43.14 - Willamette Week, February 1, 2017 by Willamette Week Newspaper

Squid is the new pasta. P. 25

WILLAMETTE WEEK PORTLAND’S NEWSWEEKLY

“THE DUDE’S AN AGILE SACK OF MASHED POTATOES.” P. 21

Used BY NI GEL JAQUI SS

Corporate lobbyists turned Oregon’s iconic Bottle Bill into a sweet payday for their clients. WWEEK.COM

VOL 43/14 2.1.2017

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MUSIC

FOOD

President Trump shuts off the American dream. P. 7 Portland’s lost jazz clubs. P. 27

Willamette Week FEBRUARY 1, 2017 wweek.com

FINDINGS

PAGE 21

WHAT WE LEARNED FROM READING THIS WEEK’S PAPER VOL. 43, ISSUE 14.

Chilly Tee is making mad dough on tax credits from the Oregon Film and Video Office, son. 11

Your favorite indie band wishes it could write a song half as fire as

“Gleaners” is the beverageindustry term for the homeless who dig through your recycling at night. 12

If you’re going to shoot a movie in the Sahara, make sure you don’t film any cocaine traﬃckers by accident. 40

One of the best pro wrestlers in the world right now has the physique of Paul Blart. 21

The New England Patriots are the Donald Trumps of the NFL, and only the America Falcons can deliver us from tyranny. 43

Portland has been getting whitegirl wasted lately. 22

ON THE COVER:

Sting’s “Desert Rose.” 28

OUR MOST TRAFFICKED STORY ONLINE THIS WEEK:

Photo by Julie Showers.

Federal agents conducted immigration raids at Multnomah County Courthouse.

STAFF Editor & Publisher Mark Zusman EDITORIAL News Editor Aaron Mesh Arts & Culture Editor Martin Cizmar Staff Writers Nigel Jaquiss, Rachel Monahan, Corey Pein Copy Chief Rob Fernas Copy Editors Matt Buckingham, Nicole Groessel, 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 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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Clearly, those of us who haven’t raised the rent on any current tenants because we do not want turnover will have to start imposing 9 percent increases yearly to ensure we will have money set aside in case we have to pay moving costs. This is too bad for renters in Portland. And that includes, sadly, good renters, not just the ones who have been evicted in the past for cause, documented or not. —“Democratic Thinker”

Change starts with demoting or replacing feckless attorneys who cost the state millions of dollars and who create a tremendous sense of mistrust in justice and political leadership. WW, please continue to look into the advice provided by these lawyers. —Henry Katz I have to love Marion County Circuit Judge Claudia Burton, both for the ruling against Department of Justice lawyers and the reference to Get Smart’s “Cone of Silence.” —“D Wyatt Gib”

OWNERS KICKING OUT APARTMENT’S CHICKENS

“Landlords who own a property or two will walk away from the market.”

DOJ AND TRANSPARENCY LAWS

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.

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Attorney General Ellen Rosenblum and Gov. Kate Brown continuously talk about change, but change never happens [“Keep It Like a Secret,” WW, Jan. 25, 2017].

—“Jewels”

Thank you, Willamette Week, for reporting on this community ’s struggle to keep their flock of chickens [“Bye Bye Birdies,” WW, Jan. 25, 2017]. Keeping these birds is a vital, beneficial part of the community. Up until the 1950s, many people kept their own poultry because self-sufficiency was necessary. In this economy, it is once again becoming a crucial skill.

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This is a sure-fire way to take rental properties off the market: Make an egregious set of rules that make it impossible for small landlords to operate at a profit level [Murmurs: “Eudaly Proposes Making Landlords Pay Moving Costs,” WW, Jan. 25, 2017]. The landlords who own a property or two, usually single-family dwellings, will call a realtor and walk away from the market. And how does City Commissioner Chloe Eudaly come up with 10 percent as the magic number for limiting rent increases within a 12-month period? Is there any way around this, say, if your expenses go up because of increased taxes, utility rates and repair costs? —John Retzlaff

WTF is up with the roads in this town? Who is in charge of this? Any plans to ever maybe get them ﬁxed? —Pothole Peeved

Willamette Week FEBRUARY 1, 2017 wweek.com

I don’t mean to give you a hard time, Peeved, but street repair (and how to pay for it) has been THE major controversy in local politics for at least three years. It’s sort of like you just poked your head up to ask, “So, what’s up with this Donald Trump guy?” Anyway, the short answer is, we’re shitty people who make bad choices and deserve lousy roads. The slightly longer answer is, everyone wants well-maintained streets, but nobody seems able to find a way to pay for them. You may have heard some distant clamor about something called a “street fee” briefly drowning out the bubbling of your bong a couple years ago, but it was a political nonstarter. (Not so coincidentally, the two guys who came up with it, Portland Mayor Charlie Hales and City Commissioner Steve Novick, are no longer in office.) What about all the money the Bureau of Transportation gets from parking fees, parking tickets and the state gas tax? Unfortunately, that turns out to cover only about a third of the agency’s budget.

We recently approved a city gas tax that will help. But the $16 million it will raise annually will mostly keep streets that need fixing (cheap) from deteriorating into streets that need replacing (expensive). In other words, it’ll keep the $1.3 billion tab for getting all our streets to goal condition from getting any bigger, but it won’t pay it down very fast. If it’s any consolation, lots of other cities are having the same problem. While there was a 2000 study that ranked our roads ninth-worst in the nation, these days we don’t even crack the bottom 20. Near the worst in 2017? Cash-flush San Francisco. If it can’t pay the paving bill, what hope does Portland have? Perhaps Trump’s vaunted trillion-dollar infrastructure package will contain help for our streets—as long as we send a tribute of 12 undocumented virgins every year, to prove we’re over the “sanctuary city” thing. QUESTIONS? Send them to dr.know@wweek.com

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MURMURS

Entrepreneurs trying to open a Portland recreational cannabis shop are suing the city over decisions made by the agency responsible for licensing weed stores. The lawsuit, filed Jan. 31 in Multnomah County Circuit Court, accuses the city’s Office of Neighborhood Involvement of giving “biased and impermissibly favorable treatment” to a competing cannabis shop called Shango-Waterfront. That business’s officers, listed in the state registry, include at least two of the same men who ran Stars Cabaret Beaverton, the strip club that is currently being sued for $8 million over allegations it hired a 13-year-old and a 15-yearold as dancers. According to the legal papers, ONI repeatedly extended deadlines for Shango-Waterfront, to the disadvantage of Front Ave., which is seeking to become a competing weed shop within 1,000 feet. City rules prohibit more than one pot shop within a 1,000 feet of each other. “It’s an example of how Portland needlessly created complexity, expense and uncertainty in the marijuana industry,” says Bear Wilner-Nugent, attorney for Front Ave. Amy Margolis, a lawyer for Shango-Waterfront, declined to comment. The city declined to comment.

New Mental Health Center Opens This Week

The most focused, best financed effort to fix the city’s fractured response to people experiencing psychiatric crises will open to new patients Feb. 2. The Unity Center for Behavioral Health, a 102-bed, $40 million facility located at 1225 6

Willamette Week FEBRUARY 1, 2017 wweek.com

Street Preachers Sow Discord Across Portland

A large crowd of mostly peaceful demonstrators rallied against President Donald Trump’s travel ban at Portland International Airport this past ANDREW KROGMAN

Cannabis Shop Owners Sue Portland City Hall

NE 2nd Ave., is a joint venture of Oregon Health & Science University, Legacy Health, Adventist Health, and Kaiser Permanente. Those hospitals began transferring patients to Unity on Jan. 31. Unity’s goal is to consolidate psychiatric services for a more effective and humane response than the frequent practice of warehousing patients in hospital emergency rooms, where there are few psychiatric resources (“All Stacked Up and No Place to Go,” WW, July 15, 2014). “A lot of people have worked hard and a long time to be able to deliver services that will really help the community,” says Legacy spokesman Brian Terrett.

Grant Chisholm

weekend. They were joined Jan. 29 by Mayor Ted Wheeler, U.S. Sen. Jeff Merkley (D-Ore.) and U.S. Rep. Suzanne Bonamici (D-Ore.). They were also trailed by a group of slur-yelling street preachers called the “Bible Believers.” That morning, the same men screamed invective at parishioners of a Spanish-language mass at St. Peter Catholic Church in Southeast Portland. Police Bureau spokesman Sgt. Pete Simpson says responding officers “determined there was no crime—all verbal, nothing physical.” At the airport, one of the Bible Believers, Grant Chisholm, was assaulted and knocked unconscious. He was released from Legacy Emanuel Medical Center, where he was treated for a head injury, Chisholm said. “It kind of jiggled some brain cells,” he said Jan. 31.

NEWS

WHAT YOU NEED TO KNOW THIS WEEK

A CLOSED COUNTRY

Plenty of Oregon leaders have shared their views of President Trump’s travel ban in the past week. NIGEL JAQUISS.

Last week, President Donald Trump hung a “closed for repairs” sign on the Statue of Liberty. Trump issued an executive order Jan. 27 blocking people from seven Muslim-majority nations from entering the United States for 90 days, and halting the arrival of any refugees for 120 days. The travel ban has stranded hundreds, includ-

Gov. Kate Brown “President Trump’s recent executive orders that divide and discriminate do not reﬂect the values enshrined in the U.S. Constitution or the principles we stand for as Oregonians.”

ing at least 46 refugees who had booked flights to Oregon. (Two families bound for Portland were left stuck in a Ukrainian airport. Read about them at wweek.com.) It drew immediate outcry as both illegal and immoral. And it has slammed shut the door on people who once looked to this country as a beacon of hope. JOE RIEDL

Fellow Travelers

Attorney General Ellen Rosenblum “I am appalled by this latest executive order. Discrimination based on national origin is illegal.”

U.S. Sen. Ron Wyden (D-Ore.) “We’re going to ﬁght like hell against this cruel, senseless and un-American order.”

U.S. Rep. Greg Walden (R-Ore.) “The No. 1 job of the president is to keep America safe. We need to make sure that extremists who seek to do us harm are not able to inﬁltrate a system designed for legitimate visitors.”

Tim Boyle, Columbia Sportswear CEO “It should not be necessary in 2017 to say that we at Columbia do not judge people based on their religious beliefs, nor should it be controversial for us to say it. But in today’s political environment, I am taking a moment to restate that fundamental view. We have faced a religious test in the past and will never support one.”

Mark Parker, Nike CEO “This is a policy we don’t support. Nike stands together against bigotry and any form of discrimination.”

Bill Currier, chairman of the Oregon Republican Party “President Trump promised to take decisive action to protect the American people, and he is keeping his promise. Plus, according to a Rasmussen poll released today, a solid majority of Americans support this action.”

The Last Ones In A SYRIAN FAMILY ARRIVES IN PORTLAND JUST BEFORE THE DOOR SHUTS. On Dec. 19, Mohammed and Shamsa Abdulhayy arrived in Portland. The couple is from Idlib, Syria—just 37 miles from the city of Aleppo—where a bullet struck Mohammed in the neck, leaving him paralyzed. For four years, they lived in Turkey, seeking refugee status in the United States. They received it—barely. The Abdulhayy family is among the last Syrian refugees to enter Oregon before President Donald Trump’s executive order on Jan. 27 banned Syrians and people from six other nations from entering the United States. In their bare East Portland apartment, Mohammed, 35, sits in his electric wheelchair. He wears a leather jacket over a sweater, a green blanket draped over his legs. Shamsa, 34, in a silky beige hijab, lifts a bottle of water to his lips to drink. They speak Arabic through an interpreter as their 4-year-old son, Yazen, in a green flannel shirt and tiny jeans, splays out on the carpet, watching cartoon dinosaurs on a smartphone. They heard that America was good to refugees, that in America, “they respect the human person,” Shamsa says. “They love refugees,” she says. “They treat them as a family.” But Trump’s travel ban makes them fear that chaos has followed them across the ocean. They hear that some Americans think Muslims are terrorists. “In our holy book, it says when a person kills someone, they kill all other people—all the people on the earth,” Mohammed says. Shamsa points to her son. “What did [children] do to get hated?” she asks. LEAH SOTTILE.

FEARLESS: Mohammed Abdulhayy and his son, Yazen. Mohammed prays each day “for Americans to stay safe and calm.”

Seven Nation Army President Donald Trump’s travel ban halts all immigration from seven Muslim-majority nations. People from those countries make up more than one-third of the 1,398 refugees who resettled in Portland last year. RACHEL MONAHAN.

REFUGEES RESETTLED IN PORTLAND IN 2016 FROM NATIONS UNDER THE TRUMP BAN turkey

iraq: 156

syria : 96 libya: 0

egypt

iran: 39

saudi arabia

sudan: 5

yemen: 0

somalia: 211 Willamette Week FEBRUARY 1, 2017 wweek.com

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gabriel green

NEWS waiting game: People line up awaiting entry to the multnomah County Courthouse on Jan. 30. Local officials worry immigration arrests at the courthouse could frighten people from showing up.

The ICE Storm A NATIONWIDE IMMIGRATION CRACKDOWN REVEALS WEAKNESSES IN PORTLAND’S “SANCTUARY CITY” POLICIES. By co r e y p e i n

cpein@wweek.com

On Jan. 25, Multnomah County Sheriff Mike Reese pledged his office wouldn’t help President Donald Trump deport undocumented immigrants. “I believe we have a responsibility to nurture a relationship of trust with everyone in our community,” Reese said. “When our community trusts us, they share information about crime, and victimization, that they may not otherwise share—and that makes us all safer.” As early as Nov. 15, local officials pledged that Portland will remain a “sanctuary city” for undocumented immigrants, despite threats by Trump to remove federal funding from cities that don’t help with deportations. Those words are important. But Reese won’t have to contend only with Trump, but with people in his own employ. In late December, one of Reese’s deputies allegedly helped deliver an undocumented immigrant to agents with U.S. Immigration and Customs Enforcement. ICE agents apparently acted using information supplied by Deputy Larry Wenzel, emails obtained by WW show. The Sheriff’s Office has opened an internal affairs investigation into Wenzel’s actions, says a spokesman. Reese declined to comment until the investigation is complete. “What Oregon and Portland need to do now is stand up against the Trump administration,” says Kasia Rutledge, an attorney with Metropolitan Public Defender Services whose client was arrested by ICE on Dec. 21. “So far, I have not been impressed with how our sheriff and local law enforcement have been responding.” The arrest of Rutledge’s client came well before Trump took office Jan. 20. Lawyers and advocates say ICE appears to have raised its profile and the pace of its enforcement activity since then.

As WW first reported Jan. 28, plainclothes federal agents wearing T-shirts and jeans have arrested several immigrants in the past two weeks at the Multnomah County Courthouse, according to the American Civil Liberties Union of Oregon. Defense attorneys and other witnesses tell WW that ICE agents have also demanded names from people who appear to be minorities at the courthouse, and have taken custody of some people on their wanted lists. It’s hard to be sure whether those arrests mark an increase from ICE’s typical activity. An ICE spokeswoman confirmed five arrests at or near a courthouse this month. But ICE has declined to disclose month-by-month statistics, and maintained that its instructions to officers are too sensitive to share with the public. Local lawyers say the raids suggest a federal immigration agency emboldened by Trump’s election and executive orders—and acting in ways that local elected officials may find more effective than they imagined. “If underneath them their subordinates are sending people to the [ICE] Tacoma Detention Center, there’s a problem,” defense attorney Chris O’Connor tells WW. “There’s no actual plan for the day-to-day interactions.”

“it’s not just defendants. it’s witnesses. it’s family members.” —Lane Borg

Multnomah County officials, including Reese, County Chairwoman Deborah Kafoury and Presiding Multnomah County Circuit Judge Nan Waller, were alarmed enough to issue a joint statement Jan. 28. “Anything that increases the fear of people accessing our courts is of grave concern,” the statement said. “Now, they may be too afraid to show up.” The ICE arrests in Multnomah County come in the midst of nationwide uproar after Trump signed executive orders hostile to people born in other countries. Trump’s orders included a Jan. 25 proposal to deny grant funding to cities that don’t detain people for deportation, and a Jan. 27 travel ban blocking people from seven Muslim-majority nations from entering the United States (see page 7). In the wake of those orders, ICE and its sister agency, U.S. Customs and Border Patrol, emerged as the enforcers of Trump’s crackdown. As border agents held travelers in airports without

charges over the weekend, large protests broke out at airports across the country—including Portland International Airport. In Portland, ICE agents made 58 arrests in the month of January, five of them “at or near courthouses in Multnomah County,” according to ICE Western regional spokeswoman Virginia Kice. “With regard to enforcement actions at or in close proximity to courthouses, ICE has issued guidance to its personnel specific to that issue,” Kice said. “However, due to law enforcement sensitivities, we haven’t released the details of that guidance.” ICE officials said at least three of the people detained by ICE have significant criminal convictions, but they declined to provide names to verify the information. Rutledge tells WW that Deputy Wenzel told her client, who faces domestic abuse charges and whose name she declined to provide, to come to the county’s “close street supervision” office at the Multnomah County Justice Center on Southwest 3rd Avenue on Dec. 21 for a weekly pretrial check-in. Rutledge says her client was initially asked to come in for his check-in at any time between 9 am and 5 pm. But the day before his appointment, she says, Wenzel called to tell him to come in specifically at 10 am—which is when the client and his mother found ICE agents waiting. “When he and his mother came in, ICE was with the deputy, standing there behind the glass window,” Rutledge tells WW. She emailed Wenzel right away. “How did ICE know he was there?” Rutledge asked in an email. “They asked when he would be here and I told them,” Wenzel replied in an email obtained by WW. After WW asked about Wenzel’s actions, Reese issued a new memo to staff saying ICE “will be provided no greater information than is available to the public.” Wenzel could not comment on an open investigation. Lane Borg, executive director of Metropolitan Public Defenders, says Trump’s presidency is likely to have a chilling effect on immigrants participating in court proceedings, no matter how local law enforcement responds. “I don’t think people have thought through the implications,” Borg tells WW. “Because it’s not just defendants. It’s witnesses. It’s family members. “People are going to have to dust off their history books and see what the original definition of ‘outlaw’ meant. It was people who live outside the protection of the law.” WW staff writers Rachel Monahan and Nigel Jaquiss contributed reporting to this story. Willamette Week FEBRUARY 1, 2017 wweek.com

Willamette Week FEBRUARY 1, 2017 wweek.com

L O VAT T O

NEWS

Derailed THE CANCELLATION OF UNITED STREETCAR’S TAX EXEMPTION POINTS TO OPPORTUNITIES FOR NEW REVENUE. BY NIG E L JAQ UI SS

njaquiss@wweek.com

When lawmakers convene Feb. 1 for the 2017 legislative session, the most pressing question will be how to fill a $1.8 billion budget gap. One answer, say budget watchdogs: Look to the example of United Streetcar. Not long ago, Clackamas-based United Streetcar’s ambitions to resuscitate a nearly obsolete mode of transportation drew praise from then-President Barack Obama and the enthusiastic financial support of all levels of government. Today, its products roll through the streets of Portland, Tucson, Ariz., and Washington, D.C. In 2010, United Streetcar built a test track for its vehicles and qualified for an Oregon enterprise zone property tax break. The tax break came with a condition: United Streetcar had to employ at least one person on the premises to qualify. But orders soon dried up and workers lost their jobs. Today, the company finds itself in Oregon Tax Court, fighting to avoid having to give back the subsidy from the state’s e-zone program. Enterprise zones provide companies with a five-year break from paying property taxes, costing local taxing jurisdictions $65 million a year. Critics say that, like many tax breaks, there’s little accountability once e-zone status is awarded. Last July, however, Clackamas County Assessor Bob Vroman canceled United Streetcar’s enterprise zone award because it reported zero employees. That meant the company would have to pay the county five years of back property taxes on the affected site—a bill of about $323,000. In January, United Streetcar sued Clackamas County, claiming it made a paperwork error in filings with the county. The court will decide who’s right. But watchdogs say elected officials should act more like Vroman and scrutinize the $12.1 billion a year of state and local tax breaks on the books. Jody Wiser of Tax Fairness Oregon, a watchdog group, has been tracking tax breaks since 2003. “I’ve added up $835 million in new tax breaks or expansions of existing ones in that time,” Wiser says. “Legislators say they haven’t had money this whole time, and yet it’s been new tax break after new break.” Here are some of the watchdogs’ pet peeves, with their annual costs.

MORTGAGE DEDUCTION $548 MILLION Right now, Oregonians can deduct from personal income the interest they pay on mortgages and home equity loans. It’s the biggest single housing subsidy the state provides, and advocates say it goes to the wrong people. Jon Chandler, CEO of the Oregon Home Builders Association, says the deduction is an important incentive for home ownership. Yet nearly twothirds of the benefit goes to Oregonians making more than $84,000 a year. Activists went to place a $15,000 cap on annual deductions, and invest the savings in affordable housing. “It doesn’t make sense to subsidize the wealthy,” says Chuck Sheketoff of the Oregon Center for Public Policy.

CAPITAL GAINS ON HOME SALES $182 MILLION Every two years, people can sell their homes and pay no state tax on a gain of up to $250,000 (individual filer) or $500,000 ( joint filer). Chandler notes that home ownership is a large factor in the creation of wealth, savings and minority advancement. Critics say the tax break is overly generous and has contributed to a tight housing market. “This is a giveaway for home-flippers,” Wiser says. “We’ve destabilized neighborhoods and made it far harder for first-time homebuyers.”

SMALL-BUSINESS PASS-THROUGH INCOME $120 MILLION In the so-called “Grand Bargain” of 2013, Democrats won Republican votes for pension cuts (which Republicans desperately wanted) by granting tax cuts to the owners of small businesses that employ at least one person. “You don’t have to do anything for the tax

break,” Wiser says. “You don’t have to hire anybody. You just have to be an owner.” But Republicans who fought hard for small business say a deal’s a deal. “It’s been a little over three years since [House Speaker] Tina Kotek and [Senate President] Peter Courtney agreed to the Grand Bargain,” says Rep. Mike McLane (R-Powell Butte). “I would sure hope that their word has a longer shelf life than that.”

FILM PRODUCTION $13.75 MILLION The Oregon Film and Video Office auctions off tax credits and gives the proceeds to companies producing TV shows and movies here. This subsidy has helped bring small businesses to Oregon. Ryan Deckert of the Oregon Business Association says the program generates enormous investments. “If they don’t spend money here, they don’t get the tax break,” Deckert says. “I’m a big supporter.” It’s also bankrolled local companies, such as the Oscar-nominated animated film studio Laika Entertainment, which has received $7 million over the past four years. “This program is ridiculous,” Sheketoff says. “Travis Knight [son of Phil] has received millions. Does he really need that money?”

FARM HOME-SITE EXEMPTION $12.9 MILLION In addition to getting tax breaks on farmland, equipment and inventory, Oregon farmers get a tax break on the land under their homes—about 41,000 of them. Jeff Stone, CEO of the Oregon Association of Nurseries, says the incentive accomplishes a key Oregon goal of protecting agricultural land from development. It also strips property taxes from cash-strapped rural communities. “Farmers use roads, schools and public safety services just like the rest of us,” Wiser says. “They should pay for them.” Willamette Week FEBRUARY 1, 2017 wweek.com

JOE RIEDL

Used BY N IGEL JAQU ISS

On April 1, the deposit for returnable cans and bottles in Oregon will increase for the first time in history. Now, when you buy a bottle of Black Butte Porter or a can of LaCroix, you’ll pay a dime instead of a nickel. That’s because of a bill the Oregon Legislature passed six years ago. In 2011, lawmakers, mostly Democrats, expanded Oregon’s pioneering Bottle Bill. (In 1971, Oregon became the first state in the nation to add a 5-cent charge to every container of beer or soda, which consumers get back only if they return the can or bottle for recycling.) Lawmakers broadened the kind of drinks covered and made other changes, hoping to increase the rate at which people redeem their empty containers. Since 2011, however, the bottle and can redemption rate has dropped nearly 10 percent. That decline triggered a clause in the bill that will now raise the deposit to a dime. Lawmakers and recycling advocates hope more cans and bottles will be returned when the bounty on them is a dime. It’s unclear if the addi-

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Corporate lobbyists turned Oregon’s iconic bottle bill into a sweet payday for their clients.

njaquiss@wweek.com

tional incentive will increase the redemption rate and thus help the environment. What is highly likely, however, is that the increase will create a big payday for the companies that distribute beer and soda. Those firms, including Maletis Beverage and Columbia Distributing, get to keep all the deposits on cans and bottles that aren’t redeemed (see sidebar, page 15). It turns out a lot of bottles and cans are not redeemed. CONT. on page 14

Old Habits Does curbside recycling make the Bottle Bill irrelevant? Oregon has one of the highest overall rates of recycling in the country, recycling nearly half of the solid waste we generate. With the growth of other recycling streams, cans and bottles now make up only about 5 percent by weight of all the materials Oregonians recycle. Some people say the success of curbside recycling—now available to more than eight out of 10 homes in the state—has made the Bottle Bill redundant. “Curbside is a lot more convenient,” says Joe Gilliam, president of the Northwest Grocery Association. The Department of Environmental Quality’s top recycling expert, Peter Spendelow, disagrees. Spendelow says the Bottle Bill provides a more efficient and cleaner waste stream than curbside. “A lot that goes into curbside recycling gets lost,” he says. That means a higher number of items end up in the garbage. At bottle return centers, by contrast, glass and aluminum are kept separate from any other materials, and are therefore easier to recycle. Currently, the Oregon Beverage Recycling Cooperative collects cans from all over the state, crushes them and ships them by rail to Alabama where they are melted. Glass bottles go to a plant on North Columbia Boulevard, where they are washed and sorted by color. Plastic bottles get perforated, washed and shredded in a St. Helens plant, ending up as fleece jackets, packing material and other products. Spendelow says the Bottle Bill benefits the environment by ensuring that fewer resources are used to make new containers, and less energy is used in manufacturing and transporting them. “The importance of the Bottle Bill,” Spendelow says, “is it efficiently reduces the need to harvest raw materials.” NIGEL JAQUISS.

Willamette Week FEBRUARY 1, 2017 wweek.com

JOE RIEDL

Bottling the Future Oregon is praying to BottleDrop centers for redemption. Between Lowe’s Indoor Lumber Yard and Mattress World in the big-box jungle of North Portland’s Hayden Island lies an example of the innovation optimists hope will increase Oregon’s container redemptions. There, at one of the Oregon Beverage Recycling Cooperative’s BottleDrop centers, 13 reverse-vending machines inhale empties, and a concierge service allows people to drop off returns in bar-coded bags. Grocers love BottleDrop centers because they move an unpleasant, expensive task out of their stores—stores within a two-mile radius of a BottleDrop are no longer required by law to redeem empties. The OBRC likes them because consolidation means fewer pickups and greater concentration of recyclables. But the OBRC has built redemption centers more slowly than it planned in 2011. Real estate got expensive. NIMBYism also played a role. “The biggest challenge is siting the redemption centers,” says Paul Romain, a lobbyist for beverage distributors. In 2014, for instance, neighbors in Northwest Portland and Goose Hollow warded off a BottleDrop site proposed at West Burnside Street and Southwest 17th Avenue, across the street from Marathon Taverna. There are now 19 BottleDrops, fewer than half the 45 the industry pledged to build in 2011. So far, OBRC president John Andersen says, they are a success, redeeming far more containers than the grocery stores they replaced. Lawmakers believed in the promise of BottleDrop sites and in their own abilities to recapture the magic of Tom McCall’s era. But former Sen. Doug Whitsett (R-Klamath Falls), one of the biggest critics of the 2011 expansion, says his colleagues got taken for a ride on BottleDrops. He’s skeptical the new centers will increase the overall return rate long-term. “I think the deposit increase [to 10 cents] was orchestrated to improve the financial position of the distributors,” Whitsett says today, “and that’s what happened.” NIGEL JAQUISS.

Willamette Week FEBRUARY 1, 2017 wweek.com

FEEDING THE BEAST: The BottleDrop facility at Hayden Island.

According to records and estimates obtained from the Oregon Liquor Control Commision (which only released the data after WW appealed to the Oregon Department of Justice), the increase in the deposit is likely to be worth $30 million a year. That’s on top of the $30 million distributors were already keeping. That $30 million of new money is a rounding error compared to a state budget that totals $10.3 billion a year. But as a new legislative session opens Feb. 1, the bottle-deposit increase offers a view into how in Salem, special interests leverage good intentions into cash. “It’s one of the biggest rip-offs I’ve seen come out of the Legislature in my 34 years there,” says Mark Nelson, who lobbied against the deposit increase on behalf of Anheuser-Busch. “That money goes straight into the pockets of the distributors.”

regonians have a romantic vision of the Bottle Bill. “The Bottle Bill is part of the heart and soul of Oregon,” state Sen. Mark Hass (D-Beaverton) said in a floor speech May 25, 2011. “When our children live with this kind of ethic, it makes them better people. It’s a symbol of what it means to be an Oregonian.” That vision meets gritty reality in the bottle and can return room at the Safeway at Southwest 10th Avenue and Jefferson Street. There, in one of the city’s busiest bottle return locations, the yeasty smell of stale beer and the dregs of soda hover like a fog. The floor is stained and sticky, and if you linger, you’ll get nudged out of the way by street entrepreneurs whom beverage-industry people call “gleaners.” In one sense, the feeding of empty containers into reverse-vending machines is just what Richard Chambers, a Salem activist, and then-Gov. Tom McCall envisioned when they crafted the Bottle Bill in 1971. The men, both Republicans, wanted to rid Oregon of litter and require industry, rather than government, to operate the container-deposit system. Even before the bill passed, McCall said he hoped it would be a national model, expressing his “commitment to put a price on the head of every beer can and pop bottle in the United States.” Nine other states and most Canadian provinces followed Oregon’s lead, although only Oregon’s system is run privately. But by 2011, Oregon’s Bottle Bill was tired. Comparing the bill to a flag, then-Rep. Jules Bailey (D-Portland) said, “Its stitching has frayed and it has faded.” By 2011, Oregon had expanded recycling to include everything from construction debris to paint, and buoyed by curbside pickup, its overall recycling rate was among the nation’s highest. But the rates of redemption for empty drink containers were sluggish. Redemption rates, reportedly more than 90 percent in the 1990s, were far lower.

The nickel deposit had lost most of its value to consumers. Grocers hated the dirty, expensive task of taking back empty drink containers at their stores. And consumers found simply tossing the containers in curbside recycling bins was easier. “If you make $100,000 a year and you have $3 worth of bottles, do you really want to go and mix it up in the bottle room?” asks John Andersen, president of the Oregon Beverage Recycling Cooperative, a private company run by distributors. OBRC is a big operation, with 275 employees and an annual budget of $34 million. (Andersen recently hired former Rep. Bailey to be OBRC’s chief stewardship officer.) But experts say curbside recycling isn’t nearly as efficient as bottle return for helping the environment (see sidebar, page 13). Democrats came to Salem in 2011 prepared to reverse the Bottle Bill’s decline. They were led by House Energy, Environment and Water Committee co-chair Ben Cannon (D -Portland), a lanky Rhodes Scholar who, alone in the Legislature, refused to take money from political action committees. In the Senate, Sen. Jackie Dingfelder (D-Portland), an environmental consultant, had long pushed to expand the Bottle Bill. And the Legislature’s most powerful figure, Senate President Peter Courtney (D-Salem), regarded the Bottle Bill with religious fervor. “It’s not a Democrat thing. It’s not a Republican thing,” Courtney said at the 2011 bill’s first public hearing. “It’s not rural or urban—it’s a masterpiece, a legislative masterpiece.” With the House evenly split at 30 Democrats and 30 Republicans, Courtney wanted a bipartisan victory. Democrats found several GOP allies, most notably the daughter of Bottle Bill champion Richard Chambers, state Rep. Vicki Berger (R-Salem), who joined Hass as one of four chief sponsors. Berger had made expanding the Bottle Bill a personal crusade. “I had a single goal when I went into that session,” Berger says today of the Bottle Bill expansion. “To achieve it, I had to make some compromises that weren’t so good.” Berger made those concessions because corporate lobbyists had ideas of their own. For more than 30 years, Paul Romain has lobbied for Oregon’s beverage distributors. His formidable skills are a major reason the state’s beer taxes are among the nation’s lowest; and why the OLCC, rather than private companies, controls booze in this state. (Romain says private control of liquor sales would put retailers in charge, to the economic detriment of distributors.) Romain, 69, has other clients—oil distributors and pawnbrokers—but his authority in the regulation of liquids in closed containers is almost absolute. “We just try to find a solution where everybody benefits,” Romain says. “That’s always the goal of legislation.” CONT. on page 16

Many Happy Returns Oregon’s Bottle Bill, the first in the nation, gives consumers a small incentive to recycle their drink containers. It also gives a hefty reward to beverage distribution companies: $30 million a year. The industry uses that money and the revenue from selling recyclables to pay for the Bottle Bill. Beverage distributors benefit from the Bottle Bill in the same way Apple makes money from iTunes gift cards: The consumer pays the full price up front, and many cards are never used or only partly used. So it’s free money for Apple. In Oregon, the same rule applies to each six-pack of Corona you pick up at your local Fred Meyer. Here’s how the system works. NIGEL JAQUISS.

If the consumer redeems the empty container either at a retailer or a BottleDrop return center, the consumer gets the deposit back.

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

Used

A distributor drops off drinks at a store. The retailer pays for the drinks, including the deposit.

A consumer buys a six-pack of beer from the retailer. The consumer pays the retailer for the beer and a 5-cent deposit for each container.

If the consumer tosses the empty container in a curbside recycling bin or the trash, the distributor gets to keep the deposit. That happens with 35 percent of all containers sold— more than 600 million in 2015.

Willamette Week FEBRUARY 1, 2017 wweek.com

Used Losing Ground

Nickel and Diming

Since the 2011 Bottle Bill expansion passed, the number of returnable containers sold has increased, but the percentage of containers redeemed for deposit is down.

That has meant an increase in the value of unclaimed deposits distributors keep.

Sales

From 2012 to 2015

Returns

Millions of Dollars

60 50 40 30 20 10 0

2012

2013

SOURCE: OREGON LIQUOR CONTROL COMMISSION

Willamette Week FEBRUARY 1, 2017 wweek.com

really thought if you built out the redemption centers fast enough, you could increase the [redemption] rates.” People who raised objections to the increased deposit aren’t sure what to make of Romain’s promise now. “Whether Paul believed that, I don’t know,” says Nelson, the beer lobbyist. “But it was enough to give them the votes to push the bill through.” Even before the April 1 increase, distributors have been pocketing the nickels that consumers pay for deposit but fail to redeem. But just how many nickels distributors keep has been a closely guarded secret. CHRISTINE DONG

Prior to the 2011 Legislative session, Romain and Joe Gilliam, president of the powerful Northwest Grocery Association, joined forces. Distributors and grocers were no fans of the Bottle Bill, and they’d historically opposed efforts to expand it. But Romain realized pro-Bottle Bill forces would eventually win, prompting him to exercise some masterful legislative judo. “We didn’t see it,” Gilliam says. “Paul got ahead of it.” Romain and Gilliam, whose clients typically favor Republicans, lined up with Democrats and jointly arrived at a compromise. The Bottle Bill would be expanded to include all drink containers except wine, hard alcohol and milk (but not until 2018), and move returns out of large grocery stores to off-site redemption centers (see sidebar, page 14). In addition, the bill said if the redemption rate sank below 80 percent and stayed there for two years, bottle deposits would double from 5 to 10 cents. Critics lasered in on the deposit increase. Big brewers said it would act like a price increase, hurting sales. Fiscal conservatives saw the increase as a form of taxation that would penalize low-income Oregonians. “We have a state-sponsored monopoly running this program, and that monopoly is asking for more money,” state Sen. Jeff Kruse (R-Roseburg) testified. “The unintended consequences are going to come back and haunt us.” Kruse’s concern was this: A percentage of bottles and cans are never redeemed and either end up in the waste stream or recycled curbside. While the latter option is environmentally benign, the result is that consumers are paying a deposit they never get back (see charts, p. 15 and above). And the beneficiaries? Beverage distributors who control the OBRC. They keep every nickel consumers don’t claim by redeeming containers. Gilliam and Romain dismissed such objections, claiming a 5-cent increase wouldn’t happen. “The dime won’t be needed,” Gilliam testified. His brother, a popular GOP lawmaker, backed him up. “If the people who process the bottles say we’ll never get there, you ought to respect that,” state Rep. Vic Gilliam (R-Silverton) testified. Vic Gilliam and Berger’s support for the bill was crucial to making it a bipartisan effort. Romain repeatedly promised the increase in deposit would never be triggered. “We feel extremely confident we will never see a 10-cent deposit,” he testified in a Senate hearing May 7, 2011. “We believe very strongly the 10 cents will never occur.” Last July, however, the OLCC announced that redemption rates had fallen below 80 percent for the previous two years. That was the trigger that Romain and Joe Gilliam said would never happen. And so on April 1, deposits go up. Romain admits his vow that the redemption rate would stay above 80 percent was badly off the mark. He and Gilliam blame the decline on the slow rollout of off-site BottleDrop redemption centers. “I’ve promised a lot of things,” Romain says today. “We

MORE DEPOSIT, BIG RETURN: Beverage industry lobbyist Paul Romain.

On July 22, 2016, the OLCC announced the deposit increase to a dime—because the redemption rate had fallen below 80 percent and stayed there for two years. In August, WW filed a public records request with the OLCC for the statistics that would show how many bottles and cans weren’t redeemed. The OLCC refused to release the data. “We are forbidden from releasing any numbers other than a percentage,” wrote OLCC spokeswoman Christie Scott on Aug. 24, 2016. Nelson, the beer lobbyist who opposed the expansion of the Bottle Bill, says he’s not surprised. “The distributors have always opposed any kind of discovery as to how much it is they are keeping,” he says. Romain says distributors wanted individual companies’ numbers kept private but says they did not object to aggregate numbers being made public. WW appealed to the Oregon Department of Justice, which in September ruled the numbers are a matter of public record and ordered their release. The data show that distributors, on an annual basis,

2014

2015

2017

(Projected)

were keeping deposits for 600 million unredeemed bottles and cans, or about $30 million. It’s as if consumers bought $30 million worth of gift cards at Starbucks but never redeemed them. The number of unredeemed nickels the beverage industry keeps was a revelation even to Peter Spendelow, the Oregon Department of Environmental Quality’s top recycling expert. “I’ve never had data like this,” he says. If the redemption rate stays steady, the industry will collect $60 million in the next year, though recycling advocates and the beverage industry claim the higher deposit rate will increase redemptions. “We think the rate’s going to go way up, so there won’t be a windfall,” Romain says. “If there’s a huge windfall, everybody’s going to be clamoring for some of that money.” Other states also experience the challenge of unredeemed bottles and cans. But in at least five other states that have bottle bills—including California, New York and Michigan—the government collects unclaimed deposits. Dingfelder, the former state senator, tried to pass legislation that would allow Oregon to do that. “We’ve thrown people off the Oregon Health Plan and cut school budgets while the distributors have been keeping the deposits,” Dingfelder says. (Even if the money remains in private hands, she says, there should be greater transparency.) Romain says that, far from enjoying a windfall, his clients put the unredeemed deposits into recycling and building new BottleDrop centers. “The beauty of the Bottle Bill is it relies on the people who don’t participate to fund it,” Romain says. “We use that money to create the best environmental program in the country.” It’s true that the industry will pay for the new BottleDrops, which Romain says each cost $1.5 million to build. But using those figures, the beverage distributors could construct five new facilities a year and still be way ahead. The most applicable study of financial results of a state bottle bill was conducted in Iowa in 2012. It showed that Iowa’s law, which is similar to Oregon’s, was highly profitable for distributors. Today, Romain is still working the hallways of the Capitol. But the lawmakers who led the 2011 expansion of the Bottle Bill have moved on. Dingfelder left the Senate in 2013 to work for Portland Mayor Charlie Hales and is completing her Ph.D. at Portland State University. Berger, now retired, is working on her golf game in Arizona. Cannon now directs the Oregon Higher Education Coordinating Commission. All three say that even with the potential windfall for distributors, they’d pass the same bill again. “Focusing on the outcomes was most important— increased recycling and redemption and reducing litter.” Cannon says. “We were willing to tolerate a little bit of mystery around the finances in order to achieve that.”

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The Bump

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A PRIMER ON THE WORLD WRESTLING ENTERTAINMENT LANDSCAPE FOR THE LAPSED FAN. BY M AT T H E W SI N GE R

msinger@wweek.com

You might not know it, but we’re in the era of Peak Pro Wrestling. While it isn’t the phenomenon it was in the late ’80s and ’90s, wrestling is everywhere it wasn’t back in the days of Stone Cold Steve Austin and the Rock. It’s covered with seriousness by the likes of Sports Illustrated, ESPN and the A.V. Club. It’s on regular television five hours a week, while practically the entire modern history of the sport in North America is available for streaming via the WWE Network. There’s so much happening, WWE has split into two brands, Raw and SmackDown. If you’re a lapsed fan, now’s a good time to get reacquainted. While several guys you remember— the Undertaker, Big Show, Chris Jericho, Triple H—are still around, they’re mostly part-timers. Before the Raw brand hits Moda Center, here’s a primer on the new names you need to know.

ROMAN REIGNS

SETH ROLLINS

KEVIN OWENS

CHARLOTTE FLAIR

Old-school equivalent:

Shawn Michaels

Bam Bam Bigelow

Ric Flair

Who is he? Rollins broke into WWE with Reigns and SmackDown’s Dean Ambrose as heel Metal Gear cosplayers the Shield, and was so great at playing a sniveling asshole that fans couldn’t help rooting for him. He’s one of WWE’s most dynamic talents, but he’s earned a reputation for going a little too hard, after he prematurely ended Sting’s career, then injured high-profile newcomer Finn Balor the night he won the brand-new WWE Universal Championship, mucking up the company’s plans for months.

Who is he? Not since Mick Foley has there been a better avatar for the WWE audience. In a world of oiled-up action figures, Owens is built like Paul Blart, with a pudgy baby face barely hidden behind a dirty beard and ring attire he could’ve rummaged out of a Goodwill bin. Despite looking like he subsists exclusively on Slurpees and gas station nachos, the dude moves around the ring like an agile sack of mashed potatoes, and has a better handle on wrestling storytelling than many of his peers—probably because, while they were all working out, he was sitting on the couch covered in Cheetos dust watching old Bret Hart matches.

Who is she? One of the more encouraging developments of the past few years has been the legitimization of the WWE women’s division, and much of the credit for that progress is owed to Flair, who is indeed the scion of the Nature Boy himself. Maybe the comparison is too on the nose, but she’s inherited her dad’s skills both in the ring and on the mic. And lest anyone think she’s merely the product of “superior genetics,” look up footage of David Flair in WCW to see just how far the apple can fall from the tree.

Goldberg Who is he? That sort of depends on who you are. Are you Vince McMahon? Then Reigns is the Samoan Hulk Hogan, the obvious choice to lead WWE into a new era of prosperity. Are you the average fan? Then you probably started booing on reflex just from reading his name. He’s not bad in the ring, it’s just that WWE has been so insistent on making Reigns the Next Big Thing that the audience revolted against him. It doesn’t help that he has the personality of a cigar store Indian. But he’s also big, muscly and vaguely related to the Rock, which means he’ll stay hovering around the main event until McMahon retires or Reigns gets popped for PEDs again.

SASHA BANKS

SAMI ZAYN

ENZO AND CASS

CESARO

BRAUN STROWMAN

Old-school equivalent:

Eddie Guerrero

he 1-2-3 Kid

Booker T.

Big Show

Who is she? If Charlotte Flair is truly her father’s daughter, then Banks is Flair’s Ricky Steamboat, the opponent she’ll always be measured against even when they’re not actively feuding. Banks’ actual character, though, is more like a luchador Nicki Minaj. She’s got hip-hop swagger coded into her DNA—Snoop Dogg is her cousin, and her father is Reo Varnado, owner of Reo’s Ribs on Northeast Sandy Boulevard—and employs a daredevil style that’s thrilling when she’s in the air, and sometimes wince-inducing when she lands.

Who is he? Like his real-life best friend, storyline forever-enemy Kevin Owens, Zayn is a normal guy trying to make it in a business dominated by monsters and muscle freaks. He’s pale, freckly, skanks to the ring to the tune of his own ska-punk theme song, and looks about as intimidating as your average New Seasons stock boy. He’s destined to play the plucky underdog his whole career, which is fine, because he’s awesome at getting his ass kicked and even better at making an improbable comeback.

Who is he? Nicknamed “the Swiss Superman” for his mix of size, strength and crazy athleticism, Cesaro didn’t need prolonged exposure to become a cult hero among wrestling geeks. He comes to the ring in tear-away tuxedo, uppercuts the shit out of everyone, then throws some poor sap in a giant swing—a move no one’s used regularly since the ’70s—while the crowd counts the revolutions. You’d think he’d be a multi-time world champion by now, but he hasn’t been able to uppercut his way out the midcard, probably because McMahon thinks Cesaro’s wacky Euro accent makes him “too foreign” to connect with American fans.

Who is he? In case you weren’t aware, McMahon is a bit of a size king—meaning, he’s got a thing for big dudes, and whether or not they can actually wrestle is usually beside the point. Strowman is the classic example of a “monster heel,” a very large man who exists to ploddingly crush smaller competition before being vanquished by the next grappler WWE wants to make into a star. In the ’80s, he would have headlined arenas against Hulk Hogan. Now, his fate is probably getting fed into the Roman Reigns wood chipper. Because they’re gonna get him over or tank the company trying, damn it!

The New Age Outlaws. Who are they? Wrestling catchphrases have evolved since the days when the aforementioned Outlaws became the most popular tag team of the late ’90s by yelling about their dicks. Enzo and Cass have a whole four-paragraph spiel, filled with New Jersey guidoisms like “bada-boom” and “sawft.” Like the Outlaws, they kind of peak before the bell even rings, but the art of pro wrestling is at least 40 percent talking, and Enzo is one of the best jabberjaws to come around in a while.

SEE IT: WWE Monday Night Raw is at Moda Center, 1 N Center Court St., on Monday, Feb. 6. 4:30 pm. $20-$110. All ages. Willamette Week FEBRUARY 1, 2017 wweek.com

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LONDON CALLING: Soul’d Out Productions is partnering with the Rialto’s new owners to turn the Jack London—the basement bar under downtown pool hall Rialto—into a venue focusing on live jazz. In December, Frank Faillace—who also owns Star Theater and several strip clubs—purchased the Rialto with Bar XV owner Manish Patel, saving the nearly century-old bar from impending closure. Soul’d Out co-owner Nicholas Harris says the basement, which will retain the Jack London name, hopes to fill the void left by the recent closure of Jimmy Mak’s. “The goal is to build off, and create space for, the Jimmy Mak’s players over the years,” Harris says. He also wants to feature younger musicians. A fire at the adjoining Hotel Alder on Jan. 5 delayed the build-out, Harris says. A tribute show, featuring several Jimmy Mak’s regulars, is scheduled for the final night of the annual Soul’d Out Music Festival in April. LAUGHING MATTERS: Harvey’s Comedy Club is under new ownership. According to Oregon Liquor Control Commission filings, the Old Town institution is now owned by Pizza Cake, which also operates the Tacoma (Wash.) Comedy Club. Harvey’s is changing its name to the similarly straightforward Portland Comedy Club. Known for requiring comedians to work clean, Harvey’s was once one of the only venues in Portland to feature touring standup comics. Louis C.K. included a slight diss of the club in a 2015 essay about his favorite places to perform, saying, “A week at the Punchline in San Fran could get you through the next week at Harvey’s in Portland.” A retirement roast for former Harvey’s owner Barry Kolin was held Jan. 27. The new owners did not respond to requests for comment. CASE OF BASE: In August, Base Camp Brewing owner Justin Fay pleaded guilty to criminal mischief and a felony weapons charge after a March incident in which Fay answered the door to police with an illegal make of AR-15 rifle. When officers “took control” of the gun, according to deputy district attorney Chris Shull, “defendant asserted that he had many more weapons inside the house and told (the officer) that he wanted to go back inside so he could go get another gun and kill [the officer].” Fay later kicked out a police car window. The OLCC says Fay’s liquor license will be under review when sentencing is completed in February. In the meantime, city tourism agency Travel Portland gave Base Camp a $5,000 sponsorship for its Collabofest beer event Jan. 28, saying officials “believe in the good intentions of the Base Camp organization.” Pending alcohol treatment, Fay’s weapons charge may be reduced to a misdemeanor.

DRUMPFK: Call it the Donald Trump effect. Or chalk it up the booming economy. But whatever the reason, Oregonians bought more hard alcohol than ever in December. Figures released Jan. 26 by the OLCC show the state had $70 million in alcohol sales in December, a jump from $50 million in November. This exceeded last year’s sales by about 7 percent. In a statement, OLCC commission chairman Rob Patridge gave imbibers a reason to believe their consumption is a public service and that new liquor stores have facilitated it. “Through retail expansion, OLCC can play a positive role in contributing to Oregon’s budget challenges,” Patridge said. Hear that, all you drunks sad about Trump? You’re helpful. Willamette Week FEBRUARY 1, 2017 wweek.com

WEDNESDAY, FEB. 1

LSD is now being used by domestic couples looking to control their mood and boost productivity. In her new book, A Really Good Day Day, writer Ayelet Waldman explores a practice known as “microdosing,” in which a subject takes a sub-hallucinogenic quantity of the infamous drug at regular intervals as one might take blood pressure medicine. Powell’s City of Books, 1005 W Burnside St., 503-228-4651, powells.com. 7:30 pm. Free.

Minority Retort

Ayelet Waldman

A standup showcase that features all POC comedians, Minority Retort’s lineup strikes the right balance between well-established Northwest comedians and upand-comers. Hosted by Jeremy Eli, this week’s show is headlined by the most recent Funniest Five winner, Adam Pasi. Helium Comedy Club, 1510 SE 9th Ave., 888-643-8669, portland.heliumcomedy.com. 8 pm. $10. 21+.

THURSDAY, FEB. 2 It’s a shame Sting ’s prolific solo career has been written off as hokey adult-contemporary dross. The ex-Police frontman’s voracious appetite for international sonic flavors predates that of cooler, younger bands by decades. You know you’d love to hear Dirty Projectors or Yeasayer cover “Desert Rose.” See Top 5, page 28. Theater of the Clouds at Moda Center, 1 N Center Court St., 503-235-8771, rosequarter. com. 8 pm. $64.50-$90. All ages.

Elliot, A Soldier’s Fugue Preview

Sting

Profile Theatre’s new resident playwright, Quiara Alegría Hudes, begins her season with a Pulitzer Prize-finalist play about a 19-year-old soldier returning from the Iraq War, weaving together his stories with those of his multigenerational military family. Profile Theatre, 1515 SW Morrison St., 503-2420080, profiletheatre.org. 7:30 pm. Through Feb. 19. $20-$29.

Get Busy

FRIDAY, FEB. 3

27th Annual Cascade Festival of African Films

The festival kicks off with a movie as unusual as it is special. Akounak Tedalat Taha Tazoughai, or Rain the Color Blue With a Little Red in It, is a remake of Purple Rain in the language of the nomadic Tuareg people, one without a word for “purple.” Directed by Portlander Christopher Kirkley and starring Mdou Moctar as the Kid, Akounak kicks off a month of new African film. It screens at 9:15 pm, followed by a concert at 11:15. Hollywood Theatre, 4122 NE Sandy Blvd., 503-493-1128, africanfilmfestival.org. Through March 4. Free.

Sabertooth Micro Festival Yeah, the Sasquatch lineup is pretty bad. But big music festivals are all kind of terrible. For three years, the Crystal Ballroom’s annual two-day garage-psych “micro festival” has operated on the idea that smaller is better. This year’s installment features headlining sets by always-reliable Thee Oh Sees on Friday and Atlanta’s Black Lips on Saturday, plus after-parties at Ringlers and comedy at Al’s Den. Crystal Ballroom, 1332 W Burnside St., 503-225-0047. See sabertoothpdx.com for full schedule and ticket prices. Through Feb. 4. All ages.

WHAT WE'RE EXCITED ABOUT FEBRUARY 1-7

SATURDAY, FEB. 4 Stumptown Improv Festival Presents

The Stumptown Improv Festival has been asserting improv’s place in standuporiented Portland since 2013. The festival isn’t until August, but in the meantime its curators have put together a lineup of West Coast improv troupes: Portland’s Hawaiian Squirts, Seattle’s Death and Taxes, and Los Angeles’ Summerland. Siren Theater, 315 NW Davis St., sirentheater.com. 8 pm. $15 advance, $17 day of show.

YGB Presents One

Creating safe spaces for people of color to assemble, create and celebrate has always been important in a city like Portland, but it’s especially crucial now. That’s what art collective Young, Gifted and Brown has been doing for two years. Tonight, the group kicks off a full week of events with a party featuring DJ sets from Lamar Leroy and Fritzwa, performances from rapper Rasheed Jamal and dance crew Soul Trigger, and tarot readings for anyone brave enough to peer into our Trumpian future. Holocene, 1001 SE Morrison St., 503-239-7639, holocene.org. 9 pm. See ygbportland.com for complete schedule. $7 advance, $10 day of show. 21+.

SUNDAY, FEB. 5 Super Bowl LI Party

Have you heard the Paris Theatre is no longer a jack shack? Seriously! In addition to phasing out the sordid features of its past, the theater also claims to have the largest LED screen in Portland, making this the best place to don a trench coat and enjoy the greatest show on turf in complete anonymity. Paris Theatre, 6 SW 3rd Ave., facebook.com/TheParisPdx. 1 pm. Free admission.

Flip City 2016 Pinball Championship

Watch the top 16 pinball wizards from the 2016 Flip City circuit duke it out for a shot at the grand prize, or enjoy the chef’s burger and a round-robin tournament for the plebs who don’t take C-Bar’s best-known pastime quite as seriously. C-Bar, 2880 SE Gladstone St., 503-230-8808, cbarportland.com. Noon. 21+.

MONDAY, FEB. 6 Welcome to Founders Brewing

Run the Jewels

Hard-drinking people of Grand Rapids, Michigan! Hearken to the good news! Founders beer will be sold in Portland as of today! Yeah, that’s right—the legendary Michigan craft brew that’s not Bell’s will be distributed here now, and the brewers will be hanging at Imperial throwing a party about it with favorites like Rubaeus and rares like Lizard of Koz. There are also parties at Belmont Station, the BeerMongers, Roscoe’s and Bit House—but this is the first and biggest. Imperial, 3090 SE Division St., 971-302-6899, imperialbottleshop.com. 4:30 pm.

TUESDAY, FEB. 7

Boone Howard

After establishing himself in the Portland scene with the woozy psych pop of his former band, the We Shared Milk, Boone Howard is embracing unguarded vulnerability in his new project. His upcoming debut, The Other Side of Town, looks to be a befuddled lesson in earnestness, spit-shined with unsteady guitars, beefy synths and the sardonic touch of classic Randy Newman. Mississippi Studios, 3939 N Mississippi Ave., 503-288-3895, mississippistudios.com. 9 pm. $7. 21+.

Killer Mike and El-P aren’t “political rappers,” per se. But in these stressful times, anger is an energy, and there isn’t a better conduit for rage these days than Run the Jewels. “You defeat the devil when you hold onto hope,” Mike raps on the group’s latest album, RTJ3. You know what also works? Wilding out with RTJ3 your friends at the loudest, sweatiest hip-hop show of the young year. Crystal Ballroom, 1332 W Burnside St., 503-225-0047. 8 pm. Sold out. All ages. Labyrinth

Even if Labyrinth didn’t star David Bowie as the fantastical Goblin King, it would still be mandatory viewing. When 15-year-old Sara (Jennifer Connelly) accidentally summons the King, who steals her baby brother, she must head into a fantasy maze filled with traps, tricks and puppets courtesy of Jim Henson, and complete it in 13 hours. If she doesn’t, her brother will be turned into a goblin forever. Mission Theater, 1624 NW Glisan St., 503-223-4527. 5:30 and 8:30 pm Monday-Tuesday, Feb. 6-7. $4. All ages. Willamette Week FEBRUARY 1, 2017 wweek.com

FOOD & DRINK = WW Pick. Highly recommended.

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Simple ApproAch

Have you ever thought: Man, this sporting and/or trivia contest would be better if everyone were winedrunk and at a science museum, and the prizes were also really good wine, and somehow it cured kids with sick hearts? You’re in luck! This is like that. Dress fancy, save the children, and crush your enemies, see them driven before you. Tickets are $70 per person and $135 per couple. OMSI, 1945 SE Water Ave., 503-797-4000. 6 pm. $70-$135.

everyday

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

Shandong www.shandongportland.com

1. Fukami

Shandong www.shandongportland.com

R E V NE S MIS A BEAT

#wweek 24

Willamette Week FEBRUARY 1, 2017 wweek.com

No Wheat? No Sweat.

Get your Belgian gluten-free beer right here, your all-American naturally gluten-free cider, your gluten-free food—all fancied up in a four-course beer-and-cider pairing dinner, including Belgian goddamn waﬄes with no gluten inside them, plus salads and soup and a roasted chicken main course. But: waﬄes! And all only $35, tips and drinks included! Bazi Bierbrasserie, 1522 SE 32nd Ave., bazipdx.com. 6:30-9 pm. $35.

Vinolympics

open 11-10

WEDNESDAY, FEB. 1

SATURDAY, FEB. 4

Bold FlAvor vegan Friendly

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

4246 SE Belmont St., 971-279-2161, fukamipdx.com. You’ve got only until Valentine’s Day to eat here, and then it’s heartbreak— the ﬁnest dedicated sushi spot in town will go into Portland real estate limbo. So go now. It’ll change all the feelings you have about ﬁsh. $$$-$$$$.

2. Kim Jong Smokehouse

413 NW 21st Ave., 971-373-8990, kimjongsmokehouse.com. KJS’s bibimbap is basically what you get at the original Grillin cart on Division—but here it’s served with smoky pulled pork or kalbi short rib, plus one of the house sauces. All ’cue should come with gochujang. $.

3. Pollo Norte Sur

2935 NE Glisan St., 503-719-6039, pollonorte.com. Pollo Norte’s second location for its

Lunar New Year

Nothing says “party” like a huge, impersonal convention center hall, and thousands will roll into the Oregon Convention Center for not one, but two parties full of food, dance and song. The Chinese New Year is in Exhibit Hall B, while the Vietnamese Tet Festival is in Exhibit Hall C. If you like every single party, here’s our advice: Go to the Chinese New Year during the day, and pop in for the big-ass concert next door after 8:30 pm. Chinese New Year: Oregon Convention Center, Exhibit Hall B, 777 NE Martin Luther King Jr. Blvd., 503-771-9560, portlandnyf.com. 10 am-5 pm. $6-$8. Tet Fest: Exhibit Hall C, 777 NE Martin Luther King Jr. Blvd., 503-235-7575, vnco.org. 10 am-5 pm, $5. 8:30 pm-midnight, $20 advance, $25 at the door.

MONDAY, FEB. 6 Founders Brewing in Portland

Hard-drinking people of Grand Rapids, Mich.! Harken to the good news! Founders’ beer will now be in Portland! Yeah, that’s right— the legendary Michigan craft brew that’s not Bell’s will be distributed here now, and the brewers will be hanging at Beermongers, throwing a party about it, with favorites like Rubaeus and rares like Koz the Lizard. There are also parties at Belmont Station, Roscoe’s and Bit House—but this is the biggest tap list. Imperial Bottle Shop, 3090 SE Division St., 971-302-6899. 4:308 pm.

rotisserie chicken shack is a marked improvement. The chicken is better than ever—crisper skin, juicier ﬂesh—the room is spacious but warm, and you can now drink margaritas. $.

4. East Glisan Pizza Lounge

8001 NE Glisan St., 971-279-4273, eastglisan.com. What a pleasant little bar this has turned into—with decent taps, a good vibe and some seriously solid Detroit-style pizza on Tuesdays with a pleasantly airy crust that’s apparently diﬃcult to achieve. $$.

5. Rue

1005 SE Ankeny St., 503-231-3748, ruepdx.com. Rue just kicked oﬀ one hell of a happy hour before 6 pm and after 9 pm daily—with $1 oysters, beautifully crisped panisse and one of the best drinks in town: a killer $8 gin and tonic goosed with apple brandy and Bonal. $$-$$$.

DRANK

One for the Road (FAT HEAD’S) A little over two years ago, Chicago-born brewer Mike Hunsaker left the Midwest to become one of the finest brewers in Portland, at Ohio-born brewery Fat Head’s. Within months, the outpost’s tap list began to fill up with Hunsaker’s local-hopped creations, including a Semper FiPA we blind-voted the best IPA in Portland city limits. But Jan. 31 was his final day as a Portland brewer. He belongs to Camas now, in the unnamed state to the north that is so far away it takes 15 minutes to get there by car. He’s starting a brewery there called Grains of Wrath. Well, One for the Road is Hunsaker’s final beer at Fat Head’s. And as befits any beer meant to be drunk while driving to the suburbs of Vancouver, it is a double IPA clocking in at 8.5 percent ABV. Hunsaker apparently figured he’d use up all his hop contracts at once, and so it’s a kitchen-sink brew with Aussie hop Vic Secret backed up by a laundry list of Simcoe, Mosaic, Citra and El Dorado. It is a fine and fruity beer with a lot of mango on the nose and a fair amount of pine in the back to make it appropriately bittersweet. Recommended. MATTHEW KORFHAGE.

THOMaS Teal

REVIEW

Tentacle Porn THE SQUID AND OCTOPUS AT VITALY PALEY’S SEAFOOD SPOT HEADWATERS ARE AMAZING— BUT SOME THINGS NEED WORK. BY M AT T H E W KO R F H AGE

mkorfhage@wweek.com

If we’re all headed for Restaurant Apocalypse 2017: Trump Edition, you wouldn’t know it looking at chef Vitaly Paley. The Paley’s Place founder is going yuuuge. First with Imperial restaurant at Hotel Lucia—our 2015 Restaurant of the Year, full of honey-and-spice chicken and a happy hour that reigns supreme—and now his palatial new seafood spot Headwaters at the storied Heathman, Paley has been laying out a wildly ambitious vision for what hotel restaurants can be, serving chef-centric, locally sourced, scratchmade high-end fare on a grand scale our city rarely delivers. At Headwaters, Paley is also trying to build the opulent seafood palace our ocean-adjacent river town has somehow never had. And to do it, he brought in the chef who’s come closest to succeeding—Ken Norris, whose sometimes frustrating, often brilliant Pearl restaurant Riffle NW managed to change the way our city thought about octopus before folding too soon in 2013. Headwaters, which opened in October, wears its ambitions with big-boy swagger in the old Heathman restaurant space. In that airy, light-filled room, the dominant feature is an imperious colonnade of massive stone columns leading past an endless open kitchen to imposing 20-foot wall sculptures in which splintered wood is hammered into the shape of the sea. But monuments weigh heavy on empires, and the seas are fickle. In four months and three visits since it’s been open, the ’Waters has been a little bit choppy. The restaurant is home to one of my favorite plates of food I’ve had

tower of power: the miniature version of Headwaters’ seafood stack ($45). Bourbon-Bonal cocktail not included.

in months. But it has also been home to missteps bizarre matter. And yet, the grand ambitions still seem possible, for chefs and restaurants of this caliber—like a hemisphere because what’s good at Headwaters is quite simply as good of beautiful but near-brineless oysters in which multiple as it gets. On the menu next to the scallop ceviche, a Poly$3.50 shells were so sloppily shucked they contained piec- nesian-flavored yellowfish ceviche ($6) was lovely in its es of shell the diameter of a dime. sweet acidity, while the bright caviar on that butter bread But Norris, like Cthulhu, is godlike with tentacles. That seems to have come from champion breeding stock. tender, grill-charred and wine-brined Spanish octopus—a revBut for now, I’ve got two words to go with that octopus elation at Riffle in 2012—is back in a different variation here and squid: seafood, tower. Even in an Oregon midwinter served up with proscuitto sausage ($18), and it is deeply and that’s prime time everywhere nearby for oyster and Dunwarmly welcome. The soft sheets of octopus carpaccio ($7), geness, the quality of the sea proteins at Headwaters was meanwhile, were an impressive feat of protein pressboard- impressive to the point of stunning, assuming those mising under niçoise relish, with shapes of sucker and tendril shucked oysters were a bizarre fluke. embossed into the tender sheets like fossil into limestone. The mini-tower ($45, with the large going for $86) is a But the best thing at Headwaters was a thick steelhead cornucopic, double-stacked pagoda of all things that crawl fillet served with squid carbonara ($28). and creep and scoot along the sea’s briny botorder this: Beneath a steelhead cooked to melting pinktom, a geyser of shell bringing forth prawns, Octopus ($18), ness with skin crisped to crepe-y perfection, scallops, mussels, clams, uni and oysters at steelhead and squid carbonara ($28), mascarpone cheesecake the pasta in the carbonara has been subbed least six-deep (although mine had eight). ($8), seafood tower ($45). out for squid rings of tenderness equal to The Dungeness was shelled, shredded and that of an al dente noodle, bathed in egg and touched with a little lemon—a civilized courBest deal: peppered with rich guanciale lardons. It is tesy I was surprised to find myself so grateful In a place where a dozen oysters is $40, surf-and-turf heaven, the stuff of celiac wet for. The prawns were psychedelically bright that seafood tower—which and cooked just to the point of tender transdreams. includes at least six oysters and two oyster shots—is a steal. But amid the breadth of Headwaters’ lucence, with no hint of brine. The smokedambitions—brunch, lunch, dinner, catering mussel shots were a bloody-mary-sauced I’ll pass: and weekend Russian tea service—some piece of fishhouse whimsy. Uni shots, burger, tiger’s milk ceviche. If you’re supplementing with veggies, menu items were a little on the skids. A $14 burger is so lost inside its towering potato feel very safe with a vadouvan-curried bun it becomes a chore. A $10 bowl of Pernod-spiked “dock- cauliflower ($15), whose attendant broccoli sauce brings side” chowder—mixing clam juice with the day’s fish boun- back childhood mixed-veg nostalgia alongside warm ty—came on a bit oversubtle and floral, free from the deep spice, and the caramelized Brussels sprouts ($8). reptilian-brain comforts that chowder has come to mean Among drinks, the best deal is by far an $8 boulevardier in the Oregon consciousness. The sushi-priced but roundly taptail that’s $5 at happy hour. The rest of the cocktail menu excellent bites of mustard-kippered salmon ($8), sturgeon is a bit wild-style, but the apple-cardamom-vodka Sweater “pastrami” ($9) and—dear Lord—buttery smoked sablefish Puppy ($10) is a go-to on the lighter side, while mezcal-smoky ($6) come with matzo crackers so crunchingly thick and hard booze bomb Rained Out ($11) and a bourbon-Bonal Heel that each reverberating bite became hilarity at the table, lead- Clicker ($12) are great among the darks. ing me to eat the herring spread with silverware. Desserts were in flux among visits—a thunderingly deep A tiger’s milk scallop ceviche ($10), meanwhile, was highly Sexual Chocolate ($11) Devils’ food mini-cake is now sadly under-acidic—a situation not helped by the additional fat of gone, but a new mascarpone and blood orange cheesecake avocado cubes bolstering an already fatty-sweet meat—and a ($8), with a side of buttercream ice cream, was a world in $5 uni shooter came on like a party foul. Back at Riffle, those which richness is all and all else recedes into memory. uni shots were brilliantly coddled by egg yolk as textural ambassador, but here the urchin is a huddle of briny gak at the eAt: Headwaters, 1001 SW Broadway, 503-790-7752, headwaterspdx.com. 6:30 am-11 pm Monday-Thursday, end of a bracing tomato-water flood. 6:30 am-midnight Friday, 8 am-midnight Saturday, With Headwaters’ pedigree and prices, these flaws 8 am-11 pm Sunday. Willamette Week FEBRUARY 1, 2017 wweek.com

Willamette Week FEBRUARY 1, 2017 wweek.com

MUSIC

Going Back to Jumptown A TOUR OF THE FORGOTTEN INSTITUTIONS THAT ONCE MADE PORTLAND A JAZZ MECCA. BY PAR K E R H A L L

503-243-2122

Many have forgotten, but for a few decades after World War II, Portland was a wellknown hub for black music on the West Coast. Thanks to a large African-American working community fostered by the Kaiser Shipyards, the Central Eastside—and North Williams Avenue in particular—hosted a cluster of live jazz venues, juke joints and record stores. It was the center of nightlife in Portland for adventurous and creative souls. Though gentrification and changing culture eventually forced the number of jazz clubs to wither—the recent shuttering of Jimmy Mak’s is just the latest in a long line of closures—there has long been a history of unique venues in Portland. With the PDX Jazz Festival starting this month, we have declared February Portland Jazz Month. To start things off, we spoke with Robert Dietsche, author of Jumptown: The Golden Years of Portland Jazz, 1942-1957, and Lynn Darroch, famed jazz commentator and KMHD DJ, about the most interesting hot spots in Portland’s storied jazz history.

1 THE DUDE RANCH (1945) 240 N Broadway

2 JIMMY MAK’S (1996-2016) 300 NW 10th Ave.; 221 NW 10th Ave.

The Dude Ranch was a speakeasy in the 1920s, before rising to become the most famous jazz club in the Central Eastside in the mid-1940s. A cowboy-themed oddity that hosted strippers, shake dancers, comics and the very best of jazz—including Louis Armstrong—the Dude Ranch was a home away from home for Portland’s night owls. “Nothing topped the Dude Ranch,” Dietsche says. “No other city had such an odd and interesting place. It was totally unique to Portland.”

“Jimmy Mak’s rose to become Portland’s premier jazz club along with the economic and demographic changes of its Pearl District neighborhood,” Dietsche says. “Its success was also due to music policy and management by [the late] owner Jim Makarounis, and the internationally known club was famed for hosting drummer Mel Brown’s groups three nights a week. Beside the stage was a brass plaque that read, ‘Mel’s Place.’”

JAZZ

3 THE CHICKEN COOP (1937-48) Northeast 24th Avenue and Sandy Boulevard A rundown building in front of an apartment complex with the best chicken sandwiches in town, the Chicken Coop “was the club for a while,” Dietsche says. “Anybody who was anybody who came to town, who wanted some after-hours action, they came to the Chicken Coop.”

4 MADRONA RECORDS (1938) 538 N Broadway The small record store on North Broadway “was the meeting place around Williams Avenue—a social center, if you will,” Dietsche says. “Movie stars, white and black, came there to shop for records. Anybody who wanted to go and seek a little adventure ended up at Madrona Records.”

5 PAUL’S PARADISE (1960s) 19 N Russell St. “Harder, heavier bop music and ﬂashy silk ties diﬀerentiated Paul’s Paradise from the Chicken Coop,” Dietsche says. “The club was big in the last part of the 1950s, before all clubs in town started struggling.”

6 THE COTTON CLUB (1963-68) 2125 N Vancouver Ave. A less-formal version of the Dude Ranch, the Cotton Club featured comedy and dance, in addition to excellent live jazz. “This place was a return of the jazz club in the ’60s, sort of the last echoing of the big jazz era in Portland,” Dietsche says. “There was a lot of organ-driven jazz there.”

MCCLENDON’S RHYTHM ROOM (1950s) 7

1461 N Williams Ave. “McClendon’s was really a huge club in the Williams district that took over after [TK TK],” Dietsche says. “They were booking national and international acts, and people were coming from all over to see artists like Oscar Peterson.” The first floor of the building housed Slaughter’s pool hall, where many people got their first taste of jazz. “Though they didn’t have live music, Slaughter’s was a place with a jukebox that was very influential to a number of jazz musicians, who first heard recordings that inspired them,” Dietsche says.

MONTH

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FEATURE

8 THE JAZZ QUARRY (MID-1970s TO LATE ’80s) Southwest Jefferson Street between 11th and 12th avenues “A pizza and cheap-highball location, the Jazz Quarry was known as the Mural Room in the 1960s, but in the late ’70s and early ’80s it became a rite of passage for young Portland musicians to sit in at jam sessions,” Dietsche says. “The Sky Trio was the house band that backed touring artists, and featured pianist Eddie Wied, who said he learned to play piano ‘at the University of Williams Avenue.’”

9 THE HOBBIT Southeast Woodstock Boulevard and 52nd Avenue; Southeast Holgate Boulevard and 39th Avenue “Owned by the same brothers who started the Cathedral Park Jazz Festival in 1981 as a tribute to their late father, the Hobbit began as a little cafe in the Woodstock neighborhood, and later moved to a larger location on Holgate,” Darroch says. “Even with the shift, it never lost its focus on the music. It became known as the home of legendary local bassist David Friesen and the Mel Brown Sextet.”

THE UPTOWN BALLROOM (EARLY 1940s) 10

2115 W Burnside St. “You’d get in a cab and say, ‘Take me Uptown,’” Dietsche says. “Big bands came there—big-name big bands. It was so important, because after the big bands would play their shows, they were looking for some action, and that’s when they would head to the other clubs to jam after hours.”

11 DELEVAN’S (EARLY 1980s) Northwest 14th Avenue and Glisan Street “This elegant supper club featured nationally touring artists, backed by Ron Steen’s trio, which gave Portland’s younger players golden opportunities to learn from the giants of jazz,” Darroch says. “A former ﬁrehouse, it changed hands and was known as Remo’s, and then, in the early 2000s, resurfaced as a jazz club called Touché.”

Robert Dietsche was a Willamette Week jazz contributor from 1978 to ’82. His latest book, Tatum’s Town, tells the story of jazz in Toledo, Ohio. Lynn Darroch was also a WW contributor in the early 1980s. She has written a book called Rhythm in the Rain: Jazz in the Pacific Northwest. Willamette Week FEBRUARY 1, 2017 wweek.com

MUSIC Editor: MATTHEW SINGER. TO BE CONSIDERED FOR LISTINGS, go to wweek. com/submitevents and follow submission directions. All shows should be submitted two weeks or more in advance of event. Press kits, CDs and especially vinyl can be sent to Music Desk, WW, 2220 NW Quimby St., Portland, OR 97210. Please include show or release date information with all physical mailings. Email: msinger@wweek.com. Fax: 243-1115.

Barclay Crenshaw

[HOUSE OF SECRETS] Nearly 15 years since a newly transplanted Midwesterner found his life’s purpose in Los Angeles while prepping turntablist interviews for a techno doc, the legend of Claude VonStroke has spread well beyond the tastemaker enclaves long worshipful of his Dirtybird electronic imprint. But the Bay Area icon’s just-released new album hardly exploits that burgeoning celebrity. As the first significant effort recorded under his actual— though no-less-creepily-Victorian— name, eponymous full-length Barclay Crenshaw forgoes his trademark house instrumentals for hip-hop-flavored tracks of dizzying intricacy and ethereal grace, alongside a murderer’s row (Cool Kids, the Underachievers, Lady Chann) of proud collaborators. JAY HORTON. Holocene, 1001 SE Morrison St., 503-239-7639. 9 pm. $15. 21+.

THURSDAY, FEB. 2 Plaid, the Flashbulb

[ELECTROKLANG] For more than two decades, British electronic duo Plaid has racked the genre, touching on dancey concerns and ambient maneuvers. While shooting off about 10 long-players, Ed Handley and Andy Turner have repeatedly been asked to contribute work to soundtracks, and pulled off a film collaboration in 2006 auspiciously dubbed Greedy Baby. Electronic music of this ilk can easily miss the mark, getting too glitchy or being too beholden to the beat. But Plaid has balanced those allegiances in the past, and based on the diversity found on 2016’s The Digging Remedy, appears poised to keep doing so. DAVE CANTOR. Holocene, 1001 SE Morrison St., 503-239-7639. 8:30 pm. $15 advance, $17 day of show. 21+.

Adam Ant, Glam Skanks

[ANTMUSIC] Following the sudden theft of his original Ants by Sex Pistols manager Malcolm McLaren, Adam Ant famously entered the 1980s with little more than old friend Marco Pirroni, a cassette tape revealing McLaren’s rhythmic vision of two drummers pounding out the Central African “burundi” beat, and daft fashion scheme suggesting Navajo fetish models led the Royal Hussars. The resulting album, Kings of the Wild Frontier—which will be played in its entirety this evening—arrived as a giddily sui generis shot oﬀ the bow of pop convention. A manic, predatory, hell-for-leather fever dream of dandy highwaymen and blissedout buccaneers that shot to the top of the British charts, nothing remotely similar to Kings of the Wild Frontier had ever been heard before— nor, despite Adam’s best eﬀorts, since. JAY HORTON. Revolution Hall, 1300 SE Stark St., 503-288-3895. 8 pm. Sold out. All ages.

FRIDAY, FEB. 3 Sabertooth Micro Fest: Thee Oh Sees, Moon Duo, Skull Diver

[PSYCH] See Get Busy, pagw 23. Crystal Ballroom, 1332 W Burnside St., 503-225-0047. 2 pm. $29.50 advance, $35 day of show. All ages.

Alcest, the Body, Creepers

[FRENCH POST-METAL] Alcest is a French post-metal outﬁt that ought to appeal to fans of groups such as Pelican, Explosions in the Sky and Russian Circles. Its raw instrumental

Willamette Week FEBRUARY 1, 2017 wweek.com

builds and collapses have only sharpened since its inception in 2000. With climactic waves of death growls crashing into serene, ﬁnger-picked meadows of sound, Alcest displays an emotion and catharsis that can be traced all the way back to the masters of the blues. CASEY MARTIN. Dante’s, 350 W Burnside St., 503-226-6630. 8:25 pm. $12. 21+.

SATURDAY, FEB. 4 Sabertooth Micro Fest: Black Lips, Ezra Furman, Máscaras

[PSYCHEDELIC FREAKOUT] See Get Busy, page 23. Crystal Ballroom, 1332 W Burnside St., 503-225-0047. 2 pm. $29.50 advance, $35 day of show, $59.50 VIP. All ages.

TV Girl, Poppet

Hooded Hags, Little Pilgrims, Bobby Peru

[PUNK] Let’s take a trip back to early 2000s Portland—back to a time when the music scene was a little less like high school, when rent was still incredibly aﬀordable and you could still clearly see Big Pink and the West Hills from many places on the east side of the river. Punk was at the forefront of the D.G.A.F.D.I.Y. scene, with Hooded Hags leading the way. While there hasn’t been anything in the realm of new releases from them in a while— the last being 2013’s Mental Revenge, a 45-minute cassette compilation of previously unreleased material—the community hasn’t forgotten them, or that era of local music. Each short spurt of a rawly blended punk-garage acts as a much-needed reminder that things

[ELECTRONIC POP] Don’t misclassify TV Girl as “sunny California pop.” Although the SoCal band’s electro-pop synths oﬀer just enough chamber-pop atmosphere and bounciness to warrant descriptors like “upbeat” or “shimmery,” the group’s darker lyrical themes place its sound closer to trip-hop. TV Girl has a

CONT. on page 30

TOP

WEDNESDAY, FEB. 1

small cult following but has stayed relatively under the radar since its emergence as a duo in 2010, which gives anyone who knew about it before this a certain level of actual indie cred. Although last year’s Who Really Cares is an equally rich auditory experience, the band will be celebrating the re-release of popular 2014 debut album French Exit on this tour. MAYA MCOMIE. The Liquor Store, 3341 SE Belmont St. 9 pm. $10. 21+.

FIVE SONGS THAT PROVE STING IS ACTUALLY GOOD “Love Is the Seventh Wave” (1985)

Baby boomers lost their shit when Paul Simon jazzed up his Grammy-winning 1986 album, Graceland, with saxophones and gospel choirs, but Sting was at least a year ahead of Simon with this jaunty, reggae-inflected deep cut from his solo debut.

2 “Englishman in New York” (1987) Sting dialed down jah reggae riddims and mellowed out a bit on ...Nothing Like the Sun, but the lush backdrop of staccato strings and saxophonist Branford Marsalis’ freeform wailing make this dour ditty about alienation and xenophobia a promising sign of things to come. 3 “All This Time” (1991) Obviously envious of U2’s woke populist approach to mega-stardom, Sting threw Irish folk sounds into the blender to add a dimension of urgency and hopefulness to this sorta anthem from 1991’s The Soul Cages. Arcade Fire could easily get away with adding this to its repertoire and purposely forgetting to inform anyone it’s a cover. 4 “Desert Rose” (1999) Before the knee-jerk reaction to turn off this massive hit from Sting’s 1999 album, Brand New Day, takes over, consider how much you’d love to hear Dirty Projectors or Yeasayer cover it. They get a free pass for sonic globetrotting because they’re cool dudes from Brooklyn, and whether they know it or not, they probably have Sting to thank for that. 5 “I Can’t Stop Thinking About You” (2016) If you’re willing to believe the Goo Goo Dolls used to be a punk band (look it up), the chiming guitars of the lead track from Sting’s most recent album, 57th & 9th, is by far the most punk thing he has done in more than three decades. You won’t see anyone stage-dive to this song, but Sting understands his demo well enough to know that aging yoga moms wanna rock out a little bit every now and then, too. PETE COTTELL. SEE IT: Sting plays Theater of the Clouds at Moda Center, 1 N Center Court St., with Joe Sumner and the Last Bandoleros, on Thursday, Feb. 2. 8 pm. $64.50-$155. All ages.

C O U R T E SY O F FAC E B O O K

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

couRtESy oF IcE PRIncESS

INTRODUCING

Ice Princess WHO: The Ice Princess (vocals), Conjured Phantoms (other instruments). FOR FANS OF: Early Metallica, Judas Priest, Ghost B.C. SOUNDS LIKE: What your uncle was blasting in his Firebird in 1982 when he was cruisin’ the gut and wishing he had a girlfriend. To get the backstory of Ice Princess, you have to go back a ways. To the year 1016, in fact. According to band lore—the only history the group is willing to acknowledge—that is the year the evil wizard Scrotiam encased a Viking warrior princess in a spell that left her frozen in stasis for a thousand years. In 2016, the spell had finally run its course, and the Ice Princess cast off her frigid mantle onstage, breaking free and into song. She tells her tale the only way she knows how—in epic fantasy metal verse, backed by the four anonymous Phantoms she had conjured while still in her hibernation dreamstate. The lead Phantom spoke to me in his Southeast Portland studio apartment, where he struggled to attach his iPhone to his stereo, claiming he’s a Luddite who still prefers vinyl and finds the idea of downloading Skype abhorrent. He explains that he had initially recorded a thrashy B-side under the name Ice Princess on a split single with Alice Donut more than 20 years ago. Ever since, he’s been plotting the concept, writing songs and awaiting his muse’s thaw back to life. “I really love metal that rocks,” he says. “There’s even some jazz that rocks, and I like that. But there’s other aspects of metal that I like—for instance, the theatricality. The costumes, the smoke, and the props, all of that.” After getting the stereo to work, the Phantom cues up rough tracks from Ice Princess’s upcoming debut, recorded in five days at Modest Mouse’s deluxe Glacial Pace studio. The recording was engineered by Brandon Eggleston, and provides the canvas for the Ice Princess to tell her story of woe. The songs gallop, picks squeal and riffs chug in the hairraising tone of classic metal. It doth sound huge. “Over the years, I’ve amassed riffs and songs that were too metal to do in any band that I was in,” the Phantom says. “So I decided to create a vehicle for that.” Plans are already in the works for a second album relating the band’s heroic journey to the fortress of Scrotiam, with a third roughly conceptualized as the climactic battle against the nemesis himself. When asked about the future, the Phantom replies, “I feel like it could go forever.” NATHAN CARSON. SEE IT: Ice Princess plays Rontoms, 600 E Burnside St., with Ice Queens and Bleach Blonde Dudes, on Sunday, Feb. 5. 8:30 pm. Free. 21+. Willamette Week FEBRUARY 1, 2017 wweek.com

MUSIC

D AV I D C O R I O

dates here

antman: adam ant plays Revolution Hall on thursday, Feb. 2. weren’t always this bad, and we can seek some solace in seeing them live. CERVANTE POPE. Valentines, 232 SW Ankeny St., 503-248-1600. 9 pm. Call venue for ticket prices. 21+.

SUNDAY, FEB. 5 The Murder City Devils, Constant Lover, Corey J. Brewer

[HORRORBILLY] Punk has seen its fair share of bands with a “Misfitsplus-X” gimmick come and go, but few gained as much cult appeal as the Murder City Devils. Adding creaking church organs to the triedand-true West Coast punk sound of 1998’s Empty Bottles, Broken Hearts solidified the group as one of the most exciting things happening during Seattle’s grunge hangover. Although they split in 2001, with members going off to form both Pretty Girls Make Graves and Smoke and Smoke, 2014 reunion album The White Ghost Has Blood on Its Hands Again has repositioned them as the beating hearts of the horrorcore renaissance that a new generation of goth kids with pompadours is just now landing on. PETE COTTELL. Dante’s, 350 W Burnside St., 503-226-6630. 8 pm. Sold out. 21+.

MONDAY, FEB. 6 Rufus Wainwright

[OPERATIC POP] Taken as a whole, Rufus Wainwright’s music is a direct rebuttal of the values of his folksinger parents. This applies especially to his father, Loudon Wainwright III, who would surely bristle at the expansive, theatrical spectacle and reverence of Rufus’ songwriting. Where Loudon was irreverent, Rufus widens the often indulgently personal scope of the contemporary pop song, giving it the space to make statements on its place in music history and the rapidly changing social atmosphere surrounding it. Not only is Rufus one of contemporary pop’s most touted and memorable writers ever, he’s one of its best observers and most thoughtful, inventive minds. ISABEL ZACHARIAS. Aladdin Theater, 3017 SE Milwaukie Ave., 503-234-9694. 8 pm. $60. All ages.

Run the Jewels, the Gaslamp Killer, Gangsta Boo, Nick Hook, Cuz

[RAGING RHYMES] See Get Busy, page 23. ERIC DIEP. Crystal Ballroom, 1332 W Burnside St., 503-225-0047. 8 pm. $30 advance, $35 day of show. All ages.

Pinback

[MODULAR POP] When Rob Crow threw up his hands and quit music in 2015, no one found a good reason to disagree with his assessment of just how bad the state of affairs was for indie musicians. Alongside Rob Smith, the San Diego duo Pinback spent the majority of the 2000s quietly releasing some of the smartest, most pleasant indie pop of the era, but the shock-and-awe-obsessed culture of the blog world gradu-

Willamette Week FEBRUARY 1, 2017 wweek.com

ally revealed itself to have little time for an oeuvre that was the musical equivalent of very nice wallpaper. Crow has since done an about-face, prompting him and Smith to dust off their old ADAT samplers and celebrate the 10th birthday of their grossly underrated 2007 album, Autumn of the Seraphs, which you’ve undoubtedly heard the bulk of on the Pandora station at your local coffee shop. PETE COTTELL. Doug Fir Lounge, 830 E Burnside St., 503231-9663. 9 pm. $25 advance, $27 day of show. 21+.

The Knocks

[KINGS OF ELECTRONICA] Producers JPatt and B-Roc of the Knocks have got the art of whipping up electronic bangers down pat. The duo started remixing popular songs shortly after becoming roommates in NYC—where, apparently, the studio setups in their thin-walled bedrooms would caused pissed-off neighbors to give them “the knocks.” They quickly moved on to generating their own sounds as well, initiating a succession of hits such as “Classic” and “Kiss the Sky.” Their immense following is the result of their cross-pollination of soul and funk with trip-hop and hip-hop influences. With recent single “Trouble” showing the same deeply dance floor-ready strain of EDM present on last year’s debut full-length, 55, the pair is showing no signs of slowing down or switching gears. MAYA MCOMIE. Wonder Ballroom, 128 NE Russell St., 503284-8686. 7:30 pm. $18 advance, $20 day of show. All ages.

TUESDAY, FEB. 7 Boone Howard, Aan, Kulululu, Ah God

[MIDTEMPO MILKER] See Get Busy, page 23. Mississippi Studios, 3939 N Mississippi Ave., 503-288-3895. 9 pm. $7. 21+.

CLASSICAL, JAZZ & WORLD Kodo, Portland Taiko

[DRUMMING MEN] Every few years since 1981, the performers in the world’s most famous taiko ensemble leave their isolated village compound on Japan’s remote Sado Island and tour a new production around the world. This time it’s Dadan, a multipart production with each section composed by different players between 2006 and 2014. Kodo performances are as much theater and dance as music— Dadan’s creator, the much-honored Tamasaburo Bando, is a leading kabuki actor and director—but this one is more minimalistic than most, stripping away fripperies like flutes, strings, vocals and dance to focus entirely on the many varieties of taiko drums (solo and ensemble) and the extreme athleticism of the young performers. BRETT CAMPBELL. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 503-248-4335. 7:30 pm Wednesday, Feb. 1. $20-$65. All ages.

DATES HERE

Portland Baroque Orchestra presents Black Mozart

[BAROQUE ORCHESTRAL] In honor of February’s designation as Black History Month, the Portland Baroque Orchestra presents a program of compositions by Joseph Bologne, better known as the Chevalier Saint-Georges. Born in Guadalupe to a wealthy painter and his African slave, Bologne is remembered as the ﬁrst notable black composer of classical music and the conductor of Paris’ leading symphony in the mid-18th century. This program places Boulogne’s Haydninﬂuenced violin concertos next to music by Mozart and one of Haydn’s Paris symphonies, highlighting the similarities in technique and quality between all three composers and featuring violin soloist Monica Huggett. Ostensibly, this is meant to stress the racial prejudices Bologne overcame to reach this impressive musical echelon. But focusing on his struggles ignores both the privileges he was inherently granted on the basis of class and the fact that, even now, programming of his compositions is invariably referential of his blackness, implying his inclusion as a favor—with this performance being both a case in point and an earnest step toward undoing the whitewashing of Western music’s history. ISABEL ZACHARIAS. Kaul Auditorium at Reed College, 3203 SE Woodstock Blvd. 7:30 pm Thursday, Feb. 2. $27-$59. All ages.

ARCO-PDX presents Handel vs. Philip Glass

[AMPLIFIED CHAMBER ORCHESTRA] The small but mighty Ampliﬁed Repertory Chamber Orchestra of Portland is hell-bent on changing the way average people think about and experience classical music. With each of its performances—ranging in repertoire from purist, as-written renditions of classical chamber standbys to contemporary covers and outthere, avant-garde originals—ARCOPDX proves that a change as simple as ampliﬁcation can entirely reprogram the listener experience. When the music itself is loud enough that talking won’t drown it out, the audience feels free to chat, dance and, of course, get drunk. If that sounds like a rock show to you, know that it’s supposed to: the juxtaposition of old and new is this crew’s bread and butter. In this program, the superb polyphony of Handel’s chamber works will stand next to 20th-century minimalist master Philip Glass’ long, entrancing, hyperfocused compositions. Opening for this singular night of music is an equally singular one-man band—Joe Kye, a singer-violinist whose set of live loops is sure to encourage you to broaden this most deserving of horizons. ISABEL ZACHARIAS. Holocene, 1001 SE Morrison St., 503-239-7639. 7:30 pm Friday, Feb. 3. $9 advance, $12 day of show. All ages.

Dvořák’s New World Symphony

[CLASSICAL] Czech composer Antonín Dvořák created his most famous and enduring work, the New World Symphony, while he was living in America. In those late-19th-century days, he became fascinated with Native American music and AfricanAmerican spirituals. The pentatonic scales and non-Eurocentric emotions helped inform a wide-open work so beloved that Neil Armstrong brought along a copy on the Apollo 11 Moon-landing mission. Powerful pianist Yeﬁm Bronfman provides the centerpiece to this evening with the Oregon Symphony, a spirited rendition of Beethoven’s Piano Concerto No. 4. The night begins with a fascinating reduction, Sebastian Currier’s “Microsymph,” which distills a “minute waltz,” a “nanoscherzo” and three other morsel movements into a 10-minute experiment in attentiondeﬁcit creativity. NATHAN CARSON. Arlene Schnitzer Concert Hall, 1037 SW Broadway, 503-248-4335. 7:30 pm Saturday and Monday, 2 pm Sunday, Feb. 4-6. $23-$105. All ages.

For more Music listings, visit

ALBUM REVIEWS

The Prids

DO I LOOK LIKE I’M IN LOVE? (SELF-RELEASED) [GLOOM FUZZ] If you’re anything like me, any band boasting an association with Built to Spill warrants a good, hard listen. A s s u c h , y o u ’r e probably predisposed to love the Prids’ Do I Look Like I’m in Love? It helps that most songs feature a drum kit drenched in sopping wet reverb and roomy, delicate keyboards playing simplistic little melody lines, conjuring the memory of a time when finding a new band to adore involved mapping the collaborations and social trajectories of ones you already loved. With guitar tones ripped from the C86 compilation and shamelessly lovelorn lyrics, it’s no wonder the Prids have been likened to 1980s gloom-pop titans the Cure and the Smiths. Lead single “Elizabeth Ann” is a perfect pop gem four decades tardy, evoking an ’85 Marty McFly fantasy and a blissfully garish dance on the illuminated floor of some smoky nightclub. Most songs follow its hook-filled example, and even the slow lulls of ambient numbers are spread out in welltimed repose. Overall, it’s a brazen, throwback masterpiece so vibrant and catchy that you don’t even need to factor in the band’s association to Doug Martsch to absolutely love them. CRIS LANKENAU.

ANNALISA TORNFELT FRIDAY, FEBRUARY 10 | 7:30 PM $15 advance | $20 day of show Vintage Country, Folk Best known as the singer and fiddler player for the roots-folk band BLACK PRARIE (started by members of THE DECEMBERISTS), Annalisa Tornfelt’s solo work is beautiful and stirring in its own right. Tornfelt’s stunning singing and presence make her an important new voice in the region. Along with her talented sisters, Tornfelt presents an evening of original folk and vintage country music that may just carry you away. Call for tickets or visit

www.brownpapertickets.com

Walters Cultural Arts Center

527 E. Main Street—Hillsboro, OR Box Office: 503-615-3485 www.hillsboro-oregon.gov/Walters

SEE IT: The Prids play Doug Fir Lounge, 830 E Burnside St., with Daydream Machine and the Secret Light, on Friday, Feb. 3. 9 pm. $8 advance, $12 day of show. 21+.

Drae Slapz OH GAWD (RARE VIBE)

[ PA R T Y V I B E S ] Oh Gawd, the first cassette release from Rare Vibe Records, is Portland hip-hop at its fi n e st . A n E P o f songs produced by Drae Slapz—DJ for Mic Capes, Rasheed Jamal, Brookfield Duece and others— with verses from r i s i n g l o c a l st a r Nick B, the beats have a distinctly Southern flavor, recalling party classics of the early ’00s. The title track, with its call-and-response chorus, demands to be played to a packed house of people ready to have a good time. On lead single “ROY,” Nick B showcases his potential with confidence, repeating the phrase “rookie of the year” over a frenetic trap beat, while the closing track, “GameTime,” finishes strong, with a kinetic feature from Portland staple Lang. Many hip-hop projects, both local and national, are simply too long and bloated, so a short burst of focused energy like Oh Gawd is imminently refreshing. Portland is no stranger to hip-hop cliques, with squads like STRAY and Gutter Family producing some of the city’s best young talent, but the folks at Rare Vibe are ones you want at your next rager. BLAKE HICKMAN. SEE IT: Drae Slapz and Nick B play Kelly’s Olympian, 426 SW Washington St., with Lang and Mic Capes, on Saturday, Feb. 4. 9 pm. $6 advance, $10 day of show. 21+.

TALK:

7am – 2pm

MUSIC:

2pm – 7am

RADIO IS YOURS Willamette Week FEBRUARY 1, 2017 wweek.com

Willamette Week FEBRUARY 1, 2017 wweek.com

MUSIC CALENDAR WED. FEB. 1 Arlene Schnitzer Concert Hall

1037 SW Broadway Kodo, Portland Taiko

Ash Street Saloon

225 SW Ash St Some Kind of Nightmare

Bunk Bar

1028 SE Water Ave. The Seratones

Hawthorne Theatre

1507 SE César E. Chávez Blvd. Felly

Holocene

1001 SE Morrison St. Barclay Crenshaw

Justa Pasta

1336 NW 19th Avenue, Anson Wright Duo

LaurelThirst Public House

2958 NE Glisan St Jerry Joseph & the Jackmormons (acoustic); Love Gigantic

Mississippi Pizza

3552 N Mississippi Ave Tallulah’s Daddy

Mississippi Studios

3939 N Mississippi Ave. Sam Coomes, Dr. Amazon, Galaxy Research

Portland Community College Rock Creek Campus 17705 NW Springville Road, North Indian Classical Music

Raven and Rose

1331 SW Broadway The Junebugs

Roseland Theater 8 NW 6th Ave Young The Giant

The Analog Cafe

720 SE Hawthorne Blvd. Daniel The Dreamer, Kos, The New Dew

The Goodfoot

2845 SE Stark St Yak Attack

The Liquor Store

3341 SE Belmont St, Reverberations + Strange Effects

Turn! Turn! Turn!

8 NE Killingsworth St CMG Outset Series: Body Shame and The Vardaman Ensemble

Twilight Cafe and Bar

1420 SE Powell Some Kind of Nightmare, Noise Complaint, Brent Marks

White Eagle Saloon 836 N Russell St The Folly & Friends

Wonder Ballroom 128 NE Russell St. Tribal Seeds

THURS. FEB. 2 Ash Street Saloon

225 SW Ash St The Upper Strata, Peridot, Atomic Candles

Bunk Bar

1028 SE Water Ave. Moonflower

Duff’s Garage

2530 NE 82nd Ave Idle Poets

Holocene

1001 SE Morrison St. Plaid, the Flashbulb

Kaul Auditorium (at Reed College)

3203 SE Woodstock Blvd. Portland Baroque Orchestra presents Black Mozart

LaurelThirst Public House

For more listings, check out wweek.com.

LAST WEEK LIVE

Hawthorne Theatre AUbREY gIgANDET

= 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.

2958 NE Glisan St Jerry Joseph & the Jackmormons (acoustic); Lewi Longmire & the Left Coast Roasters

Lincoln Performance Hall 1620 SW Park Ave. Anderson & Roe Piano Duo

1507 SE César E. Chávez Blvd. Mayhem, Inquisition, Black Anvil

Holocene

1001 SE Morrison St. YGB Presents: ONE

Kelly’s Olympian

426 SW Washington St. Oh Gawd Release Party featuring Drae Slapz and Nick B, Lang, Mic Capes

Michelle’s Piano

600 SE Stark St Ethnic Heritage Ensemble

LaurelThirst Public House

Mississippi Studios

2958 NE Glisan St Jawbone Flats (all ages); Bad Assets

3939 N Mississippi Ave. Three For Silver Big Band, The Sam Chase

LaurelThirst Public House

Moda Center

1 N Center Ct St, Sting, Joe Sumner & the Last Bandoleros

2958 NE Glisan St Jerry Joseph & the Jackmormons (acoustic)

Muddy Rudder Public House

Mississippi Studios

3939 N Mississippi Ave. Mark Eitzel / Howe Gelb

8105 Se 7th Ave. Sleepy Eyed Johns

Muddy Rudder Public House

Portland Center Stage 128 NW 11th Ave. First Thursday at The Armory: Blossom

8105 Se 7th Ave. Hops and Honey

New Expressive Works

Revolution Hall

1300 SE Stark St #110 Adam Ant

810 SE Belmont, Sound of Late Presents Witness

Roseland Theater

Ponderosa Lounge

8 NW 6th Ave Young The Giant

10350 N Vancouver Way, Ponderosa Madness; Rock ‘N Roll Cowboys

Spare Room

4830 NE 42nd Ave. Karaoke From Hell

The Analog Cafe

720 SE Hawthorne Blvd. The Deep Bass

The Firkin Tavern

1937 SE 11th Ave Buddy Jay’s Jamaican Jazz Band, The Isrealites

The Goodfoot

2845 SE Stark St Skerik’s Bandalabra

The Liquor Store

3341 SE Belmont St, Naomi Punk

The Old Church

1422 SW 11th Ave Hawaii International Music Festival

The O’Neil Public House 6000 NE Glisan St. The Hillwilliams

The Secret Society

116 NE Russell St Thursday Swing featuring Baby & The Pearl Blowers, The Pepper Grinders

White Eagle Saloon

836 N Russell St Ryan Sollee, Anna Lynch, Michael Howard, Jeffrey Martin

FRI. FEB. 3

SENSUAL HEALING: The turning point of the sold-out Shy Girls show at Doug Fir Lounge on Jan. 25 came during the start of the next-to-last song, “What If I Can.” “This is one of my favorite songs on the new album,” producer, songwriter and vocalist Dan Vidmar announced, shyly folding an arm across his belly as a syncopated, smoky drum loop and sly, spacious melody ramped up. To that point, Vidmar had engaged the crowd with a combination of new and old tunes, but chatter increased as he and his backing trio performed several relatively unknown, slow-tempo songs from long-awaited, just-released debut album, Salt. Then, like a rubber band slowly snapping, the crowd’s gaze came back. It was a hypnotic, heavily produced homecoming show for Vidmar, who now lives in Los Angeles. In a rare aside between songs, he recalled the moment a few years ago, living in a loft around the corner from Doug Fir, when his first single, “Under Attack,” “kind of launched my career.” The final song of the hourlong show, “Trivial Motion,” underlined the ways in which Vidmar’s new album owes a debt not just to minimalist R&B but to ’80s pop. Then, Vidmar let go of the layered production and elicited cries from the crowd in an encore duet with Akila Fields that highlighted Vidmar’s wondrous pipes. THACHER SCHMID. Rick Emery; Deke Dickerson

Kelsey Bales & Sons of the Storm

Hawthorne Theatre

Skyline Tavern

3017 SE Milwaukie Ave Karl Denson’s Tiny Universe

1507 SE César E. Chávez Blvd. Lordi, Toxic Zombie, Dead Animal Assembly Plant, Morbid Fascination, Dead Nexus

Ash Street Saloon

Holocene

Aladdin Theater

225 SW Ash St Business Suit Guy, Stealing Lucky

Beacon Sound

3636 N Mississippi Ave Word + Song: Music + Poetry

Crystal Ballroom

1332 W Burnside St Sabertooth Micro Fest: Thee Oh Sees, Moon Duo, Skull Diver

Dante’s

350 West Burnside Alcest, the Body, Creepers

Doug Fir Lounge

830 E Burnside St. The Prids, Daydream Machine, Secret Light

Duff’s Garage

2530 NE 82nd Ave

1001 SE Morrison St. ARCO-PDX presents Handel vs. Philip Glass

LaurelThirst Public House

2958 NE Glisan St Deadstring Family Band; Jerry Joseph & the Jackmormons (acoustic)

Mississippi Studios

3939 N Mississippi Ave. Ayron Jones and The Way, Foxy Lemon and Redwood Son

Muddy Rudder Public House 8105 Se 7th Ave. Walter Cryderman Trio

Ponderosa Lounge

10350 N Vancouver Way,

8031 NW Skyline Blvd Greydogz

Star Theater

13 NW 6th Ave. Ro James

The Analog Cafe

720 SE Hawthorne Blvd. Leopold and His Fiction; My Friend the Monster, Jet Force Gemini, The Mossbacks

The Firkin Tavern

1937 SE 11th Ave Different Cuts, Phil Ajjarapu, Jake McNeillie & Co.

The Old Church

1422 SW 11th Ave Lisa Hilton Performs Day & Night

The O’Neil Public House

6000 NE Glisan St. Ramblin’ Rose; Lynn Conover & Little Sue

The Secret Society 116 NE Russell St

The Barn Door Slammers; Drunken Prayer, Ashleigh Flynn & the Hazeltines, Mink Shoals

Artichoke Music Cafe

Twilight Cafe and Bar

Ash Street Saloon

1420 SE Powell Pat Todd & the Rankoutsiders, Lovesores, Communist Eyes

White Eagle Saloon

836 N Russell St The Bonfire District, Stubborn Son (Seattle), Kool Stuff Katie and The Late Great

Wonder Ballroom 128 NE Russell St. Wax Tailor

SAT. FEB. 4 Alberta Street Pub

1036 NE Alberta St Barna Howard, Matty Charles & Katie Rose and Anna Hoone

Arlene Schnitzer Concert Hall

1037 SW Broadway Dvořák’s New World Symphony

3130 Se Hawthorne, Steve Gillette and Cindy Mangsen 225 SW Ash St King Ghidora, Dartgun and the Vignettes, Little Furry Things (Dinosaur Jr tribute), KISSenchanter

Central Lutheran Church

1820 NE 21st Avenue, Finding Our Voice with the Portland Lesbian Choir

Community Music Center

3350 SE Francis Street, Chamber Music Concert

Crystal Ballroom

1332 W Burnside St Sabertooth Micro Fest: Black Lips, Ezra Furman, Máscaras

Mississippi Studios

3939 N Mississippi Ave. Christie Lenée

Rontoms

600 E Burnside St Ice Queens, Ice Princess, Bleach Blonde Dudes

The Old Church

1422 SW 11th Ave Whimsical Sonic Jubiliee

The O’Neil Public House 6000 NE Glisan St. Kinvara

Valentines

232 SW Ankeny St Samson Stilwell

MON. FEB. 6 Aladdin Theater

3017 SE Milwaukie Ave Rufus Wainwright

Arlene Schnitzer Concert Hall

1037 SW Broadway Dvořák’s New World Symphony

Ash Street Saloon

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

Crystal Ballroom

720 SE Hawthorne Blvd. Foreign Talks, Commendare

1332 W Burnside St Run the Jewels, the Gaslamp Killer, Gangsta Boo, Nick Hook, Cuz

The Firkin Tavern

Dante’s

1937 SE 11th Ave Last Giant, Wild War, Livid Member

350 West Burnside Karaoke From Hell

The Goodfoot

830 E Burnside St. Pinback

2845 SE Stark St Garcia Birthday Band

The Liquor Store

3341 SE Belmont St, TV Girl, Poppet

The Lovecraft Bar

Doug Fir Lounge

Mississippi Pizza

3552 N Mississippi Ave Mr. Ben

Muddy Rudder Public House

421 SE Grand Ave The Ramodes

8105 Se 7th Ave. Lloyd Jones

The O’Neil Public House

The Goodfoot

6000 NE Glisan St. Green Tambourine; La Rivera

The Secret Society

116 NE Russell St Magical Beats: An evening in the 1920’s Wizarding World featuring Pink Lady & John Bennett Jazz Band; The Libertine Belles

Twilight Cafe and Bar

1420 SE Powell Bomb Squad, Boxcutter, the Dee Dees, Bitch School

Valentines

232 SW Ankeny St Hooded Hags, Little Pilgrims, Bobby Peru

White Eagle Saloon

836 N Russell St The Reverb Brothers; BTR 20th Anniversary Reunion

SUN. FEB. 5 Arlene Schnitzer Concert Hall

1037 SW Broadway Dvořák’s New World Symphony

Ash Street Saloon

225 SW Ash St Coast2Coast Live, Cool Nutz, TROX, DJ Heat, DJ Fatboy

Dante’s

350 West Burnside The Murder City Devils, Constant Lover, Corey J. Brewer

Duff’s Garage

LaurelThirst Public House

2530 NE 82nd Ave Deke Dickerson

Jerry Joseph & the Jackmormons (acoustic; all ages); Freak Mountain Ramblers

The Analog Cafe

Doug Fir Lounge

830 E Burnside St. Barracuda: The Essential Tribute to Heart

[FEB. 1-7]

2845 SE Stark St Ural Thomas & the Pain

Wonder Ballroom 128 NE Russell St. The Knocks

TUES. FEB. 7 Ash Street Saloon 225 SW Ash St Bombscare, Valiant Bastards

Hawthorne Theatre

1507 SE César E. Chávez Blvd. PROF

Holocene

1001 SE Morrison St. Fuzzy Logic, Centrikal

Mississippi Pizza

3552 N Mississippi Ave Baby Ketten Karaoke

Mississippi Studios

3939 N Mississippi Ave. Boone Howard, Aan, Kulululu, Ah God

Roseland Theater 8 NW 6th Ave Tove Lo

The Analog Cafe

720 SE Hawthorne Blvd. Rose Room Swing Dance

The Goodfoot 2845 SE Stark St Jimmy Russell’s Party City 2034

Valentines

232 SW Ankeny St The Love Movement

2958 NE Glisan St

Willamette Week FEBRUARY 1, 2017 wweek.com

MUSIC NIkLAS NIESSNER

NEEDLE EXCHANGE

Where to drink this week. 1.

Bota Bar

606 NE Davis St., 971-229-1287, botabar.com. Ever so softly since the snow fell, Bota Bar is already a great—if hidden—addition to a ’hood dominated by much louder bars, with beautiful wine, obscure beer and tapas that come with drinks as a surprise.

Lombard House 7337 N Lombard St., 503-539-5889. Well, ho-lee shee-it. An actual, honest to God, truly great beer bar in St. Johns.

Tin Bucket

3520 N Williams Ave., 503-477-7689, tin-bucket.com. This little bottle shop’s tap list has been nothing short of stellar lately. Stop in especially for an otherwise hardto-find Arch Rock Gold Beach Lager and thank us later—it’s awesome.

NorthernDraw

Years DJing: Somewhere around 10 to 15. Genres: Funk, hip-hop, soul, future beat, house, international. Where to catch me regularly: I curated, hosted and DJed a monthly hip-hop event called Thirsty City at the Know. I also play first Thursdays at Beulahland, second Thursdays at Moloko, once a month at Aalto Lounge, and 10 pm to midnight Sundays on KBOO with King Tim 33 1/3. Craziest gig: Last year, I randomly played at an Army base in Tobago— that was strange. Also, a couple years ago, I helped organize and played at a big hip-hop show in Zurich. It was located in an old hospital converted into a squat. About 100 people lived on the property. When we showed up, people were spray-painting a big mural that said “Hip-Hop” just for our show. It was a really cool place. They had skate ramps, lots of art, a free shop, a darkroom for photography, and even a tattoo shop. My go-to records: Vaughan Mason and Butch Dayo, “Feel My Love”; Kenix, “There’s Never Been (No One Like You)”; the RAH Band, “Messages From the Stars”; anything by Dam-Funk, Devonwho and Roane Namuh. Don’t ever ask me to play…: You can ask me whatever you want. If I have the record in the crate, then I’m down to play it. NEXT GIG: NorthernDraw spins at Beulahland, 118 NE 28th Ave., on Thursday, Feb. 2. 9 pm. The Lovecraft Bar

421 SE Grand Ave Shadowplay (goth, industrial)

Twilight Cafe and Bar

WED. FEB. 1 Dig A Pony

736 SE Grand Ave. El Dorado (early rock & roll & r&b)

Ground Kontrol

511 NW Couch St. TRONix: DJ Metronome (techno)

Star Bar

639 SE Morrison St. DJ Ruby

The Lovecraft Bar

421 SE Grand Ave Event Horizon (darkwave, industrial)

Tube

18 NW 3rd Ave. Easy Egg

Valentines

232 SW Ankeny St Wicked Wednesday

Willamette Week FEBRUARY 1, 2017 wweek.com

THURS. FEB. 2 Beulahland

118 NE 28th Ave NorthernDraw

Dig A Pony

736 SE Grand Ave. Strange Babes (post punk, no wave, garage)

Ground Kontrol

511 NW Couch St. Fiasco w/ DJ Brokenwindow Variety Pac w/ Strategy

Moloko

3967 N. Mississippi Ave. Sappho (disco)

No Fun

1709 SE Hawthorne Blvd Questionable Decisions: Still Living Like This, Again & Again

Sandy Hut

1430 NE Sandy Blvd. DJ Montel Spinozza

1420 SE Powell Behind the Groove Vol. 2 (funk, soul, hip hop)

Valentines

232 SW Ankeny St 45 and Counting... Election Therapy w/ DJ King Fader

Whiskey Bar

31 NW 1st Ave Wax Therapy w/ Dan Craig & Simon Howlett

FRI. FEB. 3 45 East

315 SE 3rd Ave Jackal & Peking Duk

Bit House Saloon

727 SE Grand Ave NoFOMO: Daniela Karina & Nishkosheh

Black Book

20 NW 3rd Ave The Cave (rap)

Crystal Ballroom

1332 W Burnside St

McMenamins Edgefield

2126 SW Halsey St., Troutdale, 503-669-8610, mcmenamins.com. There’s something bizarrely nice about Edgefield in the cold rain, tromping from drinking shed to cigar bar trying funny little seasonals like a kickass hazy IPA.

The Old Portland

1433 NW Quimby St., 503-234-0865. “This is the coolest wine bar in the world,” Courtney Taylor-Taylor told us of his own wine bar, which pours 17-year-old French wines in a bar full of vintage concert posters and tables from the Lotus.

80s Video Dance Attack: ‘70s vs ‘80s

Dig A Pony

736 SE Grand Ave. Bobby D (modern funk, 90s hiphop, dance)

Gold Dust Meridian

3267 SE Hawthorne Blvd. DJ AM Gold

Ground Kontrol

511 NW Couch St. DJ EPOR

Holocene

1001 SE Morrison St. Tribute Night: Daft Punk

Moloko

3967 N. Mississippi Ave. Frankeee B (Scandinavian synthetic funk)

Sandy Hut

1430 NE Sandy Blvd. DJ Craceface

Star Bar

639 SE Morrison St. Uncontrollable Urge w/ DJ Paultimore

The Goodfoot

2845 SE Stark St First Friday Superjam (funk, soul, disco)

CHRISTINE DONG ; HENRY CROMETT

BAR REVIEW

CART FUSION: Amid all the upscale food courts, from Pine Street Market to the Zipper, Koi Fusion’s four-eatery, Riverplace CARTlab (1831 SW River Drive, 503-477-5577, cartlabpdx.com) is the one thing you’d never expect: an honest-to-God, down-home sports bar. Sure, there are “food carts” inside it. A back wall of the huge pub is lined with ginned-up facades for FOMO Korean chicken, Koi Fusion short-rib burritos and a full-sized-burger version of PDX Sliders, alongside a currently closed Tight Tacos. The former Stanford’s even has a sushi window on the restaurant side serving rolls both California and Dragon. If you want, you can order straight from all those cart windows—but unless you’ve got kids in tow, why would you? Around the flat-screened island of an old-school, suburban-style, dark wood bar, you can order a mix-and-match of Thunder Island IPA, a $9 chili-doused bowl of Korean fried chicken, some fries from Sliders, and a spare $3 bulgogi taco from Koi just for the hell of it. The bar has all the variety of a food hall, but none of the inconvenience—not to mention Big Buck Hunter, NBA Jam and a bar boxing game, plus cushy couches lined up in front of a big-screen TV. In the theoretically chichi Riverplace, the clientele on a Tuesday was blue-collar and warm-hearted. When a sad guy at the bar—he was having bad luck in dating—reminisced about Ronald Reagan before launching into a barwide outburst that he’s “going back to Louisiana!” he was treated with bemused empathy by the wind-turbine exporter sitting next to him. Left on the bar, meanwhile, was a rare piece of reading material: The Uline Complete Book of Material Handling. Which is to say, CARTlab may be an experiment—but it’s the sort you embark on while someone else holds your beer. MATTHEW KORFHAGE. The Liquor Store

3341 SE Belmont St, Uplift

The Lovecraft Bar

Crystal Ballroom

1332 W Burnside St Come As You Are: 90’s Dance Flashback

421 SE Grand Ave Darkness Descends (classic goth, dark alternative)

Double Barrel Tavern

The steep and thorny way to heaven

Ground Kontrol

SE 2nd & Hawthorne Brickbat Mansion presents: Golden Gardens

Whiskey Bar

31 NW 1st Ave Squnto w/ HAL-V & SpaceCase

SAT. FEB. 4 45 East

315 SE 3rd Ave Cosmic Gate Materia Album Tour

Black Book

20 NW 3rd Ave DJ Ronin Roc

Crush Bar

1400 SE Morrison Pants OFF Dance OFF: Valloween

2002 SE Division St. DJ Low Life 511 NW Couch St. DJ Vaporware

Holocene

1001 SE Morrison St. Y.G.B. Presents ONE

Jade Club

315 SE 3rd Ave Janet Reno: A Night Dedicated to the Bass That Ate Miami

Moloko

3967 N. Mississippi Ave. Roane (hip-hop, soul, boogie)

Sandy Hut

1430 NE Sandy Blvd. DJ Dad Rock

Star Bar

639 SE Morrison St. DJ OverCol

The Liquor Store

3341 SE Belmont St,

Uptop Getdown w/ DJ Drew Groove

The Lovecraft Bar

421 SE Grand Ave Expressway to Yr Skull (shoegaze, deathrock, goth)

Whiskey Bar

31 NW 1st Ave Hot Damn Vol. 6

SUN. FEB. 5 Ground Kontrol

511 NW Couch St. Black Sunday: DJ Nate C. (metal)

The Lovecraft Bar

421 SE Grand Ave Sad Day: Drag Queens Outta Drag

MON. FEB. 6 Century Bar

930 SE Sandy Blvd. DJ Trackstar

Dig A Pony

736 SE Grand Ave. Anjali & The Incredible Kid (vintage international)

Ground Kontrol

511 NW Couch St. Reaganomix: DJ Jay ‘KingFader’ Bosch (80s)

Star Bar

639 SE Morrison St. Metal Monday

The Lovecraft Bar

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

TUES. FEB. 7 Dig A Pony

736 SE Grand Ave. Dilla Tribute Night w/ DJs Ronin Roc, Rev Shines & Kez

Holocene

1001 SE Morrison St. Fuzzy Logic

Kelly’s Olympian

426 SW Washington St. Party Damage with Folk Lore

The Liquor Store

3341 SE Belmont St, Rev Shines (funk, soul)

CHERRY GLAZERR

THURSDAY, FEBRUARY 9TH AT 6PM Society would deem that a prodigious girl can’t be in a progressive rock band while also being in complete control of its creative vision, business plan and social messaging. Society is wrong. Clem, a 19 year old teen Queen with a headstrong resolve like her hero Patti Smith and a cartoon laugh like Muttley the dog, dreamed up Cherry Glazerr in her LA bedroom alone and is perhaps more capable of figuring a music career out than anyone who attempts this treacherous life path. And yet, she carries herself very lightly. “This one’s going to be a flop!” she jokes of the newly lined-up trio’s second album, Apocalipstick. It’s every bit as epic, funny, life-assuring, doom-defiant and flaming fire as that title sounds. What’s more, it’s the soundtrack to their collective rockstar evolution.

SALLIE FORD Record Release Event FRIDAY, FEBRUARY 10TH AT 7PM

There are artists who can command attention. They lean into their songs with an irresistible edge and total emotional connection and stay there. Sallie Ford is one of those artists. On her fourth album, Soul Sick, Ford gathered her strengths, took them into Portland’s Type Foundry studio along with producer Mike Coykendall (M Ward, She&Him) at the helm and created music that draws on all of her influences but still comes out her own. Looking at her life, there isn’t much way it could have come out differently. And this is the album that proves it.

BRING YOUR KIDS TO MUSIC MILLENNIUM DAY SATURDAY, FEBRUARY 18TH

Our 6th Annual ‘Bring Your Kids To Music Millennium Day”, focused on passing the torch of music appreciation to the next generation. Feature live performances from Josephine Relli (noon) and Simply 8 (2pm). Both acts exemplify the tremendous talent and creativity of the young musicians in our community.

The Lovecraft Bar

421 SE Grand Ave Coma Toast (future, glitch, electro)

Willamette Week FEBRUARY 1, 2017 wweek.com

PERFORMANCE GARY NORMAN

REVIEW

= 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 OPENINGS & PREVIEWS

Elliot, A Soldier’s Fugue

Profile Theatre’s new resident playwright, Quiara Alegría Hudes, begins her season with a Pulitzer Prize Finalist play about Elliot, a 19-yearold soldier returning from the Iraq War. The play takes its narrative structure from fugues: it weaves together Elliot’s stories with those of his multi-generational military family. The poetic play looks not only at the emotional burden of war, but also its legacy and tradition. SHANNON GORMLEY. Profile Theatre, 1515 SW Morrison St., profiletheatre.org. 7:30 pm Thursday-Saturday, 2 pm Sunday, Feb. 2-19. Additional show Wednesday, Feb. 15. $20-$36.

Forever Dusty

Triangle Production’s 2016-17 season has been full of loving tributes to charismatic, female cultural figures. They’ve already produced a play about fashion editor Diana Vreeland and another that was set in Barbra Streisand’s extravagant basement. Now, they’re producing a Dusty Springfield musical biography that traces her rise to ’60s pop stardom. A Catholic and a lesbian, Springfield struggled for most of her life personally and publicly with her sexuality, as well as with self-mutilation and drug abuse. But the personal struggles Springfield experienced throughout her career are far less known than her hits, like “Son of a Preacher Man.” The Sanctuary at Sandy Plaza, 1785 NE Sandy Blvd., trianglepro.org. 7:30 pm Thursday-Saturday, 2 pm Sunday, Feb. 2-25. No show Sunday, Feb. 5. $15-$35.

His Eye Is On the Sparrow

The theater world has a natural fascination with music-industry women who had difficult personal lives: they provide a premise full of sacrifice and success and a larger-than-life main character, making Ethel Waters a natural fit for the genre. His Eye Is On the Sparrow pays tribute to Waters’ life and career with plenty of musical numbers and a tale the focuses on overcoming adversity: born into poverty to a 13-year-old rape victim, Waters rose from poverty to become a Broadway vaudeville, television and gospel success. Portland Center Stage, 128 NW 11th Ave., pcs.org. 7:30 pm Tuesday-Sunday, noon Thursday, 2 pm Sunday, Feb. 4-March 19. No 2 pm show Sunday, Feb. 5. No noon show Thursday, Feb. 9. No 7:30 pm show Sunday, Feb. 19, March 5 or March 19. Additional shows 2 pm Saturday, Feb. 18, March 4 and March 18. $25-$75.

Marjorie Prime

Marjorie Prime is a futuristic rumination on something most of us fear, if not for ourselves, than for our loved ones: memory loss due to old age. Set in the relatively near future, the living room comic drama centers around a family and their grandmother, Marjorie, plus a lifelike hologram of her deceased husband. These holograms are called primes, and they’re intended to help people who are losing their memory. Recently adapted for a Sundance film that stars Jon Hamm, the production comes at a conveniently Black Mirror-obsessed time. But far from just being wary of the poten-

tial problems of artificial intelligence, Marjorie Prime is perhaps more interested in exploring how we already relate to our own flawed memories and those of the people we love. Artists Repertory Theatre, 1515 SW Morrison St., artistsrep.org. 7:30 pm Wednesday-Sunday and 2 pm Sunday, Feb. 8-March 5. Additional shows 7:30 pm Tuesday, Feb. 7; noon Wednesday, Feb. 22; 7:30 pm Tuesday, Feb. 28; and 2 pm Saturday, March 4. No 7:30 pm show Sunday, March 5. $25-$50.

Para Normal

For four weekends in a row, Action/ Adventure is putting on a new play, one of which will get a longer run as part of their next season. This weekend’s show is particularly irreverent: in Para Normal, a weed-smoking Jesus doesn’t know who—or what—is trying to get his attention from another universe. The play tracks Jesus, along with his pals Salvador and Carly, as he tries to figure out the who and the why behind the attempts to contact him from another world. SHANNON GORMLEY. Action/Adventure Theatre, 1050 SE Clinton St., actionadventure.org. 8 pm Thursday-Sunday, Feb. 2-5. $12-$15.

A Streetcar Named Desire

One of Tennessee Williams’ bestloved plays, A Streetcar Named Desire is among the most widely produced theater shows of all time (it was last produced in Portland less than a year ago by Portland Center Stage). The play tracks the mental degradation of a woman named Blanche DuBois. Recently widowed and unemployed, Blanche moves to New Orleans to live with her younger sister and hyper masculine brother-in-law, Stanley. Stanley and Blanche come into constant conflict as Blanche slowly loses her grip on reality. Twilight Theater, 7515 N Brandon Ave., twilighttheatercompany.org. 8 pm Friday-Saturday, 3 pm Sunday, Feb. 3-19. Additional show 8 pm Thursday, Feb. 16. No show Sunday, Feb. 5. $15-$18.

ALSO PLAYING Astoria

Portland Center Stage has already been delving into Oregon history with their Northwest Stories series, but Astoria is the first in the series with an original script. PCS artistic director Chris Coleman adapted the play from Peter Stark’s New York Times nonfiction bestseller about John Jacob Astor’s attempt to create a fur-trading empire along the Columbia River, before there were any permanent U.S. settlements along the West Coast. It’s a twopart show that will premiere over the course of two seasons, and part one will focus on the expedition to Astoria. The plans for the play are epic in many ways: along with the fact that it’s a two-season show, it’s an originally written work by one of Portland’s biggest theater companies about a perilous ocean voyage and Western expansion. SHANNON GORMLEY. Portland Center Stage, 128 NW 11th Ave., pcs.org. 7:30 pm Tuesday-Sunday, noon Thursday, 2 pm Sunday, through Feb. 12. No 7:30 show Sunday, Feb. 12. Additional performance 2 pm Saturday, Feb. 11. $25-$75.

Willamette Week FEBRUARY 1, 2017 wweek.com

gloWface: Matthew Kerrigan in shaking the tree’s one-man show.

Down the Rabbit Hole WE’RE ALL MAD HERE ESCAPES FROM ONE CONFUSED WORLD TO ANOTHER.

BY JACK R U SHA LL

into. Kerrigan then enters full queen mode and encourages—even forces—audience members to As you take your seat at Shaking the Tree’s ware- take selfies with him in an attempt to balloon his house, a ripped dude in a bunny mask texts while social media presence. hopping up and down the stage. It doesn’t make Only one other character is featured in the immediate sense, and though you’ll never truly show, and she arrives in the form of a small girl understand what’s going on, that’s the point. (Daeja Paschoal-Thiem and Celia Wood) who There are no acts and there is no intermission; plays Alice. She ominously invites the audience backstage for a tea party. there is no plot. An offbeat meditation on Alice in Wonderland devised by actor Here, we find the Mad Hatter’s table Matthew Kerrigan and director and a confrontation spoken in jibSamantha Van Der Merwe, the berish between Alice and Kerrigan (now the Hatter) over production relies on stream“WHEN YOU’RE of-consciousness storytellher general absence from SURROUNDED ing divided into standalone the show. Alice responds by vignettes. Somehow, the drawing on a nearby wall, WITH CHAOS AND disjointedness manages to and there is an implicit cue CONFUSION, YOU CAN for the audience to follow her be comforting. In the beginning, Kerriglead. The takeaway: make art, ALWAYS USE CREnot war. Or better yet: When an—who embodies all of the ATIVITY AS YOUR show’s characters (minus Alice, you’re surrounded with chaos who makes a brief appearance at and confusion, you can always SANCTUARY.” the end)—sets off on an interpretause creativity as your sanctuary. Though We’re All Mad Here’s tive dance sequence. Kerrigan juggles pastel teacups and plates, anxiously political intent is very subtle, it comes at a time when many Americans feel divided stacked atop each other. Just a few minutes later, he’s sitting on a box center stage, shifting his posi- and unsure of our leader’s ethos. Kerrigan and tion back and forth in a clockwise rotation after company capitalize on this confusion by offering reciting a series of dramatic phrases, such as: “They their audience a rabbit hole that acts as an escape all knew I was gay because of my voice.” hatch. Suddenly, we’re so entrenched in our fairy The homosexual undertones are soulful addi- tale that once again we’re kids bored by the news. tions to the show, even if they’re never fully realized. Kerrigan eagerly shifts the pitch of his voice throughout his scenes, appearing either more or see it: We’re All Mad Here plays at Shaking the Tree Theatre, 823 SE Grant St., shaking-the-tree. less flamboyant. Once, he falls into a velvet curtain, com. 7:30 pm Thursday-Saturday, 2 pm Saturdayunveiling a full-fitting ballroom gown that he slips Sunday, through Feb. 25. $10-$25.

REVIEW

Portland playwright Matthew B. Zrebski’s newest play is a magical, apocalyptical, time-traveling thriller. Carnivora begins with a bloodied woman waking up in a burlap sack, and emerging into a world that she believes has ended. From there, things only continue to get weird. As she tries to remember what happened to her, she encounters ghosts and strange creatures along her journey through the forest where she awoke. Meant in part to deal with Zrebski’s frustrations with modern culture and politics, it’s a surreal and gritty tale for a strange and uncertain time. Shoebox Theatre, 2110 SE 10th Ave, theatrevertigo.com. 7:30 pm Thursday-Saturday, through Feb. 18. 2 and 7:30 pm Sunday, Feb. 12. $10-$19.99.

OWEN CAREY

Carnivora

In 1971, a man who’s become known as D.B. Cooper hijacked a plane between Portland and Seattle, collected $200,000 in ransom and parachuted away, never to be seen again. A successful crime story full of unknowns and dangerous feats, Cooper has inspired somewhat of a folk-hero following. db isn’t interested in perpetrating Cooper’s myth, but it’s not interested in squashing it, either. The fast paced, nonlinear show cuts back and forth between three different imaginary backstories and the scene of the hijacking. It’s occasionally overwhelming, but that kind of feels like the point: the play revels in the ambiguity of Cooper’s tale. SHANNON GORMLEY. CoHo Theater, 2257 NW Raleigh St., cohoproductions.org. 7:30 pm Thursday-Saturday, Feb. 2-4. $22.50-$28.

COMEDY Minority Retort

A much-loved standup showcase that’s been around for the last two years, Minority Retort features all POC comedians. There’s of course the show’s righteous premise, but just as awesome is the show’s lineup, which strikes the right balance between wellestablished Portland comedians along with up-and-comers. Hosted by Jeremy Eli, this week’s lineup includes Earthquake Hurricane host Katie Nguyen and the most recent Funniest Five winner, Adam Pasi. SHANNON GORMLEY. Helium Comedy Club, 1510 SE 9th Ave., portland.heliumcomedy.com. 8 pm Wednesday, Feb. 1. $10. 21+.

Stumptown Improv Festival Presents

It’s no secret that Portland comedy leans more towards standup than sketch comedy or improv, but Stumptown Improv Festival has been asserting improv’s place in the scene since 2013. The festival isn’t until August, but its curators have put together a triple bill of West Coast improv troupes in the meantime: Portland’s Hawaiian Squirts, Seattle’s Death and Taxes and Los Angeles’ Summerland. SHANNON GORMLEY. Siren Theater, 315 NW Davis St., sirentheater.com. 8 pm Saturday, Feb. 4. $15 advance, $17 day of show.

For more Performance listings, visit

turn on, tune out: Jonathan thompson and rebecca ridenour.

Small Drama, Big Screen

At some point during The Flick, you might wonder if it’s really just going to be about movie-theater employees talking among rows of seats for three hours. So you should know the answer is yes, that is literally all that happens. Despite its 2014 Pulitzer Prize, Annie Baker’s play is not for everyone. Namely, it’s not for those who go to the theater for theatrics. The Flick aims to be as naturalistic as possible: There are long, awkward pauses. The actors say “like” a lot. And it doesn’t really have a plot any more than daily life has a plot. The stage looks like a mirror of the audience’s seats— the same rows of red velvet theater seats, except with a small projection box above them. Set in a rundown theater in Massachusetts, The Flick is an aimless, touching look into the lives of three movie-theater workers who in some way feel left behind by life. They seem like nonspecific people you used to know: Sam (Isaac Lamb) speaks with a bro version of uptalk, and Rose (Rebecca Ridenour) has that edgy cool-girl, almost nasal, dragging delivery. Jonathan Thompson, as the nerdy, stiff-shouldered and limparmed Avery, is unrecognizable from a recent commanding presence in the activist play Hands Up. Although the characters are immediately recognizable types, they’re not caricatures. All three performances are as astonishingly detailed as Baker’s script, so instead of feeling one-sided, the characters just feel real. At one moment, Rose is courageously gyrating around the theater, which is empty except for Avery. But even her embarrassment doesn’t last long: She makes a move on Avery as they watch a movie, gets rejected again, responds with standoffishness, and ends up having a slightly awkward heart-to-heart with her co-worker. The play often hints at its own verisimilitude. After Sam’s love for Rose is rejected near the end of the play, he slumps in one of the theater seats and faces the audience teary and puffyeyed. His back is to Rose, who accuses him of putting on a performance. Sam denies this, and the acting is strong enough it’s almost possible to believe him. Ultimately, that’s what keeps your attention for the entire three hours: Even though not much actually happens, you feel completely involved with every little thing that does. SHANNON GORMLEY. The Flick profiles three forlorn movie theater employees.

see it: The Flick plays at Imago Theatre, 17 SE 8th Ave., thirdrailrep.org. 7:30 pm Thursday-Saturday, 2 pm Sunday, through Feb. 11. $25-$42.50. Willamette Week FEBRUARY 1, 2017 wweek.com

T A E R T F L E S YO’

VISUAL ARTS FEATURE C O U R T E S Y O F T H E E S TAT E O F AV E L D E K N I G H T

Narrative figure oil paintings by Boise artist EMILY WENNER at Fotoeffect Gallery

OPENING RECEPTION:

First Thursday 6–10pm Show runs February 1–25

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WE’RE B AC K

The Rehearsal by Avel de Knight, part of Constructing Identity.

Pieces of Resistance THE FIVE SHOWS WE’RE MOST EXCITED TO SEE IN FEBRUARY. BY JEN N IFER R A B IN

READERS’ POLL Nomination period begins

MARCH 1st

jrabin@wweek.com

We are now in a time when making art, showing art, seeing art and buying art are all acts of resistance. In addition to waging a war on science, the environment, women’s rights, Muslims, health care, refugees, decorum, propriety and facts, Donald Trump has made clear his intention to defund the National Endowment for the Arts and the National Endowment for the Humanities. This means that Trump’s war now threatens museums, libraries, archives, arts education and radio, not to mention the creation of new works of dance, literature, music, theater and visual arts. Essentially, the NEA and NEH protect and support culture, which, from any perspective informed by history, is fundamental to a thriving society. Arts and culture provide us with refuge, hope, encouragement and—when we need it—a stern talking to. They are the mirrors that reflect back to us our proudest achievements and our gravest failures. This is why totalitarian dictatorships go after artists and intellectuals first: It helps to suppress opposition. The shows we’re most excited to see this month are resisting hard.

Constructing Identity: Petrucci Family Foundation Collection of African-American Art.

Are you the best in PDX? Email advertising@wweek.com for more info.

Willamette Week FEBRUARY 1, 2017 wweek.com

Artists of color are notoriously underrepresented in museums, despite immense contributions to the arts. So Portland Art Museum’s decision to mount an exhibition of 2-D works by contemporary African-American artists is a meaningful step forward. From Kara Walker to Portland’s Arvie Smith, the artists in the show use nuanced self-representation to explore identity in what can certainly not be considered a post-racial society. Portland Art Museum, 1219 SW Park Ave., 503-226-2811. Through June 18.

Adrift

Photographer Magda Biernat documents the realities of climate change by pairing images of melting ice caps in Antarctica with images of abandoned hunting lodges in the Arctic. None of her photographs contain people, but rather the sobering possibility of a time when people pay the price for their own destruction. Blue Sky Gallery, 122 NW 8th Ave., 503-225-0210. Feb. 2-26.

Nasty Women

Eutectic, a ceramics gallery, is doing something different this month. It has put together a group show of nasty-women artists (a couple of whom are men), working in all types of media, to protest the new administration’s position on women’s rights. A percentage of each sale will go to benefit Planned Parenthood, giving us another example of how art can help us look after each other. (Disclosure: I have been asked to contribute pieces to this show.) Eutectic Gallery, 1930 NE Oregon St., 503-974-6518. Feb. 3-24.

Four

One of the ways we can strengthen the resistance is by giving a megaphone to underrepresented voices and offering encouragement to artists who are just starting out. This month, Gallery 114 is hosting an exhibition of four emerging artists of color, all PNCA students, whose works deal with issues of colonization, migration, displacement, identity, belonging and self. That said, being familiar with the work of two of the featured artists, I can tell you the reason to see this show is not the artists’ backgrounds but their immense talent. Gallery 114, 1100 NW Glisan St., 503-243-3356. Feb. 5-28.

Art as Resistance

I’ve never been to UNA Gallery before, and I received no press release about the upcoming show. But I came across a Facebook post that described it as a celebration of “local POC, Femme, and Queer artists employing personal identity as a means of opposition.” The group exhibition includes installations, video and 3-D work by four artists (and possibly a fifth, resisting digitally from Havana) who understand the power of art as a form of revolution. UNA Gallery, 328 NW Broadway, No. 117, 858-610-4269. Feb. 2-24.

BOOKS = WW Pick. Highly recommended.

MONDAY, FEB. 6

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.

Eric Scott Fischl

WEDNESDAY, FEB. 1 Image Comics Day

Cool-kid comics shop Floating World will host a 25th anniversary celebration of Image Comics, the nation’s thirdlargest publisher of comics, including The Walking Dead, Invincible and Saga. In January, Image moved its headquarters to Portland, bringing some $50 million in sales. Creators at Floating World’s event include Image publisher Eric Stephenson, Popgun editor Joe Keatinge, Emi Lenox and Farel Dalrymple. Across town, Cosmic Monkey Comics will feature Steve Lieber signing comics, while Books with Pictures will host Kelly Sue DeConnick and Matt Fraction. Floating World, 400 NW Couch St., 503-241-0227. 6-8 pm. Free.

A Really Good Day

Slurped up greedily by Hunter S. Thompson and secretly dosed to the homeless by the CIA, LSD is now being used by domestic couples looking to control their mood and boost productivity. In her new book, A Really Good Day, writer Ayelet Waldman explores “microdosing,” in which a person takes a sub-hallucinogenic quantity of the drug in regular intervals as one might take their blood pressure medicine. Powell’s City of Books, 1005 W Burnside St., 800-878-7323. 7:30 pm. Free.

THURSDAY, FEB. 2 Pancho Savery

What do James Baldwin, Charlie Parker and Louis Armstrong have to do with our modern political climate? Reed College professor Pancho Savery explores how the classic Baldwin short story, “Sonny’s Blues,” may provide a lens through which to view our tumultuous times. Seating is first come, first served, and there’s a good chance it fills up quickly, so arrive early. Literary Arts, 925 SW Washington St., 503-227-2583. 7 pm. Free.

FRIDAY, FEB. 3 Fonda Lee

An alien race has invaded Earth, but in spite of the colonizers, peace has reigned for a century. Donovan Reyes, the son of an important diplomat, is a exoskeleton-enhanced super soldier trained from adolescence to maintain that peace and ﬁght Sapience, the terrorist cell that threatens it. Exo is the newest young adult sci-ﬁ novel from Portland author Fonda Lee. Powell’s Books at Cedar Hills Crossing, 3415 SW Cedar Hills Blvd., Beaverton, 800-878-7323. 7 pm. Free.

Unbound

Discovering that her life as a successful corporate ladder-climber hasn’t left her spiritually fulﬁlled, Steph Jagger decides to pull an endless winter and go skiing around the world. Why didn’t you think of that, dummy? Powell’s City of Books, 1005 W Burnside St., 800-878-7323. 7:30 pm. Free.

Steven Karl and Ed Skoog

Portland State University’s creative writing program will host a reading by poets Steven Karl and Ed Skoog. Karl is the author of two collections, Dork Swagger and Sister. He lives and teaches in Tokyo. Local poet Ed Skoog was the recipient of a Washington State Book Award for his collection Rough Day, and is also the author of collections Mister Skylight and Run the Red Lights. PSU Smith Memorial Student Union, 1825 SW Broadway, 503-973-5451. 6:30-8 pm. Free.

Dr. Potter’s Medicine Show is a new work of supernatural, speculative ﬁction by Montana author Eric Scott Fischl. When a smooth-talking snakeoil salesman comes to town with his band of strongmen and charlatans, they convince the townspeople that Chock-a-Saw Sagwa Tonic will be the answer to everything that ails them. Powell’s Books on Hawthorne, 3723 SE Hawthorne Blvd., 800-878-7323. 7:30 pm. Free.

TUESDAY, FEB. 7 Cokie Roberts

Cokie Roberts has had a storied career in broadcasting, earning three Emmys.

She will present her new book, Capital Dames, which chronicles the role of women in Washington, D.C., during the Civil War. First Congregational Church of Portland, 1126 SW Park Avenue, 503-228-7219. 7 pm. Sold out.

Rise of the Rocket Girls

Nathalia Holt’s new book, Rise of the Rocket Girls, tells the story of the all-female team of mathematicians working at the Jet Propulsion Laboratory in the 1940s and ’50s, who crunched the numbers that made rocket ﬂight possible. Rise of the Rocket Girls tells their story with the help of interviews from the surviving members. Powell’s City of Books, 1005 W Burnside St., 800-878-7323. 7:30 pm. Free.

For more Books listings, visit

REVIEW

The Spider and the Fly Doesn’t Pass the Smell Test Writers are drawn to a crime scene like flies to rotting flesh, and so when a serial killer was caught in her town of Poughkeepsie, N.Y., local reporter Claudia Rowe was of course…happy. Rowe’s multiyear penpal relationship with Kendall Francois, the murderer of eight women, is the subject of her new true-crime memoir, The Spider and the Fly (Dey Street Books, 288 pages, $26.99). Kendall Francois was a notorious local john repeatedly reported for abusing women throughout the late ’90s. But it wasn’t until police took out a warrant to raid his family’s home that they found a hoarder’s den filled with garbage, rotting food, mold and human bodies. Maggots fell from the attic where Francois had stashed his victims in plastic bags and a kiddie pool. A Seattle Times reporter and Pulitzer Prize nominee, Rowe ravenously hunts down vignettes of derangement and despair. Francois is described as a “hoarder of dead bodies and old candy wrappers.” About a grieving mother, she writes, “Marguerite’s mouth was framed like a marionette’s, with deep grooves on either side, parentheses that worked back and forth—pulling tight, then slack—as she composed herself.” In contrast to Francois’ hellish home life, Rowe was a bored adrenaline junky raised in a swanky Central Park West apartment— in high school and college, she let men pick her up in their cars, allowing them to think she was a prostitute. Dissatisfied with the small pieces on Francois’ crimes she wrote for The New York Times, Rowe contacted him herself. Before their first call, she writes, “My heart pounded the way it had with boys in high school.” One of the most compelling parts of true crime is when a writer is drawn into the web of the serial killer’s mind, but here the power dynamics seem perversely one-sided. Rowe—a highly educated, affluent white woman—is writing with disgust about a black man who comes from poverty and abuse. Her apparent obsession with Francois’ “fat lips” and rank body odor doesn’t help matters. Perhaps in recognition of this, Rowe attempts to build some level of sympathy with the reader, comparing the domestic tensions of her own life with those of Francois and his victims. “We soldiered on, through vacations at the Cape and ski weekends in Vermont,” she writes, “working our New England family myth.” How brave. No one would expect her to have much compassion for a serial killer, but Rowe’s apparent contempt for Francois (and just about everyone else) gives the book a rotten odor. If Rowe is the fly in the book’s title, she’s also the spider. Francois is just some nearby corpse. ZACH MIDDLETON. SEE IT: Claudia Rowe will appear at Powell’s Books on Hawthorne, 3723 SE Hawthorne Blvd., on Thursday, Feb. 2. 7:30 pm. Free.

pot lander N E W S L E T T E R

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MOVIES the details of life in Agadez throughout the film—images of teapots heating on smouldering embers and plastic stereos suspended with twine. He manages to adapt a heavily stylized film about youthful expression and rebellion to a deeply traditional culture where entire plot lines from Purple Rain, like suicide and domestic violence, wouldn’t fly. Last year, Kirkley returned to Agadez to begin production on a new film, Zerzura, for which he is currently raising money via Kickstarter. Where Akounak is deliberately apolitical, Zerzura will weave contemporary issues

GET YO UR R E PS IN

Spaceballs (1987)

Among the greatest parodies of all time, Mel Brooks’ spoof on Star Wars stars Bill Pullman as Captain Lone Starr, John Candy as Barf, and Rick Moranis as Lord Dark Helmet. Eminently quotable and timeless, its silliness takes on a new dimension following the grim Rogue One. Laurelhurst. Feb. 3-9.

“IMITATION IS THE SINCEREST FORM OF FLATTERY, RIGHT?”

The Black Power Mixtape: 1967-1975 (2011)

Created out of archival footage from the ’60s and ’70s ﬁlmed by Swedish journalists, The Black Power Mixtape chronicles the black power movement through interviews with such ﬁgures as Martin Luther King Jr., Huey Newton and Angela Davis. The footage sat in a Swedish basement for decades before being rediscovered. 5th Avenue Cinema. Feb. 3-5.

Labyrinth

DESERT COMPUTER BLUES: Mdou Moctar.

Prince Is Alive in the Desert

(1986)

Even if it didn’t star David Bowie as the fantastical Goblin King, Labyrinth would still be mandatory viewing. When 15-year-old Sara (Jennifer Connelly) accidentally summons the King, who steals her baby brother, she must head into a fantasy maze ﬁlled with traps, tricks and puppets courtesy of Jim Henson, and complete it in 13 hours. If she doesn’t, her brother will be turned into a goblin forever. Mission Theater. Feb. 6-7.

Throne of Blood

(1957)

Kicking oﬀ the Hollywood’s new Samurai Sunday series is a 35 mm print of Akira Kurosawa’s legendary adaptation of Macbeth, set in feudal Japan. That’s about as good as it gets for samurai ﬂicks. Hollywood Theatre. 7 pm Sunday, Feb. 5.

Wayne’s World

(1992)

It’s the 25th anniversary of Mike Myers and Dana Carvey’s comedy about two hesher buddies with a public access TV show, and the Kiggins is one of a few theaters that are live streaming a Q&A with director Penelope Spheeris, Tia Carrera and other cast members to celebrate. Wayne’s cultural import may have been superseded by other catchphrase comedies, but for years you couldn’t throw a “shwing!” without hitting a “Party on!” Kiggins Theatre. 7 pm TuesdayWednesday, Feb. 7-8.

ALSO PLAYING: Academy Theater: Say Anything… (1989), Feb. 3-9. Clinton Street Theater: Flesh and Fantasy (1943), 8 pm Wednesday, Feb. 1. Hollywood Theatre: Tampopo (1985), 7:30 pm Wednesday, Feb. 1; Sailor Moon R the Movie (1993), 7:05 pm Thursday, Feb. 2; Traxx (1988), 7:30 pm Tuesday, Feb. 7. Kiggins Theatre: The Third Man (1949), 7:30 pm Monday, Feb. 6. Laurelhurst: Strange Brew (1983), Feb. 1-2.

—Christopher Kirkley

PORTLAND ETHNOMUSICOLOGIST CHRISTOPHER KIRKLEY TALKS ABOUT HIS PURPLE RAIN REMAKE IN AFRICA AND HIS PSYCHEDELIC NEW SAHARAN WESTERN. BY WALKER MACMURDO

How the hell did such a weird movie get made? Portland ethnomusicologist ChrisMdou Moctar wears all purple. He rides topher Kirkley spent years in West Africa a purple motorcycle. He plays guitar to researching, recording and distributing the crowds of fans. But Mdou (pronounced music of isolated musicians through his label, em-doo), isn’t playing at First Avenue. Sahel Sounds. In 2013, he tried his hand at This isn’t Minneapolis. No one filmmaking and, on a budget of about $20,000, created the first film ever is cleansing themselves in the made in the Tamashek language waters of Lake Minnetonka. They do it in the sands of of the Tuareg people. the Sahara Desert. The amount of attention O n Fr i d ay, A ko u n a k the film got at festivals was impressive, says Kirkley, Tedalat Taha Tazoughai— which translates from the who has been profiled in The Wall Street Journal and language of the nomadic Tuareg people into “Rain the The Village Voice. “ We’ve Color of Blue With a Little Red s h ow e d i t a l l ove r S o u t h America, Singapore, Vietnam. in It”—kicks off the 27th Annual KIRKLEY It’s had a lot of attention for someCascade Festival of African Films, thing that I did nothing to promote.” and as the title hints, it’s a remake of the For a film made by an amateur director on classic Prince vehicle Purple Rain. Instead of telling the story of the Kid trying to juggle a shoestring budget in the middle of the godhis relationship with his abusive father, his damn desert, it ain’t bad, mostly because the romance with Apollonia and his rivalry with music itself rules. The Tuareg guitar sound Morris Day, it’s a story of a nomadic guitar- is fairly well-known in the world music comist trying to juggle his relationship with his munity through Grammy-winning acts like disapproving father, his relationship with Tinariwen. For those unfamiliar, it’s something Rhaicha (Rhaicha Ibrahim) and his rivalry like a psychedelic, riff-laden cross between with Kader (Kader Tanoutanoute), in the surf and stoner rock. Kirkley rightly focuses his camera on the musicians, but intersperses Nigerien desert city Agadez.

Willamette Week FEBRUARY 1, 2017 wweek.com

wmacmurdo@wweek.com

about trans-Saharan migration into desert folklore dating back to at least the 14th century. “Zerzura is a modern-day folk tale about a young Tuareg who sees all the migrants passing through his town and discovers that people are going to a mythical city in the Sahara, a magical city full of gold,” says Kirkley. “He takes off to find this place. Zerzura draws on regional folklore, but also holds it up against modernday issues of immigration and the quest for something else—which is a contemporary issue in the Sahara, as a lot of people from all over West Africa come to Agadez before they go to Libya, where they get on boats and cross the Mediterranean for Europe.” In Niger, this kind of filmmaking is no safe bet. The Sahara isn’t dissimilar to the Wild West, except with automatic weapons and an active branch of Al-Qaeda. “Kidnapping and ransoms are a real thing that happen,” says Kirkley. “If you want to shoot out in the desert, you either have to do it in the cover of darkness or hire a military escort. And if you’re filming in Agadez, you have to make sure there’s certain people you don’t film. There’s cocaine trafficking, so we had to be cognizant of who we could film and which houses we couldn’t.” Thankfully, Akounak and Zerzura are providing opportunities to the Tuareg that wouldn’t otherwise be available. Moctar’s profile has risen considerably since the film’s debut, helping him tour internationally. He will be in Portland for the screening of Akounak, playing a show as part of the opening night of the festival. In January, Kirkley announced that Ahmoudou Madassane, the star of Zerzura, will travel to Portland to work on post-production as part of a grant from the Oregon Arts Commission. “One of the biggest things we wanted to do with the film was to show that you didn’t need a fancy budget or filmmaking background to make a movie in Agadez,” says Kirkley. “While I was back in Agadez, there was a team of young kids that approached me and said, ‘We’re making a film about a guitarist in Agadez.’ Imitation is the sincerest form of flattery, right?” SEE IT: The 27th Annual Cascade Festival of African Films opens at the Hollywood Theatre on Friday, Feb. 3, with screenings of Akounak Tedalat Taha Tazoughai at 6:30 and 9:15 pm. Mdou Moctar plays at 11:15 pm. Visit africanﬁlmfestival.org for the festival’s full schedule.

@wweek

= 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.

OPENING THIS WEEK A Dog’s Purpose B+

All things considered, given the potential harm that could easily have followed initial news stories threatening charges of on-set animal abuse days before the film’s scheduled rollout, A Dog’s Purpose largely escaped the neg press blitz with ticket sales approaching early projections and an opening weekend tied atop the box-office charts. Since allegations had been largely discredited within a few days, curious pet folk were not forced to confront ethical struggles when attending, for better or worse. Though the surprisingly engaging Lasse Hallstrom fable deserves full support from its presumable target audience, A Dog’s Purpose has little interest in flattering owners. For its first hour, the film relishes the widescreen delight of golden retriever Bailey (voiced by Josh Gad) soaring through acres of wheat or cataloging each smell at the carnival until little Ethan abandons him for his own off-screen incredible journey: go to college, save the farm, become Dennis Quaid. And, pretty quickly, Bailey mopes himself to death. A string of deaths soon follow—a ’70s Chicago police dog, a beloved corgi for an ’80s Atlanta buppie brood. Funny thing, repeatedly killing the same dog evades the whiff of Old Yeller morbidity. Because the species is ill-equipped for sentience and inherently disposable, a dog’s purpose (or, sure, A Dog’s Purpose) should be understood as no more or less than an endlessly looped sales pitch for itself—breathlessly exploiting every inch of adorability to blot critical faculties and fan the sparks of true emotion. We could argue the film represents an artless waste of resources and brazen manipulation of empty sentiment, but…oooh, who’s a good movie? Who’s a good movie?! PG-13. JAY HORTON. Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Lloyd, Oak Grove, Pioneer Place, Tigard, Vancouver.

Arbor Demon

F As with all the worst jokes, The Comedian took forever to set up and somehow still overlooked one crucial detail. While still finishing his 2011 screenplay about a fading TV icon’s return to the comedyclub circuit, legendary producer Art Linson enlisted Robert De Niro for the central role of quick-tempered, two-fisted, living anachronism Jackie Burke. The only problem is, no one questioned our titular comedian’s absolute inability to tell a joke. There’s a reason De Niro’s funniest films left the gags to Charles Grodin or Billy Crystal—both cameo here—while asking their putative star to glower humorlessly. Whatever easy rapport shines through scenes talking up a lovely “volunteer” (Leslie Mann) amid court-mandated community service, all charm curdles the moment he takes the mic. To be fair, no delivery could sell this dreary succession of cringe-worthy routines, and any punch lines that do crawl forth are abandoned to die by Taylor Hackford’s stunningly clumsy direction. Whether continually misidentifying the nature of viral video or blithely accepting the three-decade age gap separating our romantic leads, the film betrays a sloppiness and blinkered entitlement bordering on the toxic. Retiring is easy. Comedy is hard. R. JAY HORTON. Clackamas, Vancouver.

Gold

F Gold isn’t so much a rags-toriches story as a rags-to-riches-torags-to-domestic-abuse-to-riches story. On top of being narratively formless and about 45 minutes too long, its protagonist is perfectly deplorable. A beer-bellied, snaggle-toothed, ignorant prospector, Kenny Wells (Matthew McConaughey) is intended as a gonzo-style caricature of gaudy 1980s Reno. Any redeeming moment he might have had is obscured instead by his naive greed for gold—for which he ﬁrst risks all his savings, then his life, then the love of his life. Gold operates on the obtuse assumption that any American sitting in the theater watching it will relate to Kenny’s money hunger enough to moot the need for him to be relatable or lovable in any other way. He lies to his business partner (Edgar Ramirez) about how much startup

Hunter Gatherer

A rescheduling of Josh Locy’s new ﬂick that stars Andre Royo (The Wire) as a reformed addict who tries to rebuild his life after a threeyear bid. PG-13. Clinton Street Theater. 7 pm Saturday, Feb. 4.

S W E N

Reel Music Film Festival

NW Film Center’s 34th Reel Music Film Festival, three weeks of new and old movies celebrating music, wraps up this week. See nwﬁlm. org/calendar for the full lineup. NW Film Center’s Whitsell Auditorium. Through Feb. 5.

Rings

The ﬁrst Ring movie scared the absolute shit out of me when I was a tween, except for the part where the horse freaks out and jumps oﬀ the boat and it’s legs catch on the side of the boat. I was the only one laughing in the theater. Not screened for critics. PG-13. Bridgeport, Cedar Hills, Clackamas, Eastport, Pioneer Place, Tigard, Vancouver.

Same Kind of Different as Me

This movie, about a rich Texan (Greg Kinnear) who befriends a homeless guy (Djimon Hounsou) to save his marriage, is based on a best-selling book co-written by Lynn Vincent, who co-wrote Sarah Palin’s autobiography and Heaven Is for Real. Not screened for critics. NR.

Stefan Zweig: Farewell to Europe

A If you think the Trump regime has brought us dark days, Stefan Zweig reminds us of the clouds Nazi Germany cast over Europe. German actress-turned-ﬁlmmaker Maria Schrader introduces us to the Jewish novelist and playwright (Josef Hader), who lived the last eight years of his life in exile from Nazi Germany. Divided into ﬁve chapters between 1936 and 1942, it’s a saddening adventure witnessing Zweig and wife Lotte

CONT. on page 42

JOE LEDERER

A couple in a struggling marriage go camping to try to reconnect, but a malevolent forest spirit keeps them trapped in their tent. Not screened for critics. NR. Clinton Street Theater.

The Comedian

money he has, asks the indigenous people working at his Indonesian mine to keep working even when he can’t pay them anymore, pridefully turns down a $30 million deal so his name isn’t removed from his company, and verbally degrades women for laughs. Spoiler alert: In the end, he’s rewarded for all of it. Welcome to America, I guess. R. ISABEL ZACHARIAS. Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Lloyd, Oak Grove, Pioneer Place, Tigard, Vancouver.

A DOG’S PURPOSE

Willamette Week FEBRUARY 1, 2017 wweek.com 41

MOVIES

STILL SHOWING 20th Century Women B

There are moments when Mike Mills’ semi-autobiographical family drama is wittily revolutionary, especially when Abbie (Greta Gerwig) teaches her teenage son the basics of feminism and later galvanizes a dinner party by coaching the guests to say “menstruation” in unison. 20th Century Women has a frankness that is welcome and rare in American cinema. R. Bridgeport, City Center, Clackamas, Fox Tower, Vancouver.

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. Valley, Vancouver.

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, Cinemagic, Clackamas, Eastport, Fox Tower, Lloyd.

Elle

A- By stripping away both the kidgloves and exploitative approaches to sexual violence, Paul Verhoeven and Isabelle Huppert have crafted a grimly humorous but life-aﬃrming portrait of strength and survivorship. R. Cinema 21.

Emily B

The lesson to be learned about this Portland-ﬁlmed drama about young married couple Emily (Rachael Perrell Fosket) and Nathan (Michael Draper) drifting apart is ‘don’t marry a writer.’ NR. Living Room Theaters.

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. Academy, Avalon, Empirical, Jubitz, Kennedy School, Laurelhurst.

Fences A-

Denzel Washington swings for the fences with his adaptation of August Wilson’s Pulitzer Prize-winning play about a struggling African-American blue-collar family in 1950s Pittsburgh, hitting a home run and, uh, stealing third base? PG-13. Bridgeport, Clackamas, Living Room Theaters, Lloyd.

The Founder B

Amid the past few years’ McConaissance, did we fail to notice the Keatoning? Judging by his spot in this biopic about McDonald’s impresario Ray Kroc, he’s a ‘serious, important’ actor now. PG-13. Bridgeport, City Center, Clackamas, Eastport, Fox Tower, Vancouver.

Hacksaw Ridge

C Why the fuck did they give Mel Gibson an Oscar nomination? R. Bridgeport, Joy, Lloyd, Valley, 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. Laurelhurst.

Hidden Figures

C Why does Kevin Costner get the biggest racism-busting line in a movie about underappreciated black women who contributed to NASA’s Apollo 11 trip to the moon? PG. Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Fox Tower, Living Room Theaters, Lloyd, Oak Grove, St. Johns Pub and Theater, Tigard, Vancouver.

Jackie A

Aided by Mica Levi’s ghostly string score, Pablo Larraín’s peppering in of archival news footage from the time, and Portman’s most spectacular performance yet, this ﬁlm is less an isolated Jackie Kennedy biopic than a dark and conceptual statement on how the American people classiﬁes, experiences and remembers historic tragedies. R. Fox Tower, Kiggins, Tigard.

Julieta

Pedro Almodóvar still has it. R. Fox Tower. A-

B-

How do you start over when your transgressions refuse to stay buried? According to director Kenneth Lonergan, you don’t, and that denial is one of too many reasons Manchester by the Sea, while admirably toughminded, is also a drag. R. Bridgeport, Cedar Hills, City Center, Clackamas, Fox Tower, Hollywood, Lake, Lloyd, Tigard.

B+ If you were curious whether Dwayne “The Rock” Johnson could carry a tune, Moana is a ringing aﬃrmative. PG. Bridgeport, Cedar Hills, Clackamas, Division, Empirical, Tigard.

Willamette Week FEBRUARY 1, 2017 wweek.com

B The jury is still out on whether Europeans are funny. R. Cinema 21.

B Do we need another Fast and Furious franchise? The new Vin Diesel ﬂick answers that question by ﬂipping double birds while hitting a stoppie into a villain. R. Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Lloyd, Oak Grove, Pioneer Place, Tigard, Vancouver.

For more Movies listings, visit

REVIEW

Moonlight follows Chiron, played by three diﬀerent actors, coming of age over two decades on the rough Liberty City blocks of 1980s Miami. If you haven’t seen this ﬁlm yet, do so: It’s probably going to get screwed at the Oscars, but it’s among the year’s absolute best. R. Bridgeport, Cinema 21, City Center, Division, Eastport, Hollywood, Kiggins, Lake, Lloyd, Vancouver.

B+

Neruda

Pablo Larraín’s biopic of Nobel Prize-winning poet and outspoken communist Pablo Neruda is a celebration of all that his work celebrates; an ode to the beauty of art and architecture and the natural world in honor of the master of odes. R. Fox Tower, Kiggins.

Paterson A-

Jim Jarmusch delves into the subdued spectacle of bus driver Paterson’s (Adam Driver) daily routine, which he mines for cheeky absurdities and simple acts of decency. It adds up to a poignant and heartening portrait of a working-class artist. R. Cinema 21.

Resident Evil: The Final Chapter

The sixth and ﬁnal (yeah, right) movie in the long-running franchise based on the video game series about zombies, starring an apparently ageless Milla Jovovich. Not screened for critics. R. Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Lloyd, Oak Grove, Pioneer Place, Tigard, Vancouver.

A The best Star Wars ﬁlm since The Empire Strikes Back, this gritty spinoﬀ brings a depth of humanity to the galaxy that the series hadn’t ever seen. PG-13. Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Lloyd, Pioneer Place, St. Johns Twin, Tigard, Vancouver.

C+ Silence is the exact kind of lifelong passion project you’d expect a 74-year-old man to make about religion: a winding, sincere mess of heavy-handed symbolism and oldtimey racism, set oﬀ with bad accents and worse voice-overs. R. City Center, Division, Lloyd.

Sing

C+ If you’ve been yearning for Seth MacFarlane to play a mouse who sings like Sinatra, this is your movie. PG. Beaverton Wunderland, Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Lloyd, Milwaukie, Tigard, Vancouver.

Split

MOANA

Toni Erdmann

XXX: Return of Xander Cage

Moonlight

Silence

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. Living Room Theaters.

Mia Hansen-Løve’s sleepy French drama about the crumbling life of a middle-aged academic (Isabelle Huppert) captures the jaggedness and inconsistency of daily life. PG-13. Living Room Theaters.

C+ Monster Trucks is really good for a children’s movie about a kid named Tripp (Lucas Till) who has a monster living in his truck. PG. Clackamas, Division, Eastport, Milwaukie, Oak Grove, Vancouver.

Loving

Surprise, surprise: La La Land got nominated for 50 billion Oscars. PG-13. Bagdad, Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Fox Tower, Hollywood, Lake, Living Room Theaters, Lloyd, Moreland, Oak Grove, Roseway, St. Johns Twin, Tigard, Vancouver.

B+

Monster Trucks

Rogue One: A Star Wars Story

Things to Come

Moana

La La Land

A-

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

Manchester by the Sea

COURTESY OF SUNDIAL PICTURES

(Aenne Schwarz) travel the world with nowhere to call home. You’ll find them hiking through the luscious, green jungles of Brazil, only to end up ultimately in a dark, dreary New York apartment listening to Zweig’s ex-wife, Friderike (Barbara Sukowa), also in hiding, rant about the Nazis with a menorah perched in the background. We watch Zweig as guest of honor speaking about his hope for a unified Europe, surrounded by vibrant, floral arrangements for the Poets, Essayists and Novelists International Conference in Buenos Aires, before the audience is thrown into the devastating last chapter of Zweig’s life. This film is The New York Times best-seller you can’t put down: alluring as it is enlightening. Stefan Zweig screens as part of the Portland German Film Festival, with director Maria Schrader attending for a discussion after the movie. NR. AMY WOLFE. Cinema 21. 7 pm Sunday, Feb. 5.

B+ James McAvoy’s stars as a guy with mutiple personality disorder who kidnaps a group of young girls, who must try to coax one of the good ones to set them free. Is this problematic? PG-13. Bridgeport, Cedar Hills, City Center, Clackamas, Division, Eastport, Lloyd, Oak Grove, Pioneer Place, Tigard, Vancouver.

A TIME TO DIE: Frank Langella.

Highway to Hell An all-star cast redeems Joel David Moore’s new black comedy.

You may remember Joel David Moore from his bit roles as the scrawny guy in early-2000s comedies Dodgeball and Grandma’s Boy. The Portland native has enjoyed a steady stream of small parts since then, but his new film is decidedly less goofy: a road comedy that focuses on the controversial practice of physician aid in dying (PAD), legal in Oregon and only a handful of other states. Youth in Oregon follows 80-year-old Raymond Engersol (Frank Langella), a retired doctor who decides he wants to end his life, news that’s met with shock and confusion by most of his family—if not by his pill-popping, vodka-quaffing wife, Estelle (Mary Kay Place). Raymond ropes his son-in-law Brian (Billy Crudup) into driving him from New York to Oregon for the appointment. No one in the family supports Raymond’s decision to end his life, but then again, he hasn’t told any of them just how bleak his prognosis is. Much of Youth in Oregon hinges on this gap in knowledge, one of several plot points that viewers may have difficulty swallowing. Much like the pun in its title, the film’s attempts to inject humor can feel forced. The curmudgeonly patriarch and straight man son-in-law schtick has been done before, as have the Viagra jokes and various drug-fueled road antics. While Place is a revelation as the boozy flirt of a grandma, the script relies so heavily on quirky family tropes that it tends to neglect the most compelling part of the equation: Raymond’s excruciating decision and all the nuance and vulnerability Langella imbues it with. Instead, the film’s best moments emerge when the dialogue is sparse. Brian, Estelle and Raymond walk through a bird sanctuary in Wyoming, Raymond reconnects with his estranged son in Utah. When the script stops forcing the jokes and allows for these quiet, somber moments, the actors finally get to shine. The chemistry of the supporting cast is strong, and along with Moore’s ability to capture the hazy, sun-bleached beauty of the open road, it allows Youth in Oregon to pull off a near-impossible feat: a warm-hearted family road comedy about euthanasia. It may be a predictable ride, but it’s still a charming one. GRACE CULHANE. B SEE IT: Youth in Oregon is not rated. It screens at 7 pm Thursday, Feb. 2, at Kiggins Theatre.

W W S TA F F

end roll

The Super Bowl YOU REALLY NEED TO BE HIGH FOR SUPER BOWL LI.

BY MARTIN CIZMAR

mcizmar@wweek.com

There is good and there is evil, and sometimes they get to tackle each other. That’s the case this Sunday, when the brave Atlanta Falcons battle a bunch of cowardly fascist sympathizers and proven cheaters in the first major sports event of post-Trumpocalypse America. That national anthem? It’s playing for Trump. Those F-16 fighter jets buzzing overhead? Trump could very well send them to bomb Portland. That guy under center for the team in white? He’s a close personal friend of the Orange Pepe. Yeah, you’re going to need to be high for this. Listen: The New England Patriots are the Republican Party of sports. And we’ve seen a horrific transformation in them over the past 15 years. Most people not from Boston aren’t naturally disposed to liking any team from Boston, let alone one coached and quarterbacked by smirking prep-school boys. But in the 2002 Super Bowl, just a few months after 9/11, it felt right to root for the team brandishing its, uh, patriotism instead of the showboating Rams.

TAKE A CONCILIATORY HIT IF… • Trump detains or deports Falcons superstar wide receiver Julio Jones before the game on “suspicion of being Mexican.” • Rob Gronkowski, the only likable Patriot and who is currently on injured reserve, says something horrible and racist between now and the game. • Fox gives airtime to Trump during the game. • Fox gives airtime to Sean Hannity during the game. • Any brand uses Clint Eastwood in a commercial. Bonus

It’s been all downhill since. We know now that the Patriots organization engages in shameless and systematic cheating, spying on opposing teams and even altering game equipment to their advantage. Which naturally makes them allies of Trump. If the collaborators win, our history books will someday call this the “Deplora Bowl,” and describe how Tsar Trumpler used the Patriots appearance at the White House to buttress his legitimacy and normalize his regime. (If they lose, he’ll send Sean Spicer out to say they won.) The Falcons, meanwhile, come from Atlanta, “the unofficial capital of Black America.” It’s a championship-starved majority-minority city, and the Falcons represent it well. Matt Ryan looks like a good ol’ boy even though he was an Obama supporter. The team has attitude and swagger. Truly, these are the America Falcons and represent everything redeemable about this fucked-up nation. For all those suffering under this regime, this game will either be a ray of light or another dark episode in a stretch that’s seen too many of them. Either way, it’ll be better high. Here’s your Super Bowl hit list.

points if he repeats his belief that America’s “pussy generation” needs to “just fucking get over” Trump’s racism.

TAKE A CELEBRATORY HIT IF… • Color commentator Boomer Esiason dares mention that maybe Tom Brady shouldn’t be in the Hall of Fame both because he’s a fascist collaborator and known cheater. If Barry Bonds can’t get into Cooperstown, why should Canton welcome Brady? (Oh, right…) • If Falcons wide receiver Mohamed Sanu, the only high-profile Muslim in this

game, catches a long touchdown and does something awesomely symbolic. • If anyone mentions the brave martyr Colin Kaepernick, who made really good points about our nation’s institutional racism, but who should have maybe actually voted given the, uh, situation. • Gisele, the supermodel married to Trump-lover Tom Brady and who has reportedly banned him from talking about Trump, subtweets her stupid husband or Orangey. • If anyone on the Fox broadcast team refers to Bill Belichick as “a modern-day Avery Brundage.”

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

Real Portlanders Know They’re Whistlepigs, Not “Groundhogs” BY DR. MITCHELL MILLAR

Whistlepig Day was an important Portland tradition for many years. By February, we are usually more than ready to bid goodbye to our long, wet, dreary winter. We are eager for some good news: longer days, warmer temperatures, an early spring! Those who aren’t from Portland may know the Feb. 2 holiday by a different, more ludicrous name. I’ve heard in certain regional dialects that people may grow up calling it “Groundhog Day” or “Thickwood Badger Day” or “Weenusk Day.” This is patently absurd. Here in the Northwest, we call these noble soothsaying rodents by their proper nomenclature. Should you ever utter the words “woodchuck,” you will not only be exposing yourself as the out-of-town transplant that you are, but you will also probably hear me and my dyed-in-the-wool native Portlander friends having a snicker at your expense. The most famous Whistlepig Day celebration is, undoubtedly, that in Punxsutawney, Penn., where poor Punxsutawney Phil the whistlepig is roused from his burrow the morning of Feb. 2, and held high overhead like a squirming trophy for a crowd of cheering onlookers. Phil’s handler “asks” Phil whether or not he detected his own shadow. Based on Phil’s reply, it is declared that we should expect either six more weeks of winter or an early spring. What superstitious hooey. Portland demanded an evidence-based approach. That is why, in 1946, Mayor Earl Riley decreed, “The city of Portland, an engine driven dually by the pistons of logic and skepticism, will hereby and forevermore absolutely reject any meteorological proclamations issuing from the village Punxsutawney in the Quaker State.” On Feb. 2 of that year, Portland’s Whistlepig Day festivities were held on the waterfront for the first time. Thus began the annual tradition that saw Portlanders gather on that day to sing songs, eat whistlepigshaped sugar cookies and find out whether we could expect a long winter or early spring. The predicting was carried out by dozens of whistlepigs rather than a single animal. When called upon, the handlers would carry them to the river and kneel solemnly. The mayor would fire the starting pistol, and the whistlepigs would be dipped in the water and urged forward. Whistlepigs are not natural swimmers, but as everyone knows, they are extremely coachable. And off they would go, battling the current, fighting to keep their tiny snouts above water. It took about 30 minutes for the swiftest whistlepig to emerge on the opposite bank, famished, and when it did, it would be met with a decision: to eat from one of two bowls, one containing iceberg lettuce and the other winter brassicas. Whichever green it sampled first would provide incontestable proof of either a long winter or early spring. This science-based prediction method proved far more accurate than Punxsutawney’s quackery, but in 1999, Mayor Vera Katz, in the midst of her fanatical crusade against our most important cultural pillars, canceled the event, citing an unacceptable number of whistlepig drownings. Sadly, we all knew this was happening, but we chose to look the other way. After all, what was the weight of a few lost whistlepigs compared to the lost soul of Portland?

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“Exaggeration”–way more than necessary. city 62 “___ Jury” (Spillane detective novel) 63 Architect I.M. ___ 64 Beezus’s sister 65 Group led by Master Splinter, initially 66 “Wow,” when texting 67 Like beer or bread dough 68 They may have polar bears and giraffes 69 Why the exaggeration? Because it’s this number raised to the nth power

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Across 1 Contacts electronically, in a way 4 They’re the result of extracted genes 8 Chunks of fairway 14 Buck’s counterpart 15 “___ that a kick in the pants?” 16 Hall of Fame quarterback Johnny 17 “Friends” costar Courteney 18 Falco of “Nurse Jackie” 19 Kitchen protectors 20 Theme park chain, grossly exaggerated?

23 French realist painter Bonheur 24 “Conjunction Junction” conjunction 25 Chef DiSpirito 28 End of many failed ‘90s businesses? 31 Autumn mo. 33 “The Fault in ___ Stars” 34 “Wayne’s World” actress Carrere 35 Feeling of amazement 36 Caricatured 37 Morris’s favorite cat food, wildly exaggerated?

41 Green dip, for short 42 Tats 43 Eden matriarch 44 Adjective for 2017 (but not 2018) 45 Enjoy brunch, for instance 46 Rabbit relative? 50 “Sons of Anarchy” extra 52 For emus, it’s greenish 55 Negative in Nuremberg 56 “Gone with the Wind” plantation, insanely exaggerated? 60 Duke University

Down 1 It usually includes a photo 2 Cow sound in “Old MacDonald” 3 Like some illegal hiring practices 4 “Mozart in the Jungle” star ___ Garcia Bernal 5 Computer music format 6 Big Mac ingredient 7 “Mad Men” pool member 8 Twofold 9 To a certain extent 10 Leo follower 11 Doctor’s earexamining tool 12 Camel tone 13 Draft lottery org., once 21 Milk-related 22 “Eh, I’m not buying it” look 26 Helps with lines 27 Chicago airport letters

29 Contents of a cruet 30 Sasha’s sister 32 “E! News” subject 35 Astronaut affirmative 36 Johnson & Johnson skin care brand 37 Car on the Autobahn 38 Result of evil acts, supposedly 39 “___ Inside” (computer slogan) 40 Apple Chief Design Officer Jony ___ 41 One of the Bluth brothers on “Arrested Development” 45 Given to traveling 47 Drink container 48 “Black ___” (historic 1961 book) 49 Lieutenant’s underling 51 Community character 53 Glamor partner 54 Controversial naval base in Cuba, informally 57 “If ___ be so bold ...” 58 “I don’t believe this!” 59 Barclays Center squad 60 Martini preference 61 Abu Dhabi loc. last week’s answers

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ARIES (March 21-April 19) Once upon a time, Calvin of the Calvin and Hobbes comic strip made this bold declaration: “Happiness isn’t good enough for me! I demand euphoria!” Given your current astrological aspects, Aries, I think you have every right to invoke that battle cry yourself. From what I can tell, there’s a party underway inside your head. And I’m pretty sure it’s a healthy bash, not a decadent debacle. The bliss it stirs up will be authentic, not contrived. The release and relief it triggers won’t be trivial and transitory, but will generate at least one long-lasting breakthrough. TAURUS (April 20-May 20) The coming weeks will be an excellent time to ask for favors. I think you will be exceptionally adept at seeking out people who can actually help you. Furthermore, those from whom you request help will be more receptive than usual. Finally, your timing is likely to be close to impeccable. Here’s a tip to aid your efforts: A new study suggests that people are more inclined to be agreeable to your appeals if you address their right ears rather than their left ears. (More info: tinyurl.com/intherightear) GEMINI (May 21-June 20) Here are your five words of power for the next two weeks, Gemini. 1. Unscramble. Invoke this verb with regal confidence as you banish chaos and restore order. 2. Purify. Be inspired to cleanse your motivations and clarify your intentions. 3. Reach. Act as if you have a mandate to stretch out, expand, and extend yourself to arrive in the right place. 4. Rollick. Chant this magic word as you activate your drive to be lively, carefree, and frolicsome. 5. Blithe. Don’t take anything too personally, too seriously, or too literally. CANCER (June 21-July 22) The 17th-century German alchemist Hennig Brand collected 1,500 gallons of urine from beer-drinkers, then cooked and re-cooked it till it achieved the “consistency of honey.” Why? He thought his experiment would eventually yield large quantities of gold. It didn’t, of course. But along the way, he accidentally produced a substance of great value: phosphorus. It was the first time anyone had created a pure form of it. So in a sense, Brand “discovered” it. Today phosphorus is widely used in fertilizers, water treatment, steel production, detergents, and food processing. I bring this to your attention, my fellow Cancerian, because I suspect you will soon have a metaphorically similar experience. Your attempt to create a beneficial new asset will not generate exactly what you wanted, but will nevertheless yield a useful result. LEO (July 23-Aug. 22) In the documentary movie Catfish, the directors, Henry Joost and Ariel Schulman, present a metaphor drawn from the fishing industry. They say that Asian suppliers used to put live codfish in tanks and send them to overseas markets. It was only upon arrival that the fish would be processed into food. But there was a problem: Because the cod were so sluggish during the long trips, their meat was mushy and tasteless. The solution? Add catfish to the tanks. That energized the cod and ultimately made them more flavorful. Moral of the story, according to Joost and Schulman: Like the cod, humans need catfish-like companions to stimulate them and keep them sharp. Do you have enough influences like that in your life, Leo? Now is a good time to make sure you do. VIRGO (Aug. 23-Sept. 22) The city of Boston allows an arts organization called Mass Poetry to stencil poems on sidewalks. The legal graffiti is done with a special paint that remains invisible until it gets wet. So if you’re a pedestrian trudging through the streets as it starts to rain, you may suddenly behold, emerging from the blank grey concrete, Langston Hughes’ poem “Still Here” or Fred Marchant’s “Pear Tree In Flower.” I foresee a metaphorically similar development in your life, Virgo: a pleasant and educational surprise arising unexpectedly out of the vacant blahs.

LIBRA (Sept. 23-Oct. 22) When he was in the rock band Devo, Mark Mothersbaugh took his time composing and recording new music. From 1978 to 1984, he and his collaborators averaged one album per year. But when Mothersbaugh started writing soundtracks for the weekly TV show Pee-Wee’s Playhouse, his process went into overdrive. He typically wrote an entire show’s worth of music each Wednesday and recorded it each Thursday. I suspect you have that level of creative verve right now, Libra. Use it wisely! If you’re not an artist, channel it into the area of your life that most needs to be refreshed or reinvented.

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SCORPIO (Oct. 23-Nov. 21) Many vintage American songs remain available today because of the pioneering musicologist, John Lomax. In the first half of the 20th century, he traveled widely to track down and record obscure cowboy ballads, folk songs, and traditional African American tunes. “Home on the Range” was a prime example of his many discoveries. He learned that song, often referred to as “the anthem of the American West,” from a black saloonkeeper in Texas. I suggest we make Lomax a role model for you Scorpios during the coming weeks. It’s an excellent time to preserve and protect the parts of your past that are worth taking with you into the future. SAGITTARIUS (Nov. 22-Dec. 21) The mountain won’t come to you. It will not acquire the supernatural power to drag itself over to where you are, bend its craggy peak down to your level, and give you a free ride as it returns to its erect position. So what will you do? Moan and wail in frustration? Retreat into a knot of helpless indignation and sadness? Please don’t. Instead, stop hoping for the mountain to do the impossible. Set off on a journey to the remote, majestic pinnacle with a fierce song in your determined heart. Pace yourself. Doggedly master the art of slow, incremental magic. CAPRICORN (Dec. 22-Jan. 19) Who can run faster, a person or a horse? There’s evidence that under certain circumstances, a human can prevail. In June of every year since 1980, the Man Versus Horse Marathon has taken place in the Welsh town of Llanwrtyd Wells. The route of the race weaves 22 miles through marsh, bogs, and hills. On two occasions, a human has outpaced all the horses. According to my astrological analysis, you Capricorns will have that level of animalistic power during the coming weeks. It may not take the form of foot speed, but it will be available as stamina, energy, vitality, and instinctual savvy. AQUARIUS (Jan. 20-Feb. 18) Who would have guessed that Aquarian Charles Darwin, the pioneering theorist of evolution, had a playful streak? Once he placed a male flower’s pollen under a glass along with an unfertilized female flower to see if anything interesting would happen. “That’s a fool’s experiment,” he confessed to a colleague. “But I love fools’ experiments. I am always making them.” Now would be an excellent time for you to consider trying some fools’ experiments of your own, Aquarius. I bet at least one of them will turn out to be both fun and productive. PISCES (Feb. 19-March 20) In Shakespeare’s play MacBeth, three witches brew up a spell in a cauldron. Among the ingredients they throw in there is the “eye of newt.” Many modern people assume this refers to the optical organ of a salamander, but it doesn’t. It’s actually an archaic term for “mustard seed.” When I told my Piscean friend John about this, he said, “Damn! Now I know why Jessica didn’t fall in love with me.” He was making a joke about how the love spell he’d tried hadn’t worked. Let’s use this as a teaching story, Pisces. Could it be that one of your efforts failed because it lacked some of the correct ingredients? Did you perhaps have a misunderstanding about the elements you needed for a successful outcome? if so, correct your approach and try again.

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