42 51 willamette week, october 19, 2016

GOT A BALLOT? Check our endorsements.

P. 11

Pepper spray won’t silence Gregory McKelvey. P. 9

WILLAMETTE WEEK PORTLAND’S NEWSWEEKLY

Let’s Talk About Death, Baby “IT’S LIKE STEROIDS FOR MY EARS.” P. 30 WWEEK.COM

VOL 42/51 10.19.2016

Most people don’t want to think about death.

Two Portland women make their livings discussing it.

BY CA SEY JA R MA N Page 13

DEAN POTTLE, proprietor of legendary homebrew speakeasy, passes away. P. 43

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RICK VODICKA

FINDINGS

PAGE 23

WHAT WE LEARNED FROM READING THIS WEEK’S PAPER VOL. 42, ISSUE 51.

Elementary schoolchildren are boycotting a field trip to learn about the Oregon Trail until the curriculum is altered to include lessons on our nation’s broken treaties with Pacific Northwest tribes. 6

There will soon be a fast-casual pizza place from the dude behind Little Big Burger. 20

Portland State students can now identify themselves as agender and pansexual but not pangender.

Social progress can sometimes be slow. Baby steps. 7

unrecorded song predicting the collapse of the Oregon timber industry. 27

ON THE COVER:

There’s finally a restaurant named after Bill Murray’s submarine. 25 Woody Guthrie wrote an

If you don’t want your work to be classified under an absurd genre, don’t joke with reporters. 40

OUR MOST TRAFFICKED STORY ONLINE THIS WEEK:

Skull provided

by Paxton Gate.

Photo by Thomas Teal.

Myths about Measure 97, the big new tax on corporations that this newspaper opposes.

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POLITICAL ENDORSEMENTS MARQUAM HILL LECTURES

2016 M A R K O. H AT FIELD LEC T U R E

Exceptional Opportunities in Biomedical Research Francis S. Collins, M.D., Ph.D. D I R E C T O R , N AT I O N A L I N S T I T U T E S O F H E A LT H

see Republicans and third parties get treated a I write with great urgency to inform you that little more respectfully. Rude rhetoric is not how while WW has shockingly endorsed Hillary to discredit the opposition—do it with facts.

Clinton for president, the people must at least be —“Heather” advised that there are not just two candidates in this race—there are four [“Endorsements 2016!” BLACK POLICE OFFICERS WW, Oct. 12, 2016].

Adding more black faces to the Portland Police Despite WW’s proclamations Bureau won’t make things better that Clinton is the “steadiest,” “most any more than placing a person of capable” and “far better behaved” color in the White House improved SERIOUSLY, THOUGH! candidate, I and many millions the situation for black people overHILLARY CLINTON of others believe otherwise. We all [“Black and Blue,” WW, Oct. 12, NEVER SAYS DIE! are learning more and more from 2016]. whistleblowers about her and her The entire police regime must SHOCKING! campaign’s corrupt behavior. be overhauled. Window-dressing HILLARY SEXIST! Clinton’s neoliberal positions won’t cut it.

CAN SAVE AMERICA! created the neofascism of Donald —Vladamir Muhammad Trump. To expect that voting for Clinton puts the American people in “Clinton’s CORRECTIONS any position to make progress with neoliberal Charts in last week’s story on ethregard to jobs, health care, equalnic diversity in local law enforcepositions ity, peace, education, or any other ment (“Black and Blue,” WW, Oct. social necessity is a slap in the face created the 12, 2016) failed to note that in to those who have already suffered neofascism addition to officers who are black, from Clinton’s ideology.

Latino or white, local police agenof Trump.”

WW’s endorsement should have cies employ officers who are Asian, been for Dr. Jill Stein, who, most importantly, is Native American or Pacific Islanders. WW has not bought by corporations and super PACs. corrected the charts online.

—Brian Allen Martinez The WW endorsement of state Rep. Carla Piluso (D-Gresham) incorrectly stated her posiOf course WW doesn’t support Measure 97. tion on Measure 97. She’s voting for it.

WW in 2006 would be appalled with 2016 WW. A story on Pillars of Portland misidentified Although Measure 97 isn’t perfectly written, it’s who wrote the soundtrack for the 1983 TV movie needed—and it’s needed now. (“Pillars of Portland Sucks, But It’s Awesome,” This state can’t wait for alternative revenue WW, Oct. 12, 2016). Jon Newton wrote the movie sources while WW and a severely misled public soundtrack; Jeffrey Kauffman wrote the score allow corporate fear-mongering to sway their for the Pillars of Portland TV pilot.

WW regrets the errors. decision-making.

—“Daniel” ENDORSEMENTS 2016! EXPOSED!

HER PUBLIC POLICY WORK WAS DECADES AHEAD OF ITS TIME!

NOW

WILLAMETTE WEEK

IT’S TIME TO PUT A WOMAN IN CHARGE!

READ MORE ON PAGE 9!

THEN

“I SUPPOSE I

COULD HAVE

STAYED HOME & BAKED COOKIES.”

SHE’LL SAVE US

FROM PREDATORS!

are improving human health in the time of Zika, cancer and other global health issues. Dr. Collins is the Director of the National Institutes of Health (NIH) and a physician-geneticist noted for his landmark discoveries of disease genes and his leadership of the international Human Genome Project.

October 24, 2016 | 7 p.m.

Collaborative Life Sciences Building Room 1A001 2730 S.W. Moody Ave. Portland, OR 97239

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CANNABIS | EDIBLES Do not operate a vehicle or machinery under the influence of marijuana. Keep marijuana out of the reach of children.

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WWEEK.COM VOL 42/50 10.12.2016

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I know WW has liberal leanings, so I shouldn’t be surprised that almost all of the endorsements are Democrats, but it would have been nice to

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I work downtown and take public transit, which means when protesters shut down the transit mall like they did last week, I can’t leave. I’m all for the revolution, but how do I get home? —Bastille Neighbor The Man, by definition, is hard to stick it to.

Portland-area dissidents seem recently to have concluded—correctly—that shutting down public transit guarantees airtime for their cause.

The problem with this strategy is that the Man doesn’t ride the bus. You just end up sticking it to folks who are too poor and/or environmentally conscious to drive cars, which is a bit like protesting child poverty by shutting down the food-stamp office.

Still, sometimes you gotta do something. I can’t pass judgment on demonstrations like the one we saw Oct. 12 (as someone who thinks cops should be held to much higher standards, but should also make a hell of a lot more money, I’m hated equally by all sides), but I can tell you how to get out of their way.

TriMet has a number of pre-established detours, developed to deal with events like parades and bridge closures, that it can roll out

in case of civil unrest, zombie apocalypse, or other acts of God. (The rep I contacted told me about rerouting MAX lines down 1st Avenue, detouring buses to Southwest 3rd, and a bunch of other 11-dimensional-transit-chess stuff that I was way too high to understand.)

Luckily, this is America, where we’re guaranteed the right not to have to think about complicated stuff. The next time giant space robots attack Southwest 5th Avenue, just go to trimet. org/alerts, where the latest service changes will be posted.

Or, if you think this kind of disturbance is going to become a regular thing (ahem), go to trimet. org/email and sign up for email or text alerts tailored to your favorite MAX or bus lines. Next time there’s a riot, you’ll be home in time to watch it on TV, Gil Scott-Heron notwithstanding.

QUESTIONS? Send them to dr.know@wweek.com

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M O N TA N A H O U S E O F R E P R E S E N TAT I V E S

#wweek

One of the final traces of the high-flying career of former Portland financier Andy Wiederhorn disappeared this week as Wiederhorn’s mother, Peggy, surrendered her Southwest Portland condominium to foreclosure. Wiederhorn, who briefly made Wilshire Financial Services one of Portland’s shining stars 15 years ago before serving time in federal prison after the company collapsed, has remade himself as CEO of the Los Angeles-based Fatburger chain. Wiederhorn says his mother has lived in Los Angeles for 20 years and decided to relinquish her unit in the Vista House condos rather than pay her share of building repairs. “It’s a great building,” Wiederhorn said in an email. “But the original design and construction defects have been a pain for the homeowners for years.”

Irvington Students Boycott Oregon Trail Field Trip Students at Irvington K-8 School in Northeast Portland won’t attend an overnight field trip to study the lives of Oregon pioneers until the education agency that runs the program, the Multnomah Education Service District, revamps curriculum to include the perspectives of Native Americans. On Oct. 18, elementary students and parents from Irvington met with MESD officials to complain that the Oregon Trail field trip offered to Portland Public Schools students emphasizes the lives of white settlers, with lessons on sewing and outdoor cooking, but offers no insight on Native American history or broken treaties with Pacific Northwest tribes. Students who previously attended the

field trip appear in a YouTube video that describes the trip’s shortcomings. “It’s like giving someone an M&M that doesn’t have all the chocolate in it,” one girl complains about MESD’s incomplete version of Oregon’s history.

“It’s just wrong.”

Wingard Defamation Lawsuit Can Go Forward

A defamation lawsuit filed by former state Rep. Matt Wingard (R-Wilsonville) against Oregon Right to Life and the Oregon Family Council over political mailers the groups paid for in the May primary cleared a key hurdle last week in Multnomah County Circuit Court. Judge Adrienne Nelson rejected the defendants’ motion to throw out Wingard’s complaint that the groups falsely characterized his relationship with a former legislative aide (“A Violation of Trust,” WW, June 12, 2012). “We’re planning to appeal the judge’s decision,” says Oregon Right to Life executive director Gayle Atteberry.

Burning Man Supplies Sought for Homeless Camps

A Portland artist is gathering donations from Burning Man festivalgoers—seeking unwanted, old or damaged equipment in an effort to provide the homeless with supplies for winter. Noah Mickens, ringmaster for the performance group Wanderlust Circus, is giving the supplies to homeless camps like Right 2 Dream Too. He got the idea after helping campers who were cleared out of the Springwater Corridor in Southeast Portland last month. “Looking at all the tents and camp kitchens and bicycles, it reminded me of Burning Man or an encampment at the Oregon Country Fair,” Mickens says.

T R E Y R ATC L I F F/ F L I C K R

Andy Wiederhorn’s Empire Disappears

NEWS

WHAT YOU NEED TO KNOW THIS WEEK

PSU’s Nine Genders

Portland State University students now have the option to choose among nine sexual orientations and nine genders when filling out school paperwork.

The expanded options grow out of 2015 legislation that asked all Oregon public universities to allow students to disclose their sexual orientations so schools could better serve students. But the effort grew to include additional genders.

“The goal is to create a system that focuses on recognition, respect, and safety for all students,” reads a report on the changes from the state’s Higher Education Coordinating Commission. “Previously invisible students may literally be counted if they choose to be.”

A work group from the commission would like universities to go further. It’s recommending that schools also allow students to choose what pronouns they prefer when others talk about them.

BETH SLOVIC. Here are the choices PSU students now have when disclosing their gender: Agender Genderqueer Man

PROFILES IN COURAGE

The (Bend) Bulletin, Oct. 16, 2016: “Before voting in protest for one minor-party candidate or another, Oregonians should ask themselves whether they really consider a Clinton presidency as objectionable as a Trump presidency. If the answer is ‘no,’ even by the slimmest margin, they should vote for Clinton. Imagine waking up on Wednesday, Nov. 9, to discover that she has prevailed in the Electoral College but lost the popular vote. That’s no way to encourage Trump to quit politics and pursue other interests.”

COMPARE THE OREGONIAN’S NON-ENDORSEMENT FOR PRESIDENT TO TWO NEWSPAPERS THAT TOOK A STAND.

In a year when the presidential election has generated unprecedented interest, The Oregonian last week told readers it would make no endorsement in the race.

In making that choice, The Oregonian broke ranks with nearly every large newspaper in the country and other large dailies owned by Advance Publications, such as the Cleveland Plain Dealer, the New Orleans Times-Picayune and The Birmingham (Ala.) News. In Phoenix, The Arizona Republic, which had always endorsed Republicans until this year, is facing threats from outraged readers.

The Oregonian’s choice to sit out the race (as it also did in 2012) comes a month after the paper named Laura Gunderson as its first female editorial page editor, with a promise to re-engage with readers, some of whom chafed at the libertarian approach of her predecessor, Erik Lukens. Yet Lukens’ new paper, The Bulletin in Bend, issued an endorsement two days after The Oregonian declined.

The Bulletin endorsed Hillary Clinton. NIGEL JAQUISS. The Arizona Republic, Oct. 17, 2016: “In its more than 125 years, The Republic had never endorsed a Democrat for president. So, over the many months of the campaign, we found ourselves with this question: Endorse no one, or endorse a Democrat for the first time in our history?

“We made our choice soberly. We

knew it would be unpopular with many people. We knew that, although we had clearly stated our objections to Trump, it would be a big deal for a conservative editorial board in a conservative state to break ranks from the party.

“We chose patriotism over party. We endorsed the Democrat.”

The Oregonian, Oct. 14, 2016: “Our goal as an editorial board is to have an impact in our community. And we don’t think an endorsement for president would move the needle.

“So that’s why we focus our endorsement energy where voters may not have made up their minds and need help with the decision. We offer opinions on races and issues we think are most important to Oregonians—and on those on which our endorsement could make a difference.”

Non-binary Questioning or unsure Trans man Trans woman Transgender Woman Other Here are the choices PSU students now have when disclosing their sexual orientation: Asexual Bisexual Gay Heterosexual/straight Lesbian Pansexual Queer Questioning or unsure Same-gender-loving Other

FAST FIVE

Janelle Bynum

Democrat Janelle Bynum is running against Happy Valley Mayor Lori Chavez-DeRemer, a Republican, for the Oregon House District 51 seat being vacated by Rep. Shemia Fagan, a twoterm Democrat. (The district includes East Portland and parts of Clackamas County.) Bynum, 41, and her husband own two McDonald’s restaurants on Portland’s Southeast 82nd Avenue.

Here are five other things to know about her. NIGEL JAQUISS. 1. Bynum grew up in Washington, D.C., and fondly remembers controversial Mayor Marion Berry. “Any kid could get a job when he was mayor,” she says. “I worked at the National Zoo with flying squirrels and the iguanas.”

2. In high school in Virginia, Bynum donned a snail costume as her school’s mascot. “I’m competitive but not athletic,” she says. “Our chant was ‘Go, go escargot!’”

3. She earned an electrical engineering degree at Florida A&M, then

traveled the world for six years as an engineer for General Motors. “I got stuck in Taiwan on 9/11,” she says. “I was there inspecting a factory.” Her experience dealing with GM’s suppliers shaped her approach to business and policy. “I’m a data person,” she says. “I want to see the numbers, not hear the hyperbole.”

4. As the mother of four and employer of 100, Bynum decided to run for office because she’s concerned about ballot access and education. “I told the people at North Clackamas School District, ‘I hire what you send me.’ Oregon’s investment in schools is abysmal.”

5. Two recent laws passed by Bynum’s party—higher minimum wage and family sick leave—will directly affect her business. “We were already doing family leave,” she says. Bynum supports the minimum-wage hike. “I see that through the lens of being an AfricanAmerican woman,” she says. “The majority of those jobs are held by women and people of color. It’s just becoming too hard to make it on the current wage.”

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HOTSEAT “WE HAVE A UNIQUE ABILITY TO BE A MODEL FOR WHAT A PROGRESSIVE CITY COULD BE.” HOT MIC: Gregory McKelvey leads a Don’t Shoot Portland march to Mayor Charlie Hales’ house on Oct. 14.

Gregory McKelvey THE ORGANIZER OF PORTLAND POLICE PROTESTS ISN’T DETERRED BY PEPPER SPRAY.

BY JO H A N N A B E R N H A RD

503-243-2122

Gregory McKelvey doesn’t really expect Portland Mayor Charlie Hales to quit before his term ends in January. B u t M c Ke l v e y isn’t going anywhere, either.

The 23-year-old spokesman for the black activist group Don’t Shoot Portland has galvanized protesters in the wake of the City Council approving a controversial new contract with the police union.

On Oct. 12, McKelvey organized a protest at City Hall that turned into a melee, with police deploying pepper spray on protesters. The next night, McKelvey went to Facebook and published an open letter to Hales, demanding the mayor’s resignation.

He led an Oct. 14 march to Hales’ house, blocking rush-hour traffic on Oregon Route 99E and camping overnight in the driving rain outside the mayor’s house.

Don’t Shoot Portland’s activism during the past week is in some ways typical Little Beirut street theater. But it’s also been unusually focused and sophisticated— directing national attention to Portland’s policing, and publicly shaming Hales as Mayor-elect Ted Wheeler prepares to assume office.

That discipline is partly due to McKelvey, a political-science graduate of Oregon State University and student at Lewis & Clark Law School, recruited into street activism by Don’t Shoot Portland founder Teressa Raiford in 2014. He’s run campaigns in Corvallis and Portland, and also works with Portland Tenants United. He surfaced publicly in Portland this summer as a Bernie Sanders delegate to the Democratic National Convention in Philadelphia.

Next week, McKelvey will speak alongside Green Party presidential candidate Dr. Jill Stein at a Portland rally. First, he stopped by WW to talk about why he’s fed up with Hales, how Portland’s civil rights activism is changing, and what he hopes to accomplish.

WW: What’s it like to be pepper-sprayed?

Gregory McKelvey: It’s horrible. It hurts so bad you don’t know what’s going on. You start to panic, and so people are having panic attacks. If it gets in your ears or your nose, it’ll mess up your whole day.

The images of people being peppersprayed by Portland police have gone viral. Will that change how people see Portland?

I hope so. I think that because the rest of the country views Portland as a progressive city, we have a unique ability to be a model for what a progressive city could be. When people see these types of things, they realize we’re not. It gives us the ability to possibly change so that we can be that model. We’re one of the most popular cities in the country right now, and we have the unique ability to show what real progress could be, by not having politicians direct their forces to beat people out of City Hall.

Have you heard from the mayor?

I keep asking people, ‘Do you think he saw my letter?’ I’m curious if he even read it. I doubt he’s going to resign. But Ted Wheeler’s going to know that if you do things like Hales did, that people will call on you to resign. We do have a lot of eyes on this right now in the city.

If you could change one thing in the police contract, what would it be?

Increase citizen review—that actually matters. Being able to terminate officers, in a way that’s less bureaucratic and involving the people, and that’s not just for crimes but also character issues. My No. 1 issue was the process, but I would love to see more accountability. And also the idea that it’s because of a shortage in officers is ridiculous.

The number they throw out of officers that we should have is completely arbitrary, and crime is down. If you can send officers to beat people out of City Hall, what kind of staffing crisis do we have?

trans people, by atheists, by Muslims, and by people that don’t feel comfortable going to a church for tons of different reasons.

We’ve been singing “We Shall Overcome” for 50 years. I’m so sick of singing songs.

I don’t even know the words to that song, and I’m not going to join you in singing “We Shall Overcome.” If you start singing that, I’m going to start marching away from you, and I’m taking my people with me.

There are black churches for a reason.

But our movement [includes] white people and young people, and it just looks more welcoming. That might have to do with religion in general.

Did your experience as a Bernie Sanders delegate at the DNC change your view of politics?

Oh yeah. I’ve always been focused on Republicans—like, “Republicans are so bad”—but then I began dealing with the Democrats here, and how our state party tried to silence us. I think that there’s hope and it can be transformed from the inside.

But that takes pressure from the inside and outside. I’m going to remain a Democrat, and after this election, I’ll try and become a precinct committeeperson.

How do you feel about protesters who show up to provoke the police?

If I saw that happening, I would try and calm that down. At the same time, I’m not there to censor anyone else’s activism. I just wish the media would report it better: When one person throws a bottle of water [at police], it doesn’t mean we went out and organized to throw water. There’s a big difference between people willing to cross the line and get arrested or throw a water bottle versus state-sanctioned abuse of power and assault on citizens.

You’re very vocal on social media: Twitter, Facebook, Instagram, Snapchat. Do you worry about getting out over your skis with what you say online?

This is just who I am. It’s not like I’m going to get caught in a hot mic moment when “this is locker-room talk,” because my locker-room talk is about social justice issues all the time.

What do you say to the white liberal who is sympathetic to your aim but who wonders about stopping traffic or sleeping at the mayor’s house?

I deal with them every single day. Get to know us, talk to us. Anybody that’s ever come and talked with us or myself is like, “Wow, these guys are nice. This movement is about love, they don’t hate people, they are willing to listen and admit when they make mistakes. They just care about this, and they’re willing to fight for it.” If someone’s willing to stand in one of the worst storms we’ve had in a long time, you have to know that they care a lot about it. I understand that being stuck in traffic sometimes is inconvenient. But what else is inconvenient? Being black in Portland or being homeless in Portland. So let’s make that not inconvenient, and then maybe we can get the traffic flowing.

Have you spent any time with older members of the black community, like the Albina Ministerial Alliance?

So I grew up [in Portland] going to black churches, and I know a lot of elders from that, and I have worked with a lot of the older activists. I keep saying black people are so much bigger than black churches.

Our older generation seems to try and run everything through the black church. Hundreds of people in our movement are led by

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NEWS

Stuck in the Middle PARENTS WAIT IN PURGATORY AS PORTLAND PUBLIC SCHOOLS DELAYS OPENING MIDDLE SCHOOLS.

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You may have heard: Portland Public Schools has boundary issues.

Some schools have enrollment areas that are too big, while others draw too few students. The enrollment imbalance means that kids at certain schools—typically those with more affluent white students—have more funding and better class offerings.

But after two full years of public meetings, solutions remain elusive. Two weeks ago, interim Superintendent Bob McKean announced he wanted to delay for a year the opening of two middle schools that are key to addressing the variations in school quality on the eastside. He blamed the delay on the district’s lead clean-up and the upcoming construction bond campaign.

Here’s how PPS got to this point—and the chances it can ever accomplish what it says it needs to do.

Weren’t the problems of uneven enrollment considered urgent in 2014?

Yes. Even then, the problems weren’t new.

They trace their origin to a move in 2006 when PPS shuttered many low-performing middle schools and moved grades six through eight to elementary schools, creating K-8 schools.

Wealthier, whiter neighborhoods got to keep their middle schools—and the classes in band, ceramics, journalism, foreign languages and computer science that went with them.

But attempts to change boundaries are controversial. Some parents whose kids go to a desirable school, like Beverly Cleary K-8 in Northeast Portland, don’t want to be forced out by a smaller boundary. Dragging out the problem is making it worse.

“It’s hugely divisive,” says Beverly Cleary parent Heather Leek. “There are people who don’t talk to each other anymore over this.”

Why does the middle-school delay matter?

For Denise Holtrop, the decision to hold off the middle schools’ opening until 2018-19 is maddening. Her fourth-grader attends Jason Lee K-8 School in Northeast Portland, where administrators say the class sizes in grades six through eight

are too small to support an equitable education.

If the district opens nearby Roseway Heights Middle School in 2018-19, as planned now, her child would escape the inequity of Lee’s underfunded K-8. But Holtrop’s not sure she can trust school officials’ promises anymore.

PPS pledged in 2014 to have new districtwide boundaries in place for the 2016-17 school year.

That didn’t happen. “We felt change was coming,” she says. “Now I wonder if my child will be going to a middle school.”

And Holtrop isn’t the only parent left wondering whether the district can forge ahead. “It feels like we have to start from scratch every year,” says parent activist Scholle McFarland.

When will Southeast Portland see relief?

PPS needs to reopen Kellogg Middle School on Powell Boulevard to accomplish its recommended shifts in Southeast Portland. But Kellogg has been closed for so long it needs at least $20 million in repairs. That means the district can’t open it until after voters approve a new construction bond, and the earliest that could happen is May 2017. That gives PPS only a year to rebuild Kellogg in time for 2018-19.

“We’re now two years into this process,” says Rita Moore, a parent activist from North Portland. “At this point, there’s no danger of anything happening quickly.”

What are the chances PPS will stick to its current timeline?

The volunteer committee leading the work just went through a major shakeup. It shrunk from 26 people to 17, and 10 of those 17 members are brand new. Several members dropped out of the group, frustrated with its slow pace. One member departed after losing his PPS jobs in the fallout from the district’s lead scandal.

One key staffer, Sarah Singer, who supported the volunteer group, is also leaving the district for a job in the private sector. Yet Jason Trombley, the volunteer who co-chairs the group, says he’s hopeful PPS can adhere to its new 2018-19 timeline. “I’m going to remain optimistic until someone tells me otherwise,” he says.

On a 1-to-10 scale, how confident is he? “Three weeks ago, I was a 4,” he says, “now I’m a 7.”

NEWS

WW ’s Fall 2016 Endorsements HERE’S HOW WE SUGGEST YOU CAST YOUR BALLOT. District 25

N AT I O N A L

(Gresham, Troutdale, Fairview and Hood River)

President

Laurie Monnes Anderson (D)

Hillary Clinton (D)

C IT Y

U.S. Senate

Ron Wyden (D)

U.S. House, District 1 Suzanne Bonamici (D)

O F

PO RT L AND

City Council, Position 4 Chloe Eudaly

MU LT NO MAH CO UNT Y CO MMISSIO N

District 1

U.S. House, District 3

Sharon Meieran

Earl Blumenauer (D)

District 4

Lori Stegmann

U.S. House, District 5

Kurt Schrader (D)

S TAT E WID E

Governor

Kate Brown (D)

STAT E

MEASUR ES

Measure 95 (Public university investments)

Yes

Measure 96 (Lottery funding for veterans)

Secretary of State

Dennis Richardson (R)

Yes

Measure 97 (Corporate tax increase)

Treasurer

Tobias Read (D)

No

Measure 98 (Career and tech education in high school)

O RE GON

S E NATE

District 21

(Southeast Portland and Milwaukie)

Kathleen Taylor (D)

District 22 (Northeast and North Portland)

Lew Frederick (D)

No

Measure 99 (Lottery funding for Outdoor School)

Yes

Measure 100 (Endangered animal protections)

Yes

For more WW endorsements, including Portland’s local measures and Oregon House races, visit

wweek.com/news/2016/10/12/wws-november-2016-endorsements.

Willamette Week OCTOBER 19, 2016 wweek.com

11

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Willamette Week OCTOBER 19, 2016 wweek.com

y p p a H Hour

THOMAS TEAL

COVER STORY

Let’s Talk About Death, Baby Most people don’t want to think about death.

Two Portland women make their livings talking about it.

Jana DeCristofaro may have the toughest job in Portland. Each morning, she drives to a large Craftsman house a block off Southeast Foster Road, and goes to work among the dead.

To be precise, DeCristofaro makes her living talking to survivors: bereaved children and teenagers. She’s the director of children’s grief services at the Dougy Center for Grieving Children & Families, a nationally renowned center for counseling kids in Southeast Portland’s Creston-Kenilworth neighborhood.

That means DeCristofaro, 42, spends much of her days starting the kinds of conversations most people scramble to avoid. She sits with children whose parents have recently died, and asks them what they miss most about their lost loved ones. She starts group conversations between grieving teenagers. And she advises parents about how to break the worst possible news to their kids.

DeCristofaro’s job is haunting and difficult. But it isn’t unique. When Casey Jarman began writing a book of interviews about people who have confronted death, he found many Portlanders who confront mortality on a daily basis.

“Call it exposure therapy,” Jarman writes. “If you have a fear of heights, spend some time in the mountains. If you’re scared of death, what can you do, short of dying?

You can spend a year of your life talking about it.”

Jarman, co-founder of Party Damage Records and a former WW music editor, spoke to hospice workers, philosophers and Oregon’s former death-row executioner.

His book, Death: An Oral History, comes out next week.

Among the people he interviewed are two Portland women whose job is digging in the roots of grief. In the following pages, excerpted from the much longer conversations in Jarman’s book, you’ll meet DeCristofaro and Holly Pruett, who arranges and officiates DIY memorial services.

These women confront on a daily basis the most basic and frightening fact of our existence: that it ends. But that’s just where these conversations start.

AARON MESH. GO: Casey Jarman talks to Jana DeCristofaro and Holly Pruett at Powell’s Books on Hawthorne, 3723 SE Hawthorne Blvd., on Thursday, Oct. 27. 7:30 pm. Free.

CONT. on page 14

Willamette Week OCTOBER 19, 2016 wweek.com

13

Jana DeCristofaro

BY C ASE Y JA R M A N

@caseyjarman

The Dougy Center for Grieving Children & Families is a low-key place, despite its austere name.

One might expect a woman with the title of coordinator of children’s grief services to be relentlessly serious or walk on eggshells. Jana DeCristofaro, though, is unfussy and direct.

This is a place where people come to talk. Kids talk to other kids. Teens talk to other teens. Parents talk to parents. Some of that talking is about death—the center helps people who have lost parents and siblings—and some of it is just talking. More than 30,000 children and teens have taken advantage of the Dougy Center’s services since it opened in 1982, and DeCristofaro has talked, laughed and cried with a lot of them in the past 15 years.

“I graduated with my Master of Social Work degree in 2001. I got a job doing research, and over the course of the year, I was feeling very unfulfilled with that work. A friend of mine was like, “You know, you should check out this place.

I don’t know, it’s called the Doughy Center or Dooey Center? There are kids who go there, they’re sad. They have teddy bears and they cry.”

I was like, “What are you talking about?”

I looked them up, and they were having volunteer training a few weeks later. Our volunteer trainings tend to have really long waitlists, but I happened to write in just after somebody had canceled. They invited me to come to the training. It was held at a small building in North Portland. It was dark and gloomy, in a basement, and we were all squished in there, sitting on colored pillows. I thought, “What have I gotten myself into?”

The Dougy Center was the first program in the country—I think the world, too—to start working with grieving kids in a peer support model. The whole idea is bringing kids together of a similar age who have a common experience of the death of a parent, sibling, primary caregiver, or—in the case of teens—a close friend or a cousin.

We have over 30 groups for kids and teens that are split up by ages: 3 to 5, 4 to 8, 6 to 12, 11 to 14, and 13 to 18.

The Dougy Center was started by a woman named Bev Chappell. She’d had a long-standing connection with Elisabeth Kübler-Ross, a pioneer of the death and dying field back in the ’60s and ’70s. A 13-year-old boy named Dougy Turno, who had an inoperable brain tumor, wrote to Kübler-Ross and said, basically, “Hey, how come kids get cancer? And why do we die?”

She wrote him back, and it was a long, colorful, illustrated response.

In the late ’70s, Dougy came to Portland for 14

Willamette Week OCTOBER 19, 2016 wweek.com

some experimental treatment, so Elisabeth reached out to Bev Chappell, who lived here, and was like, “Hey, would you meet up with the family, help them get settled?” Bev did that, and she started visiting Dougy at the hospital. She looked around and noticed that, one, the medical community was not down with telling kids what was going on. Because back in the day, the approach was not to tell them.

But Bev hung out with them long enough to realize that the kids knew. She heard them talking to each other and starting conversations about things like: Do you think you’re going to live long enough to go to prom? Have you kissed a girl? Do you think you’ll get a chance to do that? What do you think it’s like where we’re going? You know, all the stuff that the kids talk about in group. They were doing it without adults facilitating the conversations.

That’s where she got the idea to start a center.

She hosted the first group in her basement, and I think there were four boys who came to that group, and from there it has just grown. She’s still around. She lives in East Portland, and was just at our benefit gala a couple of weeks ago. Now we have 500 children and teens coming through the doors every month at three locations.

When the teens first come in, you can often tell they do not want to be here. I’m like, “Anyone willing to admit you’ve been dragged here against your will?” In this last orientation, all five teens raised their hands. I was like, “Wow, I’ve got my work cut out for me.” But just acknowledging that, it opens up the energy in the room in such a dramatic way. I tell them, “I’m not here to convince you. I won’t take it personally if you decide not to come back. My job is to try and show you everything, what we are and what we’re not.”

It doesn’t work too well to force people to talk about this stuff against their will. One time, I asked a teen group, “How many people got something for coming to the Dougy Center?”

It was like, “Yeah, I got out of school.” One kid said, “I got a new MacBook.” Everyone was like, “Damn it! We should have asked for more.” I thought I was going to start a revolt. It doesn’t take long, though, for most of them to realize

we aren’t in the business of making them do, say, or think anything. They get comfortable being with other grieving teens pretty quickly.

Once I had a group of teens talking about how the death they experienced has affected what they wanted to do with their lives in the future. Many of them were like, “I want to honor my parents by going to their alma mater,” or “I really want to become a nurse because the nurses helped my brother so much when he was sick.”

There were a lot of those sort of more expected answers, and then there were some kids who said, “I hate doing well at things now. I actually don’t want to do well. I don’t want to have any success with my life, because to do it without my person there is too devastating. I’d rather feel like I haven’t done anything.” I thought, “Wow, what a hole to be in.”

I never considered that moving forward without this person and having success could mean leaving them behind. That really opened my mind.

Anytime somebody says something that surprises me, I always try to remember that there could be someone else in the group going through something similar. My job as a group facilitator, if I’m doing a good job at it, is to speak to what’s not being spoken about in the group. Many times there’s a sense of, “Yeah, yeah, we all know this is true.” And I ask, “Who’s had an opposite experience?”

chrIstIne dong

LET’S TALK ABOUT DEATH, BABY

POINTS OF LIGHT: Jana DeCristofaro has worked for 15 years leading conversations between grieving children and teenagers. “They have some really deep philosophical questions,” she says.

“I already know all the ways you could dIe, but now I have partIcular storIes.” —Jana DeCristofaro

With the younger kids, I think about one boy in particular. We sat quietly and we were talking, and he had so many questions—not for me, necessarily, just questions. He was talking about how it didn’t make any sense to him. His mom had died, and he was like, “You know, people say that when your person dies, they are looking out for you, they are watching you from above, and making sure everything’s OK. Our roof sprung a leak last night, and, I don’t know, don’t you think my mom in heaven looking out for me would make sure the roof didn’t do that?”

I was like, “Hmm. That’s a really interesting question. What do you think?” And then it just went on.

We talked for 20 minutes. There were so many questions this little boy was really wrestling with—answers he’d been given from adults in his life that were very black and white. He was like, “That doesn’t make any sense to me.” He wasn’t having an opportunity to really muck around in the gray areas. “Well, they say when somebody goes to heaven, they never look back because they’re so happy to be in heaven, but don’t you think if you were a mom, you’d miss your kids?”

Here’s a little boy thinking his mom doesn’t miss him.

That was really powerful for me because oftentimes we think that, developmentally, these kids are concrete thinkers and we tell them concrete answers.

But many times they are very wise and have some really deep philosophical questions.

One little kid, their person had died by suicide, and they were like, “I’m just so worried. I hear when people die by suicide, they go…” and he pointed down to the ground with his finger. He’s like, “But I really think they went…” and he pointed up. Just for him to be able to say, “This doesn’t work for me,” was pretty amazing.

Some people will ask, “Do you have a really hard time now? Thinking that everyone’s going to die?” I tell them I’ve always had that. Long before I started working here. Working here just solidified my anxiety a bit, and perhaps enhanced it.

I also accept the fact that when I go anywhere, I always have at least two or three stories about how someone has died doing what I’m about to do. That just happens—it’s just the way it is. Like, this river is so beautiful, but there was that brother who fell off that rock over there, and then there was the guy who went mountain biking and hit a pothole and cracked his head open. But I came that way before I even had this job. My mom’s been like that my whole life: “Don’t do that, you’ll die.” I already know all the ways you could die, but now I have particular stories that match up with them. I have to spend a lot of time being, like, “Yes, and we’re going to still do that.” cont. on page 16

Willamette Week OCTOBER 19, 2016 wweek.com

15

LET’S TALK ABOUT DEATH, BABY

joe riedl

Holly Pruett Holly Pruett officiates ceremonies from cradle to grave—think baby blessings, weddings, retirement rituals, and so on—but her interest in funeral rites has made her one of the central figures of Portland’s burgeoning DIY death scene. She went into business for herself after two decades as a political consultant and public relations director. (Her résumé includes helping form Basic Rights Oregon.)

I have always looked at cherished social conventions like weddings and funerals as old-fashioned relics. But I never spent much time thinking about what, if anything, they should be replaced with. That’s Pruett’s line of work. She is a certified Life-Cycle Celebrant, and while that term may elicit images of tree people wearing white dresses and daisy chains praising “the goddess,” Pruett is clear-eyed about the need for ritual in our lives.

“A friend read in People magazine about a burial ground in South Carolina called Ramsey Creek Preserve, [where] people were buried in a natural wooded setting.

My friend thought, “If this is in People magazine, and it’s happening in South Carolina, why is it not happening in Oregon, the so-called green sustainability capital?”

When we got in touch with the national Green Burial Council, they said, “You know, there’s somebody else who’s expressed interest in your town.” It happened to be a woman who was a Life-Cycle Celebrant. I got together with her and asked, “What’s a Life-Cycle Celebrant?” When she described it, I was like, “Whoa.” It seemed to be a convergence of many of the things that I was interested in.

When I explain to people what a Life-Cycle Celebrant is, I often say it’s like a secular clergy person. Because not only can I officiate weddings— and, technically, I do have clerical credentials to do that—but I am there for people in the process of figuring out what ceremonies they need in their life.

Somewhere around that time, I realized that the most common form of human memorial, among a lot of people I’d come across, was no memorial. I slowly started to recognize that I was in a position to address some of this cultural vacuum.

All of the needs that organized religion and social rituals used to serve are still with us. It’s just that a lot of those forms have become archaic.

Funerals are just a bad brand. A funeral director once said to me, “In the funeral chapel, you’ll often see a man gripping his wife’s arm, saying, ‘Don’t

16

Willamette Week OCTOBER 19, 2016 wweek.com

you dare waste our money on something like that for me.’” Because they see a retired clergy person mispronouncing the name of their best friend, and it’s like, what’s the point?

I’m coming to see that one of the most powerful roles I serve is that I’m typically the first person to meet the deceased after they’ve died.

I’m not a medium working metaphysically, but I am leading their loved ones through the memories and through the presence that is evoked through their stuff—a quilt they made, the letters they wrote, their emails, the impact that they had on others. Their legacy can be so much clearer to me, in a sense, because I’m coming to it fresh.

I hear things like, “I felt closer to my mother during the process of working with you than I did in the last months or years of her life.” Perhaps she was suffering from dementia. They’ve gone through their mom being sick and dying, and it’s still very raw, a very painful thing. Then they revisit, with me, the stories of their mom’s early life and how she became who she really was, and how everyone else saw her. It’s healing.

In one ceremony, the client generated a list of words—associations that reminded her of her mom. We printed them out on these really nice, blank business cards. We put them in one of her mom’s pocketbooks. She was a really sharp dresser and always known for having a pocketbook. During the memorial, a large family gathering, we passed the pocketbook around. Each person pulled out a card, and that word—in connection to that physical object—evoked her presence.

MEMORIAL DAYS: Holly Pruett conducts DIY memorial services. “Funerals are just a bad brand,” she says.

I met a young woman in her 30s who was diagnosed with stage IV lung cancer. She hired me to help put together her death plan. She wanted to spare her husband as many decisions as possible. I created a lengthy questionnaire for her to use to clarify her wishes.

Some things were clear—like, she wanted to be cremated—some things weren’t.

Do you want to put together the playlist for the music at your memorial, or choose the food, or do you not want to? Are you planning a party, or is it more like this or that person should speak? I always say, with these planning questionnaires, just respond to those questions that really resonate with you. None of it is mandatory.

She was like, “How can I possibly answer these questions on my own?” She brought together her 10 closest friends from various parts of her life, told them there’d be pizza, and they talked about death. She selected a subset of my questions and invited me to observe.

What was phenomenal was that most of these friends hadn’t met each other. They were from different parts of her life. Very easily, the first time that they could have met would have been at her memorial or at her deathbed. Of course, they are all very bereaved about her diagnosis and her living with this, but societally, what kind of permission is there to talk about that and for her to say, “OK, I know I’m going to die, and I need you all to help me talk about that and to tell me what you think happens after we die?” It became, “I don’t know what I think, what do you think?”

It was like they were starting to do a workout together, you know? Because they’re going to have to train to hold this grief together for her.

My life has become heavily engaged in conversations about dying, death and grief. In my personal life, I’m at an age where many people who I personally care about are sick or dying, or coming to me with their bereavement. Of course, I have a professional practice of assisting people in memorials and home funerals. At times, I think, “What have I done to my life?”

This interest in rekindling ceremony could be the start of something much bigger, or it could easily become another self-help program. You can buy kits online for your divorce party—so much ritual has already been commodified. Think about a baby shower: How do you mark a baby coming or a wedding? It’s become all about the stuff that you buy, or these silly, giddy, frivolous activities. What about this threshold that these people are about to cross?

Most of us aren’t living in a way that says, “I belong to the world, the world needs me.” If we don’t celebrate people’s death, then they never really belonged to the bigger story.

W ILLA M E T T E W E E K P RE S E N T S

at at

Grand Grand Central Central Bowl Bowl CELEBRATE, COMMISSERATE, COMMISSERATE, OR OR WRITE WRITE IN IN YOUR YOUR OWN OWN REASON REASON TO TO PARTY! PARTY! CELEBRATE,

Watch the Returns on the Big Screens

Hear Cognitive Analysis

Enjoy Candidate Cocktails - drink your vote with red and blue options

BOWLING

BILLARDS

ARCADE GAMES

Show your I VOTED sticker for 1 free arcade token!

Take your picture with the new President, cardboard cut out style.

Tuesday, November 8

3:00 p.m. - Midnight

Grand Central Bowl - 808 SE Morrison St.

Willamette Week OCTOBER 19, 2016 wweek.com

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Willamette Week OCTOBER 19, 2016 wweek.com

Stree t

“I’m from Bend—just moved back from San Antonio, Texas. My first craft beer was Deschutes’ Mirror Pond.”

“I’m from Chicago, and my first craft beer would have to be one of Ninkasi’s.”

“I’m from Portland. My first craft beer would be the red eye IPA.”

BEER PRO/AM THE BEST-LOOKING CROWD YOU’LL FIND AT A BEER FESTIVAL. PHOTOS BY CHR ISTIN E DON G www.wweek.com/street

“I’m from Vancouver, Washington. My first craft beer was the hefeweizen.”

“I’m from Portland. My first craft beer was a Widmer Hefeweizen with a lemon.”

“I’m from Portland. My first craft beer was Rogue’s Hazelnut Brown Nectar.”

“I’m from Portland. My first craft beer was the Deschutes stout.”

“I’m from Portland, and I have nooooo idea what my first craft beer was—probably a Widmer Hef.”

“I’m from the Bay Area. Oh man, I would have to say my first craft beer would be Ninkasi’s IPA, the Tricerahops.”

The practice of Sant Mat s based on meditation on inner Light & Sound, ethical values, service to others and love for all creation.

7:00 pm - Monday, Oct 24th Multnomah Friends Meeting House 4312 SE Stark St., Portland

SPIRITUALITY Sant Mat

Sant Baljit Singh

The path of inner Light and Sound

(Talk given by authorized speaker) The goal of Sant Mat is to enable the soul to return and merge into its source; the purpose of human life described by mystics of all traditions.

877-633-4828 Admission Free

findlightandsound@msn.com

www.santmat.net

Willamette Week OCTOBER 19, 2016 wweek.com

19

STARTERS

HILARY SANDER

B I T E - S I Z E D P O RT L A N D C U LT U R E N E W S

POTTLE

R.I.P. DEAN: Dean Pottle, one of the Portland beer community's most unique and lovable personalities, died Oct. 13 from heart failure. He was 65. Pottle ran Dean's Scene, a speakeasy in the basement of Pottle's plumbing shop on Northeast Fremont Street, where patrons served themselves homebrewed beer made on a system in the corner of the space. Originally from Connecticut, Pottle moved to Portland 15 years ago this month after a magical stay at Edgefield. "I'd heard Portland had good beer, but we had no idea because we didn't have the internet back in those days," he told WW in 2013. "I was from the East Coast, and I was like, 'This is it!'"

Dean’s close friend Sammy Sklover tells us he intends to keep Dean's open in something close to its current form. For more, see Pottle's obituary on page 43. >> One of the last beers Pottle brewed was a CBD-infused hazy IPA for the Portland Pro/Am beer festival Oct. 15, made in collaboration with WW culture editor Martin Cizmar. The fest's judges' choice award went to Great Notion with Chad Graham, and the people’s choice award went to Ex Novo with Jack Hall.

NEW MEXICAN: Xico sous chef David Haddow looks to be partnering with Johnny Leach (Momofuku, Clyde Common, Stray Dogs) in a new Mexican spot called Chalino, on the corner of North Fremont Street and Williams Avenue. The restaurant is named after Chalino Sanchez, the famed narcocorrido singer who immortalized the tragic and brutal lives of drug dealers in song before dying in 1992 like the men in his songs, with two bullets to the back of his head. Haddow tells WW he won't make any official announcement about Chalino for a few weeks, but his Instagram page has posts marked with a #chalino hashtag showing elotes, grilled chicken, very fancy guacamole, ceviche, sliders and rich-looking stews.

PIZZA MY HEART: Local restaurateur Micah Camden (Little Big Burger, Blue Star Donuts, Boxer Ramen) is starting a Portland pizza chain called Heart Pizza. According to Camden’s partner Matt Lynch, the first location will open by Thanksgiving on Southwest Gaines Street in the South Waterfront, next to the new location of Blue Star Donuts. "We’ve wanted to do pizza since the second Little Big Burger," Lynch says. "Portland has so many good restaurants and pizza shops like Ken's Artisan, Neapolitan pizza places. But they’re all sit-down. Which, for me, is not how I eat pizza.”

CERTAIN WINNER: Director and part-time Portlander Kelly Reichardt (Meek’s Cutoff, Wendy and Lucy) won the Best Film award at the London Film Festival on Oct. 15 for her new movie, Certain Women, starring Michelle Williams and Kristen Stewart. Portland director Todd Haynes was executive producer of the film. Reichardt was also profiled this week in The New York Times, which described the “rapidly gentrifying neighborhood of Portland, Ore.,” in which she suspected the neighborhood crust punks of “shooting up on a garage roof next door to the house where she was staying.” >> In other Portland screen news, local cartoonist Matt Bors has signed on with Inside Amy Schumer co-creator Dan Powell to develop a short-form animated show called The Nib, based on Bors’ political cartoon website of the same name. Bors says the show—likely to be an online series—will offer "everything you've come to expect on the Nib, but animated."

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Willamette Week OCTOBER 19, 2016 wweek.com

WEDNESDAY, OCT. 19 LUPULIN NIGHT

Lupulin is the stuff in hops that makes the flavors all nice—and tonight, Bailey’s Upper Lip will attack your tongue with so much of it that you won’t be able to taste anything else for a week, with beers from Other Half, Three Weavers and El Segundo. The Upper Lip, 720 SW Ankeny St., baileystaproom. com. 4-10 pm.

YONATAN GAT

Continuing in the spastic tradition of his old band, batshit Israeli garage-rockers Monotonix, Gat’s trio under his own name stirs up a whirlpool of music traditions from around the world and runs them all through the filter of his uniquely jazzed-up punk. This will be the wildest show you’ll probably ever see at this normally placid McMenamins folk den. White Eagle Saloon, 836 N Russell St., 503-282-6810. 8 pm. $12. 21+.

THURSDAY, OCT. 20 NUMERO GROUP POP-UP

PORTLAND ECOFILM FESTIVAL

America’s best archival record label—specializing in uber-rare soul and R&B but also folk, punk and obscure regional music—rolls into town from its home base of Chicago, and it’s come bearing gifts.

Every item in its catalog that’s currently in print will be on sale, with big discounts and exclusive products promised. The Cleaners, 403 SW 10th Ave., numerogroup.com. Noon-10 pm. (See page 29.)

Now in its fourth year, the PEFF showcases new and old films about nature, the environment and eco-conscious living. The festival kicks off tonight with the screening of Portland filmmakers Taggart Siegel and Jon Betz’s new documentary Seed: The Untold Story. Hollywood Theatre, 4122 NE Sandy Blvd., portlandecofilmfest.org. Seed premieres at 7 pm. Through Oct. 23.

FRIDAY, OCT. 21 GUIGNOLFEST For the eighth year, a gaggle of wannabe

BLOODYVOX Contemporary dance

George Romeros try to shoot and edit a short horror film— whose final runtime must clock in at 6 minutes 66 seconds—in just 72 hours.

The contest kicks off tonight at midnight, and the results will be screened at Clinton Street Theater on Oct. 30. The GALLANT Analog Cafe, 720 SE Hawthorne Blvd., analogpdx.com. 11 pm.

with a scary and sexy slant from one of Portland’s best companies.

This annual show looks like a recital imagined by Martha Graham and Alfred Hitchcock. BodyVox Dance Center, 1201 NW 17th Ave., bodyvox.com.

2 and 7 pm. $25-$60.

SATURDAY, OCT. 22 SNOWVANA

Get Busy

Ski season is nearly here, and 10 Barrel Brewing is celebrating with a two-day music, gear and film festival. You can win custom gear, season passes or lift tickets to all three of Mount Hood’s ski areas and get psyched up with films like Tanner Hall’s Ring the Alarm. Veterans Memorial Coliseum, 300 N Winning Way, snowvana.com.

10 am-10 pm. Oct. 21-22. $5.

WHAT WE'RE EXCITED ABOUT OCTOBER 19-25

WOODY GUTHRIE’S NORTHWEST SONGS

Seventy-five years ago, Woody Guthrie moved into an apartment in Lents and wrote a bunch of songs about dams for the federal government. Seventeen of them became sanctified entries in the American folk songbook, while nine languished in his archives—until this year, when Portland songwriter Joe Seamons gathered an all-star cast of local musicians to get them on record, bringing all 26 songs together on one album for the first time. He previews the project tonight. The Old Church, 1442 SW 11th Ave., theoldchurch.org. 2 and 8 pm. $25. All ages. (See page 27.)

SUNDAY, OCT. 23 ROCK FOR ROCKWOOD

FLY BY NIGHT

A who’s who of Portland music luminaries— including M. Ward, the Thermals and Helio Sequence, plus inventive one-woman band Emily Wells—play in support of a new Boys and Girls Club in Rockwood, Ore. Revolution Hall, 1300 SE Stark St., No. 110, 503-288-3895.

7 pm. $35 advance, $40 day of show. All ages.

Catch closing weekend of Broadway Rose’s rock musical about a soothsayer, a sandwichmaker and the blackout that hit New York City in 1965, directed by Portland-famous actor Isaac Lamb. Broadway Rose New Stage, 12850 SW Grant Ave., Tigard, broadwayrose.org. 2 pm. $20-$40.

MONDAY, OCT. 24 GALLANT

PHO POP-UP

Imagine D’Angelo reborn as a buzzy SoundCloud superstar who just can’t sit still. That’s Christopher Gallant, whose excellent full-length debut, Ology, has a richness few bedroom R&B producers can muster.

Wonder Ballroom, 128 NE Russell St., 503-284-8686, wonderballroom.com. 8 pm. $16 advance, $18 day of show.

All ages.

At Viet-Cajun spot Tapalaya, chef Anh Luu will cook up homestyle pho for a one-night-only soup takeover with five-spice Hanoi beef broth and “Portlandia” shiitake broth for the meatless, plus ribs, slaw and wings. Tapalaya, 28 NE 28th Ave., 503-232-6652, tapalaya.com. 4-9:30 pm.

TUESDAY, OCT. 25 PORTLAND TRAIL BLAZERS VS. UTAH JAZZ

After surpassing the expectations of just about every NBA pundit (and honest fan) last year, the Li’l Blazers That Could start their campaign to prove that miracle season wasn’t a fluke by taking on an emerging divisional rival that those same wrong-ass pundits think is playoff-bound.

Moda Center, 1 N Center Court St., nba.com/blazers. 7 pm. $10-$145.

LOL TOLHURST

It’s really saying a whole hell of a lot when you’re in the Cure and your bandmate is Robert Smith and you somehow still manage to be the “fucked-up one” who has to leave the band. Oh well. Anyway, here’s Lol Tolhurst.

He drank sooo much, but he doesn’t now. Powell’s City of Books, 1005 W Burnside St., powells.com. 7:30 pm. Free.

Willamette Week SEPTEMBER 14, 2016 wweek.com

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A benefit concert for Boys and Girls Club

M. WARD THE THERMALS THE HELIO SEQUENCE EMILY WELLS

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Willamette Week OCTOBER 19, 2016 wweek.com

I L L U S T R AT I O N B Y R I C K V O D I C K A

The Bump

Ballin’ on a Budget THE SLEEPER HOME GAMES OF THE UPCOMING BLAZERS SEASON.

BY CO R B I N SM I T H

WED NES DAY, NOV. 3 0 ,

@corbinasmith

After bringing back most of last season’s surprise playoff squad, and acquiring playmaking wing Evan Turner in free agency, the Portland Trail Blazers are ready to get back into your homes, bars, radios and hearts.

If you’re a casual fan who isn’t made of money, big-ticket games against the Warriors, Cavs, Clippers and Spurs are probably out of your budget. If you’re just looking to get into the arena this season, you have to get the biggest bang for your meager, quickly dwindling dollar. You’ll need another strategy.

I am here to help you, by rifling through the home schedule and mining out the hidden gems hiding in the budget bin.

SEE IT: The Trail Blazers open the 2016-17 NBA season against the Utah Jazz at Moda Center, 1 N Center Court St., on Tuesday, Oct. 25. 7 pm. $10-$145.

SUNDAY, N OV. 13 ,

VS. DENVER NUGGETS

In their quest to get back to the playoffs in the post-LaMarcus Aldridge era, the Blazers had to leave someone behind. That beautiful soldier of the ethereal was one Will Barton. In his time away, Barton has become a solid, wildly entertaining rotation wing player for Denver. This will be the first regular-season meeting between Barton, the once-upon-a-time wing of the future in Portland, and Turner, the Blazers’ current wing of the future. Expect sparks to fly!

VS. INDIANA PACERS What else are you going to do between Thanksgiving and Christmas? You might as well see Indiana’s Paul George put the screws to Turner as punishment for Turner having the audacity to get drafted eight spots above him in 2010.

T UES DAY, D EC . 1 3 ,

VS. OKLAHOMA CITY THUNDER

Sure, you could attend just to watch Russell Westbrook’s one-man hard-court death carnival. But you have to be there to direct obscene poems at whoever is calling the game for ESPN—Jon Barry, if you’re lucky!

T UE SDAY, N OV. 1 5,

VS. CHICAGO BULLS

Dwyane Wade has g one from a dynamic Miami superstar to an improviser who works in smaller midrange batches.

Assuming he doesn’t have a sad off night, this will be the only opportunity of the season to see him ply his lavender-scented trade. And who knows? He could retire sooner than later! It’s clearly worth the risk. Also, you can clap politely for Bulls center Robin Lopez.

T HURS DAY, JAN. 5,

VS. LOS ANGELES LAKERS

Finally, a chance to see the newer, younger Lakers without having to indulge Kobe Bryant in 42 minutes of masturbatory performance art.

T HURS DAY, F EB. 9 ,

VS. BOSTON CELTICS

The Celtics are supposed to be really, really good, although none of their players is even marginally famous. You will get a

program at this game to help you learn who their players are. There’s no other way.

SATU R DAY, MAR CH 4 ,

VS. BROOKLYN NETS

Jeremy Lin will be handling the ball for Brooklyn, meaning you can relive those heady days of early 2012, when Linsanity devoured our hearts and Newt Gingrich was the Republican Party’s presidential frontrunner. Wear a “Newt! 2012” shirt to try and remember the good times, before the future made us cower in fear.

W EDNESDAY, APR IL 12 ,

VS. NEW ORLEANS PELICANS

If the Blazers reach the playoffs, this final regular-season game is almost completely unessential. But, if they don’t, there’s going to be a listless crowd, a bench filled with suits and a bunch of D-Leaguers busting ass for points while not even remotely working together as a unit. I attended a game like this in 2012, in which Hasheem Thabeet and Johnny Flynn started for the Blazers and were somewhat inspiring in their indifference, and it dragged along until I left with a duffel bag full of programs. Don’t knock it, they’re going to be valuable in the future!

Willamette Week OCTOBER 19, 2016 wweek.com

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food & drink drank

= WW Pick.

Pumpkin Bier

Highly recommended.

By Matthew Korfhage.

Editor: MARTIN CIZMAR. Email: dish@wweek.com. See page 3 for submission instructions.

(Pfriem Family Brewers) Pumpkin is past its peak. Last year, the bottom fell out of the pumpkin-beer market, leaving bottles on the shelves through Christmas. Are we living in a post-squash society? Maybe, but the great pumpkin beers still sate me—and, apparently, sell well. Pfriem’s very pure pumpkin ale is the best I’ve had so far this year, easily besting old favorites like Southern Tier Pumking. The Hood River brewery didn’t take any short cuts, putting roasted pumpkin in the mash and organic pumpkin puree in the kettle. Pfriem used a classic blend of fresh pie spices, ground by hand, and paired it with a Belgian yeast that offered its own clove notes. While other breweries are slowly backing away from pumpkin, Pfriem actually made more this year than last. If you see a bottle, get it.

Recommended. MARTIN CIZMAR.

FRIDAY, OCT. 21 Choktoberfest

A whole mess of Portland’s smallbatch artisan chocolate makers will be pairing chocolates with beers from local breweries, including Ex Novo, Hair of the Dog, and Laurelwood. Old Portland Hardware & Architectural, 1667 SE Tacoma St., oldportlandhardware.com. 6-9 pm. $20 advance, $25 at door. 21+.

Simple ApproAch

Bold FlAvor vegan Friendly

open 11-10

everyday

SATURDAY, OCT. 22 Brewers for Boobs

No, this isn’t a Trump thing. It’s a breast-cancer fundraiser with bellydancing, a beer battle and also a raffle whose prizes include a threenight stay at Sunriver Resort, where some of the best brews in Oregon are currently being made. EastBurn, 1800 E Burnside St., 503-236-2876.

5 pm.

Trumpet Major

Ecliptic Third Orbit Party

John Harris’ Ecliptic will celebrate its third anniversary by tapping rare beers every hour on the hour from 11 am to 5 pm, whether IPAs aged in gin barrels, stouts aged in bourbon barrels or oud bruin aged in wine barrels. The party will also mark the release of a cherry imperial porter. Ecliptic Brewing, 825 N Cook St., 503-265-8002, eclipticbrewing.com. Opens 11 am.

500 NW 21st Ave, (503) 208-2173 kungpowpdx.com

(Culmination/bill schneller) Burton Old Ale is like IPA’s Neanderthal cousin, an alternate evolutionary path for beer that was wildly popular in the 19th century, when almost every British brewer made a Burton.

It’s now pretty much extinct aside from winterwarmer variants. It’s sweeter, maltier and less hoppy than its cousin, and sticks closer to its British lineage in malt and yeast. For the Portland Pro/Am beer festival Oct. 15, local homebrew legend Bill Schneller went all the way back to the ancient beer writs to resurrect the style for a batch called Trumpet Major with Culmination Brewing. He insisted on using an English grain from an English malthouse, which gave it a distinct flavor. Culmination mixed his batch with a bit of brett strong ale it already had aging in barrels—mimicking a practice common in England back in the day. Among 30 beers in competition at the Pro/Am, Trumpet Major was the biggest surprise, and probably even my favorite: full-bodied and lightly bitter with very little brett character, malty but not oversweet.

The oxidative toffee notes were likewise artfully restrained. It was a beautifully balanced English ale with just a hint of the unfamiliar—everything good about barleywine without the bad.

They’ve tapped it at Culmination, and I’ll be stopping by for more. Recommended. MATTHEW KORFHAGE.

Other Half Takeover

Much sought-after (and almost unavailable in Portland), Other Half Brewing has a number of events in town this week. But Saraveza hit the mother lode. It will be tapping 10 Other Half beers, mostly a grip load of double IPAs. Saraveza Brewing, 1004 N Killingsworth St., saraveza.com. Opens 11 am.

Killer Beer Fest

No taps have been made public, but the Killer Beer Week people promise, like they would be Men in Black, that the best of the best of the best of the best will be tapped at Bailey’s Taproom all day from noon to midnight. No tickets needed. Just wander in and drink. Bailey’s Taproom, 213 SW Broadway, baileystaproom.com.

Noon.

SUNDAY, OCT. 23

3. Revelry

No Shit Added Winemaking

1. Poke Mon

Get in on the ground floor of local natural wines—craft wines that taste wild, funky, interesting, distinctive and have, uh, no shit added. For a mere $10, you’ll get a four-winery tasting of some kickass local natural winemakers, who will all be present to field questions. Wines will include Holden, Fossil & Fawn, and chardonnayobsessed Statera. Pairings, 455 NE 24th Ave., pairingsportland.com.

2-5 pm. $10.

1485 SE Hawthorne Blvd., 503-894-9743, pokemonpdx.com.

Poke Mon is both peak Portland and peak poke, serving delicious, sauced-up, sashimi-style albacore or octopus at an affordable price, with a side of sake or La Croix. $$.

2. Ramen Ryoma

10500 SW Beaverton Hillsdale Highway, Beaverton, 503-605-1688, ramenryoma.com.

At press time, cult Japanese ramen house Afuri is just about to open.

Meanwhile, inside Uwajimaya Asian grocery, Japanese-owned Ryoma is in full swing, turning out some of the city’s best chashu, as well as a corn-butter-miso ramen variant so rich it feels like cheating. $.

MONDAY, OCT. 24

fetcheyewear.com | 877.274.0410

For a 15% discount, apply coupon code wweek15 to your online order 24

Willamette Week OCTOBER 19, 2016 wweek.com

M egan N anna

Pho Pop-Up

At Viet-Cajun New Orleans spot Tapalaya, chef Anh Luu will be cooking up homestyle pho for a one-night-only soup takeover with five-spice Hanoi beef broth and “Portlandia” shiitake broth for the meatless, plus plenty of pickled greens, coconut ribs, Vietnamese slaw salad and fish-sauce wings.

Make a reservation, or just show up and eat. Tapalaya, 28 NE 28th Ave., 503-232-6652. 4-9:30 pm.

Poke mon

210 SE Martin Luther King Jr. Blvd., 503-339-3693, relayrestaurantgroup. com/restaurants/revelry.

Not everything’s perfect yet, but Rachel Yang’s new Korean fusion spot has a rice-cake dish and fried chicken that will make you die inside from the goodness, if the excellent cocktails don’t kill you first. $$-$$$.

4. N.W.I.P.A.

6350 SE Foster Road, 503-8057342, nwipa.beer.

Why don’t breweries make great food? We don’t know. But one of the hottest food tickets in Portland every single Monday—which always sells out—is the burgers grilled up by food-obsessed N.W.I.P.A. owner Jackson Wyatt. The next one up features brews from Other Half. $.

5. Tienda de Leon

16223 NE Glisan St., 503-255-4356, salsaslocas.com.

It’s not as if you needed more reasons to drive out to the de Leon family’s East Portland wonderland of guisados and tortillas, but here’s one anyway: Their chile relleno burrito, served up in a housemade flour tortilla, is the best of its kind in all Portland. But make sure to get the black beans if you’re vegetarian. $.

CHRISTINE DONG

REVIEW

I

SS JACQUELINE: Brussels sprouts, sablefish, salmon and oysters (clockwise from lower left).

New Jacq Swing CLINTON STREET’S JACQUELINE RESURRECTS THE SPIRIT OF BRODER’S MUCH-MISSED DINNER.

BY M AT T H E W KO R F H AGE

mkorfhage@wweek.com

Chances are, you’ve never had dinner at Broder Nord. Broder is known for brunch, so that’s when you visited. But for the few months it was served, chef Derek Hanson’s dinner at Nord on North Interstate Avenue was one of the finest meals in Portland, a parade of pan-Scandi small bites from delicate gravlax to a tour-de-force half-chicken brined in tarragon vinegar. Hell, that 20-minute chicken might have been the Velvet Underground of birds: Few ate it, but everyone who did was a chef who started cooking whole chicken.

Well, that chicken is back at Jacqueline, the new restaurant Hanson started with co-chef Brandi Lansill (Old Salt, Multnomah Whiskey Library) in the former St. Jack space on Southeast Clinton Street. The cheerily domestic space is now a fish-and-veggie-happy restaurant named for a fictional submarine piloted by secular saint Bill Murray, whose somber visage graces the wall behind the bar. And that slow-roasted chicken ($21)—served in multiple variations week to week, with nectarines or croutons flavored with drippings—is still a revelation, tender to the point romance seems imminent, and touched with tarragon’s singular bittersweetness.

Much else at Jacqueline recalls the brilliant dinners from Nord, including a nice gravlax plate and a lovely smoked sablefish with pickled garlic scapes or matsutakes ($10) whose luxe texture easily justifies the nickname “butterfish.” As with many dishes here, the overall effect was not decadence but restraint. The light smokiness allowed the fish’s subtle, distinctive flavor to sing. A spectacular chanterelle and oyster mushroom frisee dish ($13) also smacked of Scandinavian reserve.

But there’s also much that feels new—including a focus on salads and seasonal fare that had early menus looking like an ode to the wild Oregon mushroom, from lobster mushrooms funked up with goat and sheep cheese on orecchiette

($13), to the pickled chanterelles adorning a salmon-belly crudo ($12) to one of the restaurant’s early highlights, a chanterelle-maitake dish ($10) topped with bottarga roe and a perfectly poached egg.

Jacqueline also clocks in with a knockout cioppino ($23)—the beautifully spicy, tomato-based, Italian seafood stew native to the West Coast that was the flavor of my childhood. While the menu rotates considerably, the cioppino is a mainstay. It’s developed over the restaurant’s opening weeks into a note-perfect rendition, stuffed with crab claws, clams, mussels, smoked oysters, a hint of spice and and an oceanic undertow of herbal depth. Oysters also come raw in at least five varietals daily, with a five-deep array of eye-droppered sauces; there are $1 oyster specials at happy hour (5-7 pm).

Even more nostalgic than the cioppino was a lovely plate of charred Brussels sprouts soaked in a mint-basil fish sauce ($10) that fondly recalled Smallwares’ fried kale. The air of fond remembrance is reinforced by the Wes Andersonian cartoon fish painted on a back wall, the view perhaps from Steve Zissou’s submarine.

The cocktail menu keeps it simple with oldschool gems like a Boulevardier and a Corpse Reviver No. 2 (all $9) while beer and wine are well-curated by Shift Drinks’ Anthony Garcia, with a lovely Priorat vermut that also graces a fun blackberry sorbet dessert. Like Bill Murray, that vermut is all sweetness and tobacco.

Not everything was a hit: A salmon fillet plate with potato and vegetable side felt like every salmon fillet that’s been served in the past 30 years, and the fat-drenched croutons served with that lovely tarragon chicken were toasted to carbon.

But amid the parade of seasonal, salad-forward restaurants to hit Portland recently, Jacqueline knows how to counterbalance its more subtle delights with signatures like the chicken and cioppino that pack a wallop. As every record exec has known since they invented pop music, you lure them in with the hits and then seduce them with the deep cuts.

I

Sha

www.sha

Shandong www.shandongportland.com

Fillmore Trattoria

Italian Home Cooking Tuesday–Saturday 5:30PM–10PM closed Sunday & Monday

1937 NW 23RD Place Portland, OR 97210

(971) 386-5935

EAT: Jacqueline, 2039 SE Clinton St. 503327-8637, jacquelinepdx.com. 5-10 pm Wednesday-Sunday.

Willamette Week OCTOBER 19, 2016 wweek.com

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hotseat I know that he ended up staying in an apartment in Lents, which is still there. Are there other Portland landmarks that are part of the lore of Woody Guthrie’s time here?

The BPA offices have been fairly transformed.

That’s the only other place we really know he went. But there’s a guy named Mark Loring, and his father, Michael Loring, was a fellow traveler living in the Northwest, a professional singer and one of Guthrie’s buddies.

[Guthrie’s] marriage was falling apart at the time he was in Portland, and he would stay with the Loring family sometimes, either during or after his contract with BPA ended.

Years later, in ’48, he was trying to remember the lyrics to “Roll On, Columbia.” He had forgotten them, and Sing Out! magazine wanted to publish them. So he writes to the Loring family and says, “Could you send me the verses to this song? I know you sing it, and I don’t remember them.” Michael Loring replies, “Here’s the verses, and I’ve added this one I like to sing because I think it completes woody guthrie the song.” It’s the verse about Tom Jefferson: “Tom Jefferson’s vision will not let him rest.”

That is not a Guthrie verse, that’s a Michael Loring verse. To thank the Loring family, Guthrie replies with a little songbook, and he mails it to the Loring family. It’s this incredible document, about 10 pages long, and it has a couple different versions of the Columbia River songs and a letter painted on the back that says, “Thanks to the whole Loring family.” Mark still has that, and remembers the Week spoke to Seamons about what exactly FBI coming to his family’s house during the Guthrie left on the cutting-room floor, his Red Scare and trying to interrogate them lingering connections to Portland, and why about their father’s communist affiliations. these songs still matter in 2016.

This Machine Kills Salmon A PORTLAND SONGWRITER EXCAVATES WOODY GUTHRIE’S NORTHWEST LEGACY. msinger@wweek.com

In 1941, Woody Guthrie packed his family into a car, drove to Portland from California, and went to work for the federal government.

At the time, Guthrie wasn’t yet a towering icon of American music, just an out-of-work songwriter struggling to make ends meet in the years just after the Great Depression.

He’d been hired by the Bonneville Power Administration to pen tunes promoting the new hydroelectric dams going up along the Columbia River. In one month, he produced 26 songs, rhapsodizing the natural beauty of the Pacific Northwest and celebrating the people the dams were meant to serve in ways that extended far beyond his assignment. Seventeen of those songs—such as “Roll On, Columbia, Roll On” and “Pastures of Plenty”—became sanctified entries in the classic folk songbook, while the remaining nine went unrecorded, languishing in his archives for decades after his death in 1967.

Seventy-five years later, Portland-born songwriter Joe Seamons is plugging the holes in Northwest folk’s grandest legacy.

Working with Bill Murlin, who first published Guthrie’s complete Columbia River songbook in the ’80s, Seamons assembled an all-star cast of regional musicians—including Peter Buck, Michael Hurley and members of the Decemberists—to record the nine missing songs, and bring together the full BPA collection on record for the first time.

The album, Roll Columbia, will be released next year, but Seamons, along with a dozen collaborators, are previewing the project this week at the Old Church. Willamette

WW: What was it like for you, as a songwriter with an interest in American folk music, to discover that an icon like Woody Guthrie had written all these songs about your home region?

Joe Seamons: It was really powerful. It’s like what Bob Dylan talks about. When you look at the breadth and depth of Woody Guthrie’s writing, you just feel small. Not small in the sense that you feel insignificant, but it’s like looking at the ocean. You’re looking at something that is vast beyond your conception. So that was what really hit me.

It’s incredible that this happened, that the government hired a guy who was affiliated so strongly with communism to come and work for what was like a socialist and capitalist enterprise at the same time. It’s so reflective of how complex and crazy America is that this happened at all.

Why were the nine songs you unearthed for this project not recorded initially?

In some cases, it’s because they’re silly. There’s a famous Carter Family song—“It takes a

ar i s v ra k as

BY m at t h e w s i n g e r

Did Guthrie enter into this project somewhat begrudgingly?

It seems like, from the private letters he wrote to other people, that he was generally on board with the mission. He didn’t see any better way than the government trying to create jobs to continue dragging the country out of the Depression. He seemed to really believe in the mission, but he was conflicted when he saw big government contractors dumping chemical waste into the Columbia River. He saw that. Not necessarily while he was working with the BPA, but in September, a few months later, he wrote home about it.

joe seamons

worried man to sing a worried song”—and all Guthrie did was change the first “worried” to “married.” So that’s not like a revelatory composition that needs to be immortalized.

It’s just a funny thing, like, “I wonder why he turned that into the Bonneville Power Administration?” So there’s some cases like that. It’s a little bit trivial, a silly thing he knocked off in the afternoon, because he was getting pressure from the BPA to produce every day. There’s an account of the guy

who was overseeing him in the information department treating him like a scriptwriter in Hollywood and making sure he would churn out verses every day.

Is there anything among those songs that is actually revelatory?

To me, it’s mostly the one called “Lumber Is King.” That’s the one that has Guthrie looking forward and going, “What do we do when all these big trees we’re cutting down are gone? What then?” That’s the one that stands out to me.

How did you go about recording these songs and interpreting how they were meant to sound?

That was an interesting part of the challenge, because one way to go about it would have been to have a lot of consistency and say, “This is our core sound, and we’re going to have simple guitar-playing and really direct declamation of lyrics, and stick to Guthrie’s style.” But we thought, this was never designed to be an album. This is Guthrie going, “Here’s everything I’ve produced for this project. Good luck, I’m moving on.” So we took the tact of going, we’re not going to bring in a bunch of drums and bass on this stuff, we’ll have it be fairly acoustic, but we’re making an album here, and it’s 26 songs long. To keep it interesting, let’s bring in a lot of voices but keep the ensemble small. So at most we have maybe four musicians playing at any time, and there’d be fiddle, guitar, banjo, bass.

It’s generally solo and duo performances by and large. So it’s unity in texture and the diversity of voices, women and men’s voices from across the Northwest. Our approach was, let’s take artists we feel like tap into this feel we have for this music and can help us articulate a present-day perspective on this historic material.

It’s been 75 years since Guthrie undertook this project. Why is it important for people to hear these songs in 2016?

It’s always productive to reflect on the past, especially in an era where everything is coming at us in a tornado of information. You can literally argue this work Guthrie was contributing to changed the course of history.

It started out being, “We need to convince people to establish these public utility districts, and we need the support for rural electricity.” But as Guthrie is writing the songs, it’s becoming clear to him that what the power is going to be used for—in the short term, at least—is to fight and win the Second World War. “Build the Flying Fortresses to fight for Uncle Sam,” those are Guthrie’s words. So the significance of them today is understanding the sweep of history and understanding that at one time, the government was involved in projects that, even if they did get swept up into things you can question, like violent involvement in a giant world war, there was a noble enough intention that it got someone as morally astute as Woody Guthrie involved. To me, it’s a hopeful story, like, “The government did something right!”

SEE IT: Woody Guthrie’s Northwest Songs Tribute Concert is at the Old Church, 1422 SW 11th Ave., on Saturday, Oct. 22. 2 and 8 pm. $25. All ages. Read the extended Q&A at wweek.com.

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MUSIC Editor: MATTHEW SINGER. TO BE CONSIDERED FOR LISTINGS, go to wweek.com/ submitevents and follow submission directions. All shows should be submitted two weeks or more in advance of event. Press kits, CDs and especially vinyl can be sent to Music Desk, WW, 2220 NW Quimby St., Portland, OR 97210. Please include show or release date information with all physical mailings. Email: msinger@wweek.com.

Fax: 243-1115.

WEDNESDAY, OCT. 19 Damien Jurado, Patrick Dethlefs

[SINGER-SONGWRITER] Earlier this year saw the release of Visions of Us on the Land, Damien Jurado’s fourth— and perhaps best—collaboration with producer and Shins member Richard Swift. Their previous work together pushed the stark, straightforward songwriter into stranger, spacier and more psychedelic territory. On Visions of Us, Swift takes a page from Phil Ek’s Fleet Foxes production and casts Jurado as a vision of Nebraska-era Springsteen lost in an echo chamber. Sub Pop’s recent reissue of his late-’90s sophomore LP, Rehearsals for Departure, serves to remind those of us who’ve adored the man for decades just how consistent his career has been. CRIS LANKENAU. The Old Church, 1422 SW 11th Ave. 8 pm. $18 advance, $20 day of show. All ages.

Yonatan Gat, Eternal Tapestry, Don Gero

[AVANT-GUITAR] See Get Busy, page 21. White Eagle Saloon, 836 N Russell St. 8 pm. $12. 21+.

THURSDAY, OCT. 20 Flock of Dimes, Your Friend

[SYNTHILY YOURS] Two years back, Baltimore indie-rockers Wye Oak surprised its considerable fanbase by mothballing its guitars and picking up synthesizers. But it probably wouldn’t have come as much of a shock if more people had heard Flock of Dimes, frontwoman Jenn Wasner’s synthheavy bedroom recording project that’s existed nearly as long as her main band. Similarly to Kathleen Hanna and the Julie Ruin, Wasner is using her downtime to flesh out that solo endeavor. If You See Me, Say Yes, Flock of Dimes’ proper full-length debut, doesn’t simply pick up where Wye Oak’s moody Tween left off. Instead, it’s a long-form exploration of keyboard-centric dream-pop, all gorgeous melodies and cloud-like texture. Locals will be reminded of Pure Bathing Culture, but there’s a bit of Mirageera Fleetwood Mac in its DNA as well.

MATTHEW SINGER. Doug Fir Lounge, 830 W Burnside St. 9 pm. $13 advance, $15 day of show. 21+.

Norah Jones, Valerie June

Kishi Bashi, Busman’s Holiday

[ECLECTRIC POP] The last time virtuoso violinist Kishi Bashi played Wonder Ballroom, two oblivious doofuses in the audience annoyed everyone around them by fake-ballroom dancing with hokey, feigned elegance. Bashi’s newest LP, Sonderlust, takes the textured, orchestral arrangements of Lighght and shoves them through the FM-radio hit machine, producing a modern interpretation of hook-driven pop, with catchy melodies and instantly memorable choruses, as done by a dude who plays his instrument better than any of us do basically anything. So this time, please, dance sincerely. CRIS LANKENAU. Wonder Ballroom, 128 NE Russell St. 7 pm. $20 general admission, $75 meetand-greet package.

FRIDAY, OCT. 21 Death From Above 1979, Black Rebel Motorcycle Club, Deap Vally

[GARAGE RAWK REVIVAL] The pairing of Black Rebel Motorcycle Club’s brooding garage psych and Death From Above 1979’s pummeling post-punk is not illogical per se. But the fact that both groups have enough fuel left in the tank after the early ’00s “return of rock” wave of hype is certainly worth curiosity and commendation. Though DFA79 was absent for a large chunk of the past decade, last year’s The Physical World served more as a rallying cry for fans of its strippeddown, bass-and-drums setup than an apology for disappearing when rockists needed them most. BRMC, on the other hand, has never slowed down, releasing album after album—a followup to 2013’s Specter at the Feast is in the tank—of shadowy roots rock that slinks and stomps its way around all of garage rock’s most familiar touchstones. PETE COTTELL. Roseland Theater, 8 NW 6th Ave. 9 pm. $28. All ages.

Of Montreal, Teen

[PONDEROUS POP] In one of the band’s biggest shifts since bursting out of Athens, Ga., in the mid-’90s, Of Montreal has embraced the dance floors of Europe. Kevin Barnes and company’s latest record, Innocence Reaches, is the result of an extended sojourn to Paris and is clearly influenced by EDM, house and whatever else French hipsters are into these days.

Of Montreal has long been lauded for its flamboyant live performances, and its new sound ensures an even more energetic, prop-fueled set. It should be enough to make David Bowie smile somewhere. MARK STOCK. Wonder Ballroom, 128 NE Russell St. 9 pm. $16 advance, $18 day of show. All ages.

W ill H ackney

[MOM JAZZ] Like most of the touring stage acts that dominate the calendar at the Keller, the orbit of Norah Jones and her many listeners hasn’t changed much since she collapsed the musical universe in the early 2000s. The jazz vocalist’s voice is still soft and gravelly, her songs are still eminently hummable, and her band remains among the best in the business. So change be damned. Jones’ new album, Day Breaks, is a gorgeous facsimile of Come Away With Me—most

of which she still performs beautifully live. It’s basically the jazz equivalent of The Lion King. PARKER HALL. Keller Auditorium, 222 SW Clay St. 7:30 pm. $39.50-$68. All ages.

SATURDAY, OCT. 22 Billy Bragg and Joe Henry

[TRAINS IN VAIN] Often referred to as a one-man Clash, Billy Bragg is something of a national treasure among leftleaning Brits. Despite having written extensively about British identity, Bragg himself has always possessed a certain fascination with America and its iconography. This fascination first manifested itself on Mermaid Avenue, a collaboration with Wilco centered on previously unrecorded Woody Guthrie lyrics. On paper, Shine a Light—a new collection of classic, railroad-themed folk songs made alongside Americana star Joe Henry—should be similarly magical. The pair recorded the album while traveling for four days by railroad. Unfortunately, that gimmick is the most interesting thing about the record. It might seem harsh to fault an icon for a missed opportunity, but in a year that’s given us Brexit and the ascension of Donald Trump, we need the firedup Billy Bragg that brought us anthems like “To Have and to Have Not” and “All You Fascists,” not a laid-back avuncular figure crooning a bass harmony on “Gentle on My Mind.” BLAKE HICKMAN. Aladdin Theater, 3017 SE Milwaukie Ave. 8 pm. $39.50 advance, $42 day of show.

Under 21 permitted with legal guardian.

Tommy Stinson’s Cowboys in the Campfire

[REPLACEMENT PLAYER] Yep, it’s that Tommy Stinson—ex of the Replacements and Guns N’ Roses, playing songs with the brand-new band bearing his name that we can only imagine splits the difference between both. Do not expect a Paul Westerberg cameo, but hey, an appearance from Buckethead isn’t out of the question. What else does that guy got going on, anyway? Bunk Bar, 1028 SE Water Ave. 9 pm. $15 advance, $18 day of show. 21+.

Alice Cooper

[SHOCK AND AA] After decades spent touring an ever-more-elaborate cabaret of defanged shock-rock, Alice Cooper’s Grampa Cryptkeeper shtick carries all the menace of Count Chocula. Ever since his ill-fated attempt at getting his old band (and original producer) back together for 2011’s Welcome 2 My Nightmare, Cooper has focused exclusively upon upping the extravagance of his Grand Guignolmeets-Disney On Ice stage shows while lingering in the public eye as desiccated avatar of showbiz fakery and gleeful adversary of all rock ‘n’ roll holds dear.

The golf-obsessed Arizonan and bornagain Christian supported Bush through both candidacies, after all. And while he’s refrained from fully endorsing Trump thus far, the specter of “No More Mr. Nice Guy” soundtracking the inauguration ball should truly terrify. JAY HORTON. Keller Auditorium, 222 SW Clay St. $39.50$700. 8 pm. All ages.

Sleep, Helen Money

[STONER STUFF] Sleep is the modern-day Black Sabbath. Anyone privy to the millennial generation’s most popular metal subgenre knows this as fact, and Sleep wouldn’t necessarily deny it. A blatant, Sabbathian milieu has heavily acquainted itself with the band’s mere five releases, and it’s even something it boasts about all over its Facebook page. What isn’t present on its much-used social-media page is a mention of that new album it teased back in 2014 with “The Clarity,” its first single in 11 years. Fast forward to today, and despite recent live performance, the world is still a Sleep-less place. But at least we’ve got Helen Money, which is basically a diet version of the band it’s opening for. CERVANTE POPE. Roseland Theater, 8 NW 6th Ave. 9 pm. $40. $25 general admission, $40 reserved balcony seating. All ages.

SUNDAY, OCT. 23 Dom Flemons, Leyla McCalla

white (and black) stripes: Flock of Dimes plays Doug Fir Lounge on Thursday, Oct. 20.

[CAROLINA CHOCOLATE DROPOUTS] On three solo albums before and after leaving Carolina Chocolate Drops, cofounder Dom Flemons has continued that African-American string band’s exploration and reinterpretation of old-time American roots music. Deploying banjo,

percussion, guitar, harmonica and voice, his music ranges from Piedmont blues, spirituals and jug-band music to other folk strains. Former CCD cellist, guitarist and banjoist Leyla McCalla shares Flemons’ fondness for American vernacular sounds, but flavored with music from her Haitian heritage as well as the Creole, Cajun, jazz and French influences that still simmer in and around her New Orleans home. McCalla’s sometimes poignant, sometimes danceable, expertly crafted original music reflects the vitality of the many rich folk traditions she’s assimilated. BRETT CAMPBELL. Doug Fir Lounge, 830 E Burnside St. 9 pm. $15 advance, $17 day of show. 21+.

tive, hypnotic grooves, lending earthy tones to an album that would otherwise drown in static. BRANDON WIDDER. Mississippi Studios, 3939 N Mississippi Ave. 9 pm. $13 advance, $15 day of show.

21+.

Papa, Reptaliens, Gold Casio

[ORIGINAL SYNTH POP] Our tale begins in the ’80s. Neil Tennant meets Chris Lowe at an electronics retailer in London, and the two discover they both love dance music and hate everything else. The internationally charttopping brothers-in-synth now world famous as the Pet Shop Boys are still together, and still dissing rock ’n’ roll, even on Super, their 13th studio album.

This isn’t totally unfounded: While ’80s rock now sounds dated to the point of kitsch, the Pet Shop Boys transitioned seamlessly into the new millennium and beyond. Super testifies to this— slow-building oonce-oonce numbers like “Inner Sanctum” would be right at home in a Berlin nightclub, and selfaware lyrics like “Take your smartphone and make your way home” on “Twentysomething” place these legends firmly in their time—and in ours. ISABEL ZACHARIAS. Keller Auditorium, 222 SW Clay St. 8 pm. $39.95-$85. All ages.

[BOLD ROCK] Formerly the drummer for now-defunct San Francisco band Girls, Darren Weiss is currently focusing his energy on PAPA, which was formerly a side project with childhood friend, Daniel Presant. Since 2011, Weiss has been bringing drums and vocals to Presant’s bass and songwriting in an electro-pop and Americanaimbued duo effort. Both 2013 debut LP Tender Madness and last month’s followup Kick at the Dust have the qualities of indie rock blended with the philosophy and mentality of punk, the music that Weiss grew up playing. MAYA MCOMIE. Holocene, 1001 SE Morrison St. 8:30 pm. $13 advance, $15 day of show. 21+.

MONDAY, OCT. 24 Wooden Shjips, the Lavender Flu

[DRONE KINGS] Portland has a tendency to mellow people out—that much is evident from Wooden Shjips’ latest long-player, Back to Land. Drummer Omar Ahsanuddin and singerguitarist Ripley Johnson— who’s more recently been helming side project Moon Duo—moved to town from Colorado in 2013, and in doing so eased back on the fuzz and slipped more pastoral elements into their sound. Now, spare acoustic guitars balance the repeti-

Gallant, Eryn Allen Kane

[SOUNDCLOUD SOUL] See Get Busy, page 21. Wonder Ballroom, 128 NE Russell St. 9 pm. $16 advance, $18 day of show. All ages.

TUESDAY, OCT. 25 Pet Shop Boys

cont. on page 30

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Top

= WW Pick. Highly recommended.

Prices listed are sometimes for advance ticket sales. At-the-door increases and socalled convenience charges may apply. Event lineups are subject to change after WW’s press deadlines.

THE FIVE RAREST ITEMS YOU CAN BUY AT THE NUMERO GROUP POP-UP BY KEN SHIPLEY, NUMERO GROUP CO-FOUNDER Amethyst, “After Midnight” 45

A tour-only exclusive pressed in a quantity of 500, this 1987 masterstroke of midtempo boogie synth is reason enough to queue up.

2 Cosmic Debris and Caribbean Soul cassettes Two tour-only cassettes compiled by Numero’s Rob Sevier and Blake Rhein, housed in a hand-screened chipboard j-card and dubbed in real time. Limited to 50 each.

3 Wilburn Burchette, Psychic Meditation Series Mail-order mystic Burchette sold seven meditative LPs throughout the ’70s, all of which are quite rare. We’ve re-pressed Guitar Grimoire, Music of the Godhead and Transcendental Music for Meditation in a limited edition of 500 each.

4 Extra Added Soul, Can You Feel That Beat, All Night Long

Pressed exclusively for the European market, these compilations are the perfect entry point for anyone curious about the Numero catalog. Only 100 of each made it stateside.

5 Cities of Darkscorch board game and LP A Grammy-nominated hard-rock board game for lovers of Dungeons & Dragons, Tolkien and Sabbath.

SEE IT: The Numero Group Pop-Up is at the Cleaners, 403 SW 10th Ave., on Thursday, Oct. 20. Noon-10 pm. Entry is free. All ages.

Willamette Week OCTOBER 19, 2016 wweek.com

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MUSIC [MINNESOTA BLUES] If anyone were to bring Piedmont blues back into the mainstream, it would be Charlie Parr. He’s one of the most genuine and animated performers still fingerpicking. Stumpjumper, the 48-year-old singer-guitarist’s latest work, is the culmination of over a decade’s worth of hooting and hollering as a one-man show, and it’s his finest album to date— conversational and full of insightful declarations, each song rooted in traditional structures that showcase his adeptness at handling the banjo and resonator guitar while picking at locomotive speeds.

It was released in 2015, but the man’s musical core is still grounded in 1915. BRANDON WIDDER. Mississippi Studios, 3939 N Mississippi Ave. 8 pm. $14 advance, $16 day of show. 21+.

introducing courtesy of bandcamp

Charlie Parr, Kory Quinn

classical, jazz & world Ryan Meagher

[NEW JAZZ] After just a few months, ex-New Yorker Ryan Meagher’s thoughtful six-string sounds had occupied Portland’s finest jazz establishments for long enough that we were happy to claim him as our own. An extreme talent whose lyrical songwriting is matched by a delicate sort of patience, Meagher took his time in reciprocating those feelings.

Celebrating his second Portland Jazz Composers release—Mist.

Moss. Home.—this evening, the guitarist’s quartet lovingly acknowledges his newfound locale with wistful, modern melodies that create heartfelt scenic homages to the Northwest. PARKER HALL. Jimmy Mak’s, 221 NW 10th Ave. 8 pm Wednesdaqy, Oct. 19. $15 at the door, includes CD. Under 21 permitted after 9:30 pm.

Rudresh Mahanthappa

[GENRE(S) JAZZ] Rudresh Mahanthappa benefits not just from notable dexterity and precision on sax, but from working within a medium that’s been pretty well-defined. Patches of last year’s Bird Calls, his latest in a trilogy of works on the German ACT imprint, are intended to mimic the moment before, say, an Albert Ayler group might reach total abandon, always pulling back from the direct edge of chaos. With a contemporary jazzbo’s wide berth, Mahanthappa adroitly touches on post-bop, nonWestern progressions and fusion, but traces of ECM Records sheen prohibits the bandleader from hitting on music that’s expressive, personal and viscerally thrilling all at once. DAVE CANTOR. The Old Church, 1422 SW 11th Ave. 7:30 pm Thursday, Oct. 20. $25 advance, $30 day of show.

The Ensemble, Cascadia Composers

[CLASSICAL TO CONTEMPORARY] “I gladly risk being called an ass if our ‘Liebeslieder’ don’t give more than a few people pleasure,” Johnny Brahms once wrote to his publisher about his catchy 1868 sets of waltzes. Not much risk there. The canny composer wrote these pop hits of their day for amateur musicians and their friends to enjoy, and they made him a star—and a lot more money—than his more challenging and serious symphonies.

They’ve remained popular ever since. Four of Portland’s top classical singers join a pair of versatile local pianists to perform them. The main attractions for anyone interested in 21st century sounds are songs by one of Portland’s best and most accessible composers, Lisa Ann Marsh, and her fellow Cascadia Composers Jeff Winslow and Theresa Koon. BRETT CAMPBELL. The Old Church, 1422 SW 11th Avenue, Portland. 3 pm Sunday, Oct. 23. $5-$25. All ages.

For more Music listings, visit 30

Willamette Week OCTOBER 19, 2016 wweek.com

Sweeping Exits Who: Mira Glitterhound (guitar, vocals), Myrrh Crow (keys, vocals), Shanley Narens (string section), Sonia Weber (bass, drums).

Sounds Like: The Punk Rocky Horror Monster Mashup Picture Show.

For Fans Of: The Black Heart Procession, Nick Cave, Ziggy Stardust-era Bowie.

As she describes the inspiration behind the two upcoming records by her band, Sweeping Exits, Mira Glitterhound peels a long velvet glove off one hand, revealing painted purple fingernails. You’d think she was about to start referencing The Rocky Horror Picture Show, or maybe the Cramps. Instead, she starts talking about the melodic concept of polyphony. It’s not the highest degree of conceptual musical composition, but certainly much more than you’d expect from someone who writes albums about vampires.

“Studying classical has taught me so much about that,” she says. “I think of it as lifting weights, listening to a symphony by Mozart and trying to track different things that are happening. It’s like steroids for my ears.”

Previous to this conversation, one might have written off Sweeping Exits as something of a novelty act. But speaking to Glitterhound, the breadth of her ambition quickly becomes apparent. Her big idea for the band, she says, is to attach a specific genre to each album as a sort of sonic signature, in addition to a narrative storyline. One project will mimic Madonna and Scandinavian pop group Aqua and tell the story of “a transgender alien who comes down from outer space to give people the perfect pop music,” while the forthcoming vampire epic, Glitter & Blood, will more closely resemble glam-era Bowie, Lou Reed and Iggy Pop. The albums will coincide with graphic zines written by Glitterhound and illustrated by local artists that will delve deeper into each album’s narrative arc.

If all that sounds daunting, The Projectionist EP is the perfect entry point for Sweeping Exits’ sprawling opus-in-progress.

The punchy title track laments the exploits of a murderous vixen who hides in the shadows behind the illuminated glow of a theater screen, an orchestral string section reminiscent of late-’90s Belle and Sebastian bolstering a jumpy minor-chord progression, while Glitterhound describes the gory details in a Morrissey-meets-Vincent Price croon. The overall effect is of a hilarious, ramshackle musical production in which traditional narrative structure and conventional definitions of gender and identity are passé.

“I want people to live in a fantasy with us,” Glitterhound says.

“I’m enamored with any type of creativity that will allow people to escape the world that we all agree on.” CRIS LANKENAU. SEE IT: Sweeping Exits play Valentines, 232 SW Ankeny St., with Lubec and Blowout, on Thursday, Oct. 20. 9 pm. $5. 21+.

dates here album reviews

Blind Pilot And Then Like Lions [NPR FOLK POP] Blind Pilot has never been a band known for brashness, but never has it sounded so subtle and subdued as it does on third album And Then Like Lions. The six-piece took five years between records, a time in which singer Israel Nebeker hit some life-changing hurdles. He lost his father to cancer, ended a 13-year romance and fell out with close friends. Those tragedies make for a somber effort here, one lined with both longing and cautious optimism.

Where the regretful “Umpqua Rising” is a rumination on jealousy, served via a slow-building haze of acoustic guitar and keys, “Like Lions” bookends the record with a flurry of horns and a moment of blissful triumph. “And there we are like lions,” Nebeker sings over a warm bed of trumpet. “We are strong enough to give.” In between, he balances

(ATO)

more obtuse thoughts with straight-ahead narratives and swirls of lush chamber-pop orchestration, sometimes in melodramatic fashion. Like the delicate, wistful harmonies and strings that characterize “Moon at Dawn” and “Joik #3,” much of it sounds as natural and befitting of the numerous references to the Pacific Northwest peppering the lyrics. But for all the personal tumult that informs Lions, Blind Pilot’s fundamental nature hasn’t shifted, for better or worse. The nuances make for a typically pleasant listen, but if you’re not already a fan, little here is going to turn your head.

BRANDON WIDDER. SEE IT: Blind Pilot plays Crystal Ballroom, 1332 W Burnside St., with Margaret Glaspy, on Thursday, Oct. 20. 8 pm. Sold out. All ages.

Sun Angle Skullflower (XRAY) [PSYCH PUNK] Sun Angle doesn’t “write” songs, exactly; it unleashes them, like angry steers from a rodeo stall. While its first album, 2013’s Diamond Junk, succeeded in wrangling the trio’s amphetamine prog punk in a studio setting, it was still a blur of frantic motion, and the thrill was hearing the band try to ride its own lightning without being thrown in three directions. Three years later, Sun Angle hasn’t quite mellowed, but it has learned to better control the chaos. Skullflower opens with the uncharacteristically languid “American Beauty,” a mirage of radiating guitars and foggy reverb, and while the slow-rolling pace is an outlier, it forecasts an album more measured, patient and tuneful than its predecessor. Drummer Papi Fimbres still plays like Keith Moon on ayahuasca, but his yearlong

sabbatical in Germany seems to have instilled him with a krautrock sense of discipline. He batters his kit with greater focus, allowing individual elments—Charlie Salas-Humara’sdaydreaming vocals, Marius Libman’s eversteady bass, the surprising burst of horns on “Drink the Moon”—to cut through what was once an all-consuming maelstrom. Sometimes, the band loses itself in a debris field of psychedelic effects. But when it really locks in, like on the snarling closer “Royal Skulls,” it proves the chaotic thrill of Sun Angle isn’t gone, it’s just been refined. MATTHEW SINGER. SEE IT: Sun Angle plays Mississippi Studios, 3939 N Mississippi Ave., with Tender Age and Mattress, on Thursday, Oct. 20. 9 pm. $12.

21+.

Sara Jackson-Holman Didn’t go to the party (Expunged) [DREAMY PIANO POP] It’s easy to hear Sara JacksonHolman’s classical training on her new album, and that may be the problem. A concert pianist-turned-pop songwriter, Jackson-Holman’s references to piano masterworks begin with the first track, “Monsoon,” whichopenswithsweeping,swift piano runs à la Claude Debussy, and the string-heavy orchestral arrangements throughout give the album a cinematic quality.

Thematically, though, Didn’t Go to the Party is confused. Meant as a quiet, questioning exploration of self, it’s filled with stock lyrics like “I feel the heat of you so close to my skin” and “the emptiness cuts through me like a knife,” clichés made even more impersonal in their marriage to such lavish (though technically exquisite) orchestral arrangements.

The album is stylistically off-balance as well—at

one moment, JacksonHolman channels the sexy melancholia of Lana Del Rey (“You’ll Come Around”), the next the operatic drama of Adele (“Killing Me Boy”), then ends with a left-field Latin jazz groove (“Spring Bossa”). But she shines on “Too Late,” the only track that scans as a straight-ahead, piano-pop ballad. Almost everywhere else, though, Jackson-Holman bogs down the album with complex ornamentation, and the result is an effort too overwrought for the bare emotions to resonate. ISABEL ZACHARIAS. SEE IT: Sara Jackson-Holman releases Didn’t Go to the Party at Mississippi Studios, 3939 N Mississippi Ave., with Rare Diagram and Lynnae Griffin, on Wednesday, Oct. 19. 9 pm. $5. 21+.

Willamette Week OCTOBER 19, 2016 wweek.com

31

FOLK ARTIST FROM NORTH CAROLINA TOURING BRAND NEW ALBUM ‘HEART LIKE A LEVEE’

TRADITIONAL STRING BAND WITH ROOTS INFLUENCES KNOWN FOR THEIR HARMONIES

CHATHAM COUNTY LINE

HISS GOLDEN MESSENGER

COURTNEY MARIE ANDREWS

THE DEAD TONGUES

FRI, OCT 21ST MISSISSIPPI STUDIOS AND DO503 PRESENT THE BELOVED NORTHWEST SONGWRITER/STORYTELLER AND HIS NEW LP

THU, OCT 27TH MISSISSIPPIN’ WITH REFINED, POP-INFORMED PORTLAND SONGWRITER WITH NEW LP, ‘DIDN’T GO TO THE PARTY’

MISSISSIPPI STUDIOS AND XRAY FM PRESENT FLUTTERING PSYCHEDELIC POST-PUNK FROM PDX TRIO

DAMIEN JURADO AT THE SARA JACKSON-HOLMAN SUN

ANGLE

OLD CHURCH

PATRICK DETHLEFS 7PM DOORS / 8PM SHOW / ALL AGES

TENDER AGE • MATTRESS

THE OLD CHURCH: 1422 SW 11TH AVE, PORTLAND, OR

RARE DIAGRAM • LYNNAE GRYFFIN

WED, OCT 19TH • FULLY SEATED

WED, OCT 19TH

THU, OCT 2OTH

MIND-ALTERING HEAVINESS WITH A SUNNY STREAK FROM TWO PORTLAND ROCK INSTITUTIONS

SPARKLING, HIGH-ENERGY FLORIDA POP-PUNK WITH A BUBBLEGUM SOUL

SAN FRANCISCO-BASED PURVEYORS OF POP GEMS WRAPPED IN A FORMIDABLE WALL OF TRIPPY NOISE

KING BLACK ACID

JACUZZI BOYS

WOODEN SHJIPS

STALLION • DOGHEART

THE LAVENDER FLU

#wweek

THE QUICK AND EASY BOYS BECAUSE

8PM DOORS / 8:30PM SHOW

SAT, OCT 22ND • (CO-HEADLINE)

SUN, OCT 23RD

MON, OCT 24TH

ENTRANCING COUNTRY BLUESMAN FROM DULUTH, MINNESOTA

MISSISSIPPI STUDIOS AND XRAY FM PRESENT THE SHAPE-SHIFTING ROCK OUTFIT WITH NEW ALBUM, IN THE GARDEN

JOYFUL AND EXPLOSIVE BRASS-DRIVEN FUNK BAND FROM NEW ORLEANS

CHARLIE HOLY PARR SONS KORY QUINN 7PM DOORS / 8PM SHOW

NURSES • BLESST CHEST

TUE, OCT 25TH

FRI, OCT 28TH

SAT, OCT 29TH

INDIE ROCK FROM NY WITH 2016 ALBUM ‘NEED YOUR LIGHT’

THE PORTLAND MERCURY & MISSISSIPPI STUDIOS PRESENT A VERY SPOOKY HALLOWEEN COVERS EDITION OF EAR CANDY

MISSISSIPPI STUDIOS AND DO503 PRESENT THE BAROQUE SEATTLE STORYTELLER FUSING METAL AND FOLK

RA RA RIOT HANNAH GEORGAS

MICHAEL JACKOLANTERN

GRANDMUMMY • ALANIS GORE-SETTE

SUN, OCT 30TH

MON, OCT 31ST • FREE!

HEAVY, ANGULAR ROCK FROM CALGARY WITH NEW SELF-TITLED LP

ABSURDLY CATCHY, HIP-HOP-INFUSED PARTY-PUNK CO-FOUNDED BY BEASTIE BOYS COLLABORATOR MONEY MARK

PREOCCUPATIONS METHYL ETHEL

MANGCHI KID KOALA

TUE, NOV 1ST

WED, NOV 2ND

KING DUDE

AT THE OLD CHURCH NIGHT PROFOUND • FOIE GRAS • TOSTEN LARSON THE OLD CHURCH: 1422 SW 11TH AVE, PORTLAND, OR MON, OCT 31ST • FULLY SEATED • ALL AGES

JUST ANNOUNCED THU 11/03 :: CHRIS COHEN THU 11/10 :: HAAS KOWERT TICE

AT THE

OLD CHURCH

SAT 11/26 :: TONY FURTADO BAND’S ANNUAL THANKSGIVING BASH SUN 11/27 :: MIKE COYKENDALL / WEEZY FORD MON 12/05 :: JOE MANDE FRI 12/16 :: BLUETECH SUN 12/18 :: MOON BY YOU THU 12/22 :: CHEER THE F**K UP: AN OK CHORALE POP SONGS SING-ALONG

TICKETS

MISSISSIPPI STUDIOS

SHOWS

Bar Bar open 7 days 11:00am - 2:00am Happy Hour 4pm-6pm 7 days Serving Lunch / to-go orders 503.889.0090

Available at: mississippistudios.com Bar Bar box office Revolution Hall box office & via TicketFly: ticketfly.com 877.987.6487

21+ // doors 8pm, show 9pm unless noted otherwise

32

BIG SAM’S FUNKY NATION

Willamette Week OCTOBER 19, 2016 wweek.com

3939 N. Mississippi Ave. info@mississippistudios.com 503.288.3895

BAR BAR

T E E R ST

MUSIC CALENDAR WED. OCT. 19 Ash Street Saloon 225 SW Ash St Eldren

Doug Fir Lounge 830 E Burnside St. Terry Bozzio

Holocene

LAST WEEK LIVE Billy Kennedy Band; Lewi Longmire & the Left Coast Roasters

Mississippi Pizza

3552 N Mississippi Ave Red Yarn: for kids; Radio Phoenix

Mississippi Studios

3939 N Mississippi Ave. Sun Angle, Tender Age, Mattress

1001 SE Morrison St. Daniel Rafn, Coronation, Oro Azoro, Lamar LeRoy

Roseland Theater

Jimmy Mak’s

The Analog Cafe

221 NW 10th Ave. The Christopher Brown Quartet; Mel Brown Quartet; Ryan Meagher

LaurelThirst Public House

2958 NE Glisan St Kory Quinn & the Quinntessentials; Zach Bryson & the Meat Rack / Duff Thompson & Matt Bien

Mississippi Pizza

3552 N Mississippi Ave Tallulah’s Daddy

2026 NE Alberta St Moon Tiger, Dan Dan, High Diving Horses

The Liquor Store

3341 SE Belmont St, Mini Blinds

The Old Church

1422 SW 11th Ave Damien Jurado, Patrick Dethlefs; Grazioso Violin & Piano Duo

Twilight Cafe and Bar 1420 SE Powell Karaoke From Hell

White Eagle Saloon

836 N Russell St Yonatan Gat, Eternal Tapestry, Don Gero

Wonder Ballroom 128 NE Russell St. Honne, Pat Lok

THURS. OCT. 20 Ash Street Saloon

225 SW Ash St God Bless America, Raw Dog & The Close Calls, Nebraska Boy Snatchers, Dwight Dickinson

Crystal Ballroom

1332 W Burnside St Blind Pilot

Dante’s

350 West Burnside The Band of Heathens, Joe Fletcher

Doug Fir Lounge

830 E Burnside St. Flock of Dimes, Your Friend

Fremont Theater

2393 NE Fremont Street Mary-Sue Tobin Quintet

Jimmy Mak’s

221 NW 10th Ave. Mel Brown B3 Organ Group

Keller Auditorium

222 SW Clay St Norah Jones, Valerie June

LaurelThirst Public House 2958 NE Glisan St

Jimmy Mak’s

221 NW 10th Ave. Dan Balmer Trio

LaurelThirst Public House 2958 NE Glisan St Portland Country Underground; Kung Pao Chickens

The Lovecraft Bar 421 SE Grand Ave Lizvfer & The Tree

Mississippi Pizza

3552 N Mississippi Ave Mr. Ben

The Old Church

116 NE Russell St Luke Winslow-King, the Stolen Sweets

The Know

1507 SE César E. Chávez Blvd.

Face To Face

2026 NE Alberta St Don’t, Audios Amigos, Lovesores

13 NW 6th Ave. Rachael Yamagata, Pressing Strings 2845 SE Stark St Adverse Effects, Tribe Mars, Human Ottoman

Hawthorne Theatre

The Know

The Secret Society

Twilight Cafe and Bar 1420 SE Powell Forest Pooky(France)/ Sparkle Carpet/ Shootdang

Valentines

232 SW Ankeny St Sweeping Exits, Blowout, Lubec

Wonder Ballroom

128 NE Russell St. Kishi Bashi, Busman’s Holiday

FRI. OCT. 21 Alberta Street Pub

1036 NE Alberta St Korgy & Bass, Fritzwa

Ash Street Saloon 225 SW Ash St Jones Road, JaFco, The Lo-Hi

Mississippi Studios

BLAKE NOT-VERY-LIVELY: When accomplished studio vocalists step onstage, the question is often whether they can re-create the magic and hit all the notes live. This is mostly a nonissue for James Blake.

The British producer has talent oozing from every pore, and whether or not his unearthly crooning could sound as pure through the PA at the Roseland Theater as it does on his small clutch of albums and EPs turned out to be the least of concerns for those at his sold-out show Oct. 14. Of a more dire consequence was the energy level. You could tell the crowd was waiting for a big bass drop to trigger a collective freakout, but that kind of festival-tent-leveling catharsis is not Blake’s bag. Modest visual effects offered some dynamic push, with flickering lights and gentle oscillations between cool colors and darkness. But his guitarist and “drummer” added little to the live-ness of it all. The audience was obviously restless by the time “Love Me in Whatever Way” drifted from the speakers. I’m sure nearly everyone, including me, who found themselves yawning between brief moments of brilliance were missing the point to some degree. But the ethereal beauty and tidy production that’s endeared Blake’s music to critics and fans can only do so much in a packed concert hall known more as a nexus of aggression. The music sounds just as beautiful live as it does on record, but next time I may arrive early enough to get a seat. PETE COTTELL.

3416 N Lombard St Slutty Hearts, Stranger Than Fact, Love, Fuck

Mississippi Pizza

3552 N Mississippi Ave Christine Havrilla

Bunk Bar

3939 N Mississippi Ave. Chatham County Line, Courtney Marie Andrews

Crystal Ballroom

8 NW 6th Ave Death From Above 1979, Black Rebel Motorcycle Club, Deap Vally

1028 SE Water Ave. Tommy Stinson’s Cowboys in the Campfire 1332 W Burnside St Ingrid Michaelson

Mississippi Studios

Roseland Theater

Skyline Tavern

Dante’s

8031 NW Skyline Blvd Never Strangers

Doug Fir Lounge

6517 SE Foster Rd Buzz Holland Band with Paula Sinclair!

350 West Burnside Young Dubliners and Chervona

Starday Tavern

830 E Burnside St. The Boxer Rebellion, Hey Anna, Ry Cox

Star Theater

Duff’s Garage

The Firkin Tavern

2530 NE 82nd Ave Rockin’ Ricki; John Nilsen/Swimfish

Hawthorne Theatre

1507 SE César E. Chávez Blvd.

Anthrax, Death Angel

Jimmy Mak’s

221 NW 10th Ave. Patrick Lamb’s Earth, Wind & Fire Tribute

LaurelThirst Public House

2958 NE Glisan St Michael Hurley & the Croakers; Garcia Birthday Band (acoustic)

3939 N Mississippi Ave. Wooden Shjips, the Lavender Flu

Wonder Ballroom

128 NE Russell St. Gallant, Eryn Allen Kane

TUES. OCT. 25 Alberta Street Pub

1036 NE Alberta St Ziplander & Thundertonk

Ash Street Saloon 225 SW Ash St Robby Mayer

Doug Fir Lounge

830 E Burnside St. Screaming Females, Moor Mother, Macho Boys

Duff’s Garage Lombard Pub

Bunk Bar

1028 SE Water Ave. New Move, ISKA DHAAF, Mordecai

1332 W Burnside St Kaleo, Bishop, the Wind and the Wave

350 West Burnside Ho99o9 / THE SHRINE -

2845 SE Stark St Coral Creek, The Green Room

Star Theater

Crystal Ballroom

Dante’s

The Goodfoot

3939 N Mississippi Ave. Sara Jackson-Holman

225 SW Ash St Dwight Church, Dwight Dickinson

350 West Burnside Karaoke from Hell

720 SE Hawthorne Blvd.

DND7

1422 SW 11th Ave Rudresh Mahanthappa; Dan Bern

Ash Street Saloon

Dante’s

8 NW 6th Ave Dada Life

Mississippi Studios

The Goodfoot

[OCT. 19-25]

For more listings, check out wweek.com.

HENRY CROMETT

= 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.

13 NW 6th Ave. New Kingston 1937 SE 11th Ave Nothing But Heros, Drunk On Pines

The Know

2026 NE Alberta St Bad Future, Company, Pageripper

The Lovecraft Bar

421 SE Grand Ave Coloring Electric Like, Symbion Project, Guillotine Eyes

The Old Church

1422 SW 11th Ave Dan Bern with Chris Sand

The Secret Society 116 NE Russell St

The Sportin’ Lifers; Black Marble, Soft Kill, Ritual Howls, Sex Park

Twilight Cafe and Bar

1420 SE Powell Please the Trees/Dooms Virginia/Roselit Bone

Valentines

232 SW Ankeny St The Volturz

Walters Cultural Arts Center 527 E. Main Street, Hillsboro, OR 97123 Carrie Newcomer Gary Walters

Wonder Ballroom 128 NE Russell St. Of Montreal, Teen

SAT. OCT. 22 Aladdin Theater

3017 SE Milwaukie Ave Billy Bragg and Joe Henry

Alberta Street Pub 1036 NE Alberta St Silver Lake 66

Arlene Schnitzer Concert Hall

1037 SW Broadway Oregon Symphony presents Colin Currie

Ash Street Saloon 225 SW Ash St Riverpool, PUSH

Dante’s

350 West Burnside She Wants Revenge, the Dig, Raw Fabrics

Doug Fir Lounge 830 E Burnside St. Tom Odell

Duff’s Garage

2530 NE 82nd Ave Home Fries; The Strangetones

Jimmy Mak’s

Woody Guthrie Tribute Show: Evening Show

Oregon Koto-Kai 5th Anniversary Concert

The O’Neil Public House

Mississippi Pizza

221 NW 10th Ave. Bart Ferguson

6000 NE Glisan St. SloeGinFizz and Catch & Release; Cedro Willie

Keller Auditorium

White Eagle Saloon

222 SW Clay St Alice Cooper

LaurelThirst Public House

2958 NE Glisan St Billy Kennedy (all ages!); The Yellers; The Druthers / Fox & Bones

Mississippi Pizza

3552 N Mississippi Ave The Alphabeticians

Mississippi Studios

3939 N Mississippi Ave. King Black Acid + The Quick & Easy Boys

Roseland Theater

8 NW 6th Ave Sleep, Helen Money

Star Theater

13 NW 6th Ave. Dan Reed Network

The Firkin Tavern

1937 SE 11th Ave Toads, CASTLES, Kings & Vagabonds

The Goodfoot

2845 SE Stark St Object Heavy, Delvon Lamarr Organ Trio

The Lovecraft Bar

421 SE Grand Ave Devoured By Flowers, FLESHH

The Old Church

1422 SW 11th Ave

836 N Russell St Garcia Birthday Band

SUN. OCT. 23 Alberta Rose

3000 NE Alberta St Sierra Hull

Arlene Schnitzer Concert Hall

1037 SW Broadway Oregon Symphony presents Colin Currie

Ash Street Saloon

225 SW Ash St Robber’s Roost, Mouse And Banjo

Clinton Street Theater 2522 SE Clinton St Jet Black Pearl

Doug Fir Lounge

830 E Burnside St. Dom Flemons, Leyla McCalla

Holocene

1001 SE Morrison St. Papa, Reptaliens, Gold Casio

LaurelThirst Public House

2958 NE Glisan St Pagan Jug Band; Freak Mountain Ramblers

Lincoln Recital Hall at Portland State University

1620 SW Park Avenue

3552 N Mississippi Ave Rachael Miles

Mississippi Studios

3939 N Mississippi Ave. Jacuzzi Boys, Stallion, Dogheart

Revolution Hall

1300 SE Stark St #110 Rock For Rockwood: M. Ward, The Thermals, The Helio Sequence, and Emily Wells

The Analog Cafe

720 SE Hawthorne Blvd.

PAULAPALOOZA w/ LITTLE URBAN ACHIEVERS, EXTRA TERESTERIAL PLAGUE SPRAYER & GUESTS

The Know

2026 NE Alberta St Nightfell // Serpentent // Rohit

The Old Church

1422 SW 11th Ave The Ensemble presents Love, Laughter & Truth

The Secret Society

2530 NE 82nd Ave Mt ST Hood

Jimmy Mak’s

221 NW 10th Ave. Mel Brown Septet; AJAM

Keller Auditorium

222 SW Clay St Pet Shop Boys

LaurelThirst Public House 2958 NE Glisan St Jackstraw; Bahttsi

Mississippi Pizza

3552 N Mississippi Ave Atlantis Underground: Songwriter Sessions

Mississippi Studios

3939 N Mississippi Ave. Charlie Parr, Kory Quinn

Raven and Rose

1331 SW Broadway Na Rósaí

Roseland Theater

8 NW 6th Ave Yellowcard, Like Torches, Dryjacket

Smart Collective

6923 SE Foster Rd. Drowse, Helens, Merso, Clovver

116 NE Russell St Kenny White, Amber Rubarth

The Analog Cafe

Twilight Cafe and Bar

The Goodfoot

1420 SE Powell Fiscal Spliff/Dr.Stahl

MON. OCT. 24 Arlene Schnitzer Concert Hall

1037 SW Broadway Oregon Symphony presents Colin Currie

720 SE Hawthorne Blvd.

Ultra Magnetic 2845 SE Stark St Jimmy Russell’s Party City 2034

The Liquor Store

3341 SE Belmont St, The Night / Warpfire / Gun

The Secret Society 116 NE Russell St Tuesday Salsa with Lynn and Mark

Willamette Week OCTOBER 19, 2016 wweek.com

33

MUSIC C O U R T E S Y O F N ATA S H A L O U I E

NEEDLE EXCHANGE

Coco Louie

Be a part of Willamette Week’s

2016 Gift Guides!

Nov. 23rd & Dec. 7th

Years DJing: When I first moved to Portland four years ago from New York, I held a secret art show late night on the beach at Swan Island. We needed DJs, and I thought this would be the perfect time to learn. So I downloaded Traktor, studied the basics, and gave it a go.

Genre: Deep, electro and tropical house, nu disco, hip-hop, R&B. Where you can catch me regularly: My current residencies are at Saucebox and Dig a Pony, but I often play for events I curate at Service PDX and my female-driven art collective Femme.

Craziest gig: The most recent was DJing for an all-female motorcycle camping trip called the Dream Roll near Mount Adams, Wash. There were hundreds of badass women riding Harleys and emptying kegs. I didn’t know what the exact demographic was going to be for musical taste, so I started with my usual loungey house vibes, but by 10 pm the party got started and the ladies only really wanted to dance to dirty rap and ’90s Top 40. I was scrambling—I played something like seven hours straight—but I dug deep in my library and found what they wanted. All shirts came off, and eventually they began climbing up on the stage with me. It was shaking so badly from the dancing that I couldn’t even mix anymore. My laptop and controller were swaying all over the place. They were offering me shots and cigarettes. I have to say that waking up to 100 rumbling motorcycles in a tent when you’re that hung over is not ideal, but I’d do it all over again.

My go-to records: Solomun’s remix of Noir & Haze’s “Around”; Nicolas Jaar feat. Will Epstein, “Hage Chahine”; Mylo, “Drop the Pressure”; Fort Romeau, “Secret & Lies”; Kelela, “Rewind.”

Don’t ever ask me to play: Anything ever, because that’s not how it works. But especially not dubstep.

NEXT GIG: Coco Louie spins at Saucebox, 214 SW Broadway, on Saturday, Oct. 29. 10 pm. Free. 21+.

Spare Room

4830 NE 42nd Ave DJ Cowboy

These annual shopping guides are a can’t miss opportunity to reach consumers looking for the perfect gift!

The Embers Avenue

WED. OCT. 19 Dig A Pony

736 SE Grand Ave. Honest John (garage)

Killingsworth Dynasty 832 N Killingsworth St Sensoria

Sandy Hut

1430 NE Sandy Blvd.

DJ Montel Spinozza

The Lovecraft Bar

421 SE Grand Ave Event Horizon (darkwave, industrial)

The Raven

Reserve your space by Nov. 11th For more information, call 503-445-1426 or email: advertising@wweek.com 34

Willamette Week OCTOBER 19, 2016 wweek.com

THURS. OCT. 20 45 East

315 SE 3rd Ave Matoma: Party At Your Place! Tour

Beech Street Parlor

412 NE Beech Street Questionable Decisions (lounge, soul, jazz)

The Liquor Store

3341 SE Belmont St, Wake The Town (bass music)

The Lovecraft Bar 421 SE Grand Ave Shadowplay (goth, industrial)

The Raven

Dig A Pony

3100 NE Sandy Blvd House Call w/ Richie Staxx & Tetsuo

Holocene

Whiskey Bar

736 SE Grand Ave. Battles & Lamar 1001 SE Morrison St. Tim Burton Ball

3100 NE Sandy Blvd Wicked Wednesdays (hip hop, soul, funk)

Killingsworth Dynasty

Valentines

Moloko

232 SW Ankeny St DJ A Train

100 NW Broadway Thursday Electronic

832 N Killingsworth St Post Punk Discotheque

3967 N. Mississippi Ave. Nik Nice & Brother Charlie (brazilian)

31 NW 1st Ave Mr. Bill w/ Circuit Bent

FRI. OCT. 21 45 East

315 SE 3rd Ave Gareth Emery 100 Reasons To Live Tour

Where to drink this week.

1.

Breakside Brewery

5821 SE International Way, Milwaukie, 503-3426309, breakside.com.

Oregon got 21 medals at the Great American Beer Festival—and three of those went to Breakside brews, including a gold medal-winning rye. What better excuse to hop the expressway down to Milwaukie and see what you can pick up on the many taps?

JAKE SOUTHARD

BAR REVIEW

2.

Patton Maryland

5101 N Interstate Ave., 503-841-6176, pattonmaryland.com.

The cocktails will get a Jersey girl drunk on milk and Coke—plus bourbon and coffee liqueur—while the great-times-three grandson of Queen Victoria will make you smoked brisket you can eat on a big ol’ patio.

3.

Dame

2930 NE Killingsworth St., 503-227-2669, damerestaurant.com.

The wine list at Dame, which opened recently, already makes it Portland’s most interesting wine destination, home to the finest naturalwine list within 500 miles.

4.

Backyard Social

1914 N Killingsworth St., 503-719-4316, backyardsocialpdx.com.

Former staff of the Hop & Vine reopened the onetime eccentric backpatio beer bar as an eccentric back-patio beer bar. But check out the fall menu on that baby, including lobster mushroom crepes and fennelstuffed calamari.

5.

Rae’s Lakeview Lounge

1900 NW 27th Ave., 503-719-6494, raesportland.com.

Rae’s offers $1 mimosas Saturday and Sunday mornings, $1 Rainiers after 9 pm weekdays, and $1 High Lifes till 6 pm daily. If you can’t see the lake from the patio, just wait until the lake is in your mind.

Black Book

20 NW 3rd Ave The Cave (rap)

Crystal Ballroom

1332 W Burnside St 80s Video Dance Attack

Gold Dust Meridian

3267 SE Hawthorne Blvd.

DJ Matt Stanger

Holocene

1001 SE Morrison St. The Way Up: Afro/Caribbean Dance Party

Moloko

3967 N. Mississippi Ave. Sappho & Friends (disco)

No Fun

1709 SE Hawthorne Blvd DJ Drew Groove

The Goodfoot

2845 SE Stark St Soul Stew (funk, soul, disco)

The Liquor Store

NEW VEZ: Since opening her Badger-proud beer bar eight years ago, Sarah Pederson had wanted to serve cheese curds. Aside from being one of the city’s best beer bars and bottle shops, Saraveza (1004 N Killingsworth St., 503-206-4252, saraveza.com) is a hot spot for the city’s Packers faithful.

Now, the ’Vez finally has white, squeaky cheese fried in an airy batter to pair with their Lambeau Leaps. It took a massive kitchen renovation and the hiring of Dustin Gettmann, a veteran of Pok Pok NY and Pfriem, where he helped prepare what’s been the state’s best brewpub grub. Gettmann, who worked for Saraveza in its early days, wants to turn this “bottle shop and pasty tavern” into a proper gastropub. Pederson empowered him to pick out the appliances they needed to upgrade the kitchen, requiring a short closure.

In the newly reopened space, the delightfully kitschy barroom looks pretty much the same. The chalkboard beer list has been enlarged, but the lineup has the same peerless quality we’ve come to expect (the wonderful AleSmith Vietnamese coffee stout and an excellent cloudy IPA from Block 15 on our visit). The food menu, meanwhile, has been overhauled—the squeaky cheese is just the tip of the iceberg. There’s still fancy Chex mix and soft pretzels, but there’s also a charcuterie board ($15) with local sausages, cherry jam and moustarda, a radicchio salad ($10) with prosciutto in a tangy sherry dressing, and a smoked brisket sandwich ($12) with book-thick slices of beef from the sidewalk smoker. The buttermilk fried chicken ($15) with creamy mashed potatoes and a rich, herby tarragon gravy impressed us most of all.

It is, Pederson says, the spot she always wanted to run. It also happens to be the sort of beer bar we’re really excited to have. MARTIN CIZMAR. SAT. OCT. 22 45 East

315 SE 3rd Ave Mayhem, Gangsigns, Clokwork

Beech Street Parlor

412 NE Beech Street DJ “Chains” Crumley, JDJDJ

Bossanova Ballroom

722 E Burnside St. Homoween w/ Kim Chi

Club 21

2035 NE Glisan St. DJ Joey Prude

Eastburn

1800 E Burnside St, Soulsa! (merengue, salsa, bachata)

Killingsworth Dynasty 832 N Killingsworth St Dynasty a Go-Go! (soul, garage, r&b)

Moloko

3341 SE Belmont St, Flight: Destination Unknown

3967 N. Mississippi Ave. Lamar Leroy (jams of all types)

The Lovecraft Bar

Sandy Hut

421 SE Grand Ave Darkness Descends (goth)

1430 NE Sandy Blvd.

DJ Dad Rock

Saucebox

214 N Broadway St DJ Joey Beach (hip hop, trap, dance)

The Liquor Store

3341 SE Belmont St, Slyd Society w/ Nutritious, Cee White & VJ JumpWire

The Embers Avenue 100 NW Broadway Latino Night (latin, cubono, salsa)

The Lovecraft Bar

421 SE Grand Ave Softcore Mutations (new wave, synth, hunkwave)

The Lovecraft Bar 421 SE Grand Ave Electronomicon (goth, industrial)

Valentines

232 SW Ankeny St Devil’s Pie (hip hop, r&b)

Whiskey Bar

31 NW 1st Ave Happy Saturdays: Magnus

SUN. OCT. 23 Dig A Pony

736 SE Grand Ave. Freaky Outty (floor fillers)

Gold Dust Meridian

3267 SE Hawthorne Blvd.

DJ Philadelphia Freedom

MON. OCT. 24 Beech Street Parlor

412 NE Beech Street Cowboys From Sweden

The Lovecraft Bar

421 SE Grand Ave Black Mass (goth dance)

TUES. OCT. 25 The Embers Avenue 100 NW Broadway Recycle (dark dance)

The Lovecraft Bar

421 SE Grand Ave BONES (goth, synth)

Tube

18 NW 3rd Ave. Tubesdays

Willamette Week OCTOBER 19, 2016 wweek.com

35

PERFORMANCE COURTESY OF KRISTINA WONG

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: SHANNON GORMLEY. Theater: SHANNON GORMLEY (sgormley@wweek.com).

Dance: SHANNON GORMLEY (dance@wweek.com).

TO BE CONSIDERED FOR LISTINGS, submit information at least two weeks in advance to: sgormley@wweek.com.

THEATER

ALSO PLAYING

NEW LISTINGS

Artists Rep wants you to look differently at the people who serve you sandwiches. Or at least that’s one of the hopeful takeaways from American Hero. The existential comedy sets its three main characters in a post-recession sandwich shop chain after the chain’s owner has mysteriously disappeared. The play sardonically pokes at the American Dream, while still taking a compassionate view of those chasing it. It’s directed by Shawn Lee, who’s new to Artists Rep but fresh off of CoHo’s compelling production of The Gun Show. Artists Repertory Theatre, 1515 SW Morrison St., artistsrep.org. 7:30 pm ThursdaySunday, 2 pm Sunday, with additional shows noon Wednesday, Oct. 19, and 7:30 Tuesday, Oct. 25. Through Oct. 30. $25-$50.

Hands Up

It’s been two years since Hands Up was commissioned by The New Black Fest to address the increasing amount of unarmed black men killed by cops brought to national attention. In those two years since its premiere, the list of cases has only continued to grow. The August Wilson Red Door Project is reprising their production of Hands Up at the Winningstad Theatre. Red Door Project founder Kevin Jones has already directed multiple limited-run showings of the production this year.

Jones says the goal of the production is to focus on the resilience displayed in the collection of monologues, an idea that is definitely echoed in the production of How I Learned What I Learned, which Jones is directing at Portland Playhouse. Hands Up is a show that you have every reason to go to: theater people who know what they’re doing artistically and a message that Portland really can’t hear enough of. Winningstad Theatre, 1111 SW Broadway, portland5.com.

7:30 pm Wednesday-Thursday, Oct. 19-20; additional performance 11 am Wednesday, Oct. 19. Free with reservation, donations accepted.

The Rocky Horror Show

Portland in October means you have your pick of how to consume Rocky Horror (beyond the year-round weekly showing at the Clinton Street Theater that’s been going on for decades). Since Funhouse religiously churns out cult camp shows, it’s not a bad place to go for your seasonal viewing of Rocky Horror. Johnny Nuriel (who’s a frequent performer at Dante’s) and Rhansen Mars will take turns playing Dr. Frank N. Furter. Like when you see Rocky Horror in movie theaters, you get to throw things at the show. Except, of course, in this case that means throwing stuff at live acting, not just a screen. Funhouse Lounge, 2432 SE 11th Ave., funhouselounge.com. 7 pm ThursdaySaturday, Oct. 20-Nov. 26; midnight Saturday, Nov. 12 and 19; no show Saturday, Oct. 29, and Thursday, Nov. 24. $15 advance, $20 at the door.

Terror by Gaslight

It’s not the villain who’s collecting bits of dead people for his body parts museum in Terror By Gaslight; it’s the benevolent protagonist. The play essentially rolls everything creepy into one plot: organ museums, early-19th-century surgeons, grave robbers, and cadavers obtained by suspicious means. Dr. Cyrus needs body parts for his anatomic museum, so he gets the help of two grave robbers, though he begins to suspect that not all of the cadavers actually came from six feet under. Considering the multiple levels of creepiness, it’s a reasonably safe bet for a theater’s Halloween show. Twilight Theater, 7515 N Brandon Ave., twilighttheatercompany.org. 8 pm Friday-Saturday and 3 pm Sunday, Oct. 21-Nov. 5. Additional show 8 pm Thursday, Nov. 3. $15.

36

American Hero

TWITTERPATED: Kristina Wong’s multimedia show includes hand-sewn hashtags.

#Africa

The Drowning Girls

Women aren’t the only gender with enough ingenuity to kill their spouses for their money. Between 1912 and 1914, George Joseph Smith made a habit of it. He killed each of his three wives by drowning them in a bathtub, chalked up the murders to accidents caused by seizures, and claimed life insurance money and their estate afterwards. Drowning Girls resurrects those three women: they tell their stories as they stand in the bathtubs where their mutual husband murdered them.

But the real villain here? The patriarchy. The play uses the draw of turn-ofthe-century serial killers to critique the institution of marriage. The Venetian Theatre, 253 E Main St., Hillsboro, bagnbaggage.org. 7:30 pm ThursdaySaturday and 2 pm Sunday, Oct. 20-30.

Additional show 7:30 pm Monday, Oct. 31. $20-$30.

Head. Hands. Feet.

Portland may be host to plenty of creepy theater, but few directors are as unafraid to get downright unsettling as Samantha Van Der Merwe. Her latest effort for Shaking the Tree is Head. Hands. Feet., a show comprised of two ensemble-devised pieces based on myths and fairy tales about dismemberment. The first half draws on three grisly tales from Hans Christian Anderson, the Brothers Grimm, and Charles Perrault, while the second turns to Euripides’ tragic telling of the sacrifice of Iphigenia.

But despite its preoccupation with bloodbaths, the play is visually beautiful and dexterously imaginative: Van Der Merwe’s sense of the macabre is more poetic than gross. Shaking the Tree Theatre, 823 SE Grant St., shaking-the-tree.com. 7:30 pm ThursdaySaturday, 5 pm Sunday. Through Nov. 5. $25.

Hir

Perhaps a dysfunctional family doesn’t seem particularly fresh subject matter for a play. But Taylor Mac’s Hir takes the well-worn subject matter to a new level of absurdity. The play, which first premiered less than a year ago, centers on a family with a formerly abusive dad incapacitated by stroke, a mother who exploits her husband’s disability to take revenge in the form of constant humiliation, a son who’s just returned with a dishonorable discharge from the military, and a daughter in the process of becoming a man. It might not sound that funny, but it is. Still, amid all the madcap, black humor, there’s also plenty of genuine compassion. Defunkt Theatre, 4319 SE Hawthorne Blvd., defunktheatre.com. 7:30 pm ThursdaySunday, Oct. 20-Nov. 12. $10-$25.

Willamette Week OCTOBER 19, 2016 wweek.com

KRISTINA WONG’S ONE-WOMAN SHOW TAKES ON INTERNET ACTIVISTS AND WHITE PRIVILEGE.

BY JACK R U SHA LL

Kristina Wong didn’t know what it was like to be white until she spent a month in Uganda. The Wong Street Journal is part standup, part TED Talk and part hip-hop show, and centers on her Uganda visit.

Wong, who is Chinese American, claims she was treated “like a white woman for three weeks,” and suddenly found herself “the beneficiary of American colonialism and privilege.”

How did Twitter play a role in your visit?

People unfriended me while I was there by telling me that my visit was “problematic.” The character I’m setting up in the show is Kristina Wong before she leaves for Uganda, but she’s this activist who’s always fighting people on her iPad. I don’t want to create a show where everybody comes after me; I want to be honest about how naive I was. I thought the best way to confront this would be by becoming the person who would protest it before it would even go up.

W W: What was your background with encountering white privilege in the States You recently said in an xoJane article that before visiting Uganda? you thought life was supposed to be miserable as a Chinese American via Wong Flew Kristina Wong: Right before I left, I wrote these xoJane articles about white guys and Over the Cuckoo’s Nest. Do you find being a comedian depressing?

Asian fetishes. I had briefly dated this white guy who argued that TrayI don’t want to belittle people von Martin was as likely to be who are actually bipolar, but shot for being black as he was doing theater is like giving birth. When women describe for having tattoos. I tagged this guy in the post of the postpartum…that’s what it’s like. Everybody leaves the article—because he was an idiot. He still doesn’t undertheater, and you’re kind of stand how he shouldn’t have alone. The nature of surequated his situation to a vival in this profession can come with a lot of lows. black kid getting shot. So, I outed him as a fetishist. But, What’s your best coping with this show, I don’t want to stand onstage and yell at white mechanism for dealing with online hate? people for what they’ve done wrong.

—Kristina Wong You need to exercise being your biggest What was this privilege like in Uganda? critic. In some countries, we’ve seen revoluMy second day in Gulu in Northern Uganda, I tions enacted by Twitter. It’s not a completely usemade a rap album. I met these boys in the street, less thing. I’ve seen a lot of activists hate themselves. and they invited me back to their music studio. I That’s why I do theater—you are allowed to see the got pegged for a music career because they saw whole process of how you keep getting it wrong, and me as somebody who could give them public- then sometimes you get it right. I think that’s what ity as a “mzungu,” or white person. One of the we’re missing with online activism. boys told me that he thought he deserved a mzungu wife due to his music. I had many expe- SEE IT: The Wong Street Journal plays at the Headwaters Theatre, 55 NE Farragut St., riences where children would gather around 503-289-3499. 7:30 pm Thursday-Sunday, Oct. me and sit on my lap just so others could see. 20-23. $20.

“DOING THEATER IS LIKE GIVING BIRTH. WHEN WOMEN DESCRIBE POSTPARTUM… THAT’S WHAT IT’S LIKE.”

The Nether

IIn a twisted take on the dystopian play, The Nether follows Morris’s investigation of The Hideaway, a lush, secret garden-like virtual reality that’s meant for some seriously fucked-up stuff. With a plot that’s like a technology-age Bend Sinister, The Nether tests the boundaries of moral pragmatism, as well as our ideas about deviancy. Jennifer Haley’s dark, weird, and thoroughly disturbing play is one moral mind-fuck of a show. With dual sets and the kind of character portrayal that doesn’t allow you to arrive at brash judgements, Third Rail’s production is definitely a worthwhile adaptation.

Imago Theatre, 17 SE 8th Ave., thirdrailrep.org. 7:30 pm ThursdaySaturday, Oct. 20-22. $25-$42.50.

DANCE BloodyVox: Blood Red Is the New Black

Just about every other theater stages a Halloween show, but BodyVox might be the only dance company in Portland to pay homage to the holiday. They start their season off every year with BloodyVox , their tribute to all things creepy. However, due to an incident where a kid was spooked to tears in the front row, the company has toned down the show’s creepiness over the years.

BodyVox Dance Center, 1201 NW 17th Ave., bodyvox.com. 7 pm Thursday-Saturday, Oct 20-29.

Additional shows 9 pm FridaySaturday, Oct. 21-22; ThursdayFriday, Oct. 27-28; and 2 pm Saturday, Oct. 29. $25-$64.

COMEDY & VARIETY FRIDAY, OCT. 21 W. Kamau Bell

Not many black comedians are willing to interview KKK members on statements suggesting interracial marriage is worse than murder; and not many people who have a show on CNN are funny, but Bell has managed both. He tours America for his travel show, United Shades of America , and usually ends up making us feel pretty bad about being American. Let’s hope we feel the same way when he comes to Portland, as New Seasons shoppers need a bit of a wake-up call. JACK RUSHALL. Aladdin Theater, 3017 SE Milwaukie Ave., 503-234-9694. 7:30 and 10:30 pm Friday, Oct. 21. 7:30 pm show sold out, 10:30 pm show $25.

SATURDAY, OCT. 22 Brian Posehn

Brian Posehn is probably the only comedian who has given the general public authorization to physically abuse his child. Apparently, if Posehn reproduces, we are entitled to the ultimate punchline: we can hit his kid in the face, because Posehn’s genes have no business continuing. (He’s since changed his mind about the joke, though, now that he actually has a baby who he’d like people not to punch.) He was also a part of possibly the chillest gay male relationship depicted on TV

next to Spongebob Squarepants and Patrick Star: Posehn’s Brian and Steve Agee’s Steven from The Sarah Silverman Program. This show is going to be taped live in preparation for Posehn’s new comedy special, so maybe someday you can see yourself in that faint studio spotlight while you hover over your laptop in the wee hours of the morning. JACK RUSHALL. Revolution Hall, 1300 SE Stark St., No. 110, 503-288-3895.

10 pm Saturday, Oct. 22. $20.

For more Performance listings, visit

REVIEW R U SS E L L J. YO U N G

How I Learned What I Learned

Out of all August Wilson’s plays, How I Learned What I Learned is Wilson at his most personal. The monologue recounts Wilson’s own life growing up in Pittsburgh, and shows through his personal experience not only the deeply rooted racial issue of our country, but also how it inspired him to create the body of work he is so esteemed for.

The play is in good hands: Victor Mack, the sole actor in the play, has already acted in all but one of Wilson’s other plays. Director Kevin Jones (and founder of The August Wilson Red Door Project) has dealt with his fair share of Wilson’s works, too, and is one of the strongest artistic voices in the effort to make Portland’s theater scene more inclusive. Portland Playhouse, 602 NE Prescott St., portlandplayhouse.org. 7:30 pm Wednesday-Sunday, Oct. 19-23; 2 pm Sunday, Oct. 23. $5-$34.

BACK FROM THE DEAD: Patricia Alvítez and Roberto Arce hang out in the spirit world.

Homeless Alone An unattended kid follows a dead guy to a homeless camp under a bridge.

Most audiences don’t seem to object to theater that pushes a political message—as long as it doesn’t cross the line into heavyhandedness. The fact that El Muerto Vagabundo has a 12-page study guide certainly makes it seem the play could cross that line.

But even though the ensemble-devised play isn’t shy about the fact that it’s making a point, it’s not creatively limited by it either.

This year’s Day of the Dead show at Milagro Theatre focuses on returning spirits who have no family to visit, and uses the concept to discuss homelessness in Portland (which is what most of the information in the study guide up on the theater’s website is about). El Muerto Vagabundo tells the story of the Kid (Diego Delascio), an orphan in the care of his sister (Mariel Sierra) who insists on building a Day of the Dead altar to honor their parents despite his sister’s resistance. When she goes off to work her graveyard shift at a homeless shelter, the Kid ends up following a wandering spirit (Roberto Arce) to a homeless camp under a bridge.

What follows is a collage of backstories as the Kid gets to know everyone in the camp. Every story is told with the help of some kind of cool stage trick: For Pan’s (Carrie Anne Huneycutt) story, some of the actors project cut-out shadow puppets onto a sheet held up by two of the other actors in the dark theater. With all the fragmented, unconventional storytelling, the play has the potential to feel overdone, but El Muerto Vagabundo doesn’t seem to take itself too seriously. In a few interludes, Arce mimes everything with G-rated Benny Hill-like clownishness.

The closest the play gets to topical are its references to homeless camp sweeps. Its main message is pretty simple and hardly radical: Homeless people deserve to be treated with the same respect and empathy as people who don’t have to live on the streets. El Muerto Vagabundo isn’t trying to force something down your throat, or at least nothing you wouldn’t want to swallow. SHANNON GORMLEY. SEE IT: El Muerto Vagabundo plays at Milagro Theatre, 525 SE Stark St., milagro.org. 7:30 pm Thursday-Saturday, 2 pm Sunday.

Through Nov. 6. $20-$27.

Willamette Week OCTOBER 19, 2016 wweek.com

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VISUAL ARTS REVIEW

By JENNIFER RABIN. 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: jrabin@wweek.com.

Hold

Painter Sarah Fagan’s white-on-white still lifes depict objects whose only purpose is to hold things. Glassine envelopes, paper lunch bags, tiny transparent vessels all wait quietly, in beautifully shaded relief, to accept whatever we choose to put inside of them. A piece of lined notepaper and a Post-it note are blank canvases for our words, thoughts and ideas. Fagan paints multiple iterations of white cardboard boxes, each unfolded, lying flat. In their deconstructed state, it is easy to mistake them for architectural floor plans, a visual representation of another object that will hold something precious: our hopes and desires for the future. The work is still and subtle and overwhelmingly optimistic. And with price points from $100$400, it’s a perfect opportunity for first-time collectors to get in the game.

Blackfish Gallery, 420 NW 9th Ave., 503-224-2634. Through Oct. 29.

Travellers

German photographer Birte Kaufmann chronicles the lives of outcast Irish nomads. Her color photographs have an Arbus-like quality, capturing moments that are both intimate and surreal, like twin sisters in the back of a camper van, made up like beauty pageant contestants. The series took four years to complete, most of which Kaufmann devoted to earning the trust of her subjects, traveling across an ocean to visit and revisit them. Blue Sky Gallery, 122 NW 8th Ave., 503-225-0210. Through Oct. 30.

Ground Effects

If you’re a fan of sculpture, Malia Jensen’s show of new works will be a thrill. Working in materials as wide-rang-

ing as bronze, glass, and plaster (shown alongside 2-D drawings), Jensen fills the gallery with objects that feel weighty and primordial. A glass vitrine atop a pedestal holds a collection of cast bronze ribs, pitted with a gorgeous verdigris. A similar display houses river rock cairns—made of an unknown material because the wall tags are desperately hard to locate—a testament to an artist’s ability to lovingly facsimilate the work of Mother Nature. Three tree limbs, cast in bronze with gloriously different patinas, lean against the wall, each one providing shelter for a different insect that constructs its nest among the knobby bifurcated branches. Elizabeth Leach Gallery, 417 NW 9th Ave., 503-224-0521.

Through Oct. 29.

Andy Warhol: Prints From the Collections of Jordan D. Schnitzer and His Family Foundation

The largest-ever exhibition of Warhol screenprints is showing at Portland Art Museum. With 250 pieces spanning 35 years of the artist’s career (and two floors of the museum), the show provides an unprecedented opportunity to evaluate the entire trajectory of Warhol’s creative life, from his period of making childlike commercial illustrations to his pop notoriety.

The exhibition can feel overwhelming and rambling at times, but it excels at showing us many of Warhol’s lesserknown works, giving us new windows into the mind of an artist we all thought we had a handle on. Portland Art Museum, 1219 SW Park Ave., 503-226-2811. Through Jan. 1, 2017.

For more Visual Arts listings, visit

COURTESY OF JENNIFER RABIN

= WW Pick. Highly recommended.

Tim Kowalczak, ANALOGUE SKIES

In the tiny backroom at Eutectic Gallery, conceptual ceramicist Tim Kowalczyk creates a nostalgic reverie that will take you back in time.

For Analogue Skies, he’s hand-built small, hyperreal objects like matchbooks, carnival ephemera and Polaroids out of stoneware. The work may elicit a double take from viewers who are slow to believe that a cardboard matchbook, seemingly bent and soggy from being in someone’s pocket, is made of ceramic.

A white paper target from a carnival shooting gallery, re-created in porcelain, hangs from fishing line strung between two walls. The target boasts a red star at its center, and the text beneath reads, “All [Red] Star Must Be Shot From Card To Win A Prize.”

Kowalczyk’s target has two holes, a larger one through which the fishing line is threaded and The stars aligned.

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TARGET

another the size of a BB—an artifact, perhaps, from the first shot fired. What is most remarkable about Target is the way it’s lit in the exhibit.

A strong spot casts a shadow of the target onto the far wall. The resulting dark rectangle contains two points of light, one larger and one smaller, a constellation twinkling against the night sky.

This makes sense, given that the show was inspired by Kowalczyk’s move to the country, where he has taken up stargazing. “I now think of myself as a bizarre collector of objects who recreates relationships between mundane things and a sky filled with stars,” he says.

The relationship is carried out in a series of stoneware Polaroids, hung in an array against one wall. Some are unexposed blanks, their black squares framed by white borders, while others appear misdeveloped, streaked by the blur and drag of chemicals across their surface, resulting in multicolored explosions of celestial patterns. An outdated technology, rendered in uncannily realistic detail, captures something timeless and infinite.

Matchbooks are the subject of three of Kowalczyk’s sculptures. Fading Stars is the most powerful because its matches appear to have been consumed and curled by fire, lying in a charred pile next to the empty book. It is a tactile remnant of something that can never be touched: stars, like matches, burn brightly for a time only to burn out.

Analogue Skies feels intimate and personal because it gives us the sense that Kowalczyk is searching for something within the vastness of the sky, inviting us to search with him rather than telling us what he’s already discovered. JENNIFER RABIN. SEE IT: Analogue Skies is at Eutectic Gallery, 1930 NE Oregon St., 503-974-6518, eutecticgallery.com.

Through Oct. 29.

BOOKS = WW Pick. Highly recommended.

BY ZACH MIDDLETON. TO BE CONSIDERED FOR LISTINGS, submit lecture or reading information at least two weeks in advance to: WORDS, WW, 2220 NW Quimby St., Portland, OR 97210. Email: words@ wweek.com. Fax: 243-1115.

WEDNESDAY, OCT. 19 Katherine Boo

Katherine Boo’s investigative reporting on poverty, from an undercity in Mumbai to the projects of Oklahoma City, earned her the Pulitzer Prize, the National Book Award and a MacArthur. Now a writer for The New Yorker, Boo will talk with Oregon Humanities’ Adam Davis about “place, poverty and power.” Alberta Rose Theatre, 3000 NE Alberta St., 503-719-6055. 7 pm. $15-$25.

Kait Heacock

Described by the author as “the love child of Anaïs Nin and Raymond Carver,” Portland author Kait Heacock’s debut collection, Siblings and Other Disappointments, takes an unsentimental look at the lives of families in the American West.

She will be joined in conversation

by A Common Pornography author Kevin Sampsell. Powell’s Books on Hawthorne, 3723 SE Hawthorne Blvd., 800-878-7323. 7:30 pm. Free.

THURSDAY, OCT. 20 Comma Reading Series: Diana Abu-Jaber and Matt Schumacher

The newest installment of the Comma Reading Series will feature two Portland authors from different genres in conversation about craft: Diana Abu-Jaber, author of the food-centric memoir Life Without a Recipe, and Matt Schumacher, author of the forthcoming poetry collection Ghost Town Odes. Broadway Books, 1714 NE Broadway, 503-284-1726.

7 pm. Free.

Rupi Kaur

Never has a roll in literary Yahtzee come up with the dice, “New York Times Best-selling,” “self-published,” “debut” and “poetry collection,” and yet, Instagram-famous poet Rupi Kaur did just that with her collection Milk and Honey, which explores “the experience of violence, abuse, love, loss and femininity,” mostly through poems about loving yourself. Powell’s Books at Cedar Hills Crossing, 3415 SW Cedar Hills Blvd., Beaverton, 800-878-7323. 7 pm. Free.

Violent Borders

Last week, a New York Times feature depicted African immigrants stepping over their lifeless countrymen on rafts as rescuers attempted to help them. Meanwhile, a presidential candidate stirred up racial animus toward immigrants of all stripes. In Violent Borders: Refugees and the Right to Move, Reece Jones looks at the geopolitical forces that work to keep resources flowing, but humans stationary. Powell’s City of Books, 1005 W Burnside St., 800-878-7323.

7:30 pm. Free.

Louise Erdrich

Louise Erdrich’s brutal, redemptionobsessed and austerely lyrical novels forcefully assert the Native American experience in a foreign America.

Arlene Schnitzer Concert Hall, 1037 SW Broadway, portland5.com.

7:30 pm. Sold out.

FRIDAY, OCT. 21 Attack on Titan Anthology

Top American comic artists reinterpret a wildly popular manga for the Attack on Titan Anthology.

Eisner winner Michael Avon Oeming (Powers, Bulletproof Monk) will appear. Powell’s Books at Cedar Hills Crossing, 3415 SW Cedar Hills Blvd., Beaverton, 800-878-7323.

7 pm. Free.

SATURDAY, OCT. 22 Ralph Nader

Before he was the boogeyman for third-party candidates, Ralph Nader was responsible for several important works of journalism, including Unsafe at Any Speed, which took aim at auto-industry safety standards. In Breaking Through Power, Nader offers a call to action for individuals to take on corporations and government agencies. Powell’s City of Books, 1005 W Burnside St., 800-878-7323. Noon. Free.

MONDAY, OCT. 24 Claire Rudy Foster

If Hemingway’s famous adage was “write drunk, edit sober,” Portland

author Claire Rudy Foster provides a contemporary response with a story titled: “Write Sober, Edit Sober.”

In her new collection of “addiction fiction,” I’ve Never Done This Before, Foster explores the esoteric logic of compulsion. Annie Bloom’s Books, 7834 SW Capitol Highway, 503-2460053. 7 pm. Free.

Brit Bennett

Set in a contemporary black community in Southern California, Brit Bennett’s debut novel, The Mothers, tackles suicide, abortion, and leaving town as a way of leaving our past behind. Powell’s Books on Hawthorne, 3723 SE Hawthorne Blvd., 800-878-7323. 7:30 pm. Free.

For more Books listings, visit

REVIEW

H.W. Brands

THE GENERAL VS. THE PRESIDENT

Civilian control of the military is a tenet of American democracy as basic as one person, one vote—and as old as Gen. George Washington relinquishing command of the Continental Army in 1783. And as a Republican nominee for president threatens to use our military to kill the wives and children of suspected terrorists, it couldn’t possibly be more relevant.

Threescore and five years ago, this principle endured the ultimate test during the Korean War when President Harry Truman fired his chief commander, Douglas MacArthur, in April 1951. As historian H.W. Brands recounts in his new book, The General vs. the President (Doubleday, 448 pages, $30), the showdown ended the distinguished career of one of history’s greatest generals, and effectively doomed Truman’s presidency. But it also amounted to our nation stepping back from a precipice.

As caricatured as MacArthur would become, Brands reminds us what an iconic figure the general was at the time. As supreme commander of Allied forces in the Pacific, he administered the occupation of Japan so brilliantly—giving women the right to vote, for instance—that he was worshipped by the Japanese as much as by Americans when North Korea invaded South Korea in 1950.

After rescuing a faltering South Korea with landings at Inchon that no one thought could succeed, MacArthur made two fateful errors as commander in the Korean conflict. He brushed too close to China with U.S. troops in North Korea—something he’d been warned not to do—and publicly castigated Truman’s moves to limit the war.

As Brands demonstrates, Senate hearings after MacArthur’s recall exonerated Truman’s decision. MacArthur testified he had wanted to bomb Chinese forces even before they crossed the Yalu River to aid North Korea. The hearings also revealed that a limited war hampered China as much as it did the United States: If U.S. forces didn’t bomb bases in China, neither could China justify bombing U.S. bases in Japan.

The Truman-MacArthur clash forever painted the career soldier as the villain. One can’t help but wonder what would happen if civilian control of the military were tested today but in reverse.

What if a top U.S. military commander urged caution in some farflung corner of the world, but the president (whose name rhymed with, say, “rump”) wanted to wage all-out jihad on Islam—or Mexico? Would we pull back from the same brink?

Ultimately, Truman’s decision to sack MacArthur was his alone. Brands recalls how a junior aide urged Truman to say in a press statement that the ouster was backed by his top civilian and military advisers. “Not tonight, son,” Truman said with a twinkle in his eye. It was as if the former haberdasher from Missouri were sending a message: Let MacArthur stick this in his corncob pipe and smoke it. MATT BUCKINGHAM.

FOGHAT LISTENING PARTY & WINE TASTING Friday October 21st at 7pm

Join us for a special Foghat listening party in our vinyl room! We will be spinning ‘Under The Influence’, the seventeenth studio album from Foghat, and enjoying the band’s own Foghat Cellars wine.

BAD SUNS

Saturday, October 22nd at 2pm California’s Bad Suns have just released, Language & Perspective, their debut full-length album. Comprised of eleven tracks, the new record moves effortlessly from start to finish showcasing the band’s stadium ready anthems and undeniably catchy hooks.

SEE IT: H.W. Brands is at Powell’s Books at Cedar Hills Crossing, 3415 SW Cedar Hills Blvd., Beaverton, 800-878-7323, on Wednesday, Oct. 19. 7 pm. Free.

Willamette Week OCTOBER 19, 2016 wweek.com

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COURTESY OF COMPUTER CHESS

MOVIES GET YO UR R E PS IN

Child’s Play (1988)

There was a simpler time in horror movies when all you had to do was possess an inanimate object with a demon or the soul of a serial killer. Tom Holland directs Chucky in the one that started it all. Academy Theater. Oct. 19-20.

The Fall of the House of Usher (1928), The Raven (1951), The Pit and the Pendulum (1964)

Never ones to keep things simple, Church of Film presents three arthouse takes on the work of Edgar Allan Poe: French impressionist pioneer Jean Epstein’s The Fall of the House of Usher, Kurt Steinwendner’s The Raven and Alexandre Astruc’s The Pit and the Pendulum.

North Star Ballroom. 8 pm Wednesday, Oct. 19.

CHECKMATE: Computer Chess.

Mumblin’ Man

The Battle of Algiers

(1966) Cinema 21 is celebrating the 50th anniversary of Gillo Pontecorvo’s controversial masterpiece (it was banned in France for fi ve years), a documentary-style account of the Algerian war for independence. Cinema 21. Oct. 21-26.

ANDREW BUJALSKI, INVENTOR OF MUMBLECORE, IS SCREENING HIS BEST MOVIE IN PORTLAND.

Silent Running (1972)

Special-eff ects maestro Douglas Trumbull’s (2001: A Space Odyssey, Blade Runner) Silent Running sees an ecologist and his robots fi ght to save his space greenhouse from destruction after the end of all botanical life on Earth. Presented as part of the Portland EcoFilm Festival.

Hollywood Theatre. 9:15 pm Friday, Oct. 21.

They Live (1988), Beeswax (2009)

This election isn’t enough of a nightmare as it is. So why not follow “Rowdy” Roddy Piper as a drifter who fi nds sunglasses that let him see a ruling class of aliens in John Carpenter’s most political fi lm? Played as a part of a double feature with Andrew Bujalski’s midperiod indie drama Beeswax, because you won’t be Bujalskied out after Computer Chess. 5th Avenue Cinema. Oct. 21-23.

ALSO PLAYING: 5th Avenue Cinema: Arresting Power: Resisting Police Violence in Portland, Oregon (2012), 7 pm Saturday, Oct. 22. Academy Theater: The Howling (1981), Oct. 21-27. Hollywood Theatre: Earthquake (1974, in “Sensurround ”), 7:30 pm Wednesday, Oct. 19; Maniac (1980), 7:30 pm Tuesday, Oct. 25. Laurelhurst Theater: Carnival of Souls (1962), Oct. 19-20. Mission Theater: Carrie (1976), Oct. 21-24. Little Shop of Horrors (1986) Oct. 21-25.

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BY WALKER MACMURDO

ing, existential mockumentary about an Did Girls speak to your mid-20s ennui? Are early-’80s gathering of computer programyou, like everyone else, flipping your shit mers for a conference and chess tournaabout Atlanta? Do you think one or more of ment. I spoke to him about Computer Chess, his impact as a filmmaker, and the origin of the Duplass brothers are sexy? the dumbassed term mumblecore.

Well, #ThanksBujalski.

In 2002, Andrew Bujalski’s Funny Ha WW: Your movies mostly deal with sinHa kicked off a movement of slice-of-life gle people, or people in unstable indie dramedies mostly about white relationships trying to find people trying to make sense of s o m e k i n d o f s t a b i l i t y. the confusion of post-college How has this idea evolved life. This movement—whose through your career? big names include Mark Andrew Bujalski: Your a n d Ja y D u p l a s s ( T h e perspective changes, and Puffy Chair, 2005), Joel your concerns change a Swanberg (Hannah Takes great deal, of course. But the Stairs, 2007) and Lena I can’t imagine that my Dunham (Tiny Furniture, grand theme as a filmmaker 2010)—took on the moniker will ever be anything other “mumblecore” because of its BUJALSKI than confusion and all of the extensive use of naturalistic, often comedy that comes from that. From improvised bullshitting for dialogue.

And mumblecore has been a big deal. The childhood through middle age, that’s been Duplassi (Transparent, The Mindy Project) the pervasive theme of my life. I do feel like and Dunham (Girls, not Odell Beckham’s Ins- there’s a lot that’s funny that comes from tagram) have gone on to massive mainstream the fact that life doesn’t—for me—add up in success, while the subgenre’s stylistic influ- the way that perhaps the folks in Computer ences have spread everywhere from prestige Chess try to make it add up.

Where other people might say my first TV to horror (You’re Next). Bujalski is now five features in, with last year’s Results taking three movies were of a piece, I look at them and see everything that sets them apart a step toward the mainstream.

This weekend, Bujalski is visiting Port- from each other. But Computer Chess is, to land State University to present his best some extent, about people who had a differfilm, 2013’s Computer Chess, a mind-bend- ent approach. Computer Chess and Results

Willamette Week OCTOBER 19, 2016 wweek.com

wmacmurdo@wweek.com

are both about characters who are trying to live their lives through systems and manage their anxiety through a very particular system and order.

As your perspective changes, you aren’t going to make the same movie twice. After I finished Results, my daughter was born.

That was a kind of a crisis for me. With the onset of midlife crisis, I oddly feel more connected to the mood of Funny Ha Ha than I have in a while. That confusion of being 24 was just starting to reassert itself.

I’m 26 and I constantly feel an impending sense of catastrophe and uncertainty both professionally and personally, so Funny Ha Ha certainly spoke to me very deeply.

Well, we all do it—try to impose an order on something that’s never fully going to be under your control. And if you think that it is, you’re setting yourself up for a fall.

It’s extremely human, and there’s nothing wrong with trying to figure out how to make things better for yourself. You just have to be careful you aren’t going to collapse if you don’t get the golden ticket.

How do you feel about the term “mumblecore” and your place in American indie cinema?

I’ve never related to it. I never felt that it had a whole lot to do with what I thought I was trying to do. It’s been almost 10 years now since the real flurry of press around that. At the time, it was annoying. With a little bit more perspective around that, it’s fine. I got past the frustration with it.

It’s basically like you invented a subgenre.

That I don’t believe. I believe I was present for the birth of a neologism. In terms of whatever mumblecore means in film history, if you look at Funny Ha Ha, which is supposedly the birth of the so-called genre, there’s no genre to it. It’s such a simple and old-fashioned film. I hoped it would be as good of a film as we could possibly make. But I didn’t think I was being remotely innovative. I thought I was doing something really old-fashioned. It’s a funny historical irony that it gets tagged as the start of something.

It’s a really stupid term.

It may well be etched on my tombstone. It was a joke that my sound mixer, Eric Masunaga, made to me. I made the mistake of repeating it to a journalist. It was printed in an interview in a context in which it was clear it was a joke, and it just kind of lay dormant for two years, and then it got this currency.

And it’s really interesting to see the legs that this word has had. I’ll see it with reference not to a movie at all, but as kind of a cultural code. And that amazes me to think that this thing that came from my friend— and it went from his lips to my ear—went around the globe. That’s a wider reach than any one film I’ll ever make, and it’s extraordinary to me to have been part of that.

SEE IT: Computer Chess screens in Room 75 of Portland State University’s Lincoln Hall, 1620 SW Park Ave. 7pm Saturday, Oct. 22. A Q&A with director Andrew Bujalski follows.

OPENING THIS WEEK Jack Reacher: Never Go Back

In the follow-up to 2012’s forgettable Jack Reacher, Tom Cruise reprises his role as the goofily named government ass kicker, teaming up with the underrated Colbie Smulders (How I Met Your Mother) to beat the piss out of some villains. Not screened for critics. PG-13.

Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Lloyd, Pioneer Place, Tigard, Vancouver.

Keeping Up With the Joneses

B Keeping Up With The Joneses

doesn’t exactly try to conceal its identity. For better or worse, the poster is the movie—impossibly suave secret agents Jon Hamm & Gal Godot move next door to suburban schlubs Zach Galifianakis & Isla Fisher—infinitely derivative, clumsily constructed and, with entire sequences played as extended Apple and Mercedes ads, brazenly commercial. But, in the weirdest way, it’s also kinda sweet. Most every other 21st-century popcorn flick hawking the lighter side of domesticated espionage would either relish the physical disparity between mismatched caricatures (Central Intelligence, Spy) or crank up the stylized senselessness (Knight & Day, Mr. & Mrs. Smith, Spy Kids) for a showy satire of audience wish fulfillment. The Joneses, blessedly, draws down the scope and extends each scene for lovingly etched performances to flesh out the creeping unease of marital doldrums and workplace anomie. Nonetheless, this film seems most like a few episodes of the not-quite-prestige sitcoms once helmed by director Greg Mottola (Superbad, Adventureland), and its effectiveness feels inextricably linked to the goodwill already accumulated by the leads’ former small-screen stardom.

However appreciable their investment, Galifianakis & Hamm are clearly intending just to flip this property and move on, but they’ve built a damnably pleasant bubble nonetheless. PG-13.

JAY HORTON. Cedar Hills, Clackamas, Eastport, Vancouver.

Klamath Independent Film Festival Best of Program

The restive, forested area to our distant south has movies, too. Showcasing films made by Klamath Basin-area filmmakers, this year’s KIFF highlights program includes Ross Williams’ masochist love story Self Inflicted and Mig Windows’ 2015 grand jury prize winner Not a Bench. NW Film Center’s Whitsell Auditorium. 7 pm Sunday, Oct. 20.

Ouija: Origin of Evil

You may shake your head incredulously at the idea that a universally panned horror movie based on a goddamned board game got itself a prequel, until you learned that the first Ouija movie made over $100 million on a $5 million budget.

Not screened for critics. R. Cedar Hills, Clackamas, Eastport, Vancouver.

New Scandinavian Cinema

Hold on to your…lutefisk? This week, NW Film Center hosts a collection of new films straight from the most unsettlingly tidy part of the world, most of which you can’t catch on another Portland screen. This series kicks off with Óskar Jónasson’s In Front of Others, about a shy copywriter whose attempts to woo a young woman by imitating friends and celebrities, shockingly, wear thin. NW Film Center’s Whitsell Auditorium. Oct. 21-29.

Seed: The Untold Story

Portland filmmakers Taggart Siegel and Jon Betz (Queen of the Sun: What Are the Bees Telling Us?, The Real Dirt on Farmer John) kick off the EcoFilm Festival with their new documentary about the history of seeds and the impact of modern agribusiness on the global seed market. NR. Hollywood Theatre. 7:30 pm Thursday, Oct. 20.

STILL SHOWING A Man Called Ove

Hannes Holm adapts Fredrik Backman’s best-selling novel of the same name, in which a shitty old Swedish guy befriends a young family who moves in next door. Zany life lessons are learned all around. Not screened for critics.

PG-13. Cinema 21.

The Accountant

C A slick dud starring Ben Affleck as Christian Wolff, an autistic accountant who works for criminals on the sly.

After being caught in a web of corporate treachery, Wolff beats and shoots a seemingly endless string of creepy thugs to survive, though the film’s fight scenes are too shadowy and clumsily choreographed to be exciting. Even more appalling are the attempts by director Gavin O’Connor (Warrior) to romanticize Wolff’s savagery. By constructing an inane subplot about a school for autistic kids that benefits from Wolff’s illegal earnings and exploits, O’Connor intimates that a dashing serial murderer with a machine gun can be an effective instrument of justice when pointed at the right target—a noxious flash of pessimism tempered briefly by the cheery presence of Anna Kendrick. As Wolff’s would-be sidekick Dana Cummings, Kendrick brightens up the movie by rattling off a story about the black strapless dress she bought for her prom, hoping to “wow” her classmates. “You deserve ‘wow,’” Christian tells her. What she really deserves is a movie that isn’t infatuated with the sour spectacle of macho cruelty.

R. BENNET CAMPBELL FERGUSON. Bagdad, Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Living Room Theaters, Lloyd, Moreland, Oak Grove, Roseway, St. Johns Twin Cinema & Pub, Tigard, Vancouver.

A

American Honey

We first glimpse Star (Sasha Lane), the charismatic protagonist of Andrea Arnold’s (Fish Tank) coming-of-age drama, knee-deep in a dumpster, salvaging a shrinkwrapped chicken in the Texas heat.

What follows is a nearly three-hour road epic, a tapestry of booze, cornfields and dysfunctional romance that depicts American young adulthood in 2016 with such perfect and uncanny verisimilitude it sometimes feels like a documentary. R. Fox Tower.

Author: The JT LeRoy Story

B+ When a mysterious, HIV-positive, queer former child prostitute going by the name JT LeRoy stormed onto the literary scene in 1999 with the staggering novel Sarah, celebrities lined up to harvest the cultural capital. The only problem was that JT LeRoy was actually a persona of Laura Albert, a New School-educated, middle-aged San Franciscan. In Author: The JT LeRoy Story, we see the elaborate plot Albert used to fashion her own fame out of whole cloth. R. Laurelhurst.

A

COURTESY OF UNIVERSAL PICTURES

Finding Dory

Florence Foster Jenkins

B Making fun of terrible singing is cheap and easy, but Florence Foster Jenkins avoids cheap shots. PG-13.

Academy, Laurelhurst, Vancouver.

A

B+

For 13 years, the entire world eagerly awaited the return of Ellen DeGeneres as the forgetful Dory.

There’s tears to fill a tide pool, wit to keep adults amused, and laughs for any audience with a short attention span. PG. Empirical, Valley, Vancouver.

Ghostbusters

Paul Fieg’s reboot is maximalist. It’s glorious, and if it ruined your childhood, sorry bro. PG-13. Academy, Avalon, Laurelhurst, Laurelhurst, Valley.

CONT. on page 42

REVIEW

The Beatles: Eight Days a Week

The best reason to see Ron Howard’s new feature documentary on the Fab Four’s touring years is to witness the highest-quality versions of some exceptionally rare performances.

NR. Cinema 21.

The BFG

B- Like all Roald Dahl books, it’s an ecstatic mix of the sentimental and cruel—the story of a young orphan named Sophie abducted by a lovable Big Friendly Giant who catches and releases dreams. PG. Vancouver.

The Birth of a Nation B

Nate Parker’s controversial first film plays a lot like Braveheart set in the antebellum South. R. Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Fox Tower, Hollywood, Lloyd, Tigard, Vancouver.

Bridget Jones’s Baby

C The third installment of the Bridget Jones franchise is wearily formulaic both in storyline and characterization. R. Bridgeport, Living Room Theaters.

A

Captain Fantastic

Viggo Mortensen is mud-splattered, idealistic and good at killing things…again. But this time with six kids in tow. R. Fox Tower, Vancouver.

Deepwater Horizon

C+ How do you make a movie about the worst oil disaster in U.S. history?

If you’re director Peter Berg (Lone Survivor), you condense an environmentally devastating oil spill into an incoherent action blowout starring Mark Wahlberg as Mike Williams, a BP employee who escaped the Deepwater Horizon oil rig disaster that ultimately killed 11 people. PG-13. Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Lloyd, Oak Grove, Pioneer Place, Tigard, Vancouver.

Do Not Resist

B Director Craig Atkinson addresses the impacts and consequences of the militarization of law enforcement in the United States. The film provides an adequate defense for its arguments, but leaves many elements of this complicated subject unexplored. NR. NW Film Center’s Whitsell Auditorium. Oct. 19- 21.

Don’t Breathe

B+ A trio of serial burglars gets trapped in an isolated Detroit home after their mark, a blind vet played with quiet menace by Stephen Lang, turns out to be a brutally efficient badass. R. Eastport, Fox Tower.

OUIJA: ORIGIN OF EVIL

dian Mike Birbiglia has already been called Birbiglia’s Annie Hall, and with the help of Keegan-Michael Key and Gillian Jacobs, this movie brings together a group of talent on the verge of superstardom. R. Academy, Laurelhurst,

COURTESY OF IFC FILMS

= WW Pick. Highly recommended.

Editor: WALKER MACMURDO. 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.

A-

Don’t Think Twice

The newest feature from come-

LILY OF THE VALLEY: Lily Gladstone.

Picture of Lily

In Kelly Reichardt’s piercing slice of 21st-century life, Certain Women, Laura Dern, Michelle Williams and Kristen Stewart skillfully embody a trio of weary Montanans. Yet the true star of the film is Lily Gladstone, a relative unknown who, until now, has mostly played bit parts or unnamed characters.

Gladstone’s scenes fill one of three vignettes that Certain Women draws from the short stories of Maile Meloy. The first focuses on an attorney (Dern) held hostage by a client (Jared Harris); the second is about a troubled mother (Williams) trying to buy a pile of sandstone from a withering old man (a moving Rene Auberjonois); and the final follows a one-sided romance between Gladstone, a nameless rancher, and Beth (Stewart), a beleaguered night-school teacher.

As “the rancher,” Gladstone transcends her character’s anonymity. While a whiff of calculation—or perhaps just overexposure— occasionally clouds the rest of the cast, nothing in her acting feels preordained, whether she’s driving a tractor, trudging through snow or staring longingly across a table in a diner.

Certain Women’s moody tales are entrancing, but the film doesn’t reach its zenith until it surrenders to Gladstone. Often silent and always hidden under a mountain of baggy clothes, the rancher could have been maddeningly inexpressive, but Gladstone is a master of communicating emotions using only her face. The roguish smile she flashes when the rancher invites Beth to go horseback riding is the most memorable look in the movie.

That’s one of the only times Gladstone smiles in Certain Women. But this isn’t shocking. The farm where the rancher works seems to exist on an alternate plane of existence—if she has any friends, they remain off-screen. Such bleak loneliness is typical for Reichardt (Wendy and Lucy), who lives part time in Portland and seems transfixed by the gloomy tales of loners living in the Pacific Northwest.

In Certain Women, that gloominess is hard to shake. While the movie shines a spotlight on Gladstone, it’s also a showcase for Reichardt, whose sensitive exploration of working-class anguish, old age and sexual identity makes the film feel both profoundly personal and ripped from the headlines. She and Gladstone make a riveting auteur-muse duo. It’s because of them that even when Certain Women grows emotionally apocalyptic, you can’t turn away. BENNETT CAMPBELL FERGUSON. Lily Gladstone upstages a starry ensemble in Portland filmmaker Kelly Reichardt’s Certain Women.

A- SEE IT: Certain Women is rated R. It opens Friday at Cinema 21.

Willamette Week OCTOBER 19, 2016 wweek.com

41

C O U R T E S Y O F WA LT D I S N E Y P I C T U R E S

MOVIES

#wweek QUEEN OF KATWE

The Girl on the Train

C I S U M

Tate Taylor’s adaption of Paula Hawkins’ best-selling novel stars Emily Blunt as Rachel Watson, a divorced alcoholic who fantasizes about her neighbors’ relationship on her daily commute. Things take a turn for the thriller when Watson witnesses an incident in her neighbors’ house and the wife ends up missing. Not screened for critics. R. Bridgeport, Cedar Hills, Cinemagic, City Center, Clackamas, Division, Eastport, Fox Tower, Living Room Theaters, Lloyd, Oak Grove, St. Johns Pub and Theater, Tigard, Vancouver.

Hell or High Water

B+ Was No Country for Old Men

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Jason Bourne

A- Director Paul Greengrass and

Matt Damon deliver on-brand thrills via hand-held footage of riots in Athens and many scenes in which assassins splash cold water on their faces and reflect in a mirror. PG-13.

Clackamas.

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Kevin Hart: What Now?

Hundreds of titles from around the world!

Cuba, Africa, Ireland, Greece, Tuva, Russia, Pakistan, France, Wales, India, Turkey, Brasil, Thailand, Egypt, Japan, Peru, + More!

Everyone’s favorite pint-sized, astronomically successful standup comedian sold out the 50,000-capacity Lincoln Financial Field in Philadelphia and made a movie about it, because of course he did. Not screened for critics. R. Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Lloyd, Pioneer Place, Tigard, Vancouver.

Kubo and the Two Strings

A Laika’s late-summer bid for

animation domination is an original story that feels lived in, a kidfocused fable with real stakes, and it’s a high-octane spectacle full of white-knuckle action and terrifying creatures that’s matched every step of the way by heart. PG. Cedar Hills, Clackamas, Eastport, Empirical.

The Magnificent Seven

When an evil industrialist seizes control of a Wild West town, its residents enlist the help of gunslinging mercenaries played by Denzel Washington, Chris Pratt and company to save the day.

Not screened for critics. PG-13.

Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Lloyd, Oak Grove, Pioneer Place, Tigard, Vancouver.

Masterminds

When a work crush ensorcells armored-truck driver David (Zach Galifianakis) into a committing a heist, he stumbles his way into

42

Willamette Week OCTOBER 19, 2016 wweek.com

stealing $17 million, is promptly betrayed, and must hide from the cops and a hit man while trying to set up the crooks who set him up. Not screened for critics. PG-13.

Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Fox Tower, Living Room Theaters, Lloyd, Tigard, Vancouver.

Miss Peregrine’s Home for Peculiar Children

B- Tim Burton’s adaptation of

Ransom Riggs’ young adult bestseller nearly ignores the dull business of storytelling altogether via expository plot dumps crumpled in between ever more fantastical evocations of ghoulish Victoriana. PG-13.

Beaverton Wunderland, Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Lloyd, Milwaukie, Oak Grove, Pioneer Place, St. Johns Twin Cinema & Pub, Tigard, Vancouver.

Nerve

B+ A bookish girl (Emma Roberts) gets swept up in an online game of truth-or-dare with a mysterious stud (Dave Franco), and the film gets swept up in an EDM-tinged soundtrack, lots of desktop computer screen shares, and visuals that meet somewhere between Tron and Spring Breakers. PG-13. Vancouver.

Pete’s Dragon

A Pete’s Dragon deserves the hype.

Effortlessly evoking the triumphant emotions of Disney’s best live-action outings, it also provides a somber examination of the death of innocence. Your kids will cry through the majority of the film, and you probably will too. PG. Academy, Avalon, Empirical, Kennedy School, Tigard.

Queen of Katwe

B+ The irony of “based on a true story” preceding a live-action Disney film is that the movie to follow will probably feel like a fantasy. But Queen of Katwe’s finishing move is depicting Ugandan chess prodigy Phiona Mutesi’s rise to a world-class master with levity and without pandering. PG. Bridgeport, Cedar Hills, City Center, Clackamas, Eastport, Fox Tower, Vancouver.

Sausage Party

A- Sometimes, a dick joke is just

a dick joke. But sometimes, a dick joke can be an existential meditation on atheism butting up against organized religion, false gods and politics. R. Academy, Jubitz, Laurelhurst, Vancouver.

The Secret Life of Pets

Louis C.K. voices a pampered terrier who gets sucked from his NYC home into a tough gang of pets set on punishing the people who’ve wronged them. PG. Clackamas, Empirical.

Shin Godzilla (Godzilla Resurgence)

The King of Monsters is back in the hands of Japan’s Toho Co. Ltd., the studio that first brought Godzilla to life more than 50 years ago. The 31st film starring everyone’s favorite kaiju reboots the series for the Pacific Rim generation. Not screened for critics.

NR. Bridgeport, Fox Tower

Snowden

C- Oliver Stone’s biopic about Edward Snowden doesn’t offer any insights beyond what you can get from Wikipedia. Stick to 2014’s Citizenfour. R, Bridgeport, City Center, Eastport, Fox Tower.

Storks

Hilarity ensues when delivery stork Junior (Andy Samberg) is tasked to deliver an unauthorized baby to a human family. PG. Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Milwaukie, Oak Grove, Pioneer Place, Tigard, Vancouver.

Suicide Squad

C- Suicide Squad rushes through an incoherent two hours of superhero mayhem, pureeing everything into a slush of clichés. PG-13.

Academy, Avalon, Clackamas, Division, Jubitz, Kennedy School, Laurelhurst, Valley Cinema Pub.

Sully

C- Clint Eastwood’s worst movie since 2011’s J. Edgar, his tale of Chesley “Sully” Sullenberger’s 2009 emergency landing of a commercial jetliner in the Hudson River is weighed down by too many familiar actors and rote dialogue. PG-13.

Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Oak Grove, Pioneer Place, Tigard, Vancouver.

War Dogs

C+ Dull narration and racist stereotypes turn what could have been a humorous tale of Bush-era ineptitude into a haphazard rehashing that’s probably really funny if you’ve never smoked marijuana before. R. Vancouver.

White Girl

B Titular white girl Leah (Morgan Saylor) quickly finds herself over her head while juggling an internship at a Vice-like magazine and a brick of cocaine. When director Elizabeth Wood doesn’t lean too hard on “edgy” sexual violence, White Girl is a pretty good addition to the “white people gone wild in NYC” canon for the gentrification generation. R. WALKER MACMURDO. Hollywood Theatre.

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Dean Pottle 1950-2016

REMEMBERING THE PROPRIETOR OF PORTLAND’S FAMOUS CANNABIS-FRIENDLY HOMEBREW SPEAKEASY. Dean Smiley Pottle passed away Oct. 13 at age 65.

Pottle was born Nov. 26, 1950, in Glen Ridge, New Jersey, to Dorothy Ohlroegge and Harold “Hal” Pottle, loving Quaker parents of English and German descent. Mrs. Pottle named her two sons after her favorite singer, Dean Martin, while Smiley was an old family name.

Dean was raised in the small town of Wilton, Connecticut. Dean’s family also owned land in New Paltz, New York, including the breathtaking Mohonk Mountain House.

As a young man, he was enchanted by horses, which he would ride through the fields to the rear of the family home. He had a love for animals, always having a cat living with him. Like most boys, he loved outdoor adventures and was an Eagle Scout, proud that he could live off the land at a moment’s notice.

Dean was a real hippie in the late ’60s, drinking and pot smoking from an early age—pastimes he would later continue at Dean’s Scene, his famous Portland speakeasy.

He especially enjoyed live music and was a lifelong fan of Frank Zappa, Alice Cooper and the Who. As a matter of interest, Dean enjoyed sharing the views formed in his youth of equal rights for women, peace, justice and equality for all. Dean was a longtime vegetarian and an avid environmentalist.

In 1977, Pottle married Misty Lorien, and they enjoyed many adventures together. The marriage had its highs and lows, eventually coming to an end in 1996, at which time Dean moved to Portland. He purchased a home in the Fremont District across from Alameda Brewery, receiving the keys and beginning his newfound bachelorhood on Oct. 30, the day he has annually celebrated as the opening of Dean’s Scene.

Interestingly enough, it was Misty who bought him his first homebrew kit and set him on the path he would happily travel the last two

decades of his life. Dean was known as a generous man of integrity and real principles.

With the conversion of his basement into a working brewery featuring a walk-in cooler and eight taps always flowing freely, Dean took the kindness he received from his friends and multiplied it, returning it to the entire world.

He was the master of ceremonies behind the bar at Dean’s Scene, where you never had to drink the same beer twice. Dean Pottle was a successful licensed plumber and small businessman for almost two decades in the Portland area. He plumbed several local breweries and numerous older houses. The underground speakeasy was continually upgraded. Many friends had a hand in the evolution of the home of Party Gyle Brewing.

Dean’s Scene became the lifeblood of the underground beer culture in Portland, Oregon. Dean collected numerous ribbons from homebrew competitions.

Dean was featured on local and national television programs and was the star of the Drinking With Daren series. Dean’s Scene became known throughout the world as one place you had to see if you ever made your way to Portland.

Dean was a man with a big heart, and he loved goodwill and good cheer. He is lovingly remembered by all he came in contact with for sharing his joy of life and love of great beer with them. He will be remembered as a man who loved a strong craft ale, a good political conversation, and a room filled with friends and strangers alike.

Dean is survived by his two sisters, Jill Pottle of Massachusetts and Leslie Carlson of Kansas, his brother, Martin Pottle of Rhode Island, and an entire planet of both humans and animals who are honored to call him “friend.” Portland will never be the same without him.

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GO: A memorial celebration for Dean Pottle is at 3 pm Sunday, Oct. 30, at Alameda Brewing, 4765 NE Fremont St. Dress is “beer fest formal.”

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43

W W S TA F F

BY N a t e Wa g g o n e r

Recipe for a Championship THE FORGOTTEN SECRET CHEF BEHIND THE BLAZERS’ LONE NBA TITLE.

BY DR. MITCHELL MILLAR

The first time I experienced this now-familiar feeling of foolish optimism about the Trail Blazers was shortly before that magical 1976-77 season, after I heard Jack Ramsay was coming aboard as head coach. I picked up a copy of The Sporting News and squinted at our roster, managing to convince myself that, yeah, with a few lucky bounces maybe our basketball boys could make some noise. Just maybe.

Dr. Jack and the Blazers did just that, of course. Oh, what a glorious day that was. But too few people know the true secret of Ramsay’s success, which started when he hired a full-time director of player nutrition. While this is commonplace now in professional sports, that Blazers team was the first to have a full-time nutritionist.

Ramsay’s first and only choice to fill the position was a classically trained chef whose restaurant in the South of France he had dined at while on vacation the previous summer. But then-70-year-old Abelarde Bechamel Étauffien, who did not know any English, was understandably reluctant to move to the Pacific Northwest.

Ramsay, intent on landing his man, famously flew to France and pleaded with Étauffien to take the job. The coach and chef arrived in Portland on the same flight. Within days, Étauffien was pumping out meals of rich, dense, fatty foods that he promised would take a long time to digest, thereby ensuring players would maintain high energy levels.

After searching my shelves, I turned up a dog-eared copy of the spring 1977 issue of the Portland Dietary Register, which ran a cover story on the shy but good-natured Étauffien and his vision for the Blazers.

Breakfast was typically quiches—ham and asparagus with hollandaise, roast beef, eel pie—with eclairs, croissants and biscuits served with an array of jams, all washed down by strong, hot coffee. Lunch might start with French onion soup or shellfish bisque, sturgeon roe or pâté with crackers, gherkins, snails and eels with butter and garlic, followed by a slow-cooked grouse or boudin sausage.

Team dinners were always an elaborate feast, as Étauffien believed that by inundating the players with heavy foods after a long day of basketball, he could ensure they go to bed early and sleep deeply. He felt it important to end a meal with a digestif or nice glass of port.

The Blazers played the 1976-77 season with remarkable energy. Anyone who followed the team would tell you it was as if the players were possessed by something, that something had gotten into them—and it was true. It was Étauffien’s rich French foods.

Portland faced the Philadelphia 76ers in the NBA Finals, and after falling behind two games to none, stormed back to claim the title.

After the season, Étauffien seemed intent on returning to his home and family outside of Bordeaux, but Ramsay was able to persuade the chef to stay with the team for one more season. And the 1977-78 season started in spectacular fashion, with the Blazers winning 50 of their first 58 games, thanks mainly to Étauffien’s nutritional regimen.

Tragically, Étauffien became so homesick that he left town around Christmas, taking with him the hopes of another Blazers title.

Cat and Girl 44

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Not good with other animals/dogs, however. Re-homing donation is negotiable. Text me (Jeromy) at (503) 866-4569 if interested. I work during the day but will respond as soon as I can.

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“Will Ya Look at the Time?”–it’s a little off.

47 Hawk’s high hangout 48 Big baking potatoes 50 It may be printed upside-down 52 Nyan ___ 53 What the other three theme entries do?

57 Scarfed down 58 Accessed, with “into” 59 Pomade, e.g.

60 Primus frontman Claypool 61 Tony and Edgar, for two 62 Website specializing in the vintage and handmade

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19 Airline based in Stockholm 20 Marching band event 21 Capulet murdered

by Romeo [spoiler alert!]

23 Prepare lettuce, perhaps 24 Community org. with merit badges 26 “Let It Go” singer 27 Gallagher of Oasis 28 Badtz-___ (penguin friend of Hello Kitty) 30 She voices Dory 31 Bow (out)

32 Component of a restaurant’s meateating challenge?

34 Reveal accidentally 35 “I like 5 p.m. better than 11 p.m. for news”?

39 “CSI” theme song band, with “The” 42 National who lives overseas, informally 43 Dye holders 44 Word said by Grover when close to the camera 45 Canning needs 46 Marker, e.g.

Down 1 “Black Forest” meat 2 Portishead genre 3 Mosque adjunct 4 Winner’s wreath 5 Competed (for) 6 Heavenly creature, in Paris 7 Contract ender?

8 Wu-Tang member known as “The Genius” 9 Ground-cover plant 10 Inquisitive 11 French explorer who named Louisiana 12 Body of water between Kazakhstan and Uzbekistan 13 It’s filled at the pump 18 Just a ___ (slightly) 22 Sing like Ethel Merman 23 Nestle ___-Caps 24 Bond, before

Craig 25 Naturally bright 28 Sole syllable spoken by the geek on “American Horror Story: Freak Show” (and Beaker on “The Muppets”) 29 Working 30 Cable channel launched in 1979 32 Arcade machine opening 33 “Vaya con ___” 35 Spiral-shaped 36 Get rusty 37 Some newsbreaks 38 Certain allergic reaction 39 Never existed 40 Coiffures 41 Rock worth unearthing 44 Windham Hill Records genre 46 “Rubbish!”

47 Pokemon protagonist Ketchum 49 Bi- times four 50 Like Scotch 51 Flanders and his name-diddlyamesakes 54 Org. for analysts 55 Home of “Ask Me Another” 56 Double agent, e.g.

last week’s answers

©2016 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 #JONZ802.

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Week of October 20

ARIES (March 21-April 19) In the 1980s, two performance artists did a project entitled A Year Tied Together at the Waist. For 12 months, Linda Montano and Tehching Hsieh were never farther than eight feet away from each other, bound by a rope.

Hsieh said he tried this experiment because he felt very comfortable doing solo work, but wanted to upgrade his abilities as a collaborator. Montano testified that the piece “dislodged a deep hiddenness” in her. It sharpened her intuition and gave her a “heightened passion for living and relating.” If you were ever going to engage in a comparable effort to deepen your intimacy skills, Aries, the coming weeks would be a favorable time to attempt it.

TAURUS (April 20-May 20) In the coming weeks would you prefer that we refer to you as “voracious”? Or do you like the word “ravenous” better? I have a feeling, based on the astrological omens, that you will be extra super eager to consume vast quantities of just about everything: food, information, beauty, sensory stimulation, novelty, pleasure, and who knows what else. But please keep this in mind: Your hunger could be a torment or it could be a gift. Which way it goes may depend on your determination to actually enjoy what you devour. In other words, don’t get so enchanted by the hypnotic power of your longing that you neglect to exult in the gratification when your longing is satisfied.

GEMINI (May 21-June 20) When the wind blows at ten miles per hour, a windmill generates eight times more power than when the breeze is five miles per hour. Judging from the astrological omens, I suspect there will be a similar principle at work in your life during the coming weeks. A modest increase in effort and intensity will make a huge difference in the results you produce. Are you willing to push yourself a bit beyond your comfort level in order to harvest a wave of abundance?

CANCER (June 21-July 22) Cuthbert Collingwood (1748-1810) had a distinguished career as an admiral in the British navy, leading the sailors under his command to numerous wartime victories.

He was also a good-natured softie whose men regarded him as generous and kind. Between battles, while enjoying his downtime, he hiked through the English countryside carrying acorns, which he planted here and there so the “Navy would never want for oaks to build the fighting ships upon which the country’s safety depended.” (Quoted in Life in Nelson’s Navy, by Dudley Pope.) I propose that we make him your role model for the coming weeks.

May his example inspire you to be both an effective warrior and a tender soul who takes practical actions to plan for the future.

LEO (July 23-Aug. 22) Eighteenth-century musician Giuseppe Tartini has been called “the godfather of modern violin playing.” He was also an innovative composer who specialized in poignant and poetic melodies. One of his most famous works is the Sonata in G Minor, also known as the Devil’s Trill. Tartini said it was inspired by a dream in which he made a pact with the Devil to provide him with new material. The Infernal One picked up a violin and played the amazing piece that Tartini transcribed when he woke up. Here’s the lesson for you: He didn’t actually sell his soul to the Devil. Simply engaging in this rebellious, taboo act in the realm of fantasy had the alchemical effect of unleashing a burst of creative energy. Try it!

VIRGO (Aug. 23-Sept. 22) The planets have aligned in a curious pattern. I interpret it as meaning that you have cosmic permission to indulge in more self-interest and self-seeking than usual. So it won’t be taboo for you to unabashedly say, “What exactly is in it for me?” or “Prove your love, my dear” or “Gimmeee gimmeee gimmee what I want.” If someone makes a big promise, you shouldn’t be shy about saying, “Will you put that in writing?” If you get a sudden urge to snag the biggest piece of the pie, obey that urge.

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LIBRA (Sept. 23-Oct. 22) In the course of her long career, Libran actress Helen Hayes won an Oscar, an Emmy, a Grammy, and a Tony.

Years before all that glory poured down on her, she met playwright Charles MacArthur at a party in a posh Manhattan salon. Hayes was sitting shyly in a dark corner.

MacArthur glided over to her and slipped a few salted peanuts into her hand. “I wish they were emeralds,” he told her. It was love at first sight. A few years after they got married, MacArthur bought Hayes an emerald necklace. I foresee a metaphorically comparable event in your near future, Libra: peanuts serving as a promise of emeralds.

SCORPIO (Oct. 23-Nov. 21) Welcome to the Painkiller Phase of your cycle. It’s time to relieve your twinges, dissolve your troubles, and banish your torments. You can’t sweep away the whole mess in one quick heroic purge, of course. But I bet you can pare it down by at least 33 percent. (More is quite possible.) To get started, make the following declaration five times a day for the next three days: “I am grateful for all the fascinating revelations and indispensable lessons tht my pain has taught me.” On each of the three days after that, affirm this truth five times: “I have learned all I can from my pain, and therefore no longer need its reminders. Goodbye, pain.” On the three days after that, say these words, even if you can’t bring yourself to mean them with complete sincerity: “I forgive everybody of everything.”

SAGITTARIUS (Nov. 22-Dec. 21) For the foreseeable future, you possess the following powers: to make sensible that which has been unintelligible . . . to find amusement in situations that had been tedious . . . to create fertile meaning where before there had been sterile chaos. Congratulations, Sagittarius!

You are a first-class transformer. But that’s not all. I suspect you will also have the ability to distract people from concerns that aren’t important . . . to deepen any quest that has been too superficial or careless to succeed . . . and to ask the good questions that will render the bad questions irrelevant.

CAPRICORN (Dec. 22-Jan. 19) In the past eleven months, did you ever withhold your love on purpose? Have there been times when you “punished” those you cared about by acting cold and aloof?

Can you remember a few occasions when you could have been more generous or compassionate, but chose not to be? If you answered yes to any of those questions, the next three weeks will be an excellent time to atone.

You’re in a phase of your astrological cycle when you can reap maximum benefit from correcting stingy mistakes.

I suggest that you make gleeful efforts to express your most charitable impulses. Be a tower of bountiful power.

AQUARIUS (Jan. 20-Feb. 18) In 1415, a smaller English army defeated French forces at the Battle of Agincourt in northern France. Essential to England’s victory were its 7,000 longbowmen -- archers who shot big arrows using bows that were six feet long. So fast and skilled were these warriors that they typically had three arrows flying through the air at any one time. That’s the kind of high-powered proficiency I recommend that you summon during your upcoming campaign. If you need more training to reach that level of effectiveness, get it immediately.

PISCES (Feb. 19-March 20) Let’s imagine your life as a novel. The most recent chapter, which you’ll soon be drawing to a close, might be called “The Redemption of Loneliness.” Other apt titles: “Intimacy with the Holy Darkness” or “The Superpower of Surrender” or “The End Is Secretly the Beginning.”

Soon you will start a new chapter, which I’ve tentatively dubbed “Escape from Escapism,” or perhaps “Liberation from False Concepts of Freedom” or “Where the Wild Things Are.” And the expansive adventures of this next phase will have been made possible by the sweet-andsour enigmas of the past four weeks.

Homework Describe what you’d be like if you were the opposite of yourself. Freewillastrology.com

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