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Willamette Week NOVEMBER 26, 2014 wweek.com
james rexroad
FINDINGS
Page 47
WHAT WE LEARNED FROM READING THIS WEEK’S PAPER VOL. 41, ISSUE 4.
A coxswain helped close Trojan. 4 Authorities become suspicious when strip clubs post instructions on how to
Portland’s unemPloyed drummers are about to be in high demand. 26 dustin wong is coming. 27
disPose of used condoms in their private rooms. 7
Hutch Harris is gay for
If Sean Jordan wanted to go chasing waterfalls, he would have had the right Pants to do it. 14
michael mannheimer likes the Tusk. 37
really nice man BooBs . 33
nariko ott’s dick is a lot
Penis-shaped fruitcakes and sac flashing, now at Miracle Theatre. 42
It’s been a long time since a Beaver held the platypus. 24
Matt Dillon is a dildo. the late roBin williams is also a dildo. 47
like the Republican Party. 23
OUR MOST TRAFFICKED STORY ONLINE THIS WEEK: local developer and obama fundraiser terry Bean was charged with thirddegree sodomy.
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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Willamette Week NOVEMBER 26, 2014 wweek.com
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INBOX MARBET SETS RECORD STRAIGHT
Thank you for the tribute paid by Willamette Week, but I must set the record straight [“40 Years in 40 Days: A Vietnam vet decides to stop Oregon’s nuclear plants,” WW, Nov. 5, 2014]. I served in the Navy from 1966 to 1967. I was an assault boat coxswain, serving on a cargo ship and delivering supplies at locations in Vietnam, including the Mekong, but I never patrolled the river. In 1970, I lived with a woman, pregnant with our daughter, who introduced me to Perils of the Peaceful Atom. We were not married; she was not my “wife.” We were both concerned about exposing our daughter to nuclear accidents and considered moving to Canada. While I played a central role in confronting the nuclear industry, I do not consider my contribution as doing “more than anyone to end the madness of atomic energy proliferation in Oregon.” There were many others who worked in opposition to nuclear power. Our combined involvement helped convince PGE to permanently close Trojan. It was a group effort, even when we were working on different objectives. For example, I helped gather signatures to put an initiative “setting tougher standards for Oregon Nuclear Power plants” on the ballot in 1980. Its champions were Peter Bergel, Chuck Johnson and Sen. Jan Wyers (D-Portland). Thanks to persistent nuclear opponents, Oregon is nuclear-free, but our work isn’t done. Washington state’s Columbia Generating Station, California’s Diablo Canyon Power Plant and the rest of the nuclear industry need to be permanently shut down. Lloyd Marbet Boring (lloyd@marbet.org)
There are still a few coin-operated parking meters in Portland. As a civilized human, I rarely carry any cash, much less four bucks in quarters to park downtown for three hours. Can I pay for a coin-op space using the “smart meter” across the street? —Renee B. Not having cash on you is civilized? I’m even more civilized—I don’t have money in the bank, either. I’m practically the love child of Margaret Thatcher and Sir David Attenborough when it comes to civilizedness. (Apologies for the disturbing visual—toujours la politesse.) Parking receipts are indeed portable: Once you’ve paid, you can park in any metered space (up to that space’s posted time limit). The real problem with downtown parking isn’t that it’s not transferable. It’s that it’s too cheap. Saying this is about as popular as reminding the teacher that she forgot to assign homework, 4
Willamette Week NOVEMBER 26, 2014 wweek.com
Editor’s note: In addition to misstating his marital status and military service, our story on Marbet incorrectly credited him with leading the 1980 ballot-measure campaign that effectively blocked the proposed Pebble Springs nuclear plants. WW regrets the errors.
FIRE OFFICIAL TAKING BRIBES?
The city would do well to eliminate the entire Fire Marshal’s Office and not rehire [“Service With a Smile,” WW, Nov. 19, 2014]. Assembly inspectors are a legalized racket that come for their take as soon as a club is making a little bit of money. There are no safety issues here, just the city punishing businesses for being successful. —“Lose Cruser”
THE OLCC AND MARIJUANA
OLCC commissioners seem oblivious to understanding that total ignorance of legalized recreational pot leaves them unqualified to make decisions about it [“Waiting to Inhale,” WW, Nov. 19, 2014]. Let’s hope the OLCC staff that will develop proposed rules and regulations are not similarly uninformed. —“Jim Gardner”
CORRECTION
Last week’s cover photo (“Still Life”) mistakenly omitted the credit for photographer Daniel Cole. 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.
but in the pro-density, public-transit-4-ever worldview that is Portland’s state religion, lowcost on-street parking amounts to a fat public subsidy for private automobiles. This becomes obvious every time you cruise a neighborhood for 15 minutes looking for cheap metered parking—it’s worth it to avoid paying market prices in a private lot. San Francisco recently experimented with a different system, one that uses wireless technology (natch) to adjust the price of each space based on occupancy rates. Cruising diminished, and traffic dropped by 30 percent. Of course, San Francisco has to be densityfriendly—it’s surrounded by water and couldn’t sprawl if it tried. We have to simulate this effect with the urban growth boundary, which is the land-use planning version of pretending the carpet is boiling lava. Still, market-priced parking might be worth trying here, too. (Members of the press, of course, would be exempt.) QUESTIONS? Send them to dr.know@wweek.com
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Willamette Week NOVEMBER 26, 2014 wweek.com
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NEIGHBORHOODS: The Sugar Shack sale: Who really benefits? 7 HOTSEAT: Bitcoin ATM promoter Mike Fors. 10 COVER STORY: The Funniest 5: Portland’s best standup comics. 13
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Portland real-estate developer Terry Bean rose to prominence in national politics as a founder of the Human Rights Campaign, the nation’s largest LGBT rights organization. But the HRC announced Nov. 22 that Bean has stepped away from serving on the organization’s board after he was charged Nov. 19 with sexually abusing a 15-year-old boy. The arrest follows a June story in BEAN WW in which a former Bean boyfriend, Kiah Lawson, had accused Bean of secretly videotaping men having sex in Bean’s bedroom; Bean in turn accused Lawson of extortion (“Terry Bean’s Problem,” WW, June 4, 2014). After a five-month investigation, Portland police charged Bean, 66, with two counts of third-degree sodomy and one count of third-degree sexual abuse. Police also arrested Lawson on similar charges. Prosecutors allege both men sexually abused the boy in Eugene during the fall of 2013. Bean—a prolific political fundraiser who brought in $500,000 for President Barack Obama in 2012—has told supporters via Facebook that he’s innocent. Central Catholic High School says it will not renew the contract of a football coach who was fired by another high school 17 years ago after allegations of sexual misconduct. Central Catholic President John Harrington made the announcement Nov. 24 after WW reported Patrick Jay Wallace had been dismissed as varsity softball coach from David Douglas High School in 1997 after a 16-year-old player accused him of an assault in a hotel room during a summer tournament (“Off-Field Pursuits,” WW, Nov. 19, 2014). Harrington had firsthand knowledge of Wallace’s history: He was the David Douglas principal who oversaw Wallace’s firing. The former student, now 33, came forward after learning recently that Wallace was working as a coach under Harrington. Last week, Harrington told WW that Central Catholic was “comfortable” with Wallace. “Since his hire in 2006, there have not been any reports of impropriety,” Harrington said in his later statement to WW, “but we feel this is the best course of action for all involved.” Lawyers for Oracle Corp. and the Oregon Department of Justice faced off in U.S. District Court in Portland on Nov. 21, arguing whether their dispute over Cover Oregon, the state’s failed $250 million health insurance exchange, should be heard in state court in Marion County (the preference of Oregon officials) or federal court (where Oracle thinks it will get a friendlier venue). Judging from her comments, U.S. District Judge Anna Brown will probably send Oracle’s federal case to state court. Also present at the hearing: representatives of Gallatin Public Affairs, the influential lobbying group recently hired by Oracle—a move that suggests the software giant is seeking an out-of-court resolution. Gallatin’s Greg Peden declined to comment. Read more Murmurs and daily scuttlebutt.
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Willamette Week NOVEMBER 26, 2014 wweek.com
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will corwin
NEWS
SUGAR SHACKUP AN EFFORT TO CLEAN UP A SEEDY CORNER IN CULLY COULD GIVE MILLIONS TO AN ALLEGED PROSTITUTION AND MONEY-LAUNDERING RING. gdunn@wweek.com
The silhouette of a naked woman on the Sugar Shack sign still draws attention to the shuttered strip club and what was once a one-stop shopping center for sex. The triangle of land where Northeast Killingsworth Street, Cully Boulevard and Highway 30 meet had storefronts that featured an adult video store and lingerie shop. The sign has become a seedy landmark in the Cully neighborhood, where residents are unhappy that one strip club, Peek-a-Boo’s, still operates in the rundown building. “It was, pun intended, sort of a strip mall of various nakedness businesses,” says David Sweet, land-use chairman for the Cully Association of Neighbors. “We don’t want our neighborhood known as the strip-club heaven. But when you put an eyesore like that at a neighborhood gateway, that’s what it looks like.” Neighbors want the strip club gone. A coalition of nonprofits called Living Cully has offered $2.75 million for the Sugar Shack strip mall. Nearly 300 people have contributed to an IndieGoGo crowdfunding campaign to help raise $50,000 toward the purchase. “It would be pretty significant to Cully to get this for some other purpose,” says Nathan Teske, director of community economic development for Hacienda Community Development Corporation, one of the groups behind Living Cully. But records show the $2.75 million would flow to what federal investigators say is a prostitution and moneylaundering ring that operated out of the Sugar Shack and five other clubs in the Portland area. In 2010, local, state and federal law enforcement officials, acting on evidence compiled by the Internal Revenue Service, raided the businesses and seized $807,785 in cash. No one has been charged in the case, and the criminal investigation drags on. Meanwhile, the people running what the feds have called a criminal enterprise are still operating. In one case, the owners have been able to cash out one business for $800,000. The $2.75 million sale of the Sugar Shack site would add to the take. In addition to Hacienda, Living Cully also includes Verde, the Portland Habitat for Humanity/Metro East, and the Native American Youth and Family Center. Verde’s Tony DeFalco, who is overseeing the effort to buy the Sugar Shack site, declined to discuss the coalition’s potential purchase from people the feds have linked to a prostitution ring. “This is a very important site to the community,” DeFalco says. “The community has long sought to acquire
STEEL FRONT: A coalition of community groups is willing to pay $2.75 million for a Cully neighborhood strip mall that federal investigators say was a center of prostitution and money laundering.
a lengthy criminal investigation into prostitution at the sugar shack and other clubs has not produced any arrests. “i don’t know why it hasn’t been resolved,” says a lawyer familiar with the case. and redevelop the site, and the community is working really hard to do so.” Katie Lorenz, assistant U.S. attorney who filed the civil forfeiture case, tells WW no charges have been brought yet, but that the criminal investigation is ongoing. The feds could have OWEN also seized property and the clubs themselves. Lorenz declined to say why the feds have allowed the suspected ringleaders to sell off their properties. Some neighborhood leaders say owners of the Sugar Shack will sell to someone, and there’s no reason a local coalition to revamp the site shouldn’t be the buyer. Still, some residents who have contributed to the campaign say they had no idea that alleged criminals still owned the property. “It’s kind of a Catch-22,” says Amanda Haworth, a realtor who just moved to the Cully neighborhood and pledged $100. “I want the good guys to win, but I also don’t want the bad guys to make money off of this.”
c l a c k a m a s c o u n t y s h e r i f f d e p t.
By GABRIELLA DUNN
After the Sugar Shack opened in 1998, police started responding to reports of prostitution there within a year, records show. Even after the federal raid in 2010, police were still getting calls about prostitution at the club. Police records also show calls complaining of fugitives, firearms and drugs. In addition to the Sugar Shack, the 2010 federal raid also targeted Dillinger’s Pub in Milwaukie, Tommy’s Too on Southeast Foster Road, and Pop-a-Top Pub on Northeast Columbia Boulevard. According to federal court documents, the criminal operation was run by Lawrence Gary Owen of Milwaukie, who through his ex-wife and her children oversaw the prostitution and money laundering. Owen, now 73, moved to Mexico, where he opened a strip club, court documents say. In 1979, Owen was convicted of three counts of firstdegree theft in Lincoln County, according to the state Department of Corrections, which says Owen served probation for the crimes. In 1991, he was charged in Clackamas County with wildlife violations and selling a stolen vehicle; the charges were later dropped. Evidence compiled by federal investigators focused on activities at the various clubs, from about 2002 through cont. on page 8 Willamette Week NOVEMBER 26, 2014 wweek.com
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NEIGHBORHOODS WILL CORWIN
NEWS
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2010. Court records say strippers at the clubs negotiated the price of sex with customers, and clients would pay $100 or more for sex and $60 to rent a private room. Dancers and customers used rooms at the Sugar Shack and adjacent businesses, including Peek-a-Boo’s, the Oh! Zone, Video Visions and Chantilly Lace. Club management had dancers sign and date liability waivers stating they would not perform sex acts with customers. But informants have told federal agents that management knew the rooms were used for prostitution. A court affidavit said the club’s employees sold condoms and “that management posted instructions in each of the private rooms on how to properly dispose of the used condoms.” According to court documents, Owen and other managers also paid dancers for sex. The operation was clearly lucrative. Agents seized records of more than 28,500 sex-room rentals—that alone translates into more than $1.7 million. Court records also say the clubs’ ATM machines—where customers could withdraw cash for sex with prostitutes—generated more than $12 million for the clubs between 2002 and 2009. The Sugar Shack is closed, but key players involved in the alleged prostitution ring are still operating. A central player is Margery Owen-Savage, 84, ex-wife of alleged ringleader Lawrence Owen. Court records say Owen-Savage oversaw daily operations of the clubs and used her home in Milwaukie as a base for the alleged schemes.
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Willamette Week NOVEMBER 26, 2014 wweek.com
BETTER THAN THE ALTERNATIVE: David Sweet, land-use chairman for the Cully Association of Neighbors, says the neighborhood has long wanted to shut down sex businesses at the Sugar Shack site.
Owen-Savage is listed as an owner of the Sugar Shack strip mall, for which Hacienda and Verde have offered $2.75 million. Also listed as an owner: Kandace Desmarais, whom federal court records identify as Owen-Savage’s daughter and a subject of the investigation. Peek-a-Boo’s is still open, and records show it’s registered to Cory Desmarais, Owen-Savage’s son, who was named in the federal affidavit as being involved in the prostitution and money-laundering operation. Another son, Craig Matthew Desmarais, is the registered owner of Tommy’s Too, which still has a license to serve alcohol from the Oregon Liquor Control Commission. Another of Owen-Savage’s sons, Gilbert Mace Desmarais, sold Pop-a-Top Pub in April to new owners who run Club Playpen and rent the building from Owen-Savage. Owen-Savage didn’t return calls placed to the number listed for her Milwaukie home.a Ronald Hoevet, the attorney representing Gilbert Desmarais, says he doesn’t know why the case has taken so long, but adds there is nothing wrong with selling off properties in the meantime. “The government hasn’t done anything after the initial execution of the search warrants, and maybe they’re not going do anything, but there’s no legal restraints against them selling it,” says Hoevet, a former federal prosecutor. “I don’t know why it hasn’t been resolved. It’s a mystery to me what’s going on here.”
The sale of the Sugar Shack site to the Living Cully coalition is reminiscent of other local activism that involves putting up money to force change—neighbors who have helped save old homes from becoming teardowns. Hacienda, which works on affordable housing issues, hopes to build new offices across the street from the Sugar Shack site. Verde, which promotes investment in environmental community projects, is also located nearby. The question in this case is, who gets the financial reward? Michael Crupper, crime and safety chairman for the Cully Association of Neighbors, says it’s not ideal to give money to alleged crooks, but it might be “the best of two evils” for a neighborhood trying to rid itself of a problem property. “For a long time, it’s been a nuisance property,” Crupper says. “Not only for the type of business that’s occurred there, but it’s a run-down building that hasn’t been well taken care of, and has had a legal history in the past. The Cully neighborhood remembers things like that.” Cully resident Adam Lobaugh raises another issue about buying property from possible crooks. “Tough call,” he says. “[You] willingly give money to a group of misogynistic pimps for an already rotting corpse with only a ray of hope that things will improve for this part of town—while potentially backing their next horrid venture somewhere else.”
Willamette Week NOVEMBER 26, 2014 wweek.com
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NEWS P H O T O S B Y K E N T O N WA LT Z
HIGH TECH
MIKE FORS HE PUT A BITCOIN ATM IN PIONEER PLACE. NOW HE HOPES PEOPLE WILL SEE WHY THEY SHOULD USE IT. BY M ATT H E W KO R F H AGE mkorfhage@ wweek.com
There’s an ATM at Pioneer Place that turns virtual money into cash you can hold in your hand. T he m ac h i ne a l low s you t o buy Bitcoin—currency backed by no government and that exists only on computers—or cash out the Bitcoin you now have into $20 and $100 bills.
week and doesn’t issue cash. A third, at Float On, is quite literally in an isolation-tank center.) The ATM helps you set up a v irtual wallet with a quick response, or QR, code to store your Bitcoin. The machine will exchange up to $3,000 of the currency for a 5 percent fee. It also accepts bills from $1 to $100. (The exchange rate is currently about $400 per Bitcoin, a value that fluctuates based on Internet currency markets.) The ATM’s owner, Mike Fors, 37, of BitcoinNW, talked to WW about educating people about virtual currency, why he located his machine where he did, and the problem with dirty money. WW: Why Pioneer Place? Mike Fors: If you want to bring Bitcoin to the masses, don’t put it in a coffee shop or a hackerspace.
BITCOINNW OWNER MIKE FORS
T he i ndependent elec t ron ic cu rrency, often appreciated for its anonymity, arrived in 2008. But places to buy, spend and trade Bitcoin have been fairly limited. The Bitcoin ATM in Pioneer Place, installed Nov. 15, has by far the most pr om i nent pl ac ement i n Por t l a nd . (Another is at PDX Hackerspace, which is open to the public only four hours a
A lot of people are still leery of Bitcoin, or don’t know what it is. It was geared at first more toward the tech crowd. Now it’s more mainstream. With a credit card, [the merchant] pays 3 to 4 percent in fees. With Bitcoin, there’s little or no transaction fee. Aside from merchants, why should anybody use Bitcoin? W hen you swipe a credit card with a merchant, they have all of your information. If you talk to anyone who had [credit card] information lost by Target
BITCOIN RISING: The Pioneer Place ATM, installed Nov. 15, is getting up to 10 customers a day.
or Home Depot or even Jimmy John’s— they’re not happy. Bitcoin doesn’t have your personal information tied to it. It’s all about privacy. What’s the response to the ATM? We installed it Saturday afternoon, and within minutes someone had used it. On Saturday night, there was a thread about it on Reddit. People talk about the amount of time it takes to verify Bitcoin purchases. It’s about 10 minutes—but for the price of a cup of coffee, most merchants are going to let it go through. Most exchanges now, they’ll instantly mail you to say they’ve received a payment. There’s not the big, long wait that there used to be. How did you get started with Bitcoin? My background is banking. I talked to customers who were tired of pay ing banking fees. I thought: There’s got to be a better idea. Square came along, and when you swipe that you pay a lower charge. Then I heard somebody ta lk about Bitcoin. Whenever it came time to pay her rent, she’d sell Bitcoin. It’s a currency anyone can use anywhere. It’s not localized to a nationality. You’re going to Portland merchants and trying to get them to use Bitcoin? A lot of small businesses say they will
Joby Grip Tight Mount for Smartphone
only accept cash, because it saves money. I don’t like carrying around cash. It’s dirty, and it takes up space in my wallet. Bitcoin’s right there on my phone. I scan the QR code, and it’s done. I don’t have to fumble with dollars. So what’s your financial incentive? If more people accept Bitcoin, more people use my machine. Some people worr y that Bitcoin’s anonymity helps facilitate crime. B it c oi n w a s or i g i n a l l y c omple t el y anonymous. With the machine, we have to comply with anti-money-laundering laws. As a new customer, you have to put in your government ID, or it’ll scan your passport. So that information is put on a secure server. If anybody wanted to use the machine to do devious activity—if they’re a suspected terrorist, if they’re on a watchlist—they’ll be denied. But if somebody wants to get Bitcoin, they’ll find a way. They’re not going to use this machine in a mall. So you don’t expect to be the bank of choice for meth rings in Vancouver? I think if anybody wanted to buy Bitcoin in a public place like this, with a machine, they’re not going to do anything devious with it. Cash, you can already go out and buy any thing in the world, obviously. We’re hoping that being here in the mall, we’ll bring Bitcoin into the mainstream, as a legitimate currency.
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photos by jason traeger
THE FUNNIEST 5 PORTLAND’S BEST STANDUP COMICS, AS CHOSEN BY THEIR PEERS.
W
here my ladies at? Not in this year’s Funniest 5. When votes started rolling in for the Funniest 5—our annual poll of Portland’s standup community to determine this city’s best comedians—we started to fret. Where were the women? Last year’s inaugural Funniest 5 had three, including the winner. When we tallied this year’s ballots—more than 150 of them, twice the number we got last year, from comics, bookers, managers, podcasters, club staff and critics—we found that while a few women had landed in the top 10, the top 5 was a total sausagefest. Debates over gender inequality in standup are as old as dick jokes. And until women make up more than a measly sliver of the industry—according to local all-lady comedy festival All Jane No Dick, the share is less than 20 percent—those debates are still worth having. But this year’s results aren’t reason to freak out over the state of Portland’s comedy scene. In the year since we launched this poll, the already booming comedy landscape has grown even more robust. The number of local showcases (see our top picks on page 15) continues to swell, and they’re packed, whether on a rainy Monday evening at a bar that normally spins Black Sabbath or at midnight in a red-lit room lined with freaky clown paintings. Bridgetown remains phe-
nomenally popular. In its third year, All Jane No Dick put on some of the strongest shows Portland has ever witnessed. There’s a burgeoning podcast scene (see page 19). A new comedy venue is about to open in the basement of a bike shop. There are comedians performing at house shows—the best case yet that comedy is the new punk rock. The real reason, though, we’re not terribly alarmed by the absence of women is the five very funny comedians on our list. They’re all men, and they’re all between the ages of 24 and 34. But they’ve got vastly different backgrounds. Our top place goes to a skater bro whose parents met at a liquor store in rural South Dakota (page 14). Another is the son of a Marine who tells deadpan jokes about Canada (page 21). And our list also has a black comedian who has some of the most incisive material about race we’ve ever heard (page 16). And though they might all fit another comedy trope—that all standups come from a place of darkness, whether family tragedy, simmering rage or garden-variety insecurity—that translates to divergent styles onstage: stoked enthusiasm, awkward rapping, slow-burning indignation. To see all five perform live, head to our free showcase at 7 pm on Sunday, Nov. 30, at the Bossanova Ballroom. Get there early—last year’s was filled to capacity. REBECCA JACOBSON.
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CONT.
m at t w o n g
FUNNIEST 5
NO. 1 SEAN JORDAN Sean Jordan is the first to admit he’s somewhat forgettable. A tall, decent-looking white dude, perpetually clad in jeans and a hoodie, he looks like a skater bro who never grew up. Sometimes, he has some scruffy facial hair. His bits—about a recent breakup, his alcoholic dad or the boxers his mom buys him—are personal and casual, told with a blend of old-manisms and words a white kid from South Dakota might imagine to be street slang. “Let’s get buck, playboy,” he says at the beginning of a set, one hand in his jeans pocket and the other loosely clasping the mic. “What’s the scuttlebutt, nephew? Everything all right?” His shoulders are relaxed, his toothpaste-ad teeth on full display as he makes eye contact around the room. “Some comedians are a force,” says Jordan, 33. “They don’t fall to the back of your mind. But I’m the person where you’re like, ‘Oh shit, I forgot you do standup. You’re really funny!’” So what makes Jordan funnier than the legions of other tall, decent-looking white dudes he beat out to top 14
Willamette Week NOVEMBER 26, 2014 wweek.com
our annual poll of Portland’s best standup comedians? Well, that’s a little more complicated. The story starts at a rural liquor store. Inside Portland’s tight-knit comedy scene, Jordan is the relentlessly positive guy who peppers his speech with “gnarly” and “dope.” He rarely sends an email without a smiley-face emoticon and says the idea of turning down a gig makes him feel sick. But for someone who channels such a mellow vibe, his upbringing in Sioux Falls, S.D., was somewhat rough-and-tumble. His mom? “A saint,” Jordan says. His father? “Good guy, bad dad.” They met at the Rapid City liquor store where his mother worked. “After seeing this dude come into a fucking liquor store every day for six months—she didn’t work at, like, a Bible factory—she was like, ‘Fine, let’s go out. Let’s see what
you’re about,’” Jordan says. “It’s like, you know what he’s about. He’s at the liquor store every fucking day.” Jordan was born while his parents were in their early 20s. His dad split when Jordan was 6 months old and didn’t reappear for a decade. His mom remarried and had a daughter when Jordan was 14. He was in the room during her birth, recalling the placenta splatting onto a metal tray on the floor as “the gnarliest thing I’ve ever seen in my life.” Upon his return, Jordan’s dad got a DUI with his preteen son in the backseat. His thoughts on his dad, who died when he was 24, remain fraught. “It sucks, because he sounds like a shithead,” he says. “And he wasn’t, but he kind of was. But he wasn’t. He was just very irresponsible.” As a kid, Jordan was a self-described hayseed who also happened to have a black belt in tae kwon do (he still owns two pairs of nunchucks), an affinity for hiphop music and a tendency to dress like a long-lost member of TLC.
CONT. “The shit that I wore would have made you vomit,” he says. “In sixth grade, I had a pair of 38-waist turquoise Cross Colours. Think about that—38. I’m wearing a 32 right now.” Despite vague plans to major in psychology at the University of South Dakota, Jordan skipped class to skateboard and drink 40s. He dropped out after two years and moved back to Sioux Falls, where a co-worker urged him to enter a comedy contest. It was his fi rst time onstage, and he made cracks about calling in sick for the holidays and did some floppy physical humor about whiskey dick. He won. Five years ago, when a group of his hometown friends moved west, Jordan took a room in their “big fat crib” in Northwest Portland. He’s gotten steady standup gigs since, both in Portland and on the road—he’s toured with Doug Benson and opened for Patton Oswalt and Norm Macdonald—that he’s supplemented with temp work at a medical transport agency. He also produces one of the city’s best comedy showcases, Funny Over Everything (see sidebar, this page). But no matter his successes, Jordan’s modesty remains deep-rooted. Try asking him, for example, to detail his greatest accomplishments. “One of the funnest things to do is still to headline a show in my hometown,” he answers. “It’s really nice to have Mom get to see that, when I come back and a place fills up just to see me.” And then he hedges: “Not all based on my talent, of course—I have good friends.” You get the sense this is sincerity, not shtick. And so it’s not surprising Jordan is so popular with his peers in the scene—other comics, club staff and promoters. His buoyancy can be hard to crack. In conversation, he is resolutely determined not to complain—he’d rather profess his love for Portland or describe how he cried tears of joy watching good friend Ron Funches perform on Conan. After a recent show at EastBurn, over a shot of Jameson and
a tallboy of PBR, Jordan seems physically pained when describing disengaged audience members at the back of the room. He’s apologetic when he interrupts our interview to write down an idea for a joke. Comedy, Jordan says, is one of three things he’s good at—along with tae kwon do and skateboarding. But if there’s anything he makes clear, especially offstage, it’s that he
“ONE OF THE FUNNEST THINGS TO DO IS HEADLINE A SHOW IN MY HOMETOWN. IT’S REALLY NICE TO HAVE MOM SEE THAT, WHEN A PLACE FILLS UP JUST TO SEE ME.” —SEAN JORDAN doesn’t want to sound like a braggy asshole. “When there are things people are good at and they say they’re not, it really bothers me,” Jordan says. “I’m good at those three things and bad at everything else, and I have no problem saying that.” Though his act has become more polished over time, he still sounds like a friend spinning an amusing yarn over a beer rather than someone who’s manufactured a punch line. And his distinctive mix of language is simply fun to listen to: He blends hip-hop vernacular and skate slang—things are “buck,” “ill,” “chill,” “gangster”—with phrases your grandfather, or maybe Hank Hill, might drop. Someone is “shooting from the hip” or “stuck behind the eight ball.” What results is incongruous but unforced, especially coming from someone who resembles, in Jordan’s own words, an unpublished author or youth pastor. “But,” he adds, “one of those cool youth pastors.” REBECCA JACOBSON.
A LETTER FROM AMY MILLER, LAST YEAR’S FUNNIEST 5 WINNER, TO BABY SEAN Dear Sean, Hey there, baby boy. Whatcha lookin’ at? Hard to tell sometimes, but I bet I know what it is. It’s your dreams, isn’t it? You think basketball might take you to the top, but we’re pretty sure you don’t have the hand-eye coordination for it, sport. What you don’t know right now is that you’re gonna grow up to be a super-chill dude who gets buck with his friends, rides skateboards and tells jokes for money. How sick is that? And guess what, bb S.J.? You’ll be able to eat pizza whenever you want. One day soon, a city full of comedians and comedy fans are gonna vote for you as the dopest dude in town, and your face will be all over the papers. But a handsomer version of it, because we know you’re gonna grow out of this, little guy. The unfettered love of Kelly Jordan combined with the challenges of the mean streets of Sioux Falls, S.D., and the wisdom of 2Pac are gonna shine this coal right into a rad-ass diamond. The people of Portland will snatch up that dank treasure, put it right into their heart pockets and never let it go. Some haters might step up to you talking shit like, “Hey. Isn’t it enough that he’s good-lookin’, great at comedy and has the tightest nollie inward heelflip on the block?” And the people will respond with a resounding, “No, you goddamn soup cans. It’s not enough.” Because you’re also gonna be one of the kindest dudes in the biz. I know what you’re thinking, sweet baby. You’re thinking, “But Amy, how will I face the pressures of a burgeoning comedy career in a cold-hearted industry and stay a really chill person who everyone loves?” 40s, Sean. A lot of 40s. Plus a solid seven viewings of Love Actually each holiday season to keep you grounded. Go get ’em, champ! Love, Amy
FUNNIEST 5
10 COMEDY SHOWCASES WORTH SEEING Am I Right, Ladies? Another week, another rape joke, another Twitter firestorm. This monthly showcase, produced by Jen Tam, positions itself as a counterbalance to the misogyny and sexism in the world of standup. Tam co-hosts with Barbara Holm, with comedians from across the spectrums of gender, sexuality and race. Recent performers have included Caitlin Weierhauser, Stephanie Purtle and Christian Ricketts. Ford Food and Drink, 2505 SE 11th Ave. 7:30 pm every second Saturday, except December’s show, which will be held Dec. 6. “Pay what you can.”
Sean Jordan continues to attract some killer headliners—often comics on the threshold of the big time— for this intermittently occurring showcase. Their names might be smaller than those at Helium, but they often boast lots of zip and cunning: Think Emily Heller, Jerrod Carmichael and Beth Stelling. Ticket prices are also generally far lower than at Helium, and there’s no drink minimum. This weekend, the whipsmart, London-born Matt Kirshen will hit the stage (see Q&A on page 41), and W. Kamau Bell—one of the sharpest voices on race and politics—will take the mic in January. Venues, dates and prices vary.
The Comedy Bull
Midnight Mass
Portland comics are generally loving and supportive. The churlishly avuncular Anatoli Brant brings some heat to the scene with this competitive show, which requires standups to respond to surprise topics and improv challenges. The funnier they are, the longer they remain onstage. Brant recently expanded the show to Helium Comedy Club: Every three months, the six strongest comedians duke it out. Brody Theater, 16 NW Broadway. 9:30 pm every second Friday. $8.
Control Yourself: A Showcase of Funny
Host and Midwest transplant JoAnn Schinderle has an engaging, dry style, which she brings to this twice-monthly showcase. Recent performers have included Amy Miller, Curtis Cook and Alex Falcone. Alberta Street Pub, 1036 NE Alberta St. 9 pm every first and third Sunday. Free.
Hell or Highwater
Curtis Cook, our No. 2 comic, hosts this monthly showcase, which features a reliably solid slate of locals and comics from farther afield. Most recently, that was Chicagoan Sean White, who tackles tragedy with unexpected irreverence (he’s called grandparents, for example, the “training wheels of death”). The High Water Mark, 6800 NE Martin Luther King Jr. Blvd. 9 pm every last Monday. Free.
Funny Humans vs. the Wheel
If you go to enough shows around town, you start to memorize comedians’ sets. Think of this weekly show, hosted by silly duo Adam Pasi and David Mascorro, as an antidote to all that repetition: Comedians start with a planned set, but halfway through, they have to spin a wheel to determine what comes next— crowd work, one-liners, maybe even a heckle battle. Bar of the Gods, 4801 SE Hawthorne Blvd. 9 pm every Sunday. Free.
Funny Over Everything
His producing partner, Shane Torres, decamped for New York City earlier this year, but Funniest 5 winner
This monthly showcase hosted by the amiable Amy Miller—last year’s Funniest 5 winner—remains one of the best in town, and not just because the red lights and clown paintings of Funhouse Lounge are so damn creepy. The lineup is always stacked with top-notch locals and a slam-bang surprise guest or two, often marquee names who’ve downed a drink or two since finishing their show at Helium. In the past year, Dave Attell, Norm Macdonald and Todd Glass have all stopped by. Funhouse Lounge, 2432 SE 11th Ave. Midnight every fourth Saturday. Free.
No Pun Intendo
This monthly showcase, held in the lounge at retrocade Ground Kontrol, is chaotic, noisy and fun. Co-hosts Steven Wilber (our No. 3 comic) and Raishawn Wickwire put together a consistently strong bill of locals, and they’ve also snagged some impressive touring comics, including Myq Kaplan and Moshe Kasher. Ground Kontrol, 511 NW Couch St. 9 pm every third Thursday. $3.
Picture This
In a show that mashes standup and Pictionary, comics perform while artists illustrate their sets live. There’s a predictable tendency toward penis drawings, but also an offbeat play between the visual and the verbal. Curious Comedy Theater, 5225 NE Martin Luther King Jr. Blvd. 10 pm every second Friday. $10-$12.
Test Tube
For this newish, sporadically occurring showcase, host Steven Wilber asks comics to bring their strangest material to the stage— stuff not normally seen at Helium, including characters, songs, video bits, cartooning tutorials, faux commercials, whatever. Over the past few months, that’s meant an unorthodox sound check from Christian Ricketts, Nariko Ott performing as a diamond magnate named Tom, and Whitney Streed presenting a riotously funny PowerPoint about gender. Helium Comedy Club, 1510 SE 9th Ave. Date varies. $10-$17.
Willamette Week NOVEMBER 26, 2014 wweek.com
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FUNNIEST 5
CONT. DANIEL COLE
NO. 2 CURTIS COOK Curtis Cook is used to telling jokes to white people. He got his fi rst crack at standup in middle school in Auburn Township, Ohio, a rural exurb east of Cleveland that’s 97 percent white. The set was part of a school assignment about careers. Cook chose to research comedy. This culminated, he says, in “five minutes of comedy for a bunch of oddly supportive parents.” It included a bit where he recited part of “Get Low” by Lil Jon & the East Side Boyz as a haiku. The next day, teachers took class time to let him repeat it. “We had just wrapped up a poetry unit in language arts,” says Cook, the son of two social workers. “And no one really knew what ‘skeet’ meant yet.” Twelve years later, Cook’s style is more informed and a little less poetic. At 24, he’s one of the fastest-rising comics in Portland’s scene. His jokes are long-winded and slow-building. During a recent show at the Alberta Street Pub, he runs through innumerable prefaces and asides, eyes closed, the hand that’s not gripping the mic held up like an orchestra conductor. Then comes the joke: “We had feminist sex, which is where nobody comes, but we both are made hopeful.” Offstage—where he’s far more animated than when performing—he explains his comedic approach: “I try to examine all the sides, and pick the good one, and then make the joke I would have made anyway.” After his performance in eighth grade, Cook set aside standup for cross-country and tenor sax, which he played in his high school’s marching band. He did, however, get plenty of public-speaking practice during high-school debate. At competitions, where black or navy blazers were mandatory, Cook sported suits in yellow, red, orange and pink. “I’ve been told multiple times that I was only allowed to wear them because I was black,” he says, “and everyone assumed it was cultural but was afraid to talk to me about it.” Cook returned to standup in his junior year at Oberlin College, where he studied creative writing and film, to mixed reception. (Full disclosure: I also attended Oberlin, where I knew Cook as the 6-foot-7 guy who owned an
“A WHITE PLACE FULL OF RICH, SAD PEOPLE PREPARED ME FOR A WHITE PLACE FULL OF RICH, SAD PEOPLE.” —CURTIS COOK Oscar the Grouch costume.) Oberlin, 40 minutes west of Cleveland, is one of the most liberal of the liberal arts colleges—it boasts being the first to admit women and African-Americans—and is stocked with about 3,000 bleeding hearts. “A white place full of rich, sad people prepared me for a white place full of rich, sad people,” Cooks says of the transition from Oberlin to Portland, where he’s lived for two years. Needless to say, Oberlin takes identity politics pretty seriously. In an early set, Cook told a joke about having sex with the Disney princess Mulan. That resulted in a stern letter from an assistant dean. “It’s not a good joke,” Cook says now. “I feel like that’s why, when I tell jokes now, I spend 30 seconds telling everyone how everything should be.”
With experience, he began taking a more measured approach. Today, he has a one-two punch of sensitivity and frankness that’s sublime. Race (“I’m the kind of black person who has to announce it to the room before I tell a race joke or else they’re like, ‘That Indian dude is really racist’”) and religion (“Christian rock gets way more listenable if you pretend it’s one dude singing about his husband”) are regular topics. But he addresses these without coming off as deliberately edgy, a word he hates. “If there’s some kid who was just made fun of in the audience, I don’t wanna be like, ‘Yeah, and fuck you again,’” he says. “I don’t actually want to offend anyone who’s listening.” Cook’s careful words aren’t a hedge. They’re revealing of who he is. When he started performing at clubs in Cleveland, he worried audiences expected him to be a stereotypical “big black guy.” Speckling his sets with vocabulary yanked from a gender-studies textbook— alongside more proletarian four-letter words—became a statement. “It was very important for me to be like, ‘No, you’re going to know right now that I’ve read more books than you,” he says. I ask if he’s worried about being pigeonholed as a comic—either for being cerebral or, as could easily happen in a place like Portland, for being black. He doesn’t miss a beat: “I want to be pigeonholed as very politely militant.” JAMES HELMSWORTH.
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CONT. Daniel Cole
FUNNIEST 5
FUNNY ON THE INTERNET OUR FAVORITE TWEETS FROM PORTLAND COMEDIANS. Portland taught me that if you plant a food cart in fertile soil you’ll get a condo building in about a year. —Jason Traeger This guy asked me if I had had sex with a lot of men, and I was like, “Men is a strong word.” —Barbara Holm The ladies call me Comcast, ’cause you only get the best out of me if you threaten to leave. —Jon Washington
Been furiously watching these ice bucket challenge videos for hours & all I have is raw dick skin & no cum. —Tim Ledwith I wonder how Guy Fieri is able to cook when his arms are folded all the time. —Christian Ricketts Can I please get bitten by a radioactive person with their life together? —Barbara Holm
I just saw a moving truck for a company named “Annie Haul.” Go fuck yourself, Portland. —Curtis Cook
Just found out NY no longer does stop-and-frisk. I guess I brought this boner for nothing. —Gabe Dinger
#NeverEndingPasta sounds like more of a threat than an offer. —Gabe Dinger
Karaoke is Japanese for “white woman being real comfortable saying the N word.” —Zak Toscani
If Ebola can mess with Texas, then we are basically fucked, right? —Christian Ricketts Advice for girls in your 20s: Whenever you feel fat, just remember you are probably the thinnest you will ever be. xoxo!! —Amy Miller Yes, I’m still “legally married,” but I prefer “illegally single” b/c it sounds cooler. —Veronica Heath I want a sandwich in the streets and an ice cream sandwich in the sheets. —Alex Falcone If you prefer ranch over blue cheese on your wings, that’s how I describe you to other people. —Bri Pruett Wearing blackface for your Halloween costume is only funny if the police proceed to mistake you for an actual Black person & then kill you. —Curtis Cook I don’t know anything about Game of Thrones except for that you’re all fuckin nerds. —Andie Main Anybody want to join my World War 3 pre-enactment group? Meet me at the park with your space suit and mind laser at 1:30. —Alex Falcone
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I grocery shop much like I date: what’s in front of me? I’ll take it. I don’t wanna be here long, it’s giving me anxiety. —JoAnn Schinderle America needs a new Black comedy dad. Someone find me a sweater collection & an informed, consenting woman I can impregnate multiple times. —Curtis Cook If you made a Venn diagram of really high dudes and children, OMSI would be in the middle. #DontTouchThat —Gabe Dinger The tone shift between Gremlins, and Gremlins 2 is drastic. —Anthony Lopez I’d be a pretty good parent. Really. But I gotta say, I’m totally killing it as an alcoholic instead. —Andie Main 21st-century broken home: One day, dad went out for a pack of vape refills. And he came back. —Jon Washington As far as I can tell, the biggest difference between Portland and Seattle is that when people in Seattle jaywalk they don’t dawdle. —Stephanie Purtle When I die, I want my tombstone to say, “Kristine Levine left the conversation.” —Kristine Levine
Willamette Week NOVEMBER 26, 2014 wweek.com
NO. 3 STEVEN WILBER Three years ago, Steven Wilber was worn down. He was stuck in an uninspiring administrative job at a collection agency and felt short on creative motivation. So he made himself a promise: seven open-mic nights. “The idea of standup has always been the scariest thing,” says Wilber, 31. “Because it’s just you up there, it’s all written by you, and you’re getting criticized every sentence, instantly. If I just went to open mics and did terrible, then I could do anything.” So he hit the Boiler Room in Old Town. He asked the audience if anyone was unsure whether they were a redneck. He followed with a joke about his dad’s penis. He told the story of a sex talk gone awry, which led to his belief that babies come out of a woman’s pajamas. And much like pregnancy—“I have a lot of jokes that involve babies,” he says. “And the making of”—once was all it took. He was hooked. “I was just like, ‘OK, I like this,’” Wilber remembers. But then he checks his hubris. “I wish there was a tape or something, because up there I feel like I did OK. I can’t imagine that I actually did OK. I feel weird telling people I killed.” As a naturally jokey person, he found standup a good fit. “Some would call it a character flaw,” he says. “It’s something people have said in the past: ‘You’re never serious. Can’t you just be serious with me? I’m leaving.’ That sort of thing.” Wilber grew up in Pomeroy, Wash., a small town in the southeastern part of the state. Pomeroy had no stoplights and consisted mostly of hyphenate businesses—a pizza parlorlaundromat, a pharmacy-RadioShack. Due to its small size, the town also had hyphenate cliques: stoner-nerds, nerd-jocks. Wilber says he was “the poor kid, the smelly kid.” “If I was funny,” he adds, “then people would want me around.”
His parents had worked as carnies before Wilber was born. “My dad was a pipe fitter, whatever that is,” he says. “That might just be a term for gigolo that I’m just realizing now.” He moved to Portland by way of Spokane in 2008, drawn by the bright lights of what a friend’s mother said would be the next Hollywood. Things haven’t been quite that glamorous for Wilber, who still works an office job and has his sights set on Los Angeles. But he has found standup success here, with awkward rapping and singular mnemonic devices for remembering presidents or the planets. Onstage, he recalls an unassuming high-school history teacher, mildly animated but non-threatening. In one bit, he expertly deconstructs a recent TriMet safety campaign. “There’s [an ad] that
“IF I WAS FUNNY, THEN PEOPLE WOULD WANT ME AROUND.” —STEVEN WILBER says, ‘Don’t let LOL become DOA,’” he says. “And there’s one that says, ‘Don’t let death metal become death by metal.’ And there’s one that says, ‘Don’t let Candy Crush become your body crushed by the weight of a train.’… But my favorite of these ads is one that says, ‘Don’t let your love for the band Train...become public knowledge.’” Back in July, these jokes earned him the crown in Portland’s Funniest Person contest at Helium Comedy Club. The offers, Wilber says, have been rolling in ever since. “I was asked to open for a Cake cover band,” he says. “And...that’s it.” RIHANNA WEISS.
CONT.
FUNNIEST 5
SIX LOCAL PODCASTS WORTH HEARING Levine Large YOUTUBE.COM/USER/ LEVINELARGEPODCAST Sure, Kristine Levine is funny. Everybody knows that. But what you might not know is that her kids are funny, too. In Levine Large, the blue-collar comic— voted into our Funniest 5 last year—gathers her three kids, ages 17 to 24, to discuss everything from school to current events to erotic King of the Hill fanfiction. It’s like an audio sitcom, except the kids are actually smart and the mom was once a porn clerk. Kristine: “Are you ready for a girlfriend, babe?” Chris: “No, I’m ready to die.”
Read It and Weep READ-WEEP.COM Alex Falcone—the man behind monthly variety show Late Night Action—hosts a weekly panel of guests to discuss the dregs of television, literature and film. Recent selections include NCIS, the original Teenage Mutant Ninja Turtles movie and Jonathan Franzen’s The Corrections (burn!). Falcone’s attention to the format keeps the podcast interesting: He’s measured the show’s episode count in popes and Phillies losses, and he likes to make guests answer questions as their own sexy ghost. Guest Ezra Fox on the 2014 remake of Left Behind: “The Rapture could have only taken hold as an idea in a time before Amazon Prime. Two days is about as long as I wait for anything good.”
Doing the Dishes With Rafferty Thompson DOINGTHEDISHES.LIBSYN.COM Many podcasts follow a host’s train of thought wherever it chugs. Most of these are insufferable, like self-indulgent diary entries read aloud. But Rafferty Thompson’s is no ordinary train of thought. He riffs on a different topic each week—such as Guy Fieri’s sex life (“he definitely eats during sex”) or homophobia in baseball—and occasionally interviews guests. He theoretically does the dishes, too, but you can’t hear it during the recordings. To Fox Sports writer Rob Neyer: “For the folks listening at home, what is baseball?”
Reading the Bible With Dan READINGTHEBIBLEWITHDAN. LIBSYN.COM The title’s not a joke: Crotchety comic Dan Weber reads the Bible aloud. The jokes—mostly blasphemous observations— come in between verses, as Weber points out the absurdity in God’s perpetual references to bringing the tribes out of Egypt, or how getting stuck watching the Ark is a bum deal (he’s still on the Old Testament). Should he complete the project, it will be a legitimately great way to experience scripture. Turns out some of the stuff not adapted for VeggieTales is pretty slow. On the Israelites’ request for a king: “Do you really want to have a king? All this means to me is that you haven’t been to all the other countries, ’cause I guarantee you that no one that has a king wants to keep their fucking king. Kings very rarely work out.”
Pati-oh! Pati-no! PATIOHPATINO.COM According to the show’s tag line, Cera, Char-Q , Patsy and Olivia— whose names may or may not be fake—are “four women searching for love, laughter and libation… and the perfect patio to drink on in Portland.” Recorded largely on bar patios and occasionally in hot tubs, it finds the gang and guests discussing the perils of dating. It’s a refreshing reminder you’re not the only one lost in the seething abyss that is OkCupid. Cera: “Do you want to explain to people why you were mad at me? Char-Q: “’Cause I woke up with a used condom wrapper on my cheek.”
Black by Popular Demand BBPD.CASTMATE.FM Curtis Cook—this year’s Funniest 5 runner-up—co-hosts this “racetastic” (his word) podcast with Raishawn Wickwire. Though they’ve known each other for only two years, they have the chemistry of old friends, and often draw the best out of their guests. Recent topics have included the racial politics of Rocket Power and how Erykah Badu singing your name can change your life. Curtis: “I don’t really like podcasts, I’ll be honest with you.”
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Willamette Week NOVEMBER 26, 2014 wweek.com
CONT.
FUNNIEST 5
Christian Ricketts’ path to comedy began by getting drunk and sitting in a parked car with a loaded gun. “I thought of joining the Army and suicide,” he says of those days, “two things that are not dissimilar.” Ricketts’ breakdown—precipitated by guilt from being unemployed and living with his parents—led him fi nally to leave his hometown of Escondido, Calif., and move to Portland in 2008. “I guess I’m relishing that memory a little too much,” he says. “Doesn’t that make good copy? What a besotted hero that guy is!” Ricketts had been laid off from a job as a real-estate courier, in which he hung out in empty homes and ate baby pickles out of unattended fridges. “At one point, there was this house worth $1.4 million,” he says. “I’d go there and do my laundry. They had this wet bar. I’d eat a bunch of their food; I’d look at their cheese to see if it was expiring soon. I was a scumbag.” Onstage, the 31-year-old’s deadpan delivery is like a coiled spring, a cheeselaced trap. Comedy comes naturally, even in casual conversation. Ricketts’ eyeswide-open, self-effacing smile gives him a mild resemblance to Andy Kaufman— as does his habit of wearing the colortherapy glasses he picked up after floating
in an isolation tank. Gently shifting his weight from one leg to the other in a nervous shuffle, he exudes a deeply off-kilter, harmless bemusement that allows him to joke about thinking suicide is funny, with no gasps from the crowd. He creates hilarity out of the shame he feels for things he didn’t even do. “I try to avoid being around children,” he says, “because something bad might happen to them. Everyone will blame me, because I’m a…bachelor.” But as a kid, Ricketts felt ashamed of even wanting to be a comic. Born into a macho military family—his father is a Marine who taught sharpshooting classes—he felt guilty over being useless. “I used to work at a gas station,” he says, “and there was this twitchy guy who used to hang out a lot, and he said he would do open mics at the La Jolla Comedy Store. I remember feeling envy. I wanted to do that.” But even after Ricketts moved to Portland, he remembers standing outside an open-mic night, too scared to enter. “That was the night George Carlin died,” he says. He didn’t muster the guts until he took a comedy course at Portland Community College, for which an open-mic performance was the capstone. (He also took courses in African-American and women’s studies.) After that show, comics Gabe Dinger and Lonnie Bruhn encouraged him to keep per-
DANIEL COLE
NO. 4 CHRISTIAN RICKETTS
“I THOUGHT OF JOINING THE ARMY AND SUICIDE, TWO THINGS THAT ARE NOT DISSIMILAR.” —CHRISTIAN RICKETTS forming. “I went to other open mics, and ate shit,” Ricketts says. “I couldn’t reproduce it.” But today he can craft material on the fly. In his sets, vicious things become innocent and vice versa. “If there’s anything that we learned about the shootings at the Canadian Parliament,” he says, “it’s that the capital of Canada is Ottawa. You probably thought it was Toronto, or a blue
jay. You thought it was a picture of a bird!” He’ll talk of accidentally scaring children by mimicking the Mayan-apocalypse raver philosophies of the late Terence McKenna, and then accidentally following the scared kid because she ran away in the same direction as his bus stop. Lately, Ricketts feels he’s starting to find his real voice as a comedian—something he says is more involved than just getting laughs—and learning to develop a joke rather than abandon it too soon. “If there’s one thing that’s changed over the years,” he says, “I don’t worry about being funny anymore. I know I can make people laugh.” MATTHEW KORFHAGE.
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FUNNIEST 5
For Nariko Ott, being funny isn’t a personality trait, it’s a survival instinct. As the second of four children raised by a single mother, he knew from a young age that if he didn’t stand out in some way, he could easily be forgotten at a rest stop on a family vacation. That’s not to mention that, until he left home at age 16, he moved practically every year from the time he was born, requiring him to make new friends fast and often. Growing up, he didn’t just want to make people laugh, he needed to. But first, he needed to be better than his older brother. “You’d be at the dinner table and he’d be telling some story that’d have my parents laughing super hard, and I’d be like, ‘I want some of that,’” Ott says. “‘A kid…farted. He fell over…uh…I don’t know how to make this story good!’ It was so frustrating. So I think that helped formulate my thing, the competition that I was failing at every turn.” Like so many other comics, the 34-yearold Ott is still motivated by those early insecurities. Unlike with most of them, it doesn’t manifest as anger or self-loathing but as stoked enthusiasm. In conversation, Ott is prone to saying, “It’s not as sad as it sounds” after describing something that indeed sounds profoundly sad—like the time he went to Bring Your Dad to School Day alone, or the fact that he can’t trust
DANIEL COLE
NO. 5 NARIKO OTT his mom to tell him the truth about almost anything. That’s the attitude he takes in his comedy, too. Sure, his relationship anxiety might cause him to die alone, but the way he sees it, that’s an awesome last prank to play on whoever discovers his corpse. Obviously, Ott has gotten better at the whole joke-telling thing. Still, he didn’t venture into comedy until he was almost in his 30s. “It’s a little late, but I don’t think I had anything to say before then,” he says. “I would’ve had a bunch of jokes about stupid arrested teenage boy shit.” Instead,
“IT’S A LITTLE LATE, BUT I DON’T THINK I HAD ANYTHING TO SAY BEFORE THEN. I WOULD’VE HAD A BUNCH OF JOKES ABOUT STUPID ARRESTED TEENAGE BOY SHIT.” —NARIKO OTT Ott spent his young adulthood in Tempe, Ariz.—where he eventually settled after bouncing from Florida to Oregon—doing “the suburban teenage band thing,” which, with his long hair and mustache, he still appears to be living out. He had his greatest success with the Dagg Nabbit Stubbs, a Southern-rock pisstake whose songs included “Riffosaurus Rock” and “These
Pancakes Are Made With the Devil’s Bisquick.” He was funny enough as the frontman that he was offered a spot on a standup show, provided he could come up with 10 minutes of material in two months. “It was so frightening that I had to do it,” he says. Once he leapt in, those years of struggle around the dinner table paid off. He also wrote his first sketch, which was filmed for Funny or Die. In it, his marijuana-induced paranoia is literalized as a passive-aggressive jerk whispering in his ear as he tries to play Call of Duty. It ends with a pixelated penis pressed against his face. These days, Ott, who moved to Portland
in 2011, is working to develop more substantive dick jokes. Now that he’s confident in his ability to make people laugh, he’s thinking about what he wants them to laugh at, which has taken him in a more socially conscious direction. That doesn’t mean he wants to brain the audience with commentary on abortion rights and austerity measures. He’d rather deliver it in a way that’s easier to, um, swallow: “I named my penis the Republican Party,” goes one of his newer bits, “because it only fucks poor people.” “I like that somebody had to hear something intelligent,” he says, “and they didn’t realize it.” MATTHEW SINGER.
Changing the image of rescue, one animal at a time...
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See Julius and all the other animals up for adoption on pg. 55
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CULTURE
SPORTS
KERRY EGGERS
game’s the Super Bowl.” But in the Dee Andros era, the Civil War was the Super Bowl. Let’s say the Civil War is tied at the half—the winner goes to the Rose Bowl or, I guess, the Pac-12 title game. Which coach would you want giving the halftime speech? Andros would be the guy. He was most known for his pep talks, bringing his players to tears. [Former Oregon Coach] Rich Brooks would be in the conversation, too.
KERRY EGGERS
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243-2122
College football is dominated by bitter rivalries and weird trophies. A lot of it’s pretty silly—golden eggs, bejeweled shillelaghs, golden wagon wheels, a little brown jug, and Oregon’s own Civil War might be the silliest of all thanks to its grandiose name and short-lived wooden platypus trophy. The University of Oregon Ducks and Oregon State Beavers have been playing each other nearly continuously since 1894 for, to quote former OSU Coach Dee Andros, “The right to live in the state.” The series between these two schools located 47 miles apart has also borne witness to fisticuffs, a duck kidnapping, students dunked in the Millrace, abducted homecoming queens and what’s widely regarded as the worst game ever played. Longtime Oregon sports writer Kerry Eggers’ The Civil War Rivalry takes a comprehensive look at the most-played rivalry on the West Coast. With the 118th matchup between Oregon and Oregon State taking place at Reser Stadium in Corvallis on Saturday, Nov. 29, Willamette Week chatted with Eggers. WW: What makes the Civil War special? Kerry Eggers: There’s two major schools in the state. You’re either a Duck or a Beaver in this state—sometimes it even splits families. It’s been an up-and-down rivalry; right now the Ducks have the upper hand. There was a time when the Beavers did. As someone who grew up in the modern era, it was fascinating to read when the Beavers dominated the rivalry in the ’60s. Especially in the Dee Andros era (1965-75). Because he put so much emphasis on the game, it was kind of the antithesis of [former Oregon Coach] Chip Kelly’s philosophy that “every
If you factor in Brooks’ record when he played for the Beavers and then coached Oregon from 1977-94, he was a combined 22-3-1 in the series. His record is incredible. He’s just such an intense, bright guy. He coached under Andros and bought into that theory. It didn’t matter which of those teams was better on Civil War day, his team was gonna win. Were there any specific challenges to researching the early history of the rivalry? I was lucky to talk to three or four people from the ’40s. Andy Landforce, a 97-year-old who was a member of the ’41 Beavers team that played in the transplanted Rose Bowl [moved from Pasadena, Calif., to Durham, N.C., due to fears of a Japanese invasion following the attack on Pearl Harbor.] Another was former Oregon Gov. Vic Atiyeh, who passed away. And Chief Snider, who coincidentally introduced my mom and dad, he also passed away after I talked to him. I was glad to get to talk to all of these people because once they’re gone, their stories evaporate, too. Some of the press clippings included in your book had great details from early games, like an Oregon State player getting kicked out for punching a ref in 1897. I spent a lot of hours looking through microfilm— because the Internet wasn’t around for most of the series. It wasn’t the funnest thing, but I was able to mine a few nuggets to make the older years more interesting. There’s a whole chapter on the fisticuffs and hanky-panky of the rivalry. Like when an Oregon State player punched an Oregon fan as they were tearing down the goalposts in Corvallis in the early ’70s? How about when [Oregon State lineman] Steve Bielenberg punched out the Duck mascot before the [1971] game? That was my favorite one. What would you say to anyone who argues that the Oregon-Washington rivalry is more important than the Civil War? There are many Ducks who hate the Huskies. And I found through this book that the majority of Beavers hate the Ducks. There’s a segment of Ducks who hate the Beavers, but there’s just as many who hate the Huskies. I think it’s lessened a little with Oregon winning 11 in a row [over Washington]. Not that the Ducks will stop disliking the Huskies, but until the Huskies make it a series again, the Civil War rules in that regard. Any predictions for this year’s Civil War? I’d certainly pick the Ducks. They’re No. 2 or 3 in the country, and they have a lot on the line. Arizona State had a lot on the line when it lost to the Beavers 35-27. Right, but I think the Ducks are a better team than Arizona State. SEE IT: Oregon at Oregon State, Saturday, Nov. 29. 5 pm. ABC.
STREET
STREET
MOVIEGOERS ARE GOING TO A SATURDAY NIGHT PICTURE SHOW AT THE CLINTON. P h otos by br ia n a Cer ezo wweek.com/street
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FOOD: The Pearl’s generous new Lebanese joint. MUSIC: Justin Ringle refuses to be your Prince of Darkness. MOVIES: White wine with Walt Curtis. END ROLL: Comics and weed.
29 31 47 51
SCOOP TWO DOZEN DRUMMERS NEEDED: Beginning next September, 23 Portland bands will be in need of a new drummer. Papi Fimbres, one of the city’s busiest musicians, is moving to Germany for a year. “With all the development in the city, I said, ‘Fuck it,’” Fimbres tells Scoop. “Instead of complaining about it, I’m going to do my own thing somewhere else, just for a minute.” While Fimbres doesn’t have any firm plans for his sabbatical from Portland, he says he and his wife will play shows with their new duo, Dreckig (German for “dirty”). As for the nearly two dozen other bands he performs with, including prog-punk trio Sun Angle and FIMBRES cumbia ensemble Orquestra Pacifico Tropical, Fimbres says he intends to play with as many of them as possible between now and next fall, and some may eventually join him overseas. A documentary about Fimbres, made by the people behind the Into the Woods video site, is also in the works. WINE RUN: New Yorkers made a run on Portland urban winery Division Winemaking Company’s inventory, nearly cleaning out the winery of its stocks. In The New York Times’ Nov. 10 roundup of wines to drink on Thanksgiving, critic Eric Asimov singled out Division’s gamay noir as the best red to pair with a holiday meal. Division winemaker Thomas Monroe said their supplies of multiple wines went “lickety-split” thereafter. “We got as many calls in one day as we’ve ever received,” Monroe says. “It’s been really great, except we don’t have any wine to sell.” The winery is down to its pinot noir “Un,” cabernet franc, chardonnay and nouveau. Division’s spring release of 1,000 cases will be in March. GHOST OF HIP-HOP PAST: The former Southeast Portland location of the Blue Monk—which made headlines after a March 1 hip-hop show featuring Illmaculate was disrupted by police— will get new life in December as a bar, art gallery and venue called the Liquor Store, which will be outfitted with a new, state-of-the-art sound system downstairs. Booking will focus on indie rock and electronic music, says owner Ray Morrone, and the neighborhood and city are on board. >> Meanwhile, a yetto-open strip club, at 8102 NE Killingsworth St., has applied for a liquor license. The Viewpoint XXX “will never be known for hip-hop/rap music” owner Perry Nelson stated on the application, noting he wasn’t associated with hip-hop events recently held at the location. “My vision is a tap room.” Of course, the bar will also feature nude dancers. STAND DOWN: Last week, Scoop reported that five Portland comics—Amy Miller, Nathan Brannon, Bri Pruett, Barbara Holm and Lonnie Bruhn—were recently called to Los Angeles to audition for Last Comic Standing. Well, so much for that: NBC put production on hold, and it’s not clear if the show will return next summer. “It is on hold for now while we work on revising the format with the network,” executive producer Page Hurwitz told comedy blog the Comic’s Comic. “Once we have something we all like, we’ll get rolling.” 26
Willamette Week NOVEMBER 26, 2014 wweek.com
J O H A N WA G N E R
DON’T CALL US CHICKEN.
HEADOUT DO yOU WanT TO eaT BefORe OR afTeR yOUR RUn?
AfTeR, or I’ll puke.
THURSDAY NOV. 27
Will you at least drink something?
You put giblets in the stuffing, right? Meat is murder!
e’s bo
m ru m or hot c
Would you prefer to run near a suburban shopping mall or a bunch of very cold, very bored elephants?
i oze in
Ugly Sweater Run
No.
Zoo! I’d like to sneak a peek at the polar bears. They’re reasonably happy with this weather, right?
Turkeython
Oregon Zoo Turkey Trot
Winter Wonderland of Lights Run
Give n’ Gobble
Tofurky’s run raises money for local vegan organizations. The 5K run goes through Mount Tabor Park with vegan food at the finish line. Mount Tabor Park, picnic area A, on the north side of the park. $25 adult preregistration, $30 day of event. Minors $12.50-$15. Children under 5 free. Nov. 27. 9 am. tofurky.com.
Turkeython
A 5K run/walk, a 10K run, a
two-person team 10K relay, and a kid’s race around the mall in Tigard. Bridgeport Village, 7455 SW Bridgeport Road. 5K run/walk $40 adult
registration, minors $25. 10K run $45 adult registration, minors $25. Kid’s race free. $5 extra day of event. Nov. 27. 8:15 am. turkeython.com.
Oregon Zoo Turkey Trot A 4-mile run and fitness walk, starting at 8 am, and a half-mile Tot Trot, beginning at 9:30 am. A portion of Turkey Trot proceeds will fund animal care and programs at the zoo. Cheatham Hall (World Forestry Center), 4033 SW Canyon Road. Turkey Trot $35 adult registration, kids 11 and under $20, Tot Trot $20. Nov. 27. 8 am. oregonzoo.org.
Give n’ Gobble
Hot Buttered Run
Along with accepting nonperishable food donations, the race funds Helping Hands food bank’s annual expenses. 10K run, 5K run or 5K walk. Sherwood High School, 16956 SW Meinecke Road, Sherwood. Nov. 27. 9 am. $25-$35. givengobble.com.
Three runs, from 1K to 12K, with hot buttered rum (or hot chocolate if you’re underage) waiting at the finish line. Esther Short Park, 415 W 6th St., Vancouver, Wash. $15-$55. Nov. 30. 8 am. energyevents.com.
Winter Wonderland of Lights Run
Wear an ugly holiday sweater, obviously. The 5K route includes hot-chocolate stations. Your choice of Angry Orchard hard cider or Samuel Adams Boston lager at the finish line. Oregon Convention Center, 777 NE Martin Luther King Jr. Blvd. $35 pre-registration, $40 day of event. Nov. 30. 9 am. theuglysweaterrun.com.
Runs of 2, 4 and 6 miles around Portland International Raceway’s holiday light display. Portland International Raceway, 1940 N Victory Blvd. $40 preregistration, $45 day of race, $25 minors. Nov. 29. 5 pm. aasportsltd.com.
THe fUnnieST 5 [cOMeDY] for the second straight year, WW polled this city’s comedy insiders to determine Portland’s funniest people. Read their profiles in this issue, and see all five, for free, tonight. Bossanova Ballroom, 722 E Burnside St., 206-7630. 7 pm. Free. 21+.
MONDAY DEC. 1
THANKSGIVING IN PORTLAND MEANS RUNNING. TIME TO PICK THE RIGHT RACE. Tofurky Trot
SATURDAY NOV. 29 DOnaLD GLaUDe
SUNDAY NOV. 30
Yes.
Mall! I’ll get in line for doorbusters right after the run.
5 LeSBianS eaTinG a qUicHe [THeATeR] Triangle Productions presents a giddy little comedy about five widows in ’50s America. The quiches have all been submitted for competition, but the threat of nuclear annihilation lurks outside. And, as happens in moments like these, confessions and secrets emerge. Sanctuary at Sandy Plaza, 1785 NE Sandy Blvd., 239-5919. 7:30 pm. $15-$35.
[HOUSe HeAVYWeIGHT] Old Town’s premier dance club celebrates its fifth anniversary by bringing in yet another top American DJ, whose taste for funky house-quakes helped build the West coast rave scene. The Whiskey Bar, 31 NW 1st Ave., 227-0405. 10 pm. $10. 21+.
oc oa.
I want to feel like I’m supporting a good cause and I don’t mind traveling to Sherwood to avoid food, drink and lights.
THankSGivinG aT DaD’S [SOlAce] Right after your volunteer shift at city Team Ministries, hop across the street to My father’s Place—family to everyone, whether old, drunk or poor—for an $11 Thankgsiving meal. Your choice of chicken-fried steak, turkey with cranberries and green-bean casserole, or applewood ham and yams. My Father’s Place, 523 SE Grand Ave., 235-5494.
FRIDAY NOV. 28
Do you care about pretty lights?
wa r
Tofurky Trot
Hot Buttered Run t!
e! r S u rs r e , s o l o n g a s the ou dc mi Su ved r e , y o r d rin s o l o n g as it’s hot and ser urk kin of g rT
o N o, I key don’ t c ar e a bout eating tur
How do you feel about eating bird flesh?
A N A B e N A R O YA
BefORe, so I can have extra gravy without any guilt.
WILLAMETTE WEEK
What to do this Week in arts & culture
The Ugly Sweater Run
DUSTin WOnG & TakakO MinekaWa [TWee DANce JAMS] Best known for his diffuse guitar noodling in mathed-out indie band Ponytail, Dustin Wong just issued a second album-length collaboration with Japanese multi-instrumentalist Takako Minekawa, in which stuttering rhythms are weaved through compositions so involved you can’t believe they’re coming from just two players. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. $10. 21+.
TUESDAY DEC. 2 RicHaRD fORD [BOOKS] legendary writer Richard ford promised no more of his sports-writer-gone-realtor character frank Bascombe, but his new book places the character at the edge of mortality in post-hurricane New Jersey—continuing his “personal fidget-’n’-drift along life’s margins.” Powell’s City of Books, 1005 W Burnside St., 800-878-7323. 7:30 pm. Free.
Willamette Week NOVEMBER 26, 2014 wweek.com
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FOOD & DRINK EAT MOBILE JASON DESOMER
= WW Pick. Highly recommended. By MATTHEW KORFHAGE. Editor: MARTIN CIZMAR. Email: dish@wweek. com. See page 3 for submission instructions.
THURSDAY, NOV. 27 Thanksgiving at Imperial
Like all true and saddened loners, spend your Thanksgiving meal with a TV dinner—or, at least, a TV-chef dinner from Imperial’s Doug Adams. Imperial will stay open on the holiday, offering a full spit-roasted turkey dinner. Imperial, 410 SW Broadway, 228-7222.
Raven & Rose Family Roast
Raven & Rose will reprise its family-style roast supper—with turkey roulade, wood-fired salmon or veg. The main restaurant will be a kidfriendly, reservations-recommended affair. Upstairs allows walk-ins, with $6 Sazeracs, football, food and no kids. Raven & Rose, 1331 SW Broadway, 222-7673. 1-7 pm. $65 adults, $25 kids 5-11.
FRIDAY, NOV. 28 Wine Country Thanksgiving
Throughout the Willamette Valley, 165 different wineries will offer music, discounts, food and tastings—more than can be listed here. Luckily, they’re listed here: willamettewines.com/event/wine-country-thanksgiving.
Green Dragon Black Friday
Green Dragon is back in blacks after Thanksgiving for the fourth year in a row, with more than 25 black beers, with a special emphasis on Cascadian darks. And they’ll be tapping a new bourbon-barrel-aged keg each hour, on the hour. Green Dragon, 928 SE 9th Ave., 517-0660. Noon-8 pm.
SATURDAY, NOV. 29 La Fete du Macaron
Pix Patisserie will host a Fete du Macaron featuring 30 macaron flavors, including macronuts (deepfried macarons) and a cupcake stomp that involves sadistically smashing cupcakes to win a free macaron. Pix Patisserie, 2225 E Burnside St., 971-271-7166.
Where we’re eating this week. 1. Smallwares 4605 NE Fremont St., 971-229-0995, smallwarespdx.com. Smallwares’ new brunch menu sports not only Sichuan bacon, but far and away the city’s best bowl of breakfast ramen. 2. Chongqinq Huo Guo 8230 SE Harrison St., Suite 315, 971-803-7999. In keeping with its eponymous pepper-bathed region of China, this soup spot doesn’t dull its spicy broth for Western palates. 3. Buki 2880 SE Division St., 360-931-1541. Think of Buki’s takoyaki as the corn dog of Japan—except the spicy, flavorful fried flour balls are filled not with pork but with chewy octopus. 4. Beaverton Sub Station 12448 SW Broadway St., 641-7827, beavertonsubstation.com. We ignored this sub shop for 33 years in our paper. Big mistake.
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Willamette Week NOVEMBER 26, 2014 wweek.com
5. Bamboo Izakaya 1409 NE Alberta St., 889-0336, bambooizakaya.com. This izakaya’s brunch includes a bacon flight. We best loved Drueske’s from Wisconsin.
OH MII GAI: Haan Ghin’s trademark dish, with banana-leaf-wrapped coconut rice.
HAAN GHIN Portland now has a second contender for an iconic food-cart chicken dish from Southeast Asia, and its name is mii gai. Nong Poonsukwattana, maker of Portland’s go-to Thai chicken-and-rice dish, khao man gai, named Laotian cart Haan Ghin when we asked her which food carts she was excited about in town (alongside reborn Korean spot Kim Jong Grillin’). The cart’s trademark mii gai ($7)—literally, chicken noodle—is one of only two items on the menu, and it’s a brilliant mash-up of textures and flavors. The dish’s sweet-and-sour-sauced egg-noodle vermicelli is topped not only with sliced chicken thigh but with crisp, fatty fried bits of chicken skin that could be a bar snack Order this: Mii gai ($7), extra all by themselves. This is espechicken skin ($1), and khao som coconut rice dessert ($2.50). cially true when the skins mix with fried shallots and the cart’s homemade chili oil, as well as the tar-black jaew bawng garlic sauce studded with copious pepper seeds. Tack on the earthy undercurrent of ong choy leaves, and the dish brings bitter, salty, sweet, sour and spice into full concert. The other dish on the menu, a ground-chicken lettuce wrap called laap gai ($7), is packed with sticky rice. But neither the slightly floppy lettuce nor the rice offer enough contrast to overcome the tremendously soft texture of that ground lemongrass chicken, which leaves the dish satisfying but eventually monotone, even with the pungent jaew bawng. It feels like a side to that tremendous main course—just like the lovely, sweet coconut rice ($2.50) wrapped in a banana leaf. If Haan Ghin’s mii gai hasn’t made more inroads into Portland’s food consciousness since opening last spring, it’s partly because of the location: It’s tucked away on the Portland State University park blocks. But there’s no better reason to go back to school, even if hanging out with college kids makes you feel creepy. MATTHEW KORFHAGE. EAT: Haan Ghin, Southwest Park Avenue and Harrison Street. 11 am-3 pm Monday-Thursday, 11 am-2:30 pm Friday.
DRANK
ARCTOS (BAERLIC BREWING) What makes winter ale wintery? That’s a matter of intense debate, especially in Portland, where spiced Christmas ales were long rejected as insufficiently beery beers. Personally, I tend to favor winter beers that aren’t just thick and deeply malty, but have actual spices in them— nutmeg, clove and the like—or taste like they do, as with Laurelwood’s Vinter Varmer. Who wants to curl up in front of the fireplace with a vaguely piney IPA? Some Portlanders do—or claim to. If you’re looking for a happy medium, try Baerlic’s new Arctos. The 6-month-old brewery has released a 6.5-percent red ale that has a stocking full of spicy malts and a sticky pine-needle finish from Cascade and Willamette hops. There are no actual spices, but the brewery did add unrefined South American cane sugar, which dries out the brew and adds a nice earthiness. It’s as meaty as a stout and has a pretty maroon color. It sure tastes like Christmas to me. Recommended. MARTIN CIZMAR.
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MEZZ DISPENSER: Zaatar’s mezza plate comes with six vegetarian dishes and a pile of meat.
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chips and more, which you can find at New Seasons, Market of Choice and others. Zaatar’s fare isn’t anything inventive—for that, see John Gorham’s Mediterranean Exploration Company around the corner—but it is fresh, BY M A RT I N C I Z M A R mcizmar@wweek.com scratch-made and well-executed. The last crumbs of the appetizers have been The tabbouleh tastes more salady than most, cleared, and the salad plates are stacked with the with a citrus punch that pops on crisp parsley and pita basket atop. There are no unused glasses. tomatoes that still have some crunch. The humStill, there’s no empty space on the table when mus isn’t distinctive, but the baba ghanoush has the waitress walks up with the next platter. as much smoke as many pork shanks. The pita “Ohhhh, ummmm.” is impressive: Each round is the size of a small “Here?” pizza and tends to be baked just long enough to “Yeah, there.” get little brown boils of character on the bottom. “Maybe?” The falafel is dry of oil and thick with flavor. Four “Wait…” vegetarian grape leaves are a little too tart for my We scrunch. Somehow, everything fits. taste, but not problematically so. “In Lebanon, the tables are like five times this The meats are rich and flavorful—and made with size,” the waitress says. premium, hormone-free cuts, a new twist that grew Zaatar needs bigger tables. That’s the most from the experience of selling packaged products serious criticism of the new venture from Tony at Whole Foods and New Seasons. The lamb shaKaram, the restaurateur warma is just a little chewy, who’s been winning friends Order this: Traditional Lebanese mezza the chicken moist and wellin town for 30 years, first for two ($34.99). seasoned, and the kafta patty with Long Island Pizzeria, I’ll pass: The titular drink, made with has a winning blend of onion later with an eponymous Arak, an anise-flavored spirit. and parsley grilled into it. downtown restaurant, then Oh, and there’s this: All of in your local grocery store under the Karam label, that describes one dish, the traditional Lebanese and now with Zaatar in the Pearl District. mezza for two ($34.99), which will stuff an averZaatar pulls from the normal Lebanese age couple. The platter is served in two threecanon—hummus, tabbouleh, falafel, kabobs and part trays, plus a plate of meat, with fresh pita the like—nailing the basics and providing a little that emerges from the kitchen as needed. It’s all extra pop with super-smoky baba ghanoush and you want, really. herb-heavy versions of its titular dish, the EastThe other entrees are impressive, especially ern Mediterranean’s answer to pizza. If it’s not the mujadara ($14.95), which resembles a Lebathe best Lebanese place in Portland—personally, nese version of dirty rice, but with peppery lenI’m partial to TarBoush—certainly it’s the best on tils and smoky-sweet caramelized onions served the westside, and among the city’s top three. with thin slices of feta-topped eggplant. But, If you’ve been to any of Tony’s restaurants, really, you want the mezza—as table space allows. chances are you remember watching him work “Karam means generous,” Tony says. the floor like Ralph Fiennes helmed the lobby It’s Tony’s name and motto. And a challenge to of the Grand Budapest Hotel. Tony is here now, his son. working with his brother. Meanwhile, the origi“I named him Karam Karam,” he says. “I told nal downtown Karam is now owned by a cousin. him, ‘You’d better be double generous.’” The Karam in Beaverton, opened in 2011, is run by Tony’s wife and another brother. They do EAT: Zaatar, 1037 NW Flanders St., 477-8237, zaatarnw.com. 11 am-9 pm Monday-Thursday, 11 am-10 catering and produce grocery grub, including 10 pm Friday and Saturday, 11 am-9 pm Sunday. flavors of hummus, tabbouleh, grape leaves, pita
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Willamette Week NOVEMBER 26, 2014 wweek.com
MUSIC
C o u r t e S y o F m o N t e r e y i N t e r N At i o N A l
C’MON, GET HAPPY HORSE FEATHERS’ JUSTIN RINGLE CHEERS UP…SORT OF. BY B r a n d o n w i d d e r
2 4 3 -2 1 2 2
Justin Ringle generally doesn’t see things in black and white. As the lead vocalist and songwriter behind Portland’s Horse Feathers, he’s spent the better part of a decade struggling to make sense of the gray area between joy and despair. But when it comes to the way he looks at his music, he can pinpoint the exact moment when his perspective shifted. Two years ago, his band had been asked to play an impromptu gig at Sasquatch a mere week before the festival. He agreed to the show, bringing with him old tunes and a fresh lineup that included a new rhythm section. In the past, Horse Feathers had been a glorified solo project for Ringle, with no bassist and little in the way of percussion, and he’d only recently entertained the idea of fleshing out the band. The result was a Horse Feathers show with more energy and vitality than he could ever recall. As he left the stage that day, Ringle says he thought to himself, “Why in the fuck have we not been doing this?” “It was a major change,” he says over the phone, while laying low at singersongwriter Joe Pug’s Texas home before a gig. The energy from that show carried over into Horse Feathers’ new album, So It Is With Us, channeling his music away from the spare, solemn chamberfolk that had come to define the project since its debut more than a decade ago. Getting there wasn’t easy for Ringle, though. He’d grown disillusioned following the band’s previous album, 2012’s Cynic’s New Year, which sold less than any of the three albums that preceded it. He began to question playing music as a career, and wondered if he could survive in a rapidly shifting music industry. “All those things chip away when you professionally play music,” Ringle says. “It’s not like going to a cubicle job from a 9-to-5. There’s no knowing what will happen. If you just can’t see the forest for the trees, then you need to take a break.” After coming off tour with Cynic’s New Year, Ringle began spending more time at home. He gave up music for a few months and attached himself to a more domestic existence, relishing everyday tasks such as making dinner, taking daily walks—pretty much anything that didn’t involve being
JuSTIn RInglE and HoRSE FEaTHERS
cooped up in a touring van. When he began to play music again, he tried to reinvigorate his enthusiasm by playing with different people. Out of those collaborations, Ringle developed a new vision for Horse Feathers, which had essentially functioned more as a backing band in the past. He loosened the creative reins, added bassist Justin Power alongside longtime bandmates mandolinist Nathan Crockett and percussionist Dustin Dybvig, and began shaping what would become So It Is With Us.
“We HAve Some FANS WHo Still WANt tHe muSiC to Be SAd, But i’m Not goiNg to pAiNt mySelF iNto Some CorNer AS tHe priNCe oF dArkNeSS For tHe Next 10 yeArS.” While not representing a major sea change for Horse Feathers, the album is a departure. It’s still laden with an ornate mesh of acoustic guitar, cello and violin, but the tempos are breezier, with more major chords accompanying Ringle’s hushed croon. Opener “Violently Wild,” a boisterous song about the grimmer aspects of commitment, sets a joyous mood that stretches through songs like “Thousand” and the banjo-driven “Dead End Thanks.” Even slower, more brooding numbers such as “The Knee” exude a newfound expansiveness and sense of optimism, owing
to a creative process Ringle found less painstaking and more enjoyable. “I’ve spent years trying to convince people with just my voice, guitar and some strings. It’s a very precious thing,” he says with some reluctance. “I know I’m no longer intrigued to go pay to sit down [at a concert]—hands in my lap, eyes closed—and listen to someone the same way I used to when I started. I personally couldn’t continue on that way forever.” That’s not to say his lyrics have gotten any less arresting. Ringle recognizes the interplay between the downcast nature of his songwriting and the upbeat tone of the instrumentation. It’s a decision he made to express feelings that have a way of falling within the aforementioned emotional gray areas of our subconscious. Themes of faith and uncertainty abound. “Tell me why do you try hanging on?” he sings delicately over the isolated piano and sharp guitar of “Why Do I Try.” The contrast is more apparent as he ponders the fading relationship of “Violently Wild.” “We’re out of tune,” he sings. “You’ll be gone/ And I’ll be leaving soon.” For Ringle, though, the recently discovered jubilance of the music was precisely what he needed. “I spent years being concerned about a million other factors,” he says. “We have some fans who still want the music to be sad, but I’m not going to paint myself into some corner as the Prince of Darkness for the next 10 years. I just want to enjoy myself.” SEE IT: Horse Feathers plays Crystal Ballroom, 1332 W Burnside St., with the Cave Singers and Alialujah Choir, on Saturday, Nov. 29. 8 pm. $17 advance, $20 day of show. All ages.
TOP FIVE INFLUENCES ON THE NEW HORSE FEATHERS ALBUM By J u St iN riN gl e
The band Not the Band but my band. Playing with some longtime friends in the group for the first time really added a comfortable and inspiring twist to things. Breakups I am consistently amazed at the wealth of material you get from these. Incredibly sucky but true—the reflective alone time and gut-wrenching agony helps move records along. World music I have a hell of a time listening to music when working on a record because it usually finds its way in there somehow. For this one, I went on a steady diet of weird foreign jams, so if anything came out subconsciously, at least it would be puzzling to Pitchfork. Condos Watching Portland evolve before our very eyes has been weirdly influential. Firstly, now that we have all been stereotyped and laughed at, there’s no need to take things quite as seriously. And secondly, all that exposure is bringing in a huge wave of people that is creating an Old Portland-versus-New Portland debate. The tension is good. The music industry It has become so bizarre, convoluted and mysterious that it was easier to throw my hands in the air and refocus my priorities. It’s easy to get confused when you treat music like your job. I strengthened my resolve in the idea that the reason to make music is solely for the sake of it. Everything else is a secondary concern, and in that, I found quite a bit of freedom. Willamette Week NOVEMBER 26, 2014 wweek.com
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MUSIC
NOV. 26–DEC. 2 = WW Pick. Highly recommended.
Prices listed are sometimes for advance ticket sales. At-the-door increases and so-called 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. 26
FRIDAY, NOV. 28
Lord Dying, Castle, Norska, Holy Grove
The Next Waltz
[ALL-STAR TRIBUTE] For the last four years, Portland musicians have gathered to perform a two-night recreation of the Band’s final concert, which was, of course, filmed by Martin Scorsese and released as The Last Waltz in 1978. This year’s slate of performers include Lewi Longmire, Ural Thomas, Casey Neill and Jeremy Wilson, among several others, while proceeds benefit the Oregon Food Bank and Wilson’s musicians’ healthcare nonprofit, the Jeremy Wilson Foundation. Alberta Rose Theatre, 3000 NE Alberta St., 7196055. 8 pm. $25 advance, $28 day of show. Under 21 permitted with legal guardian. Through Nov. 29.
[SLUDGE METAL] Last years, Lord Dying bludgeoned its way to the top of the Portland metal heap with its Relapse Records debut, Summon the Faithless, a skull-cracking collection of sludge-caked riffs and grinding tempos. With new album Poisoned Altars coming in January, the band is looking to defend its crown. Consider this a preview of the campaign ahead. Ash Street Saloon, 225 SW Ash St., 226-0430. 9 pm. $10. 21+.
Jamestown Revival, Nikki Lane, Pete Molinari
The Flavr Blue, Tope, Coco Columbia, DJ 100Proof
[SPACE R&B] Portland’s Coco Columbia sounds like a future time traveler who is obsessed with the ’90s. She sings with a gravelly, soulful voice over smooth jazz melodies, coming off a little like Erykah Badu. But the sugary electronic excess and the oft-kilter beats resemble Grimes as well. The result is a bit, well, out there, and that’s very much a compliment. The Weight, the singer-songwriter-drummer’s recently released debut, is just as familiar as it is strange. Seattle’s own futuristic R&B outfit, the Flavr Blue, headlines, along with PDX rap prodigy Tope. SHANNON GORMLEY. Holocene, 1001 SE Morrison St., 2397639. 8 pm. $10. 21+.
Alex Clare, Taylor Berrett
[MICROSOFT-ROCK] Alex Clare had all but abandoned his dreams after the critical and commercial foundering of 2011 launch The Lateness Of The Hour, a misbegotten majorlabel melding of his backwards-leaning soul-pop croon with au courant Diplo and Switch production. But something about the thoroughly manufactured, utterly inessential jaunt through buzz-worthy backdrops proved ideal accompaniment for Web browser marketing. Recently-released follow-up Three Hearts suggests Clare learned rather the wrong lessons from the heavensent career reboot, as the new disc skips all digitized gambols for an awkwardly passionate embrace of the ‘80s’ least-awesome sonic blueprints—think “Addicted To Love” as misty-eyed wedding karaoke. JAY HORTON. Wonder Ballroom, 128 NE Russell St., 284-8686. $23. 8:30 pm. All ages.
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Willamette Week NOVEMBER 26, 2014 wweek.com
Pure Bathing Culture, Tender Age
[CELESTIAL BODIES] Fresh off a tour with indie-pop band Tennis and a one-off gig opening for Real Estate in Los Angeles, Pure Bathing C/O TRAPFEST
[GOOD OL’ BOYS] It’s impossible to ignore the hokey, faux-Appalachia-tinged Americana climbing the charts. It defines bands like the Lumineers, Mumford and Sons, and, to a lesser extent, Jamestown Revival. Jonathan Clay and Zach Chance spent the better part of a year recording Jamestown Revival’s debut, Utah, crafting a hodgepodge of tunes that span Dixiefried country to skeletal folk. The LP basks in the interlocking tenor of their voices and old-time instrumentation, but the uninspired lyrics regarding heartbreak and highways only warrant so many listens. BRANDON WIDDER. Doug Fir Lounge, 830 E Burnside St., 2319663. 9 pm. $14 advance, $16 day of show. 21+.
Culture seems like a band primed for a real breakthrough. Their 2013 debut album, Moon Tides, hinted at the right mix of surreptitious dream-pop with really strong songwriting, and the band’s Facebook page hinted at a summer recording session with L.A. producer Carlos de la Garza, who worked on Paramore’s last album. Tonight’s show is the band’s last of the year, and will hopefully be a showcase for a few new gems. MICHAEL MANNHEIMER. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. $10. 21+.
SATURDAY, NOV. 29 Shy Girls, Massacooramaan
[SHINE BRIGHT] On last fall’s still-fantastic Timeshare EP, Shy Girls’ Dan Vidmar sings a line that seemed to be a mission statement for his brand of smooth R&B music: “I’m not an athlete/I sit at home and make beats.” Though certainly catchy, the lyric isn’t entirely correct: The way Vidmar’s gentle falsetto dips and curls behind the band’s increasingly lush sound is just as aesthetically pleasing as a Nic Batum drive to the hoop. Vidmar recently lent his pipes to Odesza’s neon-tinted EDM banger “All We Need,” which is a good sign for anyone hoping for a dose of brightness to Shy Girls’ transcendent effervescence. MICHAEL MANNHEIMER. Doug Fir Lounge, 830 E Burnside St., 231-9663. 9 pm. $10 advance, $12 day of show. 21+.
PRIMER
CONT. on page 34
BY MITCH L IL L IE
A CONCERNED PARENT’S GUIDE TO TRAPFEST Ah! What is that horrible noise?! It sounds like a bunch of alarm clocks going off at once, but with a horn section behind it! It’s a song called— That’s a song? Yes. The name is “Hustle,” a dark, energetic example of trap music, made by a gentleman named Mayhem. He is an electronic-music producer from Atlanta, and also one of the artists performing at Trapfest. Trap? What in God’s name is that? Trap started as a branch of Southern hip-hop, with skeletal beats and affected synthesizers, but the word “trap” refers to a house designated as a place where one can obtain drugs. Around 2011, electronic producers, led by Diplo and the artists on his label, Mad Decent, began experimenting with the style and collaborating with hip-hop artists, creating the loud, crazy variation that’s now touring the country with Trapfest. Oh Lord, so this is drug music? Well, since it’s related to hip-hop, trap occasionally dabbles in jazz forms, which is the original drug music. But a more common ground that John Coltrane and trap share is a love for world music, shifting tempos and psychedelic themes. ETC!ETC!, another Trapfest performer, is a good example, as he explores Brazilian styles with his song “Brahzil.” But why does it sound like a machine gun blasting in my ear? Because that’s basically what it is. Trap producers love to manipulate snare drums so they blast faster than an automatic weapon. Gosh, that sounds violent. Yep. Trap is also built on a cycle of builds and drops, something the genre inherited from American variants of dubstep. Trap tends to be dark, hostile and dance-floor-friendly like dubstep, too. So should I let my kid go to this show? Yes, but don’t worry: Like screamo before it, it’s only a phase. SEE IT: Trapfest is at Roseland Theater, 8 NW 6th Ave., with ETC!ETC!, Mayhem, Lookas and DeafMind, on Saturday, Nov. 29. 7 pm. $25. 18+.
MUSIC COURTESY OF HUTCH HARRIS
HOTSEAT
Q&A HUTCH HARRIS ON STANDUP COMEDY Comedy is the new punk rock, they say, but in the case of Hutch Harris, punks are the new comics. In recent weeks, the Thermals’ singer-guitarist has gone from Portland comedy-scene booster to onstage fixture at local open mics—which, for followers of the Thermals’ Twitter account, shouldn’t be a startling development. We asked him about transitioning from frontman to funnyman, and somehow ended up talking about his love of man boobs. MATTHEW SINGER. How the Thermals’ frontman went from shouting down injustice to joking about man boobs.
WW: What inspired you to try standup? Hutch Harris: Over the years, the Thermals have done a ton of shows with comedians. We got signed to Sub Pop the same time David Cross did, so we did shows with him, Todd Barry, Eugene Mirman, Demetri Martin. At first, I was like, “I really want to do standup, but I’m never fucking going to do it” because I was really scared. Slowly, people started asking me to do their shows. Andie Main was like, “There’s this open mic at this Moose Lodge in deep Southeast,” which is where I live. She told me four hours before the show, and I was like, “If I don’t think about it, if I don’t look at any of my notes, if I just get up there, I’ll be able to do it.” So I didn’t think about it. I went there and did it, and it felt so good. How did you develop an act? Like anyone, things come into my head that are funny. I don’t sit down and go, “OK, what’s funny?” Before I had done [standup], I was thinking I’d really like to be a storytelling comedian. As soon as I got into it, all I wanted to do was write really quick, setuppunch-line jokes. Overall, I have a darker, sicker sense of humor, so a lot of shit that’s really terrible is really funny to me. Do you mine your music career for material? I’m going to try and stay away from it as long as I can. I don’t want it to be, “Hey, it’s the guy from the Thermals doing comedy!” It’s on me to be funny. If I’m not funny, no one’s going to be like, “Let’s go see Hutch from the Thermals suck at an open mic.” Do you believe standup is the new punk rock? It kind of is. Kill Rock Stars gave me the Cameron Esposito record last night, and I put it on and I was like, “Fuck, this girl is so edgy and queer and cool. This is the most Kill Rock Stars record to come out on Kill Rock Stars in forever.” And it’s cool in Portland how queer the scene is and how many girls there are. There are so many female comics in Portland right now who are killing it. Someone else can compare it to riot grrrl in the ’90s. I don’t want to be the one to say it, because it’s cheesy, but if someone else wants to say it, go ahead. What’s a joke you’re really proud of ? I was at the gym, and I found myself staring at a pair of tits. It was on a guy in the men’s locker room. I was like, “God, those are the nicest tits I’ve ever seen. Am I gay, or do I just love tits so much that I don’t care what they’re on?” And the punch line I was kind of using was, I realize I am gay, as long as the guy has really nice tits. MORE: Read an extended Q&A with Hutch Harris at wweek.com. Willamette Week NOVEMBER 26, 2014 wweek.com
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MUSIC
SATURDAY–SUNDAY
Lil Debbie, Aviel Ben Yamin, featuring Keegan
• BREAKING NEWS • GEO-LOCATING BAR AND RESTAURANT REVIEWS • CITY GUIDES
[FETISH RAP] There’s a reason Lil Debbie and Riff Raff are such good friends: While most hip-hop artists use the quality of their music to legitimize their lifestyles, both have used their personalities to legitimize their music. The problem with that, though, was apparent to anyone who attended their poorly organized show in Portland last New Year’s Eve: Debbie’s Kanyesized ego is real, but for all her entertainment value, she’s a novelty act. One need not look further than her name, or the titles of her 2014 albums, California Sweetheart and Part 2. She isn’t happy that people don’t take her seriously, but who can focus with all this appropriation going on? MITCH LILLIE. Peter’s Room, 8 NW 6th Ave., 2199929. 8 pm. $15. All ages.
Wild Ones, Radiation City, the Commettes
[PORTLAND POP] At one point or another in the past few years, both Wild Ones and Radiation City have been the talk of Portland. That’s what makes this such an interesting double bill—it’s not often you get to see the local heavy-hitters performing together. The selfproclaimed buddies—both past Best New Band finalists—solidified their indie-pop prowess with their respective 2013 releases. Both bands have albums due out next year, so expect to hear new tunes tonight. KAITIE TODD. Star Theater, 13 NW 6th Ave. 9 pm. $12. 21+.
Donald Glaude, Klyde Drexler, Rubin Sarafinchan
[HOUSE RENOVATIONS] In true Whiskey Bar fashion, the Chinatown club’s fifth anniversary is nothing special: There’s just another DJ magazine Top 100 artist coming to town. Like many of the older American DJs on that list, Donald Glaude came up in the West Coast rave scene from his home in Tacoma and eventually San Diego. Funky house became his concentration after falling in with S.F.’s Funky Tekno Tribe crew. Of late, though, he’s been venturing into progressive and electro house, as on the mariachi-sampling, just-released banger “The Dance.” MITCH LILLIE. The Whiskey Bar, 31 NW 1st Ave., 227-0405. 10 pm. $10. 21+.
SUNDAY, NOV. 30 Possessed By Paul James
[ONE-MAN AMERICANA BAND] The man behind Possessed By Paul James is not named Paul James, but he certainly does seem possessed, at least when onstage. Strumming a variety of old time-y instruments while pounding a stomp box and sometimes shaking his head violently, Austin’s Konrad Wert manages to deliver whiteknuckle performances all by his lonesome, often while staying planted in a chair. His albums— the latest being 2013’s There Will Be Nights When I’m Lonely—are bracing, emotional affairs that are only elevated when played in person. Doug Fir Lounge, 803 E
COURTESY OF
TO N Y P R ATO
FLASHBACK
Leather Tom & the Dirty Dudes playing Dekum Manor in March 2009.
Last week, Dekum Manor—for many years Portland’s preeminent house-show venue—burned down. Though its heyday had passed, the loss represents yet another casualty during a year that has seen the disappearance of many local cultural institutions. We asked former resident Jacob Early about what is was like to actually live there. “I moved into Dekum in October of 2008, shortly after my 23rd birthday, and stayed there until the summer of 2011, when all of us, at our landlord’s request, moved on. Those three years were a whirlwind. I remember at least one weekend when there was a show Friday, Saturday and Sunday night. By the end of the weekend, the house was in shambles, the smell of sweat, beer and God knows what else hanging around well after the last band was done. As fun as those times were, they were also quite draining. Living conditions took a backseat to providing a home for rock ’n’ roll. There were no available rooms when I first moved in, so I built one in the basement out of plywood. Just a box, really. That was the kind of house it was: a self-funded, self-directed, selfimplemented adventure. There was the Christmas we spent on acid—in fact, the strange time capsule we buried that night might still be there. Dekum Manor was a venue that meant many things to many people, but for its residents, it was also a home.” MORE: Read more memories of Dekum Manor at wweek.com. 34
Willamette Week NOVEMBER 26, 2014 wweek.com
SUNDAY–TUESDAY/CLASSICAL, ETC. Burnside St., 231-9663. 9 pm. $10 advance, $12 day of show. 21+.
banshee vocals. What might be less known is how fantastic the band is live, and how oddly engaging frontman George Clarke—who lords over the audience as if he were the conductor for His Satanic Majesty’s Philharmonic—is onstage. Holocene, 1001 SE Morrison St., 239-7639. 8 pm. $3 with RSVP through redbullsoundselect.com, $12 without on day of show. 21+.
Bahamadia, Georgia Anne Muldrow, Dudley Perkins, Kankick
[BOHEMIAN RAP] Gulfs of time separate the releases of Philly rapper Bahamadia. She first impressed with her 1996 debut, Kollage, showcasing her earthy flow and ear for warm, jazzy production. But it wasn’t until 2000 when she dropped her sophomore effort, BB Queen, and another six years would pass before the release of her third album, Good Rap Music. Countless trends have come and gone in that 18-year span, but Bahamadia remains planted in the ‘90s underground. Given the abrasively noisy state of rap, though, her smooth, poetic delivery is starting to sound revolutionary all over again. MATTHEW SINGER. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 9 pm. $16 advance, $20 day of show.
CLASSICAL, JAZZ & WORLD David Friesen’s Circle 3 Trio
[PORTLAND JAZZ MASTER] Bassist-composer David Friesen has been one of Portland’s jazz treasures for decades. He regularly wins critical acclaim in Europe, Japan and across the U.S. for his warm, imaginative improvisations, recording more than 65 albums as a leader and appearing on dozens of others. But the Oregon Jazz Hall of Famer always comes home for the holidays, performing a series of shows with various ensembles, including this release concert for his second new album in as many years, the Origin Records double CD Where
MONDAY, DEC. 1 Alvvays, Absolutely Free
[JANGLE POP] If sugary-sweet hooks are considered the currency of indie pop, Toronto’s Alvvays are rich. Fans of the fabled C86 comp and its modern acolytes like Camera Obscura and Belle and Sebastian have found plenty to love on the quintet’s self-titled debut record, a nine-track magpie’s nest of surf riffs, classic girl-group vocals and a buoyant melodiousness that would make peak-era Phil Spector red in the cheeks. PETE COTTELL. Doug Fir Lounge, 830 E Burnside St., 2319663. 9 pm. 21+. $10.
[SEASONAL CHORAL] For more than three decades, the award-winning large choir Cantores in Ecclesia (roughly translated as Church Singer) has been one of the city’s finest performers of sacred music, especially Renaissance polyphony and Byzantine chant. There are plenty of ancient classics on this program of music devoted to the Advent season, but the ensemble also celebrates the living tradition of sacred music by including compositions by contemporary Scottish composer James MacMillan and Sweden’s Jan Sandström. BRETT CAMPBELL. St. Stephen’s Church, 1112 SE 41st Ave. 7:30 pm Sunday, Nov. 30. $15 students and seniors, $20 general admission. All ages.
For more Music listings, visit
[TECHNO SHOUT-OUT] It doesn’t take too long into Rap Class’ new single, “Alone,” to forget about the golden-era hip-hop breakbeat that opens it up. But the techno rhythm and sparkling chimes can’t drown out the track’s central rap core, a sample of the one and only Slick Rick repeating the line, “All the lonely boys.” It’s taken from a 1991 deep cut titled “Venus,” proving producer John Kammerle might actually be qualified to run a hip-hop educational seminar. But despite the title, Lonely Johnny he is not: Kammerle is co-founder of digital electronic label Dropping Gems, and notes in the liner of his new, limited-edition 7-inch vinyl that the song is not only a tribute to techno but was “made during a happy time.” The B-side, “Josh & Stevie 1999,” hits even harder and faster. A more appropriate title might be “Moby & Karl 1993” considering its sunny, energetic beat and double-strength bubblegum vocal samples. The tracks each get a reworking—“Alone” by Acid Farm’s Krycek and “Josh & Stevie” by DJAO as 7777777—but I only wish the sub-six-minute originals were given a bit more time to explore their central grooves. MITCH LILLIE. SEE IT: Rap Class plays the Know, 2026 NE Alberta St., on Monday, Dec. 1. 9 pm. Free. 21+.
TUESDAY, DEC. 2
NEW MOVE “DON’T WANNA LOSE” (SELF-RELEASED) C/O NEW MOVE
Thee Oh Sees, Jack Name
[PASTEL METAL] At this point, most people who’d care know the deal with Deafheaven’s Sunbather, the San Francisco band’s acclaimed 2013 album, which was pegged as “the black metal album for people who don’t like black metal” for its melding of shoegaze textures with blurred blast-beats and howling-
Cantores in Ecclesia
RAP CLASS “ALONE” (DROPPING GEMS)
[STUTTERING RHYTHMS] Better known for the diffuse guitar noodling of his solo work than his time in the spazzy, mathed-out indie band Ponytail, Dustin Wong just issued a second album-length collaboration with multi-instrumentalist Takako Minekawa. A significant figure in Japan during the 1990s, Minekawa was on an extended musical hiatus until hooking up with Wong for 2013’s Toropical Circle. On the new, self-recorded Savage Imagination, the pair continues weaving stuttering rhythms in and out of compositions that sound much more involved than you’d imagine coming from two players. And though each offering comes off as some twee dance tune, at least “Dancing Venus of Aurora Clay” is creative finery. DAVE CANTOR. Mississippi Studios, 3939 N Mississippi Ave., 288-3895. 8 pm. $10. 21+.
Red Bull Sound Select: Deafheaven, Lesbian, Usnea
the Light Falls, which contains some of the most energetic playing I’ve heard from this trio. BRETT CAMPBELL. Bipartisan Cafe, 7901 SE Stark St., 253-1051. 7 pm Friday, Nov. 28. Free. All ages.
ALBUM REVIEWS
Dustin Wong and Takako Minekawa, Soft Shadows
[GRUNGE POP] Thee Oh Sees freaked out fans last year when frontman John Dwyer announced his slime-pop group would be on indefinite hiatus. Luckily, it didn’t last long, as another album, Drop, was released this year and followed by a tour. While the hiatus only lasted a little under five months, the period of separation seemed to do Dwyer good, as Drop maintains the messy, reverb-heavy psych rock Thee Oh Sees are renowned for, while simultaneously experimenting with new textures. It’s proof that a little time off never hurt anyone. ASHLEY JOCZ. Doug Fir Lounge, 830 E Burnside St., 231-9663. 5 pm and 8 pm. $15. Early show is all ages, late show 21+.
MUSIC
[CLASSIC POP] When it comes to songwriting, Jesse Bettis is an unabashed classicist. That was true of Oh Captain My Captain, his former band, whose widescreen pop drew upon Bowie, Queen and Radiohead, and it’s even more pronounced with his current project, New Move. A standout track on this year’s PDX Pop Now compilation, “Don’t Wanna Lose” is the brightest of the three singles the group—which contains several other members of OCMC—has rolled out since the spring, built around a sweet melody, sprightly keys, a springy rhythm, background horn blurts and Bettis’ soulful falsetto. It’s the stuff of the Beach Boys and Nick Lowe, while an alternate version included on the single reimagines the song as a delightful Jackson 5 homage, complete with strings, funky clavinet and a rather spot-on young MJ impersonator on vocals. B-side “No One But Her,” meanwhile, motors into Cars territory, with New Wave guitars, handclaps and a doo-wop-like outro. If the reference points sound ambitious, Bettis has already proven his ability to aspire to such heights without ever seeming like he’s overreaching. MATTHEW SINGER. SEE IT: New Move plays Holocene, 1001 SE Morrison St., with Rio Grands and No La La, on Sunday, Nov. 30. 8:30 pm. $6. 21+. Willamette Week NOVEMBER 26, 2014 wweek.com
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25 GREAT CDs
JUST $7.00 EACH! Ryan Adams - Ryan Adams
Bob Marley - Legend
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Queen - Greatest Hits: “We Will Rock You” Edition
Childish Gambino - Because The Internet
Tv On The Radio - Seeds
Chrissie Hynde - Stockholm
Weezer - Everything Will Be Alright In The End
Lorde - Pure Heroine
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TERRY ROBB
& ACOUSTIC GUITAR SUMMIT SATURDAY, NOVEMBER 29 @ 3PM
The Acoustic Guitar Summit is a trio of venerable fingerstyle guitarists Mark Hanson, Terry Robb, and Doug Smith - each of whom has a solo career, as well as a long history of other projects.
BRIANNE KATHLEEN
THURSDAY, NOVEMBER 4 @ 6PM “Brianne Kathleen is an artist with an amazing set of vocal chords that stand out in the city of Roses...” — Trainwreck’d Society.
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Willamette Week NOVEMBER 26, 2014 wweek.com
MUSIC CALENDAR
[NOV. 26-DEC. 2] Jimmy Mak’s
= ww Pick. Highly recommended. Editor: Mitch Lillie. TO HAVE YOUR EVENT LISTED, send show information at least two weeks in advance on the web at wweek.com/submitevents. Press kits, CDs and especially vinyl can be sent to Music Desk, WW, 2220 NW Quimby St., Portland, OR 97210. Please include show or release date information with all physical mailings. Email: music@wweek.com. For more listings, check out wweek.com.
221 NW 10th Ave. The Curtis Salgado Band
Kells
112 SW 2nd Ave. Grafton Street
LaurelThirst Public House
2958 NE Glisan St. Holiday Jubilee (9:30 pm); Old Flames (6 pm)
C H R I S R YA N P H O T O . C O M
LAST WEEK LIVE
Magnolia’s Corner
4075 NE Sandy Blvd Moon by Night
Mississippi Studios
3939 N Mississippi Ave. Pure Bathing Culture, Tender Age
Ponderosa Lounge
10350 N Vancouver Way Breaking Midnight
Sandy Hut
1430 NE Sandy Blvd. Rum Rebellion, Raw Dog and the Close Calls, General Nasty, Nebraska Boy Snatchers
Star Theater
13 NW 6th Avenue Ryan Bingham
The Firkin Tavern 1937 SE 11th Ave. Slim Bacon, Zindu
The Horse Radish 211 W Main St. Blue Evolution
The Know
2026 NE Alberta St. Lexxi Vexx & The Modern Gentlemen, The Tanked
BIG MAC: Growing up, I hated Fleetwood Mac. But then in college, a close friend lent me a copy of Tusk, saying it was their “White Album” and also the one where the band’s drug use got a little too intense. I grew older, went through a few breakups, and grew to truly love my former enemies. Fleetwood Mac have been touring a lot the past few years, but the big news here is the return of Christine McVie after a 16-year absence. Though billed as the “On With the Show” tour, there was nothing resigned about the band’s performance at the Moda Center on Nov. 22. The hits from Rumours—“Dreams,” “Go Your Own Way,” “Gold Dust Woman”—naturally got the biggest responses, but for me, the real pleasure was when the band dived deeper into its back catalog. I nearly died when Lindsey Buckingham played “I Know I’m Not Wrong,” my favorite song off Tusk and easily the most amusing song of the night visually, with his dismembered floating head projected on the screen behind the band mouthing the words through a sea of colorful clouds. Sure, it was a little cheesy. But sometimes, we have to know when we are wrong, and just embrace the kitsch. MICHAEL MANNHEIMER. wed. Nov. 26 Al’s den
303 SW 12th Ave. Dusty Santamaria
Arlene Schnitzer Concert Hall
1037 SW Broadway Concert-at-Christmas
Cadigan’s Corner Bar 5501 SE 72nd Ave. Danny Hay Davis & The Rat Pack
dante’s
350 W Burnside St The Brothers Gow, South Saturn Delta
doug Fir Lounge
830 E Burnside St. Jamestown Revival, Nikki Lane, Pete Molinari
duff’s Garage
2530 NE 82nd Ave Suburban Slims Blues Jam, Arthur Moore’s Harmonica Party
eastBurn
1800 E Burnside St. Kory Quinn
edgefield
2126 SW Halsey St. Kris Deelane’s Sun Celebration
Hawthorne Theatre
1507 SE 39th Ave. He Is Legend, Maylene and the Sons Of Disaster
Holocene
The Know
1001 SE Morrison St. New Dadz DJs, DJ Honest John, The Flavr Blue, Tope, Coco Columbia, DJ 100Proof
2026 NE Alberta St. Carrion Spring, Edhochuli, Valkyrie Rodeo
Jade Lounge
6605 SE Powell Blvd. Pete Ford Band
2342 SE Ankeny St. Fez Fatale
Jimmy Mak’s
221 NW 10th Ave. The Christopher Brown Quartet, Mel Brown Quartet
Jo Rotisserie & Bar 715 NW 23rd Ave Tasha Miller, George Colligan Trio
Justa Pasta
1336 NW 19th Ave Anson Wright Duo
Kells
112 SW 2nd Ave. Pat Buckley
LaurelThirst Public House
2958 NE Glisan St. Lewi Longmire and the Left Coast Roasters, Pretty Gritty (9 pm); Love Gigantic (6 pm)
Mississippi Studios
3939 N Mississippi Ave. Hurry Up, Chanterelles
The GoodFoot Lounge 2845 SE Stark St. Shafty
The Lodge Bar & Grill
white eagle Saloon
836 N Russell St. Monica Nelson and The Highgates
wilf’s Restaurant & Bar 800 NW 6th Ave. Ron Steen Band
wonder Ballroom 128 NE Russell St. Alex Clare
THuRS. Nov. 27 Al’s den
Mississippi Pizza
3552 N Mississippi Ave. Hungry Hungry Hip Hop
FRi. Nov. 28 Al’s den
303 SW 12th Ave. Dusty Santamaria, Poison Waters: Black Friday
Aladdin Theater
3017 SE Milwaukie Ave. The Storm Large Holiday Ordeal
Alberta Rose Theatre 3000 NE Alberta St. The Next Waltz
Ash Street Saloon
225 SW Ash St. God Bless America, Car 87, Motorama, 13 Scars, Mr. Plow
dante’s
Chapel Pub
350 W Burnside St The Sorry Devils with Re-Ignition
dante’s
2530 NE 82nd Ave A Tribute to Chuck Berry
edgefield
1937 SE 11th Ave. Zindu, Slim Bacon
303 SW 12th Ave. Dusty Santamaria 430 N Killingworth St. Steve Kerin 350 W Burnside St Bar Pilots 2126 SW Halsey St. The Lowest Pair
Mississippi Pizza
3552 N Mississippi Ave. Red Yarn
duff’s Garage
The Lovecraft
421 SE Grand Ave. Shadowhouse, Elevenpond
The Secret Society
116 NE Russell St. The Supraphonics, Pete Krebs And His Portland Playboys
Tillicum Restaurant & Bar
8585 SW BeavertonHillsdale Hwy. John Nilsen and Swimfish
Tony Starlight Showroom
1125 SE Madison Reece Marshburn Quartet and Gretchen Rumbaugh
Torta-Landia
4144 SE 60th Ave. Elliot Ross
Trail’s end Saloon 1320 Main Street Scotty Bouck
white eagle Saloon
836 N Russell St. Vinyl Gold, Space Leech, Reverb Brothers
SAT. Nov. 29 Al’s den
303 SW 12th Ave. Dusty Santamaria
Aladdin Theater
3017 SE Milwaukie Ave. The Storm Large Holiday Ordeal
Alberta Rose Theatre 3000 NE Alberta St. The Next Waltz
Arlene Schnitzer Concert Hall
1037 SW Broadway Tale as Old as Time: Disney in Concert
Ash Street Saloon
Firkin Tavern
225 SW Ash St. Separation of Sanity, Chronological Injustice, Othrys, At The Seams
Hollywood’s Hot Rod Bar & Grill
1332 W Burnside Street Horse Feathers, The Cave Singers, Alialujah Choir
10810 NE Sandy Blvd. Sandy Saunders
Crystal Ballroom
doug Fir Lounge 830 E Burnside St. Shy Girls, Massacooramaan
Hawthorne Theatre Lounge
1503 SE Cesar E Chavez Blvd. Steve Wilkinson’s Birthday Party
Jimmy Mak’s
221 NW 10th Ave. The Curtis Salgado Band
LaurelThirst Public House
2958 NE Glisan St. The Foothills (9:30 pm); Anju’s Pale Blue Eyes (6 pm)
Mississippi Studios
3939 N Mississippi Ave. Tony Furtado
Peter’s Room
8 NW 6th Ave Lil Debbie, Caskey
Ponderosa Lounge
10350 N Vancouver Way Brewers Grade
Roseland Theater
8 NW 6th Ave. Trapfest: ETC! ETC! Mayhem, Lookas
Star Theater
13 NW 6th Avenue Wild Ones, Radiation City, the Commettes
The GoodFoot Lounge 2845 SE Stark St. Boys II Gentlemen, Members of Quick and Easy Boys and Excellent Gentlemen
The Know
2026 NE Alberta St. Pageripper, Bad Future, Brigadier
The Secret Society
116 NE Russell St. La Rivera, Beach Fire, Ezra Bell, the Midnight Serenaders
The Spare Room
4830 NE 42nd Ave Lisa Mann
The Tonic Lounge
3100 NE Sandy Blvd. Amos Val, Madam Officer, Long Hallways
Tony Starlight Showroom
1125 SE Madison Tony Starlight’s Neil Diamond Experience, Holiday Style
white eagle Saloon
836 N Russell St. West My Friend, The Stubborn Lovers, The Breaking, Soul Saturdays with DoveDriver
wilf’s Restaurant & Bar
800 NW 6th Ave. Devin Phillips Quartet, Jazz Saxaphone Extraordinaire
SuN. Nov. 30 Al’s den
303 SW 12th Ave. Kory Quinn
Ash Street Saloon 225 SW Ash St. Apathy Cycle, The Mormon Trannys
Crystal Ballroom
1332 W Burnside Street Stumptown Speakeasy: Inspirational Beets
doug Fir Lounge
830 E Burnside St. Possessed By Paul James
Hawthorne Theatre
1507 SE Cesar E. Chavez Blvd. The Pavelows, Surviving Yesterday, Harken, The Ukulinas, Deny The Mark, Collapse Of Man
Holocene
1001 SE Morrison St. New Move, Rio Grands
Jade Lounge
2342 SE Ankeny St. JD’s Senior Songwriter’s Showcase & Jam
Kells
112 SW 2nd Ave. Danny O’Hanlon
8775 SW Canyon Ln. Organic Blue Monday, Ed Neumann, JT Thomas, Johnny Moore
The Muddy Rudder Public House 8105 SE 7th Ave. Lloyd Jones
vie de Boheme 1530 SE 7th Ave. ARC Jazz Trio
white eagle Saloon 836 N Russell St. Singer Songwriter Showcase, Eric John Kaiser
LaurelThirst Public House
wonder Ballroom
Mississippi Studios
Al’s den
2958 NE Glisan St. Open Mic (9 pm); Freak Mountain Ramblers (6 pm) 3939 N Mississippi Ave. Bahamadia, Georgia Anne Muldrow, Dudley Perkins, Kankick
Newmark Theatre
1111 SW Broadway David Benoit Christmas Tribute to Charlie Brown
Rontoms
600 E. Burnside St. The Fur Coats, Appendixes
St. Stephen’s Catholic Church 1112 SE 41st Avenue Cantores in Ecclesia
vie de Boheme
1530 SE 7th Ave. Re-Birth of the Cool: Bebop & Beyond
white eagle Saloon 836 N Russell St. Close Talker
MoN. deC. 1
128 NE Russell St. Watsky
TueS. deC. 2 303 SW 12th Ave. Kory Quinn
Blue diamond
2016 NE Sandy Blvd. The Gretchen Mitchell Band
Cadigan’s Corner Bar 5501 SE 72nd Ave. Soul Provider, Naomi T
doug Fir Lounge
830 E Burnside St. Thee Oh Sees, Jack Name
duff’s Garage
2530 NE 82nd Ave Wingtips
edgefield
2126 SW Halsey St. Leon Cotter
embers Portland
11 NW Broadway Recycle Dark Dance Night
Ford Food and drink
Al’s den
2505 11th Ave #101 Pagan Jug Band
Artists Repertory Theatre
1001 SE Morrison St. Deafheaven, Lesbian, Usnea
303 SW 12th Ave. Kory Quinn
1515 SW Morrison St. Nol at Nol
Blue diamond
2016 NE Sandy Blvd. Hot Tea Cold
doug Fir Lounge
830 E Burnside St. Alvvays, Absolutely Free
edgefield
2126 SW Halsey St. Skip vonKuske’s Cellotronic
Jade Lounge
2342 SE Ankeny St. Los Dos
Jimmy Mak’s
221 NW 10th Ave. The Dan Balmer Trio
Kells
112 SW 2nd Ave. Danny O’Hanlon
Magnolia’s Corner
4075 NE Sandy Blvd Chuck Cheesman
Mississippi Studios
3939 N Mississippi Ave. Dustin Wong & Takako Minekawa
Montavilla Station 417 SE 80th Ave. Buzz Holland
Rock Creek Tavern
10000 NW Old Cornelius Pass Rd. Bob Shoemaker
The GoodFoot Lounge
duff’s Garage
2845 SE Stark St. Sonic Forum Open Mic
edgefield
2026 NE Alberta St. Rap Class
2530 NE 82nd Ave Djangophiles
The Lehrer
Holocene
Jimmy Mak’s
221 NW 10th Ave. Mel Brown Septet, CCC Faculty Ensemble
Kells
112 SW 2nd Ave. Danny O’Hanlon
Midnight Roundup
345 NW Burnside Rd. Open Mic Jam Session: Sacred Road Country Band
Mock Crest Tavern 3435 N Lombart St. Johnnie Ward & the Eagle Ridin’ Papas
Pub at the end of the universe 4107 SE 28th Ave. Open Jam
Rock Creek Tavern
10000 NW Old Cornelius Pass Rd. Open Bluegrass Jam
The Lehrer
8775 SW Canyon Ln. Hot Jam Night, Tracey Fordice and The 8-Balls
Triple Nickel Pub
3646 SE Belmont St. Eye Candy
vie de Boheme 1530 SE 7th Ave. Salsa Night
white eagle Saloon
836 N Russell St. Wandering Zero, Wooden Sleepers
The Know
2126 SW Halsey St. Michele Van Kleef
CONT. on page 39 Willamette Week NOVEMBER 26, 2014 wweek.com
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Willamette Week NOVEMBER 26, 2014 wweek.com
NOV. 26–DEC. 2
MUSIC CALENDAR THOMAS TEAL
BAR REVIEW
Where to drink this week. 1. Pips & Bounce 833 SE Belmont St., 928-4664. Because pingpong is the only racket sport you can safely play while blitzed. A dozen tables, a full bar, and a reasonable excuse to day-drink. 2. 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.
Give!Guide is HeRe! giveguide.org
3. 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. 4. 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. 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.
PARK LIFE: If you somehow woke up inside The Ranger Station (4260 SE Hawthorne Blvd., 894-8455, rangerstationpdx.com), it would be easy to believe you were actually inside a ranger station. The tiny and rustic Hawthorne District bar looks very much like a Roosevelt-era public works cabin, from the picnic-table-style wooden benches to slatted lawn chairs. Framed topographic maps and acoustic guitars hang from the walls, and a malfunctioning stove hood provides a cool draft from the kitchen. It’s a decidedly simple place. There’s probably at least one snow-bound Alaskan ranger with a larger liquor cabinet than this pub, where the most exotic offerings are a few bottles of top-shelf whiskey, fernet and three types of flavored Pinnacle vodka. The taps are limited to standard sports-bar offerings—Cavatica stout, Lost Coast tangerine wheat and Deschutes Fresh Squeezed IPA. But there’s a pleasing warmth to the space and a full lineup of shows, mostly bluegrass, with jazz on Sundays and the very occasional rock band. On an unbooked night, the soundtrack includes “Up on Cripple Creek” and the Devil Makes Three. Happy hour is generous ($3 draft beers until 7 pm), and the food menu brings things full circle with an elk burger and s’mores. MARTIN CIZMAR.
Moloko Plus
3967 N Mississippi Ave. Hans Fricking Lindauer Rhythm and Soul Review
Rotture
WED. NOV. 26 Ground Kontrol Classic Arcade 511 NW Couch St. TRONix
Moloko Plus
3967 N Mississippi Ave. King Tim 33 1/3
The Whiskey Bar 31 NW 1st Ave Aly and Fila
The Tonic Lounge
3100 NE Sandy Blvd. House Call
FRI. NOV. 28 Branx
320 SE 2nd Ave. Black Friday Blackout: Melvin and Klein, Hatrias, MC Flipside Boy Funk
Dig a Pony
736 Southeast Grand Ave.
THURS. NOV. 27 Analog Cafe & Theater 720 SE Hawthorne Blvd. House Call
Dig a Pony
736 Southeast Grand Ave. Montel Spinozza
The Lovecraft
421 SE Grand Ave. Shadowplay
The Spare Room
4830 NE 42nd Ave Jive Turkey! with DJ Gregarious
Cooky Parker
Doug Fir Lounge 830 E Burnside St. DJ $ew What
The GoodFoot Lounge
2845 SE Stark St. Soul Stew with DJ Aquaman
Holocene
1001 SE Morrison St. SNAP! 90’s Dance Party, Dr. Adam, Colin Jones, Freaky Outty
Lola’s Room
1332 W Burnside 80s Video Dance Attack
315 SE 3rd Ave. Cockpit Sublimate Takeover: No Cents, Sonic, Lurky, Art of Hot, Lo Fi Gecko
The Tonic Lounge
3100 NE Sandy Blvd. Rennie Foster, Sappho, the Messengers
The Whiskey Bar 31 NW 1st Ave Wuki
Valentines
232 SW Ankeny St. Deep Burn
SAT. NOV. 29 Holocene
1001 SE Morrison St. Main Squeeze Dance Party: DJs Kiffo & Rymes
The Lovecraft
421 SE Grand Ave. Dementia Dance Night Reunion 2
SUN. NOV. 30 Dig a Pony
736 Southeast Grand Ave. Do Right Sundays
The GoodFoot Lounge
2845 SE Stark St. MOM (Motown on Mondays) on Sunday
MON. DEC. 1 Cadigan’s Corner Bar 5501 SE 72nd Ave. Fight Church TV, Jessie
The Lovecraft
421 SE Grand Ave. Departures, DJ Waisted and Friends
TUES. DEC. 2 The Lodge Bar & Grill 6605 SE Powell Blvd. DJ Easy Finger
The Lovecraft
421 SE Grand Ave. Bones with DJ Aurora
The Whiskey Bar
31 NW 1st Ave Donald Glaude, Klyde Drexler, Rubin Sarafinchan
Willamette Week NOVEMBER 26, 2014 wweek.com
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Willamette Week NOVEMBER 26, 2014 wweek.com
nov. 26–dec. 2 HOTSEAT
= WW Pick. Highly recommended.
C O u T R E S Y O F S O P H I E K . E N T E R TA I M N E N T
PERFORMANCE
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 OPENINGS & PREVIEWS 5 Lesbians Eating a Quiche
Triangle Productions presents Evan Linder and Andrew Hobgood’s giddy little comedy, which finds five widows—all members of the Susan B. Anthony Society for the Sisters of Gertrude Stein—in an unnamed town in ‘50s America. The quiches have all been submitted for competition, but the threat of nuclear annihilation lurks outside. And, as happens in moments like these, confessions and secrets emerge. Sanctuary at Sandy Plaza, 1785 NE Sandy Blvd., 239-5919. 7:30 pm Thursdays-Saturdays and 2 pm Sundays through Dec. 20. $15-$35.
Blithe Spirit
In 1941, Noël Coward’s London flat and office were destroyed in the Blitz. So, as any sensible playwright would, he decided to take a writing holiday in coastal Wales, where he proceeded to write Blithe Spirit in less than a week (the general consensus seems to be six days). Given that it was written during wartime, it’s a fairly farcical romp: A novelist invites a clairvoyant to his house to hold a séance, and things go haywire when she inadvertently summons the ghost of his first wife. The play provided its original London audiences a brief break from the war, and Artists Rep seems to be angling its production as a respite from holiday stress. But the best argument for the production is the always great Vana O’Brien as the zany clairvoyant, a role she’s sure to relish. Artists Repertory Theatre, 1515 SW Morrison St., 241-1278. 7:30 pm Wednesdays-Sundays and 2 pm Sundays through Jan. 4. $25-$55.
A Christmas Survival Guide
Tigard’s Broadway Rose Theatre presents a holiday revue that is loosely organized around a self-help book, but is mostly an excuse for a quartet of performers to sing a lot of Christmas songs, do some silly choreography and whip out a few Elvis impersonations. Broadway Rose New Stage Theatre, 12850 SW Grant Ave., Tigard, 620-5262. 7:30 pm WednesdaysSaturdays and 2 pm Saturdays-Sundays through Dec. 21. $30-$41.
A Miracle on 43rd Street
For the second year, Hillsboro’s Bag & Baggage presents an over-the-top spoof that imagines a radio station attempting to put on a live broadcast of a classic Christmas tale, to shambolic effect. Last year’s production reinvented It’s a Wonderful Life, and this time it’s that much-loved story of the Macy’s Santa who claims to be the real Mr. Claus—only this version features a a vain diva, a show tunes-loving detective and a mob boss. Venetian Theatre, 253 E Main St., Hillsboro, 693-3953. 7:30 pm ThursdaysSaturdays and 2 pm Sundays through Dec. 23. Additional performances 7:30 pm Monday-Tuesday, Dec. 22-23. $22-$32.
Noël at Noël
Produced alongside Noël Coward’s Blithe Spirit, Artists Rep presents an evening of songs written by the polymathic playwright. There will be six singers, led by local favorite Susannah Mars. Artists Repertory Theatre, 1515 SW Morrison St., 241-1278. 7:30 pm Mondays, Dec. 1 and 8. $30.
Over the River and Through the Woods
Portland Civic Theatre Guild presents a staged reading of Joe DiPietro’s comedy about a Jersey boy who wants to move to Seattle, so his grandparents try to use a girl to bait him to stay. The Old Church, 1422 SW 11th Ave., 222-2031. 10:30 am Tuesday, Dec. 2. $8.
Rudolph: On Stage
Bad Reputation Productions revives its live-stage adaptation of the 1964 stopmotion TV special Rudolph the RedNosed Reindeer. Adapted by Shelley McLendon and directed by John Breen, the show pays loving homage to its source material, tugging on deepseated nostalgia without devolving into schmaltziness—or, crucially, trying for edginess with misguided scatalogical humor. It stars Jed Arkley as a wide-eyed, clumsy Rudolph and McLendon as his gal pal Clarice, who prances ever-so-delicately about the stage. Tony Marcellino portrays both the skinny jeans-clad Santa and misfit elf/aspiring dentist Hermey, constantly flicking his head to shake his blond Bieber bangs out of the way. Portland Mercury editor and veteran community-theater actor Wm. Steven Humphrey, meanwhile, slathers his face with white makeup and dons an elaborate costume (that, as noted in last year’s program, he built himself) as Sam the Snowman. All twinkly eye and swishy walk—the bottom snowball sways slowly side-to-side as he shuffles around—he presides over the yuletide proceedings in a fatherly and only occasionally creepy manner. CoHo Theater, 2257 NW Raleigh St., 220-2646. 8 pm Thursdays-Saturdays through Dec. 20. Kids’ matinees at 2 pm Saturdays, Dec. 6, 13 and 20. $21-$24.
ALSO PLAYING As You Like It
You don’t have to give Macbeth a lightsaber, turn Rosencrantz and Guildenstern into Mafiosi or set Twelfth Night at an office party in Tigard to reimagine Shakespeare. Making the Bard accessible is largely a matter of carefully breaking up the language and using blocking to reinforce its meaning. In this production of As You Like It by Post5 Theatre—which recently made the move from a low-slung space in Montavilla to a much larger, converted church in Sellwood—that’s exactly what director Ty Boice does, to fantastic result. The production’s time and place aren’t exact, but a handful of signifiers suggest it isn’t Shakespeare’s. A wrestler wears a luchador mask. The backing musical trio plays Blur’s gender-bending “Girls & Boys,” Edward Sharpe and the Magnetic Zeros’ anthemic “Home,” and the Proclaimers’ karaoke standby “I’m Gonna Be (500 Miles).” Characters smoke pot. These elements don’t so much lock the action into an era as they do bridge it from the Bard’s time to ours. But what really makes the show feel fresh is the cast’s thoughtful and nuanced delivery of the language. Of course, much of the comedy of the play, whether performed now or centuries ago, comes from the fact that Rosalind is a woman pretending to be a man. Buckner plays up that tension expertly, using a shticky John Wayne accent as Ganymede and slipping into her natural register when her character is under pressure. It’s clear we’re watching an actress play someone who’s acting, and it’s fun. As Post5’s first production in its new space, no one could have asked for a more auspicious start. JAMES HELMSWORTH. Post5 Theatre, 1666 SE Lambert St., 971-258-8584. 7:30 pm Fridays-Sundays through Dec. 13. $15; Sundays “pay what you can.”
Bat Boy: The Musical
Bat Boy: The Musical explores the simmering resentments and shadowy machination set in motion by our hero’s vague resemblance to the order Chiroptera. If this Funhouse Lounge production embraces a ramshackle approach, that only encourages a welcome verve within the late-’90s
CONT. on page 42
LICKETY BRIT ENGLISH COMIC MATT KIRSHEN MAKES HIMSELF MORE THAN A NOVELTY ACT. By R eBecca JacoB son
rjacobson@wweek.com
As a Brit living in the U.S., comedian Matt Kirshen knows his accent can be a bit distracting. But sometimes, it slips his mind that he sounds different from everyone else. “It’s like those monkeys that get raised by humans and then forget they’re monkeys,” says Kirshen, 34. “That’s what I’m like when I go into a bank.” And while his accent—or his youthful choirboy looks—might be the first thing to catch your attention, keep listening and you’ll be greeted with remarkably precise, whip-smart standup. The London-born Kirshen studied math in college, which seems to have rubbed off on his comedy: There’s an impressive logic to his intricately layered jokes, whether he’s offering rebranding strategies for post-Katrina New Orleans or marveling at gun-lovin’ Texans. On Saturday, Nov. 29, Kirshen hits Portland as part of comedy showcase Funny Over Everything. He talked to WW about Siri, Gallagher’s racism and witnessing a shooting in East Hollywood. WW: How does your math background influence your joke-writing? Matt Kirshen: Simon Singh wrote a book about how a surprising number of the Simpsons and Futurama writing teams are people with math degrees—in some cases quite advanced degrees. I just scraped through an undergraduate course. But you definitely use some of the same brain pathways when writing jokes and proving theorems. You’re connecting two unconnected topics in concise and interesting ways. How do you find your accent affects your act? I realized a while ago that I need to talk slower for the first minute so people can tune into my accent. Once they’ve got it, I can speed up and talk at my normal pace. But voice-recognition systems are the worst. Every so often I have to put on a bad American accent: “resERRRvations.” I gave up on Siri. Do you see yourself staying in the U.S.? I don’t have an end point. I like performing in America. The things that are kind of annoying when you’re trying to be recognized by the drive-
thru person become endearing and charming when in front of a standup audience. It’s quite nice being the Brit when you travel: You’ve got something original to talk about, and people think you’re much more intelligent and charming than you are. So your success is purely due to novelty? Are you asking what I’ve got to offer other than an accent and a smile? In the U.K., I was that white guy who tells jokes. In America, I’m that white guy who tells jokes and is from England. Onstage, it buys you 30 seconds worth of interest, but then you still have to not be bad. Or rather, you still have to be good— that’s a more optimistic way of putting it. That might be my Britishness shining through. Like, well, you’ve got to not be terrible. You know, not cock it up. How does audience reception shift? When I play a British crowd, the second I walk onstage and open my mouth, people know a lot about me. Britain is still divided into very specific, hugely different accents. The second I open my mouth, a British audience knows I’m a middle-class kid from somewhere near London. Whereas when I walk in front of an American audience, they still have preconceptions, but it’s just “English.” It’s far wider. It’s weird that in a foreign country I can be pigeonholed less than I can in my own country. You recorded an episode of your Probably Science podcast at Bridgetown in 2013, on which Gallagher said some very racist things about Mexicans. Did you catch any flak for that? No, I think people appreciated that episode for what it was. To this day, I still don’t know whether he was doing a bit on us or is genuinely an asshole. Or both. He’s probably somewhere along the spectrum. Can you tease any new material? I’ve got a story about a shooting I saw in L.A. It’s the funniest topic in the world! It wasn’t fatal. Nobody got hit. It’s more my reaction as somebody who grew up in a country where we don’t really have guns. In Britain, police don’t carry guns; criminals don’t tend to have guns. If someone shoots a gun, it’s news. This shooting was in East Hollywood—I was driving an American friend home at 2 in the morning. No one ended up on the sidewalk. That would be quite the way to begin a joke: “And I saw the life drain from his eyes. Good evening, Portland!” see it: Matt Kirshen is at the Hollywood Theatre, 4122 NE Sandy Blvd., 281-4215. 9:30 pm Saturday, Nov. 29. $10. Read an extended Q&A at wweek.com. Willamette Week NOVEMBER 26, 2014 wweek.com
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nov. 26–dec. 2
STEPHEN RuSK
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.
COMEDY Adam Ferrara
The co-host of the American version of Top Gear, who has also appeared on Rescue Me and The Job, brings his standup act to Helium. Local dude Anthony Lopez hosts. Helium Comedy Club, 1510 SE 9th Ave., 888-643-8669. 7:30 and 10 pm Friday-Saturday, Nov. 28-29. $20-$29. 21+.
ComedySportz
Family-friendly competitive improv comedy. ComedySportz, 1963 NW Kearney St., 236-8888. 8 pm FridaysSaturdays. $15.
Eh Things: A Clown Show
In Post5 Theatre’s clown show, written and directed by Cassandra Boice, a gaggle of absent-minded clowns sings some tunes and scrounges for cardboard and chocolate. Post5 Theatre, 1666 SE Lambert St., 971-258-8584. 9:30 pm Fridays-Saturdays through Dec. 13. “Pay what you will”.
Mamma Mia!
If you want to see this touring production about ABBA, you probably already know who you are. And if you want to see it on Thanksgiving Day, well, heaven help you. Keller Auditorium, 222 SW Clay St., 241-1802. 7:30 pm Wednesday-Friday, 2 and 7:30 pm Saturday and 1 and 6:30 pm Sunday, Nov. 26-30. $30-$85.
The Santaland Diaries
Like Santa Claus and Rudolph, this stage adaptation of David Sedaris’ stint as a Macy’s elf will never die— we’ve lost count of how many times Portland Center Stage has produced the one-man show. For the third year running, Darius Pierce dons the
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striped leggings as Crumpet. Gerding Theater, 128 NW 11th Ave., 445-3700. 7:30 pm Tuesdays-Sundays and 2 pm Saturdays-Sundays through Dec. 28. $25-$60.
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 Wednesday, Dec. 10; 2 pm Sundays, Nov. 30, Dec. 7, 14, 21. Through Dec. 21. $37.
Twist Your Dickens
In a move of stunningly bad taste, Portland Center Stage brings back this spoof of A Christmas Carol. Though the show boasts a seal of approval from Chicago improv behemoth the Second City, last year’s production left an aftertaste worse than that of spoiled eggnog. Jokes were alternately lazy (foul-mouthed nuns), insulting (“Police Navidad”) and tone-deaf (JFK’s assassination), with the talented cast hamstrung by the abysmal material. Many of those performers are returning this time around, which just makes us weep over the wasted comedic talent. Gerding Theater, 128 NW 11th Ave., 445-3700. 7:30 pm Tuesdays-Sundays, 2 pm SaturdaysSundays and noon Thursdays through Dec. 24. $29-$69.
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
Willamette Week NOVEMBER 26, 2014 wweek.com
The Brody folks put on another round of their popular elimination-style improv competition. Brody Theater, 16 NW Broadway, 224-2227. 9:30 pm Saturdays through Dec. 6. $7.
Mixology
Late-night comedy show with improv, sketch and standup. Curious Comedy, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 10 pm every Saturday. $5.
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.
Seven on 7
Improv jam show featuring Brody performers and other local improvisers. Brody Theater, 16 NW Broadway, 224-2227. 7 pm every Sunday. $5.
Fit to Print
You Are Here
An improv comedy show with sketches based on newspaper headlines. Curious Comedy, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 9:30 pm every fourth Friday through Nov. 28. $5.
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 Thursdays-Saturdays (and 2 pm Sunday, Nov. 22) through Nov. 29. $15-$25.
Micetro
The Brody folks present a show that mashes standup and improv, with seven comics each doing seven minutes and then a seven-member improv troupe riffing on the material. Brody Theater, 16 NW Broadway, 224-2227. 9:30 pm Friday, Nov. 28. $8.
Diabolical Experiments
BIG FAN: Savannah Fuentes performs at the Steep and Thorny Way to Heaven on Tuesday, Dec. 2.
Tango will rep the male persuasion each month. Curious Comedy, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 10 pm every fourth Friday. $5.
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 A Burlesque Nightmare Before Christmas
Analog Cafe’s annual holiday series salutes the movies of Tim Burton. A pre-show circus kicks things off, featuring aerialists, juggling and other circus acts. Later, dancers—Layne Fawkes, Johnny Nuriel, Alice Faeland, Jasmine Rain and others—take on roles like Jack Skellington, Edward Scissorhands and the Corpse Bride. Analog Cafe, 720 SE Hawthorne Blvd. 7:30 pm Sundays through Dec. 28 . $12. 21+.
Savannah Fuentes
Seattle-based flamenco dancer Savannah Fuentes presents Noches de Invierno, a celebration of flamenco arts and the Spanish New Year. Fuentes’ performances often feature a live singer, and this one is no different—Jose Anillo visits from Spain and performs live, accompanied by guitarist Bobby de Sofia. Trained in modern flamenco technique between trips to Spain and Seattle, Fuentes is known for her precise footwork and her focus on flamenco singing. The Steep and Thorny Way to Heaven, SE 2nd Avenue and Hawthorne Boulevard. 7:30 pm Tuesday, Dec. 2. $18-$35.
For more Performance listings, visit
Flying Fruitcake
Curious Comedy isn’t kidding with the “flying” thing: In addition to original sketch comedy, improv and musical spoofs, this holiday revue also features aerial displays. Curious Comedy, 5225 NE Martin Luther King Jr. Blvd., 477-9477. 7:30 pm Fridays-Saturdays through Dec. 20. $12-$15.
REVIEW A N DY B AT T
PERFORMANCE
Free Verse
Forget any stodginess you might associate with poetry readings. For this collaborative show, local poets bring new material to read aloud, which the Brody’s performers than transform into improvised sketches. In the second half of the evening, the poets craft new work based on improv scenes. Bam! Art. Brody Theater, 16 NW Broadway, 224-2227. 7:30 pm Saturday, Nov. 29. $9-$12.
The Funniest 5
For the second year running, WW polled this city’s comedy insiders to determine Portland’s funniest people. Read their profiles in this issue, and see all five, for free, tonight. Bossanova Ballroom, 722 E Burnside St., 206-7630. 7 pm Sunday, Nov. 30. Free. 21+.
Funny Humans vs. the Wheel
If you go to enough shows around town, you start to memorize comedians’ sets. Think of this weekly show, hosted by silly duo Adam Pasi and David Mascorro, as an antidote to all that repetition: Comedians start out with a planned set, but halfway through, they have to spin a wheel to determine what comes next—crowd work, one-liners, maybe even a heckle battle. Bar of the Gods, 4801 SE Hawthorne Blvd., 232-2037. 9 pm every Sunday. Free. 21+.
It’s Gonna Be Okay
Hosted by the ever-chipper Barbara Holm, this twice-monthly showcase is a prime spot to catch Portland’s top comics, as well as the occasional outof-towner. The cozy basement room is almost always packed (especially impressive for a Monday night), and Holm often tosses out prizes—plastic dinosaur figurines, comic books—to audience members. Also: free skee-ball afterwards. EastBurn, 1800 E Burnside St., 236-2876. 8:30 pm every first and third Monday. Free. 21+.
Ladies & Gentlemen
Each installment of this monthly improv showcase gets a different group of gals, while troupe Whiskey
LOSING BATTLE: For a few moments after the introductory dance barrage, right when one of Portland’s oldest comedy troupes settles down for a looooong winter’s slapstick, The 3rd Floor’s War on Christmas feels almost winnable. The opening gag is decent, with a rejected Cirque du Soleil applicant named Sabu the Indifferent Clown shrugging expressively as he leaves the stage. But as familiar targets— broad accents, shallow portraits and cringe-worthy clichés—pile on one another like so many penis-shaped fruitcakes, we come to envy Sabu’s fate. Oversold with keening desperation, this endless succession of jokeless death marches scarcely bothers to craft a recognizable comic premise. With performance intensity cranked to 11, it instead relies on the unsinkable hilarity of either pre-verbal fixations (vag waxing, sac flashing, pants pooping) or woefully dated celeb impressions (Suzanne Somers, Mama Cass, Jimmy Stewart). Imagine the very laziest ’70s Christmas variety show clumsily re-created during an open improv session. Teases of whatever prowess once sparked the 3rd Floor’s formidable momentum can be glimpsed whenever the performers borrow fully realized characters from other sources. But while troupe members clearly relish the comparatively fleshed-out personae of the Grinch and Cindy Lou Who, they’ve evidently no interest in sharpening their own material or indulging any of the efforts that actual humor requires. War, as they say, is hell. JAY HORTON. SEE IT: The 3rd Floor’s War on Christmas is at Miracle Theatre, 525 SE Stark St., 908-1141. 8 pm Fridays-Saturdays through Dec. 20. $15-$18.
It’s time to support Portland, Portland!
Give!Guide is HeRe! giveguide.org Willamette Week NOVEMBER 26, 2014 wweek.com
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VISUAL ARTS
nov. 26–dec. 2
= 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.
Stu Levy: Recent Landscapes—In Search of “What Else”
Dr. (Sir) Steven by Jo Hamilton
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.
Diane Avio-Augee and Carola Penn
pictorially, you couldn’t get further apart than painters diane avioaugee and carola penn, who headline a new two-person show at Mark Woolley. avio-augee paints abstractly with a vocabulary of organic shapes, drips and creamy impasto. penn, on the other hand, paints representationally, often focusing on forest scenes. her compositions teem with ferns, arcing trees and boldly colored leaves. The painters’ visions are so disparate they’re strangely complementary, making for a soothing and satisfying double-bill. Through Jan. 11. Mark Woolley Gallery @ Pioneer, 700 SW 5th Ave., 3rd floor, Pioneer Place Mall, 998-4152.
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.
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 dominated by nihilism, this is a refreshingly idealistic and uplifting show. Through Nov. 29. Augen DeSoto, 716 NW Davis St., 224-8182.
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, BostonNew Haven, it shows Goldin gazing vacantly out the train’s window at a blurred landscape. Generic and facile, it belies the artist’s longstanding 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 comehither 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.
Timothy Scott Dalbow
Timothy Scott dalbow is one of the most dedicated and talented painters in the Northwest. if your memory stretches back to the days of now-defunct galleries haze and New american art Union, you’ll recall dalbow’s scrumptious, compositionally sophisticated oil paintings, which have also been exhibited in group shows at spaces such as Laura Russo Gallery. dalbow has a new grid of 35 small paintings at the Radish Underground boutique, along with ravishing paintings on stretched and unstretched canvases. These artworks show him at the top of his form, finessing form and color with equal parts wit and muscularity. in the art world, it’s been said far too many times that “painting is dead,” so it’s a pleasure to see the medium freshly transformed and elevated by a midcareer master like dalbow. Through Dec. 31. Radish Underground , 414 SW 10th Ave., 928-6435.
For more Visual arts listings, visit 44
Willamette Week NOVEMBER 26, 2014 wweek.com
BOOKS
NOV. 26–DEC. 2
= WW Pick. Highly recommended. By PENELOPE BASS. TO BE CONSIDERED FOR LISTINGS, submit lecture or reading information at least two weeks in advance to: WORDS, WW, 2220 NW Quimby St., Portland, OR 97210. Email: words@wweek.com. Fax: 243-1115.
WEDNESDAY, NOV. 26 Matt Fraction
Eisner Award-winning writer and all-around comic superstar Matt Fraction (The Invincible Iron Man, Sex Criminals) will sign copies of his new series with Image Comics, ODY-C , tantalizingly described as a “gender-bent eye-popping psychedelic science fi ction odyssey.” So in other words, Burning Man? Cosmic Monkey Comics, 5335 NE Sandy Blvd., 517-9050. 4-6 pm. Free.
SATURDAY, NOV. 29 Indies First
Last year, author Sherman Alexie took a stand for independent bookstores by starting Indies First, which encourages authors to rally support for their local bookstores. Doing just that and serving as guest booksellers for the day will be Chelsea Cain, Brian Benson, Karen Karbo, Ben Parzybok, Whitney Otto, Brian Doyle, David Shafer, Natalie Serber and Joe Kurmaskie. Just don’t ask them where to fi nd copies of Twilight. Broadway Books, 1714 NE Broadway, 284-1726. 10:30 am-4:30 pm. Free.
SUNDAY, NOV. 30 À reading #12
Contemporary literature and performance series À reading continues with its 12th installation, hosting Portland poets Sara Sutter, Drew Swenhaugen and Leah Noble Davidson. Valentines, 232 SW Ankeny St., 248-1600. 5-8 pm. Free.
MONDAY, DEC. 1 Oregon History 101
The Oregon Encyclopedia continues its series of history lessons, exploring the events that have shaped the state as we know it today. Dr Jacqueline PetersonLoomis, professor emerita of history at Washington State University Vancouver, will present “A Good Beginning: Immigration, Ethnicity and Racial Exclusion in Oregon, 1850-1910.” McMenamins Kennedy School, 5736 NE 33rd Ave., 249-3983. 7 pm. Free.
Andrew Durkin
Andrew Durkin wants to know why we listen to music the way we do. The Portland-based writer, composer and leader of the Industrial Jazz Group explores the personal and cultural experiences that occur when we listen to music and how our listening habits are changing in the digital age. His new book is Decomposition: A Music Manifesto. Powell’s City of Books, 1005 W Burnside St., 800-878-7323. 7:30 pm. Free.
TUESDAY, DEC. 2 Richard Ford
Pulitzer Prize-winning author Richard Ford is reprising his iconic character Frank Bascombe from The Sportswriter and Independence Day for his newest novel, Let Me Be Frank With You. The book, which consists of four connected novellas, fi nds Frank at age 68 just a few weeks after Hurricane Sandy and coming to grips with aging, death and the ending of all things. Powell’s City of Books, 1005 W Burnside St., 800-878-7323. 7:30 pm. Free.
Small Press-a-palooza
In the middle-earth realm of publishing, where getting a book to press can feel as daunting as the trek to Mount Doom, small presses off er a viable alternative for writers. Willamette Writers will host a discussion panel with Seattle authors Terry Persun (managing editor for Pink Fish Press) and Renda Dodge (Inked),
and Portland author Jared John Smith about the ins and outs of small press publishing. The Old Church, 1422 SW 11th Ave., 2222031. 7 pm. $10.
Willamette Week’s 2nd Annual
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Funniest showcase At BOSSANOvA BAllROOm
For more Books listings, visit
REVIEW
RICHARD FORD, LET ME BE FRANK WITH YOU Perhaps it’s inevitable that any attempt at the Great American Novel written today would end in ruins. Like John Updike’s Rabbit series, Richard Ford’s four Frank Bascombe books have been one of the finest journeys in American letters, traveling through three decades’ worth of American life since the drifting highways of Hell and high wind. his 1986 novel The Sportswriter. In what will have to be the final chapter, Let Me Be Frank With You (Ecco, 256 pages, $27.99), it’s Christmastime and it’s bleak; the book consists of four linked stories of post-Hurricane Sandy New Jersey in which everything and everyone are falling apart or dying. Even Bascombe’s old beachfront home has been ripped off its foundation by wind. He’d sold it to a man named Arnie Urquhart during his years as a realtor, and in the first story he fears Arnie’s manic aggression in retribution. “People distrust realtors in a climate of disaster,” writes Ford. “We’re wild cards in the human deck, always filling out a winning hand. Though not me. Not now.” In 2006’s Lay of the Land, Bascombe was shot in the chest and stricken with prostate cancer, but though he walks with a “gramps shuffle,” it’s now everyone else who seems to be dying. The wreckage reads mostly as metaphor for the state of the country. In the early novels, he was filled with optimism for suburbia, strip malls and the open road—a self-conscious and lyrical lover of America with an eye toward getting by. Bascombe has always been a passive character, windswept by the national mood, but here he’s reduced to utter bystander, or sometimes anachronism. This is never more true than in the second story, in which an African-American woman returns to her birth home—Bascombe’s current house in Haddam, N.J.—to visit the site of family tragedy. Bascombe’s narration describes her as a “Negro,” and the character makes strange racial fumbles, referring to “spooks” in the basement. It’s “black as coal,” he continues. “Venture down there, and the jig’ll be up.” It’s a tone-deaf slapstick of white guilt—in a story whose whole point is white guilt. His references to Obama read equally off-key, as does his encounter with a transgender nurse in another story, and it’s difficult to parse whether this is a fault in the character or the writer. But through most of the book, Frank’s recession from the world is appropriate and intentional—his is a dignified vision of aging that involves subtracting rather than adding to one’s life. Frank is deeply alone in this book, and his wife is so absent you’d think he didn’t have one. But you get the feeling he likes it that way. It is a genial, expansive vision of loneliness, one not entirely without hope, and though alone, he is good company. MATTHEW KORFHAGE.
We polled Portland comedy insiders on the best fresh faces in standup. This Sunday, all five perform live at a free showcase hosted by Bri Pruett. The show features Sean Jordan, Curtis Cook, Steven Wilber, Christian Ricketts and Nariko Ott.
Sunday, november 30 • 7 p.m. FREE • 21+ • Bossanova Ballroom
GO: Richard Ford reads from Let Me Be Frank With You at Powell’s City of Books, 1005 W Burnside St., 228-4651. 12:30 pm Tuesday, Dec. 2. Free.
Willamette Week NOVEMBER 26, 2014 wweek.com
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WILLAMETTE WEEK’S THIRD ANNUAL
MISSISSIPPI STUDIOS December 16 5 - 9 p.m. | Free Entry
More Than 20 local makers of food, drink, craft, and everything in between. Finish (or start) your holiday shopping. Custom cocktails by New Deal Distillery and House Spirits, with Mississippi Studios
Vendors include:
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Willamette Week NOVEMBER 26, 2014 wweek.com
MOVIES
AP FILM STUDIES JAMES REXROAD
PORTLAND’S POET WALT CURTIS ON MALA NOCHE, PORTLAND’S LITERARY HISTORY AND HOLLYWOOD DILDOS. BY AP K RYZ A
apkryza@wweek.com
Poet Walt Curtis sits in a tiny room in his shared house in Kerns, amid stacks of books and papers and an in-progress abstract nude painting. As the smell of grilled meat wafts in from the Mexican restaurant next door, the 73-year-old opens a bottle of white wine, offers me a glass and produces a tiny tea cup from the pocket of his winter jacket. Curtis, the self-proclaimed unofficial poet laureate of Portland, has spent five decades preaching the gospel of local literature. But for film fans, he’ll forever be most closely associated with Mala Noche, his 1977 autobiographical chapbook, which was adapted by a thenunknown Gus Van Sant for his feature debut in 1986. A striking, black-and-white exercise in minimalist filmmaking, Mala Noche is the story of Curtis’ relationship with Pepper and Johnny, two undocumented young men from Mexico. It’s a simple tale that spans from tender romance to borderline obsession. It’s also a look back at a bygone era of Portland, set in the crumbling apartments of Old Town, defunct tavern Satyricon and a grimy convenience store. Today, many of the locations are clubs or condos. “I think the mass culture, they don’t think about nature, nor do they think about historical place,” Curtis says. “I’ve always been a little obsessed and distraught that all these things have been forgotten.” In person, Curtis alternates between rants and thoughtful asides. One moment, he calmly remembers his days as a street poet in Old Town. The next, he explodes in agitation, eyes bulging, ribbons of white hair sticking up as he rips a red winter hat from his mostly bald head to decry Portland’s overlooked legacies. Curtis has been a vocal advocate for the gay community and a loud voice against gentrification. You’re as likely to see him on the street practicing his unique form of social disruption—which generally involves a lot of yelling—as presiding over the Oregon Cultural Heritage Commission, which he co-founded in 1991, in part to preserve Portland’s literary roots. He and fellow former Satyricon bouncer Bruno will present Mala Noche at 7:30 pm Saturday, Nov. 29, at Portland State’s 5th Avenue Cinema. On a windy Wednesday afternoon, AP Film Studies visited Curtis at his house to talk about the making of Mala Noche and his own legacy. On Mala Noche’s inception: “The story goes that the chapbook was handed to Gus [by director Penny Allen]. He got intrigued. He said to me, ‘Walt, I’d thought about making a film about John Rechy’s City of Night, but I really like your book.’ I always felt that Gus, with this movie, was coming out. That may be right or wrong. It was one of the first gay movies of this era.” On the film’s budget: “We negotiated. There was a $20,000 budget. We did a simple contract. Gus would give me $300 in three payments. I’m very honored that it happened. To have a small-press chapbook, and have somebody make a film of it…I thank Gus very much for that. And we’re still in touch, off and on.” On the film’s historical importance: “The movie is a historical document. All those Skid Row
A ROOM OF HIS OWN: Poet Walt Curtis at his home in Kerns.
hotels are in there. The entire scene. The persons coming into [the convenience store] were real persons on the street. It has a large level of authenticity. A large part of the film was shot in my apartment. It’s become a condo now. We would go over to Satyricon, and I believe in the film there’s [author] Don Chambers, Marty Christensen the poet, there’s a musician singing in Greek, and there’s myself. It’s a historical document of Portland that no longer exists.” On the book vs. the film: “Seventy percent of it is from the book, then Gus created various scenes. In the chapbook, I was worried that these young Mexicans were going to get shot, or the cops were going to arrest them, but we realized that that wasn’t enough for a movie. Somebody had to die, so we sacrificed Pepper.”
literary history is ignored], and I’m a serious fucker. I’m not a joker. This pisses me off. You don’t have to wear people out on it. Just give them somewhere to go. It’s not putting people down, it’s saying, ‘Look into this.’ Before I die, I think it’s important that there becomes a curriculum [about Portland’s literary history]. I have all this at my mental fingertips before the stroke hits.” ALSO SHOWING: Film historian Dennis Nyback presents a program called Lindy Hop, Jumpin’ Jazz & Jitterbug, a collection of 16 mm music-and-dance films from the ’40s and ’50s. Hollywood Theatre. 7:30 pm Wednesday, Nov. 26. The Joy’s free Weird Wednesday series unearths Fun in Balloon Land, a 1965 schlockfest about a kid who wakes up in a land of giant balloons. Joy Cinema. 9:15 pm Wednesday, Nov. 26.
On misconceptions about the film’s sexual relationships: “There’s a lot of sweetness [to our relationship], and I feel as though the critics categorized me as a pervert. I was as poor as [Johnny and Pepper] were. These were really my friends. It was just a weird time near Satyricon on Skid Row.”
In Rocky IV,, Sly Stallone defeats communism and wins the Cold War through the power of poorly choreographed punches. Hecklevision, do your worst. Stallone sure did. Hollywood Theatre. 9:30 pm Friday, Nov. 28.
On Van Sant’s other work: “Drugstore Cowboy had a lot more money. It was an excellent, interesting script. Gus Van Sant got power out of doing Mala Noche. It allowed him to get power to do Drugstore Cowboy. I liked Gus bringing Matt Dillon back. Matt Dillon was a dildo, but he was good in Drugstore Cowboy. And Robin Williams in Good Will Hunting. Gus got something out of Robin Williams, and I think he’s a fucking dildo, too, but he got a great performance out of him. He got Sean Connery with that silly writers movie [Finding Forrester]. Horseshit. He gave Matt Damon a career and a fucking Oscar.”
The NW Film Center’s film noir series includes Orson Welles’ The Stranger, the Joseph Cotten-Marilyn Monroe vehicle Niagara and overlooked Bogart classic Dark Passage. NW Film Center’s Whitsell Auditorium. Nov. 28-30. See nwfilm.org for full listings.
On Portland’s literary history: “Portland is being overwhelmed by newcomers. They don’t know anything about our regional literature. All these people coming here are from a weird, amorphized, generic, corporate, sound-bite, idiot reality. If you don’t know your roots, or what the history of your place is— I’m not gonna get stupid here, I don’t want to hear about Grandma’s washing tub or something. If you don’t know the history—for example, that Charles Erskine Wood founded the library and argued before the Supreme Court and was a friend of Chief Joseph. How can you connect to your community if you don’t have a sense of it?” On his own legacy: “I personally feel all this knowledge I have is underutilized. We all have to die at a certain point—blah blah blah, who cares. It’s fucking offensive to me [that Oregon’s
It’s Thanksgiving weekend, which means your incessant Yuletide-themed enema is about to begin. Kick it off with a little bloodshed in Gremlins. 5th Avenue Cinema. 7 and 9:30 pm Friday-Saturday and 3 pm Sunday, Nov. 28-30. Eddie Murphy and Dan Aykroyd remind us they used to be two of comedy’s greatest stars, in Trading Places. What the hell happened? Academy Theater. Nov. 28-Dec. 4. In Good Will Hunting, see Walt Curtis’ favorite performance by “a fucking dildo.” Laurelhurst Theater. Nov. 28-Dec. 4. In Say Anything…, John Cusack proves you can win hearts through a combination of devastating handsomeness and borderline sociopathic persistence. Kiggins Theatre. Opens Friday, Nov. 28. As fantasy cinema gets more violent and creepily sexual, The Princess Bride remains timeless for its balance of wit, whimsy, old-fashioned romance and rodents—and French wrestlers—of unusual size. Kiggins Theatre. Opens Friday, Nov. 28. Organist Dean Lemire provides a live organ score to accompany Buster Keaton’s classic The Navigator. Hollywood Theatre. 1 pm Saturday, Nov. 29. B-Movie Bingo goes all out with Deadly Target, a film rife with misogyny, bullets, ethnic stereotypes and, um, shiteating? Hollywood Theatre. 7:30 pm Tuesday, Dec. 2. Willamette Week NOVEMBER 26, 2014 wweek.com
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nov. 26–dec. 2
= 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 Bitter Honey
[ONE DAY ONLY, DIRECTOR ATTENDING] Robert Lemelson screens his new documentary, which follows three polygamous families in Bali over the course of four years. Hollywood Theatre. 4:30 pm Sunday, Nov. 30.
Broken Heart Land
[ONE WEEK ONLY] Jeremy and Randy Stulberg’s new documentary tells the story of a gay teenager in Oklahoma who committed suicide in 2010, posing questions about gay rights, HIV/ AIDS and homophobia in small-town America. Clinton Street Theater.
Food Chains
[THREE DAYS ONLY] What should you do after stuffing your face on Thanksgiving? Why, go see a documentary about the mistreatment and exploitation of farm labor in the U.S. Clinton Street Theater. 5 pm FridaySunday, Nov. 28-30.
Hidden Legacy: Japanese Traditional Arts in the World War II Internment Camps
[ONE DAY ONLY, DIRECTOR ATTENDING] Oregon Nikkei Endowment presents a screening of a new documentary about how artists in Japanese internment camps worked to maintain their traditions. There will also be live performances of koto music (featuring director Shirley Kazuyo Muramoto-Wong) and Japanese folk dance. Hollywood Theatre. 2 pm Sunday, Nov. 30.
Horrible Bosses 2
B Three years after a trio of pro-
fessionals conspired to murder their employers, Horrible Bosses 2 finds the B-list wolfpack (Jason Bateman, Jason Sudeikis, Charlie Day) again nudged toward criminal vengeance upon rather more marketable co-stars. This goround, Christoph Waltz and Chris Pine play father-and-son catalog magnates out to steal the boys’ new invention—a shampoo- and soap-dispensing showerhead—through altogether legal and fairly logical machinations. But, as soon as the 1-percenters threaten to ship manufacturing jobs overseas (the modern-day equivalent of roping a damsel to the train tracks), our heroes are begging Jamie Foxx for felonious pro tips. Where the original blanketed any satirical edge beneath formulaic conventions and indulgent star turns, new director Sean Anders’ unrepentant hackiness dispels any semblance of narrative construct. Instead, he throws all his energies behind his leads’ banter-driven interplay, which works undeserved miracles. Bateman’s simmering slow burn, Day’s demented excitability and Sudeikis’ aggro-aggreeability feel taken from different universes, yet somehow humanized—Bateman’s insufferable self-regard becomes wry, while Day’s near-feral psychoses seem adorable. Lord only knows what the three could make of a decent script and competent direction. R. JAY HORTON. Cornelius, Division, Evergreen Parkway, Hilltop, Lloyd Center, Lloyd Mall, Movies on TV, Tigard, Wilsonville.
Pelican Dreams
B- Judy Irving really, really likes pelicans. Which isn’t exactly a surprise, given that the Bay Area resident’s best-known work is 2003’s The Wild Parrots of Telegraph Hill, a quirky, critically acclaimed account of an unemployed musician’s relationship with a flock of feral cherry-headed conures. Pelican Dreams, which Irving produced, directed, filmed, edited and stars in, is something of a personal ode to the formerly endangered water birds she calls “flying dinosaurs.” Much like HBO’s recent Saving Pelican 895, the film is structured around the rehabilitative efforts to save a single pelican: in 895’s case, an oil-saturated survi-
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vor of the Deepwater Horizon spill; in Pelican Dreams, a dehydrated and disoriented bird found wandering in the northbound lanes of the Golden Gate Bridge. Irving immediately anthropomorphizes the pelican and nicknames her “Gigi,” to the visible dismay of wildlife center staff. The rest of the film weaves footage of Channel Island nesting sites and pelican-related news events both recent and historical (oil spills, DDT), with voice-overs of Irving waxing philosophical about everything from her childhood to how much the subject of Wild Parrots—now her husband—would love to have an upclose and personal encounter with a pelican. Narrative aside, the breathtaking cinematography and rare footage of pelican nesting behavior makes the film one of the better nature documentaries of the year. G. KAT MERCK. Cinema 21.
Penguins of Madagascar
The besuited birds are back, trying to prevent an evil octopus from taking over the world. Sorry, WW was too hung over to make the Saturdaymorning screening. PG. Cornelius, Division, Evergreen Parkway, Hilltop, Lloyd Center, Lloyd Mall, Movies on TV, Tigard, Wilsonville.
V/H/S Viral
C- Since debuting in 2012, foundfootage horror anthology V/H/S has been a hodgepodge of hackneyed gore punctuated by some truly great entries. Hell, V/H/S 2 included a genre classic, thanks to Gareth Evans’ look at a cult going full Jonestown on KoolAid day. So it’s not unreasonable to expect at least a sliver of greatness in the third installment, Viral. Alas, the best it can do is a “well, that wasn’t horrible,” courtesy of filmmaker Nacho Vigalondo. With “Parallel Monsters,” the Spanish director of Timecrimes offers a perversely funny glimpse at a scientist who trades places with his Bizarro World self after opening an interdimensional portal. Otherwise, Viral is an abysmal step back for the series, with a wraparound story that makes even less sense than the previous entries’ concept of haunted videotapes. Kicking off with a faux documentary about a deranged modern magician and capping with a skaters-vs.-ghouls battle that plays out like watching somebody else play a bad first-person shooter game, Viral is one of the worst horror anthologies in recent memory—and I’m lumping Tales From the Hood into that equation. R. AP KRYZA. Hollywood Theatre.
STILL SHOWING 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 audience. PG. JAY HORTON. Cornelius, Division, Evergreen Parkway, Hilltop, Lloyd Center, Lloyd Mall, Tigard, Wilsonville.
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 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
Willamette Week NOVEMBER 26, 2014 wweek.com
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. Lloyd Mall, Fox Tower.
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. Laurelhurst, Cornelius, Mt. Hood.
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. Laurelhurst, Mission, Mt. Hood, Vancouver, Academy.
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 college-set race satire so smart, gutsy and relevant. R. REBECCA JACOBSON. Cinema 21.
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. 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, well-acted Lifetime movie ever. R. AP KRYZA. Lloyd Center, Movies on TV, Fox Tower.
Guardians of the Galaxy
A- A strangely wonderful, thoroughly
enjoyable sci-fi romp. PG-13. JAY HORTON. Laurelhurst, Academy.
The Hunger Games: Mockingjay, Part 1
B- When last we met Katniss Everdeen (Jennifer Lawrence), the bow-wielding heroine was being rescued from the eponymous death match and thrust into the role of reluctant revolutionary. Now, in the first half of The Hunger Games’ concluding installment, Katniss’ outlying District 12 has been reduced to ashen rubble. The surviving insurrectionists gather in a drab underground bunker where their president (Julianne Moore) tries to enlist an unwitting Katniss into their noble cause. The Games are conspicuous in their absence. The latent cruelty of that tournament is responsible for nearly all of the franchise’s most indelible moments: That feeling of lambs going to slaughter is both exhilarating and tragic, and shorn of this, the new film has no real hook. PG-13. MICHAEL NORDINE. Bagdad, Cornelius, Moreland, Oak Grove, Division, Evergreen Parkway, Hilltop, Lloyd Center, Lloyd Mall, Movies on TV, Tigard, Wilsvonille, Roseway, St. Johns Cinemas.
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 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?!” The plot finds former pilot Cooper (Matthew McConaughey), raising his kids and crops on a blighted Earth, and then enlisted by a speechifying Michael Caine to captain a space expedition. 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. PG-13. AP KRYZA. Cornelius, Division, Evergreen Parkway, Hilltop, Lloyd Center, Lloyd Mall, Movies on TV, Tigard, Wilsonville, Fox Tower.
The Judge
D+ Having reluctantly flown home to rural Indiana to attend his mother’s funeral, high-powered lawyer Hank Palmer (Robert Downey Jr.) is forced to confront his estranged father (Robert Duvall), the gavelwielding patriarch of the title whose every utterance makes Hank feel inadequate and unloved. Watching Iron Man work out his daddy issues for well over two hours proves painful for everyone involved, so drawn-out and overwrought is every torturous detail. R. MICHAEL NORDINE. Laurelhurst, Tigard, Vancouver, Academy.
Nightcrawler
B+ With eyes bulging from his gaunt
skull like a Chihuahua trapped in an industrial vise, Jake Gyllenhaal is
REVIEW COURTESY OF KINO LORBER
MOVIES
Dumb and Dumber To
B Twenty years after Dumb & Dumber entrenched the Farrelly brothers as keepers of a frat house of filmic offense, the directors return to their first heroes for the sequel just about nobody demanded. As if there were any doubt, Harry Dunne (Jeff Daniels) and Lloyd Christmas (Jim Carrey) remain resolutely unchanged. By means of a long-mislaid postcard, Harry finds out he has a daughter, and, as happens, he needs a kidney while Lloyd wants to bone her. What results is a fusillade of absurdist puns and scatological taunts amid a Lifetime picture about two mildly disabled friends on an amiable, misguided quest. It all should feel tragic— few things age more poorly than the charms of an arrested boyhood—but the film takes pains to resist portraying Harry and Lloyd as sympathetic characters. PG-13. JAY HORTON. Cornelius, Division, Evergreen Parkway, Hilltop, Lloyd Center, Tigard, Wilsonville.
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. R. MICHAEL NORDINE. Laurelhurst, Academy, Division, Movies on TV.
Fury
C David Ayer sets up Fury as a 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. Division, Movies on TV, Fox Tower.
Gone Girl
B+ Gone Girl centers on Nick and Amy
Dunne (Ben Affleck and Rosamund Pike), a couple whose relationship
FARTHOUSE CINEMA: Jean-Luc Godard could make a movie about a potato and produce something engrossing. Goodbye to Language is a new 3-D essay film by this luminary of the French New Wave, which is another way of saying it’s unlike anything else you’ll see this year. Unless you’re familiar with Godard’s other semi-recent work, it may also be unlike anything else you’ve ever seen in your life. The 70-minute opus is borderline impenetrable, but it’s a singular experience worth seeking out: It boasts footage of the filmmaker’s own dog, an adorable mutt named Roxy, as well as conversations about how sitting on the toilet represents the only true equality. As for the 3-D, well, it should come as no surprise that it’s rarely been deployed in such an avantgarde fashion. Ostensibly mundane images—trees, ponds, windshield wipers—leap off the screen with a force that’s almost violent. Text frequently clouds the frame and is just as confrontational. The film has little in the way of a conventional narrative, but as a sensory immersion into one of the most vaunted cinematic minds, it’s nonpareil. No topic is off-limits to the adulterous couple that serves as the film’s primary noncanine characters. Their conversations about God and the economy are both abstruse and slapsticky. There are also a lot of farting noises. Go to the theater with a friend whose taste in movies you think you share, and then steel yourself for one of the most puzzling, antagonistic post-film conversations you’ll ever have. MICHAEL NORDINE. B+
SEE IT: Goodbye to Language opens Friday at Cinema 21.
NOV. 26–DEC. 2 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, what emerges is one of the slimiest, most disarming sociopaths to hit theaters in some time. R. AP KRYZA. Lloyd Mall, Movies on TV, Fox Tower.
Rosewater
B Rosewater is a torture film in
which suffering is beside the point. Gael García Bernal plays unjustly imprisoned Iranian-Canadian journalist Maziar Bahari, and 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 after filming a riot in the wake of President Mahmoud Ahmadinejad’s spurious re-election in 2009. This has been adapted to film by The Daily Show’s Jon Stewart, who brings the same jaunty momentum, schoolboy wit and self-congratulatory sincerity that make his comedy news program popular. R. MATTHEW KORFHAGE. Fox Tower.
St. Vincent
B- 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, 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. PG-13. AP KRYZA. Oak Grove, Division, Lloyd Mall, Movies on TV, Tigard, Fox Tower.
MOVIES
The Theory of Everything
B- A brief history of Stephen Hawking’s 30-year marriage to Jane Wilde, The Theory of Everything fits a tad too snugly into the biopic tradition. Anyone who’s seen Errol Morris’ expressionistic 1992 documentary on Hawking knows a conventional approach isn’t ideal for the ALSafflicted genius—which isn’t to say James Marsh’s new film doesn’t succeed on its own more modest terms. Here, Hawking’s contributions to the fields of physics and cosmology take a backseat to the story of his and Wilde’s courtship, marriage and eventual divorce. But Eddie Redmayne and Felicity Jones do a superb job bringing Hawking and Wilde to life, like two shining stars revolving around the same tragic center of gravity. PG13. MICHAEL NORDINE. Evergreen Parkway, Lloyd Center, Fox Tower.
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 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. But Whiplash is 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. Fox Tower.
The Tale of the Princess Kaguya
From Studio Ghibli cofounder Isao Takahata comes a hand-drawn adaptation of a 10th-century Japanese folk tale about a girl who emerges from a stalk of bamboo. PG. Laurelhurst.
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COURTESY OF LACUNA FILMES
REVIEW
BACH AND BELLE (AND SEBASTIAN): Forget the love triangle. The Way He Looks gives us the love rhombus. Giovana loves Leonardo but Leonardo loves Gabriel and Gabriel loves Belle and Sebastian. The film, from Brazilian writer-director Daniel Ribeiro, tells the story of Leonardo, a sensitive, classicalmusic-loving blind boy growing up in São Paulo. Giovana is his best friend and, in the words of the school bullies, his guide dog. Gabriel is the cute new boy who changes everything, and not just because he prefers Belle and Sebastian to Bach. Thanks to his dashing good looks and contagious sense of adventure—not to mention his BMX bike—Gabriel quite literally sweeps Leonardo off his feet. Giovana is left to suck sour grapes, but only for as long as a sweet movie like this allows. The Way He Looks unfolds with the subtle and pleasing pace of a young-adult novel. Characters suffer, but only with the pangs of disappointed affection. In the end, they get what they want. And the bullies get what they deserve. DEBORAH KENNEDY. B+ SEE IT: The Way He Looks opens Friday at Living Room Theaters.
Willamette Week NOVEMBER 26, 2014 wweek.com
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Hunger Games: The Mockingjay, Part 1 XD (PG-13) 10:45AM 1:45PM 4:45PM 7:45PM 10:45PM Interstellar (PG-13) 11:30AM 3:15PM 7:00PM 10:05PM John Wick (R) 2:20PM 7:20PM Theory Of Everything, The (PG-13) 10:15AM 1:15PM 4:15PM 7:15PM 10:15PM Kirk Cameron’s Saving Christmas (PG) 10:30AM 12:55PM 3:25PM 5:45PM 8:05PM Penguins Of Madagascar, The (PG) 10:00AM 12:30PM 1:20PM 3:00PM 5:30PM 6:20PM 8:00PM 10:30PM St. Vincent (PG-13) 11:00AM 4:35PM 10:15PM Ouija (PG-13) 11:50AM 4:55PM 10:40PM Penguins Of Madagascar, The 3D (PG) 10:50AM 11:35AM 2:10PM 3:50PM 4:40PM 7:10PM 8:50PM 9:40PM
Big Hero 6 3D (PG) 2:25PM 7:55PM Big Hero 6 (PG) 10:50AM 11:40AM 1:35PM 4:20PM 5:10PM 7:05PM 9:50PM 10:40PM Hunger Games: The Mockingjay, Part 1 (PG-13) 10:00AM 11:15AM 11:45AM 12:20PM 1:00PM 2:15PM 2:50PM 3:20PM 4:00PM 5:20PM 5:50PM 6:20PM 7:00PM 8:20PM 8:55PM 9:30PM 10:00PM Beyond The Lights (PG-13) 10:25PM Birdman (R) 1:40PM 7:20PM Gone Girl (R) 11:55AM 3:20PM 7:00PM 10:25PM Horrible Bosses 2 (R) 10:40AM 11:45AM 1:25PM 2:30PM 4:10PM 5:15PM 6:55PM 8:00PM 9:45PM 10:45PM Dumb And Dumber To (PG-13) 11:20AM 2:05PM 5:00PM 7:50PM 10:35PM Fury (R) 10:00AM 1:10PM 4:20PM 7:25PM 10:35PM
Nightcrawler (R) 7:15PM
Big Hero 6 (PG) 10:15AM 11:35AM 2:15PM 3:35PM 4:55PM
Interstellar (PG-13) 2:50PM 6:30PM 10:10PM
7:35PM 9:00PM 10:15PM
Theory Of Everything, The (PG-13) 10:45AM 1:40PM
Big Hero 6 3D (PG) 12:55PM 6:15PM
4:35PM 7:30PM 10:25PM
Hunger Games: The Mockingjay, Part 1 (PG-13)
St. Vincent (PG-13) 4:50PM 10:30PM
10:00AM 10:45AM 11:30AM 12:15PM 1:00PM 1:45PM
Penguins Of Madagascar, The (PG) 9:30AM 11:15AM
2:30PM 3:15PM 4:00PM 4:45PM 5:30PM 6:15PM 7:00PM
1:00PM 2:40PM 4:25PM 5:15PM 7:00PM 8:45PM
7:45PM 8:30PM 9:15PM 10:00PM 10:40PM
Penguins Of Madagascar, The 3D (PG) 10:25AM 12:05PM
Fury (R) 10:40AM 1:45PM 7:45PM
1:50PM 3:35PM 6:10PM 7:50PM 9:35PM 10:25PM
Dumb And Dumber To (PG-13) 2:00PM 4:40PM 7:20PM
Horrible Bosses 2 (R) 10:25AM 11:45AM 1:05PM 2:25PM
10:00PM
3:45PM 5:05PM 6:25PM 7:45PM 9:05PM 10:25PM
Birdman (R) 1:35PM 4:25PM 10:05PM
John Wick (R) 11:10AM 1:55PM 4:35PM 7:10PM 9:50PM Interstellar (PG-13) 11:00AM 2:50PM 6:30PM 10:15PM St. Vincent (PG-13) 11:20AM 2:10PM 4:55PM 7:35PM 10:10PM Penguins Of Madagascar, The (PG) 11:25AM 12:15PM 2:45PM 4:25PM 5:15PM 7:45PM 9:30PM 10:15PM Penguins Of Madagascar, The 3D (PG) 10:30AM 1:00PM 2:00PM 3:30PM 6:05PM 7:00PM 8:30PM Nightcrawler (R) 11:05AM 2:00PM 4:50PM 7:40PM 10:30PM Horrible Bosses 2 (R) 11:00AM 12:40PM 1:45PM 3:30PM 4:30PM 6:20PM 7:30PM 9:10PM 10:30PM
Big Hero 6 3D (PG) 10:10AM 3:35PM 9:10PM Beyond The Lights (PG-13) 10:15AM 4:25PM 10:30PM Hunger Games: The Mockingjay, Part 1 (PG-13) 10:15AM 11:30AM 12:30PM 1:30PM 2:45PM 3:45PM 4:45PM 6:05PM 7:00PM 8:00PM 9:15PM10:15PM 11:00PM Fury (R) 1:05PM 7:25PM Dumb And Dumber To (PG-13) 11:10AM 2:05PM 5:00PM 7:50PM 10:30PM Big Hero 6 (PG) 11:05AM 12:50PM 1:45PM 4:40PM 6:20PM 7:30PM 10:20PM
FRIDAY
NOV. 28–DEC. 4 C O U R T E S Y O F WA R N E R B R O S .
MOVIES
BOGIE AND BACALL: Dark Passage plays at 4:45 pm Sunday, Nov. 30, at the NW Film Center’s Whitsell Auditorium.
CineMagic Theatre
2021 SE Hawthorne Blvd., 503-231-7919 INTERSTELLAR Fri-SatSun-Mon-Tue-Wed 05:00, 08:30
Regal Lloyd Center 10 & IMAX
1510 NE Multnomah St. INTERSTELLAR: THE IMAX EXPERIENCE Fri-Sat-SunMon-Tue 11:10, 03:00, 06:50, 10:40 HORRIBLE BOSSES 2 Fri-Sat-SunMon-Tue 12:40, 03:45, 07:20, 10:05 PENGUINS OF MADAGASCAR FriSat-Sun-Mon-Tue 11:30, 04:30, 07:10 PENGUINS OF MADAGASCAR 3D FriSat-Sun-Mon-Tue 02:00, 09:40 THE HUNGER GAMES: MOCKINGJAY, PART 1 Fri-Sat-Sun-MonTue 11:45, 12:30, 01:00, 02:45, 03:35, 04:20, 06:30, 07:00, 07:30, 09:45, 10:15, 10:45 DUMB AND DUMBER TO Fri-Sat-Sun-Mon-Tue 12:20, 03:25, 06:20, 09:30 BIG HERO 6 Fri-Sat-SunMon-Tue 11:20, 02:10, 07:40 INTERSTELLAR Fri-SatSun-Mon-Tue 09:35 BIG HERO 6 3D Fri-Sat-SunMon-Tue 04:55, 10:20 THE THEORY OF EVERYTHING Fri-Sat-Sun-Mon-Tue 12:10, 03:15, 06:40, 09:55 GONE GIRL Fri-Sat-Sun-Mon-Tue 11:30, 02:50, 06:15
Regal Lloyd Mall 8
2320 Lloyd Center Mall HORRIBLE BOSSES 2 Fri-Sat-Sun-Mon-TueWed 03:05, 05:55, 08:40 PENGUINS OF MADAGASCAR FriSat-Sun-Mon-Tue-Wed 05:30 PENGUINS OF MADAGASCAR 3D FriSat-Sun-Mon-Tue-Wed 02:45, 08:25 THE HUNGER GAMES: MOCKINGJAY, PART 1 Fri-Sat-Sun-MonTue-Wed 02:30, 03:00, 05:25, 06:00, 08:30, 09:00 BIG HERO 6 Fri-Sat-SunMon-Tue-Wed 05:40 BIG HERO 6 3D Fri-Sat-SunMon-Tue-Wed 02:35, 08:45 INTERSTELLAR Fri-SatSun-Mon-Tue-Wed 03:40, 08:15 NIGHTCRAWLER Fri-Sat-Sun-Mon-Tue-Wed 08:20 ST. VINCENT FriSat-Sun-Mon-Tue-Wed 02:50, 05:50 BIRDMAN OR (THE UNEXPECTED VIRTUE OF IGNORANCE) Fri-SatSun-Mon-Tue-Wed 03:15, 06:10, 09:05
Bagdad Theater
3702 SE Hawthorne Blvd. 503-249-7474 THE HUNGER GAMES: MOCKINGJAY, PART 1 FriSat-Sun-Mon-Tue-Wed 12:00, 03:15, 07:00, 10:30
Cinema 21
616 NW 21st Ave., 503-223-4515 GOODBYE TO LANGUAGE 3D Fri-Sat-Sun-Mon-Tue-
50
Willamette Week NOVEMBER 26, 2014 wweek.com
Wed 05:15, 07:15, 09:00 PELICAN DREAMS Fri-SatSun-Mon-Tue-Wed 04:30, 06:45, 08:45 DEAR WHITE PEOPLE Fri-Sat-Sun-MonTue-Wed 04:15, 07:00, 09:15
Clinton Street Theater
2522 SE Clinton St., 503-238-8899 THE AMAZING BUBBLE MAN Fri-Sat-Sun 02:00 FOOD CHAINS Fri-Sat-Sun 05:00 BROKEN HEART LAND Fri-Sun-Mon-TueWed 07:00 A MURDER IS ANNOUNCED Sat 07:00 THE ROCKY HORROR PICTURE SHOW Sat 11:59
Laurelhurst Theatre & Pub
2735 E Burnside St., 503-232-5511 GUARDIANS OF THE GALAXY Fri-Sat-Sun-MonTue-Wed 07:00, 09:30 THE BOXTROLLS Fri-SatSun-Mon-Tue-Wed 09:40 GOOD WILL HUNTING Fri-Sat-Sun-Mon-Tue-Wed 06:15 BOYHOOD Fri-SatSun-Mon-Tue-Wed 06:00 THE BOOK OF LIFE FriSat-Sun 01:30, 03:45 THE EQUALIZER Fri-Sat-SunMon-Tue-Wed 09:15 THE JUDGE Fri-Sat-Sun-MonTue-Wed 06:30 THE TALE OF THE PRINCESS KAGUYA Fri-Sat-Sun-Mon-Tue-Wed 08:50
Mission Theater and Pub
1624 NW Glisan St., 503-249-7474-5 THE BOXTROLLS Fri-SatSun-Mon-Tue-Wed 07:00 MIRACLE ON 34TH STREET Fri-Sat-Sun-Mon-Tue-Wed 04:30 BAD SANTA Fri-SatSun-Mon-Tue-Wed 09:30 GUARDIANS OF THE GALAXY Sat-Sun 01:30
Moreland Theatre
6712 SE Milwaukie Ave., 503236-5257 THE HUNGER GAMES: MOCKINGJAY, PART 1 FriSat-Sun-Mon-Tue-Wed 05:30, 08:15
Roseway Theatre
7229 NE Sandy Blvd., 503-282-2898 THE HUNGER GAMES: MOCKINGJAY, PART 1 FriSat-Sun-Mon-Tue-Wed 01:30, 04:45, 08:00
St. Johns Cinemas
8704 N Lombard St., 503-286-1768 THE HUNGER GAMES: MOCKINGJAY, PART 1 FriSat-Sun-Mon-Tue-Wed 04:30, 07:15
Empirical Theatre at OMSI
1945 SE Water Ave., 503-797-4000 WALKING WITH DINOSAURS 3D Fri-SatSun 11:00, 03:30 WILD OCEAN Fri-Sat-Sun 02:30 BEARS Fri-Sat-Sun 01:00 GUARDIANS OF THE GALAXY Fri-Sat-Sun 06:30 D-DAY: NORMANDY 1944 Fri-Sun 12:00 FLIGHT OF THE BUTTERFLIES Fri-Sat-Sun 10:00 THE BOXTROLLS Fri-Sat 04:30 THE POLAR EXPRESS FriSat-Sun 04:30 THE MAZE RUNNER Sat 10:30
5th Avenue Cinema 510 SW Hall St., 503-725-3551 GREMLINS Fri-Sat 07:00, 09:30 Sun 03:00 MALA NOCHE Sat 07:30
Hollywood Theatre
4122 NE Sandy Blvd., 503-281-4215 INTERSTELLAR: PRESENTED IN FILM FriSat-Sun-Mon-Tue-Wed 06:45 INTERSTELLAR Fri-Sat-Sun-Mon-Tue-Wed 08:00 AWAKE: THE LIFE OF YOGANANDA FriSat-Sun 07:30 ROCKY IV IN HECKLEVISION Fri 09:30 THE NAVIGATOR Sat 01:00 FUNNY OVER EVERYTHING Sat 09:30 BITTER HONEY Sun 04:30 HIDDEN LEGACY: JAPANESE TRADITIONAL ARTS IN THE WORLD WAR II INTERNMENT CAMPS Sun 02:00 VHS: VIRAL Mon-Tue 09:45 B MOVIE BINGO: DEADLY TARGET Tue 07:30 A COSMIC AND EARTHLY HISTORY OF RECORDED MUSIC Wed 07:30
Regal Fox Tower Stadium 10
846 SW Park Ave. ROSEWATER Fri-SatSun-Mon-Tue-Wed 12:30, 03:20, 06:30, 08:50 INTERSTELLAR Fri-SatSun-Mon-Tue-Wed 12:00, 01:00, 02:30, 04:00, 06:00, 07:30, 09:30 THE THEORY OF EVERYTHING Fri-Sat-Sun-Mon-Tue-Wed 12:20, 01:20, 03:30, 04:30, 06:20, 07:20, 09:00, 09:50 NIGHTCRAWLER Fri-SatSun-Mon-Tue-Wed 12:45, 04:40, 07:15, 10:00 ST. VINCENT Fri-Sat-Sun-MonTue-Wed 12:50, 03:40, 06:15, 08:40 BIRDMAN OR (THE UNEXPECTED VIRTUE OF IGNORANCE) Fri-SatSun-Mon-Tue-Wed 01:10, 04:10, 07:00, 10:00 FURY Fri-Sat-Sun-Mon-Tue-Wed
03:50, 09:15 WHIPLASH Fri-Sat-Sun-Mon-Tue-Wed 12:00, 06:50 GONE GIRL Fri-Sat-Sun-Mon-Tue-Wed 12:10, 03:10, 06:10, 09:20
NW Film Center’s Whitsell Auditorium
1219 SW Park Ave., 503-221-1156 THE STRANGER Fri 07:00 NIAGARA Sat 05:00, 08:45 I WAKE UP SCREAMING Sat 07:00 DARK PASSAGE Sun 04:45 THIEVES’ HIGHWAY Sun 07:00
Regal Pioneer Place Stadium 6
340 SW Morrison St. HORRIBLE BOSSES 2 Fri-Sat-Sun-Mon-TueWed 01:15, 04:15, 07:40, 10:30 PENGUINS OF MADAGASCAR Fri-SatSun-Mon-Tue-Wed 11:50, 05:00, 07:30 PENGUINS OF MADAGASCAR 3D FriSat-Sun-Mon-Tue-Wed 02:30, 10:10 THE HUNGER GAMES: MOCKINGJAY, PART 1 Fri-Sat-Sun-MonTue-Wed 12:00, 01:00, 03:00, 04:00, 06:00, 07:00, 09:00, 10:00 DUMB AND DUMBER TO Fri-SatSun-Mon-Tue-Wed 12:40, 04:30, 07:15, 10:15 BIG HERO 6 Fri-Sat-Sun-MonTue-Wed 03:30, 06:30 BIG HERO 6 3D Fri-Sat-SunMon-Tue-Wed 12:20, 09:30
St. Johns Theater
8203 N Ivanhoe St., 503-249-7474-6 HORRIBLE BOSSES 2 FriSat-Sun-Mon-Tue-Wed 12:45, 03:30, 06:15, 09:00
Academy Theater
7818 SE Stark St., 503-252-0500 THE TALE OF THE PRINCESS KAGUYA Fri-SatSun-Mon-Tue-Wed 04:10, 09:10 THE BOOK OF LIFE Fri-Sat-Sun-Mon-Tue-Wed 05:15 ALEXANDER AND THE TERRIBLE, HORRIBLE, NO GOOD, VERY BAD DAY Fri-Sat-Sun-Mon-TueWed 04:45 THE JUDGE Fri-Sat-Sun-Mon-TueWed 01:50, 06:40 THE BOXTROLLS Fri-Sat-SunMon-Tue-Wed 02:05, 07:00 THE EQUALIZER Fri-Sat-Sun-Mon-Tue-Wed 09:50 GUARDIANS OF THE GALAXY Fri-Sat-SunMon-Tue-Wed 02:45, 07:20 TRADING PLACES Fri-SatSun-Mon-Tue-Wed 09:35
SUBJECT TO CHANGE. CALL THEATERS OR VISIT WWEEK.COM/MOVIETIMES FOR THE MOST UP-TO-DATE INFORMATION FRIDAY-THURSDAY, NOV. 28-DEC. 4, UNLESS OTHERWISE INDICATED
OURWEED.COM
END ROLL
STRAIN REVIEW: GREEN CRACK BY W M . W I L L A R D G R E ENE
willie@wweek.com
The two most common words describing the psychoactive effects of cannabis are “high” and “stoned”—but have you ever considered the difference between the two? They’re often used interchangeably, but that doesn’t exactly make sense. “High” evokes an aboveness, a yearning to rise. “Stoned” recalls the ground beneath our feet. I don’t think it’s coincidental that the words denote two entirely different sensations a smoker gets in the throes of reefer madness. Cannabis’ family tree is broad, and the various strains on it may provide highness or stonedness in spades, or a creamy combination of the two. When we’re talking about Green Crack, which I got at Nectar on Northeast Sandy Boulevard, we’re talking about gettin’ high. Testing at MRX Labs puts the flower at 29 percent THC. That’s the highest I’ve seen at a Portland dispen-
sary, but it doesn’t mean much. First, because THC is the psychoactive component in marijuana, it doesn’t work exactly the same as ABV does with booze. THC gets you high, but a combination of terpenes and cannabinoids determines the feeling of the high. Second, some labs test at a higher rate than others, and there’s incentive for strains to test high for THC because, well, I’m writing about one of those now. Green Crack gives you wings. Which is nice, you know? Sometimes it’s great to imagine whole worlds and dive into fantasies like a giant tower of money mostly rendered in coin. It’s fun to swoop and bob and be lighter than air for a while, to see your own world from above for a brief time. The crack nomenclature is overblown—thankfully, the fadeaway from this wellraised bud is as soft as your average cannabis comedown—but sometimes it’s nice to remember the lesson of Icarus: Melted wax is so cool to touch!
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CLASSIFIEDS DIRECTORY
NOVEMBER 26, 2014
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WELLNESS
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MOTOR
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MUSICIANS’ MARKET
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SERVICES
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BULLETIN BOARD
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REAL ESTATE & RENTALS
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FREE WILL ASTROLOGY
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JOBS
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STUFF
53
PETS
54 JONESIN’
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Estate of BETTY JEAN SANFORD NOTICE TO INTERESTED PERSONS Case Number: 14PB02169 Notice: The Circuit Court of the State of Oregon, for the County of Multnomah, has appointed the undersigned as Personal Representative of the Estate of Betty Jean Sanford, deceased. All persons having claims against said estate are required to present the same, with proper vouchers to the Personal Representative at 11732 NE Stanton St., Portland OR 97220 within four months from the date of first publication of this notice as stated below, or they may be barred. All persons whose rights may be affected by this proceeding may obtain additional information from the records of the court, the Personal Representative, or the Attorney for the Personal Representative. Dated and first published November 26th, 2014. PERSONAL REPRESENTATIVE Dennis Heisler 11732 NE Stanton St., Portland, OR 97220 ATTORNEY FOR PERSONAL REPRESENTATIVE Maret Thatcher Smith 312 NW 10th Ave #200 B 971-284-7129 maret@thatchersmithlaw.com OSB # 105103
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Week of November 27
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EMPLOYMENT OPPORTUNITIES ARIES (March 21-April 19): What exactly do you believe in, Aries? What’s your philosophy of life? Do you think that most people are basically good and that you can make a meaningful life for yourself if you just work hard and act kind? Do you believe that evil, shapeshifting, kitten-eating extraterrestrials have taken on human form and are impersonating political leaders who control our society? Are you like the character Crash Davis in the film Bull Durham, who believed in “high fiber, good scotch, the sweet spot, and long, slow, deep, soft, wet kisses that last three days”? Now would be an excellent time for you to get very clear about the fundamental principles that guide your behavior. Re-commit yourself to your root beliefs -- and jettison the beliefs that no longer work for you. TAURUS (April 20-May 20): I have two encyclopedias of dreams, and they disagree on the symbolic meaning of mud. One book says that when you dream of mud, you may be facing a murky moral dilemma in your waking life, or are perhaps dealing with a messy temptation that threatens to compromise your integrity. The other encyclopedia suggests that when you dream of mud, it means you have received an untidy but fertile opportunity that will incite growth and creativity. I suspect that you have been dreaming of mud lately, Taurus, and that both meanings apply to you. GEMINI (May 21-June 20): Are there certain influences you would love to bring into your life, but you can’t figure out how? Do you fantasize about getting access to new resources that would make everything better for you, but they seem to be forever out of reach? If you answered “yes,” it’s time to stop moping. I’m happy to report that you have more power than usual to reel in those desirable influences and resources. To fully capitalize on this power, be confident that you can attract what you need. CANCER (June 21-July 22): Should you cut back and retrench? Definitely. Should you lop off and bastardize? Definitely not. Do I recommend that you spend time editing and purifying? Yes, please. Does this mean you should censor and repress? No, thank you. Here’s my third pair of questions: Will you be wise enough to shed some of your defense mechanisms and strip away one of your lame excuses? I hope so. Should you therefore dispense with all of your psychic protections and leave yourself vulnerable to being abused? I hope not. LEO (July 23-Aug. 22): I know you’re beautiful and you know you’re beautiful. But I think you could be even more beautiful than you already are. What do you think? Have you reached the limits of how beautiful you can be? Or will you consider the possibility that there is even more beauty lying dormant within you, ready to be groomed and expressed? I encourage you to ruminate on these questions: 1. Are you hiding a complicated part of your beauty because it would be hard work to liberate it? 2. Are you afraid of some aspect of your beauty because revealing it would force you to acknowledge truths about yourself that are at odds with your self-image? 3. Are you worried that expressing your full beauty would intimidate other people? VIRGO (Aug. 23-Sept. 22): Helsinki, Finland is growing downwards. By cutting out space in the bedrock below the city’s surface, farseeing leaders have made room to build shops, a data center, a hockey rink, a church, and a swimming pool. There are also projects underway to construct 200 other underground structures. I’d like to see you start working along those lines, Virgo -- at least metaphorically. Now would be an excellent time to renovate your foundations so as to accommodate your future growth. LIBRA (Sept. 23-Oct. 22): The Pantone Color Matching System presents a structured approach to identifying colors. It’s used as a standard in the printing industry. According to its system of classification, there are 104 various shades of grey. I suspect you will benefit from being equally discerning in the coming weeks. It just won’t be possible to differentiate between the good guys and the bad guys. You’ll misunderstand situations that you try to simplify, and you’ll be brilliant if you assume there’s always more nuance and complexity to uncover.
Don’t just grudgingly tolerate ambiguity, Libra. Appreciate it. Learn from it. SCORPIO (Oct. 23-Nov. 21): I am not necessarily predicting that you will acquire a shiny new asset in time for the solstice. Nor am I glibly optimistic that you will get a raise in pay or an unexpected bonus. And I can offer only a 65-percent certainty that you will snag a new perk or catch a financial break or stumble upon a treasure. In general, though, I am pretty confident that your net worth will rise in the next four weeks. Your luck will be unusually practical. To take maximum advantage of the cosmic tendencies, focus your efforts on the one or two most promising prospects. SAGITTARIUS (Nov. 22-Dec. 21): Galileo Galilei (1564-1642) was an Italian astronomer, physicist, and mathematician who is sometimes called “the father of modern science.” He expressed his innovative ideas so vigorously that he offended the Catholic Church, which convicted him of heresy. For us today, he symbolizes the magnificence of rational thought. And yet Galileo also had a weird streak. For example, he gave lectures on the “Shape, Location, and Size of Dante’s Inferno,” analyzing the poet’s depiction of hell. In the course of these meticulous discourses, Galileo concluded that Satan was more than four-fifths of a mile tall. In this spirit, Sagittarius, and in accordance with current astrological omens, you are temporarily authorized to de-emphasize the constraints of reason and logic so that you may gleefully and unapologetically pursue your quirky proclivities. CAPRICORN (Dec. 22-Jan. 19): While in his early twenties, actor Robert Downey Jr. appeared in the films Less Than Zero and Weird Science. That got him semitypecast as a member of Hollywood’s Brat Pack, a group of popular young actors and actresses who starred in coming-of-age films in the 1980s. Eager to be free of that pigeonhole, Downey performed a ritual in 1991: He dug a hole in his backyard and buried the clothes he had worn in Less Than Zero. I recommend that you carry out a comparable ceremony to help you graduate from the parts of your past that are holding you back.
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AQUARIUS (Jan. 20-Feb. 18): In her book Revolution from Within, Gloria Steinem offers a challenge: “Think of the times you have said: ‘I can’t write,’ ‘I can’t paint,’ ‘I can’t run,’ ‘I can’t shout,’ ‘I can’t dance,’ ‘I can’t sing.’” That’s your first assignment, Aquarius: Think of those times. Your second assignment is to write down other “I can’t” statements you have made over the years. Assignment three is to objectively evaluate whether any of these “I can’t” statements are literally true. If you find that some of them are not literally true, your fourth assignment is to actually do them. The coming weeks will be a favorable time to transform “I can’t” into “I can.” PISCES (Feb. 19-March 20): “Dogs don’t know where they begin and end,” writes Ursula K. Le Guin in her book The Wave in the Mind. They “don’t notice when they put their paws in the quiche.” Cats are different, LeGuin continues. They “know exactly where they begin and end. When they walk slowly out the door that you are holding open for them, and pause, leaving their tail just an inch or two inside the door, they know it. They know you have to keep holding the door open . . . It’s a cat’s way of maintaining relationship.” Whether you are more of a dog person or a cat person, Pisces, it is very important that you be more like a cat than a dog in the coming weeks. You must keep uppermost in your mind exactly where you begin and where you end.
Homework For three days, uphold your highest ideal in every little way you can imagine. Report results at Truthrooster@gmail.com.
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Across 1 Doing OK on the golf course 6 Stinging creatures 11 Basic shelter 14 Get moving 15 Calm, as fears 16 “Achtung Baby” co-producer Brian 17 Acted like a human 18 Tae kwon do move 20 It drives Persians crazy 22 “Enough already!” 23 Where Gilligan
ended up 24 Small buzzer 26 Like Russian matryoshka dolls 28 Breakfast noisemakers 33 Epps of “Resurrection” 34 Inspiron maker 35 Jane of “Glee” 39 “Iron Man” Ripken 40 Tile arrangements 42 It may be golden 43 Clue weapon 45 Jimmy Carter’s alma mater, for
short 46 “Strange ___” 47 Bus driver of classic TV 50 Gangster called Scarface 53 Inflatable pilot in “Airplane!” 54 Dry 55 Shop-___ 58 Part of USSR 62 Indie band formed by actress Jenny Lewis 65 ___ Wafers 66 He was Jim in “The Doors” 67 Chopin exercise
Down 1 One of Stephen Baldwin’s brothers 2 Prefix with byte or flop 3 Role 4 Iron Man or Thor 5 Corrections are made in it 6 Card game for two 7 “Thanks ___!” 8 Dickensian setting 9 Sandwich made with a press 10 Barrett once of Pink Floyd 11 Bank caper 12 Family man? 13 Took a legal puff, in some states 19 Like smoochy faces 21 Late “SNL” announcer Don 25 Snarls, like traffic 27 “Electric” creatures 28 “I got a ___” (Charlie Brown’s Halloween line) 29 Bowie’s singlenamed wife 30 “Going Back to ___” (LL Cool J single) 31 Axl’s bandmate 32 “The Price Is
Right” game 36 Revenge getter of film 37 Canadian Plains tribe 38 Kate Hudson’s mom Goldie 40 Intend 41 Food ___ : Portland, Oregon :: Food trucks : other cities 44 Role for Elijah 46 Low-budget flicks 48 Giddiness 49 Instantly 50 Do a Thanksgiving job 51 Popular font 52 Pharmacy inventory 56 Grad 57 Formally hand over 59 Westlife’s “If ___ You Go” 60 Cosmopolitan competitor 61 Art colony of the Southwest 63 Barbie’s significant other 64 “Still...”
last week’s answers
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