Fri-Sat-Sun-Mon-Tue-Wed 12:25, 03:15, 06:05, 08:55 INTERSTELLAR Fri-SatSun-Mon-Tue-Wed 11:00, 12:15, 01:30, 02:45, 04:00, 05:15, 06:30, 07:45, 09:00, 10:15 DUMB AND DUMBER TO Fri-Sat-Sun-Mon-TueWed 11:10, 02:05, 05:00, 07:50, 10:30 BEYOND THE LIGHTS Fri-Sat-SunMon-Tue-Wed 11:00, 01:50, 04:40, 07:30, 10:25 FURY Fri-Sat-Sun-Mon-Tue-Wed 12:30, 03:45, 07:00, 10:25 NIGHTCRAWLER Fri-SatSun-Mon-Tue-Wed 11:05, 01:55, 04:50, 07:40, 10:30 JOHN WICK Fri-Sat-SunMon-Tue-Wed 11:25, 02:10, 04:50, 07:25, 10:05 BILLY ELLIOT: THE MUSICAL SatTue 07:00
99 West Drive-In
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Highway 99W, 503-538-2738 FURY Fri-Sat 07:00 GONE GIRL Fri-Sat 09:15
1945 SE Water Ave., 503-797-4000 WALKING WITH DINOSAURS 3D Fri 03:30 WILD OCEAN Fri 01:00 FLIGHT OF THE BUTTERFLIES Fri 11:00 BEARS Fri 02:00 GUARDIANS OF THE GALAXY Fri 09:00 THE MAZE RUNNER Fri 07:00 D-DAY: NORMANDY 1944 Fri 12:00, 04:30 GREAT WHITE SHARK Fri 05:30
5th Avenue Cinema
510 SW Hall St., 503-725-3551 PERSEPOLIS Fri-Sat 07:00, 09:30 Sun 03:00
Hollywood Theatre
4122 NE Sandy Blvd., 503-281-4215 INTERSTELLAR Fri-SatSun-Mon-Tue-Wed 08:00 NO NO: A DOCKUMENTARY Fri 07:15 SHOCKWAVES Fri 09:30 ROCKY III Sat 07:00 MIRACLE ON 34TH STREET Sat 03:00 PERFECT STRANGERS Sun 02:00 INFINITE SPACE: THE ARCHITECTURE OF JOHN LAUTNER Sun 07:00 BLACK ADDER MARATHON Mon 07:00 BOOB TUBE SHRAPNEL Tue-Wed 07:30 DAVID BOWIE IS Tue 09:30 CINEMA PROJECT Wed 07:30 PULP: LIFE, DEATH & SUPERMARKETS PLUS LIVE Q&A Wed 09:30
NW Film Center’s Whitsell Auditorium
1219 SWPark Ave., 503-221-1156 LUCINDA PARKER: WATER AND CLOUDS Fri 05:00 NORTHWEST FILMMAKERS FESTIVAL Fri 07:00 HOUSE OF LAST THINGS Fri 08:45 GLENA Sat 01:00 THE DRY LAND Sat 03:30 THE WINDING STREAM Sat 05:30 SUIT OF LIGHTS Sat 08:00 RAGING BULL Sun 07:00 KANO Tue 07:00 GRAND ILLUSION Wed 04:15, 07:00
St. Johns Theater
8203 N Ivanhoe St., 503-249-7474-6 BIG HERO 6 Fri-Sat-SunMon-Tue-Wed 01:00, 03:45, 06:30, 09:15
12000 SE 82nd Ave. ST. VINCENT Fri-Sat-SunMon-Tue-Wed 11:10, 01:45, 04:25, 07:10, 10:00 THE MAZE RUNNER Fri-Sat-SunMon-Tue-Wed 11:10 GONE GIRL Fri-Sat-Sun-Mon-TueWed 11:55, 03:20, 10:25 ALEXANDER AND THE TERRIBLE, HORRIBLE, NO GOOD, VERY BAD DAY FriSat-Sun-Mon-Tue-Wed 11:25, 01:50, 04:15 THE JUDGE Fri-Sat-Sun-Mon-Tue-Wed 06:50, 10:10 THE BEST OF ME Fri-Sat-Sun-MonTue-Wed 10:30 BIRDMAN OR (THE UNEXPECTED VIRTUE OF IGNORANCE) Fri-Sat-Sun-Mon-Tue-Wed 10:45, 01:40, 04:35, 07:30, 10:20 OUIJA Fri-SatSun-Mon-Tue-Wed 10:55, 01:15, 03:35, 05:55, 08:15, 10:40 BIG HERO 6 Fri-SatSun-Mon-Tue-Wed 10:50, 01:35, 03:25, 04:20, 07:05, 08:55, 09:50 BIG HERO 6 3D Fri-Sat-Sun-Mon-TueWed 11:45, 12:40, 02:30, 05:15, 06:10, 08:00, 10:40 INTERSTELLAR Fri-Sat-SunMon-Tue-Wed 10:45, 01:00, 02:25, 04:45, 06:10, 08:30, 09:55 DUMB AND DUMBER TO Fri-Sat-Sun-Mon-TueWed 11:20, 02:10, 05:00, 07:45, 10:35 BEYOND THE LIGHTS Fri-Sat-SunMon-Tue-Wed 10:45, 01:35, 04:30, 07:25, 10:20 FURY Fri-Sat-Sun-Mon-TueWed 12:55, 04:10, 07:20, 10:30 NIGHTCRAWLER Fri-Sat-Sun-Mon-Tue-Wed 11:05, 01:55, 04:50, 07:40, 10:35 SAVING CHRISTMAS Fri-Sat-Sun-Mon-Tue-Wed 11:00, 01:15, 03:30, 05:45, 08:05, 10:25 JOHN WICK Fri-Sat-Sun-Mon-Tue-Wed 11:50, 02:35, 05:10, 07:55, 10:35 ON ANY SUNDAY: THE NEXT CHAPTER FriSat-Sun-Mon-Tue-Wed 12:30, 03:00, 05:25, 07:50, 10:15 ROSEWATER Fri-SatSun-Mon-Tue-Wed 11:15, 01:55, 04:35, 07:15, 10:05 UFC 180: WERDUM VS. HUNT Sat 07:00 EDWARD SCISSORHANDS Sun-Wed 02:00, 07:00 SUBJECT TO CHANGE. CALL THEATERS OR VISIT WWEEK.COM/MOVIETIMES FOR THE MOST UP-TO-DATE INFORMATION FRIDAY-THURSDAY, NOV. 14-20, UNLESS OTHERWISE INDICATED
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less crimes to meet his monthly quota.
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Marijuana is legal in Oregon. Read that out loud. The goodness of that reality is so hard to accept— particularly when high—that it’s just now starting to feel real. It also seems like the story is about to get really interesting. Could Oregon soon become the domain of Octavius, a swarthy drug kingpin with an exotic accent and no qualms about planting car bombs along Sandy to solidify his territory? Oh yeah, that could happen. But even if we’re briefly a violent narcoterrorist state, eventually the bloodthirsty ganja gangs will be sent scurrying back to their hidey holes just east of Bagby Hot Springs. And then we’ll have to get the dispensaries running. There’s a lot of work to do, is what I’m saying. So I’m tackling this column the way I attack every major project as a responsible, productive member of society who’s maybe just a little stoned: with a to-do list. Please, sir, we’d like some pardons: If he wishes to slow the rise of Octavius, Oregon’s eternal potentate John Kitzhaber should pardon all Oregonians with outstanding marijuana charges. Be a Good Man, Charlie Hales: Our mayor should order Portland police to immediately stop enforcing prohibition. Yes, even against the homeless and kids on skateboards. And, yes, even if the cop just needs to ruin two more lives over victim-
Stay down with OMMP: For consumers, Oregon’s medical dispensary system is still high ground for consistent supply in these turbulent times, especially because medicinal marijuana will always be the cheapest way to get legal weed outside of growing it yourself. The bureaucrats who led Colorado’s silky smooth rollout kept the medical industry close and used its experience. Washington’s so-far-fucked system, on the other hand, kept them at arm’s length. Grow some yourself! Oregonians are allowed up to four plants. Automatically! Now let’s say you aren’t really into imbibing, but just enjoy growing plants. Well, marijuana is pretty interesting flora to grow. Cannabis was one of the first crops cultivated by humans, and that lineage has produced a remarkably diverse herb.
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Thanks, neighbor! By letting Washington rush ahead of us, Oregon allowed the Appleheads to clear the trail. Washington’s system sucks—long lines, crazy prices. Now step aside, boys. Don’t panic: Oregon already produces worldclass marijuana, houses many of the industry’s most innovative growers, and can now let in the light of scientific research and homegrown green thumbs. There’s potential for Oregon to become the world’s leader in high-quality, ethical cannabis. There’s also potential for cynical money grabs and rampant greed. We’ll watch for that. Let’s just keep making to-do lists, OK?
For more information on John Callahan’s memorial, see ffojohncallahan.tumblr.com. Willamette Week NOVEMBER 12, 2014 wweek.com
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EMPLOYMENT OPPORTUNITIES ARIES (March 21-April 19): We all have addictive and obsessive tendencies. They are fundamental to being human. So the challenge is not to eliminate them -that’s not possible -- but rather to harness them. If you hope to keep them from dragging you down, you must work hard to channel them into activities that enhance your life. How are you doing on this score, Aries? Are you chronically dependent on drugs, gambling, sugar, or chaotic relationships? Or are you, instead, hooked on the courage you summon when you face your fears and the willpower you invoke as you free yourself from your limitations? Now is an excellent time to upgrade your addictive and obsessive tendencies. TAURUS (April 20-May 20): Our planet’s most abundant mineral is called bridgmanite. It’s an amalgam of iron, magnesium, silicon, and oxygen. Until recently, no one had actually seen it because it lies so deep underground it can’t be reached by digging tools. Scientists have only known about it from studying how earthquake waves moved through it. That changed in the last few years, when two mineralogists found bridgmanite in an ancient meteorite. They were able to analyze the nuances of this basic mineral for the first time. I predict a comparable development for you, Taurus. In the coming months, you will become more familiar with a core part of you that has always been a mystery. The revelations may occur with the help of an influence that resembles a meteorite. GEMINI (May 21-June 20): Some conspiracy theorists are paranoid that aliens or government agencies use radio waves to try to control their minds. They wear tin foil hats to protect themselves from the evil transmissions. But a recent study shows that this protective head gear has an effect that’s opposite to what it’s supposed to. In fact, it actually amplifies the intensity of radio frequencies, making it even more likely that mind-control signals would work their dastardly magic. This problem probably does not apply to you, but I suspect you are suffering from a comparable glitch. An approach you’re pursuing or an attitude you’re cultivating is having an impact contrary to what you imagine. Now is an excellent time to make adjustments. CANCER (June 21-July 22): I can’t remember the last time you’ve had as much artistic freedom as you have now. It’s as if life has given you a slew of wild cards and X-factors to play with. You don’t have to answer to the past as much as you usually do. You are less beholden to the demands of duty and the constraints of karma. Here’s the best perk: You have been authorized by both the higher powers and lower powers of the cosmos to fall in love. With whom? With what? Everyone! Everything! LEO (July 23-Aug. 22): For much of its history, the United States claimed ownership of the ocean within three miles of its coasts. That changed in 1988, when the federal government declared that hereafter it would have sovereignty over the ocean as far as 12 miles from land. With that action, American territory increased dramatically. I invite you to consider a comparable expansion in the coming months, Leo. Seize more space. Seek further privileges. Ask for a bigger piece of everything. VIRGO (Aug. 23-Sept. 22): Poland’s most renowned ghost hunter is frustrated. Having invested a fortune in spectral detection equipment, Piotr Shalkevitz finds that there are fewer and fewer spooks to investigate as the years go by. I’m not qualified to speak about whether or not the whole world is experiencing a decline in the ghost population. But I’m confident that this is exactly what is happening for you Virgos. Recently, the haunted elements of your life have begun to dissipate. And in the next eight months, I expect that you will be freed from most, maybe all, of the ghosts and pesky demons that attached themselves to you once upon a time. LIBRA (Sept. 23-Oct. 22): “To improve is to change, so to be perfect is to have changed often.” Winston Churchill said that, and now I’m passing it along to you -- with one caveat. I don’t expect you to be perfect, and never will. To shoot for perfection is risky. It may set up unrealistic expectations that lead to bad mental hy-
giene. It tempts you to avoid messy experiences, some of which might be essential to your growth. So I will offer a revised version of Churchill’s maxim for your use: If you want to improve, you must change. If you want to keep improving, you must change often. And the coming months will be prime time for you to keep improving and improving and improving. SCORPIO (Oct. 23-Nov. 21): “Sex is like pizza,” said comedian Mel Brooks. “Even when it’s bad, it’s still pretty good.” That’s a generalization, of course. I’m sure you can think of times in your past when mediocre pizza and mediocre sex were just plain mediocre. But work with me on the overarching principle, Scorpio: Some of the finer things in life just can’t be spoiled. They are always at least moderately pleasurable and interesting and lucky -- and usually more than just moderately so. According to my reading of the astrological omens, your immediate future will be filled to the brim with these finer things. SAGITTARIUS (Nov. 22-Dec. 21): Ancient people knew about Mercury, Venus, Mars, Jupiter, and Saturn because all of those planets are visible to the naked eye. From the second millennium B.C. until the late 20th century, only three additional planets were found: Uranus, Neptune, and Pluto. (Pluto was later reclassified as a dwarf planet, however.) Then in 1992, astronomers began to locate planets orbiting other stars. On one spectacular day in February of 2014, NASA announced it had identified 715 new planets. I foresee a similar uptick for you in the next seven months, Sagittarius. Your rate of discoveries is about to zoom. CAPRICORN (Dec. 22-Jan. 19): When Evan Lattimer’s 92-year-old father died in 2007, she inherited his large collection of odd relics. It included a cigar smoked by W. C. Fields, Greta Garbo’s driver’s license, Abraham Lincoln’s shaving mirror, a bearskin coat owned by General George Custer, and Napoleon Bonaparte’s penis. Many items turned out to be quite valuable to collectors. One eager bidder offered to buy the famous genitalia for $100,000. I suspect that in the coming months, you will experience events that have some resemblances to this story. For example, the legacy you receive may not be what you expected, but could turn out to be more useful than you imagined.
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AQUARIUS (Jan. 20-Feb. 18): Here’s your assignment: Get more organized and purposeful about having fun. Think harder about what makes you feel good, and plan more aggressively to bring those feel-good experiences into your life. In offering these prescriptions, I’m not advocating irresponsible hedonism. Not at all. In my view, you will become a better servant of those you care about by boosting your commitment to pleasure. You will carry out your duties with more aplomb and effectiveness. Raising your joy quotient is actually a formula for becoming a better human being. PISCES (Feb. 19-March 20): The Appalachian Mountains span 1,500 miles from Newfoundland to Alabama. They are the seventh longest range in the world. And yet they have shrunk over the eons. Their average height is 3,000 feet, but when they were young they were probably twice that high. What happened? There has been constant erosion caused by rivers, glaciers, wind, tree roots, lichens, and oxidation. Rain and condensation have also played a role because when water freezes, it expands, creating a wedging force. I propose that we make what has happened to the Appalachians a symbol of what’s possible for you in the next eight months, Pisces. Through steady, small actions, you can significantly grind down a mountainous obstacle.
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last week’s answers
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