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VOL 42/01 11 . 4. 2015
IDE GIVE!GUe. r u o y t Ge is issu inside th
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Willamette Week NOVEMBER 4, 2015 wweek.com
e m i ly j o A n g r e e n e
FINDINGS
pagE 37
WHAT WE LEARNED FROM READING THIS WEEK’S PAPER VOL. 42, ISSUE 1.
Portland used to have nine different Cedar streets. 4
Carrie Brownstein’s memoir has lots of making out and no sex. 27
The Timbers are aiming for a 1-1 tie this weekend in Vancouver. 16
If you’re a comedian performing in the wilds of Corvallis, bring your own PA just in case. 39
Bunk Moreland plans to eat at Bunk Sandwiches this week. 19 After in-depth investigation, we think we know the identity of the Timbers face petter and the petted. 22 The small jellyfish in Lechon’s tank will feed larger jellyfish. 25
ON THE COVER:
Since racist Britons believe James Bond has to be white, our columnist has some white British people who might make a decent enough Bond. 45 Snoop Dogg’s signature vape is not as awesome as you’d hope. 52
OUR MOST TRAFFICKED STORY ONLINE THIS WEEK:
Photo by Andy Batt Studio.
There are 12 wonders of portland food.
STAFF Editor & Publisher Mark Zusman EDiTorial News Editor Pro Tem Aaron Mesh Arts & Culture Editor Martin Cizmar Staff Writers Nigel Jaquiss, Beth Slovic Copy Chief Rob Fernas Copy Editors Matt Buckingham, Madeline Luce Stage & Screen Editor Enid Spitz Projects Editor Matthew Korfhage Music Editor Matthew Singer Web Editor Lizzy Acker Books James Helmsworth
Visual Arts Enid Spitz Editorial Interns Katana Dumont, Lisa Dunn, Coby Hutzler, Walker MacMurdo, Zach Middleton ConTriBuTorS Dave Cantor, Nathan Carson, Rachel Graham Cody, Shannon Gormley, Jordan Green, Jay Horton, AP Kryza, John Locanthi, Anthony Macuk, Mark Stock, Anna Walters proDuCTion Production Manager Dylan Serkin Art Director Julie Showers Special Sections Art Director Alyssa Walker Graphic Designers Rick Vodicka, Xel Moore Production Interns Elise Englert, Emily Joan Greene, Caleb Misclevitz, Kayla Sprint
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Willamette Week NOVEMBER 4, 2015 wweek.com
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HALES DECIDES NOT TO RUN
Charlie Hales is simply playing the passiveaggressive card [“Charlie Sails Away,” WW, Oct. 28, 2015]. Why not attend to the real problems of the city and find one issue where you can make a tiny bit of difference, Mr. Mayor? Enough of your narcissism. Do some good. Now. Or be forever the Washington resident who avoided paying Oregon taxes and played at being a leader. —“Virginia” An endorsement from Mayor Hales would be a detriment at this point. Candidates should distance themselves from him because of his lack of leadership skills and judgment. Bottom line—he is doing us a favor by dropping out. —“Marlo” Tres Shannon, who ran for Portland mayor many years ago, is the only circus master qualified to run this circus. He’s our generation’s Bud Clark! —“RB Green III”
PORTLAND AND ISRAEL
hamburger image on the front cover is not even cooked fully? Ewww!”
It chaps my ass a little bit that, in a town like Portland, you managed to craft this list without a single vegetarian item. Really? —“Black Avenger of the Spanish Main”
It looks like Portlanders don’t mind apartheid human-rights violators like the current right-wing extremist government in Israel [“West Banking,” WW, Oct. 22, 2015]. Palestinians have a right to civil and human rights, and Portland supporting Israel unconditionally for fear of being called anti-Semitic is disgusting and makes no sense on so many levels. —“Big Sticks Walks Softly”
In the review of Roe (page 67) in our Restaurant Guide, B&T Oyster Bar was misidentified as Block + Tackle, the restaurant’s former name. Also in Restaurant Guide, the Camp Lo song “Krystal Karrington” was mislabeled in the review of P.R.E.A.M. (page 20). WW regrets the errors.
When you start prejudging Israel and throwing around unfounded, emotional labels like “apartheid,” then, yes, probably almost anything you say about Israel is anti-Semitic.
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. Email: mzusman@wweek.com.
Q.
—Lost in Translation
Return with us now to a bygone age, before Portlandia, before celiac became fashionable, before Tom McCall himself. The year is 1891. Handlebar mustaches and penny-farthing bicycles roam the Portland streets, which might lead you to believe that nothing is different. However, big doings are afoot. Portland, originally confined to the west side of the Willamette, has just annexed the formerly independent cities of Albina (more or less where North Portland is now) and East Portland (self-explanatory). This, at a stroke, turns three formerly podunk towns into the Northwest’s largest municipality. Unfortunately, prior to the merger, each town had its own street names and address numberWillamette Week NOVEMBER 4, 2015 wweek.com
WRATH OF THE VEGETARIANS
Did anyone notice that the hamburger image on the front cover is not even cooked fully? Ewww! [“The 12 Wonders of Portland Food,” WW, Oct. 28, 2015.] In such an educated, ecologically minded, liberal culture like Portland, do these articles never focus on the vegan/vegetarian restaurants? Portland is supposed to be one of the meccas for plant-based diets, and I’m tired of seeing the same extremely unhealthy, greasy, fatty, cholesterol-filled food “Did prominently displayed and touted anyone throughout our local magazines notice that and newspapers. the —“Christen M.”
My friend lives in a lovely Victorian in inner Southeast. Over her door is a beautiful stained-glass window with her house number patterned in. Unfortunately, the number on the window isn’t her address. I’ve seen this elsewhere, too—what gives?
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Serious, legitimate criticism is totally acceptable. Lies and efforts to delegitimize and dehumanize Israel are not. —R.S. Jacobs
CORRECTIONS
ing systems. For example, there were apparently nine separate streets named “Cedar,” which seems like a lot even for three cities. (It also suggests that creativity wasn’t the pioneers’ strong suit; we can only imagine how lame their band names probably were.) In an event known as the “Great Renaming,” these inconsistent street names were soon changed to (more or less) the ones we know today. However, the old house numbers remained, making navigation a challenge. Fast-forward to 1931, when—after 40 years of flailing—the city approved an even more sweeping reorganization now known as the “Great Renumbering.” Thousands, if not tens of thousands, of addresses changed overnight. As veterans of the Cesar E. Chavez Boulevard wars might imagine, the change wasn’t universally loved. To soften the blow, the city paid for new black-on-white ceramic-tile house numbers—the same ones you’ve been seeing on houses (including, quite possibly, your own) your whole life. History: pretty trippy.
QUESTIONS? Send them to dr.know@wweek.com
Willamette Week NOVEMBER 4, 2015 wweek.com
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Willamette Week NOVEMBER 4, 2015 wweek.com
NEWS
A Note to Our Readers This week, Willamette Week celebrates its 41st anniversary. For the first time, I find myself in the position of writing our annual publisher’s note. In June, my business partner, Richard Meeker, decided to focus more of his energy on our sister companies in Santa Fe, N.M., and North Carolina and on our charitable effort, Give!Guide, which kicks off its 12th year this week. (I also continue my responsibilities as WW editor.) We’ve traditionally used this space to report to readers how we’re doing and how our business is changing. This year, we’re also using it to explain how you can help support our work. First, here are the highlights of 2015:
OUR JOURNALISM
Our news reporting continued its tradition of punching above its weight class, doing groundbreaking work on influence-peddling allegations surrounding Gov. John Kitzhaber and first lady Cylvia Hayes that led to Kitzhaber’s resignation in February. Our coverage of Portland City Hall, the emerging cannabis industry, Uber’s arrival in Portland, Greenpeace’s protest on the St. Johns Bridge and our city’s housing battles all demonstrated our unique ability to combine in-depth reporting, vivid language and the active intelligence that only comes when a reporter really understands the subject matter. WW’s culture coverage continued to define and shape the city’s vibrant food, arts, music and nightlife. Our staff amazes me with their curiosity about Portland, their sense of discovery, and the authority with which they chronicle this city. I won’t list all the remarkable things they do, but I encourage you to pick up our Restaurant Guide, which hit shelves last week and is available at Powell’s, New Seasons and Whole Foods, among other locations. It is stunning and authoritative, filled with smart reviews about one of the nation’s most dynamic food scenes.
WWEEK.COM
One month ago, we launched a new website built on a platform designed by developers at The Washington Post. We are proud and very fortunate to be the first media company The Post has chosen to work with, and we’re thrilled with the results.
OUR EVENTS
Most readers know that this company produces a wide variety of events. We do so to celebrate Portland and to make money to support our journalism. Here are a few we are currently involved with: MusicfestNW—This monster of a music festival on the waterfront broke all its attendance records in August. Even bigger things are in store for next year.
OUR REVENUE
TechfestNW—Only 4 years old, this event has quickly grown into a signature celebration of the startup movement in the Pacific Northwest, with world-class speakers, a job fair and a chance for Portlanders to pitch their ideas to venture capitalists. We put on two TFNW events in 2015. One, in February, focused on the so-called sharing economy as the city was negotiating with Uber. The highlight was a spirited conversation between Mayor Charlie Hales and David Plouffe, Uber’s senior vice president, whose previous job was running Barack Obama’s presidential campaign. In August, we produced another TFNW, at new venue Revolution Hall—attendees heard presentations about gaming, robots, and diversity. (Videos of the speeches are available at TechfestNW.com.) Beer—The craft-beer movement is one of the things that defines Oregon. We organize a number of beer events, most recently a Pro/Am festival featuring one-off beers produced by ambitious homebrewers and the city’s top pros. It’s quickly
becoming a signature event for the city’s beer scene. In February, we’ll present an expanded version of the Oregon Beer Awards that we hope will become a very special night for the state’s industry and the loyal customers who support it. Cannabis—Legalization of recreational marijuana in Oregon was a historic event. In addition to covering news related to it, we’ve produced a number of cannabis events and have plans for more. In September, for example, we produced Puff Puff Pizza, in which attendees could meet one of the Northwest’s premier growers, sample his flower and walk across the street to P.R.E.A.M. for dinner. A few weeks later, we conducted a tour of dispensaries operated by women. Secret Supper—Last week, in an annual event, we hosted a dinner at Portland’s 2015 Restaurant of the Year the night before our Restaurant Guide was distributed. It was a good deal of fun: Readers, who bought tickets without knowing the identity of the restaurant, were treated to a meal at downtown’s Imperial, headed by chef Doug Adams and local legend Vitaly Paley. (Exactly 20 years ago, WW awarded Paley’s original restaurant, Paley’s Place, the same honor.)
At the Secret Supper, many people asked me the same thing: “We love your publication, but how are you able to survive?” Given the financial straits of the media business, it’s a legitimate concern. The buoyant economy and developing marijuana industry have made 2015 a good year for advertising sales, our lifeblood. Sales should increase by 6 percent over 2014, a development not many media companies can claim. Part of the reason is that our audience has never been larger. Between our digital offerings and print newspaper, we have more than 600,000 readers in the Portland metro area each month. Remarkably, more people in Multnomah County read WW than weekday editions of The Oregonian—and we have almost as many readers as The O’s Sunday edition. That’s heartening but not enough to allow us to grow our enterprise. Given ongoing increases in operating costs, revenue growth is insufficient to allow us to reinvest in our enterprise. Our news staff is smaller than it was before the Great Recession. This should matter to Portlanders because there is a need for more enterprise and watchdog reporting in this city and state. With every layoff at The Oregonian, the number of journalists safeguarding democracy is dwindling. And I do mean safeguarding: A free and open society cannot operate without a truly independent and vigorous press. Earlier this year, the Nieman Foundation for Journalism published a sobering study explaining why changes in the industry are hitting local journalism hardest. The Nieman report found that journalistic organizations need scale to thrive, and what is being abandoned is local watchdog reporting: “The free and open web, architected for equal access, is instead dominated by a few large media companies who, in turn, are dominated by a few large technology platforms. Ad dollars flow up the chain to a few companies with headquarters between San Francisco and San Jose. “And it’s entirely unclear, in that context, how most local communities—the cities and towns where we live, work, and play—will find the information they need to thrive.” As a consequence, we’re trying something new. We’ve established an investigative and watchdog fund through the California-based Tides Foundation. Donations to this fund can be made through the Give!Guide website or by visiting https://donatenow. networkforgood.org/tidesfoundation and using the dropdown menu to choose Willamette Week. Contributions are completely tax-deductible and will go toward expanding our newsroom, allowing us to engage in more and deeper reporting on local issues. Everyone who works here shares the passion and values that have driven this company from its inception—a desire to build community, celebrate what is best about the city and fulfill the vital and traditional watchdog role of journalism. As this column has always concluded: You are our reason for being. We cannot survive or play a meaningful role in the life of this great city without your attention. Thank you for your continued support. Mark Zusman, Editor and Publisher Willamette Week NOVEMBER 4, 2015 wweek.com
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LET’S ALL RUN FOR MAYOR. Emails show that former Oregon Gov. John Kitzhaber approved a state investment to help financially troubled Portland businessman Sho Dozono. In April 2012, the state economic development agency Business Oregon recommended Kitzhaber use the governor’s strategic reserve fund to aid Azumano Travel, which has held the state’s exclusive travel contract since at least 2006. The recommendation to Kitzhaber acknowledged Azumano had lost money the previous three years and paid employees an average of less DOZONO than $40,000 annually. “This looks like a good investment to me,” Kitzhaber wrote in an April 26, 2012, email to his business adviser, Scott Nelson. The state gave Azumano $40,000 outright and loaned the company $260,000 at 2 percent interest. Azumano stopped repaying its loan in early 2014 and Dozono declared bankruptcy this year, owing $148,000 in debts to the state. The Kitzhaber emails were released last month in response to records requests. Kitzhaber and Dozono could not be reached for comment. The prospects of a competitive 2016 Portland mayor’s race dimmed Nov. 3, when House Majority Leader Jennifer Williamson (D-Portland) said she would not run. Williamson’s decision leaves Multnomah County chief operating officer Marissa Madrigal as the most prominent potential candidate who could challenge Oregon Treasurer Ted Wheeler for mayor, although there also is an effort to persuade two-term House Speaker Tina Kotek (D-Portland) to consider entering the race. Wheeler, the challenger who scared incumbent Mayor Charlie Hales WILLIAMSON out of the race Oct. 26, has reported just $13,000 in contributions since then, which suggests there are plenty of donors still sitting on cash and waiting to see if a competitor emerges. Portland’s warfare over home tear-downs keeps erupting into confrontations between neighborhood residents and developers. The most recent battleground: a rainbow-painted, 126-year-old house in the Eliot neighborhood, where 37-yearold Timothy Andrew Long allegedly attacked a demolition crew Nov. 2. Portland Police Bureau spokesman Sgt. Peter Simpson says Long was arrested and charged with criminal mischief. Excavator Dan Riel tells WW that Long “sprayed the entire inside of my truck with pepper spray” before crew members chased and detained him. Long tells WW that he and his wife, Sarah Long, were evicted from the house in July. “We formed an attachment to the place,” he says. The owner of shuttered Northeast Portland hip-hop club The Fontaine Bleau has filed new allegations in his lawsuit against the city of Portland and the Oregon Liquor Control Commission, which suspended the club’s license in November 2013 after a patron was shot and killed outside. Rodney DeWalt filed the suit in Multnomah County Circuit Court in May 2014, saying the two governments were engaged in “a campaign intended to thwart black-owned clubs or clubs that played hip-hop.” In an amended complaint filed Nov. 2, DeWalt details that claim, listing other venues with “predominantly white clientele” that remain licensed after shootings. DeWalt says city livability programs manager Theresa Marchetti told him that patrons wouldn’t be allowed to line up outside the Fontaine Bleau “because the patrons looked lewd, vulgar and filthy.” Marchetti did not respond to WW’s calls seeking comment. Follow the mayor’s race at every turn.
GOT A GOOD TIP? CALL 503.445.1542, OR EMAIL NEWSHOUND@WWEEK.COM JULIA HUTCHINSON
NEWS
Growing Pains ATTEMPTS TO DISTRIBUTE STUDENTS EVENLY AMONG PORTLAND’S HIGH SCHOOLS STILL AREN’T WORKING. BY BE T H S LOV I C
bslovic@wweek.com
If you balance enrollment, school quality will come. That’s been the mantra at Portland Public Schools under the leadership of Superintendent Carole Smith, who has made redrawing school attendance zones to respond to shifting demographics the central focus of her eight years at the district’s helm. Last week, Smith launched Portland on what promises to be another vigorous and, at times, heated discussion of school boundaries. She released two competing proposals aimed at more evenly spreading students across the district’s elementary and middle schools. The idea is, schools can offer comparable education programs only if they have similar student numbers. And right now, thanks to gentrification and other demographic shifts, plus the limited size of school buildings, they don’t (“The Equalizer,” WW, Jan. 13, 2015). Portland has heard such pledges before. And the promises look a lot like some of the city’s high schools: empty. Smith’s own record suggests PPS’s attempts to corral students by shrinking boundaries at some schools and expanding boundaries at others have not worked to bring about parity. Yet in all the media coverage that followed last week’s announcement, Smith’s past efforts escaped scrutiny. “They’re saying all the right things,” says Gwen Sullivan, president of the Portland Association of Teachers. “But it’s all about the implementation.” Five years ago, Smith shepherded a similar proposal to balance enrollment at the district’s then-10 high schools. Her plan, which shuttered Marshall High School in Southeast Portland, was supposed to result in seven neighborhood high schools with populations of about 1,350 each and two districtwide, focus-option schools that students choose to attend—Jefferson and Benson—with lower enrollments. But that plan hasn’t stopped parents from moving into neighborhoods connected to the most desirable high schools. “We didn’t achieve what we said we were going to achieve,” says Mike Rosen, a newly elected member of the Portland School Board who bird-dogged the district as a Cleveland High parent in 2010. Enrollment has grown since 2010 at all but two neighborhood high schools—Grant and Wilson—but it’s still lopsided. And in some cases, the problem has gotten worse. When school started in 2009, coveted destination Lincoln High, for example, had 1,395 students, or 714 more than struggling Roosevelt High. When school started this year, Lincoln enrolled 1,692 students—759 more than Roosevelt. Lincoln now holds classes in its cafeteria and a nearby church. Roosevelt today has more programs than it used to, including multiple Advanced Placement classes, but it still doesn’t offer nearly the breadth of classes as Lincoln, which offers Arabic, Mandarin, coding and International Baccalaureate sports medicine, to name a few. Paul Anthony, also a newly elected School Board member, says PPS would do well to remember it can control boundaries—but it can’t control where families live. The growth at Lincoln—and at Cleveland High—appears to be coming, in part, from families relocating to Portland and choosing homes based on schools they perceive to be the strongest, he says. Sarah Singer, one of Smith’s top advisers, acknowledges the lack of parity but says each high school is able to offer the district’s core program. Also, outcomes for students have improved, she says, including graduation rates and enrollment in advanced classes. “All of our schools are significantly better off,” she says. Here are the most recent enrollment figures at Portland Public Schools’ nine high schools, five years after Smith promised to make the seven neighborhood schools—Cleveland, Franklin, Grant, Lincoln, Madison, Roosevelt and Wilson—the same size.
Willamette Week NOVEMBER 4, 2015 wweek.com
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NEWS
EMAILS SHOW TOP STATE MANAGERS IGNORED SERIOUS WARNING SIGNS THAT A FOSTER CARE PROVIDER WAS NEGLECTING KIDS. BY NIG E L JAQ UI SS
njaquiss@wweek.com
State emails show that top officials in the Oregon Department of Human Services knew about neglected children and serious financial problems at Portland foster care provider Give Us This Day—and did nothing for nearly 19 months. The Oregon Department of Justice shut down Give Us This Day in September, after a WW investigation revealed allegations of neglect and documented serious financial problems at the provider (“Home Sweet Hustle,” WW, Sept. 16, 2015). But emails show that regulators at DHS—the agency that monitors and pays for the care of more than 10,000 foster children in Oregon—knew about allegations of neglect early last year, and brought the problems to the state agency’s director. “We need to bring you up to date on the full breadth of issues with this program,” DHS child welfare director Lois Day wrote to then-DHS director Erinn Kelley-Siel on Jan. 31, 2014. “There are three bodies of information that intersect: the abuse investigations, the licensing issues and the financial issues.” All three were sufficiently serious that Day said she wanted to get on Kelley-Siel’s calendar “quickly.” Yet it would be more than 18 months before the state forced Give Us This Day out of business—with no help from DHS. In the intervening months, former employees say, hundreds of children the state entrusted to Give Us This Day often went hungry and received minimal care. And in that time, DHS paid Give Us This Day more than $1.5 million, much of which the DOJ says the organization’s executive director, Mary Holden, either wasted or spent for her personal benefit.
Kelley-Siel resigned in July, and Gov. Kate Brown named her deputy, Jerry Waybrant, to replace her. Emails show both were regularly informed of problems at Give Us This Day. Waybrant tells WW that DHS continued to place children with Give Us This Day, despite numerous warning signals, because the state agency’s divisions weren’t well-coordinated. Once a foster care agency opens, he says, it’s very difficult for the state to close it. Waybrant says Give Us This Day’s financial woes didn’t automatically mean children were in danger. “We had ongoing concerns,” Waybrant says. “But I’m drawing a distinction between their business practices and child safety.” Observers say the department’s inaction is baffling. “I don’t understand why Give Us This Day wasn’t shut down a long time ago,” says state Sen. Sara Gelser (D-Corvallis), chairwoman of the Senate Human Services Committee. DHS recently turned over 457 pages of emails in response to a public records request by WW. They show Kelley-Siel and Waybrant were informed of a “sustained allegation of abuse” against Give Us This Day in February 2014 (a “sustained” allegation is one that has been substantiated by investigators). That same month, they also learned of a raft of new financial problems that threatened to push Give Us This Day into bankruptcy. In March 2014, emails show, top DHS management received information about financial issues Give Us This Day faced: An employee had garnished $150,000 from the provider; the Internal Revenue Service was preparing to seize more than $100,000 for unpaid payroll taxes; and Multnomah County wanted $53,000 in unpaid property taxes. “This is another solvency issue we need to address,” a DHS staffer told Kelley-Siel in a March 10, 2014, email. (Kelley-Siel did not return WW’s calls.) Emails show Kelley-Siel and Waybrant soon learned the DOJ was digging into Give Us This Day’s finances. A nonprofit, GUTD
COURTESY DHS
Home Alone depended on state payments to fund its operations. On Sept. 11, 2014, an entire year before forcing Give Us This Day to close, the DOJ requested a meeting with DHS “to discuss the current investigation into GUTD’s use of charitable funds.” On Sept. 26, 2014, Waybrant emailed Kelly-Siel’s assistant, seeking to “find a time BLIND EYE: Erinn Kelley-Siel’s agency on Erinn’s busy schedule to continued sending kids to Give Us This discuss GUTD’s status and Day despite red flags. the recent information we received from DOJ.” In November and December 2014, emails show, WW, KPTV Channel 12 and KATU-TV Channel 2 all approached DHS with questions about Give Us This Day not paying foster parents. The agency brushed off those concerns and continued its uniquely lenient treatment of Holden, regularly paying her organization in advance for work it had not substantiated—a privilege officials say DHS extended to no other foster care provider. By February 2015, the DOJ had substantially finished its investigation, and it shared in writing with the organization details of Holden’s waste or diversion for personal use of $2 million during the previous five years: trips to Jamaica, Hawaii and Las Vegas; hundreds of thousands of dollars in improvements to her West Linn home; and tens of thousands spent on cosmetic treatments, lingerie and luggage. Waybent says those details came as a shock, but he didn’t learn of them until September. The potential consequences of that diversion of funds for foster children were obvious: If Give Us This Day was so broke or mismanaged that it couldn’t or wouldn’t pay its taxes or employees, how could it provide adequate care for children? Yet DHS continued to refer foster children to Give Us This Day until Sept. 15, the eve of WW’s cover story about the provider. Waybrant says DHS is conducting an audit to Sen. Sara Gelser see how things went so wrong. “I’m horrified,” Waybrant says. “The kids weren’t served, and what happened is not acceptable.”
“I DON’T UNDERSTAND WHY GIVE US THIS DAY WASN’T SHUT DOWN A LONG TIME AGO.” —
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ADVERTORIAL
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We have searched Portland far and wide to find some of the most unique ways we can enjoy Bulleit® Frontier Whiskey. We’ve found some really unique products and places that showcase Bulleit’s high rye and award-winning whiskey to create some truly unique experiences. We even came away with some great recipes as well. Check out what we found... What are some of your Unique Bulleit cocktail recipes? Log onto www.wweek.com/UniquePortland and share them with us in the comments field. We will feature a select few in an upcoming issue of Willamette Week.
POPLANDIA Whiskey has a reputation as a stiff drink, but it becomes something different altogether when you cook with it. The alcohol burns off. Some of the water burns off, too. It becomes a sweet, delicate syrup. Add in some maple syrup and it gets even sweeter. Add in some pecans and you’ve got a pie fi lling. Toss it all on some popcorn and you just might be in Portland. Poplandia is revolutionizing the way people think of popcorn from its storefront on 23rd Avenue. “You can really go Willy Wonka with it,” says Poplandia’s owner Alex Bond. “There are endless possibilities.” You’ll find the standards like buttery, salty theater-style popcorn, caramel corn and sharp white cheddar are all well-represented here, but they’re joined by many other, more exotic flavors. There’s PB&J popcorn with the burn of Thai spices. There’s Mediterranean-inspired popcorn tossed in olive oil. And then there’s Poplandia’s signature Bourbon Maple Pecan popcorn. Bar manager Ansel Vickery designed a fall cocktail to focus on them.
Bulleit Holiday Cocktail Serves 4–5 cocktails 6 oz Bulleit Bourbon, 5 teaspoons of lemon juice, 2 teaspoons of maple syrup, 1 cup apple cider, cayenne pepper Shake the Bulleit, lemon juice, maple syrup and cider until fully mixed, pour into glass, dust with cayenne pepper
HOURS: Thursday-Saturday 12pm-4pm 3135 NW Industrial Street, Portland, OR 97210 All Major Credit Cards accepted.
Portland’s artisanal popcorn place didn’t start with Bulleit Bourbon. It tried out several others before choosing Bulleit. Some bourbons made it too sweet, and others disappeared amidst the other ingredients. But Bulleit, with it’s signature high rye flavor, did neither. It just blended really well with the maple, the pecan and of course, the popcorn. Pair it with this seasonal cocktail and you’re celebrating happy hour Portland style.
WHERE WHISKEY LINES THE SHELVES The whiskey cocktail is a delicate balance. You want the syrups, fruits and spices to add to the whiskey flavor, to enhance the whiskey flavor without overpowering it. You want to make a cocktail that delights whiskey aficionados and casual drinkers alike. It isn’t easy. It takes a gifted bartender, like Portland’s own Jordan Felix, to pull it off. And it helps to have a superior mixing bourbon like Bulleit. From the whiskey club that approaches whiskey as a library might rare and precious manuscripts, Felix has built a stalwart reputation—including being named one of the country’s best new mixologists by Food & Wine magazine. The Aussie-turnedPortlander has compiled the city’s largest collection of whiskeys. The walls are lined from floor to ceiling with shelves of the spirit. Servers sometimes need to used an old ladder to reach to the top shelf for the rarest. But you don’t need to have 850 different whiskeys to make this recipe; you just need Bulleit.
South Fork Sour
Serves 2 cocktails
2 oz Bulleit Bourbon, 3/4 oz Fresh Lemon, 3/4 oz Pressed Apple Cider, 1/2 oz Spiced Orange Syrup, 1/2 oz Egg White Combine all ingredients in a shaker tin & dry shake. Add ice and shake vigorously. Fine strain into a chilled old fashioned glass full of ice. Garnish: Apple fan with cloves. Many of the oldest American cocktails—Old Fashioneds and Manhattans, among others—were created with rye whiskey in mind. As time passed, bourbon was substituted in as the corn-based spirit rose in popularity. Bulleit offers the best of both worlds. It has the sweetness of the bourbon with a spicier, drier quality imparted from its rye content, about twice that of the standard bourbon. It’s the only whiskey you need in your personal library. Willamette Week NOVEMBER 4, 2015 wweek.com
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Shandong www.shandongportland.com
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NEWS
HAPPIER DAYS: Terry Bean and Kiah Lawson.
The Age of Innocence
PREVIOUSLY UNRELEASED POLICE INTERVIEW TRANSCRIPTS SUGGEST TERRY BEAN KNEW HIS ALLEGED SEX PARTNER WAS UNDER 18. BY NIG E L JAQ UI SS
njaquiss@wweek.com
One year ago, Terry Bean, a prominent Portland businessman and national gay-rights leader, was indicted for sexual abuse of a 15-year-old boy, charges that could have landed him behind bars. It was a humbling development for Bean, best known for co-founding the Human Rights Campaign and for his prodigious fundraising on behalf of the Democratic Party. The indictment followed WW’s publication of a cover story (“Terry Bean’s Problem,” WW, June 4, 2014), detailing a dispute between Bean and his former boyfriend, Kiah Lawson. Bean told the Multnomah County district attorney that Lawson and others were trying to extort money from him. Bean’s complaint led to a six-month police investigation that ironically turned up allegations against him. Most damaging were police interviews with Lawson, now 26, and a teenager who told police that, at age 15, he had a 2013 sexual encounter with Bean and Lawson in Eugene. A Lane County judge dismissed the case Sept. 1, after the alleged victim refused to testify. Prosecutors expressed frustration, noting that Bean had earlier offered the alleged victim a substantial payment if he agreed to drop the charges. After the dismissal, Bean, now 67, said justice had been served. “I was falsely accused and completely innocent of every accusation that was made,” Bean said in a Sept. 1 statement. “I look forward to being able to tell the story of this conspiracy of lies, deceit, blackmail, malicious prosecution and homophobia now that this case has ended.” In the two months that have passed, Bean has not yet chosen to tell his story, although cases related to the original investigation continue. (In October, a Washington County jury found Lawson not guilty of sexually abusing a different underage boy; later this month, another man, John Ivie, will face similar charges.) But new information has emerged about the 2013 events in Eugene. Transcripts of police interviews with Lawson and the alleged victim shed light on a central question in the case against Bean: whether he knew the teenager he and Lawson picked up for a sexual encounter was under 18. Both Lawson and the alleged victim told
police Bean did know. WW sought the interview transcripts as public records, but when police rejected that request, we obtained them from another source. (Read the full transcripts at wweek.com.) Lawson has a checkered past. He has a criminal record for theft and assault and a history of meth use, and admitted to police that he stole money and other items from Bean. But the transcript of Lawson’s interview with Portland police Det. Jeff Myers shows he provided an account that not only incriminated himself— thereby adding weight to his description of events—but also was nearly identical to the alleged victim’s account. Lawson said he and Bean traveled to Eugene for a Sept. 28, 2013, University of Oregon Ducks football game against California. The night before the game, Lawson told police, he contacted the young man, then a high-school sophomore, on Grindr, a hook-up app for gay men. At about 10 pm Sept. 27, Bean and Lawson pulled up to a Eugene 7-Eleven in Bean’s black Mercedes S500. Soon after the young man got in the car, Lawson said, Bean asked him how old he was. Lawson said the young man stumbled initially, then said he was 16, an answer Bean didn’t like. “Terry like, coached him to say, like, he was like, ‘Wait, so how old are you?’ And he said ‘16’ three more times,” Lawson told Myers, according to the July 3, 2014, interview transcript. “And he’s like, ‘No, no, no,’ like, ‘You don’t get it. Like, how old are you?’” “Who’s saying no? Myers asked Lawson. “Terry,” Lawson replied. “He’s like, ‘We can’t do this unless you tell me how old you are. Unless you really tell me how old you are,’” Lawson said. “And then, the kid’s like, ‘Oh, OK. I get it. I’m 18.’” Lawson was charged alongside Bean with having sex with the young man. (Charges against Lawson were also dismissed Sept. 1.) The young man, whose name WW is withholding because he’s the alleged victim of a sex crime, spoke to Myers on July 26, 2014. “Was it your impression that, that the, the older person [Bean] or the younger person [Lawson] knew that you were under 18?” Myers asked. “Yes,” the young man said. Prosecutors said the young man’s description of the evening, which he repeated in front of a grand jury, was key to the indictment. He told his story a third time in an Aug. 13, 2015, interview with Lane County chief deputy district attorney Erik Hasselman. “The victim confirmed with me that his testimony to that grand jury was truthful,” Hasselman said in a statement. Yet the alleged victim refused to testify in court—fleeing his home in San Diego with his mother via Amtrak, renting a car in Oregon, and purchasing “burner” cellphones, in what prosecutors described as an effort to run out the clock on a subpeona. His flight followed an offer by Bean to end the case with a so-called “civil compromise,” in which Bean would pay the young man $225,000 and avoid a criminal trial. Bean also agreed to be tested for sexually transmitted diseases and share the results of that test with the young man’s attorney. The judge rejected the proposed compromise. The alleged victim’s subsequent refusal to testify left the case in limbo: The judge dismissed charges, but prosecutors could file again if the alleged victim changes his mind. Bean’s attorney declined to comment. Willamette Week NOVEMBER 4, 2015 wweek.com
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NEWS
Divine Providence HOW THE TIMBERS TURNED THEIR SEASON INTO SOMETHING MAGICAL. BY PARKE R H A L L
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For a fleeting moment Oct. 29, Providence Park was silent. The Portland Timbers were tied 2-2 with Sporting Kansas City in a Major League Soccer playoff match. Timbers goalkeeper Adam Kwarasey made a penalty kick, after 10 rounds of shootout. Then he leapt to his right to save a line drive from the opposing keeper. This was sudden death: As soon as Kwarasey got his gloved hand on the ball and punched it out, the Timbers had won. It took longer than usual for the 21,144 spectators to realize what had happened in front of them. Nobody had ever seen penalty kicks go 11 rounds before. Then, there was chaos. By the time I had finished yelling at the top of my lungs and hugging the middleaged bald man in front of me, my family and I had gotten a text from my little brother, Scott, who was away at college. “I found God during that penalty shootout,” it read. For the week following that victory, a feeling of serendipity has billowed around the Timbers like green smoke from behind our lucky log. So much sudden love from the soccer gods feels fragile. It can make a fan do foolish things. Of the six or so people I know who returned to Providence Park to watch the first of the Timbers’ two-match, aggregate-score Western Conference semifinal series against Vancouver Whitecaps FC on Nov. 1, at least three were wearing the exact same outfits—right down to their underwear. It worked. All the team needs to move on to the conference final, thanks to the occult rules of MLS, is to score one goal and not lose Sunday, Nov. 8, at Vancouver. Even a 1-1 tie would advance the Timbers. From the outside, it looks like the Tim-
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THE TIES THAT BIND: A collage of Instagram photos from the Timbers’ first two playoff matches.
bers’ fortunes have changed dramatically in the past week. A pinch of fairy dust (or, more accurately, beer-soaked Army breath) did help the Timbers win the penalty-kick shootout against Kansas City, sure. But anyone who has witnessed their five-game unbeaten streak firsthand will tell you the truth: The late-season surge is the result of small changes that began while the team struggled through a frustrating regular season. Here are five ways the Timbers turned around their fortunes. Think of them as reasons to believe in magic. We now have the ability to pivot quickly between game plans. From the beginning of the Nov. 1 match against Vancouver, the Timbers weren’t afraid to wait. Coach Caleb Porter knew that by playing a possession game, his team could outsmart the Whitecaps’ quick-draw offense. But patient offense requires downright resolute defense, and, until Sunday morning, nobody knew that penalty-kick savior Kwarasey was out with the flu. After a season of ever-changing lineups that didn’t seem to jell quite right, Porter had figured out how to adjust. Instead of changing his strategy at the last minute to crowd around substitute goalkeeper Jake Gleeson, he had his regular squad simplify its play in the backfield— allowing the new-to-pitch Gleeson to settle more comfortably into the net. The result? Vancouver had many shots, but Gleeson saved them all.
We are witnessing the Messi-fication of Darlington Nagbe. It’s hard to pinpoint the exact moment this season when star midfielder Darlington Nagbe realized he had the foot skills to merk four opposing players and move the ball 30 yards upfield at the same time. But regardless of when it occurred to him, Nagbe didn’t forget how to do it for the rest of the year. The 25-year-old Nagbe, often among the most frequently fouled players in the league, now uses that statistic to his advantage, smoothly repositioning the team forward while unafraid of the whistle, and getting up fast if it doesn’t get blown—just like the Argentine soccer god himself. We have long-term subs who don’t give up. Midfielder Jack Jewsbury was asked to imitate everyone from team captain Will Johnson to the fans’ player of the year, Diego Chará, over the course of the season, and— except for a particularly embarrassing penalty kick to the stratosphere against Sporting Kansas City—has one of the most accurate right feet in the league. But he’s not the only trusted player who can fill in for indefinite periods. With subs in goal like 2014 United Soccer League-winning keeper Gleeson, and forwards who wouldn’t mind more playing time like the golden-booted Maximiliano Urruti, the only place we can’t survive losing a huge player is on defense. Nat Borchers is always in the way. It is legitimately surprising redheaded (and -bearded) defender Nat Borchers doesn’t
have a concussion this morning, after all the damn goals he stopped using his head in the past few weeks. A no-nonsense player with a knack for stopping goal attempts in their tracks, Borchers has proved to be more than just a valued immovable object in a backfield that held the Whitecaps to a scoreless draw. Through his mentorship of less-experienced players like Alvas Powell and Jorge Villafaña, Borchers has helped lead the Timbers’ back line as a force to be reckoned with. We have young players who are developing into big-time stars. Here’s the most exciting part of the Timbers’ breakthrough: It will last beyond this season. Powell is, hands-down, one of the better double threats to emerge in MLS this year. A 21-year-old Jamaican national team player with his first significant contract (for which the Timbers pay him a measly $60,000 per year), he moves the ball up and down the sideline with excellent control, allowing him to bang occasionally supernatural crosses into the middle. Between him, Nagbe and other newly added powerhouses like strikers Lucas Melano, 22, and Urruti, 24, Coach Porter has slowly nurtured four of the most exciting young players in the league, steadily molding them into the team’s long-term future. SEE IT: The Timbers play at Vancouver Whitecaps FC at 7 pm Sunday, Nov. 8, in the MLS Western Conference semifinals. TV on Fox Sports 1. Local viewing parties include Beulahland, 118 NE 28th Ave., 235-2794, beulahlandpdx.com.
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CULTURE INTERVIEWS WITH WENDELL “BUNK MORELAND” PIERCE AND SIX OTHER WORDSTOCK WRITERS.
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JESSE EISENBERG
In addition to being the most popular fictional representation of Mark Zuckerberg, and also that kid from Adventureland and The Squid and the Whale, actor Jesse Eisenberg writes plays, turns in the occasional “Shouts and Murmurs” column to The New Yorker and has published a series of extraordinarily dry, witty short stories in his new volume, Bream Gives Me Hiccups. WALKER MACMURDO.
WW: How do you feel about your stories? Jesse Eisenberg: I have so many various feelings. I wrote one of them in a coffee shop in Portland, which is one of my favorites, called “Thanksgiving With Vegans.” I had to kill four hours in the rain in Portland, so I went to a coffee shop. Do you remember the coffee shop? Oh goodness gracious, I have no memory. I was filming in Medford and went up to see a 7:30 Blazers game, so I had to kill four hours. I drove up early in the morning and didn’t realize you could traverse the state in four hours. I got breakfast at a food truck in Eugene. I think I had the full Oregon experience. Your work reminded me of two writers in particular: James Thurb— Shakespeare? James Thurber and Kurt Vonnegut. Yes, I love James Thurber, I love Kurt Vonnegut. I got to stay overnight in the room where he wrote Cat’s Cradle. You took a stylized approach in many stories, such as the footnote-heavy pieces. There is a funny juxtaposition—which is exclusively modern—which is that we talk about serious things through juvenile platforms. My dad is a professor of sociology, and he gets
Willamette Week NOVEMBER 4, 2015 wweek.com
emails from his students with abbreviated nonsense like “LOL” referring to really substantive themes, like “Schopenhauer has me ROFL.” We are still talking about this important stuff over the dumbest form of communication.
SARA JAFFE
Sara Jaffe’s debut novel, Dryland, is a comingof-age story, minus the actual coming of age. Growing up in Portland (ish!) in the early ’90s, the book’s 15-year-old narrator, Julie, searches for information on her estranged brother, joins the swim team, experiences an attraction to a female classmate and discovers R.E.M. But there’s no learning and little changing, only sheer, raw experience. And for Jaffe—known in indie-rock circles as the guitarist for defunct San Francisco post-punk band Erase Errata— that’s what adolescence is really about. MATTHEW SINGER.
WW: You’re teaching a workshop at Wordstock called “Resisting Epiphany.” What’s that about? Sara Jaffe: The driving question for me in a piece of fiction is, does the protagonist need to change? Especially in introductory fiction classes, the answer is yes. I’ve always resisted that notion, because it puts this imperative on the plot to follow a certain shape, and it just doesn’t seem to be accurate to the grain of experience. How did you apply those ideas to Dryland? I was aware of what I didn’t want to do when writing a coming-of-age novel. I didn’t want to follow that really clean arc where a character goes through something and emerges with this grand self-knowledge that can now allow her to step into society fully formed or something. That just rang really false to me. And I think,
RICK VODICKA
Halloween is over, but Wordstock is still undead. After a slow fade leading to its exit in 2013, the fest has been revived by Literary Arts under new director Amanda Bullock—and it’s a much bigger, better thing. Portland’s biggest book fest has left the Convention Center and is now hosting readings on five stages at the Portland Art Museum and First Congregational Church all day Saturday, Nov. 7. Then, it spreads out all over the eastside in a 100 percent free Lit Crawl (see page 23). That’s not to mention pop-up events in gallery rooms, and the fact you get free run of the art museum with your $15 ticket. “There was still a lot of love in this town for Wordstock,” says Bullock of the revival. “We likely wouldn’t have started a book fest from scratch.” Maybe not, but after 30 years of the Arts & Lectures series, when Literary Arts calls, agents tend to pick up the phone. So there’s John Irving and Jesse Eisenberg and Mary Gaitskill and Jon Krakauer all rolling in. We got a chance to talk to seven of the authors (below). Longer interviews are at wweek.com, and full info on Wordstock events is at literary-arts.org.
also, that I just get sick of reading about young protagonists who are too self-aware. One of the most interesting things about adolescence is we think we know everything but we really don’t know very much at all. It’s interesting that the book never explicitly states it’s set in Portland, yet every review mentions it’s set in Portland. My editor asked me if it’s OK to say on the jacket copy that it’s set in Portland. And it is. It’s like a fictionalized version of Portland. Or a casually inaccurate version of Portland.
ADRIAN TOMINE
Adrian Tomine first gained notoriety in the comics scene as a teenager in Sacramento, publishing his comic Optic Nerve. With Summer Blonde, Shortcomings and other graphic novels, he’s now a cartoon institution, regularly drawing covers for The New Yorker. His latest book is Killing and Dying, a collection of six short, graphic stories. JAMES HELMSWORTH. WW: Some of the colors in Killing and Dying feel very Western. Are you nostalgic for California color since moving to New York? Adrian Tomine: There’s some sense of being “home” that washes over me as soon as I get off a plane in California. Even if I’m surrounded by hideous strip malls and chain stores, like I drew on the book’s cover, I can almost be brought to tears by a pinkish, orange-ish West Coast sunset.
In the title story, a father second-guesses his daughter’s interest in standup. Were your parents supportive? My parents were always very supportive of my art, and I almost feel like I need to make that point very clear based on people’s reaction
PHOTOS COURTESY OF WORDSTOCK
Weekend at the Museum
BY WW STAFF
to that story. It has a lot more to do with my own anxieties as a new parent. It took shape when I started doing a little research on open-mic stuff. I couldn’t help but think that everyone bombing onstage was someone’s kid, and maybe those parents were in the audience. Has having kids affected your relationship with comics? Having kids has broken down my snobbery in a lot of ways and allowed me to appreciate things I never would’ve looked twice at in the past. I mean, to be fair, there’s plenty of stuff that I expected to be awful, and it was actually even worse.
AMY MCCULLOUGH
Former Willamette Week music editor Amy McCullough retired from journalism by getting on a boat and sailing away with her boyfriend. She documented the trip in her new book, The Box Wine Sailors, in which they sailed to the Sea of Cortez, fueled by cheap hooch and Little Caesar’s. MATTHEW KORFHAGE.
MARY GAITSKILL
When I called Mary Gaitskill, she was literally in midsentence—she asked to finish before talking. When she returned to the earpiece, the famed author of disturbed and intense short stories—along with two previous novels—talked about her new novel, The Mare, about a young Dominican New York girl, Velvet, who visits affluent upstate New Yorkers and falls in love with horses. MATTHEW KORFHAGE. WW: So how did you decide to write about a Dominican girl and her horse? Mary Gaitskill: I had not read National Velvet or seen the movie, but I happened to see a film clip that arrested my imagination. I thought of a particular girl whom I really loved. I liked the idea of her triumphantly riding a horse like that.
Did your characters end up surprising you? Well, the story did become darker than I first imagined. I also realized as I was working on it how much I didn’t know about the characters. At times I felt daunted and discouraged about being able to represent Velvet and her family accurately, and describe her neighborhood accurately. You can have the same issue in a short story, but you can kind of elide it better because you don’t have to show as much. You wrote an essay after Michael Jackson’s death I found very affecting. Did you have a special connection with him? Lots of people really like Michael Jackson; I didn’t feel a special connection. My favorite song was “Dirty Diana,” which was a pretty minor song. He seemed like such a poignant figure and dramatically misunderstood, just someone in an impossible situation. And he did something heroic with it, even if you don’t like his music. Whatever his problems were, whatever weird things he did in private, he created something that affected so many worldwide, in a situation that must have been horribly distorted and lonely and almost impossible. I felt a lot of admiration for him that I hadn’t thought about.
WW: Just how unprepared for the ocean-faring life were you? Amy McCullough: The boat was 27 feet long. Most people who give you recommendations on sailing say that you shouldn’t go on the ocean in anything less than 30 feet long. Ours was more like a weekend cruiser, something you’d take out on the bay. We just got the boat we could. Did you always plan on writing a book about it? I didn’t. We were cutting ties with anything we did before, and writing was my job. But after we completed it, we had all these idiosyncratic and strange stories. I’ve read a lot of sailing narratives, but few like mine. We had no aspirations and no urge to be one with the sea. So why sail if you have no romance with the sea? The way we decided on sailing was, we found out you could get a sailboat cheap enough to live on pretty cheap if your standards aren’t high—a few thousand dollars. Along with that came sacrifices in food and drink. Ramen noodles, peanut butter and jelly. We didn’t think we were going to drink because it wasn’t something we thought you could afford. But then we discovered the extreme value proposition of box wine.
VENDELA VIDA
Vendela Vida is a founding editor of The Believer magazine and author most recently of The Diver’s Clothes Lay Empty. She is the winner of the Kate Chopin Award, and two of her novels have been New York Times Notable Books of the Year. She also collaborated with her husband, Dave Eggers, on the screenplay to the 2009 movie Away We Go. She will be part of the “Lost & Found: Fiction on the Threshold” panel.
She was kind enough to speak to me over the phone about travel and motherhood, and then follow up with me via email once my niece, whom I was babysitting, started crying in the background. LIZZY ACKER. WW: I’ve read that this book, and a lot of your writing, is inspired by travel. Vendela Vida: Now I usually end up taking my kids with me. They’re now an age where actually I can travel with them and go to places I want to go. Most of the time they are safe enough places that I can bring the kids. So, yeah, I do get to travel. It’s something I really love doing and something I want to expose my kids to as much as possible. Do you think you’ll write any books about the experience of being a mother? I think that the theme of motherhood comes through in a lot of the books I’ve written. And Now You Can Go was about a mother, Let the Northern Lights Erase Your Name was about a mother who wasn’t so great. The Lovers was about a woman who has grown-up children, so it was kind of about motherhood. And the last one was about someone who gives birth to someone but isn’t a mother. In some ways, they’ve all been about motherhood, but not directly. I don’t know if I’ll ever write directly about motherhood, but you never know when you sit down to write a book exactly what it’s going to reveal itself to you to be. Was this book always meant to be in second person? I wrote the first paragraph of the book in second person and I never looked back. I knew I wanted to experiment with the malleability of identity, and the second person seemed the best way to do that. The second person still continues to fascinate me: I love how it can be accusatory, or can be interpreted as the character talking to herself. When it’s most effective—like in Lorrie Moore’s short stories or in a recent French novel I love called Viviane—it can put the reader immediately in the protagonist’s place. When I finished a first draft of The Diver’s Clothes Lie Empty, I realized there was another advantage to using the second person: The protagonist switches identities several times through the course of the book, but because she’s simply, always “you,” the reader doesn’t have to keep track of all her names and incarnations.
WENDELL PIERCE
You best know Wendell Pierce for playing William “Bunk” Moreland on HBO’s The Wire. But his memoir centers on another performance: a 2007 live staging of Waiting for Godot in a flood-scraped lot in New Orleans’ Lower Ninth Ward. Pierce’s book, The Wind in the Reeds, meditates on that show, along with soliloquies on jazz, healing and cops. We asked him about those things—and his namesake sandwich shop. AARON MESH. WW: What made you realize there was a book to be written about staging Waiting for Godot in New Orleans? Wendell Pierce: It was in the middle of this play, I had one of the most cathartic
moments of my life. It connected me with the community of people who’d gone through the worst disaster of their lives. I was standing on hallowed ground, where hundreds of people had died, and said one line in the play. “At this place, at this moment of time, all mankind is us. Let us do something while we have the chance, before it is too late.” And it wasn’t a play, I wasn’t a character. I was a man communing with New Orleanians, people from my neighborhood and my city—black, white, rich, poor, from disparate walks of life, who had gone through horrific pain. It was a reminder of why I became an artist, a reminder that art is not trivial. In the book, you quote your father as saying, “However far you roam, you can’t get lost in America.” That was one of the greatest things my father has ever given to me. He was giving me a philosophy about life. The American experience is one of true freedom, of uninhibited sense of abandonment. Not just wanderlust but a curiosity of life. An intellectual pursuit, and a spiritual pursuit, to find one’s true and authentic self and express it to its full potential. You can’t get lost there.
What did you learn about AfricanAmerican police officers while filming The Wire? The research just led me to understand why African-American men and women become police officers. They know that the crime that is in their neighborhoods is done by a small portion, maybe one percent, and is not reflective of the good people they grew up with and know in their communities. They were of the communities they were trying to protect. And that was the thing that inspired them to be police officers. I hope now, in the time where criminality is on display by the people who wear that badge, that they and all police officers should be the first ones to express that outrage at dishonoring the very commitment that they’re making. To allow someone else to come into their ranks and bring a cancer and a poison that we see now because of the immediacy of videos. They should be the first to be outraged. That’s the silence that haunts me right now. I wanted to finish by asking you—were you aware that there’s a sandwich shop in Portland named after Bunk Moreland? No, I did not know that. Now I know where to go when I come to Portland. I will be there. GO: Wordstock is Saturday, Nov. 7, at the Portland Art Museum, 1219 SW Park Ave., 226-2811, literary-arts.org/wordstock. 9 am-6 pm. $15 includes art museum access.
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STREET
BEAVERTON OUR FAVORITE LOOKS THIS WEEK. P H OTOS BY KATIE DEN N IS wweek.com/street
Simple ApproAch
“WE CARE”
Bold FlAvor vegan Friendly
open 11-10
everyday
Interstate Dental Clinic 5835 N. Interstate Ave. (503) 285-5307
Edward E. Ward,
D.M.D., MAGD, MBA
Master Academy of General Dentistry
Book online: DrWardInterstateDental.com
500 NW 21st Ave, (503) 208-2173 kungpowpdx.com
24 Hour Care Line Weekend Appointments On Max and Bus Lines Willamette Week NOVEMBER 4, 2015 wweek.com
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“I don’t want to know your name because you’re just going to die.” page 39
STARTERS
BITE-SIZED PORTLAND CULTURE NEWS.
SWING BACK: Former Club Sesso managers Charles and Holly Redeau have filed for a liquor license to reopen the defunct downtown swingers club as an “uspcale lifestyle club” called Club Privata. Club Sesso, which was affiliated with porn star Ron Jeremy, closed in June after legal difficulties: Owner Paul Smith had been implicated in improprieties involving a Portland assistant fire marshal, who was alleged to have protected the club from citations for fire code violations. The Redeaus promise a more civilized sex club, with “new owners, new management and a business that will be run like a business. We want our members to walk into our establishment and be floored by what they see, hear and experience.”
PET YOUR FRIENDS: The Portland Timbers defeated Sporting Kansas City in an epic shootout Oct. 29, earning a spot in the Major League Soccer Western Conference semifinals. While the victory was exciting, the most intriguing moment came before the game when a member of the Timbers staff was caught on camera palming the face of a woman while he walked by. This video, which we were first alerted to by @ matty_caldwell on Twitter, is puzzling: Is this a pregame ritual? A gruesome high-fiving accident? Witchcraft that allowed the Timbers to win in a nail-biter shootout? The Timbers PR team has yet to respond to a request for comment, but an anonymous tipster sent us this message: “I don’t know how badly y’all really want to know, but that’s the team’s trainer Nik Wald and the face belongs to Jennifer Smoral, who is the team’s director of events and promotions...I have no idea what he was doing, but those two have surely known each other for at least four or five years, so I’d bet it’s some inside joke.” However, Smoral tweeted Oct. 30: “I wish people didn’t think one of the most awkward & uncomfortable moments of my career is funny?! # D i s a p p o i n te d # P u t Yo u r s e l f InMyShoes.” Yikes. BURNSIDE 25: A quarter-century ago, a group of bored skateboarders took a stolen bag of concrete mix under the Burnside Bridge and built a small bank, creating Burnside Skatepark, which went on to become the best-known skatepark in the nation. What was originally a homeless encampment became something the city would pay millions to build, without any red tape. But as Burnside turns 25, it’s threatened by a 21-story apartment complex being built next door. For the complete story, go to wweek.com to watch a new mini-documentary by Lucas Chemotti.
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J E S S S T E WA R T M A I Z E
BIM FOR THE WIN: A famous Portlander has announced he’s challenging Oregon Treasurer Ted Wheeler for mayor. Bim Ditson, drummer for Portland band And And And, has announced he’s angling for the City Hall job. Ditson tells WW that the Facebook page promoting his candidacy was originally part of a long-running joke. “And now we’re taking it more seriously, because, why not?” he says. Ditson says he’ll focus his campaign on affordable housing. Winning isn’t necessarily his main goal. “It’s more a strategy of raising some questions and fitting them into the conversation,” he says. “And if I get to be in that position, that’s awesome, too.” Ditson has won votes before: Portland’s music insiders chose And And And the Best New Band in 2011.
GO: Lit Crawl starts after Wordstock on Saturday, Nov. 7. Pre-party is at Dig a Pony, 736 SE Grand Ave., 971-279-4409, 6 pm. Lit Crawl Event at various venues, 7:30-9:15 pm. Full schedule at literary-arts.org.
WILLAMETTE WEEK
HEADOUT WHAT TO DO THIS WEEK IN ARTS & CULTURE
I L L U S T R AT I O N B Y C A L E B M I S C L E V I T Z
WEDNESDAY NOV. 4 AIN’T MISBEHAVIN’ [MUSICAL THEATER] Raunchy piano battles and hedonistic Cotton Club acts inspired by jazz legend Fats Waller dominate this Tony Award winner, which might also boast the largest black cast on any Portland stage this year. Yes—London, New Orleans and New York talents like Andre Ward from Rock of Ages and Ruben Studdard’s co-star David Jennings—at PCS. “’Tain’t Nobody’s Bizness.” Gerding Theater, 128 NW 11th Ave., 4453700. 7:30 pm. $30-$75.
FRIDAY NOV. 6 USAGI YOJIMBO [THEATER] It sounds like a new sushi spot, unless you’re in on the comic-book cult of Stan Sakai’s rabbit samurai. We don’t usually laud PCC Sylvania as a top stage, but it’s worth getting your collector’s edition signed by Sakai on opening night. Or just seeing what’s bound to be a mindfuck as the warrior bunny goes from graphic novel to masked dancer onstage. PCC Sylvania Performing Arts Center, 12000 SW 49th Ave., 722-4323. 7 pm. $10.
Hand-Drawn Jokes for Smart, Attractive People
New Yorker cartoonist Matthew Diffee brings a joke-filled talk with cartoons. And then there will be music. Tell Your Truth: Write With the Writers
Get your writing did in the hair salon. Authors will read from their novels, then the audience will collaborate to make their own work.
On the Rocks
Martha Grover and others will read poems or prose about breakups, and when they say the wrong/right words, the audience has to drink. The first person to cry wins.
Dig a Pony, 736 SE Grand Ave. 7:30 pm. 21+.
Green Dragon Barrel Room, 928 SE 9th Ave. 7:30 pm. 21+.
The Culinary Cyclist
Authors Evan P. Schneider and Anna Brones will talk bikes and what’s good about them.
Burnside Proper Salon, 715 SE Grand Ave. 7:30 pm.
SATURDAY NOV. 7 Perfect Day/ Party Damage showcase
Party Damage Records (co-run by former WW music editor Casey Jarman) colludes with Perfect Day Publishing for a mash-up. Performances from St. Even and Nick Jaina.
Green Dragon Hops Grow Room, 928 SE 9th Ave. 21+. 7:30 pm.
Michelle’s Piano Company garage, 600 SE Stark St. 8:30 pm. All ages.
Morrison Hotel, 719 SE Morrison St. 8:30 pm. 21+.
The books like you anyway. Slaughterhouse 90210 has literary takes on “the hottest TV moments of the year.”
Dig a Pony, 736 SE Grand Ave. 8:30 pm. 21+.
5 Sources
NERD Jeopardy
Do you like Jeopardy, but it’s kind of a brofest? Well, here’s Jeopardy for nerds. Tin House authors will come aboard for categories like Debbie Downers of Literature, Pretentious? Moi? and the State Not Messed With. Drinks and prizes for the crowd.
Slaughterhouse 90210, THE BOOK
Mad Gorilla TimeLimit Poetry Hour
You leave us no choice: interrupting gorilla. Poets will attempt to read within time limits, while being harrassed by an emcee in a gorilla suit.
Green Dragon Hops Grow Room, 928 SE 9th Ave. 8:30 pm. 21+.
Six poet favorites of Poor Claudia read five things in five minutes apiece. Lightning round!
Morrison Hotel, 719 SE Morrison St. 7:30 pm. 21+.
Portland: Lo ve It and Leave It
Two geographers read from their guwill to Portland, and foride WW music editor mer Am McCullough will rea y a book about leavind from Portland to sail on g with boxed wine. a boat Also, there will be free bo xed wine. Michelle’s Piano Co garage, 600 SE Sta mpany 7:30 pm. All ages. rk St.
Zyzzyva Ta kes Portland
The San Francisco journal with the wolit most dictionary-bo rld’s name hangs out at ggling Foucault’s, with reaMother from poets and fi dings writers including ction Floyd Skloot.
Mother Foucault’s 523 SE Morrison St.Bookshop, 7:30 pm. All ages.
Burnside Revie w Presents Kris/ Krossed Out
Portland poets pronounce prose. Portland prosaists proclaim poetry. What a world!
Green Dragon Barrel Room, 928 SE 9th Ave. 8:30 pm. 21+.
BASQUE SUPPER CLUB DINNER [THE LANGUAGE OF GOD] Chef Javier Canteras serves up the food of the Basque country, from smoked mussels to chorizochicken-liver terrine, along with Spanish wine. Check basquesupperclub.com for tickets and details. Friday dinner is sold out. Location disclosed with ticket confirmation. 7 pm. $95.
SUNDAY NOV. 8 CLOUDBUST WITH US: A TRIBUTE TO KATE BUSH [HOUNDS OF LOVE] Chances are slim Kate Bush herself will ever set foot in Portland. So this tribute to the British art-pop chanteuse, featuring a few of her most well-studied local acolytes, is as close as we’ll get. And given who’s involved—performers include Sara Jackson-Holman, Johanna Warren and Coco Columbia—it’s not such a bad consolation. Holocene, 1001 SE Morrison St., 239-7639. 8:30 pm. $8 advance, $10 day of show. 21+.
TUESDAY NOV. 3 GESAFFELSTEIN [DARK DJ] Mike Lyon is the French techno producer who assisted in making Kanye’s “Black Skinhead” the best “Beautiful People” cover ever. On his own, he makes dark, throbbing, industrial EDM—if Daft Punk were comic-book superheroes, he’d be their black-helmeted arch-nemesis. He’s only doing a DJ set here, but it’s bound to go hard. Plus, it’s a great excuse to check out Portland’s newest sometime electronic-music venue. The Evergreen, 618 SE Alder St. 9 pm. $40 general admission, $65 VIP. 21+.
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Lunch & Brunch Monday to Friday 11:30am-3pm
FOOD & DRINK = WW Pick. Highly recommended. By MATTHEW KORFHAGE. Editor: MARTIN CIZMAR. Email: dish@wweek.com. See page 3 for submission instructions.
WEDNESDAY, NOV. 4 International Sherry Week
La Calaca Comelona 2304 SE Belmont | 503-239-9675 4-10pm Mon–Sat
Portland’s best home to sherry will host a weeklong celebration with special flights during International Sherry Week, from a $15 intro flight with five Spanish sherries all across the spectrum, to flights devoted to Fernando Castilla antique sherry, “king of Moscatel” César Florido, dessert flights with ice cream and a rare vertical Palmas tasting from Una all the way to Cuatro Palmas. Bar Vivant, 2225 E Burnside St., 971-271-7166. Through Nov. 8.
club in the Basque country. Now he’s got his own, alongside chef Ryan Spragg, serving up Basque dishes from calamari to smoked mussels to chorizo-chicken-liver terrine, along with Spanish wine pairings. Check basquesupperclub. com for tickets and details. Friday is sold out. Location disclosed with ticket confirmation. $95.
Oso Adventure Brunch
Four times a year, Oso Market spends a month making the brunch of some faraway place on the weekends. Well, this time they got only as far as Montreal, Canada. Eat French toast, bagels and sockeye lox, pulled pork and poutine and pork shoulder with monk fish and hollandaise. Each weekend day through Nov. 22. Oso Market + Bar, 726 SE Grand Ave., 232-6400. 10 am.
THURSDAY, NOV. 5 Smoke THIS, Not THAT
WE SELL DRINKS
OPEN TILL 2:30AM DAILY libertyglassbar.com
Upstream Public Health—the fluoride people—will celebrate not smoking tobacco and being against smoking tobacco by smoking, like, everything else: fish, meat, vegetables, spices, sauces, desserts, chocolate, drinks and more. Anyway, apparently smoked food and especially red meat causes all sorts of cancer, too. But not quite as much as a cigarettes? Hooray! Smoke! For tickets and more information, go to upstreampublichealth.org. Leftbank Annex, 101 N Weidler St., 284-6390. 6 pm. $75-$250.
FRIDAY, NOV. 6 Sage Hen Dessert Series
Pastry chef Eve Kuttemann will cook syllabubs, corn puffs and other Olde American treat-type things as part of Trifecta’s monthly dessert series, from ancient American cookbooks mostly lost to the ages. Tickets at brownpapertickets.com. Trifecta, 726 SE 6th Ave., 841-6675. 8:30 pm. $35. Through Nov. 7.
Thali Supper Cart
The Thali Supper Club pop-up offers some of the Portland area’s best Indian food, but only once a month and at a $60-plus price tag that leaves a lot of diners out in the cold. Well, set your damn phone alarm. Until it runs out, Thali’s Leena Ezekiel will be serving murgh makhani (butter chicken) and goat biryani out of a food cart parked in front of Lardo. Lardo Hawthorne, 1212 SE Hawthorne Blvd., 234-7786. 5 pm.
SATURDAY, NOV. 7 Basque Supper Club Dinner
Chef Javier Canteras grew up going to his grandfather’s txoko, a supper
DRANK
1. Imperial
410 SW Broadway, 228-7222, imperialpdx.com. Imperial, our 2015 restaurant of the year, has one of the best fried chicken dishes you’ll ever eat, with barrel-aged hot sauce and honey from beehives on the roof.
2. The Maple Parlor
3538 SE Hawthorne Blvd. 206-4757, themapleparlor.com. Hawthorne’s new Maple Parlor, an “inclusive sundae bar,” has upgraded the old Swirl space with eight frozen desserts from full-fat ice cream to Paleo friendly coconut-milk froyo and many gluten-free, vegan and diabetic options in between.
3. St. Jack
1610 NW 23rd Ave., 360-1281, stjackpdx.com. St. Jack guts and debones its own Oregon trout—apparently sous chef Amanda Williams is the fastest, at 45 seconds, for a whole trout. Anyway, it’s good. You should eat it.
4. Le Pigeon
738 E Burnside St., 546-8796, lepigeon.com. At a French restaurant known for beef bourguignon, duck blanquette and dry sherry, it’s odd to see a $14 burger and a $3 bottle of Coors Banquet. But this burger happens to be considered one of the very best in the country. And so is the restaurant.
5. Mediterranean Exploration Company
333 NW 13th Ave., 222-0906, mediterraneanexplorationcompany. com. Your best fall meat pie is here: the El Baboor lamb kebab, a comforting cassolette turned into a potpie with sesame-flecked pita and juicy pieces of smoky, gamey lamb in a thick, fire-roasted tomato sauce.
Bourbon Barrel Cavatica Stout (FORT GEORGE)
Fort George’s Cavatica is the state’s most reliable stout—always pleasantly dry, thick, creamy and just a little nutty. So, when you can find it, it’s always worth checking out a barrel-aged version of the Astoria brewery’s biggest, blackest beer. I’ve been on the lookout since a visit to the gray coast last winter, and I am therefore thrilled to see a bottling. This batch went into barrels that held bourbon labeled Willett, from the secretive company known as Kentucky Bourbon Distillers, which may or may not distill the spirit using what may or may not be a pot still. Willett is caramelly, and that balances well against a relatively dry stout, with a booziness that hits in the nasal canal and leaves you feeling warm and toasty. Recommended. MARTIN CIZMAR. 24
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E M I LY J O A N G R E E N E
REVIEW
LECHOMP: Bite this branded burger.
Chile Waters SOUTH AMERICAN RESTAURANT LECHON IS STILL GROWING INTO ITS SPACE ON NAITO PARKWAY. BY M A RT I N C I Z M A R
mcizmar@wweek.com
Lunch
Lechon’s lunch menu is mostly sandwiches, some of which overlap with dinner. The bacon cheeseburger with provolone and a generous slathering of aioli was notable only for the on-bun branding. The steak sandwich was essentially a cheesesteak with chimichurri—pleasantly greasy with melty cheddar on a stiff baguette. A chorizo sandwich ($9) needed more pickled red onions and chimichurri to counterbalance the oily sausage. And about that chimichurri: On one visit, it was tasty, but on another the sauce that came as a dip with the gaucho bread ($5) had far too much oil and far too little parsley and seasonings. The gaucho bread itself is tasty—doughy soft and a little gummy in the middle in a way that really works—but I found myself digging deep into the little metal cup trying to fish out the seasoning, and just striking a gusher of oil.
The little jellyfish inside the tank behind the bar at Lechon are not the real jellyfish. The real jellyfish will arrive later, says the server, when the black lights are working and an exposed area under the tank is covered so that the morning sun doesn’t warm the water. The new jellyfish will be bigger, and they will eat the little jellyfish that are in the tank now. It feels like a metaphor for the Argentine- Dinner slash-Chilean restaurant, which opened in the Lechon’s dinner menu is large and complex, ranging middle of August on Southwest Naito Parkway: from glazed pork cheeks to bacon-wrapped duck It’s got big tanks, but they’re still getting filled. breast and paella. It’s matched by a cocktail list that Lechon is located in the 1872-vintage Smith includes a lot of cachaca, pisco and fruit juice. Block building in a neighborhood where We had the best luck with simpler offerkids ride by on BMX bikes blaring ings. A Mediterraneo (essentially a pisco dubstep and you may encounter a sour with cardamon and a zingy limeOrder this: Cowboy bread, woman reading aloud from the Bible ade flavor) was excellent, as was a plate steak, cocktails. on the sidewalk patio. The space has of caramelized figs with a baseball-size weathered-pink, exposed-brick walls lump of creamy, smoky burrata. The with blue and yellow tile accents, plus figs themselves had a paper-thin layer of two big saltwater tanks. Lechon is the sort sugar over their supple flesh, which was nearly of place that brands its logo onto burger buns invisible until you took a fork to them, cracking the and stays open from 7 am to 10 pm most days, paper-thin clear coat like an old factory window. with separate menus for each meal. They got a splash of bitter grape must reduction There’s a lot going on—too much, perhaps, and a few Marcona almonds. As at lunch, we were for a new spot. pleased by a simple grilled flank steak coated in green chimichurri and sliced into hearty chunks. Meanwhile, purple potatoes ($9) was an ill-fated Breakfast After three visits, one for each meal, breakfast was experiment with modernist cooking. A pile of cold, the best experience. The menu is simple and not mushy purple potatoes were drowned in a foam especially faithful to the concept, with burritos, tacos, that tasted like frothy skim milk and served with a French toast and croque monsieur sitting next to one few discordant pops of salty roe. A panzanella salad was more like a basic radicchio salad with croutons, actual South American breakfast dish, a cazuela. In addition to espresso drinks (the Americano and grilled tuna that was ultra-fishy, very cool in the was $2.50 and well-made), we had the croc mon center and without much char on the skin. As far as fish go, there’s some work to do. chon ($8), a solid breakfast sandwich with rinded cheddar and a pile of salty country ham between Lechon is young—I mean, it doesn’t even have butter-grilled bread slices. A pair of breakfast full-size jellyfish yet. tacos ($5) were wonderful, with meaty chanterelles and slight, earthy enoki over a bed of grilled EAT: Lechon, 113 SW Naito Parkway, 219-9000, lechonpdx.com. 7 am-9 pm Monday-Thursday, 7 onions and pan-fried potato chunks. am-10 pm Friday, 5-10 pm Saturday, 5-9 pm Sunday.
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MUSIC REVIEW
= WW Pick. Highly recommended.
AUTUMN DE WILDE
Prices listed are sometimes for advance ticket sales. At-the-door increases and socalled convenience charges may apply. Event lineups are subject to change after WW’s press deadlines. Editor: MATTHEW SINGER. TO BE CONSIDERED FOR LISTINGS, go to wweek.com/ submitevents and follow submission directions. All shows should be submitted two weeks or more in advance of event. Press kits, CDs and especially vinyl can be sent to Music Desk, WW, 2220 NW Quimby St., Portland, OR 97210. Please include show or release date information with all physical mailings. Email: msinger@wweek.com. Fax: 243-1115.
WEDNESDAY, NOV. 4 Leon Bridges, Kali Uches
[RETRO SOUL] When Leon Bridges played his first set at Pickathon this summer, the small barn was so packed with fans most people couldn’t even get in to see him perform. The 26-year-old soul singersongwriter released his debut album, Coming Home, earlier this year to no less than rave reviews and viral accolades, and it’s not hard to see where all the hype is coming from. Bridges’ smooth vocals have been compared to greats from Sam Cooke to Otis Redding, and he balances gospel and R&B with ease, grace— and a little danceable spunk for fun. HILARY SAUNDERS. Crystal Ballroom, 1332 W Burnside St. 8 pm. Sold out. All ages.
schmaltz than the delicate introspection of his previous work. “When we run away, let’s really run/When we come undone, let’s really come,” he sings over chiming guitar and percussion of “Take Me With You.” The track’s lush orchestration finds Pond bolder than before, but sadly, it’s at the expense of what was his biggest hallmark: subtlety. BRANDON WIDDER. Dante’s, 350 W Burnside St. 9 pm. $12. 21+.
CONT. on page 28
Matt Pond PA, Lauren Stevenson
[POP, ETC.] Reinvention comes in all shapes and sizes. On The State of Gold, Matt Pond trades the poptinged indie rock he’s championed for nearly two decades for something more visceral and overly sentimental, owing more to synthesizers and ’80s
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FIVE (BARELY) SALACIOUS REVELATIONS FROM CARRIE BROWNSTEIN’S MEMOIR Her first lesbian experience sprung from a night of baby-birding liqueur with her friends. “Polly suggested we pass the drink mouth-to-mouth. It started like that, our mouths merely conduits, containers. The feeling was warm but still perfunctory. But somewhere in the middle of this contrived routine, this newfound alcohol-dispensing technique, was an ersatz kiss, another mouth.”
2 She’s a total home-wrecker. “Finally, Corin [Tucker] broke up with her boyfriend. He acknowledged my so-called victory by giving me a photo he’d found of a boy sitting inside a basketball hoop. The note on the back read You bagged my girl.—Dan.” 3 She and the Sleater-Kinney merch guy used to watch French porn together while on tour.
“We lay in our underwear in adjoining twin beds, half turned on, half wanting to make out, but instead talking about how we missed our girlfriends back home.”
4 She once had an Eyes Wide Shut moment in Paris. “I sat on a sofa watching bodies become more entangled, turning from angles and lines to squiggles and waves....In the end, all I could manage was the kind of shoulder dance moms do when they make shrimp scampi in the kitchen while drinking white wine and listening to Bruce Hornsby.” 5 There was no groupie sex on Sleater-Kinney tours, but there were a few awkward makeout sessions. “I’m not certain if it was intentional or if we merely bumped into each other’s faces as we fell asleep, but as the morning light crept in through the cracks in the curtains, our lips touched. An hour later, the alarm went off. Those are my tour hook-up stories.”
Words and Guitar
written than what’s actually revealed. On the page, Brownstein comes across as funny, charming, self-deprecating and self-aware—while also being perhaps a bit detached from her own life. She writes about herself with an almost journalisBY MATTHEW SIN GER msinger@wweek.com tic remove, even when covering the more harrowing aspects of her autobiography: her mother’s anorexia; her father’s midlife coming-out; the sad, lonely death It’s about time Portland met Carrie Brownstein. Sure, it probably seems like we know her pretty of her childhood dog. But it’s that quality which also well already. But ever since Portlandia transformed lends her prose a vividness lacking in typical musiher from indie-rock star to mainstream celebrity, cian memoirs: “Bikini-clad, burnt red like she’d been Brownstein has been more symbol than person, dipped in cherry Kool-Aid…somewhere between an avatar of the city’s changing landscape and a rotting and a fossil,” is how she describes a photo of scapegoat for our anxiety. A few months ago, the her mom on the family’s last vacation together. Brownstein describes her childhood as a conreaders of this paper determined that Old Portland died the moment she and Fred Armisen appeared stant search for attention, validation and belonging, albeit in ways that are often impossibly on television and made jokes about free-range endearing. (As a kid, she made pen pals chicken and artisanal knot stores. And with soap-opera stars, recruited her maybe you’ve seen those “Fred and It is not a neighbors to form a Duran Duran Toody, Not Fred and Carrie” bumcover “band” and ran for eleper stickers, as if she is separate complete portrait. mentary-school office with the from the Pacific Northwest punk But the image that’s slogan, “Girls just wanna have tradition and not a product of it. fun, but they want to be politiWe’ve debated her work, presented is of a cians, too.”) She finally found and we’ve debated her. But woman that is hard to her place in the punk scene, and how much do any of us really dislike, and harder to particularly in Olympia, Wash., know about her? that enclave of feminist politics As she admits in her new memdismiss. and DIY ethics. And once Sleateroir, Hunger Makes Me a Modern Kinney enters her life, it becomes her Girl, if she’s seemed aloof, that’s partly life. Tertiary figures fade to the periphery, by design. “For a long while,” she writes, “I could share nothing more than the music itself.” And, and relationships with anyone outside the band for a while, that was enough. But with her profile are given glancing mentions. Each album gets its growing exponentially in the time between the end of own chapter. Expectedly, she dissects her own her band, Sleater-Kinney, in 2006, and its return this discography with a critic’s eye. But then, things fall apart. She is more or year, she could no longer keep her guard up in good conscience. She recognizes the importance of some- less forced out of Olympia by the band’s growing one in her position opening up about themselves, ambition. And if you’ve wondered what ended because she remembers, very clearly, what it’s like Sleater-Kinney the first time around, you probbeing on the other side. “I think I was too scared to ably couldn’t have guessed how big a role a case be open with fans,” she writes, “because I knew how of shingles played in their undoing. Hunger skips over the part where Brownstein bottomless their need could be.” And so, consider this book a formal reintro- becomes a TV star, filling in the gap with a tad too duction. Hi, this is Carrie. Her first concert was much detail about her time volunteering with the Madonna. In high school, she was really into hosting Oregon Humane Society, before ending with her back murder-mystery parties. Once, she got drunk and onstage with Sleater-Kinney—her one true “home.” made out with a stranger on the street outside a club. At less than 300 pages, it is not a complete portrait. But the image that’s presented is of a woman that is She’s got a lot of nicknames for her pets. Like, a lot. OK, so this isn’t exactly a tell-all. (When hard to dislike, and harder to dismiss. it comes to Portlandia, and her relationship with Armisen, it’s a tell-nothing: The show is SEE IT: Carrie Brownstein is in conversation with Tig Notaro at Newmark Theatre, 1111 SW referenced once, in passing, in the epilogue.) Broadway, on Thursday, Nov. 5. 7:30 pm. $37.95. But Hunger is still revealing, more in how it’s All ages.
CARRIE BROWNSTEIN’S MEMOIR DEMYSTIFIES PORTLAND’S MOST FAMOUS RESIDENT.
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MUSIC Melter’s Meet-Up: DJs Co La, Sappho, Rap Class, Phork, Corporate Events
[B’MORE AND THEN SOME] Co La hails from the underground club HQ of Baltimore, and his latest release, No No—released via Daniel Lopatin of Oneohtrix Point Never’s boutique electronic label, Software—is infused with his hometown’s squiggly bounce and ambient dancehall rhythms as a sampledelic collage of found sounds. Nestled within the abstract beats is an unfolding sense of anxiety, slowly revealing itself until the sense of unease is fully realized, paralyzing the listener in sound. Local designated hitter Rap Class takes the room’s temperature with certified classics of the B’More sound, deftly mixing the familiar and the obscure in this unique showcase and preamble to Co La’s secret Portland show. The aptly named L.A. artist Phork provides a helping of the same, with a unique chopped-’n’-scooped approach to dance music. WYATT SCHAFFNER. Killingsworth Dynasty, 832 N Killingsworth St. 9 pm. Free. 21+.
THURSDAY, NOV. 5 Luna, The Parson Red Heads
[THIS IS OUR MUSIC] You’re forgiven for missing the news about the Luna reunion. The New York group never made much of a racket during its run in the halcyon days of ’90s indie-rock anyway, instead taking the dream-pop template of leader Dean Wareham’s original group, Galaxie 500, and adding subtle doses of jangle and droning, Velvets-lite noise. Yet Luna also managed to release some of the finest quiet-pop tunes of the decade, from debut Lunapark’s hazy opener “Slide” to 1995 landmark Penthouse. After a 10-year break, Luna is back with its late-period lineup in tow, mostly playing songs from that 1992-1997 sweet spot and reminding college record store clerks across the country that Wareham is one of the best—and most underrated— guitar players around. MICHAEL MANNHEIMER. Aladdin Theater, 3017 SE Milwaukie Ave. 8 pm Friday, Nov. 6. $25 advance, $30 day of show. Under 21 permitted with legal guardian.
COURTESY OF FRIENDS OF FRIENDS
PREVIEW
Oddisee, Good Compny, Vinnie Dewayne
[CONSCIENCE HIP-HOP] Oddisee is an anachronism, and he knows it. “Glorifying music that’s abusive and a threat to us,” he raps on his latest album, The Good Fight, “and if you got a message in your records, you collecting dust.” Indeed, in the era of monosyllabic trap rap, the former Amir Mohamed is part of a breed of MC that’s dying not just in the mainstream but the underground as well, one that prizes ideas above empty punch lines and solutions over nihilism. Of course, a rapper complaining about his own obsolescence is normally a self-fulfilling prophecy. But Odd, who’s been kicking around the D.C. scene for more than a decade, isn’t just grousing. There’s a weariness to his flow (and his singing voice), and the chip on his shoulder gives the music a distinct edge. And lest you dismiss him as a “backpack rap” throwback, his rainbow-bright production—informed by gospel and soul and other, more worldly sounds—goes way beyond retro boombap. “Feeling like it’s me against the world, it’s the other way around,” he says on “Contradiction’s Maze.” But with the rise of Chance the Rapper and Kendrick Lamar, there’s a sense that perhaps the hip-hop world is turning back in his direction. He may not be fighting the good fight alone much longer. MATTHEW SINGER. Holocene, 1001 SE Morrison St. 8 pm Friday, Nov. 6. $13 advance, $15 day of show. 21+. 28
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DANNY CLINCH
DATES HERE
THE CHRIST OF KUSH: Trey Anastasio Band plays Crystal Ballroom on Monday, Nov. 9.
Dave Simonett, Pete Quirk
[TURTLE POWER] Dave Simonett is the busy frontman for Minnesota folk outfit Trampled By Turtles. Aside from his side project, Dead Man Winter, Simonett occasionally tours on his own, greeting cities with his hazy and expansive folk-rock. His solo EP, Razor Pony, hits hard. It’s a sobering helping of early Band of Horses indie-country. There’s a spacy side to Simonett’s sound as well, the likely product of operating under the open terrain his own record label affords. Trampled By Turtles may be Simonett’s baby, but his solo work feels like his senior thesis. MARK STOCK. Doug Fir Lounge, 830 E Burnside St. 9 pm Thursday, Nov. 5. $15. 21+.
FRIDAY, NOV. 6 Kowloon Walled City, Fight Amp, Sloths, Hang the Old Year
[FURIOUS DESPAIR] Anger is the secret ingredient in many of the best sad songs, but few bands are as fully committed to the pissed-off end of depression’s spectrum as Kowloon Walled City. On the band’s new album, Grievances, singer-guitarist-producer Scott Evans goes fetal in the dark place between sludge and post-hardcore and gives vent to the nasty and self-defeating thoughts that remain long after the tears have dried. There is no uplift and no hint of escape, but there is terrible beauty in Evans’ slowburning arguments with the abyss. It is a masterpiece of dark artistry to be cherished on the coldest nights. CHRIS STAMM. Black Water Bar, 835 NE Broadway. 8 pm. $10. All ages.
SATURDAY, NOV. 7 Cyril Hahn
[REMIX WIZARD] It takes a lot of nerve to stake your reputation on the remix of an undisputed R&B classic. But Switzerland native Cyril Hahn wouldn’t be here without his intoxicating remix of Destiny’s Child’s “Say My Name,” a burbling house anthem stripped of all pretext and lyrics except that indelible chorus repeated, over and over, in a pitch-shifted voice that defies gender characterization. It’s a fantastic remix, and it sets the stage for the rest of Hahn’s oeuvre, including this year’s Begin EP and 2013’s “Perfect Form” single, featuring an expertly floaty vocal from Shy Girls’ Dan Vidmar. Hahn is just really good at using vocals—isolating the right moments, surrounding everything with deep clouds of synth and bass and letting the beat build to a perfect climax. Hanh’s music gives off the same euphoric feeling as prime Fred Falke—a taste so sweet you’ll be dancing all night. MICHAEL MANNHEIMER. Holocene, 1001 SE Morrison St. 10 pm. $18. 21+.
Circa Survive, RX Bandits, Citizen
[NU METALCORE] Circa Survive play post-hardcore from the White
Pony-era Deftones and A Perfect Circle school of “Nu-Metal Bands That People Didn’t Call Nu Metal Because They Didn’t Want To Admit They Like Nu Metal.” This is a good thing, as that forgotten slice of alt-rock history brought the Cocteau Twins’ lush, washed-out landscapes to a generation of slightly alternative kids who put them to good use, pairing them with driving lead guitar and drum work. As the band tours to commemorate the 10th anniversary of 2005’s Juturna, go and see a new generation of kids freak out over enigmatic frontman Anthony Green. WALKER MACMURDO. Roseland Theater, 8 NW 6th Ave. 8 pm. $22. All ages.
SUNDAY, NOV. 8 Johnette Napolitano
[MINIMAL ROCK] Johnette Napolitano is known for a lot of things: fronting Concrete Blonde, her visual art and film scores, getting sued by David Byrne, caring for rescue horses. But what she’ll probably be up to on Sunday is playing stuff from her album released a little over a month ago, The Naked Album. The title could mean a lot of things, but it seems safe to assume that it at least has something to do with the album’s minimalism. You rarely hear more than Napolitano’s scraggly voice and her soft electric guitar. That doesn’t mean the album’s not dynamic, though— it ranges from lightheartedly confessional to aggro and slightly eerie. SHANNON GORMLEY. Doug Fir Lounge, 830 E Burnside St. 8 pm. $20 advance, $22 day of show. 21+.
Cloudbust With Us: A Tribute to Kate Bush
[RELEASE THE HOUNDS OF LOVE] Chances are slim Kate Bush herself will ever set foot in Portland. So this tribute to the British art-pop chanteuse, featuring a few of her most well-studied local acolytes, is as close as we’ll get. And given who’s involved—performers include Sara Jackson-Holman, Johanna Warren and Coco Columbia—it’s not such a bad consolation. Holocene, 1001 SE Morrison St., 239-7639. 8:30 pm. $8 advance, $10 day of show. 21+.
Here We Go Magic, Big Thief
[ART POP] On the low, Brooklyn’s Here We Go Magic has released some of the more interesting indie-pop records of the last decade. Be Small, its latest, is no exception. It’s a slippery, subtly groovy record, which at times almost sounds like ‘70s soft funk processed through a kaleidoscope, or maybe Radiohead on a yacht. MATTHEW SINGER. Mississippi Studios, 3939 N Mississippi Ave. 9 pm. $12 advance, $14 day of show. 21+.
Macy Gray, Valise
[STEEL WOOL BLUES] Somebody with a voice as distinctive as Macy Gray’s wasn’t going to last long as an actual chart presence. Sounding like a toddler with a pack-a-day habit, her
crackling rasp powered her to hugeness in 1999 with the hit single “I Try,” but quite frankly, it’s a bit hard to take over the course of a single album, let alone the eight she’s released since then. It’s a bit of shame, though: Last year’s The Way is an enjoyable collection of earthy, bluesy, slinky R&B, provided her sandpapery whispers don’t make you feel like you’re wearing a hairshirt. MATTHEW SINGER. Revolution Hall, 1300 SE Stark St. Suite #110. 8 pm. $35. 21+.
Balto, Tents
[AMERICANA] Balto writes slowmoving, grooving folk songs with nasally harmonies, which is what I think people mean when they describe something as “dad rock.” And like their fellow dad-rockers, Balto is best consumed live, when frontman Daniel Sheron lets his voice loose and the band has a little room to improvise. The Portlanders (by way of New York, by way of Russia) released a 7-inch this past summer called Call It by Its Name, and it contains the kind of stuff we’ve come to expect from the band two full-length albums in: slightly jazzy touches, steady jamming and songs about railroads. SHANNON GORMLEY. Rontoms, 600 E Burnside St. 8:30 pm. Free. 21+.
MONDAY, NOV. 9 Trey Anastasio Band
[GONE PHISHIN’] Drop your Hacky Sack, expel the lungful of vape smoke and jam your feet into toe shoes: Trey Anastasio is coming to Portland! He is the living god of vagrants in dreadlocks and hemp vests, the Marx and Lenin of militant Whip-it inhalers, the smiling Buddha of the stoned meditators sitting cross-legged in the temples of tie-dye. College students high on dabs throw themselves at his feet, prostrating themselves and whipping their backs with knotted ropes made of hemp. The unwashed masses chant, “Phish! Phish! Phish!” The blond-bearded Christ of Kush smiles cryptically as he tunes his freak machines, readying for a rambling set of long songs. There is a direct lineage, a sound family, extending from the Grateful Dead to Primus, from Dave Mathews to Herbie Hancock. Anastasio lies at the center of this web, a terrifying and silent spider feasting on flies wrapped in the silk from his loins. BRACE BELDEN. Crystal Ballroom, 1332 W Burnside St. 7:30 pm. Sold out. All ages.
Made of Oak, Tuskha
[DYSTOPIAN POP] Made of Oak is the side project of Nick Sanborn, half of electronic pop duo Sylvan Esso. Under this moniker, Sanborn’s production wizardry is on full display in the form of haunting synth lines, clever beats and near-hypnotic repetition. There’s a dystopian-arcade feel to it all—recreational on the surface with its electro radiance, but more sinister beneath. Made of Oak will release
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MUSIC
DATES HERE
TUESDAY, NOV. 10 The Front Bottoms, the Smith Street Band, Elvis Depressedly
[CUTE OVERLOAD] Noise bands and metal dudes hog a lot of praise for pushing sound to nearly unlistenable extremes, but the Front Bottoms’ chipper compositions are potentially more punishing than any basementdwelling black metal. Marrying the adenoidal nerd pop of They Might Be Giants to the oversharing tendencies of contemporary emo, the Front Bottoms twist 20-something angst and apprehension into saccharine anthems that are often very annoying and almost always very catchy. The latter quality only makes the former more nerve-racking, but at least there is never a dull moment. Turns out music doesn’t have to be ugly to be challenging. CHRIS STAMM. Hawthorne Theatre, 1507 SE César E. Chávez Blvd. 6:30 pm. $15. All ages.
Jeff Daniels & the Ben Daniels Band
[CELEBUSICIAN] Will McAvoy sings the blues, with his kid or something. Mississippi Studios, 3939 N Mississippi Ave. 8 pm. Sold out. 21+.
Gesaffelstein (DJ set), Gener8ion
[DARK DJ] If Daft Punk were comicbook superheroes, Gesaffelstein would be their black-helmeted arch-nemesis. The French techno producer born Mike Lyon is perhaps best known for assisting in making Kanye West’s “Black Skinhead” the best “Beautiful People” cover ever. On his own, he makes dark, throbbing EDM with an industrial clang. He’s only doing a DJ set here, but it’s bound to go hard. Plus, it’s a great excuse to check out the Evergreen, Portland’s newest, sometime electronic-music venue. MATTHEW SINGER. The Evergreen, 618 SE Alder St. 9 pm. $40 general admission, $65 VIP. 21+.
CLASSICAL, JAZZ & WORLD Ellington and Strayhorn: A Celebration
[JAZZ ROYALTY] The 23rd International Duke Ellington Study Group Conference happens this year at Reed College, including performers, academics and authors of scholarly tomes about one of America’s greatest musicians and his shy sidekick Billy Strayhorn, a composer who took the Ellington band’s music to hitherto unparalleled heights of artistic sophistication and broad appeal. Best of all, Friday night’s concert pairs for the first time two of Portland’s top jazz stars, pianist-composer Darrell Grant and Rebecca Kilgore, in Strayhdorn’s luminous songs. You can’t take the A train—the title of Strayhorn’s most famous composition for Ellington—but you can take the Orange Line. BRETT CAMPBELL. Kaul Auditorium at Reed College, 3203 SE Woodstock Blvd., 7:30 pm Friday, Nov. 6. Free.
Musica Maestrale
[BAROQUE BROS] Just as R&B evolved (sort of) into rock ’n’ roll, something similar happened in the mid-18th century, when two Milanborn oboe-playing brothers, Giuseppe and Giovanni Sammartini, were composing music that influenced Haydn and Mozart and paved the way for the evolution from the Baroque to the Classical style. For all their influence, though, the Sammartinis’ music was eclipsed by what preceded and followed it. The historically informed Portland ensemble Musica Maestrale will attempt to remedy that neglect with performances of music by both bros on replicas of instruments from their time, including cello, mandolino, oboe and recorder. BRETT CAMPBELL. First Christian Church, 1314 SW Park Ave., 213-3144. 7:30 pm Saturday, Nov. 7. $10-$18.
INTRODUCING COURTESY OF RARE DIAGRAM
its strong debut EP, Penumbra, on this tour, a worthwhile grab at the merch table. MARK STOCK. Doug Fir Lounge 830 E Burnside St. 9 pm Monday, Nov. 9. $13 advance, $15 day of show. 21+.
Rare Diagram WHO: Justin Chase (keys, guitar, lead vocals), Emma Browne (guitar, keys, background vocals), Joseph Berman (guitar), Chris Marshall (bass), and Alex Radakovich (drums). SOUNDS LIKE: Piano synth-rock meets chamber pop. FOR FANS OF: Typhoon, Unknown Mortal Orchestra. Sitting on a plushy green couch in Townshend’s Tea on Mississippi Avenue, Rare Diagram’s Justin Chase and Emma Browne realize they first met only a few blocks away. Chase lived in a house on Stanton Street that regularly hosted shows. “We called it Stantonova,” Browne says with a laugh. (Browne occasionally takes photographs for WW.) That was in early 2012, almost a full year and a half before they started playing music together. Chase’s band, Tigerface, finally seemed to coalesce in the beginning of 2014, right around when its debut EP, On The Beach, dropped. But as the band’s lineup continued to change—and a band from Phoenix also named Tigerface forced them to change their name— Chase took the opportunity to indulge in a new beginning. “We reset and re-recorded those [Tigerface] songs and now they’re here,” says Chase, the primary songwriter. “It sort of feels like our first thing, even though me and Emma and our bass player were playing as a unit before that.” Now known as Rare Diagram—a nod to a line from Guided By Voices’ “Kisses to the Crying Cooks”—the five-piece is set to release its proper debut LP, Secret Shot, on Nov. 6 via its own Smoking Surgeon Records. The record is full of brass and string arrangements performed by the band’s friends and family, which flower particularly on tracks like the Ben Foldsesque “Scripture” and the aching ballad “Columbia.” Although Chase doesn’t live at the show house anymore, he still describes Rare Diagram as “basically a home recording project.” “The record was produced at home with super limited gear,” he says, “and I think that contributes to the intimacy and also the stacked-to-the-brim tension of it.” But all the layered arrangements and instrumentals lend themselves to a range of unsuspecting comparisons. “People will come up to us after shows and tell us that we sound like two completely different bands,” Browne says, “like, ‘You sound like Steely Dan and Elliott Smith!’” “‘It’s like Pavement meets Queen, but at a carnival!’” Chase adds. He pauses. “A lot of the music is inspired by bands that have complicated harmonic stuff going on like Steely Dan, but also sad dudes with strings.” “So,” Browne says, “it is like if Elliott Smith was the frontman for Steely Dan!” HILARY SAUNDERS.
THE BLUES CABARET feat. EARL THOMAS & DAVE FLESCHNER
FRIDAY, NOVEMBER 6TH AT 6PM Dave’s the genius behind The Blues Cabaret, which is why he smartly enlisted renowned blues belter, Earl Thomas. Earl’s got songwriting and singing credits you just have to scroll through – Etta James, Montreux Jazz Fest, Grammy nominated, etcetera. But his voice on a Fleschner tune is a revelation.
FLASH AH-AHHH!! SATURDAY, NOVEMBER 7TH AT 5PM
Chosen by the Oregonian as one of the nine “Must See” musicals of 2015, “Flash Ah-Ahhh!!” is a unique comedy rock operetta formed by the the combined talents of local, fringe theatre StageWorks Ink and the talented youth musicians from the Portland School of Rock. “Flash Ah-Ahhh!” is a parody of the cult classic film, “Flash Gordon,” with 16 of Queen’s most popular songs set as musical numbers. The show debuted in the spring of 2014 and has played to sold out houses ever since.
ISAAC TURNER SUNDAY, NOVEMBER 8TH AT 5PM
Isaac Turner started as a Punk Rocker in the Portland Oregon scene in the 2000’s. Eventually his love for music and shows inspired him to start his own band. Society’s Victim was born and many shows later the band ended in 2005. Isaac eventually fell in love with acoustic music and started playing in and fronting different bands and projects. Returning to more of stripped down live set-up, and with a new record, Isaac has matured his sound, image, and presentation.
SEE IT: Rare Diagram plays Holocene, 1001 SE Morrison St., with Fur Coats and Coronation, on Tuesday, Nov. 10. 9 pm. $5. 21+.
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MUSIC Rachmaninoff’s Rhapsody
[FEARLESS PIANO] Russian pianist Kirill Gerstein has his work cut out for him. A returning guest of the Oregon Symphony, Gerstein was picked to accompany them as they take on one of the hardest pseudo-concertos in all classical music: Rachmaninoff’s Rhapsody on a Theme of Paganini. It’s blazing fast, and features clean two-handed runs and atypical harmonies that make it one of the piano world’s greatest tongue twisters. A half-hour piece based on 24 variations of Paganini’s 24th Caprice for Violin, the composition is so difficult that Rachmaninoff himself was nervous before its debut, and broke his own rule of not drinking before playing. PARKER HALL. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 7:30 pm Saturday, Nov. 7. $29$105. All ages.
Wil Blades Trio, Jacob Fred Jazz Odyssey
dates here what geographical bias might have you thinking, Tulsa’s Jacob Fred Jazz Odyssey isn’t a gang of good ol’ boys playing standards for the Italian restaurant crowd. A truly nebulous beat-jazz group started in 1994 by keyboard player Brian Haas, the JFJO presently manifests itself as a trio, with Haas, guitarist Chris Combs and drummer Joshua Raymer. The kind of group who’ll sneak a John Coltrane original between 10-minute free-jazz improvisations, the JFJO stays centered, regardless of how out there the music sometimes gets. It’s a compelling modern jazz concert that will keep you on the edge of your seat, even if you have no idea what they are playing sometimes. PARKER HALL. Goodfoot, 2845 SE Stark St. 9 pm Saturday, Nov. 7. $15. 21+.
For more Music listings, visit
[OKLAHOMA SWINGS] Despite
ALBUM REVIEW
The Ghost Ease RAW (CABIN GAMES) [SUPERSONIC YOUTH] The second album by Portland trio the Ghost Ease imagines an alternate universe in which Sonic Youth decorated its wonderfully messy post-punk deconstructions with vocals that managed to match the wild beauty of its music. Backed by Nsayi Matingou’s restive, expressive drumming and Laurence Vidal’s unobtrusive but insistent bass work, frontwoman Jem Marie stages a wonderful dueling dance of guitar and voice. While the former instrument produces recognizable descendants of the swirling, nervous patterns created by Thurston Moore and Lee Ranaldo, Marie’s voice is entirely her own, and it carries otherwise familiar compositions into peculiar and affecting places. On album standout “PJM,” Marie swings from syrupy croons to off-kilter lilts in the span of a few seconds, and the effect is dazzling. The melancholic warmth of Chan Marshall and unpredictable flights of Kath Bloom come to mind, but Marie’s oscillations court chaos in a strange new way. Although the thrills tend to dissipate on slower numbers like “Neptune Sun,” which recalls the forgettable filler on Blonde Redhead’s mellower records, Raw as a whole offers convincing evidence that the Ghost Ease is on the verge of perfecting its odd magic. CHRIS STAMM. SEE IT: The Ghost Ease plays Alberta Street Pub, 1036 NE Alberta St., with Spookies and Months, on Thursday, Nov. 5. 8:30 pm. $11. 21+. 32
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MUSIC CALENDAR WED. NOV. 4 Aladdin Theater
3017 SE Milwaukie Ave Johnnyswim, The Accidentals
Alberta Street Pub
1036 NE Alberta St Daedric Clark and The Social Animals
Crystal Ballroom
1332 W Burnside St Leon Bridges, Kali Uches
Dante’s
350 West Burnside Matt Pond PA, Lauren Stevenson
Doug Fir Lounge
830 E Burnside St Tango Alpha Tango, Tumbleweed Wanderers, LiquidLight
Edgefield
2126 S. W. Halsey ST. The Old Yellers
Landmark Saloon
4847 SE Division St Buddy Evans
LaurelThirst Public House 2958 NE Glisan St Lewi Longmire & the Left Coast Roasters
McMenamins Al’s Den
3939 N Mississippi Ave Eyelids with Sam Adams; Jared Logan
6504 SE Foster Rd. Story Time with Olive & Dingo at Pieper
Star Theater
13 NW 6th Ave Keith Harkin
The Liquor Store
Doug Fir Lounge
830 E Burnside St Johnette Napolitano
Edgefield
2126 S. W. Halsey ST. Lewi Longmire
Holocene
8 NE Killingsworth St The Welfare State/ DRC3/OBSOLETE
Wonder Ballroom 128 NE Russell St Greensky Bluegrass
FRI. NOV. 6 Aladdin Theater
3017 SE Milwaukie Ave Luna
Alberta Rose Theatre
ALL SMOKE, NO MIRRORS: Gesaffelstein plays a DJ set at the Evergreen on Tuesday, Nov. 10. Hawthorne Theatre
1507 SE 39th Ice Nine Kills , Wage War , My Enemies & I , White Noise , Raines To Ruin
Holocene
1001 SE Morrison St Oddisee, Good Compny, Vinnie Dewayne; DJ O.G. One
3341 SE Belmont Jenny Don’t and the Spurs - The Lonesome Billies - Roselit Bone
3000 NE Alberta St Erin McKeown & Natalia Zukerman in Concert
The White Eagle
225 SW Ash Coffin Break
Wonder Ballroom
835 NE Broadway St. Kowloon Walled City, Fight Amp, Sloths, Hang the Old Year
3203 SE Woodstock Blvd. Ellington and Strayhorn: A Celebration
Clyde’s Prime Rib Restaurant & Bar
Landmark Saloon
836 N Russell St William Topley
128 NE Russell St The White Buffalo
THURS. NOV. 5 Alberta Rose Theatre 3000 NE Alberta St Jeffrey Foucault with special guest Jeffrey Martin
Alberta Street Pub
1036 NE Alberta St The Ghost Ease, Spookies, Months
Analog Cafe & Theater
Ash Street Saloon
Black Water Bar
Dante’s
3939 N Mississippi Ave Cash’d Out
1332 W Burnside St Ghostland Observatory 350 West Burnside My Life with the Thrill Kill Kult
Doug Fir Lounge
Ash Street Saloon
Duffs Garage
1332 W Burnside St Cherub with Hippie Sabotage
Doug Fir Lounge 830 E Burnside St Dave Simonett
Hawthorne Theatre
1507 SE 39th Swingin’ Utters, Success, the Bombpop, the Brass
Holocene Portland 1001 SE Morrison St Hermitude
Kaul Auditorium at Reed College
Crystal Ballroom
830 E Burnside St Death by Chocolate, Evol Walks, Sean Kelly
Crystal Ballroom
221 NW 10th Ave Bart Ferguson+The Yachtsmen
4847 SE Division St Gary Bennett (Formerly of BR549) and The Coat-tail Riders
5474 NE Sandy Blvd Q Band
720 SE Hawthorne Blvd Cheatahs 225 SW Ash Masta X-Kid
Jimmy Mak’s
2530 NE 82nd Ave JT Wise Band
Edgefield
2126 S. W. Halsey ST. Anita Margarita & The RattleSnakes
First Christian Church 1314 SW Park Ave Leading Ladies in Music Awards
Goodfoot Pub & Lounge
2845 SE Stark St FIRST FRIDAY SUPERJAM w/DJ MAGNETO & FRIENDS
Mississippi Studios
Scandinavian Heritage Foundation 8800 SW Oleson Road Christina Kobb in concert - Piano à Paris!
Star Theater
13 NW 6th Ave Michal Menert & The Pretty Fantastic Barisone with Marcello Moxy & Will ...
TAO EVENT CENTER 631 NE Grand avenue Banda Carnaval - Los Bailes VIP del Rey
The Blue Room Bar 8145 SE 82nd Ave NAAH! PDX!
The Firkin Tavern
1937 SE 11th Ave Pretty Gritty + Forest Beutel (Tacoma)
The Old Church Concert Hall
1422 S.W. 11th Avenue The Flamenco Experience “ALBA” (dawn)
The Secret Society
116 NE Russell St The Barn Door Slammers at The Secret Society
Tony Starlight Showroom
1125 SE Madison St Sinatra by Request
SAT. NOV. 7 Aladdin Theater
3017 SE Milwaukie Ave Live Wire! with Luke Burbank at Aladdin Theater
Alberta Abbey
126 NE Alberta St. Passions & Pitfalls, Loves Glorious Journey
Alberta Rose Theatre 3000 NE Alberta St The Blues Cabaret CD Release Party
Arlene Schnitzer Concert Hall
1037 SW Broadway Rachmaninoff’s Rhapsody
Ash Street Saloon 225 SW Ash Serge Severe
Beaverton High School
13000 SW 2nd St OSB “Salute to Veterans”
Clyde’s Prime Rib Restaurant & Bar
5474 NE Sandy Blvd Cool Breeze
Crush Bar
1400 SE Morrison St. A Benefit for Safer Streets/ Dance Party
Dante’s
350 West Burnside METALACHI with Guests
Double Dragon
1235 SE Division St Baby Ketten Karaoke
Doug Fir Lounge
830 E Burnside St Dead Winter Carpenters
Edgefield
2126 S. W. Halsey ST. Bill Wadhams and Company
First Christian Church 1314 SW Park Ave. Musica Maestrale
Goodfoot Pub & Lounge
2845 SE Stark Street Wil Blades Trio, Jacob Fred Jazz Odyssey
Hawthorne Theatre
1507 SE 39th RAR , The Punctuals , Chemical Rage , Sabateur ABOUT RAR--Firstborn grandson from a big family,
Holocene
1001 SE Morrison St CMJ College Day on Tour: The Thermals, The Ghost Ease, Jackson Boone, The Ocean Ghosts, Sabonis; Cyril Hahn
Jade Lounge
2348 SE Ankeny Anthony Presti and Ronnie Carrier
Jimmy Mak’s
221 NW 10th Ave Andy Stokes Sings Love Songs
Landmark Saloon
4847 SE Division St Anita Margarita and The Rattlesnakes
Midland Library
805 SE 122nd Avenue Native American Song and Dance
Mississippi Studios
Mississippi Studios
3939 N Mississippi Ave Here We Go Magic with Big Thief
Revolution Hall
1300 SE Stark St #110 Macy Gray, Valise
Plew’s Brews
600 E Burnside St Balto, Tents
Portland Art Museum 1219 SW Park Ave Opening Sing-a-long with Emily Arrow
Roseland Theater 8 NW 6th Ave Circa Survive, RX Bandits, Citizen
Scandinavian Heritage Foundation
8800 SW Oleson Road Christina Kobb lecture/ demonstration - The Piano in Early 19th Century Vienna
St. Mark’s Lutheran Church 5415 SE Powell Blvd. Free Neighborhood Concert
Star Theater
13 NW 6th Ave DAN REED NETWORK with Rob Daiker
The Firkin Tavern
1937 SE 11th Ave Patrimony + Don Quixote + Boat Race Weekend
The Liquor Store
3341 SE Belmont Something I’m Proud Of
The Secret Society
116 NE Russell St The Earnest Lovers, The Waysiders, The Rachel Mann Band; The Libertine Belles
The White Eagle
836 N Russell St The Stubborn Lovers; The Student Loan
Mississippi Studios
3939 N Mississippi Ave Like a Villain, Luke Wyland (of AU), The Crenshaw at Mississippi Studios
Saint David of Wales Church
2800 SE Harrison Street Everyone Welcome Community Choir
The Blue Room Bar 8145 Se 82nd Ave Earl and The Healers
The Liquor Store
3341 SE Belmont Flaural + Happy Dagger
The White Eagle 836 N Russell St My Goodness
TUES. NOV. 10 Bossanova Ballroom 722 E Burnside St Portland Blues & Jazz Dance Society
Doug Fir Lounge
3939 N Mississippi Ave Radiation City, Deep Sea Diver 8490 N Lombard St All the Colors of the Dark #2: Mojave Bird, The Wilmoth Axel, Quiet!
1111 SW Broadway Noontime Showcase: Stumptown Stages Troupe
Lovecraft Bar
303 SW 12th Ave Garcia Birthday Band
Turn Turn Turn
Hatfield Hall
Crystal Ballroom
McMenamins Al’s Den
836 N Russell St Keeper Keeper
[NOV. 4-10]
1001 SE Morrison St CLOUDBUST WITH US: A TRIBUTE TO KATE BUSH 421 SE Grand Ave UK82 punk night
The White Eagle
Roseland Theater 8 NW 6th Ave Collective Soul
1665 SE Bybee Blvd Jet Black Pearl - World Wild Accordion Diva
529 SW 4th The Famous Haydell Sisters
Landmark Saloon
Pieper Cafe
Corkscrew Wine Bar
Rialto Corner Bar
116 NE Russell St Thursday Swing! Featuring Baby & The Pearl Blowers, The Resonant Rogues
3939 N Mississippi Ave In The Valley Below
5474 NE Sandy Blvd Ron Steen Jazz Jam
1300 SE Stark St #110 Beloved Presents: Rising Appalachia with Special Guests: Arouna Diarra & More
The Secret Society
Mississippi Studios
Prime Rib Restaurant & Bar
Revolution Hall
Justa Pasta
4847 SE Division St Jake Ray and the Cowdog’s; Miller and Sasser’s Twelve Dollar Band!
722 E. BURNSIDE Smiling Betty: An Original Portlandian Rock Opera Clyde’s
Mississippi Studios
3341 SE Belmont Galaxe - Durazzo Gems
SUN. NOV. 8
Bossanova Ballroom
3552 N Mississippi Ave Red Yarn kids show
2845 SE Stark St BROTHERS GOW
1125 SE Madison Portland OR Mango Nights Dinner Show
225 SW Ash The Misery Men
Mississippi Pizza Pub
The Liquor Store
Tony Starlights Show Room
Ash Street Saloon
303 SW 12th Ave Jacob Westfall
Goodfoot Pub & Lounge
1336 NW 19th Ave Anson Wright Duo
For more listings, check out wweek.com.
E L I N A K E C H I C H E VA
= WW Pick. Highly recommended.
Editor: Matthew Singer. 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.
Rontoms
1332 W Burnside St The Struts with I Saw Them When 830 E Burnside St The Doubleclicks
Edgefield
2126 S. W. Halsey ST. The Earnest Lovers
Goodfoot Pub & Lounge
2845 SE Stark St YAK ATTACK (FREE!)
Hawthorne Theatre
1507 SE 39th The Front Bottoms, The Smith Street Band, Elvis Depressedly
Holocene
Vie de Boheme
1001 SE Morrison St Rare Diagram
White Owl Social Club
618 SE Alder Street Infinite Vision: GESAFFELSTEIN
1530 SE 7th Ave. Bridge to Russia
1305 SE 8th Ave Chili Jamboree
The Evergreen
Kelly’s Olympian
Wolf Den Music Space
426 SW Washington St Rose City Round : Nashville style writer’s round
Wonder Ballroom
Landmark Saloon
5220 NE Sandy Blvd Songwriter’s Circle and Tune-Up 128 NE Russell St Mayday Parade
MON. NOV. 9 Analog Cafe & Theater
720 SE Hawthorne Blvd DARKEST HOUR 20 YR ANNIVERSARY playing UNDOING RUIN in its entirety w/ Jahai / Critic / Proven / Submerged
Crystal Ballroom
1332 W Burnside St Trey Anastasio Band
Dante’s Live
350 West Burnside Karaoke From Hell
Doug Fir Lounge
4847 SE Division St. Jeremy Pinnell & The 55s
LaurelThirst Public House 2958 NE Glisan St Jackstraw
McMenamins Mission Theater 1624 NW Glisan St David Ryan Harris
Mississippi Studios
3939 N Mississippi Ave Jeff Daniels and the Ben Daniels Band
Ponderosa Lounge 10350 N. Vancouver Way Blackjack Billy @ Ponderosa Lounge
830 E Burnside St Made of Oak (Nick Sanborn of Sylvan Esso), Tuskha (Phil Moore of Bowerbirds)
Raven and Rose
Edgefield
8 NW 6th Ave TRITONAL & CASH CASH
2126 S. W. Halsey ST. Will West & Groovy Wallpaper
Goodfoot Pub & Lounge
2845 SE Stark St RIPPIN’ CHICKEN (Post Trey Anastasio Band show)
1331 SW Broadway Na Rósaí - Traditional Irish Music
Roseland Theater
The White Eagle
836 N Russell St •Falcon Heart • Future Historians • Egg Plant•
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MUSIC 1. Zoiglhaus
5716 SE 92nd Ave., 971-339-2374, zoiglhaus.com. Hello, Lents! Brewer Alan Taylor brought his excellent German-inflected Pints beers over to a big ol’ family-friendly brewpub styled for the motherland, and the Lents Lager is a light, clean take on the Bavarian Helles.
E M I LY J O A N G R E E N E
BAR REVIEW
2. Chopsticks
3390 NE Sandy Blvd., 234-6171, chopstickskaraoke.com. Old friends in Portland don’t disappear. They just move farther from the river. Give the new Chopsticks some time to get dirty and put new pictures on the walls, and soon enough a fresh group of broke kids will be there, making terrible decisions and singing songs too loudly and way out of key.
3. La Moule
4. Victoria Bar
4835 N Albina Ave., victoriapdx.com. Victoria Bar’s owners have merged the aesthetic of their freeway offramp nightclubs (Jackknife, Dig a Pony) and vegan whiskey patio bars (Bye and Bye, Sweet Hereafter) into a plausible template for citywide, upper-middlebrow dominion.
5. Quality Bar
931 SW Oak St., sizzlepie.com. Now you can get your latenight westside pizza by sitting down directly at a bar, ordering a peachinfused Old Fashioned or ’Gansett tallboy and then ordering your slice from the daily menu. You will wait for it with drink in hand, rather than standing in line. It is a miracle of science.
RAMBLE ON: Out on the back patio, a woman coughing theatrically near a smoker—while sitting next to an open fire pit—explained the history. “At first it was Casa Naranja, and it was nice,” she says. “They had sangria and hammocks in the back. Then Bungalo Bar kept the hammocks, but it was a magnet for dirtbags.” With The Rambler (4205 N Mississippi Ave., 459-4059, ramblerbar.com), the little Mississippi-neighborhood house bar is nice again. The hammocks and hanging chairs and strange CDC-quarantine- style plastic are gone from the backyard, in favor of an outdoor flat-screen TV tuned to sports, and a tasteful stained-wood battery of picnic tables. There is an admirably large bocce pit to the side, and within the domestic-feeling bungalow, the pool table is pristine blue felt and the bar serves a kegged cocktail named for Doc Brown, plus a host of $8 to $10 variations on the Manhattan, Old Fashioned and vodka fruit punch. The food is upscale Tex-Mex, including a $13 frito pie made with brisket chili, and a $13 burger stuffed with more proteins than a vegan bodybuilder’s medicine cabinet: ground brisket topped with pulled pork topped with bacon relish topped with an egg (with additional bacon optional). The egg is one step too far, but it’s hard to fault the ambition. Really, the feeling at the Rambler is as if members of the never-ending frat party at Bungalo Bar—evidenced by OLCC violations, noise complaints and license suspensions—all grew up and bought houses with cushy chairs and big-screen TVs. While I finished my burger, a back table erupted with a noise previously unheard by humankind—someone had a picture of a puppy on their phone. “They’re like 22,” says the 30ish blonde ordering at the bar, with no small amount of sympathy. “They still think everything is exciting.” I left with the strong feeling that the bar was not made for me. But it was made nonetheless very well. MATTHEW KORFHAGE.
SAT. NOV. 7 Euphoria Nightclub
315 SE 3rd Ave DESTINATION SATURDAYS: JOSH WINK
WED. NOV. 4 Lovecraft Bar
421 SE Grand Ave Event Horizon - DJs Straylight and Miss Q
Kelly’s Olympian
426 SW Washington St Hideous Racket with DJ Flight Risk
Killingsworth Dynasty
832 N Killingsworth St Melter’s Meet-Up: DJs Co La, Sappho, Rap Class, Phork, Corporate Events
THURS. NOV. 5 Lovecraft Bar
421 SE Grand Ave Shadowplay
FRI. NOV. 6 Lovecraft Bar
421 SE Grand Ave Death Trip w/ DJ Tobias and guests
Euphoria Nightclub 315 SE 3rd Ave DIRECT FRIDAYS: DR FRESCH
Moloko
3967 N. Mississippi Ave DJ Roane
Lovecraft Bar
421 SE Grand Ave MISPRID presents Expressway to Yr Skull
SUN. NOV. 8 Lovecraft Bar
421 SE Grand Ave UK82 punk night
MON. NOV. 9 Lovecraft Bar
421 SE Grand Ave Rock w/ Cory
Holocene Portland 1001 SE Morrison St DJ O.G. One
Goodfoot Pub & Lounge
2845 SE Stark St FIRST FRIDAY SUPERJAM w/ DJ MAGNETO & FRIENDS
RICK VODICKA
2500 SE Clinton St., 971-339-2822, lamoulepdx.com. The balanced gin-Aperol Sunday Morning ($9) is like a Negroni made with cherries, and there’s a fine $8 Old Fashioned made with Heaven Hill 6-year bourbon. St. Jack’s cross-river companion bar is a fine place to drink and eat mussels beneath a portrait of blackeyed Serge Gainsbourg, while Television plays in a bar without a television.
Street P.21 Willamette Week NOVEMBER 4, 2015 wweek.com
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Willamette Week NOVEMBER 4, 2015 wweek.com
PERFORMANCE LIZZY ACKER
HOTSEAT
= WW Pick. Highly recommended. Most prices listed are for advance ticket sales. At-the-door increases and so-called convenience charges may apply, so it’s best to call ahead. Editor: ENID SPITZ. Theater: ENID SPITZ (espitz@wweek.com). Comedy: MIKE ACKER (macker@wweek.com). Dance: ENID SPITZ (dance@wweek.com). TO BE CONSIDERED FOR LISTINGS, submit information at least two weeks in advance to: espitz@wweek.com.
OPENINGS & PREVIEWS Exile
You have to play the game to stay alive in L.A. writer Nastaran Ahmadi’s play about an Iranian-American video game tester who builds a post-apocalypic Iranian game-scape. As she gets more and more involved in her alternate reality, the coder finds her own life turning into a disaster zone. Reed’s Black Box Theatre, 3203 SE Woodstock Blvd. 7:30 pm Thursday-Saturday, Nov. 6-14. $7.
No Reservations
It’s theatrical blasphemy to put Samuel Beckett and “tropical island” in the same sentence, not to mention lumping them together in a multimedia ghost story at Headwaters Theatre. But that’s exactly what producers Michael Gust and Rachel Heichen are doing, and it doesn’t sound terrible. In the style of Beckett’s classics, the show follows a lost soul stewing through existential mindfucks. When Jack Mann finds himself in a hotel with no reservation and no idea of how he got there, his search for answers leads him on a Wonderland-style misadventure. The Headwaters Theatre, 55 NE Farragut St., No. 9, 289-3499. 7 pm Friday-Sunday, Nov. 6-8. $15.
Offending the Audience
For it’s third show in a year-long installment of works by Austria’s avant-garde theater master Peter Handke, Portland’s multidisciplinary Liminal group is reinterpreting his 1965 “anti-theater” play. The “gesamtkunstwerk” started as Handke’s attempt to explode the fourth wall and engage his audience. Lumped in with Peter Stein and Samuel Beckett for his theatrical experiments that played with language—or eschewed it altogether—Handke is known for breaking rules. This production, in English and German, promises the same: prepare for nude interpretive dances by the ghosts of Edward Snowden and Rosa Parks, says the program. Believe that or not, you can expect an electronic soundtrack, multimedia components and plenty of offensive ideas. Action/ Adventure Theatre, 1050 SE Clinton St., liminalgroup.org, 567-8309. 7:30 pm Friday-Sunday and 2:30 pm Sunday. Through Nov. 22. $10-$25.
The Other Woman
Across the country, 30 stages are simultaneously putting on readings of the lady-things play The Other Woman to raise awareness for domestic violence and start conversations about infidelity. Bag and Baggage’s five resident actresses—taking a break from the company’s usually lighthearted lineup—will take the stage to benefit a local domestic violence awareness nonprofit. The show is based off an anthology of the same name that tells five very different women’s stories about the repercussions of cheating or beating in relationships. The stories come from authors like New York Times bestseller Caroline Leavitt and children’s author Maxinne Rhea Leighton. Bag and Baggage, 350 E Main St., Hillsboro, 345-9590. 7:30 pm Monday, Nov. 9. $25.
Orlando
Orlando was born male in Elizabethan England, but over his 300 yearlong life, he switches genders and becomes female. Sarah Ruhl, the New York-based MacArthur winner whose Passion Play just finished its multi-theater run in Portland, adapted Virginia Woolf’s 1928 novel for the stage. Portland Center Stage and Playwrights West mainstay Matthew B. Zrebski directs the gender-swapping show. Warning, or promise, there will be nudity. Alder Stage, 1516 SW Alder St., 242-0080. 7:30 pm Thursday-Saturday, 7:30 pm Wednesday, Nov. 18, and 3 pm Sunday. Through Nov 22. $15-$32.
Usagi Yojimbo
You either think this is a misplaced food review of Portland’s new sushi spot, or your face just contracted involuntarily in confusion. Stan Sakai’s beloved comic book about a rabbit named Usagi who’s on a mission to become Yojimbo (samurai status) attained cult status over the past 30 years. It follows the hero’s journey as Usagi leaves his mom to valiantly pursue his destiny in a 16th century Japan filled with feudal lords and groundlings trying to please their ancestors. Adapted by Dark Horse Comics founder Stewart Melton, this show has fight scenes, dramatic masks and makeup, and will include a book signing with Sakai on opening night to celebrate Usagi’s 30 year anniversary. PCC Sylvania Performing Arts Center, 12000 SW 49th Ave., 722-4323. 7 pm Friday and 2 pm Saturday, Nov. 6-7, and 11 am Thursday and 7 pm Friday-Saturday, Nov. 12-14. $10.
ALSO PLAYING Ain’t Misbehavin’
Raunchy, swinging piano battles and hedonistic Cotton Club acts inspired by the life of jazz piano legend Fats Waller make this Tony Award-winning musical a nostalgic trip from the Harlem Renaissance through to World War II. Portland Center Stage got permission to amp up the play from what it was on Broadway and in the West End, augmenting the cast with Third Rail, Artists Repertory and Portland Playhouse veterans, plus a few London, New Orleans and New York talents like Andre Ward— who did Rock of Ages on Broadway— and David Jennings—who starred in the Broadway version with American Idol’s Ruben Studdard. That’s a lot of namedropping, even for PCS. But it’s worth a mention that this may be the largest black cast we’ll see on any stage this year. Gerding Theater, 128 NW 11th Ave., 445-3700. 7:30 Tuesday-Friday, noon Thursday, 2 pm and 7:30 pm SaturdaySunday. Through Nov. 29. $30-$75. 12+.
Broomstick
Gemma Whelan (Corrib Theatre) directs the always-stunning Vana O’Brien in Artist Repertory’s Halloween offering. New York Times columnist John Biguenet’s one-woman thriller follows an Appalachian witch through her very long life of lost loves. The heartbroken witch eventually turns bitch and exacts her long-awaited revenge on everyone who’s wronged her. Artists Repertory Theatre, 1515 SW Morrison St., 241-1278. 7:30 pm Wednesday-Sunday, 11 am Wednesday, Nov. 11, and 2 pm Sunday. Through Nov. 22. $48.
Carrie the Musical
Carrie White still gets her bath in this remake of the classic Halloween fodder that notoriously flopped on Broadway in 1988. Now it’s such an emblem of theatrical folly that a new generation felt obliged to raise it from the grave. Antoinette Hatfield Hall, 1111 SW Broadway, 381-8686. 7:30 pm Thursday-Saturday, 2 pm Sunday. Through Nov. 8. $25-$40.
Cock
To launch its 16th season of groundbreaking dramatic works, Defunkt Theatre and veteran director Jon Kretzu present the Portland premiere of Mark Bartlett’s acclaimed relationship portrait Cock, in which a gay man unexpectedly falls into heterosexual love and is unwilling to leave his boyfriend. Defunkt Theatre, 4319 SE Hawthorne Blvd., 481-2960. 7:30 pm Thursday-Sunday. Through Nov. 15. $10-$25.
The Drunken City
Three young, suburbanite girlfriends all got engaged. Cue mayhem. By the time the first woman has her bachelor-
CONT. on page 40
AGENT ORANGE: Mike Acker (left) and Nariko Ott.
Laughter Is a Gateway Drug NARIKO OTT TALKED TO WW, GOT HIGH, AND THEN TALKED ABOUT BLOWTORCHES. Nariko Ott moved to Portland from Phoenix—from one of the least-stoned cities in the country to one of the most. He placed third at this year’s Portland’s Funniest Person contest, was one of WW’s Funniest Five local standups in 2014, and holds the unofficial record for shortest set at Billy Anderson’s Gateway Show, where five comics do a set, get stoned, then perform again. In the spirit of legalization, Anderson is bringing his show from Seattle to Portland’s Funhouse Lounge and hosting Ott, Curtis Cook, Tyler Smith, Bri Pruett and Nathan Brannon. Keeping with the theme, Ott did an interview with WW in two parts: One sober, the second stoned.
Are you doing the same set twice at the Gateway Show—sober and stoned—or two different sets? Stoned Ott: Ideally it would be a different set. It would be weird to do the same set. If you liked him before, you’re going to love him…slower. What happened when you did this show before? I failed real hard. I had a giggle fit and couldn’t recover for the life of me. Something about the idea of tweeting with my mouth at people…and then I completely had a meltdown. Is it hard to perform stoned? Comedy becomes like muscle memory, where you don’t have to think very much. The problem with being high is you get sidetracked and can’t speak super-great. It’s easy to be delighted by some idea no one else can hear that’s in your head.
When did you start smoking weed? WW: What was it like for you when you started My older brother got me high when I was in fifth grade. Seems a little young now in retrospect. He’s in Portland? five years older, so he probably thought it was Sober Nariko Ott: I sucked real bad. I look at super-funny to mess me up. Boy, that got comedy like you’re all in a trench together dark, huh? in World War I. You’re the new guy, and the old guys are like, “I don’t want to I look at comedy How do you feel about weed know your name because you’re just like you’re all in a being legalized? going to die, and that’s going to be I’m fearful of the technological upsetting for me. We’ll call you ‘two trench together in advances. Dabs, shatter, wax—that’s cigarettes,’ because that’s how long World War I. really sketchy. You just take this natyou’ve got here.” ural plant and boil it in butane until it —Nariko Ott becomes crystallized, and then you hit Placing in the Funniest Five and it with a blowtorch. I think that’s how you taking third in Portland’s Funniest know you’ve gone too deep—any time a blowtorch Person are big accomplishments. How does comes out when you’re trying to chill. that feel? When you start out, you think, “Crowds are loving me. I’m great!” Then about a year later, you write What is your favorite thing to do while high? your first good joke and realize you’ve been both- I don’t like to be around people, or in unfamiliar setering people for a year. At the same time, contests tings, or to be filmed, or have a bunch of bright lights on. Or to be looked at and asked questions in a very are bullshit. The real battle is with yourself. aggressive manner. Or stand on a stage with a bunch of hot lights on you and a crowd of people waiting for Do you perform comedy outside of Portland? Any place that will have me—any small hamlet with you to say something interesting. I honestly just love a Chinese restaurant with an extra table or two. I to get high and watch a movie. One of my favorite did a place in Corvallis, and they wondered why memories is smoking weed, riding my bike to the I didn’t bring the PA. I showed up, and they were Laurelhurst Theater and watching The Fly…and eatlike, “Did you bring a PA?,” and I was like, “Should ing way too many snacks. MIKE ACKER. we have brought four walls and a crowd too?” Ott takes a break to smoke a strain called Agent Orange from a glass pipe shaped like an elephant.
SEE IT: The Gateway Show is at Funhouse Lounge, 2432 SE 11th Ave., 309-3723, on Friday, Nov. 6. 9 pm. $8. Willamette Week NOVEMBER 4, 2015 wweek.com
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PERFORMANCE ette party—a debauched affair in an unnamed city that looks a lot like Vegas—everything is falling apart. Chief among the foibles? Bride-to-be Marnie (Holly Wigmore) isn’t so sure that she wants to get married after all. She manifests her reservations by making out with Frank (Murri Lazaroff-Babin), a banker from their suburb that she runs into while out on the town. As the bacchanal progresses, the city takes on an evil sentience, serving in the script like a character itself. JAMES HELMSWORTH. Shoebox Theater, 2110 SE 10th Ave., 306-0870. 7:30 pm Thursday-Saturday, 2 pm Sunday. Through Nov. 21. $10-$20.
Equus
Manic and stunning, Equus follows the true English case of 17-year-old Alan Strang (Phillip Berns) blinding six horses with a metal spike, Peter
Shaffer’s notorious play imagines the boy’s therapy with children’s psychiatrist Martin Dysart (Todd Van Voris) and unpacks his crime in a series of nightmarish flashbacks. Post5 power couple and Ty and Cassandra Boice co-direct, and here their penchant for showmanship is at its best. Van Voris’s Doctor Dysart is perfect, and Berns is painfully well-cast. Post5 Theatre, 1666 SE Lambert St., 971-258-8584. 7:30 pm Thursdays-Sundays. Through Nov. 14. $15-20.
The Foreigner
Dirty secrets and evil plots surface at a rural fishing lodge in Georgia thanks to a newcomer named Charlie and his debilitating fear of social situations. Regular guest “Froggy” LaSeur, a Brit who lends his demolition expertise at a local army base, introduces his shy
friend to the lodge denizens as a foreigner who speaks no English. HART Theatre, 185 SE Washington St., Hillsboro, 693-7815. 7:30 pm Friday-Saturday and 2 pm Sunday. Through Nov. 8. $15.
Macbeth, A Dark Retelling
“Trigger warning for domestic abuse” warns the top of the playbill for this modern reinterpretation, where Lady Macbeth is played as the unfortunate victim of domestic violence who inspires her husband (Macbeth with a gas mask and a police baton) to commit treason and eventually cause a national bloodbath. Lightbox Kulturhaus, 2027 NE Martin Luther King Jr. Blvd., 750-3811. 8 pm ThursdaySaturday and 2 pm Saturday. Through Nov. 14. $15-$20.
CO U RT E SY O F M YQ KA P L A N
PREVIEW
The V Word
Vegan comic Myq Kaplan isn’t only funny about his food. Most jokes about vegans are variations on a theme. You never have to ask if somebody is vegan—just give them 30 seconds and they’ll tell you. Brooklyn-based comic Myq Kaplan might take issue with that. The comic, who has done sets on Conan and the Late Show With David Letterman, is this country’s most well-known vegan comedian, and he has some opinions about other people’s opinions of vegans. “Some people hear the word vegan, and think, ‘I know what you’re like,’” Kaplan says. “They jump to whatever the worst stereotype of a vegan is, based on the loudest, most annoying vegans they have access to.” A vegan comedian is a rare commodity, but Kaplan is used to weathering unexpected cultural encounters. A graduate of Brandeis University with a master’s degree in Linguistics from Boston University, Kaplan’s brand of wordy, sophisticated comedy might at first blush seem only appropriate for college crowds or niche comedy stages. But his touring schedule mostly lists places like the Laughing Skull in Atlanta and improv clubs in Texas and Florida. “Sometimes I’ll headline a club for a weekend, and sometimes I want to go to Miami to visit my grandmother, so I’ll try to string together a bunch of do-it-yourself, indie shows,” Kaplan explains. 40
Willamette Week NOVEMBER 4, 2015 wweek.com
NO CHICKEN: Myq Kaplan.
The Last Comic Standing finalist has a significant mainstream following, and cracked up big names Howard Stern and Howie Mandel on America’s Got Talent, but Kaplan still likes his corner on the vegan market. It comes in handy when landing in a city like Portland, PETA’s second-most vegan-friendly city in the United States since 2013. “The last time I was headlining at Helium, I went into Herbivore and a woman who worked there recognized me,” Kaplan says. “I put her on the guest list, and she brought me a shirt. That’s more support than I get from most establishments.” Even with the gifts of vegan clothing and food, restaurant recommendations and bookings at vegan festivals, Kaplan wants to be seen as more than his dietary choices. “Many of us have an identity signifier that’s more important than others,” Kaplan says. “My main one is ‘human?’ Kind of with a question mark. I have three albums out and I talk about vegetarian and vegan stuff, but it’s a small fraction. I probably talk for an hour, and maybe five or 10 minutes ends up being about animal stuff.” MIKE ACKER. SEE IT: Myq Kaplan is at Bossanova Ballroom, 722 East Burnside St., 206-7630. 7:30 pm Friday, Nov. 5. $15 advance, $18 day of show. 21+.
R U SS E L L J YO U N G
EQUUS
The Realistic Joneses
These aren’t the Joneses to keep up with. They don’t have perfect bodies, jobs, marriages or kids, and they don’t drive BMWs. These are The Realistic Joneses, and in Will Eno’s affecting one-act play, two couples who both happen to be named Jones get to know one another in unexpectedly poignant ways. Mercifully, this doesn’t degenerate into geriatric swinging. Despite the specters of decline and death that haunt Eno’s script, his mordant dialogue earns well-deserved laughs and the quartet of actors navigate this bittersweet prose effortlessly. RICHARD SPEER. Third Rail Repertory Theatre, 17 SE 8th Ave., 235-1101. 7:30 pm WednesdaySaturday and 2 pm Sunday. Through Nov. 14. $42.50.
Remme’s Run
Crafted from historical accounts of the Oregon Territory by writer-director (and two-time Oregon Book Award nominee) Wayne Harrel, this show recounts the tale of a cattleman’s desperate ride north from Sacramento to save his fortune and start a family on Sauvie Island. CoHo Theater, 2257 NW Raleigh St. 7:30 pm Thursday-Saturday. Through Nov. 7. $28.
Sex With Strangers
It’s hard to imagine two characters more different than Olivia and Ethan. She’s a neurotic intellectual who’s always cleaning; he talks with his mouth full and pees with the bathroom door open. But it doesn’t take long for these polar personalities to wind up doing the nasty in Sex With Strangers, playwright Laura Eason’s ode to romance in the age of Wi-Fi. Gender stereotypes abound. Olivia is uptight, commitment-seeking and worried about aging; Ethan is a crass stud-muffin who just wants to get laid. In the end, monogamy prevails. Still, with its sharp dialogue and nuanced performances, the play is satisfying. RICHARD SPEER. Portland Center Stage, 128 NW 11th Ave., 445-3700. 7:30 pm Tuesday-Sunday, noon Thursday, 2 pm SaturdaySunday. Through Nov. 22. $25-$50.
Ricketts checks in from space acting as Carl Sagan. The Mission Theater, 1624 NW Glisan St., 223-4527. 8 pm Wednesday, Nov. 4. $6-$8. 21+.
Dirty Roast Battle 2015
Some of Portland’s best local comics are getting together for an all-out roast. The audience chooses the winner in this three-way battle hosted by Jacob Christopher. Comics include Christian Ricketts, Gabe Dinger, Amanda Arnold, Wednesday Weiss, Philip Schallberger, Jordan Casner, Trevor Thorpe, Alex Rios, Kyle Harbert, Jake Silberman, Scoot Herring and Nariko Ott. Helium Comedy Club, 1510 SE 9th Ave., 888-643-8669. 8 pm Wednesday, Nov. 4. $12-$20. 21+.
Joey “Coco” Diaz
Joey “Coco” Diaz was born in Havana, Cuba, and grew up in New Jersey. The host of The Church of What’s Happening Now podcast and a regular guest on the Joe Rogan Experience, Diaz comes to Portland for a five-night engagement that’s most certain to be edifying, insightful and above all hilarious. Helium Comedy Club, 1510 SE 9th Ave. 8 pm Thursday, Nov. 5, 7:30 pm & 10 pm FridaySaturday, Nov. 6-7. $17-$30. 21+.
Siren Nation Presents: Hell Hath No Funny
Siren Nation’s bi-annual comedy show is hosted by Caitlin Weierhauser and features a killer lineup that includes Portland’s funniest person, Amy Miller; Karina Dobbins, who has opened for Trevor Noah; and SF Sketchfest vet Dinah Foley. The Secret Society, 116 NE Russell St., 493-3600. 8 pm Wednesday, Nov. 4. $10-$12. 21+.
COMEDY & VARIETY
Muddy Feet Contemporary Dance’s first evening-length show is a lineup of duets by Portland choreographers like Northwest Dance Project’s Franco Nieto, Carla Mann, Luke Gutgsell, Eliza Larson and Muddy Feet director Rachel Slater. This new company’s mission is to help local talent make a living, so every dancer in the show is Portland-based. Studio 2, 810 SE Belmont St., 7:30 pm Thursday-Saturday and 4 pm Saturday, Nov. 5-7. $15.
Whitney Streed’s brand-new, monthly comedy showcase features Nathan Brannon, winner of the 35th Annual Seattle International Comedy Competition, and locals Nariko Ott, JoAnn Schinderle, David Mascorro and Christen Manville. Christian
Celebrating the Holydays
Going Red Cabaret
Tommy J and Sally
Comedy In Space!
Sweet Honey in the Rock
DANCE Local songstress and Zumba instructor, Alexis Moore Eytinge, and her mainstay pianist, Mont Chris Hubbard, are forming a trio with singer Ecaterina Lynn for a cerebral cabaret. Themed around how far the human psyche stretches, the show features songs like “The Abusive Medley” and “Miss Byrd” at the old world wine bar on Distillery Row. Vie de Boheme, 1530 SE 7th Ave., 360-1233. 8 pm Wednesday, Nov. 4. $5-$30.
In Mark Medoff’s (Children of a Lesser God) political drama Tommy J and Sally, Tom is a black intruder who holds Sally, a white, Jewish celebrity hostage in her home. Rather than violence, the play centers around witty banter and taut debates as Tom talks Sally’s ear off about the state of race relations in America. Interstate Firehouse Cultural Center, 5340 N Interstate Ave. 7:30 pm Friday-Saturday and 3 pm Sunday. Through Nov. 8. $25.
James VanArsdel presents
Side by Side, Moving in Twos
For more Performance listings, visit
Sunday, December 6, 2015, 7:30pm Newmark Theatre For tickets: Portland’5 Box Office, TicketsWest outlets or by phone 800.273.1530 Willamette Week NOVEMBER 4, 2015 wweek.com
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VISUAL ARTS = WW Pick. Highly recommended. By ENID SPITZ. 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: espitz@wweek.com.
A Burning Man Pas de Deux
Photographs of the fleeting instant before the Burning Man collapses into itself, or a blur of a figure dashing away from the flames or intimate portraits of the many exotic performers who breathe life and energy into the iconic festival are on display in this off-the-beaten-path gallery in Pioneer Place Mall. Of the two West Coast photographers who collaborated for this photo-based history, Stewart Harvey—considered the unofficial Burning Man documentarian—strives above all to capture a moment of movement that is most revealing about a person, place or situation. Marti is inspired by the transitory nature of the occasion, which exists only for a brief slice of time before being disassembled without a trace, so her photos often seize a still moment between two states. She calls it the gray area “between hope and fear.” These are two vastly different takes on Burning Man, but the raw beauty and power of both make this show a complementary spectacle. HILARY TSAI. Through Nov. 15. Mark Woolley Gallery, 700 SW 5th Ave., Suite 4110, 998-4152.
fused as to which paintings are reflections, and which are seen through the extracted centers of the mirrors. P11 is a site-specific work created especially for Hap Gallery, and it’s the 11th iteration of an ongoing project. Part two of the exhibition, titled idealSTATE, is on view at Worksound International. ASHLEY STULL MEYERS. Through Nov. 14. Hap Gallery, 916 NW Flanders St., 444-7101.
In the City
Screenprints on glass tiles of everyday objects like dumpsters, mopeds and storefront mannequins by Portland artist Stacey Lynn Smith, Nathan Sandberg’s glass and concrete
Interior Views
Bright, South American-style colors dominate the series of paintings, glass works and textiles themed around “hiding in plain sight” by Portland’s Mary Josephson. Her portraits are medium-sized oil paintings on wood, glass mosaics in ornate frames or vibrant embroidery on felt. The textures and intricate patterns in her works are just as front-and-center as the women with thick, black eyebrows that she chose as subjects. Josephson’s interest in dreamscapes, secrets and imaginary worlds comes through in the reflective gazes of her subjects, and her intent is to make viewers just as self-reflective. ASHLEY STULL MEYERS. Through Nov. 28. Laura Russo Gallery, 805 NW 21st Ave., 226-2754.
Hutchins to develop one interrelated exhibition that expresses the distinctiveness of each space. MEGAN HARNED. Through Nov. 8. The Lumber Room, 419 NW 9th Ave., and Cooley Gallery, 3203 SE Woodstock Blvd., 777-7251.
The Liminalists
The simple-looking works, full of bright geometric shapes or sinuous graphite blobs, belie artists Amy Bernstein and Patrick Kelly’s strict attention to process and composition. Kelly’s graphite forms look like metallic rain clouds, undulating with a shiny sheen, and Bernstein abstract strokes and shapes pop vibrantly off their white backgrounds. Both artists’ works stay firmly anchored in two dimensions on their surfaces, but the hues and forms are striking enough they threaten to break through into physical space and hit you in the face. GRAHAM BELL. Through Dec. 4. Nationale, 3360 SE Division St., 477-9786.
Continuing his exploration of recycled textiles and geometric patterns, artist Mark R. Smith creates colorful laser cut prints on felt, which look like a computer motherboard. In this exhibit, Smith examines the historic silk trade route through central Asia and the illicit online black market of the same name. He juxtaposes images of objects found on the black market—like drug paraphernalia and weapons—with items found on the original Silk Road—figurines and animals. As an added layer, Smith’s goal is to make every work visually seductive as a commentary on the Internet’s irresistible pull. KYLA FOSTER. Through Jan. 2. Elizabeth Leach Gallery, 417 NW 9th Ave., 224-0521.
Anticipating the shorter days and longer nights of winter, Jeffrey Thomas solicited a diverse body of works exploring the theme of darkness from artists who work in a variety of media. This dark and foreboding exhibition champions a world assembled out of shadows and contrasts and promises art that’s either about the bleak, black and sinister or somehow uses darkness as a medium itself. MEGAN HARNED. Through Nov. 7. Jeffrey Thomas Fine Art, 2219 NW Raleigh St., 544-3449.
Throw Me the Idol I Throw You the Whip
idealSTATE
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“How do I keep something I’ve made from looking like I’ve made it?” Artist D.E. May attempts to answer this question by working with ready-made objects and unlikely materials. No Specific Region will utilize cardboard, canvas, wood, graphite and other sculptural fragments in works that are meant as templates. Ranging from tiny cardboard pieces that look like mini architectural renderings to postcard- or calendar-sized boards of layered wood and graphite, May’s works are minimalist and mostly beige. But like the vague title of this show, they suggest that they’re on the way to something bigger. ASHLEY STULL MEYERS. PDX Through Nov. 28. Contemporary Art, 925 NW Flanders St., 222-0063.
The Silk Road
Dark Matter
Hap Gallery collaborated with Worksound International for this twovenue exhibit featuring Belgian artists Carla Arocha and Stéphane Schraene. Their creation, called P11, is an installation of Plexiglass curtains and double-sided mirrors that distort space and reflect the five, monochromatic paintings hanging on the white walls. The exhibition is a labyrinth of mirrors and patterns that leaves viewers con-
No Specific Region
With more than 40 landscapes from the last 500 years, this exhibition from the Paul G. Allen Family Collection includes works by masters like Claude Monet, Gustav Klimt, Georgia O’Keeffe and Gerhard Richter. You can glimpse the progression of the genre all in one gallery through a diverse range of international artists, with some works that have never been shown publicly before. And it’s anyone’s guess when they will be again—this is rare peek that promises to be a blockbuster. GRAHAM BELL. Through Jan. 10. Portland Art Museum, 1219 SW Park Ave., 226-2811.
Portland-based artist Gwen Davidson’s paints collage-style acrylic works on canvases covered with layered strips of paper. Returning to Froelick Gallery for the second time, her new series tries to capture the Oregon Coast and the Columbia River Gorge. She uses natural colors like taupe, deep blue and slate grey to create moodycolored horizon lines that look like abstract waterscapes. After Davidson lays paint to the strips of paper, the canvases naturally warp, wrinkle and shrink, meaning that her art takes on a trajectory of its own. The lack of control Davidson has over her materials must be nerve-racking, but it leads to a unique, textured finish that perfectly suggests the rocky shoreline of the Pacific Northwest. KYLA FOSTER. Through Nov. 28. Froelick Gallery, 714 NW Davis St., 222-1142.
In a Rhythmic Fashion
More than 100 sheets of mulberry paper, each hand-painted with sumi ink, cover the gallery walls for Oregon-based artist Julie Green’s first solo exhibition at Upfor. These sheets, covered with hundreds of laboriously painted seashells, provide the backdrop for Green’s series of egg-tempera paintings. Egg tempera is a time-consuming and challenging process that results in transparent washes of color. Drawing inspiration from Japanese ceramics and Zen calligraphy, Green’s aqueous, airbrushed imagery resembles oceanic scenes. KYLA FOSTER. Through Dec. 19. Upfor Gallery, 929 NW Flanders St., 227-5111.
Seeing Nature
Back to the Sea
Vanessa Van Obberghen explores the sinister side of our idealistic expectations and their historical ramifications. Through charts and stereotypical imagery stemming from colonial and postcolonial frameworks of the “other,” Obberghen inverts the viewer experience by making them the subject of observation, instead of observers themselves. This suggests Obberghen expects the audience to belong to those historically white groups that pointed to and defined the worlds they “discovered” so I suggest you leave your white guilt at home. MEGAN HARNED. Through Nov. 14. Worksound International, 820 SE Alder St.
My New Blue Friend
EVERY QUIET WAY BY MARY JOSEPHSON, PART OF INTERIOR VIEWS
tiles that are dot printed to mimic the unnoticed textures of asphalt and Scottish artist Karlyn Sutherland’s kiln-formed glass rectangles combine at Bullseye Project’s In the City collective show. Using urban landscapes as inspiration, the show ranges from Sandberg’s “Paver 6”—a small square of concrete lined with cracks—to Smith’s screenprints reminiscent of fliers and ads that collage street corners, including things like a canary yellow food truck. Juxtaposed with the detail in Sandberg and Smith’s work, Sutherland’s clean, 17-inch tall glass rectangles on the wall are a minimalist tribute to the skylines of her home country. KYLA FOSTER. Through Dec. 23. Bullseye Gallery, 300 NW 13th Ave., 227-0222.
Willamette Week NOVEMBER 4, 2015 wweek.com
Jessica Jackson Hutchins: Confessions
Confessions is as intimate as it sounds, a two-gallery show by internationallyknown, Portland-based artist Jessica Jackson Hutchins that tries to explain the very nature of art itself. What is collecting, what is curating, and what might be just hoarding? Once something is labelled as “art,” a whole new roster of questions arise—how should art be cared for and preserved? In an attempt to tackle these big questions and confess some of the faults of artists as a whole, Hutchins displays a series of interpretive objects—like a chair painted with multicolored brushstrokes—at both the Cooley Gallery and the Lumber Room. The exhibition is organized by Portland collector Sarah Miller Meigs and Cooley Gallery curator and director Stephanie Snyder, working closely with Jessica Jackson
Magdalena Suarez Frimkess and Luis Romero
This two-person show displays imperfect ceramic mugs painted in bright, pop-art hues next to paint-and-paper wall hangings. Despite their disparate mediums and practices, artists Magdalena Suarez Frimkess and Luis Romero’s have more in common than you’d expect. Suarez Frimkess is a self-taught ceramicist and Romero works in elaborate collages, but both sets of works explore form, function, culturally-specific aesthetics and history. This exhibit looks decidedly crafty, begging artistic questions about gesture, dimension and the hand-made. ASHLEY STULL MEYERS. Through Dec. 19. Adams and Ollman, 209 SW 9th Ave., 704-0694.
Abstract shapes in whites, blacks and reds, sharp borders that look like cutouts and shattered patterns punch out of Portlander Grant Hottle’s paintings like explosions. Inspired by metal music, graphic novels and horror flicks, Hottle uses unexpectedly traditional techniques. He stole the title for this first solo show at Carl & Sloan from Raiders of the Lost Ark. The line comes in a silent moment between action scenes, perfectly capturing what it’s like to look at Hottle’s abrasive paintings in a pristine gallery. Through Dec. 13. Carl & Sloan Contemporary, 8371 N Interstate Ave., No. 1, 360-608-9746.
Tinder Box: Gary Wiseman
After five months as an artist-in-residence in Mt. Hood National Forest, sponsored by environmental group Bark, Gary Wiseman has produced a diverse body of work that is united by his interest in the systems that shape our understanding of Portland’s wild backyard. References to fire repeat themselves through the show, including maps of fire perimeters drawn with handmade ink, sourced from the charcoal of the fires themselves. MEGAN HARNED. Through Nov. 21. PataPDX, 625 NW Everett St., No. 104.
For more Visual Arts listings, visit
BOOKS George Musser
George Musser (The Complete Idiots’ Guide to String Theory) explores quantum mechanics in Spooky Action at a Distance. Powell’s City of Books, 1005 W Burnside St., 2284651. 7:30 pm. Free.
Larry Correia
Fantasy writer Larry Correia is most notorious for being one of the founders of Sad Puppies, a voting bloc aimed at steering the Hugo Awards into a less-message-morespace-opera direction. If you’re one of those people freaking out about a black guy being in Star Wars, you don’t want to miss this. Powell’s Books at Cedar Hills Crossing, 3415 SW Cedar Hills Blvd., 228-4651. 7 pm. Free.
Michael Seidlinger and Friends
Somewhere between the unscalable ivory towers of Big Literature and the netherworld of romantic self-help procedural drama that is self-publishing, lies the literary indie-rock band, the small press. Michael Seidlinger of Civil Coping Mechanisms Press will read from his new book, The Strangest. Afterward, he’ll take part in a discussion about small press publishing with people from University of Hell Press, Future Tense Books and Publication Studio. Independent Publishing and Resource Center, 1001 SE Division St., 827-0249. 7 pm. Free.
Tess Vigeland
Tess Vigeland, former host of Morning Edition’s brattier, marketoriented little brother, Marketplace, quit her job and wrote a book about it. Annie Bloom’s Books, 7834 SW Capitol Highway, 246-0053. 7 pm.
THURSDAY, NOV. 5 Carrie Brownstein with Tig Notaro
Tig, meet Carrie. Carrie, meet Tig. (See page 27.) Newmark Theatre, 1111 SW Broadway, 248-4335. 7:30 pm. $37.95.
Chelsea Clinton Booksigning
Noted presidential daughter (potentially twice over) Chelsea Clinton’s book It’s Your World is a guide to activism for kids. It touches on issues ranging from domestic violence to cancer, and comes packed with statistics—you know how kids love ’em! This is just a signing, not a reading—if you really want to hear a Clinton talk, turn on the TV. Powell’s City of Books, 1005 W Burnside St., 228-4651. 5:30 pm. $18.99.
Furever Pets and Broadway Books Welcome the Dogist in a Fundraiser for the Oregon Humane Society
He takes pictures of dogs and puts them on Facebook. You like dogs. It’s for a good cause. Nice. Furever Pets, 1902 NE Broadway, 284-1726. 6:30 pm. Free.
Palefire and Island Release Party
Palefire—it’s not Nabokov, nerd, it’s a comic book—is the latest from Farel Dalrymple and MK Reed, wherein Alison falls for the badass Darren, while Paul will either keep her safe or be a creep—maybe both! The event is also a celebration of Image Comics’ Island anthology. Floating World Comics, 400 NW Couch St., 241-0227. 6 pm. Free.
FRIDAY, NOV. 6 Drew Barrymore in Conversation with Kristi Turnquist
Depending on your age and cultural persuasions, you know Drew Barrymore as either the littlest kid from E.T., Corey Feldman’s main squeeze or the cool teacher from Donny Darko. Forty as of this year, she’s taken the occasion to reflect a little on her life, from the drugaddled teen years to her current motherhood. Wait, I forgot Never
Been Kissed! Powell’s Books at Cedar Hills Crossing, 3415 SW Cedar Hills Blvd., 228-4651. 7 pm. Free.
Merritt Tierce
Marie is 16 and has already been accepted to Yale. Then she gets pregnant, which damns her to waitressing in her Texas town. But Merritt Tierce’s debut novel, Love Me Back, isn’t one of those You Have to Read This Because It’s Sad books—it’s funny! Powell’s City of Books, 1005 W Burnside St., 228-4651. 7:30 pm. Free.
MONDAY, NOV. 9 David Levithan
Another Day is the latest YA offering from David Levithan, the guy who wrote Nick and Norah’s Infinite Playlist. Powell’s Books at Cedar Hills Crossing, 3415 SW Cedar Hills Blvd., 228-4651. 7 pm. Free.
For more Books listings, visit
HOTSEAT
Sam Alden
COURTESY OF SAM ALDEN
WEDNESDAY, NOV. 4
Only a few years out of college, Portland-born graphic novelist Sam Alden landed Portrait of the artist as a dream gig storyboarda young chicken-killer. ing for Cartoon Network’s Adventure Time. His new comics story collection, New Construction (Uncivilized Books, 208 pages, $17.95), is a play on words: Not only are “Backyard” and “Household” revamped versions of older comics, but take place in post-Katrina New Orleans, where Alden spent time between semesters at Whitman College. WW spoke to him about those dang kids, being a nerd, and his brief career as a livestock murderer. JAMES HELMSWORTH. WW: In “Backyard,” a house of anarchists watches one of their friends turn into a dog. Is this meant as criticism of activists? Sam Alden: In the earlier version, it was much more critical. The second half of the story, which is new, I take a slightly less cynical tack on that. I wanted the art to be a conversation rather than a political cartoon. There’s a sequence I loved where a character comes home in the rain to find a dead chicken in the backyard. The sort of cartooning that I do is influenced by the visual tropes of noir and cinema. Dramatic lighting and emotional scenes in rainstorms. I also have a thing about chickens. When I was living in New Orleans, I killed some chickens—we had chickens in the yard, and three of them got sick. I had to kill them in this really violent way. I was looking through some of my work the other day, and there’s a dead chicken in every comic that I do. You have a story, “Anime,” about a kid saving up to go to Japan and having it go wrong. Were you that kid? Everything about that story is true except for the part where I was really into anime. I came to anime later. I was a nerd for even nerdier things than anime. The idea that I could be an anime geek is almost a fantasy for me. What’s nerdier than anime? Oh, Jesus. Like silent film comedies. Like Buster Keaton and Harold Lloyd. I think as an adult, you have to reconcile the embarrassing 16-year-old that’s still in you. I certainly had to do that working on a children’s cartoon. How so? With cartoons you have to make embarrassing decisions. There’s always people yelling. People falling over. It took this core of like a rowdy boys’ gag show and somehow made it into this sprawling world with all this mythology and all these human moments. I think that’s what’s most important to me about the show. GO: Sam Alden is at Powell’s Books on Hawthorne, 3723 SE Hawthorne Blvd., 800-878-7323, on Thursday, Nov. 5. 7:30 pm. Free. Willamette Week NOVEMBER 4, 2015 wweek.com
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Willamette Week NOVEMBER 4, 2015 wweek.com
MOVIES C O U R T E S Y O F M E T R O - G O L D W Y N - M AY E R P I C T U R E S
= WW Pick. Highly recommended. Editor: ENID SPITZ. 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: espitz@wweek.com. Fax: 243-1115.
OPENING THIS WEEK The Black Panthers: Vanguard of the Revolution
A Riding the coattails of Michael Brown protests and the “Hands Up, Don’t Shoot” nationwide movement against police brutality, The Black Panthers: Vanguard of the Revolution is a surprisingly fresh documentary, ready to shake you. Former Black Panthers speak between real movie clips, archival pictures and recordings detailing how the group made its mark on history. Diving straight into Oakland, Calif., Huey Newton and Bobby Seale are emblazoned onscreen in graphic scenes showing their militant practices like marching on the Capitol in Sacramento, openly armed, to protest the Mulford Act. They’re captivating to watch—a crew in turtlenecks, sunglasses and leather jackets—and the film balances its profiles with coverage of historic events. Its aggressive, blunt style moves through the bloodbaths, prison sentences and protests that put the Panthers on J. Edgar Hoover’s radar with revitalizing and tumultuous energy. Unforgettable, this film is an awakening even for people who watched the original coverage firsthand. NR. AMY WOLFE. Hollywood Theatre. 7 pm Thursday, Oct. 8.
Dying to Know
C Director Gay Dillingham’s debut feature traces the lifelong friendship forged between the coolest professors ever thrown out of Harvard’s psychology department: Timothy Leary and Richard Alpert (better known as Ram Dass). They urge their countrymen to experiment with psychedelics and take up yoga, and effectively ruin dorm room discourse. Breezing through generational touchstones about Nixon and the early days of LSD, the film’s anecdotes are charming. But analyzing unabashed selfpublicists as they try to persuade people to abandon their beliefs is always a sad study in born followers and false prophets. More than anything, the film feels deeply inessential. Documentarians are eternally fascinated with the ’60s, cycling through the same tie-dyed tropes each time a few moments of new footage appears, but these particular icons seem uniquely undeserving. NR. JAY HORTON. Cinema 21. Director attending Nov. 6-8.
The Keeping Room
B Within the first minute of The Keeping Room, three people get killed for no discernible reason, even before there’s any dialogue. That efficiently sets the tone for what is a sparse, brutal movie set in the twilight days of the Civil War. As Union forces advance on the rural South, three women live alone, abandoned by the men who went off to fight. They’re oblivious to how the war is going, but the fighting comes to them when a pair of vicious, AWOL Yankee soldiers arrive and the women have to defend themselves. It’s a bleak, relentless movie, acted with a steely-eyed intensity that makes it feel important, though certainly not enjoyable. R. ALEX FALCONE. Living Room Theaters.
Miss You Already
C You’re not allowed to openly dislike
a movie about cancer. So instead, I will provide a more nuanced perspective by playing the game of yay/boo. Drew Barrymore and Toni Collette are super-duper best friends: Yay! Toni has cancer: Boo. Toni and Drew go on plenty of best-friend adven-
tures while dealing with Toni’s cancer, and they meet funny, interesting people: Yay! Everybody in the movie sounds exactly the same—women, men, adults, children, doctors, bartenders and wig makers all talk like they’re the same person: Boo. It’s nice to get a movie about female friendship because those are rare, and Toni plays an interesting, multidimensional person: Yay! But this platonic comedy has one-dimensional, expendable male characters: Boo. Sometimes it’s funny: Yay! Sometimes it’s gross—needles going into arms, vomit going into salad bowls, and a baby going out of Drew Barrymore: Boo. It’s sad: Yay? I give it a C grade: Boo. That’s still passing: Yay! PG-13. ALEX FALCONE. Clackamas, Bridgeport.
The Peanuts Movie
A bald child named Charlie battles questionable fashion choices, impossible odds and bourgeoning hormones. Meanwhile, a canine World War I flying ace has lucid dreams in this flick from the director of the Ice Age movies. Regrettably, no WW writers were available to attend the crtics’ screening held on the morning after Halloween. G. Bagdad, Cedar Hills, Eastport, Clackamas, Mill Plain, Oak Grove, Bridgeport, Division, Evergreen, Hilltop, Lloyd Center, Movies on TV, Pioneer Place.
STILL SHOWING Ant-Man
B+ If it were a comic book, it
wouldn’t be the kind you put in a Mylar bag. It’d be one that you read with greasy fingers and childlike relish. PG-13. AP KRYZA. Academy, Kennedy School, Laurelhurst, Mt. Hood, Vancouver, Valley.
The Assassin
B- Chinese director Hou Hsiao-Hsien’s The Assassin is a bizarre, surreal film. It follows a mysterious female assassin tasked with killing her royal cousin in ninth-century China, yet the movie takes great pains not to be an action flick. Characters flit in and out of the narrative with seemingly little consequence. It is a film packed with a mythos, sometimes overexplained and sometimes very vague. Most importantly, it’s a work of painterly beauty, with the Chinese countryside captured in long, inconsequential shots that linger on flickering flames or peonies swaying in the breeze. Which is to say, Hsiao-Hsien’s take on the martial-arts epic is divisive. This is a film that’s content to show three seconds of a battle between its heroine (Qi Shu) and an army of imperial guards, then cut away abruptly, never to speak of it again. The director seems set on turning his chosen genre on its head in something of a Chinese arthouse take on the revisionist Western. It’s an enigmatic, befuddling, frustrating film that doesn’t defy expectations so much as ignores them altogether. For some, the effects will be hypnotizing and mind-blowing. For others (like me), The Assassin will come off as a tease, or even a troll, whose central crime is being dull and dismissive. Either way, it’s glorious to look at and impossible to stop pondering. NR. AP KRYZA. Hollywood, Fox Tower.
Black Mass
A- Much like the city’s other exports, Boston’s gangster flicks vary in quality from genre-shattering genius (The Departed, most ’90s bands, the people who invented America) to mind-numbing pantomimes of misogyny (The Boondock Saints, Boston sports fans,
CONT. on page 46
ON THE DEFENSIVE: Daniel Craig.
FEATURE
Love and Bondage CASTING THE NEXT JAMES BOND. BY A P KRYZA a kryza @wweek.com
Spectre, the 24th James Bond film, hits theaters Friday, kicking up a storm of Internet speculation about who should play Britain’s favorite alcoholic, STD-riddled sociopath next. Never mind the fact that the next Bond will be played by the current Bond, Daniel Craig—unless he’s killed by Hugh Jackman, who has long lobbied for the role. Idris Elba is the current front-runner, despite comments by Ian Fleming heir Anthony Horowitz that Elba is “too street” to play a man who drowns people in toilets. Meanwhile, nobody’s favorite Bond—Sir Roger Moore—said that the London native isn’t “English-English” enough. Obviously, none of that’s racially motivated. 007 could really be anybody, especially if you subscribe to a fan theory that “James Bond” is a code name rather than a real moniker. We’re joining in the fray with these picks for who should play the next Bond.
Tom Hardy
Tom Hardy is in everything right now, and he’s fantastic. He could make Craig’s rough edges even more abrasive and balance that with the suave charm he showed in Inception and (ugh) This Is War. He probably wouldn’t do it, but no talk about movies these days is complete without Tom Hardy.
Tom Hiddleston
Each time a new actor inhabits the Bond role, the character shifts. Sean Connery’s suave-but-tough 007 gave way to Roger Moore’s ultra-campy Double-0-Grandpa. Timothy Dalton’s dark version morphed into Pierce Brosnan’s walking smirk. So it makes sense for Craig’s bruiser to transform into a svelter, wittier take. Who better, or more British, than Hiddleston? He looks great in black tie, proved physically imposing without veins exploding from his body as Marvel’s Loki and nailed the Bond tradition of subdued sexual perversion in Crimson Peak. Plus, the fan fiction!
Taron Egerton
Casino Royale was partly a Bond origin story.
And since it’s been almost 10 years, that means it’s Hollywood reboot time. So consider the kid from Kingsman, who nailed the four tenets of Bondage in that send-up: He can drink like a fish, murders remorselessly, has bulletproof confidence and is always DTF.
David Oyelowo
If we can’t have Elba, the next candidate for a black Bond is probably David Oyelowo. He has yet to take on a true action role but nails the whole “British charm” thing. Oh wait, we just got a memo from casually racist British people everywhere: Oyelowo played Martin Luther King. That’s way too street.
Tilda Swinton
There’s long been talk about a female Bond, but the closest we got was Gina Carano in Haywire. If it ever happens, Swinton’s the clear choice since (a) she’s crazy British and (b) she’s more androgynous than Bowie, so she could slip by the folks who thought Fury Road was an assault on masculinity because they’ll be too hopped up on Red Bull to notice.
Ian McKellen
A psychic once told me that McKellen would one day be a part of every movie franchise. So expect an indie producer (maybe the director of Mr. Holmes) to make an action-free meditation on Bond that includes McKellen living at the dilapidated Skyfall mansion, meticulously tending to an ant farm and regaling a precocious young boy with stories of his MI6 days. But not stories about cool shit like volcanic dens of villainy or golden guns. The stories will mostly focus on the catered lunches M used to host. Those biscuits were to die for.
Andy Serkis
This is really the most logical solution to everybody’s eternal bitching about recasting Bond. Pick Andy Serkis. Not in his normal form—nobody wants a Bond that looks like Tim Curry’s stocky brother—but in his trademark motion-capture suit. Just digitally transform him into 1960s Sean Connery. Boom. Crisis and controversy averted. Torch passed. SEE IT: Spectre is rated PG-13. It opens Friday at most Portland-area theaters. Willamette Week NOVEMBER 4, 2015 wweek.com
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MOVIES
Bridge of Spies
Headout P.23
B- Steven Spielberg was born to convey viewers through weird and wonderful alternate realities. Even though history is nearly as illusory as a dinosaur theme park, the director’s gift just doesn’t shine as brightly when he contends with humanity’s past. Bridge of Spies, starring Tom Hanks as an insurance lawyer recruited by the U.S. government to negotiate a spy-for-spy trade with the Soviet Union, benefits from a caustic screenplay by the Coen brothers. While Spielberg is pretty good even when he’s on auto-pilot, there is little here that doesn’t feel perfunctory. PG-13. CHRIS STAMM. Cedar Hills, Eastport, Clackamas, Mill Plain, Living Room Theaters, Oak Grove, Bridgeport, City Center, Division, Evergreen, Hilltop, Lloyd Center, Movies on TV, Sherwood, Tigard, Wilsonville, Sandy, St. Johns Theater.
and Elias, whose mother (Susanne Wuest) comes home from facial reconstruction surgery with a head wrapped in bandages and a newfound malevolence toward her sons. R. AP KRYZA. Cinema 21.
Cedar Hills, Eastport, Clackamas, Mill Plain, Bridgeport, City Center, Division, Evergreen, Hilltop, Lloyd Center, Movies on TV, Pioneer Place, Sherwood, Tigard, Wilsonville, Sandy.
Goosebumps
C+ Like a feminist companion piece to last year’s Bill Murray feature St. Vincent, Paul Weitz’s Grandma tells the tale of Elle (Lily Tomlin), who takes her neglected granddaughter (Julia Garner) under her wing when the teenager comes asking for money for an abortion. R. AP KRYZA. Fox Tower.
A- It’s easy to be skeptical about a
2015 Goosebumps film in 3-D. Jack Black plays R.L. Stine, who joins forces with a couple of cute kids to fight every monster he’s ever written about and save the town. The movie is cheap-looking, and there are more logical flaws than I could possibly list in this space, but the premise is clever, the action is fun, the jokes land, and it’s only a little bit scary. Just like the books. So put away your cold, blackened heart and enjoy the silly fun of Jack Black running around with a bunch of monsters. PG. ALEX FALCONE.
Grandma
Hotel Transylvania 2
Adam Sandler’s hotel is flourishing. PG. Cedar Hills, Eastport, Clackamas, Cornelius, Milwaukie, Oak Grove, Bridgeport, City Center, Division, Evergreen, Hilltop, Movies on TV, Pioneer Place, Sherwood, Tigard, Wilsonville, Sandy.
FEATURE COURTESY OF ALCHEMY
Mark Wahlberg). Scott Cooper’s Black Mass is the latest cinematic try. It tells the story of Boston’s most notorious criminal, James “Whitey” Bulger (Johnny Depp) and the deal he made with the FBI’s John Connolly (Joel Edgerton) that ensured he could do whatever he wanted for decades. R. JAMES HELMSWORTH. Hollywood, Fox Tower.
Burnt
Everyone is always in the kitchen, and you’d think one crowded with Bradley Cooper, Sienna Miller, Emma Thompson and Uma Thurman (Uma!) would be on fire. Cooper is bad-boy chef Adam Jones, who’s looking for another ego trip, aka Michelin star. We didn’t realize Cooper was already in that career dead zone where he takes roles about “the love between two people, and the power of second chances.” Poor Uma. Screened after deadline. R. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Oak Grove, Bridgeport, City Center, Division, Evergreen, Fox Tower, Lloyd Center, Movies on TV, Tigard, Wilsonville.
Crimson Peak
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Willamette Week NOVEMBER 4, 2015 wweek.com
B+ There are all manner of ghosts in this gorgeous, tragic tale, but to call it a horror film is to completely mislabel Guillermo del Toro’s meticulously crafted, old-fashioned tale of twisted souls and timeless longing. Scary isn’t really the point. The things that go bump in the night are not nearly so terrifying as the people who walk the earth, and the film is so immersive and gorgeous that the plot is secondary. The film is a little too slow-moving for those expecting something more jolty and probably a little too obvious for those looking for a deep mystery. While it’s not del Toro’s most compelling work, it’s very surely his most beautiful. R. AP KRYZA. Cedar Hills, Eastport, Clackamas, Bridgeport, City Center, Division, Evergreen, Hilltop, Lloyd Center, Movies on TV, Pioneer Place, Tigard, St. Johns Cinemas.
Everest
B+ In 1996, a stranded group of
climbers, including New Zealand mountaineer Rob Hall (Jason Clarke) and writer Jon Krakauer (Michael Kelly), met a massive storm at the top of the world. Today’s CGI and 3-D technology puts the viewer on the mountain in a visceral way. The competitive tension between Hall and hotshot American climber Scott Fischer (Jake Gyllenhaal) moves the plot along quickly as each man is driven to test the boundaries of safe practices for the sake of pride. PG-13. LAUREN TERRY. Eastport, Evergreen, Fox Tower, Tigard.
Goodnight Mommy
B+ There’s a twist at the cold heart
of German directors Severin Fiala and Veronika Franz’s Goodnight Mommy that most viewers will probably see coming, but that doesn’t kill any of the tension in this deeply troubling horror show. Set in an isolated lake house, the fi lm centers on twin brothers Lukas
TOUCHING: Karl Glusman and Aomi Muyock.
Love in 3 Dimensions
Gaspar Noé’s nearly pornographic Love in 3D started as a relatively sweet and straightforward project. Well before his brutal Irreversible or the immersive delirium of Enter the Void, Noé dreamed up a sentimental, romantic portrait of a young couple’s intimacy. “It was a low-budget movie,” Noé recalls. “No famous actors. All in French. And I would produce it myself, but when [prospective backers] read the short treatment, they kind of freaked out.” The bodily aspects of l’amour in all their turgid, quivering glory dominate the director’s fourth feature, which stars Portland native Karl Glusman as a young filmmaker in Paris. About half of the 135-minute film of enthusiastic copulation is shot in Old Hollywood style. While 3-D is usually the realm of CGI-laden summer blockbusters, Noé uses it to create intimacy. “Two years ago, I bought a home video 3-D camera,” he says. “I was filming [my mother] when I noticed that the images were really touching. It felt like a puppet inside a puppet theater.” The film’s bedroom romps center on a thinly veiled Americanization of Noé himself. Murphy (Glusman) gets lost in opiated reveries of his former love Electra (Aomi Muyock), but the film cuts between scenes of Murphy’s idealized passion and the truth: His blinkered womanizing fueled the couple’s constant fighting. But for an arthouse skin film about compiled sadnesses, Love is surprisingly light. “The movie is joyful today, more than I initially wanted,” Noé says, “because Karl is a joyful person.” Glusman’s adorably doltish tendencies wring laughs from scenes of harrowing betrayal. “I always wanted it to be funny,” said Glusman. When asked about Love’s most notorious scene—a cam shot, so to speak, focused on the very tip of climactic tumescence that bursts right through the screen, he demurred: “A magician must never reveal his secrets.” Noé exploded in laughter: “Karl, all your secrets are out there already.” JAY HORTON.
Portlander Karl Glusman explodes off the screen in this graphic art film.
SEE IT: Love in 3D is rated R. It screens at Cinema 21 on Wednesday, Nov. 4, with Gaspar Noé and Karl Glusman in attendance. 7 pm. Various showtimes through Nov. 12. $11.50.
COURTESY OF ULRICH SEIDL FILM PRODUKTION GMBH
GOODNIGHT MOMMY
The Intern
B+ As an active widower and
retiree in need of something to keep himself busy, Ben (Robert De Niro) applies to a senior internship program at “About the Fit,” a Topshop-like online clothing site founded by the dedicated Jules Ostin (Anne Hathaway). PG-13. LAUREN TERRY. Cedar Hills, Clackamas, Living Room Theaters, Bridgeport, City Center, Division, Evergreen, Sherwood, Tigard.
Jem and the Holograms
The 1980s girl-power cartoon about a rock band that solves crimes on the side gets the liveaction treatment in a film by Jon Chu (G.I. Joe Retaliation, Step Up). PG. Cedar Hills, Eastport, Clackamas, Mill Plain, Bridgeport, City Center, Division, Evergreen, Hilltop, Movies on TV, Pioneer Place, Sherwood, Tigard, Wilsonville, Sandy.
Labyrinth of Lies
and Frodo Baggins-like for the entire movie. The greatest disappointment of all is that the ending promises an unfortunate sequel. That comes off like a threat. PG-13. AMY WOLFE. Cedar Hills, Eastport, Clackamas, Mill Plain, Cornelius, Oak Grove, Cinema 99, Bridgeport, City Center, Division, Evergreen, Hilltop, Lloyd Center, Movies on TV, Pioneer Place, Sherwood, Tigard, Wilsonville, Sandy.
The Martian
B- Take the buzz surrounding The Martian with a boulder of salt. It’s just a pretty good sci-fi yarn based on Andy Weir’s book that stumbles on its own ambition. When a massive storm hits the Martian exploration project and Watney’s team leaves him for dead, the skilled botanist realizes that the only way to escape starvation and space madness is to “science the shit” out of his situation. As always, Scott’s direction is spot-on. PG-13. AP KRYZA. Bagdad, Cedar Hills, Clackamas, Oak Grove, Bridgeport, City Center, Division, Evergreen, Hilltop, Lloyd Center, Movies on TV, Pioneer Place, Sherwood, Tigard, Wilsonville, Sandy.
B You’ve probably already seen enough movies about the Holocaust. There’s been so much art made about this horrible period of world history it’s hard to imagine a time when the word “Auschwitz” didn’t immediately conjure numerous terrifying images from silver screens. But Labyrinth of Lies focuses on just such a time: 1960s Germany, when former Nazis exercised enough power over the German government to cover up details about the war. Alexander Fehling (Inglourious Basterds) is Johann Radmann, a plucky young prosecutor who uses his office to investigate—and eventually charge—22 men in German criminal court for their actions during the war. This was a first in the country’s history. Filmmaker Giulio Ricciarelli’s debut features a gripping story, told through nostalgic shots of men in Mad Men-style suits, debating heavy matters in lofty courtrooms, riding pastel Vespas through the countryside or pacing stories-tall archive rooms. The film’s only real flaw is being a bit too on-the-nose (Radmann carries a note from his dad telling him to “always do the right thing”). PG-13. ALEX FALCONE. Cinema 21.
Mission: Impossible: Rogue Nation
The Last Witch Hunter
Once I Was a Beehive
D- The Last Witch Hunter
attempts a lot of twists and turns, and it all ends up rating lower than Vin Diesel’s voice. Diesel grunts and groans as Kaulder, an immortal witch hunter fighting to save civilization. The bland characters and shallow storyline are heavily reliant on special effects—bugs crawling on the evil witch who is releasing a plague on humanity, and extravagant sparks of magic that light up the screen. But sparks can’t blind us to the horrible acting between Kaulder and Chloe (Rose Leslie), the witch he befriends. As in most cases, more Michael Caine would be a vast improvement. The rare sparks of talent here are Caine as an elderly priest and Elijah Wood, who stays wide-eyed, airy
Maze Runner: The Scorch Trials
C Still runnin’. PG-13. ALEX FALCONE. Clackamas, Bridgeport, Division, Movies on TV.
Meet the Patels
B- Ravi Patel has American dreams of finding his soulmate. PG. LAUREN TERRY. Fox Tower.
A None of this film’s merits is unique to the Tom Cruise-led series, but they add up to something that’s top-of-class for the genre. PG-13. ALEX FALCONE. Vancouver.
Mistress America
B- Greta Gerwig’s newest collaboration with director Noah Baumbach has depreciated every day since I saw it. It’s a buddy movie about two intolerably self-centered women in New York. PG-13. ALEX FALCONE. Laurelhurst.
D Mean Girls meets Mormonism in this family-friendly movie about keeping the faith. Once I Was a Beehive follows angst-filled 16-year-old Lane (Paris Warner), who’s coping with the death of her father and that her mother has remarried a Mormon. Lane attends a Mormon sleep-away camp with her newly acquired cousin and aunt. With the help of overly ecstatic, drama-filled girls, the weeklong endeavor leads her to find support in her Mormon counterparts. The movie’s underlying message: The Mormons are not trying to convert you, they just want to educate. With spiritual bonding activities, like rolling into camp on Noah’s ark, and
CONT. on page 48 Willamette Week NOVEMBER 4, 2015 wweek.com
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MOVIES C O U R T E S Y O F L I O N S G AT E
keeping-the-faith motivational messages, the movie is a religious diatribe of biblical proportions. For the right audience, it might be a spiritual awakening and endearing coming-of-age story, but most Portlanders’ awakening will consist of coming to and wiping away a spot of drool as the credits roll. NR. AMY WOLFE. Movies on TV.
Our Brand Is Crisis
B- This film is based loosely on a 2005 documentary, which was based on a 2002 Bolivian presidential election. In a way it’s triple-distilled truth, but mostly it feels like an over-interpreted copy of a copy of a copy. But while the documentary was a cautionary tale about exporting American-style politics, the new movie—directed by David Gordon Green (Pineapple Express) and produced by the politically active silver fox George Clooney— drills a simpler message: “Politics are evil.” The acting and some decently funny moments (like a llama getting hit by a car, which I felt guilty for laughing at) mask the feeling of being force-fed idealism well. But as with all force-feeding, I still ended up feeling sick to my stomach when it was over. R. ALEX FALCONE. Cedar Hills, Eastport, Clackamas, Living Room Theaters, Cornelius, Oak Grove, Bridgeport, City Center, Division, Hilltop, Lloyd Center, Movies on TV, Tigard, Wilsonville, Sandy.
Pan
Director Joe Wright (Atonement, Hanna) remakes the iconic children’s story as a modern-day action flick with Hugh Jackman and Rooney Mara. Screened after deadline. PG. Cedar Hills, Eastport, Clackamas, Bridgeport, City Center, Division, Evergreen, Movies on TV.
Paranormal Activity: The Ghost Dimension
B+ Eight years ago, Jason Blum’s cheapo horror empire began with a $15,000 festival filler. The sixth and final installment of his “found footage”-fueled franchise, Paranormal Activity: The Ghost Dimension, arrives bearing the same tricks as its predecessors. Longtime series editor Gregory Plotkin finally directs, giving us bravura jump cuts spliced for maximum humor and dread as we watch a normcore suburbanite couple film their beloved daughter drifting toward the clutches of a perhaps-not-imaginary fiend. This time, we’re also treated to 3-D glimpses of the demon via the jerry-rigged VHS camera that the parents found hidden in their new McMansion. Alas, the effects may suffer from first-run showings at Living Room Theaters and the Avalon Theatre since Regal Cinemas—like many chains—was frightened off by the producer’s unholy alliance with an all-tooapropos threat: video on demand. R. JAY HORTON. Avalon, Mill Plain, Living Room Theaters, Oak Grove, Sandy.
Rock the Kasbah
C- I love a good fish-out-of-water story, but why do all the fish have to be old white guys? In Rock the Kasbah, Bill Murray plays a hasbeen—or perhaps never-was— rock manager named Richie Lanz, whose favorite client (the insufferable Zooey Deschanel) finds her way onto a USO tour of the wartorn Middle East. This should perfectly set the stage for Murray to improvise his way through the film without a clumsy plot to keep him in check, as he did during his latecareer peak (Lost in Translation, Broken Flowers). But director Barry Levinson has other ideas—including armed showdowns, a hooker with a heart of gold (Kate Hudson), and mansplaining the world to angry Arabs. If the movie doesn’t fully collapse under the weight of all that sound and fury, it at least bows. I can hear the sighs and groans. “It’s just a comedy,” you
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Willamette Week NOVEMBER 4, 2015 wweek.com
SICARIO say. And if Rock the Kasbah were a fully slapstick affair, I wouldn’t nitpick it so much. But while the film’s not-so-subtle message is about women’s liberation, male characters run the show. In the end, Rock the Kasbah isn’t so much offensive as it is painfully boring. There just have to be other fish in the sea. R. CASEY JARMAN. Cedar Hills, Eastport, Clackamas, Forest Theatre, Bridgeport, City Center, Division, Evergreen, Fox Tower, Hilltop, Lloyd Center, Movies on TV, Sherwood, Tigard, Wilsonville.
Room
B+ In this riveting adaptation of Emma Donoghue’s novel, an abducted woman must raise her son in a confined space, providing as normal an upbringing as possible while captive. To maintain a stimulating setting for her child, Ma (Brie Larson) keeps him busy by using both their imaginations to create a social environment, arranging exercise and reading lessons throughout the day and even playtime with anthropomorphized characters named Bed and Lamp. Director Lenny Abrahamson (Frank) brings out the underlying dynamic of sanctuary versus prison with flying colors, aided by Jacob Tremblay’s sincere, wonderstruck performance as little Jack. R. LAUREN TERRY. Fox Tower.
Scouts Guide to the Zombie Apocalypse
According to promotional posters, the secret is Swiss. Not screened for critics. R. Avalon, Oak Grove, Sandy, Joy.
Sicario
A Emily Blunt (The Devil Wears
Prada) is a talented FBI agent specially recruited into a task force fi ghting a brutal war against Mexican drug cartels. She spends the whole movie confused and on edge while taking orders from the mysterious Benicio Del Toro (Snatch), who manages to act without ever fully opening his eyes or mouth. As the real mission of the task force slowly takes shape, so do beautiful sweeping helicopter shots of the border zone and heartbreaking vignettes of all the people aff ected by drug war. R. ALEX FALCONE. Cedar Hills, Eastport, Clackamas, Hollywood, Bridgeport, City Center, Division, Evergreen, Fox Tower, Lloyd Center, Movies on TV.
Steve Jobs
B This is the more high-profile
and undoubtedly better of the two movies, with Danny Boyle at the helm and Michael Fassbender (12 Years a Slave) in the lead role instead of Ashton Kutcher (Dude, Where’s My Car?). The film isn’t a glowing portrayal of
Jobs, but it’s also not the hack job that writer Aaron Sorkin did on Mark Zuckerberg in The Social Network either. Sorkin sets the movie entirely in the minutes right before three of Jobs’ major keynote speeches: This three-act concept makes sense on the surface, but in practice it feels gimmicky and limiting to force exposition of every major aspect of Jobs’ life into backstage conversations just before the most important public presentations of his life. The film’s saving grace is the acting. Never seeming quite human, Fassbender’s Jobs oscillates between enthusiasm for his own ideas and outrage that the world can’t keep up with him, in exactly the way that people close to the genius described him. R. ALEX FALCONE. Cedar Hills, Eastport, Clackamas, CineMagic Theatre, Mill Plain, Cornelius, Cinema 99, Bridgeport, City Center, Division, Evergreen, Fox Tower, Hilltop, Lloyd Center, Movies on TV, Sherwood, Tigard, Wilsonville.
Trainwreck
C Amy Schumer is the absolute tops, but Trainwreck isn’t worth the ticket price. R . ALEX FALCONE. Academy, Kennedy School, Laurelhurst, Valley.
Truth
B- What’s not to like about a movie helmed by the screenwriter of Zodiac, a movie with speedboat pacing, a frenetic Cate Blanchett and the subdued warmth of Robert Redford? Unfortunately, a lot. James Vanderbilt’s Truth is a Titanic of a Hollywood blockbuster that smashes into the iceberg of an unredeemable premise. Just before the 2004 presidential election, 60 Minutes producer Mary Mapes and anchor Dan Rather exposed a potential controversy surrounding President George W. Bush’s time in the Texas Air National Guard. When their sources proved unreliable and Rather and Mapes were forced to leave the show, they chose to defend their conduct instead of facing up to their obvious errors. Vanderbilt tries to make heroes of Rather and Mapes, continuing an argument that should have ended long ago. And even if you don’t care about journalistic ethics, you still have to sit through two hours of Topher Grace’s face. R. ZACH MIDDLETON. Cedar Hills, Eastport, Clackamas, Bridgeport, City Center, Fox Tower, Movies on TV.
Vacation
D+ You can look forward to the same opening tune of Lindsey Buckingham’s “Holiday Road,” but this spin on 1983’s National Lampoon’s Vacation replaces the original’s irreverent, campy charm with puke scenes. R. LAUREN TERRY. Vancouver.
The Visit
Victoria
B+ A two-hour-plus, city-span-
ning crime drama that was filmed in just a single extended shot (and reportedly completed on only the third take), Victoria deserves attention for harboring such seemingly impossible ambitions. Director Sebastian Schipper manufactures an intricate choreography of street life and character interplay to compensate for the absence of storyadvancing edits in this film about four Berlin bank robbers orchestrating a heist. And those opening scenes—in which a Spanish cafe girl meets up with the mismatched band of boozy hoodlums to roam the seamier side of early-morning Berlin—burst from the screen in a furious whirl of reckless youth, untamed and defiantly uncut. NR. JAY HORTON. Cinema 21.
B- M. Night Shyamalamadingdong has lost the luster of his early career, so it’s no surprise he’s making little $5 million found-footage horror movies. PG-13. ALEX FALCONE. Academy, Laurelhurst.
The Walk
B Pulling off a moving film about Phillipe Petit’s walk on a tightrope between the Twin Towers sounds next to impossible. But for better or worse, director Robert Zemeckis has never been too concerned about what’s possible. PG. CASEY JARMAN. Academy, Laurelhurst.
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C O u R T E S Y O F F O C u S F E AT u R E S
REVIEW
ELECtiON SEASON: Carey Mulligan.
Taking Patriarchy to the Cleaners Streep and Mulligan put on their big-girl bloomers for Suffragette.
Working tirelessly in a laundry since the age of 7, Maud Watts (Carey Mulligan) finally puts her iron down and takes up political activism in Suffragette. The history flick hits silver screens this Friday, strategically timed to drill voters with its female-powered manifesto. It’s a “pull yourself up by the silk stockings” story, where Watts testifies in Parliament against underpayment and working conditions with a heart-rending account of the boiling pot of water that killed her mother on the job. Eventually, she finds her place in the British women’s suffrage movement, joining a sisterhood of strong characters like Violet (Anne Marie-Duff ), who escapes from her alcoholic husband and rails against local newspapers. The film’s own sisterhood is heavy with female star power. Meryl Streep as the stoic leader Emmeline Pankhurst can almost pull off saying, “I’d rather be a rebel than a slave.” And Helena Bonham Carter is perfectly at home in her steampunk rendition of a pharmacist’s wife who joins the movement. “I wanted to concentrate on more of a human story,” says English director Sarah Gavron (Brick Lane, This Little Life), “a story that’s not widely known.” After six years researching gender inequality, police brutality and education in 1912 England, Gavron paired with writer Abi Morgan (Sex Traffic, The Hour) for a film she says had to “resonate with the world today.” It’s a period piece, to be sure—all cotton blouses, large overcoats and the oxford shoes of 19th-century British women on the go. But Streep and Mulligan’s fire when their characters protest against the prime minister or go on a hunger strike in jail makes you want to hoist the flag. Watching Watts stand up against her perverted laundry boss, it seems like the good fight is still raging. As the end credits roll, Suffragette lists every country that’s awarded women the right to vote so far, and in which year. This December, Saudi Arabia’s women can vote and run in elections for the first time. “This could be any one of us,” said writer Morgan. AMY WOLFE.
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A- SEE it: Suffragette is rated PG-13. It opens Friday at most Portland-area theaters. Willamette Week NOVEMBER 4, 2015 wweek.com
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AP FILM STUDIES
I ONLY WANT TO SEE YOU IN THE RAIN: Prince in Purple Rain.
Sound and Fury OMSI’S FILM + MUSIC SERIES BRINGS THE THUNDER. BY A P KRYZA
Pan (PG) 1:45PM 7:35PM Peanuts Movie, The (3D) (G) 11:45AM 12:35PM 3:05PM 5:35PM 8:05PM 10:35PM Our Brand Is Crisis (R) 11:05AM 4:35PM 7:20PM 10:05PM Woodlawn (PG) 10:55AM 1:50PM 4:45PM 7:40PM Miss You Already (PG-13) 10:50AM 1:40PM 4:30PM 7:20PM 10:10PM Truth (R) 10:50AM Spectre (PG-13) 11:00AM 12:40PM 1:30PM 2:30PM 4:20PM 5:10PM 6:00PM 8:10PM 8:45PM 9:30PM Peanuts Movie, The (G) 11:00AM 1:30PM 2:15PM 4:00PM 4:45PM 6:30PM 7:15PM 9:00PM 9:45PM Sicario (R) 1:45PM 10:35PM Martian, The (PG-13) 11:00AM 2:20PM 5:50PM 9:20PM Crimson Peak (R) 10:50AM 1:40PM 4:35PM 7:30PM 10:25PM
Freaks of Nature (R) 10:55AM 4:40PM 10:25PM Burnt (R) 11:40AM 2:15PM 4:50PM 7:25PM 10:00PM Maze Runner: The Scorch Trials (PG-13) 4:30PM 10:20PM Bridge of Spies (PG-13) 12:10PM 3:30PM 7:00PM 10:20PM Last Witch Hunter, The (PG-13) 11:20AM 2:10PM 5:05PM 7:50PM 10:35PM Martian, The (3D) (PG-13) 1:25PM 7:05PM Intern, The (PG-13) 10:55AM 1:50PM 4:40PM 7:35PM 10:30PM Goosebumps (PG) 11:15AM 1:55PM 4:30PM 7:10PM 9:55PM Hotel Transylvania 2 (PG) 11:30AM 2:00PM 4:25PM 7:05PM 9:35PM
Our Brand Is Crisis (R) 11:40AM 2:20PM 5:00PM 7:40PM 10:20PM Pan (PG) 10:35AM Truth (R) 11:30AM 5:50PM Martian, The (PG-13) 12:50PM 4:00PM 7:10PM 10:20PM Sicario (R) 10:00PM Spectre (PG-13) 10:00AM 10:50AM 11:40AM 12:30PM 1:20PM 2:10PM 3:00PM 3:50PM 4:40PM 5:30PM 6:20PM 7:10PM 8:00PM 8:50PM 9:40PM 10:30PM Peanuts Movie, The (3D) (G) 10:15AM 12:45PM 5:45PM 8:15PM Peanuts Movie, The (G) 11:30AM 2:00PM 3:15PM 4:30PM 7:00PM 9:30PM
Burnt (R) 10:00AM 12:30PM 3:00PM 5:30PM 8:00PM 10:30PM Crimson Peak (R) 10:45AM 1:35PM 4:30PM 7:25PM 10:20PM Martian, The (3D) (PG-13) 2:40PM 9:00PM Bridge of Spies (PG-13) 12:30PM 3:45PM 7:00PM 10:15PM Intern, The (PG-13) 1:20PM 4:10PM 7:10PM 10:05PM Last Witch Hunter, The (PG-13) 11:40AM 2:15PM 4:50PM 7:30PM 10:10PM Goosebumps (PG) 11:35AM 2:15PM 4:50PM 7:30PM 10:10PM Hotel Transylvania 2 (PG) 10:00AM 12:30PM 2:50PM 5:10PM 7:30PM
Our Brand Is Crisis (R) 11:25AM 5:00PM 7:40PM 10:20PM Pan (PG) 11:15AM 2:00PM 4:45PM Truth (R) 12:45PM Martian, The (PG-13) 11:45AM 3:10PM 6:30PM 9:45PM Sicario (R) 12:40PM 3:40PM 6:35PM 9:35PM Spectre (PG-13) 11:00AM 12:00PM 2:30PM 3:30PM 6:00PM 7:00PM 8:00PM 9:30PM 10:30PM Peanuts Movie, The (3D) (G) 12:20PM 2:30PM 3:00PM 5:40PM 9:40PM Peanuts Movie, The (G) 11:00AM 1:40PM 4:20PM 7:00PM 8:20PM Burnt (R) 11:15AM 1:50PM 4:20PM 7:00PM 9:40PM
Crimson Peak (R) 1:15PM 4:10PM 7:15PM 10:15PM
Spectre (XD) (PG-13) 12:00PM 3:30PM 7:00PM 10:30PM
Martian, The (3D) (PG-13) 4:00PM 7:15PM 10:30PM Bridge of Spies (PG-13) 12:00PM 3:20PM 6:40PM 9:55PM Hotel Transylvania 2 (PG) 11:20AM 1:45PM 4:15PM 6:50PM 9:15PM Last Witch Hunter, The (PG-13) 11:35AM 2:20PM 5:05PM 7:45PM 10:30PM Everest (PG-13) 1:10PM 4:05PM 7:05PM 10:05PM Goosebumps (PG) 11:30AM 2:10PM 4:50PM 7:30PM 10:10PM
FRIDAY 50
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The perfect soundtrack can be as essential as a strong main character. But music in film evolved at such a rapid clip that it’s easy to take that for granted. Film fans love to pinpoint the moment when popular music replaced “the score” (The Graduate, Midnight Cowboy, Mean Streets and Easy Rider are the keys), but it’s rare to get a collection of films that revolutionized the moviemusic game all on one roster. Oddly, it’s OMSI’s Empirical that’s bringing the thunder, offering up one of the best music-based film series in recent memory. Running in c onjunc tion with the museum’s current Guitar: The Instrument That Rocked the World exhibit, the Film + Music series includes documentaries, concert films and classic movies with ground-shaking soundtracks. The Empirical rocks a screen that makes IMAX look like a laptop and also has ass-rattling, concert-quality sound. Think of it as the NW Film Center’s Reel Music Series, only bigger, louder and more broadly appealing. And there’s beer. The series starts with Glen Campbell: I’ll Be Me—an Oscar-nominated doc about the country star’s battle with Alzheimer’s—paired with a talk by a neurology professor from Oregon Health & Science University. Because, science! Then it takes a raucous turn with two essential, music films: Quentin Tarantino’s Pulp Fiction—with a soundtrack that is arguably even more iconic than the film—and Martin Scorsese’s The Last Waltz—an intimate look at the Band’s final performance, with guests like Bob Dylan and Neil Young’s coke booger. It also happens to be the best concert film of all time. Gimp-supervised male rape might seem edgy for a theater known for nature docs. But the pairing of Waltz and Pulp Fiction is right on brand given OMSI’s stellar recent programming, which has also included a sci-fi fest and horror films.
“You know our audience: It’s families. But we didn’t want to limit it,” says OMSI’s vice president of retail, Russ Repp, who programmed the series. “It’s hard to find films that feature rock music that are sort of more PG-13. R-rated is more common.” This weekend is just the beginning. The series will feature everything from family fare like The Sound of Music and Grease (Nov. 22) to Purple Rain and Almost Famous (Nov. 18), The Blues Brothers (Nov. 20), Dazed & Confused (Nov. 21) and This Is Spinal Tap (Dec. 9). The concert films are slated to include Stop Making Sense (Nov. 19), Shine a Light (Nov. 22) and absolutely no Bieber. “I’ve tried to broaden the programming, because I’d love to bring in concert films of some of the more recent bands. But there isn’t as much out there as you might think,” says Repp. “There’s some contemporary stuff out there, but it’s like Justin Bieber. That wasn’t really the kind of audience we were trying to appeal to.” Goddamned right. This is a film series in conjunction with a guitar exhibit. The gods of thunder demand that it rocks. But not even the most hardcore music fan could have predicted that the best place to catch a movie or a concert this month would be a science museum. SEE IT: Music + Film is at OMSI’s Empirical Theater. See OMSI.edu for full listings. ALSO SHOWING:
Like any good rock opera, Hedwig and the Angry Inch deftly balances great music with deeper social themes. 5th Avenue Cinema. 7 and 9:30 pm FridaySaturday, 3 pm Sunday, Nov. 6-8. The Empirical isn’t the only place showing Pulp Fiction this week. Why this isn’t a weekly thing is still beyond me. Academy Theater. Nov. 6-12. Federico Fellini’s debut feature, marriage comedy The White Sheik, returns to the screen courtesy of Wordstock. NW Film Center’s Whitsell Auditorium. 7:30 pm Friday, Nov. 6. It’s been a quarter century since what is essentially a kid-friendly remake of Straw Dogs—minus the graphic rape, plus child neglect—became one of the most celebrated Christmas movies of all time. Happy anniversary, Home Alone. Century Clackamas Town Center. 2 and 7 pm Sunday, Nov. 8.
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DOES HE LOOK LIKE A BITCH?: Pulp Fiction screens at Empirical on Friday, Nov. 6, and Academy Theater on Nov. 6-12.
Regal Lloyd Center 10 & IMAX
1510 NE Multnomah St. THE MARTIAN: AN IMAX 3D EXPERIENCE Wed-Thu 12:10, 3:30 THE METROPOLITAN OPERA: TANNHäUSER ENCORE Wed 6:30 BURNT Wed-Thu 12:00, 2:35, 5:10, 7:45, 10:20 OUR BRAND IS CRISIS Wed-Thu 12:35, 3:40, 6:45, 9:35 ROCK THE KASBAH Wed-Thu 12:55 BRIDGE OF SPIES Wed -Thu 12:00, 3:15, 6:35, 9:50 THE LAST WITCH HUNTER Wed Thu 1:05, 3:50 CRIMSON PEAK Wed-Thu 12:20, 3:20, 6:30, 9:30 GOOSEBUMPS Wed -Thu 12:45, 9:45 GOOSEBUMPS 3D Wed-Thu 3:55, 7:05 STEVE JOBS Wed-Thu 12:30, 3:35, 10:00 THE MARTIAN Wed -Thu 6:50, 10:05 THE MARTIAN 3D Wed-Thu 1:00, 4:30 SICARIO Wed -Thu 4:20 SPECTRE: THE IMAX EXPERIENCE Thu-FriSat-Sun 12:10, 3:40, 7:10, 10:40 VARSITY SPIRIT’S AMERICAN CHEERLEADER Thu-Sun 12:55 THE PEANUTS MOVIE Fri-Sat-Sun 11:40, 4:50, 7:20 THE PEANUTS MOVIE 3D FriSat-Sun 2:15, 9:50 NT LIVE: HAMLET (2015) Tue 7:00
Avalon Theatre & Wunderland
3451 SE Belmont St., 503-238-1617 SCOUTS GUIDE TO THE ZOMBIE APOCALYPSE Wed Thu 12:05, 2:00, 3:55, 5:50, 7:45, 9:40 PARANORMAL ACTIVITY: THE GHOST DIMENSION Wed-Thu 1:30, 3:30, 5:30, 7:30, 9:30
Wed-Thu-Fri-Sat-Sun 3:00 JURASSIC WORLD 3D Wed 6:30 GLEN CAMPBELL... I’LL BE ME Thu 6:30 MYSTERIES OF THE UNSEEN WORLD Fri 10:00, 11:00 FLIGHT OF THE BUTTERFLIES 3D SatSun 10:00 INSIDE OUT Sat 5:00 PULP FICTION Sat 7:15 THE LAST WALTZ Sat 10:00 OPERA ON SCREEN: PORGY & BESS Sun 4:00 INSIDE OUT Wed-Thu 9:00 JURASSIC WORLD Wed -Thu 6:45 MISTRESS AMERICA Wed -Thu 9:20
St. Johns Cinemas
8704 N Lombard St., 503-286-1768 THE MARTIAN Wed-Thu 4:00, 7:00, 10:00 CRIMSON PEAK Wed-Thu 4:30, 7:30, 10:10 SPECTRE Fri-Sat-Sun-Mon-Tue 4:00, 5:00, 7:00, 7:55, 10:00
CineMagic Theatre
2021 SE Hawthorne Blvd., 503-231-7919 STEVE JOBS Wed-Thu 4:30 SPECTRE Thu-Fri-Sat-SunMon-Tue 4:00, 7:00, 9:55
Kiggins Theatre
1011 Main St., 360-816-0352 GOODFELLAS Fri-Sat-SunMon 7:00 EXTRAORDINARY TALES Fri-Sat-Sun-MonTue 5:15 DOCTOR WHO INCREDIBLE NINTH SERIES Sat 8:00 GHOST IN THE SHELL: THE MOVIE Tue 7:00
Regal Cinema 99 Stadium 11
11959 SW Pacific Highway, 971-245-6467 SCOUTS GUIDE TO THE ZOMBIE APOCALYPSE Wed Thu 7:15, 9:00
9010 NE Highway 99 BURNT Wed-Thu 1:00, 4:30, 7:15, 9:55 DANCIN’ IT’S ON! Wed-Thu 12:15, 2:45, 5:30, 8:15, 10:45 OUR BRAND IS CRISIS Wed-Thu 12:45, 4:00, 7:00, 10:15 JEM AND THE HOLOGRAMS Wed-Thu 12:40 ROCK THE KASBAH Wed 10:20 THE LAST WITCH HUNTER Wed-Thu 2:30, 5:15, 8:00, 10:40 BRIDGE OF SPIES Wed-Thu 1:15, 3:00, 6:15, 10:00 CRIMSON PEAK Wed-Thu 3:45, 6:45, 10:05 GOOSEBUMPS Wed -Thu 12:00, 9:45 GOOSEBUMPS 3D Wed-Thu 5:00, 7:45 PAN Wed-Thu 1:30, 4:15 STEVE JOBS Wed-Thu 12:30, 3:30, 7:35, 10:35 THE MARTIAN Wed-Thu 1:45, 10:30 THE MARTIAN 3D Wed-Thu 3:15, 6:30 HOTEL TRANSYLVANIA 2 Wed-Thu 12:10, 9:30 HOTEL TRANSYLVANIA 2 3D Wed Thu 4:45, 7:30 SPECTRE ThuFri-Sat-Sun 12:00, 1:15, 2:30, 3:45, 5:15, 7:15, 8:45, 10:00 THE PEANUTS MOVIE Fri-Sat-Sun 1:00, 7:30 THE PEANUTS MOVIE 3D Fri-Sat-Sun 4:45, 10:45
Laurelhurst Theatre & Pub
Regal City Center Stadium 12
Bagdad Theater
3702 SE Hawthorne Blvd., 503-249-7474 THE MARTIAN Wed -Thu 12:00, 3:15, 7:00, 10:45 THE PEANUTS MOVIE Fri-Sat-SunMon-Tue 11:00, 1:40, 4:15, 7:15
Cinema 21
616 NW 21st Ave., 503-223-4515 GOODNIGHT MOMMY Wed Thu-Fri-Sat-Sun-Mon-Tue 9:15 MERU Wed-Thu-Fri-Sat-SunMon-Tue 4:00, 6:15 VICTORIA Wed -Thu 4:00 LABYRINTH OF LIES Wed-Thu-Fri-Sat-SunMon-Tue 4:00 TV MAN Thu 7:00 DYING TO KNOW: RAM DASS & TIMOTHY LEARY FriSat-Sun-Mon-Tue 4:15, 6:45, 9:00 LOVE 3D Fri-Sat-SunMon-Tue 8:30
The Joy Cinema and Pub
2735 E Burnside St., 503-232-5511 THE WALK Wed-Thu 6:30 TRAINWRECK Wed-Thu 7:00, 9:40 PHOENIX Wed-Thu 7:15 ANT-MAN Wed-Thu 9:30
801 C St. BURNT Wed-Thu 11:00, 1:30, 4:05, 6:35, 9:05 OUR BRAND IS CRISIS Wed-Thu 12:00, 2:45, 5:40, 8:35 JEM AND THE HOLOGRAMS Wed-Thu 11:10
ROCK THE KASBAH Wed Thu 12:20, 8:50 THE LAST WITCH HUNTER Wed -Thu 12:05, 3:05, 5:45, 8:15 BRIDGE OF SPIES Wed-Thu 11:05, 2:15, 5:25, 8:40 CRIMSON PEAK Wed-Thu 2:00, 4:55, 8:00 GOOSEBUMPS Wed-Thu 12:50, 6:25 GOOSEBUMPS 3D Wed Thu 2:30, 8:10 TRUTH Wed Thu 11:25, 2:25, 5:30, 8:25 PAN Wed-Thu 11:45 STEVE JOBS Wed-Thu 12:30, 3:20, 6:10, 9:00 THE MARTIAN Wed -Thu 11:15, 8:55 THE MARTIAN 3D Wed-Thu 3:15, 5:00 HOTEL TRANSYLVANIA 2 Wed -Thu 1:00, 3:30, 6:00 THE INTERN Wed -Thu 2:35 SICARIO Wed Thu 2:55, 5:55 SPECTRE Thu-Fri-Sat-Sun 11:30, 2:35, 5:30, 8:35
Century 16 Eastport Plaza
4040 SE 82nd Ave. PAN Wed-Thu 11:15, 2:00 GOOSEBUMPS Wed -Thu 11:30, 2:10, 4:50, 7:30, 10:10 EVEREST Wed-Thu 1:05, 4:00, 7:05, 10:05 HOTEL TRANSYLVANIA 2 Wed -Thu 11:20, 1:50, 4:15, 6:50, 9:15 THE METROPOLITAN OPERA: TANNHäUSER ENCORE Wed 6:30 WOODLAWN Wed -Thu 12:50, 3:50 SICARIO Wed -Thu 12:40, 3:35 THE MARTIAN Wed-Thu 11:45, 3:10, 6:30, 9:45 THE MARTIAN 3D Wed -Thu 12:55, 4:30, 8:00 BURNT Wed Thu 11:15, 1:50, 4:20, 7:00, 9:40 STEVE JOBS Wed-Thu 1:00, 4:10, 7:10, 10:10 CRIMSON PEAK Wed-Thu 1:15, 4:05, 7:15, 10:15 BRIDGE OF SPIES Wed-Thu 12:00, 3:20, 6:40, 9:55 ROCK THE KASBAH Wed -Thu 2:15 JEM AND THE HOLOGRAMS Wed-Thu 11:25 THE LAST WITCH HUNTER Wed-Thu 11:35, 2:20, 5:05, 7:45, 10:30 TRUTH Wed-Thu 12:45, 3:45, 7:10, 10:15 OUR BRAND IS CRISIS Wed-Thu 11:25, 2:15, 5:00, 7:40, 10:20 SPECTRE Thu-Fri-Sat-Sun-Mon-Tue 12:00, 3:30, 7:00, 10:30 THE PEANUTS MOVIE Fri-Sat-Sun 7:00 THE PEANUTS MOVIE 3D Fri-Sat-Sun 9:40 HOME ALONE 25TH ANNIVERSARY Sun 2:00, 7:00
Empirical Theater at OMSI
1945 SE Water Ave., 503-797-4000 WALKING WITH DINOSAURS 3D Wed-Thu-Fri-Sat-Sun 12:00 SECRET OCEAN Wed-Thu-Fri-Sat-Sun 11:00, 2:00 JOURNEY TO SPACE Wed-Thu-Fri-Sat-Sun 1:00 GREAT WHITE SHARK
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5th Avenue Cinema
510 SW Hall St., 503-725-3551 NO FILMS SHOWING TODAY Wed-Thu-Mon-Tue HEDWIG AND THE ANGRY INCH FriSat-Sun 3:00
Hollywood Theatre
4122 NE Sandy Blvd., 503-281-4215 BLACK MASS Wed-ThuFri-Sat-Sun-Mon-Tue 9:30 THE ASSASSIN Wed-ThuFri-Sat-Sun-Mon-Tue 7:15 EXPERIMENTER Wed -Thu 9:00 CINEMA PROJECT THROW THE SEA BEHIND YOU Thu 7:30 THE WILD BUNCH Fri-Sat-Sun 7:00 SICARIO Fri-Sat-Sun-Mon-Tue 6:45, 9:15 KUNG FU THEATER: FIST OF THE WHITE LOTUS Tue 7:30
NW Film Center’s Whitsell Auditorium
1219 SW Park Ave., 503-221-1156 DOWNTOWN 81 Wed 7:00 NO LANDS SONG Thu 7:00
BEER WINE PIZZA 4 SCREENS LAURELHURSTTHEATER.COM
2735 E BurnsidE st • (503-232-5511) • LaurELhurstthEatEr.com
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7818 SE Stark St., 503-252-0500 THE WALK Wed-Thu 12:05, 4:45, 9:05 THE GREEN INFERNO Wed-Thu 9:55 SHAUN THE SHEEP MOVIE Wed-Thu 11:55, 4:25 ANTMAN Wed-Thu 2:00, 6:30 TRAINWRECK Wed-Thu 1:50, 7:20, 9:15 MINIONS Wed -Thu 2:40 INSIDE OUT Wed -Thu 11:45, 4:35, 6:50
Living Room Theaters 341 SW 10th Ave., 971-222-2010 A BALLERINA’S TALE Wed Thu 11:55, 1:50, 5:10, 7:15, 9:15 BRIDGE OF SPIES Wed -Thu 11:40, 1:00, 2:10, 4:00, 5:00, 6:50, 7:45, 9:00, 9:35 MR. HOLMES Wed-Thu 12:15, 4:10, 8:25 OUR BRAND IS CRISIS Wed-Thu 11:45, 2:20, 4:30, 6:40, 9:30 PARANORMAL ACTIVITY: THE GHOST DIMENSION Wed-Thu 4:40, 10:30 THE INTERN Wed -Thu 11:45, 2:00, 7:00 WHAT WE DO IN THE SHADOWS Wed Thu 2:40, 6:30, 10:35
SUBJECT TO CHANGE. CALL THEATERS OR VISIT WWEEK.COM/MOVIETIMES FOR THE MOST UP-TO-DATE INFORMATION FRIDAY-THURSDAY, NOV. 6-12, UNLESS OTHERWISE INDICATED
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Snoop Dogg vs. Jean-Luc Testing two new loose-leaf vaporizers, Snoop’s Bush G Pro and the Vapir Prima. BY MA RTIN CIZMA R
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Dr. Dre made more money off midgrade headphones than he did off some of the best rap records ever produced. Audiophiles be hatin’, but the maestro timed the inevitable renaissance of over-the-ear headphones perfectly, and hit the streets with a product every bit as sleek and fashionable as my own generation’s white earbuds were, lo a decade now past. Cannabis’s creeping legalization and the fast spread of portable loose-leaf vaporizers present a similar business opportunity for Dre’s old homie Snoop Dogg, who can capitalize on his own reputation as a noted weed enthusiast in much the sa me way his colleague did with his reputation as a studio rat. So Snoop has paired with Grenco Science for a line of G Pen vaporizers, including the new Snoop Dogg Bush G Pro ($120, comes with a copy of the new Snoop record). But I’ll tell you now what they told you about Beats: The product endorsed by the rapper doesn’t compare to other premium bra nds. In this case, let ’s put Snoop up against the Vapir Prima ($260, including a premium grinder), which looks like something Jean-Luc Picard would toke on the Holodeck, but is probably the finest vaporizer I’ve encountered this side of the Pax 2.
The Dogg
The Snoop vape is ivory-colored plastic, with the image of a green plant that appears to be boxwood on the side. It’s light and simple to charge with micro USB. At just over $100, it’s the kind of thing you could afford to lose or have confiscated. I had three big problems with it, though.
First, the plastic lid is tough to open. Unlike earlier G Pen models, which screwed together, it simply snaps into place. I had to use a paper clip to pry it open, and kept worrying I’d snap it. Second, when you do get it going, the Snoop vape’s topside oven and thin plastic shell means it’s hot on the lips—always unpleasant. It’s slow to heat, but that’s not a major problem. However, I did fi nd it runs a little too hot, creating a rough, harsh vapor that stung my throat.
Prima
The newest loose-leaf vaporizer from Vapir ( pronou nced VAY P- eer) c a me to u s before its of f icia l relea se. A s stated, it looks like a futuristic pipe as conceived in the era of Ford Probes and Max Headroom, but it also works really, really well. Un l i k e o t h e r l o o s e -l e a f vapes, which tend to be vertically oriented, the Prima is shaped vaguely like a pipe, with a bowl inside the front cap and a horizontal airway leading back to the mouthpiece. It sits very nicely on a coffee table between hits. Pretty much every piece of the device is removable and replaceable, including a stainless-steel vapor path that pops out so you can deep clean it. Car chargers and backup batteries are available online. They even sell European power adapters online, so you could give this thing a good alcohol scrub and then bring it to Amsterdam, where you could plug it into the wall at your hotel. I was impressed by how fast it heats up—it will hit any of the four preprogrammed temperatures in about a minute—but even more impressed by the quality of the thick, fl avorful vapor it produced. I hate to diss Snoop, but if I was looking for a new vape, I’d either buy this Prima or a Pax.
53 54 55
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CHATLINES
JONESIN’
by Matt Jones
“Turn it Down”–but not all the way.
REAL PEOPLE REAL DESIRE REAL FUN
72 TV component? 73 Microscopic 74 Active Sicilian volcano 75 Dark form of quartz 76 Desirable quality 77 “Round and Round” band
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Across 1 B as in baklava 5 Belief system 10 “Family Feud” option 14 On the summit of 15 Pipe cleaner brand? 16 “Like ___ out of Hell” 17 Amazed 19 Diggs of “Private Practice” 20 Blase (or just blah) feeling 21 Night, in Italy 23 “___ Walks in Beauty” (Byron
poem) 24 Short short time? 26 Topping in a tub 28 Part of TBS, for short 31 Author Fleming 33 Tit-tat filler 34 “That’s so sweet” 38 Emphatic turndown 42 Glassful at a cantina, perhaps 43 Win all the games 45 Oregon Ducks uniform designer since 1999 46 “Lunch is for ___” (“Wall Street” quote)
48 Like Goofy but not Pluto 50 Long meal in Japan? 52 LPs, to DJs 53 Possesses 54 Showtime series of the 2000s 59 Little dog’s bark 61 “___ the Walrus” 62 Marina craft 64 Washer/dryer units? 68 Downright rotten 70 “You’ve really outdone yourself at sucking,” or this puzzle’s theme?
Down 1 Film with the segment “Pork Is a Nice Sweet Meat” 2 English prep school 3 Dot on a state map 4 High score 5 Hall of Leno’s “The Tonight Show” 6 1982 Disney film with a 2010 sequel 7 Anarchy 8 “And that’s ___ grow on” 9 Not quite 10 Vanna’s cohost 11 Make embarrassed 12 Give a quick welcome 13 Hard to climb 18 Kids’ song refrain that’s all vowels 22 PayPal cofounder Musk 25 Cleveland NBAers 27 Erroneous 28 “Begin the Beguine” clarinetist Artie 29 Late baseballer Berra 30 Like one leg of a triathlon 32 Former House speaker Gingrich 35 Boutonniere setting
36 Kareem’s original name 37 “Man, that hurts!” 39 “Well, we just lost” sound 40 Retailer with a snaky floor plan 41 Wine cellar options 44 Eugene Ionesco production 47 Stitches up 49 Outcast 51 Controversial Nabokov novel 54 Connect with 55 New ___ (Yale locale) 56 Zooey’s big sister in acting 57 Basic learning techniques 58 Dropperfuls, say 60 “___ to the people!” 63 Sheet of postage stamps 65 ___Vista (onetime search engine) 66 “Stop that!” 67 Go after, as a fly 69 “Superman” villain Luthor 71 “All the news that’s fit to print” initials last week’s answers
©2015 Jonesin’ Crosswords (editor@jonesincrosswords.com) For answers to this puzzle, call: 1-900-226-2800, 99 cents per minute. Must be 18+. Or to bill to your credit card, call: 1-800-655-6548. Reference puzzle #JONZ752.
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BACK COVER CONTINUED...
© 2015 Rob Brezsny
Week of November 5
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GEMINI (May 21-June 20): Small, nondestructive earthquakes are common. Our planet has an average of 1,400 of them every day. This subtle underground mayhem has been going on steadily for millions of years. According to recent research, it has been responsible for creating 80 percent of the world’s gold. I suspect that the next six or seven months will feature a metaphorically analogous process in your life. You will experience deep-seated quivering and grinding that won’t bring major disruptions even as it generates the equivalent of gold deposits. Make it your goal to welcome and even thrive on the subterranean friction! CANCER (June 21-July 22): Here’s the process I went through to create your horoscope. First I drew up a chart of your astrological aspects. Using my analytical skills, I pondered their meaning. Next, I called on my intuitive powers, asking my unconscious mind to provide symbols that would be useful to you. The response I got from my deeper mind was surprising: It informed me that I should go to a new cafe that had just opened downtown. Ten minutes later, I was there, gazing at a menu packed with exotic treats: Banana Flirty Milk . . . Champagne Coconut Mango Slushy . . . Honey Dew Jelly Juice . . . Creamy Wild Berry Blitz . . . Sweet Dreamy Ginger Snow. I suspect these are metaphors for experiences that are coming your way. LEO (July 23-Aug. 22): The Beatles’ song “You Never Give Me Your Money” has this poignant lyric: “Oh, that magic feeling, nowhere to go.” I suggest you make it your motto for now. And if you have not yet begun to feel the allure of that sentiment, initiate the necessary shifts to get yourself in the mood. Why? Because it’s time to recharge your spiritual battery, and the best way to do that is to immerse yourself in the mystery of having nothing to do and nowhere to go. Put your faith in the pregnant silence, Leo. Let emptiness teach you what you need to know next. VIRGO (Aug. 23-Sept. 22): Should a professional singer be criticized for her lack of skill in laying bricks? Is it reasonable to chide a kindergarten teacher for his ineptitude as an airplane pilot? Does it make sense to complain about a cat’s inability to bark? Of course not. There are many other unwarranted comparisons that are almost as irrational but not as obviously unfair. Is it right for you to wish your current lover or best friend could have the same je ne sais quoi as a previous lover or best friend? Should you try to manipulate the future so that it’s more like the past? Are you justified in demanding that your head and your heart come to identical conclusions? No, no, and no. Allow the differences to be differences. And more than that: Celebrate them! LIBRA (Sept. 23-Oct. 22): In the mid-19th century, an American named Cyrus McCormick patented a breakthrough that had the potential to revolutionize
SCORPIO (Oct. 23-Nov. 21): Is it possible to express a benevolent form of vanity? I say yes. In the coming weeks, your boasts may be quite lyrical and therapeutic. They may even uplift and motivate those who hear them. Acts of self-aggrandizement that would normally cast long shadows might instead produce generous results. That’s why I’m giving you a go-ahead to embody the following attitude from Nikki Giovanni’s poem “Ego Tripping (there may be a reason why)”: “I am so perfect so divine so ethereal so surreal / I cannot be comprehended except by my permission.” SAGITTARIUS (Nov. 22-Dec. 21): Regard the current tensions and detours as camouflaged gifts from the gods of growth. You’re being offered a potent opportunity to counteract the effects of a self-sabotage you committed once upon a time. You’re getting an excellent chance to develop the strength of character that can blossom from dealing with soul-bending riddles. In fact, I think you’d be wise to feel a surge of gratitude right now. To do so will empower you to take maximum advantage of the disguised blessings. CAPRICORN (Dec. 22-Jan. 19): You are slipping into a phase when new teachers are likely to appear. That’s excellent news, because the coming weeks will also be a time when you especially need new teachings. Your good fortune doesn’t end there. I suspect that you will have an enhanced capacity to learn quickly and deeply. With all these factors conspiring in your favor, Capricorn, I predict that by January 1, you will be smarter, humbler, more flexible, and better prepared to get what you want in 2016. AQUARIUS (Jan. 20-Feb. 18): American author Mark Twain seemed to enjoy his disgust with the novels of Jane Austen, who died 18 years before he was born. “Her books madden me so that I can’t conceal my frenzy,” he said, even as he confessed that he had perused some of her work multiple times. “Every time I read Pride and Prejudice,” he wrote to a friend about Austen’s most famous story, “I want to dig her up and beat her over the skull with her own shin-bone.” We might ask why he repetitively sought an experience that bothered him. I am posing a similar question to you, Aquarius. According to my analysis, the coming weeks will be an excellent time to renounce, once and for all, your association with anything or anyone you are addicted to disliking. PISCES (Feb. 19-March 20): The Sahara in Northern Africa is the largest hot desert on the planet. It’s almost the size of the United States. Cloud cover is rare, the humidity is low, and the temperature of the sand can easily exceed 170º F. (80º C.). That’s why it was so surprising when snow fell there in February of 1979 for the first time in memory. This once-in-a-lifetime visitation happened again 33 years later. I’m expecting a similar anomaly in your world, Pisces. Like the desert snow, your version should be mostly interesting and only slightly inconvenient. It may even have an upside. Saharan locals testified that the storm helped the palm trees because it killed off the parasites feeding on them.
Homework Brag about a talent or ability that few people know you have. Tout one of your underappreciated charms. Report to FreeWillAstrology.com.
check out Rob Brezsny’s Expanded Weekly Audio Horoscopes & Daily Text Message Horoscopes
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TAURUS (April 20-May 20): Before he helped launch Apple Computer in the 1970s, tech pioneer Steve Wozniak ran a dial-a-joke service. Most of the time, people who called got an automated recording, but now and then Wozniak answered himself. That’s how he met Alice Robertson, the woman who later became his wife. I’m guessing you will have comparable experiences in the coming weeks, Taurus. Future allies may come into your life in unexpected ways. It’s as if mysterious forces will be conspiring to connect you with people you need to know.
agriculture. It was a mechanical reaper that harvested crops with far more ease and efficiency than hand-held sickles and scythes. But his innovation didn’t enter into mainstream use for 20 years. In part that was because many farmers were skeptical of trying a new technology, and feared it would eliminate jobs. I don’t foresee you having to wait nearly as long for acceptance of your new wrinkles, Libra. But you may have to be patient.
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ARIES (March 21-April 19): In 1978, Ben Cohen and Jerry Greenfield began selling their new ice cream out of a refurbished gas station in Burlington, Vermont. Thirty-seven years later, Ben & Jerry’s is among the world’s best-selling ice cream brands. Its success stems in part from its willingness to keep transforming the way it does business. “My mantra is ‘Change is a wonderful thing,’” says the current CEO. As evidence of the company’s intention to keep re-evaluating its approach, there’s a “Flavor Graveyard” on its website, where it lists flavors it has tried to sell but ultimately abandoned. “Wavy Gravy,” “Tennessee Mud,” and “Turtle Soup” are among the departed. Now is a favorable time for you to engage in a purge of your own, Aries. What parts of your life don’t work any more? What personal changes would be wonderful things?
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