43.04 - Willamette Week, November 23, 2016 by Willamette Week Newspaper

“II WANT TO TELL THE

WILLAMETTE WEEK PORTLAND’S NEWSWEEKLY RON WYDEN fights Trump and torture. P. 7

Why won’t Portland move faster to stop TRAFFIC DEATHS? P. 9

Portland’s first net-totable FISH ’N’ CHIPS. P. 27

How to make CANNABISINFUSED pumpkin pie. P. 50

HATERS TO GO

S ’ D N A L T R O

SUCK IT.”

T S E I N N U

P S I THIS

N O S PER

P. 7 WWEEK.COM

VOL 43/04 11.23.2016

PORTLAND’S 5 BEST UP-AND-COMING COMEDIANS, AS DETERMINED BY 100 INDUSTRY INSIDERS. PAGE 13

Willamette Week NOVEMBER 23, 2016 wweek.com

FINDINGS

paGE 50

WHAT WE LEARNED FROM READING THIS WEEK’S PAPER VOL. 42, ISSUE 4.

Given the poor weather for sailing, Mayor Charles Andrew Hales is attempting to do positive things involving the city. It’s going very badly. 6 “Whoa, whoa, whoa,” says Sen.

Ron Wyden, who won’t push for Donald Trump’s impeachment despite, well, you know. 7 Traffic cameras are a good way to generate revenue for the city, and are also a safety issue. 9

ON THE COVER:

Everybody bhanting “Fubk Donald Trump” now, but Bompton’s own YG has been out there keeping it 400 all year. 33 There is a comedy show just for transplants now. 41 If you would like to see “the driest of all dry humping,” there is a place. 42 Bike lanes cause gentrification,

says a Canadian urban studies expert. 46

OUR MOST TRAFFICKED STORY ONLINE THIS WEEK:

Adam Pasi photographed by Christine dong.

mayor-elect ted Wheeler says portland will be a sanctuary city despite trump’s threats.

STAFF Editor & Publisher Mark Zusman Editorial News Editor Aaron Mesh Arts & Culture Editor Martin Cizmar Staff Writers Nigel Jaquiss, Rachel Monahan, Beth Slovic Copy Chief Rob Fernas Copy Editors Matt Buckingham, Maya McOmie Stage Editor Shannon Gormley Screen Editor Walker MacMurdo Projects Editor Matthew Korfhage Music Editor Matthew Singer

Web Editor Sophia June Books Zach Middleton Visual Arts Jennifer Rabin Editorial Interns Bennett Campbell Ferguson, Tarra Martin, Piper McDaniel ContriButors Dave Cantor, Nathan Carson, Pete Cottell, Peter D’Auria, Jay Horton, Jordan Michelman, Jack Rushall, Chris Stamm, Mark Stock produCtion Production Manager Dylan Serkin Art Director Julie Showers Special Sections Art Director Alyssa Walker Graphic Designers Tricia Hipps, Rick Vodicka

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Willamette Week NOVEMBER 23, 2016 wweek.com

HOW TRUMP THREATENS OREGON

“I HATE DONALD TRUMP.”

WW did a great job of outlining the progressive fears of a Trump presidency, and some with merit [“Resist,” WW, Nov. 16, 2016]. I challenge WW to do a story featuring how Trump might actually make the Affordable Care Act affordable, how a growing economy might help students pay off their loans instead of having them forgiven and enable them to afford housing in Portland without government subsidies. Trump might actually get the immigration issue under control and give everyone certainty. Trump might actually “drain RES the swamp” of the old guard that is holding America back: Pelosi, Reid, McConnell, Graham, McCain, etc., and usher in a new era of government that works for the people. —“Stevie B.”

“Mexican immigrants will be deported.” Why are you so afraid to use the word illegal? If you want a fine example of deportation of illegal immigrants, look no further than Obama. He has deported more people than any other president, but he’s a Democrat so he gets a pass, evidently. —“Hank” I hope none of this comes to pass. But if Trump tries to enact his racist agenda, we need to be prepared to fight back. —Justin Morton

IST

HOW DONALD TRUMP THREATENS PORTLAND—AND WHY YOU MUST FIGHT BACK!

P. 21

VOL 43/03 11.16.2016

“Trump might usher in a new era of government that works for the people.”

This garbage is so unbelievably biased toward the left. It is typical of the liberal mindset to begin screaming that the sky is falling because someone with a different set of morals is in leadership. Amazingly, the right endured the country being run counter to its own ideals for the past eight years in relative silence. —Morris Guiendon

I’m not sure I’ve ever read a more doom-andgloom, worst-case-scenario article. There are too many points to try and refute them all, so I’ll stick to three. First, Trump has said he has no plans to alter Roe v. Wade. Second, the statement “Gun control will be abandoned, and gun violence will increase” shows a serious lack of understanding about criminals and gun use. An example: Chicago. Third,

The hypocrisy in this story is staggering. You cannot simultaneously criticize Trump for fear-mongering, and publish something like this. Although I typically disagree with WW’s politics, I’ve always respected the integrity of its political journalists. This causes me to lose a lot of that respect. —Patrick Sheehan Well done, WW. This is a great rallying cry for progressives to soldier on! —“WorthKnowing”

EUDALY’S CITY COUNCIL WIN

No offense to Chloe Eudaly, but a shovel probably could’ve beat Steve Novick at the polls [“Chloe Owned Election,” WW, Nov. 16, 2016]. This is what happens when you hitch your wagon to Charlie Hales’ star. —“Suffer247” LETTERS TO THE EDITOR must include the author’s street address and phone number for veriﬁcation. Letters must be 250 or fewer words. Submit to: 2220 NW Quimby St., Portland, OR 97210. Email: mzusman@wweek.com.

While driving late at night, I passed a deer that had been hit by a car. The poor thing was obviously not going to survive. If I’d been carrying a legal ﬁrearm, could I have euthanized the poor critter?—Dom

Willamette Week NOVEMBER 23, 2016 wweek.com

Welcome to Trump’s America, where even the humor columns are rife with images of Bambi bleeding out by the side of a logging road after a botched mob hit. I should probably begin by noting that, in real life, my readers are a self-selecting bunch of Proust-quoting, candy-assed intellectuals who are more likely to have a sherry trifle in their trunk than a gun. Still, in the post-apocalyptic alternate reality where I’m played by Jason Statham, what’s the right call? A quick troll of social media reveals that a depressingly large number of people have found themselves in the same situation you describe, Dom. And pretty much all of them say they wrestled with their internal lawyer in much the manner you imagine: “Well, it’s illegal to discharge a firearm within city limits. But isn’t it also illegal to shoot in unincorporated areas inside an urban growth

boundary? And also on BLM land—but only during certain parts of the year? Does this count as hunting? Even if it’s hunting season and I have a license, isn’t it illegal to hunt from the road?” All of these tales ended one of two ways: (a) didn’t have a gun, called the cops, and they shot the animal, or (b) had a gun, shot the animal, didn’t get in trouble. Out in the sticks, where bullets are cheap, one quick gunshot—even if technically illegal—is probably not going to attract those helicopters from Grand Theft Auto. In any case, it turns out that Oregon law makes a specific exception especially for this situation. According to ORS 498.016, it’s not illegal to put “crippled or helpless wildlife” out of its misery “when the killing is done for a humane purpose.” Whether American democracy counts as “crippled wildlife” remains to be seen. QUESTIONS? Send them to dr.know@wweek.com

Willamette Week NOVEMBER 23, 2016 wweek.com

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$3.6 Million Oregon Lottery Prize Reduced to $9.30

Trisha Whiting got a check from the Oregon Lottery— but not the one she wanted. Whiting played video poker in October at the Greek Village deli in Beaverton and walked away with a winning slip for $3.6 million. Not so fast. When Whiting, whose windfall was first reported by WW’s news partner KATU-TV, sought payment, lottery officials told her the machine she played was faulty. Her attorney, Randy Harvey, says lottery rules give the agency wide discretion in the case of disputes. Lottery spokeswoman Joan Stevens-Schwenger says there’s no dispute. “The video lottery terminal that Ms. Whiting played malfunctioned and printed an erroneous ticket during an electrical brownout,” Stevens-Schwenger says. “The ticket announced that the prize amount was void. Her actual win was $9.30. We sent her a letter with this information and a check for her winnings.” Harvey says that’s unfair: “Shame on the Oregon Lottery for enticing the poorest of the poor to gamble in games stacked in favor of the Lottery and then legally cheat them out of their winnings.”

Oregon Governors Keep Elevating Aides

Gov. Kate Brown last week elevated longtime aide Barry Pack to be permanent head of the Oregon Lottery, without conducting a candidate search or competitive hiring process. Pack’s not the first director of a key state agency to get his job that way. In 2013, Gov. John Kitzhaber named onetime

chief of staff Steve Marks to run the Oregon Liquor Control Commission, where he remains. Pack now gets $180,540 a year to lead the state’s second-largest source of money after income taxes, despite his lack of experience in the gaming industry or running another agency. Pack faces a Senate confirmation hearing next month. “After hearing positive feedback from stakeholder groups and staff, it was decided a national search was not necessary,” says Brown’s spokeswoman, Kristen Grainger.

Mayor Feuds With Anti-Trump Protesters

The tense relationship between Mayor Charlie Hales and Portland protesters of Donald Trump’s presidency fractured further this week when police arrested three anti-Trump march organizers. On Nov. 21, Portland JOE RIEDL

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police arrested Gregory McKelvey, Kat Stevens and Micah Rhodes for disorderly conduct, alleging they directed student protesters to defy orders issued by police on loudspeaker. McKelvey says his arrest was politically targeted; Hales and the Police Bureau deny that. The next day, Hales canceled his “March of Hope” against acts of discrimination, saying he feared disruption from counterprotesters.

Give!Guide Reaches 2,700 Donors

Willamette Week’s annual Give!Guide is live and accepting donations at giveguide.org. Giving has surpassed $570,000 and 2,700 donors. If you give on Nov. 29, you’ll have a chance to win a Trek FX 1 bicycle courtesy of Bike Gallery.

NEWS

WHAT YOU NEED TO KNOW THIS WEEK

Portland’s Post-Election Tattoos President-elect Donald Trump may be a disaster for America. He’s a boon to Portland tattoo artists. Several tattoo studios tell WW that the week following Trump’s victory has seen a rash of election-inspired tattoos. Kelly Dawson, manager at New Rose Tattoo, says customers have come in requesting symbols of human rights: safety pins, the twin yellow bars signifying LGBTQ equality, and rainbows. “They let people around you know about you without saying anything,” Dawson says. “It’s a way to take a strong stance against everything he has stood for and all the negativity as a consequence of his rhetoric.” Here are four post-Trump Portland tattoos, with explanations from their creators. PIPER MCDANIEL.

“The overall message is that even a broken heart can be healed. The pieces are separate; they are joined on the bottom. And even though they are ripped, they can come together.” —Olivia Britz-Wheat, tattoo artist, oliviabritzwheat.com

“I did this tattoo for a fellow tattoo artist. He’s very supportive in general of women’s rights and all human beings, and I felt very honored to do that and to show solidarity.” —Britz-Wheat

THIS CITY GRIEVES TRUMP’S WIN WITH INK.

“They wanted a permanent reminder to not choose hate and to choose love when you can. And that was powerful.” —Sarah Carr, Blue Ox Tattoo

“I felt really strongly about the election, and I had a little girl and I want her to know without a shadow of doubt she is deserving of all the things the world has to offer. Having her see those words on my body as she grows up is going to be really important. And I want to tell all the haters to go suck it.” —Meredith Elliot (tattoo by Carr)

WHERE WE ARE

Voter Participation In an election year when many states saw plummeting voter participation, Oregon bucked the trend. After passing “motor voter” legislation last year, the state began registering Oregonians based on DMV records. That helped a record number of Oregonians cast a ballot in the presidential election. (The number of voters in this election significantly outpaced population increases in the state.) But Oregon isn’t the top state for voter participation. University of Florida professor Michael P. McDonald divided the number of votes cast in each state by the voting-eligible population. He found Oregon had the seventh-highest rate of voter turnout in the nation based on estimates as of Nov. 15. Here’s where we rank. RACHEL MONAHAN. VOTER TURNOUT RANK

STATE

RATE OF VOTER TURNOUT

Minnesota

74.2%

Colorado

71.3%

Wisconsin

68.3%

Oregon

66.9%

Washington

64.4%

California

54.6%

Utah

46.4%

sen. Ron Wyden

How He’ll Fight Trump As Oregon’s senior U.S. senator and a leader within Washington on national security, Sen. Ron Wyden will play a key role in resisting the policies of President-elect Donald Trump. WW asked him to discuss ways he and outgoing President Barack Obama could stonewall Trump’s abuses of power. Here are a few answers Wyden gave. RACHEL MONAHAN. B efore President Obama leaves office, Wyden wants him to declassify the full torture report prepared after 9/11 by the Senate Select Committee on Intelligence. “We have a president-elect, an attorney general nominee, and CIA director nominee who all seem to be pro-torture and a

national security adviser who is open to it. I continue to believe that torture is contrary to American values, it’s contrary to the law, and it doesn’t work. You shouldn’t sit idly by and let a new administration turn back the clock.” A key battleground: cellphone encryption. Wyden “would filibuster any effort” to compel tech companies to provide intelligence or law enforcement agencies a way around encryption. Law enforcement initially had difficulty unlocking the cellphone of the San Bernardino mass shooter, causing a round of controversy over encryption. Wyden is now trying to block legislation that would allow

the FBI to gain access to computer browsing history. “I’ve been able to hold it off thus far.” Wyden plans to use his post on the intelligence committee as a bully pulpit. “I have fought against these abuses under both Democratic and Republican administrations. What we’re doing now is delivering a wakeup call for the potential abuse of executive power.” One thing he isn’t ready to do: urge his colleagues to seek impeachment on day one. “Whoa, whoa, whoa,” he replied to WW’s question. “We’re talking about the proposals from the campaign.”

Willamette Week NOVEMBER 23, 2016 wweek.com

Alex MilAn TrAcy

NEWS

Slow Going

GOING NOWHERE: More than twice as many people have been killed in vehicular crashes as have been murdered in Portland this year. A march and vigil Nov. 20 remembered the dead.

PORTLAND OFFICIALS BEGGED STATE LAWMAKERS FOR AUTHORITY TO INSTALL NEW TRAFFIC CAMERAS—BUT INSTALLATION IS WAY BEHIND SCHEDULE.

By nig e l jaq ui ss

njaquiss@wweek.com

On Nov. 20, the activist group Families for Safe Streets placed 400 pairs of shoes in a semicircle near the Morrison Bridge—one pair for each person who has died on Oregon roads in 2016. In fact, through Nov. 8, state figures show 410 people have died in crashes on Oregon roads this year, more than one per day at a rate 12 percent ahead of last year. Of that total, 36 people have died in Portland crashes, a figure on pace to eclipse last year’s total of 37, the highest in a decade. Ten of those deaths were of people walking across the street. City officials say they are doing everything they can to reduce the carnage on Portland’s streets, using an ambitious traffic safety strategy known as “Vision Zero.” But a state budget report released last week shows they’ve failed to take a simple step: installing speed-detection cameras designed to slow drivers down. Last year, Portland lobbied the state for the authority to install 20 such cameras. The city received the green light in July. Yet 16 months later, workers have installed only a pair of cameras at one location. “It shows that PBOT is not making it a priority to lead with their deeds,” says Mark Ginsberg, a lawyer who chaired the city’s bicycle advisory committee. “It’s just words. We know the cameras work.” Last week, the state’s economic forecast called out the city’s failure. The report highlighted a significant shortfall—$14 million, or about a quarter of expected receipts—in the amount of money collected from the new, highly touted Portland speed cameras. (The state is interested because its court system gets the first $60 of every $160 ticket issued by the new cameras.) “The [budget] reduction is due to lower than expected revenues from photo radar traffic enforcement in the City of Portland,” the report said. “To date, just one of the proposed four sets of cameras have been installed. And the one

location is issuing fewer tickets than expected as well.” The city is now more than eight months behind on its installation schedule, despite telling state officials last year that speeding drivers were creating an emergency on Portland streets. In 2015, the city of Portland sought legislative approval to expand the use of electronic traffic cameras. Previously, the city used red-light cameras and mobile police vans that alerted motorists of their speed. But those vans had to be manned, and moved every four hours. City officials needed a new law to site speed-limiting cameras in permanent locations, where they would slow motorists and generate tickets for speeders. House Bill 2621 was the Portland Bureau of Transportation’s top legislative priority in 2015. It was part of Vision Zero, PBOT’s plan to eliminate traffic deaths in Portland by 2025. In legislative testimony, city lobbyist Elizabeth Edwards shared some impressive stats: National figures showed that fixed speed cameras reduced crashes by 20 to 25 percent, and she said PBOT expected new cameras to “prevent roughly 1,800 injury and 495 serious injury crashes and save 16 lives over the [nine-year] pilot period.” The city also shared its timetable for installing the initial cameras in a Legislative Revenue Office report: two cameras each in January, April, July and October 2016. The bill won approval and Gov. Kate Brown signed it into law on July 20, 2015. “It was a huge accomplishment to get that bill passed,” says PBOT spokesman Dylan Rivera. “There were a lot of people who objected to it.” In theory, the city could have installed cameras almost immediately. PBOT knew where crashes were happening—the city presented information to lawmakers about 10 highfrequency corridors where more than half the city’s fatal accidents happened. And more than 100 other cities, including Seattle, Chi-

cago and Washington, D.C., already had fixed speed cameras at work, so there was no need to reinvent the wheel. But despite the increasing body count, the city’s rhetoric around Vision Zero, and the relative ease of installing proven technology, nothing happened for more than a year—and the installation schedule now calls for new intersections to get cameras every six months rather than every three. The slow rollout was predicted by one observer. An audit of the city’s red light camera program in July 2015 predicted the fixed-camera program would be challenging. “This ambitious plan will require a level of coordination between police and transportation that we did not find evidence of while conducting this audit,” the document says. State Rep. Jeff Reardon (D-Portland), chief sponsor of PBOT’s bill, says the pace of the rollout doesn’t match the urgency of the underlying safety problem. “It does seem inconsistent,” Reardon says. PBOT’s Rivera says implementation lagged behind what the city had originally hoped because of two reasons: extensive outreach and education in the areas where cameras were to be placed and the need to coordinate with the Portland Police Bureau, which reviews tickets, and the state court system, which processes traffic fines. “There was concern from our partners about additional demand on their resources when they are already overwhelmed,” Rivera says, noting that the Police Bureau has dozens of unfilled positions. “We’re moving as fast as we can.” But unlike other traffic safety devices, such as flashing yellow light beacons installed at crosswalks, speed cameras come with built-in revenue to fund the program. Camera-generated tickets start at $160 and escalate— and the state court system gets the first $60 of each one, so lawmakers were keenly interested in how much money the new cameras would generate. PBOT officials have always said the purpose of installing the cameras is safety rather than revenue. And preliminary data show that the one set of cameras the bureau has installed on Southwest Beaverton Hillsdale Highway has reduced speeding at Southwest 39th Avenue near the cameras by about 60 percent. Yet the other three initial locations—Southeast 122nd Avenue between Powell Boulevard and Foster Road; Northeast Marine Drive; and outer Southeast Division Street— won’t be up and running until next year. “I would love to see the cameras rolled out faster,” Reardon says. “I’m trying to be understanding—but it’s frustrating.” Willamette Week NOVEMBER 23, 2016 wweek.com

GIFT E D I U G

wweek.com

Willamette Week NOVEMBER 23, 2016 wweek.com

craig winzer

NEWS

A Long Recess PORTLAND PUBLIC SCHOOLS’ PERSONNEL STRUGGLES ARE SHOWCASED IN THE FIGHT OVER A MANAGER WHO MANAGES NO ONE. By B e t h slov i c

bslovic@wweek.com

Carole Smith’s July resignation as superintendent of Portland Public Schools was supposed to herald a new era of transparency and accountability. But four months after Smith’s departure—in the wake of a damning report that highlighted her administration’s “absence of diligent inquiry” into widespread lead contamination in schools—dysfunction in the central office continues to fester. Exhibit A: the case of Richard Gilliam, a once highly regarded midlevel employee who was relieved of all supervisory duties in late 2015 or early 2016. (The two sides don’t agree on a date.) He continues to collect his manager’s salary of $87,000 a year, despite managing no one. A year later, resolution seems elusive. Gilliam, who is African-American, has hired prominent Portland civil rights lawyer Beth Creighton, who says she intends to pursue racial discrimination claims against the district. Kim Nguyen, a retired PPS senior manager who worked in translation services until 2014, says the situation speaks to a culture of administrative neglect under former Superintendent Smith. “Richard and his department are one of the very pointed examples of what happened under Carole Smith,” she says. “Under Smith’s leadership, too many people obtained jobs and promotions based on their loyalty to her. We are paying for that loyalty now.” The Portland School Board has vowed to help interim Superintendent Bob McKean reform and reorganize the district’s central administration. As of October, McKean said PPS had 55 central office vacancies, owing largely to departures following Smith’s resignation. The Gilliam mess, which PPS has tried to keep under wraps by declining to release investigative reports, is indicative of significant personnel turmoil inside the district’s administrative offices. Observers worry that disorder could undermine already tepid support for a planned $750 million construction bond campaign in May. Newly released results of a voters’ poll conducted in June showed respondents narrowly supported a bond package that expensive, making it a tough sell even in the best of times. “If it continues, it will make the bond campaign very difficult,” says Paul Anthony, a member of the School Board. “I really do believe it’s being addressed, and over the next several months we’ll see evidence of that.” Gilliam’s case shows how deeply dysfunctional district headquarters became under Smith. Gilliam, a community organizer, joined PPS in a temporary position in August 2013 after working with Jon

Isaacs on the district’s successful 2012 construction bond campaign. (Isaacs went on to become the district’s chief spokesman.) Gilliam rose to the job of director in the school and family partnerships department in September 2014. “People for weeks and months were telling me I’d be perfect,” he says. “I was just overwhelmed with people saying, ‘You have to apply for this.’” Gilliam missed the deadline to apply, so Assistant Superintendent Harriet Adair, promoted under Smith, reopened the application process for him, PPS records show. But the district, Gilliam says, did not set him up for success.

“under smith’s leadership, too many people obtained jobs and promotions based on their loyalty to her. we are paying for that loyalty now.” —Kim Nguyen, retired PPS manager PPS administrators handed him the job leading a department of five people who were supposed to help parents become stronger educational advocates for their children. But PPS kept his staff in a district building five miles from his desk in the central office for most of the 2014-15 school year. “It wasn’t the best way to allow someone to start,” he says. “Despite the obstacles, I was still excited about the work.” What happened next, starting in August 2015, is laid out in school district records that PPS has declined to

make public, saying they include disciplinary actions that can’t be disclosed. A review of other PPS records that WW obtained fill in the details of Gilliam’s toxic relationship with staff. Gilliam’s former employees declined to comment. It started, Gilliam says, with an investigation by him into a few of his employees’ conduct. (He declined to provide details.) That investigation, says Gilliam’s attorney, prompted his staff to complain about his behavior, which emails describe as harassing and bullying. Gilliam denies the characterization. “I’ve never used threatening language with employees,” he says. PPS then launched an investigation of Gilliam, his attorney says. “Clearly, any white manager who was being complained about for trying to hold his staff accountable wouldn’t be investigated,” says Beth Creighton, his attorney. “It’s turning the process on its head.” For months, while PPS conducted the investigation, Gilliam wasn’t allowed to visit district headquarters or interact with his staff. “I was advised I couldn’t be around them,” he says. After a January 2016 car accident, Gilliam went on temporary medical leave. But when he returned to the district around April, he asked about the conclusions of the investigation. “They said basically, ‘We’ll get back to you,’” he says now. Gilliam no longer supervises any employees. Work in his department appears to be languishing; a website for the department’s so-called Parent Academy hasn’t been updated since last year. But Gilliam says he’s still doing work for the district to improve parent engagement. Bob McKean, the district’s interim superintendent, says he is not pleased with the way the situation with Gilliam and his department has played out. “I’m not happy with what’s happened and I am addressing it,” he says. McKean declined to say how. “I’m aware of the situation and I’m in the process of dealing with it,” he says. “Make no mistake.” Willamette Week NOVEMBER 23, 2016 wweek.com

DOWNTOWN PORTLAND: 1036 W. Burnside St. • 222-34 18 HAWTHORNE DISTRICT: 1420 SE 37th Ave. • 234-1302 BUFFALOEXCHANGE.COM •

Willamette Week NOVEMBER 23, 2016 wweek.com

“We’re not gonna buy you new pants just because you pooped yours.”

“I don’t want to move to L.A., but I will.”

“I just like messing with people.”

FUNNIEST Portland comedy comes at you fast.

We were surprised by what we found four years ago, when we set out to poll the Portland comedy scene for the first installment of our annual Funniest Five. The winner, Amy Miller, was an undeniable talent who hadn’t yet broken through in a local scene where Ian Karmel and Ron Funches sucked up all the oxygen. Winning Funniest Five proved to be the first big break for Miller, who now lives in L.A. and just released her first album, Solid Gold. The scene has completely changed since then. Of that original Five, only fifth-place Bri Pruett remains in Portland, the others having jumped to bigger markets. Of the second Five, three are now working in Los Angeles. Last year’s lineup, headlined by local institution Susan Rice, includes four still-current Portlanders—but who knows for how long? Well, we’re no longer surprised by the depth of talent in Portland comedy. In a lot of ways, comedy has come to rival rock music in the intensity of the local scene. There are showcases scattered all over town, running from brunch to midnight. Hit any of the standout showcases on page 15 and you’ll see Portland comics working relentlessly to polish their acts alongside visiting comics from L.A. and Brooklyn who now have Portland on their circuit. And the talent just keeps coming. “I did 20 minutes for the The winner of this year’s contest—chosen first time, and I died a slow anonymously by more than 100 insiders, death.” including his peers, bookers and other journalists—is Adam Pasi. Pasi started his career in 2012, after working as a nurse’s assistant for a decade. He was subsequently drawn so deeply into the open-mic scene he lost his job. Our No. 2, Caitlin Weierhauser, came to comedy four years ago as a means of coping with a family tragedy. Since then, she’s developed an engrossing style of standup as storytelling that’s sometimes personal, sometimes political and sometimes just about how gross worms are. No. 3, Dylan Jenkins, is a second-generation Portland comic, his father having come up with Susan Rice

“Weird things always happen to me.”

during the ’80s boom. He was in the audience for the Karmel and Funches shows of that era, but he’s never actually spoken to either of them—he started performing only two years ago, after a friend signed him up to give his first performance in front of 200 co-workers. No. 4, Don Frost, is a relative rarity in Portland’s new comedy scene, a road-tested comic who first walked onstage back when the only comedy club around was Harvey’s in Old Town. And so he earned his chops not in showcases at local indie-rock venues but on the road in Bumfuck, Mont., or Dirtbag, Idaho—performing in prisons, on alpaca farms and for welders on lunch break. Fifth-place Amanda Arnold is living life backward, having had a cushy bank gig and a serious relationship in her early 20s, but now, in her 30s, living with a pack of roommates and performing comedy in BDSM dungeons. This year’s crop is a great group—see for yourself by coming out to our showcase at the Alberta Abbey on Monday night—and perhaps the best testament yet to the depth and passion of the Portland comedy scene. We’re already excited to see what happens with next year’s Fifth Five. —Martin Cizmar GO: The Funniest Five Showcase is at Alberta Abbey, 126 NE Alberta St., on Monday, Nov. 28. 8 pm. $5 advance, $10 at the door. All ages.

I L L U S T R AT I O N S B Y C A I T L I N D E G N O N

Willamette Week NOVEMBER 23, 2016 wweek.com

BY S OPHI A J UN E

sjune@wweek.com

JOE RIEDL

ack when he was a scumbag, Adam Pasi was banned from overseas military bases for five years for orchestrating a bomb threat. Sixteen years later, the winner of this He didn’t start doing comedy until 2011, and it wasn’t year’s Funniest Five poll still looks like a until November 2012 that he started getting serious guy who’d think a bomb threat was funny. He’s downing a bloody mary, smoking a cigarette and waving his arms as about it—when he started making himself do two open mics a week. he dances in his seat to Cascada’s “Everytime We Touch.” “I just like messing with people,” he says. By April, he had become so addicted that he lost his job as a nursing assistant, which he’d had for 10 years. Pasi, a large, 36-year-old half-Samoan man who lists his “I’d be hung over from being at a mic all night,” he three dream jobs as “pro wrestler, rapper, comedian,” says this at least a half-dozen times during the course of our says. “I already had like seven last warnings, and I was conversation. When someone mistakes him for a bouncer, like, ‘Just fire me, boss,’ and she cried, and I’m holding her, and while she’s sobbing into me she goes, ‘But the he just goes with it. When he clipped a cyclist with his comedy’s going OK, right?’” truck, he yelled, “Watch where you’re going!” When he lived in Japan, he called in a bomb threat on the base where he worked during the holiday season. It halted all Christmas shopping. “I hated the people I worked for, so I wanted to figure out a way for them to lose the most money,” he says. “That was bad, though. That was terrible.” For the past three years, he and six friends have had a roast going on a group text message that’s “mostly body shaming.” He told a vivid joke about catching his parents having sex because his brother was in the audience. In a roast-off with second-place Caitlin Weierhauser (page 17), they spent much of the set telling jokes about their dead siblings. “I really do like dropping [my dead brother, who died in a car accident] on people just to fuck with them,” he says. “I’ve gotten every tear from that, “Are you going so I also want every laugh.” to let people All his life, Pasi has had to get used tell you what to leaving people behind. Though he to do with your was born in Tacoma, he moved all Pasi says that as a minority, he started getover, changing schools every couple of asshole?” ting booked relatively quickly, which made years—threading through Vacaville, Calif., him self-conscious—especially after opening Staten Island, Germany and Japan. one show with some of the best comics in town, “I’ve always relied on being funny. I’m a miliincluding our first Funniest Five winner, Amy Miller. tary brat. I moved every three years,” he says. “Looking “I went first and had the best set I’d ever had,” he back, I was always the funny friend in the group.” says. “I got offstage, and then I watched everyone get up Pasi has been in the Portland area since 2000. He lives and actually kill, so I’m watching them, and I’m like, ‘I’ve in Gresham, down the street from his Seventh-day Advenbeen playing comic—and those guys are actual comics.’” tist “Fox News-watching Samoan father” and “liberal Pasi then started running what he calls the worst white lady” mother. His parents won’t come to his shows show in Portland, at Chinese Village on Southeast 82nd, because he’s not a Christian. which is a “good place to get trashed and a horrible place for comedy.” He also ran a terrible show at Bar of the Gods. “I’d say half of them went tolerable, which is really generous to me. Most of them were just death,” he says. 14

Willamette Week NOVEMBER 23, 2016 wweek.com

“I don’t think anyone’s eaten more dick in this room than I have.” But in 2014, he came in second in Helium’s annual contest on the strength of a set that included a joke about how to look manly while giving a blow job. Though Pasi isn’t gay, he made politically correct gay jokes his bread and butter for a while, largely inspired by his collection of friends, whom he describes as a “small lesbian army.”

“We’re such a liberal town that hates xenophobia, but if you’re not from here, get the fuck out.”

ADAM PASI PERFORMS AT MISSISSIPPI PIZZA.

Pasi says he used to be able to do an entire set of “bro’d-out gay jokes.” One year it was, “I’d be cool having a gay son as long as he was on top.” This year’s favorite was inspired by a Twitter fight: “Kanye is probably of the mindset that if a dude participates in ass play it puts manhood in question, but for me, what brings manhood in question is, ‘Are you going to let people tell you what to do with your asshole?’” But when he started getting 15- or 20-minute sets, Pasi says, he was forced to find new material. Now, Pasi just likes messing with the audience. He doesn’t want jokes that are overtly political because he doesn’t want “clapter”—applause instead of laughter. “I have been cranking out a lot of ‘Kill Whitey,’ and that’s 100 percent brought on by ‘Fuck these people,’ and my mom’s white, so I feel comfortable saying most

ON THE REGULARS CHRISTINE DONG

IT’S GONNA BE OKAY

Hosted by the sweet and endearingly geeky Barbara Holm, It’s Gonna Be Okay is a weekly basement gathering that’s grown into Portland’s closest approximation of the scene surrounding the Comedy Cellar. A popular pop-in for returning expats like Shane Torres, Amy Miller and Sean Jordan, It’s Gonna Be Okay hits the sweet spot between a loose, friends-only feel and just enough professionalism to seem like you belong there, watching. PETE COTTELL. EastBurn, 1800 E Burnside St., theeastburn.com. 8:30 pm Mondays. Free, with donations for comedians accepted.

“I just like messing with people.”

EARTHQUAKE HURRICANE

The showcase whose name sounds like a twee apocalypse has gone back underground—this time in the basement of the Liquor Store rather than a bike shop. The Liquor Store is sneakily the best-looking tiny comedy venue in town, and the stage banter among hosts Alex Falcone, Bri Pruett, Anthony Lopez and brand-new addition Katie Nguyen is both a solid warmup and a warm welcome. Besides, you’re always guaranteed a couple sets from some of the city’s best comics because, duh, they’re the hosts. MATTHEW KORFHAGE. The Liquor Store, 3341 SE Belmont St., theliquorstorepdx.com. 7 pm Wednesdays. $5. 21+.

DEIRA BOWIE

COMEDY LEAGUE NIGHT NEW MATERIAL SHOWCASE

Tony Chiotti set out to create a show that filled the void between rough open mics and polished showcases. Each week, he books a band and curates a list of both established and upand-coming comedians who perform on a stage assembled from 6-gallon buckets, a plank of wood and a red curtain. The result is a show that feels just insider enough: You may see jokes that never make it out of the room from Portland’s best comics, like Nariko Ott and Amanda Arnold, but the comics on the bill will never make you feel sorry for them. SOPHIA JUNE. Sam’s Hollywood Billiards, 1845 NE 41st Ave., portlandpoolhall.com. 8 pm Mondays. Free. 21+.

CONTROL YOURSELF

Control Yourself is to Portland comedy what Rontoms’ Sunday Sessions are to the city’s music scene—a place to catch rising talent before it rises high enough to start commanding a cover charge. Hosted with exasperated verve by JoAnn Schinderle in the Alberta Street Pub’s cramped performance space, the weekly showcase has an intimate basement-party vibe. Only instead of a wasted late-night karaoke session, it ends with a post-show open mic that’s presumably just as wasted. MATTHEW SINGER. Alberta Street Pub, 1036 NE Alberta St., albertastreetpub.com. 8:30 pm Sundays. Free. 21+.

marginalizing things about my race. I’m very aware that I can get away with it,” he says. “It’s not like I’m an edgy badass, but I’m a rascal, and if you give me an advantage, I’m going to take it.” One of Pasi’s favorite jokes is about hooking up with a Samoan woman and seeing her wear his shirt afterward. “I get that sexual visual and a good image of how I look in that shirt,” he says. When someone is offended, he calls them out, saying, “You do realize you’re body shaming me, right?” Even Pasi’s Trump joke is meant to be a self-reflexive explosion of realization. He talks about how all his friends hate the people moving here, with their funny accents and tan skin. “We’re such a liberal town that hates xenophobia, but if you’re not from here, get the fuck out,” Pasi says.

“Portland: forever working hard for white diversity.” Though Pasi doesn’t care about people moving here, he’s been thinking about bouncing to Los Angeles. “I’ve moved around all my life, and I’m starting the get the itch,” he says. He also wants to try acting. He has small parts in the new Elijah Wood movie filming in Portland, as well as a popular, Portland-themed TV show he’s not allowed to talk about. “If they don’t cut my parts out,” he says, “I want to make a YouTube video of me watching myself and flipping out over it.” GO: In addition to headlining our Funniest Five Showcase on Monday, Adam Pasi hosts Funny Humans vs. the Wheel at Helium Comedy Club, 1510 SE 9th Ave., every other month on a Wednesday. Also see him on the debut episode of JoAnn Schinderle’s Control Yourself podcast, out now.

WEDNESDAY NIGHT AT HELIUM

A change of pace from the weekend residencies of fancy out-of-town comics, Wednesday is when Helium hosts its most creative and often locally focused showcases. There’s no fixed format for the club’s midweek show, which means that just about anything goes. And whatever it is, it’s usually worth checking out. SHANNON GORMLEY. Helium Comedy Club, 1510 SE 9th Ave., portland.heliumcomedy.com. 8 pm Wednesdays. 21+.

MICETRO

The Brody Theater has invented plenty of formats for shows, but Micetro is one of its best. Eight comedians compete by creating and curating multiple characters in a spur-ofthe-moment improv scene or by reading a quote, which they must somehow transform into a song chorus. JACK RUSHALL. Brody Theater, 16 NW Broadway, brodytheater. com. 9:30 pm Saturdays. $8. 21+.

Willamette Week NOVEMBER 23, 2016 wweek.com

BY M AT T H E W S I N G E R

msinger@wweek.com

smile and frequent giggles. “You have to soften the blow a little bit,” she says. “You make sure they know we’re all on the same side, but insist that, ‘This is how it is.’ We’re not gonna buy you new pants just because you pooped yours.” Wrapping harsh truths in soft covers isn’t just how Weierhauser has made a living. If she knows how to dampen a tough blow, it’s because she’s had to absorb plenty herself. When she was 6 years old, her mother died in a car accident, leaving her and her two siblings to be raised by a single father who thought it’d be a good idea to adopt three wolf pups as pets. (Living in rural Oregon, he figured they’d keep his children from being murdered by bobcats. Also, they were cheaper than a nanny.) Humor helped her maintain. Specifically, she developed a healthy appetite for pranking, an affinity she shared with her older brother; her proudest moment is when she hid snap firecrackers under the toilet seat that detonated when he sat down. “As family members continued to pass, we centered on the importance of comedy in our family and being able to comfort each other that way,” she says. “That’s how we communicate for the most part—through very loving shit talk.” In high school, Weierhauser got involved in music and theater, but crippling shyness kept her from pursuing performance as a “That’s how we career. Later, after she left Las Vegas for communicate Portland and then, briefly, San Francisco, for the most part—through she became obsessed with attending very loving shit comedy shows. It took another tragedy to talk.” finally push her onto the stage. In 2012, her younger sister committed suicide, plunging her into a paralyzing depression that took her months to climb out of. Her therapist picked up on her tendency to use humor as a coping mechanism and suggested she give standup a try, an idea that initially mortified her. “It was a little brutal to hear,” Weierhauser says. “But it was a really good way to assign a narrative to some stuff, and just express some stuff. It’s turned into so much more.” As much as the notion frightened her, it didn’t take long for Weierhauser to learn how to get a laugh. Mostly, she just got up and started talking. She talked about how she was literally “raised by wolves,” how a barista once misheard her name and wrote “GAY” on her coffee cup, and even the aftermath of her sister’s death, which she describes as “like being placed in a snow globe shaken furiously by a 4-year-old on crack cocaine.” As a comedian, Weierhauser is less punch line-orient-

CHRISTINE DONG

JOE RIEDL

Caitlin Weierhauser hates being the bearer of bad news. She does have a knack for it, though. Often, it’s been part of her job description. When she lived in Las Vegas in her early 20s, she worked at a loan office, requiring her to gently quash other people’s dreams on a near-daily basis. After that, she managed the front desk at the Flamingo Hotel, where she dealt with a constant deluge of tiny traumas—like the time she had to inform a guest he couldn’t get a new room just because his partner had an “accident” on the floor of his current one, or when she denied another patron’s request for a fresh pair of pants after messing his own. (Apparently, what really happens in Vegas is mostly irritable bowel syndrome.) She does comedy now. But that doesn’t mean Weierhauser, 34, has retired as a semiprofessional messenger of disappointment. As a self-described “tantrum-prone queer” who says her favorite hobby is “rage,” her objective as a comic is to poke holes in straight-white-male privilege, and doing so means forcing audiences to confront the sort of shitty things that can’t be wiped away with bleach and Febreze. Instead of giving in to her angrier impulses, Weierhauser prefers to smash the patriarchy with a dimpled

CAITLIN WEIERHAUSER AT MISSISSIPPI PIZZA.

ed than many of her peers, preferring a loose storytelling style that allows her to riff, digress and, sometimes, just yell incoherently. In one of her strongest bits, she suggests women combat catcalling with nonsense screaming. “Nobody deserves to get sexually harassed in public,” she says. “They don’t deserve a sane response.” Jokes like that have gotten Weierhauser labeled a “political comic,” but she’s just as likely to go on a rant about the intelligence of crows or how gross worms are if the mood strikes her. It’s that flexibility that’s allowed her to kill both at Helium and at cowboy bars in Bend. She realizes, though, that for some, just her being onstage with a microphone is a political act. It’s a fact she’s coming to accept. “I think I have to, especially in light of Trump being elected,” she says. “It solidifies that there’s no pulling punches. There’s no more room to be gentle with people’s feelings, when those feelings directly oppress and marginalize others.” GO: Caitlin Weierhauser is at Mississippi Pizza, 3552 N Mississippi Ave., every Wednesday; at Funhouse Lounge, 2432 SE 11th Ave., for Dinner Date monthly; and on XRAY in the Morning (91.1-FM) a few times a week.

Willamette Week NOVEMBER 23, 2016 wweek.com

E M I LY J O A N G R E E N E

mcizmar@wweek.com

ylan Jenkins’ first gig was at New Seasons. Well, at Kennedy School. Well, at the New Seasons holiday party, which was at Kennedy School. It was Jan. 14, 2014, a date Jenkins spits out like it’s his birthday. Jenkins is a lifelong Portlander, born in his grandmother’s house near Grant Park. He still lives in the neighborhood. It’s his own little Mayberry—while settled in for afternoon drinks at the Hilt on Alberta, he sees two of his bosses and one of his roommates pass by. While attending Benson High, Jenkins played in bands and started working at the city’s favorite grocery store. Eventually, he hit a wall. His band broke up, and he gave up his bass guitar. “My whole thing was, ‘Man, I’m just going to be here until my band takes off,’” he says. “Then the music stopped. And I was like, ‘I’m just going to be here a little longer.’ And those two years turned into five and then into seven. Before I started doing comedy, I was living in a house where I didn’t jell with the roommates anymore, and I kinda got into this funk. And then a friend of mine signed me up to tell stories at our New Seasons holiday party. At first I was pissed—people are coming up to me, asking me about it. I go find the sign-up sheet, and it clearly was not my handwriting.” But Jenkins quickly calmed down. A good friend had put him on the list, shoving him through a door he’d been too complacent to open himself—one that led to his current spot near the top of the local comedy scene, which has taken to his gentle, self-deprecating humor about childhood candy thefts, roommate drama and the perils of public transit. “I’d wanted to do standup for a while,” he says. “I’d watch the specials, and I was like, ‘That looks awesome.’ So I thought about it, and I’m like, ‘I have two months, I can come up with a couple minutes of stuff.’” And so he did—after procrastinating for two months minus one day and having a mild freak-out in the parking lot outside the party. He went first, and he killed in a room full of 200 co-workers. “They were fish in a barrel,” he says. “All I had to do was talk about shitty customers.” From there, Jenkins found his way into the next wave 18

Willamette Week NOVEMBER 23, 2016 wweek.com

of the local comedy scene—his first show was Adam Pasi’s showcase at Chinese Village on 82nd Avenue, headlined by up-and-comer Ian Karmel, who moved to Los Angeles soon after. Here’s how fast things move in Portland comedy: Jenkins has never actually met big-timer Karmel, once a fixture of the local scene. Turns out, Jenkins had comedy in his blood. “My father came up in the ’80s comedy boom, with [2015 Funniest Five winner] Susan Rice and Art Krug and Dave Anderson,” he says. “He stopped doing comedy in 1992, when I was like 3 years old, and moved back from Los Angeles because he decided he wanted to be a father and not be trying to film pilots in L.A. and not have a relationship with his kid.” Dylan’s father, Robert Jenkins, was a professional comedian for 15 years, with screen time in Fright Night Part 2 and on Silver Spoons, MTV’s Half Hour Comedy Hour and A&E’s An Evening at the Improv. HENRY CROMETT

BY M A RT I N C I Z M A R

“I found his tapes,” Dylan Jenkins says. “I was in the basement, looking for porn, and I found a box full of tapes, and I was like, ‘Oh, shit, this is dope!’ I saw my dad’s name on the tapes, and I was like, ‘Oh, Dad was in porn? It’s gonna be weird, but I’m gonna watch it.’” Instead, it was a tape of his father on MTV. Today, they’ll have lunch and talk shop—though more about the process and emotions than the practicalities of forging a career. “My whole career has been on Facebook Messenger, getting onto shows. I’ve got GPS to take me to the venue,” he says. “He’s got all these stories of pulling out these big maps and driving to Billings, Montana, and having to change flats on the freeway…but the feeling you get when you succeed or fail with a bit, that will always be the same.” Jenkins’ dad is retired from comedy. He drives a cement truck and happily owns a nice house off Mississippi Avenue. But Jenkins has gone on to get tutelage from his dad’s old comedy buddies, includ“They were ﬁsh ing Rice, who was the first person in a barrel. All I to take him on the road, on a run had to do was to rural Washington. Jenkins talk about shitty bombed, but he learned a lot. customers.” “I did 20 minutes for the first time, and I died a slow death. It was this big room in Milton, this big bar, and the people weren’t sitting together or anything. Me and the featured comic were really having trouble,” he says. “Susan goes up, and the first words out of her mouth were ‘Go, Seahawks!’ and the place erupts. I thought, ‘That’s a pro right there, I’m gonna remember that.’ If you’re up in Battleground, Washington, at the Main Street Bar and Grill, and something doesn’t work, just say, ‘Go, Seahawks!’ and there you go.”

DYLAN JENKINS PERFORMS AT MY FATHER’S PLACE.

GO: Dylan Jenkins is at Al’s Den, 303 SW 12th Ave., on Friday and Saturday, Dec. 2-3. 10:30 pm. 21+.

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

m ko r f h a g e @ w we e k .c o m

on Frost thought the blind man was a mob boss. “He was just sitting so still, wearing these shades,” Frost says. “I kept making jokes, saying that guy runs the whole place. Eventually someone told me he was blind. I don’t know why—I DON FROST PERFORMS just immediately flung my water AT BRODY THEATER. bottle at him. It whizzed right by his head. I said, ‘Oh, I guess he really is blind!’ That got a laugh out of him. I guess he felt it go by.” Frost is one of the only true road warriors in Portland comedy, a gray-stubbled 37-year-old who dresses in a way that seems immune to irony, with 13 years and many miles under his belt in dirt-track towns from Montana to Arkansas. That blind man from the story? He was part of the audience at the Oregon state pen. Frost teems with stories that seem lifted from episodes of Twin Peaks. In 2000, he moved to a Beaverton condo from Phoenix to grow marijuana. There, his friend’s father—a former con man and leader of a cult devoted to aliens—slept on his couch and asked if he could have his submissive “sex slave” live in the closet. After a traffic stop on a cop show made him panicky about selling weed for a living, he saw a rundown of open mics in “maybe the Willy Week” in 2003 and hurried straight from the laundromat with his socks still wet. He won an amateur comedy competition in his first months of performing, but back then Harvey’s was the only game in town. So instead of workshopping jokes to local scenesters like many of today’s comics, he took his act on the road for weeks at a time—although he’s had to shorten his tours since his 4-year-old son was born. “I get known as the guy who can play any room,” he says. He’s played an alpaca farm. He’s been hired to make fun of welders on their lunch break. After Frost was hired to roast the attendees at a police and firemen’s ball—whose guests apparently took themselves very seriously—he says a 70-year-old woman told him to fuck off midset. Every single person in attendance received a written letter of apology from the fire marshal, he says. After another show, he cut down a tree with a chain saw for no particular reason. At another, a long-hauler let him drive a Mack truck drunk in circles around a Montana bar. “Everybody was out front cheering,” he says. “The gears were grinding. It’s the stupidest thing I’ve ever done.” Frost will tell you, in seeming apology, that “weird things always happen to me.” But like much in life, it isn’t that simple. Frost’s nature courts strangeness: He is disarmingly earnest, almost moony in his receptivity. You feel if you asked him to go shoot rats at the junkyard, he’d be up for it. He always seems confused and curious and surprised all at once—a stance that might be as much stage strategy as disposition. Onstage at tiny side-street bar the Slide Inn on a recent Sunday, Frost stalked around the room grabbing bottles off of counters, giddy

with existence itself. “Is this syrup?” he shouts. “Think of it. You’re in a place where there’s always syrup!” Amid a Portland scene that can be so warm and insidery it’s like a blanket fort for grown-ups, Frost may be one of the few comics in town who regularly encounters hecklers in the flesh. One of the very first times he got onstage—at a comedy showcase at Dante’s—a heckle from the crowd caused him to quit comedy for three months just as he was getting started. “Nice tits!” a guy yelled as Frost took the stage. “I just wilted,” Frost remembers. People in the crowd started hooting at him, and he tripped over his lines—finally just giving up and walking off the stage.

GO: Don Frost is at Helium Comedy Club, 1510 SE 9th Ave., on Wednesday-Saturday, Dec. 7-10, and posts upcoming shows at donfrost.net.

CHRISTINE DONG

“Weird things always happen to me.”

“It hit me in one of my biggest insecurities. I’m a man with boobs.” He didn’t perform again for months. But after a friend advised him to own his insecurities as jokes, he hopped onstage with a series of boob jokes. Ever since then, he says, he feels “bulletproof.” But though he writes jokes, Frost admits he doesn’t have the attention span to hone them relentlessly in the manner of a lot of career-minded comics—and so he’s prone to improvisations and wild leaps and occasional crashes and burns. “I was so dumb when I started I didn’t even know comedians had an act,” Frost says. “I saw a guy performing a second time, and I couldn’t believe he was telling the same jokes. I knew people who were funny just talking, all the time. I thought that’s what comedians did.” But this also leaves him responsive to whatever’s happening around him. At the Slide Inn, he lapsed into revery about the Trump protests in Portland. “I like to make a difference in little ways,” he said, “even if it’s just writing on the back of a cereal box at Walmart: ‘Fuck Cheerios!’ Or I’ll draw a spider on a roll of toilet paper in a public restroom. People will remember that for the rest of their lives.”

Willamette Week NOVEMBER 23, 2016 wweek.com

CHRISTINE DONG

sgormley@wweek.com

n a BDSM dungeon on Foster, Amanda Arnold encountered some resistance to a joke. The dungeon had been loosely outfitted as a comedy club—with chairs set up amid gynecological tables and beds—and was serving cookies, pizza and soft drinks out of a cooler. When Arnold told the story of a Tinder date who asked her to dress like a little girl and pretend to cry, someone in the audience objected, “You know, we’re into that.” “I’m not condemning the weird shit you do,” Arnold responded. “I’m just making fun of the weird shit you do.” After all, Arnold is just as likely to make fun of her own quirks as she is someone else’s. “We’ve all done weird stuff,” says Arnold sitting in a booth at Katie O’Brien’s on Sandy, sparsely populated at 2 pm. “I want people to be able to relate to me that we all have pasts.” In her standup sets, she tells stories of becoming “thumb [in the butt] girl” to an attractive emergency room doctor, or of a judgmental Plaid Pantry cashier when one late night she purchased wine, chocolate and batteries (for a cat toy). That might sound in the vein of standup’s tradition of self-deprecation, but Arnold doesn’t seem like she’s interested in being self-deprecating. “I do have a past. It makes me who I am, and I wouldn’t change any of it,” she says. “I’d still do all the drugs, I’d still sleep with all the boys, I’d still do all the things.” Not to mention that being a grown-ass woman who’s lived her life is a crucial part of what informs her 20

Willamette Week NOVEMBER 23, 2016 wweek.com

CHRISTINE DONG

BY S HA N N O N G O R M L E Y

and, due to meeting the right people at the right time, could go on the road “way before I was ready.” But Arnold says getting thrown into the comedic deep end was how she learned to be a standup comic, instead of just your average funny person. “You meet people who’ve been doing it for years and years, and they’re like, ‘You’re funny, but you’re doing all this shit wrong,’” says Arnold of touring. She now works as a vet tech, but she can almost support herself entirely with money earned from comedy. Arnold is a regular at Harvey’s and has more recently started doing showcases at Helium. She lives in FoPo with six roommates, which she describes as “kind of reliving my 20s in a weird sort of way.” Arnold says she could go back to working a well-paying bank job, but now that she’s found comedy, she’s all in. “I don’t want to move to L.A., but I will,” she says. That doesn’t mean she’s not content with her current position in life, though. “I tell jokes and pet dogs for a living,” she says. “I’m living my 10-year-old dream.” It’s an unexpected reversal: a job with a stable income in her 20s and a life on the road in her 30s. But Arnold says this has worked out for the best. “I’m glad I didn’t start in my 20s,” material. Arnold had no ambition to become a comedian for most of her life, and it wasn’t until she was 30 she says. “I was such a shit show. I would have burned all the that she officially performed standup for the first time. bridges. It happened when it was supposed to happen.” By then, she “had stuff to talk about.” GO: Amanda Arnold is at Harvey’s Comedy Club, 436 NW 6th As a Portland native, comedy was a part of Arnold’s Ave., with David Nickerson, on Thursday-Sunday, Dec. 8-11. childhood—her mom wrote jokes for her to 7:30 pm. Additional shows 10 pm Friday-Saturday and perform at her third-grade talent show, and 5 pm Saturday. $15. 21+. she memorized one of Howie Mandel’s “I’m just standup sets. Arnold’s teens were full of what she retroactively considers practice making fun of for standup: “Smoking pot and eating the weird shit mushrooms in basements and around you do.” campfires, I would always just end up talking for like two hours, and people would listen,” she says. But a career as a comedian was hardly on Arnold’s radar. By her early 20s, Arnold had a cozy bank job and was in a long-term relationship. “When I was about 21, I had already had a fake ID and been to the bars for like two years, and I got the job at the bank and was like, ‘I’m kind of done doing this,’” says Arnold. “I kind of settled into ‘OK, this is adult life.’” But when the subprime mortgage market crashed in the late 2000s, Arnold lost her job, and her long-term relationship ended. She found herself with severance pay and free time, which coincided with Arnold’s first standup set. Her friends prompted her to enter an open-mic competition, and Arnold came out victorious with $500. “Holy shit, this feels good,” she remembers thinking. “It wasn’t scary, it was wonderful.” She began to participate in open mics regularly AMANDA ARNOLD PERFORMS AT BRODY THEATER.

Stree t

“The weirdest thing is these two people in clown suits that ride around on high-rise bicycles with balloons.” “The weirdest thing I’ve seen are those free spirits on that corner over there—never seen anyone just chilling in a pink unicorn costume before.”

ON HAWTHORNE WHAT’S THE WEIRDEST THING YOU’VE SEEN IN PORTLAND? PHOTOS BY CHR ISTIN E DON G

Left: “I saw someone taking a shit near a school.” Right: “That’s a really good question— probably this one time I saw this guy puking, with his buddy helping him from behind, holding his stomach.”

“Weirdest thing I’ve seen was this naked dude riding on a moped with his dog in a milk crate on the back.”

“Weirdest thing I’ve seen is probably the Darth Vader dude on the unicycle.”

“The weirdest thing was a random theological discussion with a very well-dressed little person—ended with us at Voodoo Doughnut.”

“The weirdest thing I’ve seen is this guy who walks around downtown in a gigantic, towering clown suit.”

“The weirdest thing, well, I’ve only been here for 10 hours, and I’ve seen some really cool mushrooms.”

Willamette Week NOVEMBER 23, 2016 wweek.com

STARTERS

W W S TA F F

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

THE BIAMP PDX JAZZ FESTIVAL BEGINS FEBRUARY 16–26, 2017 100+ Events | A Dozen Venues

Get your tickets to the festival’s numerous world-class headlining artists such as Maria Schneider Orchestra, The Heath Brothers, John Scofield, Roy Ayers, and the world premiere by the 2017 Portland Jazz Master Mel Brown and his Big Band featuring Jon Faddis in Tribute to Dizzy Gillespie.

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ICED UP: After being closed for renovations for the past 10 months, the skating rink at Lloyd Center has reopened in time for Christmas shopping. The rink, which first opened in 1960 in the center of the Pacific Northwest’s greatest shopping mall, is where beloved local figure skater Tonya Harding learned to skate. The sky bridges are gone, and it’s now a smaller atrium rink that has a 50-foot Christmas tree in the middle. The rink has new skates, updated party rooms, and fake snow that falls from the mall’s centerpiece. “The fake snow just pushes everyone over the edge,” longtime rink manager Donald Baldwin tells WW. “We get squeals of delight every time it goes off.” FDT: Last week, Portland hip-hop made its national network television debut—and then it made national headlines. On Nov. 15, Aminé appeared on The Tonight Show With Jimmy Fallon to perform his viral hit “Caroline,” backed by a string section and vocal support from fellow Portland artists Blossom and the Last Artful Dodgr. In the song’s final moments, the 22-year-old singer-rapper (and son of Ethiopian immigrants) took advantage of the rare opportunity to speak to a broad swath of the country, tacking on a verse addressing President-elect Donald Trump and declaring, “You can never make America great again/ All you ever did was make this country AMINÉ hate again.” The performance received plaudits from The New York Times, Entertainment Weekly and The New Yorker, which described it as “an admonition against the late-night industrial complex.” Aminé—who recently signed a deal with Universal subsidiary Republic Records—plays a homecoming show at Hawthorne Theatre on Dec. 27. CLEAR THE TABLA: After nearly 14 years, bustling Laurelhurst Italian spot Tabla is calling it quits. Founding chef and owner Adam Berger’s restaurant, best known for its Piedmontese tajarin pasta with truffle butter and its namesake ricotta ravioli, will close Dec 3. Tabla’s Northeast 28th Avenue location will keep it in the neighborhood, however. Güero Mexican food cart just down the street has bought the business and will open a brick-and-mortar spot at the location, where co-owners Alec Morrison and Megan Sanchez will sling their trademark Yucatecan-style tortas and bowls. Morrison says he yet to finalize any details.

Jimmy Heath

pdxjazz.com | 503-228-5299 126 NE Alberta Street, Suite 002, Portland, OR 97211

Willamette Week NOVEMBER 23, 2016 wweek.com

HELMET TOWN: A group of cyclists has started a petition to urge Nike to bring helmets to BikeTown, creating helmets4biketown.com, where you can pledge support to encourage the corporation to provide helmets for the bike-share system’s riders. The group will also place stickers at BikeTown stations to publicize the petition. When WW spoke with Portland Department of Transportation director Leah Treat last summer, she defended Nike’s decision not to include helmets. “There has to be a means in place to get those helmets sanitized and back into the system,” she said. But petition organizers believe it’s worth it for Nike, “a smart enough company” to take the time to come up with a solution.

WEDNESDAY, NOV. 23 YG Oh sure, everyone’s chanting “Fuck Donald Trump” now, but YG—the new king of West Coast gangsta bounce—wrote the anthem back when we all assumed the Orange Menace would be irrelevant come Thanksgiving. Anarchists, put down your baseball bats and come throw your middle fingers up. It’s much healthier. Roseland Theater, 8 NW 6th Ave., roselandpdx.com. 6 pm. $27.50. All ages.

The Transplants Helium’s new standup showcase tries to address Portland’s very real case of Transplantphobia. The Transplants will be hosted by JoAnn Schinderle, and features the showcase’s creator, James Bosquez, along with a bunch of other non-native comedians making Portland funnier. Helium Comedy Club, 1510 SE 9th Ave., portland. heliumcomedy.com. 8 pm. $5.

THURSDAY, NOV. 24

FRIDAY, NOV. 25

JOANN SCHINDERLE

Prostgiving Don’t ask why. Just marvel at the goddamn wonder of it: For the eighth consecutive year, Prost is offering a free Thanksgiving dinner to all comers—with almost 100 pounds of turkey and stuffing and mashed taters and the rest of it, with only a polite request that you maybe drop a donation for those who can’t afford a meal. Have a good one, Portland. Prost, 4237 N Mississippi Ave., prostportland.com. 6 pm till the food runs out.

Get Busy

Car Seat Headrest It’s possible that Car Seat Headrest’s Teens of Denial will wind up being the only guitardriven album on most critics’ year-end top-10 lists, and no wonder. It’s a raucous celebration of rock ’n’ roll’s recent past, drawing obvious influence from college-rock all-stars like Sonic Youth and Guided by Voices while never coming across as lazy pastiche. Wonder Ballroom, 128 NE Russell St., wonderballroom.com. 9 pm. $15. All ages.

SATURDAY, NOV. 26

WHAT WE'RE EXCITED ABOUT NOVEMBER 23-29

Daughter Since signing to 4AD after a wave of internet buzz in 2012, mystically bummed London trio Daughter has lived up to the hype. This year’s Not to Disappear features a greater emphasis on strummy buildups and sparse atmospheric flourishes, which should be a delight for fans lured to the band by descriptions that it's “Bon Iver with female vocals.” Crystal Ballroom, 1332 W Burnside St., crystalballroompdx.com. 8 pm. $20 advance, $23 day of show. All ages.

FXX’s Every Simpsons Ever Marathon Never has there been a better reason to ignore the Dallas fucking Cowboys. FXX will air what's being billed as the "longest marathon in TV history" by showing all 600 episodes of The Simpsons. It starts at noon and runs through Dec. 6.

Portland Premiere of Golden Kingdom After decades of military rule, Myanmar (formerly known as Burma) is slowly being liberalized. Portland filmmaker Brian Perkins was among the first to venture to the formerly reclusive country to film Golden Kingdom, a tale of four young monks played by nonprofessionals. Tonight's premiere will include Perkins in attendance for a Q&A following the screening. Hollywood Theatre, 4122 NE Sandy Blvd., hollywoodtheatre. org. 7 pm. $9.

Mead Jubilee If you drink mead only one day a year—and mind you, this is extremely likely—make it this one. Apparently the region somehow has six meaderies now: Nectar Creek, Oregon Mead & Cider Co., Fringe Meadery, Sky River, Viking Braggot Company, and Ethereal Meads. There’s also honey tasting. Mead Market, 1744 SE Hawthorne Blvd., 877-3252221. 1-4 pm Saturday and Sunday.

SUNDAY, NOV. 27 Les Blank: Cultural Rarities Indie filmmaker Les Blank built a storied career centered on documenting American folk musicians. Hollywood Theatre is celebrating what would have been his 81st birthday (Blank died in 2013) with three of his rare films: Thailand Moments (1967), a short of recently discovered footage of a trip to Thailand; Puamana (1991), documenting Hawaiian composer Auntie Irmgard Farden Aluli; and Ziveli: Medicine for the Heart (1987), a portrait of Serbian-American communities in California and Chicago. Hollywood Theatre, 4122 NE Sandy Blvd. 7 pm, $9.

A Drag Queen Christmas When it comes to being festive, nobody brings it like drag queens. Former RuPaul’s Drag Race competitors Latrice Royale and Naomi Smalls will be among the entertainers bringing you wacky and over-the-top holiday spirit. Newmark Theatre, 1111 SW Broadway, portland5.com. 8 pm. $31.10-$177.

MONDAY, NOV. 28 Kool Keith Long known as one of the world’s kookiest MCs, Kool Keith’s eccentricity has influenced fellow weirdo rap personalities from MF Doom to Lil B. But while he’s always been ahead of his time, he’s still a product of early hip-hop. His latest LP, Feature Magnetic, presents the best of the two worlds he occupies—a freaky vision of the future launched from the krush-grooving past. Doug Fir Lounge, 830 E Burnside St., dougfirlounge.com. 9 pm. $16 advance, $20 day of show. 21+.

Willamette Week’s Funniest Five & Holiday Marketplace Now here’s a post-Thanksgiving twofer worthy of Cyber Monday. Get a jump on your holiday shopping by buying from top-shelf local vendors, and enjoy Portland’s five funniest comics, as determined by a survey of their peers. It’s an almost-Christmas miracle! Alberta Abbey, 126 NE Alberta St., wweek.com. The marketplace is from 4:30-8 pm. Free entry. The Funniest Five Showcase is at 8 pm. $5 advance, $10 at the door. All ages.

TUESDAY, NOV. 29 Taking Back Tuesday Cheer up, emo kid—Emo Night LA is back with the hits! You’re older and more jaded now, but jams from Brand New, Dashboard Confessional and Taking Back Sunday still sound just as good turned up to 11 in a packed out club with a bunch of other 20-somethings whose days of wearing girls' jeans and white belts are well behind them. Holocene, 1001 SE Morrison St., holocene. org. 9 pm. $6 advance, $8 day of show. 21+.

How to Survive a Plague Whenever you think shit’s real dark, just remember: It always has been. Author David France chronicled the fucked-up Reaganite times when the government at first wouldn’t admit AIDS existed even as people died, and then Jerry Falwell said God did it as punishment. Hear the author tell the definitive history of how AIDS went from a mysterious and terrifying plague to a medicationmanaged chronic disease. Powell's City of Books, 1005 W Burnside St., powells.com. 7:30 pm. Free. Willamette Week NOVEMBER 23, 2016 wweek.com

Available at Powell’s Books 2016

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The Beaver Bandwagon

The Bump

JOIN US IN CHEERING ON THE BEAVERS AS THEY WHUP THE DUCKS FOR THE FIRST TIME SINCE 2007.

We know. The Oregon Ducks are going to win the Civil War. They have the better record. On paper, they have better talent. They’ve got a highly paid coaching staff and better facilities. They’ve won eight straight against the Oregon State Beavers. Doesn’t matter. We are throwing our weight behind the Beavers, the team that best embodies the spirit of Oregon nearer to our hearts—and homes—in Portland. As Oregonians, we know all too well that the Ducks dominate the state’s college sports universe. Which is ironic, because the modern version of the team is anathema to Oregonian values. In recent years, superbooster Phil Knight has splooged hundreds of millions of dollars into the Oregon athletic program, turning the Ducks from a lovable band of underdogs into a grotesque West Coast facsimile of SEC footbaw schools—just without the wins. No matter how many gold-plated hot tubs they installed in their Death Star, or how far their everchanging uniforms diverged from the actual school colors, the Ducks couldn’t claim a national title in their prime Chip Kelly years. Drunk on their own hype, they paid his successor, head coach Mark Helfrich, like he was Chip Kelly—though he is clearly no Chip Kelly. Now that the Ducks are routinely getting obliterated by the likes of Washington (lol) and Wazzu (LOL), the excesses of those years should repulse every decent, hardworking Oregonian. This year’s upstart Beavers squad has a chance to change things, defeating the Duck Dynasty for the first time since George W. Bush was president and restoring some excitement to the state’s biggest sporting event. And to be clear, we much prefer the Beavers.

I L L U S T R AT I O N S B Y J A M E S M A C K E N Z I E

BY WW STA F F

The Ducks’ flashy style, charming while it was effective, has become an embarrassment as they lose week after week. It’s one thing to don chrome-plated uniforms and automatically go for two when you’re an offensive juggernaut; it’s pathetic to do so when you suck. The Ducks continue to avoid accountability, as athletic director Rob Mullens—who made the disastrous decision to give Helfrich a five-year, $17.5 million contract

extension—has opted to duck (no pun intended) all independent media requests this entire season. Meanwhile, Beavers quarterback Marcus McMaryion has inspired us with his gutsy play and loyalty to the team even after losing the starting job to a transfer. Running back Ryan “the Wrecking” Nall plays with beastly intensity, rushing for 174 yards, including a 66-yard touchdown, against the Ducks last year. We believe he can do so again, given the sorry state of the Ducks’ D. What about those who say that supporting the Beavers will only weaken the Ducks, who are our only real contender for national greatness? We don’t buy it. The Ducks lost in both of their national championship game appearances, and “Uncle Phil” seems to have all but given up on football, instead focusing on building his basketball program and the Oregon Republican Party. The Ducks will not be competitive until they part ways with Helfrich, but his $11.6 million buyout makes that all but impossible. A Beavers victory in the 120th Civil War will help shape the state’s allegiance in a positive way, giving voice to rural and working people. It provides the Ducks with the encouragement, and even the pressure, to be more accessible and adopt uniforms that better reflect their humble condition. Portlanders can help mold our state’s football future by enthusiastically cheering on our Beavers this weekend. GO: Oregon plays Oregon State in the Civil War at Reser Stadium, 660 SW 26th St., Corvallis, on Saturday, Nov. 26. 1 pm. TV on Pac-12 Network. Go Beavers.

Willamette Week NOVEMBER 23, 2016 wweek.com

FOOD & DRINK = WW Pick. Highly recommended. By MATTHEW KORFHAGE. Editor: MARTIN CIZMAR. Email: dish@wweek.com. See page 3 for submission instructions.

FRIDAY, NOV. 25 COURTESY OF PROSTPORTLAND.COM

THURSDAY, NOV. 24

Green Dragon Black Beer Friday

In what’s becoming a strong Portland beer tradition—with Loyal Legion and N.W.I.P.A. also holding their own events—Green Dragon will tap a huge mess of black IPAs and other black beers for Black Friday, including a six-year vertical of Full Sail Top Sail and Black Gold imperial stout, alongside a whole lot of cellared stouts, barrel-aged beers and porters. Green Dragon, 928 SE 9th Ave., 503-5170660. 11 am.

Beer and Wine Grape Varietal Fest

PROST

Prostgiving

Don’t ask why. Just marvel at the goddamn wonder of it: For eight years, this one included, Prost is offering a free Thanksgiving dinner to all comers—with almost 100 pounds of turkey, stuffing, mashed taters and the rest of it, with only a polite request that you maybe drop a donation to those who can’t afford a meal. Have a good one, Portland. Prost, 4237 N Mississippi Ave., 503-954-2674. 6 pm. Free.

Skyline Friendsgiving

GIFT E D I U G Experience Lebanese cuisine at its best Call us for your event party & catering needs! Belly dancing Friday and Saturday evenings

223 SW STARK STREET PORTLAND, OR 503-274-0010 ALAMIRPORTLAND.COM 26

Willamette Week NOVEMBER 23, 2016 wweek.com

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The Skyline Tavern is like a holiday cabin somehow mysteriously still in Portland—and it’s holding a citywide Thanksgiving potluck with a grill in the back, a horseshoe pit, pingpong, darts, and a group feeding all afternoon. Dogs are allowed on leash in the beer garden, and there’s a $10 corkage fee for BYO. Skyline Tavern, 8031 NW Skyline Blvd., 503-286-4788. 3-8 pm.

On Black Friday, witness the unholy—and weirdly delicious— marriage of wine and beer in a single glass, with winelike beers made using wine grapes like pinot noir, Beaujolais, viognier, tempranillo, muscat and more, including a ridiculously good Beaujolais with brett from Breakside, an equally terriﬁc Oregon Native from Upright made with pinot grapes, plus more from de Garde, Great Notion and others. This will be cash only, unticketed and pretty much can’t-miss. Tasters are $3. Upright Brewing, 240 N Broadway No. 2, 503-735-5337. 2-9 pm.

SATURDAY, NOV. 26 Mead Jubilee 2016

If you only drink mead one day a year—and mind you, this is extremely likely—make it this one. Apparently the region somehow has six meaderies: Nectar Creek, Oregon Mead & Cider Co., Fringe Meadery, Sky River, Viking Braggot Company and Ethereal Meads. Also, there’s honey tasting, and a bee-themed photo booth, which is one of those things you never knew you wanted but now maybe do. Mead Market, 1744 SE Hawthorne Blvd., 503- 477-7205. 1-4 pm.

DRANK

Bull Run Single Malt Whiskey We’ve had a good, long wait for real Oregon whiskey. The stuff you see for sale at local distilleries is either un-aged white dog best used for spiking punch, or bourbon originally made back east, bottled with a local label and sold to suckers at a hefty markup. So God bless Bull Run Distilling, which just released one of the first real Oregon whiskeys. Its single-malt was scratch-distilled in Slabtown and aged there for four years. It’s even more Oreg onny than that, actually, since it started as malted barley grown in the Klamath Basin before being distilled and aged in American oak barrels. The result is an 89.08 proof bottle that runs $50—and also runs a little hot if you drink it straight. There’s a nice caramel sweetness to the nose, which emerges best over a single ice cube. Because of the single malt and young age, it lacks the round edges you find in whiskeys made with corn and blended from hundreds of 7-year-old Kentucky bourbon barrels. But that’s a small price to pay for an authentic, groundbreaking product. Recommended. MARTIN CIZMAR.

HENRY CROMETT

REVIEW

FISHY IN THE WINDOW: Net-to-table ﬁsh docks in Woodstock.

Closest Coast

WOODSTOCK’S PORTLAND FISH MARKET NOW HAS A WINDOW SERVING SUPER-FRESH SMALL-BOAT CATCHES. BY M AT T H E W KO R F H AGE

mkorfhage@wweek.com

In Portland, there’s only one place you can go for a fish-and-chips basket fried up by the same people who caught the fish. And oddly enough, that’s the Woodstock neighborhood. It’s close to no river. It’s near no ocean. But last year, two fisherfamilies, the Berkowitzes (Agnes and Ben) and the Shirleys (Mike and Brandi), started a boat-to-table fish market there called the Portland Fish Market, just a block away from a four-generation German sausage maker. In a shop that looks as if it were airdropped from the business end of Newport Bay, the Portland Fish Market sells house-smoked cod and pepper coho, sushi-grade bigeye and whole sea bass that might have been swimming in the ocean just hours previously, processed not by some large, intermediary facility but often by the same people who hauled it in. All fish are wild, all caught either by the shop’s owners or by a tight network of friends who fish along Oregon’s rivers and coastline. And this fall, the market installed a net-to-fork fish-and-chips window—just like the fishermanrun stalls you find every now and then along the docks of the Oregon Coast. Every Wednesday to Sunday, you’ll see a hinged wood awning propped up on the side wall of the fish shop, next to a few freshly stained picnic tables and a little yellow sign announcing that, Oregon Liquor Control Commission willing, the young women behind the window might one day serve you beer. Stuck to the glass, you’ll see a menu with precisely two food items on it: fish and chips. Three pieces of cod and chips cost $9.95.

The same with halibut is $15.95. And if there’s a large catch of something else, you might get lucky enough to happen onto something like a three-piece rockfish and chips for $12.50. The canola-oil, steak-cut fries at Portland Fish Market are nothing special, though they come with a welcome bit of British-style malt vinegar. But that rockfish? That was some of the best fried fish I’ve had in town—a layer cake of fatty feeling with crisp and buttery breading around equally buttery fish. It evokes a sense of well-being that has history to it, lodged deep in the memory of anyone raised on trips to both Horse Brass and the coast. If you see the rockfish, or any other fish of the day, that’s what you should order. Just don’t spring for the halibut. Though it’s a more expensive fish, it’s not clear it’s ever been well-served as fish and chips compared to cod; the halibut’s flat fillets are both dense in their fishiness and overwhelmed by the breading, whereas the thick cod chunks maintain a better ratio of breading to flaky, lovely fish. And at lunchtime, you can pick up a two-piece basket of cod and chips for a mere $6.99. This is not fancy food, but it is the food that fishermen eat. It is also the food that they make for themselves out on the coast. And for one brief moment at the picnic tables, eating fish with one hand while pulling your jacket tight against the wind and rain with the other, you can fool yourself into thinking that’s where you are. EAT: Portland Fish Market, 4404 SE Woodstock Blvd., 503-477-6988, portlandﬁshmarket.com. The ﬁsh-and-chips window is open 11:30 am-7 pm Wednesday-Saturday and 11:30 am-6 pm Sunday.

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MUSIC h e n r y c r o m e t t ; c o u r t e s y o f r ya n s t o w e ; w w s ta f f

FEATURE

NorthernDraw (Thirsty City) “The MNDSGN show was crazy. We do DJ sets after live performances from 11 pm to close, and MNDSGN was supposed to spin records after his set for a while, but someone forgot the Serato box. Pointing at my box of records, I said, ‘Why don’t you just spin from my collection?’ We ended up going one-for-one the rest of the night, passing each other records back and forth, laying down the funk.” Kelly Fay Vaughn (DJ Suzanne Bummers, Not OK PDX) “At the Eddie and the Hot Rods show a couple years back, I was initially bummed by how many people weren’t there, but that quickly changed when they started playing and the small crowd went wild. I crowd-surfed to ‘Do Anything You Wanna Do’ and danced with strangers to their cover of ‘Gloria.’ They were incredible—the band, not the dancing. Our dancing was terrible. There was a moment of complete bliss when I realized I was in love with my partner at the time and the unity that I thought Portland had lost was in full swing. We were all alive.” Laken Wright

IN aND OuT Of ThE KNOW: (Clockwise from top) Outside the alberta Street venue; a pre-show queue; Bill Conway in the restroom; at the bar.

Apocalypse Know IT’S THE END OF THE KNOW AS WE KNOW IT. HERE’S HOW REGULARS WILL REMEMBER PORTLAND’S NOISIEST PUNK BAR.

BY C H RIS STA M M

503-243-2122

The Know was more than an earsplitting punk dive. The Northeast Alberta Street bar, which will host its final show Nov. 27 before taking over the Blackbird’s old spot on Sandy Boulevard in early 2017, was also a fine place to watch the Super Bowl with friendly regulars. It was an ideal hideaway for afternoon benders with heartsick buds. It accommodated loners and loudmouths alike. The same could be said for countless watering holes. But from 8 to 11 pm every night, the Know became something truly special—a breeding ground for the best loud, fast, angry, punishing and beautiful music in Portland, and the world. There was no place like it. Don’t take my word for it, though. Listen to the folks who played, worked, danced, raged and found meaning there.

David Rose (the Know booker)

“It’s pretty surreal looking back over the show posters for the Know since I began booking for them in spring of 2010. I mean, literally the first show I worked was for Jonathan Richman! It’s always been that kind of place. Many of the bands and artists could play any venue in town, but they choose the Know because it has something special that can’t easily be quantified. “That said, one of my strongest memories 28

Willamette Week NOVEMBER 23, 2016 wweek.com

of the Know is perhaps one of my earliest. The bill was Warcry, Criminal Damage and Fy Fan in March 2008. I remember there were these awkwardly large, torn-to-shit booths kinda arbitrarily placed along the walls of the venue. The place was packed, and I ended up clamoring onto a booth to get a better vantage of the bands over the thrashing audience. What I saw from my perch was incredible, and something I’m thankful to have been involved with.”

Tekiah (Macho Boys)

“The best show I ever saw at the Know was the Mob the first time they came to Portland. The Mob has been one of my favorite bands for years, so I was really excited. I remember walking in and seeing Mark, the singer, and I just started bawling. He came up to me laughing and hugged me. I was starstruck, I guess you’d call it. I took a picture with him and told him what an inspiration his band was to me. The show that night was great. I had seen the Mob at Chaos in Tejas that summer, but seeing them at the Know was way more intimate.”

Mira Glitterhound

(Sweeping Exits) “After four months in hibernation we’d landed a show with Divers, which was huge for us. I did my typical manic stage antics, beyond excited to see [Divers singer-guitarist] Harrison [Rapp] watching from the back.

Then Divers came on and decimated the stage, lifting everyone’s spirits. The beautiful thing about that night was that you felt like you were in your living room, but you also felt like you were in a movie. That, to me, is the Know.”

Mike Moshburn (poster artist)

“I will never forget seeing our friend Jonathan Richman three nights in a row in 2012. But credit for my deep affection for the Know goes to the staff and community coming together to support each other, express themselves, make friends, mourn friends and build a beautiful community in a true punk spirit. The Know is bigger than a dirty old building on Alberta thanks to all those people—Jonathan Richman included.”

Nathan Carson

(Witch Mountain, Nanotear Booking, WW contributing writer) “I saw some great shows at the Know, some by ‘historic’ artists. But what sticks in my mind is a set by Seattle prog-grind trio Spacebag, who threw down epic virtuosity in the most irreverent yet undeniable manner. The Know was always thoroughly unpretentious—except for punk pretension. The folks who came out for Spacebag were there for a good time, they got it, and they didn’t smell bad. I loved the family vibe, the low-key atmosphere and the good beer—all of which offset the mediocre acoustics. Can’t wait for the same vibes in a new room.”

(Blowout, the Know sound engineer) “Some of the raddest moments I’ve seen have been in the wake of the Know’s end on Alberta: a guitar getting chain-sawed in half onstage, the opening of multiple piñatas midset, and ‘Fuck Trump’ scrawled on the walls. No local venue could top the lively, community-driven energy felt at each show. I’ll miss the light heckling of the Salt & Straw line and waiting for my beersoaked hair to dry.”

Keith Henderson

(the Know bouncer and bartender) “Memorable shows for me are the ones I wasn’t expecting to be all that good and weren’t all that well-attended or -promoted, but then they turn out to be my new favorite band. That happened with Dirty Fences, for sure. Spitting Image from Reno; Wand—that band rules. My favorite shows were the ones I didn’t realize I’d be so psyched about. Then, of course, there were the shows I was psyched about—and those ruled, too.”

Jose De Lara

(Stress Position, Drunk Dad) “Platitudes about ‘punk institutions’ and such can come off as contrived in these modern times where such things are easily purchased and affected. However, there is no other way to describe the Know [other than] as a space for the heavy, the loud, the weird and the raucous. “Favorite memories and shows are innumerable, but seeing the Body play there and being punished by bowel-crushing, low-bass frequencies sticks out in my mind as something I will never again experience and will forever cherish. “The changing landscape of high-rises and the boutique reselling of culture exists in spite of something that can never be faked. Friendship, challenging ideas, off-the-wall music, and feeling like you are a part of something that actually matters can’t be synthesized, and the Know is the most organic lab for that that we will ever know. Long live.”

SEE IT: Bi-marks play the Know, 2026 ne alberta st., with Long Knife, wild mohicans, Pms 84 and sweats, on sunday, nov. 27. 8 pm. $7. 21+.

PROFILE

= WW Pick. Highly recommended.

JASON QUIGLEY

Prices listed are sometimes for advance ticket sales. At-the-door increases and socalled convenience charges may apply. Event lineups are subject to change after WW’s press deadlines. Editor: MATTHEW SINGER. TO BE CONSIDERED FOR LISTINGS, go to wweek.com/ submitevents and follow submission directions. All shows should be submitted two weeks or more in advance of event. Press kits, CDs and especially vinyl can be sent to Music Desk, WW, 2220 NW Quimby St., Portland, OR 97210. Please include show or release date information with all physical mailings. Email: msinger@wweek.com. Fax: 243-1115.

WEDNESDAY, NOV. 23 Norfolk & Western, Dolorean Duo

[RITUAL REUNION] Norfolk & Western was a Portland institution in the early aughts, made up of musicians who would go on to become local mainstays. The ragtag ensemble was the creative outlet for local songwriterproducer Adam Selzer, who routinely tapped members of Horse Feathers, the Decemberists and M. Ward’s band over the course of the group’s six albums. Its last LP, 2010’s Dinero Severo, functioned as a culmination of its past efforts, beautifully pairing distorted guitars with spoken-word verses and tufts of countrypolitan strings a stone’s throw from the band’s benign, acoustic beginnings. Al James and Jon Neufeld of the still-defunct Delorean will open tonight’s reunion. BRANDON WIDDER. Alberta Rose Theater, 3000 NE Alberta St., 503-719-6055. 7 pm. $10. Under 21 permitted with legal guardian.

SoMo, Stanaj

[YOUTUBE R&B] Twenty-nine-year-old R&B and pop vocalist Joseph SomersMorales, better known as SoMo, is yet another example of a singer who got his start on YouTube. After uploading his first video, a cover of Chris Brown’s “Crawl” in 2009, the Texas native quickly gained popularity with his breathy delivery of pop hits and engagement with fans. His YouTube page currently has over 200 videos and more than a million subscribers. His 2015 release, My Life II, is full of minimal, snappy R&B tracks like “Bad Chick” and “Hide & Freak”—and the singles from his upcoming album promise fans more of the same. MAYA MCOMIE. Crystal Ballroom, 1332 W Burnside St., 503-225-0047. 7 pm. $25 advance, $28 day of show. All ages.

King Black Acid, Skull Diver, Lubec

[DREAMS OF FUZZ] Daniel John Riddle brokers a timeless brand of fuzzy jangle pop that’s unlikely ever to go out of style, which is reason enough for the Portland artist to wake his King Black Acid project from the dead after almost two decades of little output. Once a shining star of the same Cavity Search Records scene that jumpstarted the careers of Elliott Smith and Hazel, Riddle is also an accomplished session musician and composer who’s as deserving of a second go-around as anyone on the current ’90s-nostalgia circuit. PETE COTTELL. Doug Fir Lounge, 830 E Burnside St., 503-231-9663. 9 pm. $10 advance, $15 day of show. 21+.

Fred & Toody, Michael Hurley

[NW CHARACTERS] Dead Moon and Pierced Arrows were shut down earlier in 2016, but Fred and Toody Cole are still at it, churning through relentlessly dour lyrics on acoustic instruments rather than the shrieking electric rigs their work’s been associated with for decades. It’s a fitting complement to Michael Hurley, a guy whose stream of out-folk records are crammed full of cartoon characters, whoops and quaint country scenes since the late ’60s. That he’s still issuing work—2016 found Mississippi Records releasing the wobbly, endearing Bad Mr. Mike— speaks to the tradition of America’s creative oddballs being represented at the Know in its final days on Alberta. DAVE CANTOR. The Know, 2026 NE Alberta St., 503-473-8729. 8 pm. $10. 21+.

FRIDAY, NOV. 25 Neurosis, YOB, Kowloon Walled City

[POST-METAL] Having just unleashed its 11th studio album, Fires Within Fires, Neurosis continues its pattern of delivering soul-crushing vibrations without compromising progress. Being a solid

staple of the post-metal scene, this is no small feat. Scott Kelly and Steve Von Till’s legendary, unyieldingly violent vocals sandblast through dark, thick curtains of ambient metallic guitars that feed back with intention. Heavy blues, folk, psychedelic rock and punk color Neurosis’s foundation from which they have erected a black and smoky musical shrine. CASEY MARTIN. Hawthorne Theatre, 1507 SE César E. Chávez Blvd., 503-233-7100. 8 pm. $25 advance, $30 day of show. All ages. Through Nov. 26.

Curtis Salgado

[BLUES BROTHER] We’ve all heard the story by now: Animal House-era John Belushi met Curtis Salgado, then the frontman of Eugene blues band the Nighthawks, and—many debaucherous nights later—the Blues Brothers were born. But, contrary to popular opinion, that’s not all the now-62-year-old soul man has contributed to our musical universe. A lifelong songwriter, harmonica player and crooner, Salgado has helped maintain Oregon’s status as a relevant blues haven for decades, long offering Portland-area musicians a stepping stone to larger national stages. This Thanksgiving, he brings a few of those excellent local players to two back-toback nights at Jimmy Mak’s as part of his annual residency, providing a great opportunity to pay it forward. PARKER HALL. Jimmy Mak’s, 221 NW 10th Ave., 503-295-6542. 8 pm. $20 general admission, $25 reserved seating. Under 21 permitted until 9:30 pm.

Black Market Friday: Mascaras, Little Star, bed., Anna Tivel

[SPENDSGIVING] The Portland Label Coalition presents this concert-cumholiday marketplace, featuring four of Portland’s best young bands and over 10 local labels—including EYRST, Fluff and Gravy and Jealous Butcher—hawking their discographies. Support independent music while also avoiding getting trampled at a department store. That’s what we call a win-win! Entrance gets you a $5 voucher redeemable with all vendors. Mississippi Studios, 3939 N Mississippi Ave., 503-288-3895. 6 pm. $6 advance, $8 day of show. 21+.

Radiation City, Pure Bathing Culture, Sama Dams

[RADIANT POP] The brightness of Radiation City’s latest release, Synesthetica, is palpable, casting an instantly colorful glow wherever it’s played. The record showcases the band’s love of soul, power pop and groovy guitar licks plucked straight from a 1970s movie soundtrack. While grounded in rich pop structures, Rad City is known for taking flight, exploring the starry skies of experimental synth rock. Despite the new heights scaled on Synesthetica, the band has suggested this might be its final show. If that’s true, it’s going out in style, with an allstar local music bill that includes several takes on modern pop, from the wavy sounds of Pure Bathing Culture to the R&B-tinged smoothness of Sama Dams. MARK STOCK. Revolution Hall, 1300 SE Stark St., No. 110, 503-288-3895. 9 pm. $15.50 advance, $18 day of show. All ages.

Hot Chip (DJ set), Colby J.

[HEAT CHECK] While there’s little information about what a “Hot Chip DJ set” entails—it’s unclear which members of the English electro-dance troupe are even spinning—judging by the impeccable taste in post-punk, disco and R&B grooves implied by their records, it’s safe to assume that whoever’s behind the decks will be spinning the hits, including maybe a few of their own, if we’re lucky. The Evergreen, 618 SE Alder St., 503-476-1811. 10 pm. $15. 21+.

CONT. on page 31

Cello Darlings THE PORTLAND CELLO PROJECT CELEBRATES 10 YEARS OF BRINGING CLASSICAL TO THE MASSES— BUT DON’T CALL IT CROSSOVER. BY ISA B EL ZACHA R IAS

503-243-2122

In 2006, 10 cellists arranged themselves on the Doug Fir Lounge stage to try playing classical music in an equalizing, booze-positive setting. Assisted by the group’s infectious cover of Britney Spears’ “Toxic,” what was meant as a one-off experiment morphed into the Portland Cello Project. A decade later, they’ve become one of the city’s most revered musical institutions. “People just like the sound of the cello,” says Nancy Ives, principal cellist of the Oregon Symphony and a featured guest player with the PCP. Since its inception, the PCP’s rotating all-star cast of local players has taken on the repertoires of everyone from Elliott Smith to postmodern classical composers like Arvo Pärt, splitting program space with original compositions from PCP’s own members. In fact, the instrument itself is about the only common thread running through the PCP’s synthesis. But that diversity is central to its mission—to connect seemingly disparate musical communities and open doors revealing new, inclusive ways to hear and appreciate music. Unlike many of the classical establishment’s attempts at “accessibility” in the ’80s and ’90s, the Portland Cello Project’s aim isn’t to make so-called “normal people” buy more symphony tickets. Early attempts to dissolve once-stark divisions between “academic, cerebral” music and pop were “not successful artistically,” Ives says. “The word ‘pandering’ comes to mind.” It may have an arrangement of Kanye West’s “All of the Lights” for six cellos, but by playing just as many bluegrass, jazz and contemporary classical pieces as it does pop covers, the PCP has intentionally avoided being boxed in as “classical crossover.” Rather, the project builds channels of creative conversation not limited by instrumentation. This, in itself, isn’t new. “If you’re playing a Bach cantata on all cellos, it won’t sound exactly the same,” Ives says. “It’s a reflection on that musical material, just the way it is when

you play a rock song on however many cellos.” Gideon Freudmann, a founding PCP member and composer, points out that improvisation was once an essential element of classical style. The original versions of classical masterworks were written without much detail spelling out tempo and dynamics, and musicians made those decisions themselves, allowing much greater personal expression than we usually hear in classical music today. “There’s a tendency for people to forget that classical music wasn’t something that always existed as a great tradition from the past,” he says. Those of us who picture classical traditionalists as buttoned-up, play-what’s-on-the-page types might assume they’d find PCP’s pop efforts a disgrace. But Freudmann argues that “classical music has, by some purists, gotten a little too locked into ‘this is just the way it should be.’ I firmly believe that’s not how music ever was.” Not that Freudmann is without playful opposition. The PCP’s upcoming 10th anniversary concert will feature a faceoff between his electric cello-driven Innovation ensemble and classical cello heavyweight and PCP member Diane Chaplin’s Virtuosi ensemble. Even Chaplin says the strictures of classical playing can be seen as “restrictive” or “formative,” adding that she loves “rising to the expectations of an excellent classical performance” just as much as she loves the increased freedom of expression she finds in the Portland Cello Project. In a world where famed composer Sergei Prokofiev’s grandson Gabriel is just as prolific in the classical sphere as he is in London’s club scene, the PCP is in the middle of a larger trend of cross-pollination. The project doesn’t seek to make classical inroads on popular genres but to reinvigorate this one classical instrument with a spirit integral to the Western musical tradition: the spirit of exchange, of progress, of using music as a mirror to reflect on the world as it changes. “Good music is good music, and there’s always a place for it,” Freudmann says. “It’s not going to go away. What matters is how it’s presented.” SEE IT: The Portland Cello Project’s 10th anniversary show is at Arlene Schnitzer Concert Hall, 1037 SW Broadway, on Friday, Nov. 25. 8 pm. $28-$45. All ages. Willamette Week NOVEMBER 23, 2016 wweek.com

Willamette Week NOVEMBER 23, 2016 wweek.com

MUSIC icately built on little more than guitar, drums and a mountain of dirty reverb. thankfully, his selfdeprecating iteration of psychedelic rock is better for it. BRAnDon WIDDER. Mississippi Studios, 3939 N Mississippi Ave., 503-288-3895. 8 pm. $5. 21+.

Car Seat Headrest, the Domestics

[GARAGE REVIVAL] Diving into a catalog that’s 12 records deep sounds daunting at first, but Will toledo has effectively laid it all out in plain view for noobz on Teens of Denial, the latest in a long line of gems under his moniker, car Seat Headrest. It’s a barnstorming revival record at its core, drawing obvious influence from college-rock all-stars like Wilco, Sonic Youth, television and Guided By Voices in a way that’s more a raucous celebration of rock ’n’ roll’s recent past than a lazy pastiche of certified indie essentials. PEtE cottELL. Wonder Ballroom, 128 NE Russell St., 503-284-8686. 8 pm. $15. All ages.

Thee Oh Sees, Alex Cameron, the Lavender Flu

[GARAGE PSYcH] over the summer, thee oh Sees treated their fans to a stylistic departure called A Weird Exits. critics lauded its cosmic-psych tendencies and disdain for traditional pop structures, or even choruses. on the heels of that album, thee oh Sees barnstormed the Woods Stage at Pickathon, assaulting the hillside hordes with their double-drummer assault. this month, the band released the second half of those same recording sessions as An Odd Entrances. the

SATURDAY, NOV. 26 Daughter, Alexandra Savior

James Vincent McMorrow, Allan Rayman

[nIcE WALLPAPER] We Move, the latest effort from James Vincent McMorrow, lies somewhere between future pop and adult contemporary. Lead single “Rising Water” is unmistakably the high point of the album, a perfect synthesis of McMorrow’s folky roots and the forward-thinking R&B acts he seems to emulate. McMorrow’s efforts to widen his aesthetic are admirable. Unfortunately, songs like “Lost Angles” sound a lot more like David Gray (and not the good David

cont. on page 33

INTRODUCING MIKEY DURAn

[FERAL FoLK] Daughter’s sad, ethereal folk pop is a classic example of how a band’s label can serve as its most convenient descriptor. Signed to 4AD after a wave of internet buzz in 2012, Daughter has since released two full-lengths that effectively capitalize on the hype surrounding the trio’s dizzying blend of hushed acoustics, shoegaze guitars and the plaintive crooning of 26-yearold frontwoman Elena tonra. this year’s Not to Disappear features a greater emphasis on strummy buildups and sparse atmospheric flourishes, which should be an absolute delight for fans who were lured to Daughter by claims that it’s “Bon Iver with female vocals.” PEtE cottELL. Crystal Ballroom, 1332 W Burnside St., 503-225-0047. 8 pm. $20 advance, $23 day of show. All ages.

album cover features some devilish worm crawling in or out of a greenskinned ear. Surely that’s a promise. nAtHAn cARSon. Revolution Hall, 1300 SE Stark St., No. 110, 503-2883895. 9 pm. Sold out. All ages.

Dragonette, Gibbz

[no SMALL DoUBt] Even before the romantic break with her day-band’s bassist, Dan Kurtz, Dragonette frontwoman Martina Sorbara had been dubbed the canadian Gwen Stefani— smarter, surely, arguably more sincere, but altogether lacking the cocksure commitment that defines dance-pop vocals. this sort of music demands either incandescent firestarters or simmering torch songs; Dragonette specializes in endlessly reheating the lukewarm tease. While the backstory informing Royal Blues, the trio’s first album in four years, and only significant release since the Sorbara/Kurtz separation, should rightly fuel the flames of the group’s singed euphoria, their fan base may be too busy with uni studies to notice. JAY HoRton. Doug Fir Lounge, 830 E Burnside St., 503-2319663. 9 pm. $16 advance, $18 day of show. 21+.

Rüfüs du Sol

[AMBIEnt FEELS] Electronic dancepop mavens Rüfüs du Sol work an adept balance of the danceable and the ethereal, in which bright synths and tender, moody vocals play off each other to create the sonic equivalent of “du sol.” the threepiece formed in 2010, and both fulllength efforts so far peaked high in the charts in its native Australia. It might not be as widely known internationally yet, or have as large a cult following as countrymen tame Impala, but its picking up enough traction to rival other electronicaheavy Australian acts like chet Faker and Flume. MAYA McoMIE. Wonder Ballroom, 128 NE Russell St., 503284-8686. 9 pm. Sold out. All ages.

SUNDAY, NOV. 27 Mike Coykendall, Weezy Ford, Melt

[SoLo AFFAIR] Studio wizard Mike coykendall has made quite a name for himself since the mid-’80s, even if that name itself might not ring a bell. As a producer, he’s helped construct the sounds that have defined the work of many Portland mainstays, including Richmond Fontaine and Blitzen trapper. His solo outings are often just as methodical and fleshed-out, though he pivots with his latest, Half Past, Present Pending. the bare-bones collection spans new and old tunes alike, and is del-

Floating Room WHO: Maya Stoner (guitar, vocals), Kyle Bates (keyboard, vocals), Alec van Staveren (bass), Cyrus Lampton (drums). SOUNDS LIKE: The screeching abandon of a new relationship. FOR FANS OF: The Jesus and Mary Chain, My Bloody Valentine, Chelsea Wolfe. Musicians often say the intimacy of writing music with someone can sometimes surpass that of a love affair. But for Maya Stoner and Kyle Bates, there’s really no distinction between the two. After several years of playing shows together in their respective bands—Stoner in Sabonis and Bates with his solo outfit, Drowse— they had a brief, seemingly trivial fling they now disregard, but which proved to be a precursor to their present band and romance. But Stoner had different reasons for wanting a new project. “In past bands, I’ve been one of, like, three songwriters, and people assumed guys wrote my parts because I’m a woman,” she says. “I wanted more credit.” Stoner initially employed Bates merely as a facilitator—someone who knew a little more about Ableton and could assist her in developing songs she’d written as a sort of cathartic psychological processing tool. A mutual trust and affection developed organically among scrappy recording sessions and pin-drop-quiet vocal takes. For something staked on such cushy ground, Floating Room’s debut, Sunless, implies the depth of a long, tumultuous marriage. While Stoner’s delicate voice might have been recorded as a whisper, it’s set against a bombast of echoes, feedback and the pounding crunch of a drum machine. Bates’ longtime Drowse bassist, Alec van Staveren, emphasizes the dark minor notes of Stoner’s rolling chords, and the full-band incarnation elevates what started as an innocent crush into a devastating drama. In the time since they began performing together, Stoner and Bates have expanded into a comfortable routine of familiarity that suggests a far longer history than the year Floating Room has been around. In the true sanguine spirit of new love, they’re as optimistic about the expanse of both relationships. “I love the recordings,” Bates says. “But it’s lo-fi. It would be cool to shoot for something bigger.” CRIS LANKENAU. SEE IT: Floating Room plays Mississippi Studios, 3939 n Mississippi Ave., with Drowse and Hex Vision, on Wednesday, nov. 23. 9 pm. Free. 21+. Willamette Week NOVEMBER 23, 2016 wweek.com

Holiday Gift Ideas PHANTOGRAM Three

NORAH JONES Day Breaks

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BASTILLE Wild World

AVENGED SEVENFOLD The Stage

WILLAMETTE WEEK & HOLOCENE PRESENT

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THE STRUMBELLAS Hope

MUMFORD & SONS Wilder Mind

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HAMILTON LEITHAUSER + ROSTAM I Had A Dream That You Were Mine

MADELEINE PEYROUX Secular Hymns

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EMILI SANDé Long Live The Angels

PHISH Big Boat

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MUSIC Gray songs) than How to Dress Well. Despite the fact McMorrow may have failed to cement himself as a cuttingedge artist, the album is a consistent and pleasant listen, even if most of it is imminently forgettable. BLAKE HICKMAN. Wonder Ballroom, 128 NE Russell St., 503-284-8686. 7:30 pm. $20-$23. $20 advance, $23 day of show. All ages.

MONDAY, NOV. 28 Kool Keith

[ALT HIP-HOP] Long known as one of the world’s kookiest MCs, Kool Keith’s eccentricity has kept his music current, and inﬂuenced fellow weirdo rap personalities like Lil B. But while he was ahead of his time in aesthetics, he’s still a product of early hip-hop. Even shifting personas from a schizophrenic OB/GYN (Dr. Octagon) to a space-age rock star (Black Elvis), his rapping ﬂows with the more monotone, laid-back, behind-the-beat cadence of classic hip-hop acts like Digable Planets. This is what makes Kool Keith the enduring vet he is, and his latest LP, Feature Magnetic, presents the best of both these worlds. ISABEL ZACHARIAS. Doug Fir Lounge, 830 E Burnside St., 503-231-9663. 9 pm. $16 advance, $20 day of show.

Castle, Mos Generator, Disenchanter [STONER ROCK] Castle brings a sinister fog from San Francisco, continuing a heavy stoner-rock

tradition that runs deep as resincaked marrow. Painting occultist themes on its recent full-length release, Welcome to the Graveyard, Castle conjures black-magic riffs and screaming leads that echo numerous American blues-rock legends, all accompanied by Elizabeth Blackwell’s Janis Joplinesque vocal spirit. Touring with Castle is Mos Generator, which is also promoting its recent album, Abyssinia. Portland’s Disenchanter complements the two heavy-hitting stoner-metal ensembles flawlessly with sci-fi and fantasy themes. This will, without a doubt, be a night of serious headbanging. CASEY MARTIN. The Raven, 3100 NE Sandy Blvd., 503238-0543. 9 pm. $7 advance, $10 day of show. 21+.

TUESDAY, NOV. 29 Liz Longley, Brian Dunne

[AERIAL LYRICISM] Liz Longley is at once conversational and vulnerable, directly personal and aerial— a dichotomy demonstrated most crisply in her song “Weightless,” the title track from her most recent album. The Pennsylvania-born singer-songwriter scored a scholarship to renowned Berklee College of Music and won countless awards for her music during her time in the Boston-New York area before moving to Nashville in 2011. She’s

CONT. on page 35

R YA N O R A N G E

PREVIEW

YG, RJ, Kamaiyah, Sad Boy [STRAIGHT OUTTA BOMPTON] Oh sure, everyone’s chanting, “Fuck Donald Trump!” now, but only YG—that’s Young Gangsta to you, Keenon Daequan Ray Jackson to the government that’s probably surveilling his home as you read this—had the foresight to turn that sentiment into an anthem for the next four years. Granted, it’s not the most sophisticated statement of protest, but unsubtle threats call for unsubtle responses—and if it’s got a hot-ass beat behind it, even better. But it’s not just the incoming Autocratin-Chief that’s got the 26-year-old Compton (excuse me, Bompton) rapper feeling some type of way. A year ago, Jackson was shot by unknown assailants coming out of a recording studio, and as his second proper album, Still Brazy, makes frightfully clear, he’s not brushing it off with typical gangsta bravado. On songs like “Who Shot Me,” he lays his trust issues bare, mulling the possibility that his homies set him up and declaring he might “say ‘fuck it’ and start squeezing without aiming.” Elsewhere, he extends his not-unjustified paranoia to the institutions of power that were never meant to protect someone like him in the first place, from the police to, yes, the presidency. While the swaggering G-funk production keeps the mood up, the effect is of someone throwing a party because he’s afraid of being left alone with his own thoughts. And when he does manage to take his mind off things, the places it wanders aren’t much more comforting—see the album’s lone black mark, “She Wish She Was,” a song whose retrograde slut-shaming makes “Ain’t No Fun” seem a Gloria Steinem joint. Apparently, he and ol’ DJT might have something in common after all. MATTHEW SINGER. Roseland Theater, 8 NW 6th Ave., 971-230-0033. 6 pm Wednesday, Nov. 23. $27.50. All ages. Willamette Week NOVEMBER 23, 2016 wweek.com

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at Music Millennium

Featuring a 5pm performance from

ANDY STOKES

Andy’s musical career has included lead vocals with the legendary funk band Cool’R, recording for A&M Records, world-wide tours, featured artist with George Clinton, The Temptations, and many others. He was also the voice of the California Raisins. In 2009 Andy was inducted into the Oregon Music Hall of Fame and in 2015 he was awarded the Muddy Award for Vocalist of the Year.

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Willamette Week NOVEMBER 23, 2016 wweek.com

MACKENZIE DUNCAN

MUSIC

NORTHERN LIGHTS: Dragonette plays Doug Fir Lounge on Saturday, Nov. 26. toured extensively and written music for TV and movies and with other musicians. Everything she’s achieved so far is not surprising, given that she received a standing ovation in ninth grade for performing a song she wrote: Since then, she’s known that music is exactly what she wants to do with her life. It’s rare for a singer-songwriter to be as accomplished a lyricist as a singer, but it’s her passion for the craft that propels her to strive to be the ﬁnest in her profession. MAYA MCOMIE. Alberta Rose, 3000 NE Alberta St. 8 pm. $17 advance, $20 day of show. Under 21 permitted with legal guardian.

with softly strummed guitar before picking up into a whirl of dreamy vocals destined for the inevitable crash into a cloud of distortion. Yes, it’s dream pop. Yes, it’s shoegaze. But it’s also a little bit rock ’n’ roll. There’s a power driving Hoch’s guitar that cannot be sugarcoated by the eﬀects pedals or soft vocals. Tonight, the Cat Hoch band shares the stage with groovy soul-seekers Minden, making this a top-notch double bill of current Portland talent. LYLA ROWEN. Mississippi Studios, 3939 N Mississippi Ave., 503-288-3895. 9 pm. $5. 21+.

Anderson, Rabin and Wakeman

CLASSICAL, JAZZ & WORLD

[JUST SAY YES] The fragile English progressive-rock group Yes currently features no original members. The band canned its founding vocalist Jon Anderson in 2008, four years after its last tour with him. So relaying to fans that they have the chance to hear Anderson once more—with virtuoso keyboardist Rick Wakeman—is a cause for celebration, especially since original bassist Chris Squire’s health was so close to the edge that Yes canceled its last Portland show. While Steve Howe holds the keys to the oﬃcial Yes name these days, it is guitarist Trevor Rabin in union with Anderson and Wakeman tonight. Rabin climbed the ladder just in time to help pen the band’s only No. 1 hit, “Owner of a Lonely Heart.” NATHAN CARSON. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 503-2484335. 7:30 pm. $45-$125. All ages.

CRX, Dead Heavens, Streets of Laredo

[MILD STROKE] Last of the Strokes to indulge his own (more or less) personal passions, guitarist Nick Valensi’s CRX extends—at worst— another worthy entry to the burgeoning solo songbook amassed from past members of a combo always deemed less than the sum of its parts. To be sure, most of the Josh Homme-produced CRX debut New Skin burrows familiar riffage under half-hearted electro-rawk. But opening surrender to ever-latent power-pop tendencies “Ways to Fake It” deserves further exploration. The Strokes’ effortless mastery of gutter-chic appeal never figured to age well, but if even the most fervent acolytes should still dread the fated skinny-jean-splitting reunion tour years hence, a touring cavalcade of bandmate side projects grows ever more intriguing. JAY HORTON. Doug Fir Lounge, 830 E Burnside St., 503-231-9663. 9 pm. $15. 21+.

Creative Music Guild presents Polyphonic: A Series of Interdisciplinary Performances

[MUSIC + MOVEMENT + MEDIA] Portland’s Creative Music Guild is best known for experimental, often improvised music that sounds like nothing else in town, but it’s also one of the city’s magnets for multimedia performances. This diverse program showcases artistic interactions among dancer-choreographers (Danielle Ross and Claire Barrera), web animations and other mesmerizing video by DB Amorin, meditative music by Jean-Paul Jenkins, and CMG artistic director Mike Gamble’s multifarious creations, typically including guitar, projections and improvisation. BRETT CAMPBELL. Compliance Division, 625 NW Everett St., No. 101, 7 pm Saturday, Nov. 26. $5-$15 sliding scale. All ages.

Northwest Art Song

[CLASSICAL CABARET] The term “art song” sounds so pretentious, almost implicitly dismissing pop, rock, show tunes and the rest as non-art. In fact, there’s a ton of fun in these decidedly unpretentious 20th-century cabaret numbers by classical composers, performed by the Portland’s Northwest Art Song. Along with short, sharp cabaret songs—some satirical, some salacious, some sincere—written by Pulitzer-winning contemporary Seattle-born composer William Bolcom, the group will sing sardonic numbers from Leonard Bernstein’s scathing operetta Candide and an anti-war number, plus cabaret songs by Benjamin Britten and new arrangements of American songbook standards by Portland opera expert Bob Kingston. BRETT CAMPBELL. The Waypost, 3120 N Williams Ave., 503-367-3182. 7 pm Sunday, Nov. 27. $5 under 21, $10 over 21. Under 21 permitted until 8 pm.

Cat Hoch, Minden, Astro Tan

[GUITAR FOR THE CONTEMPORARY WOMAN] Cat Hoch’s most recent single, “WOYM (What’s on Your Mind),” opens

For more Music listings, visit Willamette Week NOVEMBER 23, 2016 wweek.com

@WillametteWeek

@Wweek

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Willamette Week NOVEMBER 23, 2016 wweek.com

MUSIC CALENDAR WED. NOV. 23 Alberta Rose

FRI. NOV. 25 3000 NE Alberta St The Next Waltz

Andina

Arlene Schnitzer Concert Hall

1314 NW Glisan St. Freddy Vilches

Ash Street Saloon

225 SW Ash St Farm Animals, Kings And Vagabonds

Crystal Ballroom

1332 W Burnside St SoMo, Stanaj

Dante’s

350 West Burnside FEA with Cockeye

Doug Fir Lounge

830 E Burnside St. King Black Acid, Skull Diver, Lubec

Hawthorne Theatre

1507 SE César E. Chávez Blvd. Roqy Tyraid

Jimmy Mak’s

221 NW 10th Ave. Mel Brown Quartet

LaurelThirst Public House 2958 NE Glisan St Lewi Longmire & the Left Coast Roasters, Wanderlodge

Mississippi Pizza

3552 N Mississippi Ave Tallulah’s Daddy

Mississippi Studios

3939 N Mississippi Ave. Floating Room, Drowse

Roseland Theater

8 NW 6th Ave YG with RJ, Kamaiyah, Sad Boy

Star Theater

13 NW 6th Ave. Skinny Lister / Lincoln Durham / Trapper Schoepp

The Analog Cafe

720 SE Hawthorne Blvd. Brothers Gow

The Goodfoot

2845 SE Stark St Give Thanks For Funk! Boys II Gents Pre-Turkey Party

The Know

2026 NE Alberta St Fred & Toody, Michael Hurley

The Lovecraft Bar

421 SE Grand Ave Sky Symbol Rituals, Paraplegic Erection, Broken Witch, SBTDOH

The Old Church 1422 SW 11th Ave Elizabeth Eklund

Twilight Cafe and Bar 1420 SE Powell Elk and Oak, Guts Are Butts, Kunuk

Valentines

232 SW Ankeny St When The Future Was Now, Episode 4

White Eagle Saloon 836 N Russell St FTT

THURS. NOV. 24 Jimmy Mak’s

221 NW 10th Ave. Mel Brown B3 Organ Group

The Secret Society

116 NE Russell St Thursday Swing! Featuring Doug & Dee’s Hot Lovin’ Jazz Babies, Stumptown Swing

LAST WEEK LIVE

Alberta Rose

3000 NE Alberta St Norfolk & Western, Dolorean Duo

[NOV. 23-29]

For more listings, check out wweek.com.

THOMAS TEAL

= 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.

1314 NW Glisan St. Matices

Dante’s

350 West Burnside Karaoke From Hell

Doug Fir Lounge

830 E Burnside St. Kool Keith

Jimmy Mak’s

221 NW 10th Ave. Dan Balmer Trio

LaurelThirst Public House

1037 SW Broadway Portland Cello Project

Ash Street Saloon

2958 NE Glisan St Portland Country Underground

Doug Fir Lounge

LaurelThirst Public House

225 SW Ash St The Groove Monkeys 830 E Burnside St. Foxy Lemon

2958 NE Glisan St Kung Pao Chickens

Duff’s Garage

Mississippi Pizza

3552 N Mississippi Ave Mr. Ben

2530 NE 82nd Ave Super Quad

Evergreen at Loyal Legion

Muddy Rudder Public House

Hawthorne Theatre

The Goodfoot

8105 Se 7th Ave. Lloyd Jones

618 SE Alder St. Hot Chip (DJ set), Colby J.

2845 SE Stark St Sonic Forum

1507 SE César E. Chávez Blvd. Neurosis, YOB, Kowloon Walled City

The Raven

Jimmy Mak’s

221 NW 10th Ave. Curtis Salgado

LaurelThirst Public House

2958 NE Glisan St Lynn Conover & Little Sue

LaurelThirst Public House

2958 NE Glisan St Denim Wedding, The Secret Sea, Michael Jodell

Mississippi Pizza

3552 N Mississippi Ave Three for Silver

Mississippi Studios

3939 N Mississippi Ave. Black Market Friday: Máscaras, Bed., Little Star, Anna Tivel

Muddy Rudder Public House 8105 Se 7th Ave. The Sportin’ Lifers Trio

Ponderosa Lounge

10350 N Vancouver Way, Kelsey Bales & Sons of the Storm

Revolution Hall

1300 SE Stark St #110 Radiation City, Pure Bathing Culture, Sama Dams

Skyline Tavern

8031 NW Skyline Blvd Kasey Anderson

The Analog Cafe

720 SE Hawthorne Blvd. SIMPLY 8, ELYPSES

The Firkin Tavern

1937 SE 11th Ave Gin & Tillyanna, The Wilder, John Calvin Abney

The Fixin’ To

8218 N. Lombard St Shana Falana (NY), Meringue, Havania Whaal

The Know

2026 NE Alberta St Red Dons, Public Eye, Dark/Light, The Stops

The O’Neil Public House 6000 NE Glisan St. La Rivera

The Secret Society

116 NE Russell St Androck, Mic Crenshaw w/ DJ Klavical, Pig Honey, Madjesdiq

The Secret Society 116 NE Russell St Pete Krebs and his Portland Playboys

Twilight Cafe and Bar 1420 SE Powell Buttercup, Little Fury Things

TURN DOWN FOR...WHAT?!: There was a theory back in the ’80s and ’90s called “the loudness war” which dictated that advances in recording technology had degraded the listening experience by creating an arms race to make everything as loud as possible. Though exhilarating at times, the Sleigh Bells show at Wonder Ballroom on Nov. 18 was all the proof a historian would need to conclude the war has been lost. Armed with a mountain of Marshalls and a lighting rig that should’ve required attendees to sign a liability waiver, the Brooklyn duo— supported by an extra guitarist because fuck it, why not?—opened with “Tell ’Em,” the lead track of its 2010 debut, Treats. Its mash-up of Alexis Krauss’ saccharine pop vocals, Derek Miller’s layered arena-rock riffage and a barrage of thumping 808 beats has become the group’s calling card. Krauss deserves props for being in peak form the entire time, elevating her voice on top of automated backing tracks that leave no room for error. But the exhaustion was palpable by the time the encore began with “Torn Clean,” a track from this year’s Jessica Rabbit that may be the only entry in SB’s catalog one could refer to as a “ballad.” Such is the plight of a group whose MO is an ADD-stricken torrent of square pegs jammed into round holes. They say you’re too old if it’s too loud, but the stream of 20-year-olds leaving the show before the encore began made me doubt the validity of this adage. Sleigh Bells give zero shits either way, and for that their success is well-deserved. PETE COTTELL. White Eagle Saloon

Dragonette

836 N Russell St JT Wise Band

Duff’s Garage

White Eagle Saloon

836 N Russell St Black Friday at the White Eagle w/ Lucas Biespiel, feat. Kiki

Wonder Ballroom

128 NE Russell St. Car Seat Headrest, the Domestics

2530 NE 82nd Ave Doug and Dees Hot Lovin’ Jazz Babies

East Burn

1800 E Burnside St. New Dew Debut

Fremont Theater

2393 NE Fremont Street Maurice Spencer and his Catlike Reflexes

Hawthorne Theatre

SAT. NOV. 26 Aladdin Theater

3017 SE Milwaukie Ave The Dollop

Alberta Rose

3000 NE Alberta St The Next Waltz

Andina

1314 NW Glisan St. Borikuas

Arlene Schnitzer Concert Hall

1037 SW Broadway Oregon Symphony and Pacific Youth Choir present Holiday Pops

Ash Street Saloon

225 SW Ash St secnd best, Anti-Troy, Question Tuesday

Compliance Division

625 NW Everett St. #101. Creative Music Guild presents Polyphonic: A Series of Interdisciplinary Performances

Crystal Ballroom

1332 W Burnside St Daughter, Alexandra Savior

Doug Fir Lounge 830 E Burnside St.

1507 SE César E. Chávez Blvd. Neurosis, YOB, Kowloon Walled City

Jimmy Mak’s

221 NW 10th Ave. Curtis Salgado

LaurelThirst Public House

2958 NE Glisan St The American West, The Yellers, Shane Brown and Stephanie Scelza, Billy Kennedy

Lombard Pub

3416 N Lombard St Hong Kong Banana - Bombay Beach Pynnacles

Ponderosa Lounge

10350 N Vancouver Way, Sacred Road

Skyline Tavern

8031 NW Skyline Blvd Anita Margarita

Star Theater

13 NW 6th Ave. MxPx, Broadway Calls

The Firkin Tavern

1937 SE 11th Ave Coloring Electric Like, Bitter Buddha, Jupiter 10

128 NE Russell St. Rüfüs du Sol

SUN. NOV. 27

Andina

2026 NE Alberta St No Statik, Frenzy, Pressing On, Heavy Hands

The Lovecraft Bar

421 SE Grand Ave The Exorcists, Sillkeeper, Angel 11

The O’Neil Public House 6000 NE Glisan St. Kjirsten Tornfelt

The O’Neil Public House

Mississippi Studios

8105 Se 7th Ave. James Clem

Wonder Ballroom

The Know

116 NE Russell St MOD Club PDX Presents: The Quags, Mall Caste

Muddy Rudder Public House

836 N Russell St PDX Youth Rock; Pencilbody, The Hugs, Cellar Door

Alberta Rose

2845 SE Stark St Shafty

Mississippi Pizza

3939 N Mississippi Ave. Tony Furtado Band’s Annual Thanksgiving Bash w/ Scott Law

White Eagle Saloon

The Goodfoot

6000 NE Glisan St. Texadrine

3552 N Mississippi Ave Christi Josef & The Purpose

Extinction AD, The Desolate, Dead Nexus

The Secret Society

The Secret Society 116 NE Russell St Get Rhythm

Tony Starlight Showroom

1125 SE Madison St, The Tony Starlight Show

Twilight Cafe and Bar 1420 SE Powell

3000 NE Alberta St The Next Waltz 1314 NW Glisan St. Ryan Walsh

Ash Street Saloon

225 SW Ash St Jake McNeillie & Company

Corkscrew

1665 SE Bybee Blvd Jet Black Pearl

Dante’s

350 West Burnside The Cody Blackbird Band - Mni Wiconi (Water Is Life) Benefit

Hawthorne Theatre

1507 SE César E. Chávez Blvd. Dark Tranquillity

LaurelThirst Public House

2958 NE Glisan St Pagan Jug Band; Freak Mountiain Ramblers

Mississippi Pizza

Mike Coykendall, Weezy Ford, Melt

Muddy Rudder Public House 8105 Se 7th Ave. Irish Music

Revolution Hall

1300 SE Stark St #110 Thee Oh Sees, Alex Cameron, the Lavender Flu

Rontoms

600 E Burnside St Jackson Boone

The Analog Cafe

720 SE Hawthorne Blvd. Portland Unsigned Artist Showcase

The Know

2026 NE Alberta St Bi-Marks, Long Knife, Wild Mohicans, PMS 84, Sweats

The O’Neil Public House 6000 NE Glisan St. Sky in the Road

The Waypost

3120 N. Williams Avenue, Northwest Art Song

Twilight Cafe and Bar

1420 SE Powell Dry Heathen, White Wail, The Wilder

Twilight Cafe and Bar 1420 SE Powell White Wail, The WIlder

White Eagle Saloon

836 N Russell St November Global Folk Club

TUES. NOV. 29 Alberta Rose

3000 NE Alberta St Liz Longley, Brian Dunne

Andina

1314 NW Glisan St. Neftali Rivera

Arlene Schnitzer Concert Hall

1037 SW Broadway Anderson, Rabin and Wakeman

Doug Fir Lounge 830 E Burnside St. CRX

Jimmy Mak’s

221 NW 10th Ave. AJAM; Mel Brown Septet

LaurelThirst Public House

2958 NE Glisan St Mick Overman & the Mainiacs (featuring Jenny Conlee & Nat Query); Jackstraw

Mississippi Pizza

3552 N Mississippi Ave Atlantis Underground: Songwriter Sessions

Mississippi Studios

3939 N Mississippi Ave. Cat Hoch, Minden, Astro Tan

Raven and Rose

1331 SW Broadway Na Rósaí

White Eagle Saloon

The Analog Cafe

836 N Russell St Austin Stewart Quartet

720 SE Hawthorne Blvd. Rose Room Swing Dance

Wonder Ballroom

The Goodfoot

128 NE Russell St. James Vincent McMorrow, Allan Rayman

MON. NOV. 28 Andina

3552 N Mississippi Ave School of Rock Fundraiser: Music Show

1314 NW Glisan St. Jason Okamoto

Mississippi Studios

225 SW Ash St Dwight Church, Dwight Dickinson, Eddie Kancer

3939 N Mississippi Ave.

3100 NE Sandy Blvd Castle, Mos Generator, Disenchanter

Ash Street Saloon

2845 SE Stark St Asher Fulero Band

The Liquor Store

3341 SE Belmont St, Hooded Hags, Mall Caste, Dr. Identity

Twilight Cafe and Bar

1420 SE Powell Lochness Mobsters/Gentle Bender Lochness Mobsters, Gentle Bender

Willamette Week NOVEMBER 23, 2016 wweek.com

MUSIC

COURTESY OF DOC ADAM

NEEDLE EXCHANGE

Doc Adam

Years DJing: I bought my first set of turntables and a mixer— Gemini PT-2000s and a shitty Numark—in 1999. I guess that means I’ve been DJing for 17 years? That doesn’t seem right. How old am I? How long has the abyss been staring back at me? Genre: Anything that makes a party get active. I play a lot of different genres, but I always say I’m a hip-hop DJ—but that’s because the guys who taught me how to DJ in Ann Arbor and Detroit were hip-hop DJs from the time before there were enough hip-hop records to play a whole party. Where you can catch me regularly: I play at Holocene a couple times a month for Snap! ’90s Dance Party and most Tribute Nights. I play at Revelry, Tube and Fortune on a regular basis. Craziest gig: It was inevitably either a Hot Mess or a Massive some time between 2009 and 2011. We did some really weird shit in Chinatown back in those days that I probably shouldn’t discuss further for legal reasons. My go-to records: Volume 10, “Pistol Grip Pump”; Frankie Beverly and Maze, “Before I Let Go.” Everything else I play is to prepare people for “Pistol Grip Pump” or “Before I Let Go.” Don’t ever ask me to play…: Anything unless you write the request on money. As a rule of thumb, don’t talk to me when I’m DJing for a duration longer than a high-five unless we are already good friends. I’m busy and I know what I’m doing. NEXT GIG: Doc Adam spins at Snap! ’90s Dance Party at Holocene, 1001 SE Morrison St., with Colin Jones and Freaky Outty, on Friday, Nov. 25. 9 pm. $5. 21+.

Benjamin (international disco, synth, modern dad)

The Lovecraft Bar

WED. NOV. 23 45 East

315 SE 3rd Ave Crizzly

Dig A Pony

736 SE Grand Ave. Atom 13 (kitchen sink o’ sonic excellence)

Holocene

1001 SE Morrison St. Testify (r&b, hip hop)

Killingsworth Dynasty 832 N Killingsworth St Sensoria

The Liquor Store

3341 SE Belmont St, Wake The Town: MORESOUNDS

The Lovecraft Bar

421 SE Grand Ave Event Horizon (darkwave, industrial, synthpop)

Willamette Week NOVEMBER 23, 2016 wweek.com

The Raven

3100 NE Sandy Blvd Wicked Wednesday 19yr Anniversary Party

Tube

18 NW 3rd Ave. Easy Egg

THURS. NOV. 24 Dig A Pony

736 SE Grand Ave. Thanksgiving w/ Montel Spinozza

421 SE Grand Ave Shadowplay (goth, industrial)

The Raven

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

Tube

18 NW 3rd Ave. DJ Jack

FRI. NOV. 25 45 East

315 SE 3rd Ave Jeremy Olander

Double Barrel Tavern

Black Book

Killingsworth Dynasty

Club 21

Moloko

Crystal Ballroom

2002 SE Division St. DJ King Fader

832 N Killingsworth St Zero Wave presents

3967 N. Mississippi Ave.

20 NW 3rd Ave The Cave (rap) 2035 NE Glisan St. DJ Just Dave 1332 W Burnside St 80s Video Dance Attack

S E N O T S . s v S E L nnium! e l T l i M A c i E B sale at Mus

Where to Drink This Week

Wayﬁnder

304 SE 2nd Ave., 503718-2337, wayﬁnder.beer. After lots of delays and a rocky opening, this German-focused innerSoutheast brewpub is starting to round into form. Get the sausage plate and the collaboration beers that brewmaster Kevin Davey is making all over town while he waits for his own kettles to arrive.

E M I LY J O A N G R E E N E

BAR REVIEW

BKCO! apitol & A C l, a s r e iv s on Un es release n to S & s all Beatle 20% OFF

The Fixin’ To

8218 N Lombard St., 503-477-4995, theﬁxinto.com. We always done loved this rickety little bar up in St. Johns. Then they done expanded and added a stage, turning the Fixin’ To into the concert venue the ‘hood has long needed. We’s ﬁxing to move in.

1499

SALE PRICED CD

REVOLVER

Bar Casa Vale

215 SE 9th Ave., 503-4779081, barcasavale.com. The hallowed ground of former concert club La Luna is now a dim, drunky, comfortably hip tapas-and-cocktails bar the town’s been missing.

Great Notion

2204 NE Alberta St., No. 101, 503-548-4491, greatnotionpdx.com. This Alberta brewpub has been open almost a year. And still, not a week goes by that we don’t get a hankering for its signature cloudy IPAs, exotic stouts and puckery sours. We now feel like it’s also the best spot in town to bring the tykes while you sip and chat.

Hale Pale

2733 NE Broadway, 503662-8454, halepele.com. The Bitter Circus has left town, as barman Blair Reynolds recently shuttered the ill-fated Americano. But we’re excited to return to his original gem, this roundly excellent tiki bar on Northeast Broadway. Dig A Pony

736 SE Grand Ave. Cooky Parker (music for dancing)

Gold Dust Meridian

3267 SE Hawthorne Blvd. DJ Bad Wizard

Ground Kontrol

511 NW Couch St. DJ Nate C. (80s hits, hair metal, retro)

Holocene

1001 SE Morrison St. Snap! 90s Dance Party

Killingsworth Dynasty 832 N Killingsworth St Twerk

Moloko

3967 N. Mississippi Ave. Monkeytek & Friends (records from the Jamaican regions of outer space)

Saucebox

214 N Broadway St LeMove

Spare Room

4830 NE 42nd Ave The Get Down

Star Bar

639 SE Morrison St.

1199

SALE PRICED CD

EXILE ON MAIN STREET

1499

SCOUT’S HONOR: Scout Beer was once brewed at a place called “Unicorn” and served only out of food carts. It has since grown into a fullfledged brewery behind the Toffee Club. But still, viewed from certain angles, the new Scout Beer Brewery & Taproom (1516 SE 10th Ave., scoutpdx.com) looks like a life-size workshop for the Fisher-Price Little People, a Pee-wee’s playhouse of beer in the former location of a strip club. On one wall, a red square framing a fork and knife hangs next to camping equipment and a mismatched set of rainbow letters spelling S-C- O -U-T. Bar stools are bright orange trapezoids next to a stained-wood bar handhewn into complicated geometries. Full-grown adults, in despair over the recent election, are offered consolation in the form of coffee ice cream to float in their bourbon stout, not to mention a sour beer “dry-hopped” with SweeTarts candy that tastes almost exactly like its namesake confection, replacing a previous beer made with Sour Patch Kids. Though the fresh microgreens served as a side seemed astonishingly adult by comparison—if also a little like a grass hill to roll down—a bit of salami and melted cheese between two slices of bread was advertised as a “pizza sandwich,” the stuff of school-cafeteria dreams. Meanwhile, a “jam” marionberry ale was a recommended pairing with peanut-butter porter, and the five-deep tasters of beer came with Goldfish crackers as a palate cleanser. And despite football on three screens, there was a brief moment on a recent Sunday when children under 4 feet tall outnumbered adults. The kids’ ice cream came without beer, sure, but it seemed like they were using the place the same way. MATTHEW KORFHAGE. DJ A-Train

The Goodfoot

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

The Liquor Store

3341 SE Belmont St, Flight: Journey By DJ

The Lovecraft Bar

Killingsworth Dynasty

Do Right Sunday (throwback rap, electro, r&b)

Moloko

421 SE Grand Ave Softcore Mutations w/ DJ Acid Rick (hunkwave)

832 N Killingsworth St Dynasty a Go-Go!

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

Sandy Hut

421 SE Grand Ave Club Kai Kai (queer & drag night)

1430 NE Sandy Blvd. DJ Joey Prude

The Raven

214 N Broadway St Chelsea Starr

3100 NE Sandy Blvd Black Friday (reggae party)

SAT. NOV. 26 45 East

Saucebox

Star Bar

639 SE Morrison St. DJ Truhn Juice

The Analog Cafe

315 SE 3rd Ave Darude & Sandra Collins

720 SE Hawthorne Blvd. ANDAZ Bhangra Bollywood Dance Party

Dig A Pony

The Lovecraft Bar

736 SE Grand Ave. Freaky Outty (floor fillers)

Gold Dust Meridian

3267 SE Hawthorne Blvd. Green Fuzz

Holocene

1001 SE Morrison St. Main Squeeze Dance Party

421 SE Grand Ave Electronomicon (goth, industrial)

SUN. NOV. 27 Dig A Pony

736 SE Grand Ave.

The Lovecraft Bar

MON. NOV. 28 Ground Kontrol

511 NW Couch St. Reagonomix (80s)

Star Bar

639 SE Morrison St. Metal Monday

The Lovecraft Bar

421 SE Grand Ave Black Mass (goth, new wave)

TUES. NOV. 29 Holocene

1001 SE Morrison St. Emo Nite

The Lovecraft Bar

421 SE Grand Ave BONES (goth, synth)

Tube

18 NW 3rd Ave. Tubesdays

1199

SALE PRICED CD

ABBEY ROAD $

STICKY FINGERS

1499

1199

SALE PRICED CD

SGT. PEPPER’S LONELY HEARTS CLUB BAND $

1499

SALE PRICED CD

LIVE AT THE HOLLYWOOD BOWL •1 •1 + •Anthology 1 •Anthology 2 •Anthology 3 •Beatles '65 •Beatles (White Album) •Beatles In Stereo •Beatles In Mono •Beatles VI •Beatles Second Album •Blue 1967-1970 •Early Beatles •Hard Day's Night •Help! •Hey Jude!

SOME GIRLS

•Let It Be •Live At The BBC •Love •Magical Mystery Tour •Meet The Beatles •Past Masters •Please Please Me •Red 1962-1966 •Rubber Soul •Something New •U.S. Albums •With The Beatles •Yellow Submarine •Yesterday & Today

...AND MORE!

LET IT BLEED •12x5 •Aftermath •Beggars Banquet •Between The Buttons •Big Hits •Big Hits Vol. 2 •Black & Blue •Bridges To Babylon •December’s Children •Dirty Work •Emotional Rescue •England’s Newest Hit Makers •Flowers •Forty Licks Get Licked Again •Get Yer Ya Yas Out

•Goat’s Head Soup •Got Live If You Want It •Grrr! Greatest Hits •Hot Rocks 1964-71 •It’s Only Rock N Roll •Jump Back •Live Licks •Love You Live •Metamorphosis •Out Of Our Heads •Rolling Stones Now! •Steel Wheels •Their Satanic Majesties Request •The Very Best Of The Rolling Stones

...AND MORE!

Sale Valid 11/16–12/14 2016 MUSIC MILLENNIUM | 3158 EAST BURNSIDE, PORTLAND OR | (503) 231-8926 Willamette Week NOVEMBER 23, 2016 wweek.com

Willamette Week NOVEMBER 23, 2016 wweek.com

DB_Print_Sagefight_WillametteWeekly_9.639x12.25.indd 1

9/20/16 5:24 PM

LARRY GARZA

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

THEATER NEW LISTINGS

Aftermath

In a political climate where women are counting down the days when we can still get IUDs for free and holding our breath about Roe v. Wade, it’s crazy to think what women like Mary P. Burrill had to face when advocating for reproductive rights almost 100 years ago. But Burrill’s plays confronted gender and race issues way back in 1919, and one of her bestknown plays was published in Birth Control Review. Though that gives you a decent sense of how ahead of her time Burrill was, the play Triangle will be producing is not about reproductive rights. Aftermath will be the second play in their series of antilynching plays by largely historically overlooked black playwrights. Aftermath is about John, who returns from war to learn that his father had been lynched. The Sanctuary at Sandy Plaza, 1785 NE Sandy Blvd., trianglepro.org. 7 pm Monday, Nov. 28. $5.

Buyer & Cellar

Hey look, it’s not a Christmas show. Instead of Santa or elves or whatever, Triangle’s holiday production is about Barbra Streisand’s basement. The play gets its premise from Streisand’s real-life basement, which is elaborately designed to look like a street lined with shops that hold all her stuﬀ. Buyer & Cellar imagines Alex, a struggling actor who works in Streisand’s basement mall. The absurd comedy is a one-man show: actor James Sharinghousen will play Streisand, Alex, and Alex’s boyfriend Barry. The Sanctuary at Sandy Plaza, 1785 NE Sandy Blvd., trianglepro.org. 7:30 pm Thursday-Saturday, 2 pm Sunday, Nov. 25-Dec. 17. $15-$35.

A Civil War Christmas

It may not be A Christmas Carol, but Artists Rep’s holiday production packs in a lot: singing, period costumes, politics and Lincoln. Set during the Civil War, Paula Vogel’s A Civil War Christmas traces the lives of a bunch of diﬀerent people on Christmas Eve, 1864: Mary Todd and Abraham Lincoln, Grant, Sherman, and a ﬁctional character named Hannah, a woman escaping from slavery with her pre-teen daughter. Artists Rep had the show slated way before Trump ruined Christmas, but hopefully it can provide us with some answers about seeking peace in a divided nation. Artists Repertory Theatre, 1515 SW Morrison, artistsrep.org. 7:30 pm Tuesday-Sunday and 2 pm Sunday. Additional shows noon Wednesday, Dec. 7, 2 pm Saturday, Dec. 17, and 2 pm Wednesday, Dec. 21. No show Thursday, Nov. 24, Tuesday, Nov. 29, and Tuesday, Dec. 6. Nov. 23-Dec. 23. $25-$50.

A Drag Queen Christmas

If you’re not into the feel-good, family fun Christmas shows, A Drag Queen Christmas might be more your taste. Former RuPaul’s Drag Race contestants of the likes of Latrice Royale and Naomi Smalls will unite to bring you holiday cheer that will probably be as wacky and over-the-top as you would hope for it to be. Plus, when it comes to being festive, nobody knows how to bring it like drag queens. Newmark Theatre, 1111 SW Broadway, portland5. com. 8 pm Sunday, Nov. 27. $22.25$79.50

Parfumerie

Even if you’ve never heard of it before, you will probably recognize the plot of Parfumerie. Even though the 1937 Hungarian play was never performed in the U.S. until 2009, it’s the source material for You’ve Got Mail, The Shop Around the Corner, In the Good Old Summertime, nd the Broadway musical She Loves Me. A tale of love mix-ups involving a parfumerie employee, it’s admittedly old-fashioned, but that’s the kind of thing people like this time of year, and Bag & Baggage’s old-timey charm is certainly capable of bringing you full-force nostalgia. The Venetian Theatre, 253 E Main St., Hillsboro, bagnbaggage.org. 7:30 pm Thursday-Saturday, 2 pm Sunday. Additional show 7:30 pm Wednesday, Dec. 21. Nov. 25-Dec. 23. $22-$32, Dec. 1 pay what you will.

Okurrrrrr with Alaska Thunderfuck

In celebration of her new album Poundcake (the follow up to 2015’s Anus), Alaska Thunderfuck 5000 will take over Dante’s for a night. The RuPaul’s All Stars season 2 winner will head a bill that also features some local favorites like Carla Rossi and Alexis Campbell Starr. Dante’s, 350 W Burnside, danteslive.com. 7:30 pm Saturday, Nov. 26. $18-$60. 21+.

The Santaland Diaries

Before becoming a famous essayist, David Sedaris was a Christmas elf at the center of holiday season’s vortex of rabid capitalism: Macy’s. The play version of David Sedaris’ essay of the same name, The Santaland Diaries is the tales of Crumpet the Elf, a seasonal worker who had plenty of strange encounters with holiday shoppers. Portland Center Stage does the show every year, so it’s not that exciting, but who doesn’t love David Sedaris. Portland Center Stage at the Armory, 128 NW 11th Ave., pcs.org. 7:30 pm Tuesday-Sunday, 2 pm SaturdaySunday, Nov. 26-Dec. 24. No 2 pm shows Saturday, Nov. 26, Sunday, Nov. 27, and Saturday, Dec. 3. No 7:30 pm show Saturday, Dec. 24. $25-$55.

A Very Merry PDX-Mas

Everybody who live in Portland likes to hate on living in Portland now and again. Broadway Rose leverages this for their holiday show: They’re bringing back their Portland-focused Christmas show, A Very Merry PDX-Mas, created to lovingly poke fun at Portland for being Portland. That way, you can channel your inner hater without being an actual Scrooge. Broadway New Rose Auditorium, 12850 SW Grant Ave., Tigard, broadwayrose.org. 7:30 pm Thursday-Saturday, 2 pm SaturdaySunday, Nov. 25-Dec. 22. $20-$44.

ALSO PLAYING

As You Like It

Speculative Drama’s As You Like It is no frills (except for the literal frills on Touchstone’s costume). With minimal production and practically no set, the company proves that Shakespeare’s play is plenty lively with nothing more than quality acting. Featuring exiled courtiers living it up carefree in the Forest of Arden, As You Like It is arguably the most feel-good Shakespearean play. Plus, the plot is helmed by Rosalind, one of Shakespeare’s most awesome characters. The Steep and Thorny Way to Heaven, SE 2nd Avenue and Hawthorne Boulevard, thesteepandthornywaytoheaven.com. 7:30 pm Friday-Saturday, Nov. 25-26. $22.

CONT. on page 42

PORTLAND WANTS YOU ANYWAY: Show creator James Bosquez hails from Texas.

PREVIEW

Transplantophobia A NEW COMEDY SHOW WANTS TO MAKE PORTLAND MORE WELCOMING.

BY JACK R U SHA LL

grown goals. The Transplants’ host, JoAnn Schinderle, for example, has moved up in local With Portland’s unparalleled influx of newcom- ranks following the flight of such long-standing ers, it should be expected that a few packed a staples as Curtis Cook and Amy Miller. Indeed, many of the featured comedians are sense of humor in their suitcases alongside their Doc Martens. James Bosquez wants to welcome hoping only to forge a lasting relationship with that demographic. Portland. Though the Transplants’ show will “I’ve lived here for two years,” says Bosquez, a focus on the eight comedians’ experiences as native Texan. “And I finally feel like I’m becom- outsiders, it will also present unique material that doesn’t relate to their relocation. ing part of the comedy scene. With this show, I wanted to do what I wished In a nod to PDX itself, the Transpeople would have done for me: plants will feature some native give me an opportunity to show charm. “I listen to a lot of “WITH punk rock, and I made up the scene what I’m doing.” THIS SHOW, I Fo r t h e T r a n s p l a n t s, our show flier to look like an old-school punk show,” Bosquez rounded up eight WANTED TO DO fresh-faced comedians says Bosquez. “I’m tryWHAT I WISHED whom he’d seen at Helium ing to get a live band, but Comedy Club’s 2016 FunI might just play house PEOPLE WOULD music. The theme of the n i e s t Pe r s o n C o n t e s t , HAVE DONE which is where he conshow will have a DIY feel.” The soul of the Transceived the show. As a nonFOR ME.” native, he believes Portland plants hints at opening a —James Bosquez provides a fruitful avenue for dialogue. As Bosquez notes, out-of-towners to gain traction. moving to Portland—or relocating to any new city—is difficult, and But even though the Transplants’ many local comedians live together, performers may be new to the city, they are hardly foreign to live comedy itself. four to a house, and rely on the larger commu“Portland is one of the No. 1 second cities for nity for gigs. comedy behind L.A. and NYC,” explains Bosquez. “I understand the transplant phobia, and this “Comics come here because they know they can is about getting the discussion out in the open,” get a lot of stage time and it’s a generally cheaper says Bosquez. “Yeah, we are transplants, and place to live.” we’re sorry we invaded your town, but we do have Portland may read like a halfway house for something to offer.” comedians attempting to hone their craft before scooting down the coast, but it’s not purgatory; SEE IT: The Transplants play at Helium Comedy Club, 1510 SE 9th Ave., portland-heliumcomedy. most transplant comedians hold specific locally com, on Wednesday, Nov. 23. 8 pm. $5. 21+. 503-243-2122

Willamette Week NOVEMBER 23, 2016 wweek.com

PERFORMANCE REVIEW R YA N C L O U T I E R

The Rocky Horror Show

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 Friday-Saturday, Nov. 25-26. $15 advance, $20 at the door.

DANCE The Portland Ballet Holiday Show

The Portland Ballet puts on only three shows a year, the ﬁrst of which is their holiday show. They’re doing their Enchanted Toy Shop, which they do every year, but they also have a world premiere lined up: Anne Mueller’s Gift Box. The weekend after Thanksgiving is your only chance to see the show, so as soon as Thanksgiving ends, you better be fucking ready to plunge headﬁrst into the vortex of Christmas time. Lincoln Hall, 1620 SW Park Ave., theportlandballet.org. 2:30 and 7:30 pm Friday-Saturday, 1 and 5 pm Sunday, Nov. 25-27. $5-$35.

OH, HI LISA: Montetré as Johnny and Bobbi Kaye Kupfner as Lisa.

The Work of Fire

You can expect not knowing what to expect at a Linda Austin dance show. This time, they’re hosting Grind Group’s The Work of Fire, but it seems like a similar deal: the piece is a multimedia “meditation” on a whole bunch of seemingly random subjects, from butterﬂies to revolts, to neurology, time and rocks. What that will look like is hard to say, but given that it’s Performance Works NorthWest-backed, it will probably be equally strange and interesting. Maybe it will be a little confounding, but at least in a poetic way. Performance Works NW, 4625 SE 67th Ave., pwnwpdx.org. 8 pm Saturday, Nov. 26. $5 suggested donation.

COMEDY & VARIETY Amy Miller Album Release Show

Amy Miller may have joined the herd of Portland comedians relocating to L.A., but she’s returning to Portland for the release of her comedy album, Solid Gold. After all, it’s here in the Portland scene that she hosted Midnight Ma$$, won Willamette Week’s ﬁrst Funniest Five poll, as well as Helium’s Funniest Person contest. Recorded at the Alberta Street Pub this past July, Solid Gold is Miller’s ﬁrst album and contains bits that feature her candid approach to things like not listening to her millennial boyfriend and why she’ll never be a trophy wife. The Siren Theater, 315 NW Davis St., sirentheater.com. 8 pm Friday, Nov. 25. $15 advance, $18 day of show.

Stand Up for Standing Rock

In light of the ideological atrocities committed at Standing Rock, this show combines spokenword poetry from local activist Jennifer Lanier, music from Hawkeye Pierce, and a muchneeded lighter note supplied through comedians Adam Pasi, Zak Toscani, Alex Rios and Katie Nguyen. JACK RUSHALL. Curious Comedy Theater, 5225 NE Martin Luther King Jr. Blvd., curiouscomedy.org. 7:30 pm Wednesday, Nov. 23. $10 advance, $15 day of show.

For more Performance listings, visit 42

Willamette Week NOVEMBER 23, 2016 wweek.com

Room for Error

Staging a theatrical adaptation of The Room as your first production is a little bit genius. Widely regarded as one of the worst movies ever, The Room is loved for being really bad. This gives Mister Theater, a brand-new theater still under construction, a bit of a buffer. Low production values are practically required, and anything that doesn’t go smoothly just adds to the effect. Written and produced by and starring Tommy Wiseau, the movie is loosely about a character named Johnny who is brought down by his cheating fiancee, Lisa (Bobbi Kaye Kupfner), despite the fact that everyone else thinks he’s great. It features intriguingly flat acting, absurd dialogue, and a holeridden plot, which Mister Theater faithfully portrays. The sex scenes contain the driest of all dry humping, and there’s lines like, “I’m saving a fortune to give away to my friends who never betray me,” delivered by Mister Theater co-founder Montetré with a deadness worthy of Wiseau’s original performance. The show is basically the same gag the entire time: intentionally terrible acting and flimsy characterization. But the production manages to feel pretty entertaining for the whole two hours, largely due to Montetré’s performance as Johnny. His impression of Wiseau is uncanny: from his bizarre posture to his mouthbreathing to Wiseau’s unidentifiable accent and unsettling chuckle. Still, Mister Theater is appealing to a relatively niche audience—that is, fans of The Room (though not that niche considering the number of Portlanders signed up for The Room’s dating site). And with references like the “heckling spoons” handed out for the audience to throw at the actors, the production often feels like an in-joke. If anything, Mister Theater’s The Room isn’t bad enough. In the hands of the theater company, it’s more of a campy romp than cringe-inducing black humor. Obviously, the actors in this production aren’t going to take the material as seriously as its original creators (probably?) did, but the fact that the movie is so unintentionally bad is what makes it so fascinating. You get the sense that this production is actively uninterested in being compelling, though. It’s just interested in being funny—and it is. SHANNON GORMLEY. A new theater company adapts The Room.

SEE IT: The Room plays at Mister Theater, 1847 E Burnside St., No. 101, mistertheater.com. 8 pm Thursday-Sunday, through Dec. 18. No show Thursday, Nov. 24. $5-$20.

Willamette Week NOVEMBER 23, 2016 wweek.com

VISUAL ARTS C O U R T E SY O F S T E P H A N I E C H E FA S P R OJ E C T S

= WW Pick. Highly recommended. 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.

Identidad Desaparecida

In Silvia Levenson’s piece titled “She flew away,” a translucent glass swing hangs empty above a pair of tiny glass Mary Janes. All we can think about is the child who should be there to fill them and to play. Levenson’s exhibition addresses Argentina’s “Dirty War,” a period between 1976-83 when pregnant opponents of military rule were killed after giving birth, their children put up for adoption. Levenson tracks the effort to reunite these nowgrown children with their biological grandparents by casting in glass a child-sized article of clothing for each resolved case. 121 tiny bibs, onesies, socks and sweaters span two walls of the gallery, a haunting reminder of what was taken from so many families. It is also a symbol of hope, both for those who have been found and for those who have yet to be. Bullseye Projects, 300 NW 13th Ave., 503-2270222. Through Feb. 4.

Desaparecen?

On Sept. 26, 2014, 43 students from a rural teachers’ college in Iguala, Mexico went missing. Pablo Ortiz Monasterio’s series of photographs is an aching cry of frustration, sadness and anger over their disappearance and of a subsequent cover-up by the Mexican government. The series includes color and black-and-white photos, from landscapes to portraits, that Ortiz Monasterio shot all over the world. Their only commonality is that each one conveys pain, violence, unrest, isolation or absence. Ortiz Monasterio links them further by superimposing handwritten text— like Donde están? (Where are they?)— over the images. He also scribbles numbers—from 1-43—across some of the photographs, disrupting the compositions enough to remind us what is really at stake. Blue Sky Gallery, 122 NW 8th Ave., 503-225-0210. Through Nov. 27.

Passport

When the Soviet Union fell and the Ukraine became independent, its government required that its citizens have new passports. Armed with a camera and a small white transportable backdrop, Ukrainian photographer Alexander Chekmenev was sent on home visits to take passport photos of those too elderly or infirm to apply in person. The visual center of each photo in this series is its subject posing in front of the wrinkled backdrop for their government ID. But the emotional center is created by everything that surrounds them—a house in squalor, a spouse still lying in bed a few inches away, an assistant holding the backdrop in one hand and her jacket collar over her nose in the other to lessen the stench in the room— which Chekmenev has chosen to leave in. He takes a bureaucratic assignment and transforms it into an eloquent and effecting display of humanity. Blue Sky Gallery, 122 NW 8th Ave., 503-225-0210. Through Nov. 27.

On the Wall

Photographer Chris Rauschenberg fills the intimate Nine Gallery (inside of Blue Sky) with a series of images that examine the breadth of our personal relationships to art, from the beautifully appointed home of an art collector where a Rothko hangs on the wall, to an outdoor mural calling for love in a militarized world. Rauschenberg’s most compelling photographs incorporate meta-commentary—like images of people in galleries looking at art, as we are in a gallery looking at them—or great humor, like the photograph of puritanical figurines resting on a shelf beneath a painting of a nude, cropped so that all we see is the figure’s pubic hair. Rauschenberg’s democratic view

Willamette Week NOVEMBER 23, 2016 wweek.com

Don’t Go Hulk by John Felix Arnold III, part of One. of art is refreshing, as in the image of a home in which a painting hangs above a couch with a throw pillow featuring a mass-produced image of a Vermeer. The series speaks clearly when it says that art is for everyone. Nine Gallery at Blue Sky, 122 NW 8th Ave., 503-225-0210. Through Nov. 27.

Into the Wilderness: Signal Fire’s Wide Open Studios

The group exhibition of 2-D works at Charles A. Hartman this month is in collaboration with Signal Fire, a local arts organization that encourages artists from all disciplines to unplug and reconnect with the natural world through week- and month-long excursions into the wilds of the American Northwest. Inspired by those outings, all the pieces in the show, without exception, capture something ineffable about the immersive experience of being in nature. This means that you can’t appreciate any of the works— whether they are charcoal on paper, photographs, paintings or letterpress pieces—by looking at photographs of them on the gallery’s website. You can’t even appreciate many of them from across the gallery. You have to go up to each one and try to get inside it. You have to allow it to surround you, to quiet your mind. If you do, you will be transported. Charles A. Hartman Fine Art, 134 NW 8th Ave., 503-287-3886. Through Dec. 17.

Some Obsessions

All of Barry Pelzner’s works on paper are meticulously rendered black-onwhite compositions, but that is where the similarity ends. In some pieces, Pelzner uses watercolor to create repetitive geometric patterns that call to mind Escher’s more two-dimensional works. In one piece, dots of india ink transition gradually by size, weight and spacing to create a vertical gradient so seamless that it is difficult to believe it was drawn by the human hand. Some of the most powerful works feature obsessive markmaking—made with the humblest of tools, the ball-point pen—constrained within minimal squares, the chaos and the rigidity each serving to highlight the beauty of the other. Froelick Gallery, 714 NW Davis St., 503-2221142. Through Dec. 10.

Cole Reed and Hobbs Waters

I received an email about the show opening of an artist named Hobbs Waters who happens to be 10 years old. When I went to the gallery to check out the show, I learned a few things that I want to pass along to you. First, Waters’ stylized drawings of animals are remarkably self-assured and would make wonderful gifts for anyone you love (all of the proceeds of his show are going to help finance his training as a ballet dancer, his other artistic pursuit). While in the gallery, which doubles as a wonderful boutique, I also discovered a conceptual sculpture by the artist Cole Reed titled

“American Me Unhung.” The piece incorporates a metal “America” sign embedded in resin. Trapped along with it are a handgun from the 1800s, slave shackles, bullet casings, cotton and tobacco. Reed has intentionally left the resin tacky. When you touch the piece, which is encouraged, it collects your DNA, reminding us all that we are a part of history and we are all responsible whenever it repeats itself. The gallery’s mission is to show established artists alongside young artists like Waters, so let’s turn out as a community to support that. Greenhaus Gallery and Boutique, 18 NE Killingsworth St., 602-257-4287. Through Dec. 25.

Hidden Assembly

Newspace’s group exhibition about the value of unseen and undervalued labor takes on new weight in the light of the presidential election. Artist Betty Marin contributes photos, video and stories that follow the lives of pineros—Mexican tree planters and Christmas tree workers—showing us the dedication and care it takes to nurture an object that we bring into our homes and use for holiday celebration. Michael Mandiberg compiles 200 snapshots taken by people from all over the world who perform basic digital tasks (at the rate of 1 cent to 1 dollar per task) that computers are still unable to perform. The photos are taken from each person’s workspace, giving a collective view of the anonymous and disconnected workforce that contributes to our daily lives in ways that escape our awareness. Newspace Center for Photography, 1632 SE 10th Ave., 503-963-1935. Through Jan. 7.

One

To celebrate the first anniversary of Stephanie Chefas Projects, the gallery is showing new work from its roster of artists. Putting together a cohesive group show is a one of the more difficult tasks for any curator, but Chefas consistently excels at this, and One is no exception. There are a number of moving works in the gallery that offer an even-more-visceral experience in light of the recent election. Painter Delfin Finley’s work takes the background color from a photo-realistic portrait of a woman and smears it across part of the figure. This is a technique Finley uses commonly in his work, so I doubt that it is meant as any sort of statement, but the effect is especially potent. A painting on foundwood panels by John Felix Arnold III features a comic-inspired line drawing of the Hulk. Off to the side, scrawled by the artist in pencil, read the words, “Just trying not to tear it all apart. Again.” Stephanie Chefas Projects, 305 SE 3rd Ave., Suite 202, 310-990-0702. Through Dec. 9.

For more Visual Arts listings, visit

Music Millennium’s

Some of the Best of 2016 JEFF BECK

LUCINDA WILLIAMS

On Jeff Beck’s Loud Hailer, his first studio album in six years, the legendary guitarist combines fluid fretwork with topical lyrics to make a powerful statement about everything from the love of power, to the power of love.

Williams recorded much of The Ghosts of Highway 20 during the same sessions and with the same sterling band that yielded 2014’s Down Where the Spirit Meets the Bone, including legends like Bill Frisell & Greg Leisz, plus a rotating rhythm section.

The Ghosts Of Highway 20 $10.99 CD

Loud Hailer $14.99 CD

CHARLES BRADLEY

CASE/LANG/VEIRS

Changes $11.99 CD

case/lang/veirs $10.99 CD

Dubbed “The Screaming Eagle of Soul,” Charles Bradley’s star has been on the rise since the release of his widely praised 2011 debut album No Time For Dreaming. Changes is his critically acclaimed third studio album.

Several years ago k.d. lang sent an email to Neko Case and Laura Veirs on a whim. It read, “I think we should make a record together.” Though they were barely more than acquaintances, “There was no question” recalls Case.

MARGO PRICE

LAURA GIBSON

Hard work, stick-to-it-ivness, grit, and pristine musicality drenched in real life experience from the school of hard knocks... THAT’S Nashville. That’s Country Music. That, ladies and gentleman, is Margo Price.

Empire Builder is named for the Amtrak route Laura took while moving from Portland to NYC in the summer of 2014, after deciding to enter graduate school, and move away from her close-knit family and long-time boyfriend.

Midwest Farmer’s Daughter $11.99 CD

Empire Builder $10.99 CD

JOHN RENBOURN & WIZZ JONES

AOIFE O’DONOVAN In The Magic Hour $12.99 CD

Joint Control $13.99 CD

Joint Control, by John Renbourn & Wizz Jones, feature the final recordings before Renbourn’s death in March of last year. Tracks come from live recordings in the final years of his life, as well as studio songs captured in his last weeks.

The lyrics on “In the Magic Hour” are infused with a sense of loss and mortality’s dark certainty. But the album is just as much an ode to O’Donovan’s joyful childhood visits to Ireland.

WILCO

MILES DAVIS

Schmilco finds leader Tweedy in a state of alienation: how to cope with dissonance between self-identity and the public perception of his band – to maintain earnestness even as some see Wilco as something other than six musicians.

The fifth volume of Miles Davis’ The Bootleg Series focuses on studio recordings of Miles Davis’ “second great quintet,” celebrating the 50th anniversary of their landmark album Miles Smiles.

Schmilco $10.99 CD

Dance: The Bootleg Series 5 $33.99 3xCD set

ROBBIE FULKS

BOB WEIR

Fulks’s storytelling through folk and bluegrass music on Upland Stories delivers the quieter, sometimes unsettling truths of humanity.

If he’d never written another song, he could stand on the accomplishments of his 30 years writing for the Grateful Dead. But what emerges on the heartfelt Blue Mountain is yet another formidable chapter of his life as a storyteller.

Blue Mountain $9.99 CD

Upland Stories $11.99 CD

NICK CAVE AND THE BAD SEEDS

STEVE WILSON 4½

$10.99 CD

4 ½ comprises 6 tracks with a total running time of 37 minutes. It is titled 4 ½ because it forms an interim release between Steven’s recently released fourth album Hand. Cannot. Erase. and the next studio album.

SKELETON TREE $11.99 CD

Written in the wake of the unexpected loss of Cave’s son, the album is beautiful, visceral and, predictably, emotionally devastating. A heartbreaking and stark album that is easily one of the best records released this year.

UNCLE ACID & THE DEADBEATS Night Creeper

DE LA SOUL

AOI RECORDS

AND THE ANONYMOUS NOBODY.. $11.99 CD

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Sampling is how De La has always made music but after spending a huge part of their career fighting off the “sample police”, De La decided to take a completely new approach... sampling themselves.

Contained within Night Creeper are ten tracks of the type of sonic psychefrazzling heaviness and blood-drenched pop that have made Uncle Acid & the Deadbeats one of Britain’s great cult bands.

SALE GOOD THROUGH 12/31/2016

Willamette Week NOVEMBER 23, 2016 wweek.com

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, NOV. 23 Unchaste Reading Series

The newest gathering of the Unchaste Reading Series will feature women of color reading poetry, essays and fiction. The series brings together women from broad spectrums of ethnicity, gender identification, ability and socioeconomic status to share stories not often heard. Hosted by Madeline Beckwith, the event will feature writers Rios de la Luz, Melanie Alldritt, Jenna Marie Fletcher, Galadriel Mozee, Pam Ward, Kiki Nicole, Melanie Fey, Samantha L. Taylor, Imani Sims and Mari ShepardGlenn. Literary Arts, 925 SW Washington St., 503-227-2583. 7 pm. Free. Donation encouraged.

MONDAY, NOV. 28 Black Paratroopers in the Pacific Northwest

During World War II, the 555th Parachute Infantry, known as the “Triple Nickels,” became the first black paratrooper unit. Termed “smokejumpers,” the unit performed one of the most dangerous jobs in the Army as airborne firefighters. The unit became part of Oregon’s history when it arrived to train for the highly secretive Operation Firefly at Pendleton Field. Historian and Vietnam War veteran Robert Bartlett will present the story. Kennedy School, 5736 NE 33rd Ave., 503-249-3983. 7 pm. Free.

Willy Vlautin

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Willamette Week NOVEMBER 23, 2016 wweek.com

Willy Vlautin says his first inspiration for writing came from hearing a Paul Kelly song based on a Raymond Carver short story, which probably explains his tendency to craft unsentimental prose about Western characters in moments of crisis. The author of four well-regarded novels and the frontman of alt-country band Richmond Fontaine, Vlautin is probably one of Oregon’s most successful crossover artists. University of Portland Bookstore, 5000 N. Willamette Blvd., 503-943-7125 7:30 pm. Free.

TUESDAY, NOV. 29 The Woodshop Writers

In a night of stories both autobiographical and fictional, seven local writers will read from their newest anthology, Be-Longing, which deals with different forms of, you guessed it, belonging. The Woodshop Writers are led by Portland author Nancy Woods, and are currently releasing their fourth anthology. Readers for the evening include Jamie Caulley, Catherine Magdalena, Kerry McPherson, Mark Robben, Howard Schneider and Ann Sihler. Broadway Books, 1714 NE Broadway, 503-284-1726. 7 pm. Free.

Anna Kendrick

Anna Kendrick was the only member of the Twilight movie cast to parlay her role into a successful acting career. Her new book, Scrappy Little Nobody, is a series of autobiographical essays exploring her path to fame and success. Newmark Theatre, 1111 SW Broadway, 503-828-8285. 7:30 pm. Sold out.

How to Survive a Plague

As HIV destroyed communities of young gay men across the country, the Rev. Jerry Falwell infamously described the disease as “the wrath of God” on the community, and President Ronald Reagan did almost nothing to fight the crisis. In the face of little support and much active homophobia, researchers and activists began searching for cures and attempting to push medicines through

the FDA as fast as possible to save lives. In a weighty 640-page tome, David France’s How to Survive a Plague could be the definitive history of this story. Powell’s City of Books, 1005 W Burnside St., 800-878-7323. 7:30 pm. Free.

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HOTSEAT

Matt Hern, WHAT A CITY IS FOR

Believe it or not, Portland is considered one of the bestplanned cities in the country. We are the LeBron of progressive urbanism, with delegations from Abu Dhabi and Tokyo rolling in to admire our greenways and food carts. But Portland’s strong liberal cred is also what makes the “stark, racialized gentrification” of North Portland’s Albina neighborhood so shocking, says urban studies expert Matt Hern. The whitewashing of Albina as black residents are forced out—which went from 70 percent to 30 percent black in less than two decades—is so striking a case that Hern decided to use Albina as the setting for his new book about gentrification, What a City Is For (MIT Press, 272 pages, $27.95). In advance of his Monday reading at Powell’s, we talked to Hern about why bike lanes are sometimes the enemy and why bike-riding mayors aren’t that great. A much longer conversation is available at wweek.com. MATTHEW KORFHAGE. WW: Isn’t gentrification unavoidable? Matt Hern: That’s the feeling people seem to express: “That’s just the way the world works.” It creates this environment of fear and selfishness that people have to look out for their own, because no one’s looking out for them. What’s the problem with letting the market sort it out? The problem with an overheated market is people are perceiving property as the prime vehicle for profiteering. That can be taxed. A buddy of mine bought a house for 200 grand, and it’s now worth 1.2 million. The rising value of his property is unearned. He didn’t plate the walls in gold. The question is, what caused that rise? The answer is, it’s the collective achievement of the city. If the city is a collective achievement, all the people contributed: nurses, firefighters, people who clean the streets. But only some get the benefit. So like an inheritance tax, but for inherited real estate values? That’s a nice way to put it. Some of [what’s needed] is political courage. You quote an Albina resident as saying, “I knew black people were fucked as soon as I saw the bike lanes.” When he said that, it was both funny and a bit startling, as somebody who rides a bike everywhere. But it’s patently obvious. Gentrification has followed bike lanes almost everywhere. So what, don’t put in bike lanes? That’s the conundrum. Everything I do that makes [my neighborhood] funkier and more vibrant has contributed to my own family and my neighbors not being able to stay here. Every time we have success, we betray ourselves. GO: Matt Hern will read from What a City Is For: Remaking the Politics of Displacement at Powell’s City of Books, 1005 W Burnside St., powells.com, on Monday, Nov. 28. 7:30 pm. Free.

COURTESY OF JANUS FILMS

MOVIES GET YOUR R E PS IN

A Single Man

(2009)

Howards End

(1992)

Tom Ford’s new ﬂick, Nocturnal Animals, may be blowing everyone’s minds, but his ﬁrst was a tightly shot queer drama about a man trying to cope with the sudden death of his partner with, big surprise from the former creative director of Gucci and Yves Saint Laurent, some really extraordinary costuming. 5th Avenue Cinema. 9 pm Friday-Saturday, 5 pm Sunday, Nov. 25-27.

Although the term “Merchant Ivory” has fallen in cultural capital lately, Howards End is considered the gold standard of the production company’s style. Set in Edwardian England and starring period-piece legends Anthony Hopkins and Emma Thomson, Cinema 21 presents a digital 4K restoration of the heavily costumed class drama that took three Academy Awards. Cinema 21. Nov. 23-30.

The Princess Bride

(1987)

Holy shit, people love this movie. Rob Reiner’s goofball fantasy tale of Westley and his quest to save Princess Buttercup is a classic among cult classics. Kiggins Theatre. Nov. 25-29.

The Rocky Horror Picture Show (1975)

The Clinton may run it every week (a 38-year tradition), but this week the Kiggins is getting in on the fun too, with a 10 pm showing of the queen of midnight movies. Dress up, bring your props (to the Clinton; Kiggins has its own) and your buddies home for the holidays and have a great time. Kiggins Theatre; 10 pm Saturday, Nov. 26. Clinton Street Theater; midnight Saturday, Nov. 26.

Y Tu Mamá También

(2001)

Alfonso Cuarón (Gravity, Harry Potter and the Prisoner of Azkaban) may have graduated to the big leagues, but he made his name with this movie—one of the best-regarded of the 2000s— about two Mexican teenage boys who meet and seduce an older woman on a road trip. Academy Theater. Nov. 25-Dec. 1.

ALSO PLAYING: 5th Avenue Cinema: Ida (2013), 7 pm Friday-Saturday, 3 pm Sunday, Nov. 25-27. Church of Film (North Star Ballroom): The Films of Artazavd Pelechian; 8 pm Wednesday, Nov. 23. Hollywood Theatre: The Last Waltz (1973), 7:30 pm Wednesday, Nov. 23; 20,000 Leagues Under the Sea (1916), 2 pm Saturday, Nov. 26; Wild Wild West (1999), 7 pm Saturday, Nov. 26; The Muppets (2011), 7 pm Tuesday, Nov. 29. Laurelhurst: A Fish Called Wanda (1988), 6:30 pm Wednesday, Nov. 23; Gremlins (1984), Nov. 25-Dec. 1. Mission Theater: Home for the Holidays (1995), Nov. 23-29. NW Film Center’s Whitsell Auditorium: Intolerance (1916), 6 pm Sunday, Nov. 27.

Nude-les

RAMEN WESTERN TAMPOPO SPEAKS TO THE SOUL OF PORTLAND HEDONISM LIKE FEW OTHER FILMS. BY WALKER MACMURDO

wmacmurdo@wweek.com

Portland has plenty of ramen. Whether it’s from new kid on the block Afuri, reigning king of smoked fat Marukin, suburban outpost of melty pork Ryoma or, hell, any one of another half-dozen spots in the metro area. There are enough top-notch noodle houses across the city to put Portland neck and neck with Los Angeles—the country’s traditional ramen powerhouse—in the race for the title of “best ramen city in the country,” all while a new location of a top Japanese ramen-ya opens seemingly every few months. This makes Jûzô Itami’s 1985 “ramen Western” Tampopo—playing this weekend at NW Film Center’s Whitsell Auditorium—a particularly timely flick for Portland moviegoers and noodle slurpers alike, not only because it features enough steaming bowls of broth bejeweled with fat to make you sprint to the nearest ramen bar, but because the film speaks to the state of modern Portland culture like few you’ll see. Now what the hell is a ramen Western? Although Roger Ebert described the film as “one of those utterly original movies that seems to exist in no known category,” Tampopo is, mostly, a play on the spaghetti Westerns of Sergio Leone—a comedy with the trappings of a Western translated to a food- and fashionobsessed mid-’80s Japan. Outside an unnamed city, truck driver and ramen connoisseur Gorô (Tsutomu Yamazaki) and his apprentice Gun

(Ken Watanabe) stop for a bowl of noodles at a dumpy ramen bar. After Gorô gets into a fight with oafish contractor Pisuken (Rikiya Yasuoka) and his goons, he comes to the next day at the house of the shop’s proprietor, Tampopo (Nobuko Miyamoto), a young widow who desperately wants to improve her ramen. When Tampopo asks Gorô to become her teacher, they embark on a quest to make her noodle house exemplary with the help of a gang of dogooders and some recipe-stealing subterfuge. Short vignettes of culinary eroticism turn Tampopo into much more than an oddball comedy. An unnamed gangster in a cream three-piece suit (Kôji Yakusho) and his lover turn honey, egg yolk and langoustine into sex toys. An old woman with a penchant for squeezing fruit and cheese between her fingers plays hide and seek with a shopkeep. A table full of Japanese teenagers loudly slurp pasta in a French restaurant, much to the chagrin of their etiquette instructor. If this all sounds impossibly adorable, that’s because it is: Tampopo is one of the most charming films you’ll ever watch; think of your favorite Audrey Tautou movie (Amelie, Priceless) with the whimsy ratcheted way up. Itami immediately abandons all pretense of seriousness with a fourth-wall-breaking introduction, but doesn’t let Tampopo veer into non sequitur hell or heavy-handed slapstick. Miyamoto is incredibly charming as the title character, playing the straight woman to the film’s unapologeti-

cally goofy plot, while the supporting cast led by Yamazaki turn Western outlaw tropes on their head so brilliantly you don’t realize you’re watching the equivalent of a gun battle with a bowl of soup until you’re laughing your ass off. But Tampopo’s relationship with food goes deeper than the pursuit of the perfect bowl of ramen. Unlike a film like Jiro Dreams of Sushi, David Gelb’s snapshot of Michelin-starred Jiro Ono’s pursuit of pure aesthetic perfection (and his thematically similar follow-up series Chef ’s Table on Netflix), Tampopo is about the quotidian pleasure you get from a really good bowl of soup, or really good sex, or from making a funny sound when you slurp your noodles. It’s food culture not for some rich, globetrotting weirdo, but for those who want a good-ass meal on a Thursday. Earlier this year, my brother from Nashville remarked that between the incredible food, nation’s best beer, legal marijuana and general laissez faire attitude toward pretty much everything, Portland appeared to be some kind of hedonistic wonderland. Setting aside my predilection for face-stuffing—we’d just finished our second ice-cream sundae— Portland’s civic culture has in large part come to be defined by the pursuit of pleasure. We’re a city obsessed with food and beer, apparel is one of our largest industries, and most weekends the city empties for the vast playground of mountains, oceans, rivers and forests that surround it. Despite the fact it was filmed 30 years ago, Tampopo is a movie that captures the spirit of Portland food today, that of a city that seemingly finds a new way of making incredible fried chicken every year and where you need two hands to count the number of craft ice-cream shops. It’s a movie that speaks to a city that pursues hedonistic perfection—foie gras profiteroles, anyone?—but isn’t going to sleep on chicken and rice from a cart. It’s a movie about ramen and sex for a city full of ramen and strippers. SEE IT: Tampopo screens at NW Film Center’s Whitsell Auditorium. 7 pm Friday, 4:30 and 7 pm Saturday, Nov. 25-26. Willamette Week NOVEMBER 23, 2016 wweek.com

MOVIES = 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: wmacmurdo@wweek.com. Fax: 243-1115.

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OPENING THIS WEEK Allied

B+ Robert Zemeckis directed this WWII suspense thriller, which is both clumsy and irresistible. Brad Pitt stars as Max Vatan, a spy for the Allies who parachutes into French Morocco to help fellow agent Marianne Beauséjour (Marion Cotillard) assassinate a German ambassador. Romance follows, along with several closets’ worth of luxuriant suits and gowns, and the movie’s glamor is only mildly impeded by the revelation that Marianne may be a double agent working for the Germans. The more pressing obstacles are the ones that stand in the way of the movie’s quest to charm and entertain, including limp dialogue—the film is filled with yawningly banal lines such as, “They said you were beautiful and good”—and Pitt’s performance, which has all the charisma of a prim hunk of plywood. Yet while such defects would defeat most movies, Allied has a lush, hyperbolic eroticism that makes it addictive—when Max and Marianne make love in a car while a sandstorm roars outside, the scene’s absurdity makes you swoon instead of sneer. Better yet is Cotillard, whose gleefully theatrical delivery is worthy of Grace Kelly. When Max hits the brake pedal during a speedy nighttime drive through Casablanca, Marianne urges him to keep up the pace: “This is how you drive in Casablanca,” Cotillard says with a flirtatious flourish, seducing Pitt while the movie seduces you. R. BENNETT CAMPBELL FERGUSON. Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Fox Tower, Lloyd, Tigard, Vancouver.

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this astounding documentary follows Aisholpan Nurgaiv, a 13-year-old Kazakh girl who hunts with the help of a golden eagle, a bushy beast trained to take off from Aisholpan’s hand to swoop down and slay foxes. From the start, Aisholpan’s adventures are a nonstop rush of exhilaration—when she clambers down a jagged cliff to nab her eagle from its nest, you get a suspenseful kick worthy of Alfred Hitchcock or The Bourne Identity. Even more remarkable is the fact that Aisholpan’s feats of derring-do are undertaken in defiance of some of her community’s elder members, who believe the mantle of eagle hunter should pass solely from fathers to sons. To see Aisholpan defy their sexism by hunting across a gorgeously snowy and rocky expanse is to be joyously stunned and thrilled. PG-13. BENNETT CAMPBELL FERGUSON. Fox Tower.

King Cobra

C+ If there’s anything to learn from the second feature by writer-director Justin Kelly (I Am Michael), it’s that the adages “sex sells” and “if it bleeds, it leads” ring true. King Cobra is based on the true story of gay teenage porn star Sean Paul Lockhart (aka Brent Corrigan) and his messy relationship with gay porn mogul Bryan Kocis— whose murder in 2007 was so brutal investigators had to use dental records to identify his body. Packed with softcore gay sex scenes, King Cobra is rich in subject matter, but brief and sporadic throws to comedy subvert the ﬁlm’s dark and under-explored themes of underage sex, sexual abuse, exploitation, manipulation, greed and violence. Christian Slater provides a sullen performance as the middle-

B+ If you were curious whether Dwayne “The Rock” Johnson could carry a tune, Moana is a ringing affirmative. In Disney’s new Pacific island adventure, a rebellious teen, Moana (Auli’i Cravalho), makes it her mission to sail the open ocean with her brainless chicken, Heihei (Alan Tudyk), pairing up with the demigod Maui (Dwayne Johnson) to reverse the curse placed on her people’s land. Moana’s likable, dynamic characters pair well with the bright, blue seas in 3-D. But Moana cuts its most meaningful and action-packed moments short—like Moana and Maui entering a cave of monsters with a memorable singing number by an evil crab, Tomatoa (Flight of the Conchords’ Jemaine Clement). Or, the two battling the Lava Witch, the film’s villain, to save the day and restore Moana’s village to its lush, green landscape. Ultimately, Moana’s refusal to be labeled as any sort of princess makes for a progressive Disney movie promoting a “girl power” message. PG. AMY WOLFE. Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Lloyd, Milwaukie, Pioneer Place, St. Johns Pub and Theater, Tigard, Vancouver.

Nocturnal Animals

Fashion designer-turned-director Tom Ford (A Single Man) is back, and this time he’s tackling Austin Wright’s 1993 novel Tony and Susan. Susan Morrow (Amy Adams), the successful owner of an art gallery, receives a disturbing manuscript from her estranged ex-husband (Jake Gyllenhaal) as her second marriage falls apart. R. Fox Tower.

Rules Don’t Apply

C Infamous, womanizing movie mogul Howard Hughes (Warren Beatty) oversees his businesses in a dark bungalow full of his collected oddities. He has one rule for trusty driver Levar Mathis (Matthew Broderick) and new hire Frank Forbes (Alden Ehrenreich): no sleeping with any of the billowy-skirted actresses they transport in their swanky towncars. Beatty’s fast-paced new ﬁlm focuses on Marla Mabrey (Lindsey Collins), a sharp-tongued, Baptist girl debuting in one of Hughes’ feature ﬁlms while beginning a budding

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B- Terry Zwigoﬀ’s deeply underrated Bad Santa succeeded because of watertight joke-writing and excellent performances from its supporting cast—the sadly deceased John Ritter and Bernie Mac—playing straight men to Billy Bob Thornton’s foulmouthed, alcoholic mall Santa/ drifter. In Mark Waters’ decade-late follow-up, Thornton returns as whirlwind puke-and-piss monster Willie Soke to rip oﬀ a crooked charity with his former partner Marcus Skidmore (Tony Cox) and now-adult simpleton Thurman Merman (Brett Kelly) in tow. But this time the heist is in Chicago, and he’s accompanied by his mother, the equally foulmouthed and alcoholic career criminal Sunny Soke (Kathy Bates). Bad Santa 2 certainly has jokes. Quietly, Thornton is an excellent

The Eagle Huntress

A- Set in the wilderness of Mongolia,

Moana

B E E R BAR S W I TH G R E AT PAT IOS

Free

JAN THIJS

2016

Bad Santa 2

comic, and writer Shauna Cross wisely gives him the film’s best material to laugh-out-loud effect, especially when it plays him off the do-gooding charity staff. Instead of letting Thornton’s filth breathe, however, the film doubles down with Bates, whose dialogue is so outlandishly vulgar it dulls the senses. The film also suffers from a robust case of sequelitis, rehashing decadeold jokes and plot points to an audience that clearly sees them coming. Bad Santa 2 will help you get your “fuck” and “shit” quotas up before the new year, but it’s by no means necessary holiday viewing. R. WALKER MACMURDO. Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Lloyd, Pioneer Place, Tigard, Vancouver.

aged Bryan Kocis, who pines for his lover and cash cow Corrigan (Garrett Clayton) with a somber mix of resentment and melancholy. These unsettling scenes are undermined by the familiar chaos audiences have grown to expect from James Franco, who plays an over-the-top, spendthrift producer of punny porn videos like “The Fast and the Curious.” Slater and Franco are compelling in their roles, but King Cobra’s jarring use of humor overly blurs the line between drama and satire while leaving a lot left unpacked. R. CURTIS COOK. Cinema 21.

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Willamette Week’s Guides to Portland. 48

Willamette Week NOVEMBER 23, 2016 wweek.com

BAD SANTA 2

We Are X

This new documentary from Stephen Kijak follows Japanese hair-metal band X Japan and its drummer, songwriter and mastermind, Yoshiki, to a 2014 performance at Madison Square Garden. Not screened for critics. NR. Hollywood.

STILL SHOWING The Accountant

C Ben Affleck stars as an autistic and

brutal serial murderer who’s somehow also the hero. Must’ve been a stretch. R. Bridgeport, City Center, Clackamas, Eastport, Living Room Theaters, Tigard.

Arrival

A Arrival inspires because of sorrowful linguist Louise Banks (Amy Adams), who enters a spaceship hovering above Montana shrouded in grief but still has compassion for both aliens and humanity. PG-13. Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Fox Tower, Lloyd, Tigard, Vancouver.

The Beatles: Eight Days a Week

A 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. Academy, Joy, Laurelhurst.

Billy Lynn’s Long Halftime Walk

Billy Lynn (Joe Alwayn) and the other soldiers of Bravo Squad are brought home from Iraq for a Thanksgiving victory tour, culminating in a halftime show appearance at a football game, after a terrifying battle. Bridgeport, Cedar Hills, Clackamas, Eastport, Fox Tower, Vancouver.

Bleed for This

It’s Oscar season, and you know what that means: Hollywood’s annual movie about boxing. This time it’s the story of Vinny Pazienza (Miles Teller), the world champion boxer whose career was derailed in the early ’90s by a bad car crash. R. Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Fox Tower, Vancouver.

Captain Fantastic

A Viggo Mortensen is mud-splattered,

idealistic and good at killing things… again. But this time with six kids in tow. R. Academy, Laurelhurst.

Certain Womem

A- Drawing on three short stories by Maile Meloy, Kelly Reichardt’s piercing slice of 21st-century life follows Laura Dern, Michelle Williams, Kristen Stewart and a masterful, relatively unknown Lily Gladstone skillfully embodying weary Montanans. R. Academy.

Christine

As broadcaster Christine Chubbuck struggles with depression and a boss (Tracy Letts) who keeps pushing for more sensational news stories, her personal and professional lives begin to spiral out of control. R. Living Room Theaters, Kiggins.

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. PG-13. Academy, Kennedy School, Laurelhurst.

Doctor Strange

Jason Bourne

Derrickson’s confidently superficial storytelling, this film’s imagery has a dizzying power. PG-13. Bridgeport, Cedar Hills, Cinemagic, City Center, Clackamas, Division, Eastport, Lloyd, Oak Grove, Pioneer Place, St. Johns Twin Cinema & Pub, Tigard, Vancouver.

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. Valley, Vancouver.

B+ Thanks to director Scott

Edge of Seventeen

B+ As Nadine, Hailee Steinfeld deliv-

ers one winsome tirade after another, she never sells short simple adolescent growing pains. It’s the best combination of well-written ranting and genuine alienation in a high school comedy since Easy A. R. Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Fox Tower, Lloyd, Oak Grove, Tigard, Vancouver.

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. Academy, Jubitz, Laurelhurst, Vancouver.

Fantastic Beasts and Where to Find Them

C J.K. Rowling’s reboot of the Harry Potter saga is meant to be spirited and suspenseful, but the cast has no chemistry, and the beast-induced mayhem looks tacky. PG-13. Bagdad, Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Lloyd, Milwaukie, Moreland, Oak Grove, Pioneer Place, Roseway, St. Johns Twin Cinema & Pub, Tigard, Vancouver.

Finding Dory

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, Vancouver.

Gimme Danger

B- Though director Jim Jarmusch is

clearly out of his element, it’s nonetheless entirely worthwhile to see and hear the story of Iggy and the Stooges told by the men who made the music. R. Academy, Laurelhurst.

The Girl on the Train

Tate Taylor’s adaptation of Paula Hawkins’ best-selling novel stars Emily Blunt as a divorced alcoholic who witnesses an incident in her neighbors’ house. R. Bridgeport, City Center, Fox Tower, Living Room Theaters.

Hacksaw Ridge

C A morally repugnant bloodbath, this

would-be epic stares into the maw of World War II through the eyes of combat medic Desmond Doss (Andrew Garfield), who rescued dozens of his comrades at Okinawa—without ever firing a gun. R. Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Fox Tower, Oak Grove, Tigard, Vancouver.

The Handmaiden

B+ Park Chan-wook’s revenge tale is an undeniably lush, meticulously constructed film whose celebration of perversity is among the most artful you’ll see. R. Cinema 21.

Hell or High Water

B+ Loved the gunfights and the misan-

thropic cowboy glamour of No Country for Old Men, but maybe Javier Bardem’s haircut made you uncomfortable? Try Jeff Bridges’ new Western genre vehicle. R. Laurelhurst, Valley, Vancouver.

Inferno

Tom Hanks is back to save the world from Catholic extremists. This time, he’s got amnesia. PG-13. Bridgeport, Clackamas, Eastport.

Jack Reacher: Never Go Back

B- Blending fantastical stunts (Reacher can punch through windshields and, perhaps, fly) with off-kilter humor, Never Go Back approximates a brutalist take on the Marvel tropes,. PG-13. Cedar Hills, Clackamas, Oak Grove, Tigard, Vancouver.

A- Director Paul Greengrass and

Kate Plays Christine

C+ This latest from documentary filmmaker Robert Greene follows actress Kate Lyn Sheil as she prepares to play suicidal broadcaster Christine Chubbuck in a never-to-bemade biopic. But by trying to be both a documentary and a biopic, the film fails to be either. NR. NW Film Center’s Whitsell Auditorium. Nov. 23-27.

Kubo and the Two Strings

A Laika’s late-summer bid for animation domination is an original story that feels lived in, a kid-focused 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. Academy, Empirical, Vancouver.

Storks

Trolls

Hilarity ensues when delivery stork Junior (Andy Samberg) is tasked to deliver an unauthorized baby to a human family. PG. Avalon, Empirical.

Suicide Squad

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

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. Empirical, Fox Tower, Tigard.

B+ Poppy (Anna Kendrick), the bubbly leader of the Troll community, and Branch (Justin Timberlake), a serial pessimist, must save a handful of their goofy friends from ending up as troll soufflé on the dinner table of the Bergens—ugly giants that suffer from depression. Like every contemporary kid’s film, Trolls is rife with enjoyably nauseating life lessons like “no troll left behind,” and that happiness comes from within. PG. Beaverton, Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Lloyd, Milwaukie, Oak Grove, Pioneer Place, St. Johns Pub and Theater, Tigard, Vancouver.

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HOTSEAT COURTESY OF BRIAN PERKINS

romance with Forbes. At its best, Rules Don’t Apply documents Hughes’ eccentric behavior, capturing him repeating himself in a dark room and demanding banana-nut ice cream. But the nuance is mostly drowned out by Beatty’s attempts to fit all of Hughes’ achievements alongside the development of Hughes. Like Hollywood itself, each scene passes by too quickly for the viewer to grasp what’s actually going on. The vibrant Los Angeles backdrop and colorful characters make for some great film, but Rules Don’t Apply comes with lots of turbulence and a bumpy landing. PG-13. AMY WOLFE. Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Living Room Theaters, Lloyd, Tigard, Vancouver.

The Love Witch

The new movie by cult director Anna Biller follows Elaine, a young, modernday witch who uses magic and potions to seduce men. NR. Hollywood, Living Room Theaters.

Loving

A- The true story of Richard (Joel

Edgerton) and Mildred Loving (Ruth Negga), the interracial couple who challenged U.S. miscegenation laws all the way to the Supreme Court, Loving emits slow, relaxed scenes that rely on touch rather than dialogue to illustrate the Lovings’ palpable tenderness. PG-13. Bridgeport, Living Room Theaters, Vancouver.

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. PG-13. Academy, Avalon, Joy, Kennedy School, Laurelhurst, Valley, Vancouver.

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. PG-13. Cinema 21, Kiggins.

Miss Peregrine’s Home for Peculiar Children

B- Tim Burton’s adaptation of Ransom Riggs’ young adult best-seller nearly ignores the dull business of storytelling altogether via expository plot dumps crumpled in between ever more fantastical evocations of ghoulish Victoriana. PG-13. Clackamas, Division, Eastport, Fox Tower.

Moonlight

A- Moonlight follows Chiron, played

by three different actors, coming of age over two decades on the rough Liberty City blocks of 1980s Miami. Every piece of Moonlight is staged in service to a humanist question: What would love mean to a boy who’s been conditioned to hide? R. Bridgeport, Cinema 21, City Center, Clackamas, Hollywood, Lloyd, Vancouver.

Queen of Katwe

B+ 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. Fox Tower.

Shut-In

Naomi Watts stars as a psychologist whose husband is killed and teenage son is left brain dead by a catastrophic car accident. When a deadly winter storm hits her isolated home, she comes to believe an intruder is trying to harm her and her son. PG-13. Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Fox Tower, Oak Grove, Tigard, Vancouver.

monkIn’ around: Golden Kingdom.

Burma Shoot

Chancing upon an isolated, mo untai nto p mo naster y hidden within the recently opened country of Myanmar, Portland filmmaker Brian Perkins smuggled in gear on ox cart, dodged military investigations and risked everything to realize his vision. The result: Golden Kingdom, the story of four young monks left by their master to fend for themselves in a hostile world, starring local children in Myanmar. Catch its Portland premiere this Friday at the Hollywood. Here is an excerpt from our interview with Perkins. Read the full transcript at wweek.com. JAY HORTON. How Portland filmmaker Brian Perkins fought for his Golden Kingdom.

WW: Was the shoot dangerous? Brian Perkins: It was safe, but in order to get a permit to shoot in Myanmar, you have to submit your script for censorship and pay an official an insane amount of money to be with you at all times. And they have the right to review every single thing you shot. And then they can confiscate your movie before you even leave the country. Also, I couldn’t say to the people that invested with me, “Oh, by the way, if they decide to extort us, we’ll have no movie.” So we went there without permission. The crew came in on different flights and brought the gear in piecemeal. It was the tail end of the rainy season, so it was pretty much impossible to do anything except sling it over bamboo poles and hump it up on foot. We had to build an electrical system—no electricity up there, so we had to get these huge car batteries and have a generator and converters. The generator was brought up by ox cart. Was the crew aware of what they were getting into? I made it very clear before we signed anybody up that they understood we were going to be sleeping on the floor of the monastery. There’s no running water. There’s no electricity. There’s no toilet—it’s just like a little outhouse thing. I had to make sure they weren’t going to have a meltdown midway through production. Everybody had their own experience with these sub-optimal production conditions. It’s one thing having to work all day, do a bunch of stuff, and make sure your gear’s right. It’s another thing to do that, then sleep on the floor and have to take a bucket shower with cold water in the morning. So, yeah, it was pretty intense. SEE IT: Golden Kingdom premieres at the Hollywood Theatre, 4122 NE Sandy Blvd., on Friday, Nov. 25. 7 pm, $9. Director Brian Perkins will attend. Willamette Week NOVEMBER 23, 2016 wweek.com

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Baked Potkin Pie THE VERY BEST WAY TO END YOUR THANKSGIVING FEAST.

BY LAU R IE WOLF

What Christmas is to gift-giving, and the Fourth of July is to fireworks, so is Thanksgiving to napping. This week, you’re going to sit down with friends and family to feast on turkey (or Tofurky) and maybe watch some football. We think the best way to end your meal is with this pumpkin pie recipe using cannabis infused with butter. We recommend infusing with an indica-dominant strain that’s rustic and earthy, like recent Oregon Dope Cup winner Albert Walker. That strain shares the flavor profile with this rich and custardy dessert. Combining the tryptophan from the turkey and the calming effects from the cannabis, you can anticipate an extremely chill evening. MAKING CANNA-BUTTER Introduction Follow the directions and you will make the best butter your cannabis will allow. Canna-butter is only as good as your ingredients. The stronger the weed, the stronger the butter, so plan accordingly. The butter will keep in the fridge up to a month and freeze beautifully for at least six months. Ingredients 4 sticks butter 1 ounce shake, finely ground, decarboxylated DIRECTIONS Step 1 In a medium saucepan, bring 1 quart of water to boil. You can vary the amount, but make sure there’s enough water that the marijuana will float 1½ to 2 inches from the bottom of the pan. Step 2 After the water boils, place the butter in the saucepan and allow it to melt. Step 3 After the butter melts, add the marijuana and simmer for about three hours. You can tell it’s done when the mix turns from really watery to glossy and thick. Step 4 50

Willamette Week NOVEMBER 23, 2016 wweek.com

While the canna-butter is cooking, set up a bowl to hold the finished product. There are a couple of ways to do the straining. I like to use a deep, heatproof glass bowl with a fine-mesh strainer lined with cheesecloth. You can also tie a double layer of cheesecloth with twine around a large heatproof bowl, making it taut across the top. Step 5 Strain the canna-butter over the bowl, carefully trying not to spill. When the saucepan is empty, carefully undo the twine, pick up the cheesecloth from all four sides and squeeze out the remaining butter. Step 6 Allow the canna-butter to cool at room temperature for about an hour. Place it in the fridge until the butter has solidified and separated from the water. The THC and other cannabis properties have attached to the butter, and you are just about there. Step 7 Run a knife around the edge and lift the butter from the water. Place it upside down on your work surface and scrape off any cooking water. Your canna-butter is ready to roll. Store it in the fridge or freezer in an airtight container. Pumpkin Pie Serves 8-10 2 large eggs ½ cup brown sugar ½ cup granulated sugar 2 tablespoons canna-butter 2 cups pumpkin puree 1 can evaporated milk

1 teaspoon cinnamon ½ teaspoon nutmeg ½ teaspoon ground ginger ¼ teaspoon ground cloves 1 store-bought pie crust

Heat oven to 340 degrees. 1. In a mixing bowl, beat the eggs and sugars together until light and fluffy. 2. Add the canna-butter, pumpkin, milk, cinnamon, nutmeg, ginger and cloves. Mix well. 3. Pour into a pie shell and bake until done, about 55-60 minutes. The pie will rise during baking and settle when cooling. 4. Serve with whipped cream. MORE: Local author Laurie Wolf has published four marijuana cookbooks and is the co-owner of Laurie & MaryJane, which makes cannabis products. For more info, go to laurieandmaryjane.com.

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CHATLINES CONT.

JONESIN’

by Matt Jones

“No Money”–but for you, solve some more problems. or blended 60 Level 61 Little or no effort 62 Bracelet locale 63 Part of AMA 64 Ready to do business 65 V formers 66 Root beer brand 67 “The Untouchables” crimefighter Eliot 68 Chemical term after poly-

Across 1 Gymnast Dominique 6 Model who married David Bowie 10 No pros 14 Standing bolt upright 15 Broccoli ___ 16 India.___ 17 Amalgam, e.g. 18 Office bigwig, casually 19 Part of the underground economy? 20 Lummox 21 Actor who played the game show

host in “Slumdog Millionaire” 23 Gambler’s “strategy” 25 Restaurant supply 26 Descend, in mountaineering 28 Gloomy 30 “___ Pretty” (“West Side Story” song) 31 Godsend 33 “Yeah, right!” 37 Atty. ___ 38 Popular ‘50s haircut (with help on the theme from 54-Across)

41 Sch. founded by Thomas Jefferson 42 1939 movie classic, briefly 44 On the ___ (not on friendly terms) 45 Start over 47 Khloe Kardashian’s ex-husband Lamar 49 Dash headlong 50 “Finding ___” 52 “Musical” slang term for money 54 Infidelity can signal them (with help on the theme from 38-Across) 57 Alternative to hot

Down 1 Without charge, like a battery 2 “Alice’s Restaurant” chronicler Guthrie 3 Like time that’s used productively 4 Subspecies adapted to a particular habitat 5 Pig residence 6 Jim Carrey flick “Me, Myself & ___” 7 “Hot 100” magazine 8 Biblical second son 9 Guitar part 10 Bitter Italian aperitif 11 Rigel’s constellation 12 Boys of Bolivia 13 Mystic 21 Natl. League city 22 Springfield Indian 24 “Note to ___ ...” 26 “Mystery!” host Diana 27 Two or three 28 Lowercase J parts 29 Artistic Yoko 31 “The Wizard of Oz” author Frank 32 1951 Baseball Hall of Fame inductee Mel 34 Greyhound station

purchase 35 Father of daredevil Robbie Knievel 36 “Modern” museum in London 39 Place to go in England? 40 Piper and Phoebe’s sister, on “Charmed” 43 “___ of the world, unite!” 46 White-furred weasels 48 Easter egg colorer 49 Marathoner’s time units, for short 50 Unnecessary hassle 51 Moved very slowly 52 Gelcaps, say 53 “Hee Haw” cohost Buck 54 Hot Pitt 55 Gaseous element 56 Smoke an e-cigarette 58 “What ___ is there to say?” 59 Animal seen jumping on a road sign 62 ID checker’s info

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 #JONZ806.

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Week of November 24

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Buy More For Less 7am/2:30am Everyday ARIES (March 21-April 19) “Creative people are at greater risk,” said psychiatrist R. D. Laing, “just as one who climbs a mountain is more at risk than one who walks along a village lane.” I bring this to your attention, Aries, because in the coming weeks you will have the potential to be abundantly creative, as well as extra imaginative, ingenious, and innovative. But I should also let you know that if you want to fulfill this potential, you must be willing to work with the extra tests and challenges that life throws your way. For example, you could be asked to drop a pose, renounce lame excuses, or reclaim powers that you gave away once upon a time. TAURUS (April 20-May 20) Taurus musician Brian Eno has been successful as a composer, producer, singer, and visual artist. Among his many collaborators have been David Byrne, David Bowie, U2, Coldplay, Laurie Anderson, Grace Jones, and James Blake. Eno’s biographer David Sheppard testified that capturing his essence in a book was “like packing a skyscraper into a suitcase.” I suspect that description may fit you during the next four weeks, Taurus. You’re gearing up for some high-intensity living. But please don’t be nervous about it. Although you may be led into intimate contact with unfamiliar themes and mysterious passions, the story you actualize should feel quite natural. GEMINI (May 21-June 20) You are free! Or almost free! Or let me put it this way: You could become significantly freer if you choose to be -- if you exert your willpower to snatch the liberating experiences that are available. For example, you could be free from a slippery obligation that has driven you to say things you don’t mean. You could be free from the temptation to distort your soul in service to your ego. You might even be free to go after what you really want rather than indulging in lazy lust for a gaggle of mediocre thrills. Be brave, Gemini. Define your top three emancipating possibilities, and pursue them with vigor and rigor. CANCER (June 21-July 22) Have you been feeling twinges of perplexity? Do you find yourself immersed in meandering meditations that make you doubt your commitments? Are you entertaining weird fantasies that give you odd little shivers and quivers? I hope so! As an analyzer of cycles, I suspect that now is an excellent time to question everything. You could have a lot of fun playing with riddles and wrestling with enigmas. Please note, however, that I’m not advising you to abandon what you’ve been working on and run away. Now is a time for fertile inquiry, not for rash actions. It’s healthy to contemplate adjustments, but not to initiate massive overhauls. LEO (July 23-Aug. 22) “Everybody is dealing with how much of their own aliveness they can bear and how much they need to anesthetize themselves,” writes psychoanalytic writer Adam Phillips. Where do you fit on this scale, Leo? Whatever your usual place might be, I’m guessing that in the coming weeks you will approach record-breaking levels in your ability to handle your own aliveness. You may even summon and celebrate massive amounts of aliveness that you had previously suppressed. In fact, I’ll recklessly speculate that your need to numb yourself will be closer to zero than it has been since you were five years old. (I could be exaggerating a bit; but maybe not!) VIRGO (Aug. 23-Sept. 22) Do you periodically turn the volume down on your mind’s endless chatter and tune into the still, small voice within you? Have you developed reliable techniques for escaping the daily frenzy so as to make yourself available for the Wild Silence that restores and revitalizes? If so, now would be a good time to make aggressive use of those capacities. And if you haven’t attended well to these rituals of self-care, please remedy the situation. Claim more power to commune with your depths. In the

coming weeks, most of your best information will flow from the sweet darkness. LIBRA (Sept. 23-Oct. 22) One of your vices could at least temporarily act as a virtue. In an odd twist, one of your virtues may also briefly function like a vice. And there’s more to this mysterious turn of events. A so-called liability could be useful in your efforts to solve a dilemma, while a reliable asset might cloud your discernment or cause a miscalculation. I’m riffing here, Libra, in the hopes of stimulating your imagination as you work your way through the paradoxical days ahead. Consider this intriguing possibility: An influence that you like and value may hold you back, even as something or someone you’ve previously been almost allergic to could be quite helpful.

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SCORPIO (Oct. 23-Nov. 21) Between now and the solstice on December 21, you will have extraordinary power to transform into a more practical, well-grounded version of yourself. You may surprise yourself with how naturally you can shed beliefs and habits that no longer serve you. Now try saying the following affirmations and see how they feel coming out of your mouth: “I am an earthy realist. I am a factlover and an illusion-buster. I love actions that actually work more than I like theories that I wish would work. I’d rather create constructive change than be renowned for my clever dreams.” SAGITTARIUS (Nov. 22-Dec. 21) Despite your sign’s reputation, you Sagittarians don’t always require vast expanses to roam in. You aren’t ceaselessly restless, on an inexhaustible quest for unexpected experiences and fresh teachings. And no, you are not forever consumed with the primal roar of raw life, obsessed with the naked truth, and fiercely devoted to exploration for its own sake. But having said that, I suspect that you may at least be flirting with these extreme states in the coming weeks. Your keynote, lifted from Virginia Woolf ’s diary: “I need space. I need air. I need the empty fields round me; and my legs pounding along roads; and sleep; and animal existence.” CAPRICORN (Dec. 22-Jan. 19) “If you can’t get rid of the skeleton in your closet,” said George Bernard Shaw, “you had best teach it to dance.” This advice is worthy of your consideration, Capricorn. You may still be unable to expunge a certain karmic debt, and it may be harder than ever to hide, so I suggest you dream up a way to play with it -- maybe even have some dark fun with it. And who knows? Your willingness to loosen up might at least alleviate the angst your skeleton causes you -- and may ultimately transform it in some unpredictably helpful way. AQUARIUS (Jan. 20-Feb. 18) “No pain, no gain” is a modern expression of an old idea. In a second-century Jewish book of ethics, Rabbi Ben Hei Hei wrote, “According to the pain is the gain.” Eighteenth-century English poet Robert Herrick said, “If little labor, little are our gains: Man’s fate is according to his pains.” But I’m here to tell you, Aquarius, that I don’t think this prescription will apply to you in the coming weeks. From what I can surmise, your greatest gains will emerge from the absence of pain. You will learn and improve through release, relaxation, generosity, expansiveness, and pleasure. PISCES (Feb. 19-March 20) The less egotistical you are, the more likely it is that you will attract what you really need. If you do nice things for people without expecting favors in return, your mental and physical health will improve. As you increase your mastery of the art of empathy, your creativity will also thrive. Everything I just said is always true, of course, but it will be intensely, emphatically true for you during the next four weeks. So I suggest you make it a top priority to explore the following cosmic riddle: Practicing unselfishness will serve your selfish goals.

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